\n BACKUP VOICES (V.O.) \n Bad! \n AUDREYTWO \n Bad! \n BACKUP VOICES (V .O.) \n Bad! \n AUDREYTWO \n So I ain't worried 'bout your biggest \n guns I'm just too bad! Seymour returns from the basement with the axe. Be tries chopping the vines. Every time he swings, the vine moves and he misse.s. ~. and he smashes a piece of the shop. \n BACKUP (V .O.) \n Bad! \n AUDREYTWO \n Bad! \n BACKUP (V .O.) \n Bad! \n AUDREYTWO \n I'm ten feet tall and weight at least \n two tons: I'm extra badl Audrey Two's littler pods sing backup as the big one sings lead. \n LITTLE PODS \n Bad! \n AUDREYTWO \n Bad! \n LITTLE PODS \n Bad! \n Seymour tries to get the little pods with the axe but they're too fast for him as he smashes the wall, the floor, the counter. \n AUDREYTWO \n Go on and bitch and whine and wail and \n curse Too bad! I'm bad! \n LITTLE PODS \n Bad! \n AUDREYTWO \n Bad! \n LITTLE PODS \n Bad! \n Seymour's had it. Be just throws the axe at Audrey Two. The plant catches it and flips it from vine to vine. It gives Seymour a little juggling show. \n AUDREY TWO \n And if you mess with me, I'll just get worse! \n The plant heaves the axe at Seymour. Seymour side- steps it in the nick of time and it goes crashing through a window. Seymour's really angry. During the following lyrics he throws a chair at the plant. It catches the chair. Be throws a small table at the plant. It catches the table. Be throws a shovel. It catches the shovel. AUDREY TWO (cont. ) One day I met the Bri~e of Frankenstein, (So much for her) Just one encounter.and she called me, •Mr. Audrey, sir.• CLOSEUPof Seymour grabbing the cash register to throw at the plant ••• but it's too heavy for him. But damn itl ••• he's not giving up and ••• yes he's lifting itl But no. CAMERAPULLS BACK and we see a vine wrapped around it. It's the plant who's lifting it up and out of Seymour's arms. AUDREYTWO ( eont. ) So.it's a cinch no puny baldy of a botanist Is gonna be a half a match. for me when I get pissed. You got it, Dad? The plant is now holding and waving the chair, the shovel, and the table ••• and the cash register. We see it take a mighty wind up, like it's 3 and 2, bottom of the ninth ••• CLOSEUPof Seymour. His m. - h is open and his eyes are bulging with fear. Be ducks. The items sail through the air and smash through Mushnik's large display window. Seymour,gazes at the broken shards and realizes that instead of him trying to kill the plant, Sweet Jesus! ••• the plant is now trying to kill~! . AUDREY TWO (cont.) You been had! Oh I'm bad! Seymour tries to get away, but each time he tries, a vine hurtles past him and tears a hole in the wall, sending off sparks from severed electrical lines, and spewing water into the room from busted pipes. Seymour goes to the left, a vine shoots out to the left and smashes through the wall. Seymour goes to the right·, a vine careens to the right smashing through the wall. Each vine is its own Bruce Lee. No fuckin' around. The plant is serious! AUDREYTWO (cont.) So come and get me, kid, I dare you. Try and make your kill. I'll make you sorry y1::>uwas messin' with my chlorophyll! The plant rips the radiator out of the wall sending a cloud of steam spewing into the room. It pulls the radiator apart like it was a toy accordion. AUDREY~t'WO(cont.) I hope you're gettin' close to ready now to end this fusis These foolish efforts to undo me is so te-di-ous. Getting a bit bored with it all, the plant flings its vines to the ceiling and holds on to the rafters. It raises its pot about five fee f;c-om the floor and bounces and swings as it sings., •• AUDREYTWO (cont.) See, all your methods are so corny, And so childish, And so undergrad. They just an exercise in stupid! I am Baa -aa-aad t Audrey Two goes for the big finish: with a gargantuan yank of the rafters it creates an avalanche of 'brick, ~ood, and plaster that rages down over the Plant and Seymour. Before the dust has even settled we hear the :Plant laughing triumphantly.: The shop looks like it has just survived the blitzkrieg. The walls are partially demolished, chunks of ceiling have caved in. On the other side of what used to be the shop, Seymour, filthy, wounded, and exhausted, emerges from under a pile of rubble. Dazed, but sensing he is still in danger, he quickly scrambles, rolls, falls, and crawls away from the shop and into the street out of reach of the mocking Plant. Breathing heavily and seemingly half-mad he takes the heroic stature-of a mad prophet or of Kevin McCarthy in Invasion of the Body Snatchers as he shoute ••• \n SEYMOUR \n I'll warn 1 emt I'll warn 'emt I'll tell •em!you're comingt The human race won't take this lying downt And wherever.your kind grows ••• whatever you try ••• WE'LL BE WAITINGFORYOUt \n Seymour turns and runs pushing his way through a few bums that have been watching. \n SEYMOUR \n (Shouting to the rooftops) \n They're comingt They're comingt Don't feed 'emt Don't feed the plantst Don't feed the plantst \n As Seymour exits screaming, we hear the rumbling, demonic laughter of the Plant in the distance. The bums too begin cackling until we are left with the almost deserted streets echoing with dark, ominous laughter. LIMBO. AMERICAN \n FLAG,·.: \n MUSIC: A tense rhythm begins which grows into grand magisterial music--the intro to \"Subsequent to the Events\" • \n \n \n . \n \n \n II: .....: \n ...; .. : ' \n . ..... \n ,·· \n • • I / \n A hup:-e American f121.ff fil LB the fr-'ime. It is he\"'vi1 y b~ck-1i t making it SP.em luminescent. It dwarfs Crystal, Ronette, Bnd Chiffon who are posed in silhouette in front of the fJB5. The girl,.; ceremonious1.y bee:in Wl'llking to camera Ann as they r,et closer and c1oser Cryst~, sin~s with Gospe1 fervor ••• \n CRYSTAL \n SuhsP.quent to the events You have just witnessed Similar events in cities Across America ••• \n Events which bore a striking Resemblance To the ones you have just seen Began occurringt \n Cut to: \n \n \n INT. GARDEN \n SHOP. DAY. GIRLS (V .o.) (Singing)· An F.CUof the words \"Audrey Two's\" fills the screen. Camera pulls Subsequent to the events back to see that these words are You have just witnessed pA.rt of a sign: ''Yest We have Audrey Two's on sale here~\" Camera Unsuspecting jerks trucks by a very long lin.e of From Maine to California beaming customers waiting at the check-out counter each holding one Made the acquaintance of or more tiny Audrey Two's. (Exactly A new breed of flytrap the same tiny Audrey Two's that Patrick Martin had on the rooftop). And got sweet-talked In the background customers are Into feeding it besieging a clerk for more of those new, delightful Audrey Two's in their Bloodt cleverly designed little containers • .,Dissolve to: \n \n \n INT. SEARS BASEMENT. DAY. � \n GIRLS (v.o.·cont~) Close-ups of dozens of hands grasping (Singing) for the tiny Audrey Two's.· A screaming, Thus the plants pushing t~rong Qf peopl~ are mashed up against a counter behind which are ~orked their terrible will lw.r~dreds of Audrey Two's. People are Finding jerks shoving, screaming, waving money as the sales people do their best to help. Who would feed The frenzy is like that of Cabbage Patch Them their fill Dolls, Pet Rocks, and Hula Hoops all rolled into one. Suddenly we see someone And the plants pushing his way through the crowd ••• It Proceeded to grow ••• is Seymour. He is unshaven, dirty, with blood-shot eyes ••• as if he hadn't sl~pt for And grow. weeks. He jumps on the counter-top · · · kicking off the Audrey Two's and screaming. INT. HOUSE.NIGHT. GIRLS.(V.O. Cont.) (Singing) Bedroom of a suburban home. A middle-aged couple are·lying in And began bed. All we·see are their feet in tne foreground. Betwe•~ the What they came here feet we see the T.V. on whicl · The Tonight Show starring Jack Paar To do (or a very young Johnny. C~rson). A news bulletin comes o~~ A newscaster Which was essentially to •• appears and in back of him !Jashes the word \"Cleveland\". Then we see a Eat Clevelandt live, on the·spot reporter in front of a Cleveland building bei~ destroyed And DesMqinest, by a 15 foot Audrey Two. People are screaming ·and running e.way. The··-· ,.. And Peoriat \n I \n destruction continuee-as'the r~porter And New Yorkt \n is dragged off by a ·tentacle. · Then ••• AND WHEREYOU LIVE! 6n · the '·bedroom:still) .·.;after;t\\].le·lyr!c~·, \"And\"where yoo·3:ive\"-.;;.-;a ·thick vine· comes smashing ddwn·on the T-.V. itself exploding (V .o.) \n . \"C'HOBUS. \n it• into smithereens. Two-or thr~~ other (Singing)' vines smash: through the wall as even more vines l'ldi out and wrap around the legs of. ,:'hey~Y o,rt,r Y?~ !~~~~~ and fam~- the people in bed and dr~g them away Love and m~~!Y ~d ~~i~nt acclaim· ·. screaming as plaster fells around.th~m. But whatever·they offer you~~. \n Don:t !eed '.f:h~plant~f .. \n \n \n EXT. LOS ANGELES~... NIGHT. \n The large, famous· Hollywood sign They may offer ~OU in the hills. The searchlight of a Lo~s of cheap thrill~ hovering helicopter is aimed at a hu&e Audrey Two as it des~roys the sign •• Fancy condos. throwing the letters into the air ... .In Bev~rl;r\\_ ~i:;Lls 1 ea vine the sigl\"I to just read : \"\"Ho--woo\" while police fire guns and flaTes at Bu~~wh~~ever th~y ofiFr you the marauding plant. Don: t feed the 11J.ants~ EXT. NEW '.:YORK. NIGHT. • r Look out! Medium shot of the fac• of the Here com~s Aµdrey Twoi Statue of .Liberty as we see green Look outt tentacles oozing from the inside of her • •. r crown and covering her eyes like • . AUDREYTWO Medusa's snakes. AnothP.r Andrey Two ··-- Here I come for you! iE at the end of her a,..m '!:weloping the torch ~ith it's tentacles. On the ground CHORUScv.o.) are police search liehts ~nd the National Here I come for Guard fir:i.n~ up at the pll'l\\]'ltl!S. Rere I come !or Here I come for voutttn (Singing) In the background Manhattan is on fire. In the foreground two or Hold -your hA.t three more Audrey Two's are attacking •• a mind boggling mass of leaves, vines, tendrils, and roots.:.they are lumbering And hane onto your soult towards the foreground. Suddenly, from • t he di~tance, a torn, hasgard figure comes runntng to· camera. Crazed and totally Something's comin' hysterical he runs up i,nto an·extreme close-up \n , \n ••• his face fillingI \n the screen as he screams •• To eat the world wholet \n I - \n ., pSEY}40UR , .. : JI. • 'I \n They're,Herett They're herett If we fight it Runt 1 : THEY'RE HERE1Lt.t · · ••• i11 I .. He· turns and runs to mid-bac~ound We've still got a chancet screaming, trying to help the others fight the plant.as we see cars overturned, broken fire hydrants .spe..,.ing wat·er, downed But -whatever they offer yout electrical11lines crackling with sparks, police and National Guard ~oldiers firing away, fires burning out of cbrttrol in the . r Though ·they' re sloppin' the trc\"'~ .> distance.· It is the end of civilization for yout as we know it. Men, women and childr~n ••. incluqing Seymour ••• run screaming up to and past camera as the Audrey Two is: Please whatever they offer you, c:dmosf upon them and: us •• advancing menacingly, C!!:) inexorably to camera and, openi.ng its •.·.' v.riJe cavernous ma'!' it seems to swallow the , ·Don•t feed the plantst C~hlt'f\"'I as it completely blacks out the screen. LJ~ are left vith the horrible sounds of cataclysmic destruction. Don't Feed The Pla-ah-antstt •. • I t \"! FADE UP: 11--FOLLOWED BY--\"? U t ?\" \n UTHE.:END \n MUSIC•. \n CREDITS RQL4,. \n I. \n (After last credit ••• in black ••• as people are leaving·the theatre ••• a very large, low rumbling laugh •• ) \n AUDREYTWO(v.o. in black) \n Hahahahahahaha.hahahatttttt Presents \n A FRANK OZ FILM \n RICK MORANIS \n ELLEN GREENE \n VINCENT GARDENIA \n With a Special Appearance by \n STEVE MARTIN \n And with Special Guest Stars \n JAMES BELUSHI \n JOHN CANDY \n CHRISTOPHER GUEST \n BILL MURRAY \n Directed by FRANK OZ Produced by DAVID GEFFEN Screenplay by HOWARDASHMAN Audrey II Designed and Created by LYLE CONWAY Choreography by PAT GARRETT Film Editor JOHN JYMPSON Director of Phography ROBERT PAYNTER, B.s.c. Production Designed by ROY WALKER Special Visual Effects by BRAN FERREN Music Produced by BOB GAUDIO Original Motion Picture Score by MILES GOODMAN Line Producer WILLIAMS. GILMORE Music by ALAN MENKEN Lyrics by HOWARDASHMAN \n WARNER BROS.' \n \"LITTLE \n ON \n The monster musical comedy film \"Little Shop of Horrors,\" \n starring Rick Moranis, Ellen Greene, Vincent Gardenia and Steve Martin, is set to open here on at the Warner Bros . and producer David Geffen bring to the screen the 1986 motion picture adaptation of the award-winning stage hit, which was based on the 1960 Roger Corman cult classic film. The film presents an extraordinary triangle involving a lower eastside Manhattan flower shop employee named Seymour, his whim- sical co-worker Audrey and a plant nicknamed Audrey II--whose growth-rate is surpassed only by its peculiar appetite. With the acquisition of the screen rights by the David Geffen Company, Geffen's goal was to fuse the elements of the original story and the stage production into its own unique entity on film. Winning the Drama Critics' Circle, Drama Desk and Outer Critics' Circle Awards as the season's best musical, the New York stage production spawned an American touring com- pany, a two-year London run, and other noteworthy productions in major cities all over the world. The Geffen Company presents a Frank Oz Film, \"Little Shop of Horrors,\" released by The Geffen Company through Warner Bros. Produced by David Geffen and directed by Frank Oz, the -more- monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia, with a special appearance by Steve Martin and cameo appearances by John Candy, James Belushi, and Christopher Guest. -wb- \n \"LITTLE SHOPOF HORRORS\" \n - Production Information - \n Mushnik's Flower Shop is the sleaziest floral store on Skid Row. Wilting corsages, dark brown greenery and bums sprawled in the doorway add credence to the deep-rooted belief that whatever it is that lures people \"downtown,\" it isn' t flowers. With business drooping lower than his Creeping Charlie, Mushnik has decided to throw in the trowel and lay off his only two employees, the klutzy orphan Seymour and brave, blonde, battered Audrey. Then Seymour purchases a strange and inter- es .ting plant from an ancient Mandarin during a total eclipse - of the sun. And business blooms. Customers converge on the shabby premises, attracted by the odd potted pod in the window. Christening his prize Audrey II in honor of his secret love, Seymour showers it with mulch, gro-light and affection. But, as it develops, there's only one type of nourishment that Audrey II craves--and it 's not available at your local nursery! The Ge£fen Company presents a Frank Oz Film, \"Little Shop of Horrors,\" · released by The Geffen Company through Warner Bros. Produced by David Geffen and directed by Frank Oz, the monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia, with a special appearance by Steve Martin -more- Christopher Guest • . · .. The screenplay and lyrics were written by Howard Ashman and the music composed by Alan Menken, who collab- orated on the off-Broadway and London stage hit on which the movie is bas~d. The stage hit, which has since blossomed into a perennial, was inspired by Roger Corman's \"Grade Z\" horror film of the same title. Shot in 1960 on an unbelievable schedule of two days and a night (lar gely because Corman was offered a storefront left over from another movie) , \"Little Shop of Horrors\" went on to become a cult classic. It was also notable for the brief, bizarre appearance of relative newcomer Jack Nicholson as a masochistic dental patient. New York theatre critics gave the stage production of \"Little Shop of Horrors\" a blue ribbon reception. The New Yorker ' s Edith Oliver hailed it as \"a musical comedy that is both musical and comic ... full of surprises and marvelous effects.\" Richard Corliss in Time magazine welcomed \"a carnivore with its own intimidat ing charm\" which \"envelops the stage and (gasp!) most of the audience.\" Winning the Drama Critics ' Circle, Drama Desk and Outer Critics' Circle Awards as the season's best musical, the show spawned an American touring company (which is still going strong ), a two-year London run, and productions in France, Scandinavia, Israel, Japan, Germany, Australia and -more- With the acquisition of the screen rights by the David Geffen Company, the voracious Venus people-trap had blossomed thrice. Geffen's goal was to fuse the elements of the original story and the show into its own unique entity. The time-frame, he decided, would remain intact. Downtown, it is still 1960. Here , Seymour Krelborn (RICK MORANIS) toils slavishly for Mushnik (VINCENT GARDENIA), who plucked him \"as a tyke\" from the Skid Row Home for Homeless Boys. In his basement bedroom, where he raises exotic foliage, Seymour pines for Audrey ( ELLEN GREENE), the lithe, blonde salesgirl with the Betty Boop voice and cinema noir wardrobe. But Audrey is literally a prisoner of love. Her steady crush--in more ways than one--is Orin Scrivello ( STEVE MARTIN), a biker dentist whose delight for burning rubber is only exceeded by his joy for inflicting pain. When he isn't giving root canals a bad name or getting high on his own nitrous oxide, Scrivello spends most of his time::.:,,. putting Audrey in traction. One night, in the depths of Mushnik's cellar, Seymour pricks his finger on a rose--an d Audrey II gets her first slurp of RH negative. Audrey II grows. Seymour grows anemic. Audrey II demands more \"sticky, licky sweets.\" Seymour buys more Band-Aids. If Mushnik's prosperity and his exhausted -more- errand boy are both to survive, fresh blood must be added to the floral food chain ... For director Frank Oz, the challenge of \"Little Shop of Horrors\" was \"deceptive.\" The project, he says, \"looked simple, but wasn't. If we played it too camp, the audience wouldn't care about the characters. If we were too straight, we'd veer toward melodrama.\" What evolved was what Oz calls \"heightened reality.\" In opening the stage show to encompass the littered alleyways, decrepit tenements and end-of-the-line elevated train of Mushnik's neighborhood, he and Oscar-winning production de- signer Roy Walker created a fantasy Skid Row. But within the sprawling set--which consumed every ~quare inch of Pinewood Studios' \"007\" st age (the largest in the world)--Oz also sought a certain \"intimacy.\" \"I didn't want to balloon it into a musical 'War and Peace' or even a big, splashy '40s extravaganza,\" says the director. \"There are no dizzying overhead crane shots. No irrelevant dance numbers. Nothing to overwhelm what is basically the simple story of a boy, a girl and a man-eating plant.\" Several production numbers, however, display amusing affection for film lore. The hollow-eyed vagrants, shuffling through the gutters of \"Downtown,\" recall Busby Berkeley's Depression-era classic, \"My Forgotten Man.\" \"Somewhere That's Green\" is a paean to the suburban never-never land of scores of movies and '60s sitcoms. -more- a colorfully incongruous cast. Seymour is played by Rick Moranis, one of the Canadian Second City troupe's non-fraternal \"McKenzie Brothers,\" who breezed through \"Ghostbusters\" as Sigourney Weaver's randy next-door nebbish. His \"Little Shop . .. \" role as a botanical body snatcher required \"more straight acting than anything I'd done before,\" says Moranis. \"But the real attraction was the chance to sing. Until now, I'd been limited mostly to parody.\" Ellen Greene, on the other hand, knew the role of Audrey \"like a second skin,\" having played it for two years-- in New York, Los Angel~s and London. (Time magazine praised her portrayal of \"a sweet, sexy, slightly dizzy J:,londe with an Elmer Fudd lisp, wittle-girl wiles\" and a voice that \"buckles theatre walls.\") Her character, comments Greene , first came into focus during costume fittings for the off-Broadway show. \"We went through about five wigs before Audrey became a cornsilk blonde,\" she explains . Next came the low-cut leopard skin dresses, stiletto heels and jangling of the B-movie heroines who were Audrey's role models. Vincent Gardenia insists that he was chosen as Mushnik because \"Frank Oz liked my name . \" The Naples-born actor, who began his career as a teenager playing old men in New York's Italian theatre, calls Mushnik \"a symphony of frustration. He's a man trying to cling to the past despite the depravity -more- building around him.\" At the root of much of that depravity is Steve Martin's Doctor Scrivello. (Call him anything other than \"Doctor\" and he'll joyfully rip your eyeteeth out.) As the leather-clad \"leader of the plaque,\" Scrivello parks his Harley Davidson, dons surgical whites and bounces from room to room in his \"one patient-no waiting\" office armed with a variety of evermore alarming implements. Martin claims that Scrivello makes Lawrence Olivier's sadistic oral surgeon in \"Marathon Man\" look like a public benefactor. Scattered through \"Little Shop of Horrors\" are cameos by several well-known comedic actors. Renewing his Second City rappoFt with Rick Moranis, John Candy plays Wink Wilkenson, the one-man radio station who introduces Skid Row listeners to \"the weirdest stuff\" in the world--like Seymour Krelborn's incredible plant. \"Spinal Tap ' s \" Christopher Guest is the first customer to put his money down for a magnetic Audrey II. James Belushi is a huckster with a plan to cross-pollinate her cuttings. Among the inspired notions of the stage musical was a \"Greek chorus\" of three teenaged girls who sashayed through the action ... in perfect harmon y and street-smart cynicism ... like Skid Row Supremes. To find the film's t~io, auditions were held in New York, Chicago, Detroit, Washington , D.C. and London. Out of more than a thousand hopefuls tested, the youngsters chosen for their vocal power and brash energy were 18-year-old -more- Michelle Weeks as Ronette, 16-year-old Tichina Arnold as Crystal and 17-year-old Tisha Campbell as Chiffon. With the trio assembled, there was still one character left to be cast: Audrey II. The challenge of creating a plant \"like nothing ever seen on this planet,\" who would talk, sing and bite the hand that feeds her, was entrusted to Lyle Conway. An acknowledged animatronics wizard, Conway has worked with Oz (and Jim Henson) on \"The Muppet Show\" and \"The Dark Crystal,\" and had designed the enchanting Lewis Carroll character for Dennis Potter's \"Dream Child.\" Conway began the project with an \"inspirational\" field trip to London's famous botanical Eden, Kew Gardens. \"I felt that at each stage of her development, Audrey II should have a distinct look. The 'baby' plant resembles a rosebud with lips modeled after Ellen Greene's . Then she grows . .. and grows more monstrous.\" Conway next turned to the Atomic Energy Authority at Harwell, England, for technical advice on creating a core which would support ... and control .. . the creature. \"The scientists there saw it as a game , a pleasant break from their top-security work. They were immensely helpful,\" he says. \"Size,\" continues Conway \" is the downfall of most mechanical marvels. Small creatures are relatively easy. Big ones suffer from gravity . Our challenge was to take something twelve and a half feet tall, weighing slightly -more- of its own.\" One aspect which concerned director Oz was Audrey II's lip synching. \"It had to be perfect,\" says Conway. \"Frank didn't want big, flapping hamburger buns.\" To get the right effect took as many as forty puppeteers. By the time Conway's work was finished, he'd gone through 15,000 hand-made leaves , 2,000 feet of vine, several hundred gallons of KY Jelly and 11 1/2 miles of cable. (\"Just slightly more cable than was used to build the Brooklyn Bridge,\" he says proudly .) But Audrey II was only half-alive. Still to come was the character 's voice, performed by Levi Stubbs, an original member of the Four Tops. Says musical director Robby Merkin: \"If I die tomorrow, working with Levi will get me into heaven. Here's a modest, con- summate pro who has been singing for thirty years in a group that changed the face of popular music. \"He can sing anything, any way you ask him . We showed him what the plant would look like and a light bulb went on in his head. From then on, he~ the plant.\" Combining the film's diverse elements into a hothouse of horrors began long before a camera turned. The first phase of the process was in the hands of production designer Roy Walker, an Academy Award winner for \"Barry Lyndon,\" a nominee for \"Yentl,\" and a subject of critical accla i m for his work with Roland Joffe on \"The Killing Fields.\" -more - of Mike Ploog, who graduated from Marvel Comics (where he drew \"Conan,\" \"The Werewolf\" and \"Planet of the Apes\" ... \"anything with hair on it ) to fi l ms like \"Superman II\" and \"Young Sherlock Holmes.\" In creating his imaginary Skid Row, complete with \"working\" elevated train, Walker remained a stickler for detail. Set decorator Tessa Davies was dispatched to New York, on a scavenger hunt to find gas meters, soap boxes, doorknobs, street signs and hundreds of stage props, circa The oddest item on Davies ' shopping list were garbage cans from that era--complete with authentic garbage. \"They had to be genuine and they had to be old,\" she says. \"I went around the streets in a truck loaded with new garbage cans, offering to trade them for used ones. People thought I was crazy. I suspect I got away with it only because I was a foreigner.\" Simultaneously, costume designer Marit Allen was rum- maging through thrift shops, with the same sixties flavor in mind. \"What helped was that the principals all had a definite idea of how they should dress,\" sh e says . Ellen Greene wanted \"clothes that suggested cast-offs from Kim Novak and Rita Hayworth . We agreed that there would be a point in the story where he r i mage would change. When she falls in love with Seymour , she goes from red, black and leopard to softer shades.\" -more- bridge the credibility gap, somewhere between a nerdy loser and a shy, appealing guy.\" Steve Martin was \"discreet in his taste in black leather ... more Elvis Presley than Hell's Angels.\" Within the complex interweaving of humor , music, fantasy, horticulture, set design, special effects, choreog- raphy, puppetry and the ultimate threat to civilization, the core of the movie is its characters, says Oz. \"They have to be people you believe in ... people you laugh with, not at.\" About the Cast ... As Seymour Krelborn, a fledgling Faust on Skid Row, RICK MORANISmoves downtown from the Central Park penthouse he occupied in \"Ghostbusters.\" In that Ill comedy hit of 1984 , he was the party animal who threw wild bacchanals across the hall from Sigourney Weaver , unaware that her Mid-Manhattan apartment was being repossessed--by dead spirits. Playing New Yorkers of any stripe is no greater sur- prise to Toronto-born Moranis than the fact that he is an actor at all. \"I always thought show business was for Americans,\" he says with his trademark sly grin. \"I didn't realize Canadians could get involved.\" In fact, he began his career as a radio engineer while he was still in high school. Although it was only part-time, it offered Moranis an unlooked-for opportunity: after con- sistently writing funny one-liners for his deejay friends, -more- he was given his own show, and soon became a popular on-air personality. Seguing into cabaret comed y, Moranis performed in Toronto nightclubs, then moved int o Canadian television. After several years of writing and performing, he was asked to join \"Second City Television \" in its third season. When the satirical comedy show was picked up by an American net- work, it not only won an Emmy but also brought Moranis national recognition. In solo spots on \"SCTV, \" Moranis earned special acclaim for his comedic portraya l s of such personalities as Woody Allen and Dick Cavett , and won Emmys for comedy writing in 1981 and '82. With Dave Thomas he created t he McKenzie Brothers ( Bob and Doug)--beer-guzzling phi l osophers from the Canadian north woods, whose goofy antics became an \"SCTV\" mainstay. When the \"McKenzie Brothers \" made an album, it won a Grammy nomination. When the y made their screen bow, it was as the stars, co-writers and c o-d i rectors of \" Strange Brew\"--the top-grossing Canadian f ilm of 1983. Moranis has since appeare d in \"Streets of Fire\" and \"Club Paradise,\" as well as \"Gho stb usters .\" Even though she wanted Audre y to \"be ripe enough to fall off a tree,\" ELLEN GREENE i ns i sts there is something \"playful and kittenish about her . .. she's a child/woman you fall in love with because of her i mperfections.\" -more - expected. She played Audrey for two years on stage--18 months in Los Angeles and off-Broadway, and six months in London's West End. A native New Yorker, whose grandfather was in the Yiddish theatre, she always knew she wanted to be a per- former. Although her father was a dentist, one brother a doctor and the other a lawyer, her education-oriented family didn't stand in her way when she started calling on casting agents after finishing high school. She finally landed a gig at Reno Sweeney's, a cabaret club on 13th Street, where she played piano, sang and ban- tered ... and earned strong enough reviews to move up to off-Broadway. With the New York Shakespeare Festival, Greene appeared in David Rabe's \"In the Boom Boom Room,\" \"Sorrows of Stephen,\" \"Wake Up, It's Time to Go To Bed\" and \"Stage Directions.\" She made her Broadway bow in the title role of \"Rachel Lily Rosenbloom and Don't You Ever Forget Itl\" then appeared in \"The Nature and Purpose of the Universe,\" \"Teeth and Smiles\" and opposite Michael York in \"The Little Prince and the Aviator.\" Her performance as Jenny in \"Threepenny Opera\" brought her a Tony nomination. After making her motion picture debut in Paul Mazursky's \"Next Stop, Greenwich Village,\" Greene played Jill Clayburgh's friend in \"I ' m Dancing as Fast as I Can . \" \"Little Shop of -more- When Mr. Mushnik, the flower shop owner, gives Audrey some fatherly advice--\"A date gives you a corsage, not a multiple fracture\"--he is simply acting in character. Accord- ing to VINCENT GARDENIA, who portrays him, Mushnik is \"a man of Old World manners, trying to cope with the craziness and cruelty around him.\" A veteran character actor in films, theatre and tele- vision, Gardenia was born in Naples, Italy, in 1922, and played his first role at the age of five--in Brooklyn, where his family settled after emigrating. Graduating from juvenile to leading roles in New York's Italian theatre, the growing Gardenia was in his mid-30s when he began his professional career in earnest. His break- through came with off-Broadway's \"The Man With the Golden Arm,\" the 1954 shocker about drug addiction. After enhancing his reputation with \"The Brothers Karamazov,\" \"The Visit,\" \"Death of a Salesman\" and \"A View From the Bridge,\" Gardenia won the coveted Tony for his performance in Neil Simon's bittersweet \"The Prisoner of Second Avenue.\" He followed up with roles in three more Simon plays--\"God's Favorite\" (written especially for him ) , \"Plaza Suite\" and \"California Suite.\" He most recently ap- peared on Broadway in the 1984-85 hit, \"Glengarry Glen Ross.\" Interestingly enough, Gardenia, who emanates an easy Italian warmth, has alternated between softies and cold- blooded killers in his screen career. He made his bow in -more- mobster Dutch Schultz in \"Mad Dog Coll.\" But he won his Oscar nomination for his crusty, kindly baseball team manager in 1973 1 s \"Bang the Drum Slowly.\" Other films include \"Death Wish,\" \"The Front Page\" with Jack Lemmon and Walter Matthau, and \"Heaven Can Wait,\" with Warren Beatty. His close-cropped hair is hidden under a black wig that recalls the glory that was \"Grease,\" his sunshine smile is twisted into a sadistic leer, and he handles women like Cagney on a bad day. But as Orin Scrivello, D.D.S. (Doctor of De Sade), STEVE MARTIN has a role he can sink his teeth into. One of the outstanding comics of the past 15 years, Martin has won Emmys for his television work, Grammys for his record albums, and an Oscar nomination for his screen bow as \"The Absent Minded Waiter ,\" a 1978 short film. Born in Waco, Texas, he was raised in Southern California, where he sold Disneyland guidebooks at 10, and did magic and comedy routines at Knott's Berry Farm in his teens. After earning his degree in Theatre Arts from UCLA, Martin, then 21, entered television as a writer on the popular \"Smothers Brothers Show\" (hi s first Emmy). He soon added such clients as Sonny and Cher, Pat Paulsen, Glen Campbell and John Denver to his list, but by the late 1960s began performing his own material. -more- like the Carpenters and the Nitty Gritty Dirt Band, Martin hit his stride through frequent appearances on Johnny Carson's \"Tonight Show,\" and other TV guest shots. Expressions like \"Excuuuuuuse me\" and \"I'm a wild and crazy guy\" became part of the language . Martin's career soon encompassed his own television specials, sold-out concerts and gold-plated comedy albums. His first two--\"Let's Get Small\" and \"Wild and Crazy Guy\"-- won Grammys, while \"Comedy is Not Pretty\" and \"King Tut\" sold in the millions. With \"The Jerk,\" which he co-wrote, Martin moved into feature films in 1979. He has since starred in the innova- tive \"Dead Men Don't Wear Plaid,\" the sci-fi spoof \"The Man With Two Brains,\" the provocative \"Pennies From Heaven,\" and as Lily Tomlin's haunted other half in \"All of Me.\" Martin wears three hats on the soon-to-be-released \"Three Amigos,\" including that of executive producer. Di- rected by John Landis, \"Three Amigos\" was written by Martin, Lorne Michaels and Randy Newman. Additionally, he toplines the cast along with Chevy Chase and Martin Short. Martin is presently shooting \"Roxanne,\" a screenplay he wrote for Columbia Pictures. Directed by Fred Schepisi and produced by Daniel Melnick and Michael Rachmil, Martin stars with Daryl Hannah, Rick Rossovich , Shelley Duvall and Fred Willard. Underscoring the dramatic twists of plot and fate in -more- a trio of street urchins played by MICHELLE~EKS, TICHINA ARNOLDand TISHA CAMPBELL. All are native New Yorkers, who knew each other either from school or from appear i ng in such musicals as \"Sing Mahalia Sing,\" \"The Me Nobody Knows\" and \"Mama, I want to Sing.\" Michelle, who plays Ronette--at 18 the oldest and \"toughest\" of the three--began singing at four and acting at 14. She completed a run in the starring role of Emma in \"The Tap Dance Kid\" just before filming \"Little Shop of Horrors.\" Sixteen-year-old Tichina--whose Crystal is the youngest and \"most talkative\"--is a student at New York's Music and Art High School. She began acting at 11, when she appeared on stage in \"The Me Nobody Knows .\" She plans to study psychology at college. Tisha, who plays 17-year-old Chiffon--\"the shy one\"-- i s the only member of the trio to ·come from a theatrical family. At 5 she won a car in a talent show, and has since appeared in various musical shows , i ncluding \"Mama, I Want To Sing\" and \"Really Rosie.\" She is a student at Arts High in New Jersey. Short but sparkling contr ibuti ons to \"Little Shop of Horrors\" are made by John Candy, James Belushi and Christopher Guest. As radio announcer Weird Wink Wilkenson, JOHN CANDY -more - puts his considerable heft through quick character changes, relying on voice and sound effects to fool his listeners. It's child's play for the Toronto-born Candy, who first gained recognition in television's \"SCTV,\" where he impersonated (with devastating precision) such out-sized stars as Orson Welles, Divine and Luciano Pavarotti. He also won two Emmys for his writing contributions. Candy made his film debut as an extra in \"Class of '44,\" but quickly found his metier in such hugely successful comedies as \"The Blues Brothers ,\" \"Stripes,\" \"National Lampoon's Vacation\" and \"Splash.\" He has since co-starred in \"Brewster's Millions,\" \"Volunteers\" and the recently released \"Armed and Dangerous.\" Portraying a high-powered entrepreneur--who plots to get his cut from Audrey II's cuttings--is JAMES BELUSHI, cur- rently winning wide acclaim as Bernie Litka in \"About Last Night.\" (The character, a · crudely endearing sexist, was originally performed by Belushi in David Mamet's \"Sexual Perversity in Chicago,\" the Obie-winning play on which \"About Last Night\" is based.) Born and raised in Chicago , Belushi graduated from the University of Illinois and spent two years with the city's fertile Second City troupe before signing on as the Pirate King in Joseph Papp's tour i ng production of \"The Pirates of Penzance.\" Following the show to Broadway, Belushi remained in New York for a two-year stint on television's \"Saturday -more- Night Live,\" then returned to his hometown for \"Sexual Perversity.\" After making his film debut in \"Thief,\" he played a cameo in \"Trading Places,\" starred in \"The Man With One Red Shoe,\" and co-starred as a rock 'n' roll deejay in \"Salvador.\" CHRISTOPHERGUEST--the customer who gets rose fever from Audrey II--is a native New York er who studied clarinet at the High School of Music and Art, then began his career as a National Lampoon satirist. After several years of \"Lampooning\" as both writer and performer--59 radio shows, three-Grammy-nominated albums, the off-Broadway hit, \"Lemmings \"--Guest won an Emmy for co- writing television's \"Lily Tomlin Special,\" in which he also co-starred. As a television actor, Guest has ranged from comedy to drama, scoring as Jeb Magruder in \"Blind Ambition,\" opposite Bette Davis in \"A Piano for Mrs. Cimino,\" and in the long- running series \"Laverne & Shirle y\" and \"All in the Family.\" In addition to portraying rock star Nigel Tufnel in Rob Reiner ' s hit film, \"This Is Spinal Tap,\" Guest has appeared on screen in \"The Long Riders,\" \"Girlfriends\" and \"Heartbeeps.\" About the Filnnnakers ... Director FRANKOZ is carving a unique niche for himself in motion pLctures. -more - For Jim Henson's Muppets, he performs Miss Piggy, Fozzie Bear, Animal, Cookie Monster, Bert and Grover . As an actor, he appeared in brief but telling roles in \"The Blues Brothers,\" \"Trading Places\" and \"An American Werewolf in London\" before making an overnight folk-hero-- and ~ cover-boy--of Yoda, the wrinkled, lovable Jedi sage in \"The Empire Strikes Back .\" As a filmmaker, Oz served as producer (with David Lazer) on the Muppets' second movie, \"The Great Muppet Caper,\" co-directed \"The Dark Crystal\" with Jim Henson, then made his solo directing bow with \"The Muppets Take Manhattan.\" Producer DAVID GEFFEN, an entertainment entrepreneur whose involvements range from records and £ilms to Broadway shows and talent management, began his career in 1964 in the mail room of the William Morris talent agency. Four years later, with agency co-worker Elliot Roberts, he formed Geffen-Roberts Management which shortly represented such clients as Joni Mitchell, Crosb y, Stills and Nash, Neil Young and Jackson Browne. In 1971, Geffen formed his own label, Asylum Records. He later merged the company with Elektra to form Elektra/ Asylum, which soon became a recognized leader in the music industry , with such artists as The Eagles, Linda Ronstadt, Jackson Browne, Queen, Carly Simon and Bob Dylan, among others. In 1975, Geffen was named Vice Chairman of Warner -more- for the successful pictures \"Oh, Godl , \" \"The Late Show\" and \"Greased Lightning.\" From 1976 through 1979, Geffen taught a course on the music business at UCLA and Yale University, and, in 1980, was appointed by Governor Brown to the Board of Regents of the University of California . In 1980, he returned full - force to the music industry with the formation of his own Geffen Records, with such top talents as John Lennon/Yoko Ono , Donna Summer , Elton John and Peter Gabriel on the label. The '80s also marked Geffen ' s entrance into theatrical productions , such as the smash hit \"Dreamgirls,\" the Tony Award winning New York p1;oduction \"Cats , \" and the Dramatist Guild-winning \"Little Shop of Horrors.\" His other notable theatrical efforts included ''Master Harold and the Boys\" and the Royal Shakespeare Company's \"Good.\" The ' 80s also brought Geffen ' s renewed involvement with motion pictures with formation of The Geffen Film Company. Under his personal guidance , Geffen ' s film arm has brought to the screen the controversial drama of two young women athletes contending for Olymp i c gold in \"Personal Best,\" the immensely-successful Tom Cr u i se , -starring youth comedy \"Risky Business,\" Albert Brooks ' well-received yuµpy dropout film \"Lost In America\" and Marti n Scorsese's critically- heralded comedy-drama \"After Hours .\" Most recently, Geffen l aunc h e d the new Broadway play -mor e- \n HOWARD \n ASHMAN,who wrote the screenplay and lyrics \n for the film version of \"Little Shop of Horrors,\" also wrote the book and lyrics for the musical play, and directed the original off-Broadway production and its London counterpart. A native of Baltimore, Ashman has been associated with the Houston, Pittsburgh and San Francisco Opera companies, the Manhattan Theatre Club, Princeton's Mccarter Theatre and New York's WPA Theatre, where he was Artistic Director from 1976 to 1982. He also wrote the book and lyrics (with Dennis Green) for the musical version of Kurt Vonnegut's \"God Bless You, Mr. Rosewater.\" For his contributions to the stage production of \"Little Shop of-Horrors,\" Ashman received the Outer Critics' Circle Award for best lyrics and best off-Broadway musical, the New York Drama Critics' Award for best musical, and the Drama Desk Award for best lyrics. When composer ALANMENKENwon the 1982/83 Outer Critics' Circle Award for his music in the stage version of \"Little Shop of Horrors,\" it was the result, he says, of a longstand- ing friendship and collaboration with Howard Ashman. The pair previously teamed on \"God Bless You, Mr. Rosewater,\" a 1979 musical of Kurt Vonnegut's book, which marked Menken's first major production. It was while studying medicine at New York University that Menken made the switch to music composition. Joining Lehman Engel's BMI Musical Theatre Workshop, he wrote the -more- music and/or lyrics for its productions, as well as songs heard in revues and cabaret acts around New York. After having his career anointed with \"Rosewater,\" Menken went on to collaborate with Steve Brown on \"Attina, Evil Queen of the Galaxy,\" and to write the music and lyrics for \"Real Life Funnies,\" a revue based on the cartoons of The Village Voice's Stan Mack. He is currently collaborating with Tom Eyen on \"Kicks.\" The Geffen Company presents a Frank Oz Film, \"Little Shop of Horrors ,\" released by The Geffen Company through Warner Bros . Produced by David Geffen and directed by Frank Oz, the monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia , with a special appearance by Steve Martin and cameo appearances by John Candy, James Belushi and Christopher Guest . -wb- Seymour Krelborn ..... .. ... ... .. .•... ........... . • . ... . ... .. .. RICK MORANIS Audrey .....•••.••...•.•............ .. .... .• .................. ELLEN GREENE Mushnik ••.•......• . •.••••.••.•....... . .•.••..•• . .. . •... .. VINCENT GARDENIA Or in Scrivello, D.D .S •••••. • . . .••• • ... • •.•••••. . .• ...... ..... STEVE MARTIN Crystal ... . . . .. .•••.. . . ••....... . .. . .. . . .. . . ... . ... . .. ..... TI CHINA ARNOLD Chiffon •• • ....•..••••. .....•• • .• .... . .....•.••••.. ..... .... TISHA CAf1PBELL Ronette ....•....... ... ... .... . . •• ........ . .. ... . . . ...... . .. MICHELLE WEEKS Patrick Martin .•.•..•••••......•.. •. .. . ...•... ... .......... . JAMES BELUSHI Wink Wilkinson .......... . .....••................ ....... ........ JOHN CANDY First Customer . ....•.•..•. •.. •• . •............. . . . ....•. . CHRISTOPHER GUEST Arthur Denton ... . . ........... ... ................. .. ...... ..... BILL MURRAY (in order of appearance) Narr a tor .. .. . ..... . .. ..........• ••.•....•...••....•.•...... . STANLEY JONE S \"Downtown\" Old Woman . .. . . .........•. .... ......•.•... . ..•.. BERTICE READING \"Downtown\" Bum //1 ............... . • .. ..... ..... . .. .. . . . .... ... .... ED WILEY \"Downtown\" Bum II 2 ... ......••.••..• .......... . .. . .. ..•••••.•.• ALAN TILVERN \"Down town \" Bum I/ 3 . ..... ..... .• .•....... .. . .... . . . .. .. . .. JOHN SCOTT MARTIN Chinese Flor ist ... . . ..... . ..•.•• •...•• •• . . ... . ....•••.••.•... VINCENT WONG Doo Wop Street Singers ... . •...••.......•. ...... ... .. ....... .... MAK WILSON DANNY CUNNINGHAM: DANNY JOHN-JULES: GARY PALMER: \n PAUL SWABY \n Second Customer .•.....•. .. .•••.•... .. . . .....•..•••.. ... . ..... MILDRED SHAY \n Third Customer ..•. .. ... ..•• .... .•. .• ..... . . . ... .•. . ...... . MELISSA WILTS IE \n Fourth Cus torner ......•. .•....••.•. ..... .....•. ... ... .... ..... . KEVIN SCOTT \n Fifth Cus corner .•.•••....• •. •........... ...• .• ••• •....... BARBARA ROSENBLAT \n Radio Station Ass i stant .. .. ...•... .. . . .. .. ... ... ..... .... .. ... ADEEN FOGLE Audrey & Seymour's Kids .•••••••••••...••.••...•..•.....•.••• KELLY HUNTLEY \n PAUL REYNOLDS \n Dental Nurse ••••••••••• • .•.•.•.••.•... . ••.......••.•••. • • MIRIAM MARGOLYES \n Boy Patient .••..•....•..•..• .... . . .. . ..•......••...••••...•.• ABBIE DABNER \n Second Patient ..••.••••.••.•••••......•.....•....•...•.•..•.•... FRANK DUX \n Patient on Cei 1 ing .........•.•••.•...••......•.............. PETER WHITMAN \n Girl Patient .•..•.......••••................. . ... . ......... HEATHER HENSON \n Girl's Mother ............... . .••....• ... . .•. . • ............. . . JUDITH MORSE \n Agent ..•...••.•..........•••...•.•.............•....•.....•..• BOB SHERMAN \n \"Life\" Magazine Lady .. ...•..•..•.•••....••..•.•.••....... DOREEN HERMITAGE \n Her Ass is tan t ......•....••............•.•............•.....•.• KERRY SHALE \n Network Exec # 1 ..............••.....•........................ ROBERT ARDEN \n Network Exec /12 .................•.............•..•.•......... STEPHEN HOYE \n Network Exec /13. •••••••••••••••••••••••••••••••• • •• • ••••••••• BOB SESSIONS \n Television Reporter .•...•.•.•..•••.•.•...............•. MICHAEL J. SHANNON The Voice of \"AUDREY II\" performed by ..•..........•.•..•..... . LEVI STUBBS \n of The Four Tops \n \\* \\* \\* \\* \n Directed by •••••••• •••••••••••••••• ••••••••• ••••••••••••••••• • FRA.NK oz Produced by .••.••••••••••••••••..••• ••..•• .••.•••• •• •••••• DAVID GEFFEN \n Screenplay by . ....................... ..... ............... HOWARD ASHMA.N \n Music by . ............................ ............. ......... ALAN MENKEN \n Lyrics by ... .................... ................. ........ HOWARD ASHMAN \n Music Produced by . ................ .............. ............ BOB GAUDIO \n Original Motion Picture Score by ••••. . . • ............••••• MILES GOODMAN \n Director of Photography .•.....••••••.. ••• ••••••• ROBERT PAYNTER, B.S.C. \n Production Designed by ••••.....•••••••••••••••••...••..••..• ROY WALKER \n Film Edi tor .••...•.•••••••••.•••••• •••••....•..•• •••••• •. • JOH N JYMPSON \n Special Visual Effects by ••.• . ••••.•••••.•..••. •..•••..•••• BRAN FERREN \n \"Audrey II\" Designed and Created by •.•••• ..•....•.•••••.••• LYLE CONWAY \n Costumes Designed by ..•...•• •••.. .. ..••..•. ...••.•......... MARIT ALLEN \n Casting b y .....••...••.•••.•....•....•.........•........ MARGERY SIMKIN \n Based on the musical stage play \n Book and Lyrics by ...••••••.•...•••...• •.••..•.•• .•••• • .. HOWARDASHMAN \n Music by .. ................................................ . ALAN MENKE N \n Production Supervisor for The Geff en Company .••.•••••.•.• ERIC ANGELSON \n Line Producer ••••••••.••••••.•••.••.•.•••...•••••.•• WILLIAM S. GILMORE \n Associate Producers .•.••.••••.••••••• •••••.••• •.•..•••••••• DAVID ORTON \n DENIS HOLT \n Carner a Opera tor ..••••••••....••••.•.•••.•.•.••.• FREDOIE COOPER, S • 0. C. \n Choreographer .•.•....••.....••••.....••••.•....•..•••..•••• PAT GARRETT \n Musical Casting by .•••.•••••••.•..•....•• •..••• JOHNSON-LIFF ASSOCIATES \n Orchestrations & Musical Supervisio n by •• .....•......•.... ROBBY MERKIN \n Vocal Arranger ..•.••..••.•.•..••...••• •.•.•••••• ••••••••• ROBERT BILLIG \n Music Coordinator •••.••••.•..••••••....•••..........•..•• JIM HENRIKS ON Music Arranged and Adapted by ••••••••• ••• •••• ROBBY MERKIN & BOB GAUDIO \n First Assistant Director •••.•••• ••••••••.•••••••.•• .••••• DUSTY SYMONDS \n Production Manager ••••. •••••••••••••• •.•..•.•••.•• ••••••••• DONALD TOMS \n Script Supervisor •••••••••••••...•••.. ••••..••••••• PAMELA MANN FRANCIS \n Second Assistant Director .•••••...•••••••••••••.•••••••••• GARETH TANDY \n Third Assistant Director •••••..•.•••.•••••..••...• NICK HECKSTALL-SMITH \n Production Coordinator .....•.•....•.•.•••.••••••••••••••• VICKI MANNING \n Assistant to Mr. Oz ••••••••.••••••••.. •••.•••.• •• •• • • .....• VAL DEMETER \n Casting Director (U.K.) ••••••...•.••.•.• ••••.•• • • .•••••••• CELESTIA FOX \n Art Director •••••••••••••••••••••••••..•••••..••• • •••••• STEPHEN SPENCE \n Art Director (Models) •••••••••••.....••..••.••••••••••...•• JOHN FENNER \n Assistant Art Director ••••.•••.....• •.•••.•••••••• ••....••• JIM MORAHAN \n Set Decorator •••••. •••••••••••••••• ••.•••••••••• •.•••••••• TESSA DAVIES \n Production Illustrator ••• •• ••.••••••• ••.•.•••.•.. •..••••. MICHAEL PLOOG \n Construction Coordinator ••••••••..••••••..••.•..••••••• MICHAEL REDDING \n Production Buy er (U.K.) ••••••·••••••••••••••••••••••••••••••RON QUELCH Production Buyer (U.S.) •..••...••••.•..•••••••••.•••••••••.• CAROL NAST \n Draughtspersons .••..•.••.•.•.•••••••••••••••••••••••.. MARTIN HITCHCOCK \n PHILIP ELTON \n SUZANNA SMITH \n Sculptor/Modeller .....••....•••..••••••• ••• ••••••.• •.•• ..••. BRIAN MUIR Mode 1 Maker • •••••••••.••••.•••••••••••••••••••••••••••••• MARK WOOLLARD Art Department Trainee ••.•.•..••• •••••• • •••••••••• .• ••• .. JEREMY KARPEL Focus Puller .••......•••.•.••••• •••...•••••..••••• ••• DANNY SHELMERDINE Clapper Loader •.•........••.. . •. ..•••.•......•. . ..• ...•.... BOB BRIDGES Camera Grip •...••••••••••••••••••••••• •..•••••.•. ..•• DAVID CADW \n ALLADER \n Additional Grip .. .. .....•........... ........ ..... .... .. . .. KEVIN FRASER Second Unit Ca.mer amen ••••••••••••••••••• •••• •• ••• ••••••••• RONNIE MAASZ \n JAMES DEVIS \n Second Unit Camera Operator ... ............ ... .... . .JEFF PAYNTER \n Camera Trainee. .................. ................. .NIGEL (WILL) WILLIS \n Sound Mixer .•. ........................................... .PETER SUTTON \n Boom Operator. • JOHN SALTER \n Playback Operator. • •• SIMON cox \n Sound Maintenance. .RON BUTCHER \n Video Supervisor. • •. IAN KELLY \n Video Assistant •• .DAVID SIMONETTI \n Intercom Technician /V ideo Operator. .ST UART LORRAINE \n Wardrobe Supervisor ••.••••• ....• PAUL VACHON \n Assistant Costume Designer. .WILLIAM McPHAIL \n Wardrobe Assistants .••••••• .DOROTHEA SMYLI E \n SUE HONEYBORNE: \n MIKE JAR VIS \n Seamstress ••.• •.• ..• .. JO MEASURE \n Chief Makeup Artist. .PAUL ENGELEN \n Makeup Artist ••••. .LYNDA ARMSTRONG \n Chief Hairdresser. .COLIN JAMISON \n Hairdressers .•.••• .JAN JAMISON \n SUE LOVE \n Production Accountant. .JO GREGORY \n Assistant Accountant. .ALLAN DAVIES \n Computer Operator .• •• • •• LYNN BOWEN \n Cashier ..•••.....•.......••• .ANDY ANDREWS \n Production Office Assistant. •••• JANINE LODGE \n Producer's Secretar y •••••••• . . . . . . . . . . . . . . . . . . . . . . . . . . . TESSA BILLYEALD Pre-Production Secretary (N.Y.) ••••••••• • •..•••••••••• MELANIE WILLIAMS \n Production Runners .•••.••••••••••••.••.•••••......•.••.••• JAMES HICKOX \n MARK CHALLENOR: JOHN WITHERS: GARETH FRANCIS: \n MARTIN KRAUKA \n Unit Publicist .............•......... ................ . ... . SUSAN D'ARCY \n Assistant Publicist ....•......••••••• ••••••••.•• ••..••••••••. ROSE BEAN \n Still Photographer ...••••••••...........•.•............... MURRAYCLOSE \n PRINCIPAL \n ANTONY ASBURY \n PLANT PERFORMERS \n BRIAN HENSON \n MAK WILSON \n SUE DACRE \n ROBERT TYGNER \n DAVID BARCLAY \n MARCUS CLARKE PAUL SPRINGER \n DAVID GREENAWAY TOBY PHILPOTT \n DON AUSTEN \n WILLIAM TODD JONES TERRY LEE \n CHRIS LEITH \n IAN TREGONNING JOHN ALEXANDER \n MICHAEL QUINN JAMES BARTON \n GRAHAMFLETCHER \n MADELINE ADAMS \n TONY ANTONY \n MARTIN ANTONY \n JOAN BARTON \n AILSA BERK \n MARTIN BRIDLE \n RICHARD BRAIN \n FIONA BENYON BROWN \n SIMON BROWN \n GEORGIA CLARKE DEBBIE CUMMING \n DAVID BULBECK \n RICHARD COOMBS PHIL EASTON \n MARY EDWARDS \n MIKE HALFORD \n GEOFF FELIX \n LESLIE HAYNES \n PENNY HETHERINGTON \n RONNIE LE DREW \n HELEN JOANNIDES \n PATRICIA MARTINELLI \n SALLY McCORMACK STEPHEN MOTTRAM \n RUSSELL NASH \n GRAHAMNEWTON \n ALISON NEIL \n ANGIE PASSMORE \n NIGEL PLASKITT \n PETER ROBBINS \n JUDY PREECE \n GILLY ROBIC \n ANNA SAVVA \n JOHN STYLES \n DAVID SHOWLER \n NICHOLASTEMPLE \n IAN THOM \n PATTI WEBB \n DAVID TRAINER \n SIMON WILLIAMSON \n FRANCIS WRIGHT \n Physical \n SASKIA WRIGHT \n Therapist \n ANIMATRONICS STAFF \n Coordinator ..•••.•••....•••...............•.•..•....• BARBARA GRIFFITHS \n Chief Mechanical Deisgners ..••...•••••.•••••......•..••... NEAL SCANLAN \n CHRISTIAN OSTWALD \n Head of Fabrication .....•.•••..... .•••.....•.... .......•. SHERRY AMOTT \n Senior Modeller •.•.•.•..••••••.•....•••..•.•••..•....••. JOHN BLAKELEY \n Senior Painters .......• . ...•••••••• •.•.•• ......•....•..... DAVID WHITE \n JANE HARDING \n Head of Foam Lab ...........•.•.... •... ..... ••.. ... .. ...... SUE HIGGINS \n Senior Mechanical Design ....••..........••....•••......•• NIK WILLIAMS \n JIM SANDYS: KEVIN HERD: \n STUART ROBINSON \n TIM WHEELER \n Fabrication ........•. •..•....•.•..•........ ........•••.. GRAEME GALVIN \n ALISON DARKE \n GINETTE RUTHVEN \n JANET KNETCHEL \n JOAN GARRICK \n EVE ROBERTS: \n MAVIS TAYLOR \n Modellers ••••.....•........•.•... .........•••..•..•.•.•.. STUART SMITH \n DAVID HAYES \n GARY POLLARD \n JEREMY HUNT \n JOHN ROBINSON \n PHILOMENA DAVIS \n Animatronics Technicians ..•.•..•..•.•.•.•. ...•...• .••••.• STEVE DONALD \n BRENT BLAIR \n PHIL DABSON \n MICHAEL SCANLAN \n JASON REED: \n IAN MORSE \n Animatronics Assistants ••.•••••••••••.•••• •••••• ••••••• FIONA BEAUMONT \n ROBERT HATT \n Animatronics Plasterers .••.••••••.•.••.•.•..•...••••.•.•••• DON TAYLOR \n MICHAEL GASTER \n Trainees •••••••..•........•.••••••..•..•...•.........•.. JONATHAN WEBB \n JOANNA TURNER \n Supervising Electrician •...••••••...•••..•..••.••••••••.••••• JOHN MAY \n Best Boy .....•••.....•.•...•.••••••••.•••••••••.••..••••• JOHN SULLIVAN \n Gaffer ( 2nd Unit) •••..•..•••••••••••••. ••.•••.••• • •. . MICHAEL McDERMOTT \n Supervising Propman .•..•..•••••••••••••• •• •••••••••••.•• DANNY SKUNDRIC \n Chargehand Props .•••••••.•••.••••••.••••••••••.••••••••••••• KEITH PITT \n Prop Storeman • ••.••.••••••••••••.....••.•.••....•••••••••••• BRIAN WEST \n Propmen ........•.••.•..•.•••.•••••.•..••.•............•.•. GRAHAMEMERY \n CLIVE WILSON \n Carpenter ••. .•••.••.....•.........••••••.••••.•••.•.••..•... JOHN PERRY \n Painter • ••.•••.••.••••••••••••••••••••••••••••••••••••••.. JOSEPH MONKS \n Plasterer •• .•••••••••••.••••••••••••••••..••••...•....•••.• TERRY LYNC H \n Plasterer's Laborer .•••••••••• • •••••••••...•••••...••••••• RICHARD LYON \n Stagehand . •.•••••••••••••••••••••••••••••••••••••••••••••••• JOE MOORAT \n Rigger .••••.•.•••••...•..•..............•....•............ JOSEPH DOYLE \n Carpenter (Animatronics) .••••••••...•••••.....••••••••...••• STEVE EELS \n Stagehand (Animatronics) .......••..•..••••••••••.••••••.•••• LEE TAYLOR \n Rigger (Animatronics) •.•.••.....•.••••••••••••••••••.•••.•• TONY ROBINI \n Special Physical Effects .•••......••... •.••.• •• EFFECTS ASSOCIATES LTD. \n MARTIN GUTTERIDGE: \n GRAHAMLONGHURST \n Additional Lighting Equipment •••••... ••••• LEE ELECTRIC (LIGHTING) LTD. \n Grip Package • •.••.•.••.••••.......•..... .•. ....•..•.••• GRIP HOUSE LTD. \n Model Unit Supervisor ••••••..... •...•.•• ••••••.....••••• RICHARD CONWAY The Credits ••• 7 \n Assistant Director .•••••....•.••••• .••••• . ••. ....••••••••••••• TIM REED \n Script Supervisor .......•.............•••..•••••••.•••••••• ANNE WOTTON \n Cameraman ...••••••••••••••• • .......... .••..••. •••.. PAUL WILSON, B. S. C. \n Camera Operator . . •.• JOHN MORGA \n N \n Focus Puller ...•..••••...•••••••••.•••••••••••••••••••• JONATHAN TAYLOR \n Clapper Loader ••••••••••.•.•••••••••••••••••••••••....••... NIGEL STONE \n Grip . ............ . .TED JAFFREY \n Model Technicians •••.•••••••••••••••••• ....••.•• ..•.•••••.•• BOB HOLLOW \n MARTIN GANT \n DAVID McCALL \n STEPHEN HAMILTON \n Model Makers ••••••••••.•..•••••••••... •••••••• ••..••••..•.•• TERRY REED \n JIM MACHIN \n Sculptor .•................ .KEITH SHORT \n Senior Effects Technician •.••.•.•• •••••••••• ••••...•••• CHRISTINE OVERS \n Special Effects Assistant .....••.•.•..•.....••••..••••.••.•. TIM WILLIS \n General Assistant •.••.•... ...• • KAYE MOSS \n Runner • •.•••••••••••••••...•••••..••••••••.••••••.•••.••• MARTIN MERCER \n Video Operator .......•••.•.....•••.•......••••..••••••..... CHRIS KENNY \n First Assistant Film Edi tor .....................•....••••• WILLIAM WEBB \n Second Assistant Edi tor .•...•••.•..••••.•..•..•• • •.••... JONATHAN LUCAS \n ADR Edi tor ............ ...................... . ................. BOB RISK \n ADR Assistant. •.. STEFNA SMAL \n Sound Effects Supervisor. . ••• RON DAVIS Assistant Sound Editor. .COLIN WILSON \n Visual Effects Editors. ................................... .DEREK TRIGG \n BOB GAVIN \n Effects Assistant .••.••••••••••••.••• •••••••• .•..•.•.....•.. BEN PALMER Assistant Editors (L.A.) ••••••••••.••••••••••••••••••••• LOUISE HOGARTH \n LISA DORNEY \n REBECCA EINFELD \n Post Prod uction Coordinator (L.A.) •••••••••••.•••••.••• ••• DENISE FROST Music Edi tors •••........•...•••••••••••.•...•...........• NANCY FOGARTY \n CHRISTOPHER KENNEDY \n Assistant Music Editor •••••••••.•.•.• ..•. ••••.•.•.••••••••• ANDREWGLEN \n Music Pre-Recording (London) ••••.•.....•.•.••.•••••••. ADVISION LIMITED \n Engineer •••••.•••••••••.••.•.••.••••..••.....••••.•..••.... DAVID JACOB \n Assistant Engineer ...••••••••••••••••..•••••••••..••.. MARTIN O'DONNELL \n Music Assistants .•...•••.•••••••..•••...•.••••••••••••... PAULINE McGEE \n CLAIRE IBBOTSON \n JOANNA HART \n Music Pre-Recording (Los Angeles) .•.•.• HOLLYWOODSOUND RECORDERS, INC. Engineer . .•.••.....••.•.••..••....••...•••••.••••••....••• TONY D 'AMICO Assistant Engineers •...••..•••••••••..•••. •.• •••••.•••••••• DANIEL REED SCOTT MacPHERSON Additional Overd ubs •.....•.••••••••••.•.• • •• • .•.•••••.••••.• ROBERT ASH Music Assistants ..........•.•••••• .•••.•••••.••••..•..••• ••• BOB SUTTON \n ROBERT SOBO \n SUZAN (KAPNER) MANN \n Original Score Recording .••••.... •• .••.•••.•.....•.. RECORD PLANT, INC. Engineer •.....•.•.•••.• ••..•••••••••••••••...•••••••••••••••• JOEL MOSS Orchestra Contractor •••.••.•••••••••••••••••....•••....••• CARL FORTINA Orchestrations ..•••••••••.•••••••••• ••• ••••...•••.•••• THOMAS PASATIERI Music Copying .•.•••••..•.•.•.••.• •••••••••.••••••..••. ROBERT BORNSTEIN Re-Recording Mixers .•.....•••..•. •••••........... . ROBERT W. GLASS, JR. STEVE MASLOW: \n KEVIN O'CONNELL \n Recordists ..•.••••.. . ..•..•• •........•••.•..•••••.•....... GARY RITCHIE \n BOBBY NICHOLS \n The Credits .•• 9 \n Negative Cutter .••••••••••••••••••••••••••••••••••••••••• DONAH BASSETT \n Color Timer ...........•...••.•.•...•••.........•.•...•.... DICK RITCHIE \n Special Visual Effects by ASSOCIATES & FERREN, New York Project Coordination ...•••••••••....••• •. . •...••• .••.•• JAMES N. SHELLY \n SUSAN COURSEY \n SUSAN LeBER \n DAVID McDONOUGH Electronics •.••••••••••••. •.••..•••••• ••••• • . .•.•••.. ROBERT C. FRA.NCIS CHESTER T. HARTWELL: \n JOHN C. HUNTINGTON III \n Optical Effects .......••.......••.•... .. ....••••...... •• ROBERT ROWOHLT \n JOHN ALAGNA: BOB BUCKLES: \n SANFORD DUKE \n MITCH WILSON \n Systems Support •••••••••••••••••••••••...••••••• • ••••••• PHILLIP CULLUM KINNERETH ELLENTUCK: LARS PEDERSON: PAUL PRATT: \n ALAND. WEBB \n Motion Control •••.•..••.•••.•.••.••..•••••••••••••• CHARLES F. HARRISON \n OTTO LEICHLITE R: JOHN A. FRITH: MELISSA RICE: \n KEN WISNER \n Graphics & Animation •••••••••....•..•.••..••••••••.•••••••••• DICK RAUH \n VALERIE BAIAEDI: MICHAEL N. CAPUTO: MICHAEL FAERMAN: GREGORY M. HARKER: \n DENNIS JORDAN \n JOE LAUDATI \n MICHAELSULLIVAN: MICHAEL TABACCO: MICHAEL VENTRESCO: \n BRIAN WATERSON \n VINCENT N. YACENDA \n Robin Animation ......•.................................... PETER CHIANG OPTICAL FILM EFFECTS LTD.: Levi Stubbs' appearance Courtesy of Motown Records \"I LOVE LUCY\" courtesy of CBS Inc., and Viacom Enterprises \"HOWDYDOODY\" (R) (c) courtesy of National Broadcasting Company, Inc. \"LIFE\" title and format used with permission of Time Incorporated Special Thanks to \n HORTICULTURE MAGAZINE \n BETTER HOMES AND GARDENS \n TV GUIDE MAGAZINE \n PAUL DOOLEY \n and \n ROBIN OZ \n Filmed entirely at \n PINEWOOD STUDIOS LTD. \n Iver Heath, Buckinghamshire, England \n Re-Recorded at \n THE GOLDWYNSOUND FACILITY \n Warner Hollywood Studios \n Lenses and PANAFLEX (R) Camera by PANAVISION (R) Color by TECHNICOLOR (R) Title Design by BRAN FERREN DOLBY (DD) STEREO in Selected Theatres Original Motion Picture Soundtrack Available on GEFFEN RECORDS, CASSETTES & COMPACT DISCS: \n A GEFFEN COMPANYRELEASE \n Distributed by WARNER BROS., INC. (WB), \n a Warner Communications Company \n \n"},"summary":{"kind":"string","value":"In the early 1960s, a three-girl \"Greek chorus\" – Crystal, Ronette and Chiffon – introduce the film, warning the audience that some horror is coming their way (\"Prologue: Little Shop of Horrors\"). Seymour Krelborn and his co-worker, Audrey, work at Mushnik's Flower Shop in New York City's rough, rundown Skid Row neighborhood, which they lament that they cannot escape (\"Skid Row (Downtown)\"). Struggling from a lack of customers, Mr. Mushnik decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant – which he dubbed \"Audrey II\" – from a Chinese flower shop during a solar eclipse (\"Da-Doo\"). The plant brings much business to Mushnik's shop, but soon starts to wither. Seymour accidentally pricks his finger, and discovers that Audrey II needs human blood to thrive (\"Grow for Me\"). Audrey II begins to grow rapidly, making Seymour a local celebrity. Meanwhile, Audrey suffers at the hands of her sadistic biker boyfriend, Orin Scrivello; however, she has feelings for Seymour and secretly dreams of running off with him to the suburbs (\"Somewhere That's Green\"). Seymour continues to feed Audrey II his own blood, draining his energy (\"Some Fun Now\"). He attempts to ask Audrey out, but she turns him down because she has a date with Orin, who is revealed to be a dentist (\"Dentist!\"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant suggests that Seymour murder someone, promising that it will bring him fame and fortune and will impress Audrey. Seymour initially refuses, but eventually agrees after he witnesses Orin abusing Audrey (\"Feed Me (Git It!)\"). After Orin finishes with his masochistic patient, Arthur Denton, who had requested \"a long, slow, root canal\", Seymour draws a revolver on Orin, but cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas, but breaks the valve, and Seymour watches as he asphyxiates. Seymour dismembers Orin's body and feeds it to Audrey II, which has grown to enormous size, but is unknowingly witnessed by Mushnik, who flees in fear. Audrey, feeling guilty over Orin's disappearance, is comforted by Seymour and the two admit their feelings for each other (\"Suddenly, Seymour\"). That night, Mushnik confronts Seymour about Orin's death. He holds Seymour at gunpoint, demanding the plant for his own silence. Backed into a corner, Seymour begins to tell him how to care for Audrey II but before he can reveal the secret, the plant swallows Mushnik whole (\"Suppertime\"). Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite (\"The Meek Shall Inherit\"). Offered money and a contract for a botany TV show, Seymour becomes overwhelmed and decides to escape Skid Row with Audrey using money coming the next day, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher. While Seymour is gone, the plant telephones Audrey, coaxes her into the shop and attacks her (\"Suppertime II\")."}}},{"rowIdx":149,"cells":{"movie_name":{"kind":"string","value":"Alien³_1992"},"imdb_id":{"kind":"string","value":"tt0103644"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Following the events of Aliens, an egg hatches aboard the Colonial Marine spaceship Sulaco, releasing a facehugger. A fire starts and the ship's computer launches an escape pod containing Ellen Ripley, Newt, Hicks, and the damaged android Bishop; all four are in cryonic stasis. The pod crash-lands on Fiorina \"Fury\" 161, a foundry and maximum-security correctional facility inhabited by male inmates with a genetic predisposition for antisocial behavior. The inmates recover the crashed pod and its passengers. The facehugger approaches inmate Thomas Murphy's dog, Spike. Ripley is awakened by Clemens, the prison's chief medical officer, who informs her that she is the sole survivor. The prison warden, Harold Andrews, says that her presence may have disruptive effects. Ripley insists that Clemens perform an autopsy on Newt and that her and Hicks's bodies be subsequently burned, fearing that Newt may be carrying an Alien embryo. Despite protests from the warden and his assistant Aaron, the autopsy is conducted and no embryo is found. The funeral proceeds with spiritual leader Dillon delivering a speech as the deceased are dropped into the furnace. Elsewhere in the prison, a quadrupedal alien bursts from Spike. Ripley finds the damaged Bishop in the prison's garbage dump before being cornered by four inmates and almost gang-raped. After being saved by Dillon, Ripley returns to the infirmary and re-activates Bishop, who, before asking to be permanently shut down, confirms that a Facehugger came with them to Fiorina, under knowledge of the Weyland-Yutani Corporation. Growing to full size, the alien kills Murphy, Boggs, and Rains. It also returns outcast prisoner Golic to his previously psychopathic state. Ripley informs Andrews of her previous Xenomorph encounters and suggests everyone work together to hunt down and kill it. However, the facility is without weapons; their only hope is the rescue ship being sent for Ripley by Weyland-Yutani. The Alien ambushes Ripley and Clemens in the prison infirmary, killing him, and cornering her. However, it mysteriously spares her and retreats. Ripley rushes to the cafeteria to warn the others. Andrews orders Aaron to take her back to the infirmary, but the warden himself is dragged into the vents and killed by the monster. Ripley rallies the inmates and proposes they pour flammable toxic waste into the ventilation system and ignite it to flush out the Alien. However, its intervention causes a premature explosion and several inmates die. With Aaron's help, Ripley scans herself using the escape pod's medical equipment and sees the embryo of an Alien Queen growing inside her. She also discovers that Weyland-Yutani hopes to turn the aliens into biological weapons. The Alien will not kill her because of the embryo she carries, so Ripley begs Dillon to do it; he agrees only if she helps the inmates kill the Alien first. They form a plan to lure the Alien into the foundry's molding facility, trap it, and drown it in molten lead. The bait-and-chase plan results in the deaths of every remaining prisoner but Dillon and Morse. Dillon sacrifices himself to position the Alien towards the mold as Morse pours the molten lead onto them. Although the Alien is covered in molten metal, it escapes the mold. Ripley activates the fire sprinklers, blowing the Alien apart from thermal shock. The Weyland–Yutani team arrives, including commandos and a man who looks identical to Bishop who says he is Bishop's creator. He tries to persuade Ripley to undergo surgery to remove the Alien Queen embryo, claiming it will be destroyed. Ripley refuses and steps back onto a mobile platform, which Morse positions over the furnace. The Weyland–Yutani team shoots Morse in the leg to stop him; Aaron strikes the Bishop look-alike with a wrench and is shot dead by the commandos. Ignoring pleas to give them the embryo, Ripley throws herself into the furnace, holding captive the infant queen as it erupts from her. The facilities are closed down. Morse, the sole survivor, is led away as Ripley's final logbook recording from the Nostromo plays."}}},{"rowIdx":150,"cells":{"movie_name":{"kind":"string","value":"It's a Wonderful Life_1946"},"imdb_id":{"kind":"string","value":"tt0038650"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"On Christmas Eve 1945, in Bedford Falls, New York, 38-year-old George Bailey contemplates suicide. The prayers of his family and friends reach heaven, where Clarence Odbody, Angel 2nd class, is assigned to save George, in return for which he will earn his angel wings. To prepare him for his mission, Clarence is shown flashbacks of George's life. The first is from 1919, when 12-year-old George saves his younger brother Harry from drowning, losing the hearing in his left ear in the process. At his after-school job, George prevents disaster after realizing that the druggist, Mr. Gower, has accidentally added poison to a prescription. In 1928, George plans to leave on a world tour and then enter college. At Harry's high-school graduation party, George is reintroduced to Mary Hatch, who has had a crush on him from childhood. They are walking home when news arrives that George's father, Peter, has had a stroke; Peter Bailey soon dies. George postpones his travel so he can sort out the family business, Bailey Brothers' Building and Loan. Henry F. Potter, the richest - and meanest - man in the county, and a member of the board of the Building and Loan, wishes to dissolve the company to eliminate it as a competitor. The board of directors votes to keep the Building and Loan open, on condition that George stay on to run it. George gives his college tuition to Harry on the condition that Harry take over the Building and Loan when he graduates. He works alongside his uncle, Billy. Four years later, in 1932, Harry returns from college, married, and with a job offer from his father-in-law. Although Harry is ready to honor his commitments to George and the Building and Loan, George learns that the job has excellent prospects and will not allow his brother to turn it down. As a result, George never does leave Bedford Falls, but ends up falling in love with Mary and they marry. On their way to their honeymoon, though, they witness a run on the bank and use their $2,000 honeymoon savings (equivalent to $40,000 in 2019) to keep the Building and Loan solvent and out of Potter's control until the panic subsides. Eventually, George establishes Bailey Park, a development of modest houses financed by the Building and Loan that offers home ownership in contrast to rentals in Potter's overpriced slums. The unscrupulous Potter attempts to lure George into becoming his assistant, offering him $20,000 a year (equivalent to $280,000 in 2019); George is tempted, but realizes Potter's true intent is to shut down the Building and Loan, and rebukes him. During World War II, George is ineligible for service, being classified as 4F because of his deaf ear. Harry becomes a Navy pilot and earns the Medal of Honor by shooting down a kamikaze plane headed for a troop transport. On Christmas Eve morning 1945, as the town prepares a hero's welcome for Harry, Uncle Billy goes to the bank to deposit $8,000 (equivalent to $110,000 in 2019) of the Building and Loan's cash. When Potter enters, Billy taunts him by grabbing the newspaper out of his lap and reading the headline about Harry aloud. Billy returns the newspaper to Potter, but unintentionally wraps the envelope with the cash in it. When the teller asks him for the money for the deposit, Billy discovers that he has misplaced the cash. Potter discovers the envelope, and seeing an opportunity to ruin the Baileys and finally quash the Building and Loan, says nothing. When a bank examiner arrives to review the Building and Loan's records, George realizes that scandal and criminal charges will follow. After retracing Billy's steps without success, George berates him, then goes home and takes out his frustration on his family. George desperately appeals to Potter for a loan and offers his life insurance policy with only $500 in equity (equivalent to $10,000 in 2019) as collateral. Based on the policy's $15,000 nominal value (equivalent to $210,000 in 2019), Potter says that George is worth more dead than alive, and as a shareholder in the Building and Loan, and phones the police to have him arrested for misappropriation of funds. George gets drunk at a local bar and prays for help, then, contemplating suicide, goes to a nearby bridge. The film's narrative catches up to the time of the opening scene. Before George can jump, Clarence dives into the river, causing George to rescue Clarence rather than kill himself. George does not believe Clarence's subsequent claim that he is George's guardian angel. When George says he wishes he had never been born, Clarence decides to grant his wish to show George an alternate timeline in which he never existed. In this timeline, Bedford Falls is named Pottersville, a seedy town where the main drag is occupied by strip clubs, swing halls, cocktail lounges, and other dens of vice. Mr. Gower, the druggist, has recently been released from prison for manslaughter, because George was not there to stop him from accidentally putting poison in the pills. The Building and Loan has long since closed down, as George never took over after his father's passing. The house where George and Mary lived has been derelict for twenty years. George's mother does not know him - she reveals that Uncle Billy was institutionalized after the Building and Loan failed. In the cemetery where Bailey Park would have been, George discovers Harry's grave. Clarence explains that the soldiers on the transport ship died because Harry was not there to save them, since George was not alive to save Harry from drowning. George seeks out Mary, who in the alternate timeline is a spinster who works at the library, and claims he is her husband. She screams for the police. George flees and the local policeman, Bert, gives chase. Convinced that Clarence really is his guardian angel, George runs to the bridge and begs for his life back. The alternate timeline changes back to the original reality. George, now grateful for the life that he has, rushes home to await his arrest. Mary and Uncle Billy arrive, having rallied the townspeople, who stream in and donate more than enough to cover the missing $8,000; the sheriff rips up George's arrest warrant. Harry arrives and toasts George as \"the richest man in town.\" A bell on the Christmas tree rings, and the youngest daughter, Zuzu, says that the sound means that an angel has just earned his wings, signifying Clarence's promotion. George, his family and friends join in singing \"Auld Lang Syne\"."}}},{"rowIdx":151,"cells":{"movie_name":{"kind":"string","value":"The A-Team_2010"},"imdb_id":{"kind":"string","value":"tt0429493"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"John \"Hannibal\" Smith is held captive in Mexico by two corrupt Federal Police officers working for renegade General Javier Tuco. Hannibal escapes and sets out to rescue his friend Templeton \"Face\" Peck, who is also held captive at Tuco's ranch. Hannibal saves Face after enlisting former Ranger B.A. Baracus, driving to the rescue in B.A.'s modified GMC Vandura. Pursued by Tuco, they stop at a nearby Army hospital to recruit the services of a pilot H.M. \"Howling Mad\" Murdock. They flee in a medical helicopter and are being chased by Tuco in a dogfight. They lure Tuco's helicopter into American airspace where it is shot down by a fighter jet for trespassing, killing Tuco. Eight years later in Iraq, Hannibal is contacted by CIA Special Activities Division operative Lynch, who assigns them on a black operation to recover U.S. Treasury plates and over $1 billion in cash slated to move out of Baghdad in an armored convoy. Hannibal's commanding officer, General Morrison, consents to the operation but Face's former girlfriend, Defense Criminal Investigative Service Capt. Charissa Sosa, tries to discourage the team from getting the plates. The mission is successful, but when the team returns to base, both the money and Morrison's vehicle are destroyed by Brock Pike and his men from the private security firm Black Forest. Without Morrison, the only proof that they were authorized to act, Hannibal, Face, Murdock, and B.A. are court-martialed, sentenced to ten years in separate supermax prisons, and dishonorably discharged. Because the plates were her responsibility, Sosa is demoted to lieutenant. Six months later, Lynch visits Hannibal in prison and tells him that Pike may be trying to sell the plates with the help of an Arab backer. Hannibal, who has been tracking Pike on his own, makes a deal with Lynch: full reinstatement and clean records for his team in return for the plates. Lynch agrees and Hannibal escapes, breaking out Face, B.A., and Murdock in the process. The team hijacks a C-130, which is later destroyed by Reaper UCAVs, but not before the team parachutes away in an M8 light tank stashed aboard and make it to the ground safely. The team moves to reclaim the plates and kidnaps Pike's backer. It is revealed that the backer is actually General Morrison in disguise, who plotted with Lynch and Pike to steal the plates but teamed up with Pike to double-cross Lynch and fake his death. Lynch orders an airstrike to kill the team and Morrison, but the team manages to escape while Morrison is killed in the explosion. Hannibal arranges to meet Sosa on board a container ship at the Port of Los Angeles, saying he will hand over \"Morrison\" and the plates. Face then calls Sosa and conspires on a different plan with her. It all unfolds according to plan until Pike, who is now working with Lynch, blows up the container ship with a rocket launcher and chases Face in an ensuing gunfight. B.A. confronts Pike before breaking his neck, killing him and saving Face's life. Hannibal leads Lynch into a container with Murdock, who, wearing a covered, bullet-proof helmet filled with ketchup, is portraying Morrison. Lynch shoots at Murdock's head, and believing that he has killed Morrison, is later tricked into admitting that he stole the plates and is subsequently caught and arrested by Sosa for his crimes. CIA agents led by a separate \"Lynch\" come and claim custody of the original one. Despite their success and proving themselves innocent, the military still arrests the team for escaping from federal prison, which is a criminal offense. Sosa is reinstated to captain, but she promises to do all she can to set the team free and kisses Face as everybody is led into a prison van. In the van, Face opens his mouth, revealing a handcuff key given to him by Sosa through the kiss."}}},{"rowIdx":152,"cells":{"movie_name":{"kind":"string","value":"The Ladykillers_2004"},"imdb_id":{"kind":"string","value":"tt0335245"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Mrs. Marva Munson, a strict, religious and elderly widow, meets \"Professor\" Goldthwaite Higginson Dorr, a southern classicist and Edgar Allan Poe enthusiast who expresses interest in the room she has for rent and asks to use her root cellar for rehearsals of an early music ensemble he directs, to which she agrees. The fellow musicians in the pretend ensemble are actually a gang of criminals. The band are composed of a dim football player named Lump as the \"muscle\", the overconfident movie effects technician Garth Pancake as the \"jack of all trades\" (who suffers from IBS), the crass and sloppy Gawain McSam as their \"inside man\", and the Vietnamese, tough-as-nails General as their \"tunneling expert\" (who hides his chain smoking from the disapproving Mrs. Munson by concealing his cigarette in his mouth). The group of criminals plan to dig a tunnel through the exposed wall in the cellar in order to break into the underground vault for a nearby riverboat casino. The dirt they remove is taken out at night and tossed off a bridge onto a garbage barge as it passes below. A series of mishaps threaten to derail their plan, including \"inside man\" Gawain losing his janitorial job at the casino, Mrs. Munson's cat Pickles running off with Garth's finger when he accidentally sets a plastic explosive off in his hand, and a visit from the local sheriff. Nonetheless, the group manages to break through the wall of the vault and snatch the loot. Before the group can get away, Mrs. Munson uncovers the plot and tells Dorr to return the money and go with her to church on Sunday, or face the authorities. Dorr attempts to persuade her otherwise, by claiming that the casino's insurance company will replace the money, resulting in each shareholder only losing a single penny. He also claims he will donate a full share of the stolen funds to Bob Jones University, a Bible college which Mrs. Munson admires, but she insists on her judgment. The gang decides they have no choice but to murder her. None of them are eager to kill an old woman so they draw straws. The task falls to Gawain but he fails to go through with it after he realizes Mrs. Munson reminds him of his mother. This starts a fight between Garth and Gawain which results in Gawain being fatally shot with his own gun; the group dumps his body off the bridge onto the trash barge. Garth then attempts to steal the entire sum of money and escape with his girlfriend, \"Mountain Girl,\" but the General kills them both with a garotte wire and discards their bodies onto the barge. After drawing lots again, the General is about to kill Mrs. Munson in her sleep, concealing his cigarette in his mouth as per usual. He is suddenly startled by a cuckoo clock, accidentally swallowing his cigarette. In a frenzied search for water, The General trips over Mrs. Munson's cat and falls down the stairs to his death. As Lump and Dorr dispose of The General's body onto the barge, Lump has a change of heart and tells Dorr he wants to do what Mrs. Munson says. When Dorr refuses, Lump attempts to shoot him with a revolver but the chamber is empty; he peers down the barrel and accidentally shoots himself with the round that was in the next chamber, falling off the bridge onto the barge. Dorr, now alone, pauses to admire a passing raven and recite poetry until the raven dislodges the head of a crumbling grotesque on top of the bridge. The head falls, knocking Dorr over the railing, and his cape gets caught on the ironwork and breaks his neck, killing him instantly. As the barge passes under the bridge, the fabric tears and he too falls onto it. Finding the stolen money in her basement, Mrs. Munson believes that the criminals have fled and left it behind. She informs the police about the money, but they think she is insane and tell her to keep it; she decides to donate it to Bob Jones. The movie closes by showing Pickles dropping Garth's severed finger onto the barge."}}},{"rowIdx":153,"cells":{"movie_name":{"kind":"string","value":"The Life of David Gale_2003"},"imdb_id":{"kind":"string","value":"tt0289992"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"David Gale is a professor on death row in Texas. With only a few days until his execution, his lawyer negotiates a half-million dollar fee to tell his story to Bitsey Bloom, a journalist from a major news magazine. She has a reputation of keeping secrets and protecting her sources. He tells her how he ended up on death row, revealed through a series of lengthy flashbacks. Gale is head of the philosophy department at the University of Austin and an active member of DeathWatch, an advocacy group campaigning against capital punishment. At a graduation party, he encounters Berlin, an attractive graduate student who had been expelled from the school. When Gale gets drunk at the party, she seduces him and they have sex. She then falsely accuses Gale of rape. The next day, he loses a televised debate with the Governor of Texas when he is unable to prove a demonstrably innocent man was executed during the governor's term. After losing the debate, Gale is arrested and charged with rape. While the rape charge against Gale is later dropped, the damage had already been done, and his family, marriage, university career and reputation are all destroyed. Constance Harraway, a fellow DeathWatch activist, is a close friend of Gale who consoles him after his life falls apart, and the pair have sex. However, the next day, Harraway is discovered raped and murdered, suffocated by a plastic bag taped over her head. An autopsy reveals that she had been forced to swallow the key to the handcuffs used to restrain her, a psychological torture technique used by the Securitate under the communist regime of Nicolae Ceauşescu, which Gale and Harraway had both protested against. The physical evidence at the crime scene points to Gale, who is convicted of rape and murder and is sentenced to death. In the present, Bloom investigates the case in between her visits with Gale. She comes to believe that the apparent evidence against Gale does not add up. She is tailed several times in her car by Dusty Wright, an alleged one-time lover and colleague of Harraway, who she suspects was the real killer. Wright slips evidence to Bloom that suggests Gale has been framed, implying that the actual murderer videotaped the crime. Bloom pursues this lead until she finds a tape revealing that Harraway, who was suffering from terminal leukemia, had committed an elaborate suicide made to look like murder. Wright is seen on the videotape, acting as her accomplice, implying that they framed Gale as part of a plan to discredit the death penalty by conspiring to execute an innocent person, and subsequently releasing evidence of the actual circumstances. Once Bloom and her aide find this evidence, only hours remain until Gale's scheduled execution. She tries to give the tape to the authorities in time to stop the execution. She arrives at the Huntsville Unit just as the warden announces that the execution has been carried out. The tape is subsequently released, causing a media and political uproar over the execution of an innocent man. Later, Wright receives the fee that Bloom's magazine agreed to pay for the interview, and delivers it to Gale's ex-wife in Spain, along with a postcard from Berlin in San Francisco apologizing, all but confessing that the rape accusation that derailed Gale's life and career was false. His ex-wife looks distraught, knowing Gale told the truth and that she effectively stole their child away from him. Much later still, a videotape labeled \"Off the Record\" is delivered to Bloom. This tape picks up at the point where Wright confirmed that Harraway was dead. It continues, showing him stepping aside to allow Gale, also present and party to the suicide, to caress the body of his lover, deliberately leaving his fingerprints on the plastic bag in the process. He then stands up and ends the recording, leaving Bloom stunned with the truth that the couple deliberately sacrificed themselves to discredit capital punishment."}}},{"rowIdx":154,"cells":{"movie_name":{"kind":"string","value":"Dexter_2006"},"imdb_id":{"kind":"string","value":"tt0773262"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The pilot commences with Dexter driving through Miami, summarizing, in a monologue, that something is to occur on that night. After a choir performance at a bandstand, Dexter kidnaps Mike Donovan (Jim Abele), a pastor who rapes and murders young boys, and takes him to a remote cabin in the Everglades and forces him to look at the bodies of his victims. Before sedating him, Dexter explains that he could never kill a child, because he abides by a moral code. Later, Donovan awakes to find himself strapped to a table. Dexter makes an incision in his cheek with a scalpel and collects his blood in a slide, and proceeds to kill him. Dexter, returning from dumping Donovan's remains, narrates that he is not sure why he feels the need to kill, and speaks of his adoptive parents, Harry and Doris Morgan, both of whom are dead. At his apartment, Dexter stores Donovan's blood in a case containing the blood of his other victims. Dexter explains that he kills according to a code taught to him by his foster father who, as a Miami police officer, instructed Dexter on how to avoid being caught, and to kill only those who \"deserve it\". Flashbacks throughout the episode reveal that Harry first decided to impart these \"lessons\" upon Dexter after discovering that the boy had been killing neighborhood pets. Dexter receives a voice message from his foster sister Debra Morgan (Jennifer Carpenter), a police officer in the vice department and, Dexter believes, the only person who loves him. Debra says that she is at a crime scene, and wants him to be there because she needs his help. Dexter arrives and Debra, undercover as a prostitute, informs him that another hooker has been killed, the third in five months. Dexter inspects the victim and is shocked to learn that the chopped up corpse is bloodless. Dexter leaves, awed by the killer's technique, and says that due to the lack of blood he can't help out. At the police station, Dexter discusses another murder case being handled by James Doakes (Erik King), who hates Dexter and suspects he is hiding something. Dexter suggests that it was a crime of passion, rather than the bad drug deal Doakes believes it to be. Dexter surveils Jamie Jaworski, a murderer who escaped justice due to a faulty warrant, and breaks into his home to find proof of his crime. Once he confirms that Jaworski is guilty, Dexter meets with his girlfriend Rita Bennett (Julie Benz), a domestic violence victim. As a result of her violent past with her husband, Rita has no interest in sex, and Dexter secretly feels comfortable with the lack of intimacy. Rita also has two young children, Astor and Cody, whom Dexter genuinely feels for. While on a date with Rita, Dexter finds another crime scene in which the victim has been cut into pieces with no traces of blood; this time, however, the head is missing. Dexter theorizes that the killer murders his victims in extreme cold, explaining the absence of blood. Dexter further suggests that a stolen refrigerated truck is being used for the murders. Dexter allows Debra to pitch the theory, but their superior officer, Lt. María LaGuerta (Lauren Vélez), who dislikes Debra, dismisses it. Dexter captures Jaworski, who admits his guilt and explains that he has no remorse for his act. After killing Jaworski, Dexter drives to see Rita, but is sidetracked when he sees a refrigerated truck. Dexter follows the truck, and the driver throws a severed head onto Dexter's car. When the police squad arrives, LaGuerta confirms that Doakes' case was indeed a crime of passion. Dexter arrives at Rita's apartment, where she expresses interest in taking their relationship to a more intimate level, under the impression that this is what Dexter wants. Dexter feels uncomfortable, but is saved when Rita's son, Cody, gets sick next door and needs his mother to pick him up. When Dexter arrives at his apartment, he finds a doll's head on his refrigerator door. Inside the freezer, he finds the other parts of the doll, severed just like the bloodless bodies of the dead women. Dexter views the doll as an invitation to play, which he greets gladly."}}},{"rowIdx":155,"cells":{"movie_name":{"kind":"string","value":"M_1931"},"imdb_id":{"kind":"string","value":"tt0022100"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"A group of children are playing an elimination game in the courtyard of an apartment building in Berlin[5] using a chant about a child murderer. A woman sets the table for dinner, waiting for her daughter to come home from school. A wanted poster warns of a serial killer preying on children, as anxious parents wait outside a school. Little Elsie Beckmann leaves school, bouncing a ball on her way home. She is approached by Hans Beckert, who is whistling \"In the Hall of the Mountain King\" by Edvard Grieg. He offers to buy her a balloon from a blind street-vendor. He walks and talks with her. Elsie's place at the dinner table remains empty, her ball is shown rolling away across a patch of grass, and her balloon is lost in the telephone lines overhead. In the wake of Elsie's death, Beckert sends an angry letter about his crimes to the newspapers, from which the police extract clues using the new techniques of fingerprinting and handwriting analysis. Under mounting pressure from city leaders, the police work around the clock. Inspector Karl Lohmann, instructs his men to intensify their search and to check the records of recently released psychiatric patients to look for those with a history of violence against children. They stage frequent raids to question known criminals, disrupting underworld business so badly that Der Schränker (\"The Safecracker\") calls a meeting of the city's criminal bosses. They decide to organize their own manhunt, using beggars to watch and guard the children. The police discover two clues corresponding to the killer's letter in Beckert's rented rooms. They wait there to arrest him. Beckert sees a young girl in the reflection of a shop window. Following her, he is thwarted when the girl meets her mother. When he encounters another young girl, he succeeds in befriending her, but the blind beggar recognizes his whistling. The blind man tells one of his friends, who tails the killer with assistance from other beggars he alerts along the way. Afraid of losing him, one young man chalks a large M (for Mörder, meaning \"murderer\" in German) on his hand, pretends to trip and bumps into Beckert, marking the back of his clothing. The beggars close in. When Beckert finally realizes he is being followed, he hides inside a large office building just before the workers leave for the evening. The beggars call Der Schränker, and a team of criminals arrives. They tie up and torture a guard for information. After capturing the remaining watchmen, they systematically search the building from coal cellar to attic, finally catching Beckert. When a watchman manages to trip the silent alarm, the crooks narrowly escape with their prisoner before the police arrive. One, however, is captured and eventually tricked into revealing the purpose of the break-in (nothing was stolen) and where Beckert would be taken. The criminals drag Beckert to an abandoned distillery to face a kangaroo court. He finds a large, silent crowd awaiting him. Beckert is given a \"lawyer\", who gamely argues in his defense but fails to win any sympathy from the \"jury\". Beckert delivers an impassioned monologue, saying that his urges compel him to commit murder, while the other criminals present break the law by choice. His \"lawyer\" points out that the presiding \"judge\" is himself wanted on three counts of totschlag (a form of homicide under German law). Beckert pleads to be handed over to the police, asking, \"Who knows what it's like to be me?\" Just as the enraged mob is about to kill him, the police arrive to arrest both Beckert and the criminals. As the real trial passes, five judges prepare to pass judgment on Beckert. Before the sentence is announced, the shot cuts to three of the victims' mothers crying. Elsie's mother says no sentence would bring back the dead children, and \"One has to keep closer watch over the children.\" The screen goes black as she adds, \"All of you. \"[6]"}}},{"rowIdx":156,"cells":{"movie_name":{"kind":"string","value":"Gandhi_1982"},"imdb_id":{"kind":"string","value":"tt0083987"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"On 30 January 1948, after an evening prayer, an elderly Gandhi is helped out for his evening walk to meet a large number of greeters and admirers. One visitor, Nathuram Godse, shoots him point blank in the chest. Gandhi exclaims, \"Oh, God!\", and then falls dead. In 1893, the 23-year-old Gandhi is thrown off a South African train for being an Indian sitting in a first-class compartment despite having a first-class ticket. Realising the laws are biased against Indians, he then decides to start a nonviolent protest campaign for the rights of all Indians in South Africa. After numerous arrests and unwelcome international attention, the government finally relents by recognising some rights for Indians.In 1915, as a result of his victory in South Africa, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence, (Swaraj, Quit India) from the British Empire. Gandhi agrees, and mounts a nonviolent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The 1919 Jallianwala Bagh massacre is also depicted in the film. Nevertheless, the campaign generates great attention, and Britain faces intense public pressure. In 1930, Gandhi protests against the British-imposed salt tax via the highly symbolic Salt March. He also travels to London for a conference concerning Britain's possible departure from India; this, however, proves fruitless. After the Second World War, Britain finally grants Indian independence. Indians celebrate this victory, but their troubles are far from over. The country is subsequently divided by religion. It is decided that the northwest area and the eastern part of India (current-day Bangladesh), both places where Muslims are in the majority, will become a new country called Pakistan. It is hoped that by encouraging the Muslims to live in a separate country, violence will abate. Gandhi is opposed to the idea, and is even willing to allow Muhammad Ali Jinnah to become the first prime minister of India, but the Partition of India is carried out nevertheless. Religious tensions between Hindus and Muslims erupt into nationwide violence. Horrified, Gandhi declares a hunger strike, saying he will not eat until the fighting stops. The fighting does stop eventually. Gandhi spends his last days trying to bring about peace between both nations. He thereby angers many dissidents on both sides, one of whom (Godse) is involved in a conspiracy to assassinate him. Gandhi is cremated and his ashes are scattered on the holy Ganga. As this happens, viewers hear Gandhi in another voiceover from earlier in the film."}}},{"rowIdx":157,"cells":{"movie_name":{"kind":"string","value":"Law Abiding Citizen_2009"},"imdb_id":{"kind":"string","value":"tt1197624"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In a Philadelphia home invasion, Clarence Darby (Stolte) rapes and kills the wife and daughter of Clyde Shelton (Butler), who is forced to watch. Prosecuting Attorney Nick Rice (Foxx) is unable to securely convict Darby. Unwilling to take a chance on lowering his high conviction rate, he makes a deal with Darby, who pleads guilty to a lesser charge and receives a reduced sentence in exchange for testifying against his accomplice, Rupert Ames (Stewart); Ames only intended to steal goods from Shelton and flee, and was unaware of Darby's plan to rape and kill Shelton's wife and daughter. Ames is convicted and sentenced to death, while Darby is released after a few years. Clyde feels betrayed by Rice's actions and the justice system. Ten years later, Ames is executed. Unknown to the prosecutors and witnesses, the drug usually used has been replaced with an anticonvulsant, causing Ames to die painfully. Evidence implicates Darby. An anonymous caller alerts Darby as the police draw near and directs him to a remote location. Clyde, disguised as a police officer, reveals himself as the caller and paralyzes Darby with tetrodotoxin. He straps Darby to a table and video records himself dismembering Darby. When Darby's remains are found, evidence ties his death to Clyde. Clyde willingly surrenders and goes to prison. Rice learns his wife and daughter have been sent the dismemberment video and are traumatized by it. He initially refuses a plea bargain with Clyde, but District Attorney Jonas Cantrell orders Rice to make a deal. Clyde demands a new bed in his cell in exchange for a \"confession.\" In court, Clyde represents himself and successfully argues he should be granted bail, then berates the judge for accepting the legal precedent he cited, believing her too easily convinced, and too eager to let madmen and murderers back on the street. The judge denies bail to Clyde, and cites him for contempt of court. Clyde demands an elaborate steak lunch and a music player be delivered to his cell by a specific time, in return for telling where to find Darby's lawyer, who was reported missing. Rice agrees, though the lunch is delayed by a few minutes by the warden's security measures. Once he has his meal, which he shares with a cellmate, Clyde provides a set of coordinates where Rice and the others find Darby's lawyer, buried alive but suffocated by time-mechanized materials while Clyde's lunch was delayed. As loud music plays in Clyde's cell, he proceeds to kill his cellmate with the bone of his steak, forcing the warden to secure him in solitary confinement. Cantrell arranges a meeting with a CIA contact and brings Rice. They learn Clyde previously worked with the agency, creating imaginative assassination devices and orchestrated intricate lethal tactics against nearly impossible targets. They are warned Clyde can kill anyone anytime he wishes. During a meeting with Rice and Cantrell, the judge dies from an explosive device hidden in her cell phone. Clyde demands all charges against him be dropped or he will \"kill everyone\". Rice takes precautionary measures instead. After Clyde's deadline passes, a number of Rice's assistants die from car bombs. Rice meets with Clyde in private and beats him. Clyde defiantly tells Rice that he is just beginning to destroy the system and all who believe in it. Leaving the funeral of a colleague, Cantrell is killed by a weaponized bomb disposal robot. The mayor puts the city on lockdown and promotes Rice to acting District Attorney. Rice learns that Clyde owns an auto garage near the prison. A tunnel leads to a cache of guns, disguises, and other equipment below the solitary confinement cells, with secret entrances to each cell. He and Police Detective Dunnigan realize that Clyde wanted to be in solitary confinement all along; this allows him to easily leave the prison without detection, carry out his pre-meditated murders while misleading the police, who have assumed his murders to have been the work of accomplices. Evidence points to Clyde's next target, City Hall, where the mayor is holding an emergency meeting. Rice and his men cannot find Clyde but discover evidence pointing to a cell-phone-activated suitcase bomb in the room directly below the meeting. Clyde returns to his cell. He is surprised to find Rice waiting for him. Clyde suggests another deal, but Rice says he no longer makes deals with murderers, thanking Clyde for teaching him that. Rice warns him to not do anything he will regret, but Clyde's cell phone is ready to be dialed to activate the City Hall bomb. When Clyde dials the phone, Rice leaves immediately. Clyde realizes too late that Rice has moved the bomb to his cell, which is now sealed. Clyde holds his daughter's bracelet, accepting his fate as the bomb explodes, killing him. The epilogue shows Rice watching his daughter in a musical stage performance, an activity for which he previously had difficulty finding time."}}},{"rowIdx":158,"cells":{"movie_name":{"kind":"string","value":"Gold_2016"},"imdb_id":{"kind":"string","value":"tt1800302"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1981, Kenny Wells helps to run a prospecting company, Washoe, with his father whom he clearly admires. But seven years after his father dies, the business and Kenny are nearly broke after having lost the office, so Kenny and his colleagues now work from his girlfriend's bar. Kenny, now living with his girlfriend, Kay, has a dream that leads him to Indonesia where he meets up with geologist Michael Acosta. Both are struggling financially, but Kenny manages to convince Mike to go into business to acquire a gold prospect. Kenny then flies back to America and raises the promised money to finance their venture. Unfortunately, the exploration program struggles and fails to show any gold, so the workers soon leave until Mike persuades them to come back with the promise of freshwater. Kenny contracts malaria and is bedridden for the next few weeks. When he finally wakes up, Mike reveals that they have had a strike and now have a huge gold deposit. After celebrating, Kenny goes back to America where he sets up a new office for Washoe and is approached by a major Wall Street bank. Mike accompanies Kenny to their meeting and, after a disagreement, decides to bring some of the bank associates to Indonesia in order to show them the mine. This wins the bank over and it invests $20 million in Washoe, leading the venture to become a public company. Washoe proves to be a huge success and increases 70 points in its first day on the stock market. Kenny's life becomes celebratory as he goes from one party to the next, but Kay, fearing that he will be tricked and cut out, argues with him and then leaves after seeing him flirting with another woman, Rachel Hill. He is interrupted by Mark Hancock, a high-profile executive of a major mining company, who approaches him regarding buying the company. Kenny meets with him the next day and is offered $300 million for a portion of the mine, but his company's name would be removed. Offended by this, Kenny declines the offer and storms out. The next day on his way into the office Mike phones to tell Kenny that the Indonesian Government has closed the mine; it is also revealed that a previous US president sits on the board in Hancock's company and that he is a friend of the Indonesian president Suharto. Kenny is disconsolate and seems to be defeated, but Mike flies to the US and offers a plan to win their mine back. They manage to convince the president's son to join them in business after Kenny proves himself by stroking a tiger. The mine is reopened with Washoe receiving 15% of what now is a $30 billion business. Kenny thinks of going back to Kay but, seeing her flirting with another man at her new job, decides against it. Kenny is then told that he has been honored with a golden pickaxe, the greatest prize for a prospector. The evening of the presentation comes, and he goes with Mike, who walks out during Kenny's speech. The next day something has gone wrong as Kenny drives to his office and has to push his way through an angry crowd of people. It is then announced that Mike had faked the whole mine as he planted gold in the samples using a method called 'salting'. The gold that he planted was in fact 'river gold' that had been seen earlier in the film. Mike had traded freshwater for the people's river gold so that he could fake the gold mine. Mike is reported to have fled. Kenny is then questioned by the FBI. He retells his story from a chair in his hotel room that he now cannot afford. The FBI agents seem to believe him and state that Mike was later captured by the Indonesian authorities while on the run and then possibly forced to jump out of a helicopter, some 1000 feet above the jungle. The corpse had its hands and face chewed clean off by wild animals, so Acosta's death is never proven. The agents also say that both the Indonesian minister and Mike dumped their stocks before the scandal broke and that Mike possessed 164 million US Dollars when he fled. Kenny returns to Kay's house where he apologizes and later looks through his mail received since they have been apart. He opens one envelope and finds the napkin Mike and he signed as a contract, reading \"50–50\". Beneath the napkin is a deposit slip for $82 million to First Bank of Gibraltar, Queens Lane Branch, United Kingdom."}}},{"rowIdx":159,"cells":{"movie_name":{"kind":"string","value":"Far from the Madding Crowd_2015"},"imdb_id":{"kind":"string","value":"tt2935476"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The film is set in about 1870 in Britain. While Bathsheba Everdene (Carey Mulligan) is working on her aunt's farm in Dorset, she meets a neighbouring farmer, Gabriel Oak (Matthias Schoenaerts). As they get to know one another, he proposes, but the headstrong Bathsheba declines, saying she is too independent. One night, his new sheepdog chases Gabriel's entire flock off a cliff. After settling his debts, he is penniless, and leaves in search of work. In contrast, Bathsheba inherits a farm from her uncle and leaves to take charge of it. While at a fair trying to find employment, Gabriel sees recruiting officers. A girl, Fanny Robbin, points out one of the soldiers, Sergeant Frank Troy, her sweetheart. She suggests Gabriel seek employment at a farm in Weatherbury. Gabriel arrives to find several buildings on fire and saves the barn from destruction. At dawn the next day, he is introduced to the farm's new mistress, Bathsheba, who hires him as a shepherd. In the meantime, Fanny goes to the wrong church for her wedding and Troy, apparently jilted, is devastated. While in town trading her seed, Bathsheba sees her neighbour William Boldwood (Michael Sheen), a prosperous and mature bachelor. Bathsheba sends Boldwood a Valentine as a joke, and he, both offended and intrigued, soon proposes marriage. Bathsheba delays giving him a final answer, and Gabriel admonishes her for toying with Boldwood's affections. She is stung by his criticism, and fires him, but the next day, given a crisis with the sheep that only he can manage, she goes after him and successfully persuades him to return. One night while out walking, Bathsheba meets Frank Troy, who expresses admiration for her; the next day he returns to help with the harvest. He flirts with Bathsheba and arranges a secret meeting. At their rendezvous in the woods, he shows off his swordplay, telling her not to flinch as he swings his sword around her head and body. He embraces her passionately and Bathsheba is left in a daze. Gabriel warns her against Troy, but she elopes with him. Returning to the farm, the newly married couple celebrate with all the workers and Troy begins to show his bad side. When Gabriel seeks help to protect the hayricks from an approaching storm, Troy, belligerent and drunk, refuses to take him seriously. Gabriel single-handedly tries to cover the harvest with tarpaulins and Bathsheba, ashamed of Frank's drunken behaviour, comes out into the stormy weather to help. Chastened, she tells Gabriel that she was a fool to fall prey to Frank's flattery. One day in town, Troy sees Fanny begging. She tells him of her error on their wedding day, and reveals that she is pregnant. He sends her to the workhouse while promising to take care of her. When he asks Bathsheba for £20, she refuses, having become annoyed at his gambling. Fanny and her baby die in childbirth; their coffin is delivered to Bathsheba's farm, Fanny's last known address. The words \"Fanny Robbin and child\" are on the coffin, but Gabriel surreptitiously erases \"and child\" while bringing it in. Bathsheba recognises Fanny's name, notices the erasure, opens the coffin, and discovers the mother and baby within. When Troy returns, he bends over the coffin and kisses Fanny's lips. When Bathsheba protests, he responds that even in death Fanny means more to him than Bathsheba ever could. In grief he goes to the beach, where he strips off his uniform and swims far into the ocean; everyone believes he has drowned. Left with Frank's gambling debts, Bathsheba worries she may lose the farm. Boldwood offers to buy it and merge it with his property, offering Gabriel a position as bailiff, and again proposes marriage. Bathsheba agrees to consider his offer. On the eve of the Christmas party he plans to throw, Boldwood tells Gabriel that he is aware of Gabriel's feelings for Bathsheba, and shows Gabriel the engagement ring he plans to offer her. At the party, Boldwood graciously invites Gabriel and Bathsheba to dance together; she again asks Gabriel what she should do, and he answers that she should \"Do what is right.\" Leaving the dance, she discovers Troy, outside, alive and well. Having been rescued from drowning, he has faked his death for some weeks. He demands money from Bathsheba, claiming it was unfair that he gave up his profession and now lives off nothing while she has money and a house. Frank grabs her roughly, screaming that she is still his wife and must obey him. Enraged, Boldwood emerges from the house and kills Frank with a single blast from his double-barrelled shotgun, for which he is promptly imprisoned. Gabriel reassures Bathsheba that if it's any consolation Boldwood is bound to be spared his life, for acting in a 'crime of passion'. Some time later, Gabriel announces that since the farm is now secure, he'll be emigrating to America in four days' time. As he leaves on foot early in the morning, Bathsheba chases after him on horseback and begs him not to leave, thanking him for all he's done for her, and always believing in her. Gabriel asks her if she would agree were he to propose again. Bathsheba smiles and tells him he needs ask but once more. Gabriel kisses her passionately in response, and they walk back hand in hand."}}},{"rowIdx":160,"cells":{"movie_name":{"kind":"string","value":"The Private Life of Sherlock Holmes_1970"},"imdb_id":{"kind":"string","value":"tt0066249"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The film is divided into two separate, unequal stories. In the shorter of the two, Holmes is approached by a famous Russian ballerina, Madame Petrova (Tamara Toumanova), who proposes that they conceive a child together, one who she hopes will inherit her physique and his intellect. Holmes manages to extricate himself by claiming that Watson is his lover, much to the doctor's embarrassment. Back at 221B, Watson confronts Holmes about the reality of the ensuing rumours, and Holmes only states that Watson is \"being presumptuous\" by assuming Holmes has had relationships with women. In the main plot, a Belgian woman, Gabrielle Valladon (Geneviève Page), is fished out of the River Thames and brought to Baker Street. She begs Holmes to find her missing engineer husband. The resulting investigation leads to a castle in Scotland. Along the way, they encounter a group of monks and some dwarfs, and Watson apparently sights the Loch Ness monster. It turns out that Sherlock's brother Mycroft (Christopher Lee) is involved in building a pre-World War I submarine for the British Navy, with the assistance of Monsieur Valladon. When taken out for testing, it was disguised as a sea monster. The dwarfs were recruited as crewmen because they took up less space and needed less air. When they meet, Mycroft informs Sherlock that his client is actually a top German spy, Ilse von Hoffmanstal, sent to steal the submersible. The \"monks\" are German sailors. Queen Victoria (Mollie Maureen) arrives for an inspection of the new weapon, but objects to its unsportsmanlike nature. She orders the exasperated Mycroft to destroy it, so he conveniently leaves it unguarded for the monks to take (rigging it to sink when it is submerged). Fräulein von Hoffmanstal is arrested, to be exchanged for her British counterpart. In the final scene some months later, Sherlock receives a message from his brother, telling him that von Hoffmanstal had been arrested as a spy in Japan, and subsequently executed by firing squad. Heartbroken, the detective retreats to his room to seek solace in a 7% solution of cocaine."}}},{"rowIdx":161,"cells":{"movie_name":{"kind":"string","value":"More American Graffiti_1979"},"imdb_id":{"kind":"string","value":"tt0079576"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The film, set over the course of four consecutive New Year's Eves from 1964 to 1967, depicts scenes from each of these years, intertwined with one another as though events happen simultaneously. The audience is protected from confusion by the use of a distinct cinematic style for each section. For example, the 1966 sequences echo the movie of Woodstock using split screens and multiple angles of the same event simultaneously on screen, the 1965 sequences (set in Vietnam) shot hand-held on grainy super 16 mm film designed to resemble war reporters' footage. The film attempts to memorialize the 1960s with sequences that recreate the sense and style of those days with references to Haight-Ashbury, the campus peace movement, the beginnings of the modern woman's liberation movement and the accompanying social revolt. One character burns his draft card, showing a younger audience what so many Americans had done on the television news ten years before the movie's release. Other characters are shown frantically disposing of their marijuana before a traffic stop as a police officer pulls them over, and another scene shows the police brutality during an anti-Vietnam protest. The fates of the main characters listed at the end of American Graffiti are updated at the end of this sequel. John Milner is shown driving his trademark yellow deuce coupe toward another vehicle's headlights on New Year's Eve 1964. After disappearing over a small hill, neither his taillights nor the approaching car's headlights are seen again, hinting that this was the crash in which Milner was killed. The anniversary of John's death is mentioned in both the 1965 and 1966 sequences. Terry \"The Toad\" Fields fakes his own death in Vietnam. Disillusioned with the war, he decides to desert, saying he plans to go to Europe. Terry's superiors believe him to be dead in 1965, as do Debbie in 1966 and Steve and Laurie in 1967. Joe Young (the leader of The Pharaohs) is killed by a sniper in Vietnam after promising to make Terry a Pharaoh once they return to civilian life. Steve and Laurie's relationship is strained by her insistence that she start her own career. Steve forbids it, saying he wants her to be a mom to their young twins. Free-spirited Debbie \"Deb\" Dunham has switched from Old Harper whisky to marijuana and has given up her platinum blonde persona for a hippie/groupie one in a long, strange trip that ends with her performing with a country-and-western music group.Wolfman Jack briefly reprised his role, but in voice only. The drag racing scenes were filmed at the Fremont Raceway, later Baylands Raceway Park (now the site of automobile dealerships), in Fremont, California."}}},{"rowIdx":162,"cells":{"movie_name":{"kind":"string","value":"Fatal Instinct_1993"},"imdb_id":{"kind":"string","value":"tt0106873"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Ned Ravine, who is both a police officer and lawyer (who often defends the people he arrests), believes that he knows everything about women, and says that he will throw away his badge if anyone ever proves him wrong. While on a stakeout, he encounters a seductive woman named Lola Cain; the next day, Lola shows up at his law office, saying that she needs him to look over some papers she has come across. Meanwhile, Max Shady, who was just released from prison after seven years, starts stalking Ned, planning to kill him for failing to successfully defend Max in court. Ned's wife Lana and her car mechanic Frank, with whom she is having an affair, start plotting to kill Ned in order to collect on his accident insurance, which has a triple indemnity rider; if Ned is shot, falls from a northbound train, and drowns in a freshwater stream, Lana will collect nine million dollars. Lola gets Ned to come to her house to examine the \"papers\", which are actually a laundry receipt and an expired lottery ticket, and the two of them end up having sex in various wild ways. The next morning, Ned says that they can never do that again because he loves his wife; this drives Lola to start stalking Ned. A few days later, Ned takes the train to go to a legal symposium; Lana and Frank are also on the train, and so is Max. When the train passes over a lake, Lana shoots Max 36 times with a revolver, mistaking him for Ned, and he backflips through the door to his death; Ned thinks that Lana had acted to save his life. He arrests Lana, and then defends her in court, getting her cleared of all charges. Lana later kills Frank, believing that he was going to abandon her, by pinning him against a wall with his power drill; Lola witnesses this, and starts blackmailing Lana. Ned confronts Lola, and learns that she and Lana are identical twin sisters; after Lana had smashed Lola's face with a shovel, the doctors had given her a whole new face, causing the man she loved to leave her for Lana; Frank was the man's son. Lola's plan from the beginning was to get revenge on Lana by seducing her husband and ruining her marriage. Later, Ned's secretary Laura tells Ned about Lana's plans to kill him, having figured it out herself. Upstairs, Lana is attacked by Lola, who drowns her in the bathtub. While Ned goes upstairs to investigate, Laura's abusive husband (whom she had escaped from three years ago) comes in and confronts her; she kills him with a frying pan. Lola and Ned fight, and Lola falls to her death from the second-floor landing after Ned pushes her back with a powered-up hair dryer through a broken handrail (which Lana had sawn off earlier). As Ned and Laura embrace each other (and Ned throws his badge away), Lola and Lana come back to life and attack; Laura shoots them both. Ned and Laura marry a few days later."}}},{"rowIdx":163,"cells":{"movie_name":{"kind":"string","value":"The Swimmer_1968"},"imdb_id":{"kind":"string","value":"tt0063663"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"On a sunny day in an affluent suburb in Connecticut, a fit and tanned middle-aged man in a bathing suit, Ned Merrill, drops by a pool party being held by old friends, the Westerhazys. They offer him a cocktail while nursing hangovers from the night before. As they share stories, Ned realizes there is a series of backyard swimming pools that could form a \"river\" back to his house, making it possible for him to \"swim his way home\". Ned dives into the pool, emerging at the other end and beginning his journey. Ned's behavior perplexes his friends, who apparently know worrisome things about his recent past which he seems to have forgotten. As Ned travels, he encounters other neighbors. He meets 20-year-old Julie, who used to babysit his daughters (whom he repeatedly refers to as \"at home playing tennis\"), and reveals his plan to her; she joins him. They crash another pool party and sip champagne. While chatting in a grove of trees, Julie reveals that she had a schoolgirl crush on Ned, who begins talking about how he will protect her, making plans for the two of them. Discomfited by his intimate approaches, Julie runs away. Ned meets a wealthy older couple, unbothered by his eccentric behavior but also unimpressed by his posturing. He then encounters Kevin, a lonely young boy, whom he tries to teach how to swim. They use an abandoned, empty pool, which Ned urges the boy to imagine is filled with water. The boy warms to this method, and soon is \"swimming\" the length of the empty pool. As Ned takes his leave, he glances back and sees the boy bouncing on the diving board over the deep end of the empty pool. Ned fails to make more than a superficial connection with the people he meets, being obsessed with his journey, and becoming increasingly out of touch with reality. The neighborhood is full of judgmental, well-heeled people intent on one-upmanship, and Ned continues to be confused by hints that his life might not be as untroubled as he believes it to be. Ned carries on with his plan. He walks into another party where the hostess, who seems to have had a past encounter with him, playfully calls him a \"party crasher\". There, he encounters a bubbly girl, named Joan, who does not know him. Ned asks her to join him, and Joan is intrigued until she is warned off by a friend. Ned jumps into the pool, making a big splash which grabs the attention of the guests. When he emerges from the water, he notices a cart that used to be his, being used to serve hot dogs. Ned gets into a spat with the homeowner, who indignantly claims to have bought it at a white elephant sale. Ned then shows up at the backyard pool of Shirley Abbott, a stage actress with whom he had an affair several years earlier. His warm memories of their time together contrast sharply with her own experience of having been \"the other woman\". Unable to reconcile his feelings with the pain that he has caused, Ned wades into the deep end of the pool. Ned continues on, showing up at a crowded public swimming pool. He is confronted by hostile local shopkeepers who ask him \"How do you like our water?\", indicate surprise at his appearance at such a plebeian location, and ask him when he will settle his unpaid bills. When some of them let loose vicious comments about his wife's snobbish tastes and his out-of-control daughters' recent troubles with the law, it is too much for Ned to take and he flees. Ned trudges barefoot alongside a busy highway as the skies darken and rain begins to fall. Amid a downpour at sunset, a shivering, limping Ned staggers home; the tennis court where his daughters were supposedly playing is in disrepair, and his house is locked and deserted, with several windows broken. Anguished, Ned repeatedly tries to open the door in vain, before slumping to the ground in the doorway."}}},{"rowIdx":164,"cells":{"movie_name":{"kind":"string","value":"The White Tiger_2021"},"imdb_id":{"kind":"string","value":"tt6571548"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 2010, entrepreneur Balram Halwai emails Chinese premier Wen Jiabao, requesting a meeting, and relating his life story. He states his belief that the Indian underclass is trapped in a perpetual state of servitude, like chickens in a chicken coop. As a young boy in Laxmangarh, Balram is offered a scholarship to a school in Delhi because of his advanced academics. He is told that he is a \"white tiger,\" someone born only once in a century. However, when his father is unable to pay off village landlord 'the Stork', Balram is forced by his grandmother to work in the village's tea stall, and he never returns to school. Balram's father dies from tuberculosis, with no doctor to treat him. As a young man, Balram aspires to become a chauffeur for the Stork's son Ashok, who has returned from the United States with his Jackson Heights-raised wife Pinky. Balram has his grandmother sponsor his driving lessons, with the promise of sharing his chauffeur salary. Balram is hired as the Stork family's second driver, but is also given menial tasks to complete and is otherwise mistreated. Balram is kept loyal by the threat of him and his entire family being murdered if he were to conduct a betrayal. Ashok and Pinky make plans to move to Delhi, where Ashok will bribe Indian politicians so that his family would avoid paying tax money. Balram, wanting to drive for them in Delhi, exposes the secret of the family's primary driver: he is a Muslim. After the primary driver is fired (due to the family's stereotypical prejudice against Muslims), Balram joins the couple in Delhi. In contrast to other members of their family, Ashok and Pinky generally treat Balram with respect and eventually become closer to him, though they still view him as a servant. In Delhi, on Pinky's birthday, she and Ashok get drunk and force Balram to let Pinky drive, which results in her accidentally hitting and killing a child. The Stork family coerces Balram into signing a confession endorsed by his grandmother. Ultimately, nothing comes of it, but Balram is left shaken, and for the first time, is fully aware of how disposable he is to his employers. Pinky leaves Ashok to return to New York, leaving Balram to emotionally support him. Balram realizes that loyal service to Ashok was no guarantee of a comfortable life once his services were no longer needed. Balram begins to defraud Ashok with fake invoices, while making money on the side by selling the car's petrol and using the car as an unlicensed taxi. Balram encounters a series of setbacks. He angers the Stork family when he donates change to a beggar. Balram's grandmother unexpectedly sends one of his younger nephews to live with him in order to learn how to become a driver. Balram also learns that his grandmother is following through with her plans to get him married against his wishes. Meanwhile, Ashok prepares to pay a particularly large bribe, while also arranging to imminently replace Balram with a new driver. Balram has an epiphany on how to escape servitude as the \"white tiger\". To obtain the bribe money, Balram murders Ashok with a broken whiskey bottle and flees the city with his nephew and the money. An arrest warrant is put out for Balram, but he evades capture. Balram takes his nephew with him to Bangalore, then a bubble for large IT companies. He uses a portion of the stolen cash to bribe the police to eliminate taxi service providers for a lack of licenses. Balram starts his own taxi company, thus becoming wealthy himself. He treats his drivers as employees and not as servants. He takes personal and financial responsibility for any incidents caused by them, even employing a sibling of a child killed in an accident caused by a company driver. He sponsors his nephew's education, while acknowledging that his remaining family back home may have been killed by the Stork's men in retribution. Happy to escape servitude, Balram reveals at the end of the film that he changed his name to Ashok Sharma."}}},{"rowIdx":165,"cells":{"movie_name":{"kind":"string","value":"X-Men Origins: Wolverine_2009"},"imdb_id":{"kind":"string","value":"tt0458525"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1845, James Howlett, a boy living in Canada, witnesses his father being killed by groundskeeper Thomas Logan. Anxiety activates the boy's mutation: bone claws protrude from his knuckles and he impales Thomas, who reveals that he is James' birth father before dying. James flees along with Thomas' other son Victor Creed, who is James' half-brother and has a healing factor mutation like James. They spend the next century as soldiers, fighting in the American Civil War, both World Wars and the Vietnam War in 1973. In Vietnam, the increasingly violent Victor attempts to rape a Vietnamese woman and kills a senior officer who tries to stop him. James returns to Victor upon the commotion, and ignorant of his brother’s intent, he rushes to defend him. This results in the pair being sentenced to execution by firing squad, which they survive due to their mutant healing abilities. Major William Stryker approaches them in military custody and offers them membership in Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes and Chris Bradley. They join the team for a few missions, with James using the alias Logan, but Victor and the group's lack of empathy for human life causes Logan to leave. Six years later, in 1979, Logan works as a logger in Canada, where he lives with his girlfriend Kayla Silverfox. Stryker and Zero approach Logan, reporting that Wade and Bradley have been killed; someone is targeting the team. Logan refuses to rejoin Stryker, but after finding Kayla's bloodied body in the woods, realizes that Victor is responsible. He finds Victor at a local bar, but Logan loses the subsequent fight. Afterward, Stryker explains that Victor has gone rogue and offers Logan a way to become strong enough to get his revenge. Logan undergoes a painful operation to reinforce his skeleton with adamantium, a virtually indestructible metal. Once the procedure is complete, Stryker orders that Logan's memory be erased so he can be used as Stryker's personal weapon, but Logan overhears and escapes to a nearby farm, where an elderly couple takes him in. Zero kills the couple the following morning and tries to kill Logan, but Logan takes down Zero's helicopter and swears to kill both Stryker and Victor. Logan locates John and Fred at a boxing club. Fred explains that Victor still works for Stryker, hunting down mutants for Stryker to experiment on at his new laboratory, located at a place called \"The Island\". Fred mentions Remy \"Gambit\" LeBeau, the only one who escaped from the island and therefore knows its location. John and Logan find LeBeau in New Orleans, then both fight Victor, who kills John and extracts his DNA. Agreeing to help release mutants that Stryker has captured, Gambit takes Logan to Stryker's facility on Three Mile Island. Logan learns that Kayla is alive, having been forced by Stryker into surveilling him in exchange for her sister's safety. However, Stryker refuses to release her sister and denies Victor the adamantium bonding promised for his service, claiming that test results revealed Victor would not survive the operation. Stryker activates Wade, now known as Weapon XI, a \"mutant killer\" with the powers of multiple mutants. While Logan and Victor fight off Weapon XI, Kayla is mortally wounded leading the captive mutants to Professor Charles Xavier and safety. After Logan kills Weapon XI, Stryker arrives and shoots Logan in the head with adamantium bullets, rendering him unconscious. Before Stryker can shoot Kayla, she grabs him and uses her mutant power to persuade him to turn around and walk away until his feet bleed, then succumbs to her injuries. Logan regains consciousness but has lost his memory. He notices his dog tags read \"Logan\" on one side and \"Wolverine\" on the other. He pauses upon noticing Kayla's body, but does not recognize her. In a mid-credits scene, Stryker is detained for questioning by MPs in connection with the death of General Munson, whom Stryker murdered to protect his experiment. In a post-credits scene, following the defeat of Deadpool, his hand crawls out of the rocks and touches his head, which awakens and shushes the screen, revealing that he has survived being decapitated."}}},{"rowIdx":166,"cells":{"movie_name":{"kind":"string","value":"The Unborn_2009"},"imdb_id":{"kind":"string","value":"tt1139668"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Casey Beldon has nightmarish hallucinations of strange-looking dogs in the neighborhood and an evil child with bright blue eyes following her around. While babysitting Matty, her neighbor's son, she finds him showing his infant sibling its reflection in a mirror. Matty attacks Casey, smashing the mirror on her head, and tells her: \"Jumby wants to be born now\". She puts him to bed and leaves in shock. Casey's friend Romy tells her of a superstition that newborns should not see their reflections in the mirror for at least a year because otherwise they will die soon. Casey's eyes begin to change color; a doctor asks if she is a twin, and explains the change as tetragametic chimerism and heterochromia, and that it is completely normal. Her neighbor's infant dies, supporting the superstition. Casey's father admits that she had a twin brother years ago who died while he was in the womb when her umbilical cord strangled him, and whom he and Casey's late mother, Janet, had nicknamed \"Jumby\". She begins to suspect that the spirit is haunting her and this is the spirit of her unborn twin, wanting to be born so it can enter the world of the living as evil. Casey meets Sofi Kozma (whom she later learns is her grandmother). Sofi explains that as a child she had a twin brother, Barto, who died during Nazi experiments conducted by Dr. Josef Mengele in Auschwitz during World War II. A dybbuk brought the brother back to life to use as a portal into the world of the living. Kozma killed her twin to stop the spirit, and now it haunts her family for revenge, which is why Casey's mother became insane and committed suicide. Kozma gives Casey a hamsa amulet for protection, instructs her to destroy all mirrors and burn the shards, and refers her to Rabbi Joseph Sendak, who can perform a Jewish exorcism to remove the dybbuk out of her soul. Sendak does not believe Casey's story until he sees a dog with its head twisted upside-down in his synagogue. The dybbuk kills Kozma, then Romy soon after. Casey and her boyfriend Mark both see the spirit after it kills Romy and realize that it's getting stronger. Sendak, Mark, Episcopal priest Arthur Wyndham, and other volunteers begin the exorcism, but the dybbuk attacks them and several are wounded or killed. The spirit, having possessed the priest, chases Casey and Mark. Mark knocks Wyndham unconscious but gets possessed. Casey stabs Mark in the neck with the amulet. Sendak arrives, and he and Casey complete the exorcism. The rite draws the dybbuk out of the human world, but Mark falls and dies during the separation. Casey mourns her boyfriend but wonders why the dybbuk suddenly became active in her life now and why it didn't attack her earlier. She takes a pregnancy test and learns that she is pregnant with Mark's twins."}}},{"rowIdx":167,"cells":{"movie_name":{"kind":"string","value":"Knock at the Cabin_2023"},"imdb_id":{"kind":"string","value":"tt15679400"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Seven-year-old Wen is vacationing with her fathers, Eric and Andrew, at a remote cabin in rural Pennsylvania. She is approached by a stranger named Leonard, who explains that he needs Wen and her parents' help to save the world. Three other individuals break in with makeshift weapons and tie them up. Struggling to fight them off, Eric sustains a concussion. Leonard and his companions—Sabrina, Adriane, and Redmond—claim that they have no intention of harming the family. However, in the past week, they have been driven by visions to find the family. They foresee an impending apocalypse in which oceans will rise, a pandemic will spread, and the sky will fall. The only way to prevent this is for the family to sacrifice one of their own. If they do not make a choice, they will be the last people standing. When the family refuses, the intruders sacrifice Redmond by fatally striking him with their weapons. Eric sees a figure of light as Redmond dies. On television, news reports show devastating megatsunamis. Andrew believes Redmond is Rory O'Bannon, a man who had been arrested after assaulting Andrew in a bar years prior. He thinks Rory tracked him down for revenge. Leonard, Sabrina, and Adriane grapple with guilt, but reveal that Redmond's death has unleashed the first judgment of humanity. The next day, the intruders sacrifice Adriane. Meanwhile, a deadly variation of the flu virus spreads across the world. Andrew escapes and shoots at Sabrina with his gun until she flees. As Leonard is being held at gunpoint, Sabrina breaks in and is fatally shot by Andrew. Leonard decapitates Sabrina, and afterwards Andrew finds Redmond's wallet and proves to Leonard that he was Rory. Andrew confronts Leonard in the bathroom, but Leonard overtakes him and grabs Andrew's gun. A TV broadcast reveals that hundreds of spontaneous plane crashes have occurred around the world. Realizing their time is nearly over, Leonard informs the family that after his death, they will only have a few minutes to make a decision. He then slits his throat. Upon his death, lightning causes fires and more planes to crash. Eric now believes the events are real, and that the intruders represent the Four Horsemen of the Apocalypse. Not wanting Wen to grow up in a destroyed world, he offers himself as the sacrifice and envisions an older Andrew and an adult Wen thriving in the future. He feels that their family was chosen to make the sacrifice because their love is so pure. Andrew reluctantly shoots and kills Eric. Andrew and Wen find the visitors' truck with belongings that corroborate their stories. They drive to a crowded diner, where they watch news reports confirming that the disasters have subsided. The radio plays \"Boogie Shoes\" by KC and the Sunshine Band, coincidentally the song that Eric had played for them before. The duo drives off. As the closing credits fade out, seven distinct loud knocks are heard at the very end of the film."}}},{"rowIdx":168,"cells":{"movie_name":{"kind":"string","value":"Cold Mountain_2003"},"imdb_id":{"kind":"string","value":"tt0159365"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"When North Carolina secedes from the Union on May 20, 1861, the young men of Cold Mountain hurry to enlist in the Confederate States Army. Among them is W.P. Inman, a carpenter who has fallen in love with Ada Monroe, a preacher's daughter who had come from Charleston, South Carolina to care for her ailing father. Their whirlwind courtship is interrupted by the war, but they share their first kiss the day Inman leaves for the army. Before parting ways, Ada promises Inman that she will wait for him. Three years later, Inman fights in the Battle of the Crater and survives; he then comforts a dying acquaintance from Cold Mountain, while fellow soldier Stobrod Thewes plays a tune on his fiddle. Inman is later wounded in a skirmish; as he lies in a hospital near death, a nurse reads him a letter from Ada, who pleads for Inman to come home to her. Inman recovers and deserts, embarking on a long trek back to Cold Mountain. Inman encounters a corrupt preacher named Veasey, who is about to drown his pregnant slave lover. Inman stops Veasey, and leaves him tied up to face the town's justice. Exiled from his parish, Veasey later joins Inman on his journey. They help a young man named Junior dispose of a bull cadaver, and then join him and his sordid family for dinner. Junior leaves and returns with the Confederate Home Guard, who take Inman and Veasey away along with other deserters. During a skirmish with Union cavalry, Veasey and the group are killed while Inman is left for dead; an elderly hermit living in the woods finds Inman and nurses him back to health. Inman eventually meets a grieving young widow named Sara and her infant child Ethan, and stays the night at her cabin. The next morning, three Union soldiers arrive demanding food; they take Sara and Ethan hostage, forcing Inman to kill two of them, while an enraged Sara fatally shoots the last one trying to flee. Back in Cold Mountain, Ada's father has died, leaving her with no money and few means to run their property's farm in Black Cove. She survives on the kindness of her neighbors, particularly Esco and Sally Swanger, who eventually send for Ruby Thewes—Stobrod's daughter—to help. Ruby moves in and together they bring the farm to working order, becoming close friends. Meanwhile, Ada writes constant letters to Inman in hopes of meeting him again and renewing their romance. Ada has several tense encounters with Captain Teague, the leader of the local Home Guard who covets Ada and her property, and whose grandfather had once owned much of Cold Mountain. One day, Teague and his men kill Esco, and then torture Sally to coax her deserter sons out of hiding and kill them as well. Ada and Ruby rescue Sally, who is traumatized and rendered mute. The women celebrate Christmas with Stobrod, who has deserted and arrived to Cold Mountain with traveling companions Pangle, a simple-minded banjo player, and Georgia, a mandolin player to whom Ruby is attracted. While camping in the woods one night, Stobrod and Pangle are cornered by Teague and the Guard while Georgia watches from hiding; Pangle unintentionally reveals the musicians are deserters, and the Guard shoot Pangle and Stobrod. Georgia escapes and informs Ruby and Ada, who return to the scene to find Pangle dead and Stobrod badly wounded. The women remove a bullet from Stobrod's back, and they take shelter in an abandoned Cherokee camp. Ada goes hunting for food and is reunited with Inman, who has finally returned to Cold Mountain. They return to the camp, and spend the night consummating their love for one another. Leaving Inman and Stobrod to hide at the camp, Ada and Ruby are surrounded by Teague and his men, having captured and tortured Georgia for their whereabouts. Inman arrives and kills Teague and most of his band in a gunfight. He then chases Teague's lieutenant, Bosie, and exchanges fast draws; Bosie is killed, but Inman is mortally wounded. Ada finds and comforts Inman, who dies in her arms. Years later, it is revealed that Ada's night with Inman had produced a daughter, Grace Inman, and that Ruby has married Georgia bearing two children. With Stobrod and Sally, the family celebrates Easter together at Black Cove."}}},{"rowIdx":169,"cells":{"movie_name":{"kind":"string","value":"Chronicle_2012"},"imdb_id":{"kind":"string","value":"tt1706593"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Seattle outcast teenager Andrew Detmer is bullied at school and abused by his alcoholic father Richard, while also coping with his mother Karen's battle with cancer. His only friend is his cousin, Matt Garetty. Inspired by Matt's on-and-off girlfriend Casey, Andrew buys a camera to make a video diary about his life. Matt invites Andrew to a party to help him mingle, but he leaves after his filming causes an altercation with another attendee. Popular student Steve Montgomery approaches Andrew and asks him to record a large hole he and Matt discovered in the woods. The three journey down the hole where they discover a glowing crystalline object. The object suddenly begins to react violently and the camera shorts out. Weeks later, Andrew, Matt, and Steve have developed telekinetic abilities, though they suffer nosebleeds when they overexert themselves. Unable to revisit the hole after it is closed off by police, they start using their abilities to play pranks on people, but it goes too far when Andrew telekinetically pushes a rude motorist off the road into a nearby pond. After the trio manages to save the man from drowning, Matt insists they restrict the use of their powers, particularly against living beings. After Steve discovers they can have flight abilities, the trio agrees to fly around the world together following graduation, with Andrew, in particular, desiring to visit Tibet. Steve encourages Andrew to use his powers for a magic act in the school talent show, which amazes their peers. Andrew relishes his newfound popularity at a house party, but the night ends in disaster when he drunkenly vomits on a classmate he had intended to have sex with, and Steve accidentally offends him while trying to lighten the mood. Richard confronts Andrew after finding his camera and beats him. Andrew uses his powers to violently repel him and flees the house. In the middle of a lightning storm, Steve flies out to console him, but as Andrew becomes increasingly frustrated, Steve is suddenly struck by lightning and killed. Andrew denies responsibility when questioned by Matt at the funeral, but later privately begs forgiveness at Steve's grave. Andrew is once again ostracized at school following the incident at the party. After telekinetically ripping teeth from a bully's mouth, Andrew begins to identify as an apex predator and rationalizes that he should not feel guilty for using his powers to hurt those weaker than him. Desperate to pay for his mother's medication, Andrew disguises himself with his father's firefighter gear and uses his powers to rob a gang and a gas station, inadvertently causing an explosion that puts him in the hospital and police custody. At his bedside, a distraught Richard informs an unconscious Andrew that Karen has died after spending the day searching for him. Richard berates Andrew for allegedly causing his mother's death and prepares to strike him, but Andrew abruptly awakens and blows out the wall of the room. Matt experiences a severe nosebleed and realizes Andrew is in trouble after seeing a news alert on TV about a mysterious explosion downtown. He and Casey head to the hospital to find Andrew unleashing his rage all over downtown. Matt fights Andrew, crashing through buildings, hurling vehicles, and landing at Space Needle while the police surround them. Matt tries to reason with Andrew, but he is too far gone and threatens other bystanders, so Matt reluctantly kills him with a spear from a nearby statue. Matt flies away before the police can reach him. Sometime later, Matt lands in Tibet with Andrew's camera, apologizing to him while vowing to use his powers for good and discover the truth about what happened to them. He points the camera at a Tibetan monastery in the distance before flying away, leaving the camera behind."}}},{"rowIdx":170,"cells":{"movie_name":{"kind":"string","value":"Ma Rainey's Black Bottom_2020"},"imdb_id":{"kind":"string","value":"tt10514222"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Ma Rainey is a highly regarded, strong-willed blues singer who has recently been contracted by white producers. The story takes place on July 2, 1927, when a recording session is scheduled for Ma by her manager Irvin to take place at Paramount's Recording Studios in Chicago. Seasoned Georgia Jazz Band members Toledo, Cutler, and Slow Drag arrive on time without Ma which frustrates her producer, Mel Sturdyvant. They are soon joined by Levee Green, the band's overconfident trumpeter, who has shown Sturdyvant his original compositions in the hopes of breaking away from Ma and getting his own record deal. The rest of the band disapproves of this. Teased by the rest of the band about his ability to deal with white men, Levee relates how his mother was gang-raped by white men. His father exacted revenge on the assailants, killing four of them before being lynched and then burned. Ma arrives an hour late with her lady friend, Dussie Mae, and her nephew, Sylvester. Immediately, she clashes with Sturdyvant and her manager Irvin, making numerous demands. Insulted that the Coca-Cola she requested has not been provided, Ma refuses to begin the recording session; assigning Slow Drag and Sylvester to get her one. Later, she insists to Sturdyvant that the opening words of the album be spoken by Sylvester, who has a pronounced stutter. As a result, the group has to do multiple takes of the song “Ma Rainey’s Black Bottom,\" much to everyone's frustration. Ma confides to Cutler that her white bosses are only interested in her voice, and would otherwise regard her as \"just a dog in the alley\" which he understands and sympathizes with. Meanwhile, Levee and Dussie Mae have sex in the practice room before being interrupted by Slow Drag. The group finally manages to get through the first track after multiple takes, but discovers an equipment failure has caused it not to be recorded. The band blames Levee, who they think tripped over a wire while eyeing Dussie Mae, though it is revealed to have been damaged already. Their argument leads the religious Cutler to tell a story about a preacher he once knew who got stranded in a small town and was humiliated by a group of white men who tore up his Bible and forced him to dance. Levee brushes off the story; saying that if there was a God, he would care for black people, which He never has. Cutler attacks Levee in anger, leading Levee to pull out a knife in retaliation while still mocking Cutler and his beliefs. The group finally finishes recording, but Ma fires Levee soon afterward; believing his reckless ambition and uncompromising attitude to be detrimental to the band. Levee meets with Sturdyvant about his original songs, but discovers that he will only purchase the songs, insisting they only have room for one black singer. Levee subsequently suffers a mental breakdown and, after Toledo accidentally steps on his new shoes, Levee fatally stabs him in the back with the knife. Cutler and Slow Drag leave in horror as Levee cradles Toledo's corpse. Later, Sturdyvant records Levee's songs with a band consisting entirely of white musicians (supposedly Paul Whiteman's Orchestra)."}}},{"rowIdx":171,"cells":{"movie_name":{"kind":"string","value":"While She Was Out_2008"},"imdb_id":{"kind":"string","value":"tt0887971"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"On Christmas Eve, suburban housewife Della Myers gets into an argument with her abusive husband Kenneth. After putting her two children to bed, she drives to the mall to buy some wrapping paper and cards. At the mall, she can't find a parking space for a while and angrily leaves a note on the window of a car that is parked using up two parking spaces. She leaves the store as the mall is closing, and the parking lot is nearly deserted. She notices the note is gone from the 'offending' car. As she enters her own car, the car on which she had left the note pulls up behind her. She confronts the car, and four young men emerge—Huey, Vingh, and Tomás—led by Chuckie. They threaten to rape her. Della insults Chuckie, and a security guard intervenes, but he is shot dead by Chuckie. As the gang realizes that they have committed a murder, Della manages to start her car and drive away. They follow her, intending to kill her, as she is the only witness. As they pursue her some distance, she eventually crashes her car in a deserted area where homes are under construction. She takes a road flare and a toolbox out of her car and hides behind a backhoe. Della runs through the buildings under construction to hide as they search for her. After some time, the thugs corner and threaten her by name, as they had found her drivers license in her purse in her car. As they have her open the toolbox, she hits Chuckie with a crescent wrench, and escapes again into some nearby woods. In the process of chasing her, Tomás accidentally steps on Huey, who falls through a construction site and dies from a broken neck. After some hide and seek in the woods, Della beats and finally kills Tomás with a lug wrench. She flees through a creek, pursued by Chuckie and Vingh. Della sneaks up on Vingh and kills him with a screwdriver and hides behind a fallen tree. Chuckie tries to persuade Della to give up; he talks about her kids, saying that he is going to pay them a visit. He tells her what he thinks of her, that she lives a boring life she doesn't want, mistreated by her husband. He finds her, touches, and teases her face. She holds his hand, pulls him down and they kiss. He draws his weapon as they engage in foreplay. She tells him to have sex with her, and as he is distracted she ignites the road flare and blinds him, takes his weapon, and kills him. Della returns home. Her husband Kenneth complains she was out late and is tracking mud throughout the house, but Della ignores him. She goes upstairs to check on her children who are both sleeping. The drunk Kenneth asks what she brought him from the mall, and she replies, \"Nothing\", and points the gun at him."}}},{"rowIdx":172,"cells":{"movie_name":{"kind":"string","value":"The Iron Giant_1999"},"imdb_id":{"kind":"string","value":"tt0129167"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"An object from space crashes in the ocean just off the coast of Maine and then enters the forest near the town of Rockwell. Nine-year-old Hogarth Hughes investigates and finds the object, which is a 50-foot-tall extraterrestrial robot; he runs away but then returns to save the robot when he gets electrocuted while trying to eat the transmission lines of an electrical substation. Hogarth encounters the Giant again and the Giant befriends Hogarth because the Giant witnessed Hogarth saving him. The Giant is docile and curious. The train collides with him and derails; Hogarth leads the Giant away from the area, and discovers that he can self-repair. Hogarth shows the Giant comic books and compares him to the hero Superman. Hogarth also learns that the Giant is unable to recall his origins or reasons for coming to Earth, which Hogarth suspects is because of damage the Giant received while landing. The incidents lead a paranoid U.S. government agent named Kent Mansley to Rockwell. He suspects Hogarth's involvement after talking with him and his widowed mother and rents a room in their house to keep an eye on him. Hogarth evades Mansley and leads the Giant to a junkyard owned by beatnik artist Dean McCoppin, who reluctantly agrees to keep him. Hogarth enjoys his time with the Giant but is compelled to explain the concept of death to the Giant after he witnesses hunters killing a deer. The deer encounter causes the giant to have a nightmare that shows the background of who he was; a war machine built to conquer worlds by an evil alien civilization that destroyed itself in a civil war. Hogarth is interrogated by Mansley when he discovers evidence of the Giant after finding a photo of him next to Hogarth and summons a U.S. Army contingent led by General Shannon Rogard to the scrapyard to prove the Giant's existence, but Dean tricks them by pretending that the Giant is one of his art pieces. Hogarth inadvertently activates the Giant's defensive system, who fires a laser beam in the process. Dean yells at him for nearly killing Hogarth, and the guilt-ridden Giant runs away with Hogarth giving chase. Dean quickly realizes that the Giant was only acting in self-defense and catches up to Hogarth as they follow the Giant. The Giant saves two boys falling from a roof when he arrives, which wins over the townspeople. Mansley spots the Giant in the town while leaving Rockwell and informs Rogard, who sends the Army to attack the Giant after he has picked up Hogarth, which forces the two to flee together. They initially evade the military by using the Giant's flight system, but the Giant is shot down and crashes to the ground. Hogarth is knocked unconscious, but the Giant gives in to his defensive system in a fit of rage and grief by transforming into a war machine, which makes it attack and chase the military all the way back to Rockwell as they return fire. Rogard is nonetheless unnerved at Mansley's insistence on countering the Giant with a nuclear missile launch from the USS Nautilus, but orders Nautilus to stand by as the military's conventional firepower proves ineffective. Hogarth awakens and returns in time to calm the Giant while Dean clarifies the situation to Rogard. Rogard stands down his remaining forces and prepares to order the Nautilus to abort the launch order, but a hysterical Mansley impulsively orders the missile launch anyways, because he is convinced that the Giant remains a threat. The missile is targeted to hit Rockwell, where it will destroy the town upon impact in the resulting nuclear explosion. Rogard stoically accepts the situation, but a panicked Mansley steals a jeep and attempts to flee. The Giant blocks and disables the jeep, and Mansley is held at gunpoint and arrested on Rogard's orders. The Giant bids farewell to Hogarth and flies off to intercept the missile. The Giant remembers Hogarth's words and declares himself \"Superman\" as he collides with the missile, which explodes high in the atmosphere, which saves Rockwell and the military forces nearby. The Giant is presumably destroyed, which leaves Hogarth and Rogard devastated. Dean and Annie have a chat at a memorial of the Giant made by Dean, that was standing in Rockwell. Hogarth receives a box containing a single screw from the Giant, which was the only remnant recovered. Dean adds that General Rogard sent it, because he believed Hogarth should have it. Hogarth finds the screw trying to move on its own and happily allows the screw to leave. The screw joins many other parts as they converge on the Giant's head on the Langjökull glacier in Iceland, and the Giant smiles as he begins reassembling himself."}}},{"rowIdx":173,"cells":{"movie_name":{"kind":"string","value":"Disclosure_1994"},"imdb_id":{"kind":"string","value":"tt0109635"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Bob Garvin, founder and CEO of DigiCom, a computer technology company, plans to retire when his company merges with a larger company. Production line manager, Tom Sanders, expects to be promoted to run the CD-ROM division. Instead, Meredith Johnson, Tom's former girlfriend, is brought on to handle the merger, as Garvin wanted to \"break the glass ceiling\". Late one evening, Meredith calls Tom into her office, ostensibly to discuss problems with CD-ROM drives that are manufactured in Malaysia. However, upon arrival, Meredith seduces him. Tom initially allows her to perform oral sex, but rebuffs her attempts for sexual intercourse. As Tom abruptly leaves, Meredith follows, angrily threatening him. Tom later discovers that Meredith has filed a sexual harassment complaint against him with the help of legal counsel Phillip Blackburn. To save the merger from a scandal, causing Garvin to lose $100 million if the deal falls through, DigiCom officials demand that Tom accept reassignment to another state. If Tom accepts, he will lose his stock options in the new company, his career will be ruined, and he will be left jobless in turn, as the other location will be sold following the merger. When all seems lost, Tom receives an anonymous e-mail from \"A Friend\". It directs him to Catherine Alvarez, an attorney specializing in sexual harassment cases. Tom decides to sue DigiCom, alleging Meredith harassed him, though this causes animosity with his wife and colleagues. At the initial mediation, a tearful Meredith repeatedly lies and blames Tom. Garvin, believing the merger will fail without Meredith, proposes if Tom drops the lawsuit, he will not be transferred. Tom suspects that Meredith's accusations are vulnerable. He remembers mis-dialing a number on his cell phone during the encounter with Meredith, but not hanging up, thus capturing the entire event on a colleague's voicemail. Tom rejects Garvin's proposal and plays the recording at the next meeting, discrediting Meredith. DigiCom agrees to a settlement calling for Meredith to be quietly eased out after the merger. As Tom celebrates his apparent victory, he receives another e-mail from \"A Friend\" warning him that all is not what it seems. Tom overhears Blackburn telling Meredith that although they lost the sexual harassment suit, they will make Tom look incompetent at the next morning's merger conference since Tom is unaware of what is causing the CD-ROM drive issues Meredith alluded to earlier. Since the production line in Malaysia is Tom's responsibility, he can be fired for cause. Tom attempts to find clues in the company database, but his access privileges have been revoked. He remembers that the merging company's executives have a virtual reality demonstration device in a nearby hotel that has access to the company database. As Tom accesses DigiCom's files, he sees that Meredith is already deleting them. Fortunately, Tom's Malaysian colleague is able to fax him copies of incriminating memos and videos. They show that Meredith, and one of the heads of operations in Malaysia, changed Tom's production specifications without his knowledge to gain the Malaysian government's favor, and cut costs to make DigiCom appear more profitable in order to complete the merger. Because Meredith lacked the technical expertise and knowledge, the production changes she ordered caused the problems with the Malaysian CD-ROMs line. To avoid accountability, protect the merger, and save her career, Meredith (with Blackburn's support) staged the sexual encounter with Tom to falsely accuse him of sexual harassment, forcing him out of DigiCom and covering for her mistakes. When Tom makes his presentation at the conference, Meredith immediately brings up the production problems. Tom publicly shows the evidence that exposes her direct involvement in causing the hardware defects. Meredith angrily accuses Tom of being an incompetent manager and erroneously believed that the merging company had prioritized profitability, rather than the actual products being produced. Garvin, realizing the full extent of Meredith's incompetence, fires her. Garvin subsequently announces the merger's completion and then names Stephanie Kaplan to head up the Seattle operation, a decision Tom supports. Tom then asks Stephanie's son, Spencer, a University of Washington student, if he knows \"A Friend\". Spencer confirms he is Professor Arthur Friend's research assistant at the university. Tom realizes that Spencer would have had access to Friend's email account, enabling Stephanie (via her son) to warn Tom as \"A Friend\", as she knew what was happening involving the CD-ROM drives and Meredith. A grateful Tom happily resumes his position as head of manufacturing."}}},{"rowIdx":174,"cells":{"movie_name":{"kind":"string","value":"Inventing the Abbotts_1997"},"imdb_id":{"kind":"string","value":"tt0119381"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The lives of two closely linked families dangerously intersect in a small Illinois town in the 1950s. Two brothers, Jacey and Doug Holt are growing up in Haley, Illinois, sons of a working single mother. Their father, a reckless risk-taker, has lost his life via a bet with Lloyd Abbott (Will Patton), his business partner. Abbott eventually becomes one of the town's foremost, wealthiest and most-admired citizens. The lives of the Holts and the Abbotts are intertwined through various entanglements. Lloyd Abbott and his distant wife, Joan, are the parents of three beautiful daughters, Alice, Eleanor and Pamela. Because of a misunderstanding of the circumstances surrounding his father's death (a supposed bet with Abbott that took the elder Holt's life), Jacey (Billy Crudup) seeks revenge on the Abbotts through the calculated seduction of the Abbott daughters. At first, Jacey cannot wait to escape the suffocating life in Haley; later in the film, however, he is pulled back as he idolizes the Abbott family, and obsesses about the oldest daughter, Alice (Joanna Going), thus seeking to jockey his way into the Abbott family. At first, Doug (Joaquin Phoenix), the younger brother, admires and worships his brother's libertine lifestyle. However, as he matures, he discovers that all that glitters is not gold. He eventually falls in love with the youngest, virginal Abbott, Pamela (Liv Tyler), who protests his early, fumbling sexual advances, and she forces him to appreciate her for who she is, not what she may offer up to him. Meanwhile, Eleanor (Jennifer Connelly) is sent away to stewardess school after she and Jacey are caught by Lloyd Abbott, who cannot keep them apart. After two years of being apart from each other, Doug and Pamela meet again by chance while they are in college in Philadelphia. However, Doug and Jacey are brought back to Haley after their mother's death. They also find a letter from their late father that says he has sold their patent for a 1937 DeSoto Coupe convertible. Despite the obstacles that Lloyd Abbott places in the way of any of the Holt brothers ever seeing his daughters again, Doug convinces Abbott at the end of the story of his true love for Pamela and receives his blessing on a future relationship."}}},{"rowIdx":175,"cells":{"movie_name":{"kind":"string","value":"The Big Lebowski_1998"},"imdb_id":{"kind":"string","value":"tt0118715"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1991 Los Angeles, Jeffrey \"The Dude\" Lebowski, a middle-aged bachelor with a penchant for cannabis and bowling, is assaulted by two goons hired by pornographer Jackie Treehorn, demanding money owed by the wife of another Jeffrey Lebowski (the eponymous \"Big Lebowski\"). Realizing they have the wrong man, they leave after one of them urinates on the Dude's rug. On the advice of his bowling partners Donny Kerabatsos and Vietnam veteran Walter Sobchak, the Dude seeks compensation from the other Lebowski, a wealthy philanthropist who refuses his request. Leaving Lebowski’s mansion, the Dude takes a valuable rug and meets Bunny, Lebowski's young trophy wife. Days later, the Dude is told that Bunny has been kidnapped, and Lebowski wants the Dude to deliver the ransom money. That night, another pair of thugs knock the Dude unconscious and take his new rug. The kidnappers arrange a meeting, and Walter accompanies the Dude with a plan to give them another briefcase, containing Walter's \"dirty undies\", so he and the Dude can keep the ransom money. Taking the briefcase, the kidnappers escape on motorcycles. After another game of bowling, the Dude's car is stolen with the real briefcase inside. Lebowski's daughter Maude calls the Dude, explaining that she took the rug and inviting him to visit her. She plays him a pornographic video revealing Bunny was one of Treehorn's actresses. Believing Bunny staged her own abduction, Maude asks the Dude to recover the ransom which her father withdrew from the family's personal foundation. Lebowski confronts the Dude, angry that he failed to deliver the ransom, and shows him a severed toe presumed to be Bunny's. Three German nihilists threaten the Dude, identifying themselves as the kidnappers; Maude says they are friends of Bunny. The Dude's car is recovered by police, minus the briefcase, but inside the Dude finds the homework of a high school student named Larry Sellars. Walter and the Dude confront Larry at his family’s home, and Walter uses a crowbar to wreck a new sports car parked outside which he believes Larry bought with the stolen money. The car’s real owner rushes outside and wrecks the Dude's car in revenge, thinking it to be Walter's. The Dude is forcibly brought to Treehorn, who is seeking Bunny and the money she owes him. Treehorn drugs the Dude's white Russian cocktail, causing him to dream about starring in a Treehorn film about bowling with Maude. Awakening in police custody, the Dude is assaulted by the Malibu police chief. After being kicked out of a cab, the Dude is unknowingly passed by Bunny, revealed to still have all of her toes. The Dude returns home to find his bungalow ransacked by Treehorn's goons. He is seduced by Maude, who hopes to conceive a child but wishes him to have no involvement in its upbringing. She explains that her father has no money of his own, as her late mother left everything to the family charity. Having had an epiphany, the Dude has Walter drive him to the Lebowski estate, where Bunny has returned, and the truth of her disappearance is revealed: When Bunny left town on an unannounced trip, her nihilist friends faked her kidnapping to extort money from her husband; Lebowski, who hated his wife, withdrew the ransom from the foundation but kept it for himself, instead giving the Dude a briefcase containing phone books. Walter and the Dude confront Lebowski, who refuses to admit responsibility, so Walter picks him up and throws him out of his wheelchair, thinking he is also faking his paralysis. The Dude and his friends return to the bowling alley, where they are confronted by the nihilists. Learning there was never any money, the nihilists try to rob them but Walter violently fends them off. During the scuffle, Donny suffers a fatal heart attack. Delivering an informal eulogy to Donny at the beach, Walter accidentally scatters Donny's ashes onto the Dude. They go bowling, and the Dude encounters the film's cowboy narrator, who tells the audience that Maude is pregnant with a \"little Lebowski\" and hopes that the Dude and Walter will win their upcoming bowling tournament."}}},{"rowIdx":176,"cells":{"movie_name":{"kind":"string","value":"Live by Night_2016"},"imdb_id":{"kind":"string","value":"tt2361317"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1926, Joe Coughlin, an Irish-American World War I veteran and the prodigal son of Boston police captain Thomas Coughlin, falls in love with Emma Gould, the mistress of notorious gangster Albert White, the boss of the Irish Gang of Boston who Joe and his friends have been targeting in a series of robberies. Thomas objects to the relationship and advises Joe against his criminal activities, warning him that his wrongdoing will catch up with him eventually. White's rival, Italian Mafia boss Maso Pescatore, finds out about their affair and blackmails Joe to kill White. Joe refuses, and instead he and Emma decide to flee to California. To fund the trip, Joe commits a bank heist with his partner Dion Bartolo and another man, during which three police officers are killed in an ensuing chase. When Joe goes to meet Emma, he discovers that she betrayed him to White. Joe is brutally beaten by White's men and nearly killed before Thomas and the police arrive and arrest Joe for the policemen's murders. Thomas tells Joe that Emma drowned while being pursued by police. He also blackmails Chief Inspector Calvin Bondurant to ensure that Joe is indicted on a relatively minor charge rather than murder, and he is given only a three-year sentence. Two weeks before Joe's release, Thomas dies of a heart attack. Wanting revenge against White, Joe volunteers his services to Pescatore and is recruited as an enforcer for the latter's rum empire in Ybor City in Tampa, Florida, which is under attack by White. Joe brings Dion along and together they protect Pescatore's business in the area; the boss then sends orders for them to bring gambling and drugs into Tampa. Joe also develops a relationship with Graciela Corrales, the sister of a local Cuban businessman who supplies most of the rum, and they are soon married. Joe befriends Sheriff Irving Figgis to get police protection for his bootlegging. Irving's daughter Loretta heads to Hollywood to become an actress but instead becomes a heroin-addicted prostitute. Irving's brother-in-law, R. D. Pruitt, a member of the local chapter of the Ku Klux Klan who blames Joe for bringing more non-white immigrants into Tampa, starts bombing Joe's businesses and killing his men. Joe promises Irving to help get Loretta off drugs and back to Ybor City in exchange for betraying Pruitt. Joe kills Pruitt personally and has his men hunt down and kill all of Tampa's KKK members in a string of brutal assassinations. With Prohibition coming to an end, Pescatore orders Joe to switch to selling narcotics, which he disagrees with, instead planning to build a mob casino near Sarasota. He intends to persuade the state government to legalize gambling, but Loretta, who has become a devout Christian under her father's strict and punishing discipline, begins preaching that alcohol and gambling are against God's word. Her ministry is popular enough that the government decides not to legalize gambling. Joe recognizes that Pescatore will be enraged, particularly since Joe still refuses to invest in narcotics. During a private meeting in a restaurant to settle their differences, Loretta confides to Joe that she does not truly believe in God and her sins cannot be forgiven. The next day, Joe is despondent to learn that Loretta committed suicide. While visiting his brother-in-law, an amateur photographer, Joe finds a recent picture of Emma, whom he believed to be dead. He decides to pursue her, but only after informing Graciela first, much to Dion's dismay. Pescatore orders Joe to meet with him at a local hotel, where he reveals he has reconciled with White and given him the honor of killing Joe for his failures, planning to replace him with his son Digger. Anticipating Pescatore's betrayal, Joe distracts White by showing him Emma's picture, as White also believed her to be dead. Dion and his men ambush Pescatore's gang through a series of tunnels Joe had previously used to move rum into the hotel. In the ensuing gunfight, White, Pescatore and Digger are all killed, eliminating all of Joe's enemies in one stroke. He names Dion as his successor before locating Emma at the brothel she now works at. She relates how she faked her death to escape from White and enjoys her newfound freedom, and claims she never reciprocated Joe's love for her. Satisfied, Joe returns to Graciela. Joe and Graciela move to Miami, where they have a son, Tommy, and devote their time to building houses for the impoverished. Driven insane by Loretta's death, Figgis tracks them down and shoots up their house, killing Graciela before being fatally shot by Joe. Joe arranges for Graciela to be buried in her homeland in Cuba and spends the rest of his days dedicated to charity and to raising Tommy, who soon voices his desire to become a police officer."}}},{"rowIdx":177,"cells":{"movie_name":{"kind":"string","value":"Beautiful Boy_2018"},"imdb_id":{"kind":"string","value":"tt1226837"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"New York Times writer David Sheff's teenage son Nicolas \"Nic\" Sheff goes missing, reappearing in their home two days later. Seeing obvious signs of drug use, David takes Nic to a rehab clinic. Progress is made, and Nic transfers to a halfway house, with the agreement of Nic's doctors. Days later, Nic disappears, and David finds him in the streets. Back at the rehab facility, Nic reveals that he has been taking numerous drugs, including crystal meth. Nic eventually completes his rehab program, and seeing his improvements, combined with wishful thinking, David allows him to go away to college on his own, to become a writer. Nic's newfound freedom and sobriety start well, as he becomes a good student, and starts a relationship with his classmate, Julia. During a happy family dinner at his girlfriend's parents' house, Nic finds a bottle of pills in their medicine cabinet and swallows one. After this incident, he slowly relapses, causing Julia to break up with him, and his substance use to escalate until he eventually purchases heroin. Around this time, beginning to become suspicious of his slowly changing behavior, David decides to read Nic's diary. To his horror, Nic has filled half the pages by colorfully describing his growing addictions through worrying words and disturbing cartoons. On one of the last pages, Nic writes of his difficulty obtaining meth in college, but that he managed to score some heroin. Returning home, David senses that Nic is using again, and Nic leaves of his own accord, feeling claustrophobic from his dad's suspicions about his drug use. David and Nic finally meet up, and Nic asks his dad for money, so he can go to New York. Knowing the money will almost certainly go towards drugs, David declines, and Nic angrily leaves. David later gets a call from a New York hospital saying Nic has overdosed. David flies there to retrieve him, and after talking to his ex-wife and Nic's mother Vicki, he decides Nic should be sent to live with her in Los Angeles. Nic has a fresh start in Los Angeles. He attends 12 step meetings, spends time with his sponsor Spencer, and even works at a drug clinic to help newer patients overcome their addiction. Fourteen months sober, Nic drives to visit David and his family. Seeing Nic back to his old self, interacting happily with his two younger half-siblings, David is proud of his son's newfound sobriety, as is his wife Karen. As he departs from their home, however, Nic has a sudden surge of depression, resents his sobriety, and fears relapsing. Spencer gives Nic moral support over the phone, but to little avail. Later that night, Nic drives into San Francisco, where he runs into Lauren, a fellow drug addict from his past, and confesses his desire to \"party,\" despite having been clean for quite some time. The two buy various drugs in the streets, which they proceed to inject together at Lauren's place, where they have sex. When he learns Nic has gone missing again, David prepares to look for him, but Karen protests that he has done everything he can for Nic, and he cannot do anything to fix his addiction, which David heartbrokenly accepts. One day Nic and Lauren break into the home while David and his family are not there, and retrieve some valuable items. The family come home, and the two quickly depart. At first, they go undetected, but David's other son Jasper notices Nic, and both David and Karen go to find them. Karen chases them in their car but stops and lets them drive off. Lauren overdoses, but is revived by Nic and is sent to the hospital. Nic tearfully calls David and asks for permission to come home, which his father declines. Nic continues to plead, but David hangs up and breaks down in tears. Despairing, Nic overdoses, but he survives. David and Vicki visit him in the hospital, and David and Nic tearfully embrace. Closing credits reveal Nic has been sober for 8 years, and it would not have been possible without the love and support of his family and friends. During the credits, Nic recites 'Let It Enfold You' by Charles Bukowski."}}},{"rowIdx":178,"cells":{"movie_name":{"kind":"string","value":"K-PAX_2001"},"imdb_id":{"kind":"string","value":"tt0272152"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"After claiming he is an extraterrestrial from the planet 'K-PAX', 1,000 light years away in the Lyra constellation, prot (not capitalized and pronounced with a long O, rhyming with boat) is committed to the Psychiatric Institute of Manhattan. There, psychiatrist Dr. Mark Powell attempts to cure him of his apparent delusions. However, prot is unwavering in his ability to provide cogent answers to questions about himself, K-PAX, and its civilizations. His medical examination only reinforces his story, as prot can see ultraviolet light and he is completely resistant to the effects of Thorazine. Powell introduces him to a group of astrophysicists who are befuddled when prot displays a highly detailed level of knowledge about his claimed star system that was unknown to them. prot also wins over the other patients at the Institute, each of whom believes unquestioningly that he is indeed from K-PAX. prot, who claims to have journeyed to Earth by means of \"faster-than-light travel,\" explains that he can take one person with him when he returns. Thereafter, most of the patients at the Institute ask prot to take them with him. Upon learning that many of his patients expect to leave Earth on July 27, Powell confronts prot, who explains that it is a predetermined date. However, Powell believes this to be a significant date in prot's life, a day on which he suffered a severe psychological trauma. Powell decides to subject prot to regression hypnosis, which works well. Using information gained from these sessions, Powell figures out that prot may simply be an alter ego of Robert Porter, a man from New Mexico who worked as a 'knocker' (animal slaughterer) in a local abattoir, who attempted suicide in 1996 after his wife and child were murdered by a drifter. Powell tries to confront prot with this knowledge, showing him a photo of Robert Porter in a high school yearbook and stating that it is in fact prot himself; but prot's reaction is one of bemusement, and he cryptically tells Powell that he hopes he will take good care of Robert now that he has found him. On July 27 as the hospital staff watch, the camera in prot's room cuts to static at the precise time prot said he would leave Earth. Powell finds Porter lying on the floor in his room, catatonic, prot having apparently left Porter's body for the light travel back to K-PAX. As Robert is being wheeled out of the room, the other patients do not recognize him as prot and say that prot has gone. In addition, one of the patients is missing: Bess, a woman who had remained mute since her home was destroyed in a fire and who had been among the patients that asked to go to K-PAX with prot. She is never found. The other patients believe that prot has taken her to K-PAX. Powell continues to take care of the catatonic Porter and tells him about how the patients he helped have gone on to live normal lives again, but Robert does not respond. Powell is left with no absolute answer as to whether prot was in fact an alien entity or just a coping mechanism of the traumatized Porter, but seems far from convinced that Porter's behavior was a delusion. In a final voiceover, prot explains to Powell that the people of K-PAX have discovered that our universe will repeat its events again and again, so the mistakes we make will be repeated forever. prot encourages Powell to make this time count, as it is the only chance we have. Inspired, Powell begins a new, better life by reconciling with his estranged son Michael."}}},{"rowIdx":179,"cells":{"movie_name":{"kind":"string","value":"The Time Machine_2002"},"imdb_id":{"kind":"string","value":"tt0268695"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1899, Dr. Alexander Hartdegen is an inventor teaching at Columbia University in New York City. Unlike his friend David Philby, Alexander would rather do pure research than work in the world of business. After a mugger kills his fiancée, Emma, he devotes himself to building a time machine that will allow him to travel back in time to save her. When he completes the machine in 1903, he travels back to 1899 and prevents her murder, only to see her killed again when a horseless carriage frightens the horses of a horse-drawn vehicle. Alexander realizes that any attempt to save Emma will result in her death through other circumstances. Distraught, Alexander travels to 2030 to discover whether science has been able to solve his question of how to change the past. At the New York Public Library, a holographic sentient librarian called Vox 114 insists that time travel to the past is impossible and is the realm of fictional authors such as Isaac Asimov and H.G. Wells. Alexander looks up himself and learns that he was reported missing in 1903 and dismissed as a crackpot. Alexander travels to 2037, when the accidental destruction of the Moon by the lunar colonists' demolition team has begun rendering the Earth virtually uninhabitable. While restarting the time machine, he is knocked unconscious and travels to the year 802,701 before reawakening. When Alexander comes to, he learns that Earth has now healed and the human race has reverted to a primitive lifestyle. Some survivors, called \"Eloi\", live on the sides of cliffs of what was once Manhattan. Alexander is nursed back to health by a woman named Mara, one of the few Eloi who speak English. He observes the broken moon and suggests that maybe his teachings led to this future. One night, Alexander and Mara's young brother Kalen dream of a frightening, jagged-toothed face and a creature calling their name. Alexander informs Mara of the dream, and she tells him they all have that dream and notices that his watch is missing. The next day, the Eloi are attacked and Mara is dragged underground by ape-like monsters called \"Morlocks\" that hunt the Eloi for food. In order to rescue her, Kalen leads Alexander to Vox 114, which is still functional after 800,671 years. After learning from Vox how to find the Morlocks, Alexander enters their underground lair through an opening that resembles the face in his nightmare. He is captured and thrown into an area where Mara sits in a cage. Alexander meets the Über-Morlock, who explains that Morlocks are the descendants of the humans who went underground after the Moon broke apart, while the Eloi are descended from those who remained on the surface. The Über-Morlocks are a caste of telepaths who rule the other Morlocks. The Über-Morlock explains that Alexander cannot alter Emma's fate, because her death is what drove him to build the time machine in the first place: saving her would be a virtual impossibility due to temporal paradox. He then reveals that the Morlocks have brought the time machine underground, and tells Alexander to return home after he gives Alexander his watch and the answer of why can't he change the past. Alexander gets into the machine, but pulls the Über-Morlock in with him, carrying them into the future as they fight. The Über-Morlock dies by rapidly aging when Alexander pushes him outside of the machine's temporal bubble. Alexander arrives at the year 635,427,810, revealing a harsh, rust-colored sky over a wasteland of Morlock caves. Accepting that he cannot save Emma, Alexander travels back to rescue Mara. After freeing her, he starts the time machine and jams its gears with his watch, creating a violent distortion in time. Pursued by the Morlocks, Alexander and Mara escape to the surface as the time distortion explodes, killing the Morlocks and destroying their caves along with the time machine. Alexander begins a new life with Mara and the Eloi, while Vox 114 becomes a teacher to the Eloi children. Back in 1903, Philby and Alexander's housekeeper Mrs. Watchit are in his laboratory discussing his absence. Philby tells Mrs. Watchit he is glad that Alexander has gone to a place where he can find peace, then tells her that he would like to hire her as a housekeeper, which she accepts until Alexander returns. Mrs. Watchit bids Alexander farewell and Philby leaves, looking toward the laboratory affectionately, then throws his bowler hat away in tribute to Alexander's distaste for conformity."}}},{"rowIdx":180,"cells":{"movie_name":{"kind":"string","value":"Avengers: Endgame_2019"},"imdb_id":{"kind":"string","value":"tt4154796"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 2018, twenty-three days after Thanos erased half of all life in the universe, Carol Danvers rescues Tony Stark and Nebula from deep space and they reunite with the remaining Avengers—Bruce Banner, Steve Rogers, Thor, Natasha Romanoff, and James Rhodes—and Rocket on Earth. Locating Thanos on an uninhabited planet, they plan to use the Infinity Stones to reverse his actions, only to find that Thanos has already destroyed them, thus preventing any further use. Enraged, Thor decapitates Thanos. Five years later, Scott Lang escapes from the Quantum Realm. Reaching the Avengers Compound, he explains that he experienced only five hours while trapped. Theorizing that the Quantum Realm allows time travel, they ask a reluctant Stark to help them retrieve the Stones from the past to reverse the actions of Thanos in the present. Stark, Rocket, and Banner, who has since merged his intelligence with the Hulk's strength, build a time machine. Banner notes that altering the past does not affect their present; any changes create alternate realities. Banner and Rocket travel to Norway, where they visit the Asgardian refugees' settlement New Asgard and recruit an overweight and despondent Thor. In Tokyo, Romanoff recruits Clint Barton, who became a vigilante after the erasure of his family. Banner, Lang, Rogers, and Stark time-travel to New York City during Loki's attack in 2012. At the Sanctum Sanctorum, Banner convinces the Ancient One to give him the Time Stone after promising to return the various Stones to their proper points in time. At Stark Tower, Rogers retrieves the Mind Stone from Hydra sleeper agents, but Stark and Lang's attempt to steal the Space Stone fails, allowing 2012-Loki to escape with it. Rogers and Stark travel to Camp Lehigh in 1970, where Stark obtains an earlier version of the Space Stone and encounters his father, Howard. Rogers steals Pym Particles from Hank Pym to return to the present and spies his lost love, Peggy Carter. Meanwhile, Rocket and Thor travel to Asgard in 2013; Rocket extracts the Reality Stone from Jane Foster, while Thor gets encouragement from his mother, Frigga, and retrieves his old hammer, Mjolnir. Barton, Romanoff, Nebula, and Rhodes travel to 2014; Nebula and Rhodes go to Morag and steal the Power Stone before Peter Quill can, while Barton and Romanoff travel to Vormir. The Soul Stone's keeper, Red Skull, reveals it can only be acquired by sacrificing a loved one. Romanoff sacrifices herself, allowing Barton to get the Stone. Rhodes and Nebula attempt to return to their own time, but Nebula is incapacitated when her cybernetic implants link with her past self, allowing 2014-Thanos to learn of his future self's success and the Avengers' attempt to undo it. 2014-Thanos sends 2014-Nebula forward in time to prepare for his arrival. Reuniting in the present, the Avengers place the Stones into a gauntlet that Stark, Banner, and Rocket have built. Banner, who has the most resistance to their radiation, uses the gauntlet to undo every one of Thanos's disintegrations. Meanwhile, 2014-Nebula, impersonating her future self, uses the time machine to transport 2014-Thanos and his warship to the present, which he then uses to destroy the Avengers Compound. Present-day Nebula convinces 2014-Gamora to betray Thanos, but is unable to convince 2014-Nebula and kills her. Thanos overpowers Stark, Thor and a Mjolnir-wielding Rogers, and summons his army to retrieve the Stones, intent on using them to destroy the universe and create a new one. A restored Stephen Strange arrives with other sorcerers, the restored Avengers and Guardians of the Galaxy, the Ravagers, and the armies of Wakanda and Asgard to fight Thanos's army. Danvers also arrives and destroys Thanos's warship, but Thanos overpowers her and seizes the gauntlet. Stark steals the Stones and uses them to disintegrate Thanos and his army, sacrificing his life in the process. Following Stark's funeral, Thor appoints Valkyrie as the new king of New Asgard and joins the Guardians. Rogers returns the Stones and Mjolnir to their proper timelines and remains in the past to live with Carter. In the present, an elderly Rogers passes his shield to Sam Wilson."}}},{"rowIdx":181,"cells":{"movie_name":{"kind":"string","value":"The Thin Man_1934"},"imdb_id":{"kind":"string","value":"tt0025878"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Nick Charles (Powell), a retired detective, and his wife Nora (Loy) are attempting to settle down when he is pressed back into service when a friend disappears after a murder. The friend, Clyde Wynant (Ellis) (the eponymous \"thin man\"), has mysteriously vanished. When his former secretary and love interest, Julia Wolf, is found dead, evidence points to Wynant as the prime suspect, but his daughter Dorothy (O'Sullivan) refuses to believe that her father is guilty. She convinces Nick to take the case, much to the amusement of his socialite wife. The detective begins to uncover clues and eventually solves the mystery of the disappearance through a series of investigative steps. The murderer is finally revealed in a classic dinner-party scene that features all of the suspects. A skeletonized body, found during the investigation, had been assumed to be that of a \"fat man\" because it is wearing oversize clothing. The clothes are revealed to be planted, and the identity of the body is accurately determined by an old war wound to the leg. It turns out that the body belongs to a \"thin man\" — the missing Wynant. The double murder has been disguised in such a way as to make it seem that Wynant is the killer and still alive. The real killers are people who stole a lot of money from Wynant and killed him on the night he was last seen."}}},{"rowIdx":182,"cells":{"movie_name":{"kind":"string","value":"Perfect Creature_2006"},"imdb_id":{"kind":"string","value":"tt0403407"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The film opens as a pregnant woman (Danielle Cormack) gives birth to a vampire. A young Brother, Silus, aged 10–13 is told this child, Edgar and he are from the same mother. Throughout this introduction, the mother is in visible emotional distress, reaching out across the room to Silus, trying to touch him. Captioned \"100 Years Later.\" Jamestown slum has had a series of attacks on women, who are all found with their throats bitten. Lilly Squires (Saffron Burrows) is in charge of the human police investigating these cases. She states that she comes from a workhouse in this same slum, and we establish that she is one of the few cops who care what happens to these people at the bottom of the socioeconomic heap. Lilly finds a small boy who witnesses one attack, and tells her that a Brother was responsible. As the police don't want to panic the city, the string of murders is explained away as being the result of an outbreak of the rampant influenza virus. Silus (Dougray Scott) is detailed by the church cardinals to work with the human police, because the Brothers know that these attacks have been carried out by a Brother; Silus's brother Edgar (Leo Gregory). Edgar has sent Silus a recording of his last murder, challenging him to find and stop him before he kills again. Edgar provides the location of his next murder. With Silus' help, Lilly puts together a task force to stake out the area Edgar has targeted. However Edgar distracts the cops and attacks Lilly, biting her in the neck. An officer interrupts the attack and Edgar flees. To save Lilly's life, Silus tells her to drink his blood, which she does. Silus then pursues Edgar, managing to shoot him with a tranquilizing dart. Silus later visits Lilly in hospital. We establish that she has no family as they died from influenza. Lilly is having visions from drinking Silus' blood. The newspapers have published a fake story of the death of the killer; a deranged human who believed he was a Brother. Edgar is being held in a \"brace\", a spiked body restraint in a cell in the church basement. Because Silus is soon to be made a member of the \"inner circle\" he is told the full details of what happened to Edgar. The cardinals are worried that not a single Brother has been born for 70 years, and that a female vampire has never been born. Although they have publicly banned genetic research, the church has been carrying it out in secret. Edgar has been developing a virus to inject into pregnant women, to force the baby to be born a vampire. Alas the virus has mutated, and it has turned the women into violent, insane, psychopaths. Ten of Edgar's research subjects are already dead, and the last one is dying. Edgar has also become infected, and is now insane, although the effect is slower due to his strong immune system. Silus visits Edgar, who vows to escape and finish off Lilly. Edgar accuses Silus of being in love with Lilly, despite Brothers being forbidden to love. The night Silus is at a ceremony in the church for his investiture as a cardinal Edgar escapes, killing the guards and receptionist, and disappears into Jamestown. He enlists the help of a local named Freddy to help him catch Lilly. Edgar has installed a tap and tube system into his forearm, so he can turn on a flow of his own infected blood at any time. He catches a policewoman and fills her mouth with his blood. Freddy insists on getting his own share as well, not knowing it is infected. Silus is guarding Lilly at her apartment with Lilly's colleague Jones. When she is sleeping Silus shows some affection for her by imagining kissing her. Later, Silus leaves to investigate a noise downstairs and Lilly and Jones patrol around. When Lilly approaches a window, Edgar bursts through from outside and grabs her. Silus and Edgar grapple, however Silus is knocked unconscious long enough for Edgar and Lilly to disappear. The virus has spread throughout Jamestown. The government has instituted a quarantine, and soldiers shoot anybody who attempts to leave. Humans are rioting outside the churches, and throwing their rosaries back at the Brothers. Silus discovers Edgar's location is Jamestown's water source. Edgar is dripping his blood into the water supply, infecting all of Jamestown. However, each suburb has its own separate water supply. Silus is determined to go in and rescue Lilly, however another cardinal tells him that Jamestown will be burned to the ground to make sure that the virus dies, and Edgar with it. He warns Silus that his own career will be doomed if he ignores the \"greater good\" and breaches quarantine. Silus breaks through into Jamestown and heads to the aquifer, dodging the infected. Lilly is handcuffed to a water pipe in a locked basement. Edgar comes in and she tries to persuade him to stop but instead he challenges her about her dead child, saying that her race is good at abandoning children. Edgar finds Silus and they fight. Just as Silus is winning, Edgar throws him backwards onto the prongs of a steam injector. As Silus lies groaning, and possibly dying, on the ground, Edgar approaches with a portable steam injector. When Edgar depresses the trigger steam comes out. Edgar threatens to burn Silus's face off so that he will be more of a monster just like him. Lilly comes up behind Edgar and kills him by stabbing another steam injector into the back of his skull. Silus escorts Lilly from the water facility. He kisses Lilly and says she must do something. He gestures to a building then tells Lilly she must look after what she will find in there and keep it away from the Brotherhood. Lilly enters the building, and finds the other Brother, a dead woman, and a baby. The Brother tells Lilly the infant is the first female vampire ever born. The virus has created her and she is truly the first Perfect Creature. Silus is branded a heretic, and must stay in hiding. Meanwhile, Lilly is caring for the baby and Silus is watching over her. The movie ends with Silus saying that he is being hunted but he will always fight back, leaving scope for a second movie."}}},{"rowIdx":183,"cells":{"movie_name":{"kind":"string","value":"Jackie Brown_1997"},"imdb_id":{"kind":"string","value":"tt0119396"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1995, Jacqueline \"Jackie\" Brown, a middle-aged flight attendant for a small Mexican airline, makes ends meet by smuggling money from Mexico into the United States for Ordell Robbie, a black-market gun runner living in the Los Angeles metropolitan area. Ordell is under close watch by the ATF, forcing him to use couriers. When he learns that another courier, Beaumont Livingston, has been arrested, he assumes that Livingston will become an informant to avoid jail time. Ordell arranges for a $10,000 bail with bondsman Max Cherry, then coaxes Livingston into a car trunk and murders him. Acting on information Livingston had already shared, ATF agent Ray Nicolette and LAPD detective Mark Dargus intercept Jackie as she returns to the United States with Ordell's cash and a small bag of cocaine (though Jackie was unaware that the latter was stashed in her luggage). Initially refusing to cut a deal, she is sent to a county jail, which alerts Ordell to the possibility that she could act as an informant. At Ordell's request the $10,000 that was to return to him, due to Livingston's death, is used to pay Jackie's bail. Max retrieves Jackie from the jail and begins to become attracted to her. Ordell arrives at Jackie's house intending to murder her, but she surprises him by pulling a gun (surreptitiously taken from the glove compartment of Max's car). Jackie negotiates a deal with Ordell to pretend to help the authorities while smuggling in $550,000 of Ordell's money, enough to allow him to retire. To carry out this plan, Ordell is counting on Sheronda, a country bumpkin girlfriend from North Carolina that he lets stay in his house in Compton, and Louis Gara, a friend and former cellmate. Unaware of Jackie and Ordell's plan to smuggle in $550,000, Nicolette and Dargus devise a sting to catch Ordell during a transfer of $50,000. Unbeknownst to all, Jackie plans to double-cross everyone and keep $500,000 for herself. She recruits Max to assist with her plan and offers him a cut. Jackie performs a trial run of the money smuggle, bringing in $10,000 marked, with Nicolette and Dargus monitoring her movements. During the trial run Max watches from afar and notices that after Jackie swaps bags with Sheronda, Sheronda swaps bags with an unknown woman. Jackie confronts Ordell about the unknown woman, who turns out to be Simone, another one of Ordell's girlfriends. However after receiving the bag of money Simone skips town. Ordell reluctantly uses another girlfriend named Melanie Raiston, a pot smoking surfer girl. After failing to seduce Gara into double crossing Ordell for the expected money Melanie begins to purposely antagonize him. On the day of the transfer, Jackie enters a dressing room in Billingsley Department Store at Del Amo Fashion Center to try on a new suit. She has told Ordell that she will swap bags there with Melanie, supposedly passing off the $550,000 under the nose of Nicolette, who has been told that the exchange is to take place in the food court. Instead, the bag she gives Melanie contains only $50,000 and she leaves the rest behind in the dressing room for Max to pick up. Jackie then feigns despair when she finds Nicolette and Dargus, claiming that Melanie took all the money and ran. In the mall parking lot, Melanie derides and annoys Louis until he loses his temper and shoots her to death. Louis later confesses this to Ordell. Ordell is livid when he discovers that most of the money is missing, and he realizes that Jackie is to blame. After Louis mentions that he saw Max Cherry in the store during the exchange but thought nothing of it, Ordell kills Louis and leaves with the bag. Nicolette and Dargus are suspicious of Jackie's role with the missing money but inform her that Melanie and Gara are dead. They partially believe Jackie's story because Melanie was found with a stack of marked bills hidden in her shorts. Ordell turns his anger toward Max, who informs him that Jackie is frightened for her life and is waiting in Max's office to hand over the money. A menacing Ordell holds Max at gunpoint as they enter the darkened office. When Jackie yells that Ordell has a gun, Nicolette jumps from a hiding place and kills him. Max pretends not to know why Ordell was trying to kill Jackie and convinces Nicolette that he only went to see Ordell to give him his bail return. The ATF drops the criminal charges against Jackie for her cooperation. Now in possession of Ordell's remaining money and his car, Jackie plans a trip to Madrid, Spain. She invites Max to join her, but he declines. Jackie tries to convince Max to take more of his share of the money, he only took 10%, for the smuggle but Max declines. Jackie shares a meaningful moment with Max, kisses him goodbye, then leaves as he takes a phone call. Moments later, Max cuts the call short and seems to contemplate his decision to stay behind as Jackie drives away."}}},{"rowIdx":184,"cells":{"movie_name":{"kind":"string","value":"The Big Short_2015"},"imdb_id":{"kind":"string","value":"tt1596363"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"The film consists of three separate but concurrent stories, loosely connected by their actions in the years leading up to the 2007 housing market crash. Scion Capital In 2005, eccentric hedge fund manager Michael Burry discovers that the United States housing market, based on high-risk subprime loans, is extremely unstable. Anticipating the market's collapse in the second quarter of 2007, as interest rates would rise from adjustable-rate mortgages, he proposes to create a credit default swap market, allowing him to bet against, or short, market-based mortgage-backed securities, for profit. His long-term bet, exceeding $1 billion, is accepted by major investment and commercial banks but requires paying substantial monthly premiums. This sparks his main client, Lawrence Fields, to accuse him of \"wasting\" capital while many clients demand that he reverse and sell, but Burry refuses. Under pressure, he eventually restricts withdrawals, angering investors, and Fields sues Burry. Eventually, the market collapses and his fund's value increases by 489% with an overall profit (even allowing for the massive premiums) of over $2.69 billion, with Fields alone receiving $489 million. FrontPoint Partners Jared Vennett (based on Greg Lippmann), the executive in charge of global asset-backed securities trading at Deutsche Bank, is one of the first to understand Burry's analysis, learning from one of the bankers who sold Burry an early credit default swap. Using his quant to verify that Burry is most likely correct, he decides to enter the market and purchase credit default swaps himself. However, his large monthly premiums result in him looking to reduce the size of his position by selling credit default swaps. A misplaced phone call alerts FrontPoint Partners hedge fund manager Mark Baum (based on Steve Eisman), who is motivated to buy swaps from Vennett due to his low regard for banks' ethics and business models. Vennett explains that the packaging of subprime loans into collateralized debt obligations (CDOs) rated AAA will guarantee their eventual collapse. Conducting a field investigation in South Florida, the FrontPoint team discovers that mortgage brokers are profiting by selling their mortgage deals to Wall Street banks, who pay higher margins for the riskier mortgages, creating the bubble. This knowledge prompts the FrontPoint team to buy swaps from Vennett. In early 2007, as these loans begin to default, CDO prices somehow rise and ratings agencies refuse to downgrade the bond ratings. Baum discovers conflicts of interest and dishonesty amongst the credit rating agencies from an acquaintance at Standard & Poor's. Vennett invites the team to the American Securitization Forum in Las Vegas, where Baum learns from a CDO manager that the market for insuring mortgage bonds, including \"synthetic CDOs\" which are bets in favor of the faulty mortgage bonds, is significantly larger than the market for the mortgage loans themselves, leading a horrified Baum to realize the entire world economy is set to collapse. As the subprime bonds continue to fall, Baum learns that Morgan Stanley, under whose umbrella FrontPoint operates, had also taken short positions against mortgage derivatives. However, in order to offset the risk and the monthly premiums, it had sold short positions in higher-rated mortgage derivatives. Now that these are also collapsing in value, Morgan Stanley is facing severe liquidity problems. Despite pressure from his staff to sell their position before Morgan Stanley collapses, Baum refuses to sell until the economy is on the verge of collapsing, making over $1 billion in their swaps. Even so, Baum laments that the banks, as well as the government, will not admit what caused the economy to collapse, but will instead blame \"immigrants and poor people\". Brownfield Fund Young investors Charlie Geller and Jamie Shipley run a small firm called Brownfield Fund (based on the firm Cornwall Capital). They accidentally discover a marketing presentation by Vennett on a coffee table in the lobby of a large investment bank (the characters address the audience stating that in reality they had heard about Vennett's plan through word of mouth from friends and publications), convincing them to invest in swaps, as it fits their strategy of buying cheap insurance with big potential payouts. Below the capital threshold for an ISDA Master Agreement required to enter into trades like Burry's and Baum's, they enlist the aid of Ben Rickert, a retired securities trader who was based in Singapore. When the bond values and CDOs rise despite defaults, Geller suspects the banks of committing fraud. The trio also visit the American Securitization Forum, where they learn that the SEC has no regulations to monitor mortgage-backed security activity. They successfully make even more profit than Burry and Baum by shorting the higher-rated AA mortgage securities, as they were considered highly stable and carried a much higher payout ratio. Later, as home mortgage defaults increase, the price of the CDOs (the insurance against) does not rise nor does the price of the underlying mortgage bonds drop, and they realize the banks and the ratings agencies are secretly freezing the price of their CDOs in order to sell and short them before the inevitable crash. Outraged at the bank's cheating, Geller and Shipley try to tip off the press about the upcoming disaster and the rampant fraud, but a writer from The Wall Street Journal reveals his own personal conflict of interest and will not do his job so as to not endanger his relationships with the Wall Street investment banks. As the market starts collapsing, Ben, on vacation in England, sells their swaps. Ultimately, they turn their $30 million investment into $80 million, but their faith in the system is broken when Ben tells them of the severe consequences for the general public. Epilogue Jared Vennett receives a bonus of $47 million for profits made on his credit default swaps. Mark Baum becomes more gracious from the financial fallout, and his staff continue to operate their fund. Charlie Geller and Jamie Shipley go their separate ways after unsuccessfully trying to sue the ratings agencies, with Jamie still running the fund and Charlie moving to Charlotte to start a family. Ben Rickert returns to his peaceful retirement. Michael Burry closes his fund after public backlash and multiple IRS audits, now only investing in water securities. The personnel of the banks responsible for the crisis escape any consequences for their actions, with the single exception of one trader, Kareem Serageldin. It is noted that as of 2015, banks are selling CDOs again under a new label: \"Bespoke Tranche Opportunity\"."}}},{"rowIdx":185,"cells":{"movie_name":{"kind":"string","value":"I Don't Feel at Home in This World Anymore._2017"},"imdb_id":{"kind":"string","value":"tt5710514"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Nursing assistant Ruth returns home from a bad day at work to find she has been burgled. She reports to the police that the thief has stolen her medication, her grandmother's silverware and a laptop computer. When she asks Detective William Bendix for advice, he merely chastises her for leaving her door unlocked. Ruth asks her neighbors if they saw anything suspicious; one of them, Tony, becomes enraged that someone would target a neighbor. When a mobile app reveals the location of her laptop and the police refuse to do anything, she enlists Tony's help. Ruth and Tony go to the location, where Ruth intimidates the owner into returning her laptop. He claims that he bought it from a fence who operates a resale shop. Ruth and Tony investigate the shop the next morning, where they find the stolen silverware and a man whose shoe matches a print left in her yard. Ruth gets into a scuffle with the owner when he demands she pay for the stolen silverware, and after he breaks her finger, Tony knocks him unconscious, at which point the two flee. Tony, having recorded the license plate number on the thief's van, researches it and learns that it is registered to someone named Christian Rumack. Ruth and Tony impersonate cops at the address belonging to the van, where a woman named Meredith lets them inside. She reveals that the owner of the van, her husband Chris, is not the one who uses the van; it is instead her step-son, who was given the van by his father. Chris Senior returns home abruptly with his bodyguard Cesar. Ruth states that she only wants to confront Christian about his behavior, but Chris taunts her for her idealism and kicks them out. As they leave, Ruth steals lawn art from Chris and Meredith. Disillusioned with Ruth's behavior, Tony goes back to his house, leaving Ruth alone. Christian and his friends, Marshall and Dez, watch from the side, calling off their intended robbery of Chris. They send Christian to confront Ruth about what she knows about them. He surprises her inside her home, and she crushes his windpipe in self-defense. As he staggers into the street, a bus strikes and kills him. Marshall and Dez kidnap Ruth, forcing her to take Christian's place in their heist. Ruth gains them entry into the mansion, where Meredith and Cesar are held at gunpoint and told to summon Chris. A battle ensues, during which Tony comes to Ruth's aid and is badly wounded; Cesar, Chris, and Dez are killed; and Meredith escapes. Ruth and Tony flee into the woods behind the mansion, with Marshall close behind. Ruth hides Tony under some foliage, then attacks Marshall by throwing rocks at him, and his sudden movements cause him to be bitten by a water moccasin. Panicked that she cannot find Tony on her way back, Ruth sees her grandmother's ghost point her in the correct direction. Grateful that Ruth saved her life, Meredith neglects to identify her as one of the burglars to Bendix. Ruth returns to her daily life with Tony, who survived his wounds."}}},{"rowIdx":186,"cells":{"movie_name":{"kind":"string","value":"Labyrinth_1986"},"imdb_id":{"kind":"string","value":"tt0091369"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"16-year-old Sarah Williams recites from a book titled \"The Labyrinth\" in the park with her dog Merlin but becomes distracted by a line she is unable to remember while being watched by a barn owl. Realizing she is late to babysit her baby half-brother Toby, she rushes home and is confronted by her stepmother Irene before she and her father Robert leave for dinner. She then finds Toby in possession of her treasured childhood teddy bear, Lancelot. Frustrated by this and his constant crying, Sarah rashly wishes Toby be taken away by the goblins. She is shocked when Toby disappears and Jareth, the Goblin King, arrives. He offers Sarah her dreams in exchange for the baby, but she refuses, having instantly regretted her wish. Jareth reluctantly gives Sarah 13 hours to solve his labyrinth and find Toby before he is turned into a goblin forever. Sarah meets a dwarfish man named Hoggle, who aids her in entering the labyrinth. She has trouble finding her way at first, but meets a talking worm who inadvertently sends her in the wrong direction. Sarah ends up in an oubliette, where she reunites with Hoggle. After they are confronted by Jareth and escape one of his traps, the two encounter a large beast named Ludo. Hoggle flees in a cowardly fashion while Sarah befriends Ludo. After another riddle, she loses him in a forest. Hoggle encounters Jareth, who gives him a drugged peach and instructs him to give it to Sarah, calling his loyalty into question, as he was supposed to lead her back to the beginning of the maze. Sarah is harassed by a group of creatures called the Fireys, but Hoggle comes to her aid. Thankful, she kisses him, and Jareth magically sends them to the Bog of Eternal Stench as punishment, where they reunite with Ludo. The trio meet the guard of the swamp named Sir Didymus, an anthropomorphic fox, and his Old English Sheepdog \"steed\" named Ambrosius. After Ludo howls and summons a trail of rocks to save Sarah from falling into the bog, Didymus joins the group. When the group gets hungry, Hoggle gives Sarah the peach and runs away as she falls into a trance and begins to forget her quest. She has a dream where Jareth comes to her at a masquerade ball, proclaiming his love for her, but she rebuffs him and escapes, falling into a junkyard. After an old Junk Lady fails to brainwash her, she is rescued by Ludo and Didymus, outside the Goblin City near Jareth's castle. They are confronted by the gate guard, but Hoggle bravely comes to their rescue. Despite his feeling unworthy of forgiveness for his betrayal, Sarah and the others welcome him back, and they enter the city together. Jareth is alerted to their presence and sends his goblin army to stop them, but Ludo howls and summons a multitude of rocks to chase the guards away, and they enter the castle. Sarah insists she must face Jareth alone and promises to call the others if needed. In a room modeled after M. C. Escher's Relativity, she confronts Jareth while trying to retrieve Toby. She recites the lines from her book that mirror her adventure to that point, but she still cannot remember the last line. As Jareth offers Sarah her dreams, she remembers the line, \"You have no power over me!\" Defeated at the last second, Jareth returns Sarah and Toby home safely and turns into a barn owl, flying away. Realizing how important Toby is to her, Sarah gives him Lancelot and returns to her room. As her father and stepmother return home, she sees her friends in the mirror and realizes even though she is growing up, she still needs them in her life every now and again. In an instant, a number of the major characters from the Labyrinth appear in her room for a raucous celebration, and she reunites with Hoggle, Ludo, Didymus, and Ambrosius. As they celebrate, Jareth, in his owl form, watches from outside and then flies away into the night."}}},{"rowIdx":187,"cells":{"movie_name":{"kind":"string","value":"Near Dark_1987"},"imdb_id":{"kind":"string","value":"tt0093605"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"One night, Caleb Colton, a young man in a small town, meets an attractive young drifter named Mae. Just before sunrise, she bites him on the neck and runs off. The rising sun causes Caleb's flesh to smoke and burn. Mae arrives with a group of roaming vampires in an RV and takes him away. The most psychotic of the vampires, Severen, wants to kill Caleb but Mae reveals that she has already turned him. Their charismatic leader, Jesse Hooker, reluctantly agrees to allow Caleb to remain with them for a week to see if he can learn to hunt and gain the group's trust. Caleb is unwilling to kill to feed, which alienates him from the others. To protect him, Mae kills for him and then has him drink from her wrist. Jesse's group enters a bar and kills the occupants. They set the bar on fire and flee the scene. All except Mae want to kill Caleb after he endangers them by letting the only living occupant escape, but after Caleb endangers himself to help them escape their motel room during a daylight police raid, Jesse and the others are grateful and temporarily mollified. A camaraderie commences, with Caleb asking Jesse how old he is and Jesse responding that he \"fought for the South\" (during the American Civil War), making him about 150 years old (Severen had earlier suggested he and Jesse started the Great Chicago Fire of 1871). Meanwhile, Caleb's father has been searching for Jesse's group. A child vampire in the group, Homer, meets Caleb's sister, Sarah, and wants to turn her into his companion, but Caleb objects. While the group argues, Caleb's father arrives and holds them at gunpoint, demanding that Sarah be released. Jesse taunts him into shooting him, then regurgitates the bullet before wrestling the gun away. In the confusion, Sarah opens a door, letting in the sunlight and forcing the vampires back. Burning, Caleb escapes with his family. Caleb suggests they try giving him a blood transfusion. The transfusion unexpectedly reverses Caleb's transformation. That night, the vampires search for Caleb and Sarah. Mae distracts Caleb by trying to persuade him to return to her while the others kidnap his sister. Caleb discovers the kidnapping and his tires slashed but gives chase on horseback. When the horse shies and throws him, he is confronted by Severen. Caleb commandeers a tractor-trailer and runs Severen over. The injured vampire suddenly appears on the hood of the truck and manages to rip apart the wiring in the engine. Caleb jackknifes the vehicle and jumps out as the truck explodes, killing Severen. Seeking revenge, Jesse and his girlfriend, Diamondback, pursue him but are forced to escape in their car as dawn breaks. Attempting to save Sarah, Mae breaks out of the back of the car with her. Mae's flesh begins to smoke as she is burned by the sun but she carries Sarah into Caleb's arms, taking refuge under his jacket. Homer attempts to follow, but as he runs he dies from exposure to the sun. Their sunproofing ruined, Jesse and Diamondback also begin to burn. They attempt to run Caleb and Sarah over but fail, dying as the car blows up. Mae awakens later, her burns now healed. She too has been given a transfusion and is cured. She and Caleb comfort each other in a reassuring hug as the film ends."}}},{"rowIdx":188,"cells":{"movie_name":{"kind":"string","value":"Blood Simple_1984"},"imdb_id":{"kind":"string","value":"tt0086979"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Bartender Ray and housewife Abby are driving through a heavy downpour at night, discussing Abby's bad marriage to Ray's boss Julian Marty. After gradually admitting they are attracted to each other, they stop at a motel and have sex. Lorren Visser, a private detective, takes photos of the tryst and delivers them to Marty. Abby grabs some belongings from home, including a small pistol Marty gifted to her, and warns Ray to stay away from the bar. Instead, Ray goes and asks Marty for his unpaid wages. Marty mocks Ray, predicting that Abby will betray him the way she did Marty and when confronted will say, \"I haven't done anything funny.\" The next morning Marty attempts to kidnap Abby from Ray's home, but she beats him up. Humiliated, he offers Visser $10,000 to kill the couple. Visser agrees and tells him to \"go fishing\" and establish an alibi. Visser breaks into Ray's home and steals Abby's gun. He presents photos of the couple's corpses to Marty as evidence. Marty goes to the bathroom to vomit and then opens the safe to give Visser his fee, surreptitiously placing one of the photos inside. Visser suddenly shoots Marty with Abby's gun, leaving it and taking the money. However, Visser doesn't realize his cigarette lighter is underneath the fish Marty caught on his trip. It is then revealed that Visser doctored photos of the couple asleep to look as if he shot them. Ray, deciding to confront Marty about his wages again, returns to the bar and discovers his body, accidentally discharging Abby's gun when he steps on it. Assuming the worst, he puts the gun in Marty's coat pocket and the body in the backseat of his car. While driving, he is shocked to discover that Marty is still alive, albeit barely. Ray drives into a field and begins to bury Marty in a shallow grave. Finding the gun, Marty takes aim and pulls the trigger three times, falling on an empty chamber each time. Ray gingerly takes the gun and finishes burying Marty as he screams in terror. A distraught Ray goes to Abby's new apartment and tries to explain that he \"cleaned up your mess.\" She, unnerved by the blood on his clothes, says \"I haven't done anything funny,\" which disturbs him further and leads to an argument. Visser calls the apartment but does not speak when Abby picks up; she assumes and tells Ray that it was Marty. Horrified, he drops the gun as he leaves. Later, he is confronted by Meurice, the other bartender, who tells him about a phone message Marty left regarding money stolen from the safe (Marty's cover story for the $10,000 he paid Visser). While burning the doctored photos, Visser realizes that Marty kept one and that he cannot find his lighter. Knowing these can implicate him, he returns to the bar and attempts to break into the safe, but is thwarted by the arrival of Abby, who thinks the damage to the safe was caused by Ray and starts to realize Marty might be dead. Later, she has a nightmare of Marty, warning her that Ray will kill her as well. She goes to confront Ray who, now thoroughly confused, tells her Marty was still alive when Ray buried him. While Abby tells Meurice about her suspicions, Ray goes to the bar himself and, opening the safe, discovers the doctored photo. Believing Abby is in danger, he realizes someone is following him on the way to her apartment. When Abby arrives and discovers Ray sitting in the dark, she turns the lights on, thinking it will protect her from him. Visser, who is on a rooftop across the street with a rifle, shoots and kills Ray. Abby manages to smash the lightbulb with her shoes and hides in the bathroom. Entering the apartment, Visser searches Ray for the lighter (which was overlooked by everyone) and goes into the bathroom, only to find Abby has climbed out the window into the next apartment. When he reaches around to open the window she stabs him with Ray's knife, pinning his hand to the sill. As she backs away in shock, Visser empties his gun into the wall, then punches through it to remove the knife. Returning to the apartment, Abby picks up her gun and shoots Visser through the bathroom door. Abby says, \"I'm not afraid of you, Marty.\" Visser, lying mortally wounded on the floor, bursts into laughter and responds, \"Well, ma'am, if I see him, I'll sure give him the message.\""}}},{"rowIdx":189,"cells":{"movie_name":{"kind":"string","value":"The Maltese Falcon_1941"},"imdb_id":{"kind":"string","value":"tt0033870"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In San Francisco in 1941, private investigators Sam Spade and Miles Archer meet prospective client Ruth Wonderly. She claims to be looking for her missing sister, who ran off from their home in New York and came to the city with a man named Floyd Thursby. Archer agrees to help get her sister back. However, later that night, the police inform Spade that Archer has been killed. Spade tries calling his client at her hotel to discover she has checked out. Back at his apartment, he is grilled by Police Detective Tom Polhaus and Lieutenant Dundy, who tell him that Thursby was murdered the same evening. Dundy suggests that Spade had the opportunity and motive to kill Thursby, who likely killed Archer. Later that morning, Spade meets Wonderly, now calling herself Brigid O'Shaughnessy, who confesses that her story was made up. However, she convinces Spade to investigate the murders and also reveals that Thursby was her partner. He took advantage of her and probably killed Archer, but she claims to have no idea who killed Thursby. At his office, Spade meets Joel Cairo, who first offers him $5,000 to find a \"black figure of a bird\". When Spade is skeptical, Cairo pulls a gun on him and searches the room for it. Spade knocks Cairo out and goes through his belongings. When Cairo comes round, he hires Spade. On his way to visit O'Shaughnessy later that evening, Spade is followed by a young man but manages to evade him. When he tells O'Shaughnessy about Cairo, her nervousness indicates she knows him. He arranges a meeting between the two at his apartment, where Cairo becomes agitated when O'Shaughnessy reveals that the \"Fat Man\" is in San Francisco. When Spade goes to Cairo's hotel in the morning, he spots Wilmer Cook, the young man who trailed him earlier. Wilmer works for Kasper Gutman, the \"Fat Man\". In his hotel suite, Gutman relates the history of the Maltese Falcon, then offers Spade his pick of $25,000 for the bird and another $25,000 after its sale, or a quarter of the proceeds from its sale. Spade passes out because his drink is spiked. Wilmer and Cairo come in from another room and leave with Gutman. On coming round, Spade searches the suite and finds a newspaper with the arrival time of the freighter La Paloma circled. He goes to the dock, only to find the ship on fire. Later, the ship's captain Jacoby is shot several times and staggers into Spade's office before dying. The bundle he was clutching contains the Maltese Falcon. O'Shaughnessy calls the office, gives an address, then screams before the line goes dead. Spade stashes the package at the bus terminal, then goes to the address, which turns out to be an empty lot. Spade returns home to discover O'Shaughnessy hiding in a doorway. He takes her inside and finds Gutman, Cairo, and Wilmer waiting for him, guns drawn. Gutman gives Spade $10,000 for the Falcon, but Spade tells them that part of his price is someone he can turn over to the police for the murders of Thursby and Captain Jacoby, suggesting Wilmer. After some intense negotiation, Gutman and Cairo agree and Wilmer is knocked out and disarmed. Just after dawn, Spade calls his secretary, Effie Perine, to bring him the bundle. However, when Gutman inspects the statuette, he finds it is a fake and Wilmer escapes during the tumult. Recovering his composure, Gutman invites Cairo to return with him to Istanbul to continue their quest. After they leave, Spade calls the police and tells them where to pick up the pair. Spade then angrily confronts O'Shaughnessy, telling her he knows she killed Archer to implicate Thursby, her unwanted accomplice. She confesses, but begs Spade not to turn her over to the police. Despite his feelings for her, Spade gives O'Shaughnessy up, then submits the statuette as evidence, describing it as \"the stuff that dreams are made of\"."}}},{"rowIdx":190,"cells":{"movie_name":{"kind":"string","value":"The Naked Gun: From the Files of Police Squad!_1988"},"imdb_id":{"kind":"string","value":"tt0095705"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Police Squad Lieutenant Frank Drebin is on vacation in Beirut when he disrupts a conference of America's greatest enemies (Idi Amin, Muammar Gaddafi, Ayatollah Khomeini, Yasser Arafat, Fidel Castro, and Mikhail Gorbachev) who are trying to conceive a terrorist plan to humiliate the U.S. In Los Angeles, Officer Nordberg attempts to bust a heroin operation run by businessman Vincent Ludwig but is shot by Ludwig's henchmen. Drebin returns to L.A. and is briefed on the case before visiting Nordberg in the hospital. Nordberg provides cryptic clues, including a picture of Ludwig's ship on which the deal had been organized. Frank also learns that Nordberg's jacket tested positive for heroin. Police Squad is put in charge of security for the visit of Queen Elizabeth II to Los Angeles, and Captain Ed Hocken tells Drebin that he has 24 hours to clear Nordberg before word gets out and detracts from the Queen's visit. Drebin visits Ludwig to inquire about the ship and Ludwig learns that Nordberg is still alive. Ludwig asks his assistant Jane, who is unaware of Ludwig's criminal activities, to get close to Drebin and see what he knows. Jane provides Drebin with information he requested and the two begin falling in love. Ludwig meets with Pahpshmir, from the Beirut meeting, to discuss an assassination plot against the Queen. Ludwig agrees to do it for $20 million and explains that he will use a beeper that uses post-hypnotic suggestion to make anyone an unwitting assassin. Ludwig attempts to have Nordberg killed at the hospital by hypnotizing his doctor, but Drebin successfully protects Nordberg. The doctor is killed in a comical fashion before Drebin can interrogate him. Drebin then breaks into Ludwig's office to search for evidence. He finds a note from Pahpshmir to Ludwig which confirms his suspicions, but accidentally starts a fire that destroys the note and the office. Drebin later confronts Ludwig with his allegations at a reception for the Queen's arrival. He misinterprets Ludwig's presentation of a musket to the Queen as an attack and tries to protect her, but only causes more of a problem and is fired from Police Squad. Jane finds out the plan will be executed at a baseball game at Anaheim Stadium and that one of the players will perform the act. She tells Drebin of the plan but he is forced to sneak into the game in disguise. Police Squad arrives at the stadium and Drebin tells them about the plot. Drebin knocks the home plate umpire out and takes his place in order to frisk the players for weapons while they are at bat. Ludwig eventually activates his assassin, Reggie Jackson. Jane alerts Drebin, who chases after Jackson and tackles him, causing a bench-clearing brawl that allows Jackson to escape. Ludwig holds Jane at gunpoint and begins to leave the stadium while Jackson takes aim at the Queen. Drebin tries to tranquilize Jackson, but misses and hits a large woman on the upper deck. She falls over the railing and lands on Jackson, crushing him and saving the Queen's life. Drebin follows Ludwig to the top of the stadium and shoots him with another dart. Ludwig fatally plummets over the side of the stadium and is struck by a passing bus, run over by a steamroller, and finally trampled by the USC marching band. Some of the band members inadvertently step on Ludwig's beeper, triggering Jane to attempt to kill Drebin. He breaks Jane's hypnosis by openly professing his feelings for her and giving her an engagement ring. Drebin is reinstated to Police Squad and a recovered Nordberg congratulates him. Unfortunately, Drebin accidentally pushes Nordberg's wheelchair down the stadium stairs and launches him onto the field."}}},{"rowIdx":191,"cells":{"movie_name":{"kind":"string","value":"Star Trek: The Motion Picture_1979"},"imdb_id":{"kind":"string","value":"tt0079945"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"A Starfleet monitoring station, Epsilon Nine, detects an alien force, hidden in a massive cloud of energy, moving through space towards Earth. The cloud destroys three of the Klingons' new K't'inga-class warships and the monitoring station en route. On Earth, the starship Enterprise is undergoing a major refit; her former Captain, James T. Kirk, has been promoted to Admiral and works in San Francisco as Chief of Starfleet Operations. Starfleet dispatches Enterprise to investigate the cloud entity as the ship is the only one in intercept range, requiring her new systems to be tested in transit. Kirk takes command of the ship citing his experience, angering Captain Willard Decker, who had been overseeing the refit as its new commanding officer. Testing of Enterprise's new systems goes poorly; two officers, including the science officer, are killed by a malfunctioning transporter, and improperly calibrated engines almost destroy the ship. The tension between Kirk and Decker increases when the admiral demonstrates his unfamiliarity with the new systems of the Enterprise. Spock arrives as replacement science officer, explaining that while on his home world undergoing a ritual to purge all emotion, he felt a consciousness that he believes emanates from the cloud. Enterprise intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock and abducts the navigator, Ilia. She is replaced by a robotic doppelgänger, a probe sent by \"V'Ger\" to study the crew. Decker is distraught over the loss of Ilia, with whom he had a romantic history. He becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia's memories and feelings buried within. Spock takes a spacewalk to the alien vessel's surface and attempts a telepathic mind meld with it. In doing so, he learns that the vessel is V'Ger itself, a living machine. At the heart of the massive ship, V'Ger is revealed to be Voyager 6, a 20th-century Earth space probe believed lost. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned, and return that information to its creator. The machines upgraded the probe to fulfill its mission, and on its journey the probe gathered so much knowledge that it achieved consciousness. Spock realizes that V'Ger lacks the ability to give itself a focus other than its original mission; having learned what it could on its journey home, it finds its existence empty and without purpose. Before transmitting all its information, V'Ger insists that the Creator come in person to finish the sequence. Realizing that the machine wants to merge with its creator, Decker offers himself to V'Ger; he merges with the Ilia probe and V'Ger, creating a new form of life that disappears into another dimension. With Earth saved, Kirk directs Enterprise out to space for future missions."}}},{"rowIdx":192,"cells":{"movie_name":{"kind":"string","value":"Cinderella Man_2005"},"imdb_id":{"kind":"string","value":"tt0352248"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"James J. Braddock is an Irish-American boxer from New Jersey, formerly a light heavyweight contender, who is forced to give up boxing after breaking his hand in the ring. This is both a relief and a burden to his wife, Mae. She cannot bring herself to watch the violence of his chosen profession, yet she knows they will not have enough income without his boxing. As the United States enters the Great Depression, Braddock does manual labor as a longshoreman to support his family, even with his injured hand. Unfortunately, he cannot get work every day. Thanks to a last-minute cancellation by another boxer, Braddock's longtime manager and friend, Joe Gould, offers him a chance to fill in for just one night and earn cash. The fight is against the number-two contender in the world, Corn Griffin. Braddock stuns the boxing experts and fans with a third-round knockout of his formidable opponent. He believes that while his right hand was broken, he became more proficient with his left hand, improving his in-ring ability. Despite Mae's objections, Braddock takes up Gould's offer to return to the ring. Mae resents this attempt by Gould to profit from her husband's dangerous livelihood, until she discovers that Gould and his wife also have been devastated by hard times. With a shot at the heavyweight championship held by Max Baer a possibility, Braddock continues to win. Out of a sense of pride, he uses a portion of his prize money to pay back money to the government given to him while unemployed. When his rags to riches story gets out, the sportswriter Damon Runyon dubs him \"The Cinderella Man\", and before long Braddock comes to represent the hopes and aspirations of the American public struggling with the Depression. After wins against John Henry Lewis and Art Lasky, a title fight against Baer comes his way. Braddock is a 10-to-1 underdog. Baer is so destructive that the fight's promoter, James Johnston, forces both Braddock and Gould to watch a film of Baer in action, just so he can maintain later that he warned them what Braddock was up against, as Baer had reportedly killed 2 men in the ring. Braddock demonstrates no fear. The arrogant Baer attempts to intimidate him, even taunting Mae in public that her man might not survive. When he says this, she becomes so angry that she throws a drink at him. She is unable to attend the fight at the Madison Square Garden Bowl or even to listen to it on the radio. On June 13, 1935, in one of the greatest upsets in boxing history, Braddock defeats the seemingly invincible Baer to become the heavyweight champion of the world. An epilogue reveals that Braddock would lose his title to Joe Louis (who would later call Braddock \"the most courageous man I ever fought\") and later worked on the building of the Verrazzano Bridge, owning and operating heavy machinery on the docks where he worked during the Depression, and that he and Mae used his boxing income to buy a house, where they spent the rest of their lives."}}},{"rowIdx":193,"cells":{"movie_name":{"kind":"string","value":"Fantastic Beasts: The Crimes of Grindelwald_2018"},"imdb_id":{"kind":"string","value":"tt4123430"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"In 1927, as the Magical Congress of the United States of America (MACUSA) is transferring the dark wizard Gellert Grindelwald to Europe to stand trial, Grindelwald escapes. Three months later in London, Newt Scamander requests the Ministry of Magic lift his international travel ban. While there, he runs into former Hogwarts classmate Leta Lestrange, his brother Theseus' fiancée. The Ministry will grant Newt's request if he agrees to help Theseus locate Credence Barebone, who is in Paris. Newt declines after learning he must work with ruthless bounty hunter Gunnar Grimmson. Albus Dumbledore (revealed to have indirectly but intentionally sent Newt to New York) also asks Newt to find Credence, believing Credence is Leta's long-lost half-brother, Corvus Lestrange V. Newt is visited by his American friends Queenie Goldstein and Jacob Kowalski, a non-magical person. Jacob has regained his memories that were erased the previous year. Newt learns that Queenie's sister Tina Goldstein mistakenly believed Newt and Leta were engaged and began seeing someone else. Newt realizes that Queenie enchanted Jacob and came to London to circumvent the marriage ban between wizards and non-magical people. After Newt lifts the enchantment, Jacob refuses to marry Queenie, fearing the consequences she would face. Upset, Queenie leaves to find Tina, who is searching for Credence in Paris. Newt and Jacob follow soon after. In Paris, Credence escapes the Circus Arcanus with captive performer Nagini, a woman cursed to permanently transform into a snake. Searching for Credence's birth mother, they locate half-elf servant Irma Dugard, who brought him to America for adoption. Grimmson, secretly a Grindelwald follower, kills Irma before she reveals who sent her. Tina meets Yusuf Kama, who is also hunting Credence. Newt and Jacob trail Yusuf to Tina, finding her being held hostage. Yusuf also imprisons them, explaining he made an Unbreakable Vow to kill his half-brother, whom he believes is Credence. Meanwhile, a distraught Queenie is brought to Grindelwald; knowing Queenie's abilities, he allows her to leave while manipulating her into joining him through her desire to marry Jacob. Newt and Tina escape from Yusuf and infiltrate the French Ministry of Magic to search for documents confirming Credence's identity, but Leta and Theseus discover them. Newt and Tina reunite after Newt explains he was never engaged to Leta. They go to the Lestrange family tomb and find Yusuf confronting Credence and Nagini. Yusuf reveals that he is carrying out his father Mustafa's request to avenge his mother Laurena: she was kidnapped by Corvus Lestrange IV using the Imperius Curse, and died giving birth to Leta, Yusuf's half-sister. Corvus IV remarried and had Corvus V. He sent Corvus V to America for adoption to keep him safe after discovering Yusuf's revenge plot. Leta reveals that she unintentionally caused Corvus V's death: sailing to America, Leta, unable to stand his constant crying, switched her baby brother with another infant, Credence; the ship sank, and Corvus drowned. The group enter a rally of Grindelwald's followers. Jacob is searching for Queenie, who is among the attendees. Grindelwald displays a vision of a future global war, and rails against laws prohibiting wizards from preventing such a tragedy. As Theseus and the Aurors surround the rally, Grindelwald prompts his followers to spread his message across Europe. He conjures a ring of blue fire that kills the retreating Aurors and that only his most loyal followers can safely cross. Queenie and Credence cross the fire despite Jacob's and Nagini's protests, while Leta sacrifices herself to allow others to escape. As Grindelwald and his followers depart, the remaining wizards and immortal alchemist Nicolas Flamel extinguish the fire. Newt joins the fight against Grindelwald. At Hogwarts, Newt presents Dumbledore with a vial that Newt's niffler stole from Grindelwald. It contains a blood pact Grindelwald and Dumbledore made in their youth that prevents them dueling each other; Dumbledore believes it can be destroyed. At Nurmengard Castle, his Austrian base, Grindelwald presents Credence with a wand along with his phoenix, and reveals Credence's possible identity: Aurelius Dumbledore."}}},{"rowIdx":194,"cells":{"movie_name":{"kind":"string","value":"Brick_2005"},"imdb_id":{"kind":"string","value":"tt0393109"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"High school student Brendan Frye is living a lonely existence after breaking up with his girlfriend Emily Kostich and betraying his friend Jerr to the authorities. Brendan receives a phone call from a terrified Emily. She begs him to help her, mentioning a \"brick\", \"poor Frisco\", \"Tug\", and \"the Pin\" before abruptly and fearfully hanging up. Her fear appears to have been due to a passing black Ford Mustang, from which a distinctive-looking cigarette was thrown. Brendan searches for Emily and arranges a meeting through Dode, leader of a stoner clique that Emily belongs to. When they meet, Emily recants what she had said on the phone and tells Brendan to let her go. Brendan steals her notepad during the encounter, finding a note that leads him directly to her dead body. Brendan takes it upon himself to solve her murder, enlisting the aid of an acquaintance named Brain. Brendan hides the body to avoid police intrusion. Brendan discovers that \"The Pin\" mentioned by Emily is a local drug baron, during a party, after obtaining an invitation similar to one found in Emily's notebook. He finds the information on The Pin from a girl named Laura while at the party. It is also strongly implied that Laura is attracted to Brendan, even though she is the apparent girlfriend of Brad Bramish, a football player. Brendan sets about getting The Pin's attention by beating up Brad Bramish after finding that the arrogant jock is also The Pin's regular customer. Afterwards, Brendan is beaten up by an unknown young man while speaking on the phone with Brain. Later while walking, Brendan sees the same black Ford Mustang in a parking lot. He attempts to break into it, and is again beaten up by the same man. Brendan asks the man several times to meet The Pin. Reluctant at first, going so far as to drive away and then come back again, the young man takes Brendan to The Pin. Brendan meets with The Pin and persuades him to consider Brendan for a spot in his operation. It is also revealed that the unknown man is Tug, The Pin's main grunt and muscle. The Pin tells Brendan he will either hire him or rub him out by the next day. On the walk back home Laura tells Brendan that The Pin had previously rejected Emily's attempt to join, so she stole The Pin's brick. Laura then offers to help Brendan, but he distrusts her. While Brendan awaits a response from The Pin, he is attacked by a knife wielding man while at school, again while on the phone with Brain. Brendan begins to cough. The Pin accepts Brendan. Brendan gets a call from Dode, who says he saw Brendan hide Emily's body and, believing Brendan to be the murderer, vows to ruin him. Brendan meets with The Pin, who suspects an uprising from Tug. Brain reports that \"poor Frisco\" is Frisco Farr, a student who fell into a coma after injecting poorly-cut heroin. At The Pin's house, Tug tells Brendan that The Pin received a shipment of ten bricks and sold eight; one was stolen and replaced with one that had been doctored with detergent, causing Frisco's coma. The Pin arrives and tells Tug about hearing from someone who knows what happened to Emily. Brendan, weakened from several recent fistfights, intercepts Dode before the meeting, and discovers Emily was pregnant when she died. Dode hints to Tug and The Pin that he has information about who killed Emily, saying it is someone very close, but Tug goes berserk and beats Dode before shooting him in the head. Tug then threatens The Pin, who walks away as Brendan faints from a coughing fit. Brendan awakens in Tug's bedroom, where Tug says he's at war with The Pin. Brendan confronts Kara, accusing her of manipulating Dode by telling him Emily was carrying his baby and pushing him to sell his information to The Pin. Brendan arranges a meeting between Tug and The Pin, and waits in Tug's bed; Laura enters to comfort him as he sobs over Emily, and they couple. Brendan recognizes her post-sex cigarette as the same distinctive brand that was dropped from Tug's black Mustang after Emily was frightened during the first phone call. At the meeting, chaos erupts when it is discovered that the tenth brick is missing once again. Tug beats The Pin to death while Brendan flees, escaping just as police arrive. As he goes he passes the trunk of Tug's car, where he has hidden Emily's body to ensure that police pin her murder on Tug. The next day, Brendan meets with Laura in the school's football field. Brendan explains to Laura that he knows she set Emily up to take the fall for Laura's theft of the ninth brick. She further manipulated Emily into meeting Tug who ultimately killed her, after letting him believe he was responsible for Emily's pregnancy. It is revealed that Laura later stole the tenth brick as well. Brendan tells Laura he has put this truth in a note to Vice Principal Trueman of the school, who will find the brick in Laura's locker if, in fact, what he says is true. Laura vindictively tells Brendan that Emily expressed regret that she couldn't keep her pregnancy because she didn't love the prospective father, and that Emily was three months pregnant when she died, implying that the baby was his. The film ends with Brendan watching Laura as she walks away."}}},{"rowIdx":195,"cells":{"movie_name":{"kind":"string","value":"15 Minutes_2001"},"imdb_id":{"kind":"string","value":"tt0179626"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Ex-convicts Emil Slovak (Karel Roden) and Oleg Razgul (Oleg Taktarov) arrive in the United States to claim their part of a bank heist in Russia (or in the Czech Republic). Oleg steals a video camera from a Make-Your-Own-Movie establishment. At the rundown apartment of their old partner, they are denied their share, so Emil fatally stabs him and his wife as Oleg tapes it with the camera. Czech immigrant Daphne Handlova (Vera Farmiga) witnesses the murders from the bathroom, then escapes before they can kill her as well. To hide the crime, Emil burns down the apartment. Jordy Warsaw (Edward Burns) is an arson investigator assigned to the case. Eddie Flemming (Robert De Niro) is a flamboyant New York City detective who is also called to the scene. Flemming is such a high-profile celebrity that he is followed around by a reporter from a tabloid TV show, Top Story, hosted by the arrogant Robert Hawkins (Kelsey Grammer). Everywhere he goes, citizens cheer him on. Flemming and Warsaw agree to work the case together. While checking out the crowd, Warsaw spots Daphne trying to get his attention, but she disappears. Emil calls an escort service and asks for a \"Czech girl.\" One calling herself Honey (Noelle Evans) arrives, whom he kills but not before getting the address of the escort service. Oleg tapes the murder. He continually films everything, claiming he wants to be the next Frank Capra. Flemming and Warsaw investigate her murder, visiting the escort service. Rose Hearn (Charlize Theron), who runs it, tells them that the girl Warsaw described doesn't work for her but rather a hairdresser. She mentions a couple of other guys having just asked her the same questions. Flemming and Warsaw arrive at the hair salon just after Emil and Oleg have warned Daphne to keep quiet. Flemming notices someone filming them from across the street. A foot chase begins, Flemming's regular partner Leon Jackson (Avery Brooks) being hit with a glass bottle and his wallet stolen. Emil finds a card with Flemming's name and address. He is jealous of Flemming's celebrity status and is convinced that anyone in America can get away with anything. On the night Flemming is to propose to his girlfriend Nicolette Karas (Melina Kanakaredes), Oleg and Emil sneak into his house and bind Flemming to a chair. While Oleg is recording, Emil explains his plan to Flemming: He will kill him and sell the tape to Top Story. After being committed to an insane asylum, he will declare that he is actually sane. Since he can't be tried again, he will get off, collecting royalties from his books and movies. Fleming attacks them with his chair (while still taped to it), but Emil gets the upper-hand and stabs him in the chest, mortally wounding him. Emil then suffocates and kills Flemming with a pillow. The entire city is in mourning. Emil calls Hawkins to offer a tape of the killing that he is willing to sell to Top Story. Hawkins pays him $1 million for it. Warsaw and the entire police force are furious, unable to believe that the TV show would air it, especially since Hawkins's main reporter is Nicolette. Emil and Oleg sit in a Planet Hollywood to watch the show in public. Halfway through the broadcast, customers realize that Emil and Oleg are right there with them and panic. Police arrive and arrest Emil, while Oleg escapes. Instead of delivering his suspect to the police station, Warsaw takes Emil to an abandoned warehouse to kill him. Other police arrive just in time and take Emil into custody. Everything goes as planned for Emil, now a celebrity who is pleading insanity. His lawyer agrees to work for 30% of the royalties Emil will receive for his story. Meanwhile, in hiding, Oleg becomes jealous of the notoriety that Emil is receiving. While the lawyer is leading Emil away, surrounded by the media, Warsaw provokes an argument, with the Top Story crew recording the whole thing. Oleg quietly approaches Hawkins and hands him the tape of Emil explaining his plan to Flemming, proving he was sane the whole time. Hawkins shouts out to Emil about the evidence in his possession. Emil grabs a policeman's gun, shoots Oleg and grabs Nicolette, who is covering the story, threatening to shoot her. Against orders, Warsaw shoots Emil a dozen times in the chest to avenge Flemming's murder. An officer observes that Oleg is still alive. Hawkins rushes to his side, where Oleg says a final few words about the movie that is still being taped, just before he dies. Hawkins attempts to get a comment from Warsaw, who punches him and walks away as the police all smile with approval."}}},{"rowIdx":196,"cells":{"movie_name":{"kind":"string","value":"Harry Potter and the Prisoner of Azkaban_2004"},"imdb_id":{"kind":"string","value":"tt0304141"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Harry Potter spends another dissatisfying summer with the Dursleys. On his thirteenth birthday, Vernon's visiting sister Marge viciously insults Harry and his parents, and an angry Harry causes her to inflate and float away. Expecting to be expelled for using magic outside school, Harry flees with his belongings. The Knight Bus, emergency transport for stranded witches and wizards, finds and takes Harry to the Leaky Cauldron, where Minister for Magic Cornelius Fudge assures Harry that he will not be punished. Reuniting with his best friends Ron Weasley and Hermione Granger, Harry learns that Sirius Black, a convicted supporter of Lord Voldemort, has escaped Azkaban Prison and intends to kill him. During the journey to Hogwarts, the Hogwarts Express is boarded by Dementors, ghostly prison guards searching for Black. One enters Harry's compartment, causing him to faint, but new Defense Against the Dark Arts teacher Remus Lupin repels it with a Patronus Charm. At Hogwarts, Headmaster Albus Dumbledore announces that Dementors will patrol the school until Black is captured. Rubeus Hagrid is appointed Care of Magical Creatures teacher, but his first class goes awry when Draco Malfoy provokes a Hippogriff named Buckbeak into attacking him; Malfoy's father, Lucius, consequently has Buckbeak sentenced to death. Returning to Gryffindor Tower, the students find the Fat Lady's portrait has been attacked, and the terrified Fat Lady warns Dumbledore that Black entered the castle. During a stormy Quidditch match, Dementors cause Harry to fall off his broomstick, which is destroyed by the Whomping Willow. Dumbledore uses the Slowing Charm to break Harry's fall, who later wakes up in the infirmary. Harry, after leaving the infirmary, is caught trying to visit Hogsmeade by Fred and George, who give him the Marauder's Map. Using the map, Harry sneaks into Hogsmeade and learns that Black is his godfather but divulged the Potters' whereabouts to Voldemort and murdered their mutual friend Peter Pettigrew. Determined to ward off the Dementors, Harry convinces Lupin to teach him the Patronus Charm. After Divination class, he witnesses Professor Trelawney enter a trance and prophesy that the Dark Lord will return. Watching Buckbeak's execution, Ron's pet rat Scabbers bites him and escapes, but a large black dog drags them both into a hole at the base of the Whomping Willow. This leads the trio through an underground passage into the Shrieking Shack, where the dog is revealed to be Black, an Animagus who can transform into an animal. Lupin appears, embracing Black as an old friend before revealing himself to be a werewolf. Snape arrives to apprehend Black but is knocked out by Harry's Disarming spell. Lupin and Black reveal that Scabbers is actually the Animagus form of Pettigrew, who betrayed Harry's parents, faked his death and framed Black for his own crimes. Turning Pettigrew back into human form, the group head back to the castle, intending to both expose Pettigrew as the true criminal and exonerate Sirius, but the full moon causes Lupin to transform and Pettigrew escapes. Black transforms into his animal form and fights off werewolf Lupin, who seriously injures Black. Black manages to escape when a distant wolf cry distracts Lupin and sends him off. Harry finds Black, who are then both attacked by Dementors until an unseen figure casts a powerful Patronus charm to ward them off. Harry falls unconscious, awakening in the infirmary with Dumbledore and Hermione. Learning that Black has been captured and sentenced to the Dementor's Kiss, Harry and Hermione act on Dumbledore's advice and use Hermione's Time-Turner, which she was given to attend several classes at once, to go three hours back in time. They see themselves reliving the night's events and set Buckbeak free from execution. Spotting the past Harry and Black being attacked by Dementors, Harry rescues them using a Patronus charm and realizes he was the unseen figure who saved them earlier. He and Hermione free Black, who flies away on Buckbeak, still a fugitive without proof of his innocence. Harry and Hermione return to the infirmary, rejoining their own timeline. Exposed as a werewolf, Lupin resigns from teaching and returns the Marauder's Map to Harry. Black sends Harry a Firebolt broomstick, which he happily takes on a ride."}}},{"rowIdx":197,"cells":{"movie_name":{"kind":"string","value":"Bachelor Party_1984"},"imdb_id":{"kind":"string","value":"tt0086927"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Party-animal Rick Gassko (Tom Hanks), who makes his living as a Catholic school bus driver, decides to settle down and marry his girlfriend Debbie Thompson (Tawny Kitaen). After gathering his buddies to give them the news, his shocked friends (led by Jay (Adrian Zmed)) decide to throw him the bachelor party to end all bachelor parties. The bride's wealthy, conservative parents are not at all happy with her decision and her father decides to enlist the help of Debbie's ex-boyfriend Cole Whittier (Robert Prescott) to break them up and win her back. While Debbie worries and goes off to her bridal shower thrown by her friends, Rick heads off to the bachelor party and promises to remain faithful. Both parties start off on the wrong foot thanks to a little sabotage by Cole. As the bachelor party starts to heat up, Debbie and the girls decide to get even with Rick and his friends by having a party of their own. Both parties eventually collide leading to Debbie accusing Rick of infidelity. Both parties end up becoming one big drunken orgy and the bachelors' hotel room ends up getting trashed much to the chagrin of the hotel's ever-frustrated manager (Kenneth Kimmins). Adding to the confusion is Rick's friend, Brad who has become despondent over his wife breaking up with him. At various points during the movie, he riotously botches every suicide he attempts. He even tries slitting his wrists with an electric razor to which Rick says, \"Well.....at least your wrists will be smooth and kissable.\" Rick convinces Debbie of his love and faithfulness just as the party is raided by the police. In the ensuing melee, Rick and Debbie become separated and Cole kidnaps Debbie leaving Rick and his friends to chase after them culminating in a showdown between Rick and Cole, which includes a chase through a 36-screen movie theater. Rick and Cole have a humorous fist fight just below the movie screen which is showing a 3D movie. The fight is in direct synchronization to the on-screen fist fight. A female audience member gets punched in the face but attributes it to a 3D movie effect. Rick wins and he and Debbie embrace. After the wedding, Rick and Debbie are driven to the airport for their honeymoon in Rick's school bus driven by a laughing Brad."}}},{"rowIdx":198,"cells":{"movie_name":{"kind":"string","value":"Rabid_1977"},"imdb_id":{"kind":"string","value":"tt0076590"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Rose and her boyfriend Hart get into a motorcycle accident in the Quebec countryside, caused by a van parked in the middle of the road. While Hart suffers a broken hand, a separated shoulder and a concussion, Rose is severely injured and burned by the incident. They are both transported to the nearby Keloid Clinic for Plastic Surgery where head doctor Dan Keloid decides to perform a radical new procedure on Rose. He uses morphogenetically neutral grafts to her chest and abdomen in the hope that it will differentiate and replace the damaged skin and organs. One month later, Hart is released while Rose remains in a coma. Rose abruptly awakens from her coma screaming, prompting patient Lloyd Walsh to calm her down and hold her hand, but she pierces his skin as she holds him. When asked, Lloyd cannot remember anything afterwards and the doctor does not know what caused the injury on his right arm; it is only known that his blood is not clotting from the wound and he cannot feel anything on his right side. While Keloid transfers him to Montreal General Hospital for further evaluation, his experimental procedures on Rose have caused a mutation in her body that made her able to only subsist on human blood. A new organ resembling a red phallic stinger emerges from a small orifice below Rose's armpit, which pierces her victims and draws their blood. One night, Rose leaves the clinic to feed upon a nearby cow's blood which makes her vomit. A drunken farmer tries to attack her, but she pierces and feeds on him before calling Hart to pick her up. The next day, the farmer turns into a pale zombie-like monster and attacks a waitress at a nearby diner. Lloyd discharges himself from the clinic. While taking a taxi to the airport, he begins foaming at the mouth and attacks the driver. The car crashes into the freeway before a nearby truck totals them both. At the clinic, Keloid is infected by Rose's stinger and attacks from within, which causes panic. During this time, Rose escapes from the hospital despite calling Hart to come to her aid, and hitchhikes rides from various people to Montreal. She infects one of the truck drivers, causing the driver to attack his colleague. Hart and Keloid's business partner, Murray Cypher, while searching for Rose, meet up with police chief Claude LePointe and public health officials in talks about an upcoming epidemic. During this time, Hart witnesses an officer become infected before being shot by uninfected police officers. He calls Rose's friend Mindy and asks her to keep Rose in her apartment if she appears until he can come over. Rose arrives in the city and stays in Mindy's apartment. While Mindy watches a television broadcast detailing a new strain of rabies now all over Montreal, Rose goes to a sex cinema and infects a leering patron. LePointe, while riding a limousine with local health officials, is attacked by two infected crewmen who use a jackhammer through the vehicle door and drag the driver out to feed on him. The other official and LePointe, forced to leave their driver behind, escape by driving in reverse. With the infection becoming worse in the city, and the standard rabies treatment having no effect, Dr. Royce Gentry advises a shoot-to-kill policy to prevent future infections. Extreme martial law is declared within Montreal, and the doctor works on developing a cure. National Guard road blocks are set to check for infected people, and a convoy of NBC-suited soldiers ride into the city to assist the authorities with body disposal. Murray and Hart arrive at the former's home and as Hart drives away in Murray's car, Murray calls for his wife, but there is no answer. Murray wanders into his baby's nursery where he finds what is left of his baby and is attacked by his infected wife. Hart goes into the deserted city to search for Rose. An infected civilian jumps onto Hart's car before being shot, and the bio-warfare suited soldiers spray disinfectant on his car before permitting him to continue driving. Mindy watches a report which says that a possible carrier of the infection may be immune and has been traced back to the Keloid Clinic. Rose walks into the room and feeds on Mindy. Hart finds Rose in the act and tries to reason with her about treatment, but she refuses to believe him and is in denial that she is responsible for the epidemic that has now claimed many people. He chases her in the apartment, but he is rendered unconscious and she infects a man waiting in the apartment lobby. When Hart awakens, Rose brings the newly infected man to his apartment and locks herself inside the room before calling Hart about her plan; she wants to test Hart's accusation and see if the man turns infected or not. While Hart frantically tells her to leave the apartment and hopelessly sits at the receiver, the infected man awakens and attacks Rose. The next morning, Rose's corpse is found by the bio-ware suited soldiers in an alleyway and they dump her in a garbage truck."}}},{"rowIdx":199,"cells":{"movie_name":{"kind":"string","value":"Gremlins_1984"},"imdb_id":{"kind":"string","value":"tt0087363"},"script":{"kind":"string","value":""},"summary":{"kind":"string","value":"Struggling inventor Randall Peltzer visits a Chinatown antique store, hoping to find a Christmas present for his son Billy. Inside, Randall encounters a small, furry creature called a mogwai (Cantonese: 魔怪, 'devil'). The owner, Mr. Wing, refuses to sell Randall the creature, but his grandson secretly does, warning Randall to remember three important rules: do not expose the mogwai to light, especially sunlight, which will kill it; do not let it come in contact with water; and above all, never feed it after midnight. Randall returns home to Kingston Falls, where he gives the mogwai to Billy as a pet. Billy works in the local bank, but fears that his dog Barney will be put down by widowed miser Mrs. Deagle. Randall names the mogwai \"Gizmo\" and explains the three rules. Gizmo is friendly and docile, but when Billy's young friend Pete accidentally spills water over Gizmo, five more mogwai spawn from his back, a more troublemaking sort led by the aggressive Stripe, named for the tuft of fur on his head. Billy shows one of the mogwai to his former elementary school science teacher, Mr. Hanson, spawning another mogwai, on whom Hanson experiments. Back at home, Stripe and his fellow mogwai trick Billy into feeding them after midnight by severing the power cord on his alarm clock. They form cocoons, as does Hanson's mogwai, which soon hatch, emerging as mischievous, dark green, reptilian monsters called \"Gremlins\", who then torture Gizmo and attack Billy's mother, Lynn. Hanson is killed by his gremlin. Lynn and Billy are able to kill off the gremlins, except for Stripe, who escapes to a local YMCA. There, Stripe jumps into the swimming pool, spawning an army of gremlins who wreak havoc in Kingston Falls. Many people are injured or outright killed by the gremlins' rampage, including Mrs. Deagle. Billy reports this to the police, but they prove to be no help as they don't believe his story, even after he shows them Gizmo. As Billy rescues his girlfriend, Kate Beringer, they hide in the now-abandoned bank where Kate reveals to Billy and Gizmo why she hates Christmas: when she was nine years old, her father went missing on Christmas Eve and did not come home on Christmas Day either; several days later, he was found dead in their chimney while dressed as Santa Claus. Planning to surprise her and her mother, he had accidentally slipped and broken his neck while climbing down the chimney. Still suffering from post-traumatic stress disorder, Kate confesses this is how she lost her belief in Santa Claus. Billy and Kate discover that the town has fallen silent, and the gremlins are watching Snow White and the Seven Dwarfs in the local theater. They set off a natural gas explosion, incinerating all the gremlins except for Stripe, who left to commandeer more candy at a Montgomery Ward store across the street. As morning approaches, they follow Stripe into the department store, where Stripe attempts to use a fountain to spawn more gremlins. Gizmo, driving a toy car, crashes into a skylight, exposing Stripe to sunlight, killing him, but not until he makes a final attempt to injure Billy, before collapsing into a pile of bubbling goo. As the local news reports on the day's mysterious tragedies, Mr. Wing reclaims Gizmo at the Peltzer home. He scolds the Peltzers for their negligence and criticizes Western society for its carelessness with nature. However, as he turns to leave, Gizmo, having bonded with Billy, bids him goodbye. A touched Mr. Wing then concedes that Billy may be ready one day, and until then, Gizmo will be waiting."}}}],"truncated":false,"partial":false},"paginationData":{"pageIndex":1,"numItemsPerPage":100,"numTotalItems":1800,"offset":100,"length":100}},"jwt":"eyJhbGciOiJFZERTQSJ9.eyJyZWFkIjp0cnVlLCJwZXJtaXNzaW9ucyI6eyJyZXBvLmNvbnRlbnQucmVhZCI6dHJ1ZX0sImlhdCI6MTc0NTkzNjQ5OCwic3ViIjoiL2RhdGFzZXRzL3JvaGl0c2F4ZW5hL01vdmllU3VtIiwiZXhwIjoxNzQ1OTQwMDk4LCJpc3MiOiJodHRwczovL2h1Z2dpbmdmYWNlLmNvIn0.i-MSlHRpXwuXkQcj6MfRvIRK9VMufodHFFt3PMgjDHxYOk2GUOd_xeHzvIBgn4Hs-8lwkDSsWoLJb08sbvEpAw","displayUrls":true},"discussionsStats":{"closed":0,"open":1,"total":1},"fullWidth":true,"hasGatedAccess":true,"hasFullAccess":true,"isEmbedded":false,"savedQueries":{"community":[],"user":[]}}">
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Frozen River_2008 | tt0978759 | <script>
<scene>
<stage_direction>EXT. INTERNATIONAL SEAWAY BRIDGE - DAY</stage_direction>
<scene_description>A sign reads `` Bridge to Canada . '' A steep 1940 's era customs bridge arches over the St. Lawrence River . Cars and trucks line up in different lanes . Customs officials inspect and question impatient drivers . Beyond them a smaller sign : `` THANK YOU FOR VISITING MASSENA NEW YORK , IT WORKS , for business , for family , for you '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELOW THE BRIDGE - DAY</stage_direction>
<scene_description>The river stretches for miles in either direction , frozen , and still with trees on either side .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER YARD, MASSENA NEW YORK - DAY</stage_direction>
<scene_description>RAY EDDY , 38 , a bit worn for her years , with a long red ponytail , wearing an old bathrobe , sits in the passenger seat of her RED PLYMOUTH HORIZON with the door open , smoking a cigarette , thinking . Her breath is visible in the cold morning air . Her bare feet rest on the cold ground . Her 1970 's rusted out TRAILER HOME SITS in front of her on CINDER BLOCKS AT A SLIGHT TILT . Beside it , a small SHED and behind it the CONCRETE FOUNDATION FOR A HOUSE . Around her , the yard is littered with junk : a rusted ski lift chair , the front end of a Plymouth Duster and a SMILING DUCK Kiddie Ride . Beyond the yard , flat , winterbare land . After a moment , a lanky boy of 15 , her son , TROY , JR. , leans out the trailer door .</scene_description>
<character>T.J.</character>
<dialogue>We're out of Capt'n Crunch.</dialogue>
<scene_description>His breath is visible in the cold .</scene_description>
<character>RAY</character>
<dialogue>Just give him toast.</dialogue>
<character>T.J.</character>
<dialogue>We got no butter, we got no jelly.</dialogue>
<scene_description>Ray is out of ideas . He expects her to move , but she stays still . He looks around the yard .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>RAY</character>
<dialogue>Listening for the trucks.</dialogue>
<character>T.J.</character>
<dialogue>Are they really coming?</dialogue>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
<character>T.J.</character>
<dialogue>Where's dad?</dialogue>
<scene_description>She is silent .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( says it slow . )</parenthetical>
<dialogue>Where's dad?</dialogue>
<scene_description>She looks at him .</scene_description>
<character>RAY</character>
<dialogue>I do n't know how he found it, T.J.</dialogue>
<character>T.J.</character>
<dialogue>Found what?</dialogue>
<scene_description>Ray takes a drag off her cigarette . T.J. walks over to the car .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The money?</dialogue>
<character>RAY</character>
<dialogue>I locked it in my glove compartment.</dialogue>
<scene_description>T.J. looks in at the OPEN AND EMPTY GLOVE COMPARTMENT .</scene_description>
<character>T.J.</character>
<dialogue>That was stupid.</dialogue>
<character>RAY</character>
<dialogue>Yeah, I see that now, but the trucks were coming before the bank opened.</dialogue>
<character>T.J.</character>
<dialogue>Did you tell him you had it?</dialogue>
<character>RAY</character>
<dialogue>Duh? No, I guess he just sniffed it out.</dialogue>
<character>T.J.</character>
<dialogue>Jesus Christ! The glove compartment!? That's the stupidest place you could have put it.</dialogue>
<character>RAY</character>
<dialogue>He has n't bought a scratch card in almost thirty two months. I thought it would be okay!</dialogue>
<character>T.J.</character>
<dialogue>Did he leave anything?</dialogue>
<scene_description>She shakes her head .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you gon na do?</dialogue>
<character>RAY</character>
<dialogue>Nothing.</dialogue>
<character>T.J.</character>
<dialogue>You could look for him?</dialogue>
<character>RAY</character>
<dialogue>He could be anywhere.</dialogue>
<character>T.J.</character>
<dialogue>We should look for him.</dialogue>
<character>RAY</character>
<dialogue>Where?</dialogue>
<character>T.J.</character>
<dialogue>The Rez,</dialogue>
<character>RAY</character>
<dialogue>With more than four thousand dollars, he's probably in Atlantic City by now.</dialogue>
<character>T.J.</character>
<dialogue>So let's go, let's find him before he blows it all.</dialogue>
<character>RAY</character>
<dialogue>I ca n't.</dialogue>
<character>T.J.</character>
<dialogue>What do you mean?</dialogue>
<character>RAY</character>
<dialogue>I just ca n't do it anymore.</dialogue>
<character>T.J.</character>
<dialogue>But he'll lose it all.</dialogue>
<character>RAY</character>
<dialogue>T.J., we ca n't make him stop.</dialogue>
<character>T.J.</character>
<dialogue>He stole our money. Call the Troopers.</dialogue>
<character>RAY</character>
<dialogue>It's not stealing if you take it from your family. Anyway, he made some of it, too.</dialogue>
<character>T.J.</character>
<dialogue>So you're just gon na sit there?</dialogue>
<character>RAY</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>In the distance the RUMBLE OF TRUCKS . Ray hears it . It gets louder .</scene_description>
<character>T.J.</character>
<dialogue>Another Christmas in the tin crapper.</dialogue>
<scene_description>T.J. goes into the shed and slams the door . Ray throws down her cigarette and goes into the trailer .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>She looks around the cramped trailer at the oversized RENTAWORLD furniture including a big screen TV . An enlarged wall photograph of the family catches her eye . In it , her husband , TROY , SR. , 40 , wearing a forced smile , his long , shaggy hair combed flat for the picture . Ray hurries down the hall to her bedroom and takes off her bathrobe - she has several tatoos - and slides into a pair or jeans and a t - shirt . A sleepy - eyed , toe - headed boy , RICKY , 5 , walks in , shirtless in pajama bottoms , eyes shining .</scene_description>
<character>RICKY</character>
<dialogue>Is it here?</dialogue>
<scene_description>Ray stops what she 's doing when she sees him and kneels down .</scene_description>
<character>RAY</character>
<dialogue>Hey, little sleepy head.</dialogue>
<character>RICKY</character>
<dialogue>Is it here yet? ` Cause I'm ready.</dialogue>
<scene_description>He drags a suitcase full of plastic dinosaurs around the corner . The RUMBLE OUTSIDE GROWS LOUDER . Ricky BOLTS out of the bedroom and down the hall to the trailer door .</scene_description>
<character>RAY</character>
<dialogue>Wait a sec -</dialogue>
<scene_description>He bursts into the yard where :</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>A PICK - UP TRUCK DRAPED WITH A `` WIDE LOAD '' banner leads TWO SEMIS hauling halves of a DOUBLE WIDE MOBILE HOME wrapped in plastic , rippling in the wind . Ricky stops at the massive sight , twisting at his fly , trying not to pee himself . T.J. comes out of the shed . The Doubles come to a stop and idle in the yard . GUY VERSAILLES , pot - bellied , in a green velour running suit , squeezes out of his truck . On the door : `` MASSENA MODULAR AND MOBILE HOMES , NEW AND RECONDITIONED . '' Ricky grabs a rope hanging off one of the doubles and tries to climb the side of it . The TRUCK DRIVER looks down from his cab .</scene_description>
<character>T.J.</character>
<parenthetical>( to Ricky . )</parenthetical>
<dialogue>Get down.</dialogue>
<scene_description>Ray peeks out the kitchen curtain . After a moment she comes out of the trailer , with a pasted - on smile .</scene_description>
<character>RAY</character>
<dialogue>We're all ready for ya'.</dialogue>
<scene_description>She points to the new concrete foundation . He consults a clipboard .</scene_description>
<character>VERSAILLES</character>
<dialogue>We'll need the balloon payment to unload.</dialogue>
<scene_description>T.J. looks at Ray .</scene_description>
<character>RAY</character>
<dialogue>We have it, it's just that they called Troy from Titus last night. That's where Troy works. The ski place? And anyway -</dialogue>
<character>VERSAILLES</character>
<dialogue>Have you got the $ 4,372 dollars or not?</dialogue>
<character>RAY</character>
<dialogue>It was some emergency with the lifts. So he took off without thinking with the money. Completely forgot you were coming. So as soon as he gets back -</dialogue>
<character>VERSAILLES</character>
<dialogue>When's he gon na be back?</dialogue>
<character>RAY</character>
<dialogue>As soon as he can get here, I'll just run it down to you.</dialogue>
<scene_description>T.J. could crawl out of his skin .</scene_description>
<character>VERSAILLES</character>
<parenthetical>( ironic smile . )</parenthetical>
<dialogue>This is the second time you've dragged me out here. If you do n't come up with it by Christmas, you've lost your fifteen hundred dollar deposit.</dialogue>
<scene_description>He walks toward his car . She follows him .</scene_description>
<character>RAY</character>
<dialogue>Look, Mr. Versales, I have a good job at ALL FOR A DOLLAR. They're probably gon na make me a manager after Christmas so I can handle the payments if you just leave the house -</dialogue>
<scene_description>He gets in the car .</scene_description>
<character>VERSAILLES</character>
<dialogue>Call me when you have the balloon payment.</dialogue>
<scene_description>He makes a circle in the air with his hand and the semi 's rev their engines and grind into reverse .</scene_description>
<character>RAY</character>
<dialogue>I'll call you.</dialogue>
<scene_description>Her voice is DROWNED OUT by REVVING engines . Ricky rushes to her .</scene_description>
<character>RICKY</character>
<dialogue>Wait, where are they going?</dialogue>
<scene_description>She takes his face in her hands .</scene_description>
<character>RAY</character>
<dialogue>Listen to me. We'll get them back.</dialogue>
<character>RICKY</character>
<dialogue>But why are they leaving?</dialogue>
<character>RAY</character>
<dialogue>Ricky, I'll get them back. I promise, honey.</dialogue>
<character>RICKY</character>
<dialogue>That's our house!</dialogue>
<scene_description>He BREAKS AWAY from her and RUNS down the road chasing after the semis . Ray chases after Ricky until he runs out of steam and stops , panting . She catches up to him and tries to hug him . He pushes her away . She gets down on her knees and takes his face in her hands .</scene_description>
<character>RAY</character>
<dialogue>We're gon na get it back.</dialogue>
<scene_description>She picks him up and walks back to the trailer . Ricky looks out mournfully at the trailers disappearing down the road .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to T.J . )</parenthetical>
<dialogue>You better hurry or you're going to miss the bus. Let's get your clothes on, Ricky.</dialogue>
<scene_description>T.J. just stares at her .</scene_description>
<character>T.J.</character>
<dialogue>I can get a job you know.</dialogue>
<character>RAY</character>
<dialogue>You're 15, T.J.</dialogue>
<character>T.J.</character>
<dialogue>They wo n't ask any questions.</dialogue>
<character>RAY</character>
<dialogue>You're finishing school.</dialogue>
<character>T.J.</character>
<dialogue>Come on, you do n't think we can live on what you make at All for a Dollar do you?</dialogue>
<character>RAY</character>
<dialogue>You're going to school.</dialogue>
<scene_description>She goes inside . T.J. follows .</scene_description>
<character>T.J.</character>
<dialogue>I bet I could make more than you do.</dialogue>
<scene_description>She ignores him .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>Ray helps Ricky into his clothes and puts his backpack on his back .</scene_description>
<character>RICKY</character>
<dialogue>Where's daddy?</dialogue>
<scene_description>Ray and T.J. look at each other .</scene_description>
<character>RAY</character>
<dialogue>He'll be back.</dialogue>
<character>T.J.</character>
<dialogue>Are n't we even gon na look for him?</dialogue>
<character>RAY</character>
<dialogue>No! I'm going to work and you're going to school.</dialogue>
<character>T.J.</character>
<dialogue>That's it?</dialogue>
<character>RAY</character>
<dialogue>The only thing that changed is that your dad started gambling again. Everything else is the same.</dialogue>
<character>RICKY</character>
<dialogue>Where did he go?</dialogue>
<character>RAY</character>
<dialogue>He had to take a business trip.</dialogue>
<scene_description>T.J. rolls his eyes .</scene_description>
<character>T.J.</character>
<dialogue>Are n't you even gon na look for him?</dialogue>
<character>RAY</character>
<dialogue>And miss a day of work? No. Not again. We just have to live our lives. Now go get your backpack.</dialogue>
<scene_description>T.J. stares , sullen .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go on!</dialogue>
<character>RICKY</character>
<dialogue>When is daddy coming home?</dialogue>
<character>RAY</character>
<dialogue>I do n't know, Ricky.</dialogue>
<character>T.J.</character>
<dialogue>I ca n't believe you're not even gon na look for him.</dialogue>
<character>RAY</character>
<dialogue>Where? Where do I look?</dialogue>
<parenthetical>( He ca n't answer . )</parenthetical>
<dialogue />
<character>T.J.</character>
<dialogue>The reservation.</dialogue>
<character>RAY</character>
<dialogue>I told you, he could be in Atlantic City by now.</dialogue>
<scene_description>She helps Ricky get his backpack on and gives him a kiss .</scene_description>
<character>T.J.</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>The glove compartment. That's so stupid.</dialogue>
<character>RAY</character>
<dialogue>You're going to school.</dialogue>
<scene_description>He follows Ricky out the door to catch the school bus rolling up out front . Suddenly , Ray remembers :</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Wait, wait.</dialogue>
<scene_description>They turn around . She digs in her pockets .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here. Lunch money.</dialogue>
<scene_description>They take it and keep running for the bus . Ray looks after them and reaches for her cigarettes . She takes out her second to last one . She lights it and takes out her mascara . She tries to put it on the bathroom mirror , but her tears keep getting in the way .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALL FOR A DOLLAR STORE - DAY</stage_direction>
<scene_description>RAY stacks shelves with a knock - off version of plastic `` My Little Pony '' in a messy aisle of boxes . MATT , 22 , her boss , bone thin with bad skin walks by .</scene_description>
<character>RAY</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>Matt. Could I talk to you?</dialogue>
<scene_description>He looks at her .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I need to come on full - time.</dialogue>
<scene_description>Matt blinks with a blank expression then :</scene_description>
<character>MATT</character>
<dialogue>I see you as a short timer.</dialogue>
<character>RAY</character>
<dialogue>What is that?</dialogue>
<character>MATT</character>
<dialogue>A short timer. Not here for long, not really committed.</dialogue>
<scene_description>Ray follows him to the stock room .</scene_description>
<character>RAY</character>
<dialogue>When I started you said it would be six months before I could come on full - time. And that was two years ago.</dialogue>
<scene_description>He opens a can of RED BULL and takes a sip .</scene_description>
<character>MATT</character>
<dialogue>It's my opinion.</dialogue>
<character>RAY</character>
<dialogue>Well, I mean, you know, I do show up. Pat's late everyday. She's late now. She's always late.</dialogue>
<scene_description>He stares blankly at her . She can think of nothing else to say . He walks out . Ray resumes unpacking ponies . A moment later PAT , 22 , rushes in , looking sorry . As Pat hangs up her coat , Ray glimpses a tatoo just above her low riding pants with the words `` How You Doin ' ? '' . Ray takes the last of her cigarettes out of the pack and heads out the back door .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See ya' tomorrow.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT HORIZON, ROUTE 37 - DAY</stage_direction>
<scene_description>Ray drives down a two - lane highway . It is empty flat land but for a few trailer homes and barns . She passes a lonely sign : `` BRIDGE TO CANADA . '' Up ahead another sign : `` AKWESASNE LAND OF THE MOHAWK . '' From the car , the Reservation consists of shabby houses with no siding , tax - free gas stations and dive bars with homemade signs . Ray slows a little to check out the parking lots scanning for her husband 's car . Up ahead she sees a sign : `` WOLF MART TAX FREE GAS AND CIGARETTES .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOLF MART GAS STATION - DAY</stage_direction>
<scene_description>Ray pulls in to the combo gas station , restaurant and mini mart . A MOHAWK TEENAGER wearing a bandana RUNS out to the CAR without a coat , rubbing his hands together to ward off the cold .</scene_description>
<character>MOHAWK TEENAGER</character>
<dialogue>Fill it up?</dialogue>
<scene_description>She rolls down the window , digging for change under the seat of her car . She counts it out .</scene_description>
<character>RAY</character>
<dialogue>Just three. uh, no. two seventy one, two, three, four.</dialogue>
<character>MOHAWK TEENAGER</character>
<dialogue>Two seventy four.</dialogue>
<scene_description>He nods and goes to the pump . She finds a wadded up five dollar bill .</scene_description>
<character>RAY</character>
<parenthetical>( yells out window . )</parenthetical>
<dialogue>Make that seven seventy four.</dialogue>
<scene_description>She spots a sign for `` TRAILWAYS '' bus in the window .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Did you see a Blue Acclaim come in here last night?</dialogue>
<character>MOHAWK TEENAGER</character>
<dialogue>Blue Acclaim. no, but I only worked until 9 PM. You can ask inside.</dialogue>
<scene_description>Ray glances inside at the mostly empty restaurant but for a few older Mohawk women .</scene_description>
<character>RAY</character>
<dialogue>No, that's okay.</dialogue>
<character>MOHAWK TEENAGER</character>
<dialogue>Did you want to support our Mosquito Lacrosse League. It teaches basic Lacrosse skills to the kids three to five.</dialogue>
<scene_description>Ray shakes her head .</scene_description>
<character>MOHAWK TEENAGER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thanks, anyway. Have a good day.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. ROUTE 37 INDIAN RESERVATION - DAY</stage_direction>
<scene_description>Ray continues down the highway through the reservation . She comes to a huge warehouse , the `` MOHAWK BINGO PALACE . '' She glances over at the sea of cars surrounding it . At the end of a row she spots it : a BLUE ACCLAIM . Ray abruptly turns in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOHAWK BINGO PALACE PARKING LOT - DAY</stage_direction>
<scene_description>Ray pulls up alongside the Acclaim and recognizes it by the `` EASY DOES IT '' bumper sticker . She gets out and looks inside . There is a small plastic T - Rex on the floor of the backseat . She leans against the car for a moment .</scene_description>
<character>RAY</character>
<dialogue>Thank you. Oh God, thank you, thank you thank you.</dialogue>
<scene_description>After a moment Ray looks up at the Bingo Palace and heads for the entrance .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You son of a bitch!</dialogue>
</scene>
<scene>
<stage_direction>INT. BINGO PALACE ENTRANCE - DAY</stage_direction>
<scene_description>A SHORT , CHUBBY MOHAWK TICKET TAKER in her 60s , with piercing blue eyes and missing teeth sits perched on a metal chair beside a velvet rope .</scene_description>
<character>TICKET TAKER</character>
<dialogue>Sunrise session is almost over. Next session starts at 10:30.</dialogue>
<character>RAY</character>
<dialogue>I just need to look inside.</dialogue>
<scene_description>Ray starts to walks toward the door and the ticket taker sticks out her foot .</scene_description>
<character>TICKER TAKET</character>
<dialogue>It's $ 5 dollars for admission.</dialogue>
<character>RAY</character>
<dialogue>I do n't want to play, I just need to look around for a second.</dialogue>
<character>TICKET TAKER</character>
<dialogue>I'm gon na need the five.</dialogue>
<character>RAY</character>
<dialogue>I'll stand right here at the door. I wo n't even go inside. I just need to see if my husband's in there.</dialogue>
<character>TICKET TAKER</character>
<dialogue>You still got ta pay admission.</dialogue>
<character>RAY</character>
<dialogue>He's gambling away the money for our house.</dialogue>
<character>TICKET TAKER</character>
<dialogue>What does he look like?</dialogue>
<character>RAY</character>
<dialogue>Long brown hair. Tall. Skinny. Ponytail.</dialogue>
<character>TICKET TAKER</character>
<dialogue>He's not in there.</dialogue>
<character>RAY</character>
<dialogue>Can I just look?</dialogue>
<character>TICKET TAKER</character>
<dialogue>I told you, lady, he's not in there.</dialogue>
<scene_description>Ray walks away . The ticket taker watches her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOHAWK BINGO PALACE, PARKING LOT - DAY</stage_direction>
<scene_description>Ray walks out of the front entrance back across the parking lot toward the Horizon through rows of cars . Across the parking lot , LILA LITTLEWOLF , 20 , a Mohawk girl with long black hair bursts out of the `` Employees Entrance '' and hurries across the parking lot pulling off her scratch card apron as she walks . Ray catches sight of her , but before Ray reaches the Horizon , Lila reaches the ACCLAIM , GETS IN IT AND BACKS OUT .</scene_description>
<character>RAY</character>
<dialogue>Hey!</dialogue>
<scene_description>But Lila drives off . Ray JUMPS back in the Horizon and TAKES OFF AFTER HER .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RESERVATION ROADS - DAY</stage_direction>
<scene_description>Ray follows the Acclaim down Route 37 and catches sight of it turning off on a dirt road . Ray makes the corner just in time to catch sight of the Acclaim bouncing off on a path through the woods . Ray follows it through the woods to a clearing : the Acclaim stops in front of a rusted out BUBBLE CAMPER . Lila gets out . Ray pulls up behind her and rolls down her window .</scene_description>
<character>RAY</character>
<dialogue>That's my car.</dialogue>
<scene_description>Lila SPINS around .</scene_description>
<character>LILA</character>
<dialogue>Huh?</dialogue>
<character>RAY</character>
<parenthetical>( points to the Acclaim . )</parenthetical>
<dialogue>What are you doing with my car?</dialogue>
<scene_description>Lila fingers the keys in her hand .</scene_description>
<character>LILA</character>
<dialogue>That? I found it.</dialogue>
<character>RAY</character>
<dialogue>You stole it.</dialogue>
<character>LILA</character>
<dialogue>The keys were in it.</dialogue>
<character>RAY</character>
<dialogue>So you just took it?</dialogue>
<scene_description>Lila goes in the bubble camper and shuts the door behind her . Ray gets out of the Horizon and walks up to the camper door and takes out her cell phone .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We'll just see what the troopers say about that.</dialogue>
<character>LILA</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( From inside camper . )</parenthetical>
<dialogue>Go ahead, they got no jurisdiction here. This is Mohawk territory.</dialogue>
<scene_description>Ray stops dialing closes up her phone , then goes to her car and takes the gun and goes back to the camper .</scene_description>
<character>RAY</character>
<parenthetical>( knocks with the gun . )</parenthetical>
<dialogue>You can cut the bullshit and give me my keys now.</dialogue>
<scene_description>There is no reponse . Ray waits for a moment and then :</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( low voice . )</parenthetical>
<dialogue>Troy, are you in there?</dialogue>
<scene_description>There is no response .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>If you're in there you better come out.</dialogue>
</scene>
<scene>
<stage_direction>INT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Lila sits on an army cot in the dingy camper next to a lamp on the floor . Her clothes are scattered among empty Pringles cans .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( tentative , controlled . )</parenthetical>
<dialogue>Troy? Versales says as long as we get the money in by Christmas we wo n't lose the deposit.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I think we need to talk about this, so come on out.</dialogue>
<parenthetical>( Pause . )</parenthetical>
<dialogue>Troy? Troy?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Ray aims the gun and FIRES into the camper door .</scene_description>
</scene>
<scene>
<stage_direction>INT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>The shock of the blast throws Lila off the cot . She looks at the SMOKING HOLE .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm not kidding, honey, come on out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Keeping behind the door for cover , Lila opens it . Ray looks inside : there is no sign of Troy .</scene_description>
<character>LILA</character>
<parenthetical>( from behind the door . )</parenthetical>
<dialogue>The Tribal police do n't like people shooting holes in other people's houses.</dialogue>
<scene_description>Ray looks at her .</scene_description>
<character>RAY</character>
<dialogue>This is New York State so quit the bullshit and give me my damn keys!</dialogue>
<scene_description>Lila throws the keys out the door . Ray picks them up off the ground . Lila shuts the door with her foot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Ray gets in the Horizon and pulls it in behind the Acclaim then digs in the trunk , pulling out a rope . She ties one end to the Acclaim 's back fender and the other to the Horizon 's front fender . Lila watches out the camper window . Ray gets in the Acclaim and starts it up slowly TOWING the Horizon a few feet before the rope SNAPS . Ray gets out and looks at the broken rope . She begins digging in the trunk for more rope . Lila opens the camper door and looks at the bullet hole .</scene_description>
<character>LILA</character>
<dialogue>This camper belongs to my brother in law. He wo n't like this.</dialogue>
<character>RAY</character>
<parenthetical>( over her shoulder . )</parenthetical>
<dialogue>Then you should quit stealing cars.</dialogue>
<character>LILA</character>
<dialogue>I thought it was abandoned, the guy driving it got on a bus.</dialogue>
<scene_description>Ray stops .</scene_description>
<character>RAY</character>
<dialogue>Did you see where the bus was headed?</dialogue>
<character>LILA</character>
<dialogue>New York or Buffalo, I'm not sure.</dialogue>
<scene_description>Ray RE - TIES the tow line with the remaining rope . This time the Horizon goes an inch or two before the rope SNAPS . Ray gets out .</scene_description>
<character>RAY</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Shit!</dialogue>
<scene_description>Ray RIFLES through the trunk for more rope . `` Home on the Range '' plays on the cell phone in Ray 's back pocket . Lila touches the bullet hole in the camper and listens to Ray 's conversation from the doorway . Ray puts the phone back in her pocket and takes an old belt of her husbands and tries to attach the fenders of the cars . Ray gets back in the Acclaim and tries TOWING the Horizon once again . This time the right side of the front fender SNAPS OFF and droops to one side . Ray gets out and looks at Lila .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm not leaving this here.</dialogue>
<character>LILA</character>
<parenthetical>( points at the Acclaim . )</parenthetical>
<dialogue>I got a friend who might buy that.</dialogue>
<character>RAY</character>
<dialogue>It's not for sale.</dialogue>
<character>LILA</character>
<dialogue>He'll pay more than it's worth.</dialogue>
<scene_description>Ray ignores her .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Maybe two thousand.</dialogue>
<character>RAY</character>
<dialogue>Why's that?</dialogue>
<character>LILA</character>
<dialogue>He's always looking for cars with button - release trunks.</dialogue>
<scene_description>Ray thinks about it .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He do n't need papers or anything.</dialogue>
<character>RAY</character>
<dialogue>Does he use them to rob banks or something?</dialogue>
<scene_description>Lila shrugs .</scene_description>
<character>LILA</character>
<dialogue>All I know is he pays good for a car like this.</dialogue>
<character>RAY</character>
<dialogue>Where does he live?</dialogue>
<character>LILA</character>
<dialogue>Through the woods. Not far.</dialogue>
<character>RAY</character>
<dialogue>What's in it for you?</dialogue>
<character>LILA</character>
<dialogue>He'll give me something for finding it.</dialogue>
<character>RAY</character>
<dialogue>If you try anything, I'm not afraid to use this.</dialogue>
<character>LILA</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. ACCLAIM IN RESERVATION WOODS - DAY</stage_direction>
<scene_description>Ray drives with one hand and holds the gun with the other . It is pointed at Lila in the passenger seat .</scene_description>
<character>LILA</character>
<dialogue>Turn up there.</dialogue>
<character>RAY</character>
<dialogue>Where?</dialogue>
<character>LILA</character>
<dialogue>Where that stump is.</dialogue>
<scene_description>Ray makes the turn with one hand and the car bounces through an overgrown path in the woods . Ray reaches the stump .</scene_description>
<character>RAY</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>There's no road.</dialogue>
<character>LILA</character>
<dialogue>There's a path.</dialogue>
<scene_description>Ray hesitates .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's not far.</dialogue>
<scene_description>Ray turns and drives into deeper woods . The gun jiggles around in Ray 's hand as they bounce along between the trees . Lila tries to ignore it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM AT BOAT RAMP - DAY</stage_direction>
<scene_description>The car emerges from the woods at a BOAT RAMP leading to a mile - wide section of the FROZEN ST. LAWRENCE RIVER .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT BOAT RAMP - DAY</stage_direction>
<scene_description>Ray looks out at the ice . Tire tracks make a path across the snow - covered surface between carefully set out CUT EVERGREEN TREES .</scene_description>
<character>LILA</character>
<dialogue>Not too fast. There's ruts.</dialogue>
<character>RAY</character>
<dialogue>I'm not crossing that!</dialogue>
<character>LILA</character>
<dialogue>Do n't worry they already put out the Christmas trees. There's no black ice.</dialogue>
<character>RAY</character>
<dialogue>That's Canada.</dialogue>
<character>LILA</character>
<dialogue>No, it's Mohawk land. The Rez is on both sides of the river.</dialogue>
<character>RAY</character>
<dialogue>What about the border patrol?</dialogue>
<character>LILA</character>
<dialogue>There's no border.</dialogue>
<character>RAY</character>
<dialogue>I'm still not crossing that.</dialogue>
<character>LILA</character>
<dialogue>Do n't worry, it'll hold a Plymouth. I've seen semis cross it.</dialogue>
<scene_description>Ray looks at Lila suspiciously .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The only other way is the Cornwall bridge and they wo n't let you take that.</dialogue>
<parenthetical>( points at the gun . )</parenthetical>
<dialogue>.</dialogue>
<scene_description>Suddenly , A TRUCK driven by a MOHAWK TEENAGER ROARS out of the woods and SWERVES around the Acclaim FISHTAILING then SPEEDING out across the ice .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They plow it and everything.</dialogue>
<scene_description>Cautiously , Ray lets off the brake and rolls down the boat ramp towards the smooth surface of the river .</scene_description>
<character>RAY</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>This is so fuckin' stupid.</dialogue>
<character>LILA</character>
<dialogue>Not too fast, there are ruts.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>The Acclaim moves across the smooth surface of the river .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>Ray stares straight ahead clutching the wheel , barely breathing . Lila glances at the gun in Ray 's hand , then out at the river , unfazed . They reach the midpoint of the river and pass it silently .</scene_description>
<character>LILA</character>
<dialogue>You got ta pick up some speed to get up the bank.</dialogue>
<scene_description>Ray speeds up . The Acclaim bounces up the steep bank .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's just on the other side of those trees.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. ACCLAIM AT JIMMY'S GARAGE LOT- DAY</stage_direction>
<scene_description>Ray and Lila pull into a used - car lot surrounded by a chain link fence . There is no sign of life . Ray stops .</scene_description>
<character>LILA</character>
<dialogue>Honk the horn.</dialogue>
<scene_description>Ray honks . Suddenly , from under a gutted truck , A HUGE BLACK DOG , part wolf , SPRINGS onto the hood of the Acclaim . Ray is pinned against her seat at the sight of the dog . Lila GRABS the gun out of her hand and points it at Ray .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Just keep your mouth shut.</dialogue>
<scene_description>Ray stares at the snarling dog .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Just keep it shut. Okay?</dialogue>
<scene_description>Ray nods never taking her eyes off the dog . Lila honks the horn again and keeps the gun low and out of sight . Out of the garage comes JIMMY , 33 , a stocky Mohawk , eating a sandwich . Jimmy looks suspiciously at Ray before he sees Lila . Thunder growls .</scene_description>
<character>JIMMY</character>
<dialogue>Thunder! SHUT UP!</dialogue>
<scene_description>The dog GROWLS ferociously at Ray .</scene_description>
<character>JIMMY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get back under there!</dialogue>
<scene_description>Thunder jumps off the hood and disappears back under the trunk . Jimmy walks around to the passenger side of the car . Lila rolls down her window .</scene_description>
<character>LILA</character>
<dialogue>Hi, Jimmy.</dialogue>
<scene_description>Jimmy glances at Ray .</scene_description>
<character>JIMMY</character>
<dialogue>He do n't like whites, Lila.</dialogue>
<character>LILA</character>
<dialogue>Sorry.</dialogue>
<character>JIMMY</character>
<dialogue>And your late.</dialogue>
<character>LILA</character>
<dialogue>Sorry.</dialogue>
<character>JIMMY</character>
<dialogue>I should n't even be dealing with you.</dialogue>
<character>LILA</character>
<dialogue>I know. Sorry.</dialogue>
<scene_description>He hands her a paper bag . Jimmy goes back to the garage and opens the door . TWO YOUNG CHINESE MEN in cheap jogging suits follow him out , looking around .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM JIMMY'S GARAGE LOT - DAY</stage_direction>
<scene_description>Lila hands the paper bag to Ray and points the gun at her , keeping it low and out of sight .</scene_description>
<character>LILA</character>
<dialogue>Count it.</dialogue>
<character>RAY</character>
<dialogue>What's going on here?</dialogue>
<character>LILA</character>
<dialogue>Just count it.</dialogue>
<scene_description>Ray opens the bag . It 's full of cash . All fifties and hundreds . Ray counts it .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How much is there?</dialogue>
<character>RAY</character>
<dialogue>Twelve hundred.</dialogue>
<scene_description>Lila opens the glove compartment and presses the trunk release . Jimmy motions to the Chinese men to get in the trunk . Jimmy shuts it . He taps twice on the hood of the car and walks back to the garage .</scene_description>
<character>LILA</character>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>Let's go.</dialogue>
<character>RAY</character>
<dialogue>Wait, who the fuck are they?</dialogue>
<character>LILA</character>
<dialogue>Just back up.</dialogue>
<character>RAY</character>
<dialogue>I'm not moving until those people get out of my trunk.</dialogue>
<character>LILA</character>
<dialogue>I'll give you half. Now let's go.</dialogue>
<scene_description>Jimmy turns around , sees the two women arguing and gets suspicious .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let's go!</dialogue>
<character>RAY</character>
<dialogue>I'm not taking them over the border. That's a crime.</dialogue>
<character>LILA</character>
<dialogue>There's no border here. This is free trade between nations.</dialogue>
<character>RAY</character>
<dialogue>This is n't a nation.</dialogue>
<scene_description>Lila jams the gun into Ray 's side .</scene_description>
<character>LILA</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Let's go.</dialogue>
<scene_description>Jimmy starts back toward the car . Ray puts the car in REVERSE and backs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>The Acclaim drives down the bank onto the frozen river and starts across .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>Ray drives . Lila sits angled toward Ray with the gun trained on her .</scene_description>
<character>LILA</character>
<dialogue>Why'd your husband leave you?</dialogue>
<character>RAY</character>
<dialogue>Fuck you.</dialogue>
<character>LILA</character>
<dialogue>Maybe he wanted a younger women.</dialogue>
<scene_description>Ray stares out at the ice .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's what usually happens.</dialogue>
<scene_description>Ray says nothing .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I never have to worry about that. My husband is dead. Went down in the river on a run. They never found him. Probably tangled in river weeds.</dialogue>
<scene_description>She gives Ray a spooky look .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You better slow down there are ruts out here. You could get stuck in one.</dialogue>
<scene_description>Ray speeds up and roars up the boat ramp off the ice skidding a little .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM IN RESERVATION WOODS - DAY</stage_direction>
<scene_description>Ray and Lila bounce through the woods with Lila holding the gun , this time . They come to a dirt road then to an intersection with State Route 37 . A SIGN READS : `` YOU ARE LEAVING AKWESASNE , LAND OF THE MOHAWK '' .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - DAY</stage_direction>
<scene_description>Ray slows down at the sign .</scene_description>
<character>LILA</character>
<dialogue>Keep going.</dialogue>
<character>RAY</character>
<dialogue>What if the troopers stop us.</dialogue>
<character>LILA</character>
<dialogue>They wo n't stop you. You're white.</dialogue>
<scene_description>Ray keeps going .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37, THE RESERVATION LINE - DAY</stage_direction>
<scene_description>Just beyond the Reservation line , partly hidden behind a barn , a NEW YORK STATE TROOPER VEHICLE sits parked .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOB'S MOTEL, MASSENA, NEW YORK - DAY</stage_direction>
<scene_description>Ray pulls into a 1950s strip motel . A Pakistani man , the DEALER , looks out from the motel office .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT BOB'S MOTEL - DAY</stage_direction>
<scene_description>Ray sees the Dealer hurrying towards them .</scene_description>
<character>LILA</character>
<dialogue>Pull around back then wait for him to come to the window.</dialogue>
<scene_description>Lila keeps the gun low . The Dealer approaches cautiously .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Roll down your window.</dialogue>
<scene_description>He walks up slowly and hands her a brown paper bag .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Count it.</dialogue>
<scene_description>Ray opens the bag and counts out the cash , as before .</scene_description>
<character>RAY</character>
<dialogue>Twelve hundred.</dialogue>
<scene_description>Lila takes the cash from Ray and pops the trunk release . The two Chinese men hurry out . The Dealer ushers them into a Garage .</scene_description>
<character>LILA</character>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - DAY</stage_direction>
<scene_description>Ray and Lila return down Route 37 past the sign `` AKWESASNE , LAND OF THE MOHAWK '' Lila keeps the gun on Ray .</scene_description>
<character>LILA</character>
<dialogue>Turn down there.</dialogue>
<scene_description>Ray looks at the dirt road leading into the woods .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Stop here.</dialogue>
<scene_description>Ray stops .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now open the door.</dialogue>
<scene_description>Ray hesitates . Lila jams the gun in her side .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Open the door.</dialogue>
<scene_description>Ray opens the door .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now get out.</dialogue>
<scene_description>Ray does n't move .</scene_description>
<character>RAY</character>
<dialogue>You ca n't have my car.</dialogue>
<character>LILA</character>
<dialogue>Get out.</dialogue>
<character>RAY</character>
<dialogue>You ca n't have my car.</dialogue>
<scene_description>Lila tries to push Ray out the driver 's door with her feet . Ray clings to the steering wheel .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No!</dialogue>
<scene_description>Suddenly , Ray grabs Lila by the hair and pulls her head down to the car seat . Lila hits Ray in the head with the gun .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( gasps . )</parenthetical>
<dialogue>Fuckin' bitch!</dialogue>
<scene_description>Bleeding and holding Lila 's hair , Ray pries the gun out of Lila 's hand . Lila grabs the sack of money , jumps out of the passenger side of the car and takes off into the woods . Ray chases her , but Lila is faster and gets ahead , then disappears into the woods . Ray stops , panting , and wipes the blood from her forehead .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( calls after her . )</parenthetical>
<dialogue>Little bitch!</dialogue>
<scene_description>Ray stares after her for a long moment then gets back in the Acclaim .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER YARD - DAY</stage_direction>
<scene_description>Ray drives up in the Acclaim . T.J. , wearing PROTECTIVE GOGGLES , works on the broken Duck Kiddie ride with a BLOW TORCH . He does n't notice Ray . Ray covers over the cut with her hair and gets out and walks up behind him and taps him on the shoulder . He jumps and cuts the flame .</scene_description>
<character>RAY</character>
<dialogue>I told you not to use that thing when I'm not here.</dialogue>
<character>T.J.</character>
<dialogue>If I get it working I can sell it.</dialogue>
<scene_description>She looks at the rusted pieces of it .</scene_description>
<character>RAY</character>
<dialogue>I do n't care. Do n't use that thing when I'm not here!</dialogue>
<character>T.J.</character>
<dialogue>Rentaworld called. They're coming to get the TV if you do n't pay by four tomorrow.</dialogue>
<scene_description>He notices the car .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Did you find him? RAY No.</dialogue>
<character>T.J.</character>
<dialogue>Where was the car?</dialogue>
<character>RAY</character>
<dialogue>At the bus stop on the Rez.</dialogue>
<character>T.J.</character>
<dialogue>I bet he went to Atlantic City.</dialogue>
<character>RAY</character>
<dialogue>You do n't know that.</dialogue>
<character>T.J.</character>
<dialogue>Yeah, but you could figure it out. Just find out what buses came through last -</dialogue>
<character>RAY</character>
<dialogue>And then what? Chase him across the country. Miss work. No.</dialogue>
<character>T.J.</character>
<dialogue>What happened to your face? RAY Nothin'.</dialogue>
<character>T.J.</character>
<dialogue>What, did you get in a fight with somebody?</dialogue>
<character>RAY</character>
<dialogue>It was no big deal.</dialogue>
<character>T.J.</character>
<dialogue>You got in a fight, for real?</dialogue>
<character>RAY</character>
<dialogue>Some Indian chick tried to steal your Dad's car.</dialogue>
<character>T.J.</character>
<dialogue>No way. I say we go back there and kick some Mohawk ass.</dialogue>
<character>RAY</character>
<dialogue>It does n't matter.</dialogue>
<character>T.J.</character>
<dialogue>Where's your car?</dialogue>
<character>RAY</character>
<dialogue>I'll get it tomorrow.</dialogue>
<character>T.J.</character>
<dialogue>You left it on the rez? That's so stupid.</dialogue>
<character>RAY</character>
<dialogue>I did n't have a tow rope.</dialogue>
<character>T.J.</character>
<dialogue>I still say we go back there and kick some Mohawk ass.</dialogue>
<character>RAY</character>
<dialogue>Forget it T.J. Did you and Ricky eat?</dialogue>
<character>T.J.</character>
<dialogue>That would be kinda miraculous since there's no food in the house.</dialogue>
<character>RAY</character>
<dialogue>There's food.</dialogue>
<character>T.J.</character>
<dialogue>Popcorn and Tang.</dialogue>
<scene_description>Ray goes towards the trailer .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOHAWK USED CAR LOT - NIGHT</stage_direction>
<scene_description>Lila walks in off the road . MIKE , the owner , plays a handheld video game . She looks around the lot .</scene_description>
<character>MIKE</character>
<parenthetical>( In Mohawk . )</parenthetical>
<dialogue>Hi, Lila</dialogue>
<character>LILA</character>
<parenthetical>( In Mohawk . )</parenthetical>
<dialogue>Mike.</dialogue>
<scene_description>She glances at a row of beat used cars .</scene_description>
<character>MIKE</character>
<dialogue>How's life at the Bingo Palace.</dialogue>
<character>LILA</character>
<dialogue>Good. How's business?</dialogue>
<character>MIKE</character>
<dialogue>Oh, you know, okay.</dialogue>
<scene_description>She eyes a Malibu .</scene_description>
<character>LILA</character>
<dialogue>How much for that one?</dialogue>
<character>MIKE</character>
<dialogue>Come on, Lila.</dialogue>
<character>LILA</character>
<dialogue>What?! I've been saving up.</dialogue>
<character>MIKE</character>
<dialogue>You know what.</dialogue>
<character>LILA</character>
<dialogue>Does Bernie Littlewolf run your whole life?</dialogue>
<character>MIKE</character>
<dialogue>No, but he said not to sell you a car.</dialogue>
<character>LILA</character>
<dialogue>I got ta walk down 37 with the semis kickin' up snow and mud in my hair just to get to the work.</dialogue>
<character>MIKE</character>
<dialogue>For you, all I got are two Chevettes, a Horizon and a Civic.</dialogue>
<character>LILA</character>
<dialogue>I do n't like Chevettes.</dialogue>
<character>MIKE</character>
<dialogue>I figured.</dialogue>
<scene_description>She holds out a wad of cash .</scene_description>
<character>LILA</character>
<dialogue>I'll give you a thousand for the Malibu.</dialogue>
<scene_description>On the windshield of the Malibu in huge white letters : $ 750 .</scene_description>
<character>MIKE</character>
<dialogue>Nothing with a trunk.</dialogue>
<character>LILA</character>
<dialogue>That thing has been sittin' here for six months.</dialogue>
<character>MIKE</character>
<dialogue>I do n't want Bernie in my face. Okay?</dialogue>
<character>LILA</character>
<dialogue>He does n't have to know.</dialogue>
<scene_description>Mike rolls his eyes .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>Ray wakes up with Ricky staring at her .</scene_description>
<character>RICKY</character>
<dialogue>Mommy, I was thinking. What's gon na happen to the tin crapper when we get our new house?</dialogue>
<character>RAY</character>
<parenthetical>( half asleep . )</parenthetical>
<dialogue>They're gon na flatten it out and send it to China.</dialogue>
<character>RICKY</character>
<dialogue>Then what?</dialogue>
<character>RAY</character>
<dialogue>They're gon na melt it down and make little toys out if it.</dialogue>
<character>RICKY</character>
<dialogue>Then what?</dialogue>
<character>RAY</character>
<dialogue>They'll send them back here so I can sell them at All for a Dollar.</dialogue>
<character>RICKY</character>
<dialogue>And you can buy me some?</dialogue>
<character>RAY</character>
<dialogue>That's right.</dialogue>
<character>RICKY</character>
<dialogue>Yes!</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, KITCHEN - DAY</stage_direction>
<scene_description>Ray puts out a breakfast spread of Microwave popcorn and tang .</scene_description>
<character>T.J.</character>
<dialogue>I'm not eatin' that again for dinner.</dialogue>
<character>RAY</character>
<dialogue>We just have to make it to my paycheck on Friday.</dialogue>
<character>T.J.</character>
<dialogue>What about Rentacenter?</dialogue>
<scene_description>She searches through the couch cushions .</scene_description>
<character>RAY</character>
<dialogue>What about them?</dialogue>
<character>T.J.</character>
<dialogue>They said they're coming to get the furniture if they do n't get a payment by 4 o'clock.</dialogue>
<character>RAY</character>
<dialogue>You told me that already.</dialogue>
<scene_description>She finds change and hands it to him .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here, lunch money.</dialogue>
<scene_description>She gives the rest to Ricky .</scene_description>
<character>T.J.</character>
<dialogue>Look I do n't see why you wo n't just let me get a job with Mitch.</dialogue>
<character>RAY</character>
<parenthetical>( to T.J . )</parenthetical>
<dialogue>Who's Mitch.</dialogue>
<character>T.J.</character>
<dialogue>He's got like this whole business he runs.</dialogue>
<character>RAY</character>
<dialogue>He sells pot to kids?</dialogue>
<character>T.J.</character>
<dialogue>No, it's computers. He works on computers.</dialogue>
<character>RAY</character>
<dialogue>You're fifteen, it's not gon na happen so forget it.</dialogue>
<character>T.J.</character>
<dialogue>That's so stupid. We're gon na lose the TV while I'm sitting in some Christmas assembly when I could be -</dialogue>
<character>RAY</character>
<dialogue>Your job is looking after your brother. Who's gon na take care of him?</dialogue>
<character>T.J.</character>
<parenthetical>( going out the door . )</parenthetical>
<dialogue>I still say we should go back to the rez, get the Horizon and kick some serious butt.</dialogue>
<scene_description>T.J. goes out the door behind Ricky and slams it in Ray 's face . Ray slips into her jeans and goes to the bathroom mirror to put on her mascara . She cakes it on trying to ignore the cut over her eye but keeps looking at it . Finally she stops and stares at herself .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Ray pulls up in front of the camper and stops . The Horizon is still there and all is quiet . Ray gets out holding the gun and a long rope goes to the bumper and begins to tie it to the other bumper , looking over her shoulder every once in while at the camper . Once she has tied the cars together she gets back into the Acclaim , but instead of driving off , she just sits there . After a moment , she gets out with the gun and walks up to the camper . The bullet hole in the door has a sock stuffed in it .</scene_description>
<character>RAY</character>
<parenthetical>( low tone . )</parenthetical>
<dialogue>I want my part.</dialogue>
</scene>
<scene>
<stage_direction>INT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Lila is asleep next to a rattling propane heater .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( knocks with the gun . )</parenthetical>
<dialogue>You hear me!</dialogue>
<scene_description>Lila 's eyes pop open but she stays perfectly still . Ray shakes the door handle .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want my part.</dialogue>
<scene_description>Lila sits up on her cot and puts on her jacket .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want my part.</dialogue>
<character>LILA</character>
<dialogue>I'll give you the money if you give me the car.</dialogue>
<character>RAY</character>
<dialogue>No way.</dialogue>
<character>LILA</character>
<dialogue>The money's gone.</dialogue>
<character>RAY</character>
<dialogue>Then I wan na get some more of those Chinese.</dialogue>
<scene_description>The door opens . Ray steps back holding the gun . They look at each other .</scene_description>
<character>LILA</character>
<dialogue>It's gon na cost me to get that hole fixed. I froze last night.</dialogue>
<scene_description>Ray holds up her hair revealing the cut over her eye .</scene_description>
<character>RAY</character>
<dialogue>I just need enough for the balloon payment on my doublewide then I'm out of this. I'm no criminal.</dialogue>
<character>LILA</character>
<dialogue>It's not a crime.</dialogue>
<character>RAY</character>
<dialogue>You people can call it what you want to. I just want my double.</dialogue>
<scene_description>They stand staring at each other for a long moment , then Ray walks over and unties the rope around the bumpers of the Acclaim and the Horizon .</scene_description>
<character>LILA</character>
<dialogue>I do n't usually work with whites.</dialogue>
<character>RAY</character>
<dialogue>Suit yourself.</dialogue>
<scene_description>Ray gets in the driver 's side of the Acclaim and starts it . After a moment , Lila gets in the passenger side .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>Ray and Lila drive across the smooth surface of the river . Ray smokes with one hand and holds the gun with the other .</scene_description>
<character>LILA</character>
<dialogue>How many bedrooms?</dialogue>
<character>RAY</character>
<dialogue>Three. I got kids.</dialogue>
<character>LILA</character>
<dialogue>How old?</dialogue>
<character>RAY</character>
<dialogue>Five and Fifteen.</dialogue>
<character>LILA</character>
<dialogue>I got a boy. Almost one.</dialogue>
<scene_description>Ray looks at her .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He lives with my mother - in - law.</dialogue>
<parenthetical>( after a moment . )</parenthetical>
<dialogue>She stole him from me.</dialogue>
<character>RAY</character>
<dialogue>Stole him?</dialogue>
<character>LILA</character>
<dialogue>Yeah. Right out of the hospital.</dialogue>
<character>RAY</character>
<dialogue>Stole him?</dialogue>
<character>LILA</character>
<dialogue>Tribal police do n't get involved in stuff like that.</dialogue>
<scene_description>Lila looks out across the river at dusk with no expression . The ice looks clean and still . Ray picks up speed to climb the river bank .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JIMMY'S GARAGE - DAY</stage_direction>
<scene_description>Ray and Lila drive up in the Acclaim . Thunder SPRINGS out again , caught by his CHAIN just short of the car . Ray flinches but keeps hold of the gun . Jimmy walks out to meet them . Lila rolls down her window .</scene_description>
<character>JIMMY</character>
<dialogue>Bernie was askin' if I'd seen you. I told him no.</dialogue>
<character>LILA</character>
<dialogue>Thanks.</dialogue>
<character>JIMMY</character>
<dialogue>I do n't want any trouble with him, Lila.</dialogue>
<character>LILA</character>
<dialogue>Do n't worry about it.</dialogue>
<scene_description>Jimmy 's cell phone rings .</scene_description>
<character>JIMMY</character>
<dialogue>This guy's been calling all morning. He's got two up at the Old Casino.</dialogue>
<character>LILA</character>
<dialogue>Okay.</dialogue>
<scene_description>Jimmy takes the call .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT JIMMY'S GARAGE - DAY</stage_direction>
<scene_description>Lila rolls up the window .</scene_description>
<character>RAY</character>
<dialogue>What's going on?</dialogue>
<character>LILA</character>
<dialogue>We got ta pick them up.</dialogue>
<character>RAY</character>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>Where?</dialogue>
<character>LILA</character>
<dialogue>Not far.</dialogue>
<character>RAY</character>
<dialogue>Where's that?</dialogue>
<character>LILA</character>
<dialogue>An old casino through the woods. They used to have gambling there in the bootlegger days.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNWALL ISLAND WOODS, OLD CASINO - NIGHT</stage_direction>
<scene_description>Ray and Lila bounce through the woods to a collapsed building . An old BLACK SUV pulls up from the opposite direction , FACING THEM . Two MIDDLE - AGED CHINESE MEN , get out of the back . One carries an envelope . At the sight of Ray and Lila , he stops and says something to the other one . Both turn around and head back to the SUV . The DRIVER JACQUES BRUNO , a large Quebecois man , wearing a full - length fur coat gets out . They argue . He pulls out a LONG PISTOL and motions the men to the Acclaim .</scene_description>
<character>RAY</character>
<dialogue>What the hell is he doing?</dialogue>
<scene_description>Ray reaches for her gun .</scene_description>
<character>LILA</character>
<dialogue>Keep that thing down.</dialogue>
<scene_description>Bruno walks towards the Acclaim .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Roll down the window and see what he wants.</dialogue>
<character>RAY</character>
<dialogue>What the hell is going on here?</dialogue>
<character>LILA</character>
<dialogue>Just roll it down.</dialogue>
<scene_description>Bruno stands at Ray 's window . Ray slides the gun under her leg and rolls down the window . Bruno hands her a Tim Horton 's bag . She takes it .</scene_description>
<character>BRUNO</character>
<parenthetical>( Quebec - French accent . )</parenthetical>
<dialogue>D'ey do n't like de women driver.</dialogue>
<scene_description>He hands Ray the envelope of cash .</scene_description>
<character>LILA</character>
<dialogue>Count it.</dialogue>
<scene_description>Ray nervously COUNTS the money as the Chinese men shiver outside .</scene_description>
<character>RAY</character>
<dialogue>Twelve hundred.</dialogue>
<scene_description>Lila pops the trunk . Bruno and the Chinese men disappear around the back of the Acclaim . They hear the trunk SHUT . Bruno comes back to Ray 's window and taps on it . Ray looks at Lila .</scene_description>
<character>LILA</character>
<dialogue>Open it.</dialogue>
<scene_description>Ray rolls down the window again .</scene_description>
<character>BRUNO</character>
<dialogue>D'is will keep d'em from running.</dialogue>
<scene_description>He hands her men 's shoes and dirty socks . Ray takes the belongings and ROLLS up the window and drives away .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - DAY</stage_direction>
<scene_description>Ray drives across the river . The socks and shoes are between them .</scene_description>
<character>RAY</character>
<dialogue>Why would they want to run?</dialogue>
<character>LILA</character>
<dialogue>To get away from the snakeheads.</dialogue>
<character>RAY</character>
<dialogue>What's that?</dialogue>
<character>LILA</character>
<dialogue>The snakeheads pay to get them here and then they got ta work off what they owe.</dialogue>
<character>RAY</character>
<dialogue>How much does it cost?</dialogue>
<character>LILA</character>
<dialogue>Forty, fifty thousand. Depends where they're coming from.</dialogue>
<character>RAY</character>
<dialogue>To get here?</dialogue>
<character>LILA</character>
<dialogue>Sometimes they got ta work for years to pay it off.</dialogue>
<character>RAY</character>
<parenthetical>( disbelief . )</parenthetical>
<dialogue>To get here? No fuckin' way.</dialogue>
<scene_description>She gets a whiff of the socks .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>God those are ripe.</dialogue>
<scene_description>She throws them into the backseat .</scene_description>
<character>LILA</character>
<dialogue>They always stink.</dialogue>
<scene_description>Two more cars are seen coming toward them on the river . They swerve wide to avoid the Acclaim . She speeds up to make it up the boat launch .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, KITCHEN - DAY</stage_direction>
<scene_description>Ricky watches cartoons on the big screen TV . T.J. flips through the telephone book to the back section : AKWESASNE and scans columns of names mostly either `` BONAPARTE '' `` LITTLEWOLF '' or `` THREERIVERS '' . He chooses a name and dials the number .</scene_description>
<character>T.J.</character>
<dialogue>- Hello.</dialogue>
<parenthetical>( in a grown - up voice . )</parenthetical>
<dialogue>Is this Mrs. Irene ThreeRivers? - Mrs. Bonaparte, I have good news.</dialogue>
<parenthetical>( MORE . )</parenthetical>
<dialogue />
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- I'm the business manager of Mr. E.F. ThreeRivers and I have been authorized to inform you that you have inherited money. - Are you still there? - Wait, I do n't WANT any money, I want to GIVE you money. - That's right. You have inherited money from his computer fortune. - He was the second richest man next to Bill Gates. - He left you Twenty - six thousand seven hundred and fifty dollars.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- TWENTY - SIX THOUSAND SEVEN HUNDRED AND FIFTY DOLLARS! - Oh no, you have no obligation whatsoever, Mrs. ThreeRivers, just a small processing fee of 29.00 dollars will authorize me to send out your first payment of thirteen - thousand three hundred and seventy five dollars. - You can put it on any major credit card.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Of course, you can always refuse the money. - Sure, I can hold.</dialogue>
<scene_description>T.J. holds his pen poised to write and looks at Ricky watching TV , then at the clock . It reads 3:40 PM .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON ROUTE 37 - DAY</stage_direction>
<scene_description>The Acclaim emerges from a dirt road onto State Route 37 . Up ahead a sign reads : `` YOU ARE NOW LEAVING AKWESASNE , LAND OF THE MOHAWK '' . The Acclaim drives past .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37, THE RESERVATION LINE - DAY</stage_direction>
<scene_description>Sitting in his New York State Trooper Vehicle , partly hidden behind a billboard , TROOPER MIKE NAPOLI , mid 40s , olive - skinned , watches the Acclaim drive by without expression .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - DAY</stage_direction>
<scene_description>Ray notices the vehicle .</scene_description>
<character>RAY</character>
<dialogue>Are they always there?</dialogue>
<character>LILA</character>
<dialogue>Yeah, but they ca n't stop you unless you give them a reason.</dialogue>
<character>RAY</character>
<dialogue>Have you ever gotten caught?</dialogue>
<character>LILA</character>
<dialogue>Once.</dialogue>
<character>RAY</character>
<dialogue>What happened?</dialogue>
<character>LILA</character>
<dialogue>They gave me the choice of paying a fine or spending three months in jail.</dialogue>
<character>RAY</character>
<dialogue>What did you do?</dialogue>
<character>LILA</character>
<dialogue>I paid the fine. I made the money back in two nights of smuggling. But back then it was cigarettes and everybody did it. Some of the troopers were into it, too.</dialogue>
<character>RAY</character>
<dialogue>Smuggling?</dialogue>
<character>LILA</character>
<dialogue>Yeah. But when they lowered the tax on cigarettes in Canada most people got out of it and the rest switched over to Chinese.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>The Acclaim pulls around back . The Pakistani Dealer approaches the car and hands Ray a paper bag full of cash .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>Ray takes the money .</scene_description>
<character>LILA</character>
<dialogue>Count it.</dialogue>
<character>RAY</character>
<dialogue>Right, I know.</dialogue>
<character>LILA</character>
<dialogue>Well, be sure it's right. I do n't wan na get stiffed.</dialogue>
<character>RAY</character>
<dialogue>Then why do n't you count it?</dialogue>
<character>LILA</character>
<dialogue>I got bad eyes.</dialogue>
<scene_description>She counts it and nods at Lila . Lila POPS the trunk and the barefoot Chinese men get out . Ray and Lila look at them , they look back , blank and ungrateful . Ray rolls down the window and tosses out their shoes and socks .</scene_description>
<character>RAY</character>
<dialogue>You're welcome.</dialogue>
<scene_description>Ray swerves back out onto Route 37 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37 INDIAN RESERVATION - SAME</stage_direction>
<scene_description>They continue down the road to the reservation line . After they pass the sign : YOU ARE ENTERING THE LAND OF THE MOHAWK , Ray pulls over and stops . Ray takes the money and consolidates it into one paper bag .</scene_description>
<character>LILA</character>
<dialogue>What about mine?</dialogue>
<character>RAY</character>
<dialogue>We're even now.</dialogue>
<scene_description>They stare at each other for a second or two , but Ray does not take out the gun . Lila reaches for the door handle Lila gets out . Ray drives away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER YARD - DAY</stage_direction>
<scene_description>The kitchen clock reads 3:55 . A RENTAWORLD truck is parked outside . Two large RENTAWORLD MEN sit in it . T.J. sees them from inside the trailer . He comes outside . He walks up to the trunk . One of the men rolls down the window .</scene_description>
<character>T.J.</character>
<dialogue>My mom told me to give you her credit card number.</dialogue>
<character>RENTACENTER MAN</character>
<parenthetical>( weary . )</parenthetical>
<dialogue>We only take cash or money orders.</dialogue>
<character>T.J.</character>
<dialogue>Well, my Mom might be late.</dialogue>
<character>RENTACENTER MAN</character>
<dialogue>She's got three minutes.</dialogue>
<scene_description>T.J. goes back inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>Ricky is glued to a cartoon . T.J. watches him , checking out the window every few seconds for Ray . A long moment passes with only the sounds from the cartoon .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER YARD - DAY</stage_direction>
<scene_description>The RENTAWORLD men get out of the car and start toward the trailer . From down the road the Acclaim comes roaring along , kicking up dust . Ray swerves in and jumps out and runs up to the men .</scene_description>
<character>RAY</character>
<dialogue>It's okay. I got it right here.</dialogue>
<parenthetical>( she waves a wad of fifties and twenties . )</parenthetical>
<dialogue>. Two fifty five, right?</dialogue>
<scene_description>The men nod , relieved . Ray counts out the money . Ricky bursts out the door and runs towards Ray .</scene_description>
<character>RICKY</character>
<dialogue>Mommy!</dialogue>
<scene_description>She catches him in her arms and hugs him . T.J. stands at the trailer door , watching as the men drive away .</scene_description>
<character>RAY</character>
<parenthetical>( to Ricky . )</parenthetical>
<dialogue>Who wants to go the Price Chopper and get some Cap'n Crunch?</dialogue>
<character>RICKY</character>
<dialogue>I DO!</dialogue>
<character>RAY</character>
<dialogue>Wan na to go to the Price Chopper?</dialogue>
<scene_description>T.J. walks out , looking at the money suspiciously .</scene_description>
<character>T.J.</character>
<dialogue>Where'd you get that?</dialogue>
<character>RAY</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Matt made me an assistant manager.</dialogue>
<character>T.J.</character>
<dialogue>No way.</dialogue>
<character>RAY</character>
<dialogue>Is that so hard to believe?</dialogue>
<character>T.J.</character>
<dialogue>It's been like two years.</dialogue>
<character>RAY</character>
<dialogue>Exactly, and that's why he gave me a bonus.</dialogue>
<scene_description>He is n't convinced .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do you wan na go to the Price Chopper or not?</dialogue>
<scene_description>T.J. gets in the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE ON POINT - NIGHT</stage_direction>
<scene_description>Near the river , smoke curls from the chimney of a modest house . Lila perches in a tree nearby with a can of Pringles potato chips dropping every other one on the ground below where a huge WHITE DOG , part wolf , takes his share . From the tree Lila looks inside the window of the house where : A baby boy , `` LITTLE JAKE , '' about a year old , bangs his spoon on his high chair tray then throws it down . EVELYN LITTLEWOLF , 48 , a tall thin Mohawk woman with long hair pulled back , picks it up and gives it back to him . He throws it again . She knows the game . She gives it back , but the third time she holds it just out of his reach and laughs at him . He bangs his fists on the tray . Lila drinks in the sight . Abruptly , the DOOR OPENS and EVELYN leans out .</scene_description>
<character>EVELYN</character>
<dialogue>Chance! Chance, get in here before you freeze your ass off.</dialogue>
<scene_description>The White Dog looks up at Lila who shakes the Pringles can upside down to show it 's empty . Chance goes inside . The door SHUTS behind him . Lila stuffs a wad of cash in the can and jumps down from the tree . She leaves it near the front door and hurries into the woods .</scene_description>
</scene>
<scene>
<stage_direction>INT. T.J. AND RICKY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Ray tucks Ricky into the bottom bunk . The wind whines in the loose siding . Ray stuffs a blanket around the window to block the draft .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, LIVING ROOM - NIGHT</stage_direction>
<scene_description>Ray walks through the kitchen now full of groceries and opens a can of Adirondack Cola . The remains of two Hungry Man dinners sit on the table . She sits down in the living room . T.J. watches the local weather .</scene_description>
<character>WEATHER MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Temps will dip tonight and tomorrow. Expect a Clipper from Northern Ontario to bring 8 to 12 inches of snow and winds gusting 25 - 45 miles an hour making it feel like minus 30. Area farmers are advised to bring in livestock. More on this after a message.</dialogue>
<scene_description>A blaring TV commercial for the `` HOT WHEELS TECH TRAX AIR STUNT CHALLENGE SET '' comes on .</scene_description>
<character>T.J.</character>
<dialogue>That's what he wants.</dialogue>
<character>RAY</character>
<dialogue>What?</dialogue>
<scene_description>He points at the TV .</scene_description>
<character>T.J.</character>
<dialogue>For Christmas.</dialogue>
<character>RAY</character>
<dialogue>What is it, again?</dialogue>
<character>T.J.</character>
<parenthetical>( recites it quick . )</parenthetical>
<dialogue>Hot Wheels Tech Trax Air Stunt Challenge Set.</dialogue>
<character>RAY</character>
<dialogue>- Hot Wheels Tech Trax, what?</dialogue>
<character>T.J.</character>
<dialogue>Air - Stunt - Challenge - Set.</dialogue>
<character>RAY</character>
<dialogue>I got something even better than that.</dialogue>
<character>T.J.</character>
<dialogue>What?</dialogue>
<character>RAY</character>
<dialogue>The double wide. But do n't mention it to Ricky, just in case.</dialogue>
<character>T.J.</character>
<dialogue>Yeah, `` just in case.''</dialogue>
<character>RAY</character>
<dialogue>This time is for real.</dialogue>
<character>T.J.</character>
<dialogue>Is that why you bought Calgon Bath Stuff?</dialogue>
<character>RAY</character>
<dialogue>Yes it is. We're getting a tub, T.J. It's gon na happen.</dialogue>
<character>T.J.</character>
<dialogue>Yeah, right.</dialogue>
<character>RAY</character>
<dialogue>If you keep that attitude I'll never let you use it.</dialogue>
<character>T.J.</character>
<dialogue>Be afraid. Be very afraid.</dialogue>
<parenthetical>( a moment . )</parenthetical>
<dialogue>What about Dad?</dialogue>
<character>RAY</character>
<dialogue>What about him?</dialogue>
<character>T.J.</character>
<dialogue>What are you gon na do?</dialogue>
<character>RAY</character>
<dialogue>Why, did he call broke yet?</dialogue>
<character>T.J.</character>
<dialogue>No, but maybe he would call if you were n't so bitter.</dialogue>
<character>RAY</character>
<dialogue>Oh, here we go again with Saint Dad.</dialogue>
<character>T.J.</character>
<dialogue>That's what I mean. You're always on him. `` Where's your paycheck, do you need a meeting, give me your receipts.''</dialogue>
<character>RAY</character>
<dialogue>He's an addict, T.J.</dialogue>
<character>T.J.</character>
<dialogue>You're still bitter.</dialogue>
<character>RAY</character>
<dialogue>You got ta help Ricky get the tree up tomorrow after school okay?</dialogue>
<character>T.J.</character>
<dialogue>Where are you going?</dialogue>
<character>RAY</character>
<dialogue>Christmas shopping.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, BEDROOM - NIGHT</stage_direction>
<scene_description>Ray lays down her bed and checks her cell phone for new messages : a little zero blinks at her . She listens to her own cell phone message ,</scene_description>
<character>RAY'S VOICE</character>
<dialogue>Hi, it's me. leave a message, and maybe I'll call ya back.</dialogue>
<scene_description>It is harsh . She erases it and tries again .</scene_description>
<character>RAY</character>
<parenthetical>( fake cheerful . )</parenthetical>
<dialogue>Hi. it's me. leave a message and I'll call ya' back.</dialogue>
<scene_description>She plays it back . It sounds fake . She tries again .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( less cheerful , forced . )</parenthetical>
<dialogue>Hey, leave me a message and I'll call ya' back.</dialogue>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>You son of a bitch.</dialogue>
<scene_description>She plays it back . `` You son of a . '' was recorded . She tries again .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hi, it's me. I ca n't take the call right now, but if it's you, Troy, please at least tell me you are alive, because the boys are worried about you.</dialogue>
<scene_description>She brings up OLD MESSAGES on her cell phone and listens to one .</scene_description>
<character>TROY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, I just got done here. I made two hours overtime fixing one of the snow - making machines. Pretty cool, huh? I'll be home late. I'm gon na catch that meeting at 7:30. Love you, bye.</dialogue>
<scene_description>Ray stares across the room at a pile of Troy 's dirty flannel shirts . She gets up and picks up the pile to move it to the closet , but feels something hard . From a shirt pocket she pulls out a stack of used scratch cards . She throws the shirts in the closet and reaches for her cigarettes . She takes out a glossy picture of her double wide dream home , `` The Commodore '' a gleaming pre - fab structure with a landscaped yard and a family with paid - for smiles . After a moment she takes the wad of cash out of her pocket and begins making stacks of fifties and twenties .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>The camper is buried in snow . A shiny SUV pulls up out front . BERNIE LITTLEWOLF , 35 , burly , well - dressed , Mohawk man gets out . He yells across the yard</scene_description>
<character>BERNIE</character>
<dialogue>Lila. Get up. I got a job for you!</dialogue>
</scene>
<scene>
<stage_direction>INT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Lila is sound asleep on her cot under three blankets next to the propane heater . Bernie 's snow balls THUMP against the side of the camper .</scene_description>
<character>BERNIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Lila! Get up.</dialogue>
<scene_description>Lila opens her eyes and looks out the window , squinting at the snow glare .</scene_description>
<character>BERNIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They got two people out sick today, so if you get down there you got the job.</dialogue>
<character>LILA</character>
<dialogue>Huh?</dialogue>
<character>BERNIE</character>
<dialogue>Get dressed, I got coffee. Let's go!</dialogue>
<scene_description>He holds up a paper cup . She slips on her jeans with a sweatshirt .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILA'S CAMPER - DAY</stage_direction>
<scene_description>Lila forces the door open against the heavy snow and steps outside .</scene_description>
<character>LILA</character>
<dialogue>Where is it?</dialogue>
<character>BERNIE</character>
<dialogue>Get in, I'll tell you on the way.</dialogue>
<scene_description>She grabs her coat and trudges across the yard .</scene_description>
</scene>
<scene>
<stage_direction>INT. BERNIE'S SUV - DAY</stage_direction>
<scene_description>Bernie hands her a paper cup of coffee .</scene_description>
<character>BERNIE</character>
<dialogue>Rita said you quit.</dialogue>
<character>LILA</character>
<dialogue>She fired me.</dialogue>
<character>BERNIE</character>
<dialogue>That's not what she said.</dialogue>
<character>LILA</character>
<dialogue>Well, she should have. I ca n't see to count the money. I told you that. I come up short half the time.</dialogue>
<character>BERNIE</character>
<dialogue>Then get some glasses.</dialogue>
<character>LILA</character>
<dialogue>They make me carsick.</dialogue>
<character>BERNIE</character>
<dialogue>Gim me a break.</dialogue>
<scene_description>She sips the coffee .</scene_description>
<character>LILA</character>
<dialogue>So where are we going?</dialogue>
<character>BERNIE</character>
<dialogue>The Tribal Council needs someone to answer phones.</dialogue>
<character>LILA</character>
<dialogue>No way!</dialogue>
<scene_description>She reaches for the door handle .</scene_description>
<character>BERNIE</character>
<dialogue>Why not? You can answer a phone, ca n't you?</dialogue>
<character>LILA</character>
<dialogue>Not there! Not with them.</dialogue>
<scene_description>She starts to get out . He notices the Horizon , buried under the snow , near the camper .</scene_description>
<character>BERNIE</character>
<parenthetical>( suspicious . )</parenthetical>
<dialogue>What's that?</dialogue>
<character>LILA</character>
<dialogue>I bought it.</dialogue>
<character>BERNIE</character>
<dialogue>From who?</dialogue>
<character>LILA</character>
<dialogue>Some white lady.</dialogue>
<scene_description>He says nothing . Taps his thumbs on the steering wheel , suspicious . A long moment passes .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What?</dialogue>
<character>BERNIE</character>
<dialogue>What do you need a car for?</dialogue>
<character>LILA</character>
<dialogue>To get to work. So I do n't have to walk in the breakdown lane. Last week I almost got hit by the plow.</dialogue>
<character>BERNIE</character>
<dialogue>You'll live. And you know what I'm talking about.</dialogue>
<character>LILA</character>
<dialogue>It does n't have a trunk.</dialogue>
<scene_description>He stares at straight ahead .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>All right, all right! I'll go.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALL FOR A DOLLAR STORE - DAY</stage_direction>
<scene_description>Ray rings up a counter full of merchandise for a heavyset CUSTOMER in her 20s .</scene_description>
<character>RAY</character>
<dialogue>That's $ 87.50.</dialogue>
<scene_description>The customer hands her a credit card . Ray processes the credit card . It is declined .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sorry. Did n't go through.</dialogue>
<scene_description>The customer looks up with exaggerated annoyance .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( in a low voice . )</parenthetical>
<dialogue>I can try to put it though again.</dialogue>
<scene_description>The customer grabs her purse from the basket , and walks out the door , leaving the merchandise .</scene_description>
<character>CUSTOMER</character>
<parenthetical>( yells back at Ray . )</parenthetical>
<dialogue>You got a problem with your machine, lady!</dialogue>
<scene_description>Ray moves the merchandise aside for the next customer . It is Trooper Napoli . Ray is startled to see him . He puts down some shaving cream and a diet Pepsi .</scene_description>
<character>RAY</character>
<parenthetical>( rings him up . )</parenthetical>
<dialogue>That'll be three seventy six.</dialogue>
<scene_description>He digs in his pocket .</scene_description>
<character>TROOPER</character>
<dialogue>I got exact.</dialogue>
<scene_description>He counts it out . She hands him his bag and watches him walk out .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOHAWK TRIBAL COUNCIL, RECEPTION AREA - DAY</stage_direction>
<scene_description>Mohawk paintings and a huge wolf carved out of wood decorate the waiting area . Nearby is an office marked `` GRAND CHIEF '' A MOHAWK WOMAN walks by the desk and recognizes Lila , then looks away , quickly . A tall , middle - aged woman , GRAND CHIEF ROSALIE comes out of the office and walks up to Lila .</scene_description>
<character>ROSALIE</character>
<dialogue>Do I have any messages?</dialogue>
<scene_description>Lila hands her a stack . She takes them and walks away , then stops .</scene_description>
<character>ROSALIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I ca n't read this.</dialogue>
<scene_description>She holds the message out to Lila . Lila tries to read it , squinting .</scene_description>
<character>LILA</character>
<dialogue>I think it's a `` T.''</dialogue>
<character>ROSALIE</character>
<dialogue>No, I ca n't read any of it.</dialogue>
<character>LILA</character>
<dialogue>I told Bernie I could n't see.</dialogue>
<scene_description>Lila grabs her jean jacket .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nevermind. I'll go.</dialogue>
<scene_description>She walks out .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT BUBBLE CAMPER - NIGHT</stage_direction>
<scene_description>Ray pulls up in heavy snow . Lila gets in with a gallon of windshield wiper fluid .</scene_description>
<character>LILA</character>
<dialogue>We got ta get extra fluid.</dialogue>
<character>RAY</character>
<dialogue>I got ta get back before KMART closes.</dialogue>
<character>LILA</character>
<dialogue>What for?</dialogue>
<character>RAY</character>
<dialogue>I got nothing for under the tree.</dialogue>
</scene>
<scene>
<stage_direction>INT. WOLF MART GAS STATION RESTAURANT - NIGHT</stage_direction>
<scene_description>Ray fills the car with gas . Lila goes inside to get some Pringles . Looking into the small restaurant she sees Evelyn Littlewolf , her mother - in - law and Little Jake sitting at a table with Grand Chief Rosalie . She stops dead in her tracks at the sight . They do not see her . Slowly , she walks up to the table . Little Jake notices her first . ANGLE : Through the window Ray catches sight of Lila standing at the table perfectly still . The other women glance up at her then turn away . No one speaks . Lila walks off with Little Jake still watching her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray and Lila drive across the smooth river surface . Snow falls steadily . The windshield wipers SNAP back and forth . They barely avoid the oncoming headlights of another smuggler 's car crossing the ice .</scene_description>
<character>RAY</character>
<dialogue>Do n't you people even take Christmas Eve off?</dialogue>
<character>LILA</character>
<dialogue>Mohawks do n't celebrate Christmas.</dialogue>
<character>RAY</character>
<dialogue>You could fool me the way they were all lined up at All for a Dollar today.</dialogue>
<character>LILA</character>
<dialogue>Those are Christians. The converted.</dialogue>
<character>RAY</character>
<dialogue>From what?</dialogue>
<character>LILA</character>
<dialogue>From the Longhouse ways.</dialogue>
<character>RAY</character>
<dialogue>That's awful not to have Santa Claus - for the kids, I mean.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>T.J. dumps the contents of a box containing the pieces of an artificial Christmas tree . Branches cover the floor . The boys begin putting it together like a puzzle . The TV is on . A commercial for the HOT WHEELS TECH TRACK AIR STUNT CHALLENGE SET comes on . Ricky trains in on it , flinching and jerking his body with sound effects at the sight of the flying Hot Wheels cars and the booming voice of the announcer .</scene_description>
<character>RICKY</character>
<dialogue>Daddy is gettin' me that for Christmas.</dialogue>
<character>T.J.</character>
<dialogue>What about Santa Claus?</dialogue>
<character>RICKY</character>
<dialogue>He's bringing the new house.</dialogue>
</scene>
<scene>
<stage_direction>INT. ACCLAIM JIMMY'S GARAGE LOT - NIGHT</stage_direction>
<scene_description>Ray and Lila drive up . Jimmy runs out with his jacket pulled over his head . He sees Lila and signals to the garage . Two figures start toward the car . As they get closer , Ray sees a man and a woman . Both Pakistani .</scene_description>
<character>RAY</character>
<dialogue>Wait. They're not Chinese.</dialogue>
<character>LILA</character>
<dialogue>They're `` Pakis.''</dialogue>
<character>RAY</character>
<dialogue>What does that mean?</dialogue>
<character>LILA</character>
<dialogue>They're from Pakistan.</dialogue>
<character>RAY</character>
<dialogue>Well where's that?</dialogue>
<character>LILA</character>
<dialogue>I do n't know. What difference does it make?</dialogue>
<character>RAY</character>
<dialogue>A big difference.</dialogue>
<scene_description>The Pakistani couple stand outside the car , shivering and holding out the cash . The man carries a heavy duffle bag . Ray rolls down the car window . The man holds out money to Ray but she does n't take it .</scene_description>
<character>LILA</character>
<dialogue>If we wait much longer we wo n't be able to get back across the river.</dialogue>
<character>RAY</character>
<dialogue>Look, I'm not driving just anybody across the border.</dialogue>
<character>LILA</character>
<dialogue>Do you want the money or not?</dialogue>
<character>RAY</character>
<dialogue>I wan na know what's in the bag.</dialogue>
<scene_description>Ray looks out the car window and points to the bag speaking loudly .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's in there?</dialogue>
<scene_description>The man looks at the woman .</scene_description>
<character>LILA</character>
<dialogue>They do n't understand you.</dialogue>
<character>RAY</character>
<dialogue>Well, if they want to come over here so bad, they ought' a take the time to learn English.</dialogue>
<scene_description>Lila pops open the trunk .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Just hold on a second.</dialogue>
<scene_description>Ray gets out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM, JIMMY'S GARAGE LOT - NIGHT</stage_direction>
<scene_description>The Pakistani woman crawls into the trunk and the man picks up the duffle bag to put it in but Ray takes hold of it .</scene_description>
<character>RAY</character>
<dialogue>I'll take that.</dialogue>
<scene_description>Ray motions him into the trunk and shuts it . Then she opens the bag and starts to rifle through it but Lila stops her .</scene_description>
<character>Lila</character>
<dialogue>What are you doing?! Just count the money and let's go.</dialogue>
<scene_description>Ray looks down at the bag . Nothing is visible but clothes .</scene_description>
<character>LILA</character>
<dialogue>If we keeps snowing like this we wo n't be able to get across the river.</dialogue>
<character>RAY</character>
<dialogue>I just hope these are n't the ones that blow up themselves and everybody with them.</dialogue>
<scene_description>Ray zips the bag up and Lila helps her slide it in the backseat .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT JIMMY'S GARAGE LOT - NIGHT</stage_direction>
<scene_description>Ray and Lila get back in the car . Ray starts to count the money . Lila takes it back .</scene_description>
<character>LILA</character>
<dialogue>We do n't have time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>The Acclaim creeps along in heavy snow .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - SAME</stage_direction>
<scene_description>Lila struggles to count the money by the light of the glove compartment .</scene_description>
<character>LILA</character>
<dialogue>Is that a two or a five?</dialogue>
<character>RAY</character>
<parenthetical>( glances down . )</parenthetical>
<dialogue>A five.</dialogue>
<scene_description>Ray creeps along straining to see out the windshield . The windshield fluid peters out .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit!</dialogue>
<scene_description>Lila looks up . Outside is a wall of white .</scene_description>
<character>LILA</character>
<dialogue>You got ta stop so I can fill up the wiper fluid.</dialogue>
<character>RAY</character>
<dialogue>I'm not stoppin'.</dialogue>
<character>LILA</character>
<dialogue>It's a hundred feet deep out here if we get on black ice</dialogue>
<scene_description>Ray sticks her head out the window but the snow and the wind are too strong . She stops . Lila gets out with the wiper fluid . Ray pops the hood . Ray looks in the backseat at the duffel bag . She hesitates a moment then reaches into the back and opens the back passenger door and slides the bag out of the car . Lila gets back inside .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>RAY</character>
<dialogue>Nuclear power, poison gas,. you ca n't tell what they might have in there. I'm not gon na be responsible for that.</dialogue>
<scene_description>Ray tries the windshield wipers . Fluid clears the windshield . Ray dials her cell phone with one hand .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Hi, I'm gon na be a little late.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- I have to work. Is Ricky asleep? - Put him on.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- Ricky listen to me, he's not coming until you go to sleep.</dialogue>
<parenthetical>( pause . )</parenthetical>
<parenthetical>( MORE . )</parenthetical>
<dialogue />
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- No. Not yet. He's still flyin' over Canada okay? He's not even done with Canada yet, so he's not coming until you get to sleep. Now put your brother on. - I'll be home in a little while, okay? - No, I have n't got it, yet. What's it called again? - Hot Wheels Tech Trax Air Stunt whatever, right, right, I'll get it if I can! - I ca n't promise T.J. - There are more important things to get for Christmas this year. Be home in a little while. Okay, bye.</dialogue>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Lila . )</parenthetical>
<dialogue>You'd think a new house would be enough.</dialogue>
<scene_description>Ray guns it up the boat launch to the shore .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>In the living room , the artificial Christmas tree is up . The TV is on and Ricky is untangling a ball of red Christmas lights .</scene_description>
<character>T.J.</character>
<parenthetical>( dials the phone . )</parenthetical>
<dialogue>- Hi, is Mitch there?</dialogue>
<parenthetical>( a long pause . )</parenthetical>
<dialogue />
<scene_description>The microwave dings . Holding the phone , T.J. takes out two Hungry Man dinners and sets them on the table .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Hi Mitch. It's T.J. No, T.J. from school. Yeah, man. Right. Uh, I was wondering if you still needed those numbers we were talking about ` cause I got one. - How much? - Cool, but the thing is I do n't really have any wheels at the moment. - On Moira road off 37. - Yeah, but there's one more thing.</dialogue>
<parenthetical>( he whispers into the phone inaudibly . )</parenthetical>
<dialogue>. no the air stunt challenge set. - Yeah, exactly. Yeah, man. Thanks a lot. Bye.</dialogue>
<scene_description>He hangs up and puts the dinners on the table .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Ricky . )</parenthetical>
<dialogue>Ricky, time to eat.</dialogue>
<scene_description>T.J. turns around . Ricky has wrapped himself in Christmas lights from head to toe , by slowly revolving while holding the strings .</scene_description>
<character>RICKY</character>
<dialogue>Hey T.J., watch this!</dialogue>
<scene_description>He plugs in the lights and they turn on .</scene_description>
<character>T.J.</character>
<dialogue>Yeah, that's pretty cool. But it's gon na hurt when you sit down.</dialogue>
<scene_description>Ricky giggles .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now unwrap yourself, it's dinner time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>Ray and Lila drive to the back of Bob 's . The Dealer hurries out to meet them .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>He hands Ray a wad of cash . She counts it , then nods to Lila who pops the trunk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM AT BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>The Pakistani man and woman hurry out of the trunk , looking around , and rush to the passenger door of the Acclaim , speaking frantically to each other . The Dealer tries to hustle them to the garage , but they wo n't be moved . Ray starts to back out , but the Dealer knocks on their window . Ray rolls it down .</scene_description>
<character>DEALER</character>
<parenthetical>( heavy accent . )</parenthetical>
<dialogue>They say there's a bag.</dialogue>
<character>RAY</character>
<dialogue>It was too heavy. We had to unload it.</dialogue>
<scene_description>The Dealer tells the woman in Urdu . She becomes HYSTERICAL . She grabs Ray through the window and the dealer pulls her off .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's the matter with her!?</dialogue>
<character>DEALER</character>
<dialogue>She had something in the bag.</dialogue>
<scene_description>The woman continues screaming in Urdu .</scene_description>
<character>RAY</character>
<dialogue>What is she saying!?</dialogue>
<scene_description>He speaks to her in Urdu .</scene_description>
<character>DEALER</character>
<dialogue>She says her baby. Her baby was in the bag.</dialogue>
<scene_description>The Dealer and the man hurry the wailing Pakistani woman into the garage .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - NIGHT</stage_direction>
<scene_description>Lila and Ray pull back onto Route 37 and drive along in stunned silence .</scene_description>
<character>RAY</character>
<dialogue>It did n't feel like there was anything in that bag.</dialogue>
<character>LILA</character>
<dialogue>We got ta go back.</dialogue>
<character>RAY</character>
<dialogue>I ca n't believe they put their baby in a duffle bag.</dialogue>
<character>LILA</character>
<dialogue>I ca n't believe you left it out there.</dialogue>
<character>RAY</character>
<dialogue>If you'd let me search it I would never have taken it -</dialogue>
<character>LILA</character>
<dialogue>We got ta go back.</dialogue>
<character>RAY</character>
<dialogue>I know! I know that.</dialogue>
<scene_description>Ray speeds along .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROUTE 37, THE RESERVATION LINE - NIGHT</stage_direction>
<scene_description>Partly hidden , behind a barn , Trooper Mike Napoli watches the cars pass on Route 37 , leaving the Reservation . The Acclaim passes .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>The trailer is aglow in Christmas lights . Ricky has fallen asleep on the couch . A car horn blows outside . T.J. runs outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER - SAME</stage_direction>
<scene_description>A beat up car is there . Inside a teenager , MITCH , a few years older than T.J. , hands him out a Hot Wheels Tech Track Air Stunt Challenge Set .</scene_description>
<character>MITCH</character>
<dialogue>That's what you wanted, right?</dialogue>
<character>T.J.</character>
<dialogue>Close enough.</dialogue>
<scene_description>T.J. gives Mitch a piece of paper with a list of names and credit card numbers including that of Irene ThreeRivers .</scene_description>
<character>MITCH</character>
<dialogue>Thanks Man, Have a Merry One.</dialogue>
<scene_description>T.J turns to go back inside . He sees SMOKE RISING through the cracks in the siding and goes to the back . BLACK SMOKE POURS from under the trailer where old insulation is smoldering . T.J. runs to the shed , takes a fire extinguisher and sprays under the trailer . Steam rises . The fire appears to be out .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>T.J. comes back in . Smoke filters up though the cracks in the linoleum floor . He covers Ricky with extra blankets and opens the windows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray and Lila drive down the boat launch to the river . The storm has stopped and the river is an endless white surface .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray and Lila creep along .</scene_description>
<character>LILA</character>
<dialogue>Look, there. Tracks.</dialogue>
<character>RAY</character>
<parenthetical>( squints . )</parenthetical>
<dialogue>Where?</dialogue>
<character>LILA</character>
<dialogue>Up there.</dialogue>
<scene_description>Ray speeds up . Faint tire tracks appear in the distance .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Slow down, I do n't want to run over it. Stop. I think it was here.</dialogue>
<scene_description>Ray stops the car . Lila gets out . Ray puts her jacket over her head and follows . Ray 's cell phone plays `` Old MacDonald '' on the seat of the Acclaim .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>Wearing his coat in the trailer , with the windows and door open , T.J. dials the phone . He gets Ray 's cell phone .</scene_description>
<character>RAY'S VOICE</character>
<parenthetical>( faintly heard though the phone . )</parenthetical>
<dialogue>Hi, it's me. I ca n't take the call right now, but if it's you, Troy, please at least tell me you're alive, because the boys are worried about you.</dialogue>
<scene_description>He does n't leave a message . Ricky snores on the couch covered in a pile of blankets .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Lila runs ahead . Ray struggles to keep Lila in sight . Ray comes up behind Lila , rifling through THE UNZIPPED DUFFEL BAG . She suddenly jumps back at the sight of the tiny face of an infant , wrapped in blankets , eyes closed , lips blue .</scene_description>
<character>LILA</character>
<dialogue>It's dead.</dialogue>
<scene_description>Ray looks at the baby . Instinctively , she swoops down and gathers it up . Ray heads for the car .</scene_description>
<character>RAY</character>
<dialogue>Come on!</dialogue>
<scene_description>Lila follows her .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray gets in the car and sets the bundle down on the seat , unwraps it from layers of swaddling and begins taking off it 's clothes . It is a boy . She tries to resuscitate him , but there is no response .</scene_description>
<character>LILA</character>
<dialogue>It's dead.</dialogue>
<scene_description>Ray keeps giving it air . There is no response but she keeps at it . Then , between breaths :</scene_description>
<character>RAY</character>
<dialogue>Tap the bottom of his feet.</dialogue>
<character>LILA</character>
<dialogue>Why?</dialogue>
<character>RAY</character>
<dialogue>That's what they did to get Ricky breathing when he was born.</dialogue>
<scene_description>Ray puts the baby on Lila 's lap . She pulls away .</scene_description>
<character>LILA</character>
<dialogue>I do n't want to touch it.</dialogue>
<character>RAY</character>
<dialogue>Well, I ca n't hold it and drive.</dialogue>
<scene_description>Ray cranks the heater and aims the vents at the baby . Lila stares down at the baby in her lap , not touching it .</scene_description>
<character>LILA</character>
<dialogue>I do n't think it matters.</dialogue>
<character>RAY</character>
<dialogue>At least put him next to your body. That will warm him up.</dialogue>
<character>LILA</character>
<dialogue>But it's too late.</dialogue>
<character>RAY</character>
<dialogue>Just do it! We ca n't give it back to her cold.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>T.J. closes the windows and puts a package of microwave popcorn in the microwave and turns it on . He watches it begin to smoke , then pops open the microwave and takes the smoking bag from room to room to hide the smell of burnt insulation with burnt popcorn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37, THE RESERVATION LINE - NIGHT</stage_direction>
<scene_description>Ray pulls out onto Route 37 and passes the reservation line : `` You are now leaving the land of the Mohawk '' Trooper Napoli watches the Acclaim pass again . This time he pulls out behind it .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - NIGHT</stage_direction>
<scene_description>Ray notices the cruiser following her .</scene_description>
<character>RAY</character>
<dialogue>Shit!</dialogue>
<scene_description>Lila looks back .</scene_description>
<character>LILA</character>
<dialogue>Calm down.</dialogue>
<scene_description>Lila quickly pulls the baby near and wraps him inside her coat hiding him from sight . The DOME LIGHTS START FLASHING .</scene_description>
<character>RAY</character>
<dialogue>Oh shit. What do I do?</dialogue>
<character>LILA</character>
<dialogue>Calm down. Just pull over.</dialogue>
<character>RAY</character>
<dialogue>What if he saw us go by before. To Bob's.</dialogue>
<character>LILA</character>
<dialogue>He's got no reason to stop us, unless you give him one, so keep your mouth shut.</dialogue>
<character>RAY</character>
<dialogue>What if he searches the car. What do we say about -</dialogue>
<character>LILA</character>
<dialogue>He wo n't, just remember you're white.</dialogue>
<scene_description>Ray pushes the blankets onto the floor and kicks them under the seat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON ROUTE 37 - NIGHT</stage_direction>
<scene_description>Ray pulls into the breakdown lane and the trooper pulls in behind her .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - NIGHT</stage_direction>
<scene_description>In Ray 's rear view mirror , Trooper Napoli gets out of the cruiser . He puts on his hat and walks toward the car . Ray rolls down her window .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>License and registration?</dialogue>
<scene_description>Ray hands them over . He examines them , then leans down to the window .</scene_description>
<character>TROOPER NAPOLI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Could you step out of the vehicle, ma'am.</dialogue>
<character>RAY</character>
<parenthetical>( fakely nice . )</parenthetical>
<dialogue>I was n't speeding, was I?</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>Just step out of the car.</dialogue>
<character>RAY</character>
<dialogue>Did I do something?</dialogue>
<character>TROOPER NAPOLI</character>
<parenthetical>( suspicious . )</parenthetical>
<dialogue>Ma'am I'm just directing you to step out of the vehicle?</dialogue>
<character>RAY</character>
<dialogue>Okay.</dialogue>
<scene_description>She gets out of the car reluctantly . He looks in at Lila , she keeps her head down .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>Step around to the back of the vehicle.</dialogue>
<scene_description>He follows Ray to the back of the Acclaim .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT</stage_direction>
<scene_description>He points at the trunk . Ray stares at it , afraid to speak .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>See that.</dialogue>
<scene_description>Ray stares at the back of the car , afraid to speak .</scene_description>
<character>TROOPER NAPOLI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your left rear parking light is not illuminated.</dialogue>
<scene_description>Ray notices the light .</scene_description>
<character>RAY</character>
<dialogue>Oh, I did n't know.</dialogue>
<scene_description>He takes out his pad and pen .</scene_description>
<character>TROOPER NAPOLI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm gon na give you a provisional citation. Get this repaired in the next 48 hours and you'll have no problem.</dialogue>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thanks.</dialogue>
<character>TROOPER NAPOLI</character>
<parenthetical>( he looks into the car . )</parenthetical>
<dialogue>Who's your friend?</dialogue>
<character>RAY</character>
<dialogue>She looks after my kids when I have to work late.</dialogue>
<scene_description>Ray gets back in the car . He shuts the door behind her and gives Lila a friendly nod .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>Have an enjoyable Holiday.</dialogue>
<character>RAY</character>
<dialogue>Yeah, you, too.</dialogue>
<scene_description>She rolls up her window .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT</stage_direction>
<scene_description>In her rear view , Ray watches him get in his vehicle , u - turn and drive out of sight in the opposite direction .</scene_description>
<character>LILA</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>What did he want?</dialogue>
<character>RAY</character>
<dialogue>Just a blown out tail light.</dialogue>
<character>LILA</character>
<dialogue>That's it?</dialogue>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>T.J. looks at the clock . It 's after midnight . He leads Ricky , half asleep into his room and tucks him in bed . Then he takes out the Hot Wheels Box and puts it under the tree .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. ACCLAIM AT BOB'S MOTEL - NIGHT</stage_direction>
<scene_description>Ray and Lila pull in to the motel but there is no sign of life . Ray gathers up the blankets . Lila sits motionless .</scene_description>
<character>RAY</character>
<dialogue>We got ta take it in.</dialogue>
<scene_description>Lila sits absolutely still .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What is it?</dialogue>
<character>LILA</character>
<dialogue>It's moving.</dialogue>
<character>RAY</character>
<dialogue>What? Are you sure?</dialogue>
<scene_description>Lila slowly takes the baby from inside her jacket . His eyes open . He blinks . Ray and Lila stare at him .</scene_description>
<character>LILA</character>
<dialogue>Hello little baby.</dialogue>
<scene_description>The baby looks back at them .</scene_description>
<character>RAY</character>
<dialogue>He was just cold.</dialogue>
<scene_description>Ray and Lila wrap him up in the blankets and get out with Lila carrying the bundle and walk into the motel office .</scene_description>
</scene>
<scene>
<stage_direction>INT. BOB'S MOTEL - SAME</stage_direction>
<scene_description>Ray and Lila look around the shabby motel office circa 1950s with a few threadbare chairs . No one is at the front desk . Ray ventures behind the desk and knocks on a small door . She carefully opens it to a small office with a desk , cluttered with papers and , beyond it , another door . Ray knocks and opens it to : A living room hung with heavy red Pakistani fabrics and lights . The dealer and the Pakistani man study a map of New York State spread out on the table . Behind them the Pakistani woman sits on the couch . Ray comes in , followed by Lila carrying the baby .</scene_description>
<character>RAY</character>
<dialogue>We found him.</dialogue>
<scene_description>The Pakistani woman looks up , sees the bundle and hurries across the room to Lila . Lila holds out the baby with a little smile and the Pakistani woman snatches it out of her arms . The Pakistani women pulls back the blanket and sees the baby - alive . She sinks to her knees letting out a wail . Lila 's eyes fill with tears . Ray chokes back her own .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Lila . )</parenthetical>
<dialogue>Come on. Let's go.</dialogue>
<scene_description>Lila follows Ray out , looking over her shoulder at the baby .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON ROUTE 37 - NIGHT</stage_direction>
<scene_description>Lila and Ray drive away .</scene_description>
<character>LILA</character>
<dialogue>He was dead.</dialogue>
<character>RAY</character>
<dialogue>He was just cold.</dialogue>
<character>LILA</character>
<dialogue>He was dead.</dialogue>
<character>RAY</character>
<dialogue>Okay, whatever, you brought him back to life.</dialogue>
<character>LILA</character>
<dialogue>That was the Great Spirit, not me.</dialogue>
<character>RAY</character>
<dialogue>All I know is Kmart is closed and I got nothing for under the tree.</dialogue>
<scene_description>Lila looks at Ray .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Lila says nothing .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look, I do n't have time for that. I ca n't get deep about every little thing. I just have to keep on going. I only need one more run to have enough for my double.</dialogue>
</scene>
<scene>
<stage_direction>INT. ACCLAIM AT LILA'S CAMPER - NIGHT</stage_direction>
<scene_description>Ray and Lila pull up in front of Lila 's camper and stop . Ray divides the money .</scene_description>
<character>RAY</character>
<dialogue>Here.</dialogue>
<scene_description>Lila takes the money and starts to get out .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Merry Christmas or whatever.</dialogue>
<character>LILA</character>
<dialogue>Yeah.</dialogue>
<scene_description>Lila gets out and goes inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>Ray drives up . The trailer is covered in Christmas lights .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, KITCHEN - NIGHT</stage_direction>
<scene_description>Ray comes in . The box containing the Hot Wheels Tech Track Air Stunt Challenge set is under the tree .</scene_description>
<character>RAY</character>
<dialogue>What's that?</dialogue>
<character>T.J.</character>
<dialogue>Hot Wheels.</dialogue>
<scene_description>She is suspicious .</scene_description>
<character>RAY</character>
<dialogue>Where'd you get it?</dialogue>
<character>T.J.</character>
<dialogue>I called a friend.</dialogue>
<character>RAY</character>
<dialogue>Mitch? Is that the friend you called? It's probably stolen, you know.</dialogue>
<character>T.J.</character>
<dialogue>No, its not.</dialogue>
<character>RAY</character>
<dialogue>Well, I do n't want you hanging around him. That kid is bad news.</dialogue>
<character>T.J.</character>
<dialogue>It's not like you were gon na get it.</dialogue>
<character>RAY</character>
<dialogue>Look, Mister, I got more important things to worry about than toys. I'm trying to get our doublewide.</dialogue>
<character>T.J.</character>
<dialogue>Oh, yeah. I forgot.</dialogue>
<character>RAY</character>
<dialogue>Hey, you can lose the attitude. Anyway, Kmart was closed by the time I got off work.</dialogue>
<scene_description>He gives her a sideways glance .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's that smell?</dialogue>
<character>T.J.</character>
<dialogue>Popcorn.</dialogue>
<character>RAY</character>
<dialogue>I told you to be careful with the microwave, did n't I?</dialogue>
<character>T.J.</character>
<dialogue>Sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. LILA'S CAMPER - NIGHT</stage_direction>
<scene_description>A heavy THUD as something hits the side of Lila 's camper .</scene_description>
<character>LILA</character>
<dialogue>Bernie!</dialogue>
<scene_description>She opens the door , but no one is there . At her feet she sees a Pringles can . In it : the cash she left at her mother - in - law 's house for her son . She looks towards the woods but there is no sign of anyone . She shuts the door . Inside she digs through an old box of junk and pulls out a 2 foot long oval shaped wooden board , an infant board , and a blanket . She wraps her pillow in the blanket around the board in the Mohawk tradition and picks it up . She tries it on her back , then leans it against the wall , then hangs it on a hook on the wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER, KITCHEN - DAY</stage_direction>
<scene_description>Christmas Morning . Ray stands at the stove in her bathrobe making pancakes . T.J. helps Ricky set up his new Hot Wheels Set . A Knock at the door . Another knock .</scene_description>
<character>RICKY</character>
<dialogue>Daddy?</dialogue>
<scene_description>Ricky runs to the door and opens it , then backs away . Trooper Napoli is there .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>Is there a Ray Eddy here?</dialogue>
<scene_description>Ray comes to the door .</scene_description>
<character>RAY</character>
<dialogue>Yes.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>Can I speak to you outside for a minute.</dialogue>
<character>RAY</character>
<dialogue>I have n't gotten the light fixed -</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>It's not about that. I just have a few questions.</dialogue>
<character>RAY</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER YARD - DAY</stage_direction>
<scene_description>Ray slips on her boots , grabs her jacket around her and steps outside the trailer door .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>This is about the woman who was with you.</dialogue>
<character>RAY</character>
<dialogue>Yes.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>How long have you known her?</dialogue>
<character>RAY</character>
<dialogue>Not too long. She looks after my kids.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>She's a smuggler.</dialogue>
<character>RAY</character>
<dialogue>Really?</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>Yes.</dialogue>
<character>RAY</character>
<dialogue>Wow. That's a shock.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>Yes, well, there is that element on the Reservation I'm sure you know.</dialogue>
<character>RAY</character>
<dialogue>Yeah, I've heard about it but I did n't know she was involved.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>How did you happen to meet her?</dialogue>
<character>RAY</character>
<dialogue>Uh, I think there was a sign for a baby sitter at the Wolf Mart. That's where I get my gas.</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>I just thought you should be aware of that. She's known to have smuggled illegal immigrants into the country.</dialogue>
<character>RAY</character>
<dialogue>Oh my God.</dialogue>
<scene_description>He nods his head .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>If I were you I'd find a new baby sitter. You do n't want her around young kids.</dialogue>
<character>RAY</character>
<dialogue>Absolutely.</dialogue>
<scene_description>He eyes the side of the trailer where smoke stained siding is visible .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>Well, you have an enjoyable Holiday.</dialogue>
<character>RAY</character>
<dialogue>Thanks. You, too.</dialogue>
<scene_description>Ray stands and watches the trooper drive away . She feels in the pocket of her bathrobe for her cigarettes and fumbles to light one , sucking on it , unaware of the cold . When she turns around she looks at the trailer and notices the smoke - stained siding on one end of it .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>T.J. listens at the door . Ricky looks up .</scene_description>
<character>RICKY</character>
<dialogue>Why is the police man here?</dialogue>
<character>T.J.</character>
<dialogue>Shh.</dialogue>
<scene_description>From outside the door :</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>T.J. could you come out here for a minute.</dialogue>
<scene_description>T.J. goes outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAILER YARD - DAY</stage_direction>
<scene_description>Ray stands staring at T.J. at the trailer 's burnt end .</scene_description>
<character>T.J.</character>
<dialogue>What did he want? Did something happen to Dad?</dialogue>
<character>RAY</character>
<dialogue>No.</dialogue>
<character>T.J.</character>
<dialogue>Then what did he want?</dialogue>
<scene_description>She points to the blackened siding on the trailer .</scene_description>
<character>RAY</character>
<dialogue>Did you have a fire last night?</dialogue>
<character>T.J.</character>
<dialogue>The pipes froze so I fixed ` um.</dialogue>
<character>RAY</character>
<dialogue>You fixed um?</dialogue>
<character>T.J.</character>
<dialogue>Yeah.</dialogue>
<character>RAY</character>
<dialogue>Did you happen to use the blow torch?</dialogue>
<scene_description>She walks around back and looks underneath the trailer : a mass of charred and melted insulation .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look at this. We ca n't live here anymore!</dialogue>
<character>T.J.</character>
<dialogue>It's just a tin crapper.</dialogue>
<character>RAY</character>
<dialogue>No, it was our house.</dialogue>
<character>T.J.</character>
<dialogue>So, we're gettin' a new one, right?</dialogue>
<character>RAY</character>
<dialogue>Jesus, you could have killed yourself and your brother.</dialogue>
<scene_description>She grabs the blowtorch and slams it to the ground , but it is indestructible .</scene_description>
<character>T.J.</character>
<dialogue>It's not yours, he gave it to me.</dialogue>
<scene_description>She goes to the car , takes out her gun then puts the blow torch on the ground and aims at it - but T.J. grabs it .</scene_description>
<character>RAY</character>
<dialogue>Put it down.</dialogue>
<character>T.J.</character>
<dialogue>No!</dialogue>
<character>RAY</character>
<dialogue>Put it down.</dialogue>
<character>T.J.</character>
<dialogue>Are you gon na shoot me now, too?</dialogue>
<character>RAY</character>
<dialogue>Put that thing down!</dialogue>
<scene_description>He ignites the blow torch to spite her .</scene_description>
<character>T.J.</character>
<dialogue>Maybe he did n't like gettin' shot in his own house. Maybe that's why he left.</dialogue>
<character>RAY</character>
<dialogue>That was an accident.</dialogue>
<character>T.J.</character>
<dialogue>Some accident you shot him in the foot.</dialogue>
<character>RAY</character>
<dialogue>He spent the food money on scratch cards, T.J.</dialogue>
<character>T.J.</character>
<dialogue>So, he'd done it before.</dialogue>
<scene_description>He aims it at her . She walks towards him . He increases the flame .</scene_description>
<character>RAY</character>
<dialogue>Gim me that thing.</dialogue>
<scene_description>She tries to grab it out of his hand , but he is too strong .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>T.J. come on now.</dialogue>
<character>T.J.</character>
<dialogue>You ca n't have it. It's mine.</dialogue>
<scene_description>His eyes fill with tears , but his face stays tight . She grabs at it again , but he jerks it away . She pauses and stares at him .</scene_description>
<character>RAY</character>
<dialogue>He was clean for 23 months.</dialogue>
<scene_description>They look at one another .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( chokes back tears . )</parenthetical>
<dialogue>I did n't know how else to keep us together. I mean. he's a good dad when he's not gamblin'.</dialogue>
<scene_description>He cuts off the blow torch .</scene_description>
<character>T.J.</character>
<dialogue>Yeah, awesome dad. Robs us and takes off a week before Christmas.</dialogue>
<scene_description>She walks up to him and wipes a tear from the side of his face . He shakes it off . They stand in the cold air for a long moment their breath visible . She touches his hair .</scene_description>
<character>RAY</character>
<dialogue>I know.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUBBLE CAMPER - NIGHT</stage_direction>
<scene_description>Ray drives up in the Acclaim . Lila and the Horizon are gone . Ray gets out and looks around but there is no sign of her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, MOHAWK BINGO PALACE </stage_direction>
<scene_description>Ray slowly cruises the lot looking for the Horizon . She spots it in the distance behind the Bingo palace next to a dumpster . Ray parks and goes inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOHAWK BINGO PALACE ENTRANCE - NIGHT</stage_direction>
<scene_description>The short chubby toothless Mohawk ticket taker perched on a metal stool beside a velvet rope . Ray sees her and begins to dig in her jeans for a five . The ticket taker looks her up and down , expressionless . Ray hands over the money . The ticket taker just looks at her .</scene_description>
<character>TICKET TAKER</character>
<dialogue>The game's over. They're verifying the last winner.</dialogue>
<character>RAY</character>
<dialogue>That's okay. I still wan na buy a ticket.</dialogue>
<character>TICKET TAKER</character>
<dialogue>I ca n't sell you one.</dialogue>
<character>RAY</character>
<dialogue>I got money.</dialogue>
<character>TICKET TAKER</character>
<dialogue>Sorry.</dialogue>
<character>RAY</character>
<dialogue>I just want to buy some scratch cards.</dialogue>
<character>TICKET TAKER</character>
<dialogue>Go to Wolf Mart, they sell ` um there.</dialogue>
<scene_description>Ray walks away . The ticket taker watches her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOHAWK BINGO PALACE, PARKING LOT - DAY</stage_direction>
<scene_description>Ray slumps down in the driver 's seat of the Acclaim waiting for Lila to come out . She is parked a few cars away from the Horizon . Other bingo players come out and get in cars surrounding Ray . Mohawks employees , including Lila come out of the `` Employees Entrance '' . She starts toward Horizon . She wears new glasses . Catching sight of Ray in the Acclaim , she abruptly turns and starts walking in the opposite direction . Ray pulls out and drives over following her in the Acclaim .</scene_description>
<character>LILA</character>
<dialogue>I quit smuggling.</dialogue>
<character>RAY</character>
<parenthetical>( rolls down the window . )</parenthetical>
<dialogue>T.J. set the trailer on fire.</dialogue>
<scene_description>Lila keeps walking . Ray drives along beside her .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He did n't mean to, but the pipes froze and he got that damn torch out - which I told him not to do touch when I was n't there - and he tried to thaw them out -</dialogue>
<character>LILA</character>
<dialogue>I got glasses and now I can see up close.</dialogue>
<character>RAY</character>
<dialogue>There's a hole in my bedroom floor. We got ta move.</dialogue>
<scene_description>Lila keeps walking .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I just need one more run to get the double.</dialogue>
<scene_description>Lila keeps walking .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look you can have the Acclaim. Okay?</dialogue>
<scene_description>Lila keeps walking .</scene_description>
<character>LILA</character>
<dialogue>I do n't want it.</dialogue>
<character>RAY</character>
<dialogue>What is it then?!</dialogue>
<scene_description>Lila keeps walking .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you still mad about that baby? ` Cause it was n't all my fault, ya' know. I mean who puts their kid in a duffle bag?</dialogue>
<scene_description>Lila keeps walking . Ray follows trying to figure her out .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're gon na need a lot of money to take care of a one year old baby.</dialogue>
<character>LILA</character>
<dialogue>I got enough.</dialogue>
<character>RAY</character>
<dialogue>Yeah, but you got ta get him first.</dialogue>
<scene_description>Lila stops dead in her tracks and looks at Ray .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll help you. You can even borrow my gun.</dialogue>
<scene_description>Lila looks around to see if anyone is watching and gets in the Acclaim with Ray . ANGLE FROM BINGO PALACE ENTRANCE : The Ticket Taker watches the Acclaim drive away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM, VERSAILLES MOBILE HOME LOT - NIGHT</stage_direction>
<scene_description>Ray and Lila pull up outside the model double wide home .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM. VERSAILLES MOBILE HOME LOT - SAME</stage_direction>
<scene_description>Ray and Lila look at it .</scene_description>
<character>RAY</character>
<dialogue>You should see the inside.</dialogue>
<character>LILA</character>
<dialogue>How many bedrooms?</dialogue>
<character>RAY</character>
<dialogue>Three. And it's got a jacuzzi tub in the master bathroom.</dialogue>
<character>LILA</character>
<dialogue>Wall to wall carpet?</dialogue>
<character>RAY</character>
<dialogue>Oh yeah. But the best thing is the insulation. The pipes can never freeze.</dialogue>
<scene_description>Ray gets out .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll be back.</dialogue>
<scene_description>She disappears into the Office . Lila looks at the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, VERSAILLES MOBILE HOME LOT - NIGHT</stage_direction>
<scene_description>Ray comes in on Guy Versailles giving a young couple the hard sell .</scene_description>
<character>VERSAILLES</character>
<dialogue>what I think you'll find with the Commodore - and you'll be the judge - is that the vinyl wall covering is perfect for small children. There is never a need to repaint or even touch up -</dialogue>
<character>RAY</character>
<dialogue>I wan na schedule a delivery.</dialogue>
<scene_description>Versailles looks up , annoyed . He plasters on a smile .</scene_description>
<character>VERSAILLES</character>
<parenthetical>( to the couple . )</parenthetical>
<dialogue>Give me just a second.</dialogue>
<scene_description>He tries to take Ray aside .</scene_description>
<character>VERSAILLES</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What do you want?</dialogue>
<scene_description>She pulls a huge wad of cash from her jacket pocket .</scene_description>
<character>VERSAILLES</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is this all of it?</dialogue>
<character>RAY</character>
<dialogue>It's three thousand but I want it delivered tomorrow.</dialogue>
<character>VERSAILLES</character>
<dialogue>I told you all or nothing.</dialogue>
<scene_description>She holds out the cash . The couple tries not to watch .</scene_description>
<character>RAY</character>
<dialogue>Take it as a deposit. All you have to do is show up. If I do n't have the rest you keep it.</dialogue>
<character>VERSAILLES</character>
<dialogue>Ca n't argue with that. You'll have to sign something, though.</dialogue>
<scene_description>He takes out a contract and writes in the deposit amount as thirteen hundred seventy two dollars owing . Ray signs the paper .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray drives down the boat launch and starts across . The sky is clear and the moon shines down on the white river surface . Downstream patches of the river have thawed and water flows is visible . There is only the sound of the wheels on the smooth ice surface .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JIMMY'S GARAGE, RIVER'S EDGE - NIGHT</stage_direction>
<scene_description>Jimmy 's is dark . Ray and Lila sit a minute . Then :</scene_description>
<character>LILA</character>
<dialogue>Blow the horn.</dialogue>
<scene_description>Ray honks the horn . A light comes on . Jimmy runs outside in a t - shirt . Lila rolls down the window .</scene_description>
<character>JIMMY</character>
<dialogue>Heat wave!</dialogue>
<character>LILA</character>
<dialogue>You got a run for us, Jimmy?</dialogue>
<character>JIMMY</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>It's pretty slow after Christmas. Unless you wan na to go off the Rez, there's a guy up in Montreal who's usually got heads.</dialogue>
<character>LILA</character>
<dialogue>How far?</dialogue>
<character>JIMMY</character>
<dialogue>Twenty miles or so. But. you got ta watch out for the Mounties and the Surete. and. this guy deals in ya' know girls.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. ACCLAIM, QUEBEC HIGHWAY - SAME</stage_direction>
<scene_description>Ray and Lila drive down a Quebec highway . The road signs are in French . The skyline of Montreal is an orange glow in the far distance .</scene_description>
<character>RAY</character>
<dialogue>Have you ever been there?</dialogue>
<character>LILA</character>
<dialogue>A few times. Have you?</dialogue>
<character>RAY</character>
<dialogue>No, Troy did n't like to travel. He liked to work in his shed, mostly.</dialogue>
<scene_description>Ray and Lila drive down a commercial strip of shopping centers , fast food joints and strip clubs , with French names .</scene_description>
<character>LILA</character>
<dialogue>Up there. That's it.</dialogue>
<character>RAY</character>
<dialogue>Ca n't miss that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LE CLUB SUPER SEXE - SAME</stage_direction>
<scene_description>Ray pulls in at a giant neon silhouette of a naked woman . They drive around back and get out . THROBBING DISCO music is heard from inside a door marked `` Prive . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB SUPER SEXE - NIGHT</stage_direction>
<scene_description>They walk in . The place is mostly empty . There is a scantily dressed BARTENDER and JACQUES BRUNO sitting at the bar .</scene_description>
<character>BARTENDER</character>
<dialogue>Oui?</dialogue>
<character>LILA</character>
<dialogue>Bruno.</dialogue>
<scene_description>She points to Bruno . Lila and Ray approach him . He is on his cell phone speaking in French . He looks them over , then closes up his telephone .</scene_description>
<character>BRUNO</character>
<parenthetical>( French accent . )</parenthetical>
<dialogue>You looking for a job.</dialogue>
<character>LILA</character>
<dialogue>No, Jimmy called -</dialogue>
<character>BRUNO</character>
<dialogue>Oh yeah, Jimmy. Okay.</dialogue>
<scene_description>He calls over the Bartender . She comes over . He points to Ray and Lila . She walks over to them .</scene_description>
<character>BARTENDER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Put your hands up.</dialogue>
<scene_description>Ray and Lila put up their hands . The Bartender pat frisks them for body wires . When she is finished :</scene_description>
<character>BRUNO</character>
<dialogue>Okay we go.</dialogue>
<scene_description>He picks up his full - length fur coat .</scene_description>
<character>BRUNO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>D'is way.</dialogue>
<scene_description>They follow him out the back of the club . The Bartender follows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, CLUB SUPER SEXE - SAME</stage_direction>
<scene_description>They wait .</scene_description>
<character>BRUNO</character>
<dialogue>D'at your car?</dialogue>
<scene_description>He points to the Acclaim parked a few feet away . They nod . He walks out to a shed and unlocks the door . Two very young CHINESE GIRLS , sickly and pale , wearing jean jackets look vacantly out . Bruno signals them to get out .</scene_description>
<character>BRUNO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Open the trunk.</dialogue>
<character>LILA</character>
<dialogue>We need to get paid, first.</dialogue>
<character>BRUNO</character>
<dialogue>Oh, yes.</dialogue>
<scene_description>He pulls a wad of cash from inside his coat and hands it to Lila . She counts it out .</scene_description>
<character>LILA</character>
<dialogue>You only got six hundred here.</dialogue>
<character>BRUNO</character>
<dialogue>You get the rest at drop off.</dialogue>
<character>LILA</character>
<dialogue>It's six hundred apiece.</dialogue>
<scene_description>The girls stand shivering by the trunk .</scene_description>
<character>BRUNO</character>
<dialogue>That's the deal I make with Jimmy, now you want to change?</dialogue>
<scene_description>Lila and Ray look at each other .</scene_description>
<character>LILA</character>
<dialogue>It's twelve hundred.</dialogue>
<character>BRUNO</character>
<dialogue>You want to make a problem?</dialogue>
<scene_description>Bruno glances at the Bartender watching from the back door of the club .</scene_description>
<character>BRUNO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( annoyed by Ray . )</parenthetical>
<dialogue>. because you're not making a problem for me. And you're making a problem for them. Let me show you something.</dialogue>
<scene_description>He approaches the two girls . He grabs one of the girls by the hair , kicks her in the back of the knees forcing her to the ground . Lila looks at Ray . The girl tries to get on her feet , but each time she does he kicks her in the back of the knees again .</scene_description>
<character>LILA</character>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>Let's just go.</dialogue>
<scene_description>Held up by her hair , the girl slides around helplessly . Lila winces at the sight . Ray stares at Bruno .</scene_description>
<character>RAY</character>
<dialogue>Okay. We'll take them.</dialogue>
<scene_description>Lila looks at Ray . Bruno drops the girl who scrambles to her feet .</scene_description>
<character>LILA</character>
<dialogue>Let's go.</dialogue>
<character>RAY</character>
<dialogue>Just open the trunk.</dialogue>
<scene_description>Lila leans into the passenger side of the Acclaim and pops the trunk . Bruno looks at Ray :</scene_description>
<character>BRUNO</character>
<dialogue>You must be the brains of the operation.</dialogue>
<scene_description>He motions the girls into the trunk and shuts it after them . Lila get in the passenger side and Bruno starts for the back door of the club . Ray pulls her gun out of her jacket and aims it at Bruno .</scene_description>
<character>RAY</character>
<dialogue>Turn around!</dialogue>
<scene_description>Bruno stops and turns around .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want the rest.</dialogue>
<scene_description>He opens his fur coat .</scene_description>
<character>BRUNO</character>
<parenthetical>( cool . )</parenthetical>
<dialogue>I do n't have any more.</dialogue>
<scene_description>In the shiny coat lining only the handle of a long pistol is visible .</scene_description>
<character>RAY</character>
<parenthetical>( to the Bartender . )</parenthetical>
<dialogue>Go get it.</dialogue>
<scene_description>Bruno looks around and nods at the bartender . The bartender panics not knowing what to do and begins speaking in French to Bruno . Ray shoots at the pavement beside Bruno .</scene_description>
<character>BRUNO</character>
<parenthetical>( to the bartender . )</parenthetical>
<dialogue>Give it to her.</dialogue>
<scene_description>The Bartender disappears into the club . Ray waits with the gun on Bruno .</scene_description>
<character>LILA</character>
<parenthetical>( from inside the Acclaim . )</parenthetical>
<dialogue>Let's get out of here. I'll give you the rest of the money.</dialogue>
<character>RAY</character>
<dialogue>No. But thanks.</dialogue>
<character>LILA</character>
<dialogue>You're gon na get us all killed.</dialogue>
<scene_description>A moment later the Bartender comes back , shaking and holding cash .</scene_description>
<character>RAY</character>
<dialogue>Put it there.</dialogue>
<scene_description>She indicates the trunk .</scene_description>
<character>BRUNO</character>
<parenthetical>( to the bartender . )</parenthetical>
<dialogue>You are n't so smart as you look.</dialogue>
<scene_description>Ray grabs the money and still pointing at Bruno , backs into the car . Bruno reaches for his pistol and aims at them as the Acclaim squeals away . Bruno FIRES shattering the driver 's side window , grazing Ray 's head . Ray falls back , dazed for a moment . Lila steers . Then Ray takes the wheel as they swerve out onto the main road .</scene_description>
<character>RAY</character>
<dialogue>He shot me.</dialogue>
<scene_description>Ray wipes the blood from her forehead .</scene_description>
<character>LILA</character>
<dialogue>You should' a just taken the money from me?</dialogue>
<character>RAY</character>
<parenthetical>( blood streams down her face . )</parenthetical>
<dialogue>I'm tired of people stealing from me. Is it all there?</dialogue>
<character>LILA</character>
<dialogue>We got ta get outta here, first.</dialogue>
<character>RAY</character>
<dialogue>Just COUNT IT and make sure it's all there!</dialogue>
<scene_description>Ray hands her the wad of money . Lila struggles to put on her glasses and counts out the money .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is it there?</dialogue>
<character>LILA</character>
<dialogue>It's all there.</dialogue>
<character>RAY</character>
<dialogue>Good.</dialogue>
<character>LILA</character>
<dialogue>Slow down a little. We got ta keep it under the speed limit.</dialogue>
<scene_description>Ray smiles and wipes away the blood . They drive a short distance . Ray checks the rear - view mirror .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We got ta get off this road.</dialogue>
<scene_description>Lila looks in the rear view . Headlights appear behing them . Ray speeds up approaching an intersection : the sign reads `` ARRET ''</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Slow down!</dialogue>
<character>RAY</character>
<dialogue>I ca n't.</dialogue>
<scene_description>Lila looks back in the rear view mirror . The headlights are gaining on them . She SPEEDS through it . A local SURETE DE QUEBEC police cruiser parked out of sight TAKES OFF after her , LIGHTS FLASHING .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON QUEBEC ROADS - NIGHT</stage_direction>
<character>LILA</character>
<dialogue>We got ta get off this road!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON DIRT ROAD - NIGHT</stage_direction>
<scene_description>Ray swerves off the main road to a DIRT ROAD . The Québec police follow . Ray swerves off the road and across a field into the WOODS and kills the HEADLIGHTS . The Quebec Cruiser CHASES them .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON DIRT ROAD - NIGHT</stage_direction>
<scene_description>Ray speeds down the road .</scene_description>
<character>RAY</character>
<dialogue>How much farther to the reservation?</dialogue>
<character>LILA</character>
<dialogue>Just up at the tree line.</dialogue>
<scene_description>Ray speeds towards it , but the Quebec cruiser still pursues them .</scene_description>
<character>RAY</character>
<dialogue>What the hell? We're on the reservation.</dialogue>
<character>LILA</character>
<dialogue>They ca n't arrest us but if they catch us they'll take the money.</dialogue>
<character>RAY</character>
<dialogue>Shit!</dialogue>
<scene_description>Ray bounces into the woods through the trees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON RIVER BANK - NIGHT</stage_direction>
<scene_description>The Acclaim emerges from the woods at the edge of the river . The International Seaway Bridge looms above the ice surface of the river .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON RIVER BANK - NIGHT</stage_direction>
<scene_description>Behind them the flashing lights close in .</scene_description>
<character>LILA</character>
<dialogue>That ice is black out here.</dialogue>
<character>RAY</character>
<dialogue>Will it hold us?</dialogue>
<character>LILA</character>
<dialogue>I do n't know.</dialogue>
<scene_description>Ray looks at her for a moment then drives toward the ice .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER BANK - NIGHT</stage_direction>
<scene_description>Behind them , the Quebec cruiser BRAKES at the edge of the river . The Québec officer GETS OUT TO WATCH the Acclaim drive out across the ice . He radios to :</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERNATIONAL SEAWAY BRIDGE - NIGHT</stage_direction>
<scene_description>A BORDER GUARD picks up the phone . He nods , then hangs up and makes a call to .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK STATE CRUISER - NIGHT</stage_direction>
<scene_description>Trooper Napoli hears the call on the police radio .</scene_description>
<character>DISPATCHER</character>
<dialogue>the Quebec Surete in pursuit of a vehicle with New York State plates, identified as a blue Plymouth Acclaim and the suspects are two women, suspected to be carrying illegals.</dialogue>
<scene_description>He recognizes the car and u - turns .</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray and Lila hold their breath as they cross the river . They make it over the midpoint and Ray accelerates toward the shore . Two hundred feet from the bank , the BACK RIGHT TIRE HITS A CRACK in the ice . The TIRE DROPS and the UNDER BELLY of the car SCRAPES THE ICE . SPARKS FLY . The RIGHT REAR END of the car DROPS DOWN and the FRONT LEFT TIRE LIFTS off the ice . The car TEETERS BACK AND FORTH . Ray and Lila sit perfectly still .</scene_description>
<character>LILA</character>
<dialogue>We got ta crawl out the window.</dialogue>
<scene_description>Lila rolls down her window . The car shifts . The wad of cash SLIDES toward the edge of the dashboard . Ray grabs it . Lila pops the trunk . The two Chinese girls scramble out . The four begin RUNNING FOR THE SHORE . Trooper Napoli watches the action on the ice .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCLAIM ON FROZEN RIVER - NIGHT</stage_direction>
<scene_description>The CAR SINKS DEEPER INTO THE WATER on one side .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FROZEN RIVER - NIGHT</stage_direction>
<scene_description>Ray , Lila and the Chinese girls keep running , slipping and sliding , falling . Lila and Ray stop and go back to help one of the Chinese girls who keeps falling . When they get to the shore , they climb up the bank and collapse on the snow , gasping . ANGLE : Trooper Napoli gets in his cruiser and heads down the bank toward the women , lights flashing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER BANK - NIGHT</stage_direction>
<scene_description>Two headlights are seen in the distance coming toward them . A PICKUP TRUCK approaches along the shore . Jimmy drives it . He gets out , gathers Ray , Lila and the two Chinese girls into the back of the truck and drives away . Ray looks back as the Acclaim SLIPS THROUGH THE ICE AND DISAPPEARS . Trooper Napoli reaches the scene , too late . No one is there .</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLAGE BAKERY - NIGHT</stage_direction>
<scene_description>A small house on the river 's edge with a hand painted sign : `` Bakery '' Jimmy drives up . He helps Ray , Lila and the Chinese girls to the door . The Ticket Taker , `` VELMA '' opens the door , wearing an apron .</scene_description>
<character>JIMMY</character>
<dialogue>Hi Mom.</dialogue>
<character>VELMA</character>
<dialogue>Jimmy, I told you not to bring no more half frozen people in here off the river.</dialogue>
<character>JIMMY</character>
<parenthetical>( ignores her . )</parenthetical>
<dialogue>We just need to borrow your oven, Mom.</dialogue>
<scene_description>He leads them , wet and freezing , to the bakery kitchen . As they go by Velma and Ray recognize each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLAGE BAKERY, KITCHEN - NIGHT</stage_direction>
<scene_description>An industrial oven sits beside an old couch . Lila , Ray and the teenage girls stand near it shivering . Velma looks them over , frowning and shakes her head .</scene_description>
<character>VELMA</character>
<dialogue>I do n't see how I can get any baking done. I'm supposed to be baking 200 doughnuts for pee wee Lacrosse and now I have people bleeding and dripping all over my kitchen.</dialogue>
<scene_description>She opens a closet filled with Indian medicine plants and takes out several kinds .</scene_description>
<character>VELMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>Sit down, I ca n't reach up that high.</dialogue>
<scene_description>Ray sits down . Velma reaches up and dabs Ray 's grazed and bleeding forehead .</scene_description>
<character>VELMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>Looks like somebody tried to blow your brains out.</dialogue>
<scene_description>Ray winces in pain .</scene_description>
<character>VELMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get outta here, Jimmy. They got ta strip down.</dialogue>
<parenthetical>( to girls . )</parenthetical>
<dialogue>Gim me those jackets.</dialogue>
<scene_description>Velma motions to the Chinese girls to take off their coats . They stare at her shivering . She gently goes to one of the girls and helps her out of her jean jacket . Under it she wears a short sleeved shirt showing her bruised arms . Velma sees the bruises .</scene_description>
<character>VELMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Somebody's been beatin' up on you.</dialogue>
<scene_description>Lila and Ray see the girl 's black and blue arms . Velma hangs the girl 's jacket on the big oven to dry and gives her an old blanket to keep warm . Then Velma turns to Lila .</scene_description>
<character>VELMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You, too.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOHAWK TRIBAL POLICE STATION - NIGHT</stage_direction>
<scene_description>MOHAWK CHIEF OF POLICE , BILLY THREE RIVERS , a stressed - looking man in his 40 's talks on the phone .</scene_description>
<character>THREE RIVERS</character>
<dialogue>- Good, good Mike. What can I do for you? - You say non - native smugglers? - A white woman? On the Rez? - I'll look into it and give you a call back. Sure thing.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- I'll take your request to the Tribal Council and give you a call back. - No problem, Mike. You bet.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOHAWK TRIBAL COUNCIL - NIGHT</stage_direction>
<scene_description>Billy Three Rivers sits down at a long conference table . A middle - aged Mohawk woman , `` BARBARA '' sits behind a name plate reading `` CHIEF '' . At the end of the table Bernie sits behind another name plate : `` SUB - CHIEF . '' Rosalie comes in wearing her coat over her bathrobe and takes her place behind the `` GRAND CHIEF '' name plate .</scene_description>
<character>THREE RIVERS</character>
<dialogue>Hi, Rosalie.</dialogue>
<character>ROSALIE</character>
<parenthetical>( puts on her glasses . )</parenthetical>
<dialogue>Billy.</dialogue>
<character>THREE RIVERS</character>
<dialogue>We have a situation with a couple smugglers. They got chased by the Quebec police and crossed the river but their car went in and now the troopers know they're on the Rez.</dialogue>
<character>ROSALIE</character>
<dialogue>Who is it?</dialogue>
<character>THREE RIVERS</character>
<dialogue>Lila Littlewolf and some white woman.</dialogue>
<character>ROSALIE</character>
<dialogue>What do the troopers want?</dialogue>
<character>THREE RIVERS</character>
<dialogue>A surrender of the two illegals and the Non - Native smuggler. They need an example here.</dialogue>
<character>ROSALIE</character>
<dialogue>Do you know where they are?</dialogue>
<character>THREE RIVERS</character>
<dialogue>Probably over at Velma's.</dialogue>
<character>ROSALIE</character>
<parenthetical>( to the other Chiefs . )</parenthetical>
<dialogue>What do you think?</dialogue>
<character>BARBARA</character>
<dialogue>Turn them in.</dialogue>
<character>ROSALIE</character>
<dialogue>What about Lila Littlewolf?</dialogue>
<character>BERNIE</character>
<dialogue>We got our own court system.</dialogue>
<character>ROSALIE</character>
<dialogue>We do n't charge people with smuggling.</dialogue>
<character>BARBARA</character>
<dialogue>Maybe we should.</dialogue>
<character>BERNIE</character>
<dialogue>If we did, we'd have to arrest half the people on the Rez.</dialogue>
<scene_description>Rosalie and Barbara shoot him an ANGRY STARE . He shrugs .</scene_description>
<character>BARBARA</character>
<dialogue>We can expel her.</dialogue>
<character>BERNIE</character>
<dialogue>You ca n't start throwin' Mohawks off the Rez, Rosalie. There's only, what, six thousand of us as it is.</dialogue>
<character>ROSALIE</character>
<dialogue>She makes the Mohawk people look bad.</dialogue>
<character>BERNIE</character>
<dialogue>But she has a Mohawk son.</dialogue>
<character>ROSALIE</character>
<dialogue>She cost us a Mohawk son.</dialogue>
<character>BERNIE</character>
<dialogue>Jake was a big boy. He knew what he was doin'</dialogue>
<character>ROSALIE</character>
<dialogue>She'll never be anything but a smuggler.</dialogue>
<character>BERNIE</character>
<dialogue>We've had smuggling on the Rez since Al Capone.</dialogue>
<character>ROSALIE</character>
<dialogue>Then we'll take a vote.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37, THE RESERVATION LINE - NIGHT</stage_direction>
<scene_description>Two New York State Cruisers block the road , lights flashing .</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLAGE BAKERY, KITCHEN - NIGHT</stage_direction>
<scene_description>The bell on the bakery door RINGS . Billy Three Rivers walks in looking very official . Jimmy opens the door .</scene_description>
<character>JIMMY</character>
<dialogue>Hi, Billy.</dialogue>
<scene_description>He comes in and Velma walks in from the kitchen closing the door behind her .</scene_description>
<character>THREE RIVERS</character>
<dialogue>Velma, seen any smugglers tonight?</dialogue>
<scene_description>Velma says nothing .</scene_description>
<character>JIMMY</character>
<dialogue>Come on, Billy, you never bothered with smugglers before.</dialogue>
<character>THREE RIVERS</character>
<dialogue>Rosalie is worried people are gon na think the Mohawks let in terrorists. Plus, I got the Troopers on my back. They want the illegals and they say there's some white lady with them too. Is that true, Jimmy?</dialogue>
<scene_description>Jimmy looks away .</scene_description>
<character>THREE RIVERS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You got white women doing it now? Jesus.</dialogue>
<parenthetical>( after a moment . )</parenthetical>
<dialogue>Well, if you see any, let me know.</dialogue>
<scene_description>Three Rivers leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLAGE BAKERY, KITCHEN - NIGHT</stage_direction>
<scene_description>Lila and Ray LISTEN from the kitchen . Ray eyes the back door . Ray grabs her jacket off the oven and takes half the cash out of the pocket and hands it to Lila .</scene_description>
<character>RAY</character>
<dialogue>I got ta go.</dialogue>
<scene_description>Lila takes the money . The Chinese girls look on confused . One gets up and grabs her jacket , but Ray motions her back .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No. You stay here.</dialogue>
<scene_description>Ray hurries to the back door , opens it , but Bernie Littlewolf is there . At the sight of him , Ray backs up . He walks in .</scene_description>
<character>BERNIE</character>
<dialogue>Hi, Lila.</dialogue>
<character>LILA</character>
<dialogue>Hi Bernie.</dialogue>
<character>BERNIE</character>
<dialogue>You're in a lot of trouble.</dialogue>
<scene_description>Lila looks at him , unfazed .</scene_description>
<character>BERNIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The council voted to expel you.</dialogue>
<character>LILA</character>
<dialogue>Expel me?</dialogue>
<character>BERNIE</character>
<dialogue>For five years. You can appeal, but you'll never be able to change Rosalie's mind.</dialogue>
<character>LILA</character>
<dialogue>They ca n't do that.</dialogue>
<character>BERNIE</character>
<dialogue>They'll make your life miserable if you try to stay.</dialogue>
<character>LILA</character>
<dialogue>They've already done that.</dialogue>
<character>BERNIE</character>
<dialogue>Believe me, it could get even worse.</dialogue>
<character>RAY</character>
<dialogue>I thought this was all legal on the reservation.</dialogue>
<scene_description>Bernie ignores her .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Lila . )</parenthetical>
<dialogue>Look, I got ta get home.</dialogue>
<scene_description>She moves for the door , but Bernie blocks her .</scene_description>
<character>BERNIE</character>
<dialogue>If she leaves, they'll turn you in Lila. The troopers want somebody.</dialogue>
<character>RAY</character>
<dialogue>But, she's a Mohawk.</dialogue>
<character>BERNIE</character>
<dialogue>The Chiefs want her out, so there's nothing standing between her and the troopers.</dialogue>
<character>RAY</character>
<dialogue>Listen, my kids got no one but me.</dialogue>
<character>BERNIE</character>
<dialogue>If you leave she wo n't see her son again.</dialogue>
<scene_description>Ray and Bernie stare at each other .</scene_description>
<character>LILA</character>
<dialogue>Let her go.</dialogue>
<character>BERNIE</character>
<dialogue>Lila, you're giving up on him and he's only one year old.</dialogue>
<character>LILA</character>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>Just go.</dialogue>
<scene_description>Ray goes to the door , but turns around .</scene_description>
<character>RAY</character>
<dialogue>At least you got family to take care of him, ya' know?</dialogue>
</scene>
<scene>
<stage_direction>EXT. RESERVATION WOODS - NIGHT</stage_direction>
<scene_description>Ray shuts the door behind her and starts toward the river . She turns and runs along the bank . a long way . then slows down . Breathing hard , she stops . Snow melts on her face . A long moment passes . The sound of the river ice pushing against the bank releases a long , deep moan all around her .</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLAGE BAKERY, KITCHEN -NIGHT</stage_direction>
<scene_description>Lila and Bernie sit on the old sofa by the big oven .</scene_description>
<character>LILA</character>
<dialogue>He might be better off.</dialogue>
<character>BERNIE</character>
<dialogue>Jake would n't agree with that.</dialogue>
<character>LILA</character>
<dialogue>It was all for a new crib. I wanted the baby to have a pretty new crib, not some handmedown. And he would n't let me go alone.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>I was too fat to get behind the steering wheel.</dialogue>
<character>BERNIE</character>
<dialogue>He wanted to keep you and little Jake safe.</dialogue>
<scene_description>The back door opens . Ray is there .</scene_description>
<character>RAY</character>
<dialogue>It's just a few months, right?</dialogue>
<scene_description>Bernie and Lila turn around . Ray walks in .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I got baby stuff in the shed.</dialogue>
<scene_description>She takes the folded double - wide contract out of her pocket and holds it out to Lila .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get a good used single wide with insulation. Insulation is the key thing. Versailles will give you a hard time, but that will leave enough for you and the boys to live on for a couple of months. Ricky's allergic to penicillin.</dialogue>
<parenthetical>( a moment . )</parenthetical>
<dialogue>And you ca n't feed ` em Pringles all the time. Okay?</dialogue>
<scene_description>Lila is n't sure .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay?</dialogue>
<scene_description>Lila nods her head .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But you got ta get there quick, before the police, ` cause T.J. will get scared. I do n't want him to get scared, you know.</dialogue>
<scene_description>Ray chokes back her own tears .</scene_description>
<character>LILA</character>
<dialogue>Okay.</dialogue>
<scene_description>Lila takes the contract from Ray .</scene_description>
<character>RAY</character>
<dialogue>And do n't let him jerk you around. Versailles, I mean.</dialogue>
<parenthetical>( to Bernie . )</parenthetical>
<dialogue>Go with her. Okay?</dialogue>
<scene_description>Bernie nods .</scene_description>
<character>BERNIE</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>T.J. and Ricky eat supper to the glow of the TV in the background .</scene_description>
<character>RICKY</character>
<dialogue>Can I have more corn?</dialogue>
<scene_description>T.J. dumps his own corn onto Ricky 's plate .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37, THE RESERVATION LINE - NIGHT</stage_direction>
<scene_description>Flashing dome lights of New York State troopers are seen just beyond the sign `` YOU ARE NOW LEAVING THE LAND OF THE MOHAWK . '' Trooper Napoli waits in his cruiser with other vehicles . Billy drives Ray and the Chinese girls slowly toward them in the Mohawk Tribal Police Cruiser . Billy stops and the three get out of the car , handcuffed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE ON POINT - NIGHT</stage_direction>
<scene_description>Bernie waits in the car . Lila walks to the front door . Thunder looks up from beside the front step .</scene_description>
<character>LILA</character>
<parenthetical>( shows her empty hands . )</parenthetical>
<dialogue>Sorry, Thunder, I got nothing for you.</dialogue>
<scene_description>She knocks . Evelyn opens the door . Seeing Lila she tries to close it , but Lila WEDGES herself inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE ON POINT - NIGHT</stage_direction>
<scene_description>Evelyn tires to push her out , but Lila walks in the house .</scene_description>
<character>EVELYN</character>
<dialogue>What do you want?</dialogue>
<scene_description>Lila walks up to the Little Jake sitting in his high chair , his face covered in carrots . She reaches out to touch him , but Evelyn pushes her hand away .</scene_description>
<character>LILA</character>
<dialogue>I need his coat.</dialogue>
<scene_description>Lila picks up the baby , and looks around .</scene_description>
<character>LILA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where's his coat?</dialogue>
<character>EVELYN</character>
<dialogue>You ca n't have him.</dialogue>
<scene_description>She grabs Lila 's arm , but Lila shakes her arm free and wraps Little Jake in her own jacket .</scene_description>
<character>LILA</character>
<dialogue>Say goodbye to your Dudah.</dialogue>
<scene_description>Evelyn stands in front of the door , blocking Lila . Lila stops and they stand for a moment looking at each other . There is anger and sadness . Evelyn moves aside . Lila walks out with the baby .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE ON POINT - NIGHT</stage_direction>
<scene_description>Bernie stands by the car holding a CAR SEAT .</scene_description>
<character>BERNIE</character>
<dialogue>She's gon na kill me for taking this out of her car.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEW YORK STATE TROOPER CRUISER - NIGHT</stage_direction>
<scene_description>Ray sits in the backseat . The two Chinese girls beside her .</scene_description>
<character>RAY</character>
<dialogue>How long is it for me. You know if I confess?</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>As long as they're not on a watch list. Four months.</dialogue>
<scene_description>He glances around at them .</scene_description>
<character>TROOPER NAPOLI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't think you have much to worry about judging from the look of them, probably brought here to work in the sex trade.</dialogue>
<scene_description>Ray looks at the two girls .</scene_description>
<character>RAY</character>
<dialogue>Will they get sent back?</dialogue>
<character>TROOPER NAPOLI</character>
<dialogue>Not necessarily. They can apply for asylum.</dialogue>
<character>RAY</character>
<dialogue>Can I have a cigarette?</dialogue>
<scene_description>He lights one for her . She takes it , shaking .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>Is there somebody I can call for you? To take care of your children.</dialogue>
<character>RAY</character>
<dialogue>I got somebody.</dialogue>
<scene_description>He looks back at her .</scene_description>
<character>TROOPER NAPOLI</character>
<dialogue>A relative.</dialogue>
<character>RAY</character>
<dialogue>A friend.</dialogue>
<scene_description>Trooper Napoli looks at her .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But I need to call my kid.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRAILER - NIGHT</stage_direction>
<scene_description>The phone rings . T.J. picks it up .</scene_description>
<character>T.J.</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hello. Hi, Mom.</dialogue>
<scene_description>She hears his voice and ca n't speak .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Mom are you there? What's wrong? - What kinda trouble? - What did you do? - A smuggler!? Holy shit! - Are you in jail? - But are you're going to jail!?</dialogue>
<scene_description>There is a long silence . He wipes a tear away with his sleeve . Ricky plays with his Hot Wheels on the floor .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Yeah, okay. What does that mean? But why? I can take care of him, I do it all the time. But I do n't see why we need -?</dialogue>
<parenthetical>( MORE . )</parenthetical>
<dialogue />
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Who?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>A baby? No way. - Yeah I know where the stuff is. It's in the shed, but that's so stupid!</dialogue>
<scene_description>A KNOCK at the door . T.J. looks at it , unsure what to do .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( holding phone . )</parenthetical>
<dialogue>- Yeah, I'm here. Somebody's at the door.</dialogue>
<scene_description>He walks to it and opens it holding the phone . Lila is standing there holding Little Jake , wrapped in her jean jacket . T.J. and Lila look at each other . She walks in .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- Okay. Bye.</dialogue>
<scene_description>He hangs up . Little Jake sees Ricky playing with the Hot Wheels Set and reaches to get down . Lila puts him on the floor . He crawls toward the Christmas tree and the Hot Wheels set .</scene_description>
<character>T.J.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Ricky . )</parenthetical>
<dialogue>You're gon na have to get the little pieces up high - or he'll eat them.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEW YORK STATE TROOPER CRUISER - NIGHT</stage_direction>
<scene_description>Ray rides in the back of the Cruiser . They pass by trailer homes decorated for Christmas .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUTE 37 - DAY</stage_direction>
<scene_description>A Semi ROARS down the road with `` WIDE LOAD '' banner hauling a single wide mobile home through the bright morning light , plastic covering rippling in the wind .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S TRAILER - DAY</stage_direction>
<scene_description>Using the blow torch , T.J. works on the smiling duck Kiddie ride . Ricky plays with Little Jake , dressed in a snow suit . Lila comes outside with a plate of peanut butter sandwiches , badly made . T.J. signals Ricky who brings Little Jake over and puts him on the Kiddie ride . Ricky holds him on the seat and T.J. flips a switch . The ride JERKS a few times then starts to move back and fourth . Little Jake smiles . Behind T.J. a Mohawk Tribal Police Cruiser drives up . Billy Two Rivers gets out and walks up to T.J. . He speaks sternly to T.J. , pointing at the cruiser where an elderly and frail Mohawk women in her eighties , Mrs. ThreeRivers , looks out the window . T.J. walks over to the cruiser . She rolls down the window . He says something to her , looking at the ground as he speaks . Ricky and Lila holding Little Jake look on . Billy Two Rivers drives away . SUDDENLY T.J. and Ricky LOOK UP . A RUMBLE is heard in the distance . From down the road the SEMI is seen APPROACHING . T.J. smiles and Ricky watches not sure whether to believe it or not . He takes T.J. 's hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW SINGLE-WIDE MOBILE HOME - NIGHT</stage_direction>
<scene_description>Ray is asleep in her new bedroom with wall - to - wall carpet and a big window . Her cell phone RINGS . She does n't move .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( her voice message plays . )</parenthetical>
<dialogue>Hi.</dialogue>
<parenthetical>( happy . )</parenthetical>
<dialogue>You've reached Ray. Leave me a message and I'll get back to you just as soon as I can.</dialogue>
<scene_description>The tone is heard .</scene_description>
<character>TROY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( sad sack voice . )</parenthetical>
<dialogue>Ray, are you gon na pick up or not?</dialogue>
<parenthetical>( MORE . )</parenthetical>
<dialogue />
<character>TROY</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<parenthetical>( pause . )</parenthetical>
<dialogue>I need you to send me some money so I can get home. I'm stuck here. I could already be back at work by now.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Please Ray, I'm at the YMCA in Tampa. I love you. I miss you. Please call me here. Seriously. And tell the boys -</dialogue>
<scene_description>The message cuts off with a `` BEEP . '' ClOSE ON : the cell phone screen . `` 12 NEW MESSAGES '' changes to `` 13 NEW MESSAGES . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERNATIONAL SEAWAY BRIDGE - DAY</stage_direction>
<scene_description>A sign reads `` Bridge to Canada . '' A steep 1940 's era customs bridge arches over the St. Lawrence River . Cars and trucks line up in different lanes . Customs officials man booths at the center of the bridge , inspecting and questioning impatient drivers . Beyond them , a smaller sign : `` THANK YOU FOR VISITING MASSENA NEW YORK , IT WORKS , for business , for family , for you '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELOW THE BRIDGE - SAME</stage_direction>
<scene_description>The river stretches miles in either direction , no longer frozen and still with trees on either side . FADE OUT</scene_description>
</scene>
</script> | The film is set shortly before Christmas in the North Country of Upstate New York, near the Akwesasne ('Where the Partridge Drums') St. Regis Mohawk Reservation and the border crossing to Cornwall, Ontario. Ray Eddy (Melissa Leo) is a discount store clerk struggling to raise two sons with her husband, a compulsive gambler who has disappeared with the funds she had earmarked to finance the purchase of a double-wide mobile home. While searching for him, she encounters Lila Littlewolf (Misty Upham), a Mohawk bingo-parlor employee who is driving his car, which she claims she found abandoned with the keys in the ignition at the local bus station. The two women, who have both fallen on hard economic times, form a desperate and uneasy alliance and begin trafficking illegal immigrants from Canada into the United States across the frozen St. Lawrence River for $1,200 each. Ray's older son T.J. wants to find a job and help support the family so they can afford to eat something more substantial than popcorn and Tang. He and his mother clash over whether he should remain in high-school and look after his little brother Ricky or drop out to work. To make matters worse, T.J. sets an outside corner of the trailer afire with a torch in an attempt to unfreeze the water pipe. Lila longs for the day she will be able to reclaim and live with her young son, who was taken from her by her mother-in-law immediately after his birth. Because the women's route takes them from an Indian reservation in the US to an Indian reserve in Canada, they hope to avoid detection by local law-enforcement. However, their problems escalate when they are asked to smuggle a Pakistani couple and Ray, fearful their duffel bag might contain explosives, leaves it behind in sub-freezing temperatures, only to discover it contained their infant baby when they arrive at their destination. She and Lila retrace their route and find the bag and the baby, which Lila insists is dead, but which she revives moments before being reunited with the baby's parents. The experience leaves her shaken, and she announces she no longer wants to participate in the smuggling operation. But Ray, needing just one more crossing to finance the down payment on her mobile home, coerces her into joining her for one last journey. They pick up two Asian women from a strip club for crossing. When the club owner tries to short them, Ray successfully threatens him with a gun. When she is re-entering her car, the irate club owner retaliates by shooting Ray in the ear. Shaken, her fast and erratic driving catches the attention of the provincial police. Ray tries to elude capture by crossing the frozen river where one of the wheels of the car breaks through the ice. The four women abandon the vehicle and take refuge at the Indian reservation. Because the police are demanding a scapegoat, the tribal head decides to excommunicate Lila for five years due to her smuggling history which involved the death of her Mohawk husband. Surprised then saddened by the news, Ray gives in to Lila's pleas to go free for the sake of her children. However, running through the woods, Ray has a fit of conscience and returns. Ray gives her share of money to Lila with instructions for taking care of her (Ray's) sons and seeing through the purchase plans for a mobile home. Ray and the illegal immigrants are surrendered to the police and a trooper speculates she will have to serve four months in jail. Ray calls her son T.J. to explain what has happened. Lila pushes her way into her mother-in-law's home and reclaims her infant son. She and the baby show up at the Eddy trailer while T.J. is still on the phone with his jailed mother. In a day scene, T.J. completes the welding of a bicycle-propelled carousel bearing his younger brother and Lila's strapped in baby. He pedals the carousel while Lila smiles on. A truck nears carrying the new mobile home. |
Popstar: Never Stop Never Stopping_2016 | tt3960412 | <script>
<scene>
<character>CONNER4REAL</character>
<dialogue>Written by</dialogue>
<scene_description>The Lonely Island ROUGH DRAFT 03/21/15 APATOW PRODUCTIONS THE LONELY ISLAND HEARTBEATS OVER BLACK...</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - CONCERT - NIGHT</stage_direction>
<scene_description>Various shots of teenage girls with stars in their eyes screaming their heads off.</scene_description>
<character>CROWD</character>
<dialogue>CON-NER! CON-NER! CON-NER!</dialogue>
<scene_description>A THX-like sound and futuristic CHURCH-INSPIRED GRAPHIC fills the massive LED screens. A voice booms through the arena represented by a HAL-like graphic.</scene_description>
<character>DEEP VOICE (V.O.)</character>
<dialogue>Do you, conner4real, vow to love and cherish your fans for all your days?</dialogue>
<scene_description>A silhouette of CONNER4REAL appears on the screen.</scene_description>
<character>CONNER (ON SCREEN)</character>
<dialogue>I do.</dialogue>
<scene_description>The audience screams.</scene_description>
<character>DEEP VOICE (V.O.)</character>
<dialogue>Do you promise to be yourself and to never stop telling the truth?</dialogue>
<character>CONNER (ON SCREEN)</character>
<dialogue>You know I do.</dialogue>
<scene_description>The crowd swoons.</scene_description>
<character>DEEP VOICE (V.O.)</character>
<dialogue>And do you, conner4real, promise to rock the muthafuckin' house?</dialogue>
<scene_description>CONNER4REAL (Andy Samberg) appears on the giant LED screen. He is Bieber, Drake, Macklemore, Katy Perry and Kanye all rolled into one.</scene_description>
<character>CONNER (ON SCREEN)</character>
<parenthetical>(smug)</parenthetical>
<dialogue>I thought you'd never ask, trick!</dialogue>
<scene_description>Conner throws a HAMMER across the LED screens, until it "smashes" into the HAL graphic, EXPLOSION. Bass hits and FIREWORKS BLAST and the crowd goes apeshit. SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENA - EARLIER THAT DAY</stage_direction>
<scene_description>FANS wait in line. A group of TEEN GIRLS in conner4real T- Shirts with handmade signs, etc.</scene_description>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>What does being "4 real" mean to you?</dialogue>
<character>TEEN GIRLS</character>
<dialogue>Being 4 real just means being yourself/ Yeah and like, just do you and don't sweat all the haters.</dialogue>
<scene_description>JUMP: An EMO RAP DUDE</scene_description>
<character>EMO RAP</character>
<dialogue>Conner4real shows have to bottle up that it's okay to</dialogue>
<character>DUDE</character>
<dialogue>us that we don't our emotions, cry.</dialogue>
<scene_description>JUMP: TEEN GIRLS 2</scene_description>
<character>TEEN GIRLS 2</character>
<parenthetical>(in unison)</parenthetical>
<dialogue>Yerp!! Doink de doink!</dialogue>
<scene_description>JUMP: A SUPER UGLY KID</scene_description>
<character>SUPER UGLY KID</character>
<dialogue>He makes you feel like you can do any-fing!!! And like, fuck the haterssssssss....</dialogue>
<scene_description>JUMP: A GROUP OF KIDS</scene_description>
<character>GROUP OF KIDS</character>
<parenthetical>(in unison)</parenthetical>
<dialogue>\[singing lyrics to one of his songs\]</dialogue>
<scene_description>TALKING HEAD - DR DRE L/3: "DR DRE".</scene_description>
<character>DR DRE</character>
<dialogue>I had just put the finishing touches on The Chronic 3 when I heard conner4real's first solo album, CONNfident.</dialogue>
<character>DR DRE</character>
<dialogue>Shit was so amazing that I threw my album in the garbage and vowed never to make an album again. And I haven't since.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL BALCONY - DAY</stage_direction>
<scene_description>Conner winks at the camera, then goes to the edge, camera pans to show thousands of FANS cheering down below.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEEN CHOICE AWARDS - RED CARPET - DAY</stage_direction>
<scene_description>Conner goofs off for the photographers who eat it up.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - DAY</stage_direction>
<scene_description>Conner's manager, HARRY (40's), forever up-beat and over- worked, holds a tray of Starbucks. L/3: "HARRY CRILL : CONNER'S MANAGER"</scene_description>
<character>HARRY</character>
<dialogue>Conner is one of the hardest working people I've ever met. He's a perfectionist.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - REHEARSAL - DAY</stage_direction>
<scene_description>Conner rehearses a MAGIC WARDROBE CHANGE with his DANCERS. The fabric tube drops and his clothes are wedged in his crotch. Conner yelps in pain.</scene_description>
<character>CONNER</character>
<dialogue>Again!</dialogue>
<scene_description>QUICK CUTS - Conner in pain as the trick malfunctions.</scene_description>
<character>CONNER</character>
<dialogue>Ow! It's catching again! Hold on, maybe if I tuck my stuff between my legs.</dialogue>
<scene_description>He reaches down and tucks his junk between his legs (OS).</scene_description>
<character>CONNER</character>
<dialogue>Alright, again!</dialogue>
<scene_description>The trick works revealing Conner in a SEQUINNED SUIT.</scene_description>
<character>CONNER</character>
<dialogue>Wooo! You see that magic shit?! Owen, drop the beat!</dialogue>
<scene_description>The DJ, OWEN (Jorma Taccone), a clean-cut Diplo/Ryan Lewis type DJ/Producer, throws on a beat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - NIGHT</stage_direction>
<scene_description>Owen drinks a beer backstage with ENTOURAGE around him. L/3: "OWEN AKA DJ KID CONTACT"</scene_description>
<character>OWEN</character>
<dialogue>Conner and I have been best friends since we were kids, through the Drama Boyz, and I'm still excited to see him perform--</dialogue>
<character>ENTOURAGE</character>
<dialogue>Yup/ Definitely/ Going to a conner4real show is like going to church.</dialogue>
<character>OWEN</character>
<dialogue>Yeah, and I've got the dopest seat in the house.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - CONCERT - NIGHT</stage_direction>
<scene_description>ON STAGE - Smoke is clearing as Owen rises behind a DJ BOOTH. The LED SCREEN reads "KID CONTACT".</scene_description>
<character>OWEN</character>
<parenthetical>(into mic)</parenthetical>
<dialogue>Are ya'll ready to see my man, conner4real??!</dialogue>
<scene_description>The CROWD SCREAMS... TALKING HEAD - SPONGE & EDDIE, two of Conner's entourage.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>Conner's got it all, man. The cars.</dialogue>
<scene_description>- Conner posing in front of ridic sports cars.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>The clothes.</dialogue>
<scene_description>- Conner in a ridic outfit in a Calvin Klein ad.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>The girls.</dialogue>
<scene_description>- Conner on a red carpet with a MODEL.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>And the FANS./ Yeah his fans RIDE for him, bruh.</dialogue>
<scene_description>FOOTAGE OF FANS - Wearing "connfidant" shirts, holding signs that say "#1 Connfidants", Conner signing autographs, etc. TALKING HEAD - PAULA (late 20's), sharp, super sarcastic, very "over it", is being interviewed. L/3: "PAULA KLEIN: CONNER'S PUBLICIST"</scene_description>
<character>PAULA</character>
<dialogue>Gaga has her "Little Monsters", Justin Bieber has the "Beliebers", Katy Perry has the "Katy Kats". Conner4real has his "Connfidants".</dialogue>
<scene_description>TALKING HEAD - CONNER</scene_description>
<character>CONNER</character>
<dialogue>I love my Connfidants. And I do confide in them too. It's not just super clever wordplay.</dialogue>
</scene>
<scene>
<stage_direction>INT. VARIOUS WEBCAM FOOTAGE ("CONNER'S CONFESSIONS") - NIGHT</stage_direction>
<scene_description>BATHROOM - Conner cuts his toenails in a hotel.</scene_description>
<character>CONNER</character>
<dialogue>What's up my connfidants? So I just cut my big toenail, it's looking pretty good, pretty smooth.</dialogue>
<scene_description>TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>At first I didn't get it. He was brushing his teeth, feeding his turtle and shit. But, the fans loved it. And that's Conner's magic, he sees things that other people don't.</dialogue>
<scene_description>UNDER THE COVERS - Conner whispers.</scene_description>
<character>CONNER</character>
<dialogue>Just jacked it. Umm, feeling pretty mellow right now... And that's conner4real.</dialogue>
<scene_description>TALKING HEAD - NICKI MINAJ L/3: "NICKI MINAJ"</scene_description>
<character>NICKI MINAJ</character>
<dialogue>I saw one, I swear to God, he was just crying for like an hour.</dialogue>
<scene_description>WEBCAM FOOTAGE - Conner is crying.</scene_description>
<character>NICKI MINAJ</character>
<dialogue>I was like, "who is this bitch-ass dude sobbing in my face?" But I also couldn't take my eyes off it. Like this beautiful trainwreck, y'know? And that's when I decided to fuck him.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELLEN DEGENERES SHOW - TV BROADCAST</stage_direction>
<scene_description>Conner and Ellen are mid chat.</scene_description>
<character>ELLEN DEGENERES</character>
<dialogue>Okay last question, where does the name "conner4real" come from?</dialogue>
<character>CONNER</character>
<dialogue>Hoooo. That's a long story... Obviously I'm Conner. That's where that part comes from, but to be for real? That's a life choice. A proclamation of truthfulness to the universe.</dialogue>
<character>ELLEN DEGENERES</character>
<dialogue>Right. And your name is Conner Friel. Conner Friel-Conner4real. It works.</dialogue>
<scene_description>The audience laughs.</scene_description>
<character>CONNER</character>
<dialogue>Ha! That too. You got jokes, Ellen!</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - UNDER THE STAGE - NIGHT</stage_direction>
<scene_description>SLO-MO - WE FOLLOW CONNER in the catacombs beneath the stage.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>We're all on this crazy ride with him, y'know?</dialogue>
<scene_description>ZIPPY, a classic looking roadie, waves Conner onto a platform, waiting, all nerves.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>And it feels like it's just getting started.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - CONCERT - NIGHT</stage_direction>
<scene_description>CONNER FLIES OUT OF THE TRAP DOOR ONTO THE STAGE. The CROWD cheers and we launch into our first big musical number: SONG - "BIG OPENING SONG" - CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SACRAMENTO - VARIOUS ESTABLISHING - DAY</stage_direction>
<scene_description>Various establishing shots of the Capital.</scene_description>
<character>TILLY (V.O.)</character>
<dialogue>Conner was born right here in Sacramento, California.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - DAY</stage_direction>
<scene_description>Conner's mom, TILLY FRIEL (60s) sits with a tall glass of Pinot Grigio. L/3: "TILLY FRIEL: CONNER'S MOTHER"</scene_description>
<character>TILLY</character>
<dialogue>From an early age we knew there was something special about him.</dialogue>
</scene>
<scene>
<stage_direction>INT. BABY'S ROOM - OLD HOME VIDEO - DAY</stage_direction>
<scene_description>TINY BABY CONNER absolutely shredding on a child's drum kit. L/3: "CONNER: ONE YEAR OLD"</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Holy shit!!! That kid is possessed!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - RESUME</stage_direction>
<scene_description>PHOTO of 5 YEAR-OLD Conner, Owen, and LAWRENCE (another little boy) dressed like three Pinocchios for Halloween.</scene_description>
<character>TILLY</character>
<dialogue>There's little Owen, who is now Conner's DJ. Lawrence, looking grumpy even back then. And my Connie. They were inseparable.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LITTLE LEAGUE GAME - GRAINY HOME VIDEO - DAY</stage_direction>
<scene_description>YOUNG CONNER (10) hits the ball deep, Owen and Lawrence score runs, winning the game.</scene_description>
<character>TILLY (V.O.)</character>
<dialogue>Even back then, it was always about the music.</dialogue>
<scene_description>While the rest of the team celebrates, Conner, Owen and Lawrence do a CHOREOGRAPHED DANCE and RAP to the crowd.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - HALLWAY - DAY</stage_direction>
<scene_description>Tilly shows more photos.</scene_description>
<character>TILLY</character>
<dialogue>After his dad passed, it was just Conner and I, which was tough, but we made it work in our own way. Ooh, here's a good one from their high school band. "The TLC Guyz"</dialogue>
<scene_description>PHOTO - 16 YEAR-OLD CONNER, OWEN and LAWRENCE dressed exactly like T-boz, Left Eye and Chili. OLD HOME VIDEO FOOTAGE - On stage the boys do an acapella R&B jam, like Boys II Men or Shai. The cursing is censored. L/3: "SACRAMENTO HIGH SCHOOL TALENT SHOW"</scene_description>
<character>THE TLC GUYZ</character>
<dialogue>NEED NEW SONG HERE.</dialogue>
<scene_description>ANGLE ON - shocked PARENTS and TEACHERS in the audience. The PRINCIPAL tries to take their mics away. The KIDS love it. TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>My wife, Diane, was working as a music teacher at Sacramento High School and told me there were some kids there I had to see.</dialogue>
<scene_description>BACK IN THE VIDEO - The camera finds a YOUNGER HARRY and YOUNGER DIANE watching the Boyz.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>I had never thought about being a music manager before, but there was something special happening on that stage. Kinda like Boys II Men or Jodeci but way whiter. And they rapped too.</dialogue>
<scene_description>ON THE STAGE - They are rapping profanities. Etc.</scene_description>
<character>HARRY</character>
<dialogue>Back in my high school days I'd had a similar opportunity I should've taken but didn't. My jazz band, "Tony! Toni! Tone! Tonee!" was ready to take off when I quit due to creative differences.</dialogue>
<scene_description>INSERT - An old Tony! Toni! Tone! photo with Harry added to it. MUSIC - An instrumental jazz version of "It Never Rains".</scene_description>
<character>HARRY</character>
<dialogue>They wanted to go in an R&B direction, I wanted to stick with Jazz. In hindsight, it wasn't my best decision, I ended up dead broke, but it led me to the boys.</dialogue>
<scene_description>RESUME - TILLY IN HALLWAY - she points to a GOLD RECORD.</scene_description>
<character>TILLY</character>
<dialogue>Harry signed them right after graduation, they became the "Drama Boyz" and just took off.</dialogue>
</scene>
<scene>
<stage_direction>I/E. MUSIC VIDEO - DRAMA BOYZ - "DONKEY ROLL"</stage_direction>
<scene_description>A high energy 2006-style music video. We see them doing a song about a silly dance called the Donkey Roll. TALKING HEAD - TILLY</scene_description>
<character>TILLY</character>
<dialogue>All of a sudden my little boy was out in the world, and he hasn't really been home since.</dialogue>
<scene_description>She sighs and smiles, it's bittersweet. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. REHEARSAL SPACE - MORNING</stage_direction>
<scene_description>Harry is walking up to the front door with COFFEE AND BAGELS.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>It's a pretty exciting time. Conner's second solo album, CONNquest, drops in two weeks, and then it's off to a world tour. All the pieces are to coming together.</dialogue>
</scene>
<scene>
<stage_direction>INT. REHEARSAL SPACE - DAY</stage_direction>
<scene_description>Conner, ENTOURAGE and DANCERS, all lounge and work. PAULA enters, Conner notices.</scene_description>
<character>CONNER</character>
<parenthetical>(playful)</parenthetical>
<dialogue>Look who's come crawlin' back.</dialogue>
<character>PAULA</character>
<dialogue>Nice to see you too, Conner.</dialogue>
<scene_description>TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>Paula is Conner's publicist but she actually started as my intern.</dialogue>
<scene_description>HOME VIDEO FOOTAGE - The five of them, all with bad hair and clothing, having a blast together. Loading up a van. TALKING HEAD - PAULA</scene_description>
<character>PAULA</character>
<dialogue>I was double-majoring English Lit and Drama at Berkeley when Harry hired me and it just kinda stuck.</dialogue>
<scene_description>HOME VIDEO FOOTAGE - - HOTEL ROOM - Conner and Owen do a dance routine on the bed, Harry laughs and Paula tries to do homework. - AT A ROAD SIDE DINER - Pigging out, excited about the road.</scene_description>
<character>PAULA</character>
<dialogue>Eventually I settled in as Conner's publicist, which it turned out I'm quite good at. So now I travel a lot for multiple clients.</dialogue>
<scene_description>BACK AT THE REHEARSAL SPACE - Conner stretches with the dancers, Paula is on her laptop.</scene_description>
<character>CONNER</character>
<dialogue>Yo, Paula, who do you rep now? Anybody bigger than me?</dialogue>
<character>PAULA</character>
<dialogue>Literally all of them. They're all bigger and they're all better looking.</dialogue>
<character>CONNER</character>
<dialogue>That is some heartless shit right there. You're a bully.</dialogue>
<character>PAULA</character>
<dialogue>I feel comfortable bullying you because you're so insignificant.</dialogue>
<scene_description>Harry enters, followed by ROADIES wheeling in something big covered with a tarp.</scene_description>
<character>CONNER</character>
<dialogue>There it is!</dialogue>
<character>HARRY</character>
<dialogue>Hello, everyone! All eyes on me. Tupac ref. We have a big announcement.</dialogue>
<scene_description>Everyone gathers.</scene_description>
<character>CONNER</character>
<dialogue>Alright, we know the industry isn't what it used to be. To sell records now you have to be on that next shit. Beyonce had her surprise album, Jay-Z came out exclusively on Samsung, Barry Smalls dropped his album, literally, out of a hot air balloon.</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>I caught one of those/ So dope.</dialogue>
<character>CONNER</character>
<dialogue>So I'm happy to announce that we have secured a major brand partner. The CONNquest tour and album, will be sponsored by: Aquaspin Appliances!</dialogue>
<scene_description>He pulls off the tarp revealing a WASHER/DRYER combo with a big tour banner. "CONNER4REAL: THE CONNQUEST TOUR brought to you by Aquaspin©"</scene_description>
<character>CONNER</character>
<dialogue>We takin' over, ya'll!</dialogue>
<scene_description>Everyone cheers. Except Owen, who looks skeptical. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. AQUASPIN HEADQUARTERS - DAY</stage_direction>
<scene_description>Nice cooperate headquarters with a sign.</scene_description>
<character>WALLY (O.S.)</character>
<dialogue>Right this way, gentleman!</dialogue>
</scene>
<scene>
<stage_direction>INT. AQUASPIN SHOWROOM - CONTINUOUS</stage_direction>
<scene_description>An Aquaspin Executive, WALLY, dressed in khakis and polo, shows Conner, Owen, Sponge, Eddie and Harry around. L/3: "WALLY BATES: SENIOR VICE PRESIDENT, AQUASPIN"</scene_description>
<character>WALLY</character>
<dialogue>You guys are gonna love this.</dialogue>
<parenthetical>(Tracy Flick, Waspy)</parenthetical>
<dialogue>Welcome to the future, bitches!</dialogue>
<scene_description>She opens a REFRIGERATOR and a conner4real SONG plays out of a shitty speaker in the door. She dances to it.</scene_description>
<character>WALLY</character>
<dialogue>Fresh right? We can upload your whole album to our fridges, washer/dryers, blenders and microwaves across the country!</dialogue>
<character>CONNER</character>
<dialogue>So sick.</dialogue>
<character>OWEN</character>
<dialogue>You can do that?</dialogue>
<character>WALLY</character>
<dialogue>Appliances are all digital now, my man. Built wifi right into those little fuckers for upgrades and shit. We can send anything we want.</dialogue>
<character>CONNER</character>
<dialogue>What did I tell ya'll?! Wally's a genius!</dialogue>
<scene_description>Wally opens and shuts the fridge and the MUSIC TURNS ON AND OFF. Sponge and Eddie are impressed, Owen less. AT A BLENDER - Wally turns it on, the music can barely be heard over the motor. They shout over it.</scene_description>
<character>WALLY</character>
<dialogue>AQUASPIN APPLIANCES ARE IN 98</dialogue>
<character>PERCENT OF AMERICAN HOMES. I'M</character>
<dialogue>TALKIN' FULL MARKET SATURATION!</dialogue>
<character>OWEN</character>
<dialogue>ISN'T IT KINDA ANNOYING TO LISTEN</dialogue>
<character>THIS WAY?</character>
<dialogue>WALLY</dialogue>
<character>NAW MAN! IT'S LIKE A DUBSTEP REMIX!</character>
<parenthetical>(pushing buttons)</parenthetical>
<character>SHRED! PULSE! LIQUIFY!</character>
<dialogue>Conner joins her.</dialogue>
<character>WALLY/CONNER</character>
<dialogue>SHRED! PULSE! LIQUIFY! SHRED!</dialogue>
<dialogue>PULSE! LIQUIFY! Yo, that could really be a song!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AQUASPIN HEADQUARTERS - DAY</stage_direction>
<scene_description>Conner and Owen walk out the front door.</scene_description>
<character>OWEN</character>
<parenthetical>(excited, laughing)</parenthetical>
<dialogue>Okay, I'm sorry, but that shit was retarded! I mean who would want to listen to music that way? Right?</dialogue>
<character>CONNER</character>
<dialogue>Yo, I know it's weird, but you're not looking at it the right way. If Aquaspin wants to spend millions of dollars to help bring our music to fans, how can Aquaspin be bad?</dialogue>
<character>OWEN</character>
<parenthetical>(unconvinced)</parenthetical>
<dialogue>Right, I guess that makes sense.</dialogue>
<scene_description>TALKING HEAD - OWEN</scene_description>
<character>OWEN</character>
<dialogue>Sometimes Conner gets an idea and runs with it. And he's right like 99% of the time. You gotta just trust he knows what he's doing.</dialogue>
<scene_description>The sound of a CROWD takes us TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENA - NIGHT</stage_direction>
<scene_description>L/3rd: "WARM-UP SHOW. SEATTLE, WASHINGTON"</scene_description>
<character>CONNER (O.S.)</character>
<dialogue>How ya'll doing out there?!</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - WARM-UP SHOW - CONTINUOUS</stage_direction>
<scene_description>Conner is on stage.</scene_description>
<character>CONNER</character>
<dialogue>Ya'll know my album comes out in 5 days, right! Here's a new one...</dialogue>
<scene_description>Owen throws on SONG -</scene_description>
<character>CONNER</character>
<dialogue>Lyrics, lyrics, lyrics...</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - SAME</stage_direction>
<scene_description>We hear the bass from the show in the BG as Sponge ushers in a DOZEN HOTTIES.</scene_description>
<character>SPONGE</character>
<dialogue>Right this way, ladies.</dialogue>
<character>SPONGE (V.O.)</character>
<dialogue>On tour I'm the party-coordinator, good-time-determinator, in the H-O- U-S-E for two thousand and FREAK.</dialogue>
<scene_description>VARIOUS SHOTS - Sponge sets up the green room, dims lights, puts a tapestry on the couch, fills a bowl with condoms.</scene_description>
<character>SPONGE</character>
<dialogue>I manage the green room facilities and whatnot. Make sure it's got the right ambiance and chill people.</dialogue>
<scene_description>Sponge leads HOT GIRLS backstage, weeds out a CHUBBY GIRL. ACROSS THE ROOM - EDDIE, sits on a couch, rolling massive BLUNTS. ZIPPY, a classic roadie, sits next to him.</scene_description>
<character>EDDIE</character>
<dialogue>I'm an idea man for real. I come up with like the weirdest thoughts. Like what if a dog was wearing a cape? That could be a video.</dialogue>
<character>ZIPPY</character>
<dialogue>That would be sick, bro.</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>You make music videos?</dialogue>
<character>EDDIE</character>
<dialogue>I haven't yet per se, mostly I roll blunts. But it seems like basically the same skill set. I used to kick it with Wiz Khalifa. But I got lost at Bonnaroo and fell asleep in Conner's dressing room.</dialogue>
<scene_description>PARTY FOOTAGE - EDDIE passed out under a table.</scene_description>
<character>EDDIE</character>
<dialogue>Wiz left without me and I've been rolling with C-Dot ever since.</dialogue>
<scene_description>ON THE OTHER COUCH - SARAH, beautiful, asymmetrical haircut, bored. Sits on a couch, chewing gum and texting. L/3rd: "SARAH CHUN: PERSONAL ASSISTANT" She finally looks up. A beat. Then goes back to texting. TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>Conner currently has 32 people on his personal tour payroll.</dialogue>
<scene_description>We see QUICK CUTS of the following CHARACTERS:</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>He has a vocal coach, a basketball coach, an "Ab trainer", an eyebrow specialist, sneaker jockey. Ice whisperer for his drinking ice. Dry- ice whisperer for grand entrances. Two umbrella wranglers, one for sun one for rain. A dude to roll his weed up, and a dude to hold his weed for him in case they get busted. A scarf caddy. A Perspective Manipulator--</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>What's a Perspective Manipulator?</dialogue>
<character>HARRY</character>
<dialogue>That's a guy who's slightly shorter than Conner that he pays to stand near him at events to make him look taller. He'll often have him dress like an NBA player to give the impression that he's very tall.</dialogue>
<scene_description>INSERT - Shots of Conner at events next to the SHORT GUY dressed like an NBA player. In the last one the short guy very poorly spins a basketball on his finger. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - WARM-UP CONCERT - LATER</stage_direction>
<scene_description>We are now mid-show, but Conner is not on stage.</scene_description>
<character>OWEN</character>
<dialogue>Yo, yo, yo. Stop the music. Where did Conner go? Does anyone see him? Can we get the security cameras on screen please?</dialogue>
<scene_description>ON THE VIDEO WALLS - SECURITY CAM FOOTAGE of empty hallways, backstage, dressing rooms, then BATHROOM STALL - SECURITY CAM - Conner, pants at his ankles, tries to block the camera. In this well-rehearsed "scene".</scene_description>
<character>CONNER</character>
<parenthetical>(bad acting)</parenthetical>
<dialogue>Whoa! Get out of here!</dialogue>
<character>OWEN</character>
<dialogue>Conner, whatchu doing man? You got a show to do.</dialogue>
<character>CONNER</character>
<dialogue>When ya gotta go, ya gotta go.</dialogue>
<scene_description>The crowd laughs. Loving this!</scene_description>
<character>CONNER</character>
<dialogue>For real, this is an invasion of my privacy. You know what, fuck it, I don't have any secrets from ya'll.</dialogue>
<scene_description>A wall on stage falls over, revealing Conner on toilet, right in the middle of the stage. The crowd goes nuts. FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - REHEARSAL - DAY</stage_direction>
<scene_description>Conner is on the toilet rehearsing the same bit.</scene_description>
<character>CONNER</character>
<dialogue>So, the walls come down and I'm here on the toilet.</dialogue>
<character>OWEN</character>
<dialogue>That's dope!</dialogue>
<character>CONNER</character>
<dialogue>And like, I think I should kick the first verse with my pants down, from the throne. Then the chorus hits and I'll stand up like, finished!</dialogue>
<scene_description>Everyone cracks up, "This guy is a visionary".</scene_description>
<character>VOICE OVER PA (O.S.)</character>
<dialogue>Okay, Conner, let's take it from the song. In 3, 2...</dialogue>
<scene_description>Conner raises the mic and we... MATCH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - CONCERT - RESUME</stage_direction>
<scene_description>The SONG kicks in and THE TOILET RISES UP OFF THE STAGE ON WIRES WITH CONNER STILL ON IT. He flails his legs around wildly. Dancers hold toilet paper rolls, dance provocatively.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>It's about intimacy. If you're in love with someone you want to share every moment with them, and that's how I feel about my fans. Plus if I actually need the bathroom I can sneak that in during the song. The toilet IS fully functional.</dialogue>
<scene_description>We see him grimacing a little during the song. TALKING HEAD - CONNER</scene_description>
<character>CONNER</character>
<dialogue>Perks of the biz, baby!</dialogue>
</scene>
<scene>
<stage_direction>EXT. REAL 92.3 - MORNING</stage_direction>
<scene_description>A BLACK SUV enters the gates, past the AUTOGRAPH HUNTERS.</scene_description>
<character>BIG BOY (O.S.)</character>
<dialogue>Okay, now do I have this right? You are also giving away the album on Aquaspin appliances?</dialogue>
</scene>
<scene>
<stage_direction>INT. REAL 92.3 - CONTINUOUS</stage_direction>
<scene_description>Conner is being interviewed by BIG BOY.</scene_description>
<character>CONNER</character>
<dialogue>Hell yeah. Next Monday at midnight CONNquest drops worldwide but if you've got an Aquaspin appliance, it's streaming free.</dialogue>
<character>BIG BOY</character>
<dialogue>So like, I have an Aquaspin ice maker. It's gonna be able to play your album?</dialogue>
<character>CONNER</character>
<dialogue>Yerp.</dialogue>
<character>BIG BOY</character>
<dialogue>That's some baller-ass future Jetson's shizz right there.</dialogue>
<character>CONNER</character>
<dialogue>Yeah man. I want to be the soundtrack to people's lives. You got your cereal, toast, orange juice, conner4real. Part of your balanced breakfast.</dialogue>
<character>BIG BOY</character>
<dialogue>Nutritious and delicious, no doubt.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. EL RAY THEATER - NIGHT</stage_direction>
<scene_description>The marquee reads "AQUASPIN PRESENTS: AN EVENING WITH CONNER4REAL."</scene_description>
<character>RYAN SEACREST (O.S.)</character>
<dialogue>Okay, first you're in a group, the Drama Boyz...</dialogue>
</scene>
<scene>
<stage_direction>INT. EL RAY THEATER - NIGHT</stage_direction>
<scene_description>RYAN SEACREST and Conner sit for a TOWN HALL STYLE Q & A.</scene_description>
<character>RYAN SEACREST</character>
<dialogue>Things are going well, the Donkey Roll is a hit, then your breakout moment: Claudia Cantrell calls and asks you to do a guest verse on her song, Midnight Snack, at the Poppys.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, surreal. I was a huge fan.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>But instead of kicking a verse like everyone else. You did something a little different.</dialogue>
<character>CONNER</character>
<dialogue>Ha, yeah, I had been working on a new catchphrase, but I had so many dope ones that I just wrote a verse of all catchphrases.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. POPPYS - TV BROADCAST</stage_direction>
<scene_description>CLAUDIA CANTRELL (Lady Gaga) sings the chorus to a song called "MIDNIGHT SNACK" ON THE "POP MUSIC AWARDS" AKA the "Poppys", it breaks for Conner's guest verse:</scene_description>
<character>CLAUDIA CANTRELL</character>
<dialogue>... I'm hungry for you, I want a midnight snack.</dialogue>
<character>CONNER</character>
<dialogue>Ugh. Yerp. Conner4real. So Real. Doink d'doink! Wheeeee!!! Hahaha wipe out! Say whaaaat?!</dialogue>
<scene_description>CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. EL RAY THEATER - RESUME</stage_direction>
<character>RYAN SEACREST</character>
<dialogue>I remember watching, everyone was like "who is this kid??".</dialogue>
<character>CONNER</character>
<dialogue>It was wild. The Poppie Awards changed my whole life.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>So now here comes the girls, the fame, the endorsements, those ridiculous superjetjeans ads.</dialogue>
<character>CONNER</character>
<dialogue>Oh no, please don't show that!</dialogue>
<character>RYAN SEACREST</character>
<dialogue>Oh, we're showing it. Something that good must be shared!</dialogue>
</scene>
<scene>
<stage_direction>INT. SUPERJETJEANS AD -</stage_direction>
<scene_description>Like a 90's Calvin Klein ad. Conner is modeling a super ugly pair of airbrushed jeans. They say "EXIT ONLY" on the butt.</scene_description>
<character>CONNER</character>
<dialogue>Pretty funny, right?</dialogue>
<scene_description>JUMP TO: "TWO WAY STREET" on the butt.</scene_description>
<character>CONNER</character>
<dialogue>I don't judge, it's all love.</dialogue>
<scene_description>JUMP TO: "CRAP FACTORY" on the back.</scene_description>
<character>CONNER</character>
<dialogue>Be original.</dialogue>
<scene_description>CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. EL RAY THEATER - RESUME</stage_direction>
<character>RYAN SEACREST</character>
<dialogue>So you're red-hot now. And here's the offer for a solo contract. How'd the other guys take it?</dialogue>
<character>CONNER</character>
<dialogue>They took it okay. Owen, Lawrence and I grew up together, we're like brothers, sometimes brothers fight. But we still love each other.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>You're referring to the Coachella incident?</dialogue>
<character>CONNER</character>
<dialogue>I wasn't, but--</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. COACHELLA - OLD FOOTAGE</stage_direction>
<scene_description>Drama Boyz are on stage.</scene_description>
<character>LAWRENCE</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Coachella, you ready to party with the Drama Boyz?!</dialogue>
<parenthetical>(aside to Conner)</parenthetical>
<dialogue>I fuckin' hate you, dude. Back- stabbing thieving piece of shit!</dialogue>
<character>CONNER</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Let's see those hands in the air!</dialogue>
<parenthetical>(to Lawrence)</parenthetical>
<dialogue>Come at me, bro. I'll fuckin' beat your ass right now.</dialogue>
<character>OWEN</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Ha ha! Side to side, like this!</dialogue>
<character>OWEN</character>
<parenthetical>(aside)</parenthetical>
<dialogue>Guys, stop it.</dialogue>
<scene_description>Owen leads the crowd while trying to separate them. Lawrence RUSHES Conner, tackling him to the floor.</scene_description>
<character>CONNER</character>
<dialogue>Ahhh!!!! He's biting me!!!</dialogue>
<scene_description>BACK IN THE EL REY - SAME TIME Conner leans over and whispers to Seacrest in the dark as the footage plays behind them.</scene_description>
<character>CONNER</character>
<dialogue>Yo, Seacrest, what's with all the Drama Boyz questions? I'm trying to sell a record, man.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>I'm just asking what the people want to know about, Conner.</dialogue>
<character>CONNER</character>
<dialogue>What? Since when did you decide to become a real journalist?</dialogue>
<character>RYAN SEACREST</character>
<dialogue>That's hurtful. That hurts me.</dialogue>
<character>CONNER</character>
<dialogue>I'll hurt you.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>Fuckin bring it, flyboy. I rip Soul Cycle a new asshole EVERY morning. My shit is TIGHT.</dialogue>
<scene_description>THE FOOTAGE ENDS, lights come back up, they both smile.</scene_description>
<character>CONNER</character>
<dialogue>That was just some growing pains but I see Owen everyday, he's my producer, my DJ, my best-friend. And Lawrence is a farmer now.</dialogue>
<character>RYAN SEACREST</character>
<dialogue>Lawrence Dunn is a farmer? Man, you really screwed him up, huh?</dialogue>
<character>CONNER</character>
<dialogue>Nope. Not at all. I mean, that was always his dream actually...</dialogue>
<scene_description>As they continue to talk a MOODY MUSIC CUE creeps in...</scene_description>
</scene>
<scene>
<stage_direction>EXT. BIG TIMBER, COLORADO - WINTER - DUSK</stage_direction>
<scene_description>We find Lawrence, bushy beard, overalls. Pushing farm equipment. L/3: "BIG TIMBER, COLORADO"</scene_description>
<character>LAWRENCE (V.O.)</character>
<dialogue>My name is Lawrence Dunn, I was in the Drama Boyz, now I'm a farmer.</dialogue>
<scene_description>Lawrence chops wood. Bottle-feeds a goat.</scene_description>
<character>LAWRENCE</character>
<dialogue>Being out in nature, away from everyone and all the trappings of modern life...</dialogue>
<scene_description>Lawrence attempts to fix a frozen water pump, hurts his hand.</scene_description>
<character>LAWRENCE (V.O.)</character>
<dialogue>It's so peaceful. There's nothing like it.</dialogue>
<scene_description>TALKING HEAD - LAWRENCE</scene_description>
<character>LAWRENCE</character>
<dialogue>After the Drama Boyz I tried a solo project, but it didn't really stick.</dialogue>
<scene_description>MUSIC VIDEO - "LARRY D", Lawrence rocks a FLUTE.</scene_description>
<character>LAWRENCE (V.O.)</character>
<dialogue>It was a flute concept album. Dr. Dre produced the whole thing and even did a guest verse.</dialogue>
<character>DR. DRE (IN</character>
<dialogue>Listen as he executes flute/ He can play it it/ So watch him blow</dialogue>
<character>VIDEO)</character>
<dialogue>the funky and I know it...</dialogue>
<character>LAWRENCE (V.O.)</character>
<dialogue>I thought it was gonna blow up. But the label didn't promote it right.</dialogue>
<scene_description>RESUME ON LAWRENCE -</scene_description>
<character>LAWRENCE</character>
<dialogue>Then my uncle passed away and left me this farm. I've never been happier.</dialogue>
<scene_description>Suddenly, a glob of BIRD SHIT lands on Lawrence's face. He doesn't react. Just stares with rage. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WAREHOUSE REHEARSAL SPACE - DAY</stage_direction>
<scene_description>WE HEAR some synth...</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE REHEARSAL SPACE - DAY</stage_direction>
<scene_description>Owen plays a few chords on a synthesizer.</scene_description>
<character>OWEN</character>
<dialogue>You recognize that?</dialogue>
<scene_description>He plays it again, nodding to the groove.</scene_description>
<character>OWEN</character>
<dialogue>That's that Doobie Howser. I made that for Conner's first album.</dialogue>
<parenthetical>(sings)</parenthetical>
<dialogue>I'm Doobie Howser M.D./Smokin and solvin mysteries/ Love that record.</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>You make all of Conner's music?</dialogue>
<character>OWEN</character>
<dialogue>I did on the first album, but Conner wanted to branch out this time. So he used a different producer for every track. To make an entire album of hot singles.</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>Do you miss performing with the Drama Boyz?</dialogue>
<scene_description>- ON STAGE - Owen DJing behind Conner.</scene_description>
<character>OWEN</character>
<dialogue>Naw, I know some people think it's weird cuz we used to be in a group and now I'm playing the background as the DJ but it's not like that. I could never do what he does.</dialogue>
<character>OWEN</character>
<dialogue>I owe Conner everything... And I still get to connect with the audience every night warming up the crowd.</dialogue>
<scene_description>- ON STAGE - House lights are up. Owen is DJing his heart out while scattered people find their seats.</scene_description>
<character>OWEN (V.O.)</character>
<dialogue>I'm building up my own little fan base.</dialogue>
<scene_description>ANGLE ON - a few 12 year old GIRLS with KID CONTACT signs. TIME CUT - Owen plays a drum machine.</scene_description>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>So, you use everything here during the show?</dialogue>
<character>OWEN</character>
<dialogue>During the show? Naw, man. Mostly I just use this.</dialogue>
<scene_description>Owen holds up an old iPod.</scene_description>
<character>OWEN</character>
<dialogue>It's an iPod. 60 gigs, so I can easily fit the whole show, plus like, a bunch of dope audio books.</dialogue>
<scene_description>He hits play.</scene_description>
<character>IPOD</character>
<dialogue>It was year three at Hogworts and Harry was worried it would never get easier--</dialogue>
<scene_description>Owen nods like "yeah". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONNER'S WOODLAND HILLS ESTATE - ESTABLISHING - DAY</stage_direction>
<scene_description>Helicopter shot of the sprawling estate. L/3rd: "CONNER'S LOS ANGELES HOME"</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - LIVING ROOM</stage_direction>
<scene_description>Conner is on his laptop.</scene_description>
<character>DIRECTOR'S VOICE (O.C.)</character>
<dialogue>So tell us what's going on.</dialogue>
<character>CONNER</character>
<dialogue>Well, the record comes out tonight at midnight, and the reviews are coming in, aaaaand, not great, not what I was hoping for. Bumming a little bit cuz Pitchfork gave it a negative review.</dialogue>
<character>DIRECTOR'S VOICE (O.C.)</character>
<dialogue>They didn't like it.</dialogue>
<character>CONNER</character>
<dialogue>No, like the number was a Negative 4. Out of ten...</dialogue>
<scene_description>WE SEE A STILL OF THE REVIEW: "-4/10"</scene_description>
<character>CONNER</character>
<dialogue>So that stings a little bit. Cuz that's like UNDER zero. Almost seems just spiteful or something. But it's an improvement in a lot ways over Rolling Stone, which just gave it, like, the shit emoji.</dialogue>
<scene_description>WE SEE A STILL OF THE REVIEW: "the shit emoji"</scene_description>
<character>CONNER</character>
<dialogue>Out of four stars I guess. Which is you know, not useful, but that said, I think that's the first time anyone's gotten that score. So in a way, we already makin' history! Ha.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - KITCHEN - LATER</stage_direction>
<scene_description>Conner, Harry, Paula, Owen are eating. Sponge and Eddie too.</scene_description>
<character>HARRY</character>
<dialogue>Man, fuck the reviews. The moment you get popular the reviews go bad.</dialogue>
<character>PAULA</character>
<dialogue>Pitchfork's important online, but it's reach is pretty limited.</dialogue>
<character>CONNER</character>
<dialogue>It's like they're mad the last album was so big. Trying to say my songs are "out of touch".</dialogue>
<character>EVERYONE</character>
<dialogue>Out of touch?!/ Crazy/ What songs?</dialogue>
<character>CONNER</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>"Should I Move"</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>What?!/ Shit's classic!</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>I/E. MUSIC VIDEO - "SHOULD I MOVE"</stage_direction>
<scene_description>An emotional music video where Conner debates the merits of buying a new mansion, when his old one is also very good.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - RESUME</stage_direction>
<character>SPONGE</character>
<dialogue>Who couldn't relate to that?</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. Like, besides people who only have one house. Or like, no houses.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FANCY PARTY - NIGHT</stage_direction>
<scene_description>Conner and Owen walk the RED CARPET together. Paula follows. L/3: "CONNQUEST RECORD RELEASE PARTY"</scene_description>
<character>PAPARAZZI</character>
<dialogue>Conner!/ Excited for the new album!</dialogue>
<character>CONNER</character>
<dialogue>I have a new album?</dialogue>
<scene_description>Everyone laughs. Conner and Owen mug for the cameras.</scene_description>
<character>PAPARAZZI</character>
<dialogue>Let's get one with Conner alone!</dialogue>
<character>CONNER</character>
<dialogue>You guys trying to split up the dream team? Not gonna happen!</dialogue>
<character>OWEN</character>
<dialogue>It's cool man, I'll see you inside.</dialogue>
<scene_description>They handshake hug. Owen heads in. Paula clocks it.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALBUM RELEASE PARTY - SAME</stage_direction>
<scene_description>A fancy and hip party. Sponge and Eddie are chatting.</scene_description>
<character>EDDIE</character>
<dialogue>Naw, but you gotta see it smoked out though. It's like</dialogue>
<parenthetical>(low voice)</parenthetical>
<dialogue>Buuuuuhhhhhh. So trill.</dialogue>
<character>SPONGE</character>
<dialogue>Sure, but on coke, shit was like</dialogue>
<parenthetical>(high voice)</parenthetical>
<dialogue>Baaaaaaahhhhhh. So exhilarating.</dialogue>
<character>EDDIE</character>
<dialogue>Either way, "Mama Mia" is the shit.</dialogue>
<character>SPONGE</character>
<dialogue>Oh no doubt. Vintage Streep.</dialogue>
<scene_description>CONNER enters the party and everyone applauds.</scene_description>
<character>CONNER</character>
<dialogue>What up, ya'll?! T-T-T-Tesla Boyz!</dialogue>
<scene_description>TIME CUT - Harry and Paula talk biz.</scene_description>
<character>PAULA</character>
<dialogue>... then New York, Philly, Boston.</dialogue>
<character>HARRY</character>
<dialogue>How's the Pop Music Awards coming?</dialogue>
<character>PAULA</character>
<dialogue>I put a call into the producers, waiting to hear back.</dialogue>
<character>HARRY</character>
<dialogue>Ok, stay on them, you know how important the Poppys are to him.</dialogue>
<character>PAULA</character>
<dialogue>Yup, on it.</dialogue>
<scene_description>ACROSS THE PARTY - Conner greets JOHN LEGEND.</scene_description>
<character>CONNER</character>
<dialogue>John, what's good, bruh?</dialogue>
<character>JOHN LEGEND</character>
<dialogue>Good. Album sounds dope, man.</dialogue>
<character>CONNER</character>
<dialogue>You like that? Nice. We should work together soon.</dialogue>
<scene_description>TIME CUT - Conner chats in the VIP when ASHLEY, a gorgeous starlet actress, runs in and jump-straddles Conner.</scene_description>
<character>ASHLEY</character>
<dialogue>Heyyyyy!!!</dialogue>
<scene_description>They immediately start making out. At first people are like awwww, But then it keeps going, becoming awkward...</scene_description>
<character>ASHLEY</character>
<dialogue>I want you right now.</dialogue>
<character>CONNER</character>
<parenthetical>(scared/excited)</parenthetical>
<dialogue>Oh shit, for real?</dialogue>
<scene_description>She leads him off into the bathroom. TALKING HEAD - ASHLEY & CONNER</scene_description>
<character>CONNER</character>
<dialogue>We've been hanging out for about 6 months and I gotta say, Ashley is the total package.</dialogue>
<character>ASHLEY</character>
<dialogue>Aww.</dialogue>
<character>CONNER</character>
<dialogue>Smart, funny, and such a big heart. Just a beautiful soul.</dialogue>
<scene_description>Ashley fake blushes.</scene_description>
<character>ASHLEY</character>
<dialogue>When I was little, I used to spend hours looking at famous couples in Us Weekly and Star magazine. Everyone speculating, "Are they a real couple? Or is it just for publicity?" I knew when I grew up I wanted to be one of those couples.</dialogue>
</scene>
<scene>
<stage_direction>INT. "EXTRA" - TV BROADCAST</stage_direction>
<scene_description>Golden God, MARIO LOPEZ, does his "thang" in front of a poster for a Hunger Games style movie "Cube Theorem".</scene_description>
<character>MARIO LOPEZ (V.O.)</character>
<dialogue>Uh oh, looks like we might have a new power couple in the making. Ashley Wednesday, star of the blockbuster Cube Theorem franchise was spotted with pop-rapper, conner4real, leaving the exclusive NYC nightclub, FUCK, last night.</dialogue>
<scene_description>PAPARAZZI FOOTAGE - Conner and Ashley, leave a club, kiss for cameras. The kissing gets more intense, they start undressing each other and are clearly going to have sex in front of everyone until Paula runs in and stops them. - At The Ivy in Beverly Hills, the same thing happens in the middle of the restaurant, Paula runs in to stop them. - At a CHARITY EVENT FOR KIDS they start hooking up again, Paula runs in again. BACK TO THE PARTY - Sponge and Eddie guard the bathroom door, Paula stands bored. WE HEAR the muffled sounds of Conner and Ashley HAVING SEX.</scene_description>
<character>CONNER/ASHLEY (O.S.)</character>
<dialogue>Holy shit, this feels so good! I'm so blessed!/ I'm so blessed/ We're so blessed!</dialogue>
<character>ASHLEY (O.S.)</character>
<dialogue>Ugh, I love your music!</dialogue>
<character>CONNER (O.S.)</character>
<dialogue>You're acting is so fucking good! I'm a fan!</dialogue>
<character>ASHLEY (O.S.)</character>
<dialogue>I'm a fan of yours!</dialogue>
<scene_description>Harry walks up.</scene_description>
<character>HARRY</character>
<dialogue>It's almost midnight.</dialogue>
<character>SPONGE</character>
<dialogue>Maybe we should knock?</dialogue>
<character>PAULA</character>
<dialogue>No. They're about to finish.</dialogue>
<character>HARRY</character>
<dialogue>How do you know?</dialogue>
<character>PAULA</character>
<parenthetical>(re: her phone)</parenthetical>
<dialogue>Conner just tweeted it...</dialogue>
<character>EDDIE</character>
<dialogue>And then Ashley re-tweeted it.</dialogue>
<scene_description>Paula shows Harry her phone.</scene_description>
<character>HARRY</character>
<parenthetical>(reading)</parenthetical>
<dialogue>Hashtag: pulling out.</dialogue>
<character>EDDIE</character>
<dialogue>Hashtag: get a towel. Dope.</dialogue>
<scene_description>Eddie and Sponge slap a low five.</scene_description>
<character>PAULA</character>
<dialogue>This is my life.</dialogue>
<character>CONNER/ASHLEY (O.S.)</character>
<dialogue>Ahhhhhhhhhh!!!!!!!</dialogue>
<scene_description>Almost instantly Conner and Ashley exit the bathroom, fully dressed and composed.</scene_description>
<character>CONNER</character>
<parenthetical>(oblivious)</parenthetical>
<dialogue>Sup, guys?</dialogue>
<character>PAULA</character>
<dialogue>Care to re-join your party?</dialogue>
<character>CONNER</character>
<dialogue>We were just talking.</dialogue>
<scene_description>Ashley laughs. Paula drags Conner back to the party.</scene_description>
<character>PAULA</character>
<dialogue>Let's go, horn-dog!</dialogue>
<character>ASHLEY</character>
<parenthetical>(re: cameras/loving it)</parenthetical>
<dialogue>Oh my god, were you all listening? I'm so embarrassed.</dialogue>
<scene_description>TALKING HEAD - CONNER & ASHLEY</scene_description>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>You're apart so much, are you monogamous?</dialogue>
<scene_description>They laugh.</scene_description>
<character>CONNER</character>
<dialogue>Damn, straight to the point, man.</dialogue>
<character>ASHLEY</character>
<dialogue>We don't like to put labels on it.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, Ashley's on her movie, I got my shit going on. When we're together, then we're together, we don't worry about the rest.</dialogue>
<scene_description>OVER ON STAGE - Harry gets control of the mic, feedback.</scene_description>
<character>HARRY</character>
<dialogue>Well, it's been a crazy two years but Connquest is finally here. Conner, you're the most talented person I've ever met. Thanks for including me on your journey. Ladies and Gentlemen, my one and only client, conner4real.</dialogue>
<scene_description>QUICK CUTS: - CONNER ON STAGE PERFORMING. Ashley cheers. - Conner does SHOTS with Owen, Ashley and RANDOM CELEBRITIES. - DANCE FLOOR, Conner does more SHOTS. Owen and Conner rough- house. Music and energy build until Conner stands on a chair, sprays champagne. Paula yells out.</scene_description>
<character>PAULA</character>
<dialogue>It's almost midnight!</dialogue>
<character>CONNER</character>
<dialogue>Oh shit. 10. 9. 8.</dialogue>
<character>EVERYONE</character>
<dialogue>7. 6. 5. 4. 3. 2. 1.</dialogue>
<scene_description>They cheer, then the POWER DIMS, FLICKERS... THEN GOES OUT. The MUSIC STOPS, EMERGENCY RUNNING LIGHTS COME ON. Everyone is murmuring, worried. Conner looks to Harry, who shrugs. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDERSON COOPER 360 - TV BROADCAST</stage_direction>
<character>ANDERSON COOPER</character>
<dialogue>If you were one of the millions who experienced a blackout at midnight, no need to call your power company. Instead an angry call to Galaxy Records would be more appropriate. Last night, pop star, conner4real's new album "CONNquest" was released on, and this is not an error, Aquaspin appliances.</dialogue>
<scene_description>NEWS FOOTAGE - TEENAGERS dancing in front of their appliances. The lights flicker and go out.</scene_description>
<character>ANDERSON COOPER</character>
<dialogue>Millions of unsuspecting Americans turned on their toasters and opened their fridges to find they had become de-facto jukeboxes. And the power grid simply could not handle the surge.</dialogue>
<scene_description>NEWS FOOTAGE - ANNOYED CITIZENS pile their broken appliances in front of Aquaspin headquarters.</scene_description>
<character>ANDERSON COOPER</character>
<dialogue>Hard to believe even a record company would stoop so low, but then again these are strange days.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOS ANGELES SKYLINE - SUNRISE</stage_direction>
<scene_description>The sun burns orange around the edges of buildings downtown.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONNER'S WOODLAND HILLS ESTATE - BACKYARD - MORNING</stage_direction>
<scene_description>Harry sets up breakfast on a patio, is interviewed.</scene_description>
<character>HARRY</character>
<dialogue>So, the overnight numbers aren't really where we'd like them to be, but, it's still too early to jump to any conclusions. You know, some people are saying the Aquaspin thing was an invasion of their privacy, so it's a little speed bump, nothing big.</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>How's Conner feeling?</dialogue>
<character>HARRY</character>
<dialogue>Don't worry about Conner. Conner's good. Conner's always good. That's his superpower, pure confidence.</dialogue>
<scene_description>ANGLE ON - Conner is getting his HAIRCUT, while Sponge does a funny dance.</scene_description>
<character>CONNER</character>
<parenthetical>(chanting)</parenthetical>
<dialogue>That's that shit, that's that shit!</dialogue>
<character>HARRY (V.O.)</character>
<dialogue>The house could burn down and he would be like, "who cares, we'll have a new one tomorrow," and he'd be right. With Conner, shit just works out.</dialogue>
<scene_description>PARTY MUSIC TAKES US TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - HOUSE PARTY - NIGHT</stage_direction>
<scene_description>A TURTLE RACE. Two turtles on race down a turtle race track. The PARTY CROWD is cheering wildly.</scene_description>
<character>CONNER</character>
<dialogue>Come on, Maximus! You got this!</dialogue>
<scene_description>LIL WAYNE is cheering for his turtle.</scene_description>
<character>LIL WAYNE</character>
<dialogue>Get it Boots! Get it!</dialogue>
<scene_description>Maximus crosses the finish line.</scene_description>
<character>CONNER</character>
<dialogue>Hell yeah!!</dialogue>
<scene_description>Conner holds Maximus up for everyone.</scene_description>
<character>CONNER</character>
<dialogue>Are you not entertained?!</dialogue>
<scene_description>TALKING HEAD - CONNER Conner holds Maximus.</scene_description>
<character>CONNER</character>
<dialogue>This is my best friend Maximus. My mom bought him for me when I was 7, after my dad died.</dialogue>
<scene_description>FOOTAGE - Conner and Maximus watching Gladiator.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>As a hatchling he was diagnosed with soggy bones syndrome and they said he would be dead within 6 months.</dialogue>
<scene_description>- Conner and Maximus at the VETERINARIAN.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>But that was over 20 years ago and he's still here. He's a champion.</dialogue>
<scene_description>BACK TO THE PARTY - Lil Wayne and Conner feed their turtles.</scene_description>
<character>CONNER</character>
<dialogue>Maximus smashes on all kinds of crickets.</dialogue>
<parenthetical>(to Maximus)</parenthetical>
<dialogue>Don'cha buddy?</dialogue>
<character>LIL WAYNE</character>
<dialogue>Boots is a vegetarian. He don't fuck with crickets.</dialogue>
<character>CONNER</character>
<dialogue>That's dope.</dialogue>
<scene_description>JUMP TO - Later in the party, Conner confides in Owen.</scene_description>
<character>CONNER</character>
<dialogue>Dude, you like the album, right?</dialogue>
<character>OWEN</character>
<dialogue>Of course, the promotion just got fucked up, but shit does not matter. All that matters is the music. And the music is good.</dialogue>
<character>CONNER</character>
<dialogue>It is, right?</dialogue>
<character>OWEN</character>
<dialogue>Fuck yes! There's multiple hits on there. We just gotta work it like the last album. So I was thinking--</dialogue>
<scene_description>Eddie and Sponge join them, interrupting Owen.</scene_description>
<character>EDDIE</character>
<dialogue>Haha, yeah! Con-man killin' it with with the Aquaspin shit!</dialogue>
<character>SPONGE</character>
<dialogue>I heard 40 million people heard that shit before the blackout? Michael Jackson Thrillers numbers!</dialogue>
<character>EDDIE</character>
<dialogue>Genius, my dude! You on some next level mind boggle shit! But you know what, I got the idea to take our shit to even the nexter level.</dialogue>
<character>CONNER</character>
<dialogue>Hit me.</dialogue>
<character>EDDIE</character>
<dialogue>Peep this shit: First, we get a building in like, a shopping district. Fix it up real nice. A pleasant atmosphere. Then, we download your album, burn it on like a million CDs, Kinkos a cover on top. Have the record label do that part. Shelves. CDs. Other people's CDs too. Sell em. It would be like going into the internet. But in a physical experience--</dialogue>
<character>OWEN</character>
<dialogue>Eddie, are you just describing a record store?</dialogue>
<character>EDDIE</character>
<dialogue>A what? No man, I'm talking about the internet, but in real life.</dialogue>
<character>SPONGE</character>
<dialogue>So, I'd buy the CD there and then listen to it how?</dialogue>
<character>EDDIE</character>
<dialogue>On a CD player.</dialogue>
<character>SPONGE</character>
<dialogue>Tight!</dialogue>
<character>CONNER</character>
<dialogue>Yo, I like where you guys are going with this keep the brainstorm going and I'ma call Ashley.</dialogue>
<dialogue>Conner exits, Eddie takes a huge drag from a joint.</dialogue>
<character>OWEN</character>
<dialogue>So where do you picture us putting this "not a record store"?</dialogue>
<character>EDDIE</character>
<dialogue>Oh dude, Conner's gone. We don't need to do all that. Hit this?</dialogue>
<scene_description>Owen shakes his head and takes the joint. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENA - DAY</stage_direction>
<scene_description>A caravan of SUVS make their way into the arena. L/3rd: "FIRST DAY OF TOUR: CITY, STATE"</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - PREPPING FOR THE SHOW - DAY</stage_direction>
<scene_description>- Everyone hustling, getting ready for the show.</scene_description>
<character>SPONGE</character>
<dialogue>Day one, baby!</dialogue>
<scene_description>- The stage is being constructed. - A SOUND GUY tweaks stuff in the booth. - Eddie tests out a blunt, it smokes fine. - Harry carries Conner like a baby. - Conner4real merch is hung in the hallways. - Conner poses with CONTEST WINNERS, while Paula hovers. - Harry walks the hall, checking on various things. - A ROADIE sets up a terrarium for Maximus. - DANCERS stretch, practice moves. - A STAGE MANAGER is on walkie.</scene_description>
<character>STAGE</character>
<dialogue>One hour warning. One hour warning.</dialogue>
<scene_description>- IN THE GREEN ROOM - An odd/shy man, TYRUS, in a hair-net and apron, meticulously arranges the food.</scene_description>
<character>TYRUS (V.O.)</character>
<dialogue>Hello my name is Tyrus Quash, I do the tour food service for Conner.</dialogue>
<scene_description>Tyrus shows the camera some of the snacks.</scene_description>
<character>TYRUS</character>
<dialogue>These are carrots 8 ways. Sliced. Natural. Baby. Green parts left on.</dialogue>
<parenthetical>(he holds one up)</parenthetical>
<dialogue>These are my favorite, they look like little coins. And when Conner eats them he is like a juke box, and later on songs come out.</dialogue>
<scene_description>FOOTAGE - CONNER is grazing the food table, WE ZOOM PAST to find TYRUS, peeking nervously through a doorway.</scene_description>
<character>TYRUS (V.O.)</character>
<dialogue>Conner is very specific when it comes to food and it brings me great joy to see him enjoying the treats I prepare.</dialogue>
<scene_description>CONNER picks up a snack and absentmindedly takes a bite. TYRUS sighs/grins with relief, pride and joy all at once.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - LATER</stage_direction>
<scene_description>Everyone gathers for the pre-show huddle.</scene_description>
<character>CONNER</character>
<dialogue>Lotta people hating right now but we feed off their hate.</dialogue>
<scene_description>SLO-MO - Conner walking in a backstage tunnel into a light.</scene_description>
<character>CONNER</character>
<dialogue>This our prime. I don't know about you, but I hear thousands fans out there chanting for US. We ain't done yet! This is what we do! Confident on 3. 1, 2, 3.</dialogue>
<character>EVERYONE</character>
</scene>
<scene>
<stage_direction>INT. ARENA - ON STAGE - CONCERT</stage_direction>
<scene_description>CLOSE - A 1950'S MICROPHONE. Then OWEN leans into it. He is wearing a barbershop quartet outfit and "Aquaspin" hat.</scene_description>
<character>OWEN</character>
<dialogue>Do, do, do, wa, wa, wa...</dialogue>
<scene_description>His sounds become the beat to "I'M SO HUMBLE", a song where Conner brags about how humble he is. Adam Levine joins them? The stage/wardrobe/dancers are 50's drive-thru diner. 1 TO 2 MINUTES.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - ON STAGE - LATER IN THE SHOW</stage_direction>
<scene_description>Conner does some crowd work.</scene_description>
<character>CONNER</character>
<dialogue>Ya'll have been so amazing! Everyone in the front, lemme hear you make some noise!!!</dialogue>
<scene_description>LIGHTS GO UP on the crowd in front as they go crazy.</scene_description>
<character>CONNER</character>
<dialogue>Now everyone on the sides, I see you, make some noise!!!</dialogue>
<scene_description>LIGHTS GO UP on the people on the sides as they go crazy.</scene_description>
<character>CONNER</character>
<dialogue>Now all my people on the upper deck, waaay at the top. I didn't forget ya'll. Make some noise!</dialogue>
<scene_description>LIGHTS GO UP on the upper deck, it's EMPTY. Except for one LAME ASS DUDE.</scene_description>
<character>LAME ASS DUDE</character>
<dialogue>YEEAAAAHHHH!!!! I LOVE YOU, CONNER!</dialogue>
<scene_description>Conner stares, dumbfounded.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>What the hell, Harry?!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - LATER</stage_direction>
<scene_description>Conner and Harry are getting into it while Sponge, Eddie, Sarah and Owen are on the couches around them.</scene_description>
<character>HARRY</character>
<dialogue>Okay, first off, this is an 18,000 seat arena. No one sells this out. You sold 15,000. That's still good.</dialogue>
<character>CONNER</character>
<dialogue>No it's not. Drake sold this out four times last week.</dialogue>
<character>HARRY</character>
<dialogue>Yeah, that's true. And Aquaspin is concerned with ticket sales actually.</dialogue>
<character>CONNER</character>
<dialogue>What? But, it's an 18,000 seat arena, no one sells that out!</dialogue>
<character>HARRY</character>
<dialogue>Drake did. Four times last week. Look, the low sales, and the fact that we don't have a record in stores is making Aquaspin nervous, they want to make a change.</dialogue>
<character>CONNER</character>
<dialogue>Like what?</dialogue>
<character>HARRY</character>
<dialogue>They wanna put an opening act on the tour.</dialogue>
<character>CONNER</character>
<dialogue>We already have an opening act, Owen DJs.</dialogue>
<character>OWEN</character>
<dialogue>What if we do Drama Boyz as the opener?</dialogue>
<character>CONNER</character>
<dialogue>Drama Boyz? People don't want that old shit.</dialogue>
<character>OWEN</character>
<dialogue>It's never too late for a classic. People are always blowing up my twitter about us doing Donkey Roll.</dialogue>
<character>CONNER</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>Yeah? How many followers do you have?</dialogue>
<character>OWEN</character>
<dialogue>Like five hundred thousand.</dialogue>
<character>CONNER</character>
<dialogue>Well, I've got 20 million and nobody asks me that.</dialogue>
<scene_description>Sponge and Eddie laugh.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>Ahhh haa!/Clownin'!</dialogue>
<character>HARRY</character>
<dialogue>All the same, we gotta get an opener.</dialogue>
<character>CONNER</character>
<dialogue>Ugh, fine. Who'd you have in mind?</dialogue>
<scene_description>A HARD-ASS BEAT takes US TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL VENUE - NIGHT</stage_direction>
<scene_description>A very charismatic rapper, HUNTER THE HUNGRY, titis on stage. It's packed.</scene_description>
<character>HUNTER</character>
<dialogue>Haha! You know I'm a muthafuckin' piece of shit!</dialogue>
<character>HUNTER</character>
<dialogue>Say fuck you, Hunter! Say fuck you, Hunter!</dialogue>
<character>CROWD</character>
<dialogue>Fuck you Hunter! Fuck you Hunter!</dialogue>
<scene_description>HARRY, CONNER, OWEN, SPONGE, EDDIE - watch from a side-stage area. HUNTER SONG - "HUNTER THE HUNGRY GON' EAT" - a grimy hip-hop track about how "bizarre" and unique Hunter sees himself.</scene_description>
<character>HUNTER</character>
<dialogue>Fuck a chorus, fuck my dad, fuck my mom, fuck this song/ Seriously though fuck this song...</dialogue>
<scene_description>CONNER and co talk on the sidelines. Dialogue is subtitled...</scene_description>
<character>CONNER</character>
<parenthetical>(unsure)</parenthetical>
<dialogue>He seems crazy.</dialogue>
<character>SPONGE</character>
<dialogue>He don't give a fonk.</dialogue>
<character>OWEN</character>
<parenthetical>(shrug)</parenthetical>
<dialogue>His beats are pretty dope.</dialogue>
<scene_description>ON STAGE - Hunter is all youth and energy.</scene_description>
<character>HUNTER</character>
<dialogue>Oh shit the king is retarrrrrrddeeeed...</dialogue>
<scene_description>Hunter performs the rest of the song, then:</scene_description>
<character>HUNTER</character>
<dialogue>Alright, I'm bored! Show's over! Go the fuck home!</dialogue>
<scene_description>Hunter drops the mic and joins our guys on the side of the stage. The crowd cheers for more in the BG.</scene_description>
<character>HUNTER</character>
<dialogue>Awwww holy shit I can't believe it. Conner4real is in the building!!</dialogue>
<scene_description>Hunter shakes Conner's hand. Genuinely excited.</scene_description>
<character>HUNTER</character>
<dialogue>CONNQUEST was my shit, man. I'm so honored you're here.</dialogue>
<parenthetical>(spots Owen)</parenthetical>
<dialogue>Aaahh!! Kid Contact! You're my idol man. Those beats, crazy. I make beats too. Holy shit. Drama boyz!</dialogue>
<character>OWEN</character>
<parenthetical>(blushing)</parenthetical>
<dialogue>Thanks man.</dialogue>
<scene_description>Hunter turns to Eddie and Sponge.</scene_description>
<character>HUNTER</character>
<dialogue>Aww fuck. These muthafuckas.</dialogue>
<scene_description>He gives them big daps, turns back to Conner.</scene_description>
<character>HUNTER</character>
<dialogue>For real, this is my dream come true. I won't let you down.</dialogue>
<character>CROWD</character>
<dialogue>Hun-ter! Hun-ter! Hun-ter!</dialogue>
<character>HUNTER</character>
<dialogue>I gotta get back out there.</dialogue>
<scene_description>Hunter runs back on stage.</scene_description>
<character>CONNER</character>
<parenthetical>(genuine, girly)</parenthetical>
<dialogue>I like him.</dialogue>
<scene_description>ON STAGE -</scene_description>
<character>HUNTER</character>
<dialogue>Hol' up, hol' up. I have an announcement for ya'll! Starting tomorrow, I'm going to be opening for CONNER4REAL ya'll!!!</dialogue>
<scene_description>The crowd cheers. Conner is pleasantly surprised.</scene_description>
<character>HUNTER</character>
<dialogue>Come on ya'll!</dialogue>
<character>HUNTER</character>
<dialogue>Say fuck conner4real! Say fuck conner4real!</dialogue>
<character>CROWD</character>
<dialogue>Fuck conner4real! Fuck conner4real!</dialogue>
<scene_description>Conner is super uncomfortable, but desperately trying to look like he is cool with this.</scene_description>
<character>HUNTER</character>
<dialogue>Come out here, Conner! Take your licks, bitch!</dialogue>
<scene_description>Conner walks out, the crowd goes nuts. He joins the chant...</scene_description>
<character>CONNER/HUNTER</character>
<dialogue>Fuck conner4real! Fuck conner4real!</dialogue>
<scene_description>Conner smiles, feeling cooler than he has in a while. Harry nods his approval. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - TOUR BUS - MORNING</stage_direction>
<scene_description>Conner's TOUR BUS cruises down the interstate. It says "AQUASPIN PRESENTS: CONNER4REAL: THE CONNFIDENT TOUR: Spin into freshness with conner4real".</scene_description>
<character>JAPANESE ANIME VOICE (O.S.)</character>
<dialogue>Don't forget the bacon! Time is running out!</dialogue>
</scene>
<scene>
<stage_direction>INT. TOUR BUS - CONTINUOUS</stage_direction>
<scene_description>Conner and Hunter play a COOKING GAME on the Wii. Entourage in the background.</scene_description>
<character>HUNTER</character>
<dialogue>Hunter the Hungry gon' eat!</dialogue>
<parenthetical>(barks like a dog)</parenthetical>
<character>CONNER</character>
<dialogue>Dammit! I can't flip these eggs fast enough!</dialogue>
<character>HUNTER</character>
<dialogue>You need to be more delicate, bruh!</dialogue>
<scene_description>Paula enters holding a TOUR BINDER.</scene_description>
<character>PAULA</character>
<dialogue>Hey Conner, quick reminder--</dialogue>
<character>HUNTER</character>
<dialogue>Dang, hello. I'm Hunter. Who are you?</dialogue>
<character>PAULA</character>
<dialogue>Paula, Conner's publicist.</dialogue>
<character>HUNTER</character>
<dialogue>Well, Paula, may I just say that you are very beautiful.</dialogue>
<character>PAULA</character>
<dialogue>No, you may not.</dialogue>
<character>HUNTER</character>
<dialogue>You're strong in your convictions and I like that.</dialogue>
<character>CONNER</character>
<dialogue>Hey, hey, no. Paula's off limits.</dialogue>
<character>HUNTER</character>
<dialogue>She is?</dialogue>
<character>PAULA</character>
<dialogue>I am?</dialogue>
<character>CONNER</character>
<dialogue>Yeah. We all work together guys, and you know the famous saying, "co- workers on tour shant be fucking."</dialogue>
<character>PAULA</character>
<dialogue>I have heard that famous saying.</dialogue>
<character>CONNER</character>
<dialogue>Let's keep it professional here.</dialogue>
<scene_description>ON TV - Hunter wins, a CARTOON WOMAN dressed as a slutty chef leans forwards showing her CARTOON CLEAVAGE.</scene_description>
<character>HUNTER/CREW</character>
<dialogue>Yeah, boy! Chef-titties!/ Damn!/ Look at em bounce!</dialogue>
<character>CONNER</character>
<parenthetical>(to Paula)</parenthetical>
<dialogue>I'm not gonna look at that cuz I'm a gentleman.</dialogue>
<scene_description>SONG - "2 BANDITOS" by Conner and Hunter kicks us into a... "ON THE ROAD" WITH HUNTER SEQUENCE: - OUTSIDE AN ARENA, they pose for pics with fans. - Conner and Hunter throw cash off a balcony at crazed fans. - Conner and Hunter "silly string" Owen, who works on music.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>There is no question, having Hunter on board has energized this tour. Tickets are selling.</dialogue>
<scene_description>- A MARQUEE READS - "CONNER4REAL W/ HUNTER THE HUNGRY - SOLD OUT", Harry smiles proudly. TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>But he does live on the edge and it seems to be influencing Conner.</dialogue>
<scene_description>- Conner and Hunter ride Segways while swinging golf clubs, smashing stuff. Knocking over CREW MEMBERS. TALKING HEAD - CONNER</scene_description>
<character>CONNER</character>
<dialogue>Hunter is the shit.</dialogue>
<scene_description>Reveal, Hunter sitting next to him.</scene_description>
<character>HUNTER</character>
<parenthetical>(girlie)</parenthetical>
<dialogue>Awww. I love you too.</dialogue>
<parenthetical>(breaks)</parenthetical>
<dialogue>Hahahahah!</dialogue>
<scene_description>They push each other in gay-paranoia.</scene_description>
<character>CONNER/HUNTER</character>
<dialogue>Haha, get off me! get off me, dog! Hahaha! Get off me, bruh! Hahaha!</dialogue>
<scene_description>- ON STAGE, REVEAL it is in fact CONNER AND HUNTER that sing "2 BANDITOS".</scene_description>
<character>OWEN (O.S.)</character>
<parenthetical>(hyped)</parenthetical>
<dialogue>Yooooo, what is this crazy shit???</dialogue>
<scene_description>- GAS STATION - The helmet is propped on crates.</scene_description>
<character>CONNER</character>
<dialogue>Oh dude, that's your new head! I had it specially made for you! Took your head measurements while you were asleep. It's on some futuristic, EDM, DeadMau5, DJ Tommy Pizza shit!</dialogue>
<scene_description>Conner flips a switch and NEON LIGHTS make the head look like a helmet from Tron. It buzzes loudly.</scene_description>
<character>OWEN</character>
<dialogue>Wow. That's really... bright.</dialogue>
<character>CONNER</character>
<dialogue>Right? You're gonna look so tight!</dialogue>
<character>OWEN</character>
<dialogue>Yeah, totally. People won't really see my face though.</dialogue>
<character>CONNER</character>
<dialogue>Owen, I just want to give the fans the best show possible and this is the hot shit right now.</dialogue>
<scene_description>Hunter is drinking a beer off to the side.</scene_description>
<character>HUNTER</character>
<dialogue>Helmet's dope. It looks like the tip of Optimus Prime's dick.</dialogue>
<character>CONNER</character>
<dialogue>See? Don't you wanna look like Optimus Prime?</dialogue>
<character>OWEN</character>
<dialogue>His dick?</dialogue>
<character>HUNTER</character>
<dialogue>Fuck yeah.</dialogue>
<character>CONNER</character>
<dialogue>It's creating mystery. "Who's that dude hidden in the giant helmet?"</dialogue>
<character>OWEN</character>
<parenthetical>(buying in)</parenthetical>
<dialogue>Alright, I guess, if it helps the show, I can make it work.</dialogue>
<character>CONNER</character>
<dialogue>Thank you! We're killin' this!</dialogue>
<scene_description>- BACKSTAGE, Sponge brings in 10 BEAUTIFUL GIRLS.</scene_description>
<character>HUNTER</character>
<dialogue>Hello ladies. Sponge, I love you!</dialogue>
<scene_description>It turns into a freaky dance party. - AT A SKATE-PARK, Hunter and Conner skate, they suck. - OWEN DJ'S his helmet is insanely bright. People squint. - Conner and Hunter knock hot coffee out of people's hands. TALKING HEAD - HUNTER</scene_description>
<character>HUNTER</character>
<dialogue>Yo, pranks are where it's at. You gotta have fun on tour.</dialogue>
<scene_description>- They take a picture of Harry over a urinal stall. - Hunter pushes someone backwards over kneeled down Conner, down a flight of stairs. - Hunter "pretends" to choke Owen. Conner films it. - They puts their hands over bus driver's eyes (while driving). - Sponge sleeps, they blow weed smoke in his face. He wakes up in a coughing fit and smashes through a coffee table.</scene_description>
<character>SPONGE/EDDIE</character>
<dialogue>Hunter's got the best sense of humor/ He's hilarious.</dialogue>
<scene_description>- OUTSIDE A DUTCH HOTEL, Paula talks to TWO SECURITY GUARDS, Conner and Hunter walks up.</scene_description>
<character>PAULA</character>
<dialogue>Conner, did you take a shit in the Anne Frank house?</dialogue>
<character>CONNER</character>
<dialogue>Yeah, but we didn't know the toilet didn't work.</dialogue>
<character>PAULA</character>
<dialogue>That toilet is from World War II! It's a World Heritage Site!</dialogue>
<scene_description>- YOUTUBE VIDEO, Conner comes out of the bathroom. A TOUR GROUP looks over.</scene_description>
<character>CONNER</character>
<dialogue>Do NOT go in there! Whooo! Haaha, Ace Ventura, right? This guy knows what I'm talking about.</dialogue>
<scene_description>Conner tries to high five an OLD TOURIST, is left hanging. Hunter turns the camera on himself, laughing. - ON STAGE Conner performs</scene_description>
<character>CONNER</character>
<dialogue>Should we give em one more, Contact?</dialogue>
<scene_description>Owen stands still in his helmet.</scene_description>
<character>CONNER</character>
<dialogue>Contact, you still with us, buddy?</dialogue>
<scene_description>He doesn't move.</scene_description>
<character>CONNER</character>
<dialogue>Owen!</dialogue>
<scene_description>Owen startles, hits play on his iPod, it plays in house.</scene_description>
<character>BOOK ON TAPE VOICE (V.O.)</character>
<dialogue>After two butter beers Hermione's head was swimming, Harry noticed and his pants started to tent--</dialogue>
<scene_description>- Conner and Hunter finish the song.</scene_description>
<character>CONNER/HUNTER</character>
<parenthetical>(rapping)</parenthetical>
<dialogue>You've been struck by the two banditos!</dialogue>
<character>CONNER</character>
<dialogue>Gracias, Miami! Buenos noches!</dialogue>
<scene_description>Conner waves and the crowd goes nuts, especially two CUTE GIRLS in the front row who blow them kisses. Conner looks at Hunter like "what do you think of those two?" Hunter nods. CLOSE UP - A bottle of champagne is POPPED.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NIGHTCLUB - NIGHT</stage_direction>
<scene_description>Harry holds up the bottle.</scene_description>
<character>HARRY</character>
<dialogue>Ladies and gentlemen, I want to thank you all for a great show and tell you that for the last 8 shows in a row we were... SOLD OUT!!!</dialogue>
<scene_description>Everyone one CHEERS. JUMP TO - Everyone parties. Harry talks with Conner and Owen.</scene_description>
<character>HARRY</character>
<dialogue>We're on a roll, baby.</dialogue>
<character>CONNER</character>
<dialogue>I know. Gotta be helping album sales, right?</dialogue>
<character>HARRY</character>
<dialogue>Eh, you know how these things are, it takes a while for the marketplace to catch up. We just need to keep doing good work.</dialogue>
<character>OWEN</character>
<dialogue>Definitely helping Hunter. Dude's album just went gold.</dialogue>
<scene_description>Harry shoots Owen at look.</scene_description>
<character>CONNER</character>
<dialogue>Gold? That can't be right. We haven't even gone gold yet.</dialogue>
<character>HARRY</character>
<dialogue>He's having a moment. Don't worry about it, plenty to go around.</dialogue>
<scene_description>Conner looks concerned, downs a shot and glares at... HUNTER across the club, everyone laughs at his antics...</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - STAGE - NIGHT</stage_direction>
<scene_description>Conner is performing.</scene_description>
<character>CONNER</character>
<dialogue>I'm on my white boy shit tonight!</dialogue>
<scene_description>DANCERS cover him with the MAGIC WARDROBE CHANGE tube. POOF! His tracksuit turns into a TUX.</scene_description>
<character>CONNER</character>
<dialogue>Ha! It's magic ya'll!</dialogue>
<scene_description>POOF! His tux turns into a SEQUINNED SUIT.</scene_description>
<character>CONNER</character>
<dialogue>Ladies, this isn't really my color.</dialogue>
<scene_description>POOF! His sequinned suit is turned into a-- CONNER IS BUTT-NAKED, JUNK TUCKED LIKE BUFFALO BILL IN SILENCE OF THE LAMBS. THE BAND slowly notices, MUSIC STOPS. The fans are SHOCKED. Conner is terrified, drops his mic. He looks down: WIDE REVEAL - IT LOOKS LIKE HE HAS NO DICK. Every cell phone in the house starts snapping pics.</scene_description>
<character>CONNER</character>
<parenthetical>(unamplified yells)</parenthetical>
<dialogue>No! It's tucked! It's tucked! I tuck it back for the trick!!!</dialogue>
<scene_description>It's too late, everyone is taking pics. No one can hear him.</scene_description>
<character>CONNER</character>
<dialogue>Don't post those! You guys, don't post those pics!!!</dialogue>
<scene_description>ANGLE ON - OWEN, lost in his helmet.</scene_description>
<character>OWEN</character>
<dialogue>Give it up for my man conner4real!</dialogue>
<scene_description>He stumbles and FALLS OFF THE STAGE. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - MOMENTS LATER</stage_direction>
<scene_description>Conner paces in a robe, his crew sits. Hunter is loving it.</scene_description>
<character>HUNTER</character>
<dialogue>Holy shit, dude where the fuck was your dick?!</dialogue>
<character>CONNER</character>
<dialogue>What happened with the trick? How did that happen?</dialogue>
<character>HARRY</character>
<dialogue>It's okay, no one really saw anything.</dialogue>
<character>CONNER</character>
<dialogue>I wish they had! 10 thousand people think I don't have a dick!</dialogue>
<scene_description>They don't know how to respond.</scene_description>
<character>CONNER</character>
<parenthetical>(desperate)</parenthetical>
<dialogue>You guys know I have a dick, right?</dialogue>
<character>EVERYONE</character>
<parenthetical>(faking it)</parenthetical>
<dialogue>No doubt/ Hell yeah/</dialogue>
<character>HUNTER</character>
<dialogue>Right, but like, where was it though? Shit was gone!</dialogue>
<character>CONNER</character>
<dialogue>The illusion was designed for a woman's body! I have to tuck it back or else it gets all tangled in the clothes!</dialogue>
<character>EVERYONE</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Oooh/ Makes sense/ Okay.</dialogue>
<scene_description>ANGLE ON - OWEN is being checked out by an EMT.</scene_description>
<character>OWEN</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Why were you naked on stage?</dialogue>
<character>CONNER</character>
<dialogue>I don't know, Owen!</dialogue>
<character>HUNTER</character>
<dialogue>Hey for real, Conner. Thank you for this. This is the funniest shit.</dialogue>
<character>CONNER</character>
<dialogue>You're enjoying this aren't you?</dialogue>
<character>HUNTER</character>
<dialogue>Yes.</dialogue>
<character>CONNER</character>
<dialogue>You know, my costume just ripped off. Like someone cut it. You wouldn't know who did that would you, Hunter?</dialogue>
<character>HUNTER</character>
<dialogue>Oh, I wish I did this. This is genius prank shit. Although, maybe I did do it? I'm playin', I didn't. Or did I?</dialogue>
<character>CONNER</character>
<dialogue>Did you?</dialogue>
<character>HUNTER</character>
<dialogue>I did! Hahaha! Shit was hilarious. I'm the king of pranks.</dialogue>
<character>CONNER</character>
<dialogue>What? You really did it? Why?</dialogue>
<character>HUNTER</character>
<parenthetical>(shrug)</parenthetical>
<dialogue>Dunno. Who gives a fuck? Right?</dialogue>
<character>CONNER</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Where's Paula?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - DRESSING ROOM - MOMENTS LATER</stage_direction>
<scene_description>Just Conner, Harry and Paula pow-wow.</scene_description>
<character>PAULA</character>
<dialogue>Let's stay calm, ok? Ten years ago, a guy naked on stage would have been a big deal, now it's just a drop in the bucket of the dog-shit avalanche that is the internet.</dialogue>
<character>HARRY</character>
<dialogue>Church.</dialogue>
<character>PAULA</character>
<dialogue>All we need is a different story to wipe it out of the press cycle.</dialogue>
<character>CONNER</character>
<dialogue>Okay, great. What do we do?</dialogue>
<character>PAULA</character>
<dialogue>Well, let's think, a new single, a crazy haircut, visit a sick kid in the hospital, babies, weddings, kittens...</dialogue>
<character>CONNER</character>
<dialogue>No, no, that all just sounds fake. People aren't stupid.</dialogue>
<character>HARRY</character>
<dialogue>Agree to disagree.</dialogue>
<character>CONNER</character>
<dialogue>Let's just keep thinking. I gotta get the fuck out of here and twitter a picture of my dick.</dialogue>
<scene_description>He heads out.</scene_description>
<character>PAULA</character>
<parenthetical>(calling after)</parenthetical>
<dialogue>Don't actually do that!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - NIGHT</stage_direction>
<scene_description>Conner, cozied on the couch, VIDEO CHATS with Ashley.</scene_description>
<character>ASHLEY (ON SCREEN)</character>
<dialogue>Oh my god, that sucks so bad, I'm sorry, dude.</dialogue>
<character>CONNER</character>
<dialogue>It's a nightmare.</dialogue>
<character>ASHLEY (ON SCREEN)</character>
<dialogue>What an asshole. That guy is seriously crazy.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, he's ok. Definitely pisses me off.</dialogue>
<scene_description>She cracks a smile.</scene_description>
<character>ASHLEY (ON SCREEN)</character>
<dialogue>It's kinda funny though. Like, it couldn't be worse at least.</dialogue>
<scene_description>They both laugh.</scene_description>
<character>CONNER</character>
<dialogue>Wow, you have a very positive attitude.</dialogue>
<character>ASHLEY (ON SCREEN)</character>
<dialogue>It's in my nature. I'm a very caring person...</dialogue>
<scene_description>Conner smiles, smitten.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Ashley is the best. I can really just be myself with her. Which is why it's so frustrating to be apart all the time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL POOL AREA - NIGHT</stage_direction>
<scene_description>Conner chats with Paula.</scene_description>
<character>CONNER</character>
<dialogue>I'm gonna propose to Ashley.</dialogue>
<character>PAULA</character>
<dialogue>Wow. Really?</dialogue>
<character>CONNER</character>
<dialogue>Yeah, it's like what Paul Newman once said about his wife "why go out for burgers, when you could be at home, fucking your girl."</dialogue>
<character>PAULA</character>
<dialogue>Oh, that's weird, I can actually hear him rolling in his grave from here. Wait, is this cause of the naked on stage thing? We can think of something else.</dialogue>
<character>CONNER</character>
<dialogue>What? No Paula, that's so insulting. I'm just, so sick of us not being together.</dialogue>
<character>PAULA</character>
<dialogue>So is she coming on tour with you?</dialogue>
<character>CONNER</character>
<dialogue>No.</dialogue>
<character>PAULA</character>
<dialogue>Are you quitting the tour to be on set with her?</dialogue>
<character>CONNER</character>
<dialogue>Naw.</dialogue>
<character>PAULA</character>
<dialogue>So how is this gonna change anything?</dialogue>
<character>CONNER</character>
<dialogue>Cuz... we'll be married.</dialogue>
<character>PAULA</character>
<parenthetical>(skeptical)</parenthetical>
<dialogue>Huh.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEAUTIFUL HILLTOP - SUNSET</stage_direction>
<scene_description>A STRETCH HUMMER CONVERTIBLE drives up a gorgeous hill. Conner and Ashley get out, dressed to the nines, she has a blindfold on. Conner gives a nod, and we reveal a 12-PIECE ORCHESTRA on the hillside, they start to play.</scene_description>
<character>ASHLEY</character>
<dialogue>Conner! What is this?</dialogue>
<character>CONNER</character>
<dialogue>Just a little bit further...</dialogue>
<scene_description>They walk along a path of candles. Into the center. Conner removes her blindfold. Flood lights fill the space. TETHERED TO THE GROUND AROUND THEM THERE ARE: 20 WOLVES</scene_description>
<character>ASHLEY</character>
<parenthetical>(touched)</parenthetical>
<dialogue>Oh my god, Conner.</dialogue>
<scene_description>TALKING HEAD - CONNER & ASHLEY</scene_description>
<character>ASHLEY</character>
<dialogue>My psychic told me I was a wolf in a previous life, which makes SO much sense, but I can't believe Conner remembered.</dialogue>
<character>CONNER</character>
<parenthetical>(bashful)</parenthetical>
<dialogue>Molly doesn't affect my memory.</dialogue>
<character>ASHLEY</character>
<dialogue>You're amazing.</dialogue>
<scene_description>RESUME - HILLTOP A bunch of NEWS MEDIA PEOPLE snap photos.</scene_description>
<character>ASHLEY</character>
<parenthetical>(touched)</parenthetical>
<dialogue>And you invited the press. What is this Conner?</dialogue>
<scene_description>Conner nods to someone... The singer SEAL steps in with the orchestra and sings a ballad version of "Mona Lisa".</scene_description>
<character>SEAL</character>
<dialogue>I landed in Paris/ at a quarter to noon...</dialogue>
<character>ASHLEY</character>
<dialogue>Is that Seal?! Oh my god, Conner!!!</dialogue>
<scene_description>THE WOLVES start to GROWL and HOWL. A WOLF HANDLER leans into HARRY.</scene_description>
<character>WOLF HANDLER</character>
<parenthetical>(subtitled)</parenthetical>
<dialogue>The music is upsetting the wolves.</dialogue>
<scene_description>E! FOOTAGE - Conner gets down on one knee. Ashley cries. ON THE HILL - Conner tries to speak over the din.</scene_description>
<character>CONNER</character>
<parenthetical>(inaudible)</parenthetical>
<dialogue>Ashley, from the moment I saw you--</dialogue>
<parenthetical>(yelling off)</parenthetical>
<dialogue>Can someone get them to stop making that noise?</dialogue>
<scene_description>The trainer shrugs. Conner resumes.</scene_description>
<character>CONNER</character>
<dialogue>Ok. Will you, Ashley Wednesday, marry me?</dialogue>
<character>ASHLEY</character>
<dialogue>Yes! Yes!</dialogue>
<scene_description>They kiss and everyone applauds. Seal hits the chorus. The insane wolves lunge forward on their leashes. The STAKES tethering them start to pull out of the ground. The wolf handlers start running around. Harry leans in.</scene_description>
<character>HARRY</character>
<dialogue>Congratulations. Maybe we should be getting out of here.</dialogue>
<scene_description>We hear a SCREAM. Camera catches a glimpse of a WOLF ATTACKING a handler. Suddenly, ALL THE WOLVES ARE FREE.</scene_description>
<character>HARRY</character>
<dialogue>Go! Go! Go!</dialogue>
<scene_description>Conner grabs Ashley and they run towards the hummer. Camera follows like an embedded war camera crew. NEWS HELICOPTER FOOTAGE - Like World War Z, a swarm of wolves overrunning the site. It's a nightmare. People run for their lives. The MUSICIANS fight wolves with their instruments. Conner, Ashley and Harry, reach the hummer, jump in.</scene_description>
<character>HARRY</character>
<dialogue>LET'S GO!!!</dialogue>
<scene_description>They start to drive off, just as SEAL runs up.</scene_description>
<character>ASHLEY</character>
<dialogue>SEAL!!</dialogue>
<scene_description>Slam on the breaks. Conner swings the door open.</scene_description>
<character>SEAL</character>
<dialogue>THANK YOU!</dialogue>
<character>CONNER</character>
<dialogue>ARE YOU OKAY!?</dialogue>
<character>SEAL</character>
<dialogue>I'M FINE! FOR A SECOND THERE I</dialogue>
<character>THOUGHT--</character>
<dialogue>A WOLF JUMPS ON SEAL, biting his arm.</dialogue>
<character>SEAL</character>
<dialogue>AHHHHHHHH!!</dialogue>
<character>ASHLEY/CONNER</character>
<dialogue>AHHHHH!!!/OH FUCK!</dialogue>
<scene_description>Seal expertly spins the wolf and BREAKS IT'S NECK.</scene_description>
<character>CONNER</character>
<dialogue>Whoa.</dialogue>
<character>SEAL</character>
<dialogue>Don't worry. I've been in this situation before. How do you think I got these scars?</dialogue>
<character>CONNER</character>
<dialogue>From wolves?</dialogue>
<character>SEAL</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Fucking wolves. Now, let's get out of here--</dialogue>
<scene_description>Just then, A WOLF JUMPS IN AND BITES HIS FACE, WIPING HIM OUT OF FRAME IN AN EYEBLINK. Everyone stares a beat, not sure what to say.</scene_description>
<character>ALL</character>
<scene_description>POV LOOKING BACK - AS THEY DRIVE OFF, WOLVES SWARM SEAL... The sounds of a TV CROWD TAKE US TO...</scene_description>
</scene>
<scene>
<stage_direction>EXT. 30 ROCKEFELLER PLAZA - DAY</stage_direction>
<scene_description>NBC establishing...</scene_description>
<character>JIMMY FALLON (O.S.)</character>
<dialogue>Now that's the way to do an engagement. Candles, orchestra, Seal, and a pack of angry wolves. All on national TV, that's great entertainment.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE TONIGHT SHOW WITH JIMMY FALLON - TV BROADCAST</stage_direction>
<scene_description>Conner with JIMMY FALLON on the couch.</scene_description>
<character>CONNER</character>
<dialogue>Yeah, and I just wanna to thank Seal again and wish him a fast recovery. He's going to be fine.</dialogue>
<character>JIMMY FALLON</character>
<dialogue>That's great news. Well I'm so happy for you and Ashley.</dialogue>
<character>CONNER</character>
<dialogue>Thanks. And don't forget, CONNquest is in stores now. Cop that.</dialogue>
<character>JIMMY FALLON</character>
<dialogue>Yeah, it's so good, but can I just fan-out for a second? My favorite thing of yours from back in the day: the Donkey Roll.</dialogue>
<scene_description>The crowd cheers.</scene_description>
<character>CONNER</character>
<dialogue>Awwwww, ha ha.</dialogue>
<character>JIMMY FALLON</character>
<dialogue>For the kids out there, the Donkey Roll is from Conner's old group, the Drama Boyz. I don't wanna brag, but I used to do a mean Donkey Roll back in college.</dialogue>
<character>CONNER</character>
<dialogue>Oh for real?</dialogue>
<character>JIMMY FALLON</character>
<dialogue>Yeah man, some said it was even better than yours.</dialogue>
<character>CONNER</character>
<dialogue>Don't do that, Jimmy Fallon.</dialogue>
<character>JIMMY FALLON</character>
<dialogue>Now I know I saw Kid Contact backstage, do you think we could get him out here?</dialogue>
<character>CONNER</character>
<dialogue>I doubt he'd be into that.</dialogue>
<scene_description>Owen comes charging out. The audience goes crazy. Jimmy jumps up and they all move to the stage.</scene_description>
<character>JIMMY FALLON</character>
<dialogue>Okay, I'll be filling in for Kid Murder. Roots, Donkey Roll us!</dialogue>
<scene_description>The Roots play "DONKEY ROLL". The guys do a silly dance routine. The crowd LOVES IT. They finish.</scene_description>
<character>JIMMY FALLON</character>
<dialogue>You can see conner4real tomorrow night here in NYC with Hunter The Hungry. Give it up for conner4real and Kid Contact!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TONIGHT SHOW - BACKSTAGE</stage_direction>
<scene_description>Paula greets Conner and Owen as they come off stage.</scene_description>
<character>PAULA</character>
<dialogue>Wooo, that was awesome guys!</dialogue>
<character>CONNER</character>
<dialogue>Ha, I forgot how fun it was!</dialogue>
<character>OWEN</character>
<dialogue>That's what I'm talking about. I wish Lawrence could've been here!</dialogue>
<scene_description>Conner rolls his eyes. TALKING HEAD - CONNER</scene_description>
<character>CONNER</character>
<dialogue>Ever since Drama Boyz broke up, Lawrence has been mad at me. He claims he wrote my famous "catch- phrase" verse. Translation: he's a jealous-ass hater who's mad that I blew up and he's a farmer out in bumfuck nowhere.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BIG TIMBER, COLORADO - DAY</stage_direction>
<scene_description>A bird gives a lonesome call.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN - DAY</stage_direction>
<scene_description>Lawrence at a work bench, shows off various WOOD-CARVINGS.</scene_description>
<character>LAWRENCE</character>
<dialogue>This one here is a lost pixie child. With a flute.</dialogue>
<scene_description>CLOSE - The wood carving is ugly as hell. He holds up another, it's a big mess.</scene_description>
<character>LAWRENCE</character>
<dialogue>I call this one "government in crisis".</dialogue>
<scene_description>He picks up another.</scene_description>
<character>LAWRENCE</character>
<dialogue>This is my Grammy for writing Conner's famous "catch phrase" verse. If you look closely, you'll notice that it's not real. Because I didn't get a Grammy. Or any credit of any kind.</dialogue>
<scene_description>CLOSE - it's a grotesque wooden Grammy. JUMP TO - Lawrence arranging the carvings on a shelf.</scene_description>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>Are you still mad at Conner?</dialogue>
<character>LAWRENCE</character>
<dialogue>Fuck Conner. I don't need friends anyway. I've got all of this.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DENVER ARENA - NIGHT</stage_direction>
<scene_description>Hunter is on stage performing...</scene_description>
</scene>
<scene>
<stage_direction>INT. DENVER ARENA - BACKSTAGE - SAME</stage_direction>
<scene_description>Sponge is leading in a bunch of HOT GIRLS.</scene_description>
<character>SPONGE</character>
<dialogue>Make yourselves at home ladies.</dialogue>
<scene_description>Eddie and others start to mingle. Conner enters.</scene_description>
<character>CONNER</character>
<dialogue>Nope. No, no, Sorry, everyone out.</dialogue>
<character>HOT GIRLS</character>
<dialogue>Awwww/We just got here/Etc.</dialogue>
<character>SPONGE</character>
<dialogue>Come on, Conner.</dialogue>
<character>CONNER</character>
<dialogue>I'm a one woman man now, guys. Gotta respect that. No more ladies.</dialogue>
<character>SPONGE</character>
<dialogue>You're lucky I'm bisexual. Or else I'd be pissed.</dialogue>
<character>EDDIE</character>
<dialogue>You're bisexual? That's dope. You can fuck anyone. The possibilities are infinite. Congrats, bruh.</dialogue>
<character>SPONGE</character>
<dialogue>Thanks.</dialogue>
<scene_description>TALKING HEAD - CONNER</scene_description>
<character>CONNER</character>
<dialogue>I know my engagement was so rock n roll and spontaneous, but I gotta say, I'm starting to really get into the tradition of it all. Like, the pageantry and shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - NIGHT</stage_direction>
<scene_description>Conner looks at WEDDING INVITES with Zippy.</scene_description>
<character>CONNER</character>
<dialogue>What do you think of this font?</dialogue>
<character>ZIPPY</character>
<dialogue>See, I like that, it's elegant but also street. Not unlike yourself.</dialogue>
<character>CONNER</character>
<dialogue>Well put.</dialogue>
<character>ZIPPY</character>
<dialogue>Plus that part on the bottom looks like a chooch.</dialogue>
<scene_description>Conner stares at him. TILLY enters.</scene_description>
<character>TILLY</character>
<dialogue>Where's my boy?</dialogue>
<character>CONNER</character>
<dialogue>Ma! You made it!</dialogue>
<scene_description>They hug.</scene_description>
<character>TILLY</character>
<dialogue>My little baby's getting married!</dialogue>
<scene_description>JUMP TO - Tilly and Conner excitedly talk.</scene_description>
<character>CONNER</character>
<dialogue>So, did you bring grandma's ring?</dialogue>
<character>TILLY</character>
<dialogue>Oh, shoot, I completely spaced it. I'm so sorry, Conny.</dialogue>
<character>CONNER</character>
<dialogue>Aw, that's ok. Next time. I think Ash is gonna love it.</dialogue>
<character>TILLY</character>
<dialogue>I know she will. Now, what does a gal have to do to get a drink around here, buster?</dialogue>
<character>CONNER</character>
<dialogue>My bad. Yo, get my mom a drink!</dialogue>
<scene_description>- Tilly does shots of tequila with the entourage. - Flirts with BODYGUARDS. - Discretely does a line of cocaine with Sarah.</scene_description>
<character>TILLY (V.O.)</character>
<dialogue>Being on the road has always been a dream of mine. When I was younger I actually won a few singing competitions and was becoming famous myself, but then Conner was born and I had to give all that up. But now I'm here!</dialogue>
<scene_description>- Tilly waves over Tyrus, eats off his tray. He smiles. - She smokes with the crew, Conner walks up with MILEY CYRUS.</scene_description>
<character>CONNER</character>
<dialogue>Ma, I want you to meet, Miley.</dialogue>
<character>TILLY</character>
<dialogue>How do you do?</dialogue>
<character>CONNER</character>
<dialogue>Miley is starting an animal rights organization, tell her.</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Yeah, like, I don't think animals should have the right to drive cars, fly planes, use the stove or anything dangerous.</dialogue>
<character>CONNER</character>
<dialogue>I agree. It's like, why would a goat need to use the stove? Anyways, I gotta get ready, but see you after the show?</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Alright.</dialogue>
<parenthetical>(turns to Tilly)</parenthetical>
<dialogue>Hey, Tilly, you gonna park that shit all night or let my hippie ass take a hit?</dialogue>
<scene_description>Tilly passes her a huge JOINT, exhales a massive hit. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - LATER</stage_direction>
<scene_description>LAWRENCE is escorted backstage by a SECURITY GUARD.</scene_description>
<character>OWEN</character>
<dialogue>Yo, let him in!</dialogue>
<scene_description>They hug. Lawrence is wary.</scene_description>
<character>LAWRENCE</character>
<dialogue>What's up, dude. This place is big.</dialogue>
<character>OWEN</character>
<dialogue>Yeah man. We're doing it up. Come on, lemme get you a drink, we're about to go on.</dialogue>
<scene_description>They walk over to a makeshift bar.</scene_description>
<character>OWEN</character>
<dialogue>I really think Conner wants shit to be cool with you guys, you know? He knows he messed up.</dialogue>
<scene_description>A STAGE MANAGER pops in the door.</scene_description>
<character>STAGE MANAGER</character>
<dialogue>One minute warning!</dialogue>
<character>OWEN</character>
<dialogue>Shit, ok, I guess just peep the show and then we'll all hang at the after party, like old times, cool?</dialogue>
<scene_description>Lawrence shrugs, not into it. Owen calls over to Sarah.</scene_description>
<character>OWEN</character>
<dialogue>Sarah, can you hook him up with tickets? Best seats in the house. VIP!</dialogue>
<scene_description>Sarah nods blankly. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - CONCERT - NIGHT</stage_direction>
<scene_description>From way up in the NOSEBLEEDS, Lawrence watches Conner perform his obnoxious song "FUCK OFF". Some TEENY BOPPER FANS sit next to him, scream in his ear.</scene_description>
<character>TEENY BOPPER FANS</character>
<dialogue>CONNEEEEERR!!!!!!I LOVE YOU!!!!!</dialogue>
<character>AHHHHHHHHH!!!!!!! OH MY GOD!!!!</character>
<dialogue>CONNER!!!!/CONNER!!! CONNER!!!</dialogue>
<scene_description>Lawrence, is jostled and poked in the face with glow sticks. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - HALLWAY - AFTER SHOW</stage_direction>
<scene_description>The crowd cheers in the BG, Conner and Owen exit the stage.</scene_description>
<character>OWEN</character>
<dialogue>Yo, I invited Lawrence to the after party, cool?</dialogue>
<character>CONNER</character>
<dialogue>What? Lawrence is here?</dialogue>
<character>OWEN</character>
<dialogue>Yeah. Didn't I tell you? He lives near here so I told him to come.</dialogue>
<character>CONNER</character>
<dialogue>I don't wanna see his ass. Tell him to go home.</dialogue>
<character>OWEN</character>
<dialogue>No, it's not like that anymore. He's cool. I think he really wants to be friends again, you know?</dialogue>
<character>CONNER</character>
<dialogue>Owen, you're not hearing me. Lawrence doesn't get it. Shit changed. I adjusted. You adjusted. We're killing it. He'll never evolve. Text me when he's gone.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIGHTCLUB - NIGHT</stage_direction>
<scene_description>In the VIP, Lawrence is sandwiched between a bunch of HOT/HIP PEOPLE and DRAKE who is animatedly speaking his mind.</scene_description>
<character>DRAKE</character>
<dialogue>I bought 3 jets. How the fuck am I gonna be on 3 jets at once? I had a plan to put a bad bitch on each one and zip line between those muthafuckas in midair. But they said it was an insurance risk though. So I just fucked all 3 of them on one. But it didn't make me happy though.</dialogue>
<character>LAWRENCE</character>
<dialogue>Totally.</dialogue>
<scene_description>JUMP TO - In the VIP - Lawrence bored, checks his phone. Owen walks up.</scene_description>
<character>OWEN</character>
<dialogue>There you are!</dialogue>
<character>LAWRENCE</character>
<dialogue>Sup?</dialogue>
<character>OWEN</character>
<dialogue>So, hey, bit of bad news. You know how it goes after a show, Conner's exhausted, I don't know if he's gonna make it tonight.</dialogue>
<character>LAWRENCE</character>
<dialogue>Yeah right. Thanks for the invite, Owen.</dialogue>
<scene_description>Lawrence turns to leave.</scene_description>
<character>OWEN</character>
<dialogue>Don't go, man. He's lost right now, I'm telling you. His album isn't selling and he's getting married to this girl he barely knows.</dialogue>
<character>LAWRENCE</character>
<dialogue>Ashley Wednesday, the gorgeous movie star.</dialogue>
<character>OWEN</character>
<dialogue>I know, right? And he's barely going to clear 3 million dollars from this tour.</dialogue>
<character>LAWRENCE</character>
<dialogue>Sounds awful.</dialogue>
<character>OWEN</character>
<dialogue>I know you're joking, but seriously, engagement on his social media channels has slowed to a crawl.</dialogue>
<parenthetical>(dramatic)</parenthetical>
<dialogue>He needs us. We're his only real friends. He's drowning man.</dialogue>
<character>LAWRENCE</character>
<dialogue>Then let him drown.</dialogue>
<character>OWEN</character>
<dialogue>Come on, Lawrence. He's under the water, and he doesn't even know it.</dialogue>
<character>LAWRENCE</character>
<dialogue>Alright, I've got shit to do.</dialogue>
<scene_description>Lawrence walks off.</scene_description>
<character>OWEN</character>
<dialogue>He's drowning, man. He's fucking drowning.</dialogue>
<character>LAWRENCE</character>
<dialogue>Stop saying drowning!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. NIGHTCLUB - NIGHT</stage_direction>
<scene_description>Lawrence exits past SECURITY and a LARGE CROWD of people, he can't get through.</scene_description>
<character>LAWRENCE</character>
<dialogue>Excuse me.</dialogue>
<scene_description>People are gawking at a MAYBACH with blacked out windows.</scene_description>
<character>RANDOM GIRLS</character>
<dialogue>Conner4real is in there with Miley Cyrus/ I hear he's so nice and like, great to his friends.</dialogue>
<scene_description>INSIDE THE CAR - Conner and MILEY CYRUS smoke a blunt.</scene_description>
<character>MILEY CYRUS</character>
<dialogue>Why are we sitting here again?</dialogue>
<character>CONNER</character>
<dialogue>I'm just waiting for a text that it's cool inside.</dialogue>
<scene_description>OUTSIDE - Lawrence pushes through and finds himself at the car. He thinks about leaving, but then bangs on the window.</scene_description>
<character>LAWRENCE</character>
<dialogue>Conner. I know you're in there. Open up.</dialogue>
<scene_description>INSIDE THE CAR - Conner tries to play it off.</scene_description>
<character>MILEY CYRUS</character>
<dialogue>Um. Do you know him?</dialogue>
<character>CONNER</character>
<dialogue>Nope. So, you were mentioning you just bought a monkey?</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Yeah, her name is Gwenevere--</dialogue>
<scene_description>Lawrence is banging on the window right by her head.</scene_description>
<character>LAWRENCE</character>
<parenthetical>(through the door)</parenthetical>
<dialogue>Hey! Shit-head! Open up!</dialogue>
<character>CONNER</character>
<dialogue>This jokester. Some people just want attention, y'know?</dialogue>
<scene_description>OUTSIDE THE CAR -</scene_description>
<character>LAWRENCE</character>
<dialogue>Okay, so I guess you won't mind if I do this?</dialogue>
<scene_description>Lawrence takes out a key and runs it on the paint screeeetch. INSIDE THE CAR - Conner smiles through agony.</scene_description>
<character>CONNER</character>
<dialogue>He's hilarious.</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Do want me to stop this dude? I'll fuck him up.</dialogue>
<scene_description>Lawrence starts jumping up and down on the hood. Conner and Miley are bouncing up and down.</scene_description>
<character>CONNER</character>
<dialogue>Nahh, tell me more about Gwenevere.</dialogue>
<scene_description>Miley pulls out BRASS KNUCKLES, slips them on.</scene_description>
<character>MILEY CYRUS</character>
<dialogue>Seriously, Conner. I'ma brass up, hop out and crush his skull in.</dialogue>
<character>CONNER</character>
<dialogue>Not necessary.</dialogue>
<character>LAWRENCE (O.C.)</character>
<dialogue>You too busy fucking Hannah Montana to talk to me, asshole!</dialogue>
<character>MILEY CYRUS</character>
<dialogue>What the fuck did he just say?</dialogue>
<character>CONNER</character>
<dialogue>No, he didn't mean it--</dialogue>
<scene_description>Miley explodes out of the car.</scene_description>
<character>MILEY CYRUS</character>
<dialogue>Hey, bitch! You don't fuck Hannah Montana, Hannah Montana fucks YOU!!</dialogue>
<character>LAWRENCE</character>
<dialogue>Oh shit!</dialogue>
<scene_description>She grabs him and starts PUNCHING HIM IN THE HEAD SUPER FAST LIKE A HOCKEY PLAYER.</scene_description>
<character>LAWRENCE</character>
<dialogue>Ahhhhh!!!! Don't kill me!!!</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Raise up! Raise up!</dialogue>
<scene_description>Lawrence breaks free, takes off running. She throws a BOTTLE at him, it shatters on the ground.</scene_description>
<character>MILEY CYRUS</character>
<dialogue>Ha ha! Run fuckboy! Wooo!</dialogue>
<scene_description>Conner gets out of the car and looks at the damaged hood.</scene_description>
<character>CONNER</character>
<dialogue>Jesus.</dialogue>
<character>MILEY CYRUS</character>
<dialogue>Goddamn, I'm fucking wet as shit right now.</dialogue>
<scene_description>A FANCY CAR pulls up, and Conner watches as Hunter and a bunch of HOT GIRLS get out, and Miley goes over to greet them.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>This business is hard, the highs are high, and the lows are low. It's so easy to get lost.</dialogue>
<scene_description>TALKING HEAD - HARRY</scene_description>
<character>HARRY</character>
<dialogue>Everyone's career is on a wave, like this,</dialogue>
<parenthetical>(pantomimes)</parenthetical>
<character>HARRY</character>
<dialogue>up and down, up and down. Right now, Conner is here</dialogue>
<parenthetical>(going down)</parenthetical>
<dialogue>And Hunter is here</dialogue>
<parenthetical>(going up)</parenthetical>
<dialogue>At some point he'll get to the top and start heading down. And Conner will reach the bottom and start back up again. All they can do is ride the wave.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - HUNTER CONCERT - LATER</stage_direction>
<scene_description>Hunter rocks the mic with his dudes dressed in INDIAN HEADDRESSES. The crowd loves it.</scene_description>
<character>HUNTER</character>
<dialogue>Heya heya ho, heya heya fuck ya ho.</dialogue>
<scene_description>IN THE WINGS - Conner waits backstage looking furious, turns to Harry.</scene_description>
<character>CONNER</character>
<dialogue>He's thirty minutes over, Harry!</dialogue>
<character>HARRY</character>
<dialogue>I'm sure he'll get off soon.</dialogue>
<scene_description>ON STAGE - Hunter tears off his shirt.</scene_description>
<character>HUNTER</character>
<dialogue>I'M NEVER GONNA LEAVE THIS STAGE,</dialogue>
<character>YA'LL! I'MA DIE UP HERE!</character>
<dialogue>Huge applause.</dialogue>
<scene_description>IN THE WINGS -</scene_description>
<character>CONNER</character>
<dialogue>That's it. Owen get your gear together.</dialogue>
<scene_description>Owen holds up his iPod.</scene_description>
<character>OWEN</character>
<dialogue>Got it.</dialogue>
<character>CONNER</character>
<dialogue>Zippy, cue it.</dialogue>
<scene_description>Zippy nods.</scene_description>
<character>ZIPPY</character>
<parenthetical>(into headset)</parenthetical>
<dialogue>Ready stage lights 415 - 487.</dialogue>
<character>HARRY</character>
<dialogue>Uh, Conner, what are you doing?</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - MOMENTS LATER</stage_direction>
<scene_description>Hunter stalks the stage, pumping the crowd.</scene_description>
<character>HUNTER</character>
<dialogue>Who came here to see Hunter the Hungry?!</dialogue>
<scene_description>The crowd cheers just as the STAGE LIGHTS SHIFT. MUSIC - The opening bars of Conner's opening track starts. Conner rises from the stage slowly, right next to Hunter.</scene_description>
<character>CONNER</character>
<dialogue>And who came here to see conner4real?!</dialogue>
<scene_description>The crowd cheers. Hunter looks at his dudes, "what the fuck?"</scene_description>
<character>HUNTER</character>
<dialogue>Haha! What are you doing here Conner?</dialogue>
<character>CONNER</character>
<dialogue>I could ask you same thing, Hunter! Yo, Contact drop that beat!</dialogue>
<scene_description>OWEN, who's DJ booth has risen on stage directly parallel with Hunter's DJ, cues up the beat. Owen looks at Hunter's DJ and mouths "I'm sorry", then puts on his HELMET. He drops the beat. Lights flash. The crowd goes nuts.</scene_description>
<character>HUNTER</character>
<dialogue>Eh, Tiny Tony, drop my beat too!</dialogue>
<scene_description>Hunter's DJ, looks at Owen and shrugs. He drops ANOTHER BEAT: THE TWO SONGS NOW PLAY SIMULTANEOUSLY. It's like a wall of noise. Fans in the crowd grimace. Conner and Hunter start performing super hard at the same time, trying to out-do one another. It sounds like shit. IN THE WINGS - Harry shakes his head.</scene_description>
<character>HARRY</character>
<dialogue>Shit.</dialogue>
<character>HUNTER</character>
<dialogue>Stompin through the forest, like a retarded tyrannosaurus/</dialogue>
<character>CONNER</character>
<dialogue>Bar none, I am the most humblest/ Number one at the top of the humle list/</dialogue>
<scene_description>ANGLE ON - OWEN, lost in his helmet. He stumbles and FALLS OFF THE STAGE. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - LATER</stage_direction>
<scene_description>Harry sits on a couch with Owen who ices his head. Conner paces upset, holding Maximus.</scene_description>
<character>CONNER</character>
<dialogue>We have to get rid of Hunter, Harry. He just doesn't fit the vibe anymore.</dialogue>
<character>HARRY</character>
<dialogue>We can't fire him, Conner. He's the reason we sold out the tour. Aquaspin was even suggesting that he co-headline--</dialogue>
<character>CONNER</character>
<dialogue>What? That's crazy!</dialogue>
<character>HARRY</character>
<dialogue>He's number one on BongoHub and SongRaper right now. He's hot as boiled milk.</dialogue>
<character>CONNER</character>
<dialogue>What number are we?</dialogue>
<character>HARRY</character>
<dialogue>It's not a competition.</dialogue>
<character>OWEN</character>
<dialogue>Can we talk about this helmet? It's crazy heavy and hurting my back--</dialogue>
<character>CONNER</character>
<dialogue>Owen, why are you talking right now? What are you even doing in this meeting?</dialogue>
<character>OWEN</character>
<dialogue>I'm in all our meetings.</dialogue>
<character>CONNER</character>
<dialogue>Dude, get out. You're the DJ.</dialogue>
<character>OWEN</character>
<dialogue>What?</dialogue>
<character>CONNER</character>
<dialogue>Get out. Go have a meeting with Lawrence or something.</dialogue>
<scene_description>Owen looks pissed. Walks out.</scene_description>
<character>CONNER</character>
<dialogue>Harry, I need you to handle this, you represent me, not him.</dialogue>
<character>HARRY</character>
<dialogue>Actually, technically I represent both of you.</dialogue>
<scene_description>Conner is stunned.</scene_description>
<character>CONNER</character>
<dialogue>You signed Hunter?</dialogue>
<character>HARRY</character>
<dialogue>Conner--</dialogue>
<character>CONNER</character>
<dialogue>Oh, fuck you, Harry.</dialogue>
<scene_description>Conner exits.</scene_description>
<character>HARRY</character>
<dialogue>Conner!</dialogue>
</scene>
<scene>
<stage_direction>EXT. HORSE MEADOWS - DAY</stage_direction>
<scene_description>BEAUTIFUL FOOTAGE of Conner watching HORSES prances around.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>I've spent my whole life building an empire and now I can feel it crumbling beneath my feet.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARENA - BACKSTAGE - NIGHT</stage_direction>
<scene_description>Conner sits on a chair like Michael Corleone, watching: ACROSS THE ROOM - Hunter is holding court, being "hilarious", Eddie, Sponge, Zippy, Sarah, and even Owen are laughing their asses off. (SLO-MO??)</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>People are trying to take away what I built. And only time will tell who's being real, and who's just hungry for the spotlight? I need to know who I can trust.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - MORNING</stage_direction>
<scene_description>Sponge, Eddie, Sarah, Owen and Harry hang out. Conner is in the kitchen cooking pancakes.</scene_description>
<character>CONNER</character>
<dialogue>Aallllrrriiight ya'll, come and get em! Conner's fancy flap jacks!</dialogue>
<scene_description>They sidle up to the counter.</scene_description>
<character>EDDIE</character>
<dialogue>Hell yeah.</dialogue>
<character>OWEN</character>
<dialogue>What's the occasion?</dialogue>
<character>CONNER</character>
<dialogue>Can't a friend just glop some pancakes? Tyrus isn't the only one who can cook. Come on, eat up.</dialogue>
<scene_description>Conner watches intently as they all sample the pancakes. They are not good, but they try to fake it.</scene_description>
<character>SPONGE</character>
<dialogue>Can you pass the syrup?</dialogue>
<character>CONNER</character>
<dialogue>Sponge, liking the pancakes?</dialogue>
<character>SPONGE</character>
<dialogue>Yup. So good, dude.</dialogue>
<character>CONNER</character>
<dialogue>Have another bite.</dialogue>
<character>SPONGE</character>
<dialogue>Planning on it. Right now.</dialogue>
<scene_description>He muscles through a bite.</scene_description>
<character>CONNER</character>
<dialogue>Eddie?</dialogue>
<scene_description>Eddie is startled.</scene_description>
<character>EDDIE</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>Huh?</dialogue>
<character>CONNER</character>
<dialogue>Good?</dialogue>
<character>EDDIE</character>
<dialogue>Really good.</dialogue>
<character>CONNER</character>
<dialogue>Thanks man. Love you guys.</dialogue>
<scene_description>Owen is having trouble.</scene_description>
<character>OWEN</character>
<dialogue>What's in these?</dialogue>
<character>CONNER</character>
<dialogue>All good stuff. Harry?</dialogue>
<character>HARRY</character>
<dialogue>They're... interesting.</dialogue>
<character>CONNER</character>
<dialogue>Good interesting?</dialogue>
<character>HARRY</character>
<dialogue>I think so?</dialogue>
<scene_description>Owen spits his out into a napkin.</scene_description>
<character>OWEN</character>
<dialogue>I'm sorry, I can't do it. Conner, I love you, but these are not good.</dialogue>
<scene_description>Conner looks Owen deep in his eyes.</scene_description>
<character>CONNER</character>
<dialogue>Thank you, Owen. Truly.</dialogue>
<character>OWEN</character>
<dialogue>Okay?</dialogue>
<character>CONNER</character>
<dialogue>And the rest of you liked them?</dialogue>
<scene_description>Sponge and Eddie give fake yes. Harry nods tentatively.</scene_description>
<character>CONNER</character>
<dialogue>Well, that is really disappointing. Cause they were not good.</dialogue>
<character>SPONGE</character>
<dialogue>I knew it.</dialogue>
<character>CONNER</character>
<dialogue>And the reason they were not good was that I put dog shit in them.</dialogue>
<character>OWEN</character>
<dialogue>WHAT?!?!?!</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Dang dude!/ That's nasty!!!/ So hilarious!</dialogue>
<character>HARRY</character>
<dialogue>Oh gawd!</dialogue>
<scene_description>Harry runs to the bathroom.</scene_description>
<character>CONNER</character>
<dialogue>I did it to see who would tell me the truth.</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Yo that's mad smart/ The test of a master/</dialogue>
<character>CONNER</character>
<dialogue>No. Stop it you guys. Stop just agreeing with me.</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>No doubt/It's not useful/ Gotta be honest.</dialogue>
<character>CONNER</character>
<dialogue>Stop.</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Stopping is best/ Silence is golden.</dialogue>
<character>OWEN</character>
<dialogue>You just made me eat dog shit?! What the fuck is wrong with you!?</dialogue>
<character>CONNER</character>
<dialogue>Owen, relax, you're the only one here who passed the test.</dialogue>
<character>EDDIE</character>
<dialogue>Dang, nice Owen, congrats.</dialogue>
<character>OWEN</character>
<dialogue>Ok. I'm out. For real. I fucking quit.</dialogue>
<scene_description>Owen starts to leave.</scene_description>
<character>CONNER</character>
<dialogue>What? You can't quit.</dialogue>
<character>OWEN</character>
<dialogue>What do I even do anymore, Conner?! I push play on an iPod in a robot costume! You might as well have the robot from Rocky IV be your DJ!</dialogue>
<character>CONNER</character>
<dialogue>Fine! I would love that! It sounds cool!</dialogue>
<character>OWEN</character>
<dialogue>Great! I'll send you my uncle's phone number, he was props master on Rocky IV!</dialogue>
<scene_description>Owen storms out, pissed.</scene_description>
<character>CONNER</character>
<dialogue>Owen, come on!</dialogue>
<character>SPONGE</character>
<parenthetical>(faking it)</parenthetical>
<dialogue>Yeah, I'm mad too! I hated eating shit! I'm a real guy, like Owen!</dialogue>
<scene_description>Sponge walks in place, pretending to leave.</scene_description>
<character>CONNER</character>
<dialogue>You're still here.</dialogue>
<character>SPONGE</character>
<dialogue>But should I leave though?</dialogue>
<scene_description>Conner shakes his head in disbelief. OFF TO THE SIDE - Sarah absentmindedly eats the pancakes while texting. No reaction whatsoever. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction>
<scene_description>Conner tries to Facetime Ashley. She does not pick up. He hangs up. Sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE JET - DAY</stage_direction>
<scene_description>Conner stares out the window. DRAMATIC MUSIC TAKES US TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE STATION SCIENCE LAB - MOVIE SCENE - NIGHT</stage_direction>
<scene_description>We are in a futuristic hallway, ALARMS sound, 20 TROOPERS run by in formation. CAMERA SWOOPS into a LABORATORY where we find Ashley, looking kinda like Katniss Everdeen, frantically testing chemicals. CHRIS HEMSWORTH enters looking like John Conner, blocks the door with a desk.</scene_description>
<character>ASHLEY</character>
<dialogue>You're not supposed to be in here.</dialogue>
<character>CHRIS HEMSWORTH</character>
<dialogue>My cube is still three clicks from A-Zero. They can't see me.</dialogue>
<scene_description>Chris moves towards Ashley.</scene_description>
<character>ASHLEY</character>
<dialogue>Don't. You know my cube doesn't allow me to feel emotions. I'll just disappoint you.</dialogue>
<character>CHRIS HEMSWORTH</character>
<dialogue>My cube makes me immortal. I can wait forever.</dialogue>
<scene_description>He takes her hand, their faces get close. REVEAL - WE ARE ON A SOUNDSTAGE. Conner watches from video village. L/3: "CUBE THEOREM SET VISIT - SHREVEPORT, LOUSIANA" BACK IN THE SCENE -</scene_description>
<character>ASHLEY</character>
<dialogue>But my cube is beta-six, no physical contact.</dialogue>
<character>CHRIS HEMSWORTH</character>
<parenthetical>(romantic)</parenthetical>
<dialogue>Cubes are made to be broken.</dialogue>
<scene_description>They kiss passionately. Conner is uncomfortable.</scene_description>
<character>FIRST A.D.</character>
<dialogue>And cut! That's our day, people.</dialogue>
<character>ASHLEY</character>
<dialogue>Connyyyyyy!!!!</dialogue>
<scene_description>She runs over and jumps on Conner, they kiss.</scene_description>
<character>CONNER</character>
<dialogue>Hey, it's so good to see you. The tour's been so weird, Owen just quit if you can believe that--</dialogue>
<character>ASHLEY</character>
<parenthetical>(noticing someone)</parenthetical>
<dialogue>Heeeyyy! Conny, hold that thought, you have to meet Chris.</dialogue>
<scene_description>Conner and Chris Hemsworth shake hands. (Everyone is super nice, like "in a cult" nice.)</scene_description>
<character>CHRIS HEMSWORTH</character>
<dialogue>Conner, so awesome to meet you. I'm a huge fan. Thanks for letting us borrow Ashley. She's the best.</dialogue>
<character>CONNER</character>
<dialogue>Ha. Happy to help.</dialogue>
<scene_description>They turn to video village.</scene_description>
<character>ASHLEY</character>
<dialogue>And this is Scarlett and Channing.</dialogue>
<scene_description>SCARLETT JOHANSSON and CHANNING TATUM greet Conner.</scene_description>
<character>SCARLETT JOHANSSON</character>
<dialogue>Nice to meet you.</dialogue>
<character>CHANNING TATUM</character>
<dialogue>Duuuude, what's up man?! Great to finally meet you.</dialogue>
<character>SCARLETT JOHANSSON</character>
<dialogue>Are you coming to the party tonight?</dialogue>
<character>CHANNING TATUM</character>
<dialogue>Oh yeah, you gotta come!</dialogue>
<character>ASHLEY</character>
<dialogue>Can we go, honey?</dialogue>
<character>CONNER</character>
<dialogue>Uhhh</dialogue>
<parenthetical>(off her look)</parenthetical>
<dialogue>Sure, what is it?</dialogue>
<character>CHANNING TATUM</character>
<dialogue>Oh, it's the best, there's nothing to do out here, so every night after wrap we go to my penthouse suite and order tons of room service--</dialogue>
<character>SCARLETT JOHANSSON</character>
<dialogue>--and drinks, and margaritas, and</dialogue>
<parenthetical>(corner of her mouth, playful)</parenthetical>
<dialogue>a little weed and we just pig out and relax--</dialogue>
<character>CHRIS HEMSWORTH</character>
<dialogue>--and fuck each other.</dialogue>
<scene_description>Beat.</scene_description>
<character>CONNER</character>
<dialogue>What?</dialogue>
<character>ASHLEY</character>
<dialogue>Connie, it's so boring here. I told you that.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, you told me. But what happens at the party?</dialogue>
<character>SCARLETT JOHANSSON</character>
<dialogue>We all fuck. Each other. Every night.</dialogue>
<character>CONNER</character>
<dialogue>The four of you?</dialogue>
<character>CHRIS HEMSWORTH</character>
<parenthetical>(don't be silly!)</parenthetical>
<dialogue>No, not the four of us! Everyone in the cast. Ryan, Rosemary--</dialogue>
<character>CHANNING TATUM</character>
<dialogue>...Even the old ones, Tilda, Javiar... It's soo boring here.</dialogue>
<character>EVERYONE</character>
<dialogue>So boring/ yeah boring/ gotta fuck/ what else are you gonna do?</dialogue>
<scene_description>Conner is not psyched. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - MOMENTS LATER</stage_direction>
<scene_description>Ashley gets out of wardrobe. Conner is heartbroken.</scene_description>
<character>CONNER</character>
<dialogue>I just don't understand how this has been happening every night. We're engaged!</dialogue>
<character>ASHLEY</character>
<dialogue>Don't be so uptight, Conner. I thought you were sleeping with other people too.</dialogue>
<character>CONNER</character>
<dialogue>What? Why would you think that? I told you constantly that I wasn't.</dialogue>
<character>ASHLEY</character>
<dialogue>I thought you were joking. Are you taking our engagement seriously or something? I thought you just needed some good press?</dialogue>
<character>CONNER</character>
<dialogue>What? Who told you that?</dialogue>
<character>ASHLEY</character>
<dialogue>My eyes and brain? It was right after your no-dick-on-stage thing.</dialogue>
<character>CONNER</character>
<dialogue>Just because that timed out perfectly doesn't mean I didn't really want to marry you.</dialogue>
<character>ASHLEY</character>
<dialogue>Okay, sorry.</dialogue>
<character>CONNER</character>
<dialogue>Jesus, do you care about me at all?</dialogue>
<character>ASHLEY</character>
<dialogue>Sure, Conner. But people like us, we belong to the world. It would be selfish of me to keep you all to myself, and it's selfish of you to expect that of me.</dialogue>
<character>CONNER</character>
<dialogue>I strongly disagree--</dialogue>
<scene_description>Suddenly, RUSSELL CROWE leans in to her room.</scene_description>
<character>RUSSELL CROWE</character>
<dialogue>Hey, you ready to go?-- Oh sorry, am I interrupting?</dialogue>
<character>CONNER</character>
<parenthetical>(star-struck)</parenthetical>
<dialogue>Hi.</dialogue>
<character>ASHLEY</character>
<dialogue>No, we were just finishing up.</dialogue>
<character>CONNER</character>
<dialogue>I'm Conner. Ashley's fiancee.</dialogue>
<character>RUSSELL CROWE</character>
<dialogue>Russell, nice to meet you. I'm a big fan.</dialogue>
<character>CONNER</character>
<dialogue>Oh my god. I'm your biggest fan. I even named my pet turtle, Maximus, from your movie, you know--</dialogue>
<character>CONNER & RUSSELL CROWE</character>
<dialogue>Gladiator.</dialogue>
<character>CONNER</character>
<dialogue>Yeah. Oh my god, best movie.</dialogue>
<character>RUSSELL CROWE</character>
<parenthetical>(as Maximus)</parenthetical>
<dialogue>My name is Maximus Decimus Meridius, commander of the Armies of the North...</dialogue>
<scene_description>Conner joins in, they stare into each other's eyes. Chanting the dialogue more and more intensely.</scene_description>
<character>CONNER & RUSSELL CROWE</character>
<dialogue>General of the Felix Legions and loyal servant to the TRUE emperor, Marcus Aurelius. Father to a murdered son, husband to a murdered wife. And I will have my vengeance, in this life or the next!!!</dialogue>
<scene_description>They laugh and then snap into the Gladiator neck-clutch hug.</scene_description>
<character>RUSSELL CROWE</character>
<dialogue>Tell me you are coming to the orgy!</dialogue>
<character>CONNER</character>
<dialogue>Wouldn't miss it.</dialogue>
<scene_description>Russell leaves. Conner turns to Ashley.</scene_description>
<character>CONNER</character>
<dialogue>I'm still very hurt by this.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL HALLWAY - NIGHT</stage_direction>
<scene_description>Camera follows Conner and Ashley down the hall to a door with a SECURITY GUARD.</scene_description>
<character>CONNER</character>
<dialogue>So, how does this work, do we like start with each other and then slowly branch out, or...</dialogue>
<character>ASHLEY</character>
<dialogue>Will you relax? It's not a big deal. Just find a hole and fuck it.</dialogue>
<character>CONNER</character>
<dialogue>Oookay.</dialogue>
<scene_description>Ashley turns to Conner.</scene_description>
<character>ASHLEY</character>
<dialogue>It goes without saying I think we should break up after this.</dialogue>
<character>CONNER</character>
<dialogue>It does?</dialogue>
<character>ASHLEY</character>
<dialogue>Yeah, you're kinda bumming me out, and I don't have time for that right now.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>See you in there, champ.</dialogue>
<scene_description>Conner is heartbroken.</scene_description>
<character>SECURITY GUARD</character>
<parenthetical>(to the director)</parenthetical>
<dialogue>Sorry, no cameras.</dialogue>
<scene_description>Conner leaves us to go into the room, through the doorway we HEAR crazy orgy sounds and catch a GLIMPSE of JAMES FRANCO fucking SETH ROGEN.</scene_description>
<character>SETH</character>
<dialogue>Conner4real no way!</dialogue>
<scene_description>The door shuts.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - NIGHT</stage_direction>
<scene_description>Our CAMERA ANGLES ON a group of PAPARAZZI across the street, shooting up a the building. One of them sends out a DRONE, which heads up, up, up... DRONE CAM - It finds the balcony, with CONNER, bent over a BBQ GRILL, apparently getting fucked by (a very bored- looking) JESSICA CHASTAIN from behind. CMZ GRAPHIC APPEARS ON FOOTAGE: "CUBE THEOREM SEX PARTIES?!"</scene_description>
</scene>
<scene>
<stage_direction>INT. CMZ STUDIO - TV BROADCAST</stage_direction>
<scene_description>We are in a fake TMZ studio (all "corespondents" played by comedians).</scene_description>
<character>MAIN ASSHOLE</character>
<dialogue>So apparently on the set of Cube Theorem, the entire cast has wild sex orgies.</dialogue>
<scene_description>He slurps from a GIANT SODA.</scene_description>
<character>BRUNETTE ASSHOLE</character>
<dialogue>This is my favorite part, conner4real reaches back to high five Jessica Chastain and she leaves him hanging.</dialogue>
<character>DREADLOCK'D ASSHOLE</character>
<dialogue>My question is, what is happening? Is she wearing a strap-on? What am I looking at?</dialogue>
<character>BLONDE ASSHOLE</character>
<dialogue>So, to recap, conner4real gets dumped by his superstar girlfriend and then gets high-five dissed by Jessica Chastain. Not his best day.</dialogue>
<scene_description>They all laugh and slurp from EVEN BIGGER SODAS.</scene_description>
<character>MAIN ASSHOLE</character>
<dialogue>Let's watch it again!</dialogue>
<scene_description>The IMAGE FREEZES and WE ARE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. AQUASPIN CORPORATE OFFICES - SAME TIME</stage_direction>
<scene_description>Wally freezes the footage on a horribly embarrassing frame. Conner sits in a boardroom with Harry, Wally and SUSAN, a mousey woman (think Rachel Dratch).</scene_description>
<character>WALLY</character>
<dialogue>You care to explain, player?</dialogue>
<character>CONNER</character>
<dialogue>Um... I'm sorry?</dialogue>
<character>WALLY</character>
<dialogue>Do you know how many people I had to convince that your dumbass behavior was somehow beneficial to Aquaspin?</dialogue>
<character>CONNER</character>
<dialogue>How many?</dialogue>
<character>WALLY</character>
<dialogue>All of these motherfuckers! Plus Susan, who was extremely hard to convince. Isn't that right, Susan?</dialogue>
<scene_description>Pan over to SUSAN. She nods, blankly.</scene_description>
<character>WALLY</character>
<dialogue>See?! Susan wanted to fire your ass immediately, but I said no. I said that you were cooler for going to a tinseltown sex party.</dialogue>
<character>WALLY</character>
<dialogue>I even thought I might go with you to the next one. Susan, didn't I say that shit in the board meeting?</dialogue>
<scene_description>Susan nods.</scene_description>
<character>CONNER</character>
<dialogue>Okay, so what's the problem?</dialogue>
<character>WALLY</character>
<dialogue>The problem, is this!</dialogue>
<scene_description>Wally points to the FROZEN IMAGE of Conner on screen and points to the BBQ GRILL he leans against.</scene_description>
<character>WALLY</character>
<dialogue>What brand of BBQ grill would you say you're having sex on top of?</dialogue>
<character>CONNER</character>
<dialogue>Uh, I don't know--</dialogue>
<character>WALLY</character>
<dialogue>It's a Tepper, dog! And Tepper is Aquaspin's main competitor in outdoor grills and accessories!</dialogue>
<character>CONNER</character>
<dialogue>Okay?</dialogue>
<character>WALLY</character>
<dialogue>You can't be seen in public with the competition! So, you're fired.</dialogue>
<character>CONNER</character>
<dialogue>Wait, what?</dialogue>
<character>WALLY</character>
<dialogue>I'm sorry, but Aquaspin is no longer in the conner4real business.</dialogue>
<character>HARRY</character>
<dialogue>Take it easy, Wally.</dialogue>
<character>CONNER</character>
<dialogue>Harry, you knew about this?</dialogue>
<character>HARRY</character>
<dialogue>I tried to stop it. But I couldn't let everyone lose their jobs--</dialogue>
<character>CONNER</character>
<dialogue>What are you talking about? You just got the tour canceled.</dialogue>
<character>WALLY</character>
<dialogue>Oh, the tour's still happening. Just with Hunter.</dialogue>
<scene_description>Conner looks stunned.</scene_description>
<character>CONNER</character>
<dialogue>You can't do that!</dialogue>
<character>WALLY</character>
<dialogue>It's out of my hands. Right, Susan?</dialogue>
<scene_description>Susan shrugs apathetically.</scene_description>
<character>CONNER</character>
<dialogue>What do you even do as my manager, Harry? Seriously? Because I couldn't fuck myself over worse if I was managing myself.</dialogue>
<character>HARRY</character>
<dialogue>Conner, try to relax. I already got you a new high-paying gig.</dialogue>
<character>CONNER</character>
<dialogue>Oh really, what?</dialogue>
<character>HARRY</character>
<dialogue>It's... ok, it's a quincinera but a fancy one--</dialogue>
<character>CONNER</character>
<dialogue>Oh my God! You know what? I love this, cuz now it's my turn: You're fired.</dialogue>
<scene_description>Harry is crushed.</scene_description>
<character>WALLY</character>
<dialogue>Great. This was fun.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONNER'S WOODLAND HILLS ESTATE - NIGHT</stage_direction>
<scene_description>Establishing. WE HEAR the sounds of an ENGINE REVVING.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>You have to understand that Conner has lived a very blessed life. He got very successful, very young.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONNER'S WOODLAND HILLS ESTATE - BACKYARD - CONTINUOUS</stage_direction>
<scene_description>Conner shreds up the lawn in an ATV, doing doughnuts.</scene_description>
<character>HARRY (V.O.)</character>
<dialogue>Because of that, he never really learned to handle adversity in an adult way. But you know, he'll be fine. We'll both be...</dialogue>
<scene_description>Conner jumps off and lets the ATV SMASH INTO A FOUNTAIN.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S WOODLAND HILLS ESTATE - LATER</stage_direction>
<scene_description>Conner SAMURAI SWORDS a PROMO STANDEE for his album. JUMP TO - Conner searches for Maximus.</scene_description>
<character>CONNER</character>
<dialogue>Maximus? Where are you buddy?</dialogue>
<scene_description>He checks a terrarium. He follows the custom tunnels...</scene_description>
<character>CONNER</character>
<dialogue>Maximus?</dialogue>
<scene_description>WE JUMP AROUND - As he searches through the house. He finds Maximus behind a couch.</scene_description>
<character>CONNER</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>Maximus?</dialogue>
<scene_description>JUMP TO - Conner is examining Maximus.</scene_description>
<character>CONNER</character>
<dialogue>He doesn't look right.</dialogue>
<scene_description>Maximus' neck is super extended out of his shell.</scene_description>
<character>MAXIMUS</character>
<parenthetical>(baby dinosaur)</parenthetical>
<dialogue>Waaaaa! Waaaaaaa!</dialogue>
<character>CONNER</character>
<dialogue>Why is he making that noise??</dialogue>
<scene_description>SPLAT! He reacts to something super gross.</scene_description>
<character>CONNER</character>
<dialogue>Ew, fuck! We have to take him to the hospital!</dialogue>
<scene_description>HALLWAY - EMBEDDED JOURNALIST STYLE: WE FOLLOW Conner as he rushes down the hall with Maximus in a SMALL CASE.</scene_description>
<character>CONNER</character>
<dialogue>Hold on Maximus! Owen?! Harry?! Is anyone here?!</dialogue>
<scene_description>OUTSIDE - Conner runs outside to the HOT TUB, where Sponge and Eddie are bathing with 2 HOTTIES.</scene_description>
<character>CONNER</character>
<dialogue>I need help!!!!</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Sup homie! / Yo, meet Shenny and sorry, what's your name?</dialogue>
<character>HOTTIE 1</character>
<dialogue>Farge.</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Farge?!/ What'd you say?/ Farge?!</dialogue>
<character>CONNER</character>
<dialogue>Maximus' soggy bones are back! We need to take him to the hospital!</dialogue>
<character>SPONGE/EDDIE</character>
<dialogue>Oh./ And Maximus is?</dialogue>
</scene>
<scene>
<stage_direction>INT. BLACK SUV - MOMENTS LATER</stage_direction>
<scene_description>Conner scrambles into the car with Maximus on his lap.</scene_description>
<character>CONNER</character>
<dialogue>Hold on, buddy.</dialogue>
<scene_description>They get to the front gate but there is a MOB OF PAPARAZZI.</scene_description>
<character>PAPARAZZI</character>
<dialogue>Conner!/Conner!/ How was the orgy?</dialogue>
<character>CONNER</character>
<dialogue>Get out of the way!</dialogue>
<scene_description>Conner is frazzled, getting more upset. He puts the car into reverse, and skids backwards.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK GATE - MOMENTS LATER</stage_direction>
<scene_description>They reach the back gate but it's also blocked by PAPS.</scene_description>
<character>PAPARAZZI</character>
<dialogue>Conner!/ How's Jessica Chastain?!</dialogue>
<scene_description>WE HEAR ANOTHER MOAN AND SPLAT!</scene_description>
<character>CONNER</character>
<dialogue>Hang on, buddy!</dialogue>
<scene_description>Conner lays on the horn, sticks his head out the window. PAPARAZZI FOOTAGE OF THIS FROM THE OUTSIDE:</scene_description>
<character>CONNER</character>
<parenthetical>(crying)</parenthetical>
<dialogue>Please! Everyone move! My turtle is sick! He's dying! Ahhhaaaa!</dialogue>
<scene_description>The SUV cannot move. It's chaos. Conner is stuck.</scene_description>
<character>CONNER</character>
<scene_description>WE PULL OUT OF THE VIDEO TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCESS HOLLYWOOD - TV BROADCAST</stage_direction>
<scene_description>The HOSTS are laughing at the video.</scene_description>
<character>BILLY BUSH</character>
<dialogue>Looks like conner4real is gonna be shelling out some cash for a new turtle.</dialogue>
<character>KIT HOOVER</character>
<dialogue>Stop it, you're bad.</dialogue>
<character>BILLY BUSH</character>
<dialogue>I know, I'm the worst.</dialogue>
<scene_description>BEGIN SONG - "MAXIMUS", a Bon Iver/Kanye West style A CAPPELLA lament, moody and brooding... ON A STAGE - A dramatic spotight hits Conner, in all black.</scene_description>
<character>CONNER</character>
<dialogue>Oooooohhhhh Maximus. Youuuu were the best of us...</dialogue>
<scene_description>As he sings we widen to reveal he is at...</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - QUINCEANERA - AFTERNOON</stage_direction>
<scene_description>A classic, well-moneyed, QUINCEANERA. A SIGN READS, "FELIZ QUINCEANERA, CAMILLA". CAMILLA, her FAMILY and FRIENDS sit at catered tables watching confused...</scene_description>
<character>CONNER</character>
<dialogue>Hooooooo my Maximus/ I will never let you go...</dialogue>
<scene_description>Conner clicks a remote control behind him and we see: THE ROBOT FROM ROCKY IV, is now Conner's DJ.</scene_description>
<character>ROCKY IV ROBOT</character>
<parenthetical>(computer voice)</parenthetical>
<dialogue>Commencing digital sequence.</dialogue>
<scene_description>The robot projects a montage of Conner and Maximus on a GIANT SCREEN behind Conner.</scene_description>
<character>CONNER</character>
<dialogue>Dooo youuu remember/ We dressed like ninja turtles on Halloween...</dialogue>
<scene_description>The song continues under the following SAD SEQUENCE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - PAPARAZZI FOOTAGE - NIGHT</stage_direction>
<scene_description>Conner is swarmed by paparazzi, upset.</scene_description>
<character>CONNER</character>
<dialogue>Murderers! Blood is on your hands!</dialogue>
<scene_description>Conner grabs at the camera and misses, falls into a puddle.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S BEDROOM - NIGHT</stage_direction>
<scene_description>YOUTUBE PAGE - "MAXIMUS EULOGY PART 3 OF 21" Conner speaks into his laptop in a lofty, nostalgic tone.</scene_description>
<character>CONNER</character>
<dialogue>Sometimes Maximus would just tilt his head at me like what's going on man? He was kind like that, y'know?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONNER'S WOODLAND HILLS ESTATE - SWIMMING POOL - DAY</stage_direction>
<scene_description>Conner, Sponge, Eddie and others are gathered for a ceremony.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Death smiles upon all of us. All a man can do is smile back.</dialogue>
<scene_description>Conner holds small boat piled high with wood and a small coffin. He pushes it out into the pool.</scene_description>
<character>CONNER</character>
<dialogue>His name was Maximus Decimus Meridius. He was a Caspian Pond Turtle. And he was my best friend.</dialogue>
<scene_description>Conner is handed a ROMAN CANDLE, he shoots it at the floating coffin and it BURSTS into flames. Conner and crew go bananas. JUMP TO - Sponge and Eddie sneak out with luggage, Conner stops them.</scene_description>
<character>SPONGE</character>
<parenthetical>(busted)</parenthetical>
<dialogue>Conner, what's up, fam? We were just taking our bags... to the bag washing store...</dialogue>
<character>CONNER</character>
<dialogue>What?</dialogue>
<character>EDDIE</character>
<dialogue>Okay, Sponge was just saying we should go with Hunter, cause he's on tour with the pussy and whatnot. And I was like nah let's stick with Conner and just be sad and depressed and sit around the house and shit.</dialogue>
<scene_description>Conner nods, resigned.</scene_description>
<character>SPONGE</character>
<dialogue>If you get popular again though, we'll totally fuck with you.</dialogue>
</scene>
<scene>
<stage_direction>INT. STAGE - RESUME</stage_direction>
<scene_description>Conner is wraps up the song. He WEEPS through the auto-tune.</scene_description>
<character>CONNER</character>
<dialogue>You were my best friend. Why'd you leave me. I'm so alone (x2). til the fields of Elysium, my friend. I love you.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Happy quincinera, Camilla.</dialogue>
<scene_description>Everyone at the party stares at him like he's a lunatic. A little girl starts to cry. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONNER'S CHILDHOOD HOME - DAY</stage_direction>
<scene_description>L/3: "SACRAMENTO, CA." A black SUV pulls up and drops Conner off.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>I decided to go back to Sac, decompress, et cetera.</dialogue>
<scene_description>He walks to the door, rings the bell...</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Sometimes you just need a home- cooked meal, get your head straight, y'know?</dialogue>
<scene_description>JUMP CUT - Conner pounds on the door, tries the knob.</scene_description>
<character>CONNER</character>
<dialogue>Ma! Anyone home??</dialogue>
<scene_description>JUMP CUT - Conner sits on the porch VIDEO CHATS on his phone.</scene_description>
<character>CONNER</character>
<dialogue>Where are you?</dialogue>
<character>TILLY (ON SCREEN)</character>
<dialogue>I'm in Barbados.</dialogue>
<character>CONNER</character>
<dialogue>What? Why? I came home.</dialogue>
<character>TILLY (ON SCREEN)</character>
<dialogue>Oh Conner, you should've told me--</dialogue>
<scene_description>WALLY leans into frame.</scene_description>
<character>WALLY</character>
<dialogue>Conner, how's it going, bud? Your mom is such a looney toon!</dialogue>
<character>TILLY</character>
<dialogue>Haha! Ouch! Don't you slap my butt!</dialogue>
<character>WALLY</character>
<dialogue>It's too beautiful! I gotta slap that butt!</dialogue>
<scene_description>Conner drops his head, sighs.</scene_description>
<character>CONNER</character>
<dialogue>Where's the hidden key?</dialogue>
<scene_description>JUMP CUT - Conner breaks a back-door window, opens it. The door shuts in our face and WE CUT TO BLACK. TITLE: "3 WEEKS LATER"</scene_description>
</scene>
<scene>
<stage_direction>I/E. CONNER'S CHILDHOOD HOME - FRONT DOOR - DAY</stage_direction>
<scene_description>Paula walks up with a bag.</scene_description>
<character>PAULA</character>
<parenthetical>(to cameras)</parenthetical>
<dialogue>You guys still here?</dialogue>
<scene_description>TIME CUT - Conner opens the door, he looks like shit.</scene_description>
<character>CONNER</character>
<parenthetical>(happy to see her)</parenthetical>
<dialogue>Heeeey.</dialogue>
<scene_description>He hugs her... and doesn't let go.</scene_description>
<character>PAULA</character>
<dialogue>Whup, ok.. oh man, you smell like booze... and other smells.</dialogue>
<parenthetical>(nervous look to camera)</parenthetical>
<dialogue>Conner. Come on. Let's go inside.</dialogue>
<scene_description>Conner pulls away, he has tears in his eyes.</scene_description>
<character>CONNER</character>
<parenthetical>(choked up)</parenthetical>
<dialogue>Ha, I'm just messing with you. I'm not even sad.</dialogue>
<character>PAULA</character>
<dialogue>Let's get you some tea and a blanket.</dialogue>
<character>CONER</character>
<dialogue>Yeah, right. That sounds like me.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - LIVING ROOM - LATER</stage_direction>
<scene_description>Conner, sits wrapped in a blanket like a little kid, he sips a big mug of TEA.</scene_description>
<character>PAULA</character>
<dialogue>That better?</dialogue>
<character>CONNER</character>
<dialogue>M-hm.</dialogue>
<character>PAULA</character>
<dialogue>Can I ask you something? Why are the cameras still here? They're shooting a concert film with no concerts.</dialogue>
<scene_description>WE PAN TO SEE - The Camera Crew</scene_description>
<character>CONNER</character>
<dialogue>I mean, it's my movie, I'm at my lowest moment. But that's always when shit gets better, right?</dialogue>
<character>PAULA</character>
<dialogue>What do you think is going to happen?</dialogue>
<character>CONNER</character>
<dialogue>I dunno, Ashley's gonna get back with me? Bongohub is gonna call and say they screwed up and I sold a ton of records. Then I'll wake up in the middle of the night and write the most beautiful song and it'll be a big hit...</dialogue>
<scene_description>Conner tears up...</scene_description>
<character>PAULA</character>
<parenthetical>(to the crew)</parenthetical>
<dialogue>Is he okay? What has he been doing?</dialogue>
<character>CAMERA GUY (O.C.)</character>
<dialogue>He masturbated two times.</dialogue>
<character>CONNER</character>
<dialogue>I forgot to tell them to leave.</dialogue>
<scene_description>She grabs Conner by the face.</scene_description>
<character>PAULA</character>
<dialogue>You gotta get it together, buddy. This is not a movie, it's your life. Only you can fix it.</dialogue>
<character>CONNER</character>
<dialogue>Is this where you tell me you were secretly in love with me all along? Is that why you came back?</dialogue>
<character>PAULA</character>
<dialogue>No, I just thought you were going to kill yourself and I didn't want to deal with the press.</dialogue>
<character>CONNER</character>
<dialogue>Smart.</dialogue>
<scene_description>WE HEAR A "KNOCK" ON THE DOOR...</scene_description>
</scene>
<scene>
<stage_direction>I/E. CONNER'S CHILDHOOD HOME - DAY - LATER</stage_direction>
<scene_description>Paula opens the front door to see UNCLE RONALD.</scene_description>
<character>UNCLE RONALD</character>
<dialogue>Hello, young people!</dialogue>
<character>PAULA</character>
<dialogue>Hey Ronald, thanks for coming.</dialogue>
<character>UNCLE RONALD</character>
<dialogue>I woulda been here sooner if he'd told me he was even in town! Where is that boy?</dialogue>
<scene_description>Conner enters, they hug.</scene_description>
<character>UNCLE RONALD</character>
<dialogue>Come here, ya little hellion.</dialogue>
<scene_description>TALKING HEAD - RONALD & CONNER Conner and RONALD sit on the couch. As they talk WE SEE FOOTAGE of them going through their old CD collection.</scene_description>
<character>RONALD</character>
<dialogue>Conner was 8 when I started dating his mother. And that's when I began schooling him on REAL music.</dialogue>
<character>CONNER</character>
<dialogue>Whaaat?</dialogue>
<character>RONALD</character>
<dialogue>That's right. Something his generation don't know nothing about. Deep cuts, esoteric blues and R&B. "</dialogue>
<character>RONALD</character>
<dialogue>Sexual Healing" Marvin Gaye, Bob Marley "LEGEND". "Born To Run". Edie Brickel. 10,000 Maniacs, Now That's What I Call Music--</dialogue>
<character>DIRECTOR'S VOICE (O.S.)</character>
<dialogue>Yeah, good stuff.</dialogue>
<character>RONALD</character>
<dialogue>I wasn't finished. "Now That's What I Call Music: Volume 1", "Now That's What I Call Music: Volume 2"</dialogue>
<scene_description>JUMP - Going thru CD collection. Ronald and Conner look at "NOW THAT'S WHAT I CALL MUSIC! 6".</scene_description>
<character>CONNER</character>
<dialogue>Ohh, 6 is classic. Creed, Incubus, Shaggy, that was a big year.</dialogue>
<character>RONALD</character>
<parenthetical>(proud)</parenthetical>
<dialogue>My little protégé.</dialogue>
<scene_description>A DIFFERENT CAMERA finds Paula watching off to the side shaking her head and smiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - KITCHEN - LATER</stage_direction>
<scene_description>Ronald makes sandwiches, Paula stands with a glass of wine.</scene_description>
<character>RONALD</character>
<dialogue>I dated Tilly during Conner's formative years, when we broke up, didn't seem right to ditch the kid. Honestly, I think I was more attached than he was. That's when the whole "uncle" Ronald thing started.</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>I'm putting pickles on yours!</dialogue>
<character>CONNER (O.S.)</character>
<dialogue>Nooooo!!!</dialogue>
<character>RONALD</character>
<dialogue>Heh, he hates pickles.</dialogue>
<character>PAULA</character>
<dialogue>I sadly also know that.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - BACK PORCH - AFTERNOON</stage_direction>
<scene_description>Conner, Paula and Ronald sip beers and play bones.</scene_description>
<character>PAULA</character>
<dialogue>Okaaaaaay... DOMINO, MOTHAFUCKA!</dialogue>
<scene_description>She slams down her last piece.</scene_description>
<character>CONNER/RONALD</character>
<dialogue>Awww!/ She's a shark!/ So loud.</dialogue>
<character>PAULA</character>
<dialogue>Suck it, nerds. I'm grabbing a drink, who wants one?</dialogue>
<character>RONALD</character>
<dialogue>Yes, please. None for Conner. He's cut off for being a lightweight!</dialogue>
<character>CONNER</character>
<dialogue>That is so funny, Ronald. Great joke.</dialogue>
<parenthetical>(to Paula)</parenthetical>
<dialogue>I'll have one please.</dialogue>
<scene_description>She nods and walks off.</scene_description>
<character>RONALD</character>
<dialogue>That's a good woman right there.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, Paula's a great publicist.</dialogue>
<character>RONALD</character>
<dialogue>That's not what I meant, dumbo.</dialogue>
<scene_description>Conner sips his beer, we don't know if that registered.</scene_description>
<character>CONNER</character>
<dialogue>What happened, Ronald? I feel lost.</dialogue>
<character>RONALD</character>
<dialogue>So you hit a rough patch. It happens to everyone.</dialogue>
<character>CONNER</character>
<dialogue>Not to me.</dialogue>
<character>RONALD</character>
<dialogue>Yeah, even you. You act all Mr. Cool, but when you were a kid, you'd get down sometimes.</dialogue>
<character>CONNER</character>
<dialogue>Yeah? And what would my mom do to make me feel better? Do you remember?</dialogue>
<character>RONALD</character>
<dialogue>Your mom? Ha! Don't get me wrong, your mother is one of the sweetest ladies on this planet, and she did put food on the table...</dialogue>
<scene_description>OLD HOME VIDEOS - THE LITTLE LEAGUE GAME we saw before, as the Drama Boyz celebrate, CAMERA PANS UP to YOUNG TILLY, who drinks beer and flirts with a CONSTRUCTION WORKER.</scene_description>
<character>RONALD (V.O.)</character>
<dialogue>But Tilly's always been more interested in Tilly then anyone else. She was not who you looked to for help. You always turned to your friends for that.</dialogue>
<scene_description>OLD HOME VIDEOS - Conner, Owen and Lawrence as kids at a slumber party. Running around, telling ghost stories...</scene_description>
<character>RONALD (V.O.)</character>
<dialogue>I remember hearing you guys whispering, telling your little girly secrets all through the night. But you took care of each other. More like brothers than friends...</dialogue>
<scene_description>BACK TO THE PORCH - Conner nods, lost in thought. WE SEE - FOOTAGE OF ANOTHER OLD DRAMA BOYZ VIDEO...</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNER'S CHILDHOOD HOME - LIVING ROOM - NIGHT</stage_direction>
<scene_description>WE MATCH CUT and see the video is playing on the TV, Conner watches on the couch, pours some vodka in his tea.</scene_description>
<character>PAULA</character>
<dialogue>Okay, that's it, get off your ass, we're going out.</dialogue>
<character>CONNER</character>
<dialogue>Uch, no! I can't deal with the public right now.</dialogue>
<character>PAULA</character>
<dialogue>I'm not asking, Conner. Get the fuck up.</dialogue>
<character>CONNER</character>
<dialogue>Fine, I'll go. On one condition.</dialogue>
</scene>
<scene>
<stage_direction>INT. SACRAMENTO CAFE/CLUB - NIGHT</stage_direction>
<scene_description>A small, bohemian place is packed with hipsters. Leaning against the bar are Paula and Conner who wears a SUPER SHITTY PROSTHETICS DISGUISE.</scene_description>
<character>PAULA</character>
<dialogue>You look insane.</dialogue>
<character>CONNER</character>
<dialogue>I don't think it's working, people keep staring at me.</dialogue>
<character>PAULA</character>
<dialogue>That's because you look like the fucking Elephant Man, Conner.</dialogue>
<character>CONNER</character>
<dialogue>I do not. They must recognize the sparkle in my eyes. The human subconscious is a wondrous thing.</dialogue>
<scene_description>ON STAGE - a FOLKSY PERFORMER finishes his set.</scene_description>
<character>CONNER</character>
<dialogue>Man, The Omni, I haven't been here in years.</dialogue>
<scene_description>THE BARTENDER hands them two beers and they toast. MUSIC: A SUPER RAD BEAT kicks. Conner perks up.</scene_description>
<character>CONNER</character>
<dialogue>Ooh, that shit is tight.</dialogue>
<scene_description>Paula smiles. Conner turns to find the person performing on stage is OWEN. His music sounds gritty and interesting.</scene_description>
<character>CONNER</character>
<dialogue>Owen?</dialogue>
<character>PAULA</character>
<dialogue>He's been making stuff all year. And you never noticed.</dialogue>
<character>CONNER</character>
<dialogue>Alright, ghost of Christmas past.</dialogue>
<scene_description>ON STAGE - Owen is rocking it.</scene_description>
<character>CONNER</character>
<dialogue>Shit. He sounds great--</dialogue>
<scene_description>Just then Owen starts to sing the chorus. It's weird little VOCODER OUTBURSTS over the otherwise incredible instrumental.</scene_description>
<character>OWEN</character>
<dialogue>Yeah! Hey! Yeah! Woo! Woo!</dialogue>
<character>CONNER</character>
<dialogue>Huh.</dialogue>
<scene_description>JUMP CUT TO LATER - Owen signs autographs, Conner walks up in shitty disguise.</scene_description>
<character>CONNER</character>
<parenthetical>(pretend voice)</parenthetical>
<dialogue>Great show, Kid Contact. That was incredible.</dialogue>
<scene_description>Owen looks up from his autographs.</scene_description>
<character>OWEN</character>
<dialogue>Conner?</dialogue>
<character>CONNER</character>
<dialogue>Surprise!</dialogue>
<character>OWEN</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>What? What the fuck is on your face?</dialogue>
<character>CONNER</character>
<dialogue>Oh this? Had to rock the disguise, finally come check out my homie do his thang. You were great, man! Those beats are crazy.</dialogue>
<character>OWEN</character>
<dialogue>Thanks, man.</dialogue>
<character>CONNER</character>
<dialogue>Seriously, I'm impressed. My brain is like, already spinning on how you could get it out there big. If you got heat on the right blogs and the right satellite channels it could be huge. I could help.</dialogue>
<character>OWEN</character>
<dialogue>That's super generous, man, but, I think I might need to do this on my own, y'know?</dialogue>
<scene_description>This hits Conner.</scene_description>
<character>CONNER</character>
<dialogue>Oh. Ok. I get that.</dialogue>
<character>OWEN</character>
<dialogue>It really is nice of you to come though. It means a lot.</dialogue>
<character>CONNER</character>
<dialogue>Yeah, no problem. And, sorry, about the pancakes... with shit in 'em.</dialogue>
<parenthetical>(emotional)</parenthetical>
<dialogue>I took our friendship for granted. I wasn't being conner4real, I was being conner4fake...</dialogue>
<scene_description>He starts tearing up again.</scene_description>
<character>OWEN</character>
<dialogue>Come on, you're not conner4fake.</dialogue>
<character>CONNER</character>
<parenthetical>(crying)</parenthetical>
<dialogue>I am. I'm fucking conner4fake. And I'm sorry...</dialogue>
<scene_description>Conner looks awful, a piece of his disguise hangs off his face and dangles around. Owen can't take it, busts out laughing.</scene_description>
<character>OWEN</character>
<dialogue>Fuck, it's fine, man, I forgive you. You look so fucking dumb!!</dialogue>
<scene_description>Conner is self-conscious. Owen grabs him, gives him a hug. It's nice. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SACRAMENTO PRIVATE AIRPORT - DAY</stage_direction>
<scene_description>ON THE TARMAC - Owen boards the JET. Conner turns to Paula.</scene_description>
<character>CONNER</character>
<dialogue>So, thanks for all this. Snapping me out of it and whatnot.</dialogue>
<character>PAULA</character>
<dialogue>You're very welcome. Good luck, buddy.</dialogue>
<scene_description>They hug. It lingers a beat. Conner looks at Paula for a moment, then kisses her.</scene_description>
<character>PAULA</character>
<dialogue>Whoa, uh... no.</dialogue>
<scene_description>She pulls away.</scene_description>
<character>CONNER</character>
<dialogue>Sorry. But, you've never thought about it?</dialogue>
<character>PAULA</character>
<dialogue>Conner, I'm gay.</dialogue>
<character>CONNER</character>
<dialogue>What?</dialogue>
<character>PAULA</character>
<dialogue>Yeah. I can't believe you don't know that. We've known each other for like 10 years, dude.</dialogue>
<character>CONNER</character>
<dialogue>Oh, wow. I'm sorry.</dialogue>
<scene_description>Paula giggles.</scene_description>
<character>CONNER</character>
<dialogue>What?</dialogue>
<character>PAULA</character>
<dialogue>You wanted to have sex with me.</dialogue>
<character>CONNER</character>
<dialogue>No...</dialogue>
<character>PAULA</character>
<dialogue>That is so nasty. You wanted to like, get on top of my body and be all "Huuuuhhgggghhhhgghgggguuuuhh!"</dialogue>
<character>CONNER</character>
<dialogue>I'm gonna go.</dialogue>
<scene_description>Conner boards the plane.</scene_description>
<character>PAULA</character>
<dialogue>Okay, don't miss your flight, perv!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE JET - LATER</stage_direction>
<scene_description>Conner looks out the window. He smiles to himself.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAWRENCE'S FARM - DAY</stage_direction>
<scene_description>The peaceful mountains...</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN - CONTINUOUS</stage_direction>
<scene_description>Lawrence is doing a wood carving. He goes to put it on the shelf, notices something.</scene_description>
<character>LAWRENCE</character>
<dialogue>...the fuuuck?</dialogue>
<scene_description>He picks up a REAL GRAMMY AWARD.</scene_description>
<character>LAWRENCE</character>
<parenthetical>(to CAMERA CREW)</parenthetical>
<dialogue>Did you guys put this here?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAWRENCE'S FARM - MOMENTS LATER</stage_direction>
<scene_description>Lawrence steps out on his porch, still holding the Grammy. Stops when he sees: CONNER AND OWEN, standing in the yard.</scene_description>
<character>CONNER</character>
<dialogue>Hey, Lawrence.</dialogue>
<character>LAWRENCE</character>
<dialogue>Conner. Owen.</dialogue>
<character>OWEN</character>
<dialogue>Lawrence.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Conner.</dialogue>
<scene_description>Owen smiles at Conner, who gives him a weird look.</scene_description>
<character>CONNER</character>
<parenthetical>(re: Grammy)</parenthetical>
<dialogue>That's for you. To borrow. I figured we could take some pictures of you with it and you could post em or whatever.</dialogue>
<character>LAWRENCE</character>
<dialogue>Uh huh.</dialogue>
<scene_description>A beat. Owen nudges Conner.</scene_description>
<character>CONNER</character>
<dialogue>So, Lawrence, I came here to say: I'm sorry.</dialogue>
<scene_description>Lawrence stares.</scene_description>
<character>CONNER</character>
<dialogue>And, that's it. So, we're cool now.</dialogue>
<scene_description>Lawrence throws the Grammy as far as he can. They watch it disappear from sight.</scene_description>
<character>CONNER</character>
<dialogue>Lawrence! Come on, man! I'm gonna have to go find that now! You're such a turd!</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Oh my God, what do you want me to say? That you helped me on the catch phrase verse? Fine. You helped.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Fine you wrote a lot of it. Based on my catch phrases.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Which you also co-wrote.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Fine, wrote. While we were both in the room and I was dictating all the best parts.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Some of the best parts.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>None of the best parts. But tons of great stuff that I still don't know why you didn't use it.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>Because they sucked, okay? But I helped. I bought you food.</dialogue>
<character>CONNER</character>
<dialogue>I ordered pizzas and kept you hydrated-- Okay, you got the food, but I paid for it, and I didn't have a lot of money back then. You gotta give me that.</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>You paid for the food. But I paid you back!</dialogue>
<parenthetical>(Lawrence stares)</parenthetical>
<dialogue>I didn't? No? Okay I didn't do that! That's on me, I'll give you that! That's my bad. But I was there the whole time-- I was a little bit late. I was tardy that day I remember now. Cause there had been traffic-- there was no traffic. I lied about that, I overslept. On accident. It was on purpose. I wanted to send a message, it was a power move. And I own that. That's on me, as a man-- I did not act like a man.</dialogue>
<parenthetical>(choked up)</parenthetical>
<dialogue>I acted like a child. But after I got there. Late. I put in time. I left early. I was never there. I remember now. What had happened was I bailed. And you emailed me the verse. Now I remember! You had e- mailed it to me. Ohhh man. And I opened that email. Oh I'm owning this so hard right now. Opened up the email. You did a good job as I recall. Your temp was TIGHT. But guess who had to spell check it. You! Before you sent it. It was flawless! FLAWLESS, LAWRENCE! And I own that! HOWEVER. Your temp vocals were terrible. Your temp was pretty good. It was great. It was better than my verse. You wrote the whole verse for me. You wrote it. And I never gave you credit. Because no one ever asked. Because guess what? No one cares who writes things. They just care about who performed it. I mean, honestly, out of everybody on the whole fucking planet, the only person who has ever cared about who wrote it is YOU.</dialogue>
<scene_description>Conner finally stops, realizes what he's said.</scene_description>
<character>LAWRENCE</character>
<dialogue>Yep.</dialogue>
<character>CONNER</character>
<dialogue>God damnit... I'm sorry.</dialogue>
<scene_description>Lawrence nods.</scene_description>
<character>LAWRENCE</character>
<dialogue>Ok.</dialogue>
<character>OWEN</character>
<parenthetical>(super happy)</parenthetical>
<dialogue>See. That wasn't so hard, right? Should we get some lunch?</dialogue>
<character>LAWRENCE</character>
<dialogue>Sure, lemme just tell the guys.</dialogue>
</scene>
<scene>
<stage_direction>INT. HILLSIDE - DAY</stage_direction>
<scene_description>Conner, Owen and Lawrence walk over a hill REVEALING: HUNDREDS OF ACRES OF MARIJUANA. Owen and Conner stare. Lawrence speaks to the workers below via BULLHORN.</scene_description>
<character>LAWRENCE</character>
<dialogue>ESTE ES EL JEFE DUNN! \*\*\*\*\*\*\*\*\*\*\*\*\*</dialogue>
<character>SI ALGUIEN ME ROBA, SERÁN FUSILADOS</character>
<dialogue>EN EL ACTO!</dialogue>
<parenthetical>(This is Captain Dunn, I am taking the day off to hang with my friends from childhood. If anyone steals from me in my absence, they will be shot on sight.)</parenthetical>
<dialogue>The guys are in shock.</dialogue>
<character>CONNER</character>
<dialogue>What'd you say you were farming here again?</dialogue>
<scene_description>SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LAWRENCE'S CABIN - MOMENTS LATER</stage_direction>
</scene>
<scene>
<stage_direction>THE ROOM IS FILLED WITH WEED SMOKE, THEY SMOKE A GIANT JOINT.</stage_direction>
<scene_description>SONG: "BUDDHA BLESS" by The Drama Boyz??</scene_description>
<character>OWEN</character>
<dialogue>Fuuuuck, that is SO much weed!</dialogue>
<scene_description>THE TABLE is in fact COVERED IN WEED. Like, pounds. - They smoke and dick around. - A huge FLATSCREEN raises up out of an old chest. They play xbox/Wii. - They fish the Grammy out of a tree. - Lawrence drills a hole in the GRAMMY. - They roll around on a huge TRACTOR and smoke out of the Grammy which is now a BONG. - They hang and drink beers on the porch, stony.</scene_description>
<character>OWEN</character>
<dialogue>Yo, what was the song we did that was like "chilly willy billy is a silly bitty..."</dialogue>
<character>CONNER</character>
<dialogue>Oh yeah, what was that? It had that crazy snare.</dialogue>
<character>LAWRENCE</character>
<dialogue>We never finished it. That's why you can't remember.</dialogue>
<character>CONNER/OWEN</character>
<dialogue>Riiiiiiight...</dialogue>
<scene_description>The first notes of a cool beat take us to.. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN/STUDIO - MOMENTS LATER</stage_direction>
<scene_description>- The door creaks open. - Lawrence yanks a huge tarp up and reveals... A FULL SOUND-BOARD AND RECORDING STUDIO SET-UP. - The guys start recreating the song (placeholder, we will write a good one)</scene_description>
<character>OWEN</character>
<dialogue>Yeah, yeah that's it!</dialogue>
<character>CONNER/LAWRENCE</character>
<dialogue>Chilly willy billy was...</dialogue>
<character>OWEN</character>
<dialogue>No, it was Billy chilly willy!</dialogue>
<character>CONNER/LAWRENCE</character>
<dialogue>What?/ Noooo...</dialogue>
<scene_description>Conner's phone buzzes, it's Paula.</scene_description>
<character>OWEN</character>
<dialogue>Damn, Paula again? She's blowing you up.</dialogue>
<character>CONNER</character>
<dialogue>It's fine.</dialogue>
<scene_description>He hits ignore. Owen's phone start to ring.</scene_description>
<character>OWEN</character>
<dialogue>Oh shit. Now she's calling me.</dialogue>
<parenthetical>(answers)</parenthetical>
<dialogue>Hey, Paula! Yeah... yeah he's here. Hang on.</dialogue>
<parenthetical>(to Conner)</parenthetical>
<dialogue>It's Paula. She's got "a pressing question".</dialogue>
<scene_description>Conner looks confused, takes the phone and gets up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE BARN - MOMENTS LATER</stage_direction>
<scene_description>Conner talks to Paula. We subtitle her side.</scene_description>
<character>PAULA</character>
<parenthetical>(through phone)</parenthetical>
<dialogue>Where the hell have you been?</dialogue>
<character>CONNER</character>
<dialogue>I'm hangin with the guys. It's been super fun actually--</dialogue>
<character>PAULA</character>
<dialogue>Hold that thought, cuz you just got offered the Poppy Awards.</dialogue>
<character>CONNER</character>
<dialogue>What? I thought they're tonight.</dialogue>
<character>PAULA</character>
<dialogue>DJ Tommy Pizza got food poisoning, they want you to close the show with something from your new album, it's a huge slot, but they need an answer now.</dialogue>
<scene_description>Conner is torn, looks back in at the guys having a blast...</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN/STUDIO - MOMENTS LATER</stage_direction>
<scene_description>Owen and Lawrence are still at it. Conner re-enters.</scene_description>
<character>CONNER</character>
<dialogue>Yo. It was chilly willy dilly!</dialogue>
<character>OWEN/LAWRENCE</character>
<dialogue>Yeeeesss!!!</dialogue>
<character>CONNER</character>
<dialogue>Where's the mic case, Lawrence? Let's record this shit!</dialogue>
<character>OWEN</character>
<dialogue>What did Paula want?</dialogue>
<character>CONNER</character>
<dialogue>Nothing. They wanted me to do the Pop Awards but I passed on that shit. Should we record?</dialogue>
<scene_description>Owen and Lawrence stare at him.</scene_description>
<character>OWEN/LAWRENCE</character>
<dialogue>What??/ Why would you pass??</dialogue>
<character>CONNER</character>
<dialogue>I don't wanna do that shit. I'm hangin' with you guys.</dialogue>
<character>OWEN</character>
<dialogue>I guess.</dialogue>
<character>CONNER</character>
<dialogue>Seriously, I've had more fun in the past day than in the last 3 years.</dialogue>
<character>OWEN</character>
<dialogue>Who cares! It's the fuckin' Poppys!</dialogue>
<character>CONNER</character>
<dialogue>It's not important though. I'd rather have my friends.</dialogue>
<character>LAWRENCE</character>
<dialogue>That's nice. But you could also do the Poppys.</dialogue>
<character>CONNER</character>
<dialogue>You don't have to say that, guys.</dialogue>
<character>LAWRENCE</character>
<dialogue>Dude, you don't have to choose between your friends and being successful. You can do both. Just don't be an asshole about it.</dialogue>
<scene_description>Conner takes this in. Looks to Owen.</scene_description>
<character>OWEN</character>
<dialogue>Do it, man, go. We're good.</dialogue>
<scene_description>Conner is touched.</scene_description>
<character>CONNER</character>
<dialogue>Well, I'm not going alone.</dialogue>
<scene_description>UPBEAT MUSIC KICKS IN AS WE SMASH TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRIVATE AIRPORT - DAY</stage_direction>
<scene_description>They guys race towards a JET on the tarmac.</scene_description>
<character>OWEN</character>
<dialogue>Paula said we're on last so when we land we'll have 45 minutes to get from the airport to the stage.</dialogue>
<character>CONNER</character>
<dialogue>It's gonna be real close.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POPPYS - RED CARPET - TV BROADCAST</stage_direction>
<scene_description>Various establishing shots from the Poppys red carpet.</scene_description>
<character>VJ (V.O.)</character>
<dialogue>And the stars are starting to arrive for this years Pop Music Awards. The Poppys!</dialogue>
<scene_description>- USHER being interviewed.</scene_description>
<character>REPORTER</character>
<dialogue>Did you hear conner4real is closing the show tonight? They just announced it.</dialogue>
<character>USHER</character>
<dialogue>Oh, I love Conner! I've gotten like 6 girls pregnant to Bin Laden.</dialogue>
<scene_description>- KATY PERRY being interviewed.</scene_description>
<character>KATY PERRY</character>
<dialogue>I used to have such a crush on conner4real when I was little. I would lay on my bed and daydream that "Karate Guy" was about me.</dialogue>
</scene>
<scene>
<stage_direction>E/I. SUV - LA - SAME TIME</stage_direction>
<scene_description>The car flies down the highway, Paula has joined them. Conner and Owen frantically change clothes.</scene_description>
<character>PAULA</character>
<dialogue>Ok the sound guy has all your files and is loading them in.</dialogue>
<character>OWEN</character>
<dialogue>Great.</dialogue>
<scene_description>There is a beat...</scene_description>
<character>PAULA</character>
<dialogue>Conner tried to kiss me.</dialogue>
<character>OWEN/LAWRENCE</character>
<dialogue>Whhhhaaaat!/Seriously?</dialogue>
<character>CONNER</character>
<dialogue>Please don't--</dialogue>
<character>PAULA</character>
<dialogue>I think it's because he thinks I'm so pretty and wants to touch my skin and brush my hair.</dialogue>
<character>CONNER</character>
<dialogue>You guys are dicks.</dialogue>
<character>PAULA/OWEN/LAWRENCE</character>
<dialogue>Conner!/ Language!/ Name-calling!</dialogue>
</scene>
<scene>
<stage_direction>INT. VMAS - STAGE</stage_direction>
<scene_description>ONE DIRECTION is rocking their new jam "TURN UP THE BEEF".</scene_description>
<character>ONE DIRECTION</character>
<dialogue>Un poco picante, un poco picante/ it's a little bit spicy/ El Burro es grande, El burro es grande/ That's a really big donkey!/ Turn up the beef/ Throw your body on the flame/ Let your meat release/Juices dripping down like rain/</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE - SAME TIME</stage_direction>
<scene_description>Conner et al rush down a backstage hallway. They run into another HUGE ENTOURAGE, which is followed by another camera crew. It's Hunter, with Sponge and Eddie and Harry.</scene_description>
<character>HUNTER</character>
<dialogue>Oh shit! Conner, what's up, man!</dialogue>
<character>CONNER</character>
<dialogue>What's up. We gotta get through here, I'm going on soon.</dialogue>
<character>HUNTER</character>
<dialogue>Word, but say what's up to my doc real quick though!</dialogue>
<scene_description>He points at a new camera, we switch over to his camera's footage. Conner waves half-heartedly.</scene_description>
<character>CONNER</character>
<dialogue>Hi.</dialogue>
<character>HUNTER</character>
<dialogue>So crazy, right? It's like, we both have doc's, but now I'm rolling with Harry, and these guys, and Aquaspin, y'know?</dialogue>
<character>CONNER</character>
<dialogue>Yup. Pretty crazy.</dialogue>
<scene_description>Conner nods at Harry, Sponge and Eddie, who all nod back.</scene_description>
<character>HUNTER</character>
<dialogue>Anyways, good to see you, bruh!</dialogue>
<parenthetical>(turns to camera)</parenthetical>
<dialogue>This is Hunter the Hungry about to go present--</dialogue>
<character>DIRECTOR (O.C.)</character>
<dialogue>Actually, this isn't your camera. We're with Conner.</dialogue>
<character>HUNTER</character>
<dialogue>Oh shit, my bad. So where's my--ok</dialogue>
<parenthetical>(turns into a new camera)</parenthetical>
<dialogue>This is Hunter, about to head in--</dialogue>
<character>OTHER DIRECTOR (O.C.)</character>
<dialogue>Nope, not this one either. We're with Michael Bolton.</dialogue>
<scene_description>Camera pans off Hunter to find BOLTON also in the hallway.</scene_description>
<character>MICHAEL BOLTON</character>
<dialogue>Heyyo! Welcome to Bolton-vision!</dialogue>
<scene_description>WE CUT WIDE revealing ALL THREE CAMERA CREWS, IT'S A MESS.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRE-STAGE HOLDING AREA - MOMENTS LATER</stage_direction>
<scene_description>A STAGE MANAGER leads the guys to the "on deck circle".</scene_description>
<character>STAGE MANAGER</character>
<dialogue>5 minutes, Conner. Good luck.</dialogue>
<character>LAWRENCE</character>
<dialogue>Okay, I'll see you guys after.</dialogue>
<character>CONNER</character>
<dialogue>Nah, stay with us, watch from here.</dialogue>
<scene_description>Lawrence smiles. ON A MONITOR - The live feed VMAs already in progress. Hunter is doing patter with CAMERON DIAZ ON STAGE.</scene_description>
<character>HUNTER</character>
<dialogue>Cameron, your hair looks amazing. Did you know that Aquaspin now makes hair dryers and flat irons?</dialogue>
<character>CAMERON DIAZ</character>
<dialogue>Um, who cares?</dialogue>
<scene_description>The audience laughs.</scene_description>
<character>HUNTER</character>
<parenthetical>(thrown)</parenthetical>
<dialogue>Oh, um. You're supposed to say something else.</dialogue>
<character>CAMERON DIAZ (ON TV)</character>
<dialogue>I don't do ads. And the Poppy goes to- 15 Reasons To Suck, Surfer Guy!</dialogue>
<scene_description>Three DOUCHEBAG ROCKERS make their way on stage. CONNER, OWEN and LAWRENCE, watch on TV -</scene_description>
<character>OWEN</character>
<dialogue>Ooh upset. Lady Mop was supposed to win that.</dialogue>
<character>CONNER/LAWRENCE</character>
<dialogue>Love them/ They're good.</dialogue>
<scene_description>PAULA walks up with the SOUND ENGINEER.</scene_description>
<character>PAULA</character>
<dialogue>Guys, this is Sam, the sound guy, any last minute instructions?</dialogue>
<character>SAM</character>
<dialogue>Do you guys have the files for me?</dialogue>
<character>PAULA</character>
<dialogue>You don't have the files?</dialogue>
<character>CONNER</character>
<dialogue>We're about to go on, is there no music in the system?</dialogue>
<scene_description>ON STAGE - EVA MENDES intros Conner</scene_description>
<character>EVA MENDES</character>
<dialogue>Our final performer tonight is truly a living guy...</dialogue>
<scene_description>BACKSTAGE -</scene_description>
<character>CONNER</character>
<dialogue>She's introducing me. What are we going to do!? There's no music!</dialogue>
<character>LAWRENCE</character>
<dialogue>Maybe you don't need music.</dialogue>
<character>CONNER</character>
<dialogue>What?</dialogue>
<scene_description>Owen smiles. Conner smiles.</scene_description>
<character>EVA MENDES (O.S.)</character>
<dialogue>Please welcome, CONNER4REAL!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. VMAS - STAGE - TV BROADCAST</stage_direction>
<scene_description>Spotlight up on Conner, Lawrence and Owen. No Music. The three guys start performing Me Likey That acapella.</scene_description>
<character>CONNER/OWEN/LAWRENCE</character>
<dialogue>Wheeeeeen/ the ladies blow us kisses/ Me likey that/ when ya mama does my dishes/ me likey that/ when a genie grants wishes about ladies blowing kisses and ya mama doing dishes/ me likey that...</dialogue>
<scene_description>The crowd starts to recognize it, nod along... BACKSTAGE - Harry rushes up to Paula, watching.</scene_description>
<character>HARRY</character>
<dialogue>Why is there no music?</dialogue>
<character>PAULA</character>
<dialogue>The sound guy lost the drive.</dialogue>
<character>HARRY</character>
<dialogue>What do you need? I have everything.</dialogue>
<scene_description>He reaches in his pocket, pulls out a USB THUMB DRIVE.</scene_description>
<character>PAULA</character>
<dialogue>You carry all of Conner's performance tracks with you?</dialogue>
<character>HARRY</character>
<dialogue>Of course. I'm his manager.</dialogue>
<scene_description>ON STAGE - The guys continue to rock it. The song builds and builds, like it's ready to pop... when Conner notices: SIDE STAGE - PAULA waves her arms at Conner, points to... HARRY, gives an apologetic shrug, points to USB DRIVE. Conner's eyes widen. Harry counts him in 3, 2, 1. THE BEAT DROPS IN HUGE!!!! The crowd goes apeshit! The guys start destroying, the song has never sounded better. CONNER points at ASHLEY, she points back and dances. STOCK FOOTAGE - People go nuts. TAYLOR SWIFT DANCES TOO HARD. HARRY AND PAULA stand in the wings, WALLY chats them up.</scene_description>
<character>WALLY</character>
<dialogue>It goes without saying we want Conner back on the tour, social media is going fuckin ba-NAR-NARS.</dialogue>
<character>HARRY</character>
<dialogue>Fuck off, Wally.</dialogue>
<character>WALLY</character>
<dialogue>You're a shark, Harry. I like you.</dialogue>
<scene_description>The song hits the final chorus and they go into the same call and response part from their infamous Coachella performance.</scene_description>
<character>CONNER</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Let's see those hands in the air!</dialogue>
<parenthetical>(aside to Owen/Lawrence)</parenthetical>
<dialogue>I love you guys.</dialogue>
<character>OWEN</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Say make money, money! Make money, money, money!</dialogue>
<parenthetical>(aside)</parenthetical>
<dialogue>Let's have a fucking slumber party tonight!</dialogue>
<character>LAWRENCE</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Drama Boyz! Drama Boyz!</dialogue>
<parenthetical>(aside)</parenthetical>
<dialogue>Let's all marry the same woman and live on a commune!!</dialogue>
<scene_description>The Drama Boyz have just crushed the Poppies.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Everyone's career is on a wave...</dialogue>
<scene_description>SLO-MO - They come off stage and get swarmed by PEOPLE. CONNER gives HARRY a big hug, he beams.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Sometimes you're up...</dialogue>
<scene_description>HUNTER watches, all alone.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>Sometimes you're down.</dialogue>
<scene_description>PAULA hugs Conner, he tries a kiss, she smooshes his face.</scene_description>
<character>CONNER (V.O.)</character>
<dialogue>The trick is not to lose yourself along the way...</dialogue>
<scene_description>- A COMPUTER SCREEN, WE'RE IN ONE OF CONNER'S CONFESSIONS:</scene_description>
<character>CONNER</character>
<dialogue>And when you're up, don't be an asshole about it. And that's, conner4real.</dialogue>
<scene_description>CUT TO BLACK.: DRAMA BOYZ PERFORM OVER CREDITS.</scene_description>
</scene>
</script> | Conner Friel is a musical prodigy at an early age, and he forms a pop rap group dubbed "The Style Boyz" with his childhood friends Lawrence Dunn and Owen Bouchard. They almost instantly gain fame in the music industry and inspire many of today's musicians. However, after failing to receive credit for writing Conner's guest verse on a popular single, Lawrence leaves. After the Style Boyz disband, Conner begins a solo act, taking on the name "Conner4Real", with Owen as his DJ while being supported by his mother Tilly. Lawrence begins farming in Colorado after a failed attempt at going solo. Conner's debut album Thriller, Also rockets to the top of the charts, and his fame increases. In 2015, Conner releases his sophomore album, Connquest, which is heavily panned due to his writing every song himself and using hundreds of different producers rather than Owen's original beats. With low sales, Conner's manager Harry suggests having Aquaspin, a home appliance manufacturer, sponsor the tour as they meet with its representative, Deborah. The company's appliances begin playing Conner's songs when in use, causing a nationwide power outage. Conner begins his tour, but the shows do not sell as well as he had hoped. Harry suggests they hire hip-hop artist Hunter the Hungry as an opening act, and the ticket sales begin to rise. Conner adds new gimmicks to his act, including a robotic mask for Owen, and publicizes his relationship with actress Ashley Wednesday. But when a trick is seemingly botched in Nashville, Conner is exposed naked (without his penis visible) mid-concert and becomes the subject of mockery. Conner's publicist Paula Klein suggests he pull another publicity stunt to deflect attention from his humiliation. Conner decides to propose to Ashley on live TV, with a display including several trained Party Wolves and a performance by Seal. Seal's vocals agitate the wolves, and they break loose, mauling the attendees. A news report states that Seal sued Conner for his injuries as Seal's fans talk bad about Conner. Seal fights one of them, but gets attacked by another one as Conner, Ashley, and Harry flee in their limo. After the incident, Conner and Owen end up as guests on The Tonight Show Starring Jimmy Fallon. Sometime later, a news report states that Ashley has broken up with Conner. Worried about the declining quality of his friend's music, Owen sets up a meeting between himself, Conner, and Lawrence in the hopes of bringing them back together, like The Parent Trap. The reunion ends poorly when Conner refuses to acknowledge that Lawrence wrote the track that launched his career. As the solo tour progresses, Hunter's career takes off, selling more records than Conner and extending his opening performances. At one of the concerts, Hunter announces that he will not leave the stage, angering Conner. Conner rushes the stage, but a brawl ensues when Hunter admits that he orchestrated Conner's wardrobe malfunction. Conner demands that Harry fire Hunter as the opener, but when Harry refuses, he discovers that Harry has signed Hunter. Conner fires Harry. Connquest is later knocked off the charts, and Aquaspin decides to pull their sponsorship. After talking about how he thought he can trust Harry, Seal (who Ashley married), and that Yelp review on PartyWolves.com, Conner tests Owen and his yes men's loyalty by making them pancakes mixed with dog feces, which causes Owen to leave the crew. After his beloved pet turtle Maximus dies and a fight with Martin Sheen, Conner sinks into a depression and moves back into Tilly's house while Tilly is away with Fall Out Boy. He begins drinking heavily and starts selling childish horse drawings online. Checking up on Connor, Paula forces Conner to leave the house and takes him to a club featuring Owen. Conner and Owen reconcile and decide to finally make amends with Lawrence. Conner gives Lawrence his Poppy music award, apologizes, and acknowledges his contributions. As the three get high and collaborate in Lawrence's studio, Conner receives news from Paula that a six-minute slot has opened for Conner to perform at the Poppy Music Awards due to Taylor Swift being arrested for murder. With encouragement from his friends, he decides to reunite the Style Boyz. At the Poppys, Hunter and Mariah Carey argue on stage, and Harry orders Hunter to find himself a new manager after being insulted by him. Conner reconciles with Harry and later finds out that the six-minute slot has been shortened to three, forcing him to perform either a Conner4Real song or a Style Boyz song. Conner decides to perform the Style Boyz's new song "Incredible Thoughts" featuring Michael Bolton. As Hunter leaves in defeat, Conner reflects on his lessons and the value of holding onto relationships after reaching stardom while also wondering if Lawrence knew a crew member who kissed him and why Deborah is backstage. Conner introduces a new baby turtle named Maximus II before one of the Party Wolves attacks him. During the credits, the CMZ reporters talk about the Style Boyz getting back together. While they note that they don't hang out much outside of their work, the lead reporter does ask if they have a picture of James Franco leaving a restaurant. |
Black Rain_1989 | tt0096933 | <script>
<scene>
<stage_direction>BLACK RAIN</stage_direction>
<scene_description>Various voices : `` Big six '' . `` That 's six the hard way '' . `` Seven or eleven '' . `` Play two '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE - NEW YORK CITY - NIGHT</stage_direction>
<scene_description>One of the pristine blocks of brownstones where even the garbage seems gift wrapped . The VOICES continue over as we move in on a particular building where a DOORMAN is holding open the door for a dowager and her poodle . The voices continue : `` Hit me '' . `` Double down '' . `` Let it ride '' . `` Hit me '' . `` Anymore for the come out '' . `` Card '' . In contrast to the outside of this sedate , quiet brownstone , we go inside to find .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE APARTMENT</stage_direction>
<scene_description>a miniature Las Vegas , complete with music , drinks , tuxedoed dealers and croupiers : roulette , craps , Black Jack . Wall to wall people . The fact that casino gambling happens to be illegal in New York does n't stop these Connecticut slummers , hollow - cheek nightlifers , and junior wiseguys from having a good time . AT THE CARD TABLE NICK CONKLIN , holding a dollar cigar , is trying to pull a winning hand . In his late thirties , Nick has the sort of quiet good looks that takes an extra glance to appreciate . His Moe Ginsburg rent - a - tux is too tight , his ruffled shirt , out of date ; Nick could care less . Two other players are still in the game . One of them is a lithe DEBUTANTE surrounded by an entourage of giggling friends and tuxedoed men . The pot is huge . Nick flips two one hundred dollar chips onto the pot .</scene_description>
<character>NICK</character>
<dialogue>One, and one on top.</dialogue>
<character>DEALER</character>
<dialogue>House sees.</dialogue>
<character>PLAYER ONE</character>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>I'm out.</dialogue>
<scene_description>Disgusted , he throws down his cards . It 's down to Nick and the debutante . The cocky deb gives Nick a long look , confident she can win .</scene_description>
<character>DEBUTANTE</character>
<parenthetical>( her eyes still on Nick . )</parenthetical>
<dialogue>I see the deuce, and one to chase them home.</dialogue>
<scene_description>She throws her chips on the pot . Nick hesitates , then decides to match it .</scene_description>
<character>NICK</character>
<dialogue>Call.</dialogue>
<character>DEBUTANTE</character>
<parenthetical>( showing her hand . )</parenthetical>
<dialogue>Ladies, aces wired. Sorry sport.</dialogue>
<scene_description>Nick turns over his cards , Jacks and tens , not good enough to win . Elated , the deb gets up from the table and joins her giggling friends . Nick walks over to her .</scene_description>
<character>NICK</character>
<dialogue>Very nice, Barbie.</dialogue>
<parenthetical>( pointing toward her boyfriend . )</parenthetical>
<dialogue>Now, I'd take Ken over there and go home.</dialogue>
<character>DEBUTANTE</character>
<dialogue>Why's that?</dialogue>
<character>NICK</character>
<dialogue>It's time. That's all.</dialogue>
<character>BOYFRIEND</character>
<dialogue>The lady wants to play. Someone should teach you to be a better loser, loser.</dialogue>
<character>NICK</character>
<dialogue>Listen, Ken -</dialogue>
<character>BOYFRIEND</character>
<dialogue>My name is not Ken -</dialogue>
<character>NICK</character>
<dialogue>- I'm offering you the benefit of my experience.</dialogue>
<character>DEBUTANTE</character>
<dialogue>Looks like you have a lot of experience in places like this. It was nice of them to relax the dress code for you.</dialogue>
<scene_description>That draws a laugh from her friends . The entourage heads for the bar . CHARLIE SKLOARIS , twenty - three , steps in front of the debutante , blocking her path . She steps to the side . Charlie steps with her . Charlie 's pushing it , he 's always pushing it . She 's not amused . Finally , Charlie lets her pass . He comes up to Nick .</scene_description>
<character>CHARLIE</character>
<dialogue>Typical New York woman, big attitude, small apartment, no tits.</dialogue>
<scene_description>Only two things count to Charlie : his job and his women , but not necessarily in that order .</scene_description>
<character>CHARLIE</character>
<dialogue>I think she got to you, pappy.</dialogue>
<character>NICK</character>
<parenthetical>( checking his watch . )</parenthetical>
<dialogue>You want a popsicle, go to Good Humor. And do n't call me ` pappy.'</dialogue>
<character>CHARLIE</character>
<parenthetical>( glancing at the door . )</parenthetical>
<dialogue>Still, you got ta wonder how she'd look in handcuffs.</dialogue>
<scene_description>Nick , wary , eyes this kid . Charlie shrugs , spreads his arms defensively . The SOUND of pounding on the front door . THE DOOR splinters . The bouncer steps back as four helmeted emergency service officers - the first members of the raiding party - rush in . Pandemonium . People rush for the exit - any exit . AT THE BAR Nick and Charlie hold up their glasses .</scene_description>
<character>NICK</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Alley oop.</dialogue>
<scene_description>They down their drinks , then set them down . Charlie pulls out the Binaca , offering Nick a spritz , but Nick is already pulling out his POLICE BADGE and hanging it around his neck . Charlie quickly follows suit . A HALF DOZEN COPS line the patrons up against the wall . The Asst. D.A. , PATTY ZACHARA , climbs onto the crap table . A petite , nervous woman , Patty has dressed in a Channel suit for the occasion .</scene_description>
<character>ZACHARA</character>
<dialogue>Settle down. Hey, quiet. Please.</dialogue>
<scene_description>Not a prayer .</scene_description>
<character>NICK</character>
<dialogue>SHUT THE HELL UP, GODDAMNIT!</dialogue>
<scene_description>That quiets them .</scene_description>
<character>NICK</character>
<dialogue>My name is Conklin. Let's do this fast so I can go home.</dialogue>
<scene_description>Zachara , annoyed , looks at Nick .</scene_description>
<character>NICK</character>
<parenthetical>( softer . )</parenthetical>
<dialogue>It's all yours.</dialogue>
<character>ZACHARA</character>
<parenthetical>( reads . )</parenthetical>
<dialogue>Under section 216 of the New York State Penal code, I serve notice that this premise and it's occupants.</dialogue>
<scene_description>NICK catches the Debutante 's eye across the room . She smiles at him , he was right . He shrugs , spreads his hands . That 's life . A well groomed middle aged man , who we 'll come to know as CAVELLO , suddenly bolts from the crowd lined up against the wall . Charlie spins around to stop him -</scene_description>
<character>CHARLIE</character>
<dialogue>Whoa - where do you think you're going, hotdog.</dialogue>
<scene_description>Cavello butts him with his head , sending Charlie to the floor . Then , crosses his arms in front of his face and plunges through the WINDOW . Nick , not missing a beat , gives a small sigh as he follows .</scene_description>
<character>NICK</character>
<parenthetical>( sighs . )</parenthetical>
<dialogue>Fabulous.</dialogue>
<scene_description>He takes off after him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET UPPER EAST SIDE - NIGHT</stage_direction>
<scene_description>Nick , short of breath , chases Cavello down the residential street , past the dog - walkers , past the doormen , past the fur - coated women climbing out of taxies . Unfortunately , Cavello has a good half block on him . From nowhere , Charlie blasts past leaving Nick a half block behind , silently cursing his age . AT THE CORNER a limo jerks to a halt , and Cavello jumps in . The limo streaks away . CHARLIE turns to see Nick , hands on knees , gasping for air .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER ROOM - TWO EIGHT PRECINCT - NIGHT</stage_direction>
<scene_description>Now in their street clothes , Charlie and Nick stand in front of the mirrors . Charlie is working his brush and hair dryer as if his life depended on it . Nick , in contrast , shoves his hair back with his fingers and glowers at himself in the mirror .</scene_description>
<character>CHARLIE</character>
<parenthetical>( over the dryer . )</parenthetical>
<dialogue>. It's not like you were slow or anything. I think you did just fine. I think you did great.</dialogue>
<character>NICK</character>
<dialogue>Thanks.</dialogue>
<scene_description>Nick turns to leave .</scene_description>
<character>CHARLIE</character>
<dialogue>Hey, hey, where you goin'?</dialogue>
<character>NICK</character>
<dialogue>Home.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POLICE PARKING LOT - NIGHT</stage_direction>
<scene_description>Nick strides out the door . Charlie hurries after him .</scene_description>
<character>CHARLIE</character>
<dialogue>Wait up. You know the guy who did the Weismuller through the window -</dialogue>
<character>NICK</character>
<dialogue>- Cavello. Ronnie Cavello.</dialogue>
<scene_description>Charlie trails Nick to his motorcycle : a Harley hog complete with wide gleaming fenders and twin tanks . The bike is held together with tape and baling wire .</scene_description>
<character>CHARLIE</character>
<dialogue>You know him?</dialogue>
<scene_description>Nick tries to kick - start this behemoth , but it 's not easy .</scene_description>
<character>NICK</character>
<dialogue>He works for Frank Abolofia. Atlantic City. Casinos.</dialogue>
<character>CHARLIE</character>
<dialogue>So why dive through the glass for a nickel and dime bust?</dialogue>
<scene_description>Charlie puts his foot up on Nick 's fender to tie his shoe . Nick , spotting an ankle holster peeking from Charlie 's sock , grabs Charlie 's foot . Charlie teeters .</scene_description>
<character>NICK</character>
<dialogue>What's this?</dialogue>
<character>CHARLIE</character>
<dialogue>Let go.</dialogue>
<scene_description>Nick pulls out a Beretta 32 .</scene_description>
<character>CHARLIE</character>
<dialogue>Back - up.</dialogue>
<character>NICK</character>
<dialogue>Get rid of it.</dialogue>
<character>CHARLIE</character>
<dialogue>Why?</dialogue>
<character>NICK</character>
<dialogue>It's not regulation. And the only way you're gon na stop anybody with it is to show it to him, and while he's laughing, you can shove it down his throat.</dialogue>
<character>CHARLIE</character>
<parenthetical>( looking at Nick 's bike . )</parenthetical>
<dialogue>I'll get rid of it when you get rid of the egg - beater.</dialogue>
<scene_description>The Harley comes to life spitting a cloud of blue smoke . Nick puts on his paint - flecked helmet , slides down some ski goggles .</scene_description>
<character>CHARLIE</character>
<dialogue>Nick, let's go hunting. Bag Cavello.</dialogue>
<character>NICK</character>
<dialogue>Charlie.</dialogue>
<scene_description>Nick pops the bike into gear .</scene_description>
<character>NICK</character>
<dialogue>You still got shaving cream on your ear.</dialogue>
<scene_description>Nick rolls out and disappears in a haze of blue smoke .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELT PARKWAY - VERRAZANO BRIDGE - NIGHT</stage_direction>
<scene_description>WE FIND Nick , a lonely , solitary figure bobbing in and out of the lights and shadows . The SOUND of wind whips through his helmet ; cold air stings his cheeks . The tail lights of Nick 's bike disappear into the night .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN STREET - STATEN ISLAND - NIGHT</stage_direction>
<scene_description>Civil service heaven . Nick hits the cut switch and glides past the manicured lawns and well kept houses of this development . A basketball net in every driveway , a Buick or Chrysler in every garage . One house sticks out . The lawn is brown , paint is peeling off the garage door and newspapers are scattered on the driveway . Nick glides once around the cul de sac looking at the house . His house . It 's as inviting as an open grave . He shoots away .</scene_description>
</scene>
<scene>
<stage_direction>INT. EL GRECO DINER - STATEN ISLAND - NIGHT</stage_direction>
<scene_description>A hanger sized roadhouse , wall to wall red velvet . Nick 's the sole figure at the counter , coffee and the Daily News in front of him . A NURSE walks in and sits down a half dozen seats away . Nick look up .</scene_description>
<character>NICK</character>
<dialogue>Short shift?</dialogue>
<character>CONNIE</character>
<dialogue>Yeah. I came to save you. If you're hopeless, I'll pull the plug.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNIE'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>Nick and Connie are in bed . They 're both looking up at the ceiling . They 've just made love .</scene_description>
<character>CONNIE</character>
<dialogue>It's getting too cold even for me, Nick.</dialogue>
<character>NICK</character>
<dialogue>Connie.</dialogue>
<character>CONNIE</character>
<dialogue>All right, how's the new partner?</dialogue>
<character>NICK</character>
<dialogue>High spirits, desire, commitment.</dialogue>
<character>CONNIE</character>
<dialogue>You'll take care of that.</dialogue>
<character>NICK</character>
<dialogue>Give me a break, would you?</dialogue>
<character>CONNIE</character>
<dialogue>If you give me one.</dialogue>
<scene_description>Nick kisses her . The first suggestion of real affection . The SOUND of someone KNOCKING on the door . Reluctantly , they stop . Connie gets up and puts on her robe .</scene_description>
<character>NICK</character>
<dialogue>Are you expecting anyone?</dialogue>
<character>CONNIE</character>
<dialogue>I was n't expecting you.</dialogue>
<scene_description>She disappears down the hallway . We HEAR the door open , then telling someone to wait .</scene_description>
<character>CONNIE</character>
<parenthetical>( poking her head in the room . )</parenthetical>
<dialogue>Imagine a small, greasy Boy Scout.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONNIE'S APARTMENT</stage_direction>
<scene_description>Nick , wearing only his pants , is doing a slow burn . Charlie is holding his hands up defensively .</scene_description>
<character>CHARLIE</character>
<dialogue>I found the goombah. Cavello. He's -</dialogue>
<character>NICK</character>
<dialogue>- I should tear your head off.</dialogue>
<character>CHARLIE</character>
<dialogue>Whoa, I knew you were going to say that. I absolutely anticipated that, Nick. But I said to myself, Charlie, Charlie, we can move up on this, so go find Nicklaus. He'll be pissed for a moment, but then it'll dawn on him -</dialogue>
<character>NICK</character>
<dialogue>- Hey, I got a better chance of being hit by a bus then moving up.</dialogue>
<scene_description>Charlie looks away momentarily , letting it slide . He knows he 's on sensitive ground .</scene_description>
<character>CHARLIE</character>
<dialogue>Look. they told me at the Greek's you were here. I'm sorry, I never imagined.</dialogue>
<character>CHARLIE</character>
<parenthetical>( buddy buddy . )</parenthetical>
<dialogue>I like her. She's nice.</dialogue>
<parenthetical>( lowering his voice . )</parenthetical>
<dialogue>For her age.</dialogue>
<scene_description>The bedroom door opens . Connie enters , dumps Nick 's clothes on the couch , tosses his gun on top of the pile . Without a word , she goes back inside and slams the door behind her . Nick , pissed , slowly turns to face Charlie . Charlie shrugs . Nick 's got nothing better to do than go .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIME HOUSE - CHINATOWN - NIGHT</stage_direction>
<scene_description>The Lime House is a little piece of Italy in the heart of Chinatown , and tonight , it 's packed . Any selection on the jukebox that is n't Frank Sinatra is Jerry Vale . Behind the bar are two fat BROTHERS . One pours drinks , the other dishes out Scungilli . It 's three a.m. It 's always three a.m. at the Lime House . AT THE BACK TABLE Our man CAVELLO is unloading steaming Scungilli onto an already heaping plate in front of an imperious looking JAPANESE MAN . The Japanese Man , in his mid - fifties , wears a gray suit , and not a strand of his jet black hair is out of place . A Japanese TRANSLATOR , doing his best to translate Cavello 's heavily accented English , sits between them . AT THE BAR Charlie is looking straight ahead , afraid Cavello might peg him . Nick is at ease .</scene_description>
<character>CHARLIE</character>
<dialogue>What are they doing now?</dialogue>
<character>NICK</character>
<dialogue>Eating Scungilli, just like the last time you asked.</dialogue>
<character>CHARLIE</character>
<dialogue>Who do you think the Jap is?</dialogue>
<character>NICK</character>
<dialogue>Maybe Cavello's buying a Subaru. How would I know?</dialogue>
<character>CHARLIE</character>
<dialogue>I do n't blame you for being sore. It'll pass when we bag him.</dialogue>
<scene_description>Charlie , trying to relax , gestures toward his foot .</scene_description>
<character>CHARLIE</character>
<dialogue>Whatdaya think? ` Bostonians'. Eighty - five bucks.</dialogue>
<parenthetical>( lowering his voice . )</parenthetical>
<dialogue>Girls go for shoes. Second place they look.</dialogue>
<parenthetical>( off Nick 's reaction . )</parenthetical>
<dialogue>Hey, I read it in a magazine.</dialogue>
<scene_description>Nick 's attention is drawn to a trio walking in the door .</scene_description>
<character>NICK</character>
<parenthetical>( dead serious . )</parenthetical>
<dialogue>Charlie, do n't do anything. Promise me?</dialogue>
<character>CHARLIE</character>
<dialogue>What?</dialogue>
<scene_description>WHAT THEY SEE : TWO BODYGUARDS are making a quick sweep of the bar . FRANK ABOLOFIA , s stocky man with silver grey hair , sweeps in behind them . Abolofia has mitts like a meat packer and a fifty dollar manicure . A heavyweight Mafioso .</scene_description>
<character>NICK</character>
<dialogue>Frank Abolofia.</dialogue>
<character>CHARLIE</character>
<dialogue>The Wolf?</dialogue>
<scene_description>Abolofia walks to Cavello 's table . All rise and shake hands . The two hitters take seats at the bar . The two brothers scramble to serve their distinguished guests .</scene_description>
<character>NICK</character>
<parenthetical>( in a whisper . )</parenthetical>
<dialogue>Some party.</dialogue>
<character>CHARLIE</character>
<dialogue>Maybe we should do something?</dialogue>
<character>NICK</character>
<dialogue>Charlie, take your gum, stick it under your ass and keep it warm.</dialogue>
<scene_description>Nick turns away , resumes his drink . NICK 'S POV IN THE MIRROR BEHIND THE BAR : two new Japanese men step in the door . Early twenties , spiky hair , dark Versace suits . NUMBER ONE wears tortoise shell shades . He coolly checks out the room then nods to - NUMBER TWO who pulls a Spas 12 , automatic shotgun from under his coat , and spits out three rounds . A window shatters . Everyone hits the floor . NUMBER ONE slowly walks toward Cavello 's table . NUMBER TWO covers the floor . Abolofia 's bodyguards show their empty hands . NICK AND CHARLIE on the floor . They do n't have the artillery for this guy either . AT THE TABLE Our Japanese businessman knows these people . He eyes them contemptuously . Abolofia has put enough people in this situation to be philosophical about it . He stops chewing . A tiny hand motion to his bodyguards is enough to stop any precipitous action .</scene_description>
<character>NUMBER ONE</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Give it to me.</dialogue>
<scene_description>The Japanese businessman looking straight ahead . A long , silent pause . Then , still not facing him :</scene_description>
<character>BUSINESSMAN</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Go to hell.</dialogue>
<scene_description>Number One slips his fingers beneath his shades , massaging his eyes . IN A FLASH , he pulls a shuto from under his coat . The 18 inch blade gleams like a neon tube . He presses the tip of the blade against the businessman 's throat . CHARLIE his hand close around the grip of the Beretta . He unsnaps the ankle holster . The SNAP can be heard across the room . Nick 's hand closes around Charlie 's and squeezes till the knuckles turn white .</scene_description>
<character>CHARLIE</character>
<parenthetical>( in a whisper . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>NICK</character>
<dialogue>Saving your life.</dialogue>
<scene_description>NUMBER TWO levels the scattergun at Nick and Charlie . AT THE TABLE - NUMBER ONE calmly holds the blade at the man 's throat as he reaches into the man 's jacket and removes a small , rectangular , plastic - wrapped parcel . He feels its weight , then flips it to NUMBER TWO . Abolofia , realizing that whatever is going on does n't affect him or his , resumes eating .</scene_description>
<character>ABOLOFIA</character>
<dialogue>You people are wild. Wild.</dialogue>
<scene_description>NUMBER ONE backs the blade off . The man raises his napkin to the small wound . A droplet of blood has stained his shirt collar . NUMBER ONE turns around as if to leave . What happens next could be a whim , an after thought . Number One spins around and THRUSTS the blade deep into the man 's chest . He withdraws it with a half twist , and in the same motion fatally slashes the translator 's throat before the old man 's body hits the floor . Blood pours from the businessman 's mouth onto his Scungilli , spreading across the white cloth and onto the floor . CAVELLO reaches for a gun under his coat . But NUMBER TWO pumps two rounds into his face . At this range , there 's not much left . The killers slowly back out the door , covering the room with the scattergun . The minute the door shuts , Nick leaps up , pulling his shield and revolver .</scene_description>
<character>NICK</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Police officers. Everybody stay put.</dialogue>
<parenthetical>( to Charlie . )</parenthetical>
<dialogue>Get back up.</dialogue>
<scene_description>Abolofia 's eyebrows rise at this development . Nick bolts out the door leaving Charlie in charge . He 's never been in charge before .</scene_description>
<character>CHARLIE</character>
<parenthetical>( nervously showing shield . )</parenthetical>
<dialogue>Police.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE LIME HOUSE - NIGHT</stage_direction>
<scene_description>A Lincoln tears around the corner to pick the killers up . Nick flies out the Lime House door and hits the ground . Number Two pumps out shells as fast as he can squeeze the trigger . He 's wild . The front windows of the Lime House shatter . The LIMO DRIVER jerks to a halt . Number Two tosses the package to him . Nick empties his revolver . Number Two goes down . The driver floors the accelerator , leaving Number One to take off on foot . Nick follows , reloading as he runs .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIME HOUSE</stage_direction>
<scene_description>Everyone 's frozen on the floor .</scene_description>
<character>CHARLIE</character>
<dialogue>Call 911. Tell them an officer needs assistance. Say ten thirteen.</dialogue>
<scene_description>Nothing from the owner who looks at Abolofia . Charlie grabs the owner by his collar and shoves him toward the phone .</scene_description>
<character>CHARLIE</character>
<dialogue>Do it, you dumb bastard!</dialogue>
<scene_description>Suddenly Charlie feels something wet at his feet . He looks down to see that he 's standing in a pool of blood from the massacre . So much for his new shoes . He wheels around , then quickly backs out the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DOWN THE BLOCK FROM THE LIME HOUSE</stage_direction>
<scene_description>Deserted . The wail of police sirens in the distance . Charlie has his gun out . He 's drenched in sweat . Where is his partner ?</scene_description>
<character>CHARLIE</character>
<dialogue>NICK! Shit. SHIT!</dialogue>
<scene_description>ANOTHER STREET - ALLEY - NIGHT Nick , gun drawn , slowly rounds the corner to the alley : it 's the ad hoc drugstore for the night . Drugs going up and down in pails , two dozen junkies buying , shooting , slumped on the ground . Everyone scatters - the one 's that can . AN ABANDONED PAIL swings slowly back and forth from three stories up . Nick cautiously moves down the alley , holding the gun in both hands . A Junkie steps out of a doorway , Nick swings his gun and nearly blows him away . NUMBER ONE We see his eyes first as he steps out of the darkness at the back of the alley . From now on we 'll call him KOBO . His sunglasses are on his forehead ; his hands dropped casually at his side . A very cool character . Kobo slowly raises his hand , and making a gun with his finger , slowly points and `` shoots '' at Nick . He lowers his hand .</scene_description>
<character>NICK</character>
<dialogue>On the ground, man. NOW!</dialogue>
<scene_description>Kobo cups his hands around his ear . He does n't understand English . Nick , keeping his gun fixed , comes up to him and kicks out his legs . Kobo falls flat on his chest . Nick pulls out his cuffs . But Kobo lunges for Nick 's ankle and yanks it toward him . Nick stumbles backward ; Kobo 's on his feet . Before Nick can stand , Kobo lands a brutal kick to the side of Nick 's head . Nick gets up , barrels into him . Kobo knees Nick in the solar plexus , then lands two more well placed kicks in Nick 's back . It 's not that Nick 's a bad fighter , it 's that this kid is so damn fast . Nick slowly gets to his feet . KOBO lands two more brutal shots to the side of Nick 's head . He 's a bloody mess . TWO POLICE CARS stop at the end of the alley . FOUR OFFICERS climb out . CHARLIE joins the cops as they run down the alley to find Nick getting pummeled . Charlie shoots at Kobo . Misses . Kobo turns to see the five cops , guns drawn . Nick , on one knee , spits out blood and a few teeth . Kobo calmly slips the shuto out of his coat pocket and drops it next to Nick . The blade gleams in the light . That was next . Nick got lucky . Kobo towers imperiously above Nick . Their eyes lock . We hold then . FADE TO BLACK . NICK 'S LIVING ROOM - STATEN ISLAND - MORNING There is n't a stick of furniture , but that 's not the half of it . In the middle of the room is a motorcycle on a centerstand . A drop cloth is spread around it , tools neatly aligned . It 's a Harley - but this one is in perfect condition . A phone RINGS insistently from off screen , then stops .</scene_description>
<character>NICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yeah. sure, sure I'll be down.</dialogue>
<scene_description>Nick walks in , naked . Every muscle aches . One side of his face is completely swollen . He has a band - aid over his right eye ; some blood caked on his earlobe . He stops to twist a spark plug in with a ratchet , but it snaps .</scene_description>
</scene>
<scene>
<stage_direction>INT. EIGHT - THREE PRECINCT - DAY</stage_direction>
<scene_description>CAPT. OLIVER , early forties , walks between Charlie and Nick as they head toward the Medical Examiner 's room . Oliver does n't face Nick as he speaks ; no love lost between these two .</scene_description>
<character>OLIVER</character>
<dialogue>How big a package we talking about?</dialogue>
<character>NICK</character>
<parenthetical>( holding up his hands . )</parenthetical>
<dialogue>This by this.</dialogue>
<character>OLIVER</character>
<dialogue>Dope?</dialogue>
<character>NICK</character>
<dialogue>Not in that company.</dialogue>
<character>OLIVER</character>
<dialogue>The old man was a Japanese paper manufacturer. Hotel room and rental car were full of it.</dialogue>
<character>CHARLIE</character>
<dialogue>Full of what?</dialogue>
<character>OLIVER</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Art and stationary paper. Cavello had five hundred thousand in his attache case.</dialogue>
<scene_description>Nick rubs the back of his neck in obvious pain .</scene_description>
<character>OLIVER</character>
<dialogue>One guy do all the damage?</dialogue>
<character>NICK</character>
<dialogue>Yeah.</dialogue>
<character>OLIVER</character>
<dialogue>Thought you knew your way around dark alleys, detective.</dialogue>
<scene_description>Oliver goes through the swinging doors into the Examiner 's room . Charlie shoots Nick a look . Nick let 's it slide .</scene_description>
</scene>
<scene>
<stage_direction>INT. MEDICAL EXAMINATION ROOM</stage_direction>
<scene_description>A TECHIE is showing the night 's harvest to Charlie , Nick and Oliver . They 're standing over the body of the middle - aged Japanese man .</scene_description>
<character>TECHIE</character>
<dialogue>The old man's suit was Japanese. The hitter's was Saville row. No I.D. We're doing a peel now.</dialogue>
<scene_description>AT ANOTHER TABLE Another techie is carefully removing the skin from Number Two 's fingertips . Charlie shuts his eyes and turns away , trying not to throw up .</scene_description>
<character>TECHIE</character>
<dialogue>There's something you got to see.</dialogue>
<scene_description>He whips back the sheet , the body is nude . A towel covers the genitals . Except for the feet , hands , neck , and face , the body is covered with elaborate tattoos : flowers and blood , dragons and snakes .</scene_description>
<character>TECHIE</character>
<dialogue>What's wrong with this picture?</dialogue>
<character>CHARLIE</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>I got a tattoo. Birdie on the ball. We all got them when we finished basic at Camp Lejune.</dialogue>
<character>NICK</character>
<dialogue>Charlie.</dialogue>
<character>TECHIE</character>
<dialogue>I thought you guys were trained observers?</dialogue>
<scene_description>They look up surprised . The techie picks up a hand . The third and forth fingers have been neatly amputated .</scene_description>
<character>TECHIE</character>
<dialogue>Eight fingers.</dialogue>
<parenthetical>( ironically . )</parenthetical>
<dialogue>Hey, it was a trick question.</dialogue>
</scene>
<scene>
<stage_direction>INT. INTERROGATION ROOM</stage_direction>
<scene_description>ABOLOFIA is seated in chair next to his LAWYER . Nick , Oliver , and a third detective are grilling him .</scene_description>
<character>ABOLOFIA</character>
<dialogue>He was with a friend, sure. I shake hands with the guy and a minute later he's bleeding all over my socks.</dialogue>
<character>ATTORNEY</character>
<dialogue>Will that do officers? My client has had a terrible shock.</dialogue>
<character>NICK</character>
<dialogue>Yeah, he's not used to seeing other people do the killing.</dialogue>
<character>ATTORNEY</character>
<dialogue>I wo n't tolerate harassment!</dialogue>
<character>OLIVER</character>
<dialogue>What about the package?</dialogue>
<character>ATTORNEY</character>
<dialogue>We know nothing about it.</dialogue>
<scene_description>Silence . Abolofia looks at Nick , then at Oliver .</scene_description>
<character>ABOLOFIA</character>
<dialogue>Hard to believe a trained police officer could let this kind of thing happen right in front of his face.</dialogue>
<character>NICK</character>
<dialogue>I did make a mistake. I let the wrong guy get hit.</dialogue>
<scene_description>Abolofia does n't blink an eye , goes for the jugular .</scene_description>
<character>ABOLOFIA</character>
<dialogue>Cheer up, Nick. I'm sure it's easier to pick a dead man's pocket.</dialogue>
<scene_description>Nick springs from his feet . Oliver grabs Nick before he can get close to Abolofia .</scene_description>
<character>ATTORNEY</character>
<dialogue>That's it, we're through!</dialogue>
<scene_description>KOBO the Japanese killer who smashed in Nick 's face last night . He 's sitting in an interrogation room an hour later with a DETECTIVE and a JAPANESE TRANSLATOR . He wo n't talk . OBSERVATION ROOM Nick and Oliver watching through the glass .</scene_description>
<character>OLIVER</character>
<dialogue>Does n't speak a word of English. And he wo n't speak Japanese either. No papers. The Japanese embassy is very interested.</dialogue>
<character>NICK</character>
<dialogue>Why?</dialogue>
<character>OLIVER</character>
<dialogue>He's wanted in Japan. They want him first. Then we can have him.</dialogue>
<character>NICK</character>
<dialogue>What?</dialogue>
<scene_description>Oliver nods . That 's the way it is . ON KOBO he turns and looks at Nick . He ca n't possibly see him through the one way glass but he knows Nick 's there . ON NICK looking at him . ON KOBO making a cutting mark across his forehead , right where Nick 's bandage is . It 's uncanny .</scene_description>
</scene>
<scene>
<stage_direction>INT. OLIVER'S OFFICE - LATER</stage_direction>
<scene_description>Nick is sitting in front of Oliver 's desk . The sunlight makes him wince ; wincing makes his face hurt .</scene_description>
<character>OLIVER</character>
<dialogue>Japanese embassy talks to state department. State talks to police plaza. They to me and me to you. Shit rolls down hill.</dialogue>
<scene_description>Oliver drops a file folder on the desk . Nick opens it : petty cash , vouchers and plane tickets .</scene_description>
<character>OLIVER</character>
<dialogue>You and Charlie are taking the Jap home, tonight.</dialogue>
<character>NICK</character>
<dialogue>What? What if I say no?</dialogue>
<character>OLIVER</character>
<dialogue>Check your gun before you leave. They're not allowed in Japan. It's a nice, safe country.</dialogue>
<character>NICK</character>
<dialogue>Why me?</dialogue>
<character>OLIVER</character>
<dialogue>They said send a detective if I could spare one.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>I can always spare you.</dialogue>
<scene_description>Nick bridles at the insult . Oliver 's had a hard - on for Nick for years , and Nick 's tired of it .</scene_description>
<character>NICK</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>You got something to say to me, Captain?</dialogue>
<scene_description>Oliver does n't want to get into it .</scene_description>
<character>OLIVER</character>
<dialogue>Yeah. Have a wonderful flight.</dialogue>
<scene_description>THE ORANGE SUN on the tail of a Japan Airlines 747 . A driving rain storm . The plane taxies down the runway and disappears into the black rain .</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRLINER</stage_direction>
<scene_description>Kobo , handcuffed and shackled , is in the center seat . Nick and Charlie sit on either side . Charlie is holding `` Bachelors Japan '' in one hand . Nick 's in a sour mood .</scene_description>
<character>CHARLIE</character>
<dialogue>Nick, you're the one that's always saying you never go anywhere.</dialogue>
<character>NICK</character>
<dialogue>I was thinking the Poconos, Charlie. Maybe Vegas.</dialogue>
<character>CHARLIE</character>
<dialogue>What are you missing? Riding your motorcycle to the nurse's house. That shit is sadder than Ethiopia.</dialogue>
<character>NICK</character>
<dialogue>Beats forty hours on a plane.</dialogue>
<character>CHARLIE</character>
<dialogue>They say we got to turn around and come right back. That's what they say. I got a plan.</dialogue>
<scene_description>The last thing Nick wants to hear - too late .</scene_description>
<character>CHARLIE</character>
<dialogue>I call, right? I say I got the dreaded thirty six - hour Asian shits from some raw clam and we stretch it into three days. You and I become a driving force on the local Geisha scene.</dialogue>
<character>NICK</character>
<dialogue>Not a prayer.</dialogue>
<character>CHARLIE</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Hey, come on, big guy like you, cop from New York. You're gon na be the biggest thing to hit town since Godzilla.</dialogue>
<scene_description>Nick ca n't help but smile at this kid . Charlie looks down at the guide book .</scene_description>
<character>CHARLIE</character>
<dialogue>Says here, it's very impolite to touch someone while you're talking to them.</dialogue>
<parenthetical>( nudges Kobo . )</parenthetical>
<dialogue>Guess that means you ca n't talk and screw at the same time, huh, hotdog? What's the matter, no - speaky - the - language? Understand this : You will never ever fuck with my partner again.</dialogue>
<scene_description>Nothing from Kobo who is looking straight ahead . He does n't understand .</scene_description>
<character>NICK</character>
<dialogue>Shut - up, Charlie.</dialogue>
<scene_description>A beat , then Charlie reads a Japanese phrase from the book . A slight facial response from Kobo . Charlie tries it again . This time Kobo laughs openly .</scene_description>
<character>NICK</character>
<dialogue>What'd you say?</dialogue>
<character>CHARLIE</character>
<dialogue>Where is the subway station, please.</dialogue>
<scene_description>Kobo keeps laughing ; it 's obviously not what Charlie said .</scene_description>
<character>NICK</character>
<dialogue>Get a new book.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRLINER - LATER</stage_direction>
<scene_description>The cabin is now darkened . Kobo and Nick are asleep . Not Charlie , he 's still at his book , and listening to U2 on his Walkman . Nick rolls over and opens his eyes to see Charlie watching him . He shuts them hoping to avoid talk . Too late .</scene_description>
<character>CHARLIE</character>
<dialogue>Nick. You up?</dialogue>
<character>NICK</character>
<dialogue>No.</dialogue>
<scene_description>Charlie removes his headphones .</scene_description>
<character>CHARLIE</character>
<dialogue>Nick, have I been a good partner?</dialogue>
<character>NICK</character>
<dialogue>Number five with a bullet.</dialogue>
<scene_description>Nick shuts his eyes .</scene_description>
<character>CHARLIE</character>
<dialogue>I just want you to know. I mean anybody who says you ever took has got to deal with me.</dialogue>
<character>NICK</character>
<dialogue>Go to sleep, Charlie.</dialogue>
<character>CHARLIE</character>
<dialogue>You did n't take, did you? You hear things.</dialogue>
<scene_description>Nick opens his eyes .</scene_description>
<character>NICK</character>
<dialogue>I worked the three nine in Queens, Charlie.</dialogue>
<character>CHARLIE</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>I did n't know.</dialogue>
<character>NICK</character>
<dialogue>The lieutenant was on the pad along with the rest of the squad. I was new, did n't know shit. When the feathers flew, I got called in front of the special prosecutor. It's on the top of my personnel file. They think I'm dirty or I cut a deal. Does n't leave you with a lot of friends either way.</dialogue>
<scene_description>Nick shuts his eyes .</scene_description>
<character>NICK</character>
<dialogue>I might as well have done something. I've been paying for it every goddamn day since I got transferred.</dialogue>
<scene_description>HOLD on Nick then .</scene_description>
</scene>
<scene>
<stage_direction>INT. NARITA AIRPORT - JAPAN - DAY</stage_direction>
<scene_description>Nick and Charlie , with Kobo between them , are a strange sight in a sea of Japanese faces . Kobo 's hands are cuffed behind his back . Nick also has Kobo cuffed to his wrist . The cops are rumpled , exhausted , showing two days of stubble . Kobo looks sharp and wide awake . A pair of attractive teenage girls walks past them .</scene_description>
<character>CHARLIE</character>
<dialogue>Whoa. Nick, we're in paradise.</dialogue>
<scene_description>A PAIR of white gloved hands belonging to a Tokyo police officer holds up a small , hand letter sign that says : CONKLIN/SKLOARIS . The man holding the sign is NAGASHIMA . Two other police officers in spotless tan uniforms stand at his side . Nick , holding Kobo by his arm , steps up to the police and show his I.D. Nagashima bows .</scene_description>
<character>NAGASHIMA</character>
<dialogue>Officers Conklin and - and.</dialogue>
<parenthetical>( he ca n't say Charlie 's name . )</parenthetical>
<dialogue>. gentlemen, welcome. I am assistant inspector Nagashima.</dialogue>
<scene_description>They show their I.D.</scene_description>
<character>NICK</character>
<dialogue>You going to take this crap off our hands?</dialogue>
<character>NAGASHIMA</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Crap? Oh, the prisoner. Yes.</dialogue>
<scene_description>He barks some orders to the officers who immediately take Kobo by the arms and put cuffs on him . Nick unfastens his cuff when they 're through . In contrast to Nagashima 's gentility , the cops are rough with the prisoner .</scene_description>
<character>CHARLIE</character>
<parenthetical>( extends his hand . )</parenthetical>
<dialogue>Charlie. Kon - ich - iwa.</dialogue>
<scene_description>Nagashima shakes his hand . Bows . Charlie bows back . Nick would n't bow if his life depended on it . Nagashima hands Nick an official looking document .</scene_description>
<character>NAGASHIMA</character>
<dialogue>If you will please give this to the customs inspector he will expidate - expedite you. We have a car and a driver outside.</dialogue>
<character>NICK</character>
<dialogue>Right.</dialogue>
<character>CHARLIE</character>
<parenthetical>( bows . )</parenthetical>
<dialogue>Arigato.</dialogue>
<scene_description>Nick grabs Charlie by the arm and starts for the customs line .</scene_description>
<character>NICK</character>
<dialogue>Givin' you a book is like givin' a baby a gun.</dialogue>
<character>CHARLIE</character>
<dialogue>Hey, when in Rome -</dialogue>
<character>NICK</character>
<dialogue>In Rome, I'll bow.</dialogue>
</scene>
<scene>
<stage_direction>INT. CUSTOMS BOOTH - DAY</stage_direction>
<scene_description>NICK and CHARLIE make their way through the crowd toward the head of a long line . They dump their bags on the counter . The INSPECTOR , furious that they have taken cuts in line , barks at them in Japanese .</scene_description>
<character>NICK</character>
<dialogue>Inspector Nagashima told me to give you this.</dialogue>
<scene_description>He hands the Inspector the official looking document . The Inspector scans the paper . Hands it back to them .</scene_description>
<character>INSPECTOR</character>
<parenthetical>( broken English . )</parenthetical>
<dialogue>You must get in line behind the rest.</dialogue>
<character>NICK</character>
<dialogue>We're cops. Pol - ice - men.</dialogue>
<scene_description>The Inspector signals a nearby POLICEMAN . The Inspector says something in Japanese . Hands the policeman the document . The policeman shakes his head , amused , points to the end of the line .</scene_description>
<character>NICK</character>
<dialogue>Fellas, get serious.</dialogue>
<scene_description>From off screen someone CALLS OUT :</scene_description>
<character>MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Nick!</dialogue>
<scene_description>Nick and Charlie turn to see KOBO , their prisoner , standing on the other side of the thick plastic divider . The handcuffs are off . The three alleged ` policemen ' are heading out the door behind him . It was a set - up : Nick and Charlie have been had .</scene_description>
<character>KOBO</character>
<parenthetical>( perfect English . )</parenthetical>
<dialogue>Thanks for the ride, detective.</dialogue>
<scene_description>He slowly backs away from the glass as if he had all the time in the world , finally disappearing in the crowd . NICK AND CHARLIE trying to shove past the customs inspectors who are wrestling them aside .</scene_description>
<character>NICK</character>
<dialogue>Cops! He's our prisoner!</dialogue>
<scene_description>Two more policemen arrive . Nick and Charlie are thrown up against the wall . Out come the cuffs . SNAP !</scene_description>
<character>NICK</character>
<dialogue>What's going on? We're the good guys!</dialogue>
</scene>
<scene>
<stage_direction>INT. TOKYO POLICE HEADQUARTERS - DAY</stage_direction>
<scene_description>Fifty identical desks . Fifty identical phones . Fifty identically dressed men in white shirts and ties working under the fluorescent lights of this large open room . We GLIDE PAST the rows of desk to find INSPECTOR OHASHI , mid forties , sitting behind a perfectly arranged desk . Ohashi prides himself on order . Nick and Charlie are standing in front of him .</scene_description>
<character>NICK</character>
<dialogue>Get me something like an Identi - Kit and I'll give you a description.</dialogue>
<scene_description>Ohashi remains poker faced . He continues to arrange papers and apply his hanko -LRB- personal seal -RRB- to the bottom of a stack of official papers .</scene_description>
<character>CHARLIE</character>
<dialogue>There must be some witnesses from the airport?</dialogue>
<scene_description>Still nothing from the good inspector .</scene_description>
<character>NICK</character>
<dialogue>What is it, tea time?</dialogue>
<scene_description>Still nothing from Ohashi . Finally :</scene_description>
<character>OHASHI</character>
<parenthetical>( quiet rage . )</parenthetical>
<dialogue>You lost a man we wanted for some time. It was very incompetent on your part, officer.</dialogue>
<character>NICK</character>
<dialogue>Incompetent is letting people waltz through a secure area wearing your uniforms, carrying official documents.</dialogue>
<scene_description>Ohashi bows slightly , we 're not sure why .</scene_description>
<character>NICK</character>
<dialogue>I want a gun.</dialogue>
<character>OHASHI</character>
<dialogue>It is not allowed.</dialogue>
<character>NICK</character>
<dialogue>We're police officers.</dialogue>
<character>OHASHI</character>
<dialogue>You're foreigners.</dialogue>
<character>NICK</character>
<dialogue>Work with me. I want your best detective.</dialogue>
<scene_description>Pause . Ohashi returns to his papers . Nick ca n't believe it .</scene_description>
<character>NICK</character>
<dialogue>Hey, inspector, I do n't intend to take the rap for this.</dialogue>
<character>OHASHI</character>
<parenthetical>( not looking up . )</parenthetical>
<dialogue>Do you know what this is?</dialogue>
<scene_description>Ohashi holds up the document that was handed to Nick at the airport .</scene_description>
<character>OHASHI</character>
<dialogue>It's a laundry list. Go home, detective.</dialogue>
<scene_description>Nick studies him for a beat , then turns away . To Charlie :</scene_description>
<character>NICK</character>
<dialogue>Let's go.</dialogue>
<character>CHARLIE</character>
<dialogue>Nick, we ca n't just -</dialogue>
<character>NICK</character>
<dialogue>I said let's go, Charlie.</dialogue>
<scene_description>Reluctantly they head towards the door , passing long rows of bureaucrats , telephones ringing off the hook . Nick stops at the door , spots a fuse box nearby . He glances back to make sure no one is looking . Nick pulls out his handcuffs . Charlie ca n't figure out what the hell he 's doing . Nick attaches one cuff to the main lever then yanks it down . The lights go out . The fan 's stop ; so do the typewriters ; so does the air conditioning . Dead silence . Nick attaches the other cuff to a pipe , snaps it shut . Now it 's impossible to left the main lever . From the far end of the room :</scene_description>
<character>OHASHI</character>
<dialogue>What are you doing?!</dialogue>
<scene_description>Nick drops the key down the water fountain drain .</scene_description>
<character>NICK</character>
<dialogue>Your best detective, Ohashi.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - DAY</stage_direction>
<scene_description>Nick and Charlie cross the street . Charlie 's trying to read the name from the piece of paper Ohashi has given them .</scene_description>
<character>CHARLIE</character>
<dialogue>Detective Ich - iro Matsu - moto. Hey, we're getting Mr. Moto on our side.</dialogue>
<character>NICK</character>
<dialogue>Let's grab some food.</dialogue>
<character>CHARLIE</character>
<dialogue>First decent idea you've had.</dialogue>
<scene_description>Charlie pulls out his ` Footloose in Tokyo '' book , flips through the pages .</scene_description>
<character>CHARLIE</character>
<dialogue>Food. Food, here we go. Tokyo offers a wide variety of food. It's best to sample the local specialties, including sashaimi, soba, and world renown Kobe beef.</dialogue>
<scene_description>Nick goes into a restaurant . Charlie drops the book , disgusted with Nick 's choice . Charlie reluctantly follows him in . REVEAL it 's a Shakey 's Pizza restaurant .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSING PROJECT - SHIN OKUBO - DAY</stage_direction>
<scene_description>Rows of post - modern buildings of odd shaped windows and brightly painted concrete walls . Nick and Charlie are searching for the Japanese cop 's building . They ca n't speak the language ; they ca n't read the signs ; and half the buildings do n't have numbers . It 's a nightmare .</scene_description>
<character>CHARLIE</character>
<dialogue>This should be it.</dialogue>
<character>NICK</character>
<dialogue>You said that in the last two places.</dialogue>
<scene_description>Charlie holds out the paper to a passing man .</scene_description>
<character>CHARLIE</character>
<dialogue>Kore? Doku? Kore doku?</dialogue>
<scene_description>The man gestures toward the building Charlie was pointing to .</scene_description>
<character>NICK</character>
<dialogue>Okay, you were right.</dialogue>
<scene_description>Charlie grins , satisfied .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSING DEVELOPMENT - CORRIDOR - DAY</stage_direction>
<scene_description>The boys are knocking on a door . Nick turns the handle . It 's unlocked . THE APARTMENT A four tatami room . An unholy mess : Food packages , beer bottles , stacks of papers and file folders . Framed pictures of long dead relatives hang on the wall .</scene_description>
<character>CHARLIE</character>
<dialogue>This the right place?</dialogue>
<character>NICK</character>
<dialogue>I hope not.</dialogue>
<scene_description>A WOMAN now appears at the door . Middle aged , wizened face , in a full traditional Kimono .</scene_description>
<character>CHARLIE</character>
<dialogue>Konichiwa. Ichiro Matsumoto?</dialogue>
<scene_description>The woman babbles bird - like in rapid Japanese . She bows . They 're in the right place .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE STREET - MINIMAI MURAMATSU - NIGHT</stage_direction>
<scene_description>The jammed streets are barely wide enough to get a motorcycle down . It 's a bad neighborhood , one of the poorest in Tokyo . We spot the small kimono clad WOMAN , clip - clopping on wooden geta , leading Nick and Charlie through this labyrinth .</scene_description>
<character>CHARLIE</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Getting very weird.</dialogue>
<character>NICK</character>
<dialogue>I'd feel better if we had some heat.</dialogue>
<character>CHARLIE</character>
<dialogue>Maybe we should bail?</dialogue>
<scene_description>Seeing they 've stopped , the woman gestures for them to hurry up , then disappears around the corner .</scene_description>
<character>NICK</character>
<parenthetical>( looking at the maze of streets . )</parenthetical>
<dialogue>Think we could find our way back?</dialogue>
<scene_description>A GARISH PINK SIGN - PINK SARON BAR A poor man 's idea of a bar . The woman points inside , chirps away in Japanese , bows , then hurries off leaving Nick and Charlie on their own . INSIDE PINK SARON Nick and Charlie disappear into darkness as the woven flaps shut behind them . A vintage wurlitzer juke box glows across the room . An Enka plays . -LRB- Haunting Japanese blues . -RRB-</scene_description>
<character>MAN'S VOICE</character>
<parenthetical>( FROM THE DARKNESS . )</parenthetical>
<dialogue>Big shots from New York. I like your style!</dialogue>
<scene_description>ICHIRO MATSUMOTO steps into a pool of light just inches from them . He is a short overweight man looking every minute of his fifty - five years . His white short sleeve shirt is too tight ; his narrow tie spotted in the middle ; his collar soaked in sweat . He 's not drunk yet , but he 's been at it a while . Call him Ich .</scene_description>
<character>ICH</character>
<parenthetical>( bowing . )</parenthetical>
<dialogue>Detective Ichiro Matsumoto. I'm the man you're looking for.</dialogue>
<scene_description>This is Ohashi 's best man ? Well , at least he speaks English .</scene_description>
<character>ICH</character>
<dialogue>The man you are looking for, Kobo, was a member of the Samaguchi - gummi. A Yakuza.</dialogue>
<scene_description>Ich nods , offers them what 's left of his Sapphoro beer . They shake their heads . Ich finishes it .</scene_description>
<character>NICK</character>
<dialogue>Where do we start looking for this guy?</dialogue>
<character>ICH</character>
<dialogue>Where would you look for the mafia?</dialogue>
<character>CHARLIE</character>
<dialogue>The back room at Lombardi's after the Columbus Day Parade. Under the bed. In the mayor's office. Everywhere.</dialogue>
<scene_description>Ich heads for the door without saying a word .</scene_description>
<character>NICK</character>
<dialogue>Where're you going, Ichiro?</dialogue>
<character>ICH</character>
<parenthetical>( stops , faces them . )</parenthetical>
<dialogue>The mayor's office, under the bed, the back room at Lombardi's.</dialogue>
<parenthetical>( tucking in his shirt tail . )</parenthetical>
<dialogue>And call me Ich.</dialogue>
</scene>
<scene>
<stage_direction>INT. ICHIBANKAN BAR BUILDING - KABUKI CHO - NIGHT</stage_direction>
<scene_description>Imagine an ultra modern indoor shopping mall , except there are n't any stores . The only product sold here is pleasure : Bars , hostess clubs , Turkish baths . A post - modern red light district with music piped in and automated doormen .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAS VEGAS WELCOME CLUB</stage_direction>
<scene_description>Hip , younger Japanese are wedged together at the long chrome bar . The GUYS sport leather jackets and Raybans . The GIRLS are decked out in fifties American party dresses and short cropped hair . Jerry Lee Lewis wails in the background . Nick , Ich and Charlie are at one end of the long bar . Ich is drinking them both under the table .</scene_description>
<character>ICH</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>`` Goodness, gracious, great balls of fire.''</dialogue>
<parenthetical>( raising glass for toast . )</parenthetical>
<dialogue>To the killer. Jerry Lee Lewis.</dialogue>
<character>NICK</character>
<parenthetical>( checking his watch . )</parenthetical>
<dialogue>Jerry Lee Lewis, Elvis, Dinky Doo And The Do n't's. Let's book, Charlie. If he starts on Motown, we'll be here all night.</dialogue>
<character>ICH</character>
<dialogue>No, this is the place for the young Yakuza.</dialogue>
<character>NICK</character>
<dialogue>That's what you said in the last three piss pots.</dialogue>
<scene_description>Ich sets down his drink , pours more sake for Nick and Charlie then for himself . He 's having a great time .</scene_description>
<character>ICH</character>
<dialogue>I love you people. The music, the clothes, the movies. Japanese respect only what is Japanese.</dialogue>
<scene_description>Nick glances at Charlie .</scene_description>
<character>NICK</character>
<dialogue>It's incredible. Hit him or something.</dialogue>
<character>CHARLIE</character>
<dialogue>I do n't think he'd feel it.</dialogue>
<character>ICH</character>
<parenthetical>( beginning to slur his words . )</parenthetical>
<dialogue>Americans change everything. When I was young the city was wood and paper. I was ten when the bombers came. I lived underground for three days. When I came up, the city was gone. A ball of fire.</dialogue>
<scene_description>Nick gets to his feet . Ich grabs him by the arm , stopping him .</scene_description>
<character>ICH</character>
<dialogue>It began to rain, Nick. You know what color the rain was?</dialogue>
<scene_description>Ich does n't give him a chance to answer .</scene_description>
<character>ICH</character>
<dialogue>Black. It was black from the ash. Very impressive. You Americans, you could make black rain.</dialogue>
<scene_description>Ich polishes off his drink . An awkward silence . Charlie , wanting to lighten the mood -</scene_description>
<character>CHARLIE</character>
<parenthetical>( leaning close . )</parenthetical>
<dialogue>Say Ich, between friends, where can I grab some squish around here?</dialogue>
<scene_description>Nick sighs , digs in his pocket for some yen for the bill .</scene_description>
<character>ICH</character>
<dialogue>Squid?</dialogue>
<character>CHARLIE</character>
<dialogue>Pussy, ass, soft personnel.</dialogue>
<scene_description>Ich looks up to see a picturesque , blood - haired American WOMEN in a tight silk blouse and skirt . She works here and has obviously heard Charlie .</scene_description>
<character>ICH</character>
<dialogue>Ah, Joyce.</dialogue>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>How are you tonight?</dialogue>
<character>JOYCE</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Hello, Ich. Johnny Walker?</dialogue>
<scene_description>Ich nods . Joyce 's Japanese is impeccable . She 's a part - time bartender , translator , model . One of Japan 's western wanderers . She 's sliding past thirty , but only her weary eyes give it away . She is about to pour Ich another drink .</scene_description>
<character>NICK</character>
<dialogue>Do n't give him any more.</dialogue>
<character>JOYCE</character>
<dialogue>He gets as much as he wants.</dialogue>
<scene_description>Charlie extends his hand to Joyce . She ignores it .</scene_description>
<character>CHARLIE</character>
<dialogue>Hello hello, Charlie Skloaris. New York City.</dialogue>
<scene_description>She refills Ich 's glass .</scene_description>
<character>CHARLIE</character>
<dialogue>My partner and I are cops.</dialogue>
<parenthetical>( lowering his voice . )</parenthetical>
<dialogue>We're on a very big assignment here.</dialogue>
<parenthetical>( nothing from Joyce . )</parenthetical>
<dialogue>When do you get off?</dialogue>
<character>JOYCE</character>
<dialogue>Right when you're being tucked into bed.</dialogue>
<scene_description>Cold .</scene_description>
<character>ICH</character>
<dialogue>You should be nicer to my American friends, Joyce.</dialogue>
<character>JOYCE</character>
<dialogue>They would n't appreciate it, Ich. Trust me.</dialogue>
<scene_description>She says something in Japanese to Ich as she eyes the cops . Then , she walks off .</scene_description>
<character>ICH</character>
<dialogue>Joyce can be nice.</dialogue>
<character>CHARLIE</character>
<parenthetical>( brightening . )</parenthetical>
<dialogue>What'd she say?</dialogue>
<character>ICH</character>
<parenthetical>( big smile . )</parenthetical>
<dialogue>That I should let you pay for the drinks.</dialogue>
<parenthetical>( raising his glass . )</parenthetical>
<dialogue>Kampai.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ICHIBANKAN BAR BUILDING - NIGHT</stage_direction>
<scene_description>Charlie and Nick are trying to help a besotted Ich find a taxi , but no one will take him . Ich is shouting half English , half Japanese phrases .</scene_description>
<character>ICH</character>
<dialogue>We got to keep looking. Track him down! Great balls of fire!</dialogue>
<character>NICK</character>
<parenthetical>( frustrated , to a cabbie . )</parenthetical>
<dialogue>What's the problem here?</dialogue>
<scene_description>The cabbie ignores them .</scene_description>
<character>WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You do n't speak the language. I'll drop him off.</dialogue>
<scene_description>They turn to see Joyce standing behind them .</scene_description>
<character>ICH</character>
<dialogue>Ah, Joyce.</dialogue>
<scene_description>The rest is slurred Japanese . Joyce speaks to a cabbie in Japanese . The rear door swings open . She helps Ich in . Joyce climbs in .</scene_description>
<character>ICH</character>
<parenthetical>( out the window . )</parenthetical>
<dialogue>See you tomorrow!</dialogue>
<scene_description>The taxi pulls away . Nick and Charlie watch it go .</scene_description>
<character>NICK</character>
<dialogue>Not a prayer.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - FOUR A.M.</stage_direction>
<scene_description>An early morning wind jostles the red paper lantern and plucks at the tails of dragon - like banners hanging outside the shops . Nick and Charlie are walking down this narrow sidestreet on the way back to their hotel .</scene_description>
<character>CHARLIE</character>
<dialogue>He's a sorry old guy, but I like him.</dialogue>
<character>NICK</character>
<dialogue>He could n't find his ass with both hands.</dialogue>
<scene_description>A brand new Kawasaki 1000 motorcycle with windshield and full farings gleams under a street light .</scene_description>
<character>CHARLIE</character>
<dialogue>Now that's the kind of motorcycle I want to see you on.</dialogue>
<character>NICK</character>
<parenthetical>( muttering . )</parenthetical>
<dialogue>Sure, a rice burning crotch rocket.</dialogue>
<character>CHARLIE</character>
<dialogue>Nick, how we gon na bag this guy without any help? Maybe I should work on that girl Joyce, she speaks the language.</dialogue>
<scene_description>Nick glances over at his partner , smiles . But before he can respond - The DULL ROAR of a half dozen motorcycles in the distance breaks the pre - dawn stillness . TWENTY BOSOZOKU -LRB- BIKERS -RRB- on their multi - cylinder high tech street bombers , creep around the corner and slowly ride toward Nick and Charlie . We get a better look at them : turbo punk Elvis - samurai hybrids - some wearing a slipper under their headbands , courtesy of their girlfriends ; some in leopard skin pants . And tattoos . They head straight for Nick and Charlie , then , at the last moment , split and float away IN SLOW MOTION , as if the cops did n't exist . Suddenly , the street is empty again . Silent except for the SOUND of the wind beating against paper lanterns , rustling the wind chimes . Hold on Nick and Charlie standing in the middle of the street , realizing just how far away from home they are .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - THE NEXT MORNING</stage_direction>
<scene_description>A rocket shaped building : a mixture of Dutch Gable and Japanese Minka roof . The mid - day sun beats down on a particular room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM</stage_direction>
<scene_description>Nick and Charlie are sacked out . They never bothered to pull the curtains . THE SOUND OF KNOCKING at the door .</scene_description>
<character>ICH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Nick!</dialogue>
<character>NICK</character>
<dialogue>Give us a break.</dialogue>
<character>ICH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's Ichiro. Ich.</dialogue>
<character>NICK</character>
<dialogue>Leave the rice cake outside and go home!</dialogue>
<scene_description>But Ich persists . AT THE DOOR As Nick opens up . Ich bows . He 's now clean shaven and has put on a clean shirt .</scene_description>
<character>ICH</character>
<dialogue>There's been a murder. Yakuza. You should come.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRINTING PLANT - DAY</stage_direction>
<scene_description>The murder scene . NO SOUND . A BODY FROM THE WAIST DOWN in the claws of six foot working robotic . The tattooed covered legs swing back and forth like a pendulum . THE TORSO is wedged in between two enormous printing rollers . THE HEAD is resting in the middle of a conveyer belt . It 's been drenched in black printer 's ink which has begun to congeal . WE SLOWLY TRACK PAST Ich , Charlie , and Nick , watching . Charlie has the dry heaves . REAL SOUND as we reveal the full crime scene . Instead of the usual cigar smoke , camera flashes and radio chatter , there is order and quiet . A slow underwater dance . INSPECTOR OHASHI quietly gives an order . Someone turns off the robotic . The severed legs stop swinging . Nick , Charlie and Ich walk over to Ohashi . Ich bows deeply . Ohashi does n't acknowledge any of them , talks to a man holding a tape measurer .</scene_description>
<character>NICK</character>
<dialogue>Could you fill me in?</dialogue>
<character>OHASHI</character>
<dialogue>Why do n't you ask your chief detective?</dialogue>
<scene_description>Ich looks down at the floor .</scene_description>
<character>NICK</character>
<dialogue>Because I want you to tell me.</dialogue>
<character>OHASHI</character>
<dialogue>The young are eating the old, something that usually does n't happen here.</dialogue>
<character>NICK</character>
<dialogue>Can we skip the poetry, inspector?</dialogue>
<scene_description>Ohashi pauses . Ich looks at Nick as if to warn him he ca n't speak to Ohashi that way .</scene_description>
<character>OHASHI</character>
<dialogue>There's a war, detective, between two rival groups. The man who escaped, Kobo, leads the younger group. They did this.</dialogue>
<character>ICH</character>
<dialogue>Kobo's a wild boy. He was a lieutenant in the Sammaguchi - gummi.</dialogue>
<character>OHASHI</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Excellent, Officer Matsumoto. How is your investigation going?</dialogue>
<character>ICH</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Well, sir. Thank you for giving me the opportunity to work with these distinguished gentlemen.</dialogue>
<scene_description>He bows . It 's pathetic .</scene_description>
<character>POLICE LIEUTENANT</character>
<dialogue>Looking for clues in the bottom of a sake bottle, Matsumoto?</dialogue>
<scene_description>Laughter all around .</scene_description>
<character>OHASHI</character>
<dialogue>He's an officer of great distinction.</dialogue>
<scene_description>Another sarcastic dig . Ich stoically stands and takes it .</scene_description>
<character>CHARLIE</character>
<dialogue>Hey, Ich has been helpful.</dialogue>
<character>OHASHI</character>
<parenthetical>( ignoring him , to Nick . )</parenthetical>
<dialogue>Have you changed your mind and decided to go home, detective?</dialogue>
<character>NICK</character>
<dialogue>Not until one of us bags Kobo.</dialogue>
<parenthetical>( looking at the corpse . )</parenthetical>
<dialogue>And it does n't look like you're doing so hot.</dialogue>
<scene_description>Ohashi coolly flicks the ashes of his cigarette and we -</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRINTING PLANT - DAY</stage_direction>
<scene_description>Ich , Nick , and Charlie are threading their way through the crowd toward the subway entrance . TWO BIKERS , their hair slicked back , watch the trio from the top of two different subway entrances . As soon as Ich , Nick and Charlie go down the steps , they climb off their bikes and follow .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBWAY STATION</stage_direction>
<scene_description>Nick , Ich and Charlie are riding the people mover that stretches the length of this endless tunnel . They 're sandwiched between the legions of SALARYMEN -LRB- white collar workers -RRB- who all wear identical blue suits and white shirts . Nick looks over at Ich , who is still suffering in silence from the recent humiliation .</scene_description>
<character>NICK</character>
<dialogue>You know, Inspector, you take shit once, you take shit forever.</dialogue>
<character>ICH</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>I do n't deserve Ohashi's respect.</dialogue>
<character>NICK</character>
<dialogue>Why the hell not?</dialogue>
<character>ICH</character>
<dialogue>I do n't, that's all.</dialogue>
<scene_description>Ich looks away , obviously uncomfortable .</scene_description>
<character>CHARLIE</character>
<dialogue>You cool, Ich?</dialogue>
<character>ICH</character>
<dialogue>Cool?</dialogue>
<character>CHARLIE</character>
<dialogue>You all right? You okay?</dialogue>
<scene_description>Ich nods .</scene_description>
<character>CHARLIE</character>
<dialogue>What does Ichiro mean, anyway?</dialogue>
<character>ICH</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>What does Charlie mean?</dialogue>
<character>CHARLIE</character>
<dialogue>Hey, all right.</dialogue>
<scene_description>Charlie slaps Ich on the back . NICK smiles at Charlie 's remark . He ca n't help but like this wide - eyed goofy kid . Something makes Nick 's smile fade . NICK 'S POV KOBO , their escaped prisoner , hurrying in the opposite direction . His Kamali suit looks like it just came from the cleaners .</scene_description>
<character>NICK</character>
<dialogue>Charlie!</dialogue>
<scene_description>Charlie spots him . In a flash , the two men jump the railing and charge after him , leaving Ich in their wake . Ich ca n't possibly make it over the side . He furiously shoves his way through the Salarymen , trying to get to the end of the walkway . CHASE SEQUENCE - Nick barreling through the mass of faceless Salarymen . - Kobo , hurrying ahead , occasionally glancing back . - Charlie catching up to Nick . They 've lost him . They spin around . A half dozen tunnels spin out in all directions . - Nick and Charlie spotting Kobo . He 's waiting for them near the turnstile . Nick suddenly realizes it 's a set - up . Before he can say anything , Charlie sprints ahead , recklessly shoving people out of the way .</scene_description>
<character>NICK</character>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>It's a set - up! Charlie!</dialogue>
<scene_description>Charlie has n't heard him . AT THE TURNSTILE Kobo hands a ticket to the turnstile guard and disappears onto the platform . Charlie does n't have a ticket . The guard points to the automatic ticket machine . Screw it . Charlie leaps over the turnstile . The GUARD blows his shrill whistle to signal the subway police . THE PLATFORM Charlie pushes through the crowd - a wall of blank faces . Kobo is gone . NICK shoving through the crowd . He spots Charlie . Shouts at him to wait . Charlie ca n't hear his partner . THE SUBWAY pulls in . An immaculately uniformed CONDUCTOR blows his whistle and waves his white - gloved hands to keep the crowd back . A LEATHER JACKETED BOY shoves Charlie from behind ; he stumbles forward toward the track . Someone catches him at the last moment . Charlie turns around to see it 's Kobo . Kobo smiles , it 's all a big joke . What follows happens in a flash : ON NICK</scene_description>
<character>NICK</character>
<dialogue>Charlie!</dialogue>
<scene_description>Nick is close enough to see , too far to do anything . He 's blocked by TWO MORE LEATHER BOYS . He tries to shove past , but they grab him . KOBO holding Charlie by his coat lapels . An express train tears into the station . Kobo casually glances at NICK trying to struggle free . KOBO his eyes still on Nick , drops Charlie in front of the speeding express as if he were a sack of laundry . NICK</scene_description>
<character>NICK</character>
<dialogue>NO!</dialogue>
<scene_description>A woman SCREAMS . The train barrels through the station . Kobo starts toward Nick . He 's next . A pair of SUBWAY POLICEMEN burst through the crowd searching for Charlie because he vaulted the turnstile . NICK manages to break free of the leatherboys holding him . They flee into the crowd as the police close in . ACROSS THE PLATFORM - KOBO slips into the wave of commuters being shoved into a train by white - gloved MEN . It 's their job to shove commuters into the already packed cars . Nick goes for Kobo , but the crowd closes in front of him . He ca n't get through . THE SUBWAY DOORS slam shut . The train pulls out leaving Nick standing on the empty platform . THE LAST CAR streaks past him . Kobo stands in the rear window , getting smaller and smaller until the train disappears down the tracks .</scene_description>
<character>ICH</character>
<dialogue>Nick!</dialogue>
<scene_description>Ich , out of breath , is standing on the platform . Nick looks at him with disgust - where the hell was he . STAY on Nick , his head bowed , being surrounded by the sea of blue - suited commuters . FADE TO WHITE . NICK 'S FACE against a white wall . That 's all we see . Ohashi 's voice OFF SCREEN .</scene_description>
<character>OHASHI</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You ignored me. I do n't care about what you want. Get on a plane, detective Conklin. Go home.</dialogue>
<scene_description>We HEAR a door open and SLAM shut off screen . Hold on Nick , frozen in place , then :</scene_description>
</scene>
<scene>
<stage_direction>INT. CENTRAL SECTION - TOKYO POLICE H.Q. - DAY</stage_direction>
<scene_description>Again , the fifty desks , fifty faceless men working . Typewriters CLACKING , phones RINGING . We MOVE down the rows to find Nick sitting behind one of the desks . He 's on the phone to New York .</scene_description>
<character>OLIVER</character>
<parenthetical>( V.O. ; PHONE . )</parenthetical>
<dialogue>It's not your job.</dialogue>
<character>NICK</character>
<dialogue>He was my partner.</dialogue>
<character>OLIVER</character>
<parenthetical>( V.O. ; PHONE . )</parenthetical>
<dialogue>They're blaming it on you. Christ, Conklin, you did n't even tell me you lost the prisoner!</dialogue>
<character>NICK</character>
<dialogue>I planned on catching him, Captain.</dialogue>
<character>OLIVER</character>
<parenthetical>( V.O. ; PHONE . )</parenthetical>
<dialogue>How? You do n't know the place. You do n't know the language. Get on the plane.</dialogue>
<character>NICK</character>
<dialogue>He killed a police officer.</dialogue>
<character>OLIVER</character>
<parenthetical>( V.O. ; PHONE . )</parenthetical>
<dialogue>Your plane's at nine a.m. Be on it. That's orders. Period.</dialogue>
<scene_description>Oliver hangs up . A moment of long distance hum cross talk . Nick does n't move . Pull back through the rows of cops busily working . SOUND FADES . Charlie Parker 's alto sax FADE UP as we -</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHINJUKU - NIGHT</stage_direction>
<scene_description>The MUSIC continues . The sax screams as the melody is abandoned . Nick is drunk . Roaring angry drunk . He does n't know where he is . He does n't care . He plows down the street , occasionally grabbing a passerby , then letting them go . Nick begins to laugh . A couple is staring at him , Nick yells at them , but we DO N'T HEAR HIM . He stumbles on . drop back to find . ICH following in his wake . He bows and apologizes to the offended .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAS VEGAS WELCOME BAR - NIGHT</stage_direction>
<scene_description>Nick is thrown onto the street . He tries to reenter and is thrown out again . We spot JOYCE inside watching ; she turns back to her customers .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GINZA - NIGHT</stage_direction>
<scene_description>Nick is hassling a news vendor who pointedly ignores him and continues selling his papers . Ich appears and apologizes to the news vendor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - TWO A.M.</stage_direction>
<scene_description>Nick 's sitting on the curb , his head in his hands . People step around him . Across the street , out of Nick 's sight , Ich is watching his partner , feeling every barb of Nick 's shame . Charlie Parker continues over the slow . NICK - asleep , the futon tangled around him . He opens his eyes . A woman is making tea in the kitchenette . This is the kimonoed woman who led Nick and Charlie to Ich the other night . A RADIO is on softly in the background . The Charlie Parker tune we 've been listening to over the previous cuts ends , and the announcer comes on :</scene_description>
<character>RADIO</character>
<dialogue>That was the Bird, from the Blue Note years. 1230 hours and 72 degrees in central Osaka. This is specialist Doug Dale, Tapestries in Jazz, on the Far East Network, armed forces radio.</dialogue>
<scene_description>Nick slowly sits up to see ICH seated at a low table looking at him from across the room . Nick spots his clothes and luggage stacked in the corner . Nick now realizes he 's in Ich 's apartment . It 's spotless . Everything is now in its proper place .</scene_description>
<character>NICK</character>
<dialogue>What happened?</dialogue>
<character>ICH</character>
<dialogue>They made you leave your hotel.</dialogue>
<parenthetical>( looks away . )</parenthetical>
<dialogue>. you caused a disturbance.</dialogue>
<scene_description>Nick 's eyes fall on Charlie 's things : his sports clothes , his tour book , his shoes which Ich has stacked on the table .</scene_description>
<character>ICH</character>
<dialogue>It may be too soon to talk about it. When someone we care for dies we.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. keep something of their's. A tie, a pen.</dialogue>
<character>NICK</character>
<dialogue>Why were n't you at the platform?</dialogue>
<character>ICH</character>
<dialogue>I could n't keep up. My shame is complete.</dialogue>
<scene_description>Nick slowly shuts his eyes , his head pounding .</scene_description>
</scene>
<scene>
<stage_direction>INT. PUBLIC BATH - DAY</stage_direction>
<scene_description>The neighborhood bathhouse . Thick with steam and neighborhood kids . Nick walks toward the huge pool of water . Ich is beside him . Nick 's about to climb in when Ich stops him , hands him a pail and a washcloth and points to the faucets along the wall where a dozen men squat on small stools as they wash themselves . NICK as he pours a pail of water over his head , it runs down his face in slow motion . THE POOL Nick soaking , on one side . Ich is soaking nearby .</scene_description>
<character>ICH</character>
<dialogue>You must leave?</dialogue>
<character>NICK</character>
<dialogue>Yeah.</dialogue>
<character>ICH</character>
<dialogue>I'll get him for you, Nick.</dialogue>
<scene_description>Nick looks at this thick bellied , alcoholic cop . Not a very reassuring thought . TWO MEN carrying plastic pails cross in front of the tub . Young , muscular Yakuza , their bodies covered with exquisite tattoos . They stare openly at Nick . One makes a joke . Both laugh obscenely as they slip into the hot tub .</scene_description>
<character>NICK</character>
<dialogue>Yakuza?</dialogue>
<scene_description>Ich nods . Nick eyes them for a long beat , then climbs out of the tub . NICK Nick tossing two bags into a taxi in front of Ich 's apartment building . ICH Ich watching Nick through the window from inside his apartment . He glances back and sees Charlie 's `` Members Only '' coat hanging on a hook . When he turns back , Nick 's taxi has disappeared .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NARITA AIRPORT</stage_direction>
<scene_description>The brightest object in the frame is a yellow forklift carrying a jostling aluminum coffin toward the open belly of the cargo plane . Nick watches it from the edge of the tarmac . AIRPORT CHECK IN GATE Nick hands the clerk his ticket .</scene_description>
<character>NICK</character>
<dialogue>Smoking.</dialogue>
<character>CLERK</character>
<dialogue>Aisle or window?</dialogue>
<scene_description>Nick spots a folded newspaper someone has left on the counter . He ca n't read it , of course , but there 's a picture of the subway platform where Charlie was killed , swarming with police . Nick continues to stare at the paper .</scene_description>
<character>CLERK</character>
<dialogue>Aisle or window, sir?</dialogue>
<character>NICK</character>
<parenthetical>( looks up . )</parenthetical>
<dialogue>I want to cash it in. Yen.</dialogue>
<scene_description>ICH 'S APARTMENT - DAY Nick steps in , drops the two suitcases .</scene_description>
<character>NICK</character>
<dialogue>Ichiro?</dialogue>
<scene_description>The woman steps out of the kitchen , babbles something in Japanese . Nick does n't have a clue .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAS VEGAS WELCOME BAR - AFTERNOON</stage_direction>
<scene_description>Only a handful of patrons . Joyce is straightening bottles behind the bar .</scene_description>
<character>NICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What's tricks?</dialogue>
<scene_description>She looks up , surprised to see Nick standing in front of her .</scene_description>
<character>JOYCE</character>
<dialogue>Ich said you left.</dialogue>
<character>NICK</character>
<dialogue>There was a change in plans.</dialogue>
<scene_description>Beat .</scene_description>
<character>JOYCE</character>
<dialogue>I'm sorry about your friend.</dialogue>
<scene_description>Nick 's surprised at how fast she heard .</scene_description>
<character>JOYCE</character>
<dialogue>Dead gaiijin's are big news.</dialogue>
<character>NICK</character>
<dialogue>Gaiijin?</dialogue>
<character>JOYCE</character>
<dialogue>An outside person. A foreigner. A barbarian. You, me.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>More you.</dialogue>
<character>NICK</character>
<dialogue>I could use some help. Show me around. I'll pay you for your time.</dialogue>
<character>JOYCE</character>
<dialogue>I do n't give tours.</dialogue>
<scene_description>Nick smiles .</scene_description>
<character>NICK</character>
<dialogue>You can count on the truth from people who do n't like you.</dialogue>
<character>JOYCE</character>
<dialogue>You have a helluva way of asking for help.</dialogue>
<character>NICK</character>
<dialogue>You have a helluva way of answering.</dialogue>
<scene_description>Draw .</scene_description>
<character>JOYCE</character>
<dialogue>Look, you need Ich. I've been here five years and I still ca n't read all the street signs.</dialogue>
<character>NICK</character>
<dialogue>Maybe I'm a quicker learner.</dialogue>
<character>JOYCE</character>
<dialogue>I do n't think so.</dialogue>
<scene_description>From OFF SCREEN :</scene_description>
<character>ICH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Nicklaus - san.</dialogue>
<scene_description>Nick turns to see Ich , leaning against the door frame . He 's already had a few drinks too many . He 's delighted to see Nick .</scene_description>
<character>ICH</character>
<dialogue>I've continued working on the case!</dialogue>
<character>NICK</character>
<dialogue>I can see that.</dialogue>
<scene_description>Ich ambles into the room , slips down into a chair . He spills the contents of the large manila envelope he 's been carrying onto the table : a wallet , a set of keys , playing cards , etc. .</scene_description>
<character>ICH</character>
<parenthetical>( signaling to Joyce . )</parenthetical>
<dialogue>Joyce. A drink please.</dialogue>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Kobo has disappeared. My superiors do n't trust me.</dialogue>
<scene_description>Nick walks over to the table and looks at the items .</scene_description>
<character>ICH</character>
<dialogue>Kobo's. Taken off him when he was arrested in New York.</dialogue>
<scene_description>Nick sits down . Joyce gives Ich his scotch .</scene_description>
<character>ICH</character>
<dialogue>I knew you'd come back. You feel you have a debt you can never pay. But you will, even if it costs you your life. Giri. Honor.</dialogue>
<scene_description>Nick picks up various items off the table .</scene_description>
<character>NICK</character>
<dialogue>How'd you get this?</dialogue>
<character>ICH</character>
<dialogue>I stole them.</dialogue>
<scene_description>Ich drapes his arm over Nick 's shoulder .</scene_description>
<character>ICH</character>
<dialogue>Partners, Nicklaus - san?</dialogue>
<scene_description>Ich reaches for his drink . Nick gets there first . He holds it up as if he were proposing a toast , then purposefully spills his drink out .</scene_description>
<character>NICK</character>
<dialogue>Partners.</dialogue>
<scene_description>Ich has just had his last drink on duty . THE TABLE - LATER All the contents of the envelope are spread out on the table : credit cards , matchbooks from New York City , choice clipping from Screw magazine , sugarless gum , cuff links . Nick 's holding up a series of photos . CLOSE ON PHOTO of a naked women and Kobo screwing on a Tatami mat . Another photo . Then another . Each photo is more pornographic than the next . Joyce picks them up as Nick sets them down .</scene_description>
<character>JOYCE</character>
<dialogue>Busy man.</dialogue>
<scene_description>Nick holds out several of the same girl in various poses .</scene_description>
<character>NICK</character>
<dialogue>Know her?</dialogue>
<character>ICH</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>We can ask someone I used to work with. A criminal. Someone I pay money to.</dialogue>
<character>NICK</character>
<dialogue>A snitch?</dialogue>
</scene>
<scene>
<stage_direction>INT. PACHINKO PARLOR - DAY</stage_direction>
<scene_description>The largest in Tokyo . Endless rows of men sitting in front of the machines -LRB- horizontal pinball games -RRB- furiously punching the flippers . The NOISE from the metal balls is deafening . A MAN in a Hawaiian shirt , his arms covered with tattoos , is starting a new game . Ich moves up to the vacant machine beside him , puts in his change . Ich does n't face the man as they speak in Japanese . The man in the Hawaiian shirt walks off . ON NICK as the man in the Hawaiian shirt walks past him . This is the snitch . Nick glances back at Ich . Ich nods - they 're in business . A CRAMPED ROOM - REAR OF PACHINKO PARLOR We HEAR the clattering of the machines outside . The man in the Hawaiian shirt , mid - fifties and badly in need of a shower , is sitting on the floor studying the photos . Ich and Nick tower above him . The man says something to Nick in Japanese , then continues to study the photos .</scene_description>
<character>NICK</character>
<dialogue>What's he saying?</dialogue>
<character>ICH</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>He says they're very nice. He wants to know if you have anymore.</dialogue>
<scene_description>Nick sighs .</scene_description>
<character>ICH</character>
<dialogue>I'll ask him again.</dialogue>
<scene_description>Ich asks in Japanese . The man shrugs .</scene_description>
<character>NICK</character>
<dialogue>My turn.</dialogue>
<scene_description>He grabs the man by his shirt collar and shoves him against the wall . The photos spill to the floor .</scene_description>
<character>NICK</character>
<dialogue>Who is she?</dialogue>
<scene_description>He bangs the man 's head back against the wall . The man starts babbling in Japanese . Ich , horrified , tries to pull Nick off him .</scene_description>
<character>ICH</character>
<dialogue>Nick, stop.</dialogue>
<scene_description>Nick bangs the snitches head against the wall again . Ich gets Nick away . The man is terrified .</scene_description>
<character>ICH</character>
<dialogue>This man must be treated with respect.</dialogue>
<scene_description>Ich bows to the man , apologizes in Japanese .</scene_description>
<character>NICK</character>
<dialogue>Aw, for Christ's sake.</dialogue>
<scene_description>They continue speaking in Japanese . They bow to one another again . Ich gives the man a glass of water , then motions for him to sit down . Nick , impatient , starts for the guy again . Ich stops him . The snitch holds up one of the photos , and starts babbling .</scene_description>
<character>NICK</character>
<parenthetical>( to Ich . )</parenthetical>
<dialogue>Now we're making progress.</dialogue>
</scene>
<scene>
<stage_direction>INT. SEIBU DEPARTMENT STORE - DAY</stage_direction>
<scene_description>CLOSE ON A SALESGIRL behind the cosmetic counter . She is wearing the store uniform : blue and white dress and white gloves . A doll . We should n't recognize her at first . Then - INSERT A PHOTO one of Kobo 's porno pics . It 's the same face . REVEAL NICK holding the photo , standing in the crowded store . Ich is beside him .</scene_description>
<character>NICK</character>
<dialogue>That's Kobo's girl? He's sure?</dialogue>
<scene_description>Ich glances back at the man in the Hawaiian shirt standing by the door . The man nods .</scene_description>
<character>ICH</character>
<dialogue>He's sure.</dialogue>
<scene_description>They watch the girl help a customer choose an eyeliner .</scene_description>
<character>ICH</character>
<dialogue>Nick, no one's seen Kobo in three days. He might not even be in Tokyo.</dialogue>
<character>NICK</character>
<dialogue>Only one way to find out. Get her up in the morning and put her to bed at night.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOBA RESTAURANT - DAY</stage_direction>
<scene_description>NICK is struggling with his chopsticks and bowl of noodles . From O.S. . A LOUD SLURPING SOUND . The sound stops , then starts again . Nick ca n't eat . He sets his bowl down and looks over at ICH slurping his noodles . It is considered polite to slurp soba noodles as loud as possible . Ich stops . Looks at Nick , then resumes his slurping .</scene_description>
<character>NICK</character>
<dialogue>Think you could keep it to a dull roar?</dialogue>
<scene_description>They 're sitting by the window across from the Seibu department store watching the entrance .</scene_description>
<character>ICH</character>
<dialogue>It's good manners.</dialogue>
<scene_description>Nick nods . Picks up his bowl . Again the LOUD slurping off screen . Nick starts to eat the noodles . He ca n't continue with Ich slurping . He sets the bowl down . Ich grins , resumes slurping and we -</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEPARTMENT STORE - SIX P.M.</stage_direction>
<scene_description>The SALESGIRLS are lined up at the door bowing and thanking the last customers for shopping in their store . Standard practice . The GIRL whom Nick and Ich have been watching comes out wearing her uniform and heads down the street . NICK AND ICH waiting in the restaurant , get up to follow . THE GIRL stepping out of the laundry carrying her wash . She walks past a doorway where . NICK is standing . ICH now walks past his partner picking up the tail . No acknowledgement between them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CAR STATION</stage_direction>
<scene_description>There are dozens of street cars waiting to pull out . The girl is on one of them . Ich has lost her . Nick and Ich hurry from car to car .</scene_description>
<character>ICH</character>
<dialogue>You said you could keep up with her! ` No problem, Nick - san.'</dialogue>
<character>NICK</character>
<parenthetical>( cutting Ich off . )</parenthetical>
<dialogue>No. Do n't say anything. Do n't do anything, and for Christ's sake, do n't apologize!</dialogue>
<character>ICH</character>
<dialogue>Nick.</dialogue>
<scene_description>Nick hurries toward another car to check it out .</scene_description>
<character>NICK</character>
<dialogue>What'd I tell you?</dialogue>
<character>ICH</character>
<dialogue>There she is!</dialogue>
<scene_description>They spot the girl sitting in the window of one of the street cars , about to turn onto the main street . The two cops race for the car . Nick leaps on . Ich is a few steps behind . Nick sticks out his hand , pulls Ich up . They stand looking at one another , both breathing hard , both out of shape . NIGHTCLUB DISTRICT - NIGHT Narrow streets with exploding neon ideograph signs as far as the eye can see . We spot our girl hurrying down the street . Nick , a half block behind , is bumping into people , trying not to lose her . She crosses the street and Ich picks her up . Nick drops off . ON A SIDE STREET around the corner the girl disappears into a three story apartment building above an electronics store .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIRL'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>We 're watching our girl inside her apartment . She flips off the TV and climbs into bed . A STOREROOM - NIGHT We 've been watching the girl from a window across the street . It 's a storeroom full of shipping crates , not much else . Ich is sitting on the floor , legs crossed , back erect , watching Nick . Nick glances over . Ich continues to watch him . Nick returns to the window .</scene_description>
<character>ICH</character>
<dialogue>You dislike me.</dialogue>
<scene_description>Nick keeps looking out the window .</scene_description>
<character>NICK</character>
<dialogue>Did I say that?</dialogue>
<character>ICH</character>
<dialogue>You toler - yes, tolerate me.</dialogue>
<character>NICK</character>
<dialogue>Are we getting married?</dialogue>
<scene_description>Pause .</scene_description>
<character>ICH</character>
<dialogue>I'm a joke. They sent you to me to make a fool of you.</dialogue>
<scene_description>Nick looks over at Ich . Ich is looking away . Nick looks out the window , then back at his partner .</scene_description>
<character>NICK</character>
<dialogue>You're doing fine, Ich. Now drop it, okay?</dialogue>
<character>ICH</character>
<dialogue>Sure.</dialogue>
<scene_description>The girl switches off her light across the street . THE STOREROOM - MORNING Ich is sleeping on his back looking like a grounded whale . Nick , exhausted , is sitting by the window his head resting against the sill . NICK 'S POV OF THE STREET as the girl , dressed in her store uniform , comes out of the apartment and heads for work . NICK nudges the sleeping Ich with his foot . Ich opens his eyes .</scene_description>
<character>NICK</character>
<dialogue>Let's book.</dialogue>
<scene_description>Ich is groggy , nonplused .</scene_description>
<character>NICK</character>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - GIRL'S APARTMENT BUILDING</stage_direction>
<scene_description>Ich , tucking in his shirt , comes down the hall to see - Nick , on his knees , examining the lock on the girl 's apartment door . He slides his NYPD card into the jam and lightly raps the knob plate .</scene_description>
<character>ICH</character>
<dialogue>You ca n't do this.</dialogue>
<scene_description>Nick uses his sleeve to wipe prints off the knob and jam .</scene_description>
<character>NICK</character>
<dialogue>Call a cop.</dialogue>
<scene_description>The door swings open . Nick walks in .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIRL'S APARTMENT</stage_direction>
<scene_description>A cheesebox with a few vintage pieces of American deco furniture . Ich , very uptight , stands at the door while Nick goes over the place . Nick opens the closet . It 's packed with expensive dresses , pants , sweaters .</scene_description>
<character>ICH</character>
<dialogue>Nick.</dialogue>
<character>NICK</character>
<parenthetical>( facing him . )</parenthetical>
<dialogue>If you're gon na give me a hard time, wait outside.</dialogue>
<scene_description>Nick goes through her chest of drawers : on the top , a lot of high quality lingerie . INSERT PHOTO : The girl and Kobo posing in a vintage Corvette . Nick replaces the picture , and carefully rearranges the drawer so it appears untouched . He pulls open another drawer . Then another . Under the jeans and Mickey Mouse T - shirts , he finds : A BANK STACK OF U.S. CURRENCY in hundreds . The bottom of the drawer is lined with stacks . Nick holds them up for Ich to see .</scene_description>
<character>NICK</character>
<dialogue>Not too shabby for a perfume pusher.</dialogue>
<scene_description>Ich , shocked , tries to play it cool .</scene_description>
<character>ICH</character>
<dialogue>Too bad it's not in yen.</dialogue>
<scene_description>Nick shoves the drawer shut . THE GIRL - DUSK - TWO DAYS LATER The GIRL buys fruit from a stand as NICK watches from one end of the block ; ICH , listening to his transistor radio , waits at the other . THE GIRL suddenly turns and finds herself facing NICK a few yards away . Nick smiles , then walks into the store , hoping he has n't been made .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIRL'S APARTMENT - NIGHT</stage_direction>
<scene_description>Rain pours down .</scene_description>
</scene>
<scene>
<stage_direction>INT. STOREROOM - NIGHT</stage_direction>
<scene_description>Nick , leaning against the wall , watches the girl 's apartment across the street . The girl walks in , turns on her light , then disappears into the bathroom . Ich walks in , exhausted , soaked to the skin . He tosses his cap in the corner . Struck out again .</scene_description>
<character>ICH</character>
<dialogue>Work, lunch, groceries, laundry. Fabulous.</dialogue>
<character>NICK</character>
<parenthetical>( looking back out the window . )</parenthetical>
<dialogue>Four goddamn days. This is going nowhere.</dialogue>
<scene_description>A KNOCK at the door .</scene_description>
<character>JOYCE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's me.</dialogue>
<scene_description>Ich opens the door . Joyce , dressed for work , is carrying two odons -LRB- box dinners -RRB- . Joyce and Ich exchange greetings in Japanese .</scene_description>
<character>JOYCE</character>
<dialogue>What's the latest?</dialogue>
<scene_description>Nick shrugs .</scene_description>
<character>ICH</character>
<dialogue>We'll get him, Joyce.</dialogue>
<scene_description>Joyce peeks out the window . The girl is getting undressed .</scene_description>
<character>JOYCE</character>
<dialogue>She ever pull down her shades?</dialogue>
<character>NICK</character>
<parenthetical>( right back at her . )</parenthetical>
<dialogue>Sure, but then I just pull out the photos.</dialogue>
<scene_description>Ich opens one of the box dinners and sets it on the ledge in front of Nick .</scene_description>
<character>ICH</character>
<parenthetical>( enthusiastically . )</parenthetical>
<dialogue>Chikuwa, Hampen, Kobu, Konnayaku, Ganmodoki -</dialogue>
<character>NICK</character>
<dialogue>Ichiro -</dialogue>
<character>ICH</character>
<parenthetical>( realizing . )</parenthetical>
<dialogue>Broiled fish paste cake, Kelp roll, soybean curd, devils tongue -</dialogue>
<character>NICK</character>
<dialogue>Smells like Bayonne at low tide.</dialogue>
<scene_description>Joyce hands Ich a flask of hot sake in tinfoil .</scene_description>
<character>NICK</character>
<dialogue>Whoa whoa.</dialogue>
<scene_description>Nick grabs the flask . Dumps it out the window .</scene_description>
<character>JOYCE</character>
<dialogue>Do n't be an ass.</dialogue>
<character>NICK</character>
<dialogue>He's on duty.</dialogue>
<character>JOYCE</character>
<dialogue>I paid for that.</dialogue>
<scene_description>Nick tosses a few thousand yen on the table . Then , spotting something out the window .</scene_description>
<character>NICK</character>
<dialogue>Alley oop!</dialogue>
<scene_description>Nick grabs his coat and goes out the door . Joyce slips Ich another flask of sake .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - GINZA DISTRICT - NIGHT</stage_direction>
<scene_description>It 's our GIRL standing alone on the corner of the street but you would n't know it at first . She 's wearing tight leather pants , red leather jacket , earrings , bright red lipstick , and she 's dumped the pony - tail , allowing her hair to fall to her waist . NICK AND ICH watching in a doorway down the block . Nick 's shivering , his hands thrust in his army surplus jacket . Ich does n't mind the cold . He 's had his sake . THREE BOSOZOKU riding their bikes come around the corner drive past her , then circle back . One of the RIDERS stops to talk to her , then drives off . She hurries off in the opposite direction .</scene_description>
<character>ICH</character>
<dialogue>Yakuza.</dialogue>
<character>NICK</character>
<dialogue>Good. Very good.</dialogue>
<scene_description>A SUBWAY STATION The girl waits until the last minute , then after glancing back , steps in the car . The train pulls out . The cars race past until we see - Nick and Ich standing inside of the last car . It disappears into the tunnel . THE SHINZOA DISTRICT - NIGHT The girl , on the move , pushing through the crowd . Drop back to find Ich twenty yards behind . She crosses the street . Nick , pretending to be looking in a store window , picks her up . AROUND THE CORNER Nick has lost her . It 's a cul de sac with a dozen buildings . He 's standing in the middle of the street . Ich catches up to him .</scene_description>
<character>NICK</character>
<dialogue>She disappeared. shit!</dialogue>
<character>ICH</character>
<dialogue>You were too far behind.</dialogue>
<scene_description>Nick does a double - take .</scene_description>
<character>ICH</character>
<parenthetical>( recalling Nick 's words . )</parenthetical>
<dialogue>Do n't say anything more. Do n't do anything. And, for Christ's sake, do n't apologize!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - SHINZOA DISTRICT - NIGHT - LATER</stage_direction>
<scene_description>NICK dropping another cigarette butt to the ground . There 's a small pile at his feet . He 's leaning against the wall watching one end of the block . TRACK over to reveal Ich , his back to Nick 's , watching the other end . Ich glances back at Nick . Nick ignores him . Ich turns back .</scene_description>
<character>ICH</character>
<dialogue>Nicklaus - san!</dialogue>
<scene_description>Nick turns to see the GIRL walk out of a bath house . She 's wearing her ponytail again , with a black dress . She climbs into a taxi .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PINK SARON HOSTESS CLUB - NIGHT</stage_direction>
<scene_description>The girl climbs out of the taxi and goes inside . Nick and Ich are watching from across the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSTESS CLUB</stage_direction>
<scene_description>Packed with Salarymen from the nearby brewery and hostesses in silk dresses selling cheap champagne at expensive prices . NICK AND ICH Walk in . Everything seems normal . The BOUNCER in a white tux , stops them . This is not a place frequented by Gaiijin . Ich beseeches the Bouncer to let his good friend in , promising that his friend will spend lots of money . Nick , thinking he 's in , takes a step forward . The Bouncer shoves him back .</scene_description>
<character>NICK</character>
<dialogue>Hey, no hands, huh?</dialogue>
<scene_description>He bats his hands away . Ich grabs Nick by the shoulders , preventing a fight .</scene_description>
<character>ICH</character>
<dialogue>You ca n't come in. They do n't want -</dialogue>
<character>NICK</character>
<dialogue>Gaiijin.</dialogue>
<character>ICH</character>
<dialogue>I'll check it out.</dialogue>
<scene_description>Nick , unsure , turns to go , but before he does :</scene_description>
<character>NICK</character>
<dialogue>If I smell one drop of Scotch on your breath, my friend -</dialogue>
<character>ICH</character>
<dialogue>You can trust me.</dialogue>
<scene_description>Nick hesitates , he 's not so sure , then shoves the door open .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSTESS CLUB</stage_direction>
<scene_description>Nick waiting under the pink neon sign .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSTESS CLUB - LATER</stage_direction>
<scene_description>Ich is sitting at the crowded bar . A HOSTESS has her arm around his neck . He checks out the room , searching for the girl . He notices two THUGS standing outside a sliding door . Ich finishes his drink .</scene_description>
<character>ICH</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Let me up.</dialogue>
<character>HOSTESS</character>
<parenthetical>( shoving him down . )</parenthetical>
<dialogue>Sit, sweetie.</dialogue>
<parenthetical>( to bartender . )</parenthetical>
<dialogue>Another Seagrams!</dialogue>
<scene_description>Ich relents . Then , spotting something across the room : WHAT HE SEES : A rice paper door slides open , momentarily revealing a DOZEN men with close cropped hair sitting on tatami mats , playing poker . Some have their coats off , revealing arms covered with tattoos . Yakuza . A hostess , serving drinks , steps but leaving the door partially open . The hostess slides the door open to the adjacent room , but Ich CAN NOT see inside . She slides it shut . Ich 's hostess wants him to buy another drink , but Ich shakes his head , gets to his feet , and pretending to be drunk , stumbles toward the sliding doors . Ich bumps into a table ; slaps a stranger on the shoulder ; then starts singing along with Frank Sinatra on the stereo . He 's a little too loud , a little off key . The bodyguards eye Ich suspiciously . He stumbles past them , then grabs the sliding door and yanks it open . INSIDE THE ROOM A low table . Kobo is at one end . An older , distinguished , sliver - haired man in his seventies whom we will come to know as SUGAI is at the other . Ich ca n't believe his eyes : Sugai is the head of the largest Yakuza syndicate in Japan . A half dozen LIEUTENANTS sit on either side of the table . Half are older , dressed in conservative suits ; the other half are younger wearing $ 700 Issy Miyake jackets . SUGAI AND KOBO are having a heated discussion . The GIRL Ich and Nick have been following walks over to Kobo and sits beside him . This makes Sugai even more irate . He 's on his feet , red faced and screaming . FOUR GUARDS seeing Ich , pull out their Beretta 's . Two more grab him and fling him head first against the wall .</scene_description>
<character>ICH</character>
<parenthetical>( drunken , in Japanese . )</parenthetical>
<dialogue>I have to piss, gentlemen. I'm so sorry but I have to -</dialogue>
<scene_description>The bodyguards hurry him towards the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSTESS CLUB</stage_direction>
<scene_description>Nick checks his watch , it 's been an hour - where the hell is Ich ? Ich comes stumbling up the steps , still affecting his drunken , pigeon - toed walk . Nick , of course , thinks Ich has gotten drunk again . Two of the bodyguards are watching from inside .</scene_description>
<character>NICK</character>
<dialogue>I do n't believe it.</dialogue>
<parenthetical>( grabs him . )</parenthetical>
<dialogue>Son - of - a - bitch -</dialogue>
<scene_description>Ich , knowing they 're being watched , grabs Nick by the sleeve and drags him off still pretending to be drunk .</scene_description>
<character>ICH</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>I'm not drunk.</dialogue>
<character>NICK</character>
<dialogue>We're through. I mean it. This is the end of the line, Matsumoto.</dialogue>
<character>ICH</character>
<dialogue>Nick -</dialogue>
<character>NICK</character>
<dialogue>Shut - up.</dialogue>
<scene_description>No longer fearing he 's being watched , Ich abruptly stops his affected walk , and sounding very sober -</scene_description>
<character>ICH</character>
<dialogue>You shut - up!</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Kobo is inside. He's with Sugai, the head of the Summaguchi - clan.</dialogue>
<scene_description>ACROSS THE STREET Ich is dialing on the police call box as he fills Nick in on Sugai .</scene_description>
<character>ICH</character>
<dialogue>A Godfather. His man was killed at the printing plant.</dialogue>
<character>NICK</character>
<dialogue>I want to yank Kobo.</dialogue>
<character>ICH</character>
<dialogue>Not without a small army, Nicklaus - san.</dialogue>
<scene_description>Ich quickly speaks on the police phone , then hangs up , pleased with himself .</scene_description>
<character>NICK</character>
<dialogue>Ich, my name is Nick. Not Nicklaus, not Nicklaus - san, not Nick - san. Nick.</dialogue>
<character>ICH</character>
<dialogue>San is an honorable title.</dialogue>
<scene_description>Ich realizes it 's better to drop it . THE HOSTESS CLUB - MINUTES LATER Drunken Salarymen spill out the door . ICH AND NICK are standing across the street waiting for the cops to arrive . Nick freezes . THE GIRL they 've been following steps out and lights a cigarette . TIME SLOWS . She looks up and spots the two men through the traffic . Nick turns away , afraid he 's been made . When he looks back , she 's gone back inside .</scene_description>
<character>NICK</character>
<dialogue>Shit.</dialogue>
<scene_description>Nick races across the street toward the club . Horns BLARE .</scene_description>
<character>ICH</character>
<parenthetical>( does n't understand . )</parenthetical>
<dialogue>Nick?!</dialogue>
<scene_description>IN FRONT OF THE CLUB Nick reaches the curb just as the front doors to the club BURST OPEN . He 's too late . Three bodyguards burst out , checking the street . A red and white Debonnaire pulls up . Sugai , surrounded by a half - dozen additional bodyguards , comes out and slips into the car . It tears off down the street . SIRENS AND POLICE CARS from either end of the street peel around the corner . It 's a madhouse . The remaining lieutenants and bodyguards fan out , trying to elude arrest . Nick hurries down the steps . INSIDE THE CLUB The patrons are still in place , but the two side rooms are empty . Nick spots KOBO going out the rear entrance . He starts after him but is confronted by the bouncer who stopped him earlier . Nick connects to the guy 's jaw before his adversary can raise his hands . The bouncer staggers back . Nick flies out the rear door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF CLUB - NIGHT</stage_direction>
<scene_description>Several lieutenants and bodyguards toss their guns - possession is a felony in Japan - as the police close in .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSTESS CLUB - NIGHT</stage_direction>
<scene_description>Ich hurries in , but Nick 's long gone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR OF HOSTESS CLUB - NEARBY STREETS - NIGHT</stage_direction>
<scene_description>SILENCE . The narrow streets are deserted . Nick slowly makes his way down the street . The SOUND of a GUNSHOT . Nick ducks for cover - it 's a car BACKFIRING . He continues on . Nick 's POV of a woman giving a man a blow - job in a narrow alley . The man 's face is hidden by the shadow . Nick continues on .</scene_description>
<character>JAPANESE MAN</character>
<parenthetical>( FROM THE DARKNESS . )</parenthetical>
<dialogue>People like Charlie are a dime a dozen.</dialogue>
<scene_description>Nick turns back to see Kobo as he steps into the light . Kobo tosses a handful of change at Nick .</scene_description>
<character>KOBO</character>
<dialogue>Keep the change.</dialogue>
<character>NICK</character>
<dialogue>I'm taking you back.</dialogue>
<scene_description>The girl takes off down the block .</scene_description>
<character>KOBO</character>
<dialogue>Here I am.</dialogue>
<scene_description>From across the street , a dozen bodyguards appear from various doorways and alleys .</scene_description>
<character>KOBO</character>
<dialogue>Charlie was a rookie.</dialogue>
<scene_description>Kobo traces his finger across the spot where he cut Nick in New York .</scene_description>
<character>KOBO</character>
<dialogue>But you can take care of yourself. You're ` the biggest thing to hit this town since Godzilla.'</dialogue>
<scene_description>Nick glances at the guards , then back at Kobo . He is unarmed . To make a move would be suicide . More POLICE SIRENS in the b.g. closing in .</scene_description>
<character>KOBO</character>
<dialogue>What's the matter. I'm right in front of you, Nick.</dialogue>
<parenthetical>( takes a step closer . )</parenthetical>
<dialogue>But I was right in front of you when you let Charlie die.</dialogue>
<scene_description>Kobo takes a step forward . His face is inches from Nick 's .</scene_description>
<character>KOBO</character>
<dialogue>Walk away again. Maybe you'll get used to it.</dialogue>
<scene_description>Nick does n't budge . A LONG BEAT , then . Nick turns and slowly walk off . After a dozen yards Nick looks back . The street is empty , except for a street sweeper pushing his wet broom down the block .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSTESS CLUB - NIGHT</stage_direction>
<scene_description>A half dozen bodyguards are being frisked , then shoved into police cars . Ohashi is talking to the enraged nightclub owner . Nick steps up to him . Ich hurries over .</scene_description>
<character>ICH</character>
<dialogue>Nick!</dialogue>
<character>NICK</character>
<parenthetical>( to Ohashi . )</parenthetical>
<dialogue>A few minutes faster, we might've nailed him.</dialogue>
<scene_description>Ohashi does n't say a word , hands Nick a document .</scene_description>
<character>NICK</character>
<dialogue>What's this?</dialogue>
<character>OHASHI</character>
<dialogue>Your visa has expired. Be on a plane in twenty - four hours or you will be deported.</dialogue>
<character>NICK</character>
<dialogue>While you were hanging out at the visa office, we found the son - of - a - bitch.</dialogue>
<character>OHASHI</character>
<dialogue>Look.</dialogue>
<scene_description>Ohashi directs Nick 's attention across the street where a SURVEILLANCE VAN is parked . The rear doors are open revealing a van full of surveillance equipment and cops .</scene_description>
<character>OHASHI</character>
<dialogue>You ruined an on - going investigation that could have gotten us more than one runner.</dialogue>
<parenthetical>( to Ich , in Japanese . )</parenthetical>
<dialogue>I want a full report in the morning, officer.</dialogue>
<scene_description>Ich bows as Ohashi walks off .</scene_description>
<character>NICK</character>
<dialogue>Maybe if you'd work with us -</dialogue>
<scene_description>Ohashi ignores him , continues walking toward his waiting car .</scene_description>
<character>NICK</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Hey!</dialogue>
<parenthetical>( Ohashi keeps walking . )</parenthetical>
<dialogue>HEY, I'M TALKING TO YOU, INSPECTOR!</dialogue>
<character>OHASHI</character>
<parenthetical>( his back toward Nick . )</parenthetical>
<dialogue>Twenty - four hours, detective.</dialogue>
<scene_description>Ohashi slips into his car . Nick storms up to the car and slams his fist on the window .</scene_description>
<character>NICK</character>
<dialogue>Ohashi!</dialogue>
<scene_description>Ohashi faces straight ahead , ignoring Nick . Nick takes the extradition paper and spikes it on the car antenna . Ich grabs Nick by his arm , pulling him back from the car . The car pulls away .</scene_description>
<character>ICH</character>
<dialogue>Nick, stop!</dialogue>
<scene_description>Nick whirls , and before he realizes what he 's doing , punches Ich below his left eye . Ich stumbles back over the curb and lands on his ass .</scene_description>
<character>NICK</character>
<dialogue>Damnit, Ichiro, I'm tired of people telling me what I can and ca n't do. No one ever solved anything sitting on their ass.</dialogue>
<scene_description>Nick , beside himself with frustration , watches Ohashi 's car disappear down the block . ON ICH looking up at NICK who walks off without looking back at his partner .</scene_description>
</scene>
<scene>
<stage_direction>INT. ICH'S BATHROOM - SEVERAL HOURS LATER</stage_direction>
<scene_description>Nick , standing beside the tub , dumps a pail of hot water over his head , rinsing himself off . He grabs a towel and walks out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. ICH'S APARTMENT</stage_direction>
<scene_description>Ich , holding an ice pack to his face , is lying on a tatami mat against the wall looking up at the ceiling . An open bottle of Seagrams beside him . Nick stretches out on another tatami on the opposite side of the room and looks up at the ceiling , too .</scene_description>
<character>NICK</character>
<dialogue>The ice help?</dialogue>
<scene_description>Nothing from Ich .</scene_description>
<character>NICK</character>
<dialogue>Where does this Sugai live?</dialogue>
<character>ICH</character>
<parenthetical>( cold . )</parenthetical>
<dialogue>A resort city, Beppu.</dialogue>
<character>NICK</character>
<dialogue>I want to go talk to him.</dialogue>
<character>ICH</character>
<dialogue>What? Why?</dialogue>
<character>NICK</character>
<dialogue>Because he knows how to get to our man.</dialogue>
<character>ICH</character>
<dialogue>He'll never speak to a Gaiijin.</dialogue>
<character>NICK</character>
<dialogue>I'll be a nice Gaiijin.</dialogue>
<scene_description>Nick gets up and goes to the closet . He slides open the door . All of his and Charlie 's clothes have been neatly hung up . He shoves Charlie 's jacket aside . Something 's wrong with the way it hangs . He pulls the jacket out , runs his hand over the coat , feeling something heavy in the lining . Nick rips the lining open . Charlie 's .32 Beretta and a spare clip tumble out .</scene_description>
<character>NICK</character>
<dialogue>The little bastard. God bless him.</dialogue>
<scene_description>Ich takes a drink from his bottle .</scene_description>
<character>ICH</character>
<dialogue>It's very small.</dialogue>
<character>NICK</character>
<dialogue>Big enough.</dialogue>
<character>ICH</character>
<dialogue>It's illegal, Nick.</dialogue>
<character>NICK</character>
<dialogue>It's a new deal.</dialogue>
<parenthetical>( putting it in his waist band . )</parenthetical>
<dialogue>. coming with me tomorrow?</dialogue>
<character>ICH</character>
<dialogue>Sugai's not going to be impressed with your gun, Nick.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>No. I wo n't put myself in danger for you anymore.</dialogue>
<scene_description>Nick picks up the liquor cap which rolled across the floor . He tosses it to Ich . Ich reaches for it , but misses .</scene_description>
<character>NICK</character>
<dialogue>Sure, pal. You've got better things to do.</dialogue>
<scene_description>Nick walks out shutting the door behind him . Stay on Ich watching the door , then -</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAS VEGAS BAR - CLOSING TIME</stage_direction>
<scene_description>The last customers find their way to the street , some with a little encouragement from a BOUNCER . Joyce steps out . Nick comes up to her .</scene_description>
<character>NICK</character>
<dialogue>You know where I can get a decent cup of coffee this time of night? I'm buying.</dialogue>
<character>JOYCE</character>
<dialogue>Somebody must be suffering somewhere, you're being so nice.</dialogue>
<scene_description>Joyce takes off down the street . Nick watches her for a beat .</scene_description>
<character>NICK</character>
<dialogue>I need your help, Joyce.</dialogue>
<character>JOYCE</character>
<dialogue>Where's Ich?</dialogue>
<character>NICK</character>
<dialogue>Unavailable.</dialogue>
</scene>
<scene>
<stage_direction>INT. KARAOKE BAR - NIGHT</stage_direction>
<scene_description>On the stage , a young professional looking man is singing along to `` SUMMERTIME '' blasting from the stereo . The Japanese way of letting it all hang out . We find Joyce and Nick at a corner table having a drink .</scene_description>
<character>JOYCE</character>
<dialogue>I've heard of Sugai. I've also heard of the emperor. They're both national treasures. One's a hood.</dialogue>
<character>NICK</character>
<dialogue>I need someone to translate for me.</dialogue>
<character>JOYCE</character>
<dialogue>My Japanese is n't that hot. Besides, you'll never get in.</dialogue>
<character>NICK</character>
<dialogue>It's my last shot. I have to be on a plane home tomorrow night.</dialogue>
<character>JOYCE</character>
<dialogue>And I'm supposed to care?</dialogue>
<character>NICK</character>
<dialogue>You could fake it.</dialogue>
<scene_description>Joyce finishes her drink , sets it down .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>The neon flickers on the rain slicked pavement . Nick and Joyce walk down the deserted street . She 's carrying an umbrella .</scene_description>
<character>JOYCE</character>
<dialogue>You're wrong to sell Ich short.</dialogue>
<character>NICK</character>
<dialogue>He drinks.</dialogue>
<character>JOYCE</character>
<dialogue>He's got a reason.</dialogue>
<scene_description>Nick shrugs , everyone 's got a reason .</scene_description>
<character>JOYCE</character>
<dialogue>His son hooked up with some bikers. Yakuza kids. A cop shot him running from a robbery.</dialogue>
<scene_description>Nick looks over for the first time .</scene_description>
<character>JOYCE</character>
<dialogue>A father does n't out live that kind of thing here, much less a police officer.</dialogue>
<scene_description>Pause .</scene_description>
<character>NICK</character>
<dialogue>Where's the wife?</dialogue>
<character>JOYCE</character>
<dialogue>You met her.</dialogue>
<scene_description>Nick looks surprised .</scene_description>
<character>JOYCE</character>
<dialogue>The woman in the apartment. She wo n't speak to him. But she wo n't leave either. Japan. Nice, huh?</dialogue>
<scene_description>Before Nick can respond , something catches his eye : What he sees - A MAN partially shadowed , standing in the alley . Nick grabs his gun . The man steps out zipping up his trousers . It 's a drunken Salaryman . Nick lowers his gun . The Salaryman staggers down the street singing to himself .</scene_description>
<character>JOYCE</character>
<dialogue>Not wound too tight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JOYCE'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>A three story modern building on a quiet street . She 's searching for her keys .</scene_description>
<character>JOYCE</character>
<dialogue>I'd invite you up but I know you'd hate the incense.</dialogue>
<parenthetical>( as if to explain . )</parenthetical>
<dialogue>I chant.</dialogue>
<character>NICK</character>
<dialogue>What do you chant?</dialogue>
<character>JOYCE</character>
<dialogue>` Nam oyo ranged kyo.' You think it's dumb of course.</dialogue>
<character>NICK</character>
<dialogue>Not if it works.</dialogue>
<parenthetical>( holding the door open for her . )</parenthetical>
<dialogue>I'll meet you at the train?</dialogue>
<character>JOYCE</character>
<dialogue>I do n't remember saying yes.</dialogue>
<character>NICK</character>
<dialogue>I do n't remember you saying no.</dialogue>
<scene_description>Joyce smiles , heads inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. ICH'S APARTMENT - DAWN</stage_direction>
<scene_description>Ich is sleeping . Nick slips into his leather motorcycle jacket . He drops Charlie 's gun into his pocket . He glances down at Ich , seeing if he 's awake . He 's not . Nick walks out . Ich opens his eyes . He 's been awake the whole time . THE YANAKA CEMETERY - DAY Ich , wearing a blue suit , is pouring water over a simple stone with a wooden dipper . Next , he places incense in a holder and folds his hands in prayer . The photo on the stone is of a young man wearing a school uniform . Ich 's son . A BULLET TRAIN - DAY It 's bull 's - eye nose cone scuds across the endless rice paddies west of Tokyo . Women in straw hats stand in the knee deep water pruning the rice by hand . Old Japan rubbing shoulders with the new .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN - DAY</stage_direction>
<scene_description>CLOSE ON NICK looking out the window as the countryside shoots past at 140 mph . From O.S. several children chanting : `` Harrow , Harrow . '' Nick looks over to see three uniformed school children thrusting their notebooks and pens at him . JOYCE is sitting across from Nick .</scene_description>
<character>JOYCE</character>
<dialogue>They want your autograph.</dialogue>
<character>NICK</character>
<dialogue>Who am I supposed to be?</dialogue>
<character>JOYCE</character>
<dialogue>This little guy thinks you're Robert Redford. the other one thinks you're Charles Bronson.</dialogue>
<character>NICK</character>
<dialogue>Tell them I'm not.</dialogue>
<scene_description>She does , but the kids insist .</scene_description>
<character>JOYCE</character>
<dialogue>They'll never go away.</dialogue>
<scene_description>Nick , reluctantly signs . Joyce takes one of the kid 's notebooks before passing it back .</scene_description>
<character>JOYCE</character>
<dialogue>Mick Jagger?</dialogue>
<scene_description>Joyce smiles , surprised at his choice . Then , she looks up shocked to see - ICH carrying a gift wrapped package under his arm . He 's wearing his hat , blue suit and tie . Ich sits ACROSS the aisle from Nick and Joyce . He does n't say a word . Faces straight ahead . Nick looks at Joyce , then back at Ich .</scene_description>
<character>NICK</character>
<dialogue>I'm sorry, Ichiro. I lost it last night. I should n't have hit you.</dialogue>
<scene_description>Still nothing from Ich .</scene_description>
<character>NICK</character>
<dialogue>What's in the box?</dialogue>
<character>ICH</character>
<parenthetical>( still not facing him . )</parenthetical>
<dialogue>For Sugai. Caviar, French cheese, ham. If you come to apologize for interrupting his meeting, Sugai may feel obligated to see you.</dialogue>
<character>NICK</character>
<dialogue>So I bring some cheese?</dialogue>
<character>JOYCE</character>
<dialogue>Gifts are expected here.</dialogue>
<scene_description>Nick nods , looks back out the window . He 'll never understand this country . He looks back to see - Joyce looking annoyed at him . Nick gets the message .</scene_description>
<character>NICK</character>
<dialogue>Hey, Ich. Thanks. I'm glad you're here. I mean it.</dialogue>
<scene_description>Ich still wo n't acknowledge Nick .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BULLET TRAIN</stage_direction>
<scene_description>The Bullet Train disappearing into the foothills .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEPPU - DAWN</stage_direction>
<scene_description>Plumes of white steam spindle skyward from every street corner . If you did n't know it was steam , you 'd think the city was on fire . Beppu is a resort famous for it 's geothermal baths .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUGAI'S HOUSE</stage_direction>
<scene_description>The only traditional house we 'll see in our story . It 's surrounded by a pool of blood red steaming water from the hot springs . AT THE GATE CLOSE ON A 1000 yen bill as it is dropped on the ground . A pair of dice rolls over it . A handful of GUARDS wearing suits and ties are playing craps . OUTSIDE THE GATE Ich is sitting on the ground leaning against the wall , sound asleep . Nick is standing nearby . He checks his watch . Tired of waiting , he walks over to - JOYCE reading the Manichi Daily .</scene_description>
<character>NICK</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>They took the gift an hour ago.</dialogue>
<scene_description>The phone rings inside the gate . A guard picks it up .</scene_description>
<character>JOYCE</character>
<parenthetical>( certain it 's bad news . )</parenthetical>
<dialogue>All's not lost. There's a famous temple here. We could chant.</dialogue>
<scene_description>The guard hangs up , calls out to Joyce . Joyce responds in Japanese . The guard opens the gate .</scene_description>
<character>NICK</character>
<dialogue>We're in?</dialogue>
<character>JOYCE</character>
<dialogue>The cheese.</dialogue>
</scene>
<scene>
<stage_direction>INT. A ROOM IN SUGAI'S HOUSE</stage_direction>
<scene_description>A vast , austere , traditional room with sliding rice paper doors and tatami mats on the floor . Ich and Joyce , drinking tea , are sitting with their feet beneath them in the traditional manor . Nick , smoking , is in a semi - sprawl ; using his tea cup as an ashtray . A LIEUTENANT enters . He says something and beckons . They all rise . He says something else .</scene_description>
<character>JOYCE</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Just you.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANOTHER ROOM - SUGAI'S HOUSE</stage_direction>
<scene_description>Nick enters , ducking his head in the low doorway . the shoji slides shut behind him . The furnishings are minimal but elegant . There 's a butsudan , a tokonoma , and a low , long table in the middle of the room . No chairs . Nick sits on the floor . A door slides open at the far end of the room . Sugai , wearing a kimono over western style suit , walks in . Nick stands up to shake his hand . Sugai ignores it , and sits in the traditional position : feet tucked beneath him .</scene_description>
<character>SUGAI</character>
<dialogue>I'll spare you the ritual.</dialogue>
<scene_description>He tosses him a palm sized bundle . Nick catches it . Inside , are brand new greenbacks : hundreds .</scene_description>
<character>NICK</character>
<dialogue>This supposed to impress me?</dialogue>
<scene_description>He sets it down .</scene_description>
<character>SUGAI</character>
<dialogue>Pick it up. Look at it.</dialogue>
<scene_description>Nick hesitates , then picks it up again . He runs his fingers over the face of the bill and snaps the paper .</scene_description>
<character>SUGAI</character>
<dialogue>Seven years work by the finest engraver. Mass produced, sequentially numbered. The best there has ever been, Mr. Conklin.</dialogue>
<character>NICK</character>
<dialogue>I'm impressed. But let's use the short form. I'm looking for -</dialogue>
<character>SUGAI</character>
<dialogue>- Kobo. I know. He killed two of my partners. One in New York, one at the printing plant.</dialogue>
<scene_description>Sugai fills a cup of tea for Nick and hands it to him .</scene_description>
<character>NICK</character>
<dialogue>I do n't drink tea.</dialogue>
<scene_description>Sugai hands it to him anyway .</scene_description>
<character>SUGAI</character>
<dialogue>I took Kobo from the street. I gave him a home, a future. But my ways were too slow for him. I served seven years in prison for my boss when I was a young man. Kobo would n't serve seven minutes for his Oyabun.</dialogue>
<parenthetical>( sipping his tea . )</parenthetical>
<dialogue>He was supposed to take over this syndicate when I retired.</dialogue>
<character>NICK</character>
<dialogue>I want him.</dialogue>
<character>SUGAI</character>
<dialogue>He'll be dealt with.</dialogue>
<scene_description>Sugai sets a plastic wrapped object on a table before Nick . Nick recognizes it from the restaurant massacre in New York . CLOSE UP : Nick 's fingers tear at the plastic . A block of black iridescent polymer . The negative image of a $ 100.00 bill . A printing plate .</scene_description>
<character>SUGAI</character>
<dialogue>Our associates in New York were close to closing a deal with us.</dialogue>
<character>NICK</character>
<dialogue>The families who control the casinos?</dialogue>
<character>SUGAI</character>
<dialogue>Yes. Unlike our syndicates, your criminals do n't understand the words ` honor' and ` duty'. We ca n't afford not to deal with them.</dialogue>
<scene_description>Sugai takes the plate back .</scene_description>
<character>SUGAI</character>
<dialogue>Imagine if your families could pay their gambling and drug debts with perfect counterfeit bought for cents on the dollar.</dialogue>
<character>NICK</character>
<dialogue>The Feds would be onto you in a month.</dialogue>
<character>SUGAI</character>
<dialogue>Not with these bills. And even if it only took them six months, do you know what our profit margin would be?</dialogue>
<scene_description>Nick looks at a child playing near one of the hot pools in Sugai 's garden .</scene_description>
<character>NICK</character>
<dialogue>Why tell me this?</dialogue>
<character>SUGAI</character>
<dialogue>The other plate is currently in New York, in the hands of Kobo's man. Find it for me.</dialogue>
<character>NICK</character>
<dialogue>You trust me?</dialogue>
<character>SUGAI</character>
<dialogue>I'll pay you.</dialogue>
<scene_description>Nick laughs at Sugai 's audaciousness .</scene_description>
<character>NICK</character>
<parenthetical>( indicating the counterfeit bills . )</parenthetical>
<dialogue>With these?</dialogue>
<character>SUGAI</character>
<dialogue>Swiss bank deposit. Gold bullion. Whatever you want. You know the city and the police.</dialogue>
<character>NICK</character>
<dialogue>If I say no?</dialogue>
<character>SUGAI</character>
<dialogue>You're smarter than Kobo. You know the price of deceit. Think about it.</dialogue>
<character>NICK</character>
<dialogue>I do n't have to.</dialogue>
<scene_description>Sugai cools . Without a word he gets to his feet and starts toward the door .</scene_description>
<character>NICK</character>
<dialogue>I have ten hours to grab my man.</dialogue>
<scene_description>ON SUGAI still walking with his back to Nick .</scene_description>
<character>NICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You wo n't get hurt.</dialogue>
<scene_description>Sugai turns to see Nick , across the room , pointing the Beretta at his head .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM - SUGAI'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>The room where Ich and Joyce are waiting . Sugai enters . Their surprise turns to shock when they see Nick behind him holding a gun to the old man 's head .</scene_description>
<character>ICH</character>
<dialogue>No.</dialogue>
<character>NICK</character>
<dialogue>Let's go. Him first.</dialogue>
<character>ICH</character>
<dialogue>Nick, you ca n't do this.</dialogue>
<character>NICK</character>
<dialogue>It's done.</dialogue>
<parenthetical>( to Joyce . )</parenthetical>
<dialogue>You do n't have to come.</dialogue>
<scene_description>She has n't moved a muscle .</scene_description>
</scene>
<scene>
<stage_direction>INT SUGAI'S HOUSE - ENTRANCE WAY</stage_direction>
<scene_description>Sugai watches calmly as Nick , Ich , and Joyce put their shoes on . Nick keeps the gun on him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUGAI'S COURTYARD</stage_direction>
<scene_description>Nick steps out of the house . He now has one end of a wire coat hanger loosely wrapped around Sugai 's neck , the other end around his wrist . His gun is pressed just beneath Sugai 's ear . If nick gets shot , so does Sugai . A handful of guards stand in the courtyard , one is polishing Sugai 's Debonnaire car . They spot Nick and Sugai coming , and immediately pull their guns .</scene_description>
<character>NICK</character>
<dialogue>Explain to them. They shoot me, they kill you.</dialogue>
<parenthetical>( Sugai hesitates . )</parenthetical>
<dialogue>DO IT!</dialogue>
<scene_description>Sugai explains to his lieutenants . They stand helpless as Nick walks Sugai toward the car .</scene_description>
<character>NICK</character>
<dialogue>Grab the keys, Ich, and get inside.</dialogue>
<character>ICH</character>
<dialogue>No.</dialogue>
<character>NICK</character>
<dialogue>Not now, man, okay, not now. Work with me.</dialogue>
<scene_description>Ich takes the keys from the man polishing the car . He gets inside . Joyce hurries in bedside him .</scene_description>
<character>ICH</character>
<dialogue>You do n't know what you're doing.</dialogue>
<scene_description>Nick slides Sugai in the back seat , carefully reaches over and shuts the door .</scene_description>
<character>NICK</character>
<dialogue>Start it.</dialogue>
<character>ICH</character>
<parenthetical>( terrified . )</parenthetical>
<dialogue>I ca n't.</dialogue>
<character>JOYCE</character>
<dialogue>Slide over.</dialogue>
<scene_description>Joyce , furious at Nick , starts the car , gets behind the wheel . Ich gets in on the other side . She spins the car around . The gate opens . They tear off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - BEPPU - DAY</stage_direction>
<scene_description>The car bursts through the funnels of steam from the hot - springs beneath the street . It tears down the narrow block dodging traffic . Joyce is concentrating hard on the road .</scene_description>
<character>NICK</character>
<parenthetical>( to Ich . )</parenthetical>
<dialogue>Where's somewhere safe?</dialogue>
<scene_description>Nothing from Ich . He 's still apoplectic .</scene_description>
<character>JOYCE</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>You came up with the first part.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KUDAN LOVE HOTEL - BEPPU</stage_direction>
<scene_description>A four story concrete hotel , strictly for making love . `` Love Hotels '' exist all over Japan . Each have various themes : western , fifties drive in , Star Wars , etc. , each complete with music and lighting effects .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM</stage_direction>
<scene_description>Western style . Plastic five foot cacti in front of the western vista on the walls . A hitching post at the head of the bed . Cowboy hats and boots at the other end . Sugai hangs up the phone and turns to Nick and Joyce who are sitting nearby . Ich hangs up the extension .</scene_description>
<character>SUGAI</character>
<dialogue>Kobo will meet me here tomorrow. Ten a.m.</dialogue>
<scene_description>Ich nods , confirming that what Sugai says is true .</scene_description>
<character>NICK</character>
<dialogue>Good.</dialogue>
<character>SUGAI</character>
<dialogue>He'll find out you took me. I'm unprotected. He'll kill us. All of us. You do n't stand a chance.</dialogue>
<scene_description>Ich , knowing Sugai is right , looks at Nick . Nick flips Ich the gun .</scene_description>
<character>NICK</character>
<dialogue>Not if we're careful.</dialogue>
<scene_description>Ich checks to make sure the gun is loaded , then watches as Nick escorts Joyce out of the room . A HOTEL ROOM ACROSS THE HALL Fifties theme . The front end of a pink chevy curves around the bed . A `` Drive - In '' movie screen along one wall . Nick is dropping change into the vintage Wurlitzer . Joyce steps in , leaving the door open .</scene_description>
<character>JOYCE</character>
<dialogue>You're out of your mind. I'm leaving.</dialogue>
<scene_description>Nick does n't respond .</scene_description>
<character>JOYCE</character>
<dialogue>You'll get Ich killed.</dialogue>
<character>NICK</character>
<dialogue>No one's keeping him here.</dialogue>
<character>JOYCE</character>
<dialogue>Bullshit, Nick. And do n't tell me this is all just about Charlie. It's not.</dialogue>
<character>NICK</character>
<dialogue>Why would you care?</dialogue>
<scene_description>That pushes her over the line .</scene_description>
<character>JOYCE</character>
<dialogue>Bastard.</dialogue>
<scene_description>She moves toward him , enraged . Nick grabs her arm .</scene_description>
<character>JOYCE</character>
<dialogue>Let go.</dialogue>
<scene_description>He wo n't .</scene_description>
<character>JOYCE</character>
<dialogue>You're out of your mind.</dialogue>
<scene_description>He grips her tighter . THE ROOM - LATER Nick and Joyce , only partially undressed , are making love on the floor . The Drifters singing `` Under The Boardwalk '' can be heard on the Wurlitzer . The fifties decor , the music , it 's all pretty incongruous .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOVE HOTEL - DAWN</stage_direction>
<scene_description>Nick is putting Joyce in a taxi . He shuts the door .</scene_description>
<character>JOYCE</character>
<dialogue>I still think you're a bastard.</dialogue>
<character>NICK</character>
<dialogue>What if I chant?</dialogue>
<character>JOYCE</character>
<dialogue>Would n't help.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Watch out for Ich.</dialogue>
<scene_description>He nods . The cab drives off . Nick watches her taxi until it is out of sight , around a corner , then heads inside . NICK - LATER walking into Sugai 's room . Sugai 's asleep on the bed . Ich is vigilantly sitting awake in the corner , the gun resting on the table in front of him .</scene_description>
<character>NICK</character>
<dialogue>Better wake him up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LOVE HOTEL - LATER</stage_direction>
<scene_description>Quiet . The wind twirls a discarded newspaper in the parking lot . INSIDE THE LOVE HOTEL - HALLWAY A YOUNG GIGGLING COUPLE step out of a door , arm in arm , and disappear down the hall . STAR WARS MUSIC from one room . HAWAIIAN MUSIC from another . THE CAMERA FINDS the closed elevator door . It opens , Kobo steps out , followed by a half - dozen more men all carrying Sig - Saur assault rifles - very heavy artillery . SUGAI wearing his hat and coat is sitting on the couch , his back to us , facing out the window . Drop down to - THE ROOM BENEATH HIM A couple are making love in the Hawaiian theme room . The door burst open . Two men , cradling Sig - Saur rifles in their arms , step in . They aim at the ceiling , blasting into Sugai 's room above . THE GIRL starts screaming . The men ignore her and continue to pump bullets into the ceiling . KOBO AND HIS MEN stop in front of every door long enough to blast into the room . They make their way down the hall . A naked man steps into the hallway and is matter - of - factly gunned down . Kobo and his men stop in front of Sugai 's room .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUGAI'S ROOM</stage_direction>
<scene_description>Sugai , wearing his hat , is slumped down on the couch which has been splintered by the bullets from below . OUTSIDE THE ROOM Kobo signals the men . All six open - up through the door . INSIDE THE ROOM The door , what 's left of it , is kicked open . The six men step in , shooting in all directions : into the bathroom door , into the closet . Windows shatter , mirrors fall , total destruction . They stop . SILENCE . Kobo walks up to Sugai who is slumped on the couch . He lifts up his hat . It 's a cowboy mannequin wearing Sugai 's clothes . THE ELEVATOR DOOR opens . A DOZEN of Sugai 's men carrying machine pistols come out . THE OUTSIDE BALCONY Nick and Ich lie on their bellies , guns out . INSIDE THE ROOM Kobo 's men turn . Sugai 's men open - up . Three of Kobo 's hitters go down . The others try to flee into the adjoining room . Kobo goes for the balcony . THE BALCONY as Kobo steps out . He steps right into - NICK who slams the side of Kobo 's head with the butt of his gun . THE ROOM Nick and Ich drag Kobo in by his jacket collar . Sugai , very much alive , walks in from the hallway . Nothing is said . Sugai looks at Kobo for a long beat , then walks out .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUGAI'S HOUSE - DAY</stage_direction>
<scene_description>KOBO standing alone in the middle of a tatami room . His face is badly beaten . His hands are bound . Two guards stand near the wall . Nick and Ich stand across the room . SUGAI wearing a western suit , is asking Kobo questions in Japanese . Sugai barks at him again . Kobo refuses to answer . Sugai pulls up a shuto - an 18 inch knife - from it 's scabbard .</scene_description>
<character>SUGAI</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Contact your associate in New York and tell him to hand my plate over to Abolofia.</dialogue>
<scene_description>Nothing from Kobo .</scene_description>
<character>SUGAI</character>
<dialogue>You have betrayed the syndicate and personally dishonored me. I would rather the deal fell through than.</dialogue>
<scene_description>The guards walk over and turn Kobo around . His back is to Sugai . Sugai runs the sword across the nape of Kobo 's neck drawing blood . The guards tighten their grip on Kobo 's arms . NICK ca n't believe Sugai 's going to kill him . Nick starts to get up , Ich stops him . Kobo realizes Sugai is n't just threatening him .</scene_description>
<character>KOBO</character>
<dialogue>No. I'll arrange it.</dialogue>
<scene_description>THE ROOM - LATER Kobo is led back into the room by two guards . The guards shove him down to the floor . His hands are still bound . Nick walks over and stands above him . He does n't say a word . Just stands above him . Then , Nick pulls spare change from his pocket and slowly drops the coins , one by one , in front of Kobo 's face , like Kobo did to him . He walks away . Sugai steps in .</scene_description>
<character>SUGAI</character>
<dialogue>Abolofia's person has received the plate. It's done.</dialogue>
<scene_description>A door opens at the far end of the room . It 's Kobo 's girlfriend , the one Nick and Ich had been following . She starts toward Kobo ; a lieutenant intercepts her .</scene_description>
<character>SUGAI</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>I wanted you to see him like this.</dialogue>
<character>GIRL</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Let him go, father.</dialogue>
<scene_description>ON ICH realizing she 's Sugai 's daughter .</scene_description>
<character>GIRL</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>You're too old.</dialogue>
<character>SUGAI</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>That's enough.</dialogue>
<scene_description>Sugai turns away and picks up the sword . The guards clutch Kobo . Sugai 's going to kill Kobo after all . The girl screams at him to stop . Sugai 's oblivious .</scene_description>
<character>NICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>That was n't our deal.</dialogue>
<character>SUGAI</character>
<dialogue>You want him dead too.</dialogue>
<character>NICK</character>
<dialogue>After a court convicts him. He belongs to me.</dialogue>
<scene_description>There 's a long pause . Then , something unusual happens . Sugai tells the lieutenant to unfasten Kobo 's wrist . When he does , Sugai hands Kobo the sword and demands that he cut off his finger . This is Yubitsume : the ritual act within the Yakuza of slicing the joint of the little finger to atone for a mistake . Kobo , not believing in this ancient tradition , refuses . Sugai nods to a guard who places Kobo 's finger on the table . KOBO stares defiantly at Sugai . He does n't even wince as the blade slices off his finger . The guard hands Sugai the finger in a handkerchief .</scene_description>
<character>SUGAI</character>
<parenthetical>( looking at Nick . )</parenthetical>
<dialogue>If anything happens to Abolofia or my plate, detective.</dialogue>
<scene_description>HOLD on Nick then -</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN - DAY</stage_direction>
<scene_description>as it bursts out of a tunnel on it 's way to Tokyo .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN - DAY</stage_direction>
<scene_description>Kobo is sitting by the window , his hands cuffed in front of him . Another pair of cuffs chain him to the arm rest . Nick pours a drink from an airline - sized bottle of Scotch . He holds it out to . Ich . It 's his first drink in a week .</scene_description>
<character>NICK</character>
<dialogue>Just one, compadre. Kampai.</dialogue>
<character>ICH</character>
<dialogue>Kampai.</dialogue>
<scene_description>They clink glasses . Ich drinks it down .</scene_description>
<character>NICK</character>
<dialogue>It took 12 years to make it, you could take five minutes to drink it.</dialogue>
<scene_description>Ich slows down .</scene_description>
<character>NICK</character>
<dialogue>You did great, Ichiro.</dialogue>
<character>ICH</character>
<dialogue>I called Ohashi, he'll be waiting.</dialogue>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I like him waiting.</dialogue>
<scene_description>Ich gets up .</scene_description>
<character>ICH</character>
<dialogue>Needs ice.</dialogue>
<scene_description>He heads for the bar car , leaving Kobo and Nick alone . Kobo looks out the window at the people working the rice paddies , then back down the aisle at the Salarymen in their identical suits , then at the women separated from them .</scene_description>
<character>KOBO</character>
<dialogue>Ugly. A couple of thousand years they've been bound by these little rules. Looking in. Always afraid. Ugly little lives.</dialogue>
<character>NICK</character>
<dialogue>Save it, I already took the tour.</dialogue>
<character>KOBO</character>
<dialogue>You are a lucky man. Where you come from a man can stand out. It's expected. Here a man is made to look a fool for standing out.</dialogue>
<scene_description>Nick is n't paying much attention .</scene_description>
<character>KOBO</character>
<dialogue>I like your friend, Joyce. You're lucky.</dialogue>
<character>NICK</character>
<dialogue>Guess I'm on a roll.</dialogue>
<character>KOBO</character>
<dialogue>She's such a long way home for you.</dialogue>
<character>NICK</character>
<dialogue>Time, I've got plenty of.</dialogue>
<scene_description>A raucous SALARYMAN comes down the aisle , singing an Enka , swaying with the train , bumping into seats . A common enough sight and ignored by the rest of the passengers . The Salaryman stumbles and falls across Nick 's lap .</scene_description>
<character>NICK</character>
<parenthetical>( helping him up . )</parenthetical>
<dialogue>Hey, hey, come on, blow.</dialogue>
<scene_description>The Salaryman bows deep . Nick ignores it . The man moves on . Kobo looks out the window , the train begins to SLOW as it approaches the next station .</scene_description>
<character>KOBO</character>
<parenthetical>( matter - of - factly . )</parenthetical>
<dialogue>This is my stop.</dialogue>
<character>NICK</character>
<dialogue>I'm amused.</dialogue>
<character>KOBO</character>
<dialogue>Do n't be.</dialogue>
<scene_description>Nick looks up to see Kobo calmly fingering a lock of blond hair tied with black ribbon . Joyce 's ribbon . Joyce 's hair .</scene_description>
<character>KOBO</character>
<dialogue>I have her.</dialogue>
<scene_description>Nick looks down the car . The drunk Salaryman who stumbled over Nick is quite sober . He made the hand - off to Kobo . Kobo holds out his wrists . Nick hesitates .</scene_description>
<character>KOBO</character>
<parenthetical>( matter - of - factly . )</parenthetical>
<dialogue>I'll kill her.</dialogue>
<scene_description>Nick , reluctantly , unlocks both sets of cuffs . The train pulls into the station .</scene_description>
<character>KOBO</character>
<dialogue>I want the plate from your pal, Sugai. When you get it, you get her.</dialogue>
<scene_description>Kobo gets up , starts down the aisle .</scene_description>
<character>NICK</character>
<dialogue>Sugai wo n't give it to me, you know that.</dialogue>
<character>KOBO</character>
<dialogue>Then take it from him.</dialogue>
<scene_description>Kobo gets off the train . NICK follows him to the door . THE STATION Kobo get into a waiting Jaguar . Four guards nearby . INSIDE THE TRAIN Nick runs down the length of the car trying to keep the Jaguar in sight as the train pulls out . the car is gone . NICK bursts into the packed bar car .</scene_description>
<character>NICK</character>
<dialogue>Ichiro?!</dialogue>
<scene_description>Everyone turns around . No Ich .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN - TRAIN STATION - TOKYO</stage_direction>
<scene_description>It slows into the station .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN</stage_direction>
<scene_description>Nick shoves past the passengers lined up in the vestibule , ignoring a conductor 's angry shouts .</scene_description>
</scene>
<scene>
<stage_direction>INT. TERMINAL - MOMENTS LATER</stage_direction>
<scene_description>The train stops . Nick flies out and starts running , dodging the crowd . Three uniformed policemen , including Ohashi 's assistant , hurry toward him ; they 're dismayed to find that Kobo is gone .</scene_description>
<character>NICK</character>
<dialogue>Where's Ohashi?</dialogue>
<scene_description>Instead of offering him help , the policemen grab him and slap a pair of handcuffs on Nick 's wrists .</scene_description>
<character>NICK</character>
<dialogue>What the hell are you doing?!</dialogue>
<scene_description>HOLDING CELL - TOKYO POLICE STATION Nick , waiting alone in the cell . It 's been hours . A door at the end of the hall opens . Ohashi stops in front of his cell .</scene_description>
<character>OHASHI</character>
<dialogue>Your plane leaves at six. Two officers will escort you.</dialogue>
<character>NICK</character>
<dialogue>For God's sake, Ohashi, I need your help. Let me out of here!</dialogue>
<character>OHASHI</character>
<dialogue>You had my help, detective.</dialogue>
<character>NICK</character>
<dialogue>If anything happens to her while I'm here -</dialogue>
<character>OHASHI</character>
<dialogue>- Do you know where she is, detective? Do you know how to find her? Even where to start? We will find them.</dialogue>
<character>NICK</character>
<dialogue>I have to get to Sugai.</dialogue>
<character>OHASHI</character>
<dialogue>Goodbye, officer.</dialogue>
<scene_description>Ohashi keeps walking .</scene_description>
<character>NICK</character>
<dialogue>OHASHI!</dialogue>
<scene_description>The LOUD clank of metal on metal . Ohashi 's gone .</scene_description>
<character>NICK</character>
<parenthetical>( yelling at the top of his lungs . )</parenthetical>
<dialogue>OHASHI!</dialogue>
<scene_description>HOLD on Nick , his fingers squeezing the bars in rage , then -</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - DAY</stage_direction>
<scene_description>Flood rice paddies stretch to the distance on either side of the road . We PAN over to Kobo at a phone kiosk outside a gas station .</scene_description>
<character>KOBO</character>
<parenthetical>( in Japanese . )</parenthetical>
<dialogue>Yes. Do it.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUGAI'S HOUSE - AT THAT MOMENT</stage_direction>
<scene_description>Kobo 's girl , Sugai 's daughter , hangs up the phone . She 's been on the other end of the line .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUGAI'S ROOM</stage_direction>
<scene_description>The door swings open . Sugai is sitting on the floor . The girl is carrying a tray of tea . Beneath the tray , we spot something else - the butt of a short - bladed tanto .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NARITA AIRPORT - TOKYO - DAY</stage_direction>
<scene_description>A police car rolls through the service gate . We see Nick inside the car along with two police guards .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLDING ROOM - NARITA AIRPORT</stage_direction>
<scene_description>A white room . No chairs . Jet engines can be HEARD through the walls . Nick is sitting on the floor , defeated . He does n't look up when he hears someone enter .</scene_description>
<character>ICH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'll tell you one thing. You ca n't solve a thing sitting on your ass.</dialogue>
<scene_description>Nick looks up . Ich is in uniform . A revolver and batton hang from his white web gear . His undershirt bulges through his khaki shirt . He looks ridiculous . Nick has never seen a more beautiful sight .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR</stage_direction>
<scene_description>Ich is driving . Nick is seated behind a cage in the back seat . His hands are cuffed . Ich is driving through the freight area towards a perimeter guard .</scene_description>
<character>NICK</character>
<dialogue>I was ready to have your ass for taking off on me.</dialogue>
<character>ICH</character>
<dialogue>I followed them. An hour from the train station.</dialogue>
<character>NICK</character>
<dialogue>How many men?</dialogue>
<character>ICH</character>
<dialogue>I could n't tell.</dialogue>
<character>NICK</character>
<dialogue>Joyce?</dialogue>
<character>ICH</character>
<dialogue>I do n't know.</dialogue>
<character>NICK</character>
<dialogue>We need the plate to negotiate with.</dialogue>
<scene_description>Ich nods .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AT THE GATE - TOKYO AIRPORT</stage_direction>
<scene_description>The car slows . Ich speaks rapidly to the guard showing him his papers . The guard takes a good hard look at Nick . Time stands still . He waves them through . Nick can breath again .</scene_description>
<character>NICK</character>
<dialogue>You know, Ichiro, you just burned your bridges.</dialogue>
<scene_description>Ich is silent for a moment . He hands Nick 's Beretta back through the partition . So it goes .</scene_description>
<character>ICH</character>
<dialogue>Rest.</dialogue>
<scene_description>Nick looks for Ich 's eyes in the rearview mirror . The little cop keeps driving , his eyes on the road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - BEPUKU - DAY</stage_direction>
<scene_description>Nick and Ich are standing outside their car . The Police radio crackles from inside . A large crowd gathered outside of Sugai 's estate . Police have cordoned off the area . An empty ambulance is parked out front with various other cars : Debonnaire 's , Cadillac 's . A boy in shorts is endlessly bouncing a ball against the compound wall . Whatever happened is long over . Ich flips off the radio .</scene_description>
<character>ICH</character>
<dialogue>Someone attacked him.</dialogue>
<character>NICK</character>
<dialogue>Now we've got nothing to negotiate with.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD - DUSK</stage_direction>
<scene_description>The police car streaks across endless fields . INSIDE THE CAR Nick is at the wheel . He rubs the sleep from his eyes . Ich is slumped down in the seat watching the road . Ich pulls out a cigarette . Nick lights it for him .</scene_description>
<character>NICK</character>
<dialogue>Joyce told me about your family. It's tough.</dialogue>
<scene_description>Ich looks up surprised .</scene_description>
<character>ICH</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You have one?</dialogue>
<character>NICK</character>
<dialogue>A wife. She left.</dialogue>
<character>ICH</character>
<dialogue>I'm sorry.</dialogue>
<character>NICK</character>
<dialogue>Me too.</dialogue>
<scene_description>Ich glances over at Nick , then back at the road . Nicks rubs out his cigarette and presses down on the accelerator .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KOBO'S HIDEOUT - DAWN</stage_direction>
<scene_description>A small , contemporary house perched on a dry piece of land . A paved road , lined with dense foliage runs on a berm between the flooded rice paddies . ON NICK AND ICH sitting in the car watching from a hillside turnoff . There 's no easy way in .</scene_description>
<character>NICK</character>
<dialogue>Let's go.</dialogue>
<scene_description>Ich hands Charlie his shuto - an 18 inch long knife .</scene_description>
<character>NICK</character>
<dialogue>What's that for?</dialogue>
<character>ICH</character>
<dialogue>Luck.</dialogue>
<scene_description>Nick tucks the shuto inside his jacket .</scene_description>
<character>NICK</character>
<dialogue>Thanks.</dialogue>
<scene_description>Nick opens up his door and climbs out .</scene_description>
<character>ICH</character>
<dialogue>You know, Nick, we ca n't lose.</dialogue>
<character>NICK</character>
<parenthetical>( stopping . )</parenthetical>
<dialogue>Why's that?</dialogue>
<character>ICH</character>
<dialogue>Because we're the biggest things to hit this town since Godzilla.</dialogue>
<scene_description>THE DIRT ROAD leading to the house lined with foliage . The rice paddies on either side . NICK AND ICH making their way through the waist high water . TWO WORKERS with their hoes make their way into the water . They do n't see our cops . OUR COPS making their way along the edge of the road . The SOUND of a motorcycle coming . THE MOTORCYCLE RIDER slows and drops a gear as he turns off the main road and onto the dirt berm toward the house . He 's one of Kobo 's Bosozoku - a long way from the streets of Tokyo . The rider comes around the bend to see - A COP standing in a uniform . Ich . For a moment he does n't know what to do . Then , he draws a pistol from his belt and accelerates toward Ich . ICH stands his ground as the bike closes in . The biker takes aim . Ich drops off to the side as - NICK rises from a ditch and swings a hoe at the rider as he passes , catching the man across the face . The rider drops like a swatted fly . The biker 's momentum carries it a few yards before it falls and skids to a halt . Nick hurries to the bike . Ich drags the biker off the road , then catches up to his partner . NICK AND ICH raise the heavy bike . Nick mounts . He takes the riders helmet and goggles from Ich , and puts them on .</scene_description>
<character>ICH</character>
<dialogue>What are you going to do?</dialogue>
<scene_description>Nick does n't know exactly . He taps the bike into gear , it torques like a mule . There 's a lot more juice here than he 's used to . Nick fishtails for a minute , then gets the hang of it . Ich heads off taking another route .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE</stage_direction>
<scene_description>KOBO AND SUGAI 'S DAUGHTER are putting the last of their belongings into a suitcase . She hands him the plate - Sugai 's plate . Kobo kisses her as he slips it into his breast pocket . The SOUND of a motorcycle approaching from outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUSE</stage_direction>
<scene_description>Kobo steps out , and not recognizing Nick , raises his hand to greet what he thinks is one of his men . ON NICK bearing down on Kobo . ON KOBO as Nick keeps coming . He is unable to see clearly until Nick is almost on top of him . NICK dumps the bike at the foot of the stairs and leaps on Kobo . Nick and Kobo roll off the narrow porch . Nick breaks free . He is n't fighting fair this time . He slams his foot into Kobo 's face and ribs . Kobo tries to get up , but Nick knees him in the chin . A woman cries out in Japanese . Nick turns to see JOYCE standing at the top of the steps . A biker is pressing the muzzle of a Sig - Saur assault rifle on her . Kobo 's girl is beside them holding a small pistol . KOBO gets to his feet . The biker tosses Kobo the rifle . Kobo works the charging lever and holds the weapon at his side . He has all the time in the world . Kobo whirls and kicks Nick in the groin . Nick falls to his knees in agony . Kobo towers above Nick as he did in the alley in New York .</scene_description>
<character>KOBO</character>
<dialogue>Still on your knees, Nick?</dialogue>
<scene_description>Kobo walks off , his back to Nick .</scene_description>
<character>KOBO</character>
<dialogue>There's nothing you can do for me anymore. I have the plate. Sugai's dead. No there is something.</dialogue>
<scene_description>He walks up to the steps to Joyce .</scene_description>
<character>KOBO</character>
<dialogue>You can tell me who I should shoot first.</dialogue>
<scene_description>Nick struggles to get to his feet . Kobo turns and faces Nick at the foot of the steps . ICH appears behind Kobo and takes him down with an amazing display of baton work that shows a lifetime of training . He grabs the gun . A biker bursts out of the door . Ich fires , hitting him in the thigh . He drops his gun . SUGAI 'S DAUGHTER grabs the gun . NICK tackles her , and wrestles the gun away . She grabs for it . Nick slugs her . A GUN BLAST Ich is hit in the back of his shoulder , falls onto the porch . KOBO the shooter , is holding a pistol - a Glock 17 automatic . He fires at NICK AND JOYCE who scramble for cover . KOBO continues firing as he climbs onto a motorcycle . He pops the clutch and flies off down the road . Nick fires after him , but Kobo 's gone .</scene_description>
<character>NICK</character>
<parenthetical>( to Ich . )</parenthetical>
<dialogue>You all right?</dialogue>
<character>ICH</character>
<dialogue>Yes.</dialogue>
<character>NICK</character>
<parenthetical>( to Joyce . )</parenthetical>
<dialogue>Call for help.</dialogue>
<scene_description>Nick mounts the other bike , and puts the turbo charged rocket into gear . THE ROAD Rain pours down as Kobo turns onto the main road . He opens up the throttle , and in less than a second , he 's a screaming dot in the distance . NICK comes around the same corner . His bike fishtails and slides out from under him . FURTHER DOWN THE ROAD Kobo tears past a police car . The police car takes off after him . THE FOOTHILLS A series of steep switchbacks traverse the steep , densely forested hills . Kobo 's bike flies up the road . The police car ca n't keep up , begins losing ground . THE POLICE CAR going flat out , falling further and further behind . Kobo 's going to escape . SUDDENLY Nick , bent low , shoots past the cop car . His left arm is scraped and bloody . ON KOBO glancing back , to see Nick gaining on him . Kobo 's pleased . He gives it more gas . NICK pulling eight - five . ninety . one hundred . The rain stings his face . It 's hard to keep his eye open . THE FOOTHILLS Kobo leaning into one of the steep turns , climbing higher and higher toward the clouds clinging to the top of the peak . NICK is gaining on him . He HEARS something coming up behind him . A BOSOZOKU the one Ich shot in the leg , is closing fast on his tail . ON NICK as the biker draws even . THE BIKER pulls out his long knife and slashes at Nick 's shoulder . Nick drops back causing him to miss . The biker drops back . Nick tries to speed up , but the biker sticks with him . He 's a good rider , this boy . Very , very good . The biker moves in again , blade drawn . NICK SEES something the biker does n't . A TRUCK coming around the corner . NICK swerves to avoid it at the last moment . The biker reacts too late and runs - INTO THE GLEAMING radiator of the two ton truck , and disappears beneath its wheels . ON KOBO around the bend , glancing back . Empty road . He eases up on the throttle - a free man . He circles back only to see NICK burst around the corner charging toward him at a hundred - and - twenty miles per hour , in the driving rain . KOBO waits and waits . Nick draws closer . Then , Kobo tears off back down the mountain , shooting past Nick . Nick brakes . He slows down , and starts to turn , but the wheels whirl on the gravel and the bike goes into a skid , heading right for the edge of the road . NICK 'S MOTORCYCLE flying over the edge of the road , and down the cliff . THE EDGE OF THE ROAD Nick , lying on his stomach at the edge of the cliff , his arm is probably broken . He tries to get up with a one arm push up . It 's hopeless . His head falls into a puddle of water . The WHINE of an approaching motorcycle . Kobo has come back for him . Nick , in excruciating pain , struggles for his gun . KOBO bearing down on Nick . NICK struggling to get his gun . Finally he does . But it 's caked in mud . If the barrel is stuffed it will explode . Nick has to take the chance . ON KOBO Closer and closer . NICK aims as best he can and fires . The mud caked gun explodes in his hand . Nick screams in agony . KOBO pulls his bike up inches in front of Nick 's head . Nick seems to be bleeding everywhere : his hand , his nose , his mouth , the side of his head . Kobo 's face and neck is caked in blood from when Nick beat him . The rain pours down . He picks up the gun . Points it at Nick , squeezes the trigger .</scene_description>
<character>KOBO</character>
<parenthetical>( slowly . )</parenthetical>
<dialogue>Bang. bang.</dialogue>
<scene_description>He tosses the gun in front of Nick 's face .</scene_description>
<character>KOBO</character>
<dialogue>You're dead.</dialogue>
<scene_description>The sound of approaching Police SIRENS . Kobo swings the bike around , goes a hundred yards down the road , then swings back . Kobo guns the engine . He gain speed . thirty , thirty - five . NICK struggles to get up . He ca n't . KOBO opening the throttle . NICK crawling a few inches , that 's it . KOBO twenty yards away . NICK reaches into his coat and pulls Ich 's 18 inch shuto out . He rolls away at the last moment , slashing Kobo 's ankle as he races past . KOBO screams in pain . He tries to stop too suddenly . The bike flips over . Kobo flies into the air then hits the pavement on his side and rolls a few yards down the road . He stops on his back . It 's lucky he 's alive . The SOUND of fast approaching police SIRENS . THE PLATE has fallen out of Kobo 's jacket . It rests in the road , halfway between the two men . KOBO crawls toward it on his belly . NICK mustering all his strength , struggles across the road on all fours . KOBO crawling snake - like . NICK still moving , his arms and legs feel like lead . KOBO 'S FINGERS as they reach for the plate . NICK grabs Kobo 's wrist forcing him to drop the plate . Nick picks up a rock . It looks as if he 's going to smash Kobo 's head . Instead , he brings it down on the plate , shattering it in a half - dozen pieces . Nick tosses the pieces in front of Kobo 's face .</scene_description>
<character>NICK</character>
<dialogue>Keep the change.</dialogue>
<scene_description>Nick , exhausted , slowly falls onto his back . He looks over at Kobo , their faces are inches apart . Nick makes a slashing mark with his index finger above his eyebrows . The same gesture Kobo made to Nick through the two - way mirror in New York . Nick passes out . His eyes shut . the screen . FADES TO BLACK . BLACK SCREEN The SOUND of three police cars screeching to a halt . The SOUNDS of the police SIRENS winding down . The SIRENS get softer mixing with the SOUND of RINGING phones , CLACKING typewriters , VOICES .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOKYO POLICE HEADQUARTERS</stage_direction>
<scene_description>Fifty identical desks . Fifty identically dressed men in white shirts and ties work under fluorescent lights . OHASHI is at his desk studying a report . Suddenly , the lights go out . The fan 's stop , so do the electric typewriters . Ohashi looks up to see - ICH walking toward him down the long aisle , his left arm is bandaged , his right hand handcuffed to Kobo on crutches . Ich silently leads the captured man down the long aisle to Ohashi 's desk . ICH stops in front of the desk and snaps to attention .</scene_description>
<character>ICH</character>
<dialogue>Constable Ichiro Matsumoto presents captured prisoner Kobo, Chief Inspector Ohashi.</dialogue>
<scene_description>Ich salutes .</scene_description>
<character>OHASHI</character>
<dialogue>Inspector Ohashi will take charge of the prisoner.</dialogue>
<scene_description>Ich uncuffs Kobo and steps aside to reveal - NICK standing at the far end of the room by the fuse box . He 's also bandaged and on crutches . Nick looks at Ohashi without saying a word , then flips the main switch up . The lights and fans start working . He turns and walks out the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE COURTYARD - A FEW DAYS LATER</stage_direction>
<scene_description>A small decoration ceremony . ON ICHIRO getting two golden suns pinned to the lapel of his dress uniform . In the far corner NICK , JOYCE AND Ichiro 's wife , dressed in a formal kimono , watch the ceremony .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE RESTAURANT - TOKYO - DAY</stage_direction>
<scene_description>Joyce and Nick are sitting alone at a table . Nick 's left arm in in a sling .</scene_description>
<character>NICK</character>
<dialogue>Ca n't make you change your mind?</dialogue>
<character>JOYCE</character>
<dialogue>Last time you asked me to come along I nearly got a hole in my head.</dialogue>
<character>NICK</character>
<dialogue>Might be different in New York.</dialogue>
<character>JOYCE</character>
<dialogue>Maybe. If I come visit, we can find out.</dialogue>
<character>NICK</character>
<dialogue>I'd like that.</dialogue>
<scene_description>Ich sits down with two fresh bowls of soba noodles . Nick hesitates .</scene_description>
<character>ICH</character>
<dialogue>You can do it.</dialogue>
<scene_description>Nick picks up his chopsticks with his good hand . He begins to slurp the noodles .</scene_description>
<character>ICH</character>
<dialogue>Louder, pal, louder.</dialogue>
<character>NICK</character>
<dialogue>Joyce, give the assistant Chief Inspector a drink, would you?</dialogue>
<scene_description>As Joyce refills all their cups we .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EIGHT THREE PRECINCT - NEW YORK CITY - DAY</stage_direction>
<scene_description>It 's raining . A sun shower .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Capt. Oliver is standing by the window watching the rain pour down .</scene_description>
<character>OLIVER</character>
<dialogue>Remember, counterfeiting is the Feds. They'll be all over Abolofia's place. Stick tight. You I.D. the other plate, he does real time.</dialogue>
<character>NICK</character>
<dialogue>Right.</dialogue>
<scene_description>Reveal Nick sitting in front of Oliver 's desk , his one arm is still in a sling . Nick gets to his feet .</scene_description>
<character>OLIVER</character>
<parenthetical>( still not facing him . )</parenthetical>
<dialogue>You know, Nick, if you'd held on to that plate, you could've been a very rich man.</dialogue>
<scene_description>Oliver turns to face Nick . Nick just looks at him , then :</scene_description>
<character>NICK</character>
<dialogue>Never crossed my mind.</dialogue>
<scene_description>Oliver nods ; he believes him .</scene_description>
<character>OLIVER</character>
<dialogue>Be careful on the run.</dialogue>
</scene>
<scene>
<stage_direction>INT. SQUAD BAY - NIGHT</stage_direction>
<scene_description>In contrast to the Japanese police station - it 's chaos . Cops are in every imaginable kind of dress , trash cans over flow , a handcuffed prisoner screams abuse to anyone who will listen . THE RAIDING PARTY a dozen men in all , are donning flak jackets and windbreakers with POLICE and TREASURY stenciled on the back . NICK walks in with two heavy bullet proof vests slung over his shoulder . He squeezes past the raiding party to find ICH sitting at a desk , thumbing through a Frommer 's guide to New York City . Nick drops one of the vests on the desk . It lands like a ton of bricks . Ich continues to read . A Sergeant walks in .</scene_description>
<character>SERGEANT</character>
<dialogue>Saddle up. Hard team in the first unit. Conklin, your RMP awaits.</dialogue>
<scene_description>The cops and treasury men , grabbing their gear , head for the door . Nick is struggling to get into his vest using one arm .</scene_description>
<character>NICK</character>
<dialogue>Sure you want to come? Probably better than the Greyline Tour.</dialogue>
<scene_description>Ich stands up , shoves the guidebook in his back pocket . He helps Nick fasten the strap in back .</scene_description>
<character>ICH</character>
<dialogue>You would n't make it without me.</dialogue>
<scene_description>Nick smiles , takes the Frommer 's out of Ich 's pocket and tosses it into the trash . Nick hands him a shotgun , takes another one off the rack for himself . We watch from behind as the two men head down the long hallway toward the exit .</scene_description>
<character>ICH</character>
<dialogue>Think we'll get him, Nick?</dialogue>
<character>NICK</character>
<dialogue>We ca n't lose.</dialogue>
<character>ICH</character>
<dialogue>How can you be so sure?</dialogue>
<scene_description>Nick opens the door at the far end of the hallway . They step out into the sunlit rain .</scene_description>
<character>NICK</character>
<dialogue>Cause you're the biggest thing to hit this town since.</dialogue>
<scene_description>Before Nick can finish his line , the door SLAMS SHUT behind them . FADE TO BLACK . THE END</scene_description>
</scene>
</script> | Nick Conklin is a New York City police officer facing possible criminal charges; Internal Affairs believes Nick was involved with his partner, who was caught taking criminal money in a corruption scandal. Nick, who has financial difficulties, is divorced from his wife, who has custody of their two children. At a restaurant, Nick and his partner Charlie Vincent observe two Japanese men meeting with Mafia gangsters. Nick's suspicions are validated when another Japanese man enters the restaurant, seizes a small package at gunpoint, kills two people, and leaves. Nick and Charlie chase and arrest the suspect after he nearly kills Nick. Sato is to be extradited to Osaka and given to the police there. Though angered that Sato will not be prosecuted in the US, Nick agrees to escort him. Nick's captain believes it will keep Nick from causing more trouble and exacerbating the already biased Internal Affairs investigation. When they arrive in Osaka, they surrender Sato to the Japanese police, only to discover that they were duped by impostors. Nick convinces the Osaka police to allow them to observe the investigation, though their weapons are confiscated. They are assigned to Masahiro Matsumoto. Nick behaves rudely and offends Matsumoto, while Charlie attempts to be more polite. Nick also makes contact with an American nightclub hostess, Joyce, who explains that Nick and Charlie represent American inefficiency and stupidity to the Japanese. Through her, Nick discovers Sato is fighting a gang war with a notorious crime boss, Sugai, and traveled to New York to disrupt Sugai's counterfeiting scheme. Nick joins a police raid without permission and takes a few $100 bills from the crime scene. The next day, Matsumoto explains they have dishonored themselves, him, and the police force by his theft, which has been reported in America; Nick calls him a snitch and demonstrates the money is counterfeit by burning one of the bills. At night, Nick and Charlie walk back to their hotel drunk and unescorted, despite warnings about their safety. In an apparent prank, a young motorcyclist steals Charlie's coat and leads him to an underground parking garage. Separated from Charlie, Nick watches in horror as Sato and several others briefly torture and kill Charlie. Joyce comforts the distraught Nick at her apartment. Later, Matsumoto hands him Charlie's service pistol. As Matsumoto and Nick trail one of Sato's operatives, Nick admits he stole money in New York. The operative retrieves a sample counterfeit note, which she passes to a gangster. Nick and Matsumoto tail him to a steel foundry, where they find Sato is meeting Sugai, and the package from New York is a printing plate for American $100 bills. Nick confronts Sato, who escapes when swarming police arrest Nick for waving a gun in public. Though deported, Nick sneaks off the plane to pursue Sato on his own, as Matsumoto has been suspended and demoted. Joyce helps him meet Sugai, who explains that making counterfeit US currency is his revenge for the "black rain", or nuclear fallout, after the bombing of Hiroshima in World War II. Nick suggests a deal where Sugai can use Nick to retrieve the stolen plate from Sato, leaving Sugai's reputation and hands clean. Sugai drops Nick at a remote farm with a shotgun. Matsumoto arrives, and they deduce Sato plans a massacre. During a meeting with Sugai, Sato cuts off one of his fingers in atonement, stabs Sugai, and escapes with the plates, prompting a gunfight between Sugai's and Sato's men. Sato escapes the fight on a dirt bike, Nick pursues, and the two fight briefly. Nick gains the advantage and, having Sato at his mercy, has the choice of whether or not to kill Sato for Charlie and all the humiliation he has suffered. Matsumoto and Nick walk a handcuffed Sato into police headquarters to the amazement of everyone and later receive commendations, which Nick accepts gratefully. Before boarding his flight home, Nick thanks Matsumoto for his assistance and friendship, and gives him a dress shirt in a gift box. Underneath it, Matsumoto finds the counterfeit printing plates. |
The Accountant_2016 | tt2140479 | <script>
<scene>
<scene_description>The Accountant</scene_description>
<character>REVISED 9.13</character>
<dialogue>by</dialogue>
<scene_description>bill dubuque story by dubuque</scene_description>
<character>&</character>
<dialogue>williams</dialogue>
<scene_description>producers mark williams</scene_description>
<character>310.656.9440</character>
<dialogue>lynette howell</dialogue>
<character>323.654.7800</character>
<dialogue>Car horns BLARE, brakes SCREECH. A busy street interrupted.</dialogue>
<character>FEDERAL AGENT (V.O.)</character>
<parenthetical>(faint; distant)</parenthetical>
<dialogue>Wait, let me call it in!</dialogue>
<scene_description>Muted pops of GUNFIRE. The fast clip of wing tips on pavement, labored breathing, running. FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. QUEENS SIDEWALK - DAY</stage_direction>
<scene_description>AGENT'S POV -- a quick glance, two LARGE MEN face-down, dead, fresh blood pooling around their heads. Our PARTNER in front, gun drawn, runs to the sound of... GUNFIRE, louder, coming from inside the...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAVEN SOCIAL CLUB</stage_direction>
<scene_description>Four stories of ugly brick.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAVEN SOCIAL CLUB</stage_direction>
<scene_description>An unseen GUNFIGHT, men SHOUT, run. Chaos. AGENT'S POV -- rolled shirt cuffs, trembling hands clutch a PISTOL as its barrel sweeps back and forth. The sound of our own frightened breathing.</scene_description>
<character>PARTNER (O.S.)</character>
<dialogue>Fuck this. Let's go.</dialogue>
<scene_description>Our frightened Partner hugs a wall, eyes the entrance door.</scene_description>
<character>PARTNER</character>
<dialogue>Uh-uh, not me--</dialogue>
<scene_description>Partner exits. A shotgun BOOMS. We react, swing our gun to the sound, a stairwell.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR CORRIDOR</stage_direction>
<scene_description>AGENT'S POV -- blood-spatters stain the walls. BODIES. An open door, a room at the end --</scene_description>
<character>FRIGHTENED MAN (O.S.)</character>
<dialogue>Stop! You're not hearing me. I wasn't even there! I didn't touch that old man--</dialogue>
<scene_description>A THWACK. THUMP. Quiet. AGENT'S POV -- inching along the wall to the doorway, pistol tight against our chest. We fight in vain to control our rapid breathing. Ready... ready... CLICK. OS a .45 cocks, loud in our ears, an inch away. Our breath stops. FADE TO BLACK.:</scene_description>
<character>YOUNG BOY (PRE-LAP V.O.)</character>
<parenthetical>(whispered chant)</parenthetical>
<dialogue>Solomon Grundy born on a Monday...</dialogue>
<scene_description>FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN - DAY</stage_direction>
<scene_description>Modest. A wrap-around porch... the quiet shade of an old- growth coastal forest. A government-issue Ford sedan in the small gravel parking lot fronting the cabin.</scene_description>
<character>YOUNG BOY (V.O.)</character>
<dialogue>Christened on Tuesday, married on Wednesday...</dialogue>
<scene_description>A newly carved wooden sign protrudes from the ground, reads "HARBOR NEUROSCIENCE."</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN - WAITING ROOM - DAY</stage_direction>
<scene_description>SUPER: Brookings Harbor, Oregon 1988 A child's hands sift quickly through a pile of hundreds of puzzle pieces, feeling, searching, discarding... finding one.</scene_description>
<character>YOUNG BOY (O.S.)</character>
<dialogue>Sick on Thursday...</dialogue>
<scene_description>JUSTINE, 10, severely autistic, long tangled hair, sits cross- legged in a child's arm chair... she grunts, squirms, arms flap. A frustrated PRETTY NURSE kneels in front of her, works the child's Keds onto little bare feet.</scene_description>
<character>PRETTY NURSE</character>
<dialogue>Justine, please, your father wants shoes on you.</dialogue>
<scene_description>The Nurse ties a sneaker, turns, stares at something os.</scene_description>
<character>YOUNG BOY (O.S.)</character>
<dialogue>Worse on Friday...</dialogue>
<scene_description>A YOUNG BOY, 10, glasses, kneels on an area rug, working an unseen puzzle. He rocks back and forth, back and forth.</scene_description>
<character>YOUNG BOY</character>
<dialogue>Died on Saturday...</dialogue>
<scene_description>Seated in a chair behind him, his LITTLE BROTHER, 7, swings his legs, casts bored eyes about the room.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>Yes and no, ma'am. Asperger's Syndrome is a form of autism.</dialogue>
<scene_description>Young Boy's eyes ping-pong from the unseen puzzle to the remaining pieces. He continues to rock, chant.</scene_description>
<character>YOUNG BOY</character>
<dialogue>Buried on Sunday...</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>...perceived as socially awkward, kids are often labeled as "geeks", "nerds" or "freaks." Most have difficulty understanding non-verbal cues; gestures, maintaining eye contact, touching. As a result many struggle with childhood friendships. As an adult, relationships can be difficult. He may suffer from depression--</dialogue>
<character>YOUNG BOY</character>
<dialogue>That was the end of Solomon Grundy.</dialogue>
<character>YOUNG BOY'S FATHER (V.O.)</character>
<dialogue>He has no friends, just his younger brother--</dialogue>
<character>YOUNG BOY'S MOTHER (V.O.)</character>
<parenthetical>(near tears; resentful)</parenthetical>
<dialogue>I'm sure moving from base to base can't help any. Doctor, why all the rocking?</dialogue>
<scene_description>Young Boy's eyes flit to the staring Nurse, making eye contact for a split second before returning to the puzzle.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>It's called "stimming." Short for self-stimulation. He does it to comfort himself. To focus. You and I tap our fingers, chew our nails, grind teeth. His is simply more obvious. Perfectly natural behavior.</dialogue>
<scene_description>Little Brother notices Nurse staring at his big brother. He doesn't like it, doesn't like her.</scene_description>
<character>YOUNG BOY</character>
<dialogue>Solomon Grundy born on a Monday.</dialogue>
<scene_description>The pile of puzzle pieces has decreased significantly-- impossibly.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>...obsessive personalities, overly sensitive to light and loud noises. You may find he has highly advanced cognitive skills, math for instance, music. Einstein, Isaac Newton, Picasso and Van Gogh are believed to have had Asper--</dialogue>
<scene_description>Little Brother looks at Nurse, catches her eye.</scene_description>
<character>YOUNG BOY'S MOTHER (V.O.)</character>
<parenthetical>(rope's end)</parenthetical>
<dialogue>"Einstein"? You talk like you're glad he has this Aspergers.</dialogue>
<character>AUTISM DOC</character>
<dialogue>Ma'am, your son is a unique, remarkable young man--</dialogue>
<character>YOUNG BOY'S MOTHER</character>
<dialogue>Who refers to himself in the third person! It's embarr--</dialogue>
<character>YOUNG BOY'S FATHER</character>
<dialogue>Enough.</dialogue>
<character>YOUNG BOY'S MOTHER</character>
<dialogue>We came to your-- to here, because we heard you specialized in, in... this. You must have a cure? A treatment? Drugs? Something?</dialogue>
<scene_description>Nurse stands, task finished. She gives Little Brother a sympathy-smile, acknowledgement of a long-suffering sibling.</scene_description>
<character>YOUNG BOY'S FATHER (V.O.)</character>
<dialogue>Is our son capable of living a normal life?</dialogue>
<scene_description>Little Brother's stare burrows into the walking Nurse, eyes cold, predatory. A malevolent smile slowly forms.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>Define normal.</dialogue>
<scene_description>Nurse's smile fades. Her throat dries, she looks away.</scene_description>
<character>YOUNG BOY</character>
<dialogue>Sick on Thursday, worse on Fri--</dialogue>
<scene_description>Young Boy's eyes dart, suddenly alarmed, searching the floor, the space around him, anxiety rising, panic. Justine GRUNTS, flaps a hand in the direction of a chair, Little Brother clues in, follows her eyes to an errant puzzle piece. Little Brother snags it, hands it to Young Boy. Relief. Young Boy snaps the piece into place. He cuts his eyes in Justine's direction, a small smile of thanks. Before him, a completed 1,000 piece puzzle, FACE DOWN. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DATED STRIP MALL - MORNING</stage_direction>
<scene_description>Parking lot, mostly empty. Kim's Nails. Mandarin Garden Chinese Food. Al's Laundromat. ZZZ ACCOUNTING. SUPER: Plainfield, IL... twenty miles South of Chicago... Present day</scene_description>
</scene>
<scene>
<stage_direction>INT. ZZZ ACCOUNTING</stage_direction>
<scene_description>Clean. Small. A matronly RECEPTIONIST sits behind a desk, immersed in a paperback romance novel.</scene_description>
<character>FRANK (O.S.)</character>
<dialogue>I know people think farmers make all sorts of money, what with food prices so high. But between insurance, fertilizer costs...</dialogue>
<scene_description>A nameplate reads "Christian Wolff, CPA." White shirt, tie, pocket protector, glasses -- CHRIS WOLFF -- 30, handsome, sits at a desk, rocking slightly; he fixates on the tax forms scrolling down a CRT monitor. Across from him sit FRANK and DOLORES RICE, 60s, sun- weathered Midwesterners. The Rices worry. Dolores chances a quick look at her frustrated husband.</scene_description>
<character>FRANK</character>
<dialogue>Ah, the hell with it.</dialogue>
<scene_description>He works the Dekalb hat in his calloused hands. Dolores looks at Chris, a plea in her eyes. Chris averts eye contact.</scene_description>
<character>DOLORES</character>
<dialogue>What if -- just temporarily mind you -- we put this year's taxes on our credit card?</dialogue>
<scene_description>Frank EXHALES, shaking his head, unmanned. Dolores puts a comforting hand on her husband's forearm. Chris notices the touch and shifts, uncomfortable. He double- clicks a mouse and the 1040 is replaced with STREAMING VIDEO of a STORAGE LOT. The rocking stops. Double-click and the 1040 returns.</scene_description>
<character>CHRIS</character>
<parenthetical>(eyes on monitor)</parenthetical>
<dialogue>Mrs. Rice...</dialogue>
<character>DOLORES</character>
<dialogue>"Dolores."</dialogue>
<scene_description>Chris reluctantly makes eye contact, double-clicks. NIGHT VISION VIDEO of an AIRSTREAM TRAILER inside a large dark space. Sunlight glints off her necklace, catches his eye.</scene_description>
<character>CHRIS</character>
<dialogue>Did you make your necklace? Dolores?</dialogue>
<scene_description>He stares at the homemade necklace, the play of light. Dolores raises a hand to her chest, disappointed.</scene_description>
<character>DOLORES</character>
<dialogue>That obvious?</dialogue>
<scene_description>A confused Chris double-clicks, focuses on his monitor.</scene_description>
<character>CHRIS</character>
<dialogue>We think it's quite lovely.</dialogue>
<scene_description>Frank, thinking he's part of the "we", allows a weak smile. She smiles politely, not buying it.</scene_description>
<character>CHRIS</character>
<dialogue>Ever sell one?</dialogue>
<scene_description>He double-clicks, the Airstream interior appears.</scene_description>
<character>DOLORES</character>
<dialogue>Sell? Oh, at church fairs now and again, nothing to brag on. Why?</dialogue>
<character>CHRIS</character>
<dialogue>You may have what the IRS refers to as "a home-based business."</dialogue>
<scene_description>Sensing a life preserver, Frank stirs. Double-click. Tax forms.</scene_description>
<character>CHRIS</character>
<dialogue>When you make your jewelry, what room do you tend to use?</dialogue>
<character>DOLORES</character>
<dialogue>I don't... Just wherever I happen to be, I guess, in front of the TV, at the kitchen table...</dialogue>
<scene_description>Chris fidgets, the wait for her to conclude painful.</scene_description>
<character>DOLORES</character>
<dialogue>Sometimes I'll spread my beads out in the dining roo--</dialogue>
<character>CHRIS</character>
<dialogue>Your home is two thousand, three hundred and twenty-five square feet. Current IRS code allows us to reduce your taxable income by a percentage of your work space relative to the overall size of your house.</dialogue>
<character>DOLORES/FRANK</character>
<parenthetical>(simultaneously; confused)</parenthetical>
<dialogue>What?</dialogue>
<character>CHRIS</character>
<dialogue>Mr. Rice, what is the approximate size of your dining room...</dialogue>
<parenthetical>(pointed)</parenthetical>
<dialogue>Mrs. Rice's office.</dialogue>
<character>DOLORES</character>
<dialogue>Oh, I can't say as I'd call it an--</dialogue>
<scene_description>Chris GRUNTS his exasperation. Dolores, taken aback, looks to her husband. Seeing Chris' play, the farmer straightens.</scene_description>
<character>FRANK</character>
<dialogue>At least two--</dialogue>
<scene_description>Chris SHAKES HIS HEAD, stares at his desktop.</scene_description>
<character>FRANK</character>
<dialogue>Three hundred square feet!</dialogue>
<scene_description>Chris settles, adjusts his glasses.</scene_description>
<character>CHRIS</character>
<dialogue>Let's discuss your company car.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON D.C. - DAY</stage_direction>
<scene_description>The Capitol... White House... Lincoln Memorial... Treasury.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY - FINANCIAL CRIMES DIVISION - DAY</stage_direction>
<scene_description>MARYBETH MEDINA, early 30s, Hispanic, attractive, conservative business suit, trails a fast-walking bulldog of a FEMALE ADMIN. SUPER: Financial Crimes Enforcement Network... Department of the Treasury High tech. Glass-walled offices. Busy. Rows of desks, shirt/tie wearing men, women in business suits... speaking on phones... flat-screen monitors... streaming financial data. They approach the alpha-dog corner office. Through glass walls she sees Deputy Director RAY KING, late 50s, fit, crisp white shirt, tie, pacing, talking.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY KING'S CORNER OFFICE</stage_direction>
<scene_description>The Admin deposits an anxious Marybeth in the open doorway. Ray glances over, crooks a finger at her. She enters.</scene_description>
<character>BANK PRESIDENT (V.O.)</character>
<parenthetical>(over speaker phone; irate)</parenthetical>
<dialogue>Mr. King, you've wandered so far outside your legal purview...</dialogue>
<scene_description>Marybeth fidgets, scans the room; framed headlines featuring Ray from the Post, Times, Journal. An aura of power.</scene_description>
<character>BANK PRESIDENT (V.O.)</character>
<dialogue>As president of Southern Trust Bank, I intend to protect my customer's privacy--</dialogue>
<scene_description>Ray looks at her, she meets his gaze, holds it. He plucks the phone from the receiver, speaker killed.</scene_description>
<character>RAY</character>
<parenthetical>(into phone; controlled)</parenthetical>
<dialogue>Stop talking, please. You have a cavalier attitude for the president of a bank with such a piss poor capital cushion. Now, I want a record of every transaction Abayed has had in the last two years; deposits, withdrawals, cashier checks, credit cards. Birmingham or Bahrain, it's now Treasury business. If I don't have those S.A.R.s in twenty minutes my next call's to Marty over at the F.D.I.C. in which I'll be comparing Southern to the Bank of Kabul.</dialogue>
<parenthetical>(listens)</parenthetical>
<dialogue>No, here's the threat; you explaining to the press the term "critically undercapitalized." I want what I want. Immediately. Thank you.</dialogue>
<scene_description>He hangs up, drops into his chair, studies her.</scene_description>
<character>RAY</character>
<dialogue>"Medina." Am I saying that correctly? "Medina?"</dialogue>
<scene_description>She moves forward, hand outstretched.</scene_description>
<character>MARYBETH</character>
<dialogue>Yes, sir. It's a real honor.</dialogue>
<scene_description>He makes no move to shake, nods at a chair facing his desk.</scene_description>
<character>MARYBETH</character>
<parenthetical>(withdraws hand; sits)</parenthetical>
<dialogue>If I may, I've read all your case files, Deputy Director King.</dialogue>
<scene_description>He ignores her, turns to his monitor, displayed text.</scene_description>
<character>MARYBETH</character>
<dialogue>Impressive work. Very.</dialogue>
<character>RAY</character>
<dialogue>Marybeth Ascension Medina. Graduated University of Baltimore cum laude with a degree in criminal justice. Two years Baltimore P.D., two at Homeland, the last five as an analyst at Treasury.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You did the heavy lifting on Healy's case last month.</dialogue>
<character>MARYBETH</character>
<parenthetical>(surprised; pleased)</parenthetical>
<dialogue>Well... I worked on it, yes, but Agent Healy--</dialogue>
<character>RAY</character>
<dialogue>May be the thickest Treasury agent to ever shit between two shoes.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>That caught my attention. What caught yours?</dialogue>
<scene_description>She hesitates, collects herself, wary of the spotlight.</scene_description>
<character>MARYBETH</character>
<dialogue>Higher than normal cash deposits, heavy exchange house clientele... cross-border wire transfers. The usual unimaginative suspects.</dialogue>
<character>RAY</character>
<dialogue>Why haven't you applied for promotion to agent? You're already doing the work.</dialogue>
<character>MARYBETH</character>
<dialogue>I'm good at what I do. I enjoy it.</dialogue>
<scene_description>Ray swivels the flat monitor so they can both view it.</scene_description>
<character>RAY</character>
<dialogue>You're a liar. Medina.</dialogue>
<character>MARYBETH</character>
<dialogue>Excuse me?</dialogue>
<character>RAY</character>
<parenthetical>(clicks mouse)</parenthetical>
<dialogue>What a tangled web we weave when first we blah, blah, blah.</dialogue>
<scene_description>Monitor: a rough TEENAGE MARYBETH glares in a MUG SHOT.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZZZ ACCOUNTING - DAY</stage_direction>
<scene_description>Chris stands by the open door, eyes down, the relieved Rices leaving. The receptionist sits, novel open, waiting.</scene_description>
<character>FRANK</character>
<dialogue>I meant what I said, you're welcome out to the place anytime. You fish any? We got a two-acre pond thick with bass and catfish.</dialogue>
<character>CHRIS</character>
<dialogue>No, we don't fish. Sometimes we do a little target practice.</dialogue>
<character>FRANK</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Hell, farm's a perfect spot if you want to do a little plinkin'.</dialogue>
<scene_description>Frank extends a hand which Chris one-pumps, releases.</scene_description>
<character>FRANK</character>
<dialogue>Take care, son.</dialogue>
<scene_description>Chris produces a smile, weak but sincere. They nod to the receptionist and leave. Chris closes the door, watches the couple through the sidelight.</scene_description>
<character>ZZZ RECEPTIONIST</character>
<dialogue>My daughter is meeting me for lunch. I think you two would--</dialogue>
<scene_description>CHRIS' POV: The Rices walk to their car. Dolores looks over her shoulder, spots Chris, mouths "THANK YOU." He steps away from the sidelight.</scene_description>
<character>CHRIS</character>
<dialogue>We brought--</dialogue>
<character>ZZZ RECEPTIONIST</character>
<dialogue>"We brought lunch." I know.</dialogue>
<parenthetical>(sighs)</parenthetical>
<character>ZZZ RECEPTIONIST</character>
<dialogue>You're an odd duck, Christian Wolff.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S OFFICE - DAY</stage_direction>
<scene_description>Marybeth's mug shots stare sullenly from Ray's monitor.</scene_description>
<character>RAY (O.S.)</character>
<dialogue>Ward of the state of Maryland's foster care and juvenile detention system from the age of eleven to eighteen. Assault and battery, attempted murder, solicitation -- ouch -- weapons charges...</dialogue>
<scene_description>Marybeth frozen in her seat; day, career, life unraveling.</scene_description>
<character>RAY</character>
<dialogue>What must it be like to be you?</dialogue>
<character>MARYBETH</character>
<dialogue>Those records were sealed.</dialogue>
<character>RAY</character>
<parenthetical>(thoughtful; clicks mouse)</parenthetical>
<dialogue>Looking over your shoulder, wondering when your past will surface to bite you in the ass.</dialogue>
<scene_description>Monitor: Identifying marks photos... scars across her back, arms, beneath the hairline on her scalp... an actual size .45 PISTOL TATTOO low on a hip, barrel angled at her crotch. Ray squints, mouse clicks, crotch and pistol fill the screen. Marybeth's wet eyes dart to the windows, she reddens. Trembling hands smooth the hair over an old wound.</scene_description>
<character>RAY</character>
<dialogue>Nine millimeter?</dialogue>
<character>MARYBETH</character>
<parenthetical>(standing; wipes eyes)</parenthetical>
<dialogue>Forty-five.</dialogue>
<character>RAY</character>
<parenthetical>(hard)</parenthetical>
<dialogue>You better plant your ass in that seat, young lady.</dialogue>
<scene_description>Eyes shining, she glares at him, a hint of the old Marybeth.</scene_description>
<character>RAY</character>
<dialogue>Lying on a federal employment application is a felony. I'm the only thing standing between you and significant jail time.</dialogue>
<scene_description>Standoff for a tense beat. She sits. He clears the monitor.</scene_description>
<character>MARYBETH</character>
<dialogue>What do you want?</dialogue>
<scene_description>Ray bends, opens a low drawer, retrieves a fat file. He straightens, thumps the bulging file on his desk top.</scene_description>
<character>RAY</character>
<dialogue>You like puzzles, Marybeth Medina?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S OFFICE - DAY (MOMENTS LATER)</stage_direction>
<scene_description>A GRAINY PHOTO: four men; three of Middle-Eastern descent. The fourth, nearly out of the frame, blurry, a Caucasian man, 30s, dark hair, glasses.</scene_description>
<character>RAY (O.S.)</character>
<dialogue>Already enhanced. Taken in Antwerp three years ago by an undercover Interpol agent. Their target's far right.</dialogue>
<scene_description>Marybeth holds the photo, inspects it as she sits hunched over the opposite side of Ray's desk. The file open.</scene_description>
<character>MARYBETH</character>
<parenthetical>(squinting)</parenthetical>
<dialogue>Is that-- Zalmay Atta?</dialogue>
<character>RAY</character>
<parenthetical>(nods; impressed)</parenthetical>
<dialogue>Go on...</dialogue>
<character>MARYBETH</character>
<dialogue>Ran the largest opium pipeline in the world. Ties to Karzai's government, the Taliban... Pakistani tribal elders, he was considered untouchable.</dialogue>
<character>RAY</character>
<dialogue>And now?</dialogue>
<scene_description>She hesitates, mindful of her own situation.</scene_description>
<character>MARYBETH</character>
<dialogue>Twenty-five to thirty, Red Onion state prison.</dialogue>
<scene_description>He motions to the file, impatient.</scene_description>
<character>RAY</character>
<dialogue>Look at the rest. What do you see?</dialogue>
<scene_description>She flips through the file... grainy photos of non-smiling lethal-looking men of various nationalities.</scene_description>
<character>MARYBETH</character>
<dialogue>I remember most of these arrests. They were huge.</dialogue>
<character>RAY</character>
<dialogue>Focus. Not all are arrests.</dialogue>
<scene_description>She looks again. First photo, second, third, fourth... wait. Back to the Antwerp shot. Every photo, in the background, the same Caucasian man, 30s, glasses, dark hair. Chris?</scene_description>
<character>MARYBETH</character>
<dialogue>It's the same man.</dialogue>
<scene_description>Ray's eyes light, pleased, an obsession surfacing.</scene_description>
<character>RAY</character>
<dialogue>"Lou Carroll." For what it's worth.</dialogue>
<character>MARYBETH</character>
<dialogue>Louis?</dialogue>
<character>RAY</character>
<dialogue>Doesn't matter, it's an alias.</dialogue>
<scene_description>Another photo... Asian men in focus. In the background the Caucasian man, glasses, dark suit, briefcase, walks away.</scene_description>
<character>RAY</character>
<dialogue>Columbia, Tel Aviv, Hong Kong, even a sighting in Tehran. But all describing the same guy: "an accountant," "our accountant," "the accountant."</dialogue>
<character>MARYBETH</character>
<dialogue>"Accountant"? What, like "CPA accountant"? You're kidding.</dialogue>
<scene_description>He gathers his thoughts, the explanation important to him.</scene_description>
<character>RAY</character>
<dialogue>Hypothetically. Say for a second you're running the Sinaloa Cartel.</dialogue>
<character>MARYBETH</character>
<dialogue>I'm Joaquin "Shorty" Guzman.</dialogue>
<scene_description>He suppresses most of a "not bad" smile, rolls on.</scene_description>
<character>RAY</character>
<dialogue>The cartels count their cash by weighing it in eighteen wheelers. But one sunny Mexican day, your in- house money-scrubber tells you you're thirty million light.</dialogue>
<character>RAY</character>
<dialogue>That money could have been siphoned off through half a dozen different leaks. So who can you trust to do the forensic accounting, track your stolen cash? Deloitte and Touche? H&R Block?</dialogue>
<parenthetical>(holds up a photo)</parenthetical>
<dialogue>No, you somehow, someway contact an individual capable of walking in cold, un-cooking years of books and getting out alive.</dialogue>
<scene_description>She digests this, the enormity of that feat settling on her.</scene_description>
<character>RAY</character>
<dialogue>Recall what objects were strung from the Mexican side of the Paso del Norte bridge three years ago?</dialogue>
<character>MARYBETH</character>
<dialogue>Half a dozen severed heads.</dialogue>
<character>RAY</character>
<dialogue>Shorty G., plugging leaks. Leaks found by...</dialogue>
<scene_description>He taps a photo on the desk, "Lou Carroll".</scene_description>
<character>MARYBETH</character>
<parenthetical>(skeptical)</parenthetical>
<dialogue>We think it's the same person? This Carroll.</dialogue>
<character>RAY</character>
<dialogue>What you need to know, is I do.</dialogue>
<character>MARYBETH</character>
<dialogue>The language barriers alone... he'd have to speak five, maybe six--</dialogue>
<character>RAY</character>
<dialogue>Everybody speaks English, it's the international language of money.</dialogue>
<character>MARYBETH</character>
<parenthetical>(flashes a photo; soft)</parenthetical>
<dialogue>Not in Yemen.</dialogue>
<character>RAY</character>
<dialogue>Four agents have worked on this. All came away with the same non- conclusion: Smoke. Doesn't exist.</dialogue>
<parenthetical>(pointed)</parenthetical>
<dialogue>Bullshit. I retire in seven months. Before I do I want to know who he is. How he does it. Who survives this kind of clientele? The secrets this guy has...</dialogue>
<character>RAY</character>
<parenthetical>(switches gears)</parenthetical>
<dialogue>I won't tolerate deception, Medina.</dialogue>
<character>MARYBETH</character>
<dialogue>No, sir.</dialogue>
<parenthetical>(uncertain beat)</parenthetical>
<dialogue>What exactly do you want--</dialogue>
<character>RAY</character>
<dialogue>Report directly to me. No other casework, no other Treasury personnel involved. Enter my office with facts not pet theories, hunches, gut feelings, instinct. At the end of the month one of two things will have occurred; resolution of this case--</dialogue>
<scene_description>Ray clicks his mouse, her mug shots pop on the monitor.</scene_description>
<character>RAY</character>
<dialogue>Or we'll update your photo.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHRIS' RANCH HOME - SUNSET</stage_direction>
<scene_description>Middle-class suburb of cookie-cutter 1970's ranchers. End of a cul-de-sac. A Ford F-150 pulls into a driveway.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARREN TWO-CAR GARAGE</stage_direction>
<scene_description>Chris parks the pickup truck in the usual spot. Above the other spot, a tow chain hangs from a large pulley connected to a rafter-high 4X6 beam. Suspended from the chain, what appears to be a TARP-COVERED TRANSMISSION. The garage door closes.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' HOME - NIGHT</stage_direction>
<scene_description>Spartan. Disposable. Stock photos of staged model families smile out from picture frames. Furniture immaculate.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>3 burners, 3 hot skillets. 3 pancakes bubble, 3 pieces of bacon sizzle, 3 eggs fry. Chris, T-shirt and shorts, opens a cabinet. 1 plate, 1 bowl, 1 glass. He takes the plate and glass.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING NOOK</stage_direction>
<scene_description>Silence. Chris sits at his table, preparing to eat. He BLOWS TWICE on his fingers -- lightly. Picks up his fork.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' HOME - BEDROOM - NIGHT</stage_direction>
<scene_description>Chris, t-shirt and boxers, sits in the center of a queen- sized bed, legs extended. He rolls a cut-down BROOM STICK up and down scarred shins. Up. Down. His mind elsewhere. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMALL BACK YARD - DAY (FLASHBACK)</stage_direction>
<scene_description>Young Boy rages, strains against his Father. The man kneels, strong arms wrapped around his son, squeezing, rocking.</scene_description>
<character>YOUNG BOY'S FATHER</character>
<dialogue>Fight. That's it. Burn off that energy. Burn it. Burn it.</dialogue>
<character>YOUNG BOY</character>
<dialogue>We don't want to move! Don't want to move! To move!</dialogue>
<scene_description>Young Boy keens, tries in vain to break free. They rock.</scene_description>
<character>YOUNG BOY'S FATHER</character>
<dialogue>You need to learn how to calm yourself. What works. Use it to stay in control. Solomon Grundy, born on a Monday, christened on Tuesday...</dialogue>
<parenthetical>(Young Boy starts to calm)</parenthetical>
<dialogue>Feel the squeeze. The pressure. Calm. Good boy. Solomon Grundy, born on a Monday, christened on Tuesday--</dialogue>
<scene_description>RETURN TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' HOME - BEDROOM - NIGHT</stage_direction>
<scene_description>His digital clock rolls 10:00. He suddenly turns to his nightstand. To the prescription bottle: "ZOLOFT 50 mg. CHRISTIAN WOLFF... take 1 pill every night at 10 pm." He swallows one dry.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICE HOME - DAY</stage_direction>
<scene_description>BINOCULAR LENS POV -- A FAT CANTALOUPE perched atop a sun- bleached fence post comes into focus, a SMILEY FACE inked on it. Three posts, three smiling cantaloupes.</scene_description>
<character>FRANK (V.O.)</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>Somebody's seen too many westerns.</dialogue>
<character>DOLORES (V.O.)</character>
<dialogue>Leave the boy be already.</dialogue>
<character>FRANK (V.O.)</character>
<dialogue>He must be... what? A mile out? Not on my best day c--</dialogue>
<scene_description>The CANTALOUPE SILENTLY VAPORIZES IN A YELLOW MIST. Three seconds later, a distant ECHOING CRACK.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICE FARM - DAY</stage_direction>
<scene_description>Chris, jeans and sweatshirt, prone position, earplugs in. He stares down a Leupold scope on a .50 CALIBER BARRETT SNIPER RIFLE. KA-BOOM! The heavy weapon bucks. KA-BOOM!</scene_description>
</scene>
<scene>
<stage_direction>INT. RICE HOME</stage_direction>
<scene_description>BINOCULAR LENS POV -- The last canteloupe EXPLODES. A mile of farmland blurs by as the lens searches, focuses: Chris stands at the edge of the timber, gun in hand, staring at the lens. He raises a hand "good-bye", turns. At a window, Frank lowers binoculars from stunned eyes.</scene_description>
<character>DOLORES (O.S.)</character>
<dialogue>Wouldn't kill you to go out and give him a few pointers, y'know.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STORAGE LOT SECURITY GATE - SUNSET</stage_direction>
<scene_description>Window down, Chris' pickup idles up to a guard shack. Inside, a bored GUARD nods toward the truck.</scene_description>
<character>GUARD</character>
<dialogue>Watcha got there, Mr. Wolff?</dialogue>
<scene_description>Chris looks in the direction of the nod, considers the fat rolled rug leaning against the passenger seat. He turns...</scene_description>
<character>CHRIS</character>
<dialogue>Fifty-caliber sniper rifle inside an eighteenth century Turkish rug.</dialogue>
<scene_description>The guard gives a lazy "whatever" smirk. The gate lifts.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' PICKUP TRUCK - DAY</stage_direction>
<scene_description>Chris eases the truck down a wide lane bordered by storage buildings. He looks right, left, in his rear view mirror, watching, wary. Chris' POV: fifty identical 14-foot-high overhead doors on each side. Hidden between his legs, Chris holds a .357 Colt revolver.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STORAGE LOT-UNIT - DAY</stage_direction>
<scene_description>A closed galvanized metal overhead door.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE UNIT</stage_direction>
<scene_description>Dark. Interior lights glow from the windows of a 34-foot AIRSTREAM TRAILER.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM -- SERIES OF SHOTS</stage_direction>
<scene_description>Low classical music from mini wall-mounted Bose speakers. Strands of Christmas tree lights sparkle along upper blonde wood walls. The lighting diffused, warm. Home. DINING AREA. A laptop open on the table. A framed RENOIR hangs on a wall. A tiny CAMERA high in a corner. TOY HAULER AREA. Tie-downs leash a CONFEDERATE WRAITH MOTORCYCLE. A CRAFTSMEN tool chest. On wall racks: the Barrett, scoped DAKOTA T-76, pistol-grip MOSSBERG 12 GAUGE, KALASHNIKOV with banana clip.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - BEDROOM</stage_direction>
<scene_description>An original "Star Wars" LIGHT SABRE mounted on the wall... on the handle, a signature in black marker: George Lucas. Light from a Tiffany lamp on a bedside nightstand. The bed-- a homemade contraption -- atop a mechanical frame; a queen mattress curled over on itself lengthwise to form a shape not unlike a hollowed out log. Chris tucked inside. Chris lies snug in the bed, studies a poster on the opposite wall; ADULT FACES, subtle expressions-- surprise, anger, confusion. Joy. Chris mimics joy, puts a hand to his mouth, feels his smile. Lets it fade. He works a remote control and a small motor whirs, rotating the bed upward, mattress flattening. On his back now, eyes resting on a large framed JACKSON POLLOCK mounted flush to the ceiling. He daydreams, lost in chaotic swirls of viscous paint.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETENTION CENTER-ROOM - NIGHT (FLASHBACK)</stage_direction>
<scene_description>Dark. Small. Institutional. BUNK BEDS. Bottom bunk, beneath a thin sheet FRANCIS SILVERBERG, 80s, bare-chested and frail, instructs.</scene_description>
<character>FRANCIS</character>
<parenthetical>(New York accent)</parenthetical>
<dialogue>You're not listening to the inflection. In. Flec. Tion. I say--</dialogue>
<parenthetical>(stage melancholy)</parenthetical>
<dialogue>"I'm another year older, I don't think I'll ever get out of this place." Then you say...?</dialogue>
<scene_description>In the top bunk, Chris, t-shirt, mulls the question.</scene_description>
<character>CHRIS</character>
<dialogue>You're probably right.</dialogue>
<character>FRANCIS</character>
<dialogue>What? No! That's what you say? "You're probably right?"</dialogue>
<character>CHRIS</character>
<dialogue>Given your age, it's unlikely you'll--</dialogue>
<character>FRANCIS</character>
<dialogue>Two years together. night.</dialogue>
<character>FRANCIS</character>
<dialogue>I give you a PhD in black money but can't...</dialogue>
<scene_description>He trails off. Silence. Chris considers his friend's tone.</scene_description>
<character>CHRIS</character>
<dialogue>You're frustrated.</dialogue>
<character>FRANCIS</character>
<parenthetical>(pleased; loud)</parenthetical>
<dialogue>Yes! Yes! I'm frustrated! Excellent! Finally!</dialogue>
<scene_description>Chris smiles. A BANG on the door. They ignore the intrusion. Francis quiets, turns reflective.</scene_description>
<character>FRANCIS</character>
<dialogue>Friday would've been Esther's and my fiftieth. We were so poor. She couldn't afford a gown, borrowed a blue suit that her cousin wore when she worked the cosmetic counter at Woolworths. Blue. But as Esther liked to say--</dialogue>
<character>FRANCIS</character>
<dialogue>"I was worthy of white." Francis laughs; at the memory, his repetition.</dialogue>
<character>CHRIS</character>
<dialogue>"I was worthy of white." Chris smiles,</dialogue>
<scene_description>pleased to have made Francis laugh.</scene_description>
<character>FRANCIS</character>
<dialogue>Boy, was she worthy. I think it's why our engagement was so short, my balls were a lovely shade of blue.</dialogue>
<scene_description>Chris puzzled by the shade of Francis' testicles.</scene_description>
<character>FRANCIS</character>
<dialogue>My Esther. She'd have liked you. So very much.</dialogue>
<scene_description>Chris considers this for a long beat.</scene_description>
<character>CHRIS</character>
<dialogue>Why?</dialogue>
<character>FRANCIS</character>
<dialogue>Why what?</dialogue>
<character>CHRIS</character>
<dialogue>Would she have liked us?</dialogue>
<scene_description>Francis recognizes the flash of depression, feels for him.</scene_description>
<character>FRANCIS</character>
<dialogue>One day you'll see an opportunity to slide out of here. Memorize the names I gave you? The numbers?</dialogue>
<character>CHRIS</character>
<dialogue>Yes.</dialogue>
<character>FRANCIS</character>
<dialogue>They'll get you started, give you work. Try to find one person to help you, to trust. One. You'll have to rely on word of mouth, your reputation, for new business. Don't try to separate saints from sinners, we're all sinners. People keep secrets, numbers release them; if the secrets are too big, killing you to keep them may be the cost of doing business. There's honor among thieves but it helps if they know you'll scorch the Earth if they fuck with you... remember the Mad Hatter.</dialogue>
<character>CHRIS</character>
<dialogue>We remember.</dialogue>
<scene_description>Francis pauses, his mood softens, reflective.</scene_description>
<character>FRANCIS</character>
<dialogue>Try not to make the same mistake I did; always keep moving. Got it?</dialogue>
<character>CHRIS</character>
<dialogue>Yes.</dialogue>
<character>FRANCIS</character>
<dialogue>And you're gonna have to toughen up, learn how to protect yourself. Your generation's too soft.</dialogue>
<character>CHRIS</character>
<dialogue>We've got that covered.</dialogue>
<character>FRANCIS</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>Sure you do.</dialogue>
<character>FRANCIS</character>
<dialogue>We're all just dashes on headstones, kid. "Life is lived between the numbers." Famous Jew?</dialogue>
<character>CHRIS</character>
<dialogue>Kafka?</dialogue>
<character>FRANCIS</character>
<dialogue>Francis Silverberg, putz! Miami Beach, 1983! Eulogizing the late great Meyer Lansky!</dialogue>
<scene_description>Francis HOWLS, shoves the bottom of Chris' bunk. Chris smiles. LOUD BANGING at the door.</scene_description>
<character>GUARD (O.S.)</character>
<dialogue>HEY! Lights out, in there!</dialogue>
<character>FRANCIS</character>
<dialogue>HEY! Fuck you, out there!</dialogue>
<scene_description>Francis turns on his side, settles in with a SIGH.</scene_description>
<character>FRANCIS (O.S.)</character>
<dialogue>I got a new handler today. A little dull. Worries me a bit. We'll see. G'night, son.</dialogue>
<scene_description>Chris concerned. He wears boxers, no sheet, around an ankle: a DIGITAL MONITOR, its red light blinks.</scene_description>
<character>CHRIS</character>
<dialogue>Good night, Francis.</dialogue>
<scene_description>RETURN TO: On the nightstand, Chris' MOBILE RINGS. He sits up, instantly alert. He connects, pauses...</scene_description>
<character>CHRIS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Go.</dialogue>
<scene_description>On the other end of the phone a COMPUTER KEYBOARD CLICKS.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<parenthetical>(over phone; flat)</parenthetical>
<dialogue>Enough with the dramatics.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - DINING AREA (LATER)</stage_direction>
<scene_description>Chris sits, laptop open on the table. He watches the screen, the images change constantly, rapidly:</scene_description>
<character>CHRIS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>What about Zurich? Saudi Arabia?</dialogue>
<scene_description>B&W PHOTO: 1960s M.I.T. Engineering class, ONE MAN CIRCLED.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<parenthetical>(over phone; even tone)</parenthetical>
<dialogue>The Swiss are cheap, they're on a net ninety schedule. Dubai's one thing but we're too conspicuous in The Kingdom. I vote Chicago.</dialogue>
<scene_description>NEWSPAPER CLIPPING: 1970s, LAMAR BLACK, a young Silicon Valley greaser in a garage-workshop.</scene_description>
<character>CHRIS</character>
<dialogue>We're not sure we like it.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>There's an uptick in online chatter. People searching for you.</dialogue>
<character>CHRIS</character>
<dialogue>What people?</dialogue>
<scene_description>POLAROID: a small storefront shop: "CREATIVE ROBOTICS."</scene_description>
<character>BRITISH FEMALE</character>
<dialogue>The unfriendly kind. It would be interesting to try a legitimate client for once. No cartels, arms brokers, money launderers, assassins. I like safe. I like you safe.</dialogue>
<character>CHRIS</character>
<dialogue>There's honor among thieves.</dialogue>
<scene_description>FORTUNE ARTICLE/PHOTO: 1980s, Lamar and his older sister RITA pose with a prototype robot.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>There's honor among Illinois electronics manufacturers.</dialogue>
<scene_description>VIDEO of clean-room manufacturing.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>They'll pay with a cashier's check and they're in your current backyard; no risk of movement. You'll meet?</dialogue>
<scene_description>PHOTO: Vegas Consumer Electronics Show: STEVE JOBS and Lamar.</scene_description>
<character>CHRIS</character>
<dialogue>We'll meet.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>One last piece of business.</dialogue>
<scene_description>YOUTUBE: a Humvee convoy in Iraq disappears in a massive fireball as an I.E.D. DETONATES.</scene_description>
<character>CHRIS</character>
<dialogue>Just the Renoir.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>I don't have a buyer for the Renoir. The Pollock we can move. Will you ever let it go?</dialogue>
<scene_description>Chris quiets, the images on his laptop screen grim. PHOTOS: Iraq/Afghanistan war vets lie in hospital beds, faces cut, burned, their shortened arms and legs bandaged. PHOTOS: sutured STUMPS of a dozen amputated arms-legs. CNN: a rehab patient's prosthetic fingers pick up a DIME.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Hello?</dialogue>
<scene_description>Chris looks away, focuses on the Renoir, takes comfort in it.</scene_description>
<character>CHRIS</character>
<dialogue>Drop the price. We could use the deduction.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Heavy sigh. Go to work you aspie dreamboat.</dialogue>
<parenthetical>(disconnects)</parenthetical>
</scene>
<scene>
<stage_direction>EXT. CREATIVE ROBOTICS - DAY</stage_direction>
<scene_description>A granite "CREATIVE ROBOTICS" sign on a tree-lined campus leads to a large ultra-modern glass structure. The sound of two people walking fast, talking fast...</scene_description>
<character>ED (V.O.)</character>
<dialogue>Bad idea, worse timing. Not one of your brother's better ideas.</dialogue>
<character>RITA (V.O.)</character>
<parenthetical>(annoyed; hard)</parenthetical>
<dialogue>Deep breath, Ed. Companies hire outside auditors every day.</dialogue>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - MANUFACTURING FLOOR</stage_direction>
<scene_description>Electromechanical arms slide computer chips onto circuit boards, automated arms solder.</scene_description>
<character>ED (V.O.)</character>
<dialogue>From Pricewaterhouse, Rita. Ernst and Young! What kind of "auditor" comes recommended by an Albanian war criminal?</dialogue>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - LOBBY - DAY</stage_direction>
<scene_description>Chris, suit and tie, pocket protector, stands compliant, arms outstretched. A SECURITY GUARD waves a metal-detector baton over him.</scene_description>
<character>RITA (V.O.)</character>
<dialogue>Apparently, the kind who produces results.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>RITA BLACK, 60s, handsome and EDWIN "ED" CHILTON, 60s, large, no smile, sit together, face Chris across a large table.</scene_description>
<character>RITA</character>
<dialogue>No C.V.? Project list?</dialogue>
<character>CHRIS</character>
<dialogue>No, ma'am.</dialogue>
<character>RITA</character>
<dialogue>Client list?</dialogue>
<character>ED</character>
<parenthetical>(snorts)</parenthetical>
<dialogue>Anything?</dialogue>
<character>CHRIS</character>
<dialogue>Newsletter?</dialogue>
<character>ED</character>
<dialogue>You have a newsletter?</dialogue>
<character>CHRIS</character>
<dialogue>No, sir.</dialogue>
<scene_description>Rita cracks a smile. Chris stares back, parrots the smile.</scene_description>
<character>ED</character>
<dialogue>Uh, Mr. Wolff, I half suspect we're wasting your time.</dialogue>
<character>CHRIS</character>
<dialogue>We're certain you're not.</dialogue>
<character>ED</character>
<parenthetical>(defensive)</parenthetical>
<dialogue>And you know this how?</dialogue>
<character>CHRIS</character>
<dialogue>We're on the clock.</dialogue>
<scene_description>Rita's smile reaches her eyes. Chris lifts his briefcase onto the table, pops locks, lid.</scene_description>
<character>ED</character>
<parenthetical>(insincere laughter)</parenthetical>
<dialogue>Well, shit, I hope we're not wasting ours then.</dialogue>
<parenthetical>(changes tactics)</parenthetical>
<dialogue>Kidding aside, I think if you saw our books you'd run for the hills.</dialogue>
<scene_description>Chris silently mouths the expression, confused.</scene_description>
<character>ED</character>
<dialogue>We have an incredibly complicated accounting system.</dialogue>
<scene_description>Chris stirs, senses a challenge. A PUZZLE.</scene_description>
<character>ED</character>
<dialogue>Depreciation schedules on hundreds of different items, charge-backs, full-time and contract employees, Department of Defense classified accounts... a numerical shit-storm--</dialogue>
<scene_description>He's in.</scene_description>
<character>CHRIS</character>
<dialogue>We'll need your books for each of the last ten years, a complete list of vendors and clients for that same period, bank statements and two dry erase boards. Extra large. It's all here.</dialogue>
<scene_description>Chris pulls a sheet of paper from a folder, slides the itemized list to Rita.</scene_description>
<character>ED</character>
<dialogue>Whoa now. This was all brought to my attention only last week. A junior cost accountant stuck her nose where it didn't belong and obviously had no idea what she was looking at. Lamar's overreacting, there is no missing money!</dialogue>
<character>RITA</character>
<dialogue>Never hurts to be sure.</dialogue>
<scene_description>She traps Ed with a confrontational look.</scene_description>
<character>CHRIS</character>
<parenthetical>(reads; to Ed)</parenthetical>
<dialogue>This org chart shows you as the CFO for the last fifteen years.</dialogue>
<character>ED</character>
<dialogue>That's right.</dialogue>
<character>CHRIS</character>
<dialogue>The books for the last fifteen.</dialogue>
<scene_description>The air is sucked from the room. Ed turns hostile.</scene_description>
<character>ED</character>
<dialogue>Well, you're awful Goddamn blunt.</dialogue>
<scene_description>Chris glances at him, unfazed by Ed's anger.</scene_description>
<character>ED</character>
<dialogue>I'm Lamar Black's oldest friend. I've been by his side since he was turnin' out RC robots Radio Shack called crap. I wouldn't take a dime without his say so.</dialogue>
<character>CHRIS</character>
<dialogue>You're angry.</dialogue>
<character>ED</character>
<dialogue>This is bullshit.</dialogue>
<scene_description>Rita stares at Chris, holds a hand up to Ed.</scene_description>
<character>RITA</character>
<dialogue>You charge a retainer of one hundred thousand plus two and a half percent of all tracked funds?</dialogue>
<scene_description>Chris maintains eye contact, nods.</scene_description>
<character>ED</character>
<dialogue>"Tracked?" Not recovered?</dialogue>
<character>CHRIS</character>
<dialogue>We're an accountant, not a repo- man.</dialogue>
<character>ED</character>
<parenthetical>(sotto; sarcastic)</parenthetical>
<dialogue>"We're an accountant"?</dialogue>
<character>RITA</character>
<dialogue>Unusual way of making contact with you, Mr. Wolff.</dialogue>
<scene_description>He blinks at her, not reacting to her tone.</scene_description>
<character>RITA</character>
<dialogue>I.T. tells me the address was probably routed through Moscow.</dialogue>
<scene_description>She studies him. Nothing. Considers her words.</scene_description>
<character>RITA</character>
<dialogue>We custom made prosthetics for Mr. Haradinaj's youngest daughter. Maybe you're aware -- she lost both legs to a car bomb in Kosovo. He told my brother you were nothing short of supernatural. His word.</dialogue>
<parenthetical>(meaningful beat)</parenthetical>
<dialogue>Tell me, what type of accounting does one do for a former KLA warlord wanted by The Hague?</dialogue>
<scene_description>Silence. The question hangs. Chris looks away, then back.</scene_description>
<character>CHRIS</character>
<dialogue>We don't discuss client business.</dialogue>
<scene_description>She stares at him for a beat, satisfied.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY - FINANCIAL CRIMES DIV. - DAY</stage_direction>
<scene_description>A wall clock reads 4:03, the division hums with activity. At her bullpen desk, Marybeth stares at her monitor, scrolls through profiles of the THUGS in the Accountant file. Faces flash, words, figures pop: Terrorist. Hawala. $20 million. Extortion. $45 million. Organized crime. Smurfing. $70 million. Narcotics kingpin. Murder. She pushes back, anxious, looks around the beehive. MARYBETH'S POV -- every person busy, on the phone, computer, engaged. Ray paces in his office, phone pressed to the side of his head, giving someone hell. Pressure. She pulls back to her desk, determined. Clicks her mouse, brings up the ANTWERP photo, locates the Accountant. She MAPS his face, SLIDES THE DIGITAL IMAGE to a desktop folder. Opens her e-mail, types in the "to" box: [email protected].</scene_description>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - PROSTHETICS LAB VIEWING ROOM</stage_direction>
<scene_description>Chris looks through one-way glass as a WHITE-COATED DOCTOR works on one of two prosthetic arms on a seated shirtless (and armless) MAN, 20s. The prosthetic is Terminator-high-tech. Chris turns as LAMAR BLACK, 60s, enters the viewing room. Lamar, in khaki pants, plaid shirt, oozes decency, warmth. Lamar stands next to Chris, watches the lab. The doctor removes one arm and walks to a side bench. The patient looks off-balance without the arm, incomplete.</scene_description>
<character>LAMAR</character>
<dialogue>What do you think that young man is thinking right now?</dialogue>
<scene_description>Chris watches the man sit on his stool, stare into space.</scene_description>
<character>LAMAR</character>
<dialogue>Why do I still feel my arm? How did everything go so wrong so fast?</dialogue>
<parenthetical>(sympathetic beat)</parenthetical>
<dialogue>Where did I go?</dialogue>
<scene_description>Silence as the two study the man.</scene_description>
<character>CHRIS</character>
<parenthetical>(serious)</parenthetical>
<dialogue>Can someone please turn up the heat?</dialogue>
<scene_description>Lamar grins, turns to Chris, impressed. He extends a hand.</scene_description>
<character>LAMAR</character>
<dialogue>Christian Wolff, I presume.</dialogue>
<character>CHRIS</character>
<dialogue>Mr. Black.</dialogue>
<character>LAMAR</character>
<dialogue>Lamar.</dialogue>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - RESEARCH AND DEVELOPMENT - DAY</stage_direction>
<scene_description>Techs manipulate robotic arms, legs, joints. A prosthetic- armed patient picks coins off a table with robotic fingers. Chris and Lamar walk and talk.</scene_description>
<character>LAMAR</character>
<dialogue>Are you aware of Creative's three income streams, Chris?</dialogue>
<character>CHRIS</character>
<dialogue>Consumer electronics, next generation prosthetics, unmanned military applications. The consumer division matured three years ago after twenty-five years as your largest producer. Now the prosthetics and Department of Defense contracts are one and two.</dialogue>
<character>LAMAR</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Do you know why the prosthetics division is increasing?</dialogue>
<character>CHRIS</character>
<dialogue>Medical advancements.</dialogue>
<scene_description>Lamar looks at him, waiting.</scene_description>
<character>CHRIS</character>
<dialogue>In Vietnam, the survival rate of a soldier with a catastrophic injury was one in twenty. Now, if an I.E.D. hits a convoy in Afghanistan, twelve hours later they're in a hospital in Germany. Then there's an increase in obesity causing a spike in diabetes, which often leads to amputations. Land- mine proliferation, accidents--</dialogue>
<scene_description>Lamar stops walking, turns to Chris.</scene_description>
<character>LAMAR</character>
<dialogue>You're unusually well informed.</dialogue>
<scene_description>Chris blinks at Lamar, doesn't respond to the compliment.</scene_description>
<character>LAMAR</character>
<dialogue>I never married. Never had kids. This company is my child. I was blessed to have a sister in a position to provide start-up capital, but money has never been my motivation. I'm not a religious man, Chris, but I can see the hand of God in what we do. We have a social purpose. Whatever you need to do your job, you let me know.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMELAND SECURITY - TECH CUBICLE - NIGHT</stage_direction>
<scene_description>The sound of someone typing fast. SUPER: Department of Homeland Security SORKIS, a tech, Lebanese, 20s, gamer-style, headset on, sits and stares at the center of 3 desk monitors.</scene_description>
<character>SORKIS</character>
<parenthetical>(into phone; defensive)</parenthetical>
<dialogue>It's an algorithm I designed and don't tell me how to do my job.</dialogue>
<scene_description>His fingers pound the wireless keyboard on his lap. On a side monitor: Marybeth's unsmiling face superimposed on a VIRTUAL POLE DANCING STRIPPER. Center monitor: the ANTWERP PHOTO, BEING MAPPED WITH GEOMETRIC PLANES. On the last monitor: CALL OF DUTY/BLACK OPS.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY - FINANCIAL CRIMES DIV. - SAME</stage_direction>
<scene_description>Empty except for Marybeth at her desk, phone to an ear.</scene_description>
<character>MARYBETH</character>
<parenthetical>(into phone; irritated)</parenthetical>
<dialogue>Why are you running any algorithms, Sorkis? As you can plainly see, I already mapped and smoothed it. All you have to do--</dialogue>
<character>SORKIS (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>I plainly see you fat-fingered it with an archaic 3-D model. And you don't run this through Treasury's data base because?</dialogue>
<character>MARYBETH</character>
<dialogue>Because Homeland has everybody's files; NSA, the Bureau, Spooks... we don't have dick around here.</dialogue>
<character>SORKIS (V.O.)</character>
<dialogue>Did you just say "di--</dialogue>
<scene_description>She disconnects, stress getting to her.</scene_description>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - CHRIS' OFFICE - MORNING</stage_direction>
<scene_description>Chris, in a suit, carrying a briefcase, steps inside a converted conference room. Two large dry-erase boards fill a wall. Lined on a long table, tall neat stacks of files. A plate of carefully arranged doughnuts, napkins, coffee. SNORING. Hidden by the files, a woman, 20s, business suit, sits slumped forward, head down on the table, sleeping. Chris watches her for a beat, unsure how to proceed.</scene_description>
<character>CHRIS</character>
<parenthetical>(clears throat)</parenthetical>
<dialogue>Hello?</dialogue>
<scene_description>She shifts, her snoring slows, stops, starts.</scene_description>
<character>CHRIS</character>
<dialogue>Excuse me? Hello. Ma'am?</dialogue>
<scene_description>Nothing. He looks at the doorway, no assistance. He studies her for a beat. Pretty. He gently rocks her shoulder. Mostly-asleep, she swipes his hand away. Chris circles, uncomfortable, deciding. He leans over, his mouth to an ear, prepares a gentle whisper...</scene_description>
<character>CHRIS</character>
<parenthetical>(shouts)</parenthetical>
<character>GOOD MORNING!</character>
<dialogue>DANA CUMMINGS, bolts up. Bookish-attractive, wild-eyed and dripping drool. She gets to her feet, unsteady. Chris steps back, out of his element.</dialogue>
<character>DANA</character>
<parenthetical>(self-conscious; groggy)</parenthetical>
<dialogue>Hello. Good morning. I'm Dana. Dana Cummings. You're the consultant? Mr. Wolff?</dialogue>
<character>CHRIS</character>
<dialogue>Chris.</dialogue>
<scene_description>She wipes her mouth, pushes tangled hair out of her face.</scene_description>
<character>DANA</character>
<parenthetical>(shaking hands)</parenthetical>
<dialogue>Sorry. Chris, then. I'm Dana.</dialogue>
<character>CHRIS</character>
<dialogue>Cummings.</dialogue>
<character>DANA</character>
<dialogue>Uh-huh. That's right.</dialogue>
<scene_description>Chris remembers to smile, glances at the reports.</scene_description>
<character>DANA</character>
<dialogue>I made copies of all the files you wanted. Cross referenced them for you alphabetically and by year. Maintenance put in the boards.</dialogue>
<character>CHRIS</character>
<dialogue>Thank you.</dialogue>
<scene_description>Awkward. He scans the room, searches for a compliment.</scene_description>
<character>CHRIS</character>
<dialogue>Must have taken you all night.</dialogue>
<scene_description>Bleary, she gestures no big deal. Silence as he waits, reluctantly scours her face for a clue what to say, do.</scene_description>
<character>CHRIS</character>
<dialogue>Are... were you...?</dialogue>
<character>DANA</character>
<dialogue>Was I...?</dialogue>
<character>CHRIS</character>
<dialogue>Waiting for...</dialogue>
<scene_description>Searching. Painful.</scene_description>
<character>DANA</character>
<dialogue>For?</dialogue>
<character>CHRIS</character>
<dialogue>You to...?</dialogue>
<character>CHRIS</character>
<parenthetical>(blurts)</parenthetical>
<dialogue>What do you want, Dana Cummings?</dialogue>
<character>DANA</character>
<parenthetical>(flinches)</parenthetical>
<dialogue>Oh, Mr. Black thought I could be of some help to you. I first spotted the missing... what I think are irregularities, I mean...</dialogue>
<parenthetical>(collects her thoughts)</parenthetical>
<dialogue>Some things just didn't make sense--</dialogue>
<character>CHRIS</character>
<dialogue>We'll find it.</dialogue>
<character>DANA</character>
<dialogue>Right. Sure. You want to come to... make your own assessment.</dialogue>
<scene_description>Awkward. His eyes bounce around the room and back to her.</scene_description>
<character>DANA</character>
<dialogue>If you'd like, if it would be helpful I mean, we could have lunch, and I could answer any questions you might have.</dialogue>
<character>CHRIS</character>
<dialogue>We brought lunch. Thanks.</dialogue>
<character>DANA</character>
<parenthetical>(grins)</parenthetical>
<dialogue>You have a mouse in your pocket?</dialogue>
<character>CHRIS</character>
<parenthetical>(puzzled beat)</parenthetical>
<dialogue>No. We do not.</dialogue>
<character>DANA</character>
<dialogue>Uh, you said "we." I was just...</dialogue>
<parenthetical>(regroups)</parenthetical>
<dialogue>I bring my own lunch, too. Okay. Well, if you need anything, I'm down in Accounting.</dialogue>
<scene_description>Embarrassed, she backs out of the room.</scene_description>
<character>DANA</character>
<dialogue>Some doughnuts there for you.</dialogue>
<scene_description>He nods, bounces eye contact, produces a polite smile.</scene_description>
<character>DANA</character>
<dialogue>Absolutely no problem.</dialogue>
<scene_description>She turns, glad to be leaving, exits. He walks to the door, closes it, relieved. He turns to the blank boards, energy building, eager to get started.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY BUILDING - PRESS ROOM</stage_direction>
<scene_description>Press conference in full swing. Cameras, REPORTERS. The SECRETARY OF THE TREASURY, 60s, mans a podium emblazoned with the Treasury insignia. Flanking him, Ray, and a half- dozen agents. Marybeth stands in a crowd at the rear of the room.</scene_description>
<character>TREASURY SECRETARY</character>
<parenthetical>(pointing to a reporter)</parenthetical>
<dialogue>Yes, Helen?</dialogue>
<character>REPORTER 1</character>
<parenthetical>(stands)</parenthetical>
<dialogue>Sir, how did you first discover Al- Qaeda was funneling money into these charitable fronts?</dialogue>
<character>TREASURY SECRETARY (O.S.)</character>
<dialogue>Why don't I turn this over to the head of the task force and the man most responsible for these arrests. Financial Crimes Deputy Director, Raymond King.</dialogue>
<scene_description>Cameras click, reporters SHOUT questions. Ray grips the podium top, at ease, in command. The room quiets.</scene_description>
<character>RAY</character>
<dialogue>Folks, there's no mystery here.</dialogue>
<scene_description>Marybeth's MOBILE VIBRATES inside her purse.</scene_description>
<character>RAY (O.S.)</character>
<dialogue>Nothing fancy. Just a team effort comprised of long hours of good old- fashioned investigative work. Questions.</dialogue>
<scene_description>The room ERUPTS with shouting reporters.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY BUILDING - HALL - DAY</stage_direction>
<scene_description>Marybeth bangs out of the Press Room, answers her mobile.</scene_description>
<character>MARYBETH</character>
<parenthetical>(into phone; brusque)</parenthetical>
<dialogue>Give me something, Sorkis.</dialogue>
<character>SORKIS (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Ordinarily I'd jump all over--</dialogue>
<parenthetical>(background noise spikes)</parenthetical>
<dialogue>Oh! God, that gives me the heebies every time!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMELAND SECURITY - TECH CUBICLE - SAME</stage_direction>
<scene_description>Sorkis hidden by a cluster of standing TECH GEEKS who crowd his cubicle, all staring at his monitors. AUDIO: car tires SCREECH, horns BLARE.</scene_description>
<character>FEDERAL AGENT (V.O.)</character>
<parenthetical>(at a distance; shouts)</parenthetical>
<dialogue>Wait, let me call it in!</dialogue>
<scene_description>The group hushed, shocked faces. IMPRESSED faces. INTERCUT MARYBETH WITH HOMELAND</scene_description>
<character>MARYBETH</character>
<parenthetical>(slowing)</parenthetical>
<dialogue>Who is that? Where are you?</dialogue>
<character>SORKIS</character>
<dialogue>I matched the face in your Antwerp photo to a surveillance video in the NYPD database.</dialogue>
<character>TECH 1</character>
<parenthetical>(awed; low)</parenthetical>
<dialogue>Again. Play it again.</dialogue>
<scene_description>Sorkis, headset on, stares at his monitors. All three screens synced for a B&W SURVEILLANCE VIDEO. DON (aka Partner), a middle-aged plain-clothes cop, enters the frame, runs across the busy street, gun in hand, towards the Raven. He glances back at the camera. END VIDEO.</scene_description>
<character>SORKIS</character>
<parenthetical>(into headset)</parenthetical>
<dialogue>M.B., babe, you gotta see this.</dialogue>
<scene_description>Sorkis double-clicks his mouse.</scene_description>
<character>MARYBETH</character>
<parenthetical>(stops walking; urgent)</parenthetical>
<dialogue>The NYPD? What did you find?</dialogue>
<scene_description>RAVEN FOOTAGE. Taken from across the street, an occasional passing van or truck blocks the footage. A slender man in a white shirt -- back to the camera -- walks toward the Raven's entrance. Flanking the Raven's double doors, two large ENFORCERS. The Enforcers exchange glances, push off the building, move to block the man. Enforcer 1 extends an arm toward the man. The Techs grimace, BRACE. IMPOSSIBLY FAST -- the man grabs Enforcer 1's straightened arm, jerks him close, his free hand darting to the big man's neck... PIVOTS around him... a MINI-VAN passes. Enforcer 1 sinks to his knees, shocked, clawing at the STEAK KNIFE BURIED IN HIS THROAT. Enforcer 2 fumbles desperately under his jacket for a gun. The man closes fast. Too fast. Enforcer 2 bails on the gun, loops a vicious roundhouse. The man ducks the swing, comes up with sharp jab to the Enforcer's throat, stumbles him. Enforcer 2 clutches his shattered larynx. The man grips Enforcer 2's head, forcing him down, snapping his own knee up into the Enforcer's face. CRUNCH. OS: brakes lock, TIRES SCREECH, HORNS BLARE. Reaching under the slumping Enforcer's jacket, the man EXTRACTS A PISTOL. The body hits the pavement. The man checks the gun's slide for a chambered round. The man moves to the door. A brief pause as he pushes the bridge of his glasses up, enters the Raven.</scene_description>
<character>FEDERAL AGENT (V.O.)</character>
<parenthetical>(at a distance; shouts)</parenthetical>
<dialogue>Wait, let me call it in!</dialogue>
<scene_description>From inside the Raven, the muted sound of TWO QUICK GUN SHOTS. Silence. And then a FULL-BLOWN GUNFIGHT.</scene_description>
<character>MARYBETH</character>
<dialogue>SORKIS! Talk to me. What the hell do you have?</dialogue>
<scene_description>Sorkis rewinds the footage. A mini-van reverses.</scene_description>
<character>SORKIS</character>
<dialogue>Nine dead Corleones and a fifty three-point-three percent probability.</dialogue>
<scene_description>On the center monitor the KILLER'S FACE frozen mid-pivot. It could be Chris.</scene_description>
<character>SORKIS (O.S.)</character>
<dialogue>What in God's name are you into?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LONDON - NIGHT</stage_direction>
<scene_description>Skyline of Canary Wharf. SUPER: London, England</scene_description>
</scene>
<scene>
<stage_direction>INT. PARKING GARAGE - NIGHT</stage_direction>
<scene_description>Mostly empty. Clip of expensive shoes on concrete. A HEDGE FUND boss - 30s, fit, handsome - walks, presses his key fob, a car alarm beeps. He frowns at a sight os.</scene_description>
<character>HEDGE FUNDER</character>
<parenthetical>(sotto; Brit accent)</parenthetical>
<dialogue>Son of a bitch.</dialogue>
<scene_description>He reaches his reserved spot; a plain sedan parked inches from the driver's side of his Aston Martin. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ASTON MARTIN</stage_direction>
<scene_description>Hedge Funder drags a leg over the center console, folds himself into the driver's seat just as BRAXTON "BRAX" - 30s, handsome, suit jacket, slacks, no tie - slides into the passenger seat, closes the door. Brax points a suppressor equipped .45 at Hedge Funder.</scene_description>
<character>HEDGE FUNDER</character>
<dialogue>Fuckin' great.</dialogue>
<parenthetical>(weary; pulls wallet)</parenthetical>
<dialogue>I'm late, sport, let's move this along shall we? I've roughly fifteen hundred on me.</dialogue>
<parenthetical>(displays a watch)</parenthetical>
<dialogue>Audemars Piguet, forty thousand. The car's worthless to you, you can't unload an Aston Martin. Not a One-77.</dialogue>
<character>BRAX</character>
<parenthetical>(American accent)</parenthetical>
<dialogue>Daniel Simmons, founder, CEO of Simmons Capital, third largest hedge fund in the U.K. Hello.</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>American. Shocking. I have kidnap insurance, you obviously know that.</dialogue>
<character>BRAX</character>
<dialogue>Why would I know--</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>You fucking people amaze--</dialogue>
<scene_description>Brax' free hand snakes -- SLAPS the man across the face. Hedge Funder startled by the quickness, power of the strike.</scene_description>
<character>BRAX</character>
<dialogue>When you interrupt me I think you're not interested in what I have to say. That or you think what you have to say is more important. Which is it?</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>That gun make you feel like a big man does it?</dialogue>
<scene_description>Brax rests the gun on the dash, whips his hand, SLAPS Hedge Funder. The financier gasps, head swivels. Hedge Funder's eyes water, then focus, blood trickles from a split lip. He glances at the free gun on the dash. Brax watches, pushes the gun an inch closer to the man.</scene_description>
<character>BRAX</character>
<dialogue>I'm part of a small but potent department of a private security force. We have a client; a European manufacturing concern. You're shorting their stock while simultaneously spreading false rumors regarding the health of the company. The resulting decline of their stock price has made you millions at my client's expense. They've been forced to lay off hundreds of employees; third generation metal-workers. People with families. Pensions are being rendered worthless because of you. You'll stop now.</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>Which company?</dialogue>
<scene_description>Brax shakes his head, doesn't answer.</scene_description>
<character>HEDGE FUNDER</character>
<dialogue>Look, genius, how do I know who to--</dialogue>
<scene_description>Brax extraordinarily fast -- SLAP! -- Hedge Funder's head jerks from the shot to the mouth. Hard glance at the gun.</scene_description>
<character>HEDGE FUNDER</character>
<dialogue>I only meant-- We hold short positions on dozens of manufacturers!</dialogue>
<scene_description>Hedge Funder watches Brax edge the .45 closer.</scene_description>
<character>BRAX</character>
<dialogue>I suppose if you're spreading false information on more than one, you'll have to stop shorting all of them.</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>That's ridiculous, I can't--</dialogue>
<scene_description>SLAP! SLAP! Brax rocks him, quick, vicious. Hedge Funder's face burns, tears well. He looks around for help.</scene_description>
<character>BRAX</character>
<dialogue>Security's not coming. They're no longer ambulatory.</dialogue>
<scene_description>He stares at Brax, tries not to look at the gun. Fails.</scene_description>
<character>BRAX</character>
<dialogue>I'm not judging you. Doesn't matter to me how a man makes a living. In fact, here's a stock tip, take the sting out: CLN; Coleman Company. Hundred years old, camping equipment, lanterns--</dialogue>
<character>HEDGE FUNDER</character>
<dialogue>I know who--</dialogue>
<scene_description>Hedge Funder catches himself, clams up. Brax lets it go.</scene_description>
<character>BRAX</character>
<dialogue>They make a wonderful cooler. Durable, stylish. Little ice, a few sodas, sandwiches, keeps cold for days. As a kid I would always know when it was time to move when my mom -- who was tighter than bark on a tree -- got out the Coleman and started emptying the fridge.</dialogue>
<scene_description>Brax relaxes, remembering. Hedge Funder uses the moment to steal a look at the gun.</scene_description>
<character>BRAX</character>
<dialogue>We'd take that cooler into the Negev Desert for days.</dialogue>
<character>BRAX</character>
<dialogue>The men we were with -- Shin Bet, the Mossad, a few Delta, occasionally Jordanian special forces -- they brought sniper rifles. But then they weren't ten and twelve years old either.</dialogue>
<scene_description>Brax slides the gun directly in front of Hedge Funder.</scene_description>
<character>BRAX</character>
<dialogue>Maybe you're faster. Maybe you can find the safety before I take it away from you. Hey, maybe the safety's already off and you can just point and squeeze. Or maybe in all the ruckus I pull the shiv tucked into my belt.</dialogue>
<scene_description>Hedge Funder's eyes dart to Brax' waist line.</scene_description>
<character>BRAX</character>
<dialogue>Plastic composite. Undetectable at airport security. Surgical sharp but strong enough to punch a hole through the roof of this fancy toy of yours. But maybe I'm bluffing.</dialogue>
<scene_description>Decision. Hedge Funder sinks back in his seat, cowed.</scene_description>
<character>BRAX</character>
<dialogue>Chin up. You made two-hundred ninety-six million last year. Ably navigated the hazards of arbitrage, futures and commodities markets. A success by any standard.</dialogue>
<parenthetical>(relaxes; leans back)</parenthetical>
<dialogue>About a week from now your testicles will descend. You'll rationalize your inaction this evening; tell yourself I caught you off guard, convince yourself you made the only play possible under the circumstance. That things would be different if we met on the street. But mainly you'll find it hard to live with the fact that you've abandoned tens of millions based on a stylish threat and the palm of my hand. Then you'll call your chief trader and tell him to resume your financial mischief.</dialogue>
<scene_description>Hedge Funder lunges for the gun -- freezes -- a short BLADE at his throat.</scene_description>
<character>BRAX</character>
<parenthetical>(close; intense)</parenthetical>
<dialogue>At which point I'll materialize out of thin air with a Coleman full of ice and a pair of rubber gloves. I'll open you up, dump your bowels on the floor and make a quick hundred grand harvesting what's left.</dialogue>
<scene_description>Hedge Funder trembles, tears run down his cheeks. Michael Buble's voice fills the car -- "I've got the world on a string, I'm sitting on a rainbow" -- Brax' mobile. Brax retrieves his phone with his free hand, stares at Hedge Funder, answers.</scene_description>
<character>BRAX</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Brax here... Forget it, you know I've a vacation scheduled.</dialogue>
<parenthetical>(winks at Hedge Funder)</parenthetical>
<dialogue>If I'm in and out in twenty-four hours... E-mail me the usual, and make it O'Hare, Midway's a sewer.</dialogue>
<scene_description>Brax disconnects, pockets the phone.</scene_description>
<character>BRAX</character>
<dialogue>I'm an avid reader of the Journal. I expect your cooperation to be reflected there. We good?</dialogue>
<scene_description>Hedge Funder swallows, blade against his Adam's apple. Nods. Brax sheathes his knife, collects his gun, exits the car. We hear the sedan start, see through the driver's window as it pulls away. Slow. Hedge Funder hangs his head, sobs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CREATIVE ROBOTICS - LAKE SIDE - DAY</stage_direction>
<scene_description>Ducks paddle across a man-made pond, circled with trees. Dana sits on one of two park benches facing the water. An insulated carry-all next to her, she eats a yogurt. Chris, sack lunch and thermos in hand, approaches the benches. She turns just as he sees her, slows. She inches her carry-all closer to her, making room. Frustration slides across his face, solitary routine compromised. He beelines for the empty bench, unpacks lunch. An awkward beat for Dana, then --</scene_description>
<character>DANA</character>
<dialogue>Any progress?</dialogue>
<scene_description>He half nods, half shrugs, then turns from her, blows twice on his fingertips. He unwraps a sandwich, takes a bite, watches the ducks. He glances at Dana, back to the ducks. She cuts her eyes to him then the ducks.</scene_description>
<character>DANA</character>
<dialogue>So, how did you get into the whole financial consulting thing?</dialogue>
<scene_description>He swallows, hesitates, then grinds out a response.</scene_description>
<character>CHRIS</character>
<dialogue>According to Department of Labor statistics, accounting services are among the top growth professions.</dialogue>
<scene_description>She nods, unsure how to reply to this odd sterile answer.</scene_description>
<character>CHRIS</character>
<dialogue>The actuarial sciences should also continue to see high demand.</dialogue>
<character>DANA</character>
<dialogue>Uh... okay.</dialogue>
<scene_description>She spoons some yogurt, hesitates, waits for the customary follow-up question. It doesn't come.</scene_description>
<character>DANA</character>
<dialogue>I like, I like balance. But I really enjoy finding things. Things that are hidden. On purpose. Not that I get to do a lot of that--</dialogue>
<scene_description>He SIGHS, wanting her to get on with it. Dana stopped by the sigh, confused. Surely not.</scene_description>
<character>DANA</character>
<dialogue>My father, he was an accountant. Had the whole schtick; little amortization book, green eye-shade--</dialogue>
<parenthetical>(laughs; back on track)</parenthetical>
<dialogue>This dorky pocket protector he--</dialogue>
<scene_description>Both suddenly aware of Chris' pocket protector. He looks at it, then to her, unfazed. She stammers--</scene_description>
<character>DANA</character>
<dialogue>Not, not a nice one like yours. That one you've got, that's really... something.</dialogue>
<parenthetical>(winces; trailing off)</parenthetical>
<character>DANA</character>
<dialogue>He, uh, he talked me into-- encouraged, he encouraged me.</dialogue>
<scene_description>Silence for a long beat. The ducks QUACK for scraps. She struggles to fill the dead space.</scene_description>
<character>DANA</character>
<dialogue>I wanted to study art. At the Art Institute of Chicago. But...</dialogue>
<scene_description>He stops eating his sandwich, looks at her. He holds her gaze, for the first time interested.</scene_description>
<character>DANA</character>
<dialogue>"Art won't pay the mortgage, young lady." Dad's tastes ran more to Dogs Playing Poker.</dialogue>
<character>CHRIS</character>
<dialogue>We like Dogs Playing Poker.</dialogue>
<character>DANA</character>
<dialogue>No, I, I like Dogs Playing Poker, too, it's just, you know, it's not, real art.</dialogue>
<scene_description>His blank stare throws her, she abandons her point.</scene_description>
<character>DANA</character>
<dialogue>I took accounting at the University of Chicago. "Where fun goes to die."</dialogue>
<scene_description>They sit in silence for a beat, Chris considers her words, watches the ground.</scene_description>
<character>CHRIS</character>
<dialogue>Why?</dialogue>
<character>DANA</character>
<dialogue>Why what?</dialogue>
<character>CHRIS</character>
<dialogue>Does fun go to the University of Chicago to die?</dialogue>
<scene_description>She pauses, not knowing if he's screwing with her or not.</scene_description>
<character>DANA</character>
<dialogue>It's just an express--</dialogue>
<character>CHRIS</character>
<dialogue>No. We're kidding.</dialogue>
<scene_description>She reddens, laughs, brief eye contact between them, smiles.</scene_description>
<character>CHRIS</character>
<dialogue>Why not do what makes you happy?</dialogue>
<character>DANA</character>
<parenthetical>(beat; rationalizes)</parenthetical>
<dialogue>We do a lot of good here.</dialogue>
<scene_description>Chris nods his understanding.</scene_description>
<character>DANA</character>
<dialogue>My first week, I went down to the prosthetics lab. Mr. Black was working with a man, a boy really, maybe nineteen, twenty tops.</dialogue>
<parenthetical>(somber beat)</parenthetical>
<dialogue>A Marine. Skin and bones. Both arms amputated at the shoulder. Depressed, wouldn't eat.</dialogue>
<scene_description>He watches her remember, sees the emotion rise.</scene_description>
<character>DANA</character>
<dialogue>He put his arm around that boy and said, "Son, we can build you the fanciest arms you ever saw, but if you don't start eating every thing your mother puts on your plate I'll put my foot straight up your a--</dialogue>
<character>CHRIS</character>
<dialogue>Surface area.</dialogue>
<scene_description>She clears her throat, embarrassed, her eyes wet.</scene_description>
<character>DANA</character>
<dialogue>Pardon?</dialogue>
<character>CHRIS</character>
<dialogue>The more surface area for the prosthetics to attach to, the better they work.</dialogue>
<character>DANA</character>
<dialogue>Surface area? What are you--</dialogue>
<character>CHRIS</character>
<parenthetical>(enthused)</parenthetical>
<dialogue>The Marine. Mr. Black wanted him to gain weight in order for his new arms to fit effectively.</dialogue>
<scene_description>She stares at him for a dumbfounded beat before zipping her carry-all. She stands, forces a tight smile.</scene_description>
<character>DANA</character>
<dialogue>Call me if you need anything.</dialogue>
<scene_description>He watches her leave. Returns to the ducks. Pleased.</scene_description>
<character>CHRIS</character>
<dialogue>Surface area. Smart.</dialogue>
</scene>
<scene>
<stage_direction>INT. ONE POLICE PLAZA - REAL TIME CRIME CENTER - DAY</stage_direction>
<scene_description>Audio: A GUNFIGHT. Men curse in anger, shout in fear. SUPER: One Police Plaza, New York City Marybeth, headphones on, listens, absorbed by the audio violence. She sits to one side of a desk manned by... DON, 50s -- same guy on video -- stocky, shirt and tie, stares at the spiking audio waves on his desk monitor. He tap-tap-taps a pencil on his desk, annoyed, restless. The floor busy. Noisy. A mostly male, shirt-and-tie crowd. Over her headphones: the gunfire stops, silence. Then--</scene_description>
<character>FRIGHTENED MAN (V.O.)</character>
<parenthetical>(over headphones; static)</parenthetical>
<dialogue>Stop! You're not hearing me. I wasn't even there! I didn't touch that old man--</dialogue>
<scene_description>The audio ends.</scene_description>
<character>DON</character>
<dialogue>That's it. Anything else?</dialogue>
<scene_description>She slides the phones off her ears and around her neck.</scene_description>
<character>MARYBETH</character>
<dialogue>Help me understand. The subject shivs the fir--</dialogue>
<character>DON</character>
<dialogue>Steak knife. From Amighetti's. Catty-corner cross the street.</dialogue>
<character>MARYBETH</character>
<dialogue>In front of which you and your partner were parked, listening to a bugged Raven Social Club.</dialogue>
<scene_description>Don nods, stares at his desk, tap-tap-taps his pencil.</scene_description>
<character>MARYBETH</character>
<dialogue>Unofficial headquarters of the Gambino crime family.</dialogue>
<scene_description>Another nod.</scene_description>
<character>MARYBETH</character>
<dialogue>He kills a second man, takes his weapon, enters -- for all intents and purposes, an armed fortress -- and kills another seven men. Using their weapons. Alone.</dialogue>
<character>DON</character>
<dialogue>That's what I'm telling you.</dialogue>
<character>MARYBETH</character>
<parenthetical>(incredulous beat)</parenthetical>
<dialogue>Who does that?</dialogue>
<character>DON</character>
<dialogue>Not my problem.</dialogue>
<scene_description>She can't accept this, opens her mouth to say so--</scene_description>
<character>DON</character>
<dialogue>I worked the Organized Crime Task Force. Whoever this guy was, he wasn't Organized Crime. It was just him, and he ran the table on all our organized criminals.</dialogue>
<character>MARYBETH</character>
<dialogue>And you weren't a little curio--</dialogue>
<character>DON</character>
<dialogue>Place was a toilet. Somebody wants to work the flusher, fine by me.</dialogue>
<character>MARYBETH</character>
<parenthetical>(tiring of Don)</parenthetical>
<dialogue>Now, you're an officer of the law. Don. And, if I recall the video footage correctly... armed.</dialogue>
<scene_description>He smiles to himself, shakes his head... here it comes.</scene_description>
<character>MARYBETH</character>
<dialogue>You saw two men die. Watched their assailant arm himself, walk into a building you were surveilling, turn it into the corner butcher shop--</dialogue>
<parenthetical>(blows across her palm)</parenthetical>
<dialogue>Pull a Keyser Soze, and all you can think to say is "fine by me?"</dialogue>
<scene_description>Don wheels his chair close to her, looks around the room, leans in, conspiratorially. She leans in, closer.</scene_description>
<character>DON</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Fuck. You.</dialogue>
<scene_description>Inches apart, their eyes lock, neither blink.</scene_description>
<character>DON</character>
<parenthetical>(low; intense)</parenthetical>
<dialogue>This guy dismantled two mob enforcers -- known murderers -- in under five seconds. No huffing and puffing. No rolling around on the sidewalk. He bled them out and strolled into a den of stone-cold killers like he was the Fed-Ex guy.</dialogue>
<scene_description>He reaches into a bottom drawer, pulls out a file folder.</scene_description>
<character>DON</character>
<dialogue>I have a wife, agent. Three kids. We drive to Gulf Shores every July. Not a great life, but it's mine.</dialogue>
<scene_description>He pulls a short stack of photos from the file, holds them up to her, one by one: GRAPHIC KILL SHOTS of Raven victims.</scene_description>
<character>DON</character>
<dialogue>Steak knife in the throat. Nasal bones in the brain. Head-shot. Head-shot. Head-shot.</dialogue>
<scene_description>He stops, stares... the photo in his hands extra gruesome.</scene_description>
<character>DON</character>
<dialogue>Somewhere along the line, got his hands on a cut-down twelve gauge.</dialogue>
<scene_description>Shuffles the deck, another photo, another dead mobster.</scene_description>
<character>DON</character>
<dialogue>Anthony "Little Tony" Benedetto. Acting capo of the family. Both orbital ridges splintered. Forensics lists cause of death as massive blunt force trauma.</dialogue>
<scene_description>She looks from the photo to Don, puzzled.</scene_description>
<character>DON</character>
<dialogue>Kicked him. Once.</dialogue>
<scene_description>He returns the photos to his desk drawer.</scene_description>
<character>DON</character>
<dialogue>So you tell me, Treasury Barbie: who does that?</dialogue>
<scene_description>He stands, pulls a pack of cigarettes from a shirt pocket.</scene_description>
<character>DON</character>
<dialogue>Both you and Bloomberg can kiss my ass. I'll be outside.</dialogue>
<character>MARYBETH</character>
<dialogue>Why didn't you pursue this guy?</dialogue>
<character>DON</character>
<parenthetical>(dumbfounded)</parenthetical>
<dialogue>What exactly do you do over there? Talk to King, you guys shut it down.</dialogue>
<scene_description>Confused, she watches him leave.</scene_description>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - CHRIS' OFFICE - NIGHT</stage_direction>
<scene_description>Open briefcase contains files. Laptop. Pens. Tape. Two rows of dry-erase markers; a dozen RED, a dozen BLACK. All the LEDGERS open, spread out over the tables. Chris stands, bending over a ledger, running his hand quickly down the page, hunting. He flips the page, scans it, faster now... stops. He RIPS THE PAGE OUT. Chris stands, stares straight ahead, two markers -- red and black -- in his shirt pocket. Adrenaline flows, he rolls his sleeves up, undoes a shirt button, tucks his tie in. In his mind, the faint notes of MUSIC from a hundred different sources, disjointed, growing louder. He pulls the markers, one in each hand. Practiced thumbs pop the caps. In front of him, two pristine dry-erase boards. The music coalesces, a specific BEAT emerges, swells. SERIES OF SHOTS: With two large BOLD SWIPES of the black marker he forms an accountant's classic "T" account. Numbers and names go up. Ambidextrous, credits in black marker, debits in red. A ledger page in one hand, marker clenched between teeth, he furiously transcribes figures onto the board. Ripped ledger pages drift to the floor, accumulate. Outside: workers file out, hit the parking lot, head home. The board fills with thousands of numbers, names. His actions energetic, JOYOUS. Numbers stream sideways, up, down, angled. CHAOS. Chris talks to himself, voice modulating, singsong, fast, slow. Happy.</scene_description>
<character>CHRIS</character>
<dialogue>Earnings before interest, tax, depreciation. Earnings before interest. Tax. Depreciation. Tax. Depreciation. Tax, tax, tax.</dialogue>
<scene_description>Ragged ledger pages taped to the walls. Outside: nightfall. A single office window illuminated. His left hand connects a board-length red line to a set of figures, the right hand does the same with a black line. He LAUGHS, whips a spent marker across the room, advances on the board, eyes it, twisting, bending, searching for fresh perspective, the way in. LOVING it. The music builds.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARYBETH'S APARTMENT - KITCHEN - NIGHT</stage_direction>
<scene_description>Kitchen table. Unopened bills. Half-eaten T.V. dinner.</scene_description>
<character>FRIGHTENED MAN (V.O.)</character>
<parenthetical>(over laptop; static)</parenthetical>
<dialogue>Stop! You're not hearing me. I wasn't even there! I didn't touch that old man--</dialogue>
<scene_description>Marybeth t-shirt, jeans, sits at the small table, stares at the screen of a laptop: DIGITAL AUDIO SIGNATURES. She finger-swipes the pad, REWINDS. Digital waves spike to the sound of gunfire, screaming. She deletes each signature wave, listens to static. Nothing. Tired, she leans back in her chair, eyes closed. She doesn't see the WHISP of an audio spike on the monitor. Then-- A VOICE. Faint, ghostly. Her eyes snap open. She bangs her chair forward, hits REWIND, presses the UP volume key, holds it. Her ear to a tiny speaker... a voice, barely audible. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARYBETH'S APARTMENT - LIVING ROOM</stage_direction>
<scene_description>She cables her laptop to tall speakers. CRANKS IT. A LOUD HISS. She paces, hands in her hair. ANYTHING! Freezes as a WHISPERED CHANT FILLS THE ROOM--</scene_description>
<character>CHRIS (V.O.)</character>
<dialogue>Solomon Grundy born on a Monday.</dialogue>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - CHRIS' OFFICE - MORNING</stage_direction>
<scene_description>Dana stands in the doorway, staring. Stunned. The dry-erase boards (and a portion of wall) packed with red and black. Thousands upon thousands of numbers, names. The numbers collide, flow across the boards, some writ large, some small. Strangely BEAUTIFUL. A veritable FINANCIAL JACKSON POLLOCK. Chris stands where both boards meet, lost in thought, repeatedly CIRCLING the sole empty space available.</scene_description>
<character>DANA</character>
<parenthetical>(soft)</parenthetical>
<dialogue>Chris?</dialogue>
<scene_description>He turns to her, his unshaven face brightens.</scene_description>
<character>CHRIS</character>
<dialogue>Come take a look!</dialogue>
<scene_description>He's across the room in a snap, grabs her wrist, and half walks, half drags a surprised Dana through hundreds of strewn ledger pages to the boards. She looks at his hands, his shirt, stained from marker. The destroyed annual reports.</scene_description>
<character>CHRIS</character>
<dialogue>It'll jump right out at you.</dialogue>
<scene_description>She's confronted with indecipherable boards.</scene_description>
<character>DANA</character>
<parenthetical>(confused nod)</parenthetical>
<dialogue>Uh-huh.</dialogue>
<scene_description>He moves quickly to the bottom far left hand side of the boards and a CIRCLED figure. Raps his knuckles on it.</scene_description>
<character>CHRIS</character>
<dialogue>Creative ten years ago. Earnings before interest, tax, depreciation.</dialogue>
<scene_description>He moves right, another circled figure, raps his knuckles.</scene_description>
<character>CHRIS</character>
<dialogue>Nine years ago. Sales increase, profit declines. Declines?</dialogue>
<scene_description>Dana stares at him, at the board. Amazed. He moves about the board, underlining various numbers.</scene_description>
<character>CHRIS</character>
<dialogue>No large capital investments dragging profits down. No spike in raw materials, labor costs, tax.</dialogue>
<scene_description>Continues to move, raps a third circle, and a fourth.</scene_description>
<character>CHRIS</character>
<dialogue>Eight years ago, seven. Sales up, profits up, but not at a comparable rate. X no longer equals Y.</dialogue>
<scene_description>Her eyes race, trying to keep up but failing. He SLAMS circled figures on the second board.</scene_description>
<character>CHRIS</character>
<dialogue>Six years ago, five, four, three! We're making money, but there's a drain, a slow leak. And--</dialogue>
<scene_description>He hustles the length of both boards, underlining figures.</scene_description>
<character>CHRIS</character>
<dialogue>Here. It. Is.</dialogue>
<scene_description>She studies the name scrawled near the number.</scene_description>
<character>DANA</character>
<dialogue>Cambridge Manufacturing.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've signed those checks.</dialogue>
<character>CHRIS</character>
<dialogue>Purchase order authorized by?</dialogue>
<character>DANA</character>
<dialogue>Ed. Mr. Chilton.</dialogue>
<scene_description>Chris shrugs, only mildly interested in Ed, starts to speak--</scene_description>
<character>DANA</character>
<dialogue>But we pay them every quarter. I've seen the parts. They're electronic assemblies for the consumer division.</dialogue>
<character>CHRIS</character>
<dialogue>You saw somebody's parts, probably decoy scrap from Taiwan, Juarez.</dialogue>
<parenthetical>(taps several figures)</parenthetical>
<dialogue>Notice anything?</dialogue>
<scene_description>Her eyes ping-pong - nothing. He hints, taps the second number in an underlined figure, a "3." She studies. He TAPS again, harder.</scene_description>
<character>DANA</character>
<dialogue>Second number in each is a three.</dialogue>
<character>CHRIS</character>
<dialogue>Human error. Most people, when asked to pick large numbers at random, rely on certain patterns.</dialogue>
<scene_description>She stares at the board, touches his arm.</scene_description>
<character>DANA</character>
<parenthetical>(smiles; looks at him)</parenthetical>
<dialogue>I was right?</dialogue>
<scene_description>Momentarily thrown by her touch, he recovers, steps away, struggles to re-establish eye contact, blinking.</scene_description>
<character>CHRIS</character>
<dialogue>We're guessing you reviewed income statements from two years ago. You saw Cambridge had been paid an amount for parts that exceeded what Creative was producing at the time. Call. No one will answer.</dialogue>
<character>DANA</character>
<parenthetical>(dumbfounded)</parenthetical>
<dialogue>I studied those ledgers for months. It was only one fiscal year.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You went through ten. Overnight.</dialogue>
<scene_description>He moves to the center of the boards and the EMPTY CIRCLE.</scene_description>
<character>CHRIS</character>
<parenthetical>(excited)</parenthetical>
<dialogue>None of this is even the most interesting part of the--</dialogue>
<character>RITA (O.S.)</character>
<parenthetical>(sharp)</parenthetical>
<dialogue>Cummings.</dialogue>
<scene_description>Rita in the room, staring at the boards, taken aback.</scene_description>
<character>RITA</character>
<dialogue>I believe you're needed in whatever area I'm paying you to be needed in.</dialogue>
<scene_description>Dana checks Chris with an embarrassed glance, heads for the door, giving Rita an apologetic smile on the way out. Rita slowly approaches the boards, looks at Chris.</scene_description>
<character>RITA</character>
<dialogue>And?</dialogue>
<scene_description>Chris points to circled figures, quickly adding in his head.</scene_description>
<character>CHRIS</character>
<dialogue>One million, three hundred forty five... two million, three hundred ninety seven... four million...</dialogue>
<scene_description>He ticks off the remaining eight circles as if they were elementary school math, doing impossible figures in seconds.</scene_description>
<character>CHRIS</character>
<dialogue>Twenty million, seven hundred ninety nine thousand.</dialogue>
<parenthetical>(uncharacteristic)</parenthetical>
<dialogue>And some change.</dialogue>
<scene_description>Rita stiffens, nods.</scene_description>
<character>RITA</character>
<dialogue>Your best guess?</dialogue>
<character>CHRIS</character>
<dialogue>Mr. Chilton.</dialogue>
<scene_description>She squares up to him, confrontational.</scene_description>
<character>RITA</character>
<dialogue>And?</dialogue>
<character>CHRIS</character>
<dialogue>You or Mr. Black.</dialogue>
<scene_description>She looks at him for a beat, the boards, turns to go.</scene_description>
<character>RITA</character>
<dialogue>You'll have a report for me?</dialogue>
<scene_description>He looks at her, away, then back, nods.</scene_description>
</scene>
<scene>
<stage_direction>INT. ED CHILTON'S HOME - BEDROOM - NIGHT</stage_direction>
<scene_description>Dark. Ed, pajamas and bed-head, shuffles across the large room. In bed, his wife sleeps.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>Ed yawns, stands in front of his toilet, urinating. The sound of his urine stream stops, starts, stops.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>Ed heads back to bed. A faint NOISE outside the room. He stops, listens.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>A huge river-stone fireplace anchors the home of a wealthy man. Light from a plasma TV left on, volume low. Ed, in a long bathrobe, frowns at the TV. He kills it, heads for the--</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Light spills out from an open Sub-Zero. Ed rummages in the fridge for a snack.</scene_description>
<character>BRAX (O.S.)</character>
<parenthetical>(low)</parenthetical>
<dialogue>You'll have the lemon meringue pie.</dialogue>
<scene_description>Ed whirls around, frightened. Brax and two THUGS. Brax waggles the barrel of a silencer-fitted hand-cannon at the interior of the Sub Zero.</scene_description>
<character>BRAX</character>
<dialogue>And those two bottles of insulin.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN (LATER)</stage_direction>
<scene_description>Grouped on the kitchen table-- a wedge of lemon pie on a plate, two vials of insulin, a syringe. Brax and a nauseous Ed seated at the table, face each other over the pie, medication. Thugs stand in the bg.</scene_description>
<character>BRAX</character>
<parenthetical>(checks watch; low)</parenthetical>
<dialogue>I would think you'd appreciate being treated like an adult.</dialogue>
<scene_description>Bile rises in Ed's throat. Brax motions to THUG 1, silent familiar shorthand. Thug 1 places a waste-basket next to Ed. The CFO retches into it, recovers. Brax signals for water.</scene_description>
<character>BRAX</character>
<dialogue>You administer an accidental insulin overdose, die with dignity, in the comfort of your home, your wife the beneficiary of, I assume, a generous insurance policy.</dialogue>
<scene_description>Thug 1 delivers water and a paper towel. Ed takes a shaky drink, wipes his mouth.</scene_description>
<character>BRAX</character>
<dialogue>I'm a master of the suicide scene but we'll need the appearance of an accident if you want your wife to collect on the policy. If we lay hands on you you'll fight, squeal, she wakes up...</dialogue>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Then my hands are tied. One accidental death is just that. Two? I could stage a murder- suicide but you don't fit the profile and quite honestly, sir, I have neither the will nor the inclination to do so. No, I'll have little choice but to rock and roll a simple home invasion, violate your wife a dozen different ways, kill you both and burn this place to the ground.</dialogue>
<scene_description>At the mention of his wife, Ed's eyes well with tears, hands involuntarily plead with the devil in his kitchen.</scene_description>
<character>THUG 1</character>
<parenthetical>(normal tone; grins)</parenthetical>
<dialogue>Any chance I go first, boss?</dialogue>
<scene_description>Ed stifles a sob, cuts panicked eyes to the kitchen entry. Brax turns in his seat, pins Thug 1 with a look that radiates menace even in the dim light. Thug 1 averts his eyes.</scene_description>
<character>BRAX</character>
<parenthetical>(back to Ed)</parenthetical>
<dialogue>Okay, settle down, nobody's touching your wife. Aside from what it would say about me as a person, physiologically it's a non- starter. No disrespect, I'm sure Mrs. Ed floats your boat but my taste leans to twenty-year old stripper.</dialogue>
<parenthetical>(sincere)</parenthetical>
<dialogue>So, I apologize. Sometimes I think I say shit just to sample what comes out of my mouth.</dialogue>
<scene_description>Ed exhales, a grateful smile, chance of a reprieve. No go. Brax pulls his .45, uses the barrel to push the syringe to within a couple inches of Ed.</scene_description>
<character>BRAX</character>
<dialogue>I will, however, park a forty-five in her brainpan. I honor my commitments. That's who I am. A concept you and your sticky fingers obviously struggle with. Make a decision, sir.</dialogue>
<scene_description>Realization dawns on Ed, resignation.</scene_description>
</scene>
<scene>
<stage_direction>INT. CREATIVE ROBOTICS - CHRIS' OFFICE - DAY</stage_direction>
<scene_description>A MAINTENANCE WORKER, bucket at his feet, dutifully cleans numbers off the wall. The dry-erase boards gone. Chris stands, stares at the board-less wall. On edge, his puzzle gone.</scene_description>
<character>LAMAR (O.S.)</character>
<dialogue>Why do you do this, son?</dialogue>
<scene_description>Chris turns. Lamar stands watching him, his eyes red, puffy.</scene_description>
<character>CHRIS</character>
<dialogue>We're good at it.</dialogue>
<scene_description>Lamar nods, considers the response. Not convinced.</scene_description>
<character>LAMAR</character>
<dialogue>Little doubt about that.</dialogue>
<scene_description>He pulls a check from his shirt pocket.</scene_description>
<character>LAMAR</character>
<dialogue>The balance of your contract.</dialogue>
<scene_description>He sets it on the table, rubs his eyes, anxiety building.</scene_description>
<character>CHRIS</character>
<dialogue>Mr. Chilton is dead. And that makes you sad.</dialogue>
<character>LAMAR</character>
<dialogue>Very sad--</dialogue>
<character>CHRIS</character>
<dialogue>We haven't finished.</dialogue>
<character>LAMAR</character>
<dialogue>Ed was a diabetic for the last thirty years. You think he didn't know how to check his own blood sugar? No, whatever unresolved issues remain, my friend was poisoned enough by them to kill himself. As far as I'm concerned whatever he did is forgiven.</dialogue>
<scene_description>He extends a hand. Chris looks at it, accepts, then grips Lamar's forearm with his free hand, forces eye contact.</scene_description>
<character>CHRIS</character>
<dialogue>Sir. Please. We need to finish.</dialogue>
<scene_description>Lamar is momentarily taken aback, searches Chris' face, then realizes the depth of his need. Movement at the door, the two turn. Dana stands in the doorway, pale.</scene_description>
<character>DANA</character>
<dialogue>I'm sorry, I'll come back--</dialogue>
<character>LAMAR</character>
<dialogue>Come in, dear. We're finished.</dialogue>
<scene_description>He removes himself from Chris' hold, moves to the door.</scene_description>
<character>LAMAR</character>
<parenthetical>(sympathetic smile)</parenthetical>
<dialogue>Mr. Wolff, you're very good. But, I hope our paths don't cross again.</dialogue>
<scene_description>Lamar leaves, pausing to squeeze Dana's shoulder.</scene_description>
<character>DANA</character>
<parenthetical>(to Chris; shaken)</parenthetical>
<dialogue>I heard what Mr. Black said. Do you think it's true? That Mr. Chilton killed himself? It, it can't be.</dialogue>
<character>CHRIS</character>
<parenthetical>(distracted; sincere)</parenthetical>
<dialogue>It's difficult for us to say why people do what they do.</dialogue>
<character>DANA</character>
<dialogue>But, doesn't it bother you?</dialogue>
<character>CHRIS</character>
<dialogue>Doesn't what bother us?</dialogue>
<character>DANA</character>
<dialogue>That we're somehow, I don't know... responsible. If I hadn't--</dialogue>
<character>CHRIS</character>
<dialogue>Why apologize for the truth?</dialogue>
<scene_description>Dana is halted by his apparent indifference, disappointed.</scene_description>
<character>DANA</character>
<dialogue>Good-bye, Chris.</dialogue>
<scene_description>Chris looks at her, searching for the right words. She walks out. He stares at the doorway, glances at the empty wall.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY BUILDING - RAY'S OFFICE - DAY</stage_direction>
<scene_description>Ray at his desk, transfixed by the images on his monitor-- Raven surveillance. The Raven killer turns -- freezes.</scene_description>
<character>MARYBETH (O.S.)</character>
<parenthetical>(excited)</parenthetical>
<dialogue>That's him, that's the accountant.</dialogue>
<scene_description>Marybeth sits in her usual chair, facing Ray.</scene_description>
<character>RAY</character>
<dialogue>Where did you get this?</dialogue>
<character>MARYBETH</character>
<parenthetical>(bracing)</parenthetical>
<dialogue>A friend at Homeland.</dialogue>
<scene_description>He holds the Antwerp photo, compares it to the monitor image.</scene_description>
<character>RAY</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>You spoke with the officer in charge?</dialogue>
<character>MARYBETH</character>
<dialogue>Seems unhappy in his work. Said to ask you why we stopped an investigation into someone who just killed nine men.</dialogue>
<scene_description>Ray stands, walks to a tall file cabinet, slides open a middle drawer, fingers the folders, pulls an age-yellowed tabloid-size 1968 LIFE magazine.</scene_description>
<character>RAY</character>
<dialogue>We were investigating the men he killed, not the killer.</dialogue>
<character>MARYBETH</character>
<dialogue>The mafia?</dialogue>
<scene_description>He flips through the pages as he walks to his desk, folds it open, hands it to her. She reads-- Marybeth's POV: the heading: LA COSA NOSTRA. A B&W photo of two older men flanked by a younger man, names captioned.</scene_description>
<character>MARYBETH</character>
<parenthetical>(reads; impressed)</parenthetical>
<dialogue>Carlo Gambino and Meyer Lansky.</dialogue>
<character>RAY</character>
<dialogue>The third guy.</dialogue>
<scene_description>The third man; a young Francis, handsome, smiling.</scene_description>
<character>MARYBETH</character>
<dialogue>"Unidentified man?"</dialogue>
<character>RAY</character>
<dialogue>Francis Silverberg. He kept the books for the Gambino family for forty years. They were doing five hundred million tax-free dollars a year. In the sixties.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>He was Treasury property.</dialogue>
<character>MARYBETH</character>
<dialogue>How?</dialogue>
<character>RAY</character>
<dialogue>What's your mafia I.Q?</dialogue>
<scene_description>Low. She gestures noncommittally, Ray grins, interprets.</scene_description>
<character>RAY</character>
<dialogue>Godfather, Goodfellas, first two hours of Casino?</dialogue>
<scene_description>She smiles, off the hook, warming to Ray.</scene_description>
<character>RAY</character>
<dialogue>Name Albert Anastasia ring a bell?</dialogue>
<character>MARYBETH</character>
<dialogue>Vaguely.</dialogue>
<character>RAY</character>
<dialogue>Head of Murder Incorporated. Nicknames: the Mad Hatter, the Lord High Executioner. Anastasia also ran the Gambino family before it was the Gambino family. His under- boss was Carlo Gambino. You see where this is going.</dialogue>
<character>MARYBETH</character>
<dialogue>For Albert, poorly.</dialogue>
<character>RAY</character>
<dialogue>Anastasia was kill-crazy, paranoid, murdered mobsters and civilians alike. A liability to the brains running the show -- Lucky Luciano, Meyer Lansky -- but too powerful to risk killing. Francis was Anastasia's accountant, cooked the books on all his rackets; extortion, loan-sharking, gambling, prostitution, right down to expensing the shave and haircut Albert treated himself to every other week at the Park Sheraton Hotel.</dialogue>
<scene_description>Marybeth studies Francis' image; intelligent, decent.</scene_description>
<character>RAY</character>
<dialogue>Anastasia got it in his head that Francis knew too much about his operation, arranged to have him clipped by unrecognizable out-of- town hitters. A cash retainer was paid to the Patriarca brothers out of Boston which Francis dutifully noted in his ledger.</dialogue>
<scene_description>Marybeth listens, absorbed.</scene_description>
<character>RAY</character>
<dialogue>A week later, in the fall of fifty- seven, two masked men walked into the Park Sheraton barbershop and pumped six bullets into Albert Anastasia. The last words the Mad Hatter ever heard were--</dialogue>
<parenthetical>(Boston accent)</parenthetical>
<dialogue>"So long, bean counter." Quote and dropped 'R' supplied by the barber who had just obscured Anastasia's face with hot lather.</dialogue>
<character>MARYBETH</character>
<parenthetical>(amazed)</parenthetical>
<dialogue>They thought he was Francis. He switched the hit.</dialogue>
<character>RAY</character>
<dialogue>Murder remains unsolved. But nobody ever fucked with Francis Silverberg again. Gambino took over with Francis as accountant and became the most powerful mobster in New York. Lansky and Francis laundered money all over the world. Then in the Spring of 2000 Francis walked into New York's FBI headquarters, sat down and started talking. The acting boss of the family, Big Tony Benedetto thought Francis' age made him vulnerable to prosecution. Ordered a hit. Francis sniffed it out. He was taken into protective custody...</dialogue>
<scene_description>She stares at him, absorbed.</scene_description>
<character>RAY</character>
<dialogue>...given immunity. The Bureau convicted Big Tony and two dozen other mobsters on Francis' testimony. Then the Towers came down and everything changed. The Patriot Act allowed us to detain him indefinitely. F.B.I. farmed him out to Treasury to develop a link between mob money-laundering fronts and arms shipments to terrorists.</dialogue>
<character>MARYBETH</character>
<dialogue>Who has him now?</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT</stage_direction>
<scene_description>Poorly lit. Cinder-block walls. A blood-smeared nail gun balanced on a saw horse.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Bureaucracy. Paperwork mistake, I don't know. One day he was just processed out.</dialogue>
<scene_description>Francis, naked from the waist up, slumps in a straight-back wooden chair, hands nailed to the chair's arms. Blood streams from his scalp and pulped face, the gray hair on his heaving chest matted with sweat, blood.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>His fortune gone on his wife's cancer treatments, no family, no friends. No options. Big Tony's kid, Little Tony -- real original -- had him in less than four hours.</dialogue>
<scene_description>Around him, FOUR MOBSTERS stand, laughing. A BLOW TORCH is lit. Francis strains against the nails. Cries. RETURN TO:</scene_description>
<character>MARYBETH</character>
<dialogue>Jesus.</dialogue>
<character>RAY</character>
<dialogue>Anyway, with Little Tony dead in the Raven slaughter, Treasury called off the investigation, shut down all wiretaps. Buried our fuck up with Francis. Tied it off.</dialogue>
<scene_description>The story hangs in the air, Marybeth stares at the LIFE.</scene_description>
<character>MARYBETH</character>
<dialogue>Name "Solomon Grundy" mean anything to you?</dialogue>
</scene>
<scene>
<stage_direction>INT. ZZZ ACCOUNTING - DAY</stage_direction>
<scene_description>Chris, unshaven, eyes red, sits alone, behind his desk. He stares into space, rocking back and forth, thinking. OS a phone RINGS.</scene_description>
<character>RECEPTIONIST (O.S.)</character>
<parenthetical>(sotto; startled)</parenthetical>
<dialogue>Oh! Scared me to death.</dialogue>
<parenthetical>(into phone; answering)</parenthetical>
<dialogue>ZZZ Accounting. May I help you?</dialogue>
<parenthetical>(listens)</parenthetical>
<dialogue>Hold please.</dialogue>
<parenthetical>(to Chris; loud)</parenthetical>
<character>RECEPTIONIST (O.S.)</character>
<dialogue>Mr. Wolff! Guy wants to know if we handle 401K roll-overs.</dialogue>
<scene_description>He continues to rock, staring straight ahead.</scene_description>
<character>RECEPTIONIST (O.S.)</character>
<dialogue>Mr. Wolff?</dialogue>
<character>CHRIS</character>
<parenthetical>(subdued)</parenthetical>
<dialogue>Monday morning. Eight-thirty.</dialogue>
<character>RECEPTIONIST (O.S.)</character>
<parenthetical>(to customer)</parenthetical>
<dialogue>Sir? Yes, we do.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHRIS' RANCH HOME - BASEMENT - NIGHT</stage_direction>
<scene_description>A STROBE-A-SCOPE fills the dark room with disorienting pulsing light. Deafening HARD ROCK plays. Chris -- shorts, no shirt -- hangs beneath an overhead I- beam, fingertips curled around the beam's lip. He rips through pull-ups; upper legs held parallel to the floor, a cinder block suspended between bare feet. Abs contract, veins cord. He is extraordinarily muscled. On his back, beneath a shoulder: a group of three nickel- sized starburst scars. Eyes squeezed shut, he WINCES in pain.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>The nightstand clock rolls 10:01. A beat. Chris hurries in, soaked in sweat. He beelines for his bottle of PROZAC. He sits on the bed, stops. He considers the bottle, the pills inside. His grip tightens, resentment mounting. He ROARS in FRUSTRATION, fires the bottle at a wall. The bottle CRACKS open, capsules scatter. He squeezes his head between his forearms, fingers laced over his head. He moans, rocks back and forth in pain.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARM ROAD - DAY</stage_direction>
<scene_description>Chris' pickup slows at a gravel driveway. He wheels in, passing a MAILBOX reading "RICE."</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICE FARM - DAY</stage_direction>
<scene_description>Parked at the base of a giant sycamore, Chris sits on the open gate of his pickup, Sharpie in hand, putting the finishing touches on the third smiley-face canteloupe. His Sharpie trails off mid-smile, mind elsewhere. He lays back. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. YOUNG BOY'S BEDROOM - NIGHT (FLASHBACK)</stage_direction>
<scene_description>The room a disaster. A plywood floor, loose carpet nails, fabric remnants, a roll of duct tape. Beds overturned. Two wooden poles protrude from a wall-mounted homemade martial arts dummy made from the carpet, bound by duct-tape. Young Boy strikes the wooden poles. Drenched in sweat, exhausted yet hyper-focused, his quick hands wrapped, bloody. Little Brother lies on a mattress, reads a Batman comic. Cuts his eyes to-- Their Father steps in, surveys the mess, his face clouds.</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>Don't look at me.</dialogue>
<character>YOUNG BOY'S FATHER</character>
<dialogue>Did I or did I not tell you to take care of your brother?</dialogue>
<character>LITTLE BROTHER</character>
<dialogue>Wrapped his hands didn't I?</dialogue>
<character>YOUNG BOY'S FATHER</character>
<dialogue>When?</dialogue>
<character>LITTLE BROTHER</character>
<dialogue>I dunno. Coupla hours ago.</dialogue>
<parenthetical>(off Father's look)</parenthetical>
<dialogue>Maybe longer.</dialogue>
<character>YOUNG BOY'S FATHER</character>
<parenthetical>(re: wooden poles)</parenthetical>
<dialogue>That our broom?</dialogue>
<character>YOUNG BOY</character>
<parenthetical>(focused; striking)</parenthetical>
<dialogue>We needed it.</dialogue>
<scene_description>Father looks about the ruined room, watches his oldest son.</scene_description>
<character>YOUNG BOY'S FATHER</character>
<dialogue>Bend your knees.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARM ROAD - DAY</stage_direction>
<scene_description>A dark late-model sedan slows at the Rice mailbox, pulls in, gravel popping beneath tires.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICE FARM - DAY</stage_direction>
<scene_description>SERIES OF SHOTS: Chris lies in the truck bed, staring up, calculating. CHRIS' POV -- the canopy of sycamore leaves dance. The music he heard at Creative, fills his mind, but slow, tracking with the leaves. A breeze blows, the limbs bend, leaves swirl, twist, fall. Chris' eyes track left, right, searching for an answer.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICE HOME - DAY</stage_direction>
<scene_description>The two thugs who assisted Brax with Ed sit at the kitchen table, hunched over plates of apple pie, eating.</scene_description>
<character>THUG 2</character>
<dialogue>What the hell's he doin' out there anyway?</dialogue>
<scene_description>A frightened Frank and Dolores sit together at the table. Frank's mouth swollen, a smudge of blood beneath a nostril. Dolores fingers the homemade necklace at her throat.</scene_description>
<character>THUG 1</character>
<parenthetical>(to Dolores; chewing)</parenthetical>
<dialogue>You. Call the book-keeper in.</dialogue>
<scene_description>Trembling, she searches Frank's face for help... he nods.</scene_description>
<character>DOLORES</character>
<parenthetical>(to Thug 1; tentative)</parenthetical>
<dialogue>He's too far... He won't--</dialogue>
<character>THUG 1</character>
<dialogue>Now.</dialogue>
<scene_description>She rises, walks to the door. Thug 2 follows, gun drawn.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD</stage_direction>
<scene_description>Dolores stands, shields frightened eyes from the sun, looks at the timber line. Thug 2 close behind her.</scene_description>
<character>DOLORES</character>
<parenthetical>(calls out)</parenthetical>
<dialogue>Christian! Chris!</dialogue>
<character>THUG 2</character>
<parenthetical>(jabs her with his gun)</parenthetical>
<dialogue>Again. Louder.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICE HOME</stage_direction>
<scene_description>A helpless Frank watches his wife out the open door.</scene_description>
<character>THUG 1</character>
<parenthetical>(grins; watching Dolores)</parenthetical>
<dialogue>Older women give me such a hard--</dialogue>
<scene_description>PUFF! Thug 2's head disappears, VAPORIZED. His headless body kneels, falls forward. As it hits the ground, the report of a distant RIFLE CRACK. Thug 1 stunned, a forkful of pie frozen midway to his mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNDER THE SYCAMORE</stage_direction>
<scene_description>Chris coolly stares down the scope on the big BARRETT .50 CALIBER balanced on the hood of his pickup.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICE HOME</stage_direction>
<scene_description>Thug 1 reels, chair falling. He pulls his pistol, angry, scared, confused. He levels the gun at a ducking Frank.</scene_description>
<character>FRANK</character>
<dialogue>Please! Don't...</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD</stage_direction>
<scene_description>Dolores stares at the decapitated corpse, horrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICE HOME</stage_direction>
<scene_description>Thug 1, unsure of his next move, bolts for the door. He BRAKES HARD, points an unsteady gun at Dolores.</scene_description>
<character>THUG 1</character>
<dialogue>Get... get your ass in here! MOVE!</dialogue>
<scene_description>Crying, Dolores enters the house. Frank reaches her, holds her close. The thug circles, at a loss. He looks at the pair, tears Dolores SCREAMING from Frank.</scene_description>
<character>FRANK</character>
<dialogue>Stop it! Leave her be.</dialogue>
<scene_description>The gunman jams a hand into his pocket rips out car keys. He drags her to the open door, peers out at his sedan.</scene_description>
<character>THUG 1</character>
<parenthetical>(to Dolores; snarls)</parenthetical>
<dialogue>When I say move, you better--</dialogue>
<scene_description>THUNK! BOOM! THUNK! BOOM! The sedan rocks as fifty-caliber slugs punch baseball-sized holes through the engine block. Thug 1 stares in disbelief. The car steams, his retreat cut off. He SLAMS the door shut.</scene_description>
<character>THUG 1</character>
<dialogue>FUCK! OH, FUCK ME! Think, think, think.</dialogue>
<scene_description>Panicked, he swings his gun toward the shrinking Rices.</scene_description>
<character>THUG 1</character>
<dialogue>We're all going! Old man, get out there! Bring your car around to that back window. Go, Goddammit!</dialogue>
<scene_description>Frank stumbles to the door, exits. Thug 1 waves his gun at Dolores, motions her to him, impatient. He snatches her close, backs them to a rear window, eyes the open door.</scene_description>
<character>THUG 1</character>
<parenthetical>(breathless; furious)</parenthetical>
<dialogue>Everybody thinks they're tough with a gun. I get my hands on--</dialogue>
<parenthetical>(opens the window)</parenthetical>
<dialogue>I'll show that pussy what t--</dialogue>
<scene_description>WHOOMP! He's VACUUMED out the open window. Dolores looks around, suddenly alone. The house still.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD</stage_direction>
<scene_description>Chris' arms encircle a prone Thug 1's thick neck. Chris exerts pressure, whispers in the terrified big man's ear.</scene_description>
<character>CHRIS</character>
<dialogue>Say "yes" when you hear the name of your employer. Practice.</dialogue>
<character>THUG 1</character>
<parenthetical>(gasps)</parenthetical>
<dialogue>Y... yes.</dialogue>
<character>CHRIS</character>
<dialogue>Solntsevskaya Bratva. Camorra. Gambinos. Juarez Cartel.</dialogue>
<scene_description>No answer. Chris frowns, squeezes, the man purples.</scene_description>
<character>CHRIS</character>
<dialogue>You've a clear understanding of the rules?</dialogue>
<scene_description>Thug 1 GASPS, forces a small nod.</scene_description>
<character>CHRIS</character>
<dialogue>Treasury?</dialogue>
<character>THUG 1</character>
<dialogue>My pants pocket... left.</dialogue>
<scene_description>Chris removes an arm, digs into the man's pocket, comes out with a small photo of... DANA.</scene_description>
<character>THUG 1</character>
<dialogue>Do you both. That's all--</dialogue>
<character>CHRIS</character>
<dialogue>If we let you go, will you continue to try to kill us?</dialogue>
<character>THUG 1</character>
<parenthetical>(trick question?)</parenthetical>
<dialogue>No?</dialogue>
<character>CHRIS</character>
<dialogue>Okay.</dialogue>
<scene_description>Chris releases. Thug 1 scrambles up, sucking air. Chris forces eye contact. Thug 1 misreads weakness, pulls a spring- loaded blade, snapping it out, lunging. Chris snags his wrist, breaks the arm, sinks the blade into the man's chest. The dying man searches Chris' face as he's eased to the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' PICKUP TRUCK (MOVING) - DAY</stage_direction>
<scene_description>Chris rockets down a crowded Chicago highway. One hand on the wheel, he holds his mobile sideways, eyes the screen:</scene_description>
<character>CHRIS</character>
<parenthetical>(quick; into phone)</parenthetical>
<dialogue>Kill Christian Wolff. Transfer all domestic accounts offshore.</dialogue>
<scene_description>Video-stream of the STORAGE LOT. He thumb-wipes the screen: AIRSTREAM INTERIOR. RAPID CLICKING OF A COMPUTER KEYBOARD.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Current vehicle?</dialogue>
<character>CHRIS</character>
<dialogue>F-one-fifty.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Virus to triple Z?</dialogue>
<scene_description>The pickup moves to the fast-lane shoulder, ACCELERATES.</scene_description>
<character>CHRIS</character>
<dialogue>Wipe everything.</dialogue>
<scene_description>HORNS from slower traffic. Inches from the concrete median.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>And. Done. In the D-O-T database now. Reassigning the license and vin. Let's see, I have "George Boole" or "Charles Babbage" in the queue--</dialogue>
<scene_description>He barrels down on a car slowing for a TOLL WAY, squeezes around. The speedometer pegs 90. He blows through the toll.</scene_description>
<character>CHRIS</character>
<dialogue>Boole. Obviously.</dialogue>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Silly of me. What else?</dialogue>
<character>CHRIS</character>
<dialogue>Directions.</dialogue>
<scene_description>CLICKING ebbs, resumes.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Don't. You're too hot. Only the trailer. You don't have much time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STORAGE LOT- SECURITY GATE - SUNSET</stage_direction>
<scene_description>Chris SCREECHES to a stop in front of a startled Guard.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Whoa! In a hurry, Mr. Wolff?</dialogue>
<scene_description>Chris ignores him, grips the wheel, the muscles in his arms, neck bunch as he stares straight ahead, out the windshield. The security bar lifts. Fifty yards from his trailer, his life.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Mr. Wolff? You al--</dialogue>
<scene_description>Chris EXPLODES, shaking the wheel, snarling, screaming. SHE IS NOT OUR PROBLEM!</scene_description>
</scene>
<scene>
<stage_direction>INT. DANA'S APARTMENT BLDG. - LOBBY - DAY</stage_direction>
<scene_description>Dana, hair down, jeans and a t-shirt, enters the elevator, carrying a bag of groceries, purse over a shoulder. Two large MEN enter the elevator. They move to the rear of the car, push no buttons. She hugs her groceries. The elevator doors close.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Dana exits the elevator with a nervous glance over a shoulder. MAN 1 smiles, follows. MAN 2 stays, holds the elevator. She shifts the groceries, anxious, rummages in her purse. Man 1 reaches under his jacket. Chris barges through an EXIT door, looks down the long hall, SPRINTS. Man 2 sees Chris, draws a gun. Dana pulls her keys, sees Chris running, turns. Man 1 levels a gun at her. She's paralyzed with fear. Groceries fall. Man 1 sees Chris, switches targets. Too late. Chris wrenches his gun hand up -- PHHT! A SILENCED ROUND pierces the ceiling. Dana futilely tries to key her lock, hands shaking. Chris drives his instep down on the inside of Man 1's knee, snapping the leg... he GASPS in pain... the gun falls. Man 2 races down the hall, gun leveled. Chris bends for Man 1's gun... PHHT! PHHT! shots furrow the floor between him and the weapon. Man 2 closing fast. Chris straightens, spins a crippled Man 1 around to face his partner... instantly wraps Man 1 in a FULL NELSON and drives him down the hall toward Man 2. Man 1 SCREAMS, his shattered leg bending unnaturally with each step. Chris shields himself, forces the man's head side to side, like a METRONOME. Fifteen feet apart...</scene_description>
<character>MAN 1</character>
<parenthetical>(to Man 2; in agony)</parenthetical>
<dialogue>Stop! You'll hit--</dialogue>
<scene_description>Ten feet apart... Man 2 stops, aims. Chris and his groaning partner almost on top of him. The muzzle of his gun tracks Chris' head. NOW -- Chris reverses head motion -- PHHT! Man 1 drilled in the forehead. Chris thrusts the dead weight onto Man 2, slamming him into the wall. Man 2 shrugs off the corpse, brings up his gun, Chris grabs the arm. PHHT! PHHT! Shots divot drywall. Man 2 drives an elbow into Chris' face, snaps his head back. Chris hangs onto the gun hand. The gun neutralized, the men fight, all knees and elbows. Man 2 uses his greater weight, drives Chris across the hall, slams the back of his head into the wall. A dog furiously BARKS from one of the apartments. Chris wraps up Man 2's free arm with his own, tightens his neck muscles and uppercuts the top of his head beneath the larger man's chin, dazing Man 2. Chris follows with a savage head-butt, the man's nose bursts, driving him back. Chris spins him, controlling the gun hand, the muzzle lining up with Man 2's forehead.</scene_description>
<character>MAN 2</character>
<dialogue>No, wait--</dialogue>
<scene_description>PHHT! PHHT! Chris double-taps him. FIGHT OVER. Amid spilled produce, a nearly crazed Dana still fumbles with her keys, focused on opening her door. He hesitates, puts a hand on her shoulder. She SCREAMS. He jerks his hand back. She turns to him, crying. He gathers himself, unsettled by her tears, pressured by time--</scene_description>
<character>CHRIS</character>
<dialogue>Dana. We must go.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHRIS' PICKUP TRUCK (MOVING VERY FAST) - DAY</stage_direction>
<scene_description>Chris drives, Dana in the passenger seat.</scene_description>
<character>DANA</character>
<parenthetical>(near hysterics)</parenthetical>
<dialogue>No! I don't need you to protect me! We're going to the police! That's what normal taxpaying people do! Slow down!</dialogue>
<character>CHRIS</character>
<dialogue>An hour ago, two men tried to kill us. Fifteen minutes ago, two men tried to kill you. Creative is our only common denominator. Whoever took that money wants us dead.</dialogue>
<character>DANA</character>
<parenthetical>(talking over him)</parenthetical>
<dialogue>No, no, no, no, no, no.</dialogue>
<character>CHRIS</character>
<dialogue>We have one option; disappear.</dialogue>
<character>DANA</character>
<dialogue>That's not an option for me! I can't just walk out on my life!</dialogue>
<character>CHRIS</character>
<dialogue>The police can't protect you from someone who had an extra twenty million dollars at their disposal.</dialogue>
<character>DANA</character>
<dialogue>I thought Ed took it! He is dead!</dialogue>
<character>CHRIS</character>
<parenthetical>(on edge)</parenthetical>
<dialogue>No one person removes that much.</dialogue>
<character>DANA</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>That bitch!</dialogue>
<character>CHRIS</character>
<dialogue>We haven't determined that.</dialogue>
<character>DANA</character>
<dialogue>You said "had."</dialogue>
<character>CHRIS</character>
<dialogue>We did.</dialogue>
<scene_description>Limit reached, she FREAKS--</scene_description>
<character>DANA</character>
<dialogue>What the fuck is up with this "we" shit?! What are you-you-you talking about, "had"?! Had! What had?!</dialogue>
<scene_description>He RECOILS, winces at her volume.</scene_description>
<character>CHRIS</character>
<dialogue>Whoever took the money was putting it back.</dialogue>
<scene_description>She sinks back in the seat, confused, overwhelmed. Silence. She glances at his near sleeve, fixates on the blood spots.</scene_description>
<character>DANA</character>
<dialogue>Who were they? Those men?</dialogue>
<character>CHRIS</character>
<dialogue>Ex-military probably. The kind used to soft targets.</dialogue>
<character>DANA</character>
<dialogue>Soft?</dialogue>
<scene_description>Chris glances at her. She gets it.</scene_description>
<character>DANA</character>
<dialogue>What will she do now?</dialogue>
<character>CHRIS</character>
<dialogue>Call the other kind.</dialogue>
</scene>
<scene>
<stage_direction>INT. O'HARE INTL. AIRPORT-GATE - DAY</stage_direction>
<scene_description>Brax sits, reads the Wall Street Journal. He scans the stock index, locates his target, smiles.</scene_description>
<character>AIRPORT INTERCOM (V.O.)</character>
<dialogue>Flight 121 to Turks and Caicos now seating our first class passengers.</dialogue>
<scene_description>"I've got the world on a string, I'm sitting on a rainbow. Got the string around my finger, what a world, what a life." CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. O'HARE INTL. AIRPORT-JETWAY - DAY</stage_direction>
<scene_description>Brax strolls, mobile phone to an ear. Irritated.</scene_description>
<character>BRAX</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Since when did accountants become difficult to ventilate?</dialogue>
<parenthetical>(surprised; amused)</parenthetical>
<dialogue>Dead? Christ, what did he do, hit them with an adding machine?</dialogue>
<scene_description>Brax listens, slows, grin fading. He stops, his face empty, oblivious to the luggage-toting travelers edging around him.</scene_description>
<character>BRAX</character>
<dialogue>Give me the client's number. I want to hear more about this accountant.</dialogue>
</scene>
<scene>
<stage_direction>INT. STORAGE UNIT - DAY</stage_direction>
<scene_description>Dana stutter-steps backward as Chris roll-slams the overhead door down. Dark. Light sneaks in from the imperfect seal under and around the big metal door. She follows him to the trailer door. He jerks it open, steps up, turns on her.</scene_description>
<character>CHRIS</character>
<dialogue>You wait here.</dialogue>
<scene_description>He disappears inside, the door slams shut on a speechless Dana. Lights pop on within the trailer.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - MAIN CABIN</stage_direction>
<scene_description>Chris, in a black fidget, hustles toward his bedroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE UNIT</stage_direction>
<scene_description>Nerves frayed, Dana hugs herself, paces, walks to the trailer, looks in a window. She resumes pacing.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - BEDROOM</stage_direction>
<scene_description>Chris SLAMS the door shut, pulls a bulging duffel from his closet, dumps it onto the bed.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE UNIT</stage_direction>
<scene_description>Dana stops pacing, shakes her head. This is ridiculous. Heads for the trailer door. INTERCUT DANA AND CHRIS Chris unzips the duffel, double-checks the contents; clothes, cash, laptop, silencer-equipped pistol. Dana walks the trailer, scans her surroundings. Christmas tree lights, speakers... He digs a bottle of meds out of the duffle, shakes it to confirm the amount. She looks around, pulls open a drawer; knives, forks, spoons-- LOOSE DIAMONDS. She slides the drawer shut. Pulls the pantry drawer out-- shrink wrapped Yen, Euros, dollars. Shoves it shut. He glances to the closed door, concerned. He rifles an open drawer full of neatly arranged PASSPORTS. Her face pressed to the port-hole window of the trailer's Toy Hauler room. A view of the gun racks, the PISTOL GRIP SHOTGUN, KALASHNIKOV, scoped Dakota. He slips into a clean shirt. A quick look around the room... takes the Light Sabre down, hides it in the closet. Dana inspects the Renoir. Is this real? Her fingertips brush the canvas, down, his SIGNATURE. She recoils, the piece shifts slightly. She bangs the table, turns-- Looks down the barrel of a silenced 10 mm Glock, Chris on the other end. She freezes.</scene_description>
<character>DANA</character>
<parenthetical>(disintegrating rapidly)</parenthetical>
<dialogue>Who are you?</dialogue>
<scene_description>He swallows, hesitates for a beat, torn by the desire to rid himself of the intruder in his sanctuary.</scene_description>
<character>CHRIS</character>
<dialogue>You shouldn't be in here.</dialogue>
<scene_description>He quickly lowers the gun, points to the kitchen seat.</scene_description>
<character>CHRIS</character>
<dialogue>Right there! Sit right there!</dialogue>
<scene_description>She sits, he starts to leave, turns on her again.</scene_description>
<character>CHRIS</character>
<dialogue>Do not move!</dialogue>
<character>DANA</character>
<dialogue>My apartment. Those two men...</dialogue>
<character>CHRIS</character>
<dialogue>We've benefited from military training.</dialogue>
<scene_description>He walks, she ignores orders and bolts up, follows.</scene_description>
<character>DANA</character>
<dialogue>Whose military?!</dialogue>
<parenthetical>(then; low)</parenthetical>
<dialogue>It was nothing for you.</dialogue>
<scene_description>He groans, exasperated by her inability to follow directions.</scene_description>
<character>CHRIS</character>
<dialogue>We don't approve of violence, but when it's in self defense we call it intelligence.</dialogue>
<scene_description>Moving quickly, he enters.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - TOY HAULER</stage_direction>
<scene_description>Chris moves quickly around the motorcycle, Dana on his heels. He takes the SHOTGUN from the rack.</scene_description>
<character>DANA</character>
<dialogue>That painting, those diamonds--</dialogue>
<character>CHRIS</character>
<dialogue>Payment.</dialogue>
<scene_description>He pulls open a tool chest drawer... SHOTGUN SHELLS. He takes a box as an increasingly frantic Dana watches.</scene_description>
<character>DANA</character>
<dialogue>Payment? For what?</dialogue>
<character>CHRIS</character>
<dialogue>Services rendered.</dialogue>
<character>DANA</character>
<dialogue>What kind of accountant gets paid in Renoirs?!</dialogue>
<character>CHRIS</character>
<dialogue>Our kind. We like Renoir.</dialogue>
<character>DANA</character>
<dialogue>And those guns, why do--</dialogue>
<scene_description>He heads back.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - MAIN CABIN</stage_direction>
<scene_description>Chris motors, Dana following, crowding. His irritation meter redlining, he rubs his head with his free hand.</scene_description>
<character>CHRIS</character>
<dialogue>All tools. All math. Ballistics. Windage, elevation, velocity, loads.</dialogue>
<scene_description>He brakes -- Dana nearly slamming into him -- adjusts the Renoir. He continues into--</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - BEDROOM</stage_direction>
<character>DANA</character>
<dialogue>Math? I see, guns don't kill people, math kills people?</dialogue>
<scene_description>Chris works the shotgun and shells into the duffel.</scene_description>
<character>CHRIS</character>
<dialogue>We can't hit a man with Fermat's Last Theorem at a thousand yards, so, no, we'd say guns kill people.</dialogue>
<character>DANA</character>
<dialogue>Sarcasm? Is that sarcasm?</dialogue>
<character>CHRIS</character>
<dialogue>No. It is not.</dialogue>
<character>DANA</character>
<parenthetical>(unhinged; yells)</parenthetical>
<scene_description>WHY AREN'T YOU MORE UPSET?! He zips the duffel, turns, gives her his full attention.</scene_description>
<character>CHRIS</character>
<dialogue>It's the cost of doing business. But at this moment we need to move our home to a safe spot. Now. Decide, Dana.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Are you safer with or without us?</dialogue>
<scene_description>She gapes at him, the painting on the ceiling catches her eye. She looks up, stares. He follows her gaze.</scene_description>
<character>DANA</character>
<dialogue>Tell me that's not an original Pollock.</dialogue>
<character>CHRIS</character>
<parenthetical>(confused by the request)</parenthetical>
<dialogue>What is wrong with you?</dialogue>
</scene>
<scene>
<stage_direction>INT. TREASURY - FINANCIAL CRIMES DIV. - NIGHT</stage_direction>
<scene_description>Alone, Marybeth sits at her desk, staring dry-eyed at her monitor. MUG SHOTS OF DOZENS OF MEN scroll. Louis "Lou" Carroll, Lew Carol, Louis Karel. She rubs her tired face, getting nowhere. She tap-tap-taps her fingertips on her desktop. Types ALBERT ANASTASIA. Black and white photo circa 1957: detectives in suits/hats take notes. At their feet, white sheets cover the face, lower body of a dead Anastasia, his bare-chested corpse on the tile floor of a barber shop. The mobster's lifeless hand inches from a pool of blood. Desk phone RINGS. She jumps. Picks up.</scene_description>
<character>MARYBETH</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Marybeth.</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<parenthetical>(over phone; female)</parenthetical>
<dialogue>Ms. Medina, Tara Schneider, FBI Language Services.</dialogue>
<character>MARYBETH</character>
<dialogue>Any luck?</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<dialogue>Interesting audio file. Solomon Grundy's a nursery rhyme, dates back to the mid 1800s. Your voice has four of the six intonation patterns we use to define American English.</dialogue>
<character>MARYBETH</character>
<dialogue>There a "but" in there?</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<dialogue>But, difficult to confirm with a rhyme. Out of curiosity, was your subject a trauma victim?</dialogue>
<character>MARYBETH</character>
<dialogue>Not that I know. Why?</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<dialogue>You indicated on your submission this event occurred in a high stress environment?</dialogue>
<character>MARYBETH</character>
<dialogue>Exceptionally.</dialogue>
<character>FBI LINGUIST</character>
<dialogue>The verse was repeated a total of four and a half times with zero variation in pitch span, tempo, volume, or articulatory precision. Zero.</dialogue>
<character>MARYBETH</character>
<dialogue>And that means what to me?</dialogue>
<character>FBI LINGUIST</character>
<dialogue>We often see this type of repetitive chanting in children who have been exposed to trauma or persons with neurodevelopmental disorders.</dialogue>
<character>MARYBETH</character>
<dialogue>"Neurodevelopmental disorders?"</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<dialogue>Fragile-X syndrome, autism.</dialogue>
<scene_description>Marybeth hangs her head, tired, getting nowhere.</scene_description>
<character>MARYBETH</character>
<dialogue>American then.</dialogue>
<character>FBI LINGUIST (V.O.)</character>
<dialogue>Good luck.</dialogue>
<scene_description>She hangs up, resumes tapping her fingers, has a thought... GOOGLES "Lou Carroll". Nothing. Types in "Louis Carroll." "DID YOU MEAN LEWIS CARROLL?" pops up. Sigh. Double-click. A sketch from Alice in Wonderland: the MAD HATTER, followed by a B&W photo of a slender man, Charles Dodgson circa late 1800s, his alias: LEWIS CARROLL. Text stands out: "AUTHOR OF ALICE'S ADVENTURES IN WONDERLAND." "ASPERGER'S SYNDROME." She clicks the ASPERGER'S link. Page after page of Asperger articles. She clicks one. "AUTISM SPECTRUM DISORDER" pops. Marybeth straightens in her chair, attention caught. She clicks back to Lewis Carroll, scans the text: "PSEUDONYM," "FICTITIOUS NAME". "MATHEMATICIAN."</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY - I.R.S. - NIGHT</stage_direction>
<scene_description>Dark. Large. Cubicles. Overhead fluorescent lights off. Faint FOOTSTEPS. A lone light shines from a cubicle in the middle of the room. SOUND OF AN ADDING MACHINE. A male IRS AGENT, 50s, starched white shirt, tie, flips through a file with one hand, works an adding machine with the other. FOOTSTEPS approach. Stop. He looks up with sunken bloodhound eyes, a humorless smile.</scene_description>
<character>IRS AGENT</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>And how may the I.R.S. help you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAPPY TRAILS RV LOT - NIGHT</stage_direction>
<scene_description>Chris' pickup exits the lot. The Airstream parked, blending in among two hundred RVs.</scene_description>
<character>DANA (V.O.)</character>
<dialogue>Where do we go from here?</dialogue>
<character>CHRIS (V.O.)</character>
<dialogue>We get a place for the night.</dialogue>
<character>DANA (V.O.)</character>
<parenthetical>(surprised; self- conscious)</parenthetical>
<dialogue>Oh. What, like a, a safe-house?</dialogue>
<character>CHRIS (V.O.)</character>
<dialogue>Something like that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PENINSULA HOTEL - NIGHT</stage_direction>
<scene_description>Elegant low-key lighting illuminates its sign. Uniformed valets front its entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. PENINSULA HOTEL - CHECK IN</stage_direction>
<scene_description>Chic. Exclusive. Expensive. Behind a Japanese businessman, Chris, duffel at his feet, stands next to Dana.</scene_description>
<character>DANA</character>
<parenthetical>(low)</parenthetical>
<dialogue>I can't afford this.</dialogue>
<character>CHRIS</character>
<dialogue>"Travel and Leisure" gives it a 97.5, the Four Seasons a 95.3.</dialogue>
<parenthetical>(pleased beat)</parenthetical>
<dialogue>Our treat.</dialogue>
</scene>
<scene>
<stage_direction>INT. I.R.S. - NIGHT</stage_direction>
<scene_description>Marybeth and the IRS Agent sit side-by-side behind his desk, staring at his monitor. He works his mouse...</scene_description>
<character>IRS AGENT</character>
<dialogue>In the U.S., two hundred four men -- last name any standard derivation of Carroll -- reported over five hundred thousand dollars in any of the last seven years.</dialogue>
<character>MARYBETH</character>
<dialogue>Go a million plus.</dialogue>
<scene_description>He types in the new specs, hits ENTER.</scene_description>
<character>IRS AGENT</character>
<dialogue>Thirty five.</dialogue>
<parenthetical>(scrolls down)</parenthetical>
<dialogue>Of those, seven are between the ages of twenty-five to forty-five.</dialogue>
<scene_description>They both follow the tax forms.</scene_description>
<character>MARYBETH</character>
<dialogue>Of those seven, only one has an income stream that's cash heavy or can be readily laundered. And he--</dialogue>
<parenthetical>(bangs the enter key)</parenthetical>
<dialogue>Died three years ago.</dialogue>
<scene_description>The IRS Agent leans back, weary. He checks his watch.</scene_description>
<character>IRS AGENT</character>
<dialogue>"Sometimes it's useful to know how large your zero is."</dialogue>
<scene_description>She hands him several sheets of paper.</scene_description>
<character>IRS AGENT</character>
<dialogue>What's this?</dialogue>
<character>MARYBETH</character>
<dialogue>Names of the one-hundred most famous mathematicians.</dialogue>
<scene_description>She nods at him to get started. He stares, unmoving.</scene_description>
<character>IRS AGENT</character>
<dialogue>What's in it for me?</dialogue>
<character>MARYBETH</character>
<dialogue>We find him? I'll do whatever I can to get you out of here.</dialogue>
<scene_description>He squints at the monitor, hands poised over his keyboard.</scene_description>
<character>IRS AGENT</character>
<dialogue>First name?</dialogue>
</scene>
<scene>
<stage_direction>INT. PENINSULA HOTEL - SUITE - NIGHT</stage_direction>
<scene_description>Large. Luxurious. Stunning view of downtown Chicago. A low fire crackles in the fireplace. A sterling silver room-service tray holds the remains of dinner: hamburgers, fries, milk-shakes in tall glasses. In the center of the tray, long-stemmed orchids in a vase.</scene_description>
<character>DANA (O.S.)</character>
<dialogue>None of this makes sense. Why go to the trouble of skimming money if you're just going to put it back?</dialogue>
<scene_description>Chris paces, Dana sits on a long couch.</scene_description>
<character>CHRIS</character>
<dialogue>For the last two years, the amount of invoices submitted by Cambridge decreased.</dialogue>
<character>DANA</character>
<dialogue>Scared of getting caught?</dialogue>
<character>CHRIS</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>At the same time, sales increase dramatically in the consumer division but no inventory turns.</dialogue>
<character>DANA</character>
<dialogue>Price hike?</dialogue>
<character>CHRIS</character>
<parenthetical>(frustrated; irritated)</parenthetical>
<dialogue>Prices of consumer electronics-- Go down, not up. Down.</dialogue>
<character>DANA</character>
<dialogue>Down. Sorry. Sorry.</dialogue>
<scene_description>He sits next to her, rubs his legs, thinking, thinking. She kicks off her shoes, tucks her legs beneath her. She looks at him, reluctant to interrupt his thoughts.</scene_description>
<character>DANA</character>
<dialogue>Those paintings? In your trailer. They're real, aren't they?</dialogue>
<character>CHRIS</character>
<dialogue>Yes.</dialogue>
<character>DANA</character>
<dialogue>The people who paid you with them. They didn't buy them at auction. Did they?</dialogue>
<character>CHRIS</character>
<dialogue>No.</dialogue>
<scene_description>She nods, accepting.</scene_description>
<character>DANA</character>
<dialogue>By the way... thank you.</dialogue>
<scene_description>His concentration falters, breaks, he looks at her.</scene_description>
<character>DANA</character>
<dialogue>At my apartment. Thanks.</dialogue>
<scene_description>He nods, interrupts eye contact.</scene_description>
<character>DANA</character>
<parenthetical>(struggles)</parenthetical>
<dialogue>How did you...? You know...</dialogue>
<scene_description>She pantomimes firing a gun with her thumb and forefinger.</scene_description>
<character>CHRIS</character>
<dialogue>Our mom left us when we were ten. Father was an officer in the Army. Psychological Operations. Bangkok, Munich, Tel Aviv, Jordan. Thirty- two homes in seventeen years.</dialogue>
<scene_description>She watches him stare into the middle distance, remembering.</scene_description>
<character>CHRIS</character>
<dialogue>He worried. He was afraid.</dialogue>
<character>DANA</character>
<dialogue>Of?</dialogue>
<character>CHRIS</character>
<dialogue>What would happen to us without him. That one day he wouldn't be there for us. So we learned things. From specialists.</dialogue>
<scene_description>He glances at her, then away. Opening up difficult.</scene_description>
<character>CHRIS</character>
<dialogue>If we can't master something, can't solve a puzzle...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We have a, a problem.</dialogue>
<scene_description>He quick-checks her face to gauge a reaction... she smiles.</scene_description>
<character>DANA</character>
<dialogue>When I was a senior? In high school?</dialogue>
<parenthetical>(out on a limb)</parenthetical>
<dialogue>I wanted a special dress for prom. I know what you're thinking--</dialogue>
<scene_description>She looks at him, face devoid of emotion.</scene_description>
<character>DANA</character>
<dialogue>Maybe not. Anyway, I told myself spending a few hundred dollars on some satin bridesmaid knockoff I'd wear once and to an event I thought was silly in the first place--</dialogue>
<character>CHRIS</character>
<dialogue>Impractical.</dialogue>
<character>DANA</character>
<dialogue>Aha! See? You get it. But Vera Wang on the other hand, she made a black strapless classic you could wear to all sorts of future events.</dialogue>
<character>CHRIS</character>
<dialogue>An investment.</dialogue>
<character>DANA</character>
<dialogue>Yes! Where were you when I was in high school?</dialogue>
<character>CHRIS</character>
<dialogue>Israel. Maybe North Carolina.</dialogue>
<scene_description>Becoming accustomed to him, she's back on track.</scene_description>
<character>DANA</character>
<dialogue>Only problem? Six hundred dollars they wanted for that dress!</dialogue>
<scene_description>She waits for the usual empathy face. Nothing.</scene_description>
<character>DANA</character>
<dialogue>I didn't have it, so--</dialogue>
<character>CHRIS</character>
<dialogue>You asked your parents?</dialogue>
<character>DANA</character>
<dialogue>No, hang on--</dialogue>
<scene_description>He starts to hazard another guess.</scene_description>
<character>DANA</character>
<dialogue>Wait.</dialogue>
<scene_description>Chastened, he waits. She gathers herself, dives in.</scene_description>
<character>DANA</character>
<dialogue>Blackjack. You know, twenty-one?</dialogue>
<scene_description>He starts to question, she sees it coming--</scene_description>
<character>DANA</character>
<dialogue>Never played a hand. Went to the library, checked out as many books as I could find on strategy.</dialogue>
<scene_description>She stands, enthused, gesturing.</scene_description>
<character>DANA</character>
<dialogue>I turned the Naperville North math club into a little Vegas! I could tell you when to hit, stand, split, re-split, then moved on to card counting, shuffle tracking, even hole carding.</dialogue>
<scene_description>She flops down on the couch, close to him. He notices.</scene_description>
<character>DANA</character>
<dialogue>I took my last hundred and eighty- three dollars and drove down to Harrahs in Joliet.</dialogue>
<scene_description>She squares up to him, he squirms with the nearness of her.</scene_description>
<character>DANA</character>
<dialogue>I know what it means to obsess, Chris. To want something so entirely it becomes part of you.</dialogue>
<character>CHRIS</character>
<dialogue>The dress meant that much to you?</dialogue>
<character>DANA</character>
<dialogue>It wasn't about the dress. I wanted to walk into that gym and have people say "wow." I just, I just wanted to fit in. You know? Belong. Everybody does.</dialogue>
<scene_description>Their eyes meet. He knows, understands.</scene_description>
<character>DANA</character>
<dialogue>Lost all but twenty bucks in ten minutes. Fed the rest into nickel slots on the way out and won seven hundred dollars.</dialogue>
<scene_description>He smiles, his eyes dart from her eyes to her lips.</scene_description>
<character>DANA</character>
<dialogue>Paid for the limo.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Wore the dress just the one time.</dialogue>
<character>CHRIS</character>
<dialogue>Why only once?</dialogue>
<character>DANA</character>
<dialogue>Never had a reason. In college my idea of fun was quiz bowls, art museums, speed math. Not sororities and such.</dialogue>
<character>CHRIS</character>
<dialogue>Speed math?</dialogue>
<character>DANA</character>
<dialogue>You know, what's...</dialogue>
<parenthetical>(dreams up a number)</parenthetical>
<dialogue>Two-hundred ninety-eight thousand, five hundred sixty seven times, I don't know... ninety-two. The goal was to see how fa--</dialogue>
<character>CHRIS</character>
<dialogue>Twenty-seven million, four hundred sixty eight thousand, one hundred sixty four.</dialogue>
<scene_description>She stares at him for a dumbfounded beat.</scene_description>
<character>DANA</character>
<dialogue>That's so incredibly sexy.</dialogue>
<scene_description>She blushes, nervous-laughs, both avoid eye contact.</scene_description>
<character>DANA</character>
<dialogue>I'm sorry, I... How do you do that?</dialogue>
<scene_description>He searches for the words, wanting to share.</scene_description>
<character>CHRIS</character>
<dialogue>We see it.</dialogue>
<scene_description>She waits for the explanation, patient...</scene_description>
<character>CHRIS</character>
<dialogue>Each number has its own shape. Like a musical note. They form patterns.</dialogue>
<parenthetical>(thoughtful beat)</parenthetical>
<dialogue>We can hear them. A rhythm, a beat. Some fast, some slow. All familiar. Always there.</dialogue>
<scene_description>She's entranced, drawn to him.</scene_description>
<character>DANA</character>
<dialogue>Chris, why did we come here?</dialogue>
<character>CHRIS</character>
<parenthetical>(unconvincing)</parenthetical>
<dialogue>They respect our privacy.</dialogue>
<character>DANA</character>
<dialogue>The Holiday Inn Express in Aurora respects our privacy too.</dialogue>
<character>CHRIS</character>
<dialogue>We like nice hotels.</dialogue>
<scene_description>She starts to speak, he cuts her off--</scene_description>
<character>CHRIS</character>
<dialogue>They're clean, quiet, no one bothers us, good water pressure--</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We thought you'd like it.</dialogue>
<scene_description>She puts a tentative hand on his. He lets her. Encouraged, she touches his face, strokes his cheek. He compels himself to make and keep eye contact. She leans in--</scene_description>
<character>CHRIS</character>
<dialogue>Crazy Eddie and the Panama Pump.</dialogue>
<scene_description>Stop. He bolts up, relieved and renewed. His puzzle solved.</scene_description>
<character>CHRIS</character>
<dialogue>Crazy Eddie Antar! Ran a chain of electronics stores on the East Coast back in the '80s, Crazy Eddie's. Started skimming money almost from the day his first store opened.</dialogue>
<character>DANA</character>
<dialogue>I'm not following you.</dialogue>
<character>CHRIS</character>
<dialogue>He deposited millions in skimmed money into bank accounts in Tel Aviv then laundered them through Panamanian shell companies that drafted money into his stores.</dialogue>
<character>DANA</character>
<dialogue>Why? Why would he take it out just to put it back?</dialogue>
<character>CHRIS</character>
<dialogue>He started skimming and hiding like anyone else does, to avoid taxes. But after several years, he had a better idea.</dialogue>
<character>CHRIS</character>
<dialogue>As soon as he stopped taking money his profit margin rose. When the laundered funds from Panama hit the books it looked like it was raining cash.</dialogue>
<scene_description>She stands, turned on by his problem solving, his enthusiasm.</scene_description>
<character>DANA</character>
<dialogue>Public perception.</dialogue>
<character>CHRIS</character>
<parenthetical>(nods; smiling)</parenthetical>
<dialogue>Eddie took the company public at eight dollars a share. A year later it was trading at seventy- five. He put twenty-five million back in and made ten times that.</dialogue>
<scene_description>They meet in the center of the room, close.</scene_description>
<character>DANA</character>
<dialogue>Rita's taking Creative public. But why would she hire you in the first place if she thought you'd figure it out?</dialogue>
<character>CHRIS</character>
<dialogue>We'll ask.</dialogue>
<character>DANA</character>
<dialogue>"We" as in you and I? Or...?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARINA CITY TOWERS - NIGHT</stage_direction>
<scene_description>The corncob-shaped twin towers, sixty-five stories high.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' PICKUP TRUCK</stage_direction>
<scene_description>Parked a block from the Towers. Chris, ear-piece in, alone, gloved hands screw a suppressor onto his semi-automatic.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>You're really pissing me off, you know that? Leave. Chicago. Now.</dialogue>
<character>CHRIS</character>
<dialogue>If we don't act, Dana will die.</dialogue>
<character>BRITISH FEMALE</character>
<dialogue>You don't know that. Please.</dialogue>
<character>CHRIS</character>
<dialogue>Francis knew it.</dialogue>
</scene>
<scene>
<stage_direction>INT. RITA'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>Rita, in a nightgown, reading glasses, sits at a small desk studying financials. A slight NOISE outside the room. She opens a drawer on the desk, pulls a .38. She deftly pops the cylinder, checks the loads, wrist-snaps it shut.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Rita thunders down the darkened hallway, gun in hand.</scene_description>
<character>RITA</character>
<parenthetical>(loud; grins)</parenthetical>
<dialogue>Please, God, let somebody be in my apartment that doesn't belo--</dialogue>
<scene_description>PHHT! A silenced round slams into her forehead. She drops. In the darkness, a mobile phone lights up as it's flipped open. The owner brings it to his ear. BRAX.</scene_description>
</scene>
<scene>
<stage_direction>INT. LAMAR'S HOME - KITCHEN</stage_direction>
<scene_description>Lamar sits at a granite counter, humming, typing on a laptop interfaced with a PROSTHETIC HAND. A finger twitches-- His mobile RINGS.</scene_description>
<character>LAMAR</character>
<parenthetical>(into phone; avuncular)</parenthetical>
<dialogue>Yes, hello?</dialogue>
<character>BRAX (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Done, you sick twist.</dialogue>
<scene_description>The line GOES DEAD. Lamar exhales, returns his phone to his pocket, leans on the counter. He cries. Softly at first, then, overcome with grief, sobs. The tears quickly subside. He clears his eyes, wipes his nose. He focuses on his laptop, begins to type, tinker with the hand, humming.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARINA CITY TOWERS - STREET LEVEL - NIGHT</stage_direction>
<scene_description>Chris stands on the curb ready to cross the street. He sees a man exit the Towers, walking fast, staying in the shadows. Possible recognition plays across Chris' face. Chris paces the man on the opposite side of the four lane street. Traffic passes between them. On the other side, Brax walks, his peripheral vision catching Chris' figure on the opposite sidewalk, behind parked cars. Brax stops. Chris stops. Brax resumes his pace, grins to himself. PHHT! PHHT! -- snaps off two NO-LOOK rounds across the street. A car window shatters. ALARM sounds. He looks... Chris is gone. Brax pauses, impressed with the vanishing act.</scene_description>
</scene>
<scene>
<stage_direction>INT. RITA'S APARTMENT - HALLWAY - NIGHT</stage_direction>
<scene_description>Dark. Rita's lifeless body lies on the floor, eyes open, dime-size hole in the forehead. Chris squats next to her, forearms on his legs, gun held between his knees. He blinks back eye contact as he closes her lids with a gloved hand.</scene_description>
<character>IRS AGENT (PRE-LAP V.O.)</character>
<parenthetical>(exhausted; typing)</parenthetical>
<dialogue>Last one... Wolff, two "F's", Christian.</dialogue>
<scene_description>Her eyes closed, he looks at her face, rises quickly.</scene_description>
</scene>
<scene>
<stage_direction>INT. I.R.S. - EARLY MORNING</stage_direction>
<scene_description>IRS Agent enters the name, stares red-eyed at his monitor. At his side, Marybeth slumps in her chair, list in hand.</scene_description>
<character>IRS AGENT</character>
<dialogue>Two-hundred forty-five men. Four with incomes over a million. And--</dialogue>
<scene_description>She straightens in her chair, hopeful.</scene_description>
<character>IRS AGENT</character>
<dialogue>All over the age of sixty. Sorry.</dialogue>
<scene_description>She melts, sleep deprived, pressured, at her breaking point.</scene_description>
<character>IRS AGENT</character>
<dialogue>Didn't you mention that your guy was an accountant?</dialogue>
<scene_description>He highlights two names. She slowly lifts her head.</scene_description>
<character>IRS AGENT</character>
<dialogue>Two Christian Wolff's list their occupations as CPA's. Both make over four-hundred thousand.</dialogue>
<parenthetical>(types)</parenthetical>
<dialogue>The first Christian Wolff owns Wolff Accounting, 121 south street, Scottsdale, Arizona.</dialogue>
<character>IRS AGENT</character>
<parenthetical>(types; enters)</parenthetical>
<dialogue>The other Christian Wolff--</dialogue>
<parenthetical>(puzzled)</parenthetical>
<dialogue>ZZZ Accounting? Wabash way, Plainfield, Illinois. Not exactly a smart Yellow Pages move.</dialogue>
<scene_description>She lurches over him, commandeers his keyboard, pulls up GOOGLE EARTH, fingers pop keys. The Earth rotates-- Above the U.S., then Illinois, descends: ZZZ Accounting seen from an overhead view. She types, street level view. Marybeth's POV: ZZZ Accounting. Kim's Nails. Mandarin Garden Chinese Food. Al's Laundromat.</scene_description>
<character>MARYBETH</character>
<dialogue>Who filed the returns for Kim's Nails, Wabash Way, Plainfield?</dialogue>
<scene_description>He scoots his chair to an adjacent work station, types. She kneels at his monitor, stares with screen-burned eyes.</scene_description>
<character>IRS AGENT</character>
<dialogue>ZZZ Accounting. Could just be the neighborly--</dialogue>
<character>MARYBETH</character>
<dialogue>Mandarin Garden, Wabash.</dialogue>
<character>IRS AGENT</character>
<dialogue>ZZZ Accounting. Al's laundromat--</dialogue>
<parenthetical>(types; beat)</parenthetical>
<dialogue>ZZZ Accounting.</dialogue>
<character>MARYBETH</character>
<parenthetical>(emotional)</parenthetical>
<dialogue>Tell me they're all registered as partnerships.</dialogue>
<scene_description>She waits, breath held. Sound of him typing... then quiet.</scene_description>
<character>IRS AGENT (O.S.)</character>
<dialogue>Every one. Managing partner... Christian Wolff.</dialogue>
</scene>
<scene>
<stage_direction>INT. FINANCIAL CRIMES - EARLY MORNING</stage_direction>
<scene_description>Faint sound of a vacuum cleaner. Deserted save for a lone cleaning woman in the bg. Ray, Brooks Bros. suit, strides through his empire, folded Washington Times in one hand, Starbucks in the other.</scene_description>
</scene>
<scene>
<stage_direction>INT. FINANCIAL CRIMES-RAY'S OFFICE</stage_direction>
<scene_description>Ray, sans jacket, lowers himself into his chair, starts his morning routine. He opens the Times, sips his coffee-- BAM! His door bangs open, startling him, spilling coffee. Marybeth steams in, clothes wrinkled, circles under her eyes.</scene_description>
<character>RAY</character>
<dialogue>Jesus H. Christ, Medina!</dialogue>
<character>MARYBETH</character>
<dialogue>Christian Wolff!</dialogue>
<scene_description>She circles the desk, slaps a list down on his desk.</scene_description>
<character>MARYBETH</character>
<dialogue>Christian Wolff, last year ran $447,543 through his accounting firm--</dialogue>
<character>RAY</character>
<dialogue>Slow down. Who is Christian Wolff?</dialogue>
<character>MARYBETH</character>
<dialogue>The Accountant.</dialogue>
<scene_description>For the first time, Ray appears off balance, he recovers.</scene_description>
<character>RAY</character>
<dialogue>Four-forty seven? No, no, chump change.</dialogue>
<character>MARYBETH</character>
<parenthetical>(hovers over him)</parenthetical>
<dialogue>Agreed. But he ran another $287,765 through Kim's Nails, $345,112 at the Mandarin Garden, and -- you'll love this -- $756,999 through Al's Laundromat. Al's Laundromat?! Are you kidding me? He's playing with us!</dialogue>
<scene_description>Ray skeptically reviews the list.</scene_description>
<character>RAY</character>
<dialogue>"ZZZ". Why--</dialogue>
<scene_description>She straightens, paces, punchy from lack of sleep.</scene_description>
<character>MARYBETH</character>
<dialogue>Because he doesn't care about traffic, it's a front, all these companies are in the same strip mall south of Chicago! "Christian Wolff," "Lou 'Lewis' Carroll." He's using names of famous mathematicians as cover!</dialogue>
<character>RAY</character>
<dialogue>There are famous mathematicians?</dialogue>
<parenthetical>(reads)</parenthetical>
<character>RAY</character>
<dialogue>Charitable deduction to Harbor Neuroscience Institute? One point five million dollars?</dialogue>
<character>MARYBETH</character>
<dialogue>I don't know, why do these whack jobs do anything?</dialogue>
<character>RAY</character>
<dialogue>Let me know how that rationale goes over with the judge you ask to issue the warrant.</dialogue>
<character>MARYBETH</character>
<dialogue>I got him.</dialogue>
<character>RAY</character>
<dialogue>All that's still less than what? Two million? And he's giving away almost all of it?</dialogue>
<character>MARYBETH</character>
<dialogue>What if he's taking other means of payment... drugs maybe--</dialogue>
<character>RAY</character>
<parenthetical>(warming to it)</parenthetical>
<dialogue>Diamonds.</dialogue>
<scene_description>She looks at him, expectant. Ray turns it over in his head.</scene_description>
<character>RAY</character>
<dialogue>Freshen up fast. We're going to Chicago. Move it.</dialogue>
<scene_description>She bolts out the door, energized. He drops heavily into his chair, thinks for a beat, gnaws a thumbnail, wipes at his coffee stain.</scene_description>
</scene>
<scene>
<stage_direction>INT. PENINSULA HOTEL - SUITE - EARLY MORNING</stage_direction>
<scene_description>Chris, jeans and jacket, sits on the edge of an easy chair, rocking back and forth. He watches Dana sleep. FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY (FLASHBACK)</stage_direction>
<scene_description>A DOZEN KIDS cluster -- 10, 11, 12 years old -- a SLAP!</scene_description>
<character>BULLY (O.S.)</character>
<dialogue>C'mon, pussy.</dialogue>
<scene_description>Young Boy picks broken glasses from the ground, stands... his nose bleeding, he faces-- BULLY, 12, thick in the chest, brow.</scene_description>
<character>BULLY</character>
<dialogue>Not so smart out here are you?</dialogue>
<scene_description>Bully slaps Young Boy in the side of the head. Young Boy tries to side-step, walk away. A second Bully blocks his way, herds him back.</scene_description>
<character>BULLY</character>
<dialogue>How 'bout some of that "we" and "us", huh? I can't get enough of your batshit weirdness.</dialogue>
<character>LITTLE BROTHER (O.S.)</character>
<dialogue>He's not weird.</dialogue>
<scene_description>Knot of kids parts as Little Brother steps in, passes Bully and stands with his older brother.</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>And he's not gonna hit you because he promised our father he wouldn't.</dialogue>
<character>BULLY</character>
<dialogue>Guess your old man's as big a fag as he is.</dialogue>
<character>LITTLE BROTHER</character>
<dialogue>Yeah, that's not it. See he broke a kid's skull in Berlin.</dialogue>
<scene_description>Young Boy puts his broken glasses on, blinks.</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>Put a grown-up in the hospital in Thailand.</dialogue>
<parenthetical>(to Young Boy)</parenthetical>
<dialogue>Thailand?</dialogue>
<scene_description>Young Boy wipes his nose, glances up, averts his eyes.</scene_description>
<character>LITTLE BROTHER</character>
<parenthetical>(to Bully)</parenthetical>
<dialogue>Let's call it Thailand.</dialogue>
<scene_description>Bully rotates his shoulders, prepares to brawl.</scene_description>
<character>BULLY</character>
<dialogue>Let's see what he's got.</dialogue>
<scene_description>Little Brother smiles, turns to his brother. The world reduced to the two of them.</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>It's never going to change. You know that, don't you?</dialogue>
<scene_description>Young Boy looks at his younger brother, eye contact easy.</scene_description>
<character>LITTLE BROTHER</character>
<parenthetical>(to Bully)</parenthetical>
<dialogue>In Vietnam I watched a murder of crows -- that's a "flock" to you illiterates -- surround a lamb. Then the meanest crow pecked out the little lamb's eyes. The lamb went into shock, laid down, and the crows ate it alive.</dialogue>
<scene_description>The crowd of children exchange uneasy looks.</scene_description>
<character>BULLY</character>
<dialogue>So now I'm a crow picking on your little lamb brother?</dialogue>
<scene_description>Little Brother lunges forward, spears a thumb into one of Bully's eyes. Bully SCREAMS, the crowd flinches, shrinks back. Little Brother whips his other thumb into the kid's remaining eye as the Bully drops, crying. CHILDREN SCATTER. Little Brother straddles the prone Bully, grabs a fistful of hair. A bloody fist cocked, lips curled, he hisses--</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>No, motherfucker, I'm the crow, you're the lambs.</dialogue>
<scene_description>He punches, savage, little arm like a piston. He glances up at his older brother.</scene_description>
<character>LITTLE BROTHER</character>
<dialogue>It sucks, but sooner or later, everybody hates different.</dialogue>
<scene_description>Little Brother continues his work. Young Boy's eyes well with tears, he gazes through broken lenses, watches alarmed teachers sprint towards them. RETURN TO: Chris' rocking slows, stops. A yearning in his eyes, sadness. CUT TO: Chris carefully places a folded sheet of paper next to a sleeping Dana. Gently touches her face. Touches his fingers to his own face. He takes a long last look at her.</scene_description>
</scene>
<scene>
<stage_direction>INT. PENINSULA HOTEL - SUITE - MORNING</stage_direction>
<scene_description>Dana sits on the side of the bed, eyes red, open sheet of paper in hand. She stares straight ahead... at nothing. Written on the sheet of paper: "I'm leaving. Goodbye Dana."</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' RANCH HOME - DAY</stage_direction>
<scene_description>Marybeth snaps on a pair of latex gloves, holds a wrinkled pair out to Ray. He shakes his head, scopes the room.</scene_description>
<character>RAY</character>
<dialogue>Won't matter.</dialogue>
<scene_description>Three FBI AGENTS wearing FBI jackets and latex gloves, roam.</scene_description>
<character>RAY</character>
<dialogue>Thanks for tying it down, Pat.</dialogue>
<character>FBI AGENT-IN-CHARGE</character>
<dialogue>We've been here twenty minutes, might as well be twenty hours.</dialogue>
<character>MARYBETH</character>
<dialogue>Computers?</dialogue>
<character>FBI AGENT-IN-CHARGE</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>No bills, magazines, TV, dirty dishes. If somebody did live here, they've got no reason to come back.</dialogue>
<scene_description>Ray wanders, looking around, pensive.</scene_description>
<character>MARYBETH</character>
<dialogue>Phone?</dialogue>
<character>FBI AGENT-IN-CHARGE</character>
<dialogue>Works. Registered to Christian Wolff. Phone company has no record of outgoing or incoming calls, not even tele-marketers.</dialogue>
<character>FBI AGENT 1 (O.S.)</character>
<parenthetical>(loud; from the kitchen)</parenthetical>
<dialogue>In here.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>VELCRO SEPARATES. FBI AGENT 1 carefully retrieves a pistol from the open cupboard. Agents watch.</scene_description>
<character>FBI AGENT 1</character>
<dialogue>.357 Colt Python. Serial numbers gone.</dialogue>
<scene_description>Agent 1 flips the cylinder open, looks.</scene_description>
<character>FBI AGENT 1</character>
<dialogue>Hydra-Shok Magnums.</dialogue>
<scene_description>Marybeth looks at Ray. He seems in a trance, ignoring the gun, fascinated by the cabinets' spare contents.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHRIS' RANCH HOME - DAY</stage_direction>
<scene_description>Ray and Marybeth survey the property. He turns to the common ground, the woods beyond.</scene_description>
<character>MARYBETH</character>
<dialogue>This is our guy.</dialogue>
<character>RAY</character>
<dialogue>Why would a man who's been up to his elbows in cash, live here?</dialogue>
<scene_description>The automatic garage door lifts.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE</stage_direction>
<scene_description>The agents file in, look around. The space bare but for-- The TARP-COVERED OBJECT suspended from the rafter beam.</scene_description>
<character>MARYBETH</character>
<dialogue>It's the smart move. Given his clientele, he figures blending in will extend his shelf life.</dialogue>
<scene_description>Ray jerks a thumb over a shoulder toward the common ground.</scene_description>
<character>RAY</character>
<dialogue>The woods would bother me. No protection if--</dialogue>
<scene_description>An agent pulls off the tarp: a huge 6-BARREL MINI-GUN suspended in mid-air, pointed at Ray and Marybeth.</scene_description>
<character>FBI AGENT-IN-CHARGE</character>
<dialogue>Jesusmaryandjoseph.</dialogue>
<scene_description>Agent 2 pushes the heavy gun. It glides smoothly across the garage, links of 7.62 mm ammo uncoil, trail behind.</scene_description>
<character>RAY</character>
<dialogue>Don't see that every day.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS (EDGE) - DAY</stage_direction>
<scene_description>A prone SNIPER 1 blends with brush, eye to his rifle scope. His POV: Lake Michigan frames an isolated glass and brushed- steel mansion.</scene_description>
<character>SNIPER 1</character>
<parenthetical>(into earpiece)</parenthetical>
<dialogue>Nope, all clear.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAMAR'S BOAT HOUSE - DAY</stage_direction>
<scene_description>SNIPER 2 set up behind a tarp covered boat, scopes the rear of the estate.</scene_description>
<character>MERC LEADER (V.O.)</character>
<parenthetical>(over earpiece)</parenthetical>
<dialogue>Bobby?</dialogue>
<character>SNIPER 2</character>
<parenthetical>(into earpiece)</parenthetical>
<dialogue>Nothing but blue skies, boss.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Soaring vaulted cathedral ceilings, floor to ceiling windows. MERC LEADER grins, glances at an anxious Lamar staring out a picture window. Four other MERCS lounge on furniture, load clips, work slides on suppressor-equipped pistols.</scene_description>
<character>MERC LEADER</character>
<parenthetical>(into earpiece)</parenthetical>
<dialogue>He'll wait for night. If at all.</dialogue>
<parenthetical>(disconnects)</parenthetical>
<dialogue>Gotta tell ya, Brax. Your call surprised me. After our little dustup in Tikrit, I kinda thought you'd be gunnin' for us.</dialogue>
<scene_description>Brax aims a remote at a high-end stereo system, music changes, classical, advertisement, country, rock.</scene_description>
<character>BRAX</character>
<dialogue>Who knows what remains of the day?</dialogue>
<character>LAMAR</character>
<dialogue>He's only an accountant. You should be watching his home.</dialogue>
<character>BRAX</character>
<dialogue>I recommended you leave the country. You declined.</dialogue>
<scene_description>An angry frightened Lamar turns on Brax.</scene_description>
<character>LAMAR</character>
<dialogue>He's a number-cruncher!</dialogue>
<scene_description>He turns back to the window, regretful, frustrated.</scene_description>
<character>LAMAR</character>
<dialogue>I could see it in his eyes. The freak wasn't going to let it go.</dialogue>
<scene_description>Brax tenses at "freak", turns the music off.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' RANCH HOME - LIVING ROOM - DAY</stage_direction>
<scene_description>A frustrated Marybeth leans against the couch, thinking.</scene_description>
<character>FBI AGENT-IN-CHARGE (O.S.)</character>
<dialogue>No problem, Ray.</dialogue>
<scene_description>OS the front door SHUTS. Ray enters the room, drops onto the couch, exhales.</scene_description>
<character>RAY</character>
<dialogue>I was old ten years ago.</dialogue>
<scene_description>Ray slouches, loosens his tie, kicks his shoes off, puts his feet up on the coffee table. His aura dims.</scene_description>
<character>RAY</character>
<dialogue>What's your story, Medina?</dialogue>
<character>MARYBETH</character>
<dialogue>You know my story.</dialogue>
<character>RAY</character>
<dialogue>I know what the court said.</dialogue>
<character>MARYBETH</character>
<dialogue>Hypothetically?</dialogue>
<scene_description>He nods, patient. A long beat, a painful memory. She sits.</scene_description>
<character>MARYBETH</character>
<dialogue>I was a soldier in a Baltimore street crew. At seventeen I might have pistol-whipped my sister's hypothetical pimp within an inch of his life. Somehow he wound up in the trunk of my hypothetical car. I kept him there for three days.</dialogue>
<scene_description>Tension in the air, silence for a beat.</scene_description>
<character>RAY</character>
<dialogue>Regret it?</dialogue>
<character>MARYBETH</character>
<dialogue>Only that I did it in the parking lot of a 7-Eleven with functioning security cameras.</dialogue>
<scene_description>Ray doesn't respond, waits for the real answer.</scene_description>
<character>MARYBETH</character>
<dialogue>My sister's now a dental hygienist in Annapolis. Married, three kids. No, I don't regret it.</dialogue>
<character>RAY</character>
<dialogue>That's a rough hypothetical.</dialogue>
<scene_description>Enough. She turns a cold stare on him, cuts his strings.</scene_description>
<character>MARYBETH</character>
<dialogue>With all due respect, Deputy Director King... what the fuck do you know about rough?</dialogue>
<character>RAY</character>
<dialogue>Well, hell, Marybeth, you tell me--</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAVEN SOCIAL CLUB - DAY (FLASHBACK)</stage_direction>
<scene_description>Horns HONK, brakes SCREECH.</scene_description>
<character>FEDERAL AGENT (O.S.)</character>
<parenthetical>(at a distance; shouts)</parenthetical>
<dialogue>Wait, let me call it in!</dialogue>
<scene_description>Muted pops of gunfire. Fast footfalls on the pavement. Guns drawn, backs to us, two men run, pass two dead thugs on the sidewalk, pooling blood.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAVEN SOCIAL CLUB (FLASHBACK)</stage_direction>
<scene_description>LOUD GUNFIRE. A fear-stricken Don grips his gun, looks across the hall at his back-up -- RAY KING. Ray licks his lips, advances.</scene_description>
<character>DON (O.S.)</character>
<dialogue>Fuck this. Let's go.</dialogue>
<scene_description>Ray looks, sees a terrified Don eyeing the entrance door.</scene_description>
<character>DON</character>
<dialogue>Uh-uh, not me--</dialogue>
<scene_description>Don exits. BOOM! A shotgun blast. Ray automatically swivels to the sound, both hands grasp an unsteady gun held in front of him. A warren of rooms. Don hesitates, considers following, but instead runs for the entrance door. Ray looks up. From the second floor SHOUTS OF PANICKED MEN, RUNNING.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>I had no business being in there.</dialogue>
<scene_description>He approaches a doorway, swallows hard.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAVEN - GROUND FLOOR (FLASHBACK)</stage_direction>
<scene_description>Ray sweeps the room with his pistol. Early Elk's Lodge, small bar, a few tables. Stopping on--</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Put me in that 7-Eleven of yours with a cherry Slurpee and a stack of ones bleached to look like fives... I'm hell on wheels.</dialogue>
<scene_description>A MOBSTER sits on the floor, back to the bar, head lolls to the side, two bullet holes in his face. From the second floor A PUMP SHOTGUN BOOMS and reloads. AUTOMATIC GUNFIRE responds. Ray spots a staircase.</scene_description>
<character>RAY (V.O.)</character>
<parenthetical>(sober)</parenthetical>
<dialogue>Not in there. Not with people like that. Like him.</dialogue>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR (FLASHBACK)</stage_direction>
<scene_description>No gunfire. No cursing. Only unsettling quiet. Ray advances down the dim hall. Sweating, hands trembling, shoulders aching, labored breath loud in his ears. Blood-spatters spiderweb the walls on both sides. Dead mobsters litter the floor. Ray GASPS, startled. At his feet, a DYING MOBSTER with a gaping chest wound grips Ray's pant cuff.</scene_description>
<character>DYING MOBSTER</character>
<parenthetical>(weak rasp)</parenthetical>
<dialogue>Please. Help...</dialogue>
<scene_description>Ray jerks the leg free, wipes flop-sweat from his eyes. From a room at the end of the corridor... a desperate, frightened voice.</scene_description>
<character>BENEDETTO (O.S.)</character>
<dialogue>Stop! You're not hearing me. I wasn't even there! I didn't touch that old man--</dialogue>
<scene_description>Sound of a THWACK. A THUMP. Quiet.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Little Tony Benedetto. I'd been sitting in a cramped van for six months listening to the arrogant son of a bitch belch, fart, and brag.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Didn't recognize his voice with all the fear in it.</dialogue>
<scene_description>Ray inches along the wall to the doorway, pistol tight against his chest. He licks dry lips, tenses, ready... CLICK. A .45 cocks. Ray freezes. A barrel pressed against the back of his head. He squeezes his eyes shut. Opens them.</scene_description>
<character>CHRIS (O.S.)</character>
<parenthetical>(wounded; whisper)</parenthetical>
<dialogue>Your name?</dialogue>
<character>RAY</character>
<parenthetical>(trembling; hoarse)</parenthetical>
<dialogue>Ray. Raymond King.</dialogue>
<scene_description>OS the faint sound of POLICE SIRENS.</scene_description>
<character>CHRIS (O.S.)</character>
<dialogue>Who employs you, Raymond King?</dialogue>
<scene_description>A fat drop of Chris' blood hits the thin industrial carpet.</scene_description>
<character>RAY</character>
<dialogue>I... I'm a Treasury Agent.</dialogue>
<character>CHRIS (O.S.)</character>
<dialogue>Are you a good one?</dialogue>
<character>RAY</character>
<dialogue>Not particularly. No.</dialogue>
<character>CHRIS (O.S.)</character>
<dialogue>Is that it?</dialogue>
<character>RAY</character>
<dialogue>I'm married. Was married.</dialogue>
<scene_description>The barrel digs into Ray's skull.</scene_description>
<character>RAY</character>
<parenthetical>(desperate; emotional)</parenthetical>
<dialogue>A dad, I'm a dad. I have two kids.</dialogue>
<character>CHRIS</character>
<dialogue>Grown?</dialogue>
<scene_description>Ray chokes back an involuntary sob, nods slightly.</scene_description>
<character>RAY</character>
<dialogue>Yes. They're all, all grown up.</dialogue>
<scene_description>Another drop of blood adds to a spreading carpet stain.</scene_description>
<character>CHRIS (O.S.)</character>
<dialogue>Were you a good dad? Ray King?</dialogue>
<scene_description>He blinks back tears, sure of death. He remembers, smiles.</scene_description>
<character>RAY</character>
<dialogue>Yeah. Yeah, I've been a good dad. Been a lousy agent and, and a weak man, but that... That I didn't screw up. That I did right.</dialogue>
<scene_description>The sirens LOUDER. Closer. Ray waits. Death or a question. Seems like an eternity, but... NOTHING. He turns, the hallway empty of life. He slides down the wall, a pant leg stained with urine, still holding his gun. He puts his face in his hands, CRIES with relief. RETURN TO: Marybeth gapes at Ray, a question in her eyes.</scene_description>
<character>RAY</character>
<dialogue>Suppose you were a Treasury agent in the twilight of a spectacularly dismal career...</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. 7-ELEVEN - DAY</stage_direction>
<scene_description>A microwave cooks a breakfast burrito. An unshaven, wrinkle- shirted Ray holds a five dollar bill up to the overhead fluorescent lights, studies it.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>You tell yourself you're justifying two failed marriages and a fondness for malt liquor by doing the least possible amount of work necessary to hang onto your pension. But that's not true. The reality is, you lack both talent and ambition.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY CONFERENCE ROOM</stage_direction>
<scene_description>Windowless, dingy. Francis sits at a long oblong table, talks, doing his best to explain. He pauses, worried.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Then one day... that break you should've been looking for.</dialogue>
<scene_description>Sitting opposite Francis, an uninterested Ray puts pencil to paper, nods his understanding, doodles.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Made the new handler for an asset that could turn your career around if only you'd listen. You don't.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY BUS STOP - DAY</stage_direction>
<scene_description>A numb Francis wears a dated suit. He stands, waiting, cheap suitcase by his feet. The bus pulls up.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>You recommend he be released. Maybe even believe you're doing him a favor. You're not.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MORGUE</stage_direction>
<scene_description>A coroner pulls back a sheet, averts his eyes from an unseen corpse. An ashen Ray stares down. The sheet returned. One of Francis' ruined hands is exposed. Ray's eyes shine, he takes the hand in his, gently tucks it beneath the sheet.</scene_description>
<character>RAY (V.O.)</character>
<parenthetical>(emotion rising)</parenthetical>
<dialogue>So you volunteer for a joint task force, sit in a hot stinking surveillance van for months and wait for a shred of evidence to use against the old man's killers.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SURVEILLANCE VAN - DAY</stage_direction>
<scene_description>Ray and Don sit, the cramped space full of electronics. Visible through the windshield, CHRIS WALKS BY, unnoticed.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Hardest thing to accept? After all that? If Don hadn't charged in like an idiot, I wouldn't have had the balls to step foot in the place. I was in the wrong place, wrong time. Changed my life.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. RAVEN - DAY</stage_direction>
<scene_description>Ray advances down the Raven's corpse-strewn corridor.</scene_description>
<character>RAY (V.O.)</character>
<dialogue>Two months later, a call. Out of the blue. I'll never forget the voice.</dialogue>
<scene_description>FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S CUBICLE - DAY</stage_direction>
<scene_description>The space tiny, fit for a bottom-feeder. A rheumy-eyed unshaven Ray answers the phone.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Do you like puzzles, Raymond King?</dialogue>
<scene_description>RETURN TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' RANCH HOME - LIVING ROOM - DAY</stage_direction>
<scene_description>A speechless Marybeth watches Ray wrap it up.</scene_description>
<character>RAY</character>
<dialogue>Tells me she works for the accountant. That a shipping container packed with Chinese nationals is passing through the Port of New York. Four months later, one ton of uncut Juarez Cartel product is entering Miami. So on, so forth.</dialogue>
<scene_description>She leans back, overwhelmed, at a loss.</scene_description>
<character>MARYBETH</character>
<dialogue>All those cases you put together. The legend of Ray King.</dialogue>
<character>RAY</character>
<dialogue>Smoke. He doesn't exist.</dialogue>
<character>MARYBETH</character>
<dialogue>Who is he, this "accountant"?</dialogue>
<character>RAY</character>
<dialogue>A.P. Hood, no middle name. American, thirty-one years old. We sprung him from Leavenworth maximum security.</dialogue>
<character>MARYBETH</character>
<dialogue>The military prison?</dialogue>
<character>RAY</character>
<dialogue>He was with the Combat Applications Group out of Ft. Bragg. Hood's a math savant, speaks Arabic, five or six others.</dialogue>
<character>RAY</character>
<dialogue>He was assigned rendition work at black sites in Europe until he nearly beat an over- eager CIA interrogator to death and went AWOL. We requisitioned him to track Al Qaeda and Hamas money launderers. He roomed with Francis at our detention center. I've heard stories of him running a dozen Venn diagrams at once, did the work of five analysts.</dialogue>
<parenthetical>(beat; remembering)</parenthetical>
<dialogue>The day Francis' body was found, Hood fractured his handler's skull with a coffee thermos and just... walked away. Disappeared.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I gave up trying to figure out when she'll call. The "why" though, that I've got. Every case the same thread; an accountant is hired, someone whose skills far exceed the norm. Does the job in record time--</dialogue>
<character>MARYBETH</character>
<parenthetical>(connecting the dots)</parenthetical>
<dialogue>They try to kill him.</dialogue>
<character>RAY</character>
<dialogue>And I get a call.</dialogue>
<scene_description>She bolts from the couch, overwhelmed, pacing.</scene_description>
<character>MARYBETH</character>
<dialogue>Why are you telling me this? You never should have let anyone near this!</dialogue>
<character>RAY</character>
<dialogue>Least of all you.</dialogue>
<character>MARYBETH</character>
<dialogue>Yes! Yes, least of all me!</dialogue>
<character>RAY</character>
<dialogue>I told you when you started, I retire in a few months.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>She'll need someone to call.</dialogue>
<scene_description>She finally gets it. Digs her heels in.</scene_description>
<character>MARYBETH</character>
<dialogue>He's a criminal! What about the ones that don't try to kill him, the ones he doesn't turn in? He aids and abets drug cartels, money launderers-- He killed all those men at the Raven!</dialogue>
<character>RAY</character>
<dialogue>Murderers! How long did you have a trunk-full of pimp?</dialogue>
<character>MARYBETH</character>
<dialogue>Not even in the same league!</dialogue>
<scene_description>He lets her cool, understands her anger, confusion.</scene_description>
<character>RAY</character>
<dialogue>I realized something that day. Sitting in my cubicle, trying to make this same decision.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'd spent the better part of my life recognizing my lucky breaks only after they were gone.</dialogue>
<scene_description>She digests this for a beat, wavers.</scene_description>
<character>MARYBETH</character>
<dialogue>Any idea on the woman? The Brit?</dialogue>
<scene_description>RING! Kitchen phone loud. She looks to Ray. RING!</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRIS' HOME-KITCHEN</stage_direction>
<scene_description>RING! Marybeth picks up the phone, answers.</scene_description>
<character>MARYBETH</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello?</dialogue>
<scene_description>From the other connection a KEYBOARD CLICKS.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Agent Medina, pleased to meet you. Tell Eliot Ness to get his feet off the furniture. He's not in a barn.</dialogue>
<scene_description>Marybeth's face drops, she looks for the camera.</scene_description>
<character>BRITISH FEMALE (V.O.)</character>
<dialogue>Creative Robotics. Write it down.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAMAR'S HOME - FOYER - NIGHT</stage_direction>
<scene_description>Lights out. Moonlight through picture windows. Shadows. Merc Leader keeps watch through the front door's sidelight. The distant CRACK of a rifle shot. The room responds, Mercs stand, advance rounds. Lamar loiters, unsure what to do, looks to Brax.</scene_description>
<character>MERC LEADER</character>
<parenthetical>(into earpiece)</parenthetical>
<dialogue>Ike, was that you? Ike?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAMAR'S BOAT HOUSE - NIGHT</stage_direction>
<scene_description>Sniper 2 dead on the deck, hair wet with blood, head-shot.</scene_description>
<character>SNIPER 1 (V.O.)</character>
<parenthetical>(over earpiece)</parenthetical>
<dialogue>No.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAMAR'S HOME - FOYER - NIGHT</stage_direction>
<scene_description>Brax joins Merc Leader at the opposite sidelight.</scene_description>
<character>MERC LEADER</character>
<parenthetical>(into earpiece)</parenthetical>
<dialogue>Bobby, you there...?</dialogue>
<scene_description>Brax gives Merc Leader a look, starts away from the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Chris lies on his stomach, comm-link in his ear, scopes Lamar's home with a rifle identical to Sniper 1's.</scene_description>
<character>MERC LEADER (V.O.)</character>
<parenthetical>(over earpiece)</parenthetical>
<dialogue>Bobby--</dialogue>
<scene_description>Chris taps the comm-link, disconnects. Next to him, a hog- tied Sniper 1, his face bloodied.</scene_description>
<character>CHRIS</character>
<dialogue>Felt like it pulled left--</dialogue>
<character>SNIPER 1</character>
<dialogue>Fuck you.</dialogue>
<scene_description>Chris kneels, produces a rolled Persian rug. 17th century.</scene_description>
<character>CHRIS</character>
<dialogue>You might consider a round with a superior ballistic coefficient.</dialogue>
<scene_description>Sniper 1 watches Chris unroll the rug-- the Barrett .50 cal.</scene_description>
<character>CHRIS</character>
<dialogue>We need the layout of the home. Rooms, corridors, cover.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAMAR'S HOME-LIVING ROOM - NIGHT</stage_direction>
<scene_description>Silent. Brax tucks into an interior doorway, pulls Lamar in next to him. Brax eyes about, watches a BALD MERC edge across the room, into a beam of moonlight.</scene_description>
<character>BRAX</character>
<parenthetical>(to Lamar; low)</parenthetical>
<dialogue>Ever see a match-grade round traveling three thousand feet per second come through a window?</dialogue>
<scene_description>A picture window divots, a mist from Bald Merc's head. A distinctive BOOM from the Barrett, Bald Merc crumples.</scene_description>
<character>BRAX</character>
<dialogue>Nobody does.</dialogue>
<scene_description>Brax grabs Lamar by the scruff of the neck, bolts. Mercs crouch as .50 cal rounds blow jagged holes through the great room, brick powders, walls tear like tissue, strike the lake beyond. A round punches thru 2 walls, a MUSTACHED MERC. A HUGE MERC lies flat, a round gouging the wood floor near his head. The other Mercs crawl to the rear of the house. Stop. Silence. The Huge Merc gathers himself, freezes as he watches the front door ease open, hears a whispered chant from the darkness.</scene_description>
<character>CHRIS (V.O.)</character>
<dialogue>Solomon Grundy born on a Monday.</dialogue>
<scene_description>The Huge Merc kneels, unloads a spray of automatic fire through the open door, wrecks the sidelights, door frame. Stops. PHHT. A single round enters his forehead, drops him. Chris enters.</scene_description>
<character>CHRIS</character>
<dialogue>Christened on Tuesday--</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>Lamar, frightened, stares at the closed door, backs into the center of the room.</scene_description>
<character>LAMAR</character>
<dialogue>What? What's happening?</dialogue>
<scene_description>Brax sits on the edge of a bed, pistol in hand, detached.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Chris chants, eerily calm, sweeps the home. Each burst of automatic weapon fire met with a solitary shot. One dead, two dead-- a TATTOOED MERC advances, firing. Dozens of silenced rounds splinter door frames, dig into walls, furniture.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>A horrified Lamar listens to the relentless MUFFLED GUNFIRE, nears the still seated Brax.</scene_description>
<character>LAMAR</character>
<dialogue>What's happening? SAY SOMETHING!</dialogue>
<scene_description>Brax slowly looks up.</scene_description>
<character>BRAX</character>
<dialogue>Died on Saturday, buried on Sunday.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>The Tattooed Merc stops firing, presses himself to a wall, waits, listens. Two short rounds rip through the wall, enter his head. He drops. Chris rounds the wall--</scene_description>
<character>CHRIS</character>
<dialogue>That was the end of Sol--</dialogue>
<scene_description>Merc Leader emerges from a connecting hall, fires a silenced machine pistol. A long AUTOMATIC BURST lasers the room. Chris dives for cover, badly outgunned. Merc Leader presses his advantage. Chris returns fire in vain, empties his gun. Merc Leader empty. Chris pitches his glasses, vaults furniture, rushes the man. Merc Leader jacks a full clip in, racks the slide, points-- Chris slams into Merc Leader, the machine pistol discarded. Two professionals; quick fists, elbows, knees. Chris smaller but faster, unemotional. A knee snaps one of Merc Leader's lower ribs, a kick staggers him. A desperate Merc Leader swings wildly, Chris blocks, breaks Merc Leader's nose with unanswered punches, moves to finish-- LOUD ROCK MUSIC erupts from the home's speaker system. Chris winces, distracted. Merc Leader punches him, Chris swings, misses, Merc Leader delivers a kick to the head, Chris goes down. Merc Leader lunges for the weapon. Chris, bleeding, disoriented, scrambles after him. Merc Leader grabs the gun, Chris on top. They struggle for control, Chris -- IN PAIN -- punches Merc Leader in the face again and again. Merc Leader loses consciousness, Chris continues to punch. MUSIC OFF, LIGHTS ON. Chris lunges, grabs Merc Leader's gun.</scene_description>
<character>BRAX (O.S.)</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Enough with the moronic chant already!</dialogue>
<scene_description>Chris squints against the light, pistol aimed at Brax. He hesitates, is kicked in the face, spun off Merc Leader. An enraged Brax looms over a prone Chris.</scene_description>
<character>BRAX</character>
<dialogue>You crack a spook's skull?!</dialogue>
<scene_description>Chris tries to rise, Brax kicks him.</scene_description>
<character>BRAX</character>
<dialogue>Because you feel sorry for some miserable sand trash?!</dialogue>
<scene_description>Brax unleashes another kick, Chris traps the ankle. Brax straddles Chris, punches him in the face.</scene_description>
<character>BRAX</character>
<dialogue>You don't let our father ruin his life by running to him!</dialogue>
<parenthetical>(punch)</parenthetical>
<dialogue>You don't call him!</dialogue>
<scene_description>Another hard punch, Chris looks up at him, no fight.</scene_description>
<character>CHRIS</character>
<dialogue>We're sorry, Braxton.</dialogue>
<character>BRAX</character>
<dialogue>"I'm sorry, Braxton!" "I'm!" "I'm!" "I'm!" You're not the Queen of England YOU WEIRD FUCK!</dialogue>
<scene_description>Chris, enraged, grabs Brax by the shirt, pulls his brother down, snaps his own forehead up, head-butting Brax. The two brothers roll on the ground -- no longer two professionals -- a snarling, spitting ball of juvenile fury. Chris rolls on top of his bleeding younger brother, balls a fist, pulls back... can't.</scene_description>
<character>BRAX</character>
<parenthetical>(near tears)</parenthetical>
<dialogue>You call me. Me. I'm your brother. I'm the one who always had your back. I fix things. Why didn't you call me?</dialogue>
<scene_description>Chris grabs Brax' face in his hands, wills him to understand.</scene_description>
<character>CHRIS</character>
<dialogue>We didn't call him. He just came. Like he always did.</dialogue>
<character>CHRIS</character>
<parenthetical>(emotional)</parenthetical>
<dialogue>We're sorry... I'm sorry.</dialogue>
<scene_description>Chris rolls off, collapses next to Brax, exhausted.</scene_description>
<character>BRAX</character>
<dialogue>What are the odds?</dialogue>
<character>CHRIS</character>
<dialogue>Statistically speaking not as--</dialogue>
<character>BRAX</character>
<dialogue>Christ, it's rhetorical.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've looked for you for the last six years.</dialogue>
<scene_description>Chris sits up, struggles to his feet, locates his glasses.</scene_description>
<character>CHRIS</character>
<dialogue>Our clientele is dangerous. We didn't want you hurt.</dialogue>
<scene_description>BLAM! Chris spins -- shoulder hit -- falls to the ground. Merc 1 gets to his feet, unsteady, pistol aimed at Chris. Brax reaches for the pistol tucked in his pants.</scene_description>
<character>MERC 1</character>
<parenthetical>(aims at Brax)</parenthetical>
<dialogue>Uh-uh.</dialogue>
<scene_description>Brax freezes.</scene_description>
<character>MERC 1</character>
<dialogue>Old home week, asshole?</dialogue>
<character>LAMAR (O.S.)</character>
<dialogue>Shoot him.</dialogue>
<scene_description>Lamar skirts the edge of the room, angry with fear. Merc 1 approaches a motionless bloody Chris, stands over him.</scene_description>
<character>LAMAR</character>
<dialogue>KILL HIM!</dialogue>
<scene_description>Chris sweeps Merc 1's legs, the man hits the floor, Chris buries a short blade in his neck. Dead. Brax, pistol drawn, reaches for his shiv-- GONE. He smiles. Lamar is stunned, flustered. Chris stands. He looks at Lamar, gestures at him, weak.</scene_description>
<character>CHRIS</character>
<dialogue>Not happy.</dialogue>
<scene_description>Chris passes Brax, hands him his shiv, confronts Lamar.</scene_description>
<character>CHRIS</character>
<dialogue>We have to know. Ed we understand. Why your sister?</dialogue>
<character>LAMAR</character>
<dialogue>Rita held her nickels and dimes over my head since the day Creative was born! Always carping about a "return on her investment."</dialogue>
<parenthetical>(persuading)</parenthetical>
<dialogue>I'm taking Creative public. My shares will be worth roughly one billion dollars. A billion dollars, Mr. Wolff, that I decide how best to use. Neuro- prosthetics, nanotechnology... limbs, eyes, ears only better than the ones God gave us!</dialogue>
<character>CHRIS</character>
<dialogue>Dana discovered a weakness. You hired us to leak-test the books. Show you what wouldn't stand up to public scrutiny.</dialogue>
<scene_description>Chris stares at Lamar for a beat. Satisfied.</scene_description>
<character>CHRIS</character>
<dialogue>Fair enough.</dialogue>
<scene_description>Chris turns his back on Lamar, painfully stoops to pick up a pistol, his glasses. He limps for the door, Brax by his side.</scene_description>
<character>CHRIS</character>
<dialogue>Federal agents are coming.</dialogue>
<character>BRAX</character>
<dialogue>I'm right behind you.</dialogue>
<scene_description>In the bg, Lamar picks up the machine pistol, aims at them.</scene_description>
<character>LAMAR</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>He's just an accountant.</dialogue>
<scene_description>Chris and Brax half-turn, pistols raised, simultaneously shoot. Head and chest shot, Lamar drops. Slowly the two continue across the great room. Through the windows, police lights twinkle along the distant shoreline.</scene_description>
<character>BRAX</character>
<dialogue>I've missed you. A lot.</dialogue>
<scene_description>Brax puts a supporting arm around him, Chris drapes his good arm over his younger brother's shoulders.</scene_description>
<character>BRAX</character>
<dialogue>I missed you too, Braxton. Because you're my brother and I love you.</dialogue>
<character>CHRIS</character>
<dialogue>We do.</dialogue>
<scene_description>Brax opens the door, helps Chris out.</scene_description>
<character>BRAX</character>
<dialogue>Watertown in a week?</dialogue>
<character>CHRIS</character>
<dialogue>If we can find suitable storage.</dialogue>
<scene_description>With effort, Chris pulls the door shut behind them.</scene_description>
</scene>
<scene>
<stage_direction>INT. TREASURY BUILDING - PRESS ROOM - DAY</stage_direction>
<scene_description>The Secretary of the Treasury at the podium. Flanking him, Ray, Marybeth, and a half-dozen agents. Seated REPORTERS jam the room, standing room only in back.</scene_description>
<character>REPORTER 1</character>
<dialogue>--What do you say to the rumors that some of the John Does have wounds consistent with anti- aircraft rounds?</dialogue>
<character>TREASURY SECRETARY</character>
<dialogue>I'd say the Chicago Police have ample experience solving all manner of homicides.</dialogue>
<parenthetical>(pointing to a reporter)</parenthetical>
<dialogue>Yes, Helen?</dialogue>
<character>REPORTER 2</character>
<parenthetical>(stands)</parenthetical>
<dialogue>Sir, did the conspiracy and fraud charges within Creative Robotics lead to the deaths of Lamar Black and his sister Rita?</dialogue>
<character>TREASURY SECRETARY (O.S.)</character>
<dialogue>Helen, this is an ongoing investigation. Suffice it to say that the American public demands a new level of vigilance in safeguarding our financial system. Let me introduce the agent who spearheaded the investigation. Senior Agent Medina?</dialogue>
<scene_description>Cameras click, reporters SHOUT. Marybeth takes the podium, nervous. She clears her throat.</scene_description>
<character>MARYBETH</character>
<dialogue>Good afternoon.</dialogue>
<scene_description>She glances at Ray, he stares back... waits.</scene_description>
<character>MARYBETH</character>
<dialogue>Um, as much as I'd like to take credit for this... I... I can't.</dialogue>
<scene_description>She hesitates... cameras click... puzzled faces...</scene_description>
<character>MARYBETH</character>
<parenthetical>(finding her groove)</parenthetical>
<dialogue>Because this was a team effort comprised of long hours of good old- fashioned investigative work.</dialogue>
<scene_description>Ray beams as cameras click, reporters SHOUT. IRS Agent stands at the back of the room, smiles, applauds.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN - DAY</stage_direction>
<scene_description>The cabin familiar to us, well-maintained. A small sun-bleached wooden sign, the words "Harbor Neuroscience" weathered, aged.</scene_description>
<character>AUTISTIC BOY'S MOM (V.O.)</character>
<parenthetical>(strained emotion)</parenthetical>
<dialogue>He was just like our other two, such a happy baby. Now, he rarely speaks. It's like... our child is missing, he's not there. He's lost and he needs our help... We thought--</dialogue>
<scene_description>Coming into view, adjacent to the property... A modern clinic. Suspended between two entry-way pillars, a welcome arch: "Harbor Neuroscience Institute."</scene_description>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>We thought... we hoped he'd catch back up, but... He didn't.</dialogue>
</scene>
<scene>
<stage_direction>INT. HARBOR NEUROSCIENCE INSTITUTE - WAITING ROOM - DAY</stage_direction>
<scene_description>Sun streams in floor-to-ceiling windows... warm, inviting. Alone, a 6-YEAR-OLD BOY plays with toys on a carpeted floor.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<parenthetical>(intelligent; soothing)</parenthetical>
<dialogue>Mrs. Jeffries, Mr. Jeffries... I know it may feel like it now, you're frustrated, frightened, but you're not alone.</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>One in 88 children in this country are diagnosed with a form of autism.</dialogue>
<scene_description>The boy stands, casts his eyes about, heads for a doorway. On the floor, two dozen blocks, animals, cars, trucks, planes -- have been arranged in a perfectly straight line.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>But if you can put aside for a moment what your pediatrician and all the other NT's have told you about your son--</dialogue>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>"NT's"?</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>"Neuro-typicals." The rest of us. What if they're wrong?</dialogue>
</scene>
<scene>
<stage_direction>INT. HARBOR NEUROSCIENCE-CORRIDOR</stage_direction>
<scene_description>The boy walks, explores. He runs his small hand against the wall, windowsills, feels the wood grain, sun on his face.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>What if we've been using the wrong tests to quantify intelligence in children with autism? Your son's not less-than. He's different.</dialogue>
<scene_description>A nurse passes, smiles at him. Stone-faced, he continues.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>Now your expectations for your son may change over time. They might include self-sufficiency, marriage, children. And they might not. But I guarantee you if we let the world set expectations for our children they'll start low and stay there.</dialogue>
<scene_description>He rounds a corner, stops. The boy's POV: a door left ajar.</scene_description>
</scene>
<scene>
<stage_direction>INT. JUSTINE'S ROOM - DAY</stage_direction>
<scene_description>The boy steps in to a cozy home. The walls a warm pink. Overhead, multiple MOBILES slowly spin, cast prisms of light on the walls, across a framed poster; young Muhammad Ali towers over a prone Sonny Liston.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>Maybe your son is capable of much more than we know. And maybe just maybe, he doesn't understand how to tell us. Or we haven't yet learned how to listen.</dialogue>
<scene_description>A GRUNT. The boy turns, freezes. Dark eyes glare out behind wild thick hair. JUSTINE, now 30s, thin, sweats and t-shirt. She nests cross-legged in an easy chair by a desk. On the desk, a flat screen monitor. He stares at her, frightened, unable to move. Justine rocks back and forth, eyes glued to the boy.</scene_description>
<character>AUTISTIC BOY'S MOM (O.S.)</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Honey, for the hundredth time, don't wander off like that.</dialogue>
<scene_description>The boy's PARENTS, 30s, and the DOCTOR, 50s, in the cabin. The couple look at Justine, pained smiles on their faces.</scene_description>
<character>AUTISTIC BOY'S MOM</character>
<parenthetical>(to Justine)</parenthetical>
<dialogue>I'm so sorry.</dialogue>
<character>AUTISM DOC</character>
<parenthetical>(winks at Justine)</parenthetical>
<dialogue>It's all right. Can he visit with you for a while, Justine?</dialogue>
<scene_description>Justine ducks her head, flaps a hand, grunts unintelligibly.</scene_description>
<character>AUTISM DOC</character>
<dialogue>C'mon, folks, I'll give you the nickel tour.</dialogue>
<scene_description>He holds the door for the reluctant-to-leave parents. Dad scans the room one last time. They exit.</scene_description>
<character>AUTISM DOC (V.O.)</character>
<dialogue>We accept every child on the spectrum, no one is turned away. Justine's one of our few full-time residents. She stopped talking thirty years ago, communicates with a digital translator now.</dialogue>
<scene_description>The boy slowly approaches Justine, passes a large suitcase- size computer, CRAY emblazoned on the front. Her desk, the monitor, a potted cactus plant, a small FRAMED PHOTO.</scene_description>
<character>AUTISTIC BOY'S MOM (V.O.)</character>
<dialogue>Doctor, how is Harbor funded?</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>We're fortunate to have very generous private donors. Some more than others.</dialogue>
<scene_description>Two people in the old photo: 10-YEAR-OLD JUSTINE, her little girl's sober face stares out from behind long tangled hair. Next to her, a 10 YEAR-OLD YOUNG BOY: CHRIS.</scene_description>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>I'll say they're generous.</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>Why's that?</dialogue>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>That woman... Justine...</dialogue>
<character>AUTISM DOC</character>
<parenthetical>(proudly)</parenthetical>
<dialogue>My daughter.</dialogue>
<character>AUTISTIC BOY'S MOM (V.O.)</character>
<dialogue>She's your daughter?</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>The reason I started the Institute.</dialogue>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>Justine's computer--</dialogue>
<scene_description>Justine rocks, emits a low KEENING sound, averts her eyes.</scene_description>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>..it's a Cray CX1.</dialogue>
<character>AUTISM DOC (V.O.)</character>
<dialogue>That's right, you're a software engineer. I'm sorry, is that good?</dialogue>
<character>AUTISTIC BOY'S DAD (V.O.)</character>
<dialogue>Good? Doc, she could backdoor the Pentagon with that rig.</dialogue>
<scene_description>Justine paws at the air, contorts. She pulls a WIRELESS KEYBOARD tucked within the chair. Her hands blaze over the keys, SPEAKERS on her desk produce the familiar VOICE:</scene_description>
<character>BRITISH FEMALE/JUSTINE (V.O.)</character>
<dialogue>Hello, young man. And just who might you be?</dialogue>
<scene_description>The boy looks at her with bright, intelligent eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHICAGO OFFICE - DAY</stage_direction>
<scene_description>A crowded cubicle-farm of temps, accountants, admins. Dana sits at her desk, studying a ledger on her monitor. She tilts her head away from the screen, daydreams.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAPPY TRAILS RV PARK - DAY</stage_direction>
<scene_description>Dana stands, stares at the empty spot where the Airstream once parked.</scene_description>
</scene>
<scene>
<stage_direction>INT. DANA'S APARTMENT BUILDING - HALLWAY - NIGHT</stage_direction>
<scene_description>Dana, in a business suit, tired, slides a key in her apartment lock. A shadow falls across the door. She whirls around, frightened... the Fed-Ex guy. Fed Ex holds his palms up, whoa. He hands her a rectangular CARDBOARD BOX, size of a flat screen TV but much lighter. She takes it, no return address.</scene_description>
</scene>
<scene>
<stage_direction>INT. DANA'S APARTMENT - NIGHT</stage_direction>
<scene_description>Dana sits on a love seat, reaches into the Fed-Ex box, pulls... a frame, followed by Dogs Playing Poker.</scene_description>
</scene>
<scene>
<stage_direction>INT. DANA'S APARTMENT-BEDROOM - NIGHT</stage_direction>
<scene_description>Dana finishes nailing a picture hanger into the wall. She hangs Dogs on the hook, straightens it. She steps back to gauge her work. She LAUGHS, remembering. Her laughter fades, in her eyes a touch of sadness. An imperfection catches her eye, a small bubble in an upper corner. She fingers the bubble, something beneath. She picks at a tiny flap of paper, inspects... FREEZES. She slowly tears the print the length of the frame. Dana shocked. She stares at the half-revealed Pollock hanging on her wall. Nervous, she moves to the window, grabs the shade pull, hesitates. She looks out the window, GRINS.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM (MOVING) - SUNSET</stage_direction>
<scene_description>Sun leaks through drawn shades, warms blonde wood. The Renoir also gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV (MOVING) - SUNSET</stage_direction>
<scene_description>Windows down, radio on, Chris, T-shirt and jeans, drives. The cuts on his face fading, he gently taps his fingers to the music, daydreams. Colorado's San Juan Mountains visible through his windshield.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DURANGO, COLORADO - SUNSET</stage_direction>
<scene_description>The SUV trailers the Airstream down a steep grade, the picturesque town of Durango nestled at the base of the pass. The road curves, the SUV and Airstream follow the switchback behind the mountain, disappear. FADE OUT.:</scene_description>
<character>THE END</character>
</scene>
</script> | A man who goes by the alias 'Christian Wolff' is on the autism spectrum. His mother wants to send him to Harbor Neuroscience, a treatment center, but his father disagrees. Unable to handle Christian's needs, his mother abandons their family. His father begins training him and his brother Braxton in various martial arts while also encouraging Christian to acclimate himself to stimulus that triggers him rather than avoiding it. In the present, Christian operates a small accounting office in Plainfield, Illinois, that serves as a front for his money laundering enterprise. His criminal clients contact him via an unnamed woman, who also organizes his business. Chris is hired to audit the firm Living Robotics after the company's CEO Lamar Blackburn and his sister Rita learn of accounting irregularities. They assign in-house accountant Dana Cummings to assist Wolff as she discovered the issue. Meanwhile, Treasury Director Ray King meets with a data analyst named Marybeth Medina who has a criminal record as a juvenile but failed to disclose this on her employment application. King warns Medina she faces prison if he chooses to reveal the information, and he assigns her the task of finding Wolff's real identity before King retires in a few months. She uses this information provided by King along with tax records to locate Wolff's office. Wolff reviews more than a decade of the company's financial records in one night and finds that $61 million has been embezzled. He informs Rita of the total but admits he does not know who the thief is. That night, Living Robotics CFO Ed Chilton is forced by a hitman to overdose on his insulin. The next day, Lamar pays Wolff the rest of his contract money for the audit and tells him to leave. Hitmen attempt to kill Wolff but he easily subdues them; one reveals that Dana is the next target. He arrives at Dana's apartment in time to stop more hitmen from killing her. He takes her to his storage unit, which contains an Airstream recreational vehicle filled with artwork and valuables that he has accepted as payment. He then hides Dana at an expensive hotel and goes to confront Rita but finds her murdered, causing him to suspect Lamar is the thief. King, Medina, and a group of agents search Wolff's home. After everyone else leaves, King tells Medina what he knows of Wolff and reveals that he began getting tips from Wolff. He asks Medina to take over when he retires and to continue accepting Wolff's information. She refuses, unable to justify taking tips from a murderer like Wolff. The phone in the empty house rings, and Medina answers. Wolff's partner gives her a tip about Living Robotics. Wolff goes to Lamar's mansion, where a team of hitmen await. He fights his way inside but is shocked to find his brother Braxton is the one protecting Lamar. The brothers fight and then reconcile, and afterwards Lamar appears and tries to justify his criminal actions. Christian kills Lamar and, before leaving, makes arrangements to meet up with Braxton in a week's time. Another set of parents visit Harbor Neuroscience. They meet Justine, the daughter of the clinic's director, who is revealed to be Wolff's partner. Medina accepts her new role as Wolff's contact and speaks at a press conference on the Treasury investigation into Living Robotics. Dana receives a framed copy of Dogs Playing Poker, but discovers an original Jackson Pollock painting hidden underneath it. In the final scene, Wolff is shown driving on a country road with his Airstream in tow. |
To Sleep with Anger_1990 | tt0100791 | <script>
<scene>
<stage_direction>INT. ROOM - DAY (EFX)</stage_direction>
<scene_description>GIDEON , a strongly built elderly black man , is sitting at a table . On the table is a large bowl of fruit . A crocheted tablecloth hangs over the side of the table . Gideon is dressed in a white suit and wearing a pair of well - polished wing - tip shoes . His hat almost covers his eyes , which are two points of greenish coals . The fruit in the bowl is engulfed in flames . The flames look as if they are DRIPPING from the tablecloth to the floor . Gideon 's shoes start to SMOULDER . His shoes BURST INTO FLAMES which spread up his pants leg . His head falls forward as if he had suddenly fallen to sleep . He twiddles his thumbs very slowly in a circle . He crosses his legs as if to get comfortable . The camera moves to a CLOSE UP of his burning shoes . The image of his feet begins to appear through his shoes ; the flames fade ; the background changes as we</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S BACKYARD - DAY</stage_direction>
<scene_description>Gideon 's bare feet are resting on reddish dry earth . Gideon is sitting in his backyard under a fruit tree with a Bible resting in his hands . His house is a small , neatly painted bungalow in South Central Los Angeles . Corn , tomatoes , other vegetables grow in the yard . Chickens scratch around . He slowly awakens ; his hands are trembling . He looks around and sees the chickens . He looks up at the sky and sighs , with some relief . SUNNY , Gideon 's grandson , five years old , has been watching him from the back window of the house . He leaves the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>DOLLY SHOT OF SUNNY Sunny peeps in the workroom . Through the crack in the door , a Woman waves to Sunny .</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKROOM - DAY</stage_direction>
<scene_description>The room is nearly filled with pregnant women and their husbands . SUZIE , Gideon 's wife , late 60 's or early 70 's , a picture of health , is giving a last bit of instruction before the class ends . Some of the people are already preparing to leave .</scene_description>
<character>SUZIE</character>
<dialogue>Remember, especially you men, that working together now will already have formed a bond before the child arrives. The woman is very sensitive.</dialogue>
<scene_description>Somewhere in the room a Male Voice booms out .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Tell me about it.</dialogue>
<scene_description>There is a bit of LAUGHTER as all start putting away their things .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Gideon looks over at the chickens , scratching around in the garden . He calls to them , but they do n't respond . He puts his shoes on and walks towards the back door of the house . Entering the house , he stops and waits inside the door peeping out . In a sort of devilish manner he talks to himself .</scene_description>
<character>GIDEON</character>
<dialogue>Spoiling the little foxes that spoil my vines.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Shot of the backyard . Nothing . Suddenly , with the grace and suspicion of alley cats , kids jump over Gideon 's back fence , look around timidly , and start climbing up his fruit tree . Gideon walks down the steps slowly while humming in a deep voice . He turns the water on and walks over to the tree , trapping the kids . Dangling legs , hanging from the tree , try to scurry up the tree to safety . Gideon sprays the tree with water . Wet kids fall out of the tree and in one motion leap the fence . Gideon cuts the water off and slaps the dirt off his hands . He is quite pleased with himself .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEYWAY - DAY</stage_direction>
<scene_description>One of the wet kids is watching Gideon as he goes back inside the house . The boy signals the others who slowly follow in single file . They jump the fence and climb back up the tree . They let their half - eaten fruit fall to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>Suzie opens a letter and a picture of a baby falls out . Suzie looks at the picture before reading the letter . She tries to find a place for it among the other baby pictures that cover the entire mirror on the dresser . Gideon comes in and starts to undress .</scene_description>
<character>GIDEON</character>
<dialogue>My mind plays tricks on me. Is it okay if I take a bath now?</dialogue>
<character>SUZIE</character>
<dialogue>Everyone is gone. Rhonda is in the bathroom.</dialogue>
<scene_description>RHONDA , Gideon 's granddaughter , 13 years old , comes out of the bathroom .</scene_description>
<character>GIDEON</character>
<dialogue>I was looking through my trunk and I ca n't find my toby.</dialogue>
<character>RHONDA</character>
<dialogue>What's that?</dialogue>
<character>GIDEON</character>
<dialogue>It is a charm that my great grandmother made me.</dialogue>
<scene_description>Everyone notices the worried look on Gideon 's face .</scene_description>
<character>SUZIE</character>
<dialogue>It will show up.</dialogue>
<character>RHONDA</character>
<dialogue>If my daddy calls, tell him I walked home.</dialogue>
<character>SUZIE</character>
<dialogue>You be careful and thank you for looking after Sunny.</dialogue>
<scene_description>Sunny is asleep on the sofa with a half - eaten apple ready to fall out of his hand .</scene_description>
<character>GIDEON</character>
<dialogue>Babe Brother and his wife are taking advantage of a situation. I hate to be mean to people but picking Sunny up when they feel like it has to come to an end. Now I'm going to ask him how come he could n't be at your birthday.</dialogue>
<character>SUZIE</character>
<dialogue>Do n't bother the poor boy. It just takes some people a little longer to figure out who they are.</dialogue>
<character>GIDEON</character>
<dialogue>I do n't know how two brothers can be so different.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MRS. BAKER'S BACKYARD - DAY</stage_direction>
<scene_description>SKIP BAKER , who is thirteen , crawls out of his pigeon cage , holding two birds that he throws up in the air . He climbs upon the garage roof and throws rocks at the birds to keep them flying . He WHISTLES and YELLS at them . CLOSE UP OF BIRDS FLYING As the birds circle Skip 's house , they do backward rolls and death grips . Skip throws more rocks to keep them flying . The rocks land on Gideon 's roof . The SOUND of a person trying to learn how to play a TRUMPET breaks the pleasant SOUNDS of the pigeons popping their wings and flying in circles over the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. BAKER'S HOUSE, RODNEY'S BEDROOM - DAY</stage_direction>
<scene_description>RODNEY BAKER is about nine . He stands next to a shaded window , trying to finger the right valves on his trumpet . He tries to hit a high note , but only succeeds in making an awful screeching sound .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS. BAKER'S HOUSE - DAY</stage_direction>
<scene_description>A group of kids walking by Rodney 's window shout insulting things about his horn playing .</scene_description>
<character>KIDS</character>
<dialogue>Shut up! Go help your mama wash dishes!</dialogue>
</scene>
<scene>
<stage_direction>INT. GIDEON'S KITCHEN - DAY</stage_direction>
<scene_description>Suzie is standing over an egg that just fell on the floor . The SCREECHING SOUND of the trumpet from next door is interrupted by the doorbell . Suzie can not decide on what to do , to clean the egg up or answer the door . The doorbell keeps RINGING .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - DAY</stage_direction>
<scene_description>Two uniformed Police Officers stand impatiently at the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Suzie invites OFFICER SCOTT and OFFICER DAVIS in . Both men are white and are in their mid - twenties . Officer Davis does most of the questioning .</scene_description>
<character>DAVIS</character>
<dialogue>We have a complaint from one of your neighbors about a rooster crowing in the mornings.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Gideon is shaving with a straight razor and humming to himself , obviously in a good mood . Suzie sticks her head in .</scene_description>
<character>SUZIE</character>
<dialogue>The police are here to talk to you about the chickens.</dialogue>
<scene_description>The good mood that Gideon was in dissolves quickly . Gideon wipes the soap off his face and throws the towel down . Suzie leaves . Gideon brushes his hair and adjusts his bathrobe .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Gideon comes in , still adjusting his bathrobe .</scene_description>
<character>GIDEON</character>
<dialogue>What can I do for you, Officer?</dialogue>
<scene_description>Suzie returns to the kitchen to clean the egg on the floor . Officer Scott keeps her in view .</scene_description>
<character>DAVIS</character>
<dialogue>You know it is against the city ordinance to keep chickens or live stock.</dialogue>
<character>GIDEON</character>
<dialogue>I always had chickens, ducks and whatnots.</dialogue>
<character>DAVIS</character>
<dialogue>Not anymore, not in the city.</dialogue>
<character>GIDEON</character>
<dialogue>We grow most of our own food. The money I get from social security, my pension and my wife's work, keeps us living on the edge. What choice do people like us have.</dialogue>
<character>DAVIS</character>
<dialogue>Well, you just have to move further out.</dialogue>
<character>GIDEON</character>
<dialogue>Now how far would further out be?</dialogue>
<character>DAVIS</character>
<dialogue>I'm not here to argue, sir.</dialogue>
<character>SCOTT</character>
<dialogue>You guys do n't make anything illegal, do you?</dialogue>
<character>GIDEON</character>
<dialogue>Like what may I ask?</dialogue>
<character>SCOTT</character>
<dialogue>You might have a distillery pumping out barrels of moonshine.</dialogue>
<scene_description>Suzie looks at Scott for a moment and goes into the kitchen . Gideon is about to lose control . Davis heads off the confrontation .</scene_description>
<character>DAVIS</character>
<dialogue>Look, just get rid of the chickens and you all have a nice day.</dialogue>
<scene_description>Gideon stands in the doorway watching the Police go down the steps .</scene_description>
<character>GIDEON</character>
<dialogue>I'll be damned if I get rid of my chickens. I ought to get some hogs and put them out there.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>There is soft knocking on the door . Suzie enter frame wearing a robe .</scene_description>
<character>SUZIE</character>
<dialogue>Who is it?</dialogue>
<character>BABE BROTHER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Babe Brother.</dialogue>
<scene_description>Suzie opens the door . BABE BROTHER , Gideon 's youngest son , about 31 , handsome , wearing an expensive suit , comes in , beating the cold off of him and blowing in his hands .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I was hoping you came to the door instead of him. It gets cold at night.</dialogue>
<character>SUZIE</character>
<dialogue>This does n't make any sense ; you are going to drag that poor boy out in the cold air.</dialogue>
<character>BABE BROTHER</character>
<dialogue>He will be alright.</dialogue>
<scene_description>The camera follows Babe Brother . He passes Gideon 's room where Gideon is asleep , snoring loudly .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Suzie and Babe Brother enter the bedroom where Sunny is sleeping . Suzie gives Babe Brother a blanket to wrap Sunny up in .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Thanks for taking care of him. I will try not to be so long next time.</dialogue>
<scene_description>Babe Brother gives his mother a good - night kiss . Gideon comes to the door .</scene_description>
<character>GIDEON</character>
<dialogue>What time is it? Do you think you can just treat us like your slave? It's after one.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I tried to call to let you know I was going to be late.</dialogue>
<character>GIDEON</character>
<dialogue>That's a lie.</dialogue>
<character>SUZIE</character>
<dialogue>Let us settle this tomorrow.</dialogue>
<character>GIDEON</character>
<dialogue>Look! Do n't try to get ahead by riding our backs.</dialogue>
<character>BABE BROTHER</character>
<parenthetical>( shouts . )</parenthetical>
<dialogue>I pay my own way.</dialogue>
<character>GIDEON</character>
<dialogue>Since when?</dialogue>
<scene_description>He reaches for Babe Brother but Suzie comes between them .</scene_description>
<character>SUZIE</character>
<dialogue>Take Sunny home, please.</dialogue>
<scene_description>She pushes Babe Brother away . Babe Brother walks away , staring back at his father .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - SAME NIGHT</stage_direction>
<scene_description>Gideon is lying in bed . Suzie gets in beside him .</scene_description>
<character>GIDEON</character>
<dialogue>Your feet are cold.</dialogue>
<character>SUZIE</character>
<dialogue>Go back to sleep.</dialogue>
<character>GIDEON</character>
<dialogue>I asked you to wake me when Babe Brother comes.</dialogue>
<character>SUZIE</character>
<dialogue>You all act like two roosters.</dialogue>
<character>GIDEON</character>
<dialogue>I'm not going to let him get away with murder.</dialogue>
<character>SUZIE</character>
<dialogue>You and Babe Brother are so much alike.</dialogue>
<character>GIDEON</character>
<dialogue>He ai n't nothing like me. How come a man has to have sons that are day and night apart? You ought to stop protecting him.</dialogue>
<character>SUZIE</character>
<dialogue>Hush.</dialogue>
<character>GIDEON</character>
<dialogue>You're always taking his side.</dialogue>
<character>SUZIE</character>
<dialogue>Hush.</dialogue>
<character>GIDEON</character>
<dialogue>I'm trying to make him a man but you keep babying him.</dialogue>
<character>SUZIE</character>
<dialogue>You're going to find yourself on the floor.</dialogue>
</scene>
<scene>
<stage_direction>INT. BABE BROTHER'S BEDROOM - MORNING</stage_direction>
<scene_description>The bedroom is tastefully furnished with modern art and paintings by Barns . Babe Brother wakes up with Sunny standing in the doorway looking at him . It takes Babe Brother some time to fully wake up . Finally he sits reluctantly on the side of the bed and Sunny comes over and sits next to him , trying to get his weary father interested in his remote - control racing car .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I want you to be the richest man in the world so I can be the richest father in the world.</dialogue>
<character>SUNNY</character>
<dialogue>I do n't want to be rich. I want to work on the railroad like grandfather.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Son, if you are going to have a family, you ca n't always choose a job just because you like it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I do n't want you to shine anybody's shoes or be a porter. You let somebody else carry your bags.</dialogue>
<scene_description>Sunny quietly gets up and follows his car out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. BABE BROTHER'S HOUSE - DAY</stage_direction>
<scene_description>Babe Brother , having showered but still wearing his pajamas , drags himself to the kitchen table where his wife LINDA has a huge coffee mug with the inscription , `` I 'm the boss '' , waiting for him . Linda is about thirty years old and materially oriented like her husband . She is wearing a conservatively cut business dress . Sunny stops playing with his car and gets himself an empty cup . Babe Brother is about to pour him some of his coffee when Linda objects .</scene_description>
<character>LINDA</character>
<dialogue>NO.</dialogue>
<scene_description>Sunny pleads with her in silence but Linda refuses to yield .</scene_description>
<character>BABE BROTHER</character>
<dialogue>He would n't want any if you did n't try to keep it away from him.</dialogue>
<scene_description>Linda leaves the table but stops for a moment and looks down at her husband .</scene_description>
<character>LINDA</character>
<dialogue>Because you were spoiled, do n't try to spoil Sunny.</dialogue>
<character>BABE BROTHER</character>
<dialogue>My daddy never gave me anything without my having to sweat for it. Every summer, the way they kept me and Junior out of trouble was to send us to Big Daddy's farm. We would get up with the chickens. Every summer the fence had to be repaired. The barn needed a coat of paint. We had to pip all of Big Mama's hundred laying hens and go to church all day on Sunday. For Big Daddy, calluses and sweat were the mark of a man. Sunny will never have to bust his knuckles like we did.</dialogue>
<character>LINDA</character>
<dialogue>I want Sunny to have an advantage that you and I never had, but he needs discipline, and you are not helping when I tell him to do something and you allow him to get out of it.</dialogue>
<character>BABE BROTHER</character>
<dialogue>What is a sip of coffee going to do?</dialogue>
<character>LINDA</character>
<dialogue>Coffee is bad for anybody, especially for a child.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I do n't see you crying about my drinking it.</dialogue>
<character>LINDA</character>
<dialogue>How old are you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>A SLOW CLOSE UP DOLLY SHOT OF SUZIE 'S HANDS DROPPING SEEDS IN THE GROUND . Gideon is raking out the chicken coop . He puts the rake down and walks over to the garden and watches Suzie plant seeds for a while .</scene_description>
<character>GIDEON</character>
<dialogue>Instead of standing here doing nothing, I better give those chickens some scratch before they start cackling.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALLEYWAY - DAY</stage_direction>
<scene_description>OLD JOHN is pushing his cart up the alley . Old John 's face is washed so clean that it shines . His pants are dirty and his cart is full of odds and ends of no value . He looks to be about seventy and fit . Old John throws a sack on Gideon 's fence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Suzie , is bent over a plant that she is tying to a stick . She looks up and sees the sack on the fence . A smile appears on her face . She goes over to the fence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEYWAY - DAY</stage_direction>
<scene_description>Old John is about to take up his journey when Suzie sticks her head over the fence .</scene_description>
<character>SUZIE</character>
<dialogue>How are you?</dialogue>
<character>OLD JOHN</character>
<dialogue>Tolerably well. I brought you some more rabbit manure for your roses.</dialogue>
<character>SUZIE</character>
<dialogue>It is so considerate of you.</dialogue>
<scene_description>Gideon sticks his head over the fence .</scene_description>
<character>GIDEON</character>
<dialogue>Well, well, look who is taking up all the sunshine. Brother John, how are you doing?</dialogue>
<character>OLD JOHN</character>
<dialogue>I'm still here.</dialogue>
<scene_description>Suzie leaves the two men talking .</scene_description>
<character>GIDEON</character>
<dialogue>Tell me something. How do you get energy to stay on the move all day?</dialogue>
<character>OLD JOHN</character>
<dialogue>You could n't sit on your rump under my daddy's roof. No sir. If you could n't outwork his mule, you was n't worth the salt you put in greens. You had to wake up looking for something to do. I was raised as a mule and now I'm a rolling stone.</dialogue>
<scene_description>Suzie sticks her head over the fence and hands a bag of red tomatoes to Old John .</scene_description>
<character>OLD JOHN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I did n't mean for you to pay me for that.</dialogue>
<character>SUZIE</character>
<dialogue>I know you did n't but you have been so thoughtful.</dialogue>
<character>OLD JOHN</character>
<dialogue>But when your sunflowers come up, I'll pay you for them.</dialogue>
<character>SUZIE</character>
<dialogue>I planted a row just for you and you do n't owe me anything.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD - DAY</stage_direction>
<scene_description>HIGH ANGLE SHOTS off in the distance , a man is cutting his lawn . Gideon and Suzie are working in their garden . Other couples working their gardens . Two young men are working on their car , which is creating a lot of smoke . A group of girls are sitting on a porch trying to sing while one of the smaller ones is trying to learn a step . Skip is on the roof with his radio listening to rap music while his birds circle over head . From time to time he throws a rock at them .</scene_description>
</scene>
<scene>
<stage_direction>INT. DELIVERY ROOM - DAY</stage_direction>
<scene_description>THE CAMERA IS OUTSIDE OF THE ROOM . THE SCENE IS SHOT THROUGH THE PARTLY OPEN DOOR . It is hard to see the woman giving birth . There are people blocking the view of the camera . Suzie is facing the camera and the woman has her back to the camera .</scene_description>
<character>MOTHER</character>
<dialogue>It hurts.</dialogue>
<character>SUZIE</character>
<dialogue>Do n't push too fast! Breathe! The hard part is over. You can see the top of the head.</dialogue>
<character>MOTHER</character>
<dialogue>It hurts. The pain.</dialogue>
<parenthetical>( scream . )</parenthetical>
<dialogue>It's tearing me.</dialogue>
<character>SUZIE</character>
<dialogue>Father, give her a hand.</dialogue>
<character>FATHER</character>
<dialogue>Hey, this is too much.</dialogue>
<character>SUZIE</character>
<dialogue>You do your part.</dialogue>
<character>MOTHER</character>
<dialogue>Can you tell what it is?</dialogue>
<character>SUZIE</character>
<dialogue>Almost there.</dialogue>
<character>FATHER</character>
<dialogue>It's a junior.</dialogue>
<character>MOTHER</character>
<dialogue>Ah, I wanted a girl.</dialogue>
<scene_description>Suddenly the baby begins to SCREAM .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>A sack appears on Gideon 's fence . The sound of Old John 's cart is heard rattling off .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>Suzie , Gideon , JUNIOR -LRB- Gideon 's elder son , 35 years old and dark skinned -RRB- , PAT -LRB- Junior 's wife , who is expecting , about 32 -RRB- and Rhonda are all seated next to one another in the same row . The PREACHER is knee - deep in water . He is baptizing a group of young people . The members of the church are singing `` Take Me To The Water '' . An Elderly Man who can hardly walk without help is being led down to the pool .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Suzie , Gideon , Junior , Pat and Rhonda are all seated at the table eating . Babe Brother is standing up . He looks in the pot but does n't find it to his liking . Junior is irritated at his brother .</scene_description>
<character>JUNIOR</character>
<dialogue>When are you going to find time to help me fix the roof?</dialogue>
<character>BABE BROTHER</character>
<dialogue>You all do n't believe me when I tell you I'm afraid of heights.</dialogue>
<character>JUNIOR</character>
<dialogue>You used that excuse to get out of the army.</dialogue>
<character>BABE BROTHER</character>
<dialogue>You always got something to say.</dialogue>
<character>GIDEON</character>
<dialogue>Your mother asked me not to mention it but your mother's birthday was last week.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I had n't forgotten. I ordered some cloth but it did n't come in and I felt so bad if I would have come to her birthday without that, I just stayed at home.</dialogue>
<character>GIDEON</character>
<dialogue>What did your wife get her?</dialogue>
<character>BABE BROTHER</character>
<dialogue>We got the same thing.</dialogue>
<scene_description>Junior laughs at Babe Brother 's story .</scene_description>
<character>GIDEON</character>
<dialogue>Boy, go tell your wife to come in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>Babe Brother 's car , a new Audi , is parked out front . Linda is in the front seat reading a magazine while Sunny is asleep in the back seat . Babe Brother sticks his head in the window .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Why do n't you come in for a while?</dialogue>
<character>LINDA</character>
<dialogue>I would like to finish reading this. What would I talk about? I have n't read this month's almanac. I do n't care to hear about how the corn was this fall or how to get rid of gophers by putting garlic in their holes. They pride themselves in making life hard and that's not my cup of tea.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Suzie , Gideon , Junior , Pat and Rhonda are still at the table eating .</scene_description>
<character>SUZIE</character>
<dialogue>You know, Babe Brother's wife just dumps greens in the pot without washing them.</dialogue>
<character>GIDEON</character>
<dialogue>Babe Brother is a poor boy.</dialogue>
<character>JUNIOR</character>
<dialogue>You all should have been hard on him like you were me and he would n't be the way he is.</dialogue>
<character>SUZIE</character>
<dialogue>Everybody got the same. I breast fed him like I breast fed you.</dialogue>
<character>PAT</character>
<dialogue>Junior, you are wrong.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - DAY</stage_direction>
<character>BABE BROTHER</character>
<dialogue>Just for a minute.</dialogue>
<scene_description>A dirt rock HITS the front windshield . Linda lets out a little scream . Babe Brother looks around . Skip is on top of the roof next door .</scene_description>
<character>SKIP</character>
<dialogue>I did n't mean to hit your car. I was throwing at my birds.</dialogue>
</scene>
<scene>
<stage_direction>INT. FEED STORE - DAY</stage_direction>
<scene_description>Gideon is looking at the price of laying mash . He digs his hand into a barrel of scratch . Sunny also digs his hand in the barrel . Suzie is looking at new young plants . She gives the vegetables a thorough going - over . Gideon is standing in line waiting to place his order .</scene_description>
<character>GIDEON</character>
<dialogue>I need about five pounds of laying mash and you better give me about the same of scratch.</dialogue>
<scene_description>While at the counter , Gideon turns and looks around at the prices of different items . Suzie brings her plants and puts them on the counter .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When are you going to have a sale on weed killer?</dialogue>
<character>CASHIER</character>
<dialogue>You missed it. We had a two - day sale last week.</dialogue>
<character>GIDEON</character>
<dialogue>What kind of a sale is a two - day sale? I thought sales last a week or two.</dialogue>
<character>CASHIER</character>
<dialogue>Every day we have something different. Today's sale is hay. 25 % off. If you have a horse or cow, you're in business.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - DAY</stage_direction>
<scene_description>Sunny looks at the Little Girl in the next car ; she has her mouth pressed against the window . She is missing a tooth . Gideon is behind the wheel while Suzie holds her new plants up to the sun , carefully looking at them . Sunny , seated in the back , pokes a hole in the sack of feed . The mash trickles to the floor as if from an hour glass .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Suzie is sitting in front of a table full of jars . Each jar has a shoot and is half - filled with water . Gideon is on his knees trying to fix the hinge to a cabinet . Sunny is sitting almost under him listening to him tell stories . Sunny has a coffee can full of marbles .</scene_description>
<character>GIDEON</character>
<dialogue>All of the preachers were down in the basement of the church confessing their sins to one another. They were way down in the basement'cause they figured no one would hear them. One of the preachers said, it makes me feel too shame to tell how bad I have been. You know them young gals that sit up in the first row. I can look at them and forget my text. I'm just lost when it comes to women, even them middle age sisters. Then another preacher said, I do n't think I can tell you what my sin is'cause it's bad. Another preacher said, Brother, we all amongst friends. Tell us what's troubling your soul. Clear your conscience.</dialogue>
<scene_description>Gideon takes a sip of water .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So the preacher said, we all got a bond'cause we confessed to one another. So let me tell you, my sin is corn liquor. I just acts a fool behind that spirit water. I loves it more than preaching. Now ai n't that a sin, lord. So all the preachers went on confessing, each one worst than the last. Finally they came to the last preacher who had been very quiet and listening to every word that fell. One of the preachers said to him, it's your turn. Confessing will lift you burden, Brother. Bare us your soul. We did. The last preacher said, no, my sin is the worst among all of you. One of the preachers said, ah go on man and stop all this suspense. So the last preacher said, like I told you my sin is the lowest.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>My sin is gossiping and I ca n't wait to get out and tell what I heard.</dialogue>
<scene_description>Sunny does not get the humor of the story . He is more interested in picking up his marbles that Gideon 's foot kicked over .</scene_description>
<character>SUZIE</character>
<dialogue>You ought n't tell him stories like that.</dialogue>
<character>SUNNY</character>
<dialogue>Tell me another story.</dialogue>
<character>GIDEON</character>
<dialogue>I'll you a story about the terrapin and the rabbit. No, you tell me a story. Come on.</dialogue>
<character>SUNNY</character>
<dialogue>Once upon a time, my mommy and daddy lived in this big house that I bought for them. I got them this big car.</dialogue>
<scene_description>A strong wind causes the broom handle to knock against the china teapot , KNOCKING IT TO THE FLOOR . Suzie stops Sunny from trying to help pick up the pieces .</scene_description>
<character>SUZIE</character>
<dialogue>You stay back. You might cut your fingers.</dialogue>
<scene_description>Suzie looks down sadly at her broken tea pot .</scene_description>
<character>GIDEON</character>
<dialogue>I looked everywhere for my toby.</dialogue>
</scene>
<scene>
<stage_direction>EXT. APPLE ORCHARD - DAY</stage_direction>
<scene_description>The trees are barren , which gives them an unfriendly look . As we LOOK at the ground , a man 's distorted shadow stops in the frame .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - DAY</stage_direction>
<scene_description>A shadow of a man appears on Gideon 's porch . The camera tilts up to HARRY MENTION , a very dark - looking , ageless old man carrying several boxes held together by a cord . He looks exhausted from his journey . He looks in his address book and , satisfied that he reached the right house , he rings the doorbell .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Suzie comes to the front door ; she recognizes Harry right away . She invites him in . Harry stumps his feet on the porch several times and then enters .</scene_description>
<character>SUZIE</character>
<dialogue>Harry, I ca n't believe it is you. Gideon, look who is here.</dialogue>
<scene_description>Gideon comes in , wiping his hands . Sunny , carrying the broom , follows behind .</scene_description>
<character>GIDEON</character>
<dialogue>Harry, good God Almighty, man! It's been, what, thirty years or more. Suzie, we have n't seen Harry since we left home.</dialogue>
<scene_description>Harry is more interested in the boy , but Sunny does n't want to come near Harry . It is Gideon 's arm that is keeping him within close range of Harry .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is my grandson, Sunny. He is my youngest son's child.</dialogue>
<character>HARRY</character>
<dialogue>He kind of favors one of my boys when he was about his age.</dialogue>
<scene_description>Sunny , playing with the broom , accidentally touches Harry 's shoe with it . Harry hides his anger about being touched with the broom . Harry takes the broom from Sunny and spits on the bottom of it .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Boy, that is bad luck to touch a fellow with a broom.</dialogue>
<character>GIDEON</character>
<dialogue>He knows better. Sunny, apologize to Harry.</dialogue>
<character>SUNNY</character>
<dialogue>I'm sorry.</dialogue>
<character>GIDEON</character>
<dialogue>What are you doing in these parts?</dialogue>
<character>HARRY</character>
<dialogue>I came all the way from Detroit by bus going to Oakland. The bus stopped in Los Angeles. I had to get off and take a rest. I'll catch the last bus leaving at midnight. I'm just too tired to go on.</dialogue>
<character>GIDEON</character>
<dialogue>Why did n't you catch a plane?</dialogue>
<character>HARRY</character>
<dialogue>My feet have never been on anything that was n't directly attached to the ground.</dialogue>
<character>GIDEON</character>
<dialogue>Stay until you feel better? I would like to hear all the news.</dialogue>
<character>HARRY</character>
<dialogue>I'm worn out but wo n't you feel like you are taking in a stranger?</dialogue>
<character>SUZIE</character>
<dialogue>Stranger my foot, it was my grandmother who helped you into this world.</dialogue>
<character>HARRY</character>
<dialogue>Well, I do n't want to put you out.</dialogue>
<character>GIDEON</character>
<dialogue>Man, put your boxes down and stay as long as you like. We have empty rooms since the boys got their own families and moved out.</dialogue>
<character>HARRY</character>
<dialogue>Well if you're sure, I wo n't be a bother. Oh, I do n't sleep on no spring mattress. I always make myself a pallet on the floor.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>The bedroom door to Harry 's room is cracked open . Peering through the cracked door , we SEE Harry asleep on his pallet . His back is turned to the camera . It is dead silent . There does not seem to be any sign of life . On the floor is a plate that has water in it . It looks like it is for a dog .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Suzie is peeling potatoes and Gideon is ironing .</scene_description>
<character>SUZIE</character>
<dialogue>Poor old Harry, he really must have been worn out. He has been asleep all day.</dialogue>
<scene_description>Without anyone being aware , Harry has been standing in the doorway for some time .</scene_description>
<character>HARRY</character>
<dialogue>Good evening. It must be all the different time zones I crossed that makes me feel this weary.</dialogue>
<character>SUZIE</character>
<dialogue>You should go back and rest.</dialogue>
<character>HARRY</character>
<dialogue>No, if I rest any longer, I wo n't sleep tonight. May I use your bathroom to wash up a bit?</dialogue>
<character>GIDEON</character>
<dialogue>Man, act like this is your home.</dialogue>
<character>HARRY</character>
<dialogue>That's awful generous of you. I always ask to keep from wearing out welcome.</dialogue>
<character>SUZIE</character>
<dialogue>One can tell you are from back home. These people nowadays do n't know what manners are.</dialogue>
<character>HARRY</character>
<dialogue>Where we come from, you had to know how to act right. You had to know how to say yes sir and no sir. You had to know your place.</dialogue>
<character>GIDEON</character>
<dialogue>You had to tread softly.</dialogue>
<scene_description>The doorbell rings and Gideon goes to answer it .</scene_description>
<character>SUZIE</character>
<dialogue>Those days you could always find something redeeming about even the worst person.</dialogue>
<character>HARRY</character>
<dialogue>You remember that boy who lost his mind, Joe? You could hear him pitching horseshoes at night in the dark. He would n't miss a one. Make him mad and call yourself running in the house to be safe. He would pick up a brick and say `` go on in there brick and hit somebody'' and it would find its mark.</dialogue>
<character>SUZIE</character>
<dialogue>I was afraid to go to Marcus Bottom because of him.</dialogue>
<character>HARRY</character>
<dialogue>All those places that us coloreds lived, that we used to call Bottoms, have all been changed to Drives and Heights. Everything is in what you call it, not in what it is.</dialogue>
<scene_description>Gideon comes back with Junior , Pal and Rhonda .</scene_description>
<character>GIDEON</character>
<dialogue>Harry, I would like for you to meet my oldest son, his wife and daughter.</dialogue>
<character>JUNIOR</character>
<dialogue>Pleased to meet you. So you're from back home, too.</dialogue>
<scene_description>Harry and Junior shake hands , but Rhonda gives Harry only a nod of her head and a smile . Pat , who is pregnant , attempts to shake hands with Harry , but is forced to withdraw her hand because of a sudden pain in her stomach .</scene_description>
<character>PAT</character>
<dialogue>This boy must be turning over. Oh, he just kicked me again.</dialogue>
<scene_description>Junior feels her stomach . Pat again tries to shake Harry 's hand and again gets a jolt from her stomach . She finds a chair to sit down in . The SOUND of rocks hitting the roof causes everyone to look up .</scene_description>
<character>GIDEON</character>
<dialogue>It's the boy next door throwing at his birds. I'm just waiting on him to hit a pane in the window</dialogue>
<character>HARRY</character>
<dialogue>I'm going to wash up now. You all please excuse me.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIDEON'S HOUSE - BATHROOM - DAY</stage_direction>
<scene_description>Harry is wiping off his face with a washcloth . He stares at himself in the mirror for a long time . The sudden sound of the boy next door starting to play his trumpet startles him . He smiles at the trumpeter 's efforts . He wrings the wash cloth out . A reddish oil - like liquid DRIPS into the face bowl .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S HOUSE - EARLY MORNING</stage_direction>
<scene_description>A few of the houses have lights on . Suddenly , Gideon 's rooster starts to CROW . A dog starts to bark and a garbage can is knocked over . Bedroom lights in almost all the houses in the neighborhood pop on . The voices of neighbors complaining are heard .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - EARLY MORNING</stage_direction>
<scene_description>Harry is just waking up . He listens to the voices of Suzie and Gideon as they get ready for church .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - MORNING</stage_direction>
<scene_description>Gideon is paging through the Bible as he stands by the door , waiting for Suzie who is watering her plants . Harry comes in .</scene_description>
<character>HARRY</character>
<dialogue>Good morning.</dialogue>
<character>GIDEON</character>
<dialogue>You ought to come hear our preacher. Remember old Cat Iron? Well, our preacher is just as strong.</dialogue>
<character>HARRY</character>
<dialogue>Next time when I feel a little better perhaps.</dialogue>
<character>GIDEON</character>
<dialogue>I was going to get up and get a hen out there for dinner, but time got away.</dialogue>
<character>HARRY</character>
<dialogue>Oh, I would feel much at home if you let me get one for you. I have n't wrung a chicken's neck in a month of Sundays. You know, folks would call my daddy to kill their hogs. That used to be my trade from time to time.</dialogue>
<character>GIDEON</character>
<dialogue>Well, I would appreciate that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>Gideon and Suzie are stepping off the porch . Harry is standing behind the screen door . Gideon and Suzie get in Junior 's car . Junior , Pat and Rhonda wave to Harry as the car pulls away .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING HOUSE - DAY</stage_direction>
<scene_description>IT IS A TRACKING SHOT , FOLLOWING HARRY THROUGH THE HOUSE . Harry looks through Gideon 's and Suzie 's private things . He looks at the baby pictures that fill the mirror . He reads Suzie 's letters that are dated years ago . In one of the letters , he finds a picture of a man standing behind a plough . `` Uncle Joe after Ella 's death '' is written on the back . A picture of a mule holds his interest . He looks at it for a long time and carries it with him as he continues his search .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Harry slowly walks along the rows in Suzie 's garden . He stands by the chicken cage . Suddenly , the chickens start to run about and CACKLE as if a dog had gotten in . Harry turns from the chicken coop . He stands still . Sunny is hiding behind a bush . Sunny steps around the bush . Harry looks at Sunny with such concentration that Sunny takes a step backward as if getting ready to defend himself . MRS. BAKER , a black woman in her early thirties , comes out on the back porch . She shakes out a rug . She stops shaking the rug and stares at Harry . Harry becomes aware of Mrs. Baker 's stare . He comes to himself and smiles at her .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S KITCHEN - DAY</stage_direction>
<scene_description>Harry and Babe Brother are playing cards while Linda watches and Sunny plays by himself on the floor . In the sink is a newspaper full of bloody feathers . A small flame is under a pot on the stove . Harry looks at the chicken in the pot and sits back down .</scene_description>
<character>LINDA</character>
<dialogue>You do n't act like the rest of Gideon's friends. They believe if you are not hard at work, you are hard at sin.</dialogue>
<character>HARRY</character>
<dialogue>Oh, I'm more modern in my ways. I do n't believe in sin, though there is good and evil.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And evil is a thing you work at.</dialogue>
<scene_description>Harry takes his knife , a crab apple switch , out . It has a rabbit foot attached to it . Harry cleans his fingernail with the knife . Sunny is interested in the rabbit foot . He reaches for the knife .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Not you must n't touch. Your mama might not like you handling knives.</dialogue>
<character>LINDA</character>
<dialogue>I think he wants to see your rabbit foot.</dialogue>
<character>HARRY</character>
<dialogue>I let this rabbit foot do in place of my toby that I lost years ago.</dialogue>
<character>LINDA</character>
<dialogue>What's a toby?</dialogue>
<character>HARRY</character>
<dialogue>You do n't want to be at crossroads without one. It's a charm that old people teach you how to make. I had one for a long time that belonged to my grandmother who had it ever since she was a child.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>In my travels I misplaced it. I have been looking over my shoulder ever since.</dialogue>
<character>LINDA</character>
<dialogue>I thought you were n't old fashioned.</dialogue>
<character>HARRY</character>
<dialogue>In some things. When we were children, there used to be an old man that came around and would snatch your soul if you did n't have something on you that did n't make a X.</dialogue>
<scene_description>Harry is aware that Babe Brother is interested in the knife . After cleaning his last fingernail , he hands the knife to Babe Brother . Harry looks at the cards in his hand . He smiles to himself .</scene_description>
<character>HARRY</character>
<dialogue>Did you have your child at home?</dialogue>
<character>LINDA</character>
<dialogue>No. No. No. No. I had my Child at Cedars and Sinai. And that ai n't no county hospital. You have to have cash or check before you come in the door.</dialogue>
<character>HARRY</character>
<dialogue>Some folks take that natural stuff too far.</dialogue>
<character>LINDA</character>
<dialogue>Junior's wife kept her afterbirth' in the refrigerator. That's why I do not eat over there now.</dialogue>
<character>HARRY</character>
<dialogue>Country people got so many strange ways,</dialogue>
<scene_description>Harry looks again at the chicken that he is boiling .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Did you ever have to use this thing?</dialogue>
<character>HARRY</character>
<dialogue>That is called a crab apple switch. It's for those bad acting monkeys and just the thing for a mean dog. Now I do n't know if I actually did what I did or got my life and story mixed in with other folk's stories but I seem to recall that I had to use my crab apple on a boy from back home. I was up in Memphis working on the railroad, like your daddy who had an easy job. He would sing a song that had a cadence and we would lay track. Anyway I was coming down Beale Street and I heard this music coming from a saloon. Sure enough it was Emory. My daddy taught both of us to play but Emory was natural at it. Got in a blues band and what not. He and another boy had killed a boy named Hocker sometime back and they balled the Jack leaving town. Emory had lost one eye and had a scar running down his face. Bad luck I would say. He got to drinking that corn liquor. We went to his girl's room and he would n't stop drinking. He started talking about the old days and he went mad. He pulled his knife and I got to mine first. The lights went out.</dialogue>
<scene_description>Linda picks up a card and looks at it . There is a naked woman on the back .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Do n't pick up the cards if you are not in the game. Did he die?</dialogue>
<character>HARRY</character>
<dialogue>I do n't know what happened to him. He just ran out into the streets.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I got some old records I want you to hear. I like the blues sung simply, man and a guitar. Or sung by a woman who had bad luck all her life. Do n't ever let anyone tell you his life's story if it is of a weary life full of sadness. When I was a boy, a man told me a story of how he lost all of his sons and I'll be damned if the same thing did n't happen to me.</dialogue>
<scene_description>Sunny is busy playing in the curtains . The SOUND of Gideon and Suzie arriving makes them scurry to get the cards put away . Harry puts his knife away just as Suzie and Gideon enter . Linda feels a little embarrassed .</scene_description>
<character>LINDA</character>
<dialogue>How was church?</dialogue>
<scene_description>Gideon and Suzie are surprised to see Linda . They do n't know what to say .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS. BAKER'S BACKYARD - DAY</stage_direction>
<scene_description>Rodney walks around in the yard BLOWING his trumpet as loud as he can . The SOUND of the trumpet frightens Skip 's birds .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Gideon is repairing the pipes under the face bowl . Harry is leaning against the door .</scene_description>
<character>HARRY</character>
<dialogue>How often is your wife called to help delivery?</dialogue>
<character>GIDEON</character>
<dialogue>It was slow. Now it seems like everyone is having births at home.</dialogue>
<scene_description>Gideon takes the pipe off . It has rotted . Gideon can not believe it .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What could have caused this? I just changed this damn thing.</dialogue>
<character>HARRY</character>
<dialogue>Everything these days is made overseas.</dialogue>
<character>GIDEON</character>
<dialogue>You and Babe Brother hit it off so well.</dialogue>
<character>HARRY</character>
<dialogue>Course, it is your business, but I feel obliged to tell you that maybe you have not been fair with the boy.</dialogue>
<character>GIDEON</character>
<dialogue>I tried to teach him right from wrong just like I did his Junior.</dialogue>
<character>HARRY</character>
<dialogue>Everyone has to follow his own plough. A man does n't have to know how to cut a wick and clean a chimney nowadays. City people do n't give a hoot and a holler about the shape of the moon nowadays. You do n't plant old ways.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. but, at the end, you find yourself doing what your father did but you have to have the land in you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's when you want to give the house or farm to the kids and they do n't want it. You sell it to a stranger. You worked your whole life, for what?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I doubt if people nowadays have knowledge of a victory garden or seen an inch worm. All what we've experienced has no meaning.</dialogue>
<character>GIDEON</character>
<dialogue>You're suppose to teach your children what you know. Junior, I do n't have to worry about. Babe Brother is a different story.</dialogue>
<character>HARRY</character>
<dialogue>You still call him boy. You call Babe Brother boy in front of his wife and son.</dialogue>
<character>GIDEON</character>
<dialogue>My daddy called me boy up to the time he died. I was always boy to him.</dialogue>
<character>HARRY</character>
<dialogue>` Course, you could be right. Your sons are alive. All my sons are dead.</dialogue>
<scene_description>Off - screen , Rodney starts to practice on his HORN .</scene_description>
</scene>
<scene>
<stage_direction>INT. BABE BROTHER'S LIVING ROOM - EVENING</stage_direction>
<scene_description>Babe Brother is sitting with Sunny by the screen door blowing giant bubbles . The bubbles drift past Linda , who is sitting at the table with real estate papers all over the table . She is talking on the phone with a client and signals them to stop disturbing her . Babe Brother sends more bubbles floating by , causing her to shake the water off her papers while she talks to a first time buyer .</scene_description>
<character>LINDA</character>
<dialogue>It has three bedrooms, one and a half baths. Well, yes, that means two toilets and one bath. Well. Yes, by appointment. Call me back if you decide.</dialogue>
<scene_description>She hangs up the phone .</scene_description>
<character>LINDA</character>
<dialogue>You would think people never lived in a house if they have to ask what does 1 1/2 baths mean.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Will you still get the money from your father?</dialogue>
<character>LINDA</character>
<dialogue>I told him we might not need it, if you can talk your parents into giving you your share of the property.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Pops put Big Daddy's farm in Rhonda's and Sunny's name and fixed it so no one can borrow on it.</dialogue>
<character>LINDA</character>
<dialogue>We could borrow on that land and put the money to work.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I preached to Mom and Dad about it but they are stuck in their ways, it's like talking to a brick. But if there is a way.</dialogue>
<scene_description>Babe Brother is lost in his thoughts . He stares down at his hands resting on his knees . He picks up the telephone .</scene_description>
</scene>
<scene>
<stage_direction>INT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Junior is on the phone with Babe Brother . Pat crosses in front of the camera shaking her head in a negative manner . Babe Brother 's voice is just audible .</scene_description>
<character>JUNIOR</character>
<dialogue>You want me to mortgage my house to invest in a scheme of yours? You know the last time we went into something together Daddy had to go in his savings to keep us from ending on the street.</dialogue>
<character>BABE BROTHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Why are you always afraid to get somewhere?</dialogue>
<character>JUNIOR</character>
<dialogue>This is not a good time to take chances. Your best friend, Robert, an accountant, lost his home and is out on the street. We see him from time to time. He comes down to church for a free meal.</dialogue>
<character>BABE BROTHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>This is what it is all about, trying to keep from being out on the street.</dialogue>
<character>JUNIOR</character>
<dialogue>Robert asks about you. When are you going to do something to help him?</dialogue>
<character>BABE BROTHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Maybe I can get down there next week.</dialogue>
<scene_description>Junior turns to his wife , who is off - camera .</scene_description>
<character>JUNIOR</character>
<dialogue>Babe Brother always acts like a gambler who is in the biggest game of his life and do n't know about playing cards.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACKS - HOT AFTERNOON</stage_direction>
<scene_description>Harry and Gideon are walking along a railroad track . The sun is blinding . The heat makes the asphalt Appear to turn into a lake off in the distance . Gideon appears exhausted ; beads of sweat continually form on his forehead . He fans himself with his hat . Harry is unaffected by the hot temperature .</scene_description>
<character>HARRY</character>
<dialogue>I can sit here and look at train tracks all day. We laid enough of them, did n't we? So many memories are stretched along tracks like these.</dialogue>
<scene_description>Gideon looks down the tracks . A bowl of dust stirs off in the distance . The hot temperature makes the tracks appear liquid .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACKS - HOT AFTERNOON (EFFECT)</stage_direction>
<scene_description>The tracks begin to twist and bend . Off in the distance , faint images of men laying track to a song .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACKS - HOT AFTERNOON</stage_direction>
<scene_description>Gideon is standing with his hat in his hand . His posture is that of an extremely old man .</scene_description>
<character>GIDEON</character>
<dialogue>In weather like this, you can not walk around bare - headed.</dialogue>
<scene_description>He wipes the sweat from his hat band .</scene_description>
<character>HARRY</character>
<dialogue>We'll go a little farther. The walk will do us some good.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Suzie is peeling apples while Sunny , standing next to her , catches peelings in his mouth . Pat is sitting next to the window . She is uncomfortable . She loosens her pants , giving her stomach more room . Rhonda is leaning over the back of the chair with her arms around Pat 's neck . They are in silhouette .</scene_description>
<character>PAT</character>
<dialogue>Did you do your homework?</dialogue>
<character>RHONDA</character>
<dialogue>Yes.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Mama?</dialogue>
<character>PAT</character>
<dialogue>What?</dialogue>
<character>RHONDA</character>
<dialogue>Can I name the baby?</dialogue>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - DAY</stage_direction>
<scene_description>Suzie knocks on the door . Harry comes to the door still buttoning his shirt .</scene_description>
<character>SUZIE</character>
<dialogue>I have someone I want you to meet.</dialogue>
<character>HARRY</character>
<dialogue>I'll be right there.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Gideon in the background in the kitchen washing off the vegetables . Suzie and HATTIE are sitting at the table . Harry comes in and is surprised to see Hat tie . Hattie is in her late sixties but looks well . She makes a conscious effort to dress plainly .</scene_description>
<character>HATTIE</character>
<dialogue>I could n't believe it when Suzie called and said you were staying here. How have you been?</dialogue>
<character>HARRY</character>
<dialogue>Girl, do you still sing and dance?</dialogue>
<character>HATTIE</character>
<dialogue>No, I'm a different person now, Harry.</dialogue>
<scene_description>Hattie has a nervous condition that causes her to squint from time to time . Gideon comes in from the kitchen .</scene_description>
<character>GIDEON</character>
<dialogue>Have n't the years been good to Hattie?</dialogue>
<character>HARRY</character>
<dialogue>It has n't been the years ; it's been the men in her life.</dialogue>
<character>HATTIE</character>
<dialogue>Harry, that's not nice. I'm in church now.</dialogue>
<character>HARRY</character>
<dialogue>Why run out and close the barn door when the horse is gone? I remember when you were n't saved. That was way back yonder when the Natchez Trace was just a dirt road.</dialogue>
<character>HATTIE</character>
<dialogue>Some people grow up and change their ways.</dialogue>
<character>HARRY</character>
<dialogue>I know your mother ai n't still operating that house of hers.</dialogue>
<character>HATTIE</character>
<dialogue>My mother passed on years ago.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET IN FRONT OF HOUSE - DAY</stage_direction>
<scene_description>M.C. slams the door to his car and hurries up the steps , leaving HERMAN , in spite of his bad condition , to get out of the car the best he can . The car door almost knocks poor Herman over . M.C. seems rather youthful because of his energy and awkwardness . He is a large muscular man . Herman is a dried - up man with nothing , not even a shadow . He has a racking COUGH .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>M.C. gives Gideon a bear hug , lifting him off his feet . On seeing Suzie , he drops Gideon and rushes over to lift her up off her feet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>Herman is still trying to get out of the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>M.C. lifts Suzie off the ground twice . He runs over to Hattie who does not want to be handled , tries to withdraw but M.C. forces her to her feet and gives a big bear hug . Hattie has a series of squinting attacks . M.C. squints in return .</scene_description>
<character>HATTIE</character>
<dialogue>M.C., you still ai n't house broken.</dialogue>
<character>GIDEON</character>
<dialogue>Good God Almighty, if it ai n't like a parade of people from out of the past. M.C., where did you come from?</dialogue>
<character>M.C.</character>
<dialogue>I live here.</dialogue>
<scene_description>There is a TAPPING on the door .</scene_description>
<character>M.C.</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's old Herman.</dialogue>
<character>HATTIE</character>
<dialogue>Harry, what did you do, rob the graveyard?</dialogue>
<scene_description>Herman hobbles in and , after a minute of COUGHING , a smile forms on his face .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Suzie , Gideon and Hattie are seated at the table while M.C. bounces from one end of the table to the other . One moment he is on his knees and next moment he is leaning over someone to flick his ashes in the ashtray on the table . Hattie hates it when he comes near her . Harry and Herman sit together in the corner chewing on starch .</scene_description>
<character>M.C.</character>
<dialogue>Hattie, do you still dance?</dialogue>
<character>HATTIE</character>
<dialogue>I'm in church.</dialogue>
<character>M.C.</character>
<dialogue>What does that got to do with it?</dialogue>
<character>HATTIE</character>
<dialogue>Suzie, you still have Joe's number?</dialogue>
<character>SUZIE</character>
<dialogue>I will have to look for it.</dialogue>
<character>M.C.</character>
<dialogue>Who's Joe?</dialogue>
<character>HATTIE</character>
<dialogue>None of your business.</dialogue>
<character>HARRY</character>
<dialogue>That is a boy from home, Lulla's brother.</dialogue>
<scene_description>Suzie is surprised .</scene_description>
<character>SUZIE</character>
<dialogue>Harry, you know everything.</dialogue>
<character>HARRY</character>
<dialogue>You got to know everything, do everything, and be everything.</dialogue>
<scene_description>Gideon brings a fresh pot of coffee . Gideon tries to signal M.C. to stop harassing Hattie . M.C. leans over Hattie again to use the ashtray . Harry is helping Herman to his feet . Herman starts to cough . They come over and join the rest of the crowd at the table . Harry seats Herman next to Gideon and pours Herman a cup of coffee . He puts the sugar and cream in the coffee for Herman . Suzie comes back with Joe 's number and hands it to Hattie .</scene_description>
<character>HERMAN</character>
<dialogue>M.C., I'm worn out. You ready to go?</dialogue>
<character>M.C.</character>
<dialogue>If you are tired, go sit in the car.</dialogue>
<character>HERMAN</character>
<dialogue>Suzie, do you have any Swamp Root?</dialogue>
<character>SUZIE</character>
<dialogue>No, but I might have some Indian Chief Tonic.</dialogue>
<character>HATTIE</character>
<dialogue>I have n't heard anyone mention Swamp Root since button - up shoes went out.</dialogue>
<character>HARRY</character>
<dialogue>You can certainly tell how old you are, my dear.</dialogue>
<scene_description>Hattie is angered .</scene_description>
<character>HATTIE</character>
<dialogue>You know the saying, `` your heart is in your left hand.''</dialogue>
<character>HARRY</character>
<dialogue>Now I was trying to be nice, to make conversation, since we go back some.</dialogue>
<character>HATTIE</character>
<dialogue>I was quoting from the Bible. If the shoe fits, wear it.</dialogue>
<character>HARRY</character>
<dialogue>`` Out of weariness, I spoke to my own heart ; to leave it all and to die. And I gave my heart to know madness and folly.''</dialogue>
<character>M.C.</character>
<dialogue>You ai n't going to win playing the dozens with Harry.</dialogue>
<character>HERMAN</character>
<dialogue>You all ought to get along.</dialogue>
<character>HATTIE</character>
<dialogue>Harry, you know you remind me of so much that went wrong in my life. When I heard you were here, I made a special effort to come and see you. I see you are still a pile of wet chicken feathers.</dialogue>
<character>HERMAN</character>
<dialogue>Oh Lord.</dialogue>
<character>HARRY</character>
<dialogue>My sister, women can get away with so much. I do n't have any enemies'cause I do n't live in the past. As Pushkin, you do n't know him, said, `` In the hope of glory and good, I look without fear ahead.''</dialogue>
<character>M.C.</character>
<dialogue>Harry has got your number.</dialogue>
<character>HATTIE</character>
<dialogue>An empty wagon makes a lot of noise and you, tappy head, you ai n't worth the salt you put in greens.</dialogue>
<character>HARRY</character>
<dialogue>Speaking of tappy heads, we ought to have an old fashion fish fry.</dialogue>
<character>HERMAN</character>
<dialogue>I do n't have too many fish fries left.</dialogue>
<character>HARRY</character>
<dialogue>We can have it here next week.</dialogue>
<character>HATTIE</character>
<dialogue>Is this your house?</dialogue>
<character>HARRY</character>
<dialogue>Oh. I'm sorry. Gideon, what do you say?</dialogue>
<character>GIDEON</character>
<dialogue>Well, it's up to Suzie.</dialogue>
<character>SUZIE</character>
<dialogue>It would be nice.</dialogue>
<character>HATTIE</character>
<dialogue>In the meantime Harry can slaughter us a hog.</dialogue>
<character>HARRY</character>
<dialogue>I already have, my dear.</dialogue>
<character>HERMAN</character>
<dialogue>Please, M.C., take me home.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>The children of the women in Suzie 's natural birth group are huddled together SINGING `` Ashiine Ca Chew '' . The voices of the women in the next room are audible . The kids go outside to sit on the porch .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE, WORK ROOM - DAY</stage_direction>
<scene_description>Most of the women have their newborns with them and are engaging in talk about how their other children had to adjust and etc. . A young white mother , REBECCA WILSON , with both her children , a four year old and one just a few months old , talks with a deep southern accent .</scene_description>
<character>WILSON</character>
<dialogue>No one in my family ever been to a hospital to give birth. My sister has four children and all were born at home. My mother and her mother, it just goes on and on.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - DAY</stage_direction>
<scene_description>A mother leaves with her baby wrapped in a blanket . The kids surround her , wanting to see the baby .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - DAY</stage_direction>
<scene_description>Pat is looking at a book of baby names . Harry passes the door and stops .</scene_description>
<character>HARRY</character>
<dialogue>A woman in family way just reminds of spring and my younger days.</dialogue>
<character>PAT</character>
<dialogue>That's nice.</dialogue>
<character>HARRY</character>
<dialogue>Well, you and your husband are special. Ya, Gideon tells me you do volunteer work to help feed the poor.</dialogue>
<scene_description>Pat beams with joy because Harry recognizes the important work she is doing .</scene_description>
<character>HARRY</character>
<dialogue>How many people do you all feed?</dialogue>
<character>PAT</character>
<dialogue>Last Saturday we handed out over two hundred meals.</dialogue>
<character>HARRY</character>
<dialogue>Good God Almighty, bless your bones.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>But the problem grows.</dialogue>
<character>PAT</character>
<dialogue>Week by week the crowds at the door keeps getting larger. We ca n't feed all the hungry.</dialogue>
<character>HARRY</character>
<dialogue>Of course not. Have you ever heard of a man jumping in the river to save five hundred drowning people? No you ai n't.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You have to take just one and fatten him up. When you spread help too thin, you, you just nickel and dime the situation. If you try to save all, all die but if you save one life, life goes on. You just have to remember, medicine that works leaves a bitter taste.</dialogue>
<scene_description>Harry looks at the baby picture pasted over the mirror . He takes the picture of his children from his old black dusty wallet and compares the faces of his kids with those on the mirror . He talks to himself more than to Pat .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You just take one ; you thaw out the cold and hunger in his bones from sleeping on the bare ground.</dialogue>
<scene_description>Pat watches him and loses herself in what he is doing . She responds automatically</scene_description>
<character>PAT</character>
<dialogue>I do n't know if we could take one in with Rhonda and me at home alone at times.</dialogue>
<character>HARRY</character>
<dialogue>Oh, I was n't pointing my finger at you. Hey, you have to think of yourself. A lot of them have all kinds of diseases and will cut your throat while you sleep. There are too many bad people out there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S BACK PORCH - DAY</stage_direction>
<scene_description>Junior is taking the back door off to paint . Harry helps him carry the door and lay it on a saw horse .</scene_description>
<character>JUNIOR</character>
<dialogue>I appreciate you lending me a hand. That lazy ass brother of mine was suppose to help me.</dialogue>
<character>HARRY</character>
<dialogue>Well some folks are still waiting for their comeuppance. Do n't take me wrong but you ca n't judge people by how you act. You're a caring person.</dialogue>
<character>JUNIOR</character>
<dialogue>He should be caring. That is not too much to ask.</dialogue>
<character>HARRY</character>
<dialogue>Ya, but you ca n't do the shuffle with one leg. You and your wife, in your spare time, work with the less fortunate. Now I'm not talking about you and what you do but some folks that always run to help the victim, deep down are attracted to pain and suffering and love to be near the dying.</dialogue>
<character>JUNIOR</character>
<dialogue>All the people working with us are really doing it'cause they hate to see suffering.</dialogue>
<character>HARRY</character>
<dialogue>You never know what's in the heart and just because you can cry does n't make you human.</dialogue>
</scene>
<scene>
<stage_direction>INT. JUNIOR'S HOUSE - NIGHT</stage_direction>
<scene_description>Rhonda is in the background washing dishes . Pat and Junior are sitting at the dining room table , arguing .</scene_description>
<character>JUNIOR</character>
<dialogue>We ca n't really bring another family in here with us.</dialogue>
<character>PAT</character>
<dialogue>Why not? Harry says that's the only way to do good.</dialogue>
<character>JUNIOR</character>
<dialogue>When did you talk to Harry?</dialogue>
<character>PAT</character>
<dialogue>Do n't shout!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Gideon and Sunny are in the garden digging for worms . The chickens</scene_description>
<character>GIDEON</character>
<dialogue>I think we have enough. So now tell me a story.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALDWIN HILLS LAKE - LATE AFTERNOON</stage_direction>
<scene_description>Gideon is sitting on a rock by the lake . His image is reflected in the lake . He is asleep . Sunny is putting new bait on one of the reels and with a whip of the pole , he casts to the center of the lake . He leans against a tree . Sunny looks at his sleeping grandfather . Gideon has his pant legs rolled up . His socks have lost their elastic . His head is resting on his chest . Sunny goes near the water .</scene_description>
<character>GIDEON</character>
<dialogue>Be careful of the water.</dialogue>
<scene_description>Sunny looks back at his grandfather , who appears to be asleep . There is one fish in the bucket .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE - SUNSET</stage_direction>
<scene_description>WIDE ANGLE SHOT FROM HIGH ANGLE Gideon and Sunny are sitting next to each other . The lake reflects the sky : a deep red . The eerie sound of a long train whistle breaks the silence .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - MORNING</stage_direction>
<scene_description>Harry , Babe Brother and Linda come in after staying out all night . Linda looks as though she is about to fall asleep standing up . She awakes and looks at Harry . There is dislike in her stare . Suzie and Gideon notice Linda fading away .</scene_description>
<character>SUZIE</character>
<dialogue>Are you feeling well?</dialogue>
<character>LINDA</character>
<dialogue>I've never been so tired in my life. Where is Sunny?</dialogue>
<character>SUZIE</character>
<dialogue>He is getting his things together. Babe Brother, you ought to take your wife home so she can get some rest.</dialogue>
<character>BABE BROTHER</character>
<dialogue>In a minute.</dialogue>
<scene_description>Sunny comes in carrying his night - clothes folded neatly . He stands next to Linda . Harry , in a mild but demanding way , ushers Babe Brother out of the door .</scene_description>
<character>HARRY</character>
<dialogue>Take your wife and child home, boy.</dialogue>
<scene_description>Babe Brother seems all too happy to obey Harry . After Harry closes the door behind Babe Brother , he turns with a wide smile .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I got a surprise for you tonight.</dialogue>
<scene_description>Harry flops down on the couch and kicks his shoes off .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This old buffalo has been in the sun too long.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Suzie and Gideon are getting the food ready while Harry , wearing a shirt that looks like it is made of shiny snakeskin , sits in a darkened corner of the room , cutting his fingernails with his knife . The door bell rings and Harry slowly walks over to answer the door . Suzie puts the punch bowl down and hurries over to meet the first guests , FRED JENKINS , an elderly black man whom she has n't seen in years , and Esme Jenkins , his wife .</scene_description>
<character>SUZIE</character>
<dialogue>Fred Jenkins.</dialogue>
<character>JENKINS</character>
<dialogue>Suzie, you have n't changed and you, Gideon, if you do n't look like John Henry. Oh, this is my wife, Esme. My first wife Lulie died.</dialogue>
<scene_description>More people arrive , bottle - necking the doorway . Gideon helps the Jenkinses to a chair . Hattie comes with her brother MARSH , who is not too pleased to see Harry . OKRA TATE , an elderly black man with dark circles under his eyes , comes in limping badly with an old Polaroid camera hanging from his neck . Babe Brother , Linda , Junior , Pat and Rhonda , who is holding Sunny 's hand , all come in together . M.C. drags Herman through the door coughing . FLIM ANDERSON and his son DOUG are followed by the twins , WILLIAM and LOVIRAY NORWOOD , who are in their late 70 's . Babe Brother leaves Linda standing by herself to be next to Harry . Zenia Dent , an elderly white woman with a strong Southern accent , arrives with her husband , Howard Dent , a black man , who is in a wheelchair . The Twins and Howard are the center of attention . Okra comes over and whispers into Harry 's ear . Okra leaves through the front door . Okra comes back in with a bag . Harry , Babe Brother , M.C. and Herman follow Okra to the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Okra sets the bag on the table and steps back to allow Harry to unveil the bottle of corn liquor .</scene_description>
<character>BABE BROTHER</character>
<dialogue>What is that?</dialogue>
<character>HARRY</character>
<dialogue>Boy, that is the real South. That is real corn liquor.</dialogue>
<scene_description>A crowd starts to gather around .</scene_description>
<character>FLIM</character>
<dialogue>What is in the bottle?</dialogue>
<character>M.C.</character>
<dialogue>It ai n't Geritol.</dialogue>
<scene_description>M.C. starts to hand out tea cups while Harry pours everyone a drink .</scene_description>
<character>HERMAN</character>
<dialogue>There is a fight in every bottle.</dialogue>
<character>GIDEON</character>
<dialogue>You tappy heads better not tear down my house.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>An attractive Woman , in her younger days a knockout , puts on a record and starts to pop her fingers to the music as she moves towards the center of the floor dancing by herself , inviting anyone bold enough to join her . A group of Men who have n't seen each other in years are asking questions about news of old friends . Okra is trying to get his camera working . Herman is following M.C. through the crowd with his hand resting on M.C. 's shoulder as if he were a blind person . His racking COUGH is frightening . An older couple dancing attract the attention of the crowd . The man is wearing Stacy Adams shoes polished to see one 's face in them . He gives expression to his moves as if he and the woman are talking with their bodies . Junior and Pat try to bring in something more modern to outdo the older couple . Herman corners Hattie , trying to get her to sing .</scene_description>
<character>HATTIE</character>
<dialogue>Look, you better get out of my face before I slap the living daylights out of you.</dialogue>
<scene_description>Harry stops the music .</scene_description>
<character>HARRY</character>
<dialogue>You folks excuse me but you know we have a celebrity from out of the past, our own nightingale. If you had any good times in your life, you remember Hattie. She use to keep those juke joints steaming. If Ma Rainey and Bessie Smith were the stars, she was the sun. Let's get Hattie to sing something from the old days.</dialogue>
<scene_description>Hattie has started her nervous twitch again . She is so mad that she bites her lip to keep from exploding .</scene_description>
<character>HATTIE</character>
<dialogue>Harry always tries to be the king fish. I told him I'm a new person. I'm saved.</dialogue>
<scene_description>Harry signals an old man , PERCY , to start playing his guitar . Percy starts to play but Hattie does n't join him . He looks to Harry for a sign of what to do . Hattie walks away . Percy starts to SING by himself but someone puts a record on , interrupting his singing . People are back to dancing . A YOUNGER WOMAN is dancing with an OLDER MAN with such vigor , forcing the old man to try to keep up , that people grow concerned . People near him try to make him slow down but his pride forces him to be ridiculous .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Linda sits with Sunny and Rhonda watching TV .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>The noise has gotten louder , everyone talking at the top of his voice . Gideon is busy going around to everyone seeing if everything is okay . Gideon and Suzie have worked up a sweat trying to attend to everyone 's needs . Linda rejoins the party . She moves through the crowd and sees Babe Brother standing next to Harry . She is disappointed and stays at a distance . Harry is with a group of people . Marsh tries to get Harry 's attention .</scene_description>
<character>MARSH</character>
<dialogue>Harry, you will not remember me but we go back quite a ways. I'm glad Hattie told me that you will be here'cause there is a matter that has been troubling me all these years that maybe you can help me clear it up.</dialogue>
<scene_description>Harry stares into Marsh 's eyes , then looks him over from head to toe .</scene_description>
<character>HARRY</character>
<dialogue>Man, I ca n't talk to you now. I'm filling in the gaps with these folks.</dialogue>
<scene_description>Harry turns his back on Marsh . Marsh stands there looking at Harry 's profile . He turns and walks away . The record ends . The Younger Woman and the Older Man wait for the next record .</scene_description>
<character>YOUNGER WOMAN</character>
<dialogue>How do you manage to keep in step and move around so like one of them young boys?</dialogue>
<character>OLDER MAN</character>
<dialogue>Get yourself a pace - maker like me.</dialogue>
<scene_description>Linda is standing by herself . She watches Babe Brother and Harry walk towards the kitchen . Pat comes to talk to her .</scene_description>
<character>PAT</character>
<dialogue>These old folks can dance better than I can. Get rid of that long face. Get one of these old farts to show you how to do the Black Bottom.</dialogue>
<scene_description>Okra , holding his camera , all of the attachments in one hand and a glass in his other hand , tries to offer Hattie a drink .</scene_description>
<character>OKRA</character>
<dialogue>Do n't be so stand - offish.</dialogue>
<scene_description>Hattie pushes him away . The drink spills on him . She turns and walks away . He follows her .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Marsh sits in a chair opposite Harry . Babe Brother stands behind Harry . Harry , knowing that Marsh is going to bring up unpleasant things of the past , feels the need to get rid of Babe Brother .</scene_description>
<character>HARRY</character>
<dialogue>Son, you have n't danced with your wife all night.</dialogue>
<scene_description>Babe Brother is reluctant to leave , but Harry gives him a nudge . He goes looking for Linda .</scene_description>
<character>MARSH</character>
<dialogue>There is something that I always wanted to know. Tell me, how did those boys die?</dialogue>
<character>HARRY</character>
<dialogue>Now who are we talking about?</dialogue>
<character>MARSH</character>
<dialogue>Miss Clara's boy, Emory, to start with. The Johnson's Hocker was another one.</dialogue>
<character>HARRY</character>
<dialogue>Was n't Hocker lynched?</dialogue>
<character>MARSH</character>
<dialogue>You know as well as I do that it was made to look like he was lynched. Now who would hang someone from a persimmon tree?</dialogue>
<character>HARRY</character>
<dialogue>What difference does it make if it's persimmon, oak tree or huckleberry bush?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>Gideon , Babe Brother , and Linda go outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - NIGHT</stage_direction>
<scene_description>The sounds of the party drift out from the house as Gideon , Linda and Babe Brother talk .</scene_description>
<character>GIDEON</character>
<dialogue>Tell me, how come me and Suzie have to be mother and father to your child? You never take the boy to the park, circus or anything. If we did not take him to church, he would n't have any sense of religion.</dialogue>
<character>LINDA</character>
<dialogue>I think forcing him to go to church when he really does n't understand is not saving his soul. When he gets old enough to make up his own mind about religion, that will be better. It will be his intellectual decision.</dialogue>
<character>GIDEON</character>
<dialogue>Is that the way your parents raised you?</dialogue>
<character>BABE BROTHER</character>
<dialogue>Why, you do n't want us to bring him over?</dialogue>
<character>GIDEON</character>
<dialogue>No, it's that when do you have time to be parents to him? You guys do n't pick him up until nine, ten at night. You are into yourselves, as the saying goes. Spend some time trying to be parents. Take him to the mountains, fishing. You ought to let him get to know nature.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Well, you are his grandfather. He is supposed to spend some time with you. You're supposed to show him those woodsy things and this and that.</dialogue>
<character>GIDEON</character>
<dialogue>Junior spends time with his child.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Oh here we go with that.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>Okra is trying to get enough light for his old Polaroid camera . M.C. takes a shade off a lamp and holds it next to the Twins , nearly blinding them .</scene_description>
<character>WILLIAM</character>
<dialogue>Hurry up and take this picture.</dialogue>
<character>FRED</character>
<dialogue>If it was n't for the NRA, colored people would have been the lost tribe.</dialogue>
<character>FLIM</character>
<dialogue>Remember what they use to call the NRA? Negro Raggedy - ass Army.</dialogue>
<scene_description>M.C. is still holding the naked lamp while Okra tries to take pictures .</scene_description>
</scene>
<scene>
<stage_direction>INT KITCHEN - NIGHT</stage_direction>
<character>MARSH</character>
<dialogue>Hocker's death almost caused a race riot. A lot of innocent people could have been hurt behind that.</dialogue>
<character>HARRY</character>
<dialogue>Strange as it may seem, it might have cleared the waters. Sometimes the right action comes from the wrong reason.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - NIGHT</stage_direction>
<scene_description>Gideon , Babe Brother and Linda are just standing , facing one another . Suzie comes out on the porch .</scene_description>
<character>SUZIE</character>
<dialogue>Do you want your coat? It's cold out here.</dialogue>
<character>GIDEON</character>
<dialogue>No, I'm too hot now.</dialogue>
<character>SUZIE</character>
<dialogue>You better be careful. You'll get a stroke arguing.</dialogue>
<character>GIDEON</character>
<dialogue>I would n't care if I drop dead if he learn something from it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Son, you make me wish I was dead.</dialogue>
<character>SUZIE</character>
<dialogue>Gideon, do n't say things like that.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Why does he always pick on me?</dialogue>
<character>LINDA</character>
<dialogue>He is just being like all parents, concerned about the ones they love.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I do n't need that kind of love. And I do n't want to be reminded all the time that Big Mama's grandmother was born in slavery. If you really care about me, just tell me how I can make money.</dialogue>
<character>SUZIE</character>
<dialogue>Babe Brother, I'm going to take my hand and hit you across your mouth.</dialogue>
<character>LINDA</character>
<dialogue>He does n't mean what he says.</dialogue>
<character>GIDEON</character>
<dialogue>Let us go back in before the night of celebration becomes a night of me killing my son.</dialogue>
<character>SUZIE</character>
<dialogue>No. Before anyone moves, you two shake hands and do n't carry it any further.</dialogue>
<scene_description>Linda gives Babe Brother a jab with her elbow . His hand reaches out to Gideon .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>M.C. and Herman put the unshaded lamps next to Hattie so okra can get a better picture . Percy starts to play his guitar . Herman stands behind Percy .</scene_description>
<character>HATTIE</character>
<dialogue>Do n't make me say something nasty now.</dialogue>
<scene_description>Percy starts to play an old religious number and Hattie STARTS TO SING . Everything stops for a moment as her VOICE fills the room . Then most of the guests pick up and join in . M.C. moves the lamp next to Percy so Okra can take his picture .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Marsh and Harry are getting quite loud in their argument . It has become a kind of controlled anger .</scene_description>
<character>HARRY</character>
<dialogue>I think if anybody had a hand in killing Hocker, you ought to ask or you should have asked Emory and Chick.</dialogue>
<character>MARSH</character>
<dialogue>Chick was outright killed by a mob. He killed a white man that owed him some money and when they caught up with him, they tied him behind a car and dragged him from out of the hills back to town.</dialogue>
<character>HARRY</character>
<dialogue>Those boys never did have good luck.</dialogue>
<character>MARSH</character>
<dialogue>You damn right they did n't, especially Emory, my cousin.</dialogue>
<character>HARRY</character>
<dialogue>Emory had made a lot of enemies. He had a big mouth.</dialogue>
<scene_description>M.C. and Okra come in wanting to take pictures . Marsh is pretty mad about them intruding . M.C. sets the naked lamp in front of Marsh , on the floor , almost between his legs . Before Okra can get his camera set to shoot , Marsh leaves . Harry smiles as if he had won a major victory . Herman flops down in the empty chair and starts to COUGH . Suddenly Suzie and Gideon burst into the kitchen holding up one of the twins , Loviray . They carry the twin towards Herman 's seat . Herman is slow to react . Herman gets up very slow . Finally , they are able to seat the twin .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's the problem here?</dialogue>
<character>SUZIE</character>
<dialogue>She has a fish bone caught in her throat. Could all of you go in the other room? Gideon, get some bread and toast it quickly and find me the cod liver oil.</dialogue>
<scene_description>The twin is holding her throat and PANTING like a fish out of water . She is in a lot of pain . William , the twin brother , is standing at the door with a tragic face .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - MORNING</stage_direction>
<scene_description>Gideon is trying to get out of bed . He sits on the side of the bed and starts to COUGH .</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - MORNING</stage_direction>
<scene_description>Harry has his back to the camera , sitting in a chair facing a wall . He is naked from the waist up . An empty plate is placed not too far from where he is sitting . He is cutting an apple . He licks the blade of his knife .</scene_description>
</scene>
<scene>
<stage_direction>INT. BABE BROTHER'S BEDROOM - MORNING</stage_direction>
<scene_description>Babe Brother is asleep . Linda is dressed to go to work . She throws his suit on the foot of the bed .</scene_description>
<character>LINDA</character>
<dialogue>Are you going to work or sleep all day?</dialogue>
<scene_description>He snores louder . She opens the window and pulls back the cover . The cold air makes him draw up . On walking out , Linda says in a rather hurt voice :</scene_description>
<character>LINDA</character>
<dialogue>Remember, you promised to take Sunny to Magic Mountain today.</dialogue>
<scene_description>Babe Brother slowly gets up holding his chest as if his heart is bothering him .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - MORNING</stage_direction>
<scene_description>Gideon tries to put his pants on . He is too weak and sits back on the bed with his pants only up as far as his knees .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MORNING</stage_direction>
<scene_description>Suzie gets up to turn off the coffee kettle . When the kettle WHISTLE dies away , the sound of Gideon 's VOICE is heard calling Suzie for help . The sound of his voice frightens her .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>Suzie bursts into the room and then moves very slowly to Gideon , who is sitting on the bed out of breath .</scene_description>
<character>GIDEON</character>
<dialogue>I'm worn out.</dialogue>
<character>SUZIE</character>
<dialogue>Just stay in bed and rest.</dialogue>
<character>GIDEON</character>
<dialogue>I have to feed the chickens before they wake everybody up.</dialogue>
<character>SUZIE</character>
<dialogue>You stay inside. I will see to them.</dialogue>
<character>GIDEON</character>
<dialogue>I will appreciate that.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - EVENING</stage_direction>
<scene_description>Suzie and Junior are sitting at the dining room table . Harry , looking like he has just gotten out of bed , drags himself in .</scene_description>
<character>HARRY</character>
<dialogue>How is everybody?</dialogue>
<character>SUZIE</character>
<dialogue>Tolerable well.</dialogue>
<character>JUNIOR</character>
<dialogue>How did you sleep last night?</dialogue>
<scene_description>There is obvious hostility in Junior 's tone . Harry senses Junior 's hostility and chooses to ignore it .</scene_description>
<character>HARRY</character>
<dialogue>Ah, you young folks do n't know how it is. How is Gideon today?</dialogue>
<character>SUZIE</character>
<dialogue>He was n't able to get out of bed today.</dialogue>
<character>HARRY</character>
<dialogue>I hope that it's nothing serious.</dialogue>
<character>SUZIE</character>
<dialogue>He has never gotten rid of the malaria. He is usually up and at it the next day. I'm going to make him fresh chicken broth.</dialogue>
<character>HARRY</character>
<dialogue>Let me earn my keep. I'll go out and get a hen and have it picked and ready for the pot. Try to make him some cow tea next time.</dialogue>
<scene_description>Junior stares at Harry . Harry returns Junior 's stare and Junior finds himself embarrassed . Junior looks down at his pants leg and attempts to fix the crease in his pants by making a wedge with his fingers and running his fingers along the old crease . As Harry walks towards the back door , he looks back at Junior .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - EVENING</stage_direction>
<scene_description>The pigeons take to the air like an explosion . The chickens start to CACKLE and run about as Harry reaches for one with his cane . The SOUND of the boy next door practicing with his trumpet adds to the bedlam . Suzie is standing on the steps , shouting to Harry . The noise of the panicked chickens and the boy playing the trumpet next door drown out Suzie 's voice . Not getting Harry 's attention , she hurries down the steps . Harry has caught a hen that is SCREAMING her head off . He looks around and finds Suzie hurrying towards him .</scene_description>
<character>SUZIE</character>
<dialogue>Can you watch Gideon for a while? One of the girls is going into labor. Junior is going to drive me over.</dialogue>
<character>HARRY</character>
<dialogue>You just run along. I'll fix him his soup. He will be all right.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROOM - NIGHT</stage_direction>
<scene_description>Suzie and another woman who will be helping her are asleep . Suzie is in the chair and the woman is asleep on the floor . The woman who is in labor is reading a magazine and seems somewhat bored .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Harry opens the door and slowly walks in . Gideon is asleep . Harry picks up Gideon 's pants from the back of the chair . Gideon 's false teeth fall to the floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM - NIGHT</stage_direction>
<scene_description>There is a flurry of activity ; the woman is contracting .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - MORNING</stage_direction>
<scene_description>The untouched chicken broth sits on the night stand . Gideon is TALKING in his sleep . Morning light filters through the window shade . The room takes on a brownish tint . Gideon has dark rings under his eyes and looks like he has aged considerably .</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - MORNING</stage_direction>
<scene_description>Harry is reading the Bible . He runs his finger over the print of the Bible . After reading the passage , he stares at the empty plate on the floor for what seems like a long time . He claps the Bible shut , causing a loud NOISE to ECHO through the house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF HOUSE - MORNING</stage_direction>
<scene_description>Suzie is walking slowly up the steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - MORNING</stage_direction>
<scene_description>Suzie raises the window shade and is shocked to see the state that Gideon is in .</scene_description>
<character>SUZIE</character>
<dialogue>Oh my Lord!</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>The room is crowded with people . Suzie is putting Gideon 's shirt on . Harry is leaning against the door . After having put his shirt on , Suzie puts his house shoes on and directs Babe Brother and Junior to hold him up while she tucks his shirt in and puts on his suspenders . It takes almost everyone to hoist Gideon . Linda and Pat push the bed and night - stand out of the way as Babe Brother and Junior struggle to lift Gideon . They almost stumble at the door . Harry is left standing in the room alone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Harry , Okra and Herman are trying to catch another chicken . Herman is COUGHING badly and Okra is out of breath .</scene_description>
<character>OKRA</character>
<dialogue>You think old Gideon is going to live to see this month out?</dialogue>
<character>HARRY</character>
<dialogue>When I came upon the valley of bones, the serpent said, `` Make this your home. Dry as my soul be, heaven is lost to thee.'' We all got to make way.</dialogue>
<scene_description>Harry puts the rooster face to the ground and draws a straight line . Harry lets the rooster go , but the rooster stays motionless , unable to move .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>A chicken hates to see the preacher coming to dinner.</dialogue>
<scene_description>Herman hands Harry the ax . Harry is poised over the chicken with the ax , appreciating the moment . Harry raises the ax . The SOUND of Rodney starting to practice his trumpet brings the rooster out of the trance . Before Harry can react , the rooster jumps away .</scene_description>
<character>OKRA</character>
<dialogue>Herman, you will have to catch the next one'cause I'm out of breath.</dialogue>
<character>HERMAN</character>
<dialogue>If I have to chase after one, we wo n't eat.</dialogue>
<scene_description>A sack drops over the fence . Okra limps over to see what is in the bag . He uses a stick to open the bag . He does n't like what he sees and throws the bag back over the fence .</scene_description>
</scene>
<scene>
<stage_direction>INT. VETERAN'S HOSPITAL, WARD - DAY</stage_direction>
<scene_description>Suzie , Junior and Pat are standing around Gideon 's bed . He is in a room full of old veterans who are apparently nearing the end . Two old veterans , one white and the other black , sitting opposite each other wearing medals , sit in silence staring into each other 's eyes . A nurse empties an old man 's urine bag . The old man does n't show any embarrassment about his predicament . Gideon looks at how the patients are treated .</scene_description>
<character>GIDEON</character>
<dialogue>I do n't want to stay here.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Where is Babe Brother?</dialogue>
</scene>
<scene>
<stage_direction>INT. HERMAN'S ONE ROOM HOUSE - DAY</stage_direction>
<scene_description>M.C. is sitting on the bed , reading the job section of the paper . Herman is putting Vicks Vapo - Rub in a bowl of boiling water . He covers his head over the bowl with a towel . Okra is sitting at the table examining his gun . He points it at the floor , seeing if the sight is straight . Harry is sitting at the table with Babe Brother . Harry is showing him how to cheat at cards .</scene_description>
<character>HARRY</character>
<dialogue>Never play with someone's else's cards. You always get a new deck. Look at this card. See anything?</dialogue>
<character>BABE BROTHER</character>
<dialogue>It is just a regular card.</dialogue>
<character>HARRY</character>
<dialogue>Son, I can take everything you got with that deck. It is marked. Now I'm going to show you how to make some money in case you get stuck somewhere.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>A moth flies around the light casting a shadow that floats over everything . Suzie turns out the kitchen light and then turns out the dining - room light . She goes to her room and closes the door , leaving the room dark . A car headlight passing outside casts a moving pattern that moves along the wall . The light reveals Harry 's presence standing in the hall doorway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>Gideon is being helped up the steps by his sons .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Suzie is holding the door open while Gideon is carried in by Junior and Babe Brother . Gideon is led to a chair . He still looks awful .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Does n't he look a whole of lot better?</dialogue>
<character>SUZIE</character>
<dialogue>Well, you look better than you did yesterday.</dialogue>
<character>GIDEON</character>
<dialogue>Next time, I do n't care how sick I'll be, do n't take me back to the Veteran's Hospital.</dialogue>
<scene_description>Harry comes out of the bathroom , having just taken a bath . Harry seems delighted to see Gideon again .</scene_description>
<character>HARRY</character>
<dialogue>Boy, I thought you were about to cross the river.</dialogue>
<character>GIDEON</character>
<dialogue>I tell you, I feel like a ghost.</dialogue>
<scene_description>Harry signals Babe Brother to come over to him .</scene_description>
<character>HARRY</character>
<dialogue>Son, would you do me a favor and see if you could turn off that tap in the bathroom. My hand is too weak. And would you do me another favor? I do n't like asking this but would you clean the tub for me? I have trouble bending over.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Anytime you need someone to do something for you, just let me know.</dialogue>
<scene_description>Harry flops down on the couch . Suzie sets a cup of coffee on the table for Gideon . Harry looks up from sharpening his knife on a hand sharpening stone . He spits on it .</scene_description>
<character>HARRY</character>
<dialogue>That smells like fresh coffee.</dialogue>
<character>SUZIE</character>
<dialogue>Let me get you a cup?</dialogue>
<character>HARRY</character>
<dialogue>Only if you can spare it.</dialogue>
<scene_description>Junior stands over Harry 's shoulder looking at him sharpening his knife . Harry feels uncomfortable with Junior standing behind him . Harry looks up at him .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Son, would you get me an old piece of newspaper?</dialogue>
<scene_description>Suzie sets a cup of coffee in front of Harry .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Lord if you ai n't an angel.</dialogue>
<scene_description>Junior hands Harry the newspaper . Harry puts the paper under his foot and trims his toenails with it . Harry is aware of Junior standing over him .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I will leave you something in my will.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Junior looks in but Babe Brother is too busy trying to clean the bathtub to notice anyone . Babe Brother complains to himself .</scene_description>
<character>BABE BROTHER</character>
<dialogue>What in the hell.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Gideon and Suzie are in silhouette against the window . The SOUND of the boy trying to play his horn next door startles Gideon . Gideon turns to look out of the window towards Mrs. Baker 's house .</scene_description>
<character>GIDEON</character>
<dialogue>It's good to be able to hear that.</dialogue>
<character>SUZIE</character>
<dialogue>You must have been really sick.</dialogue>
<character>GIDEON</character>
<dialogue>How is the garden doing?</dialogue>
<character>SUZIE</character>
<dialogue>I need to get out there and get those weeds out.</dialogue>
<character>GIDEON</character>
<dialogue>How is that hen doing? I was meaning to pip her before I fell sick.</dialogue>
<scene_description>He takes a deep breath and blows it out .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm going to lie down. Take my, hand and help me up, lest I fall.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>Suzie helps Gideon to undress . Gideon loses hit balance but catches himself on the side of the bed .</scene_description>
<character>GIDEON</character>
<dialogue>Oh, I could n't have last another day in that hospital. You get weary being in the old soldiers home, old soldiers and war stories. They wait to tell you their last story ; the next morning the nurse pulls a sheet over their face.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, JUNIOR'S HOUSE - NIGHT</stage_direction>
<scene_description>Junior is putting up a new light fixture . Pat hands him a tool . Rhonda is washing dishes in the kitchen .</scene_description>
<character>PAT</character>
<dialogue>He just leeches off your parents. He is a master at wearing out welcome.</dialogue>
<character>JUNIOR</character>
<dialogue>Harry is the kind of guy you would love to take out in the woods and leave under a rock.</dialogue>
<character>PAT</character>
<dialogue>Where does her get the power to summon all his old raffish friends? They all smell of moth balls.</dialogue>
<scene_description>Junior slips on the ladder and the wires touch . There is a big spark . All the lights in the house go out .</scene_description>
</scene>
<scene>
<stage_direction>INT. BABE BROTHER'S KITCHEN - NIGHT</stage_direction>
<scene_description>Linda is standing over the stove , sweating as she stirs a hot pot of boiling soup . Babe Brother and Harry are seated at the table playing cards . Sunny is on the floor near his mother . Every time she move , he follows her . Harry notices Sunny has his shoes on the wrong foot and adds in a sarcastic way :</scene_description>
<character>HARRY</character>
<dialogue>How old is that boy?</dialogue>
<scene_description>Babe Brother looks at Sunny 's shoe .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Linda, how come you do n't see that Sunny puts his shoes on right?</dialogue>
<character>LINDA</character>
<dialogue>Why in the h.</dialogue>
<scene_description>Close to tears , she turns and with exaggerated care , puts the spoon down and gently puts Sunny in a chair . She starts to untie his shoes . Sunny stares at her while she keeps wiping her eyes .</scene_description>
<character>HARRY</character>
<dialogue>Let's give Dry Bones a call to see if he is coming or not. Okra likes to exaggerate, keep you waiting all night.</dialogue>
<scene_description>Harry slowly gets to his feet and goes in the other room to use the phone . Linda watches him go . She is deep in thought . Babe Brother , attempting to cut the roast before it is ready , is pushed aside by Linda , who is almost out of control with rage .</scene_description>
<character>LINDA</character>
<dialogue>Why do n't you wait?</dialogue>
<scene_description>Babe Brother , attempting to forcibly cut a piece of roast , slings Linda 's arm away . His hand accidentally hits her in the eye . Linda grabs the fork , poised to strike , but gains control of herself She looks like a person who is on the verge of having a breakdown . She goes back to putting the shoes on Sunny . Babe Brother , feeling sorry , does n't know what to do . He automatically picks up the fork and washes it off . Linda picks up Sunny .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - BABE BROTHER'S HOUSE - NIGHT</stage_direction>
<scene_description>Linda is standing at the door , with a red eye , welcoming Harry 's friends , which seem to be a long line of sickly people .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Linda is busy serving everyone , running in and out of the kitchen bringing more things , and removing used plates , etc. . Linda 's eye is swollen and discolored . The guests look at Linda 's eye and then cast a naughty - boy glance at Babe Brother . Linda stops serving to pay attention to an elderly man , who deliberately bends one of her spoons . She catches another man putting a fork in his pocket and an elderly lady putting a cigarette out in one of her plates . As she is about to confront the man about pocketing her spoon , a peal of LAUGHTER forces her to turn around only to witness a lady knocking over a glass filled with a green drink with her elbow . The stain spreads across the table cloth in an even manner like a single wave . She watches it move from one end of the table to the other . Harry is seated in the middle . The composition hints at The Last Supper .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Linda is reading a book to Sunny , who has his coffee can of marbles emptied on the bed . The NOISE from the party in the next room is clearly heard . Every time she hears something CRASHING to the floor , she wrenches . Babe Brother comes in and stands in the doorway . Linda 's eye is still swollen .</scene_description>
<character>BABE BROTHER</character>
<dialogue>You okay?</dialogue>
<character>LINDA</character>
<dialogue>I'm okay. Go back to your friends.</dialogue>
<scene_description>Babe Brother closes the door and leaves Linda reading stories of Brer Rabbit to Sunny . She stops reading to look at him playing marbles on the bed . She smiles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S HOUSE - DAY</stage_direction>
<scene_description>Five weighty Women , dressed in church robes , and the Preacher walk up Gideon 's steps . Suzie invites the church members in .</scene_description>
<character>PREACHER</character>
<dialogue>Sister, we've come to see how you were doing. We came to ask if we could pray over Gideon.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - DAY</stage_direction>
<scene_description>Gideon is asleep . The church members gather around his bed . The Preacher puts his hand on the foot of the bed and discovers that there is something strange under the covers . Suzie looks at him and lifts the covers at the foot of the bed . Gideon 's feet are resting on dead leaves .</scene_description>
<character>SUZIE</character>
<dialogue>I put some Plummer Christian Leaves under his feet to draw the fever out.</dialogue>
<character>PREACHER</character>
<dialogue>What else have you been giving him?</dialogue>
<character>SUZIE</character>
<dialogue>I crossed his stomach with cold oil and gave him some cow tea.</dialogue>
<character>PREACHER</character>
<dialogue>Suzie, I would think you would depend on prayer rather than these old fashion remedies. Let us read from the Bible.</dialogue>
<scene_description>The Preacher opens his Bible and reads silently . The choir HUMS and begin to sway . Gideon 's SNORING is very competitive . The choir becomes louder . Gideon starts to TALK in his sleep . Suzie is alarmed . CLOSE UP GIDEON 'S EAR . THE SOUND OF A TRAIN WHISTLE IS HEARD .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOTO STUDIO, 1930 - DAY (DREAM EFX)</stage_direction>
<scene_description>A lady steps upon the stage which has different backdrops . She is the same lady in a photo that Gideon has hanging in one of the kid 's rooms . The photographer , who is off - screen , asks about the background .</scene_description>
<character>PHOTOGRAPHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What scene would you like in the background?</dialogue>
<character>LADY</character>
<dialogue>Something pleasant.</dialogue>
<character>PHOTOGRAPHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>We have plantations.</dialogue>
<scene_description>The woman shakes her head .</scene_description>
<character>PHOTOGRAPHER</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Natchez, cotton fields, Harlem, sunflowers, the Mississippi River.</dialogue>
<character>LADY</character>
<dialogue>Put the river behind me.</dialogue>
<scene_description>A large picture of the Mississippi appears behind the lady . It changes from a painted backdrop to a moving picture . There is a storm developing off in the distance . The SOUND of thunder is heard . The picture in the background then changes to a boy on a mule .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WET DIRT ROAD - DAY (RAINING) (DREAM EFX)</stage_direction>
<scene_description>The boy on the gray mule does n't have a shirt on . A light mist like rain covers him . Gideon walks along the picket fence towards the boy on the mule . Ahead of Gideon seems to be a puddle but as he approaches , he discovers that it is an abyss . The boy and the mule on the other side fade away . Everything FADES TO BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - DAY</stage_direction>
<scene_description>The Preacher turns a page in the Bible . Gideon has his mouth open like a fish trying to get air . The Choir continues to SING . The Preacher gets down on his knees and holds Gideon 's hand ; he bows his head . The Choir stops singing . The Bessie Smith recording of `` Muddy Water '' is coming from somewhere in the house . The Preacher looks around . Suzie is more puzzled . She goes to find where the music is coming from .</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - DAY</stage_direction>
<scene_description>Suzie knocks on the door . No one answers . She peeps in . No one is in the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM</stage_direction>
<scene_description>The Preacher and the choir all have their hands on Gideon . Suzie enters the room .</scene_description>
<character>SUZIE</character>
<dialogue>I do n't know where that music is coming from.</dialogue>
</scene>
<scene>
<stage_direction>INT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Junior and Pat are helping Linda carry her baggage inside as Sunny reluctantly follows . It is obvious that Linda has left Babe Brother .</scene_description>
<character>SUNNY</character>
<dialogue>I want my daddy.</dialogue>
<character>JUNIOR</character>
<dialogue>Boy, hush that noise and get in this house. Make haste.</dialogue>
<character>SUNNY</character>
<dialogue>I want my daddy ; I told you.</dialogue>
<character>JUNIOR</character>
<dialogue>Rhonda, drag him in here. If you be nice, I will take you to Disneyland.</dialogue>
<scene_description>Pat , Linda and Junior put the suitcases down .</scene_description>
<character>PAT</character>
<dialogue>Now you do n't have to say anything if you do n't want to.</dialogue>
<character>JUNIOR</character>
<dialogue>I want to hear what happened. My brother is a jackass and a damn fool. The both of you have been as scarce as hen's teeth.</dialogue>
<scene_description>Linda looks down , embarrassed .</scene_description>
<character>PAT</character>
<dialogue>Rhonda, take Sunny in the backyard. Take a bowl so you can pick some strawberries. Sunny will enjoy it.</dialogue>
<scene_description>Rhonda and Sunny leave . Pat turns on Junior about talking bad about Babe Brother and Linda in front of Sunny .</scene_description>
<character>PAT</character>
<dialogue>You should n't talk about the boy's father in front of him. This is family business and we have to pull together.</dialogue>
<character>JUNIOR</character>
<dialogue>Whether the boy hears it or not, the man is still a jackass. Everyone should have some mother wit.</dialogue>
<character>LINDA</character>
<dialogue>Something just took control of him. He stays out all night and comes home with a pocket full of money.</dialogue>
<character>PAT</character>
<dialogue>It's probably Harry, but I hate to mention his name, because every time we say something about him something bad happens.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Rhonda and Sunny are looking under a strawberry plant . Sunny has strawberry stains around his mouth and on his shirt . Rhonda is putting her strawberries in the bowl . After getting a bowl full , they lay on the grass , eating strawberries while looking up at the clouds slowly drifting by .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction>
<scene_description>Babe Brother is driving along a country road while Harry , sitting in the front seat next to him , yawns . Harry is tired .</scene_description>
<character>HARRY</character>
<dialogue>Let us walk awhile. I grow weary when I sit still too long.</dialogue>
<scene_description>Babe Brother 's car stops in an orchard - like area .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ORCHARD - DAY</stage_direction>
<scene_description>Babe Brother and Harry get out of the car . They walk on a path that takes them under low hanging tree limbs . It gets darker as they go deeper into the orchard . Babe Brother finds the going rough and loses his footing .</scene_description>
<character>HARRY</character>
<dialogue>Give me your arm lest you fall.</dialogue>
<scene_description>Harry has to help him stay on his feet . Babe Brother finds it necessary to take Harry 's arm . Babe Brother stops and Harry walks a few more steps ahead and waits for Babe Brother . Just ahead sitting on a branch is a huge white owl camouflaged by tree branches .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I could swear I heard my son call me.</dialogue>
<character>HARRY</character>
<dialogue>You probably heard the wind stirring up those dead leaves over there.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I heard his voice as clear as day. I better get back. Maybe something is wrong.</dialogue>
<scene_description>Babe Brother turns and starts hurrying back before Harry can object . He walks slowly after Babe Brother who is doubling the distance between himself and Harry as he runs through the orchard to his car . Harry stops and looks around .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Pat , Linda and Junior are seated at the table . The suitcases are in the middle of the floor .</scene_description>
<character>LINDA</character>
<dialogue>I told Babe Brother that if Harry sets foot in our house again, I'm taking Sunny and leaving. Just as I said that, here come Harry and his old resurrected friends, hobbling up the steps.</dialogue>
<character>JUNIOR</character>
<dialogue>Is that how you got that black eye?</dialogue>
<character>PAT</character>
<dialogue>Do n't ask that.</dialogue>
<character>LINDA</character>
<dialogue>No, this was an accident.</dialogue>
<character>JUNIOR</character>
<dialogue>Sure.</dialogue>
<character>LINDA</character>
<dialogue>It was unintentional.</dialogue>
<character>JUNIOR</character>
<dialogue>Babe Brother reminds me of the story of the man who wanted to be sizable. He wanted to be tall but what he was really short on was brains. There was a time when people had moon fever were treated with leeches.</dialogue>
<scene_description>The phone rings and Junior goes to pick it up . Linda 's and Pat 's attention is focused on the phone . Junior hands the phone to Linda .</scene_description>
<character>JUNIOR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's that nut of yours.</dialogue>
<scene_description>Linda hesitates but Pat takes the phone from Junior and puts it in her hand .</scene_description>
<character>LINDA</character>
<dialogue>What do you want?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>No. Nothing happened to him.</dialogue>
<scene_description>Sunny and Rhonda enter . Linda turns to look . Sunny 's hands and face look bloody from eating strawberries . She puts the phone down and examines his dirty face . Pat brings Linda a wet towel .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BAKERS' GARAGE - NIGHT</stage_direction>
<scene_description>MR. BAKER , a well built black man in his late 40 's , is making a new fishing pole . He is very involved . Mrs. Baker is standing beside him with her arms folded . She stares at him . Mr. Baker glances at her .</scene_description>
<character>MR. BAKER</character>
<dialogue>What are you doing?</dialogue>
<character>MRS. BAKER</character>
<dialogue>Counting the gray hairs in your head.</dialogue>
<character>MR. BAKER</character>
<dialogue>Counting the what? What does that have to do with the price of butter?</dialogue>
<character>MRS. BAKER</character>
<dialogue>I was just trying to make conversation.</dialogue>
<character>MR. BAKER</character>
<dialogue>Where is Skip?</dialogue>
<character>MRS. BAKER</character>
<dialogue>He is in his pigeon cage.</dialogue>
<character>MR. BAKER</character>
<dialogue>I'm sorry he got those birds.</dialogue>
<character>MRS. BAKER</character>
<dialogue>You know the man next door is near death.</dialogue>
<scene_description>Mr. Baker does n't answer . He pauses for a moment of thought . Mrs. Baker sees that she is not going to get a response from her husband . She picks up an eyelet and Mr. Baker looks at her as if to say , keep your hands off . She gets the message and lays the eyelet back on the work bench .</scene_description>
<character>MRS. BAKER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He must have gotten rid of those chickens. You do n't hear them crowing anymore. I kind of miss it now.</dialogue>
<scene_description>Mr. Baker admires his pole . He looks very closely at the details of his work . Rodney comes in , polishing his horn . Mr. Baker 's expression changes as he watches Rodney out of the corner of his eye . Mrs. Baker gives Rodney a motherly pat on the head . Rodney puts the trumpet to his mouth .</scene_description>
<character>MR. BAKER</character>
<dialogue>Do n't blow that thing in here. You blow that thing when I'm at work.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>There is a man lying on a bus bench with his belongings . A spotted dog is standing guard next to the bench . The dog 's reflection is caught in a puddle of water . The dog has circles and sixes painted over his body . Old John taps on the bench with his pipe . The man lying on the bench stirs and gives Old John a wave to indicate that he is alright . Old John slowly gets his cart moving again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Babe Brother drives around the block past Junior 's house .</scene_description>
</scene>
<scene>
<stage_direction>INT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Junior is at the window , looking out .</scene_description>
<character>JUNIOR</character>
<dialogue>Why does n't he just park his car and come in and apologize?</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Babe Brother sits in his car with the windows up . Junior tries to talk to him but Babe Brother will not roll down the windows . He just stares at Junior , who is getting angry .</scene_description>
<character>JUNIOR</character>
<dialogue>Roll down the window and let me talk to you.</dialogue>
<scene_description>Babe Brother only stares at him . Junior gets more violent and starts to shake the car . Pat calls from the doorway .</scene_description>
<character>PAT</character>
<dialogue>Stop it Junior!</dialogue>
</scene>
<scene>
<stage_direction>INT. PREGNANT WOMAN'S ROOM - DAY</stage_direction>
<scene_description>A woman is in a squatting position . Suzie and her aide are holding the woman by the arms .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S HOUSE - DAY</stage_direction>
<scene_description>Rhonda is painting her fingernails . Sunny watches her . She looks around to see if any adult is watching . She tries to talk Sunny into letting her paint his nails . He refuses but she tries to pull his hand towards her . He fights his way free and stands up and kicks the bottle of nail polish over .</scene_description>
<character>RHONDA</character>
<dialogue>Mama, come see what Sunny did.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Suzie is sitting in a chair ; her head is bent forward . Gideon is TALKING in his sleep . She awakes and nods off again . Harry sticks his head in .</scene_description>
<character>HARRY</character>
<dialogue>How is he doing?</dialogue>
<character>SUZIE</character>
<dialogue>As long as he keeps his throat clear, he is able to get some rest.</dialogue>
<character>HARRY</character>
<dialogue>I made a fresh pot of coffee. Okra and I thought you need a rest. I'll stand guard. Okra wants to talk to you anyway.</dialogue>
<scene_description>Harry helps Suzie to her feet .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Okra is painfully standing on his bad feet . He is in his security - guard uniform , holding a bouquet of greens . As Suzie comes in , Okra tries to stand upright at attention .</scene_description>
<character>OKRA</character>
<dialogue>I brought you these greens and some salt meat.</dialogue>
<character>SUZIE</character>
<dialogue>That is very thoughtful of you. I have n't had time to tend to my garden like I should.</dialogue>
<scene_description>Suzie takes the greens and puts them on the counter . She squeezes Okra 's hand as a thank you . She pours him a cup of coffee . Okra eases down into the chair . He crosses his legs and starts massaging his feet . Suzie get herself a cup of coffee and sits opposite him . She stretches and tries to hold back a yawn . Okra looks at her in a slightly desirous way .</scene_description>
<character>OKRA</character>
<dialogue>You know Gideon and I are lodge brothers and it has always been a policy to take care of the wives if something happens to our brother.</dialogue>
<character>SUZIE</character>
<dialogue>You are very sweet, but Gideon has already taken care of everything in case something happens to him. He has a policy.</dialogue>
<character>OKRA</character>
<dialogue>If you become a widow, you will need someone around to fix the whatnots. We like for the widow to marry someone in the lodge. I know Gideon ai n't gone yet, but there will be a lot of his old friends coming around to get in line. I just want you to consider this as a kind of a conditional proposal, to be first in line so to speak.</dialogue>
<scene_description>Suzie keeps herself under control ; she tries to find words to say . She stands up .</scene_description>
<character>SUZIE</character>
<dialogue>Excuse me. I have to go feed my dog.</dialogue>
<scene_description>She turns the fire out from under the coffee pot and exits the back door . Okra unties his shoes and begins to massage his feet .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM / EXT. YARD - NIGHT</stage_direction>
<scene_description>Harry is sitting by the bed , just visible through the window . He seems restless .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S BACKYARD - DAY</stage_direction>
<scene_description>There is only one hen left in the coop . The garden is full of weeds . The sunflowers are bent by the force of the wind . A bag is thrown over the fence . The shadows of pigeons flying overhead race along the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Two shadows on the wall are facing each other . The shadows are the heads of two women , Suzie and Hattie .</scene_description>
<character>HATTIE</character>
<dialogue>You know Harry lied about how that boy Hocker got kilt. And it was Harry who saw Emory last before they found him hanging over a levee like someone would hang a hog.</dialogue>
<character>SUZIE</character>
<dialogue>I remember Harry always trying to help someone. He got Lulla's daughter out of trouble. He was always running to the store for someone who could n't leave the house.</dialogue>
<character>HATTIE</character>
<dialogue>Harry always shows his good side and, like the moon, the other side is black. Back home he always did try to act like the colored gentleman. I'm telling you Harry is nothing but evil. I'm warning you - you ca n't keep a wild animal as a pet around children.</dialogue>
</scene>
<scene>
<stage_direction>INT. HARRY'S ROOM - DAY</stage_direction>
<scene_description>Harry has a plate of food in his hand . He stands facing himself in the mirror , staring at himself while he eats . He opens the door to leave but Sunny is in the hallway with his back turned sweeping . Harry stares at him and decides to go back in his room .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<character>SUZIE</character>
<dialogue>You know Okra asked me to marry him the other evening.</dialogue>
<character>HATTIE</character>
<dialogue>Rush your mouth, girl. No, he did n't. He can not be that big of a damn fool.</dialogue>
<character>SUZIE</character>
<dialogue>I asked Harry about it. He did n't own up to it. He said he did n't know what got into Okra.</dialogue>
<character>HATTIE</character>
<dialogue>He's just raffish. Harry put him up to it. Before evening sun sets, I would have his belongings back on Route 55, that old fox.</dialogue>
<character>SUZIE</character>
<dialogue>I ca n't accuse him just dry long 80.</dialogue>
<character>HATTIE</character>
<dialogue>Everybody who have been associated with Harry end up with pennies over their eyes.</dialogue>
<character>SUZIE</character>
<dialogue>What must I do?</dialogue>
<character>HATTIE</character>
<dialogue>If it was left up to me, I would poison him.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Harry sees that it is safe to leave . He sees Sunny sweeping in Gideon 's room . Gideon is sound asleep . Sunny is sweeping around the bed .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Harry comes in and Hattie and Suzie stop talking . Harry is aware that he was the subject . The SOUND of the boy next door playing his horn is heard .</scene_description>
<character>HARRY</character>
<dialogue>Good afternoon, ladies.</dialogue>
<character>SUZIE</character>
<dialogue>Good afternoon to you.</dialogue>
<scene_description>Harry waits for Hattie to respond but it is obvious that Hattie is n't about to speak to him .</scene_description>
<character>HATTIE</character>
<dialogue>I'm going to check on Gideon.</dialogue>
<scene_description>Harry moves out of her way to let her go by . Hattie does n't even give him a glance . Harry continues to look at her as she disappears into Gideon 's room .</scene_description>
<character>HARRY</character>
<dialogue>As God is my witness, I have never done anything to that woman.</dialogue>
<character>SUZIE</character>
<dialogue>You must have done something to her.</dialogue>
<character>HARRY</character>
<dialogue>Since she has repented, all she does is throw stones.</dialogue>
<character>SUZIE</character>
<dialogue>Hattie is a different person now.</dialogue>
<character>HARRY</character>
<dialogue>I do n't make no bones about where I'm going to spend eternity. I have always been wild and you know that. If you are made to feel half a man, what do you think the other half is?</dialogue>
<character>SUZIE</character>
<dialogue>I'm glad you brought that up as to who you are. I have to know who is in my house.</dialogue>
<character>HARRY</character>
<dialogue>You invited me.</dialogue>
<character>SUZIE</character>
<dialogue>Only if you are a good man, a friend. Are you a friend?</dialogue>
<scene_description>Harry takes his time in looking for an answer .</scene_description>
<character>HARRY</character>
<dialogue>Like that boy next door playing that his horn. If he was a friend, he would stop irritating people, but if he stops practicing, he would n't be perfect in what he does someday.</dialogue>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - DAY</stage_direction>
<scene_description>Hattie enters Harry 's room . She goes through his things . She reads one of his letters . As she walks over to the window reading his letter , she steps on the plate , cracking it .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<character>SUZIE</character>
<dialogue>I want you to leave.</dialogue>
<scene_description>Harry looks sad and suddenly a lot older as if what she said has taken away some of his life .</scene_description>
<character>HARRY</character>
<dialogue>Okra, M.C. and Herman want to go back home with me.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Suzie, I'm not a bad fellow ; I just like to have a good time.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>M.C. is coming by to pick me up tonight. I'll come back to get my things. Well, I hope Gideon recovers. You know I have an extra picture of one of my sons that I would like for you to put with those baby pictures over your dresser. It's better than being in my dusty wallet with addresses and names of people who are no longer on this earth.</dialogue>
<scene_description>Suzie takes the picture . She seems as if she has doubts about having asked Harry to leave .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll say my so - longs to Gideon before I leave and I truly wish that he will get well.</dialogue>
<scene_description>Suzie continues to look at the picture .</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S BEDROOM - DAY</stage_direction>
<scene_description>Hattie is reading Harry 's letters when he appears behind her . Hattie turns but is not surprised or concerned about Harry . She hands him back his letters , looks at him for a moment and goes . Harry looks down at the cracked dish .</scene_description>
</scene>
<scene>
<stage_direction>INT. HERMAN'S HOUSE - EVENING (RAIN)</stage_direction>
<scene_description>M.C. and Herman are packing . Okra is all dressed up with a pair of Stacy Adams shoes that make his feet look exaggeratedly long . Babe Brother and Harry are sitting at a table playing blackjack . Okra picks up one thing at a time , making the packing much harder . There is a stack of old dusty 78 record ; Okra , trying to step over the records , kicks over a box of mothballs that roll across the floor . Okra has to step over boxes of toilet paper .</scene_description>
<character>OKRA</character>
<dialogue>Why did you buy so much toilet paper?</dialogue>
<character>M.C.</character>
<dialogue>I got that on the job when I was a janitor. They did n't pay me.</dialogue>
<scene_description>Harry picks up an old cigar box that falls opens . Dice , shotgun shells , some spent .38 slugs and an old rusty knife , a crab apple switch , land on the floor . Harry picks up the knife .</scene_description>
<character>HARRY</character>
<dialogue>Whose old piece of knife is this?</dialogue>
<character>HERMAN</character>
<dialogue>That was my brother's knife.</dialogue>
<scene_description>Harry gives the knife to Babe Brother and signals him to put it in his pocket . The SOUND of the thunder has an unreal violence to it .</scene_description>
<character>HARRY</character>
<dialogue>I do n't want to wear out welcome, but you can stay in someone's heart longer than you can stay in their house. Come with us, boy. We are going to have a good time.</dialogue>
<character>BABE BROTHER</character>
<dialogue>This would be a bad time for me to leave.</dialogue>
<character>HARRY</character>
<dialogue>We are going where the action is. Ai n't that right, Okra?</dialogue>
<parenthetical>( then back to Babe Brother . )</parenthetical>
<dialogue>Let's play for a couple of bucks unless you want to start off with two bits and work our way up.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What would you give to be rich?</dialogue>
<scene_description>Babe Brother humps his shoulder . Babe Brother looks at his hand .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Had Moms and Pops given me my share of what was mine, I could have been rich by now. Linda and I had it all worked out.</dialogue>
<scene_description>Harry wins the first hand .</scene_description>
<character>HARRY</character>
<dialogue>I know your mind is on your wife but you should never treat a woman as an equal. You want to get your wife back, get another woman, one of those big hip women that will ride you till you sweat.</dialogue>
<scene_description>Harry wins another hand . M.C. and Okra are still packing while Herman is eating Argo Starch .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Double the stakes?</dialogue>
<scene_description>Babe Brother agrees but his thoughts are obviously somewhere else . Harry studies his hand and looks at Babe Brother ; he puts down his hand . Babe Brother wins and is quite pleased . The next series of hands are won by Babe Brother .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>M.C., you ever heard of a real man having one woman?</dialogue>
<character>M.C.</character>
<dialogue>No, lord!</dialogue>
<character>HARRY</character>
<dialogue>When one woman puts you out, you have another to take you in. You do n't drive around without a spare tire, do you? The more mules you have hitched, the easier it is to plough.</dialogue>
<scene_description>Harry loses another hand and Babe Brother suddenly has a pile of money .</scene_description>
<character>HARRY</character>
<dialogue>Herman, let me borrow a few bucks.</dialogue>
<scene_description>Herman stand over him with a roll of bills and peels off several .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Bless you. Bless you.</dialogue>
<scene_description>Herman is standing behind Babe Brother , SINGING to himself .</scene_description>
<character>HERMAN</character>
<dialogue>In the ground there is a hole and green grass growing around the hole. Now in the hole there is tree and green grass growing all around the tree. Now there is a hole in the ground, a tree in the hole and green grass growing around the hole.</dialogue>
<character>HARRY</character>
<dialogue>Let me share something with you.</dialogue>
<scene_description>Harry stops and thinks for a while .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hattie is a snake. That woman broke up so many homes and caused a lot of misery and because she calls herself getting religion everything is put right.</dialogue>
<scene_description>Okra is taking several shotguns out of the closet .</scene_description>
<character>OKRA</character>
<dialogue>These damn things are unloaded, ai n't they?</dialogue>
<character>HARRY</character>
<dialogue>It's important to know the difference between the incoming fire and the outgoing fire. As Amos and Andy might say, `` We is the outgoing fire.'' Come with us, son. We'll show you some steaming hot juke joints, steaming hot women.</dialogue>
<character>M.C.</character>
<dialogue>A pot full of chitlins and a good time.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Let me go by the house first.</dialogue>
<character>HARRY</character>
<dialogue>We will wait for you as long as we can. I got to get my things from your mother's house.</dialogue>
<scene_description>Babe Brother hurries out . M.C. , Herman and Okra flop down in chairs and on the bed and look at their watches . Harry sits at the table tapping out a rhythm on the table and WHISTLING very softly to himself . Suddenly Harry sees that Babe Brother left the pile of money on the table . A look of concern comes over his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S HOUSE - NIGHT (RAIN)</stage_direction>
<scene_description>It is raining hard . Babe Brother gets out of the car . Running to get out of the rain , he slips and falls ; he tries to get up but slips and falls again . He gets up and walks slowly up the steps as if he does n't care whether he gets wet or not .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Suzie helps him to take his wet coat off . She goes into the kitchen , puts his coat in front of the stove . The knife falls out . She picks it up and looks at it like she would throw it away but Babe Brother takes it .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I need to get my suitcase out of the garage.</dialogue>
<character>SUZIE</character>
<dialogue>What for?</dialogue>
<character>BABE BROTHER</character>
<dialogue>I'm going back home with Harry.</dialogue>
<character>SUZIE</character>
<dialogue>I've heard some foolish things in my life.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Harry is coming to pick me up.</dialogue>
<character>SUZIE</character>
<dialogue>Have you lost your mind? Have you thought about your wife and child, not to mention your sick father? And I need your help to move his bed from under the leak in the ceiling.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I'm busy.</dialogue>
<character>SUZIE</character>
<dialogue>Do n't make me raise my hand to you. You have to see for yourself that you are going in the wrong direction.</dialogue>
<character>BABE BROTHER</character>
<dialogue>Ca n't I be myself without you jumping in with your right and wrong? The world is not black and white. Show me one perfect person. If you ca n't, do n't ask me to be.</dialogue>
<character>SUZIE</character>
<dialogue>I do have a right to ask you to be a little bit better than me and your father because we gave you a better head start. You have no right to complain to us about your not having enough.</dialogue>
<parenthetical>( forcefully . )</parenthetical>
<dialogue>You sit right there with your no manners self.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT (RAIN)</stage_direction>
<scene_description>Junior is carrying a roll of roofing paper . Pat , Rhonda , Linda and Sunny run to the porch to get out of the rain . Junior stacks the roofing paper in the corner of the porch and stamps the mud off his shoes .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Junior , Pat , Linda and Rhonda come in to help Suzie move the bed from under the rain dripping through the hole in the ceiling .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT (RAIN)</stage_direction>
<scene_description>Sunny stands in the doorway watching his father sharpen his knife that he got from Harry . Babe Brother is unaware that his son is watching him .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT (RAIN)</stage_direction>
<character>JUNIOR</character>
<dialogue>Where is Babe Brother?</dialogue>
<character>SUZIE</character>
<dialogue>Brother is in the kitchen.</dialogue>
<character>JUNIOR</character>
<dialogue>How come you did n't ask Babe Brother to help you?</dialogue>
<character>SUZIE</character>
<dialogue>He said he was busy. He is mad'cause he wanted to get in the garage to get his things so he could go with Harry.</dialogue>
<scene_description>Linda has a surprised look on her face .</scene_description>
<character>JUNIOR</character>
<dialogue>So he is busy?</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT (RAIN)</stage_direction>
<scene_description>Babe Brother is preoccupied sharpening his knife with a sharpening stone . He is almost in a trance . Junior comes in rather angrily . Sunny goes and sits in the shadows in the dining room .</scene_description>
<character>JUNIOR</character>
<dialogue>Why in the hell did n't you help mama?</dialogue>
<character>BABE BROTHER</character>
<dialogue>I told her I would if she would give me time.</dialogue>
<character>JUNIOR</character>
<dialogue>I bet you if your master would have told you to fix the hole in the roof, you would have rebuilt the whole damn house.</dialogue>
<character>BABE BROTHER</character>
<dialogue>You always got the best of it around here and when Dad always talks about my son, it is always you, so you fix the roof.</dialogue>
<character>JUNIOR</character>
<dialogue>That is a damn lie and you know it. Every time father asks you to do something, you either half - ass do it or run off and hide. Mama asked you to turn the dirt in her garden and you told her, with your smart ass self, that you were n't a farmer ; get Junior to do it. Every time someone asks you to do something, you always say, tell Junior to do it. Boy, you ought to grow up.</dialogue>
<character>BABE BROTHER</character>
<dialogue>I told you about calling me boy. I ai n't no boy. See, you and Dad got a bad habit of calling me boy. You call me boy in front of my wife. You think I'm going to fix the roof? I hope the wind blows the whole damn thing off and it pours down rain.</dialogue>
<character>JUNIOR</character>
<dialogue>I ought to break your damn neck.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Sunny is sitting in a chair listening to his father and uncle argue in the kitchen . A car outside passes and the lights from the car form a crochet - like moving pattern on the wall behind him . Sunny is only lit for a moment .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT (RAIN)</stage_direction>
<scene_description>Babe Brother starts gathering up his things to leave .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I'm leaving and do n't even call me when the shoe falls'cause all he did for me was to try and run my life. I'm tired of people saying Babe Brother this, Babe Brother that. What's my name?</dialogue>
<character>JUNIOR</character>
<dialogue>You dumb ass, it's Babe Brother.</dialogue>
<character>BABE BROTHER</character>
<dialogue>My name is Sam. Samuel.</dialogue>
<scene_description>Babe Brother attempts to get up but Junior pushes him down .</scene_description>
<character>JUNIOR</character>
<dialogue>Sit down!</dialogue>
<scene_description>Babe Brother hits Junior on the jaw , driving him backwards , causing the overhead lamp to sway violently .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Suzie , Pat and Linda hear the noise coming from the kitchen and rush to see what is going on .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - RAINY NIGHT</stage_direction>
<scene_description>Babe Brother and Junior are both reaching for the knife . Junior is on top of Babe Brother , who is stretched out on the table trying to reach the knife . Junior grabs the knife first and Babe Brother flips over to defend himself . Babe Brother grabs Junior 's wrist as Junior tries to push the knife against his throat . Suzie comes in and grabs part of the knife with her hand and Junior 's wrist with her other hand . Pat and Linda try to pull the two men apart while pleading with Junior . Blood drips from Suzie 's hand to the table , forming a pool under Babe Brother 's head .</scene_description>
<character>PAT</character>
<dialogue>Stop it! Stop it! Look what you are doing!</dialogue>
<scene_description>Babe Brother 's eyes are rolled to the back . Junior 's eyes are huge ; he has an animal look on his face . The SOUND of struggling people breathing heavily is amplified . The pool of blood on the table grows larger . Junior slowly becomes aware of the blood and his body relaxes . He calmly releases the knife . Junior takes his mother 's hand .</scene_description>
<character>JUNIOR</character>
<dialogue>Someone get some lard out of the ice box.</dialogue>
<scene_description>Pat attempts to get the lard but pain in her stomach forces her to sit down . Linda gets the lard out and hands it to Junior . Babe Brother raises himself . The blood from Suzie 's dripping from his head . Rhonda is trying to hold Sunny back . Junior holds his mother 's hand under the faucet . It is a deep cut . The bleeding wo n't stop . Pat is sitting at the blood - stained table unable to move . She is PANTING , sweating , and holding her stomach . Linda is caught between trying to help Suzie and attending to Pat . Babe Brother helps to make a wad of cloth to press in her hand to Stop the bleeding .</scene_description>
<character>LINDA</character>
<dialogue>You are going to need some stitches. We better take her to the emergency hospital.</dialogue>
<scene_description>Babe Brother is shamefully calm now and very humble .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I'll drive her to the hospital.</dialogue>
<character>JUNIOR</character>
<dialogue>We will take her. You all stay here and watch Dad.</dialogue>
<character>LINDA</character>
<dialogue>What about Pat?</dialogue>
<character>PAT</character>
<dialogue>I'm okay now.</dialogue>
<scene_description>Suzie attempts to go see Gideon but Babe Brother and Junior turn her to the door . Going through the kitchen door , Junior intentionally turns his back to Babe Brother . Babe Brother stares at Junior 's back as he walks ahead .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>The automatic doors open and Junior , Babe Brother and Suzie enter . There is a long line of people waiting at the registration window as well as groups of people filling out forms . Other patients are seated and waiting patiently to see the doctor . Suzie finally gets to the registration window . A NURSE , white , 25 , with extremely long fingernails that curve back around , is surprisingly sympathetic .</scene_description>
<character>NURSE</character>
<dialogue>What sort of emergency are you here for?</dialogue>
<character>SUZIE</character>
<dialogue>I cut my hand.</dialogue>
<character>NURSE</character>
<dialogue>Let me take a look at it.</dialogue>
<scene_description>Suzie puts her hand through the window . The Nurse stands up to get a better look . The Nurse takes the wad out of her hand . The bleeding has stopped . The Nurse takes a deep breath . The Nurse glances up to notice the blood stains on the back of Babe Brother head .</scene_description>
<character>NURSE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you all together?</dialogue>
<character>JUNIOR</character>
<dialogue>Yes.</dialogue>
<character>NURSE</character>
<dialogue>The bleeding has stopped but it will need stitches. You will have to fill out this form. How will this be covered, insurance, cash or check?</dialogue>
<character>JUNIOR</character>
<dialogue>Do n't worry about it. It will be paid. Just let her see a doctor.</dialogue>
<character>SUZIE</character>
<dialogue>I have Medicare.</dialogue>
<scene_description>The Nurse hands Suzie a form , but Babe Brother takes the form . The Nurse looks again at Babe Brother 's head .</scene_description>
<character>NURSE</character>
<dialogue>Do you need to see the doctor too?</dialogue>
<character>BABE BROTHER</character>
<dialogue>No, just my mother.</dialogue>
<scene_description>Babe Brother fills out the form with Suzie 's help and hands the form back to the Nurse . They find a seat all together .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>The room slowly fills with people and Babe Brother and Junior offer their seats to those there for medical care .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Two Police Officers bring in a man handcuffed to a bed . The woman officer carries a shotgun . The male police officer carries a clip board . The Prisoner is obviously in no condition to escape or cause trouble . They are allowed to go directly to the emergency room without waiting .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, EMERGENCY RECEPTION ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>More injured people come but in spite of their condition they are told that they have to wait . There is only standing room . Junior and Babe Brother are standing next to the wall . On the other side of the room , Suzie is looking quietly at them as if she is in deep thought . Junior walks over to the reception desk .</scene_description>
<character>JUNIOR</character>
<dialogue>Why is it so crowded?</dialogue>
<character>NURSE</character>
<dialogue>Well, it is Friday night and a full moon.</dialogue>
<scene_description>Junior whispers to Babe Brother . They both start to laugh . Suzie looks up and finds them in a fit of laughter . A faint smile appears on her face .</scene_description>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - NIGHT (RAIN)</stage_direction>
<scene_description>Gideon is slowly getting up . He looks around . He calls for Suzie . He slowly gets to his feet .</scene_description>
<character>GIDEON</character>
<dialogue>Suzie, I'm hungry.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT (RAIN)</stage_direction>
<scene_description>He walks by Linda , Pat , Rhonda , and Sunny , who are sleeping in chairs , on the floor and on the sofa .</scene_description>
<character>GIDEON</character>
<dialogue>Suzie.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT (RAIN)</stage_direction>
<scene_description>Gideon opens the refrigerator and starts taking out bowls of food and placing them on the table . He puts on a pot of coffee .</scene_description>
<character>GIDEON</character>
<dialogue>Suzie.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT (RAIN) (LATER)</stage_direction>
<scene_description>Gideon is busy eating almost everything in sight . A group of mystified and sleepy faces appear at the door . Pat , Linda , Rhonda and Sunny are all looking rather dumbfounded .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - MORNING</stage_direction>
<scene_description>Everything is wet from the night 's rain . The garden looks more like a graveyard . Moisture drips from the sunflowers . Gideon 's nervous looking rooster jumps the fence and starts to CROW . Skip is out early throwing rocks at his birds . The rocks land on Gideon 's roof .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - MORNING</stage_direction>
<scene_description>Babe Brother and Junior help Suzie out of the car . She has her left hand bandaged . They are extremely exhausted . They walk up the porch to find Harry holding the door open .</scene_description>
<character>HARRY</character>
<dialogue>I ca n't believe what I heard took place.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>On seeing Suzie , Sunny jumps up , knocking the can of marbles over the kitchen floor . He runs to give Suzie a hug . Sunny wants to touch her bandaged hand , but Linda stops him .</scene_description>
<character>SUZIE</character>
<dialogue>How is Gideon doing?</dialogue>
<character>RHONDA</character>
<dialogue>He is asleep now, but he was up all night eating.</dialogue>
<scene_description>As Suzie goes to Gideon 's room , she comes face to face with Harry . She does n't say anything .</scene_description>
<character>HARRY</character>
<dialogue>I came to pick up my things.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIDEON'S BEDROOM - DAY</stage_direction>
<scene_description>Gideon is SNORING loudly . On the night - stand is a plate with food left on it . Suzie feels his forehead .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Harry sadly gets up . He looks at Babe Brother . Linda steps in front of Babe Brother .</scene_description>
<character>LINDA</character>
<dialogue>You ought to go see how your father is doing and then wash that blood off you and change shirts.</dialogue>
<scene_description>Babe Brother is surrounded by Linda and Sunny who has his eyes fixed on Harry . They move as one heading for the bedroom . Harry seems a lot older . He sadly walks towards the kitchen with his coffee cup . LOW ANGLE SHOT : Harry is slowly walking towards the MARBLES that are scattered over the kitchen floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>Pat , Linda , Junior , Rhonda , Babe Brother , Sunny and Suzie are all standing around waiting for Gideon to wake up .</scene_description>
<character>SUZIE</character>
<dialogue>Gideon.</dialogue>
<scene_description>Gideon 's only response is to SNORE louder .</scene_description>
<character>PAT</character>
<dialogue>How long is Harry going to hang around?</dialogue>
<scene_description>Babe Brother is in a corner all by himself . He looks down when Pat asks the question about Harry . A loud CRASHING SOUND comes from the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Harry is trying to raise himself from the floor . He pauses for a moment and then collapses . Harry is in a lot of pain . Harry 's body contorts and then remains still . Babe Brother , Junior , Pat , and Linda , Suzie run in . Suzie tries to see if he is alive . Babe Brother tries to give him mouth to mouth resuscitation but Linda pulls him away . Junior tries to push down on Harry 's chest . Babe Brother stares down at Harry and then goes slowly back into the living room . Pat is on the phone dialing the paramedics . Everyone stands around Harry .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Two PARAMEDICS work on Harry . One of the paramedics is a young Asian . The other is white with red hair . They listen for a heart beat and shake their heads in a negative manner . They pack up their medical case . The Asian 's accent is very difficult to understand .</scene_description>
<character>WHITE PARAMEDIC</character>
<dialogue>There is nothing we can do for him.</dialogue>
<scene_description>The Paramedics start to leave without the body .</scene_description>
<character>JUNIOR</character>
<dialogue>Well, are n't you going to take him with you?</dialogue>
<character>ASIAN PARAMEDIC</character>
<dialogue>If he had died in our care, we would be required to take him. Since we found him dead, you will have to wait for the county to pick him up.</dialogue>
<character>JUNIOR</character>
<dialogue>How long will that take?</dialogue>
<character>WHITE PARAMEDIC</character>
<dialogue>That would depend on how busy it is. I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Harry is stretched out on the floor . A blanket covers everything except his shoes .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>Hattie , Marsh , Okra , Herman , and M.C. all come in . Marsh looks cheerful .</scene_description>
<character>MARSH</character>
<dialogue>What happened?</dialogue>
<character>JUNIOR</character>
<dialogue>He slipped on some marbles that were on the floor. Then his heart gave out.</dialogue>
<character>LINDA</character>
<parenthetical>( to Sunny . )</parenthetical>
<dialogue>I told you to always put those marbles up and not to leave them just anywhere.</dialogue>
<character>PAT</character>
<dialogue>The poor thing is not to blame. Rhonda, take Sunny for a walk.</dialogue>
<scene_description>Marsh hands Rhonda several dollars .</scene_description>
<character>MARSH</character>
<dialogue>Here, go around to the store and buy what you want.</dialogue>
<character>HATTIE</character>
<dialogue>Would anybody object if I take a look at him?</dialogue>
<character>HERMAN</character>
<dialogue>I do n't think Harry would like it.</dialogue>
<scene_description>Hattie goes over and pulls the blanket back . Okra , M.C. and Herman hurry over to take a quick glance . They huddle behind Hattie , peeping over her shoulder .</scene_description>
<character>HATTIE</character>
<dialogue>I never noticed how big his eyes were.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - EVENING</stage_direction>
<scene_description>Linda is helping Babe Brother wash Suzie 's blood out of his hair . She dries his hair with a towel . Sonny hands Babe Brother a clean shirt , Gideon 's shirt . He puts it on .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Gideon is sitting on the edge of his bed looking through the scraps of leftovers on his plate . He puts his pants on . As he moves about , his joints SNAP and POP . He picks up the empty plate .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>Babe Brother is on the phone with the county morgue . He gets into an argument with the people on the other end of the phone .</scene_description>
<character>BABE BROTHER</character>
<dialogue>Mister. Mister. Excuse me for cutting you off but we pay taxes too. We should not have to pay you to take a 24 - hour lunch break.</dialogue>
<scene_description>Babe Brother hands the phone to Linda .</scene_description>
<character>BABE BROTHER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The coroner said that he was out here, and knocked on the door and no one was here.</dialogue>
<scene_description>Junior steps over the body , holding a pot of coffee in his hand . The Preacher is sitting with Suzie talking in a low voice . Pat , Rhonda and Sunny come in with boxes of chicken snack . Linda hangs up the phone .</scene_description>
<character>LINDA</character>
<dialogue>He does n't know when he will be out this way again. Somebody downtown is going to hear about this.</dialogue>
<character>M.C.</character>
<dialogue>They just do that in the colored neighborhood. If he had been white, they would had him on his feet and out of here.</dialogue>
<character>PAT</character>
<dialogue>I got white meat and I got dark meat. I know it sounds cruel but we have to eat.</dialogue>
<scene_description>Gideon comes in walking very slowly , holding his plate out . Everyone is shocked . Gideon is completely unaware of the period that he has been sick .</scene_description>
<character>GIDEON</character>
<dialogue>What, are you having another party?</dialogue>
<character>SUZIE</character>
<dialogue>You better come sit down. You are still sick.</dialogue>
<character>GIDEON</character>
<dialogue>Gal, you're talking to John Henry. When was I sick?</dialogue>
<character>JUNIOR</character>
<dialogue>You have been out for almost three weeks.</dialogue>
<scene_description>The Preacher gives him a pat on the back and shakes Gideon 's hand .</scene_description>
<character>PREACHER</character>
<dialogue>We had long conversations with the Lord about you. Did n't we, Sister Suzie? I said we need him down here, Lord.</dialogue>
<scene_description>Gideon smiles in appreciation . He pushes his plate out to Pat , indicating that he wants it filled with chicken . Gideon is about to bite into the chicken when he notices Harry 's feet sticking out . He points with the chicken in his hand . He has a mystified look on his face .</scene_description>
<character>OKRA</character>
<dialogue>That's our friend Harry.</dialogue>
<character>GIDEON</character>
<dialogue>Not our Harry?</dialogue>
<character>OKRA</character>
<dialogue>I wish it was n't.</dialogue>
<scene_description>Gideon seems to weaken for a moment .</scene_description>
<character>GIDEON</character>
<dialogue>What happened to him?</dialogue>
<character>HATTIE</character>
<dialogue>He dropped dead.</dialogue>
<character>HERMAN</character>
<dialogue>Hattie, you can be so mean.</dialogue>
<character>GIDEON</character>
<dialogue>How long has he been dead?</dialogue>
<character>SUZIE</character>
<dialogue>Since this morning.</dialogue>
<character>GIDEON</character>
<dialogue>What happened to your hand?</dialogue>
<character>SUZIE</character>
<dialogue>I cut it on an old rusty knife.</dialogue>
<scene_description>Gideon is deeply concerned .</scene_description>
<character>GIDEON</character>
<dialogue>What did you put on it?</dialogue>
<character>SUZIE</character>
<dialogue>It's healing now.</dialogue>
<scene_description>Gideon looks over at his two sons as if to ask them about it .</scene_description>
<character>GIDEON</character>
<dialogue>I hope you will take care of your mother better than that when I'm gone.</dialogue>
<scene_description>Junior and Babe Brother both have their heads down . Linda and Sunny move closer to Babe Brother .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Babe Brother, is that my shirt that you're wearing?</dialogue>
<character>BABE BROTHER</character>
<dialogue>Yes.</dialogue>
<character>GIDEON</character>
<dialogue>How come you're not wearing my shoes?</dialogue>
<character>BABE BROTHER</character>
<dialogue>They're too big.</dialogue>
<scene_description>Gideon stares at Babe Brother and then looks around towards Harry .</scene_description>
<character>GIDEON</character>
<dialogue>When is the undertaker coming?</dialogue>
<character>LINDA</character>
<dialogue>They ca n't say. I'll try calling them again.</dialogue>
<scene_description>Hattie moves closer to Herman and speaks so only he can hear .</scene_description>
<character>HATTIE</character>
<dialogue>Why do n't M.C. and you drag him to your house?</dialogue>
<scene_description>Herman moves away with a look of disdain .</scene_description>
<character>MARSH</character>
<dialogue>Harry did n't have any relatives living, did he?</dialogue>
<character>M.C.</character>
<dialogue>Harry was in the world by himself.</dialogue>
<character>MARSH</character>
<dialogue>Somebody has to take responsibility for him.</dialogue>
<character>PAT</character>
<dialogue>Why do n't you look through his things to see if you can find a number?</dialogue>
<scene_description>Okra , Marsh , Hattie , Herman , and M.C. go to Harry 's room , leaving Suzie and Gideon sitting opposite each other with the door to the kitchen separating them . Junior , the Preacher and Pat are eating chicken . Linda is on the phone trying to get through to the morgue .</scene_description>
<character>LINDA</character>
<dialogue>How do you like that? They hung up in my face. I'll fix them. I'll show them just how mean I can get.</dialogue>
<scene_description>She rapidly dials the number . There is a BUSY SIGNAL .</scene_description>
<character>LINDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This has been a nightmare.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - RIGHT</stage_direction>
<scene_description>M.C. and Marsh are going through Harry 's boxes . They take out old blues records , books , a big Bible , and books on Dunbar .</scene_description>
<character>MARSH</character>
<dialogue>These are letters to his son.</dialogue>
<scene_description>Hattie reads the letters in a corner by herself . She stops reading for a moment .</scene_description>
<character>HATTIE</character>
<dialogue>I still do n't know if I was right about Harry.</dialogue>
<scene_description>She seems frustrated with herself not being able to come to terms about who was Harry .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - NIGHT</stage_direction>
<scene_description>A crowd of people are standing around looking at Gideon 's house .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - NIGHT</stage_direction>
<scene_description>The Preacher is sleep in his chair , SNORING loudly . Babe Brother and Linda are sitting together , talking in almost a whisper . Sunny is asleep in his lap . Babe Brother is finding it difficult to apologize for his recent behavior .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I have more sense than to give up everything, my family, you and Sunny. It was n't me, I mean the real me inside my body. I'm glad it's over. It's like a veil has been lifted.</dialogue>
<character>LINDA</character>
<dialogue>Like a veil has been lifted?</dialogue>
<character>BABE BROTHER</character>
<dialogue>It's like I've been swimming in muddy waters.</dialogue>
<character>LINDA</character>
<dialogue>Like muddy waters?</dialogue>
<character>BABE BROTHER</character>
<dialogue>It was like all those things old country people try to tell you what hell is like.</dialogue>
<character>LINDA</character>
<dialogue>You were in hell?</dialogue>
<character>BABE BROTHER</character>
<dialogue>I could n't believe the things I was doing. It was like an internal struggle going on inside my body.</dialogue>
<character>LINDA</character>
<dialogue>Do you think you won?</dialogue>
<character>BABE BROTHER</character>
<dialogue>It was nip and tuck.</dialogue>
<character>LINDA</character>
<dialogue>And what lesson have we learned from all of this, Babe Br. Sam. I mean Samuel?</dialogue>
<character>BABE BROTHER</character>
<dialogue>I guess it proves you really care about me. You hung in there.</dialogue>
<scene_description>Linda looks at Babe Brother for a length of time .</scene_description>
<character>GIDEON</character>
<dialogue>When are you boys going to fix that roof?</dialogue>
<character>BABE BROTHER</character>
<dialogue>Soon as I rest a bit.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I meant as soon as we are back to normal again, anytime.</dialogue>
<character>GIDEON</character>
<dialogue>Here I am thinking about myself when poor Harry is resting on the floor of the kitchen.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Harry 's body lies there motionless .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<scene_description>The Preacher is SNORING violently . Babe Brother is asleep on the floor . Sunny is asleep sitting on Linda 's lap . Linda 's feet rest on Babe Brother 's chest . Junior and Pat are looking at the baby pictures . Pat is holding her hand across her stomach feeling the baby kick . Rhonda is asleep in a chair . Suzie and Gideon are sitting at the dining room table . Suzie is cutting the dead leaves off of a small potted plant .</scene_description>
<character>SUZIE</character>
<dialogue>It feels like a storm has passed. Hattie read some of Harry's letters to a woman he had a child by. The child had died and he was writing to give her some comfort. Hattie did n't know that deep down at the bottom of Harry's hate, there was some love.</dialogue>
<scene_description>The SOUND of Rodney 's trumpet is heard but is no longer irritating .</scene_description>
<character>GIDEON</character>
<dialogue>Did I ever tell you the story about the man who wanted to make his own mind up about heaven and hell? He did n't want nobody's opinion but his own.</dialogue>
<scene_description>Suzie does n't pay any attention ; she is involved with her potted plant . Gideon looks over at the Preacher , who is still asleep .</scene_description>
<character>GIDEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He's going to check out heaven first. He gets a round trip ticket to heaven. He gets in heaven and finds it just like back home. People dripping with sweat, working in the fields, hardly surviving. He asked a man who was getting a drink of water, `` I thought the streets were paved with gold.'' `` They are but you wo n't see them,'' he said. `` Boy, you got to work day and night cause idleness is sinfulness.'' So he takes the other half of his ticket and takes the express to hell. He sees people stretched out on their backs kicking back, picking their teeth. `` Man, this is a dream.'' He asked, `` What's you'll doing?'' They all hollered back, `` Sinning.'' The devil was shaking hands with everyone and came up to him and said, `` Please to meet you.'' He asked, `` I thought you'll was supposed to be burning in fire.'' Someone said, `` Man, ai n't no fire down here except under that pot of chitlins.'' The man was going go ask the preacher back on earth.</dialogue>
<character>SUZIE</character>
<dialogue>I do n't want to hear any joke about colored people being in hell. You're being irreverent.</dialogue>
<character>GIDEON</character>
<dialogue>I'm almost finished. I'm about to come to the punch line.</dialogue>
<character>SUZIE</character>
<dialogue>I do n't want to hear any tales about colored people.</dialogue>
<character>GIDEON</character>
<dialogue>But these are white people, anybody. The punch.</dialogue>
<character>SUZIE</character>
<dialogue>I do n't care to hear any jokes about people being in hell. This cut on my hand reminds me that it is nothing to laugh at.</dialogue>
<character>GIDEON</character>
<dialogue>It's only a tale.</dialogue>
<scene_description>The RATTLING of pots and dishes starts suddenly . Harry 's body starts to sway gently as if he were about to get up . Everyone is frozen . Babe Brother and Linda remain asleep . The rocking caused by the earthquake does n't wake them . M.C. , Herman , Okra and Hattie and Marsh enters the dining room . Harry 's feet are seen in the kitchen still swaying .</scene_description>
<character>M.C</character>
<dialogue>Is that an earthquake?</dialogue>
<character>HERMAN</character>
<dialogue>It's something.</dialogue>
<scene_description>Babe Brother wakes in a sweat and sits next to Linda like a child needing protection .</scene_description>
<character>BABE BROTHER</character>
<dialogue>I'm cold. I need to get out into the sunlight.</dialogue>
<character>JUNIOR</character>
<dialogue>What is it, noontime?</dialogue>
<character>PREACHER</character>
<dialogue>I wonder how they going to bury this man.</dialogue>
<character>HATTIE</character>
<dialogue>Plant him in Potter's Field. He does n't need a marked grave.</dialogue>
<character>HERMAN</character>
<dialogue>Hattie, your true colors are unbearable. You got some mean ways. Do n't worry about the boy getting a burial. He still has some friends left on this earth.</dialogue>
<character>HATTIE</character>
<dialogue>His winter has come and gone and I know right now he is answering for a lot of things.</dialogue>
<scene_description>M.C. , Okra and Herman move away from Hattie .</scene_description>
<character>PREACHER</character>
<dialogue>It is my job to pray for his soul and I would like to do that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GIDEON'S HOUSE - DAY</stage_direction>
<scene_description>Rhonda is sitting next to Sunny on the front porch . She has an angry expression . Sunny is trying to please her by offering her his airplane . He pushes the airplane near her and she pushes it back with a violent shove . He persists in offering her his airplane . A crowd of people is still standing around in front of Gideon 's house .</scene_description>
<character>MAN</character>
<dialogue>Hey boy, you still got that dead man in your house.</dialogue>
<scene_description>Sunny and Rhonda do n't respond . A middle - aged woman , VIRGINIA , one of Gideon 's neighbors , passes Sunny and Rhonda , knocks on the screen door and goes in .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - DAY</stage_direction>
<character>VIRGINIA</character>
<dialogue>I know you all have n't had a chance to cook or do anything with that dead man in your kitchen. You must be starved to death. Some of your neighbors have got together and we set up a picnic table in my backyard with food and everything to feed all you all.</dialogue>
<character>SUZIE</character>
<dialogue>Virginia, that is so wonderful of you all!</dialogue>
<character>MARSH</character>
<dialogue>If the dead wagon comes, we ought to leave a note telling them we'll be down the street at a picnic.</dialogue>
<scene_description>Gideon comes back in with Suzie , who is helping tie his tie . They all line up and file out the front door with Suzie and Gideon leading the way . Pat is holding her stomach with a thoughtful look on her face .</scene_description>
<character>PAT</character>
<dialogue>I think we better be ready.</dialogue>
<scene_description>Junior looks concerned as he follows Pat out the door . Sunny follows Rhonda , who is still mad at him . Babe Brother and Linda are the last ones out . Babe Brother takes a long look in the direction of Harry as Linda pulls him out . She slams the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Harry 's body lies on the floor . On the kitchen sink are Suzie 's jars of cuttings , which have developed a maze of roots . THE END</scene_description>
</scene>
</script> | Harry (Danny Glover), an enigmatic old friend from the South, comes to visit Gideon (Paul Butler) and his wife Suzie (Mary Alice), who haven't seen him for many years, who are delighted to see him again, and who insist that he stay with them for as long as he would like. Gideon and Suzie live in South Central Los Angeles, though they retain some of their rural southern ways, including raising chickens in the backyard. Harry has a charming, down-home manner, but his presence brings to a crisis the simmering trouble that is already in the family—especially as regards the younger son, Samuel or "Babe Brother" (Richard Brooks), and his relation to his parents, wife, and older brother, Junior (Carl Lumbly). His disruptive presence is dangerous (his influence threatens to break up Samuel's marriage and seems to be related to the illness that puts Gideon in bed in serious condition for a couple weeks), but ultimately purgative: Gideon's extended family is much more cohesive as a result of Harry's visit. Samuel and Junior struggle over a knife in a climactic fight during a storm, which ends in Suzie sustaining a knife wound. During a long wait in the emergency room, the storm clears, and, similarly, the simmering anger that Harry seemed to bring to a boil is also dissipated. Harry's death just before the end of the film suggests, ambiguously, that he has been to a degree a self-sacrificing savior of the family. |
Orgy of the Dead_1965 | tt0054240 | <script>
<scene>
<stage_direction>EXT. CEMETERY - NIGHT.</stage_direction>
<scene_description>CLOSEUP of HEAVY RIVETED IRON DOORS with round handles covered by spider webs . Two `` GIANTS '' , wearing leopard - skin shorts , iron bicep - bands and headbands , pull the heavy iron doors open revealing the</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR of the MAUSOLEUM. There is an ornate stone sarcophagus</stage_direction>
<scene_description>in the center of the room , raised up on an altar . The back wall has a mantle with a bust of the Virgin Mary looking downward at the coffin . There is a round red window in the center of the wall . A ray of red light shines through the window , illuminating the misty fog hanging in the air . The giants walk into the Mausoleum . They lift the heavy stone lid off of the coffin , revealing CRISWELL . He is lying in the coffin on his back , with his arms crossed over his chest and eyes closed . He is wearing black suit pants , a white shirt , a black ribbon - like bow - tie , and a black satin cape . MEDIUM SHOT OF CRISWELL We see CRISWELL , Narrator of our tale and SOLE RULER OF THE DARK WORLD , now sitting upright , slouching somewhat in his coffin , glancing offscreen -LRB- at his cue card -RRB- . During his monologue , each time Criswell looks up at the camera a DRAMATIC PAUSE is inserted as he then looks back down at the cue card and searches for his place in order to continue .</scene_description>
<character>CRISWELL</character>
<dialogue>I am Criswell! For years I have told the almost unbelievable, related the unreal, and shown it to be more. than a fact. Now I tell a tale of the threshold, people, so astounding that some of you may faint.</dialogue>
<scene_description>SHOT of an ancient TOMBSTONE , surrounded by fog , with a human SKULL sitting at its base . CLOSEUP of BLACK RAVEN with thick fog swirling around it Another tombstone , with a cherub - like engraving on the front A plaque - like grave stone on the ground with fog swirling over it , a Skull and a long bone sitting on the ground by it</scene_description>
<character>CRISWELL</character>
<parenthetical>( Voice Over . )</parenthetical>
<dialogue>This is a story of those in the twilight time. once human, now monsters, in a void between the living and the dead. Monsters to be pitied, monsters to be despised.</dialogue>
<character>CRISWELL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>A night with the Ghouls. the ghouls reborn, from the innnermost depths. of the world.</dialogue>
<scene_description>TITLE MUSIC BEGINS</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY IN WILDERNESS. "NIGHT"</stage_direction>
<scene_description>A CONVERTIBLE is driving along a DESERT ROAD . LONG SHOTS of the automobile driving are filmed in bright sunlight . The desert hills are clearly visible in the background , with only a slight darkening to suggest day - for - night , but the car 's headlights are on so we clearly understand that it is pitch black in the dead of night . MEDIUM SHOT - BOB AND SHIRLEY IN CAR . NIGHT BOB and SHIRLEY are seated in the CONVERTIBLE , driving through the night , on a `` date '' . They are searching for an ancient CEMETERY . MEDIUM SHOTS have a pitch black background and dark shadows across the car . Shirley is leaning over in her seat toward Bob , who is driving .</scene_description>
<character>SHIRLEY</character>
<dialogue>We sure picked the wrong night to find a cemetery. Let's turn back.</dialogue>
<character>BOB</character>
<dialogue>No. It's on a night like this when the best ideas come to mind.</dialogue>
<character>SHIRLEY</character>
<dialogue>But does it have to be in a cemetery?</dialogue>
<character>BOB</character>
<dialogue>You would n't understand. Seeing a cemetery on a night like this can stir in the mind the best ideas for a good horror story.</dialogue>
<character>SHIRLEY</character>
<dialogue>But there're so many wonderful things to write about, Bob.</dialogue>
<character>BOB</character>
<dialogue>Sure there are - and I've tried them all. Plays, love stories, westerns, dog stories. Huh, now there was a good one, that dog story all about -</dialogue>
<character>SHIRLEY</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>But horror stories! Why all the time horror stories?</dialogue>
<character>BOB</character>
<dialogue>Shirley, I wrote for years without selling a single word.</dialogue>
<scene_description>Bob lets go of the wheel with his right arm and puts it around Shirley , who leans closer against him .</scene_description>
<character>BOB</character>
<dialogue>My monsters have done well for me. You think I'd give that up just so I could write about trees, or dogs, or daisies? Huhuh - Daisies! That's it, I'll write about my creatures who are pushing up the daisies.</dialogue>
<scene_description>Shirley looks up at Bob and smiles . He tilts his head down and they kiss .</scene_description>
<character>BOB</character>
<dialogue>Your puritan upbringing holds you back from my monsters, but it certainly does n't hurt your art of kissing.</dialogue>
<character>SHIRLEY</character>
<dialogue>That's life. My kisses are alive.</dialogue>
<character>BOB</character>
<dialogue>Who's to say my monsters are n't alive?</dialogue>
<scene_description>LONG SHOT of the car driving down the road CUT back to MEDIUM SHOT of Bob and Shirley</scene_description>
<character>BOB</character>
<dialogue>All of my books are based on fact, or legend. Thats perhaps why they're more interesting and sell in the top spots.</dialogue>
<character>SHIRLEY</character>
<dialogue>Well, fact or not, I do n't see how we're going to find an ancient cemetery in these mountains tonight. I ca n't see a thing! Let's turn back.</dialogue>
<character>BOB</character>
<dialogue>There's an old cemetery on this road. I've been there before.</dialogue>
<scene_description>LONG SHOT of car driving up a desert road with a sandy mountain in the background .</scene_description>
<character>SHIRLEY</character>
<dialogue>I'm getting the jitters! Let's turn back!</dialogue>
<character>BOB</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>Okay.</dialogue>
<scene_description>Bob takes his arm from around Shirley and puts it back on the wheel .</scene_description>
<character>BOB</character>
<dialogue>Just as soon as I find a place wide enough to turn around.</dialogue>
<scene_description>CLOSEUP of CAR INTERIOR - DASHBOARD . CUT BACK TO MEDIUM SHOT - Bob and Shirley</scene_description>
<character>SHIRLEY</character>
<dialogue>Not so fast!</dialogue>
<scene_description>We hear sounds of tires squealing on the road . CLOSEUP of car wheel racing along the road . CUT BACK TO MEDIUM SHOT - Bob and Shirley</scene_description>
<character>SHIRLEY</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>Not so fast!</dialogue>
<scene_description>CLOSEUP - CAR PEDALS . Bob steps hard on the brake , then pumps the brake repeatedly . CUT BACK TO MEDIUM SHOT - Bob and Shirley . Shirley screams and hides her face with her hands . ZOOM IN on a high dirt bank at the roadside , then the screen swirls and spins quickly to suggest a dizzying automobile crash .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Bob and Shirley are lying on their backs , unconcsious , on the ground . The ground is covered by scattered leaves . Misty fog swirls over them . -LRB- beat . -RRB- Shirley wakes up and sits upright groggily . She looks around , then looks down at Bob . She moves toward him and cradles his head in her lap .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - NIGHT</stage_direction>
<scene_description>Cemetery is filled with fog . We see a large stone throne framed by ornate columns , with an altar beneath it . There are tombstones in the background , and skulls and bones on the ground . CAMERA PANS RIGHT across a small clearing to the MAUSOLEUM .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>It is said on clear nights, beneath the cold light of the moon, howl the dog and the wolf, and creeping things crawl out of the slime. It is then the ghouls feast in all their radiance.</dialogue>
<scene_description>The Mausoleum doors creak open on their own , and Criswell quickly stalks out across the clearing , hiding his face behind his long black cape which is held up with his bent elbow against his face , in Dracula fashion .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO - Continuing . )</parenthetical>
<dialogue>It is on nights like this most people prefer to steer clear of, uh, Burial Grounds. It is on nights like this, that the creatures are said to appear, and to walk!</dialogue>
<scene_description>MEDIUM SHOT , CRISWELL CLIMBING ONTO HIS THRONE Criswell walks up the steps to the altar , across the altar , and then sits down on the stone seat . He then slowly lowers his cape from his face and regally looks off to the right -LRB- at his cue card -RRB- .</scene_description>
<character>CRISWELL</character>
<dialogue>The day is gone, the night is upon us, and the moon, which controls all of the underworld, once again shines. in radiant contentment.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Come forth, come forth, o Princess of Darkness.</dialogue>
<scene_description>Criswell repeatedly beckons slowly toward himself with his right hand , staring across the clearing at the mausoleum . The PRINCESS OF DARKNESS is standing in front of the Mausoleum . She walks into the clearing with an entrancing demeanor , her arms outstretched straight in front of her . She is wearing a long black low - cut dress with long open sleeves . The sleeves are lined with red and hang down a couple feet from her wrists . She walks slowly over toward Criswell 's throne . The Princess of Darkness stands beside Criswells throne , crosses her forearms in front of her chest , and bows toward him . He nods toward her . She reaches out and places her left hand on Criswell 's right hand .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Time seems to stand still. Not so the ghouls, when a night of Pleasure is at hand!</dialogue>
<scene_description>Criswell continues to hold the Princess of Darkness 's hand , and she looks at him seductively .</scene_description>
<character>CRISWELL</character>
<dialogue>If I am not pleased by tonight's entertainment, I shall banish their souls to everlasting damnation!</dialogue>
<scene_description>The Princess of Darkness again crosses her arms in front of her chest and slowly bows to Criswell . CUT TO shot of the FULL MOON with dramatic cymbals crashing , then back .</scene_description>
<character>CRISWELL</character>
<dialogue>And who is to be first?</dialogue>
<scene_description>The Princess of Darkness claps twice , summoning the first of the night 's entertainers . These poor souls must dance for Criswell 's approval . If he is pleased , they can continue to entertain him for centuries , but if not , they will be banished to everlasting damnation by the All - powerful Criswell . LONG SHOT OF THE CLEARING . Huge flames rise from the ground in front of the clearing . The INDIAN GIRL enters the clearing and begins to Dance . She is wearing a red Native American - style dress and headband .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>One who loved flames. Her lover was killed by flames. She died in flames.</dialogue>
<scene_description>The INDIAN GIRL DANCE begins . The Indian Girl dances around for awhile , then dances away into the foggy background .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Bob slowly wakes up and sits up . Bob and Shirley look around .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>The Princess of Darkness points dramatically toward the mausoleum and begins to speak without moving her lips ! A marvel of filmmaking art .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( out of sync with picture . )</parenthetical>
<dialogue>One who prowls the lonely streets at night in life is bound to prowl them in eternity.</dialogue>
<scene_description>The STREET WALKER DANCE begins . The STREET WALKER walks into the clearing wearing a pink dress and purple feather boa , and beckons with her finger as if to say , `` Come here , Criswell ! ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS. NIGHT.</stage_direction>
<scene_description>At the car accident scene with Bob and Shirley , slow jazz music is audible from the nearby festivities in the cemetery . Bob and Shirley are still sitting on the ground , looking toward the source of the music .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Ahh, the curiousity of youth. on the road to ruin! May it ever be so adventurous!</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm so frightened.</dialogue>
<character>BOB</character>
<dialogue>Well we certainly ca n't stay here. C'mon.</dialogue>
<character>SHIRLEY</character>
<dialogue>Where?</dialogue>
<character>BOB</character>
<dialogue>In there.</dialogue>
<character>SHIRLEY</character>
<dialogue>It frightens me.</dialogue>
<character>BOB</character>
<dialogue>Silly, there's nothing in there to be afraid of.</dialogue>
<character>SHIRLEY</character>
<dialogue>Then. then what's that music?</dialogue>
<character>BOB</character>
<dialogue>That's what I want to find out. We have to get help.</dialogue>
<character>SHIRLEY</character>
<dialogue>What help can we possibly find in the cemetery at this time of night?</dialogue>
<character>BOB</character>
<dialogue>Something's making that music.</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm not sure I care to find out what it is.</dialogue>
<character>BOB</character>
<dialogue>All right. Do n't worry, I'll be right beside you.</dialogue>
<character>SHIRLEY</character>
<dialogue>What help will that do if something in there is n't dead?</dialogue>
<character>BOB</character>
<dialogue>Not dead? In a cemetery?</dialogue>
<character>SHIRLEY</character>
<dialogue>I ca n't imagine anything dead playing that music.</dialogue>
<character>BOB</character>
<dialogue>Well, it's probably just the caretaker, and that's exactly who we want to find. They'll have a telephone. C'mon.</dialogue>
<scene_description>Bob helps Shirley up from the ground and leads her into the thick bushes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY, NIGHT</stage_direction>
<scene_description>Criswell nods repeatedly , smiling at the dancer in approval . The Street Walker 's clothes have suddenly disappeared . Bob and Shirley creep beneath the bushes , crouched down low . They reach the edge of the clearing where Criswell and the Princess of Darkness are watching the Street Walker Dance .</scene_description>
<character>SHIRLEY</character>
<dialogue>Could it be some kind of college initiation?</dialogue>
<character>BOB</character>
<dialogue>It's an initiation all right, but not of a college as you and I know them. Nothing alive looks like that!</dialogue>
<character>SHIRLEY</character>
<dialogue>Ca n't we get out of here?</dialogue>
<character>BOB</character>
<dialogue>I'm not sure.</dialogue>
<character>SHIRLEY</character>
<dialogue>What do you mean?</dialogue>
<character>BOB</character>
<dialogue>I'm not sure, myself. It's just a feeling I've had since the crash. Like I feel a cold chill all over. Now this!</dialogue>
<scene_description>The Street Walker dances with a Skeleton that is hanging by the door of the mausoleum . The Street Walker dance ends .</scene_description>
<character>CRISWELL</character>
<dialogue>I would see for approval, the one who in life worshipped gold above all else.</dialogue>
<scene_description>The Princess of Darkness points dramatically toward the mausoleum again to start off the next dance . The giants walk to the doors , now wearing red and white horizontal - striped miniskirts -LRB- or ancient egyptian garb ? -RRB- . They pull the iron doors open slowly , and we see the GOLD GIRL DANCER lying on her back on the altar inside .</scene_description>
<character>SHIRLEY</character>
<parenthetical>( pointing toward the mausoleum . )</parenthetical>
<dialogue>Look!</dialogue>
<character>BOB</character>
<dialogue>Be careful! - They'll see you.</dialogue>
<scene_description>The Gold Girl Dancer rises slowly and seductively from the table , then stalkingly dances out into the clearing . She is wearing a metallic gold tunic - like dress . We see a shot of Bob and Shirley watching , and suddenly the Gold Girl 's dress has disappeared . The Gold Girl Dance continues .</scene_description>
<character>CRISWELL</character>
<dialogue>Throw gold at her.</dialogue>
<scene_description>The giants pick up a bucket of gold doubloons and begin slowly sprinkling them over the Gold Girl as she dances . She sits on the ground and reaches for the falling coins .</scene_description>
<character>CRISWELL</character>
<dialogue>More gold.</dialogue>
<scene_description>The giants continue dropping gold coins on the Gold Girl . She picks up the gold coins , rubbing them over her body , in ecstasy .</scene_description>
<character>CRISWELL</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>More gold!</dialogue>
<scene_description>The giants continue , to the delight of Criswell . The Gold girl tries to scoop all the scattered coins closer to her .</scene_description>
<character>CRISWELL</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>More gold!</dialogue>
<scene_description>The giants continue . Criswell is thrilled , and begins to LAUGH loudly .</scene_description>
<character>CRISWELL</character>
<parenthetical>( to the Princess . )</parenthetical>
<dialogue>For all eternity, she shall have gold.</dialogue>
<scene_description>The Princess of Darkness laughs in acknowledgement , then claps her hands twice , commanding the Giants to finish the ceremony . The Giants walk toward the Gold Girl , who is still on the ground playing with the gold coins and rubbing them on her body . The giants pick up the Gold Girl , who resists , trying to maintain contact with the gold . She reaches for it as they lift her up . CLOSEUP of a BUBBLING GIANT CAULDRON full of a substance that is supposed to look like gold . The Giants dip the Gold Girl feet first into the cauldron , submerging her entire body . A few seconds later , the giants lift the Gold Girl out of the cauldron . Her body is now entirely gilded , and she is stiff . They lift her onto their shoulders , carrying her like a board , walking in front of Criswell 's throne , then back into the mausoleum , laying her body on the altar . We see Bob and Shirley , looking dismayed .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>And both could n't help but remember a line from one of Bob's stories : `` A sudden wind howls. The night things are all about me. Every shadow, a beckoning invitation. to disaster. I know I should think of other things, of pleasant things, but I ca n't. How can I think of other things, of pleasant things, when I am in a place surrounded by shadows and objects, which can take any shape, here in the darkness. Any shape my mind can conceive.''</dialogue>
<scene_description>Deep in the woods , we see THE WOLF MAN and THE MUMMY , walking quickly . Suddenly , Bob and Shirley are grabbed from behind by the WOLF MAN and the MUMMY . The Wolf Man and The Mummy drag Bob and Shirley over to the clearing near Criswell 's throne . The Princess of Darkness is now seated at Criswell 's right side with him on his throne .</scene_description>
<character>CRISWELL</character>
<dialogue>Bring'em in!</dialogue>
<scene_description>The Princess of Darkness stands and walks to the end of the altar below Criswell 's throne , then sits on the lower seat at the end of the altar and crosses her legs . The Wolf Man and The Mummy drag Bob and Shirley over to the center of the clearing to face Criswell , The Sole Ruler of the Dark World .</scene_description>
<character>CRISWELL</character>
<dialogue>They are live ones?</dialogue>
<character>THE MUMMY</character>
<parenthetical>( with audible tape hiss added . )</parenthetical>
<dialogue>Yes, Master.</dialogue>
<character>CRISWELL</character>
<dialogue>Live ones where only the dead should be?</dialogue>
<character>THE MUMMY</character>
<dialogue>Yes, Master, and we caught them, him and me.</dialogue>
<scene_description>The Mummy motions toward the Wolf Man .</scene_description>
<character>THE WOLF MAN</character>
<dialogue>WWWWOOOOOOAAAAAAAUUUUUGGGGHHHHAHAAAA!</dialogue>
<character>CRISWELL</character>
<dialogue>You shall both be rewarded.</dialogue>
<parenthetical>( To Princess . )</parenthetical>
<dialogue>My Dear Empress of the Night, put these intruders to the test.</dialogue>
<scene_description>Medium Shot of Princess of Darkness . -LRB- Suddenly the Princess of Darkness is beside the throne again , several feet from the seat at the foot of the altar -RRB-</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>But they are not yet one of us.</dialogue>
<character>CRISWELL</character>
<parenthetical>( happily . )</parenthetical>
<dialogue>A situation easily remedied.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>Tie them that they may watch.</dialogue>
<scene_description>CUT back to long shot of the entire throne and throne altar . The Princess of Darkness is now seated again at the end of the altar . The Wolf Man and The Mummy tie Bob and Shirley to very tall grave stones . CUT to medium - close shot of Princess of Darkness , whose chest is heaving excitedly as she grips the handle of the long sacrificial dagger tucked into the belt at her waist .</scene_description>
<character>SHIRLEY</character>
<parenthetical>( desperately , to Criswell . )</parenthetical>
<dialogue>Fiend! Fiend!</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>To love the cat, is to be the cat!</dialogue>
<scene_description>Criswell motions toward The Princess of Darkness , who then walks back up onto the altar and then sits down beside Criswell again . The CAT GIRL DANCE begins .</scene_description>
<character>CRISWELL</character>
<parenthetical>( jovially . )</parenthetical>
<dialogue>A pussycat is born to be whipped.</dialogue>
<scene_description>The Cat Girl Dance ends .</scene_description>
<character>CRISWELL</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>It will please me very much to see the Slave Girl with her tortures!</dialogue>
<scene_description>CUT TO interior of the stone mausoleum . The Ancient Egyptian SLAVE GIRL is chained from her wrists to a high hook on the wall . One of the `` giants '' pretends to whip her with a cat o ' nine tails . CUT back to CRISWELL .</scene_description>
<character>CRISWELL</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>Torture! Torture! It pleasures me!</dialogue>
<scene_description>The slave girl pulls with all her might and the chains suddenly pop off the hook . She then pushes the iron doors open and dances out into the clearing . The Slave Dance concludes .</scene_description>
<character>SHIRLEY</character>
<dialogue>I'm so frightened.</dialogue>
<character>BOB</character>
<dialogue>You've got a right to be. We're trapped by a bunch of fiends.</dialogue>
<character>SHIRLEY</character>
<dialogue>Those creatures!</dialogue>
<character>BOB</character>
<dialogue>Do n't let them hear you.</dialogue>
<character>SHIRLEY</character>
<dialogue>What can we do?</dialogue>
<character>BOB</character>
<dialogue>I do n't know. I just do n't know. But do n't give up. We're not finished yet.</dialogue>
<scene_description>Shirley closes her eyes and sighs .</scene_description>
<character>BOB</character>
<dialogue>Easy Shirley, Easy! Panic wo n't do us any good! Let me think. We've got to stall for time.</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm afraid I'll faint.</dialogue>
<character>BOB</character>
<dialogue>Whatever you do, do n't do that.</dialogue>
<scene_description>The Camera zooms back and we see that the Wolf Man and The Mummy are hiding behind Bob and Shirley . The Wolf Man has his hand up to his ear so he can hear what Bob and Shirley are saying . The Wolf Man and The Mummy then creep over toward Criswell 's throne . The Wolf Man whispers into The Princess of Darkness 's ear while The Mummy and Criswell watch . The Princess of Darkness gets up from the throne and walks over to Shirley . Shirley grimaces . The Princess of Darkness unbuttons Shirley 's blouse , then marks Shirley 's abdomen with a red -LRB- blood ? -RRB- cross using her long sharp fingernail . Shirley screams . The Princess of Darkness pulls her long dagger out of her belt and raises it , staring into Shirley 's eyes . Suddenly , Criswell yells :</scene_description>
<character>CRISWELL</character>
<dialogue>HOLD!</dialogue>
<scene_description>The Princess of Darkness pauses and looks back at Criswell .</scene_description>
<character>CRISWELL</character>
<dialogue>Let her continue to learn. The time is not yet right that they should join with us.</dialogue>
<scene_description>The Princess of Darkness reluctantly puts her dagger back in her belt and tucks Shirley 's blouse back in . The Princess of Darkness walks back to Criswell 's throne . He pulls a human skull out from behind his seat .</scene_description>
<character>CRISWELL</character>
<dialogue>And what is this?</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>A symbol, Master.</dialogue>
<character>CRISWELL</character>
<dialogue>What kind of symbol?</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>She loved the bull ring and the matador. She danced to their destruction. Now she dances to her own destruction. Her dance is of skulls.</dialogue>
<scene_description>The Princess of Darkness takes the skull from Criswell and throws it dramatically into the clearing . The MEXICAN DANCE -LRB- SKULL DANCE -RRB- ensues .</scene_description>
<character>CRISWELL</character>
<dialogue>She came to us on the Day of the Dead.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>El Dia De Los Muertos. A celebration in her country.</dialogue>
<character>CRISWELL</character>
<dialogue>Her dance has pleased me.</dialogue>
<scene_description>The Princess of Darkness snaps her fingers , starting the HAWAIIAN DANCE -LRB- SNAKE DANCE -RRB- .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>With the loss of her lover, this one cast herself into the Volcano's fire.</dialogue>
<scene_description>A couple times during the dance , there are abrupt cuts to STOCK FOOTAGE of a rattlesnake in a bright daylight shot in tall dry grass . -LRB- Looks like it was from a documentary -RRB-</scene_description>
<character>CRISWELL</character>
<dialogue>She was?</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>As I said, a worshipper of snakes, and of smoke, and flames.</dialogue>
<character>CRISWELL</character>
<dialogue>Oh, yes, a religion of sorts.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>It would seem so, Master.</dialogue>
<scene_description>Hawaiian Dance continues , then cut to The Mummy and The Wolf Man .</scene_description>
<character>THE MUMMY</character>
<dialogue>I do n't like snakes. I remember the one Cleopatra used. Cute little rascal until it flicked out that red tongue, and those two sharp fangs. You'd never think such a little thing packed such a big wallop.</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aaaaahhnnnhaaaaaannnhhh?</dialogue>
<character>THE MUMMY</character>
<dialogue>Hurt her? Hell, it killed her!</dialogue>
<character>THE WOLF MAN</character>
<parenthetical>( in agreement . )</parenthetical>
<dialogue>Aaaahhhhnnnahhhnnnggnnn.</dialogue>
<scene_description>Hawaiian/Snake Girl continues to dance .</scene_description>
<character>THE MUMMY</character>
<dialogue>We had lots of snakes in my ancient Egypt. slimy, slinky things.</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aahhhhnnnaaahahnn. AaaaaahhhhoooWWWOOOOOOOOOOOOOOOOOOOOOO!</dialogue>
<character>THE MUMMY</character>
<dialogue>When I was alive, they were the things nightmares were made of.</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aaarrrgggaahh.</dialogue>
<scene_description>The Hawaiian Dance ends .</scene_description>
<character>CRISWELL</character>
<dialogue>She pleases me. Permit her to live in the World of the Snakes.</dialogue>
<parenthetical>( audible cue card flip . )</parenthetical>
<dialogue />
<character>CRISWELL</character>
<dialogue />
<scene_description>-LRB- continuing , after finding his place on the next cue card -RRB- Now , I will talk . to The Wolf Man . and The Mummy .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>As you wish, Master</dialogue>
<scene_description>The Princess of Darkness motions for The Wolf Man and The Mummy to come .</scene_description>
<character>THE MUMMY</character>
<dialogue>He wants us.</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aaahhnnnahnnnn.</dialogue>
<character>THE MUMMY</character>
<dialogue>What do you suppose for?</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aaaaannnnnuuunnnuhhhhh?</dialogue>
<character>THE MUMMY</character>
<dialogue>Did you do something to get us into trouble again?</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aannnnaahhnn.</dialogue>
<character>THE MUMMY</character>
<dialogue>Did you howl off - key at the moon again?</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Aannnnaahhnn.</dialogue>
<character>THE MUMMY</character>
<dialogue>I ca n't remember doing anything wrong either.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>COME!</dialogue>
<character>THE MUMMY</character>
<dialogue>We better go before we make him mad.</dialogue>
<scene_description>The Wolf Man and The Mummy walk over to Criswell 's Throne .</scene_description>
<character>THE MUMMY</character>
<parenthetical>( apprehensively . )</parenthetical>
<dialogue>We are your servants, Master.</dialogue>
<scene_description>The Wolf Man bows to Criswell .</scene_description>
<character>CRISWELL</character>
<dialogue>Of course you are.</dialogue>
<scene_description>The Wolf Man and the Mummy crouch in fear as they face Criswell .</scene_description>
<character>THE MUMMY</character>
<dialogue>Have we in some way made you angry, Master?</dialogue>
<character>CRISWELL</character>
<dialogue>You know better than that.</dialogue>
<character>THE MUMMY</character>
<dialogue>We do n't know of anything, Master.</dialogue>
<character>CRISWELL</character>
<dialogue>Then why do you shake so?</dialogue>
<character>THE MUMMY</character>
<dialogue>It's not often an Emperor like you calls on creatures like us.</dialogue>
<character>CRISWELL</character>
<dialogue>Well rest easy, I'm not angry with either of you.</dialogue>
<character>THE MUMMY</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>Aaaahhhh.</dialogue>
<scene_description>The Mummy Sighs in relief and the Wolf Man nods .</scene_description>
<character>THE MUMMY</character>
<dialogue>Then it is some service you desire of us.</dialogue>
<character>CRISWELL</character>
<dialogue>You are the keepers of the Damned. You two know them all. And I am tired of this usual type of entertainment. I want. a decided change.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>The moon! is soon gone!</dialogue>
<scene_description>The Princess of Darkness points up at the full moon .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>There is little time left for the remainder of the evening's pleasures.</dialogue>
<scene_description>The Princess of Darkness gets up from the seat at the end of the altar and walks around beside Criswell 's throne .</scene_description>
<character>CRISWELL</character>
<dialogue>Yes, yes yes I know all that.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>At the first sight of the morning sun's rays, we must be gone.</dialogue>
<character>CRISWELL</character>
<dialogue>I suppose most of the others will have to wait for their judgement until after the next full moon.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>It would seem so, Master</dialogue>
<character>CRISWELL</character>
<dialogue>Ahh, but I declare there is still time for something.</dialogue>
<character>THE MUMMY</character>
<dialogue>There are one or two which should complement the night's entertainment, Master</dialogue>
<character>CRISWELL</character>
<dialogue>Ahh, good. Then I will see them. Dismiss the rest.</dialogue>
<character>THE MUMMY</character>
<dialogue>Yes, sir, Master.</dialogue>
<scene_description>Bob 's hands are wiggling , trying to loosen the rope binding his wrists behind his back around the stone column .</scene_description>
<character>BOB</character>
<dialogue>The ropes are coming loose.</dialogue>
<character>SHIRLEY</character>
<dialogue>Be careful!</dialogue>
<character>BOB</character>
<dialogue>I am - It's our only chance.</dialogue>
<character>SHIRLEY</character>
<dialogue>Nothing is worth your life.</dialogue>
<character>BOB</character>
<dialogue>My guess is if we do n't take the chance pretty soon, we're not going to have much life left anyway.</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm frightened. I'm so frightened.</dialogue>
<character>BOB</character>
<dialogue>Hold on just a little longer, Shirley.</dialogue>
<character>SHIRLEY</character>
<dialogue>Be careful, oh please be careful. We'll never get out of here alive, I know it. I just feel it.</dialogue>
<character>BOB</character>
<dialogue>You do?</dialogue>
<character>SHIRLEY</character>
<dialogue>Yes I feel it in my bones.</dialogue>
<character>BOB</character>
<dialogue>You're talking nonsense.</dialogue>
<character>SHIRLEY</character>
<dialogue>Oh, no I'm not. These heathens probably have an open grave for us.</dialogue>
<character>BOB</character>
<dialogue>They would n't dare put us in the same grave - or would they?</dialogue>
<character>SHIRLEY</character>
<dialogue>I should hope not. I hate you!</dialogue>
<character>BOB</character>
<dialogue>That sudden?</dialogue>
<character>SHIRLEY</character>
<dialogue>Yes, that sudden. If it were n't for you we would n't be hunting for an old cemetery on a night like this. It's all your fault.</dialogue>
<character>BOB</character>
<parenthetical>( dejected . )</parenthetical>
<dialogue>. And I thought you loved me.</dialogue>
<scene_description>The Princess of Darkness is leaning over , covering her mouth and whispering into Criswell 's ear , looking over her hand back at Shirley .</scene_description>
<character>CRISWELL</character>
<dialogue>Not yet. I perhaps have other plans for such a pretty one. No matter, I will tell you when and if you may have her.</dialogue>
<scene_description>The Princess of Darkness crosses her forearms and bows to Criswell .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>The Wolf Man informs me that the next one is the woman who murdered her husband on their wedding night. Now she dances with his skeleton.</dialogue>
<scene_description>The SKELETON DANCE begins . The SKELETON DANCE GIRL , wearing a white dress and long wedding veil , comes into the clearing with a skeleton . She dances with the skeleton , then dances in the clearing for Criswell . The Skeleton Dance concludes .</scene_description>
<character>CRISWELL</character>
<parenthetical>( to Shirley . )</parenthetical>
<dialogue>Have you not enjoyed the evening's festivities?</dialogue>
<scene_description>Shirley is silent and looks downward .</scene_description>
<character>CRISWELL</character>
<dialogue>Ahh, that will soon change when you become one of us!</dialogue>
<scene_description>The Wolf Man leans back and howls . -LRB- He tilts his head back so far his fake rubber wolfman mask comes up and you can see his skin at the bottom of his neck -RRB-</scene_description>
<character>THE WOLF MAN</character>
<dialogue>WWAAAAAAOOOOOOOOOOAAAAAHHGGGGHHHAAAA - AAAAAAAAAHHGGGGGHHHHHHHhhhhhh!</dialogue>
<character>CRISWELL</character>
<dialogue>It would seem that The Wolf Man would have you for his own!</dialogue>
<character>SHIRLEY</character>
<dialogue>AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.</dialogue>
<character>CRISWELL</character>
<dialogue>I have promised both The Wolf Man and The Mummy a reward. It could be that you are that reward.</dialogue>
<character>SHIRLEY</character>
<dialogue>AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.</dialogue>
<character>CRISWELL</character>
<dialogue>You need not worry. Not just now, anyway.</dialogue>
<character>BOB</character>
<dialogue>Leave her alone, you fiend!</dialogue>
<character>CRISWELL</character>
<dialogue>Fiend is it! You will not be so fortunate. Your existence will cease within moments. No one wishes to see a man dance.</dialogue>
<parenthetical>( looking at Shirley . )</parenthetical>
<dialogue>And you, my dear, will entertain for centuries to come.</dialogue>
<character>BOB</character>
<dialogue>If I could get my hands on you.</dialogue>
<character>CRISWELL</character>
<dialogue>Oh, You could do nothing!</dialogue>
<parenthetical>( to Shirley . )</parenthetical>
<dialogue>I can save you much pain.</dialogue>
<character>BOB</character>
<dialogue>Leave her alone, I tell you!</dialogue>
<character>CRISWELL</character>
<parenthetical>( to Shirley . )</parenthetical>
<dialogue>I do not joke in my proposal.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>She is to be mine! It is so spoken!</dialogue>
<character>CRISWELL</character>
<dialogue>The Princess of Darkness would have you for her own to join us through extreme pain.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Yet I am inclined for one as lovely as you, to be more lenient. I have but to touch you with my finger, and it would mean the end of you, all over, quickly and painlessly.</dialogue>
<character>SHIRLEY</character>
<dialogue>No. No! No!</dialogue>
<character>CRISWELL</character>
<dialogue>I repulse you? Very well. It seems you have chosen your own fate. Live with it! I should say die with it!</dialogue>
<scene_description>Bob looks down somberly , then looks over at Shirley .</scene_description>
<character>BOB</character>
<dialogue>I've got the ropes loose now. I've got my hands free. Be careful - Do n't change your expression too much. They must not catch on.</dialogue>
<character>SHIRLEY</character>
<dialogue>What can we do against them?</dialogue>
<character>BOB</character>
<dialogue>I do n't know, yet. We'll just have to watch our chance. When it comes I'll know what to do - I hope I'll know what to do.</dialogue>
<character>SHIRLEY</character>
<dialogue>I still do n't know what ever made me go steady with a crackpot writer like you.</dialogue>
<character>BOB</character>
<dialogue>All right. Put it on heavy.</dialogue>
<character>SHIRLEY</character>
<dialogue>My old boyfriend Tommy would never have gotten me in a mess like this. At least he's got brains.</dialogue>
<character>BOB</character>
<dialogue>Him! I'll bet he sleeps with all the lights on.</dialogue>
<character>SHIRLEY</character>
<dialogue>Maybe so.</dialogue>
<scene_description>CUT TO shot of The Mummy talking to The Wolf Man</scene_description>
<character>THE MUMMY</character>
<dialogue>I could make her another Cleopatra.</dialogue>
<character>THE WOLF MAN</character>
<dialogue>Ahh hahahhnnn hahnnn!</dialogue>
<character>THE MUMMY</character>
<dialogue>Without the snake, of course.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Well?</dialogue>
<character>CRISWELL</character>
<dialogue>Ahh, she will be yours.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>When!?</dialogue>
<character>CRISWELL</character>
<dialogue>At your discretion. But first, I desire more entertainment.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>The moon is almost gone!</dialogue>
<character>CRISWELL</character>
<dialogue>Ahh, there is yet time.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>At the first sight of the morning's rays' light.</dialogue>
<character>CRISWELL</character>
<parenthetical>( getting annoyed . )</parenthetical>
<dialogue>I know the laws of the night. I state there is still time for yet another.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( forcefully . )</parenthetical>
<dialogue>I would have time for my own pleasures!</dialogue>
<character>CRISWELL</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>Your own pleasure comes only after mine, when I desire it. I am the Sole Ruler of the Dark World. There is no one to challenge my authority here. My word is the law - all powerful. No one is to challenge that authority, no one! Is that understood? It is my command.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>I understand, Master</dialogue>
<character>CRISWELL</character>
<dialogue>Then see that it does not happen again, in the penalty of Everlasting Despair. Now are there others?</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>There are others.</dialogue>
<character>CRISWELL</character>
<dialogue>Well then let us proceed.</dialogue>
<scene_description>The Princess of Darkness snaps her fingers three times , summoning the Zombie Dance Girl .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>She lived as a zombie in life, so she will remain forever a zombie in death.</dialogue>
<scene_description>The ZOMBIE DANCE GIRL dances .</scene_description>
<character>BOB</character>
<dialogue>Easy, Shirley. Easy!</dialogue>
<scene_description>The Zombie Dance concludes .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>The moon sinks lower into the hills! We must hurry to the finish.</dialogue>
<character>CRISWELL</character>
<dialogue>I will decide the conclusion.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>You had the mummy cancel all the others scheduled for this session.</dialogue>
<character>CRISWELL</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Then cancel my order.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>The moon is almost gone!</dialogue>
<character>CRISWELL</character>
<dialogue>There is yet time. Do n't you want your own pleasure?</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>Oh, if there is only time!</dialogue>
<character>CRISWELL</character>
<dialogue>Hahh, there is always time. All in good time. there is always time. You shall have your pleasure. THAT. I decree</dialogue>
<character>PRINCESS OF DARKNESS</character>
<parenthetical>( looking at Shirley . )</parenthetical>
<dialogue>All others were but infinitessimal bits of fluff, compared to her.</dialogue>
<parenthetical>( toward the Dancer . )</parenthetical>
<dialogue>This one would have died for feathers, furs, and fluff. and so she did!</dialogue>
<scene_description>The FLUFF DANCE Girl dances for approval . The Fluff Dance ends . Criswell looks over at the Princess of Darkness . CRISWELL The time . is short .</scene_description>
<character>PRINCESS OF DARKNESS</character>
<dialogue>For what!?!</dialogue>
<character>CRISWELL</character>
<dialogue>Your pleasures of course!</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>You mean!</dialogue>
<character>CRISWELL</character>
<dialogue>You may take her now.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>Is there time?</dialogue>
<character>CRISWELL</character>
<dialogue>You better hope there is.</dialogue>
<character>PRINCESS OF DARKNESS</character>
<dialogue>Thank you, Master! Thank you.</dialogue>
<character>CRISWELL</character>
<dialogue>Now hurry, hurry. I will watch! Your desires may be my pleasure also. Our fitting climax to an evening's enter - tainment. You must. hurry now.</dialogue>
<scene_description>The Princess of Darkness begins ceremoniously dancing with her long sacrificial dagger , slowly moving toward shirley , gazing back at Criswell seductively . She finally gets to Shirley and cuts the button off of Shirley 's shirt , which was so tight it was about to burst open anyway . She unsnaps the front of Shirley 's bra . Bob sees his chance and makes his attempt at a `` move , '' merely stepping forward . He is instantly hammer - fisted on the back of the neck by The Wolf Man , and falls down unconscious . The Princess of Darkness raises her long dagger high above Shirley 's head . But suddenly , the sun rises -LRB- it is already high overhead -RRB- , and the night creatures lose their power . The Princess of Darkness clings to Shirley 's arm , as she slowly sinks down to the ground , losing all strength . The Camera pans around , showing Shirley and Bob 's faces , then back to the ghouls , all of whom have turned to steaming skeletons . Only their clothing and bones remain . Quick Zoom in on Criswell 's throne . Criswell 's steaming skeleton still sits , surveying the cemetery , wearing his cape . FADE TO BLACK FADE IN .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - MORNING</stage_direction>
<scene_description>At the clearing in the woods near the car wreck , Bob and Shirley are lying on their backs on the ground , just as they were after the crash , before they got up to investigate the strange music that led them to the ghouls . There are two DOCTORS examining Bob and Shirley . In the foreground , we see a REPORTER 's shoulder and hands . He is writing down details of the accident in a small paper pad .</scene_description>
<character>DOCTOR #1</character>
<dialogue>Easy, Miss, everything's gon na be alright.</dialogue>
<character>SHIRLEY</character>
<dialogue>Bob? Bob?</dialogue>
<character>DOCTOR #1</character>
<dialogue>He's right here beside you. He'll be alright too.</dialogue>
<scene_description>The reporter walks around and crouches beside Shirley and DOCTOR # 1 , and continues writing in his pad . A Newspaper PHOTOGRAPHER crouches in the foreground to get a shot of the accident scene and victims .</scene_description>
<character>SHIRLEY</character>
<dialogue>Where are they, where did they go? They tried to kill me.</dialogue>
<character>DOCTOR #2</character>
<dialogue>What's this you say? Who was going to kill you?</dialogue>
<character>SHIRLEY</character>
<dialogue>The ghouls - they all turned into skeletons.</dialogue>
<character>DOCTOR #2</character>
<dialogue>Take it easy, Miss..</dialogue>
<character>DOCTOR #1</character>
<dialogue>What she needs is a good rest.</dialogue>
<character>SHIRLEY</character>
<dialogue>It's true, I tell you, it's true! They all turned into skeletons. She - she cut me here.</dialogue>
<scene_description>Shirley points to her abdomen where The Princess of Darkness had made the X with her fingernail . NURSE crouches down and pulls out a length of medical tape , then hands it to the doctor . She cuts another piece of tape , but the Doctors do n't realize this and leave her hanging .</scene_description>
<character>DOCTOR #1</character>
<dialogue>Probably was bruised in the crash.</dialogue>
<character>DOCTOR #2</character>
<dialogue>You know, you two were very lucky.</dialogue>
<character>SHIRLEY</character>
<dialogue>I love you Bob. I really do. Forgive me?</dialogue>
<character>BOB</character>
<dialogue>There's nothing to forgive. It was all a dream.</dialogue>
<character>SHIRLEY</character>
<dialogue>You love me then?</dialogue>
<character>BOB</character>
<dialogue>Of course I do.</dialogue>
<scene_description>The doctors put Shirley onto a stretcher while the photographer takes more pictures . They put her into the back of an ambulance . Then after the doctor listens to Bob 's neck with a stethoscope , Bob just gets up and walks into the back of the ambulance .</scene_description>
<character>CRISWELL</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>As it is with all the Night People, they are destroyed by the first rays of the sun. But upon the first appearance of the deep shadows of the night, and when the moon is full, they will return, to rejoice. in their evil lust, and take back with them any mortal who might happen along.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAUSOLEUM, MORNING.</stage_direction>
<scene_description>Criswell is back in his coffin , sitting upright .</scene_description>
<character>CRISWELL</character>
<dialogue>Yes, they were lucky, those two young people. May you be so lucky. But do not trust to luck, at the full of the moon, when the night is dark. Make a wide path around the unholy grounds. of the Night People. Who can say that we do not exist - Can you? But now, we return to our graves, and you.</dialogue>
<parenthetical>( pointing at audience . )</parenthetical>
<dialogue>may join us soon!</dialogue>
<scene_description>Criswell reclines back into his coffin , crossing his arms , and returning to the slumber of the undead . THE END .</scene_description>
</scene>
</script> | The film opens to two muscle-bound men dressed in loincloths approaching a crypt. They open the doors, revealing a coffin. They remove the lid and exit the crypt, then the inhabitant of the coffin (Criswell) sits up to deliver an opening narration. A lone Chevrolet Corvair drives down a California desert road. Its passengers, Bob and Shirley, are arguing over the decision to use this night to search for a cemetery. Bob is a horror writer who hopes that the scene of a cemetery at night will bring him inspiration. The conversation ends when Bob accidentally drives the car off the road and over a cliff. The next scene opens to a nocturnal image of a fog-shrouded cemetery. The lonely figure of the Emperor walks towards a marble altar, sits, and then summons his "Princess of the Night", the Black Ghoul, who appears and bows before him. The Emperor warns that if the night's entertainment fails to please him, he will banish the souls of the entertainers to eternal damnation, indicating that he is an all-powerful demonic being. As the full moon appears, the Black Ghoul summons the first dancer of the night, a Native American woman. The Black Ghoul explains that this woman loved flames, and that her lovers and she died in flames. The woman dances and strips before the flames of the cemetery. The Black Ghoul then introduces the second dancer of the night, a street walker in life. While the woman dances, Bob and Shirley make their way to the cemetery and start observing the dance from a distance. Shirley suspects that they are observing a college initiation, though Bob seriously doubts her theory. The Emperor himself summons the third dancer, a woman who worshiped gold above else. The Golden Girl dances in her turn, and the Emperor instructs his loin-clothed servants to reward her with gold. The supposed reward is soon revealed to be a punishment, as the servants place her in a cauldron with liquid gold. What emerges from the cauldron is a golden statue of the living woman who entered. The servants transport the immobile statue to a nearby crypt. A werewolf and a mummy appear and seize the intruding young couple. They are brought before the Emperor, who decides to postpone deciding their fate. The intruders are tied up, side by side, and allowed to continue watching the dances. The Black Ghoul next introduces the fourth dancer, a "Cat Woman" (Texas Starr). She is depicted as a woman dressed in a leopard costume, which exposes her chest area. As she dances, a servant follows her around and thrashes her with a bullwhip, offering a sadomasochistic show for the spectators. The Emperor next calls for a Slave Girl to be whipped for his amusement. The slave wears a tunic and is chained to a wall. Following her torture session, the Slave Girl breaks free and becomes the fifth dancer of the night. Later, the Black Ghoul exhibits a fascination with Shirley and scratches a mark on her. She draws a knife and seems about to kill Shirley, when the Emperor decides it is not yet time for the intruders to properly join them. The female ghoul reluctantly obeys. The Emperor is puzzled when a human skull appears instead of the next dancer. The Black Ghoul explains it is the symbol of the sixth dancer, who loved bullfighting and matadors. She used to dance over their demise, and now it is time to dance over her own. The dancer of apparent Spanish/Mexican heritage (Stephanie Jones) appears to perform. The Emperor and Ghoul briefly discuss the past of the dancer, who came to them on the Day of the Dead. The seventh dancer appears dressed in Polynesian garments. The Black Ghoul describes her as a worshiper of snakes, smoke, and flames. A rattlesnake is depicted along with her dance. The camera shifts to the mummy and the werewolf. The mummy voices his dislike of snakes and recalls the death of Cleopatra. He informs his companion that ancient Egypt had many snakes and they were the stuff of nightmares. The Emperor next expresses his boredom and demands "unusual" entertainment, while the Black Ghoul notes that the night is almost over. She reminds her superior that they will be gone at the first sight of the morning sun. They proceed to argue over the fate of Shirley. The argument ends with the introduction of the eighth dancer, a woman who murdered her husband on their wedding night. She dances with the skeleton of her spouse. The argument over Shirley then resumes, as the Ghoul claims her for her own. The Emperor feels the need to assert his own authority over the Black Ghoul. The ninth dancer was a zombie in life and remains zombie-like in death. The tenth and final dancer is introduced as one who died for feathers, fur, and fluff. She starts her dance in clothing matching this style. When the final dance ends, the Emperor finally offers Shirley to the Ghoul. The Ghoul briefly dances herself as she prepares to claim her prize, but dawn arrives and with it, sunlight. The Emperor and all his undead are reduced to bones. The final scene portrays Bob and Shirley waking up at the scene of the accident, surrounded by paramedics, suggesting it was all a dream. Criswell appears in his coffin to offer parting words to the audience. |
Boomerang_1992 | tt0103859 | <script>
<scene>
<character>BOOMERANG</character>
<dialogue>by</dialogue>
<scene_description>Barry W . B l a u s t e i n & David S h e f f i e l d Based on a s t o r y by Eddie Murphy For Educational Purposes Only Second Draft August 2 2 , 1991</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE LAKE IN CENTRAL PARK - DAY</stage_direction>
<scene_description>A warm autumn day. The trees in the park are blushed with fall colors. Life couldn't be lovelier. On the lake, COUPLES glide by in rowboats. All kinds of couples. White couples. Black couples. ~ a t i n ocouples. Mixed couples. We PUSH THROUGH the maze of couples to a spot way out in the middle of the lake where a solitary boat drifts aimlessly. It's lone occupant is MARCUS GRAHAM, a handsome young man who gazes at the lake, pensive, lost in thought. After a moment, he turns and SPEAKS DIRECTLY TO CAMERA.</scene_description>
<character>MARCUS</character>
<dialogue>I just messed up real bad. I lost the only woman that I ever really, really, really, really, really cared about. And all I can think about is how to get her back. I know a lot of sisters are saying.. .</dialogue>
<parenthetical>(in a falsetto)</parenthetical>
<dialogue>"screw him. He deserve it. He ain't nothin' but a doa."</dialogue>
<parenthetical>(back to his voice)</parenthetical>
<dialogue>And they're probably right. It wasn't always like this. I used to never have problems with women. It used to be so easy.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROOKLYN APARTMENT (CIRCA 1961) - DAY</stage_direction>
<scene_description>Adorable BABY MARCUS is in his bassinet, flashing a cute smile, flirting with a group of admiring WOMEN NEIGHBORS</scene_description>
<character>MARCUS (V.0., CONT' D)</character>
<dialogue>Ever since 1 was little, women have been attracted to me.</dialogue>
<character>WOMEN</character>
<parenthetical>(ad libbing)</parenthetical>
<dialogue>Hi, Marcus. Isn't he cute? ... Check out that smile ...</dialogue>
<scene_description>That little boy is gonna be a lady killer.</scene_description>
<character>MARCUS (V.O.)</character>
<dialogue>And Lord knows, I was attracted to them.</dialogue>
<scene_description>MUSIC: "A. B. C. " BY THE JACKSON FIVE Opening CREDITS are SUPERIMPOSED over: A SERIES OF Q U I C K SHOTS: BABY MARCUS a n d t h e WOMEN in his early life: Baby Marcus i s given a s p o n g e b a t h by a CUTE COUSIN. AS s h e swabs h i s e a r , h e r e a c h e s f o r h e r b r e a s t s . A plump AUNT s n u g g l e s Baby Marcus t o h e r c h e s t a s s h e s i n g s a hymn i n c h u r c h . H e g r a b s h e r h e a v i n g bosoms. H i s Mom i s r i d i n g t h e b u s , h o l d i n g Baby Marcus o v e r h e r s h o u l d e r , unaware t h a t h e is g r o p l n g f o r t h e huge b r e a s t s o f t h e WOMAN PASSENGER b e h i n d them. A buxom young BABY SITTER l i f t s Baby Marcus o u t of h i s playpen. H e makes a two-handed g r a b f o r h e r b r e a s t s . The S i t t e r t r i e s t o b r u s h h i s h a n d s away, b u t Marcus h a n g s on for dear l i f e .</scene_description>
</scene>
<scene>
<stage_direction>INT. LUNCHEONETTE ( C I R C A 1 9 6 8 ) - DAY</stage_direction>
<scene_description>A WAITRESS s e r v e s a n ice cream s o d a t o a c u t e SECOND GRADE GIRL who is s i t t i n g a t a t a b l e w i t h some GIRLFRIENDS. The waitress points t o ... SEVEN-YEAR-OLD MARCUS s i t t i n g a t a t a b l e a c r o s s t h e way, f l a s h i n g h e r h i s b e s t lady-killer s m i l e . He nods a s i f t o s a y , "Yes, i t ' s f o r you." H i s FRIENDS make f u n o f him f o r b e i n g i n t e r e s t e d i n glrls.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PLAYGROUND - DAY</stage_direction>
<scene_description>Playtime is over. The TEACHER c a l l s t h e KIDS i n s i d e . Kids c l i m b o f f t h e s w i n g s , s l i d e s , and merry-go-round. The T e a c h e r calls again.</scene_description>
<character>TEACHER</character>
<dialogue>Marcus !</dialogue>
<scene_description>SEVEN-YEAR-OLD MARCUS comes o u t o f t h e b u s h e s w i t h t h e same c u t e l i t t l e GIRL he gave t h e soda t o .</scene_description>
</scene>
<scene>
<stage_direction>INT. GRADE SCHOOL GYM - DAY</stage_direction>
<scene_description>The CAMERA moves a l o n g a n e n d l e s s l i n e o f SECOND GRADE GIRLS, a l l o f them w a i t i n g t o d a n c e w i t h Marcus. H e slow dances w i t h t h e l u c k y g i r l o f t h e moment, a s smooth a s a p i n t - s i z e d Cary G r a n t .</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND GRADE CLASSROOM - DAY</stage_direction>
<scene_description>A pretty LADY TEACHER opens her Christmas gifts from the class. She unwraps a fountain pen, thanking the proud LITTLE GIRL who gave it to her. She cpens another box. It's a sexy see-through negligee. Little Marcus flashes her a bashful grin.</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAMMAR SCHOOL LUNCHROOM (CIRCA 1973) - DAY</stage_direction>
<scene_description>TWELVE-YEAR-OLD MARCUS -- now sporting a big Afro moves -- down the cafeteria line with his best friend GERARD, a shy, skinny kid with glasses. Marcus schmoozes and flirts with all the CAFETERIA LADIES.</scene_description>
<character>LADIES</character>
<dialogue>Hi, Marcus.</dialogue>
<scene_description>They smile and titter and adjust their hairnets, pleased and flattered by Marcus1 attention, loading up his plate with extra food. Marcus is the Warren Beatty of the canned-beans-for-lunch set. Gerard gets nothing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOFTBALL FIELD - DAY</stage_direction>
<scene_description>Marcus is at bat. The pitch! .... he takes off ... Marcus swings his classmates cheering him on.</scene_description>
<character>...</character>
<dialogue>connects</dialogue>
<scene_description>Rounding first, Marcus sees ... A TWELVE-YEAR-OLD GIRL riding her bike down the street. God, she's cute. MARCUS crosses second and keeps on going ... straight across left field, hopping the low fence, chasing after the girl. GERARD buries his face in his hands. He can1tbelieve his friend is doing it again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH-RISE OFFICE BUILDING IN MANHATTAN (1991) - DAY</stage_direction>
</scene>
<scene>
<stage_direction>INT. LOBBY OF THE CHANTRESS COSMETICS COMPANY - SAME TIME</stage_direction>
<scene_description>The gleaming elevator doors glide open revealing ... I.ZARCUSGRAHAM, now a handsome young man with a ready grin, trim, confident, stylishly dressed ... the epitome of a ladies' man. The cmLMERA TRACKS along with him as he strides confidently down the hallway. The place exudes glamour, elegance, sophistication. Marcus greets several of the GORGEOUS WOMEN who work here. It's like a bachelor's wet dream.</scene_description>
<character>PRETTY RECEPTIONIST</character>
<dialogue>Good morning, Marcus.</dialogue>
<character>MARCUS</character>
<dialogue>Morning. Is that a new dress?</dialogue>
<scene_description>The Receptionist smiles and nods. Marcus passes by another ATTRACTIVE WOMAN.</scene_description>
<character>ATTRACTIVE WOMAN</character>
<dialogue>Hi, Marcus. Are you ever gonna ask me out again?</dialogue>
<character>MARCUS</character>
<dialogue>You know I will.</dialogue>
<scene_description>Marcus strolls past a huge space filled with desks where a DOZEN YOUNG WOMEN are worklng. They all greet him warmly.</scene_description>
<character>WOMEN</character>
<parenthetical>(AD LIBBING: "Good morning. Hi, Marcus. How are you?")</parenthetical>
<character>MARCUS</character>
<dialogue>Damn ya'll look good. You give me reason to live.</dialogue>
<scene_description>We keep TRACKING with Marcus as he enters ... HIS OFFICE SUITE He speaks to his middle-aged secretary NOREEN.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>Hi, Noreen. I need you to send a single long-stem rose to ...</dialogue>
<character>-</character>
<dialogue>\[takina out a ~ i e c eof</dialogue>
<scene_description>'paper; Kerrie, Tracy, Miranda, Casandra, Allegra, Chanelle, and Mei Ling.</scene_description>
<character>NOREEN</character>
<dialogue>With the usual card?</dialogue>
<character>MARCUS</character>
<dialogue>Yes ... "thinking only of you."</dialogue>
<character>NOREEN</character>
<dialogue>Right. Don't forget you have the meeting with Lady Evelyn tomorrow at nine. Nelson's waiting for you inside. Also, Anita called.</dialogue>
<character>MARCUS</character>
<dialogue>Damn, I forgot all about her! Call her back.</dialogue>
<scene_description>Marcus enters ... HIS OFFICE Impressive, stylish. A sweeping view of Midtown Manhattan. On one wall is a bank of video monitors. A tall, severe-looking bald-headed man is holding a video cassette in his hand. This is NELSON, fashion photographer and director of TV commercials.</scene_description>
<character>NELSON</character>
<dialogue>I recut the Kissable spot.</dialogue>
<character>MARCUS</character>
<dialogue>Is it sexy?</dialogue>
<character>NELSON</character>
<dialogue>Hey, I got a boner.</dialogue>
<character>MARCUS</character>
<dialogue>Let's see it.</dialogue>
<scene_description>Nelson pops the cassette into a VCR. Noreen calls Marcus on the intercom.</scene_description>
<character>NOREEN (0.</character>
<dialogue>Anita on line one.</dialogue>
<character>S .)</character>
<dialogue>As Marcus picks up the phone, he signals to Nelson who starts the tape.</dialogue>
<character>MARCUS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hey, Anita . . . sorry I missed you last night, but I guess you heard what happened. I was coming over and a bus hit my cab. Tore up a water main. I'm surprised you didn't see it. It was on channel 4.</dialogue>
<scene_description>As he speaks to Anita, the commercial lights up the wall of video monitors, all displayinq the same dazzling sexy images. It's a commercial for llpstick featuring ultra close-ups of women's LIPS eating various kinds of food. A pair of RUBY RED LIPS sucking a cherry. More LIPS licking an ice cream cone ... a pair of plums an ice cube. A luscious woman's MOUTH biting into a ripe</scene_description>
<character>...</character>
<dialogue>peach, spurting juice in slow motion. Another MOUTH engorging a banana. Marcus watches this with an expert eye as he continues to talk an t.he phone.</dialogue>
<character>MARCUS ( CONT ' D)</character>
<dialogue>No, I'm okay. My neck's a little stiff. Yeah, a massage sounds good. I'll be over around ten. I can't wait, either. Bye.</dialogue>
<scene_description>Marcus hangs up. The commercial is over.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>It's good, Nelson. I like the cherry, keep the peach, lose the plums and get rid of the banana.</dialogue>
<character>NELSON</character>
<dialogue>Really? I thougm the banana had sort of a Bunuel quality.</dialogue>
<character>MARCUS</character>
<dialogue>It's too overt. If this is going to appeal to women, it's got to be subtle.</dialogue>
<scene_description>Nelson sighs, but concedes the point. Marcus BUZZES and Noreen enters.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>What's next?</dialogue>
<character>NOREEN</character>
<dialogue>Casting for the body lotion spot.</dialogue>
<scene_description>Marcus crosses over to a window, pulls back the drape revealing ... HIS POV -- A WAITING ROOM OUTSIDE The room is filled with exquisite, long-legged MODELS preening, adjusting their hose, getting ready for their auditions. Marcus sighs.</scene_description>
<character>MARCUS</character>
<dialogue>Call the uuvs and tell 'em I'll be late for-lunch.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARDEN AT TAVERN ON THE GREEN - DAY</stage_direction>
<scene_description>Marcus is having lunch with his best friends: a Frenetic accountant named TYLER, and GERARD, who is still short, slight, and wears the same kind of glasses he wore in grade school.</scene_description>
<character>TYLER</character>
<dialogue>I saw something on cable last night</dialogue>
<scene_description>...really freaked me out. There's this woman lying there ...totally naked ... ...you can see everything but she's got a penis! It was a 976 number for hermaphrodites.</scene_description>
<character>GERARD</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Get outta here. Are there that many, that having their own 976 number makes sense?</dialogue>
<character>MARCUS</character>
<dialogue>Guys, you got it wrong. It's for regular people that are turned on by hermaphrodites.</dialogue>
<character>TYLER</character>
<dialogue>How reqular is that? Sometimes I think there's a whole world out there I don't know about. Like that shit you read in Penthouse. Stuff like that never happens to me.</dialogue>
<character>GERARD</character>
<dialogue>It never happens to anybody. Except Marcus.</dialogue>
<character>MARCUS</character>
<dialogue>That's because you guys don't pay attention. Gerard, see that woman over there? She's checking you out.</dialogue>
<scene_description>They gaze at an ATTRACTIVE WOMAN across the way. Tyler tries to see, but a potted plant is blocking his view.</scene_description>
<character>TYLER</character>
<dialogue>Where? I can't see. How come when a brother eats at an outdoor restaurant, they always put us behind the bushes?</dialogue>
<character>GERARD</character>
<dialogue>Shut up, Tyler. Which one?</dialogue>
<character>MARCUS</character>
<dialogue>Over there in the blue. She's naking eyes at yon.</dialogue>
<character>GERARD</character>
<dialogue>Aw, pan. That's a contact lens problem.</dialogue>
<scene_description>sure enough, the woman is adjusting her contacts.</scene_description>
<character>MARCUS</character>
<dialogue>See. She was batting her eyes at you so hard she blew out a contact. You've gotta have more confidence. Go talk to her.</dialogue>
<character>GERARD</character>
<parenthetical>(shyly)</parenthetical>
<dialogue>What would I say?</dialogue>
<character>MARCUS</character>
<dialogue>Whatever she wants to hear.</dialogue>
<character>GERARD</character>
<dialogue>You mean, lie?</dialogue>
<character>MARCUS</character>
<dialogue>Women want you to lie to them. They expect it. It's all part of the game. The trick is to know what kind of lie she wants to hear.</dialogue>
<character>GERARD</character>
<dialogue>I can't play that. I've got to be honest.</dialogue>
<character>TYLER</character>
<dialogue>Yo, that's why you don't get no pussy.</dialogue>
<character>GERARD</character>
<dialogue>Why does it always have to come down to sex? You know, there's other things that are important ... like love ... and commitment.</dialogue>
<scene_description>and sharing</scene_description>
<character>MARCUS</character>
<dialogue>You sound like you've been listening to Oprah too much.</dialogue>
<character>GERARD</character>
<dialogue>Don't you have any romance i n your soul?</dialogue>
<character>MARCUS</character>
<dialogue>Hey, man, there's no one more ror,antic than me. Every time I see a beautifcl wcman I think, "This could be her." Then I sleep with them ... and I lose interest.</dialogue>
<scene_description>The Woman in Blue passes by their table. She smiles seductively at Marcus.</scene_description>
<character>WOMAN IN BLUE</character>
<dialogue>Hi.</dialogue>
<scene_description>She walks away. Tyler is amazed.</scene_description>
<character>TYLER</character>
<dialogue>Aw man. how do vou do it? Bitches never talk to me</dialogue>
<character>MARCUS</character>
<dialogue>Maybe because you call them bitches.</dialogue>
<scene_description>The WAITRESS passes by. Tyler stops her.</scene_description>
<character>TYLER</character>
<dialogue>Excuse me? I ordered the duck. What vegetable comes with that?</dialogue>
<character>WAITRESS</character>
<dialogue>Asparagus spears.</dialogue>
<scene_description>She exits.</scene_description>
<character>TYLER</character>
<dialogue>Why doesn't she just come out and call me a jungle bunny? Asparagus spears. If I was white she would've said asparagus tips.</dialogue>
<character>MARCUS</character>
<dialogue>Shh.</dialogue>
<scene_description>Marcus' attention is suddenly riveted on ... A YOUNG WOMAN riding through the park on a horse ... a very handsome woman with fine, delicate features. Her pert derriere moves rhythmically as she posts with the horse. BACK TO MARCUS He is transported, his face frozen with rapture.</scene_description>
<character>MARCUS</character>
<dialogue>See you later, guys.</dialogue>
<scene_description>Without another word, Marcus gets up and takes off after her.</scene_description>
<character>TYLER</character>
<dialogue>He'll never catch a horse.</dialogue>
<character>GERARD</character>
<dialogue>Fifty says he does.</dialogue>
<scene_description>Marcus leaps over a hedge and races into the park. But ... THE WOMAN ON THE HORSE has a good head start. MARCUS sees a bus passing by. He catches up with it, hopping onto the back bumper. A YOUNG WOMAN ON THE BUS recognizes Marcus. She shouts out the window.</scene_description>
<character>WOMAN ON BUS</character>
<dialogue>Marcus !</dialogue>
<character>MARCUS</character>
<dialogue>Hi, Cyndra.</dialogue>
<character>WOMAN ON BUS</character>
<dialogue>Are you ever going to call me again? !</dialogue>
<character>MARCUS</character>
<dialogue>You know I will.</dialogue>
<scene_description>As the bus turns, Marcus jumps off and races through the woods to a stone bridge. He vaults over the side, falling to the bridal trail below just as ... THE WOMAN ON THE HORSE rides out of the tunnel. The horse rears.</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>What are you doing?!</dialogue>
<scene_description>Marcus melts. She is even more beautiful than he had imagined.</scene_description>
<character>MAP.CUS</character>
<dialogue>I'm sorry. I saw you go by and I just had to meet you. You're the most beautiful, perfect woman I've ever seen in my life. And now I've embarrassed myself. 1'11 go away and leave you alone.</dialogue>
<scene_description>Marcus turns and starts walking away, counting to himself under his breath ...</scene_description>
<character>MARCUS</character>
<dialogue>Thousand one, thousand two ...</dialogue>
<scene_description>Then Marcus hears what he is praying to hear ... the Woman turns her horse and CLOPS slowly after him.</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Wait. That took a lot of courage. My namels Christie.</dialogue>
<scene_description>Marcus smiles. He's got her.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' PENTHOUSE APARTMENT - NIGHT</stage_direction>
<scene_description>UPBEAT MUSIC underscores the master at work, getting ready for his date: IN THE KITCHEN Marcus prepares an elaborate dinner, dicing, chopping, tossing food into the air with a sautet pan. IN THE LIVING ROOM he adjusts a magnificent arrangement of flowers. IN HIS DRESSING ROOM he slips into a handsome Italian sports jacket, shooting the cuffs of his silk shirt. IN THE BEDROOM he tucks a condom up his s1eeve;practicing a sleight-of-hand trick in the mirror. With a flick of the wrist he catches the condom between his thumb and forefinger, like a gunfighter refining his draw.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRACE - NIGHT</stage_direction>
<scene_description>Marcus walks out on the terrace with its magnificent view of Central Park. He places a bottle of champagne in a silver bucket. YVONNE, a hostile woman in a robe, yells at him from the balcony of a nearby apartment.</scene_description>
<character>YVONNE</character>
<dialogue>Hey! Marcus. Who's the victim tonight? !</dialogue>
<character>MARCUS</character>
<parenthetical>(annoyed)</parenthetical>
<dialogue>Yvonne, don't start this again.</dialogue>
<character>YVONNE</character>
<dialogue>Why don't you tell her the truth ... that you're going to use her and dump her like ycu did me!</dialogue>
<character>MARCUS</character>
<dialogue>Look, we only went out once and -that was three years ago. Get over it.</dialogue>
<character>YVONNE</character>
<dialogue>I hope you get a disease and your dick falls off.</dialogue>
<character>MARCUS</character>
<dialogue>Okay, I'm warning you. I've got a court order that says you can't disturb me.</dialogue>
<scene_description>YVONNE scowls and goes back inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE TERRACE - LATER THAT NIGHT</stage_direction>
<scene_description>Marcus and Christie have just finished a lavish meal. Though she looks gorgeous, Christie is a bit of a ditz.</scene_description>
<character>CHRISTIE</character>
<dialogue>There's not much to tell. I'm a clinical psychologist and I work with children. By the way gold star for Marcus. Dinner was</dialogue>
<character>. ..</character>
<dialogue>yummy. How'd you learn to cook llke that?</dialogue>
<character>MARCUS</character>
<dialogue>You learn to cook for yourself</dialogue>
<parenthetical>(looking away pensively)</parenthetical>
<character>...</character>
<dialogue>...when you're alone as much as I am.</dialogue>
<character>CHRISTIE</character>
<dialogue>Really?</dialogue>
<scene_description>Out of the corner of his eye Marcus spots ... YVONNE hanging a hand-painted sign from her balcony. It says: "Don't trust him!!" BACK TO MARCUS</scene_description>
<character>MARCUS</character>
<dialogue>It's getting a little chilly. Let's go inside.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ZOOM - LATER THAT EVENING</stage_direction>
<scene_description>Marcus is at the keyboard of a baby grand playing a haunting Mozart sonata. Christie is enraptured.</scene_description>
<character>CHRISTIE</character>
<dialogue>That's beautiful, but it's so sad.</dialogue>
<character>MARCUS</character>
<dialogue>Maybe that's why I like it.</dialogue>
<scene_description>He stops playing, looking off into the distance with a wounded, sad expression.</scene_description>
<character>CHRISTIE</character>
<dialogue>Knock, knock . ..</dialogue>
<character>MARCUS</character>
<dialogue>Who's there?</dialogue>
<character>CHRISTIE</character>
<dialogue>A scared little bov named Marcus and he wants to come out. He's- been hurt, hasn't he? Tell me about him. Tell me all about Marcus.</dialogue>
<character>MARCUS</character>
<dialogue>Okay, I'll try. I haven't been out with a woman in almost four years. Not since Robin. I was so happy on our wedding day. When I got to the church, I knocked on her dressing room door, but Robin told me to go away because it was bad luck to see her. I opened the door anyway, and there she was best man</dialogue>
<character>...</character>
<dialogue>...on the floor with the</dialogue>
<scene_description>and the priest.</scene_description>
<character>CHRISTIE</character>
<dialogue>You poor baby.</dialogue>
<character>MARCUS</character>
<dialogue>That's when I realized you can't trust anybody.</dialogue>
<character>CHRISTIE</character>
<dialogue>You can trust me.</dialogue>
<scene_description>She kisses him gently on the lips. Marcus pulls away.</scene_description>
<character>MARCI!S</character>
<dialogue>Please ...I don't want to rush into this. Maybe I should take you home.</dialogue>
<scene_description>Christie is frustrated.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROWNSTONE ON THE UPPER WEST SIDE - NIGHT</stage_direction>
<scene_description>Marcus walks Christie to her door. They enter ... THE HALLWAY</scene_description>
<character>MARCUS</character>
<dialogue>You've made me feel a lot better about myself. I can't thank you enough.</dialogue>
<character>CHRISTIE</character>
<dialogue>You don't have to thank me.</dialogue>
<scene_description>She kisses Marcus again, but this time hard, passionately. Marcus ...CHRISTIE spend the night with me.</scene_description>
<character>MARCUS</character>
<dialogue>Well .. . if you insist.</dialogue>
<scene_description>Marcus enters the apartment, closing the door behind him. We hear a body thrown against the door, then a plaintive voice...</scene_description>
<character>S</character>
<dialogue>Please be gentle.</dialogue>
<character>.,</character>
<dialogue>INT. CHRISTIE'S BEDROOM - LATER THAT NIGHT</dialogue>
<dialogue>Christie lies in bed, peaceful and content after hours of love making. In the dlm light, she sees Marcus getting dressed.</dialogue>
<character>MARCUS</character>
<dialogue>I wish I could stay, but I have an important meeting in the morning.</dialogue>
<character>CHRISTIE</character>
<dialogue>You'll call me again?</dialogue>
<character>MARCUS</character>
<dialogue>You know I will.</dialogue>
<scene_description>But we know he won't.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROWNSTONE - NIGHT</stage_direction>
<scene_description>It's late. Hardly anyone is on the straet. Marcus looks at his watch and flags down a cab. He gets in.</scene_description>
<character>MARCUS</character>
<parenthetical>(to the CABBIE)</parenthetical>
<dialogue>Twelfth and Broadway, please.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY OF APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Marcus KNOCKS. Anita opens her apartment door wearing a nightgown, slightly pissed. She has obviously just gotten out of bed.</scene_description>
<character>ANITA</character>
<dialogue>What are you doing here?</dialogue>
<character>MARCUS</character>
<parenthetical>(innocently)</parenthetical>
<dialogue>I thought we had a date.</dialogue>
<character>ANITA</character>
<dialogue>Yeah. At ten. It's three in the morning.</dialogue>
<scene_description>Marcus hands her a long-stem rose.</scene_description>
<character>MARCUS</character>
<dialogue>Here, I got you something.</dialogue>
<character>ANITA</character>
<dialogue>Oh, is this supposed to make me forget all about it?</dialogue>
<character>MARCUS</character>
<dialogue>Listen, Anita, I've been working all night. I'm exhausted. But I didn't want to let you down. If you want me to leave, I will.</dialogue>
<scene_description>He starts to leave. She stops him.</scene_description>
<character>ANITA</character>
<dialogue>Well ... as long as you're here.</dialogue>
<scene_description>She takes him in her arms and leads him inside. It may only be sex, but damn it's good sex.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHANTRESS COSMETICS COMPANY OFFICES - DAY</stage_direction>
<scene_description>Marcus emerges from the elevator dressed to kill. As he walks down the hallway, he is hounded by BONY-T, a guy from the mailroom who is under the mistaken impression that he and Marcus are friends.</scene_description>
<character>BONY-T</character>
<dialogue>Yo, yo, Marcus. You on your way to meet with Lady Evelyn, riqht? To discuss the merger and shlt.</dialogue>
<character>MARCUS</character>
<dialogue>That's right.</dialogue>
<character>BONY-T</character>
<dialogue>Don't worry about it. All the homeboys in the mailroom say you definitely gonna be President of Marketing. One chump tried to say you weren't ...</dialogue>
<scene_description>I almost had to kick his ass.</scene_description>
<character>MARCUS</character>
<dialogue>That really wasn't necessary.</dialogue>
<character>BONY-T</character>
<dialogue>No problem. I always back you up. You the best. It's indisputable. So, when you gonna git me in that executive training program?</dialogue>
<character>MARCUS</character>
<dialogue>Let's talk about it later, okay?</dialogue>
<character>BONY -T</character>
<dialogue>Get me a big ass office, my own posse, and git this motherfucker busy.</dialogue>
<scene_description>Marcus enters the massive doors leading to ...</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM OF CHANTRESS COSMETICS COMPANY - DAY</stage_direction>
<scene_description>The room radiates power. A massive chair slowly turns around, revealing LADY EVELYN, the grand dame of the cosmetics industry. She is the bizarre portrait of a woman who is striving to be twenty, although she is now well into her sixties. Maybe even pushing seventy. It's hard to say. She is more pickled than preserved. Lady Evelyn has had so many face lifts, she almost looks Chinese. She greets him, her voice a gravelly purr.</scene_description>
<character>LADY EVELYN</character>
<dialogue>I'm Lady Evelyn, Mr. Graham. When I decided to acquire this company, I considered you a prime asset.</dialogue>
<character>MARCUS</character>
<dialogue>Thank you.</dialogue>
<scene_description>Lady Evelyn SNAPS her fingers and a PRETTY BOY ASSISTANT brings them both a glass of vile purpiish liquid.</scene_description>
<character>LADY EVELYN</character>
<dialogue>Have some beet juice. It preserves the skin. And none of us is getting any younger.</dialogue>
<character>MARCUS</character>
<dialogue>Some women have a girlish quality that lasts a lifetime.</dialogue>
<character>LADY EVELYN</character>
<parenthetical>(pleased)</parenthetical>
<dialogue>They told me you were very good at beguiling women. My schedule is tight today. Why don't we meet tonight ... say ...</dialogue>
<scene_description>at my house? Lady Evelyn is about to pounce. And there's nothing Marcus can do but smile weakly and take a sip of the awful beet juice.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LADY EVELYN'S MANSION IN EAST HAMPTON - DUSK</stage_direction>
<scene_description>Marcus gets out of a limo wearing a tuxedo, apprehensive about what is to come. He RINGS the bell of the baronial mansion.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MANSION - CONT.</stage_direction>
<scene_description>Lady Evelyn's Pretty boy ushers Marcus into the lavender splashed foyer. The furnishings are beyond rococo. Marcus looks up to see ... LADY EVELYN coming down the grand staircase to greet him, wearing a tight, sequined gown with slits all the way up her legs.</scene_description>
<character>LADY EVELYN</character>
<dialogue>- -</dialogue>
<parenthetical>(grandly)</parenthetical>
<dialogue>Welcome to Lavender Hill.</dialogue>
<scene_description>Lady Evelyn starts down to meet him but, unfortunately, she is so decrepit and so hampered by the tight dress that she can barely negotiate the stairs without tripping. Her progress is agonizingly slow. Marcus1 impulse is to reach out and help her, but the Pretty Boy gives him an admonishing glance. All Marcus can do is wait patiently as the aging seductress comes creeping down the staircase, one arduous step at a tima.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>Lady Evelyn sits in a throne-like chair overlooking a huge chess board laid out on the ballroom floor. Marcus is seated in an identical chair across the way. The chess pieces are trained dogs. Solid black dogs on Lady Evelyn's side of the board. Pure white dogs on Marcus1 side. Marcus studies the canine playing pieces, clearly in trouble.</scene_description>
<character>MARCUS</character>
<dialogue>Knight to king's bishop four.</dialogue>
<scene_description>Marcus' "knightN gets up off his haunches to make the move. LADY EVELYN smiles serenely. She's got him.</scene_description>
<character>LADY EVELYN</character>
<dialogue>Queen takes knight. Checkmate.</dialogue>
<scene_description>Lady Evelyn shoots Marcus a sultry look of triumph. Marcus responds with a squeamish smile. He looks at the sidelines where two of the idled pawns -- a black poodle and a white one -- are fucking like crazy.</scene_description>
</scene>
<scene>
<stage_direction>INT. LADY EVELYN'S BOUDOIR - NIGHT</stage_direction>
<scene_description>Marcus is waiting in bed while Lady Evelyn prepares herself. He wishes he could be anywhere but here.</scene_description>
<character>LADY EVELYN (O.S.)</character>
<dialogue>I 1 m ready.</dialogue>
<character>MARCUS</character>
<dialogue>Just a second.</dialogue>
<scene_description>Marcus turns down the dimmer on the lights. Lady Evelyn appears wearing a diaphanous robe. Marcus dims the lights even more. She takes off her robe revealing a merry widow bustier. Marcus dims the lights completely. IN THE PITCH BLACK We hear the bed CREAK as they recline. Then Marcus says...</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Is this as dark as it gets?</dialogue>
</scene>
<scene>
<stage_direction>INT. A CHINESE LAUNDRY IN MIDTOWN MANHATTAN - DAY</stage_direction>
<scene_description>Marcus is picking up a suit on the way to work. The OLD CHINESE WOMAN behind the counter points out a problem.</scene_description>
<character>CHINESE WOMAN</character>
<dialogue>I got lipstick off the jacket</dialogue>
<parenthetical>(pointing to the crotch)</parenthetical>
<character>...</character>
<dialogue>But couldn't get it off the pants.</dialogue>
<scene_description>Marcus is suddenly distracted as he looks out the window of the shop which is below street level. A WOMAN walks by with the most incredible pair of legs that ever walked the planet. Marcus must meet this woman!</scene_description>
<character>MARCUS</character>
<dialogue>That's okay ... just clean them again. I'll pay for it.</dialogue>
<scene_description>Marcus takes off running after the owner of the beautiful legs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STREET OUTSIDE THE SHOP - CONTINUOUS</stage_direction>
<scene_description>Marcus hurries up the steps to the sidewalk, just in time to see the WOMAN disappear around a corner. He dashes after her, practically running over people.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET AROUND THE CORNER - CONTINUOUS</stage_direction>
<scene_description>Marcus rounds the corner. Too late. The woman is nowhere in sight. Frustrated, Marcus walks to his office building.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY OF THE OFFICE BUILDING - MOMENTS LATER</stage_direction>
<scene_description>Marcus stops by a news stand to pick up the Wall Street Journal. Then he notices the gorgeous legs again. The woman is going up the escalator to the mezzanine. Marcus hurries after her.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MEZZANINE - CONTINUOUS</stage_direction>
<scene_description>Marcus looks around. He sees the woman from behind. She is studying the directory by the elevators. Marcus approaches her, his heart pounding.</scene_description>
<character>MARCUS</character>
<dialogue>Miss ... excuse me ...</dialogue>
<scene_description>She turns around, and she is absolutely breathtaking, a serenely beautiful, handsomely dressed woman who manages to be elegant without pretense. Her lips seem to be ever poised on the verge of a smile. Her eyes dance with a sense of humor. This is JACQUELINE.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>I'm sorry to bother you but ... I saw you go by and I just had to meet you. You're the most beautiful, perfect woman I've ever seen in my life and.. .</dialogue>
<scene_description>Although she tries to suppress the urge, Jacqueline bursts out laughing. She walks away. Marcus follows.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>Did I say something funny?</dialogue>
<character>JACQUELINE</character>
<dialogue>No ... no. It's just was so pathetic.</dialogue>
<scene_description>... that</scene_description>
<character>MARCUS</character>
<dialogue>No, it wasn't.</dialogue>
<character>JACQUELINE</character>
<dialogue>Come on. If I came up to you and said you were the most virile, handsome man I ever met, would you believe me?</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<scene_description>Marcus smiles. Jacqueline continues laughing.</scene_description>
<character>MARCUS</character>
<dialogue>Hey, at least I tried. Okay, how about this?</dialogue>
<scene_description>Marcus slackens his body, becoming very street.</scene_description>
<character>MARCUS</character>
<dialogue>Yo baby, you look so fly. The way you dress is stoopid. May I suqqest</dialogue>
<scene_description>-- we share some intimacies? (back to his own voice) No? Still no sood.</scene_description>
<character>MARCUS</character>
<parenthetical>(shifting into a deep bass voice)</parenthetical>
<dialogue>Oh, baby, oh, baby, oh, baby. I gots to have you, baby. You my life ...</dialogue>
<scene_description>you my soul the fuzz on a puppy mama's gravy ... you are</scene_description>
<character>... ...</character>
<dialogue>you my</dialogue>
<scene_description>you evah-thang ... (SINGING falsetto) ...to me-e-e-e. (as himself again) Is any of this shit working?</scene_description>
<character>JACQUELINE</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>A little bit.</dialogue>
<scene_description>The elevator doors open. She enters ... THE ELEVATOR Marcus joins her. She gives him a look.</scene_description>
<character>MARCUS</character>
<dialogue>I'm not following you. I work in this building.</dialogue>
<scene_description>She pushes the button for the eighteenth floor. The door shuts.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>I'm going to eighteen, too.</dialogue>
<parenthetical>(off her dubious look)</parenthetical>
<dialogue>I am ..</dialogue>
<scene_description>. I swear. What commercial are you up for?</scene_description>
<character>JACQUELINE</character>
<dialogue>I'm not a model. I'm going to work for the company marketing . in ...</dialogue>
<character>MARCUS</character>
<dialogue>You're kidding? That's my department. I'm Marcus Graham.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>This is so funny for us to meet like this. I'm Jacqueline Broyer. I'm a big fan of your work.</dialogue>
<character>MARCUS</character>
<dialogue>And now we're going to be working together. Jacqueline, I like you. I'm going to let you in on a little secret. When this merger is settled, I'm going to be head of the marketing department.</dialogue>
<character>JACQUELINE</character>
<dialogue>You are? I'm afraid there's some m d of misunderstandins.- I'm in charge of marketing.</dialogue>
<character>MARCUS</character>
<dialogue>That's impossible.</dialogue>
<character>JACQUELINE</character>
<dialogue>Sorry.</dialogue>
<scene_description>The elevator doors open. She walks out. Marcus follows...</scene_description>
<character>MARCUS</character>
<dialogue>But I'm the logical choice. I'm already Vice-President of Marketing for Chantress.</dialogue>
<character>JACQUELINE</character>
<dialogue>I know, but I'm Director of Marketing for Lady Evelyn and ... after all, we are acquiring you.</dialogue>
<character>MARCUS</character>
<dialogue>Rut I had a very good indication that the job was mine.</dialogue>
<character>JACQUELINE</character>
<dialogue>From who?</dialogue>
<character>MARCUS</character>
<dialogue>Lady Evelyn.</dialogue>
<character>JACQUELINE</character>
<dialogue>Oh, my God. Lady Evelyn doesn't make anv decisions. She's iust a name bn the package.</dialogue>
<scene_description>-:</scene_description>
<character>MARCUS</character>
<dialogue>What?</dialogue>
<character>JACQUELINE</character>
<dialogue>She hasn't run the company for fifteen years. All the decisions are m a d e by t h e B o a r d of D i r e c t o r s in Tokyo.</dialogue>
<character>MARCUS</character>
<dialogue>Lady Evelyn has no power?</dialogue>
<character>JACQUELINE</character>
<dialogue>None at all. She's very sweet. Just a little ... detached from reality ... the way she throws herseif at young men</dialogue>
<scene_description>(realikinqi ... Oops. Sorry ~f I struck a nerve. MARCUS (defensively) Why'd you say that? It's not like I'd ...</scene_description>
<character>JACQUELINE</character>
<dialogue>Of course you wouldn't.</dialogue>
<scene_description>Lady Evelyn walks by with a phalanx of PROMOTION PEOPLE. As she draws near to Marcus, she whispers, a little too loudly...</scene_description>
<character>LADY EVELYN</character>
<dialogue>I'm not wearing any underwear.</dialogue>
<character>P.R. PERSON</character>
<dialogue>Lady Evelyn ... this way, dear.</dialogue>
<scene_description>Lady Evelyn smiles a looney smile at Marcus who wishes he were dead.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEALTH CLUB IN MANHATTAN - DAY</stage_direction>
<scene_description>Marcus and his friends are swimming laps in an indoor pool.</scene_description>
<character>GERARD</character>
<dialogue>What's she look like?</dialogue>
<character>MARCUS</character>
<dialogue>She's beautiful. That's not the point.</dialogue>
<character>TYLER</character>
<dialogue>That's right. The point is, every time a black man tries to succeed, a black woman is there.to pull him down.</dialogue>
<character>GERARD</character>
<dialogue>Tyler, you're so full of shit it's a wonder vou can float. How beautiful?</dialogue>
<character>MARCUS</character>
<dialogue>It doesn't mat,ter. That job should have been mine.</dialogue>
<character>TYLER</character>
<dialogue>You gotta quit.</dialogue>
<scene_description>They reach the far end of the pool and push off, going under water for an instant. They burst to the surface.</scene_description>
<character>MARCUS</character>
<dialogue>You're right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOCK ON THE EAST RIVER - TWILIGHT</stage_direction>
<scene_description>A cocktail party is underway aboard a magnificent fantail motor yacht. Marcus, Tyler and Gerard are among the elegantly dressed PARTY GUESTS. Gerard and Tyler are overwhelmed by all the gorgeous WOMEN. They look slightly nervous and intimidated.</scene_description>
<character>TYLER</character>
<dialogue>They pay you to work around this? I'd do it for free.</dialogue>
<character>MARCUS</character>
<dialogue>Will you both just chill out.</dialogue>
<character>GERARD</character>
<dialogue>I can't talk to beautiful women. It's like mv brain aoes into vaDor lock. I say all s o k s or stupih stuff .</dialogue>
<character>MARCUS</character>
<dialogue>Just try not to drool.</dialogue>
<scene_description>A beautiful MODEL passes by.</scene_description>
<character>MODEL</character>
<dialogue>Hi.</dialogue>
<character>GERARD</character>
<parenthetical>(weakly)</parenthetical>
<dialogue>Hi-de-ho.</dialogue>
<scene_description>She gives him a quizzical look and keeps on going.</scene_description>
<character>GERARD ( CONT ' D)</character>
<dialogue>Did you hear that?</dialogue>
<character>MARCUS</character>
<dialogue>Hi-de-ho? Get it together, Gerard. You sound like Cab Callaway.</dialogue>
<scene_description>Marcus spots Jacqueline in the crowd. She sees him and smiles. She looks stunning in a slinky black cocktail dress.</scene_description>
<character>MARCUS</character>
<dialogue>There she is.</dialogue>
<character>TYLER</character>
<parenthetical>(amazed)</parenthetical>
<dialogue>That's her?! Man, you can't quit.</dialogue>
<scene_description>Jacqueline comes over.</scene_description>
<character>JACQUELINE</character>
<dialogue>Hi ... you look great.</dialogue>
<character>MARCUS</character>
<dialogue>Thank you. You, too.</dialogue>
<scene_description>They are interrupted by a sudden BUZZ of excitement from the crowd. A celebrity is coming.</scene_description>
<character>JACQUELINE</character>
<dialogue>Oh, good ...Strange' is here.</dialogue>
<scene_description>ON THE DOCK .. Super model STRANGE' (pronounced Stran-zha ) parades down sl! the dock, leading a full-grown panther y a leash. A bizarre, almost Amazonian woman, Strange' has a rapacious animal wildness about her, as though she is ready to pounce at any moment. Her outfit is outrageous ... somewhere between African and Venusian. Her ENTOURAGE follows her up the gangplank. A nervous YACHT CAPTAIN greets her.</scene_description>
<character>YACHT CAPTAIN</character>
<dialogue>Sorry, ma'am ...</dialogue>
<scene_description>no animals aboard. Stranqel snarls at him, flashing her teeth. She's far more menaclng than the big cat. She brushes past him, the panther leading the way. BACK TO MARCUS AND JACQUELINE</scene_description>
<character>MARCUS</character>
<dialogue>What's she doing here?</dialogue>
<character>JACQUELINE</character>
<dialogue>We've signed her to introduce her own fragrance. And I want you to handle the whole thing.</dialogue>
<character>MARCUS</character>
<dialogue>We need to talk about this.</dialogue>
<scene_description>Ignoring Marcus, she greets Strange8.</scene_description>
<character>JACQUELINE</character>
<dialogue>Strange !</dialogue>
<scene_description>Strange hands the leash of the panther to an ATTENDANT. She and Jacqueline hug, speaking to each other in French.</scene_description>
<character>JACQUELINE (CONT' D)</character>
<dialogue>This is Marcus Graham. The man I was telling you about.</dialogue>
<scene_description>Strange sizes him up like he is some kind of prey. She makes a purring, growly sound of approval.</scene_description>
<character>MARCUS</character>
<dialogue>ice to meet you. This is Gerard</dialogue>
<scene_description>... and Tyler. They're good friends of mine. Strange8 gives Gerard and Tyler a withering glance.</scene_description>
<character>STRANGE '</character>
<dialogue>Why?</dialogue>
<scene_description>Suddenly a commotion breaks out. The panther has pounced on one of the catering tables. It gobbles down a chunk of rare roast beef, SNARLING at the friqhtened WAITERS. Strange' wades through the crowd, grabs the big cat and pulls him roughly off the table, cuffing him like a kitten. The panther cowers. Seeing that she is the center of attention, Strange' grabs the chunk of beef the panther was eating. As the PAPARAZZI snap photos, she gnaws on the meat like a depraved creature.</scene_description>
<character>GERARD</character>
</scene>
<scene>
<stage_direction>EXT. THE EAST RIVER - NIGHT</stage_direction>
<scene_description>The stately yacht cruises beneath the Brooklyn Bridge which is aglow with lights. The party is in full swing. Marcus presses his way through the packed crowd, looking for Jacqueline. ANGELA approaches, a cute young woman with a klutzy, endearing quality. Her clothes are kind of thrown together, but in an artful way. She looks slightly queasy. She feels her face and head to see if she has a fever.</scene_description>
<character>MARCUS</character>
<dialogue>A r e you okay?</dialogue>
<character>ANGELA</character>
<dialogue>I think so. Does my face look like a balloon?</dialogue>
<character>MARCUS</character>
<dialogue>No. Why?</dialogue>
<character>ANGELA</character>
<dialogue>I just ate some shrimp dip ... only I didn't know what it was ... I'm allergic to shellfish.</dialogue>
<dialogue>One bite and I blow up like a float in the Macy's parade. I'm Angela Tompkins .</dialogue>
<character>MARCUS</character>
<dialogue>Marcus Graham.</dialogue>
<character>ANGELA</character>
<dialogue>You look lost.</dialogue>
<character>MARCUS</character>
<dialogue>I'm looking for somebody. Jacqueline Broyer.</dialogue>
<character>ANGELA</character>
<dialogue>I think she just went upstairs. Why? You're interested in her, right?</dialogue>
<character>MARCUS</character>
<dialogue>Why do you say that?</dialogue>
<character>ANGELA</character>
<dialogue>Most men are. Why not? She's fantastic. I mean, if I was a guy, I'd probably be attracted to her. Not that I ever think that way ...</dialogue>
<scene_description>but you know, didn't you ever look at a man and say, "There's a handsome guy?"</scene_description>
<character>MARCUS</character>
<dialogue>No. That's like stuff women do. They'll say.</dialogue>
<scene_description>- (as a-uwomanl') "She's so fine. I wish I had her figure. It ~ u y sdon't ever do that.</scene_description>
<character>ANGELA</character>
<dialogue>Aw. come on. You never looked at'a movie and saw an actor and</dialogue>
<dialogue>f e l t i n a o b j e c t i v e non-sexual way, "Hey, that's a good-looking guy"?</dialogue>
<character>MARCUS</character>
<dialogue>NO.</dialogue>
<character>ANGELA</character>
<dialogue>Really?</dialogue>
<character>MARCUS</character>
<dialogue>Never ...</dialogue>
<scene_description>alright, once. When Billy Dee Williams came on in Lady Sinqs the Blues. I thought he looked fly. But don't ever tell anybody, okay?</scene_description>
<character>ANGELA</character>
<dialogue>Don't worry.</dialogue>
<character>MARCUS</character>
<dialogue>You must be with the Lady Evelyn group. What do you do?</dialogue>
<character>ANGELA</character>
<dialogue>Art director. Not the art director.</dialogue>
<scene_description>art director. I x a n , I'm only one art director. Like how many you think I was, right? God ...I'm sorry. I'll shut up. Jeeze, Angela. Nice.</scene_description>
<character>MARCUS</character>
<dialogue>You know ...</dialogue>
<scene_description>there's somebody you should meet. (calling him over) Gerard. Gerard comes over, smiling bashfully.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>This is Angela. Me and Gerard have been friends since third grade. Excuse me.</dialogue>
<scene_description>Marcus starts up the stairs to look for Jacqueline, leaving Gerard alone with Angela. They are both ill-at-ease and self-conscious. Angela tries gamely to make small talk.</scene_description>
<character>ANGELA</character>
<dialogue>So ...</dialogue>
<scene_description>you must have a lot of funny stories to tell about Marcus.</scene_description>
<character>GERARD</character>
<parenthetical>(painfully shy)</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>Angela looks at him expectantly, but Gerard says nothing. He's afraid to open his mouth for fear of saying something embarrassing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE UPPER DECK OF THE YACHT - MOMENTS LATER</stage_direction>
<scene_description>The deck is deserted except for Jacqueline who is standing at the rail looking at the view. The scene is dreamily beautiful. She looks especially lovely in the moonlight with the lights of Manhattan shimmering behind her. She smiles as she sees Marcus approach.</scene_description>
<character>MARCUS</character>
<dialogue>What are you doing up here?</dialogue>
<character>JACQUELINE</character>
<dialogue>Something about the water helps me relax.</dialogue>
<character>MARCUS</character>
<dialogue>Is there anything I can do to help? I give a real good massage.</dialogue>
<character>JACQUELINE</character>
<dialogue>I bet you do. Are you excited about working with Strange'?</dialogue>
<character>MARCUS</character>
<dialogue>Listen ...that's what I want to talk to you about ...</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, you're not going to quit on me, are you? You're a very talented, creative map. I need you.</dialogue>
<character>MARCUS</character>
<dialogue>Now who's massaging who?</dialogue>
<character>JACQUELINE</character>
<dialogue>Come here.</dialogue>
<character>MARCUS</character>
<dialogue>What?</dialogue>
<character>JACQUELINE</character>
<dialogue>You've got an eyelash on your cheek.</dialogue>
<scene_description>She leans close and gently brushes his cheek with her hand. She smiles at Marcus. God, she's beautiful.</scene_description>
<character>MARCUS</character>
<dialogue>Are you trying to seduce me?</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm just trying to get you to stay.</dialogue>
<character>MARCUS</character>
<dialogue>Cause it felt like you were making a move, rubbing your hand against me.</dialogue>
<character>JACQUELINE</character>
<dialogue>When I'm making it, don't worry, you'll know.</dialogue>
<character>MARCUS</character>
<dialogue>Is that a fact?</dialogue>
<character>JACQUELINE</character>
<dialogue>Yeah. So how am I doing? Are you going to stay?</dialogue>
<character>MARCUS</character>
<dialogue>Well, I do like a challenge.</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm sure Strange' will give you one.</dialogue>
<character>MARCUS</character>
<dialogue>I wasn't thinking about her.</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, I should warn you. I never sleep with men I'm working with.</dialogue>
<character>MARCUS</character>
<dialogue>Then I'm definitely going to quit.</dialogue>
<character>JACQUELINE</character>
<dialogue>If you do that, you'll never have a chance.</dialogue>
<scene_description>She walks away, leaving him alone in the moonlight. Marcus has been seduced and he knows it. But he doesn't care.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE IN BROOKLYN - DAY</stage_direction>
<scene_description>Marcus' seventy-year-old DAD is sitting in his wheelchair. Although a stroke has left him partially paralyzed, his sense of humor and joy of life are completely intact. He is singing an old LaBelle song just to annoy his NURSE, a hefty, sour woman in her sixties.</scene_description>
<character>DAD</character>
<dialogue>Voulez vous coucher avec moi ce solr ...</dialogue>
<character>NURSE</character>
<dialogue>Why don't you ever sing something decent?</dialogue>
<scene_description>Dad sings even louder just to goad her.</scene_description>
<character>DAD</character>
<dialogue>She's a brick house She's so damn sexy</dialogue>
<character>...</character>
<dialogue>...</dialogue>
<scene_description>yeow.</scene_description>
<character>NURSE</character>
<dialogue>Aw, shut up.</dialogue>
<scene_description>Marcus enters.</scene_description>
<character>DAD</character>
<dialogue>Thank God you're here, son. Fix my pillow. The Beast has got it stuck up the crack of my ass as usual.</dialogue>
<character>NURSE</character>
<parenthetical>(leaving)</parenthetical>
<dialogue>1'11 be back at six.</dialogue>
<scene_description>She leaves, BANGING the door behind her.</scene_description>
<character>MARCUS</character>
<dialogue>You shouldn't give The Beast such a hard time</dialogue>
<character>DAD</character>
<dialogue>Oh, she loves it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREE LINED STREET IN BROOKLYN - DAY</stage_direction>
<scene_description>Marcus is pushing Dad along in the wheelchair.</scene_description>
<character>DAD</character>
<dialogue>Guess who had a heart attack? Buster. His wife Essie called. Says he may not make it much longer. You know, I haven't seen him or even talked to him in over thirty years.</dialogue>
<character>MARCUS</character>
<dialogue>This is the guy you ran the club with, right?</dialogue>
<character>DAD</character>
<dialogue>That s right.</dialogue>
<character>MARCUS</character>
<dialogue>What happened with you guys? What did you fight about?</dialogue>
<character>DAD</character>
<dialogue>Essie. He accused me of messing around with her. Can you imagine? Fool moved all the way to Phoenix t3 keep her away from me.</dialogue>
<character>MARCUS</character>
<dialogue>Well ... did you mess around with her?</dialogue>
<character>DAD</character>
<dialogue>Hell, no. I ain't ever laid a hand on her.</dialogue>
<scene_description>A plump MIDDLE-AGED WOMAN walks by. Dad gawks at her.</scene_description>
<character>DAD</character>
<dialogue>Damn, like to have me a piece of that.</dialogue>
<character>MARCUS</character>
<dialogue>You ever stop looking at it?</dialogue>
<character>DAD</character>
<dialogue>Only when I met your mother. May she rest in peace. Didn't look at another gal for over six years.</dialogue>
<character>MARCUS</character>
<dialogue>But you were married twenty-seven years.</dialogue>
<dialogue>I know ...DAD</dialogue>
<scene_description>but she held the record. Papa was 5 rollinq stone. Wherever he left his hat, was his home.</scene_description>
</scene>
<scene>
<stage_direction>INT. A NEIGHBORHOOD BOWLING ALLEY - DAY</stage_direction>
<scene_description>Dad is holding a bowling ball in his one good hand, lining up a shot. Marcus is behind the wheelchair, exhausted.</scene_description>
<character>DAD</character>
<dialogue>Show s m e hustle, son. Come on, we're a team.</dialogue>
<scene_description>Marcus backs up the wheelchair and gets a running go. Just as they reach the foul line, Dad lets go and the ball rolls down the lane ... a strike.</scene_description>
<character>DAD</character>
<dialogue>Yes!</dialogue>
<parenthetical>(singing)</parenthetical>
<dialogue>That's the way, uh-huh-uh-huh... I like it.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHANTRESS COSMETICS LOBBY - DAY</stage_direction>
<scene_description>Marcus walks out of the elevator. Bony-T catches up with him.</scene_description>
<character>BONY-T</character>
<dialogue>Yo, Marcus. Some of the guys was wonderin' about this new executrix. Exactly how long do you think it'll take you to bone her? I need to know because we're gettin' together an office pool.</dialogue>
<character>MARCUS</character>
<dialogue>Aw, Bony-T. That's crass, man. Miss Broyer and I are colleagues. I have a great deal of respect for her as a person.</dialogue>
<character>BONY-T</character>
<dialogue>So what you're saying is least a week.</dialogue>
<scene_description>... at</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY AT CHANTRESS - DAY</stage_direction>
<scene_description>Marcus skulks behind a potted plant outside Jacqueline's office. An effeminate MALE SECRETARY comes out, on his way to lunch with Jacqueline.</scene_description>
<character>MALE SECRETARY</character>
<dialogue>I know a place. Do you like Thai?</dialogue>
<scene_description>They walk away, chatting. Marcus sneaks into ... JACQUELINE 'S OFFICE He searches through her appointment book. He finds the entry he's looking for, picks up the phone and dials. When the other party answers, Marcus goes-into a dead-on impression of the effeminate secretary.</scene_description>
<character>MARCUS</character>
<dialogue>Yes, this is Todd calling from Jacqueline Broyer's office. She's sorry, but she-has to cancel racquetball tomorrow.</dialogue>
</scene>
<scene>
<stage_direction>INT. RACQUETBALL CLUB IN MANHATTAN - DAY</stage_direction>
<scene_description>Jacqueline enters a court dressed to play racquetball. She is surprised to see Marcus, warming up, waiting for her.</scene_description>
<character>JACQUELINE</character>
<dialogue>What are you doing here?</dialogue>
<character>MARCUS</character>
<dialogue>Your friend Lorrie couldn't make it.</dialogue>
<character>JACQUELINE</character>
<dialogue>Why don't I believe you?</dialogue>
<character>MARCUS</character>
<dialogue>She's not here, is she? What? What are you looking at me like that for? Let's play.</dialogue>
<scene_description>Jacqueline slips out of her warm-ups. She looks fantastic in her shorts. Marcus can't help but notice. She hits a couple of warm-up shots.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>You serve.</dialogue>
<scene_description>Jacqueline bends over to serve. Marcus gazes at her admiringly. She gives him a disdainful look.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>What?</dialogue>
<character>JACQUELINE</character>
<dialogue>You're looking at my butt.</dialogue>
<character>MARCUS</character>
<dialogue>This is how the game is played. I can't look the other way. Then I wouldn't see the ball coming. Let's play fair.</dialogue>
<character>JACQUELINE</character>
<dialogue>Then you serve.</dialogue>
<scene_description>Marcus takes the ball. He bends over. Then looks at her.</scene_description>
<character>MARCUS</character>
<dialogue>Wait a second. Now you're looking at g butt.</dialogue>
<character>JACQUELINE</character>
<dialogue>J u s t play.</dialogue>
<scene_description>Marcus serves, hitting a soft shot. Jacqueline runs up court, past Marcus. As she bends over to return the shot, Marcus can't help but admire her derriere. It's that mesmerizing. The ball ricochets off t.he wall and BONK! It hits Marcus in the eye.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE AT CHANTRESS COSMETICS - DAY</stage_direction>
<scene_description>Marcus and Jacquzline are overseeing a meeting with Strange' and the CREATIVE TEAM, including Angela and Nelson. Strange8 is coiled like a cobra in a modernistic arm chair. A snippy CHEMIST shows her some fragrance samples. She sniffs the vial and frowns with disappointment.</scene_description>
<character>STRANGE '</character>
<dialogue>I hate it.</dialogue>
<character>CHEMIST</character>
<dialogue>But this fragrance tested very well.</dialogue>
<character>STRANGE</character>
<dialogue>I said I wanted it to be the essence of sex.</dialogue>
<character>CHEMIST</character>
<parenthetical>(defensive)</parenthetical>
<dialogue>Well, I think this is it.</dialogue>
<character>STRANGE '</character>
<dialogue>You would.</dialogue>
<scene_description>Stranget reaches under her tight mini-skirt and wriggles out of her skimpy black silk panties. She flings them at the Chemist. The panties droop across his face.</scene_description>
<character>STRANGE ' (CONT' D)</character>
<dialogue>That is the essence of sex.</dialogue>
<scene_description>The Chemist is deeply offended. He gets up, snatches the panties off his face and walks out without a word. Marcus follows him outside to ... THE HALLWAY Marcus catches up with the Chemist.</scene_description>
<character>MARCUS</character>
<dialogue>Lloyd, don't worry about it. The fragrance is fine. We're not going to change it.</dialogue>
<character>CHEMIST</character>
<dialogue>That woman doesn't deserve her own fragrance</dialogue>
<character>.</character>
<dialogue>CHENIST</dialogue>
<scene_description>Do you think Liz Taylor would throw her panties in my face?</scene_description>
<character>MARCUS</character>
<dialogue>I don't know. We can ask her.</dialogue>
<scene_description>The Chemist doesn't think this is funny.</scene_description>
<character>MARCUS</character>
<dialogue>Come on, Lloyd. You can't take Strange' seriously. Let me deal with her.</dialogue>
<scene_description>The Chemist nods, pacified. Marcus claps him on the back, then goes back into ... THE OFFICE Strangeg is storming around the room, pitching a fit. She is holding a prototype for a perfume bottle that Angela has designed. Angela is listening patiently as Strange1 rages on.</scene_description>
<character>STRANGE '</character>
<dialogue>I hate this.</dialogue>
<parenthetical>(repulsed)</parenthetical>
<dialogue>I mean ...</dialogue>
<scene_description>look at this!</scene_description>
<character>ANGELA</character>
<dialogue>I'm sorry. It's just a prototype.</dialogue>
<character>STRANGE</character>
<dialogue>What happened to my idea about the broken glass?!</dialogue>
<character>ANGELA</character>
<dialogue>We can't let people cut their hands on the bottle.</dialogue>
<character>STRANGE '</character>
<dialogue>Why not?! If that's what it takes. Why are my concepts being ignored?! I know what the public wants. They want to be stunned</dialogue>
<character>. ..</character>
<dialogue>jolted.</dialogue>
<character>...</character>
<dialogue>shocked</dialogue>
<scene_description>Here's a list of names for the fragrance. She takes out a list and reads from it.</scene_description>
<character>STRANGE '</character>
<dialogue>Pus ... Pig Puke ... Afterbirth</dialogue>
<scene_description>... Steel Vagina ... Slash Your Face. Well, what do you think? She looks around the room for a response. Everyone is mortified, except for Nelson who is enthralled, nodding in agreement. Marcus speaks up.</scene_description>
<character>MARCUS</character>
<dialogue>They're fantastic. You're right. I like those names. But they're too tame. Whatever the name is, it has to provoke ...</dialogue>
<scene_description>it has to incite ... it has to electrify. There's only one name in the world that can arouse that kind of passion ... Strange'. That's what we should call it.</scene_description>
<character>STRANGE '</character>
<dialogue>I like it.</dialogue>
<scene_description>She makes a dramatic exit. As soon as she's gone, Marcus shrugs and grins. Jacqueline is amused and pleased by his performance.</scene_description>
<character>JACQUELINE</character>
<dialogue>Ladies and gentlemen, I think that1s the best line of bullshit I ever heard in my life.</dialogue>
<character>MARCUS</character>
<parenthetical>(feigning modesty)</parenthetical>
<dialogue>Thanks. I try.</dialogue>
<scene_description>Jacqueline grins and starts a round of applause. Everybody else joins in, filled with relief, laughing at the situation. Marcus pretends to bow, enjoying this minor triumph.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY AT CHANTRESS - MINUTES LATER</stage_direction>
<scene_description>The meeting is breaking up. Angela passes by.</scene_description>
<character>MARCUS</character>
<dialogue>I liked your design.</dialogue>
<character>ANGELA</character>
<dialogue>Thanks.</dialogue>
<scene_description>Jacqueline joins Marcus. The two of them head down the hallway together.</scene_description>
<character>JACQUELINE</character>
<dialogue>We'll never be able to control Strange' at the press conferences.</dialogue>
<character>MARCUS</character>
<dialogue>Just let her be herself. We'll get more press that way.</dialogue>
<character>JACQUELINE</character>
<dialogue>You're probably right. We've got a lot of work to do. We shoot in L.A. on the twenty-fourth.</dialogue>
<character>MARCUS</character>
<parenthetical>(casually)</parenthetical>
<dialogue>Let's talk about it tonight ... over dinner.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(suspi,cious)</parenthetical>
<dialogue>Marcus . ..</dialogue>
<character>MARCUS</character>
<dialogue>What? What's wrong? We're business associates. Look, if we were both auvs, it wouldn't be any bis deal. <oilre the one tryinq to tucn it into a man-woman thing.</dialogue>
<character>JACQUELINE</character>
<dialogue>Just dinner?</dialogue>
<character>MARCUS</character>
<dialogue>I swear.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - NIGHT</stage_direction>
<scene_description>Marcus is making last-minute preparations for his dinner with Jacqueline, polishing a spoon, adjusting the centerpiece for the thousandth time. He is determined to make everything absolutely perfect. As he works, he sings a Whitney Houston</scene_description>
<character>. .</character>
<dialogue>song .</dialogue>
<character>MARCUS</character>
<dialogue>Whatever you want from me, I'm givin' you everythinq, I'm your baby tonight.</dialogue>
<scene_description>The DOORBELL RINGS. Marcus hurries to answer it, stopping one last time at the hallway mirror to primp his hair and brush a tiny piece of lint off the lapel of his dashing Italian suit. He flashes his "killert1smile and opens the door. Jacqueline is standing there but, to his surprise, she is wearing jeans and a sweatshirt.</scene_description>
<character>MARCUS</character>
<dialogue>Hi.</dialogue>
<character>JACQUELINE</character>
<dialogue>Hey, look at you. You're all dressed up. I didn't think this would be so formal.</dialogue>
<scene_description>As she looks around the dazzling apartment she whistles, impressed.</scene_description>
<character>JACQUELINE</character>
<dialogue>Nice place you've got here, slick.</dialogue>
<character>MARCUS</character>
<dialogue>Thanks. I was going to go with kind of a Jim Brown look lots ... of gold flake mirrors and velvet paintings of girls with big afros and giant breasts ...</dialogue>
<scene_description>kind of a SlauqhterTs Biq Rip Off motif. She strolls out onto the terrace gazing out onto the majestic view of Central Park.</scene_description>
<character>JACQUELINE</character>
<dialogue>Great view. Look, you can see the ice rink from here. Ever go skating in the winter?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah, sometimes.</dialogue>
<character>JACQUELINE</character>
<dialogue>I love to skate. - - - When I was a little girl, I wanted to be in the Ice Capades.</dialogue>
<character>MARCUS</character>
<dialogue>Really? I'll get the champagne.</dialogue>
<scene_description>We FOLLOW him into the kitchen where he is preparing an elaborate gourmet meal. He takes out a bottle of Dom Perignon and heads back out to ... THE TERRACE To his dismay, Jacqueline is having a conversation with Yvonne, the crazy woman from across the way.</scene_description>
<character>JACQUELINE</character>
<dialogue>Yeah .. and what else will he do?</dialogue>
<character>YVONNE</character>
<dialogue>Oh, he's got a silver tongue. He'll sweet talk you ...</dialogue>
<character>JACQUELINE</character>
<dialogue>Really?</dialogue>
<character>MARCUS</character>
<dialogue>Donut listen to her.</dialogue>
<scene_description>He leads her back inside.</scene_description>
<character>JACQUELINE</character>
<dialogue>No, it's very interesting.</dialogue>
<character>MARCUS</character>
<dialogue>She's crazy.</dialogue>
<scene_description>Jacqueline starts to laugh.</scene_description>
<character>MARCUS</character>
<dialogue>I'm glad you think my life is so damn funny.</dialogue>
</scene>
<scene>
<stage_direction>INT. TEE DINING ROOM - LATER</stage_direction>
<scene_description>Marcus has served a meal worthy of the cover of Gourmet magazine. But Jacqueline is eating hurriedly, checking her watch.</scene_description>
<character>MARCUS</character>
<dialogue>I only use white truffles ... they're very hard to find ...</dialogue>
<character>JACQUELINE</character>
<dialogue>I s m sorry. My mind is somewhere else. The Knicks game starts in a couple of minutes. Do you mind if we eat in front of the TV?</dialogue>
<character>MARCUS</character>
<parenthetical>(hurt)</parenthetical>
<dialogue>No. That's fine.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - A LITTLE LATER</stage_direction>
<scene_description>They are watching the game. Jacqueline is really into it, pounding on the coffee table. For all the attention she is paying Marcus, he might as well be out of town.</scene_description>
<character>JACQUELINE</character>
<parenthetical>(shouting at the TV)</parenthetical>
<dialogue>Aw come on, he hacked him!</dialogue>
<character>MARCUS</character>
<dialogue>Can I make you some espresso?</dialogue>
<character>JACQUELINE</character>
<dialogue>No, thanks. They've been fouling Ewing all night and they don't call a thing!</dialogue>
<scene_description>Marcus gets up, clearing the dessert dishes.</scene_description>
<character>J A C Q U E L I N E (CONT' D )</character>
<dialogue>oh ...</dialogue>
<scene_description>w h i l e y o u ' r e up you g e t me a b e e r ? ...would Marcus h e a d s Eor t h e k i t c h e n , f e e l i n g i g n o r e d .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FOYER - LATER THAT NIGHT</stage_direction>
<scene_description>J a c q u e l i n e is l e a v i n g .</scene_description>
<character>JACQUELINE</character>
<dialogue>T h i s h a s been a n i n c r e d i b l e e v e n i n g .</dialogue>
<character>MARCUS</character>
<dialogue>Thank you.</dialogue>
<character>JACQUELINE</character>
<dialogue>Jordan's l a s t shot! I mean, h e m u s t ' v e been a t l e a s t s i x t y f e e t out.</dialogue>
<character>MARCUS</character>
<dialogue>S u r e you d o n ' t want m e t o t a k e you home?</dialogue>
<character>JACQUELINE</character>
<dialogue>No, 1'11 g e t a c a b .</dialogue>
<scene_description>They walk i n t o ... THE HALLWAY Marcus f o l l o w s h e r l i k e a h u r t puppy.</scene_description>
<character>JACQUELINE (CONT ' D )</character>
<dialogue>Thanks f o r e v e r y t h i n g .</dialogue>
<scene_description>She p e c k s him on t h e cheek.</scene_description>
<character>MARCUS</character>
<dialogue>Whoa ...</dialogue>
<scene_description>w a i t a second. i t ? That's a l l I get? That's</scene_description>
<character>JACQUELINE</character>
<dialogue>What w e r e you e x p e c t i n g ?</dialogue>
<character>MARCUS</character>
<dialogue>A t least a real kiss.</dialogue>
<character>JACQUELINE</character>
<dialogue>Alriaht. -- - You c a n k i s s m e till t h e Glevator g e t s here.</dialogue>
<scene_description>She pushes the button. They kiss. Marcus is much more into it than she is. Just as Marcus starts to get aroused PING ... the elevator door opens.</scene_description>
<character>...</character>
<dialogue>MARCUS</dialogue>
<parenthetical>( frustrated)</parenthetical>
<dialogue>Shit! I've waited for this goddamn elevator for as long as seven minutes. Tonight ...</dialogue>
<scene_description>you push the button and it's like Star Trek. .. She waves good-bye as the elevator doors close.</scene_description>
<character>JACQUELINE</character>
<dialogue>'Night.</dialogue>
<scene_description>Marcus leans against the door, frustrated.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM AT THE YMCA ON THE UPPER WEST SIDE - DAY</stage_direction>
<scene_description>Light streams in through the tall old-fashioned windows of the venerable gymnasium. Marcus and his friends are jogging around an indoor track overlooking the basketball court.</scene_description>
<character>TYLER</character>
<dialogue>She's got to be a lesbo.</dialogue>
<character>GERARD</character>
<dialogue>Just because she won't sleep with him, doesn't mean she's a lesbian.</dialogue>
<character>TYLER</character>
<dialogue>Look, man, it's been seven weeks.</dialogue>
<character>GERARD</character>
<dialogue>SO?</dialogue>
<character>TYLER</character>
<dialogue>Personally, if I was chasing after something that fine, I'd wait eight, nine months.</dialogue>
<character>GERARD</character>
<dialogue>You could wait eight, nine years, you'd never get a woman like that.</dialogue>
<character>TYLER</character>
<dialogue>At least my wife didn't leave me for a Guardian Angel.</dialogue>
<character>GERARD</character>
<dialogue>Screw you.</dialogue>
<character>TYLER</character>
<dialogue>Still cringes every time he sees a beret.</dialogue>
<character>MARCUS</character>
<dialogue>At least Gerard's had women. You couldn't get laid with a gold card at the Mustang Ranch.</dialogue>
<character>TYLER</character>
<dialogue>Why are you dissin' me? I'm trying to help you out. All I'm saying is - - if she won't aive it UD for</dialogue>
<character>-</character>
<dialogue>you, there ' s gotta be something wrong with her.</dialogue>
<character>MARCUS</character>
<dialogue>There's nothing wrong with her. She's just playing me to forget about her.</dialogue>
<character>...</character>
<dialogue>I'm going</dialogue>
<character>GERARD</character>
<dialogue>Lots of luck.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TERMINAL AT J.F.K. AIRPORT - DAY</stage_direction>
<scene_description>A white Rolls Royce pulls up to the curb. The DRIVER opens the door and Strange' gets out wearing an outlandish flowing robe with a hood. PAPARAZZI are there to greet her, snapping photos.</scene_description>
</scene>
<scene>
<stage_direction>INT. TERMINAL AT JFK AIRPORT - DAY</stage_direction>
<scene_description>Marcus is at the ticket counter speaking to a CLERK.</scene_description>
<character>MARCUS</character>
<dialogue>Has Jacqueline Broyer checked in yet?</dialogue>
<character>TICKET CLERK</character>
<dialogue>No, Mr. Graham. She left a message for you. She's running late and will catch a later flight.</dialogue>
<character>MARCUS</character>
<parenthetical>(dejected)</parenthetical>
<dialogue>Great.</dialogue>
<scene_description>Angela enters followed by her boyfriend SOL, a cherubic, curly-haired Jewish guy in his thirties. He is carrying a small rug under one arm and a Koran in the other.</scene_description>
<character>SOL</character>
<dialogue>Can't we just talk about this?</dialogue>
<character>ANGELA</character>
<dialogue>Sol, please ...</dialogue>
<scene_description>They see Marcus.</scene_description>
<character>ANGELA (CONT' D)</character>
<dialogue>Hi, Marcus.</dialogue>
<scene_description>Sol eagerly holds out his hand to Marcus, always happy to meet a black man.</scene_description>
<character>SOL</character>
<dialogue>Salaam Salekem, brother.</dialogue>
<character>MARCUS</character>
<parenthetical>(not sure what to make of this guy)</parenthetical>
<dialogue>Hello.</dialogue>
<character>ANGELA</character>
<dialogue>Sol .. I've got to go.</dialogue>
<character>SOL</character>
<dialogue>I'm gonna miss you so much. When you get to ...</dialogue>
<parenthetical>(his watch BEEPS an alarm)</parenthetical>
<dialogue>Oops. Does anybody know which way east is?</dialogue>
<character>MARCUS</character>
<parenthetical>(puzzled)</parenthetical>
<dialogue>I think it's that way.</dialogue>
<character>SOL</character>
<dialogue>Thanks.</dialogue>
<scene_description>Sol rolls out his prayer rug, kneels and begins bowing and praying in Arabic. Angela is embarrassed.</scene_description>
<character>ANGELA</character>
<dialogue>so1 ... so1 ...</dialogue>
<parenthetical>(no response: he's too busy praying)</parenthetical>
<dialogue>This is exactly what I am talking about. You're in your own world. Sol ...</dialogue>
<scene_description>? Oh, forget it. She starts walking away, leaving an oblivious Sol praying in the middle of the terminal. Marcus catches up with her.</scene_description>
<character>MARCUS</character>
<dialogue>You okay?</dialogue>
<character>ANGELA</character>
<dialogue>Yeah. No, not really. He's been pretty weird since he joined that group.</dialogue>
<character>NARCUS</character>
<dialogue>What group?</dialogue>
<character>ANGELA</character>
<dialogue>Jews for Islam.</dialogue>
</scene>
<scene>
<stage_direction>INT. SECURITY GATE AT THE TERMINAL - SAME TIME</stage_direction>
<scene_description>Strange' approaches, still followed by the pack of photographers. She passes through the metal detector wearing her robe. The ALARM goes off. A GUARD stops her.</scene_description>
<character>GUARD</character>
<dialogue>Excuse me, miss. I'm going to have to ask you to remove any metal you might have on your person.</dialogue>
<scene_description>Strange1 takes off her robe. She is wearing a see-through dress of chain mail wlth nothing underneath. She unzips the chain mail and lets it drop to the floor, then walks through the metal detector butt naked. PEOPLE around her GASP. The photographers start snapping like crazy.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE - DAY</stage_direction>
<scene_description>Marcus is sitting in first class reading a magazine. Next to him is Angela, who is nervously drumming her fingers. Marcus looks up.</scene_description>
<character>ANGELA</character>
<dialogue>Sorry, I'll move.</dialogue>
<character>MARCUS</character>
<dialogue>That's okay.</dialogue>
<character>ANGELA</character>
<dialogue>I'm kind of a ... sort of a nervous flyer.</dialogue>
<character>MARCUS</character>
<dialogue>You know you're safer in a plane than you are in a bathtub.</dialogue>
<character>ANGELA</character>
<dialogue>Yeah, but I've never heard of a tub going down and killing 137 people. I'm sorry. When I get nervous, I start talking about horrible stuff ...</dialogue>
<character>MARCUS</character>
<dialogue>It's probably better not to think about it.</dialogue>
<character>ANGELA</character>
<dialogue>I know.</dialogue>
<character>MARCUS</character>
<dialogue>A lot of people have irrational fears. I'm scared of birds.</dialogue>
<character>ANGELA</character>
<parenthetical>(muffling a laugh)</parenthetical>
<dialogue>Birds? That's pathetic. I'm sorry.</dialogue>
<parenthetical>(Warcus goes back to his magazine)</parenthetical>
<dialogue>What would be worse to you? A sudden explosion ... so you died instantly? Or a long, slow fall where you knew you were gonna crash?</dialogue>
<parenthetical>(slapping her own cheek)</parenthetical>
<dialogue>Shut up, Angela. God.</dialogue>
<character>MARCUS</character>
<dialogue>Look at it this way. Can you fly this jet?</dialogue>
<character>ANGELA</character>
<dialogue>NO.</dialogue>
<character>MARCUS</character>
<dialogue>Then there's nothing you can do. You're either gonna make it or you're not. So you might as well relax.</dialogue>
<character>ANGELA</character>
<dialogue>You're right.</dialogue>
<scene_description>They ride along in silence for a moment.</scene_description>
<character>ANGELA</character>
<dialogue>But wouldn't it be funny if we crashed and they took plctures of us ... and we were just burned up skeletons smiling at the camera?</dialogue>
<character>MARCUS</character>
<dialogue>If we go ... let's go like this...</dialogue>
<scene_description>Marcus grins like a skeleton while giving the finger with both hands.</scene_description>
<character>ANGELA</character>
<dialogue>Or just before we crash, let's trade our jewelry, so they get our body parts all confused. Wouldn't it be funny if I had your hands and ycu had my leg or ... 1'11 shut up.</dialogue>
<character>MARCUS</character>
<dialogue>That's okay. You shouldn't put yourself down so much. That guy I met ...</dialogue>
<scene_description>is he your boyfriend?</scene_description>
<character>ANGELA</character>
<dialogue>Yeah ...</dialogue>
<scene_description>well, no. Kinda. But not for long.</scene_description>
<character>MARCUS</character>
<dialogue>Good. You should be going out with my friend Gerard.</dialogue>
<character>ANGELA</character>
<dialogue>Maybe I should. He was kinda cute.</dialogue>
<character>MARCUS</character>
<dialogue>If you dump this other guy, do it quick. It's not fair to lead a guy on and make him crawl.</dialogue>
<character>ANGELA</character>
<dialogue>Like Jacqueline is doing to you?</dialogue>
<character>MARCUS</character>
<dialogue>Shit. Does everybody know about this?</dialogue>
<character>ANGELA</character>
<dialogue>Sorry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEL AIR HOTEL - EVENING</stage_direction>
<scene_description>It's a beautiful evening. The hotel grounds look lush and serene.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' SUITE - NIGHT</stage_direction>
<scene_description>Marcus is lying on the bed with his jacket off watching TV, restlessly switching the channels. The PHONE RINGS.</scene_description>
<character>MARCUS</character>
<dialogue>Hello.</dialogue>
<character>JACQUELINE'S VOICE</character>
<dialogue>Hi. It's me.</dialogue>
<scene_description>Marcus sits up in bed, suddenly elated at the sound of her voice.</scene_description>
<character>MARCUS</character>
<dialogue>Hey. Where are you?</dialogue>
<character>JACQUELINE'S VOICE</character>
<dialogue>Right next door in Suite 17. Have you seen the press on Strange'? It's fantastic.</dialogue>
<scene_description>INTERCUT THROUGHOUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S SUITE - SAME TIME</stage_direction>
<scene_description>Jacqueline is getting dressed to go out. She takes a svelte evening gown from the closet and slips it on, all the while talking to Marcus on a speaker phone.</scene_description>
<character>JACQUELINE</character>
<dialogue>We made page six ... ...</dialogue>
<scene_description>Liz Smith even the New York Times. Great job. Congratulations.</scene_description>
<character>MARCUS</character>
<dialogue>Thank you.</dialogue>
<character>JACQUELINE</character>
<dialogue>I feel like celebrating. What do you think? Do you want to go out?</dialogue>
<scene_description>There is no mistaking the tantalizing tone of her invitation. Marcus is euphoric, but tries to hide his eagerness.</scene_description>
<character>MARCUS</character>
<dialogue>I guess so.</dialogue>
<scene_description>BACK TO JACQUELINE as she zips up her slinky dress.</scene_description>
<character>JACQUELINE</character>
<dialogue>How soon can you get here?</dialogue>
<parenthetical>(she pauses for a reply, but there is none)</parenthetical>
<dialogue>Marcus?</dialogue>
<parenthetical>(still no answer)</parenthetical>
<dialogue>Hello. Marcus?</dialogue>
<scene_description>Just that fast there is an eager KNOCK at the door. Jacqueline smiles and goes to answer it. Marcus is standing there wearing his jacket, straightening his tie. At the sight of Jacqueline, he melts. She looks absolutely ravishing.</scene_description>
<character>MARCUS</character>
<dialogue>Hi.</dialogue>
<character>JACQUELINE</character>
<dialogue>Hi. We should hurry. I made a nine o'clock reservation at Geoffrey's out at Malibu. 1'11 drive. I rented a car.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CANAAN DUME ROAD - NIGHT</stage_direction>
<scene_description>Jacqueline is behind the wheel of a Mercedes 560 SL roadster with the top down, racing around the curves so fast the tires are SQUEALING. She's exhilarated, a little wild-eyed. Marcus is hanging on nervously.</scene_description>
<character>MARCUS</character>
<dialogue>Aren't you going kinda fast?</dialogue>
<character>JACQUELINE</character>
<dialogue>Oh, relax. I grew up in Sherman Oaks. I know what I'm doing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GEOFFREY'S - NIGHT</stage_direction>
<scene_description>They are having dinner on the terrace overlooking the shimmering Pacific which looks spectacular in the moonlight. So does Jacqueline. Marcus can't take his eyes off her.</scene_description>
<character>JACQUELINE</character>
<dialogue>Why are you staring?</dialogue>
<character>MARCUS</character>
<dialogue>You just look so ...</dialogue>
<scene_description>wow I... feel like Gerard. I can't talk. (pretending .- to be tongue-tied) I'm baffle-ded by the splendiferocity arf urrr feminine-nun-nous-ness.</scene_description>
<character>...</character>
<dialogue>She raises her champagne flute in a toast.</dialogue>
<scene_description>To us ... JACQUELINE and a very exciting future. Letts make the most of it.</scene_description>
<character>MARCUS</character>
<dialogue>I hope to God ysulre not talking about business.</dialogue>
<scene_description>They drink. Jacqueline notices some lights shining on the beach below.</scene_description>
<character>JACQUELINE</character>
<dialogue>Oh. look. I wonder what's aoina on. Waiter.</dialogue>
<character>-~-</character>
<parenthetical>(the WAITER comes over)</parenthetical>
<dialogue>What are all those lights?</dialogue>
<character>WAITER</character>
<dialogue>The grunion are running.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(seized by a sudden impulse)</parenthetical>
<dialogue>Oh, let's go! I haven't been to a grunion run since I was a kid.</dialogue>
<character>MARCUS</character>
<dialogue>A what run?.</dialogue>
<character>JACQUELINE</character>
<dialogue>Grunion. You'll see.</dialogue>
<parenthetical>(to the Waiter)</parenthetical>
<dialogue>Could we have the check please?</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - NIGHT</stage_direction>
<scene_description>Marcus and Jacqueline approach several excited PEOPLE who are wading in the surf catching grunion. Jacqueline calls to a GUY WITH A BUCKET.</scene_description>
<character>JACQUELINE</character>
<dialogue>Hi. Can we join you?</dialogue>
<character>GUY WITH BUCKET</character>
<dialogue>Sure.</dialogue>
<scene_description>Jacqueline kicks off her shoes and hikes up her evening gown. Marcus takes off his shoes and rolls up his pants.</scene_description>
<character>JACQUELINE</character>
<dialogue>They're tiny little fish. When the moon and the tide are just riaht thev swim uo on the beach</dialogue>
<character>MARCUS</character>
<dialogue>Let's leave 'em alone. Why are we messing with their party?</dialogue>
<character>JACQUELINE</character>
<dialogue>It's the only time you can catch them.</dialogue>
<character>MARCUS</character>
<dialogue>I think they deserve some privacy. How would you feel if you were making love at a motel and a bunch of giant fish came knocking on the door with flashlights and threw your ass into a bucket with a bunch of other naked people having sex? Damn. Come to think of it ... that sounds kinda fun.</dialogue>
<scene_description>They wade into the water.</scene_description>
<character>JACQUELINE</character>
<dialogue>Here they come! Grab 'em.</dialogue>
<scene_description>They try to catch the tiny squirming fish in their hands. Marcus grabs one.</scene_description>
<character>MARCUS</character>
<dialogue>I got one.</dialogue>
<character>JACQUELINE</character>
<dialogue>Put it in the bucket.</dialogue>
<character>MARCUS</character>
<dialogue>I can't hold it. It's slimy.</dialogue>
<scene_description>The grunion wriggles free. Marcus makes another grab for it and loses his balance, falling to one knee, getting his pants wet.</scene_description>
<character>MARCUS</character>
<dialogue>Shit.</dialogue>
<scene_description>Jacqueline helps him up, laughing. He starts laughing, too.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTRANCE TO THE BEL AIR HOTEL - NIGHT</stage_direction>
<scene_description>Jacqueline and Marcus pull up in the Mercedes. Jacqueline gives the keys to the VALET who raises his eyebrows when he sees them get out with their clothes wet and their shoes off. They laugh.</scene_description>
<character>MARCUS</character>
<dialogue>What's his problem?</dialogue>
<scene_description>They cross the bridge t o the hotel, arm-in-am.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WALKWAY LEADING THROUGH THE GARDEN - CONTINUOUS</stage_direction>
<scene_description>They walk a l o n g i n t h e m o o n l i g h t , f e e l i n g amorous. They pause o u t s i d e J a c q u e l i n e ' s s u i t e .</scene_description>
<character>JACQUELINE</character>
<dialogue>I had a g r e a t t i m e .</dialogue>
<character>MARCUS</character>
<dialogue>Me, t o o .</dialogue>
<scene_description>She k i s s e s h i m l u s t f u l l y .</scene_description>
<character>JACQUELINE</character>
<parenthetical>(lookins i n t o h i s eves)</parenthetical>
<dialogue>Maybe'we sho;ld t a k e t h i s i n s i d e .</dialogue>
<character>MARCUS</character>
<dialogue>Good i d e a .</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SUITE - CONTINUOUS</stage_direction>
<scene_description>They e n t e r . Marcus t a k e s h e r i n h i s arms and k i s s e s h e r a g a l n and a g a i n .</scene_description>
<character>MARCUS (CONT D) '</character>
<dialogue>Jacqueline ...</dialogue>
<character>JACQUELINE</character>
<dialogue>Hmm . . .?</dialogue>
<character>MARCUS</character>
<dialogue>I t h i n k I know how t h e g r u n i o n feel.</dialogue>
<scene_description>They e a s e down o n t o t h e b e d , t h e i r k i s s e s more demanding, t h e i r passion increasing. FADE: FADE I N :</scene_description>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S. SUITE - MORNING</stage_direction>
<scene_description>Marcus wakes u p and r e a c h e s f o r J a c q u e l i n e , b u t s h e i s gone. He s i t s up and l o o k s a r o u n d . J a c q u e l i n e is on t h e t e r r a c e , a l r e a d y d r e s s e d , working on a l a p t o p computer.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE TERRACE OUTSIDE THE BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Marcus comes o u t w e a r i n g a t e r r y c l o t h r o b e from t h e h o t e l .</scene_description>
<character>MARCUS</character>
<dialogue>Good morning.</dialogue>
<character>JACQUELINE</character>
<dialogue>Good morning. Sorry ... I had some b u s i n e s s t o t a k e c a r e o f .</dialogue>
<scene_description>Marcus l o o k s a t ... THE POND Two m a j e s t i c SWANS p a d d l e i n u n i s o n a c r o s s t h e sun-dappled pond, t h e i r n e c k s e n t w i n e d l i k e l o v e r s . BACK TO MARCUS AND JACQUELINE</scene_description>
<character>MARCUS</character>
<dialogue>They mate f o r l i f e you know.</dialogue>
<character>JACQUELINE</character>
<dialogue>Yeah. T h a t ' s what I h e a r .</dialogue>
<parenthetical>( p e c k i n g him on t h e c h e e k )</parenthetical>
<dialogue>Gotta run. S e e you l a t e r .</dialogue>
<scene_description>She g o e s back i n s i d e . ON THE POND The swans a r e now b i c k e r i n g , making HONKING n o i s e s and pecking a t one a n o t h e r . EX?. A CAFE ON COLUMBUS AVENUE - DAY Marcus and h i s f r i e n d s a r e s i t t i n g a t a n o u t d o o r t a b l e having espresso. A WAITER p a s s e s by. T y l e r s t o p s him.</scene_description>
<character>TYLER</character>
<parenthetical>( t o t h e WAITER)</parenthetical>
<dialogue>Excuse m e ...what do vou h a v e. for dessert?</dialogue>
<character>WAITER</character>
<dialogue>Do you l i k e c h o c o l a t e ?</dialogue>
<character>TYLER</character>
<parenthetical>(irate)</parenthetical>
<dialogue>Why? Is t h e r e some p a r t i c u l a r reason I should? J u s t b r i n g m e some c o f f e e .</dialogue>
<character>TYLER</character>
<parenthetical>(Waiter exits)</parenthetical>
<dialogue>Would he assume all these white people like vanilla? It's like, "Oh, the niggers are here. Get out the Hershey's."</dialogue>
<character>GERARD</character>
<dialogue>Would you shut the fuck up? Marcus was just getting to the good part.</dialogue>
<character>MARCUS</character>
<dialogue>She's amazing. I've never felt like this about a woman before.</dialogue>
<character>TYLER</character>
<dialogue>Yeah ... but how's the pussy?</dialogue>
<character>GERARD</character>
<dialogue>Aw, man. That's crass.</dialogue>
<character>TYLER</character>
<dialogue>I'm just a realist. Cause if the pussy's good, everything else falls lnto place.</dialogue>
<character>MARCUS</character>
<dialogue>It's more than that. I admire everything about her. Her mind</dialogue>
<character>... ...</character>
<dialogue>guys</dialogue>
<scene_description>her spirit. I'm telling you, this is the one. Tyler and Gerard exchange glances. They have never seen Marcus look this way before. He looks dazed, thunderstruck.</scene_description>
<character>TYLER</character>
<dialogue>Damn. The pussy must be real good.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY AT CHANTRESS - SAME TIME</stage_direction>
<scene_description>Marcus is walking down the hall on cloud nine. Not even the sight of Bony-T heading his way can get him down.</scene_description>
<character>BONY -T</character>
<dialogue>Yo, Marcus.</dialogue>
<parenthetical>(slapping his hand)</parenthetical>
<dialogue>Congratulations! I hear you finally nailed her. Why didn't you tell me you was about to sex her up?</dialogue>
<character>MARCUS</character>
<dialogue>Because it's none of your business.</dialogue>
<character>BONY -T</character>
<dialogue>The hell it ain't. I coulda won the office pool. We suppose to help each other out.</dialogue>
<scene_description>Marcus enters ...</scene_description>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S OFFICE - DAY</stage_direction>
<scene_description>Jacqueline is on the phone.</scene_description>
<character>JACQUELINE</character>
<dialogue>There's a lot riding on this. I'm going to fly the entire creative team to Barbados.</dialogue>
<scene_description>Marcus comes over and begins to kiss her on the neck.</scene_description>
<character>JACQUELINE (CONT' D)</character>
<dialogue>I'll have to call you back.</dialogue>
<scene_description>She hangs up. Marcus reaches for her. She gently resists.</scene_description>
<character>JACQUELINE</character>
<dialogue>Marcus ...</dialogue>
<scene_description>we shouldn't do this at the office.</scene_description>
<character>MARCUS</character>
<parenthetical>(amorously)</parenthetical>
<dialogue>Then let's go up to the roof.</dialogue>
<character>JACQUELINE</character>
<dialogue>You're so bad.</dialogue>
<character>MARCUS</character>
<dialogue>No, I'm not. I'm serious. I've been thinkinq about what happened in L.A. What we've got going means a lot to me.</dialogue>
<character>JACQUELINE</character>
<dialogue>Oh, no.</dialogue>
<character>MARCUS</character>
<dialogue>What?</dialogue>
<character>JACQUELINE</character>
<dialogue>I hope you're not going to be one of those guys?</dialogue>
<character>MARCUS</character>
<dialogue>What guys?</dialogue>
<character>JACQUELINE</character>
<dialogue>Guys that get too serious. Look, I had a good time in L.A. Let's just not make more of it than it is.</dialogue>
<character>MARCUS</character>
<parenthetical>(hurt)</parenthetical>
<dialogue>Wait a second. Are you saying this was just some klnd of ..</dialogue>
<character>.</character>
<dialogue>of ... of flinq?</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm just saying we shouldn't get ahead of ourselves. Right now, business is a top priority for me. Let's take it slow. You know. Keep it fun.</dialogue>
<character>MARCUS</character>
<dialogue>Alright. I'm down with that. Let's start tonight.</dialogue>
<character>JACQUELINE</character>
<dialogue>I can't.</dialogue>
<character>MARCUS</character>
<dialogue>Then when? Let's do a night on the town. Maybe I can get some theater tickets.</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm real busy right now. I'm going to be out of town a lot. I'll have to get back to you.</dialogue>
<character>MARCUS</character>
<parenthetical>(slightly insulted)</parenthetical>
<dialogue>Get back to me?</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm sorry. I don't have my schedule. My secretary's in Atlantic City for a few days. He won some kind of office pool. 1'11 call you.</dialogue>
<character>MARCUS</character>
<dialogue>-</dialogue>
<scene_description>(trvina to reaain his 'pridej Okay, but you better hurry. I have.things to do too, you know. It's not like I'm sittin' around waiting for the phone to ring.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' OFFICE - DAY</stage_direction>
<scene_description>Marcus is sitting around waiting for the phone to ring. 1t does. He grabs it.</scene_description>
<character>MARCUS</character>
<dialogue>Hello.</dialogue>
<character>SECRETARY'S VOICE</character>
<dialogue>Miss Broyer asked me to tell you she's free the evening of the 12th.</dialogue>
<character>MARCUS</character>
<dialogue>That's three weeks from now!</dialogue>
<character>SECRETARY'S VOICE</character>
<dialogue>Sorry. That's her first opening. Should I pencil you in?</dialogue>
<character>MARCUS</character>
<parenthetical>(wimping out)</parenthetical>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROADWAY THEATER - NIGHT</stage_direction>
<scene_description>The Marquee says, Miss Saiqon. The show is about to begin as the last THEATERGOERS hurry inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY OF THE THEATER - SAME TIME</stage_direction>
<scene_description>Marcus is on a pay phone, fretting. Jacqueline hasn't shown UP -</scene_description>
<character>MARCUS</character>
<dialogue>Yes. What time did flight 97 from Toronto get in?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>.. Three hours ago?! Was there a</dialogue>
<scene_description>Jacqueline Broyer on board? - (testily)- Well, can you check? An USHER interrupts him.</scene_description>
<character>USHER</character>
<dialogue>Sir, curtain's going up.</dialogue>
<character>MARCUS</character>
<dialogue>lirritablvl</dialogue>
<scene_description>I 'rn waiting fo;' somebody.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THEATER - THREE HOURS LATER</stage_direction>
<scene_description>A rainstom has begun. Thunder RUMBLES. Rain pours down. Marcus is still waiting, pacing, freezing, his collar pulled up against tha wind. Still no sign of Jacqueline. The doors open and happy THEATERGOERS come out, chatting about the show.</scene_description>
<character>AN OLD LADY</character>
<dialogue>Wasn't that wonderful? It was worth waiting eight months for tickets.</dialogue>
<character>HER FRIEND</character>
<dialogue>Yes. He was so good. I don't see what all the fuss was about. He looked Chinese to me.</dialogue>
<scene_description>Marcus is furious that he has missed the show. He tries to hail a taxi.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - LATER THAT NIGHT</stage_direction>
<scene_description>Marcus is on the phone, worried sick.</scene_description>
<character>MARCUS</character>
<dialogue>Yes ... can you check to see if there's been any traffic accidents between J.F.X. and Midtown? Well, what the hell is 911 for?</dialogue>
<parenthetical>(The door bell RINGS)</parenthetical>
<dialogue>Never mind.</dialogue>
<scene_description>He hangs up the phone and hurries to ... THE FOYER He looks through the peep-hole ... MARCUS' POV - JACQUELINE is standing there, a little wet, a little tired, but still gorgeous. BACK TO MARCUS Going through mixed emotions. At first, relieved okay!" .. . ..."She's followed by anger ...I' How could she do this to me?" He opens the door. MARCUS f CQNT ' D) (curtly) Nice of vou to finally show up.</scene_description>
<character>JACQUELINE</character>
<dialogue>I'm sorry. Some meetings ran over. I had to take a later flight.</dialogue>
<scene_description>ICkRCUS Why didn't you call?</scene_description>
<character>JACQUELINE</character>
<dialogue>I was qoing to, but they didn't</dialogue>
<scene_description>have a phone on the plane.</scene_description>
<character>MARCUS</character>
<dialogue>YOU left me waiting there. I paid $200 for those tickets!</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm sorry.</dialogue>
<parenthetical>(reaching for her purse)</parenthetical>
<dialogue>Let me pay you for them.</dialogue>
<scene_description>She tries to give him the money. He refuses.</scene_description>
<character>MARCUS</character>
<dialogue>It's not the money. I just wish you'd be more considerate. I was worried sick. I was calling the police. For all I knew you were lying on the side of the road somewhere.</dialogue>
<character>JACQUELINE</character>
<dialogue>Oh, that's sweet. Look. I got you something.</dialogue>
<scene_description>She gives him a long-stem rose.</scene_description>
<character>MARCUS</character>
<dialogue>oh, is this supposed to make me forget all about it?</dialogue>
<character>JACQUELINE</character>
<dialogue>Listen. Do you want me to leave?</dialogue>
<character>MARCUS</character>
<parenthetical>(weakening)</parenthetical>
<dialogue>No, no. stay. Look at you you're all wet. Take off your</dialogue>
<character>...</character>
<dialogue>coat ...you're gonna catch a cold.</dialogue>
<scene_description>She takes off her coat. Her blouse is soaked revealing the outlines of her lovely breasts.</scene_description>
<character>'MARCUS (CONT' D )</character>
<dialogue>You b e t t e r t a k e o f f y o u r b l o u s e , too.</dialogue>
<scene_description>She k i s s e s him. A l l o f Marcus' a n g e r f a d e s . I N T . MARCUS' BEDROOM - NIGHT Marcus is i n b e d , g a z i n g a t J a c q u e l i n e who i s g e t t i n g dress'ed.</scene_description>
<character>MARCUS</character>
<dialogue>Do you h a v e t o go now?</dialogue>
<character>JACQUELINE</character>
<dialogue>I have t o make a b i g s p e e c h i n t h e morning t o t h e Board o f Directors. T h i s h a s been w o n d e r f u l . I was s o tense when I g o t o f f t h a t plane me.</dialogue>
<scene_description>... t h i s really relaxed (pecking h i s cheek) 1'11 c a l l you tomorrow. And j u s t a s q u i c k l y s h e i s gone. Marcus l i e s t h e r e f e e l i n g c h e a p and used. He n o t i c e s t h a t s h e h a s l e f t two h u n d r e d - d o l l a r b i l l s on t h e v a n i t y . He stares at the bills in disbelief.</scene_description>
<character>MARCUS' V O I C E</character>
<dialogue>I f e e l s o cheap using me ...</dialogue>
<character>...</character>
<dialogue>like she's</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' OFFICE - DAY</stage_direction>
<scene_description>Marcus i s c o n f i d i n g i n Angela.</scene_description>
<character>MARCUS (CONT ' D )</character>
<dialogue>I swear, I t h i n k t h e only reason s h e s l e p t w i t h m e was s o s h e ' d f e e l more r e l a x e d when s h e made h e r speech.</dialogue>
<character>ANGELA</character>
<dialogue>A t l e a s t s h e ' s s l e e p i n g w i t h you. Maybe t h a t ' s a l l s h e w a n t s o u t of t h e relationship.</dialogue>
<character>MARCUS</character>
<dialogue>Aw, come on . ..</dialogue>
<scene_description>Nelson pokes h i s head i n t o t h e o f f i c e . NELmSON When am I g o i n g t o g e t t h e s t o r y b o a r d s f o r t h e commercial?</scene_description>
<character>MARCUS</character>
<dialogue>When we f i g u r e them o u t .</dialogue>
<scene_description>Nelson l e a v e s .</scene_description>
<character>MARCUS</character>
<parenthetical>( t o Angela)</parenthetical>
<dialogue>So, how's it g o i n g w i t h you and Gerard?</dialogue>
<character>ANGELA</character>
<dialogue>He's n i c e ...j u s t a l i t t l e awkward.</dialogue>
<character>MARCUS</character>
<dialogue>G e r a r d ' s a g r e a t guy. It j u s t t a k e s a w h i l e t o n o t l c e it.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANGELA'S APARTMENT I N GREENWICH VILLAGE - NIGHT</stage_direction>
<scene_description>A t i n y s p a c e jammed w i t h b r i g h t l y - p a i n t e d f u r n i t u r e and q u i r k y c e r a m i c a r t . Marcus and h i s f r i e n d s have g a t h e r e d t o celebrate h i s birthday. Angela is o u t of t h e room.</scene_description>
<character>TYLER</character>
<dialogue>Yo man, w h e r e ' s J a c q u e l i n e t o n i g h t ?</dialogue>
<character>MARCUS</character>
<dialogue>A Board o f D i r e c t o r s m e e t i n g .</dialogue>
<character>TYLER</character>
<dialogue>How c a n s h e d i s you l i k e t h i s on your birthday?</dialogue>
<character>MARCUS</character>
<dialogue>It's not l i k e that. B u s i n e s s is a t o p p r i o r i t y f o r h e r r i g h t now.</dialogue>
<scene_description>Angela e n t e r s c a r r y i n g a homemade b i r t h d a y c a k e . They a l l s i n g Happv B i r t h d a y t o Marcus.</scene_description>
<character>ANGELA</character>
<dialogue>I t ' s rum c h o c o l a t e .</dialogue>
<parenthetical>( h a n d i n g him a g i f t )</parenthetical>
<dialogue>And t h i s i s f o r you.</dialogue>
<character>MARCUS</character>
<dialogue>Thanks.</dialogue>
<scene_description>Marcus o p e n s it. I t ' s a s t r a n g e looking ceramic jug with a p h a l l i c snout.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>What is it?</dialogue>
<character>ANGELA</character>
<dialogue>I made it. It's a Mayan fertility jug. It'll bring you love and happiness and many offspring. Blow on it.</dialogue>
<character>MARCUS</character>
<dialogue>I'm not blowing this. It looks like a dick.</dialogue>
<character>ANGELA</character>
<dialogue>l t b ssupposed to.</dialogue>
<character>GERARD</character>
<dialogue>Go ahead and blow it.</dialogue>
<character>MARCUS</character>
<dialogue>You blow it.</dialogue>
<character>GERARD</character>
<dialogue>NO way.</dialogue>
<character>TYLER</character>
<dialogue>Don't look at me.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARCUS' BEDROOM - NIGHT</stage_direction>
<scene_description>Marcus is all alone. He picks up the fertility jug and blows on it. It makes a soft, mournful sound.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE RESTAURANT - NIGHT</stage_direction>
<scene_description>Jacqueline is hosting a cocktail party for the Board of Directors from Tokyo. She is chatting up a storm in Japanese, entertaining several JAPANESE BUSINESSMEN. Occasionally they laugh. Marcus brings her some appetizers.</scene_description>
<character>MARCUS</character>
<dialogue>Tempura?</dialogue>
<character>JACQUELINE</character>
<dialogue>No, thanks.</dialogue>
<parenthetical>(Marcus takes a bite of tempura)</parenthetical>
<dialogue>Are you sure you need that? Seems like you're gaining a little weight.</dialogue>
<character>MARCUS</character>
<parenthetical>(paranoid)</parenthetical>
<dialogue>Really? Do you think I'm ...</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, I'm talking business right now.</dialogue>
<scene_description>She turns and continues to speak in Japanese. Marcus feels slighted and left out. He crosses to the other side of the room where several prim JAPANESE WIVES are sitting, patiently waiting for their spouses.</scene_description>
<character>MARCUS</character>
<dialogue>Hi.</dialogue>
<scene_description>They smile and nod politely. They obviously don't speak English. A WAITER comes over bearing a silver tray loaded with gifts of Lady Evelyn cosmetics and perfumes.</scene_description>
<character>WAITER</character>
<dialogue>Gifts for the ladies.</dialogue>
<scene_description>One by one the Wives accept the presents. The Waiter offers the tray to Marcus.</scene_description>
<character>MARCUS</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>No, thanks.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S LIMOUSINE - LATER THAT EVENING</stage_direction>
<scene_description>Jacqueline and Marcus are returning from the party. Marcus is pouting, but Jacqueline doesn't seem to notice.</scene_description>
<character>JACQUELINE</character>
<dialogue>I think it went pretty well.</dialogue>
<character>MARCUS</character>
<dialogue>Oh, -</dialogue>
<scene_description>now you want to talk.</scene_description>
<character>JACQUELINE</character>
<dialogue>Did I do something wrong?</dialogue>
<character>MARCUS</character>
<dialogue>You ignored me all night. I might as well have not even been there. I'm a person, too, you know. I have feelings.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(trying to snuggle up to him)</parenthetical>
<dialogue>I'm sorry. ~ e me</dialogue>
<scene_description>t make it up to you.</scene_description>
<character>MARCUS</character>
<dialogue>I don't feel like it.</dialogue>
<character>JACQUELINE</character>
<dialogue>You like it in the limo.</dialogue>
<character>MARCUS</character>
<dialogue>Not tonight.</dialogue>
<character>JACOLJELINE</character>
<dialogue>-</dialogue>
<scene_description>Fine. (to the DRIVER) The first stop will be Mr. Graham's apartment.</scene_description>
<character>MARCUS</character>
<dialogue>That's another thing. You've never once invited me to your apartment. It's always at my place so you can get up and leave. Just once I wish we could cuddle.</dialogue>
<character>JACQUELINE</character>
<dialogue>Come on. What's really bothering you?</dialogue>
<character>MARCUS</character>
<dialogue>You forgot my birthday! You didn't even give me a card.</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm sorry. Here. I got you this in Philadelphia. I forgot to give it to you.</dialogue>
<scene_description>She takes a jewelry case out of her purse and hands it to Marcus. He opens it. It's a beautiful watch.</scene_description>
<character>MARCUS</character>
<dialogue>Wow ... a Rolex.</dialogue>
<character>JACQUELINE</character>
<dialogue>It's an antique. Put it on.</dialogue>
<parenthetical>(Marcus puts it on)</parenthetical>
<dialogue>It looks wonderful on you.</dialogue>
<character>MARCUS</character>
<dialogue>It's nice. Thanks.</dialogue>
<scene_description>Marcus is placated.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARCUS' APARTMENT BUILDING - CONT.</stage_direction>
<scene_description>The limo pulls up in front of the building. Marcus gets out.</scene_description>
<character>MARCUS</character>
<dialogue>Would you like to come up for a drink?</dialogue>
<character>JACQUELINE</character>
<dialogue>If you're sure you want me to.</dialogue>
<scene_description>Marcus nods. Jacqueline gets out of the limo. She speaks privately to the Driver.</scene_description>
<character>JACQUELINE (CONT' D)</character>
<dialogue>1'11 be down in about an hour.</dialogue>
<scene_description>The Driver nods. He knows the program.</scene_description>
</scene>
<scene>
<stage_direction>INT. STEAM ROOM -. DAY</stage_direction>
<scene_description>Marcus is on the floor of the steam-filled room doing sit-ups. Dad is in his wheelchair, a towel draped over him.</scene_description>
<character>DAD</character>
<dialogue>Essie called.</dialogue>
<character>MARCUS</character>
<dialogue>Who?</dialogue>
<character>DAD</character>
<dialogue>Buster's wife. Said he had another heart attack. Man's on his last legs. He ain't gonna be around much longer.</dialogue>
<character>MARCUS</character>
<dialogue>Maybe you should go to Phoenix to see him.</dialogue>
<character>DAD</character>
<dialogue>Yeah. Hey, slow down. You're going to give yourself a stroke. What's your problem anyway?</dialogue>
<character>MARCUS</character>
<dialogue>Jacqueline says I'm putting on weight.</dialogue>
<character>DAD</character>
<dialogue>You look fine. Sounds to me like you're pussy whipped.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - NIGHT</stage_direction>
<scene_description>Marcus, Jacqueline and Strange' are having dinner. Jacqueline is ordering dessert.</scene_description>
<character>JACQUELINE</character>
<dialogue>1'11 have the tarte tartin with a scoop of ice cream.</dialogue>
<character>...</character>
<dialogue>MARCUS</dialogue>
<scene_description>Just coffee for me.</scene_description>
<character>JACQUELINE</character>
<parenthetical>(to Strange')</parenthetical>
<dialogue>so ...</dialogue>
<scene_description>are you looking forward to Barbados?</scene_description>
<character>STRANGE '</character>
<dialogue>I'm not sure I'm going.</dialogue>
<character>JACQUELINE</character>
<dialogue>oh, you've got to. All the buyers will be there. It'll be fun. Would you excuse me? I've got to make a call.</dialogue>
<scene_description>~acquelinegets up, leaving Marcus alone with Strange'.</scene_description>
<character>STRANGE '</character>
<dialogue>So ... when are we going to fuck?</dialogue>
<character>MARCUS</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Excuse me?</dialogue>
<character>STRANGE '</character>
<dialogue>Jacqueline tells me you're great in bed.</dialogue>
<character>MARCUS</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>She what?!</dialogue>
<scene_description>Strange' starts flicking her tongue at his ear'like a sex starved serpent.</scene_description>
<character>MARCUS (CONT' D )</character>
<dialogue>Hey ..</dialogue>
<scene_description>. hold it. what kind of guy do you think I am?</scene_description>
<character>STRANGE '</character>
<dialogue>According to Jacqueline you're a real pile driver.</dialogue>
<character>MARCUS</character>
<parenthetical>(hurt and angry)</parenthetical>
<dialogue>Take your hands off me. I'm not a piece of meat. I decide who I have sex w i t h .</dialogue>
<character>STRANGE '</character>
<parenthetical>(disgusted)</parenthetical>
<dialogue>Then g o f u c k y o u r s e l f .</dialogue>
<scene_description>She g e t s up and s t o r m s o u t . Marcus s i t s t h e r e fuming f o r a moment. The w a i t e r r e t u r n s w i t h d e s s e r t and c o f f e e .</scene_description>
<character>MARCUS</character>
<dialogue>Never mind. J u s t bring m e t h e check.</dialogue>
<scene_description>Jacqueline returns.</scene_description>
<character>JACQUELINE</character>
<dialogue>Where's S t r a n g e ' ?</dialogue>
<character>MARCUS</character>
<parenthetical>( f urning)</parenthetical>
<dialogue>She l e f t .</dialogue>
<character>JACQUELINE</character>
<dialogue>Why?</dialogue>
<character>MARCUS</character>
<parenthetical>(righteously indignant)</parenthetical>
<dialogue>Because I w o u l d n ' t have s e x w i t h h e r . What do you e x p e c t m e t o do? J u s t l i e down f o r b u s i n e s s reasons?!</dialogue>
<character>JACQUELINE</character>
<dialogue>You d i d f o r Lady Evelyn.</dialogue>
<character>MARCUS</character>
<dialogue>T h a t ' s cold.</dialogue>
<scene_description>The W a i t e r r e t u r n s w i t h t h e check.</scene_description>
<character>JACQUELINE</character>
<dialogue>Oh, C h r i s t . Pay t h e check. Maybe I can c a t c h S t r a n g e ' .</dialogue>
<scene_description>She l e a v e s . Marcus q u i c k l y t o s s e s some money on t h e t a b l e .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STREET OUTSIDE - CONT.</stage_direction>
<scene_description>J a c q u e l i n e c a t c h e s S t r a n g e ' as s h e ' s g e t t i n g i n t o h e r limo.</scene_description>
<character>JACQUELINE.</character>
<dialogue>Strange' ... w h a t ' s t h e problem?</dialogue>
<character>STRANGE '</character>
<dialogue>I ' m n o t g o i n g t o Barbados.</dialogue>
<scene_description>Marcus comes o v e r , o u t of b r e a t h .</scene_description>
<character>JACQUELINE</character>
<parenthetical>(firmly)</parenthetical>
<dialogue>Yes, you are. If you aren't on that plane I'll not only take back the million-two we're paying you</dialogue>
<scene_description>...I'll sue you for every goddamn dime you've got. Understand? Strange1 glares and slams the door of her limo behind her. The car takes off.</scene_description>
<character>MARCUS</character>
<dialogue>You know ...</dialogue>
<scene_description>there's a mean side to you I never saw before.</scene_description>
<character>JACQUELINE</character>
<dialogue>This is business, Marcus.</dialogue>
<character>MARCUS</character>
<dialogue>Yeah ... well, I'm not for sale.</dialogue>
<character>JACQUELINE</character>
<dialogue>Oh, for God's sake. Come here.</dialogue>
<scene_description>She takes his arm and tries to pull him to a quieter spot. He resists.</scene_description>
<character>MARCUS</character>
<dialogue>Don't touch me. I feel dirty. I don't believe this shit is happening to me.</dialogue>
<character>JACQUELINE</character>
<dialogue>Nothing is happening to you. You're just getting all upset over nothing.</dialogue>
<character>MARCUS</character>
<dialogue>Nothing? Is that what sex is to you? Nothing? Whatever happened to love ...</dialogue>
<scene_description>and sharing ... and commitment. Yeah, that's right. Commitment! It's an old fashioned word but some people still believe in it. It's over, Jacqueline. I don't think we should see each other anymore.</scene_description>
<character>JACQUELINE</character>
<dialogue>Okay. If that's how you feel.</dialogue>
<character>MARCUS</character>
<dialogue>I'm going home.</dialogue>
<scene_description>He walks away, slowly, hoping she'll say something to stop him. She doesn't. He looks back. Jacqueline gets into a cab and leaves. Marcus is heartbroken.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRPORT AT BARBADOS - DAY</stage_direction>
<scene_description>The people from the marketing department are deplaning from a private jet. They ars met by a STEEL DRUM BAND. Jacqueline leads the way looking pretty in a bright vacation outfit. Marcus, Angela and some OTHERS follow. Last off the plane is Strange1. She is wearing what looks like a space-aqe bikini. It's actually only two clear plastic tubes filled wlth water, one barely covering her breasts, the other her crotch. Inside the tubes, live TROPICAL FISH are swimming around.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BEACHSIDE HOTEL BAR - EVENING</stage_direction>
<scene_description>A heavenly tropical night. A jazzy calypso BAND plays as PEOPLE dance under a sky full of stars. The bare-chested lead singer is putting on quite a show. He is JOJO, a small man, but handsome and athletically built. He undulates his lithe body as he flashes a bright smile straight at Jacqueline. She watches him, smiling back. Marcus is at the bar staring forlornly at Jacqueline, sipping a huge tropical drink in a hollowed-out pineapple. Strange1 comes over, leering at him.</scene_description>
<character>STRANGE '</character>
<dialogue>Keeping a firm grip on your chastity?</dialogue>
<scene_description>She reaches into his drink, pulls out a maraschino cherry, pops it into her mouth, then flicks the stem at his face. She leaves. ANGELA enters looking pretty and sexy in a fresh, brightly-colored tropical dress. Her hair is different. She looks very alluring. She walks up right beside Marcus, but he's too busy checking out Jacqueline. Finally Marcus turns around and sees her.</scene_description>
<character>MARCUS</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Hey. Look at you. You look great. I like the dress.</dialogue>
<character>ANGELA</character>
<dialogue>Really? You don't think I look like a salad bar?</dialogue>
<character>MARCUS</character>
<dialogue>No. I like your hair like that, too.</dialogue>
<character>ANGELA</character>
<dialogue>Thanks.</dialogue>
<scene_description>We can see that she is pleased by this attention from Marcus. But he seems not to notice. He is still mooning over Jacqueline.</scene_description>
<character>ANGELA</character>
<dialogue>I thought you were over her.</dialogue>
<character>MARCUS</character>
<dialogue>I am. The hell with Jacqueline. See ... there ...I said it. I'm fine.</dialogue>
<character>ANGELA</character>
<dialogue>I think you're better off without her. It never would've worked out between the two of you.</dialogue>
<character>MARCUS</character>
<dialogue>And why is that?</dialogue>
<character>ANGELA</character>
<dialogue>You're too much alike. For a relationship to work out ... you need yin and yang. You guys are yang and yang.</dialogue>
<character>MARCUS</character>
<dialogue>You make us sound like a Chinese law firm.</dialogue>
<character>ANGELA</character>
<dialogue>I mean ...</dialogue>
<scene_description>you and Jacqueline are good people. But you're both kind of ego driven ... lnto self gratification.</scene_description>
<character>MARCUS</character>
<dialogue>Whereld you go to school Joyce Brothers Institute?</dialogue>
<scene_description>... the</scene_description>
<character>ANGELA</character>
<dialogue>I'm sorry. I'm trying to cheer you up ... and I'm making you feel worse.</dialogue>
<character>MARCUS</character>
<dialogue>It's okay. I'm used to it. It takes time to mend a broken heart.</dialogue>
<character>ANGELA</character>
<dialogue>Marcus, you're beginning to sound like a twelve-year-old girl.</dialogue>
<scene_description>Marcus looks across the room at ... JACQUELINE who is now on the dance floor with JoJo. Marcus winces. Angela can't help but notice.</scene_description>
<character>ANGELA (CONT' D)</character>
<dialogue>Would you like to dance?</dialogue>
<character>MARCUS</character>
<dialogue>sure.</dialogue>
<scene_description>Angela leads Marcus onto the dance floor. They begin to move to the music. To his surprise, Angela is a good dancer. Her movements are sensual. Marcus smiles. For the first time in days, he is having a good time. The MUSIC changes to something slow and romantic.</scene_description>
<character>MARCUS (CONT' D )</character>
<dialogue>Do you want to sit down?</dialogue>
<character>ANGELA</character>
<dialogue>No.</dialogue>
<scene_description>Marcus takes her in his arms. They move very well together, naturally, easily, like they've danced together all their lives. She rests her head on his shoulder and when they turn around, we can see from her expression that this is a special moment for her. But when they turn around again, we see that Marcus isn't thinking about Angela. His eyes are on... JACQUELINE who is leaving the dance floor, sneaking away arm-in-arm with JoJo, headed in the direction of the beach.. BACK TO MARCUS He's alarmed. He stops dancing.</scene_description>
<character>MARCUS</character>
<dialogue>Excuse me.</dialogue>
<scene_description>Marcus hurries out after Jacqueline, leaving Angela hurt and disappointed. She is falling in love with Marcus. She knows it. We know it. But Marcus is unaware of it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BEACH OUTSIDE THE HOTEL - NIGHT</stage_direction>
<scene_description>A b r i g h t C a r i b b e a n moon s h i n e s t h r o u g h t h e palms. J o J o and J a c q u e l i n e a r e l a u g h i n g a s t h e y r u n t h r o u g h t h e sand w i t h t h e i r shoes o f f . MARCUS w a t c h e s them from a d i s t a n c e behind some b u s h e s , overcome with jealousy. T h e i r LAUGHTER mocks him. J a c q u e l i n e and J o J o d i s a p p e a r i n t o t h e d a r k n e s s . Marcus f o l l o w s them stealthily. ANOTHER PART OF THE BEACH - MINUTES LATER Marcus h a s l o s t s i g h t of them. Then h e sees t h e i r f o o t p r i n t s i n t h e s a n d . He f o l l o w s them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF THE BEACH - CONTINUOUS</stage_direction>
<scene_description>Marcus i s s t i l l h o t on t h e t r a i l . H e follows t h e footprints to ... A BEACH SHANTY T h i s i s where J o J o l i v e s . I t i s more of a n e l a b o r a t e h u t t h a n a house. Wind chimes JINGLE. Marcus s n e a k s up t o t h e f r o n t d o o r . He can h e a r J a c q u e l i n e ' s s o f t LAUGHTER from inside. H e l e a n s c l o s e r t o peek t h r o u g h a window. Suddenly a s t r a n g e c r e a t u r e SCREECHES a t him. Marcus s p i n s a r o u n d . I t ' s a PEACOCK, f a n n i n g i t s t a i l , s t r u t t i n g a warning. Marcus c r i n g e s , h i s f e a r o f b i r d s coming o u t . The b i r d SHRIEKS again.</scene_description>
<character>MARCUS</character>
<dialogue>Shh.</dialogue>
<scene_description>INSIDE THE HUT - SAME TIME J a c q u e l i n e and J o J o a r e s i t t i n g on t h e e d g e of a bed. They s t o p l a u g h i n g a s t h e y h e a r t h e peacock.</scene_description>
<character>JOJO</character>
<parenthetical>( w i t h a t h i c k Caribbean accent)</parenthetical>
<dialogue>D o n ' t worry. I t ' s j u s t Simon.</dialogue>
<scene_description>J o J o p o u r s h e r some wine. They c l i n k g l a s s e s . BACK OUTSIDE Marcus sneaks around to the other side of the hut, keeping a wary eye out for the peacock. He peers into a window. MARCUS ' POV -. INSIDE THE HUT All he can see is a partial view of Jacqueline and JoJo's legs and feet. They are obviously reclining on the bed in the early throes of passion. Jacqueline wrlggles her bare toes in ecstasy. Marcus is incensed. He trles to get a better view, but can't see from here. He looks up. A shaft of light is emanating from the thatched roof of the hut. There must be some klnd of skylight up there. Marcus climbs up onto . .. THE ROOF He creeps along, clinging to the poles that support the fragile palm fronds. Very carefully he inches his way to the edge of the skylight. He looks down ... MARCUS' POV - JOJO'S BED Jacqueline and JoJo are wrapped in a torrid embrace. BACK ON THE ROOF Marcus is furious. But before he can decide what to do, he is attacked by the SCREECHING peacock. Marcus rolls over to protect himself from the bird's thrashing talons. He crashes through the roof, plunging headlong into ... THE BEDROOM Marcus crashes onto the bed. Jacqueline SCREAMS. JoJo is astonished. Marcus . . .JACQUELINE</scene_description>
<character>I .</character>
<dialogue>JOJO</dialogue>
<scene_description>Hey, mon, Jojo ain't into no tree-way ting.</scene_description>
<character>JACQUELINE</character>
<dialogue>What are you doing?</dialogue>
<character>MARCUS</character>
<dialogue>I was uh a coconut.</dialogue>
<scene_description>... uh ... trying to pick</scene_description>
<character>JOJO</character>
<dialogue>On de roof?</dialogue>
<character>MARCUS</character>
<dialogue>No ... on a tree. But it fell on the roof.</dialogue>
<parenthetical>(pretending to look around)</parenthetical>
<dialogue>It must be here somewhere.</dialogue>
<parenthetical>(lamely)</parenthetical>
<dialogue>I guess not. If you find it, keep it. I'll find another one. See you later.</dialogue>
<scene_description>He quickly gets the hell out of there. OUTSIDE THE HUT Marcus sighs deeply, completely humiliated. The Peacock SQUAWKS at him one more time.</scene_description>
<character>MARCUS</character>
<dialogue>Oh, fuck off.</dialogue>
<scene_description>He kicks at the bird as he walks away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDENS OF HOTEL - NIGHT</stage_direction>
<scene_description>Marcus slinks back to his room, feeling drained. He enters... HIS ROOM Pitch dark except for the moonlight seeping through the curtains. Marcus takes off his shirt. BAM! From out of nowhere, Marcus is pinned to the ground. It's Strange'. She straddles him.</scene_description>
<character>STRANGE '</character>
<dialogue>You can run, but you can't hide.</dialogue>
<scene_description>She attacks him like a vampire in heat. Marcus is tired. Too weak. She's got him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNWAY AT THE BARBADOS AIRPORT - DAY</stage_direction>
<scene_description>The STEEL DRUM BAND plays joyful MUSIC as the people from Lady Evelyn board the plane. Everyone looks happy and rested except for .. . is. MARCUS who straggles behind, frazzled, barely able to move. He looks like a man who has been fucked to within an inch of his life;</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' OFFICE - DAY</stage_direction>
<scene_description>Marcus is on the phone planning a surprise for Jacqueline. Nelson is working on a storyboard, trying to get his attention.</scene_description>
<character>MARCUS</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Tell them to park the trucks around the corner. It's got to be a surprise.</dialogue>
<character>NELSON</character>
<dialogue>Can we please talk about the Strange' spot. I'm shooting next week.</dialogue>
<character>MARCUS</character>
<parenthetical>(covering the phone)</parenthetical>
<dialogue>Nelson, I'm busy here.</dialogue>
<character>NELSON</character>
<dialogue>I need your attention.</dialogue>
<character>MARCUS</character>
<dialogue>Just shoot whatever you want.</dialogue>
<character>NELSON</character>
<dialogue>Thank you.</dialogue>
<scene_description>Nelson leaves.</scene_description>
<character>MARCUS</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>That's great. We'll be there at seven. She's gonna love it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHANTRESS COSMETICS BUILDING - NIGHT</stage_direction>
<scene_description>Jacqueline comes out of the building and gets into a waiting limousine. INSIDE THE LIMOUSINE</scene_description>
<character>JACQUELINE</character>
<dialogue>I'm going to 77th between Park and Lex.</dialogue>
<scene_description>The Driver turns around. It's Marcus.</scene_description>
<character>MARCUS</character>
<dialogue>Let mc take you somewhere else first .</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, what's going on?</dialogue>
<character>MARCUS</character>
<dialogue>I want to apologize for what happened in Barbados.</dialogue>
<character>JACQUELINE</character>
<dialogue>Forget about it.</dialogue>
<character>MARCUS</character>
<dialogue>I don't want to forget it. I want to make it up to you. You're gonna love this. I swear.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A WAREHOUSE ON THE WEST SIDE - NIGHT</stage_direction>
<scene_description>Marcus and Jacqueline get out the limo.</scene_description>
<character>MARCUS</character>
<dialogue>Cover your eyes.</dialogue>
<scene_description>Against her better judgement, Jacqueline does as she is told. Marcus leads her ... INSIDE THE BUILDING It's an ice skating rink. Marcus leads Jacqueline onto the ice. She's still holding her hands over her eyes.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>Watch your step.</dialogue>
<character>JACQUELINE</character>
<dialogue>How long do I have to do this?</dialogue>
<character>MARCUS</character>
<dialogue>Okay ... now!</dialogue>
<scene_description>She opens her eyes ... THEIR POV Spotlights sweep the ice. From out of the darkness comes a CHORUS LINE from the Ice Capades, dressed in dazzling costumes. They glide around Jacqueline weaving huge scarves in an intricately choreographed number as ... LUSH ORCHESTRAL MUSIC PLAYS Marcus beams. Jacqueline is dumbfounded.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Is this great, or what? You said you always wanted to be in the Ice Capades.</dialogue>
<parenthetical>(offering her a pair of new skates)</parenthetical>
<dialogue>Here, try these on.</dialogue>
<character>JACQUELINE</character>
<dialogue>I don't want to. Marcus This is embarrassing.</dialogue>
<scene_description>... please. As they argue, the SKATERS twirl around them, smiling cheerfully.</scene_description>
<character>MARCUS</character>
<parenthetical>(undaunted)</parenthetical>
<dialogue>Look, you had your fling in Barbados. I had mine. Fine. But if we're going to make it as a couple, we've got to be faithful.</dialogue>
<character>JACQUELINE</character>
<dialogue>You've gat to be kidding.</dialogue>
<scene_description>Jacqueline tries to leave, making her way through the swarm of skaters. Marcus follows her, sliding unsteadily on the ice.</scene_description>
<character>MARCUS</character>
<dialogue>I've never said this to a woman before ... but ...</dialogue>
<parenthetical>(solemnly)</parenthetical>
<dialogue>I love you, Jacqueline.</dialogue>
<character>JACQUELINE</character>
<dialogue>No, you don't. You just think you do because I won't have you.</dialogue>
<scene_description>She walks off the ice and out the door.</scene_description>
<character>MARCUS</character>
<dialogue>Sure... you feel that way now ... but you'll change your mind!</dialogue>
</scene>
<scene>
<stage_direction>EXT. JACQUELINE'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>MUSIC: We HEAR a quartet of STREET SINGERS singing "a</scene_description>
<character>...</character>
<dialogue>a silky sweet rendition of Stevie Wonder's JM</dialogue>
<scene_description>cappella" Cherie Amour. But the words have been changed ...</scene_description>
<character>SINGERS</character>
<dialogue>-</dialogue>
<dialogue>a sunmer day . . . ... My Jackie Amour Lovely as</dialogue>
<scene_description>The MUSIC continues as we ...</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY OF JACQUELINE'S APARTMENT - NIGHT</stage_direction>
<scene_description>We see the SINGERS: Four young black guys, impeccably dressed. Marcus is with them,-carrying a dozen red roses.</scene_description>
<character>SINGERS</character>
<dialogue>My Jackie Amour Distant as the Milky Way ...</dialogue>
<scene_description>My Jackie Amour Pretty little one that I adore.</scene_description>
<character>IRATE NEIGHBOR</character>
<parenthetical>(yelling from O.S.)</parenthetical>
<dialogue>Shut up. It's after midnight.</dialogue>
<character>MARCUS</character>
<dialogue>Hey, I'm serenading my girl. Don't you have any fuckin' romance in your soul?!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM OF JACQUELINE'S APARTMENT - SAME TIME</stage_direction>
<scene_description>Jacqueline comes out of her bedroom, pulling a robe over her negligee.</scene_description>
<character>SINGERS (0.S. )</character>
<dialogue>You're the only one my heart beats for ...</dialogue>
<scene_description>How I wish that you were mlne .</scene_description>
<character>JACQUELINE</character>
<dialogue>This isn't fair.</dialogue>
<scene_description>BACK IN THE HALLWAY The Quartet continues serenading ...</scene_description>
<character>SINGERS</character>
<dialogue>La, la, la, la, la, la ...</dialogue>
<scene_description>The door opens. Jacqueline is seething mad. The Quartet continues SINGING throughout the rest of the scene.</scene_description>
<character>JACQUELINE</character>
<dialogue>Marcus. Enough. Go home.</dialogue>
<character>MARCUS</character>
<dialogue>C a n ' t I j u s t come i n and t a l k t o you ... ?</dialogue>
<character>JACQUELINE</character>
<dialogue>NO !</dialogue>
<scene_description>J o J o , h e r d i m i n u t i v e Caribbean l o v e r , s t e p s i n t o view wearing n o t h i n g b u t h i s und--rwear.</scene_description>
<character>JOJO</character>
<dialogue>Mon, d o n ' t you u n d e r s t a n d d e l a d y ? She d o n ' t want you!</dialogue>
<character>MARCUS</character>
<dialogue>What's he d o i n g h e r e ? ! How c a n you s l e e p w i t h t h i s guy?! H e l o o k s l i k e a f u c k i n ' elf!</dialogue>
<character>JOJO</character>
<parenthetical>(angrily)</parenthetical>
<dialogue>okay ...</dialogue>
<scene_description>d a t ' s enough now.</scene_description>
<character>MARCUS</character>
<dialogue>No, it a i n ' t enough. I ' m gonna k i c k y o u r K e e b l e r a s s a l l t h e way back t o Barbados.</dialogue>
<scene_description>Marcus p u t s up h i s f i s t s . Out o f nowhere J o J o l a n d s two q u i c k punches, f o l l o w e d by a s w i f t k i c k t o Marcus' jaw. Marcus h i t s t h e f l o o r and s t a y s t h e r e , r u b b i n g h i s c h i n .</scene_description>
<character>MARCUS ( CONT ' D)</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Damn.</dialogue>
<scene_description>J a c q u e l i n e and J o J o go back i n s i d e , s h u t t i n g t h e d o o r behind them. Marcus is l e f t l y i n g on t h e f l o o r w h i l e t h e q u a r t e t c o n t i n u e s t o SING ...</scene_description>
<character>SINGERS</character>
<dialogue>La, l a , l a . l a , l a , l a ...</dialogue>
<character>MARCUS</character>
<dialogue>Cut t h a t s h i t o u t .</dialogue>
</scene>
<scene>
<stage_direction>INT. CHANTRESS COSMETICS - DAY</stage_direction>
<scene_description>A r e m o r s e f u l Marcus walks down t h e h a l l w a y , h i s jaw s l i g h t l y swollen. Bony-T p a s s e s by.</scene_description>
<character>BONY -T</character>
<dialogue>Man, you lettin' everybody down the way yo3 prostrate yourself for her. Where's your pride?</dialogue>
<scene_description>' You think Malcolm X died so you could pull some chump shit like this?</scene_description>
<character>MARCUS</character>
<dialogue>I don't want to hear it, Bony-T.</dialogue>
<character>BONY -T</character>
<dialogue>Hey, I'm not the one that got beat up by some Caribbean Munchkin.</dialogue>
<scene_description>Marcus walks on down the hallway. UP ahead he sees Jacqueline talking to some CO-WORKERS. Marcus is ashamed to see her. Jacqueline tries to pretend that everything is normal.</scene_description>
<character>JACQUELINE</character>
<dialogue>Good morning.</dialogue>
<character>MARCUS</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Morning.</dialogue>
<scene_description>Marcus keeps going without another word. Jacqueline watches him go, concerned.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - NIGHT</stage_direction>
<scene_description>The lights are low. Marcus is sitting in the living room nursing his jaw, listening to Barry White drone on about lost love. The DOOR BELL RINGS. He looks through the peep hole. It's Jacqueline. He fumbles to turn off the stereo, not wanting to be caught listening to Barry White. He opens the door.</scene_description>
<character>JACQUELINE</character>
<dialogue>Hi. Can I come in?</dialogue>
<character>MARCUS</character>
<dialogue>Sure, I guess so.</dialogue>
<scene_description>She enters. Marcus is pouting, acting cool towards her.</scene_description>
<character>JACQUELINE</character>
<dialogue>How's your jaw?</dialogue>
<character>MARCUS</character>
<dialogue>Better.</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, we've got to talk. This thing has gotten way out of hand. How can we work together when we're feeling like this? We've got to show the Strange' spot to the board and ..</dialogue>
<character>.</character>
<dialogue>MARCUS</dialogue>
<scene_description>Is that why you came over here? To get on my good side so you can get some work out of me?</scene_description>
<character>JACQUELINE</character>
<dialogue>Marcus, I wouldn't be here if I didn't care about you. How did things get so screwed up between us?</dialogue>
<character>MARCUS</character>
<dialogue>Because I want a commitment and you don't.</dialogue>
<character>JACQUELINE</character>
<dialogue>You don't want a commitment. You're just jealous that I so out with other-men.</dialogue>
<character>MARCUS</character>
<dialogue>That's right. Because I love you.</dialogue>
<character>JACQUELINE</character>
<dialogue>Why does it have to be serious? I wish we could just have fun like we used to.</dialogue>
<character>MARCUS</character>
<dialogue>Me, too.</dialogue>
<parenthetical>(weakening)</parenthetical>
<dialogue>I'm sorry I broke up with you.</dialogue>
<scene_description>They embrace. Marcus clings to her like he never wants to let her 70. Jacqueline kisses Marcus gently on the lips. Marcus kisses her back, the old feelings returning.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Just do me one favor. Spend the night ...</dialogue>
<scene_description>the whole night.</scene_description>
<character>JACQUELINE</character>
<dialogue>Sure.</dialogue>
<scene_description>They head off towards the bedroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE OFFICE HALLWAY - MORNING</stage_direction>
<scene_description>Marcus enters, on top of the world. As he passes by Angela's office, he sticks his head in the door. Angela looks up from her art table.</scene_description>
<character>MARCUS</character>
<dialogue>Hey. Guess what. You don't have to cheer me up anymore. I made up with Jacqueline.</dialogue>
<scene_description>Angela. tries hard to appear happy, but her heart isn't in it.</scene_description>
<character>ANGELA</character>
<dialogue>That's good.</dialogue>
<scene_description>Marcus goes off down the hall, whistling. Left alone, Angela is despondent.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YANKEE STADIUM - NIGHT</stage_direction>
<scene_description>A pop fly is caught. The inning is over. IN THE STANDS Marcus and Jacqueline are sitting in box seats. Marcus is fawning over her, anxious to make her happy.</scene_description>
<character>MARCUS</character>
<dialogue>God, this is great. Aren't you having fun? I thought you loved baseball.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(gettinq up)</parenthetical>
<dialogue>I do. But right now, I have to go to the ladies' room.</dialogue>
<character>MARCUS</character>
<dialogue>You can't go now. The fourth inning's about to start.</dialogue>
<character>JACQUELINE</character>
<dialogue>Nothing's happening. The pitcher's warming up.</dialogue>
<character>MARCUS</character>
<dialogue>That's the best part.</dialogue>
<scene_description>Suddenly people around them BUZZ with excitement. A LADY next to them tugs at Jacqueline's sleeve.</scene_description>
<character>LADY</character>
<dialogue>Look! It's you!</dialogue>
<scene_description>The woman points up at .... THE SCOREBOARD Jacqueline's face is on display, forty feet high on a giant video screen. Jacaueline blushes. self conscious. Suddenlv - ~ letters appear on <he scoreboard WILL YOU MARRY ME? MARCUS. " BACK TO JACQUELINE AND MARCUS Jacqueline is mortified. She can't believe the spot Marcus has put her in.</scene_description>
<character>JACQUELINE</character>
<dialogue>Are you crazy?!</dialogue>
<character>MARCUS</character>
<dialogue>You said I wasn't ready to make a commitment. I am! Marry me.</dialogue>
<character>JACQUELINE</character>
<dialogue>No. No. No way!!</dialogue>
<scene_description>BACK ON THE HUGE VIDEO SCREEN Jacqueline is berating Marcus, shaking her head. Marcus pleads but she scolds him even more. He persists, trying to hug her. She hits him and orders him to leave. Marcus is humiliated. And it's all on display for the amusement of fifty thousand FANS. BACK IN THE STANDS The HUGE CROWD LAUGHS at him. People start doing the wave. MARCUS walks down the ramp and slinks out of the stadium, a totally defeated man, as the thunderous LAUGHTER mocks him.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BOARDROOM - DAY</stage_direction>
<scene_description>The Board of Directors from Tokyo and Lady Evelyn have assembled to see the eagerly anticipated Strange' commercial. ~ac.quelineis making a speech.</scene_description>
<character>JACQUELINE</character>
<dialogue>This is a very exciting moment for us. After months of hard work by our creative team. we're about to see the comsercial that will launch our eighteen million-dollar push for the new Strange' fragrance. So, if you'll dim the lights ...</dialogue>
<scene_description>As an ASSISTANT dims the light, Jacqueline crosses over to Marcus and Nelson.</scene_description>
<character>JACQUELINE</character>
<dialogue>How is it?</dialogue>
<character>MARCUS</character>
<parenthetical>(sheepishly)</parenthetical>
<dialogue>I haven't seen lt vet. Nelson did it by himself.</dialogue>
<character>NELSON</character>
<dialogue>It's my vision. And it's fucking fabulous.</dialogue>
<scene_description>The lights dim. ON THE SCREEN As beautiful ethereal MUSIC PLAYS ... FADE IN ON: A placid, shimmering lagoon in the midst of the forest primeval. The smooth reflective surface of the water is broken as a figure slowly rises through the mist. It's Strange' ... nude ... her back to the CAMERA ... her body glistening with water as she rises like a water nymph from the dark depths of the lagoon ...</scene_description>
<character>ANNOUNCER</character>
<parenthetical>(like the voice of God)</parenthetical>
<dialogue>You are witness to the birth of a new fragrance ... Strange' ...</dialogue>
<scene_description>Strangeg whirls around. The CAMERA PUSHES IN. Her face is disfigured, her flesh rotting carrion, crawling with maggots. Strangeg squats like she's going into labor. Through SPECIAL EFFECTS, it appears that she is glvlng birth to the bottle of fragrance. It comes out glowing like it's radioactive. As the smoke clears, the CAMERA LINGERS on the glowing bottle, and the announcer intones ...</scene_description>
<character>ANNOUNCER (COMT'D)</character>
<dialogue>strange' ...It Stinks So Good.</dialogue>
<scene_description>IN THE BOARDROOM The lights come on. The Japanese are in shock. Even Lady Evelyn in her advanced state of senility realizes that thls is dreadful.</scene_description>
<character>LADY EVELYN</character>
<dialogue>Oh, my God.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S OFFICE - DAY</stage_direction>
<scene_description>Jacqueline is behind her desk, breaking the bad news to Marcus.</scene_description>
<character>JACQUELINE</character>
<dialogue>The board of directors wanted to fire you. But I convinced them to give you another chance.</dialogue>
<character>MARCUS</character>
<dialogue>As an employee, I thank you for saving my job. As your lover, I thank you for ruining my life.</dialogue>
<character>JACQUELINE</character>
<dialogue>Marcus, I didn't ruin your life. You did. You're letting this obsession get the best of you. I think you should take a few weeks off.</dialogue>
<scene_description>Marcus doesn't protest. He knows she's right. CLOSE ON A MOVIE SCREEN We watch scenes from an ACTION FILM starring a bare-chested HERO. His rippling muscles gleam with oil as he stalks down an alley carrying a huge gun. We can't hear the sound of the movle, only Marcus' DAD TALKING LOUDLY to the characters on the screen.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Watch it now ... here they come</dialogue>
<character>-</character>
<dialogue>... uh-oh.</dialogue>
<scene_description>Several BAD GUYS open fire. The hero snarls as his cannon THUNDERS, blowing them to bits.</scene_description>
<character>DAD (O.S.,</character>
<dialogue>Man! Did you see that shit?!</dialogue>
<scene_description>A SEXY WOMAN runs into the arms of the Hero. PULL OUT to reveal ...</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE - DAY</stage_direction>
<scene_description>Marcus and his Dad in their seats on an airplane, watching the in-flight movie. Several PEOPLE around them are annoyed.</scene_description>
<character>DAD</character>
<dialogue>Think those tits are real? They stuff 'em now you know.</dialogue>
<character>MARCUS</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Dad ... you're talking too loud.</dialogue>
<scene_description>Dad takes off his headphones. An attractive STEWARDESS walks by.</scene_description>
<character>DAD</character>
<dialogue>Damn. She's cute. You should make a move on her.</dialogue>
<character>MARCUS</character>
<dialogue>I'm not interested right now.</dialogue>
<character>DAD</character>
<dialogue>When I was your age I was steady after that stuff.</dialogue>
<character>MARCUS</character>
<dialogue>That's your problem. If you'd kept your pecker in your pants, you and Buster would still be friends.</dialogue>
<character>DAD</character>
<dialogue>I never touched Essie. I may be low, but I never laid a hand on a friend's wife... their sister maybe ...</dialogue>
<scene_description>but not their wife.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OF PHOENIX - DAY</stage_direction>
<scene_description>A cab drives through town, desert mountains looming in the distance.</scene_description>
<character>DAD (O.S.)</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Bv the tine I qet to Phoenix, she'll be risinq ...</dialogue>
<parenthetical>(talking)</parenthetical>
<dialogue>Damn, it's hot. Why would the motherfucker want to live in a rotisserie oven?</dialogue>
<character>MARCUS (0.S ) .</character>
<dialogue>Essie said she'd meet us at the hospital.</dialogue>
</scene>
<scene>
<stage_direction>INT. A PHOENIX HOSPITAL - DAY</stage_direction>
<scene_description>Marcus wheels-Dad down the corridor. ESSIE waves to them. A sweet and demure old lady about forty pounds overweight, she is hardly the type to set hearts on fire.</scene_description>
<character>DAD</character>
<dialogue>Yonder she is.</dialogue>
<character>MARCUS</character>
<dialogue>You're kidding. That's the woman ya'll have been fighting over for thirty years?</dialogue>
<character>DAD</character>
<parenthetical>(correcting him)</parenthetical>
<dialogue>Thirty-two. You shoulda seen her back then. She was a fan dancer ... hot as a pistol.</dialogue>
<scene_description>Essie joins them.</scene_description>
<character>DAD</character>
<parenthetical>(greeting her warmly)</parenthetical>
<dialogue>Hello, Essie. You're as lovely as ever.</dialogue>
<character>ESSIE</character>
<parenthetical>(shyly)</parenthetical>
<dialogue>Good to see you, Luther.</dialogue>
<character>MARCUS</character>
<dialogue>I'm Marcus. How's Buster doing?</dialogue>
<character>ESSIE</character>
<dialogue>Not too well.</dialogue>
<scene_description>They reach Buster's room.</scene_description>
<character>DAD</character>
<dialogue>Let me go in on my own power.</dialogue>
<scene_description>With some effort Dad rolls his wheelchair into ... BUSTER, an ancient, hard-faced old man, is lying in his hospitai bed. Although he has tubes sticking out of his nose, he is wearing his best suit. The two old men glimpse each other for the first time in thirty years.</scene_description>
<character>DAD</character>
<dialogue>Hey, Buster.</dialogue>
<character>BUSTER</character>
<dialogue>What happened to you? Can't you walk no more?</dialogue>
<character>DAD</character>
<dialogue>Had a stroke.</dialogue>
<character>BUSTER</character>
<parenthetical>(proudly)</parenthetical>
<dialogue>Shit, I had three. But I can still move.</dialogue>
<character>DAD</character>
<dialogue>Yeah, then why don't you get up and tap dance? Why you so dressed up?</dialogue>
<character>BUSTER</character>
<dialogue>Man comes three thousand miles to see me ... don't seem right to greet 'em in my pajamas. I was surprised you asked to see me.</dialogue>
<character>DAD</character>
<dialogue>I ain't asked to see you. I thought you asked to see me.</dialogue>
<character>BUSTER</character>
<dialogue>Must be Essie's doing. Is your boy with you?</dialogue>
<character>DAD</character>
<dialogue>Oh, yeah. You should see him. I'm real proud of that boy. Got a real flair for the ladies. Just like me.</dialogue>
<character>BUSTER</character>
<dialogue>I heard that. We had our share, didn't w e ? Back when we was runnin' the club.</dialogue>
<character>DAD</character>
<dialogue>How many women d o you reckon you had? Dl6 you e v e r c o u n t ?</dialogue>
<character>BUSTER</character>
<dialogue>One hundred an13 t h i r t y - t h r e e .</dialogue>
<character>DAD</character>
<dialogue>S i x hundred and f i f t e e n .</dialogue>
<character>BUSTER</character>
<dialogue>A w , man. I a i n ' t t a l k i n g about how many t i m e s you d i d it. I ' m t a l k i n g how many d i f f e r e n t women.</dialogue>
<character>DAD</character>
<dialogue>Nigger, I u n d e r s t a n d t h e q u e s t i o n . I ' v e had s i x hundred and f i f t e e n women.</dialogue>
<character>BUSTER</character>
<dialogue>Bullshit. Ever d o a w h i t e g a l ?</dialogue>
<character>DAD</character>
<dialogue>A t l e a s t a b a k e r ' s dozen.</dialogue>
<character>BUSTER</character>
<dialogue>A Chinese?</dialogue>
<character>DAD</character>
<dialogue>Ah, s o .</dialogue>
<character>BUSTER</character>
<dialogue>How a b o u t a L a t i n ?</dialogue>
<character>DAD</character>
<dialogue>S i , si, senor.</dialogue>
<character>BUSTER</character>
<dialogue>B e t you n e v e r had a n Eskimo.</dialogue>
<character>DAD</character>
<dialogue>Man, you n e v e r had no Eskimo.</dialogue>
<character>BUSTER</character>
<dialogue>I did too. T h a t a a l c o u l d do t h i n a s w i t h h e r nose y o u a w o u l d n l t b e l i e v e :</dialogue>
<scene_description>The two o l d men l a u g h .</scene_description>
<character>DAD</character>
<dialogue>You a l w a y s had a w i l d i m a g i n a t i o n .</dialogue>
<character>BUSTER</character>
<dialogue>You're j u s t j e a l o u s . Always was. How l o n g you i n town f o r ?</dialogue>
<character>DAD</character>
<dialogue>Just a few days.</dialogue>
<character>BUSTER</character>
<dialogue>Where you stayin'?</dialogue>
<character>DAD</character>
<dialogue>Over at your place.</dialogue>
<character>BUSTER</character>
<parenthetical>(suddenly enraged)</parenthetical>
<dialogue>With Essie?! You iust couldn't</dialogue>
<character>~ ~.-</character>
<dialogue>wait for me to pas;, could you? Just got to get your hands on her!</dialogue>
<character>DAD</character>
<dialogue>I'm in a goddamn wheelchair what the hell can I do?</dialogue>
<character>...</character>
<dialogue>Buster attempts to raise himself up in the bed, shaking with furious indignation, huffing and puffing.</dialogue>
<character>BUSTER</character>
<dialogue>Been waitin' 32 years like a snake in the grass. Couldn't wait to shack up with her, you low-down sleazy buddy fucker!</dialogue>
<character>DAD</character>
<dialogue>Fuck you.</dialogue>
<character>BUSTER</character>
<dialogue>Fuck you!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. A CEMETERY IN THE ARIZONA DESERT - DAY</stage_direction>
<scene_description>Marcus is with his Dad at a graveside ceremony. Essie is with some other MOURNERS in the background.</scene_description>
<character>MARCUS</character>
<dialogue>He probably would've died anyway. It's not your fault.</dialogue>
<character>DAD</character>
<parenthetical>(affectionately)</parenthetical>
<dialogue>Hard-headed son-of-a-bitch.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - AFTERNOON</stage_direction>
<scene_description>Marcus is in a funk. He drifts into the living room from the kitchen, unshaven, barefoot, wearing a scruffy robe. The apartment looks messy, too. Heplops down on the sofa, staring aimlessly at a soap opera on TV. The DOOR BELL RINGS. Marcus walks listlessly to the door. He opens it. It's + Angela, full of energy, wearing jogging shorts and a Bennett College T-shirt. MhRCUS I'm not going.</scene_description>
<character>ANGELA</character>
<dialogue>I don't want to hear it. You need to get out. Now come on. Let's go jog.</dialogue>
<character>MARCUS</character>
<dialogue>I heard it might rain.</dialogue>
<character>ANGELA</character>
<dialogue>It is not.</dialogue>
<character>MARCUS</character>
<dialogue>It is too.</dialogue>
<character>ANGELA</character>
<dialogue>Then you'll get wet. Stop being so morose.</dialogue>
<character>MARCUS</character>
<dialogue>I can't help it. I've been kicked in the butt by love.</dialogue>
<character>ANGELA</character>
<dialogue>You know, you're not the first person to get dumped on. It happens to some people all the time. You just have to get up and get going again. Believe me, I know the drill.</dialogue>
<character>EXT.</character>
<dialogue>Marcus and Angela are jogging along the lake.</dialogue>
<character>CENTRAL PARK</character>
<dialogue>The sky is</dialogue>
<scene_description>overcast.</scene_description>
<character>MARCUS</character>
<dialogue>So ...you've been hurt by a lot of guys?</dialogue>
<character>ANGELA</character>
<dialogue>Not a lot. A few.</dialogue>
<scene_description>They stop jogging and rest for a moment by the lake.</scene_description>
<character>VARCUS</character>
<dialogue>A few. How many times have you been in love?</dialogue>
<character>ANGELA</character>
<dialogue>None. Let me tell you something I've figured out. There's two kinds of love ...</dialogue>
<scene_description>phoney, make-believe romantic bullshit love ...which keeps you all torn up and in pain all the time ... . and real love which makes you feel good and happy. If you don't know if you're in love or not a clue. If you're happy and</scene_description>
<character>...</character>
<dialogue>here's</dialogue>
<scene_description>laughing ... ... you're in love. If you're hurtin' it's bullshit. Suddenly the lake is pelted by huge drops of rain. Marcus stands up and pretends surprise. He throws his arms up to the heavens.</scene_description>
<character>MARCUS</character>
<dialogue>What's this? Could this be rain? No, excuse me. Angela said this wouldn't happen.</dialogue>
<scene_description>The downpour quickens. Marcus and Angela are getting soaked. They run for shelter.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - DAY</stage_direction>
<scene_description>Marcus walks out of the kitchen looking worse than before because now he's suffering from a bad cold. He SNEEZES. The DOOR BELL RINGS. It's Angela, carrying a small paper sack.</scene_description>
<character>ANGELA</character>
<dialogue>I qot you Comtrex and some orange julce. I'm sorry. This is my fault.</dialogue>
<character>MARCUS</character>
<dialogue>Yes, it is. Yesterday I was depressed, but at least I was healthy.</dialogue>
<character>ANGELA</character>
<dialogue>Aw, come on ...</dialogue>
<character>MARCUS</character>
<dialogue>If I die from this. I want mv tombstone to say, ere</dialogue>
<scene_description>~ies- arc us Graham, Killed By Good Intentions."</scene_description>
<character>ANGELA</character>
<dialogue>If you don't need my help, I guess you don't want to hear my idea. I think I know how to save the Strange' commercial.</dialogue>
<character>MARCUS</character>
<dialogue>How?</dialogue>
<character>ANGELA</character>
<dialogue>Cut together actual news footage of Strange' doing all that crazy stuff. Like a documentary. That's what people like abcut her. They wish they had the guts to do things 1ike that.</dialogue>
<character>MARCUS</character>
<dialogue>Maybe. We can try it.</dialogue>
</scene>
<scene>
<stage_direction>INT. AN EDITING ROOM - NIGHT</stage_direction>
<scene_description>CLOSE ON a video monitor. Black and white NEWS FOOTAGE of Stranget taking off her chain mail dress by the metal detector in the airport. The image is moving frame-by-frame in SLOW MOTION.</scene_description>
<character>ANGELA (O.S.)</character>
<dialogue>Now slow it down.</dialogue>
<character>MARCUS (O.S.)</character>
<dialogue>There.</dialogue>
<scene_description>ANGLE TO REVEAL Marcus and Angela working at an editing console with a tired OLD EDITOR. Marcus looks alert and excited, his old self again.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>What do you think?</dialogue>
<character>ANGELA</character>
<dialogue>I like it.</dialogue>
<parenthetical>(noticing something)</parenthetical>
<dialogue>Wait. I see nipple.</dialogue>
<character>MARCUS</character>
<dialogue>That's a shadow.</dialogue>
<character>ANGELA</character>
<dialogue>No, it's a nipple.</dialogue>
<character>EDITOR</character>
<dialogue>I'll blow it up.</dialogue>
<scene_description>He pushes a button on his console and the image blows up. Now it's.even harder to tell. MhRCiJS I don't know. What do you think?</scene_description>
<character>EDITOR</character>
<dialogue>I think it's a shadow of a nipple.</dialogue>
<scene_description>Marcus and Jacqueline start laughing at the absurdity of what they're doing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WEST FORTIES - DAWN</stage_direction>
<scene_description>Marcus and Angela come out of the editing house into the bleak light of morning after working all night. They are tired, but happy.</scene_description>
<character>ANGELA</character>
<dialogue>I think it's going to be okay.</dialogue>
<character>MARCUS</character>
<dialogue>I think it's great.</dialogue>
<parenthetical>(looking at his watch)</parenthetical>
<dialogue>It's five in the morning. We're never gonna get a cab.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - DAWN</stage_direction>
<scene_description>The city is deserted. The morning light reveals the grimness of the gritty, filthy streets. Just a few bums lie here and there. Marcus and Angela walk along the cracked, littered pavement.</scene_description>
<character>MARCUS</character>
<dialogue>Ah, what a town. The glamour of Broadway really comes alive this time of day, doesn't it?</dialogue>
<character>ANGELA</character>
<dialogue>There's a taxi.</dialogue>
<character>MARCUS</character>
<dialogue>Quick. Look friendly.</dialogue>
<scene_description>Marcus hails the cab, smiling.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Hi. We're a friendlv black couple and we're not going ko mug you.-</dialogue>
<scene_description>To their relief, the cab stops. Marcus opens the door for Angela.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>You take this one. Hey, Angela ... thanks. I really appreciate this.</dialogue>
<scene_description>He hugs her warmly.</scene_description>
<character>ANGELA</character>
<dialogue>It was fun.</dialogue>
<character>MARCUS</character>
<dialogue>Yeah.</dialogue>
<scene_description>She starts to get in. Suddenly Marcus doesn't want her to leave.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>Hey, I have an idea. Why don't you come up to my place and 1'11 fix breakfast for you.</dialogue>
<character>ANGELA</character>
<dialogue>I'm pretty tired.</dialogue>
<character>MARCUS</character>
<dialogue>You're right. Goodnight.</dialogue>
<character>ANGELA</character>
<dialogue>Good night, Marcus.</dialogue>
<scene_description>She gets in the cab. The cab drives away leaving Marcus standing in the cool morning light. He watches the car get smaller, thinking about Angela and how much he cares for her.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAD'S APARTMENT BUILDING - DAY</stage_direction>
<scene_description>Marcus is dropping by to see his Dad. As he makes his way down the hall he sees the Nurse coming out, 'fuming, carrying her suitcase.</scene_description>
<character>MARCUS</character>
<dialogue>Mrs. Sims, where you going?</dialogue>
<character>NURSE</character>
<dialogue>I refuse to live with this kind of hanky-panky! It's wicked.</dialogue>
<scene_description>She clumps off down the hall. Marcus enters ... THE APARTMENT</scene_description>
<character>MARCUS</character>
<dialogue>Hey, what's vrong with The Beast?</dialogue>
<character>DAD</character>
<dialogue>She's got a vulgar-ass mind. It's none of her business.</dialogue>
<character>MARCUS</character>
<dialogue>What are you talking about?</dialogue>
<scene_description>Essie -- Buster's widow from Phoenix -- walks out of the other room. She smiles sweetly as she sees Marcus.</scene_description>
<character>ESSIE</character>
<dialogue>Hello.</dialogue>
<character>MARCUS</character>
<dialogue>Essie?</dialogue>
<character>ESSIE</character>
<dialogue>1'11 fix you some iced tea.</dialogue>
<scene_description>Essie exits.</scene_description>
<character>MARCUS</character>
<dialogue>What's she doing here?</dialogue>
<character>DAD</character>
<dialogue>Moving in with me.</dialogue>
<character>MARCUS</character>
<dialogue>Buster was right. You were screwing around with his wife.</dialogue>
<character>DAD</character>
<dialogue>Aw, come on, son. I never touched her back then ...</dialogue>
<scene_description>but now that wetre both single ... all is fair in love.</scene_description>
<character>MARCUS</character>
<dialogue>How can you do this to Buster?</dialogue>
<character>DAD</character>
<dialogue>Shit. Buster's dead. What's he care?</dialogue>
<character>MARCUS</character>
<dialogue>It's not right.</dialogue>
<character>DAD</character>
<dialogue>you know, son, not everybody's as screwed up about women as you are. Let me explain something. You get to a point where you have to take love wherever it comes from. The first half of your life it's like, I'I've got to flnd somebody to love.1tBut eventually, it gets down to, "I better find somebody that will love me." Know what I'm saying?</dialogue>
<scene_description>Essie returns with glasses of iced tea. Dad smiles at her affectionately.</scene_description>
<character>DAD</character>
<dialogue>Thank you, Essie.</dialogue>
<parenthetical>(singing)</parenthetical>
<dialogue>Unforqettable ...</dialogue>
<scene_description>You are ... She smiles back at him.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - DAY</stage_direction>
<scene_description>It's the Fourthof July. Tyler, Gerard, Dad and Essie have come over for dinner.</scene_description>
<character>DAD</character>
<parenthetical>(calling to Marcus in the kitchen)</parenthetical>
<dialogue>Where's my catfish?</dialogue>
<character>MARCUS (O.S. )</character>
<dialogue>It's coming. Keep your shirt on.</dialogue>
<scene_description>IN THE KITCHEN Marcus and Angela are cooking up a storm. Pots and pans are everywhere. It's hard work, but they're having fun.</scene_description>
<character>MARCUS</character>
<dialogue>Every Fourth of July he has to have fried catfish ... ...</dialogue>
<scene_description>hush puppies greens cooked with fatback. It's like, "God bless America. Pass the chole~terol.~ Angela offers him a taste of the potato salad she's making.</scene_description>
<character>ANGELA</character>
<dialogue>What does t h i s need?</dialogue>
<character>MARCU~</character>
<parenthetical>(tasting id)</parenthetical>
<dialogue>Nothing. Damn. That's good.I</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE TERRACE - LATER</stage_direction>
<scene_description>They're all watching .the direworks explode over Central Park. We can hear the eistant. sdunds of the Philharmonic playing the 1812 overture. ~ v e r ~ d nis e silent, dazzled by the beauty of the moment. Marcus lodks at his Dad who is holding hands with Essie. Then Marcus dazes at Angela who has never looked lovelier. Gerard has hislarm around her.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - LA+ER STILL</stage_direction>
<scene_description>The fireworks are and Gerard are leaving with Dad and Essie. Great dinner.</scene_description>
<character>MARCU</character>
<dialogue>Thanks. Sure ybu don't mind dropping them okf?</dialogue>
<character>GERAR</character>
<dialogue>NO problem. 1tks on the way. Angela, you comkng?</dialogue>
<scene_description>ANGE d GO ahead. k I'll stay and help Marcus clean up this m ss. TYLERt Later. Let's s op on the way. I need a Bromo They exit. She and Marcu the kitchen, already dead tired from cooking Sure you</scene_description>
<character>ANGE</character>
<dialogue>How bad can it be?</dialogue>
<character>A</character>
<dialogue>They enter . .. 1 THE KITCHEN</dialogue>
<character>I</character>
<dialogue>And it looks like the gadley of hell itself. A mountain of dirty pans and dishes. Marcus and Angela sigh and start cleaning.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - LATER THAT NIGHT</stage_direction>
<scene_description>They finally emerge from the kitchen, exhausted.</scene_description>
<character>ANGELA</character>
<dialogue>I need to sit down.</dialogue>
<scene_description>They sink on the couch together and turn on the TV. An old Honemooners episode is on.</scene_description>
<character>MARCUS</character>
<dialogue>Oh, good. They're running a Honeymooners marathon.</dialogue>
<scene_description>It's the "Chef of the Future" episode. Marcus and Angela watch the show, sleepy but content. They are so at ease with one another they could be a married couple.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>An early spring moon slips behind some clouds over Central Park. BACK INSIDE THE APARTMENT Time has passed. The Honeymooners marathon is still going on. Norton is sleep walking, calring, "Lulu, Lulu." ON THE SOFA Marcus and Angela are both fast asleep. She's resting her head against his shoulder. He stirs and slowly wakes up, finding himself face-to-face with Angela. He kisses her affectionately on the cheek. She opens her eyes. She smiles at him and kisses him gently on the lips. He returns her kiss. They kiss again. Then again.</scene_description>
<character>MARCUS</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Angela ...</dialogue>
<character>ANGELA</character>
<parenthetical>(dreamily, as she kisses him)</parenthetical>
<dialogue>Hmm?</dialogue>
<character>MARCUS</character>
<dialogue>What are we doing?</dialogue>
<character>ANGELA</character>
<dialogue>I think we're kissing.</dialogue>
<scene_description>As they whisper, their kisses become more and more insistent.</scene_description>
<character>MARCUS</character>
<dialogue>We're not supposed to.</dialogue>
<character>ANGELA</character>
<dialogue>Why?</dialogue>
<character>MARCUS</character>
<dialogue>We're friends.</dialogue>
<character>ANGELA</character>
<dialogue>Friends can kiss.</dialogue>
<scene_description>He kisses her hard. She throws her arms around him. They both groan with excitement. Suddenly they can't get at each other fast enough. Marcus fumbles with her blouse, unbuttoning it as fast as he can. He tries to unfasten her bra from behind, but can't find the snap.</scene_description>
<character>MARCUS</character>
<dialogue>Angela?</dialogue>
<character>ANGELA</character>
<parenthetical>(oblivious)</parenthetical>
<dialogue>Hm?</dialogue>
<character>MARCUS</character>
<dialogue>1f you're really my friend, you'll help me with this.</dialogue>
<scene_description>She unsnaps her bra from the front. He buries his head into he,r breasts. There is no stopping them now.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS' KITCHEN - NEXT MORNING</stage_direction>
<scene_description>Angela is in the kitchen making breakfast. Marcus enters, feeling awkward and confused about the night before.</scene_description>
<character>ANGELA</character>
<parenthetical>(cheerfully)</parenthetical>
<dialogue>Hi. I'm making Belgian waffles. Want some?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah.</dialogue>
<scene_description>As they speak, Marcus starts to help, slicing strawberries while she pours the batter.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>What do you think happened?</dialogue>
<character>...</character>
<dialogue>about what</dialogue>
<character>ANGELA</character>
<dialogue>I think it was great. A little awkward at first-,but people have to get used to each other sexually. I thought by the third or fourth time, we got it down pretty good.</dialogue>
<character>MARCUS</character>
<dialogue>Yeah. But I feel like it was wrong. Like we shouldn't have done it at all.</dialogue>
<character>ANGELA</character>
<dialogue>Why?</dialogue>
<character>MARCUS</character>
<dialogue>You know. We're supposed to be friends.</dialogue>
<character>ANGELA</character>
<dialogue>So what? Haven't you ever slept with women you were friendly with before?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah, I have. But you're more than that</dialogue>
<character>... ...</character>
<dialogue>you're like my sister</dialogue>
<scene_description>I feel guilty for seducing you.</scene_description>
<character>ANGELA</character>
<dialogue>First of all, you didn't seduce me. I seduced you. Do you really think I hung around to do the dishes?</dialogue>
<scene_description>The Belgian waffles are almost ready. She adds a big dollop of whipped cream to each one. He tops them with strawberries. They do this reflexively, without thinking, liKe they've done it all their lives.</scene_description>
<character>MARCUS</character>
<dialogue>But you're special ... I like you too much to be ... you know ...</dialogue>
<character>ANGELA</character>
<dialogue>What?</dialogue>
<character>MARCUS</character>
<dialogue>"Doing itn with you.</dialogue>
<character>ANGELA</character>
<dialogue>"Doing it?" You know, when it comes to stuff like this, you're really retarded.</dialogue>
<character>MARCUS</character>
<dialogue>l t l s not like we're ... you know . .. in love.</dialogue>
<character>ANGEIA</character>
<dialogue>Listen to yourself. You just said that we're friends care about me ... ...</dialogue>
<scene_description>that you and the sex is great. Did it ever occur to you - that this could be love? Marcus considers it. She's right.</scene_description>
</scene>
<scene>
<stage_direction> . MARCUS</stage_direction>
<scene_description>What about Gerard?</scene_description>
<character>INT. BILLIARD PARLOR</character>
<dialogue>Marcus and Gerard are trying to play a game o f eight ball.</dialogue>
<character>-</character>
<dialogue>Tyler is in the middle of a harangue.</dialogue>
<character>TYLER</character>
<dialogue>It's a racist game. Think about it. The white ball dominates evervthina. It knocks the shit out o f the yellow ball ...</dialogue>
<scene_description>the red ball. And the game is over when the white ball drives the black ball com~letelvoff the table. Now why 20 you-think that is?</scene_description>
<character>GERARD</character>
<dialogue>I don't know. But I'm sure you'll tell us.</dialogue>
<character>TYLER</character>
<dialogue>Because of the white man's fear of the sexual potency of black balls.</dialogue>
<character>MARCUS</character>
<dialogue>Will you shut the hell up and get us some beers?</dialogue>
<character>TYLER</character>
<dialogue>Okay. But ya'll hurry up. I'd like to play sometime tonight.</dialogue>
<scene_description>Tyler leaves Marcus and Gerard alone. Gerard lines up a shot.</scene_description>
<character>GERARD</character>
<dialogue>Man, he's getting worse. We gotta find him a woman.</dialogue>
<scene_description>Gerard sinks a ball. He lines up another shot.</scene_description>
<character>MARCUS</character>
<dialogue>Yeah. So ... how are you and Angela getting along? Are you serious absut her?</dialogue>
<character>GERARD</character>
<dialogue>No, we slept together a couple of times ... but we decided it would be better if we were just friends .</dialogue>
<character>MARCUS</character>
<dialogue>So it wouldn't bother you if she went out with other guys?</dialogue>
<character>GERARD</character>
<dialogue>No. Why? You thinking of fixing her up with Tyler?</dialogue>
<character>MARCUS</character>
<dialogue>NO.</dialogue>
<scene_description>Gerard stops playing.</scene_description>
<character>GERARD</character>
<dialogue>Why do you want to know?</dialogue>
<character>MARCUS</character>
<dialogue>I'm just curious.</dialogue>
<scene_description>Gerard is suspicious. He tries to make eye contact with Marcus, but Marcus looks away, suddenly ill at ease. Gerard can sense what is going on.</scene_description>
<character>GERARD</character>
<dialogue>Aw, Jesus.</dialogue>
<character>MARCUS</character>
<dialogue>What?</dialogue>
<character>GERARD</character>
<dialogue>You know what. You're sleeping with Angela ...</dialogue>
<scene_description>aren't you?</scene_description>
<character>MARCUS</character>
<dialogue>Yeah.</dialogue>
<scene_description>Gerard is more hurt than angry.</scene_description>
<character>GERARD</character>
<dialogue>How come you always have to have all the g l r l s ?</dialogue>
<character>MARCUS</character>
<dialogue>It's not like that. A minute ago you said you wouldn't care if she went out with other guys. But because it's me, you're upset. That's hypocritical.</dialogue>
<character>GERARD</character>
<dialogue>I know.</dialogue>
<character>MARCUS</character>
<dialogue>So, why can't you be happy for me?</dialogue>
<character>GERARD</character>
<dialogue>Because you're going to play her ... you're going to use her and then you're gonna leave her.</dialogue>
<character>MARCUS</character>
<dialogue>No, I'm not. I really care about her.</dialogue>
<character>GERARD</character>
<dialogue>You better. Because if you don't, I'm qonna stick this cue stick so far up your ass, your tongue will be blue from the chalk.</dialogue>
<character>MARCUS</character>
<dialogue>So ... you're okay with it?</dialogue>
<character>GERARD</character>
<dialogue>I guess so.</dialogue>
<character>MARCUS</character>
<dialogue>You sure?</dialogue>
<character>GERARD</character>
<dialogue>Hey, I'm not doing cartwheels over ~ t . But I'll get over it.</dialogue>
<scene_description>Tyler returns with the beers.</scene_description>
<character>TYLER</character>
<dialogue>Aw, man. The balls are right where they were when I left. Come on, Gerard. Put him out of his misery.</dialogue>
<scene_description>They resume playing.</scene_description>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S OFFICE - D A Y</stage_direction>
<scene_description>Marcus and Angela are playing their new Strange' commercial for Jacqueline. POUNDING ~ S I underscores C a SERIES of QUICK news shots of Strange1 doing bizarre things in public. It ends with a FREEZE FRAME as she takes off her clothes at the airport.</scene_description>
<character>SINGER (V.O. )</character>
<dialogue>-</dialogue>
<character>DO -</character>
<dialogue>somethinq Crazy ... Stranqe'.</dialogue>
<character>JACQUELINE</character>
<parenthetical>(pleased)</parenthetical>
<dialogue>I think it works. Good job, Marcus</dialogue>
<scene_description>Marcus puts his arm around Angela.</scene_description>
<character>MARCUS</character>
<dialogue>Thank Angela. It was her idea.</dialogue>
<character>JACQUELINE</character>
<dialogue>Nice going.</dialogue>
<scene_description>Marcus and Angela smile at each other, sharing a moment of pride. Jacqueline notices that they seem to be close.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM OF MARCUS' APARTMENT - DAY</stage_direction>
<scene_description>Marcus is taking a shower, feeling relaxed and playful. He's singing an old Delfonics song.</scene_description>
<character>MARCUS</character>
<dialogue>La, la, la, la, la, la, la, la, la ... I love you.</dialogue>
<scene_description>Angela pokes her head into the shower.</scene_description>
<character>ANGELA</character>
<parenthetical>(anxiously)</parenthetical>
<dialogue>Marcus !</dialogue>
<character>MARCUS</character>
<parenthetical>(startled)</parenthetical>
<dialogue>What? !</dialogue>
<scene_description>-:</scene_description>
<character>ANGELA</character>
<dialogue>A bird flew into the living room. Help me get it out.</dialogue>
<character>MARCUS</character>
<dialogue>Shit. I hate birds.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>As we glance around the room, we realize that An ela has moved in. Some of Marcus' sleek "playboy" furn t u r e has been replaced by Angela's colorful things, including several ceramic pieces. A pigeon is sitting on top of the drapes. Angela is on a step ladder, trying to get it down. Marcus enters wearing a towel around his waist.</scene_description>
<character>MARCUS</character>
<dialogue>What are you doing?</dialogue>
<character>ANGELA</character>
<dialogue>Trying to get it to fly. Catch it in the trash can.</dialogue>
<character>MARCUS</character>
<dialogue>I'm not gonna touch that thing. They carry all kinds of nasty diseases..</dialogue>
<character>ANGELA</character>
<dialogue>Alright, I'll catch him.</dialogue>
<character>VARCUS</character>
<dialogue>NO. 1'11 reason with him.</dialogue>
<scene_description>Ishoutina in a "street"</scene_description>
<character><</character>
<dialogue>voice)</dialogue>
<scene_description>Hey, motherfucker ... that's right . . . s! The bird takes off, flying around the apartment, knocking into walls and lamps. It almost hlts Marcus. He ducks.</scene_description>
<character>MARCUS ( CONT ' D)</character>
<dialogue>Shit!</dialogue>
<scene_description>Marcus retreats to the hall closet. After a moment he reappears, wearing a batting helmet and carrying a lacrosse stick. The bird is still flying around. Marcus approaches it warily, turning his face away, fending off the bird with the stick. He looks ridiculous. Angela starts laughing.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Shoo ... shoo.</dialogue>
<scene_description>The pigeon flies out of the room, onto the terrace. Marcus slams the doors, breathing a sigh of relief.</scene_description>
<character>MARCUS (CONT' D)</character>
<parenthetical>(with false bravado)</parenthetical>
<dialogue>I guess I showed him.</dialogue>
<character>ANGELA</character>
<parenthetical>(still laughing)</parenthetical>
<dialogue>Oh, you were very brave.</dialogue>
<scene_description>The PHONE RINGS. Angela answers it.</scene_description>
<character>ANGELA ( CONT ' D)</character>
<dialogue>Hello.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Sure. He's right here.</dialogue>
<parenthetical>(handing Marcus the phone)</parenthetical>
<dialogue>~ t ' sJacqueline.</dialogue>
<scene_description>Angela exits with the stepladder. - .</scene_description>
<character>MARCUS</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>Hi.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Not much. Just a typical Sunday.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Oh ...</dialogue>
<scene_description>that was Anqela.</scene_description>
<character>-</character>
<parenthetical>(pause)</parenthetical>
<dialogue>Nothing. She just dropped by.</dialogue>
<character>IN THE HALLWAY</character>
<dialogue>Angela has overheard Marcus lying. She's hurt, but keeps it to herself.</dialogue>
<character>MARCUS (O.S.,</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>That s great!</dialogue>
<parenthetical>(calling to Angela)</parenthetical>
<dialogue>Our spot tested through the roof.</dialogue>
<scene_description>Angela goes back into ... THE LIVING ROOM</scene_description>
<character>MARCUS (CONT' D)</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>Sure. That'll be fine. Looking forward to it. Thanks. Bye.</dialogue>
<scene_description>Marcus hangs up.</scene_description>
<character>MARCUS</character>
<dialogue>Jacqueline's having dinner Tuesday night with the board of directors. She wants me to come with her and show them the spot.</dialogue>
<character>ANGELA</character>
<parenthetical>(trying to conceal her apprehension)</parenthetical>
<dialogue>That's good.</dialogue>
<character>MARCUS</character>
<dialogue>Listen ...do you want to come? fiecause I'll call her back and tell her.</dialogue>
<character>ANGELA</character>
<dialogue>It's okay. You two go.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY OF THE SHERRY-NETHERLAND HOTEL - NIGHT</stage_direction>
<scene_description>Jacqueline and Marcus are saying goodnight to the Board of Directors who seem quite pleased. As the Japanese get into the elevator, one smiles at Marcus, giving him the thumbs up. The elevator door closes. Jacqueline couldn't be happier. She takes Marcus' arm and squeezes it.</scene_description>
<character>JACQUELINE</character>
<dialogue>They loved it. I'm really proud of you, Marcus. Do you have time for a drink?</dialogue>
<character>MARCUS</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAR AT THE SHERRY NETHERLAND - NIGHT</stage_direction>
<scene_description>Jacqueline and Marcus sit at a small table in the corner. He can't help but notice how wonderful she looks.</scene_description>
<character>JACQUELINE</character>
<dialogue>You know, I think the time we spent apart was the best thing that ever happened to us.</dialogue>
<character>MARCUS</character>
<dialogue>Why?</dialogue>
<character>JACQUELINE</character>
<dialogue>You're different. You've changed.</dialogue>
<character>MARCUS</character>
<dialogue>Do you think it's possible for people to change?</dialogue>
<character>JACQUELINE</character>
<dialogue>Sure. For awhile there you were so desperate and unsure of yourself. I was really worried about you.</dialogue>
<character>MARCUS</character>
<dialogue>I was kinda pathetic.</dialogue>
<character>JACQUELINE</character>
<dialogue>Rut now, look at you. You're relaxed. More confident .. .</dialogue>
<scene_description>like you were when I first met you. I like that. I find it very attractive. Jacqueiine kisses Marcus tenderly. He's a little overwhelmed by this unexpected show of affection. Old feelings well up in him.</scene_description>
<character>MARCUS</character>
<dialogue>What was that for?</dialogue>
<character>JACQUELINE</character>
<dialogue>I'm sorry. I shouldn't have done that. It's the champagne. I know you're involved with Angela.</dialogue>
<character>MARCUS</character>
<dialogue>It's okay. It felt good.</dialogue>
<character>JACQUELINE</character>
<dialogue>It's good to have you back, Marcus.</dialogue>
<scene_description>She's playinq Marcus like a well-hooked trout. And he's falling for it.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM OF MARCUS' APARTMENT - NIGHT</stage_direction>
<scene_description>Marcus slips into bed, careful not to disturb Angela who is turned away from him. He looks at her, feeling troubled and confused. He rolls over to go to sleep. On closer view we see that Angela is still awake. She's been waiting for Marcus to come home. She closes her eyes and tries to sleep.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRACE OF MARCUS' APARTMENT - MORNING</stage_direction>
<scene_description>Angela is having coffee on the terrace. Marcus joins her, feeling miserable.</scene_description>
<character>ANGELA</character>
<dialogue>Want some coffee?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah, I need some.</dialogue>
<character>ANGELA</character>
<dialogue>So how'd it go last night?</dialogue>
<character>MARCUS</character>
<parenthetical>(noncommittal)</parenthetical>
<dialogue>Okay.</dialogue>
<character>ANGELA</character>
<dialogue>Just okay? 'Must have gone pretty good. You didn't come home till real late.</dialogue>
<character>MARCUS</character>
<dialogue>I spent a long time walking around ... trying to sort things out.</dialogue>
<character>ANGELA</character>
<parenthetical>(knowing what's coming)</parenthetical>
<dialogue>Oh, shit. You think you're still in love with her.</dialogue>
<character>MARCUS</character>
<dialogue>I can't help it. I saw her and all those old feelings came out. I didn't want it to happen. I was happy with you. I was. I swear. Don't ever think you weren't important to me. You were. I owe you. Jacqueline says I've changed. I'm a lot more confident. And it's because of you.</dialogue>
<scene_description>She SLAPS his face.</scene_description>
<character>MARCUS (CONT' D)</character>
<parenthetical>(calmly)</parenthetical>
<dialogue>You've got every right to feel that way.</dialogue>
<scene_description>She SLAPS him again.</scene_description>
<character>ANGELA</character>
<dialogue>Don't tell me how I feel.</dialogue>
<character>MARCUS</character>
<dialogue>I didn't want to hurt you. But there's nothing I can do about it. There's certain things a man can't control.</dialogue>
<character>ANGELA</character>
<dialogue>Like what?</dialogue>
<character>MARCUS</character>
<dialogue>Like love.</dialogue>
<character>ANGELA</character>
<dialogue>Oh, give me a break. I'm sick of men blamina evervthina on love - 1 . like it'$ some' kind; disease you catch.</dialogue>
<parenthetical>(mocking him)</parenthetical>
<dialogue>"Yo baby, I'm sorry I hafta leave you arid the kids here to starve, but ... what can I say? I fell in-love. And there's-nothin? I can do about it." To hell wlth that. And to hell with you, Marcus.</dialogue>
<scene_description>- you were better than I thought that. Angela grabs her purse and heads for the door. Marcus goes after her into ... THE HALLWAY She pushes the elevator button.</scene_description>
<character>MARCUS</character>
<dialogue>Where're you going?</dialogue>
<character>ANGELA</character>
<dialogue>I'm leaving. I'll get my things later. You know, Marcus, Jacqueline's wrong. You haven't changed. You still do your thinking below the waist.</dialogue>
<scene_description>The elevator arrives.</scene_description>
<character>MARCUS</character>
<dialogue>I'm not thinking with my dick! It's my heart!</dialogue>
<scene_description>The PASSENGERS in the elevator look away, embarrassed. Angela gets in. The elevator doors close leaving Marcus alone, feeling bad about what he's done.</scene_description>
</scene>
<scene>
<stage_direction>INT. JACQUELINE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Marcus and Jacqueline enter her apartment after an evening out.</scene_description>
<character>MARCUS</character>
<dialogue>You know, this is the first time I've ever been in your apartment.</dialogue>
<character>JACQUELINE</character>
<dialogue>This is the first time in our relationship I've felt really comfortabie. We're not playinq games with each other. We can be ourselves. It's nice.</dialogue>
<scene_description>She kisses him. He responds.</scene_description>
<character>ZACQUELINE (CONT' D)</character>
<dialogue>Let's go to the bedroom.</dialogue>
<scene_description>Marcus nods. Neither of them wanting to say anything to ruin the moment. They silently enter ... JACQUELINE ' S BEDROOM They fall on the bed, kissing fervently, clinging to one another as their passion swells. They begin undressing each other. Suddenly they are interrupted by an annoying BEEP, BEEP, BEEP. Jacqueline breaks away, reaching for her pager.</scene_description>
<character>JACQUELINE ( CONT ' D )</character>
<dialogue>Sorry. I've got to call thls guy.</dialogue>
<scene_description>She picks up the phone and starts dialing.</scene_description>
<character>MARCUS</character>
<parenthetical>(frustrated)</parenthetical>
<dialogue>Can't this wait?</dialogue>
<character>JACQUELINE</character>
<dialogue>No. He's leaving town and it's real urgent.</dialogue>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Mike? Jacqueline. Listen ... I know you've got to catch a plane, so let's settle this thing.</dialogue>
<scene_description>In the middle of her business discussion, Jacqueline realizes that Marcus is feeling neglected. To appease him, she opens her blouse, revealing a very lovely breast. Without missing a beat on the phone, she gestures for Marcus to kiss it.</scene_description>
<character>JACQUELINE ( CONT ' D)</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>I know, but you're going to have to eat the printing costs. Well, get over it.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>No. No way.</dialogue>
<scene_description>She glances over at Marcus who is not responding. She SNAPS her finger to get his attention, then points to her breast again. Marcus can't believe it.</scene_description>
<character>JACQUELINE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Give up, Mike. You're not going to win this one.</dialogue>
<scene_description>Without a word, Marcus gets up and starts-putting his clothes on.</scene_description>
<character>JACQUELINE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>old on a second.</dialogue>
<scene_description>She covers the mouthpiece of the phone.</scene_description>
<character>JACQUELINE</character>
<parenthetical>(to Marcus)</parenthetical>
<dialogue>What's wrong?</dialogue>
<character>MARCUS</character>
<dialogue>What am I -- a trained dog?</dialogue>
<character>JACQUELINE</character>
<dialogue>What do you mean?</dialogue>
<character>MARCUS</character>
<dialogue>You snap your finger like, "Here. You can kiss this while I'm on the phone!"</dialogue>
<character>JACQUELINE</character>
<dialogue>Will you keep your voice down?</dialogue>
<parenthetical>(to phone)</parenthetical>
<dialogue>Mike, I'll call you right back.</dialogue>
<parenthetical>(she hangs up; to Marcus)</parenthetical>
<dialogue>What's your problem?</dialogue>
<character>MARCUS</character>
<dialogue>Nothing.</dialogue>
<character>JACQUELINE</character>
<dialogue>You're upset because I had to make a call?</dialogue>
<character>MARCUS</character>
<dialogue>We were making love! No, I take that back. What we were doing had nothing to do with love. I must have been an idiot to fall for this crap again!</dialogue>
<character>JACQUELINE</character>
<dialogue>I just want to have a good time. What's wrong with that?</dialogue>
<character>MARCUS</character>
<dialogue>YOU only sleep with me when it's convenient.</dialogue>
<character>JACQUELINE</character>
<dialogue>Stop being so pious. You're no different than me.</dialogue>
<character>MARCUS</character>
<dialogue>Yes, I am. 1 used to treat women the same way. But not anymore.</dialogue>
<character>JACQUELINE</character>
<dialogue>Are you through?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah. Goodbye, Jacqueline.</dialogue>
<character>JACQUELINE</character>
<dialogue>Goodbye.</dialogue>
<scene_description>And with that, Marcus is gone. Jacqueline sits pensively for a moment. Then she picks up the phone again and dials.</scene_description>
<character>JACQUELINE</character>
<dialogue>Mike? Where were we?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Oh, nothing. Just something personal.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARCUS' APARTMENT - NIGHT</stage_direction>
<scene_description>Marcus comes home to a dark apartment. He turns on the light. Angela has moved out, taking all her things. Marcus walks out onto ... THE TERRACE He looks out at the view. Yvonne, the crazy woman, calls to him from her balcony across the way.</scene_description>
<character>YVONNE</character>
<dialogue>She left you, huh?</dialogue>
<character>MARCUS</character>
<dialogue>Yeah.</dialogue>
<character>YVONNE</character>
<dialogue>Serves you right. I guess I should feel h a\*~- u- v</dialogue>
<scene_description>. .but I don't. I hate to see another person in pain.</scene_description>
<character>MARCUS</character>
<dialogue>Thanks, Yvonne.</dialogue>
<character>YVONNE</character>
<dialogue>So ...</dialogue>
<scene_description>would you like to come over for a cup of coffee?</scene_description>
<character>MARCUS</character>
<dialogue>No, thank you.</dialogue>
<character>YVONNE</character>
<dialogue>Some motherfuckers are so blind they can't see a good thlng when it's staring them in the face.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHANTRESS COSMETICS BUILDING - DAY</stage_direction>
<scene_description>People are leaving for the day. Marcus is hanging around outside, anxiously waiting for Angela to appear. She finally comes out of the revolving doors, on her way home. Marcus joins her as she walks down the sidewalk.</scene_description>
<character>MARCUS</character>
<dialogue>Hi.</dialogue>
<scene_description>Angela keeps walking.</scene_description>
<character>ANGELA</character>
<dialogue>I don't want to talk to you.</dialogue>
<character>MARCUS</character>
<dialogue>I have to tell you something.</dialogue>
<character>ANGELA</character>
<dialogue>I already know. You broke up with Jacqueline.</dialogue>
<character>MARCUS</character>
<dialogue>Who told you?</dialogue>
<character>ANGELA</character>
<dialogue>Bony-T.</dialogue>
<character>MARCUS</character>
<dialogue>That guy knows everything.</dialogue>
<scene_description>Angela picks up her pace, walking ahead of him.</scene_description>
<character>MARCUS (CONT' D)</character>
<dialogue>Wait up. I know what I did was wrong. I'm sorry.</dialogue>
<character>ANGELA</character>
<dialogue>That's not good enough.</dialogue>
<character>MARCUS</character>
<dialogue>I don't love Jacqueline. I never did. I love you.</dialogue>
<character>ANGELA</character>
<dialogue>Marcus, please don't..</dialogue>
<character>MARCUS</character>
<dialogue>Look, it's easy to find somebody to love you when things are going great. I want somebody to love me when I don't feel so good about myself. When I have doubts and feel insecure ...</dialogue>
<character>ANGELA</character>
<dialogue>Then get a dog.</dialogue>
<character>MARCUS</character>
<dialogue>That's not fair. I want us to be together the rest of our lives. I want to grow old together like Dad and Essie. I want you to help me get out of the tub. I want to help you read those tiny little numbers in the phone book. I want us to be there to stop each other when somebody tries to sell us encyclopedias. Come on we start over?</dialogue>
<character>...</character>
<dialogue>can't</dialogue>
<character>ANGELA</character>
<dialogue>No. I don't want to be hurt again.</dialogue>
<character>MARCUS</character>
<dialogue>I won't do that. I swear. I've been lying to women for so long, I know it's hard for you to believe me. But I'm telling you the truth.</dialogue>
<character>ANGELA</character>
<dialogue>Marcus, if you really love me, you'll leave me alone.</dialogue>
<scene_description>She keeps on walking. Marcus stays behind, realizing he's lost the only woman he's ever loved. FADE OUT: FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE LAKE AT CENTRAL PARK - DAY</stage_direction>
<scene_description>Marcus is sitting alone in the rowboat as he was at the start of the story. He turns and looks to CAMERA.</scene_description>
<character>MARCUS</character>
<dialogue>I really screwed up. I lost the only good thing I ever had. Angela taught me a lot of thinqs. For instance, you have to like somebody before you love them. Otherwise it doesn't count. I guess it's all part of God's plan. We get thirsty because God wants us to drink. We get hungry because he wants us to eat. We have sex because he wants US to multiply. And we fall in love because God thinks it's funny to play with our heads. I've got to get Angela back. And if she doesn't want me now, then I'll wait till she does. Because some things are worth it. I just have to be patient, that's all.</dialogue>
<scene_description>Marcus sits quietly for a few moments. But he can't wait a second longer. He takes out a cellular phone and quickly dials a number.</scene_description>
<character>MARCUS (CONT' D)</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Hello, Angela.</dialogue>
<character>CUT TO BLACK</character>
<dialogue>THE END</dialogue>
</scene>
</script> | Advertising executive Marcus Graham is a serial womanizer, prone to lying to seduce women but unwilling to commit until he finds the "perfect woman." His friends Tyler and Gerard tell him his standards are too high, particularly his habit of judging women by their feet. Marcus's company is acquired by cosmetics mogul Lady Eloise, who invites him to her home with amorous intentions; he spends the night with her, believing he will be promoted. The next day, he meets Jacqueline Broyer, who has been made head of his department instead. At a party to celebrate the merger, eccentric fashion diva Helen Strangé is announced as the new face of the company, and Jacqueline introduces Marcus to colleague Angela Lewis, whom he sets up with Gerard. Though they get along fine, Angela and Gerard learn that they're better as friends. Despite his best efforts, Marcus is unable to woo Jacqueline. Over dinner at his apartment, she ignores his advances and is more interested in the basketball game on TV, leaving him frustrated. On a business trip to New Orleans, Jacqueline unexpectedly invites Marcus into her room, and they have sex. Afterward, he is relieved to find her feet up to his standards. Marcus begins to fall for Jacqueline, but finds himself on the receiving end of his usual tactics: she ignores his feelings, manipulates him with sex, and keeps their relationship strictly on her terms. Discovering she has bragged about their trysts to Strangé, whose advances he is forced to reject, Marcus confronts Jacqueline, and she ends their affair. Marcus finds himself the subject of office gossip, and his work begins to suffer. After a major business proposal is almost ruined, Jacqueline forces Marcus to take a few paid weeks off as an alternative to being fired. Marcus spends time with Angela, who tries to bring him out of his funk. He realises he's developing feelings for her when they bond over watching late night reruns of Star Trek. After hosting Thanksgiving dinner with Tyler, Gerard, and Gerard's tactless parents, Marcus and Angela sleep together. Gerard is furious, believing Marcus will mistreat Angela like his past conquests. They move in together, but she is hurt when he downplays their relationship in a phone call with Jacqueline. Marcus, having regained his confidence, proves newly attractive to Jacqueline, and they sleep together again. Marcus returns home to Angela in the middle of the night, and when she confronts him in the morning, he explains that he is confused by his feelings for her and for Jacqueline. She breaks up with him and takes a promotion at another company. Marcus rebounds with Jacqueline, but realizes his love for Angela; he returns home to find she has moved out. Marcus reconciles with Gerard, and visits Angela at her new job, convincing her that he is truly committed to her, and they get back together. |
Hereafter_2010 | tt1212419 | <script>
<scene>
<character>HEREAFTER</character>
<dialogue>written by</dialogue>
<scene_description>Peter Morgan May 1, 2008 FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM</stage_direction>
<scene_description>Bright light. Sunshine. The sound of tropical birdsong. And a gentle wind. The rustle of palm trees outside. And of distant waves lapping gently. We're somewhere distinctly like heaven. OVER THIS: an incongruously, restless, clicking sound. A beautiful French woman in her mid 30's, sunkissed, sits in bed in a luxury hotel room, writing emails on her Blackberry, papers and work spread out on her bed. She looks at her watch, 8:00am. She rolls over, and gently shakes the sleeping figure next to her, that of her boyfriend. When she speaks, it's in her native French, (we see subtitles).</scene_description>
<character>MARIE</character>
<dialogue>C'mon. You need to get up.</dialogue>
<scene_description>A reluctant groan.</scene_description>
<character>MARIE</character>
<dialogue>And you need to buy presents for your children before we leave.</dialogue>
<scene_description>Another reluctant groan.</scene_description>
<character>DIDIER</character>
<dialogue>I'll pick up something at the airport.</dialogue>
<character>MARIE</character>
<dialogue>No. Not good enough. Airport gifts are rubbish.</dialogue>
<character>DIDIER</character>
<dialogue>Please? Let me sleep. Just another half hour?</dialogue>
<scene_description>DIDIER turns over, buries his head under a pillow</scene_description>
<character>MARIE</character>
<dialogue>Fine.</dialogue>
<scene_description>MARIE pulls back her sheets. Throws on a sarong. CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>If you won't buy presents for your children, I will.</dialogue>
<scene_description>'Buzzzz' - her Blackberry vibrates with another message. MARIE reads.</scene_description>
<character>MARIE (IN FRENCH</character>
<parenthetical>(typing message)</parenthetical>
<dialogue>It seems the posters have gone up. Are all over Paris.</dialogue>
<scene_description>DIDIER rolls his eyes. MARIE types a quick reply.</scene_description>
<character>MARIE (IN FRENCH</character>
<dialogue>Apparently you can't move for them.</dialogue>
<character>DIDIER (IN FRENCH)</character>
<dialogue>If you're going, ask them to prepare the bill, will you? And get them to send up some breakfast.</dialogue>
<scene_description>"Rrrriiinngg", MARIE's phone starts ringing...</scene_description>
<character>DIDIER (IN FRENCH</character>
<dialogue>And take this bloody thing with you.</dialogue>
<scene_description>DIDIER throws MARIE's ringing phone. She catches it, and answers it as she goes...</scene_description>
<character>MARIE</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL - RECEPTION - DAY</stage_direction>
<scene_description>MARIE steps out of the elevator, speaking into her telephone.</scene_description>
<character>MARIE (IN FRENCH)</character>
<dialogue>So how many have you seen? Really? Where have they put them?</dialogue>
<scene_description>She walks through the lobby to reception. She reaches reception, puts her hand over the receiver, and speaks in near-perfect English.</scene_description>
<character>MARIE</character>
<dialogue>Good morning. Could you prepare the bill?</dialogue>
<scene_description>CONTINUED: MARIE thinks, then.</scene_description>
<character>MARIE</character>
<dialogue>And could you send up some breakfast? Coffee... and fruit?</dialogue>
<scene_description>MARIE rolls her eyes, "I must be mad", then walks out of the hotel doors, continuing her conversation in French on the phone.</scene_description>
<character>MARIE (IN FRENCH)</character>
<dialogue>They said there'd be 120 across the city, How embarrassing. It's one reason I was happy to be away...</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS - CONTINUOUS</stage_direction>
<scene_description>MARIE is hit by noise and heat. Busting streets, teaming with life. She walks out into the streets, and towards the markets, still speaking on the phone.</scene_description>
<character>MARIE (IN FRENCH)</character>
<dialogue>Listen, quickly go through today's front pages with me..I won't be able to go online before we leave...</dialogue>
<scene_description>MARIE drifts through different markets stalls and trades. Fruits, vegetables, household items, leather goods and wood carvings. MARIE smiles, enjoying the activity. Up ahead, she sees a stall with masks. Wouldn't one of those be perfect for the little boy? She turns to the TRADER, points to the mask.</scene_description>
<character>MARIE</character>
<dialogue>How much?</dialogue>
<scene_description>MARIE pays for the mask, then takes it. She drifts off, continuing to talk on the phone walking through more stalls looking for another present. Animals in cages. Blaring music. Cheap roadside hairdressers. Presently, she finds a jewelers' stall. MARIE stops. Sees the stall owner has a DAUGHTER, (8) who's wearing a brightly-colored bracelet. MARIE smiles, points to the LITTLE GIRL's bracelet. CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>You have more? Like this?</dialogue>
<scene_description>The STALL OWNER sees the bracelet. Smiles. Reaches into her bag and produces a number of bracelets in different colours... MARIE picks one identical to the little GIRL's</scene_description>
<character>MARIE</character>
<dialogue>I'll take this one.</dialogue>
<scene_description>The GIRL smiles. MARIE takes out her purse, pulls out some money.</scene_description>
<character>MARIE</character>
<dialogue>How much?</dialogue>
<scene_description>But the STALL OWNER does not reply. Simply stares. Transfixed. Her lips begin to tremble. And points. MARIE turns to see what the fuss is about. Only then do we catch the oncoming roar, and notice the ground is shaking.</scene_description>
<character>MARIE</character>
<dialogue>Oh, Jesus.</dialogue>
<scene_description>MARIE's eyes instinctively meet those of the little girl's. The GIRL's eyes. MARIE's eyes. The GIRL's eyes. MARIE's eyes. 'WWWWHHHAAAAAAAMMMMMMMM', the 30 ft high Tsunami wave strikes them with the force of a hydrogen bomb, destroying everything in it's path. MARIE is hurled fifty feet by the impact, sucked under water, along with bits of markets stalls, cars, other PEOPLE.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - CONTINUOUS</stage_direction>
<scene_description>The sound of screaming. Pandemonium breaking out. DIDIER sits up in bed. He rushes over to the window.. CONTINUED: Horrified, he looks out to see sheer devastation as the Tsunami sweeps all in it's path. Bodies bobbing helplessly in the water. People screaming. Buildings crumbling. Cars, boats, deck chairs in splinters. DIDIER's falls..</scene_description>
<character>DIDIER</character>
<dialogue>Marie..!</dialogue>
<scene_description>IN THE TSUNAMI MARIE thrashes under water, her eyes bulging, desperate for air. Her mouth opens, her thrashing becomes frantic. 'Hhuurggh', she sticks her head above water, gasping urgently. She reaches out, tries to hold onto a passing branch, but the branch is ripped out of hand, and she is pulled under again by the force of the wave. 'Hhuuuurrghh', MARIE sticks her head above water again, gasping desperately. It's critical now. But she's sucked under again. Her struggle continues, but it's in vain. Soon her movements become weaker, her eyes stare wildly as. MARIE begins to black out, her brain starved of oxygen. Her struggle subsides as her head lolls to one side. Her eyes roll. Her mouth gapes open. And as she drowns, as MARIE's body ceases to struggle, as the last flicker of life leaves her. We CLOSE in on MARIE's face. MARIE'S P.O.V: All sound goes silent. We're in darkness. A light in the distance. The sound of gentle wind. Time appears to stand still. The light in the distance becomes closer, and closer. Then suddenly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - DAY</stage_direction>
<scene_description>'Wwhoooosh', MARIE is pulled from the water. The sound of shouting voices. Several pairs of hands tend to her. Her eyes flicker open, barely conscious... Her RESCUERS frantically perform resuscitation on MARIE. A cacophony of noise. Voices shouting instructions. But to no avail. MARIE slips back into unconsciousness. Her head lolls lifelessly. We CLOSE in again on MARIE's face. MARIE's P.O.V: The sounds of a gentle wind. The shadows of overhanging branches, or foliage. The light has grown closer. For the first time we can make out amorphous shapes. Moving toward us. And colours.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - DAY</stage_direction>
<scene_description>"Whoooshh", MARIE comes round again, as RESCUERS frantically pump her chest. Slap her cheeks. Voices shouting in different languages, imploring her to "Stay with us", "Don't go", "C'mon". But it's no use. MARIE is beyond help. Her head flops. Dead. Slowly, with sadness, the RESCUERS give up, get to their feet. They did their best, but there are countless others crying out. They start tending to other cases. When suddenly. "Hhhurrrggh", MARIE bolts awake, and violently vomits the water in her lungs, coughing and spluttering.. Her RESCUERS turn, seeing MARIE is still alive, and rush to her assistance. MARIE is bewildered, shell-shocked, cannot understand what has happened. Overwhelmed, she begins to weep as people wrap her in towels, give her water to drink.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - DAY</stage_direction>
<scene_description>An hour later: MARIE has found the strength to walk unsteadily through flooded streets. A landscape of horror and devastation. There is nothing left of the market but debris. MARIE stops and stares at where the jewelry stall was, where she bought the bracelet. Splintered wood and the occasional scattered bead are all that remain. No sign of the LITTLE GIRL. Suddenly a voice calls out.</scene_description>
<character>DIDIER</character>
<dialogue>Marie!</dialogue>
<scene_description>DIDIER, running through the streets toward her.</scene_description>
<character>DIDIER</character>
<dialogue>Thank God!</dialogue>
<scene_description>MARIE and DIDIER fall into an embrace, hugging tightly.</scene_description>
<character>DIDIER</character>
<dialogue>Thank God! Thank God!</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING - CHICAGO - NIGHT</stage_direction>
<scene_description>A brownstone building, in a working-class suburb of Chicago. Snow covered streets.</scene_description>
<character>CAPTION: "CHICAGO, USA"</character>
<dialogue>We climb up the walls, and reach an apartment on the fourth floor.</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Inside: we're in a modest apartment. Simple furnishings. Clean. Tidy. But masculine. No woman's touch here. A Greek man in the 50's, (CHRISTOS), sits on his own in the sitting-room. He's wearing black. Mourning. He checks his watch. In the corridor outside, two silhouettes are arguing in urgent whispers. CONTINUED:</scene_description>
<character>SILHOUETTE #1</character>
<dialogue>How could you DO this? You know I don't do this anymore.</dialogue>
<character>SILHOUETTE #2</character>
<dialogue>Please. As a favor to me. He's a good client.</dialogue>
<scene_description>GEORGE LONEGAN, (40), (handsome, shy, soft-spoken, something about him that sets him apart), walks into the room, shaking his head. GEORGE stares at the GREEK MAN, then takes a seat opposite him. In the doorway, GEORGE's elder brother, BILLY appears. Less handsome than GEORGE, one of life's natural hustlers.</scene_description>
<character>GEORGE</character>
<dialogue>Okay..</dialogue>
<character>CHRISTOS</character>
<dialogue>...Christos.</dialogue>
<character>GEORGE</character>
<dialogue>...Christos, give me your hands - I'm going to hold them just until I get a connection. For the purposes of the reading, I'd like you to confine your answers to 'yes' or 'no'.</dialogue>
<scene_description>GEORGE takes a deep breath. Then, after bracing himself, steeling himself in anticipation of difficult experience. He stretches out his hands, slowly, slowly... And takes the GREEK MAN's hands GEORGE closes his eyes. A jolt, almost like an electric shock. A flicker of pain behind the eyes, then. After a beat, he lets the GREEK MAN's hands go. And.</scene_description>
<character>GEORGE</character>
<dialogue>A woman close to you has passed.</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>A woman in middle-age. In her fifties?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Was this woman your wife?</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>I'm picking up you were together a long time.</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>But it was not always easy.</dialogue>
<character>CHRISTOS</character>
<dialogue>No.</dialogue>
<character>GEORGE</character>
<dialogue>I'm picking up that she was sick?</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Sick for a longtime. And had difficulty moving?</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Was she bed-ridden?</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<scene_description>A beat.</scene_description>
<character>CHRISTOS</character>
<dialogue>She had multiple-sclerosis.</dialogue>
<scene_description>GEORGE looks up.</scene_description>
<character>GEORGE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>He continues the reading. CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>She wants to apologize to you. For ruining the marriage.</dialogue>
<character>CHRISTOS</character>
<dialogue>It's not true.</dialogue>
<character>GEORGE</character>
<dialogue>She feels bad that you had to care for her. Even when you were a young man.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And wishes you would find someone now. Before it's too late.</dialogue>
<scene_description>A beat.</scene_description>
<character>GEORGE</character>
<dialogue>Because you're not getting any younger.</dialogue>
<character>CHRISTOS</character>
<dialogue>No.</dialogue>
<character>GEORGE</character>
<dialogue>Or slimmer.</dialogue>
<scene_description>GEORGE looks up.</scene_description>
<character>GEORGE</character>
<dialogue>She has quite a sense of humor.</dialogue>
<character>CHRISTOS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Now she's telling me to pay attention.</dialogue>
<scene_description>GEORGE's smiles fades.</scene_description>
<character>GEORGE</character>
<dialogue>She has something important to say.</dialogue>
<scene_description>GEORGE's listens.</scene_description>
<character>GEORGE</character>
<dialogue>She's giving me some kind of date?</dialogue>
<scene_description>GEORGE's listens.</scene_description>
<character>GEORGE</character>
<dialogue>June? In June.</dialogue>
<scene_description>CONTINUED: CHRISTOS looks up. Suddenly serious.</scene_description>
<character>GEORGE</character>
<dialogue>Does that mean anything to you? Was that when you got married?</dialogue>
<scene_description>Something in CHRISTOS's manner has changed.</scene_description>
<character>CHRISTOS</character>
<parenthetical>(soft)</parenthetical>
<dialogue>No.</dialogue>
<character>GEORGE</character>
<dialogue>Or when she passed?</dialogue>
<character>CHRISTOS</character>
<dialogue>No.</dialogue>
<character>GEORGE</character>
<dialogue>Because she's being quite specific about the month of June.</dialogue>
<scene_description>GEORGE looks at CHRISTOS. No reaction.</scene_description>
<character>GEORGE</character>
<dialogue>Maybe I'm, wrong. It happens.</dialogue>
<scene_description>GEORGE shoots a look at the OTHER MAN.</scene_description>
<character>GEORGE</character>
<dialogue>It's been a while</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Guess I'm a little rusty.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GEORGE'S APARTMENT - LATER</stage_direction>
<scene_description>Afterward: the reading has finished. George says a goodbye to CHRISTOS as he gets into the elevator.</scene_description>
<character>CHRISTOS</character>
<parenthetical>(shaking hands)</parenthetical>
<dialogue>Thank you. Thank you so much.</dialogue>
<scene_description>The OTHER MAN, (BILLY), and GEORGE hug.</scene_description>
<character>BILLY</character>
<dialogue>Thanks, kiddo. I owe you.</dialogue>
<scene_description>GEORGE nods.. BILLY and CHRISTOS get into the elevator. Close the doors. GEORGE goes back into his flat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
<scene_description>BILLY hits the button for the 'ground floor'. CHRISTOS shakes his head in disbelief, blown away.</scene_description>
<character>CHRISTOS</character>
<dialogue>That was incredible. Your brother. I tell you, that guy's for real.</dialogue>
<character>BILLY</character>
<dialogue>I know.</dialogue>
<character>CHRISTOS</character>
<dialogue>No. I mean he's really for real.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Let me tell you, I was pretty skeptical before I came. All that psychic shit is mumbo fucking jumbo as far as I'm concerned.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>But that...I mean.</dialogue>
<parenthetical>(a low whistle)</parenthetical>
<dialogue>...he knew stuff I've never told anyone! It's unbelievable.</dialogue>
<scene_description>The elevator doors open. They walk out.</scene_description>
<character>CHRISTOS</character>
<dialogue>He could make money doing that.</dialogue>
<character>BILLY</character>
<dialogue>He did. For a while. Good money.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Had an office, his own website. Had newspapers articles, even a book written about him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Billy and CHRISTOS walk out of the building. Breath steaming in the cold.</scene_description>
<character>CHRISTOS</character>
<dialogue>So what happened?</dialogue>
<character>BILLY</character>
<dialogue>He couldn't cope. Turned his back on the whole things. Said "...a life that's all about death is no life at all."</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Now he works shifts in a factory. Takes home two thousand a month.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>BILLY</character>
<parenthetical>(taps head, 'insane')</parenthetical>
<dialogue>But he says he's happy.</dialogue>
<scene_description>CHRISTOS stops. Looks up. Doesn't understand.</scene_description>
<character>BILLY</character>
<dialogue>He wasn't going to do another reading again. But I persuaded him to make am exception in your case.</dialogue>
<scene_description>They cross the street to the car...</scene_description>
<character>CHRISTOS</character>
<dialogue>Thanks. I won't forget this.</dialogue>
<parenthetical>(shaking hands)</parenthetical>
<dialogue>I'll call you Monday about that thing.</dialogue>
<character>BILLY</character>
<dialogue>Great, appreciate it.</dialogue>
<scene_description>CHRISTOS is about to get into his car.</scene_description>
<character>BILLY</character>
<dialogue>So who's June? If you don't mind me asking.</dialogue>
<scene_description>CHRISTOS looks up.</scene_description>
<character>CHRISTOS</character>
<dialogue>June Mendoza was my wife's nurse.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Looked after her for fifteen years.</dialogue>
<scene_description>CHRISTOS stares.</scene_description>
<character>CHRISTOS</character>
<dialogue>And for ten of those fifteen years I've been in love with her. But felt too guilty to tell anyone.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Least of all June herself.</dialogue>
<scene_description>BILLY stares</scene_description>
<character>BILLY</character>
<dialogue>Right.</dialogue>
<scene_description>CHRISTOS is visibly thrown, then he and BILLY get into their cars. Drive away. As they go, we reverse angle to reveal.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE has been watching them from a window. He turns, letting the curtain drop...</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S BEDROOM - NIGHT</stage_direction>
<scene_description>GEORGE gets into bed. Beside him, on a table, is a small CD/radio player. GEORGE lies down, makes himself comfortable, then presses, 'Play'. Presently we hear: the deep, resonant voice of a world famous British actor-knight reading Charles Dickens. Deep, velvety tones.</scene_description>
<character>ACTOR'S VOICE</character>
<dialogue>"...we might have gone about half a mile and my pocket handkerchief was quite wet through, when looking out, to my amazement I saw Peggotty burst from a hedge. She jumped up onto the carriage. Not a single word did she speak, she squeezed me until the pressure on my nose was extremely painful, crammed some pieces of cake into my pockets and a purse which she put in my hand, then she got down and ran away. Presently, I noticed one of her buttons rolling around on the floor. I picked it up and treasured it as a keepsake for a long time..."</dialogue>
<scene_description>GEORGE listens, as the "Great Expectations" CD plays. Soon his eyes become heavy, and he falls asleep. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON SKYLINE - DAY</stage_direction>
<scene_description>The craggy skyline of London. Chimney-stacks and TV aerials stretching into the horizon.</scene_description>
<character>CAPTION: "LONDON, ENGLAND".</character>
<dialogue>Over this: sound of a voice.</dialogue>
<character>VOICE</character>
<dialogue>All right...hold that, that's good! Now don't move! Three, two, one...</dialogue>
</scene>
<scene>
<stage_direction>INT. PHOTOGRAPHER'S STUDIO - DAY</stage_direction>
<scene_description>"Flash", a flashlight goes off. Two 12 year old TWINS, (one wearing a distinctive baseball cap), are having their photographs taken. We're in a photographer's studio. In a run-down part of town. Nothing fancy. Distinctly the low-end of the market. Cheap and cheerful wedding-photos. Cheesy backdrops.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>So, which one of you two is elder?</dialogue>
<scene_description>One TWIN puts up his hand. JASON. The confident one. The natural leader. The one wearing the baseball cap.</scene_description>
<character>JASON</character>
<dialogue>Twelve minutes.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>You know, I think I could tell.</dialogue>
<scene_description>"Flash", a photo catches the boys' laughter.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>And you're Marcus..?</dialogue>
<character>JASON</character>
<dialogue>No, he's Marcus.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>Right.</dialogue>
<character>JASON</character>
<dialogue>The quiet one.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>I was going to say the handsome one.</dialogue>
<scene_description>"Flash", another photographer catches the BOYS' laughter.</scene_description>
<character>JASON</character>
<dialogue>I'm Jason.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>Got it. Jason the elder.</dialogue>
<parenthetical>('flash')</parenthetical>
<dialogue>The chatter-box.</dialogue>
<parenthetical>('flash')</parenthetical>
<dialogue>The smart-arse.</dialogue>
<scene_description>CONTINUED: The boys laugh again. "Flash" another photo.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOTOGRAPHER'S STUDIO - OFFICE - DAY</stage_direction>
<scene_description>The two boys meticulously count out their money from their savings boxes. The PHOTOGRAPHER hands over a large, wrapped print.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNCIL ESTATES - NIGHT</stage_direction>
<scene_description>A tough, run-down, inner city council estate in central London. Once a beacon of hope. Now a ghetto of social exclusion. Tower blocks. Labyrinthine walkways. Vandalized amenities. Graffiti on walls. JASON and MARCUS arrive. Walk to their elevator. We notice they now carry plastic BAGS. They have done the shopping.</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER BLOCK - APARTMENT - NIGHT</stage_direction>
<scene_description>The PHOTO of the two boys sits in prime position. Propped up on the kitchen table. Along with a small cheap cake. And a candle. JASON sits at the table, doing his homework. MARCUS stares at the TV.</scene_description>
<character>JASON</character>
<dialogue>What's the matter?</dialogue>
<character>MARCUS</character>
<dialogue>I don't understand it. Can I copy yours?</dialogue>
<character>JASON</character>
<dialogue>No.</dialogue>
<character>MARCUS</character>
<dialogue>Please? It has to be in tomorrow.</dialogue>
<character>JASON</character>
<dialogue>Tough bananas.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>The TWINS clean their teeth. In silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>The TWINS tuck themselves up. Put themselves to bed. At the moment, the door opens. ....and the silhouette of the twins' MOTHER staggers in. They peer though the door, and watch as...</scene_description>
</scene>
<scene>
<stage_direction>INT. FLAT - SAME TIME</stage_direction>
<scene_description>The MOTHER walks in, visibly worse for wear. Almost senseless. Intoxicated. She walks right past the table with the PHOTOGRAPH. Goes to the fridge, rattles around for a drink.</scene_description>
</scene>
<scene>
<stage_direction>INT. TWINS' BEDROOM - SAME TIME</stage_direction>
<scene_description>The TWINS watch their MOTHER stagger around the apartment, absorbed in her oblivion. The pain etched in their eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. FLAT - SAME TIME</stage_direction>
<scene_description>The MOTHER goes into her bedroom. Closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. TWIN'S BEDROOM - SAME TIME</stage_direction>
<scene_description>The TWINS look at one another. Trying to hide their disappointment. The TWINS go back to bed.</scene_description>
<character>JASON</character>
<dialogue>She'll see it tomorrow.</dialogue>
<scene_description>MARCUS nods. The TWINS go back to bed.</scene_description>
<character>JASON</character>
<dialogue>Good night.</dialogue>
<character>MARCUS</character>
<dialogue>Good night.</dialogue>
<scene_description>'Click', JASON turns the light out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNCIL ESTATES - THE FOLLOWING DAY</stage_direction>
<scene_description>"Bang", "bang", "bang". CONTINUED: A MAN, a WOMAN and a uniformed POLICE OFFICER stand outside the twin's flat, knocking on the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>"Bang, bang", JASON bolts upright in this bedroom. Walking rapidly. His face still creased with sleep, he goes to the window, looks through a crack in the curtains, and peers out. Seeing who it is, JASON' face falls.</scene_description>
<character>JASON</character>
<dialogue>Shit.</dialogue>
<scene_description>JASON hurriedly shakes MARCUS awake.</scene_description>
<character>JASON</character>
<dialogue>Wake up!</dialogue>
<scene_description>JASON rushes out of the room. MARCUS wakes.</scene_description>
<character>JASON</character>
<dialogue>Social Services.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOORSTEP - APARTMENT - DAY</stage_direction>
<scene_description>The MAN and a WOMAN from SOCIAL SERVICES stand outside the TWINS' flat. "Knock, knock", the MAN knocks again at the door. The WOMAN crouches down, and peers through the letter- box.</scene_description>
<character>WOMAN</character>
<dialogue>Jackie! Are you in there? C'mon, open up!</dialogue>
</scene>
<scene>
<stage_direction>INT. TWINS' APARTMENT - SAME TIME</stage_direction>
<scene_description>JASON, pulling on his school uniform, opens the door to his mother's bedroom. He stares inside, then his face falls. His mother, (JACKIE), lies on the bed, passed out. Fully clothed. An empty, used syringe on her bed. CONTINUED: The room is a disgrace. Ashtray on the bed. Filthy sheets, unwashed in weeks. Clothes and food strewn on the floor. JASON stares. Becoming emotional. But he swallows it. No time for that now. "Knock, knock", the SOCIAL SERVICES WOMAN bangs at the door.</scene_description>
<character>WOMAN</character>
<dialogue>Open up, please!</dialogue>
<scene_description>MARCUS appears in the doorway. Half asleep. Also pulling on his school uniform.</scene_description>
<character>JASON</character>
<dialogue>Wake her up. Make her look better.</dialogue>
<scene_description>JASON rushes out, (past the kitchen table where the photograph and the cake remain untouched), and goes to the front door. MARCUS stares at his mother. He touches her hand, which is scarred by needle track-marks. The WOMAN from the SOCIAL SERVICES speaks through the letter-box. A warm smile.</scene_description>
<character>JASON</character>
<dialogue>She's not here. She's gone to the shops.</dialogue>
<scene_description>'Slam', he closes the letter-box. Sticks a chair in the way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOORSTEP - APARTMENT - DAY</stage_direction>
<scene_description>The WOMAN straightens, shoots a look at her COLLEAGUE.</scene_description>
<character>WOMAN</character>
<dialogue>"Gone to the shops."</dialogue>
<character>MAN</character>
<dialogue>Fine. We'll wait.</dialogue>
<scene_description>In neighboring flats. People peer out. What's going on?</scene_description>
</scene>
<scene>
<stage_direction>INT. TWINS' APARTMENT - DAY</stage_direction>
<scene_description>Inside the flat, JASON empties all the contents of the fridge back into the plastic bags. CONTINUED: In another room: MARCUS puts on his mother's face. Straightens her clothes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOORSTEP - SAME TIME</stage_direction>
<scene_description>A SOCIAL WORKER calls through the door.</scene_description>
<character>MAN</character>
<dialogue>Boys, it's no use. We know you're covering for her.</dialogue>
<scene_description>The two BOYS bundle their mother out of the bathroom window at the back of the flat. A final warning from the SOCIAL WORKER comes through the door.</scene_description>
<character>MAN</character>
<dialogue>If she's not here in five minutes, we're going to have to call the police child protective unit.</dialogue>
<scene_description>'Snap', the door opens. JASON stares out.</scene_description>
<character>JASON</character>
<dialogue>You can come in and wait for her, if you want.</dialogue>
<scene_description>The SOCIAL WORKERS look at one another, then go inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. TWINS' APARTMENT - DAY</stage_direction>
<scene_description>The SOCIAL WORKERS enter the flat, and look around it. The WOMAN looks inside all the bedrooms. We notice the mother's bedroom has been tidied up. Presently, the sound of a voice, from behind them.</scene_description>
<character>JACKIE</character>
<dialogue>Oh, hello? What brings you here? I hope the boys have offered you some tea. I bought some Jaffa cakes . Who wants some?</dialogue>
<scene_description>The MOTHER walks in, carrying the shopping bags. The SOCIAL WORKERS stare at one another.</scene_description>
</scene>
<scene>
<stage_direction>INT. TWINS' APARTMENT - LATER</stage_direction>
<scene_description>An hour later: the SOCIAL WORKERS have gone. JACKIE sits at the table, hugging her boys. CONTINUED:</scene_description>
<character>JACKIE</character>
<dialogue>Marcus, do something for me, will you? Go to the cupboard. There's a red box. At the back.</dialogue>
<scene_description>MARCUS gets up, and goes to a cupboard. From the back of the cupboard, he pulls a BOX, which he gives to his mother. JACKIE takes a small key from a chain around her neck, and opens the red box. She takes out an envelope. JACKIE stares at it.</scene_description>
<character>JACKIE</character>
<dialogue>Take this to the chemist. He'll know what to do.</dialogue>
<scene_description>MARCUS takes the prescription. JASON watches, then.</scene_description>
<character>JASON</character>
<dialogue>I'll do it. Marcus hasn't done his homework, yet.</dialogue>
<scene_description>JASON picks up his mother's mobile telephone.</scene_description>
<character>JASON</character>
<dialogue>Call me on this. I'll talk you through it.</dialogue>
<scene_description>JASON shoots a meaningful look at MARCUS, "Just do it", takes the prescription, and goes.</scene_description>
<character>JACKIE</character>
<dialogue>But keep it short, It's expensive.</dialogue>
<scene_description>MARCUS takes a seat at the table, opens his notebook, and dials a number on the phone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNCIL ESTATES- DAY</stage_direction>
<scene_description>'Ring', the phone rings. JASON answers it, and speaks while he walks through the council estates.</scene_description>
<character>JASON</character>
<dialogue>It's OK, forget the homework, you can copy mine.</dialogue>
<scene_description>JASON opens the envelope, pulls out a prescription.</scene_description>
<character>JASON</character>
<dialogue>I want you to look up 'Naltrexone'.</dialogue>
</scene>
<scene>
<stage_direction>INT. TWINS' APARTMENT - SAME TIME</stage_direction>
<scene_description>MARCUS types the words into the computer, pretending to do his homework. (We intercut between the two as necessary).</scene_description>
<character>MARCUS</character>
<parenthetical>(reading/hushed tones)</parenthetical>
<dialogue>"Naltrexone blocks the effects of heroin and other opiates such as Morphine, and Dihydrocodeine. Detoxification can take between a week and one months."</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Does that mean she's stopping?</dialogue>
<character>JASON</character>
<dialogue>Yeah. I think that's exactly what it means.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEMIST - DAY</stage_direction>
<scene_description>JASON speaks into the telephone as he gets the drugs from the pharmacist.</scene_description>
<character>JASON</character>
<dialogue>This is great.</dialogue>
<parenthetical>(kisses medicine bottle)</parenthetical>
<dialogue>She's never done this before. Up to now it's just been promises.</dialogue>
<scene_description>JASON pays, then goes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OUTSIDE CHEMIST - DAY</stage_direction>
<scene_description>JASON walks out of the chemist shop, onto the streets.</scene_description>
<character>JASON</character>
<dialogue>Just think - it'll be like living in a normal family for once.</dialogue>
<scene_description>Up ahead, three OLDER TEENAGERS, tough, lean against a wall. JASON attempts to walk by. But one of the OLDER KIDS steps out, blocking his path. JASON tries to walk past, but the ELDER BOY lunges aggressively, tries to snatch the phone.</scene_description>
<character>JASON</character>
<dialogue>Hey! Fuck you..!</dialogue>
<scene_description>CONTINUED: JASON tries to snatch it back, but one of the other BOYS throws a punch, which JASON skillfully ducks. JASON throws a punch back at the ELDER BOY, grabs his phone, then runs as fast as he can. The ELDER BOYS give chase, one takes a desperate swing, trying to hit JASON. JASON swerves out of the way, his foot hits the side of the curb. BYSTANDERS cover their mouths in concern, the traffic on the street is fast-travelling. JASON regains his footing, but one remaining ELDER TEENAGER is still ahead. JASON tries to run past him. But the TEENAGER blocks his path, lunging at JASON as he runs past. JASON slips. Losing his footing. He stumbles - falling into the street. An approaching CAR tries to avoid JASON. The ELDER TEENAGERS watch in horror. JASON's face, realizing the terrible danger... Screeching brakes...but it's too late. "CCCCRRRUUUUNNNNNNCCCHHHHH" - the CAR hits JASON with devastating force. JASON's eyes widen in horror. A BYSTANDER screams. JASON flies through the air, his tiny, vulnerable body already lifeless. The sound of pandemonium breaking out.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - COUNCIL ESTATE - DAY</stage_direction>
<scene_description>MARCUS is still on the phone. The unmistakable sound of a commotion. Raised voices.</scene_description>
<character>MARCUS</character>
<dialogue>Jason..!</dialogue>
<scene_description>The sound of screaming. The phone goes dead. CONTINUED:</scene_description>
<character>MARCUS</character>
<dialogue>Jason?!</dialogue>
<scene_description>No answer. MARCUS drops the phone, runs out of the apartment.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ESTATE - DAY</stage_direction>
<scene_description>MARCUS runs across the estate.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ESTATE - DAY</stage_direction>
<scene_description>MARCUS takes the short-cut which JASON had taken. Then he hears it. The sound of screaming. MARCUS turns a corner, drawn by the sound, then sees what any twin most dreads. His brother on the floor, in the middle of the street, in a pool of blood. PEOPLE stand over JASON's body. MARCUS pushes through the CROWD, falls to his knees, and holds his brother. JASON is shaking. An eleven year old boy. His eyes open in fear. He squeezes his brother's hand.</scene_description>
<character>MARCUS</character>
<dialogue>Who? Don't...don't go. You can't.</dialogue>
<scene_description>But JASON dies in his arms</scene_description>
<character>MARCUS</character>
<dialogue>Noooooo!!!!</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BANGKOK INTERNATIONAL AIRPORT - DAY</stage_direction>
<scene_description>An AIR FRANCE 747 roars down the runway..</scene_description>
</scene>
<scene>
<stage_direction>INT. 747 - DAY</stage_direction>
<scene_description>We're in the first class cabin. MARIE stares out of the window. Her food untouched. Lost in thought. CONTINUED: DIDIER sits beside her, reading newspapers which carry stories about the Tsunami.</scene_description>
<character>MARIE</character>
<dialogue>I feel terrible. I should have stayed. Reported the story.</dialogue>
<scene_description>DIDIER lowers the paper.</scene_description>
<character>DIDIER</character>
<dialogue>After what happened to you? They've sent a crew from the Hong Kong bureau.</dialogue>
<character>MARIE</character>
<dialogue>Never done that before. Run away from a story.</dialogue>
<scene_description>DIDIER reaches over. Gives her hand a squeeze. But MARIE does not respond. She continues to stare out of the window. As the plane travels through clouds. White clouds. Sunshine. Somewhere distinctly like heaven.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. PARIS AIRPORT - NIGHT</stage_direction>
<scene_description>MARIE and DIDIER climb into a taxi.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAXI - MARIE'S APARTMENT BLOCK - NIGHT</stage_direction>
<scene_description>The taxi pulls up outside MARIE's apartment block. A smart, fashionable address. Inside: DIDIER looks at MARIE.</scene_description>
<character>DIDIER</character>
<dialogue>You OK?</dialogue>
<character>MARIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Their hands hold for a beat, a last squeeze...</scene_description>
<character>DIDIER</character>
<dialogue>You want me to come in with you?</dialogue>
<character>MARIE</character>
<dialogue>I'll be fine.</dialogue>
<scene_description>DIDIER leans over, kisses her good night.</scene_description>
<character>DIDIER</character>
<dialogue>I love you.</dialogue>
<scene_description>CONTINUED: MARIE nods. She gets out of the car, then...</scene_description>
<character>MARIE</character>
<dialogue>Oh, I almost forgot.</dialogue>
<scene_description>She opens her bag, pulls out the two gifts for his kids she had clung onto the whole time. Like her. A little frayed. A little worse for wear. But intact. DIDIER's face: visibly moved.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARIE'S FLAT - NIGHT</stage_direction>
<scene_description>The taxi drives off. Marie is about to turn, and go into her apartment, when she stops. Across the street is a vast POSTER of MARIE, endorsing a cellphone, (or Amex card, or broadband connection, some other symbol of 24/7, successful, metropolitan, workaholic life). MARIE stares at the poster, then turns and goes inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARIE'S FLAT - NIGHT</stage_direction>
<scene_description>MARIE enters her flat. Turns on the lights.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARIE'S BATHROOM - NIGHT</stage_direction>
<scene_description>MARIE soaks in the bath.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARIE'S BEDROOM - NIGHT</stage_direction>
<scene_description>MARIE opens her mail. Invitations. More invitations. Work engagements. On the wall: photographs of MARIE with famous people. Various broadcasting and journalistic awards. A TV plays in the corner. Using computer imagery, SCIENTISTS explain how and why the Tsunami happened. Why it caused such devastation. MARIE stares at the screen. It's the team from Hong Kong reporting on the Tsunami. CONTINUED: The FEMALE REPORTER is a beautiful, young Asian woman. Doing a good job, too. Images of villages under water. Buildings destroyed. Bodies awaiting identification. We CLOSE on MARIE's face as she watches.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>MARIE sits in her bed. Tries to read. Tries to work. A pile of books and articles by her bedside. But she cannot concentrate. She takes a bottle of pills from a drawer. Takes one. Then turns, and hits the light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TELEVISION STUDIO - PARIS - THE FOLLOWING DAY</stage_direction>
<scene_description>A complex of buildings. Major television studios in the heart of Paris.</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - MAKE UP - DAY</stage_direction>
<scene_description>MARIE is being made-up. A MAKE- UP ARTIST puts the finishing touches to MARIE's hair. We notice bouquets of flowers everywhere in MARIE's room. MARIE stares at her reflection in the mirror. She checks whether there is any sign of the turmoil within. None.</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - DAY</stage_direction>
<scene_description>MARIE walks out onto the floor. The studio falls silent, then gradually, a round of applause from everyone watching.</scene_description>
<character>MARIE</character>
<dialogue>Thank you.</dialogue>
<scene_description>Greetings from well-wishing TECHNICIANS and CAMERAMEN. MARIE kisses several 'hello'. MARIE takes her seat. TECHNICIANS fix sound-microphones and cables.</scene_description>
</scene>
<scene>
<stage_direction>INT. TV STUDIO - DAY</stage_direction>
<scene_description>MARIE's face on TV monitors. DIDIER sits in the production gallery, watching her. He's the show's producer. DIDIER scrutinizes her face on TV monitors in close-up. He speaks into a microphone. (As before, all dialogue is in French. We see subtitles).</scene_description>
<character>DIDIER</character>
<dialogue>You ok?</dialogue>
<scene_description>In the studio, MARIE nods.</scene_description>
<character>MARIE</character>
<dialogue>Fine.</dialogue>
<character>DIDIER</character>
<dialogue>OK, good luck everyone.</dialogue>
<scene_description>DIDIER speaks into the microphone.</scene_description>
<character>DIDIER</character>
<dialogue>Places everyone. On air in five..four..three..two...</dialogue>
<scene_description>Urgent signature tune music, current affairs-style. MARIE shuffles the papers on her desk. Takes a swig of water. Waits for her cue.</scene_description>
<character>DIDIER</character>
<dialogue>And cue Marie...</dialogue>
<scene_description>MARIE looks straight into the camera, reads from an autocue.</scene_description>
<character>MARIE</character>
<dialogue>Good evening. In tonight's show, the Chief Executive of Etolie clothing manufactures, Guillaume Berni, who's company has been using child labor in South East Asia as our investigation revealed.</dialogue>
</scene>
<scene>
<stage_direction>INT. TV STUDIO - DAY</stage_direction>
<scene_description>LATER: the talk show is in full swing. We pic up MARIE and the Chief Executive mid-combat. CONTINUED:</scene_description>
<character>BERNI</character>
<dialogue>...it's easy for us in the West to criticize labour practices in the Third World, but the truth is these factories play a vital role in the industrial development and evolution of poorer nations.</dialogue>
<scene_description>MARIE, however, is unable to concentrate. Suddenly around MARIE, in the TV studio, all sounds goes silent. The executive continues to talk, but we hear nothing. MARIE's P.O.V: we're in darkness. A light in the distance. The sound of a gentle wind. As before: colours gradually becoming visible. The light in the distance becomes closer, and closer. Then suddenly.."WHOOOSH" MARIE emerges again into the television studio, as the CHIEF EXECUTIVE continues to protest his innocence.</scene_description>
<character>BERNI</character>
<dialogue>...and let's be quite clear about this - wages we're paying are incrementally higher than local wages, which is why there is no shortage of people willing to work there...</dialogue>
<scene_description>In the production gallery: DIDIER leans forward, speaks into the microphone.</scene_description>
<character>DIDIER</character>
<dialogue>Like malnourished twelve year old kids working in labour camp conditions, with carcinogenic chemicals for $17 a week? OK, jump in, Marie. Let him have it!</dialogue>
<scene_description>But rather than cut the executive off, MARIE appears to be distracted, has difficulty concentrating.</scene_description>
<character>MARIE'S P.O.V:</character>
<dialogue>The sound of a gentle wind. The light has grown closer.</dialogue>
<dialogue>For the first time we can make out amorphous shapes. Moving toward us. And colours.</dialogue>
<scene_description>CONTINUED: We CLOSE in again on MARIE's face, then suddenly. "WHOOOOSSHH", she is brought around by the sound of DIDIER's shouting voice in her earpiece.</scene_description>
<character>DIDIER</character>
<dialogue>Marie, did you hear me? Jump in!!</dialogue>
<scene_description>In the studio: camera TECHNICIANS flinch hearing DIDIER's shouting in their earpieces. Even the EXECUTIVE appears bemused. Then, suddenly MARIE shakes herself out of it...</scene_description>
<character>MARIE</character>
<dialogue>...you really think that kind of justification will satisfy french customers buying clothes...if they were to know the conditions under which they have been produced...</dialogue>
<scene_description>Nervous looks around the studio.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO - DRESSING-ROOM - AFTERWARDS</stage_direction>
<scene_description>MARIE stares at her reflection in her dressing-room. Removing her make-up. DIDIER appears in the doorway.</scene_description>
<character>MARIE</character>
<dialogue>I'm sorry...that was unforgivable.</dialogue>
<character>DIDIER</character>
<dialogue>We'll take care of it in the edit. NO one will notice. My fault. A defensive Chief Executive was a tough welcome back.</dialogue>
<parenthetical>(a sympathetic smile)</parenthetical>
<dialogue>You want to go out? Get something to eat?</dialogue>
<character>MARIE</character>
<dialogue>No. I'm fine.</dialogue>
<character>DIDIER</character>
<dialogue>Sure?</dialogue>
<scene_description>MARIE manages a polite smile.</scene_description>
<character>DIDIER</character>
<dialogue>I'll see you tomorrow.</dialogue>
<scene_description>He smiles, is about to go, when. CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>Didier...</dialogue>
<scene_description>DIDIER turns.</scene_description>
<character>MARIE</character>
<dialogue>I think something might have happened to me out there.</dialogue>
<character>DIDIER</character>
<dialogue>Yes. You had a close escape.</dialogue>
<character>MARIE</character>
<dialogue>No, I mean, something really happened to me. When I went under. I saw these...visions.</dialogue>
<scene_description>Silence. MARIE opens her mouth, wants to explain, but cannot...</scene_description>
<character>MARIE</character>
<dialogue>I don't know.</dialogue>
<scene_description>DIDIER shrugs.</scene_description>
<character>DIDIER</character>
<dialogue>Concussion. You banged your head.</dialogue>
<scene_description>MARIE is about to protest, then smiles.</scene_description>
<character>MARIE</character>
<dialogue>You're right. Yes.</dialogue>
<scene_description>She kisses DIDIER good night.</scene_description>
<character>MARIE</character>
<dialogue>I'll see you tomorrow.</dialogue>
<scene_description>MARIE turns and walks away. DIDIER watches her go. A flicker of concern on his face.</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - DAY</stage_direction>
<scene_description>The following day: A large production meeting is in progress; PRODUCERS, EDITORS, RESEARCHERS - some two dozen people sitting around a large office. Production issues are being discussed, topics for forthcoming shows. CONTINUED:</scene_description>
<character>PRODUCER (IN FRENCH)</character>
<dialogue>..Ok, two of the right wing newspapers claim Sikhs were out in the streets burning cars, looting shops...others say the unrest was deliberately created by elements within nationalist parties in order to cast negative suspicion on racial minority.</dialogue>
<scene_description>As the debates continue, DIDIER looks over the room at MARIE. She is sitting, staring out of the window. Lost in thought. A flicker of concern on DIDIER's face. She would normally be leading these discussions. This is not the normal MARIE. Not by a long way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR PARK - TV STUDIOS - DAY</stage_direction>
<scene_description>Afterward: DIDIER and MARIE walk out of the TV studios. DIDIER comes up to MARIE.</scene_description>
<character>DIDIER</character>
<dialogue>Listen, I've got to work late and finish some things.</dialogue>
<character>MARIE</character>
<dialogue>Okay. See you in the morning.</dialogue>
<scene_description>MARIE kisses him goodbye. She turns, walks over to her car. DIDIER watches her for a moment, then.</scene_description>
<character>DIDIER</character>
<dialogue>May I say something you might find difficult to hear?</dialogue>
<scene_description>MARIE turns.</scene_description>
<character>DIDIER</character>
<dialogue>I think we may have rushed you back too soon.</dialogue>
<scene_description>A beat.</scene_description>
<character>DIDIER</character>
<dialogue>Physically you're fine. But something about you...since the accident...</dialogue>
<scene_description>CONTINUED: DIDIER stares at her.</scene_description>
<character>DIDIER</character>
<dialogue>Don't you think you should take some time to get over what happened? Just a couple of weeks.</dialogue>
<character>MARIE</character>
<dialogue>Get over it?</dialogue>
<scene_description>DIDIER walks with her to her car.</scene_description>
<character>DIDIER</character>
<dialogue>You know how you've always said you wanted to find some time to write.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>That book idea of yours - you know Michel would snap that up in a second, and pay good money.</dialogue>
<character>MARIE</character>
<dialogue>I know. But that would take time.</dialogue>
<character>DIDIER</character>
<dialogue>So? This will all be here waiting for you. The important thing is to get you right. You're too important to us.</dialogue>
<scene_description>MARIE looks at DIDIER</scene_description>
<character>MARIE</character>
<dialogue>Let me think about it.</dialogue>
<scene_description>MARIE kisses him goodbye, gets in her car, and drives off. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHICAGO - FACTORY - DAY</stage_direction>
<scene_description>We're high over a large, automobile factory on the outskirts of Chicago.</scene_description>
</scene>
<scene>
<stage_direction>INT. FACTORY - DAY</stage_direction>
<scene_description>GEORGE, in blue work clothes and hard-hat, is driving a fork-lift truck in a huge factory. He is lost in his work.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM - FACTROY - DAY</stage_direction>
<scene_description>Up above GEORGE, on the first floor: a meeting is taking place in the boardroom, between management and union representatives. Some fifteen or twenty people. Heated discussion. People visibly in disagreement. One or two workers on the factory floor notice the meeting taking place. Look up. Whisper ominously to one another. One of the managers looks down, and notices their attention. She closes the blinds as the meeting continues.</scene_description>
</scene>
<scene>
<stage_direction>INT. FACTORY - DAY</stage_direction>
<scene_description>GEORGE has finished his shift. He walks past a group of other WORKERS.</scene_description>
<character>WORKER</character>
<dialogue>Hey, you see that meeting taking place today on the first floor? The head office guys and the union?</dialogue>
<character>GEORGE</character>
<dialogue>No. I didn't see that.</dialogue>
<character>WORKER</character>
<dialogue>They were in there all afternoon. Makes you think the rumor's right.</dialogue>
<character>GEORGE</character>
<dialogue>What rumor?</dialogue>
<character>WORKER</character>
<dialogue>That they're letting 30% of the workforce go? You've heard that, right?</dialogue>
<character>GEORGE</character>
<dialogue>R-right.</dialogue>
<character>WORKER</character>
<dialogue>Say, what's the matter with you, today?</dialogue>
<character>GEORGE</character>
<dialogue>Nothing. Didn't sleep well, that's all.</dialogue>
<scene_description>CONTINUED: GEORGE closes his locker, walks away.</scene_description>
<character>WORKER</character>
<dialogue>See you tomorrow.</dialogue>
<scene_description>The WORKER casually offers his hand.</scene_description>
<character>GEORGE</character>
<dialogue>Yeah, see you tomorrow.</dialogue>
<scene_description>GEORGE discreetly avoids the handshake. He goes.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - DAY</stage_direction>
<scene_description>GEORGE showers. Steam billows.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - DAY</stage_direction>
<scene_description>GEORGE dresses. Thinks long and hard. Cannot decide which shirt.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ADULT EDUCATION CENTER - NIGHT</stage_direction>
<scene_description>To establish: a local college. Sprawling buildings.</scene_description>
</scene>
<scene>
<stage_direction>INT. ADULT EDUCATION CENTER - NIGHT</stage_direction>
<scene_description>A number of adult education classes are in progress. Ballroom dancing. Foreign languages. Car maintenance. Pottery. Dozens of ADULTS are enrolling for classes. Today is the first day of the new semester. Among the many rooms, we pick out one.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHENS - NIGHT</stage_direction>
<scene_description>Large kitchens, belonging to a huge College. An Italian TEACHER, (Chef), checks the time, then claps his hands. Thirty PUPILS of all ages and sizes turn to face him. Among them, GEORGE.</scene_description>
<character>TEACHER</character>
<dialogue>Right, welcome all of you to this ten week course in Italian cuisine.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>TEACHER</character>
<dialogue>My name is Carlo, some of you know me already, you've done some of my other courses, those of you that don't, bona sera - and you'll call me 'Chef'. Mostly we'll be working in pairs throughout the course, so one of the first things we have to do today is pair you all up.</dialogue>
<scene_description>Nervous laughter. Eyes dart anxiously in the room. Sizing one another up. GEORGE scans his fellow PUPILS. Looking hopefully for a suitable partner.</scene_description>
<character>TEACHER</character>
<dialogue>I notice some of you have come in twos already. Others have worked together before.</dialogue>
<scene_description>GEORGE watches as PAIRS fall info place, a natural process of selection. The oldest PAIR, the youngest PAIR, two redheads.</scene_description>
<character>TEACHER</character>
<dialogue>Now, who's left?</dialogue>
<scene_description>Just when it looks like GEORGE is to be paired with a rather uninteresting looking WOMAN. 'Crash', the doors to the kitchens burst noisily open, and a latecomer come through.</scene_description>
<character>MELANIE</character>
<dialogue>God, I'm sorry! I'm so sorry I'm late!</dialogue>
<scene_description>It's an attractive WOMAN in her mid to late 30's.</scene_description>
<character>MELANIE</character>
<dialogue>...roads were closed because of that snow...plus that jerk in registration took an age processing my applications</dialogue>
<parenthetical>(tailing off)</parenthetical>
<dialogue>Am I too late?</dialogue>
<character>TEACHER</character>
<dialogue>NO. Not at all. What's your name?</dialogue>
<character>MELANIE</character>
<dialogue>Melanie.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>TEACHER</character>
<dialogue>Ok, Melanie, we were just pairing people off. Why don't we put you with?</dialogue>
<scene_description>His eyes come to rest on an elderly man. He's about to choose him, then he sees GEORGE.</scene_description>
<character>TEACHER</character>
<dialogue>What's your name?</dialogue>
<character>GEORGE</character>
<dialogue>George.</dialogue>
<character>TEACHER</character>
<dialogue>Melanie with George. Alice, you're with?</dialogue>
<character>ELDELY MAN</character>
<dialogue>Tony.</dialogue>
<scene_description>MELANIE smiles, "Hi", offers her hand, but GEORGE avoids shaking it. Everyone is paired up, and delighted. The TEACHER opens a bottle of red wine.</scene_description>
<character>TEACHER</character>
<dialogue>Right, in exercise classes they warm up with stretches. We're going to warm up with a glass of Barbaresco, a beautiful wine from the Piedmont region in North Western Italy, made from the Nebbiolo grape.</dialogue>
<scene_description>A ripple of excitement as Carlo distributes glasses of red wine. It's a great ice-breaker. He flicks on some wonderfully romantic Italian music...</scene_description>
<character>TEACHER</character>
<dialogue>...and some music. Because cooking is ALL the senses. The nose, the eyes, the palette, AND the ears...</dialogue>
<scene_description>MELANIE removes her coat, comes over to GEORGE...</scene_description>
<character>TEACHER</character>
<dialogue>And tonight, we start at the beginning, the cornerstone of so much of Italian cooking - the classic tomato sauce - from Toscana. And in preparation, we need chopped tomatoes, chopped garlic, chopped basil, chopped onions, a LOT of chopping...</dialogue>
<scene_description>CONTINUED: The TEACHER goes to his station and starts chopping with a dizzying blur of movement. Everyone gasps, and tries to copy. MELANIE and GEORGE watch as some of the other COUPLES, (who've brought their own knives), chop at speed, expertly...</scene_description>
<character>MELANIE</character>
<dialogue>God, some of them are really good.</dialogue>
<parenthetical>(begins chopping slowly)</parenthetical>
<dialogue>Is this your first time.</dialogue>
<character>GEORGE</character>
<parenthetical>(concentrating)</parenthetical>
<dialogue>Yes.</dialogue>
<character>MELANIE</character>
<dialogue>Mine, too. Y'know, I read in the brochure, that the course builds to a competition.</dialogue>
<character>GEORGE</character>
<dialogue>I saw that. To be judged by local restaurant critics.</dialogue>
<character>MELANIE</character>
<dialogue>I don't think we should get our hopes up?</dialogue>
<character>GEORGE</character>
<dialogue>Why not? We still have ten weeks.</dialogue>
<character>MELANIE</character>
<dialogue>That's true.</dialogue>
<character>GEORGE</character>
<dialogue>And we haven't cut off our fingers yet.</dialogue>
<character>MELANIE</character>
<dialogue>That's a good attitude.</dialogue>
<scene_description>They continue preparing their food.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ADULT EDUCATION COLLEGE - NIGHT</stage_direction>
<scene_description>Afterward: the class is finished. GEORGE watches MELANIE walk to her car. She turns, waves at GEORGE. CONTINUED:</scene_description>
<character>MELANIE</character>
<dialogue>See you next week!</dialogue>
<scene_description>GEORGE smiles. Waves back.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE gets off the bus, walks back towards his apartment, humming the Italian music. Smiles to himself. A spring in his step. It's clear he liked MELANIE. Liked her a lot.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BLOCK - NIGHT</stage_direction>
<scene_description>Elevator door open. GEORGE gets out. He walks towards his apartment, then stops in his tracks. Sitting on the steps outside his door, is an AFRICAN AMERICAN WOMAN in her 50's. Visibly emotional. Distraught. Seeing GEORGE, she gets to her feet.</scene_description>
<character>CANDACE</character>
<dialogue>George Lonegan?</dialogue>
<character>GEORGE</character>
<dialogue>Yes.</dialogue>
<character>CANDACE</character>
<dialogue>I hate to bother you...I'm Mr. Andreou's neighbor.</dialogue>
<scene_description>GEORGE stares, 'Who?'</scene_description>
<character>CANDACE</character>
<dialogue>The Greek guy? Mid-50's? Who lost his wife? I believe you recently did a reading for him.</dialogue>
<character>GEORGE</character>
<dialogue>I'm sorry, Miss...</dialogue>
<character>CANDACE</character>
<dialogue>Candace.</dialogue>
<character>GEORGE</character>
<dialogue>Let me stop you right there. Because I don't do readings any more.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CANDACE</character>
<dialogue>You did one last week. For Mr. Andreou.</dialogue>
<character>GEORGE</character>
<dialogue>He's an associate of my brother's. It was an exception. Apart from him I haven't done one in years.</dialogue>
<character>CANDACE</character>
<dialogue>Please? I give you my word I won't tell anyone.</dialogue>
<character>GEORGE</character>
<dialogue>I'm sorry.</dialogue>
<character>CANDACE</character>
<dialogue>I brought money. Everything I have. I lost my child. My only child. My beautiful baby girl...</dialogue>
<scene_description>GEORGE stares, as the WOMAN breaks down, opens her bag, producing all her savings.</scene_description>
<character>GEORGE</character>
<dialogue>Don't you understand? I don't WANT your money.</dialogue>
<scene_description>GEORGE unlocks his door, goes inside.</scene_description>
<character>GEORGE</character>
<dialogue>I don't DO this anymore. Leave me alone.</dialogue>
<scene_description>'Slam', he closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>GEORGE breathes out, shocked by his anger. From outside, he can hear the sound of CANDACE's tears. GEORGE's face: haunted by the sound of her crying.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWIMMING POOL - DAY</stage_direction>
<scene_description>GEORGE is sitting in the spectator's seats with his brother BILLY, while BILLY's children play in the pool. It's a Sunday afternoon. Families with children everywhere. CONTINUED: GEORGE and BILLY shout encouragement at two little GIRLS, BILLY'S children, (aged 8 and 6).</scene_description>
<character>GEORGE</character>
<dialogue>So, another person came to see me. For a "reading".</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Thanks to your friend Mr. Andreou.</dialogue>
<character>BILLY</character>
<dialogue>What? I told that Greek jerk to keep his big mouth shut.</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>Go girls!</dialogue>
<character>GEORGE</character>
<dialogue>Well, he obviously didn't.</dialogue>
<character>BILLY</character>
<dialogue>I'll have another word with him. Make sure it doesn't happen again.</dialogue>
<scene_description>A silence. Then.</scene_description>
<character>BILLY</character>
<dialogue>And?</dialogue>
<character>GEORGE</character>
<dialogue>And what?</dialogue>
<character>BILLY</character>
<dialogue>Did you do it?</dialogue>
<character>GEORGE</character>
<dialogue>What?</dialogue>
<character>BILLY</character>
<dialogue>The reading?</dialogue>
<scene_description>GEORGE stares.</scene_description>
<character>GEORGE</character>
<dialogue>You don't get it, do you? You think because it pays money...</dialogue>
<parenthetical>(searches for words)</parenthetical>
<dialogue>...because I CAN...I should just do it.</dialogue>
<character>BILLY</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Yeah, I do. I also think because you have a GIFT, you have a DUTY to do it.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>It's not a gift, Billy. It's a curse.</dialogue>
<scene_description>GEORGE gets to his feet.</scene_description>
<character>GEORGE</character>
<dialogue>You have no idea...it ruins any chance of a normal life. You feel like a freak.</dialogue>
<scene_description>GEORGE walks away.</scene_description>
<character>BILLY</character>
<dialogue>Freak or no freak...it's who you are. What you are</dialogue>
<parenthetical>(calling after him)</parenthetical>
<dialogue>You can't keep running away from that.</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S BATHROOM - NIGHT</stage_direction>
<scene_description>"Snap", GEORGE opens the medicine cabinet in his bathroom. He looks for a bottle of pills, visibly emotional, hands shaking. He is about to take one... ...then stops, decides against it, he closes the cabinet door.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE lies in bed. The comforting, reassuring tones of Charles Dickens' "Great Expectations" and the famous actor's voice come from the CD player...</scene_description>
<character>ACTOR'S VOICE</character>
<dialogue>"..to divert his thoughts from this melancholy subject, I informed Mr Micawber that I relied on him for a bowl of punch, and led him to the lemons. His recent despondency, not to say despair, was gone in a moment.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ACTOR'S VOICE</character>
<dialogue>I never saw a man so thoroughly enjoy himself amid the fragrance of lemon-peel and sugar, and the smell of burning rum, as he stirred, and mixed, and tasted, and looked as if he were making, instead of punch, a fortune for his family to last for all posterity.."</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - DAY</stage_direction>
<scene_description>An inner-city cemetery, in the middle of London. In the middle, a small, plain church. The sound of pipe organ music and a small number of singing voices can be heard from inside. A large number of brightly-dressed SIKH MOURNERS arrive for their ceremony, which is obviously next up. They greet one another, breath steaming in the cold, and wait their turn outside the church. They shiver in the icy rain. Stamp their feet. Check their watches.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - SAME TIME</stage_direction>
<scene_description>Inside an almost empty, non-denominational church: the piped music and singing comes to an end. Standing in the front row, MARCUS holds the hymn book, but is unable to sing. He stares ahead. Rigid. Raised on a stand, is his brother's COFFIN. A PRIEST steps up. From his manner it's clear, the PRIEST has never met JASON, or his mother. Standard text. No frills. In and out in less than twenty minutes. The PRIEST can see the shivering SIKHS huddled in the doorway, waiting outside. An elderly SIKH who will conduct the next service, is waiting in the wings. The PRIEST puts his foot on the gas. Phones in his standard address, only the individual name requires alteration... CONTINUED:</scene_description>
<character>PRIEST</character>
<dialogue>Death is not final, it is merely the beginning, gateway to an afterlife that reflects our conduct here on earth. God in his infinite generosity created heaven, which is where Jason is now. Surrounded by all the angels and saints. Looking down at us.</dialogue>
<scene_description>Among the congregation, a few rows back, we pick out the SOCIAL WORKERS. Their eyes are on JACKIE, the mother, who's head lolls. She sways from side to side, supported by two equally stoned, fellow ADDICTS. MARCUS stands alone. Neglected. (We notice he holds JASON's distinctive baseball cap in his hand).</scene_description>
<character>PRIEST</character>
<dialogue>And so we commend Jason's body to dust, his soul already in God's care.</dialogue>
<scene_description>The PRIEST discreetly presses a hidden button. With a great, grinding noise, sliding doors open, and a old, worn-out conveyor belt starts. JASON's coffin starts with a jolt, and slowly disappears through the doors and into the furnace beyond. MARCUS stares. Rooted to the spot.</scene_description>
<character>PRIEST</character>
<dialogue>Jason's ashes will be made available at the back of the church. In the meantime, if you wouldn't mind, I'd like you to leave through the front door.</dialogue>
<scene_description>The MOURNERS begin to filter out, as in the back of the church, the SIKH GROUP begin to filter in, grateful to get out of the cold. SIKH WOMEN carry in a large picture of the deceased, a smiling, elderly bearded MAN, and prop it up on the altar.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - DAY</stage_direction>
<scene_description>Waiting for the ashes, MARCUS shivers in the cold. The SOCIAL WORKERS come up to him. CONTINUED:</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>We're so sorry.</dialogue>
<scene_description>MARCUS stares. Unable to speak. The SOCIAL WORKER opens her mouth, is about to say something, then decides against it. Now's not the time. MARCUS turns to see the urn containing JASON's ashes is brought out. Unclaimed. All heads turn and watch as MARCUS steps forward. Takes the ashes. Voices fall silent. It's a heartbreaking sight. One twin holding the ashes of the other.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS'S FLAT - NIGHT</stage_direction>
<scene_description>The urn containing JASON's ashes stands on a mantle- piece. MARCUS stares at it through a crack in the doorway.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS'S FLAT - NIGHT</stage_direction>
<scene_description>MARCUS lies in bed. Alone. He stares at his brother's empty bed beside him. JASON's baseball cap by his side.</scene_description>
<character>MARCUS</character>
<dialogue>Good night, Jase.</dialogue>
<scene_description>'Click', he turns out the light.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICE OFFICES - DAY</stage_direction>
<scene_description>Busy social services offices. Phones ringing. Strips lighting. In the far corner, a conference room, inside which we can make out MARCUS and his MOTHER in a meeting.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>A conference room, where one of the SOCIAL WORKERS is talking. All eyes are on MARCUS. CONTINUED:</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>It won't be for long. It's what we call a "short-term placement"</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Just until your mother feels better.</dialogue>
<scene_description>MARCUS stares at his mother. Confused.</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>The couple we have in mind have a lot of experience. And live close to where you live now.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Of course you'll stay at the same school.</dialogue>
<scene_description>MARCUS turns. Stares at his MOTHER. Not understanding.</scene_description>
<character>MARCUS</character>
<dialogue>I don't want to go with anyone else. What's the matter? I want you. Where are you going?</dialogue>
<scene_description>JACKIE turns to the SOCIAL WORKERS...</scene_description>
<character>JACKIE</character>
<dialogue>Give us a minute?</dialogue>
<scene_description>The SOCIAL WORKERS nod. They get up and go. MARCUS is left alone with his mother... A silence, then...</scene_description>
<character>JACKIE</character>
<dialogue>Look...I need a little time, to sort myself out. I'm not running away, I promise. I could stay with you now...and I want to so much...but chances are...I wouldn't make it...I'm not strong enough...</dialogue>
<scene_description>She takes MARCUS's hand...</scene_description>
<character>JACKIE</character>
<dialogue>I don't expect you to understand...for me to leave you now must feel like the worst thing in the world...but I promise...I'm not going to let you down...</dialogue>
<parenthetical>(squeezes hand tightly)</parenthetical>
<dialogue>I promise.</dialogue>
<scene_description>CONTINUED: MARCUS stares. JACKIE is visibly still stoned. Inside his whole world falling apart, but putting on a brave face...</scene_description>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICE - OFFICE - DAY</stage_direction>
<scene_description>MARCUS watches from a distance as his mother signs the consent forms in another room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOCIAL SERVICES - DAY</stage_direction>
<scene_description>The SOCIAL WORKERS watch, as. MARCUS and his MOTHER say goodbye on the steps outside the social workers offices. They separate. MARCUS's mother walks off towards a waiting CAR. MARCUS watches her, hoping she'll turn around. Change her mind. Come back to get him. But she doesn't. She cannot. She walks off. Not daring to look round. MARCUS stares. His heart cracks. The SOCIAL WORKERS go to get him. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARIS SKYLINE - DAY</stage_direction>
<scene_description>The unmistakable Parisian skyline.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PUBLISHING HOUSE - DAY</stage_direction>
<scene_description>A modern, fashionable, prestigious, up-market political publishing house. Posters on the wall, publishing awards. High-brow, political, cultural, cutting-edge.</scene_description>
</scene>
<scene>
<stage_direction>INT. PUBLISHING HOUSE - DAY</stage_direction>
<scene_description>In a conference room: MARIE is pitching her 'take' on her political/historical book. MARIE explains how she sees the basic structure of the book. The political-biographical split. Half-a-dozen EDITORS and EXECUTIVES listen intently...asking questions. CONTINUED: Nods of approval. The meeting is going well. MARIE turns, looks out of the window as she speaks. She sees: her POSTER hangs in a conspicuous place across the street. MARIE allows herself a private smile of satisfaction as she continues. Soon. The meeting wraps up. Everyone gets to their feet, shaking or hands. It's evidently gone very well.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RESTAURANT - PARIS - NIGHT</stage_direction>
<scene_description>To establish: a restaurant in a gorgeous, hidden square. Snow lies on the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURANT - PARIS - NIGHT</stage_direction>
<scene_description>In the bar: a WAITER pours a bottle of champagne. DIDIER and MARIE sit at a table celebrating her "sale"...</scene_description>
<character>DIDIER</character>
<dialogue>Congratulations..!</dialogue>
<scene_description>They click glasses.</scene_description>
<character>DIDIER</character>
<dialogue>The timing couldn't be better. Politically, there's nothing going</dialogue>
<character>DIDIER</character>
<dialogue>on now anyway. You can write a book you've always wanted to write, get some rest. I tell you, come summer, you'll be back in the office with a best-seller under your belt, a big fat renegotiated contract...</dialogue>
<character>MARIE</character>
<parenthetical>(an ironic smile)</parenthetical>
<dialogue>"Stronger than ever".</dialogue>
<character>DIDIER</character>
<dialogue>Exactly. Adapting and turning misfortune to your advantage. That's what I've always liked about you. Never been a victim.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>Right.</dialogue>
<scene_description>MARIE withdraws her hand.</scene_description>
<character>MARIE</character>
<dialogue>Never a victim. Never vulnerable. Never complains.</dialogue>
<scene_description>MARIE smiles to herself, then the WAITER comes, and indicates their table is ready.</scene_description>
<character>DIDIER</character>
<dialogue>Great, let's eat. I'm starving.</dialogue>
<scene_description>MARIE and DIDIER walk over to their table, take their seats, and begin to look at the menus. MARIE makes her choice. Puts down her menu. A silence, then.</scene_description>
<character>MARIE</character>
<dialogue>Let me ask you a question. What do you think happens when we die?</dialogue>
<scene_description>DIDIER looks up. Removes his glasses.</scene_description>
<character>DIDIER</character>
<dialogue>What a question.</dialogue>
<character>MARIE</character>
<dialogue>So?</dialogue>
<character>DIDIER</character>
<dialogue>We die. Lights go out. That's it. Why?</dialogue>
<character>MARIE</character>
<dialogue>Nothing? Just blackout?</dialogue>
<character>DIDIER</character>
<dialogue>Total blackout. Plug pulled out. Zap. The eternal void.</dialogue>
<character>MARIE</character>
<dialogue>You don't thing it's possible there's something...</dialogue>
<character>DIDIER</character>
<dialogue>What?</dialogue>
<character>MARIE</character>
<dialogue>I don't know...something. Hereafter.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DIDIER</character>
<dialogue>No, I don't.</dialogue>
<scene_description>DIDIER indicates for the waiter to come over.</scene_description>
<character>DIDIER</character>
<dialogue>Besides - you don't think if it was anything, someone would have discovered it by now? And there'd be proof?</dialogue>
<scene_description>MARIE smiles to herself...</scene_description>
<character>MARIE</character>
<dialogue>I guess.</dialogue>
<scene_description>The WAITER arrives. DIDIER starts to give his order.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARIE'S APARTMENT - PARIS - DAY</stage_direction>
<scene_description>The following morning: MARIE sits in her apartment. She turns on her computer. Plugs in the internet cable. She opens a few books, the research on Mitterrand. Spreads out her work, and begins to read and make notes... We CLOSE on her typing on her computer: "...unifier of the French left? Or destroyer of it's dreams?" "...a legacy of phone-tapping, illegitimate children, scandals..." "...radical economic and political reforms...abolition of the death penalty..." "...Mitterrand died of cancer in Paris on 8th January, 1996." MARIE stops...unable to focus. Her thoughts wander...her concentration drifts. She considers something. Then decides against it. MARIE returns to her writing and compiling notes, but before long. Her concentration drifts again. She goes online. MARIE goes to 'Google, is about to type something in, but stops. CONTINUED: She must be mad. But then she decides to do it anyway. And types in...</scene_description>
<character>"NEAR DEATH"</character>
<dialogue>MARIE hesitates for a beat, almost embarrassed by herself.</dialogue>
<dialogue>Then hits 'Enter'.</dialogue>
<dialogue>In 0.67 seconds, the search yields a staggering 78,000,000 results.</dialogue>
<dialogue>MARIE looks surprised. She puts on her glasses, scrolls down the hits..</dialogue>
<dialogue>Dipping her toes in..</dialogue>
<dialogue>"Near-death. Experiences and the afterlife..."</dialogue>
<dialogue>"Over 3,000 documented Near Death experiences..."</dialogue>
<dialogue>"The Near-Death Experiences Research Institute, (NDRI), Geneva, Switzerland..."</dialogue>
<dialogue>MARIE takes a closer look.</dialogue>
<dialogue>She clicks on Near Death Research Institute, and starts reading.</dialogue>
<dialogue>"...part of the internationally-renowned Elizabeth Rousseau Foundation..."</dialogue>
<dialogue>A photograph appears of an elder French Doctor. Elizabeth Rousseau MD.</dialogue>
<scene_description>"...Dr Rousseau is a psychiatrist and the author of the ground- breaking "On Death and Dying". She has earned her position as the world's leading authority on the subject of death..." MARIE continues reading. CONTINUED: "...after earning her medical degree at the University of Switzerland in 1967, DR ROUSSEAU continued her studies in New York, completing her degree in Psychiatry in 1973. She then worked with the dying in a hospice for twenty-five years..." MARIE scrolls down. "...DR ROUSSEAU is the author of more than a dozen books. She has been awarded over 25 honorary doctorates from major universities all over the world..." MARIE is totally engrossed. She clicks on the webpage for the Elizabeth Rousseau Foundation. It reveals a Swiss address. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ADULT EDUCATION COLLEGE - NIGHT</stage_direction>
<scene_description>The sound of an American voice:</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>OK, everyone, ready? Blindfolds on...</dialogue>
</scene>
<scene>
<stage_direction>INT. ADULT EDUCATION COLLEGE - COOKERY CLASS - NIGHT</stage_direction>
<scene_description>In the adult education class: MELANIE puts on the blindfold, and GEORGE holds a tray with various small spoons, each containing different ingredients... (All the other students are also split into pairs; one blindfolded, the other not)</scene_description>
<character>TEACHER</character>
<dialogue>It you want to be a good cook, first we need to work on your palette...to stimulate your imaginations, your senses...No good being an expert chopper, dicer, roaster, toaster if you can't give names, colors and even shapes to flavors...</dialogue>
<scene_description>GEORGE picks up the first spoon... CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>Okay, you ready...?</dialogue>
<scene_description>MELANIE smiles, opens her mouth in expectation. GEORGE feeds her the first ingredient. GEORGE can see what it is - "Crushed water chestnut".</scene_description>
<character>TEACHER</character>
<dialogue>Okay, spoon number one. This isn't easy..So don't worry if you can't immediately identify it...let's start with trying to describe it. What's the texture? What's the consistency?</dialogue>
<scene_description>MELANIE starts to chew the food, thinking, savoring.</scene_description>
<character>MARIE</character>
<parenthetical>(laughing nervously)</parenthetical>
<dialogue>I have no freakin' idea what this is...but it's not a fruit. It's kind of nutty, but kinda sweet, too.</dialogue>
<scene_description>GEORGE writes down her comments, then takes the next spoon, and feeds the blindfolded MELANIE that...</scene_description>
<character>MELANIE</character>
<dialogue>So, how are we going to do this? We could make up a whole load of crap, or we could cut to the chase, and be honest with one another.</dialogue>
<character>GEORGE</character>
<dialogue>About?</dialogue>
<character>MELANIE</character>
<dialogue>About why we're both doing night school classes.</dialogue>
<parenthetical>(tasting it)</parenthetical>
<dialogue>Something 'oakie' about that. Nutmeggie.</dialogue>
<scene_description>GEORGE writes down her comments.</scene_description>
<character>MELANIE</character>
<dialogue>You're not going to tell me it's just because you want to make the perfect spaghetti Vongole, right?</dialogue>
<character>GEORGE</character>
<dialogue>No, not entirely...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MELANIE</character>
<dialogue>Ok, I'll jump in. I'm doing this because I'm new to Chicago, because I'm looking to make new friends, and who knows, if I'm lucky, maybe even meet the man of my dreams.</dialogue>
<scene_description>MELANIE takes GEORGE hand, and guides the spoon toward her mouth. It's as if GEORGE receives a shock. Her touch has an immediate impact. A flicker behind his eyes, a stab of pain, then he delicately removes his hand from hers, breaking the connection.</scene_description>
<character>GEORGE</character>
<dialogue>Why did you move to Chicago?</dialogue>
<character>MELANIE</character>
<dialogue>Because I got dumped by someone in Pittsburgh.</dialogue>
<character>GEORGE</character>
<dialogue>I'm sorry.</dialogue>
<character>MELANIE</character>
<dialogue>Not quite at the aisle. But pretty close. Down-payment on the wedding dress, honeymoon booked, that kind of thing.</dialogue>
<parenthetical>(gestures)</parenthetical>
<dialogue>It's OK. I'm over it. Just about. Not at all, actually.</dialogue>
<scene_description>LATER: GEORGE is blind-folded, and MELANIE is spoon- feeding him. There is something very sexy and intimate about it.</scene_description>
<character>MELANIE</character>
<dialogue>How about you?</dialogue>
<character>GEORGE</character>
<dialogue>Well, like you, I recently made a big change to my life. I wanted to reevaluate things...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Change my priorities.</dialogue>
<character>MELANIE</character>
<dialogue>What was the change? Divorce?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>No, no. Nothing like that. No.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>...a job. Something I needed to put behind me...that was making any kind of life impossible.</dialogue>
<character>MELANIE</character>
<dialogue>You're not going to tell me what it was?</dialogue>
<character>GEORGE</character>
<dialogue>Would you mind if I didn't?</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Don't worry. I'm not a criminal or anything.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ADULT EDUCATION COLLEGE - NIGHT</stage_direction>
<scene_description>Afterwards: GEORGE and MELANIE exit the college and walk toward their cars.</scene_description>
<character>MELANIE</character>
<dialogue>Wasn't that great?</dialogue>
<character>GEORGE</character>
<dialogue>Yeah, fun.</dialogue>
<character>MELANIE</character>
<dialogue>God, and it's made me so hungry!</dialogue>
<character>GEORGE</character>
<dialogue>Me, too.</dialogue>
<character>MELANIE</character>
<dialogue>You want to get something to eat?</dialogue>
<character>GEORGE</character>
<dialogue>Sure. There's a place nearby everyone says is good.</dialogue>
<character>MELANIE</character>
<dialogue>Place nearby? Are you kidding? We're experts ourselves now.</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE and MELANIE enter his apartment, both carrying shopping bags. CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>Make yourself comfortable, I'll take care of this.</dialogue>
<scene_description>MELANIE takes off her coat.</scene_description>
<character>MELANIE</character>
<dialogue>Don't be silly. I'll help you. We're partners, remember? Make some room.</dialogue>
<scene_description>GEORGE and MELANIE begin washing, chopping, and preparing the food. A good team.</scene_description>
<character>MELANIE</character>
<dialogue>So, been in Chicago long?</dialogue>
<character>GEORGE</character>
<dialogue>Born and bred. Grew up on the South side.</dialogue>
<character>MELANIE</character>
<dialogue>That you? As a kid?</dialogue>
<scene_description>MELANIE indicates photographs all over the kitchen. George looks up..</scene_description>
<character>GEORGE</character>
<dialogue>Yeah. And my brother, Billy.</dialogue>
<character>MELANIE</character>
<dialogue>Let me tell you, you got the looks.</dialogue>
<character>GEORGE</character>
<dialogue>Well, he got everything else.</dialogue>
<character>MELANIE</character>
<dialogue>These his kids?</dialogue>
<character>GEORGE</character>
<dialogue>Yeah.</dialogue>
<character>MELANIE</character>
<dialogue>Cute.</dialogue>
<character>GEORGE</character>
<dialogue>Thanks.</dialogue>
<scene_description>MELANIE reaches another photo.</scene_description>
<character>MELANIE</character>
<dialogue>This his wife?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>Yeah</dialogue>
<scene_description>MELANIE notices another picture.</scene_description>
<character>MELANIE</character>
<dialogue>Who's this?</dialogue>
<scene_description>MELANIE notices a bust of the 19th century MAN, too.</scene_description>
<character>MELANIE</character>
<dialogue>Some kind of ancestor?</dialogue>
<character>GEORGE</character>
<dialogue>That's Charles Dickens.</dialogue>
<character>MELANIE</character>
<dialogue>Oh.</dialogue>
<character>GEORGE</character>
<dialogue>I'm a fan. A HUGE fan. People go on and on about Shakespeare, and he's great, of course, but Dickens..? I like to listen to the CD's.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Here, let me get that.</dialogue>
<scene_description>GEORGE reaches over, to help MELANIE light the stove</scene_description>
<character>GEORGE</character>
<dialogue>There's a knack.</dialogue>
<scene_description>His arm goes through hers, a moment of intimacy, as he flickers the gas-ignition in a special way. 'Rrrinngg', the phone rings on the other side of the kitchen. GEORGE flickers with irritation.</scene_description>
<character>GEORGE</character>
<dialogue>Leave it. Let it ring.</dialogue>
<scene_description>The answer-machine picks up the phone. GEORGE and MELANIE Presently, a VOICE comes out.</scene_description>
<character>BILLY (O.S.)</character>
<dialogue>Hey, it's Billy. Just to say I finally caught up with our Greek friend, and told him to keep his mouth shut.</dialogue>
<scene_description>GEORGE hears BILLY's voice and looks up. CONTINUED:</scene_description>
<character>BILLY (O.S.)</character>
<dialogue>So you can relax, there shouldn't be any more freaks knocking on your door asking for readings.</dialogue>
<scene_description>GEORGE stops preparing the food, puts down his knife.</scene_description>
<character>BILLY (O.S.)</character>
<dialogue>I have to say, though, he did make a point of saying again how brilliant he thought you were. And with so many fakers out there, someone who had a proper gift...</dialogue>
<scene_description>GEORGE walks over to the answer-machine.</scene_description>
<character>BILLY (O.S.)</character>
<dialogue>Funny, he said he looked up your old website, too. Said it was still there.</dialogue>
<scene_description>"Click", GEORGE turns off the machine, cutting off BILLY's voice.</scene_description>
<character>GEORGE</character>
<dialogue>Sorry about that.</dialogue>
<scene_description>GEORGE smiles, avoiding her eyes. Then goes.</scene_description>
<character>MELANIE</character>
<dialogue>W-wait a minute. What "proper gift"?</dialogue>
<character>GEORGE</character>
<dialogue>Hmmm? Oh, nothing.</dialogue>
<character>MELANIE</character>
<dialogue>No, I'm interested. What gift?</dialogue>
<scene_description>GEORGE stares at MELANIE, wondering whether he can trust her. Then.</scene_description>
<character>GEORGE</character>
<dialogue>The job I had was as a psychic.</dialogue>
<character>MELANIE</character>
<dialogue>What?</dialogue>
<scene_description>GEORGE sees her incredulous look.</scene_description>
<character>GEORGE</character>
<dialogue>I know...but it's true</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>I had an illness. As a child.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>An infection, which turned into a fever, which turned into inflammation of the brain, and spinal chord. Encephalomyelitis.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And they had to operate.</dialogue>
<parenthetical>(taps head)</parenthetical>
<dialogue>In the back, here. It was a complicated procedure. Eight hours. And they nearly lost me. On a number of occasions.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Anyway they fixed the illness but they must have messed up something else, because not long afterwards I started getting these migraines.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Then nightmares. Then these...connections.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Then, one day, I was with a friend, and I had a vision...Of a woman. A crystal clear vision.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>I described her to him, and it turns out the person I described was the exact description of his mother. Someone I'd never met. Who'd died the previous week.</dialogue>
<scene_description>GEORGE looks up at MELANIE.</scene_description>
<character>GEORGE</character>
<dialogue>You're not laughing yet?</dialogue>
<character>MELANIE</character>
<dialogue>No, I'm not.</dialogue>
<character>GEORGE</character>
<dialogue>Of course I dismissed it as a coincidence. But as time went on, I had more and more of these...'things'. Connections...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>The doctors ran a few tests, told my parents I'd developed 'passive schizophrenia', and gave me some pills. Which stopped the visions, but which pretty much stopped everything else, too.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>So I was faced with a choice.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>I would either live the rest of my life with these hallucinations...with no apparent way of switching it off.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Or have no life at all.</dialogue>
<character>MELANIE</character>
<dialogue>Oh my God.</dialogue>
<scene_description>GEORGE turns, sees the oven. His face falls.</scene_description>
<character>GEORGE</character>
<dialogue>Damn, now the food has overcooked.</dialogue>
<character>MELANIE</character>
<dialogue>Can I ask you a question?</dialogue>
<scene_description>GEORGE rushes to the cooker, deals with the food.</scene_description>
<character>GEORGE</character>
<dialogue>We're in luck. I think it's still OK.</dialogue>
<character>MELANIE</character>
<dialogue>George..?</dialogue>
<scene_description>GEORGE does not need to look. Knows already what the question is.</scene_description>
<character>GEORGE</character>
<dialogue>Would you mind if I said the answer is 'no'.</dialogue>
<character>MELANIE</character>
<dialogue>You don't even know what I was going to asks.</dialogue>
<character>GEORGE</character>
<dialogue>Yes, I do.</dialogue>
<scene_description>GEORGE turns.</scene_description>
<character>GEORGE</character>
<dialogue>You were about to ask the same question everyone ask.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>You were going to ask me to do a reading for you?</dialogue>
<scene_description>GEORGE summons the courage, finding this difficult. CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>Look, Melanie, I barely know you - but I like you. A lot. Really a lot. Enough for me to ask you if there's any way we could go back in time? Pretend the phone never rang?</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Or that we could pretend you never heard my brother's message? And we never had this conversation?</dialogue>
<character>MELANIE</character>
<dialogue>Why?</dialogue>
<character>GEORGE</character>
<dialogue>Because once we open the door, and go down that road...any chance we stood of having something normal...will just be gone. It just will.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Believe me. I have enough experience of that now.</dialogue>
<scene_description>GEORGE shrugs, trying to explain.</scene_description>
<character>GEORGE</character>
<dialogue>Sometimes in life knowing everything about one another is good</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>But mostly it's better to hold some things back</dialogue>
<character>MELANIE</character>
<dialogue>I hear you</dialogue>
<scene_description>MELANIE stares at GEORGE..</scene_description>
<character>MELANIE</character>
<dialogue>But you can understand I'm curious.</dialogue>
<character>GEORGE</character>
<dialogue>Yes, I can.</dialogue>
<scene_description>GEORGE starts to serve up the food. Then notices MELANIE is staring expectantly at him.</scene_description>
<character>MELANIE</character>
<dialogue>Please..?</dialogue>
<scene_description>CONTINUED: MELANIE takes GEORGE imploringly by the hand, and immediately GEORGE stiffens, as if receiving a shock. A connection happens. GEORGE stares at her. A flicker of sadness behind his eyes, then..</scene_description>
<character>GEORGE</character>
<dialogue>OK, a lady. Tall. Thin...brown Hair.</dialogue>
<character>MELANIE</character>
<dialogue>My mother.</dialogue>
<character>GEORGE</character>
<dialogue>I'm feeling a pain in my chest.</dialogue>
<character>MELANIE</character>
<dialogue>That's how she died. Of a heart attack.</dialogue>
<scene_description>GEORGE removes his hand. Turns away.</scene_description>
<character>MELANIE</character>
<dialogue>Wait...there's something else.</dialogue>
<character>GEORGE</character>
<dialogue>No, there's not. C'mon, let's eat.</dialogue>
<character>MELANIE</character>
<dialogue>Please, there is. I can tell.</dialogue>
<scene_description>GEORGE walks out, carrying dishes of hot food.</scene_description>
<character>MELANIE</character>
<dialogue>What's the matter..?</dialogue>
<scene_description>MELANIE becomes flirtatious.</scene_description>
<character>MELANIE</character>
<dialogue>Don't you think I could handle it?</dialogue>
<scene_description>Their lips are almost touching. GEORGE stares, then</scene_description>
<character>GEORGE</character>
<dialogue>All right. Last time we touched I saw a man. Dark hair.</dialogue>
<character>MELANIE</character>
<dialogue>My father.</dialogue>
<character>GEORGE</character>
<dialogue>Passed away not long ago?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MELANIE</character>
<dialogue>Last year.</dialogue>
<character>GEORGE</character>
<dialogue>And all he kept saying, all I kept hearing was.</dialogue>
<character>MELANIE</character>
<dialogue>Was what..?</dialogue>
<character>GEORGE</character>
<dialogue>How sorry he was.</dialogue>
<character>MELANIE</character>
<dialogue>What for?</dialogue>
<character>GEORGE</character>
<dialogue>For what he did to you.</dialogue>
<scene_description>MELANIE's face changes.</scene_description>
<character>GEORGE</character>
<dialogue>All that time ago.</dialogue>
<scene_description>MELANIE backs off.</scene_description>
<character>GEORGE</character>
<dialogue>And he hoped you could one day forgive him.</dialogue>
<scene_description>MELANIE stares.</scene_description>
<character>GEORGE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>A silence. MELANIE feels sick.</scene_description>
<character>MELANIE</character>
<dialogue>No, I'm sorry. For pressing you like that.</dialogue>
<scene_description>MELANIE moves away from GEORGE, Suddenly the whole atmosphere has changed.</scene_description>
<character>MELANIE</character>
<dialogue>Maybe we shouldn't have gone there.</dialogue>
<scene_description>MELANIE smiles awkwardly.</scene_description>
<character>MELANIE</character>
<dialogue>I don't know what to say.</dialogue>
<parenthetical>(a beat)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>MELANIE</character>
<dialogue>Except, if I go now, if we draw a line under this...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Pretend it never happened...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>We'll be OK, I'm sure.</dialogue>
<character>GEORGE</character>
<dialogue>Good.</dialogue>
<character>MELANIE</character>
<dialogue>We still have the competition to win, right?</dialogue>
<character>GEORGE</character>
<dialogue>Right.</dialogue>
<scene_description>MELANIE puts on her coat.</scene_description>
<character>MELANIE</character>
<dialogue>I should've listened to you. To much knowledge, and all that.</dialogue>
<scene_description>MELANIE kisses GEORGE on the cheek.</scene_description>
<character>GEORGE</character>
<dialogue>See you next week?</dialogue>
<character>MELANIE</character>
<dialogue>You betcha.</dialogue>
<scene_description>MELANIE manages a brave smile. Then goes. Closes the door behind her.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR OUTSIDE GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>MELANIE walks to the elevator. Presses the button. She waits for the elevator to arrive. She gets into the elevator, waits a moment - tries to fight it - but cannot. She bursts into tears.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE watches from a window as MELANIE walks to her car. GEORGE hopes she will look up. Smile. Offer some signal that all is well. But she doesn't. Her car's engine starts. She drives away. CONTINUED: OVER THIS: the sound of the famous actor's voice.</scene_description>
<character>ACTOR'S VOICE (O.S.)</character>
<dialogue>"...the old unhappy feeling that had once pervaded my life...came back like an unwelcome visitor...and deeper than ever..."</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE lies in bed, the recording of David Copperfield continues. GEORGE stares, his eyes open.</scene_description>
<character>ACTOR'S VOICE</character>
<dialogue>"...it addressed me like a strain of sorrowful music...a hopeless consciousness of all that I had lost... all that I had ever loved...and all that remained was a ruined blank and waste...lying around me...unbroken to the dark horizon..."</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOSTER PARENT'S HOUSE - DAY</stage_direction>
<scene_description>A car pulls up outside a small, tidy house in a small, tidy street. The door open. The SOCIAL WORKERS get out. Followed by MARCUS. Who carries bags. His entire worldly possessions. Including the framed PHOTOGRAPH of him and his brother.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOSTER PARENTS' HOUSE - DAY</stage_direction>
<scene_description>The SOCIAL WORKERS watch as. MARCUS is introduced to his new caregivers. Professional FOSTER PARENTS. A kind couple in their mid-fifties.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>Hello Marcus. I'm Angela. And this is David. We'll be looking after you for a while.</dialogue>
<scene_description>The SOCIAL WORKERS watch as. The FOSTER PARENTS ask MARCUS countless questions. CONTINUED:</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>What do you like to eat in the mornings?</dialogue>
<scene_description>Silence</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>We're porridge eaters here. Do you like porridge, Marcus?</dialogue>
<scene_description>Silence</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>Or Cornflakes?</dialogue>
</scene>
<scene>
<stage_direction>INT. FOSTER PARENTS' HOUSE - DAY</stage_direction>
<scene_description>MARCUS is shown his room for the first time.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>This is your room.</dialogue>
<scene_description>The FOSTER FATHER smiles.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>Our last boy, Ricky, moved out about a month ago.</dialogue>
<scene_description>Inside: signs of a previous occupant. Posters of rockstars, footballers, pretty girls on the wall, etc.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>Turned 18. Got his first job, as a security guard.</dialogue>
<scene_description>MARCUS looks into the room.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>Go on. It's all yours now.</dialogue>
<scene_description>But MARCUS remains in the doorway. As if paralysed. Staring. Apparently unable or unwilling to enter. The FOSTER PARENTS exchange looks. Not understanding. The SOCIAL WORKER watches MARCUS closely. Sees MARCUS is staring at the bed. The SOCIAL WORKER thinks, then takes the FOSTER FATHER to one side, and whispers into his ear.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS'S ROOM - DAY</stage_direction>
<scene_description>The SOCIAL WORKER and FOSTER FATHER struggle to move a second bed into MARCUS's bedroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARCUS'S BEDROOM - NIGHT</stage_direction>
<scene_description>MARCUS lies in bed, staring at the empty bed across the room. His "brother's" empty bed. MARCUS stretches out his hand. Hoping to touch something. Feel something.</scene_description>
<character>MARCUS</character>
<dialogue>Good night, Jase.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOSTER PARENTS' HOUSE - SAME TIME</stage_direction>
<scene_description>Standing in the corridor outside, we reveal the FOSTER MOTHER and FOSTER FATHER are listening. They look at one another. Visibly concerned.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM - DAY</stage_direction>
<scene_description>The following day: MARCUS, (now wearing JASON's baseball cap), is in a classroom. Lost in thought. A TEACHER ask a question. A sea of hands go up. MARCUS, however, is miles away. Distracted.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - DAY</stage_direction>
<scene_description>SCHOOLKIDS play in the yard. Raucous laughter. One CHILD is not taking part. Stands to one side. It's MARCUS. Wearing the baseball cap. Standing alone. Lost in thought. The same TEACHER stares. Concerned.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL - DAY</stage_direction>
<scene_description>MARCUS stands in a corridor alone. In the classroom, his TEACHER is talking to the SOCIAL WORKERS. Concerned looks. Lowered voices.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHILD PSYCHOLOGIST'S OFFICE - DAY</stage_direction>
<scene_description>MARCUS sits in a chair, wearing the baseball cap, opposite a female child psychologist in her 40's.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>So - thanks for coming to see me, Marcus.</dialogue>
<parenthetical>(surreptitiously checks her files)</parenthetical>
<dialogue>Your care worker referred you to me.</dialogue>
<scene_description>Silence.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>She said you might have been feeling a little sad. Is that right? About your brother?</dialogue>
<scene_description>Silence.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>What was his name.</dialogue>
<scene_description>Silence.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>I've got "Jason" down here. Is that right? Is it Jason?</dialogue>
<scene_description>Silence.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>You know I say this to all my boys and girls, it really helps if we can manage to talk. It makes things a whole lot better.</dialogue>
<scene_description>Silence.</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>All right. I tell you what I'm going to do. I'm going to shut up. And not say a word. And leave it up to you.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And if you want to sit here in silence, that's fine.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And if there's something you want to say to me...anything at all. That's fine, too.</dialogue>
<parenthetical>(a beat)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>PSYCHOLOGIST</character>
<dialogue>Or ask me.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Anything at all.</dialogue>
<scene_description>Silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL - DAY</stage_direction>
<scene_description>Bells ring. It's lunchtime. Everyone heads for the canteen. One TEACHER calls out to MARCUS.</scene_description>
<character>TEACHER</character>
<dialogue>Lunchtime, Marcus. Coming?</dialogue>
<scene_description>MARCUS shakes his head. Without offering an explanation, MARCUS head down the corridor in the opposite direction. The TEACHER watches him go.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMPUTER ROOM - SCHOOL - DAY</stage_direction>
<scene_description>MARCUS sits in the computer room. MARCUS stares at the computer screen. Presently, he types into the computer.</scene_description>
<character>"WHAT HAPPENS WHEN YOU DIE?"</character>
<dialogue>Then hits, 'Enter'.</dialogue>
<dialogue>4,140,000 replies in 0.36 Seconds.</dialogue>
<dialogue>Among the results, we pick out.</dialogue>
<dialogue>A number of YOU-TUBE links. MARCUS looks left and right, makes sure no one is watching, then.</dialogue>
<dialogue>Hits on the links. Starts watching.</dialogue>
<dialogue>YOU-TUBE video 1 - a bearded orthodox Islamic teacher, speaking in English with a heavy accent...</dialogue>
<character>ISLAMIC TEACHER</character>
<dialogue>...the Angel of Death comes to you, and will find you - no matter where you are hiding. Even if you are hiding in like a rich man in a Castle, the Angel of God will find you...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ISLAMIC TEACHER</character>
<parenthetical>(begins singing in Arabic)</parenthetical>
<dialogue>YOU-TUBE video 2 - lush music, a deep-voiced, soothing voice over...</dialogue>
<character>ANNOUNCER</character>
<dialogue>The Living Church of God presents the following video, hosted by Dr. Roderick C. Meredith.</dialogue>
<character>DR. MEREDITH</character>
<dialogue>Hello. A number of us are probably too frightened to ask, "What happens to us when we die?" But the good news is, if you believe in Christ you have nothing to fear...</dialogue>
<scene_description>MARCUS clicks "Stop". He starts typing in a new search.</scene_description>
<character>"TALK TO THE DEAD"</character>
<dialogue>MARCUS hits "Enter". Immediately 4,976,866 answers.</dialogue>
<character>"CAN THE LIVING TALK TO THE DEAD?" "12 WAYS TO TALK TO</character>
<dialogue>THE DEAD"</dialogue>
<dialogue>MARCUS stares at the findings. He scrolls through the websites. Starts reading.</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRENCH COUNTRYSIDE - DAY</stage_direction>
<scene_description>"Whooosh", a high-speed TGV train roars through the french countryside.</scene_description>
</scene>
<scene>
<stage_direction>INT. TGV TRAIN - DAY</stage_direction>
<scene_description>MARIE sits in the train. Several books, (In French), are spread out on the table in front of her. We see their titles:"On Life after Death", "Questions and Answers on Death and Dying", "The Five Stages of Dying". The train heads East, towards snow-capped Alps.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN ROAD - SWITZERLAND - DAY</stage_direction>
<scene_description>MARIE's taxi snakes through gorgeous mountain passes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPICE - SWITZERLAND - DAY</stage_direction>
<scene_description>MARIE's taxi pulls up outside a beautiful, modern building high up in the Alps. MARIE pays. Gets out.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPICE - SWITZERLAND - DAY</stage_direction>
<scene_description>MARIE enters the hospice. Gorgeous surroundings, beautiful views. She walks to a desk.</scene_description>
<character>MARIE</character>
<dialogue>Marie Lelay. To see Dr. Rousseau.</dialogue>
<scene_description>The RECEPTIONIST asks MARIE to take a seat, then picks up a phone, dials. MARIE walks over to a seating area, then notices a door leading to the 'Hospice'. The door is slightly ajar. MARIE goes through the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPICE - CORRIDOR - DAY</stage_direction>
<scene_description>MARIE walks down a corridor. On either side, private wards. The decor is tasteful. Mountains in the distance. MARIE walks past the wards, then stops. Something has caught her attention. A family - FATHER, MOTHER, HUSBAND - is gathered around the bedside of a DYING WOMAN, not much older then MARIE. Hospital STAFF have tactfully, discreetly given the FAMILY space and privacy. The DYING WOMAN is pale, her breathing shallow and irregular, evidently moments away from the end. The family hold the DYING WOMAN, and each other, as her final journey begins. Presently, the WOMAN's breathing stops. The struggle goes. A look of peace comes over her face. The FAMILY bursts into tears. But MARIE stares at the DEAD WOMAN, Profoundly curious. Almost an envy, (if it's possible), in her face. Then, from behind MARIE, a voice. CONTINUED:</scene_description>
<character>ROUSSEAU</character>
<dialogue>What wouldn't we give to know exactly where she's gone.</dialogue>
<scene_description>MARIE turns, DR. ROUSSEAU offers her hand, smiling.</scene_description>
<character>ROUSSEAU</character>
<dialogue>Though from what you wrote in your letter, perhaps you know already.</dialogue>
<scene_description>DR. ROUSSEAU extends her hand.</scene_description>
<character>ROUSSEAU</character>
<dialogue>Elizabeth Rousseau.</dialogue>
<character>MARIE</character>
<dialogue>Marie Lelay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARDENS - INSTITUTE - DAY</stage_direction>
<scene_description>MARIE and DR. ROUSSEAU sit in an office. Through the window, we see well-kept gardens where several dying PATIENTS are being visited by their relatives.</scene_description>
<character>MARIE</character>
<dialogue>...a garden, I think. Tranquil. Flowers.</dialogue>
<character>ROUSSEAU</character>
<dialogue>A feeling of weightlessness?</dialogue>
<character>MARIE</character>
<dialogue>Yes.</dialogue>
<character>ROUSSEAU</character>
<dialogue>A 360 perspective? No sense of linear time? Or motion?</dialogue>
<character>MARIE</character>
<dialogue>Yes.</dialogue>
<character>ROUSSEAU</character>
<dialogue>But all-knowing. All sensing.</dialogue>
<character>MARIE</character>
<dialogue>Exactly.</dialogue>
<character>ROUSSEAU</character>
<dialogue>You know, as a scientist, and atheist, my mind was closed to such things. Absolutely.</dialogue>
<parenthetical>(a beat)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>ROUSSEAU</character>
<dialogue>"Afterlife". "Near death experiences".</dialogue>
<scene_description>ROUSSEAU gets up, walks towards a filing cabinet.</scene_description>
<character>ROUSSEAU</character>
<dialogue>Like everyone else, I thought people saw bright lights, Eden- like gardens and so forth because they were culturally conditioned to do so...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>But twenty-five years in a hospice, working with people many of whom were pronounced dead, but who then miraculously survived...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>...the accounts of what they actually experienced were so strikingly similar..it couldn't just be coincidence.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Add to that the fact that when they had these experiences they were almost all UNconscious - a state in which my enemies agree the brain cannot create fresh images.</dialogue>
<character>MARIE</character>
<dialogue>So you think I really did experience something?</dialogue>
<character>ROUSSEAU</character>
<dialogue>Oh, yes.</dialogue>
<scene_description>ROUSSEAU stares at MARIE...</scene_description>
<character>ROUSSEAU</character>
<dialogue>I think you experienced death.</dialogue>
<scene_description>MARIE stares: her smile fades.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROUSSEAU'S OFFICE - DAY</stage_direction>
<scene_description>DR. ROUSSEAU and MARIE are sitting in the doctor's well- appointed office.</scene_description>
<character>ROUSSEAU</character>
<dialogue>When I first came across this...I thought I'd made a huge breakthrough.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROUSSEAU</character>
<dialogue>Significant evidence that pointed to the existence of consciousness beyond death? What a story. So I went public. In medical journals, in newspapers, on television. But instead of the bouquets and congratulations I was expecting I was subjected to the most vicious and sustained attacks...it was vile, you have no IDEA. But that's what you get if you dare to offer up a view of the afterlife with conflicts with the religious lobby. Imagine, I was called a 'witch'! In the twenty first century!</dialogue>
<character>MARIE</character>
<dialogue>But surely you had proof? Hard, scientific evidence?</dialogue>
<character>ROUSSEAU</character>
<dialogue>Yes. But because much of it was testimony from people, many of whom, my detractors argued, were in highly emotional states or on powerful drugs...they said it was bad science.</dialogue>
<scene_description>ROUSSEAU shrugs...</scene_description>
<character>ROUSSEAU</character>
<dialogue>So that put an end to that. At least in public. Privately, it's been a different story...</dialogue>
<scene_description>ROUSSEAU goes to a safe at the back of her office...</scene_description>
<character>ROUSSEAU</character>
<dialogue>A number of scientists took pity on me, and wrote to me, saying they'd been working confidentially on similar lines. And sent me their findings. About a dozen of them. All over the world. Brilliant work.</dialogue>
<scene_description>ROUSSEAU opens the safe, pulls out several files...</scene_description>
<character>ROUSSEAU</character>
<dialogue>And it's all here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOSPICE - SWITZERLAND - DAY</stage_direction>
<scene_description>ROUSSEAU walks MARIE out, to her waiting TAXI. We notice MARIE is now carrying several packages and box files.</scene_description>
<character>ROUSSEAU</character>
<dialogue>I'm afraid if your journey is anything like mine, it won't be an easy one. It's a lonely furrow to plough.</dialogue>
<scene_description>MARIE turns, and shakes hands with DR ROUSSEAU.</scene_description>
<character>ROUSSEAU</character>
<dialogue>People become quite irrational around this subject. Quite hostile, even.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>But the evidence is irrefutable. I tried. Good luck.</dialogue>
<scene_description>ROUSSEAU looks at MARIE.</scene_description>
<character>ROUSSEAU</character>
<dialogue>Maybe someone in your position, with your influence can change that.</dialogue>
<scene_description>ROUSSEAU hands MARIE the box.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - NIGHT</stage_direction>
<scene_description>MARIE sits at her desk, beside her ROUSSEAU's empty box. Scattered all over the desk are. The files of DR. ROUSSEAU's research. No sight of Mitterrand books. MARIE stares at one piece of evidence, then another. Drawings. Graphs. Pieces of film. MARIE is lost in her work. Someone on the verge of a major discovery. In the corner, a TV plays. Presently, the familiar sounds of a programme's theme music. MARIE freezes, stops typing, and looks up. ON TV: MARIE's replacement, an attractive ASIAN FEMALE PRESENTER addresses the camera. CONTINUED:</scene_description>
<character>PRESENTER (IN FRENCH)</character>
<dialogue>Good evening. With the media group Vivendi joining electrical giants VFM in announcing higher than expected quarterly profits, we ask is talk of economic downturn in France premature?</dialogue>
<scene_description>MARIE gets up from her chair, walks closer, stares at the screen. It's the same beautiful ASIAN PRESENTER that had been flown in at short notice to do the Tsunami story... MARIE watches the TV for a beat. The new PRESENTER is anything but a disaster. In fact, she's confident, relaxed and authoritative. And gorgeous. MARIE watches the TV for a beat, then switches it off. She goes back to her desk, looks at the research material on her desk. She looks first at the material for her commissioned book on Mitterrand. ...then at the material from DR ROUSSEAU MARIE thinks for a beat, then, she turns on her computer, pours herself a glass of wine, and begins writing. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FACTORY - CHICAGO - DAY</stage_direction>
<scene_description>High up over the sprawling automobile factory. A mass of chimney stacks, the abstract beauty of heavy industry.</scene_description>
</scene>
<scene>
<stage_direction>INT. FACTORY - DAY</stage_direction>
<scene_description>GEORGE is hard at work. Driving his forklift truck.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER-ROOM - FACTORY - DAY</stage_direction>
<scene_description>LATER: GEORGE is showered and changed. He's finished for the day. He is on his way out of the factory, when he is called back by the SUPERVISOR. CONTINUED:</scene_description>
<character>SUPERVISOR</character>
<dialogue>Got a second?</dialogue>
</scene>
<scene>
<stage_direction>INT. SUPERVISOR'S OFFICE - DAY</stage_direction>
<scene_description>The SUPERVISOR shows GEORGE into his office, where one or two members representing management and the union are also sitting...</scene_description>
<character>SUPERVISOR</character>
<dialogue>You're probably aware, there's been a lot of talk flying around recently about cutbacks...</dialogue>
<character>GEORGE</character>
<dialogue>I heard.</dialogue>
<character>SUPERVISOR</character>
<dialogue>Anyway, seems the suits have got together with the unions, and have come up with some packages for anyone willing to consider voluntary redundancy.</dialogue>
<character>GEORGE</character>
<dialogue>Voluntary redundancy..?</dialogue>
<character>SUPERVISOR</character>
<dialogue>If you ask me, the deal is pretty good. You'd get a year's salary in your pocket, with continued health insurance for five years.</dialogue>
<character>GEORGE</character>
<dialogue>I don't understand. What's this got to do with me?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ICE RINK - NIGHT</stage_direction>
<scene_description>GEORGE and his brother BILLY sit in the bleachers, watching a professional ice-hockey game.</scene_description>
<character>BILLY</character>
<dialogue>It's a fucking scandal</dialogue>
<parenthetical>(gestures angrily)</parenthetical>
<dialogue>You've worked there three years. Never take a day off sick, always on time...</dialogue>
<character>GEORGE</character>
<dialogue>They said it was nothing personal.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>BILLY</character>
<dialogue>Bullshit.</dialogue>
<character>GEORGE</character>
<dialogue>That they're just trying to protect the guys with wives and children.</dialogue>
<character>BILLY</character>
<dialogue>You should go see a lawyer.</dialogue>
<character>GEORGE</character>
<dialogue>I can't afford a lawyer.</dialogue>
<character>BILLY</character>
<parenthetical>(calling out)</parenthetical>
<dialogue>Shoot you dumb fuck!</dialogue>
<scene_description>BILLY throws up his hands in frustration.</scene_description>
<character>BILLY</character>
<dialogue>Look, if you want me to help find you another job, I will. Just say the word.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>But you know what I think you should do.</dialogue>
<scene_description>GEORGE rolls his eyes.</scene_description>
<character>GEORGE</character>
<dialogue>Yes, I do.</dialogue>
<character>BILLY</character>
<dialogue>The website is still there, waiting. It would be different this time.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>We could control it!</dialogue>
<parenthetical>(shouts out)</parenthetical>
<dialogue>Pass! You fucking moron! Pass!</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Just one or two appointments a day. We wouldn't give out your phone number. Wouldn't expose you to any media.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>We learned the lessons last time.</dialogue>
<scene_description>BILLY passes GEORGE a beer.</scene_description>
<character>BILLY</character>
<dialogue>At least THINK about it?</dialogue>
<scene_description>CONTINUED: GEORGE stares ahead. Granite-faced.</scene_description>
</scene>
<scene>
<stage_direction>INT. ADULT EDUCATION COLLEGE - NIGHT</stage_direction>
<scene_description>GEORGE arrives at the cooking class. He watches from the side as other COUPLES are already hard at work, preparing a dish. As expected, no sign of MELANIE. The TEACHER looks up, smiles sympathetically.</scene_description>
<character>TEACHER</character>
<dialogue>No problem. I'll step in, and partner up with you, George . You and me, let's win this thing, right?</dialogue>
<character>GEORGE</character>
<parenthetical>(a brave smile)</parenthetical>
<dialogue>Right.</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE sits at home, eating a perfectly prepared dish all on his own. Suddenly GEORGE sits up, cries out in frustration.</scene_description>
<character>GEORGE</character>
<dialogue>AAAARRRRGGGGGHHHHH!!!!!</dialogue>
<scene_description>He throws the perfectly prepared dish against the wall. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOCIAL SERVICE - OFFICE - LONDON - DAY</stage_direction>
<scene_description>A modest, red-brick Government building in London - a tough, inner city neighbourhood.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICE - OFFICE - LONDON - DAY</stage_direction>
<scene_description>'Rrrriinnng,' the phone rings. The SOCIAL WORKER answers:</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>Hello?</dialogue>
<character>FOSTER FATHER</character>
<dialogue>Clare? It's Dennis...I think you should come over...</dialogue>
</scene>
<scene>
<stage_direction>INT. FOSTER PARENTS' HOUSE - DAY</stage_direction>
<scene_description>The SOCIAL WORKER examines an empty biscuit tin.</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>How much was there?</dialogue>
<character>FOSTER FATHER</character>
<dialogue>About two hundred pounds.</dialogue>
<character>FOSTER MOTHER</character>
<dialogue>We've tried calling the school. He never got there.</dialogue>
<character>SOCIAL WORKER</character>
<dialogue>Okay, let me know if he comes back. I don't want to involve the police at this stage, that's really a last resort...And you've no idea where he might have gone?</dialogue>
<scene_description>Both shake their heads.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A SQUARE IN CENTRAL LONDON - DAY</stage_direction>
<scene_description>MARCUS stands outside a grand, nineteenth-century building in central London. A plaque beside the door announces: COLLEGE OF PSYCHIC STUDIES. MARCUS pushes open the door and enters.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION - COLLEGE OF PSYCHIC STUDIES - DAY</stage_direction>
<scene_description>MARCUS enters the college foyer. He notices a row of leaflets and flyers for various MEDIUMS, CLAIRVOYANTS and PSYCHICS. He notices one with the words "TALK TO THE DEAD" written large. Behind him, a RECEPTIONIST is talking to a VISITOR.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>I'm afraid our Senior Sensitive, Mr. Hewitt, is very busy. The earliest he could see you is six weeks time.</dialogue>
<scene_description>MARCUS stands nearby, takes several leaflets.</scene_description>
<character>VISITOR</character>
<dialogue>Oh dear.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Mrs. Joyce our Junior Sensitive is doing a public reading here tonight if you're interested, in the lecture theater.</dialogue>
<character>VISITOR</character>
<dialogue>Alright, I'll try my luck.</dialogue>
<scene_description>The VISITOR goes. The RECEPTIONIST notices Marcus.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Can I help you?</dialogue>
<scene_description>MARCUS shakes his head. He grabs some more leaflets, and goes.</scene_description>
</scene>
<scene>
<stage_direction>INT. TERRACED HOUSE - NORTH LONDON - DAY</stage_direction>
<scene_description>A MAN in his late 40's, bearded, knit sweater, is seated in a chair, eyes closed.</scene_description>
<character>CHANNELLER</character>
<dialogue>Okay, what I'm doing now, I'm closing my eyes and opening my channels to the spirit world. And as I go into a trance, my spirit guide will speak to you through me.</dialogue>
<scene_description>We pull back to reveal MARCUS, sitting opposite. The CHANNELLER starts to sway, then speaks in a deep voice:</scene_description>
<character>CHANNELLER</character>
<dialogue>Who summons me from the spirt world?</dialogue>
<scene_description>A long pause. The MAN opens one eye.</scene_description>
<character>CHANNELLER</character>
<dialogue>Say your name.</dialogue>
<character>MARCUS</character>
<dialogue>Marcus.</dialogue>
<scene_description>The CHANNELLER closes his eye again.</scene_description>
<character>CHANNELLER</character>
<dialogue>Welcome Marcus, my name is Yoshi...</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<scene_description>We are in what looks like a doctor's surgery, spotless. A MAN with greying hair is tinkering with a sophisticated looking tape recorder sitting on a desk, and a microphone that hangs from the ceiling. MARCUS watches, fascinated.</scene_description>
<character>MAN</character>
<dialogue>What I'm doing is I'm adjusting the levels of the microphone. Do you do physics at school?</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>MAN</character>
<dialogue>Then you'll know that all matter vibrates at various speed. But the spirit world operates at levels far higher, hence we cannot hear them with normal hearing. We need an omnidirectional, supercardoid condenser mike...</dialogue>
<scene_description>The MAN makes some final adjustments to a dramatic- looking piece of equipment.</scene_description>
<character>MAN</character>
<dialogue>Right, we're ready.</dialogue>
<scene_description>He presses "record" on the machine. The wheels begin turning.</scene_description>
<character>MAN</character>
<dialogue>Are you there..?</dialogue>
<parenthetical>(checks notes)</parenthetical>
<dialogue>...Jason? Your brother...Marcus..is here...Is there a message for him?</dialogue>
<scene_description>A long silence. MARCUS strains to listen. Nothing but tape hiss. OVER THIS:</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>Concentrate...and look deep into the mirrors.</dialogue>
</scene>
<scene>
<stage_direction>INT. DARKENED ROOM - SUBURBAN HOUSE - DAY</stage_direction>
<scene_description>A middle-aged LADY with blue-rinsed hair and horn-rimmed glasses stands beside MARCUS in a candle-lit room full of reflective glass... CONTINUED:</scene_description>
<character>MIDDLE-AGED LADY</character>
<dialogue>It was the ancient Greeks who first discovered it. 'Psychomanteum' they called it. The reflective surface being a conduit to the afterlife. Nowadays we call it "mirror gazing."</dialogue>
<scene_description>She turns to MARCUS. His heart is beating fast.</scene_description>
<character>MIDDLE-AGED LADY</character>
<dialogue>You might not be able to speak to him...but you'll see him...If you really want to, that is.</dialogue>
<scene_description>MARCUS stares hard at the mirrors, trying to see deeper, searching for something.</scene_description>
<character>MIDDLE-AGED LADY</character>
<dialogue>Did you see him?</dialogue>
<scene_description>MARCUS stares. Sees nothing but his own reflection</scene_description>
<character>MARCUS</character>
<dialogue>No.</dialogue>
</scene>
<scene>
<stage_direction>INT. LECTURE THEATRE - COLLEGE OF PSYCHIC STUDIES -</stage_direction>
<character>EVENING</character>
<dialogue>Warm applause from the audience as MRS JOYCE walks on stage. She is a plump, middle-aged woman. Cheap, sensible shoes.</dialogue>
<character>MRS JOYCE</character>
<dialogue>Thank you for that welcome, my name is Ellen Joyce, and I'm the Senior Sensitive here at the London College of Psychic Studies...</dialogue>
<scene_description>We see MARCUS in the audience.</scene_description>
</scene>
<scene>
<stage_direction>INT. LECTURE THEATRE - LATER</stage_direction>
<scene_description>The session is well underway.</scene_description>
<character>MRS JOYCE</character>
<dialogue>...she says she was there when you graduated...she was very proud.</dialogue>
<scene_description>The MAN's eyes fill with tears. CONTINUED:</scene_description>
<character>MRS JOYCE</character>
<dialogue>Because she never had the chance to go to college herself?</dialogue>
<character>WOMAN</character>
<dialogue>No.</dialogue>
<character>MRS JOYCE</character>
<dialogue>She wishes she'd had the chance like you. She wants you to keep it up.</dialogue>
<character>MAN</character>
<dialogue>I will, thank you.</dialogue>
<scene_description>There's a round of applause. MRS JOYCE takes a deep breath, closes her eyes. After a moment she opens her eyes, looks round the room.</scene_description>
<character>MRS JOYCE</character>
<dialogue>I'm getting a strong feeling over this side of the room. Someone whose name starts with a "J".</dialogue>
<scene_description>There's a flash of recognition in MARCUS's face.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Does the letter "J" mean anything to anyone?...Anyone?</dialogue>
<scene_description>Hesitantly, MARCUS raises his hand.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Don't be shy. Tell us your name, please?</dialogue>
<character>MARCUS</character>
<dialogue>Marcus.</dialogue>
<character>MRS JOYCE</character>
<dialogue>Marcus...Stand up so we can see you.</dialogue>
<scene_description>MARCUS stands.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Marcus you've lost someone recently. Was it someone close to you?</dialogue>
<scene_description>MARCUS nods. CONTINUED:</scene_description>
<character>MRS JOYCE</character>
<dialogue>He's telling me his name. It's Joe, or Jack.</dialogue>
<character>MARCUS</character>
<dialogue>Jason.</dialogue>
<character>MRS JOYCE</character>
<dialogue>Jason. That's right. He was very close to you, wasn't he?</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Part of your family?</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Is it your Dad?</dialogue>
<scene_description>MARCUS stares. A ripple of sympathy in the room.</scene_description>
<character>MRS JOYCE</character>
<dialogue>I'm getting a feeling, all over my body. In my bones. An illness...Like cancer. Did your Daddy die of cancer, Marcus.</dialogue>
<scene_description>MARCUS still can't speak.</scene_description>
<character>MRS JOYCE</character>
<dialogue>Poor child, you probably don't know what cancer is. Well daddy says please don't be sad, and to look after mummy for him, will you do that for him?</dialogue>
<parenthetical>(before MARCUS can answer)</parenthetical>
<dialogue>Give him a round of applause ladies and gentlemen.</dialogue>
<scene_description>The audience applauds. MARCUS remains standing.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOSTER PARENTS' HOUSE - NIGHT</stage_direction>
<scene_description>The FOSTER FATHER is on the phone to the social worker, the FOSTER MOTHER by his side.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>No, still no sign...I think we might have to call in the police...</dialogue>
<scene_description>CONTINUED: The FOSTER FATHER looks up, then sees MARCUS approaching the front door.</scene_description>
<character>FOSTER FATHER</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Hold on, he's here...I'll call you right back.</dialogue>
<scene_description>He hangs up the phone. MARCUS opens the door and walks in Looks at them both.</scene_description>
<character>MARCUS</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>And without another word he turns and leaves the room. The FOSTER FATHER is about to go after him to admonish him, but the FOSTER MOTHER catches his arm.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>Leave him be...</dialogue>
</scene>
<scene>
<stage_direction>INT. MARCUS'S ROOM - NIGHT</stage_direction>
<scene_description>MARCUS is in his room. He sits at his computer, thinks - then opens a search engine, and types.</scene_description>
<character>"GENUINE ABILITY TO TALK TO THE DEAD."</character>
<dialogue>He hits 'enter'.</dialogue>
<dialogue>A host of sites pop up. MARCUS begins to sift through. Then one catches his eye.</dialogue>
<character>'GEORGE LONEGAN'.</character>
<dialogue>He hits enter. Up comes GEORGE's website advertising his unique talent, along with dozens of 'astonished' and 'awestruck' testimonials. MARCUS stares. He sees a phone number...</dialogue>
<dialogue>MARCUS prints out the home-page, and takes a pen. He circles the telephone number for George Lonegan.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>The following day: MARCUS is in an internet cafe/call shop, on the way to his school... He dials the number on his hand. We hear a long distance tone, then an automated voice cuts in. CONTINUED:</scene_description>
<character>AUTOMATED VOICE</character>
<dialogue>This number is no longer in service. Please check the number you have dialed and try again</dialogue>
<scene_description>MARCUS checks, then redials...</scene_description>
<character>AUTOMATED VOICE</character>
<dialogue>This number is no longer in service. Please check the number you have dialed and try again.</dialogue>
<scene_description>MARCUS stares. Visibly disappointed. Then hangs up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON STREETS - DAY</stage_direction>
<scene_description>MARCUS walks out of the internet cafe/call-shop. He walks out onto the street, then disappears down into the underground station on his way to school.</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND STATION - DAY</stage_direction>
<scene_description>MARCUS joins the other PASSENGERS and takes the escalator down, down, deep into the underground.</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND STATION - DAY</stage_direction>
<scene_description>MARCUS walks onto a platform packed with morning newspaper-reading, coffee-drinking COMMUTERS on their way to work. A Tube train roars in. Amid a cacophony of loudspeaker announcements, doors open, and people struggle to get on. MARCUS pushes towards the carriage, but suddenly, in the throng, MARCUS is jolted by some unseen person, and. JASON's baseball cap is knocked off his head... The cap falls to the floor, and is in danger of being trampled by other PASSENGERS. MARCUS falls to his knees and frantically reaches for the cap, between legs... PASSENGERS shout at MARCUS, "Hey!" And step over him to get onto the train. But MARCUS is not deterred. He gets his hands on the cap, and gets to his feet. CONTINUED: 'Hssssss', behind him, the tube doors hiss shut. He's missed the train. MARCUS dusts himself off, gets back to his feet. Okay, he missed the train, but at least JASON's baseball cap is safe. The packed tube train slowly pulls out of the station, picks up steam, and clatters into the darkness of a tunnel. MARCUS is on the platform. All around him, the platform is already beginning to fill up again. MARCUS checks the time, 8:35am. MARCUS looks down at the baseball cap, straightens out the creases, cleans off the dirt, puts it back on his head, He walks to the edge of the platform, watches the train's red lights disappear into the distance, when suddenly.</scene_description>
<character>"BBBBBBBOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOMMMMMMMM".</character>
<dialogue>A deafening explosion. MARCUS turns.</dialogue>
<dialogue>About a mile into the tunnel, a bomb has just blown up the train that pulled-out...</dialogue>
<dialogue>MARCUS stares in shock and disbelief at the orange glow deep in the tunnel...</dialogue>
<dialogue>All around him, slowly shock breaks out, and people start to run for the exits.</dialogue>
<dialogue>MARCUS is frozen to the spot, but the sheer force of the exiting PASSENGERS begins to carry him out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. UNDERGROUND STATION - DAY</stage_direction>
<scene_description>MARCUS exits the underground station and walks out into a city apparently under siege. A helicopter in the sky. Police sirens everywhere. Traffic stopped. MARCUS still holds his baseball cap. He looks at it, now realizing, that by cheating death... He puts the baseball cap on again, and walks off into the crowds. Disappearing from sight. CONTINUED: It's July 7th 2005. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARIS SKYLINE - DAY</stage_direction>
<scene_description>High over the unmistakable skyline of Paris. Late Autumn. The same smart publishing house as before.</scene_description>
</scene>
<scene>
<stage_direction>INT. PUBLISHING HOUSE - DAY</stage_direction>
<scene_description>MARIE waits in the reception area. Through a glass wall, in a neighboring office, MARIE notices... Half-a-dozen STAFF members huddled around a television. Talking in a hushed, concerned voices. ON TV: rolling-news footage from London. Breaking News as the British capital is apparently under attack. Six terrorist bombs having gone off in a co-ordinated attack. MARIE watches as her replacement news ANCHOR, (Jasmine), is reporting from the studio in Paris...</scene_description>
<character>JASMINE (ON TV/IN FRENCH)</character>
<dialogue>...an apparently co-ordinated attack, the bombs going off at the height of the morning rush hour...</dialogue>
<scene_description>A SECRETARY emerges. Visibly shaken.</scene_description>
<character>SECRETARY (IN FRENCH)</character>
<dialogue>Sorry, we're running a little late. Everyone's been distracted by this.</dialogue>
<scene_description>The SECRETARY indicates the office.</scene_description>
<character>SECRETARY (IN FRENCH)</character>
<dialogue>Would you like to come in?</dialogue>
<scene_description>She leads MARIE into the conference room. In the background, the television continues to play.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Sitting round the table: the same group of EXECUTIVES and EDITORS as before. MARIE sits in the vacant chair at the end of the table. CONTINUED:</scene_description>
<character>EXECUTIVE</character>
<dialogue>Marie, I have to be honest, I'm a little confused. I was under the impression we'd commissioned a book about the life and times of Francois Mitterrand. Instead you give us the first three chapters of - (reading the manuscript title) "Hereafter: A Conspiracy of Silence."</dialogue>
<character>MARIE</character>
<dialogue>I realize it's not what you were expecting. (a beat) But I remember you once said there weren't enough surprises in publishing anymore.</dialogue>
<character>EXECUTIVE</character>
<dialogue>Well, this certainly was a surprise.</dialogue>
<scene_description>Silence.</scene_description>
<character>EXECUTIVE</character>
<dialogue>...I'm not sure where to begin.</dialogue>
<character>MARIE</character>
<dialogue>Did you at least think it was INTERESTING?</dialogue>
<character>EXECUTIVE</character>
<dialogue>Of course, it's interesting -- you've always had a great nose for a story, but the fact is we are a political publishing house...</dialogue>
<character>MARIE</character>
<dialogue>This is a political story...</dialogue>
<character>EXECUTIVE</character>
<dialogue>...and this kind of material, however fascinating, is a specialist market...</dialogue>
<character>MARIE</character>
<dialogue>Why? Why does no one want to deal with this? What is everyone so afraid of?</dialogue>
<scene_description>People in the room avert their eyes in embarrassment. CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>This is hard, scientific evidence.</dialogue>
<character>EXECUTIVE</character>
<dialogue>Marie..</dialogue>
<character>MARIE</character>
<dialogue>...from well-known scientists forced to work in secret, a Nobel Prize winner, hounded by the organized religious lobby. I think that's something worth writing about, don't you?</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>More than some philandering, embezzling old politician.</dialogue>
<character>EXECUTIVE</character>
<dialogue>Yes, but any book like that would almost certainly have to be written in English for the American market.</dialogue>
<character>MARIE</character>
<dialogue>It happened to ME, Michel. I saw it myself...where we're going...what we'll experience. Each and every one of us.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Doesn't that INTEREST you?</dialogue>
<scene_description>Silence. People in the room clear their throats.</scene_description>
<character>EXECUTIVE</character>
<dialogue>We commissioned a book on the life and times of Francois Mitterrand. Now why don't we discuss you starting to write that, or me getting my money back.</dialogue>
<scene_description>MARIE tails off. Stares out of the window. Where her poster had hung, now a completely different poster hangs.</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURANT - NIGHT</stage_direction>
<scene_description>MARIE and DIDIER sit opposite one another.</scene_description>
<character>MARIE</character>
<dialogue>It was so humiliating. They looked at me as if I'd lost my mind.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARIE</character>
<parenthetical>(a beat)</parenthetical>
<dialogue>These are the same people that six months ago were on their knees, wanting anything. ANYTHING by the great Marie Lelay.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>You'd better give me my job back, Didi. There's a limit to how much humiliation I can take. I noticed today, even my posters have been taken down.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Why didn't you tell me?</dialogue>
<scene_description>A silence. DIDIER averts his eyes..</scene_description>
<character>DIDIER</character>
<dialogue>What about your book?</dialogue>
<character>MARIE</character>
<dialogue>I'll finish that in my spare time.</dialogue>
<parenthetical>(a dismissive wave)</parenthetical>
<dialogue>It's causing me far too much trouble as it is.</dialogue>
<scene_description>MARIE notices DIDIER's expression.</scene_description>
<character>MARIE</character>
<dialogue>What's the matter?</dialogue>
<character>DIDIER</character>
<dialogue>Look...getting your job back...might not be as easy as you think.</dialogue>
<character>MARIE</character>
<dialogue>Why? It was only a temporary break. And done on YOUR advice.</dialogue>
<character>DIDIER</character>
<dialogue>I know...but what I...what WE could never have foreseen is...that you talking in public about...being associated with that kind of thing would make it difficult...or impossible...for Someone in your position...to Be taken seriously...</dialogue>
<scene_description>MARIE stares...</scene_description>
<character>MARIE</character>
<dialogue>But I never WANTED to write it. It was YOUR idea...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DIDIER</character>
<dialogue>It was my idea you should write about Francois Mitterrand.</dialogue>
<character>MARIE</character>
<dialogue>So what are you saying?</dialogue>
<character>DIDIER</character>
<dialogue>I'm saying take some more time...finish this book...get it out of your system...then come back...I'm sure things will be different...</dialogue>
<scene_description>MARIE stares, horrified.</scene_description>
<character>MARIE</character>
<dialogue>It's the girl, isn't it? My replacement?</dialogue>
<character>DIDIER</character>
<dialogue>C'mon...</dialogue>
<character>MARIE</character>
<dialogue>I've watched her a couple of times. She's good.</dialogue>
<character>DIDIER</character>
<dialogue>Not as good as you.</dialogue>
<character>MARIE</character>
<dialogue>You sleeping with her?</dialogue>
<character>DIDIER</character>
<dialogue>What? How can you say such a thing?</dialogue>
<character>MARIE</character>
<dialogue>You always told me to ask the tough questions.</dialogue>
<scene_description>DIDIER is silent. MARIE stares.</scene_description>
<character>MARIE</character>
<dialogue>Oh, my God...you ARE.</dialogue>
<scene_description>MARIE stares. A knife in her heart. She suddenly feels sick. She gestures to the WAITER to bring the bill.</scene_description>
<character>MARIE</character>
<dialogue>It's funny. Who'd have thought it. A few months ago I was successful. Rich. And a poster-child for a certain way of life. I was happy.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARIE</character>
<dialogue>And fulfilled.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>By my work. By you.</dialogue>
<scene_description>MARIE knocks back her brandy.</scene_description>
<character>MARIE</character>
<dialogue>You know all this only came about because you couldn't be bothered to buy your children's presents?</dialogue>
<scene_description>DIDIER looks up.</scene_description>
<character>DIDIER</character>
<dialogue>I don't understand.</dialogue>
<character>MARIE</character>
<dialogue>Doesn't matter.</dialogue>
<scene_description>MARIE looks up, gestures to the WAITER. Asks for the bill. She walks out, ignoring the other diners who recognize her, and call out to say hello... OVER THIS: the sound of a ringing phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARIE'S APARTMENT - DAY</stage_direction>
<scene_description>MARIE comes back into her apartment, to find the telephone ringing. She goes over to it, answers it.</scene_description>
<character>MARIE</character>
<dialogue>Hello?</dialogue>
<scene_description>At the other end, the same publishing EXECUTIVE from the earlier scene, (we intercut as necessary).</scene_description>
<character>EXECUTIVE</character>
<dialogue>Marie? It's Michel. Listen, I feel terrible about our meeting earlier today. This book is clearly very important to you.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>I think everyone was a little thrown, you know? By events in London.</dialogue>
<parenthetical>(shudders privately)</parenthetical>
<dialogue>Anyway, I made a few calls, and I've got the name of a couple of publishers that I think would be interested. One American, one English...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Have you got a pen?</dialogue>
<scene_description>CONTINUED: MARIE scrambles to find a pen and paper.</scene_description>
<character>MARIE</character>
<dialogue>Yes. Go ahead.</dialogue>
</scene>
<scene>
<stage_direction>INT. POST OFFICE - DAY</stage_direction>
<scene_description>MARIE stands at a post office counter with two wrapped parcels, (containing copies of her book). She hands them over the COUNTER. Then watches as the parcels are put into large sacks, and disappear. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. OFFICES - CHICAGO - DAY</stage_direction>
<scene_description>A low rise office building in a Chicago suburb. OVER THIS: the sound of a voice.</scene_description>
<character>BILLY (V/O)</character>
<dialogue>Anyways, I thought we could use this as a group reading room.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICES - CHICAGO - DAY</stage_direction>
<scene_description>BILLY shows GEORGE through the offices of "GEORGE LONEGAN Inc". He shows him an empty room with chairs in it.</scene_description>
<character>GEORGE</character>
<dialogue>I don't understand. What 'groups?'</dialogue>
<character>BILLY</character>
<dialogue>...where I thought you could go larger groups , up to twenty people at a time. It'd mean they could pay lower rates.</dialogue>
<parenthetical>(gestures)</parenthetical>
<dialogue>Whatever. Just an idea.</dialogue>
<scene_description>BILLY leads GEORGE down a corridor...</scene_description>
<character>BILLY</character>
<dialogue>Anyway, this would be your own private consulting room.</dialogue>
<scene_description>GEORGE peers inside. CONTINUED:</scene_description>
<character>BILLY</character>
<dialogue>And right next door, would be my room. From where I'd take care of everything.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Make sure you have nothing to worry about.</dialogue>
<character>GEORGE</character>
<dialogue>I don't understand. What about the rest of your business?</dialogue>
<character>BILLY</character>
<dialogue>Of course, I'd have to give them up. Not right way, of course. But when things take off...</dialogue>
<scene_description>GEORGE stares. Like a man condemned.</scene_description>
<character>BILLY</character>
<dialogue>Now let's get you home, and get you some rest. First day tomorrow, and you have three appointments already...</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S APARTMENT - NIGHT</stage_direction>
<scene_description>GEORGE sits alone in his apartment eating a meal for one. We notice it is the same meal he learned to cook with MELANIE. GEORGE chews. Thinking. What kind of life is this?</scene_description>
</scene>
<scene>
<stage_direction>EXT. GEORGE'S APARTMENT - MORNING</stage_direction>
<scene_description>The following morning: BILLY's car pulls up. BILLY gets out, whistling, in a sharp suit. He crosses to the door and rings GEORGE's buzzer. He waits. No reply. Presses it again. Still no reply. GEORGE's neighbor opens her window.</scene_description>
<character>NEIGHBOR</character>
<dialogue>'You Billy Lonegan?</dialogue>
<character>BILLY</character>
<dialogue>Yes.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>NEIGHBOR</character>
<dialogue>Before he went, your brother asked me to give you this?</dialogue>
<scene_description>She hands BILLY a letter. BILLY stares quizzically.</scene_description>
<character>BILLY</character>
<dialogue>'Went?' Went where..?</dialogue>
<scene_description>...then he opens the letter. Starts reading. Over this: we hear GEORGE's voice...</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>Dear Billy...</dialogue>
</scene>
<scene>
<stage_direction>EXT. FREEWAY - DAY</stage_direction>
<scene_description>A taxi passes under a sign for the 'Airport'...</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>I'm sorry...I guess there's nothing I'll ever be able to say to persuade you...</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI - DAY</stage_direction>
<scene_description>Inside the taxi: GEORGE is the passenger, staring out of the window.</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>...that what I have isn't a gift, but a curse...</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT - DAY</stage_direction>
<scene_description>A packed airport terminal. GEORGE walks through, carrying his bags.</scene_description>
<character>GEORGE</character>
<dialogue>I know you feel what I have comes with a duty to help others...</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT - DAY</stage_direction>
<scene_description>GEORGE stands in line to check in.</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>But right now the person I most need to help is myself...</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUNWAY - DAY</stage_direction>
<scene_description>A 747 roars down the runway. Pulls up into the sky.</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>So I've decided to take some time out.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPLANE - DAY</stage_direction>
<scene_description>GEORGE is cramped in an aisle seat. But comfort is no matter. There's a contentment to him we've not seen before.</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>I don't know what the future will bring, or when I'll be back. So, don't wait up, so to speak.</dialogue>
<scene_description>GEORGE puts his book down. Starts sleeping.</scene_description>
<character>GEORGE (V.O.)</character>
<dialogue>Love to Jenni and the kids</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Your baby brother, George.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GEORGE'S APARTMENT - BLOCK - SAME TIME</stage_direction>
<scene_description>BILLY finishes reading the letter, His smile fades.</scene_description>
<character>BILLY</character>
<dialogue>Godammit...</dialogue>
<scene_description>'Crash', BILLY kicks his car. The alarm goes off. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON - DAY</stage_direction>
<scene_description>London's skyline, sprawling into the horizon.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOROUGH COUNCIL - LONDON - DAY</stage_direction>
<scene_description>The local council HQ: home to the social services in Marcus's inner city neighborhood.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICE OFFICES - DAY</stage_direction>
<scene_description>The FOSTER PARENTS talk opposite the SOCIAL WORKERS in a meeting. Talking in low voices. Visibly concerned.</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>So, how's it going?</dialogue>
<character>FOSTER FATHER</character>
<dialogue>Not good. The fact is...it's been almost a year and he's still not talking...not communicating at all...</dialogue>
<character>FOSTER MOTHER</character>
<dialogue>His attendance at school is terrible. When he DOES go, his teachers all say they can't reach him.</dialogue>
<character>FOSTER FATHER</character>
<dialogue>We've had challenging cases in the past, but this is a whole new level of...</dialogue>
<character>SOCIAL WORKER</character>
<dialogue>Of what..?</dialogue>
<character>FOSTER FATHER</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>...damage, I suppose.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICES OFFICES - CORRIDOR - DAY</stage_direction>
<scene_description>MARCUS is standing outside the office. He can hear the voices from inside come through the door.</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>What about the mother? Would it help if we arranged a meeting in the day centre she's attending?</dialogue>
<character>FOSTER FATHER</character>
<dialogue>We could try. But I doubt it.</dialogue>
<character>FOSTER MOTHER</character>
<dialogue>Our understanding is the twin that died, Jason..was very much the star. Mother's favorite. If he'd have been the one who survived it might have been a different story.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FOSTER FATHER</character>
<dialogue>And you know yourself the recovery rates in substance abuse cases like this.</dialogue>
<character>SOCIAL WORKER</character>
<dialogue>Yes. Very low.</dialogue>
<scene_description>MARCUS's face: having overheard this, he turns, and walks off down the corridor outside.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOCIAL SERVICE OFFICES - DAY</stage_direction>
<scene_description>The SOCIAL WORKERS wrap up the meeting.</scene_description>
<character>SOCIAL WORKER</character>
<dialogue>So? What's the best way forward? Are you all right for a little bit longer?</dialogue>
<character>FOSTER MOTHER</character>
<dialogue>Yes. But not too long, please. We're running out of ideas. And it' taking it's toll.</dialogue>
<character>FOSTER FATHER</character>
<dialogue>We're taking him to meet our previous child Ricky today. Who knows? Maybe one kid talking to another.</dialogue>
<character>SOCIAL WORKER</character>
<dialogue>Let's hope so. Review in three months time? If no progress, then we'll have to start thinking about a care home.</dialogue>
<scene_description>Nods all round. People get to their feet. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUR SEASONS HOTEL - LONDON - DAY</stage_direction>
<scene_description>A well-appointed hotel, in the heart of the city.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS HOTEL - LONDON - SAME TIME</stage_direction>
<scene_description>MARIE is in her London hotel-room, getting dressed. Smartly. OVER THIS: we hear a phone-call. An AMERICAN voice. CONTINUED:</scene_description>
<character>ARONSON (O.S.)</character>
<dialogue>Marie Lelay?</dialogue>
<character>MARIE (O.S.)</character>
<dialogue>Yes..?</dialogue>
<character>ARONSON (O.S.)</character>
<dialogue>This is Richard Aronson of Aquarius Books in Sante Fe, California.</dialogue>
<character>MARIE (O.S.)</character>
<dialogue>Excuse me?</dialogue>
<character>ARONSON (O.S.)</character>
<dialogue>Aquarius Books in Santa Fe California. A few months ago you sent us your book.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>I'm just ringing to say now much we like it. I'm sorry its taken so long. But we loved it. And would like to publish it.</dialogue>
<character>MARIE (O.S.)</character>
<dialogue>Really?</dialogue>
<character>ARONSON (O.S.)</character>
<dialogue>In fact, we'd like to print it in time for a Book Fair that takes place in London in the Spring. You're based in Paris?</dialogue>
<character>MARIE (O.S.)</character>
<dialogue>Yes.</dialogue>
<character>ARONSON</character>
<dialogue>So if we were to ask, going to London wouldn't be inconvenient?</dialogue>
<character>MARIE (O.S.)</character>
<dialogue>No. Not at all.</dialogue>
<character>ARONSON (O.S.)</character>
<dialogue>Because it occurs to me that would be a good opportunity to do some publicity. Maybe a reading. It's an incredible story...</dialogue>
<scene_description>MARIE bends down, and picks up a book. Her book. Newly published. MARIE puts it in her bag...checks her appearance in the mirror, and goes. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOUGHTY STREET - LONDON - DAY</stage_direction>
<scene_description>A Georgian terraced house in central London. A TOUR GROUP comes to rest outside.</scene_description>
<character>TOUR GUIDE (V.O.)</character>
<dialogue>...and here we are, 48 Doughty street, Charles Dickens' home in London where he lived with his wife Catherine and their children.</dialogue>
<parenthetical>(look up )</parenthetical>
<dialogue>Anyone know how many children?</dialogue>
<scene_description>Among the TOUR GUIDE we pick out GEORGE, who stares up at the house in wonder. He speaks under his breath, (no one hears).</scene_description>
<character>GEORGE</character>
<dialogue>Ten.</dialogue>
<character>TOUR GUIDE</character>
<dialogue>Ten! Isn't that incredible? He had ten children!</dialogue>
</scene>
<scene>
<stage_direction>INT. 48 DOUGHTY STREET - LONDON - DAY</stage_direction>
<scene_description>The TOUR GROUP enters the house.</scene_description>
<character>TOUR GUIDE</character>
<dialogue>Right, here we are in the main hallway. This is the view that would have greeted the author as he walked in each time. Everything has been preserved exactly as it was...</dialogue>
</scene>
<scene>
<stage_direction>INT. 48 DOUGHTY STREET - LONDON STUDY - DAY</stage_direction>
<scene_description>The TOUR GROUP enters the study.</scene_description>
<character>TOUR GUIDE</character>
<dialogue>...and here we are in the study. And there the thing I expect most of you have come to see. Dickens's desk, where he wrote most of his books.</dialogue>
<scene_description>GEORGE's face, as if in trance, he walks toward the desk. CONTINUED:</scene_description>
<character>TOUR GUIDE</character>
<dialogue>Beside the desk are several illustrations for 'The Mystery of Edwin Drood', the novel Dickens was writing at the time of his death.</dialogue>
<scene_description>GEORGE moves closer, stretches out, almost touches the desk.</scene_description>
<character>TOUR GUIDE</character>
<dialogue>Beside them, a painting loved by Dickens's fans. Anyone know it's name?</dialogue>
<scene_description>GEORGE quietly, under his breath. No one hears.</scene_description>
<character>GEORGE</character>
<dialogue>"Dickens' Dream".</dialogue>
<character>TOUR GUIDE</character>
<dialogue>"Dickens' Dream". It shows the author asleep at his desk with characters from his novels floating in the air around him...</dialogue>
<scene_description>GEORGE looks at the pictures of DICKENS - then stops. ON CANVAS: a painting of a MAN asleep, surrounded (haunted?) by floating, mysterious characters that inhabit his consciousness. GEORGE's face: a moment of connection between them.</scene_description>
</scene>
<scene>
<stage_direction>INT. 48 DOUGHTY STREET - LONDON - DAY</stage_direction>
<scene_description>The TOUR is over. GEORGE is on his way out, when he sees something, then STOPS. A poster on the wall with a FAMOUS ACTOR advertising a forthcoming reading to publicize the AUDIO CD for "LITTLE DORRITT". GEORGE takes a closer look...</scene_description>
<character>GEORGE</character>
<dialogue>May I?</dialogue>
<scene_description>The TOUR GUIDE nods.</scene_description>
<character>TOUR GUIDE</character>
<dialogue>Of course. Help yourself.</dialogue>
<scene_description>GEORGE looks at the date... CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>What's the date today?</dialogue>
<character>TOUR GUIDE</character>
<dialogue>14th.</dialogue>
<scene_description>GEORGE looks at the date on the poster. "14th". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TUBE STATION - LONDON - DAY</stage_direction>
<scene_description>MARCUS stands on the platform with his FOSTER PARENTS. With a deafening roar, the TRAIN emerges from the darkness and enters the station.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>I'm sure you'll like Ricky. He was about your age when he first came to us, and just as shy. Now he's all grown up, with a job and his own flat...</dialogue>
<scene_description>MARCUS and his FOSTER PARENTS board the train.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON STREETS - DAY</stage_direction>
<scene_description>MARCUS and his FOSTER PARENTS cross the road toward a large convention centre, passing under a billboard: "45th LONDON INTERNATIONAL BOOK FAIR, MARCH 12th - 21st".</scene_description>
</scene>
<scene>
<stage_direction>INT. CONVENTION CENTRE - LOBBY - DAY</stage_direction>
<scene_description>A young, uniformed SECURITY GUARD approaches them. This is RICKY. He embraces the FOSTER PARENTS confidently.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>Well, look at you! I wouldn't have recognized you!</dialogue>
<character>FOSTER FATHER</character>
<dialogue>Not going to arrest us, are you?</dialogue>
<character>RICKY</character>
<dialogue>Not if you behave yourself.</dialogue>
<scene_description>MARCUS watches their easy, intimate, loving banter.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>Marcus, this is Ricky.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RICKY</character>
<dialogue>All right.</dialogue>
<scene_description>He offers his hand. MARCUS walks past. RICKY and the FOSTER FATHER exchange looks, then spar playfully as they go inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXHIBITION CENTRE - DAY</stage_direction>
<scene_description>RICKY leads them toward a cafe stall.</scene_description>
<character>RICKY</character>
<dialogue>Fancy a coffee first?</dialogue>
<character>FOSTER FATHER</character>
<dialogue>That's a good idea...Marcus?</dialogue>
<scene_description>MARCUS shrugs.</scene_description>
<character>MARCUS</character>
<dialogue>Can't I just look around?</dialogue>
<scene_description>The FOSTER PARENTS exchange looks. The FOSTER MOTHER gives a little nod to her husband.</scene_description>
<character>FOSTER FATHER</character>
<dialogue>All right, but meet us back here in an hour.</dialogue>
<scene_description>MARCUS nods. He wanders off into the crowds. The FOSTER MUM stares after MARCUS, concerned.</scene_description>
<character>FOSTER MOTHER</character>
<dialogue>It's been nearly a year and he hardly talks to us.</dialogue>
<character>RICKY</character>
<dialogue>Neither did I, remember?</dialogue>
<character>FOSTER MOTHER</character>
<dialogue>But this one's different. Not like you.</dialogue>
<scene_description>RICKY smiles, puts his arm around her in encouragement, then leads her to a cafe.</scene_description>
<character>RICKY</character>
<dialogue>C'mon, let's get that coffee.</dialogue>
</scene>
<scene>
<stage_direction>INT. EXHIBITION CENTRE - ELSEWHERE - DAY</stage_direction>
<scene_description>MARCUS, meanwhile, skulks along past one stall after another. Authors and sales people selling books of all shapes and sizes on every subject under the sun - fly-fishing, weight loss, political thrillers, children's books, biographies. MARCUS drifts through the stalls, finding nothing of particular interest. He passes a stall where a well- knowbn Shakespearean ACTOR, a knight of stage and screen. ...is doing a reading to promote an audio CD.</scene_description>
<character>ACTOR</character>
<dialogue>"...Little Dorrit received a call that same evening from Mr Plornish who, having intimated he wished to speak to her privately through a series of noticeable coughs..."</dialogue>
<scene_description>MARCUS walks past the stall. But our CAMERA stays.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXHIBITION CENTRE - ELSEWHERE - DAY</stage_direction>
<scene_description>The ACTOR is reading to a rapt audience.</scene_description>
<character>ACTOR</character>
<dialogue>"...obtained an audience with her on the common staircase outside the door..."</dialogue>
<scene_description>His voice is soothing and seductive. And immediately familiar to us. It's the same actor who's readings GEORGE listened to.</scene_description>
<character>ACTOR</character>
<dialogue>"There's been a lady at our place today, Miss Dorrit, wishing to know whether you could visit her tomorrow morning..."</dialogue>
<scene_description>The reading finishes. And there, among the CROWDS applauding, is GEORGE himself. Staring in awe. A child in the presence of his hero. CONTINUED: The ACTOR begins singing copies of the CD. Among the waiting CROWDS, is GEORGE, who reaches the front of the queue and hands his copy of the CD to the ACTOR to be signed.</scene_description>
<character>ACTOR</character>
<dialogue>To..?</dialogue>
<character>GEORGE</character>
<dialogue>George. George Lonegan.</dialogue>
<scene_description>To the ACTOR obliges.</scene_description>
<character>GEORGE</character>
<dialogue>It's really..a great honor. I'm a fan. A big fan. You have no idea.</dialogue>
<scene_description>The ACTOR hears George's accent.</scene_description>
<character>ACTOR</character>
<dialogue>You're a long way from home.</dialogue>
<character>GEORGE</character>
<dialogue>Yes.</dialogue>
<character>ACTOR</character>
<dialogue>Thank you. Good luck.</dialogue>
<scene_description>The ACTOR moves on to other fans. GEORGE smiles to himself, 'wow', and moves on. GEORGE wanders through the stalls, still smiling to himself, staring at his CD. He drifts down one aisle, then another. He passes a stall where a reading is taking place. He hears a WOMAN's voice.</scene_description>
<character>WOMAN'S VOICE (O.S.)</character>
<dialogue>"...whether what I saw was a genuine glimpse of the afterlife of just a concussed fantasy, I'll probably never know..."</dialogue>
<scene_description>GEORGE freezes, and turns.</scene_description>
<character>MARIE</character>
<dialogue>"...I arrive at the end of my journey with as many questions as I started with..."</dialogue>
<scene_description>On a podium for a PUBLISHING HOUSE, he sees a beautiful FRENCH WOMAN (40), on stage, reading from her book in English. CONTINUED: As she continues reading, GEORGE moves closer through the crowd, intrigued.</scene_description>
<character>MARIE</character>
<dialogue>"...I certainly never imagined I would be exposed to THAT kind of of prejudice and closed- mindedness..."</dialogue>
<scene_description>GEORGE moves closer. Riveted by what's he's hearing, but also, quite obviously entranced by MARIE.</scene_description>
<character>MARIE</character>
<dialogue>"...we obviously still have a long way to go before we will be able to deal with death and what follows in anything approaching a sensible fashion..."</dialogue>
<scene_description>When suddenly, from behind him, a VOICE.</scene_description>
<character>VOICE</character>
<dialogue>Wait a minute...</dialogue>
<scene_description>GEORGE stops, turns. And finds himself confronted by a twelve year-old boy with intense, staring eyes...MARCUS.</scene_description>
<character>MARCUS</character>
<dialogue>I recognize you...</dialogue>
<scene_description>GEORGE stares...</scene_description>
<character>MARCUS</character>
<dialogue>You're that psychic.</dialogue>
<character>GEORGE</character>
<dialogue>I'm sorry, you're mistaken.</dialogue>
<scene_description>GEORGE tries to give MARCUS the slip, but he follows.</scene_description>
<character>MARCUS</character>
<dialogue>Yes, you are.</dialogue>
<scene_description>GEORGE smiles uncomfortably, pushes through CROWDS.</scene_description>
<character>MARCUS</character>
<dialogue>You're George Lonegan...</dialogue>
<scene_description>GEORGE tries to lose MARCUS, irritated to be missing MARIE, who is wrapping up her reading.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXHIBITION CENTRE - DAY</stage_direction>
<scene_description>GEORGE weaves between the stalls, lengthening his stride, trying to lose MARCUS. But the determined twelve-year-old is hard to shrug off. MARCUS keeps GEORGE in his sights.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXHIBITION CENTRE - DAY</stage_direction>
<scene_description>GEORGE weaves through CROWDS, removes his jacket so as not to be so easily recognizable. SHOOTING FROM ABOVE: GEORGE performs an elaborate figure eight through the exhibition centre, bobbing through CROWDS. Finally, he finds his way back to the stall where the FRENCH WOMAN was reading. The woman who had made such an impression on him. But by the time GEORGE pushes through the CROWD to reach her. MARIE has gone. In her place: a bearded MAN is reading from his book about the power of Healing Hands. GEORGE's heart sinks. Frustrated. He turns to some people who are listening.</scene_description>
<character>GEORGE</character>
<dialogue>The woman that was reading here? The French woman? You have any idea where she went?</dialogue>
<scene_description>But the PEOPLE shrug, 'No.' GEORGE stands on tiptoe, cranes his neck, looking for MARIE in the crowds. But no sign. GEORGE curses, "Damn", visibly frustrated, then goes up to the stall, and buys one of MARIE's books. GEORGE looks up to see MARCUS has found him again, and is heading toward him. GEORGE's eyes close. He takes the book, then goes right up to the BOY.</scene_description>
<character>GEORGE</character>
<dialogue>What is it? What do you want from me?</dialogue>
<scene_description>CONTINUED: MARCUS opens his mouth, is about to reply.</scene_description>
<character>GEORGE</character>
<dialogue>If it's a reading...I've got bad news. I don't DO that anymore.</dialogue>
<scene_description>GEORGE stares at MARCUS.</scene_description>
<character>GEORGE</character>
<dialogue>Now leave me alone.</dialogue>
<scene_description>GEORGE turns, and walks off. MARCUS watches him go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXHIBITION CENTRE - DAY</stage_direction>
<scene_description>GEORGE emerges from the exhibition centre, onto the street. He looks behind. No sign of MARCUS. GEORGE breathes out, 'Thank God'. That did it. That shook him off. GEORGE heads off down the street. But our camera remains still. And presently, weaving through the CROWDS, at a distance... ...we see MARCUS.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - DAY</stage_direction>
<scene_description>GEORGE hails a cab. Gets in.</scene_description>
<character>GEORGE</character>
<dialogue>Lancaster Hotel, please.</dialogue>
<scene_description>The cab moves off. George climbs in. Relaxes. But soon the cab stops moving. It's a traffic jam.</scene_description>
<character>GEORGE</character>
<dialogue>It's all right, I'll walk.</dialogue>
<scene_description>He hands the DRIVER some money and gets out. GEORGE gets out, then stops in his tracks. In the distance, he sees MARCUS is walking along the pavement. Catching up fast. GEORGE starts walking. Trying to lose MARCUS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OF LONDON - DAY</stage_direction>
<scene_description>MARCUS walks down street after street. GEORGE quickens his stride. MARCUS starts to run, catching him up. Eventually, GEORGE reaches his hotel and turns inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL - DAY</stage_direction>
<scene_description>GEORGE enters his hotel. He hastens through the lobby. Jumps into the elevators. The doors close. MARCUS enters through revolving doors. Walks through the lobby. He searches for GEORGE, but he's gone. MARCUS is forced to give up. Frustrated.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S HOTEL ROOM - DAY</stage_direction>
<scene_description>GEORGE enters his room. Locks the door. Safe. He crosses to the window, pulls back the curtains and looks: Way down below: MARCUS is waiting across the street. GEORGE thinks for a moment, then changes his mind. GEORGE lets the curtain drop.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S HOTEL ROOM - LATER</stage_direction>
<scene_description>GEORGE has a shower. He emerges from the bathroom, drying his hair. He orders room service. GEORGE crosses to the window. Looks out. MARCUS is still there. Shivering.</scene_description>
</scene>
<scene>
<stage_direction>INT. GEORGE'S HOTEL ROOM - LATER</stage_direction>
<scene_description>GEORGE sits in his room, eating his lunch. Channel- flicking on TV. Watching the news. GEORGE finishes eating. GEORGE goes to the window. Pulls back the curtains. MARCUS is still there. GEORGE sighs, a long, deep sigh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET OUTSIDE HOTEL - EVENING</stage_direction>
<scene_description>MARCUS waits, shivering. GEORGE emerges from the hotel, crosses the road to him, They look at each other in silence.</scene_description>
<character>GEORGE</character>
<dialogue>We'd better get you inside.</dialogue>
<scene_description>GEORGE heads back across the road. MARCUS follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL RESTAURANT - EVENING</stage_direction>
<scene_description>MARCUS eats hungrily. GEORGE watches him.</scene_description>
<character>GEORGE</character>
<dialogue>How did you recognize me? From the website?</dialogue>
<scene_description>MARCUS nods. Carries on eating.</scene_description>
<character>GEORGE</character>
<dialogue>Always said that photo was a mistake.</dialogue>
</scene>
<scene>
<stage_direction>INT. GEORGE'S HOTEL ROOM - EVENING</stage_direction>
<scene_description>GEORGE enters, followed by MARCUS.</scene_description>
<character>GEORGE</character>
<dialogue>You'd better sit down.</dialogue>
<scene_description>MARCUS sits on the couch. Then notices MARIE's book on the table. GEORGE takes a seat opposite him, takes a deep breath, then.</scene_description>
<character>GEORGE</character>
<dialogue>OK, a few ground rules before we start.</dialogue>
<character>MARCUS</character>
<dialogue>I'm sorry about the woman.</dialogue>
<character>GEORGE</character>
<dialogue>What woman?</dialogue>
<character>MARCUS</character>
<dialogue>The woman at the book fair.</dialogue>
<scene_description>MARCUS indicates MARIE's book. CONTINUED:</scene_description>
<character>MARCUS</character>
<dialogue>I could tell, you liked her.</dialogue>
<scene_description>GEORGE looks at the book.</scene_description>
<character>GEORGE</character>
<dialogue>No, I didn't.</dialogue>
<character>MARCUS</character>
<dialogue>Yes, you did. So I'm sorry. For taking you away.</dialogue>
<character>GEORGE</character>
<dialogue>I don't know WHAT you're talking about.</dialogue>
<scene_description>GEORGE's face: a flicker behind the eyes.</scene_description>
<character>GEORGE</character>
<dialogue>Now...let's do this.</dialogue>
<scene_description>GEORGE sits in a chair opposite MARCUS.</scene_description>
<character>GEORGE</character>
<dialogue>OK, I'm going to hold your hands for a minute, it seems to help, then I'll let go. Don't worry..I won't be closing my eyes, or going into any trace.</dialogue>
<scene_description>GEORGE sits in a chair opposite MARCUS.</scene_description>
<character>GEORGE</character>
<dialogue>OK, I'm going to hold your hands just for a minute, to get a connection, then I'll let go.</dialogue>
<scene_description>GEORGE takes MARCUS's hands. Holds them. He concentrates. A flicker of pain behind the eyes, then... GEORGE lets go of MARCUS's hands.</scene_description>
<character>GEORGE</character>
<dialogue>Someone close to you has passed?</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>A male.</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>He was young when he died.</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Was this person your brother?</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>Your older brother.</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>But not by much, he says.</dialogue>
<scene_description>GEORGE looks up. Tails off..</scene_description>
<character>GEORGE</character>
<dialogue>...by just a few minutes.</dialogue>
<scene_description>GEORGE looks at MARCUS. MARCUS averts his eyes. GEORGE suddenly realizes what he's dealing with. His eyes fill with compassion...</scene_description>
<character>GEORGE</character>
<dialogue>Sorry, kid.</dialogue>
<scene_description>GEORGE instinctively stretches out his hand. Then GEORGE stops himself, closes his eyes.</scene_description>
<character>GEORGE</character>
<dialogue>I need to concentrate. This guy talks a lot. And fast.</dialogue>
<scene_description>MARCUS smiles, recognizing Jason. Nods.</scene_description>
<character>GEORGE</character>
<dialogue>He says there's so much he wants to tell you. He's saying you wouldn't believe how it is.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>How you can be all things.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GEORGE</character>
<parenthetical>(a beat)</parenthetical>
<dialogue>And all at once.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And the weightlessness.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>He says it's cool.</dialogue>
<scene_description>Tears appear on MARCUS's cheeks.</scene_description>
<character>GEORGE</character>
<dialogue>He's laughing now. He has a funny laugh.</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>GEORGE</character>
<dialogue>He says how you always looked up to him, relied on him to make the decision. And how you sometimes used that as an excuse?</dialogue>
<scene_description>MARCUS nods.</scene_description>
<character>GEORGE</character>
<dialogue>He says you can't do that any more. Now you're on your own.</dialogue>
<scene_description>MARCUS stares. Then GEORGE continues.</scene_description>
<character>GEORGE</character>
<dialogue>Now he's saying something about a hat? A cap?</dialogue>
<scene_description>MARCUS looks down at JASON's baseball cap...</scene_description>
<character>GEORGE</character>
<dialogue>He's telling you not to wear it anymore. Because it was his.</dialogue>
<scene_description>MARCUS stares in disbelief. Only JASON could have known that.</scene_description>
<character>GEORGE</character>
<dialogue>Which is why he knocked it off your head that day.</dialogue>
<scene_description>GEORGE looks at MARCUS.</scene_description>
<character>GEORGE</character>
<dialogue>Do you know what he's talking about?</dialogue>
<scene_description>MARCUS nods. Tears welling. CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>He says "Good job he did", too.</dialogue>
<character>MARCUS</character>
<dialogue>Yes.</dialogue>
<character>GEORGE</character>
<dialogue>And that's the last time he's looking after you.</dialogue>
<scene_description>GEORGE's eyes flicker.</scene_description>
<character>GEORGE</character>
<dialogue>I'm sorry. I'm losing him. He's going now.</dialogue>
<character>MARCUS</character>
<dialogue>No, Jase. Don't go..!</dialogue>
<scene_description>MARCUS's shoulders shake violently</scene_description>
<character>GEORGE</character>
<dialogue>...he says...</dialogue>
<scene_description>...but in the way he says it, the look on his face, we realize JASON has already gone, and it's GEORGE speaking here, not Jason...</scene_description>
<character>GEORGE</character>
<dialogue>...if you're worried about being on your own, don't be. You're not. Because he is you.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>And you are him.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>One cell.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>One person.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Always.</dialogue>
<scene_description>MARCUS's face swells with emotion. GEORGE's too...</scene_description>
<character>MARCUS</character>
<parenthetical>(through tears)</parenthetical>
<dialogue>I miss you...I miss you Jase...I miss you so badly...</dialogue>
<scene_description>GEORGE stares. We close on his face. The reading has clearly had a profound affect on him. Humbled, shaken. MARCUS looks up. CONTINUED:</scene_description>
<character>MARCUS</character>
<dialogue>Where's he gone?</dialogue>
<scene_description>GEORGE shrugs. His voice cracks.</scene_description>
<character>GEORGE</character>
<dialogue>Sorry, kid. I don't know.</dialogue>
<character>MARCUS</character>
<dialogue>But you've done all those readings.</dialogue>
<character>GEORGE</character>
<dialogue>I still don't know. Sorry.</dialogue>
<scene_description>A beat.</scene_description>
<character>GEORGE</character>
<dialogue>C'mon. Let's get you home.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOSTER PARENT'S HOUSE - NIGHT</stage_direction>
<scene_description>Several hours later. It's dusk now. GEORGE watches from his taxi as... MARCUS stands opposite the foster parents' house. He takes a deep breath. Then rings the doorbell. GEORGE waves from his taxi, then drives off...</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL - NIGHT</stage_direction>
<scene_description>Later that night: George is in his hotel-room, reading MARIE's book. "RRRIINNNGGGG", the phone rings. GEORGE picks it up...</scene_description>
<character>GEORGE</character>
<dialogue>Hello?</dialogue>
<scene_description>A familiar voice the other end.</scene_description>
<character>MARCUS</character>
<dialogue>Four Seasons.</dialogue>
<character>GEORGE</character>
<dialogue>What?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARCUS</character>
<dialogue>That's the name of the hotel where she's staying.</dialogue>
<character>GEORGE</character>
<dialogue>Who?</dialogue>
<character>MARCUS</character>
<dialogue>The woman you like.</dialogue>
<character>GEORGE</character>
<dialogue>What?</dialogue>
<character>MARCUS</character>
<dialogue>I rang the publishers. Said I'd heard her speak, and wanted to drop off a letter saying how interesting it was. Anyway, that's the name. Four Seasons.</dialogue>
<character>GEORGE</character>
<dialogue>W-ell, that's all very interesting. But what does that have to do with me..?</dialogue>
<scene_description>"Click", the line goes dead. GEORGE's face: thrown.</scene_description>
<character>GEORGE</character>
<dialogue>Well, I'll be.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOUR SEASONS HOTEL - DAY</stage_direction>
<scene_description>GEORGE stares at the hotel. Shaved. A nice shirt. Holding MARIE's book. He shakes his head to himself...</scene_description>
<character>GEORGE</character>
<dialogue>I must be crazy.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL - LOBBY - DAY</stage_direction>
<scene_description>GEORGE enters a busy hotel lobby. Walks through the many visitors and guests milling about, having tea, etc. He walks in, goes up to the RECEPTION...</scene_description>
<character>GEORGE</character>
<dialogue>Marie Lelay, please.</dialogue>
<scene_description>The RECEPTIONIST punches a number. Listens, then turns to GEORGE... CONTINUED:</scene_description>
<character>RECEPTIONIST</character>
<dialogue>I'm sorry. No answer from the room.</dialogue>
<character>GEORGE</character>
<dialogue>Right. Pity. Thank you.</dialogue>
<character>RECEPTIONIST</character>
<dialogue>Would you like to leave a message?</dialogue>
<character>GEORGE</character>
<dialogue>No. It's fine. Thank you.</dialogue>
<scene_description>GEORGE smiles politely, and walks off. The RECEPTIONIST goes back to her work. Presently, GEORGE comes back...</scene_description>
<character>GEORGE</character>
<dialogue>Actually, yes. I would like to leave a message. You have paper? And pen?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL - NIGHT</stage_direction>
<scene_description>MARIE returns to her hotel room, and opens the door. As the door opens, it moves a letter... MARIE bends down. Picks it up. Opens the letter. Four densely written pages of admiring prose fall out. MARIE stares, sits down, and begins to read.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON STREETS - DAY</stage_direction>
<scene_description>The following say: MARIE walks through crowded, sunny London streets, and reaches an open-air cafe. She checks her watch, then scans the crowds. Looking for someone. Sitting at one of the tables, GEORGE looks up and sees her. He is about to call out, then he stops, and savors the moment. Where she's still a stranger. Standing alone on a sidewalk. While the innocence is still perfect. GEORGE's face: he's never seen anyone so beautiful in his life. Then he gets to his feet, and calls out... CONTINUED:</scene_description>
<character>GEORGE</character>
<dialogue>Marie?</dialogue>
<scene_description>MARIE turns. Her eyes meet GEORGE's. A smile breaks out on her face. MARIE walks towards him, her hand extended... The rest is history. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DAY-CENTRE - REHAB BUILDING - DAY</stage_direction>
<scene_description>High up over: a clean, modern, government-sponsored day- care centre in a tough borough of inner London.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY-CENTRE - CORRIDORS - DAY</stage_direction>
<scene_description>MARCUS is led through a simple corridor by the SOCIAL WORKERS & FOSTER PARENTS. (We notice the baseball cap is gone). Strip-lighting, notice on the walls. Fire extinguishers. They pass rooms where meetings are in progress. Therapy groups. At the end of the corridor, they reach a door. The time has come. The FOSTER PARENTS stop, and turn. Look at MARCUS...</scene_description>
<character>FOSTER FATHER</character>
<dialogue>Good luck.</dialogue>
<scene_description>MARCUS nods. The FOSTER FATHER goes leaving MARCUS alone. He straightens. Take another deep breath. Waits for a moment, then...he knocks. From inside the sound of his mother's voice...</scene_description>
<character>JACKIE (O.S.)</character>
<dialogue>Come in.</dialogue>
</scene>
<scene>
<stage_direction>INT. VISITING-ROOM -DAY-CENTRE - DAY</stage_direction>
<scene_description>MARCUS opens the door to see his MOTHER inside. JACKIE looks unrecognizable. Almost a year clean, the color back in her cheeks, her hair shiny and healthy.</scene_description>
<character>MARCUS</character>
<dialogue>Mum..?</dialogue>
<scene_description>CONTINUED: JACKIE gets to her feet, and walks towards MARCUS, opens her arms, and holds him tight.</scene_description>
<character>JACKIE</character>
<dialogue>Baby...</dialogue>
<scene_description>MARCUS is enveloped by her arms. She holds MARCUS tight.</scene_description>
<character>JACKIE</character>
<dialogue>BABY.</dialogue>
<scene_description>JACKIE kisses his hair, his eyes, his face...</scene_description>
<character>JACKIE</character>
<dialogue>I've missed you so much...</dialogue>
</scene>
<scene>
<stage_direction>EXT. DAY-CENTRE - GARDENS - DAY</stage_direction>
<scene_description>An hour later: the SOCIAL WORKERS & FOSTER PARENTS watch from inside their office as.. MARCUS and his MOTHER walk in the gardens of the day centre, talking freely. JACKIE throws back her head, laughing... The rest is history, too. FADE TO BLACK:</scene_description>
</scene>
</script> | On assignment in India, French television journalist Marie Lelay is caught in the 2004 Indian Ocean tsunami. Pulled lifeless from the water, they try to resuscitate her but she's left for dead. She gasps back to life after glimpsing the afterlife. Marie is reunited with her lover Didier after and they return to Paris. The experience interferes with her work, so Didier (also her producer) gives her a leave of absence. In San Francisco, George Lonegan reluctantly agrees to perform a psychic reading for Christos, a wealthy client of his brother Billy. An actual medium due to a childhood near-death experience, George quits as a psychic due to the emotional, disturbing impact of communicating with the dead. He asks if “June” means anything, which Christos denies; later he tells Billy that June was his late wife's nurse, with whom he was in love. In London, 12-year-old twins Jason and Marcus try to prevent their alcoholic, heroin-addicted mother Jackie from losing them to social services. Evading the authorities, Jackie sends Jason to the chemist to pick up her detox prescription, having finally decided to get clean. Running from street thugs, Jason is hit by a van and killed. Social services then put Marcus into a foster home. Marie travels to Switzerland to meet a hospice director, a former skeptic now convinced the afterlife exists. She persuades Marie to write a book on her experience, in hopes the scientific community will accept the reality of life beyond death. Desperate for a reunion with his brother, Marcus steals money from his foster parents and seeks help to contact Jason, but only encounters frauds. Before he can board the London underground at Charing Cross, Jason's cap blows off Marcus’ head. Anxious to find it, he misses his train, which explodes during the 2005 London Bombings. At a cooking class, George is partnered with Melanie. Hitting it off, they prepare dinner at George's home, where a phone message from Billy forces him to reveal his ability as a psychic. Melanie persuades George to help her. The spirit of her father communicates through him, asking forgiveness for what he did to her as a child. Melanie flees in tears, and does not return to the cooking class. Having been in talks with a publisher about a biography of François Mitterrand, Marie stuns them with her new manuscript: "Hereafter: A Conspiracy of Silence". The publisher rejects the work, but steers her toward another in London. Marie learns Didier does not intend to give back her job, as her reputation has been damaged from her interest in the hereafter, and he is sleeping with another woman, effectively ending their relationship. Laid off from his factory job, George is persuaded by Billy to revive his psychic practice. However, he impulsively travels to London, on a Dickens kick, listening to Derek Jacobi’s audiobooks, visiting the Charles Dickens Museum and attending Jacobi's live reading at the London Book Fair, where Marie is also reading her newly published book, Hereafter. Handing George a signed copy, he has a flash of her near-drowning. At the event with his foster parents, Marcus spots George, who he has read about online. George brushes him off and returns to his hotel, but Marcus stands outside until George agrees to do a reading. Through George, Jason tells Marcus he is happy in the afterlife, and that he had knocked off his cap to save Marcus at the train station, and not to fear being alone "because we are one." With this closure, Marcus visits his mother, who is improving in a rehab center. George leaves a note for Marie, inviting her to a café, He has a vision of them kissing. Their shared glimpses of the hereafter having made them better appreciate life, George and Marie sit together. |
Diary of a Wimpy Kid_2010 | tt1196141 | <script>
<scene>
<character>DIARY OF A WIMPY KID</character>
<dialogue>by</dialogue>
<scene_description>Jackie Filgo & Jeff Filgo Based on the novel by Jeff Kinney TWENTIETH CENTURY FOX 2ND STUDIO DRAFT (2nd Revision) 10201 W. Pico Blvd. JANUARY 22, 2009 Los Angeles, CA 90035 ALL RIGHTS RESERVED. COPYRIGHT ©2009 TWENTIETH CENTURY FOX FILM CORPORATION. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF TWENTIETH CENTURY FOX FILM CORPORATION. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE. FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM</stage_direction>
<scene_description>BLACK SCREEN. Soft breathing. SUPER: "Monday" is scrawled across the screen in Greg's handwriting. Then BLINDING LIGHT.</scene_description>
<character>RODRICK (O.S.)</character>
<dialogue>Greg.</dialogue>
<scene_description>GREG'S POV: we find RODRICK HEFFLEY, an insolent sixteen- year-old, in our face. Rodrick is dressed for school.</scene_description>
<character>RODRICK</character>
<dialogue>Greg!</dialogue>
<character>GREG</character>
<parenthetical>(half asleep)</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Rodrick shakes Greg awake.</scene_description>
<character>RODRICK</character>
<dialogue>Get up, you're going to be late.</dialogue>
<scene_description>END POV to find GREG HEFFLEY in his twin bed. Greg is eleven or twelve, average height, and really thin. Rodrick is going to town with the shaking thing, basically bouncing him on his bed.</scene_description>
<character>GREG</character>
<parenthetical>(fighting him off)</parenthetical>
<dialogue>Quit it, Rodrick! Why are you -- what am I late for?</dialogue>
<character>RODRICK</character>
<dialogue>Middle school, what do you think? Today's your first day. Hurry up or Mom's gonna lose it.</dialogue>
<scene_description>Rodrick exits. Greg sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN</stage_direction>
<scene_description>Greg, now dressed and ready for school, eats cereal and reads the comics with bleary eyes. He turns the kitchen TV on to AN INFOMERCIAL FOR A JUICER. He changes the channel, it's an INFOMERCIAL FOR BUYING FORECLOSURES. He keeps changing channels -- it's all infomercials. Something's not right. CONTINUED:</scene_description>
<character>FRANK (O.S.)</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Greg looks up. FRANK HEFFLEY, Greg's dad, is there, wearing a t-shirt and boxers. He mutes the TV.</scene_description>
<character>GREG</character>
<dialogue>Getting ready for my first day of middle...</dialogue>
<scene_description>Greg trails off as he looks out a window. IT'S DARK. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEFFLEY HOUSE - NIGHT</stage_direction>
<scene_description>From across the street we see the Greg's house in the dark. An owl perches on a tree limb in the foreground. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - CONTINUOUS</stage_direction>
<scene_description>On Greg and Frank.</scene_description>
<character>GREG</character>
<dialogue>...school.</dialogue>
<character>FRANK</character>
<dialogue>It's four o'clock in the morning. School doesn't start until next week.</dialogue>
<scene_description>SUSAN HEFFLEY, Greg's mom, unhappily enters. She's an attractive, harried mom. Frank watches MANNY, their wide- awake two-year-old son, scurry past her, grab the cereal box and start eating out of it.</scene_description>
<character>FRANK</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>You woke Manny up. He never goes back to sleep.</dialogue>
<parenthetical>(to Susan)</parenthetical>
<dialogue>He woke Manny up.</dialogue>
<character>SUSAN</character>
<dialogue>Have you lost your mind?</dialogue>
<character>GREG</character>
<dialogue>It was Rodrick!</dialogue>
</scene>
<scene>
<stage_direction>INT. RODRICK'S ROOM - MOMENTS LATER</stage_direction>
<scene_description>They all stand in the doorway and look at Rodrick, sound asleep BUT NOW IN HIS PAJAMAS, snoring softly in his bed.</scene_description>
<character>GREG</character>
<dialogue>But he --</dialogue>
<character>SUSAN</character>
<dialogue>Go to bed.</dialogue>
<scene_description>As they leave, Greg turns back to look at Rodrick, who is in the same position only now he's smiling. CUT TO: OPENING CREDITS Tight On a closed book. The cover reads 'Diary'. Pull back to reveal GREG HEFFLEY is holding the book and directly addressing the camera. Behind him is a WHITE BACKGROUND. Greg is a grown-up trapped in a kid's body. He has a very matter of fact, casual manner about him -- a worldly, confident attitude. Even so, he remains a likeable boy because we know his bravura just masks normal insecurity. He's Bill Murray as a kid.</scene_description>
<character>GREG</character>
<dialogue>Okay, first of all, let me get something straight: this is a JOURNAL, not a diary.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Right, I know what it says on the cover, but when mom went out to buy this thing I TOLD her not to get me a book that said "diary" on it. This just proves Mom doesn't know anything. If I walk into my first day of middle school carrying this book around, I might as well be wearing a sign that says "punch me"!</dialogue>
<scene_description>INSERT SHOT: The cartoon drawing FROM THE BOOK of THE BULLY DISCOVERING GREG'S DIARY. The drawing becomes animated: the Bully punches Greg, sending him and the "diary" flying.</scene_description>
<character>BULLY</character>
<dialogue>Wimp!</dialogue>
<scene_description>BACK ON GREG addressing the camera.</scene_description>
<character>GREG</character>
<dialogue>The only reason I agreed to write in this thing is because one day when I'm rich and famous I'll have better things to do than answer peoples' stupid questions all day long, and this book is gonna come in handy.</dialogue>
<scene_description>INSERT SHOT: The cartoon drawing FROM THE BOOK of Greg at the press conference. The drawing becomes animated as reporters shout questions at Greg.</scene_description>
<character>MALE REPORTER</character>
<dialogue>Gregory! Tell us about your childhood!</dialogue>
<character>FEMALE REPORTER</character>
<dialogue>Were you always so smart and handsome?</dialogue>
<scene_description>Greg waves his journal at them.</scene_description>
<character>GREG</character>
<dialogue>Here's my journal. Now shoo, shoo.</dialogue>
<scene_description>BACK TO GREG addressing the camera.</scene_description>
<character>GREG</character>
<dialogue>I actually should have started keeping a diary -- I mean journal! -- years ago. Now there's gonna be this big gap from birth to middle school.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Anyway, I think future generations will be glad I kept a record of this time in my life, but the truth is when they make a movie or a TV mini-series about me, they'll probably just skip over the middle school years and go right to the part where I'm famous.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Seriously, who's gonna want to see a movie about a guy who's stuck in middle school with a bunch of half- grown morons?</dialogue>
<scene_description>He tosses the book on a nearby side table. ZOOM IN TIGHT ON THE BOOK AND HOLD. END OPENING CREDITS</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOOM - MORNING</stage_direction>
<scene_description>Still tight on the book, PULL BACK TO REVEAL the diary is on Greg's bedside table, and he is asleep in the bed. SUPER: "September. Tuesday." Susan, holding Manny, pokes her head in.</scene_description>
<character>SUSAN</character>
<dialogue>Get up, get up, it's your first day of middle school!</dialogue>
<scene_description>Greg stirs and opens his eyes. Suspicious, he checks the window for daylight to make sure it's legit this time. It is.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - MORNING</stage_direction>
<scene_description>Greg, Rodrick, Manny, and Susan eat breakfast. Rodrick is working on a pile of flyers for his band Loded Diaper. The flyers feature a picture of Rodrick and his bandmates holding instruments and trying their hardest not to look like suburban teenagers. Rodrick is adding devil horns to the "L" in Loded and chuckling.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Mom's always saying I need to gain weight. But if you had to eat with my family, you wouldn't have much of an appetite either.</dialogue>
<scene_description>Pan around the table -- Susan picks her teeth, Rodrick chews his nails. Settle on Manny, who eats his cereal while sitting on a small training potty. Frank passes through on his way out to work, looks at Manny.</scene_description>
<character>FRANK</character>
<dialogue>The toilet at the table, that doesn't feel right.</dialogue>
<character>SUSAN</character>
<dialogue>I don't want him to think it's shameful.</dialogue>
<character>FRANK</character>
<dialogue>It should be a little shameful.</dialogue>
<scene_description>He grabs a piece of toast and kisses Susan.</scene_description>
<character>FRANK</character>
<dialogue>See you.</dialogue>
<scene_description>CONTINUED: He exits.</scene_description>
<character>SUSAN</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>So, middle school. You nervous?</dialogue>
<character>GREG</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Nah.</dialogue>
<character>SUSAN</character>
<dialogue>Rodrick, give Greg some tips about middle school so he knows what to expect.</dialogue>
<character>RODRICK</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>It's like prison. Don't ever look anyone in the eye, but don't look down either -- always be looking away, like you're lost in thought.</dialogue>
<scene_description>He looks at Greg skeptically.</scene_description>
<character>RODRICK</character>
<dialogue>I'm wasting my time, you'll be dead or home-schooled by the end of the year.</dialogue>
<character>GREG</character>
<dialogue>No way.</dialogue>
<character>SUSAN</character>
<dialogue>Not helpful, Rodrick.</dialogue>
<character>RODRICK</character>
<dialogue>You're right. I'm sure he'll do great. He'll probably be Most Popular in the yearbook.</dialogue>
<scene_description>Rodrick grabs his flyers, gets up to leave. He stops and turns around.</scene_description>
<character>RODRICK</character>
<dialogue>Oh, and one more thing...watch out for the cheese.</dialogue>
<scene_description>He exits. Susan and Greg look at each other.</scene_description>
<character>SUSAN</character>
<dialogue>Okay, get Manny cleaned up and I'll drive you to school.</dialogue>
<scene_description>Manny looks at Greg, then dumps his cereal in his potty. CONTINUED: (2)</scene_description>
<character>GREG</character>
<dialogue>He did that on purpose! I'm not cleaning it up.</dialogue>
<character>SUSAN</character>
<dialogue>It's your fault he's still potty training.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS BATHROOM - DAY</stage_direction>
<scene_description>Greg, bored, perches on the vanity and watches Manny sit on the toilet.</scene_description>
<character>GREG</character>
<dialogue>Don't look down, Manny. The Potty Monster doesn't like it when you look at him.</dialogue>
<scene_description>Manny slowly looks down into the potty --</scene_description>
<character>GREG</character>
<parenthetical>(covers his mouth)</parenthetical>
<dialogue>Rrrhaaaaaarrrrrr!</dialogue>
<scene_description>MANNY SCREAMS, jumps off the potty and runs out. END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Greg chuckles to himself at the memory. Susan looks at him sternly. Greg gets to work and unhappily dumps out the potty into the sink.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUSAN'S CAR - MORNING</stage_direction>
<scene_description>SUPER: "First Day of School." Susan stops in front of Whitmore Middle School in her older Honda. Greg looks out the window at students streaming inside. We see Susan wants badly for Greg to do okay here.</scene_description>
<character>SUSAN</character>
<dialogue>Want me to walk you in?</dialogue>
<character>GREG</character>
<dialogue>No thanks.</dialogue>
<scene_description>A beat; Greg just sits there. CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Are you going to get out?</dialogue>
<character>GREG</character>
<dialogue>Yeah.</dialogue>
<scene_description>He doesn't move.</scene_description>
<character>SUSAN</character>
<dialogue>Do you want me to walk you in?</dialogue>
<character>GREG</character>
<dialogue>No.</dialogue>
<scene_description>Greg hops out. Susan watches him head toward the school.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - MORNING</stage_direction>
<scene_description>It's quiet as Greg nears the large metal front door. The school looks idyllic and nonthreatening. Next to the door is a cartoon poster of a character named "Wacky Dawg" welcoming new students.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Everybody's always saying how middle school is such a big deal. But to be honest with you, I wasn't really sweating it all that much.</dialogue>
<scene_description>He opens the door and is BLASTED BY A WALL OF NOISE.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>Greg stands in the hallway. All around him is mayhem; it's loud and packed with kids roughhousing and jostling and shrieking. Greg begins to walk down the hall.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Okay, so I admit middle school was way different than what I was expecting. I mean, you got kids like me who haven't hit their growth spurt yet mixed in with these gorillas who need to shave twice a day.</dialogue>
<scene_description>GREG'S POV: EXTREME CLOSE-UPS of one big kid's BUSHY UPPER LIP FACIAL HAIR; another big kid's FREAKISHLY HAIRY AND MUSCLED FOREARM; another big kid's shirt open at the neck to reveal A TUFT OF YET MORE HAIR.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>And not just their faces.</dialogue>
<scene_description>CONTINUED: A hulking boy with acne, PRESTON, catches Greg's eye.</scene_description>
<character>PRESTON</character>
<dialogue>Hey, Greg.</dialogue>
<character>GREG</character>
<dialogue>Hey...</dialogue>
<scene_description>Greg squints at him, puzzled; he has no idea who it is.</scene_description>
<character>GREG</character>
<dialogue>...fella.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>Half of these kids were in my school last year, but I could hardly recognize them.</dialogue>
<scene_description>SMASH CUT TO: A SERIES OF PHOTOGRAPHS Side by side, we see before and after photos of several of Greg's schoolmates. The "befores" are normal, cute grade school students. The "afters" look like bizarre hormone experiments. The first photo is of Preston, in which his clear grade school complexion becomes riddled with acne. In the ones that follow, full shiny hair becomes lank and greasy; others are stuck in weird, awkward phases of their growth spurts. In the last "before and after", A SMALL, NORMAL-LOOKING KID HASN'T CHANGED AT ALL.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Okay, so there were still a few normal looking people like me, but trust me, we were in the minority.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Greg continues to move through the hall, three older guys approach him. The BIGGEST GUY steps in his path.</scene_description>
<character>BIGGEST GUY</character>
<dialogue>You new?</dialogue>
<character>GREG</character>
<dialogue>Yeah.</dialogue>
<character>BIGGEST GUY</character>
<dialogue>Newbie!</dialogue>
<scene_description>CONTINUED: He punches Greg hard in the arm, his buddies laugh.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - DAY</stage_direction>
<scene_description>Greg rubs his arm at his homeroom desk as ROWLEY JEFFERSON enters behind a couple of other kids. Only his face is visible at this point.</scene_description>
<character>GREG</character>
<parenthetical>(calls)</parenthetical>
<dialogue>Hey, Rowley.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>Rowley Jefferson is my best friend.</dialogue>
<scene_description>The two other kids part and we get our first good look at Rowley. The word for Rowley is "thick". His head, neck, torso, and legs sit atop one another like a stack of blocks. He has a heartbreakingly open, honest, sweet face. HE IS ALSO WEARING A BRIGHTLY COLORED SERAPE. Greg cringes when sees Rowley's nerdy outerwear.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>But that's definitely subject to change.</dialogue>
<scene_description>Rowley sees Greg and becomes excited, waving frantically.</scene_description>
<character>ROWLEY</character>
<parenthetical>(way too loud)</parenthetical>
<dialogue>Greg! Greg! Greg!</dialogue>
<scene_description>As Rowley heads over to Greg, Greg notices some of the other kids snickering at Rowley.</scene_description>
<character>GREG</character>
<dialogue>What are you wearing?</dialogue>
<character>ROWLEY</character>
<dialogue>We just got back from Guatemala.</dialogue>
<parenthetical>(with a flourish)</parenthetical>
<dialogue>It's my serape!</dialogue>
<scene_description>Greg slouches in his seat as Rowley spins to show it off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Greg, Rowley and the rest of the P.E. class wear gym clothes. Alarmed, Greg watches the large MUSCLED KID next to him slam a ball from one hand to the other as COACH MALONE talks. CONTINUED:</scene_description>
<character>COACH MALONE</character>
<dialogue>Today you're going to learn how to play dodgeball right. First off, no aiming for the head.</dialogue>
<character>MUSCLED KID</character>
<parenthetical>(raises his hand)</parenthetical>
<dialogue>What happens to us if we hit somebody in the head?</dialogue>
<character>COACH MALONE</character>
<dialogue>Nothing. Okay now, listen up, when I blow the whistle that means...</dialogue>
<scene_description>Coach Malone continues to talk as...</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Don't ask me what genius came up with the idea of dodgeball. My parents spent a lot of money on my braces so I'm pretty sure they didn't want me to get my teeth rearranged by some moron chucking a rubber ball at ninety miles an hour.</dialogue>
<scene_description>CUT TO: LINE-DRAWN ANIMATION - FANTASY Greg gets hit in the mouth with a dodgeball thrown by a MORONIC GOON. His teeth fly everywhere. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - CONTINUOUS</stage_direction>
<scene_description>Greg's hand shoots up.</scene_description>
<character>GREG</character>
<dialogue>Uh, I have a heart murmur. My doctor says I can't play dodgeball.</dialogue>
<character>COACH MALONE</character>
<dialogue>Okay, well...just go sit over there.</dialogue>
<scene_description>He points to the edge of the sport court. Rowley watches Greg go and raises his hand.</scene_description>
<character>ROWLEY</character>
<dialogue>I have...asthma.</dialogue>
<character>COACH MALONE</character>
<dialogue>Do you have an inhaler?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>What?</dialogue>
<character>COACH MALONE</character>
<dialogue>An inhaler.</dialogue>
<character>ROWLEY</character>
<dialogue>Huh?</dialogue>
<character>COACH MALONE</character>
<dialogue>Where's your inhaler?</dialogue>
<character>ROWLEY</character>
<dialogue>Where?</dialogue>
<character>COACH MALONE</character>
<parenthetical>(sighs)</parenthetical>
<dialogue>Go sit next to the other guy.</dialogue>
<scene_description>Rowley runs off and catches up to Greg. As they walk...</scene_description>
<character>GREG</character>
<dialogue>The people running this place are trying to kill us. Maybe this is how they're gonna fix overcrowding in schools.</dialogue>
<character>ROWLEY</character>
<dialogue>I gotta get my hands on an inhaler.</dialogue>
<parenthetical>(points to dodgeball)</parenthetical>
<dialogue>'Cause that's scary.</dialogue>
<character>GREG</character>
<dialogue>I'm not scared, I'm walking away to make a point. This is just barbaric.</dialogue>
<character>ANGIE (O.S.)</character>
<dialogue>Like the Roman gladiators.</dialogue>
<scene_description>Greg and Rowley notice that ANGIE STEADMAN, an intense girl dressed all in black, has fallen in next to them.</scene_description>
<character>ANGIE</character>
<dialogue>Gladiators were actually slaves that were forced to fight to the death just for people's entertainment.</dialogue>
<character>ROWLEY</character>
<dialogue>Really?</dialogue>
<scene_description>Greg shoots Rowley a look that says "don't engage". CONTINUED: (2)</scene_description>
<character>ANGIE</character>
<dialogue>I'm glad somebody around here finally sees the parallel.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I'm Angie. This is my second year, and I'm telling you, middle school is nothing but a bad joke.</dialogue>
<scene_description>Through the following, Greg gets increasingly annoyed by Rowley's attention to Angie.</scene_description>
<character>ANGIE</character>
<dialogue>And the crazy thing is, all the adults know it, but they keep it to themselves. I mean, you hear them talk all the time about how fun high school was and how cute they were in elementary school. But you never, ever hear them saying they wish they could be back in middle school. They never mention it at all.</dialogue>
<character>ROWLEY</character>
<parenthetical>(locked in)</parenthetical>
<dialogue>That's true.</dialogue>
<scene_description>Greg pulls Rowley away...</scene_description>
<character>GREG</character>
<parenthetical>(to Angie)</parenthetical>
<dialogue>I think the girls are supposed to be over there.</dialogue>
<scene_description>As they move off...</scene_description>
<character>GREG</character>
<dialogue>Rowley, you gotta stay away from the nutsos. We're projecting an image here, it's a very delicate time.</dialogue>
<scene_description>They continue toward an empty spot on the blacktop, looking over their shoulders at the dodgeball game. They watch CHIRAG GUPTA, a little Indian boy, get nailed by four balls at once. Greg turns away just in time to see AN OLD GROSS SLICE OF CHEESE right in front of them.</scene_description>
<character>GREG</character>
<dialogue>Whoa. Check it out.</dialogue>
<character>ROWLEY</character>
<dialogue>Is that...cheese?</dialogue>
<character>CLOSE ON THE CHEESE.</character>
<dialogue>FOREBODING MUSIC STING.</dialogue>
<scene_description>CONTINUED: (3) Greg squats down next to it. It's a slice of cheddar, deli- cut. He reaches out with his finger, and is about to touch it --</scene_description>
<character>CHIRAG (O.S.)</character>
<dialogue>Stop!</dialogue>
<scene_description>Alarmed, Greg and Rowley turn to see Chirag run up, battle- wounded and out of breath.</scene_description>
<character>GREG</character>
<dialogue>What, Chirag?</dialogue>
<character>CHIRAG</character>
<dialogue>You almost got the Cheese Touch.</dialogue>
<character>GREG</character>
<dialogue>The what?</dialogue>
<scene_description>Chirag takes a deep breath, and then begins speaking almost mystically...</scene_description>
<character>CHIRAG</character>
<dialogue>A long time ago -- no one knows how long -- that cheese just appeared on the blacktop. No one ever threw it away, and so there it sat, growing more foul by the day. Then one day, a kid -- some say his name was Bernard -- made the biggest mistake of his life.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>BERNARD, a curious kid, squats over the cheese and innocently touches it with his finger. Another kid (KID #1) sees him do it and points.</scene_description>
<character>KID #1</character>
<dialogue>Bernard touched the cheese! Bernard touched the cheese!</dialogue>
<scene_description>A crowd of kids runs over pointing and screaming as if they see a zombie.</scene_description>
<character>CHIRAG (V.O.)</character>
<dialogue>From that day on, Bernard had the Cheese Touch.</dialogue>
<scene_description>END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - CONTINUOUS</stage_direction>
<scene_description>Chirag continues his tale...</scene_description>
<character>CHIRAG</character>
<dialogue>No one would go near Bernard because if they touched him, they would get the Cheese Touch. Bernard became an outcast. Until, that is, he was able to pass the Cheese Touch onto an unsuspecting foreign exchange student.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>DIETER, a happy looking German foreign exchange student, talks to a group of kids. Bernard sneaks up to the edge of the circle and touches Dieter on the shoulder. The other kids recoil from a confused Dieter.</scene_description>
<character>DIETER</character>
<dialogue>Was soll das?</dialogue>
<scene_description>One kid (KID #2) points at him in horror.</scene_description>
<character>KID #2</character>
<dialogue>Cheese touch!</dialogue>
<character>CHIRAG (V.O.)</character>
<dialogue>And so it went, from student to student, from year to year.</dialogue>
<scene_description>As Chirag speaks, we see a ROGUE'S GALLERY OF CHEESE TOUCH VICTIMS through the years. Most are boys, but some are unhappy looking girls. END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - CONTINUOUS</stage_direction>
<scene_description>As Greg and Rowley listen to Chirag...</scene_description>
<character>CHIRAG</character>
<dialogue>The reign of terror ended when Abe Hall got it five years ago. He moved to California and took the Cheese Touch with him.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>A group of solemn kids watch a station wagon pull away. We see ABE, a haunted looking boy, peering out the back window, his hands pressing against the glass. END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Chirag looks at them dolefully.</scene_description>
<character>CHIRAG</character>
<dialogue>And so today, the cheese sits, patiently waiting for a new victim.</dialogue>
<character>GREG/ROWLEY</character>
<parenthetical>(blown away)</parenthetical>
<dialogue>Wow.</dialogue>
<character>CHIRAG</character>
<dialogue>This is a terrible place.</dialogue>
<scene_description>Greg and Rowley look at the cheese. When they look up, CHIRAG IS GONE. Coach Malone blows his whistle, signalling the end of P.E.</scene_description>
<character>ROWLEY</character>
<dialogue>Maybe we should just throw it away.</dialogue>
<scene_description>Rowley starts to reach for the cheese -- Greg quickly holds him back.</scene_description>
<character>GREG</character>
<dialogue>Geez, Rowley!</dialogue>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - DAY</stage_direction>
<scene_description>The cafeteria is just as loud and untamed as the rest of the school -- there's yelling, pushing, maybe some food flying in places. Greg and Rowley move through the lunch line, pushing their trays.</scene_description>
<character>GREG</character>
<dialogue>By the way, second floor bathroom? No stall doors. I learned that the hard way.</dialogue>
<character>ROWLEY</character>
<dialogue>What? If there's no doors people can see you. And all your business.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Yeah, well, worse than them seeing you is you seeing them. Trust me, you don't want to lock eyes with some strange guy sitting on a toilet. It's a weird feeling.</dialogue>
<scene_description>Rowley shudders. The lunch lady hands Greg a plate of yellow, lumpy goop (chicken a la king). He and Rowley head toward the table area. They see a few empty seats at a table of kids. Greg starts to put his tray down.</scene_description>
<character>LUNCH KID</character>
<dialogue>That seat's saved.</dialogue>
<character>GREG</character>
<dialogue>For who?</dialogue>
<character>LUNCH KID</character>
<dialogue>It's saved.</dialogue>
<scene_description>Greg moves toward another empty seat at the table.</scene_description>
<character>LUNCH KID</character>
<dialogue>That seat's saved.</dialogue>
<scene_description>Greg moves to the last empty seat. He looks at the kid who just shakes his head. Greg looks around at the others at the table; they ignore him and Rowley as if they don't exist.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - MOMENTS LATER</stage_direction>
<scene_description>Greg decides to try his luck with some shaggy looking skateboard kids. He crosses to their table, but they take one look at him and Rowley:</scene_description>
<character>SKATE KID</character>
<dialogue>No way.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - MOMENTS LATER</stage_direction>
<scene_description>Greg and Rowley approach a table full of girls.</scene_description>
<character>HAUGHTY GIRL</character>
<dialogue>Forget it.</dialogue>
<scene_description>Rowley turns to Greg.</scene_description>
<character>ROWLEY</character>
<dialogue>So where are we supposed to eat?</dialogue>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - MOMENTS LATER</stage_direction>
<scene_description>Greg and Rowley have found a couple of lonely chairs in the corner and awkwardly try to eat with their lunch trays on their laps. FREGLEY, a thin hyper kid who breathes through his teeth in a way that often makes a whistling sound, approaches with a lunch tray.</scene_description>
<character>FREGLEY</character>
<dialogue>Hey Greg Heffley. Want to see my secret freckle?</dialogue>
<character>GREG</character>
<dialogue>No thanks, Fregley.</dialogue>
<scene_description>Fregley sits down on the floor next to them. Greg tries to cut his chicken, but without a table it's hard to do and the chicken goes flying off of his plate and plops on the floor near Fregley. They all look at it.</scene_description>
<character>FREGLEY</character>
<dialogue>Are you going to finish that?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>Kids stream out at the end of the school day. Greg and Rowley are mid-pack.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Okay, the first day wasn't great, but at least I got out with my dignity. Or so I thought.</dialogue>
<character>ROWLEY</character>
<parenthetical>(yelling to be heard)</parenthetical>
<dialogue>Hey Greg, you want to come over and plaayyy?!</dialogue>
<scene_description>An older kid, QUENTIN, overhears and steps in front of them.</scene_description>
<character>QUENTIN</character>
<dialogue>What did you say?</dialogue>
<character>ROWLEY</character>
<parenthetical>(panicked)</parenthetical>
<dialogue>...Flarb.</dialogue>
<character>QUENTIN</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>What'd he say?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>I don't know. I don't even know that guy.</dialogue>
<character>QUENTIN</character>
<parenthetical>(calls to friends)</parenthetical>
<dialogue>Hey guys, check it out.</dialogue>
<scene_description>Quentin's two buddies, ARTHUR and JOE, approach.</scene_description>
<character>QUENTIN</character>
<dialogue>This guy says to that guy, want to come over and plaayyy?</dialogue>
<scene_description>Greg grimaces at Quentin and his friends' scornful expressions.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>This was hard to take, because in twenty years all these mouth-breathers would be working for me.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - DAY - FANTASY</stage_direction>
<scene_description>It's Greg, the same actor, but with a mustache and wearing a short sleeve dress shirt with a tie. He holds a clipboard and watches Quentin, Joe, and Arthur (also with mustaches) struggle mightily to put a heavy crate on a high shelf.</scene_description>
<character>QUENTIN</character>
<dialogue>We finally got it up there, boss.</dialogue>
<character>GREG</character>
<dialogue>That's a shame. Because now I need you to take it back down, and after that I'm going to need you to put it back up there.</dialogue>
<character>QUENTIN</character>
<dialogue>But --</dialogue>
<character>GREG</character>
<dialogue>Chop chop!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - MOMENTS LATER</stage_direction>
<scene_description>A WHOLE CROWD OF KIDS are now gathered around Greg and Rowley as Quentin finishes gleefully repeating the story for newcomers. CONTINUED:</scene_description>
<character>QUENTIN</character>
<parenthetical>(mocking)</parenthetical>
<dialogue>...come over and...plaayyy!</dialogue>
<scene_description>THEY ALL LAUGH. Greg grabs Rowley and quickly pulls him away from the crowd to a space by the bike rack.</scene_description>
<character>GREG</character>
<dialogue>Thanks a lot, Rowley.</dialogue>
<character>ROWLEY</character>
<dialogue>What? What'd I do?</dialogue>
<character>GREG</character>
<dialogue>We're in middle school now. Nobody plays anymore, they hang out.</dialogue>
<character>ROWLEY</character>
<dialogue>What's the difference?</dialogue>
<character>GREG</character>
<dialogue>The difference is we can't act like kids anymore.</dialogue>
<character>ROWLEY</character>
<dialogue>Oh. Okay, got it.</dialogue>
<scene_description>ROWLEY NONCHALANTLY GRABS HIS BIG WHEEL which is parked next to a bunch of bikes. Greg looks at the Big Wheel in horror.</scene_description>
<character>GREG</character>
<dialogue>Rowley. A Big Wheel?</dialogue>
<character>ROWLEY</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I like being low to the ground.</dialogue>
<scene_description>Rowley takes off on his Big Wheel. Greg follows, conscious of the stares Rowley is attracting.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEFFLEY HOUSE - DAY</stage_direction>
<scene_description>Rodrick's van with the name of his band "Loded Diper" scrawled on the side is parked in the driveway. Next to the van is parked Rowley's Big Wheel.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - DAY</stage_direction>
<scene_description>Greg and Rowley sit on the floor and play a racing video game. Manny sits on his tiny potty next to them and watches. Rowley is engrossed in the game, but Greg is clearly distracted. CONTINUED:</scene_description>
<character>GREG (V.O.)</character>
<dialogue>When we got home I tried to unwind, but I couldn't stop thinking about school. And I'm worried about Rowley. He'll never be able to figure out how to make it through that place. He lacks nuance. I mean, you can beat him at a video game just by naming your car something ridiculous.</dialogue>
<scene_description>On the TV, Greg's car passes Rowley's.</scene_description>
<character>ROBOT VIDEO GAME VOICE</character>
<dialogue>Bad Fart ahead!</dialogue>
<character>ROWLEY</character>
<parenthetical>(falls over laughing)</parenthetical>
<dialogue>Bwaahahaha!</dialogue>
<scene_description>In imitation, Manny laughs and falls off his potty.</scene_description>
<character>ROWLEY</character>
<dialogue>Let's race again.</dialogue>
<scene_description>Greg switches off the game. Rowley looks at him questioningly. Manny mimics Rowley and also looks at Greg questioningly.</scene_description>
<character>GREG</character>
<dialogue>Rowley, you need to focus. Our first day sucked.</dialogue>
<character>ROWLEY</character>
<dialogue>It did?</dialogue>
<scene_description>Greg looks at Rowley like, "Is anybody home?"</scene_description>
<character>GREG</character>
<dialogue>We're nobodies at school. I don't know about you, but I never envisioned myself as the guy who has to eat lunch off his lap. That is okay for Fregley but not me.</dialogue>
<character>ROWLEY</character>
<dialogue>My mom told me to just be myself and people would like me.</dialogue>
<character>GREG</character>
<dialogue>That would be good advice if you were somebody else.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEFFLEY FRONT PORCH - DAY</stage_direction>
<scene_description>Greg opens the front door to Rowley, who consults a book ("How to Make Friends in New Places with Jokes").</scene_description>
<character>ROWLEY</character>
<dialogue>Knock knock!</dialogue>
<character>GREG</character>
<dialogue>Huh?</dialogue>
<character>ROWLEY</character>
<dialogue>Thermos!</dialogue>
<character>GREG</character>
<dialogue>Excuse me?</dialogue>
<character>ROWLEY</character>
<dialogue>Thermos be some way to tickle your funny bone!</dialogue>
<character>GREG</character>
<dialogue>Say what?</dialogue>
<scene_description>END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Greg gives Rowley a sideways look. Rowley gets an idea and looks excited. Manny looks excited, too.</scene_description>
<character>ROWLEY</character>
<dialogue>I think I may still have that joke book I used when I met you. Maybe I should bring it to school?</dialogue>
<scene_description>Greg looks at Rowley sorrowfully.</scene_description>
<character>GREG</character>
<dialogue>That book is not your friend. No book is going to help us.</dialogue>
<scene_description>A beat while Rowley and Greg think. Rowley screws up his face in concentration and stares at the ceiling. Manny imitates him. Greg gets an idea.</scene_description>
<character>GREG</character>
<dialogue>We need to get into Rodrick's room.</dialogue>
<character>ROWLEY</character>
<dialogue>I'm not going in Rodrick's room.</dialogue>
<scene_description>Rowley shakes his head "no". So does Manny.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT - DAY</stage_direction>
<scene_description>LOUD TERRIBLE MUSIC. Greg and Rowley peek around the corner to see Rodrick play the drums as he rehearses with his crappy band. They wince at the noise.</scene_description>
</scene>
<scene>
<stage_direction>INT. RODRICK'S ROOM - MOMENTS LATER</stage_direction>
<scene_description>Rodrick's room is a mess. Posters indicate he's really into Nine Inch Nails, Tool, and Slipknot. Rowley watches the door nervously as Greg, on his hands and knees, tosses aside junk from underneath Rodrick's bed. A half-eaten candy bar; a ouija board; and A GLOSSY MAGAZINE ENTITLED "MOTO MAMAS", the cover of which features a very buxom model in a thong bikini draped promiscuously over a motorcycle. Rowley eyes widen as he looks at the magazine.</scene_description>
<character>ROWLEY</character>
<dialogue>Wow. I didn't know Rodrick was into motorcycles.</dialogue>
<scene_description>Greg pulls out the WHITMORE MIDDLE SCHOOL YEARBOOK, holds it up.</scene_description>
<character>GREG</character>
<dialogue>Rodrick's middle school yearbook.</dialogue>
<scene_description>He quickly pages through, finds what he's looking for.</scene_description>
<character>GREG</character>
<dialogue>Right here, Class Favorites. The best in the class. These people are famous. And I guarantee you they always get an actual table at lunch.</dialogue>
<scene_description>As Greg looks through the Class Favorites, we go CLOSE ON THE PICTURES. INSPIRATIONAL MUSIC STING</scene_description>
<character>GREG (V.O.)</character>
<dialogue>This was it. If you can get yourself voted onto the Class Favorites page, you're practically an immortal. Even if you don't live up to what you get picked for, it doesn't really matter because it's on permanent record.</dialogue>
<scene_description>Settle on the photo of the "Most Popular" guy, BILL WATSON. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>People still treat Bill Watson like he's something special even though he dropped out of high school and works at the Food Barn.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FOOD BARN - DAY</stage_direction>
<scene_description>Greg and Susan are at the grocery store checkout behind TWO HIGH SCHOOL GIRLS. An older-looking Bill Watson is the bagger. The girls eye Bill and giggle.</scene_description>
<character>BILL WATSON</character>
<dialogue>Will that be paper or plastic?</dialogue>
<character>HIGH SCHOOL GIRL #1</character>
<parenthetical>(dreamy)</parenthetical>
<dialogue>Whatever you think, Bill.</dialogue>
<scene_description>END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. RODRICK'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Greg points Favorites from the book out to Rowley.</scene_description>
<character>GREG</character>
<dialogue>This is where I need to be. Most Popular, Best Dressed, Class Clown...they should just give that to me right now. I'm hilarious.</dialogue>
<scene_description>Rowley notices the picture of the "Cutest Couple".</scene_description>
<character>ROWLEY</character>
<dialogue>Hey, maybe we should go for "Cutest Friends".</dialogue>
<character>GREG</character>
<dialogue>You're kidding, right?</dialogue>
<character>THE DOOR FLIES OPEN.</character>
<dialogue>IT'S RODRICK.</dialogue>
<character>RODRICK</character>
<dialogue>What did I tell you I'd do to you if I caught you in my room again?</dialogue>
<character>ROWLEY</character>
<dialogue>You said you'd kill him.</dialogue>
<character>RODRICK</character>
<dialogue>Good answer, Rowley. You can go.</dialogue>
<scene_description>CONTINUED: Rowley sprints out.</scene_description>
<character>ROWLEY</character>
<dialogue>I'm sorry, Greg!</dialogue>
<character>RODRICK</character>
<dialogue>Mom and Dad aren't here. It's just you and me. And I'm going to really, actually kill you.</dialogue>
<scene_description>Greg makes a break for the door. He feints left, then heads right, but Rodrick stays with him blocking the door. Greg jumps up on Rodrick's bed and grabs the edge of Rodrick's prized Nine Inch Nails poster and prepares to rip it.</scene_description>
<character>RODRICK</character>
<dialogue>No!</dialogue>
<scene_description>Greg starts to rip it; Rodrick lunges for him. Greg jumps around him and runs out the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>With Rodrick right on his tail, Greg squeaks into his room. He shuts and locks the door behind him, leaving an enraged Rodrick in the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Rodrick beats on the door.</scene_description>
<character>RODRICK (O.S.)</character>
<dialogue>You can't stay in there forever, Greg! I don't care how long it takes, I'm going to be right here, waiting to kill you!</dialogue>
<scene_description>Greg peeks under his door. FROM GREG'S POV we see Rodrick's sneakers. Greg sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - LATER</stage_direction>
<scene_description>Greg creeps to the door, peeks underneath it. FROM GREG'S POV we see Rodrick's sneakers are still there. BAM BAM BAM, Rodrick bangs on the door. Greg jumps back.</scene_description>
<character>GREG</character>
<dialogue>Rodrick, time out, I have to pee.</dialogue>
<character>RODRICK (O.S.)</character>
<dialogue>No time outs!</dialogue>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - NIGHT</stage_direction>
<scene_description>Night has fallen outside Greg's window. Greg peeks under his door; RODRICK'S SNEAKERS ARE STILL THERE. Greg hops from one foot to the other; he really has to pee. Desperate, he puts his hand on the doorknob. Takes it off. Puts it back on, takes a breath, flings open the door and assumes a fighting stance... But the hallway is empty. What? Greg looks down, revealing RODRICK'S EMPTY SNEAKERS. Greg speeds off to the bathroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - MOMENTS LATER</stage_direction>
<scene_description>Greg stands over the toilet and starts to go. Suddenly, Rodrick leaps out from behind the shower curtain.</scene_description>
<character>RODRICK</character>
<dialogue>Raaaaaaaaaaahhhhhhh!!!</dialogue>
<character>GREG</character>
<dialogue>Aaaaaaaaaaaaahhhhhh!!!</dialogue>
<scene_description>Startled, Greg jumps and twists and WE HEAR THE SOUND OF PEE SPLASHING EVERYWHERE.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - LATER</stage_direction>
<scene_description>Greg scrubs the bathroom floor around the toilet. Susan stands over him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - NIGHT/DAY</stage_direction>
<scene_description>It's dark. Time speeds up, the sun rises, revealing the cheese. A little steam comes off it as the day begins.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg and Rowley examine the Activity Board that is posted on a cork wall. There's a heading for each activity (Key Club, Swim Team, etc.) with a sign-up sheet underneath. Angie walks up behind them and listens.</scene_description>
<character>ROWLEY</character>
<dialogue>You don't like any of this stuff.</dialogue>
<character>GREG</character>
<dialogue>I know, but if I'm gonna be a Class Favorite I have to make a name for myself.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ANGIE</character>
<dialogue>Why do you want to be a Class Favorite?</dialogue>
<scene_description>Startled, Greg turns around to her.</scene_description>
<character>GREG</character>
<dialogue>I didn't say that.</dialogue>
<character>ANGIE</character>
<dialogue>Yeah, you did.</dialogue>
<character>GREG</character>
<dialogue>No, I...what probably happened is somebody yelled it over there and the sound bounced off this wall behind me so it sounded like I said it.</dialogue>
<character>ROWLEY</character>
<dialogue>I've seen that on Scooby Doo.</dialogue>
<scene_description>A beat. Angie looks at them, trying to decide if they're kidding. She forges ahead.</scene_description>
<character>ANGIE</character>
<dialogue>Okay. Well, you should sign up for the school paper. We're the voice of the people -- well, the people are mostly idiots, so I guess technically we're the voice of the people making fun of the people.</dialogue>
<character>GREG</character>
<dialogue>Thanks, but I can't be on the paper because I'm going to be in the paper a lot, so that would be a conflict of interest.</dialogue>
<scene_description>Angie realizes Greg is not the fellow iconoclast she thought he was.</scene_description>
<character>ANGIE</character>
<dialogue>Ohh. You're the people. Got it.</dialogue>
<scene_description>Angie walks off as PATTY FARRELL, a tall and aggressive girl, muscles Greg and Rowley out of the way.</scene_description>
<character>PATTY</character>
<dialogue>Outta my way, dweebs.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Oh. Hello, Greg.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>GREG</character>
<dialogue>Patty.</dialogue>
<scene_description>Patty haughtily turns to the activity board, signs up for something, and crosses off.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Man, if I knew Patty Farrell was going to Whitmore, I'd have begged Mom and Dad to send me to private school. She's been a problem since kindergarten.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KINDERGARTEN CLASSROOM - DAY</stage_direction>
<scene_description>Greg and Patty sit with the rest of the class in front of their KINDERGARTEN TEACHER.</scene_description>
<character>KINDERGARTEN TEACHER</character>
<dialogue>Can any of you tell me why Peter Rabbit went into Mr. McGregor's garden?</dialogue>
<scene_description>Patty's hand shoots up.</scene_description>
<character>KINDERGARTEN TEACHER</character>
<dialogue>Yes, Patty?</dialogue>
<character>PATTY</character>
<dialogue>Was it because Greg Heffley smells weird?</dialogue>
<scene_description>Everyone laughs; Greg looks pained. END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Fuming, Greg watches Patty sashay down the hall.</scene_description>
<character>ROWLEY</character>
<parenthetical>(re: activity board)</parenthetical>
<dialogue>Hey, they got wrestling this year.</dialogue>
<character>GREG</character>
<dialogue>What?</dialogue>
<scene_description>Greg looks at the activity board and locks onto the words "Boys Wrestling". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WRESTLING ARENA - FANTASY</stage_direction>
<scene_description>SHOT IN BLACK AND WHITE -- RAGING BULL STYLE. Flashbulbs popping, crowds of kids screaming around the ring. Greg, in a flamboyant pro wrestling costume, finishes off a large Hulk Hogan-type opponent. A REFEREE raises Greg's hand in victory.</scene_description>
<character>REFEREE</character>
<dialogue>Greg Heffley wins everything!</dialogue>
<scene_description>The crowd goes wild in a blinding blaze of flashbulbs. FREEZE ON GREG. The image morphs into a picture. CUT TO: AN OPEN YEARBOOK - CLASS FAVORITES SECTION - FANTASY We see Greg's wrestling picture. The caption underneath reads "Most Athletic". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>A line of kids, including Greg and Rowley, shiver and shyly try to cover their personal parts in their WRESTLING SINGLETS. The only kid who does not seem self- conscious is Fregley. They watch Coach Malone and his helper, COACH HARPER, demonstrate wrestling holds on the mat. The coaches move into a standing clinch, which means they're holding each other very close.</scene_description>
<character>COACH MALONE</character>
<dialogue>Okay gang, this is known as a clinch.</dialogue>
<scene_description>Greg winces; this isn't what he signed up for. He raises his hand.</scene_description>
<character>COACH MALONE</character>
<dialogue>What is it, Heart Murmur?</dialogue>
<character>GREG</character>
<dialogue>When are we going to learn Pile Drivers and Body Slams?</dialogue>
<character>COACH MALONE</character>
<dialogue>Pile Drivers and Body Slams are TV wrestling. It's fake. Kind of like your heart murmur.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>The kids are lined up in three groups in front of three mats. We can't tell who's in what group because of camera angle.</scene_description>
<character>COACH MALONE</character>
<dialogue>Okay, we've divided you up into weight classes.</dialogue>
<parenthetical>(points at group of big kids)</parenthetical>
<dialogue>Rottweilers, you're on mat one...</dialogue>
<parenthetical>(points at Rowley's medium group)</parenthetical>
<dialogue>Bulldogs, you're on mat two...</dialogue>
<scene_description>Reveal Greg and Fregley in their own group of two.</scene_description>
<character>COACH MALONE</character>
<dialogue>And Chihuahuas. Let's see you two try a clinch.</dialogue>
<scene_description>Greg looks at Fregley who whistle-breathes with excitement.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Greg and Fregley face off on the mat.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I couldn't believe they were making me wrestle a little guy like Fregley. I just hoped I didn't hurt him too bad.</dialogue>
<scene_description>Coach Malone blows the whistle. Greg and Fregley go into a clinch. FREGLEY IMMEDIATELY PINS GREG. Coach Malone blows the whistle again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD STREET - DAY</stage_direction>
<scene_description>Greg and Rowley (who is pushing his Big Wheel by the handlebar) walk up a rather steep street. Greg, looking annoyed, tosses a football up in the air. As they go...</scene_description>
<character>ROWLEY</character>
<dialogue>Hey, you know, Fregley's just really good.</dialogue>
<character>GREG</character>
<dialogue>He's not good, he got lucky. I wasn't even trying.</dialogue>
<scene_description>Greg stops walking, Rowley continues to the top of the hill. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Next time I won't go so easy on him.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You ready?</dialogue>
<scene_description>Rowley points his Big Wheel down the hill and gets on.</scene_description>
<character>ROWLEY</character>
<dialogue>Ready.</dialogue>
<scene_description>Rowley takes off down the hill as fast as he can. As he goes, Greg takes aim. Rowley, keeping an eye on Greg, pedals furiously to avoid getting hit. Greg fires the football at him. Rowley swerves to the right to avoid the ball. Greg misses high and THE BALL SAILS OVER ROWLEY AND KNOCKS A MAILBOX OFF ITS POST. Greg looks around -- the HOMEOWNER OPENS HIS FRONT DOOR.</scene_description>
<character>HOMEOWNER</character>
<dialogue>Hey!</dialogue>
<scene_description>Greg takes off running.</scene_description>
<character>GREG</character>
<parenthetical>(yells at Rowley)</parenthetical>
<dialogue>Go, go!</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Wrestling practice. Greg steps onto the mat and faces Fregley. This time he's determined he's going to show this kid who's boss. Coach Malone blows the whistle. Greg and Fregley circle each other. Then Fregley charges Greg, knocks him to the ground and pins him.</scene_description>
<character>COACH MALONE</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>Keep at it, you'll get 'em next week.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>On the mat. Fregley immediately pins Greg. Coach Malone blows the whistle.</scene_description>
<character>COACH MALONE</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>That's okay, next week is your week.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Fregley pins Greg; this time he's sitting on Greg's face. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Blow the whistle, blow the whistle!</dialogue>
<scene_description>The coach does. Greg looks to him for encouragement.</scene_description>
<character>COACH MALONE</character>
<dialogue>Yeah, I got nothin'.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>CLOSE ON THE CHEESE as dead leaves blow over it.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>So Fregley's clearly on steroids or something.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD STREET - DAY</stage_direction>
<scene_description>SUPER: "Halloween." Greg trudges home past houses decorated for Halloween.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Problem is, nobody ever got Class Favorite getting his butt kicked by a guy like Fregley.</dialogue>
<scene_description>Suddenly, Rowley -- dressed in an impressively realistic "Knight" costume -- jumps out from behind a bush to startle Greg.</scene_description>
<character>ROWLEY</character>
<dialogue>En Garde!</dialogue>
<character>GREG (V.O.)</character>
<dialogue>Lucky for me, it's Halloween.</dialogue>
<scene_description>Rowley proudly models his costume.</scene_description>
<character>ROWLEY</character>
<dialogue>Huh? What do you think?</dialogue>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - EVENING</stage_direction>
<scene_description>Greg, in his PIRATE COSTUME, writes in his journal.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I figure all I have to do is pig out on the candy I get and I'll bulk up enough to get out of Fregley's weight class.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I just have to make sure I get a ton of candy -- I've got no time to screw around at a haunted house like last year.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HAUNTED HOUSE - NIGHT</stage_direction>
<scene_description>Greg, Rowley and Susan enter a dark room. They walk a bit. SUDDENLY, THE EAR-SPLITTING SOUND OF A CHAINSAW. The room is bathed in red light, revealing a HUGE BLOOD-SOAKED GUY IN A HOCKEY MASK REVVING A REAL CHAINSAW. On the ground is a BLOODY CORPSE whose arms have been chainsawed off. The Chainsaw Killer takes a run at Greg and Rowley.</scene_description>
<character>GREG/ROWLEY</character>
<dialogue>Aaaaaaaahhhhhhhhh!!!!</dialogue>
<scene_description>Just as CHAINSAW KILLER reaches Greg and Rowley, Susan steps in front of them.</scene_description>
<character>SUSAN</character>
<dialogue>Turn that off! Turn it off right now!</dialogue>
<scene_description>Chainsaw Killer does.</scene_description>
<character>SUSAN</character>
<dialogue>That is not very nice.</dialogue>
<character>CHAINSAW KILLER</character>
<parenthetical>(chagrined teenage voice)</parenthetical>
<dialogue>I'm sorry, ma'am.</dialogue>
<scene_description>The Corpse gets up to see what's going on.</scene_description>
<character>SUSAN</character>
<parenthetical>(to both of them)</parenthetical>
<dialogue>You should be ashamed of yourselves.</dialogue>
<scene_description>END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - CONTINUOUS</stage_direction>
<scene_description>The doorbell rings. Excited, Greg runs out.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - NIGHT</stage_direction>
<scene_description>Greg answers the door. Rowley stands there, his Knight costume rendered completely uncool by orange reflective safety gear, including a safety flag tied to his belt. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>What happened to your costume?</dialogue>
<character>ROWLEY</character>
<dialogue>My mom wanted me to be visible at night.</dialogue>
<scene_description>Greg sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - NIGHT</stage_direction>
<scene_description>Greg shows Rowley a hand-drawn map of their route.</scene_description>
<character>GREG</character>
<dialogue>...so we'll hit a few houses on the way to the North Side, which is where we'll do most of our trick or treating.</dialogue>
<character>ROWLEY</character>
<dialogue>Why are we going all the way over there?</dialogue>
<character>GREG</character>
<dialogue>It's where the rich people live and I need maximum candy to get out of the Chihuahuas.</dialogue>
<scene_description>Rodrick enters in full goth rock and roll mode. He's wearing eyeliner.</scene_description>
<character>GREG</character>
<dialogue>You look pretty.</dialogue>
<character>RODRICK</character>
<dialogue>Shut up, tool. Loded Diper's got a gig tonight.</dialogue>
<scene_description>Rodrick snatches the map out of Greg's hands.</scene_description>
<character>RODRICK</character>
<dialogue>Going to the North Side, huh? Takes you right past the Devil Worshiper Woods.</dialogue>
<parenthetical>(off Greg and Rowley)</parenthetical>
<dialogue>You know that story, right?</dialogue>
<scene_description>Greg and Rowley shake their heads "no". Rodrick leans over them, very serious.</scene_description>
<character>RODRICK</character>
<dialogue>Well, there used to be a house...</dialogue>
<parenthetical>(points to map)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>RODRICK</character>
<dialogue>...right here where these woods are. But a long time ago, two kids who were, I don't know, maybe in middle school, trick or treated that house on Halloween night. But the house was full of devil worshipers who stuck the kids in giant ovens and cooked them and ate them. But they forgot to turn off the ovens and the house burned down with everyone in it. So the neighbors buried what was left and swore nobody would ever live there again.</dialogue>
<scene_description>Greg and Rowley's eyes are as big as saucers.</scene_description>
<character>ROWLEY</character>
<dialogue>How'd the trees get there?</dialogue>
<character>RODRICK</character>
<parenthetical>(same forboding tone)</parenthetical>
<dialogue>And then they planted trees.</dialogue>
<character>ROWLEY</character>
<dialogue>Oh.</dialogue>
<character>RODRICK</character>
<dialogue>And to this day, on Halloween night, you can hear the unearthly laughter of the devil worshiper ghosts as they roam the woods looking for more kids to eat.</dialogue>
<scene_description>Unseen by Rodrick, Frank has entered and heard.</scene_description>
<character>FRANK</character>
<dialogue>Real nice, Rodrick.</dialogue>
<scene_description>Rodrick turns around.</scene_description>
<character>FRANK</character>
<parenthetical>(pained)</parenthetical>
<dialogue>Are you wearing eyeliner?</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - NIGHT</stage_direction>
<scene_description>Greg and Rowley are at the door, adjusting their costumes. Manny (dressed as a pumpkin), enters with Susan and Frank.</scene_description>
<character>SUSAN</character>
<dialogue>Greg, Manny wants to go with you.</dialogue>
<scene_description>Manny runs up to Greg. CONTINUED:</scene_description>
<character>MANNY</character>
<dialogue>Bubby!</dialogue>
<character>GREG</character>
<dialogue>Mom, I told you to make him stop calling me that, what if somebody hears?</dialogue>
<scene_description>CUT TO: LINE-DRAWN ANIMATION - FANTASY Greg comes out of school with a crowd of kids. Susan and Manny wait for him.</scene_description>
<character>MANNY</character>
<dialogue>Hi, Bubby!</dialogue>
<scene_description>All the kids around Greg point and laugh. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - CONTINUOUS</stage_direction>
<character>SUSAN</character>
<dialogue>Then they'll know how much he loves you.</dialogue>
<character>GREG</character>
<dialogue>I can't take him, we're going to the North Side.</dialogue>
<character>SUSAN</character>
<dialogue>Over by Gramma's house? No, it's too far. Frank, go with them.</dialogue>
<character>FRANK</character>
<dialogue>Sorry, I can't. I have plans.</dialogue>
<scene_description>Susan looks at him suspiciously, then:</scene_description>
<character>SUSAN</character>
<dialogue>No. No way. You are not sitting in the bushes all night this year so you can dump water on teenagers.</dialogue>
<character>FRANK</character>
<dialogue>But they always TP our house.</dialogue>
<character>SUSAN</character>
<dialogue>Because you dump water on them!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FRANK</character>
<dialogue>Because they TP us.</dialogue>
<character>SUSAN</character>
<dialogue>Because you -- you're not doing it again. I'm still getting dirty looks from Sean Simmon's mother.</dialogue>
<scene_description>Greg laughs, remembering.</scene_description>
<character>GREG</character>
<dialogue>He was really mad.</dialogue>
<character>FRANK</character>
<parenthetical>(fond memory)</parenthetical>
<dialogue>I totally nailed him.</dialogue>
<parenthetical>(off Susan's look)</parenthetical>
<dialogue>It's my favorite part of Halloween.</dialogue>
<scene_description>Susan is unmoved.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GREG'S STREET - NIGHT</stage_direction>
<scene_description>Greg, Rowley, Manny and Frank stop in front of a house with a jack-o-lantern on the front step.</scene_description>
<character>FRANK</character>
<dialogue>You want to give this house a try, Manny?</dialogue>
<scene_description>They start to head up the walk, but Manny sees the jack-o- lantern. HE SCREAMS BLOODY MURDER until they retreat a few steps.</scene_description>
<character>GREG</character>
<dialogue>Come on, Manny, it's just a pumpkin. Look, you're a pumpkin.</dialogue>
<scene_description>Manny looks down at his costume and realizes that's true. HE SCREAMS AGAIN. They move away and Manny settles down, although periodically he glances at his costume, reminds himself he's a pumpkin, and makes a startled squawk.</scene_description>
<character>FRANK</character>
<dialogue>Okay, I think that's about it. Time to go home.</dialogue>
<character>GREG</character>
<dialogue>But we've only been to three houses.</dialogue>
<parenthetical>(waves his almost empty candy bag)</parenthetical>
<dialogue>I...only...have...THREE PIECES OF CANDY!!!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<parenthetical>(uncharacteristically angry)</parenthetical>
<dialogue>Three!!!</dialogue>
<character>FRANK</character>
<dialogue>All right, all right. You guys can go on your own. But stay in the neighborhood. No North Side, okay?</dialogue>
<character>GREG</character>
<dialogue>I promise.</dialogue>
<scene_description>They watch Frank and Manny head home. As soon as they're out of sight, Greg and Rowley take off running.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTH SIDE STREET - NIGHT</stage_direction>
<scene_description>Greg and Rowley leave a house, their bags bulging with candy.</scene_description>
<character>ROWLEY</character>
<dialogue>That guy gave me a full size Snickers.</dialogue>
<character>GREG</character>
<dialogue>Yeah, these people got money to burn.</dialogue>
<scene_description>Just then, A PICKUP ROLLS UP ON THEM. Two high school kids (CARTER and PETE) are in the cab, with two more (CHRIS and WADE) in the pickup bed. Greg and Rowley watch as the pickup slows to a crawl in front of them. WADE PRODUCES A FIRE EXTINGUISHER AND SPRAYS THEM.</scene_description>
<character>GREG/ROWLEY</character>
<dialogue>Aaaaahhhhhh!</dialogue>
<scene_description>Rowley raises his knight shield and manages to block most of it. The pickup speeds off. Greg steps out into the street.</scene_description>
<character>GREG</character>
<dialogue>We're calling the cops!</dialogue>
<scene_description>Brake lights.</scene_description>
<character>GREG</character>
<dialogue>Uh-oh.</dialogue>
<scene_description>Reverse lights.</scene_description>
<character>ROWLEY</character>
<dialogue>Oh boy.</dialogue>
<scene_description>CONTINUED: The pickup speeds back towards them. Greg and Rowley take off down the street, but the pickup gives chase. Greg takes a left into a driveway.</scene_description>
<character>GREG</character>
<dialogue>This way.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SOMEONE'S BACKYARD - NIGHT</stage_direction>
<scene_description>As Greg and Rowley climb a fence...</scene_description>
<character>ROWLEY</character>
<dialogue>Where're we going?</dialogue>
<scene_description>They get over the fence and run down a driveway to...</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTH SIDE STREET - NIGHT</stage_direction>
<scene_description>...the next block. There's the truck. They take off down the street, the pickup closing in, the teens inside whooping and hollering. As they approach a house...</scene_description>
<character>GREG</character>
<dialogue>This is it.</dialogue>
<scene_description>The pickup stops in front of the house.</scene_description>
<character>CARTER</character>
<dialogue>You guys are dead!</dialogue>
<scene_description>Greg and Rowley run to the front door as the teens bail out of the truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAMMA'S HOUSE - NIGHT</stage_direction>
<scene_description>Rowley watches Greg search under the welcome mat.</scene_description>
<character>ROWLEY</character>
<dialogue>Whose house is this?</dialogue>
<character>GREG</character>
<dialogue>My Gramma's. She's out of town.</dialogue>
<scene_description>Greg finds the key, unlocks the door and they run in the house with seconds to spare.</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAMMA'S HOUSE - NIGHT</stage_direction>
<scene_description>Breathing heavily, Greg and Rowley creep around to the living room window and peek outside. The four teens, their faces pressed against the window, look right back at them. CONTINUED:</scene_description>
<character>CHRIS</character>
<parenthetical>(yells through glass)</parenthetical>
<dialogue>What're you gonna do, get your mommy?</dialogue>
<character>ROWLEY</character>
<parenthetical>(yells back)</parenthetical>
<dialogue>We can't, it's not our house, it's his gramma's and she's not even home.</dialogue>
<scene_description>Greg stares at Rowley in disbelief.</scene_description>
<character>GREG</character>
<dialogue>What -- why would you tell them that?</dialogue>
<character>ROWLEY</character>
<dialogue>Oops.</dialogue>
</scene>
<scene>
<stage_direction>INT. GRAMMA'S HOUSE - NIGHT</stage_direction>
<scene_description>It's later, and Greg and Rowley have left the house dark. They peek out the window again. The teens lean against the pickup and watch the house; they show no signs of leaving.</scene_description>
<character>ROWLEY</character>
<dialogue>You need to call your mom to come get us.</dialogue>
<character>GREG</character>
<dialogue>Great idea. "Hey Mom, can you come pick us up on the North Side where you told us not to go? Oh, and by the way, we broke into Gramma's house, so that's where we'll be." You call your mom.</dialogue>
<character>ROWLEY</character>
<dialogue>I better not. She already thinks you're a bad influence.</dialogue>
<parenthetical>(big smile)</parenthetical>
<dialogue>And she's right.</dialogue>
<scene_description>Greg looks outside at the teens.</scene_description>
<character>GREG</character>
<dialogue>We're going to have to bust out of here.</dialogue>
<character>ROWLEY</character>
<dialogue>How?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRAMMA'S HOUSE - NIGHT</stage_direction>
<scene_description>The teens hang out by their pickup watching the house. A LOUD WHIRRING SOUND comes from the garage. They walk over to look.</scene_description>
<character>WADE</character>
<dialogue>What's that?</dialogue>
<character>CHRIS</character>
<dialogue>Over here.</dialogue>
<scene_description>GRAMMA'S GARAGE DOOR SLOWLY OPENS AND REVEALS GREG AND ROWLEY AS SILHOUETTES BACKLIT BY THE GARAGE LIGHT. Greg holds a WEED WHACKER and Rowley holds a LEAF BLOWER. The door thumps fully open and Rowley and Greg fire up their garden implements. THE MOTORS SCREAM as Rowley and Greg run/stumble under the weight of them toward the teens. The teens laugh at first, but they begin to back off as the leaf blower blows dirt and leaves into their eyes and Greg waves the heavy weed whacker (over which he has little control) at them. They reach the pickup.</scene_description>
<character>GREG</character>
<dialogue>You better leave us alone unless you want a taste of this.</dialogue>
<scene_description>He jabs the weed whacker at them to make his point, but loses control a little and PUTS A GASH IN THE FENDER of the pickup.</scene_description>
<character>PETE</character>
<dialogue>Are you kidding me?!</dialogue>
<scene_description>Pete makes a move toward Greg. Greg squeezes the trigger on the weed whacker too fast and floods the engine. IT SPUTTERS AND DIES. As Greg frantically tries to restart it...</scene_description>
<character>PETE</character>
<dialogue>I'm gonna rip your arms off and then punch you in the face with your own fists.</dialogue>
<scene_description>Rowley provides cover with the leaf blower as he and Greg slowly back away.</scene_description>
<character>ROWLEY</character>
<dialogue>There's no place left to go.</dialogue>
<character>GREG</character>
<dialogue>There's one place.</dialogue>
<scene_description>He points to the woods. CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>The Devil Worshiper woods?</dialogue>
<scene_description>The teens are getting too close.</scene_description>
<character>GREG</character>
<dialogue>Run!</dialogue>
<scene_description>They drop the machines and hightail it toward the woods.</scene_description>
<character>PETE</character>
<dialogue>They're going into the woods.</dialogue>
<character>CARTER</character>
<dialogue>Yeah, I'm not going in there.</dialogue>
<character>PETE</character>
<parenthetical>(calls after them)</parenthetical>
<dialogue>This isn't over!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEVIL WORSHIPER WOODS - NIGHT</stage_direction>
<scene_description>MUSIC CUE: "Run Through the Jungle" by CCR. All is shot shaky hand-held style, in greenish night vision. Greg and Rowley race through the woods, tripping and yelling in fear every time a tree branch or bush grazes them. They stop to catch their breath, both of them breathing heavily.</scene_description>
<character>ROWLEY</character>
<dialogue>Which way?</dialogue>
<character>GREG</character>
<dialogue>We just keep running, Rowley.</dialogue>
<scene_description>Suddenly, a STRANGE, HIGH-PITCHED UNEARTHLY LAUGHTER FILLS THE WOODS. They look around frantically for the source, the shaky cameras mimicking their moves, then look at each other, scared beyond belief.</scene_description>
<character>GREG/ROWLEY</character>
<dialogue>Aaaaaaahhhhhh!!!</dialogue>
<scene_description>They run off. A beat as we stay on the patch of woods they've left. Then, movement. First, a strange, bobbing head. It looks like...a child in costume? IT'S FREGLEY, DRESSED AS A MEDIEVAL COURT JESTER, LAUGHING WEIRDLY AND CLUTCHING A PILLOWCASE FULL OF CANDY. He skips happily through the frame.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEFFLEY HOUSE - NIGHT</stage_direction>
<scene_description>Exhausted, Greg and Rowley finally stop running when they reach the sidewalk in front of Greg's house.</scene_description>
<character>ROWLEY</character>
<dialogue>Are we safe?</dialogue>
<character>GREG</character>
<dialogue>Yeah. And we made it with all our candy.</dialogue>
<scene_description>They high five. SUDDENLY THEY ARE SOAKED IN WATER. They look up to see Frank standing there with an empty trashcan.</scene_description>
<character>FRANK</character>
<parenthetical>(stifles a laugh)</parenthetical>
<dialogue>Sorry. I didn't know it was you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>SUPER: "November. Sunday." Susan and Greg are driving. They pass by Gramma's house and see that it has been extensively and thoroughly TP'ed. Susan and Greg stare at it in shock.</scene_description>
<character>SUSAN</character>
<dialogue>Oh my gosh, look at that. What would make them pick Gramma's house?</dialogue>
<character>GREG (V.O.)</character>
<dialogue>I kept my mouth shut. I did feel a little bad, because it looked like it was gonna take a long time to clean up. But on the bright side, Gramma is retired so she probably didn't have anything planned for today anyway.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD STREET - DAY</stage_direction>
<scene_description>Greg and Rowley (pushing his Big Wheel) walk up the same steep street like before. Greg has his football tucked under his arm and is attempting to unwrap a wet candy bar.</scene_description>
<character>ROWLEY</character>
<dialogue>How is it?</dialogue>
<character>GREG</character>
<dialogue>Gross. But it's worth it. I just need to gain one more pound before wrestling practice.</dialogue>
<scene_description>CONTINUED: Rowley shakes his head admiringly.</scene_description>
<character>ROWLEY</character>
<dialogue>Gosh, you get to eat all that chocolate. I almost wish I was as bad a wrestler as you.</dialogue>
<character>GREG</character>
<dialogue>Top of the hill, Rowley.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD STREET - MOMENTS LATER</stage_direction>
<scene_description>Rowley comes screaming down the hill on the Big Wheel. Greg cocks his arm and fires the football at him. The ball goes wide and nails a parked car, putting a dent in the door. THE CAR ALARM GOES OFF.</scene_description>
<character>GREG</character>
<parenthetical>(to Rowley)</parenthetical>
<dialogue>Go, go!</dialogue>
<scene_description>Greg grabs the football, takes a frightened look around, and takes off running.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Greg and Rowley are in their singlets waiting to weigh in for Coach Malone. Greg is eating another gross wet candy bar. They see BRYCE ANDERSON -- a cool kid in a basketball uniform -- talking to two cute girls in cheerleading outfits (SHELLY and MARLY).</scene_description>
<character>ROWLEY</character>
<dialogue>Girls really like Bryce Anderson.</dialogue>
<character>GREG</character>
<dialogue>Yeah. Get this, apparently it's because Bryce has a "cute butt".</dialogue>
<character>ROWLEY</character>
<dialogue>A cute butt? But it's a butt.</dialogue>
<character>GREG</character>
<dialogue>I know, but I heard Shelly say it. And it was definitely a good thing.</dialogue>
<scene_description>Rowley chews over what Greg just said.</scene_description>
<character>ROWLEY</character>
<dialogue>Jeez.</dialogue>
<scene_description>Greg, looking nauseous, stuffs the last of a candy bar into his mouth. CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>You ready?</dialogue>
<scene_description>Greg burps then sighs.</scene_description>
<character>GREG</character>
<dialogue>Yeah.</dialogue>
<scene_description>Greg steps onto the scale.</scene_description>
<character>COACH MALONE</character>
<dialogue>Congratulations, Heffley, you moved up to Bulldogs. And here's your new wrestling partner.</dialogue>
<scene_description>Coach Malone points off. Greg looks to see Patty Farrell in a singlet striding toward the mats.</scene_description>
<character>GREG</character>
<dialogue>What? But this is boy's wrestling.</dialogue>
<character>PATTY</character>
<dialogue>Ever hear of Title Nine?</dialogue>
<character>COACH MALONE</character>
<dialogue>Her parents threatened to sue.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - A LITTLE LATER</stage_direction>
<scene_description>Greg faces Patty on the mat. They circle each other.</scene_description>
<character>PATTY</character>
<dialogue>Come on, what're you waiting for?</dialogue>
<scene_description>Greg turns to the coach.</scene_description>
<character>GREG</character>
<dialogue>She's a girl, I don't know where to grab her.</dialogue>
<scene_description>Patty sees her opening and violently pins Greg, slamming him to the ground. Rowley cheers wildly for Greg, but it's clear Patty's got him immobilized in a horribly embarrassing and intimate position. FLASHBULBS. Greg looks around and sees Angie standing off to the side and pointing a camera at him. Finally, Coach Malone blows the whistle and Greg untangles himself from Patty, who takes her sweet time getting off of him.</scene_description>
<character>GREG</character>
<dialogue>Get off me!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PATTY</character>
<parenthetical>(to coach)</parenthetical>
<dialogue>Can I wrestle somebody good now?</dialogue>
<scene_description>Greg crosses to Coach Malone.</scene_description>
<character>GREG</character>
<dialogue>That's it. I quit.</dialogue>
<character>COACH MALONE</character>
<dialogue>Yeah, I don't blame you.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - DAY</stage_direction>
<scene_description>The "Whitmore Warbler", the school newspaper, slams down on Greg's desk. ON THE FRONT PAGE ABOVE THE FOLD IS A PHOTO OF GREG BEING PINNED BY PATTY.</scene_description>
<character>GREG</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Oh no, oh no, oh no, oh no, oh no.</dialogue>
<scene_description>Greg's head is turned away from the camera so you can't make out who he is. The headline reads: "A GREAT DAY FOR WOMEN". The subhead reads: "Unidentified Male Student Pinned by Female Wrestler". Greg looks up. Angie stares at him impassively for a moment, then moves on to distribute papers to the rest of the class. He looks around, no one seems to recognize him.</scene_description>
<character>GREG</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Okay, you're okay.</dialogue>
<scene_description>He breathes a sigh of relief. Just then Rowley runs up to him with a newspaper of his own.</scene_description>
<character>ROWLEY</character>
<dialogue>Greg, check it out, you got your picture in the paper!</dialogue>
<parenthetical>(to everyone, proud and loud)</parenthetical>
<dialogue>Greg's in the paper!</dialogue>
<scene_description>Greg looks at Rowley incredulously as the other students overhear and begin to laugh at him.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg walks down the hall. IN GREG'S POV, QUICK CUTS TO VARIOUS STUDENTS as they look at the picture of Greg in the paper and howl with laughter. CONTINUED: It becomes like a horror movie as their faces are distorted by funhouse lens effects and their laughter echoes through the hallway growing louder and louder. Greg rushes down the hall and out of the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Greg trudges into the kitchen to find Rodrick sitting at the table grinning broadly. He holds up the school paper.</scene_description>
<character>RODRICK</character>
<dialogue>Hey. I hear it's a great day for women.</dialogue>
<scene_description>Greg throws his backpack on the floor.</scene_description>
<character>GREG</character>
<dialogue>This is all Rowley's fault, he's the one who sold me out.</dialogue>
<character>RODRICK</character>
<dialogue>What do you expect, he's an even bigger loser than you. I'd tell you to dump him, but it's fun watching him take you down.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREG'S ROOM - JUST LATER</stage_direction>
<scene_description>Greg throws himself on his bed, annoyed. He picks up his journal and starts to sketch.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Rodrick was right. Rowley's been my problem this whole time.</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>As Greg and Rowley exit with other students:</scene_description>
<character>ROWLEY</character>
<dialogue>Hey Greg, after school you want to come over and</dialogue>
<parenthetical>(echo effect)</parenthetical>
<dialogue>plaayyy?!</dialogue>
<scene_description>FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>The bike rack in front of school. The front wheel of each arriving student's bike is shoved into the slots. Bike. CONTINUED: Bike. Bike. Bike. Bike. Big Wheel. Except it doesn't fit. Pull back to see Rowley trying to wrestle his Big Wheel into the bike rack as other kids laugh and Greg shakes his head in disappointment. FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg and Rowley approach Bryce Anderson who is surrounded by a gaggle of girls, including Shelly and Marley.</scene_description>
<character>GREG</character>
<parenthetical>(to Rowley)</parenthetical>
<dialogue>There's Bryce Anderson, be cool.</dialogue>
<scene_description>They walk up to the group.</scene_description>
<character>ROWLEY</character>
<parenthetical>(trying to be cool)</parenthetical>
<dialogue>Hey Bryce, nice butt.</dialogue>
<scene_description>Everyone stares at Rowley aghast. END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S ROOM - CONTINUOUS</stage_direction>
<scene_description>He is still writing in his journal.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I knew if I wanted to change my situation at school, I was gonna have to find myself a new best friend.</dialogue>
<scene_description>CUT TO: INSERT - BEST FRIEND PHOTOGRAPH Greg and Rowley are side by side at the beach, smiling for the camera. The half of the photograph featuring Rowley's face begins to spin like a slot machine. Greg's face is stationary in the first reel while the second reel spins. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg heads down the hall toward the Boys Room. He falls into step with COLLIN, a classmate about his age.</scene_description>
<character>COLLIN</character>
<dialogue>Hey, Greg.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Hey, Collin.</dialogue>
<scene_description>Greg looks at Collin appraisingly.</scene_description>
<character>GREG</character>
<dialogue>Going to the bathroom?</dialogue>
<character>COLLIN</character>
<dialogue>Yeah.</dialogue>
<character>GREG</character>
<dialogue>Looks like we got a lot in common.</dialogue>
<scene_description>They exit into the Boys Room. CUT TO: INSERT - BEST FRIEND PHOTOGRAPH The second reel stops spinning. Collin's face clicks into position next to Greg. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BOYS RESTROOM - DAY</stage_direction>
<scene_description>Greg and Collin take their places at the urinals. Unlike Greg, who goes with his pants up, COLLIN FULLY DROPS HIS DRAWERS TO HIS ANKLES. Greg can't believe it. CUT TO: INSERT - BEST FRIEND PHOTOGRAPH The second reel begins to spin again. Collins's out. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Greg hurriedly exits the Boys Room and heads down the hall.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>If I was going to replace Rowley, it would be pretty dumb of me to replace him with Rowley, Jr. The problem was there weren't a lot of good best friend options around.</dialogue>
<scene_description>INSERT - BEST FRIEND PHOTOGRAPH Greg is still in the first reel, the second reel is spinning. Quentin's face clicks into place.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Too annoying.</dialogue>
<scene_description>The second reel spins again. Chirag Gupta's face clicks into place.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Too depressing.</dialogue>
<scene_description>The second reel spins again. Fregley's face clicks into place.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>No explanation needed.</dialogue>
<scene_description>A series of SEVERAL MORE CANDIDATES, each weirder-looking than the next, click briefly into place. The second reel moves faster and faster until the faces are a blur.</scene_description>
<character>ROWLEY (O.S.)</character>
<dialogue>Greg!</dialogue>
</scene>
<scene>
<stage_direction>INT. CAFETERIA</stage_direction>
<scene_description>Greg looks up to see Rowley smile and motion him over to their two corner chairs. When Greg looks at Rowley's innocent, smiling face he suddenly wonders if he is doing the right thing.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>What was I thinking? I couldn't just dump Rowley. The kid'd be lost without me. But I could fix him and change everything about him that bugs me. Because I'm a good friend, and that's the kind of thing good friends do.</dialogue>
<scene_description>He returns Rowley's smile. CUT TO: INSERT - BEST FRIEND PHOTOGRAPH The second reel stops spinning; Rowley's face clicks back into place next to Greg. PULL BACK... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ROWLEY'S ROOM - DAY</stage_direction>
<scene_description>...to reveal the photograph is hanging on the wall in Rowley's room. Greg goes through the clothes in Rowley's closet as Rowley looks on. Greg pulls out a shirt that has a picture of Rowley and his mom. Underneath the picture it says "Me and My Mommy."</scene_description>
<character>GREG</character>
<dialogue>This one's gotta go.</dialogue>
<character>ROWLEY</character>
<dialogue>That was a present from my mom.</dialogue>
<character>GREG</character>
<dialogue>Well then your mom is trying to get you killed.</dialogue>
<scene_description>He throws the shirt on the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - DAY</stage_direction>
<scene_description>Rowley sits in a chair. Greg paces in front of him like an instructor.</scene_description>
<character>ROWLEY</character>
<dialogue>Want to come over and hang out?</dialogue>
<character>GREG</character>
<dialogue>Good. Now this time act like you don't care if I do or not.</dialogue>
<character>ROWLEY</character>
<dialogue>But I do care.</dialogue>
<character>GREG</character>
<dialogue>But you should act like you have something better going on.</dialogue>
<character>ROWLEY</character>
<dialogue>Isn't that mean?</dialogue>
<character>GREG</character>
<dialogue>No, it'll make people like you.</dialogue>
<parenthetical>(off Rowley's confusion)</parenthetical>
<dialogue>People are weird, Rowley, what do you want me to say?</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<scene_description>Greg and Rowley sit at the table, Rowley has a notebook and pen. Greg is holding Rodrick's yearbook. CONTINUED: He flips to a page and holds it up for Rowley to see. It is a picture of a KID SKATEBOARDING down the front steps of the school.</scene_description>
<character>ROWLEY</character>
<dialogue>Cool.</dialogue>
<scene_description>Greg nods, flips to another page, holds it up. It's a picture of SOME PUNKY KIDS holding guitars.</scene_description>
<character>ROWLEY</character>
<dialogue>Cool.</dialogue>
<scene_description>Greg flips to another page, holds up another picture. It's a KID IN A SAFARI HELMET holding a box of mounted butterflies.</scene_description>
<character>ROWLEY</character>
<dialogue>Dork?</dialogue>
<character>GREG</character>
<dialogue>Good.</dialogue>
<scene_description>Greg holds up another picture - a KID WEARING A SASH that reads "Spelling Bee Champion" and being handed a trophy. Rowley smiles, this one is easy.</scene_description>
<character>ROWLEY</character>
<dialogue>Cool.</dialogue>
<scene_description>Greg groans.</scene_description>
<character>GREG</character>
<dialogue>No, dork. Dork! He's wearing a sash for godssake.</dialogue>
<scene_description>We see Rowley jot something in his notebook. We can read the words "sash no good" at the bottom of a list that includes "no pics mommy", "long hair ok skateboard" and "butterflies = death".</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S ROOM - DAY</stage_direction>
<scene_description>Greg hands Rowley a backpack. Rowley starts to put it on.</scene_description>
<character>GREG</character>
<dialogue>No, one strap. One strap is cool.</dialogue>
<scene_description>He demonstrates with his own backpack.</scene_description>
<character>ROWLEY</character>
<dialogue>But there's two straps. Why would they put two straps on if you're only supposed to use one?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Just trust me, Rowley, have I ever steered you wrong?</dialogue>
<character>ROWLEY</character>
<dialogue>Yeah, a lot.</dialogue>
<character>GREG</character>
<dialogue>One strap, Rowley!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROWLEY'S GARAGE - DAY</stage_direction>
<scene_description>Greg wheels Rowley's bike out of the garage. It is dusty and has seen very little service.</scene_description>
<character>GREG</character>
<dialogue>The Big Wheel has to go. You're in middle school now. Man up.</dialogue>
<character>ROWLEY</character>
<dialogue>But I don't really know how --</dialogue>
<character>GREG</character>
<dialogue>Every kid in the history of forever could ride a bike. You'll be fine.</dialogue>
<scene_description>Rowley mounts the bike and starts to roll down the driveway. He quickly loses control and crashes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL - MORNING</stage_direction>
<scene_description>Greg waits by the bike rack in front of school watching as Rowley rides up. IN SLO-MO: We get a good look at the "improved" Rowley. He looks terrified and is tilting to one side from the weight of his giant backpack which is slung over one shoulder. He rolls slowly, wobbling precariously. He is barely able to stop in time to avoid crashing into the bike rack.</scene_description>
<character>ROWLEY</character>
<parenthetical>(slo-mo effect)</parenthetical>
<dialogue>Aaah.</dialogue>
<character>END SLO-MO.</character>
<dialogue>As Rowley stands by the bike rack, gasping for air.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>I don't want to get ahead of myself, but I will say I did an amazing job of improving Rowley. He was ready to be the friend of a Class Favorite.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - JUST LATER</stage_direction>
<scene_description>The class is in their seats as Ms. Darnell makes some morning announcements.</scene_description>
<character>MS. DARNELL</character>
<dialogue>...And finally, there are some spots available on Safety Patrol. If anyone's interested, see me after homeroom.</dialogue>
<scene_description>This gets Greg's attention. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FUTURISTIC MILITARY LOCKER ROOM - FANTASY</stage_direction>
<scene_description>A SERIES OF QUICK CUTS of Greg as he suits up for Safety Patrol. Orange vest strapped on. Sides of vest cinched. Badge clipped on. Sneaker laces tightened. Sunscreen slapped on. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - FANTASY</stage_direction>
<scene_description>Greg and his fellow Safety Patrols strut down the hallway IN SLO MO through a haze of smoke a la The Right Stuff. Greg passes SHELLY AND MARLEY who watch him and giggle.</scene_description>
<character>SHELLY</character>
<dialogue>Greg Heffley has a cute butt.</dialogue>
<scene_description>CUT TO: AN OPEN YEARBOOK - CLASS FAVORITES SECTION - FANTASY A full page photo of Greg with his back to us, looking over his shoulder at the camera. The caption reads "Best Butt". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - LATER</stage_direction>
<scene_description>The class is gone. Greg and Rowley are at Ms. Darnell's desk. She hands them badges and orange vests.</scene_description>
<character>MS. DARNELL</character>
<dialogue>Okay, you'll be walking the kindergartners home after their half day.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MS. DARNELL</character>
<dialogue>They go right after lunch, so you'll be excused from the first twenty minutes of sixth period.</dialogue>
<character>ROWLEY</character>
<dialogue>But that means we'll miss half of alge- -</dialogue>
<scene_description>Greg gives Rowley a big pinch.</scene_description>
<character>ROWLEY</character>
<dialogue>-- brahooey!</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg saunters toward the front door of the school with Rowley. They are in their orange plastic Safety Patrol vests and each has a cup of steaming cocoa.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>So we enlisted. And get this, because Safety Patrols are outside a lot, we get special, exclusive Safety Patrol cocoa.</dialogue>
<scene_description>Greg takes a sip of his cocoa, Collin passes by. Angie is further down the hall.</scene_description>
<character>COLLIN</character>
<dialogue>Wow. Is that cocoa?</dialogue>
<character>GREG</character>
<parenthetical>(officious)</parenthetical>
<dialogue>Sorry. Safety Patrols only.</dialogue>
<scene_description>Greg continues on, Rowley shoots Collin a rueful look.</scene_description>
<character>ROWLEY</character>
<dialogue>Sorry.</dialogue>
<scene_description>Angie is annoyed by Greg's attitude toward Collin.</scene_description>
<character>ANGIE</character>
<dialogue>You might want to ease up a little, Heffley.</dialogue>
<character>GREG</character>
<dialogue>Huh?</dialogue>
<character>ANGIE</character>
<dialogue>I mean, it's just Safety Patrol. In middle school. It's the lowest of the low.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>I don't think you understand the seriousness of our job.</dialogue>
<scene_description>Greg throws open the front door to reveal Ms. Darnell waiting outside with EIGHT LITTLE KINDERGARTEN KIDS.</scene_description>
<character>MS. DARNELL</character>
<dialogue>Okay, these are the kids you'll be walking home.</dialogue>
<character>ANGIE</character>
<dialogue>Actually, it's the lowest of the lowest of the low.</dialogue>
<scene_description>Greg glares at her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELEMENTARY SCHOOL - DAY</stage_direction>
<scene_description>SUPER: "December. Wednesday." Greg and Rowley are at the foot of the elementary school steps with the kindergartners lined up in a row on the sidewalk. Rowley suddenly sees THE PICKUP TRUCK FROM HALLOWEEN almost upon them.</scene_description>
<character>ROWLEY</character>
<dialogue>Greg, it's those guys from Halloween.</dialogue>
<scene_description>Greg looks where Rowley is pointing and sees the pickup. EXTREME CLOSE-UPS: Shredded paint on the side of the truck; Pete behind the wheel; Wade in the pickup bed with the fire extinguisher. As the truck passes them, PETE SEES GREG. GREG SEES PETE SEE HIM. The truck stops and quickly reverses back to where Greg and Rowley were standing. BUT NOW IT'S JUST THE KINDERGARTNERS -- NO GREG AND ROWLEY. Pete puts the truck in park and is about to investigate when a CAR HONKS BEHIND them. Wade starts pounding on the back window.</scene_description>
<character>WADE</character>
<parenthetical>(re: car behind them)</parenthetical>
<dialogue>Dude, it's Principal Kinney, go go go!</dialogue>
<scene_description>As Pete throws it in drive and speeds away, THE CAMERA MOVES UP AND OVER THE CONFUSED KINDERGARTNERS TO FIND GREG AND ROWLEY FLAT ON THE GROUND BEHIND THEM. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>That was close.</dialogue>
<character>ROWLEY</character>
<dialogue>So close.</dialogue>
<scene_description>Rowley looks at Greg a beat then smiles. Greg starts to chuckle. As they laugh together...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Close on the cheese as snow falls on it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MIDDLE SCHOOL - AFTERNOON</stage_direction>
<scene_description>Kids pour out of the school, happy to escape captivity. Greg stands by the curb, in his Safety Patrol badge and vest. He sees some kids step into the street.</scene_description>
<character>GREG</character>
<dialogue>Wait for the light, people.</dialogue>
<scene_description>Feeling pretty good about himself, Greg turns back toward the school AS THE KIDS SHRUG AND CROSS ANYWAY.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>There's just something about a man in uniform. Even a plastic one. Now that I was on Safety Patrol everything was falling into place, I was on the road to Class Favorite.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HEFFLEY HOUSE - DAY</stage_direction>
<scene_description>The house is decorated for Christmas with twinkly lights and a wreath on the door.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>So I went into Christmas vacation feeling pretty good and ready to enjoy our Heffley family holiday traditions.</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY LIVING ROOM - NIGHT</stage_direction>
<scene_description>Greg, Frank and Rodrick sit on the couch eating pie and watching a BIKINI BEACH MOVIE ON TV. A decorated tree glows behind them. It's nice, peaceful even. Rodrick notices Manny on the floor going through his backpack.</scene_description>
<character>RODRICK</character>
<dialogue>Manny, get out of my stuff!</dialogue>
<scene_description>CONTINUED: Manny slowly turns his head and glares at Rodrick for a beat. He then walks over and squeezes in on the end of the couch next to them. ANGLE ON the TV, on which two young women in bikinis are bouncily running in slo-motion on the beach. PAN DOWN THE ROW OF HEFFLEY MEN -- First Frank, then Rodrick, then Greg all with the same enthralled expression. Finally, we land on Manny, WHO STARTS TO YELL.</scene_description>
<character>MANNY</character>
<dialogue>Aaaaah! Aaaaah! Aaaaah!</dialogue>
<scene_description>Susan runs in.</scene_description>
<character>SUSAN</character>
<dialogue>What? What's going on?</dialogue>
<scene_description>Then she sees the TV.</scene_description>
<character>SUSAN</character>
<dialogue>What are you watching? Turn that off.</dialogue>
<character>RODRICK</character>
<dialogue>What? Why?</dialogue>
<character>SUSAN</character>
<dialogue>I don't want Manny exposed to that kind of thing. Women are more than just a place to hang a bikini.</dialogue>
<character>GREG</character>
<dialogue>But these women are smart. Tracey and Sabrina are about to solve a dognapping.</dialogue>
<scene_description>Susan looks at Frank.</scene_description>
<character>FRANK</character>
<dialogue>I told them to turn it off.</dialogue>
<scene_description>Manny grabs the remote and changes the channel to a CARTOON. He then turns to Rodrick and smiles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>Greg and Rowley are walking up the hill. Rowley has his Big Wheel, Greg has the football. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>I'm thinking when we get back to school, it's time for me to really make my move. Maybe run for student council. Something easy, like Treasurer.</dialogue>
<character>ROWLEY</character>
<dialogue>Isn't that a lot of math?</dialogue>
<character>GREG</character>
<dialogue>You could do the math. You could be the man behind the man.</dialogue>
<character>ROWLEY</character>
<dialogue>I got a C in math.</dialogue>
<character>GREG</character>
<dialogue>Hm.</dialogue>
<scene_description>Greg stops, Rowley continues to the top of the hill.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I didn't know exactly what it was going to be, I just knew I needed my big break.</dialogue>
<scene_description>Rowley turns his Big Wheel downhill.</scene_description>
<character>GREG</character>
<dialogue>Ready?</dialogue>
<scene_description>Rowley takes off down the hill. As Rowley speeds past on the Big Wheel, Greg fires a tight spiral directly at him. The ball hits Rowley's front wheel.</scene_description>
<character>GREG</character>
<dialogue>Yes!</dialogue>
<character>ROWLEY AND THE BIG WHEEL ARE KNOCKED OFF COURSE, HIT A CURB,</character>
<dialogue>AND GO AIRBORNE. Rowley flies through the air, then crashes into a snow drift.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>Only the way it turned out, the big break wasn't mine.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>SUPER: "January. Monday." Students trudge into the school.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - MORNING</stage_direction>
<scene_description>Rowley's left hand is in a cast. He stands at his locker. Reveal Greg a few feet away looking at him sheepishly. He takes a deep breath, crosses to Rowley.</scene_description>
<character>GREG</character>
<parenthetical>(keeping it light)</parenthetical>
<dialogue>Hey, that was some ride, Rowley.</dialogue>
<character>ROWLEY</character>
<dialogue>Hmm.</dialogue>
<scene_description>Shelly and Marley pass by. Shelly notices Rowley's cast and stops.</scene_description>
<character>SHELLY</character>
<dialogue>Oh my gosh, what happened?</dialogue>
<character>ROWLEY</character>
<dialogue>Broke it.</dialogue>
<character>SHELLY</character>
<dialogue>How?</dialogue>
<character>ROWLEY</character>
<dialogue>Big Wheel accident.</dialogue>
<scene_description>Shelly and Marley laugh.</scene_description>
<character>MARLEY</character>
<dialogue>You're funny.</dialogue>
<character>SHELLY</character>
<dialogue>Does it still hurt?</dialogue>
<character>ROWLEY</character>
<dialogue>I guess.</dialogue>
<character>MARLEY</character>
<dialogue>You poor thing.</dialogue>
<character>SHELLY</character>
<dialogue>Can I sign your cast?</dialogue>
<character>MARLEY</character>
<dialogue>Me, too!</dialogue>
<scene_description>Other girls gather around Rowley and push Greg further and further back until he is shoved right out of the crowd. Greg does not like being stuck on the outside and pushes his way back into the circle. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Hey! Hey! I'm the one who broke his hand.</dialogue>
<scene_description>The girls all turn to look at Greg.</scene_description>
<character>SHELLY</character>
<dialogue>Then you're a jerk.</dialogue>
<scene_description>The girls turn back to Rowley as Greg slinks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL CAFETERIA - DAY</stage_direction>
<scene_description>Greg, with his lunch tray, heads toward his usual seat at the edge of the room when he sees something shocking. Rowley at a table with Shelly, Marley and some other popular girls. There are no empty seats. As Greg watches, Shelly feeds Rowley a bite of food. Rowley says something Greg can't hear and the girls laugh. This pushes Greg to his limit.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I couldn't believe it. Rowley was eating at an actual table -- and all because of a stupid broken hand. And he doesn't even care where he eats. If anyone should be at a table, it's me.</dialogue>
<scene_description>He looks out across the room, at the tables full of unwelcoming kids. His eyes fall on Angie who is sitting at a table nearby. There is an empty seat next to her.</scene_description>
<character>ANGIE</character>
<dialogue>I'd ask you to join me, but this table's for people on the paper, not in the paper.</dialogue>
<scene_description>Greg sighs and heads in the other direction, back to his usual place. He stops when sees Fregley is sitting in Rowley's old seat. But Greg really has no place else to go. He glumly sits.</scene_description>
<character>FREGLEY</character>
<dialogue>Hey Greg Heffley, want to see me eat my whole sandwich in one bite?</dialogue>
<character>GREG</character>
<dialogue>No thanks.</dialogue>
<scene_description>But Fregley does it anyway, stuffing his entire sandwich into his mouth. He grins and points to his mouth, "See, did it!" Greg's eyes drift back to Rowley's table.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREG'S BEDROOM - LATER</stage_direction>
<scene_description>Greg is on his bed, sketching in his journal. We see a cartoon of Rowley at the lunch table with the girls.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I realized Rowley's injury thing was a pretty good racket, so I decided it was time for me to have an injury of my own.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg throws his backpack in his locker. We see that one arm is now wrapped in gauze. He grabs a notebook from his locker and crosses to Shelly and Marley. He thrusts his arm toward the girls.</scene_description>
<character>GREG</character>
<dialogue>Hey guys, check it out.</dialogue>
<character>SHELLY</character>
<dialogue>Oh my gosh, what happened?</dialogue>
<character>GREG</character>
<dialogue>It's a raging infection caused by a splinter that was left untreated.</dialogue>
<scene_description>The girls just look at him. He holds up his notebook.</scene_description>
<character>GREG</character>
<dialogue>Want to be the first to sign my sympathy sheet?</dialogue>
<scene_description>The girls wrinkle their noses in disgust and walk away. Fregley approaches.</scene_description>
<character>FREGLEY</character>
<dialogue>Can I peek at your infection?</dialogue>
<character>GREG</character>
<dialogue>Go away.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - DAY</stage_direction>
<scene_description>The kids are hanging around before homeroom starts. Greg enters, unwrapping the gauze from his hand. As he stuffs it in the trash he notices Rowley and Collin talking.</scene_description>
<character>ROWLEY</character>
<dialogue>...and on the x-ray you could see where the bone just snapped right in half.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>COLLIN</character>
<dialogue>Wow. I broke a toe once. It got all purple.</dialogue>
<character>ROWLEY</character>
<dialogue>Cool.</dialogue>
<character>CHIRAG</character>
<dialogue>Hey Gregory, want to sign the card?</dialogue>
<character>GREG</character>
<dialogue>You got Rowley a card?!</dialogue>
<character>CHIRAG</character>
<dialogue>What? No. It's for Bryan Little, you know the guy who does that Wacky Dawg cartoon for the school paper? He has mono and he's going to be out for three months.</dialogue>
<scene_description>Greg notices that a bunch of kids are gathered around the teacher's desk signing a big posterboard card. The card has a drawing of a dog with a sad face and says "We're going to miss you, Wacky Dawg."</scene_description>
<character>GREG</character>
<parenthetical>(suddenly interested)</parenthetical>
<dialogue>Bryan Little's sick? So who's going to do the cartoon?</dialogue>
<character>CHIRAG</character>
<dialogue>They're having tryouts. But the important thing is that Bryan get better.</dialogue>
<character>GREG</character>
<parenthetical>(distracted)</parenthetical>
<dialogue>Uh-huh.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>This was what I'd been waiting for all year. Everyone loves the cartoon guy. I mean, Bryan Little was Class Clown last year because of Wacky Dawg. And I draw cartoons all the time, it's like my biggest talent. I knew I could take something like this right to the top.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLIE ROSE SHOW - FANTASY</stage_direction>
<scene_description>Charlie Rose is interviewing Greg, who looks natty in a tweed blazer with leather elbow patches.</scene_description>
<character>CHARLIE ROSE</character>
<dialogue>Let's talk about how funny you are. What is that Greg Heffley "thing" that we all want but only you have?</dialogue>
<character>GREG</character>
<dialogue>It's three things, Charlie. Charisma. Good looks. Humility.</dialogue>
<scene_description>CUT TO: AN OPEN YEARBOOK - CLASS FAVORITES SECTION - FANTASY A full page photo of Greg holding up several school paper cartoons. The caption reads "Class Clown". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<scene_description>Greg and Rowley sit at the kitchen table drawing cartoons.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I decided to go ahead and forgive Rowley for milking the broken hand so hard, and told him he could work on the cartoon with me.</dialogue>
<scene_description>Chuckling, Rowley hands Greg a piece of paper.</scene_description>
<character>ROWLEY</character>
<dialogue>Here, what about this?</dialogue>
<scene_description>Greg looks at it, it's a series of three cartoons. Each one ends with the punchline "Zoo Wee Mama!"</scene_description>
<character>ROWLEY</character>
<parenthetical>(excited)</parenthetical>
<dialogue>Zoo Wee Mama!</dialogue>
<character>GREG</character>
<dialogue>It's the same joke every time.</dialogue>
<character>ROWLEY</character>
<dialogue>Yeah. Zoo Wee Mama!</dialogue>
<scene_description>Rowley cracks up. CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>We can't just do the same thing over and over.</dialogue>
<character>ROWLEY</character>
<dialogue>We can if it's Zoo Wee Mama.</dialogue>
<scene_description>Greg tosses Rowley's papers aside.</scene_description>
<character>GREG</character>
<dialogue>It needs to be a little more sophisticated. Like mine is about a really dumb guy and he does dumb stuff that's funny.</dialogue>
<scene_description>Greg picks up a pencil... CUT TO: INSERT - CREIGHTON THE CRETIN CARTOON</scene_description>
<character>THE CARTOON BEGINS TO DRAW ITSELF AS GREG DOES THE VOICES.</character>
<dialogue>FIRST FRAME: CREIGHTON holds something shaped like a box in his hand.</dialogue>
<character>CREIGHTON</character>
<dialogue>I wonder what is in this cute little box.</dialogue>
<scene_description>SECOND FRAME: Creighton has been joined by a kid in a baseball cap (CREIGHTON'S FRIEND). The kid points at Creighton...</scene_description>
<character>CREIGHTON'S FRIEND</character>
<dialogue>That's not a box, it's a brick, you dumb moron!</dialogue>
<character>CREIGHTON</character>
<dialogue>Oops. I have been trying to open it all day.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<scene_description>The drawing in front of Greg is now finished. Greg looks to Rowley, expecting him to laugh at the cartoon.</scene_description>
<character>ROWLEY</character>
<parenthetical>(unsmiling)</parenthetical>
<dialogue>Can he say Zoo Wee Mama?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Rowley, forget Zoo Wee Mama. This is serious business. Do you want me to be Class Clown or don't you?</dialogue>
<character>ROWLEY</character>
<dialogue>But I like Zoo Wee Mama.</dialogue>
<character>GREG</character>
<dialogue>You know what, if you like it so much then you should just go do it yourself.</dialogue>
<scene_description>The idea of doing it alone has never occurred to Rowley. He thinks about it.</scene_description>
<character>ROWLEY</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Okay. See ya.</dialogue>
<scene_description>Rowley grabs his cartoons and goes. Greg is clearly surprised by this flash of independence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>SUPER: "February. Wednesday." It is a bleak, gray rainy day.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Safety Patrol was getting to be a drag because of the weather. But I figured once I got the cartoon, I'd just dump it anyway.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg crosses to Rowley who is at his locker.</scene_description>
<character>GREG</character>
<dialogue>I forgot my raincoat so I'm gonna need you to walk the kids home today.</dialogue>
<character>ROWLEY</character>
<dialogue>I can't. I can't get my cast wet.</dialogue>
<scene_description>Rowley holds up his broken hand. Greg sighs.</scene_description>
<character>ROWLEY</character>
<dialogue>You can borrow my coat.</dialogue>
<scene_description>He holds up a bright red slicker.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>Greg, wearing Rowley's coat with the hood up, is hunched against the rain as he herds the kindergartners along the wet sidewalk. Suddenly, he sees the TEEN'S TRUCK making a turn toward them at the end of the street. He stops cold.</scene_description>
<character>GREG</character>
<dialogue>Oh no.</dialogue>
<scene_description>Greg frantically looks around for an escape route, but there's nothing but houses. One of the houses is being renovated; the construction site is deserted. Then he spies it: A CONSTRUCTION DUMPSTER. It's his only hope. He looks at the truck, which is getting closer. He spins around at the kids.</scene_description>
<character>GREG</character>
<dialogue>Okay, listen up! We're being attacked by space monsters and they're going to eat us unless we can get into that dumpster! Now follow me if you want to live!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE - MOMENTS LATER</stage_direction>
<scene_description>Greg is hoisting terrified kids into the dumpster. Greg looks up to see THE TRUCK STOP AT A STOP SIGN JUST A HALF BLOCK AWAY.</scene_description>
<character>GREG</character>
<dialogue>Come on! Move it! Let's go!</dialogue>
<scene_description>Greg helps what he thinks is the last kid in the dumpster, but looks over and sees a one small straggler in a puffy parka wandering off. Greg takes off for the kid. SLO-MO: Greg races across the site to the kid, hoists him over his shoulders like a soldier carrying a fallen comrade, stagger-runs back to the dumpster, and THROWS THE KID IN. WE WATCH THE KID ARC THROUGH THE AIR AND DISAPPEAR INSIDE THE DUMPSTER. END SLO-MO. Greg doesn't have time to take a breath because THE TRUCK IS BEARING DOWN ON THEM. He turns around to get into the dumpster himself and is confronted by YET ANOTHER KID HE FORGOT, a big husky one this time.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUTION SITE - MOMENTS LATER</stage_direction>
<scene_description>Greg strains to push the hefty kid into the dumpster. He's almost got him in, but...it's too late. The truck is on them...but IT'S NOT THE TEEN'S TRUCK AT ALL. CONTINUED: Same color, make, and model, but a lone woman is inside it, driving. Phew. He relaxes his grip on the kid who teeters on the edge of the dumpster...</scene_description>
<character>MRS. IRVINE (O.S.)</character>
<dialogue>Hey! Hey you!</dialogue>
<scene_description>Greg looks over, LETTING GO OF THE KID, WHO FALLS IN. It's MRS. IRVINE, an older woman standing on her porch in a housecoat, and she doesn't look happy. Her hair is in curlers under a clear plastic rain bonnet.</scene_description>
<character>MRS. IRVINE</character>
<parenthetical>(mad)</parenthetical>
<dialogue>Rowley Jefferson, is that you?</dialogue>
<character>GREG</character>
<parenthetical>(hiding his face)</parenthetical>
<dialogue>Yes, Mrs. Irvine.</dialogue>
<scene_description>Mrs. Irvine walks toward him. Panicked, Greg turns tail and runs off before she can see his face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE - MOMENTS LATER</stage_direction>
<scene_description>Mrs. Irvine looks inside the dumpster. A dog pile of kids crowded into the dirty dumpster look back up at her. With her curlers under the rain bonnet and her makeup running in the rain, she looks a little scary. One BOY KINDERGARTNER clears his throat.</scene_description>
<character>BOY KINDERGARTNER</character>
<dialogue>Are you going to eat us?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOMEROOM - DAY</stage_direction>
<scene_description>The kids are watching the principal, MR. WINSKY, making announcements on the closed circuit TV on the wall. He reads from papers in front of him like a newscaster.</scene_description>
<character>MR. WINSKY</character>
<dialogue>...so to whoever took the lizard out of the science lab and put it in my car, you should know that it was very cold yesterday and the lizard is now in intensive care.</dialogue>
<scene_description>Mr. Winsky sets aside that paper and reads another announcement.</scene_description>
<character>MR. WINSKY</character>
<dialogue>On a happier note, they've selected the new cartoon for the school paper.</dialogue>
<scene_description>CONTINUED: A murmur of excitement goes through the class. Greg smiles expectantly.</scene_description>
<character>MR. WINSKY</character>
<dialogue>The winner is...</dialogue>
<scene_description>Greg leans forward in his chair, preparing to stand up and accept congratulations.</scene_description>
<character>MR. WINSKY</character>
<dialogue>..."Zoo Wee Mama" by Rowley Jefferson!</dialogue>
<scene_description>Greg is shocked. Everyone claps for Rowley.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I couldn't believe it. But I guess it says a lot about the intelligence level at my school, and it doesn't make me feel real hopeful about the future of our country.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Greg grimly stands next to Rowley who is being chatted up by Shelly and Marley. Rowley is basking in the attention.</scene_description>
<character>SHELLY</character>
<dialogue>Will you put me in your cartoon?</dialogue>
<character>ROWLEY</character>
<dialogue>Sure. Heh-heh.</dialogue>
<character>MARLEY</character>
<dialogue>And me too -- ooh, I want to be the one who says Zoo Wee Mama.</dialogue>
<character>ROWLEY</character>
<dialogue>Okay.</dialogue>
<scene_description>Angie approaches.</scene_description>
<character>ANGIE</character>
<dialogue>Hey, Rowley, congratulations.</dialogue>
<character>ROWLEY</character>
<dialogue>Thanks.</dialogue>
<character>ANGIE</character>
<dialogue>You deserve it. I read all the submissions and yours was definitely the best.</dialogue>
<parenthetical>(to Greg)</parenthetical>
<dialogue>I read yours, too.</dialogue>
<scene_description>CONTINUED: Angie crosses away as Bryce passes.</scene_description>
<character>BRYCE</character>
<dialogue>Hey, Rowley.</dialogue>
<character>ROWLEY</character>
<dialogue>Hey.</dialogue>
<parenthetical>(happily, to Greg)</parenthetical>
<dialogue>Wow, everyone knows me now. It's like I'm famous.</dialogue>
<scene_description>Greg is dead inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. HISTORY CLASS - DAY</stage_direction>
<scene_description>Mr. Worth addresses the class.</scene_description>
<character>MR. WORTH</character>
<dialogue>...So why did America send soldiers to England?</dialogue>
<character>BRYCE</character>
<dialogue>Because America rocks!</dialogue>
<character>MR. WORTH</character>
<dialogue>Well...yes. But in this case it was because Germany had...</dialogue>
<parenthetical>(writes on board)</parenthetical>
<dialogue>...invaded --</dialogue>
<scene_description>Mr. Worth drops his chalk.</scene_description>
<character>MR. WORTH</character>
<dialogue>Zoo Wee Mama!</dialogue>
<scene_description>The whole class cracks up (except for Greg) and Bryce high- fives Rowley.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Well, the failure of the public school system was complete. The way I see it, Rowley and the rest of these bozos deserve each other.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg and Rowley are walking down the hall. They pass a door that says "MR. WINSKY, PRINCIPAL". Mr. Winsky sticks his head out; he does not look happy.</scene_description>
<character>MR. WINSKY</character>
<dialogue>Rowley Jefferson?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>Yes, Principal Winsky?</dialogue>
<character>MR. WINSKY</character>
<dialogue>I need to see you in my office.</dialogue>
<scene_description>Rowley shoots Greg a worried look and crosses to Mr. Winsky. They go in the office and Mr. Winsky shuts the door. Greg looks around to make sure nobody's watching, then crosses to the door, peeks in the glass window pane.</scene_description>
</scene>
<scene>
<stage_direction>INT. MR. WINSKY'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Mr. Winsky sits at his desk. Rowley sits in the chair across from him. He looks very small. We see Greg hovering just outside the door, but Mr. Winsky doesn't notice him.</scene_description>
<character>MR. WINSKY</character>
<dialogue>I got a call from Mrs. Irvine about what happened with the kindergartners last week. She's very upset.</dialogue>
<scene_description>Rowley looks confused.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Back with Greg outside the door. He looks alarmed. He peeks in the window again. From his perspective we see Mr. Winsky really laying into Rowley.</scene_description>
<character>MR. WINSKY</character>
<dialogue>...you brought dishonor to our school and you disrespected the badge.</dialogue>
<character>ROWLEY</character>
<dialogue>I really don't --</dialogue>
<character>MR. WINSKY</character>
<dialogue>Save it. You're going to apologize to those kids tomorrow and you're suspended from Safety Patrol for a week. Including cocoa. Now get out of here.</dialogue>
<character>ROWLEY</character>
<dialogue>Yes sir.</dialogue>
<scene_description>Rowley exits Mr. Winsky's office, joining Greg in the hall.</scene_description>
<character>ROWLEY</character>
<parenthetical>(devastated)</parenthetical>
<dialogue>I'm suspended for a week. I don't even know what's he's talking about.</dialogue>
<scene_description>CONTINUED: Rowley trudges to his locker, Greg watches him go.</scene_description>
<character>GREG</character>
<dialogue>Rowley, I...</dialogue>
<character>ROWLEY</character>
<dialogue>What?</dialogue>
<character>GREG</character>
<dialogue>Nothing.</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - LATER</stage_direction>
<scene_description>Greg comes home. Susan is there, cooking dinner. She takes one look at him and knows something is up.</scene_description>
<character>SUSAN</character>
<dialogue>Are you okay?</dialogue>
<scene_description>Greg hesitates a beat, then:</scene_description>
<character>GREG</character>
<dialogue>I don't know, I'm in kind of a tough situation.</dialogue>
<character>SUSAN</character>
<dialogue>Sit. Tell me.</dialogue>
<scene_description>Greg and Susan sit at the table.</scene_description>
<character>GREG</character>
<dialogue>I know something and if I tell the truth about it, it could hurt somebody.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>Namely me, but I kept that part to myself.</dialogue>
<character>SUSAN</character>
<dialogue>Well, I think you can never go wrong being honest.</dialogue>
<scene_description>On Greg thinking: FLASHBACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - NIGHT</stage_direction>
<scene_description>The family is celebrating GRAMPA HEFFLEY'S birthday. Susan sets a cake down in front of Grampa. CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Make a wish, Grampa!</dialogue>
<character>GRAMPA</character>
<dialogue>I wish for chocolate cake next year.</dialogue>
<character>GREG</character>
<dialogue>If you're alive next year.</dialogue>
<scene_description>Everyone glares at Greg.</scene_description>
<character>GREG</character>
<dialogue>Hey, I'm just trying to be realistic.</dialogue>
<scene_description>END FLASHBACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<scene_description>Susan and Greg continue their talk.</scene_description>
<character>SUSAN</character>
<dialogue>You just have to go with your gut and try to do the right thing, because it's our choices that make us who we are.</dialogue>
<scene_description>Greg nods. Susan kisses Greg and exits. Greg chews over what she has just said.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELEMENTARY SCHOOL - MORNING</stage_direction>
<scene_description>Greg is walking to school. He has dark circles under his eyes and looks glum.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I was up all night tossing and turning about this Rowley situation, but I finally figured out what the right thing to do was.</dialogue>
<scene_description>He stops. Reveal Greg is standing across the street from the Elementary School. On the steps of the school are Rowley, Mr. Winsky and the kindergarten students.</scene_description>
<character>ROWLEY</character>
<parenthetical>(to kids)</parenthetical>
<dialogue>I'm sorry I terrorized you children.</dialogue>
<scene_description>The children look at each other, confused.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I decided to let Rowley take one for the team this time.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Now that he had the cartoon he didn't even need Safety Patrol anymore. Really, I was probably doing him a favor.</dialogue>
<scene_description>Head bowed, Rowley sadly hands Mr. Winsky his badge.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN -- DAY</stage_direction>
<scene_description>Greg comes in the back door from school wearing his backpack. Susan turns around from baking something.</scene_description>
<character>SUSAN</character>
<dialogue>How'd it go? Did you do the right thing?</dialogue>
<character>GREG</character>
<dialogue>I think so.</dialogue>
<scene_description>Susan smiles, proud of him.</scene_description>
</scene>
<scene>
<stage_direction>INT. ICE CREAM PARLOR - DAY</stage_direction>
<scene_description>Greg is in a booth with Susan. A GIANT HOT FUDGE SUNDAE is placed in front of him.</scene_description>
<character>SUSAN</character>
<dialogue>Dig in. You earned it.</dialogue>
<scene_description>Greg takes a bite. It's sawdust in his mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>Rowley is sitting on the front steps. Greg approaches; he notices Rowley steal a sad glance at his safety patrol gear.</scene_description>
<character>ROWLEY</character>
<parenthetical>(glum)</parenthetical>
<dialogue>Did the kids ask about me?</dialogue>
<character>GREG</character>
<dialogue>Uh...no.</dialogue>
<character>ROWLEY</character>
<dialogue>Oh.</dialogue>
<scene_description>A beat.</scene_description>
<character>GREG</character>
<dialogue>So, it's kind of funny. You know that whole Safety Patrol thing?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>Yeah?</dialogue>
<character>GREG</character>
<dialogue>Well, you remember that day you lent me your jacket? See, I thought I saw those guys from Halloween and so, you know, otherwise I never would've, but... Okay. I'm the one who threw those kids in the dumpster.</dialogue>
<character>ROWLEY</character>
<dialogue>What?!</dialogue>
<character>GREG</character>
<dialogue>Yeah, and I think we can both learn some valuable lessons from this. Like, I should be more careful what I do in front of Mrs. Irvine's house. And you...well, you should be more careful who you lend your coat to.</dialogue>
<scene_description>Rowley looks at him steadily for a moment.</scene_description>
<character>ROWLEY</character>
<dialogue>You know what, you're not a good friend.</dialogue>
<character>GREG</character>
<dialogue>Whoa, how can you even say that? I'm a great friend.</dialogue>
<character>ROWLEY</character>
<dialogue>If you were a great friend you would've told Mr. Winsky the truth.</dialogue>
<character>GREG</character>
<dialogue>Okay, one thing, you can't get mad about just --</dialogue>
<character>ROWLEY</character>
<dialogue>You're always bossing me around. You weren't happy I got the cartoon. You broke my hand and you didn't even seem sorry!</dialogue>
<character>GREG</character>
<dialogue>That broken hand was the best thing that ever happened to you.</dialogue>
<character>ROWLEY</character>
<dialogue>Don't call me, don't come by my house. We're done.</dialogue>
<scene_description>CONTINUED: (2) Rowley exits, leaving Greg alone in the empty school.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - MORNING</stage_direction>
<scene_description>Kids are hanging out in the snowy front yard before the first bell. Greg watches Rowley who is deep in conversation with Angie.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I thought the whole thing would blow over, but Rowley was still giving me the silent treatment, even when I tried to make the first move.</dialogue>
<scene_description>GREG THROWS A SNOWBALL AT ROWLEY, it hits him on the back of the head. Rowley turns around and Greg smiles and gives him a friendly wave. Rowley and Angie just glare at him and continue their conversation.</scene_description>
</scene>
<scene>
<stage_direction>INT. MR. WINSKY'S OFFICE - DAY</stage_direction>
<scene_description>Greg and Rowley face Mr. Winsky who is holding Greg's badge.</scene_description>
<character>MR. WINSKY</character>
<dialogue>Thanks to an anonymous tipster, I now know the whole story. Greg, you're relieved of your Safety Patrol duties, effective immediately.</dialogue>
<parenthetical>(turns to Rowley)</parenthetical>
<dialogue>Rowley, for showing dignity under false suspicion, I'm promoting you to Team Captain.</dialogue>
<scene_description>As Mr. Winsky hands Rowley a new, bigger badge, Greg looks out the glass window of Mr. Winsky's door. He sees Angie just outside the door watching.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - JUST LATER</stage_direction>
<scene_description>Greg and Rowley exit Mr. Winsky's office.</scene_description>
<character>GREG</character>
<dialogue>Hey, Cap'n, you're still gonna hook me up with cocoa, right?</dialogue>
<scene_description>Rowley ignores him and walks off with Angie. Greg watches them go.</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY STORE - DAY</stage_direction>
<scene_description>They are in the frozen food aisle. Greg trails Susan who is pushing Manny in the cart. CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Should I get some more pizzas? Is Rowley coming over this weekend?</dialogue>
<character>GREG</character>
<dialogue>I don't think so. We're kind of on the outs.</dialogue>
<character>SUSAN</character>
<dialogue>Why? What happened?</dialogue>
<character>GREG</character>
<dialogue>Nothing. He got mad because I -- never mind.</dialogue>
<character>SUSAN</character>
<dialogue>Okay.</dialogue>
<scene_description>She keeps moving down the aisle. At the end of the aisle is a rack full of Valentine's Day cards.</scene_description>
<character>SUSAN</character>
<parenthetical>(taking a card)</parenthetical>
<dialogue>Maybe it would help if you made a gesture. Like, say, send him a card for Valentine's day. They have friend ones.</dialogue>
<scene_description>Greg is stunned by the awfulness of this idea.</scene_description>
<character>GREG</character>
<dialogue>Mom, you've had a lot of bad ideas. Band camp. Getting me and Rodrick matching jackets. The family canoe trip. But that, that's the worst.</dialogue>
<scene_description>Susan watches him walk away and doesn't notice that Manny has taken the card and started chewing on it. When she looks back, it's all gummed up and slimy. Susan hurriedly puts it back in the rack behind some other cards and moves away.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>SUPER: "March. Thursday." Much like the first day of school, Greg walks down the hall alone, surrounded by kids who pay no attention to him. He watches as Collin crosses to Rowley, carrying an overnight bag.</scene_description>
<character>COLLIN</character>
<dialogue>Hey Rowley, my mom says it's okay for me to sleep over tonight.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<dialogue>Awesome!</dialogue>
<scene_description>Greg watches Rowley and Collin head off together.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>The whole thing with Rowley is, I was willing to let bygones be bygones but then he made friends with Collin just to mess with me. As if I even care if he --</dialogue>
</scene>
<scene>
<stage_direction>INT. GREG'S ROOM - NIGHT</stage_direction>
<scene_description>Greg is on his bed writing in his journal. He looks at his pencil and realizes he's broken the tip off from the fierceness of his writing. He flops back on his bed and stares at the ceiling.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Well you know what? Two can play at that game.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROWLEY'S STREET - DUSK</stage_direction>
<scene_description>Rowley and Collin are playing in Rowley's front yard. Greg, carrying an overnight bag, walks super-casually past them to the next house, where Fregley is playing alone in the front yard. Rowley and Collin watch Greg pass, but nobody says a word. Greg walks up to Fregley, who is stabbing a kite with a stick.</scene_description>
<character>FREGLEY</character>
<dialogue>Hey Greg Heffley.</dialogue>
<character>GREG</character>
<dialogue>What's happening, Fregley?</dialogue>
<character>FREGLEY</character>
<dialogue>Killing a kite.</dialogue>
<scene_description>Greg shoots a look toward Rowley and Collin. Rowley is watching Greg, but when he sees Greg look at him, he quickly looks away.</scene_description>
<character>GREG</character>
<dialogue>I was thinking maybe you might want to have a sleepover.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FREGLEY</character>
<dialogue>Yeah. With who?</dialogue>
<character>GREG</character>
<dialogue>Me.</dialogue>
<character>FREGLEY</character>
<dialogue>Yeah! When?</dialogue>
<character>GREG</character>
<parenthetical>(losing patience)</parenthetical>
<dialogue>Now.</dialogue>
<character>FREGLEY</character>
<parenthetical>(jumping up and down)</parenthetical>
<dialogue>Alright! We're gonna be best friends forever!</dialogue>
<character>GREG</character>
<dialogue>Uh-huh.</dialogue>
<parenthetical>(loudly, for Rowley's benefit)</parenthetical>
<dialogue>I can't believe I was able to pencil you in for a sleepover, what with my busy schedule.</dialogue>
<character>FREGLEY</character>
<dialogue>Greg Heffley, I love you!</dialogue>
<character>GREG</character>
<parenthetical>(glancing at Rowley)</parenthetical>
<dialogue>Uh-huh, uh-huh, let's just get inside.</dialogue>
<scene_description>Greg shepherds Fregley toward his front door.</scene_description>
</scene>
<scene>
<stage_direction>INT. FREGLEY'S BEDROOM - LATER</stage_direction>
<scene_description>Greg is at the window looking out. Fregley has set up a twister mat.</scene_description>
<character>FREGLEY</character>
<dialogue>Hey, Greg Heffley, you wanna play twister? Do ya? Wanna? Twister?</dialogue>
<scene_description>Greg looks at Fregley for a beat, then turns back to the window. FROM GREG'S POV we see that Rowley and Collin are still in Rowley's yard.</scene_description>
<character>GREG</character>
<dialogue>You know what, Fregley, maybe this wasn't such a good --</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FREGLEY</character>
<dialogue>CANDY!</dialogue>
<scene_description>Greg turns and sees Fregley has gone through his overnight bag and pulled out a A BAG OF JELLYBEANS which he is feverishly stuffing into his mouth.</scene_description>
<character>GREG</character>
<dialogue>Hey!</dialogue>
<character>FREGLEY</character>
<dialogue>I'm not supposed to have sugar. Not even a little. My mom says it makes me cr-aaa-zzz-yyyy!</dialogue>
<parenthetical>(maniacal laugh)</parenthetical>
<dialogue>Hahahahahahaha!</dialogue>
<scene_description>Fregley empties the rest of the bag into his mouth.</scene_description>
</scene>
<scene>
<stage_direction>INT. FREGLEY'S BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>Greg is backed as far into the corner as he can go. Alarmed, he watches Fregley twitch and dance. Fregley leaps up onto his bed.</scene_description>
<character>I.</character>
<dialogue>FEEL.</dialogue>
<scene_description>He fixes his eyes on Greg.</scene_description>
<character>FREGLEY</character>
<dialogue>I will destroy you, Lex Luthor!</dialogue>
<scene_description>Suddenly, he makes a flying leap at Greg who dodges out of the way.</scene_description>
<character>GREG</character>
<parenthetical>(calls for help)</parenthetical>
<dialogue>Hey, Mrs....uh, Fregley?! Hello??? Is anybody there??</dialogue>
<scene_description>Fregley jumps to his feet and faces Greg.</scene_description>
<character>FREGLEY</character>
<dialogue>HA HA HA HA!</dialogue>
<scene_description>Fregley charges Greg. Greg makes for the door. He throws the door open and runs out with Fregley in hot pursuit.</scene_description>
</scene>
<scene>
<stage_direction>INT. FREGLEY'S HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Greg races down the hall. He doesn't know where he's heading. CONTINUED: Fregley is right behind him, chasing him with his index finger outstretched. Greg spots an open door at the end of the hall. The bathroom. He races inside and slams the door behind him, locking it.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Greg catches his breath. We hear LOUD THUMPING SOUNDS as Fregley throws his body against the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>Greg, traumatized, sits in a little ball on the floor. It's quiet. No sound from Fregley. Then a PIECE OF PAPER slides under the door. Greg gingerly crosses to it, picks it up and reads it. The letter reads: "DEAR GREG HEFFLEY, I'M VERY SORRY I CHASED YOU WITH A BOOGER ON MY FINGER. HERE, I PUT IT ON THIS PAPER SO YOU CAN GET ME BACK." At the bottom of the page is an arrow that points directly to where Greg's thumb is. Greg moves his thumb. JUST UNDERNEATH WHERE HIS THUMB HAD BEEN IS A BOOGER. Greg starts to sway gently as his head swims with the horror. As he starts to topple over...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>The cheese is alone on the deserted sport court, surrounded by grimy old snow.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>You know, to be honest I'm a lot better off without friends. All friends do is drag you down and suck the life out of you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITMORE MIDDLE SCHOOL - DAY</stage_direction>
<scene_description>Greg parks his bike in the bike rack, next to Rowley's Big Wheel.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Rowley's been nothing but a distraction. Now that I'm on my own and don't have to worry about carrying around all that dead weight, I can get back to the business of making a name for myself.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg stands in front of a poster that reads "SPRING PLAY AUDITIONS TODAY". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. RADIO CITY MUSIC HALL-TYPE THEATER - FANTASY</stage_direction>
<scene_description>Greg is on stage in Shakespearean garb and with long, artsy hair, taking his bows in front of an audience of kids. They are really going crazy for him. Rowley is in the audience too. He is so amazed by Greg's performance, he can't help but stand up and join the adulation. CUT TO: AN OPEN YEARBOOK - CLASS FAVORITES SECTION - FANTASY A full page photo of Greg in his drama get-up. Underneath is the caption "Most Talented". CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - DAY</stage_direction>
<scene_description>A bunch of kids are gathered in the audience seats. A group of six kids, including Greg and Patty Farrell, are grouped around the piano on the stage. The drama teacher, MRS. NORTON, sits at the piano. Coach Malone, clearly assigned against his will, is there to assist.</scene_description>
<character>MRS. NORTON</character>
<dialogue>Greg Heffley, step forward.</dialogue>
<scene_description>Mrs. Norton plays the opening bars of "My Country 'Tis Of Thee." GREG BEGINS TO SING IN A SURPRISINGLY CLEAR AND PURE SOPRANO.</scene_description>
<character>GREG</character>
<parenthetical>(singing)</parenthetical>
<dialogue>My country 'tis of thee/sweet land of liberty/of thee I sing...</dialogue>
<scene_description>Mrs. Norton is so surprised she stops playing.</scene_description>
<character>MRS. NORTON</character>
<dialogue>That was...that was very good, Greg. One moment please.</dialogue>
<scene_description>She huddles with Coach Malone. CONTINUED:</scene_description>
<character>MRS. NORTON</character>
<dialogue>He has amazing tone. I wonder if he...could play Dorothy?</dialogue>
<character>COACH MALONE</character>
<dialogue>Well, if girls can wrestle I guess anything goes around here.</dialogue>
<scene_description>Greg overhears this. So do some of the other kids, and they start laughing. CUT TO: PLAYBILL-TYPE LEAFLET - FANTASY The "Wizard of Oz" Playbill featuring Greg on the cover dressed as Dorothy. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - CONTINUOUS</stage_direction>
<scene_description>Greg looks mortified.</scene_description>
<character>GREG</character>
<dialogue>No, no I don't want to be Dorothy.</dialogue>
<character>PATTY</character>
<parenthetical>(shrieks)</parenthetical>
<dialogue>He can't be Dorothy! I'm Dorothy!</dialogue>
<character>MRS. NORTON</character>
<dialogue>Alright, Patty, calm down.</dialogue>
<character>PATTY</character>
<parenthetical>(in meltdown mode)</parenthetical>
<dialogue>I'm Dorothy! I am! My mom is president of the PTA, she can ruin your life!</dialogue>
<scene_description>Everyone stares at Patty aghast.</scene_description>
<character>MRS. NORTON</character>
<dialogue>Congratulations, Greg, you've been cast as a tree.</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - EVENING</stage_direction>
<scene_description>The Heffley family eats dinner. Manny is sitting on his potty. Greg slides into his seat.</scene_description>
<character>MANNY</character>
<dialogue>Bubby!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>Mom, make him stop calling me that.</dialogue>
<character>SUSAN</character>
<dialogue>Where were you?</dialogue>
<character>GREG</character>
<dialogue>Auditioning for the school play.</dialogue>
<character>SUSAN</character>
<parenthetical>(excited)</parenthetical>
<dialogue>The play? Really?</dialogue>
<character>FRANK</character>
<dialogue>Was it some kind of punishment?</dialogue>
<scene_description>Frank chuckles. No one else does. Greg sits, starts helping himself to food.</scene_description>
<character>GREG</character>
<dialogue>It's The Wizard of Oz and I'm going to be a tree.</dialogue>
<character>SUSAN</character>
<dialogue>Oh, I remember the trees. In the movie they throw apples at Dorothy.</dialogue>
<character>GREG</character>
<dialogue>Really? That could be cool.</dialogue>
<character>RODRICK</character>
<dialogue>Could be. But it won't be. 'Cause it's lame.</dialogue>
<character>SUSAN</character>
<dialogue>It is not. I'm so proud of you, Greg.</dialogue>
<character>GREG</character>
<dialogue>Thanks.</dialogue>
<character>SUSAN</character>
<dialogue>No, really. This is a very proud moment and I just want to acknowledge that. We're all so busy, we never take the time to tell each other stuff like that. I love you guys.</dialogue>
<scene_description>Susan squeezes Rodrick's hand. RODRICK BURPS LOUDLY. Frank and Greg start to laugh, then stop when they see the look on Susan's face.</scene_description>
<character>SUSAN</character>
<dialogue>Fine, I'm sorry I shared a feeling.</dialogue>
<scene_description>CONTINUED: (2) She gets up and angrily begins clearing dishes.</scene_description>
<character>FRANK</character>
<dialogue>Honey. Come on.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Rodrick.</dialogue>
<character>RODRICK</character>
<dialogue>Sorry, mom.</dialogue>
<character>SUSAN</character>
<dialogue>I'm fine.</dialogue>
<scene_description>She's not. She's pissed. She exits. Frank looks at Rodrick.</scene_description>
<character>FRANK</character>
<dialogue>I'm going to pay for that.</dialogue>
<scene_description>He exits after Susan.</scene_description>
<character>RODRICK</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>Way to wreck dinner, jerk.</dialogue>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - DAY</stage_direction>
<scene_description>Greg is being fitted for his tree outfit. Patty Farrell is nearby practising some dance moves. As Mrs. Norton fits the tube over Greg, he notices there are no arm holes.</scene_description>
<character>GREG</character>
<dialogue>Wait, we don't get armholes? How are we going to throw apples at Dorothy without armholes?</dialogue>
<character>PATTY</character>
<dialogue>Hold on, nobody's throwing anything at me. I was Annie in the Strasberg Camp for the Performing Arts production of "Annie."</dialogue>
<character>MRS. NORTON</character>
<dialogue>Nobody's throwing anything at anybody.</dialogue>
<character>GREG</character>
<dialogue>What?</dialogue>
<character>MRS. NORTON</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>I changed the play a little bit and you won't need armholes.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GREG</character>
<dialogue>What are we going to do?</dialogue>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - DAY</stage_direction>
<scene_description>Greg and his fellow trees, ARCHIE KELLY and MARTY PORTER are lined up on stage in their tree costumes, miserably singing. Mrs. Norton places other kids, dressed as shrubs, around the stage. She places RODNEY JAMES (Bush #2) right next to the trees.</scene_description>
<character>TREES</character>
<dialogue>We three trees from yonder glen/Do spy a maiden fair and sweet...</dialogue>
<scene_description>Greg looks down and notices Rodney is playing a video game hidden inside his bush costume. WE HEAR VIDEO GAME BEEPS.</scene_description>
<character>TREES</character>
<dialogue>...Whilst we are rooted to our spots/She doth move on lighter feet./With her dog so small and true/We hope she fares well, indeed we do.</dialogue>
<scene_description>The trees finish their song and start to wobble offstage, but ARCHIE KELLY DOESN'T SEE RODNEY AND TAKES A HEADER RIGHT OVER HIM. Because he has no arm holes, Archie can't break his fall.</scene_description>
<character>ARCHIE</character>
<dialogue>Aah, my tooth, I think I knocked out my tooth!</dialogue>
<scene_description>Mrs. Norton rushes over and pulls Archie to his feet. As she struggles to get him up...</scene_description>
<character>GREG</character>
<parenthetical>(to Mrs. Norton)</parenthetical>
<dialogue>Guess we need arm holes after all.</dialogue>
<scene_description>Mrs. Norton glares at Greg.</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - NIGHT</stage_direction>
<scene_description>SUPER: "Show night." Parents and kids stream in and take their seats. Murmuring anticipation.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAGE - NIGHT</stage_direction>
<scene_description>Patty as Dorothy and Chirag as her dog Toto are mid-scene. CONTINUED:</scene_description>
<character>PATTY</character>
<parenthetical>(as Dorothy)</parenthetical>
<dialogue>Come on, Toto, let's explore this magical path!</dialogue>
<scene_description>Chirag doesn't move fast enough for Patty's taste.</scene_description>
<character>PATTY</character>
<parenthetical>(snaps)</parenthetical>
<dialogue>I said come on!</dialogue>
<scene_description>They move toward the other side of the stage and reach The Trees. A SPOTLIGHT FINDS GREG AND THE REST OF THE TREES. Greg looks out into the audience and sees his whole family -- Mom, Dad, Manny and Rodrick, who is filming him with a camcorder. Susan holds a bouquet of flowers.</scene_description>
<character>MANNY</character>
<dialogue>Bubby!</dialogue>
<scene_description>Manny's word rings out in the auditorium. Greg looks out at the crowd. Some of the kids in the audience laugh. CLOSE ON GREG as his eyes dart back and forth looking for a way out of this.</scene_description>
<character>GREG</character>
<parenthetical>(to Archie, loudly)</parenthetical>
<dialogue>Hey Bubby, I think you dropped an apple.</dialogue>
<character>ARCHIE</character>
<dialogue>Huh?</dialogue>
<scene_description>A LARGER LAUGH from the crowd.</scene_description>
<character>PATTY</character>
<parenthetical>(as Dorothy)</parenthetical>
<dialogue>What say you, Toto? Should we explore this intriguing yellow path?</dialogue>
<character>CHIRAG</character>
<parenthetical>(as Toto)</parenthetical>
<dialogue>Bow wow.</dialogue>
<scene_description>Patty and Chirag exit to the wings. Mrs. Norton, sitting to the side of the stage, plays the opening bars of "We Three Trees." The trees start to sing.</scene_description>
<character>TREES</character>
<dialogue>We three trees from yonder glen/Do spy a maiden fair and sweet.</dialogue>
<scene_description>CONTINUED: (2) Greg looks out into the audience and sees ROWLEY AND COLLIN. Collin whispers something in Rowley's ear and Rowley looks at Greg and giggles. GREG STOPS SINGING.</scene_description>
<character>MARTY/ARCHIE</character>
<dialogue>Whilst we are rooted to...</dialogue>
<scene_description>Marty and Archie look at Greg questioningly. He just stares back at them, eyes wide. His fear is contagious and their singing trails off... Mrs. Norton stops playing and stands up to see what's going on. Now there is silence. A long silence. Patty stands off-stage watching and getting angrier.</scene_description>
<character>MRS. NORTON</character>
<parenthetical>(desperate loud whisper)</parenthetical>
<dialogue>Whilst we are rooted to our spots, she doth move on lighter feet.</dialogue>
<scene_description>The other trees look at Greg, but he just stares off into space. Patty is now hopping mad.</scene_description>
<character>PATTY</character>
<parenthetical>(angry whisper)</parenthetical>
<dialogue>Sing. Sing.</dialogue>
<parenthetical>(then loudly)</parenthetical>
<dialogue>Sing!</dialogue>
<scene_description>A kid in the crowd (AUDIENCE KID) yells out amid the deafening silence.</scene_description>
<character>AUDIENCE KID</character>
<dialogue>This bites!</dialogue>
<scene_description>It's too much for Patty. She steps out onto the stage.</scene_description>
<character>PATTY</character>
<parenthetical>(screams)</parenthetical>
<dialogue>You're not good at anything Greg Heffley!</dialogue>
<scene_description>Greg looks at Patty with hate in his eyes. He looks down at the apple on the stage floor, and then at his new armhole. Screw it.</scene_description>
<character>HE GRABS THE APPLE OFF THE FLOOR AND CHUNKS IT AS</character>
<dialogue>CAN AT PATTY. Patty's hand snaps up and snatches out of the air, like Superman catching a bullet. at Greg then HURLS THE APPLE BACK AT HIM, hitting</dialogue>
<character>HARD AS HE</character>
<dialogue>the apple She glares him in the</dialogue>
<scene_description>trunk. CONTINUED: (3) The other trees and Greg start pulling apples off their branches and pelting Patty as fast as they can. She returns fire just as rapidly. THE STAGE IS A HAIL OF APPLES. The audience is stunned into silence. Except for ANGIE. She is standing in the aisle and had been taking pictures, but is so mesmerized by the action onstage she's now simply watching.</scene_description>
<character>ANGIE</character>
<dialogue>Yeah!</dialogue>
<scene_description>Susan is mortified. Rodrick is filming madly, trying to catch all the action. A nearby dad, who thinks he's funny (FUNNY DAD) leans over to Frank.</scene_description>
<character>FUNNY DAD</character>
<parenthetical>(points to Greg)</parenthetical>
<dialogue>What's the worst thing that kid could say to you?</dialogue>
<scene_description>Frank shrugs.</scene_description>
<character>FUNNY DAD</character>
<dialogue>"Hi, dad."</dialogue>
<scene_description>Funny Dad laughs at his own joke.</scene_description>
<character>FRANK</character>
<dialogue>Yeah, heh heh, good one.</dialogue>
<scene_description>Mrs. Norton has climbed the stage and is hurriedly CLOSING THE CURTAIN. The last thing we see before the curtain shuts is PATTY RUSHES GREG AND TACKLES HIM LIKE A LINEBACKER.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - LATER</stage_direction>
<scene_description>The audience is streaming out of the auditorium. Several families wait outside, congratulating/consoling their little "stars." The Heffleys are there, as is the FUNNY DAD from before. Greg walks up to them.</scene_description>
<character>GREG</character>
<dialogue>Hey, dad.</dialogue>
<scene_description>Frank looks over at Funny Dad, sees him looking at them. Funny Dad quickly averts his eyes.</scene_description>
<character>RODRICK</character>
<parenthetical>(holds up camera)</parenthetical>
<dialogue>I own you now.</dialogue>
<scene_description>Susan throws her bouquet of flowers in the trash and steams out the door with Manny. Greg looks to his dad. Frank looks at Funny Dad, then puts his arm around Greg. CONTINUED:</scene_description>
<character>FRANK</character>
<dialogue>I thought Dorothy deserved it.</dialogue>
<scene_description>Greg looks at him gratefully. They head out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>SUPER: "April. Monday." The school yard is full of happy kids playing. Greg walks up to THE CHEESE.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>These days, I don't feel much like doing anything. I don't know why. Maybe I have lyme disease.</dialogue>
<scene_description>Various kids run by, including Rowley and Collin, now wearing MATCHING "BEST FRIENDS" T-SHIRTS. Greg sighs, looks sadly down at the cheese. He is completely alone. IN FAST MOTION, DIFFERENT GROUPS OF KIDS MOVE IN AND OUT</scene_description>
<character>AROUND GREG, WHO REMAINS MOTIONLESS. THE SUN COMES OUT,</character>
<dialogue>FLOWERS BLOOM. IT'S DEEP INTO SPRING WHEN TIME SLOWS DOWN</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>SUPER: "May. Thursday." Greg watches his mother put dinner on the table. Manny is sitting at the table on his potty.</scene_description>
<character>GREG</character>
<dialogue>You know, I read this really interesting article.</dialogue>
<character>SUSAN</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>You did?</dialogue>
<character>GREG</character>
<dialogue>Yeah. About home-schooling. It sounds pretty good.</dialogue>
<character>SUSAN</character>
<dialogue>What?</dialogue>
<character>GREG</character>
<dialogue>Yeah. It's a scientific fact that kids who are home-schooled get a better education than kids at regular schools.</dialogue>
<scene_description>CONTINUED: Susan looks at him a long beat.</scene_description>
<character>SUSAN</character>
<dialogue>Is this about Rowley?</dialogue>
<character>GREG</character>
<dialogue>What? No, I just care about my education.</dialogue>
<character>SUSAN</character>
<dialogue>No, you don't.</dialogue>
<parenthetical>(then calls)</parenthetical>
<dialogue>Frank, Rodrick, dinner.</dialogue>
<scene_description>Frank enters and sits at the table. He looks at Manny.</scene_description>
<character>FRANK</character>
<dialogue>I just...what if he goes? What do we do then?</dialogue>
<character>SUSAN</character>
<dialogue>We celebrate his achievement.</dialogue>
<character>FRANK</character>
<parenthetical>(to Greg)</parenthetical>
<dialogue>Am I the only one who thinks this is weird?</dialogue>
<scene_description>Rodrick joins them at the table and gleefully brandishes a crumpled piece of paper.</scene_description>
<character>RODRICK</character>
<dialogue>Hey, little brother, look what I found in the trash. Guess you threw it away by accident.</dialogue>
<scene_description>Panicked, Greg tries to grab the paper, but Rodrick holds it over his head and hands it to Susan.</scene_description>
<character>RODRICK</character>
<dialogue>It's the invitation for the Mother/Son Sweetheart Dance. Know you don't want to miss that.</dialogue>
<parenthetical>(mocking)</parenthetical>
<dialogue>Phew. Lucky I found it.</dialogue>
<scene_description>Greg glares at Rodrick; Rodrick grins back at him. CONTINUED: (2)</scene_description>
<character>GREG (V.O.)</character>
<dialogue>That was it; I was fed up. I'd been taking it from Rowley and taking it from Rodrick and taking it from everybody else. It was time for some payback.</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<scene_description>The din of Loded Diaper rehearsing in the basement can be heard. Manny is sitting on his potty eating a snack at the table. Greg enters, carrying the girlie mag from Rodrick's room (Moto Mamas) and a big Tootsie Roll. He crosses to Rodrick's backpack which is on the chair next to Manny and unzips it.</scene_description>
<character>GREG</character>
<dialogue>Okay Manny, I'm putting this Tootsie Roll in Rodrick's backpack. It's for Rodrick, not you, so don't take it.</dialogue>
<scene_description>Manny watches as Greg slips the Tootsie Roll into the pages of Moto Mamas magazine and puts it in Rodrick's backpack. Greg exits smiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - MOMENTS LATER</stage_direction>
<scene_description>Susan enters the kitchen with a basket full of laundry and stops cold when she sees Manny on the floor eating the Tootsie Roll and giggling at the picture of the bikini-clad girl straddling a motorcycle on Rodrick's magazine.</scene_description>
<character>SUSAN</character>
<dialogue>Manny, where did you get that?</dialogue>
<scene_description>Manny points to Rodrick's backpack. At that moment Greg enters and innocently looks at the magazine.</scene_description>
<character>GREG</character>
<dialogue>Oh my goodness, that's offensive.</dialogue>
</scene>
<scene>
<stage_direction>INT. HEFFLEY BASEMENT - DAY</stage_direction>
<scene_description>Susan storms into the band's rehearsal, followed by Greg who is grinning and carrying Manny.</scene_description>
<character>SUSAN</character>
<dialogue>Rodrick, I need to talk to you. Upstairs, now.</dialogue>
<character>RODRICK</character>
<dialogue>Go ahead and talk. We're a band, we have no secrets.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Fine.</dialogue>
<parenthetical>(brandishing magazine)</parenthetical>
<dialogue>What is this?</dialogue>
<scene_description>Rodrick is immediately on the ropes.</scene_description>
<character>RODRICK</character>
<dialogue>It's not mine.</dialogue>
<character>SUSAN</character>
<dialogue>It was in your backpack.</dialogue>
<character>RODRICK</character>
<dialogue>No, it was in my room.</dialogue>
<parenthetical>(realizes he said too much)</parenthetical>
<dialogue>Ohh.</dialogue>
<scene_description>Rodrick slumps down. Greg can barely contain his glee.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY BASEMENT - JUST LATER</stage_direction>
<scene_description>Rodrick sits in a chair, Susan paces in front of him. His bandmates are lined up on the couch, enjoying the show. Greg is leaning against the wall, arms crossed, savoring every glorious moment.</scene_description>
<character>SUSAN</character>
<dialogue>Did owning this magazine make you a better person?</dialogue>
<character>RODRICK</character>
<dialogue>No.</dialogue>
<scene_description>Rodrick tries to ignore his bandmates' snickers.</scene_description>
<character>SUSAN</character>
<dialogue>Did it make you more popular at school?</dialogue>
<character>RODRICK</character>
<dialogue>Yes.</dialogue>
<parenthetical>(off Susan)</parenthetical>
<dialogue>No.</dialogue>
<character>SUSAN</character>
<dialogue>Do you have anything you want to say to women for having owned this offensive magazine?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RODRICK</character>
<parenthetical>(in agony)</parenthetical>
<dialogue>I'm sorry women.</dialogue>
<scene_description>Rodrick's bandmates burst into applause. He's mortified.</scene_description>
<character>SUSAN</character>
<dialogue>You're grounded. For two weeks.</dialogue>
<scene_description>Rodrick shoots a glance at his bandmates. They look back at him like, "Are you going to take that?" In a last ditch attempt to save face:</scene_description>
<character>RODRICK</character>
<dialogue>Okay, settle down. I think one week is plenty.</dialogue>
<scene_description>Greg can't believe Rodrick said that -- this is going better than he ever dreamed.</scene_description>
<character>SUSAN</character>
<dialogue>Make it four weeks. And I'm going to need the keys to your van.</dialogue>
<scene_description>All the blood drains from Rodrick's face.</scene_description>
<character>RODRICK</character>
<parenthetical>(a mortal blow)</parenthetical>
<dialogue>My van?</dialogue>
<character>SUSAN</character>
<dialogue>Do you have anymore smart comments?</dialogue>
<scene_description>Silence from Rodrick.</scene_description>
<character>SUSAN</character>
<dialogue>Okay, practice is over. Rodrick, you can go to your room.</dialogue>
<scene_description>Rodrick can't even look his bandmates in the eye as they file out. Susan grabs Manny from Greg and marches up the stairs behind them. As Rodrick sullenly heads out he glances at Greg, who looks back at him perhaps a little too innocently. Rodrick mouths the words "YOU'RE SO DEAD" at Greg as he passes. Greg watches him exit, elated. He throws his fists into the air in victory.</scene_description>
<character>GREG</character>
<dialogue>Yes!</dialogue>
<scene_description>CONTINUED: (2) He looks around, but realizes there's no one there to share the moment. His face falls, his arms slowly drop to his sides. He's all alone.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL GYM - NIGHT</stage_direction>
<scene_description>The gym is dark, lit only by a disco ball. It's about half full of parents and kids. There is a DJ spinning records but nobody dances. In fact, everybody seems pretty uncomfortable and awkward. Greg and Susan enter. Greg looks grim, dressed in a suit jacket and slacks. Susan is dressed up, seems excited. Greg looks around and sees lots of kids from his class. He passes Archie Kelly who is being hassled by Quentin and his friend ARTHUR.</scene_description>
<character>QUENTIN</character>
<dialogue>Hey, Bubby.</dialogue>
<character>ARTHUR</character>
<dialogue>Where's your bubby now, Bubby?</dialogue>
<scene_description>They laugh. Greg nervously puts some distance between him and Archie.</scene_description>
<character>SUSAN</character>
<dialogue>Look at this place! Wow, it's like a real disco. Want to dance?</dialogue>
<character>GREG</character>
<parenthetical>(aghast)</parenthetical>
<dialogue>God no.</dialogue>
<scene_description>Just then, Rowley and Collin enter with THEIR MOMS. They look like they're having a great time. Susan watches Greg who watches Rowley.</scene_description>
<character>SUSAN</character>
<dialogue>Okay, enough already. Just go talk to him, fix it.</dialogue>
<character>GREG</character>
<dialogue>I can't.</dialogue>
<character>SUSAN</character>
<dialogue>He's your best friend. And sometimes, when somebody's worth it, you just have to put yourself out there.</dialogue>
<scene_description>A beat.</scene_description>
<character>GREG</character>
<dialogue>I wouldn't even know what to say.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Invite him out for ice cream after the dance. Everybody likes ice cream.</dialogue>
<character>GREG</character>
<dialogue>I guess that's not your worst idea ever.</dialogue>
<character>SUSAN</character>
<dialogue>Stop, I'm blushing.</dialogue>
<scene_description>But she's really pleased Greg is taking her advice. Greg sees Rowley is at the refreshments table getting punch. He takes a deep breath and crosses to him.</scene_description>
<character>GREG</character>
<dialogue>Hey, Rowley.</dialogue>
<character>ROWLEY</character>
<dialogue>Hey.</dialogue>
<scene_description>A beat of silence. In the background, Susan cranes her head to get a better look.</scene_description>
<character>GREG</character>
<dialogue>So...you want to go get some ice cream after?</dialogue>
<scene_description>Collin steps between them.</scene_description>
<character>COLLIN</character>
<dialogue>We already have plans.</dialogue>
<character>ROWLEY</character>
<parenthetical>(regretful)</parenthetical>
<dialogue>...yeah, we do.</dialogue>
<character>GREG</character>
<dialogue>Fine. My mom wanted me to ask, so I did.</dialogue>
<scene_description>Greg turns and heads back to Susan. As he approaches, she smiles at him expectantly.</scene_description>
<character>SUSAN</character>
<dialogue>Well?</dialogue>
<scene_description>Greg just shakes his head "no." Susan's face falls.</scene_description>
<character>SUSAN</character>
<dialogue>Oh. Well...oh.</dialogue>
<scene_description>At that moment a new song starts. CONTINUED: (2) MUSIC CUE: "Groove Is In The Heart" by Deee-lite</scene_description>
<character>ROWLEY LEADS HIS MOM ONTO THE EMPTY DANCE FLOOR AND THEY</character>
<dialogue>START TO DANCE. But they don't just dance. They do a routine that they have clearly practised many times -- it's right out of "Dancing With The Stars". The crowd watches, mouths agape. Greg is horrified.</dialogue>
<character>GREG (V.O.)</character>
<dialogue>I couldn't believe what I was seeing. This is just the kind of thing I could have saved Rowley from doing if we were still friends. But now this fool was about to get himself killed.</dialogue>
<scene_description>BUT THE CROWD STARTS TO GET INTO IT. A group of people surrounds Rowley and his mom, clapping and cheering them on. Other people start streaming onto the dance floor and dancing. The party is kicked into high gear. Rowley is now part of a whole group of kids, including Shelly, Marley and Collin, who are trying to learn his dance. Greg does not know a curse word bad enough to express what he's feeling.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Greg is on the sport court, Rowley crosses to him. He has a somewhat conciliatory air about him.</scene_description>
<character>ROWLEY</character>
<dialogue>Hey.</dialogue>
<scene_description>Greg senses a thaw in Rowley's attitude.</scene_description>
<character>GREG</character>
<dialogue>Hey.</dialogue>
<character>ROWLEY</character>
<dialogue>So...I left my racing game at your house and I'm having a sleepover so I need it back.</dialogue>
<character>GREG</character>
<dialogue>What? No way. Finder's keepers.</dialogue>
<character>ROWLEY</character>
<dialogue>You didn't find it, I left it.</dialogue>
<character>GREG</character>
<dialogue>Fine, then leaver's losers.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ROWLEY</character>
<parenthetical>(getting heated)</parenthetical>
<dialogue>That's not even a real thing.</dialogue>
<character>GREG</character>
<dialogue>It is if I say it is.</dialogue>
<character>ROWLEY</character>
<dialogue>It's my game!</dialogue>
<character>GREG</character>
<dialogue>You wouldn't even have that game if I hadn't told you about it! You wouldn't have half the stuff you have without me!</dialogue>
<character>ROWLEY</character>
<dialogue>Yeah, like a broken hand!</dialogue>
<character>GREG</character>
<dialogue>That was a million years ago!</dialogue>
<scene_description>Greg and Rowley are now shouting at each other. A CROWD, INCLUDING PATTY FARRELL, STARTS TO GATHER AROUND THEM. Greg and Rowley don't notice.</scene_description>
<character>ROWLEY</character>
<dialogue>It clicks now!</dialogue>
<parenthetical>(bending wrist)</parenthetical>
<dialogue>Hear that? Click click click click! And it's all your fault!</dialogue>
<character>GREG</character>
<dialogue>It was an ACCIDENT!</dialogue>
<character>PATTY</character>
<dialogue>Fight! Fight!</dialogue>
<scene_description>The crowd joins in. The noise gets the attention of Angie who is nearby on the grass reading a book.</scene_description>
<character>KIDS</character>
<dialogue>Fight! Fight! Fight!</dialogue>
<scene_description>This stops Greg and Rowley cold. They look around at the shouting kids.</scene_description>
<character>KIDS</character>
<parenthetical>(louder)</parenthetical>
<dialogue>Fight! Fight!</dialogue>
<scene_description>Greg and Rowley are stuck. Greg puts up his dukes. Rowley does the same, then starts hopping around. CONTINUED: (2) It's clear neither has the faintest idea how to fight. Angie joins the crowd as Greg and Rowley start to half-heartedly circle each other. Just then there is a loud SQUEAL OF BRAKES. THE TEENS' PICKUP TRUCK HAS PULLED UP AT THE CURB. Pete, Chris, Carter and Wade hop out and head toward Greg and Rowley. THE CROWD SCATTERS AND RUNS BACK INTO THE SCHOOL. Angie finds a spot behind a tree and looks on. Greg and Rowley start to run but the teens are too fast and grab them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Greg and Rowley are being held by Wade and Carter as Pete paces in front of them.</scene_description>
<character>PETE</character>
<dialogue>I waited a long time for this.</dialogue>
<character>CHRIS</character>
<dialogue>You're so freakin' dead.</dialogue>
<scene_description>Greg doesn't love what they're saying. But he's really freaked out by the fact that THE CHEESE IS ONLY A FEW FEET AWAY. In fact, as Pete paces, he's walking right by it.</scene_description>
<character>PETE</character>
<dialogue>You have no idea what we're going to do to you.</dialogue>
<character>CHRIS</character>
<dialogue>Oh yeah.</dialogue>
<scene_description>Rowley, following Greg's eye line, now sees the cheese and visibly blanches. Neither Greg nor Rowley can keep their eyes off it. Chris pulls Pete aside.</scene_description>
<character>CHRIS</character>
<dialogue>What are we gonna do?</dialogue>
<character>PETE</character>
<dialogue>Dunno.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHRIS</character>
<dialogue>We need to move this along. My shift at Applebee's starts in like half an hour.</dialogue>
<scene_description>Pete looks at Greg and Rowley...then he looks at what they're looking at. Pete crosses to the cheese.</scene_description>
<character>PETE</character>
<parenthetical>(re: Rowley)</parenthetical>
<dialogue>Gimme the wide one.</dialogue>
<scene_description>Carter hustles Rowley over to Pete.</scene_description>
<character>PETE</character>
<dialogue>Pick it up.</dialogue>
<character>ROWLEY</character>
<dialogue>But --</dialogue>
<character>PETE</character>
<dialogue>Pick it up!</dialogue>
<scene_description>Rowley reluctantly picks up the cheese. He holds it by the tips of his fingers, totally grossed out.</scene_description>
<character>PETE</character>
<dialogue>Now eat it.</dialogue>
<scene_description>Rowley's eyes widen in horror. He starts to bring the cheese closer to his mouth. CLOSE ON GREG: Greg winces, closing his eyes to block out the horror of what he is seeing.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>I don't even want to say exactly what happened because if Rowley ever tries to run for President and someone finds out what these guys made him do, he won't have a chance. So I'll just put it this way. They made Rowley BLANK the cheese.</dialogue>
<scene_description>Angie covers her eyes, aghast. Pete looks over at Greg.</scene_description>
<character>PETE</character>
<dialogue>Now you.</dialogue>
<scene_description>Wade hustles Greg toward the cheese. Greg fights him the whole way. CONTINUED: (2)</scene_description>
<character>GREG</character>
<dialogue>But...but...I'm allergic to dairy.</dialogue>
<scene_description>Wade just ignores him.</scene_description>
<character>COACH MALONE (O.S.)</character>
<dialogue>Hey! What are you doing on school property?</dialogue>
<scene_description>The teens, Greg, and Rowley turn to see Coach Malone running toward the sport court. Behind him, the kids from before trickle out of the school and cautiously begin to follow. Greg turns quickly to Rowley who is so traumatized by eating the cheese he seems to be having an out-of-body experience.</scene_description>
<character>COACH MALONE</character>
<dialogue>Pete Hosey is that you?</dialogue>
<scene_description>THE TEENS RUN TO THEIR TRUCK, JUMP IN AND PEEL OUT. With a satisfied nod, Coach Malone hitches up his shorts and heads back inside. The rest of the kids regather around Greg and Rowley, including Angie.</scene_description>
<character>MARLEY</character>
<dialogue>What happened?</dialogue>
<character>BRYCE</character>
<dialogue>What'd they want?</dialogue>
<character>SHELLY</character>
<dialogue>What'd they do to you?</dialogue>
<scene_description>Greg looks at Rowley who seems to be recovering slightly. Patty is near Rowley. She looks down at the place where the cheese used to be and sees that it's gone. THERE IS A FADED OUTLINE OF WHERE THE CHEESE WAS. She looks around and sees the cheese at Rowley's feet. WITH A BIT OUT OF IT.</scene_description>
<character>PATTY</character>
<dialogue>Oh. My. God.</dialogue>
<scene_description>Everyone falls silent. As one, they all look down at the cheese. Then they all look at Rowley. Rowley locks eyes with Greg. It's all too much for him, his eyes well up with tears.</scene_description>
<character>PATTY</character>
<parenthetical>(to crowd)</parenthetical>
<dialogue>Rowley Jefferson ate --</dialogue>
<scene_description>At that moment, Greg steps forward and picks up the cheese. THE CROWD GASPS. CONTINUED: (3)</scene_description>
<character>GREG</character>
<dialogue>I ate the cheese.</dialogue>
<character>THE CROWD GASPS AGAIN.</character>
<dialogue>Rowley stares at Greg in wonder. Angie smiles.</dialogue>
<character>GREG</character>
<dialogue>Yeah. I ate it. And you know what, people? I just did you all a huge favor.</dialogue>
<scene_description>Greg holds the cheese high, gathering steam.</scene_description>
<character>GREG</character>
<dialogue>I ate the cheese to show everyone how stupid this whole school is. The wrong friends, the wrong lunch table, the wrong butt, it's all meaningless, just like this cheese. Anyone else who's sick of it, step forward and join me!</dialogue>
<scene_description>Greg surveys the crowd confidently.</scene_description>
<character>PATTY</character>
<dialogue>CHEESE TOUCH!!!</dialogue>
<scene_description>OVERHEAD SHOT: The crowd scatters like a bomb went off, leaving Greg and Rowley alone again. Except for Angie who gives Greg an approving look.</scene_description>
<character>ANGIE</character>
<dialogue>See you later, Heffley.</dialogue>
<scene_description>She goes inside. Greg crosses to Rowley. They stand and look at each other. Then:</scene_description>
<character>GREG</character>
<dialogue>So, you want to come over after school and...play?</dialogue>
<scene_description>Rowley smiles.</scene_description>
<character>ROWLEY</character>
<dialogue>Yeah. Okay.</dialogue>
<scene_description>They head off together.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg walks down the hall with Rowley. Everybody gives them a wide berth.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>So now I officially have the Cheese Touch. But it's not so bad. There are perks.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPORT COURT - DAY</stage_direction>
<scene_description>Greg stands with Coach Malone. Nearby are a bunch of kids in cowboy hats and vests.</scene_description>
<character>COACH MALONE</character>
<dialogue>Since nobody'll hold your hand, I guess you're excused from square dancing.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Greg and Rowley's way is blocked by Quentin who has his back to them.</scene_description>
<character>GREG</character>
<dialogue>Move!</dialogue>
<character>QUENTIN</character>
<dialogue>What'd you say?!</dialogue>
<scene_description>He turns around, ready to pound whoever said that. He sees it's Greg, shrinks away. Greg and Rowley pass by.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - DAY</stage_direction>
<scene_description>Greg and Rowley, carrying their lunch trays, cross to a table full of jocks.</scene_description>
<character>GREG</character>
<dialogue>Hey, fellas.</dialogue>
<scene_description>He puts his tray on the table. Everyone at the table quickly grabs their lunch trays and clears out. Greg, immensely pleased, smiles at Rowley.</scene_description>
<character>GREG</character>
<dialogue>After you.</dialogue>
<scene_description>They happily sit down to a civilized lunch.</scene_description>
</scene>
<scene>
<stage_direction>INT. HEFFLEY KITCHEN - DAY</stage_direction>
<character>GREG (V.O.)</character>
<dialogue>And I'm not the only one who had an exciting year.</dialogue>
<scene_description>The Heffley family is eating breakfast. Manny is on the floor playing. Then he climbs up onto his potty. The family watches; the air is thick with anticipation. Suddenly, THE SOUND OF PEE IN THE POTTY. Everybody cheers. Frank's cheer is half cheer, half wince.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFETERIA - DAY</stage_direction>
<scene_description>SUPER: "June. Friday." Greg, Rowley, and Angie are having lunch at their own table. PATTY APROACHES, HANDING OUT YEARBOOKS. She gives one to Angie.</scene_description>
<character>PATTY</character>
<dialogue>Here's your yearbook. You're not in it that much, maybe try to get out there a little next year.</dialogue>
<character>ANGIE</character>
<parenthetical>(gently)</parenthetical>
<dialogue>One day, Patty, middle school will end and become high school. And after that, it just becomes life. And all the things you think are important now, won't be anymore.</dialogue>
<character>PATTY</character>
<parenthetical>(confused, thus snotty)</parenthetical>
<dialogue>You wish.</dialogue>
<scene_description>Angie heads off. Patty hands a yearbook to Rowley. Greg holds out his hand.</scene_description>
<character>PATTY</character>
<dialogue>As if.</dialogue>
<scene_description>She puts Greg's yearbook on the table.</scene_description>
<character>PATTY</character>
<dialogue>Handing it to you is like touching you. And I'm way too smart to touch somebody who ate the cheese.</dialogue>
<scene_description>She puts her hand on Rowley's shoulder. CONTINUED:</scene_description>
<character>PATTY</character>
<dialogue>Right, Rowley?</dialogue>
<character>GREG</character>
<dialogue>Yep, you're too smart for me, Patty.</dialogue>
<scene_description>Rowley is trying really hard not to laugh. Patty sashays off. Greg and Rowley look at each other, then crack up. WE PAGE THROUGH THE YEARBOOK.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>Well, the yearbook was pretty much the Rowley Jefferson show.</dialogue>
<scene_description>We see Rowley's pictures are all over it. On the Safety Patrol page, the Wrestling Team page, in the candids section holding up his arm in its cast.</scene_description>
<character>GREG (V.O.)</character>
<dialogue>And I don't even want to talk about the Class Favorites page.</dialogue>
<scene_description>We flip to the Class Favorites page and see ROWLEY HAS BEEN VOTED CLASS CLOWN. The yearbook closes. PULL BACK TO REVEAL GREG IS HOLDING THE BOOK, IN FRONT OF A WHITE BACKGROUND. Greg addresses the camera.</scene_description>
<character>GREG</character>
<dialogue>But it's okay. It's actually much cooler to keep a low profile. Who needs to be famous?</dialogue>
<character>ROWLEY PEEKS IN AT THE EDGE OF THE WHITE SCREEN.</character>
<dialogue>ROWLEY</dialogue>
<scene_description>Zoo Wee Mama!</scene_description>
<character>GREG</character>
<dialogue>And if Rowley ever gets too big for his britches, I'll just remind him who really ate the cheese.</dialogue>
<scene_description>FADE OUT.:</scene_description>
</scene>
</script> | Greg Heffley is an eleven-year-old boy, who illustrates his daily life in a diary (which he clarifies to be “a journal”). He says he is writing in one for when he is “rich and famous”, but is in middle school for now. On his first day of middle school, he quickly discovers the ups and downs, such as the missing stall doors in the boys' bathroom and the difficulties of obtaining a seat during lunch. During physical education, Greg and his best friend, Rowley Jefferson, escape from a game of Gladiator and meet Angie Steadman, a seventh-grader who isolates herself from the other students to "survive". They also notice a moldy piece of cheese on the basketball court. When Greg tries to touch it, Chirag Gupta tells them that whoever touches it, becomes an outcast, as they have “The Cheese Touch”, and that the only way to get rid of it is to pass it on to someone else by touching them. Greg states his intention of becoming the most popular student in school, as well as earning a place in the school yearbook as a class favorite, only for several of his attempts to fail. On Halloween, when Greg and Rowley go out trick-or-treating, a group of teenage boys drive by in a pickup truck and spray a fire extinguisher at them. When Greg threatens to call the police, the boys chase him and Rowley to Greg's grandmother's house, but the latter two escape them after Greg accidentally damages their truck. The boys join Safety Patrol in an effort to become popular and try out for a contest that offers a student a chance to become the cartoonist for the school paper. When Greg accidentally breaks Rowley's arm, during a dangerous game the duo invented, Rowley becomes extremely popular and wins the cartoonist contest, making Greg envious of him. During a Safety Patrol assignment, Greg walks kindergartners down a neighborhood street without Rowley, but panics when he encounters a truck identical to the teenagers' from Halloween and hides the kids in a construction zone. He is then spotted by a neighbor who mistakes him for Rowley, having borrowed Rowley's coat, forcing him to abandon the kindergarteners and flee. To his bewilderment, Rowley is suspended from Safety Patrol, but Greg eventually confesses his guilt to him, foolishly offering it as a joke. Distraught over Greg's mistreatment of him, Rowley ends their friendship. When the truth soon comes to light, Greg is dismissed from the service while Rowley is reinstated as captain and befriends their classmate, Collin, who replaces Greg as Rowley's best friend. Greg attempts to pursue popularity without Rowley, but those efforts also fail. One day at recess, Greg and Rowley loudly confront each other and a circle of students encourages them to fight. However, neither of them are good at fighting. The teenagers from Halloween arrive at the scene and force Rowley to eat part of the cheese after the other kids, except for Greg, are chased inside the school. They flee the scene when the school's physical education teacher, Coach Eduardo Malone, arrives, but when the other kids come back out and notice the cheese has been eaten, Greg takes the blame to save Rowley's reputation, mending their friendship. At the end of the school year, Greg and Rowley make the yearbook class favorites page as "Cutest Friends". |
May December_2023 | tt13651794 | <script>
<scene>
<character>MAY DECEMBER</character>
<dialogue>Story by</dialogue>
<scene_description>Samy Burch & Alex Mechanik Screenplay by Samy Burch</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OUTDOORS-- DAWN</stage_direction>
<scene_description>URGENT MUSIC as a monarch butterfly flaps, landing on the leaf of a milkweed plant. Its thick, black body curls inward and lays a small white egg. And then it flies away. The delicate little thing sticks to the bottom of the leaf, impossibly. A bit further back, we see there are hundreds more: tiny eggs on leaves.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HISTORIC DISTRICT - SAVANNAH, GEORGIA-- DAY</stage_direction>
<scene_description>Memorial Day, 2015. A bright breezy morning in downtown Savannah. Shady oaks drooping with Spanish moss frame the historic blocks of Georgian and Victorian townhouses. American flags hang from exteriors. A high school marching band assembles near a park block.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INN - HISTORIC SAVANNAH-- DAY</stage_direction>
<scene_description>ELIZABETH BERRY, 36, is pulling her luggage out of the trunk of her rental car, parked in front of a Victorian inn on a vintage block.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- DAY</stage_direction>
<scene_description>ELIZABETH, 36, unpacks and reorganizes the room of the inn. She wears all black, big chunky running sneakers, and talks through wireless headphones.</scene_description>
<character>ELIZABETH</character>
<dialogue>Yeah... It's quaint...</dialogue>
<scene_description>She picks up a piece of tawdry decor and drops it in a drawer.</scene_description>
<character>ELIZABETH</character>
<dialogue>A little hot.</dialogue>
<scene_description>She looks out one of the tall narrow windows.</scene_description>
<character>ELIZABETH</character>
<dialogue>Mm-hmm... Yeah...</dialogue>
<scene_description>She notices a gift basket on the chair. A note: Ms. Berry, Welcome to Savannah! Best, Management P.S. We are huge fans of "Animal Hospital!" She gives a slight smirk.</scene_description>
<character>ELIZABETH</character>
<dialogue>Yes, I'm listening.</dialogue>
</scene>
<scene>
<stage_direction>INT. INN-- A BIT LATER</stage_direction>
<scene_description>Elizabeth rips the top blanket off and sits cross-legged on the bed. It looks a lot better. Her asthma inhaler sits on the bed-side table nearby. She opens a brand new (tiny) notebook. Page one. She writes: Gracie And then she underlines it. And then she thinks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ATHERTON-YOO HOUSE - BACKYARD - TYBEE ISLAND - DAY</stage_direction>
<scene_description>A slightly hazy sky canopies the lush, overgrown backyard on this island community, just outside Savannah. A dock extends out to the marshy waters; there's a striped awning off a raised porch. Potted flowers cheer up the sense of open skies and marshy limits. JOE YOO, 36, tends to the fire of a formidable grill. He's handsome, but with a melancholy, like a despondent aristocrat in a Dutch painting. It feels hazy but hot.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO HOUSE - KITCHEN-- DAY</stage_direction>
<scene_description>Joe walks inside and heads to the fridge. He gives his wife, GRACIE ATHERTON-YOO, 59, a kiss on the cheek on his way. Gracie is small but alert, like a sparrow, with a delicate glow. She floats about her sun-lit kitchen, spreading whipped cream on cakes and slicing strawberries. With her is RHONDA, 60s, who's filling up deviled eggs with a piping bag. She has a ceramicist's energy (layered linen clothes, colorful glasses).</scene_description>
<character>GRACIE</character>
<dialogue>Well. You don't know. I told you what happened when I met Judge Judy...</dialogue>
<scene_description>Rhonda nods like, I certainly remember that.</scene_description>
<character>RHONDA</character>
<dialogue>That's true, these Hollywood types.</dialogue>
<scene_description>Joe takes a beer from the fridge and heads out.</scene_description>
<character>GRACIE</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>That's two.</dialogue>
<scene_description>An embarrassed smile.</scene_description>
<character>JOE</character>
<dialogue>Rhonda.</dialogue>
<character>RHONDA</character>
<dialogue>Hi Joe.</dialogue>
<character>GRACIE</character>
<dialogue>And honey, if you can, can you take all the plates and cups out...?</dialogue>
<parenthetical>(back to Rhonda)</parenthetical>
<dialogue>All I ask is that's she's polite. Not sitting there with big movie star sunglasses, too good for everything. If she's gonna be here, I want her to participate.</dialogue>
<character>RHONDA</character>
<dialogue>I'm sure she will. Look at this beautiful day.</dialogue>
<scene_description>Joe holds the door for MARY & CHARLIE ATHERTON-YOO, 18 ("the twins"), as they run through the kitchen with their FRIENDS.</scene_description>
<character>GRACIE</character>
<dialogue>Where you going?</dialogue>
<character>MARY</character>
<dialogue>The roof.</dialogue>
<scene_description>A hard look.</scene_description>
<character>GRACIE</character>
<dialogue>I don't want to call anybody's mother today to say someone broke their neck and died.</dialogue>
<character>MARY</character>
<dialogue>We'll be so safe.</dialogue>
<character>GRACIE</character>
<parenthetical>(calling after)</parenthetical>
<dialogue>Charlie!</dialogue>
<scene_description>He slows and turns begrudgingly as the rest clomp up the stairs. He has a slight build, looks younger than his eighteen years.</scene_description>
<character>GRACIE</character>
<dialogue>Keep an eye on things for me, okay?</dialogue>
<scene_description>She wipes some mustard off his chin. He doesn't resist but the look in his eyes is very clear. She sighs dutifully at him and he hurries off.</scene_description>
<character>GRACIE</character>
<dialogue>Honestly.</dialogue>
<scene_description>Then suddenly a dark cloud overtakes Gracie's expression, like something very terrible has just occurred to her.</scene_description>
<character>GRACIE</character>
<dialogue>I don't think we have enough hot dogs.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- A BIT LATER</stage_direction>
<scene_description>Joe mans the grill. There are so, so many hot dogs. Kids and dogs are running around playing. Adults drink. He stands with his friend BEN, 40s, suburban dad.</scene_description>
<character>BEN</character>
<dialogue>I saw a movie she was in, a really weird one, where she gets naked and does like a blood ritual. I couldn't follow it.</dialogue>
<character>JOE</character>
<dialogue>Where'd you see it?</dialogue>
<character>BEN</character>
<dialogue>Just on TV.</dialogue>
<scene_description>Joe rolls his eyes.</scene_description>
<character>BEN</character>
<dialogue>Alright I looked up "Elizabeth Berry naked."</dialogue>
<scene_description>A CHILD SCREAMS A BLOOD-CURDLING SCREAM--the men turn. But it's fine: a TODDLER just fell and starts crying.</scene_description>
<character>JOE</character>
<dialogue>I think that's you.</dialogue>
<scene_description>Ben walks off. Joe flips the hot dogs, one by one.</scene_description>
</scene>
<scene>
<stage_direction>A9 EXT. CATALINA DRIVE--DAY A9</stage_direction>
<scene_description>POV through windshield: passing oaks with drooping moss along the green marsh landscape turn to shady homes from the '70s and '80s.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ATHERTON-YOO HOUSE-- DAY</stage_direction>
<scene_description>Elizabeth's rental car settles opposite the split-level house nestled behind three palms. It sports a coral pink entry and a tall sloping roof. Elizabeth approaches, now in a carefree summer dress, carrying a bottle of wine from the gift basket. No one hears her front-door knock. She picks up a BROWN-PAPER PACKAGE (about the size of a shoebox) sitting on the step, and heads around the side, following the playful noises.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- CONTINUOUS</stage_direction>
<scene_description>The barbecue is in full swing. A touch football game going on, the teens sprawled out on the roof. Casual clothes, sporting red, white, or blue. Joe, still manning the grill, is the first to see Elizabeth. She steps into the sunlight in a way that makes her glow, a pleasant smile on her face. Elizabeth scans the crowd, where she finds Gracie, on the deck, holding a big strawberry cake, already staring right at her with a big, warm smile. Elizabeth approaches her as she lays the cake down on a table of many cakes.</scene_description>
<character>GRACIE</character>
<dialogue>Just one little second.</dialogue>
<scene_description>She adjusts it, and turns to Elizabeth.</scene_description>
<character>GRACIE</character>
<dialogue>Hello.</dialogue>
<character>ELIZABETH</character>
<dialogue>Hi.</dialogue>
<scene_description>She puts her hand to her heart.</scene_description>
<character>ELIZABETH</character>
<dialogue>It's such a pleasure to meet you.</dialogue>
<character>GRACIE</character>
<dialogue>Oh that's sweet, we're so happy to have you-- welcome!</dialogue>
<scene_description>She motions to the party. Her eye catches the empty pool under construction off to the side, with about an inch of rusty-looking water.</scene_description>
<character>GRACIE</character>
<dialogue>Ignore the pool. Work-in-progress, right?</dialogue>
<character>ELIZABETH</character>
<dialogue>Always.</dialogue>
<scene_description>Gracie looks her up and down.</scene_description>
<character>GRACIE</character>
<dialogue>I thought you were taller, you look a little taller on television, but I think we are... very much the same height.</dialogue>
<character>ELIZABETH</character>
<dialogue>I've heard that. Basically the same.</dialogue>
<scene_description>She puts the wine down, as Gracie doesn't go to take it, and with it the package. She rearranges the strap of her purse.</scene_description>
<character>ELIZABETH</character>
<dialogue>I cannot thank you enough for this-- it's so generous...</dialogue>
<character>GRACIE</character>
<dialogue>Oh gosh, of course! I want you to tell the story right, don't I?</dialogue>
<character>ELIZABETH</character>
<dialogue>That's all I want. I want you to feel known and seen--</dialogue>
<scene_description>Two striking Irish Setters rush up to protect Gracie.</scene_description>
<character>ELIZABETH</character>
<dialogue>Oh wow.</dialogue>
<character>GRACIE</character>
<parenthetical>(to the dogs)</parenthetical>
<dialogue>It's okay, my boys, settle down. You can trust her.</dialogue>
<character>ELIZABETH</character>
<dialogue>They're striking.</dialogue>
<character>GRACIE</character>
<dialogue>This is Dutch, and this is Zeus.</dialogue>
<character>ELIZABETH</character>
<dialogue>Amazing! Oh and this was at your front steps.</dialogue>
<scene_description>She picks up the package. Gracie's expression changes as soon as she sees.</scene_description>
<character>GRACIE</character>
<dialogue>Joe!</dialogue>
<scene_description>Joe, who had been watching from afar, steps over politely. His good looks make Elizabeth hide a reflexive frown.</scene_description>
<character>GRACIE</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>You're not gonna believe this.</dialogue>
<scene_description>He sees the package.</scene_description>
<character>JOE</character>
<dialogue>I'll get a garbage bag.</dialogue>
<parenthetical>(to Elizabeth, shyly)</parenthetical>
<dialogue>Hi, nice to meet you.</dialogue>
<character>ELIZABETH</character>
<dialogue>Hi.</dialogue>
<scene_description>He heads up to the house. Gracie reaches to take the box.</scene_description>
<character>GRACIE</character>
<dialogue>Here...</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- CONTINUOUS</stage_direction>
<scene_description>Gracie leads Elizabeth over to the garbage, starting to open it on the way. She peers inside.</scene_description>
<character>GRACIE</character>
<dialogue>I knew it. By now I have a sixth sense about these things.</dialogue>
<character>ELIZABETH</character>
<dialogue>What is it?</dialogue>
<character>GRACIE</character>
<dialogue>It's a box of s-h-i-t. We haven't gotten one in months, but, it's just par for the course. Don't look so shocked!</dialogue>
<character>ELIZABETH</character>
<dialogue>Do you know who sent it?</dialogue>
<character>GRACIE</character>
<dialogue>Some sicko, who probably wasn't invited to any barbecues.</dialogue>
<scene_description>Joe comes back with the garbage bag, she drops it in. He wraps it up and throws it away. Routine. He offers her some anti-bacterial spray.</scene_description>
<character>JOE</character>
<dialogue>You want?</dialogue>
<character>ELIZABETH</character>
<dialogue>Um, sure.</dialogue>
<scene_description>He sprays her hands as well, avoiding eye contact. An elderly woman is coming down the steps.</scene_description>
<character>GRACIE</character>
<parenthetical>(to the woman)</parenthetical>
<dialogue>Oh look who's here! Cecile, don't you look pretty...</dialogue>
<parenthetical>(to Elizabeth, while starting back)</parenthetical>
<dialogue>Please, enjoy yourself, do what you gotta do, look around, talk to people, go get yourself a hot dog!</dialogue>
<character>ELIZABETH</character>
<parenthetical>(has literally never had a hot dog)</parenthetical>
<dialogue>Great.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- A BIT LATER</stage_direction>
<scene_description>Elizabeth wanders dreamily around the party, writing in her tiny leather notebook. She watches Gracie slice and plate cake. Gracie notices Charlie teaching himself how to skateboard in the empty pool. Gracie leans a bit over the rail.</scene_description>
<character>GRACIE</character>
<dialogue>Charlie.</dialogue>
<scene_description>She snaps twice, motions to get out of there. He does.</scene_description>
<character>MARY</character>
<dialogue>Hi.</dialogue>
<scene_description>Mary and her two best friends (MOLLY & SOFIA, both 18) have snuck up beside Elizabeth, hovering by the back door.</scene_description>
<character>ELIZABETH</character>
<dialogue>Hi. Are you Mary?</dialogue>
<character>MARY</character>
<dialogue>Yeah.</dialogue>
<scene_description>They giggle.</scene_description>
<character>ELIZABETH</character>
<dialogue>You're one of the twins, right?</dialogue>
<character>MARY</character>
<dialogue>Yeah, my brother's around here somewhere. Our older sister's at college.</dialogue>
<scene_description>The trio stares at Elizabeth, her make-up, her clothes.</scene_description>
<character>MARY</character>
<dialogue>I've never met anyone who was on TV before.</dialogue>
<character>ELIZABETH</character>
<dialogue>Well, your parents.</dialogue>
<character>MARY</character>
<dialogue>Yeah but like, for real.</dialogue>
<character>SOFIA</character>
<dialogue>Do you live in Calabasas?</dialogue>
<character>ELIZABETH</character>
<parenthetical>(polite)</parenthetical>
<dialogue>No.</dialogue>
<character>MOLLY</character>
<dialogue>You're really pretty.</dialogue>
<scene_description>Elizabeth considers a more complex reply, but lets it go.</scene_description>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- LATER AFTERNOON</stage_direction>
<scene_description>The party has settled into a nice lull, and thinned out a bit. Everyone sits on picnic blankets or lawn chairs. Kids run around with bubbles. Mary and Charlie lie on the slanted roof with their friends. Elizabeth watches Gracie, who's curled up in Joe's arms in the same chair. Her hand holds his tight. Rhonda takes a seat next to her, also watching.</scene_description>
<character>RHONDA</character>
<dialogue>They're sweet, aren't they?</dialogue>
<character>ELIZABETH</character>
<dialogue>Very.</dialogue>
<character>RHONDA</character>
<dialogue>They're a very beloved part of the community.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can see that.</dialogue>
<scene_description>Rhonda smiles.</scene_description>
<character>ELIZABETH</character>
<dialogue>So what is it you love most about Gracie?</dialogue>
<character>RHONDA</character>
<dialogue>She always knows what she wants.</dialogue>
<scene_description>She remembers, sweetly.</scene_description>
<character>RHONDA</character>
<dialogue>She's unapologetic.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>My son's been out of the house for a while now, and it's quiet. But I can always call up Gracie and say, what are we doing today? And there's always an answer...</dialogue>
<scene_description>Elizabeth smiles as she takes notes.</scene_description>
<character>RHONDA</character>
<dialogue>It really feels like things just settled down. And now they're making a movie.</dialogue>
<character>ELIZABETH</character>
<dialogue>It's a complex, human story.</dialogue>
<scene_description>Rhonda nods, something shifts slightly in her demeanor. Protective, colder.</scene_description>
<character>RHONDA</character>
<dialogue>Just be kind.</dialogue>
<scene_description>Elizabeth nods as she looks over, Gracie still grasping Joe's hand tightly.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- NIGHT</stage_direction>
<scene_description>Elizabeth, in sleepwear, sits up in bed with a People Magazine from 1992. Gracie, twenty-three years earlier, is on the cover in handcuffs, staring off into the distance in a dreamy way. We get a sense in pieces. "Gracie Atherton pleads guilty to pet shop romance!" "13-year- old lover will be father of her child!" "Temptress!" "Jailbait!" "Sobbed before the Judge!" A picture of young Joe, back-lit to hide his face. One of Gracie with lovely, soft curls, her pastel prison jumpsuit very flattering. Elizabeth turns, looks into the lens of the camera. She adjusts, hitting the light in a way similar to the picture of Gracie. What she's looking at is her reflection in the mirror. She makes the expression. A gentle pout, with eagle eyes. She studies the picture and tries again. Better. \[Throughout the film, scenes played in mirrors will be handled in a similar way.\]</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO DEN-- NIGHT</stage_direction>
<scene_description>Joe sits at the family desktop, typing and watching short clips of videos with the volume low. Research. The sounds become easier to make out-- all clips of Elizabeth (talk shows, bloopers, her winning an MTV Movie Award).</scene_description>
<character>ELIZABETH (O.S.)</character>
<dialogue>Seriously, you guys-- I want to thank everyone who voted for me-- It means even more, coming from you, the fans! Thank you!</dialogue>
<scene_description>He clicks on a commercial for a skincare line in 2001.</scene_description>
<character>ELIZABETH (O.S.)</character>
<dialogue>So pure, you can hardly tell it's there.</dialogue>
<scene_description>CLOSE ON HIS MONITOR: A SLOW MOTION shot of her splashing water on her face and smiling, fresh and dewy, her hands rising up in a way that feels oddly religious. Joe turns the sound down to mute. He replays it over-- Elizabeth splashing herself in the face, and loving it.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO BEDROOM-- A BIT LATER</stage_direction>
<scene_description>Joe quietly gets into bed, Gracie is facing the side, looks asleep.</scene_description>
<character>GRACIE</character>
<dialogue>You smell like charcoal.</dialogue>
<character>JOE</character>
<dialogue>... Smoke.</dialogue>
<character>GRACIE</character>
<parenthetical>(turns)</parenthetical>
<dialogue>Excuse me?</dialogue>
<character>JOE</character>
<dialogue>We have a gas grill, you must be just smelling smoke.</dialogue>
<scene_description>She looks at him blankly.</scene_description>
<character>GRACIE</character>
<dialogue>Well you're stinking up the sheets.</dialogue>
<character>JOE</character>
<dialogue>Do you want me to shower?</dialogue>
<character>GRACIE</character>
<dialogue>What I want is for you to take a shower before you get in.</dialogue>
<character>JOE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>She closes her eyes and tears start to quietly fall. He pulls her into his chest.</scene_description>
<character>JOE</character>
<dialogue>I'm sorry, Gracie.</dialogue>
<character>GRACIE</character>
<dialogue>Still smoky.</dialogue>
<scene_description>He rips his shirt off, pats some bedside water on his chest.</scene_description>
<character>JOE</character>
<dialogue>Okay?</dialogue>
<scene_description>She curls up in his lap, still gently weeping.</scene_description>
<character>GRACIE</character>
<dialogue>Okay.</dialogue>
<character>JOE</character>
<dialogue>Everything's fine.</dialogue>
<character>GRACIE</character>
<dialogue>Okay.</dialogue>
<scene_description>He pets her hair as she falls asleep.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD-- EARLY MORNING</stage_direction>
<scene_description>It's quiet and still, the sun just rising. Joe tiptoes around his milkweed bushes, looking at each leaf really carefully. When he finds one with tiny little pearlescent eggs he delicately clips it off the plant and lays it on his tray. It's slow work, and deliberate.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM-- A BIT LATER</stage_direction>
<scene_description>Joe takes his leaves and puts them gently inside white mesh cages that are lined up on the table and chairs in the small, well-organized space. Routine. He adjusts the shades and observes. Nothing is moving-- they're just eggs. He gets out his phone and takes a picture of one leaf that has three eggs in a perfectly straight line. He considers, but then texts it to MICHELA MONARCHS FB GROUP (as he has her listed in his phone).</scene_description>
<character>JOE</character>
<parenthetical>(texting)</parenthetical>
<dialogue>Looks like "..." doesn't it? Like they're about to text me something?</dialogue>
<scene_description>She immediately starts writing back (...)</scene_description>
<character>MICHELA</character>
<dialogue>OMG so funny. I've never seen them in such a straight line before!</dialogue>
<character>JOE</character>
<dialogue>I know, strange right?</dialogue>
<character>MICHELA</character>
<dialogue>I wonder if it was one who laid them in a row, or just a weird coincidence.</dialogue>
<character>JOE</character>
<dialogue>I know, me too.</dialogue>
<scene_description>He puts his phone away, continues his work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COMMUNITY CENTER-- AFTERNOON</stage_direction>
<scene_description>Elizabeth gets out of her rental car and approaches the unglamorous building.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMUNITY CENTER-- MOMENTS LATER</stage_direction>
<scene_description>Through glass doors we see Elizabeth approaching the room. Inside we see a flower-arranging class with a half dozen other women at their stations and a teacher (LYDIA, 60s, in a loose-fitting smock) giving compliments as she walks by. Gracie spots Elizabeth and waves.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMUNITY CENTER-- LATER</stage_direction>
<scene_description>Gracie and Elizabeth share a table in the back. They both have a vase, a hunk of that green spongy stuff, and flowers. Gracie's arrangement is really tight and organized. Formal. Elizabeth (who does not care) is making one that's more breezy and natural.</scene_description>
<character>GRACIE</character>
<dialogue>You start with your greens as a base, then you add your focus flower. And you build in layers, always in threes. My brother Scott, he's a Rear Admiral in the Navy, he always says, "Order is its own reward"--</dialogue>
<scene_description>She takes over Elizabeth's arrangement, Elizabeth's hands hover nearby, trying to help.</scene_description>
<character>GRACIE</character>
<parenthetical>(off Elizabeth's ring)</parenthetical>
<dialogue>That's pretty.</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh, thank you, yeah.</dialogue>
<character>GRACIE</character>
<dialogue>You have a date set?</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh, no, no-- things have been so busy, we'll figure it out down the line, when it feels right.</dialogue>
<character>GRACIE</character>
<dialogue>I see.</dialogue>
<scene_description>Lydia strolls by.</scene_description>
<character>LYDIA</character>
<dialogue>Beautiful, Gracie.</dialogue>
<character>GRACIE</character>
<dialogue>Thank you. Lydia, this is Elizabeth, she's playing me in a movie. Trying to show her a good time.</dialogue>
<character>LYDIA</character>
<dialogue>That I don't doubt.</dialogue>
<scene_description>Lydia strolls away.</scene_description>
<character>GRACIE</character>
<dialogue>So why do you want to play me?</dialogue>
<character>ELIZABETH</character>
<dialogue>Well... I'm very drawn to emotional complexity.</dialogue>
<character>GRACIE</character>
<dialogue>What a funny answer.</dialogue>
<character>ELIZABETH</character>
<dialogue>Is it? I guess, when they sent me the script I thought-- here is a woman with a lot more to her than I knew from the tabloids, and our cultural... memory.</dialogue>
<character>GRACIE</character>
<dialogue>I don't really think about all that.</dialogue>
<character>ELIZABETH</character>
<dialogue>You don't ever dwell on the past?</dialogue>
<character>GRACIE</character>
<dialogue>I've got my hands pretty full. I love this leaf spray. It makes everything look better.</dialogue>
<character>ELIZABETH</character>
<dialogue>I mean I know that, personally, the past weighs on me. Decisions I've made and relationships...</dialogue>
<character>GRACIE</character>
<dialogue>What, you just sit there and think about your history and behavior?</dialogue>
<character>ELIZABETH</character>
<dialogue>Sometimes.</dialogue>
<scene_description>Gracie makes a face, shrugging it off. Elizabeth goes back to putting baby's-breath in her vase, doubt creeping in.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO KITCHEN-- DAY</stage_direction>
<scene_description>Elizabeth, Joe, and Charlie sit in their seats at the kitchen table as Gracie sets plates of fried quail and mashed potatoes in front of them. Charlie looks exhausted.</scene_description>
<character>GRACIE</character>
<dialogue>Do you want milk?</dialogue>
<character>ELIZABETH</character>
<dialogue>Milk? Um, no thank you. Water would be great.</dialogue>
<character>CHARLIE</character>
<dialogue>Same.</dialogue>
<character>GRACIE</character>
<dialogue>Honey, you need the calcium.</dialogue>
<character>JOE</character>
<dialogue>I'll take a beer.</dialogue>
<scene_description>She brings Joe a beer, Elizabeth water, and milk for herself and Charlie.</scene_description>
<character>CHARLIE</character>
<dialogue>I don't want this.</dialogue>
<scene_description>She ignores him.</scene_description>
<character>GRACIE</character>
<dialogue>It's a shame Mary couldn't join us, she's at her friend's, working.</dialogue>
<character>ELIZABETH</character>
<dialogue>Well thank you for having me for dinner, in your home. It... means a lot.</dialogue>
<character>GRACIE</character>
<dialogue>Of course.</dialogue>
<scene_description>They begin eating. Charlie stands with his glass of milk.</scene_description>
<character>GRACIE</character>
<dialogue>Sit.</dialogue>
<scene_description>He hesitates, but he does.</scene_description>
<character>GRACIE</character>
<dialogue>He has a severe calcium deficiency.</dialogue>
<parenthetical>(to Charlie)</parenthetical>
<dialogue>Don't you?</dialogue>
<scene_description>He just stares down at his plate. Joe witnesses it all with embarrassment but doesn't jump in.</scene_description>
<character>ELIZABETH</character>
<dialogue>Mmm, this is wonderful, thank you.</dialogue>
<character>GRACIE</character>
<dialogue>An Atherton-Yoo special.</dialogue>
<character>ELIZABETH</character>
<dialogue>Is this...?</dialogue>
<character>GRACIE</character>
<dialogue>It's quail. Brought them home myself.</dialogue>
<character>ELIZABETH</character>
<dialogue>You... shot the quail and then fried them yourself?</dialogue>
<character>GRACIE</character>
<parenthetical>(enjoying the exchange)</parenthetical>
<dialogue>Yes.</dialogue>
<character>JOE</character>
<dialogue>Gracie hunts all the time.</dialogue>
<character>GRACIE</character>
<dialogue>My daddy taught me. I started going with him and my brothers when I was really young. Four, five.</dialogue>
<character>ELIZABETH</character>
<dialogue>Amazing. This was in Virginia?</dialogue>
<scene_description>Gracie raises her eyebrows.</scene_description>
<character>GRACIE</character>
<dialogue>Tennessee, and then Illinois, and then Montana, and then Virginia.</dialogue>
<scene_description>Chew, chew, chew, swallow. Except for Charlie.</scene_description>
<character>GRACIE</character>
<dialogue>Charlie.</dialogue>
<character>CHARLIE</character>
<dialogue>What, I'm not hungry. I had a late lunch.</dialogue>
<character>GRACIE</character>
<dialogue>What, your little gushy treats?</dialogue>
<character>CHARLIE</character>
<dialogue>How old do you think I am?</dialogue>
<character>GRACIE</character>
<dialogue>I want you to look strong when you go to college. You need your nutrients. They're gonna think you... skipped grades or something--</dialogue>
<character>CHARLIE</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>Can I be excused?</dialogue>
<scene_description>Gracie pretends she's not upset. Joe nods. Charlie stands up and heads upstairs, leaving his plate.</scene_description>
<character>GRACIE</character>
<dialogue>Boys are hard.</dialogue>
<scene_description>Elizabeth smiles.</scene_description>
<character>ELIZABETH</character>
<dialogue>So what was it like to move so much? To have to uproot your life--</dialogue>
<character>GRACIE</character>
<dialogue>It was just my life, I was used to it. I made friends everywhere I went. I was very close to my brothers. I think my childhood was exceptional.</dialogue>
<scene_description>Next topic. Charlie's door slams upstairs, Elizabeth jumps.</scene_description>
<character>ELIZABETH</character>
<dialogue>I do have a lot of questions for you both, but please let me know if now's not the time.</dialogue>
<character>GRACIE</character>
<dialogue>Good a time as any.</dialogue>
<scene_description>Elizabeth gets out her tiny book and pen.</scene_description>
<character>ELIZABETH</character>
<dialogue>That's great, thank you. Umm... Well first I wanted to ask about the box. The package.</dialogue>
<character>GRACIE</character>
<dialogue>What about it?</dialogue>
<character>ELIZABETH</character>
<dialogue>If that's a routine occurrence--</dialogue>
<character>JOE</character>
<dialogue>It's a lot less than it used to be.</dialogue>
<character>ELIZABETH</character>
<dialogue>Did you ever consider leaving town?</dialogue>
<character>GRACIE</character>
<dialogue>Why should we have to be the ones to leave?</dialogue>
<character>JOE</character>
<dialogue>Our whole family's here-- my dad, Gracie's kids...</dialogue>
<scene_description>Elizabeth nods and writes. Joe focuses on his plate.</scene_description>
<character>ELIZABETH</character>
<dialogue>Do you remember the first time you met?</dialogue>
<character>JOE</character>
<dialogue>I don't.</dialogue>
<character>GRACIE</character>
<dialogue>I met Joe, let me think... Well, I remember knowing of his family. They were the only Korean family in the neighborhood.</dialogue>
<character>JOE</character>
<dialogue>Half.</dialogue>
<character>GRACIE</character>
<dialogue>Mm-hm. And my son Georgie was in the same year as Joe at school, so technically I would have seen him there, but I don't have any memory of that.</dialogue>
<character>ELIZABETH</character>
<dialogue>Right.</dialogue>
<character>GRACIE</character>
<dialogue>It's pretty close-knit here on the island. You kind of recognize people... But it's hard to remember. A lot of kids would be over at the house sometimes. And I know at one point he was friendly with Georgie... But I didn't really meet him until he came into the pet store looking for a job.</dialogue>
<character>ELIZABETH</character>
<dialogue>This was the summer after sixth grade?</dialogue>
<character>GRACIE</character>
<dialogue>Seventh.</dialogue>
<character>JOE</character>
<dialogue>Seventh.</dialogue>
<character>GRACIE</character>
<dialogue>And then he, uh... started working there. In the afternoons and on weekends.</dialogue>
<character>ELIZABETH</character>
<dialogue>What happened with you and Georgie? Your friendship.</dialogue>
<character>JOE</character>
<dialogue>I really haven't... talked to Georgie much, uh, since then...</dialogue>
<character>GRACIE</character>
<dialogue>Georgie's very sensitive. Always was, very sensitive.</dialogue>
<character>ELIZABETH</character>
<dialogue>What's your relationship like with him and his siblings now?</dialogue>
<character>GRACIE</character>
<dialogue>How is that relevant?</dialogue>
<character>ELIZABETH</character>
<dialogue>Um.</dialogue>
<character>GRACIE</character>
<dialogue>My understanding is that the movie is taking place during 1992 through 1994. Am I wrong? Why would you... need to know about anything after that?</dialogue>
<scene_description>Elizabeth looks startled by the shift in tone.</scene_description>
<character>ELIZABETH</character>
<dialogue>Well sometimes things that exist inside people don't come to a head until later... And I'm looking for the seeds of those things. So... I feel it's my job to get to know you as best I can, holistically, and part of that is a bit of reverse engineering, I guess you would say.</dialogue>
<scene_description>Gracie thinks about it, skeptical. Then, suddenly lightly:</scene_description>
<character>GRACIE</character>
<dialogue>Alright...</dialogue>
<scene_description>Elizabeth and Joe both look relieved.</scene_description>
<character>GRACIE</character>
<dialogue>Of course I talk to Georgie. And to Billy and Cassidy. I'm their mom.</dialogue>
<character>ELIZABETH</character>
<dialogue>Sure...</dialogue>
<character>JOE</character>
<dialogue>Cassidy was just here last--</dialogue>
<parenthetical>(looks at Gracie)</parenthetical>
<dialogue>What was it? ... And we'll see everyone at graduation...</dialogue>
<character>GRACIE</character>
<dialogue>The twins are in the same class as Cassidy's son Peter, my grandson. So we'll all be at graduation together, which you're welcome to come to if you're still in town.</dialogue>
<scene_description>A big smile.</scene_description>
<character>GRACIE</character>
<dialogue>Now who wants cake?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ATHERTON-YOO HOUSE-- DUSK</stage_direction>
<scene_description>Joe takes the trash out as Elizabeth goes to her rental car. The moon looms large.</scene_description>
<character>ELIZABETH</character>
<dialogue>Good night.</dialogue>
<character>JOE</character>
<dialogue>Yeah, seeya.</dialogue>
<scene_description>She hesitates, doesn't get in the car.</scene_description>
<character>ELIZABETH</character>
<dialogue>Actually. I wanted to ask you.</dialogue>
<scene_description>She approaches the bins.</scene_description>
<character>ELIZABETH</character>
<dialogue>How would you feel about me coming to work with you one of these days?</dialogue>
<character>JOE</character>
<dialogue>Fine.</dialogue>
<character>ELIZABETH</character>
<dialogue>Okay great. That's great.</dialogue>
<scene_description>He's giving absolutely nothing away but dawdles a bit with the trash.</scene_description>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<character>JOE</character>
<dialogue>It's no problem.</dialogue>
<scene_description>She stares at him for moment.</scene_description>
<character>ELIZABETH</character>
<dialogue>I just realized-- I think we're basically the same age.</dialogue>
<character>JOE</character>
<dialogue>Yeah?</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm 36.</dialogue>
<scene_description>He nods.</scene_description>
<character>ELIZABETH</character>
<dialogue>Funny. I'm just now thinking about having kids, and yours are almost off to college.</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can't imagine.</dialogue>
<character>JOE</character>
<dialogue>I think I was almost too young to know what a big deal it was, in a way. But... Anyway...</dialogue>
<character>ELIZABETH</character>
<dialogue>Yes, great-- So I'll text you, to schedule a time to drop by?</dialogue>
<character>JOE</character>
<dialogue>Maybe write Gracie, she's better at all that.</dialogue>
<scene_description>A light goes on in a second-floor window. They both notice it and pretend they haven't.</scene_description>
<character>JOE</character>
<dialogue>All right, well, get home safe.</dialogue>
<scene_description>She watches him head inside.</scene_description>
<character>ELIZABETH</character>
<dialogue>Thanks, you too-- I mean...</dialogue>
</scene>
<scene>
<stage_direction>INT. INN - BATHROOM-- MORNING</stage_direction>
<scene_description>Elizabeth puts her make-up on in the mirror, her phone propped up on speaker. She's on with her fiancé, AARON. Her flower arrangement sits on the table beside her.</scene_description>
<character>ELIZABETH</character>
<dialogue>It's strange. Even after everything she did, and how public it was, she really doesn't seem to carry around any guilt or shame.</dialogue>
<character>AARON (O.S.)</character>
<dialogue>That's probably a personality disorder.</dialogue>
<character>ELIZABETH</character>
<dialogue>Alright, forget it--</dialogue>
<character>AARON (O.S.)</character>
<dialogue>I'm not trying to be glib, I really mean that.</dialogue>
<character>ELIZABETH</character>
<dialogue>Isn't that kind of radical? Clean slate every day, no regrets, no doubts.</dialogue>
<character>AARON (O.S.)</character>
<dialogue>Meaning what? Now you have all these doubts.</dialogue>
<character>ELIZABETH</character>
<dialogue>No-- Oh god, someone from the network is calling me-- I should probably take this-- I love you.</dialogue>
<scene_description>She hangs up. Finishes doing her make-up in peace.</scene_description>
</scene>
<scene>
<stage_direction>A25 EXT. CHIPPEWA SQUARE - HISTORIC SAVANNAH - DAY A25</stage_direction>
<scene_description>An OLD SAVANNAH TOUR is gathered in historic Chippewa Square. The TOUR GUIDE, dressed in 19th century bonnet and apron, tells an old tale. Through the crowd we see Elizabeth, approaching at a quick stride. She checks the name of where she's headed on a note of paper.</scene_description>
</scene>
<scene>
<stage_direction>INT. GALLERY ESPRESSO - DAY</stage_direction>
<scene_description>TOM ATHERTON, early 60s, sits at a corner table, looking around expectantly, sipping his coffee, and rearranging the second cup. He's aged since that 1992 People Magazine where he looked like the heir to a boat fortune; but he's a handsome, straight-forward man. He sees her. She weaves around some people gathering to leave, takes off her glasses and looks around the room. The comfortable, slightly overstuffed coffee house summons the '90s-- dark wall paint, fun lighting fixtures, fliers for bands. She finds Tom.</scene_description>
<character>TOM</character>
<dialogue>I ordered you a coffee, regular drip.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can't tell you how much I appreciate this... meeting with me, I mean. I'm sure it's not your favorite thing to talk about.</dialogue>
<character>TOM</character>
<dialogue>I don't mind. I think talking can feel... good.</dialogue>
<character>ELIZABETH</character>
<dialogue>That's great. Thank you. I'll just... dive right in--</dialogue>
<character>TOM</character>
<dialogue>Do you want anything to eat?</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm okay with just coffee.</dialogue>
<character>TOM</character>
<dialogue>An actress.</dialogue>
<character>ELIZABETH</character>
<dialogue>Excuse me?</dialogue>
<character>TOM</character>
<dialogue>Seems typical of an actress. I haven't met one before but... what I imagined.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yes. Ha.</dialogue>
<scene_description>She takes out her book.</scene_description>
<character>TOM</character>
<dialogue>That's small!</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah, it's discreet.</dialogue>
<character>TOM</character>
<dialogue>I don't know, if I saw someone writing in that I'd think-- what are they writing?</dialogue>
<character>ELIZABETH</character>
<dialogue>Well, you'd just have to wonder I guess.</dialogue>
<scene_description>He waves to his friend who walks by the front window.</scene_description>
<character>TOM</character>
<dialogue>That's Carla from my dentist's office.</dialogue>
<character>ELIZABETH</character>
<dialogue>So... Can you tell me a little about what Gracie was like when you first met?</dialogue>
<character>TOM</character>
<dialogue>Gracie was beautiful. We met at a party and I was really drunk, just blotto. And she took care of me.</dialogue>
<scene_description>Elizabeth writes a note, a thought about Gracie, covers with her hand.</scene_description>
<character>TOM</character>
<dialogue>And then we dated for a bit. Gracie was in high school, I was in college. And I graduated, and she graduated and I proposed and that was that. Got married, moved down here with the same company I'm with now, started our family. It was kind of A, B, C... D, you know?</dialogue>
<character>ELIZABETH</character>
<dialogue>Were you happy?</dialogue>
<character>TOM</character>
<dialogue>I thought so! I know later, she said that things weren't working but at the time I thought everything was normal. Couples fight sometimes.</dialogue>
<character>TOM</character>
<dialogue>But our lives felt good! And the kids are so fun-- will you meet them?</dialogue>
<character>ELIZABETH</character>
<dialogue>I'd love to.</dialogue>
<character>TOM</character>
<dialogue>Billy is such a ham, and Cassidy is beautiful and a real over-achiever, and George is creative and sings. We had a great family I thought. I was shocked. Shocked. And then when I found out with who...</dialogue>
<scene_description>His jaw tightens.</scene_description>
<character>ELIZABETH</character>
<dialogue>That must have been hard.</dialogue>
<character>TOM</character>
<dialogue>It was just so weird. I started to feel like... I didn't even know Gracie. I didn't know what was going on in her head, you know?</dialogue>
<character>ELIZABETH</character>
<dialogue>What do you think now?</dialogue>
<character>TOM</character>
<dialogue>What would make a 36-year-old woman have an affair with a seventh grader? I mean, beats me.</dialogue>
<character>ELIZABETH</character>
<dialogue>How did you find out?</dialogue>
<character>TOM</character>
<dialogue>I found out with everyone else! After they got caught in that stupid stockroom at the pet store, and she was arrested. The police came to my house to tell me. I was like... Uh, what?</dialogue>
<scene_description>She looks at him sympathetically but jots down something.</scene_description>
<character>ELIZABETH</character>
<dialogue>I'm so, so sorry.</dialogue>
<character>TOM</character>
<dialogue>Yeah. I mean, it's okay. Ultimately it was for the best. I'm happy now.</dialogue>
<character>TOM</character>
<dialogue>And I mean I don't really see them too much but her and the boy seem happy. So... what do I know, right?...</dialogue>
<scene_description>Another little note.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE POSH LOFT - HISTORIC SAVANNAH-- AFTERNOON</stage_direction>
<scene_description>Gracie and Elizabeth sit on a plush bench in a sunny, feminine store for women. Gracie writes in her day-planner, as Elizabeth watches her closely in the large mirror. Mary comes out from behind the curtain wearing a modest white dress with long sleeves and lace.</scene_description>
<character>GRACIE</character>
<dialogue>Isn't that perfect!</dialogue>
<character>ELIZABETH</character>
<dialogue>Beautiful.</dialogue>
<character>MARY</character>
<dialogue>I feel like a bride.</dialogue>
<character>GRACIE</character>
<dialogue>You look youthful-- like the first day of spring.</dialogue>
<character>MARY</character>
<dialogue>I just feel like everyone else is gonna be wearing like more summer-y dresses.</dialogue>
<character>GRACIE</character>
<dialogue>And who cares about everyone else?</dialogue>
<character>MARY</character>
<dialogue>Me, I, am saying I don't like it.</dialogue>
<character>GRACIE</character>
<dialogue>Fine. Go try on the others.</dialogue>
<scene_description>Mary walks back to the dressing room.</scene_description>
<character>ELIZABETH</character>
<dialogue>Will they not be wearing robes?</dialogue>
<character>GRACIE</character>
<dialogue>They'll be wearing robes. It's for under the robe.</dialogue>
<character>ELIZABETH</character>
<dialogue>Ah...</dialogue>
<character>GRACIE</character>
<dialogue>So I heard you saw Tom.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yes, for coffee.</dialogue>
<character>GRACIE</character>
<dialogue>What'd you think?</dialogue>
<character>ELIZABETH</character>
<dialogue>Handsome.</dialogue>
<character>GRACIE</character>
<dialogue>He is.</dialogue>
<character>ELIZABETH</character>
<dialogue>And I could see how being in a marriage with him could be isolating.</dialogue>
<scene_description>Gracie looks at her. Then smiles.</scene_description>
<character>GRACIE</character>
<dialogue>Well... precisely.</dialogue>
<scene_description>Mary returns, looking happy in a white sleeveless number.</scene_description>
<character>ELIZABETH</character>
<dialogue>So cute.</dialogue>
<character>MARY</character>
<dialogue>I love it.</dialogue>
<scene_description>She's admiring herself in the mirror.</scene_description>
<character>GRACIE</character>
<dialogue>It's lovely-- I love the fabric.</dialogue>
<character>MARY</character>
<dialogue>I like how it flows.</dialogue>
<character>GRACIE</character>
<dialogue>Mary, I really want to commend you for being so brave and showing your arms like that. That's something I've always wished I could do, just not care about these unrealistic beauty standards. But you're different than me. You're a modern woman.</dialogue>
<scene_description>Elizabeth looks really uncomfortable, Mary straining to maintain her dignity.</scene_description>
<character>MARY</character>
<dialogue>I'm gonna try the other ones on... I really like this one but I think maybe it's too similar to the one Molly has.</dialogue>
<character>GRACIE</character>
<dialogue>Whatever you want.</dialogue>
<scene_description>She slinks off. Silence.</scene_description>
<character>GRACIE</character>
<dialogue>It's not my business who you talk to around here, go through the phone book for all I care, but let me know ahead of time so I won't have to lie to my neighbors.</dialogue>
<character>ELIZABETH</character>
<dialogue>Understood.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>So why did you marry a man like Tom?</dialogue>
<character>GRACIE</character>
<dialogue>I was young, and he seemed perfect on paper. And it was a different time.</dialogue>
<parenthetical>(with a smile)</parenthetical>
<dialogue>My father always used to say, "You're either leaving this house in a veil, or a box."</dialogue>
<scene_description>Elizabeth's eyes widen, unnoticed by Gracie, who pulls out a box from her purse and extends it to Elizabeth.</scene_description>
<character>GRACIE</character>
<dialogue>Just a loan. If it's helpful...</dialogue>
<scene_description>Elizabeth opens it a bit-- family photos, mainly posed.</scene_description>
<character>ELIZABETH</character>
<dialogue>Oh, these look great. Thank you.</dialogue>
<scene_description>Gracie smiles, proud of her graciousness. Mary is returning in a girlish baby-doll dress, sleeves to the elbows. Elizabeth puts the top back on the photos, saving for later.</scene_description>
<character>GRACIE</character>
<dialogue>How sweet is that?</dialogue>
<character>ELIZABETH</character>
<dialogue>Really sweet.</dialogue>
<character>MARY</character>
<dialogue>You like it?</dialogue>
<character>ELIZABETH</character>
<dialogue>Very in.</dialogue>
<scene_description>Mary looks at herself in the mirror, was clearly just crying. The two women admire her on either side.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PET STORE-- DAY</stage_direction>
<scene_description>Elizabeth stands into frame, aiming her iPhone and taking a shot. She stands opposite the exterior of "Telfair Pets" at the end of a shingled strip mall on a busy street. She starts inside.</scene_description>
<character>ELIZABETH (PRE-LAP)</character>
<dialogue>How long have you owned this place?</dialogue>
</scene>
<scene>
<stage_direction>INT. PET STORE-- CONTINUOUS</stage_direction>
<scene_description>MR. HENDERSON, 70s, gives Elizabeth a tour. Tidying things as he goes. A sale is going on (Going Out of Business) but it's not swarmed.</scene_description>
<character>MR. HENDERSON</character>
<dialogue>It was my mother's. She opened it up in 1972. We had a good run.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah... Beautiful store. So she was the one who hired Gracie?</dialogue>
<character>MR. HENDERSON</character>
<dialogue>Her health was in decline. And Gracie had been a really loyal customer after they opened the K Mart around the corner...</dialogue>
<scene_description>Clearly a sore subject to this day.</scene_description>
<character>ELIZABETH</character>
<dialogue>What year was this?</dialogue>
<character>MR. HENDERSON</character>
<dialogue>It was after mother's fall... 1990, October. First she was just watching the store-- and then she took on more and more responsibilities, balancing the books, orders... She's very organized, I'll give her that.</dialogue>
<character>ELIZABETH</character>
<dialogue>Were you the one who hired Joe?</dialogue>
<character>MR. HENDERSON</character>
<dialogue>Oh no, no no. Uh, Gracie asked if she could hire a part-time helper for minimum wage-- this was... summer of '92, and mother said yes. We were really... surprised to say the least to have been a part of ... what all happened.</dialogue>
<character>ELIZABETH</character>
<dialogue>What was that time like?</dialogue>
<scene_description>He pulls out a photo from the drawer of himself twenty years younger, screaming, red-faced, in the center of a huge mob of media. The store window behind him. It looks like a Renaissance painting of hell.</scene_description>
<character>MR. HENDERSON</character>
<dialogue>This pretty much sums it up...</dialogue>
<character>ELIZABETH</character>
<dialogue>Wow.</dialogue>
<character>MR. HENDERSON</character>
<dialogue>Yeah... Anyway, I should probably--</dialogue>
<character>ELIZABETH</character>
<dialogue>One last thing--</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'd like to see the stockroom.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOCKROOM-- A BIT LATER</stage_direction>
<scene_description>The door creaks open, and Mr. Henderson pulls the light on with a drawstring. Elizabeth steps inside.</scene_description>
<character>MR. HENDERSON</character>
<dialogue>Just don't touch any of the bait.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(barely noticing him)</parenthetical>
<dialogue>Will do.</dialogue>
<scene_description>He closes the door. It's pretty big. And grey. Dark wooden floors, no windows. Some waist-high shelves and a couple of aisles. Places to hide, places to duck. Elizabeth walks around the space with bated breath. The darkest corner is almost pitch black, a narrow aisle of fish tanks. They glow, and so do the creatures inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK OF THE STOCKROOM-- CONTINUOUS</stage_direction>
<scene_description>She turns the corner and sees a private area with A COUPLE OF WOODEN STAIRS leading up to the furnace room. On one side is a shelf of files and old leather books. On the other is a REFRIGERATOR with clear glass doors. Inside are frozen mice, barely alive crickets. Things that tick with a tiny pulse. She runs her fingertip over the glass. She sits on the stairs. Then she lies back. Tries to get comfortable. She puts one leg up on the book shelf. She covers her own mouth as if someone else is doing it. As if she's about to scream with pleasure. Then she sits up, and nods to herself: "Yeah, that would do."</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM-- DAY</stage_direction>
<scene_description>Progress has been made in the butterfly cages. The eggs have hatched and now the bottoms of the cages are full of thick, green caterpillars of various sizes. They squirm on a bed of leaves and eat and eat to their hearts' content. Their meaty bodies writhe around in a hedonist swell.</scene_description>
</scene>
<scene>
<stage_direction>A32 EXT. ATHERTON-YOO HOUSE - POOL-- DAY A32</stage_direction>
<scene_description>Through the living room window we see three WORKERS resuming construction on the pool.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEN-- DAY</stage_direction>
<scene_description>CLOSE on a photo of Mary and Charlie as toddlers, in Joe's arms. Joe returns it to a small pile, sitting on the floor next to a large open tin. Behind him, "This Old House" plays on PBS. He returns the photos to a tin, and stacks it back into an open drawer. Behind the tin he spots a small vinyl photo book with a Karate Kid 3 cover, and pulls it out. Inside he finds a pink envelope folded in half, which he slips out and opens. Several handwritten pages in feminine cursive, which he unfolds. He stops to read a couple lines. He then quickly puts it all away and closes the drawer.</scene_description>
</scene>
<scene>
<stage_direction>A33 INT. DEN-- MOMENTS LATER A33</stage_direction>
<scene_description>He sits on the couch, TV show continuing, texting.</scene_description>
<character>JOE</character>
<dialogue>How was your day?</dialogue>
<character>MICHELA</character>
<dialogue>Kind of shitty-- lost three more, and stuff with work.</dialogue>
<character>JOE</character>
<dialogue>What happened?</dialogue>
<character>MICHELA</character>
<dialogue>It's just really stressful, I feel like I spend a lot of my day managing my boss's moods.</dialogue>
<character>JOE</character>
<dialogue>So hard. I know how that can be.</dialogue>
<character>MICHELA</character>
<dialogue>But whatever, it's fine. I'm home now, gonna relax and take a bath.</dialogue>
<scene_description>Joe hesitates. Stares at the word "bath" as if it's pulsating with eroticism. He starts to write, then stops. Then starts again.</scene_description>
<character>JOE</character>
<dialogue>A bath sounds nice.</dialogue>
<scene_description>But before he can send it:</scene_description>
<character>GRACIE (O.S.)</character>
<dialogue>Joe, where's the step stool!</dialogue>
<scene_description>He jumps so far, drops his phone down the side of the chair.</scene_description>
<character>JOE</character>
<dialogue>One sec!</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN-- MINUTES LATER</stage_direction>
<scene_description>Joe brings in the step stool. Gracie is in the middle of making several layer cakes.</scene_description>
<character>GRACIE</character>
<dialogue>Where was it?</dialogue>
<character>JOE</character>
<dialogue>I hung some netting for the caterpillars.</dialogue>
<scene_description>She takes the step stool and uses it to get down food sprinkles from the tall-person cabinet.</scene_description>
<character>GRACIE</character>
<dialogue>Have you asked your dad how he's getting to the graduation?</dialogue>
<character>JOE</character>
<dialogue>I was gonna drop groceries off this week, I'll ask.</dialogue>
<character>GRACIE</character>
<dialogue>Great. And what are you gonna do with your bugs?</dialogue>
<character>JOE</character>
<dialogue>I'll figure it out.</dialogue>
<scene_description>He heads back to the den.</scene_description>
<character>GRACIE</character>
<parenthetical>(calling after)</parenthetical>
<dialogue>Not in the bedroom again.</dialogue>
</scene>
<scene>
<stage_direction>INT. INN-- NIGHT</stage_direction>
<scene_description>Elizabeth sits in bed in her robe (one from home, obviously) with the little box of photos next to her. She examines one, of Gracie positively glowing. Radiant smile, holding newborn Honor in her arms. She notices the bottom is folded over, when she flips it up she sees that Gracie's little pink-footed sock is hand-cuffed to the hospital bed.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- A BIT LATER</stage_direction>
<scene_description>Elizabeth takes a few puffs of her asthma inhaler. She opens an e-mail that says "Joe - Pre-read Selects" and clicks a link. It's a casting website with auditions posted. About ten 13- YEAR-OLD BOY ACTORS. She starts to click through.</scene_description>
<character>BOY ACTOR #1</character>
<dialogue>Benny Kim, 5'4", I'm 13 years old, my date of birth is September 8th, 2002, and I'm with Coast to Coast.</dialogue>
<scene_description>He smiles as the camera pans up his tiny body.</scene_description>
<character>ELIZABETH</character>
<dialogue>2002, Jesus Christ.</dialogue>
<scene_description>The scene begins.</scene_description>
<character>BOY ACTOR #1</character>
<dialogue>Do you need help?</dialogue>
<character>READER (O.S.)</character>
<dialogue>That'd be great, Joe, thank you.</dialogue>
<character>BOY ACTOR #1</character>
<dialogue>What should I do?</dialogue>
<character>READER (O.S.)</character>
<dialogue>If you want to get the box of pinkies from the back-- I'm feeding the snakes.</dialogue>
<character>BOY ACTOR #1</character>
<dialogue>Live mice?</dialogue>
<character>READER (O.S.)</character>
<dialogue>They've been in the freezer so I don't think they feel anything.</dialogue>
<character>BOY ACTOR #1</character>
<dialogue>Cool.</dialogue>
<scene_description>He fake-looks in the fake box.</scene_description>
<character>BOY ACTOR #1</character>
<dialogue>So small.</dialogue>
<character>READER (O.S.)</character>
<dialogue>They're little babies.</dialogue>
<character>BOY ACTOR #1</character>
<dialogue>Where is their mom?</dialogue>
<character>READER (O.S.)</character>
<dialogue>In the mice tank with the other grown-ups.</dialogue>
<scene_description>She skips to the next boy.</scene_description>
<character>BOY ACTOR #2</character>
<parenthetical>(super slick)</parenthetical>
<dialogue>Hi everyone, my name is Tyler Ko, I'm 5'6", I'm 14 years old--</dialogue>
<scene_description>Skips to the next. We see a few. None of them feel like Joe.</scene_description>
</scene>
<scene>
<stage_direction>INT. X-RAY ROOM-- DAY</stage_direction>
<scene_description>Elizabeth watches Joe line up slides of broken arms. It's quiet and dark, besides the glow of the walls.</scene_description>
<character>ELIZABETH</character>
<dialogue>How'd he do it?</dialogue>
<scene_description>He checks a chart.</scene_description>
<character>JOE</character>
<dialogue>Skateboarding off the roof. Birthday party.</dialogue>
<character>ELIZABETH</character>
<dialogue>Can I see?</dialogue>
<scene_description>He shows her the file. There are pictures of the small boy (Chris) and his scratched-up face.</scene_description>
<character>ELIZABETH</character>
<dialogue>He's thirteen.</dialogue>
<scene_description>She puts her hand up to one of his on the wall. It's so tiny in comparison.</scene_description>
<character>ELIZABETH</character>
<dialogue>So small.</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<scene_description>She turns to face him. She stares into his eyes, neither say anything for a beat.</scene_description>
<character>ELIZABETH</character>
<dialogue>It's peaceful in here.</dialogue>
<character>JOE</character>
<dialogue>Very different than a movie set, I would think.</dialogue>
<character>ELIZABETH</character>
<dialogue>That's true.</dialogue>
<scene_description>He just smiles. Continues his work.</scene_description>
<character>ELIZABETH</character>
<dialogue>Except for backstage, when a play is going on. It's kind of like this.</dialogue>
<character>JOE</character>
<dialogue>You act in plays?</dialogue>
<character>ELIZABETH</character>
<dialogue>Sometimes. I should do it more. It's how I started.</dialogue>
<character>JOE</character>
<dialogue>I've seen your TV show.</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh, god.</dialogue>
<character>JOE</character>
<dialogue>It's very intense.</dialogue>
<character>ELIZABETH</character>
<dialogue>I've been very lucky to have it but I wish no one ever watched it.</dialogue>
<character>JOE</character>
<dialogue>I saw one where you had to operate on an elephant.</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm so embarrassed, I'm going to jump off the roof with those boys.</dialogue>
<scene_description>She covers her face sweetly with the chart. Flirtatious, but Joe doesn't respond in kind.</scene_description>
<character>ELIZABETH</character>
<dialogue>So, anyway, thanks for letting me come here.</dialogue>
<character>JOE</character>
<dialogue>You think it'll help?</dialogue>
<character>ELIZABETH</character>
<dialogue>I do. I can start to feel... what it was like. A little bit.</dialogue>
<character>JOE</character>
<dialogue>What what was like?</dialogue>
<character>ELIZABETH</character>
<dialogue>Sneaking around with you.</dialogue>
<scene_description>He freezes. Blushing, but it's too dark to tell.</scene_description>
<character>ELIZABETH</character>
<dialogue>I probably shouldn't have said that. You won't tell anyone, will you?</dialogue>
<scene_description>A beat. They hold each other's eyes for a moment too long, then laugh a little bit, break the tension. Just a joke.</scene_description>
<character>JOE</character>
<dialogue>No worries.</dialogue>
<scene_description>He puts the file in the wall pocket, opens the door, and flips the little colored plastic switch on the frame.</scene_description>
<character>JOE</character>
<dialogue>It's kind of lunch time now.</dialogue>
</scene>
<scene>
<stage_direction>INT. CRAB SHACK RESTAURANT - TYBEE ISLAND-- DAY</stage_direction>
<scene_description>Elizabeth sits down in a wooden booth of a neighborhood BBQ place. It has some sloppy, mellow live music playing. Across from her is MORRIS SPERBER, 60s. He's a lawyer-- criminal defense attorney. Short, sweet smile, the kind of New York accent you don't hear anymore.</scene_description>
<character>MORRIS</character>
<dialogue>I must say, you evoke her. You really do.</dialogue>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<scene_description>She wipes away an old ketchup stain on her side of the table.</scene_description>
<character>ELIZABETH</character>
<dialogue>What specifically?</dialogue>
<character>MORRIS</character>
<dialogue>You just have a loveliness-- a brightness. Like there isn't an angry bone in your body.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(dead-eyed smile)</parenthetical>
<dialogue>That's very sweet.</dialogue>
<scene_description>She's graduated to a yellow notepad.</scene_description>
<character>ELIZABETH</character>
<dialogue>So when did you meet Gracie?</dialogue>
<character>MORRIS</character>
<dialogue>My wife and kids and I had just moved down from New York. I had been doing some pretty high-profile cases, defending some pretty despicable men, as it were. Sharon finally had had it, she said I'm moving to Savannah, feel free to come with... And it was funny really, because for all the rapists and murderers, frauds, hit men... never did I end up on the front page of the New York Times. For Gracie, I ended up on the front page of the New York Times. Down in sleepy Savannah.</dialogue>
<scene_description>He butters some cornbread.</scene_description>
<character>MORRIS</character>
<dialogue>So I get the call after dinner to go down to the station. I walk in and sitting there in this flowery blouse is Gracie. And I said, "I think I know you." She said, "I'm Gracie Atherton, I'm your neighbor, I brought you a blueberry pound cake." And of course it was. We'd moved onto her very block on Tybee, and she'd dropped a cake off a few weeks earlier. So I said, "What can I help you with?" And that's when she told me.</dialogue>
<character>ELIZABETH</character>
<dialogue>What did she say exactly?</dialogue>
<character>MORRIS</character>
<dialogue>She said, "I've been caught having an affair." And I said, "Gracie, that's not illegal in this country, and if it were a lot of people would be in serious trouble." It was then that she started to cry. She said, "We're in love. I didn't mean for it to happen, but we fell in love."</dialogue>
<character>ELIZABETH</character>
<dialogue>So she was in denial, you would say?</dialogue>
<character>MORRIS</character>
<dialogue>Oh absolutely... She didn't think she'd done anything wrong. She was head over heels. He was a good- looking kid. She had no conception. Prison? I mean... She thought she could explain it to the judge and that would be that. It was all a bit Romeo and Juliet, a bit starry- eyed.</dialogue>
<character>ELIZABETH</character>
<dialogue>When did it sink in?</dialogue>
<scene_description>He takes a sip of his iced tea.</scene_description>
<character>MORRIS</character>
<dialogue>Does it seem like it's sunk in now?</dialogue>
<scene_description>There's a big crash of the drum cymbals from the live band, as they cover "Baby I Love Your Way." The LEAD SINGER--mid-30s, blonde hair dyed pastel colors, probably drunk--looks like he's bullying his SLIDE GUITARIST.</scene_description>
<character>MORRIS</character>
<parenthetical>(motioning to him)</parenthetical>
<dialogue>Have you met Georgie yet?</dialogue>
<character>ELIZABETH</character>
<dialogue>That's Georgie?</dialogue>
<character>MORRIS</character>
<dialogue>I had hoped things would turn out better for him, he was a very sweet boy. Very sensitive.</dialogue>
<scene_description>GEORGIE flings some Sprite onto the guy, who finally gets up and leaves the set. Georgie scoffs, and his eyes suddenly snap into focus on Elizabeth and Morris. He drops the microphone and walks right over to them. (His drummer is left to sing, which to his credit, he does.)</scene_description>
<character>GEORGIE</character>
<dialogue>Well... hey, look what the cat dragged in.</dialogue>
<character>MORRIS</character>
<dialogue>Georgie, how are you? This is Elizabeth Berry--</dialogue>
<character>GEORGIE</character>
<dialogue>Oh I know who this is. I know perfectly well.</dialogue>
<scene_description>With his chaotic nonchalance he scrapes a chair over and plops down, sizing her up, a twinkle in his eye.</scene_description>
<character>GEORGIE</character>
<dialogue>The actress.</dialogue>
<character>ELIZABETH</character>
<dialogue>...The son.</dialogue>
<character>GEORGIE</character>
<dialogue>So how much are they paying you? Is it a lot? Are they paying her?</dialogue>
<parenthetical>(meaning Gracie)</parenthetical>
<character>ELIZABETH</character>
<dialogue>It's an independent film...</dialogue>
<character>MORRIS</character>
<dialogue>Georgie, we don't mean to interrupt your show--</dialogue>
<character>GEORGIE</character>
<parenthetical>(amusing himself)</parenthetical>
<dialogue>Why don't you look me in the eye and tell me how selfish I am and I'll tell you if it's a match.</dialogue>
<character>MORRIS</character>
<dialogue>Let's get the check.</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm glad this happened, I've been wanting to meet you.</dialogue>
<character>GEORGIE</character>
<dialogue>Oh really... What have you heard?</dialogue>
<character>ELIZABETH</character>
<dialogue>That you're creative, and sensitive, and sweet.</dialogue>
<character>GEORGIE</character>
<dialogue>They would say that, wouldn't they.</dialogue>
<character>ELIZABETH</character>
<dialogue>What are you then?</dialogue>
<character>GEORGIE</character>
<dialogue>I'm a phoenix rising from the ashes, I'm a ghost.</dialogue>
<scene_description>He takes a little plastic cup of half & half from the table and downs it like a shot. And then, yuck, regrets it.</scene_description>
<character>ELIZABETH</character>
<dialogue>Because of what happened?</dialogue>
<character>GEORGIE</character>
<dialogue>Well it ruined my life, of course.</dialogue>
<character>ELIZABETH</character>
<dialogue>Do you remember when you found out?</dialogue>
<character>GEORGIE</character>
<dialogue>Yeah... Billy sat me down in my room. And I thought he was just trying to make me upset until I went and found my dad and he said it was true. He had slammed his fist down on his desk so hard that this part had split and it was bleeding everywhere.</dialogue>
<parenthetical>(points out the fold of skin under the pinky when clenching)</parenthetical>
<dialogue>It was right before my birthday so we forgot to cancel the party but only one guy came anyway and we just hung out in my room and ate so many warheads that I threw up, and we watched TV until the sun was almost up and I gave him a hand-job and then he never spoke to me again.</dialogue>
<scene_description>A beat where no one knows what to say and a lull from the band, having finished the last song. Then they start playing "Tight Rope" (Leon Russell) and Georgie turns.</scene_description>
<character>GEORGIE</character>
<dialogue>Jonah can't fucking sing this--</dialogue>
<scene_description>He rushes over to the stage like a rag doll.</scene_description>
<character>GEORGIE</character>
<parenthetical>(shouting back at them)</parenthetical>
<dialogue>See you around, nice to meet you!</dialogue>
<scene_description>He grabs the mic from his drummer and picks up singing in the middle of a sentence.</scene_description>
<character>GEORGIE</character>
<dialogue>--- tight-wire! Linked by life and the funeral pyre, But the top hat on my head is all you see...</dialogue>
<character>MORRIS</character>
<dialogue>Well, as you can see, the situation is not without casualties.</dialogue>
<scene_description>She stares at Georgie, electric for an unenthusiastic crowd. Morris shrugs as he pays the bill.</scene_description>
<character>MORRIS</character>
<dialogue>A lot more people in this community feel the way he does... than the way I do.</dialogue>
<character>ELIZABETH</character>
<dialogue>From what I've seen, she's pretty well-liked in the neighborhood. She seems busy with her business.</dialogue>
<scene_description>He hesitates.</scene_description>
<character>MORRIS</character>
<dialogue>You may want to check the names on those orders. It's a handful that repeat over and over, my wife's is one of them.</dialogue>
<character>ELIZABETH</character>
<dialogue>People are just ordering things to keep her busy?</dialogue>
<character>MORRIS</character>
<dialogue>It's a kindness. How many pineapple upside-down cakes can a family eat?</dialogue>
</scene>
<scene>
<stage_direction>EXT. JOE SR.'S APARTMENT-- DAY</stage_direction>
<scene_description>We see Joe walking across the manicured lawn of his father's apartment building, carrying a bag of groceries. It's a nice building, two stories high, with white trim. Balconies.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE SR.'S APARTMENT-- DAY</stage_direction>
<scene_description>It's a modest apartment for one. A portrait of Joe's mother-- a white woman-- hangs on the wall, memorial. Joe enters with his own key.</scene_description>
<character>JOE</character>
<dialogue>Hello?</dialogue>
<scene_description>JOE SR., 70, struggles to slide open the glass door to the balcony. Joe puts the bag down and helps him.</scene_description>
<character>JOE</character>
<dialogue>Hi, dad.</dialogue>
<character>JOE SR.</character>
<dialogue>Hi.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JOE SR.'S BALCONY-- A BIT LATER</stage_direction>
<scene_description>Joe and Joe Sr. sit in plastic chairs, a few floors up. In the distance you can see the water. Joe Sr. is smoking, and the ash tray is full.</scene_description>
<character>JOE</character>
<dialogue>Gracie wanted to know how you planned on getting to the graduation?</dialogue>
<character>JOE SR.</character>
<dialogue>I'll drive myself, it's close.</dialogue>
<scene_description>Joe nods.</scene_description>
<character>JOE</character>
<dialogue>It's hard to believe they'll be at college in the fall.</dialogue>
<scene_description>Joe Sr. nods.</scene_description>
<character>JOE</character>
<dialogue>An empty nest.</dialogue>
<character>JOE SR.</character>
<dialogue>You'll have more time to focus on other things.</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<scene_description>There's a lovely breeze, but chilly. Joe continues to stare forward. He swallows. It looks like he may be mulling over some words, seeing how they feel in his mouth. Instead he grabs a cigarette and lights it. Joe Sr. eyes him but says nothing.</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGH SCHOOL-- DAY</stage_direction>
<scene_description>SLOW-MOTION: Elizabeth walks down the crowded hallway of lockers. It's in between classes and there's a lot of movement. The kids look so young. And they stare at her, mostly the boys. Some pretend they aren't, but they are. Elizabeth locks eyes with a CONFIDENT FRESHMAN BOY as he jumps to tap the door frame to impress her. She gives him a little nod like she is impressed.</scene_description>
</scene>
<scene>
<stage_direction>INT. BLACK BOX THEATER-- A BIT LATER</stage_direction>
<scene_description>Elizabeth sits on a painted black cube next to drama teacher MS. LABRIOLA, 40s, severe bob, chip on her shoulder. A co-ed class of about twenty (including Mary) sits in the stands.</scene_description>
<character>MS. LABRIOLA</character>
<dialogue>This is the first time in my experience, I've worked here twenty years, that a Juilliard-educated actor has sat in this theater-- Cameron, quit it. It's an incredible opportunity, so let's ask some great questions, shall we?</dialogue>
<scene_description>CAMERON, 16, raises his hand.</scene_description>
<character>ELIZABETH</character>
<dialogue>Yes.</dialogue>
<character>CAMERON</character>
<dialogue>Have you acted in sex scenes?</dialogue>
<character>MS. LABRIOLA</character>
<dialogue>You're staying late.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yes, I have.</dialogue>
<character>MS. LABRIOLA</character>
<dialogue>You don't have to--</dialogue>
<character>ELIZABETH</character>
<dialogue>No, it's fine. I have, and it is a strange part of acting.</dialogue>
<character>CAMERON</character>
<dialogue>Like what?</dialogue>
<scene_description>His friends giggle. She really thinks about it.</scene_description>
<character>ELIZABETH</character>
<dialogue>Sometimes it's really mechanical, choreographed like a dance, where the only thing you can really think about is where you're supposed to be and when. But sometimes there's a genuine chemistry between two people, and it feels sort of real in this strange way, not that either of you would ever admit it. But you're wearing practically nothing and rubbing up against each other. Sweating. For hours. You start to lose the line of... am I pretending to be experiencing pleasure or am I pretending that I'm not experiencing pleasure? And the crew is almost always all men, and you can feel them watching. Holding their breath. Trying to hide it when they have to swallow. You give in to the rhythm of it. Over and over, but the tension never breaks.</dialogue>
<scene_description>The boys have stopped giggling. Ms. Labriola is blushing but doesn't know what to do so she calls on a girl (KIMME) who has her hand raised.</scene_description>
<character>MS. LABRIOLA</character>
<dialogue>Kimme--yeah?</dialogue>
<character>KIMME</character>
<dialogue>How do you choose your roles?</dialogue>
<character>ELIZABETH</character>
<dialogue>When I'm lucky enough to choose, I'm looking for characters that may be difficult on the surface to understand. I want to take a person and try to figure out-- Why are they like this? Were they born or made? And that could really run the gamut, you know, from the more notorious, uh...</dialogue>
<parenthetical>(unconsciously motions slightly to Mary)</parenthetical>
<dialogue>To just anyone.</dialogue>
<scene_description>Mary is frozen, clenched.</scene_description>
<character>MARY</character>
<dialogue>Why would you want to play someone who you think has done something bad?</dialogue>
<character>ELIZABETH</character>
<dialogue>Are you kidding? I mean, pick a great role. Medea, Hedda Gabler--</dialogue>
<character>CAMERON</character>
<dialogue>Tony Soprano.</dialogue>
<scene_description>More titters.</scene_description>
<character>ELIZABETH</character>
<dialogue>Exactly, Cameron--no... This complexity, these moral grey areas are what's interesting.</dialogue>
<scene_description>Mary checks the time, suppressing everything she can.</scene_description>
</scene>
<scene>
<stage_direction>A43 EXT. ELIZABETH'S CAR-- AFTERNOON A43</stage_direction>
<scene_description>High wide angle of Elizabeth's car heading toward the Atherton-Yoo house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ATHERTON-YOO HOUSE-- AFTERNOON</stage_direction>
<scene_description>Elizabeth pulls up in her rental, giving Mary a ride home.</scene_description>
<character>ELIZABETH</character>
<dialogue>I'm sorry you're not feeling well--</dialogue>
<scene_description>Mary exits the car and shuts the car door, hunched under her back-pack. She walks quickly up to the front, opens it and slams the door behind her. Elizabeth slowly follows the same route, almost amused. She rings the bell.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO BATHROOM-- A BIT LATER</stage_direction>
<scene_description>Gracie is bringing a second chair into the bathroom, and the two women sit down in front of the mirror.</scene_description>
<character>GRACIE</character>
<dialogue>Now this is silly.</dialogue>
<character>ELIZABETH</character>
<dialogue>It's actually very serious business.</dialogue>
<scene_description>Gracie laughs. A seductive energy between them.</scene_description>
<character>GRACIE</character>
<dialogue>If you say so.</dialogue>
<scene_description>Gracie starts to put on her make-up, step by step. Elizabeth takes notes. She looks on the bottoms of lipsticks and blush, writes down the names.</scene_description>
<character>GRACIE</character>
<dialogue>It may be easier if I just...</dialogue>
<scene_description>She motions for her to scoot closer. She starts doing Elizabeth's face up.</scene_description>
<character>GRACIE</character>
<dialogue>I bet you're used to this.</dialogue>
<scene_description>Elizabeth closes her eyes.</scene_description>
<character>GRACIE</character>
<dialogue>Did you always want to be an actress?</dialogue>
<character>ELIZABETH</character>
<dialogue>Always.</dialogue>
<scene_description>Gracie silently paints away. Leaving Elizabeth to fill the silence.</scene_description>
<character>ELIZABETH</character>
<dialogue>I wanted to be on Broadway... When I first told my parents, I was nine or ten, and they looked so disappointed. They said, "But honey, you're so much smarter than that."</dialogue>
<character>GRACIE</character>
<dialogue>And what did you say?... Are you smarter than that?</dialogue>
<scene_description>Elizabeth genuinely laughs.</scene_description>
<character>ELIZABETH</character>
<dialogue>I don't know.</dialogue>
<character>GRACIE</character>
<dialogue>What do they do, your parents?</dialogue>
<character>ELIZABETH</character>
<dialogue>They're academics. My mother wrote a pretty respected book on epistemic relativism...?</dialogue>
<character>GRACIE</character>
<dialogue>Well my mother wrote a great recipe for blueberry cobbler.</dialogue>
<character>ELIZABETH</character>
<dialogue>What was your mother like?</dialogue>
<character>GRACIE</character>
<dialogue>She was beautiful.</dialogue>
<scene_description>Elizabeth opens her eyes to find herself painted just like Gracie, her notebook closed on her lap.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEN-- AFTERNOON</stage_direction>
<scene_description>Joe, home from work and in casual clothes, watches more "This Old House" on PBS. The curtains are drawn but the room has that warm, sickly afternoon glow. On screen, TOMMY SILVA instructs a HOMEOWNER as she caulks her bathroom tile.</scene_description>
<character>TOMMY SILVA</character>
<dialogue>Push it in there, there you go, put your hand closer to the tip, keep the gun level...</dialogue>
<scene_description>The woman's hands move slowly along her bathtub, the sexual connotations obvious (though not to Tommy, completely innocent on his part... all respect to Tommy Silva). Joe seems hypnotized by the caulking.</scene_description>
<character>GRACIE</character>
<dialogue>Knock-knock.</dialogue>
<scene_description>Gracie and Elizabeth poke their heads into the den: a strange doubling.</scene_description>
<character>GRACIE</character>
<dialogue>Sweetie, I was hoping you could clear your bugs out before Honor comes home - I want to get the house ready for her. And then could you pick up dinner, I'm swamped.</dialogue>
<character>JOE</character>
<dialogue>Sure.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can help.</dialogue>
<character>TOMMY SILVA (O.S.)</character>
<dialogue>Now that's a caulking that will stand the test of time.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM-- A BIT LATER</stage_direction>
<scene_description>Joe and Elizabeth stare into the mesh cages. His caterpillars have gotten even plumper, wiggling around eating leaves. Elizabeth, in Gracie's make-up, runs her finger along the side of the mesh. A subtle, seductive energy.</scene_description>
<character>ELIZABETH</character>
<dialogue>I like them.</dialogue>
<character>JOE</character>
<dialogue>They're hungry this year.</dialogue>
<scene_description>He starts to carefully prepare them for a move into the den.</scene_description>
<character>ELIZABETH</character>
<dialogue>How long have you been doing this?</dialogue>
<character>JOE</character>
<dialogue>A few years. I saw an article about how the monarch population is dwindling, and they mentioned that people help raise them. I'm not the only one who does this-- Gracie makes it seem that way, but all over the country people do it.</dialogue>
<character>ELIZABETH</character>
<dialogue>How do you do it?</dialogue>
<character>JOE</character>
<dialogue>You just keep your eyes open. Look for the eggs, take them inside, protect them, so they have a chance to grow.</dialogue>
<scene_description>On this subject Joe lights up in a way we haven't seen.</scene_description>
<character>JOE</character>
<dialogue>It's actually had an impact. The numbers are way up. I'm part of this... Facebook group--I know, it sounds really dorky.</dialogue>
<character>ELIZABETH</character>
<dialogue>Not at all.</dialogue>
<character>JOE</character>
<dialogue>My friend, Michela, who's in the group--she's in Durham-- People put milkweed in the cages for them to attach to, but she also puts these sticks in for them to climb. 'Cause some of them attach to the top of the mesh when they form the chrysalis, and hang upside-down.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Anyway, I know it's boring.</dialogue>
<character>ELIZABETH</character>
<dialogue>It's fascinating.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEIGHBORHOOD-- A BIT LATER</stage_direction>
<scene_description>Late afternoon, where the houses end, Joe and Elizabeth take a walk. The hot milky sky beats down against the wipe of marshland. Even out here the clenched oaks still drip with Spanish moss.</scene_description>
<character>ELIZABETH</character>
<dialogue>It's a beautiful place to live.</dialogue>
<character>JOE</character>
<dialogue>Yeah, it's been really nice.</dialogue>
<scene_description>Silence as they walk, no one on the road.</scene_description>
<character>JOE</character>
<dialogue>So... It's hard to tell what you actually think about all this, you know...</dialogue>
<character>ELIZABETH</character>
<dialogue>I think you have a nice family. And you're both interesting people.</dialogue>
<character>JOE</character>
<dialogue>Okay.</dialogue>
<character>ELIZABETH</character>
<dialogue>I don't know. What do you think?</dialogue>
<character>JOE</character>
<dialogue>I think it's hard to trust that... you know, that you're gonna represent things as they were, or...</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm gonna try.</dialogue>
<character>JOE</character>
<dialogue>It's hard to feel... I don't know. People... they like see me as a victim, or something...</dialogue>
<scene_description>Elizabeth nods, letting him talk.</scene_description>
<character>JOE</character>
<dialogue>I mean we've been together almost twenty-four years... like... I mean, why would we do that if we weren't happy?</dialogue>
<character>ELIZABETH</character>
<dialogue>Right.</dialogue>
<character>JOE</character>
<dialogue>I was different than... a lot of the kids-- the people around me. Girls were never... But she was so... She saw me.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah...</dialogue>
<character>JOE</character>
<dialogue>I wanted it.</dialogue>
<scene_description>That kind of just hangs there.</scene_description>
<character>JOE</character>
<dialogue>I don't know.</dialogue>
<character>ELIZABETH</character>
<dialogue>What did your parents think?</dialogue>
<character>JOE</character>
<dialogue>We didn't talk about it. My dad was always focused on his work. And my mom... She passed away when I was twenty so we never got to really... look back on it--</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm sorry.</dialogue>
<character>JOE</character>
<dialogue>No, it's... it's hard to imagine what that would have been like honestly, that conversation.</dialogue>
<character>ELIZABETH</character>
<dialogue>You were so young, to have all those eyes on you.</dialogue>
<character>JOE</character>
<dialogue>I already... weirdly felt that? Growing up here? I always had that feeling like everyone kind of... knew who I was. So when it happened so big and everything with all the tabloids it was kind of like-- I don't know-- almost familiar?</dialogue>
<scene_description>They keep walking for a beat. He lets the moment pass.</scene_description>
<character>JOE</character>
<dialogue>You really look different with that make-up.</dialogue>
<scene_description>She poses, cutely.</scene_description>
<character>ELIZABETH</character>
<dialogue>Remind you of anyone?</dialogue>
<scene_description>He laughs a little, then stops.</scene_description>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO HOUSE-- DUSK</stage_direction>
<scene_description>Joe comes back into the house as the sun is setting and can immediately tell something is amiss. All the lights are off. It's silent. He puts the take-out on the counter and drops his head.</scene_description>
<character>JOE</character>
<dialogue>Fuck.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM-- A BIT LATER</stage_direction>
<scene_description>From the doorway Joe can see Gracie silently weeping, lying flat on the bed. The last light from the window making the room feel pale blue. Joe holds his breath.</scene_description>
<character>JOE</character>
<dialogue>What happened?</dialogue>
<scene_description>Silent weeping, stillness. Finally some sniffling, words caught in her throat.</scene_description>
<character>GRACIE</character>
<dialogue>Joyce Mercer called and cancelled her order, and all future orders.</dialogue>
<scene_description>He lets out an almost undetectable sigh of relief, sits on the bed.</scene_description>
<character>JOE</character>
<dialogue>I'm sorry.</dialogue>
<character>GRACIE</character>
<dialogue>And I told her I had already made it and she said she'd pay for this one but that she didn't need it, and they were leaving town.</dialogue>
<character>JOE</character>
<dialogue>Where are they going?</dialogue>
<character>GRACIE</character>
<dialogue>Her sister is sick or something-- it doesn't matter! I wasted hours that I could have used.</dialogue>
<character>JOE</character>
<dialogue>You couldn't have known.</dialogue>
<character>GRACIE</character>
<dialogue>I hate things like that! And now I have this cake that'll go right in the garbage.</dialogue>
<character>JOE</character>
<dialogue>You don't have to throw the cake in the garbage.</dialogue>
<scene_description>She slows down. Turns her head to face him, still lying down.</scene_description>
<character>GRACIE</character>
<dialogue>Where were you?</dialogue>
<character>JOE</character>
<dialogue>Oh I just took a walk, showed Elizabeth the neighborhood.</dialogue>
<character>GRACIE</character>
<dialogue>"Elizabeth."</dialogue>
<scene_description>He treads very carefully, picks up some clothes from the floor.</scene_description>
<character>GRACIE</character>
<dialogue>She's getting on my last nerve.</dialogue>
<character>JOE</character>
<dialogue>Why?</dialogue>
<character>GRACIE</character>
<dialogue>She's just everywhere I look. And for what?</dialogue>
<character>JOE</character>
<dialogue>For the movie. So people see it and understand more and it's... maybe easier for you or more--</dialogue>
<character>GRACIE</character>
<dialogue>For me?</dialogue>
<character>JOE</character>
<dialogue>For us, for both of us.</dialogue>
<scene_description>He sighs.</scene_description>
<character>JOE</character>
<dialogue>I don't know. She'll be gone soon.</dialogue>
<scene_description>She examines his face for something, but doesn't find it. She gives a last sob, wipes her tears, sits up. She looks so tiny, with pleading eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN-- NIGHT</stage_direction>
<scene_description>Gracie presents her cake to Joe. It's pretty sizable, three layers. Covered in frosting with mounds of shredded coconut. She cuts him a big piece and smiles at him, expectantly. He smiles back. He takes a big bite as she watches, chin on her hands.</scene_description>
<character>JOE</character>
<dialogue>Mmmm, so good.</dialogue>
<scene_description>It looks very sweet. They sit in silence as he chews and she watches.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- MORNING</stage_direction>
<scene_description>ROBERTO, 40s, Italian film director, is on the phone with Elizabeth, who is distracted and happens to be looking up the Sex Offender Registry for Georgia.</scene_description>
<character>ELIZABETH</character>
<dialogue>I'm telling you, it's going great, really really helpful.</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>I'm very happy to hear this, I think it's very good. But I have Carlo on my ass because you are over the number of days that we budgeted for.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>Well it sounds like the crew wrap sweatshirts have just turned to crew wrap mugs, doesn't it?</dialogue>
<scene_description>They both laugh. She takes a few puffs of her inhaler.</scene_description>
<character>ELIZABETH</character>
<dialogue>I know you trust me--</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>Of course I do--</dialogue>
<character>ELIZABETH</character>
<dialogue>And I really feel like I'm getting close to something that's true. Something honest.</dialogue>
<scene_description>The look in her eye does not seem entirely confident.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>Okay, okay. Through Friday.</dialogue>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<scene_description>She finds Gracie's registry photo-- it looks like the ID for a country club. A big smile and a bow in her hair.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>But that's it, I'm serious.</dialogue>
<character>ELIZABETH</character>
<dialogue>He's very serious.</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>I am.</dialogue>
<character>ELIZABETH</character>
<dialogue>How's your wife?</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>Ah, ah. Elizabet.</dialogue>
<character>ELIZABETH</character>
<dialogue>What.</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>You're reckless.</dialogue>
<character>ELIZABETH</character>
<dialogue>Is she home?</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>No, but you had no idea.</dialogue>
<scene_description>She smiles.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>She got hired on a television series back in Rome, so she won't be on set.</dialogue>
<character>ELIZABETH</character>
<dialogue>Good.</dialogue>
<character>ROBERTO (O.S.)</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Le donne pericolose, perché lo faccio?</dialogue>
<parenthetical>(to Elizabeth)</parenthetical>
<dialogue>Did you watch the tapes?</dialogue>
<character>ELIZABETH</character>
<dialogue>I did. Look, I'm sure they've seen a lot of people, but has it just been LA? The kids I saw were cute, but they just weren't like, sexy enough. I mean you've seen him. He's got this... quiet confidence, I'm sure even as a kid.</dialogue>
<scene_description>A pause on the line.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>I think... you need to come home.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AIRPORT-- DAY</stage_direction>
<scene_description>HONOR ATHERTON-YOO, 22, runs up to the car with her rollie suitcase. She has bleached hair, and a tired expression. Mary bounds out of the car to hug her. Joe looks on happily as he loads her suitcases. She hugs him.</scene_description>
<character>JOE</character>
<dialogue>I've missed you.</dialogue>
<character>HONOR</character>
<dialogue>I've missed you too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY-- A BIT LATER</stage_direction>
<scene_description>High wide angle of Joe's car winding off from Savannah toward Tybee. WE HEAR:</scene_description>
<character>JOE</character>
<dialogue>How's the roommate?</dialogue>
<character>HONOR</character>
<dialogue>She's fine, we got over it.</dialogue>
<character>JOE</character>
<dialogue>I knew you would.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR-- CONTINUOUS</stage_direction>
<scene_description>The girls sit together in the backseat.</scene_description>
<character>HONOR</character>
<dialogue>How's mom?</dialogue>
<character>JOE</character>
<dialogue>Great. Busy.</dialogue>
<character>HONOR</character>
<dialogue>And how's the actress?</dialogue>
<scene_description>Mary rolls her eyes in the back of her head and sticks her tongue out in a funny way. The girls laugh. Joe eyes them in the rear view mirror.</scene_description>
<character>JOE</character>
<dialogue>What's funny?</dialogue>
<scene_description>He smiles, but he missed it.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN - TV SCREEN-- AFTERNOON</stage_direction>
<scene_description>On Elizabeth's TV screen, a pixelated DVD copy of "The Gracie Atherton Story" plays: a movie of the week in a time when they were especially bad. TV MOVIE "GRACIE" walks down the aisle of the pet shop. The look is right enough but the energy is much more Mrs. Robinson than real Gracie. Composed, in charge.</scene_description>
<character>TV MOVIE "GRACIE"</character>
<dialogue>Joey.... Are you in there?</dialogue>
</scene>
<scene>
<stage_direction>INT. DEN-- AFTERNOON</stage_direction>
<scene_description>Joe sits in his den, leaning forward, leg bouncing. Staring at his text thread with Michela.</scene_description>
<character>JOE</character>
<dialogue>How's it going?</dialogue>
<character>MICHELA</character>
<dialogue>Okay, tired. Work troubles. How about you?</dialogue>
<character>JOE</character>
<dialogue>Exhausted. Getting it from all angles.</dialogue>
<character>MICHELA</character>
<dialogue>That sucks, I'm sorry!</dialogue>
<scene_description>With a little heart.</scene_description>
<character>JOE</character>
<dialogue>It's okay... sounds like things aren't going too great for either one of us.</dialogue>
<character>MICHELA</character>
<dialogue>Ha ha.</dialogue>
<scene_description>TV SCREEN-- CONTINUOUS "Gracie" finds TV MOVIE "JOE" stocking fish food on a shelf. She watches him as trashy music plays. He notices her, turns around.</scene_description>
<character>TV MOVIE "JOE"</character>
<dialogue>You scared me.</dialogue>
<character>TV MOVIE "GRACIE"</character>
<dialogue>Did I? You don't look scared to me.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEN-- CONTINUOUS</stage_direction>
<character>JOE</character>
<dialogue>I could use a vacation.</dialogue>
<character>MICHELA</character>
<dialogue>Me too.</dialogue>
<scene_description>He takes a breath.</scene_description>
<character>JOE</character>
<dialogue>We should go here.</dialogue>
<scene_description>He sends a picture of the butterfly sanctuary in Piedra Herrada, Mexico-- so many orange butterflies line the trees that they look like fall leaves. No response.</scene_description>
<character>JOE</character>
<dialogue>Finally see where all these butterflies end up.</dialogue>
<scene_description>(...) and then it disappears, and then reappears a few times.</scene_description>
<character>MICHELA</character>
<dialogue>I thought you were married, no?</dialogue>
<character>JOE</character>
<dialogue>I am. Sorry, I was just thinking out loud.</dialogue>
<scene_description>Joe hits his forehead with little remorseful hits.</scene_description>
<character>JOE</character>
<dialogue>It was just a joke. Sorry I said that.</dialogue>
<scene_description>No response.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- CONTINUOUS</stage_direction>
<scene_description>Elizabeth gets dressed with the TV movie playing on the TV in the background. She does her make-up the way Gracie taught her to. ONSCREEN: WE SEE THE BACK OF "GRACIE" AS SHE FACES "JOE." SHE TAKES OFF HER CARDIGAN AND HE DROPS THE BOX OF FISH FOOD ON THE GROUND.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOF-- LATE AFTERNOON</stage_direction>
<scene_description>Joe lies on the roof looking up at the sky. Clearly lost in thought, something playing out that makes him wince. He looks comfortable here though, familiar. After a beat, Charlie opens the window.</scene_description>
<character>CHARLIE</character>
<dialogue>Oh hi.</dialogue>
<character>JOE</character>
<dialogue>Hi-- it's okay. Come out.</dialogue>
<scene_description>Charlie hesitates for a beat then climbs out and sits down, looking out the same direction.</scene_description>
<character>CHARLIE</character>
<dialogue>What are you doing out here?</dialogue>
<character>JOE</character>
<dialogue>Just thinking.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>How's it going?</dialogue>
<character>CHARLIE</character>
<dialogue>Fine.</dialogue>
<character>JOE</character>
<dialogue>You excited about tomorrow?</dialogue>
<character>CHARLIE</character>
<dialogue>Sure.</dialogue>
<character>JOE</character>
<dialogue>I can't believe you guys are leaving. I try to picture what it'll be like but I can't.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Charlie lies back too, stares up at the sky.</scene_description>
<character>JOE</character>
<dialogue>Are you nervous?</dialogue>
<character>CHARLIE</character>
<dialogue>About what?</dialogue>
<character>JOE</character>
<dialogue>College, leaving home.</dialogue>
<character>CHARLIE</character>
<dialogue>I can't wait to leave home.</dialogue>
<scene_description>Stings.</scene_description>
<character>JOE</character>
<dialogue>Good. I think that's good.</dialogue>
<scene_description>Silence. Charlie tries to ignore that Joe is staring at him.</scene_description>
<character>CHARLIE</character>
<dialogue>Are you gonna be out here for a while or...?</dialogue>
<character>JOE</character>
<dialogue>Should I not be?</dialogue>
<character>CHARLIE</character>
<parenthetical>(after a beat)</parenthetical>
<dialogue>I... was gonna...</dialogue>
<scene_description>He holds a cute little joint.</scene_description>
<character>JOE</character>
<dialogue>Oh. Um... No, you should... go ahead.</dialogue>
<scene_description>Joe seems so awkward, Charlie smiles sweetly at him.</scene_description>
<character>CHARLIE</character>
<dialogue>You sure?</dialogue>
<character>JOE</character>
<dialogue>Yeah, sure...</dialogue>
<scene_description>Charlie lights it and inhales a few times. A subtle shift, more relaxed, an inch more open.</scene_description>
<character>CHARLIE</character>
<dialogue>Do you want?</dialogue>
<character>JOE</character>
<dialogue>No-- thanks. I'm good. Never done that...</dialogue>
<character>CHARLIE</character>
<dialogue>No, dad. That's crazy.</dialogue>
<scene_description>He laughs, but with kindness. Joe laughs along, looks back at the joint.</scene_description>
<character>CHARLIE</character>
<dialogue>You definitely don't have to.</dialogue>
<scene_description>Joe looks a little worried but goes for it. He's clumsy. Takes a really deep inhale. Coughs. They laugh.</scene_description>
<character>CHARLIE</character>
<dialogue>You don't...</dialogue>
<character>JOE</character>
<dialogue>I'm fine.</dialogue>
<parenthetical>(he coughs some more)</parenthetical>
<dialogue>It's all good.</dialogue>
<parenthetical>(takes some deep breaths)</parenthetical>
<dialogue>This is nice.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Joe lies back on the roof. The clouds are soft but there's blue in the sky.</scene_description>
<character>JOE</character>
<dialogue>I'm gonna miss you.</dialogue>
<character>CHARLIE</character>
<dialogue>I know.</dialogue>
<scene_description>He rests his head on Charlie's chest. His mouth seems dry.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT HALL-- LATE AFTERNOON</stage_direction>
<scene_description>Elizabeth has arrived, dressed for dinner. She's wearing her make-up like Gracie showed her.</scene_description>
<character>GRACIE</character>
<dialogue>Well don't you look nice.</dialogue>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<scene_description>Gracie is still in day clothes with a flour-y apron on.</scene_description>
<character>GRACIE</character>
<dialogue>You're early.</dialogue>
<character>ELIZABETH</character>
<dialogue>Am I?</dialogue>
<character>GRACIE</character>
<dialogue>You can help me then.</dialogue>
<scene_description>Gracie smiles at her and then throws an apron at her, a little forcefully.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN-- A FEW MINUTES LATER</stage_direction>
<scene_description>Elizabeth stares at a pot of browned, bubbling sugar, waiting for it to turn the right shade of brown.</scene_description>
<character>GRACIE</character>
<dialogue>It's temperamental. You have to keep an eye on it every second or you could ruin it.</dialogue>
<scene_description>It's getting pretty dark.</scene_description>
<character>ELIZABETH</character>
<dialogue>I think it's ready.</dialogue>
<scene_description>Gracie, who has been working on a batter, peers over. Nods. She hands her a wooden spoon.</scene_description>
<character>GRACIE</character>
<dialogue>Okay this all happens quickly. Put the butter in and don't stop stirring.</dialogue>
<scene_description>She does. Gracie pours in some cream by sight, it bubbles rapidly. Elizabeth stirs furiously.</scene_description>
<character>GRACIE</character>
<dialogue>Alright now pour it into this pan.</dialogue>
<scene_description>Elizabeth grabs for the hot handles.</scene_description>
<character>ELIZABETH</character>
<dialogue>Fuck!</dialogue>
<character>GRACIE</character>
<dialogue>Well, use the mitts...</dialogue>
<scene_description>She does. Gracie scrapes out every last bit.</scene_description>
<character>GRACIE</character>
<dialogue>Now line these up, and really do it nicely, it matters how it looks.</dialogue>
<scene_description>Elizabeth places dark red cherries in the caramel. Gracie finishes mixing a batter and looks over Elizabeth's shoulder.</scene_description>
<character>GRACIE</character>
<dialogue>That's very nice.</dialogue>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<scene_description>They work in silence for a bit, side by side.</scene_description>
<character>GRACIE</character>
<dialogue>This is my brother Bill's favorite cake.</dialogue>
<character>ELIZABETH</character>
<dialogue>Is it for him?</dialogue>
<character>GRACIE</character>
<dialogue>No, he's in Minneapolis. He works for the Twins.</dialogue>
<character>ELIZABETH</character>
<dialogue>Which twins?</dialogue>
<character>GRACIE</character>
<dialogue>It's a professional baseball team...</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh. Of course.</dialogue>
<character>GRACIE</character>
<dialogue>He was captain of the baseball team in high school, and then he played in college. And now he's a professional pitching coach.</dialogue>
<scene_description>Elizabeth keeps lining up cherries.</scene_description>
<character>GRACIE</character>
<dialogue>He was always so protective of me when we were kids, even though he was younger. Any boys that got near me he'd throw up against the locker and say, "What are your intentions!"</dialogue>
<scene_description>She laughs about this, lovingly.</scene_description>
<character>ELIZABETH</character>
<dialogue>What were their intentions?</dialogue>
<scene_description>Gracie gives her a side-eyed glance. She pours the batter in the pan over the cherries. Elizabeth watches her put the cake in the oven.</scene_description>
<character>GRACIE</character>
<dialogue>You know Joe's been with more women than I have men.</dialogue>
<scene_description>Elizabeth tidies up, tries not to look her in the eye, tries not to spook her.</scene_description>
<character>ELIZABETH</character>
<dialogue>Is that right?</dialogue>
<character>GRACIE</character>
<dialogue>Nobody seems to remember that. But I had only slept with Tom before Joe. He'd been with two girls before me.</dialogue>
<character>ELIZABETH</character>
<dialogue>When he was in seventh grade?</dialogue>
<scene_description>She mixes frosting for something else.</scene_description>
<character>GRACIE</character>
<dialogue>He led a very different kind of life than I did. His father was always away working, he was the man of the house, had to take care of his little sisters almost by himself. One of them with terrible asthma. He grew up quickly. Whereas I was very sheltered.</dialogue>
<scene_description>Gracie puts her hand on Elizabeth's hand. They don't look at each other.</scene_description>
<character>GRACIE</character>
<dialogue>I wanted to show you something.</dialogue>
<scene_description>She hands her a poem, written by a child.</scene_description>
<character>GRACIE</character>
<dialogue>Joe gave that to me, back then. I just think it's lovely.</dialogue>
<character>ELIZABETH</character>
<dialogue>"Peace is sitting by a lake in the summertime, Peace is a Coca Cola on a hot summer day, Peace is being with you."</dialogue>
<character>GRACIE</character>
<dialogue>The assignment was "What is peace?"</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE ROOF-- A BIT LATER</stage_direction>
<scene_description>Joe grabs his son's face as they lie on their sides.</scene_description>
<character>JOE</character>
<dialogue>You're such a special person.</dialogue>
<character>CHARLIE</character>
<dialogue>Dad, this is so weird, please.</dialogue>
<character>JOE</character>
<dialogue>I really mean it.</dialogue>
<character>GRACIE (O.S.)</character>
<dialogue>You boys up there?</dialogue>
<scene_description>Joe bolts upright. Gracie and Elizabeth appear on the lawn below, looking up in their matching aprons. They look like twins. Joe appears stunned, like he's seeing double.</scene_description>
<character>CHARLIE</character>
<parenthetical>(calling down)</parenthetical>
<dialogue>Yeah.</dialogue>
<character>GRACIE</character>
<dialogue>Garibaldi's said they can take us at seven, how's that sound?</dialogue>
<scene_description>Joe seems very overwhelmed by the question.</scene_description>
<character>CHARLIE</character>
<dialogue>That sounds great, thanks, mom!</dialogue>
<scene_description>Joe stands up, but kind of loses his balance and takes a few fast steps forward to center himself, coming very close to the edge of the roof.</scene_description>
<character>GRACIE</character>
<dialogue>Joe!</dialogue>
<character>ELIZABETH</character>
<dialogue>Joe!</dialogue>
<scene_description>He steadies, and starts laughing so hard. So so hard.</scene_description>
<character>GRACIE</character>
<dialogue>Joe, are you okay?</dialogue>
<character>CHARLIE</character>
<dialogue>Dad?</dialogue>
<character>JOE</character>
<dialogue>I was just--</dialogue>
<scene_description>Tears of laughter are pouring down his face, his back to them.</scene_description>
<character>JOE</character>
<dialogue>I was just thinking... what if.. I had... to take...</dialogue>
<scene_description>He snorts, the laughter exponentially growing.</scene_description>
<character>JOE</character>
<dialogue>My own... X-rays.</dialogue>
<character>GRACIE</character>
<dialogue>Honey, I can't hear you...?</dialogue>
<scene_description>His laughing tears turn instantly into crying tears. He crouches down into a ball, behind the dormer windows, out of sight.</scene_description>
<character>GRACIE</character>
<dialogue>Is he okay up there?</dialogue>
<character>CHARLIE</character>
<dialogue>Totally fine, mom, we'll see you inside!</dialogue>
<scene_description>Gracie turns to Elizabeth, shaking her head. Boys. They head back in. Charlie crouches down and rubs his back.</scene_description>
<character>CHARLIE</character>
<dialogue>Maybe this wasn't the best idea.</dialogue>
<character>JOE</character>
<dialogue>I feel like everything's so fucked up.</dialogue>
<character>CHARLIE</character>
<dialogue>It's not, dad. It's okay.</dialogue>
<character>JOE</character>
<dialogue>I just want you to have a good life.</dialogue>
<character>CHARLIE</character>
<dialogue>I will.</dialogue>
<character>JOE</character>
<dialogue>Because... Bad things... They happen... and we do bad things also and we have to think about it-- or you try not to think about it, but if you try not to think about it there's...</dialogue>
<scene_description>He motions with his hands, as if holding energy.</scene_description>
<character>JOE</character>
<dialogue>There's this...</dialogue>
<parenthetical>(searching for the word and not finding it)</parenthetical>
<dialogue>--What's it called... D'you know what I mean?</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah, dad.</dialogue>
<character>JOE</character>
<dialogue>Oh god, I can't tell if we're connecting or if I'm just creating a bad memory for you, in real time, but I can't control it.</dialogue>
<character>CHARLIE</character>
<dialogue>We're connecting, dad, it's okay, really, don't worry about me, okay?</dialogue>
<scene_description>Joe heaves. He tries to hold in his sobs but that just brings spit and snot.</scene_description>
<character>JOE</character>
<dialogue>That's all I do.</dialogue>
<scene_description>Charlie wipes Joe's face off with his sweatshirt sleeve as he continues to sob.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARIBALDI'S - HISTORIC SAVANNAH-- EARLY EVENING</stage_direction>
<scene_description>Gracie, Joe, Honor, Charlie, Mary and Elizabeth sit at the corner table of a Southern restaurant inside an old historic building. It's a busy night. Joe looks puffy and red-eyed from earlier. Charlie still seems stoned. Mary and Honor confide in little smirks. Only Gracie looks genuinely happy. Their entrees are in front of them, a big basket of bread in the middle. The girls have Shirley Temples. They hold their glasses up, mid-toast.</scene_description>
<character>GRACIE</character>
<dialogue>I am so glad that Honor was done with her finals in time to come watch our beautiful Mary and our gentle Charlie--</dialogue>
<scene_description>Neither of them seem to like their epithets...</scene_description>
<character>GRACIE</character>
<dialogue>-- walk across that stage tomorrow. I couldn't be prouder of the both of you. And to Joe... The love of my life. To entering this next phase together. And as our little ones fly away from the nest, they know they can always come home.</dialogue>
<scene_description>They all clink glasses.</scene_description>
<character>HONOR</character>
<dialogue>You're forgetting someone.</dialogue>
<scene_description>She has an unapologetic look on her face.</scene_description>
<character>GRACIE</character>
<dialogue>That's right, Elizabeth. We couldn't be more thrilled to have you here at this very special time.</dialogue>
<scene_description>More clinks. They start eating.</scene_description>
<character>GRACIE</character>
<dialogue>Honor, when we get back home I'll show you what your dad and I got your sister for graduation.</dialogue>
<character>HONOR</character>
<parenthetical>(her little dig)</parenthetical>
<dialogue>Is it a scale?</dialogue>
<character>GRACIE</character>
<dialogue>Excuse me?</dialogue>
<character>HONOR</character>
<dialogue>When I went to college you bought me a scale.</dialogue>
<scene_description>Gracie looks at her.</scene_description>
<character>GRACIE</character>
<dialogue>That was just part of setting you up at your school, you know perfectly well that wasn't your graduation present.</dialogue>
<character>HONOR</character>
<dialogue>Well it came wrapped with a bow.</dialogue>
<character>GRACIE</character>
<dialogue>We got her a necklace! With her birthstone on it, just like we got you, although I see you're not wearing it.</dialogue>
<scene_description>Honor is ready to change topics, turns to Elizabeth.</scene_description>
<character>HONOR</character>
<dialogue>So when do you start shooting this movie?</dialogue>
<character>ELIZABETH</character>
<dialogue>In about three weeks.</dialogue>
<character>HONOR</character>
<dialogue>I wish you weren't doing that.</dialogue>
<character>JOE</character>
<dialogue>Honor.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can understand that, of course. I hope in the end you'll feel like it had something to say. That we captured... something true.</dialogue>
<character>HONOR</character>
<dialogue>True like how it's not awkward at all that you're at this graduation dinner?</dialogue>
<scene_description>Mary almost does a spit take.</scene_description>
<character>GRACIE</character>
<dialogue>Joe, do something.</dialogue>
<character>JOE</character>
<dialogue>Like what?</dialogue>
<character>GRACIE</character>
<dialogue>Thanks for your help.</dialogue>
<scene_description>Charlie shakes his head to him like, don't engage.</scene_description>
<character>GRACIE</character>
<parenthetical>(to Honor)</parenthetical>
<dialogue>And you. I got you that scale, like I told you at the time, as a tradition, because that's what my mother gave to me when I graduated high school. And try going through life without a scale! See how that goes.</dialogue>
<character>CASSIDY (O.S.)</character>
<dialogue>Mom, hi.</dialogue>
<scene_description>Gracie looks up and sees her old family (Tom, Georgie, and her other two adult children, BILLY, 40, and CASSIDY, 38, their SPOUSES, and the grandchildren, PETER and SARAH) on their way to their table. Her smile blankets over the surprise and she gets up, hugs them, squeezes hands...</scene_description>
<character>GRACIE</character>
<dialogue>Oh my goodness-- well, hello! Hi, honey... Billy, Georgie...</dialogue>
<parenthetical>(to Sarah and Peter)</parenthetical>
<dialogue>Hi, sweetheart--don't you look pretty... Peter, honey, you look so grown-up... Tom... Everyone celebrating tonight, of course.</dialogue>
<character>TOM</character>
<dialogue>It's the best.</dialogue>
<parenthetical>(to Elizabeth)</parenthetical>
<dialogue>And nice to see you again.</dialogue>
<character>ELIZABETH</character>
<dialogue>You as well.</dialogue>
<scene_description>Tom nods awkwardly at Joe.</scene_description>
<character>JOE</character>
<dialogue>Tom.</dialogue>
<scene_description>A moment of awkward silence, not one knowing what to say next.</scene_description>
<character>TOM</character>
<dialogue>I guess we're gonna go head over to our table.</dialogue>
<character>GEORGIE</character>
<dialogue>We're in the back where they keep the old families.</dialogue>
<scene_description>Honor laughs, others roll their eyes.</scene_description>
<character>TOM</character>
<dialogue>Georgie.</dialogue>
<scene_description>Gracie keeps the smile still.</scene_description>
<character>GRACIE</character>
<dialogue>We'll see you at graduation!</dialogue>
<character>CASSIDY</character>
<parenthetical>(to Elizabeth, almost reluctantly)</parenthetical>
<dialogue>I'm a really big fan of "Animal Hospital."</dialogue>
<scene_description>Mimicking Gracie's smile:</scene_description>
<character>ELIZABETH</character>
<dialogue>Thank you, that means the world.</dialogue>
<scene_description>The second they leave the switch flips back. Honor continues to giggle, Mary smirks, shaking her head. Joe reaches for the bowl of wrapped butter, passes it.</scene_description>
<character>MARY</character>
<dialogue>Probably frozen by now.</dialogue>
<scene_description>Gracie stares at the rolls.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARIBALDI'S - LADIES' ROOM-- LATER</stage_direction>
<scene_description>Elizabeth comes out of the stall to find Gracie washing her hands. She goes to the next sink. The bathroom is formal and frilly.</scene_description>
<character>GRACIE</character>
<dialogue>My brother, Mark, he still lives in Richmond. He always says to keep your expectations low and that way you'll never be disappointed. I always forget that.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(with disdain)</parenthetical>
<dialogue>How many brothers do you have?</dialogue>
<character>GRACIE</character>
<dialogue>Four. Two younger, two older. Though I'm sure you know that.</dialogue>
<scene_description>Elizabeth dries her hands.</scene_description>
<character>ELIZABETH</character>
<dialogue>So what were your expectations?</dialogue>
<character>GRACIE</character>
<dialogue>That tonight would go well. That my children would love me, that my life would be perfect.</dialogue>
<scene_description>She pops open her lipstick and applies it in the mirror, emotionless.</scene_description>
<character>ELIZABETH</character>
<dialogue>That's a little naive.</dialogue>
<character>GRACIE</character>
<dialogue>I am naive. Always have been. In some ways, it's been a gift.</dialogue>
<scene_description>She plops her things in her little purse.</scene_description>
<character>GRACIE</character>
<dialogue>Is that alright if Joe drops us first? I think the girls may need a moment.</dialogue>
<character>ELIZABETH</character>
<dialogue>I can just walk from here--</dialogue>
<character>GRACIE</character>
<dialogue>No, no, let him drive you.</dialogue>
<scene_description>The door closes behind her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARIBALDI'S - HISTORIC SAVANNAH-- NIGHT</stage_direction>
<scene_description>Elizabeth sits on a bench outside the restaurant, waiting. Across the street a Savannah ghost tour shuffles by led by a man in costume. In the opposite direction tourists carrying plastic cups of beers weave past. Georgie plops down next to her, lighting a cigarette.</scene_description>
<character>GEORGIE</character>
<dialogue>Good evening.</dialogue>
<scene_description>She nods with a tired smile.</scene_description>
<character>GEORGIE</character>
<dialogue>Has she broken your spirit yet?</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm just tired.</dialogue>
<character>GEORGIE</character>
<dialogue>So did you crack the case?</dialogue>
<character>ELIZABETH</character>
<dialogue>Could you blow your smoke in that direction.</dialogue>
<scene_description>He blows out the side of his mouth.</scene_description>
<character>GEORGIE</character>
<dialogue>You want to know my theory?</dialogue>
<character>ELIZABETH</character>
<dialogue>Sure.</dialogue>
<character>GEORGIE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Childhood trauma.</dialogue>
<scene_description>This piques her interest, despite herself. She tries to play it cool.</scene_description>
<character>ELIZABETH</character>
<dialogue>Which one?</dialogue>
<character>GEORGIE</character>
<dialogue>The big one.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(she looks at him)</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>GEORGIE</character>
<dialogue>Her older brothers...</dialogue>
<scene_description>He gives her a look finishing the dark sentence.</scene_description>
<character>ELIZABETH</character>
<dialogue>What?</dialogue>
<character>GEORGIE</character>
<dialogue>Oh yeah.</dialogue>
<character>ELIZABETH</character>
<dialogue>When?</dialogue>
<character>GEORGIE</character>
<dialogue>Started when she turned twelve. On and off.</dialogue>
<character>ELIZABETH</character>
<parenthetical>(sickened)</parenthetical>
<dialogue>That's awful.</dialogue>
<character>GEORGIE</character>
<dialogue>Don't mention it to her obviously. She doesn't tell anyone.</dialogue>
<scene_description>She looks harder at him.</scene_description>
<character>GEORGIE</character>
<dialogue>I read her diary. This was way before.</dialogue>
<character>ELIZABETH</character>
<dialogue>That's...</dialogue>
<parenthetical>(turning it over in her head)</parenthetical>
<dialogue>Would explain a lot. Why does she still talk to them?</dialogue>
<character>GEORGIE</character>
<dialogue>Lady, she's messed up in the head, that's what I'm trying to tell you-- but listen. I had an idea. I was looking up how you make movies, and I read about this job: of, um... music supervisor.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah?</dialogue>
<character>GEORGIE</character>
<dialogue>I could do this job. Pick out the songs for the movie, I would pick great songs.</dialogue>
<character>ELIZABETH</character>
<dialogue>What are you asking?</dialogue>
<character>GEORGIE</character>
<dialogue>What if, in exchange for my memories, my consultation, my willingness not to go to the press when the movie comes out and talk disparagingly about it and you and her-- you give me this position of music supervisor. On this movie.</dialogue>
<scene_description>Elizabeth stares blankly for several beats.</scene_description>
<character>ELIZABETH</character>
<dialogue>Um--</dialogue>
<scene_description>Joe pulls up to the restaurant, eyeing Georgie.</scene_description>
<character>ELIZABETH</character>
<dialogue>...I'll see what I can do.</dialogue>
<scene_description>She gets into the car. Georgie gives a little wave.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR-- NIGHT</stage_direction>
<scene_description>Joe drives the empty streets with Elizabeth in the front. Elizabeth coughs.</scene_description>
<character>ELIZABETH</character>
<dialogue>I think I've outstayed my welcome here.</dialogue>
<scene_description>Joe doesn't chime in, which she notes. She looks out the window as the streets pass by. Sinking. She looks over at Joe, admires him. A flicker in her eye of a thought. She takes out her inhaler and puffs.</scene_description>
<character>JOE</character>
<dialogue>My sister had really bad asthma.</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh did she?</dialogue>
<scene_description>He pulls up to the Inn. A big tree hangs overhead. They sit there for a moment.</scene_description>
<character>JOE</character>
<dialogue>She was always having to do that breathing machine thing.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah, nebulizer.</dialogue>
<character>JOE</character>
<dialogue>Right.</dialogue>
<character>ELIZABETH</character>
<dialogue>I have one with me but it's new and I can't get the... mouthpiece thing to snap on, it's so stupid. I'd really like to use it.</dialogue>
<character>JOE</character>
<dialogue>That sounds irritating. I think you just sort of...</dialogue>
<character>ELIZABETH</character>
<dialogue>Could you... Do you have a second?</dialogue>
</scene>
<scene>
<stage_direction>INT. INN-- A BIT LATER</stage_direction>
<scene_description>Joe and Elizabeth sit together on the floor. She drops a vial of medicine into the machine. Drip, drip. There's an odd sensuality to this very ugly, plastic ritual. She motions to Joe, he presses the button to turn the machine on. It hums loudly and a chemical steam starts to come out the little mouthpiece, which he holds up to her face. She inhales.</scene_description>
<character>JOE</character>
<dialogue>They haven't changed this machine since the '80s.</dialogue>
<scene_description>She takes the mouthpiece away, chemical vapor pours out of her mouth like smoke.</scene_description>
<character>ELIZABETH</character>
<dialogue>Thank you - you saved my life.</dialogue>
<character>JOE</character>
<dialogue>Sure.</dialogue>
<scene_description>He seems nervous. She puts her hand on his and keeps breathing. He stares at her.</scene_description>
<character>JOE</character>
<dialogue>I uh... wanted to give you something.</dialogue>
<scene_description>He hands her the letter in the pink envelope he'd found, stashed away, earlier in the film.</scene_description>
<character>JOE</character>
<dialogue>It's the only one I could save.</dialogue>
<character>ELIZABETH</character>
<dialogue>Oh my god.</dialogue>
<scene_description>She goes to read it now, but he puts his hand over hers.</scene_description>
<character>JOE</character>
<dialogue>Don't read it now.</dialogue>
<scene_description>He holds her hand there, she stares back at him. She turns the machine off. It's suddenly so quiet.</scene_description>
<character>ELIZABETH</character>
<dialogue>Thank you.</dialogue>
<scene_description>After a beat, she leans in and kisses him. A small kiss. When she pulls back, there's something new, more vulnerable.</scene_description>
<character>ELIZABETH</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>You are so young. Believe me. You could start over.</dialogue>
<character>JOE</character>
<dialogue>And do what?</dialogue>
<character>ELIZABETH</character>
<dialogue>Anything.</dialogue>
<scene_description>He kisses her back. She leans onto the floor as he climbs on top of her. It's hurried and passionate. Her position mimics the one on the pet shop stockroom stairs.</scene_description>
<character>ELIZABETH</character>
<dialogue>Wait, one second.</dialogue>
<scene_description>She grabs a condom from her suitcase on the floor next to them. They fumble with it.</scene_description>
<character>JOE</character>
<dialogue>I've never actually used one of these before.</dialogue>
<scene_description>She laughs, but then a second later when his head is buried in her hair she makes an expression like, "what the fuck." It doesn't last long but there's force. The tension between them finally breaking.</scene_description>
<character>JOE</character>
<dialogue>I should, uh...</dialogue>
<scene_description>He gets up and goes to the bathroom. Not embarrassed, not cold. Once out of sight she immediately goes for the letter, reads as much she can, inhaling--</scene_description>
<character>JOE (O.S.)</character>
<dialogue>Should we get in the bed?</dialogue>
<scene_description>She slides the letter under the bed and climbs into it with him. He motions for her to lie on his chest, so she does.</scene_description>
<character>JOE</character>
<dialogue>That was crazy.</dialogue>
<character>ELIZABETH</character>
<dialogue>Yeah.</dialogue>
<scene_description>The trees outside the window sway in a comforting way.</scene_description>
<character>JOE</character>
<dialogue>Have you ever done that before?</dialogue>
<scene_description>Her expression makes it clear that she has.</scene_description>
<character>JOE</character>
<dialogue>Oh, yeah of course.</dialogue>
<character>ELIZABETH</character>
<dialogue>What about you?</dialogue>
<character>JOE</character>
<dialogue>No-- I mean, I've had crushes on people.</dialogue>
<character>ELIZABETH</character>
<dialogue>I think that's allowed.</dialogue>
<character>JOE</character>
<dialogue>I don't know... any of it, it would kill her, she's very loyal.</dialogue>
<scene_description>Off Elizabeth's look:</scene_description>
<character>JOE</character>
<dialogue>I mean, with me.</dialogue>
<character>ELIZABETH</character>
<dialogue>Whatever happens, believe me, she's going to be okay. People like Gracie--</dialogue>
<character>JOE</character>
<dialogue>No, she won't. You really don't know her.</dialogue>
<character>ELIZABETH</character>
<dialogue>Okay.</dialogue>
<scene_description>She sits up, finding herself in the mirror, straightening her hair. She continues, focused on herself.</scene_description>
<character>ELIZABETH</character>
<dialogue>But I'll tell you something. Your responsibility, ultimately, is to yourself.</dialogue>
<character>JOE</character>
<dialogue>Well, I think it's a little more complicated than that.</dialogue>
<character>ELIZABETH</character>
<dialogue>Look, you're gonna do what you're gonna do, but stories like these--</dialogue>
<character>JOE</character>
<dialogue>Stories?</dialogue>
<character>ELIZABETH</character>
<dialogue>You know what I mean, "instances" of severely... traumatic--</dialogue>
<character>JOE</character>
<dialogue>This isn't a story-- this is my life.</dialogue>
<character>ELIZABETH</character>
<dialogue>There's no need to get so worked up about it.</dialogue>
<scene_description>He gets up, starts putting on his clothes.</scene_description>
<character>JOE</character>
<dialogue>Um, yeah. I thought you actually liked me-- uh. That we had some kind of... connection.</dialogue>
<character>ELIZABETH</character>
<dialogue>I like you.</dialogue>
<character>JOE</character>
<dialogue>I mean, what was this about?</dialogue>
<scene_description>She looks at him, with sympathy. Maybe it's pity.</scene_description>
<character>ELIZABETH</character>
<dialogue>This is just what grown-ups do.</dialogue>
<scene_description>He scoffs, picks his shoes up. Storms out the door. She sighs, oh well. Immediately leans off the edge of the bed and feels for the pink envelope.</scene_description>
</scene>
<scene>
<stage_direction>A69 INT. ATHERTON-YOO BATHROOM-- LATER A69</stage_direction>
<scene_description>Joe has just stepped out of the shower, drying his hair. He stops, looking at himself \[at us\] in the mirror.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO BEDROOM-- LATER</stage_direction>
<scene_description>The middle of the night. Joe, dressed in sweatpants and T- shirt, has been sitting in the upholstered chair of their dark room, watching Gracie sleep. She's lying on her back, occasionally wincing from a dream. Suddenly she snorts awake. Sees him in the corner.</scene_description>
<character>GRACIE</character>
<dialogue>You're lucky I'm not jumpy.</dialogue>
<character>JOE</character>
<dialogue>I'm sorry.</dialogue>
<character>GRACIE</character>
<dialogue>What happened?</dialogue>
<scene_description>She turns the lamp on.</scene_description>
<character>JOE</character>
<dialogue>I've just been thinking.</dialogue>
<scene_description>She adjusts her pillows and sits up in bed, the same as Elizabeth earlier.</scene_description>
<character>GRACIE</character>
<dialogue>Okay.</dialogue>
<character>JOE</character>
<dialogue>I think there are a lot of things that we haven't talked about in a long time. Maybe ever.</dialogue>
<character>GRACIE</character>
<dialogue>What kind of things?</dialogue>
<character>JOE</character>
<dialogue>Things about our relationship. How it started.</dialogue>
<scene_description>Gracie starts to tense up.</scene_description>
<character>GRACIE</character>
<dialogue>Well I'm not gonna cross-examine you, say what you want to say.</dialogue>
<character>JOE</character>
<dialogue>I've just been remembering things.</dialogue>
<scene_description>He's struggling for composure.</scene_description>
<character>GRACIE</character>
<dialogue>What brought this on?</dialogue>
<character>JOE</character>
<dialogue>What does it matter?</dialogue>
<character>GRACIE</character>
<dialogue>Is it the actress?</dialogue>
<character>JOE</character>
<dialogue>Maybe. I don't know. I don't see what difference it makes, it's how I'm feeling.</dialogue>
<character>GRACIE</character>
<dialogue>Come sit by me.</dialogue>
<scene_description>He does. On the edge of the bed, as she's still tucked inside it. She rubs his back.</scene_description>
<character>GRACIE</character>
<dialogue>What's making you feel bad, baby?</dialogue>
<character>JOE</character>
<dialogue>It's not-- I don't feel bad like... I'm just trying to say... I mean, what if I wasn't ready to be making those kinds of decisions? And then what? There's the kids and, because... what would that mean?</dialogue>
<character>GRACIE</character>
<dialogue>I don't understand what you're saying.</dialogue>
<character>JOE</character>
<dialogue>I'm saying what if I was too young.</dialogue>
<scene_description>She sits up straight.</scene_description>
<character>GRACIE</character>
<dialogue>You seduced me.</dialogue>
<scene_description>He just stares at her. Her formal nightgown, her sleeping headband.</scene_description>
<character>JOE</character>
<dialogue>But I was thirteen years old.</dialogue>
<character>GRACIE</character>
<dialogue>Don't give me that.</dialogue>
<character>JOE</character>
<dialogue>But I was.</dialogue>
<scene_description>He shakes his head, confused, trying to work it all out.</scene_description>
<character>GRACIE</character>
<dialogue>I don't care how old you were. Who was in charge?</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>GRACIE</character>
<dialogue>Who was the boss? Who was in charge? Who was in charge?</dialogue>
<character>JOE</character>
<dialogue>I'm trying to talk about something--</dialogue>
<scene_description>She starts rubbing his back again but he will not be placated.</scene_description>
<character>GRACIE</character>
<dialogue>I think because of this movie, it's dredging up all this old stuff, driving Elizabeth around in your car--</dialogue>
<character>JOE</character>
<dialogue>But you're not even listening to what I'm-- It's not that! It's not about the fucking movie!</dialogue>
<scene_description>She whips her arms away and crosses them.</scene_description>
<character>GRACIE</character>
<dialogue>You know I've been very sympathetic but you're starting to upset me.</dialogue>
<character>JOE</character>
<dialogue>You have not been sympathetic. Why can't we talk about it? If we're really as in love as we say, if we have that... rare--</dialogue>
<parenthetical>(his throat breaks)</parenthetical>
<dialogue>-- Shouldn't I be able to talk about this with you?</dialogue>
<scene_description>Sudden silence.</scene_description>
<character>GRACIE</character>
<dialogue>"If we're really as in love as we say"?</dialogue>
<character>JOE</character>
<dialogue>You know what I mean! Gracie. I'm begging you. I need you to help me. Please.</dialogue>
<scene_description>Her arms stay firmly crossed and she looks past him at the wall.</scene_description>
<character>GRACIE</character>
<dialogue>"If we're really as in love as we say"... It's graduation.</dialogue>
<scene_description>She brushes past him.</scene_description>
<character>GRACIE</character>
<dialogue>I'm taking a shower.</dialogue>
<scene_description>She leaves. He sits, unmoving.</scene_description>
</scene>
<scene>
<stage_direction>A70 EXT. ATHERTON-YOO HOUSE - NIGHT A70</stage_direction>
<scene_description>Dark from the front, a shimmer of black trees.</scene_description>
</scene>
<scene>
<stage_direction>INT. INN-- NIGHT</stage_direction>
<scene_description>Elizabeth sits facing the mirror (the camera). She's transformed. Her voice, her rhythm. The look in her eye. She channels Gracie.</scene_description>
<character>ELIZABETH</character>
<dialogue>My love. After you left tonight I thought about the kind of life we could have if things were different. If I had been born later, or you long ago. But who knows what we'd be like then, or where? Or what tragedies we'd have had to face, or what bad luck along the way. This isn't ever what I would have wanted, but I'm so grateful that our paths have led us to this road, no matter what the cost. I think about you all the time. And the feeling that I get when we look each other in the eye. Do you feel that too? I know that you don't have much to compare it to but let me assure you that it's rare. I've gone my whole life without it, and now that I've found it, I can't imagine going back. And pretending. Sometimes I wish we hadn't met. Or, you hadn't gotten a job at the pet shop at least. Because I know that our lives will be forever changed because of this, no matter how it turns out. I know that my husband and my children, oh God... This will affect them too. My hope is that we can keep our secrets until at least there's no danger from the law. Maybe by then I'll have enough time to end things cleanly, and make sure my children know that I love them. Maybe by then we'll have figured out what to say. When this first started, I didn't know what to think.</dialogue>
<character>ELIZABETH</character>
<dialogue>I knew we had crossed a line, and I felt in my heart we would cross it again. But now, I think I've lost track of where the line is. Who even draws these lines? All I know is that I love you, and you love me. And you gave me so much pleasure tonight. I hope I did the same for you. I'll see you on Saturday. Please burn this, you know what could happen to me if it were ever found. Your Gracie.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEN-- DAWN</stage_direction>
<scene_description>The sun is just rising out the window. A few dozen chrysalides (green pods with butterflies inside) hang from the tops of the cages. Each has a delicate rim of glowing, metallic gold. One in the corner is the furthest along. It starts to shiver. Gracie, soft in the background, moves from room to room, packing things. From the bottom of the chrysalides, a monarch butterfly starts to nibble his way out, leaving the clear shell behind him like dead skin.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WOODS-- A BIT LATER</stage_direction>
<scene_description>Gracie, in full hunting gear, with a rifle at her back. The sun is still low in the sky. She heads out into the woods. She whistles and her large spaniels follow her.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATHERTON-YOO BEDROOM-- MORNING</stage_direction>
<scene_description>Joe wakes up suddenly, surprised how bright it is. It's a few hours later and the room feels yellow and hot. He's still in his clothes, on top of the blankets. Gracie is gone. He sits up and sighs, takes it in.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN-- A BIT LATER</stage_direction>
<scene_description>Joe, alone in the kitchen, prepares a pancake breakfast for five. As he brings the plates to the counter he notices movement in the cages in the den.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEN-- CONTINUOUS</stage_direction>
<scene_description>The one hatched butterfly flitters around the green pods. Joe bends down to meet him.</scene_description>
<character>JOE</character>
<dialogue>Oh, hi.</dialogue>
<scene_description>He unzips the cage, and puts his finger inside. The butterfly hops on.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN-- CONTINUOUS</stage_direction>
<scene_description>Joe walks slowly with the butterfly perched on his hand. He goes over to the window and carefully opens it. He reaches his hand outside, feels the wind. And just like that, it's gone. Simple as that.</scene_description>
<character>MARY (O.S.)</character>
<dialogue>Hey.</dialogue>
<scene_description>Mary's in the doorway in the sweet, but childish, white dress.</scene_description>
<character>JOE</character>
<dialogue>Wow, you look so great.</dialogue>
<character>MARY</character>
<dialogue>Thanks.</dialogue>
<character>JOE</character>
<dialogue>Are you hungry?</dialogue>
<character>MARY</character>
<dialogue>No.</dialogue>
<scene_description>She sees the plates of pancakes.</scene_description>
<character>MARY</character>
<dialogue>Maybe coffee?</dialogue>
<character>JOE</character>
<dialogue>Coffee. That's new.</dialogue>
<scene_description>She shrugs, he gives her a mug. Honor and Charlie join them, both tired but basically ready. Honor wears a short halter dress with frayed hem.</scene_description>
<character>JOE</character>
<dialogue>Look at you.</dialogue>
<character>HONOR</character>
<dialogue>Mom's gonna hate it.</dialogue>
<scene_description>He pours them all coffee. They sit at the counter.</scene_description>
<character>JOE</character>
<dialogue>Big day.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah, it is.</dialogue>
<character>MARY</character>
<dialogue>What time is it?</dialogue>
<character>JOE</character>
<parenthetical>(checking his phone)</parenthetical>
<dialogue>Uh... We have... We should leave in twenty, twenty-five minutes? I'll just run up and get changed.</dialogue>
<scene_description>He takes a minute to look at his children. Still young of course, but grown. He tops off each of their coffee mugs with ceremony.</scene_description>
<character>MARY</character>
<dialogue>Where's mom?</dialogue>
<character>JOE</character>
<dialogue>I don't know honestly. Maybe she said she had a beauty parlor appointment.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE WOODS-- DAY</stage_direction>
<scene_description>Gracie and her dogs continue their walk through the woods. Suddenly, they all freeze. Gracie finds herself locking eyes with a small RED FOX, who is clearly rabid. He slinks slowly towards her-- hissing, twitching, furious. She stares back at him, blankly at first, but her expression gives way to an overwhelming sympathy and despair.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR-- MORNING</stage_direction>
<scene_description>Joe pulls up to the high school with his three children in the car. Charlie and Mary are in bright red robes. Joe looks nice in his suit.</scene_description>
<character>JOE</character>
<dialogue>Why don't you guys get out here. I'll park and find your mom.</dialogue>
<scene_description>The three of them hop out. He smiles at them, adoringly. Watching them walk up to the entrance, folding into the groups of kids. He sits in the driver's seat watching them go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOOTBALL FIELD-- DAY</stage_direction>
<scene_description>The twins and their classmates wear robes and hats the color of blood.</scene_description>
<character>VALEDICTORIAN</character>
<dialogue>...And to my fellow graduates, of the class of '15 -- go Sharks -- while it hasn't always been smooth sailing, I know that our futures are bright.</dialogue>
<scene_description>The audience claps, as the PRINCIPAL approaches the podium.</scene_description>
<character>PRINCIPAL</character>
<dialogue>Thank you, Casey. And with that, I present to you the graduating class of Wilson Healy High School...</dialogue>
<scene_description>His assistant principals stand ready with ribboned diplomas.</scene_description>
<character>PRINCIPAL</character>
<dialogue>Madison Diane Aldrich... Sara Kay Alread... John Christopher Anderson... Charles Brennan Atherton-Yoo... Mary Jinae Atherton- Yoo... Paul Daves Atkins... Connor Reginald Atwood...</dialogue>
<scene_description>The kids walk across the stage as their names are called. Charlie and Mary back-to-back. The crowd cheers. Gracie, filming with her phone among all the families, sits between Rhonda and an empty chair. Joe Sr. sits on the aisle with his cane and Honor sits with friends, cheering on her brother and sister.</scene_description>
<character>PRINCIPAL</character>
<dialogue>Congratulations to the class of 2015!</dialogue>
<scene_description>The class throws their red-orange hats into the air! There are so many of them, a swarm. Through the confetti of hats, we spot Joe, standing off beyond the bleachers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOOTBALL FIELD-- A BIT LATER</stage_direction>
<scene_description>We follow Gracie, dressed in white, stomping confidently into the crowd. It's clear that a lot of people are whispering about her. But she holds her head high behind her dark round glasses. Ignores it all. The sea of crowd parts in her wake, as she comes face to face with Elizabeth, also in white. Elizabeth feels different. A confidence. Gracie's equal for the first time.</scene_description>
<character>GRACIE</character>
<dialogue>That was beautiful, wasn't it?</dialogue>
<character>ELIZABETH</character>
<dialogue>It was.</dialogue>
<scene_description>They see Mary and Charlie off with their friends.</scene_description>
<character>ELIZABETH</character>
<dialogue>I'm heading to the airport now.</dialogue>
<character>GRACIE</character>
<dialogue>Probably for the best.</dialogue>
<scene_description>Gracie looks at her closely. Seems to see, somehow, what happened.</scene_description>
<character>GRACIE</character>
<dialogue>I wonder if any of this will really have mattered for your movie.</dialogue>
<character>ELIZABETH</character>
<dialogue>I think it will.</dialogue>
<character>GRACIE</character>
<dialogue>You understand me?</dialogue>
<character>ELIZABETH</character>
<dialogue>I do.</dialogue>
<scene_description>Gracie cocks her head skeptically.</scene_description>
<character>GRACIE</character>
<dialogue>I hope you didn't think that disgusting brother thing was real.</dialogue>
<character>ELIZABETH</character>
<dialogue>What?</dialogue>
<character>GRACIE</character>
<dialogue>Disgusting. I don't know what he's trying to do, telling you these things.</dialogue>
<scene_description>Elizabeth is in disbelief.</scene_description>
<character>ELIZABETH</character>
<dialogue>He told you?</dialogue>
<character>GRACIE</character>
<dialogue>I talk to Georgie every day.</dialogue>
<scene_description>She turns forward, surveying the land like an army general.</scene_description>
<character>GRACIE</character>
<dialogue>Insecure people... They're very dangerous. Aren't they.</dialogue>
<scene_description>Elizabeth stares at her but she doesn't look back.</scene_description>
<character>GRACIE</character>
<dialogue>I am secure. Make sure you put that in there.</dialogue>
<scene_description>She marches off, her tiny frame absorbed into the red-robed crowd. Elizabeth watches, with no other choice.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOUNDSTAGE-- DAY OR NIGHT</stage_direction>
<scene_description>As if watching dailies, we see the following scene over and over. Unmotivated HAND-HELD. Raw, with the clapper and fuck- ups. The set is an earnest replica of the pet shop stockroom of Henderson Pets. Elizabeth, as Gracie, sits next to a YOUNG ACTOR, as Joe. The costumes are a little broad. "Gracie" holds a striking, medium-sized snake.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>Action!</dialogue>
<character>"GRACIE"</character>
<dialogue>Are you scared?</dialogue>
<character>"JOE"</character>
<dialogue>No.</dialogue>
<character>"GRACIE"</character>
<dialogue>It's okay to be scared.</dialogue>
<character>"JOE"</character>
<dialogue>I'm not.</dialogue>
<character>"GRACIE"</character>
<dialogue>She won't bite.</dialogue>
<character>"JOE"</character>
<dialogue>How do you know?</dialogue>
<character>"GRACIE"</character>
<dialogue>She's not that kind of snake.</dialogue>
<scene_description>He takes the snake from her, their hands intertwined.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>Keep rolling, take it from the top.</dialogue>
<scene_description>And they do. Over and over and over.</scene_description>
<character>ROBERTO (O.S.)</character>
<dialogue>I think we got it.</dialogue>
<scene_description>Elizabeth sits up, out of character, pleading on her knees.</scene_description>
<character>ELIZABETH</character>
<dialogue>Wait-- can we try it again? For me?</dialogue>
<character>ROBERTO (O.S.)</character>
<dialogue>Lizzie...</dialogue>
<character>ELIZABETH</character>
<dialogue>Just one more. Please. We almost have it right.</dialogue>
<character>THE END</character>
</scene>
</script> | In 2015, actress Elizabeth Berry arrives in Savannah, Georgia, to research her upcoming role in an independent film. Elizabeth will be playing Gracie Atherton-Yoo, who, in 1992 at the age of 36, was caught raping 13-year-old Korean-American Joe Yoo, a schoolmate of her son Georgie, at the pet store where they both worked. During a prison sentence, Gracie gave birth to Joe's child. 23 years later, Gracie and Joe are married with three children: Honor, who is at college, and twins Charlie and Mary, who are about to graduate from high school. Elizabeth interviews Gracie and Joe about their relationship. Visiting the pet store where the couple met and worked, Elizabeth sees the stock room where Gracie and Joe were caught having sex and reenacts the scene alone. She speaks with Tom, Gracie's first husband, Georgie, who is now a musician, and her defense lawyer. They portray Gracie in varying ways, depicting her as naïve and passive, but also show how destructive her actions were. Joe engages in a private text conversation with an unnamed friend who shares his hobby of rearing monarch butterflies. At one point, he proposes they take a vacation together, but she rebuffs him by reminding him that he is married. Elizabeth participates in a Q&A at the twins' high school and discusses the intimacy actors and crew members feel when shooting a sex scene. When Elizabeth says she enjoys playing morally-ambiguous characters, Mary is visibly offended. At home, Charlie shares a cannabis joint with Joe, who reveals to his son that he has never tried cannabis before. High, Joe has a breakdown and weeps in Charlie's arms. The family, accompanied by Elizabeth, celebrate the twins' graduation. At the restaurant, they have an awkward encounter with Tom, Georgie, and Gracie's old family. Georgie proposes that Elizabeth get him a job as a music supervisor on the film in exchange for details about Gracie's life; he claims that he read Gracie's diary and discovered that her older brothers had sexually abused her. Georgie also threatens that if not given the job, he will disparage the film to the press when it is released. Elizabeth gets a ride home from Joe. Elizabeth invites Joe to her accommodation, where he gives her a letter Gracie wrote him early in their relationship. The two have sex, and Elizabeth tells Joe that he still has time to start a new life. Joe leaves once she refers to his experiences as a "story", saying that story is "his life". Joe tearfully confronts Gracie about the start of their relationship, wondering whether he was "too young". Gracie insists he seduced her, and repeatedly asks who was really in control. The morning of graduation, one of Joe's butterflies emerges from its chrysalis. Later, the whole family watches Charlie and Mary graduate while Joe weeps alone in the crowd. As Elizabeth prepares to leave, Gracie tells her that Georgie fabricated the story of abuse by her brothers. On the set of the film, Elizabeth films multiple takes of a scene depicting Gracie grooming Joe at the pet store. While the director is satisfied, she asks to film another take, insisting that the scene is "getting more real". |
An Education_2009 | tt1174732 | <script>
<scene>
<stage_direction>INT. SCHOOL. DAY</stage_direction>
<scene_description>JANUARY 1962 . MONTAGE A nice girls ' school in a south west London suburb . We see girls doing what girls did in a nice girls ' school in 1962 : walking with books on their heads , practising their handwriting , making cakes , playing lacrosse , dancing with each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM. DAY</stage_direction>
<scene_description>In one of the classrooms , MISS STUBBS , an attractive , bright , animated schoolteacher , is talking to a small group of sixteen - year - old girls . Some of these girls seem to be daydreaming - looking out of the window , examining their fingernails . A couple , including a bespectacled girl who looks five years younger than everyone else in the class , write down everything the teacher says . Only one , JENNY , beautiful and animated , seems to be listening in the spirit in which Miss Stubbs would like her to listen . She 's smiling , eyes shining - she loves Miss Stubbs , and these lessons . Miss Stubbs asks a question , and Jenny puts up her hand - the only one in the class to do so .</scene_description>
<character>MISS STUBBS</character>
<parenthetical>( mock - sighing . )</parenthetical>
<dialogue>Jenny. Again.</dialogue>
<character>JENNY</character>
<dialogue>Is n't it because Mr Rochester's blind?</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM. DAY</stage_direction>
<scene_description>Jenny 's bedroom . Books about ponies , a much loved teddy bear ; a cello huge in the small room leans against the wall . Jenny is bent over a small desk . Victorian novels , Latin primers and dictionaries teeter in huge towers either side of her . She stands and stretches as she turns to us . She kneels and flicks through her half - dozen or so LPs on the floor near a cheap record player - they 're all classical , mostly by Elgar , apart from a Juliette Greco record . This is the one she chooses . As the music begins , she sings along . Immediately there is a thumping noise - someone underneath her is banging on the ceiling impatiently .</scene_description>
<character>MAN'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I do n't want to hear any French singing. French singing was n't on the syllabus, last time I looked.</dialogue>
<scene_description>Jenny sighs , and reaches for the volume control . She turns the music down so low that she has to lie down and put her head right next to the Dansette to hear it . Close on Jenny as she silently mouths the words along with the almost inaudible track .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM. DAY</stage_direction>
<scene_description>Jenny , her mother and father are finishing Sunday lunch . Jenny 's father JACK is in his forties , MARJORIE , her mother is slightly younger than Jack , but every bit as middle - aged . The food is grey and brown , in keeping with the colour scheme of the house . They are n't talking - they 're listening to Mantovani on the radio . Jenny gets up from the lunch table .</scene_description>
<character>JENNY</character>
<dialogue>I've got an English essay to do by tomorrow morning.</dialogue>
<character>JACK</character>
<dialogue>I do n't want to hear anything through the ceiling this afternoon, apart from the sound of sweat dripping onto textbooks.</dialogue>
<character>JENNY</character>
<dialogue>Cello?</dialogue>
<character>JACK</character>
<dialogue>No cello.</dialogue>
<character>JENNY</character>
<dialogue>I thought we agreed that cello was my interest or hobby?</dialogue>
<character>JACK</character>
<dialogue>It's already your interest or hobby. When they ask you `` What's your interest or hobby?'' at your Oxford interview, you can say, `` Cello''. That would n't be a lie. You do n't need to practise a hobby. A hobby is a hobby.</dialogue>
<character>JENNY</character>
<dialogue>Or interest.</dialogue>
<character>JACK</character>
<parenthetical>( ignoring her . )</parenthetical>
<dialogue>You do n't need to be good at it. You just have to be interested in it.</dialogue>
<character>JENNY</character>
<dialogue>Can I stop going to the youth orchestra, then?</dialogue>
<character>JACK</character>
<dialogue>No. The orchestra shows you're a joiner - inner. Universities like joiner - inners.</dialogue>
<character>JENNY</character>
<dialogue>Ah. Yes. But. I've already joined in. So now I can stop.</dialogue>
<character>JACK</character>
<dialogue>Well, if you stop, that shows the opposite, does n't it? That shows you're a rebel. They do n't want that at Oxford.</dialogue>
<character>JENNY</character>
<dialogue>No. They do n't want people who think for themselves.</dialogue>
<character>JACK</character>
<parenthetical>( missing the sarcasm , as is his wont . )</parenthetical>
<dialogue>Course they do n't.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALL. DAY</stage_direction>
<scene_description>Jenny with cello sits in the string section . Everyone is getting settled , tuning up , latecomers still arriving . Along the row from Jenny , tuning his violin , is a nice - looking boy of her age , GRAHAM , and she waves at him . Two 13 year old boys sitting between them wave too , parodically , and then blow kisses , much to Graham 's embarrassment and Jenny 's fury . The silly boys dissolve in fits of giggles : this is clearly one of the funniest moments of their lives - until one of them farts noisily and , it would appear from all the frantic gesturing , pungently . The comic value of the fart tops even the comic value of the wave , and they are scarcely able to stay seated , such is their mirth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL. DAY</stage_direction>
<scene_description>Jenny and Graham are talking while he struggles to take his bike out of a bicycle rack slightly unbalanced by the violin strapped to his back . Graham is nervous , chronically unconfident and shy .</scene_description>
<character>GRAHAM</character>
<dialogue>Should I wear, you know, Sunday best?</dialogue>
<character>JENNY</character>
<dialogue>You'd better, I'm afraid. Just to show my father you're un jeune homme serieux, not a teddy boy.</dialogue>
<character>GRAHAM</character>
<dialogue>Oh, God.</dialogue>
<character>JENNY</character>
<dialogue>It'll be all right. I wo n't wait. It's going to bucket down in a minute. I'll see you at the weekend.</dialogue>
<scene_description>Jenny moves as quickly as she can towards the street .</scene_description>
<character>GRAHAM</character>
<dialogue>Oh, yes. Bye.</dialogue>
<scene_description>The two silly boys from before arrive to blow more kisses .</scene_description>
<character>SMALLER BOY 1</character>
<dialogue>Goodbye, darling! See you at the weekend! I will miss you with all of my heart!</dialogue>
<scene_description>Graham blushes . Jenny swipes the chief offender over the head with her sheet music .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUS STOP. DAY</stage_direction>
<scene_description>The rain has begun . Jenny attempts to cover herself . A mother and two children cross the road in front of her , and a beautiful , sleek red sports car - a Bristol - stops to let them across . David , possibly in his mid - thirties , dapper , and almost but not quite handsome , is driving the car . David , distracted , impatient , spots Jenny at the bus stop . In front of the car a small wellington boot drops off the foot of one of the children , further slowing down their painfully slow progress across the road . Jenny is wet . David makes eye contact . Jenny smiles ruefully , and enchantingly . David sighs , and then hesitates for a moment . The window of the Bristol slowly rolls down .</scene_description>
<character>DAVID</character>
<dialogue>Hello.</dialogue>
<scene_description>Jenny ignores him .</scene_description>
<character>DAVID</character>
<dialogue>Listen. If you've got any sense, you would n't take a lift from a strange man.</dialogue>
<scene_description>Jenny smiles thinly .</scene_description>
<character>DAVID</character>
<dialogue>I am, however, a music lover, and I'm worried about your cello. So what I propose is, you put it in the car and walk alongside me.</dialogue>
<character>JENNY</character>
<dialogue>How do I know you wo n't just drive off with the cello?</dialogue>
<character>DAVID</character>
<dialogue>Ah. Good point.</dialogue>
<scene_description>He winds down the other window and waves on the cars that have stopped behind him .</scene_description>
<character>DAVID</character>
<dialogue>How much does a new cello cost? Twenty pounds? Thirty? I do n't know. Let's say thirty.</dialogue>
<scene_description>He pulls out a wallet , takes out three ten - pound notes , hands them to her .</scene_description>
<character>DAVID</character>
<dialogue>There. Security.</dialogue>
<scene_description>Jenny laughs and waves the money away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET. NEAR SCHOOL. DAY.</stage_direction>
<scene_description>Later . The cello is in the back seat of the Bristol . Jenny is trotting alongside the car , while David leans nonchalantly across the passenger seat to talk to her while driving .</scene_description>
<character>DAVID</character>
<dialogue>I'm David, by the way.</dialogue>
<scene_description>She says nothing .</scene_description>
<character>DAVID</character>
<dialogue>And you are?</dialogue>
<character>JENNY</character>
<dialogue>Jenny.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>I've never seen a car like this before. C'est tres chic.</dialogue>
<character>DAVID</character>
<dialogue>It's a Bristol. Not many of ` em made.</dialogue>
<scene_description>Jenny nods , but does n't know how to respond .</scene_description>
<character>DAVID</character>
<dialogue>How did the concert go?</dialogue>
<character>JENNY</character>
<dialogue>It was a rehearsal. The concert's next Thursday.</dialogue>
<character>DAVID</character>
<dialogue>What are you playing?</dialogue>
<character>JENNY</character>
<parenthetical>( making a face . )</parenthetical>
<dialogue>Elgar.</dialogue>
<character>DAVID</character>
<dialogue>Ah, Elgar. I often think it's a shame he spent so much time in Worcester, do n't you? Worcester's too near Birmingham. And you can hear that in the music. There's a horrible Brummy accent in there, if you listen hard enough.</dialogue>
<scene_description>Jenny looks at him and smiles . She had n't expected him to be able to make Elgar jokes .</scene_description>
<character>DAVID</character>
<dialogue>Anyway, I'm not sure Elgar and Jews mix very well.</dialogue>
<character>JENNY</character>
<dialogue>I'm not a Jew!</dialogue>
<character>DAVID</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>No. I am. I was n't. accusing you.</dialogue>
<character>JENNY</character>
<dialogue>Oh.</dialogue>
<parenthetical>( She smiles awkwardly . )</parenthetical>
<dialogue>Can I sit in the car with my cello?</dialogue>
<scene_description>David stops the car .</scene_description>
<character>DAVID</character>
<dialogue>Jump in.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR. DAY</stage_direction>
<scene_description>Jenny shuts the door and sinks approvingly into the white leather seat . David regards the dripping girl with amusement .</scene_description>
<character>JENNY</character>
<dialogue>It's even nicer on the inside.</dialogue>
<character>DAVID</character>
<dialogue>Where to, madam?</dialogue>
<scene_description>Jenny makes a face .</scene_description>
<character>JENNY</character>
<dialogue>I only live round the corner.</dialogue>
<character>DAVID</character>
<dialogue>What a shame. We'll just make it last as long as we can.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET. NEAR JENNY'S. DAY</stage_direction>
<scene_description>The Bristol is crawling along the road at walking pace .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. CAR JENNY'S HOUSE. DAY</stage_direction>
<scene_description>David reaches across Jenny while driving slowly , opens the glove compartment and takes out a packet of cigarettes .</scene_description>
<character>DAVID</character>
<dialogue>Smoke?</dialogue>
<character>JENNY</character>
<dialogue>I'd better not. I'm a bit close to home.</dialogue>
<scene_description>David lights one for himself .</scene_description>
<character>DAVID</character>
<dialogue>I suppose cellists must go to a lot of concerts.</dialogue>
<character>JENNY</character>
<dialogue>We do n't go to any concerts. We do n't believe in them.</dialogue>
<character>DAVID</character>
<dialogue>Oh, they're real.</dialogue>
<character>JENNY</character>
<dialogue>So people say.</dialogue>
<character>DAVID</character>
<dialogue>Why do n't we believe in them?</dialogue>
<character>JENNY</character>
<dialogue>I suppose. What would he say?</dialogue>
<character>DAVID</character>
<dialogue>Your father, this is?</dialogue>
<character>JENNY</character>
<parenthetical>( Darkly . )</parenthetical>
<dialogue>Oh, yes. He'd say there's no point to them. They're just for fun. Apart from school concerts, of course, which are no fun at all, so we go to those. The proper ones do n't help you get on.</dialogue>
<character>DAVID</character>
<dialogue>Which of course is what is so wonderful about them. Anyway, you'll go one day.</dialogue>
<character>JENNY</character>
<parenthetical>( heartfelt . )</parenthetical>
<dialogue>Yes. I will. I know. Sometimes it seems as though that's what all this slog is for. If I get to University, I'm going to read what I want and think about what I want and listen to what I want. And I'm going to look at paintings and go to French films and talk to people who know lots about lots.</dialogue>
<character>DAVID</character>
<dialogue>Good for you. Which University?</dialogue>
<character>JENNY</character>
<dialogue>Oxford. If I'm lucky. Did you go anywhere?</dialogue>
<character>DAVID</character>
<dialogue>I studied at what I believe they call the University of Life. And I did n't get a very good degree there.</dialogue>
<scene_description>Jenny smiles .</scene_description>
<character>JENNY</character>
<dialogue>This is me. Thank you.</dialogue>
<scene_description>She gets out of the car with the cello . David stares after her for a moment , then drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S SITTING-ROOM. AFTERNOON</stage_direction>
<scene_description>Jenny , her parents and Graham are eating afternoon tea - neat fish - paste sandwiches , Battenberg cake , best china .</scene_description>
<character>MARJORIE</character>
<dialogue>How's your mother, Graham?</dialogue>
<character>GRAHAM</character>
<dialogue>She's fine, thanks. She sends her best, by the way.</dialogue>
<character>JACK</character>
<dialogue>Where are you applying, Graham?</dialogue>
<scene_description>Jenny looks embarrassed . She knows what 's coming .</scene_description>
<character>GRAHAM</character>
<dialogue>I'm not sure yet.</dialogue>
<character>JACK</character>
<dialogue>Well, when will you be sure? You ca n't let the grass grow under your feet, you know. Otherwise you'll be at the back of the queue.</dialogue>
<character>JENNY</character>
<parenthetical>( deadpan . )</parenthetical>
<dialogue>I suppose so. I suppose the growing grass would knock you off balance, and then you'd fall over, and by the time you picked yourself up, there'd be a queue.</dialogue>
<scene_description>Her father shoots her a look - is she being cheeky ?</scene_description>
<character>GRAHAM</character>
<dialogue>I might take a year off.</dialogue>
<scene_description>Jenny winces . Jack looks at him as if he 's just said he 'll take all his clothes off .</scene_description>
<character>JACK</character>
<dialogue>What for?</dialogue>
<character>GRAHAM</character>
<parenthetical>( mumbling . )</parenthetical>
<dialogue>I do n't know. Maybe do some travelling, that sort of thing.</dialogue>
<character>JACK</character>
<dialogue>Travelling? What are you, a teddy boy?</dialogue>
<scene_description>Close - up of Jenny - she knows what 's coming , and ca n't bear it . Beat .</scene_description>
<character>JACK</character>
<parenthetical>( nodding at Jenny . )</parenthetical>
<dialogue>You know she's going to Oxford, do n't you? Oxford. English. If we can get her Latin up to scratch.</dialogue>
<scene_description>Jenny sighs .</scene_description>
<character>JACK</character>
<dialogue>So she's studying English at Oxford while you're a wandering Jew.</dialogue>
<scene_description>Jenny looks at him curiously . Graham steels himself to speak .</scene_description>
<character>GRAHAM</character>
<dialogue>Mr Mellor. I'm not a teddy boy. I'm an homme serieux. Jeune. An homme jeune serieux homme.</dialogue>
<scene_description>Jenny winces again . Her father stares at Graham . Graham blushes .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>It 's the night of the youth orchestra concert . Jenny , her mother and father are on their way out of the door . Jack is carrying the cello . Jenny is in her school uniform , with her hair scrubbed back in a severe ponytail . The three of them are flustered . Jenny opens the front door for her father and he stumbles outside .</scene_description>
<character>JENNY</character>
<dialogue>Oh!</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>She has seen something on the doorstep , and she stoops to pick it up - a large bunch of flowers .</scene_description>
<character>JENNY</character>
<dialogue>They're for me!</dialogue>
<character>MARJORIE</character>
<parenthetical>( curious . )</parenthetical>
<dialogue>Who are they from?</dialogue>
<scene_description>Jenny opens the card that 's attached to them .</scene_description>
<character>JENNY</character>
<dialogue>Gosh. Him.</dialogue>
<character>MARJORIE</character>
<dialogue>Who's ` him'?</dialogue>
<character>JENNY</character>
<dialogue>Just. A chap I met.</dialogue>
<character>MARJORIE</character>
<dialogue>A chap who sends flowers? So he's a man - chap?</dialogue>
<character>JENNY</character>
<dialogue>Yes, he is, really.</dialogue>
<scene_description>Jack stares at the flowers in disbelief . The bunch of flowers has created in Jack the kind of panic and fear more typically associated with a biochemical attack .</scene_description>
<character>JACK</character>
<dialogue>What's going on here?</dialogue>
<character>MARJORIE</character>
<parenthetical>( drily , knowing the trouble this will cause . )</parenthetical>
<dialogue>Jack, I'm afraid Jenny has been sent some flowers by a chap.</dialogue>
<character>JACK</character>
<dialogue>A chap? What kind of chap? Who? Why?</dialogue>
<character>JENNY</character>
<parenthetical>( patiently . )</parenthetical>
<dialogue>He's wishing me luck for tonight.</dialogue>
<character>JACK</character>
<dialogue>Are you sure that's all he's wishing? And where does he get the money from?</dialogue>
<character>JENNY</character>
<dialogue>He earns it, I expect.</dialogue>
<character>JACK</character>
<dialogue>What do you mean, he earns it? Why is n't he at school? What does he do?</dialogue>
<character>JENNY</character>
<dialogue>Can we just go? Otherwise the bunch of good - luck flowers will actually be responsible for me actually missing the concert. Which would be ironic, n'est ce pas?</dialogue>
<character>JACK</character>
<dialogue>Well I do n't like it.</dialogue>
<character>MARJORIE</character>
<dialogue>Objection noted. Jenny?</dialogue>
<character>JENNY</character>
<dialogue>Noted.</dialogue>
<character>JACK</character>
<dialogue>Ten bob's worth of luck, I reckon. That's a lot for a schoolgirl. You ca n't leave them out here, anyway. I'd burgle a house that had flowers outside. They'll think we're made of money.</dialogue>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>Jenny sighs , puts them inside the house , shuts the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE BAR. DAY</stage_direction>
<scene_description>Jenny and two school friends , HATTIE and TINA , are sitting at a table in a typical late - 50s coffee bar , sipping cappuccinos . Jenny is easily the most attractive of the three - and also , we will see , possibly the cleverest . HATTIE is slower than the other two , and a lot frumpier ; TINA is pretty , and sharp rather than clever . She is also the least middle - class of the three - she 's clearly a scholarship girl . They are all dressed in an unflattering and unambiguous school uniform - no attempts to disguise it with more fashionable accessories . Jenny is smoking pretentiously , and seems to be practising some kind of pout . Tina starts to slurp the froth from her cappuccino with a spoon , inelegantly and noisily . Jenny tuts her disapproval . Tina sighs , and puts her spoon down .</scene_description>
<character>JENNY</character>
<dialogue>The whole point about him is that he does n't feel.</dialogue>
<character>TINA</character>
<dialogue>We still do n't have to like him.</dialogue>
<character>JENNY</character>
<dialogue>Camus does n't want you to like him. What he's trying to say is that feeling is bourgeois. Being engagee is bourgeois. His mother dies and he does n't feel anything. He kills this Arab and he does n't feel anything.</dialogue>
<character>TINA</character>
<dialogue>I would n't feel anything if my mother died. Does that make me an existentialist?</dialogue>
<character>JENNY</character>
<dialogue>No. That just makes you a cow.</dialogue>
<character>HATTIE</character>
<dialogue>Une vache.</dialogue>
<scene_description>Laughter .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/COFFEE BAR. DAY</stage_direction>
<scene_description>Jenny , Hattie and Tina emerge from the cafe , talking .</scene_description>
<character>JENNY</character>
<dialogue>Well I'm going to be French. I'm going to Paris and I'm going to smoke and listen to Jacques Brel and wear black. And I wo n't speak. Ever. C'est plus chic, comme.</dialogue>
<scene_description>She breaks off . Parked outside a tobacconists on the other side of the road is the red Bristol . She looks towards the shop , and David emerges with a copy of the Times and a packet of cigars . Jenny crosses the road to talk to him while the others watch .</scene_description>
<character>DAVID</character>
<dialogue>Hello.</dialogue>
<character>JENNY</character>
<dialogue>Hello. Thank you.</dialogue>
<character>DAVID</character>
<dialogue>How did it go?</dialogue>
<character>JENNY</character>
<dialogue>Oh, fine. I think. I mean, I did n't mess my bit up, anyway. And no - one got thrown out of the orchestra afterwards.</dialogue>
<character>DAVID</character>
<dialogue>Always the mark of a cultural triumph. Listen. I'm glad I ran into you. What are you doing on Friday?</dialogue>
<character>JENNY</character>
<dialogue>Going to school.</dialogue>
<character>DAVID</character>
<dialogue>I meant the evening.</dialogue>
<character>JENNY</character>
<parenthetical>( embarrassed . )</parenthetical>
<dialogue>Oh. Yes. Of course. Nothing.</dialogue>
<character>DAVID</character>
<dialogue>Because I'm going to listen to some Schubert in St John's, Smith Square. My friends Danny and Helen will be going too, so it would n't be. I'll tell you what. I'll come and pick you up, and if your mother and father disapprove, then you can have the tickets and go with one of them. How does that sound?</dialogue>
<scene_description>Jenny does n't know what to say . She looks at David , and his eagerness to please seems to convince her .</scene_description>
<character>JENNY</character>
<dialogue>Thank you. And I'd like you to take me. I'd like to go with someone who knows when to clap.</dialogue>
<character>DAVID</character>
<dialogue>I usually watch Danny. He knows that sort of thing.</dialogue>
<scene_description>Jenny smiles .</scene_description>
<character>DAVID</character>
<dialogue>Seven? And we'll probably go for a spot of supper afterwards, if you. But if you, if that's not. Well, we can always put you in a taxi.</dialogue>
<character>JENNY</character>
<parenthetical>( flat disbelief . )</parenthetical>
<dialogue>Supper.</dialogue>
<character>DAVID</character>
<dialogue>If you want.</dialogue>
<character>JENNY</character>
<dialogue>The trouble is, we'll already have eaten.</dialogue>
<character>DAVID</character>
<dialogue>Well. I mean, if you'd like supper, then, perhaps on Friday you could. not eat?</dialogue>
<character>JENNY</character>
<parenthetical>( embarrassed again . )</parenthetical>
<dialogue>Oh. Yes. Of course.</dialogue>
<scene_description>Jenny smiles , and rejoins her friends on the other side of the road . Tina and Hattie are standing there almost with their mouths open , amazed . She does n't say anything and starts to walk on .</scene_description>
<character>TINA</character>
<dialogue>I'm sorry. I just had the strangest dream. I dreamed you crossed the road and spoke to a handsome man with the most beautiful car I've ever seen. And then you came back and you did n't mention it.</dialogue>
<scene_description>Jenny smiles enigmatically . Tina grabs Jenny mock - urgently .</scene_description>
<character>TINA</character>
<dialogue>` Oo wazzee?</dialogue>
<character>JENNY</character>
<parenthetical>( light , playful . )</parenthetical>
<dialogue>Just a man who's been trying to pick me up. We're going to a concert on Friday night. And then we're having a spot of supper.</dialogue>
<character>TINA</character>
<parenthetical>( shrieking . )</parenthetical>
<dialogue>A spot of supper?</dialogue>
<character>JENNY</character>
<dialogue>You've heard of supper?</dialogue>
<character>HATTIE</character>
<dialogue>We've heard of it. But we've never eaten it.</dialogue>
<character>JENNY</character>
<dialogue>Neither of you is interested in the concert part, I notice.</dialogue>
<character>HATTIE</character>
<dialogue>No. Of course not.</dialogue>
<character>TINA</character>
<dialogue>Oh my God! I've only just realised! That's what's going to happen to you, is n't it? Look at her! Men are going to pick her up in the street and take her out to supper!</dialogue>
<character>HATTIE</character>
<dialogue>God, you're right, Tina. I had n't thought of that. Look at her.</dialogue>
<character>JENNY</character>
<dialogue>Do n't be so daft.</dialogue>
<character>TINA</character>
<dialogue>We're trying to attract the attention of boys. And she's fighting off men. Anyway. You're going to have to tell us more than that.</dialogue>
<character>JENNY</character>
<dialogue>Why?</dialogue>
<character>HATTIE</character>
<dialogue>Because no man's ever going to ask us out to supper. Not until we're ladies, anyway. You're going to have to tell us everything. Otherwise it's not fair.</dialogue>
<character>JENNY</character>
<dialogue>There wo n't be anything to tell.</dialogue>
<character>TINA</character>
<dialogue>Well, make something up, then.</dialogue>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>Jenny is dressed up for her evening out . She looks good , but also stiff , uncomfortable - she 's not herself in her dress , which looks too old for her . Her father is standing in front of her , shouting .</scene_description>
<character>JACK</character>
<dialogue>I wo n't allow it!</dialogue>
<character>JENNY</character>
<parenthetical>( coolly . )</parenthetical>
<dialogue>Fine. He's quite happy for you to take me.</dialogue>
<character>JACK</character>
<parenthetical>( uncertainly . )</parenthetical>
<dialogue>Right. I will.</dialogue>
<character>JENNY</character>
<dialogue>Good.</dialogue>
<character>JACK</character>
<dialogue>Where is it?</dialogue>
<character>JENNY</character>
<dialogue>St John's Smith Square.</dialogue>
<character>JACK</character>
<dialogue>Where's that?</dialogue>
<character>JENNY</character>
<dialogue>I do n't know. I'm sure we could find out.</dialogue>
<scene_description>Marjorie comes into the room .</scene_description>
<character>MARJORIE</character>
<dialogue>It's in Westminster. Just around the corner from the Abbey.</dialogue>
<scene_description>Jack looks at her as if she 'd just given directions to the nearest opium den .</scene_description>
<character>JACK</character>
<dialogue>How d'you know that?</dialogue>
<character>MARJORIE</character>
<dialogue>I had a life before we were married, you know.</dialogue>
<character>JENNY</character>
<dialogue>He soon put a stop to that.</dialogue>
<character>JACK</character>
<dialogue>There we are.</dialogue>
<character>JENNY</character>
<dialogue>Where are we?</dialogue>
<character>JACK</character>
<dialogue>Near Westminster Abbey. I'm not going all the way over there.</dialogue>
<character>JENNY</character>
<dialogue>The trouble is, that's where St John's Smith Square is.</dialogue>
<character>JACK</character>
<dialogue>And I've just said. That's where I'm not going. There must be something on locally. Where's the paper?</dialogue>
<character>MARJORIE</character>
<dialogue>Jack, she wants to see someone who can play. She does n't want to see Sheila Kirkland scratching away. I'll take her.</dialogue>
<character>JACK</character>
<dialogue>And how are you going to get over there? RAF helicopter?</dialogue>
<scene_description>The doorbell rings .</scene_description>
<character>JENNY</character>
<dialogue>That's him. Now what?</dialogue>
<character>JACK</character>
<dialogue>Oh, bloody hell.</dialogue>
<character>MARJORIE</character>
<dialogue>Jack!</dialogue>
<scene_description>Jenny starts towards the door , and then turns .</scene_description>
<character>JENNY</character>
<dialogue>Oh, and by the way. David's a Jew. A wandering Jew. So watch yourself.</dialogue>
<scene_description>She goes to the door .</scene_description>
<character>JACK</character>
<parenthetical>( panic - stricken and shouting . )</parenthetical>
<dialogue>What's she talking about? I've never said anything like that in my life! Anyway, it's just an expression! I'm not against the Jews!</dialogue>
<scene_description>Jenny comes back in with David , who is dressed stylishly in his early - 60s young executive leisurewear - sports jacket , slacks , cashmere sweater . He looks out of place - he is brighter and brasher than his surroundings , the most colourful thing in the room , and he seems intimidatingly exotic . David has obviously heard Jack 's last line .</scene_description>
<character>DAVID</character>
<parenthetical>( pleasantly . )</parenthetical>
<dialogue>I'm glad to hear it. Hello. David Goldman.</dialogue>
<scene_description>He offers his hand .</scene_description>
<character>JACK</character>
<dialogue>I did n't mean I'm not against you. Actually, I did mean that, because I'm not, but.</dialogue>
<character>JENNY</character>
<dialogue>Dad!</dialogue>
<scene_description>David 's hand is still extended - in his confusion and embarrassment , Jack has n't yet taken it . He does so now , and shakes it for way too long .</scene_description>
<character>JACK</character>
<dialogue>I'm sorry. What I'm saying is that you're not the sort of, of person I'd be against, if I were the sort of person who was against. people. You're not an old. Oh, dear. I'm Jack, and this is Marjorie.</dialogue>
<character>DAVID</character>
<parenthetical>( deadpan . )</parenthetical>
<dialogue>You did n't tell me you had a sister, Jenny.</dialogue>
<scene_description>General confusion , until David chuckles naughtily . Marjorie giggles , and then offers her hand .</scene_description>
<character>DAVID</character>
<dialogue>You're a lucky man, Jack.</dialogue>
<character>JACK</character>
<dialogue>I suppose I am, yes.</dialogue>
<scene_description>They all sit down .</scene_description>
<character>DAVID</character>
<dialogue>So. Gosh.</dialogue>
<parenthetical>( He looks around approvingly . )</parenthetical>
<dialogue>This is lovely.</dialogue>
<scene_description>Marjorie smiles .</scene_description>
<character>MARJORIE</character>
<dialogue>Thank you.</dialogue>
<character>JACK</character>
<dialogue>I'm sorry, David. Can I get you a drink?</dialogue>
<character>DAVID</character>
<dialogue>I'd love one, Jack, but we're running a little late. If Jenny's ready, perhaps we'll shoot off.</dialogue>
<scene_description>Jenny looks at her father , and takes a calculated gamble .</scene_description>
<character>JENNY</character>
<dialogue>Ah. Well. Dad's got something to tell you.</dialogue>
<character>JACK</character>
<dialogue>No, no, nothing. It was more of a question, really. How would you get to St John's Smith Square from here? For future reference?</dialogue>
<character>DAVID</character>
<dialogue>Oh, it's a pretty straight run, really. Up to Hammersmith, take the A4 through Kensington and you're there.</dialogue>
<character>JACK</character>
<dialogue>Simple as that.</dialogue>
<character>DAVID</character>
<dialogue>Simple as that.</dialogue>
<scene_description>Jack smiles broadly .</scene_description>
<character>MARJORIE</character>
<parenthetical>( playfully . )</parenthetical>
<dialogue>So shall I book some tickets for something?</dialogue>
<character>JACK</character>
<parenthetical>( still smiling . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Beat .</scene_description>
<character>JACK</character>
<dialogue>Back by ten, please, David. She's usually in bed by then.</dialogue>
<scene_description>Jenny winces .</scene_description>
<character>DAVID</character>
<dialogue>I was hoping Jenny would come with me afterwards to have a bite of supper with my aunt Helen.</dialogue>
<scene_description>Jenny studies him carefully . Suddenly his friends Danny and Helen have become ` Aunt Helen ' .</scene_description>
<character>JACK</character>
<dialogue>Oh, well, I suppose.</dialogue>
<character>DAVID</character>
<dialogue>How about if I promise to have her in by eleven thirty?</dialogue>
<character>JACK</character>
<dialogue>Well, it's Friday night. And if you're going out to the West End.</dialogue>
<character>DAVID</character>
<dialogue>Thanks, Jack. I appreciate it. See you again.</dialogue>
<scene_description>They exchange warm handshakes . He turns to Marjorie . Marjorie extends her hand . David takes it , but kisses it suavely , leaving her a little flustered .</scene_description>
<character>MARJORIE</character>
<dialogue>Have a nice time.</dialogue>
<character>JENNY</character>
<dialogue>Bye.</dialogue>
<scene_description>Jenny and David leave .</scene_description>
<character>JACK</character>
<parenthetical>( sniffing the air . )</parenthetical>
<dialogue>What's that smell? Has he got perfume on?</dialogue>
<character>MARJORIE</character>
<dialogue>It's called after - shave, Jack. And it makes a change from carbolic soap.</dialogue>
<character>JACK</character>
<dialogue>At least there's no confusion, if you smell of carbolic soap.</dialogue>
<scene_description>Marjorie rolls her eyes .</scene_description>
<character>MARJORIE</character>
<dialogue>Nobody's ever going to get confused about you, dear.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ST JOHN'S, SMITH SQUARE. NIGHT</stage_direction>
<scene_description>Jenny and David walk toward the beautiful hall . Jenny suddenly looks young in the dress that looks too old for her - other adults are milling around outside , and the women do n't look like girls dressed up . David makes for an incredibly glamorous and attractive couple in their late twenties who are waiting outside - DANNY and HELEN . Helen is as far from anyone 's idea of an aunt as one can get . She 's no more beautiful than Jenny , but she 's dressed both appropriately and spectacularly , in early - 60s , pre - hippy Bohemian gear . She turns heads in a way that Jenny is not yet able to . Danny too is attractive , but soberly so . David and Jenny are , in a way , paler , less striking versions of these two .</scene_description>
<character>DAVID</character>
<dialogue>Hello hello. Are we late?</dialogue>
<character>HELEN</character>
<dialogue>I was hoping we'd miss the beginning, and then it would n't be worth going in, and we could go off dancing or something.</dialogue>
<character>DANNY</character>
<dialogue>Helen is one of the more reluctant members of tonight's audience.</dialogue>
<scene_description>Jenny and David laugh politely .</scene_description>
<character>DAVID</character>
<dialogue>Jenny, these are my friends Helen and Danny.</dialogue>
<scene_description>Jenny shakes hands with the two of them . They both give her fascinated and clearly appraising looks . They have heard about her .</scene_description>
<character>DAVID</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shall we?</dialogue>
<scene_description>They walk into the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. ST JOHN'S SMITH SQUARE. NIGHT</stage_direction>
<scene_description>It 's a beautiful hall - Jenny is dazzled by the surroundings and the company . She 's particularly bowled over by Helen .</scene_description>
<character>HELEN</character>
<dialogue>Look. We can leave our coats over there. I want to get rid of this.</dialogue>
<scene_description>She nods at the coat she 's carrying . Jenny looks thrilled at the prospect of spending a couple of minutes with Helen . Danny hands Helen his coat , without saying anything . The girls walk over to another reception table a few yards away , behind which is a cloakroom . A lady is exchanging overcoats for tickets . Almost involuntarily , Jenny touches the sleeve of Helen 's velvety jacket . She stops herself . Helen notices .</scene_description>
<character>JENNY</character>
<dialogue>I'm so sorry.</dialogue>
<character>HELEN</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>That's OK. It's nice, is n't it?</dialogue>
<character>JENNY</character>
<dialogue>It's beautiful. Where did it come from?</dialogue>
<character>HELEN</character>
<dialogue>Oh, South Ken somewhere.</dialogue>
<scene_description>Helen looks at Jenny 's outfit , her frumpy ` smart ' dress , apparently wanting to return the compliment .</scene_description>
<character>HELEN</character>
<parenthetical>( nodding at the dress . )</parenthetical>
<dialogue>This is. Well, it's good for this sort of concert, is n't it?</dialogue>
<character>JENNY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>Helen is now at the front of the queue , and hands her coat over imperiously .</scene_description>
<character>HELEN</character>
<dialogue>We should go shopping together one day, if you want.</dialogue>
<scene_description>She takes a ticket from the cloakroom lady .</scene_description>
<character>JENNY</character>
<dialogue>That would be nice. But South Ken. C'est beaucoup trop cher pour moi.</dialogue>
<scene_description>They stare at each other . Helen is bewildered , Jenny embarrassed .</scene_description>
<character>HELEN</character>
<dialogue>Sorry?</dialogue>
<character>JENNY</character>
<dialogue>I just said. It was too expensive for me.</dialogue>
<character>HELEN</character>
<dialogue>No you did n't. You said something completely different.</dialogue>
<character>JENNY</character>
<dialogue>I just. Well, I said it in French.</dialogue>
<character>HELEN</character>
<dialogue>In French? Why?</dialogue>
<scene_description>Jenny feels humiliated ; she is yet to realise what we can see - that Helen is simply very dim .</scene_description>
<character>JENNY</character>
<dialogue>I do n't know.</dialogue>
<scene_description>Jenny looks away . Helen stares at her . The performance bell rings , and they make their way back to the men . To Jenny 's surprise and pleasure , Helen links arms with her as they walk .</scene_description>
<character>HELEN</character>
<dialogue>Anyway. It's too expensive for me, too. We do n't have to worry about that. If you want something in South Ken, get David to take you shopping.</dialogue>
<character>JENNY</character>
<dialogue>Why on earth would he want to take me shopping?</dialogue>
<scene_description>Helen makes a knowing face .</scene_description>
</scene>
<scene>
<stage_direction>INT. ST JOHN'S SMITH SQUARE. NIGHT</stage_direction>
<scene_description>David , Jenny , Danny and Helen in a row in the middle of the auditorium , watching the stage and listening to the music . Jenny ca n't concentrate - she 's too excited by the occasion and the company . Jenny sneaks a glance at Helen , who stares straight ahead , unblinking and enigmatic . David is smiling , as if he 's trying to communicate enjoyment ; Danny 's eyes flicker across the stage - he understands the music , its component parts , which musicians are contributing what . Jenny takes it all in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ST JOHN'S SMITH SQUARE. NIGHT</stage_direction>
<scene_description>Jenny , David , Danny and Helen emerge with the other concert - goers .</scene_description>
<character>DAVID</character>
<dialogue>I booked a table at Juliette's. Will that kill the mood, do you think?</dialogue>
<character>HELEN</character>
<dialogue>Oh, I do hope so.</dialogue>
<scene_description>The others laugh .</scene_description>
<character>HELEN</character>
<dialogue>I always think I'm going to my own funeral when I listen to classical music.</dialogue>
<parenthetical>( Tentatively . )</parenthetical>
<dialogue>That was classical, was n't it?</dialogue>
<character>DANNY</character>
<dialogue>Yes. Very classical. As classical as you can get.</dialogue>
<scene_description>Helen looks pleased .</scene_description>
<character>DAVID</character>
<dialogue>Juliette's it is, then. Heaven forbid that we should end the evening reflecting on our own mortality.</dialogue>
<scene_description>Jenny smiles in delight . She 's never met people like this .</scene_description>
</scene>
<scene>
<stage_direction>INT. JULIETTE'S. NIGHT</stage_direction>
<scene_description>A singer in the Julie London mould is singing ` I 'm In The Mood For Love ' while cigarette girls and glamorous waitresses patrol the tables . Jenny is sitting with the others at a table in the club , eating and talking . She looks about twelve , but she 's thrilled to be there . We know now that her life can never be the same again , and there will be no going back to fish - paste sandwiches with spotty Graham .</scene_description>
<character>DAVID</character>
<dialogue>Have you never heard `` Chante Francoise Sagan''?</dialogue>
<scene_description>Jenny shakes her head . Her eyes are wide - she 's clearly awe - struck . David offers her a cigarette - a Gitane - which she takes . He lights it for her while she 's listening .</scene_description>
<character>DANNY</character>
<dialogue>Oh, it's wonderful.</dialogue>
<character>JENNY</character>
<dialogue>I've only got. Well, I think it's just called ` Juliette Greco'. The one with the eyes on the sleeve. I saved up and got my French conversation teacher to bring it back after Christmas.</dialogue>
<character>HELEN</character>
<dialogue>You've got a French conversation teacher?</dialogue>
<character>JENNY</character>
<dialogue>Yes.</dialogue>
<character>HELEN</character>
<dialogue>Is that why you suddenly speak French for no reason?</dialogue>
<character>DANNY</character>
<parenthetical>( ignoring her . )</parenthetical>
<dialogue>You must have seen her sing?</dialogue>
<scene_description>Jenny shakes her head again and smiles . Where would she have seen Juliette Greco ? Danny , meanwhile , is baffled . Who has n't seen Juliette Greco ?</scene_description>
<character>DAVID</character>
<dialogue>She's marvellous.</dialogue>
<character>DANNY</character>
<dialogue>But you should see her in Paris, not here. David will take you.</dialogue>
<character>DAVID</character>
<dialogue>I'd love to. You'd fit right in.</dialogue>
<character>HELEN</character>
<parenthetical>( sympathetically . )</parenthetical>
<dialogue>Better than here, really.</dialogue>
<character>DAVID</character>
<dialogue>It's wonderful to find a young person who wants to know things. There's so much I want you to see.</dialogue>
<scene_description>They sip their drinks pensively , possibly to allow time for the double - entendre to disappear into the smoke .</scene_description>
<character>DAVID</character>
<dialogue>Are you still all right to come and have a look at that Pembroke Villas place with me on Friday, Danny?</dialogue>
<character>DANNY</character>
<dialogue>Oh. No. Ca n't do it. There's a Burne - Jones coming up at Christie's on Friday. And I want it.</dialogue>
<character>JENNY</character>
<parenthetical>( laughing in disbelief . )</parenthetical>
<dialogue>You're thinking of buying a Burne - Jones? A real one?</dialogue>
<character>DANNY</character>
<dialogue>I just have a feeling that the pre - Raphaelites are going to take off.</dialogue>
<character>JENNY</character>
<dialogue>I love the pre - Raphaelites.</dialogue>
<character>DAVID</character>
<parenthetical>( excited by her education . )</parenthetical>
<dialogue>Do you?</dialogue>
<character>JENNY</character>
<dialogue>Yes, of course. Rossetti and Burne - Jones, anyway. Not Holman Hunt, so much. He's so garish.</dialogue>
<scene_description>Danny looks at her . There 's clearly more to this schoolgirl than he thought .</scene_description>
<character>DAVID</character>
<dialogue>Absolutely! Why do n't we all go to the auction? Would n't that be fun?</dialogue>
<character>JENNY</character>
<dialogue>An auction. Gosh. How exciting.</dialogue>
<character>DANNY</character>
<dialogue>Next Friday morning. David will pick you up.</dialogue>
<character>JENNY</character>
<parenthetical>( crestfallen . )</parenthetical>
<dialogue>Oh. Friday.</dialogue>
<character>DANNY</character>
<dialogue>You're busy?</dialogue>
<character>JENNY</character>
<dialogue>Well. Yes.</dialogue>
<scene_description>She does n't want to explain why .</scene_description>
<character>DANNY</character>
<dialogue>Tant pis.</dialogue>
<scene_description>Helen looks at him aghast . Why has he started speaking French ?</scene_description>
<character>DAVID</character>
<dialogue>Are you sure you're busy?</dialogue>
<scene_description>Jenny hesitates .</scene_description>
<character>JENNY</character>
<dialogue>No. I'm sure I could. re - arrange. That would be lovely.</dialogue>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. NIGHT</stage_direction>
<scene_description>Jenny lets herself quietly into the house . The hallway is dark , but she can hear noises from the kitchen . She pokes her head round the corner , and sees her mother doing the washing - up .</scene_description>
<character>MARJORIE</character>
<dialogue>Oh, hello, love. Did you have a nice time?</dialogue>
<character>JENNY</character>
<dialogue>What are you doing?</dialogue>
<character>MARJORIE</character>
<dialogue>I ca n't get this casserole dish clean. We had hot - pot tonight, and it's all burnt round.</dialogue>
<character>JENNY</character>
<dialogue>It's twenty - five to twelve. We finish tea at seven.</dialogue>
<character>MARJORIE</character>
<dialogue>I know what the time is. How was your evening?</dialogue>
<character>JENNY</character>
<dialogue>It was. It was the best night of my life.</dialogue>
<character>MARJORIE</character>
<dialogue>And he took you home in his car? Right to the door?</dialogue>
<scene_description>Jenny looks at her . She does n't seem to have heard what Jenny has just said .</scene_description>
<character>JENNY</character>
<dialogue>Goodnight, Mum.</dialogue>
<character>MARJORIE</character>
<dialogue>And I'm glad you enjoyed the concert.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLASSROOM. DAY</stage_direction>
<scene_description>Jenny , Hattie and Tina are sitting on their desks , waiting for the start of a lesson . Nine or ten classmates are scattered around the room , talking distractedly , but Jenny 's group is much more animated : Tina and Hattie are leaning forward , listening to Jenny , their eyes bright . They are clearly awestruck by Jenny 's tales of the outside world .</scene_description>
<character>TINA</character>
<parenthetical>( to Hattie . )</parenthetical>
<dialogue>I'm not interested in Schubert. I want to know what else was on the programme.</dialogue>
<scene_description>Laughter .</scene_description>
<character>JENNY</character>
<dialogue>There was nothing like that. He was the perfect gentleman. He just said he wanted to take me places and show me things.</dialogue>
<character>TINA</character>
<dialogue>Things plural? Oh my Gawd!</dialogue>
<scene_description>More laughter . The English teacher , MISS STUBBS , young and fresh - faced and lively - looking , enters , and picks up on the excitement of Jenny 's coterie .</scene_description>
<character>MISS STUBBS</character>
<dialogue>I knew that in the end ` Jane Eyre' would work its magic upon you. I'm presuming that's what you're so animated about.</dialogue>
<scene_description>The students start to sit down at desks in a more conventional arrangement .</scene_description>
<character>JENNY</character>
<dialogue>Of course.</dialogue>
<character>TINA</character>
<dialogue>` Jane Eyre' and Jenny's new boyfriend.</dialogue>
<character>JENNY</character>
<dialogue>He's not my `` new boyfriend''. God.</dialogue>
<character>TINA</character>
<dialogue>It's true. He's more a man - friend, is n't he? He's got a sports - car, Miss Stubbs.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Ah. A Mr Rochester figure.</dialogue>
<character>TINA</character>
<dialogue>I think he must be as blind as Mr Rochester.</dialogue>
<scene_description>Laughter . Jenny pulls a face at her .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Is there no end to your thirst for literary understanding, Jenny? As you may have noticed, I'm attempting to turn the subject away from Jenny's lurid love - life and towards the matter in hand.</dialogue>
<scene_description>She starts to hand out essays .</scene_description>
<character>MISS STUBBS</character>
<dialogue>And it's quite clear on this evidence that most of you know much too much about the former, and almost nothing about the latter. Reluctantly I must concede that Jenny is evidently an expert on both matters. Excellent as always, Jenny.</dialogue>
<scene_description>Miss Stubbs slaps an essay down on Jenny 's desk . We can see that it 's marked ` A + ' .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S BEDROOM. NIGHT</stage_direction>
<scene_description>Jenny at her desk , working . She puts down her pen , distracted .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S CAR. DAY</stage_direction>
<scene_description>David sitting in his Bristol , waiting .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL. DAY</stage_direction>
<scene_description>We see the Bristol parked outside , and Jenny walking towards it , a small figure in a large playground . She 's clearly just changed out of her school uniform , and she 's making last - minute adjustments to her civvies . A teacher walks towards her , and Jenny almost freezes - but the teacher merely smiles pleasantly and walks past . Jenny keeps walking at a measured pace for a moment and then breaks into a run .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. CAR/DILAPIDATED HOUSE. DAY</stage_direction>
<scene_description>Jenny and David are driving along a North Kensington street .</scene_description>
<character>JENNY</character>
<dialogue>How do you know Danny?</dialogue>
<scene_description>David is distracted . He 's driving slowly , apparently looking for an address .</scene_description>
<character>DAVID</character>
<dialogue>Oh, you know. We kept bumping into each other, and we became pals, and we've ended up doing a bit of work together, when it suits us.</dialogue>
<character>JENNY</character>
<dialogue>What kind of work?</dialogue>
<character>DAVID</character>
<dialogue>Property. A bit of art dealing. Some buying and selling. This and that.</dialogue>
<scene_description>He stops the car .</scene_description>
<character>DAVID</character>
<dialogue>I'll be two seconds.</dialogue>
<scene_description>He gets out of the car , and Jenny watches him as he crosses the road . Outside a dilapidated house covered in scaffolding stands a large West Indian family , mother , father , three or four small children and a dog . They are surrounded by what appears to be all their worldly goods . David squats down on his haunches , talks to the kids , tousles the hair of the smallest . Then he takes out a bunch of keys and ushers the family down the path . He unlocks the door and leads them inside . In an upper window of the house , we see an old lady peering down anxiously .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/DILAPIDATED HOUSE. DAY</stage_direction>
<scene_description>David emerges from the house , jangling his keys .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR. DAY</stage_direction>
<scene_description>Jenny opens the glove compartment where David keeps his cigarettes , takes out the packet , removes one for herself , offers the packet to David as he gets into the car . He lights them both .</scene_description>
<character>DAVID</character>
<dialogue>I'm sorry about that.</dialogue>
<character>JENNY</character>
<dialogue>How do you know those, those. Negro people?</dialogue>
<character>DAVID</character>
<dialogue>They're clients.</dialogue>
<character>JENNY</character>
<dialogue>Clients?</dialogue>
<character>DAVID</character>
<dialogue>Jenny darling, even schwarzers have to live somewhere. And it's not as if they can rent off their own kind, is it?</dialogue>
<scene_description>He starts the car and drives off .</scene_description>
<character>JENNY</character>
<dialogue>I'm not sure I quite understand what you do.</dialogue>
<character>DAVID</character>
<dialogue>You do n't need to. It's too boring. All you need to know is that I work in property so that I can take you to nice places.</dialogue>
<scene_description>Jenny 's POV of the black family in one window , and the little old lady disappearing from another .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHRISTIE'S. DAY</stage_direction>
<scene_description>Danny intent on a catalogue , Helen gazing dreamily into space , as David and Jenny push their way through the crowded auction room . The auctioneer burbles on in the background .</scene_description>
<character>DANNY</character>
<dialogue>You nearly missed it.</dialogue>
<scene_description>Jenny is in awe of rich London in all its finery . The auctioneer clears his throat .</scene_description>
<character>AUCTIONEER</character>
<dialogue>We turn to lot 41, The Tree of Forgiveness, by Sir Edward Burne - Jones. This is a rare opportunity to purchase a key work of the Pre - Raphaelite movement. Who will start me off at five hundred guineas?</dialogue>
<scene_description>Jenny glances at Danny . He makes no move at this price . Neither does anyone else . He 's poised and listening hard .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Two hundred?</dialogue>
<scene_description>A middle - aged lady , the epitome of the middle - aged contemporary Sloane , twin - set , pearls and a lot of face powder , raises her hand .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Thank you, madam. Three hundred?</dialogue>
<scene_description>A man raises his hand .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Do I hear three - fifty?</dialogue>
<scene_description>The middle - aged Sloane nods .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Over to you sir. Four hundred guineas? Thank you. Four hundred and fifty.</dialogue>
<scene_description>Danny continues to sit there . Jenny is confused . The middle - aged lady bids four - fifty . David , sitting next to Danny , whispers something to him . Danny nods .</scene_description>
<character>DAVID</character>
<parenthetical>( whispers to Jenny . )</parenthetical>
<dialogue>Your turn.</dialogue>
<scene_description>Jenny looks at him .</scene_description>
<character>AUCTIONEER</character>
<dialogue>No further bids?</dialogue>
<character>DAVID</character>
<dialogue>Quick!</dialogue>
<scene_description>Jenny raises her hand high , just as she 'd do at school .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Five hundred guineas from the very eager new bidder.</dialogue>
<scene_description>People look round and smile when they see who has come in . Jenny blushes , but stares fixedly ahead .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Five hundred and fifty, madam? Thank you.</dialogue>
<scene_description>Jenny looks at David , who nods .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Six hundred guineas.</dialogue>
<scene_description>Jenny gestures more economically .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Six - fifty? Thank you, madam. Seven hundred.</dialogue>
<scene_description>Jenny is almost insouciant this time .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Seven hundred?</dialogue>
<scene_description>The middle - aged lady shakes her head and purses her lips . when asked if she wants to bid # 700 .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Sold for six hundred and fifty guineas. Thank you.</dialogue>
<scene_description>He brings down the gavel , and a murmur goes around the room . Jenny is excited and giggly . David pats her on the back .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Your name, please?</dialogue>
<scene_description>Jenny looks at Danny .</scene_description>
<character>DANNY</character>
<dialogue>You know who you are.</dialogue>
<character>JENNY</character>
<parenthetical>( to Danny . )</parenthetical>
<dialogue>Jenny Mellor.</dialogue>
<character>DANNY</character>
<dialogue>I know who you are, too. Tell him.</dialogue>
<character>JENNY</character>
<parenthetical>( louder , to auctioneer . )</parenthetical>
<dialogue>Jenny Mellor.</dialogue>
<character>DANNY</character>
<dialogue>Thank you. Could n't have bought it without you.</dialogue>
<character>DAVID</character>
<dialogue>Well done. A nerveless performance.</dialogue>
<scene_description>Jenny beams . She 's thrilled .</scene_description>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. DAY</stage_direction>
<scene_description>A beautiful , large , airy sitting room in the first - floor flat in Bedford Square . The flat is unusually and tastefully decorated , opulent and indicative of Bohemian good taste . Jenny is sipping a glass of white wine and walking around the room enthralled , looking at Danny 's existing Pre - Raphaelite art collection ; he has three or four big paintings proudly displayed on his walls . Danny is talking her through them while Helen and David , sitting on the sofa , watch - David proudly , Helen impassively .</scene_description>
<character>DANNY</character>
<dialogue>A couple of years ago you could pick these up for fifty quid, you know. Nobody was interested.</dialogue>
<character>JENNY</character>
<dialogue>Really? Fifty pounds? I do n't believe you.</dialogue>
<scene_description>Suddenly Jenny sees a cello in the corner of the room - a good one .</scene_description>
<character>JENNY</character>
<dialogue>That's not a Lockey - Hill!</dialogue>
<character>DANNY</character>
<dialogue>There are n't many people who come in here and say that.</dialogue>
<character>HELEN</character>
<dialogue>Certainly not me.</dialogue>
<character>JENNY</character>
<dialogue>It's beautiful. Do you play?</dialogue>
<character>DANNY</character>
<dialogue>I used to. I vowed to myself that one day I'd own one of these. And now I own one and never touch it. It's vulgar to put it on show, really.</dialogue>
<character>HELEN</character>
<dialogue>Give it to Jenny.</dialogue>
<character>DANNY</character>
<dialogue>That would be even more vulgar.</dialogue>
<character>DAVID</character>
<dialogue>Play for us, Jenny.</dialogue>
<character>JENNY</character>
<dialogue>Gosh, no. One day. When I'm good enough for it.</dialogue>
<character>DAVID</character>
<dialogue>She's good enough now.</dialogue>
<character>JENNY</character>
<dialogue>Oh, David. You've never heard me.</dialogue>
<scene_description>Danny stands up and stretches .</scene_description>
<character>DAVID</character>
<dialogue>I shall come to hear you in St John's Smith Square. Or in Oxford, when you get there.</dialogue>
<character>DANNY</character>
<dialogue>We should all go and spend a weekend in Oxford. Straw boaters, punting, cream teas, antiquarian bookshops. Bit of business, if we can find it. What about next weekend?</dialogue>
<character>DAVID/HELEN</character>
<dialogue>Yes!</dialogue>
<character>JENNY</character>
<dialogue>A weekend away? I would n't be allowed to do that.</dialogue>
<scene_description>They all look at her .</scene_description>
<character>DAVID</character>
<dialogue>I'll find a way. I'll talk to them.</dialogue>
<character>JENNY</character>
<dialogue>Who?</dialogue>
<character>DAVID</character>
<dialogue>Jack and Marjorie.</dialogue>
<character>JENNY</character>
<dialogue>About what?</dialogue>
<character>DAVID</character>
<dialogue>Oxford.</dialogue>
<scene_description>Jenny hoots with derision .</scene_description>
<character>JENNY</character>
<dialogue>You're going to ask my father if I can go away with you for the weekend? He'd have you arrested.</dialogue>
<character>DAVID</character>
<dialogue>We'll see.</dialogue>
<character>JENNY</character>
<dialogue>I'll bet you you ca n't do it.</dialogue>
<character>DAVID</character>
<dialogue>How much?</dialogue>
<character>DANNY</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>Be careful, Jenny. You do n't know who you're dealing with.</dialogue>
<character>JENNY</character>
<dialogue>Half - a - crown.</dialogue>
<character>DAVID</character>
<dialogue>You're on.</dialogue>
<scene_description>They shake hands . Jenny suddenly notice the clock on Danny 's mantelpiece .</scene_description>
<character>JENNY</character>
<dialogue>Mon dieu! You must take me back to school. And I've got to change back into my uniform.</dialogue>
<scene_description>There is a silence . Danny and David make momentary eye contact - they are clearly contemplating the erotic possibilities of Jenny 's last sentence . Helen notices .</scene_description>
<character>HELEN</character>
<dialogue>Oh, behave yourselves.</dialogue>
<scene_description>Jenny looks at them all , mystified .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM/LATIN. DAY.</stage_direction>
<scene_description>Jenny is in her Latin class , waiting for the lesson to begin . Tina and Hattie are n't with her , and she sits on her own - the atmosphere of the class is very different from Miss Stubbs ' English lessons . The girls are different , more serious , less fun , and the atmosphere is more sombre . The teacher , MRS WILSON , is older , plainer , stricter . She pulls some papers out of her bag .</scene_description>
<character>MRS WILSON</character>
<dialogue>Test results for the Virgil translation. We will start from the bottom. Patricia.</dialogue>
<scene_description>Jenny puffs out her cheeks . She 's not last .</scene_description>
<character>MRS WILSON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Absent. Margaret. 48 %. Jenny.</dialogue>
<scene_description>Jenny winces .</scene_description>
<character>MRS WILSON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>52 %. That would just about scrape a pass in the exam proper. Not good enough for Oxford candidates.</dialogue>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. DAY</stage_direction>
<scene_description>Jenny and her mother are sitting on the sofa , staring into space , clearly upset . On the coffee table in front of them is the test , covered in red ink . They hear a key in the lock , and they look at each other .</scene_description>
<character>MARJORIE</character>
<dialogue>I'll talk to him.</dialogue>
<scene_description>Jack enters , back from work . He 's wearing a suit and carrying a battered briefcase . He looks at them , and then notices the essay on the table .</scene_description>
<character>JACK</character>
<dialogue>It's her Latin, is n't it?</dialogue>
<character>MARJORIE</character>
<dialogue>The test did n't. Well, it did n't go as well as we'd hoped.</dialogue>
<scene_description>He picks up the paper .</scene_description>
<character>JACK</character>
<dialogue>And you still say I should n't go down there and have it out with whatsername? The Latin teacher? Because this is hopeless.</dialogue>
<character>JENNY</character>
<dialogue>How are you going to `` have it out'' with her? What are you going to do? Shout at her until she decides I'm much cleverer than she thinks?</dialogue>
<character>MARJORIE</character>
<dialogue>Everyone's doing their best, Jack.</dialogue>
<character>JACK</character>
<dialogue>What if their best is n't good enough, though, eh? What do we do then?</dialogue>
<character>JENNY</character>
<dialogue>We do n't go to Oxford. Any of us. Not even you, Dad.</dialogue>
<character>JACK</character>
<dialogue>Perhaps it's all a waste of time and money anyway.</dialogue>
<character>MARJORIE</character>
<dialogue>You do n't mean that.</dialogue>
<character>JACK</character>
<dialogue>Well, what's she going to do with an English degree? And if she's going to spend three years playing that bloody cello and talking in French to beatniks, then I'm throwing good money after bad. I suppose she might meet a nice lawyer. But she could do that at a dinner dance tomorrow.</dialogue>
<character>JENNY</character>
<dialogue>Oh, yes. That's the whole point of an Oxford education. It's the expensive alternative to a dinner dance.</dialogue>
<character>MARJORIE</character>
<dialogue>What about private tuition?</dialogue>
<character>JACK</character>
<dialogue>Is anyone listening to me? How much is that going to cost me?</dialogue>
<character>MARJORIE</character>
<dialogue>Five shillings an hour. Maybe a little more for A - level.</dialogue>
<character>JACK</character>
<dialogue>Five bob! But. we could spend five bob on this and five bob on that, and before we know it that's our savings down the drain.</dialogue>
<character>MARJORIE</character>
<dialogue>And what else are we spending five bob on? What else are we spending sixpence on?</dialogue>
<character>JACK</character>
<dialogue>Oh, nothing.</dialogue>
<parenthetical>( He gestures round the room . )</parenthetical>
<dialogue>It's all free. That vase was free.</dialogue>
<character>MARJORIE</character>
<dialogue>It was, actually. It was a present from Auntie Vi.</dialogue>
<character>JACK</character>
<dialogue>That chair was free. The sofa. We do n't have to pay for anything. And even if we did, we do n't have to work for it. That's the beauty of life, Jenny. Everything's free. Grows on trees. Wonderful, is n't it?</dialogue>
<parenthetical>( He warms to his theme , and grows progressively more berserk . )</parenthetical>
<dialogue>We've got a lovely Oxford tree in the garden, lucky for you, so that's Oxford taken care of. And a whole orchard of school trees, so that's all free. I'm sure there are some private tuition trees out there. I'll go and have a look.</dialogue>
<scene_description>He stands up .</scene_description>
<character>MARJORIE</character>
<dialogue>Jack.</dialogue>
<character>JACK</character>
<dialogue>No, no, wo n't take me a minute. I think I saw some at the back there, right next to the pocket money tree. I'll just nip out and check, see that they're doing all right. Do n't want anyone climbing over the wall and scrumping, do we? And you never know. Maybe there'll be a man with deep pockets growing out there. Because God knows we need to find you one.</dialogue>
<scene_description>He leaves the room , apparently to look in the garden for the mythical trees .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE</stage_direction>
<scene_description>Jenny and her mother move to the window to watch him talking theatrically to the trees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/COFFEE BAR. DAY.</stage_direction>
<scene_description>Jenny , Hattie and Tina are walking back from school .</scene_description>
<character>TINA</character>
<dialogue>You could always go to secretarial college with Hattie.</dialogue>
<character>JENNY</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Oh, thanks.</dialogue>
<character>HATTIE</character>
<dialogue>Charming!</dialogue>
<character>JENNY</character>
<dialogue>Oh, no.</dialogue>
<scene_description>Hattie and Tina follow Jenny 's eyes , and they see Graham coming towards them pushing his bike , red - faced , trousers tucked into socks .</scene_description>
<character>GRAHAM</character>
<dialogue>Hello.</dialogue>
<character>JENNY</character>
<dialogue>Oh. Graham. Hello.</dialogue>
<character>GRAHAM</character>
<dialogue>I have n't seen you for ages. It all went wrong, did n't it? The tea - party, I mean. Was it because of the year off?</dialogue>
<character>JENNY</character>
<dialogue>No, no. It's just. I've got so much to do if I'm going to get the grades I need.</dialogue>
<character>TINA</character>
<dialogue>Yes. She's got no time for boys.</dialogue>
<scene_description>Hattie and Tina try to suppress giggles . Graham turns an even brighter shade of red . Hattie and Tina enter the coffee bar . Jenny feels sorry for him , is on the verge of inviting him to join them . And changes her mind .</scene_description>
<character>JENNY</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Bye, Graham.</dialogue>
<scene_description>She follows the girls inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S BEDROOM/UPPER HALLWAY. NIGHT</stage_direction>
<scene_description>Jenny is deep in her schoolwork . She has a Latin vocabulary propped open on the window - ledge . She looks at it , walks away , mutters to herself , attempting to memorize . Her concentration is broken by a sudden gale of laughter from downstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HALL. NIGHT</stage_direction>
<scene_description>She stands outside the living room for a moment , listening . She hears a man 's voice that does not belong to her father , and then more laughter from her father and mother .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM. NIGHT</stage_direction>
<scene_description>David is in the middle of demonstrating his ability to mimic all of the Goons . Jack and Marjorie are laughing so hard that they can hardly see - they certainly miss Jenny 's entrance .</scene_description>
<character>JENNY</character>
<parenthetical>( curious . )</parenthetical>
<dialogue>Hello.</dialogue>
<character>JACK</character>
<dialogue>Oh. Hello. David does the most brilliant Bluebottle, Jenny. Actually, he can do all the Goons.</dialogue>
<character>DAVID</character>
<dialogue>I do n't think I'm very good at Eccles.</dialogue>
<character>JACK</character>
<dialogue>Oh, no, you've got him.</dialogue>
<character>JENNY</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>But what's he doing here?</dialogue>
<character>DAVID</character>
<dialogue>I was n't going to disturb you. I knew you'd have your nose to the grindstone.</dialogue>
<character>JENNY</character>
<parenthetical>( incredulous . )</parenthetical>
<dialogue>You came to see Mum and Dad?</dialogue>
<character>JACK</character>
<dialogue>Is that so hard to imagine?</dialogue>
<scene_description>Jenny spies an open bottle of wine on the coffee - table .</scene_description>
<character>JENNY</character>
<dialogue>And you're drinking? But it's not Christmas!</dialogue>
<character>JACK</character>
<dialogue>Hark at her! Makes us sound as though we've signed the pledge. You do n't know everything about us, you know. We had a life before you came along.</dialogue>
<character>JENNY</character>
<dialogue>Yes, that's true. I'm only going on what I've seen over the last sixteen years.</dialogue>
<character>MARJORIE</character>
<dialogue>I'm trying to think what you missed. Nothing much comes to mind.</dialogue>
<character>JACK</character>
<dialogue>They ca n't stand to see me enjoying myself.</dialogue>
<character>JENNY</character>
<dialogue>Anyway. Would you excuse me? I've got a huge pile of Latin translation to do.</dialogue>
<character>JACK</character>
<dialogue>You did n't tell me David went to Oxford.</dialogue>
<scene_description>Jenny looks at David , who stares back at her straight - faced .</scene_description>
<character>JENNY</character>
<dialogue>No. I did n't.</dialogue>
<character>DAVID</character>
<dialogue />
<scene_description>For all the good it did me .</scene_description>
<character>JACK</character>
<dialogue>What did you read?</dialogue>
<character>DAVID</character>
<dialogue>Oh, English. Just like every other semi - employed layabout in London.</dialogue>
<character>JACK</character>
<parenthetical>( marvelling at the coincidence . )</parenthetical>
<dialogue>English! Which college?</dialogue>
<character>DAVID</character>
<dialogue>Merton.</dialogue>
<character>MARJORIE</character>
<dialogue>Is n't that funny?</dialogue>
<character>JENNY</character>
<dialogue>Extraordinary.</dialogue>
<character>DAVID</character>
<dialogue>I was just telling Jack that I'm going back next weekend. I go and see my old professor every now and again.</dialogue>
<character>JACK</character>
<dialogue>That's what you need, Jenny. Someone on the inside track. It's not always what you know, is it, David?</dialogue>
<character>DAVID</character>
<dialogue>Too true. And Clive would love Jenny. Have you ever come across Clive Lewis?</dialogue>
<character>JENNY</character>
<dialogue>Dad has never come across anyone.</dialogue>
<character>DAVID</character>
<dialogue>I just thought he might know some of the books.</dialogue>
<character>JENNY</character>
<dialogue>Dad has never read any books.</dialogue>
<character>JACK</character>
<parenthetical>( stung . )</parenthetical>
<dialogue>What's he written?</dialogue>
<character>DAVID</character>
<dialogue>He wrote a children's book called ` The Lion, The Witch and The Wardrobe' that did very well, I believe.</dialogue>
<character>MARJORIE</character>
<dialogue>CS Lewis? That's the Clive you're talking about?</dialogue>
<character>DAVID</character>
<dialogue>Well, to us he was just the old codger who taught Medieval literature. But I came to know him very well. We just. got along, do you know what I mean?</dialogue>
<scene_description>Everyone murmurs their comprehension .</scene_description>
<character>MARJORIE</character>
<dialogue>Jenny used to love those books.</dialogue>
<character>DAVID</character>
<dialogue>Gosh. That dates me. He was writing them when I was there.</dialogue>
<character>JENNY</character>
<dialogue>I'd love to meet him.</dialogue>
<scene_description>There is a pause . Jack and Marjorie look at the floor . Somehow , David has manoeuvred a situation where , effectively , he is the one being asked .</scene_description>
<character>DAVID</character>
<dialogue>I'm sorry. I'm being slow on the uptake. Would Jenny like to come with me at the weekend?</dialogue>
<character>JACK</character>
<dialogue>Well, I do n't know about this weekend. But one day, yes, thank you.</dialogue>
<character>JENNY</character>
<dialogue>How often do you see him?</dialogue>
<character>DAVID</character>
<dialogue>Oh, once every couple of years. But next time, eh?</dialogue>
<character>JENNY</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Hopefully I'll be there by then. So that wo n't be much use.</dialogue>
<character>JACK</character>
<parenthetical>( dubiously . )</parenthetical>
<dialogue>Well, I suppose. Would she have to stay the night?</dialogue>
<character>DAVID</character>
<dialogue>Well, I would n't want to drive back after one of those Oxford dinners.</dialogue>
<scene_description>Jack chuckles knowingly .</scene_description>
<character>DAVID</character>
<dialogue>Clive will get her a room in college. That's easy enough.</dialogue>
<character>MARJORIE</character>
<dialogue>Sounds like too good an opportunity to pass up.</dialogue>
<character>JENNY</character>
<dialogue>Please, Daddy. It would be so helpful to know something about the place.</dialogue>
<character>JACK</character>
<dialogue>Would it be a bother to you, David?</dialogue>
<character>DAVID</character>
<dialogue>I'd be delighted.</dialogue>
<scene_description>Jack , Marjorie and Jenny all beam .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY. NIGHT</stage_direction>
<scene_description>Jenny opens the door for David .</scene_description>
<character>JENNY</character>
<parenthetical>( sotto voce . )</parenthetical>
<dialogue>That was scandalous.</dialogue>
<character>DAVID</character>
<dialogue>I told you. You owe me half - a - crown.</dialogue>
<scene_description>He kisses her on the cheek and disappears into the night .</scene_description>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. DAY</stage_direction>
<scene_description>David and Danny are waiting for the girls to get ready . Danny is sitting sprawled in an armchair ; David is pacing up and down .</scene_description>
<character>DAVID</character>
<dialogue>Come on!</dialogue>
</scene>
<scene>
<stage_direction>INT. HELEN'S BEDROOM. DAY</stage_direction>
<scene_description>An ornate four - poster bed occupies most of the space in the room . Helen is doing something to Jenny , but we ca n't see what .</scene_description>
<character>HELEN</character>
<dialogue>Nearly ready!</dialogue>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. DAY</stage_direction>
<character>DAVID</character>
<dialogue>How can they only be nearly ready?</dialogue>
<character>DANNY</character>
<dialogue>I would n't be surprised if three of them come out, you know. That's the only explanation. They're making themselves a friend. LADIES! Let's go. Please.</dialogue>
</scene>
<scene>
<stage_direction>INT. HELEN'S BEDROOM. DAY</stage_direction>
<scene_description>Jenny is wearing a floaty print dress that she has borrowed from Helen , and there are lots of other beautiful clothes strewn about the place . Jenny is sitting at the dressing table , being made up by Helen . Jenny looks three or four years older , more sophisticated . more like Helen . She ca n't believe it . She looks in the mirror , and for a moment , she forgets to breathe .</scene_description>
<character>HELEN</character>
<dialogue>There. You'll do. You can keep it. I can only wear so many every day.</dialogue>
<scene_description>Jenny emerges from her reverie .</scene_description>
<character>JENNY</character>
<parenthetical>( thrilled . )</parenthetical>
<dialogue>Really? Thank you.</dialogue>
<character>HELEN</character>
<dialogue>What about tonight? Will you be needing a nightie? Or not?</dialogue>
<character>JENNY</character>
<dialogue>A nightie?</dialogue>
<scene_description>Jenny suddenly understands what Helen means .</scene_description>
<character>JENNY</character>
<dialogue>Will we be sharing bedrooms?</dialogue>
<character>HELEN</character>
<dialogue>You're not sleeping with him?</dialogue>
<character>JENNY</character>
<dialogue>No. I'm. No.</dialogue>
<character>HELEN</character>
<dialogue>Good for you.</dialogue>
<character>JENNY</character>
<dialogue>Really? Do you think so?</dialogue>
<character>HELEN</character>
<dialogue>You're only sixteen. And you do n't want to get into the family way, do you?</dialogue>
<character>JENNY</character>
<dialogue>Oh, I'd make sure that did n't happen. I'm going to do it when I'm seventeen. On my seventeenth birthday, hopefully.</dialogue>
<character>HELEN</character>
<dialogue>With David?</dialogue>
<scene_description>Jenny pauses .</scene_description>
<character>JENNY</character>
<dialogue>Well. Golly. I suppose it will be with David, wo n't it?</dialogue>
<character>HELEN</character>
<dialogue>When's your birthday?</dialogue>
<character>JENNY</character>
<dialogue>April.</dialogue>
<character>HELEN</character>
<dialogue>Oh, he'll be around in April. If that's what you want. Anyway. I'll find you a nightie.</dialogue>
<scene_description>Jenny stares at herself in the mirror again .</scene_description>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. DAY</stage_direction>
<scene_description>The girls emerge . Both men are entranced by Jenny 's transformation . David ca n't take his eyes off her .</scene_description>
<character>DANNY</character>
<parenthetical>( thoughtful . )</parenthetical>
<dialogue>Shall, we, ah. Make a move?</dialogue>
<scene_description>He gets to his feet .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. CAR COUNTRY ROAD. DAY.</stage_direction>
<scene_description>The Bristol on the country road to Oxford .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. CAR OXFORD DAY</stage_direction>
<scene_description>The Bristol drives through Oxford . Jenny catches a quick glimpse of a dreaming spire .</scene_description>
<character>DANNY</character>
<dialogue>Imagine spending three years here.</dialogue>
<character>HELEN</character>
<dialogue>I know.</dialogue>
<scene_description>She shudders , as if someone has walked over her grave .</scene_description>
<character>JENNY</character>
<dialogue>Can we stop?</dialogue>
<character>DAVID</character>
<dialogue>Maybe later. There are a couple of things we have to do.</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. CAR OXFORD BACK STREET. DAY.</stage_direction>
<scene_description>Jenny and Helen in the back seat of the car , which is parked outside a house in the back streets of Oxford . There 's no sign of Danny and David . Jenny sighs impatiently .</scene_description>
<character>HELEN</character>
<dialogue>Oh, it's always like this. There are millions of places I've never seen because I've been stuck in here.</dialogue>
<character>JENNY</character>
<dialogue>You never get out?</dialogue>
<character>HELEN</character>
<dialogue>There's never anywhere to go in the places they stop.</dialogue>
<scene_description>Jenny looks out of the window . This is self - evidently true .</scene_description>
</scene>
<scene>
<stage_direction>INT. PUB. EVENING.</stage_direction>
<scene_description>Helen and Danny , Jenny and David are standing in a quiet , old - fashioned pub , warming themselves at an open fire . David has a pen in his hand , and he 's holding a book - ` The Lion , The Witch and the Wardrobe ' .</scene_description>
<character>DAVID</character>
<dialogue>So. Now.Is he Clive, do you think? Or CS?</dialogue>
<character>HELEN</character>
<dialogue>I'm confused now. I thought you'd made him up?</dialogue>
<character>DANNY</character>
<parenthetical>( attempting , briefly , to be patient . )</parenthetical>
<dialogue>No, we. Never mind.</dialogue>
<scene_description>David walks over to the nearest table and writes in the book .</scene_description>
<character>DAVID</character>
<dialogue>There.</dialogue>
<scene_description>He stands up , hands the book to Jenny .</scene_description>
<character>JENNY</character>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` To dear Jenny. With the pleasure of meeting you. Come and see me again soon. Clive.''</dialogue>
<character>HELEN</character>
<dialogue>Dirty old man.</dialogue>
<scene_description>Laughter . He takes a long drink from his pint of bitter . A group of students enter , all carrying musical instruments . They stand at the bar , waiting to be served . Jenny stares at them with longing - she wants to be one of them . Helen , meanwhile , stares at them as if they were aliens .</scene_description>
<character>HELEN</character>
<parenthetical>( sotto voce . )</parenthetical>
<dialogue>Why are university girls so strange - looking?</dialogue>
<scene_description>Helen 's right . The girls in the group are all bespectacled and frumpy . The others laugh .</scene_description>
<character>HELEN</character>
<dialogue>It's true. And they ca n't all have started off that way, can they? Most girls are n't ugly, but most girl students are. So there must be something about those places that, you know, makes you fat, or spotty, or short - sighted.</dialogue>
<character>DAVID</character>
<dialogue>Well, if you look at it that way. I mean, that's proper scientific analysis. And you ca n't argue with science.</dialogue>
<scene_description>Helen looks pleased .</scene_description>
<character>HELEN</character>
<dialogue>I'm still not quite clear on what you want to do when you get here.</dialogue>
<character>JENNY</character>
<dialogue>I want to read English.</dialogue>
<character>HELEN</character>
<dialogue>Books?</dialogue>
<character>JENNY</character>
<dialogue>Sorry?</dialogue>
<character>HELEN</character>
<dialogue>You want to read English books?</dialogue>
<character>JENNY</character>
<dialogue>Oh. Yes. Reading English is just another way of saying.</dialogue>
<character>DANNY</character>
<dialogue>I would n't worry, Jenny. You're wasting your breath.</dialogue>
<character>DAVID</character>
<dialogue>Anyway, tomorrow we'll try to get more of a feel for the place.</dialogue>
<character>DANNY</character>
<dialogue>Absolutely. This would be a good place to do a little business.</dialogue>
<scene_description>David catches Jenny 's eye . This is n't what he meant by `` getting a feel for the place . ''</scene_description>
<character>DANNY</character>
<dialogue>All those little old ladies wandering around. I'll bet this place is rife with stats.</dialogue>
<character>JENNY</character>
<dialogue>Please explain what stats are. You're always going on about them.</dialogue>
<character>DAVID</character>
<dialogue>All right. Think of a number. Now think about the most boring lesson you've ever had at school. Now double it. Done? Doubled? Now multiply it by the number you first thought of, and there you are. That's the official boredom content of stats.</dialogue>
<scene_description>Jenny laughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. B & B BEDROOM. NIGHT</stage_direction>
<scene_description>A rather grotty and certainly unromantic B&B bedroom - so unromantic , in fact , that it even has the same fusty curtains from Jenny 's sitting room . David is in bed , his hands behind his head , waiting for Jenny . As far as we can tell - he 's wrapped up in the sheets quite tightly - he 's in his underwear . The bedroom is lit unromantically by the 40 - watt overhead light . Jenny comes into the room wearing one of Helen 's nightdresses , a glamorous satiny item quite inappropriate for the occasion or the surroundings . She looks nervous .</scene_description>
<character>JENNY</character>
<dialogue>We've got exactly the same curtains at home.</dialogue>
<character>DAVID</character>
<dialogue>Let's not talk about curtains. You look beautiful. You really are a princess.</dialogue>
<scene_description>Jenny was about to get into bed , but his tone makes her pause at the edge of the bed .</scene_description>
<character>JENNY</character>
<dialogue>There's something you should know, David. I'm. Well, I'm a virgin. And I want to stay that way until I'm seventeen.</dialogue>
<character>DAVID</character>
<dialogue>I think that's good. I think that's right. And for your seventeenth birthday I'm going to take you to Paris or Rome or Florence and make you feel like the most beautiful princess in the kingdom of love. But we can still be romantic, ca n't we?</dialogue>
<character>JENNY</character>
<dialogue>Well, yes. Of course we can. If it does n't mean.</dialogue>
<character>DAVID</character>
<dialogue>Minnie.</dialogue>
<character>JENNY</character>
<dialogue>Is that me?</dialogue>
<character>DAVID</character>
<dialogue>Yes. You're my Minnie Mouse, and I'm your bubbalub.</dialogue>
<character>JENNY</character>
<dialogue>Oh. If that's what.</dialogue>
<character>DAVID</character>
<dialogue>Minnie.</dialogue>
<character>JENNY</character>
<dialogue>Yes, David?</dialogue>
<character>DAVID</character>
<parenthetical>( prompting . )</parenthetical>
<dialogue>Bubbalub.</dialogue>
<character>JENNY</character>
<dialogue>Sorry. Yes, bubbalub?</dialogue>
<character>DAVID</character>
<dialogue>Would you mind if I had a look at what might one day be mine? Just a peek?</dialogue>
<scene_description>His eyes stray to her breasts . Jenny stares at him .</scene_description>
<character>JENNY</character>
<dialogue>You just want to see them?</dialogue>
<character>DAVID</character>
<dialogue>I just want to see them.</dialogue>
<scene_description>Jenny , flustered and nervous , looks at her nightgown - she does n't know what to do .</scene_description>
<character>DAVID</character>
<dialogue>Let it fall from your shoulders.</dialogue>
<scene_description>She does so . He stares .</scene_description>
<character>DAVID</character>
<dialogue>Thank you.</dialogue>
<scene_description>He sits up , and lovingly lifts the straps back up . He smiles at her . Relieved , she smiles back .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. CAR COTTAGE. DAY</stage_direction>
<scene_description>The Bristol , containing David and Jenny in the front seats and Danny and Helen in the back , passing through a pretty Oxfordshire village . It pulls up outside a country cottage with a ` FOR SALE ' sign outside .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR. DAY</stage_direction>
<character>DAVID</character>
<dialogue>Might be worth a look.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAR COTTAGE. DAY</stage_direction>
<scene_description>The four get out of the car , and Jenny follows David and Danny to the front door of the house . Helen hangs back .</scene_description>
<character>HELEN</character>
<dialogue>Jenny.</dialogue>
<scene_description>Jenny turns around .</scene_description>
<character>JENNY</character>
<dialogue>Are n't you coming?</dialogue>
<character>HELEN</character>
<dialogue>We do n't go in.</dialogue>
<character>JENNY</character>
<dialogue>What are you talking about?</dialogue>
<character>DANNY</character>
<dialogue>Helen will look after you. Go and find a nice cup of tea somewhere.</dialogue>
<scene_description>Jenny is mystified .</scene_description>
<character>JENNY</character>
<dialogue>I do n't need looking after, thank you very much. David, I want to see.</dialogue>
<scene_description>David ignores her .</scene_description>
<character>DANNY</character>
<dialogue>I'm not going to tell you a second time. Now. Run along.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BENCH. DAY</stage_direction>
<scene_description>Helen and Jenny waiting for the boys . Helen is blithe , chatty ; Jenny has a face like thunder .</scene_description>
<character>HELEN</character>
<dialogue>They wo n't be long. Either way.</dialogue>
<character>JENNY</character>
<dialogue>`` Either way''?</dialogue>
<character>HELEN</character>
<dialogue>Sometimes they find something, sometimes they do n't.</dialogue>
<scene_description>In the distance , David is waving at them urgently .</scene_description>
<character>HELEN</character>
<dialogue>And when they do find something, we usually have to leave quite quickly. They can be a bit naughty, sometimes. Anyway. It's nice to have company. I'm usually outside on my own.</dialogue>
<scene_description>Jenny stares at Helen . She 's beginning to realise who she is dealing with .</scene_description>
</scene>
<scene>
<stage_direction>SCENE OMITTED</stage_direction>
</scene>
<scene>
<stage_direction>SCENE OMITTED</stage_direction>
</scene>
<scene>
<stage_direction>INT/EXT. CAR NEW COUNTRY ROAD. DAY</stage_direction>
<scene_description>An old picture of some kind is wedged between Helen and Jenny on the back seat . Jenny , furious , is staring out of the window . Helen attempts to peer around the partition , but settles for a wave .</scene_description>
<character>HELEN</character>
<dialogue>Coo - ee. Jenny.</dialogue>
<scene_description>Jenny does n't respond .</scene_description>
<character>DANNY</character>
<dialogue>Sorry about being a little brisk back there, Jenny. We have our way of doing things. Silly, really.</dialogue>
<scene_description>Still no response .</scene_description>
<character>DAVID</character>
<dialogue>Oh, come on, Jenny. Let's not spoil things.</dialogue>
<character>JENNY</character>
<parenthetical>( disbelieving . )</parenthetical>
<dialogue>Me? I'm spoiling things?</dialogue>
<character>DAVID</character>
<dialogue>I think there must be some kind of misunderstanding.</dialogue>
<scene_description>Jenny shakes her head bitterly . They continue driving in silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DANNY'S FLAT. DAY</stage_direction>
<scene_description>The Bristol pulls up outside Danny 's Bedford Square flat .</scene_description>
<character>DANNY</character>
<dialogue>Who wants to come up for a drink?</dialogue>
<character>DAVID</character>
<dialogue>Jenny?</dialogue>
<character>JENNY</character>
<parenthetical>( still furious . )</parenthetical>
<dialogue>No thanks. You go. I'll find my own way home.</dialogue>
<scene_description>Jenny gets out of the car and starts up the road . David gets out and starts to chase after her .</scene_description>
<character>DAVID</character>
<dialogue>Jenny!</dialogue>
<scene_description>He catches up with her in the street .</scene_description>
<character>DAVID</character>
<dialogue>It was an old map. A Speed. It was cooped up in that miserable little cottage, and she did n't even know what it was. What a waste! It should n't spend its life on a wall in wherever the hell we are. It should be with us. We know how to look after it properly. We liberated it.</dialogue>
<scene_description>Jenny snorts derisively .</scene_description>
<character>JENNY</character>
<dialogue>Liberated! That's one word for it.</dialogue>
<character>DAVID</character>
<parenthetical>( quickly and passionately . )</parenthetical>
<dialogue>Oh, do n't be bourgeois, Jenny. You're better than that. I know you have fun with us. I can see it. You drink everything I put in front of you down in one, every last drop, and then you slam your glass down on the bar and ask for more, and it's wonderful. We're not clever like you, so we have to be clever in other ways, because if we were n't, there would be no fun. We have to be clever with maps, and. and. You want to know what stats are? Stats are old ladies who are scared of coloured people. So I move the coloureds in and the old ladies move out and I buy their flats cheap. That's what I do. So now you know.</dialogue>
<scene_description>Jenny nods reluctantly .</scene_description>
<character>DAVID</character>
<dialogue>And if you do n't like it, then I will understand, and you can go back to Twickenham and listen to the Home Service and do your Latin homework. But these weekends, and the restaurants and the concerts. They do n't grow on trees.</dialogue>
<scene_description>Jenny looks at him , startled . Trees again ?</scene_description>
<character>DAVID</character>
<dialogue>Do you understand? Of course you do. This is who we are, Jenny.</dialogue>
<scene_description>He turns to face her and holds out his hand . On Jenny : is she in or out ? Jenny takes his hand . David pulls her towards him , holds her around the waist and begins to dance with her . Further up the pavement , Helen and Danny watch , laughing .</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. CAR JENNY' HOUSE. NIGHT</stage_direction>
<scene_description>David pulls up in the Bristol outside Jenny 's house , and they sit in the dark for a little while .</scene_description>
<character>DAVID</character>
<dialogue>I suppose you have homework to do.</dialogue>
<character>JENNY</character>
<dialogue>Gosh. Yes. Loads.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Thank you. I had a nice time.</dialogue>
<character>DAVID</character>
<parenthetical>( surprised , despite his speech earlier . )</parenthetical>
<dialogue>Really? In spite of the, the incident? With the map?</dialogue>
<character>JENNY</character>
<dialogue>As you said in the car, it was a misunderstanding.</dialogue>
<character>DAVID</character>
<dialogue>Exactly. A muddle.</dialogue>
<character>JENNY</character>
<dialogue>You have no idea how boring everything was before I met you.</dialogue>
<character>DAVID</character>
<dialogue>I hope that there's something more than excitement to our relationship.</dialogue>
<character>JENNY</character>
<dialogue>Excitement's a lot, when you're at school and you live in Twickenham.</dialogue>
<character>DAVID</character>
<dialogue>You know what I'm trying to say. I want you to like me for who I am, not just what I can do for you.</dialogue>
<character>JENNY</character>
<dialogue>But that is who you are. I've never met anyone like you. Action is character, our English teacher says.</dialogue>
<character>DAVID</character>
<dialogue>What does that mean?</dialogue>
<character>JENNY</character>
<dialogue>I think it means that if we never did anything, we would n't be anybody. And I never did anything before I met you. And sometimes I think no - one's ever done anything in this stupid country, apart from you.</dialogue>
<character>DAVID</character>
<dialogue>That's a good place to end the weekend. I'll give you a tinkle.</dialogue>
<character>JENNY</character>
<dialogue>Thank you.</dialogue>
<scene_description>They look at each other . David is clearly smitten . He moves towards her . He wants to kiss her , but he does n't want to frighten her - in the end , Jenny makes it easy for him and moves towards him . They kiss gently and tenderly . Flustered , Jenny breaks it off , gets out of the car and goes inside while David watches .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. NIGHT</stage_direction>
<scene_description>Jenny enters the sitting room with her overnight bag to find the radio on , her father reading the paper and her mother knitting . When Jenny comes in , Jack beams . He has clearly turned some kind of corner .</scene_description>
<character>JACK</character>
<dialogue>Here she is! The wanderer returns!</dialogue>
<character>MARJORIE</character>
<dialogue>Did you have a nice time?</dialogue>
<character>JENNY</character>
<dialogue>Lovely, thank you.</dialogue>
<character>JACK</character>
<dialogue>Was he nice to you?</dialogue>
<scene_description>Jenny unzips her bag and pulls out her copy of the book . She hands it to her father .</scene_description>
<character>JENNY</character>
<dialogue>Look inside.</dialogue>
<scene_description>Jack examines the inscription .</scene_description>
<character>JACK</character>
<dialogue>Well I never. Look at this, Marjorie.</dialogue>
<scene_description>He hands it to her . She examines it reverently .</scene_description>
<character>MARJORIE</character>
<dialogue>`` Clive''. Lucky girl. What was he like?</dialogue>
<character>JENNY</character>
<dialogue>He was just. normal. Kind.</dialogue>
<character>MARJORIE</character>
<dialogue>And did he show you round?</dialogue>
<character>JENNY</character>
<dialogue>Oh, he was busy. David did, though.</dialogue>
<character>MARJORIE</character>
<dialogue>What did you think?</dialogue>
<character>JENNY</character>
<dialogue>Beautiful.</dialogue>
<character>MARJORIE</character>
<dialogue>Did it make you want to work harder?</dialogue>
<character>JACK</character>
<dialogue>Never a dull moment with David, is there? If it's not concerts, it's famous authors. Bit different from that lad you brought home for tea, is n't he?</dialogue>
<character>MARJORIE</character>
<dialogue>David's a lot older than Graham.</dialogue>
<character>JACK</character>
<dialogue>Graham could live to be two hundred, and he still would n't be swanning around with famous authors. Has n't got it in him.</dialogue>
<character>JENNY</character>
<dialogue>He might become a famous author, for all you know.</dialogue>
<character>JACK</character>
<dialogue>Being one is n't the same as knowing one, is it? Anyone can be one. But if you move in those circles.</dialogue>
<character>JENNY</character>
<dialogue>What?</dialogue>
<character>JACK</character>
<dialogue>Well, it says something about you, does n't it? It says you're going places. It says you're well connected. He's an impressive young man, that David. I like him more and more.</dialogue>
<character>MARJORIE</character>
<dialogue>Well, they say opposites attract, do n't they? I would n't have thought he was your sort.</dialogue>
<character>JACK</character>
<dialogue>He was n't. And now he is.</dialogue>
<character>MARJORIE</character>
<dialogue>Is that how you feel, Jenny?</dialogue>
<character>JENNY</character>
<dialogue>I feel. I Feel I should do my homework.</dialogue>
<scene_description>She leaves the room . Marjorie watches her go thoughtfully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK. DAY</stage_direction>
<scene_description>A group of girls cross - country running . Jenny and her friends are at the back of the group , and the gym teacher , jogging backwards , gesticulates at them to get a move on .</scene_description>
<character>GYM TEACHER</character>
<dialogue>Ladies, please. Christmas is coming.</dialogue>
<scene_description>They put on enough of a spurt to satisfy her , and then immediately stop when the teacher is no longer watching . Seeing an attractive bench , they sit down . From somewhere under a skirt , Jenny produces a packet of exotic - looking cigarettes and offers them around .</scene_description>
<character>HATTIE</character>
<dialogue>What the hell are those?</dialogue>
<character>JENNY</character>
<dialogue>Russian Sobranies.</dialogue>
<scene_description>Hattie and Tina make snooty faces . Jenny takes a cigarette . The others follow suit . Jenny lights them , and they all grimace . The contrast between the sophisticated cigarettes , and the unsophisticated smokers and context is pronounced .</scene_description>
<character>HATTIE</character>
<dialogue>Where did they come from?</dialogue>
<character>TINA</character>
<dialogue>She might have bought them from the Savoy, or Claridges, or the opera, or some fancy nightclub. Who knows, with Jenny?</dialogue>
<character>JENNY</character>
<dialogue>Paris. You ca n't buy them here.</dialogue>
<character>TINA</character>
<parenthetical>( suddenly looking at her suspiciously . )</parenthetical>
<dialogue>You never bought them yourself?</dialogue>
<character>JENNY</character>
<parenthetical>( mimicking Tina 's grammar cruelly . )</parenthetical>
<dialogue>No. I never.</dialogue>
<character>TINA</character>
<dialogue>Shut up, you stuck - up cow.</dialogue>
<character>JENNY</character>
<dialogue>But I'll bring you some back, if you want.</dialogue>
<character>TINA</character>
<dialogue>You're joking.</dialogue>
<character>JENNY</character>
<dialogue>Non.</dialogue>
<character>HATTIE</character>
<dialogue>He's taking you to Paris?</dialogue>
<character>JENNY</character>
<parenthetical>( smiling smugly . )</parenthetical>
<dialogue>Oui.</dialogue>
<character>HATTIE</character>
<dialogue>This term?</dialogue>
<character>JENNY</character>
<dialogue>Peut - etre.</dialogue>
<character>TINA</character>
<dialogue>Is n't it your birthday next Tuesday?</dialogue>
<character>JENNY</character>
<dialogue>Might be.</dialogue>
<scene_description>The two friends shriek and jump up and down .</scene_description>
<character>HATTIE</character>
<dialogue>Oh, my God! Your birthday!</dialogue>
<character>TINA</character>
<dialogue>I would n't like to be you. All those dinners you've had off him. Ouch.</dialogue>
<character>JENNY</character>
<dialogue>You have such a Victorian attitude to sex, you two.</dialogue>
<character>TINA</character>
<dialogue>Oh, sorry, Dr Kinsey. We're not all as experienced as you. I mean, you've done it.</dialogue>
<parenthetical>( She counts on her fingers . )</parenthetical>
<dialogue>I make it never! Can that be right?</dialogue>
<character>HATTIE</character>
<dialogue>But your parents are just going to let you swan off like that?</dialogue>
<character>JENNY</character>
<dialogue>They do n't know yet. David's got a plan, he says. He usually has something up his sleeve.</dialogue>
<character>TINA</character>
<dialogue>I've noticed that. What did he tell them when you had your weekend in Oxford?</dialogue>
<character>JENNY</character>
<parenthetical>( animated by the memory . )</parenthetical>
<dialogue>Oh, it was.</dialogue>
<parenthetical>( She changes her mind . )</parenthetical>
<dialogue>David went to Oxford. Merton. English. And he offered to show me round.</dialogue>
<character>HATTIE</character>
<dialogue>So you have a good - looking boyfriend with pots of money, brains and a nice car.</dialogue>
<character>JENNY</character>
<dialogue>Apparently I do.</dialogue>
<scene_description>Tina makes a bitter face .</scene_description>
<character>TINA</character>
<dialogue>And they tell us there's a God.</dialogue>
<scene_description>Laughter . Jenny glances off into the distance , and spots a portly middle - aged woman heading in their direction .</scene_description>
<character>JENNY</character>
<dialogue>Sod. Miss Davies.</dialogue>
<scene_description>They stand up , grind their Sobranies into the mud , kick them under the bench , and set off at a brisk trot . The Sobranie stubs come to rest near a pile of dog poo .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. DAY</stage_direction>
<scene_description>Breakfast on Jenny 's birthday . Jenny is at the table buttering toast . Jack is reading the paper , Marjorie is cooking him eggs and bacon .</scene_description>
<character>JACK</character>
<dialogue>Is David taking you somewhere special tonight?</dialogue>
<character>JENNY</character>
<dialogue>Not that I know of.</dialogue>
<character>MARJORIE</character>
<dialogue>I've asked Graham round for tea and birthday cake.</dialogue>
<character>JENNY</character>
<dialogue>Graham?</dialogue>
<character>JACK</character>
<dialogue>What do we want him round for?</dialogue>
<character>MARJORIE</character>
<dialogue>I happened to be talking to his mother about something, and.</dialogue>
<character>JENNY</character>
<dialogue>What did you happen to be talking to her about?</dialogue>
<character>MARJORIE</character>
<dialogue>I thought it would be nice.</dialogue>
<character>JENNY</character>
<dialogue>What if David turns up?</dialogue>
<character>MARJORIE</character>
<dialogue>Are we expecting David to turn up?</dialogue>
<scene_description>Jenny shrugs .</scene_description>
<character>JACK</character>
<dialogue>It might not be a bad thing if he did.</dialogue>
<character>MARJORIE</character>
<parenthetical>( doubtful . )</parenthetical>
<dialogue>Really?</dialogue>
<character>JACK</character>
<dialogue>Well, if you think about it, there's more than one way of skinning a cat.</dialogue>
<character>JENNY</character>
<dialogue>And who's the skinned cat, in this enchanting image? Me?</dialogue>
<character>JACK</character>
<dialogue>No, of course.</dialogue>
<character>JENNY</character>
<dialogue>I have an education to pursue.</dialogue>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>Graham , Jenny and her father are at the dinner table , sitting in the dark . Marjorie kicks the door open with her foot and comes in holding a birthday cake with seventeen candles burning on it . She puts it down carefully on the table .</scene_description>
<character>JACK</character>
<dialogue>Blow them out, then, before the whole place burns down.</dialogue>
<scene_description>Jenny closes her eyes , makes her wish , blows out her candles . Her father and mother both look at her , apparently attempting to read her mind . Jack gets up to turn the lights on . We can see that by Jenny 's side are two unopened , carefully - wrapped presents , both exactly the same size - clearly books .</scene_description>
<character>MARJORIE</character>
<dialogue>Who'd like a piece?</dialogue>
<scene_description>In truth , the cake is a rather sorry and unappetising specimen . There is n't enough icing on the top . She cuts a couple of slices which immediately collapse .</scene_description>
<character>GRAHAM</character>
<dialogue>Never mind. I'll have one of those.</dialogue>
<character>JACK</character>
<dialogue>Come on. Presents.</dialogue>
<scene_description>Without any real enthusiasm , Jenny opens the first one of the two , from her mum and dad . It 's a Latin dictionary .</scene_description>
<character>JENNY</character>
<dialogue>Oh. Thank you. I needed a new one.</dialogue>
<character>GRAHAM</character>
<parenthetical>( crestfallen . )</parenthetical>
<dialogue>Oh dear.</dialogue>
<scene_description>The doorbell rings . Jenny perks up . Jack goes to answer it , and immediately the house is energised : it 's David .</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT JENNY'S HOUSE</stage_direction>
<scene_description>Jack answers the door to David .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE</stage_direction>
<character>JACK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Good grief. You wo n't believe this, Jenny. Did you leave anything in the shop?</dialogue>
<scene_description>David enters . You can hardly see him for all the parcels and flowers he 's carrying .</scene_description>
<character>DAVID</character>
<dialogue>It's a special day.</dialogue>
<scene_description>He and Jenny exchange a glance . Jack comes in behind him .</scene_description>
<character>JACK</character>
<dialogue>She's a special girl.</dialogue>
<character>DAVID</character>
<dialogue>Oh, I know it.</dialogue>
<parenthetical>( to Graham . )</parenthetical>
<dialogue>Hello, young man.</dialogue>
<character>JENNY</character>
<dialogue>This is Graham.</dialogue>
<character>DAVID</character>
<dialogue>Graham, a pleasure. I'm David.</dialogue>
<scene_description>They shake hands . Graham suddenly looks five years younger .</scene_description>
<character>JACK</character>
<dialogue>Makes your dictionary look a bit feeble, eh Graham?</dialogue>
<scene_description>Graham looks pained . Marjorie notices .</scene_description>
<character>MARJORIE</character>
<dialogue>And ours too, come to that.</dialogue>
<character>JACK</character>
<dialogue>Well, we're not the ones trying to impress her.</dialogue>
<character>JENNY</character>
<dialogue>Clearly.</dialogue>
<character>JACK</character>
<dialogue>David, what can I get you to drink?</dialogue>
<character>DAVID</character>
<dialogue>What's everybody else having? What have you got there, Graham?</dialogue>
<character>JACK</character>
<dialogue>I've given him a glass of pop.</dialogue>
<character>GRAHAM</character>
<parenthetical>( stung . )</parenthetical>
<dialogue>I'd better be going I have a stack of homework to do.</dialogue>
<scene_description>Graham says his goodbyes . He tries to catch Jenny 's eye , but she looks away . Marjorie shows him to the door .</scene_description>
<character>DAVID</character>
<dialogue>Yes. Well. You can put the pop away now. What is there for the grown - ups?</dialogue>
<character>JACK</character>
<dialogue>A glass of something warming?</dialogue>
<character>DAVID</character>
<dialogue>You know me so well.</dialogue>
<scene_description>Hearty laughter from the two men .</scene_description>
<character>JENNY</character>
<dialogue>Can I open anything yet?</dialogue>
<scene_description>Marjorie comes back into the room .</scene_description>
<character>MARJORIE</character>
<dialogue>Wait for me.</dialogue>
<character>DAVID</character>
<dialogue>Before you start on that little lot, I have a surprise. Next weekend, we're all going to Chez Georges to celebrate Jenny's birthday.</dialogue>
<character>JACK</character>
<parenthetical>( flatly . )</parenthetical>
<dialogue>Lovely.</dialogue>
<character>DAVID</character>
<dialogue>Chez Georges is in the Boulevard St Germain. In Paris.</dialogue>
<scene_description>Jenny giggles her delight . Jack 's smile is a little more forced .</scene_description>
<character>JACK</character>
<dialogue>How d'you mean, Paris?</dialogue>
<character>JENNY</character>
<dialogue>You know the one, Dad.</dialogue>
<character>JACK</character>
<parenthetical>( panic rising . )</parenthetical>
<dialogue>But. We have n't got any French money. And I'm not sure. I just do n't think it would agree with me.</dialogue>
<character>JENNY</character>
<dialogue>Dad!</dialogue>
<character>JACK</character>
<dialogue>They do n't like us, the French, you know. John Sutton at work went once. They were very rude to him. I'm not sure I'd like that.</dialogue>
<scene_description>Jenny understands David 's ploy perfectly , and the role she must play . Her eyes fill with tears . Jack notices .</scene_description>
<character>JACK</character>
<dialogue>I do n't want to spoil anyone's fun, but. It's not for me, Europe. We'll go another time.</dialogue>
<character>JENNY</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>You've just said you do n't like Europe. What's going to change? It'll have to be Europe, wo n't it? Because it is n't going to be you.</dialogue>
<character>MARJORIE</character>
<dialogue>I can take her.</dialogue>
<character>JACK</character>
<parenthetical>( genuinely indignant . )</parenthetical>
<dialogue>To France? And leave me here on my own?</dialogue>
<character>JENNY</character>
<dialogue>Oh, for God's sake.</dialogue>
<scene_description>Jack looks cornered . He needs to find a way out .</scene_description>
<character>DAVID</character>
<dialogue>Listen, I'm really sorry to have caused all this to - do. I just thought it might be nice. But I'll go with Aunt Helen and Uncle Daniel. They can have your tickets.</dialogue>
<scene_description>Jack looks at him .</scene_description>
<character>JACK</character>
<dialogue>Aunt Helen? The one who went to the concert with you?</dialogue>
<character>DAVID</character>
<dialogue>Yes, that's the one.</dialogue>
<character>JACK</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>Well, there we are.</dialogue>
<character>DAVID</character>
<parenthetical>( perplexed . )</parenthetical>
<dialogue>Where are we?</dialogue>
<character>JACK</character>
<dialogue>Aunt Helen! Do n't you see? If Aunt Helen's going to be there.</dialogue>
<character>DAVID</character>
<parenthetical>( the penny apparently dropping . )</parenthetical>
<dialogue>Of course!</dialogue>
<character>JACK</character>
<dialogue>I did n't want to put a spoke in anyone's wheels. But if you look at it from my angle. A bachelor, taking my daughter off to Paris.</dialogue>
<character>DAVID</character>
<dialogue>Oh, impossible. I had n't thought it through properly. I do apologise, Jack. Would you prefer it if Helen took Jenny on her own? I do n't mind. I've been to Paris before.</dialogue>
<character>JACK</character>
<dialogue>Oh, I could n't possibly ask. No, no. If Aunt Helen's going.</dialogue>
<scene_description>He smiles broadly . He 's off the hook . Jenny catches David 's eye and smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM. DAY</stage_direction>
<scene_description>Hattie , Tina and Jenny are sitting on their desks , waiting for a lesson to start . Hattie shows Jenny a piece of paper which apparently contains some kind of shopping list .</scene_description>
<character>TINA</character>
<dialogue>There are some things you must buy for us, and some things you only have to buy for us if you're a proper, true friend.</dialogue>
<parenthetical>( She points at Hattie , then at herself . )</parenthetical>
<dialogue>Chanel perfume, Chanel perfume.</dialogue>
<parenthetical>( She repeats the gesture . )</parenthetical>
<dialogue>Chanel lipstick, Chanel lipstick. What have I forgotten?</dialogue>
<character>HATTIE</character>
<dialogue>Those funny cigarettes you were smoking. Sobranies. Ten packets each.</dialogue>
<scene_description>A very small girl , twelve or thirteen , comes in to the classroom and approaches Jenny .</scene_description>
<character>SMALL GIRL</character>
<dialogue>Are you the girl going to Paris?</dialogue>
<scene_description>Tina , Hattie and Jenny stare at her .</scene_description>
<character>SMALL GIRL</character>
<dialogue>Well are you or are n't you? Because I'd like some perfume.</dialogue>
<scene_description>Miss Stubbs comes into the classroom carrying books and essays . She sees the small girl and shoos her out . She then approaches Jenny and whispers discreetly into her ear .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Jenny, the headmistress would like a word at the end of the lesson. I'm afraid that the legend of Mr Rochester may have travelled further than you intended.</dialogue>
<scene_description>Jenny looks at her , startled and a little sick .</scene_description>
</scene>
<scene>
<stage_direction>INT. HEADMISTRESS'S OFFICE. DAY.</stage_direction>
<scene_description>The office is dark , wood - panelled , foreboding , apparently designed to put all visitors ill - at - ease . The headmistress would probably choose to be wood - panelled if she could . She 's tweedy , bespectacled , severe . There is a knock at the door . She does n't look up from her paperwork .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Come.</dialogue>
<scene_description>Jenny enters , looking young and frightened .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Ah. Miss Mellor.</dialogue>
<scene_description>Jenny tries to look back at her with all the courage she can muster .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>We're all very excited about your forthcoming trip to Paris. Our excitement, indeed, knows no bounds. Some of us can talk of little else.</dialogue>
<scene_description>Jenny looks at her feet .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>An older man, I understand. A word of warning, Miss Mellor. There may well have been the odd sixth - form girl who has lost an important part of herself - perhaps the best part - while under our supervision. These things happen, regrettably. If, however, we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for ` A' - levels. Is that clear?</dialogue>
<character>JENNY</character>
<dialogue>Can I go now?</dialogue>
<character>HEADMISTRESS</character>
<dialogue>Please.</dialogue>
<scene_description>Jenny turns round and walks out without saying another word .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BEDROOM. EVENING</stage_direction>
<scene_description>62PT 1 Through the window of a hotel suite , we see a BEA jet soaring into the sky . 62PT 2 David and Jenny are n't on it , though . They are letting themselves into the room . Jenny stares at the featureless sitting room .</scene_description>
<character>JENNY</character>
<dialogue>There's no bed.</dialogue>
<character>DAVID</character>
<dialogue>Ah. I pushed the boat out and got us a suite.</dialogue>
<character>JENNY</character>
<dialogue>A suite!</dialogue>
<character>DAVID</character>
<dialogue>Well, if work stops us getting to Paris until tomorrow, then work can buy us a nice hotel room. Anyway, it's a special occasion, is n't it?</dialogue>
<character>JENNY</character>
<dialogue>I would have thought that tonight of all nights we only need a bedroom.</dialogue>
<scene_description>Close on David 's reaction - she has n't forgotten that tonight 's the night .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BEDROOM. NIGHT</stage_direction>
<scene_description>David and Jenny in bed , in a dimly lit bedroom . They are kissing - David more passionately than Jenny . He is making little whimpers of excitement , and Jenny is clearly trying hard to hide her nerves . We 're acutely aware of her age , and of her virginity . Suddenly David breaks off .</scene_description>
<character>DAVID</character>
<dialogue>Hold on a second. I've got something.</dialogue>
<scene_description>Rather absurdly , he half - disappears over the side of the bed , reaching for something on the floor . He comes back with a banana . Jenny stares at him .</scene_description>
<character>JENNY</character>
<dialogue>What on earth is that for?</dialogue>
<character>DAVID</character>
<dialogue>I thought. I thought we might want to practice.</dialogue>
<scene_description>Jenny shrieks with horror .</scene_description>
<character>JENNY</character>
<dialogue>With a banana?</dialogue>
<character>DAVID</character>
<dialogue>I thought we'd get the messy bit over with first.</dialogue>
<character>JENNY</character>
<dialogue>David, I do n't want to lose my virginity to a piece of fruit.</dialogue>
<character>DAVID</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>David attempts to kiss her again . Jenny wriggles clear .</scene_description>
<character>JENNY</character>
<dialogue>Let's wait until we get to Paris. I think the moment might have gone.</dialogue>
<character>DAVID</character>
<dialogue>I'm sorry, Minnie. I'm such a fool.</dialogue>
<scene_description>Jenny does n't deny it .</scene_description>
<character>JENNY</character>
<dialogue>And David. if tomorrow night does happen, it will never happen again, so.</dialogue>
<character>DAVID</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>Why wo n't it ever happen again?</dialogue>
<character>JENNY</character>
<dialogue>Because the first time can only happen once.</dialogue>
<character>DAVID</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>Oh.</dialogue>
<character>JENNY</character>
<dialogue>So, please. No Minnies. No baby - talk. I'm not old enough for baby - talk. Treat me like a grown - up.</dialogue>
<scene_description>David looks chastened .</scene_description>
<character>JENNY</character>
<parenthetical>( brightly . )</parenthetical>
<dialogue>I know. Let's go and sit in our sitting - room.</dialogue>
<character>DAVID</character>
<parenthetical>( cheered up . )</parenthetical>
<dialogue>Hooray! I'll order some champagne.</dialogue>
<scene_description>Jenny looks at him with what might , from one angle , be construed as fondness . MONTAGE SEQUENCE - PARIS</scene_description>
</scene>
<scene>
<stage_direction>EXT. LEFT BANK. DAY.</stage_direction>
<scene_description>Juliette Greco on the soundtrack . Jenny leans against a wall , the Seine and Notre Dame behind her . David takes her picture . She looks fantastic in the clothes David has given her for her birthday .</scene_description>
</scene>
<scene>
<stage_direction>INT. ART GALLERY. DAY</stage_direction>
<scene_description>A crowded Left Bank gallery . Jenny is sitting on the floor watching an impossibly handsome young Frenchman paint black the body of an impressively passive naked woman . The young man sitting next to Jenny gives her an appraising look . David , standing at the back and looking square and uncomfortable , notices .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORD SHOP. DAY</stage_direction>
<scene_description>We see three listening booths , all containing customers . Jenny and David are in the middle booth , listening to the Juliette Greco song on the soundtrack . -LRB- For a moment , the sound quality changes - soundtrack becomes source music , seamlessly . -RRB- Jenny is studying the sleeve . She wants to hug herself , she 's so excited .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAFE. EVENING.</stage_direction>
<scene_description>A Left Bank cafe - David and Jenny are eating steak frites outside , drinking vin ordinaire , watching the world go by . They are both anticipating the night ahead .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VIEW OF SACRE COEUR/MONTMARTRE</stage_direction>
</scene>
<scene>
<stage_direction>EXT. PARIS HOTEL. DAWN</stage_direction>
<scene_description>Jenny is smoking at the second - floor window of a simple , pretty Parisian hotel , wearing a glamorous - looking slip and looking at the street life below her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM. DAWN</stage_direction>
<scene_description>The bedroom is simple and romantic - everything the airport hotel was n't . David is lying amid rumpled sheets , smoking what is clearly a post - coital cigarette , and watching Jenny from behind .</scene_description>
<character>DAVID</character>
<dialogue>Do you still feel like a schoolgirl?</dialogue>
<scene_description>Jenny turns round , smiles , shakes her head .</scene_description>
<character>DAVID</character>
<dialogue>And it was n't too uncomfortable?</dialogue>
<character>JENNY</character>
<dialogue>Not after the. first bit. It's funny, though, is n't it? All that poetry, and all those songs and films, about something that lasts no time at all?</dialogue>
<scene_description>David looks at her . She is n't being cruel . She just does n't know any different . She returns to her people - watching . He smokes ruminatively .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK. DAY</stage_direction>
<scene_description>Jenny in her games kit , smoking her Sobranie with her friends on the park bench again . Hattie and Tina are examining their bottles of Chanel reverently . Jenny is back to being her seventeen - year - old self ; somehow her seventeen - year - old self looks comical , and no longer appropriate .</scene_description>
<character>TINA</character>
<dialogue>How can you go back to double French when you've had a weekend with an older man in a posh hotel in Paris? You would n't catch me coming anywhere near this dump.</dialogue>
<character>JENNY</character>
<parenthetical>( artfully . )</parenthetical>
<dialogue>It was n't all glamour. We spent half the weekend at Heathrow in a hotel suite.</dialogue>
<character>HATTIE</character>
<dialogue>A suite? Oh my God. Your life.</dialogue>
<scene_description>They smoke their Sobranies ruminatively .</scene_description>
<character>TINA</character>
<dialogue>You're going to miss it. All the swanning around in posh hotels.</dialogue>
<character>JENNY</character>
<dialogue>Why will I need to miss it?</dialogue>
<character>TINA</character>
<dialogue>When you go to Oxford. Unless you're planning on being with David forever.</dialogue>
<scene_description>Jenny does n't say anything .</scene_description>
<character>HATTIE</character>
<dialogue>You're not, are you?</dialogue>
<character>JENNY</character>
<parenthetical>( distracted . )</parenthetical>
<dialogue>God, no.</dialogue>
<character>TINA</character>
<dialogue>So? Wo n't you miss it?</dialogue>
<scene_description>Jenny shrugs . Clearly she will , and clearly she has n't thought about it before .</scene_description>
<character>HATTIE</character>
<dialogue>We'll miss it.</dialogue>
<scene_description>Jenny laughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM. DAY</stage_direction>
<scene_description>Jenny 's English class file past Miss Stubbs at the end of a lesson . Miss Stubbs stops Jenny .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Jenny, could I have a word?</dialogue>
<character>JENNY</character>
<dialogue>Of course.</dialogue>
<parenthetical>( To Hattie and Tina . )</parenthetical>
<dialogue>I'll catch you up.</dialogue>
<scene_description>Miss Stubbs waits until the room empties .</scene_description>
<character>MISS STUBBS</character>
<dialogue>You can do anything you want, Jenny. You know that. You're clever and you're pretty. But sometimes those things fight. I'm worried that at the moment clever Jenny and pretty Jenny are fighting.</dialogue>
<character>JENNY</character>
<dialogue>What do you mean?</dialogue>
<character>MISS STUBBS</character>
<dialogue>I could n't bear it if clever Jenny lost. It's because of people like you that I plough through illiterate essays by Sandra Lovell about her pony. And there are n't many of you, I can tell you. One every few years. Is your boyfriend interested in clever Jenny?</dialogue>
<character>JENNY</character>
<dialogue>I think so.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Interested enough to let her do what she wants?</dialogue>
<character>JENNY</character>
<dialogue>He could n't stop me.</dialogue>
<character>MISS STUBBS</character>
<dialogue>He might not have to stop you. That's what I'm trying to tell you.</dialogue>
<character>JENNY</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>I'm not sure what you're trying to tell me.</dialogue>
<character>MISS STUBBS</character>
<dialogue>I'm telling you to go to Oxford. No matter what. Or you'll break my heart.</dialogue>
<scene_description>Jenny looks at her .</scene_description>
<character>JENNY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Where did you go?</dialogue>
<character>MISS STUBBS</character>
<dialogue>Sorry?</dialogue>
<character>JENNY</character>
<parenthetical>( louder , bolder . )</parenthetical>
<dialogue>Where did you go? Which university?</dialogue>
<character>MISS STUBBS</character>
<dialogue>Girton. Cambridge.</dialogue>
<character>JENNY</character>
<dialogue>Oh.</dialogue>
<character>MISS STUBBS</character>
<dialogue>What does that mean? ` Oh'?</dialogue>
<character>JENNY</character>
<dialogue>You're clever. And you're pretty. So presumably, Clever Miss Stubbs won. And here you are, reading all those pony essays. I do n't know. These last few months, I've been to Paris, and to jazz clubs, and I've eaten in wonderful restaurants, and seen wonderful films, heard beautiful music.</dialogue>
<character>MISS STUBBS</character>
<dialogue>I'm sure you have. But I was filled up with beautiful things, books and music and conversation, in exactly the same way at Cambridge. And I did n't have to pay the same sort of price. Are you taking precautions, Jenny?</dialogue>
<scene_description>Jenny stares at her angrily .</scene_description>
<character>JENNY</character>
<dialogue>It's nothing to do with that.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Is n't it?</dialogue>
<character>JENNY</character>
<dialogue>Maybe our lives are always going to end up with pony essays. Or housework. And yes, maybe we'll go up to Oxford. But if we're all going to die the moment we graduate, maybe it's what we do before that counts.</dialogue>
<character>MISS STUBBS</character>
<dialogue>I'm sorry you think I'm dead.</dialogue>
<character>JENNY</character>
<dialogue>I do n't think you're dead. But.</dialogue>
<character>MISS STUBBS</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>You'd better get to your next class.</dialogue>
<scene_description>She turns her back on Jenny .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR. NIGHT</stage_direction>
<scene_description>Helen , Danny , Jenny get out of David 's Bristol , which is parked outside a nightclub called Esmerelda 's Barn . David has parked next to a white Rolls - Royce .</scene_description>
<character>JENNY</character>
<parenthetical>( looking at the Rolls - Royce . )</parenthetical>
<dialogue>And we know the person who owns this?</dialogue>
<character>DAVID</character>
<dialogue>Yes. Perec Rachman. He's a.</dialogue>
<character>DANNY</character>
<dialogue>A bastard.</dialogue>
<scene_description>Danny and David laugh .</scene_description>
<character>DAVID</character>
<dialogue>He's a business acquaintance, and we need to talk to him.</dialogue>
<character>JENNY</character>
<dialogue>I gathered that much. But why do we have to crawl around the West End looking for his car? Why do n't you just make an appointment, if you want to see him?</dialogue>
<scene_description>The men snigger .</scene_description>
<character>DANNY</character>
<dialogue>What? Ring his office? Talk to his secretary? That is n't how it works with him, dear.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUB. NIGHT</stage_direction>
<scene_description>The four walk in and take their coats over to the cloakroom . The club is a smoky West End club , full of smartly - dressed and dubious - looking men , and young , glamorous , dubious - looking women . Jenny and Helen look out of place - Helen too ethereal , Jenny too innocent . There is jazz playing .</scene_description>
<character>DANNY</character>
<dialogue>There he is.</dialogue>
<scene_description>We see a nasty - looking man in his late 30s/early 40s . He is wearing a white sharksin suit and smoking a big cigar . He 's standing by the roulette table , talking to an even nastier - looking man in a dark suit . They find a table at the back and sit down . A waitress comes over to their table .</scene_description>
<character>DAVID</character>
<dialogue>A bottle of champagne, please.</dialogue>
<character>DANNY</character>
<dialogue>Oh - ho. Champagne, eh?</dialogue>
<scene_description>He looks at Jenny and David expectantly .</scene_description>
<character>DAVID</character>
<dialogue>Do n't be bashful.</dialogue>
<character>HELEN</character>
<dialogue>No. Be Sneezy.</dialogue>
<scene_description>Everyone ignores her .</scene_description>
<character>DAVID</character>
<dialogue>All right, then. If you wo n't tell them I will. Jenny got two As and a B in her mock - A levels.</dialogue>
<character>DANNY</character>
<dialogue>Fantastic.</dialogue>
<character>HELEN</character>
<dialogue>Congratulations.</dialogue>
<character>JENNY</character>
<dialogue>Thank you.</dialogue>
<character>DAVID</character>
<dialogue>The B was in Latin. But it's much better than it was, is n't it, Minnie?</dialogue>
<scene_description>Rachman is now standing on his own . Danny nudges David , and they go over to talk to him just as the champagne arrives . The waiter pops the bottle of champagne and pours two glasses . The girls smile and clink glasses .</scene_description>
<character>HELEN</character>
<dialogue>Do n't worry.</dialogue>
<character>JENNY</character>
<dialogue>About what?</dialogue>
<character>HELEN</character>
<dialogue>Someone told me that in fifty years no - one will speak Latin, probably. Not even Latin people. So you should n't mind too much about your B.</dialogue>
<scene_description>Jenny stares at her , trying to think of a response .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB. NIGHT</stage_direction>
<scene_description>Danny and David are at the bar , having just finished talking to Rachman . Danny puffs out his cheeks and shakes his head .</scene_description>
<character>DANNY</character>
<dialogue>Well, I'm not sure you'd want him to marry your sister. I'm not even sure you'd want to talk to him in a night - club, come to that.</dialogue>
<scene_description>They both chuckle . There is a silence for a moment .</scene_description>
<character>DANNY</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>You do know what you're doing, old chap? With Jenny?</dialogue>
<character>DAVID</character>
<dialogue>This is the one, Danny.</dialogue>
<character>DANNY</character>
<dialogue>We've heard that before.</dialogue>
<character>DAVID</character>
<dialogue>You can see she's different. She's got everything. You've got Helen, and.</dialogue>
<character>DANNY</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>And you've got Helen with brains.</dialogue>
<character>DAVID</character>
<parenthetical>( rumbled . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>DANNY</character>
<dialogue>I do n't want to see her hurt.</dialogue>
<scene_description>They make their way back to their table .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB. NIGHT</stage_direction>
<scene_description>While David and Helen watch , Danny and Jenny dance . Danny 's a good dancer ; Jenny is nervous at first , but becomes more comfortable and more expressive , with Danny 's help .</scene_description>
<character>JENNY</character>
<parenthetical>( knowing that she should make conversation , as all the couples around her are doing . )</parenthetical>
<dialogue>Have you. Have you bought any more paintings recently?</dialogue>
<character>DANNY</character>
<dialogue>Have I? Let's think? Oh, I picked up a little Piper the other day. A good ` un, I think.</dialogue>
<character>JENNY</character>
<dialogue>I'm still trying to work out what makes good things good. It's hard, is n't it?</dialogue>
<character>DANNY</character>
<dialogue>The thing is, Jenny, you know, without necessarily being able to explain why. You've got taste. That's not even half the battle. That's the whole war.</dialogue>
<scene_description>Jenny smiles at him with gratitude . There is a sudden closeness between them . David is watching them carefully . They return to their table .</scene_description>
<character>DAVID</character>
<dialogue>Jenny, we should go. It's late.</dialogue>
<character>JENNY</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Oh. Yes.</dialogue>
<character>DANNY</character>
<dialogue>Alas. One day, school will be over forever, and we can talk about art all night.</dialogue>
<character>DAVID</character>
<parenthetical>( to Danny . )</parenthetical>
<dialogue>You're all right in a taxi, are n't you?</dialogue>
<scene_description>He guides Jenny firmly out of the club .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLUB. NIGHT.</stage_direction>
<scene_description>Jenny is about to to open the passenger door of the Bristol , but David stops her .</scene_description>
<character>DAVID</character>
<dialogue>Wait there.</dialogue>
<scene_description>He runs to the back of the car , opens the boot and starts rummaging through it . It seems to be full of everything but the thing he 's looking for .</scene_description>
<character>JENNY</character>
<dialogue>What are you doing?</dialogue>
<scene_description>He slams the boot shut and comes back empty - handed .</scene_description>
<character>DAVID</character>
<dialogue>Will you marry me?</dialogue>
<scene_description>Jenny stares at him for a moment , then laughs .</scene_description>
<character>JENNY</character>
<dialogue>What were you looking for?</dialogue>
<character>DAVID</character>
<dialogue>I thought I had a ring. It would n't have been the right one. But it would have done for tonight.</dialogue>
<character>JENNY</character>
<parenthetical>( eyes twinkling with amusement . )</parenthetical>
<dialogue>Oh, David.</dialogue>
<character>DAVID</character>
<dialogue>I'm serious.</dialogue>
<character>JENNY</character>
<dialogue>You're very sweet.</dialogue>
<character>DAVID</character>
<dialogue>What do you think?</dialogue>
<character>JENNY</character>
<parenthetical>( helplessly . )</parenthetical>
<dialogue>Please take me home.</dialogue>
<scene_description>She gets into the car . We see the desperation in David 's face , lit by the headlights of a passing taxi , as he slams the door on Jenny after she 's got in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL YARD. DAY</stage_direction>
<scene_description>Jenny , Tina and Hattie all smoking in the school toilets . Jenny is distracted , and standing apart from the others . Tina looks at her .</scene_description>
<character>TINA</character>
<dialogue>How do you say ` A penny for your thoughts?' in French?</dialogue>
<character>HATTIE</character>
<dialogue>A franc is too much, is n't it?</dialogue>
<character>TINA</character>
<dialogue>For her thoughts, yes. You'd be overpaying by about ninety - nine centimes.</dialogue>
<scene_description>Suddenly the door bursts open and the Latin teacher comes in .</scene_description>
</scene>
<scene>
<stage_direction>INT. HEAD'S OFFICE. DAY</stage_direction>
<scene_description>The three girls are lined up in front of the headmistress , hands by their sides .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>I'm surprised that you two are standing in front of me. I'm not surprised to find you here, Miss Mellor, though I do feel rather like the judge who sent Al Capone to prison for tax evasion. We take a very dim view of smoking. We take an even dimmer view of some of your other behaviour, which as far as we know has taken place off school premises. Your appearance here today, however, allows me to remind you that we are trying to teach you how to become young ladies, not nightclub hostesses. In reality, of course, you are neither. You are merely silly little girls. Detention after school. Go away.</dialogue>
<scene_description>Jenny 's face sets hard . Something in her shuts down .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JENNY'S BALCONY. EVENING</stage_direction>
<scene_description>Jenny is smoking on the balcony .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S BEDROOM.</stage_direction>
<scene_description>Jenny is at her desk in her bedroom , trying to work , but she ca n't concentrate . Her hair is tied back in a pony - tail . She gets up , pulls back the curtains , looks out of the window . We see what she sees : a sleepy suburban street at night . She looks back at her desk . It looks even more boring than the street . She looks at her scrubbed seventeen - year - old face in the mirror - so much younger than the Jenny we have seen with David . She makes herself up , and she gets older and more glamorous before our eyes . In her make - up and her school uniform , she 's half - woman , half - child . We hear the noises drifting up from the kitchen : the radio , the washing - up , occasional muffled conversation . Jenny walks out of the bedroom and slips downstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN. EVENING</stage_direction>
<scene_description>Jenny 's mother and father are doing the washing up and listening to the radio . They have their backs to the door . Jenny enters the room quietly and watches them for a moment</scene_description>
<character>MAN ON THE RADIO</character>
<dialogue>They do need some looking after, but nothing that will require too much work. Just leave them in your potting shed for a couple of weeks, and they'll look after themselves.</dialogue>
<character>JACK</character>
<dialogue>Oh, aye. The potting shed. Who does he think I am? Prince Rainier of Monaco?</dialogue>
<character>JENNY</character>
<dialogue>What if I got married instead of going to college?</dialogue>
<scene_description>Jack and Marjorie turn around and stare at this strange apparition wearing too much make - up and a school uniform .</scene_description>
<character>JACK</character>
<dialogue>Married?</dialogue>
<character>JENNY</character>
<dialogue>Married.</dialogue>
<character>JACK</character>
<dialogue>It would depend who it was, surely?</dialogue>
<character>JENNY</character>
<dialogue>Would it? That's interesting.</dialogue>
<character>JACK</character>
<dialogue>Course it would. I would n't want you married off just for the sake of it.</dialogue>
<character>JENNY</character>
<dialogue>Thanks.</dialogue>
<character>MARJORIE</character>
<dialogue>Has somebody asked you?</dialogue>
<character>JENNY</character>
<dialogue>Yes.</dialogue>
<character>JACK</character>
<dialogue>Who?</dialogue>
<scene_description>Marjorie rolls her eyes .</scene_description>
<character>MARJORIE</character>
<dialogue>What did you tell him?</dialogue>
<character>JENNY</character>
<dialogue>Nothing yet.</dialogue>
<character>JACK</character>
<dialogue>David?</dialogue>
<character>JENNY</character>
<dialogue>No. A man I just met walking his dog.</dialogue>
<character>JACK</character>
<dialogue>David's asked you to marry him? Bloody hell. Pardon my French.</dialogue>
<character>MARJORIE</character>
<dialogue>Do you have any choice? Or is it too late.</dialogue>
<scene_description>She looks at her daughter knowingly . Jack merely looks confused .</scene_description>
<character>JACK</character>
<dialogue>Of course she's got a choice. But it's an interesting one, is n't it?</dialogue>
<character>JENNY</character>
<dialogue>This is where you're supposed to say, `` But what about Oxford?''</dialogue>
<character>JACK</character>
<dialogue>Well. Looked at it one way, you would n't really need to go now, would you? He's a man going places. And say what you like, but they know how to take care of their money, do n't they? He'll see you're looked after.</dialogue>
<character>JENNY</character>
<parenthetical>( quietly , turning the words over in her mouth . )</parenthetical>
<dialogue>I would n't need to go. Would you like to expand on that?</dialogue>
<character>JACK</character>
<dialogue>You know what I mean.</dialogue>
<scene_description>Jenny laughs bitterly . She ca n't believe it .</scene_description>
<character>JENNY</character>
<dialogue>All that Latin! All those essays! What was the point? Why did n't you just send me out prowling round nightclubs? It would have been less trouble. And I might have had more fun.</dialogue>
<character>JACK</character>
<dialogue>We do n't know about nightclubs. We knew about education. Anyway, it all turned out for the best.</dialogue>
<character>JENNY</character>
<dialogue>How?</dialogue>
<character>JACK</character>
<dialogue>He would n't have wanted you if you were thick, would he?</dialogue>
<scene_description>Jenny stares at them and walks out .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM. DAY</stage_direction>
<scene_description>English . Miss Stubbs is standing at the front of the class , holding a copy of King Lear , and listening as various members of the class massacre the text . Some are messing about by overacting ; others read to the best of their ability , tonelessly and with no understanding of the words . Lear himself is being read by Ann , the bespectacled girl from the first scene . She 's no King Lear , and she 's one of the bad readers .</scene_description>
<character>GIRL 1</character>
<dialogue>May not an ass know when the cart draws the horse? Sings whoop jug I love thee.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Yes, when it says ` Sings', it means he sings those words.</dialogue>
<scene_description>Girl 1 looks at her blankly .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Never mind. Lear.</dialogue>
<character>ANN</character>
<dialogue>Does any here know me. This is not Lear. Does Lear walk thus?</dialogue>
<character>TINA</character>
<parenthetical>( sotto voce , to Jenny , in the seat next to her . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Jenny starts to giggle .</scene_description>
<character>ANN</character>
<dialogue>Speak thus?</dialogue>
<scene_description>Tina shakes her head .</scene_description>
<character>ANN</character>
<dialogue>Where are his eyes?</dialogue>
<scene_description>Tina does n't need to say anything - she just looks at Jenny , makes a pair of spectacles with her fingers and squints . Jenny 's giggling fit increases in intensity .</scene_description>
<character>ANN</character>
<dialogue>Either his notion weakens, or his discernings are lethargied. Ha! Waking? Tis not so. Who is it that can tell me who I am?</dialogue>
<scene_description>Jenny 's arm shoots up , as if to answer the question .</scene_description>
<character>JENNY</character>
<dialogue>Ooh. Miss.. Me. I can.</dialogue>
<scene_description>Miss Stubbs looks at Jenny more in sorrow than in anger - Jenny 's behaviour now is something new in their relationship . Jenny stares back at her defiantly . Suddenly Miss Stubbs notices something glinting on her hand : an engagement ring .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Oh, Jenny.</dialogue>
<scene_description>She is , as she promised she would be , heartbroken .</scene_description>
<character>JENNY</character>
<dialogue>What?</dialogue>
<character>MISS STUBBS</character>
<dialogue>Take it off.</dialogue>
<scene_description>Hattie , who is sitting behind Jenny , notices the ring , too , for the first time .</scene_description>
<character>HATTIE</character>
<dialogue>Oh my God. Is that really what I think it is? I'M GOING TO BE A BRIDESMAID!</dialogue>
<scene_description>There is an excited susurration in the classroom .</scene_description>
<character>MISS STUBBS</character>
<dialogue>You know there's a school rule about jewelry.</dialogue>
<character>JENNY</character>
<dialogue>Half the girls in this room are wearing jewelry.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Yes. But none of it is going to ruin their lives.</dialogue>
<character>JENNY</character>
<parenthetical>( coolly . )</parenthetical>
<dialogue>We have a difference of opinion on that.</dialogue>
<scene_description>Miss Stubbs stares at her . Jenny can only just steel herself to stare back .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Let's see who's right. Come with me.</dialogue>
<scene_description>Jenny does n't move .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Please do n't make me drag you out like a child.</dialogue>
<scene_description>Jenny gets to her feet . Teacher and pupil leave the room , while the rest of the class watches .</scene_description>
</scene>
<scene>
<stage_direction>INT. HEADMISTRESS'S OFFICE. DAY</stage_direction>
<character>HEADMISTRESS</character>
<dialogue>How far advanced are these ridiculous plans? Have you set a date? Have you decided on a church?</dialogue>
<character>JENNY</character>
<dialogue>We wo n't be getting married in a church. David's Jewish.</dialogue>
<scene_description>The headmistress stares at her , dumbfounded .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Jewish? He's a Jew? You're aware, I take it, that the Jews killed our Lord?</dialogue>
<character>JENNY</character>
<parenthetical>( beginning to feel less intimidated by her surroundings . )</parenthetical>
<dialogue>And you're aware, I suppose, that our Lord was Jewish?</dialogue>
<scene_description>The headmistress snorts scornfully</scene_description>
<character>HEADMISTRESS</character>
<dialogue>I suppose he told you that. We're all very sorry about what happened in the War. But there's no excuse for that sort of malicious and untruthful propaganda.</dialogue>
<scene_description>Jenny smiles to herself .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Anyway, I can now see that you are even more in need of responsible advice than I realised. Is it true that you do n't intend to sit for your exams? And therefore you wo n't be applying for University?</dialogue>
<character>JENNY</character>
<dialogue>Yes, that's right.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>What do you think you're doing?</dialogue>
<character>JENNY</character>
<dialogue>Nobody has been able to explain to me the point of University. Therefore I do n't see the point of the exams, either.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>Nobody does anything worth doing without a degree.</dialogue>
<character>JENNY</character>
<dialogue>And nobody does anything worth doing with one, either. No woman, anyway.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>So what I do is n't worth doing. Or what Miss Stubbs does, or Mrs Wilson, or any of us here.</dialogue>
<scene_description>Jenny does n't say anything . The headmistress takes her silence as an admission of defeat .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Because none of us would be here without our degrees, you realise that, do n't you? And yes, of course studying is hard, and boring, and.</dialogue>
<scene_description>Jenny ca n't contain herself any longer .</scene_description>
<character>JENNY</character>
<dialogue>Boring!</dialogue>
<character>HEADMISTRESS</character>
<dialogue>I'm sorry?</dialogue>
<character>JENNY</character>
<dialogue>Studying is hard and boring. Teaching is hard and boring. So you're telling me to be bored, and then bored, and then finally bored again, this time for the rest of my life. This whole stupid country is bored. There's no life in it, or colour in it, or fun in it. It's probably just as well that the Russians are going to drop a nuclear bomb on us any day now. So my choice is either to do something hard and boring, OR to marry my. my Jew, and go to Paris and Rome and listen to jazz and read and eat good food in nice restaurants and have fun. It's not enough to educate us any more, Mrs Walters. You've got to tell us why you're doing it.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>Because without formal qualifications.</dialogue>
<scene_description>She grinds to a halt . She has never had to answer this question before .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>It does n't have to be teaching, you know. There's the Civil Service.</dialogue>
<scene_description>Jenny stands up .</scene_description>
<character>JENNY</character>
<dialogue>I do n't wish to be impertinent, Mrs Walters. But it is an argument worth rehearsing. You never know. Someone else might want to know what the point of it all is, one day.</dialogue>
<scene_description>She leaves the office .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL. DAY</stage_direction>
<scene_description>Jenny is half - walking , half - running , towards the school gates . She 's scared , of course , but exhilarated , too . All that pressure , and all those years of education , suddenly over , unexpectedly , and certainly unceremoniously . She looks neither left nor right , but other girls , younger girls , watch her through the windows as she leaves . Jenny does n't even look round when she goes through the school gates .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN. EVENING</stage_direction>
<scene_description>Later . Jenny and Marjorie are sitting at the kitchen table . Jack is standing over them ; he has n't even taken his coat off , or put his briefcase down .</scene_description>
<character>JACK</character>
<dialogue>How d'you mean, left?</dialogue>
<scene_description>Jenny does n't answer .</scene_description>
<character>JACK</character>
<dialogue>What about your exams?</dialogue>
<character>JENNY</character>
<dialogue>I'm not sitting them.</dialogue>
<character>JACK</character>
<dialogue>What are we going to tell people?</dialogue>
<character>JENNY</character>
<parenthetical>( witheringly . )</parenthetical>
<dialogue>Oh, telling people. I'd forgotten that what we tell people is more important than anything.</dialogue>
<character>JACK</character>
<dialogue>All that.</dialogue>
<scene_description>Marjorie knows what he 's going to say , and does n't want him to .</scene_description>
<character>MARJORIE</character>
<dialogue>Jack!</dialogue>
<character>JACK</character>
<dialogue>No. No need for Jack. She should hear it. All that money! Do you know how much it's cost me for you to go through school and take no exams?</dialogue>
<character>JENNY</character>
<dialogue>I'm sure David will pay you back. Send him a bill. As you said, he would n't have wanted me if I was dim, so he should fork out. Just tell me why there's a point in sitting my exams, and there's no point in me going to University.</dialogue>
<scene_description>Jack gapes at her . He 's floundering .</scene_description>
<character>JACK</character>
<dialogue>You know what your trouble is, do n't you? You're too clever by half.</dialogue>
<character>JENNY</character>
<dialogue>In which case I should have left school years ago, should n't I? Ask them for the money back. If I'm too clever by half, you overpaid by a third.</dialogue>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. NIGHT</stage_direction>
<scene_description>Danny , Helen , David and Jenny are in Danny 's flat ; we have just missed The Announcement - there is champagne already open . Danny glances quickly and discreetly at David , who catches his eye .</scene_description>
<character>HELEN</character>
<dialogue>That's. Gosh. That's fantastic news.</dialogue>
<scene_description>Danny is n't so pleased .</scene_description>
<character>DANNY</character>
<parenthetical>( cool . )</parenthetical>
<dialogue>Congratulations.</dialogue>
<scene_description>There is much chinking of glasses .</scene_description>
<character>HELEN</character>
<dialogue>I thought you'd see sense about university.</dialogue>
<scene_description>Jenny smiles .</scene_description>
<character>HELEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You'll stay pretty now.</dialogue>
<scene_description>Laughter from David and Jenny .</scene_description>
<character>JENNY</character>
<dialogue>Am I still allowed to read?</dialogue>
<character>HELEN</character>
<dialogue>English? Books?</dialogue>
<scene_description>More laughter .</scene_description>
<character>HELEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You wo n't be laughing when she goes all speccy and spotty, David.</dialogue>
<scene_description>Helen is bemused by their mirth . Danny watches David thoughtfully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DANNY'S. NIGHT</stage_direction>
<scene_description>David and Jenny come out of Danny 's flat and approach David 's car .</scene_description>
<character>JENNY</character>
<dialogue>Danny did n't seem very pleased about our engagement.</dialogue>
<character>DAVID</character>
<dialogue>I thought that, too! I was wondering whether he might be a bit jealous.</dialogue>
<character>JENNY</character>
<parenthetical>( trying not to be pleased . )</parenthetical>
<dialogue>Jealous?</dialogue>
<character>DAVID</character>
<dialogue>You may have noticed that Helen's not really Oxford material. I'm going to keep him out of your way.</dialogue>
<scene_description>They both smile . David opens the door for Jenny and she gets into the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S KITCHEN. DAY</stage_direction>
<scene_description>Jenny is making David a cup of tea . Her mother is keeping an eye on Jenny - in Marjorie 's mind at least , this is a rehearsal for something .</scene_description>
<character>DAVID</character>
<dialogue>I have n't put my. my stamp on it yet. Have n't had time. It needs a woman's touch, really. And if you do n't like it, we can move. Just say the word.</dialogue>
<character>JENNY</character>
<dialogue>Where is the flat again?</dialogue>
<character>MARJORIE</character>
<dialogue>You have to put the cosy on straight away.</dialogue>
<scene_description>Jenny sighs and rolls her eyes . She picks up the hand - knitted tea - cosy and puts it on her head .</scene_description>
<character>JENNY</character>
<dialogue>Like that?</dialogue>
<scene_description>David laughs .</scene_description>
<character>MARJORIE</character>
<parenthetical>( oblivious . )</parenthetical>
<dialogue>No. On the tea - pot.</dialogue>
<character>JENNY</character>
<parenthetical>( deadpan . )</parenthetical>
<dialogue>Ah.</dialogue>
<scene_description>She puts the tea - cosy on the tea - pot .</scene_description>
<character>DAVID</character>
<dialogue>Just down from Russell Square. Two minutes' walk from the underground.</dialogue>
<character>MARJORIE</character>
<dialogue>Jenny! We could walk to.</dialogue>
<parenthetical>( She tries to think of somewhere Jenny might find interesting . )</parenthetical>
<dialogue>We could walk to the British Museum!</dialogue>
<scene_description>Jenny gives her a look .</scene_description>
<character>MARJORIE</character>
<dialogue>I'll leave you to it. Do n't let it stew.</dialogue>
<scene_description>She leaves the room .</scene_description>
<character>JENNY</character>
<dialogue>And this is where you're living?</dialogue>
<character>DAVID</character>
<dialogue>I've stayed there for the last couple of nights.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>On and off.</dialogue>
<character>JENNY</character>
<dialogue>You've stayed there two nights `` on and off''?</dialogue>
<character>DAVID</character>
<dialogue>Is that tea ready? One sugar, please.</dialogue>
<character>JENNY</character>
<parenthetical>( frustrated by his evasions . )</parenthetical>
<dialogue>David!</dialogue>
<character>DAVID</character>
<dialogue>I'm sorry. You must think I'm very odd.</dialogue>
<character>JENNY</character>
<dialogue>No, but. You seem to float around. I never know where you are.</dialogue>
<scene_description>She hands him his tea .</scene_description>
<character>DAVID</character>
<dialogue>A wandering Jew.</dialogue>
<parenthetical>( He pauses to take a sip . )</parenthetical>
<dialogue>If I tell you something, will you promise not to laugh?</dialogue>
<character>JENNY</character>
<dialogue>It depends on how funny it is.</dialogue>
<character>DAVID</character>
<parenthetical>( mumbling . )</parenthetical>
<dialogue>I live at home.</dialogue>
<character>JENNY</character>
<dialogue>We all live at home.</dialogue>
<character>DAVID</character>
<dialogue>No. I mean. I live at home. in the same way that you live at home.</dialogue>
<character>JENNY</character>
<dialogue>But I live with my mother and fa.</dialogue>
<parenthetical>( It clicks . )</parenthetical>
<dialogue>You do n't mean it.</dialogue>
<scene_description>David nods , shamefacedly .</scene_description>
<character>JENNY</character>
<dialogue>Your mother and father?</dialogue>
<character>DAVID</character>
<dialogue>Just my mother. My father's dead. I've been meaning to tell you, Minnie, and it would have been much better than all those silly lies. But.</dialogue>
<scene_description>He looks quite upset . We warm to him . Jenny leans over and takes his hand .</scene_description>
<character>DAVID</character>
<dialogue>Anyway. You can see how much I need you. And you wo n't regret this, I promise. We'll have so much fun. And just think. When we get married, you wo n't have to wait in the car while I do my business. You'll be waiting at home, looking at the Burne - Jones on the wall. Home, Minnie. Our home. Can you imagine?</dialogue>
<scene_description>Close on Jenny . She ca n't imagine , really .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE BAR. DAY</stage_direction>
<scene_description>Jenny , Tina and Hattie in the coffee bar . Jenny is eagerly scanning the English literature exam paper .</scene_description>
<character>JENNY</character>
<dialogue>Did you do this one? `` Show from any TWO scenes in ` Pride and Prejudice' how far it is true that Jane Austen's methods are ` essentially dramatic'''.</dialogue>
<character>HATTIE</character>
<dialogue>Three scenes.</dialogue>
<character>JENNY</character>
<dialogue>It says two here. Look.</dialogue>
<scene_description>She shows the paper to Hattie . Hattie slumps onto the formica table and groans .</scene_description>
<character>HATTIE</character>
<dialogue>Two. Two. Two. I ca n't believe it.</dialogue>
<scene_description>Tina rubs Hattie 's head sympathetically .</scene_description>
<character>TINA</character>
<dialogue>It was an unfair question. You're hopeless at maths. What do you do all day, anyway, Lady Muck?</dialogue>
<scene_description>Jenny shrugs .</scene_description>
<character>JENNY</character>
<dialogue>I've been looking at flats. I've been to look at dresses. I've been reading a lot, too.</dialogue>
<character>TINA</character>
<dialogue>Reading, trying on dresses. Where did we go wrong?</dialogue>
<character>JENNY</character>
<dialogue>What's this afternoon?</dialogue>
<character>TINA</character>
<dialogue>French. The translation paper.</dialogue>
<scene_description>Jenny is lapping it all up . She might even be envious .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. EVENING</stage_direction>
<scene_description>Jenny and Marjorie are in the sitting room , all dressed up and waiting for David to come and pick them up . Jenny looks great , as usual ; her mother looks smart , if somewhat old - fashioned .</scene_description>
<character>MARJORIE</character>
<dialogue>Do n't worry. He'll find a nice place in no time. He sees plenty of them.</dialogue>
<character>JENNY</character>
<dialogue>I'm not sure he sees plenty of nice places. Would you like a radiogram for a wedding present? We love ours.</dialogue>
<scene_description>Something about this depresses Jenny . Marjorie notices .</scene_description>
<character>MARJORIE</character>
<dialogue>You wo n't be bored, you know. He's not boring.</dialogue>
<scene_description>Now they are both thoughtful . As if on cue , Jack comes into the sitting room , pulling at his tie , looking apprehensive . He appears to be wearing Brylcreem . He looks like a little boy who has been made to put on his Sunday best .</scene_description>
<character>JACK</character>
<dialogue>What sort of things can you have for starters? I mean, how will I know what are starters and what are n't? I'm all right if it's soup or fruit juice. But if it's anything more than that.</dialogue>
<character>JENNY</character>
<dialogue>We've been through this, Dad. It'll be quite clearly marked on the menu.</dialogue>
<scene_description>The doorbell rings . Jack stiffens . Jenny goes to answer the door .</scene_description>
<character>JACK</character>
<dialogue>Why do n't you three go out? I'll be happy here with a tin of.</dialogue>
<scene_description>David enters the room . He is relaxed , happy . He has worn a tie , possibly because he knew that Jack would wear a tie . Jack and Marjorie stand , and they exchange greetings .</scene_description>
<character>DAVID</character>
<dialogue>Everybody ready? I think you'll like this place, Jack. Their wine list is as good as anything I've seen in London.</dialogue>
<character>JACK</character>
<dialogue>Someone told me that.</dialogue>
<character>JENNY</character>
<dialogue>David, probably. Who else would it have been?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET/JENNY'S HOUSE NIGHT</stage_direction>
<scene_description>Jack and Marjorie approach David 's Bristol .</scene_description>
<character>JACK</character>
<dialogue>I was hoping you'd take us in this.</dialogue>
<character>DAVID</character>
<dialogue>Oh, you wo n't want to go in anything else after tonight. Mind you, it drinks petrol. I'm afraid we'll have to stop on the way in to town.</dialogue>
<scene_description>He opens the back door for his future in - laws .</scene_description>
<character>DAVID</character>
<dialogue>Madame. Monsieur.</dialogue>
<scene_description>They get in , he closes the door , runs round to open the front passenger door for Jenny .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR. NIGHT</stage_direction>
<scene_description>David starts the car , and glances in the rear - view mirror .</scene_description>
<character>DAVID</character>
<dialogue>Everyone happy?</dialogue>
<character>JACK</character>
<dialogue>I feel like Eamonn Andrews.</dialogue>
<character>DAVID</character>
<dialogue>Is that a good thing?</dialogue>
<character>MARJORIE</character>
<dialogue>Of course. Eamonn Andrews is the poshest person that Jack can imagine being.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET/PETROL STATION. NIGHT</stage_direction>
<scene_description>The Bristol cruises down a London arterial road .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR. NIGHT</stage_direction>
<scene_description>We see , from David 's POV , a petrol station approaching .</scene_description>
<character>DAVID</character>
<dialogue>Sorry about this.</dialogue>
<scene_description>He slows the car and turns in to the garage .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARAGE. NIGHT</stage_direction>
<scene_description>David gets out of the car as the attendant comes over .</scene_description>
<character>ATTENDANT</character>
<dialogue>How can I help you, sir?</dialogue>
<character>DAVID</character>
<dialogue>You might as well fill her up.</dialogue>
<scene_description>David looks around and spots a phone box just outside the garage . He leans in through the open car window .</scene_description>
<character>DAVID</character>
<dialogue>I'm just going to make a quick call. I'll be two ticks.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR. NIGHT</stage_direction>
<scene_description>Jenny watches him walk towards the phone box .</scene_description>
<character>JACK</character>
<dialogue>Do you think we should offer him some petrol money? Or would he feel insulted?</dialogue>
<scene_description>Jenny watches David as he dials the number . He notices her , waves , puts the money in the slot .</scene_description>
<character>JACK</character>
<dialogue>He'd feel insulted, probably. He said tonight was his treat. That must include the petrol, for God's sakes?</dialogue>
<scene_description>David starts to talk , and turns away , as if he 's frightened that someone in the car can lip - read .</scene_description>
<character>JACK</character>
<dialogue>What do you think?</dialogue>
<scene_description>Nobody pays him any attention . They lapse into silence . Jack starts to fiddle with the features in the car - a table springs down from the seat in front of him , much to his alarm .</scene_description>
<character>JACK</character>
<dialogue>God almighty. What have I done?</dialogue>
<scene_description>Jenny opens the glove compartment , looking for the cigarettes that David always keeps there . She finds the cigarettes , and closes the glove compartment . But she has seen something in there , so she opens it again . She takes out some letters and papers and starts to look through them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARAGE. NIGHT</stage_direction>
<scene_description>David has finished his phone call and is walking towards the car . He sees Jenny looking through letters and papers , sees the open glove compartment , starts to run across the forecourt .</scene_description>
<character>DAVID</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>Jenny!</dialogue>
<scene_description>It 's too late . We see Jenny 's stricken face , gleaming in someone else 's headlights .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR. NIGHT</stage_direction>
<scene_description>David gets into the car .</scene_description>
<character>DAVID</character>
<dialogue>Jenny, I.</dialogue>
<character>JENNY</character>
<parenthetical>( as cold as ice . )</parenthetical>
<dialogue>Take us home.</dialogue>
<character>JACK</character>
<dialogue>What's going on?</dialogue>
<character>DAVID</character>
<dialogue>There's been a. Jenny's had a bit of a shock.</dialogue>
<scene_description>Jenny laughs , mirthlessly , then starts to weep .</scene_description>
<character>JACK</character>
<dialogue>What's happened?</dialogue>
<character>JENNY</character>
<dialogue>It's another one of David's little muddles and misunderstandings.</dialogue>
<character>DAVID</character>
<dialogue>Jenny, it's not.</dialogue>
<character>JENNY</character>
<dialogue>I do n't want to hear another word from anybody. Take me home. NOW.</dialogue>
<scene_description>Marjorie and Jack look at each other . David swings the car around and they drive home in silence ; Jenny cries constantly , without making a sound .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JENNY'S HOUSE. NIGHT</stage_direction>
<scene_description>The Bristol draws up outside Jenny 's house . David jumps out of the car and lets Marjorie and Jack out . Jack starts to walk towards the house and then stops .</scene_description>
<character>JACK</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>You can sort this out, ca n't you, David?</dialogue>
<scene_description>Jenny gets out of the car too .</scene_description>
<character>DAVID</character>
<dialogue>Of course I can. She's just got the wrong end of the stick about something.</dialogue>
<character>JENNY</character>
<dialogue>Go inside, Dad.</dialogue>
<scene_description>Jenny and David watch Jack and Marjorie go into the house . The moment the door is closed , Jenny walks towards David . She 's holding a bunch of letters that she took out of the glove compartment . She starts to throw them at him , one by one .</scene_description>
<character>JENNY</character>
<dialogue>Mr and Mrs David Goldman, Mr and Mrs David Goldman, Mr and Mrs David Goldman, Mr and Mrs David Goldman.</dialogue>
<scene_description>When she has thrown the last one , she flies at David - she slaps him , punches him , scratches him . David tries to grab her hands , but she 's too wild .</scene_description>
<character>DAVID</character>
<dialogue>Just let me.</dialogue>
<character>JENNY</character>
<dialogue>You're MARRIED!</dialogue>
<character>DAVID</character>
<dialogue>Legally, yes, but.</dialogue>
<scene_description>Finally he manages to subdue her . She leans against the car , distraught .</scene_description>
<character>JENNY</character>
<dialogue>When were you going to tell me?</dialogue>
<character>DAVID</character>
<dialogue>Soon. It just - it never seemed the right time. You seemed so happy, and I was happy, and. It would have spoiled everything. What can I do, Minnie? What can I do? How can.</dialogue>
<character>JENNY</character>
<dialogue>`` Oh, Jenny. I'm just too busy to find somewhere to live. I live with my mummy.'' You were living with your wife! All this time!</dialogue>
<character>DAVID</character>
<dialogue>Jenny.</dialogue>
<character>JENNY</character>
<dialogue>What's your address?</dialogue>
<scene_description>David gestures vaguely .</scene_description>
<character>JENNY</character>
<dialogue>Where?</dialogue>
<character>DAVID</character>
<dialogue>Byron Avenue.</dialogue>
<character>JENNY</character>
<dialogue>Byron Avenue! It's no wonder we kept bumping into each other, then, is it? What number?</dialogue>
<character>DAVID</character>
<dialogue>There's no point.</dialogue>
<character>JENNY</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>WHAT NUMBER?</dialogue>
<character>DAVID</character>
<dialogue>Seventeen.</dialogue>
<scene_description>Jenny picks one of the envelopes up off the ground and looks at it .</scene_description>
<character>JENNY</character>
<parenthetical>( bitterly sarcastic . )</parenthetical>
<dialogue>Good grief. It's the truth.</dialogue>
<character>DAVID</character>
<dialogue>Please. You have to understand. I was with you just about all the spare time I had.</dialogue>
<character>JENNY</character>
<dialogue>Spare time? Spare time? I ca n't tell you how grateful I am.</dialogue>
<character>DAVID</character>
<dialogue>Do n't be like this.</dialogue>
<character>JENNY</character>
<dialogue>I have nothing. I left school. I did n't take my exams. Where's it all gone, now? I gave my life away.</dialogue>
<character>DAVID</character>
<dialogue>Jenny, I can get a divorce. Everything will turn out for the best. You'll see.</dialogue>
<scene_description>We can see Jack and Marjorie peering through the lace curtains anxiously .</scene_description>
<character>JENNY</character>
<dialogue>Go and tell them. Go and tell them, then go and tell your wife. I want to see you. I want to stand there and watch.</dialogue>
<scene_description>David stands on the pavement , looking towards the house . He looks away ; he ca n't make eye contact with Jenny 's parents .</scene_description>
<character>DAVID</character>
<dialogue>They're not going to listen to me now. Let me come round tomorrow. When everyone's calmed down a bit.</dialogue>
<character>JENNY</character>
<parenthetical>( suddenly desperate . )</parenthetical>
<dialogue>Please do n't leave me to tell them on my own. Please. You owe me that much. You owe them that much.</dialogue>
<character>DAVID</character>
<parenthetical>( sadly . )</parenthetical>
<dialogue>I owe them a lot more than that. I owe them everything. They gave me you.</dialogue>
<scene_description>He opens the boot . It 's full of cases of whiskey . Jenny does n't even bother asking what they are doing there . David takes one of the bottles , opens it , takes a long slug .</scene_description>
<character>JENNY</character>
<dialogue>Two minutes. And then I'll come out and drag you in.</dialogue>
<scene_description>Jenny marches into the house and slams the door . The camera stays on David . He gets back into the car and takes another slug of whiskey . Then his shoulders begin to shake , and he cries and cries .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. NIGHT</stage_direction>
<scene_description>Jenny comes in , leaving the door open for David . Her parents are standing in the sitting room , looking at her anxiously . Their coats are still on , and they have n't put the lights on yet .</scene_description>
<character>JACK</character>
<dialogue>What's going on?</dialogue>
<character>JENNY</character>
<dialogue>He's helping himself to some Dutch courage before facing you. Stolen Dutch courage, from the look of it. He has something to tell you.</dialogue>
<scene_description>She stands , pale and young - looking again , opposite her parents . Suddenly they are all three lit up by headlights . Shot from their POV of the Bristol roaring off up the street .</scene_description>
<character>JACK</character>
<dialogue>He just drove off.</dialogue>
<scene_description>We close slowly in on Jenny 's face . But of course he 'd drive off !</scene_description>
<character>JACK</character>
<parenthetical>( pathetic . )</parenthetical>
<dialogue>Can you tell us? Please? Jenny?</dialogue>
<scene_description>Jenny ca n't deal with her own pain , let alone his . He already looks like a broken , foolish old man . They should hug . But they do n't .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/DAVID'S HOUSE. DAY</stage_direction>
<scene_description>A suburban street , full of semi - detached houses , not far from Jenny 's house . Jenny walks down the road tentatively - she 's looking at the numbers on the houses . She looks young again - tired , no make - up , no elegant clothes . She ca n't bring herself to wear anything that David bought her . She hesitates at the top of the driveway to the house , steels herself to walk down . But just at that moment the door opens ; there 's a homely - looking woman , early 30s . She is holding the hand of a three - year - old . Jenny is stunned . But there 's more to come . The woman deposits the child in the drive , goes back into the house , comes out behind an enormous 1950s pram . David has found time to father another baby .</scene_description>
<character>WIFE</character>
<dialogue>Oh. Hello.</dialogue>
<character>JENNY</character>
<parenthetical>( almost inaudible . )</parenthetical>
<dialogue>Hello. I'm sorry. I think I must have the wrong house.</dialogue>
<scene_description>The woman stares at her .</scene_description>
<character>JENNY</character>
<dialogue>Yes. I wanted number. It's my cello lesson. Silly. I.</dialogue>
<scene_description>She dries up and looks at the woman helplessly .</scene_description>
<character>WIFE</character>
<dialogue>Oh, no. Do n't tell me. Good God. You're a child.</dialogue>
<scene_description>Jenny blushes . Beat . She turns and tries to walk back up the driveway , but the woman wo n't let her go .</scene_description>
<character>WIFE</character>
<dialogue>No. No. You stay here. If you're old enough to sleep with him, you're old enough to look at me.</dialogue>
<character>JENNY</character>
<dialogue>I ca n't.</dialogue>
<scene_description>But she does n't move , either .</scene_description>
<character>WIFE</character>
<dialogue>You did n't know about any of this. Presumably.</dialogue>
<scene_description>Jenny shakes her head .</scene_description>
<character>WIFE</character>
<dialogue>No. They never do. Did he ask you to marry him?</dialogue>
<scene_description>Jenny nods .</scene_description>
<character>WIFE</character>
<dialogue>Yes. Of course he did. You're not in the family way, are you? Because that's happened before.</dialogue>
<scene_description>Jenny shakes her head .</scene_description>
<character>WIFE</character>
<dialogue>Thank God for that. At least you can escape intact.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Relatively speaking. Not all of them have done.</dialogue>
<scene_description>She nods at the children .</scene_description>
<character>WIFE</character>
<dialogue>That's why he never goes through with anything. He does love them.</dialogue>
<character>JENNY</character>
<parenthetical>( looking into the pram . )</parenthetical>
<dialogue>She's beautiful.</dialogue>
<character>WIFE</character>
<dialogue>Thank you. He.</dialogue>
<parenthetical>( Bitterly . )</parenthetical>
<dialogue>He's four months old.</dialogue>
<scene_description>Jenny does the maths . It 's all she can do to stop herself from reeling backwards - she 's visibly shaken .</scene_description>
<character>JENNY</character>
<dialogue>Four months!</dialogue>
<character>WIFE</character>
<dialogue>Yes. Babies often are that sort of age. Perhaps you can remember a night four months ago when he seemed a little distracted. Anyway. If you'll excuse us.</dialogue>
<scene_description>She pushes past Jenny and leaves her standing bereft on the path .</scene_description>
</scene>
<scene>
<stage_direction>INT. JENNY'S HOUSE. DAY</stage_direction>
<scene_description>Marjorie and Jack are in the kitchen . Marjorie is sipping tea , shoulders hunched , defeated . Jack is pacing around the room , furious . Normal life has clearly been suspended during this crisis . Jenny walks in .</scene_description>
<character>MARJORIE</character>
<dialogue>Did you see her?</dialogue>
<character>JENNY</character>
<dialogue>I saw her. I did n't talk to her. There was n't any need.</dialogue>
<character>JACK</character>
<dialogue>Well we've got to have this out. If you wo n't do it, I will.</dialogue>
<scene_description>He starts for the door .</scene_description>
<character>JENNY</character>
<parenthetical>( contemptuously . )</parenthetical>
<dialogue>Sit down.</dialogue>
<character>JACK</character>
<dialogue>I beg your pardon? I'm still your father, Jenny.</dialogue>
<character>JENNY</character>
<dialogue>Oh, you're my father again, are you? What were you when you encouraged me to throw my life away? I'm a silly schoolgirl. Was, anyway. Silly schoolgirls are always being seduced by glamorous older men. But what about you two?</dialogue>
<character>JACK</character>
<dialogue>We did n't.</dialogue>
<scene_description>He gives up hopelessly . Marjorie says nothing .</scene_description>
<character>JENNY</character>
<dialogue>And now I've got nothing. I'm. I'm broken.</dialogue>
<scene_description>Jack looks at her .</scene_description>
<character>JACK</character>
<dialogue>That does n't mean. what I think it means, does it? It ca n't.</dialogue>
<character>JENNY</character>
<dialogue>What are you talking about?</dialogue>
<character>JACK</character>
<dialogue>Just tell me that you did n't. you have n't, you know. You did n't.</dialogue>
<scene_description>Jenny looks at him in disbelief .</scene_description>
<character>MARJORIE</character>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>I wondered how stupid you were. Now I know.</dialogue>
</scene>
<scene>
<stage_direction>INT. UPPER HALLWAY. NIGHT</stage_direction>
<scene_description>Jack stands outside Jenny 's bedroom door with a cup of tea . He knocks tentatively .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM. NIGHT</stage_direction>
<scene_description>Close - up of the floaty print dress that Helen gave her . The dress is suddenly jerked out of shot , and we pull back to reveal a weeping Jenny stuffing it violently into an already full box of things she is throwing out . The contents represent her now - despised , David - created adult self . We can see Juliette Greco albums , photos , expensive - looking jewelry boxes . She continues to stuff things into the box . There 's a knock on the door .</scene_description>
<character>JACK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Jenny.</dialogue>
<scene_description>She continue to put her David - life away into bags . She ignores him .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER HALLWAY. NIGHT</stage_direction>
<scene_description>Jack is almost in tears .</scene_description>
<character>JACK</character>
<dialogue>There's a cup of tea for you here.</dialogue>
<scene_description>No answer . He puts the tea on the floor , and sits down next to it .</scene_description>
<character>JACK</character>
<dialogue>I know I made a mess of everything.</dialogue>
<scene_description>He waits for an answer - nothing .</scene_description>
<character>JACK</character>
<dialogue>All my life I've been scared, and I did n't want you to be scared. That's why I wanted you to go to Oxford. So that if someone asked you out to a nice restaurant, you would n't panic about what was a starter and what was a main course. And then David came along, and he had money, and he knew famous writers, and he knew how to get to classical music concerts. But he was n't who he said he was. He was n't who you said he was, either.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM. NIGHT</stage_direction>
<scene_description>Jenny is about to rip a poster off the wall , but she pauses .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER HALLWAY. NIGHT</stage_direction>
<character>JACK</character>
<dialogue>The other day, your mother and I were listening to a programme about CS Lewis on the radio, and they said he moved to Cambridge in 1954. And I said to Marjorie, Well, they've got that wrong, because how would our Jenny get her book signed, if he was n't in Oxford?</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM. NIGHT</stage_direction>
<scene_description>Jenny 's face crumples . She knows he 's right .</scene_description>
<character>JACK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Jenny, I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. DANNY'S FLAT. DAY</stage_direction>
<scene_description>Jenny is sitting on the sofa in Danny 's flat . Danny and Helen are in dressing gowns ; there are newspapers strewn around . Danny pours her a brandy . Helen is sitting next to her , holding her hand .</scene_description>
<character>HELEN</character>
<dialogue>I do n't really understand what difference it makes. When I found out that.</dialogue>
<character>DANNY</character>
<dialogue>Helen! Not now.</dialogue>
<scene_description>Helen shrugs .</scene_description>
<character>DANNY</character>
<dialogue>I tried to tell him. I'm not speaking to him now, if that's any consolation.</dialogue>
<character>JENNY</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>It's a funny world you people live in. You both watched me. carrying on with a married man, but you do n't think it's worth saying anything.</dialogue>
<character>DANNY</character>
<dialogue>Ah, well if you want that sort of conversation. You watched David and I help ourselves to a map, and you did n't say much, either.</dialogue>
<scene_description>He holds Jenny 's gaze . She looks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. HEADMISTRESS'S OFFICE. DAY</stage_direction>
<scene_description>Jenny has put on her school uniform for this meeting ; it completes a circle . She 's back where she started from , or would like to be , anyway . If she seems older than she did when we first met her , it 's because things have happened to her , and they 've left a mark on her face . She 's worried and tired . The headmistress , meanwhile , is delighted by her return - but only because of the opportunities for smugness and schadenfreude it provides .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>So. Your Jewish friend turned out to be married already, I understand. How unfortunate.</dialogue>
<scene_description>Jenny does n't say anything . She has clearly decided to swallow anything she has to .</scene_description>
<character>HEADMISTRESS</character>
<dialogue>Anyway. How do you think we can help?</dialogue>
<character>JENNY</character>
<dialogue>I'd like to repeat my last year at school. Start all over again.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>I got the impression the last time we spoke that you did n't see the point of school. Or of me, or of any of us here.</dialogue>
<character>JENNY</character>
<dialogue>I know. I was stupid.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>So what is the point?</dialogue>
<character>JENNY</character>
<dialogue>I know that I need to go to university.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>And what happens if some other chap wants to marry you during your studies next year?</dialogue>
<character>JENNY</character>
<parenthetical>( laughing bitterly . )</parenthetical>
<dialogue>Some other chap? There wo n't be any other chaps. Not for a long, long time, anyway.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>I'm afraid I think you're the sort of young lady who attracts chaps whether she wants to or not. No, I think the offer of a place at this school would be wasted on you. You showed how little you valued us only weeks ago. And I must confess that it gives me a sort of grim satisfaction to return the sentiment now.</dialogue>
<character>JENNY</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>Is it really so grim, your satisfaction?</dialogue>
<character>HEADMISTRESS</character>
<dialogue>It gives me no pleasure to see our schoolgirls throw their lives away. Although, of course, you're not one of our schoolgirls any more. Through your own volition.</dialogue>
<character>JENNY</character>
<dialogue>I suppose you think I'm a ruined woman.</dialogue>
<character>HEADMISTRESS</character>
<dialogue>Oh, you're not a woman.</dialogue>
<scene_description>Beat . Jenny stands up and leaves without saying a word . The headmistress is pleased with her final line .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM. NIGHT</stage_direction>
<scene_description>Jenny working hard in her room . It 's been completely stripped bare of everything except schoolbooks . She has become ageless , genderless - her life is now monastic .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK. DAY</stage_direction>
<scene_description>Jenny walking alone through her old park .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE BAR. DAY</stage_direction>
<scene_description>Jenny on her own , smoking nervously . Hattie and Tina come in . They obviously have n't seen her since it all happened . They both hug her sympathetically and sit down . Nobody knows what to say .</scene_description>
<character>TINA</character>
<dialogue>I'm sure my uncle knows someone who could kill him. If that would help.</dialogue>
<scene_description>Jenny smiles wanly , and briefly .</scene_description>
<character>HATTIE</character>
<dialogue>We should have stopped you.</dialogue>
<character>JENNY</character>
<dialogue>Did you want to?</dialogue>
<character>TINA</character>
<dialogue>Of course we did n't. Why would we stop you? Restaurants, hotels, foreign cities, no exams.</dialogue>
<character>JENNY</character>
<parenthetical>( Bitterly . )</parenthetical>
<dialogue>Yes. Who'd have thought there'd be a down side to all that? I could tell you all about the imagery in Jane Eyre. But I could n't see that a man who stole maps from old ladies might be a liar.</dialogue>
<scene_description>They look at her . This is new information .</scene_description>
<character>HATTIE</character>
<dialogue>Well, if you'd told us that we might have tried to stop you.</dialogue>
<character>JENNY</character>
<dialogue>There are a lot of things I did n't tell you. I was dreaming.</dialogue>
<character>TINA</character>
<dialogue>That's the thing about our lives, is n't it? It's so easy to fall asleep, when there's nothing to keep you awake.</dialogue>
<scene_description>Beat .</scene_description>
<character>HATTIE</character>
<dialogue>Are you getting on with the work all right on your own?</dialogue>
<scene_description>Jenny thinks .</scene_description>
<character>JENNY</character>
<parenthetical>( heartfelt . )</parenthetical>
<dialogue>No. No, I'm not.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET MISS STUBBS FLAT. DUSK.</stage_direction>
<scene_description>Jenny in a suburban street . She 's looking for an address . She finds the house , walks down the path , rings on a bell . Miss Stubbs comes to the door .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Jenny!</dialogue>
<scene_description>It 's a warm greeting . She ushers her inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. MISS STUBBS' FLAT. DUSK.</stage_direction>
<scene_description>It 's a proper Bohemian flat , up in the eaves . There are books and papers and paintings covering every available surface . Jenny looks around . Finally , for the first time , we see her in somewhere she can feel at home .</scene_description>
<character>JENNY</character>
<dialogue>This is lovely.</dialogue>
<scene_description>Miss Stubbs makes a face .</scene_description>
<character>JENNY</character>
<dialogue>But it is. Really. I'd love to live somewhere like this.</dialogue>
<scene_description>Miss Stubbs laughs .</scene_description>
<character>MISS STUBBS</character>
<dialogue>Oh, it's not hard. Go to Oxford and become a teacher and this is what you end up with.</dialogue>
<character>JENNY</character>
<dialogue>But all these books and pictures.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Penguin paperbacks. Posters and postcards.</dialogue>
<character>JENNY</character>
<parenthetical>( apparently understanding something . )</parenthetical>
<dialogue>Yes, but. That's all you need, is n't it? Just a place to. I'm sorry I said those silly things. I did n't understand.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Let's forget all about it.</dialogue>
<scene_description>A poster catches Jenny 's eye .</scene_description>
<character>JENNY</character>
<dialogue>A Burne - Jones.</dialogue>
<scene_description>Miss Stubbs laughs .</scene_description>
<character>JENNY</character>
<dialogue>What?</dialogue>
<character>MISS STUBBS</character>
<dialogue>You make it sound as though it's an original. Do you like him?</dialogue>
<scene_description>Jenny pauses .</scene_description>
<character>JENNY</character>
<dialogue>Yes. I do. Still.</dialogue>
<character>MISS STUBBS</character>
<dialogue>Still? Gosh, you sound very old and wise.</dialogue>
<character>JENNY</character>
<parenthetical>( heartfelt . )</parenthetical>
<dialogue>I feel old. But really not very wise. Miss Stubbs, I'm. I need your help.</dialogue>
<character>MISS STUBBS</character>
<dialogue>I was so hoping that's what you were going to say.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET IN OXFORD. DAY</stage_direction>
<scene_description>Eighteen months later . Swelling orchestral music . Close on Jenny cycling , absorbed , happy , the cello strapped to her precariously . The camera pulls back to show her cycling through the streets of Oxford . She 's done it . We follow her for a little while . She dismounts outside a church and leans the bike against a wall . Just as she 's about to leave it , she sees something and freezes . We follow her gaze : it 's the red Bristol , parked a little way down the road just in front of her . She scans the street to see if she can find David . She can - he 's coming round a corner , a littler further down the street , unwrapping a packet of cigarettes . Jenny moves into his eye - line . He sees her , stops , then walks towards her .</scene_description>
<character>DAVID</character>
<dialogue>Jenny.</dialogue>
<scene_description>Jenny says nothing .</scene_description>
<character>DAVID</character>
<dialogue>Jenny. Minnie. I wanted to tell you that I am going to ask my wife for a divorce.</dialogue>
<scene_description>Jenny looks at him disbelievingly .</scene_description>
<character>JENNY</character>
<dialogue>Do n't you understand what you've done?</dialogue>
<scene_description>David looks at her . This is n't going to be as easy as he thought .</scene_description>
<character>DAVID</character>
<dialogue>I can see my behaviour must have been. confusing. But we've never sat down and had a proper chat about it all. About the whys and wherefores. They can wait. The important thing is that you're still my Minnie Mouse, and I love you, and you had fun. You know you had fun.</dialogue>
<character>JENNY</character>
<dialogue>Yes. I had fun. But I had fun with the wrong person, at all the wrong times. And I ca n't ever get those times back, now.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Look, David. I'm in Oxford. Every day I wake up and pinch myself. And when I think how close I came.</dialogue>
<scene_description>She looks at him and shakes her head , as if awaking from a dream . A young man stops behind her on his bike , dismounts , leans his bike against the wall next to hers , waits for her to finish . She turns her back on David , and the young man offers her his arm . They walk away together , and David stares longingly after them . THE END</scene_description>
</scene>
</script> | In 1961 London, Jenny Mellor is a bright and beautiful 16-year-old schoolgirl who wishes to attend Oxford University. Her studies are controlled by her strict, overbearing father, Jack. After youth orchestra rehearsals, Jenny waits at a bus stop on the street under the rain when she meets David Goldman, a charming older man driving a Bristol 405. Telling her that he is a music lover and that he is worried about her cello getting wet, David convinces Jenny to put her cello in his car while she walks alongside. As the rain becomes stronger, Jenny asks David if she can sit inside his car. The two continue talking about music and, before being dropped off, Jenny confesses that she will be able to do whatever she wants when she reaches university, such as going to art galleries and watching French films, wishing for a life of culture and luxury. The next day, David leaves flowers on Jenny's front porch, wishing her luck at her youth orchestra's concert. Later, she sees him outside the cafe she and her friends were in and approaches him. After a little small talk, David then asks Jenny if she is free to go see a concert and have supper with him and his friends. She happily agrees and thanks him. On the night of the concert, Jack disapproves of Jenny going while her much more lenient mother, Marjorie, tells him otherwise. David comes by to pick Jenny up and to talk to her parents, where he easily charms his way into convincing Jack that he take Jenny home later than her intended curfew. They arrive at the concert where Jenny meets David's friends, Danny and Helen. Afterward, they go to dinner at a fancy restaurant, where they invite Jenny to an art auction. David picks up Jenny at school and goes to the auction, winning a bid for a painting by Edward Burne-Jones and going to Danny's place afterwards. They talk about Oxford and they all agree to go and visit together the following weekend. Jenny hears a commotion late one night and sees David drinking with her parents. He then uses the opportunity to ask them if he can take Jenny to Oxford, saying that he used to study there and would like to visit his old teacher, Clive Lewis, the author of The Chronicles of Narnia. Her parents are reluctant at first, but agree, seeing it as a good opportunity. At Oxford, Jenny discovers that David is a con man who makes money through a variety of shady practices. She is initially shocked but silences her misgivings as she succumbs to David's charm. Back at her home, Jenny and David have their first kiss. Jenny then shows a signed copy of The Lion, the Witch and the Wardrobe to her parents, which David actually signed. Impressed by his connections and charisma, Jack and Marjorie approve of their romantic relationship. On the night of Jenny's 17th birthday, David arrives with presents and tells her parents that he intends to take her to Paris as a special birthday gift. Her father angrily disapproves, but later agrees after David talks to him. In Paris, the two dance, take photos, and Jenny eventually loses her virginity to David. Back in London, Jenny gives her favourite teacher, Miss Stubbs, Chanel perfume as a gift from her trip. However, Miss Stubbs refuses the gift, telling Jenny that she knows where it came from and is both concerned and disapproving of her relationship with David. They argue and have a falling-out. Later that night, David proposes marriage. Jenny accepts the proposal and, after an argument with the headmistress, decides to drop out of school and not apply to university. While getting petrol on their way to dinner with her parents, Jenny rummages through the car's glove compartment for a cigarette and discovers, through letters, that David is already married, revealing that he only dated Jenny to con her and her family. Shocked, Jenny tells David to take her and her parents back home. Jenny argues with David, telling him she gave up her education to be with him and that he will go and tell her parents the truth with her. She then goes inside her house, her father asking what happened. Jenny tells her parents that David is mustering up the courage before going inside to confront them. However, he drives off and is never seen again. Jenny despairs, blaming Danny and Helen for not telling her the truth early on and blaming her parents for letting her throw her life away with an older man. Later that night, Jack apologizes to Jenny, admitting that he messed up and that he believed David could give her the life she wanted. Jenny then goes back to her school, requesting to repeat her last year and take her exams, but is refused re-admission. She then goes to Miss Stubbs, asking for help. She resumes her studies and is accepted at Oxford the following year. |
Bloodmoon_1997 | tt0118745 | <script>
<scene>
<character>BLOODMOON</character>
<dialogue>by</dialogue>
<scene_description>Keith W. Strandberg FADE IN: OPENING CREDITS Background of the rising moon, and it is Blood Red. Over this background, the silhouettes of several fighters cross back and forth, throwing beautiful techniques, hitting each other. Various other IMAGES, of victims, women, swords, weapons, also appear and then disappear. Various Chinese characters, all with a MOON motif, also appear. At the end of the credit roll, one fighter, the Killer, stands alone, still in silhouette, his arms raised to the sky. Fresh blood streams down the moon, covering this image, DISSOLVING into the exterior of an old style, traditional boxing gym.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOXING GYM NIGHT</stage_direction>
<scene_description>A back to the basics kind of gym, full of old leather punching bags, and even more leathery fighters. There are several cars in the parking lot, and the lights are on.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING GYM CONTINUOUS</stage_direction>
<scene_description>In the ring a very muscular FIGHTER is sparring rounds. He is very good, scoring at will on his sparring PARTNER. The sense of confidence the Fighter has can be FELT as he plays with his Partner, flicking in and out, making contact but doing no real damage. He is not, however, trying to put his sparring Partner out. There are people all around the ring, working on heavy bags, speed bags, treadmills, exercise bikes, stairclimbers. A banner above the ring reads "Home of the Light Heavyweight Champion of the World." The bell sounds, and the action breaks in the ring, both fighters hitting their gloves together and going to their corners.</scene_description>
<character>CORNERMAN</character>
<dialogue>Way to go, Champ. Closing time!</dialogue>
<character>FIGHTER</character>
<dialogue>I'm going to work the bag, Ernie. Listen, you go on. I'll lock it up.</dialogue>
<scene_description>The cornerman agrees, and the fighters start migrating to the doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING GYM LATER</stage_direction>
<scene_description>The Fighter is hitting the heavy bag, while in the WINDOW above him, the Blood Red Moon fills the glass. As the Fighter hits the heavy bag, he hears something and suspects that something is wrong. Coated in sweat, he goes looking around the gym. He looks in several shadowy places, only to find nothing. Shaking his head, he starts back towards the heavy bag when he hears...</scene_description>
<character>KILLER</character>
<dialogue>You fight well.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Champ.</dialogue>
<scene_description>The KILLER, a tall, very muscular, very handsome man, appears at the other end gym. He moves with an easy grace, and comes closer to the Fighter. The Fighter sizes him up. An air about the Killer tells the Fighter he knows what he's talking about.</scene_description>
<character>FIGHTER</character>
<dialogue>All dressed up and no place to go?</dialogue>
<character>KILLER</character>
<dialogue>You don't have the killer instinct.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I can show it to you.</dialogue>
<character>FIGHTER</character>
<dialogue>Is that a fact? Well, maybe some time we could go a round or two.</dialogue>
<character>KILLER</character>
<dialogue>No time like the present. Or are you... scared...?</dialogue>
<scene_description>The Fighter sizes the Killer up for a moment, then smiles a small, confident smile.</scene_description>
<character>FIGHTER</character>
<dialogue>You got a death wish, buddy?</dialogue>
<character>KILLER</character>
<dialogue>Did you notice that there is blood on the moon tonight?</dialogue>
<scene_description>The Fighter doesn't know what to make of this remark as they head for the ring. The Killer and the Fighter climb up into the ring and face off. A single overhead light SHINES down on them, throwing strange SHADOWS on the ring and on the walls of the boxing gym. The killer starts toward the Fighter, a small smile on his lips.</scene_description>
<character>KILLER</character>
<dialogue>The key to winning is to take advantage of every weakness. Like how you never really cover your side...</dialogue>
<scene_description>He swings quickly, three times, and BURIES three deadly hooks in the man's kidneys. The Fighter bends over in pain, his hands at his side.</scene_description>
<character>KILLER</character>
<dialogue>Always attack is lesson two.</dialogue>
<scene_description>And the Killer does just that. He throws powerhouse punches, and the Fighter's defense cannot withstand the barrage. He is getting HIT. HARD.</scene_description>
<character>FIGHTER</character>
<dialogue>Hey, man, that's enough...</dialogue>
<scene_description>The Fighter has his arms up, covering his face and head. Surrendering.</scene_description>
<character>KILLER</character>
<dialogue>It's never enough. Lesson Three. A true champion never goes easy, never lets up.</dialogue>
<scene_description>He comes on, the blows cruel and calculated. The Fighter doesn't stand a chance. The Killer keeps punching, his gloves glistening with the Fighter's blood.</scene_description>
<character>KILLER</character>
<dialogue>Fight! Goddamn it! FIGHT!</dialogue>
<scene_description>But, in the face of the Killer's onslaught, there is no fight, only slaughter. The Fighter falls to the canvas, but the Killer continues to drive his fists into the fallen man until there is no more movement. The Killer stands over the fallen fighter.</scene_description>
<character>KILLER</character>
<dialogue>School's Out, Champ.</dialogue>
<scene_description>He turns to the window of the gym, and raises his arms to the moon.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS MORNING</stage_direction>
<scene_description>Establishing shot, New York streets. A man is riding a motorcycle on the streets.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOXING GYM CRIME SCENE MORNING</stage_direction>
<scene_description>The boxing gym has been turned into a Crime Scene, with police cars in front of the gym. Their lights flash against the dawn's light. CHUCK BURKE, a black detective about 35 years old, rides up on his Black TRIUMPH motorcycle. He gets off and walks into the busy crime scene. In front of the entrance to the gym is a pile of stuff, and Chuck, instead of climbing over it, gracefully jumps from place to place in a very acrobatic way. The cops around the scene see him, but they are used to his eccentric ways. They ignore it.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING GYM CONTINUOUS</stage_direction>
<scene_description>Burke strides confidently into the boxing gym, taking in everything as he walks to the two UNIFORMS near the body.</scene_description>
<character>CHUCK</character>
<dialogue>What do we have here, ladies? Somebody talk to me.</dialogue>
<scene_description>Chuck absently runs a scarf through his fist, and it comes out alternately blue and red, red and blue.</scene_description>
<character>CRIME SCENE COP</character>
<parenthetical>(looking at his notes)</parenthetical>
<dialogue>Well, Detective, we have one dead boxer, Eddie Cunningham, 33 years old, Light Heavy Champion of the World. Found in the ring, this morning.(beat) Somebody beat him to death.</dialogue>
<character>CHUCK</character>
<dialogue>Guess we got a new champ. Is this the latest from our boy? Do we make it three?</dialogue>
<character>CRIME SCENE COP</character>
<dialogue>No witnesses, no finger prints, plenty of blood and guts...</dialogue>
<character>CHUCK</character>
<dialogue>Any chance he left a suicide note?</dialogue>
<parenthetical>(after a beat)</parenthetical>
<dialogue>Boys and girls, sounds like we have ourselves a homicide.</dialogue>
<scene_description>They share a grim smile, and Chuck kneels down to look more closely at the body. Chuck shakes his head at the grisly sight.</scene_description>
<character>CHUCK</character>
<dialogue>What the hell is going on?</dialogue>
<scene_description>He runs the scarf through once more, and it comes out completely white. He respectfully lays it carefully over the face of the dead Fighter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION MORNING</stage_direction>
<scene_description>Chuck arrives at the station, and sees a phalanx of reporters, surrounding CHIEF HUTCHINS. He looks frustrated, and a little angry. Chuck quickly about faces and heads for a side door. As he goes, we SEE Hutchins talking to the media.</scene_description>
<character>REPORTERS</character>
<parenthetical>(stepping on each other)</parenthetical>
<dialogue>Is this the work of the same man? Do you have any suspects? What are you doing to catch him? Any communication with the killer?</dialogue>
<character>HUTCHINS</character>
<dialogue>We are following up every lead. We are very close to cracking this case. We just need patience and cooperation from you people in the media...</dialogue>
<scene_description>Chuck pushes his way through the crowd, to the side entrance of the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION LATER</stage_direction>
<scene_description>Chuck comes in and sits down wearily at his desk. It is covered with papers, maps, notes, books, etc. There are martial arts magazines scattered all over his desk.</scene_description>
<character>CHUCK</character>
<dialogue>Tell the M.E. I want her report on my desk</dialogue>
<scene_description>as soon as she has it. I waited 15 damn minutes for her banker's hours ass to come in.</scene_description>
<character>SECRETARY</character>
<dialogue>Chuck, Chief on line 2.</dialogue>
<scene_description>Chuck hits the phone off its cradle, catching it while it is still up in the air. With his other hand, he is juggling two balls in the air.</scene_description>
<character>CHUCK</character>
<dialogue>Hey, hey, hey. This is Burke. I'm working it, Chief.</dialogue>
<character>HUTCHINS</character>
<dialogue>Goddamn it! We need some answers! Son of a bitch!</dialogue>
<character>CHUCK</character>
<dialogue>Chief, chief, what's with that language! Yes, Sir. Yes, Sir.</dialogue>
<scene_description>Chuck moans and takes the phone away from his ear, not listening any more. The Chief's voice, tinny and thin, is heard through the earpiece. He puts the phone down on his desk, and stands up to meet one of the other OFFICERS in the squad, who walks in to bring him a computer print out, a new challenge from the Killer. Chuck holds it up, looking at it closely.</scene_description>
<character>OFFICER</character>
<dialogue>Came in last night. Before the boxer.</dialogue>
<scene_description>Chuck nods his head and shrugs. It is a computer print out of a graphic, a moon with blood on it, and the words: "Blood on the Moon." Chuck turns to his bulletin board, and pins it up along with the other messages challenging, taunting, deriding. He continues juggling with one hand.</scene_description>
<character>CHUCK</character>
<dialogue>Variations on a theme. Why didn't I get this last night?</dialogue>
<character>OFFICER</character>
<dialogue>It was attached to e-mail addressed to the Chief.</dialogue>
<character>CHUCK</character>
<parenthetical>(wincing)</parenthetical>
<dialogue>Did you see him? Did he have the face</dialogue>
<scene_description>on... At this moment, the Chief appears behind Chuck, who is still juggling the balls.</scene_description>
<character>CHUCK</character>
<dialogue>Oh, man, the bulging eyes, the popping veins, the quivering lips...</dialogue>
<scene_description>ANGLE ON OFFICER Who is reacting to the Chief standing behind Chuck.</scene_description>
<character>CHUCK</character>
<dialogue>He's standing right behind me, isn't he? I TOLD you not to bring these balls in here!</dialogue>
<scene_description>The Officer walks away, quickly, anticipating the fireworks. He turns around to face the enraged Chief, still juggling. The Chief takes the balls from him, one by one.</scene_description>
<character>HUTCHINS</character>
<dialogue>We're up to our eyeballs in murder victims, and you're screwing me around? Any idea the pressure on me? I was crucified this morning by the press!</dialogue>
<scene_description>Chuck tries to charm the Chief.</scene_description>
<character>CHUCK</character>
<dialogue>That's because you, Chief, are the man! Hey, great to see you. You should slum down here more often...</dialogue>
<scene_description>Chuck reaches out to smooth down his lapels, and pulls a silver dollar out of his jacket, showing it to Hutchins with a flourish.</scene_description>
<character>HUTCHINS</character>
<dialogue>Get some results, Chuck! You ever do that again...</dialogue>
<parenthetical>(pointing at the phone on Chuck's desk)</parenthetical>
<dialogue>The Great Chucker can book himself magic shows in Atlantic City, 'cause he won't be working here!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Juggle these balls!</dialogue>
<scene_description>The Chief stalks out of the doorway, tossing the juggling balls back to him. When he is gone, Chuck smiles. Chuck turns back to his wall, scanning all the collected information. He starts juggling as he looks through it all.</scene_description>
<character>CHUCK</character>
<dialogue>Hell. Atlantic City. If I could conjure this sicko out of thin air... I'd be headlining in Vegas!</dialogue>
<scene_description>HOLD on picture of Moon. TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOON NIGHT</stage_direction>
<scene_description>Empty shot of Blood Red moon in the reflection of a puddle of water. A car SLICES through the water, and the CAMERA TILTS UP to reveal an establishing shot of a Sleazoid Bar.</scene_description>
</scene>
<scene>
<stage_direction>INT. SLEAZOID BAR CONTINUOUS</stage_direction>
<scene_description>The bar is smoky, and nearly empty. DUTCH, the owner of the bar, is a big, muscular man who looks like he doesn't take shit from anyone. His trophies and photos from his fighting career rare all over the bar. Dutch and his lady, ROXY, very sexy, though a little slutty, are alone in the bar. Roxy is sitting at the bar, and she wants to dance, and Dutch complies. They start to sway to the slow music, and Dutch kisses Roxy. She responds, and soon they are on one of the pinball machines. Dutch is undressing Roxy, when she thinks she heard something.</scene_description>
<character>ROXY</character>
<dialogue>What was that?</dialogue>
<character>DUTCH</character>
<dialogue>Nothing! Don't break the mood!</dialogue>
<scene_description>Dutch gets Roxy's shirt off, and starts on her bra, but she is sure she heard something. She tries to push Dutch off, but he is in heat and won't take no for an answer. He goes for her shorts, and has them unzipped before she can push him away.</scene_description>
<character>ROXY</character>
<dialogue>I heard something, goddamn it!</dialogue>
<character>DUTCH</character>
<dialogue>Nobody's gonna mess with me, babe. You're just being stupid.</dialogue>
<character>ROXY</character>
<dialogue>Thanks a lot.</dialogue>
<scene_description>She starts away, to look around the bar, pulling her pants up as she goes.</scene_description>
<character>DUTCH</character>
<dialogue>Come back here, you bitch.</dialogue>
<character>ROXY</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>My luck with men is for shit...</dialogue>
<character>KILLER</character>
<dialogue>Roxy, your luck is about to change...</dialogue>
<scene_description>She turns with a wary look on her face, and the Killer gently CHOKES her out. He catches her before she hits the ground, and lays her down carefully on the floor. He then advances on Dutch, who has his back to the bar.</scene_description>
<character>DUTCH</character>
<dialogue>You find anything?</dialogue>
<character>KILLER</character>
<dialogue>She found me, Crutch.</dialogue>
<character>DUTCH</character>
<dialogue>The name's 'Dutch'.</dialogue>
<character>KILLER</character>
<dialogue>It won't be, after tonight.</dialogue>
<parenthetical>(he sizes up Dutch)</parenthetical>
<dialogue>Marvelous night for a moondance.</dialogue>
<scene_description>Dutch is ready for the Killer, itching to fight. The Killer moves out to face Dutch. He puts a scared face on. Dutch attacks, and hits the Killer several times. The Killer is not fighting back he takes a couple of awkward swings, but misses by a mile. Dutch thinks he's in full control. The Killer backs up and holds his hand up.</scene_description>
<character>KILLER</character>
<parenthetical>(scared voice)</parenthetical>
<dialogue>Can we talk this over? Please?</dialogue>
<scene_description>Dutch laughs and closes on The Killer.</scene_description>
<character>DUTCH</character>
<dialogue>No way! You're mine!</dialogue>
<scene_description>The Killer's scared demeanor changes completely, and he stands up to his full height.</scene_description>
<character>KILLER</character>
<parenthetical>(smiling)</parenthetical>
<scene_description>OK.: He attacks Dutch first, tearing him apart. The Killer really takes it to Dutch, never letting up. He hits him up one side and down the other. Dutch is helpless. The Killer is enraged. He was looking for a good fight, but he's not getting it. It's the pugilistic equivalent of a barrel shoot.</scene_description>
<character>KILLER</character>
<dialogue>Why aren't you better?</dialogue>
<scene_description>He hits Dutch at will.</scene_description>
<character>KILLER</character>
<dialogue>Tough man? You're not tough!</dialogue>
<scene_description>The Killer grabs him by the head from behind and smiles. He is going to kill him. The Killer stops smiling, and looks almost like he is going to let Dutch go. But then, he wrenches Dutch's head, breaking his neck and killing him. He lets Dutch slide to the ground. The Killer walks away from the death.</scene_description>
</scene>
<scene>
<stage_direction>INT. MORGUE MORNING</stage_direction>
<scene_description>The shattered body of Dutch is on the examining table, the MEDICAL EXAMINER having just finished the autopsy. Standing with him are Chuck, Chief Hutchins, and one other OFFICER.</scene_description>
<character>MEDICAL EXAMINER</character>
<dialogue>Killed by trauma to the head. His extremities... the bones were shattered. He died in extreme pain.</dialogue>
<character>MEDICAL EXAMINER</character>
<dialogue>The killer has a knowledge of anatomy, the destruction is systematic, precise every strike is a vital area, a nerve center or a meridian. He definitely has a signature, I recognize it.</dialogue>
<character>CHUCK</character>
<dialogue>Any evidence of a weapon? Or post mortem mutilation?</dialogue>
<character>MEDICAL EXAMINER</character>
<dialogue>It doesn't look like he used a weapon, but I've never seen wounds like these. As for mutilation, it's the fight he's interested in. Once they're dead, he's done.</dialogue>
<character>HUTCHINS</character>
<dialogue>What about the witness?</dialogue>
<character>CHUCK</character>
<dialogue>The Killer choked her out, didn't hurt her, before she could see him clearly. I have her looking at mug shots anyway.</dialogue>
<character>HUTCHINS</character>
<dialogue>This one makes four, right?</dialogue>
<scene_description>Chuck just nods.</scene_description>
<character>HUTCHINS</character>
<dialogue>I'm assigning you some help in this, Chuck. I want you to go see this guy...</dialogue>
<character>CHUCK</character>
<dialogue>Chief, I don't need any help.</dialogue>
<character>HUTCHINS</character>
<dialogue>Let's see, we have four dead bodies, a technofreak nutball who sends computer messages about the murders and we're no closer to solving this than we were on day one. Did I forget something? Oh, the killings are getting closer together, which can't be a good sign.</dialogue>
<character>CHUCK</character>
<dialogue>Chief...</dialogue>
<character>HUTCHINS</character>
<dialogue>You need to shut up, Chuck.</dialogue>
<character>CHUCK</character>
<dialogue>I'm working my ass off...</dialogue>
<character>HUTCHINS</character>
<dialogue>Shut up. I've got heat from everywhere on this one, and I'm trying to stop the bleeding. Get Ken O'Hara, specialized in serials before you got here. He was one of</dialogue>
<scene_description>the best mindhunters in the country. He retired a couple of years ago.</scene_description>
<character>CHUCK</character>
<dialogue>Mindhunter? What the hell is a mindhunter?</dialogue>
<character>HUTCHINS</character>
<dialogue>Here's his address. His last case was a messy one. Put O'Hara in the hospital, almost put him right here.</dialogue>
<character>CHUCK</character>
<dialogue>I don't NEED any help!</dialogue>
<character>HUTCHINS</character>
<dialogue>Yeah, and I'm not going to need a triple bypass one day. Go see O'Hara, I want him on this. Oh, Chuck, wear a suit. Try to make a good first impression.</dialogue>
<scene_description>The Chief leaves them standing there, around Dutch's dead body.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEASHORE DAY</stage_direction>
<scene_description>We open on a little girl, LAUREN, seven years old, working on a sand sculpture on the beach. There is a straw sticking out of the front of the sculpture. Lauren is very concentrated on making the sand as smooth and as nice as possible. Suddenly, the sand sculpture SHIFTS a little.</scene_description>
<character>LAUREN</character>
<dialogue>Don't move, Dad!</dialogue>
<scene_description>Just then, the sculpture SNEEZES and ex-cop, now retired, KEN O'HARA, comes out of the sculpture, shaking the sand off of him. He ROARS like a monster, and CHASES Lauren, and they go running into the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOARDWALK LATER</stage_direction>
<scene_description>Ken and Lauren are walking down the boardwalk with Lauren. It is their one day together. Several SHOTS of Ken and Lauren tenderly interacting, shopping, sharing an ice cream, walking hand in hand, arm in arm. Suddenly, a group of motorcyclists come near them. Ken, reflexively and protectively, pulls Lauren out of the way. As he does this, Ken BUMPS into TERRY, who is standing with his GIRLFRIEND and a couple of other FRIENDS. Ken bump sends Terry's beer spilling all down the front of his shirt and pants. Terry's Girlfriend immediately laughs out loud. Terry spins around to face Ken, really angry.</scene_description>
<character>KEN</character>
<dialogue>Sorry, man! I wasn't looking where I was going.</dialogue>
<character>TERRY</character>
<dialogue>You're gonna be sorry!</dialogue>
<character>KEN</character>
<dialogue>Hey, let me pay to clean your clothes, OK? $20 do it?</dialogue>
<scene_description>Terry looks at his girlfriend, who is still laughing.</scene_description>
<character>FRIEND</character>
<dialogue>Hey, Karate Boy! Looks like you pissed yourself!</dialogue>
<character>GIRLFRIEND</character>
<dialogue>Show me what you got, Jackie Chan man!</dialogue>
<character>TERRY</character>
<dialogue>I'm gonna take it out of your hide!</dialogue>
<scene_description>He pushes Ken HARD, and Ken goes backward. He is careful to gently move Lauren out of the way.</scene_description>
<character>KEN</character>
<dialogue>Stay there, this won't take long...</dialogue>
<character>LAUREN</character>
<dialogue>Daddy!</dialogue>
<scene_description>Terry advances on Ken, and there is now a crowd of people surrounding them, watching the action.</scene_description>
<character>TERRY</character>
<dialogue>C'mon, man! Put 'em up!</dialogue>
<character>KEN</character>
<dialogue>Look, I said I was sorry. Hitting me isn't going to dry your shirt.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, but it's gonna make me feel a hell of a lot better.</dialogue>
<scene_description>Terry takes a swing at Ken, and he evades it, sidestepping him. Terry keeps coming, swinging wildly. Terry's girlfriend laughs even harder, and Ken notices this. He shakes his head, and resigns himself to the beating. Terry swings again, and makes contact this time, doubling Ken over. He hits him again and again, and Ken just takes it. He's not getting really hurt, he's avoid most of the hits, and dissipating the force out of the others, but he's not fighting back.</scene_description>
<character>LAUREN</character>
<dialogue>Daddy! (to the Leader) Leave him alone!</dialogue>
<character>KEN</character>
<dialogue>It's all right, honey. He can't hurt me.</dialogue>
<character>TERRY</character>
<dialogue>Wanna bet?</dialogue>
<scene_description>Terry's girlfriend is cheering for her man now, and Terry's Friends are impressed by his machismo. Ken gets taken to the ground, and Terry towers over him.</scene_description>
<character>TERRY</character>
<dialogue>Why don't you fight back? You a pussy?</dialogue>
<character>KEN</character>
<dialogue>Yeah, I'm a pussy...</dialogue>
<character>LAUREN</character>
<dialogue>Stop it! Stop it!</dialogue>
<scene_description>She rushes up to Terry and pulls on his arm, trying to get him to stop.</scene_description>
<character>TERRY</character>
<dialogue>What do we have here?</dialogue>
<scene_description>Terry smiles menacingly and pulls his open hand back to SLAP Lauren. Suddenly, it is stopped, in Ken's powerful grip.</scene_description>
<character>KEN</character>
<dialogue>I don't think so.</dialogue>
<scene_description>Terry goes to punch Ken again, and Ken blocks it this time and takes the man down, subduing him. As soon as he does this, however, he is attacked by the Friends. Four to One. The odds are seriously against Ken. The Friends don't stand a chance. Ken handles them all, his movements graceful, beautiful, powerful. He finishes them off, not reveling in the violence. In fact, he puts them out as humanely and quickly as possible. They end up in a pile on the ground. Ken's last action is a flying sidekick that sends one of the Thugs OFF his motorcycle. Ken stands over them for a moment, and Lauren runs up to him, hugging him, and they continue to walk down the boardwalk together.</scene_description>
<character>KEN</character>
<dialogue>I'm sorry you had to see that, honey. You OK?</dialogue>
<scene_description>She nods yes.</scene_description>
<character>LAUREN</character>
<dialogue>Are you? I don't like fighting.</dialogue>
<scene_description>Ken stops and kneels down to talk to his daughter.</scene_description>
<character>KEN</character>
<dialogue>I didn't want to fight them, Lauren, but he was going to hit you, I had no choice. Nobody hurts my family!</dialogue>
<character>LAUREN</character>
<dialogue>I was worried they'd hurt you.</dialogue>
<character>KEN</character>
<dialogue>They couldn't hurt me. I'm like Superman!</dialogue>
<character>LAUREN</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Superman!</dialogue>
<scene_description>She laughs and spins away from him. Ken stays kneeling down and holds up his hand to her.</scene_description>
<character>KEN</character>
<dialogue>Hey, help Superman stand up, OK, honey?</dialogue>
<scene_description>She pulls him up, and they continue walking down the boardwalk, hand in hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEN HOUSE LATER</stage_direction>
<scene_description>Ken's home is a two story building, obviously built for a family. It's a nice house but not too nice, Ken's a cop after all. At the front door, Ken's Wife, MEGAN, a beautiful woman, is waiting impatiently. She's very angry because Ken is late getting back with their daughter, and she is constantly checking her watch. Chuck, dressed in a nice suit, pulls up on his Triumph motorcycle. He pulls the case file out of his tank bag, and reluctantly walks up to the door. He seems surprised to see Megan waiting there.</scene_description>
<character>CHUCK</character>
<dialogue>Hi. I'm looking for Ken O'Hara...</dialogue>
<character>MEGAN</character>
<dialogue>Get in line.</dialogue>
<character>CHUCK</character>
<dialogue>He's not home?</dialogue>
<character>MEGAN</character>
<dialogue>He's dead.</dialogue>
<character>CHUCK</character>
<dialogue>Dead?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I thought...</dialogue>
<character>MEGAN</character>
<dialogue>When he gets back with my daughter, our daughter, he's going to be dead.</dialogue>
<character>CHUCK</character>
<dialogue>I see. Uh, you guys divorced?</dialogue>
<character>MEGAN</character>
<dialogue>Separated. It's his afternoon with Lauren, and he promised he wouldn't be late.</dialogue>
<character>CHUCK</character>
<dialogue>Pretty damn inconsiderate. How do you stand it?</dialogue>
<character>MEGAN</character>
<dialogue>It's tough. We're going through a hard time.</dialogue>
<parenthetical>(smiling at Chuck)</parenthetical>
<dialogue>My name's Megan.</dialogue>
<character>CHUCK</character>
<dialogue>Chuck. I've never met your husband, and I'm not so sure I want to...</dialogue>
<scene_description>Chuck reaches out for her hand, and immediately a bouquet of flowers appears. Megan, who was reaching for his hand to shake, is startled, and she stumbles into Chuck. He catches her and they share a laugh. Just then, Ken comes walking up the sidewalk with his daughter. He sees Megan and Chuck, "embracing," and grimaces. He doesn't like to see Megan with another man, and he also knows what's coming. Megan sees Ken, and stands up, smoothing out her clothes, the bouquet of flowers in her hand.</scene_description>
<character>MEGAN</character>
<dialogue>Where have you been?</dialogue>
<scene_description>Ken looks at Megan, then at Chuck, then back at Megan.</scene_description>
<character>KEN</character>
<dialogue>We were having fun, if that means anything to you. Right, Lauren?</dialogue>
<character>LAUREN</character>
<dialogue>Yeah, Mommy! You should have seen...</dialogue>
<character>MEGAN</character>
<dialogue>Not now, honey. We have an appointment...</dialogue>
<character>KEN</character>
<parenthetical>(looking at Chuck)</parenthetical>
<dialogue>I bet you do.</dialogue>
<character>MEGAN</character>
<dialogue>You promised to have her back on time. It's your responsibility. Right, Chuck?</dialogue>
<character>CHUCK</character>
<dialogue>Indubitably. Exactly right.</dialogue>
<character>KEN</character>
<dialogue>Stay out of this, "Chuck."</dialogue>
<character>CHUCK</character>
<dialogue>She's got a point, Ken. You should listen to her.</dialogue>
<scene_description>Ken looks at Chuck, stunned that this boyfriend would dare to speak to him. He doesn't take his eyes off Chuck, there is real menace in his gaze.</scene_description>
<character>KEN</character>
<dialogue>I thought you were late.</dialogue>
<character>MEGAN</character>
<dialogue>We are. Say goodbye to your father.</dialogue>
<scene_description>Ken and Lauren share a hug and a kiss.</scene_description>
<character>KEN</character>
<dialogue>See you soon.</dialogue>
<character>LAUREN</character>
<dialogue>Love you, Superman.</dialogue>
<character>KEN</character>
<dialogue>Right back at you.</dialogue>
<scene_description>He watches as Megan and Lauren walk away. Surprisingly to Ken, Chuck stays there.</scene_description>
<character>KEN</character>
<dialogue>Lost your way, Chuckie? Hit the road.</dialogue>
<character>CHUCK</character>
<dialogue>I came to see you, Ken.</dialogue>
<character>KEN</character>
<dialogue>Well, nothing personal, but fuck off.</dialogue>
<character>CHUCK</character>
<dialogue>Chief Hutchins sent me to see you.</dialogue>
<character>KEN</character>
<dialogue>Hutchins? You're not...?</dialogue>
<character>CHUCK</character>
<dialogue>No. Can I come in?</dialogue>
<scene_description>Ken waves him inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE MOMENTS LATER</stage_direction>
<scene_description>Ken is looking through the file on the murders. He passes a hand over his face, as if he were trying to wipe away the violence, and the memories. He hands the file back to Chuck.</scene_description>
<character>KEN</character>
<dialogue>I don't do this anymore.</dialogue>
<character>CHUCK</character>
<dialogue>That's what the Chief said, but he wants your help.</dialogue>
<character>KEN</character>
<dialogue>Answer's no. Tell him that, OK?</dialogue>
<character>CHUCK</character>
<dialogue>No sweat. Chief said you quit over a case. That right?</dialogue>
<character>KEN</character>
<dialogue>Tell Hutch I said hello. Drive safely.</dialogue>
<scene_description>Ken opens the door for Chuck to leave. Chuck leaves the file on a table as he walks to the door.</scene_description>
<character>CHUCK</character>
<dialogue>Something subtle going on here, Ken? You want me to leave, just ask!</dialogue>
<scene_description>Ken ignores him, and Chuck leaves.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>Before Chuck can turn around to say something, the door is closed in his face.</scene_description>
<character>CHUCK</character>
<dialogue>I didn't want your help anyway.</dialogue>
<scene_description>He shakes his head and walks towards his motorcycle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITYSCAPE NIGHT</stage_direction>
<scene_description>Lighting flashes over New York City.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE NIGHT</stage_direction>
<scene_description>Ken at home, after dinner. The file is still on the table, unlooked at. Ken is folding clothes, looking towards the file. Ken doing his dishes, looking at the file again. The steam rises up from the sink, obscuring his features. Ken is sitting in an easy chair, reading a novel. He can't concentrate on the novel, and lowers it, looking at the file again. Finally, he gives up and goes to get it. He sits down on the couch, going through the file. He looks at some of the pictures, then closes the file. He gets up and walks away, looking out the window. He comes back to the file, however, and looks through it again.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOWER LATER</stage_direction>
<scene_description>Ken is getting ready to take a shower, and we SEE for the first time the HUGE SCARS on his upper body, back and front. As Ken looks into the mirror, he fingers one of the bigger scars, and a... FLASHBACK STARTS</scene_description>
</scene>
<scene>
<stage_direction>INT. FLASHBACK DAY</stage_direction>
<scene_description>Very disjointed, and shocking in its violence... Each CUT is punctuated by a WHITE FLASH (like an intentional overexposure): A LEERING SERIAL KILLER hovering over Ken, a BLOODY KNIFE raised over his head. WHITE FLASH The knife SLASHES through Ken's skin on his back! WHITE FLASH Ken arching with pain. WHITE FLASH The Serial Killer laughing with delight, his face misted with blood. Ken's blood. WHITE FLASH Ken is STRUNG up by ropes, and his back is covered in SLASHES and CUTS. WHITE FLASH More torture. WHITE FLASH THE FLASHBACK ENDS</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE LATER</stage_direction>
<scene_description>Ken, lying on the couch, his hair wet, himself exhausted, the file spread open on the coffee table.</scene_description>
<character>KEN</character>
<dialogue>No.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Not again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITYSCAPE NIGHT</stage_direction>
<scene_description>Establishing shot of New York City at night. Lightning flashes.</scene_description>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE NIGHT</stage_direction>
<scene_description>TIGHT SHOT of a computer monitor, the image of "Bloodmoon" on it. The CAMERA PANS across to the Killer fixing metal fingers onto his hand. Two false fingers lay on the desk, along with the Killer's mask. There are pictures and sheets of information on the killings all around, and one computer monitor that reads "City of New York Police Department Central Computer." This section ends with a close up of a picture featuring a number of different fighters, and a Master.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER DOJO CONTINUOUS</stage_direction>
<scene_description>We PULL OUT from MASTER TOKAIDO, who is meditating in his dojo. It is a very traditional martial arts dojo, hard wood floor. There are trophies everywhere, and a bookshelf full of research tomes. Training equipment, calligraphy and martial arts weapons serve as the decorations on every wall in sight. The dojo is empty save for Master Tokaido. He is in traditional dress (black kimono, white gi top, helmets), and a sword lies on the floor next to him. As he meditates a "student" (the Killer) walks in, in full kendo garb, complete with helmet. The Killer walks up to where the Master is meditating. The MASTER senses him and what he is there to do. Without opening his eyes, he says...</scene_description>
<character>MASTER</character>
<dialogue>Your spirit is unclean.</dialogue>
<scene_description>The Killer says nothing, standing waiting. The Killer is carrying a high tech, compact video camera and a cellular phone, and he places the camera in position. He then turns to the Master, raising his sword.</scene_description>
<character>KILLER</character>
<dialogue>Hajime!</dialogue>
<scene_description>He barks the command to begin to spar, and the Master opens his eyes and looks at him strangely. He gets up and dons his helmet, bringing his sword into position. The Killer attacks with his sword, and the fight has begun. The Master is confident that he will be able to beat this interloper. The two circle each other, exchanging swordplay. The Master is good, but the Killer is better. Faster. Stronger.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION CONTINUOUS</stage_direction>
<scene_description>Chuck is on duty, reviewing pictures from the series of killings. The phone rings.</scene_description>
<character>CHUCK</character>
<dialogue>Entschuldigung.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>A kung fu movie, on the computer? Cool. I'll be right there.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION MOMENTS LATER</stage_direction>
<scene_description>Chuck walks up to the officer who called him, DONNA, who is sitting in a wheelchair, and pulls a seat up to her computer monitors there are two of them, one fixed on the "Bloodmoon" graphic. As he sits down, he pulls a piece of candy out of her ear, and hands it to her.</scene_description>
<character>CHUCK</character>
<dialogue>What's up?</dialogue>
<character>DONNA</character>
<dialogue>This just started coming in. It looks like our kind of action movie! Can't trace the transmission.</dialogue>
<character>CHUCK</character>
<dialogue>Man, the quality really sucks. Who's in it?</dialogue>
<scene_description>TIGHT ON THE SCREEN The video image is not great, but it's of the killing, happening right now in the Master's House.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER DOJO CONTINUOUS</stage_direction>
<scene_description>The Master is getting HIT OFTEN and HIT HARD. The Killer whirls and strikes the Master across the helmet, stunning him. He strikes again, and this time the Master's breastplate is CUT in two, leaving a clean cut across his chest! A little blood flows from the almost surgical slice. The Killer attacks again, and SLICES the Master's helmet off, leaving a thin cut on his face, revealing his face. The Master STABS the Killer, but the sword does no damage! There is a metal breastplate built into his uniform.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION CONTINUOUS</stage_direction>
<scene_description>Chuck sees the face of the Master.</scene_description>
<character>CHUCK</character>
<dialogue>Oh sh...! I know him! Get units to 562 Houston, right away!</dialogue>
<scene_description>Chuck gets up to run off, calling over his shoulder.</scene_description>
<character>CHUCK</character>
<dialogue>Copy the transmission if you can...</dialogue>
<character>DONNA</character>
<dialogue>I'll try.</dialogue>
<scene_description>Chuck runs off.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER DOJO CONTINUOUS</stage_direction>
<scene_description>The Killer CUTS the Master's bamboo shiniai into several pieces. He then lifts off his own helmet, smiling broadly.</scene_description>
<character>MASTER</character>
<dialogue>Who are you?</dialogue>
<character>KILLER</character>
<dialogue>You don't remember me? Pity.</dialogue>
<scene_description>The Killer discards his razor sharp blade and lowers himself into a fighting position. The Master also prepares to fight, thinking he has a better chance to stay alive without the blade. He is wrong. They fight, and the Killer uses the most brutal techniques in his arsenal, and the Master doesn't stand a chance. The Killer is about to finish him off, and stands over the Master's body.</scene_description>
<character>KILLER</character>
<dialogue>Who is the champion now?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Chuck is racing through the streets, on his motorcycle, rushing to get to the house. He SLIDES the motorcycle under a truck!</scene_description>
</scene>
<scene>
<stage_direction>EXT. MASTER DOJO CONTINUOUS</stage_direction>
<scene_description>Chuck finally rounds a corner and makes it to the house. He stops, gets off his motorcycle, then pauses for a moment, checking in all directions, pulls his gun, then heads for the front door. As he approaches the front door, the front of the building EXPLODES! The windows and the door BLOW OUT! Chuck is BLOWN BACK as the flames reach the sky, licking up at the moon. Chuck lands on a patrol car that pulls up to the front of the dojo. The debris falls down around Chuck in SLOW MOTION.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION LATER</stage_direction>
<scene_description>Tight on Hutchins he is calling on his cellular phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>Ken is sleeping on his living room couch, and falls off the sofa after a nightmare. The file Chuck gave him is all over the floor. The phone rings, and Ken answers it.</scene_description>
<character>KEN</character>
<dialogue>Yeah?</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION CONTINUOUS</stage_direction>
<character>HUTCHINS</character>
<dialogue>Ken, this is Hutch. Your instructor, Master Tokaido, has been... killed.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>Ken, on the phone, hears that it is his friend, his Master, who is dead. Murdered. Like the others. Ken leaves immediately, without a word.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>Ken runs out to his car, fires it up and then roars off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION LATER</stage_direction>
<scene_description>Ken walks into the police station.</scene_description>
</scene>
<scene>
<stage_direction>INT. MORGUE LATER</stage_direction>
<scene_description>Ken walks into the morgue and motions to the ATTENDANT to show him a body.</scene_description>
<character>KEN</character>
<dialogue>Master Tokaido. Came in last night.</dialogue>
<scene_description>The Attendant nods and pulls out one of the shelves, then steps back and leaves Ken alone with his Master. Ken lifts the sheet and hangs his head, the anguish overcoming him.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION CONTINUOUS</stage_direction>
<scene_description>Ken comes into the squad room, where the Chief is standing with Chuck.</scene_description>
<character>HUTCHINS</character>
<dialogue>Ken, thanks for coming. Sorry for your loss.</dialogue>
<character>KEN</character>
<dialogue>What do we have?</dialogue>
<character>HUTCHINS</character>
<dialogue>I'll let Chuck bring you up to speed, OK? You are to work together, as partners, on this case.</dialogue>
<scene_description>Ken nods, and Chuck smiles.</scene_description>
<character>CHUCK</character>
<dialogue>Glad to have you on board, Ken. I know we can sure use the help. Why don't you come into my office?</dialogue>
<scene_description>Ken looks at Chuck carefully, then glances at the Chief.</scene_description>
<character>HUTCHINS</character>
<dialogue>Talk to you later. Thanks again for helping us out.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHUCK OFFICE CONTINUOUS</stage_direction>
<scene_description>Chuck leads him in and motions for him to sit. He looks out through the door, where the Chief is still standing, watching them. While he is standing there, Chuck is all smiles and welcome.</scene_description>
<character>CHUCK</character>
<dialogue>You read the file?</dialogue>
<character>KEN</character>
<dialogue>Carefully.</dialogue>
<character>CHUCK</character>
<dialogue>And...?</dialogue>
<character>KEN</character>
<dialogue>You're not getting anywhere, are you?</dialogue>
<scene_description>Chuck swallows a smart ass reply, and glances at the Chief.</scene_description>
<character>CHUCK</character>
<dialogue>That's why you're here. To save our poor souls. You got any ideas?</dialogue>
<character>KEN</character>
<dialogue>A few.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We're dealing with a very organized killer, someone who plans. These killings aren't random, spur of the moment things. He only kills who he wants to kill. Low risk victims in low risk areas, no witnesses everything planned out very well.</dialogue>
<scene_description>Out of the corner of his eye, Chuck sees the Chief leave. He turns his attention back to Ken.</scene_description>
<character>KEN</character>
<dialogue>His behavior reflects his personality, and his behavior is very controlled, well orchestrated. His M.O. exists nowhere else. Now, I thought...</dialogue>
<scene_description>Chuck holds up his hand for Ken to stop talking.</scene_description>
<character>CHUCK</character>
<dialogue>Let me stop you right there... I know who you are, Ken. You quit the force because you were scared. I can't partner with a</dialogue>
<scene_description>guy who is going to piss himself when he comes face to face with the enemy.</scene_description>
<character>CHUCK</character>
<dialogue>So, you can have all the bullshit theories you want, and write all the stupid reports, but stay the fuck out of my way when it gets dirty.</dialogue>
<scene_description>He stares straight at Ken, who half expected it.</scene_description>
<character>CHUCK</character>
<dialogue>You got that?</dialogue>
<character>KEN</character>
<dialogue>Yeah. I got it.</dialogue>
<character>CHUCK</character>
<dialogue>Now, I'm sure they found you your own office. I need to check out a theory, I'll call you.</dialogue>
<character>KEN</character>
<dialogue>I need copies of everything you got on the case... for my reports.</dialogue>
<character>CHUCK</character>
<dialogue>See a fucking secretary. Have a fine day.</dialogue>
<scene_description>Ken nods his head and walks out of Chuck's office. Chuck watches him go, then takes a piece of paper, balls it up and shoots it at the wastebasket. It swishes through.</scene_description>
<character>CHUCK</character>
<dialogue>He shoots, he scores!</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION NIGHT</stage_direction>
<scene_description>Chuck is working alone, going through the piles of files and reports. He is looking for something, and he picks up a picture of the Master's dojo, post explosion. He looks closely at the picture, but isn't satisfied. He decides he has to go back to the Master's dojo. Picking up his jacket as he walks out, Chuck leaves.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MASTER DOJO LATER</stage_direction>
<scene_description>The windows are blown out, and the door is barely closed. There is crime scene tape around the building, still marking it as off limits. Chuck pulls up in front, gets off his bike, and goes inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER DOJO LATER</stage_direction>
<scene_description>Chuck comes inside and begins to look around for what he needs. As he moves through the downstairs, he senses that something is off, wrong. He looks around, staying still. He's not alone. There is someone already inside the dojo! A figure is there, walking through the crime scene, moving through the scene, back and forth. Chuck watches for a moment, trying to figure out what he is doing. Finally, Chuck comes forward, to put a stop to this. As soon as he dislodges from the shadows, the figure attacks! A fight ensues, and both men are very skilled fighters. As they fight, Chuck pulls out a small flashlight, and tries to light it to illuminate the other. The other man pulls out his own flashlight. Finally, the flashlights come on together, and the fighters see each other it's Ken!</scene_description>
<character>CHUCK</character>
<dialogue>You! What are you doing here?</dialogue>
<scene_description>Chuck flicks on a small wall light, giving some light. The windows and door are blown out, but the place is not completely destroyed.</scene_description>
<character>KEN</character>
<dialogue>My job. Remember?</dialogue>
<character>CHUCK</character>
<dialogue>Man, you're lucky I didn't kill you!</dialogue>
<character>KEN</character>
<dialogue>Yeah, I'm positively blessed.</dialogue>
<character>CHUCK</character>
<dialogue>I thought I told you to stay out of my way. You come over here to sneak around in the dark.</dialogue>
<character>KEN</character>
<dialogue>I'm picking up impressions...</dialogue>
<character>CHUCK</character>
<dialogue>Well, pick up your butt on your way out, because I'm about to kick it.</dialogue>
<character>KEN</character>
<dialogue>My knees are shaking.</dialogue>
<scene_description>Chuck pushes Ken, and Ken pushes him back. They start to fight again, but before long the lights come on, blinding bright. Ken and Chuck stop fighting and face the door, and there stands KELLY, the Master's beautiful daughter.</scene_description>
<character>KELLY</character>
<dialogue>What the hell is going on here?</dialogue>
<scene_description>Chuck looks at Kelly. He pulls out his badge and flashes it to her.</scene_description>
<character>CHUCK</character>
<dialogue>Police. Who are you, Miss?</dialogue>
<character>KELLY</character>
<dialogue>I live here.</dialogue>
<character>CHUCK</character>
<dialogue>The victim lived here alone.</dialogue>
<character>KEN</character>
<dialogue>Kelly? Is that you?</dialogue>
<character>KELLY</character>
<dialogue>Uncle Ken?</dialogue>
<character>CHUCK</character>
<dialogue>Uncle Ken?</dialogue>
<scene_description>Ken nods, and Kelly and Ken come together in a hug, as they console each other. Kelly starts to cry, and Ken holds her.</scene_description>
<character>KEN</character>
<dialogue>It's OK. I'm here. This is Master Tokaido's daughter. Adopted daughter.</dialogue>
<scene_description>Chuck, the third wheel in this situation, is uncomfortable. He clears his throat, and Kelly and Ken break off their embrace.</scene_description>
<character>CHUCK</character>
<dialogue>I feel for your loss, but I'd like to ask you some questions. How about we go down to the station?</dialogue>
<scene_description>Kelly starts to protest.</scene_description>
<character>KEN</character>
<dialogue>We can talk tomorrow, Kelly. Don't worry.</dialogue>
<scene_description>Chuck shoots him a look.</scene_description>
<character>CHUCK</character>
<dialogue>The department will put you up in a hotel...</dialogue>
<character>KELLY</character>
<dialogue>You got any leads?</dialogue>
<character>CHUCK</character>
<dialogue>That's what we're doing here, working on them...</dialogue>
<character>KELLY</character>
<dialogue>Looked like you were working on each other.</dialogue>
<scene_description>They walk towards the door and go out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MASTER DOJO CONTINUOUS</stage_direction>
<scene_description>They come out of the dojo, and a Taxi is waiting at the curb.</scene_description>
<character>KEN</character>
<dialogue>Yeah, well... Let me take you to a hotel.</dialogue>
<character>KELLY</character>
<dialogue>I got my own ride, and I'm staying at Carol Hartman's. You know it, right? It was great to see you, Uncle Ken. I'll see you tomorrow?</dialogue>
<character>KEN</character>
<dialogue>You bet.</dialogue>
<scene_description>Kelly leaves, and they are alone with each other again.</scene_description>
<character>CHUCK</character>
<dialogue>We should have questioned her tonight, Uncle Ken. Don't go making decisions you don't have the authority to make.</dialogue>
<character>KEN</character>
<dialogue>Tomorrow's soon enough to talk with her.</dialogue>
<character>CHUCK</character>
<dialogue>When I'm the retired chickenshit and you're running the investigation, you get to make that call! Look, asshole, just stay out of my way. I'm calling it a night... you can skulk here all you</dialogue>
<scene_description>want...</scene_description>
<character>KEN</character>
<dialogue>I'm through skulking, for now...</dialogue>
<scene_description>They walk out of the house together, but not really together.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION DAY</stage_direction>
<scene_description>Ken, Chuck, Chief Hutchins and two other Detectives are talking about the case.</scene_description>
<character>KEN</character>
<dialogue>There was no sign of forced entry, and the explosion was pretty primitive gasoline and a stick of dynamite. I didn't see a timer, so he had to be waiting for Detective Burke...</dialogue>
<character>CHUCK</character>
<dialogue>How do you know that?</dialogue>
<character>KEN</character>
<dialogue>I found it, skulking. He was waiting for Burke here to come running, maybe he's tied into our GPS system so he can track our vehicles, and blew the place up just before he went inside.</dialogue>
<character>HUTCHINS</character>
<dialogue>To cover his tracks?</dialogue>
<character>KEN</character>
<dialogue>To send a message the killings are getting closer together, and he's getting better. It's almost as if he's learning. And, he's getting more confident, so now he's sending us the computer notes, taunting us... This guy is so out there with technology, and I'm lost. I know a computer hacker from a case a couple of years ago. I want to go see him, get some advice on the computer end of things.</dialogue>
<character>HUTCHINS</character>
<dialogue>Well, don't stand around here.</dialogue>
<character>CHUCK</character>
<dialogue>We're gone.</dialogue>
<scene_description>Ken and Chuck are walking out of conference room, and Kelly is waiting on one of the benches in the squad room. As soon as she sees them, Kelly gets up and hurries up to Ken and Chuck.</scene_description>
<character>KELLY</character>
<dialogue>Uncle Ken, I've been waiting...</dialogue>
<character>KEN</character>
<dialogue>What are you doing still here? After the interview, I told you go home. We'll call you if we need anything more.</dialogue>
<character>KELLY</character>
<dialogue>I want to be involved.</dialogue>
<character>KEN</character>
<dialogue>You have to stay out of it.</dialogue>
<character>KELLY</character>
<dialogue>What are you talking about? This was my dad!</dialogue>
<character>KEN</character>
<dialogue>Sorry, Kelly. Go home, and I'll call you when I know something.</dialogue>
<parenthetical>(softens)</parenthetical>
<dialogue>Really, Kelly. Go home.</dialogue>
<scene_description>Ken and Chuck walk away.</scene_description>
<character>CHUCK</character>
<dialogue>Man, she's got guts, asking to work with us.</dialogue>
<scene_description>Chuck is impressed with Kelly, and looks over his shoulder at her.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR LATER</stage_direction>
<scene_description>Ken and Chuck are in a squad car on their way to the Hacker's house. Ken is looking at the stores along the way.</scene_description>
<character>CHUCK</character>
<dialogue>You tag along with me, you play by my rules.</dialogue>
<parenthetical>(no answer from Ken)</parenthetical>
<dialogue>So, you and Kelly have a thing going?</dialogue>
<character>KEN</character>
<dialogue>With Kelly? She's like my own daughter!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Oh, I get it. I don't think you're her type.</dialogue>
<scene_description>Chuck looks at him strangely for a moment.</scene_description>
<character>CHUCK</character>
<dialogue>Oh, really? Why? Because I'm black?</dialogue>
<character>KEN</character>
<dialogue>No, because you're an asshole.</dialogue>
<character>CHUCK</character>
<dialogue>Well, at least you're not a racist.</dialogue>
<character>KEN</character>
<dialogue>Justice lives around this corner.</dialogue>
<scene_description>Chuck parks the car, and they get out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck are on their way up to the door of Justice's place.</scene_description>
<character>CHUCK</character>
<dialogue>He dangerous?</dialogue>
<character>KEN</character>
<dialogue>Only if you're allergic to poor hygiene.</dialogue>
<character>CHUCK</character>
<dialogue>You just follow my lead...</dialogue>
<character>KEN</character>
<dialogue>I'll watch the back door, just in case.</dialogue>
<scene_description>They round the corner, and Chuck leads the way into an apartment building.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMPUTER HACKER HOUSE MOMENTS LATER</stage_direction>
<scene_description>The CAMERA does a SLOW PAN across the room. It is very dimly lit, with the only real light source coming from four or five computer monitors at one end. The place is a pit, filled with dirty clothes, trash, books, notes, papers and everything else you can think of. Lots of Star Trek, Deep Space Nine, Alien stuff adorns the walls, floor and furniture. At one of the black, oversize monitors sits JUSTICE, an overweight man with thick glasses. He is holding a bottle in front of himself, relieving himself. He then types on his ergonomic keyboard, and talking to himself while he does. He SLIDES his chair over to another computer, slides a CD-ROM into the machine, and starts another program.</scene_description>
<character>JUSTICE</character>
<dialogue>I bet you're hot, aren't you?</dialogue>
<character>COMPUTER VOICE</character>
<dialogue>Shall I take off my top?</dialogue>
<character>JUSTICE</character>
<dialogue>Yeah, baby, you should definitely take off your top.</dialogue>
<scene_description>INSERT ON SCREEN Justice clicks his mouse on the sexy girl's image, and the top disappears. Justice laughs, and a KNOCK is heard O.S.</scene_description>
<character>JUSTICE</character>
<dialogue>Damn! Don't cool off! I'll be right back.</dialogue>
<scene_description>Justice gets up and goes to the door.</scene_description>
<character>JUSTICE</character>
<dialogue>Who is it?</dialogue>
<character>CHUCK</character>
<dialogue>Police. I need to ask you some questions.</dialogue>
<character>JUSTICE</character>
<dialogue>What kind of questions?</dialogue>
<character>CHUCK</character>
<dialogue>Just open the door, Sir.</dialogue>
<character>JUSTICE</character>
<dialogue>Just a minute.</dialogue>
<scene_description>He looks frantically around the room, trying to figure out what to do. He looks over at the window, its shades drawn, and makes up his mind.</scene_description>
<character>JUSTICE</character>
<dialogue>Be right there.</dialogue>
<scene_description>Justice grabs his bag off the floor and heads for the window. He throws open the shades and slides the window back, then starts to climb out. Before he gets too far, however, Ken's face comes INTO FRAME, next to Justice.</scene_description>
<character>KEN</character>
<dialogue>Detective O'Hara here, Justice. Remember me? You going somewhere?</dialogue>
<scene_description>Justice swallows hard and then edges back through the window. Ken follows him back in and then opens the door for Chuck.</scene_description>
<character>KEN</character>
<dialogue>You looking for him?</dialogue>
<scene_description>Chuck, pissed off that Ken has the upper hand, grabs and pushes Justice into the middle of the room.</scene_description>
<character>CHUCK</character>
<dialogue>You messed with the wrong guy! You're coming with me!</dialogue>
<character>JUSTICE</character>
<dialogue>For what? I didn't do nothing!</dialogue>
<character>CHUCK</character>
<dialogue>Pack some petroleum jelly, computer boy. You're gonna need it!</dialogue>
<scene_description>Chuck grabs him by the lapels and PROPELS him across the room, SLAMMING him into the wall.</scene_description>
<character>CHUCK</character>
<dialogue>Don't play dumb! You did it!</dialogue>
<character>JUSTICE</character>
<dialogue>You mean the bank computer? I didn't do anything...</dialogue>
<character>CHUCK</character>
<dialogue>Of course you didn't!</dialogue>
<scene_description>He SLAMS Justice against the wall again.</scene_description>
<character>KEN</character>
<dialogue>I'm sorry, Justice. Detective Burke and I don't necessarily see eye to eye.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Burke, I need his help with my investigation.</dialogue>
<character>JUSTICE</character>
<dialogue>I'll help you! I'll help you!</dialogue>
<character>CHUCK</character>
<dialogue>Shut the hell up! No way this scumbag is getting out of this!</dialogue>
<character>KEN</character>
<dialogue>C'mon, he said he'd help. You'll help, right?</dialogue>
<character>JUSTICE</character>
<dialogue>Yeah! Yeah! Whatever you need!</dialogue>
<scene_description>Ken smiles at Chuck, and they make eye contact they work well together.</scene_description>
<character>KEN</character>
<dialogue>Let's sit down.</dialogue>
<scene_description>They sit down, and Ken notices the virtual vixen on the computer screen. He touches the keyboard and she says</scene_description>
<character>COMPUTER VOICE</character>
<dialogue>Take off my panties...</dialogue>
<character>CHUCK</character>
<dialogue>Cool! Hey, man, what button did you push?</dialogue>
<character>KEN</character>
<dialogue>Can you trace e-mail, graphics files and other messages? These were sent to the station.</dialogue>
<character>JUSTICE</character>
<dialogue>Sure. It's not hard.</dialogue>
<scene_description>Ken takes a couple of diskettes out of his pocket and hands them to Justice. Chuck, meanwhile, is looking at the desk and the apartment in general. There is a big bottle, like a Thermos, under the table. He picks it up, hefting it.</scene_description>
<character>CHUCK</character>
<dialogue>You live like a slob, man. How can you stand it?</dialogue>
<scene_description>Justice pops one of the diskettes in and closes down the erotic program.</scene_description>
<character>JUSTICE</character>
<dialogue>Later, baby. Wait for me.</dialogue>
<scene_description>He pulls up the first file and scans it quickly.</scene_description>
<character>JUSTICE</character>
<dialogue>There's no return address. Can't do it. I have nothing to work from...</dialogue>
<character>CHUCK</character>
<parenthetical>(holding up the bottle)</parenthetical>
<dialogue>What's this for?</dialogue>
<character>JUSTICE</character>
<dialogue>That's for my all nighters, so I don't have to leave my computer.</dialogue>
<character>CHUCK</character>
<dialogue>Coffee?</dialogue>
<character>JUSTICE</character>
<dialogue>Urine.</dialogue>
<scene_description>Chuck drops the bottle back onto the floor, making a disgusted face and rubbing a handkerchief over his hands.</scene_description>
<character>CHUCK</character>
<dialogue>Man, you nasty!</dialogue>
<scene_description>An alarm on the computer SOUNDS:</scene_description>
<character>JUSTICE</character>
<dialogue>Watch, I can trace this message, cause it's coming in right now.</dialogue>
<scene_description>He opens up the piece of mail, and a picture of a moon fills the screen, then blood starts to flow on it.</scene_description>
<character>JUSTICE</character>
<dialogue>What the hell...?</dialogue>
<scene_description>He checks the message, and it is not addressed to him.</scene_description>
<character>JUSTICE</character>
<dialogue>Your name Ken O'Hara?</dialogue>
<character>KEN</character>
<dialogue>Yeah.</dialogue>
<character>JUSTICE</character>
<dialogue>This one's for you.</dialogue>
<scene_description>Ken and Chuck share a look.</scene_description>
<character>CHUCK</character>
<dialogue>How could anyone know you're here?</dialogue>
<scene_description>A text message scrolls down the screen. Justice clicks on the "Reply" button, then slides his chair to another computer. He flicks on a printer, so that everything that comes in is printed out, and throws a storage tape into a machine.</scene_description>
<character>JUSTICE</character>
<dialogue>Keep him "talking" type what you want to say then hit return. I can trace him from here.</dialogue>
<scene_description>Ken is still scanning the text.</scene_description>
<character>KEN</character>
<dialogue>Holy shit. It IS him.</dialogue>
<character>JUSTICE</character>
<dialogue>Do it! Lose the connection and I lose him!</dialogue>
<character>KEN</character>
<parenthetical>(typing)</parenthetical>
<dialogue>Who are you?</dialogue>
<scene_description>Justice clicks on a voice box, and as the text comes in, a computer voice "reads" it.</scene_description>
<character>COMPUTER VOICE</character>
<dialogue>You don't know?</dialogue>
<character>KEN</character>
<dialogue>What the hell was that?</dialogue>
<character>JUSTICE</character>
<dialogue>Speech synthesizer.</dialogue>
<character>KEN</character>
<dialogue>I have an idea.</dialogue>
<parenthetical>(typing)</parenthetical>
<dialogue>Can you prove who you say you are?</dialogue>
<character>COMPUTER VOICE</character>
<dialogue>How's this?</dialogue>
<scene_description>A picture fills the screen. One of the dead bodies. It is instantly replaced by another dead body. And another.</scene_description>
<character>JUSTICE</character>
<dialogue>Holy shit! I almost got him! Keep him going!</dialogue>
<character>KEN</character>
<dialogue>Why are you killing?</dialogue>
<character>COMPUTER VOICE</character>
<dialogue>It's a game to see who will win you two, or me. Yes, I know Chuck Burke is with you.</dialogue>
<character>CHUCK</character>
<dialogue>He knows I'm here? Hell, he knows everything!</dialogue>
<character>JUSTICE</character>
<dialogue>Got you, you son of a bitch!</dialogue>
<character>CHUCK</character>
<dialogue>Where?</dialogue>
<character>JUSTICE</character>
<dialogue>Beijing? No wait, Tainan, Taiwan. No, that's just a blind... Anchorage, Los Angeles... This guy is GOOD.</dialogue>
<scene_description>Justice's hands race over the computer keys.</scene_description>
<character>JUSTICE</character>
<dialogue>I'm printing all this out. Moscow, Berlin, man, even I couldn't do this...</dialogue>
<character>KEN</character>
<dialogue>You gonna find him or what?</dialogue>
<character>JUSTICE</character>
<dialogue>Getting there. Miami, Harrisburg, hold on... Bingo! Last location, 843 S. Main, #2A. That's...</dialogue>
<character>CHUCK</character>
<dialogue>Right around the corner. Let's go!</dialogue>
<scene_description>Chuck rips the paper from the printer, and Ken and Chuck run out of the apartment.</scene_description>
<character>KEN</character>
<dialogue>Keep talking to him!</dialogue>
<scene_description>Justice slides his chair back to the original computer, and types a message.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Chuck and Ken come BOLTING out of the apartment and take the steps outside four at a time, running as fast as they can. Chuck and Ken race each other down the street. One gains the lead, then the other. Ken takes a corner quicker than Chuck, then Chuck beats him in the straight. They are hurrying to the address, but they also want to win this race.</scene_description>
<character>CHUCK</character>
<dialogue>This way!</dialogue>
<character>KEN</character>
<dialogue>Wrong!</dialogue>
<scene_description>They split up at an intersection, and as soon as Chuck leaves, Ken hops onto the back of a truck, taking him down the long length of straightaway. At the next intersection, he hops off and sprints down to the address, getting there a BEAT before Chuck gets there. Ken is not nearly as winded as Chuck, who is gasping as he tries to catch his breath.</scene_description>
<character>CHUCK</character>
<dialogue>You're pretty quick, for an old, retired dick.</dialogue>
<scene_description>They go up the steps to the apartment.</scene_description>
<character>KEN</character>
<dialogue>You forgot "chickenshit"...</dialogue>
<character>CHUCK</character>
<dialogue>I wasn't done...</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT COMPLEX CONTINUOUS</stage_direction>
<scene_description>They get to the top of the stairs, and stand panting outside the door, looking at each other. Chuck pulls out his gun, Ken does not. Chuck looks at him strangely.</scene_description>
<character>CHUCK</character>
<dialogue>Where's your gun?</dialogue>
<character>KEN</character>
<dialogue>Don't use one.</dialogue>
<character>CHUCK</character>
<dialogue>Why the hell not?</dialogue>
<character>KEN</character>
<dialogue>You ready?</dialogue>
<character>CHUCK</character>
<dialogue>We gotta have a plan.</dialogue>
<character>KEN</character>
<dialogue>I kick the door down, you go in first, secure the room. I cover your ass.</dialogue>
<character>CHUCK</character>
<dialogue>That's the plan? White bwana without a gun covering my ass?!? I'm gonna kick the door down.</dialogue>
<character>KEN</character>
<dialogue>Why?</dialogue>
<character>CHUCK</character>
<dialogue>It's your idea, that's why. See you guys always sending the brothers in first. I don't think...</dialogue>
<character>KEN</character>
<dialogue>OK, let's do it together. One... Two...</dialogue>
<scene_description>Before he gets to three, Ken KICKS the door in and yells</scene_description>
<character>KEN</character>
<dialogue>POLICE! FREEZE!</dialogue>
<scene_description>Chuck CHARGES into the apartment.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRUG APARTMENT CONTINUOUS</stage_direction>
<scene_description>Chuck is in first, sweeping the apartment with his gun. He has his gun on a group of SIX OR SEVEN DRUG DEALERS, who are standing in the middle of the room, transacting some business.</scene_description>
<character>CHUCK</character>
<dialogue>Nobody move! Where's the computer? Unless you're growing, you better sit your ass down.</dialogue>
<scene_description>Nobody answers him.</scene_description>
<character>CHUCK</character>
<dialogue>Where the fuck is it?</dialogue>
<scene_description>There is still no response from the Dealers. They have no idea what they are talking about and they are looking at the door like they are expecting more police to come in.</scene_description>
<character>CHUCK</character>
<dialogue>Go check in the back. I got these guys.</dialogue>
<character>DEALER</character>
<dialogue>Who you talking to?</dialogue>
<character>CHUCK</character>
<dialogue>Shut the hell up! Take the back.</dialogue>
<scene_description>Chuck looks around the apartment, still keeping his gun trained on the drug Dealers.</scene_description>
<character>DEALER</character>
<dialogue>You're all alone, my friend.</dialogue>
<scene_description>Chuck smiles, thinking that it is a scam, and he looks to where Ken is supposed to be. He is not there! Chuck looks back at the door, and it is open and empty.</scene_description>
<character>CHUCK</character>
<dialogue>Ken?</dialogue>
<character>DEALER</character>
<dialogue>Where's your backup, Detective?</dialogue>
<character>CHUCK</character>
<dialogue>Shut up! I got your backup right here!</dialogue>
<scene_description>The Drug Dealers in the room, relax, realizing Chuck is seriously outnumbered. REACTION SHOT ON CHUCK Who cannot believe that his partner deserted him.</scene_description>
<character>CHUCK</character>
<dialogue>That chickenshit son of a bitch!</dialogue>
<scene_description>Suddenly, a gun is pointed at Chuck's head from behind and to the side. There was a guy BEHIND Chuck, where Ken was supposed to be!</scene_description>
<character>DEALER</character>
<dialogue>Seems like your pal left you all alone, amigo.</dialogue>
<character>CHUCK</character>
<dialogue>He's not my pal. Look, you guys, I've got two S.W.A.T. teams on their way up here right now!</dialogue>
<character>DEALER</character>
<dialogue>I don't think so, dipshit.</dialogue>
<character>CHUCK</character>
<dialogue>How about one S.W.A.T. team and a K9 unit?</dialogue>
<character>DEALER</character>
<dialogue>Say goodbye, asshole!</dialogue>
<character>KEN</character>
<dialogue>Goodbye, asshole!</dialogue>
<scene_description>Suddenly, Ken appears from behind the Dealer and disarms him, then the real fight begins. Ken and Chuck battle them in the apartment and together they are a force to be reckoned with and the Dealers are no match for them.</scene_description>
<character>CHUCK</character>
<dialogue>What took you so goddamn long?</dialogue>
<character>KEN</character>
<dialogue>I was waiting for the right moment...</dialogue>
<character>CHUCK</character>
<dialogue>I could've been killed!</dialogue>
<character>KEN</character>
<dialogue>I wouldn't have waited THAT long!</dialogue>
<scene_description>They finish the Dealers, handcuff them together. Chuck uses the apartment phone to call for pickup.</scene_description>
<character>CHUCK</character>
<dialogue>Yeah, pickup at 843 S. Main, #2A.</dialogue>
<parenthetical>(to Ken)</parenthetical>
<dialogue>Thanks, man.</dialogue>
<character>KEN</character>
<dialogue>It was the least I could do.</dialogue>
<scene_description>Chuck motions to the back of the apartment.</scene_description>
<character>CHUCK</character>
<dialogue>We gotta check for the computer...</dialogue>
<character>KEN</character>
<dialogue>Not there. No computer.</dialogue>
<character>CHUCK</character>
<dialogue>You took the time to look?</dialogue>
<scene_description>Ken walks out of the apartment and Chuck follows.</scene_description>
<character>CHUCK</character>
<dialogue>Let me get this straight... 7 to 1, and you LOOKED for the computer?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DRUG APARTMENT CONTINUOUS</stage_direction>
<character>KEN</character>
<dialogue>Yeah. I did. Get over it! Find it.</dialogue>
<scene_description>They start down a hallway when Chuck hears something, coming from behind a closet door.</scene_description>
<character>COMPUTER VOICE</character>
<dialogue>Cop assholes! Cop assholes! Cop assholes!</dialogue>
<character>CHUCK</character>
<dialogue>What the hell?!?</dialogue>
<scene_description>Ken is there, and they are both standing outside the door.</scene_description>
<character>COMPUTER VOICE</character>
<dialogue>Cop assholes! Cop assholes! Cop assholes!</dialogue>
<scene_description>Ken nods at Chuck, and Chuck trains his gun on the door. Ken flings it open and Chuck gets ready to fire at... A laptop computer, on the floor of the closet, hard wired to the telephone system. The laptop begins to shuffle a series of images, all of them of Ken and Chuck, separate or together.</scene_description>
<character>COMPUTER VOICE</character>
<dialogue>You flatfoots are out of your league. Give up or get dead! See you soon.</dialogue>
<scene_description>TIGHT ON COMPUTER It runs a video from the Keystone Cops, and the message isn't lost on Chuck and Ken. Then the computer EXPLODES in a flash!</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT COMPLEX STAIRS MOMENTS LATER</stage_direction>
<scene_description>Ken and Chuck, loaded down with the burned out laptop computer and other paraphernalia, come walking down the stairs. They get into their car, and drive off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS MOMENTS LATER</stage_direction>
<scene_description>Ken drives off, and as he drives along, he spots a car following them. He ROARS off, and the car behind follows suit.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROOKLYN BRIDGE CONTINUOUS</stage_direction>
<scene_description>Ken's car moves across the bridge, with the other car following.</scene_description>
</scene>
<scene>
<stage_direction>INT. SQUAD CAR CONTINUOUS</stage_direction>
<character>CHUCK</character>
<dialogue>What the hell are you doing?</dialogue>
<scene_description>We need to expand this dialogue, give them more to talk about. Chuck could be complaining about things, and Ken isn't even listening.</scene_description>
<character>KEN</character>
<dialogue>We've got company...</dialogue>
<scene_description>He continues driving, FAST.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Ken speeds around a corner, then takes another corner fast. The other car follows quite closely. Ken's car rounds another corner, and then comes to a stop, blocking the street. The other car SCREECHES to a stop, and Ken is immediately out of his car and at the driver's side door. It's Kelly!</scene_description>
<character>KEN</character>
<dialogue>Kelly! I thought I told you to go home.</dialogue>
<character>KELLY</character>
<dialogue>I have to do something.</dialogue>
<character>CHUCK</character>
<dialogue>This is police business...</dialogue>
<character>KELLY</character>
<dialogue>Save it, Burke. It's not illegal to follow you guys!</dialogue>
<character>KEN</character>
<dialogue>Stay out of our way!</dialogue>
<scene_description>Ken and Chuck walk away to their car, while Kelly goes to hers. They drive off, and Kelly follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS LATER</stage_direction>
<scene_description>Ken and Chuck are driving around, following up leads, and Kelly is following them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STRIP BAR LATER</stage_direction>
<scene_description>Chuck and Ken pull up to a XXX Strip Bar, and get out of their car. Thinking that Kelly won't follow them in, they slap hands and go inside. Kelly pulls up, thinks for a minute, then gets out of her car and follows them in.</scene_description>
</scene>
<scene>
<stage_direction>INT. STRIP BAR CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck think they are slick, walking through the dim strip bar. Two STRIPPERS are up on stage, bumping and grinding, and a group of low lifes are crowded around the beat up bar. Then, the door opens again and Kelly comes in! She walks right up to Ken and Chuck, watching the strippers. Ken and Chuck react to her, then walk away from her a little bit.</scene_description>
<character>KELLY</character>
<dialogue>You come here a lot, Uncle Ken? I thought you said you were going to church...</dialogue>
<scene_description>A group of THUGS sit up at attention, watching Kelly.</scene_description>
<character>KEN</character>
<dialogue>I'm getting real tired of this follow the leader shit.</dialogue>
<scene_description>They start to walk out of the bar.</scene_description>
<character>KELLY</character>
<dialogue>Uncle Ken, don't leave yet! These girls still have their pasties on!</dialogue>
<scene_description>Ken doesn't even turn around while he walks toward the door. A group of THUGS watch Kelly carefully as she follows Ken and Chuck. The Thugs start towards Kelly, cutting her off. Chuck sees this and gets ready to help her out.</scene_description>
<character>CHUCK</character>
<dialogue>Shouldn't we...?</dialogue>
<character>KEN</character>
<dialogue>She won't need it. Let's go back to the car...</dialogue>
<scene_description>The Thugs start to bother Kelly, and all she is trying to do is get through them to continue following Ken and Chuck. Two conflicting desires, and the inevitable happens a fight starts.</scene_description>
<character>CHUCK</character>
<dialogue>But...</dialogue>
<character>KEN</character>
<dialogue>She doesn't need your help, Chuck. It won't last long. She's a former national champion!</dialogue>
<scene_description>She handles them, Kelly is truly masterful, and just before it's over, Ken and Chuck head out the door. Excited by Kelly's fight, a whole group of bar patrons have also started a fight, and Kelly can't get through the punching and hitting. Kelly finishes up her fight, and goes to the front door. On her way, she is forced to hit and knock out a couple of other guys.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE STRIP BAR LATER</stage_direction>
<scene_description>Kelly comes out of the strip bar and sees Ken's car pulling away. There's no way to follow them now.</scene_description>
<character>KELLY</character>
<dialogue>Damn it!</dialogue>
<scene_description>INSERT: Over the Shoulder shot of the Killer, who is watching all of this.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION NIGHT</stage_direction>
<scene_description>Ken and Chuck are back in Chuck's office, tremendously pissed off. They are both bitching and moaning.</scene_description>
<character>KEN</character>
<dialogue>He's staying a step ahead of us.</dialogue>
<character>CHUCK</character>
<dialogue>I want to find this bastard so bad!</dialogue>
<character>KEN</character>
<dialogue>He's got to be leaving something behind everyone makes mistakes.</dialogue>
<character>CHUCK</character>
<dialogue>Not this psycho, not yet.</dialogue>
<character>KEN</character>
<dialogue>Check the print-out, maybe we missed something...</dialogue>
<scene_description>Chuck pulls out the computer paper.</scene_description>
<character>CHUCK</character>
<dialogue>It's all the standard stuff... you talking to him, him baiting you. He's got a wit, this one.</dialogue>
<character>KEN</character>
<dialogue>Don't give him too much credit, OK? Don't give him a personality. Serial killers fit a profile white, 30s and 40s, certain definable experiences, child abuse, deviant sexuality...</dialogue>
<character>CHUCK</character>
<dialogue>Just making conversation, man. Spare the profiling lecture, OK?... Hold on, I never</dialogue>
<scene_description>saw this before.</scene_description>
<character>KEN</character>
<dialogue>What?</dialogue>
<character>CHUCK</character>
<dialogue>The last line of his message. "Say goodbye to Jim, Gene and the Heroes. There's blood on the moon." What the hell does that mean?</dialogue>
<character>KEN</character>
<dialogue>Got me. The ranting of a lunatic mind.</dialogue>
<character>CHUCK</character>
<dialogue>Maybe they have something in common? Jim Nabors, Gene Hackman, Hogan's Heroes. Nothing there.</dialogue>
<character>KEN</character>
<dialogue>You mind works in weird ways. Jim Carrey. Carrey Gene. Carrey's heroes?</dialogue>
<character>CHUCK</character>
<dialogue>He's going after someone named Carrey?</dialogue>
<character>KEN</character>
<dialogue>Shit, this is nuts. C'mon, let's get something to eat.</dialogue>
<scene_description>Chuck picks up the phone.</scene_description>
<character>CHUCK</character>
<dialogue>I'm gonna check on Kelly...</dialogue>
<character>KEN</character>
<dialogue>Ok. I can feel the son of a bitch laughing at us...</dialogue>
<scene_description>Ken gathers up his stuff, then stops.</scene_description>
<character>KEN</character>
<dialogue>Wait a minute. Kelly!</dialogue>
<character>CHUCK</character>
<dialogue>Yeah. I'm checking on Kelly.</dialogue>
<character>KEN</character>
<dialogue>Jim Kelly, the guy from "Enter the Dragon," Gene Kelly, and Kelly's Heroes.</dialogue>
<character>KEN</character>
<dialogue>He's going after her... While we're chasing his ghost...</dialogue>
</scene>
<scene>
<stage_direction>INT. KELLY APARTMENT CONTINUOUS</stage_direction>
<scene_description>The phone is ringing, but there's no one home.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION CONTINUOUS</stage_direction>
<character>CHUCK</character>
<dialogue>There's no answer!</dialogue>
<scene_description>They run out of the station.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELLY APARTMENT LATER</stage_direction>
<scene_description>Kelly comes into her apartment, puts down her things. She goes into the kitchen and puts on a pot of tea, then decides to get a shower. Kelly goes into the bathroom and starts to undress. The Killer, however, is already in the apartment and stalking her, but she doesn't know it. The Killer is getting closer, but she still has no idea. When the Killer is just about to go into the bathroom, about to strike... The door THUNDERS once, then EXPLODES inside. Kelly grabs a robe, and rushes out of the bathroom. As she leaves the bathroom, the Killer goes into the bathroom! The Killer is now gone, with no sign to say that he was there. It's just Ken and Chuck, crashing into her house.</scene_description>
<character>KEN</character>
<dialogue>You OK?</dialogue>
<character>KELLY</character>
<dialogue>What the hell do you think you're doing?</dialogue>
<character>KEN</character>
<dialogue>Check the back, I've got this side.</dialogue>
<scene_description>They split up, carefully checking the rooms. No one is there, and Kelly is furious.</scene_description>
<character>KELLY</character>
<dialogue>You can't just barge in like this...</dialogue>
<character>KEN</character>
<dialogue>We thought you were in danger...</dialogue>
<scene_description>Chuck comes back to the main room.</scene_description>
<character>CHUCK</character>
<dialogue>All clear.</dialogue>
<character>KELLY</character>
<dialogue>I'm not in any danger, except from you guys.</dialogue>
<character>CHUCK</character>
<dialogue>You should put on some clothes or you're in danger of catching a bad cold...</dialogue>
<scene_description>Kelly punches Chuck in the gut, doubling him over.</scene_description>
<character>KELLY</character>
<dialogue>It's not funny!</dialogue>
<character>KEN</character>
<dialogue>You're right, but we got a message from the Killer and he said you were next. We got over here as soon as we could.</dialogue>
<scene_description>Ken holds up the computer print-out, then throws it down on the couch. CLOSEUP of print out on the couch.</scene_description>
<character>KEN</character>
<dialogue>He got us again, chasing our tails.</dialogue>
<character>CHUCK</character>
<dialogue>We were here to save you, you know...</dialogue>
<character>KELLY</character>
<dialogue>You were?</dialogue>
<character>KEN</character>
<dialogue>Yeah.</dialogue>
<character>KELLY</character>
<dialogue>OK. Do me a favor, will you?</dialogue>
<character>CHUCK</character>
<dialogue>Sure.</dialogue>
<character>KELLY</character>
<dialogue>Knock next time. Now, get the hell out of here.</dialogue>
<scene_description>Kelly just stands there, staring at them both, pointing at the door.</scene_description>
<character>CHUCK</character>
<dialogue>We'd love to stick around, but we gotta get going. Right, Ken?</dialogue>
<character>KEN</character>
<dialogue>You got my pager number?</dialogue>
<character>KELLY</character>
<dialogue>Yes, Uncle Ken. I have all your numbers.</dialogue>
<scene_description>She shepherds them out, then closes the door behind them, shaking her head.</scene_description>
<character>KELLY</character>
<dialogue>Too damn macho.</dialogue>
<scene_description>She starts go back to the bathroom, to continue her shower, unaware that the Killer is waiting for her inside. As she gets to the threshold of the bathroom, the teapot she put on WHISTLES. Kelly stops and goes toward the Kitchen. She takes the whistling teapot off the hot burner, and when she turns around, the Killer attacks! The Killer and Kelly fight. Kelly is good, but she is no match for the Killer. Kelly is losing, and if she doesn't turn it around, she is going to be killed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELLY APARTMENT HALLWAY CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck are walking down the hallway, back to her front door.</scene_description>
<character>KEN</character>
<dialogue>I can't believe I left that printout behind.</dialogue>
<character>CHUCK</character>
<dialogue>No shit, it's evidence.</dialogue>
<scene_description>Ken is about to just open the door and walk in, but Chuck stops him.</scene_description>
<character>CHUCK</character>
<dialogue>Eh, eh, eh. I wouldn't do that. We gotta knock first.</dialogue>
<character>KEN</character>
<dialogue>Right.</dialogue>
<scene_description>He knocks lightly, worried about disturbing her.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELLY APARTMENT CONTINUOUS</stage_direction>
<scene_description>The fight is raging. They break some things in the kitchen, and the sound is LOUD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELLY APARTMENT HALLWAY CONTINUOUS</stage_direction>
<scene_description>They hear the sounds of the fight within, look at each other, then BURST through the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELLY APARTMENT CONTINUOUS</stage_direction>
<scene_description>They come in and see the Killer fighting with Kelly. Immediately, the Killer SLAMS Kelly through a window, then takes off, past Ken and out the door. Ken gives chase, while Chuck goes to check on Kelly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT HALLWAY CONTINUOUS</stage_direction>
<scene_description>The Killer is in the hallway. Ken gives chase and the Killer and he fight in the hallway in front of a vending machine. Chuck comes out and draws his gun. The Killer uses the vending machine as a shield, and forces Chuck back into the apartment. Chuck gets a couple of shots off, but they bounce off the vending machine. The Killer goes out the window and down the fire escape.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT COMPLEX CONTINUOUS</stage_direction>
<scene_description>Ken comes out on the fire escape at the 7th floor, and the Killer is already on the 3rd floor. Ken comes down a pipe, sliding like a fireman. They fight on the fire escape. The Killer swings and SLAMS into a metal trash can, echoing with a metal on metal SOUND. Chuck comes onto the 7th floor landing, and pulls his gun. He squeezes off a couple of shots, but the shots miss. The Killer jumps through the window onto the 3rd floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT 3RD FLOOR HALLWAY CONTINUOUS</stage_direction>
<scene_description>The Killer runs down the hallway, and goes into an apartment, breaking down the door. Ken gives chase.</scene_description>
</scene>
<scene>
<stage_direction>INT. STRANGE APARTMENT CONTINUOUS</stage_direction>
<scene_description>The Killer is inside, and he goes THROUGH the apartment window, landing on a truck going by outside. Ken, stunned, has no choice he tries the same thing, following the Killer almost at the same time.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>The Killer lands on the moving truck, and Ken stops himself, hanging outside the window. ANGLE ON KEN Ken is hanging in mid air as the truck moves away. ANGLE ON KILLER AS HE DRIVES AWAY</scene_description>
<character>KILLER</character>
<dialogue>It's not your time yet, Detective O'Hara.</dialogue>
<scene_description>Chuck runs up to where Ken is hanging, and helps him back into the apartment.</scene_description>
<character>KEN</character>
<dialogue>He could've killed me. Said it wasn't my time...</dialogue>
<scene_description>Chuck helps Ken up, and walks him carefully out of the street.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION DAY</stage_direction>
<scene_description>Ken and Chuck are sitting at their new computers, marveling at what they can do. Justice is standing there, after having installed them.</scene_description>
<character>CHUCK</character>
<dialogue>Yes! You put the naked ladies on this one?</dialogue>
<character>JUSTICE</character>
<dialogue>Just trying to make you happy, Detective. Gotta run! Hey, who's the babe?</dialogue>
<scene_description>They turn and see Kelly walking in. She stops in front of them.</scene_description>
<character>KEN</character>
<dialogue>Kelly! What are you doing here? Where's the uniform assigned to protect you?</dialogue>
<character>KELLY</character>
<dialogue>I'm working on this case with you, Ken. I'm a target, where would I be safer than with you two? Take me along or I'll just follow you. You know that, Uncle Ken.</dialogue>
<scene_description>Chuck looks to Ken for confirmation. Ken nods reluctantly.</scene_description>
<character>CHUCK</character>
<dialogue>She's got a point. She's a target now.</dialogue>
<character>KEN</character>
<dialogue>Promise to stay out of our way?</dialogue>
<character>KELLY</character>
<dialogue>You got it, Uncle Ken.</dialogue>
<character>CHUCK</character>
<dialogue>Promise you won't ever call me Uncle Chuck?</dialogue>
<scene_description>Kelly nods.</scene_description>
<character>CHUCK</character>
<dialogue>Cool. Let's run through the victim list again.</dialogue>
<scene_description>They go over to where all the victims are tacked up to a bulletin board.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS DAY</stage_direction>
<scene_description>A MONTAGE of the three of them following up clues together. As they are walking down a street, Ken spots a small specialty shop, and motions for Chuck and Kelly to wait for a second.</scene_description>
<character>KEN</character>
<dialogue>I'll be right back out.</dialogue>
<scene_description>He goes inside, points to something in the window, and pays for it. He comes right back out.</scene_description>
<character>KEN</character>
<parenthetical>(sheepishly)</parenthetical>
<dialogue>My daughter, Lauren, she loves little pins. This will look cute on her...</dialogue>
<scene_description>TIGHT ON PIN</scene_description>
<character>CHUCK</character>
<dialogue>That's cute. I have one just like that at home...</dialogue>
<scene_description>They continue walking.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHINESE MEDICINE STORE DAY</stage_direction>
<scene_description>Ken, Chuck and Kelly walk into a Chinese medicine store, and we can see them walking around inside, talking to the OWNER.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FAKE SHAOLIN SCHOOL DAY</stage_direction>
<scene_description>Ken, Kelly and Chuck go into a fake Shaolin Temple-like school.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTIAL ARTS SCHOOL DAY</stage_direction>
<scene_description>Ken, Chuck and Kelly pull up in the squad car, and walk inside the Chinese school, which is filled with kids. They ask the INSTRUCTOR some questions.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION DAY</stage_direction>
<scene_description>Kelly and Chuck are working together on one computer, and we can tell that Chuck is interested in Kelly through his actions in this montage. Ken is working with photos and X-rays of the wounds of the victims. He is measuring the wounds, and comparing them with the metal trash can on his desk (from the encounter with the Killer). The wounds on the pictures match up with the dent in the trash can.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON DAY</stage_direction>
<scene_description>Ken, Chuck and Kelly walk up to the front of the prison and go inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS DAY</stage_direction>
<scene_description>Ken, Chuck and Kelly are walking along the street. Someone comes up to them, map in hand, and asks for directions. They give him the directions, and the man thanks them, then walks away. When he gets a little ways away, he turns around and looks back. It is the Killer, smiling! We FREEZE FRAME.</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURANT NIGHT</stage_direction>
<scene_description>Ken and Chuck together, sitting at a table in a restaurant. They are just relaxing, fooling around. Chuck is doing a magic trick, and Ken is laughing as Chuck makes the water disappear in a glass right in front of his eyes. They haven't completely become great friends, but they are getting there.</scene_description>
<character>KEN</character>
<dialogue>He didn't spring from nowhere. This guy had to have trained. He's too good!</dialogue>
<character>CHUCK</character>
<dialogue>No one teaches killing people.</dialogue>
<character>KEN</character>
<dialogue>He's testing different killing methods. We believe the arts effectiveness, but he's actually trying it out. He's got a list of victims...</dialogue>
<character>CHUCK</character>
<dialogue>And we just made the top forty.</dialogue>
<character>KEN</character>
<dialogue>I've got the feeling that he's almost done. I just wish we knew the sequence. Who was next.</dialogue>
<scene_description>He pauses for a BEAT, looking into his glass of beer.</scene_description>
<character>CHUCK</character>
<dialogue>Why'd you quit, Ken?</dialogue>
<scene_description>Ken looks at him for a long moment, trying to measure why Chuck is asking. Finally, he sighs and resigns himself to telling the story, maybe for the very first time.</scene_description>
<character>KEN</character>
<dialogue>I was working serials, like you. I tracked the bastard, got inside his head, he had</dialogue>
<scene_description>killed 10 by then, and I took him down. But I had seen too much, done too much. I just never wanted to experience that kind of evil again. Didn't want it in my life...</scene_description>
<character>CHUCK</character>
<dialogue>He messed you up pretty good, right?</dialogue>
<character>KEN</character>
<dialogue>Almost killed me. Killed my marriage too. I'm trying to salvage it, but... you saw for yourself...</dialogue>
<scene_description>Chuck nods, remembering the scene at Ken's house.</scene_description>
<character>CHUCK</character>
<dialogue>I was married, long time ago. When I was in the academy. It ended badly, and I blamed it on the job, but that wasn't it. I just didn't try hard enough.</dialogue>
<character>KEN</character>
<dialogue>Too bad.</dialogue>
<character>CHUCK</character>
<dialogue>I don't know much about you, Ken, but you don't seem like the kind of guy to give up. Am I right?</dialogue>
<character>KEN</character>
<dialogue>Yeah, I guess.</dialogue>
<character>CHUCK</character>
<dialogue>Then, you shouldn't give up on your marriage, man. To this day, my only regret is that I didn't save my marriage, when I could have. All I had to do was call her...</dialogue>
<scene_description>They sit in silence for a moment.</scene_description>
<character>CHUCK</character>
<dialogue>All you have to do is call her.</dialogue>
<character>KEN</character>
<dialogue>How is this parable about you suddenly about me?</dialogue>
<character>CHUCK</character>
<dialogue>The moral of the story is just give her a call, see if you can save it. You got the chance. Take it.</dialogue>
<character>KEN</character>
<dialogue>Maybe I will.</dialogue>
<character>CHUCK</character>
<dialogue>You've got motive, and you've got opportunity. You're guilty.</dialogue>
<scene_description>He points to a line of phones at the back of the bar. Ken looks at the phones, then back at Chuck.</scene_description>
<character>KEN</character>
<dialogue>You know nothing about me.</dialogue>
<character>CHUCK</character>
<dialogue>Don't want to know any more. Believe me.</dialogue>
<scene_description>Chuck produces a coin from Ken's ear.</scene_description>
<character>CHUCK</character>
<dialogue>Tell you what. Here's an ordinary quarter. If it lands heads, you call her. Deal?</dialogue>
<scene_description>Ken nods, and Chuck flips it. It comes up heads, and Ken loses. Ken nods, grabs the coin from Chuck, going to the phones. Ken starts to put the coin in the slot, then realizes it is a two headed coin. He smiles and throws the coin back to Chuck, then digs a quarter out of his pocket and dials.</scene_description>
<character>KEN</character>
<dialogue>Megan? It's me. Can we get together and talk?</dialogue>
<scene_description>Ken looks over his shoulder at Chuck, who is still looking at him.</scene_description>
<character>KEN</character>
<dialogue>Yeah, all of us. I want to try.</dialogue>
<scene_description>Kelly walks into the restaurant, carrying some packages. Chuck hands her a glass of wine and toasts.</scene_description>
<character>KELLY</character>
<dialogue>To what?</dialogue>
<character>CHUCK</character>
<dialogue>To true romance!</dialogue>
<scene_description>They share a toast, with Ken in the b.g.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITYSCAPE MORNING</stage_direction>
<scene_description>The moon is setting, and the sun is rising. The sky is blood red.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERFRONT MALL LATER</stage_direction>
<scene_description>Ken, Megan and Lauren are walking together. Ken and his wife are talking, while Lauren is watching all the activity. Shots of: Ken and Lauren playing video games Ken and Megan watching Lauren play a game Eating some cotton candy Playing volleyball on the beach. Bumper cars. Shopping Trying on goofy hats, etc. As they are walking, Ken stops, remembering the pin. He gives Lauren the pin he bought while with Chuck, putting it on her sweater.</scene_description>
<character>MEGAN</character>
<dialogue>You seem different, Ken. Well, not different, more like the old Ken.</dialogue>
<character>KEN</character>
<dialogue>I told you, I'm trying...</dialogue>
<scene_description>They continue walking around the mall, and Ken and Megan hold hands.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOARDWALK EVENING</stage_direction>
<scene_description>It's the end of the day. Lauren is bouncing in the amusement area behind them, while Ken is walking with Megan. Megan spots a bench.</scene_description>
<character>MEGAN</character>
<dialogue>Can you sit for a little while, please?</dialogue>
<character>KEN</character>
<dialogue>I'd like that.</dialogue>
<scene_description>They sit down on the bench, side by side. They both want to talk, but neither knows how to begin. Ken is playing with the pin he gave Lauren, which is on the sweater she is wearing.</scene_description>
<character>KEN</character>
<dialogue>Megan... I know it's been tough, and I haven't been trying hard enough. I want to</dialogue>
<scene_description>change that.</scene_description>
<character>MEGAN</character>
<dialogue>You know, it was never about not loving you.</dialogue>
<scene_description>Ken looks at her, surprised. He thought she had stopped loving him.</scene_description>
<character>KEN</character>
<dialogue>I don't know how to explain it. I... just shut off the world...</dialogue>
<character>MEGAN</character>
<dialogue>You shut me out, and I can't, I refuse, to live like that.</dialogue>
<character>KEN</character>
<dialogue>It was the biggest mistake I ever made. I won't do that again I need your support, all the time.</dialogue>
<character>MEGAN</character>
<dialogue>You have it. You always have.</dialogue>
<character>KEN</character>
<dialogue>So, what do you say? Can we live together, a family.</dialogue>
<character>MEGAN</character>
<dialogue>I want to try.</dialogue>
<character>KEN</character>
<dialogue>Me too. How about moving back in this weekend? I'll try to free up from this case to help.</dialogue>
<character>MEGAN</character>
<dialogue>Sounds like a plan. Lauren would love to move back home...</dialogue>
<character>KEN</character>
<dialogue>How about you?</dialogue>
<character>MEGAN</character>
<dialogue>Yeah, me too.</dialogue>
<scene_description>Ken and Megan share a tender, beautiful kiss. Lauren runs up and is overjoyed by the sight of their kiss. Lauren smiles happily, content. In the middle of this kiss, Ken's beeper goes off.</scene_description>
<character>KEN</character>
<dialogue>Damn!</dialogue>
<scene_description>He looks at the beeper, and clicks it off.</scene_description>
<character>KEN</character>
<dialogue>Sorry.</dialogue>
<character>MEGAN</character>
<dialogue>That's OK. Comes with the territory.</dialogue>
<character>KEN</character>
<dialogue>Don't forget! This weekend.</dialogue>
<character>MEGAN</character>
<dialogue>This weekend. Be careful.</dialogue>
<character>KEN</character>
<dialogue>You got it.</dialogue>
<scene_description>He hands Lauren over to Megan, and they sit on the porch, watching him go. Megan kisses Lauren on the forehead, and smooths her hair.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE LATER</stage_direction>
<scene_description>Ken, Chuck and Kelly show up at the crime scene. Ken and Chuck immediately take control of the situation, while Kelly hangs back. The body is on the floor, covered with a sheet.</scene_description>
<character>CHUCK</character>
<dialogue>Talk to me.</dialogue>
<character>OFFICER</character>
<dialogue>Another one, Detective. No weapons, no prints, no witnesses, nothing.</dialogue>
<scene_description>While Chuck is talking to the Officer, Ken is looking around the crime scene. Chuck lifts the sheet off the body, grimaces, then puts it back.</scene_description>
<character>OFFICER</character>
<dialogue>Oh, there's something written on the floor. I couldn't make it out...</dialogue>
<character>CHUCK</character>
<dialogue>Thanks. We'll look around for a while.</dialogue>
<scene_description>Chuck and Ken immediately look at the blood pooled around the body. There do indeed seem to be letters scrawled on the ground, in the blood.</scene_description>
<character>CHUCK</character>
<dialogue>Can you read it?</dialogue>
<character>KEN</character>
<dialogue>No. You?</dialogue>
<character>CHUCK</character>
<dialogue>It looks like a "C" and an "A..."</dialogue>
<parenthetical>(to photographer)</parenthetical>
<dialogue>Get some good shots of this, and blow them up for me, OK?</dialogue>
<scene_description>The Photographer nods. Kelly is off at the back of the room, and she notices the picture frames knocked off the wall. She bends over and carefully, wearing gloves, places them back on the wall. One prominent picture is missing, and there is blood on the wall where it was.</scene_description>
<character>KELLY</character>
<dialogue>What do you make of this? There's blood on the wall.</dialogue>
<scene_description>Now he's interested.</scene_description>
<character>CHUCK</character>
<dialogue>The mystery picture. Who do you think is in it?</dialogue>
<character>KEN</character>
<dialogue>Get a shot of the wall, and as soon as the scene is processed, get these pictures over to the office too, OK? You did good, Kelly.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION DAY</stage_direction>
<scene_description>Ken, Chuck and Kelly are together in a large meeting staring at the pictures of the crime scene. One of the pictures, blown up very big, is the letters written in the blood. It's obvious that the letters are C-H-A. On a bulletin board next to the pictures they are writing out all the possible "Cha" words.</scene_description>
<character>CHUCK</character>
<dialogue>I tell you, he's trying to write the Killer's name.</dialogue>
<scene_description>One list is possible last names (like Champlaign, etc.). They have a phone book out opened to the CHA pages. Kelly reads the list of "ch" names:</scene_description>
<character>KELLY</character>
<dialogue>Chamberlain. Chambers. Chambless. Chameleon...</dialogue>
<character>KEN</character>
<dialogue>It doesn't ring right.</dialogue>
<character>CHUCK</character>
<dialogue>He's not writing Champagne, that's for sure.</dialogue>
<scene_description>Kelly pulls out a dog-eared dictionary, and leafs through the pages.</scene_description>
<character>KELLY</character>
<dialogue>Maybe he's spelling something else. Chamber, chamberlain, chambermaid...</dialogue>
<character>KEN</character>
<dialogue>The chambermaid did it...</dialogue>
<character>KELLY</character>
<dialogue>Chamber music, chambray, chameleon... chamfer, chaoisa, chamomile, champ, champagne, champion...</dialogue>
<character>KEN</character>
<dialogue>Wait a minute!</dialogue>
<character>CHUCK</character>
<dialogue>Champion! Son of a bitch!</dialogue>
<character>KEN</character>
<dialogue>It was right here the whole time.</dialogue>
<character>KELLY</character>
<dialogue>What?</dialogue>
<character>CHUCK</character>
<dialogue>All the victims were or are champions. He's killing them all.</dialogue>
<scene_description>He goes to the victims' photographs on the wall.</scene_description>
<character>CHUCK</character>
<dialogue>Boxing. Wrestling. Tough Man. Karate. Kendo. Kickboxing. Shit! These are all champions but they wouldn't have fought each other. They have their own competitions.</dialogue>
<scene_description>Ken is silent for a moment, then raises his head to look directly at Chuck.</scene_description>
<character>KEN</character>
<dialogue>They fought together once.</dialogue>
<character>CHUCK</character>
<dialogue>Huh?</dialogue>
<character>KEN</character>
<dialogue>Yeah, and the link is her father, my instructor.</dialogue>
<character>CHUCK</character>
<dialogue>What are you talking about?</dialogue>
<character>KEN</character>
<dialogue>You hear of the Master's Challenge?</dialogue>
<character>CHUCK</character>
<dialogue>Damn it!</dialogue>
<character>KEN</character>
<dialogue>Remember the tag line?</dialogue>
<character>KELLY</character>
<dialogue>"The Tournament of Champions"</dialogue>
<scene_description>They look at each other. They've made the connection, now they have to find the killer.</scene_description>
<character>CHUCK</character>
<dialogue>I've got some magazines with those pictures in it.</dialogue>
<scene_description>He pulls a magazine out of his drawer, and leafs through it. He finds the picture he was looking for.</scene_description>
<character>CHUCK</character>
<dialogue>Here it is!</dialogue>
<character>KELLY</character>
<dialogue>That's it. This is the photo from the Master's Challenge.</dialogue>
<character>CHUCK</character>
<dialogue>Recognize anyone?</dialogue>
<character>KEN</character>
<dialogue>Most of them are staring at steel, in drawers at the morgue. Think our boy is in this picture?</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION LATER</stage_direction>
<scene_description>The picture from the Master's Challenge is blown up very big and tacked up on the wall. Six of the Champions are already dead, and there are two left. Ken goes up to the blown up picture, with a red pen in his hands. As he says the name of each victim, he puts a red CROSS across their faces.</scene_description>
<character>KEN</character>
<dialogue>Eddie Cunningham, boxer. Victim. Dutch Schultz, tough man. Victim. Kurt McKinney, point Karate. Mark Cramer, Kickboxing, victim. Master Tokaido, victim. Kevin Haley, Judo, victim.</dialogue>
<scene_description>Ken circles two of the heads, men not accounted for.</scene_description>
<character>KEN</character>
<dialogue>Who are these guys?</dialogue>
<scene_description>Chuck comes into the room, a file in his hands.</scene_description>
<character>CHUCK</character>
<dialogue>The first guy is Chad Atkins, kung fu stylist, disqualified during the Tournament of Champions for excessive contact. Broke some poor guy's ribs.</dialogue>
<character>KEN</character>
<dialogue>I like him so far.</dialogue>
<character>CHUCK</character>
<dialogue>Don't fall in love, it'd be a tough arrest. Computer says he died in a car accident three years ago.</dialogue>
<character>KEN</character>
<dialogue>Shit.</dialogue>
<scene_description>Just then, Chief Hutchins comes into the room for an update.</scene_description>
<character>HUTCHINS</character>
<dialogue>So, what's the story?</dialogue>
<character>CHUCK</character>
<dialogue>Six murdered.</dialogue>
<character>CHUCK</character>
<dialogue>Of the remaining two in the picture, one is dead, car crash, confirmed.</dialogue>
<character>KEN</character>
<dialogue>That leaves this guy, Willie Namath. He fits the profile age, height and weight. Kelly, you recognize him?</dialogue>
<character>KELLY</character>
<dialogue>No. It happened too fast, and... I don't know...</dialogue>
<character>CHUCK</character>
<dialogue>This Namath guy has a sheet you wouldn't believe. He's been picked up a bunch of times for assault, and even did time for assault with intent to kill.</dialogue>
<character>KEN</character>
<dialogue>No model citizen.</dialogue>
<character>OFFICER</character>
<dialogue>It gets worse. We had him here last month on something unrelated. Couldn't hold him...</dialogue>
<character>KEN</character>
<dialogue>Fuck me...</dialogue>
<character>CHUCK</character>
<dialogue>We won't let him go this time.</dialogue>
<character>HUTCHINS</character>
<dialogue>He's our guy, right?</dialogue>
<character>CHUCK</character>
<dialogue>Everything points to him, Chief.</dialogue>
<character>HUTCHINS</character>
<dialogue>Let's get him. I'll set up the strike team.</dialogue>
<character>KELLY</character>
<dialogue>I don't know. Something isn't right...</dialogue>
<scene_description>Nobody listens to her. Chuck and Ken grab their guns and are getting ready to leave. Kelly goes out with them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION LATER</stage_direction>
<scene_description>Ken and Chuck are hurrying down to the squad cars, Kelly in pursuit. They get to the car, ready to hop inside.</scene_description>
<character>KELLY</character>
<dialogue>Do I get a gun?</dialogue>
<scene_description>Ken turns around, shocked that she is even there.</scene_description>
<character>KEN</character>
<dialogue>Sorry, Kelly. You can't go along. You'll have to stay here until we find this guy.</dialogue>
<character>KELLY</character>
<dialogue>You said yourself I was safer with you two.</dialogue>
<character>CHUCK</character>
<dialogue>Yeah, but we're walking into the valley of the shadow of death here. We won't be able to protect you.</dialogue>
<character>KELLY</character>
<dialogue>You know I can take care of myself.</dialogue>
<character>KEN</character>
<dialogue>Discussion's over, decision's been made. It's for your own good, Kell.</dialogue>
<character>KELLY</character>
<dialogue>Right. That must be why I feel so good.</dialogue>
<character>KEN</character>
<dialogue>Let's go.</dialogue>
<scene_description>Chuck and Ken leave, and Kelly stays behind, fuming. She is not happy with the situation. She watches them leave. We STAY on Kelly, as she watches out the window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION MOMENTS LATER</stage_direction>
<scene_description>Cops are loading up into squad cars, their lights flashing. Kelly, despondent, walks off in a completely other direction. She does NOT go back into the police station like they asked her to. We HOLD ON Kelly as she walks off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEN HOUSE LATER</stage_direction>
<scene_description>A U-Haul pulls up in front of Ken's house. Megan is driving, and she gets out, then goes to the passenger side. Lauren gets out, and they start to move their things back into Ken's house. Their house, again. She pulls out a cellular phone and dials it, sending a page to Ken.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GUY HOUSE LATER</stage_direction>
<scene_description>Ken and Chuck are outside the house, backed by a SWAT team in the yard, and around the sides. Ken and Chuck nod at each other, and double time it to the front door. They get up on the porch, and pause for a moment.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE CONTINUOUS</stage_direction>
<scene_description>Chuck KICKS the door open, and comes through quickly, scanning the room with his eyes and his gun. The GUY is sitting at a desk, and as soon as he sees Chuck, he SPRINTS for the stairs. Ken comes into the house, and together they chase the Guy up the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR BALCONY CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck chase the Guy out onto the balcony and ATTACK. Ken and Chuck get hit, and a FIGHT starts. The Man is a pretty good fighter, but he is no match for Ken and Chuck. They subdue him fairly quickly, just in time for the SWAT team to storm into the area, their weapons drawn. They surround the Man, even though the Man is already handcuffed and defeated.</scene_description>
<character>CHUCK</character>
<dialogue>Thanks, guys. I think we can take it from here.</dialogue>
</scene>
<scene>
<stage_direction>INT. DANCE CLUB DAY</stage_direction>
<scene_description>Kelly is sitting in the dance bar, alone. She is drinking, still depressed and frustrated by not being involved. There are lots of people around her, dancing and partying. Her mood is in stark contrast to the party going on around her. A distinctive BEEP sounds, O.S., and Kelly looks up to see what it is. Off in one portion of the bar is a metal detector, and SOMEONE has gone through the bar's metal detector, and set it off.</scene_description>
<character>KILLER</character>
<dialogue>It's a metal joint, in my hand...</dialogue>
<scene_description>Kelly watches the person, and when he turns around Kelly sees the Killer, recognizes him! It's Chad Atkins from the picture! FLASHBACK to the picture. The man who the computer said was dead! His metal fingers are setting the metal detector off! As soon as Kelly sees the Killer, the Killer sees her. This time, however, the Killer doesn't stop. He's going after Kelly. The Killer turns to where Kelly was sitting, and she is no longer there. ANGLE ON KELLY Who is hiding on the dance getting lost in the crowd. The Killer comes through the crowd, searching for her. Kelly moves through the crowd, looking behind her, anxious. The Killer, stalking her. The music abruptly stops, and the dance floor clears of dancers. The Killer spots Kelly and moves towards her, grabbing her by the shirt, lifting her up off the chair! It's not Kelly! He scans the crowd for Kelly, she's nowhere to be seen. He too exits the building.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT CONTINUOUS</stage_direction>
<scene_description>The Killer looks around the parking lot. No one is there. There are a couple of PARTY GOERS, laughing and happy. Kelly is not there. The Killer, knowing that he has to leave, goes to his car in the parking lot. He starts his car and drives off the lot, pulling into traffic. As soon as he leaves the parking lot, Kelly sits up in the driver's seat of her car. She starts her car and follows him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS MOMENTS LATER</stage_direction>
<scene_description>Shot of the Killer's car coming down the street, following at a safe distance by Kelly's car. It is a very run down house in a run down neighborhood. None of the windows are broken, but the place matches the rest of the houses on the street. The Killer drives home, and goes inside in a hurry. Kelly drives up and parks, watching and waiting. She starts to get out of her car as soon as he is inside, but he comes out of his house right away!</scene_description>
</scene>
<scene>
<stage_direction>EXT. GUY HOUSE LATER</stage_direction>
<scene_description>The police cars are loaded up and pulling off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KILLER HOUSE LATER</stage_direction>
<scene_description>Kelly is out of her car, watching the house. The Killer suddenly comes back out, his clothes changed, gets into his car again and roars off. Kelly waits for a moment, watching the street all the while, then runs to get into the garage right before the garage door goes down.</scene_description>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<scene_description>Kelly is making her way through the house, looking in various rooms. It is all very spooky, very frightening. The house is well kept inside, but very old. She is exploring, looking for clues, evidence, anything. Kelly comes across a phenomenal computer set up, acupuncture dummy, and a bulletin board filled with pictures of the killings, news clippings, lists upon lists of victims, and so on.</scene_description>
<character>KELLY</character>
<dialogue>Will the mystery guest please sign in?</dialogue>
<scene_description>She picks up the phone next to the computers and dials a number.</scene_description>
</scene>
<scene>
<stage_direction>INT. SQUAD CAR CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck are riding in their car, returning to the station.</scene_description>
<character>KEN</character>
<dialogue>Seemed a little easy, don't you think?</dialogue>
<character>CHUCK</character>
<dialogue>Way too easy. The guy barely fought back, and he wasn't much of a fighter...</dialogue>
<scene_description>Just then, Ken's receives a beeper message. He looks down at the alphanumeric display. It reads: "Found real killer. 132 Lynn Ave. I'm inside, hurry. Kelly."</scene_description>
<character>KEN</character>
<dialogue>Shit! Let's go!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck's car does a 180 and roars off in the opposite direction.</scene_description>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<scene_description>Kelly is still searching through the house. It's creepy, but she has to keep looking. All the rooms so far have been deserted. She opens a door, and a figure comes out of the closet at her! She screams, only to see that the "figure" is a coat on a hangar that fell from the closet. She breathes a sigh of relief and closes the closet. To come FACE TO FACE WITH THE KILLER!</scene_description>
<character>KILLER</character>
<dialogue>Well, Kelly. How nice to see you again.</dialogue>
<character>KELLY</character>
<parenthetical>(frightened, stammering)</parenthetical>
<dialogue>Have we met?</dialogue>
<character>KILLER</character>
<dialogue>Don't be coy. I've done some research on your career. You were a national champion, right?</dialogue>
<character>KELLY</character>
<dialogue>That's right.</dialogue>
<character>KILLER</character>
<dialogue>How interesting.</dialogue>
<scene_description>He smiles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>Ken and Chuck are in the car, careening through the streets, trying to get to the Killer's house as soon as they can.</scene_description>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<scene_description>SLAM! Kelly goes flying back against the wall, hitting it with incredible force! The Killer, still smiling, advances on her.</scene_description>
</scene>
<scene>
<stage_direction>INT. SQUAD CAR CONTINUOUS</stage_direction>
<scene_description>Ken is driving fast.</scene_description>
<character>CHUCK</character>
<dialogue>Hit it!</dialogue>
<character>KEN</character>
<dialogue>Call for backup!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS CONTINUOUS</stage_direction>
<scene_description>The car careens around the corner, flying down the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KILLER HOUSE MOMENTS LATER</stage_direction>
<scene_description>Ken and Chuck pull up to the house. All is quiet. They run up to the house, and kick the door in.</scene_description>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<scene_description>They rush into the house, Chuck's gun drawn, flashlights lit, piercing the gloomy inside.</scene_description>
<character>CHUCK</character>
<dialogue>Police! Kelly!</dialogue>
<scene_description>No answer. They go into the house. In the first room, they find the computer set up. It's even more impressive than what Justice had. Several computer monitors are on, complete with all kinds of supporting hardware. As they go into the room, Kelly's body falls out of a closet, landing on the floor with a THUD! Chuck reaches Kelly, and touches her. She's cold!</scene_description>
<character>CHUCK</character>
<dialogue>Oh, no.</dialogue>
<scene_description>Chuck puts a hand up to his mouth, trying to block out the image. Ken SNAPS his head up, seeing Kelly.</scene_description>
<character>KEN</character>
<dialogue>No!</dialogue>
<scene_description>Ken goes over to where Kelly is, and just as he gets there, he hears the computer behind him.</scene_description>
<character>KILLER VOICE</character>
<dialogue>A lovely family you have, Ken.</dialogue>
<scene_description>Ken WHIPS his head around to look at the computer. A new picture comes up, and it is of Ken, his wife and daughter obviously taken during their afternoon out. Then, the picture of Ken turns into the picture of the Killer, and he pulls out a knife to kill the wife and daughter.</scene_description>
<character>KILLER VOICE</character>
<dialogue>Someone has to take care of your family, Ken.</dialogue>
<scene_description>Ken runs to the computers and immediately snatches up the phone to call his wife, to warn her.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>The phone is ringing, and Megan comes out of the dining room, where she was talking, to answer the phone. She is smiling as she picks up the phone, very at ease.</scene_description>
<character>MEGAN</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<character>KEN</character>
<dialogue>Megan? Are you OK?</dialogue>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<character>MEGAN</character>
<dialogue>I'm fine. This is so like you, letting</dialogue>
<scene_description>someone else do the dirty work.</scene_description>
<character>KEN</character>
<dialogue>What are you talking about?</dialogue>
<character>MEGAN</character>
<dialogue>Your friend got here about an hour ago, told me you couldn't get away, and helped me move everything in...</dialogue>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<character>KEN</character>
<dialogue>What friend?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Megan, listen to me. Where is he now?</dialogue>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<scene_description>Megan, still holding the phone, leans back to look into the living room. The Killer is sitting with Lauren, his arm around her. She is smiling and talking happily, and the Killer seems to be fully concentrated on the young girl. Megan pulls back into the kitchen.</scene_description>
<character>MEGAN</character>
<dialogue>He's sitting next to Lauren. They're getting along...</dialogue>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<scene_description>Ken cuts her off.</scene_description>
<character>KEN</character>
<dialogue>If you can get away, do it. If not, don't let on anything's wrong, and I'll be there right away. I won't let him hurt you, Megan. I promise. I love you.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEN HOUSE CONTINUOUS</stage_direction>
<character>MEGAN</character>
<dialogue>I'm scared, Ken.</dialogue>
</scene>
<scene>
<stage_direction>INT. KILLER HOUSE CONTINUOUS</stage_direction>
<character>KEN</character>
<dialogue>I know, baby. I'll be right there.</dialogue>
<character>MEGAN</character>
<parenthetical>(in phone)</parenthetical>
<dialogue>Don't hang up, let me call Lauren.</dialogue>
<scene_description>She turns to look back into the living room, and comes face to face with the Killer, who is standing with his arm around Lauren.</scene_description>
<character>KILLER</character>
<dialogue>Is that my good buddy, Ken? Let me talk to him...</dialogue>
<scene_description>He takes the phone away from her, smiling.</scene_description>
<character>KILLER</character>
<dialogue>Come for me, Ken. I'm waiting in the Forge. By the way, it's just us now, no one else. Just you, or they're dead.</dialogue>
<scene_description>The Killer hangs up. Ken stands there for a moment, looking at the phone. Chuck, standing next to him, has heard the entire conversation. Ken grabs the computer and is about to SMASH it down on the floor when Chuck stops him.</scene_description>
<character>CHUCK</character>
<dialogue>Ken, that's evidence.</dialogue>
<character>KEN</character>
<dialogue>There's not going to be a trial.</dialogue>
<scene_description>Ken SLAMS the computer down onto the hard floor, and it SHATTERS into a million pieces. Ken starts out of the house. Chuck starts to follow him, but Ken whips around and stops him.</scene_description>
<character>KEN</character>
<dialogue>It's just me and him now.</dialogue>
<character>CHUCK</character>
<dialogue>Bullshit. We're a team, man. I'm going with you.</dialogue>
<character>KEN</character>
<dialogue>No, you're not.</dialogue>
<scene_description>Ken starts for the door, and Chuck grabs his shoulder.</scene_description>
<character>CHUCK</character>
<dialogue>We're cops, man. We don't do this!</dialogue>
<scene_description>Ken grabs Chuck, and Chuck grabs him. They come together, face to face.</scene_description>
<character>KEN</character>
<dialogue>This is my family here! I can't take the chance...</dialogue>
<scene_description>He PUSHES Chuck back, and he stumbles and ends up on the couch. Ken heads for the front door. When Ken gets to the front door, Chuck calls out...</scene_description>
<character>CHUCK</character>
<dialogue>Ken!</dialogue>
<scene_description>Ken turns around, ready for a battle. Chuck pulls his gun out of his holster. Then turns it around and throws it to Ken.</scene_description>
<character>CHUCK</character>
<dialogue>Kick his ass!</dialogue>
<scene_description>Ken acknowledges Chuck as he catches the gun, then runs out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS LATER</stage_direction>
<scene_description>Ken is in the car, rushing to the Forge.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FORGE LATER</stage_direction>
<scene_description>Ken's car comes FLYING up the road to the Forge, dust pluming behind it. Looming in front of them is an abandoned warehouse/factory complex. The only other car there is Megan's. Ken hops out of the car, checks Megan's car, then they both run up to the entrance of the Forge. They go in.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FORGE CONTINUOUS</stage_direction>
<scene_description>Ken walks into the forge, and there, with his back turned, is the Killer. Waiting for him. Ken moves forward, carefully but still quite fast. Ken has Chuck's gun drawn, and he is ready to shoot. He advances on the Killer, who still has his back turned.</scene_description>
<character>KILLER</character>
<dialogue>Greetings! You wouldn't shoot me in the back, would you?</dialogue>
<character>KEN</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Shit!</dialogue>
<character>KILLER</character>
<dialogue>Especially when I am the only one who knows where Ken's lovely wife and daughter are.</dialogue>
<scene_description>They HOLD in this position for a BEAT, and Ken, the frustration evident in his face, FIRES the gun, emptying it. ANGLE ON THE KILLER The shots all landed, right next to the Killer's head. He turns around, a HUGE smile on his face.</scene_description>
<character>KILLER</character>
<dialogue>Welcome to hell.</dialogue>
<character>KEN</character>
<dialogue>Where are they?</dialogue>
<character>KILLER</character>
<dialogue>I don't want them, I want you.</dialogue>
<character>KEN</character>
<dialogue>They aren't champions, they are innocent.</dialogue>
<character>KILLER</character>
<dialogue>They are part of the plan, Ken. Just like you and me.</dialogue>
<character>KEN</character>
<dialogue>Your grand plan?!? Man, we figured you out long ago you couldn't hack it as a fighter, so you started killing the real champions. The psychologist said something about penis envy.</dialogue>
<character>KILLER</character>
<dialogue>Banter all you want, the end game has begun.</dialogue>
<scene_description>He whirls and takes off. Ken gives chase, and they fight for a brief moment, then the Killer disappears. Ken looks around, moving through the forge. The Killer appears again, and they fight some more. The Killer is leading him somewhere. The Killer then disappears again. Vanished. ANGLE ON KEN He is looking through the factory complex. He passes through cavernous rooms, and small office areas, the glass in the windows and lights long since smashed. He doesn't see anything or anyone out of the ordinary. Ken continues searching, and he comes to a decrepit section of the Forge, and across the floor Ken sees... The Killer standing with his back to Ken. Megan and Lauren are tied up in the b.g., in a showplace position behind the Killer. A BUNDLE is strapped to the wall behind them. Ken moves back into the shadows of the walls, hoping that the Killer doesn't see him. There is no indication that he has seen him, but then the Killer says.</scene_description>
<character>KILLER</character>
<dialogue>Come closer, Detective O'Hara.</dialogue>
<scene_description>Ken advances on the Killer. The Killer has a timer in his hands, and he holds it up.</scene_description>
<character>KILLER</character>
<dialogue>Far enough. I have placed a crude bomb next to your wife and daughter. We have 15 Minutes for the Grand Championship match. Life or death, it's in your hands.</dialogue>
<scene_description>The Killer presses the button on the timer, the red LED numbers begin to count down.</scene_description>
<character>KILLER</character>
<dialogue>There's no going back now. Shall we begin?</dialogue>
<scene_description>ANGLE ON LAUREN AND MEGAN They are struggling with their bonds, but it's no use. ANGLE ON KEN He sees the situation, and knows that he has to fight. The Killer settles into a fighting stance.</scene_description>
<character>KEN</character>
<dialogue>They are nothing to you.</dialogue>
<character>KILLER</character>
<dialogue>Exactly, but they are everything to you. Now you have the motivation to fight me with everything you have. You are like the samurai, ready to die.</dialogue>
<character>KEN</character>
<dialogue>I hope you're ready to die, motherfucker.</dialogue>
<scene_description>Ken walks up close to him, and assumes a fighting position. They fight! The Killer KIAIS loudly and attacks. As the fight goes on, it becomes clear that Ken is overmatched, and he is going to lose. Ken is a superb fighter, but so is the Killer. The Killer gets hit a little bit, but he is doing more damage to Ken that he is taking. It's going to take a little time, but Ken is going to lose. And that means he is going to die, and so are his wife and daughter.</scene_description>
<character>KILLER</character>
<dialogue>I still haven't met my match.</dialogue>
<character>KEN</character>
<dialogue>You're going to meet your maker.</dialogue>
<character>KILLER</character>
<dialogue>Not today.</dialogue>
<scene_description>They continue to fight, and it is spectacular. But, Ken is losing. Only by a little bit, but the Killer is just a little faster, a little better. He is no match for the Killer, who is a phenomenal fighter. The Killer senses that he has the advantage, and starts to take the fight to Ken. Soon, Ken is in real trouble, and the Killer is setting him up for the kill. Angle on Timer: it's getting close. ANGLE ON MEGAN AND LAUREN They are terrified. ANGLE ON KEN AND KILLER Ken is helpless, and the Killer reaches back, preparing the killing strike, a smile on his face. The Killer strikes the killing blow, and... Chuck comes out of nowhere and KICKS, blocking the strike. The Killer still hits Chuck in the leg, and he collapses on the ground.</scene_description>
<character>CHUCK</character>
<dialogue>Go after them!</dialogue>
<scene_description>The Killer, enraged, attacks Chuck, hitting him at will. Ken, meanwhile, heads for Lauren and Megan. The Killer spots Ken running for his family, and leaves Chuck, cutting Ken off.</scene_description>
<character>KILLER</character>
<dialogue>You couldn't save Kelly, your partner, your family... And you can't save yourself...</dialogue>
<scene_description>They fight each other, and the heavens open. Lighting flashes and the Gods watch, the fate of the world in the balance. Ken, unbelievably, is getting the upper hand. He is taking a great deal of punishment, but it's with a purpose. He is taking a shot to give a better shot, and for the first time in his killing spree, the Killer is hurt. Soon, Ken is taking less punishment, and meting out more. ANGLE ON TIMER: IT'S ALMOST GONE! The Killer starts looking for somewhere to escape, to get away from this fighting machine that doesn't care about pain, about injury.</scene_description>
<character>KEN</character>
<dialogue>Nowhere to run, asshole.</dialogue>
<scene_description>He SLAMS the Killer over and over, finally finishing him off with a series of beautiful techniques. ANGLE ON TIMER: 30 SECONDS LEFT! Ken steps over the Killer on his way to save Megan and Lauren, when the Killer REARS up and grabs Ken's leg, trying to stop him. Ken turns back to him and puts him away, for good this time. He turns and runs to where Megan and Lauren are. ANGLE ON TIMER: 10 SECONDS!</scene_description>
<character>MEGAN</character>
<dialogue>No! There's no time!</dialogue>
<scene_description>Ken keeps coming.</scene_description>
<character>MEGAN</character>
<dialogue>Stop! Back up! NO!</dialogue>
<scene_description>She knows the bomb is going to go off, and she wants to save Ken. ANGLE ON TIMER: 5 SECONDS! Ken will have none of it. He runs to them, loosening the rope and grabbing them, trying to shield them from the force of the bomb! ANGLE ON TIMER: COUNTDOWN TO ZERO! The bomb EXPLODES! Ken THROWS Megan and Lauren to the ground, protecting them from the blast. But the blast is not what they expected. It's no bomb at all it's a firework, that has thrown millions of pieces of silver confetti into the air. It's beautiful, and it's harmless. They are alive, and they are unhurt. Ken goes to them, throwing his arms around them. Chuck appears in the midst of the silver shower, smiling and holding up his hands. He is hurt, but still alive.</scene_description>
<character>KILLER VOICE</character>
<dialogue>No slaughter of the innocents, O'Hara.</dialogue>
<scene_description>The Killer's voice is coming from a small, digital recorder, linked to the package. The CAMERA pulls back, revealing the entire Forge, Chuck and the Killer in the foreground, Ken and his family. OUT THE END</scene_description>
</scene>
</script> | At a local gym in New York City, heavyweight boxing champion Eddie Cunningham is finishing his workout for the night. He hears a noise and looks around when he turns to the ring. A mysterious man dressed in black sporting a mask tells Eddie he fights well but he lacks the "killer instinct". The masked man challenges the boxer to a fight and shows him the moon, which has a faint red color. The man sports boots with the toes and heels encased in steel and uses martial arts to fight Eddie. Initially, the two combatants seemed evenly matched, but Eddie soon finds himself overwhelmed by the man's superior fighting skills. When the man knocks Eddie outside of the ring, he unmasks himself and still pounds on Eddie despite Eddie's pleas of calling off the fight. When Eddie uses a bench to knock down the man, the man uses two steel fingers which goes through the bench and stabs Eddie in the chest. He hoists a dead Eddie in the air and declares victory. The next day, Detective Chuck Baker, a wise cracking cop who has a penchant for magic, is called to investigate Eddie's death. This is the fourth death of a recent wave of a possible connected killing spree in New York City. When Chuck returns to the office, his making fun of Chief Hutchins gets him in hot water with the chief, who tells him that if he doesn't solve the case, he will have him transferred to Poughkeepsie. That night, former toughman champion Dutch is on a date at his bar. His date hears a noise during their makeout session and he tries to calm her down to no avail. However, the masked man appears with the girl and calls Dutch "Crutch". He chokes the girl unconscious and he and Dutch fight. At first, Dutch seems to have the upper hand before the masked man reveals his true skills. When he cripples Dutch, he unmasks himself and it seems Dutch knows him, when he responds, "You?" Dutch's last ditch attempt to stop the man results in the killer breaking his neck and throwing him out of the bar window. The next day, at an autopsy clinic, Chuck analyzes Dutch's body and Chief Hutchins tells Chuck that he would like for him to meet with a serial killer expert named Ken O'Hara. Ken was one of the best in Chief Hutchins' unit until he was forced into retirement due to a near fatal experience with his last job. Ken, who is separated from his wife, is spending the day with his daughter at the beach. As they are about to leave, Ken accidentally bumps into a big fat guy, causing him to spill his beer on his shirt. Ken apologizes and offers to pay for his shirt and beer. The big guy felt offended and wants to start a fight with Ken. Ken initially refuses to fight, but when the big guy does harm to Ken's daughter by pushing her out of the way despite her pleads for him to not harm Ken, Ken becomes enraged and fights the big guy and his two goons. He ends up knocking all three of them down. Ken shows up at the house where he sees his ex-wife and Chuck. Mistaking Chuck for a lover of his ex's, Chuck tells him that Chief Hutchins sent him and asks for help in the case. At first Ken refuses and even has a flashback of his last job. That night, Chuck finds a fellow police officer watching a "movie" on the computer screen. Chuck learns the video is a real-time confrontation between the mysterious killer, now decked out in full kendo gear, and local martial arts master Takaido. Chuck heads towards Takaido's school while the killer and Takaido have a sword fight. When Takaido unmasks the killer, he recognizes him as well through a nod. However, the killer proves to be too much as the killer slices and stabs Takaido. When Chuck arrives, the entrance to the school explodes but Chuck makes it out okay. When Ken learns that Takaido, his martial arts instructor, has been killed, he sneaks into the school late at night but also catches Chuck at the school. After a brief fight, the two look at each other and Chuck is shocked to find Ken. Kelly, Takaido's adopted daughter, finds the two and stops them from fighting. Ken agrees to help Chuck on the case. At first, Chuck is reluctant for Ken's help, but soon finds him a valuable ally due to Ken's connections, including a computer hacker named Justice. However, when Justice attempts to trace the killer's latest call, the killer forces Chuck and Ken to confront and take down a local crime boss and his goons. Ken and Chuck soon learn that Kelly is about to be the killer's next target. When the two arrive at Kelly's apartment, they warn her of the killer's intentions, but Kelly dismisses them, claiming she can take care of herself. As they leave, the killer arrives and Kelly finds him, leading to a confrontation. Ken and Chuck return to retrieve a file Ken accidentally left at the apartment only to find themselves facing the killer, who was overpowering Kelly. Chuck, Ken and Kelly prove to be too much for the killer, who after knocking out Kelly and using his steel fingers to incapacitate Ken, escapes by jumping out of a window onto a garbage truck. Ken and Chuck, along with Kelly, decide to locate the killer, whose targets are clearly champions in various fighting styles. They find a photo of combatants in a tournament known as The Master's Challenge and they narrow the field down to two suspects, Willy and Chad. Chad was believed to have been killed in a car accident, thus making Willy the prime suspect. However, the killer is in fact Chad, who did have an accident, which resulted in him losing two fingers, which he replaced with steel. Kelly discovers the killer amongst a crowd watching the police leave to apprehend Willy and follows him to his home. Kelly confronts the killer only to end up defeated. Chuck and Ken succeed in capturing Willy, but they noticed during the confrontation that something was not right in terms of Willy's appearance, fighting style and skills in comparison to those of the person they fought earlier. Their suspicions are confirmed when Kelly texts them what she'd discovered. They rush to the killer's house, only to arrive too late finding Kelly's lifeless body and the killer nowhere to be found. The killer then phones Ken, revealing that he has kidnapped Ken's wife and daughter in order to challenge Ken to a "grand championship match" to the death. Ken and Chuck head to an abandoned construction site where the top of the building has Ken's wife (whom he has reconciled) and daughter strapped to a bomb. As Ken begins to face off against the killer in a showdown, the killer uses the environment to his advantage. When Chuck attempts to help Ken, Chuck is nearly killed for his actions. However, Ken eventually gets the upper hands and on a long scaffold, Ken unleashes a flurry of kicks and blows, knocking the killer off the building and causing him to fall to his death. When Ken reaches his wife and daughter, the bomb goes off but the explosion only consists of confetti. A tape recording reveals the killer saying, "I'm no child killer. There will be no slaughter of the innocents". Chuck makes it out, still injured from the killer, while Ken walks away in joy and relief with his wife and daughter. |
Grand Hotel_1932 | tt0022958 | <script>
<scene>
<stage_direction>GRAND HOTEL</stage_direction>
<scene_description>Berlin . Season is March . Action of the picture takes place in approximately 36 hours . Picture commences at approximately 12:35 in the day . Time : The Present .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR REVOLVING DOOR</stage_direction>
<scene_description>Show general natural action of people going in and people coming out but in it is the definite inference of people arriving and people leaving the big hotel . MOVE INSIDE THROUGH THE REVOLVING DOOR - very quickly . CAMERA PAUSES ON THE THRESHOLD like a human being , seeing and hearing . DISSOLVE OUT .</scene_description>
</scene>
<scene>
<scene_description>DISSOLVE INTO : Clock . It is twenty minutes to one - and then moves slowly into the crowd of busy mid - day business jumble . CAMERA pushes through crowd and passes by the foot of the steps that lead up to the restaurant . In its journey , it passes Kringelein looking up . He is not pointed . THE CAMERA then saunters - getting a slow profile movement across - near Senf 's desk . Senf is very busy . THE CAMERA now passes - profile - the desk of Senf . General action . Senf stands before his background of slots and keys . WE PROCEED until we are facing the elevator . At that moment the elevator is opening . Among the people who emerge is Suzette , who moves too quickly for us to distinguish who she is . THE CAMERA PANS quickly with her and in the distance we hear her saying to Senf :</scene_description>
<character>SUZETTE</character>
<dialogue>Madam Grusinskaya will not want her car.</dialogue>
<scene_description>This line is only just above the general clatter of action but it is picked - up sharply first by Senf then by Bell - Captain - and as the CAMERA SLOWLY TURNS AROUND , we see the boy going towards the door and we hear the voice in the distance , saying :</scene_description>
<character>VOICE</character>
<dialogue>Cancel Madam Grusinskaya's car.</dialogue>
<scene_description>The CAMERA now backs away from the scene into the BAR . -LRB- a section . -RRB- It backs to the back of the bar and proceeds - in profile - behind the backs of the barmen . A mixed crowd of people drinking before their lunch . We pick up the Doctor , leaning his head upon his hands , looking into space . The woman next to him , a noisy blonde , is laughing . The doctor glances up at her - she glances at the doctor . She and the audience see the scarred side of his face - the laugh dies on her lips and she turns suddenly to her companion , who is the Baron . We do not get much of a chance to see him because at that instant he is glancing at his watch , his shoulders are turning away from THE CAMERA and he moves out towards the lobby . BACK UP a few feet and LAP DISSOLVE as you move into the main aisle of busy room in restaurant . Great activity of waiters . The bustle and activity of fashionable lunchtime . A string orchestra is playing . Among other things , we pick up the smiling face of the pompous Maitre d'hotel , he has apparently just shown someone important to a table . THE CAMERA watches his face and follows him . His face just as CAMERA reaches service table . The pompous Maitre d'hotel now becomes a thing of drama as he demands of a waiter :</scene_description>
<character>MAITRE D'HOTEL</character>
<dialogue>Where is that gentleman's soup?</dialogue>
<scene_description>The waiter , frightened and perspiring , does n't bother to argue - he tears off quickly -LRB- CAMERA FOLLOWING HIM -RRB- to another service table . The waiter seizes buss - boy 's arm :</scene_description>
<character>WAITER</character>
<dialogue>Where's that soup?</dialogue>
<scene_description>Boy goes off at great rate of speed , CAMERA FOLLOWS HIM , into service room of kitchen . Boy stops at soup chef 's counter . He is not the only waiter wanting soup at that moment . He pushes his way to the front and puts his ticket forward .</scene_description>
<character>BOY</character>
<dialogue>Quick - come on - come on.</dialogue>
<scene_description>The soup chef , used to impatient waiters , makes no exception of the young man . He looks at him as much as to say : `` I 'll slap you on the mouth . '' At the same time he is pulling over a cauldron of soup .</scene_description>
</scene>
<scene>
<scene_description>CAULDRON OF SOUP being pulled over - it dislodges a small cauldron that is near the edge . We see the soup fall and hear the scream of a woman before showing her agonized face - She has been scalded . General steamy confusion . The chef has filled the plate . WE PROCEED the buss - boy out . Half way down the aisle , the waiter takes it from him . THE CAMERA follows the waiter who places the soup before Mr. Preysing . Preysing has been waiting , with his serviette carefully tucked in his collar . His spoon is in his hand . A horrible man , ready for action . The soup is in front of him , he tastes it , pushes it away , frowns , we feel he is going to tear the place down .</scene_description>
<character>WAITER</character>
<parenthetical>( anxious voice . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>PREYSING</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>Cold.</dialogue>
<character>VOICE</character>
<parenthetical>( near Preysing 's elbow . )</parenthetical>
<dialogue>Mr. Preysing.</dialogue>
<character>PREYSING</character>
<parenthetical>( in same voice . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>BELLBOY</character>
<dialogue>Telephone - from Fredersdorf -</dialogue>
<scene_description>Preysing rises , struts from restaurant . CAMERA FOLLOWS HIM - He walks out through the door .</scene_description>
</scene>
<scene>
<scene_description>Between two operators heads . Odd effect at board . CAMERA TILTS UP as Preysing 's head looks right down at girl . Bellboy is with Preysing .</scene_description>
<character>BELLBOY</character>
<dialogue>Mr. Preysing from Fredersdorf - his call.</dialogue>
<character>GIRL</character>
<dialogue>Yes, Mr. Preysing -</dialogue>
<scene_description>Preysing begins drumming his fingers on the top of switchboard .</scene_description>
<character>GIRL</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>They've gone - Just a moment, sir.</dialogue>
<character>PREYSING</character>
<parenthetical>( to boy . )</parenthetical>
<dialogue>You told me it was on - you said the call was through.</dialogue>
<parenthetical>( he waits irritably . )</parenthetical>
<dialogue />
<character>SECOND GIRL</character>
<parenthetical>( to first . )</parenthetical>
<dialogue>Who's in number three?</dialogue>
<character>FIRST GIRL</character>
<dialogue>Senf - the hall porter.</dialogue>
<parenthetical>( Girl looks off at . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction> SENF IN TELEPHONE BOOTH</stage_direction>
<character>SENF</character>
<dialogue>Yes, it's Senf, the head porter, Grand Hotel. Are you at the Clinic?,. How's my wife?,. Is she in pain?,. Is n't the child coming soon?,. Patience! It's easy for you to talk. Get away?,. No, I ca n't - I'd lose my job. It's like being in jail. Oh, I hope the child comes along all right.</dialogue>
<scene_description>At the conclusion of Senf 's speech , CAMERA MOVES TO NEXT BOOTH . Thru the glass door we see Preysing approaching from desk . He enters booth and commences conversation :</scene_description>
<character>PREYSING</character>
<dialogue>Hello! Long Distance?,. Get off the wire. No. I was talking to Fredersdorf. What?,. Oh. Hello! Is that you dear? How is everything at home? What do you hear from the factory? No. How are the children? I left my shaving set at home. Yes, is your father there? Hello, father? Our stock has gone down twenty - three points. If our merger with the Saxonia does n't go through - I do n't know what we can do. Hello, hello. yes, papa. Rely on me - everything depends on Manchester. If they refuse to come in - well, we will be in bad shape. no. Rely on me, I'll make it go through - I'll make it go through. Waiting? Yes, I'm still speaking.</dialogue>
<scene_description>THE CAMERA THEN PANS TO Suzette . Suzette is already in the booth and she is waiting for Mr. Meierheim to come on .</scene_description>
<character>SUZETTE</character>
<parenthetical>( starting to speak . )</parenthetical>
<dialogue>Hello, Mr. Meierheim? Is that, Mr. Meierheim? This is Suzette. Suzette, Madam Grusinskaya's maid. No. Madam Grusinskaya will not go to the rehearsal. No. Madam is in a terrible state, she did n't sleep all night - She's very tired. No, I'm speaking from a booth - I did n't want to speak in front of her. I gave her a tablet of veronal. She's sleeping now. You had better come to the hotel, I'm afraid.</dialogue>
<scene_description>PAN TO BARON just entering booth . He is lighting a cigarette . -LRB- receiver down - trick -RRB-</scene_description>
<character>BARON</character>
<parenthetical>( speaking into telephone . )</parenthetical>
<dialogue>Baron Gaigern speaking. Yes, Baron Gaigern himself. Where are you?,. Good. No - first, I need money. I need it right now. I have to make a showing. That's my business. I hope to do it tonight. at the theatre or after the show. But money - for the hotel bill, for tips. I do n't need advice, I need money! Now, listen.</dialogue>
<scene_description>PAN TO KRINGELEIN - booth .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Who is that, This is. Hello, hello! Who is that. Heinrich? This is Kringelein. Hello, Heinrich. This is Otto Kringelein. Hello! Can you hear me? I've got to speak very quickly. Every minute costs two marks ninety. What? Otto Kringelein! Yes, I'm in Berlin, staying at the best hotel, the Grand Hotel. No, do n't you understand? I want to explain, but I must do so quickly, it costs so much. Please do n't interrupt me - hello? Hello! Listen! You know that will I made before my operation? I gave it to you. I want you to tear it up. Destroy it. Because, listen, I came to Berlin to see a great specialist about that old trouble of mine. It's pretty bad, Heinrich. The specialist says I ca n't live much longer.</dialogue>
<parenthetical>( louder . )</parenthetical>
<dialogue>I have n't long to live! That's what's the matter! Hello, hello. Are you on the line? No, it is n't nice to be told a thing like that. All sorts of things run through your head. I am going to stay here in Berlin. I am never coming back to Fredersdorf. Never! I want to get something out of life, too. You plague, and bother, and save - and all of a sudden you are dead. Heinrich. You do n't say anything. I am in the Grand Hotel, do you understand, the most expensive hotel in Berlin? I'm going to get a room here. The very best people stay here. Our big boss, Preysing, too. I saw him - not five minutes after I was here. Sometime, I'd like to tell him exactly what I think of him. Listen, Heinrich - I have taken all my savings ; my life insurance, too ; I cashed in all my policies, the sick benefit fund, the old age pension, the unemployment insurance, the burial fund and everything. What's that, miss? Hello, Heinrich. I have to hang up now. I have to pay three times overcharge. Just think, Heinrich! There's music here all day long. And in the evening, they go around in full dress. Yes, sometimes I have pain, but I can stand it. Everything is frightfully expensive here. You can imagine, the Grand Hotel. What? Time's up.</dialogue>
<scene_description>Near the conclusion of Kringelein 's speech , we see the Doctor approaching through Kringelein 's booth . He is looking down at something .</scene_description>
</scene>
<scene>
<stage_direction> COMPLETE REVERSE - MATCH SHOT - SHOOT THEM BOTH TOGETHER</stage_direction>
<scene_description>Doctor is looking down at parcel . Kringelein 's voice on same track . CAMERA BACKS UP . Show doctor as he passes various booths - voices of respective people come up sharply .</scene_description>
<character>KRINGELEIN</character>
<dialogue>I'm a sick man - Heinrich - Hello - hello - Operator - every minute two marks ninety.</dialogue>
<scene_description>Doctor passes Baron 's booth next .</scene_description>
<character>BARON</character>
<dialogue>Dangerous? That's my business. I'll do it tonight -. I'll do it alone.</dialogue>
<scene_description>Doctor passes Suzette 's booth .</scene_description>
<character>SUZETTE</character>
<dialogue>Madam is afraid - she will never dance again - there was no applause last night -</dialogue>
<scene_description>Doctor passes Preysing 's booth .</scene_description>
<character>PREYSING</character>
<dialogue>Yes - the merger - Manchester - it is my business as much as yours - we've already lost eighty - five thousand -</dialogue>
<scene_description>Doctor passes Senf 's booth .</scene_description>
<character>SENF</character>
<dialogue>I'm on duty - I ca n't leave the Grand Hotel - it's like being in prison - the baby -</dialogue>
<scene_description>Doctor crosses to telephone operator :</scene_description>
<character>DOCTOR</character>
<parenthetical>( to operator . )</parenthetical>
<dialogue>Any calls?</dialogue>
<character>GIRL</character>
<dialogue>No, Doctor.</dialogue>
<character>DOCTOR</character>
<parenthetical>( half to himself . )</parenthetical>
<dialogue>Grand Hotel - people - coming - going. Who cares. nothing ever happens.</dialogue>
<scene_description>FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#1"</stage_direction>
<scene_description>FACADE OF HOTEL showing electric sign - odd angle - THE GRAND HOTEL - unlighted .</scene_description>
</scene>
<scene>
<stage_direction>ELECTRIC CONTROL ROOM</stage_direction>
<scene_description>small section - Engineer pulling down lever . FACADE OF HOTEL sign flashes on .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOTEL</stage_direction>
<scene_description>Shooting directly on swinging door - normal crowd action . Tea - dansant at this hour is daily rendezvous for smart demi - mondaines , gigolos , out - of - town travelers , etc. . - These types indicated . In the distance we hear music .</scene_description>
</scene>
<scene>
<stage_direction>YELLOWROOM - NEAR SHOT OF BAND</stage_direction>
<scene_description>This same music is being played by the Eastman Jazz Band in the Yellow Room of the hotel . THE CAMERA does not wait but backs down the room . It is the hour of the tea - dansant . As the CAMERA IS BACKING OUT OF THE ROOM which is in reality the restaurant converted - the tall figure of the Baron - he proceeds through the door of the restaurant - Note : Question here as to whether Yellow Room will be the restaurant converted , or not . In which case it will be necessary to add scene of Baron walking through corridor upstairs - giving sense of distance . The Baron is whistling the tune of the orchestra , he proceeds through the lobby as if on a mission . He glances at a pretty woman who passes and nods good evening to the Doctor , who is seated in his chair , not far from the desk . He enters .</scene_description>
</scene>
<scene>
<stage_direction>FLORIST SHOP</stage_direction>
<scene_description>Pretty girl is there , she has seen him coming . She turns from the door and hands him a box of orchids , already tied in ribbon .</scene_description>
<character>BARON</character>
<dialogue>Good little girl - nice ones?</dialogue>
<character>GIRL</character>
<dialogue>Yes, Baron.</dialogue>
<scene_description>The Baron would stay and flirt but he has a mission ; he leaves .</scene_description>
</scene>
<scene>
<stage_direction>LOBBY</stage_direction>
<scene_description>In the lobby we pick up the Baron leaving the florists with small box of flowers - he crosses quickly to Senf 's desk . SHOT OVER SENF 'S HEAD as the Baron puts the flowers down . Senf is busy . The Baron is whistling gaily - tapping his fingers on the flower box - he is good - natured and patient .</scene_description>
<character>SENF</character>
<parenthetical>( to Clerk - as telephone bell rings . )</parenthetical>
<dialogue>Is that for me?</dialogue>
<character>CLERK</character>
<dialogue>No - Madam Grusinskaya's car is to be brought.</dialogue>
<parenthetical>( he replaces the receiver . )</parenthetical>
<dialogue />
<character>SENF</character>
<parenthetical>( to one of the bellboys . )</parenthetical>
<dialogue>Madam Grusinskaya's car is to be brought.</dialogue>
<scene_description>Boy leaves . We hear his voice out of scene at the door .</scene_description>
<character>BELLBOY'S VOICE</character>
<dialogue>Madam Grusinskaya's car. to be brought.</dialogue>
<character>SENF</character>
<dialogue>Good evening, Baron.</dialogue>
<character>BARON</character>
<parenthetical>( amiably . )</parenthetical>
<dialogue>Good evening. Will you send these up to Madam Grusinskaya?</dialogue>
<character>SENF</character>
<dialogue>Yes, Baron.</dialogue>
<parenthetical>( he hands the box of flowers to the clerk . )</parenthetical>
<dialogue>Madam Grusinskaya.</dialogue>
<scene_description>Clerk hands box to bellboy .</scene_description>
<character>CLERK</character>
<dialogue>Room one - seventy - Madam Grusinskaya.</dialogue>
<character>BARON</character>
<parenthetical>( to Senf . )</parenthetical>
<dialogue>Have you my tickets for the theatre?</dialogue>
<character>SENF</character>
<dialogue>Oh yes, Baron -.</dialogue>
<parenthetical>( to Clerk . )</parenthetical>
<dialogue>Baron von Gaigern's seats for Madam Grusinskaya.</dialogue>
<scene_description>Telephone rings again . Clerk picks it up .</scene_description>
<character>SENF</character>
<parenthetical>( to Clerk . )</parenthetical>
<dialogue>For me?</dialogue>
<character>CLERK</character>
<parenthetical>( at telephone - shakes his head . )</parenthetical>
<dialogue>No - Madam Grusinskaya's car is not to be brought.</dialogue>
<character>SENF</character>
<parenthetical>( to boy . )</parenthetical>
<dialogue>Madam Grusinskaya's car is not to be brought.</dialogue>
<scene_description>The Clerk hands Senf the tickets which Senf hands to the Baron .</scene_description>
<character>BARON</character>
<dialogue>Charge them.</dialogue>
<scene_description>As the Baron is picking up his tickets he looks around quickly as he hears the voice of Pimenov , who has arrived apparently from his afternoon walk from the rehearsal at the theatre .</scene_description>
<character>PIMENOV</character>
<parenthetical>( to Senf . )</parenthetical>
<dialogue>Good evening - my key - one sixty - eight.</dialogue>
<character>BARON</character>
<dialogue>Good evening, Mr. Pimenov.</dialogue>
<character>PIMENOV</character>
<dialogue>Oh - good evening, Baron.</dialogue>
<character>BARON</character>
<dialogue>How's the beautiful lady?</dialogue>
<character>PIMENOV</character>
<dialogue>Grusinskaya - well, to tell the truth, Baron - tonight we are a little bit nervous. Were you at the theatre last night?</dialogue>
<character>BARON</character>
<dialogue>Certainly - always when Grusinskaya dances.</dialogue>
<character>PIMENOV</character>
<dialogue>Well - last night was not so good.</dialogue>
<character>BARON</character>
<dialogue>I thought she was splendid!</dialogue>
<character>PIMENOV</character>
<dialogue>Yes - but the audience.</dialogue>
<scene_description>At that moment they are interrupted by a vehement little Japanese with his wife . They are arguing with the Clerk . The Japanese speaks in Japanese to his wife .</scene_description>
<character>CLERK</character>
<parenthetical>( to Japanese . )</parenthetical>
<dialogue>The parquot loges are behind the parquet chairs.</dialogue>
<character>JAPANESE</character>
<dialogue>Then they've put me back and I want to be up in front. How is that, chairs in front of loges?</dialogue>
<scene_description>Senf is speaking to a lady at the same time .</scene_description>
<character>SENF</character>
<dialogue>The train leaves at seven - thirty, Madam. That is the only through train - the dining car goes along.</dialogue>
<scene_description>The Baron and Pimenov exchange glances as the little Japanese speaks volubly to his wife .</scene_description>
<character>BARON</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>It's always so quiet here.</dialogue>
<character>PIMENOV</character>
<dialogue>If you occupied the room next to Madam Grusinskaya, you would appreciate the quiet of a hotel lobby.</dialogue>
<character>BARON</character>
<dialogue>My dear sir, I would gladly change rooms with you.</dialogue>
<character>PIMENOV</character>
<parenthetical>( effeminately . )</parenthetical>
<dialogue>No doubt you would, Baron. But do you know, I'm quite indispensable to her. I'm her ballet master and her nurse. I hardly belong to myself anymore. But, there you are, it's Grusinskaya - you ca n't help adoring her.</dialogue>
<scene_description>At that moment , Zinnowitz pushes past them .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>Pardon me.</dialogue>
<parenthetical>( addressing Senf . )</parenthetical>
<dialogue>Is Mr. Preysing in - I am Doctor Zinnowitz.</dialogue>
<character>SENF</character>
<parenthetical>( to bellboy . )</parenthetical>
<dialogue>Mr. Preysing - from Fredersdorf -</dialogue>
<character>BELLBOY</character>
<parenthetical>( quickly - paging . )</parenthetical>
<dialogue>Mr. Preysing -</dialogue>
<scene_description>Preysing steps quickly into scene .</scene_description>
<character>PREYSING</character>
<dialogue>Ach! Here you are, Doctor Zinnowitz.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Have I kept you waiting?</dialogue>
<character>PREYSING</character>
<dialogue>Waiting - I'm waiting for news from Manchester.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>No news yet?</dialogue>
<character>PREYSING</character>
<dialogue>No. No word.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Everything depends on the Manchester merger.</dialogue>
<character>PREYSING</character>
<dialogue>I know - I know.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>I saw Gerstenkorn at lunch - and as your lawyer I made it my business to broach the matter -</dialogue>
<scene_description>As they begin to move out of scene , Zinnowitz calls back to Senf .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>I'm expecting a young woman - a stenographer - she will ask for Mr. Preysing. Ask her to wait.</dialogue>
<character>SENF</character>
<dialogue>Yes, Doctor Zinnowitz.</dialogue>
<scene_description>As they move out of scene , telephone bell goes .</scene_description>
<character>SENF</character>
<parenthetical>( to Clerk . )</parenthetical>
<dialogue>For me?</dialogue>
<character>CLERK</character>
<dialogue>No - letters to two - eighty.</dialogue>
<character>SENF</character>
<parenthetical>( to Clerk . )</parenthetical>
<dialogue>If a young woman, a stenographer, - etc..</dialogue>
<scene_description>This just covers the scene . The Baron and Pimenov are laughing at something one of them has said which brings our attention to them again . At that moment the Doctor enters the scene .</scene_description>
<character>DOCTOR</character>
<dialogue>Any letters?</dialogue>
<character>SENF</character>
<dialogue>No, Doctor.</dialogue>
<character>DOCTOR</character>
<dialogue>Telegrams?</dialogue>
<character>SENF</character>
<dialogue>No, Doctor.</dialogue>
<character>DOCTOR</character>
<dialogue>Anyone asked for me?</dialogue>
<character>SENF</character>
<dialogue>Nobody, Doctor.</dialogue>
<scene_description>The Doctor turns slowly away , taking out a cigarette with his one hand .</scene_description>
<character>BARON</character>
<parenthetical>( glancing at Doctor . )</parenthetical>
<dialogue>The war.</dialogue>
<character>PIMENOV</character>
<parenthetical>( looking up from his letter - glances off at the doctor . )</parenthetical>
<dialogue>That is Doctor Otternschlag - You know him?</dialogue>
<character>BARON</character>
<dialogue>Yes - He always seems to be waiting for something - and nothing ever comes.</dialogue>
<character>PIMENOV</character>
<dialogue>The war dropped him here and forgot him.</dialogue>
<character>BARON</character>
<parenthetical>( beams . )</parenthetical>
<dialogue>Yes, I was in the war.</dialogue>
<scene_description>CUT IN : FLASH OF DOCTOR - He turns as he hears the Baron say this . He pulls at his cigarette and looks grimly at the Baron . then he looks off at Kringelein - who is trying to get Rohna 's attention -LRB- the reception Clerk -RRB- - at the reception desk , which adjoins that of Senf 's .</scene_description>
<character>KRINGELEIN'S VOICE</character>
<dialogue>Please - please pay some attention to me - I have no time.</dialogue>
<scene_description>Pan back to desk :</scene_description>
<character>ROHNA</character>
<parenthetical>( engaged with a lady and gentleman , who have just arrived . )</parenthetical>
<dialogue>If you will wait one moment, sir.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I wo n't wait - I ca n't wait - I waited three days before I got a room at all and what a room that is.</dialogue>
<character>ROHNA</character>
<dialogue>It's a very nice room and inexpensive, sir.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Did I say I wanted a cheap room to live in - when I came here did I ask for a cheap room? Did I?</dialogue>
<scene_description>Rohna , sensing a scene with this strange dirty little gentleman , looks furtively around for the manager .</scene_description>
<character>ROHNA</character>
<dialogue>Just one moment, sir.</dialogue>
<character>KRINGELEIN</character>
<dialogue>No, I wo n't wait - I ca n't - Every day is precious - every hour - Every minute.</dialogue>
<scene_description>Second Clerk is looking straight at him . Kringelein turns his attention directly to this man and proceeds :</scene_description>
<character>KRINGELEIN</character>
<dialogue>I came here because I wanted to live here, two weeks, maybe three - God only knows - I've told you I'll pay - I'll pay anything you ask. I'm tired - I'm ill - I ca n't wait.</dialogue>
<scene_description>As he finishes the Doctor draws into the scene - he is watching . Assistant Manager enters .</scene_description>
<character>ASSISTANT MANAGER</character>
<dialogue>Has the gentleman a complaint?</dialogue>
<scene_description>Rohna and Kringelein speak together .</scene_description>
<character>ROHNA</character>
<dialogue>The gentleman is dissatisfied with room number five fifty - nine.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I certainly have a complaint - and a fair one.</dialogue>
<scene_description>He senses an audience and warms up . The Baron and Pimenov enter the scene . The lady and gentleman have turned . The bellboy stands watching curiously and even Senf pauses and looks up .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I came here from a long distance to stay at the Grand Hotel. I want a room - a big room - like you would give General Director Preysing - I'm as good as Mr. Preysing - I can pay like Mr. Preysing - would you give him a little room, way up in the corner with the hot water pipes going - bang - bang - bang.</dialogue>
<parenthetical>( he bangs at the desk with his fist . )</parenthetical>
<dialogue />
<character>DOCTOR</character>
<dialogue>This gentleman can have my room.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( turning . )</parenthetical>
<dialogue>Oh!</dialogue>
<character>DOCTOR</character>
<dialogue>Send his bags up to my room.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh - but - I -</dialogue>
<character>DOCTOR</character>
<dialogue>You're tired. I can see that.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes - yes - I am tired. I have been ill.</dialogue>
<character>DOCTOR</character>
<dialogue>You are ill.</dialogue>
<scene_description>During this scene the manager has been talking with Rohna quietly . The manager now turns .</scene_description>
<character>MANAGER</character>
<dialogue>Mr. Kringelein will take room number one - seventy - six, one of our most expensive rooms. It is large and on the front with bath.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( subdued - exhausted - . )</parenthetical>
<dialogue>Does that mean that the bath is my own? - Private?</dialogue>
<character>MANAGER</character>
<dialogue>Certainly, sir.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Well, now, that's very kind - thanks. That's what I want - a large room on the front with a private bath - Yes, that's what I want. I can pay now if you like.</dialogue>
<scene_description>He takes out his wallet and nervously commences to extract money .</scene_description>
<character>DOCTOR</character>
<dialogue>That will not be necessary.</dialogue>
<scene_description>The manager is instructing the bellboy to take Kringelein to the new room . Kringelein accidentally drops a bill - the Baron , who has noticed the money , stoops to pick it up . In bending himself , Kringelein drops his hat . Baron picks up the hat and considerately brushes it with his sleeve .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Thank you, sir.</dialogue>
<character>BARON</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>Not at all, sir.</dialogue>
<parenthetical>( he beams . )</parenthetical>
<dialogue />
<character>KRINGELEIN</character>
<parenthetical>( finding a friendly face . )</parenthetical>
<dialogue>Permit me - my name is Kringelein - from Fredersdorf.</dialogue>
<character>BARON</character>
<dialogue>I'm Baron von Gaigern.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, a Baron!</dialogue>
<parenthetical>( he is impressed . )</parenthetical>
<dialogue />
<scene_description>Baron catches the mood of making this gentleman suddenly popular .</scene_description>
<character>BARON</character>
<dialogue>And this is Doctor Otternschlag.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( turning to Doctor . )</parenthetical>
<dialogue>Oh - Doctor - you are a Doctor - I am -</dialogue>
<character>DOCTOR</character>
<dialogue>I know - I know - when a man's collar is an inch too big for him - I know he is ill.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes - Oh - oh - yes, -.</dialogue>
<parenthetical>( his finger goes nervously to his collar . )</parenthetical>
<dialogue />
<scene_description>Zinnowitz passes through scene quickly on his way out . At that moment , Pimenov returns from the news - stand , where he has bought the evening papers .</scene_description>
<character>PIMENOV</character>
<dialogue>Well, Baron - I must go and dress.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( to doctor . )</parenthetical>
<dialogue>Is this gentleman a Baron, too?</dialogue>
<character>PIMENOV</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Unfortunately no.</dialogue>
<scene_description>The Manager comes into scene .</scene_description>
<character>MANAGER</character>
<dialogue>Will Mr. Kringelein kindly register.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Again?</dialogue>
<character>MANAGER</character>
<dialogue>Please.</dialogue>
<scene_description>Kringelein turns to the desk . The Doctor turns up with him . At that moment the Baron 's chauffeur touches his arm .</scene_description>
<character>CHAUFFEUR</character>
<dialogue>Have you a minute now?</dialogue>
<character>BARON</character>
<dialogue>No - I told you not to come in this lobby.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Time's getting short.</dialogue>
<character>BARON</character>
<dialogue>I've told you a hundred times not to speak to me with a cigarette in your mouth.</dialogue>
<scene_description>Chauffeur takes the cigarette out of his mouth - but still holds it in his hand .</scene_description>
<character>CHAUFFEUR</character>
<dialogue>I want to speak -</dialogue>
<character>BARON</character>
<dialogue>Not now.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>The Baron leaves . General moving off , towards elevator , of Baron , Pimenov , Kringelein and the Doctor .</scene_description>
</scene>
<scene>
<stage_direction>SENF'S DESK</stage_direction>
<scene_description>On another shot , shooting profile onto Senf 's desk , bring in Flaemmchen . Flaemmchen enters . Her back to CAMERA .</scene_description>
<character>FLAEMMCHEN</character>
<parenthetical>( we hear her ask . )</parenthetical>
<dialogue>Mr. Preysing.</dialogue>
<character>SENF</character>
<dialogue>Will you wait please.</dialogue>
<character>CLERK</character>
<dialogue>The stenographer is to go up - Mr. Preysing telephoned.</dialogue>
<character>SENF</character>
<dialogue>Mr. Preysing - one sixty - four.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Thanks -.</dialogue>
<parenthetical>( calling off to elevator . )</parenthetical>
<dialogue>Heigh! - Wait!</dialogue>
<scene_description>She crosses to elevator . THE CAMERA RUSHES UP BEHIND HER , ALMOST PUSHING INTO ELEVATOR WITH HER . As she enters the elevator and the gate shuts , she turns around , back pressed against the Baron - who is looking down at her . The look on her face is the look we often see on Flaemmchen 's in elevators when they are pressed . NOTE : Good introduction , for Flaemmchen . The lift ascends .</scene_description>
</scene>
<scene>
<stage_direction>UPPER CORRIDOR</stage_direction>
<scene_description>Flaemmchen steps out of the lift . She is looking around for the numbers . She moves out of scene . The Doctor , Kringelein and the bellboy with the bag , move straight down the hall . Pimenov is chatting volubly .</scene_description>
<character>PIMENOV</character>
<parenthetical>( to Baron . )</parenthetical>
<dialogue>Poor Grusinskaya - how can she receive anyone. She ca n't - theatre, trains, hotels - hotels, trains theatre.</dialogue>
<scene_description>We see Flaemmchen being directed by the floor clerk to Mr. Preysing 's room .</scene_description>
<character>PIMENOV</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I must go and dress - she'll be waking up and calling for me.</dialogue>
<scene_description>He proceeds up the passage , pompously , humming the air of his ballet . At that moment , Flaemmchen , who has been directed to Preysing 's door , by floor clerk , passes the Baron and there is an amusing exchange of glances between them . Flaemmchen knocking at Preysing 's door hears a voice .</scene_description>
<character>PREYSING'S VOICE</character>
<dialogue>Come in.</dialogue>
<scene_description>She opens the door .</scene_description>
</scene>
<scene>
<stage_direction>PREYSING'S ROOM</stage_direction>
<scene_description>Preysing has had a bath and is actually steaming from it . He stands before a long mirror , rubbing himself with a towel . He sees her through the mirror , wraps the towel around him very cutely , for a big man , and turns upon her .</scene_description>
<character>PREYSING</character>
<dialogue>What! -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I'm the stenographer.</dialogue>
<character>PREYSING</character>
<dialogue>Then you will please wait outside.</dialogue>
<scene_description>He is very much affronted . Flaemmchen , who has seen many large gentlemen in the altogether -</scene_description>
<character>FLAEMMCHEN</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Do n't hurry - take your time.</dialogue>
<scene_description>She goes out of the room and shuts the door .</scene_description>
</scene>
<scene>
<stage_direction>UPPER CORRIDOR</stage_direction>
<scene_description>Flaemmchen emerges from Preysing 's room . Baron loitering in the hall . -LRB- Whistling as outlined -RRB- . Baron approaches , he is also whistling - the same tune that Flaemmchen is whistling . She glances at him , as he continues whistling with an amusing dance step , as much as to say : `` Are you mad ? ''</scene_description>
<character>BARON</character>
<dialogue>Like dancing?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Not with strangers.</dialogue>
<scene_description>Baron glances back up the passage ; it is apparent that he is going to make conversation here with this girl , in order to keep legitimately in the passage until Grusinskaya comes out .</scene_description>
<character>BARON</character>
<parenthetical>( turning to Flaemmchen . )</parenthetical>
<dialogue>Never?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You're a fool!</dialogue>
<character>BARON</character>
<dialogue>Yes, I am rather.</dialogue>
<scene_description>He glances down the passage again , his hands in his pockets . She glances impatiently at her watch .</scene_description>
<character>BARON</character>
<dialogue>He must be very nice.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Who?</dialogue>
<character>BARON</character>
<parenthetical>( gallantly . )</parenthetical>
<dialogue>Whoever is keeping you waiting.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( indicating Preysing 's door . )</parenthetical>
<dialogue>Have you seen it?</dialogue>
<character>BARON</character>
<dialogue>Oh, my large and noisy neighbor - really? That?</dialogue>
<parenthetical>( indicating Preysing 's door . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<dialogue>That.</dialogue>
<character>BARON</character>
<parenthetical>( with meaning . )</parenthetical>
<dialogue>You?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Oh - work!</dialogue>
<character>BARON</character>
<parenthetical>( with meaning . )</parenthetical>
<dialogue>Oh!</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Dictation.</dialogue>
<parenthetical>( she twittles her fingers . )</parenthetical>
<dialogue>You know.</dialogue>
<character>BARON</character>
<dialogue>Oh. poor child. If you were free, I'd ask you to come and have some tea - but -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Tea would spoil my dinner.</dialogue>
<parenthetical>( lightly . )</parenthetical>
<dialogue>One meal a day, I'd hate to spoil it.</dialogue>
<character>BARON</character>
<dialogue>Reducing?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( she turns invitingly . )</parenthetical>
<dialogue>No - why? - should I?</dialogue>
<character>BARON</character>
<dialogue>Lord no - charming - but why one meal a day?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( laughing in his face . )</parenthetical>
<dialogue>Money - Ever heard of it?</dialogue>
<character>BARON</character>
<dialogue>Yes - yes indeed - but you are a.</dialogue>
<parenthetical>( moves fingers . )</parenthetical>
<dialogue>. a stenographer. Do n't little stenographers earn little pennies?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Very little.</dialogue>
<character>BARON</character>
<dialogue>Too bad.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Did you ever see a stenographer with a decent frock on? - One that she'd bought herself?</dialogue>
<character>BARON</character>
<dialogue>Poor child -.</dialogue>
<parenthetical>( enthusiastically . )</parenthetical>
<dialogue>I wish I were free tonight - we could -</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( with invitation . )</parenthetical>
<dialogue>Are n't you?</dialogue>
<character>BARON</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>What?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Free -</dialogue>
<character>BARON</character>
<parenthetical>( glancing up passage . )</parenthetical>
<dialogue>Unfortunately no - to bad - tomorrow though.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Tomorrow? What time tomorrow?</dialogue>
<character>BARON</character>
<dialogue>Shall we say five o'clock - downstairs?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Where downstairs?</dialogue>
<character>BARON</character>
<dialogue>Yellow Room where they dance -.</dialogue>
<parenthetical>( business . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<dialogue>You're very funny -</dialogue>
<character>BARON</character>
<parenthetical>( with great meaning . )</parenthetical>
<dialogue>Yes? - Tomorrow?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Of course.</dialogue>
<character>BARON</character>
<dialogue>Really?</dialogue>
<scene_description>Flaemmchen laughs at him .</scene_description>
<character>BARON</character>
<dialogue>We'll dance.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( slowly . )</parenthetical>
<dialogue>All right. We'll dance.</dialogue>
<scene_description>At that moment we hear Kringelein 's voice calling from his doorway at the end of the passage .</scene_description>
<character>KRINGELEIN'S VOICE</character>
<dialogue>Baron - Oh, Baron!</dialogue>
<scene_description>The Baron turns and looks off at - KRINGELEIN . Kringelein is in his door in the distance - radiant . He waves .</scene_description>
<character>KRINGELEIN</character>
<dialogue>If I could trouble the Baron to come and see this beautiful room. I have ordered champagne. Perhaps the Baroness could join us.</dialogue>
</scene>
<scene>
<scene_description>FLAEMMCHEN , BARON AND KRINGELEIN</scene_description>
<character>KRINGELEIN</character>
<dialogue>Waiter, oh waiter! Wait a minute!</dialogue>
<parenthetical>( to Baron and Flaemmchen . )</parenthetical>
<dialogue>We are having caviar - it's expensive but that makes no difference - I see the Baroness is laughing.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Have caviar if you like, but it tastes like herring to me.</dialogue>
<scene_description>At that moment Grusinskaya 's door opens suddenly and Suzette comes out into the hall .</scene_description>
<character>SUZETTE</character>
<dialogue>Ssshh! Please! Madam is asleep.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh!</dialogue>
<scene_description>By this time the others are entering Kringelein 's room . The Baron turns back for a moment .</scene_description>
<character>BARON</character>
<parenthetical>( calling back quietly to Suzette . )</parenthetical>
<dialogue>Asleep? - Ssshhh - sorry!</dialogue>
<scene_description>Suzette turns back into the room .</scene_description>
</scene>
<scene>
<stage_direction>GRUSINSKAYA'S ROOM</stage_direction>
<scene_description>It is typical hotel . Half - open trunks , etc. . Curtains are drawn - room is in semi - darkness . There is a sense of silence , except for distant music coming from the Yellow Room below . In Suzette 's hands we see one of Grusinskaya 's ballet slippers which she has been mending . She is about to tiptoe to her seat when she stops suddenly and looks off dramatically at . GRUSINSKAYA Shot from her angle . She is sleeping beneath a Chinese robe , on the chaise - lounge . Apparently she has changed her position , because the hand which is outside the robe moves . The CAMERA , as though it were Suzette , moves up towards Grusinskaya . Her eyes are closed . Suzette crosses to the chaise - lounge and is looking down . Grusinskaya 's eyes open suddenly . She looks at the ceiling and then her eyes turn and look straight at Suzette .</scene_description>
<character>SUZETTE'S VOICE</character>
<parenthetical>( quietly and reverently - almost a whisper . )</parenthetical>
<dialogue>Madam has slept well.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>No, I have been awake - thinking - thinking.</dialogue>
<character>SUZETTE'S VOICE</character>
<dialogue>It is time for the performance.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>The performance?</dialogue>
<character>SUZETTE</character>
<dialogue>It is time.</dialogue>
<scene_description>Like a soldier called to attention Grusinskaya sits suddenly upright -</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Always the performance - every day the performance - time for the performance.</dialogue>
<parenthetical>( she pauses and droops suddenly . )</parenthetical>
<dialogue>I think, Suzette, I have never been so tired in my life.</dialogue>
<parenthetical>( she takes the bottle of veronal which is nearby . )</parenthetical>
<dialogue>Veronal did n't even help me to sleep.</dialogue>
<parenthetical>( laughs a little . )</parenthetical>
<dialogue />
<character>SUZETTE</character>
<parenthetical>( speaking into telephone . )</parenthetical>
<dialogue>Madam Grusinskaya's car is to be brought.</dialogue>
<scene_description>While she is speaking Grusinskaya rises - with the grace of a dancer she picks up the Chinese robe that has fallen to the floor and although there is only one other woman in the room - she holds the robe around her . She crosses to the mirror and looks at her face , running her fingers through her hair . She gently massages under her eyes and the CAMERA sees Grusinskaya for the first time . There is silence in the room - neither of the women speak . Suzette gets madam 's clothes ready . She crosses , puts the case of pearls down on the dressing table and opens them . Grusinskaya looks into space - silence - dead silence . Suzette kneels as if to put Madam 's stockings on for her . Grusinskaya pulls her foot away .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>I ca n't dance tonight -</dialogue>
<character>SUZETTE</character>
<dialogue>It will pass - it will pass - come.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Let us cancel the engagement.</dialogue>
<character>SUZETTE</character>
<dialogue>But, Madam. can not do that.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Now is the time to cancel to stop entirely. I feel it - everything tells me - enough - enough.</dialogue>
<scene_description>She leans forward against the dressing - table and her hands unconsciously touch the pearls .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( very quietly . )</parenthetical>
<dialogue>The peals are cold - everything is cold - finished - it seems so far away - so threadbare - the Russians - St. Petersburg - the Imperial Court - the Grand Duke Sergei -.</dialogue>
<parenthetical>( long pause as though she were reliving incidents of the past . )</parenthetical>
<dialogue>- Sergei - dead - Grusinskaya - it's all gone.</dialogue>
<scene_description>She throws the pearls away , down upon the floor .</scene_description>
<character>SUZETTE</character>
<dialogue>Mon Dieu - the pearls - if they were to break -</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>The pearls wo n't break - they hold together and bring me bad luck - I hate them!</dialogue>
<scene_description>Suzette crosses replacing the pearls .</scene_description>
<character>SUZETTE</character>
<dialogue>Orchids come again, Madam - no card - I think perhaps they are from the same young man - he is at the end of the corridor - tall - he walks like a soldier - Madam must have noticed how often he is in the elevator with us. Last night for instance -</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Oh, Suzette - Suzette - Sshh - quiet.</dialogue>
<scene_description>Grusinskaya 's eyes are looking off into space - she is away in Russia - she does not look - Telephone rings - Suzette crosses to telephone .</scene_description>
<character>SUZETTE</character>
<dialogue>Ah, oui - the car is here for Madam.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Send it away - I sha n't need it.</dialogue>
<scene_description>There is a knock at the door - a certain kind of knock .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Come in.</dialogue>
<scene_description>She picks up the telephone and as she does so Pimenov enters . Suzette quickly gives Pimenov a signal that there is trouble . As Pimenov is closing the door we hear Grusinskaya speak into telephone .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( authoritatively . )</parenthetical>
<dialogue>Madam Grusinskaya will not require her car - no - she will not be going to the theatre.</dialogue>
<parenthetical>( she turns . )</parenthetical>
<dialogue />
<scene_description>Pimenov -LRB- at heart a clown -RRB- makes a grand comedy bow . He will deliberately try to tease Madam out of her mood . She glances at him , without smiling , crosses to the dressing - table and sits .</scene_description>
<character>PIMENOV</character>
<dialogue>It is time for the performance.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>The performance - the performance - the performance.</dialogue>
<parenthetical>( during this scene the orchids fall to the floor . )</parenthetical>
<dialogue />
<scene_description>It is a hysterical out - burst . It is not a woman who is just temperamental , it is something deeper than that . She is very near a nervous breakdown . We , the audience , must feel with her a revulsion against the word performance .</scene_description>
<character>PIMENOV</character>
<parenthetical>( tenderly - as he touches her shoulder gently . )</parenthetical>
<dialogue>Poor little Lisevata - she still has her stage frights - it will pass.</dialogue>
<scene_description>Pimenov kneels by Grusinskaya - he is chafing her hands , he attempts to soothe her . Now Grusinskaya draws her hands suddenly away .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>It is not stage fright - it's something more -</dialogue>
<character>PIMENOV</character>
<parenthetical>( tenderly . )</parenthetical>
<dialogue>What - what is it? Last night.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Last night? There was no applause.</dialogue>
<character>PIMENOV</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>There was - there was.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>That theatre - half empty - dancing for those few - I was frantic - I finished - the last beat and.</dialogue>
<parenthetical>( she reclines her head as the swan finishing the dance . )</parenthetical>
<dialogue>. I waited - I listened - but the applause did n't come - nothing. A man in the box - and just the claques behind - it is passed, Pimenov. We are dead - it's finished.</dialogue>
<scene_description>There is a sudden knocking at the door .</scene_description>
<character>PIMENOV</character>
<dialogue>Meierheim -</dialogue>
<scene_description>The door opens suddenly . Meierheim bursts into the room .</scene_description>
<character>MEIERHEIM</character>
<dialogue>What is this that you have cancelled your car? Who am I that I should wait like a fool at the door? And here on a whim, you cancel your car. Have you forgotten there is a performance? Do you know the time? Or, are we all mad? Am I your manager? Have we a contract? Have we obligations? Am I blind?</dialogue>
<parenthetical>( glances at his watch . )</parenthetical>
<dialogue>. Or is that the time?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I'm cancelling the engagement.</dialogue>
<character>MEIERHEIM</character>
<dialogue>Oh!</dialogue>
<scene_description>Business of Pimenov signaling to him .</scene_description>
<character>MEIERHEIM</character>
<dialogue>Oh! Madam is cancelling the engagement. Madam has chosen a funny time for such a funny joke. Ha, ha, ha - hurry, come on. Tonight - there's a line in front of the theatre since six o'clock. The house is jammed to the roof.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>The house is not full - Is it really full?</dialogue>
<character>MEIERHEIM</character>
<dialogue>Packed to the ceiling. Hurry - get dressed. And what an audience - the French Ambassador - American Millionaires - Princess Ratzville - er - er -</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( to Suzette . )</parenthetical>
<dialogue>Oh - but it ca n't be.</dialogue>
<character>SUZETTE</character>
<dialogue>Oh, come, Madam - please come.</dialogue>
<parenthetical>( she holds up her frock . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<parenthetical>( changed mood . )</parenthetical>
<dialogue>All right, Suzette - quickly - hurry.</dialogue>
<character>PIMENOV</character>
<dialogue>We will wait.</dialogue>
<character>MEIERHEIM</character>
<dialogue>You are late. Hurry.</dialogue>
<scene_description>Meierheim goes over to telephone , he picks up receiver and says :</scene_description>
<character>MEIERHEIM</character>
<dialogue>Tell Madam Grusinskaya's chauffeur to bring the car.</dialogue>
<scene_description>Show few feet of Grusinskaya getting dressed .</scene_description>
</scene>
<scene>
<stage_direction>BY ELEVATOR</stage_direction>
<scene_description>Pimenov and Meierheim . Meierheim is pushing the bell .</scene_description>
<character>PIMENOV</character>
<dialogue>How is the house?</dialogue>
<character>MEIERHEIM</character>
<dialogue>Terrible. After this, no more ballets for me. Jazz -.</dialogue>
<parenthetical>( snaps his fingers . )</parenthetical>
<dialogue>Just jazz.</dialogue>
<character>PIMENOV</character>
<dialogue>If the house is empty again, I do n't know -</dialogue>
<character>MEIERHEIM</character>
<dialogue>When she gets her paint on and hears the music - she'll be all right. I know these people.</dialogue>
<scene_description>They are walking towards Kringelein 's room . They are pacing rather like men who walk the deck on a liner . They turn almost together , but when they turn back past the CAMERA the CAMERA PROCEEDS on into Kringelein 's room . The CAMERA ENTERS THE ROOM to a burst of laughter . Champagne bottles open , caviar , smoke , etc. . In the room are the Doctor , Kringelein , the Baron , Flaemmchen , and a very fat waiter - comedian .</scene_description>
<character>KRINGELEIN</character>
<dialogue>You may laugh. Caviar and champagne may mean nothing to you, but to me - they mean a great deal. You see, I'm ill and all of a sudden I got a fear of missing life. I do n't want to miss life - do you understand?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You are funny. You speak of life as if it were a train you wanted to catch.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes - and for me, it's going to leave at any minute. Let's drink.</dialogue>
<scene_description>The Baron offers Flaemmchen a glass of champagne . She shakes her head .</scene_description>
<character>KRINGELEIN</character>
<dialogue>I'm sure this beautiful room must appeal to your taste - distinctive, do n't you think? Velvet upholstery -' A - number one'. I'm in the textile trade and I know.</dialogue>
<parenthetical>( he has a slight case of hiccups from the champagne .</parenthetical>
<parenthetical>He touches the drapes . )</parenthetical>
<dialogue>And these are real silk drapes.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( amusedly . )</parenthetical>
<dialogue>Silk - think of that - silk - they are, too.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( who has n't stopped talking . )</parenthetical>
<dialogue>Have you seen the bathroom? - Hot and cold running water - You see, I can get a bath whenever I like.</dialogue>
<scene_description>At that moment Preysing 's voice is heard calling to the Floor Clerk .</scene_description>
<character>PREYSING</character>
<dialogue>The stenographer!</dialogue>
<scene_description>Flaemmchen , hearing this , turns and looks off , apparently through the door . Her manner changes , she puts down her glass .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Her master's voice!</dialogue>
<parenthetical>( turns to Baron . )</parenthetical>
<dialogue>I must go now - goodbye - thanks.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, do n't go.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I'm engaged for the evening.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, can anyone engage you for the evening?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>To take dictation - a Mr. Preysing -.</dialogue>
<parenthetical>( to Baron . )</parenthetical>
<dialogue>Goodbye, you - tomorrow at five o'clock.</dialogue>
<parenthetical>( she is moving out . )</parenthetical>
<dialogue />
<scene_description>Kringelein 's optimism has left him for a moment , he stands looking out of door undecided , he is drooped suddenly , as though years had returned to him .</scene_description>
<character>BARON</character>
<dialogue>What's the matter, Mr. Kringelein?</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>General Director Preysing!</dialogue>
<parenthetical>( possibly he turns to Baron . )</parenthetical>
<dialogue>Baron, when I was sixteen years old, I started as an office boy in that man's factory -</dialogue>
<character>BARON</character>
<dialogue>Then you know him?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Do I know him - I know him through and through.</dialogue>
<scene_description>They start to leave . Oh , gentlemen , please do n't go .</scene_description>
<character>BARON</character>
<dialogue>I must - I hope to see you again, Mr. Kringelein.</dialogue>
<scene_description>Baron leaves .</scene_description>
<character>KRINGELEIN</character>
<dialogue>You will stay, Doctor - if you have nothing better to do?</dialogue>
<character>DOCTOR</character>
<dialogue>I have nothing better to do, Mr. Kringelein.</dialogue>
<scene_description>They move into the room . NO SCENES : 24 and 25 Sequence omitted from original script .</scene_description>
</scene>
<scene>
<stage_direction>NEAR ELEVATOR</stage_direction>
<scene_description>Pimenov and Meierheim are standing there . Meierheim is pushing the elevator button . The Baron stands near and pauses , he is now a changed man . He looks off as he hears the voice of Grusinskaya , off in the distance . Grusinskaya 's Voice Hurry , Suzette . GRUSINSKAYA Shot from the Baron 's angle . Grusinskaya is sweeping down the corridor , followed by Suzette .</scene_description>
</scene>
<scene>
<stage_direction> BARON, PIMENOV AND MEIERHEIM</stage_direction>
<character>BARON</character>
<dialogue>Perhaps you could present me now, Mr. Pimenov.</dialogue>
<character>PIMENOV</character>
<dialogue>Please, Baron - forgive me - not now - here she is.</dialogue>
<scene_description>Grusinskaya sweeps into scene . The Baron leans forward quickly and pushes the bell with a glance at her . They look at each other . He fixes his eyes on her characteristically . She glances at him . This is the first time they have met in the picture . She is impatient . As if to break an awkward silence , she turns to Suzette .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>My coat.</dialogue>
<scene_description>Suzette is carrying the coat over the pearls . As she takes the coat off her arm , Grusinskaya glances down at the jewel case .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Suzette - I told you not to bring the pearls. I will not wear them tonight.</dialogue>
<character>MEIERHEIM</character>
<dialogue>Why not?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Take them back, Suzette.</dialogue>
<character>MEIERHEIM</character>
<dialogue>You have n't time.</dialogue>
<scene_description>Suzette hesitates .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Hurry, Suzette.</dialogue>
<character>MEIERHEIM</character>
<dialogue>Such nonsense.</dialogue>
<scene_description>Suzette toddles off with the pearls . The elevator opens , collects its passengers , all except the Baron and descends . FLASH IN A shot of Grusinskaya 's eyes as she goes down , glancing up . FLASH IN A shot of the reverse of him looking down . The Baron pauses , hesitates , thinks . We are interested in his action . For the first time he becomes furtive .</scene_description>
</scene>
<scene>
<stage_direction>HOTEL LOBBY - FROM ELEVATORS</stage_direction>
<scene_description>Music swells up from the Yellow Room . A great deal of noise , confusion and activity as the elevator stops to emit Grusinskaya , followed by Pimenov , Meierheim and some other people who are rather excited to be in the elevator with the great Grusinskaya .</scene_description>
<character>MEIERHEIM</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>The car for Madam Grusinskaya.</dialogue>
<scene_description>The bellboy hears it and passes the word around . It seems to be echoed through the lobby . People turn , as Grusinskaya 's spirit seems to rise with the attention she is getting . THE CAMERA precedes her through the revolving door , as she sweeps outside of the hotel . The Baron 's chauffeur , Schweinke , is seen to watch her go . He looks furtively around and enters the hotel .</scene_description>
</scene>
<scene>
<stage_direction>UPPER CORRIDOR - CLOSEUP OF BARON</stage_direction>
<scene_description>As he watches Suzette returning from Grusinskaya 's room . She is about to push lift button - then decides to run downstairs . IMPORTANT CLOSEUP OF BARON END OF SEQUENCE '' # 1 ''</scene_description>
</scene>
<scene>
<stage_direction>PREYSING'S ROOM</stage_direction>
<scene_description>Zinnowitz and Preysing are standing by door .</scene_description>
<character>PREYSING</character>
<dialogue>No news from Manchester yet - Do you think we ought to postpone the conference?</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Good heavens no. That'd create the very worst impression. You must be optimistic. You must convince them. You know as well as I do that the merger must go through.</dialogue>
<character>PREYSING</character>
<dialogue>Yes - the merger must go through - But I am used to making my deals on a solid basis. I am not a liar. I am an honest business man - a good husband and father - I have a sense of honor - I have nothing to conceal. I could n't live happily otherwise.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Well, do n't get excited about it. We agreed that the merger with the Saxonia people must go through.</dialogue>
<character>PREYSING</character>
<dialogue>I want to dictate my statement for tomorrow. I ca n't speak without notes. I like to have things down before me in black and white.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>I'll see you in the morning then, at the conference. Everything'll be all right, Preysing. Do n't worry. Goodnight.</dialogue>
<character>PREYSING</character>
<dialogue>Good night.</dialogue>
<scene_description>Zinnowitz leaves .</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#2"</stage_direction>
<scene_description>FADE IN ON BLACKNESS OF PREYSING 'S ROOM . We hear the distant voice of Preysing and the keys of the typewriter rattling . The reason for the blackness is that Preysing 's back is flat into the camera . His hands are behind his back and his fat fingers are moving restlessly . It is an odd effect . We do n't know quite what it is .</scene_description>
<character>PREYSING'S VOICE</character>
<dialogue>Both parties have fully agreed that this merger can result only in mutual advantages.</dialogue>
<scene_description>Preysing moves forward showing that we are in Preysing 's room . The change of light shows us plainly the time lapse . Flaemmchen is seated at a small table typing . Preying strides forward As he strides he says :</scene_description>
<character>PREYSING</character>
<dialogue>Moreover -</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( repeating . )</parenthetical>
<dialogue>Moreover -</dialogue>
<scene_description>Preysing paces the room .</scene_description>
<character>PREYSING</character>
<parenthetical>( repeating . )</parenthetical>
<dialogue>Moreover -.</dialogue>
<parenthetical>( he pauses , thinking .</parenthetical>
<parenthetical>Picks up telephone quickly - into telephone . )</parenthetical>
<dialogue>Is there a telegram for me yet? Oh - when it does, send it up.</dialogue>
<scene_description>During this , Flaemmchen , who is tired sits back and rubs her fingers that have been over - worked . She glances at her wrist - watch . Preysing comes and stands behind Flaemmchen .</scene_description>
<character>PREYSING</character>
<dialogue>Now, where was I?</dialogue>
<parenthetical>( he looks over the sheet in her typewriter - accidentally his arm touches her neck . )</parenthetical>
<dialogue>Oh - sorry.</dialogue>
<parenthetical>( he puts his cigar in his mouth and walks away .</parenthetical>
<parenthetical>As he walks away . )</parenthetical>
<dialogue>Where was I?</dialogue>
<scene_description>As he turns , he catches a down shot on her from behind as she stretches back showing her busts . Seeing his face looking down on her she pulls herself together and seats herself at attention .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Moreover.</dialogue>
<character>PREYSING</character>
<dialogue>Moreover.</dialogue>
<scene_description>It seems a silly kind of lull .</scene_description>
<character>PREYSING</character>
<dialogue>Do you work in Justice Zinnowitz' office?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>No - only occasional jobs.</dialogue>
<parenthetical>( she yawns suddenly . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<dialogue>Tired?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You pay me.</dialogue>
<character>PREYSING</character>
<dialogue>You're a very unusual stenographer -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Moreover.</dialogue>
<character>PREYSING</character>
<dialogue>Moreover.</dialogue>
<parenthetical>( as he paces the room , it is obvious that he is trying to collect his thoughts . )</parenthetical>
<dialogue />
<scene_description>She looks at him , waits a moment and then begins characteristically to , change the sheet of paper .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>I do n't see why it's unusual for a stenographer to be pretty - if she does her work well, - seems so silly. I do n't know why they do n't like girls like me in offices. Personally, I hate offices - I'd much rather be in the movies.</dialogue>
<character>PREYSING</character>
<dialogue>Movies?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Yes, I photograph very well. Look -</dialogue>
<scene_description>She tosses magazine - as if it were nothing at all over to him . He looks down at it without touching it .</scene_description>
<character>PREYSING</character>
<dialogue>What is this?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I got ten marks for that.</dialogue>
<scene_description>He picks it up .</scene_description>
<character>PREYSING</character>
<dialogue>You.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( without looking up . )</parenthetical>
<dialogue>Me.</dialogue>
<scene_description>As he looks at picture - he lowers his voice two notes .</scene_description>
<character>PREYSING</character>
<dialogue>You.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>Moreover.</dialogue>
<character>PREYSING</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>What?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>Only in mutual advantages - moreover.</dialogue>
<character>PREYSING</character>
<dialogue>What brown hands you have.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>That's from skiing.</dialogue>
<character>PREYSING</character>
<dialogue>Skiing?</dialogue>
<parenthetical>( he holds her hands . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<parenthetical>( natural - unabashed . )</parenthetical>
<dialogue>Yes. A man I know took me to Switzerland last month.</dialogue>
<scene_description>He drops her hand suddenly .</scene_description>
<character>PREYSING</character>
<dialogue>A man? - To Switzerland? - That must have been nice - for him.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>Only in mutual advantages - moreover.</dialogue>
<scene_description>Preysing paces the room trying to get his thoughts back to the work in hand .</scene_description>
<character>PREYSING</character>
<dialogue>Moreover. He was a lucky man - that man.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Perhaps.</dialogue>
<parenthetical>( she waits at attention . )</parenthetical>
<dialogue />
<scene_description>He paces back and forth again .</scene_description>
<character>PREYSING</character>
<dialogue>Do n't misunderstand me. I'm a married man - with grownup daughters. Uh -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Moreover - Do you mind if I smoke?</dialogue>
<parenthetical>( she takes cigarette . )</parenthetical>
<dialogue>I went to Florence once, too.</dialogue>
<character>PREYSING</character>
<dialogue>With the same friend?</dialogue>
<scene_description>By this time she is smoking her cigarette .</scene_description>
<character>FLAEMMCHEN</character>
<parenthetical>( without looking at him . )</parenthetical>
<dialogue>No.</dialogue>
<character>PREYSING</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Moreover, the possibility of the successful termination of negotiations now pending with the Manchester Cotton Company.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Not too quickly.</dialogue>
<character>PREYSING</character>
<dialogue>What?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You're a little too fast.</dialogue>
<character>PREYSING</character>
<dialogue>Ca n't you understand me?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I understand you perfectly.</dialogue>
<character>PREYSING</character>
<dialogue>Have you got it now?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( typing . )</parenthetical>
<dialogue>Cotton Company -</dialogue>
<character>PREYSING</character>
<dialogue>Should throw a great weight into the balance.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( as he turns his back looks at him significantly . )</parenthetical>
<dialogue>. weight into the balance.</dialogue>
<scene_description>There is a sudden knock at the door .</scene_description>
<character>PREYSING</character>
<dialogue>Come in.</dialogue>
<scene_description>Boy enters with telegram .</scene_description>
<character>BOY</character>
<dialogue>Telegram for Mr. Preysing.</dialogue>
<scene_description>With almost hysterical speed , Preysing snatches the telegram - opens it . Flaemmchen powders her nose . IMPORTANT CLOSEUP OF PREYSING it is bad news . He wipes the perspiration from his forehead .</scene_description>
<character>PREYSING</character>
<dialogue>Oh - oh.</dialogue>
<parenthetical>( he throws the telegram away from him , onto her desk .</parenthetical>
<parenthetical>Paces the room . )</parenthetical>
<dialogue />
<scene_description>Flaemmchen , believing the telegram to be something that she must copy , picks it up quite naturally and reads it .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Deal with Manchester Cotton Company definitely off.</dialogue>
<scene_description>Preysing turns and snatches the telegram from her .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Sorry.</dialogue>
<scene_description>Preysing paces the room with the telegram . Flaemmchen rises , stretches . Quite naturally she glances at the pictures on Preysing 's dressing - table .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>How nice - your daughters?</dialogue>
<character>PREYSING</character>
<dialogue>My daughters - yes, my daughters.</dialogue>
<parenthetical>( he is talking more to himself . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<dialogue>Is that Mrs. Preysing.</dialogue>
<character>PREYSING</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Definitely off.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Oh - too bad. Did you quarrel?</dialogue>
<parenthetical>( she is looking at picture of Mrs. Preysing . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<parenthetical>( turns , speaks quickly - definitely . )</parenthetical>
<dialogue>That'll be all - be here tomorrow at nine o'clock.</dialogue>
<parenthetical>( he turns , goes out onto balcony with telegram . )</parenthetical>
<dialogue />
<scene_description>Flaemmchen , delighted and with alacrity , crosses , piles up her papers and is prepared to leave .</scene_description>
</scene>
<scene>
<stage_direction>FLASH OF CORRIDOR</stage_direction>
<scene_description>Trim Flaemmchen out of Preysing 's room . Take her down to elevator . At the same time , CAMERA PANS OVER and shows the Baron 's chauffeur knocking at the Baron 's door .</scene_description>
<character>BARON'S VOICE</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Come in!</dialogue>
<scene_description>Trim the chauffeur into the Baron 's room .</scene_description>
</scene>
<scene>
<stage_direction>BARON'S ROOM</stage_direction>
<scene_description>Baron is busy changing his clothes . Chauffeur steps in , he closes the door behind him and stands there with an inquisitive look .</scene_description>
<character>CHAUFFEUR</character>
<dialogue>You are late - the dancer's gone to the theatre.</dialogue>
<character>BARON</character>
<parenthetical>( very nonchalantly . )</parenthetical>
<dialogue>Well?</dialogue>
<character>CHAUFFEUR</character>
<dialogue>She's gone to the theatre - do n't you know?</dialogue>
<character>BARON</character>
<parenthetical>( very nonchalantly . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>CHAUFFEUR</character>
<parenthetical>( ready to explode . )</parenthetical>
<dialogue>And what are you going to do?</dialogue>
<character>BARON</character>
<dialogue>The pearls are in her room.</dialogue>
<character>CHAUFFEUR</character>
<parenthetical>( threateningly . )</parenthetical>
<dialogue>Now listen to me. The others are getting suspicious of you. I was on the telephone to Amsterdam today, they think you're scared.</dialogue>
<character>BARON</character>
<dialogue>I've been careful, I've been waiting my chance.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>You've been waiting your chance. You're too much of a gentleman - that's the trouble with you.</dialogue>
<character>BARON</character>
<dialogue>I told you I'll get the pearls tonight.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Need any help?</dialogue>
<character>BARON</character>
<dialogue>No.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Have you got that skeleton key?</dialogue>
<scene_description>He takes the skeleton key out of his pocket and produces it to the Baron .</scene_description>
<character>BARON</character>
<dialogue>No -</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Why?</dialogue>
<character>BARON</character>
<dialogue>The floor clerk is out there in the corridor - she sees everything -</dialogue>
<character>CHAUFFEUR</character>
<parenthetical>( contemptuously . )</parenthetical>
<dialogue>I could take care of her.</dialogue>
<character>BARON</character>
<dialogue>How?</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Chloroform on a handkerchief from behind - while you.</dialogue>
<character>BARON</character>
<dialogue>No - no - no - no.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Why?</dialogue>
<character>BARON</character>
<dialogue>Poor girl - chloroform would give her a rotten headache. I know - I had it in the war. Besides, she's very pretty - not young but -</dialogue>
<character>CHAUFFEUR</character>
<dialogue>You're no good for this business. It's just a joke to you.</dialogue>
<character>BARON</character>
<parenthetical>( swings suddenly on him . )</parenthetical>
<dialogue>I do n't like your tone.</dialogue>
<character>CHAUFFEUR</character>
<parenthetical>( comes up to him - face to face . )</parenthetical>
<dialogue>No -</dialogue>
<scene_description>Baron is suddenly seized with uncontrollable temper - twists his wrists - backs him to door , speaks quietly .</scene_description>
<character>BARON</character>
<dialogue>Get out and leave it to me. be ready to leave on the night train for Amsterdam.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>With the pearls?</dialogue>
<character>BARON</character>
<dialogue>With the pearls -</dialogue>
<scene_description>The Chauffeur leaves . The moment he is gone - Baron looks the door - business ad lib . Crosses to window .</scene_description>
</scene>
<scene>
<stage_direction>FACADE OF HOTEL</stage_direction>
<scene_description>The Baron peeps out onto balcony - it seems to be clear . He proceeds along and peeps into Preysing 's room . Preysing is apparently in the bathroom . Baron skips nimbly past the room . Working at thrill of pass through to Grusinskaya 's room . GRUSINSKAYA 'S BALCONY Baron is pretty shaken by jump .</scene_description>
</scene>
<scene>
<stage_direction>GRUSINSKAYA'S ROOM</stage_direction>
<scene_description>Darkness - light from transom and building opposite . Business of finding key and getting pearls . INTERCUT Preysing coming out onto his balcony , bringing out with him , loud speaker of radio - which announces noisily as follows :</scene_description>
<character>LOUD SPEAKER</character>
<dialogue>` You are listening to the music of the Eastman Jazz Band, in the famous Yellow Room of the Grand Hotel.'</dialogue>
<scene_description>GRUSINSKAYA 'S ROOM Baron starts suddenly - when he hears voice and with pearls in his hand , looks cautiously out of window - only to see : SHOT FROM HIS ANGLE ONTO PREYSING 'S BALCONY : Preysing seating himself upon his balcony - Radio loud speaker seen . Possibly Preysing commences dinner scene bullying waiter . GRUSINSKAYA 'S BALCONY The Baron knows he is trapped , if he jumps onto Preysing 's balcony , Preysing is the man that will cause the alarm . Quickly he moves across the room - tries the door - it is locked securely . He looks for skeleton key and then remembers refusing it from the chauffeur . He is trapped in an absurd way . As he moves back from the door , he knocks the telephone off of the table . He watches it for a moment , realizing that the operator must now know that there is someone in Grusinskaya 's room . He picks up the telephone , replaces the receiver , wipes finger prints off with his handkerchief . He is moving back to window when telephone starts to ring suddenly . The thought crosses his mind they they will want to know who is in the room . He lets the telephone ring . Crosses to the door again . Above the din of the telephone we hear the chambermaid 's voice singing an absurd song . He listens . She is coming in . The key turns in the door . Quickly he hides behind the curtains . Slowly and amusingly the chambermaid , tired and dragging , enters the room . He is looking for an opportunity to dash through the door . After all , this maid should be an easy person to get around . We have a feeling he wishes to dash through the door . The chambermaid might be singing the same tune that we hear from Preysing 's radio . The telephone commences ringing . Chambermaid does not answer it but continues her duties . At last , because of the noise of the telephone , she picks it up and speaks .</scene_description>
<character>CHAMBERMAID</character>
<dialogue>No - no - there is no one here.</dialogue>
<parenthetical>( she replaces the receiver . )</parenthetical>
<dialogue />
<scene_description>At that moment , the Inspectress , a large stout woman , appears at the open door .</scene_description>
<character>INSPECTRESS</character>
<parenthetical>( to Chambermaid . )</parenthetical>
<dialogue>You're late. What have you been doing?</dialogue>
<character>CHAMBERMAID</character>
<parenthetical>( grumbling . )</parenthetical>
<dialogue>Everyone - all the time says, ` Come back - come back.' They wo n't get out of their rooms.</dialogue>
<scene_description>The Inspectress , in a very businesslike way , proceeds around the room , coming nearer and nearer the Baron . She is looking at ashtrays and running her fingers over the woodwork looking for dust . She tries the door to the next room , to see if it is locked . Telephone bell rings again . Inspectress picks it up quickly .</scene_description>
<character>INSPECTRESS</character>
<dialogue>No, Madame Grusinskaya is not here. The Western Theater? No.</dialogue>
<scene_description>Suddenly , out of scene , we hear the voice of Suzette . Suzette is calling out to the night clerk in the passage .</scene_description>
<character>SUZETTE'S VOICE</character>
<dialogue>Have you seen Madame?</dialogue>
<character>CLERK'S VOICE</character>
<parenthetical>( replying . )</parenthetical>
<dialogue>Is n't she at the theatre?</dialogue>
<scene_description>Suzette comes in and hurries to telephone .</scene_description>
<character>SUZETTE</character>
<dialogue>Hello, hello, Mr. Pimenov? Yes. Mr. Pimenov, have they found her? No, she is not here. Yes, I'm at the hotel.</dialogue>
<scene_description>INTERCUT With the Baron watching . GRUSINSKAYA 'S BALCONY During this action the Inspectress has waven the chambermaid out of the room . Business ad lib . Meierheim enters , he has heard the word ` Pimenov ' on the telephone - he takes the receiver from Suzette .</scene_description>
<character>MEIERHEIM</character>
<parenthetical>( into telephone . )</parenthetical>
<dialogue>Pimenov? What's happening? No, I have n't found her. Is Desprez dancing? How is it? Oh, all right. Keep the show going.</dialogue>
<parenthetical>( bangs down receiver . )</parenthetical>
<dialogue>Wait till I see her, she'll pay for this - this little trick is going to cost Grusinskaya a suit for breach of contract.</dialogue>
<character>SUZETTE</character>
<dialogue>Madame is ill - her nerves.</dialogue>
<character>MEIERHEIM</character>
<dialogue>Her nerves. What about my nerves? Who is she anyway? Where does she think she is - Russia? Those days have passed.</dialogue>
<scene_description>He turns and sees Grusinskaya standing at the door . She is in costume , very pale , very beautiful . Her coat , over one shoulder , is ragging , she lets it drop and moves slowly into the center of the room . Her hair , dressed for the dance , make - up is on her face - she is breathless .</scene_description>
<character>SUZETTE</character>
<dialogue>Madame -</dialogue>
<character>MEIERHEIM</character>
<dialogue>Well?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I want to be alone.</dialogue>
<scene_description>The other women in the room draw out , leaving Suzette to pick up the robe that has fallen to the floor .</scene_description>
<character>MEIERHEIM</character>
<dialogue>Where have you been?</dialogue>
<character>SUZETTE</character>
<dialogue>Should I - Does madame wish.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Suzette, please go, I want to be alone.</dialogue>
<scene_description>Suzette obediently crosses to door and pauses on threshold , waiting for Meierheim . Meierheim approaches Grusinskaya .</scene_description>
<character>MEIERHEIM</character>
<dialogue>I suppose I can cancel the Vienna engagement.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I wish to be alone.</dialogue>
<character>MEIERHEIM</character>
<dialogue>You'll be very much alone, my dear madame. This is the end.</dialogue>
<parenthetical>( he stamps out . )</parenthetical>
<dialogue />
<scene_description>Suzette , with a frightened look through the door , closes it on Meierheim 's exit . DURING THIS SCENE , INTERCUT SHOTS OF BARON . It is some time before Grusinskaya moves . She crosses to door - turns the key - takes the key out of the lock and throws it away from her - out upon the floor . She crosses slowly to the mirror , regards herself , silently . We hear the strains from Preysing 's radio playing a light Viennese waltz . Grusinskaya begins suddenly to sob . FLASH OF BARON Watching her . GRUSINSKAYA Quite suddenly - as if with resolution she begins to undress . Then she becomes weary again . With a garment in her hand , she moves slowly toward the curtain - where the Baron is standing . BARON We see him tense himself . GRUSINSKAYA She drops the garment listlessly to the floor - moves out of scene . CLOSEUP OF BARON He peeps around the curtains . GRUSINSKAYA She is in a thin robe . She sits before mirror - looks steadily at her face . Her head goes down suddenly in her hands and we hear her say :</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>The end - over - finished -</dialogue>
<scene_description>Suddenly she moves quickly across the room . Goes to bathroom . Baron half starts out toward door . He watches - darts across the room as if towards the door . He hears her coming and darts quickly into the half open door of the closet . She re - enters - carrying a glass of water . She crosses , places the glass down beside the bed - her movements are quick and furtive - then she crosses , picks up the telephone - asks for the theatre .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>The Western Theatre -</dialogue>
<scene_description>She leaves receiver down - crosses quickly to mirror - stands there and brushes back her hair - crosses back to telephone speaks :</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Western Theatre?</dialogue>
<scene_description>She glances up at the clock .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>The stage - Mr. Pimonov - the ballet master. Grusinskaya - hurry - hurry.</dialogue>
<scene_description>Again she puts the receiver down - picking up a pencil she commences hastily to scribble a note . She writes frantically . Her other hand goes up and picks up the receiver .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Yes - yes, I'm waiting.</dialogue>
<scene_description>She finishes the note - commences suddenly to speak into the telephone -</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Hello, Pimenov? - I'm at the hotel. I could n't go on - I could n't. No, no do n't -.</dialogue>
<parenthetical>( long pause . )</parenthetical>
<dialogue>. Just alone. Good night, good night, my dear - goodbye. Pimenov, how is it going, badly? Uh? Who's dancing? Desprez? Oh - and how is it? Oh, - oh, I see - they did n't miss me? They did n't miss me.</dialogue>
<parenthetical>( she lets her hand drop with the receiver and goes on talking into the air . )</parenthetical>
<dialogue>They did n't miss me - good night, Pimenov.</dialogue>
<scene_description>She is about to replace the receiver . She sits with it in her hand , unreplaced . The music has stopped . The room is strangely silent . Behind her the Baron peers from the closet . Her head sinks down upon her hands . A funny , singing noise comes from the telephone . She lifts the receiver to her ear . In a very strange voice , the voice of Opehlia , she speaks :</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( with great humility . )</parenthetical>
<dialogue>Oh - I'm sorry, yes. I have finished.</dialogue>
<parenthetical>( she replaces the receiver . )</parenthetical>
<dialogue />
<scene_description>The foregoing scene is much better played than described . It is in fact , ballet . Quite calmly , Grusinskaya finishes the notes on the table . She folds it up and places it in a prominent place on the table , or hangs it over the telephone . She crosses to the window pulls back the curtains - the Baron has been hiding behind a few minutes before . We see the Baron watching . He glances at the door quickly . `` No , there is not time . '' She is returning calmly . She crosses to the dressing table and takes the veronal out of a drawer . She looks at it thoughtfully , her lips are trembling a little . She moves to the radiator as if to seek warmth . She sinks into a chair and her head droops over her folded hands which contain the veronal , she seems to pray . The Baron comes from the closet - now is his chance , he looks at the door but ca n't make it . Looks on the floor for the key which Grusinskaya has previously thrown there , his eyes fall upon the note on the telephone - he reads it . It is a death farewell note to Suzette - do not insert it . At this moment she has finished , the Baron returns to his hiding place . She makes the sign of a cross and goes to her bed . She looks around nervously , apprehensively - like a deer who has heard something , then reassured . She places the veronal on the night table beside the glass of water . She is quiet and deliberate . She arranges the pillows under her head and lies down . She reaches for the bottle of veronal and empties it generously in her hand . She has to lean away upon one elbow , from the Baron 's position , in order to balance herself . The Baron steps like a cat from his hiding place . He goes to the bedside noiselessly and stands there . She reaches for the glass - her hand stretches out for the glass . The Baron takes her wrist suddenly . She turns quickly looking at him . The glass falls to the floor with a crash and breaks . As she moves , the veronal falls out of her hands upon the bed . She struggles up to a sitting position .</scene_description>
<character>BARON</character>
<dialogue>Please, do not be alarmed, Madam.</dialogue>
<scene_description>She glances up at him . She is bewildered . She seems to be coming out of a trance . Again she wants to jump from the bed .</scene_description>
<character>BARON</character>
<dialogue>Careful - there's broken glass on the floor.</dialogue>
<scene_description>Now she becomes conscious of almost nakedness . She draws her kimono tightly around her , glances across the wide expanse of bed . We see her consider passing over that way , but she is now a woman again - a woman of the earth - it would be a silly movement .</scene_description>
<character>BARON</character>
<dialogue>There.</dialogue>
<parenthetical>( takes a pillow from the bed throws it upon the floor over the glass , steps back . )</parenthetical>
<dialogue />
<scene_description>She gets up quickly and crosses , putting on her robe which was lying across the back of a chair . Her first movement is not one of alarm but of - shame . She draws her robe more closely around her and looks at the Baron puzzled . She thinks , dreamily , `` What is this ? '' She glances back at the veronal and the bed showing us plainly that this man must have watched her preparation for bed . We get a sense of relief with her . She is trembling . The Baron has controlled his nerves perfectly . He senses his danger . He is caught red - handed with five hundred thousand marks worth of pearls in his pocket . He is wondering if she will ring the bell . For an instant he thinks of escape . He could dash for the balcony . He could strike her dead or silence her with threats . There is in the room an intoxicating sense of romance and danger . -LRB- It should be in the scene . -RRB-</scene_description>
<character>BARON</character>
<dialogue>Please do not be frightened, Madam.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( after a silence . )</parenthetical>
<dialogue>What do you want here?</dialogue>
<character>BARON</character>
<dialogue>Nothing - only to be here.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Why do you hide in my room?</dialogue>
<character>BARON</character>
<dialogue>But surely you must know - because I love you.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Because you love me - you love me?</dialogue>
<scene_description>She looks at him for a few moments and then suddenly she throws herself upon the bed and begins to weep more and more passionately .</scene_description>
<character>BARON</character>
<parenthetical>( going over to her . )</parenthetical>
<dialogue>Poor little Grusinskaya! Does it do you good to cry? Are you afraid? Shall I go?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I was so alone - always alone - and suddenly you were there and said that.</dialogue>
<parenthetical>( sitting up . )</parenthetical>
<dialogue>No. I am not afraid. It is strange.</dialogue>
<character>BARON</character>
<dialogue>Do n't cry - it tears my heart to see you sob like that.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( regaining control . )</parenthetical>
<dialogue>Nerves - just nerves. You must forgive me. I have had a bad evening. I am very tired. Do you know what it is to be tired - tired of a routine existence?</dialogue>
<character>BARON</character>
<dialogue>I'm afraid not - I usually do just what I feel like doing at the moment.</dialogue>
<scene_description>A look in his eyes reminds her of the strangeness of the situation . She rises with returning dignity and pulls her robe around her - she is becoming the Grusinskaya of Imperial Russia ; she is the woman Grand Dukes have fought for . She sweeps across the room .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>So you feel like coming into a lady's room - and you come. What now?</dialogue>
<character>BARON</character>
<parenthetical>( following her . )</parenthetical>
<dialogue>I'd like to smoke a cigarette.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Certainly.</dialogue>
<scene_description>She gets her cigarette box from the writing table and holds it out to him . He takes a cigarette and lights it . She watches him curiously . She smiles , as she watches him greedily inhale the smoke . She crosses and sits before her looking glass . She brushes her hair back and powders her face . She looks into the mirror , we feel that she has regained a desire to live . He crosses and looks at her in the mirror . He smiles .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Why do you look at me like that?</dialogue>
<character>BARON</character>
<dialogue>I did not know you were so beautiful. and -</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>And then -?</dialogue>
<character>BARON</character>
<dialogue>No irony. You're so appealing - so soft - so tired. I feel like taking you in my arms and not letting anything more happen to you - ever.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( involuntarily closing her eyes . )</parenthetical>
<dialogue>And - and -</dialogue>
<character>BARON</character>
<dialogue>How tired you are!</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Yes - tired.</dialogue>
<character>BARON</character>
<dialogue>So alone.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Alone. All alone.</dialogue>
<parenthetical>( whispers in Russian . )</parenthetical>
<dialogue>Oh, you strange - strange creature.</dialogue>
<character>BARON</character>
<dialogue>You must n't talk Russian to me.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Strange man.</dialogue>
<character>BARON</character>
<dialogue>Am I quite strange to you?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Not quite strange now. It is as if I had been expecting you. You know, once when the Grand Duke was alive, I found a man hiding in my room - a young officer -</dialogue>
<character>BARON</character>
<dialogue>And?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>He disappeared. Later he was found dead.</dialogue>
<character>BARON</character>
<dialogue>I never knew it was so dangerous to hide in a woman's room when she's alone.</dialogue>
<parenthetical>( he embraces her . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<dialogue>Go away. Who are you -?</dialogue>
<character>BARON</character>
<dialogue>A man who could love - that is all, who has forgotten everything else for you.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>You could love me. It is so long since I have heard that word. Nobody has loved me for a long time. It is so icy - cold to be famous. One is so cruelly alone. How is it that you - Let me look at you. Your hands. Your eyes. Why could you love me?</dialogue>
<character>BARON</character>
<dialogue>I saw you just now - then I saw you cry - and now I see you in the mirror - Grusinskaya.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Grusinskaya. Oh - oh if you knew how I slaved and slaved for Grusinskaya - for the success of Grusinskaya - for the triumph of Grusinskaya. and what is she now? Just someone who has found that on the day success ceases life ceases - Are you listening to me - Do you understand? - I want you to understand.</dialogue>
<character>BARON</character>
<dialogue>Yes - I do understand.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I think you must go now - the key is on the floor.</dialogue>
<character>BARON</character>
<dialogue>I'm not going - You know I'm not going - Let me stay here?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I want to be alone.</dialogue>
<character>BARON</character>
<dialogue>That is not so - you do n't want to be alone.</dialogue>
<parenthetical>( he looks back at the bed as if remembering the suicide . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<dialogue>I want to be alone -</dialogue>
<character>BARON</character>
<dialogue>No - You do n't want to be alone at all - You were in despair before - If I left you, you'd feel worse than you did before, You must not be alone - You must n't cry - you must forget. Tell me that I can stay with you - tell me.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Just for a minute then.</dialogue>
<scene_description>Outside the distant noise of Kringelein is heard -</scene_description>
<character>BARON</character>
<dialogue>What? Say it again - I did n't hear.</dialogue>
<scene_description>She whispers .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>You - man.</dialogue>
<scene_description>The way she says it , the word goes home . It hurts him . She has looked into his eyes for a moment with a strangely melting and almost happy expression . She gets up suddenly . -LRB- NOTE : The other side of the bed - not where the glass is -RRB- She reaches with her feet for her slippers . She puts one on . She ca n't find the other . Business as he gets other slipper for her . He kisses her ankle and looks up at her . She smiles down .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Thank you - you are gallant.</dialogue>
<parenthetical>( she turns , her mood has changed . )</parenthetical>
<dialogue>What a sentimental scene. Grusinskaya weeping is a sight worth seeing. It is many years since she did such a thing. You frightened me - badly. You're responsible for this - painful scene.</dialogue>
<scene_description>He watches her . The sound of her own voice reassures her . She is generating warmth . Her cry has done her good , she speaks quickly , volubly .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>The stage frays one's nerves. the discipline - it's so exacting. Discipline means doing what you do n't want to do and take no pleasure in doing. Do you know what I mean? Have you ever experienced the weariness that comes from discipline?</dialogue>
<character>BARON</character>
<dialogue>I? - Oh, no. I do only what I take pleasure in doing.</dialogue>
<scene_description>Grusinskaya turns , she is graceful again .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>I see - you do only what you take pleasure in doing. You take pleasure in coming into a woman's bedroom and you come. You take pleasure in a dangerous climb onto a balcony, so you do it. And what is your pleasure now?</dialogue>
<character>BARON</character>
<parenthetical>( naive as he says frankly . )</parenthetical>
<dialogue>I should like to smoke.</dialogue>
<scene_description>She rises . She had expected something else . His reply strikes her as chivalrous and considerate . She crosses to the writing table brings back her little cigarette box which she holds out to him . He takes a cigarette and lights it . She watches him curiously . She smiles , as she watches him greedily inhale the smoke . She crosses and sits before her looking glass . She brushes her hair back and powders her face . She looks into the mirror , we feel that she has regained a desire to live . He crosses and looks at her in the mirror , he smiles .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Why do you smile?</dialogue>
<character>BARON</character>
<dialogue>Because I can see something in the mirror that you can not. My dear -.</dialogue>
<parenthetical>( he pauses suddenly . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<dialogue>What can you see?</dialogue>
<character>BARON</character>
<dialogue>You are beautiful!</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>No.</dialogue>
<character>BARON</character>
<dialogue>Beautiful but so sad. I did not know it was so dangerous to look into a woman's bedroom.</dialogue>
<scene_description>Suddenly he stoops , takes her shoulder in his hands and kisses it . A long tender and sincere embrace . Her eyes close . A tremor passes through her . Suddenly his whole being is aware of her . She turns , rises and disengages herself .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>I think you had better go now. The key is on the floor.</dialogue>
<scene_description>He glances back . He speaks suddenly with an air of command .</scene_description>
<character>BARON</character>
<dialogue>I'm not going. You know that I'm not going. Do you think I could leave you alone here? After that -?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>What?</dialogue>
<character>BARON</character>
<dialogue>The veronal - you. I'm going to stay here with you.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I want to be alone.</dialogue>
<character>BARON</character>
<dialogue>That is not the truth.</dialogue>
<parenthetical>( he catches her wrists . )</parenthetical>
<dialogue>You do not want to be alone - you're afraid of being alone - I know you're afraid. I know you. You were desperate, just now, if I go away you'll be more desperate than ever. Say I am to stay with you. say it.</dialogue>
<parenthetical>( he almost shakes her . )</parenthetical>
<dialogue />
<scene_description>Her head falls slowly on his breast .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>For just a minute then.</dialogue>
<parenthetical>( she pulls away , crosses the room , quickly to the door , with almost a cry .</parenthetical>
<parenthetical>She looks around for the key to the door . )</parenthetical>
<dialogue>No - oh, no!</dialogue>
<scene_description>He crosses quickly to her and holds her in his arms .</scene_description>
<character>BARON</character>
<dialogue>Just for a minute, Grusinskaya -</dialogue>
<scene_description>Outside the distant noise of Kringelein and the doctor .</scene_description>
</scene>
<scene>
<stage_direction> FRONT ON SHOT OF KRINGELEIN</stage_direction>
<scene_description>approaching the CAMERA with the Doctor . They are returning from the bar and are passing Grusinskaya 's room . THE CAMERA precedes them . The Doctor is characteristically drunk . He is silent , tense , cynical . A distinct contrast to Kringelein , whose soul is warmed for the first time by alcohol . Kringelein 's hat , the same , eccentric one , is twisted upon his head jauntily . The carnation is in his buttonhole . THE CAMERA backs into Kringelein 's room and pauses , because the Doctor has paused at the door .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh, but Doctor. Is n't this wonderful. To live - to live - in the Grand Hotel.</dialogue>
<character>DOCTOR</character>
<parenthetical>( with a deprecating gesture . )</parenthetical>
<dialogue>The Grand Hotel.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, but Doctor. The music - the champagne - girls when they dance - all the shining ice in those big silver things - That's life -</dialogue>
<character>DOCTOR</character>
<dialogue>Life! - Mr. Kringelein, you are drunk - good night.</dialogue>
<parenthetical>( he leaves . )</parenthetical>
<dialogue />
<character>KRINGELEIN</character>
<parenthetical>( to doctor . )</parenthetical>
<dialogue>But Doctor -</dialogue>
<scene_description>But the Doctor has gone . Kringelein re - enters his beautiful room . He crosses to the mirror , regards himself . Business ad lib . He looks at himself in the mirror and raises his hat . Imitating the doctor , he repeats :</scene_description>
<character>KRINGELEIN</character>
<dialogue>Mr. Kringelein - you are drunk - good night.</dialogue>
<scene_description>He puts his hat on the knob of the bed . He takes off his coat , holds it up and carefully takes the carnation out of his buttonhole . With the coat over his arm and the carnation in his hand he looks around for a glass and some water which he sees standing on the night table by his bed . He puts the carnation in the glass , having filled it with water and then his eyes fall upon his small group of medicine bottles . His demeanor changes . He immediately becomes a thing of pain . He glances at his watch - it is long past his medicine time - his spirit droops - he might almost be in pain . He picks up a small bottle and carefully counts eight drops into the glass . He is about to take it , he smells it , a sudden impulse of well - being surges over him . He flings the medicine away . With a great wave of optimism he commences to sing the song that we have heard during the evening - the chambermaid song - the Preysing radio song - the love song . He saunters around the room , undressing . DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> PASSAGE.</stage_direction>
<scene_description>His voice is still heard in the passage . Rows of shoes outside the doors . The dozing night clerk hears the voice and looks up , startled . DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> A WATCHMAN</stage_direction>
<scene_description>with his clock , hears the voice . DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> A CORNER OF DOCTOR'S ROOM.</stage_direction>
<scene_description>He is dozing in a chair with his clothes on . He looks up suddenly , hearing the voice . DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> PREYSING'S ROOM.</stage_direction>
<scene_description>He is snoring . The distant voice disturbs him . He turns in his sleep . DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> GRUSINSKAYA'S ROOM.</stage_direction>
<scene_description>A beautiful picture - the distant voices - shadows .</scene_description>
<character>BARON'S VOICE</character>
<dialogue>I've never been as happy.</dialogue>
<character>GRU'S VOICE</character>
<dialogue>What did you say?</dialogue>
<character>BARON'S VOICE</character>
<dialogue>I've never been as happy!</dialogue>
<character>GRUSINSKAYA'S VOICE</character>
<dialogue>Say it again - say it!</dialogue>
<character>BARON'S VOICE</character>
<dialogue>I have never been so happy!</dialogue>
<scene_description>DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction> KRINGELEIN'S ROOM.</stage_direction>
<scene_description>He is now dressed in an absurd night dress . He crosses to the bed , still singing , climbs into the huge bed - the great pillows . His hand goes out - he pulls out the light . He might be an Emperor as he turns with a happy , tired sigh . DISTANT CLOCK CHIMES . END OF SEQUENCE '' # 2 ''</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#3"</stage_direction>
<scene_description>TELEPHONE ROOM . It is the first time we have seen it . There are about eight girls very busy . Morning confusion . -LRB- parts to be written -RRB- We pick up essential lines as we PAN DOWN SHOOTING AT THE GIRL 'S FACES , assuming the CAMERA to be the board .</scene_description>
<character>GIRL ONE</character>
<dialogue>Grand Hotel - good morning - no, Baron von Gaigern's room does not answer. Yes,. all right. Baron von Gaigern's chauffeur calling.</dialogue>
<character>GIRL THREE</character>
<dialogue>Good morning, nine - thirty Doctor Otternschlag. No, Doctor, no messages. No, Doctor.</dialogue>
<character>GIRL FIVE</character>
<dialogue>Grand Hotel - good morning. who is calling Madam Grusinskaya? Oh, Mr. Pimenov. Madam Grusinskaya is not to be disturbed, sir. no, sir. yes, sir -</dialogue>
<scene_description>The word passes down repeated .</scene_description>
<character>VOICE</character>
<dialogue>Mr. Preysing's calls to one sixty two for today.</dialogue>
<character>GIRL EIGHT</character>
<dialogue>- good morning. Mr. Preysing -.</dialogue>
<parenthetical>( she plugs through . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>CONFERENCE ROOM</stage_direction>
<scene_description>Telephone bell ringing . General shot . Gerstenkorn , an old business man and Doctor Waitz , counsel for the Saxonia organization are sitting at a gree table , smoking and waiting .</scene_description>
<character>GERSTENKORN</character>
<parenthetical>( glances at watch . )</parenthetical>
<dialogue>Nine - thirty, Mr. Preysing keeps us waiting.</dialogue>
<character>SCHWEIMANN</character>
<parenthetical>( who has returned . )</parenthetical>
<dialogue>He likes to play the great man.</dialogue>
<character>WAITZ</character>
<parenthetical>( glancing at market report from table . )</parenthetical>
<dialogue>The Preysing stock is holding its own today on the market.</dialogue>
<character>SCHWEIMANN</character>
<dialogue>Ask Preysing what it's costing him to keep it up.</dialogue>
<character>GERSTENKORN</character>
<dialogue>And ask me what it's costing us to hammer it down.</dialogue>
<character>WAITZ</character>
<dialogue>Exactly.</dialogue>
<character>GERSTENKORN</character>
<dialogue>If the Preysing people get the Manchester contract, we shall certainly merge with the Preysing company - but if they have n't they're ruined - Preysing will have to declare himself.</dialogue>
<character>WAITZ</character>
<dialogue>Shhh - here he is now.</dialogue>
<scene_description>The door opens and Flaemmchen enters . She is agreeably surprised to see the room full of men . She likes men .</scene_description>
<character>FLAEMMCHEN</character>
<parenthetical>( beams . )</parenthetical>
<dialogue>Good morning, gentlemen - Mr. Preysing will be here in a minute.</dialogue>
<scene_description>Business of Schweimann and Flaemmchen . Gerstenkorn , making notes , glances at his watch again . Door opens suddenly .</scene_description>
<character>PREYSING</character>
<parenthetical>( enters . )</parenthetical>
<dialogue>Good morning, gentlemen.</dialogue>
<character>MEN</character>
<dialogue>Good morning.</dialogue>
<character>PREYSING</character>
<dialogue>Sorry I'm late, I've been waiting for Justice Zinnowitz, my legal advisor.</dialogue>
<character>WAITZ</character>
<dialogue>Oh - ho - you want legal aid against us? - The whole thing seems to me to be very simple.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Very simple - I've always liked the way you dressed, Preysing - English, is n't it?</dialogue>
<character>PREYSING</character>
<parenthetical>( disturbed . )</parenthetical>
<dialogue>What?</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>They turn out marvelous material in Manchester.</dialogue>
<character>PREYSING</character>
<dialogue>Manchester - yes. Yes, yes, they do. Yes - Now gentlemen shall we begin at the beginning? - Have we cigars - water and everything?</dialogue>
<scene_description>Flaemmchen , who has been busy preparing her little table for work is seen in several CLOSEUPS :</scene_description>
<character>SCHWEIMANN</character>
<parenthetical>( with a wink to Gerstenkorn . )</parenthetical>
<dialogue>Manchester is a very interesting city, do n't you think so, Preysing?</dialogue>
<character>PREYSING</character>
<parenthetical>( stalling . )</parenthetical>
<dialogue>Manchester - yes - yes. A man in the textile industry naturally has to know Manchester.</dialogue>
<character>GERSTENKORN</character>
<dialogue>There's a lot of business to be done with the Manchester Cotton Company. They've the whole English market right in their hands. Have you any connections with - Manchester?</dialogue>
<character>PREYSING</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>We have a good many connections in England, naturally.</dialogue>
<character>GERSTENKORN</character>
<dialogue>I mean with the Manchester people?</dialogue>
<character>PREYSING</character>
<parenthetical>( looking at Gerstenkorn impudently . )</parenthetical>
<dialogue>We are here to discuss our merger. Naturally I can make no statement at this time. We must begin at the beginning.</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( winking at Schweimann . )</parenthetical>
<dialogue>All right.</dialogue>
<character>PREYSING</character>
<parenthetical>( far - away commencing to read his report . )</parenthetical>
<dialogue>Since, on the eleventh of June, this year - when the first negotiations for a merger between our respective firms was entered into - both parties have fully agreed that this merger can result only in mutual advantages.</dialogue>
<scene_description>INTERCUT this speech , which if played by Beery will be interesting , with signals , winks and signs between the other three men .</scene_description>
<character>GERSTENKORN</character>
<dialogue>Oh - yes - I beg your pardon!</dialogue>
<character>PREYSING</character>
<dialogue>I'm laying before you the last general statement of our concern. Active capital, plant and machinery, raw material and finished product - for instance - mop rags -</dialogue>
<character>GERSTENKORN</character>
<dialogue>Mop rags -!</dialogue>
<scene_description>Business between Preysing and Flaemmchen finding papers on ` Mop Rag ' report .</scene_description>
<character>GERSTENKORN</character>
<dialogue>What we want to know about is Manchester.</dialogue>
<character>WAITZ</character>
<dialogue>Yes, Mr. Preysing - that's what we want to know.</dialogue>
<character>PREYSING</character>
<dialogue>I'd like to wait for Justice Zinnowitz, before I commit myself.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Oh - Preysing, Preysing -</dialogue>
<character>PREYSING</character>
<dialogue>No water - What a place!</dialogue>
<character>GERSTENKORN</character>
<dialogue>All you have to do is phone for it.</dialogue>
<scene_description>Flaemmchen , who is on her toes and busy every minute , rushes to the telephone and gives an order - her conversation is heard over the conversation of the men in the room - CAMERA</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Water - seltzer, three or four bottles and cigars - good ones.</dialogue>
<character>WAITZ</character>
<dialogue>I can see this session is going to be exhaustive.</dialogue>
<character>PREYSING</character>
<dialogue>Now to proceed with the projected merger, the advantages for the Saxonia are so obvious.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Oh - now let's talk like adults. You want to tell us now a along story of what your factory can do. We know all that you could tell us and if you tell the truth it would n't sound so good. When you first approached us.</dialogue>
<character>PREYSING</character>
<dialogue>We did not approach you.</dialogue>
<character>WAITZ</character>
<parenthetical>( quickly looking through the papers . )</parenthetical>
<dialogue>Letter on file September fourteenth would show that you approached.</dialogue>
<character>PREYSING</character>
<parenthetical>( snatching the document from his hand - losing his temper . )</parenthetical>
<dialogue>It is n't so - this was a response to a tentative feeler of your own.</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( snatching the document violently away . )</parenthetical>
<dialogue>Tentative my foot - a month before this your old father - in - law came very privately and scratched at my door.</dialogue>
<character>PREYSING</character>
<dialogue>Scratched -.</dialogue>
<parenthetical>( he nearly chokes . )</parenthetical>
<dialogue>We did not take the initiative.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Of course you took the initiative.</dialogue>
<scene_description>Zinnowitz enters the room .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>Good morning, gentlemen - I see the conference is already underway.</dialogue>
<character>PREYSING</character>
<dialogue>Oh, here you are, Justice Zinnowitz - I'm at cross - purposes with these gentlemen - will you clear up the situation?</dialogue>
<character>ZINNOWITZ</character>
<dialogue>But the situation is perfectly clear, If you will allow me -.</dialogue>
<parenthetical>( he clears his throat . )</parenthetical>
<dialogue />
<character>GERSTENKORN</character>
<dialogue>How clear is Manchester?</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Foggy - frightfully foggy, always, I'm told.</dialogue>
<parenthetical>( to Preysing . )</parenthetical>
<dialogue>Have you said anything about Manchester, Mr. Preysing?</dialogue>
<character>PREYSING</character>
<dialogue>I can make no statement about Manchester at this time.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Well - gentlemen.</dialogue>
<scene_description>There is dead silence for a moment - he clears his throat , commences in almost the same tone as Preysing .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>Since, on the eleventh of June of this year - when the first negotiations for a merger.</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( over Zinnowitz 's voice - with a sigh - sits back . )</parenthetical>
<dialogue>Thank God we're beginning at the beginning.</dialogue>
<character>ZINNOWITZ</character>
<parenthetical>( stops suddenly - takes glasses from his nose - he is speaking , not reading . )</parenthetical>
<dialogue>As you remember it - when you approached us.</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( bangs the paper down . )</parenthetical>
<dialogue>We did not approach you.</dialogue>
<character>PREYSING</character>
<dialogue>I know you did - I said you did -</dialogue>
<character>GERSTENKORN</character>
<dialogue>And I said we did n't.</dialogue>
<character>WAITZ</character>
<dialogue>And I know we did n't.</dialogue>
<scene_description>During all this commotion Flaemmchen is paying no attention whatsoever . She is calmly spraying herself with a perfume atomizer and smiling at a gentleman . The noise continues over her . NO SCENE 61 Sequence omitted from original script .</scene_description>
</scene>
<scene>
<stage_direction>GRUSINSKAYA'S ROOM</stage_direction>
<scene_description>The atmosphere has changed , the sun shines . Grusinskaya is reclining on the chaise - lounge - her Chinese robe drawn about her . She speaks voluably .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Oh - I was ambitious then - ambition was in my blood - no rest, no stopping. We were drilled like little soldiers - We danced in the school of the Imperial Ballet, in St. Petersburg. I was little and slim but hard as diamond - a duty machine - No rest, no stopping. And then - I became famous and whoever is famous is alone. But why should I be telling you this? Last night I did not know you at all - who are you, really? - I do not even know your name.</dialogue>
<character>BARON</character>
<dialogue>I am Felix Benvenuto von Gaigern. My mother called me Flix.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Flix. - And how do you live? What kind of a person are you?</dialogue>
<character>BARON</character>
<dialogue>I'm a prodigal son, the black sheep of a white flock - I shall die on the gallows.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Really?</dialogue>
<character>BARON</character>
<dialogue>Really, I have n't a bit of character. None at all.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>No?</dialogue>
<character>BARON</character>
<dialogue>When I was a little boy I was taught to ride and be a gentleman - at school, it was a monastery, I learned to pray and lie - and -</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>And?</dialogue>
<character>BARON</character>
<dialogue>And then, in the war, to kill and hide. That's all.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>And what do you do - now?</dialogue>
<character>BARON</character>
<dialogue>I'm a gambler - I'm running at large like a happy pig, devouring anything of life that pleases me, I really belong in jail</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Oh! What a picture - and what else?</dialogue>
<character>BARON</character>
<parenthetical>( seriously . )</parenthetical>
<dialogue>I'm also a criminal and a hotel thief.</dialogue>
<parenthetical>( he turns away . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<dialogue>That's a silly joke.</dialogue>
<character>BARON</character>
<parenthetical>( turns - takes both her hands . )</parenthetical>
<dialogue>Please look at me. You must believe me - you must believe that I love you - that I have never known what love is - until last night.</dialogue>
<parenthetical>( he releases her hands and turns away again . )</parenthetical>
<dialogue />
<character>GRUSINSKAYA</character>
<dialogue>What is the matter?</dialogue>
<scene_description>He does not answer .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Flix!</dialogue>
<scene_description>The Baron takes the pearls out of his pocket and lays them before her .</scene_description>
<character>BARON</character>
<dialogue>There.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( with a little cry of pain . )</parenthetical>
<dialogue>Oh -.</dialogue>
<parenthetical>( in the silence Grusinskaya puts her head in her hands and thinks . )</parenthetical>
<dialogue />
<scene_description>The Baron makes a gesture as if to stroke her hair and then holds back .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Did you come here just - just for that? Oh - it's horrible.</dialogue>
<scene_description>Pause . She is suddenly cold .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>You may keep the pearls - I do n't want them any more - I'll make you a present of them.</dialogue>
<character>BARON</character>
<parenthetical>( passionately . )</parenthetical>
<dialogue>I do n't want them now.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( broken . )</parenthetical>
<dialogue>I'll not denounce you.</dialogue>
<character>BARON</character>
<dialogue>I know.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>So -</dialogue>
<character>BARON</character>
<dialogue>Yesterday I was a thief - but now, -</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>But now, you must go. I give you the pearls. But now you must go -</dialogue>
<character>BARON</character>
<dialogue>I wanted money desperately - Can you understand? - That's why I wanted the pearls. I was threatened - I was desperately in need of a certain big sum of money. I've been following you - I've admired you. But I have forced myself not to think about you - Last night, at last, I managed to came into your room and - and now.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>And now?</dialogue>
<character>BARON</character>
<dialogue>I could n't go through with it.</dialogue>
<parenthetical>( his head goes down into her lap - he sighs : . )</parenthetical>
<dialogue>Remarkable.</dialogue>
<scene_description>His hand touches her hair - tenderly .</scene_description>
<character>BARON</character>
<dialogue>Do you understand?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Yes - yes - yes.</dialogue>
<scene_description>There is a sudden knock at the door .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Quickly - here.</dialogue>
<scene_description>With a quick gesture Grusinskaya beckons the Baron to the bathroom . He disappears into the bathroom . She opens the door , after finding the key and radiantly addresses Suzette .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Good morning, Suzette.</dialogue>
<character>SUZETTE</character>
<parenthetical>( delighted to see her in a good mood . )</parenthetical>
<dialogue>Good morning, Madam.</dialogue>
<scene_description>She puts the coffee down on the table . Charming piece of business as Suzette , in putting the coffee down on the table must necessarily push back the heavily crested cigarette case of the Baron .</scene_description>
<character>SUZETTE</character>
<dialogue>Madam has slept well?</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( enthusiastically . )</parenthetical>
<dialogue>Oh, yes, Suzette.</dialogue>
<character>SUZETTE</character>
<dialogue>Madam will dress now, it is late.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Five minutes, Suzette, come back in five minutes. I'll ring.</dialogue>
<character>SUZETTE</character>
<dialogue>Yes, madam Suzette knows all about it.</dialogue>
<scene_description>She is a French woman . She is pleased .</scene_description>
<character>SUZETTE</character>
<dialogue>Madam is beautiful this morning.</dialogue>
<scene_description>As Grusinskaya hurries Suzette to the door she says :</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Yes, Suzette.</dialogue>
<scene_description>Suzette goes out . Quickly Grusinskaya crosses and flings open the bathroom door . The Baron comes out .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>You must go now.</dialogue>
<scene_description>As she speaks the telephone goes . She gives the telephone a dirty look . Telephone rings again . She pulls him across to the telephone .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>There - it begins.</dialogue>
<scene_description>With a hand in his she lifts the telephone receiver and speaks .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Hello - hello - Meierheim? Yes.</dialogue>
<scene_description>During this scene the Baron is touching her shoulder . A charming light moment . She continues to speak into telephone . His touch probably tickles her , she laughs - quickly covers the receiver so that Meierheim will not hear her laugh .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( to Baron . )</parenthetical>
<dialogue>No -</dialogue>
<scene_description>During this scene she is listening to Meierheim . She frowns suddenly -</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>What? Cancel Vienna? Are you mad? We always have great success in Vienna. Certainly not. Come here and see me. yes. good - bye.</dialogue>
<scene_description>She turns to the Baron and their arms go around each other . The telephone rings again .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>There - the day begins. I must go to rehearsal.</dialogue>
<scene_description>She lets the telephone ring .</scene_description>
<character>BARON</character>
<dialogue>Grusinskaya -</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Yes.</dialogue>
<character>BARON</character>
<dialogue>You do believe that I really love you?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Yes - If I did n't believe that, I'd die after last night.</dialogue>
<character>BARON</character>
<dialogue>I want to be good to you - madly good.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Suzette will be back here in a minute.</dialogue>
<character>BARON</character>
<dialogue>I'll go - good - bye.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Shall I see you again?</dialogue>
<character>BARON</character>
<dialogue>I -</dialogue>
<scene_description>Telephone bell rings again .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Suzette will be back here any minute.</dialogue>
<character>BARON</character>
<dialogue>When are you leaving Berlin?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Very early in the morning.</dialogue>
<character>BARON</character>
<dialogue>For Vienna?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Ca n't - ca n't you - Could n't you come too - I think it would be better - for us - for us both.</dialogue>
<character>BARON</character>
<dialogue>Oh - yes but - later.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Why later?</dialogue>
<character>BARON</character>
<dialogue>I have no money now - I must get some first - I must get some.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I'll give you what you need - I have money.</dialogue>
<character>BARON</character>
<dialogue>Oh no - that would spoil everything. I'll - I will manage somehow - I'll manage myself. I will go with you. When does the train leave?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Six twenty - seven in the morning. But the money?</dialogue>
<character>BARON</character>
<dialogue>Never mind - I'll get it. I have a whole day. I'll be on that train.</dialogue>
<scene_description>They move towards the door .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>I shall dance and you'll be with me and then - listen - After that you will come with me to Lake Como, I have a villa there. The sun will be shining. I will take a vacation - six weeks - eight weeks. We'll be happy and lazy. And then you will go with me to South America - oh!</dialogue>
<scene_description>Telephone starts ringing .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>You must go now. Be careful on your way to your room.</dialogue>
<character>BARON</character>
<dialogue>I'll go. - I love you.</dialogue>
<parenthetical>( he kisses her . )</parenthetical>
<dialogue>I'll be on that train. I'll get the money.</dialogue>
<scene_description>She holds him back . The telephone is ringing .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Do n't do anything foolish - I'm alarmed about you.</dialogue>
<character>BARON</character>
<dialogue>Do n't worry. I'll be on the train.</dialogue>
<parenthetical>( he kisses her . )</parenthetical>
<dialogue>He leaves.</dialogue>
<scene_description>Alone with the telephone bell ringing , Grusinskaya breathes deeply , stretches herself . She goes to the glass and looks at herself - smiling . Happily she takes the pearls , kisses them , drops them into the casket - picks up the telephone .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( speaking into telephone . )</parenthetical>
<dialogue>Yes, Pimenov. Yes. where are you, in your room? Come, I will see you now. hurry.</dialogue>
<scene_description>She rises from the telephone flutteringly , she is humming a tune . She crosses to the mirror , pulls back her hair happily , she is indeed younger . Suzette is putting out a dark dress .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Not that dark dress - something light - bright - it's a sunny morning, Suzette.</dialogue>
<scene_description>Suzette happily glances at her . There is a knock at the door .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Come in.</dialogue>
<parenthetical>( sings . )</parenthetical>
<dialogue />
<scene_description>Pimenov enters , before he can speak -</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Good morning, Pimenov.</dialogue>
<character>PIMENOV</character>
<parenthetical>( a little puzzled at change in her . )</parenthetical>
<dialogue>Good morning, Gru - your -</dialogue>
<scene_description>Before he can start speaking of last night she quickly speaks :</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Pimenov, I have an idea - a new ballet - it must have mad music - I'll explain it to you later. But now, hurry to the theatre - I want full rehearsal - properties - full ballet and some musicians. Hurry - Quickly. I will be there -</dialogue>
<scene_description>During this scene Grusinskaya has not looked at him , she is busy in the glass . Nice photography on hair and face . Side scene between Suzette and Pimenov , as Suzette shows him the cigarette case on the table . As he goes through the door Grusinskaya crosses and almost sweeps Suzette to the door with him .</scene_description>
<character>PIMENOV</character>
<dialogue>Gru - you are positively radiant.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Yes, Pimenov.</dialogue>
<parenthetical>( quickly to Suzette . )</parenthetical>
<dialogue>One minute, Suzette, I will call you.</dialogue>
<scene_description>They leave . Grusinskaya shuts the door . She sweeps happily to the telephone .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( very very softly - her voice is like music to operator . )</parenthetical>
<dialogue>Hello - will you - will you get me Baron von Gaigern, please. yes. Baron von Gaigern - yes.</dialogue>
<scene_description>While she waits , she moves with a sense of dance .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( again into telephone . )</parenthetical>
<dialogue>Will you get me Baron von Gaigern, please.</dialogue>
<parenthetical>( she speaks quietly . )</parenthetical>
<dialogue>Cherie. yes. it is you. nothing. good morning, good morning, cherie. nothing. no. just to tell you I'm happy.</dialogue>
<scene_description>Bring music up . END OF SEQUENCE '' # 3 '' SEQUENCE '' # 4 ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - SIGN</stage_direction>
<scene_description>Music effect over sign `` Grand Hotel . '' Precisely the same angle as before . The sign lights .</scene_description>
</scene>
<scene>
<stage_direction>LOBBY - BY SENF'S DESK</stage_direction>
<scene_description>The music comes up on the DISSOLVE into the original key shot of the lobby . Senf is busy . The Baron 's chauffeur is standing impatiently by his desk . Business ad lib of Senf . He turns to the chauffeur who is barring the way of an important looking alien .</scene_description>
<character>SENF</character>
<dialogue>Step back please.</dialogue>
<scene_description>Chauffeur makes no effort to move . Against the normal busy , happy traffic of the evening he is a sinister figure . He does not move but glares at Senf .</scene_description>
<character>SENF</character>
<dialogue>I've told you three times - Baron von Gaigern is out.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>Did he leave any message for me?</dialogue>
<character>SENF</character>
<dialogue>No, he did not - there is no message.</dialogue>
<scene_description>This whole scene is played in a very low key , almost in a whisper , it is interrupted by the entrance of the Doctor .</scene_description>
<character>DOCTOR</character>
<parenthetical>( to Senf . )</parenthetical>
<dialogue>Any letters?</dialogue>
<character>SENF</character>
<dialogue>No, doctor.</dialogue>
<scene_description>During this short scene the chauffeur saunters off . Kringelein comes to the doctor .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh, Doctor, such a day - such a day!</dialogue>
<scene_description>They move away from the scene . Kringelein 's voice diminishes as the CAMERA MOVES following the chauffeur . The chauffeur saunters unthoughtfully past the florist shop and out of the door . As we pass the florist shop we see the back of the Baron in the shot . CAMERA PANS chauffeur out to door . He has not seen the Baron in the florist shop . THE CAMERA PANS back to florist shop waits for the Baron who emerges carrying his usual box of orchids . CAMERA FOLLOWS BARON back to Senf 's desk . Key shot .</scene_description>
<character>BARON</character>
<parenthetical>( to Senf . )</parenthetical>
<dialogue>Madam Grusinskaya.</dialogue>
<character>SENF</character>
<parenthetical>( taking the flowers and handing them to clerk . )</parenthetical>
<dialogue>For Madam Grusinskaya.</dialogue>
<character>CLERK</character>
<parenthetical>( to page boy . )</parenthetical>
<dialogue>Madam Grusinskaya - at once -</dialogue>
<character>SENF</character>
<parenthetical>( to Baron . )</parenthetical>
<dialogue>Your chauffeur's been waiting, Baron.</dialogue>
<character>BARON</character>
<parenthetical>( Quickly - shortly . )</parenthetical>
<dialogue>All right.</dialogue>
<parenthetical>( he glances around apprehensively . )</parenthetical>
<dialogue />
<scene_description>Kringelein is speaking to the doctor . The Baron approaches them .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Baron, we must have gone a hundred miles an hour, at least.</dialogue>
<character>BARON</character>
<dialogue>Yes, quite.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( to doctor . )</parenthetical>
<dialogue>We've been together all day. and in an aeroplane.</dialogue>
<character>DOCTOR</character>
<dialogue>Life is changing you, Mr. Kringelein.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes, thanks to the Baron. The best shops, the very best. Look, Doctor, silk - feels so nice on the skin. a London hat, see - made in England, that's silk, too - fifty marks. Look, the price is on it. That was half my salary before. The Baron is a very fine gentleman - no one in my life has been so nice to me as the Baron.</dialogue>
<scene_description>The Baron smiles . He slaps his gauntlets on his dusty coat .</scene_description>
<character>BARON</character>
<dialogue>I'm going to change and we'll meet for a drink in the Yellow Room.</dialogue>
<character>KRINGELEIN</character>
<dialogue>In the Yellow Room, where the music's playing and the ladies are?</dialogue>
<character>BARON</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>Where the music's playing and the ladies are.</dialogue>
<scene_description>The Baron leaves .</scene_description>
<character>DOCTOR</character>
<dialogue>No pain, Mr. Kringelein?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Pain? Oh, no, Doctor. I think if I had pain I'd be too happy to notice it.</dialogue>
<scene_description>NOTE : Find cut here . While Kringelein is talking , they move away from the CAMERA .</scene_description>
</scene>
<scene>
<stage_direction> FLASH OF BARON'S ROOM.</stage_direction>
<scene_description>The Baron enters , throws his gloves down on the bed , turns up the light , picks up a piece of paper that 's been pushed under the door , glances at it . FLASH INSERT OF THE PAPER In scrawl : `` I HAVE BEEN WAITING ALL DAY . WILL BE OUTSIDE OR AT THE GARAGE . '' `` S '' BARON . We again see the apprehension on the Baron 's face . He crosses , closes the window . As he does so we hear the noise from the conference room . Bring up noise from the conference room .</scene_description>
</scene>
<scene>
<stage_direction>CONFERENCE ROOM</stage_direction>
<scene_description>We must have the feeling that these men have been arguing all day . Cognac bottles , cigar ends , selzer water , remains of some sandwiches . In other words it is a business battlefield . Preysing is drawn and tired . Zinnowitz is on his feet . Flaemmchen is fast asleep in her chair , making a pretty picture .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>and let me say again for the tenth time.</dialogue>
<parenthetical>( he is hoarse and tired . )</parenthetical>
<dialogue>. you people were quite ready for the merger. You declared yourselves. fully agreed on all the terms - Why should the signing of these articles be suddenly held up?</dialogue>
<character>GERSTENKORN</character>
<dialogue>I've admitted that at one time we had reason for desiring ther merger - What reason have we now? The Preysing Company has fallon upon evil days, very evil days.</dialogue>
<scene_description>Preysing jumps to his feet .</scene_description>
<character>PREYSING</character>
<dialogue>Evil days - I've shown you here -.</dialogue>
<parenthetical>( he bangs the paper . )</parenthetical>
<dialogue>- my company exports to the Balkans alone, sixty - five thousand marks worth of mop rags a year.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Mop rags - mop rags - we're interested in something quite different!</dialogue>
<character>PREYSING</character>
<dialogue>What?</dialogue>
<character>SCHWEIMANN</character>
<parenthetical>( to Gerstenkorn - with a sigh . )</parenthetical>
<dialogue>Shall I tell them again?</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( glancing at his watch . )</parenthetical>
<dialogue>Why waste time - it's getting late.</dialogue>
<character>SCHWEIMANN</character>
<dialogue>You see - what we are interested in -</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Ah, come on - we're going home.</dialogue>
<scene_description>Due to the long tedious session the men 's collars are wilted .</scene_description>
<character>ZINNOWITZ</character>
<parenthetical>( rising . )</parenthetical>
<dialogue>Mr. Preysing has too scrupulous a regard for certainties.</dialogue>
<character>GERSTENKORN</character>
<dialogue>You've talked enough today, you're hoarse now.</dialogue>
<scene_description>IMPORTANT CLOSEUP OF PREYSING His hand goes to his pocket . Slowly he takes out the telegram and glances at it . The following scene is played over this closeup .</scene_description>
<character>GERSTENKORN</character>
<dialogue>Sorry, Preysing.</dialogue>
<parenthetical>( he gets his hat . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>You've decided against the merger?</dialogue>
<character>GERSTENKORN</character>
<dialogue>Yes -</dialogue>
<character>PREYSING</character>
<dialogue>Then, it's all over?</dialogue>
<character>GERSTENKORN</character>
<dialogue>Yes -</dialogue>
<character>WAITZ</character>
<parenthetical>( to Zinnowitz . )</parenthetical>
<dialogue>Well - well - You could call my office.</dialogue>
<scene_description>There is a general movement to go . FLASH OF TELEGRAM Trembling in Preysing 's hand . `` DEAL WITH MANCHESTER DEFINITELY OFF . '' GENERAL SHOT OF ROOM Gerstenkorn crosses to Preysing .</scene_description>
<character>GERSTENKORN</character>
<dialogue>Goodbye, Preysing, I hope you pull through. This is a very bad time to be in such a crisis. We've.</dialogue>
<character>PREYSING</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Why talk - it's over - it's over - it's finished. You've broken off negotiations. You did it. You're calling them off. You had nothing on your mind all day, but Manchester, - Manchester - Manchester.</dialogue>
<parenthetical>( he develops almost a passion . )</parenthetical>
<dialogue>You do n't suppose for one moment that I'm such a fool as not to have something that I could say definitely about Manchester.</dialogue>
<parenthetical>( he is generating almost a passion . )</parenthetical>
<dialogue />
<character>GERSTENKORN</character>
<dialogue>What?</dialogue>
<character>PREYSING</character>
<dialogue>Oh no - no - the session is over. Let's go, it's off. Thank you, gentlemen.</dialogue>
<parenthetical>( he starts packing up his papers . )</parenthetical>
<dialogue />
<character>GERSTENKORN</character>
<dialogue>If you actually have news from Manchester then.</dialogue>
<character>PREYSING</character>
<dialogue>Gentlemen, I am now free to announce.</dialogue>
<parenthetical>( he is perspiring , his hands are trembling . )</parenthetical>
<dialogue>. that the deal between my firm and the Manchester Cotton Company has been successfully negotiated.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Preysing, you're joking with us.</dialogue>
<character>SCHWEIMANN</character>
<dialogue>You're a deep one.</dialogue>
<scene_description>QUICK CLOSEUP OF ZINNOWITZ GENERAL SHOT OF ROOM</scene_description>
<character>GERSTENKORN</character>
<dialogue>In that case give us the articles. We'll sign at once. We know all the details.</dialogue>
<character>PREYSING</character>
<parenthetical>( smiling , slowly folds up the telegram and puts it back in his pocket . )</parenthetical>
<dialogue>I thought we'd suspended negotiations, gentlemen.</dialogue>
<character>GERSTENKORN</character>
<dialogue>Under these circumstances it's quite a different matter.</dialogue>
<character>PREYSING</character>
<dialogue>Under these circumstances we might refuse to sign.</dialogue>
<scene_description>By this time , Waitz and Zinnowitz have the articles out upon the table . Preysing is perspiring . Gerstenkorn puts his arms around Preysing 's shoulders .</scene_description>
<character>GERSTENKORN</character>
<dialogue>Come on - business is business - Come on -</dialogue>
<scene_description>Preysing stands , looking ahead of him . Gerstenkorn picks up the papers glances at them , looks at Waitz . Flaemmchen is awakening .</scene_description>
<character>GERSTENKORN</character>
<dialogue>Here's my signature - here Preysing, sign here.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>What a session this has been.</dialogue>
<scene_description>While Preysing is signing .</scene_description>
<character>SCHWEIMANN</character>
<dialogue>It's twenty - five to six.</dialogue>
<character>WAITZ</character>
<dialogue>We should celebrate this with a bottle of wine.</dialogue>
<character>GERSTENKORN</character>
<parenthetical>( with his hat and coat . )</parenthetical>
<dialogue>See you soon, Preysing. Next week we'll meet and discuss further details.</dialogue>
<character>PREYSING</character>
<dialogue>Next week.</dialogue>
<scene_description>Hasty hand - shaking , business of exits . Waitz , Gerstenkorn and Schweimann out . Preysing has not moved . Zinnowitz takes the agreement and waves it in the air to dry the signature .</scene_description>
<character>PREYSING</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Next week.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>You let me talk till I'm hoarse and you had Manchester sewed - up all the time. Why?</dialogue>
<scene_description>Preysing does not answer . Zinnowitz amiably shrugs his shoulders .</scene_description>
<character>ZINNOWITZ</character>
<dialogue>Well - the deal has been put through.</dialogue>
<scene_description>Preysing commences to laugh suddenly with increasing violence .</scene_description>
<character>PREYSING</character>
<dialogue>Yes, it has been put through - it has been put through.</dialogue>
<scene_description>During this scene , Flaemmchen has risen , piled up her papers , glanced at her watch . During this action Flaemmchen motions to Zinnowitz that she is going down to dance , etc. , Preysing is unaware of this action . Flaemmchen leaves the room trying not to attract attention .</scene_description>
<character>ZINNOWITZ</character>
<parenthetical>( to Preysing . )</parenthetical>
<dialogue>What's the matter with you?</dialogue>
<character>PREYSING</character>
<parenthetical>( hysterically . )</parenthetical>
<dialogue>Bluff - Bluff - all bluff.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>What's bluff?</dialogue>
<character>PREYSING</character>
<parenthetical>( throwing the telegram on the table . )</parenthetical>
<dialogue>That.</dialogue>
<character>ZINNOWITZ</character>
<parenthetical>( reading at out loud . )</parenthetical>
<dialogue>` Deal with Manchester definitely off! `` Preysing, oh - I'd never have thought it of you.</dialogue>
<character>PREYSING</character>
<dialogue>No one would have thought it of me. I've been getting rusty in Fredersdorf. Well, if bluff is what the world wants I guess I can put up as big a bluff as anyone. From now on.</dialogue>
<parenthetical>( he turns away . )</parenthetical>
<dialogue />
<character>ZINNOWITZ</character>
<dialogue>You must go to Manchester at once yourself and really see it through.</dialogue>
<character>PREYSING</character>
<dialogue>Yes - I must go to England - I was desperate - Now I do n't care - This sort of thing goes to a man's head.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>What you need is some relaxation.</dialogue>
<character>PREYSING</character>
<dialogue>Yes - that's what I want - I'd like to tear loose - I'd like a drink. I'd like to go down to that dancing place. I'd like to start something.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>I can understand that - after your - uh -</dialogue>
<character>PREYSING</character>
<dialogue>Say it - say it - my lie - it's the first time in thirty years that I've ever. Where's that stenographer? Miss Flaemm.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>What do you want with her?</dialogue>
<character>PREYSING</character>
<dialogue>I want to see her, I want to do some dictating - report of the conference for my father - in - law.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>She had an engagement in the Yellow Room at five o'clock - she was in a hurry.</dialogue>
<character>PREYSING</character>
<dialogue>Zinnowitz, would you say she was pretty?</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Pretty as a picture.</dialogue>
<character>PREYSING</character>
<dialogue>Let's go down and find her - I need a drink - Come along Zinnowitz.</dialogue>
<parenthetical>( he is picking up papers . )</parenthetical>
<dialogue>I do n't know anything about women - been married for twenty - six years.</dialogue>
<character>ZINNOWITZ</character>
<dialogue>Bluff does it, Preysing, bluff does it. Goodnight.</dialogue>
<scene_description>Preysing is very excited , they start to leave - at that moment the telephone rings .</scene_description>
<character>PREYSING</character>
<dialogue>Aeh!</dialogue>
<scene_description>He crosses to the telephone .</scene_description>
<character>PREYSING</character>
<parenthetical>( into telephone . )</parenthetical>
<dialogue>Hello. Father - in - law? Is that you? The agreement is signed - I did it. yes, father - in - law. but now I must go to Manchester.</dialogue>
<scene_description>When he picks the telephone up his hands are shaking - COCKTAIL SHAKER - which shakes more . Music crashes up - DISSOLVE INTO</scene_description>
</scene>
<scene>
<stage_direction>BAR</stage_direction>
<scene_description>Kringelein and the Doctor are just entering . Kringelein is changed . His hair has been cut short and his moustache is gone , he looks almost saucy .</scene_description>
<character>DOCTOR</character>
<parenthetical>( to barman . )</parenthetical>
<dialogue>Barman - whiskey -.</dialogue>
<parenthetical>( to Kringelein . )</parenthetical>
<dialogue>For you, Mr. Kringelein?</dialogue>
<character>KRINGELEIN</character>
<dialogue>For me? - Oh, please, something sweet and cold.</dialogue>
<character>BARMAN</character>
<dialogue>A Louisiana flip, sir?</dialogue>
<character>KRINGELEIN</character>
<dialogue>A Louisiana flip, that sounds very nice - sweet, eh? -</dialogue>
<scene_description>During the following speech Kringelein keeps reaching for the moustache that is not there . He is thoroughly happy .</scene_description>
<character>DOCTOR</character>
<dialogue>What do you do in the Grand Hotel? Eat - sleep - loaf around - do business - flirt a little - dance a little. A hundred doors to one hall and nobody knows anything about the person next to him. When you leave another takes your room and lies in your bed - the end.</dialogue>
<scene_description>At that moment Flaemmchen enters .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Good evening, Mr. Kringelein - Where's the Baron?</dialogue>
<character>KRINGELEIN</character>
<dialogue>I'm waiting for him here. The Baron and I have been together all day. A hundred miles an hour - in a motor car - and in an aeroplane - It was marvelous -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Mr. Kringelein - How you have changed, you look so nice.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, thank you, Miss Flaemm. Oh, please, Miss Flaemm - Permit me, Miss Flaemm, wo n't you have something sweet - a Louisiana flip.</dialogue>
<parenthetical>( to barman . )</parenthetical>
<dialogue>A Louisiana flip.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( to barman . )</parenthetical>
<dialogue>No - absinthe.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>Yes - that -</dialogue>
<scene_description>Kringelein is beating time to the music - a little carried away . Flaemmchen laughs .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>You like music?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes - it's stimulating - a man might -</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( mischievously . )</parenthetical>
<dialogue>A man might what?</dialogue>
<character>KRINGELEIN</character>
<dialogue>I do n't know - I'd like to do anything -</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( very quietly . )</parenthetical>
<dialogue>Oh - you would!</dialogue>
<scene_description>The Baron enters quickly .</scene_description>
<character>BARON</character>
<parenthetical>( to Flaemmchen . )</parenthetical>
<dialogue>Hello - sorry I'm late.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh - here you are, Baron. A drink - A Louisiana flip?</dialogue>
<character>BARON</character>
<dialogue>Hello, Mr. Kringelein. How do you feel now?</dialogue>
<character>KRINGELEIN</character>
<dialogue>A little strange, Baron.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I'd given you up.</dialogue>
<character>BARON</character>
<parenthetical>( to Flaemmchen . )</parenthetical>
<dialogue>Sorry.</dialogue>
<character>KRINGELEIN</character>
<dialogue>A drink, Baron - A Louisiana flip?</dialogue>
<character>BARON</character>
<dialogue>No thanks - keeping my head clear.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Dance then?</dialogue>
<parenthetical>( they exit . )</parenthetical>
<dialogue />
<character>KRINGELEIN</character>
<parenthetical>( to Doctor . )</parenthetical>
<dialogue>She's beautiful - is n't she?</dialogue>
<character>DOCTOR</character>
<parenthetical>( to Kringelein . )</parenthetical>
<dialogue>Oh - there are plenty of women.</dialogue>
<scene_description>BARON AND FLAEMMCHEN DANCING</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>What have you been doing all day?</dialogue>
<character>BARON</character>
<dialogue>Chasing around.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Chasing what?</dialogue>
<character>BARON</character>
<dialogue>Money.</dialogue>
<scene_description>They dance a few steps , in silence .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>You were very different yesterday.</dialogue>
<character>BARON</character>
<dialogue>Yesterday - yes - that was yesterday.</dialogue>
<scene_description>They dance into the crowd .</scene_description>
</scene>
<scene>
<stage_direction>BAR</stage_direction>
<character>DOCTOR</character>
<dialogue>Well, Mr. Kringelein, are you getting what you're looking for?</dialogue>
<character>KRINGELEIN</character>
<dialogue>What, Doctor?</dialogue>
<character>DOCTOR</character>
<dialogue>A masculine paradise - drink, the ladies, dancing.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I had a very good opportunity, a young lady asked me to dance - I ought to be able to dance, it seems to be very important.</dialogue>
<character>DOCTOR</character>
<dialogue>You must learn as quickly as your time allows - Believe me Mr. Kringelein, a man who is n't with a woman is a dead man.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Have n't you anyone - Have n't you anybody - you - I mean - Are you all alone in the world.</dialogue>
<character>DOCTOR</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I'm always alone - I have been everything.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Everything?</dialogue>
<character>DOCTOR</character>
<dialogue>I was sent as a military surgeon to South Africa. Stinking climate. Taken prisoner. Home on parole not to fight. I was a surgeon in the Great War till the end. Grenade in the face. Carried diphtheria bacilli in the wound until 1920. Isolated two years.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I've been everything.</dialogue>
<scene_description>The music has stopped .</scene_description>
</scene>
<scene>
<stage_direction> BARON AND FLAEMMCHEN ON DANCE FLOOR.</stage_direction>
<character>FLAEMMCHEN</character>
<dialogue>That was lovely.</dialogue>
<character>BARON</character>
<dialogue>Will you do me a big favor?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I'll do anything for you.</dialogue>
<character>BARON</character>
<dialogue>Would you like to make a man happy?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Yes - I'd love to.</dialogue>
<character>BARON</character>
<dialogue>Then dance the next number with Kringelein.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Why?</dialogue>
<character>BARON</character>
<dialogue>I feel sorry for him.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You're not a bit like you were yesterday.</dialogue>
<character>BARON</character>
<dialogue>I fell in love last night - the real thing.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Oh - there's no real thing - it does n't exist.</dialogue>
<character>BARON</character>
<dialogue>I thought that, too - but I found that it does. Come along, dance with Kringelein.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Anything for you.</dialogue>
<scene_description>They move off . As they approach the bar , happily Preysing pushes into scene , touches Flaemmchen 's arm .</scene_description>
<character>PREYSING</character>
<dialogue>Miss Flaemm.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Hello!</dialogue>
<character>PREYSING</character>
<dialogue>I must speak with you, Miss Flaemm.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( with the Baron . )</parenthetical>
<dialogue>Presently, Mr. Preysing.</dialogue>
<character>PREYSING</character>
<dialogue>It's urgent.</dialogue>
<character>BARON</character>
<dialogue>Pardon me, the lady has urgent business here with me.</dialogue>
<character>PREYSING</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Insolent - Berlin manners.</dialogue>
<scene_description>At that moment Kringelein has descended from the stool and crosses to Preysing .</scene_description>
<character>KRINGELEIN</character>
<dialogue>I wish you a very good evening, Mr. Preysing. You are staying here, too, Mr. Preysing?</dialogue>
<character>PREYSING</character>
<dialogue>I do n't know you.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh - you must know me - Kringelein at the plant. Assistant bookkeeper, building C, room twenty - three - third floor.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Come and dance with me, Mr. Kringelein.</dialogue>
<character>PREYSING</character>
<dialogue>I must speak to you, Miss Flaemm - business.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Tomorrow morning.</dialogue>
<character>PREYSING</character>
<dialogue>No - now.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Do you gentlemen know each other, Mr. Kringelein - Mr. Preysing - Baron von Gaigern.</dialogue>
<scene_description>They bow stiffly .</scene_description>
<character>PREYSING</character>
<dialogue>Mr. Kringelein will be a good friend and not accept your invitation to dance.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I could not think of not accepting.</dialogue>
<character>PREYSING</character>
<dialogue>You say that you are employed by us in Fredersdorf, and here you are in Berlin, indulging in diversions which ill befit your position and which are very much beyond your means - Quite extraordinary, Mr. Kringelein, I think we will look into your books.</dialogue>
<scene_description>Kringelein stands watching Preysing , his eyes narrowing .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Now, children, no fighting - save that for the office. Let's have our dance.</dialogue>
<parenthetical>( her arms go around Kringelein .</parenthetical>
<parenthetical>They dance off . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<dialogue>I'll remember you, Mr. Kringelein.</dialogue>
<character>BARON</character>
<dialogue>Oh, let the poor devil alone.</dialogue>
<character>PREYSING</character>
<dialogue>I did not ask your advice.</dialogue>
<scene_description>The two men eye each other ; for a moment there might be a fight .</scene_description>
<character>BARON</character>
<dialogue>I think it would be much better if you went away.</dialogue>
<character>PREYSING</character>
<dialogue>We shall see who remains here the longer.</dialogue>
<character>BARON</character>
<parenthetical>( shrugging his shoulders . )</parenthetical>
<dialogue>As you will.</dialogue>
<scene_description>Preysing leans against the bar , orders a cognac . The Baron turns his back to him , watching the dancing .</scene_description>
</scene>
<scene>
<stage_direction> FAEMMCHEN AND KRINGELEIN ON FLOOR</stage_direction>
<character>FLAEMMCHEN</character>
<dialogue>You must look at my face and not at the floor.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You're trembling.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I never danced before - in public.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You dance splendidly.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I'm happy, Miss Flaemm.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Really?</dialogue>
<character>KRINGELEIN</character>
<dialogue>For the first time in my life, I'm happy.</dialogue>
<scene_description>Kringelein shows signs of exhaustion . Flaemmchen watches him quickly .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Let's stop - I'm tired.</dialogue>
<scene_description>It is obvious that she has stopped because of Kringelein 's distress .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Thank you, Miss Flaemm.</dialogue>
<scene_description>They move back to the bar . Preysing catches Flaemmchen 's arm .</scene_description>
<character>PREYSING</character>
<dialogue>Well now, Miss Flaemm, we can talk.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Some champagne, Miss Flaemm?</dialogue>
<character>PREYSING</character>
<dialogue>You may go, Mr. Kringelein.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Does the world belong to you, Mr. Preysing?</dialogue>
<character>PREYSING</character>
<dialogue>What is this insolence?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Do you think you have free license to be insulting? Believe me you have not. You think you're superior, but you're quite an ordinary man.</dialogue>
<character>PREYSING</character>
<dialogue>Go away - go away.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Please - please!</dialogue>
<character>KRINGELEIN</character>
<dialogue>You do n't like to see me enjoying myself.</dialogue>
<character>PREYSING</character>
<dialogue>Who are you? - An embezzler most likely.</dialogue>
<character>KRINGELEIN</character>
<dialogue>An embezzler - you're going to take that back, right here in the presence of this young lady - who do you think you're talking to? You think I'm dirt, if I'm dirt, you're a lot dirtier, Mr. Industrial Magnate Preysing.</dialogue>
<character>PREYSING</character>
<dialogue>You're discharged.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Me?</dialogue>
<character>PREYSING</character>
<dialogue>Yes you - shut your mouth - get out - you're discharged.</dialogue>
<scene_description>Kringelein 's hat has fallen from the stool upon the floor . Flaemmchen picks it up , brushes it . Kringelein starts to laugh . The Baron steps into the scene . The Doctor slowly comes from the bar .</scene_description>
<character>KRINGELEIN</character>
<dialogue>You ca n't discharge me - I'm my own master now - at last. I'm ill, I'm going to die - do you understand? I'm going to die very soon. Nothing can happen to me now. Nobody can do anything any more to me. By the time you can have discharged me I shall have been dead already.</dialogue>
<parenthetical>( his laugh becomes a convulsive sob . )</parenthetical>
<dialogue />
<scene_description>The Baron steps between the two looking straight into Preysing 's face .</scene_description>
<character>DOCTOR</character>
<dialogue>Come, Mr. Kringelein.</dialogue>
<parenthetical>( he pulls him out of the scene towards the bar . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<parenthetical>( his fists clenched , between his teeth . )</parenthetical>
<dialogue>The man's insane - he acts as if he is glad he is going to die.</dialogue>
<parenthetical>( hesitates - to Flaemmchen . )</parenthetical>
<dialogue>I shall see you in the lobby in half an hour.</dialogue>
<scene_description>END SEQUENCE '' # 4 ''</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#5"</stage_direction>
<scene_description>KEY SHOT OF LOBBY OVER SENF 'S HEAD General activity . The house detective , later identified , is talking to the chauffeur . He leaves the chauffeur and crosses to Senf .</scene_description>
<character>HOUSE DETECTIVE</character>
<dialogue>Better let him stay - I've sent for the Baron. How's your wife coming along?</dialogue>
<character>SENF</character>
<dialogue>I was at the hospital all night walking up and down the corridor. They would n't let me in to see her. She has the pains, but the child does n't come and I have to stay here chained to this desk.</dialogue>
<character>HOUSE DETECTIVE</character>
<dialogue>It will be all right.</dialogue>
<character>SENF</character>
<dialogue>I hope so.</dialogue>
<scene_description>At that moment Preysing enters .</scene_description>
<character>PREYSING</character>
<dialogue>Did you send that page?</dialogue>
<character>SENF</character>
<dialogue>The young lady's there, sir.</dialogue>
<scene_description>Preysing glances off to see Flaemmchen standing looking around . Preysing crosses to Flaemmchen .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Oh, yes, Mr. Preysing?</dialogue>
<character>PREYSING</character>
<dialogue>Sit here.</dialogue>
<parenthetical>( calls to a boy . )</parenthetical>
<dialogue>Cognac - for you?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Nothing.</dialogue>
<scene_description>At that moment the Baron and Kringelein pass . Preysing glances up at Kringelein as he passes .</scene_description>
<character>PREYSING</character>
<dialogue>I'm going to keep an eye on that Kringelein fellow. I'll find out where he gets the money to hang around the Grand Hotel.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Well - you want me?</dialogue>
<character>PREYSING</character>
<parenthetical>( looks straight at her . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Well?</dialogue>
<character>PREYSING</character>
<dialogue>I must go to England - at once.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Well?</dialogue>
<character>PREYSING</character>
<dialogue>You see, I'd like to take a secretary with me for my correspondence and - humm - humm - for company on the trip - I'm nervous - I need somebody - I do n't know if you quite understand me. You said you have travelled with gentlemen - and I mean -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I understand perfectly.</dialogue>
<character>PREYSING</character>
<dialogue>What do you think your salary would be - for such a trip?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Wait - I must figure it up.</dialogue>
<parenthetical>( she smokes and thinks . )</parenthetical>
<dialogue>First, I'll need - clothes - shoes - it's cold in England in March, I'll need a suit. You'd want me to look nice?</dialogue>
<character>PREYSING</character>
<dialogue>Of course - of course.</dialogue>
<parenthetical>( he is fidgeting . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<dialogue>A thousand marks -.</dialogue>
<parenthetical>( she waits anxiously thinking it might be too much . )</parenthetical>
<dialogue />
<character>PREYSING</character>
<dialogue>It's agreed - I will get a room here for you.</dialogue>
<scene_description>She is looking away .</scene_description>
<character>PREYSING</character>
<dialogue>I can get a room here in the Grand Hotel for you.</dialogue>
<scene_description>She still looks away .</scene_description>
<character>PREYSING</character>
<dialogue>Can you pay some attention to me?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Oh, yes.</dialogue>
<character>PREYSING</character>
<parenthetical>( looking off . )</parenthetical>
<dialogue>Insolent young cub!</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You mean Baron von Gaigern?</dialogue>
<character>PREYSING</character>
<dialogue>Baron!</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Well, he's a gentleman!</dialogue>
</scene>
<scene>
<stage_direction> THE BARON</stage_direction>
<scene_description>Who is leaning against a chair by a pillar with Kringelein . THE CAMERA APPROACHES THEM . They are not speaking . The Baron is looking off at : FLASH A SHOT FROM HIS ANGLE OF CHAUFFEUR Sauntering between the door and Senf 's desk . THE BARON He slumps on the arm of the chair .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( watching him . )</parenthetical>
<dialogue>The Baron is tired?</dialogue>
<character>BARON</character>
<dialogue>No, Kringelein, not tired, - just -.</dialogue>
<parenthetical>( he shrugs his shoulders . )</parenthetical>
<dialogue>Well - well -</dialogue>
<character>KRINGELEIN</character>
<dialogue>Perhaps this evening, Baron, we could go to the Casino - the place we passed with the marvelous bright lights?</dialogue>
<character>BARON</character>
<dialogue>I'd like to Kringelein, but I ca n't - I am broke!</dialogue>
<character>KRINGELEIN</character>
<dialogue>Broke - A Baron? But, Baron -</dialogue>
<scene_description>The Baron looks off , sees the chauffeur - FLASH OF CHAUFFEUR Arguing with Senf . BARON</scene_description>
<character>BARON</character>
<dialogue>Excuse me, Mr. Kringelein.</dialogue>
<parenthetical>( he strides off . )</parenthetical>
<dialogue />
<scene_description>Keep the CAMERA on Kringelein as he watches the Baron . He takes out his pocket - book and looks at his money commencing to count it . The thought is in his mind of offering the Baron money . Charming scene .</scene_description>
</scene>
<scene>
<stage_direction> BARON AND CHAUFFEUR</stage_direction>
<scene_description>Moving into position . They are talking .</scene_description>
<character>BARON</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I've quit.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>You ca n't.</dialogue>
<character>BARON</character>
<dialogue>I'm not going to get those pearls and neither are you.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>What about the money?</dialogue>
<character>BARON</character>
<dialogue>I'll pay you back.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>How?</dialogue>
<character>BARON</character>
<dialogue>I have an idea working in my head.</dialogue>
<parenthetical>( he glances at Kringelein . )</parenthetical>
<dialogue />
<character>CHAUFFEUR</character>
<dialogue>You might find a bullet through that head.</dialogue>
<character>BARON</character>
<dialogue>If you did that, you'd get nothing except the police after you. If you wait - I'll give you your six thousand back -</dialogue>
<scene_description>At that moment a voice is heard .</scene_description>
<character>VOICE</character>
<dialogue>Madam Grusinskaya's car - Madam Grusinskaya's car.</dialogue>
<scene_description>It is passed along .</scene_description>
<character>INSIDE PORTER</character>
<parenthetical>( calls through his little telephone . )</parenthetical>
<dialogue>Madam Grusinskaya's car -</dialogue>
<character>MEGAPHONE</character>
<parenthetical>( outside . )</parenthetical>
<dialogue>Madam Grusinskaya's car -</dialogue>
<character>BARON</character>
<parenthetical>( quickly to chauffeur . )</parenthetical>
<dialogue>Later.</dialogue>
<parenthetical>( Chauffeur exits with bad grace . )</parenthetical>
<dialogue />
<scene_description>Baron looks off . FULL SHOT - FROM HIS ANGLE</scene_description>
</scene>
<scene>
<scene_description>Like a pageant Grusinskaya sweeps forward - pretty shot . Music comes up . Grusinskaya is followed by Suzette , Pimenov and Meierheim . People turn to look at her . She sweeps forward . As she gets to the door she faces the Baron . She steps quickly aside to him . Pimenov and Meierheim pause .</scene_description>
<character>GRUSINSKAYA</character>
<parenthetical>( to them . )</parenthetical>
<dialogue>Go on please - go on, Suzette.</dialogue>
<scene_description>She and the Baron are alone .</scene_description>
<character>BARON</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Bless you.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Are you coming to the theatre? Oh - I shall dance tonight - How I shall dance - I want to feel that you are in the theatre.</dialogue>
<character>BARON</character>
<dialogue>I ca n't.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>No?</dialogue>
<character>BARON</character>
<dialogue>No! I ca n't explain now. Oh, look - the pearls. You wear them now.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Why do you think -</dialogue>
<character>BARON</character>
<dialogue>Why?</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>They've brought me such good luck - you -</dialogue>
<scene_description>He takes her hand , kisses it quietly .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>I'm worried about you.</dialogue>
<character>BARON</character>
<dialogue>Do n't.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>On the train?</dialogue>
<character>BARON</character>
<dialogue>Yes - I will be on the train.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Till then.</dialogue>
<character>BARON</character>
<dialogue>Bless you -</dialogue>
<scene_description>During this scene Kringelein has been hovering nearby . As Grusinskaya turns away and exits , Kringelein approaches the Baron , who is standing perfectly still , looking off , - his mind miles away .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Was the Baron joking, or is it really true that the Baron is - in financial straits.</dialogue>
<character>BARON</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Absolutely true, Kringelein and I have to raise some money immediately.</dialogue>
<character>KRINGELEIN</character>
<dialogue>If the Baron - if you would permit me -</dialogue>
<scene_description>The Baron looks at him suddenly .</scene_description>
<character>BARON</character>
<dialogue>What?</dialogue>
<character>KRINGELEIN</character>
<dialogue>I would be awfully glad to oblige, you've been so decent to me. Three hundred?</dialogue>
<character>BARON</character>
<dialogue>If I could get into a game I might win some.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Gambling! I'd like that. I have over six thousand eight hundred marks with me.</dialogue>
<character>BARON</character>
<dialogue>If we could scare up some men to play.</dialogue>
<character>KRINGELEIN</character>
<dialogue>We could come to my room.</dialogue>
<character>BARON</character>
<parenthetical>( with enthusiasm . )</parenthetical>
<dialogue>Good!</dialogue>
<scene_description>At that moment Flaemmchen passes .</scene_description>
<character>BARON</character>
<dialogue>Going?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Yes -</dialogue>
<scene_description>Flaemmchen hesitates as though she wanted to say something that is on her mind . A curious little scene . She does n't speak , she just turns suddenly through the door . The Baron glances after her a little puzzled , turns back to Kringelein .</scene_description>
<character>BARON</character>
<dialogue>Ready, Kringelein?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Ready, Baron.</dialogue>
<scene_description>They move off and are last in the crowd . END OF SEQUENCE '' # 5 ''</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#6"</stage_direction>
<scene_description>No scenes 88 - 93 inclusive Sequence omitted from original script .</scene_description>
</scene>
<scene>
<stage_direction>KRINGELEIN'S ROOM</stage_direction>
<scene_description>Possibly ten men are gathered about a green table . They are playing cards . There are champagne bottles , glasses , etc. , on the table - a great deal of smoke . Good atmosphere . The game is -LSB- . -RSB- fer . There is a dead silence except for the monotonous words of the players . White faced , the Baron has the bank . Otternschlag is seen to close the door quietly and approach the table . Kringelein 's back is to us . They are smart people , not professional gamblers . There is a tension in the room . The men are gathered around tightly . We do not see the cards . The following voices are heard :</scene_description>
<character>BARON'S VOICE</character>
<dialogue>All right, gentlemen.</dialogue>
<character>VOICES</character>
<dialogue>I play - I play - Here - Up - Playing -</dialogue>
<character>KRINGELEIN'S VOICE</character>
<dialogue>Yes - me.</dialogue>
<scene_description>Several men glance at Kringelein and the size of his stake .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Is that too much, Baron?</dialogue>
<character>BARON</character>
<parenthetical>( glances down at his own money . )</parenthetical>
<dialogue>No - not at all.</dialogue>
<character>KRINGELEIN</character>
<dialogue>All right then.</dialogue>
<character>BARON</character>
<dialogue>All right then.</dialogue>
<scene_description>There is tension in the room . The Baron deals two cards . Kringelein takes cards .</scene_description>
<character>A MAN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Do n't show them.</dialogue>
<scene_description>Kringelein turns it down . He is like a little boy learning a new game . The Baron deals himself a card .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( to Baron . )</parenthetical>
<dialogue>What do I do now?</dialogue>
<scene_description>The Baron is serious . There is enough money on the table to take him to Vienna .</scene_description>
<character>A MAN</character>
<parenthetical>( next to Kringelein . )</parenthetical>
<dialogue>Turn'em up.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh yes - that's right - look! I win, do n't I -.</dialogue>
<parenthetical>( he turns the card up . )</parenthetical>
<dialogue />
<scene_description>The Baron rises .</scene_description>
<character>BARON</character>
<dialogue>There you are gentlemen.</dialogue>
<character>A MAN</character>
<parenthetical>( to Kringelein . )</parenthetical>
<dialogue>Will you take the bank, sir?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes - I'll take everything gentlemen - please, let us drink - champagne - champagne is expensive and good. I'm winning more than I used to earn in a year - double what I used to earn.</dialogue>
<parenthetical>( he is counting his money . )</parenthetical>
<dialogue />
<scene_description>They hand him the cards . Kringelein kisses the Baron - he looks around .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Where is the Baron - where are you, Baron?</dialogue>
<scene_description>At the side table the Baron is standing - he is drinking - his face is white - he has lost .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( rising quickly . )</parenthetical>
<dialogue>Excuse me, gentlemen.</dialogue>
<character>DOCTOR</character>
<parenthetical>( sitting down in Kringelein 's place . )</parenthetical>
<dialogue>I'll take the bank - All right, gentlemen.</dialogue>
<scene_description>Kringelein has come to the Baron .</scene_description>
<character>BARON</character>
<dialogue>That was my last.</dialogue>
<character>KRINGELEIN</character>
<dialogue>You've lost everything?</dialogue>
<character>BARON</character>
<dialogue>I've no luck.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Pardon me, Baron. Permit me again.</dialogue>
<parenthetical>( he puts bills in Baron 's hand . )</parenthetical>
<dialogue />
<scene_description>Baron pours out a glass of champagne - he has been drinking plenty - he hands glass to Kringelein .</scene_description>
<character>BARON</character>
<dialogue>Drink to me, Kringelein - it's my last chance.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( earnestly . )</parenthetical>
<dialogue>I do drink, Baron - I drink to you, Baron and to win.</dialogue>
<parenthetical>( he drinks . )</parenthetical>
<dialogue>It's good, - come along, Baron.</dialogue>
<scene_description>They both move back to the table where the Doctor holds the bank .</scene_description>
<character>BARON</character>
<dialogue>I take five hundred.</dialogue>
<character>KRINGELEIN</character>
<dialogue>All of that at once, Baron?</dialogue>
<scene_description>The Baron picks cards , shows them to Kringelein who does n't understand .</scene_description>
<character>BARON</character>
<dialogue>Eight.</dialogue>
<parenthetical>( he is triumphant . )</parenthetical>
<dialogue />
<character>DOCTOR'S VOICE</character>
<parenthetical>( rings in background . )</parenthetical>
<dialogue>Nine.</dialogue>
<scene_description>The Baron throws the cards into the middle of the table and turns to Kringelein :</scene_description>
<character>BARON</character>
<dialogue>That's it. The luck's with you.</dialogue>
<parenthetical>( he walks away . )</parenthetical>
<dialogue />
<character>VOICES</character>
<dialogue>Come along, Mr. Kringelein. Sit here.</dialogue>
<character>KRINGELEIN</character>
<dialogue>I'm having luck for the first time in my life.</dialogue>
<character>A MAN</character>
<dialogue>Your bank, Mr. Kringelein.</dialogue>
<scene_description>Kringelein seats himself , puts his glass of champagne down on the table . Doctor leaves table , crosses to Baron who is pouring another drink .</scene_description>
<character>DOCTOR</character>
<dialogue>Out, Baron?</dialogue>
<character>BARON</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>For a while - I'll recover - in ten or twenty years.</dialogue>
<parenthetical>( he points . )</parenthetical>
<dialogue>Look at that.</dialogue>
<scene_description>He has pointed and turned off because we hear Kringelein 's voice :</scene_description>
<character>KRINGELEIN'S VOICE</character>
<dialogue>I've won again, Baron - I've won again.</dialogue>
<scene_description>Baron moves out of scene followed by Doctor . As Baron approaches table .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Baron, I drink and win - I drink and win - I win and drink!</dialogue>
<parenthetical>( he is pulling money towards him , counting it , eagerly , frantically , not the movement of a miser , not a greedy movement , but the movement of an excited child liberated .</parenthetical>
<parenthetical>Money has become so much mad paper to him . )</parenthetical>
<dialogue />
<scene_description>During the foregoing scene , one of the men at the table has answered the ringing of the telephone bell , he comes back now .</scene_description>
<character>A MAN</character>
<dialogue>There are complaints in the hotel about the noise.</dialogue>
<character>VOICES</character>
<dialogue>What time is it? Getting late? Let's break it up!</dialogue>
<parenthetical>( to Kringelein . )</parenthetical>
<dialogue>You've been very lucky. Where's my coat? Let's go. He's drunk anyway! Goodnight, Baron. Let's wind up the game, I'm broke and tired ; you ca n't play against him. I put my hat down here, somewhere. I think I'll have a drink before I go. By the way, I've got to see you tomorrow morning. How've you been, Doctor?</dialogue>
<scene_description>Business ad lib . General business of slow normal exit . Kringelein looks up from counting his money . He has been like a little boy with a Christmas stocking . He looks up suddenly , sees men are leaving -</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh, do n't go, gentlemen! - Stay a while.</dialogue>
<parenthetical>( he stands to his feet . )</parenthetical>
<dialogue>Be my guests!</dialogue>
<scene_description>By this time the men are pausing by the door .</scene_description>
<character>KRINGELEIN</character>
<dialogue>I ought n't to presume, but I -.</dialogue>
<parenthetical>( he is a little drunk . )</parenthetical>
<dialogue>I'm so grateful to you - it's been so marvelous. The first time in my life I have gambled - I've danced! Oh, you can laugh, gentlemen, but it's the first time in my life I've ever tasted life!</dialogue>
<character>A MAN</character>
<parenthetical>( slapping him on back . )</parenthetical>
<dialogue>Splendid!</dialogue>
<scene_description>There is a general feeling in the room that although this man is drunk he is terribly sincere , and that there is no wish to embarrass themselves or him . In fact , there is a nervous impatient movement among the men . But Kringelein has reached an emotional pitch .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Life, gentlemen, is wonderful, but very dangerous. You must have courage for it, then it's wonderful. You gentlemen do n't know that because you are all healthy and happy, but I - believe me - a man must know death and not until then does a man know anything about life.</dialogue>
<character>A MAN</character>
<parenthetical>( sings . )</parenthetical>
<dialogue>Rejoice in life while yet the small lamp burns.</dialogue>
<scene_description>General noise among men , some are ribald , others are serious . Two men come and shake hands with Kringelein , bidding him goodnight . The Baron puts his hand restrainingly on Kringelein 's shoulder . Kringelein almost staggers towards the sideboard . The men are nearing the door .</scene_description>
<character>A MAN</character>
<parenthetical>( starts singing . )</parenthetical>
<dialogue>It's a short life and a gay one.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( seizing a glass of champagne . )</parenthetical>
<dialogue>Every glass high to life - the splendid, dangerous, mighty, brief - brief life - and the courage to live it.</dialogue>
<parenthetical>( turns to Baron . )</parenthetical>
<dialogue>Baron, you know - I've only lived since last night - but that little while seems longer than all the time before - all the -.</dialogue>
<parenthetical>( he collapses suddenly onto the floor . )</parenthetical>
<dialogue />
<scene_description>Business ad lib . The doctor is there quickly . The Baron next .</scene_description>
<character>MAN</character>
<dialogue>Drunk.</dialogue>
<character>ANOTHER MAN</character>
<dialogue>Poor fellow.</dialogue>
<scene_description>General normal business ad lib between the men . Perhaps three of them help him up , including the Baron . They carry Kringelein to the bed .</scene_description>
<character>VOICES</character>
<parenthetical>( of players mingling . )</parenthetical>
<dialogue>Drunk? No, he's ill. Looks ill.</dialogue>
<parenthetical>( well paused over : . )</parenthetical>
<dialogue>He's a doctor - The doctor's here - He's just drunk!</dialogue>
<character>DOCTOR</character>
<dialogue>Gentlemen, this man is ill - very ill - if you will leave.</dialogue>
<character>VOICES</character>
<dialogue>Certainly, Doctor. Goodnight! Goodnight, Baron! Bad luck!</dialogue>
<character>DRUNKEN MAN</character>
<dialogue>He's not used to champagne - why does he drink it?</dialogue>
<scene_description>Little comedy on exit . Ad lib . INTERCUT FOR RELIEF - Kringelein 's face - white , drawn , tragic . One man , perhaps , remains .</scene_description>
<character>MAN</character>
<dialogue>Can I help, doctor?</dialogue>
<character>DOCTOR</character>
<dialogue>No, the Baron will stay.</dialogue>
<character>BARON</character>
<dialogue>Certainly.</dialogue>
<scene_description>Man leaves . During this scene the Baron has been carefully making Kringelein comfortable on the bed , bolstering pillows behind his head . Kringelein 's eyes are shut tightly , his hands are limp . By the business of the Baron , although we do not of course know it , this is the time that he takes the wallet from Kringelein and puts it in his own pocket . We might perhaps remember a sudden turn away in which we see his back and his right hand raised as though reaching in his inside pocket - He stands looking down at Kringelein .</scene_description>
<character>DOCTOR</character>
<parenthetical>( drops Kringelein 's hand . )</parenthetical>
<dialogue>It will be over in a minute.</dialogue>
<scene_description>Kringelein 's eyes flutter . His voice sounds hoarsely :</scene_description>
<character>KRINGELEIN</character>
<dialogue>Over - over so soon - it has just begun.</dialogue>
<parenthetical>( he closes his eyes suddenly . )</parenthetical>
<dialogue>Oh, the pain.</dialogue>
<character>DOCTOR</character>
<dialogue>Try and sleep, Kringelein, do n't be afraid.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( mutteringly . )</parenthetical>
<dialogue>I'd like to live a little longer but - I'm not afraid to die - I'm not.</dialogue>
<character>BARON</character>
<parenthetical>( touching his shoulder gently . )</parenthetical>
<dialogue>You'll be all right, Kringelein.</dialogue>
<parenthetical>( he moves from the bed - takes out a cigarette , moves to the table .</parenthetical>
<parenthetical>He seizes his drink . )</parenthetical>
<dialogue />
<character>KRINGELEIN'S VOICE</character>
<parenthetical>( out of scene . )</parenthetical>
<dialogue>My pocketbook. my money in it.</dialogue>
<character>DOCTOR'S VOICE</character>
<dialogue>What do you say - what?</dialogue>
<scene_description>We watch Baron 's face , he looks back over his shoulder .</scene_description>
<character>DOCTOR'S VOICE</character>
<dialogue>You what - Oh, is n't it there?</dialogue>
<character>KRINGELEIN'S VOICE</character>
<dialogue>No - But no I - Baron, I've lost my pocketbook.</dialogue>
<scene_description>Baron turns in this scene . He walks forward toward them . The Doctor 's hands are on Kringelein 's coat .</scene_description>
<character>DOCTOR</character>
<dialogue>There is no pocketbook here. On the floor probably.</dialogue>
<parenthetical>( He glances down . )</parenthetical>
<dialogue />
<character>KRINGELEIN</character>
<parenthetical>( starting up suddenly . )</parenthetical>
<dialogue>More than fourteen thousand marks. were in that pocketbook.</dialogue>
<character>DOCTOR</character>
<parenthetical>( looking at Baron . )</parenthetical>
<dialogue>Fourteen thousand marks. One can travel - one's happiness might depend on fourteen thousand marks - do n't you think so, Baron?</dialogue>
<character>BARON</character>
<parenthetical>( with a shrug . )</parenthetical>
<dialogue>Quite possibly.</dialogue>
<scene_description>At that moment , Kringelein , who has been staring up at the ceiling , his hands clenching and reclenching , starts up .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh, I've got to find it.</dialogue>
<character>DOCTOR</character>
<dialogue>Stay where you are.</dialogue>
<character>KRINGELEIN</character>
<dialogue>No - I must find it -.</dialogue>
<parenthetical>( he starts talking . )</parenthetical>
<dialogue>Fourteen thousand two hundred marks.</dialogue>
<parenthetical>( he pulls himself to the side of the bed . )</parenthetical>
<dialogue />
<scene_description>The doctor goes to restrain him .</scene_description>
<character>KRINGELEIN</character>
<dialogue>I'm all right, Doctor. There's no pain now - only you do n't know what that money means to a man like me.</dialogue>
<scene_description>He is suddenly on his hands and knees , crawling along the floor , looking for it , like a little boy ; his drunkenness , his condition , makes the situation tragic . He actually gets under the card table . The Doctor looks at the Baron . The Baron only watches Kringelein . He follows him , fascinated .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( talking at intervals as he crawls looking for money . )</parenthetical>
<dialogue>You do n't know, because you've never lived like a dog - in a hole - and saved and scrimped. My life hangs upon that money, Baron. Nobody gives you anything. You have to buy everything and pay cash for it. I wanted to pay for my last days with that money. Every hour costs money. I've nothing - nothing but that pocketbook.</dialogue>
<parenthetical>( he crawls along the floor on his hands and knees talking to the carpet as he looks . )</parenthetical>
<dialogue>I must have it back.</dialogue>
<parenthetical>( he pauses breathless - like an animal along the wall - looking up at the men . )</parenthetical>
<dialogue />
<scene_description>The foregoing speech is intercut with the following action in which Kringelein 's voice is heard throughout - thus it is not a long speech : The Baron watches . He throws his cigarette away - he bites his lip - sweat breaks out upon his forehead ; again he is a thief . When he wanted pearls the love of a woman stopped him . Now he wants this money and pity , a slow growing pity for this tragic , dying thing is stopping him - and all the time the Doctor watches . The one , whole eye pierces into the Baron 's melting conscience . Twice during the speech at a spot , through and during rehearsal , to be selected , the Doctor 's voice , droning but piercing , says :</scene_description>
<character>DOCTOR</character>
<dialogue>He must find his money, Baron.</dialogue>
<parenthetical>( next time . )</parenthetical>
<dialogue>Mr. Kringelein should find his pocketbook, Baron, should n't he?</dialogue>
<scene_description>These are two interjections . And now , Kringelein lies upon the floor , a troubled little sack of pain , his head down . The Baron turns away . He bends down as though he were looking for the pocketbook . We see him take it from his pocket and turn . There is a very light , almost triumphant ring in his voice as he says :</scene_description>
<character>BARON</character>
<dialogue>Here - here it is. Here's your pocketbook, Kringelein.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( his head coming up . )</parenthetical>
<dialogue>Oh - yes - that's it - you found it - you found it for me, Baron.</dialogue>
<character>BARON</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Goodnight, Kringelein.</dialogue>
<parenthetical>( he moves towards the door . )</parenthetical>
<dialogue />
<character>KRINGELEIN</character>
<dialogue>No - no please - oh, do n't go - do n't go - do n't leave me alone, Baron.</dialogue>
<character>DOCTOR</character>
<dialogue>You've nothing to fear, Kringelein</dialogue>
<character>KRINGELEIN</character>
<dialogue>No.</dialogue>
<character>BARON</character>
<dialogue>Come, get up - come let me help you.</dialogue>
<scene_description>NOTE : If he is a strong actor he can pick Kringelein up - If not , he and Doctor lift Kringelein to bed .</scene_description>
<character>BARON</character>
<dialogue>You're all right now - it's very late - goodnight, Kringelein.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, no, stay here, Baron - stay.</dialogue>
<scene_description>Baron bites his lip . It is the first and only time in the play that we see a tear near - the strong man almost breaks .</scene_description>
<character>DOCTOR'S VOICE</character>
<dialogue>Goodnight, Baron.</dialogue>
<character>BARON</character>
<dialogue>Goodnight.</dialogue>
<parenthetical>( his hand presses on Kringelein 's shoulder - he exits . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>CORRIDOR</stage_direction>
<scene_description>Baron shuts door and pauses . In front of him is the door of the woman he loves . Down beyond is his own empty room . In his pockets nothing . In his CLOSEUP he makes the audience feel his problem with him . This man who has lived and whistled and love through the play becomes a tragic , lonely , harrassed figure . The Baron has broken . His fists dig into his eyes - he brushes his hair back . Over this comes with almost an impertinence , a tiny whistle . He looks up and away down the corridor . The figure of Flaemmchen stands there , a small black bag in her hand . The Baron pulls himself together and smiles characteristically . He walks down the corridor .</scene_description>
<character>BARON</character>
<dialogue>Flaemmchen, what are you doing here in the middle of the night.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Looking for my room - one sixty - six.</dialogue>
<character>BARON</character>
<dialogue>You live here?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>For tonight.</dialogue>
<parenthetical>( she points to door - she looks at him a long time . )</parenthetical>
<dialogue />
<character>BARON</character>
<dialogue>Oh!</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Yes - oh!</dialogue>
<character>BARON</character>
<dialogue>Well - such is life, Flaemmchen.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>And Baron, thanks so much for everything.</dialogue>
<scene_description>They both go into their respective rooms . Here are our two gay young characters . The gay , fresh Flaemmchen and the debonair Baron , crucified for lack of funds . Both trying to smile , both trying to be light about themselves . Yet , each about to involve themselves tragically for the want of a little money .</scene_description>
</scene>
<scene>
<stage_direction>FLAEMMCHEN'S ROOM</stage_direction>
<scene_description>Flaemmchen enters her room cautiously . Except for one lamp burning the room is in darkness and empty . From the adjoining door to Preysing 's room a thin stream of light . She puts down her bag quickly , tiptoes through the bathroom to his door . She peeps through . FLASH OF PREYSING 'S ROOM from her angle . Preysing stretched on bed flat , his stomach a mountain and on it the magazine that he has been reading with Flaemmchen 's picture . He is looking at the ceiling . She knows he is awake because a thin stream of smoke comes from his cigar in his hand . FLASH OF FLAEMMCHEN An idea occurs to her . She could possibly sneak into bed and he would go to sleep and there would be nothing that night . CAMERA FOLLOWS HER as she tiptoes to her room . She closes the door noiselessly and listens . She throws off her hat and takes off her coat . Opens her bag and takes out night dress , lingerie , etc. . The lid of her bag falls suddenly . She starts at the noise . `` Has it awakened him . '' She looks off . SHOT AT BATHROOM DOOR The thin stream of light is filled suddenly , the door of the adjoining room opens and back - lighted from the other room the huge form of Preysing appears . In this odd lighting he is a little more than Preysing . He comes forward . He speaks hoarsely , quietly .</scene_description>
<character>PREYSING</character>
<dialogue>Flaemmchen!</dialogue>
<parenthetical>( he seizes her to him . )</parenthetical>
<dialogue />
<scene_description>She goes to his arms passively . He rubs his face in her hair . She is passive - cold .</scene_description>
<character>PREYSING</character>
<parenthetical>( breathlessly . )</parenthetical>
<dialogue>You are late. I've been waiting for you - waiting.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I had to arrange about the trip.</dialogue>
<character>PREYSING</character>
<dialogue>You're sweet.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You think so?</dialogue>
<scene_description>He holds her again , trying to kiss her . She deliberately avoids his kiss .</scene_description>
<character>PREYSING</character>
<parenthetical>( awkwardly . )</parenthetical>
<dialogue>Come here.</dialogue>
<parenthetical>( he sits heavily on the bed , sitting on her night dress . )</parenthetical>
<dialogue />
<character>FLAEMMCHEN</character>
<dialogue>Here, hold up!</dialogue>
<scene_description>Preysing rises while she pulls her night dress from under him . He draws her to him .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Oh - careful, Mr. Preysing.</dialogue>
<character>PREYSING</character>
<dialogue>Call me - do you know - would you - would you like to call me by my first name?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( pulling away , glad of an excuse for conversation . )</parenthetical>
<dialogue>Oh, no.</dialogue>
<character>PREYSING</character>
<dialogue>Why not?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>I could n't do that, you're a stranger to me.</dialogue>
<character>PREYSING</character>
<dialogue>You're a funny little creature, Flaemmchen. I ca n't make you out.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>It's not funny at all. One ca n't get intimate just off hand. I could go to England with you and everything like that - supposing I met you next year and I said : ` How do you do, Mr. Preysing! And you said :.</dialogue>
<parenthetical>( she imitates him . )</parenthetical>
<dialogue>` That was the young lady who was my secretary in Manchester'.</dialogue>
<scene_description>Preysing laughs . She laughs .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>That's all quite proper.</dialogue>
<parenthetical>( she is happy again .</parenthetical>
<parenthetical>She would rather talk than be squeezed . )</parenthetical>
<dialogue>But supposing I met you when you were with your wife and I called out : `` Hello you big baby - remember Manchester?' And you with your wife, how would you like that?</dialogue>
<scene_description>There is a pause for a moment .</scene_description>
<character>PREYSING</character>
<dialogue>Please, Flaemmchen - we'll leave my wife out of this.</dialogue>
<scene_description>Flaemmchen yawns straight in his face .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>All right. I'll get undressed - get out.</dialogue>
<scene_description>He moves towards the windows which are open . She pushes his fat body out , almost playfully , through the doors and onto the balcony . Preysing stands out on the balcony . He looks down in the street below , then off . He starts suddenly because he sees a shadow over the railing of his own balcony . He is puzzled . Shadow crosses again . `` Who can be in his room ? '' He moves forward and peeps through the window . One side of the French window is closed . From his angle we see the Baron furtively searching the room . He is now wearing an overcoat , the collar is turned up . Business ad lib . He finds Preysing 's wallet . He stuffs this in his overcoat pocket . Preysing 's face watching him . As Baron turns to exit , Preysing surges forward , pulling the window after him . The two men face each other .</scene_description>
<character>PREYSING</character>
<dialogue>Aha! - The Baron. What do you want here?</dialogue>
<character>BARON</character>
<dialogue>I must have made a mistake.</dialogue>
<character>PREYSING</character>
<dialogue>Made a mistake - remarkable. We shall soon see if you made a mistake.</dialogue>
<parenthetical>( the Baron starts to leave . )</parenthetical>
<parenthetical>( bellowing . )</parenthetical>
<dialogue>Stay here. Give me that money.</dialogue>
<scene_description>The Baron hands him the pocketbook without a word .</scene_description>
<character>PREYSING</character>
<dialogue>So that's how we stand, Baron.</dialogue>
<character>BARON</character>
<dialogue>Look here, sir - I'm completely at your mercy - I'm desperate - it's a matter of life or death - I had to get some money - tonight.</dialogue>
<character>PREYSING</character>
<dialogue>Indeed you must, Baron - you must. Humm - humm, but you must go to jail, Baron, you're a thief.</dialogue>
<character>BARON</character>
<dialogue>Be quiet.</dialogue>
<character>PREYSING</character>
<dialogue>I'm going to call the police. I'm going to watch you play the great Baron with the police. Aristocrat! Aristocrat!</dialogue>
<parenthetical>( he picks up the telephone . )</parenthetical>
<dialogue />
<scene_description>The Baron makes for the door on the other side of the room , pulls at the knob .</scene_description>
<character>PREYSING</character>
<dialogue>The door is locked, Baron.</dialogue>
<scene_description>The Baron makes one dive across the room . Preysing grasps at his coat and tears it . With one hand holding the telephone , -LRB- the receiver dropping on its cord towards the ground -RRB- and one hand holding the Baron .</scene_description>
<character>PREYSING</character>
<parenthetical>( into telephone . )</parenthetical>
<dialogue>Hello! Hello! -</dialogue>
<character>BARON</character>
<dialogue>Do n't do that.</dialogue>
<parenthetical>( he tries to snatch the telephone from Preysing . )</parenthetical>
<dialogue />
<scene_description>Preysing wrenches the telephone suddenly away from the Baron . The action excites him .</scene_description>
<character>PREYSING</character>
<dialogue>Strike me, would you? Attack me would you? Attack me -</dialogue>
<scene_description>With a terrific lunge , Preysing brings the telephone down upon the Baron 's head . The Baron sways , stunned . -LRB- as in book -RRB- . In his mad rage , Preysing , hits again with the telephone .</scene_description>
<character>PREYSING</character>
<dialogue>I'll strike you - I'll strike you - I'll strike you - Strike me!</dialogue>
<scene_description>By this time the Baron is a heap on the floor . We see Preysing come out of his blind trance . He even repeats again .</scene_description>
<character>PREYSING</character>
<dialogue>I strike you -.</dialogue>
<parenthetical>( with telephone foolishly in his hand , he looks down at what he has done . )</parenthetical>
<dialogue />
<scene_description>DOWNSTAIRS TELEPHONE ROOM Sharp sound of buzzing . Dozing night girl plugs in , lazily .</scene_description>
<character>NIGHT GIRL</character>
<dialogue>Yes - yes - Operator - Operator -.</dialogue>
<parenthetical>( she listens - says to herself . )</parenthetical>
<dialogue>They are having a nice little game up there with the telephone.</dialogue>
<scene_description>With nonchalance she flicks plug out again , as she does so :</scene_description>
</scene>
<scene>
<stage_direction>PREYSING'S ROOM</stage_direction>
<scene_description>New angle . Preysing is on his feet . He has replaced the receiver on the telephone , he is putting it back slowly . He is terrified . Door opens behind him . Flaemmchen , with a dressing gown on , light , filmy thing , crosses and looks down at the Baron , without a word . Preysing seizes her . Her hand goes to her head , her eyes roll ; for a moment we think she is going to faint right on top of the Baron . She is trying to collect her senses , it can not be true . We can hear nothing but the heavy breathing of Preysing and the traffic below . Suddenly a motor horn in the street below sounds strident , it is the first time we have been conscious of it . With a swift movement , Flaemmchen dashes towards the door . It is locked . She rushes back as if to cut through her own room . He reaches for her and rips her dressing gown from her , leaving her almost naked . He lunges after her . She tears through her own room .</scene_description>
</scene>
<scene>
<stage_direction>CORRIDOR</stage_direction>
<scene_description>Flaemmchen enters from her room . She looks this way and that . After all , it is Flaemmchen and not Lillian Gish , running across the ice in `` Way Down East , '' - it is Flaemmchen , a Berlin girl . She pauses to try and clear her brain . `` What the hell is this - what is it . '' The impulse naturally is to scream in alarm . She does n't - Flaemmchen 's do n't . She looks around . At the end of the passage is Kringelein 's room . She will go there . We watch her run down the passage uncertainly . Without knocking she pushes open Kringelein 's door .</scene_description>
</scene>
<scene>
<stage_direction>KRINGELEIN'S ROOM</stage_direction>
<scene_description>It is in darkness . The only light comes through the windows . The form of Kringelein lies prone upon the bed , the Doctor had just thrown a coat over him . He is still in his trousers and shirt . Like a ghost , Flaemmchen , the shreds of her filmy clothes hanging to her , crosses .</scene_description>
<character>FLAEMMCHEN</character>
<parenthetical>( hoarse whisper . )</parenthetical>
<dialogue>Mr. Kringelein - Mr. Kringelein - where are you?</dialogue>
<scene_description>She sweeps to bed . She shakes him . Kringelein starts up .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Quick - Mr. Kringelein.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh - what - what -.</dialogue>
<parenthetical>( he is looking up at what seems to be a ghost . )</parenthetical>
<dialogue />
<scene_description>She pulls on the light by the bed , it flames up on their faces .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh - oh, Miss Flaemmchen. It's you -</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Quick - something awful - awful has happened. Go - go at once, - Mr. Preysing -</dialogue>
<character>KRINGELEIN</character>
<dialogue>Preysing?</dialogue>
<scene_description>It occurs to him that this girl with her torn clothes must have been roughly treated by Preysing . He suddenly assumes a strength .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Oh, do n't wait - go - it's awful - it's awful.</dialogue>
<scene_description>She slides down to the floor , by the side of the bed . Kringelein climbs out of bed , tries to help her up .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Stay here.</dialogue>
<scene_description>She waves him away .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Do n't wait now - go - Preysing.</dialogue>
<scene_description>Kringelein assumes suddenly a strength . He is a man for a crisis - he forgets that he was ever ill - he leaves . WE GO WITH HIM . CUT HIM DOWN CORRIDOR QUICKLY . He pauses outside Preysing 's door , uncertain of the rooms , then he knocks .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Mr. Preysing - Oh, Mr. Preysing -</dialogue>
<scene_description>He feels there must be a mistake - he steps back , sees Flaemmchen 's door open next to it . He enters .</scene_description>
</scene>
<scene>
<stage_direction>FLAEMMCHEN'S ROOM</stage_direction>
<scene_description>He enters . Looks around . Looks through bathroom . Goes quickly forward .</scene_description>
</scene>
<scene>
<stage_direction>PREYSING'S ROOM</stage_direction>
<scene_description>Preysing is still leaning against the table , his mouth is open , he is gaping - stunned . The two hundred and four pounds has collapsed and sagged . He is staring , his victim lying - a heap upon the floor , very still and quiet . His eyes come around as Kringelein enters . Kringelein crosses , looks down . Touches the Baron 's hand .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Oh - the Baron - the Baron.</dialogue>
<character>PREYSING</character>
<dialogue>He tried to rob me - he is dead -</dialogue>
<character>KRINGELEIN</character>
<dialogue>My best friend - poor, Baron - dead - just like that.</dialogue>
<character>PREYSING</character>
<dialogue>- We must do something.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>Yes, the police must be called.</dialogue>
<character>PREYSING</character>
<dialogue>No - no - wait - the man was a burglar - he was going to steal my money.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, no - no - not the Baron.</dialogue>
<character>PREYSING</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Where is that girl - she was working with him - she enticed me into her room.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Her room - oh - I see, Mr. Preysing - I understand, Mr. General Director Preysing.</dialogue>
<character>PREYSING</character>
<parenthetical>( frantically . )</parenthetical>
<dialogue>I can answer for this, it was self - defense - I can answer for this - but that girl - the scandal - my wife - my daughters, you know them?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes, I know them -</dialogue>
<character>PREYSING</character>
<dialogue>The scandal - we are men - you - you could take that affair of the young lady upon yourself - take her and hold your tongue. Then you can travel - I'll give you anything - anything - she was with you.</dialogue>
<character>KRINGELEIN</character>
<dialogue>We must call the police, your excellency.</dialogue>
<scene_description>Preysing takes him by the shoulders .</scene_description>
<character>PREYSING</character>
<dialogue>How much - how much do you want - you need money - you have nothing.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Do n't worry about me, Mr. General Director Pryesing - worry about yourself.</dialogue>
<parenthetical>( he picks up receiver . )</parenthetical>
<dialogue>There has been a murder - this is room one sixty - four.</dialogue>
</scene>
<scene>
<stage_direction>TELEPHONE ROOM</stage_direction>
<scene_description>Telephone girl plugs in .</scene_description>
<character>GIRL</character>
<dialogue>Hello - hurry up. hurry up. someone in one sixty - four says there has been a murder.</dialogue>
</scene>
<scene>
<stage_direction>HALL PORTER</stage_direction>
<scene_description>The scene gradually grows intense . Porter calls night man .</scene_description>
<character>PORTER</character>
<dialogue>Here - quick - here - go to one sixty - four immediately.</dialogue>
<parenthetical>( calls back on telephone . )</parenthetical>
<dialogue>Give me Mr. Rohna - Rohna the manager.</dialogue>
</scene>
<scene>
<stage_direction>ROHNA'S ROOM</stage_direction>
<scene_description>Darkened room . Bell ringing . Rohna sits up in bed , turns on light , picks up telephone ; on his face we see him hear the news .</scene_description>
<character>ROHNA</character>
<dialogue>Where? murder? who? all right, I'm coming. Wait a minute.</dialogue>
<parenthetical>( speaks in a monotone . )</parenthetical>
<dialogue>Instruct everyone to use the utmost tact - we must have no scandal in the Grand Hotel. Answer no questions, I'm coming now - inform the police.</dialogue>
<scene_description>-LRB- he replaces the telephone commences dressing quickly -RRB-</scene_description>
</scene>
<scene>
<stage_direction>GRUSINSKAYA'S ROOM</stage_direction>
<scene_description>Trunks standing around everywhere . Suzette is finishing packing . Grusinskaya is sitting in front of the mirror in a loose night wrap - she is doing her hair .</scene_description>
<character>SUZETTE</character>
<dialogue>Madam should sleep.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I've done my hair differently - do you like that?</dialogue>
<character>SUZETTE</character>
<dialogue>When a lady falls in love she does her hair differently.</dialogue>
<character>GRUSINSKAYA</character>
<parenthetical>( rising . )</parenthetical>
<dialogue>In the middle of the night - those flowers make me think of a funeral. Laurels and tube - roses.</dialogue>
<parenthetical>( she pushes the window closed , shivers , it is chilly .</parenthetical>
<parenthetical>She crosses the room turning out one of the lights . )</parenthetical>
<dialogue>Oh, think, Suzette - the Villa and the sun at Tremezzo - quiet - simple - happy - we'll have a guest, Suzette.</dialogue>
<character>SUZETTE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Yes, Madam. And now Madam will sleep. It is not long'till the train.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Goodnight, Suzette.</dialogue>
<scene_description>Suzette leaves - turning out a light . Alone , Grusinskaya goes to the telephone . She raises the receiver .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Hello - can you tell me if Baron von Gaigern is in his room - ring him.</dialogue>
<parenthetical>( talking to herself . )</parenthetical>
<dialogue>Cherie, I must wake you or you'll miss the train.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>. yes. are you ringing, he may be asleep.</dialogue>
<parenthetical>( to herself . )</parenthetical>
<dialogue>Cherie, you must get up and fetch me from my room - I'm longing for you, Cherie - I have not been to sleep - I kept thinking you would come to me.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>. Oh, but he must answer. Ring - ring - ring.</dialogue>
<scene_description>CUT IN HERE at discretion the :</scene_description>
</scene>
<scene>
<stage_direction>BARON'S EMPTY ROOM</stage_direction>
<scene_description>Telephone is ringing .</scene_description>
</scene>
<scene>
<stage_direction>GRUSINSKAYA'S ROOM</stage_direction>
<character>GRUSINSKAYA</character>
<parenthetical>( to herself . )</parenthetical>
<dialogue>Cherie, hurry - hurry - hurry. Answer the phone - what is the matter.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Ring him - ring him.</dialogue>
<parenthetical>( to herself . )</parenthetical>
<dialogue>Where are you - where are you, Cherie? Why do n't you answer?</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Well, ring him - please - please.</dialogue>
<scene_description>END OF SEQUENCE '' # 6 ''</scene_description>
</scene>
<scene>
<stage_direction>SEQUENCE "#7"</stage_direction>
<scene_description>Music up as we - DISSOLVE INTO - EXTERIOR SERVICE ENTRANCE OF HOTEL The trees and the milk cart effect and other curious signs of dawn , which we remember after the climax of the first sequence . Music cold and eerie .</scene_description>
</scene>
<scene>
<scene_description>General early morning bustle and activity . From one van , fruit and vegetables are being unloaded . From another , huge hind quarters of beef are being carried in and in a monotonous way a baker throws two loaves at a time , to another man , from a van backed up -</scene_description>
<character>BAKER</character>
<parenthetical>( counting . )</parenthetical>
<dialogue>Forty - two - forty - four - forty - six - forty - eight - fifty - fifty - two -</dialogue>
<scene_description>Waiters coming to work . A noisy racket . Sandwiched between the bread and butcher vans , is backed a hearse . At the moment we come upon it , the men are pausing in their work to glance . The men take off their caps , as ; proceeded by the hotel detective and others , who will be there , the corpse of the Baron in the basket , used at such time , is brought out and placed in the hearse , which drives noisily away . A policeman rides with the driver on the box . By this time the man with the bread is counting :</scene_description>
<character>BAKER</character>
<dialogue>One hundred and eight - one hundred and ten - one hundred and twelve.</dialogue>
<scene_description>Stay with him for a moment . DISSOLVE INTO -</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR FRONT OF HOTEL</stage_direction>
<scene_description>Shooting onto door - day lighting . A man comes out and signals a black closed limousine , which pulls forward . DISSOLVE INTO -</scene_description>
</scene>
<scene>
<stage_direction>MAIN HOTEL LOBBY</stage_direction>
<scene_description>Early morning . Sense of chill and desolation . Some chairs stand on tables . A vacuum cleaner is at work on the carpets . Newspaper boys are delivering papers at the news stand . The various shops are slowly being opened , the windows being cleaned . The general feeling of the beginning of another day . THE CAMERA waits at a distance shooting from door as Preysing , with a plain clothes man on either side of him , leaves , moving towards THE CAMERA . He is grim , his hat is drawn over his eyes . His hands deep in his pockets . When he has passed the SENF 'S DESK -LRB- the old shot -RRB- Meierheim is entering quickly goes through the door . He crosses now to Pimenov . They talk eagerly out of earshot . But it is apparent that Meierheim is , as usual , in a hurry . Rohna is there too . One of the men carries a telephone stand , wrapped loosely in paper . But we know it 's the telephone stand . Senf comes on duty , looks around , it is apparent that he is late .</scene_description>
<character>CLERK</character>
<dialogue>The night clerk has already gone - you are late.</dialogue>
<character>SENF</character>
<dialogue>Man - I was at the clinic the whole night - there are no words to describe what my wife suffered.</dialogue>
<character>CLERK</character>
<dialogue>And the child is n't coming?</dialogue>
<character>SENF</character>
<dialogue>No - no - not yet. Well, I must n't let it interfere with my duty. Any news here?</dialogue>
<character>CLERK</character>
<dialogue>News? Yes - killing in number one - sixty - four.</dialogue>
<character>SENF</character>
<dialogue>What? - Who? - Whom?</dialogue>
<character>CLERK</character>
<dialogue>The big manufacturer killed Baron von Gaigern.</dialogue>
<character>SENF</character>
<dialogue>Good heavens. What for?</dialogue>
<character>CLERK</character>
<dialogue>I do n't know.</dialogue>
<character>SENF</character>
<dialogue>Man - that's terrible. He was a nice fellow - I am sorry about him.</dialogue>
<character>CLERK</character>
<dialogue>It seems that he was a thief and an imposter.</dialogue>
<character>SENF</character>
<dialogue>I do n't believe it - he was a real gentleman. I know people. I'm so tired I can hardly see out of my eyes. No sleep for two nights and so many duties and now this killing in the hotel - that means a lot of work. But it's too bad about the Baron, you always felt better when he came along - always friendly - such an agreeable fellow.</dialogue>
<character>CLERK</character>
<dialogue>Most imposters are -</dialogue>
<scene_description>A number of bellboys march up and form a line . Senf comes from behind the desk and inspects them .</scene_description>
<character>SENF</character>
<dialogue>Good morning.</dialogue>
<character>BOYS</character>
<parenthetical>( in chorus . )</parenthetical>
<dialogue>Good morning.</dialogue>
<character>SENF</character>
<dialogue>Show your hands.</dialogue>
<scene_description>They show their hands .</scene_description>
<character>SENF</character>
<parenthetical>( to one boy . )</parenthetical>
<dialogue>You have dirty nails - you little pig - you're no good. Caps off! - Let's see your hair.</dialogue>
<parenthetical>( Boys take off their caps . )</parenthetical>
<dialogue>Good - caps on!</dialogue>
<parenthetical>( Boys put on their caps . )</parenthetical>
<dialogue>Where is number seven? Not here?</dialogue>
<parenthetical>( to clerk . )</parenthetical>
<dialogue>Take his name - if he comes late again today, he's fired. Dismissed!</dialogue>
<scene_description>The boys sit down on the bench . THE CAMERA MOVES TO KRINGELEIN . Kringelein and the police officer move towards the desk in ear shot .</scene_description>
<character>KRINGELEIN</character>
<dialogue>Please, officer.</dialogue>
<character>OFFICER</character>
<dialogue>That will be sufficient for the present, sir, you may travel in peace.</dialogue>
<scene_description>Kringelein exits .</scene_description>
</scene>
<scene>
<stage_direction>CORRIDOR BY ELEVATOR</stage_direction>
<scene_description>As Kringelein emerges from the elevator , Suzette speaking to the Floor Clerk .</scene_description>
<character>SUZETTE</character>
<dialogue>And they've taken him away.</dialogue>
<character>FLOOR CLERK</character>
<dialogue>Yes - it's terrible.</dialogue>
<character>SUZETTE</character>
<dialogue>Madam must not know - you understand - Madam must not know.</dialogue>
<character>FLOOR CLERK</character>
<dialogue>I will tell the maids. I can not answer for downstairs -</dialogue>
<scene_description>Suzette hurries down corridor . By this time Kringelein has arrived at his door , he opens it .</scene_description>
</scene>
<scene>
<stage_direction>KRINGELEIN'S ROOM</stage_direction>
<scene_description>Kringelein opens the door and enters . Flaemmchen is looking into space . A lovely picture . Morning light over her hair , she is dressed .</scene_description>
<character>KRINGELEIN</character>
<dialogue>What's the matter?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Oh - I was thinking - Poor Baron - Lying there, his eyes so open.</dialogue>
<character>KRINGELEIN</character>
<dialogue>You loved the Baron, did n't you?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Yes -</dialogue>
<character>KRINGELEIN</character>
<dialogue>So did I. He was friendly to me as no man ever was.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Perhaps he really was a burglar - But they do n't kill a man for that.</dialogue>
<character>KRINGELEIN</character>
<dialogue>He was in desperate straits. He'd been trying to raise money all day. He laughed - Poor devil! And then a man like Preysing kills him.</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( naively . )</parenthetical>
<dialogue>I did n't like Preysing right off.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Then why did you have anything to do with him?</dialogue>
<character>FLAEMMCHEN</character>
<parenthetical>( simply . )</parenthetical>
<dialogue>Money!</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes, of course, - money!</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You do n't understand that do you?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Of course I do - I never knew what money really meant till I started spending it. Do you know -.</dialogue>
<parenthetical>( he is silent a moment . )</parenthetical>
<dialogue>I can hardly believe that anything so beautiful should come to me from Preysing - I'll take care of you. Will - will you let me?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>What?</dialogue>
<character>KRINGELEIN</character>
<dialogue>You'll have a good time with me. Want to? I've got enough money. Ten thousand two hundred in my pocketbook. Three thousand four hundred that I won. It will last a long time. I can win more - we'll travel.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Yes - to Paris? I wanted to go there always.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Wherever you like. Here I'll give you the money I won, three thousand four hundred. Later you can have more.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Later?</dialogue>
<character>KRINGELEIN</character>
<dialogue>When I - I'm ill, Flaemmchen - It will not be long - I'll not last long. Will you stay with me until.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Nonsense! We'll find a great doctor, he'll cure you. They can cure anything these days.</dialogue>
<character>KRINGELEIN</character>
<dialogue>Do you believe that you will have a better time with me than you would with Preysing?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Oh yes, of course.</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( takes her hands . )</parenthetical>
<dialogue>Do you like me better?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>You're a good man, Mr. Kringelein - a very good man.</dialogue>
<scene_description>Kringelein straightens , happy , inspired , a smile on his face . He assumes in his gestures . Takes the telephone .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( into telephone . )</parenthetical>
<dialogue>When is the next train leaving for Paris? - Yes. Get two tickets for me. and my bill please. and the lady's - Miss Flaemm's.</dialogue>
<parenthetical>( puts down telephone . )</parenthetical>
<parenthetical>( to Flaemmchen . )</parenthetical>
<dialogue>We have to hurry let's pack - we'll have breakfast on the train.</dialogue>
</scene>
<scene>
<stage_direction>CORRIDOR</stage_direction>
<scene_description>The figure of Grusinskaya is standing at her door , there is no one with her . Suzette steps out .</scene_description>
<character>SUZETTE</character>
<dialogue>Madam, it is Mr. Meierheim - he is waiting downstairs.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Where is Pimenov? Where is Pimenov?</dialogue>
<parenthetical>( she looks off . )</parenthetical>
<dialogue />
<scene_description>FLASH OF PIMENOV coming out of the elevator . Grusinskaya hurries down to Pimenov - they meet .</scene_description>
<character>PIMENOV</character>
<parenthetical>( breathlessly . )</parenthetical>
<dialogue>He will be on the train.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>But when did he go? How do you know?</dialogue>
<scene_description>She crosses and looks in the Baron 's room . A maid is there changing the bedding . The room is unoccupied otherwise .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Baron von Gaigern has left?</dialogue>
<scene_description>The maid nods .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>When? How long ago?</dialogue>
<scene_description>Maid shrugs her shoulders .</scene_description>
<character>VOICE OF FLOOR CLERK</character>
<dialogue>The Baron left about half an hour ago, Madam.</dialogue>
<character>PIMENOV</character>
<dialogue>Oh - Gru - come, come - we'll lose the train.</dialogue>
<scene_description>While they are waiting for the elevator Grusinskaya is like a live electric wire . The elevator arrives . They are stepping in .</scene_description>
</scene>
<scene>
<stage_direction>LOBBY</stage_direction>
<scene_description>General activity . We hear the cry go up :</scene_description>
<character>VOICE</character>
<dialogue>Madam Grusinskaya's car.</dialogue>
<scene_description>Grusinskaya comes out of the elevator followed by Suzette and Pimenov . Meierheim meets her .</scene_description>
<character>MEIERHEIM</character>
<dialogue>Come along, oh, Madam, come along. The train will be going.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>Wait a minute. I've got to ask myself.</dialogue>
<character>PIMENOV</character>
<dialogue>What's the use of asking, Gru - he is at the train - He will be there.</dialogue>
<character>MEIERHEIM</character>
<dialogue>The troupe, the scenery, everything - all on board, waiting. You have a rehearsal in Vienna tomorrow morning. Come, Madam, are you mad?</dialogue>
<scene_description>Grusinskaya crosses to the desk . She speaks to Senf .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Have you seen Baron von Gaigern?</dialogue>
<character>ROHNA</character>
<parenthetical>( comes over quickly . )</parenthetical>
<dialogue>The Baron is not here, Madam.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>He is gone?</dialogue>
<character>ROHNA</character>
<dialogue>Yes, Madam.</dialogue>
<character>MEIERHEIM</character>
<dialogue>Four minutes past. Please come.</dialogue>
<character>PIMENOV</character>
<dialogue>Come, Lisaveta, he will be there - he will be there.</dialogue>
<character>MEIERHEIM</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Madam Grusinskaya's car.</dialogue>
<scene_description>Grusinskaya , followed by the others , sweeps out towards the door .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOTEL</stage_direction>
<scene_description>Grusinskaya emerges , followed by the others . The sunlight hits them .</scene_description>
<character>GRUSINSKAYA</character>
<dialogue>Oh, the sun - it will be sunny in Tremezzo -</dialogue>
<character>MEIERHEIM</character>
<dialogue>Every seat for the opening has been sold at Vienna. Sold out for three days.</dialogue>
<character>GRUSINSKAYA</character>
<dialogue>I know - I know - but it will be sunny in Tremezzo. We'll have a guest then.</dialogue>
<character>SUZETTE</character>
<parenthetical>( knowingly . )</parenthetical>
<dialogue>Yes, Madam.</dialogue>
<character>VOICE</character>
<dialogue>Madam Grusinskaya's car.</dialogue>
<scene_description>Grusinskaya moves forward .</scene_description>
</scene>
<scene>
<stage_direction>LOBBY</stage_direction>
<character>SENF</character>
<parenthetical>( at telephone . )</parenthetical>
<dialogue>Grand Hotel, Head Porter. What? There's been - a child born? A boy! Yes! My child born! It is healthy. and my wife? Doing well - all well!</dialogue>
<parenthetical>( to Clerk . )</parenthetical>
<dialogue>The child has come. They are both alive. My child.</dialogue>
</scene>
<scene>
<stage_direction>BY ELEVATOR</stage_direction>
<scene_description>At this moment Kringelein and Flaemmchen are coming out of the elevator , Kringelein is carrying his suitcase . A bellboy attempts to take his bag but Kringelein , still confused draws his hand with the suitcase away from the bellboy .</scene_description>
<character>FLAEMMCHEN</character>
<dialogue>Let him take it.</dialogue>
<character>BELLBOY</character>
<dialogue>Your bag, your Excellency -</dialogue>
<scene_description>Hearing the word ` Excellency ' Kringelein goes through a transformation . He stands and with a flourish hands the suitcase over to the boy . He is a big man now .</scene_description>
<character>KRINGELEIN</character>
<parenthetical>( very definitely to boy . )</parenthetical>
<dialogue>Cab please!</dialogue>
<character>BELLBOY</character>
<dialogue>Cab, for his Excellency, Mr. Kringelein!</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( to Flaemmchen . )</parenthetical>
<dialogue>And now we travel, Flaemmchen. Glad?</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>Am I!</dialogue>
<character>KRINGELEIN</character>
<parenthetical>( to Senf . )</parenthetical>
<dialogue>Is the bill ready - the lady's too?</dialogue>
<character>SENF</character>
<dialogue>At once. Any forwarding address, Mr. Kringelein?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Yes, Paris - Grand Hotel.</dialogue>
<character>FLAEMMCHEN</character>
<dialogue>How do you know there is a Grand Hotel?</dialogue>
<character>KRINGELEIN</character>
<dialogue>Oh, there must be one in Paris. They have everything in Paris.</dialogue>
<character>SENF</character>
<dialogue>Your bill, Your Excellency.</dialogue>
<scene_description>Kringelein pays and taking Flaemmchen 's arm starts to move away from the desk , General business ad lib of tipping . Boys line up , making a deep bow . There is almost a triumphant march as Kringelein and Flaemmchen move towards the door .</scene_description>
<character>SENF CLERK BOYS</character>
<parenthetical>( in chorus . )</parenthetical>
<dialogue>Come again, your Excellency.</dialogue>
<scene_description>With head erect , happy smile on his face , Kringelein leaves the lobby . Normal activity in lobby , reminding us of opening scene . Doctor comes up to desk .</scene_description>
<character>DOCTOR</character>
<dialogue>Was that Mr. Kringelein leaving?</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | Doctor Otternschlag, a disfigured veteran of World War I and a permanent resident of the Grand Hotel in Berlin, observes, "People coming, going. Nothing ever happens" — after which a great deal transpires. Baron Felix von Gaigern, who squandered his fortune and supports himself as a card player and occasional jewel thief, befriends Otto Kringelein, a dying accountant who has decided to spend his remaining days in the lap of luxury. Kringelein's former employer, industrialist General Director Preysing, is at the hotel to close an important deal, and he hires stenographer Flaemmchen to assist him. She aspires to be an actress and shows Preysing some magazine photos for which she posed, implying she is willing to offer him more than typing if he advances her career. Another guest is Russian ballerina Grusinskaya, whose career is on the wane. When the Baron is in her room to steal her jewelry and she returns from the theatre, he hides in her room and overhears as she talks to herself about wanting to end it all. He comes out of hiding and engages her in conversation, and Grusinskaya finds herself attracted to him. He spends the night with her. The following morning, the Baron returns Grusinskaya's jewels, and she forgives his crime. She invites him to accompany her to Vienna, an offer he accepts. The Baron is desperate for money to pay his way out of the criminal group he has been working with. He and Kringelein get a card game going, and Kringelein wins everything, then becomes intoxicated. When he drops his wallet, the Baron stashes it in his pocket, intending to keep not only the winnings but the funds that will see Kringelein through the last weeks of his life. However, moved by the sight of Kringelein’s despair, the Baron – who desperately needs the money, but has become very fond of Kringelein – pretends to have discovered the wallet, and returns it to him. As part of a desperate merger plan, Preysing must travel to London, and he asks Flaemmchen to accompany him. Later, when the two are in her room—which opens onto his—Preysing sees the shadow of the Baron rifling through his belongings. He confronts the Baron; the two struggle, and Preysing bludgeons the Baron with the telephone, killing him. Flaemmchen sees what happened and tells Kringelein, who confronts Preysing. He insists he acted in self-defense, but Kringelein summons the police, and Preysing is arrested. Grusinskaya departs for the train station, expecting to find the Baron waiting for her there. Meanwhile, Kringelein offers to take care of Flaemmchen, who suggests they seek a cure for his illness. As they leave the hotel, Doctor Otternschlag again observes, "Grand Hotel. Always the same. People come. People go. Nothing ever happens." |
Death to Smoochy_2002 | tt0266452 | <script>
<scene>
<stage_direction>EXT. KIDNET STUDIO -C - EVENING</stage_direction>
<scene_description>A man in a puffy foam - rubber rhinoceros costume dancing under the bright friendly lights of a television studio . Another rhino and various foam - rubber animals dance behind him to the happy MUSIC . The rhino finishes his number and takes a bow . A bleacher full of kids bursts into wild applause .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE - MOMENTS LATER</stage_direction>
<scene_description>After the taping . The rhino lumbers down the hallway toward wardrobe . He is suddenly grabbed by two large men and dragged out through the exit into .</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK PARKING GARAGE</stage_direction>
<scene_description>where several thugs in overcoats emerge from the shadows and start beating him with lead pipes . One of the men pulls out a GUN and SHOOTS the rhino several times . The SHOTS REVERBERATE through the empty garage . SUPERIMPOSE : ONE YEAR EARLIER</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - DAY</stage_direction>
<scene_description>It 's the taping of another children 's show - `` Rainbow Randolph and the Krinkle Kids . '' RANDOLPH SMILEY , a clean - cut man with a happy face and yellow bow tie , dances through Rainbowland with the `` Krinkle Kids '' -LRB- little people in top hats -RRB- . He sings one of his signature songs : `` Friends Come In All Sizes . '' One of the main Krinkle Kids - ANGELO PIKE - dances behind him .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Friends come in all sizes That's a fact! It's True! All colors of the rainbow from Mauve to Blue. Their names may not be different and their shoes may not match One might say ` grasp' while the other says ` snatch' Some like to toss while others like to caaaaatch. Beeee - caaaause. Friends come in all sizes Take it from me! Golly Gee! Size never matters when you want some friendly patter From a pal who is true and can lift you when you're blue You can count on him and he can count on yoooouuuu! It's true. that.</dialogue>
<parenthetical>( big finish . )</parenthetical>
<dialogue>Friends come in all sizes!'</dialogue>
<scene_description>MONTAGE - RAINBOW RANDOLPH MERCHANDISE `` Sugar Rainbows Cereal , '' plastic toys lined up on store shelves , kids playing with Randolph dolls , kids eating `` Rainbow Potato Chips '' and `` Rainbow Candies . '' A `` Rainbow Burster , '' a kind of gun that shoots plastic rainbows . Marquees announcing upcoming live appearances , etc. . We get the picture . Rainbow Randolph is the king of the kid shows .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIMLY-LIT BAR - NIGHT</stage_direction>
<scene_description>A suburban - looking HUSBAND and WIFE enter . They find Rainbow Randolph sitting alone , drinking a Scotch . Hair slicked back , sans bow tie , the friendly face no longer looks so friendly . He nods for them to sit down . After a nervous beat , the Husband puts a briefcase on the table and slides it to Randolph . Randolph takes a gulp of his Scotch . He unsnaps the briefcase and opens it . Five grand stares him in the face .</scene_description>
<character>HUSBAND</character>
<dialogue>So. uh. you'll make sure my boy dances up front, right? Where he'll get the most camera time?</dialogue>
<scene_description>Randolph slams the briefcase shut , startling the couple .</scene_description>
<character>RANDOLPH</character>
<dialogue>You want your kid on the show?</dialogue>
<character>HUSBAND</character>
<dialogue>Of. of course.</dialogue>
<character>WIFE</character>
<dialogue>Yes, very much.</dialogue>
<character>RANDOLPH</character>
<dialogue>Then do n't tell me how to run my fucking business.</dialogue>
<character>HUSBAND</character>
<dialogue>No, no, we were just -</dialogue>
<scene_description>Randolph rises . He takes a final gulp of his Scotch and picks up the briefcase .</scene_description>
<character>RANDOLPH</character>
<dialogue>I'll call you if a spot opens up.</dialogue>
<scene_description>He starts to walk off . Suddenly , the Husband and Wife jump up from the table holding guns .</scene_description>
<character>HUSBAND</character>
<dialogue>Freeze, you cocksucker!</dialogue>
<character>WIFE</character>
<dialogue>Drop the briefcase!</dialogue>
<scene_description>Federal agents storm into the bar and surround Randolph .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - DAWN</stage_direction>
<scene_description>Bundles of the morning editions are tossed onto the curb from passing trucks . The various headlines blare : `` RAINBOW RANDOLPH BUSTED ACCEPTING BRIBE '' `` FCC PROBES KID SHOW BIZ '' `` CORRUPTION IN KRINKLELAND ''</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - DAY</stage_direction>
<scene_description>The Rainbow Randolph/Krinkle Kid set is being dismantled . Backdrops are rolled up and the giant rainbow centerpiece is wheeled off . Workers with push brooms sweep up tons of glittery `` magic Rainbow dust . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. NETWORK BOARDROOM - KIDNET - DAY</stage_direction>
<scene_description>We are TIGHT ON the sweating face of a MAN who looks like he 's about to be executed . STOKES is standing at the end of a long conference table as the NETWORK BRASS glares at him .</scene_description>
<character>STOKES</character>
<parenthetical>( addressing the brass . )</parenthetical>
<dialogue>Gentlemen, let me be the first to say, in all sobriety, that I'm as shocked and outraged as all of -</dialogue>
<scene_description>The network CEO , a hog of a man , cuts him off .</scene_description>
<character>CEO</character>
<dialogue>Save it for the papers, Stokes. We've got nervous sponsors and an angry public - a combination uglier than two monkeys fucking. What are you doing about it?</dialogue>
<character>STOKES</character>
<dialogue>Well, sir, I'm currently in the process of compiling a list of viable replacements and it's my hope.</dialogue>
<character>CEO</character>
<dialogue>Clean replacements? With background checks? I assure you, Mr. Stokes, this network can not survive another Rainbow Randolph. The goddamn P.R. department looks like the Jim Jones camp.</dialogue>
<scene_description>Another EXECUTIVE chimes in .</scene_description>
<character>EXECUTIVE #1</character>
<dialogue>Remember, Stokes, this was your dog that crapped on our rug.</dialogue>
<character>EXECUTIVE #2</character>
<dialogue>We trusted you, Frank. And now we're in a tight spot. We have to post our quarterly earnings next month, for Christ's sake.</dialogue>
<character>CEO</character>
<dialogue>Whoever takes that slot has to be a straight arrow. Clean as a whistle.</dialogue>
<character>EXECUTIVE #3</character>
<dialogue>Right. Someone who'll take the heat off. One of those sweater types. Any chance of luring Fred Rogers away from P.B.S?</dialogue>
<character>EXECUTIVE #4</character>
<dialogue>Yeah, if we back up the Brinks truck.</dialogue>
<character>EXECUTIVE #1</character>
<dialogue>No way. The idea now is to stop the hemorrhaging.</dialogue>
<character>EXECUTIVE #2</character>
<dialogue>You better fix this, Stokes. Get us a white bread replacement, fast. Bland, milk toast. Not a speck of controversy.</dialogue>
<scene_description>A giant hand slams on the table . All heads snap . The CEO drags his fingers along the shiny mahogany . Deafening sound .</scene_description>
<character>CEO</character>
<parenthetical>( calm and measured . )</parenthetical>
<dialogue>Squeaky fucking clean.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOKES' OFFICE - DAY</stage_direction>
<scene_description>Stokes sits behind his mahogany desk , sipping a glass of wine as he goes over potential Randolph replacements with NORA BISHOP , his pretty protege .</scene_description>
<character>STOKES</character>
<dialogue>Bumble Bee Billy?</dialogue>
<character>NORA</character>
<parenthetical>( reading from a list . )</parenthetical>
<dialogue>Wife beater.</dialogue>
<character>STOKES</character>
<dialogue>Square Dance Danny?</dialogue>
<character>NORA</character>
<dialogue>Still appealing the mail fraud thing.</dialogue>
<character>STOKES</character>
<dialogue>Skippy Black and the Tippy Trolls?</dialogue>
<character>NORA</character>
<dialogue>Black was deported, and the trolls. well, who gives a shit.</dialogue>
<scene_description>Nora kicks the table in frustration .</scene_description>
<character>NORA</character>
<dialogue>This is impossible. If I ever see that Rainbow Randolph again I'll strangle him. Choke the life out of him. Squeeze his scrawny neck until his eyes pop out of his skull and bounce off the walls.</dialogue>
<character>STOKES</character>
<dialogue>Before indulging such cheery fantasies, let's just concentrate on saving my job. Shall we?</dialogue>
<character>NORA</character>
<dialogue>Sorry, Frank.</dialogue>
<scene_description>Stokes flips through a thick stack of files . He suddenly stops at one .</scene_description>
<character>STOKES</character>
<dialogue>What's going on with Sheldon Mopes these days.</dialogue>
<scene_description>Nora laughs .</scene_description>
<character>NORA</character>
<dialogue>Oh my God. Have we sunk to that level already? Smoochy the Rhino? What a sap.</dialogue>
<character>STOKES</character>
<dialogue>Sap's just the pill we need right now. Mopes is a straight arrow. Always has been.</dialogue>
<character>NORA</character>
<dialogue>The guy ca n't get arrested, Frank. He ca n't even break into the birthday party circuit. Last I heard he was working hospitals and nursing homes. He's a joke.</dialogue>
<scene_description>Stokes stands up and walks around the room .</scene_description>
<character>STOKES</character>
<dialogue>The truth of the matter is, a successful children's show has always depended on two simple elements : a fuzzy costume and a lot of hype. Strip away the foam rubber and the network money and they're all jokes. Marginal talents. cabaret acts. off - Broadway runoff.</dialogue>
<character>NORA</character>
<dialogue>I probably have ten acts in my development file - acts I've been cultivating - that are more deserving than Sheldon Mopes.</dialogue>
<character>STOKES</character>
<dialogue>And each one a moral question mark. Something I ca n't risk at the moment.</dialogue>
<character>NORA</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>We can do better than this guy, Frank. He brings nothing to the table.</dialogue>
<character>STOKES</character>
<dialogue>Except ethics. With Mopes, there's never been a whiff of controversy. The man's an ethical, harmless, cornball. In short, a glass of milk on two legs.</dialogue>
<scene_description>Stokes stops pacing .</scene_description>
<character>NORA</character>
<dialogue>Do n't ask me to do it. You know I'll do anything for you, but please. not this.</dialogue>
<scene_description>Stokes gazes out the window at the city .</scene_description>
<character>STOKES</character>
<dialogue>Go find Smoochy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONEY ISLAND - EARLY EVENING</stage_direction>
<scene_description>The lighted Ferris wheel spins CENTER FRAME . We CRANE DOWN and eventually LAND ON a side street with the amusement park looming in the b.g. We 're in FRONT of a small building . The half - lit neon sign reads : CONEY ISLAND METHADONE CENTER . We DRIFT THROUGH the double doors THROUGH the reception area where random junkies loiter and fill out paperwork . We CONTINUE DOWN a narrow hallway as the faint sound of someone SINGING and playing the GUITAR INCREASES . We finally burst THROUGH another set of doors marked `` Treatment Room . '' The singing now fills our ears as we PUSH IN ON the `` performer '' - a big , puffy , orange rhinoceros . Smoochy . Or to be more specific , SHELDON MOPES . Smoochy sits on a stool with his guitar and sings to the patients as they stand in line before a sliding glass window , where a nurse hands each person a little cup of methadone which they immediately drink . The Smoochy costume is a mass of misshapen orange foam rubber that exposes Sheldon 's painted face in the front . A multi - colored horn protrudes from his forehead .</scene_description>
<character>SMOOCHY</character>
<parenthetical>( SHELDON . )</parenthetical>
<parenthetical>( singing to the tune of ` She 'll be Comin ' round the Mountain ' . )</parenthetical>
<dialogue>` We'll get that monkey off your back, Yes we will, yes we will We'll get that monkey off your back, Yes we will.' ` We'll get that monkey off your back And get your life right back on track If you'll just give up the smack Yes you will, yes you will!'</dialogue>
<scene_description>The song ends . A few baffled junkies applaud .</scene_description>
<character>SMOOCHY</character>
<dialogue>Thanks, fellas. I'm rooting for you!</dialogue>
<scene_description>We PAN AWAY FROM Sheldon TO the exit . Standing there in her coat , looking mortified , is Nora .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION AREA - SHORT WHILE LATER</stage_direction>
<scene_description>Nora sits in the reception area . Sheldon emerges in his street clothes . He carries Smoochy 's body on a hanger over his shoulder and carries a large shopping bag which holds Smoochy 's head .</scene_description>
<character>NORA</character>
<dialogue>Mr. Mopes?</dialogue>
<scene_description>Sheldon stops .</scene_description>
<character>SHELDON</character>
<dialogue>Yeah?</dialogue>
<character>NORA</character>
<dialogue>I, uh, saw your performance tonight. Very.</dialogue>
<parenthetical>( searching . )</parenthetical>
<dialogue>. spirited.</dialogue>
<character>SHELDON</character>
<dialogue>Really? Thanks. I would've done a longer set if that guy had n't pulled a knife on the security guard. Once the pepper spray starts flyin', that's it for the encores.</dialogue>
<character>NORA</character>
<dialogue>Yes, that did put a damper on the evening, did n't it?</dialogue>
<character>SHELDON</character>
<dialogue>Are you a new patient? On the juice, as we say?</dialogue>
<character>NORA</character>
<dialogue>Ah, no. But it's sweet of you to assume so.</dialogue>
<scene_description>She hands him her card . He reads it .</scene_description>
<character>SHELDON</character>
<dialogue>` Nora Bishop. V.P. of Development. Kidnet.'.</dialogue>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>Good gravy. You work for Kidnet?</dialogue>
<character>NORA</character>
<dialogue>As stated.</dialogue>
<scene_description>Sheldon grabs her hand and shakes it .</scene_description>
<character>SHELDON</character>
<dialogue>Well, it's a pleasure to meet you, Nora. A real honor. Hey, you hungry?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONEY ISLAND BOARDWALK - NATHAN'S HOT DOGS - SHORT WHILE LATER</stage_direction>
<scene_description>Sheldon and Nora stand at the crowded counter at Nathan 's . Sheldon ravenously eats his sloppily - garnished , oddly colored hot dog . Nora winces as she watches him .</scene_description>
<character>SHELDON</character>
<parenthetical>( with full mouth . )</parenthetical>
<dialogue>Soy dogs. never thought I'd live to see the day. Organic, rich in natural protein, and nobody gets killed. Although I do feel bad for the beans. Just kidding. Sure you do n't want one?</dialogue>
<character>NORA</character>
<dialogue>Believe it or not, no.</dialogue>
<scene_description>He takes another bite .</scene_description>
<character>SHELDON</character>
<dialogue>So anyway, like I was saying, people always tell me, ` You got ta network, Sheldon. you got ta sell yourself. or you'll be playing the drug clinics and shopping centers the rest of your life.' And you know what I tell'em?</dialogue>
<character>NORA</character>
<dialogue>I have n't the foggiest.</dialogue>
<character>SHELDON</character>
<dialogue>I tell'em, it's not about the old handshake and back slap game. It's not about adding fuel to the shlock machine. It's about doing good work. Having integrity. Making people happy and delivering a positive message. Foundations are built with concrete, not plaster of Paris!</dialogue>
<scene_description>He pulls the stained , misshapen Smoochy head from the shopping bag .</scene_description>
<character>SHELDON</character>
<dialogue>This is concrete! This is integrity!</dialogue>
<character>NORA</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>I can see that.</dialogue>
<scene_description>Sheldon realizes his voice was getting too loud .</scene_description>
<character>SHELDON</character>
<dialogue>Sorry. As you can imagine, living by your convictions can be a little stressful at times.</dialogue>
<character>NORA</character>
<dialogue>We all have our cross to bear.</dialogue>
<character>SHELDON</character>
<dialogue>See, I was raised by my grandfather, and Grandpop paved driveways for a living.</dialogue>
<character>NORA</character>
<dialogue>Are we going into a story?</dialogue>
<character>SHELDON</character>
<dialogue>Thing is, he did n't really pave them. Just covered them with black paint. Of course, once the first rain came along, people realized they'd been swindled. I vowed to myself back then that I'd never make a living through deception. Never. Whadda ya think of them apples?</dialogue>
<scene_description>Nora looks glassy - eyed . She takes a deep breath .</scene_description>
<character>NORA</character>
<dialogue>The reason I'm here today, Mr. Mopes, as fate would have it, Kidnet is currently looking for a performer with. convictions. And integrity. Someone like.</dialogue>
<scene_description>She almost chokes on the word .</scene_description>
<character>NORA</character>
<dialogue>yourself.</dialogue>
<scene_description>Sheldon laughs .</scene_description>
<character>SHELDON</character>
<dialogue>Yeah, right. Got any more jokes?</dialogue>
<character>NORA</character>
<dialogue>I do n't think I could top that one.</dialogue>
<character>SHELDON</character>
<dialogue>Hold the phone. You're telling me that Kidnet is finally ready to do a show of Smoochy quality? Of Smoochy caliber?</dialogue>
<character>NORA</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>Yes. I believe we're ready to push ourselves to that level.</dialogue>
<character>SHELDON</character>
<dialogue>I knew this day would come! After all these years I finally meet someone in the business who gets what I do. Who gets what I'm all about. You get me, do n't you, Nora?</dialogue>
<character>NORA</character>
<dialogue>I'm afraid so.</dialogue>
<character>SHELDON</character>
<dialogue>Well, Miss V.P. of Development. let's go make history!</dialogue>
<scene_description>PREP MONTAGE KIDNET STUDIO WARDROBE ROOM . A team of designers and seamstresses cut , sew and shape endless sheets of orange foam rubber . Sheldon stands on a wooden box as he 's measured from head to toe . On the wall is a blueprint labeled `` Smoochy the Rhino - REDESIGN . '' A costume designer walks over with the new Smoochy head and places it on Sheldon . As seamstresses fit him with the new Smoochy costume , various signs and billboards FLOAT THROUGH the FRAME , trumpeting copy like : `` IT 'S ALMOST SMOOCHY TIME ! '' `` GET READY TO BE SMOOCHED , AMERICA ! '' `` ONLY TWO MORE WEEKS TILL SMOOCHY ! '' KIDNET STUDIO - C. Sets , props , and camera equipment are rolled into the studio . Through a SERIES of DISSOLVES we see the Smoochyland Magic Jungle take shape . KIDNET STUDIO - C - LATER A choreographer maps out a number for Smoochy and the `` Rhinettes . '' -LRB- The Rhinettes are the former Krinkle Kid little people with horns strapped to their foreheads . -RRB- Nora and Stokes watch from the wings with a mixture of uncertainty and disgust . WARDROBE ROOM A seamstress zips up the back of the finished , redesigned Smoochy costume . Sheldon stands proudly before the design team . Smoochy is now television ready : smoothed out , more colorful , less lumpy and exuding sunshiny happiness . STUDIO - C - BACKSTAGE Smoochy is about to enter with the Rhinettes . ANGELO , a former Krinkle Kid , stands beside him .</scene_description>
<character>SMOOCHY</character>
<dialogue>Angelo, you were always my favorite Krinkle Kid. The way you'd click your heels during the ` Jellybean Jam.' Real artistry. I'm honored to have you as a Rhinette.</dialogue>
<character>ANGELO</character>
<dialogue>A job's a job.</dialogue>
<scene_description>STUDIO - C - PRACTICE TAPING Suddenly lights up in all its multi - colored Smoochyland glory . The bleachers are full of children .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, kids! Who's your favorite rhino?</dialogue>
<scene_description>The kids in the bleachers all scream in unison .</scene_description>
<character>KIDS</character>
<dialogue>Smoochy!</dialogue>
<scene_description>Smoochy bounds out on stage followed by the Rhinettes who form a dancing circle around him .</scene_description>
<character>SMOOCHY</character>
<dialogue>Hiya, kids!</dialogue>
<character>KIDS</character>
<dialogue>Hi, Smoochy!</dialogue>
<character>SMOOCHY</character>
<dialogue>It's gon na be a fantabulous day in Smoochyland!</dialogue>
<scene_description>The kids cheer as Smoochy and the Rhinettes featuring Angelo Pike , go into their `` It 's a Fantabulous Day in Smoochyland '' number - a catchy , bouncy song and dance routine that plays out in the sugar - coated jungle of Smoochyland .</scene_description>
<character>SMOOCHY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Ohhhh. it's a fantabulous day in Smoochy - land/Let's have a great big cheer for the Smoochy - land band/We'll dance with our jungle pals, wo n't that be grand/Oh, it's a fantabulous day in Smoochy - land!'</dialogue>
<scene_description>Smoochy dances right UP TO the CAMERA , FILLING the FRAME with his friendly , puffy face . END of prep MONTAGE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCK BY RIVER - NIGHT (POURING RAIN)</stage_direction>
<scene_description>A disheveled Randolph paces on a deserted dock . The Brooklyn Bridge looms in the b.g. . A car pulls up in the b.g. Stokes gets out . Randolph moves under an awning .</scene_description>
<character>RANDOLPH</character>
<dialogue>I was starting to think that maybe you were n't coming.</dialogue>
<character>STOKES</character>
<dialogue>I agreed to meet you, did n't I? I had a dinner engagement.</dialogue>
<scene_description>Randolph takes a swig from a flask .</scene_description>
<character>RANDOLPH</character>
<dialogue>Really? You know, I used to have dinner engagements. Sometimes four, five a night. Dinner. drinks. I was the toast of the fucking town.</dialogue>
<character>STOKES</character>
<dialogue>Do n't start, Randolph. Please.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( voice rising . )</parenthetical>
<dialogue>Cars, boats, whores and horses, I had'em all. When I walked into a restaurant, ten guys reached for my hat. When I stood up to take a piss, they cleared the rest room. I'd walk down the street and traffic stopped, mouths gaped. You know why? You know why, Frank?</dialogue>
<parenthetical>( now shouting . )</parenthetical>
<dialogue>I was Rainbow fucking Randolph! That's why!</dialogue>
<character>STOKES</character>
<dialogue>Are you through?</dialogue>
<character>RANDOLPH</character>
<dialogue>What? You're in a hurry? You do n't have time for me? The guy who earned for you? The guy who put those fucking suits on your back and the pheasant au vin in your Brooklyn mouth?</dialogue>
<character>STOKES</character>
<dialogue>I think it's fair to say we helped each other.</dialogue>
<scene_description>Randolph suddenly breaks down .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( pleading . )</parenthetical>
<dialogue>You got ta fix it, Frank. You got ta get me my slot back.</dialogue>
<scene_description>He now clings to Stokes ' lapels .</scene_description>
<character>RANDOLPH</character>
<dialogue>How can I sit around while that rhinoceros. that horned carpetbagger gets a free ride on my dime? You and I have history, Frank! Please!</dialogue>
<scene_description>Stokes pries Randolph 's hands from his overcoat .</scene_description>
<character>STOKES</character>
<dialogue>There's nothing I can do for you. Nothing. You're a pariah. I ca n't even be seen with you.</dialogue>
<character>RANDOLPH</character>
<dialogue>Do n't do this to me, Frank. I'm in deep, deep shit. They kicked me out of the corporate penthouse. I got bookies breathing down my neck. I'm homeless! Do n't you hear what I'm saying? I'm not gon na make it! The clock's ticking! Put yourself in my shoes, for Christ's sake!</dialogue>
<character>STOKES</character>
<dialogue>The ugly truth is, your shoes have become my shoes. As long as the rhino's on the air, everything's by the book. No skim, no percentage. Nothing. The network wanted squeaky clean and they got it. And believe me, Mopes is sparkling.</dialogue>
<scene_description>He looks Randolph squarely in the eye .</scene_description>
<character>STOKES</character>
<dialogue>You're totally broke? You do n't have a dime left to your name?</dialogue>
<character>RANDOLPH</character>
<dialogue>Yes! Exactly! That's what I'm trying to tell you!</dialogue>
<scene_description>Randolph looks at him hopefully as Stokes straightens his tie .</scene_description>
<character>STOKE</character>
<dialogue>Do n't contact me again, Randy. Ever.</dialogue>
<scene_description>Stokes walks off . Randolph watches him disappear through the mist .</scene_description>
<character>RANDOLPH</character>
<dialogue>You'll get yours, Frank! The rhino too! Do you hear me?! The wheels are turning!</dialogue>
<scene_description>Stokes is gone . Randolph takes a swig from his flask and wipes his chin with his sleeve . He stares out at the river .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( quietly to himself . )</parenthetical>
<dialogue>Sooner or later, even a guy who's squeaky clean falls into mud.</dialogue>
<scene_description>THUNDER CLAP .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCK - HIGH OVERHEAD SHOT</stage_direction>
<scene_description>of the docks as Randolph stands alone before the river . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. NORA BISHOP'S OFFICE - CLOSE ON LITTLE MECHANICAL SMOOCHY THE RHINO - DAY</stage_direction>
<scene_description>as it erratically limps forward before DROPPING OUT OF FRAME . WIDER The wind - up Smoochy lays upside - down on the carpet next to Nora 's desk , legs grinding lamely in the air . Various Smoochy items are spread out on her desk top . A restless - looking Sheldon and a few members of Nora 's staff are in on the meeting .</scene_description>
<character>NORA</character>
<dialogue>Again, these are just prototypes. I've been assured by FunZone that all the bugs will be worked out before Christmas.</dialogue>
<scene_description>Sheldon raises his hand . Nora ignores him and looks at her watch .</scene_description>
<character>NORA</character>
<dialogue>Okay, so let's recap before we break up.</dialogue>
<parenthetical>( refers to notes . )</parenthetical>
<dialogue>Yes to the Smoochy ice pops. No to the Smoochy string cheese. And we're in a dick - measuring contest with Brown & Brown over the shampoo split.</dialogue>
<scene_description>Sheldon suddenly stands up .</scene_description>
<character>SHELDON</character>
<dialogue>Okay, time out, people! If I may interject, I think we're putting the cart before the horse here.</dialogue>
<scene_description>Nora throws him an icy look .</scene_description>
<character>SHELDON</character>
<dialogue>Smoochy's still earning the trust of the kids. We do n't want to compromise that by asking them to buy shampoo and cheese. How ` bout we just concentrate on doing the best show possible. Huh? Without all the bells and whistles and rickata - rackita. What do you say, guys?</dialogue>
<scene_description>Nora casually picks up a Smoochy Frisbee from her desk and sails it toward the open door . It lands in the hallway .</scene_description>
<character>NORA</character>
<parenthetical>( monotone . )</parenthetical>
<dialogue>Oh, damn.</dialogue>
<character>SHELDON</character>
<dialogue>No problem, I'll get it.</dialogue>
<scene_description>He walks out to the hallway .</scene_description>
<character>NORA</character>
<parenthetical>( to staffer . )</parenthetical>
<dialogue>Shut the door please, John.</dialogue>
<scene_description>John shuts the door .</scene_description>
<character>NORA</character>
<dialogue>Now lock it.</dialogue>
<scene_description>He locks it .</scene_description>
<character>NORA</character>
<dialogue>Thank you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KIDNET BUILDING - NIGHT</stage_direction>
<scene_description>Nora emerges from the revolving door of the Kidnet building which is located in the heart of Times Square and heads down Broadway . Sheldon emerges from the building .</scene_description>
<character>SHELDON</character>
<dialogue>Hey, Nora, wait up.</dialogue>
<scene_description>She keeps walking . Sheldon catches up and walks alongside her , occasionally getting jostled by passersby .</scene_description>
<character>SHELDON</character>
<dialogue>Good meeting today. I thought we tackled some hot issues. Although, I'll be honest, there were a few times that I felt my voice was n't being heard.</dialogue>
<character>NORA</character>
<dialogue>I think that's a conservative estimate.</dialogue>
<character>SHELDON</character>
<dialogue>I just want the show to have some weight, you know? Some substance. Silly songs, sure - but with a message. Pop quiz : How many original compositions are in the Smoochy songbook?</dialogue>
<character>NORA</character>
<dialogue>Do you sense my complete lack of interest?</dialogue>
<character>SHELDON</character>
<dialogue>Try two thousand. Covering every topic from how yummy vegetables are to the importance of donating plasma. Do n't you get it, Nora? I'm a valuable resource. Use me.</dialogue>
<scene_description>Nora stops . She looks Sheldon in the eye for the first time .</scene_description>
<character>NORA</character>
<dialogue>Can I make this real easy for you?</dialogue>
<character>SHELDON</character>
<dialogue>Sure.</dialogue>
<character>NORA</character>
<dialogue>The only reason you're on TV right now is because Rainbow Randolph is a degenerate scumbag. I did n't discover you, I delivered you. Like a bag of groceries. I have a bigger emotional investment in my nail polish. So do n't peddle your sap to me, rhino. Your job is just to smile and nod your head.</dialogue>
<scene_description>She walks off .</scene_description>
</scene>
<scene>
<stage_direction>INT. PATSY'S - NIGHT</stage_direction>
<scene_description>Sheldon sits at the bar in the restaurant , nursing a drink and talking to the BARTENDER . He seems slightly drunk .</scene_description>
<character>SHELDON</character>
<dialogue>No, no, you misunderstand me. It's not that I'm literally comparing Captain Kangaroo to Jesus Christ. I'm just saying that the Captain, like Christ, was someone you could believe in. Those guys did n't care about bells and whistles and rickita - rackata. It was all about the work. Especially Jesus. Forget about it.</dialogue>
<scene_description>The Bartender nods and starts to pour Sheldon another drink .</scene_description>
<character>SHELDON</character>
<parenthetical>( waving him off . )</parenthetical>
<dialogue>That's okay, my good man. Three's my limit.</dialogue>
<character>BARTENDER</character>
<dialogue>I never saw anyone get loaded on orange juice before.</dialogue>
<character>SHELDON</character>
<dialogue>Back in my college days I could put away a carton of the stuff.</dialogue>
<scene_description>A sharply - dressed man , BURKE BENNETT , sits down next to Sheldon .</scene_description>
<character>BURKE</character>
<parenthetical>( to Bartender . )</parenthetical>
<dialogue>Gim me a Five Crown.</dialogue>
<scene_description>The Bartender nods . He looks over at Sheldon .</scene_description>
<character>BURKE</character>
<dialogue>Smoochy the Rhino. Wow. I'm a big fan.</dialogue>
<character>SHELDON</character>
<parenthetical>( flattered . )</parenthetical>
<dialogue>Gee, thanks. I usually do n't get recognized without my horn.</dialogue>
<scene_description>Burke extends his hand .</scene_description>
<character>BURKE</character>
<dialogue>Burke Bennett. I represent kid show talent.</dialogue>
</scene>
<scene>
<stage_direction>INT. PATSY'S - SHORT WHILE LATER</stage_direction>
<scene_description>Sheldon and Burke now sit at a corner table .</scene_description>
<character>BURKE</character>
<dialogue>Look, Shel, Frank Strokes ai n't in the business to make you rich. He's in it to make Frank Stokes rich. That's how these network goons operate.</dialogue>
<character>SHELDON</character>
<dialogue>That's so sad. Is it just me, or is that sad?</dialogue>
<character>BURKE</character>
<dialogue>You know, years ago, a client of mine, Dicky Gimble, was having a problem.</dialogue>
<character>SHELDON</character>
<dialogue>Wow, you represented Dicky Gimble?</dialogue>
<character>BURKE</character>
<dialogue>Yeah, before the asshole found religion. Anyway, Stokes was trying to screw my boy out of some merchandising points. Claimed he had a warehouse full of Dicky dolls that were n't moving. Now Frank and I are old friends, so I say to him, ` Okay, cock, show me the warehouse' - see, I know the fucking warehouse is in the Bronx, and I know it's emptier than my wife's head.</dialogue>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>To make a long story short, I walk out with a check for a hundred grand and Stokes is sitting there with his thumb up his ass.</dialogue>
<scene_description>Burke laughs .</scene_description>
<character>SHELDON</character>
<dialogue>That's very amusing, but I do n't care about Smoochy dolls and Smoochy floor wax. I just want more creative input. This rhino came from my womb. I bore him, I nursed him, and dammit.</dialogue>
<scene_description>He pounds his fist on the table .</scene_description>
<character>SHELDON</character>
<dialogue>I should be the one who raises him!</dialogue>
<character>BURKE</character>
<dialogue>Shel, it's all about the dough. After you get the money, you get the power. And after you get the power, you can have Smoochy walk on stage with a hard - on if you want.</dialogue>
<character>SHELDON</character>
<dialogue>It's funny, that never crossed my mind.</dialogue>
<scene_description>Burke downs the rest of his drink and stands up .</scene_description>
<character>BURKE</character>
<dialogue>Unfortunately, until then. you're just another puppet in the prop room.</dialogue>
<scene_description>He hands Sheldon his card .</scene_description>
<character>BURKE</character>
<dialogue>Give me a call when you're ready, kid. I'll cut the strings and open the magic door for you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PATSY'S - CONTINUOUS ACTION</stage_direction>
<scene_description>Randolph peers through the restaurant 's front window . He shivers from the cold as he watches Sheldon and Burke shake hands . Burke heads for the exit . Randolph quickly ducks into the shadows . A moment later , Burke exits the club and walks down the street . Randolph pops out .</scene_description>
<character>RANDOLPH</character>
<dialogue>I saw you! I saw you in there. at my table. talking to him.</dialogue>
<character>BURKE</character>
<dialogue>Yeah, so what do you want? A parade?</dialogue>
<character>RANDOLPH</character>
<dialogue>You're my agent! Or did you forget that?</dialogue>
<character>BURKE</character>
<dialogue>Not anymore, pal. You're a cigarette butt. Go lay in the gutter.</dialogue>
<scene_description>Burke walks off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT</stage_direction>
<scene_description>In the litter - strewn alley , we PAN ACROSS several grocery bags , broken egg shells , flour bags , butter wrappers , mixing bowls and other baking ingredients . The PAN ENDS ON Randolph , who stands over a barrel fire , holding a spatula . A cookie sheet rests on the barrel . Randolph removes the cookie sheet and gazes at it gleefully . We now see that the cookies are phallic - shaped .</scene_description>
<character>RANDOLPH</character>
<dialogue>Ah! They're beautiful! A perfect batch of cock cookies for a very special rhino.</dialogue>
<scene_description>He sets the tray aside .</scene_description>
<character>RANDOLPH</character>
<dialogue>Oh yes, you're going to learn about shame, my dear Smoochy. And I'm your professor.</dialogue>
<scene_description>He laughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIDNET STUDIO - STAGE B - DAY</stage_direction>
<scene_description>It 's thirty minutes before a Smoochy taping . Dozens of giddy children are led into the studio where they take seats on the bleachers . BACKSTAGE Sheldon , in the Smoochy costume , sans head , lumbers up to Nora . He holds a rundown for that day 's show .</scene_description>
<character>SHELDON</character>
<dialogue>Excuse me, Nora. Why was the ` Please and Thank You Song' cut?</dialogue>
<character>NORA</character>
<dialogue>Because it's sappy and it takes away from the ` Cookie Song.'</dialogue>
<character>SHELDON</character>
<dialogue>Takes away? It enhances it! The cookie song is a meaningless piece of fluff without the ` Please and Thank You' coda! That's the moral anchor! That's where the lesson is! You ca n't sell the sizzle without the steak!</dialogue>
<character>NORA</character>
<dialogue>It's cut. And I want the ` Cookie Song' lyrics changed back to the way they were originally scripted.</dialogue>
<character>SHELDON</character>
<dialogue>I ca n't do that. I will not condone children consuming endless amounts of refined sugar. I have to look myself in the mirror every morning.</dialogue>
<character>NORA</character>
<dialogue>This is network television, not a sprout farm. We're here to sell sugar and plastic. That's what keeps the lights on.</dialogue>
<character>SHELDON</character>
<dialogue>You're treating me like a puppet. You know that? Well, guess what? I am not your puppet.</dialogue>
<character>NORA</character>
<dialogue>Since when? Now get your spongy orange ass out there and dance for the cameras.</dialogue>
<scene_description>An angry Sheldon storms off in frustration , but then stops . He looks back at her .</scene_description>
<character>SHELDON</character>
<dialogue>We have different eyes, Nora. When I go out there I see kids. You see wallets with pigtails.</dialogue>
<scene_description>He moves on . Nora stares at him as he walks away . He obviously got to her . As Sheldon heads toward the studio , he does n't notice the two beady eyes staring at him from under the stairwell . After a beat , Randolph emerges and slinks backstage . He 's clutching a duffle bag .</scene_description>
</scene>
<scene>
<stage_direction>INT. PROP ROOM - CONTINUOUS ACTION</stage_direction>
<scene_description>Randolph sneaks into the prop room and shuts the door . He scurries over to the prop shelf and locates Smoochy 's multicolored `` magic cookie bag . '' He opens it and tosses the cookies into the trash can . Reaching into his pockets , he pulls out his special homemade cookies . He chuckles as he dumps them into the magic cookie bag .</scene_description>
<character>RANDOLPH</character>
<dialogue>Bon soir, la Smoochy. Welcome to fatty Arbuckle - land.</dialogue>
<scene_description>He cackles to himself . He then notices a box in the corner of the room . Scribbled in magic marker on the side are the words : `` Rainbow Randolph crap . '' He walks over and pulls the box out . He slowly opens the flaps . Inside is his old costume . He pulls it out and clutches it lovingly . He smells it . The ECHOEY SOUND of his THEME SONG comes flooding back to him for a moment , along with the sound of CHILDREN LAUGHING .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( softly to himself . )</parenthetical>
<dialogue>Do n't worry, little ones. Rainbow Randolph will return.</dialogue>
<parenthetical>( with rising anger . )</parenthetical>
<dialogue>After these messages!</dialogue>
<scene_description>He holds up Smoochy 's magic cookie bag . He then stuffs his old costume into his duffle bag .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO B - LATER</stage_direction>
<scene_description>The `` Smoochy Show '' is in the middle of a taping . The Smoochyland Band is playing a fast , jazzy number -LRB- `` Doin ' the Jiggy Ziggy '' -RRB- as Smoochy , the Rhinettes , and several kids dance frenetically . The kids in the bleachers are in hysterics as Smoochy shakes his body spastically . The song finally ends . The kids in the bleachers jump to their feet , cheering and applauding .</scene_description>
<character>SMOOCHY</character>
<dialogue>Boy, all that jiggyin' and ziggyin' sure makes a fella hungry! Now if only I had my super duper, super secret, super special.</dialogue>
<scene_description>The kids in the bleachers erupt in unison :</scene_description>
<character>KIDS</character>
<dialogue>Magic Cookie Bag!</dialogue>
<character>SMOOCHY</character>
<dialogue>Right - o - riffic!</dialogue>
<parenthetical>( looks skyward . )</parenthetical>
<dialogue>Magic Cookie Bag, I command thee! Come to your lord and master!</dialogue>
<scene_description>The lights dim as the Smoochyland Band plays the `` 2001 theme . '' Smoochy 's Magic Cookie Bag is lowered from the ceiling by a filament wire . The kids go crazy .</scene_description>
<character>SMOOCHY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Lookie, lookie, lookie, here comes the cookies! Fresh and organic, no need to panic! Right from the soil, no tropical oils! Sweetened with juice, for an energy boost! Fiber galore, you'll be askin' for more.'</dialogue>
<scene_description>ANGLE ON NORA She looks pissed , but then looks over at the kids in the bleachers . Their faces are filled with laughter . For the first time she feels the connection Smoochy has with them . ANGLE ON RANDOLPH He peers out from his hiding place backstage . His eyes widen with delight as the Magic Cookie Bag continues its descent . ANGLE ON SMOOCHY The cookie bag finally reaches Smoochy . He holds the bag high above his head in a religious ceremonial fashion as the Rhinettes and the kids crowd around him .</scene_description>
<character>SMOOCHY</character>
<dialogue>Oooh. just the smell of unprocessed flour makes my tummy do somersaults!</dialogue>
<scene_description>ANGLE ON RANDOLPH</scene_description>
<character>RANDOLPH</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Whatever that means, you fucking retard.</dialogue>
<scene_description>SMOOCHY His puffy orange hand reaches for the bag 's clasp as the MUSIC reaches its CRESCENDO . RANDOLPH He 's practically shaking as he suppresses an insane laugh .</scene_description>
<character>RANDOLPH</character>
<dialogue>Give'em a cookie. give'em a cookie.</dialogue>
<scene_description>SMOOCHY He reaches into the bag , and with a grand flourish , pulls out a flaming red penis cookie . The cookie is somewhat misshapen and not perfectly formed . Smoochy gets a big grin .</scene_description>
<character>SMOOCHY</character>
<dialogue>Wow! Look at this cookie, kids! A rocket ship!</dialogue>
<scene_description>The kids `` ooh '' and `` ahh . '' ANGLE ON RANDOLPH He looks confused .</scene_description>
<character>SHELDON</character>
<dialogue>What a special day with such special cookies!</dialogue>
<scene_description>BACK ON SMOOCHY Smoochy pretends to `` zoom '' the penis cookie through the air .</scene_description>
<character>SHELDON</character>
<dialogue>Rrrrrrrr! Look at me, kids! I'm flying to the moon! I'm flying to Mars! I'm flying to -</dialogue>
<scene_description>Randolph , whose face is now bright red , ca n't take it anymore . He runs onto the stage . He grabs the rocket cookie from Smoochy .</scene_description>
<character>RANDOLPH</character>
<dialogue>Are you fucking blind?! It's a cock! Not a space ship! Cock! Cock!</dialogue>
</scene>
<scene>
<stage_direction>INT. STAIRWELL - MOMENTS LATER</stage_direction>
<scene_description>Three burly Kidnet security guards drag Randolph down the stairwell . They beat the shit out of him and toss him through the exit door .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRANK STOKES' OFFICE - TIGHT ON NEW YORK POST FRONT PAGE - DAY</stage_direction>
<scene_description>The headline reads : `` Rainbow Randolph Interrupts Smoochy Taping . '' The subhead reads : `` Runs Onstage Shouting Penis Related Obscenities . '' WIDE Burke sits on the couch next to Sheldon , reading the paper . He shakes his head in disgust . Nora sits in a chair near Stokes .</scene_description>
<character>SHELDON</character>
<dialogue>Thank you all for coming. I just wanted to iron out a few wrinkles I feel we're having in the communication department. No finger - pointing. Lord knows when you start pointing fingers, someone gets poked in the eye.</dialogue>
<scene_description>Sheldon laughs . Stokes and Nora sit stone - faced .</scene_description>
<character>SHELDON</character>
<dialogue>Anyhoo, I'd like to turn the floor over to my new agent, Mr. Burke Bennett. So. heeeeeere's Burke!</dialogue>
<scene_description>Sheldon applauds . Burke stands .</scene_description>
<character>BURKE</character>
<dialogue>As you can imagine, my client has many concerns, not the least of which is studio security, but we can address that later.</dialogue>
<scene_description>He pats Sheldon 's head like a dog .</scene_description>
<character>BURKE</character>
<dialogue>See this guy, Frank? Take a good long look,'cause this prick saved your life. Without him you'd be sitting in Kaplan's right now, sucking club soda through a paper straw.</dialogue>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>And, you - you'd be organizing puppet shows for the brats at P.S. 86. Excuse me, honey.</dialogue>
<character>NORA</character>
<dialogue>There's no excuse for you.</dialogue>
<character>SHELDON</character>
<dialogue>Man, I love club soda.</dialogue>
<scene_description>Sheldon laughs , trying to lighten the mood . Burke gives him an affectionate slap .</scene_description>
<character>STOKES</character>
<dialogue>We've always managed to come to some sort of arrangement, Burke. Why the fireworks?</dialogue>
<character>BURKE</character>
<dialogue>'Cause I'm holding all the gunpowder. I represent the man who created, owns, and controls every square inch of Smoochy the Rhino.</dialogue>
<scene_description>Burke pours himself a drink from Stokes ' private bar .</scene_description>
<character>BURKE</character>
<dialogue>God created Adam and what did he get? A fucking dud. My guy? He breathed life into a winner. And anyone who does a better job than God is gon na have a price.</dialogue>
<character>SHELDON</character>
<dialogue>Burke, of course, is in no way comparing me to God.</dialogue>
<character>BURKE</character>
<dialogue>Yes I am.</dialogue>
<character>NORA</character>
<dialogue>You seem to forget that we went out and found ` your guy.' Dug up his corpse. Handed him his own show when he could n't sell his face to a photo booth.</dialogue>
<character>SHELDON</character>
<dialogue>To be fair, Nora, I was booked to open a car wash in Montauk.</dialogue>
<character>BURKE</character>
<dialogue>Oh, so you were doing him a favor?</dialogue>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>Allow me to untangle this web of shit! I do n't care what his resume was, I do n't care where you found him, I do n't care if his last job was juggling apples for a hut full of Pygmies on the outskirts of the Congo. the fact is, he fits a bill and you need him. Like a hungry baby needs a big tit. And that, my friends, is why you're in a box with no ventilation. And that is why the rhino is going to get what he deserves.</dialogue>
<character>STOKES</character>
<dialogue>What is that, exactly?</dialogue>
<scene_description>Burke walks over to Stokes ' desk and leans across it . He 's an inch from Stokes ' face .</scene_description>
<character>BURKE</character>
<dialogue>Heaven, hell, and everything in between.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S RESTAURANT - CLOSE ON CHAMPAGNE CORK - EVENING</stage_direction>
<scene_description>being popped as foamy champagne runs down the bottle . WIDE Sheldon and Burke sit at a table in the nightclub . Burke raises his glass .</scene_description>
<character>BURKE</character>
<dialogue>To the star and new executive producer of the Smoochy show! May your reign be a long and healthy one!</dialogue>
<scene_description>They clink glasses .</scene_description>
<character>SHELDON</character>
<dialogue>I'm still in shock. Complete creative control, part ownership of the show, discretion over merchandising and a dressing room with a toilet! Am I dreaming or what?</dialogue>
<character>BURKE</character>
<dialogue>And do n't forget the corporate penthouse. It took me six years to get that for Randolph.</dialogue>
<character>SHELDON</character>
<dialogue>Boy, imagine. me, living in a penthouse. Who'd a thunk it.</dialogue>
<character>BURKE</character>
<dialogue>It's called the high life, kid. Get used to it. Pretty soon you'll be burnin' one hundred dollar bills just to see Franklin break a sweat.</dialogue>
<character>SHELDON</character>
<dialogue>Jeez, I hope not. I have a deep respect for money. Not to mention Ben Franklin who had some remarkable achievements in his lifetime.</dialogue>
<scene_description>Burke pulls out a paper bag and hands it to Sheldon .</scene_description>
<character>SHELDON</character>
<dialogue>What's this?</dialogue>
<character>BURKE</character>
<dialogue>That's your graduation present. Something you're gon na need now.</dialogue>
<scene_description>Sheldon reaches in the bag and pulls out a revolver . He recoils in horror and immediately drops it back in the bag .</scene_description>
<character>BURKE</character>
<dialogue>Think of it as a tool of the trade.</dialogue>
<character>SHELDON</character>
<dialogue>I've never owned a gun, I've never touched a gun, and I do n't believe in guns. When I played cowboys and Indians as a kid, I was always the Chinese railroad worker.</dialogue>
<character>BURKE</character>
<dialogue>Trust me, Shel. It's a handy accessory in this business. Even if you do n't load it, have it for show. Sometimes that's all you need. Especially with a creep like Randolph lurking around.</dialogue>
<scene_description>Burke and Sheldon look up and notice the hulking , grinning figure of SPINNER DUNN standing over them . Spinner has the smile of a little boy despite his crooked nose and scarred face . He extends his hand .</scene_description>
<character>SPINNER</character>
<dialogue>Hiya, Smoochy! I'm Spinner! Spinner!</dialogue>
<character>SHELDON</character>
<dialogue>Hi there.</dialogue>
<character>SPINNER</character>
<dialogue>I'm so excited to meet you! I'm Spinner!</dialogue>
<scene_description>Spinner 's massive hand engulfs Sheldon 's .</scene_description>
<character>SHELDON</character>
<parenthetical>( remembers . )</parenthetical>
<dialogue>Oh. right. I saw you fight on TV once. I think it was your farewell bout.</dialogue>
<scene_description>FLASHBACK - INT . BOXING RING -LRB- S -RRB- - SOMETIME IN THE PAST Through a SERIES OF CUTS we see Spinner getting pummeled in various fights .</scene_description>
<character>RINGSIDE COMMENTATOR #1</character>
<dialogue>Tonight marks Spinner Dunn's final appearance in the ring. What a pleasure it's been to watch him proudly march into the record books for taking more blows to the head than any fighter in history.</dialogue>
<scene_description>A bloodied , defeated Spinner happily holds up the arm of his opponent after a match . He then hugs the referee . He jumps down from the ring and hugs the three judges .</scene_description>
<character>RINGSIDE COMMENTATOR #2</character>
<dialogue>Scrambled a bit? Sure. You do n't retire with a record of 81 - 59 and wind up the Governor. But on the upside, he's got the disposition of a collie.</dialogue>
<scene_description>Spinner wades into the stands and starts hugging the spectators .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S RESTAURANT (PRESENT)</stage_direction>
<scene_description>Spinner is still pumping Sheldon 's hand .</scene_description>
<character>SPINNER</character>
<dialogue>You know what I love, Smoochy? I love when you do the Jiggy Ziggy dance! You know, the one you do during ` Silly Time?'</dialogue>
<character>SHELDON</character>
<dialogue>You bet. That's a big one.</dialogue>
<character>SPINNER</character>
<dialogue>Wan na see me do it?</dialogue>
<character>SHELDON</character>
<dialogue>Well, I do n't know why if there's enough room here to.</dialogue>
<scene_description>Spinner starts Jiggying and Ziggying for Sheldon . He bangs into a table and knocks over someone 's drink .</scene_description>
<character>BURKE</character>
<dialogue>Okay, champ, do n't get overheated.</dialogue>
<scene_description>Spinner stops , out of breath . He leans over and hugs Sheldon .</scene_description>
<character>SPINNER</character>
<dialogue>I love you.</dialogue>
<character>SHELDON</character>
<dialogue>I. uh. love you, too, Spinner.</dialogue>
<scene_description>A powerful - looking woman , TOMMY COTTER , calls to Spinner from the bar .</scene_description>
<character>TOMMY</character>
<dialogue>Spinner, come over and meet the Senator!</dialogue>
<scene_description>Spinner dutifully hurries over to Tommy .</scene_description>
<character>SHELDON</character>
<dialogue>He seems pretty popular. It must take real talent to run a place like this.</dialogue>
<character>BURKE</character>
<dialogue>Spinner? The guy could n't run a water faucet. He's just a mascot. It's his cousins, a bunch of Irish mob boys, who really run the joint.</dialogue>
<scene_description>ANGLE ON SPINNER He shakes the Senator 's hand as Tommy and a few other tough Irish guys stand around . Spinner looks over towards Sheldon .</scene_description>
<character>SPINNER</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Do n't go anywhere, Smoochy! I'll be right back after I take a dump!</dialogue>
<scene_description>Spinner releases the Senator 's hand and rushes off .</scene_description>
<character>BURKE</character>
<dialogue>I think you made a new friend, kid.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANGELO PIKE'S RUNDOWN APARTMENT (LOWER EAST SIDE) - NIGHT</stage_direction>
<scene_description>We met him backstage with Smoochy . innocent face . Angelo stirs a pot of soup in the worn - down but tidy apartment . A `` Rhinette '' costume is draped over one of the chairs . There is a sudden LOUD POUNDING on the door . Angelo puts the spoon down and reaches behind some spices on the shelf above . He pulls out a revolver . The POUNDING continues .</scene_description>
<character>ANGELO</character>
<dialogue>Yeah, who is it?</dialogue>
<character>RANDOLPH</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( friendly . )</parenthetical>
<dialogue>Open up, buddy! It's me, Randolph! It's been a long time!</dialogue>
<scene_description>Angelo puts the gun in his waistband and walks to the door . He slowly slides the chain off and opens the door a crack . Peering in at him are the bloodshot eyes of Rainbow Randolph .</scene_description>
<character>ANGELO</character>
<dialogue>Randy?</dialogue>
<scene_description>Randolph suddenly kicks the door open and tackles Angelo . Randolph sits on top of the little man .</scene_description>
<character>RANDOLPH</character>
<dialogue>You fucking traitor! My body's barely cold and already you work for the rhino?</dialogue>
<character>ANGELO</character>
<dialogue>I do n't know what you're talking about.</dialogue>
<character>RANDOLPH</character>
<dialogue>Do n't lie to me! I heard all about it! You strapped that horn on faster than a cheerleader gets the clap!</dialogue>
<character>ANGELO</character>
<dialogue>I got ta eat, do n't I?</dialogue>
<character>RANDOLPH</character>
<dialogue>You're a Krinkle Kid! Not a Smooch - bag! Say it!</dialogue>
<character>ANGELO</character>
<dialogue>Rhinette!</dialogue>
<character>RANDOLPH</character>
<dialogue>Say it : I am a Krinkle Kid! Say it, before God! On the soul of Jesus Christ! Say what you are!</dialogue>
<scene_description>Angelo punches Randolph in the mouth and flips him over . He now sits on Randolph , pointing the revolver to his face .</scene_description>
<character>ANGELO</character>
<dialogue>I'm a Rhinette. Got that? The Krinkle Kids are ten feet under. With you.</dialogue>
<scene_description>Randolph starts crying like a child .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( blubbering . )</parenthetical>
<dialogue>I missed you so much. Can I stay here? I got no place to go.</dialogue>
<scene_description>Angelo sighs and puts the gun away .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - SHORT WHILE LATER</stage_direction>
<scene_description>Angelo and Randolph sit at the small kitchen table . Angelo watches as Randolph ravenously eats a bowl of soup .</scene_description>
<character>RANDOLPH</character>
<dialogue>They kicked me out of the corporate penthouse. Big surprise. Sons - a - bitches. That's how I got this beauty.</dialogue>
<scene_description>He points to a nasty bump near his eye .</scene_description>
<character>RANDOLPH</character>
<dialogue>And of course, there's this.</dialogue>
<scene_description>He yanks his lip back to reveal a missing tooth .</scene_description>
<character>RANDOLPH</character>
<dialogue>That happened after my little visit to the studio the other day. Network security. Fucking savages.</dialogue>
<scene_description>He slurps another spoonful of soup and spits a bay leaf on the floor .</scene_description>
<character>RANDOLPH</character>
<dialogue>I got liens, back taxes, lawyer's bills, threats against my life. I basically got the whole fucking world up my ass. It's okay, I got a loooong memory, son.</dialogue>
<parenthetical>( Amos and Andy dialect . )</parenthetical>
<dialogue>What dey sow, dey gon na reap.</dialogue>
<scene_description>He cackles insanely as he picks up a bottle of gin and takes a deep swig . He passes out and falls off the chair . Angelo leans down and lifts his head off the floor .</scene_description>
<character>ANGELO</character>
<dialogue>Stop doing this to yourself!</dialogue>
<scene_description>Randolph does n't respond . Angelo slaps his face .</scene_description>
<character>ANGELO</character>
<dialogue>Wise up! You hear me? Do n't piss your life away like this.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( half - conscious . )</parenthetical>
<dialogue>It's the rhino, Angie. He's been sent by the devil. Sent from hell to destroy me. Smoochy. is the face of evil.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROADWAY (TIMES SQUARE) - MORNING</stage_direction>
<scene_description>We are ON the smiling goofy face of Sheldon , whose picture graces the front page of Variety under the headline , `` MOPES TO EXECUTIVE PRODUCE SMOOCHY SHOW . '' The subhead reads , `` TENURE TO BEGIN TODAY . '' A dollar bill is slapped down over the picture . We WIDEN OUT to see Sheldon buying the magazine at the newsstand in front of the Kidnet Building . He turns and walks toward the Kidnet entrance . He stops and looks up at the building . Smiling , he takes a deep breath and enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIDNET HALLWAY - FEW MOMENTS LATER</stage_direction>
<scene_description>Sheldon whistles as he walks down the hall , giving cheerful `` hellos '' and `` good mornings '' along the way . He enters Nora 's office .</scene_description>
</scene>
<scene>
<stage_direction>INT. NORA'S OFFICE - CONTINUOUS ACTION</stage_direction>
<scene_description>Nora is on the phone . She pretends not to notice him . Sheldon bides his time by inspecting knickknacks , examining photos on the wall , etc. . Finally , he half - whispers/half - mouths to her :</scene_description>
<character>SHELDON</character>
<dialogue>Whenever you get a chance. I just need a second.</dialogue>
<character>NORA</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Listen, can I call you back? Yeah, some asshole's screaming in my ear. Thanks.</dialogue>
<scene_description>She hangs up .</scene_description>
<character>SHELDON</character>
<dialogue>I'm sorry, you did n't have to hang up.</dialogue>
<character>NORA</character>
<dialogue>If I did n't you'd still be here.</dialogue>
<character>SHELDON</character>
<dialogue>But I am still here.</dialogue>
<character>NORA</character>
<dialogue>I'm hoping to correct that.</dialogue>
<character>SHELDON</character>
<dialogue>Nora, I want us to start off on the right foot. I want you to know that I value your input and I do n't want you to feel intimidated just because the power structure has changed a bit. I consider you a partner.</dialogue>
<character>NORA</character>
<dialogue>Great. That'll come in handy if we're ever at a square dance.</dialogue>
<character>SHELDON</character>
<dialogue>Well, I was never much of the do - se - do type, but what I would love to do is take you out to lunch one day. You know, just two colleagues chewing the fat. forming a mutual respect. planting the seeds of cooperation.</dialogue>
<character>NORA</character>
<dialogue>No.</dialogue>
<character>SHELDON</character>
<dialogue>Fair enough. If you change your mind -</dialogue>
<character>NORA</character>
<dialogue>I wo n't.</dialogue>
<scene_description>Sheldon just nods and starts to exit .</scene_description>
<character>SHELDON</character>
<dialogue>Okay then, I'll be in my office if you need me. If you want to brainstorm about anything. Ideas and so forth.</dialogue>
<scene_description>He passes a plant by the door .</scene_description>
<character>SHELDON</character>
<dialogue>Ficus?</dialogue>
<scene_description>She ignores him . He exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon walks slowly down the hallway . He no longer has a bounce in his step .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S NEW OFFICE - MOMENT LATER</stage_direction>
<scene_description>Sheldon enters his plush new office , awkwardly walks over to his new desk and sits behind it for the first time .</scene_description>
<character>SHELDON</character>
<dialogue>Wow.</dialogue>
<character>TOMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>My cousin Spinner's take quite a shine to you.</dialogue>
<scene_description>Sheldon jumps . He 's surprised to Tommy from Spinner Dunn 's restaurant . Tommy 's crew , ROY , DANNY , JIMMY and SAMMY occupy the sofa .</scene_description>
<character>TOMMY</character>
<dialogue>Ever since you came in the restaurant. He ca n't stop yakkin'.</dialogue>
<character>SHELDON</character>
<dialogue>Well, he's a very nice man. Very sweet disposition for someone that size.</dialogue>
<character>TOMMY</character>
<dialogue>So, I was wondering if maybe you could give him a little floor space.</dialogue>
<character>SHELDON</character>
<dialogue>I'm sorry?</dialogue>
<character>TOMMY</character>
<dialogue>You know, a little part on the show. You're the executive producer now. You call the shots, right?</dialogue>
<character>SHELDON</character>
<dialogue>Uh, that's a very sweet offer, and I love Spinner, but TV is a complicated medium and. I mean, that would be like me getting into the ring with a prizefighter.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Can you imagine such a thing? Boom. K.O! What's the alphabet, Mommy?</dialogue>
<scene_description>Sheldon laughs again . Tommy gets quiet .</scene_description>
<character>TOMMY</character>
<dialogue>This makes me sad. Very, very, sad.</dialogue>
<character>DANNY</character>
<dialogue>What's wrong, Tommy?</dialogue>
<character>TOMMY</character>
<dialogue>Nothing. I'm just very sad right now.</dialogue>
<character>SAMMY</character>
<dialogue>Who made you sad, Tommy?</dialogue>
<character>TOMMY</character>
<dialogue>I do n't want to mention names.</dialogue>
<scene_description>The guys look menacingly at Sheldon . They rise and walk around his desk until they 're on either side of him .</scene_description>
<character>SHELDON</character>
<dialogue>You know what? Maybe I can find Spinner a little something to do on the show. That's probably the best solution.</dialogue>
<scene_description>Tommy now smiles and walks over to Sheldon . She musses Sheldon 's hair .</scene_description>
<character>TOMMY</character>
<dialogue>You're a good boy, Mopes. Do n't think we do n't remember favors.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHELDON'S OFFICE - SHORT WHILE LATER</stage_direction>
<scene_description>Sheldon is in a meeting with a man , SONNY GORDON .</scene_description>
<character>SHELDON</character>
<dialogue>Look, I appreciate the visit, but I'm just putting together a little petting zoo segment. Nothing fancy - a few kittens. maybe a duck.</dialogue>
<scene_description>ANGLE ON SONNY SUPERIMPOSE : SONNY GORDON , PRESIDENT , ANIMAL WRANGLERS ' LOCAL 358</scene_description>
<character>SONNY</character>
<dialogue>If you're looking to bring in that many pieces I got ta put a crew together. Plus, we're lookin' at transpo, a few leash handlers, a cleanup boy and a doper to keep the inventory quiet.</dialogue>
<character>SHELDON</character>
<dialogue>Jeez, this all sounds awfully elaborate. I might have to forgo the union and just borrow a few animals from a pet shop.</dialogue>
<character>SONNY</character>
<dialogue>I would n't recommend it. Miss Carol from Romper Room tried that once and she's still limping.</dialogue>
<scene_description>SWISH PAN TO -</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S OFFICE - SHORT TIME LATER</stage_direction>
<scene_description>A frazzled - looking Sheldon is meeting with BEN FRANKS .</scene_description>
<character>BEN</character>
<dialogue>On behalf of FunZone Toys, I'd like to congratulate you on your recent promotion, and present you with a small gift.</dialogue>
<scene_description>SUPERIMPOSE : BEN FRANKS , V.P. , FUNZONE TOYS Ben reaches into his breast pocket and drops a large wad of money on Sheldon 's desk that lands with a thud .</scene_description>
<character>SHELDON</character>
<dialogue>Uh. that's nice of you, Ben, but a card would have been fine.</dialogue>
<character>BEN</character>
<dialogue>FunZone Toys would very much like the Smoochy contract, Mr. Mopes.</dialogue>
<character>SHELDON</character>
<dialogue>Is this. I mean. are you offering me a bribe or something?</dialogue>
<character>BEN</character>
<dialogue>FunZone Toys would very much like the Smoochy contract, Mr. Mopes.</dialogue>
<scene_description>Sheldon picks up the money and tosses it back to Ben . Sheldon rises from his desk .</scene_description>
<character>SHELDON</character>
<dialogue>Normally, sir, we take the trash out at the end of the day, but I think I'll make an exception in your case.</dialogue>
<scene_description>Sheldon escorts Ben out the door and slams it shut . The PHONE RINGS . Sheldon walks over and picks it up .</scene_description>
<character>SHELDON</character>
<dialogue>Yes?</dialogue>
<character>ASSISTANT</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>A Mr. Feedlepepper on line two.</dialogue>
<character>SHELDON</character>
<dialogue>Who?</dialogue>
<character>ASSISTANT</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He says he's an old friend.</dialogue>
<scene_description>Sheldon punches line two .</scene_description>
<character>SHELDON</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - RANDOLPH</stage_direction>
<character>RANDOLPH</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You better grow eyes on the back of your fucking head, you horned piece of shit! I wo n't sleep until the worms are crawlin' up your foam rubber ass! I'm going on safari, motherfucker. safari!</dialogue>
<scene_description>Sheldon hangs up stunned . Nora walks in holding the daily news .</scene_description>
<character>NORA</character>
<dialogue>Congratulations on your little ice show.</dialogue>
<character>SHELDON</character>
<dialogue>What are you talking about?</dialogue>
<character>NORA</character>
<dialogue>It did n't take you long to sell out, did it?</dialogue>
<scene_description>She tosses the paper on his desk .</scene_description>
<character>NORA</character>
<dialogue>What happened to your precious integrity? Or was that just part of your dog and pony act.</dialogue>
<scene_description>She exits . A confused Sheldon looks at the `` Around Town '' column . INSERT - HEADLINE `` GARDEN TO HOST SMOOCHY ON ICE . '' The subhead reads : `` HUGE GATE EXPECTED - VENDORS SALIVATE AT SMELL OF BIG BUCKS . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S - EVENING</stage_direction>
<scene_description>We are TIGHT ON the feet of an Irish dancer doing a sort of Riverdance . We WIDEN OUT and the rest of the dancers come INTO FRAME . Spinner and the mob ar clapping and whooping . Sheldon and Burke sit at a table in the dark club having a conversation .</scene_description>
<character>SHELDON</character>
<dialogue>Burke, I never agreed to do an ice show.</dialogue>
<character>BURKE</character>
<dialogue>Shel, do you know what kind of cash we'll take in between the gate and concessions? A venture like this gets you money and muscle. Times twenty.</dialogue>
<character>SHELDON</character>
<dialogue>Ice shows represent everything I'm against. They're mindless spectacles whose main purpose is to sell overpriced sugar - water and cheap plastic toys that splinter in a kid's mouth on the ride home.</dialogue>
<character>BURKE</character>
<dialogue>Look, I know you got this fetish for ethics, but now's not the time to fly that kite. No one's ever refused a shot at an ice show.</dialogue>
<scene_description>Sheldon tears the contract in half .</scene_description>
<character>SHELDON</character>
<dialogue>Until now. Smoochy does n't sell out, Burke. You should be proud of that. Proud that you represent a client who paves driveways, not paints them over.</dialogue>
<character>BURKE</character>
<dialogue>I'm thrilled, Shel. Knocked out.</dialogue>
<scene_description>Burke just sits there , stunned . A waitress , SANDY , passes by the booth .</scene_description>
<character>SHELDON</character>
<dialogue>I'll have a pineapple juice, Sandy.</dialogue>
<character>SANDY</character>
<dialogue>Pineapple? What happened to orange juice?</dialogue>
<character>SHELDON</character>
<dialogue>I'm feeling feisty tonight.</dialogue>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - DAY</stage_direction>
<scene_description>We are now on a drum solo . Ernie the Elephant of the Smoochyland Band works it . The animal band plays a sloppy version of `` Pop Goes the Weasel . '' End on Spinner Dunn - the newest and by far largest member of the band . Spinner holds s cowbell and seems to be concentrating intently on the proper moment to hit it . Unfortunately , his rhythm is off , which throws the rest of the band off as well . We WIDEN OUT to see Smoochy and the Rhinettes attempting to dance to the off - kilter rhythm . The song finally ends . The Rhinettes glare at Spinner . Smoochy addresses the camera .</scene_description>
<character>SMOOCHY</character>
<dialogue>Boy, was n't that fun? In an awkward kind of way? Anyhoo, how ` bout a big round of applause for the newest member of the Smoochyland Band. former heavyweight contender, Spinner Dunn!</dialogue>
<scene_description>Spinner stands up to take a bow and almost knocks the entire bandstand over . There is a smattering of confused applause from the kids in the bleachers . Spinner drops the cowbell and it clangs on the studio floor .</scene_description>
<character>SPINNER</character>
<dialogue>Shit. Sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE - AFTER SHOW</stage_direction>
<scene_description>A beaming Spinner runs up to Sheldon , who 's still in costume .</scene_description>
<character>SPINNER</character>
<dialogue>Did I do good, Sheldon, huh? Did I do good?</dialogue>
<character>SHELDON</character>
<dialogue>Yeah, that was great, Spinner. Just watch your elbow next time. Pinky's probably gon na lose that tooth.</dialogue>
<character>SPINNER</character>
<dialogue>Okey doke. I'm gon na go get drunk now.</dialogue>
<scene_description>Spinner skips off humming `` Pop Goes the Weasel '' and banging his cowbell . Nora passes Sheldon backstage .</scene_description>
<character>NORA</character>
<dialogue>Nice job. Casting the show with mental patients, I like that.</dialogue>
<character>SHELDON</character>
<parenthetical>( snapping . )</parenthetical>
<dialogue>He is not a mental patient. He's an ex - boxer and nightclub owner who happens to have the sweet innocent brian of a five - year - old!</dialogue>
<character>NORA</character>
<dialogue>Excuse me for not making the distinction.</dialogue>
<scene_description>She leaves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROADWAY (TIMES SQUARE) - NIGHT</stage_direction>
<scene_description>Sheldon exits the Kidnet building and walks to the curb to hail a cab . A friendly - looking man in a suit and bow tie approaches him . This is MERV GREEN .</scene_description>
<character>MERV</character>
<dialogue>Hi there.</dialogue>
<character>SHELDON</character>
<dialogue>Hi.</dialogue>
<scene_description>A limo pulls up in front of them . Merv opens the back door .</scene_description>
<character>MERV</character>
<dialogue>Get in.</dialogue>
<character>SHELDON</character>
<dialogue>Thanks anyway, but I'm going uptown.</dialogue>
<scene_description>Merv pulls his jacket back to reveal a revolver tucked in his waistband .</scene_description>
<character>MERV</character>
<dialogue>Humor me, rhino.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIMOUSINE - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon slides into the back seat of the limo . A big thug in an overcoat , HENRY , is already sitting there . Merv gets in behind him and shuts the door . Sheldon is now wedged between the two men as the limo heads down Broadway . Merv extends his hand .</scene_description>
<character>MERV</character>
<dialogue>Merv Green, Sheldon. It's a pleasure to meet you.</dialogue>
<character>SHELDON</character>
<dialogue>If you're hoping for an autograph, the gun's a bit much. The whole ` catch more flies with honey' thing - it really holds water.</dialogue>
<scene_description>Sheldon laughs nervously .</scene_description>
<character>MERV</character>
<dialogue>Sheldon, I represent the Parade of Hope Foundation. Maybe you've heard of us.</dialogue>
<character>SHELDON</character>
<dialogue>You raise money to build children's hospitals, right?</dialogue>
<character>MERV</character>
<dialogue>We've been known to add a brick or two, sure.</dialogue>
<scene_description>Merv and the thug laugh .</scene_description>
<character>MERV</character>
<dialogue>Sheldon, let me get right to the point - there's talk on the street that you're pulling out of the ice show. Is that true?</dialogue>
<character>SHELDON</character>
<parenthetical>( big sigh . )</parenthetical>
<dialogue>You know, I never agreed to an ice show, nor would I ever agree to do an ice show, and let me add that none of this is your concern, sir.</dialogue>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>Sheesh.</dialogue>
<character>MERV</character>
<dialogue>Listen carefully, son : Parade of Hope has sponsored every Kidnet ice show since 1964. We take a piece off the top and everybody walks away happy. So let's not buck history.</dialogue>
<character>SHELDON</character>
<dialogue>Well, I appreciate the offer, but for the gazillionth time, I'm not doing an ice show, so we have nothing to discuss. Now, if you'll just pull over, I'll get out and we'll say our toodley - dos.</dialogue>
<parenthetical>( to driver . )</parenthetical>
<dialogue>Far corner, please.</dialogue>
<character>MERV</character>
<dialogue>Allow me to be less murky. Starting tomorrow, Smoochy the Rhino raises his baton for Parade of Hope. Benefits, banquets, fund - raisers, I want it all.</dialogue>
<parenthetical>( to driver . )</parenthetical>
<dialogue>Pull over, Terry.</dialogue>
<scene_description>The car pulls to the curb .</scene_description>
<character>MERV</character>
<dialogue>And as far as the ice show goes. I recommend you start shopping for skates.</dialogue>
<scene_description>The door pops open and Sheldon is tossed out .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORPORATE PENTHOUSE - NIGHT</stage_direction>
<scene_description>A troubled - looking Sheldon stands on his balcony looking out at the city . He drinks orange juice straight from the carton . Sheldon is on the phone with Burke .</scene_description>
<character>SHELDON</character>
<dialogue>This is unacceptable, Burke! I'm calling the authorities.</dialogue>
<character>BURKE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Do n't do it, Shel. You rat on Parade of Hope and you'll be lucky if they find your toenails. These guys are the roughest of all the charities.</dialogue>
<character>SHELDON</character>
<dialogue>I was threatened by an organization that's supposed to help children! What kind of world is this?</dialogue>
<character>BURKE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The real one. My advice? Consider the ice show and stay healthy.</dialogue>
<scene_description>Burke hangs up . After a beat , Sheldon 's DOORBELL RINGS . He walks over to the door and opens it . To his surprise , Nora is standing there .</scene_description>
<character>NORA</character>
<dialogue>May I come in?</dialogue>
<character>SHELDON</character>
<dialogue>Sure.</dialogue>
<scene_description>Nora enters . She seems a little wobbly . Sheldon notices she 's holding a pint of whiskey .</scene_description>
<character>SHELDON</character>
<dialogue>Uh. are you okay?</dialogue>
<character>NORA</character>
<dialogue>I'm getting drunk and I'm not used to it.</dialogue>
<character>SHELDON</character>
<dialogue>Oh. Well, not to make you feel worse, but with alcohol you're also consuming empty calories.</dialogue>
<scene_description>Nora looks at him for a moment .</scene_description>
<character>NORA</character>
<dialogue>It's just that. I want to apologize, actually. And on those rare occasions when I feel the need to apologize for something, it helps if I'm, you know. shit - faced.</dialogue>
<character>SHELDON</character>
<dialogue>Wow. I'm honored.</dialogue>
<scene_description>Nora trips slightly . Sheldon takes the whiskey from her .</scene_description>
<character>SHELDON</character>
<dialogue>Why do n't we get some air?</dialogue>
<scene_description>He leads her out on the balcony . They look out at the city .</scene_description>
<character>NORA</character>
<dialogue>I. I may have been a little harsh when we spoke the other day. A little out of line.</dialogue>
<character>SHELDON</character>
<dialogue>Well, it was n't as bad as the week before when you called me a pasty - faced, no - talent hack.</dialogue>
<character>NORA</character>
<dialogue>Yes, that was probably insensitive as well.</dialogue>
<parenthetical>( looks at him . )</parenthetical>
<dialogue>I heard you're not doing the ice show. I find that. incredibly admirable. Why did n't you tell me?</dialogue>
<character>SHELDON</character>
<dialogue>I guess I did n't want to spoil your fun. You look so content when you're berating me.</dialogue>
<scene_description>Nora looks down .</scene_description>
<character>NORA</character>
<dialogue>I'm afraid I have become a bit hardened over the years. Sincerity's an easy disguise in this business. It's hard to know who's on the level.</dialogue>
<character>SHELDON</character>
<dialogue>Believe me, I'm learning that more and more every day.</dialogue>
<parenthetical>( wistfully . )</parenthetical>
<dialogue>` Sometimes light is really dark, Sometimes crows can sing like larks Sometimes Winter feels like Spring, Do n't think you know everything.'</dialogue>
<character>NORA</character>
<parenthetical>( in disbelief . )</parenthetical>
<dialogue>` Rickets the Hippo'?</dialogue>
<character>SHELDON</character>
<dialogue>You remember Rickets?</dialogue>
<character>NORA</character>
<dialogue>That was my favorite show when I was a kid. Rickets was the one face I knew I could trust.</dialogue>
<character>SHELDON</character>
<dialogue>That's how I felt! Rickets had real depth. He was my inspiration for Smoochy.</dialogue>
<character>NORA</character>
<dialogue>Really? He was my inspiration to work in children's television.</dialogue>
<character>SHELDON</character>
<dialogue>I ca n't believe it. I never met anyone who even remembers Rickets. Do you remember the Klunky - Wunky dance?</dialogue>
<character>NORA</character>
<dialogue>Remember it? I did it at my first communion.</dialogue>
<scene_description>Sheldon starts doing the rather insane - looking Klunky - Wunky dance . Nora does it with him . They both stop and look at each other . Sheldon impulsively leans in and kisses her .</scene_description>
<character>SHELDON</character>
<dialogue>I'm sorry. That was a mistake, right? I did n't mean for that to hap -</dialogue>
<scene_description>Nora grabs his head and pulls it toward her . They begin kissing passionately .</scene_description>
<character>NORA</character>
<parenthetical>( as they kiss . )</parenthetical>
<dialogue>You're not full of shit like all the others, are you?</dialogue>
<character>SHELDON</character>
<dialogue>No, no.</dialogue>
<character>NORA</character>
<parenthetical>( as they kiss . )</parenthetical>
<dialogue>You're for real, right?</dialogue>
<character>SHELDON</character>
<dialogue>Yes, yes.</dialogue>
<character>NORA</character>
<parenthetical>( through the kisses . )</parenthetical>
<dialogue>I mean, I could n't tell. First I thought it was an act. and then I just thought you were a simp or something.</dialogue>
<character>SHELDON</character>
<dialogue>Shhh. you do n't have to explain.</dialogue>
<scene_description>They continue to kiss . Nora abruptly stops .</scene_description>
<character>NORA</character>
<dialogue>I should go.</dialogue>
<character>SHELDON</character>
<dialogue>Why?</dialogue>
<scene_description>Nora exits the balcony and collects her coat and purse .</scene_description>
<character>SHELDON</character>
<dialogue>What's wrong? Is it the whiskey? If you have to throw up, be my guest. Anywhere you like.</dialogue>
<character>NORA</character>
<dialogue>It's just getting late.</dialogue>
<scene_description>Sheldon follows her to the door . She stops and looks at him for a moment . The PHONE starts to RING . Neither of them says anything for a beat .</scene_description>
<character>NORA</character>
<dialogue>Better get that. Good night.</dialogue>
<scene_description>She exits . Sheldon shuts the door and sighs . He goes to the bar to pour himself another orange juice before picking up the phone .</scene_description>
<character>SHELDON</character>
<dialogue>Hello?</dialogue>
<scene_description>ANGELO 'S APARTMENT We GO TO a HORIZONTAL SPLIT - SCREEN . Randolph is on the BOTTOM HALF . He lies on his bed in Angelo 's apartment wearing a bathrobe with a towel wrapped around his head . His head dangles off the bed as he talks on the phone . The SHOT is reminiscent of Bye Bye Birdie .</scene_description>
<character>RANDOLPH</character>
<dialogue>Hello, Mr. Mopes? My name is Benjamin Kunklepeck and I'm calling on behalf of ` Parents for Decency in Children's Television,' perhaps you've heard of us?</dialogue>
<character>SHELDON</character>
<dialogue>No, but I like where you're coming from. It's an issue very close to my heart. Why just yesterday I was commenting -</dialogue>
<character>RANDOLPH</character>
<dialogue>Sir, we're having a banquet tomorrow and we'd be honored to have you perform for us. We would also like to present you with a plaque for your ongoing commitment to children's television. The presenter will be a young orphan with mild asthma. Can you attend?</dialogue>
</scene>
<scene>
<stage_direction>EXT. VERRAZANO NARROWS BRIDGE - NEXT MORNING</stage_direction>
<scene_description>A black Lincoln Town Car travels across the bridge toward Staten Island .</scene_description>
<character>SHELDON</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Thanks for picking me up, Mr. Kunklepeck. It's very nice of you.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOWN CAR - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon is in the back seat . The Smoochy costume is next to him . Behind the wheel is Randolph . He 's in disguise .</scene_description>
<character>RANDOLPH</character>
<dialogue>Do n't be silly. The chance to have Smoochy the Rhino perform at our little soiree? I'd carry you piggy - back through a bed of hot rusty glass if I had to.</dialogue>
<character>SHELDON</character>
<dialogue>Well, it's always a pleasure to help out a worthy cause. And believe me, I've learned lately that it's not all sunshine and daffodils in the land of non - profit.</dialogue>
<character>RANDOLPH</character>
<dialogue>I just looove your show, by the way. It's such a refreshing change of pace from that dreadful embezzler. what's his name again? Rainbow something or other?</dialogue>
<character>SHELDON</character>
<dialogue>Randolph.</dialogue>
<character>RANDOLPH</character>
<dialogue>Yes. Rainbow Randolph. What a scoundrel! He's probably gay too.</dialogue>
<character>SHELDON</character>
<dialogue>Oh, I do n't know. I feel sorry for him, actually. He obviously has problems or issues that he needs to sort out.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( getting frustrated . )</parenthetical>
<dialogue>Yeah, yeah, yeah, but do n't you take particular glee in that you basically stole his time slot? Helped shovel dirt onto his miserable corpse, as it were?</dialogue>
<character>SHELDON</character>
<dialogue>No, I would never take pleasure in someone's downfall. You know the old expression about walking a mile in another man's shoes? Well, that really holds water. Just try to imagine -</dialogue>
<character>RANDOLPH</character>
<parenthetical>( snapping . )</parenthetical>
<dialogue>Come on, he's a fucking asshole! You hate him! Admit it!</dialogue>
<character>SHELDON</character>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>Uh. can we listen to the radio?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAREHOUSE - SHORT WHILE LATER</stage_direction>
<scene_description>The Town Car is parked behind an old warehouse in the middle of nowhere . Sheldon is now in costume . Randolph rushes out of the door , very excited .</scene_description>
<character>RANDOLPH</character>
<dialogue>Okay, they're ready for you!</dialogue>
<character>SHELDON</character>
<dialogue>I got ta say, this is a first - I never performed in a tractor parts warehouse before.</dialogue>
<character>RANDOLPH</character>
<dialogue>Well, we like to do these things no - frills. It's all about the kids.</dialogue>
<character>SHELDON</character>
<dialogue>Amen to that.</dialogue>
<scene_description>Randolph opens the door a crack and listens . We hear an O.S. VOICE from inside .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It gives me great pleasure to introduce our very special guest. a supporter of the cause and a friend to the brotherhood. Please welcome, the one, the only. Smoochy the Rhino!</dialogue>
<scene_description>We hear APPLAUSE . Randolph quickly opens the rusty door .</scene_description>
<character>RANDOLPH</character>
<dialogue>Knock'em dead, kid!</dialogue>
<scene_description>He shoves Sheldon inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon runs in and immediately starts singing and dancing on the makeshift stage .</scene_description>
<character>SMOOCHY</character>
<dialogue>` Well, how - do - you - do, my good friends! How do - you - do, my pals! It's so nice to see good friends! Sing along with me now! How do you do, my good -'</dialogue>
<scene_description>Sheldon abruptly stops singing as a look of shock comes over him . PUSH IN ON his troubled face . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - SHELDON'S POV</stage_direction>
<scene_description>Several hundred men in Nazi uniforms in a warehouse draped in swastikas . They all start chanting :</scene_description>
<character>NAZIS</character>
<dialogue>Heil Smoochy! Heil Smoochy! Heil Smoochy!</dialogue>
<scene_description>A huge swastika banner unfurls behind Smoochy , framing him like Patton in front of the American flag . Flashbulbs go off . The `` Heil Smoochys '' continue . A GERMAN MARCH starts to BLARE from the SPEAKERS . Looking stunned , Sheldon slowly leans into the mic . He clears his throat . The MUSIC STOPS . Everyone quiets down . He searches for just the right words , and finally .</scene_description>
<character>SHELDON</character>
<dialogue>It's my sincere hope that I'm dreaming right now, but in the event that I'm not. what's the deal with the swastikas?</dialogue>
<scene_description>Suddenly , a sea of policemen bursts into the warehouse .</scene_description>
<character>LEAD COP</character>
<dialogue>This is an unlawful assembly, you kraut sons - a - bitches! You're all under arrest!</dialogue>
<scene_description>Pandemonium ensues us all the Nazis run for cover . Sheldon stands in the middle of it all , unsure what to do .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WAREHOUSE - SHORT WHILE LATER</stage_direction>
<scene_description>Sheldon is led from the warehouse in handcuffs and is barraged with questions from waiting REPORTERS . Flashbulbs go off as they shout out questions .</scene_description>
<character>REPORTER #1</character>
<dialogue>Are you officially a member of the Aryan Brotherhood, Sheldon?</dialogue>
<character>REPORTER #2</character>
<dialogue>Is it true you consider Adolph Hitler your personal hero?</dialogue>
<character>REPORTER #3</character>
<dialogue>Do you think associating with neo - Nazis might adversely affect your career?</dialogue>
<character>REPORTER #4</character>
<dialogue>How does it feel to be a hate - filled racist scumbag?</dialogue>
<character>SHELDON</character>
<dialogue>This is a mix - up! I'm innocent! I do n't hate anyone!</dialogue>
<character>REPORTER #4</character>
<dialogue>Does that mean you do n't hate Nazis?</dialogue>
<character>SHELDON</character>
<dialogue>Wait! I did n't say that! I -</dialogue>
<scene_description>Sheldon is shoved into the back seat of a squad car . It drives off , SIRENS BLARING . MONTAGE</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction>
<scene_description>The squad car drives through Times Square . The headlines on the zipper marquee GLIDE THROUGH the FRAME : `` Smoochy the Rhino Arrested at Nazi Rally . Cops Raid Warehouse During Rhino 's Performance . Aryan Brotherhood Declares Smoochy ` One of us . ' . President Condemns ` Smoochy the Fascist ' . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. SQUAD CAR - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon stares out the window as the dark city passes by . We SLOWLY MOVE IN ON his eyes as we . FLASHBACK - STUDIO C - SOMETIME IN PAST In SLOW MOTION , Smoochy dances in the studio while holding a delighted little girl in his arms . POLICE PRECINCT Sheldon is fingerprinted and photographed . AFRICAN JUNGLE STOCK FOOTAGE of a wild rhinoceros being shot by hunters . STUDIO C Smoochy 's Magic Jungle is dismantled . SUBURBAN DRIVEWAY - PAST A young Sheldon helps his grandfather spread black paint on a driveway . TIMES SQUARE - DAY -LRB- PRESENT -RRB- The Smoochy billboard is torn down . BLACK LIMBO The Smoochy costume is in flames . It slowly burns to ashes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KIDNET BUILDING - LOBBY - DAY</stage_direction>
<scene_description>The Kidnet CEO stands before a cluster of reporters and network cameras . We can see the Times Square zipper marquee THROUGH the glass doors behind him . Headlines read : `` Congressional Committee Probes Nazi Ties to Kid Biz '' . `` Smoochy Photos Removed From City Elementary Schools '' . `` Jewish Groups Plan ` Day of Outrage ' '' . `` Rhino in Bronx Zoo Pelted With Eggs '' .</scene_description>
<character>CEO</character>
<dialogue>Here at Kidnet, Smoochy the Rhino is now Smoochy the Ghost. We have excised that particular malignancy from our network and will seek out a suitable replacement. Until then, the Smoochy slot will be safely occupied by Popeye cartoons. Thank you.</dialogue>
<scene_description>The reporters furiously scribble down his statement . END OF MONTAGE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>Randolph dances down the street like Gene Kelly . He whistles a happy tune and tips his hat to everyone who walks by . As he dances along , he pets a dog .</scene_description>
<character>RANDOLPH</character>
<dialogue>Hi there, poochy!</dialogue>
<scene_description>Coos at a baby in a stroller .</scene_description>
<character>RANDOLPH</character>
<dialogue>Well, are n't you the cutest little boo - boo in the world!</dialogue>
<scene_description>And grabs a rose from a flower vendor before handing it to an old lady .</scene_description>
<character>RANDOLPH</character>
<dialogue>For you, my dear! May you live to be a hundred!</dialogue>
<scene_description>He continues to dance onward , waving back at everyone . Unfortunately , he does n't realize he 's heading straight for a light pole and slams into it with a sickening smack .</scene_description>
<character>RANDOLPH</character>
<dialogue>Fuck!</dialogue>
</scene>
<scene>
<stage_direction>EXT. KIDNET BUILDING - NIGHT</stage_direction>
<scene_description>Nora exits the revolving door of the Kidnet building and heads down Broadway . Sheldon pops out from a store front . He 's wearing a knit cap and sunglasses to disguise himself .</scene_description>
<character>SHELDON</character>
<dialogue>I have to talk to you.</dialogue>
<scene_description>Nora keeps walking .</scene_description>
<character>NORA</character>
<dialogue>We have nothing to talk about.</dialogue>
<character>SHELDON</character>
<dialogue>Do n't tell me you believe what they're saying!</dialogue>
<character>NORA</character>
<dialogue>I do n't have to believe anyone. The picture in the paper said it all. No one forced you to perform at that rally.</dialogue>
<character>SHELDON</character>
<dialogue>Perform? I barely sang one song.</dialogue>
<character>NORA</character>
<dialogue>Well maybe next time you'll do a longer set.</dialogue>
<character>SHELDON</character>
<dialogue>Nora, I had no idea that was a Nazi function. None whatsoever!</dialogue>
<character>NORA</character>
<dialogue>Funny, you'd think the fifty - foot swastika you were standing in front of might've given you a hint.</dialogue>
<character>SHELDON</character>
<dialogue>The papers are blowing that out of proportion. It was nowhere near that big.</dialogue>
<scene_description>Nora stops and looks Sheldon in the eye .</scene_description>
<character>NORA</character>
<dialogue>Look, the fact of the matter is, I do n't know you, okay? Not really. So do n't expect me to go out on an emotional limb here.</dialogue>
<scene_description>Sheldon looks crushed .</scene_description>
<character>SHELDON</character>
<dialogue>But what about the balcony? What about the Klunky - Wunky dance?</dialogue>
<character>NORA</character>
<dialogue>I was drunk. Do n't read too much into it.</dialogue>
<scene_description>She looks at him for a moment and then walks off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - DAYS LATER</stage_direction>
<scene_description>A disheveled and unshaven Sheldon wanders the streets , looking dazed . He 's stuffing a cupcake into his mouth and swigging from a bottle of root beer . He passes a construction site and notices some graffiti on a wall - a crudely - drawn goose - stepping Smoochy in a Nazi uniform and Hitler moustache . Sheldon keeps walking . He descends the subway stairs at 42nd Street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONEY ISLAND STATION - STREET LEVEL - LATER</stage_direction>
<scene_description>Sheldon comes up from the subway . We see the Cyclone from Astroland in the b.g.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE STREET (CONEY ISLAND) - FEW MINUTES LATER</stage_direction>
<scene_description>Sheldon stands in front of the methadone clinic he used to perform at . It 's boarded up . He just stares at it . An OLD VAGRANT walks up to him .</scene_description>
<character>OLD VAGRANT</character>
<dialogue>If you're lookin' to get a cup of juice, the well's dried up, son. City shut her down. Bastards'll put a new pair of tits on the Statue of Liberty, but they wo n't help a poor hophead.</dialogue>
<scene_description>The Vagrant shakes his head sadly .</scene_description>
<character>OLD VAGRANT</character>
<dialogue>Just once I wish I had a little clout. You know? I'd set things straight in this town, believe me.</dialogue>
<parenthetical>( sighs . )</parenthetical>
<dialogue>Hell of a world.</dialogue>
<scene_description>He walks off .</scene_description>
<character>SHELDON</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Hell of a world.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOKES' OFFICE</stage_direction>
<scene_description>On a large screen TV the smiling Asian face of Takashi Yamashita , who 's singing Cole Porter 's `` I Get a Kick Out of You '' in Japanese . CUT BACK to reveal Takashi wearing a white sequined tuxedo with tails as he plays a white grand piano . He looks like an Asian Liberace . He is circled by a group of Japanese children who sing along with him .</scene_description>
<character>CHICK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>` Takashi Sings Tin Pan Alley for Youngsters' is the hottest show on Japanese television. The sweat shops are working overtime trying to keep up with the demand. Record albums, toys, cereal, tee shirts, you name it.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOKES' OFFICE - DAY</stage_direction>
<scene_description>Several tough - looking Asian men - CHICK , SAMBO , and TOBI - Takashi 's management group - sits in Stokes ' office . Takashi sits quietly in the corner . Stokes sits behind his desk , sipping his trademark glass of wine .</scene_description>
<character>CHICK</character>
<dialogue>Look, Stokes, let's cut the bullshit. We want Takashi in that Smoochy slot and we're willing to do whatever it takes to get it.</dialogue>
<character>STOKES</character>
<dialogue>Pardon me for saying this, but for a non - resident of this country, you speak impeccable English.</dialogue>
<character>CHICK</character>
<dialogue>I'm originally from Teaneck.</dialogue>
<character>STOKES</character>
<dialogue>Ah.</dialogue>
<character>CHICK</character>
<dialogue>We own every hair on this bastard's head and we're willing to share a few strands. if you get my drift.</dialogue>
<character>STOKES</character>
<dialogue>Well, it's not that simple. I have an executive board to answer to. I wish I could just snap my fingers and make a deal but -</dialogue>
<character>CHICK</character>
<dialogue>You mean like this?</dialogue>
<scene_description>Chick snaps his fingers and Tobi , the third Asian guy , walks over and drops a duffel bag on Stokes ' desk .</scene_description>
<character>STOKES</character>
<dialogue>Oh my. And what is this on my desk?</dialogue>
<character>CHICK</character>
<dialogue>Two hundred grand in a Louis Vuitton duffle bag. Get our boy the slot and we'll round it off to a million. And you can keep the luggage.</dialogue>
<scene_description>Stokes stares down at the bundle of opportunity on his desk .</scene_description>
<character>CHICK</character>
<dialogue>You're dealing with an honorable culture, Frank. We know how to play ball.</dialogue>
<scene_description>Stokes unzips the bag and gazes at the money . He looks up at Chick and smiles .</scene_description>
<character>STOKES</character>
<dialogue>Gentlemen, I suddenly feel invigorated and full of hope.</dialogue>
<scene_description>Chick smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. NORA'S LIVING ROOM - EVENING</stage_direction>
<scene_description>On Nora 's TV screen , we see the black and white image of Rickets the Hippo doing the `` Klunky - Wunky Dance . '' Nora sits on the couch and stares hypnotically at the screen . There is a KNOCK at the door . She gets up and ejects the `` Best of Rickets '' tape . She opens the door . To her surprise , Randolph is standing there .</scene_description>
<character>RANDOLPH</character>
<dialogue>Hiya, cutie!</dialogue>
<scene_description>Before she can respond , he enters the apartment and takes off his jacket .</scene_description>
<character>RANDOLPH</character>
<dialogue>So here's the good news : Yes, I'll be happy to end my sabbatical and return to my old slot. I know you and Frank are in a bind, so I'll start Monday. Call wardrobe, call props, tell'em the R man is back and he's ready to start whistlin' dem happy tunes for da little chillens.</dialogue>
<scene_description>He flops down on the couch .</scene_description>
<character>RANDOLPH</character>
<dialogue>Ahhh. Who do ya got ta blow to get a Scotch around here?</dialogue>
<scene_description>He laughs .</scene_description>
<character>NORA</character>
<dialogue>You've got three seconds to pry your ass off my couch and get out.</dialogue>
<scene_description>Randolph jumps to his feet .</scene_description>
<character>RANDOLPH</character>
<dialogue>Dammit, Nora! The rhino's gone! You need that slot filled and I'm ready to reclaim what's rightfully mine.</dialogue>
<character>NORA</character>
<dialogue>Just in case you forgot, you're a criminal and a scumbag.</dialogue>
<character>RANDOLPH</character>
<dialogue>Okay, so maybe I commandeered a stray shekel or two. Big deal! Compared to what Smoochy did that's like jerking off in the supermarket.</dialogue>
<character>NORA</character>
<dialogue>Where do you shop?</dialogue>
<scene_description>Randolph walks over and puts his hands on her shoulders .</scene_description>
<character>RANDOLPH</character>
<dialogue>Come on. Have you lost all affection for me? After what we once had?</dialogue>
<character>NORA</character>
<dialogue>That was a long time ago. I was young and stupid.</dialogue>
<character>RANDOLPH</character>
<dialogue>Why we broke up I'll never know.</dialogue>
<character>NORA</character>
<dialogue>You turned into an asshole and I did n't love you.</dialogue>
<character>RANDOLPH</character>
<dialogue>We could've worked through all that.</dialogue>
<scene_description>He leans in to kiss her and she shoves him away so violently he almost falls over the coffee table .</scene_description>
<character>RANDOLPH</character>
<dialogue>Damn it, Nora! The public is clamoring for me! I'm a fucking patriot! Mopes is a Nazi! He's evil! He's probably even gay! You should've seen the way he was checking me out in the car!</dialogue>
<character>NORA</character>
<parenthetical>( suddenly suspicious . )</parenthetical>
<dialogue>What does that mean?</dialogue>
<character>RANDOLPH</character>
<dialogue>What does what mean?</dialogue>
<character>NORA</character>
<dialogue>You said he was checking you out in the car. What car?</dialogue>
<character>RANDOLPH</character>
<dialogue>No. it's just a vibe! A Nazi homosexual vibe! It emanates from the television! The whole Smoochy costume. with the erect horn. I mean, what's that all about?</dialogue>
<scene_description>Nora starts to walk closer to him . He backs up .</scene_description>
<character>NORA</character>
<dialogue>You're talking awfully fast, Randolph.</dialogue>
<character>RANDOLPH</character>
<dialogue>I still love you! Let's go on a date!</dialogue>
<character>NORA</character>
<dialogue>Were you at that rally? Tell me! Did you have something to do with this?</dialogue>
<scene_description>She backs him against the wall and looks him in the eye .</scene_description>
<character>NORA</character>
<dialogue>Did you set Sheldon up?</dialogue>
<scene_description>Randolph just looks at her .</scene_description>
<character>RANDOLPH</character>
<dialogue>You know, now I remember why we broke up. Always with the accusations. Bitch, bitch, bitch.</dialogue>
<scene_description>Nora hauls off and punches him in the jaw .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S - NIGHT</stage_direction>
<scene_description>A morose - looking Spinner Dunn sits alone at the end of the bar in the nightclub . Tommy walks over .</scene_description>
<character>TOMMY</character>
<dialogue>What's wrong, kid? The mayor of Patterson's here with his wife. They wan na meet ya.</dialogue>
<character>SPINNER</character>
<dialogue>I do n't wan na meet no one. I miss Smoochy! He never woulda done the things they say he done. He ai n't no Nazi. Someone's making stuff up. I just know it, Tommy. Someone's making stuff up!</dialogue>
<scene_description>Spinner starts violently pounding his head on the bar , causing GLASSES to RATTLE .</scene_description>
<character>SPINNER</character>
<dialogue>I want Smoochy back! I want to be on TV again! I want to play my cowbell!</dialogue>
<scene_description>Nora enters the restaurant . She looks around and approaches Tommy .</scene_description>
<character>NORA</character>
<dialogue>Hi, Tommy. Hi, Spinner. Has Burke been in tonight?</dialogue>
<character>TOMMY</character>
<dialogue>Have n't seen him.</dialogue>
<character>NORA</character>
<dialogue>Damn it.</dialogue>
<character>TOMMY</character>
<dialogue>Something I can help you with?</dialogue>
<character>NORA</character>
<dialogue>I have to talk to him. It's about Sheldon.</dialogue>
<scene_description>Spinner lifts his head from the bar .</scene_description>
<character>SPINNER</character>
<dialogue>Sheldon? What about Sheldon?</dialogue>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - NIGHT</stage_direction>
<scene_description>Randolph is napping on Angelo 's couch with an ice pack on his sore jaw thanks to Nora 's fist . There is a sudden LOUD POUNDING at the door . Randolph startles awake .</scene_description>
<character>RANDOLPH</character>
<dialogue>I'm trying to sleep, asshole! Read the fucking meter some other time!</dialogue>
<scene_description>After a beat , the door is kicked open and Tommy and his crew are standing there .</scene_description>
<character>TOMMY</character>
<dialogue>You wan na tell me about the rhino?</dialogue>
<character>RANDOLPH</character>
<dialogue>Hey, this is private property, creep! And you're trespassing!</dialogue>
<character>TOMMY</character>
<dialogue>Danny, go give Mr. Smiley a little back rub.</dialogue>
<scene_description>Danny advances toward a shaking Randolph , fist clenched and rolling up his sleeve . RANDOLPH 'S POV - DANNY approaches . He cocks his arm and throws a punch . Danny 's fist FILLS the FRAME , TURNING IT BLACK as we hear the PUNCH .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - SERIES OF DISSOLVES - BEFORE DAWN</stage_direction>
<scene_description>Newspaper trucks pull up to various newsstands and toss out bundles of the morning editions . As each bundle lands on the curb , we see headlines that span over the next few days : SMOOCHY SET UP - SMILEY BEHIND NAZI PLOT PLANNED TO DESTROY RHINO 'S REP POLL : RAINBOW RANDOLPH MOST HATED MAN IN AMERICA PUBLIC OUTCRY : `` WE 'RE SORRY SMOOCHY ! ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE PRECINCT - DAY</stage_direction>
<scene_description>Randolph , bruised and battered , emerges from the police station with his LAWYER . REPORTERS and photographers rush forward .</scene_description>
<character>REPORTER #1</character>
<dialogue>How does it feel to be voted the most hated man in America, Randolph?</dialogue>
<character>RANDOLPH</character>
<dialogue>In a country like this, where your average citizen is a fuckin' Neanderthal, I wear it as a badge of honor.</dialogue>
<character>REPORTER #2</character>
<dialogue>What about Ms. Bishop's charge that you have an unhealthy obsession with Sheldon Mopes?</dialogue>
<character>RANDOLPH</character>
<dialogue>Listen, I barely know that broad. She's a wacko. An opportunist. I'm the most accused man since Jimmy Hoffa.</dialogue>
<scene_description>Someone throws an egg and it hits Randolph in the face .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( on verge of tears . )</parenthetical>
<dialogue>That was unfair! Who threw that? That was mean and uncalled for!</dialogue>
<character>LAWYER</character>
<dialogue>My client is not answering any more questions. Between his dwindling cash flow and mounting legal bills he's sinking into a deep psychotic depression. Please stop antagonizing him. Thank you.</dialogue>
<scene_description>He pushes a sullen Randolph through the cluster of people .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE - STUDIO C - DAY</stage_direction>
<scene_description>A makeup woman dabs Sheldon 's forehead as he 's about to go on . Nora stands next to him . A LOW TYMPANY ROLL is heard from the stage .</scene_description>
<character>SHELDON</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>I would n't be back here if it was n't for you.</dialogue>
<character>NORA</character>
<dialogue>I'm just sorry I did n't believe you. that I got swept up in the frenzy of anti - Smoochyism.</dialogue>
<character>SHELDON</character>
<dialogue>Well, this town's a house of mirrors sometimes. It's hard to know what you're looking at.</dialogue>
<scene_description>He takes a couple of pre - show deep breaths . A STAGEHAND approaches .</scene_description>
<character>STAGEHAND</character>
<dialogue>They're ready for you, Sheldon.</dialogue>
<scene_description>Sheldon exits backstage .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO C - CONTINUOUS ACTION</stage_direction>
<scene_description>The lights in the studio dim .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ladies and gentlemen. boys and girls.</dialogue>
<parenthetical>( dramatic pause . )</parenthetical>
<dialogue>Who's your favorite rhino?</dialogue>
<scene_description>An explosion of enthusiasm from the kids in the bleachers .</scene_description>
<character>KIDS IN BLEACHERS</character>
<dialogue>Smoochy!</dialogue>
<scene_description>The lights come up as the Smoochyland Band plays a strong , dramatic version of `` Battle Hymn of the Republic . '' After a moment , Smoochy slowly rises from a lift under the stage . A giant sign above the jungle lights up and emits a pyrotechnic shower of sparks . It reads : WELCOME HOME SMOOCHY ! ANGLE ON SMOOCHYLAND BAND A beaming Spinner Dunn enthusiastically bangs his cowbell to the music as tears stream down his cheeks . BACK ON SMOOCHY He majestically stands center stage and nods to the kids who are giving him a standing ovation . The song crescendos with a rousing final chorus from the Smoochyland Band who sing , `` His truth is marching on ! '' Thunderous applause from the bleachers . Smoochy walks over to a stool and takes a seat . It 's very quiet in the studio now . Smoochy , looking uncharacteristically serious , picks up a microphone as the lights go down . He 's in black limbo .</scene_description>
<character>SMOOCHY</character>
<dialogue>Thank you. It's good to be back. You know, kids, sometimes life in the jungle can be unfair. A place where nice guys do n't just finish last. they get their heads cut off.</dialogue>
<scene_description>Gasps from the bleachers .</scene_description>
<character>SMOOCHY</character>
<dialogue>That pretty world you think you know is just props and scenery. Lollipop trees with roots in venom!</dialogue>
<scene_description>ANGLE - NORA watches nervously from offstage . BACK ON SMOOCHY</scene_description>
<character>SMOOCHY</character>
<dialogue>So look around you, boys and girls. Every day. Be diligent! Stand strong! As the old proverb says : Beat a dog one time too many and you get a wolf! Let's start howling! Howl for me, boys and girls!</dialogue>
<scene_description>The kids in the bleachers howl along with Smoochy .</scene_description>
<character>SMOOCHY</character>
<dialogue>Okay, I just wanted to get that off my chest. Who wants to do the Hokey - Pokey?!</dialogue>
<scene_description>The kids cheer as the Smoochyland Band launches into the Hokey - Pokey song and Smoochy starts dancing . The kids pour out of the bleachers onto the jungle set . Everyone is dancing and having a ball . Nora is clapping to the music offstage . Sheldon and Nora exchange affectionate glances . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - NIGHT</stage_direction>
<scene_description>Randolph sits in front of the TELEVISION in a daze . He 's wearing a ratty bathrobe and absentmindedly tosses cheese curls onto the floor from a bag on his lap . ON the TV , an `` Entertainment Tonight '' - type show with two perky hosts is covering Smoochy 's return to the airwaves . The hosts , Tara and Hunter show Smoochy 's dynamic entrance and the standing ovation he got during the taping that day .</scene_description>
<character>TARA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, Smoochy's back and boy did we miss him. Hundreds of well - wishers stood outside Kidnet Studios today hoping to catch a glimpse of their favorite rhino.</dialogue>
<character>HUNTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That's right, Tara. Smoochy's popularity is stronger than ever thanks to his recent exoneration as a Nazi sympathizer. In fact, several movie studios are offering big bucks for a chance to bring the Smoochy story to the silver screen.</dialogue>
<scene_description>The BROADCAST CONTINUES . Smoochy images flash across the screen . Randolph has been mumbling the whole time .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( quietly to himself . )</parenthetical>
<dialogue>Bad. very bad. too much for brain. pressure building. ears ringing. eyes burning. contempt overflowing.</dialogue>
<scene_description>He jumps up and kicks the TV over . He picks up a lamp and starts beating the TV .</scene_description>
<character>RANDOLPH</character>
<dialogue>I hate you! I fucking hate you! You devil - horned mind fucker! Die, die, die!</dialogue>
<scene_description>Angelo , who was cooking in the kitchen , runs out . He 's wearing an apron .</scene_description>
<character>ANGELO</character>
<dialogue>What are you doing?! That's a Zenith!</dialogue>
<parenthetical>( notices cheese curls . )</parenthetical>
<dialogue>Look at this place!</dialogue>
<scene_description>He grabs the lamp from Randolph .</scene_description>
<character>ANGELO</character>
<dialogue>That's it! I want you out of here!</dialogue>
<character>RANDOLPH</character>
<parenthetical>( suddenly scared . )</parenthetical>
<dialogue>Where am I supposed to go?</dialogue>
<character>ANGELO</character>
<dialogue>I do n't care!</dialogue>
<parenthetical>( pointing to door . )</parenthetical>
<dialogue>Out!</dialogue>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S - NIGHT</stage_direction>
<scene_description>Spinner 's massive arms envelope Sheldon in a bear hug , practically lifting him out of his seat . Burke , who 's having dinner with Sheldon , holds onto the table before it gets knocked over .</scene_description>
<character>SHELDON</character>
<dialogue>Easy, Spinner. Watch the ribs, buddy.</dialogue>
<character>SPINNER</character>
<dialogue>I missed you so much!</dialogue>
<character>SHELDON</character>
<dialogue>I missed you too, champ.</dialogue>
<scene_description>He drops Sheldon and pulls out his cowbell .</scene_description>
<character>SPINNER</character>
<dialogue>I've been practicing and practicing and I got real good, Sheldon. Real good!</dialogue>
<scene_description>He starts banging on it with a butter knife . Sheldon cringes .</scene_description>
<character>SPINNER</character>
<dialogue>Wan na see me march?</dialogue>
<character>SHELDON</character>
<dialogue>Sure, why not.</dialogue>
<scene_description>Spinner starts marching through the restaurant , clanging the cowbell . People who are trying to eat their dinner look annoyed . Sheldon sits back down at his table .</scene_description>
<character>BURKE</character>
<dialogue>So you were saying you had some good news?</dialogue>
<character>SHELDON</character>
<dialogue>Yes. Some very good news. After giving it a lot of thought. I've decided to do the ice show.</dialogue>
<scene_description>Burke gleefully slaps Sheldon on the shoulder .</scene_description>
<character>BURKE</character>
<dialogue>Finally! I got me a bar mitzvah boy. Today you are a man!</dialogue>
<character>SHELDON</character>
<dialogue>I realize now it's a sin to waste your power.</dialogue>
<character>BURKE</character>
<dialogue>Like they say, rock bottom's a college education.</dialogue>
<character>SHELDON</character>
<dialogue>But here's the really good news : I'm doing it myself. No sponsors, no vendors, no crooks. Not one dirty hand will touch this. Not one person will make a dollar off these kids. Smoochy on Ice will be a study in purity.</dialogue>
<scene_description>Burke 's grin suddenly fades .</scene_description>
<character>SHELDON</character>
<dialogue>As far as food concessions go, I'll supply the refreshments. For free. Low sodium, whole wheat pretzels and apple slices. Healthy stuff. Now are you ready for the best part?</dialogue>
<character>BURKE</character>
<dialogue>I'm holding my breath.</dialogue>
<character>SHELDON</character>
<dialogue>All profits from ticket sales will be used to built a state - of - the - art methadone clinic in Coney Island.</dialogue>
<scene_description>Burke looks pale .</scene_description>
<character>SHELDON</character>
<dialogue>I'm not just talking a run - of - the - mill clinic. I'm going to build a methadone palace. A place where men and women can withdraw in luxury.</dialogue>
<character>BURKE</character>
<dialogue>Sheldon, you ca n't do an ice show and cut out the vendors. And more importantly, you ca n't cut out the Parade of Hope. It's suicide.</dialogue>
<character>SHELDON</character>
<dialogue>You always told me, when you've got muscles you make the rules. Well, I'm feeling pretty strong right now.</dialogue>
<scene_description>Sheldon rises and tosses his napkin down .</scene_description>
<character>SHELDON</character>
<dialogue>All this time I was letting the business use me. Well, I think it's time I start using the business. I've got my clout back and I'm not gon na waste it this time. Take care of it, Burke.</dialogue>
<scene_description>Sheldon exits . Burke sits there , looking very concerned . On his way out the door , Tommy stops Sheldon . Spinner 's COWBELL CLANGING continues .</scene_description>
<character>TOMMY</character>
<dialogue>Shel, you got ta help me out. He bangs that goddamn thing from morning till night. I got a headache that goes from my eyes to my ass.</dialogue>
<character>SHELDON</character>
<dialogue>Whatever I can do, Tommy, just say it. You know I love Spinner. And I owe you.</dialogue>
<character>TOMMY</character>
<dialogue>Give the boy something else to do on the show. Anything. Just as long as it do n't clang, chime or honk.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOKES' OFFICE - TIGHT ON FACE OF FRANK STOKES DAY</stage_direction>
<scene_description>frightened . There 's a gun to his temple . WIDER Chick , the Asian representative of Takashi , holds a revolver on Stokes . His cohorts , Sambo and Tobi , stand by .</scene_description>
<character>CHICK</character>
<dialogue>I do n't like complications, Frank. You got one week to get Takashi that slot or you're gon na be shakin' hands with Buddha.</dialogue>
<character>STOKES</character>
<dialogue>Do n't you understand? My hands are tied. The rhino's been exonerated. The show's more popular than ever.</dialogue>
<character>CHICK</character>
<parenthetical>( to Sambo and Tobi . )</parenthetical>
<dialogue>Okay, boys, chop him up, bag him and dump him in the woods.</dialogue>
<scene_description>Sambo and Tobi start to advance on Stokes .</scene_description>
<character>STOKES</character>
<dialogue>All right! I'll take care of it! I just need time!</dialogue>
<scene_description>Chick leans into Stokes ' face .</scene_description>
<character>CHICK</character>
<dialogue>One week, Jeeves. Got that? Or I get a blender and make an Orange Julius with your feet.</dialogue>
<scene_description>They exit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>A down - and - out Randolph shuffles along in ratty bedroom slippers . He passes a MAN who sits behind a small table on the sidewalk . The table has a huge photograph of a rhinoceros taped in front of it . Literature and pamphlets depicting the black rhino are spread out on the table .</scene_description>
<character>MAN</character>
<dialogue>Save the rhino! Before it's too late! Make a donation! Save the rhino!</dialogue>
<parenthetical>( to Randolph . )</parenthetical>
<dialogue>Hey, mister, ya wan na help save the rhino?</dialogue>
<scene_description>Randolph just looks at him for a moment . He looks at all the rhino - related imagery . He starts shaking and suddenly jumps over the table and attacks the Man .</scene_description>
<character>RANDOLPH</character>
<dialogue>I'm the one who needs to be saved! Me. I'm broke! I lost my lawyer! My only friend kicked me out! I'm a fucking peanut shell in the shape of a man! Save the Rainbow! Save the Rainbow! Save the Rainbow!</dialogue>
<character>MAN</character>
<dialogue>Help! Someone call a cop!</dialogue>
<scene_description>Randolph grabs the collection can and runs off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK - DAY</stage_direction>
<scene_description>It 's a chilly , grey afternoon . Stokes and Burke walk along the lake framed by the New York skyline .</scene_description>
<character>STOKES</character>
<dialogue>Your client is suffocating me. To make matters worse, he's caused me to veer into a hazardous situation. A situation that otherwise could have a very happy ending.</dialogue>
<character>BURKE</character>
<dialogue>Tell me more about the Asians.</dialogue>
<character>STOKES</character>
<dialogue>They're ruthless. Unwavering. Unprincipled. And best of all, they know how the game is played. They respect our delicate ecosystem of mutual benefit.</dialogue>
<scene_description>Stokes stops walking and grabs Burke 's arm .</scene_description>
<character>STOKES</character>
<dialogue>I'd bring you in on this, Burke. You'd be my partner on the Takashi deal. Split down the middle. We have an opportunity to get back on track here. Back to the way it was.</dialogue>
<character>BURKE</character>
<dialogue>The good old days.</dialogue>
<character>STOKES</character>
<dialogue>Pre - rhinoceros.</dialogue>
<scene_description>The two men look at each other as thoughts pass silently between them .</scene_description>
<character>BURKE</character>
<dialogue>This is very sticky ground we're about to walk on.</dialogue>
<character>STOKES</character>
<dialogue>Well, you're used to a little glue on your shoes.</dialogue>
<scene_description>Burke smiles .</scene_description>
<character>BURKE</character>
<dialogue>Let me poke around. Sift through the possibilities.</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY OFF ND STREET - THEATER STAGE DOOR EVENING</stage_direction>
<scene_description>A slender young man in a Peter Pan costume in being held by a big thug as another thug beats him up . A girl dressed as Tinkerbell -LRB- also being restrained -RRB- looks on in horror . Merv Green -LRB- Parade of Hope -RRB- steps INTO FRAME .</scene_description>
<character>MERV</character>
<dialogue>This is what happens to guys who keep secrets, Johnny.</dialogue>
<character>JOHNNY</character>
<dialogue>I'll give you the rest next week! I promise!</dialogue>
<character>MERV</character>
<dialogue>It's not me you're fucking over, it's sick kids. You got something against sick kids, Johnny?</dialogue>
<scene_description>The thug punches him in the stomach again .</scene_description>
<character>JOHNNY</character>
<dialogue>No! I love sick kids!</dialogue>
<scene_description>Merv nods to one of the thugs who releases Peter Pan . He slumps to the ground . Merv kneels down and lifts his head from the pavement .</scene_description>
<character>MERV</character>
<dialogue>And you tell that fat producer of yours, if he ever gives me a low head count again, he'll lose the other thumb.</dialogue>
<scene_description>One of Merv 's thugs leans in , whispers something to Merv , who looks up to see . Burke standing in the mouth of the alley .</scene_description>
<character>BURKE</character>
<dialogue>Merv Green. How's tricks, kid?</dialogue>
<character>MERV</character>
<dialogue>Well, if it ai n't smilin' Burke. Whose bones are you pickin' today?</dialogue>
<character>BURKE</character>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>You got a minute, pally?</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. ND STREET - MOMENTS LATER</stage_direction>
<scene_description>Burke and Merv walk along 42nd Street . A poster advertises Peter Pan `` Sponsored by Parade of Hope - Giving Children the Gift of Promise ! '' Merv 's thugs trail behind .</scene_description>
<character>MERV</character>
<dialogue>No one freezes me out of an ice show. No one. I do n't care how many fucking clinics he's trying to save.</dialogue>
<character>BURKE</character>
<dialogue>Look, I'm chokin' on the same bone as you.</dialogue>
<character>MERV</character>
<dialogue>If you're trying to aggravate me, you're doing a hell of a job.</dialogue>
<character>BURKE</character>
<dialogue>I'm not here to aggravate, just educate. I think Mopes might be talking to people he should n't be talking to.</dialogue>
<character>MERV</character>
<dialogue>That's an ugly string of words.</dialogue>
<character>BURKE</character>
<dialogue>He's got it in his head that he's gon na clean up the way we do business.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Truthfully? I would n't be surprised if he's wearing a wire.</dialogue>
<scene_description>Burke looks at his watch .</scene_description>
<character>BURKE</character>
<dialogue>Jesus, I got a thing across town.</dialogue>
<scene_description>He steps off the curb to hail a cab .</scene_description>
<character>BURKE</character>
<dialogue>Let's keep talking, Merv. There's oughta be some kind of solution. Do n't you think?</dialogue>
<scene_description>Burke hops into a cab . Merv watches the cab pull away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - OUTSIDE KIDNET BUILDING - TIGHT SHOT - LEGS OF SMALL CARD TABLE - MORNING</stage_direction>
<scene_description>SNAP open . The table is set on the sidewalk . A man 's legs ENTER the FRAME and shakily climb on top of the table . WIDER Randolph stands on the table directly in front of the Kidnet Building . He raises the megaphone to his mouth .</scene_description>
<character>RANDOLPH</character>
<dialogue>Attention, New Yorkers! You are about to hear a shocking story of injustice!</dialogue>
<scene_description>WIDER Randolph stands on the table directly in front of the Kidnet Building .</scene_description>
<character>RANDOLPH</character>
<dialogue>I urge you to listen! It has a surprise ending you wo n't want to miss!</dialogue>
<scene_description>A crowd starts to form on the sidewalk .</scene_description>
<character>RANDOLPH</character>
<dialogue>It's the story of a venomous rhino and his aggressive campaign to slander, vilify, defame, denigrate and villainize my good name! But one thing he ca n't do, is take my life from me. No, friends, only I have the power to do that!</dialogue>
<scene_description>He reaches down and picks up a can of gasoline .</scene_description>
<character>RANDOLPH</character>
<dialogue>This is what Smoochy has done to me! He's brought me to this! I can no longer live in a world where the innocent suffer and the wicked thrive!</dialogue>
<scene_description>Randolph raises the can over his head and pauses dramatically .</scene_description>
<character>RANDOLPH</character>
<dialogue>Where is God?!</dialogue>
<scene_description>He drenches himself with gasoline . The crowd grows larger . He holds up a pack of matches .</scene_description>
<character>RANDOLPH</character>
<dialogue>I'm sorry to do this, people. Do n't try to talk me out of it.</dialogue>
<scene_description>The crowd starts to applaud . Randolph looks baffled .</scene_description>
<character>MAN IN CROWD</character>
<dialogue>Do it! Light it!</dialogue>
<character>RANDOLPH</character>
<dialogue>Our guest of honor will be here any moment! This is for his eyes! For his conscience. He'll have to live with this imagine for the rest of his miserable life!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIMO - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon sits in the back of a limo on his way to work , reading the paper . The headline blares : `` SMOOCHY ANNOUNCES ICE SHOW AT GARDEN . '' The subhead reads : `` ALL PROCEEDS TO BENEFIT BROOKLYN CLINIC . ''</scene_description>
<character>SMOOCHY</character>
<parenthetical>( to driver . )</parenthetical>
<dialogue>Take it from me, Lester. Use your power. Do n't squander it - build with it.</dialogue>
<character>LESTER</character>
<dialogue>Sound advice, Mr. Mopes. If I ever get any power I'll give that a whirl.</dialogue>
<parenthetical>( notices crowd up ahead . )</parenthetical>
<dialogue>Hey, what's going on up there?</dialogue>
<scene_description>Sheldon glances up from his paper .</scene_description>
<character>SMOOCHY</character>
<parenthetical>( casually . )</parenthetical>
<dialogue>Looks like a street performer of some sort.</dialogue>
<scene_description>He goes back to his paper .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - CONTINUOUS ACTION</stage_direction>
<scene_description>Randolph sees the Kidnet limo approaching .</scene_description>
<character>RANDOLPH</character>
<dialogue>This is it, folks! It's showtime! I'm sorry to do this, but he's left me no choice!</dialogue>
<scene_description>Randolph tries to light another match , but it 's wet from the gasoline . The crowd laughs and starts taunting him .</scene_description>
<character>RANDOLPH</character>
<dialogue>Shut up, you hillbilly assholes! You're borough trash! Go back to your huts across the river!</dialogue>
<scene_description>Randolph keeps trying to light the match . Finally , after several attempts , it lights . He holds it up . The crowd burst into applause .</scene_description>
<character>RANDOLPH</character>
<dialogue>Fuck you! Fuck all you people! I was the last of the Mohicans! You'll never see another Rainbow Randolph in this lifetime! You had me and you blew it! All of you!</dialogue>
<scene_description>He turns and faces the approaching limousine .</scene_description>
<character>RANDOLPH</character>
<dialogue>This if for you, Smoochy! Remember this! As long as you live, remember this image! You did this to me!</dialogue>
<scene_description>He brings the match closer to his gasoline - soaked body . The limo continues to approach . The crowd taunts him to do it . He tries to bring the match closer , but his hand is shaking . Suddenly , a LITTLE GIRL pushes through the crowd . Everyone quiets down as she looks up at Randolph .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Whatcha doin', Rainbow Randolph?</dialogue>
<scene_description>Randolph freezes as he looks down at the Little Girl . A slight look of hope comes over his face . She smiles sweetly at him , walks over , and blows out the match . Randolph is overcome with emotion . Just then , Sheldon 's LIMO WHOOSHES past him . The crowd cheers .</scene_description>
<character>CROWD</character>
<dialogue>Smoochy!</dialogue>
<scene_description>They all run away from Randolph and over to Sheldon 's limo as it pulls in front of the Kidnet Building . Randolph stares at them blankly . He looks down . The Little Girl is gone . Sheldon gets out of the limo . The crowd cheers him as he waves to them before going inside . A look of utter frustration now comes over Randolph . OVERHEAD SHOT Randolph drops to his knees on the table , looks skyward , and screams .</scene_description>
<character>RANDOLPH</character>
<dialogue>What does it all mean?!</dialogue>
<scene_description>The CAMERA RISES ABOVE him as he lets out an anguished howl that REVERBERATES through the skyscrapers .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIDNET STUDIOS - BACKSTAGE - TIGHT ON DISAPPOINTED FACE OF SPINNER DUNN - DAY</stage_direction>
<character>SPINNER</character>
<dialogue>What do you mean I ca n't play the cowbell no more?</dialogue>
<scene_description>WIDER Sheldon gently tries to break the news to Spinner who 's on the verge of tears .</scene_description>
<character>SHELDON</character>
<dialogue>You're too talented for the cowbell, Spinner. Cowbells are for babies.</dialogue>
<character>SPINNER</character>
<parenthetical>( a little angry . )</parenthetical>
<dialogue>I ai n't no baby!</dialogue>
<character>SHELDON</character>
<dialogue>That's right. You're a fully grown man. With whiskers. and scars. the whole sha - bang. That's why you deserve a bigger role on the show. A more important role.</dialogue>
<scene_description>Spinner 's face starts to perk up .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO C - SHORT WHILE LATER</stage_direction>
<scene_description>It 's the middle of a Smoochy taping . Smoochy and the Gang are wrapping up a song entitled , `` My Stepdad 's Not Mean -LRB- He 's Just Adjusting . -RRB- '' The kids in the bleachers are singing the chorus .</scene_description>
<character>KIDS</character>
<dialogue>` Stepdads are people too / They have bad days, like we all do / Be patient and help them through / Stepdads are people too.'</dialogue>
<scene_description>Smoochy continues the song .</scene_description>
<character>SMOOCHY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>. ` So three cheers for the man that I proudly call Stan. He's not quite a dad or a brother. Yes, he gets cross, but still he's the boss. And besides he takes care of my mother!'</dialogue>
<scene_description>The song ends . The kids in the bleachers applaud . Smoochy addresses them .</scene_description>
<character>SMOOCHY</character>
<dialogue>Remember, kids. First impressions, good or bad, are not always what they seem. Just like a new puppy, new dads need to adjust to their surroundings. So give'em time! But always remember. if he becomes abusive to you or Mommy. what are the magic numbers?</dialogue>
<character>KIDS IN BLEACHERS</character>
<parenthetical>( shouting in unison . )</parenthetical>
<dialogue>Nine - One - One!</dialogue>
<character>SMOOCHY</character>
<dialogue>Right - o - riffic!</dialogue>
<scene_description>The Smoochyland Band plays a little fanfare .</scene_description>
<character>SMOOCHY</character>
<dialogue>And now, boys and girls, I have a special surprise. I'd like to introduce the newest member of the Magic Jungle. my cousin. Moochy the Rhino!</dialogue>
<scene_description>The Smoochyland Band plays a happy little song as Spinner Dunn , in costume as Moochy , runs on stage . The Moochy costume is identical to Smoochy only it 's a darker orange instead of bright orange .</scene_description>
<character>SMOOCHY</character>
<dialogue>Howdy, Moochy! Welcome to the Jungle! You wan na say howdy to the kids?</dialogue>
<scene_description>Spinner freezes . He stares at the camera .</scene_description>
<character>SMOOCHY</character>
<dialogue>Moochy?</dialogue>
<character>SPINNER</character>
<dialogue>My name is Moochy.</dialogue>
<character>SMOOCHY</character>
<dialogue>That's right. We've established that.</dialogue>
<character>SPINNER</character>
<parenthetical>( leaning into Sheldon . )</parenthetical>
<dialogue>Sheldon, this costume's makin' my nuts itch.</dialogue>
<scene_description>Sheldon looks horrified . The Smoochyland Band quickly launches into some music . Smoochy , Moochy and a few other jungle animals begin to dance . Moochy 's lumbering movements are in stark contrast to the choreographed steps of the others . As a bonus , he occasionally scratches his crotch .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S DRESSING ROOM - AFTER THE SHOW</stage_direction>
<scene_description>A happy Spinner -LRB- still in costume as Moochy -RRB- pokes his head into Sheldon 's dressing room . Sheldon , still in costume as well , looks drained after the difficult taping .</scene_description>
<character>SPINNER</character>
<dialogue>That was fun! Was it bad when I done that thing, where I tripped and knocked over the Flamingo and then he knocked over the cameraman and then those lights fell down on that lady's head?</dialogue>
<character>SHELDON</character>
<dialogue>It's fine, Spinner. We'll edit it out. But tomorrow in rehearsal we're gon na work on a new thing called ` the importance of hitting your mark.'</dialogue>
<character>SPINNER</character>
<dialogue>Great! I get to hit something!</dialogue>
<scene_description>Spinner dances off . A beat later , Nora enters and shuts the door . There 's an awkward beat of silence .</scene_description>
<character>NORA</character>
<dialogue>Hi.</dialogue>
<character>SHELDON</character>
<dialogue>Hi.</dialogue>
<character>NORA</character>
<dialogue>I read about the ice show.</dialogue>
<character>SHELDON</character>
<dialogue>Yeah, the papers seem to be really covering it.</dialogue>
<character>NORA</character>
<dialogue>I think it's great. What you're doing for that clinic.</dialogue>
<character>SHELDON</character>
<dialogue>Thanks.</dialogue>
<scene_description>She nods .</scene_description>
<character>NORA</character>
<dialogue>I just need some clarification.</dialogue>
<character>SHELDON</character>
<dialogue>Do n't worry. Spinner just needs a little more rehearsal. I'll get him there.</dialogue>
<character>NORA</character>
<dialogue>No I mean about us.</dialogue>
<scene_description>Sheldon looks uncomfortable .</scene_description>
<character>NORA</character>
<dialogue>Ever since you've been back I just feel like there's something that's not connecting.</dialogue>
<character>SHELDON</character>
<dialogue>I guess I'm still readjusting a little. Like a guy who's come back from the war. Not that I'd equate my misfortune with the brave men and women who protect us overseas.</dialogue>
<character>NORA</character>
<dialogue>I just thought we were on our way to something. granted, my mistaken belief that you had ties to Neo - Nazis might have put a damper on our relationship, but I'm sorry for -</dialogue>
<scene_description>Sheldon suddenly jumps up and grabs her . He kisses her passionately . Nora immediately starts ripping off his costume as they make out . They fall to the floor in a lustful embrace .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO - BACK HALLWAY - SAME TIME</stage_direction>
<scene_description>Spinner , humming to himself , lumbers down the hallway on his way to the wardrobe room . Halfway down the hall , he hears a voice call out to him .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey - rhino.</dialogue>
<scene_description>Spinner turns around . The door to the fire exit swings open . Two of Merv 's thugs emerge and grab Spinner -LRB- who 's still in full Moochy costume -RRB- and drag him into the stairwell .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND PARKING GARAGE - MOMENT LATER</stage_direction>
<scene_description>Spinner is dragged into the garage and knocked to the pavement . Several more thugs emerge from the shadows , including Henry , Merv 's main henchman . They start beating him with lead pipes . Henry pulls out a REVOLVER . He SHOOTS the rhino several times . A sedan trunk is popped open and Moochy is thrown inside . The CAR SCREECHES up to the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHINATOWN - NIGHT</stage_direction>
<scene_description>We CRANE DOWN FROM a Chinese banner that stretches across two tenements . We LAND ON the seedy , deserted street below as the SEDAN BARRELS INTO FRAME and SQUEALS to a stop . Two thugs emerge from the car . They pull Spinner/Moochy from the trunk and toss his body by some garbage cans , knocking a few over . They get back in the car and speed away . Moochy 's lifeless foam body rolls into the gutter and lays motionless . Blood seeps through his foamy torso . LOW OVERHEAD SHOT of Spinner/Moochy . We SLOWLY START TO RISE UP as we LOOK DOWN AT the rhino 's body . The WIND WHISTLES through the empty street as we get HIGHER . The Chinese banner rustles THROUGH the FRAME . As we get HIGHER AND HIGHER , we hear the intermittent CLANG of a PRIZE FIGHT BELL .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAME STREET - HOURS LATER</stage_direction>
<scene_description>In the same frame , detectives and uniformed cops are now at the scene gathering evidence . Where Spinner once lay , there is now a bright yellow chalk outline in the shape of a rhinoceros .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARADE OF HOPE OFFICES - NEXT DAY</stage_direction>
<scene_description>FULL FRAME ON a TELEVISION screen . A local news anchor is reading the top story .</scene_description>
<character>ANCHOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Former heavyweight contender and restaurateur Lawrence ` Spinner' Dunn was found shot to death in a rhinoceros outfit early this morning in Chinatown. Dunn, a frequent performer on ` Smoochy's Magic Jungle,' was pronounced dead at the scene. Police are searching for -</dialogue>
<scene_description>A hand ENTERS FRAME and violently slaps the TV OFF . WIDE An enraged Merv Green glares at his henchmen , Henry and MITCH .</scene_description>
<character>MERV</character>
<dialogue>How could you hit the wrong rhino?!</dialogue>
<character>HENRY</character>
<dialogue>Who knew Smoochy had a cousin Moochy? They look fucking identical.</dialogue>
<character>MERV</character>
<dialogue>Smoochy is bright orange, Moochy is burnt rust! Read the papers! Do I got ta take you back to fucking kindergarten?</dialogue>
<character>MITCH</character>
<dialogue>All you said was ` hit the rhino.' You never specified the color. I'm not taking the blame for this one.</dialogue>
<scene_description>Merv 's anger builds . He turns to a picture of Smoochy which is tacked to a bulletin board along with other kid show personalities that the foundation extorts . Merv picks up a letter opener and violently thrusts it into the picture .</scene_description>
<character>MERV</character>
<dialogue>I'm not through with you yet, rhino! Your time will fucking come!</dialogue>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - SHORT WHILE LATER</stage_direction>
<scene_description>Cops rummage through Angelo 's apartment . In the b.g. , a detective , ELLIS , interviews Angelo . Another detective , McCALL , is looking through some papers he found .</scene_description>
<character>McCALL</character>
<dialogue>Ellie, over here.</dialogue>
<scene_description>Ellis walks over . McCall shows him some scribblings he 's found in a notebook of Randolph 's . The crude drawings depict Smoochy with his head cut off . with a knife in his heart . being pissed on by Randolph , etc. `` Die , Rhino , Die '' is scrawled hundreds of times , filling page after page . The two detectives look at each other and nod .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPINNER DUNN'S RESTAURANT - DAY</stage_direction>
<scene_description>Spinner sleeps forever in an open casket , clutching his cowbell . Dozens of Spinner 's relatives are at the wake . A bagpipe player plays `` Amazing Grace . '' Sheldon stands at the casket , fighting back tears as he stares down at his old friend . Nora has her arm around him .</scene_description>
<character>SHELDON</character>
<dialogue>It's my fault. He'd still be alive if it was n't for me. He would have been so proud to be in the ice show.</dialogue>
<character>NORA</character>
<dialogue>There was nothing you could have done. Do n't torture yourself.</dialogue>
<character>SHELDON</character>
<dialogue>I'm sorry, Spinner. I'm so sorry.</dialogue>
<scene_description>Tommy and the boys walk over . Tommy puts his arm around Sheldon as he gazes somberly at Spinner .</scene_description>
<character>TOMMY</character>
<dialogue>He really loved you, Shel. And this I guarantee - that fucking Randolph has seen his last rainbow. We're gon na find him, cut off his balls, and shove'em up his ass.</dialogue>
<character>SHELDON</character>
<dialogue>Maybe you better leave it to the police.</dialogue>
<character>DANNY</character>
<dialogue>They wo n't do the ball thing. It's against procedure.</dialogue>
<character>TOMMY</character>
<dialogue>Do n't forget - that hit was meant for you, Shel. So from now on, everywhere you go, we go.</dialogue>
<character>SHELDON</character>
<dialogue>That's okay, Tommy. I'll be fine.</dialogue>
<character>TOMMY</character>
<dialogue>Fine, nothin'. And as Christ is my witness, no one's touchin' a hair on your fuckin' head. Spinner would have wanted it that way.</dialogue>
<scene_description>Tommy 's crew nods and agrees .</scene_description>
<character>TOMMY</character>
<parenthetical>( to the boys . )</parenthetical>
<dialogue>Alright, boys, let's get shit - faced. For Spin.</dialogue>
<scene_description>They head for the bar . Nora and Sheldon look down at Spinner in silence .</scene_description>
<character>SHELDON</character>
<dialogue>Did n't Rickets the Hippo have a song about death?</dialogue>
<character>NORA</character>
<dialogue>` The Last Nappy Time.' It gave me a lot of comfort when my mother died.</dialogue>
<parenthetical>( sings quietly . )</parenthetical>
<dialogue>` When doggies stop barking And fish cease to swim And Grandpa lays silent, from his head to his limbs Sadness will find you But soon you'll feel fine.'</dialogue>
<scene_description>Sheldon joins in .</scene_description>
<character>SHELDON/NORA</character>
<dialogue>` In life we all have Our Last Nappy Time.'</dialogue>
<scene_description>Sheldon looks at her . They embrace as BAGPIPE MUSIC SWELLS . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - NIGHT</stage_direction>
<scene_description>The news zipper in Times Square glides through the night air : `` MANHUNT UNDERWAY FOR RAINBOW RANDOLPH . SUSPECTED IN BOXER 'S MURDER . SEEN OUTSIDE BUILDING SHORTLY BEFORE SHOOTING , DRENCHED IN GASOLINE AND ACTING PECULIAR . '' We CRANE DOWN FROM the zipper ONTO the sidewalk . Randolph is talking on a pay phone . We hear Angelo on the other end .</scene_description>
<character>RANDOLPH</character>
<dialogue>I did n't do it! I know you're still mad at me, but you got ta believe me.</dialogue>
<character>ANGELO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The papers say you were the mastermind.</dialogue>
<character>RANDOLPH</character>
<dialogue>Mastermind? I can barely figure out how to unzip my pants these days. Just taking a piss is a logistical nightmare.</dialogue>
<character>ANGELO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I believe you, Randy. But you ca n't come back to my place. They'll find you. You got ta go underground.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIBERTY FLOUR AND BISCUIT FACTORY - NIGHT</stage_direction>
<scene_description>We are outside the long - abandoned Liberty Biscuit and Flour factory . The Liberty sign with its Statue of Liberty logo is eroded and partially missing .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBERTY BISCUIT AND FLOUR FACTORY - CONTINUOUS ACTION</stage_direction>
<scene_description>Inside the massive dormant factory , rats scurry around and pigeons occasionally fly from window sill to window sill . A makeshift living area has been set up in the middle of it all - a chair , lamp , small table , hot plate , etc. . Randolph lays on the dilapidated conveyor belt , huddled under a blanket . Angelo enters the factory through a rusty door , carrying provisions .</scene_description>
<character>ANGELO</character>
<dialogue>It's heatin' up out there. Every cop in New York is looking for you. And Tommy Cotter's boys are combin' the streets. You're gon na have to stay put for a while.</dialogue>
<scene_description>Randolph sits up on the conveyor belt , blanket draped over his shoulders . He 's a physical and emotional wreck .</scene_description>
<character>RANDOLPH</character>
<dialogue>I was an altar boy once. Did you know that? I wanted to be a priest. Do you believe in angels, Angie?</dialogue>
<character>ANGELO</character>
<dialogue>Angels?</dialogue>
<character>RANDOLPH</character>
<dialogue>There was a little angel in pigtails. She was the only one who cared about me. She saved my life.</dialogue>
<scene_description>Angelo hops up on the conveyor belt to console Randolph . Randolph rests his head on Angelo 's shoulder .</scene_description>
<character>ANGELO</character>
<dialogue>You did n't want to kill yourself, Randy. You know that.</dialogue>
<character>RANDOLPH</character>
<dialogue>Perhaps it's time to heal. To accept the fact that Smoochy has won and gracefully march forward. True, I'm currently wanted for a murder I did n't commit. But I have faith. Faith that justice will prevail.</dialogue>
<character>ANGELO</character>
<dialogue>Now you're talkin', kid. This is a big step. I'm proud of you.</dialogue>
<scene_description>He strokes Randolph 's head .</scene_description>
<character>RANDOLPH</character>
<dialogue>Did you bring lunch?</dialogue>
<character>ANGELO</character>
<dialogue>Yes.</dialogue>
<character>RANDOLPH</character>
<dialogue>Chicken and stars?</dialogue>
<character>ANGELO</character>
<dialogue>Just like you asked for.</dialogue>
<character>RANDOLPH</character>
<dialogue>Can I have some, please?</dialogue>
<character>ANGELO</character>
<dialogue>For a smile.</dialogue>
<scene_description>Randolph sniffs and manages a small pitiful smile . Angelo musses his hair .</scene_description>
<character>ANGELO</character>
<dialogue>Atta boy.</dialogue>
<scene_description>Angelo lifts one of the grocery bags onto the conveyor belt .</scene_description>
<character>ANGELO</character>
<dialogue>Here, I got you some crossword puzzles and stuff to read.</dialogue>
<scene_description>Angelo hops off the conveyor belt and turns on the hot plate . He starts to open a can of soup . Randolph reaches into the bag and pulls out a copy of the New York Post . The lead article 's headline reads , `` WAKE FOR SPINNER . '' A large photograph shows mourners leaving the restaurant after the wake . Clearly visible are Sheldon and Nora . They have their arms around each other . Randolph 's eyes widen . He starts to hyperventilate . Angelo looks up .</scene_description>
<character>ANGELO</character>
<dialogue>You okay? Randy?</dialogue>
<scene_description>Finally , Randolph expels a blood - curdling scream that ECHOES through the factory .</scene_description>
<character>RANDOLPH</character>
<dialogue>Motherfucker!</dialogue>
<scene_description>Angelo drops the soup . Birds in the factory flutter from the rafters .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - ICE RINK</stage_direction>
<scene_description>Sheldon and the Rhinettes work on some choreography for that night 's show . Nora watches from the sidelines . As Sheldon skates on the ice rink , Merv enters with Roy and Danny . Sheldon skates over to them . Nora walks over , too .</scene_description>
<character>TOMMY</character>
<dialogue>Big news, Shel.</dialogue>
<character>SHELDON</character>
<dialogue>What's that?</dialogue>
<character>TOMMY</character>
<dialogue>It was n't Smiley who killed Spinner. It was Parade of Hope.</dialogue>
<character>NORA</character>
<dialogue>Merv Green?</dialogue>
<character>SHELDON</character>
<dialogue>Are you sure? The cops have tons of evidence on Randolph.</dialogue>
<character>TOMMY</character>
<dialogue>We did our own investigation. Cousin Ian from down at the morgue. you met him at the wake.</dialogue>
<scene_description>FLASHBACK - INT . SPINNER DUNN 'S - DAY Tommy is at the bar listening intently to a man , IAN , who is pointing to certain details on a photograph .</scene_description>
<character>IAN</character>
<dialogue>See the neck? Snapped like a twig. Animals. Parade of Hope's calling card. When they do a guy, they like to sign the tab.</dialogue>
<character>TOMMY</character>
<dialogue>What's that guy's name over there? Green?</dialogue>
<character>LEON</character>
<dialogue>Yeah, Merv Green.</dialogue>
<character>TOMMY</character>
<dialogue>This was one time they shoulda left the tab blank.</dialogue>
</scene>
<scene>
<stage_direction>INT. ICE RINK (PRESENT)</stage_direction>
<character>NORA</character>
<dialogue>I knew Merv Green was a scumbag from the day he grabbed my ass at a ` Feed the Children' benefit.</dialogue>
<character>SHELDON</character>
<dialogue>Well, God help those guys now. They're gon na get a first - class ride through the criminal justice system, and I'm buying the tickets.</dialogue>
<character>TOMMY</character>
<dialogue>It's all taken care of, Shel.</dialogue>
<character>SHELDON</character>
<dialogue>What does that mean?</dialogue>
<scene_description>FLASHBACK - INT . WAREHOUSE - NIGHT A bloodied Merv Green is tied to a chair in the middle of the warehouse as he begs Tommy for his life . Merv 's two henchmen lay dead nearby . Roy , Jimmy and Sammy - Tommy 's guys - stand behind her .</scene_description>
<character>MERV</character>
<dialogue>It was a mistake! An honest mistake! All I'm trying to do is help children.</dialogue>
<character>TOMMY</character>
<dialogue>You like kids, huh?</dialogue>
<character>MERV</character>
<dialogue>Yes! Of course!</dialogue>
<character>TOMMY</character>
<dialogue>So you must know a few fairy tales. Danny, tell him the one about the worthless prick who gets his head chopped off.</dialogue>
<scene_description>Danny , holding a hatchet , advances toward Merv . Tommy casually walks away . We STAY WITH Tommy . Merv is NO LONGER IN FRAME .</scene_description>
<character>MERV</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No. no. no!</dialogue>
<scene_description>He SCREAMS . We hear the sound of the HATCHET HITTING its target . Merv 's pleading stops .</scene_description>
<character>TOMMY</character>
<dialogue>Now you know why charities go under sometimes.</dialogue>
</scene>
<scene>
<stage_direction>INT. ICE RINK (PRESENT)</stage_direction>
<character>SHELDON</character>
<dialogue>Do we really need to hear this? I do n't want to hear this.</dialogue>
<character>JIMMY</character>
<dialogue>A clean cut.</dialogue>
<character>SHELDON</character>
<dialogue>Okay, got it.</dialogue>
<character>ROY</character>
<dialogue>And then we took his head and -</dialogue>
<character>SHELDON</character>
<dialogue>Thank you! Specifics about his head are superfluous at this point.</dialogue>
</scene>
<scene>
<stage_direction>INT. STOKES' OFFICE - EVENING</stage_direction>
<scene_description>Nora is alone in Stokes ' office , rearranging cards on the giant cork board that displays the network schedule . She is startled to hear a deep voice behind her .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Where is he?</dialogue>
<scene_description>She turns around . Chick , Tobi , and Sambo are standing there . Chick walks over to the cork board . He scans a row of cards that all read `` Smoochy . ''</scene_description>
<character>NORA</character>
<parenthetical>( attitude . )</parenthetical>
<dialogue>Can I help you with something?</dialogue>
<character>CHICK</character>
<dialogue>Yeah, honey, you can help us with something.</dialogue>
<scene_description>He rips a Smoochy index card from the board , walks over to her and waves it in her face .</scene_description>
<character>CHICK</character>
<dialogue>You tell that boss of yours he better take care of the rhino problem. In my culture we honor deals or invite consequences.</dialogue>
<character>NORA</character>
<dialogue>I do n't know what you're talking about and your cologne's making me nauseous. Other than that, you're great company.</dialogue>
<scene_description>Chick looks at his boys and chuckles .</scene_description>
<character>CHICK</character>
<dialogue>Spicy little thing, is n't she?</dialogue>
<scene_description>He suddenly pulls out a switchblade and holds it to Nora 's throat .</scene_description>
<character>CHICK</character>
<dialogue>Takashi gets that time slot. You hear me, girly? Tell that boss of yours we'll kill everyone at this fucking network if we have to. Starting with the pretty ones.</dialogue>
<scene_description>He removes the knife from her throat and hurls it toward the bulletin board . It lands - sticking right in the middle of a Smoochy card .</scene_description>
<character>CHICK</character>
<dialogue>Auf Wiedersehen, honey.</dialogue>
<scene_description>They exit .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S PENTHOUSE - NIGHT</stage_direction>
<scene_description>Nora is pacing . Sheldon sits by the fire .</scene_description>
<character>NORA</character>
<dialogue>It's Stokes. He's behind the whole thing! He cut some kind of deal for the Smoochy slot!</dialogue>
<character>SHELDON</character>
<dialogue>What are you talking about?</dialogue>
<character>NORA</character>
<dialogue>He wants you out so he can put Takashi in!</dialogue>
<character>SHELDON</character>
<dialogue>Who's Takashi?</dialogue>
<character>NORA</character>
<dialogue>Jesus, Sheldon! Do n't you ever pick up a copy of International Performer? He's the hottest kid show host from Asia.</dialogue>
<scene_description>Sheldon 's head is swimming . Suddenly the front door to to the penthouse bursts open . Randolph , dressed like he 's about to do his old show , stumbles in waving a gun .</scene_description>
<character>RANDOLPH</character>
<dialogue>Ah! How very cozy. Like two logs in a little bonfire. All we need is a few sticks and some wienies.</dialogue>
<scene_description>He almost trips as he stumbles over to Sheldon . He waves the gun in his face .</scene_description>
<character>RANDOLPH</character>
<dialogue>I had her before you! Pachyderm! I was in love with her! In love! And you snatched her away! Like a common thief! You're the bad guy! Not me! He's the bad guy, Nora. He's incapable of understanding the love we once had! Tender, yet passionate. Old - fashioned, yet experimental.</dialogue>
<parenthetical>( cackles . )</parenthetical>
<dialogue>Tell him about a few of our experiments, Nora! Tell him!</dialogue>
<scene_description>Sheldon looks stunned . Nora hangs her head .</scene_description>
<character>SHELDON</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>Is this true? Please tell me it's just the confused ramblings of a diseased mind.</dialogue>
<scene_description>She looks at him , but does n't say anything .</scene_description>
<character>SHELDON</character>
<dialogue>Holy mother of Toledo. When exactly were you planning to let me know about this?!</dialogue>
<character>NORA</character>
<parenthetical>( turns to Sheldon . )</parenthetical>
<dialogue>Listen, there was a time - and I'm not proud of this - but there was a time when I was a bit of a. kiddie - host groupie.</dialogue>
<character>RANDOLPH</character>
<dialogue>You're just another action figure for her collection!</dialogue>
<character>NORA</character>
<dialogue>That's not fair!</dialogue>
<character>RANDOLPH</character>
<dialogue>Tell him about Jingle Jackson!</dialogue>
<character>SHELDON</character>
<dialogue>You dated Jingle Jackson?</dialogue>
<character>RANDOLPH</character>
<dialogue>The bells turned her on. Hey, tell him about Jumbo Johnny! There's a tale for ya! A whale of a tale!</dialogue>
<scene_description>She looks down , somewhat ashamed . A look of utter shock comes over Sheldon .</scene_description>
<character>SHELDON</character>
<dialogue>Oh good Lord in Heaven.</dialogue>
<character>NORA</character>
<dialogue>Look, what I did before I met you is none of your business.</dialogue>
<character>RANDOLPH</character>
<dialogue>Shut up! Both of you! This is my show!</dialogue>
<scene_description>He waves the gun threateningly as he backs up to an armchair and sits down .</scene_description>
<character>RANDOLPH</character>
<dialogue>Do you fully understand the power of a condemned man? Do you? I'm already wanted for one murder, why should I give a flaming horse's twat if I commit two more?</dialogue>
<character>SHELDON</character>
<dialogue>I. uh. read once that the best way to diffuse a tense situation is with a little humor. To that end, would you like to hear a funny joke?</dialogue>
<character>RANDOLPH</character>
<parenthetical>( rolling his eyes . )</parenthetical>
<dialogue>Oh, please. Go blow yourself, Martha.</dialogue>
<parenthetical>( waves gun again . )</parenthetical>
<dialogue>Fix me a beverage, woman. Make me one of those drinks that used to make us all warm and fuzzy before bouncy - bouncy time!</dialogue>
<character>NORA</character>
<dialogue>Fix it yourself, asshole.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( points to gun . )</parenthetical>
<dialogue>Remember, I have Mr. Boomy.</dialogue>
<character>SHELDON</character>
<dialogue>I'm telling you, you'd love this joke. It revolves around Santa Claus and the Easter Bunny getting into a fender bender.</dialogue>
<scene_description>Nora rolls her eyes and goes to the bar .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( to Sheldon . )</parenthetical>
<dialogue>You know, when I lived here I used to have a big painting above the fireplace. A naked chick holding a pumpkin. It was very tasteful. No bush.</dialogue>
<character>NORA</character>
<dialogue>Look, Randolph. We know it was n't you who killed Spinner.</dialogue>
<character>SHELDON</character>
<dialogue>We'll go to the police, first thing tomorrow. straighten everything out.</dialogue>
<character>RANDOLPH</character>
<dialogue>Oh! Goody - goody gumdrops!</dialogue>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>Vodka straight up is fine, sugar babe!</dialogue>
<scene_description>He grabs the bottle out of her hand . He rises from the chair . He takes a CD , `` PARTY TIME WITH RAINBOW RANDOLPH , '' from his pocket and puts it into an audio system on the fireplace wall .</scene_description>
<character>RANDOLPH</character>
<dialogue>Did you put on a little weight, honey? That's okay, you're still a hot little brood mare. I bet you miss the sweet sting of my riding crop. Giddy up, pony!</dialogue>
<scene_description>The THEME SONG from his show starts to PLAY . He flicks a switch and a spotlight goes on . He sings and dances .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( to tune of ` Ol' MacDonald . )</parenthetical>
<dialogue>` Rainbow Randolph is the man. Yes he, yes he, is. He's the Prez of Rainbowland. Yes he, yes he, is. With some fun, fun here, and a laugh, laugh there. Here a dance, there a song, Everything is fun, fun. Rainbow Randolph is the King, the King of Rainbowland!'</dialogue>
<scene_description>Randolph takes another drink from the vodka bottle . Sheldon suddenly lunges at Randolph and tries to grab the gun . Randolph shrieks . The two men wrestle on the floor , but Randolph is not much of a fighter . He screams as Sheldon rolls him toward the fireplace .</scene_description>
<character>SHELDON</character>
<dialogue>Is this what you want? A Hansel and Gretel ending?! You want to be the big bad wolf?</dialogue>
<character>RANDOLPH</character>
<dialogue>Stop! It's too hot! The heat! It's driving me mad!</dialogue>
<scene_description>Randolph rolls Sheldon to the bottom . Nora reaches for a fireplace poker and whacks Randolph with it . Randolph cries out and drops the gun . Sheldon grabs it and points it at Randolph who lies on the floor , blubbering like a child . He 's bleeding .</scene_description>
<character>RANDOLPH</character>
<dialogue>Go ahead, kill me! Finish me off. My life's over anyway. Everything I touch turns to shit. Put me out of my misery.</dialogue>
<scene_description>Sheldon slowly takes the gun away from Randolph 's head .</scene_description>
<character>SHELDON</character>
<dialogue>You're not nothing. You're bitter, misguided and I'm guessing a raging alcoholic, but you're still Rainbow Randolph. Despite everything that's happened, you once made children happy.</dialogue>
<scene_description>Randolph sits up and looks at Sheldon through watery eyes .</scene_description>
<character>RANDOLPH</character>
<dialogue>Would you be my friend?</dialogue>
<character>SHELDON</character>
<dialogue>Sure.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>You too?</dialogue>
<character>NORA</character>
<dialogue>I guess.</dialogue>
<character>RANDOLPH</character>
<dialogue>Sorry about the brood mare stuff.</dialogue>
<scene_description>Randolph throws his arms around Sheldon and cries into his shoulder . Sheldon pats his back . He glances down at Randolph 's gun and sees that it 's a toy . Nora pours vodka onto a small pillow she 's taken from one of the chairs . She kneels next to Randolph and blots the gash on his head with the vodka soaked pillow . Randolph lets out a blood curdling scream .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S FOYER - TIGHT ON REVOLVER - SHORT WHILE LATER</stage_direction>
<scene_description>being loaded . WIDER Sheldon loads his gun as Randolph is curled up on the couch like a little puppy . Nora hands him a cup of tea .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( a pitiful child . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>She walks over to Sheldon .</scene_description>
<character>NORA</character>
<parenthetical>( re : gun . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<scene_description>Sheldon continues to load the gun .</scene_description>
<character>SHELDON</character>
<dialogue>Just making the playing field even. I'm tired of running this race with one leg.</dialogue>
<character>NORA</character>
<dialogue>You're letting them drag you down to their level.</dialogue>
<character>RANDOLPH</character>
<parenthetical>( from couch . )</parenthetical>
<dialogue>She's right, Sheldon. Do n't make the same mistakes I did. Keep your dignity intact.</dialogue>
<scene_description>He accidentally spills some hot tea on himself .</scene_description>
<character>RANDOLPH</character>
<dialogue>Son - of - a - bitch!</dialogue>
<character>SHELDON</character>
<dialogue>I appreciate everyone's concern, but I can take care of myself.</dialogue>
<scene_description>Nora and Randolph look at each other .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( mouthing to Nora . )</parenthetical>
<dialogue>I tried.</dialogue>
<scene_description>Sheldon stuffs some extra bullets in his pocket .</scene_description>
<character>SHELDON</character>
<parenthetical>( to Randolph . )</parenthetical>
<dialogue>Okay, buddy, we have to get down to the Garden. You're welcome to stay here as long as you like. Just do n't leave until I get things squared away.</dialogue>
<scene_description>Randolph gets up and walks over to him .</scene_description>
<character>RANDOLPH</character>
<dialogue>Be careful, Sheldon. Remember what I told you - you've only scratched the surface of this scummy business. You have yet to strike oil.</dialogue>
<scene_description>Randolph looks at him for a moment before turning to Nora .</scene_description>
<character>RANDOLPH</character>
<dialogue>You're lucky to have a guy like Smoochy.</dialogue>
<character>NORA</character>
<dialogue>You just rest, Randolph.</dialogue>
<character>RANDOLPH</character>
<dialogue>He's the real thing. Smoochy's the real thing. And I've been a fraud. A wicked man doing wicked acts.</dialogue>
<scene_description>Sheldon slaps the cylinder into place and tucks the gun in his waistband .</scene_description>
<character>SHELDON</character>
<dialogue>Well, we all have our bad days.</dialogue>
<scene_description>He exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAII KAI - LATER THAT EVENING</stage_direction>
<scene_description>A hula dancer performs on a tiny stage in the nightclub . A small Hawaiian string band plays behind her . Burke and a nervous - looking Stokes sit in a booth .</scene_description>
<character>STOKES</character>
<dialogue>Things are getting out of hand. We have to cover our tracks.</dialogue>
<character>BURKE</character>
<dialogue>Relax, everything's gon na work out.</dialogue>
<character>STOKES</character>
<dialogue>Relax? They found Merv Green's head on the Grand Concourse! Excuse my concern.</dialogue>
<character>BURKE</character>
<dialogue>Look, we can cover all the tracks we want, but in the end we still got the same problem. We got ta finish what we started.</dialogue>
<character>STOKES</character>
<dialogue>God help us.</dialogue>
<scene_description>Stokes shakily takes a sip of his drink .</scene_description>
<character>BURKE</character>
<dialogue>It'll all be over tonight. Buggy's gon na take care of everything.</dialogue>
<character>STOKES</character>
<dialogue>Buggy? Buggy Ding - Dong? The guy who hosted ` Buggy's Bumpy Railroad'?</dialogue>
<character>STOKES</character>
<dialogue>Yeah, until he discovered the joys of Turkish black mule heroin. For the right price he'll do anything. It's amazing the guy's still alive.</dialogue>
<scene_description>Stokes buries his head in his hands .</scene_description>
<character>STOKES</character>
<dialogue>I do n't know, Burke. this whole thing.</dialogue>
<scene_description>A shadow falls across their table . Burke looks up .</scene_description>
<character>BURKE</character>
<dialogue>Speak of the devil. Have a seat, Bug.</dialogue>
<scene_description>Buggy Ding - Dong 's hand ENTERS the FRAME and snubs out his Camel . Stokes looks up .</scene_description>
<character>STOKES</character>
<parenthetical>( attempting to sound cheerful . )</parenthetical>
<dialogue>Buggy. You're looking good.</dialogue>
<scene_description>ANGLE ON BUGGY A man who looks like he would first kill you then eat you for dinner , slides into the booth next to Stokes .</scene_description>
<character>BURKE</character>
<dialogue>It's time we put this thing to rest, Frank. And the way I see it. the rhino's up past his bedtime.</dialogue>
<scene_description>Burke hands a folded envelope to Buggy who puts it into his jacket pocket . He lights another Camel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - AERIAL SHOT - EVENING</stage_direction>
<scene_description>`` SMOOCH ON ICE - SOLD OUT ! '' flashes on the electronic marquee .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - ENTRANCE - CONTINUOUS ACTION</stage_direction>
<scene_description>Men , women and children flood in through the turnstiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - CONTINUOUS ACTION</stage_direction>
<scene_description>Ushers , costumed as Rhinettes , help people to their seats . People mull about the concession stands which are adorned with signs that read : `` Complimentary Apple Slices ! '' `` Have a Salt - Free Pretzel ! '' `` Enjoy a Soy Dog on Smoochy ! '' `` Fresh Squeezed O.J. - Have a Glass ! '' `` Sugar Free Brownies - They 're Not as Bad as they Sound ! '' `` Free ! Everything is Free ! '' `` Keep Your Wallet in Your Pocket ! '' `` Friendship is More Important than Money ! ''</scene_description>
</scene>
<scene>
<stage_direction>INT. ANGELO'S APARTMENT - NIGHT</stage_direction>
<scene_description>Angelo 's place looks like a cyclone hit it . Angelo works free from the ropes that have bound his wrists . He has been hit over the head and is groggy as he reaches for the phone .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHELDON'S PENTHOUSE - CONTINUOUS ACTION</stage_direction>
<scene_description>A freshly showered Randolph is wearing Sheldon 's robe and has a pink towel wrapped around his head as he lounges on the living room sofa . He 's eating grapes and reading National Geographic . The PHONE RINGS . He picks it up .</scene_description>
<character>RANDOLPH</character>
<parenthetical>( sing - songy . )</parenthetical>
<dialogue>Hellooo!</dialogue>
<scene_description>We GO TO a SPLIT - SCREEN with Angelo .</scene_description>
<character>ANGELO</character>
<dialogue>Randy, is that you?</dialogue>
<character>RANDOLPH</character>
<dialogue>Yes, Angelo, my little Twinkie, should n't you be getting ready for the big show?</dialogue>
<character>ANGELO</character>
<dialogue>Listen, Buggy's been here.</dialogue>
<character>RANDOLPH</character>
<dialogue>Buggy Double D's? The Dong Man?</dialogue>
<character>ANGELO</character>
<dialogue>Yeah, he lifted my backstage pass and he's braggin' that he's doing some kind of job for Burke Bennett.</dialogue>
<scene_description>Randolph thinks . He suddenly looks very worried .</scene_description>
<character>RANDOLPH</character>
<dialogue>Sheldon's in trouble. I got ta get down to the Garden.</dialogue>
<character>ANGELO</character>
<dialogue>The place is crawling with cops. They'll jump on you like a trampoline.</dialogue>
<character>RANDOLPH</character>
<dialogue>I do n't care.</dialogue>
<scene_description>He rips the towel from his head .</scene_description>
<character>RANDOLPH</character>
<dialogue>I have to warn the rhino.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - BASEMENT</stage_direction>
<scene_description>Buggy , in his ill - fitting Rhinette costume , emerges from the sub - basement carrying a thin suitcase . As far as anyone 's concerned , he 's just another usher . He heads for the stairwell .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - CONTINUOUS ACTION</stage_direction>
<scene_description>Every seat in the arena is occupied . The lights are lowered . A slow rolling TYMPANY is heard . After a moment , the Rhinettes skate out to enthusiastic applause . BACKSTAGE Sheldon , looking very intense , stands alone in the wings . He takes a couple of deep breaths . We TILT DOWN and see the bulge of the revolver under his Smoochy costume . ICE RINK The Rhinettes have formed a line across the middle of the rink .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And now. it gives us great pleasure to introduce America's favorite rhino. ladies and gentlemen. boys and girls.</dialogue>
<parenthetical>( dramatic pause . )</parenthetical>
<dialogue>Heeeeere's Smoochy!</dialogue>
<scene_description>Smoochy skates out to thunderous applause . The entire arena is on its feet . The Rhinettes part as Smoochy skates through them and stops in the middle of the rink . The applause and cheering do n't stop for several moments . One of the Rhinettes hands Smoochy a microphone .</scene_description>
<character>SMOOCHY</character>
<dialogue>On behalf of myself, the Rhinettes, and the soon to be restored Coney Island Methadone Center, I thank you all for coming.</dialogue>
<scene_description>NETWORK BOX Burke and Stokes roll their eyes . BACK ON SHELDON</scene_description>
<character>SMOOCHY</character>
<dialogue>It was my original intention that tonight's performance would be a benign mix of Smoochy songs and ice dancing. But as an artist, I believe I must convey to you, my fans, what I'm feeling at any given moment in my life. To do otherwise would be dishonest. Art is communication. It's something we learn and hopefully grow from. With that in mind. I hope you enjoy the show.</dialogue>
<scene_description>More applause as Smoochy skates over to the Rhinettes . They form a circle around him and slap hands in solidarity .</scene_description>
<character>SHELDON</character>
<dialogue>This is for Spinner.</dialogue>
<scene_description>The lights go down . A full orchestra begins to play the overture to WAGNER 's Tristen et Isolde . The lights come up as a soprano - a heavyset woman in a modified rhino costume - skates out through the fog and begins singing the opera . Smoochy - now wearing a peasant 's frock - skates an interpretive dance in the b.g. with a few Rhinettes who are also dressed as peasants . A beautiful fairy princess floats down -LRB- on filament wire -RRB- from the rafters and takes Smoochy 's hand . She skates away with him as he waves good - bye to the Rhinettes . HIGH ANGLE LOOKING DOWN AT the opera . The CAMERA PANS OVER TO the catwalk high above the rink . CATWALK Buggy Ding - Dong , still in his Rhinette costume , settles into his assassin 's roost . He begins to assemble the rifle and check the scope .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - FEW MINUTES LATER</stage_direction>
<scene_description>Randolph emerges from a cab and runs through the crowd outside the Garden . A few people recognize him .</scene_description>
<character>MAN</character>
<dialogue>It's Rainbow Randolph! Someone stop him!</dialogue>
<scene_description>Randolph finds a side exit and slips into the arena .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - FEW MINUTES LATER</stage_direction>
<scene_description>The `` Opera on Ice '' continues . The soprano continues singing as Smoochy reenacts the incidents of his recent life . The fairy princess brings Smoochy to a room with a gleaming white desk . Smoochy takes a seat behind the desk . The fairy princess places a crown on his head , bids him good - bye , and floats away . Smoochy sits proudly in his new world . Suddenly , Rhinettes dressed as devils glide in and skate in a circle around the desk . They throw money at Smoochy . He jumps up and skates away , but the Rhinette devils pursue him with daggers . The music from the orchestra intensifies as the drama plays out . NETWORK BOX Nora continues to watch the opera , totally entranced . Stokes and Burke look a little on edge . Burke glances at his watch . CATWALK Buggy finishes loading the rifle . He shines the barrel with his sleeve and looks through the scope as Smoochy and company continue to perform below . POV THROUGH RIFLE SCOPE Atmospheric fog created by the smoke machine is so thick that Buggy has difficulty FINDING Sheldon THROUGH the cross - hairs . Occasionally , Smoochy skates through a hole in the clouds only to disappear again . BUGGY CURSES in frustration . ARENA Randolph pushes his way past Garden security and runs toward the rink . Several cops working the event spot him . A few spectators scream in horror . ICE RINK The soprano 's mournful aria reaches its crescendo as Smoochy is now pursued by Rhinettes dressed as Nazis . They hold signs with words like `` SCANDAL '' and `` SHAME . '' Smoochy skates to a section of the rink resembling Chinatown where he lands over a fallen `` Moochy . '' He cradles Moochy 's head in his arms as the Nazis glide past him and disappear into the fog . NETWORK BOX Nora wipes a tear from her eye as she watches the tragedy play out . Burke and Stokes glance skyward . Nora notices this . RINK 'S EDGE Randolph reaches the rink as cops push their way toward him .</scene_description>
<character>RANDOLPH</character>
<dialogue>Sheldon!</dialogue>
<scene_description>But Sheldon ca n't hear over the orchestra . The soprano hits a high note . CATWALK Buggy aims the rifle . POV THROUGH RIFLE SCOPE Smoochy glides THROUGH the cross - hairs followed by a Rhinette . TIGHT ON BUGGY 'S FINGER as he quickly squeezes off a SHOT . RINK The MUFFLED sound of GUNSHOT is absorbed by the intense music . A wounded Rhinette falls to the ice , but no one notices . Smoochy , oblivious , continues to skate toward the `` gates of heaven '' with the angel Moochy . Giant white gates slowly swing open at the rink 's far end as floating angels open their arms to welcome Moochy . OUTER RINK Randolph runs around the rink 's perimeter , trying to get Sheldon 's attention . Cops and security push their way towards Randolph . He suddenly notices the felled Rhinette on the ice and looks skyward . He can make out a rifle barrel protruding from the catwalk . NETWORK BOX Stokes and Burke notice a commotion in the audience . They now see Randolph running through the crowd on his way to the stairwell .</scene_description>
<character>STOKES</character>
<parenthetical>( whispering to Burke . )</parenthetical>
<dialogue>What's he doing here?! He's going to screw everything up!</dialogue>
<scene_description>Nora notices the distressed look on their faces and follows their gaze to the rafters . She now sees the rifle barrel . ANGLE - NORA jumps to her feet . FAST PUSH IN TO Nora 's mouth .</scene_description>
<character>NORA</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Sheldon!</dialogue>
<scene_description>She starts to climb out of the box but Burke stops her .</scene_description>
<character>BURKE</character>
<dialogue>Nora.</dialogue>
<character>NORA</character>
<dialogue>You're in on this, are n't you! You sold him out! You fucking snake!</dialogue>
<scene_description>Stokes tries to put his arm around her .</scene_description>
<character>STOKES</character>
<dialogue>Nora, please. It's not what you think. I'm grooming you. You're going to run the division one day.</dialogue>
<scene_description>She pushes him . He goes down hard . She starts to climb out of the box . Burke tries to grab her , but she spins around and punches him . She runs for the rink . Stokes stands in the box looking dumbstruck as pande - monium plays out around him . People are running in all directions , cops are everywhere .</scene_description>
<character>STOKES</character>
<parenthetical>( frightened ; to Burke . )</parenthetical>
<dialogue>What now? What do we do now?!</dialogue>
<character>BURKE</character>
<dialogue>Survival of the fittest!</dialogue>
<scene_description>Burke runs off through the panicked crowd . Stokes looks around and heads off in the opposite direction . OUTSIDE RINK Tommy and her boys notice the commotion in the audience . They see cops pursuing someone . They realize it 's Randolph . Tommy , Jimmy and Sammy take off after him . CATWALK Buggy , in position again , looks through the rifle scope . POV THROUGH RIFLE SCOPE As the soprano reaches for an impossibly high note , the fog dissipates slightly and Smoochy 's foam rubber head COMES perfectly INTO VIEW . BUGGY smiles . RINK 'S EDGE Nora screams .</scene_description>
<character>NORA</character>
<dialogue>Sheldon! Get down!</dialogue>
<scene_description>CLOSE ON BUGGY 'S FINGER He 's about to squeeze the trigger . CATWALK Randolph reaches the catwalk as the orchestra plays a dramatic series of smashing notes . He tackles Buggy just as he squeezes off the SHOT . RINK The top of Smoochy 's foam rubber head is blown off . In SLOW MOTION , Smoochy 's tattered horn sails through the air and lands softly on the ice . WIDE Everyone in the arena screams and heads for the exits . It 's pandemonium . Thanks to Randolph , Buggy 's shot was too high and just missed Sheldon 's skull . A confused Sheldon bends over to pick up a chunk of the Smoochy head . Nora , who 's entered at the opposite end of the rink , tries to reach him , but it 's impossible . Panicked audience members run across the rink , heading for the exits . It 's chaos . People slip , Rhinettes get trampled . CATWALK Randolph tries to get the rifle away from Buggy . They struggle on a narrow beam high above the rink . The cops have reached the outer edge of the catwalk now . Tommy and the boys get there a second later . They all stand back - the catwalk is too unstable .</scene_description>
<character>RANDOLPH</character>
<dialogue>Give me that gun, you fucking wacked - out freak!</dialogue>
<scene_description>Buggy manages to shove Randolph off him . He raises the RIFLE and SHOOTS at the cops . Randolph grabs him . Both he and Buggy lose their footing and slip from the catwalk . Randolph is able to grab onto the edge and hold on . Buggy clutches Randolph 's leg which threatens to bring them both down . They dangle 80 feet above the rink . Randolph desperately tries to hold onto the catwalk as Buggy clings to Randolph 's ankle . CLOSE ON RANDOLPH 'S FINGERS His knuckles turn white as his fingers start to slip from the beam . ANGLE ON BUGGY Still clutching Randolph 's ankle , he starts to lose his grip . He desperately grabs Randolph 's foot , but Randolph 's shoe slips off and Buggy begins his long plunge to the next life .</scene_description>
</scene>
<scene>
<stage_direction>INT. RINK - HIGH OVERHEAD SHOT</stage_direction>
<scene_description>Buggy screams the whole way down , still holding onto Randolph 's shoe . RINK Buggy crashes into the middle of the rink , cob - webbing the ice around him . CATWALK Tommy and his boys runs off to find Sheldon . The COPS help Randolph off the catwalk . He 's a nervous wreck .</scene_description>
<character>COP #1</character>
<dialogue>You okay?</dialogue>
<character>RANDOLPH</character>
<dialogue>I do n't know. I'm kind of fucked up in general, so it's hard to gauge.</dialogue>
<scene_description>They pat the dazed Randolph on the back . He passes out . RINK People continue to run through the rink . Felled Rhinettes litter the ice like broken dolls . Smoke fills the air . Sheldon is helping a random woman to her feet as Nora finally reaches him . She embraces him .</scene_description>
<character>NORA</character>
<dialogue>Burke's with Stokes. He's been in it all along.</dialogue>
<scene_description>Sheldon looks toward the network box . Beyond it , through the smoke , he sees Burke shoving his way through people who jam the exit trying to escape . Sheldon reaches into his costume and pulls out his gun .</scene_description>
<character>NORA</character>
<dialogue>No, Sheldon, do n't!</dialogue>
<scene_description>Sheldon runs off leaving Nora . EXIT Burke is almost through the cluster of people . He glances over his shoulder and sees Sheldon heading toward him . He shoves even harder now and finally gets through .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - CONTINUOUS ACTION</stage_direction>
<scene_description>Burke makes a run for it down 33rd Street . A moment later , Sheldon emerges from the building . He sees Burke in the distance and takes off after him . He 's still in his skates and wearing the partially - blown - off Smoochy head . FURTHER DOWN STREET Burke looks behind and sees the nightmarish image of a disfigured Smoochy chasing after him . He quickly rounds the corner .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>A few moments later Sheldon rounds the corner . He looks down the street and sees no sign of Burke . He notices an alley by an abandoned building .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon walks slowly into the alley , gun drawn . Suddenly , Burke jumps out from behind some boxes . He whacks Sheldon 's head with a garbage can lid . The gun goes flying . Burke goes for it , but Sheldon is quickly on his feet and pounces on him . The two men fight it out . Burke manages to get on top of Sheldon and starts to strangle him .</scene_description>
<character>BURKE</character>
<dialogue>You fucking point a gun at me? A gun I gave you as a gift?! Where's your fucking etiquette?</dialogue>
<scene_description>Just as Sheldon begins to lose consciousness , we hear a GUNSHOT . Burke looks up . Nora stands there , pointing Sheldon 's gun directly at him .</scene_description>
<character>NORA</character>
<dialogue>Let him go.</dialogue>
<scene_description>Burke just looks at her .</scene_description>
<character>NORA</character>
<dialogue>Now. Before I pump one in that Grecian Formula scalp of yours.</dialogue>
<scene_description>Burke smirks as he releases Sheldon . Sheldon jumps up and takes the gun from Nora . He shakily points it at Burke .</scene_description>
<character>BURKE</character>
<dialogue>You know something, kid? You've turned out to be an incredible pain in the ass.</dialogue>
<scene_description>Burke slowly stands up , brushing off his suit .</scene_description>
<character>SHELDON</character>
<dialogue>You were behind the Spinner hit, were n't you?</dialogue>
<character>BURKE</character>
<dialogue>That was a tragic mistake.</dialogue>
<parenthetical>( shakes head sadly . )</parenthetical>
<dialogue>If only one could turn back time.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But what the hell, it's just one less mick in the world.</dialogue>
<scene_description>He laughs .</scene_description>
<character>NORA</character>
<dialogue>You son - of - a - bitch.</dialogue>
<scene_description>Sheldon cocks the gun .</scene_description>
<character>BURKE</character>
<dialogue>Oh my. What are you gon na do? Kill me? That would n't be very Smoochy - like behavior.</dialogue>
<character>SHELDON</character>
<dialogue>You're right. There's just one thing.</dialogue>
<scene_description>Sheldon tears off the remains of his tattered costume and steps out of it .</scene_description>
<character>SHELDON</character>
<dialogue>I'm not Smoochy.</dialogue>
<scene_description>Sheldon is shaking as he extends the gun to Burke 's head .</scene_description>
<character>SHELDON</character>
<dialogue>I finally realized we're living in a different jungle.</dialogue>
<scene_description>Burke suddenly looks fearful , as does Nora .</scene_description>
<character>NORA</character>
<dialogue>No, Sheldon.</dialogue>
<scene_description>Sheldon closes his eyes as he tries to summon up the courage to pull the trigger .</scene_description>
<character>NORA</character>
<dialogue>Sheldon!</dialogue>
<scene_description>Suddenly , there 's a voice from behind .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Do n't do it, Shel.</dialogue>
<scene_description>Sheldon turns around . It 's Tommy and her boys .</scene_description>
<character>SHELDON</character>
<parenthetical>( sternly . )</parenthetical>
<dialogue>Stay out of it, Tommy. This is my business.</dialogue>
<scene_description>Tommy walks closer to Sheldon .</scene_description>
<character>TOMMY</character>
<dialogue>No more killin', Shel. Enough's enough. Do n't destroy who you are for this piece of shit. You mean something to the kids. Do n't take Smoochy away from the kids.</dialogue>
<scene_description>Tommy extends her hand for the gun . Sheldon looks down at the gun . He ca n't believe he 's even holding it . He hands it to Tommy .</scene_description>
<character>SHELDON</character>
<dialogue>I do n't know how I got pushed this far.</dialogue>
<character>TOMMY</character>
<dialogue>You're only human, Shel. The important thing is. you never went over the cliff. You're a good boy. For some of us. it's too late.</dialogue>
<scene_description>Tommy pats Sheldon 's shoulder affectionately .</scene_description>
<character>TOMMY</character>
<dialogue>We'll take it from here, kid, you run along with your girl. Get on with your life.</dialogue>
<scene_description>Sheldon looks over at Burke , who 's petrified .</scene_description>
<character>SHELDON</character>
<dialogue>Tommy, you're not going to -</dialogue>
<character>TOMMY</character>
<dialogue>Do n't worry. Sometimes even a rat deserves a little mercy.</dialogue>
<scene_description>Sheldon and Nora take a final look at Burke before walking out of the alley . Burke is wide - eyed with fear as Tommy 's boys advance on him . Just as they round the corner there is the sound of TWO GUNSHOTS . Sheldon looks at Nora .</scene_description>
<character>NORA</character>
<dialogue>Bus backfire.</dialogue>
<scene_description>She pats him on the back .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - CONTINUOUS ACTION</stage_direction>
<scene_description>Stokes finally makes it out of the arena . He runs toward his waiting limo and hops in the back seat . He barks to his driver through the glass partition .</scene_description>
<character>STOKES</character>
<dialogue>Get out of here!</dialogue>
<scene_description>The car does n't move . Stokes pounds on the partition .</scene_description>
<character>STOKES</character>
<dialogue>Move this thing!</dialogue>
<scene_description>No response . Stokes frantically pushes the button that lowers the partition . It slides down .</scene_description>
<character>STOKES</character>
<dialogue>Are you deaf?! I said -</dialogue>
<scene_description>The driver turns around . Stokes recoils in horror . It 's Takashi . He smiles as the back doors open and the Japanese thugs - Chick , Sambo and Tobi - pile in with Stokes . They slam the doors shut .</scene_description>
<character>CHICK</character>
<dialogue>I wish I could tell you it'll be quick and painless, Frank, but you know how these things go.</dialogue>
<scene_description>Stokes lets out a small whimper . Chick nods to Takashi who steps on the gas as he sings `` Anything Goes '' in Japanese .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TH AVENUE - CONTINUOUS ACTION</stage_direction>
<scene_description>The car heads into the night , passing Sheldon and Nora , who have exited the alley . This will be Frank Stokes ' final limo ride .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - CONTINUOUS ACTION</stage_direction>
<scene_description>Sheldon and Nora pause on the street . Sheldon looks around him .</scene_description>
<character>SHELDON</character>
<dialogue>You know, a little grime here and there does n't change the fact. it's still a beautiful city.</dialogue>
<scene_description>He looks at Nora .</scene_description>
<character>NORA</character>
<dialogue>Let's go home, Smoochy. Show's over.</dialogue>
<scene_description>Sheldon gazes back at her .</scene_description>
<character>SHELDON</character>
<dialogue>No it's not. It's just beginning.</dialogue>
<scene_description>They kiss passionately as MUSIC SWELLS and the CAMERA CRANES HIGH ABOVE the rink . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - ONE YEAR LATER</stage_direction>
<scene_description>SUPERIMPOSE : ONE YEAR LATER The Garden is sold out . The lights go down . Through the P.A. we hear .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And now. it gives us great pleasure to introduce America's favorite rhino. ladies and gentlemen. boys and girls.</dialogue>
<scene_description>There 's a dramatic pause ; TYMPANY ROLL .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Heeeeeere's Smoochy!</dialogue>
<scene_description>Smoochy skates out to thunderous applause .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>With his partner and comrade. the one, the only. Rainbow Randolph!</dialogue>
<scene_description>Randolph skates out , somewhat shakily , to huge applause . Sheldon puts his arm around him . The audience is now on their feet . Randolph especially basks in the adulation .</scene_description>
<character>ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>All proceeds from tonight's performance, will benefit the Rainbow Randolph Center for Alcoholism and Delusional Behavior.</dialogue>
<scene_description>Sheldon pats Randolph on the back . MUSIC BEGINS as Rhinettes and Krinkle Kids skate out . The show starts and the audience goes wild . Nora smiles from the stands as Smoochy and the others glide across the ice . -LRB- SMOOCHY / RANDOLPH DUET TO COME . -RRB- FADE OUT . THE END</scene_description>
</scene>
</script> | Randolph "Rainbow Randolph" Smiley is the host of "The Rainbow Randolph Show", a popular children's TV show that is frequently broadcast on the kids' TV channel Kidnet. Despite his friendly and playful appearance on-stage in the TV studio, off-stage in reality, he is actually an alcoholic and corrupt businessman who secretly accepts bribes from parents who want to put their kids on his show. After an FBI sting exposes him, Randolph is fired, and his show is canceled. He is promptly replaced with the "squeaky clean" Sheldon Mopes and his character Smoochy the Rhino, who is uniquely sincere and thoroughly interested in providing quality children's entertainment, and despite doubts from his hardened producer Nora Wells, his show quickly becomes tremendously popular. Meanwhile, Randolph turns to his former associate Marion Stokes and pleads to help him get his job back, but he refuses. After several attempts to get Sheldon fired, Randolph turns to his former partner Angelo Pike and asks if he can stay at his apartment, to which Angelo reluctantly agrees. Sheldon quickly finds himself losing creative control over his show to Nora and with the help of his new corrupt agent Burke Bennett, Sheldon renegotiates his contract and is named executive producer. Later, Irish mob boss Tommy Cotter approaches Sheldon and asks him to create a spot on his show for her cousin Spinner Dunn, a former boxer whose numerous head injuries have left him with brain damage. Sheldon reluctantly adds Spinner to the show, first as a cowbell-wielding game warden and later on as Smoochy's cousin Moochy. Sheldon is horrified to learn that Burke has signed him up to star in a Smoochy ice show, as he fears that the event will exploit children. Burke and Merv Green, the head of the corrupt charity running the ice show, warn Sheldon not to back out of the event, but he does so anyway. Soon afterward, a disguised Randolph tricks Mopes into performing a Smoochy act at a Neo-Nazi rally as a result of which Sheldon is branded a racist and loses his job and show, and Nora even refuses to help him. However, Randolph's victory is cut short when, after he barges into Nora's apartment and attempts to convince her to help him get his job back, he accidentally reveals that he set Sheldon up. Tommy and her crew barge into Angelo's apartment and force Randolph to confess that he tricked Sheldon. As a result, Sheldon's show is restored and Randolph is dubbed the most hated man in America by the media. To make matters worse, a fed up Angelo kicks Randolph out of his house. After telling him that his show is back on the air, Nora kisses Sheldon and the two have sex. Sheldon decides to perform in the ice show, but without the corrupt charities. Burke and Green retaliate by plotting to kill Sheldon and hire a new host who will cooperate with their profit skimming. However, their plan backfires when, during a rehearsal, Merv's men mistake Spinner in his Moochy costume for Sheldon and murder him. When Tommy gets word of this, she retaliates by killing Merv and his men. Meanwhile, Randolph confronts Sheldon and Nora in their apartment and reveals to Sheldon that Nora had affairs with numerous children's show hosts, including Randolph himself. Sheldon is brokenhearted by this, but Nora insists that she was young and foolish back then and she really has genuine feelings for him. The two manage to calm Randolph down and discover that he is depressed and genuinely misses entertaining children. Sheldon offers to let Randolph stay in his apartment until he recovers. Burke and Marion decide to partner up after hearing of Merv's death. Burke hires Buggy Ding Dong, another former kid's show host, to assassinate Sheldon during his ice show. Buggy steals a backstage pass to get inside, but before he can shoot Sheldon, he is confronted by Randolph. They struggle for the rifle until Buggy falls to his death in the ice rink. After Sheldon realizes that Burke and Marion set him up, he pulls a gun and threatens to kill Burke. Tommy and her men then arrive and persuade him not to forfeit his high ideals. Tommy decides to take care of Burke and Marion in her own way (murdering them offscreen, in a deleted scene), Sheldon and Nora share a kiss in Times Square, and Smoochy and Randolph launch a new show together alongside Nora, who becomes an ice skater. |
I Walked with a Zombie_1943 | tt0036027 | <script>
<scene>
<stage_direction>I Walked with a Zombie</stage_direction>
<scene_description>The RKO trademark FADES OUT , to reveal a road lined with palm trees , spectrally long and straight like a vista in a Dali painting . Along this road and from a far distance two tiny figures advance toward the camera . Over this scene the TITLE and CREDITS are SUPERIMPOSED . The two figures continue to advance , growing more discernible all the time . As the credits FADE , the two human figures advancing along the road are more clearly discernible . Although they are not close enough to distinguish their faces , it can be seen that one of them is an enormously tall , cadaverous negro , clothed only by ragged , tight - fitting trousers and that the other is nurse , dressed in crisp white uniform and cap , with a dark cloak over her shoulders .</scene_description>
<character>BETSY</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>I walked with a zombie.</dialogue>
<parenthetical>( laughs a little , self consciously . )</parenthetical>
<dialogue>It does seem an odd thing to say. Had anyone said that to me a year ago, I'm not at all sure I would have known what a Zombie was. I might have had some notion - that they were strange and frightening, and perhaps a little funny. But I have walked with a Zombie</dialogue>
<scene_description>As she speaks , the two figures advancing on the road come closer .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>It all began in such an ordinary way -</dialogue>
<scene_description>As she says this the long road and the advancing figures DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSES OF PARLIAMENT - OTTAWA - DAY - (STOCK)</stage_direction>
<scene_description>The Houses of Parliament seen through falling snow . In the f.g. horse - drawn sleighs are passing .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>I'd just finished working on a case in Ottawa. a little boy who'd broken both legs. It was one of those cases with traction frames and constant care, nicely complicate with a pair of hysterical parents. When he was all well I had to find another job. That's a nurse's life for you. I went to the Registry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNER OF A BUILDING - DAY - (SNOW)</stage_direction>
<scene_description>At about the level of the second and third floors is one of those half - curved , elliptical signboards which lap around the corners of old - fashioned office buildings . The CAMERA PANS DOWN this sign , from one firm name to another , stopping at the last name listed : PARRISH AND BURDEN SUGAR CO. , LTD. .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>They gave me an address in the business district. I went there.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE -- DAY</stage_direction>
<scene_description>An office on the first floor , with a window opening into a courtyard . Through this window snow can be seen falling . CLOSE SHOT of Mr. Richard Brindsley Wilkens , V.C. . He is a small , sharp - featured , precise little man with pincenez glasses , dressed in a dark business suit . One of the coat sleeves is empty . The explanation for the missing arm can be found in his coat lapel : the ribbon of the Victoria Cross . His age indicates that he won it in the last war . He has a tablet in front of him and as he speaks , marks down the answers to his questions .</scene_description>
<character>WILKENS</character>
<dialogue>You're single?</dialogue>
<character>BETSY</character>
<dialogue>Yes.</dialogue>
<character>WILKENS</character>
<dialogue>Where were you trained?</dialogue>
<character>BETSY</character>
<dialogue>At the Memorial Hospital - here in Ottawa.</dialogue>
<scene_description>Wilkens writes this down and then returns the pen to its desk holder . He picks up a typewritten page from the blotter , and stares at it .</scene_description>
<character>WILKENS</character>
<parenthetical>( fiddling with the paper unhappily . )</parenthetical>
<dialogue>This last question's a little irregular, Miss Connell. I do n't quite know how to put it.</dialogue>
<scene_description>Wilkens straightens himself determinedly and puts down the paper .</scene_description>
<character>WILKENS</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do you believe in witchcraft?</dialogue>
<scene_description>Betsy bursts into laughter and we go to our first sight of her . She is young , bright , alert and looks extremely attractive in her blue nurse 's cape and round fur cape .</scene_description>
<character>BETSY</character>
<parenthetical>( finally putting the leash on her laughter . )</parenthetical>
<dialogue>They did n't teach it at Memorial Hospital. I had my suspicions, though, about the Directress of Training.</dialogue>
<character>WILKENS</character>
<parenthetical>( permitting himself a dry little smile . )</parenthetical>
<dialogue>Very well. That means that you have met all Mr. Holland's requirements. Now, as to salary - it's quite good - two hundred dollars a month.</dialogue>
<character>BETSY</character>
<parenthetical>( pleased . )</parenthetical>
<dialogue>That is good. But I'd like to know more about the case.</dialogue>
<character>WILKENS</character>
<dialogue>I'm afraid I'm not able to tell you much. Only that the patient is a young woman - the wife of a Mr. Paul Holland with whom we do considerable business.</dialogue>
<character>BETSY</character>
<dialogue>That will mean another interview, wo n't it?</dialogue>
<character>WILKENS</character>
<dialogue>No, this is quite final. You see, Mr. Holland is a sugar planter. He lives in St. Sebastian Island in the West Indies.</dialogue>
<character>BETSY</character>
<dialogue>The West Indies?</dialogue>
<character>WILKENS</character>
<parenthetical>( he 's been expecting this . )</parenthetical>
<dialogue>A year's contract - a trip with all expenses paid - that's not so bad, you know.</dialogue>
<character>BETSY</character>
<dialogue>But it's so far away.</dialogue>
<character>WILKENS</character>
<dialogue>That's rather nice, is n't it?</dialogue>
<scene_description>Wilkens glancing at the snow falling outside the windows .</scene_description>
<character>WILKENS</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( a little wistfully . )</parenthetical>
<dialogue>Sit under a palm tree - go swimming - take sun baths. Just like a holiday.</dialogue>
<character>BETSY</character>
<dialogue>Palm trees -</dialogue>
<scene_description>FADE OUT FADE IN MONTAGE OF SHIPS A great Canadian luxury liner , a boat like the Empress of Canada , proceeds across the screen from left to right . Another ship , a smaller passenger steamer , going in the same direction , takes her place as she DISSOLVES OFF ; then a freighter , and finally a small white - hulled trading schooner comes onto the screen .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>Boats grow smaller to reach out - of the - way ports. Judging by the boats that took me to St. Sebastian - it's far away and hard to get to. First, there was the great liner to Havana - then a smaller steamer to Port au Prince - a freighter to Gonave - and from Gonave, one of the little island trading schooners that carry sugar and sisal, sponges and salt all over the Caribbean.</dialogue>
<scene_description>DISSOLVE A SAIL - NIGHT A gaff - headed sail against a night sky of stars . The boat carrying the sail is evidently in a rolling sea . The sail moves in rhythmic undulance against the sky . We hear the chug - chug of a one - cylinder Diesel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOONER -- WHEEL -- NIGHT</stage_direction>
<scene_description>Two men stand by the wheel of the schooner , their faces lit by the light from the binnacle . Behind them the wake of the boat creams out , white and phosphorescent . One of the men is obviously the skipper of the boat , dressed in sloppy white ducks , unshaven and with an officer 's battered cap on his head . The other is a slim , tall man dressed in flannel slacks and a light tweed coat .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>The man for whom I'd come to work - Mr. Holland - boarded the schooner at Gonave. He was pointed out to me, and he must have known who I was - yet he never spoke to me. He seemed quiet and aloof. Sometimes I wondered how we'd get on - but there was n't really time for to think about it - there was so much to see. I loved the trip.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SCHOONER -- OPEN GALLEY ON DECK -- NIGHT</stage_direction>
<scene_description>Near the mainmast is a large box filled with sand and on this sand a charcoal fire has been laid . A negro , dressed in dungarees , is cooking a large piece of meat . Other negroes lounge on deck , their black faces fire - lit . They are singing , and their singing is attuned to the rhythm of the chugging motor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN -- NIGHT -- (STOCK)</stage_direction>
<scene_description>The wake of the schooner .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN -- FLYING FISH -- NIGHT -- (STOCK)</stage_direction>
<scene_description>Flying fish , like shooting stars , dart across dark waters .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STAR-FILLED SKY -- NIGHT -- (STOCK)</stage_direction>
<scene_description>The stars seem very close and there is always movement in the sky , as if it were alive - falling stars and comets , lively as the flying fish .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DECK OF SCHOONER -- NIGHT</stage_direction>
<scene_description>Betsy is seated on the cabin top just abaft of the foremast . She is looking out toward the sea and her expression is ecstatic . She is completely lost in the beauty that she feels , sees and smells .</scene_description>
<character>BETSY'S VOICE</character>
<dialogue>I smelled the spicy smells coming from the islands - I looked at those great glowing stars - and I felt the warm wind on my cheeks and I breathed deep and every bit of me inside myself said, `` How beautiful -''</dialogue>
<scene_description>The CAMERA DRAWS BACK to SHOW a tall , masculine figure leaning against the foremast , behind Betsy . This is Paul Holland . As we see him , we hear his voice .</scene_description>
<character>HOLLAND</character>
<dialogue>It is not beautiful.</dialogue>
<character>BETSY</character>
<parenthetical>( surprised but smiling . )</parenthetical>
<dialogue>You read my thoughts, Mr. Holland.</dialogue>
<character>HOLLAND</character>
<dialogue>It's easy enough to read the thoughts of a newcomer. Everything seems beautiful because you do n't understand. Those flying fish - they are not leaping for joy. They're jumping in terror. Bigger fish want to eat them. That luminous water - it takes its gleam from millions of tiny dead bodies. It's the glitter of putrescence. There's no beauty here - it's death and decay.</dialogue>
<character>BETSY</character>
<dialogue>You ca n't really believe that.</dialogue>
<scene_description>A star falls . They both follow its flight with their eyes .</scene_description>
<character>HOLLAND</character>
<parenthetical>( pointing to it . )</parenthetical>
<dialogue>Everything good dies here - even the stars.</dialogue>
<scene_description>He leaves his position by the mast and walks aft . The group of negroes at the mainmast . They have stopped singing and they sit about the charcoal brazier . They are eating , tearing at the meat with cruel , greedy , animal gestures . Holland walks past them on his way aft . Betsy is puzzled and a little alarmed by Holland 's strange utterances and his queer behavior . Over this shot of Betsy looking off at him , we hear her as narrator .</scene_description>
<character>BETSY</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>It was strange to have him break in on my thoughts that way. There was cruelty and hardness in his voice. Yet - something about him I liked - something clean and honest - but hurt - badly hurt.</dialogue>
<scene_description>FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. VILLAGE OF ST. SEBASTIAN -- DAY</stage_direction>
<scene_description>St. Sebastian is a drab little West Indian village . The shacks and houses of wood , lath and plaster seem to be falling apart . Over the doorway of one of the buildings - evidently an administrative office - hangs an American flag , indicating the government of the island . The hard - packed dirt in the roadway is overgrown with weeds . Everywhere , and moving indolently , are the little , badly nourished negroes , some of them tending stalls and sidewalk vending booths , others walking idly . Betsy , followed by a black sailor with her suitcases , comes down the gangway . Parallel to this gangway is another . Up the second gangway , in file , black stevedores with bundles of sugar cane and small bales of sisal hemp on their heads , go up to the boat . On the dock , Betsy makes her way through a group of clamorous children , vendors and beggars . As the black sailor puts her luggage into an umbrella - topped surrey drawn by a gaunt mule , she stops , delighted , before a great basket filled with enormous white flowers . The man seated beside the basket seems to be asleep , his face hidden by the drooping brim of a straw hat . Betsy picks up one of the blooms , smells it and then looks at the vendor .</scene_description>
<character>BETSY</character>
<dialogue>How much is this?</dialogue>
<scene_description>The vendor wakens and lifts his head , revealing a face bloated and scarified by yaws , a hideous nightmare face . Betsy , startled , steps back , letting the flower drop . Paul Holland , passing her , looks at this little tableau of horror and disgust .</scene_description>
<character>HOLLAND</character>
<parenthetical>( in passing . )</parenthetical>
<dialogue>You're beginning to learn.</dialogue>
<scene_description>Betsy looks after him as he walks away into the village . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD TO FORT HOLLAND -- DAY -- (PROCESS)</stage_direction>
<scene_description>An umbrella - topped surrey , drawn by a gaunt mule and piloted by an old coachman in dirty white singlet , a top hat with a cockade on his graying hair , is making its way along a dusty road between fields of sugar cane . In the distance , the sea is visible and above it the great billowing white clouds of the Caribbean . Betsy , seated on the back seat of the carriage , is bending forward to listen to the old man .</scene_description>
<character>COACHMAN</character>
<dialogue>Times gone, Fort Holland was a fort. now, no longer. The Holland's are a most old family, miss. They brought the colored people to the island - the colored folks and Ti - Misery.</dialogue>
<character>BETSY</character>
<dialogue>Ti - Misery? What's that?</dialogue>
<character>COACHMAN</character>
<dialogue>A man, miss - an old man who lives in the garden at Fort Holland - with arrows stuck in him and a sorrowful, weeping look on his black face.</dialogue>
<character>BETSY</character>
<parenthetical>( incredulous . )</parenthetical>
<dialogue>Alive?</dialogue>
<character>COACHMAN</character>
<parenthetical>( laughing , softly . )</parenthetical>
<dialogue>No, miss. He's just as he was in the beginning - on the front part of an enormous boat.</dialogue>
<character>BETSY</character>
<parenthetical>( understanding and amused . )</parenthetical>
<dialogue>You mean a figurehead.</dialogue>
<character>COACHMAN</character>
<parenthetical>( warming up to his orating . )</parenthetical>
<dialogue>If you say, miss. And the enormous boat brought the long - ago Fathers and the long - ago Mothers of us all - chained down to the deep side floor.</dialogue>
<character>BETSY</character>
<parenthetical>( looking at the endless fields and the richly clouded blue sky . )</parenthetical>
<dialogue>But they came to a beautiful place, did n't they?</dialogue>
<character>COACHMAN</character>
<parenthetical>( smiling and nodding as one who accepts a personal compliment . )</parenthetical>
<dialogue>If you say, miss. If you say.</dialogue>
<scene_description>DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT HOLLAND -- DAY</stage_direction>
<scene_description>The jugheaded mule slowly pulls the carriage into the scene . This beast comes to a somnolent stop without the coachman so much as touching the reins . As the man climbs down and starts to take the luggage out of the carriage , Betsy looks through the wrought - iron gate into the garden . Fort Holland is a one - story house built around the garden , with low covered porches to give shade and breezeway . At the open end of the U is a great gate much like the wrought - iron gates of New Orleans . Through this Betsy can see the garden and its profusion of verdure : azalea , bougainvillea , roses - much like California planting ; no exotic orchids or man eating Venus Jugs - just ordinary , pretty , semi - tropic flowers and shrubs . The separate rooms are open to the garden , but have jalousies of thin wood to give privacy when needed . At one corner stands a big , stone tower , obviously a relic of some previous building . The walls of the house have been built right up to and around the tower so that it has become part of the building itself . On the garden side of the tower is the fountain . The most outstanding feature of this spring or fountain , which flows from a crevice in the stones of the tower , is that instead of falling directly into the cistern it falls first onto the shoulders of the enormous teakwood figurehead of St. Sebastian . From the shoulders of the saint it drips down in two runnels over his breast . The wooden breast of the statue is pierced with six long iron arrows . The face is weathered and black . Only a few bits of white paint still cling to the halo above his head . Betsy and the coachman come up to the grillwork of the gate . Betsy looks around the garden , while the old coachman reaches up and pulls a bell rope suspended from the gate . As the bell begins to ring , he pushes the gate open . Betsy walks through .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>This is a small but lovely room with white plastered walls . As in the rest of the house , the furniture is not the usual tropical porch furniture , but is neat , serviceable furnishings such as an well - to - do family established for a long time in any given place would acquire . There is a nice four - poster bed with pineapple carving , a dressing table with a little Chippendale chair before it , and a maple rocker so old it has turned a hard , brown color that softly reflects the highlights in the room . On the wall is a little mirror in a carved Spanish frame . There are no pictures or other ornaments . A woven grass rug lies on the floor . Betsy is seated before the dressing table , putting the last touches to her hair . She has changed her clothes and is wearing a simple , linen dress . There is a discreet rap on the jalousied door which separates the room from the garden . Betsy crosses the room and opens the door . A colored man in a butler 's white jacket stands there . This is Clement .</scene_description>
<character>CLEMENT</character>
<dialogue>Miss Connell - it's dinner.</dialogue>
<character>BETSY</character>
<dialogue>Thank you, Clement.</dialogue>
<scene_description>He stands aside and lets her step through , goes ahead of her and precedes her down the garden path .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN AT FORT HOLLAND -- NIGHT</stage_direction>
<scene_description>Betsy and Clement pass the fountain . The figure of St. Sebastian gleams wetly in the rays of the candlelight . On the covered porch in front of the living room , a dinner service has been set out on a long mahogany table . As she comes forward , Betsy sees a handsome young man waiting for her . This is Wesley Rand . The table by which he stands is set for two and lit by candelabra in great glass hurricane lamps . The table is laid with white linen , and the candlelight gleams on silver and cut - glass arranged in the most formal manner . The table itself is a beautiful mahogany structure with elaborate carving , and the four chairs which surround it are massive Victorian pieces . A fifth chair stands by the wall . Rand steps down into the garden and extends his hand to Betsy .</scene_description>
<character>RAND</character>
<dialogue>Miss Connell - I'm Wesley Rand. Paul asked me to introduce myself.</dialogue>
<scene_description>They shake hands and he takes her elbow to guide her to the table .</scene_description>
<character>RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( as they walk . )</parenthetical>
<dialogue>It seems we are having dinner by ourselves, Miss Connell. But I may as well introduce everyone to you, anyway.</dialogue>
<parenthetical>( points to the chair at the head of the table . )</parenthetical>
<dialogue>There - in the master's chair, sits the master - my half - brother Paul Holland. But you've already met him.</dialogue>
<character>BETSY</character>
<dialogue>Yes - on the boat.</dialogue>
<character>RAND</character>
<dialogue>And that chair -.</dialogue>
<parenthetical>( indicates the chair drawn back against the wall . )</parenthetical>
<dialogue>is the particular property of Mrs. Rand - mother to both of us and much too good for either of us. Too wise, in fact, to live under the same roof. She prefers the village dispensary.</dialogue>
<character>BETSY</character>
<parenthetical>( interested and a little surprised . )</parenthetical>
<dialogue>Is she a doctor?</dialogue>
<character>RAND</character>
<dialogue>No - she just runs the place. She's everything else - amazing woman, mother. You'll like her.</dialogue>
<character>BETSY</character>
<dialogue>I like her already.</dialogue>
<character>RAND</character>
<dialogue>And that -.</dialogue>
<parenthetical>( points to another chair . )</parenthetical>
<dialogue>is my chair. And this -.</dialogue>
<parenthetical>( draws back a chair for Betsy . )</parenthetical>
<dialogue>is Miss Connell - who is beautiful.</dialogue>
<character>BETSY</character>
<dialogue>Thank you. But who sits there?</dialogue>
<parenthetical>( indicating a chair at her left . )</parenthetical>
<dialogue />
<character>RAND</character>
<dialogue>My brother's wife.</dialogue>
<scene_description>There is a little pause . Rand stands for a very brief moment , looking at the empty chair and then , almost as if pulling himself together , takes hold of his own chair and moves it down the table nearer to Betsy .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( as he moves the chair . )</parenthetical>
<dialogue>Here, here, this is n't at all cozy - it makes me seem aloof and I'm anything but that.</dialogue>
<scene_description>They smile at each other . Betsy looks around the table and out toward the garden . FROM BETSY 'S VIEWPOINT , as we see the garden . The CAMERA PANS AROUND to show one aspect of its beauty after another and finally COMES TO REST ON a lighted window . On the shutters can be seen the shadow of a man seated at a desk , obviously working .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( over pan . )</parenthetical>
<dialogue>We had a lovely dinner. Somehow as we sat there, I could n't help thinking of all the stories I had read in the magazines, stories in which people had dinner on a terrace with moonlight flooding a tropical garden. It seemed a little unreal. - Then we had coffee.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE PORCH -- NIGHT</stage_direction>
<scene_description>Betsy and Rand are seated in easy chairs with a small coffee table before them . On it are a coffee urn , a bottle of brandy , cups and glasses . Behind them is the lighted window where we have seen the shadow of Paul Holland . From this angle the shadow can no longer be seen . As if part of a general conversation that has been going on for some time .</scene_description>
<character>BETSY</character>
<dialogue>- But, you're an American?</dialogue>
<character>RAND</character>
<dialogue>I went to school in Buffalo. Paul went to school in England.</dialogue>
<character>BETSY</character>
<dialogue>I wondered about your different accents. I'm still wondering about your names - Rand and Holland.</dialogue>
<character>RAND</character>
<parenthetical>( making mockery of his own explanation . )</parenthetical>
<dialogue>We're half - brothers. Paul is mother's first child. When his father died, she married my father. Dr. Rand, the missionary. And you know what they say about missionaries' children.</dialogue>
<scene_description>Far off somewhere a drum begins to beat , slowly and sullenly . Betsy turns in the direction of the sound . Rand watches her , grinning .</scene_description>
<character>RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( mocking her interest . )</parenthetical>
<dialogue>The jungle drums - mysterious - eerie.</dialogue>
<scene_description>Betsy turns back to him and smiles .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>That's a work drum at the sugar mill. St. Sebastian's version of the factory whistle.</dialogue>
<scene_description>He finishes the little bit of liquor left in his brandy glass and gets up .</scene_description>
<character>RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>As a matter of fact, it means the sugar syrup is ready to be poured off. You'll have to excuse me.</dialogue>
<character>BETSY</character>
<dialogue>Of course. It's been nice of you to spend this much time with me.</dialogue>
<scene_description>Rand picks up the brandy bottle .</scene_description>
<character>RAND</character>
<parenthetical>( pouring himself a drink . )</parenthetical>
<dialogue>Do n't worry. I was n't missed. The only important man here is the owner.</dialogue>
<character>BETSY</character>
<dialogue>Mr. Holland?</dialogue>
<character>RAND</character>
<dialogue>Yes, the redoubtable Paul. He has the plantation, and I, as you must have noticed, have all the charm.</dialogue>
<character>BETSY</character>
<dialogue>I do n't know. He spoke to me last night on the boat. I liked him very much.</dialogue>
<character>RAND</character>
<parenthetical>( pouring another drink . )</parenthetical>
<dialogue>Ah, yes, our Paul, strong and silent and very sad - quite the Byronic character. Perhaps I ought to cultivate it.</dialogue>
<scene_description>The drum sounds again .</scene_description>
<character>BETSY</character>
<parenthetical>( smiling and pointing off . )</parenthetical>
<dialogue>Perhaps you ought to get on to the mill.</dialogue>
<character>RAND</character>
<parenthetical>( leisurely sips at his drink . )</parenthetical>
<dialogue>It'll wait.</dialogue>
<scene_description>The work drum sounds for the third time . Rand who has finished his drink , reaches for the bottle again . At this moment the jalousies behind them open and Holland comes out . Rand puts down the bottle and straightens up . Holland stands watching him .</scene_description>
<character>RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Holland . )</parenthetical>
<dialogue>I was just going to the mill.</dialogue>
<parenthetical>( nods to Betsy . )</parenthetical>
<dialogue>Good night, Miss Connell.</dialogue>
<scene_description>Betsy nods and smiles to him . Rand starts toward the gate .</scene_description>
<character>HOLLAND</character>
<parenthetical>( still watching Rand . )</parenthetical>
<dialogue>Have the servants made you comfortable?</dialogue>
<character>BETSY</character>
<dialogue>Yes, thank you.</dialogue>
<scene_description>Clement comes from the house carrying a large , silver tray covered with a napkin . He comes up to Holland and holds the tray before him , lifting the corner of the napkin to present the food under it for inspection .</scene_description>
<character>HOLLAND</character>
<parenthetical>( looking at the food . )</parenthetical>
<dialogue>It seems very nice, Clement. I'll take it to Mrs. Holland.</dialogue>
<scene_description>He starts to take the tray . Betsy rising , also reaches for it .</scene_description>
<character>BETSY</character>
<dialogue>Ca n't I take it for you?</dialogue>
<character>HOLLAND</character>
<parenthetical>( taking tray . )</parenthetical>
<dialogue>No, thank you. Tomorrow's time enough for you to begin work.</dialogue>
<scene_description>He goes off with the tray . Betsy picks up a coffee cup . LONG SHOT of tower . Holland enters the tower and closes the door behind him . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>Betsy , dressed in a trim negligee and slippers , is getting ready for the night . She plumps up the cushion , tests the softness of the mattress and then , yawning , turns out the Aladdin kerosene lamp which lights the room . Level rays of moonlight filter through the rattan blinds into the room . Betsy crosses the room and peers out through the rattan strips into the garden .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GARDEN -- NIGHT</stage_direction>
<scene_description>AS BETSY SEES IT . Lights are on in the living room . This light , barred and diffused by the strip - blinds , softly illuminates the garden . The black shadows of trees and shrubbery loom over the paths . Through these shadows a woman , dressed in filmy white , walks stiffly , her arms hanging immobile , close to her slim body . She is blonde and as far as the light will reveal , she seems beautiful . She makes the circuit of the garden , pacing slowly along the paths . Betsy watches her . Then , from the living room , a man 's voice calls out to her .</scene_description>
<character>HOLLAND'S VOICE</character>
<dialogue>Jessica.</dialogue>
<scene_description>The woman at once turns toward the living room , mounts the porch and enters through a door held open for her .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>Betsy turns back into the room . She has crossed over to the bed and is removing her negligee when the sound of hesitant notes on the piano attract her attention . In her nightgown she goes back to the window and peers through the cracks between the laths .</scene_description>
</scene>
<scene>
<stage_direction>INT. A CORNER OF THE LIVING ROOM -- NIGHT</stage_direction>
<scene_description>From where she stands , Betsy can see the big , square , rosewood piano . A lamp had been lit beside it and the light from this lamp falls on the blonde hair and gleaming shoulders of the woman who had walked in the garden . Her face can not be seen . Her fingers move strangely over the keyboard , now and again striking a hesitant note , but making no music , only an occasional dissonance .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>Betsy , still watching through the slit in the jalousie , endeavors to get a better view of the living room . She changes her position and looks out again through the blinds .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER CORNER OF THE LIVING ROOM -- NIGHT</stage_direction>
<scene_description>As seen from Betsy 's NEW ANGLE . Paul Holland is seated in a low armchair . His eyes are fixed on the woman at the piano . She continues to strike odd notes on the piano .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>Betsy leaves the window , crosses to the bed and lies down . Then , sighing , she makes herself comfortable on the pillow , settling herself for sleep . Outside the nightjars whistle softly , the cicadas twitter and the Hammer tree frogs make drowsy , somnolent little croaks : it is a tropic lullaby of bird , batrachian and insect sound . The faint , groping notes on the piano continue . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT -- (MOONLIGHT)</stage_direction>
<scene_description>In the moonlight , the pin - cushioned figure of St. Sebastian broods over the dark water in the cistern . Above the constant sound of the water flowing over the saint 's shoulders can be heard the sound of a woman crying , mournfully and as if from deep - seated sadness .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>Betsy is asleep . The sound of the woman 's weeping is persistent in the room . Finally , it has its effect . The young nurse stirs restlessly , then wakes . She listens , gets up , then listens again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE TOWER DOOR -- NIGHT -- (MOONLIGHT)</stage_direction>
</scene>
<scene>
<stage_direction>INT. BETSY'S ROOM -- NIGHT</stage_direction>
<scene_description>It is obvious to her this piteous keening comes from the direction of the tower . It is in this direction she had seen Holland carry the tray of food to her patient . She pulls on her slippers and negligee and leaves the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT</stage_direction>
<scene_description>Betsy crosses in front of the fountain and goes to the small postern door of heavy , iron - bound oaks which leads into the ruin . The sound of weeping continues . She tries the door . It opens and she goes in , leaving it open behind her .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GROUND FLOOR OF THE TOWER -- NIGHT</stage_direction>
<scene_description>Betsy comes hesitantly in and looks around her . She can still hear the sound of a woman 's crying . It seems to come from above her . A circling flight of shallow stone steps lead upward into the dark . To one side of them , but almost hidden from her in the darkness , is another door leading back into the house . She hesitates a moment and then , slowly , begins to climb the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER -- SECOND FLOOR -- NIGHT</stage_direction>
<scene_description>Betsy comes up to the level of the second floor . It is in pitch blackness . High above her is a narrow slit through which a single shaft of white moonlight drives sharply into the well - like darkness of the room . Very slowly , almost as if feeling her way on the stone floor with her slippered feet , she crosses the room . Then , one hand groping along the rough , stone wall , she begins to circle the room , searching for some doorway , or an ascending flight of stairs . Above her in the massive rafters of the tower , bats stir and squeak . One bat , dropping from his perch , sweeps past her with a rushing of air against the taut membranes of his wings , then flies laboriously up and out through the narrow slit high in the wall . Betsy stands stock still , frightened . Then she resumes her groping progress . A rat squeals and slithers across the floor . Again she stops . Then , more as a request for guidance than as a cry for help , she calls out softly .</scene_description>
<character>BETSY</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Mrs. Holland! Mrs. Holland!</dialogue>
<scene_description>There is no answer . She gropes forward a few more steps , then stops again and again calls , a little louder now .</scene_description>
<character>BETSY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( calling . )</parenthetical>
<dialogue>Mrs. Holland?</dialogue>
</scene>
<scene>
<stage_direction>INT. FIRST FLOOR OF THE TOWER -- NIGHT</stage_direction>
<scene_description>A white - robed female figure comes out from under the stairs , walking slowly , her movements drift - like as if walking in deep sleep . She begins slowly to climb the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER -- SECOND FLOOR -- NIGHT</stage_direction>
<scene_description>Betsy is still groping her way around the circling walls of the tower . The shaft of moonlight strikes down between her and the stairs . Through it she sees the drifting , diaphanous whiteness of the other woman as she comes up from the dark stairwell .</scene_description>
<character>BETSY</character>
<dialogue>Mrs. Holland?</dialogue>
<scene_description>There is no answer . The other woman continues to walk toward her .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( embarrassed ; trying to explain . )</parenthetical>
<dialogue>Mrs. Holland - I did n't mean to get you up -</dialogue>
<scene_description>The white woman keeps walking toward her with the same entrance tread . Betsy takes a step forward to meet her . The two women come together in such a way that the white - clad woman stops directly in the shaft of moonlight . CLOSEUP of Jessica . This is the face of the dead ; bloodless , cold - lidded , eyes open and unseeing , washed white with the pallor of the moonlight , framed in lank , lifeless tresses of blonde hair .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( a frightened questioning whisper over the closeup . )</parenthetical>
<dialogue>Mrs. Holland -?</dialogue>
<scene_description>Without expression , Jessica moves toward her . MED . CLOSE SHOT - Jessica and Betsy . Jessica comes toward Betsy , who takes a step back . They are out of the moonlight now , but the pale face of the woman seems to glow in the darkness . She keeps advancing toward Betsy . Betsy screams - shrill and piercing .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RAFTERS OF THE TOWER -- NIGHT</stage_direction>
<scene_description>Betsy 's cry echoes back and forth between the stone walls of the tower . The bats hanging from the rafters are roused and begin to fly , squeaking and mewling .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER -- SECOND FLOOR -- NIGHT</stage_direction>
<scene_description>The flight of bats wheels and banks around the figures of the two women . Betsy screams wordlessly and the shrill , piercing sound of her outcry lances back at her from the echoing walls . CLOSEUP of Betsy . Desperately frightened , her face agonized , she screams again , pressing her loosely clenched fists against the sides of her mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. SLIT IN WALL OF TOWER -- NIGHT</stage_direction>
<scene_description>Single file , the bats sweep out one by one through the loophole high up in the wall of the tower . Betsy 's scream continues to echo .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER -- SECOND FLOOR -- NIGHT</stage_direction>
<scene_description>Jessica still continues to walk toward Betsy . Betsy retreats from her , backs onto the stone stairs leading to the slit in the wall . She orients herself quickly ; starts to back up this narrow flight of steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER STAIRWELL -- NIGHT</stage_direction>
<scene_description>Holland running up the steps of the tower . He is pulling a light bathrobe over his pajamas and carrying a flashlight in his hand . Behind him come Clement and a pretty , little negro maid , Alma . Clement has dressed hurriedly . He is barefooted ; has on his trousers and a shirt , which is not tucked in at the waistband . Alma , also barefooted , has on a thick , white cotton nightgown , a little bit too big for her . Clement carries a lighted kerosene lamp in his hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR -- TOWER -- NIGHT</stage_direction>
<scene_description>Holland , Clement and Alma come up the stairs . Clement 's lantern , held high , illuminates the room , disclosing Jessica still walking and Betsy cowering away from her .</scene_description>
<character>HOLLAND</character>
<dialogue>Jessica!</dialogue>
<scene_description>The woman stops and turns slowly toward him . He speaks hurriedly to Alma .</scene_description>
<character>HOLLAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Take Mrs. Holland to her room.</dialogue>
<character>ALMA</character>
<parenthetical>( taking Jessica 's arm . )</parenthetical>
<dialogue>Come, Miss Jessica, come with Alma.</dialogue>
<character>BETSY</character>
<parenthetical>( attempting to get a grip on herself .</parenthetical>
<parenthetical>Terribly ashamed . )</parenthetical>
<dialogue>I heard someone crying - a woman -</dialogue>
<character>HOLLAND</character>
<dialogue>A woman crying? No one's been crying here.</dialogue>
<character>CLEMENT</character>
<dialogue>Mr. Paul - yes, there was crying tonight. It was Alma. Her sister was brought a ` birthing.</dialogue>
<character>HOLLAND</character>
<parenthetical>( with a slight smile . )</parenthetical>
<dialogue>Thank you, Clement.</dialogue>
<scene_description>He takes Betsy 's elbow and starts toward the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST FLOOR OF THE TOWER -- NIGHT</stage_direction>
<scene_description>Clement precedes Betsy and Holland down the stairs , holding the lantern high to give them light . At the foot of the stairs he steps aside , standing near the door of Jessica 's bedroom . Betsy and Holland go outside to the garden . Clement is about to follow them when the door to Jessica 's bedroom opens a few inches . Alma puts her head out cautiously .</scene_description>
<character>ALMA</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Clement.</dialogue>
<scene_description>Clement goes over to her .</scene_description>
<character>ALMA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'm going to stay with Miss Jessica - in case the new Miss takes to roaming again.</dialogue>
<character>CLEMENT</character>
<parenthetical>( in a low voice reprovingly . )</parenthetical>
<dialogue>Do n't you go crying anymore - that's what frightened Miss Betsy.</dialogue>
<character>ALMA</character>
<dialogue>Well, she did n't soothe me any - hollering around in the tower!</dialogue>
<character>CLEMENT</character>
<dialogue>Shhh!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOUNTAIN -- NIGHT</stage_direction>
<scene_description>Holland and Betsy come out of the tower .</scene_description>
<character>BETSY</character>
<dialogue>Why was the maid crying?</dialogue>
<character>HOLLAND</character>
<dialogue>I'm not sure I can make you understand.</dialogue>
<parenthetical>( gestures toward the fountain statue . )</parenthetical>
<dialogue>You know what this is?</dialogue>
<character>BETSY</character>
<dialogue>A figure of St. Sebastian.</dialogue>
<character>HOLLAND</character>
<dialogue>Yes. But it was once the figurehead of a slave ship. That's where our people came from - from the misery and pain of slavery. For generations they found life a burden. That's why they still weep when a child is born - and make merry at a burial.</dialogue>
<scene_description>Clement , the lantern still in his hand , passes close behind them . For a moment they turn and look at his black , still face , underlit by the rays of the lantern . It reflects all the sadness of slave people and slave ways . He goes by , the lantern light fading off in the distance , as he walks down the path .</scene_description>
<character>HOLLAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I've told you, Miss Connell, this is a sad place.</dialogue>
<scene_description>FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S BEDROOM - DAY</stage_direction>
<scene_description>The birds in the garden are singing loudly and cheerfully and the sun pours in wide streaks through the jalousies . At the foot of Betsy 's bed Alma stands . She has lifted the covers and holds Betsy 's big toe between thumb and forefinger . She shakes it gently . Betsy wakes .</scene_description>
<character>ALMA</character>
<dialogue>Good morning, miss.</dialogue>
<character>BETSY</character>
<parenthetical>( starting to rouse from bed . )</parenthetical>
<dialogue>Thank you for waking me.</dialogue>
<character>ALMA</character>
<dialogue>I did n't want to frighten you out of your sleep, Miss.. That's why I touched you farthest from your heart.</dialogue>
<scene_description>Betsy starts to get up and Alma protests .</scene_description>
<character>ALMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't get up, Miss.. I brought your breakfast. Just like I do for Miss Jessica.</dialogue>
<scene_description>She turns to reveal right and left - handed coffee pots behind her on a tray . Also on the tray is an enormous , puffed - up brioche .</scene_description>
<character>BETSY</character>
<dialogue>But I'm Miss Jessica's nurse, Alma. You do n't have to do that for me.</dialogue>
<character>ALMA</character>
<dialogue>I know, miss. But I like to do it. I like to tend for Miss Jessica and I want to tend for you. You settle right back, now, and I'll mix you your coffee.</dialogue>
<character>BETSY</character>
<parenthetical>( pulling the pillow up behind her to make herself comfortable . )</parenthetical>
<dialogue>Thank you, Alma.</dialogue>
<scene_description>Alma takes a cup and places it on the little table near the bed . She takes up the two coffee pots and simultaneously , with a deft movement , pours the hot milk and the hot coffee into the cup . She sweetens it and creams it and passes it to Betsy , questioning Betsy with upraised sugar tongs and cream pitcher before each move .</scene_description>
<character>ALMA</character>
<parenthetical>( while she 's pouring the coffee . )</parenthetical>
<dialogue>Miss Jessica used to say this is the only way for a lady to break her fast - in bed, with a lacy cushion to bank her head up. If you'd only seen her, Miss Connell. She looked so pretty.</dialogue>
<character>BETSY</character>
<dialogue>She must have been beautiful. What happened to her, Alma?</dialogue>
<character>ALMA</character>
<dialogue>She was very sick and then she went mindless, Miss..</dialogue>
<character>BETSY</character>
<parenthetical>( reassuringly . )</parenthetical>
<dialogue>We'll see if we ca n't make her well, Alma, you and I.</dialogue>
<character>ALMA</character>
<dialogue>I do my best. Every day I dress her just as beautifully as if she was well. It's just like dressing a great, big doll.</dialogue>
<scene_description>As she talks , Alma picks up the plate with the brioche and places it at the bedside . She puts a knife and fork on the plate . Betsy sets down her coffee cup and picks up the plate .</scene_description>
<character>BETSY</character>
<dialogue>What's this?</dialogue>
<character>ALMA</character>
<dialogue>A puff - up, I call it. But Miss Jessica always says `` brioche.''</dialogue>
<character>BETSY</character>
<dialogue>Looks like an awful lot of breakfast - I do n't know whether I'll be able to get away with it.</dialogue>
<scene_description>She puts her fork into it and the whole , enormous structure of the pastry falls into tiny bits . Both she and Alma burst into peals of laughter . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. FORT HOLLAND LIVING ROOM AND OFFICE -- DAY</stage_direction>
<scene_description>This room is fairly long with jalousied doors and windows like the other rooms in the house . It is tastefully furnished and there is a large square rosewood piano in one corner of the room . The rather formal elegant furniture shows up nicely against the white - washed plaster walls . At one end is a raised portion with a low railing surrounding it . Here Holland has his office . There is a trestle table with a straight chair behind it , typewriter on a stand , and a small wooden filing cabinet with an old - fashioned letter - press on top of it . There is a surveyor 's map of the plantation on one wall , and on the other a Geodetic Survey chart of the island of St. Sebastian . -LRB- For 75c , we can purchase the U.S. Geodetic chart of Anacapa Island , engraved by Whistler , possibly the most beautiful map ever drawn . We can use this for the map of our fictitious island . -RRB- Holland is seated at the table with a ledger open before him . He has obviously been working . Betsy sits in a chair drawn up to one corner of the table . She is in her nurse 's uniform .</scene_description>
<character>HOLLAND</character>
<dialogue>I made it clear in my letter to the company. This is not a position for a frightened girl.</dialogue>
<character>BETSY</character>
<parenthetical>( quietly , but on the defensive . )</parenthetical>
<dialogue>I am not a frightened girl.</dialogue>
<character>HOLLAND</character>
<dialogue>That's hard to believe, after what happened last night.</dialogue>
<character>BETSY</character>
<parenthetical>( before he can continue . )</parenthetical>
<dialogue>If I were as timid as you seem to think, Mr. Holland, I would n't have gone into the tower in the first place.</dialogue>
<character>HOLLAND</character>
<dialogue>And what is so alarming about the tower, Miss Connell?</dialogue>
<character>BETSY</character>
<parenthetical>( not so sure of herself . )</parenthetical>
<dialogue>Nothing - really. But you must admit it's an eerie sort of place - so dark -</dialogue>
<character>HOLLAND</character>
<parenthetical>( smiling faintly . )</parenthetical>
<dialogue>Surely nurses are n't afraid of the dark?</dialogue>
<character>BETSY</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>Of course not!</dialogue>
<scene_description>Holland waits - looking at her a little quizzically .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>But frankly, it was something of a shock to see my patient that way, for the first time. No one had told me Mrs. Holland was a mental case.</dialogue>
<character>HOLLAND</character>
<dialogue>A mental case?</dialogue>
<character>BETSY</character>
<dialogue>I'm sorry.</dialogue>
<character>HOLLAND</character>
<parenthetical>( again the impersonal employer . )</parenthetical>
<dialogue>Why should you be? My wife is a mental case. Please keep that in mind, Miss Connell - particularly when some of the foolish people of this island start talking to you about Zombies.</dialogue>
<scene_description>Paul rises and walks around the desk . Betsy also stands .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You will find slave superstition a contagious thing. Some people let it get the better of them.</dialogue>
<parenthetical>( breaks off and looks at her intently . )</parenthetical>
<dialogue>I do n't think you will.</dialogue>
<character>BETSY</character>
<dialogue>No.</dialogue>
<scene_description>Holland gets up and crosses to the jalousied door . He holds it open for Betsy to precede him into the garden .</scene_description>
<character>HOLLAND</character>
<dialogue>Come along. I'll introduce you to Dr. Maxwell and your patient.</dialogue>
</scene>
<scene>
<stage_direction>INT. JESSICA'S BEDROOM - DAY</stage_direction>
<scene_description>It is a beautiful woman 's bedroom , feminine but with no suggestion of the bagnic ; elegant rather than seductive , and reflecting a playful yet sophisticated taste . The furniture is Biedermeier . There is a large bed , a trim chaise lounge , a little slipper chair and in one corner of the room , that hallmark of great vanity , a triple - screen , full - length mirror , also a Biedermeier style . Before it is a tabouret , the surface of which is literally covered with expensive looking perfume bottles and cosmetic jars . Mrs. Holland had evidently taken the tasks of beauty seriously enough to stand up to them . There is one picture in the room . It is Boecklin 's `` The Isle of the Dead , '' framed in a narrow frame of dark wood . Near the open window stands a beautiful gilt parlour harp . -LRB- Size 22 -RRB- Behind it , arranged conveniently for playing , is a small Empire chair . There is no other furniture near this arrangement , and the harp , the empty chair and wind - stirred glass curtains give a dual effect of elegance and loneliness . The CAMERA is FOCUSED on this harp as the scene opens . The glass curtains blown by the wind , steal across the strings bringing forth tinkling notes . The CAMERA PANS RIGHT to reveal Betsy and Dr. Maxwell at Mrs. Holland 's bedside . Dr. Maxwell is a small , neat man with a charming voice and a pleasant but somewhat professional personality . He is dressed in tropical whites and wears a cummerbund . Alma is removing the breakfast tray and , as she passes Betsy on her way to the door , she makes a little curtsey . Mrs. Holland is lying back against the pillows on her bed in a semi - reclining position . In the daylight her emaciated , pale face and great , empty eyes are pitiful but no longer frightening .</scene_description>
<character>DR. MAXWELL</character>
<dialogue>I'm afraid it wo n't be easy for me to explain Mrs. Holland's illness, Miss Connell. We have our own diseases here. But, if you'll sit down -.</dialogue>
<parenthetical>( indicates a chair . )</parenthetical>
<dialogue />
<scene_description>Betsy seats herself . Dr. Maxwell takes a cigarette case from his pocket . He takes a cigarette , holds it up .</scene_description>
<character>DR. MAXWELL</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>To put it simply : Mrs. Holland had one of those high fevers often found with our tropical maladies. We might say that portions of the spinal cord and certain lobes of the mind were burned out by this fever. The result is what you see - a woman bereft of will power, unable to speak or even to act by herself. She will obey simple commands.</dialogue>
<character>BETSY</character>
<dialogue>Does she suffer?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>I do n't know. I prefer to think of her as a sleepwalker who can never be awakened - feeling nothing, knowing nothing.</dialogue>
<scene_description>Betsy looks to Jessica .</scene_description>
<character>DR. MAXWELL</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>There's very little we can do except keep her physically comfortable - light diet - some exercise -</dialogue>
<character>BETSY</character>
<dialogue>She can never be cured?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>I've never heard of a cure.</dialogue>
<character>BETSY</character>
<dialogue>Is this disease common in the tropics?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Fortunately, not. This is my first experience with it as a physician. But I have seen half - witted field hands - whom the other peasants call Zombies. I am sure they suffer from a similar destruction of spinal nerves as the result of high fever.</dialogue>
<scene_description>He crosses the room and clasps shut the black leather bag in which he carries his medicine kit . Betsy rises and walks over to him .</scene_description>
<character>BETSY</character>
<dialogue>Could you give me the details of treatment and diet?</dialogue>
<scene_description>Dr. Maxwell picks up a couple of sheets of typewritten paper which have been lying beside the bed . He hands them to Betsy .</scene_description>
<character>DR. MAXWELL</character>
<dialogue>I prepared these for you last night, Miss Connell.</dialogue>
<character>BETSY</character>
<parenthetical>( taking the papers . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>He picks up his bag and walks toward the door . Betsy walks with him . At the door , he half turns and says :</scene_description>
<character>DR. MAXWELL</character>
<dialogue>I'll be by in a day or so, Miss Connell, and see how you are getting on.</dialogue>
<scene_description>Betsy nods and then turns back into the room . She walks up to the bed and stands looking at Jessica , then down at the list of typewritten instructions . Evidently the list calls for her to carry out some detail of the regime , for she puts it down and starts out of the room in a businesslike fashion . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUNTAIN -- DAY</stage_direction>
<scene_description>Holland is standing by the fountain as Betsy comes out of the door of the tower and starts to cross the garden . He turns toward her . She stops and smiles .</scene_description>
<character>HOLLAND</character>
<dialogue>You did n't find your patient so frightening in the daylight, did you?</dialogue>
<character>BETSY</character>
<dialogue>Mrs. Holland must have been beautiful -</dialogue>
<character>HOLLAND</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>Many people thought her beautiful.</dialogue>
<scene_description>Betsy is about to pass on when he asks abruptly :</scene_description>
<character>HOLLAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Tell me, Miss Connell. Do you consider yourself pretty?</dialogue>
<scene_description>Betsy is a little taken aback by this , but she recovers herself .</scene_description>
<character>BETSY</character>
<dialogue>I suppose so. Yes.</dialogue>
<character>HOLLAND</character>
<dialogue>And charming?</dialogue>
<character>BETSY</character>
<dialogue>I've never given it much thought.</dialogue>
<character>HOLLAND</character>
<dialogue>Do n't. It will save you a great deal of trouble and other people a great unhappiness.</dialogue>
<scene_description>Betsy is puzzled and interested . She stands a moment and then starts off . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE VILLAGE OF ST. SEBASTIAN -- DAY</stage_direction>
<scene_description>Betsy , out of her customary uniform and dressed in a light colored print dress and a straw picture hat , is walking slowly and a little aimlessly down one of the village streets .</scene_description>
<character>RAND'S VOICE</character>
<dialogue>Betsy!</dialogue>
<scene_description>Betsy turns , as she hears her name , and sees Rand , mounted on a white saddle mule . -LRB- The mule is one of those delicate , single footed saddle animals which they breed in Central America and the West Indies , very smart - looking and with good furniture . The saddle should be particularly well - chosen . Most West Indian planters use an English saddle with long stirrups . Sometimes a machete in a leather scabbard hangs from the near side of the saddle . -RRB- He maneuvers the mule between a cart and a vendor balancing two baskets on a pole over his shoulders , then brings the animal to a halt beside her .</scene_description>
<character>RAND</character>
<dialogue>Where do you think you're going?</dialogue>
<character>BETSY</character>
<dialogue>It's my day off.</dialogue>
<character>RAND</character>
<dialogue>But what in the world can you do with a day off in St. Sebastian?</dialogue>
<character>BETSY</character>
<parenthetical>( a little ruefully . )</parenthetical>
<dialogue>I was just beginning to wonder. Are n't there shops, restaurants and things?</dialogue>
<character>RAND</character>
<dialogue>Well - and things - might be a better description of what you'll find. I'd better come along and show you the town.</dialogue>
<scene_description>Rand swings down off the mule and takes the reins to lead the animal .</scene_description>
<character>BETSY</character>
<parenthetical>( very pleased . )</parenthetical>
<dialogue>But do n't you have to work?</dialogue>
<character>RAND</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>By a curious coincidence, it's my day off, too.</dialogue>
<scene_description>DISSOLVE OUT DISSOLVE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER - ST. SEBASTIAN -- DAY</stage_direction>
<scene_description>A Calypso singer with a guitar slung around his shoulder , lounges against the corner of a building , singing to a small audience of loiterers . He has a derby hat in front of him with one or two coins in it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAFE -- ST. SEBASTIAN -- DAY</stage_direction>
<scene_description>Around the corner from the Calypso singer is a cafe . On the roadway in front of it , under a tattered awning , two or three tables have been set out . At one of these sit Betsy and Rand . At another , two white planters in work clothing are having a drink of beer . Behind them , leaning against the wall , stands the proprietor , a Negro in duck trousers and duck coat , with an apron tied around his middle . Betsy has tea in front of her and Rand , a Planter 's Punch . As we see them , she is just laughing at something he has said . He is finishing his drink . Rand sets down his glass and gestures to the proprietor .</scene_description>
<character>RAND</character>
<parenthetical>( very jovially to the proprietor . )</parenthetical>
<dialogue>Bring me another, Ti - Joseph. I have to keep the lady entertained.</dialogue>
<character>BETSY</character>
<dialogue>It must be hard work entertaining me if it requires six ounces of rum.</dialogue>
<character>RAND</character>
<dialogue>What in the world are you talking about? Six ounces -?</dialogue>
<character>BETSY</character>
<dialogue>Higher mathematics. Two ounces to a drink - three drinks, six ounces.</dialogue>
<character>RAND</character>
<dialogue>How do you know there's two ounces in a drink?</dialogue>
<character>BETSY</character>
<dialogue>I'm a nurse. I always watch people when they pour something. I watched Ti - Joseph and it was exactly two ounces.</dialogue>
<scene_description>At this moment a new Calypso song starts .</scene_description>
<character>SINGER</character>
<parenthetical>( sings . )</parenthetical>
<dialogue>There was a family that lived on the isle Of Saint Sebastian a long, long while The head of the family was a Holland man And the younger brother, his name was Rand</dialogue>
<scene_description>Betsy 's attention is caught by the song . Rand evidently knows the song , because he begins talking at random , trying to distract her .</scene_description>
<character>RAND</character>
<dialogue>Listen, did I tell you that story about the little mule at the plantation - the little mule and Clement? Let me tell you. It's one of the funniest stories -</dialogue>
<character>BETSY</character>
<parenthetical>( putting a restraining hand on his arm . )</parenthetical>
<dialogue>Wait. I want to listen.</dialogue>
<scene_description>We hear the guitar music without singing , as the Calypso singer plays a few measures to bridge the first and second verses . Ti - Joseph comes up to the table with Rand 's drink . Rand makes a motion to him indicating the corner around which the Calypso singer is standing . Ti - Joseph gets the idea and goes off instantly . MED . CLOSE SHOT - Calypso singer .</scene_description>
<character>CALYPSO SINGER</character>
<dialogue>The Holland man, he kept in a tower A wife as pretty as a big white flower She saw the brother and she stole his heart.</dialogue>
<scene_description>Ti - Joseph comes in and , while the singer goes on with his song , whispers in his ear . The Calypso singer stops immediately . He looks frightened and guilty . Ti - Joseph turns and goes around the corner to his cafe . The Calypso singer addresses one of the people in the little group before him .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Ti - Malice trip up my tongue - What do you wish trouble on me for - You saw Mister Rand go in there. Why do n't you tell me?</dialogue>
<scene_description>The colored man he is addressing just dumbly shakes his head .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Apologize - that's what I'll do. Creep in just like a little fox and warm myself in his heart.</dialogue>
<parenthetical>( placatingly but to himself . )</parenthetical>
<dialogue>Good Mister Rand!</dialogue>
<scene_description>The other negro just dumbly shakes his head again . The Calypso singer puts his idea instantly into action , starting off around the corner .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAFE -- DAY</stage_direction>
<scene_description>Rand has finished the drink which Ti - Joseph had just brought him and is motioning to Ti - Joseph to bring him another , making a gesture with the glass in his hand .</scene_description>
<character>BETSY</character>
<parenthetical>( evidently continuing what she has been saying . )</parenthetical>
<dialogue>That's carrying free speech a little too far! I would n't have listened, Wes, if I had realized -</dialogue>
<scene_description>The Calypso singer comes in and stands humbly beside the table .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( with a little bow in the Haitian manner ; one hand in front of the stomach and the other hand at the small of his back . )</parenthetical>
<dialogue>Mr. Rand?</dialogue>
<scene_description>Rand looks up at him .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I've come to apologize.</dialogue>
<character>RAND</character>
<parenthetical>( curtly . )</parenthetical>
<dialogue>All right.</dialogue>
<character>CALYPSO SINGER</character>
<parenthetical>( with another quaint bow . )</parenthetical>
<dialogue>Just an old song I picked up somewhere. Do n't know who did make it up.</dialogue>
<character>RAND</character>
<parenthetical>( growing exasperated . )</parenthetical>
<dialogue>All right. All right.</dialogue>
<character>CALYPSO SINGER</character>
<dialogue>Some of these singers on this island, they'd tattle - tale on anybody. Believe me, Mister Rand, I never would sing that song if I'd known you were with a lady.</dialogue>
<character>RAND</character>
<parenthetical>( jumping up , furious . )</parenthetical>
<dialogue>Get out of here!</dialogue>
<scene_description>He starts to rise . Betsy restrains him . The Calypso singer runs off a few feet , makes his little polite bow again , and the vanishes . Rand stands practically shaking with rage . Betsy forces him into a chair .</scene_description>
<character>BETSY</character>
<dialogue>Do n't let it bother you so, Wes.</dialogue>
<character>RAND</character>
<dialogue>Did you hear what he sang?</dialogue>
<scene_description>Betsy is spared the embarrassment of replying when Ti - Joseph brings the drink that Rand ordered . Rand gulps thirstily at it , then looks at Betsy , half - defiantly , half - mockingly .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Shocked?</dialogue>
<character>BETSY</character>
<parenthetical>( sincerely . )</parenthetical>
<dialogue>I wish I had n't heard -</dialogue>
<character>RAND</character>
<dialogue>Why? Everybody else knows it. Paul saw to that. Sometimes I think he planned the whole thing from the beginning - just to watch me squirm.</dialogue>
<character>BETSY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>That does n't sound like him.</dialogue>
<character>RAND</character>
<dialogue>That's right - he's playing the noble husband for you, is n't he? That wo n't last long.</dialogue>
<character>BETSY</character>
<dialogue>I'd like to go now, Rand. Would you mind taking me home?</dialogue>
<character>RAND</character>
<parenthetical>( ignoring her , speaking a little drunkenly . )</parenthetical>
<dialogue>One of these days he'll start on you, the way he did on her.</dialogue>
<parenthetical>( imitating . )</parenthetical>
<dialogue>`` You think life's beautiful, do n't you, Jessica? You think you're beautiful, do n't you, Jessica?''.</dialogue>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>What he could do to that word `` beautiful.'' That's Paul's great weapon - words. He uses them the way other men use their fists.</dialogue>
<scene_description>Rand finishes his drink . Betsy watches him , her face deeply troubled . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CAFE - NIGHT</stage_direction>
<scene_description>CAMERA IS FOCUSED ON a ragged , barefooted lamplighter . He is lighting one of the crude kerosene street lamps of St. Sebastian with a long taper on the end of the stick . When it finally lights up he lowers the glass chimney with another stick he carries . From the beach comes the sound of a guitar and a man singing . It is very faint , at first , but as it comes closer we can recognize the voice of the Calypso singer and the melody he was singing when Rand interrupted him . The CAMERA PANS OVER to show Rand and Betsy still sitting in Ti - Joseph 's sidewalk cafe . Rand has slumped down in his chair , thoroughly drunk . Ti - Joseph stands , arms folded , leaning in the darker shadows of the wall . Betsy looks off in the direction of the singing , a little anxiously .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( faint , but growing stronger . )</parenthetical>
<dialogue>She saw the brother and she stole his heart And that's how the badness and the trouble start Ah woe, ah me Shame and sorrow for the fam - i - ly</dialogue>
<scene_description>Betsy leans over and touches Rand 's arm .</scene_description>
<character>BETSY</character>
<dialogue>Wes. Wesley - it's time we were starting home.</dialogue>
<scene_description>Rand makes some meaningless mumble of words .</scene_description>
<character>CALYPSO SINGER</character>
<dialogue>The wife and the brother, they want to go, But the Holland man, he tell them `` no.''</dialogue>
<scene_description>As Betsy stares nervously into the shadows beyond the street lamp , she sees the figure of the Calypso singer , moving slowly towards her as he sings .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The wife fall down and the evil came And it burned her mind in the fever flame.</dialogue>
<scene_description>Betsy shakes Rand urgently .</scene_description>
<character>BETSY</character>
<dialogue>Please, Wes - we've got to get back to Fort Holland.</dialogue>
<scene_description>There is no movement , no sound from Rand . Betsy looks at him , then looks over at Ti - Joseph . There does not seem to be much help to be had in that direction . Really frightened now , she turns back quickly to the approaching Calypso singer . He never takes his eyes off her , as he walks slowly toward the cafe . There is a strange menace in the way he sings .</scene_description>
<character>CALYPSO SINGER</character>
<dialogue>Her eyes are empty and she can not talk And a nurse has come to make her walk. The brothers are lonely and the nurse is young And now you must see that my song is sung.</dialogue>
<scene_description>The Calypso singer is now coming directly to the table . Instinctively , Betsy rises and moves behind the table .</scene_description>
<character>CALYPSO SINGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( walking very slowly , singing very slowly . )</parenthetical>
<dialogue>Ah, woe, Ah me Shame -</dialogue>
<scene_description>He stops abruptly . In the silence footsteps are heard , light brisk footsteps coming down the street toward the cafe . The Calypso singer looks away from Betsy for the first time . As Betsy also turns , in great relief , to see who is coming , the Calypso singer moves quickly and silently out of the scene . A middle - aged white woman , handsome and neatly dressed in a suit with a Norfolk jacket , appears in the entrance of the cafe . She glances briefly in the direction which the Calypso singer has taken and then at Betsy and Rand . She smiles in a friendly way at Betsy .</scene_description>
<character>MRS. RAND</character>
<dialogue>I think you need some help.</dialogue>
<character>BETSY</character>
<dialogue>I'm afraid so.</dialogue>
<character>MRS. RAND</character>
<dialogue>Ti - Joseph?</dialogue>
<scene_description>The older woman looks over at Ti - Joseph .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ti - Joseph, get Mr. Rand on to his mule, please, and start him for home.</dialogue>
<scene_description>Ti - Joseph comes down and starts to put his hands under Rand 's armpits preparatory to helping him to his feet .</scene_description>
<character>TI-JOSEPH</character>
<dialogue>Yes, ma'am.</dialogue>
<character>BETSY</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>But he's in no condition to ride - I do n't think he can even sit in the saddle.</dialogue>
<character>MRS. RAND</character>
<dialogue>Do n't worry about a sugar planter. Give him a mule and he'll ride to his own funeral.</dialogue>
<scene_description>Ti - Joseph gets Rand to his feet and helps him stagger around the corner . From around the corner we can hear Ti - Joseph bellowing .</scene_description>
<character>TI-JOSEPH</character>
<dialogue>Hey, boy! Bring up that mule - that white mule, boy.</dialogue>
<scene_description>Mrs. Rand turns to Betsy .</scene_description>
<character>MRS. RAND</character>
<dialogue>I really intended going out to the Fort and meeting you long before this, Miss Connell. I'm Mrs. Rand - Wesley's mother.</dialogue>
<character>BETSY</character>
<parenthetical>( dismayed . )</parenthetical>
<dialogue>Oh, Mrs. Rand -</dialogue>
<character>MRS. RAND</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Come, come, do n't tell me how sorry you are that I should meet you this way.</dialogue>
<parenthetical>( puts out her hand . )</parenthetical>
<dialogue>I'm even a little glad that Wesley's difficulty brought us together.</dialogue>
<scene_description>Betsy takes the older woman 's hand and they shake hands .</scene_description>
<character>BETSY</character>
<dialogue>Believe me, Mrs. Rand, he does n't do this often. This is the first time I've seen him -</dialogue>
<character>MRS. RAND</character>
<dialogue>Nonsense, child! I know Wesley's been drinking too much lately. I know a great deal more about what goes on at Fort Holland than you'd think. I know all about you - that you're a nice girl, competent and kind to Jessica. The Fort needs a girl like you.</dialogue>
<parenthetical>( breaking her mood . )</parenthetical>
<dialogue>But now we've got to get you back there. I'll walk you back and stay over night. It'll be a nice change for me.</dialogue>
<scene_description>She takes Betsy 's arm and they start off . The CAMERA DOLLIES WITH them as they cross the space under Ti Joseph 's awning .</scene_description>
<character>BETSY</character>
<dialogue>Thank you, Mrs. Rand. I think you're every bit as nice as Wes says you are.</dialogue>
<character>MRS. RAND</character>
<dialogue>So - he says I'm nice. He's a nice boy, too, Miss Connell, a very nice boy. But I'm worried about his drinking.</dialogue>
<scene_description>She pauses in her speech , stops for a moment at the very edge of Ti - Joseph 's domain and takes Betsy 's arm .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You could do me a great favor.</dialogue>
<character>BETSY</character>
<parenthetical>( eagerly . )</parenthetical>
<dialogue>I'd love to.</dialogue>
<character>MRS. RAND</character>
<dialogue>Use your influence with Paul. Ask him to take that whiskey decanter off the dinner table.</dialogue>
<character>BETSY</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>I've no influence with Mr. Holland.</dialogue>
<character>MRS. RAND</character>
<dialogue>Try it - you may have more influence than you think.</dialogue>
<scene_description>FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN -- FORT HOLLAND -- DAY</stage_direction>
<scene_description>Holland is walking down the path from the office toward the gate . He is carrying a piece of sugar cane in his hand and is followed by a negro laborer in working clothes , who has several other pieces of cane in his arms . They are talking as they walk .</scene_description>
<character>HOLLAND</character>
<parenthetical>( over his shoulder as they walk . )</parenthetical>
<dialogue>No. It is n't a drought, Bayard. The rains are just a little late, that's all.</dialogue>
<character>BAYARD</character>
<dialogue>I've seen the drought before, Mr. Holland. The cane's too dry - it's dangerous that way - it's the drought.</dialogue>
<scene_description>Betsy comes across the garden with a tray of medicine bottles in her hands and several linen sheets folded over her arm . She meets the two men at the path intersection .</scene_description>
<character>HOLLAND</character>
<dialogue>Good morning, Miss Connell.</dialogue>
<character>BETSY</character>
<dialogue>Good morning.</dialogue>
<scene_description>He waves Bayard on and stops for a moment to speak with Betsy .</scene_description>
<character>HOLLAND</character>
<dialogue>I heard about your little misadventure yesterday, Miss Connell.</dialogue>
<parenthetical>( with a smile . )</parenthetical>
<dialogue>On your first `` day off,'' too.</dialogue>
<character>BETSY</character>
<dialogue>Well, I had a good time up to a point.</dialogue>
<character>HOLLAND</character>
<parenthetical>( sincerely . )</parenthetical>
<dialogue>Wesley can be very entertaining.</dialogue>
<character>BETSY</character>
<parenthetical>( encouraged by his tone . )</parenthetical>
<dialogue>Yes, he can. But I've been wondering - you know if you could leave the whisky decanter off the table -</dialogue>
<character>HOLLAND</character>
<dialogue>It's always stood there, Miss Connell. I can remember it in my grandfather's time and my father's. I'm afraid it will have to remain.</dialogue>
<character>BETSY</character>
<dialogue>But for Wes - it must be a temptation to him.</dialogue>
<character>HOLLAND</character>
<dialogue>I've no sympathy with people who ca n't resist temptation.</dialogue>
<character>BETSY</character>
<dialogue>Still, I feel you should remove the decanter. Wes is not an alcoholic yet, Mr. Holland. But as a nurse I can tell you that it wo n't be long before he is.</dialogue>
<character>HOLLAND</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>I'm afraid the decanter will have to stay where it is. I engaged you, Miss Connell, to take care of my wife, not my brother.</dialogue>
<scene_description>They look at each other for a moment , then Betsy turns and walks off without a word . Holland turns to rejoin Bayard at the gate . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRACE -- DINING TABLE -- NIGHT</stage_direction>
<scene_description>It is a hot , windy night . The bushes in the garden move violently with the gusts of wind . Even protected as they are by the great glass hurricane lamps , the candle flames that light the table are agitated and stir restlessly . Tonight there are four people at dinner , Holland , Rand , Betsy , in a simple print dress , and Jessica , in a lovely evening gown that leaves her shoulders and arms bare . They have finished the first portion of their meal and Clement is taking off the soup plates . Somewhere off in the hills there is the ululating sounds of a great sea conch being blown .</scene_description>
<character>BETSY</character>
<dialogue>You do n't seem very disturbed by it. I've always thought Voodoo was something to be scared of : the drums sounded in the hills and everybody was frightened.</dialogue>
<character>HOLLAND</character>
<dialogue>I'm afraid it's not very frightening. They have their songs and dances and carry on and finally, as I understand it, one of the gods comes down and speaks through one of the people.</dialogue>
<character>RAND</character>
<dialogue>For some reason, they always seem to pick a night like this. This wind even sets me on edge.</dialogue>
<scene_description>He reaches out with his hand and then looks around the table . It is obvious something is missing . Both Betsy and Holland notice his half - gesture . Betsy glances at Holland . He smiles and nods .</scene_description>
<character>RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Clement.</dialogue>
<scene_description>Clement , busy at the sideboard , looks around toward him .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You've forgotten the decanter.</dialogue>
<character>HOLLAND</character>
<dialogue>I think from now on, Wes, we'll try serving dinner without it.</dialogue>
<character>RAND</character>
<dialogue>Oh, I see. The lord of the manor has decided to abolish one of the tribal customs.</dialogue>
<scene_description>Holland makes no answer . The conches blow wildly in the hills and a flurry of wind sweeps the garden .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>An economy move, I suppose. Or, perhaps, Paul, you decided on a finer moral standard for our happy little household, now that Miss Connell is with us.</dialogue>
<scene_description>Holland still keeps his silence , although the muscles in his jaw twitch .</scene_description>
<character>RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What are you trying to do, impress her?</dialogue>
<character>HOLLAND</character>
<dialogue>Let's drop it now, Wes. We can talk about it later if you want.</dialogue>
<scene_description>Rand glowers at him and makes no immediate answer . A great gust of wind blows across the garden . The candle flames level out in one direction and then the other .</scene_description>
<character>RAND</character>
<dialogue>But I want to talk now. Why have you decided to take the whiskey off the table? What's behind it? What nice, sadistic little plot is brewing this time, Paul?</dialogue>
<character>HOLLAND</character>
<parenthetical>( with a glance at Betsy . )</parenthetical>
<dialogue>Let's not discuss it, Wes.</dialogue>
<scene_description>The conches sound again in the hills , wildly and yet monotonously .</scene_description>
<character>RAND</character>
<parenthetical>( with great sarcasm . )</parenthetical>
<dialogue>Let's not quarrel before the ladies. Let's be reserved and gentlemanly.</dialogue>
<parenthetical>( jumping to his feet . )</parenthetical>
<dialogue>You were so gentlemanly when you drove Jessica insane - so polite when you made her into that!</dialogue>
<scene_description>He subsides in his chair , shaken , entirely out of control . He does n't look at Holland , nor at Betsy but at Jessica . They sit there for a moment in complete silence . Then Holland , obviously holding in his temper , rises and says :</scene_description>
<character>HOLLAND</character>
<dialogue>Miss Connell, I think it would be best if I had Clement bring the rest of your dinner to your room.</dialogue>
<scene_description>He turns and goes into the living room . Betsy also starts to rise . Rand still stares at Jessica . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S BEDROOM -- NIGHT</stage_direction>
<scene_description>The room is in darkness . Betsy stands leaning against one of the jalousies , looking out through the slit between two panels . Over the scene comes the sad , masculine sorrow of the Liebestod . It is being played well and forcefully on the piano in the living room .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM -- NIGHT</stage_direction>
<scene_description>From her window Betsy can see Holland playing the piano .</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S BEDROOM -- NIGHT</stage_direction>
<scene_description>Betsy stands watching him . Then suddenly , as if compelled , she leaves the window , opens the jalousied door and goes quickly out into the garden .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Holland is still playing . The sound of the door opening is heard . It startles him and he turns toward the sound . He sees Betsy and rises to face her as she steps into the room .</scene_description>
<character>BETSY</character>
<dialogue>I heard you playing.</dialogue>
<character>HOLLAND</character>
<parenthetical>( trying to hide behind brittleness . )</parenthetical>
<dialogue>I often do.</dialogue>
<character>BETSY</character>
<parenthetical>( disregarding his remark . )</parenthetical>
<dialogue>I know what you went through tonight. I kept thinking of what you said : that all good things died here, violently.</dialogue>
<character>HOLLAND</character>
<dialogue>Why did you come in here?</dialogue>
<character>BETSY</character>
<dialogue>I do n't know. I wanted to help you. And now that I'm here, I do n't know how.</dialogue>
<scene_description>Holland comes close to her and looks down into her eyes .</scene_description>
<character>HOLLAND</character>
<parenthetical>( with unexpected sincerity . )</parenthetical>
<dialogue>You have helped me. I want you to know I'm sorry I brought you here. When I thought of a nurse, I thought of someone hard and impersonal.</dialogue>
<character>BETSY</character>
<parenthetical>( looking past him into the garden . )</parenthetical>
<dialogue>I love Fort Holland.</dialogue>
<character>HOLLAND</character>
<dialogue>What you saw tonight - two brothers at each other's throat and a woman driven mad by her own husband? Do you love that?</dialogue>
<character>BETSY</character>
<dialogue>You did n't drive her mad.</dialogue>
<character>HOLLAND</character>
<dialogue>Did n't I? I do n't know. That's the simple truth of it. I do n't know.</dialogue>
<scene_description>Betsy shakes her head and moves closer to him . Her face , upturned to his , is filled with pity .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Before Jessica was taken ill, there was a scene. An ugly scene. I told her I would n't let her go, that I'd hold her by force if necessary.</dialogue>
<scene_description>Betsy puts her hand on his arm , in an instinctive gesture of sympathy and comfort . Holland looks down at her hand and then , searchingly , into her face .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You would n't understand that kind of love. You never knew Jessica as she was. Beautiful, restless, willful - living in a world with room for nothing but her own image and her own desires.</dialogue>
<scene_description>Betsy gently draws her hand away . She watches his face , lost in remembering .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>She promised so much - warmth and sweetness. she promised -</dialogue>
<scene_description>In the hills the conches blow wildly , echoing and answering each other from every direction . For a brief moment , the noise is so loud Holland could not speak if he wanted to and then , when he can , and does , his voice has changed entirely . It is cold . It cuts between him and Betsy like a sword .</scene_description>
<character>HOLLAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I think it may be best for all of us not to discuss this again. Thank you - I know you meant to be kind.</dialogue>
<scene_description>DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUNTAIN -- NIGHT</stage_direction>
<scene_description>Betsy stands looking into the dark cistern . The wind still blows and the conches are sounding from the hills . But the noise of the water flowing over the shoulders of St. Sebastian can be heard above these other sounds . The iron arrows in his breast glisten .</scene_description>
<character>BETSY</character>
<parenthetical>( narrating . )</parenthetical>
<dialogue>I do n't know how their own love is revealed to other women - maybe in their sweethearts' arms - I do n't know. To me it came that night after Paul Holland almost thrust me from the room, and certainly thrust me from his life. I said to myself, `` I love him.'' And even as I said it, I knew he still loved his wife. Then because I loved him, I felt I had to restore her to him - to make her what she had been before - to make him happy.</dialogue>
<scene_description>As the narrator 's voice ceases , the CAMERA HOLDS ON that small , silent figure before the fountain . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. HOLLAND'S BEDROOM -- DAY</stage_direction>
<scene_description>Jessica is seated before the triptych mirror , facing it blankly . At the other end of the room stand Betsy and Dr. Maxwell . Paul , his back to the window , faces them .</scene_description>
<character>HOLLAND</character>
<dialogue>All that you say comes down to the same thing. You are asking me to pass a sentence of life or death on my own wife.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Insulin shock treatment is an extreme measure, Mr. Holland. But - as Miss Connell pointed out when she suggested it - this is an extreme case.</dialogue>
<character>HOLLAND</character>
<parenthetical>( to Betsy . )</parenthetical>
<dialogue>You admit that it is terribly dangerous. Why do you advise it?</dialogue>
<character>BETSY</character>
<dialogue>I've worked with it. I've seen cures. It is at least a hope.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>It's the very danger itself that makes the cure possible, Mr. Holland. The insulin produces a state of coma, a stupor. The patient is revived from the coma by a violent overwhelming nerve shock. That nerve shock can kill - but it can also restore the damaged mind.</dialogue>
<character>HOLLAND</character>
<dialogue>I do n't know - I do n't know -</dialogue>
<character>DR. MAXWELL</character>
<parenthetical>( sympathetically . )</parenthetical>
<dialogue>It is a hard decision to make - but yours is only a technical responsibility.</dialogue>
<character>HOLLAND</character>
<dialogue>Technical responsibility, real responsibility - what difference does it make?</dialogue>
<parenthetical>( turns back to face them . )</parenthetical>
<dialogue>Jessica lives - or she dies. That's what we're talking about!</dialogue>
<scene_description>Betsy turns and looks across the room to where Jessica sits motionless before the mirror .</scene_description>
<character>BETSY</character>
<dialogue>You are wrong, Mr. Holland.</dialogue>
<scene_description>She turns back to face him .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It is not a question of life or death. Your wife is not living. She is in a world that is empty of joy or meaning. We have a chance to give her life back to her.</dialogue>
<scene_description>Holland stares at her . He turns to the window and stands for a moment with his back to the room . DISSOLVE OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. ARCHED DOORWAY OF MRS. HOLLAND'S BEDROOM -- NIGHT</stage_direction>
<scene_description>Through the doorway we see the enormous shadows of Betsy and Dr. Maxwell on the wall as they work over their patient . We hear the murmur of their voices although we can not hear what they are saying . In the doorway itself , leaning against the wall looking toward the room expectantly , anxiously , is Holland , half hidden in the shadows of the arch . The shadows on the wall straighten up . We see Betsy in shadow drawing her hand wearily across her forehead . Still in shadow , she turns toward the door , her shadow grows enormous as she comes toward the source of light . As Betsy comes under the arch , Holland moves to meet her . She turns to him .</scene_description>
<character>HOLLAND</character>
<parenthetical>( tensely . )</parenthetical>
<dialogue>Well?</dialogue>
<character>BETSY</character>
<dialogue>She is alive, Mr. Holland - that's all.</dialogue>
<scene_description>There is a little pause . Then Betsy looks at Holland , her eyes glistening with tears . Betsy turns away slightly , closing her eyes for a moment to steady herself . Holland puts his hands on her shoulders and turns her back to face him .</scene_description>
<character>HOLLAND</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Do n't take it to heart, Betsy.</dialogue>
<character>BETSY</character>
<dialogue>I imagined this so differently.</dialogue>
<scene_description>Holland takes his hand from her shoulders .</scene_description>
<character>HOLLAND</character>
<dialogue>I've been waiting here for hours, trying to imagine Jessica well again - wondering what I'd feel. I could see Jessica as she used to be, I could hear her say in that sweet mocking voice, `` Paul, darling.'' The whole thing beginning all over again.</dialogue>
<character>BETSY</character>
<parenthetical>( dully . )</parenthetical>
<dialogue>And instead, I came - bringing you nothing.</dialogue>
<character>HOLLAND</character>
<parenthetical>( slowly looking down at her . )</parenthetical>
<dialogue>Instead - you come, with sympathy, Betsy, and a generous heart. Do n't forget that. Do n't call it nothing.</dialogue>
<scene_description>Betsy turns wearily and returns to the sick room . Holland is about to follow her when he hears a low chuckle and turns to see who it is .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S ROOM -- DAY</stage_direction>
<scene_description>A few feet from Holland , leaning against the wall , is Rand . He has evidently been there some time . He is not drunk , but it is obvious he has been drinking . Holland walks down the short corridor toward him .</scene_description>
<character>RAND</character>
<dialogue>Very sad, very sweet. The noble husband and the noble nurse comforting each other - because the patient still lives. I've been imagining too, Paul. You did n't think of that, did you? I saw Jessica coming across the garden, I heard her voice.</dialogue>
<scene_description>THERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND WESLEY END THEIR CONVERSATION . THE SCRIPT PICKS UP IN THE MIDDLE OF THE NEXT SCENE JUST AFTER ALMA 'S SISTER HAS VISITED WITH HER BABY .</scene_description>
<character>BETSY</character>
<dialogue>I suppose not.</dialogue>
<character>ALMA</character>
<dialogue>Things so bad, nobody can help - not even Doctor Maxwell.</dialogue>
<character>BETSY</character>
<dialogue>Doctors and nurses can only do so much, Alma. They ca n't cure everything.</dialogue>
<character>ALMA</character>
<dialogue>Doctors that are people ca n't cure everything.</dialogue>
<character>BETSY</character>
<parenthetical>( with a puzzled look . )</parenthetical>
<dialogue>What do you mean - `` doctors that are people''?</dialogue>
<character>ALMA</character>
<parenthetical>( slowly , almost sing - song . )</parenthetical>
<dialogue>There are other doctors. Yes, other doctors. Better doctors.</dialogue>
<character>BETSY</character>
<dialogue>Where?</dialogue>
<character>ALMA</character>
<dialogue>At the Houmfort.</dialogue>
<character>BETSY</character>
<parenthetical>( shaking off the idea . )</parenthetical>
<dialogue>That's nonsense, Alma.</dialogue>
<character>ALMA</character>
<dialogue>They even cure nonsense, Miss Betsy. Mama Rose was mindless. I was at the Houmfort when the Houngan brought her mind back.</dialogue>
<character>BETSY</character>
<dialogue>You mean Mama Rose was like Mrs. Holland?</dialogue>
<character>ALMA</character>
<dialogue>No. She was mindless but not like Miss Jessica. But the Houngan cured her.</dialogue>
<character>BETSY</character>
<dialogue>Are you trying to tell me that the Houngan - the voodoo priest - could cure Mrs. Holland?</dialogue>
<character>ALMA</character>
<dialogue>Yes, Miss Betsy. I mean that. The Houngan will speak to the rada drums and the drums will speak to Shango and Damballa.</dialogue>
<scene_description>The CAMERA MOVES IN to a CLOSE TWO SHOT of both women 's faces , Betsy looking thoughtfully at Alma and Alma returning the gaze with equal intensity .</scene_description>
<character>ALMA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( softly . )</parenthetical>
<dialogue>Better doctors -</dialogue>
<scene_description>DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. THE DISPENSARY - DAY</stage_direction>
<scene_description>This is a small , plainly furnished room with a plain table , a few bentwood chairs and a medicine cabinet and a few washbasins and water pitchers on a shelf . Mrs. Rand is kneeling down at the side of the little , black pickaninny , rubbing ointment on a sore on his chest . Betsy , in street clothes , watcher her . Mrs. Rand finishes her work on the little boy 's chest and begins to put his little shirt back on him . An obeah bag tied around his neck on a string gets in her way as she tries to button the shirt . She holds it up so that the little boy can see it .</scene_description>
<character>MRS. RAND</character>
<dialogue>Ti - Peter, how do you ever expect to get to Heaven with one foot in the voodoo Houmfort and the other in the Baptist church?</dialogue>
<scene_description>The little black boy looks at her with rolling eyes but does not answer . She gives him a playful pat on the behind , starting him on his way to the door .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Betsy , cheerfully . )</parenthetical>
<dialogue>Some of this native nonsense. The Houngan has his prescription and Dr. Maxwell and I have ours.</dialogue>
<character>BETSY</character>
<dialogue>You've never said anything about voodoo before, Mrs. Rand.</dialogue>
<character>MRS. RAND</character>
<dialogue>Have n't I? I suppose I take it for granted. It's just part of everyday life here.</dialogue>
<character>BETSY</character>
<dialogue>You do n't believe in it?</dialogue>
<character>MRS. RAND</character>
<dialogue>A missionary's widow? It is n't very likely, is it?</dialogue>
<character>BETSY</character>
<dialogue>I do n't mean believe, like believing in a religion. I mean, do you believe it has power? Do you think it could heal a sick person?</dialogue>
<character>MRS. RAND</character>
<parenthetical>( looking hard at Betsy for a moment . )</parenthetical>
<dialogue>Frankly, my dear, I did n't expect anything like this from a nice level - headed girl. What are you driving at?</dialogue>
<character>BETSY</character>
<dialogue>I heard the servants talking about someone called Mama Rose. They said she had been `` mindless''.</dialogue>
<character>MRS. RAND</character>
<dialogue>Her son drowned. She brooded until her mind was affected. All the Houngan did was coax her out of it with a little practical psychology.</dialogue>
<scene_description>PAGES ARE MISSING AT THIS POINT AS BETSY AND JESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE FIELDS TO THE HOUMFORT</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUMFORT - NIGHT</stage_direction>
<scene_description>LONG SHOT . The camera is behind Betsy and Jessica as they go toward the Houmfort through the sugar cane . We see this voodoo temple as they go toward it . It is a rickety structure of poles and laths , roofed over with a thin thatch of sugar cane and straw . It forms a sort of rude pergola . In the center of this structure is a small , cubicle hut , made of rough boards but neatly whitewashed . From the rafters of the main structure hang crude chandeliers of tin which give light to the ceremonies . -LRB- Please see pages 28 to 31 , Life Magazine , December 13 , 1937 . All the details mentioned above are graphically illustrated , Near the little hut in the center of the Houmfort , stands an altar covered with a lace tablecloth and littered with a childish jumble of plates , candles , little colored stones and bottles . Before this altar stands the Houngan , the high priest of the voodoo ceremonies , a small , stoop - shouldered man in a worn , white coat and trousers with ragged cuffs . Several mild - looking negroes in white trousers and shirts sit in kitchen chairs on one side of the altar with rada drums between their knees . Grouped around this altar in a loose semicircle are the worshippers , a group of mild - mannered , poorly - but - neatly - dressed negroes . They seem to have made an effort to dress in their best and their best is very poor indeed . As Betsy approaches , she can see familiar faces . As she comes up they turn and look at her . They are not hostile nor greatly surprised ; just mildly curious . Leading Jessica by the hand , Betsy takes her place at one end of the semicircle around the altar . Her arrival has in no way interrupted the ceremonies . The Houngan continues to chant before the altar , the rada drums beat and the crowd sings the chorus of the Shango song at the proper intervals . It is all very decorous and decidedly religious in tone . No sooner has Betsy taken her place with the others than the Shango ritual approaches its climax . The Sabreur , a colored man dressed in white shirt and trousers , with a neat dark tie knotted under his collar , comes in , bearing a sabre in his right hand , holding it in stately , almost processional manner . He advances to the altar , strikes it three times and at this signal two colored women dressed in white beguine dresses with square cut necks , an essential part of this religious costume , come forward . One holds a white leghorn chicken and the other carries a white rooster . They come together to the altar and for a moment , the figures of the Houngan , the Sabreur and the two Mam - Lois hide the actual blood sacrifice from us . Only the fact that the drumming and the singing reach a climactic pitch reveal that some Important portion of the ceremony has taken place . Instantly the drumming and the singing stops . A young colored girl jumps up from her seat among the worshippers and begins shivering and quaking , crying out wordlessly . There is a cry from the people .</scene_description>
<character>THE PEOPLE</character>
<dialogue>Put the god in her! Put the god in her!</dialogue>
<scene_description>The Houngan prances forward , followed by the Sabreur . The Houngan holds a little saucer in his hand with some dark liquid at the bottom of it . He dips four fingers into this liquid while the girl quivers and writhes before him in religious ecstasy . He marks her forehead with four strange marks , one with each finger . The Sabreur , crying out the name of Shango , four times , points his sabre to the four directions of the compass . There is an immediate transformation in the girl . Her frenzy ceases . She seems to be filled with a jubilant calm and dances into the cleared space before the altar . Her words are no longer meaningless . They have taken shape and form and , when she speaks , she speaks with great resonance as if her voice came from somewhere other than her own throat . She is possessed by the god , Shango . One by one , people from among the group of devotees dance into the circle , go up to her and beg for favors . One woman leads a little boy up to her . We hear her words as she calls out to the possessed girl :</scene_description>
<character>WOMAN</character>
<dialogue>Make him rich, Shango! Make him rich!</dialogue>
<scene_description>The girl lays her fingers on the boy 's eyes , and then takes his shoulders and turns him around three times , Evidently this is absolute guarantee of an enormous income tax to be paid at St. Sebastian . The woman and her son retire happily , pleased and grinning . Finally , exhausted , the girl possessed of the god , Shango , sinks to her knees and then falls fainting to the floor . Two colored men come in , carry her away . A great cry rises from the voodoo worshippers .</scene_description>
<character>WORSHIPPERS</character>
<dialogue>Damballa! Damballa! Damballa! Damballa!</dialogue>
<scene_description>The drums find a new rhythm . The Houngan retires to one corner of the altar ; the Sabreur to the other . Two young girls , their beguine dresses slashed and torn , dance in from either side . This is a wild and an impassioned dance , a dance to Damballa . There is no singing , only an occasional call from the crowd , `` Come to us , Damballa ! '' The dancers reach the climax of their dance and strike a plastic pose before the altar , each kneeling on one knee , their arms held to their breasts , their foreheads butted together . Although not a muscle moves , one can almost feel the tension of these two bodies . One of the rada drummers comes up and crouches down holding a small drum almost under the chins of the two girls . The other drummers stop playing and he begins to beat a quick staccato rhythm that grows faster and faster . In this playing , as in the pose of the girls , there is tremendous tension . By now all cries have ceased . Everyone is silent , waiting . Then suddenly , from behind the closed and curiously painted door of the inner Houmfort , a voice speaks . A voice that is light , pleasant and authoritative .</scene_description>
<character>VOICE</character>
<parenthetical>( muffled by the door . )</parenthetical>
<dialogue>Where are my people? Let them bring me the rice cakes - let them dance and be happy -</dialogue>
<scene_description>There is a great ecstatic shout from the voodoo worshippers .</scene_description>
<character>VOODOO WORSHIPPERS</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Damballa! Damballa!</dialogue>
<scene_description>The Sabreur dances forward , sword in his left hand and a little plate with rice cakes , in his right . He kneels down and places the plate near the door jamb . A line forms at the door . Betsy leading Jessica by the hand takes her place with the rest . She is third in the line of suppliants . She can see the whole procedure . The suppliant places his forehead against the forehead of the god painted on the door , and speaks . The first suppliant is a weary - looking field hand who shuffles to the door and speaks in such a low tone that his words can not be heard . The second suppliant is an old woman , thin and work - worn . She speaks sincerely and humbly and Betsy , directly behind her , hears her words .</scene_description>
<character>OLD WOMAN</character>
<dialogue>Damballa - my son do n't take care of me.</dialogue>
<character>VOICE OF DAMBALLA</character>
<dialogue>Tell him his own little son will grow big. He, himself, will grow old. The son learns from the father. One day your son may stand here to complain that his boy does not take care of him.</dialogue>
<scene_description>The old woman turns away , comforted - hopeful . Betsy looks at her . She can see tears in the old woman 's eyes . With Jessica 's hand in hers , Betsy takes her place at the door . She puts her forehead against the crudely painted forehead of the god . She talks to the door .</scene_description>
<character>BETSY</character>
<dialogue>Damballa! This woman is sick.</dialogue>
<scene_description>The door swings open slowly . The feeble light of the outer Houmfort does not penetrate the darkness of the inner temple . A hand reaches out from the darkness and takes Betsy 's hand and draws her in . The Houngan follows Betsy into the temple . The door shuts behind him . Jessica remains outside , standing before the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER HOUMFORT - NIGHT</stage_direction>
<scene_description>A match flares and a hand brings it forward to light an oil lamp which flares brightly , revealing a little room of whitewashed boards , bare except for a table on which stands a small iron tripod from which an iron pot is suspended . Although there is no fire under the pot , the steam rises from this receptacle and water boils and bubbles in it . It is the Houngan who has lit the lamp and , on the other side of the table is Mrs. Rand . Her face is serious and unsmiling .</scene_description>
<character>BETSY</character>
<parenthetical>( starting forward around the table . )</parenthetical>
<dialogue>Mrs. Rand.</dialogue>
<character>MRS. RAND</character>
<dialogue>Wait. Do n't draw any conclusions. Let me explain.</dialogue>
<character>BETSY</character>
<dialogue>But, Mrs. Rand -</dialogue>
<character>MRS. RAND</character>
<dialogue>I knew you'd come. And I knew I'd have to come up here and talk to you. I could n't let you go back without any word. I came to tell you again - Jessica can not be cured.</dialogue>
<character>BETSY</character>
<dialogue>But how did you get here? What are you doing here?</dialogue>
<character>MRS. RAND</character>
<dialogue>I asked you to let me explain. It's a long story. And not an easy one -</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE HOUMFORT - NIGHT</stage_direction>
<scene_description>Jessica stands patiently where Betsy had left her . The Sabreur and two Mam - Lois stand near her looking at her and talking . We can not hear what they say . The drumming and the song of joy for the coming of Damballa continue over the scene . Suddenly , as if he had arrived at some decision , the Sabreur , holding his sword stiffly in front of him , starts toward Jessica with little mincing steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER HOUMFORT -- NIGHT</stage_direction>
<scene_description>Mrs. Rand , as if continuing with something she has been talking about for a long time -</scene_description>
<character>MRS. RAND</character>
<dialogue>- and when my husband died I felt helpless. They disobeyed me - things went from bad to worse. All my husband's dreams of good health, good sanitation, good morals for these sweet and gentle people seemed to die with him.</dialogue>
<parenthetical>( pauses . )</parenthetical>
<dialogue>Then, almost accidentally, I discovered the secret of how to deal with them. There was a girl with a baby - again and again I begged her to boil the drinking water. She never would. Then I told her the god, Shango, would be pleased and kill the evil spirits in the water if she boiled it. She boiled the water from then on.</dialogue>
<character>BETSY</character>
<dialogue>But you did n't have to come up here.</dialogue>
<character>MRS. RAND</character>
<dialogue>Perhaps not. But I did come here and I found it was so simple to let the gods speak through me. Once started, it seemed such an easy way to do good. I should have known there was no easy way to do good, Betsy.</dialogue>
<scene_description>PAGE MISSING WHERE THE SABREUR CUTS JESSICA 'S ARM AND SHE DOES NOT BLEED . THE WORSHIPPERS REALIZE SHE IS A `` ZOMBIE '' .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Betsy! Get her away - back to the Fort! Do as I say - they wo n't hurt you.</dialogue>
<scene_description>ANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort . Betsy runs out from the doorway , takes hold of Jessica 's arm and starts running with her . There is a movement in the crowd as if they were about to follow her . From the doorway of the inner Houmfort , the Houngan calls out :</scene_description>
<character>HOUNGAN</character>
<dialogue>Trouble. Bad trouble. Let her go.</dialogue>
<scene_description>The crowd subsides . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BANYAN TREE -- NIGHT</stage_direction>
<scene_description>Betsy and Jessica pass quickly under the dead goat , on their way home .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN AT FORT HOLLAND -- NIGHT</stage_direction>
<scene_description>Betsy comes out of the tower door , closing it behind her very quietly and cautiously . She starts across the garden toward her room . From the shadows , Holland steps out barring her way .</scene_description>
<character>HOLLAND</character>
<dialogue>Where have you been, Miss Connell?</dialogue>
<scene_description>There is a pause . Holland stands looking at her , taking in her bedraggled appearance .</scene_description>
<character>BETSY</character>
<parenthetical>( wearily . )</parenthetical>
<dialogue>I wanted to help you.</dialogue>
<character>HOLLAND</character>
<dialogue>Help me? How?</dialogue>
<character>BETSY</character>
<dialogue>I took Mrs. Holland to the Houmfort. I thought they might cure her.</dialogue>
<character>HOLLAND</character>
<dialogue>You have deliberately endangered Mrs. Holland's life. There's no telling what you may have started with this insanity. Why did you do it?</dialogue>
<character>BETSY</character>
<parenthetical>( in a low tone . )</parenthetical>
<dialogue>I told you.</dialogue>
<character>HOLLAND</character>
<dialogue>Because you wanted to give my wife back to me? Why should that mean anything to you?</dialogue>
<character>BETSY</character>
<parenthetical>( not looking at him . )</parenthetical>
<dialogue>You know why. You saw it the other night at the piano. You turned away from me.</dialogue>
<character>HOLLAND</character>
<parenthetical>( putting his hand on her shoulder , looking into her face very closely . )</parenthetical>
<dialogue>What I saw the other night, I did n't dare believe, Betsy -</dialogue>
<scene_description>Betsy tries to turn away from him . He grips her shoulders tightly .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I thought I was looking at a woman who loved me and had compassion for me. Yet you made that trip to the Houmfort to bring Jessica back to me -</dialogue>
<character>BETSY</character>
<dialogue>Yes.</dialogue>
<scene_description>Holland pulls her close to him , looks down into her eyes .</scene_description>
<character>HOLLAND</character>
<dialogue>You think I love Jessica and want her back. It is like you to think that - clean, decent thinking.</dialogue>
<character>BETSY</character>
<parenthetical>( simply . )</parenthetical>
<dialogue>She was beautiful.</dialogue>
<character>HOLLAND</character>
<dialogue>I hated her.</dialogue>
<scene_description>Betsy looks up at him , astounded by his words .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Her selfishness made her empty and dead. She was a possession, a beautiful possession to own and hold - but I never had a moment's peace or happiness with her.</dialogue>
<scene_description>They stand there , close together , looking at each other . Suddenly Holland puts her arms around her .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Betsy -</dialogue>
<scene_description>She lifts her face , with a smile of complete love and trust . Holland studies her face longingly , but does not kiss her .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I should never have brought you here.</dialogue>
<character>BETSY</character>
<dialogue>There's no happiness for me anywhere else -</dialogue>
<scene_description>Holland shakes his head slowly , hopelessly .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( pleading . )</parenthetical>
<dialogue>Paul, I do n't want you to be alone, unhappy -</dialogue>
<scene_description>Holland lets his arms drop from about her shoulders .</scene_description>
<character>HOLLAND</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>I may prefer it that way.</dialogue>
<scene_description>They stand looking at each other . The garden is still with the dead , heavy stillness of their hopelessness . Then , from the direction of the Houmfort , there is the sound of a single conch blowing , loudly and insistent , a thinner , higher call than we have heard before .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM -- FORT HOLLAND -- DAY</stage_direction>
<scene_description>Mrs. Rand , in a simple afternoon dress , is seated on the sofa . Before her is a coffee table with a silver tea service . She is engaged in pouring tea . Betsy is beside her helping her . Rand , in working clothes , is in an armchair near the sofa with a highball in his hand . Also seated , and facing Mrs. Rand and Betsy , is Dr. Maxwell and Commissioner Jeffries . The latter is a dignified man of early middle - age . He is dressed in a light business suit . At the window , at the rear of the room , stands Holland , talking with a Priest . As the scene opens , Mrs. Rand fills a teacup and holds it up toward Holland . He comes toward her to pick up the cup , the Priest walking with him . As they walk , Holland speaks :</scene_description>
<character>HOLLAND</character>
<dialogue>But I assure you, Father Walters, Miss Connell had no idea of the consequences when she went there.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Paul, we're not trying to blame Miss Connell. It is n't a question of blame. It's a question of what we are to do with Jessica. The commissioner is very concerned.</dialogue>
<character>JEFFRIES</character>
<dialogue>It has become a serious problem. There's so much gossip, rumor and agitation about the whole thing.</dialogue>
<character>HOLLAND</character>
<dialogue>I know. We've felt it at the mill. The men could hardly keep their minds on their work.</dialogue>
<character>RAND</character>
<dialogue>Well, Jeffries, why come to us about it? Why do n't you go up to the Houmfort and put a stop to the drumming and dancing - that's what causes all the trouble.</dialogue>
<character>JEFFRIES</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>No. You're quite wrong. Right here's the seat of the trouble. Mrs. Holland has become an object of speculation and religious interest to these people. It's revived all their old superstitions - Zombies - and that sort of nonsense.</dialogue>
<character>MRS. RAND</character>
<dialogue>I would n't worry too much, Commissioner. It'll pass. We've had this sort of thing before.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>This is something else. They're curious. Curiosity and religious fervor make a strange and explosive mixture.</dialogue>
<character>MRS. RAND</character>
<dialogue>I'm quite sure nothing will happen, Doctor.</dialogue>
<character>JEFFRIES</character>
<dialogue>If I were as sure as you, Mrs. Rand, we would n't be here. I'll tell you quite bluntly : for the peace of the island and possibly for her own safety, we've come to ask you to send Mrs. Holland away to St. Thomas.</dialogue>
<character>RAND</character>
<dialogue>To the asylum?</dialogue>
<character>JEFFRIES</character>
<dialogue>I believe there's a kinder name for it, Wesley. At St. Thomas, it's called the Institute for Mental Therapy.</dialogue>
<character>RAND</character>
<parenthetical>( getting up . )</parenthetical>
<dialogue>It does n't matter what you call it. I can tell you right now Jessica is n't going!</dialogue>
<scene_description>Dr. Maxwell looks first at him , then at Holland , then back to Rand .</scene_description>
<character>DR. MAXWELL</character>
<dialogue>Fortunately, Wesley, this is n't a matter for your decision.</dialogue>
<character>RAND</character>
<dialogue>You mean to say Paul can send her away - that he can hand her over to strangers - who'll shut her up - maybe mistreat her? He has n't that right!</dialogue>
<character>MRS. RAND</character>
<parenthetical>( trying to calm him . )</parenthetical>
<dialogue>Wesley!</dialogue>
<character>DR. MAXWELL</character>
<dialogue>I am afraid, Wesley, he has that right. And I will have to urge him to use it.</dialogue>
<character>RAND</character>
<dialogue>I tell you he has n't and he would n't dare use it if he had.</dialogue>
<character>JEFFRIES</character>
<dialogue>Why?</dialogue>
<character>RAND</character>
<dialogue>Because he drove Jessica insane - deliberately - coldly!</dialogue>
<scene_description>They all look at Holland . There is a long and awkward pause . Holland makes no move to deny by word or gesture his brother 's accusation . Finally , however , he breaks the pause by bringing the teacup to his lips .</scene_description>
<character>JEFFRIES</character>
<dialogue>That could be a serious accusation, Rand, if it were n't a foolish one.</dialogue>
<character>RAND</character>
<dialogue>Foolish? Tell them how foolish it is, Paul - tell them!</dialogue>
<character>HOLLAND</character>
<parenthetical>( very calmly but with a little uncertainty . )</parenthetical>
<dialogue>My guilt in this matter, if any, Wesley, is not the subject of this discussion.</dialogue>
<character>RAND</character>
<dialogue>But it is, Paul! Because that's why you wo n't dare send Jessica away!</dialogue>
<scene_description>Holland empties his teacup . Carrying the teacup and saucer very carefully , he walks across to the table in front of Betsy , and sets it down . Betsy looks at him . It is on her look , questioning and puzzled , that we DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER HOUMFORT -- DAY</stage_direction>
<scene_description>Although it is broad daylight , the Inner Houmfort is lit with a rush light which burns weakly . The ceremonial pot of boiling water has been removed from the table and , in its place , squatting cross - legged like a tailor , sits the Sabreur . With one hand he holds upright a small , cheaply - made bisque doll , with flaxen hair . It is dressed in a little white slip . From under the table rim , two dark feminine hands come up to put a white robe on the doll . The moment this garment has been draped on the little doll , a rada drum begins to beat softly in a corner of the room . THE CAMERA DRAWS BACK to reveal that one of the girls who danced in the voodoo ceremony is kneeling before the table . It is her hands which have dressed the doll . There are about five people in the room , including the three drummers . The Sabreur makes magical passes over the doll . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. GATES OF FORT HOLLAND -- DAY</stage_direction>
<scene_description>Betsy and Holland are standing in the gateway . The CAMERA is POINTED TOWARD the garden . On the porch in the b.g. we can see Mrs. Rand .</scene_description>
<character>BETSY</character>
<dialogue>I still ca n't believe it Paul - that you would n't say a word in your own defense.</dialogue>
<character>HOLLAND</character>
<dialogue>I have no defense. So far as I know - it is true.</dialogue>
<character>BETSY</character>
<dialogue>You ca n't believe that. You do n't know what viciousness it would take to drive a person mad. You're not vicious or cruel, Paul.</dialogue>
<character>HOLLAND</character>
<dialogue>How do you know I'm not? I was cruel to Jessica. When I got to know her - when I found out how empty and ungenerous she was, there was something about her - something smooth and false - that made we want to hurt her.</dialogue>
<character>BETSY</character>
<dialogue>I can understand that. Everyone feels that way about someone.</dialogue>
<character>HOLLAND</character>
<dialogue>No. It's not just how I felt toward Jessica. I've been cruel to even you.</dialogue>
<scene_description>Besty , smiling , shakes her head .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The first night I saw you - you were looking at the sea. You were enchanted - and I had to break that enchantment. Do you understand, Betsy - I had to break it!</dialogue>
<scene_description>Betsy is shaken by this , but she tries to put it aside .</scene_description>
<character>BETSY</character>
<dialogue>You wanted to warn me.</dialogue>
<character>HOLLAND</character>
<parenthetical>( disregarding her words . )</parenthetical>
<dialogue>The night you came to me in this room - to comfort me, to help me - I turned you away.</dialogue>
<character>BETSY</character>
<dialogue>Do n't, Paul - do n't doubt yourself - do n't make me doubt you.</dialogue>
<character>HOLLAND</character>
<dialogue>I remember words I said to Jessica - words mixed like to poison - to hurt her, to madden her.</dialogue>
<character>BETSY</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>That's past - that's over and done with.</dialogue>
<character>HOLLAND</character>
<dialogue>I want you to be safe, Betsy. I want to know you're away from this place - home again, where nothing can harm you - nothing and no one.</dialogue>
<character>BETSY</character>
<dialogue>You want that?</dialogue>
<character>HOLLAND</character>
<dialogue>Yes.</dialogue>
<scene_description>They stand looking at each other in silence . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PORCH -- DAY</stage_direction>
<scene_description>Mrs. Rand is seated in an easy chair , obviously enjoying an interlude of leisure . Clement comes from the house , bringing her a bulky newspaper , still in its mail wrapper .</scene_description>
<character>CLEMENT</character>
<dialogue>Would you like to see the paper, Mrs. Rand?</dialogue>
<parenthetical>( proudly . )</parenthetical>
<dialogue>This is our newest one.</dialogue>
<character>MRS. RAND</character>
<dialogue>Thank you, Clement!</dialogue>
<scene_description>She takes it and starts slitting the wrapper eagerly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GARDEN AT FORT HOLLAND -- DAY</stage_direction>
<scene_description>Betsy and Holland start across the garden to the porch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PORCH -- DAY</stage_direction>
<scene_description>Mrs. Rand seems them and waves a section of the paper in welcome .</scene_description>
<character>MRS. RAND</character>
<dialogue>You're just in time. Will you join me in the Sunday paper?</dialogue>
<scene_description>Betsy and Holland sink into porch chairs , looking grateful for the shade . Betsy takes off her hat and tosses it onto the coffee table .</scene_description>
<character>HOLLAND</character>
<dialogue>Considering that the paper is three months old and this is n't Sunday - no thank you.</dialogue>
<character>BETSY</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I guess I'll wait until I'm home, Mrs. Rand.</dialogue>
<scene_description>Mrs. Rand looks at a page of rotogravure section .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( casually . )</parenthetical>
<dialogue>That's a long wait.</dialogue>
<character>HOLLAND</character>
<dialogue>I'm afraid not. Betsy's leaving us, Mother.</dialogue>
<scene_description>Mrs. Rand puts down the paper and looks at them , startled .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>She's decided to go on the next boat.</dialogue>
<character>MRS. RAND</character>
<dialogue>Why, Betsy - we ca n't lose you. You mean too much to us here.</dialogue>
<character>BETSY</character>
<dialogue>That's sweet of you, Mrs. Rand.</dialogue>
<character>HOLLAND</character>
<dialogue>Betsy feels there is nothing she can do for Jessica.</dialogue>
<scene_description>PAGE MISSING</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN AT FORT HOLLAND -- DAY</stage_direction>
<scene_description>Rand and Dr. Maxwell come through the gate and walk up the garden path . As they do so , Mrs. Rand comes down the porch steps . Betsy and Holland follow her .</scene_description>
<character>MRS. RAND</character>
<dialogue>Dr. Maxwell - it's nice to see you.</dialogue>
<character>RAND</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>Dr. Maxwell has very unpleasant news for us.</dialogue>
<character>HOLLAND</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>An accident at the mill?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>No - it's about Mrs. Holland. A result of our discussion the other day, I'm afraid.</dialogue>
<character>HOLLAND</character>
<dialogue>What about her?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>In view of all the circumstances, the commissioner has decided on a legal investigation.</dialogue>
<character>HOLLAND</character>
<dialogue>Investigation of what?</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Of the nature of Mrs. Holland's illness. And, of course, the events which led up to it.</dialogue>
<character>HOLLAND</character>
<dialogue>In other words, I'm on trial.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>I did everything I could to forestall this, Paul. I do n't think there's any question of your innocence in the matter. But there's been too much talk. The thing's out of hand.</dialogue>
<character>HOLLAND</character>
<dialogue>Maybe it's better this way, Mother. I'm glad you're going home, Betsy - you'll be out of the mess.</dialogue>
<character>RAND</character>
<dialogue>But she is n't. She's been subpoenaed.</dialogue>
<scene_description>Holland turns to the Doctor , his face stricken .</scene_description>
<character>DR. MAXWELL</character>
<dialogue>Miss Connell's testimony will be very important.</dialogue>
<character>BETSY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I would have stayed anyway, Dr. Maxwell.</dialogue>
<character>RAND</character>
<dialogue>We're all in it. There wo n't be a shred of pride or decency left for any of use.</dialogue>
<parenthetical>( violently . )</parenthetical>
<dialogue>Say something, Paul! You've always been good with words. Put some together, now, and tell us that you're not responsible - that every damnable bit of it does n't rest squarely on your shoulders!</dialogue>
<character>MRS. RAND</character>
<dialogue>You're wrong, Wesley. The guilt is mine - all of it.</dialogue>
<character>RAND</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>Are you going to lie for him, Mother?</dialogue>
<character>MRS. RAND</character>
<dialogue>Betsy, tell them about the Houmfort. Tell them what you saw there.</dialogue>
<character>BETSY</character>
<parenthetical>( protestingly . )</parenthetical>
<dialogue>Mrs. Rand.</dialogue>
<character>MRS. RAND</character>
<dialogue>You must, Betsy. They'll have to believe you.</dialogue>
<character>BETSY</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>Mrs. Rand was at the Houmfort that night. But there's nothing wrong with that. She's gone there for years - trying to take care of those people, to help them.</dialogue>
<character>RAND</character>
<dialogue>What do you mean?</dialogue>
<character>HOLLAND</character>
<dialogue>I do n't understand.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>I think I do.</dialogue>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I've often talked a little voodoo to get medicine down a patient's throat.</dialogue>
<character>MRS. RAND</character>
<dialogue>It's more than that, Doctor. I've entered into their ceremonies - pretended to be possessed by their gods.</dialogue>
<scene_description>They stare at her , dumbfounded .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>But what I did to Jessica was worse than that. It was when she going away with Wesley. There was that horrible scene.</dialogue>
<scene_description>She turns to Rand .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You thought she loved you, did n't you? She did n't. She did n't love anyone except herself - her reflection in the mirror, the look she could bring into a man's eyes.</dialogue>
<character>RAND</character>
<dialogue>That is n't true. You never understood her.</dialogue>
<character>MRS. RAND</character>
<parenthetical>( disregarding his protest . )</parenthetical>
<dialogue>That night, I went to the Houmfort. I kept seeing Jessica's face - smiling - smiling because two men hated each other - because she was beautiful enough to take my family in her hands and break it apart. The drums seemed to be beating in my head. The chanting - the lights - everything blurred together. And then I heard a voice, speaking in a sudden silence. My voice. I was possessed. I said that the woman at Fort Holland was evil and that the Houngan must maker her a Zombie.</dialogue>
<scene_description>Dr. Maxwell has been studying Mrs. Rand with a curious , intent expression .</scene_description>
<character>DR. MAXWELL</character>
<dialogue>And what happened then, Mrs. Rand?</dialogue>
<character>MRS. RAND</character>
<parenthetical>( unsteadily . )</parenthetical>
<dialogue>I hated myself. I kept saying to myself over and over again that these people had no power ; they had no strange drugs ; that there is no such thing as a Zombie.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Ah - that's where reason took hold.</dialogue>
<character>MRS. RAND</character>
<dialogue>Yes, I said it, and I made myself believe it. But when I got here, Jessica was already raging with fever.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>Two things had happened, Mrs. Rand. One was that your daughter - in - law had been taken ill with a fever. The other thing - completely disconnected - was that you had wished her ill, because she had hurt your sons.</dialogue>
<character>MRS. RAND</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>But I had no thought of harming her. It was n't I.</dialogue>
<character>DR. MAXWELL</character>
<dialogue>You were possessed. That is true - possessed by your subconscious mind. You were in the Houmfort, surrounded by their symbols. To them, nothing worse can happen to a person than to be made into a Zombie. Your subconscious mind used their own words for evil.</dialogue>
<character>HOLLAND</character>
<dialogue>Dr. Maxwell is right, Mother.</dialogue>
<character>DR. MAXWELL</character>
<parenthetical>( gently and kindly . )</parenthetical>
<dialogue>Emotion tricks all of us, Mrs. Rand. And you are a woman with a very strong conscience. That conscience has been tormenting you. The rest is coincidence. There is no such thing as a Zombie. The dead do not come back to life. Death is final.</dialogue>
<scene_description>From the hills comes the sound of a single conch , loud and thin . The CAMERA PANS from the group around Mrs. Rand to the tower door . Jessica walks out of it and comes slowly past the fountain .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUMFORT -- NIGHT</stage_direction>
<scene_description>The CAMERA IS FOCUSED ON a little five - and - ten - cent store doll about three inches high . It is dressed in a crude imitation of Jessica 's loose , belted , white gown . A thread is tied around it and this thread leads off , taut . The CAMERA PANS ALONG the thread to show us that the other end of the thread , some twenty feet long , is held by a negro , crouched near the altar . Halfway between this man and the doll , the Sabreur , his sword stuck in the mound before him , straddles the thread , his hands clasped around the thread but not touching it . Carre - Four stands watching . The conch is blowing its strange , magnetic call and the negroes are chanting as they watch the Sabreur and the doll . The Sabreur makes motions as if he were pulling on the thread but still does no touch it . He makes these motions over and over again . The doll moves slowly . Then suddenly stops . The Sabreur 's most frantic efforts fail to move it . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GARDEN -- NIGHT</stage_direction>
<scene_description>ANOTHER ANGLE - Jessica comes slowly past the fountain .</scene_description>
<character>RAND'S VOICE</character>
<dialogue>Jessica!</dialogue>
<scene_description>She does not seem to hear but continues walking toward the gate . We hear the sound of running feet . Holland and Betsy run up to Jessica . Holland takes her arm , but she continues to walk forward . He tries to hold her . It is apparent he can not do so without the use of considerable force .</scene_description>
<character>BETSY</character>
<dialogue>Jessica! Jessica!</dialogue>
<scene_description>She pays no attention but continues to move forward toward the gate . Betsy , realizing that is something outside of her previous experiences with the woman , has the presence of mind to run forward and slam shut the great wrought - iron gate . Jessica walks up against the gate and stands there , unable to move any further . They stand and look at her perplexed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUMFORT -- NIGHT</stage_direction>
<scene_description>The doll has stopped moving . The Sabreur is exerting all his force . We can see the sweat soaking his white shirt . The others are chanting , louder now , swaying in rhythm with his pulling movements . The conch is being blown with a more insistent and compelling note . Still , the doll - figure refuses to move . The Sabreur stops . The conches are suddenly silenced .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN GATE -- NIGHT</stage_direction>
<scene_description>In this sudden silence , Holland and Jessica look at each other across the motionless figure of Jessica .</scene_description>
<character>HOLLAND</character>
<dialogue>The Houmfort - they're trying to get her back there.</dialogue>
<scene_description>Betsy and Holland look at each other . Then Betsy takes Jessica 's arm .</scene_description>
<character>BETSY</character>
<dialogue>Come with me, Jessica.</dialogue>
<scene_description>Obedient again , Jessica allows Betsy to turn her around and lead her back to the open tower door . As Betsy and Jessica go into the bedroom , the door closes behind them . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUMFORT -- EARLY EVENING</stage_direction>
<scene_description>CLOSE SHOT of an enormous black hand . The fingers of this hand are spread out limply . On this hand stands the little five - and - ten - cent store doll which represents Jessica . From beneath this hand , another smaller black hand comes in and closes the great fingers around the doll . The CAMERA PULLS BACK to show the exterior of the Houmfort . The light is fading . The posts of the Houmfort and the figures of several voodoo worshippers are outlined in silhouette against the darkening sky . A single rada drum is being beaten in light , quick rhythm . Someone sets fire to a heaped - up bonfire of dry leaves . The flames blazing up illuminate the scene more clearly , so that we can see a small group of voodoo adepts squatting on their heels in a ring around the bonfire . Near the bonfire stand Carre - Four and the Sabreur , with the drummer crouched behind them . The Sabreur takes the doll from Carre - Four 's hand and holds it a foot or so away from him . The great black hand reaches for it . Again the Sabreur takes the doll away and dances off with mincing steps to a distance of a few yards . Carre - Four lumbers after him , his hand extended . Again , the Sabreur lets him take the doll . CLOSE SHOT of Carre - Four 's hand with the doll upon it . From underneath , the smaller hand of the Sabreur comes in and closes the great black fingers over the little white doll . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. HOLLAND'S BEDROOM -- NIGHT</stage_direction>
<scene_description>The room is in darkness . In the faint light from the barred windows , we see Betsy sleeping on the chaise lounge . A shadow moves across her face . Through the window , we see the great , cadaverous figure of Carre - Four . His hand closes around the bars , his face presses against them . Then he lets go of the bars and slips out of sight . His figure reappears at the next window . Again , he tries the bars and peers into the room . Again , he vanishes in the darkness . We hear a faint sound from the tower . Betsy wakens . Her eyes go quickly to the bed , where the outline of Jessica 's figure reassures her . There is another muffled , dragging sound from the tower . Betsy sits up , listens intently . She gets up and goes toward the door leading into the tower . At the foot of Jessica 's bed , she stops to grab up Jessica 's white negligee , throwing it around her she continues to the door and opens it slowly and cautiously .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GROUND FLOOR OF THE TOWER -- NIGHT</stage_direction>
<scene_description>Betsy steps into the lower tower room . The thick blackness of the place is faintly lit by the open door into Jessica 's windowed bedroom . She stands at the foot of the circling stone stairs , straining to see into the darkness above . Overhead , there is a sudden commotion of wings and shrilling - something has disturbed the bats . Very slowly and hesitantly , Betsy moves up a few steps . The CAMERA PANS UP from Betsy , around the circling walls of the stairs , to where the sharp blade of light from the slit window of the tower strikes across the wall . A big black hand slides down the shaft of light . The CAMERA PANS BACK to Betsy . She can see nothing , but she hears the dry , whispering sound of the hand moving along the wall . She backs down the few steps and across to the tower door leading to the garden .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GARDEN AT FORT HOLLAND -- NIGHT</stage_direction>
<scene_description>Betsy slips out of the tower door . She stands irresolutely by the fountain , watching and listening . She can see nothing in the black patch of the open tower door . She walks slowly into the garden . There is a faint sound behind her . Fearfully , Betsy looks back across her shoulder . She sees a shadow slip into the deeper shadows of the fountain , merge with them . Quickly she moves behind a tall shrub , looks again toward the tower . She sees nothing . A CLOSE SHOT of the fountain shows the surface of the water in the cistern broken by a spreading ring of ripples . Taut with fear , Betsy leaves the shadow of the tall shrub and slips over to a bush nearer the living room porch . As if in answer to this move , a whispering rustle comes from the screen of bamboo against the tower - wing of the house . She stares toward the bamboo . She sees nothing . A CLOSE SHOT of the bamboo shows the leaves trembling slightly . Betsy looks across the empty , defenseless space between herself and the porch steps . Steeling herself , she moves into it , walking with the slowness of nightmare fear , looking from side to side with the slightest possible move of her head . At the foot of the steps , she turns to look back at the bamboo . A distorted shadow slithers out from under the stalks . Her panic released , Betsy runs up the steps , down the shadowy porch to the door of Holland 's bedroom .</scene_description>
<character>BETSY</character>
<parenthetical>( in a very low , choked cry . )</parenthetical>
<dialogue>Paul. Paul.</dialogue>
<scene_description>She flings herself against the door , turns the handle , and runs into the room , closes the door behind her . Into the space before the porch steps moves the great gaunt figure of Carre - Four . This is our first full sight of him in the scene . He is bare to the waist , wearing only a pair of dark , ragged trousers . He starts up the steps .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH -- NIGHT</stage_direction>
<scene_description>Betsy comes out of the door to Holland 's bedroom , followed by Holland who has put on a robe . In a CLOSE SHOT , we see the shock that springs into their two faces as they see Carre Four facing them across the length of the porch , moving toward them , a single slow step at a time . As Carre - Four sees Betsy 's white - clad figure , his hands come up slowly from his sides .</scene_description>
<character>HOLLAND</character>
<dialogue>You! What are you doing here?</dialogue>
<scene_description>Carre - Four continues his slow , implacable move forward . His lifted hands start reaching outward .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Get out of here.</dialogue>
<scene_description>Carre - Four comes on relentlessly , his great arms outstretched toward Betsy , the enormous hands curving to seize her . Fear comes into Holland 's face . With a quick gesture , he presses Betsy back and steps in front of her .</scene_description>
<character>HOLLAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( a little uncertainly . )</parenthetical>
<dialogue>Get out of here -</dialogue>
<scene_description>Carre - Four is almost upon them . His shoulders press forward as he reaches out .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( quiet , with great authority . )</parenthetical>
<dialogue>Carre - Four!</dialogue>
<scene_description>The single word freezes Carre - Four into immobility . Astounded , Betsy and Holland turn to see Mrs. Rand at the far end of the porch - her face and hair pale above a dark , coat like robe .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Carre - Four. Go back.</dialogue>
<scene_description>Slowly , the giant figure obeys . Carre - Four turns to face her . His hands relax , his arms fall to his sides again . In his blind fashion , Carre - Four moves back across the porch , turns and goes down the steps to the garden . Holland , who has been watching this transfixed , starts after him .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Paul!</dialogue>
<scene_description>Holland pauses at the head of the stairs and turns to her .</scene_description>
<character>MRS. RAND</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Let him go. Do n't touch him, do n't try to stop him!</dialogue>
<scene_description>Betsy has come down the porch behind Holland and she and Mrs. Rand stand together . All three of them look into the garden . Carre - Four slips through the gates and is immediately lost to sight in the darkness of the road beyond . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>INT. BETSY'S BEDROOM -- DAY</stage_direction>
<scene_description>As Betsy steps into her room , she sees Rand standing by one of the windows . In his face and his posture are complete dejection , utter misery .</scene_description>
<character>RAND</character>
<dialogue>Betsy, can I talk to you a minute?</dialogue>
<character>BETSY</character>
<parenthetical>( with quiet sympathy . )</parenthetical>
<dialogue>Of course, Wes.</dialogue>
<scene_description>She waits , inquiringly . Rand takes a few steps into the room and turns to stare through the door , across the garden to Jessica 's room .</scene_description>
<character>RAND</character>
<dialogue>Does she suffer? Does she know what she is?</dialogue>
<character>BETSY</character>
<dialogue>I do n't know.</dialogue>
<parenthetical>( trying to ease the truth . )</parenthetical>
<dialogue>I once asked Dr. Maxwell the same question. He said he thought she was like a sleepwalker who would never waken.</dialogue>
<character>RAND</character>
<dialogue>She hated sleep. She used to say it was a thief - stealing away her life, an hour at a time.</dialogue>
<character>BETSY</character>
<parenthetical>( trying to speak lightly . )</parenthetical>
<dialogue>Not to a nurse. Sleep is a cure.</dialogue>
<scene_description>Betsy crosses to the dressing table and takes a small cotton stoppered bottle from a drawer . She pulls out the cotton and shakes two little pills into her hand .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( going to Rand . )</parenthetical>
<dialogue>In fact, I'm prescribing sleep for you right now.</dialogue>
<scene_description>She puts them into his hand .</scene_description>
<character>BETSY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Be a good patient. Take these and go to bed.</dialogue>
<character>RAND</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>She's dead. The dead ought to be buried.</dialogue>
<character>BETSY</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>But she's not dead, Wes.</dialogue>
<character>RAND</character>
<parenthetical>( violently . )</parenthetical>
<dialogue>You know what she is! That's death - no mind, no senses - no love, no hate, no feeling - nothing!</dialogue>
<character>BETSY</character>
<dialogue>Please, Wes, do as I ask. You must rest, you must sleep.</dialogue>
<scene_description>Rand turns his hand and lets the tablets fall to the floor .</scene_description>
<character>RAND</character>
<parenthetical>( dully . )</parenthetical>
<dialogue>She should have rest.</dialogue>
<parenthetical>( looking up at Betsy . )</parenthetical>
<dialogue>She should n't have to walk and walk, in that black emptiness.</dialogue>
<parenthetical>( with realization . )</parenthetical>
<dialogue>You could set her free. You could give her rest. You could give her rest.</dialogue>
<scene_description>Betsy , alarmed and troubled , puts her hand on his arm .</scene_description>
<character>BETSY</character>
<dialogue>Do n't think of it, Wes. I could n't do that.</dialogue>
<scene_description>Rand turns and takes hold of her arm pleadingly , urgently .</scene_description>
<character>RAND</character>
<dialogue>You could do it. You have drugs - it would be so quick - a single injection. If you wo n't do it for her sake, do it for Paul.</dialogue>
<scene_description>Betsy shakes her head .</scene_description>
<character>BETSY</character>
<dialogue>No, Wes.</dialogue>
<character>RAND</character>
<dialogue>Jessica was never any good for Paul. You will be, you are. And Mother - seeing Jessica day after day - never able to escape, never able to forget. Please, Betsy - it's only merciful.</dialogue>
<scene_description>He looks into her eyes and sees the finality of her refusal there . His hand drops from her arm and he turns away .</scene_description>
<character>BETSY</character>
<parenthetical>( with great pity . )</parenthetical>
<dialogue>Her heart beats, Wes. She breathes. That's life - I once took an oath to guard life.</dialogue>
<scene_description>Rand straightens up and takes a deep breath .</scene_description>
<character>RAND</character>
<dialogue>I know. I should n't have asked it.</dialogue>
<scene_description>He starts slowly to the open door . DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUMFORT -- NIGHT</stage_direction>
<scene_description>The Houngan and the Sabreur are working over the doll again . It begins to move .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN -- NIGHT</stage_direction>
<scene_description>SHOOTING TOWARD the gates from behind Rand where he still sits at the table . Jessica , dressed in a white nightgown , comes slowly out of the tower and moves toward the gates . Rand watches her . The gate stops her progress .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUMFORT -- NIGHT</stage_direction>
<scene_description>The doll has stopped despite the frenzied efforts of the Sabreur and the wild chanting of the voodoo adepts . Nothing can make it move again . There is a whispered consultation between the Sabreur and the Houngan . The Houngan lifts his hand and the drums begin to beat a light rapid rhythm . The Sabreur dances toward the doll , making a menacing move with his saber . When he reaches the little image , he puts the point of his saber in the ground and draws from his bodkin , a long needle . With one swift movement , he stabs this through the doll 's back .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN -- NIGHT</stage_direction>
<scene_description>As seen from Rand 's ANGLE . He rises slowly , drains the liquor in his glass , walks forward to where Jessica stands at the gate . He looks at her for a long moment and then , as if a resolve had formed in his mind , goes to the statue of St. Sebastian , takes hold of one of the iron arrows . He tugs at it , but it refuses to come free . He puts his foot up on the wooden breast of the statue and gives a hard pull . The long , iron arrow comes out in his hand . With this in his hand , he walks to where Jessica stands . He pulls back the latch bar and throws the gates wide open . Jessica moves out into the darkness . Rand follows her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</stage_direction>
<scene_description>SHOOTING TOWARD the gates . Jessica , followed by Rand , walks into the darkness .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUMFORT -- NIGHT</stage_direction>
<scene_description>The kettle of water , without a fire , is still boiling . The CAMERA MOVES AROUND the room to show that it is empty . Then MOVES UP ON a small shelf before which a candle is burning . On this shelf , a few inches above the candle flame , stands the cheap little doll dressed like Jessica , with the needle in its back . Suddenly , the doll falls forward on its face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEASHORE -- DAY FOR NIGHT</stage_direction>
<scene_description>Rand carrying Jessica 's dead body in his arm , comes down to the sand . The surf . Rand reverently places the body in the lapping water of the surf . The backward drag of an outgoing wave draws it silently away from him . He watches it go . A returning wave , tall and forward curving , upthrusts the body of Jessica so that we see it in the semi - transparency of the wave . MED . CLOSE SHOT of Rand . The body comes floating to his feet . Rand carries the body a little further into the surf so that the waves when they come in flow past his knees . Again , the outsurge takes the body away . A returning wave brings Jessica 's body back again . -LRB- There is a famous painting by Boecklin , called `` And the Sea Gave Up its Dead '' which should somewhat influence the composition of this scene . -RRB- MED . CLOSE SHOT - Rand . He walks forward to secure the returning body . This time , he picks it up in his arms and starts wading forward . Rand is walking forward with the body in his arms . The sea is up to his hips . The outgoing surge tugs at him . He struggles to regain his footing , misses and is drawn out to sea .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEA -- NIGHT -- (PROCESS)</stage_direction>
<scene_description>The stars seem to have fallen to the surface of the sea . We see lights here and there , only a few feet from the water , flaring and sparkling .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEA -- FLOUNDER FISHERMAN -- NIGHT -- (PROCESS)</stage_direction>
<scene_description>MED . LONG SHOT . This is a closer shot of the scene and identifies the lights . There are torches held in the hands of black fisherman , up to their knees in water , spearing flounders by torch light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEA -- NIGHT -- (PROCESS)</stage_direction>
<scene_description>CLOSEUP - flounder fisherman . He is moving slowly through the shallow water his spear raised . Suddenly , he makes a darting strike with his spear . With a cry of triumph , he holds aloft a struggling flounder . He disengages it from the spear and puts it into the sack slung from his belt . MED . CLOSE SHOT - another fisherman . He , too , is moving stealthily forward , spear poised , torch held low . Something on the surface of the water near - by attracts his attention and he lifts up his torch , the periphery of the light widening as he holds it aloft . The widening light reveals the dead body of Jessica afloat on the surface of the water , pallid and dreamlike , her wet , white garments clinging like cerements . The fisherman looks for a moment at the body and then calls off to one of the other fishermen . LONG SHOT - flounder fishermen , their lights all converging on a central light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH -- NIGHT</stage_direction>
<scene_description>MED . CLOSE SHOT . A group of flounder fishermen come out onto the land . They are carrying the bodies of Jessica and Rand . They start in the direction of Fort Holland .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GATES AT FORT HOLLAND -- NIGHT</stage_direction>
<scene_description>The fishermen come in bearing their tragic burdens . Rand 's body is carried on the shoulders of four fishermen . Behind walks Carre - Four and in his gigantic arms is the body of Jessica ; her wet hair and garments dripping from the great arms of the still - living Zombie . The upheld torches and spears of the fishermen give a weird , processional feeling to the group .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DINING TERRACE -- NIGHT</stage_direction>
<scene_description>Holland , Betsy and Mrs. Rand stand watching the fishermen bringing in the bodies of the dead . Across the garden from the fountain stands the little group of house servants also watching . The procession passes the fountain of St. Sebastian and the CAMERA GOES IN to show the glistening sad face of the saint . FADE OUT FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER -- OTTOWA -- DAY</stage_direction>
<scene_description>The CAMERA , as in the first portion of the script , PANS DOWN the sign , pausing for a moment at the firm name of the Parrish & Burden Sugar Company . Then it CONTINUES ITS DOWNWARD MOVEMENT to disclose a portion of the street itself , In the falling snow Betsy is standing with her back to the camera , looking up at the sign .</scene_description>
<character>BETSY'S VOICE</character>
<parenthetical>( narration . )</parenthetical>
<dialogue>It was a sad time at Fort Holland. Mother Rand was completely broken by the tragedy. But she's a woman of courage. She's begun to build up her life again at St. Sebastian - It's a good life and a full one. As for Paul and me - it was n't a simple problem for either of us.</dialogue>
<scene_description>A CLOSER SHOT of Betsy as she stands waiting . She is dressed in a fur - collared coat and has a little round fur cap on her head . She looks very attractive and very happy . The door of the office opens and Paul Holland comes out , muffling up his overcoat . Betsy takes a half step to meet him . He takes her arm with a well - used and familiar gesture .</scene_description>
<character>PAUL</character>
<dialogue>Sorry to keep you waiting, darling! I thought I'd never get away. Invoices and stock lists piling up all day long. The balmy tropics were never like this.</dialogue>
<character>BETSY</character>
<parenthetical>( giving his arm a little squeeze as they start walking toward the camera . )</parenthetical>
<dialogue>I would n't have minded waiting. I never mind waiting for you - only we're dining with the Wilkins. I do n't want it said all over Ottowa that the Hollands are always late.</dialogue>
<scene_description>They pass the camera which HOLDS for a moment on the sign and the falling snow , then we FADE OUT THE END</scene_description>
</scene>
</script> | Betsy Connell (Frances Dee), a Canadian nurse, relates in a voiceover how she once "walked with a zombie." Betsy is hired to care for the wife of Paul Holland (Tom Conway), a sugar plantation owner on the Caribbean island of Saint Sebastian. Saint Sebastian is home to a small white community and descendants of African slaves. On the way to the plantation, the black driver tells Betsy that the Hollands brought slaves to the island, and that the statue of "Ti-Misery" (Saint Sebastian pierced by arrows) in the courtyard is the figurehead from a slave ship. At dinner, Betsy meets Paul's half-brother and employee, Wesley Rand (James Ellison), who clearly resents Paul. While getting ready for bed, Betsy hears crying. When she investigates, a woman in a white robe walks towards her, her eyes staring. Betsy screams, waking everyone. Paul takes charge of Jessica Holland, the woman Betsy is to care for. The next morning, Dr. Maxwell tells Betsy that Jessica's spinal cord was irreparably damaged by a serious illness, leaving her totally without the willpower to do anything for herself. On her day off, Betsy encounters Wesley in town. While he drinks himself into a stupor, a calypso singer (Sir Lancelot) sings about how Jessica was going to run away with Wesley, but Paul would not let them go. Then she was struck down by the fever. Betsy meets Mrs. Rand (Edith Barrett), Paul and Wesley's doctor mother. That night, at dinner, Paul tries to persuade Wesley to reduce his drinking (at Betsy's suggestion), but he accuses Paul of trying to impress Betsy and of driving Jessica insane in the first place. Later, Betsy is drawn to the sound of Paul playing the piano. He apologizes for bringing her to the island and admits that he may have been the cause of his wife's condition. Betsy has been falling in love with her moody employer. She determines to make him happy by curing Jessica. Betsy gets Paul to agree to try a potentially fatal insulin shock treatment on Jessica, but it has no effect. Housemaid Alma (Theresa Harris) then tells her that a voodoo priest cured a woman of a similar condition. Betsy takes her patient without permission through cane fields past a crossroads guarded by an eerie Carre-Four (a reference to the loa Maitre Carrefours) to the houmfort (a place where voodoo worshipers gather). There, they watch a man (the Sabreur) wield a saber during a ritual. People are given advice through a shack door by a voodoo priest. Betsy is shocked to find that the priest is Mrs. Rand. Mrs. Rand explains that she uses voodoo to convince the natives to accept conventional medical practices and tells Betsy that Jessica is incurable. Outside, the locals stab Jessica in the arm with the sword as a test. When she does not bleed, they are convinced she is a zombie. Betsy takes her home. Paul is furious, but is moved when he realizes that Betsy was trying to cure Jessica. The local authorities investigate the next day, and the natives demand that Jessica be returned to them for "ritual tests". Later, Carre-Four approaches the residence, but Mrs. Rand orders him to leave. Paul suggests that Betsy return to Canada, regretting entangling her in his family problems and fearful of demeaning and abusing her as he did Jessica. Betsy reluctantly agrees. The next day, Doctor Maxwell reports that the unrest has sparked an official inquiry into Jessica's illness. Mrs. Rand shocks everyone by claiming that Jessica is a zombie. Although she had never taken voodoo seriously before, Mrs Rand reveals that when she discovered that Jessica was planning to run away with Wesley and break up her family, she felt herself possessed by a voodoo god. She then put a curse on Jessica. Paul, Maxwell and Betsy dismiss her story, but Wesley becomes obsessed with freeing Jessica. He asks Betsy if she would consider euthanasia, but she refuses. Using an effigy of Jessica, the Sabreur draws her to him from afar. Paul and Betsy stop her, but they are not around when he tries again. Wesley opens the gate, letting Jessica out. Then he pulls an arrow out of the statue of Ti-Misery and follows. As the Sabreur stabs the doll with a pin, Wesley thrusts the arrow into Jessica. He then carries her body into the sea, pursued slowly by Carre-Four. Later, the natives discover the bodies of Jessica and Wesley floating in the surf. |
Sin Nombre_2009 | tt1127715 | <script>
<scene>
<scene_description>sin nombre by cary fukunaga OCTOBER 25TH, 2007 Forward Note This is an English Version of the script. The Shooting Script is in colloquial Spanish. An urban style of slang has been used here with members of a gang called the Mara Salvatrucha, which is heavily influenced by its counterparts in the United States. The Spanish version reflects this particular style of speech. For the Immigrants, the Spanish reflects the grammar and vocabulary used in the regions of the Americas that they come from.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI, TAPACHULA - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>TAPACHULA, MEXICO</dialogue>
<scene_description>A weathered, yet serene poster, of a green landscape (Texas?) fills our frame. We pan around revealing EL CASPER, a gaunt- faced 17 year-old wiping water from his face. He stares at the image with a curious indifference, it's hard to read what he thinks. Behind him a slum like neighborhood of one-story concrete homes that resembles a favela, linked with the familiar maze of paths, scavenged roofs and satellite dishes powered by dangerously improvised cables. His cell phone BEEPS. He finishes washing his face and head and leaves.</scene_description>
</scene>
<scene>
<stage_direction>1A EXT. COLONIA CONFETI, STREET - DAY 1A</stage_direction>
<scene_description>Casper walks briskly down the street. People give him a respectful amount of space. We see more details of his body, a tattoo on his neck "perdoname madre mia" and a TEAR DROP is on his right eye, the shape of a pistol in his back pocket.</scene_description>
</scene>
<scene>
<stage_direction>1B INT. COMBI (MINIBUS) - DAY 1B</stage_direction>
<scene_description>A combi pulls up to a line of 8 waiting PASSENGERS. Casper walks past them and sits in the front seat with the driver. The driver hands him a wad of CASH, with out saying a word nor Casper look at him. At the next stop lined with 5 waiting passengers, Casper gets down.</scene_description>
</scene>
<scene>
<stage_direction>1C EXT. COLONIA CONFETI, STREET - CONTINUOUS 1C</stage_direction>
<scene_description>Casper passes THREE fellow FOOT SOLDIERS of his gang. Long rifles lean against a wall next to them as they lounge in the hot sun watching the border of their territory. He picks up one of their bikes and rides down the blocks. He arrives at a corner MINI-MARKET, again silently collecting cash from the WOMAN running it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI STREETS - DAY</stage_direction>
<scene_description>El Casper rides a bike through the maze, weaving around pedestrians and vendors. He pauses on his bike. A train passes in front of him. THREE similarly tattooed men ride atop, they acknowledge Casper with nods. CUT TO: 2A Casper rides into another alley and stops in front of an 2A unremarkable concrete house. A television blasts a Game Show inside while an ancient woman, ABUE, cools off next to the window. She eats raisins from a bowl. El Casper takes one and eats it with out asking, charmingly.</scene_description>
<character>EL CASPER</character>
<dialogue>Señora.</dialogue>
<scene_description>She looks at El Casper disapprovingly, then makes an incomprehensible call into the house. A BOY, 12, appears wearing a tattered middle-school uniform. He sees El Casper and motions for him to come in.</scene_description>
</scene>
<scene>
<stage_direction>2B INT. SMILEY'S HOUSE - CONTINUOUS 2B</stage_direction>
<scene_description>The boy hands him a backpack unceremoniously, it's an old routine. El Casper checks the contents of the backpack, CD players, Gameboys, radios, batteries, headphones, and other random stolen goods. He nods approvingly, then notices a slim DIGITAL CAMERA. He picks it up, inspects it, then stuffs it in his own pocket before zipping up the bag. El Casper holds his finger up to his mouth...</scene_description>
<character>EL CASPER</character>
<dialogue>Shhh, our secret.</dialogue>
<scene_description>The boy nods.</scene_description>
<character>EL CASPER</character>
<dialogue>Lil' Mago wants to see you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EL LIL' MAGO'S HOUSE, BACK PATIO</stage_direction>
<scene_description>The KID stands before EL LIL' MAGO, a striking man in his early-twenties, with a face covered in MARA SALVATRUCHA tattoos, crowned with "devil's horns" scrawled in detail on his forehead. About a DOZEN other similarly clad GANG MEMBERS, including El Casper, stand around him. The Kid nervously pulls at his tattered school pants. Lil' Mago smiles...</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>One...</dialogue>
<scene_description>El Casper and TWO other men, El Smokey, a teen with crazy eyes and EL BOMBA, a hefty Guatemalan in his late-twenties, jump up and begin beating the boy. EL SOL, mid-twenties, stoic, watches from behind. The boy tries to fight back, spinning around in a fury of punches and kicks but is no match to the three men's experience. He is quickly pummeled to the ground.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>...Four, five. Five... Five and half... Six...</dialogue>
<scene_description>He is knocked again and again, all he can do is protect his face.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>...nine, ten, eleven, eleven... twelve.</dialogue>
<scene_description>El Casper looks at El Lil' Mago, waiting for "thirteen." The Boy's face is cut and his left eyelid sags. El Casper only halfheartedly punches him now.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Twelve.</dialogue>
<scene_description>El Casper feels El Lil' Mago glaring at him, so he launches a kick into the boys chest. The boy YELPS as El Casper kicks him over and over.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Thirteen.</dialogue>
<scene_description>El Casper finally stops, breathing heavily. Despite his tears, whimpers and quivering body, the Boy forms a smile -- a crying smile. El Lil' Mago pulls him up. The men HOLLER as they rush in, throwing Mara Salvatrucha (MS13) gang signs ("M" then "S" shapes with their hands) and stacking those with their clica's name "CONFETI LOCOS" in a form of sign-language. They hug him.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Look at this kid, Casper, he's all smiles.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLONIA STAIRWAY - TEGUCIGALPA, HONDURAS - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>TEGUCIGALPA, HONDURAS</dialogue>
<scene_description>We see a large expanse of the capitol and its foothills. A city covered with colorful homes, patches of tropical green and smog. On the bottom of the frame THREE ADOLESCENT GIRLS make their way up a long set of stairs towards us, sharing a cigarette. SAYRA, 15, an olive-skinned girl with long hair and bright eyes stands between CLARISSA and YAMILA.</scene_description>
<character>CLARISSA</character>
<dialogue>You're so lucky, Sayra.</dialogue>
<character>(BEAT)</character>
<dialogue>If my Dad came back to take me north with him...</dialogue>
<character>SAYRA</character>
<dialogue>Mine didn't, he was deported.</dialogue>
<character>CLARISSA</character>
<dialogue>And? At least he can make the journey with you, instead of paying a pervy pollero to take you.</dialogue>
<character>(BEAT)</character>
<dialogue>Yamila's dad was a pervy pollero, from what her mom remembers.</dialogue>
<scene_description>Yamila, cigarette in mouth, gives Clarissa the finger.</scene_description>
<character>CLARISSA</character>
<parenthetical>(to Sayra)</parenthetical>
<dialogue>Look, I don't even know why you're wetting your pants over this, it's not like your Grandma wants to take care of your ass anymore. And if Orlando goes? You should get the hell out of here while you can.</dialogue>
<character>SAYRA</character>
<parenthetical>(sarcasticly)</parenthetical>
<dialogue>And leave this?</dialogue>
<character>CLARISSA</character>
<dialogue>Pendeja.</dialogue>
<character>YAMILA</character>
<dialogue>I wish I could go with you.</dialogue>
<scene_description>Yamila hugs Sayra firmly.</scene_description>
<character>YAMILA</character>
<dialogue>I'll pray for you.</dialogue>
<scene_description>Sayra and Clarissa continue on, we linger for a moment on Yamila who sadly watches them walk away. She finishes off the butt and drops it to the ground. We pan away from her to catch up to Sayra and Clarissa as they enter their neighborhood, past vendors, CAT-CALLING BOYS who they give the finger and soccer playing children. 4A Sayra and Clarissa climb into the room from a window. They 4A laugh as they fall to the floor--</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - CONTINUOUS</stage_direction>
<scene_description>--landing on a stained mattress, half covered with a worn flower print sheet in a tiny, sparse room with two other similar mattress on the floor. Clothes, sheets and blankets sit in tidy piles along the walls. ORLANDO, 19, Sayra's almost equal in age Uncle, waits for her in the room. He has kind eyes, but you can tell he's irritated with her. She reacts, shrugging in a "what do you expect?" kind of way.</scene_description>
<character>ORLANDO</character>
<dialogue>He's here.</dialogue>
<scene_description>Clarissa trips over a BACKPACK. Sayra quickly stuffs it under a shelf.</scene_description>
<character>ORLANDO</character>
<dialogue>Come on.</dialogue>
<character>(BEAT)</character>
<dialogue>We have a front door you know.</dialogue>
<scene_description>Sayra trips Orlando, sweeping his back leg just as he stumbles into the NEXT ROOM, a compact concrete space that doubles as a kitchen and a bedroom. The girls try to contain their laughter before entering. Sayra pauses, her mood shifts, she looks nervously at Clarissa. To comfort her, Clarissa presses their foreheads together... 5A The next room -- serious faced Sayra looks around, an old 5A woman, NANA, glares up at her. Lying on a blanket covered couch, her sick eyes guide us to a some seats where Orlando sits down abruptly, next to his pregnant girlfriend, CECI, 19, and... HORACIO, mid-thirties. Bushy eye-brows and weathered face in mid-conversation with Nana. He sees Sayra, his eyes redden as he stands, sniffing and wiping his nose gruffly. Sayra stops in the doorway, Clarissa hovers behind her. Horacio opens his arms, gesturing for her to hug him.</scene_description>
<character>HORACIO</character>
<dialogue>If I didn't know I wouldn't recognize her.</dialogue>
<scene_description>Sayra stays in the doorway, crosses her arms and waits.</scene_description>
<character>ORLANDO</character>
<dialogue>Go on.</dialogue>
<scene_description>Horacio indicates again he's waiting for her to hug him.</scene_description>
<character>HORACIO</character>
<parenthetical>(trying hard)</parenthetical>
<dialogue>You're all... like a real woman.</dialogue>
<scene_description>She relents, approaches and sticks out her hand, in a cordial, but cold handshake. Horacio reciprocates warily.</scene_description>
<character>NANA</character>
<dialogue>She's done nothing but talk about you.</dialogue>
<scene_description>Appalled and embarrassed, Sayra retreats.</scene_description>
<character>NANA</character>
<dialogue>You'll have lots of time together, now.</dialogue>
<character>HORACIO</character>
<dialogue>I wish Mami, but with Yessenia alone with the kids... we'll leave tomorrow on the congolón.</dialogue>
<character>NANA</character>
<dialogue>So Soon? You can't stay longer?</dialogue>
<parenthetical>(to Sayra)</parenthetical>
<dialogue>You packed?</dialogue>
<character>SAYRA</character>
<dialogue>No.</dialogue>
<character>NANA</character>
<dialogue>Then you better get started.</dialogue>
<character>SAYRA</character>
<dialogue>I don't want to go.</dialogue>
<scene_description>This comes as a shock.</scene_description>
<character>NANA</character>
<dialogue>The hell you don't.</dialogue>
<character>SAYRA</character>
<dialogue>I never said I'd go for sure.</dialogue>
<scene_description>The entire room breaks into noise.</scene_description>
<character>NANA</character>
<dialogue>It's what's best.</dialogue>
<character>SAYRA</character>
<dialogue>I don't want to go with him. Do you want me to leave, Nana?</dialogue>
<scene_description>The old woman doesn't exactly say no, it's pretty clear she'd rather the girl left. Sayra looks around the room. The attention and pressure infuriates and hurts her. Sayra walks out of the house. Suddenly Clarissa is left behind, awkwardly, in the room -- she turns and looks at Orlando.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD (AKA LA BOMBILLA), MEXICO - DAY</stage_direction>
<scene_description>The train yard, populated with about 50 CENTRAL AMERICAN IMMIGRANTS, has four tracks and an abandoned passenger platform. El Casper and the boy, now known as SMILEY, sit on the platform. El Casper, visibly bored, watches over the immigrants like a shepherd. Smiley copies Casper whenever he adjusts his sitting position. LUCRESIA, a transvestite with boxer shorts hiked up over a tight T-shirt and a bucket balanced on her head saunters by. She has a sassy sense of humor with rapid-fire responses to anyone who makes a comment to her. She notices Smiley -- the "new" member and makes a sarcastic comment. Casper ignores her but notices she is also selling COLORFUL FELT FLOWERS from a plastic bag. His cell phone BEEPS. He pulls out the phone. Text message: ONDE STAS? He stuffs the phone back in his pocket, eager it seems, to move. Casper whistles at Lucresia, calling her over.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI BRIDGE - TAPACHULA, MEXICO - DAY</stage_direction>
<scene_description>El Casper and Smiley walk across a metal bridge spanning an oily creek filled with garbage. On the other side FOUR kids fish despite the pollution. One of them is drawing an MS13 "X3" on the bridge.</scene_description>
<character>KIDS</character>
<dialogue>Casper!</dialogue>
<scene_description>They jump up and flash the gang's sign. El Casper kicks one of them in the butt then hurries on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARKET HILL CLAPBOARD HOUSE - DAY</stage_direction>
<scene_description>He starts to climb through the window of a simple looking one- story house, but stops and turns around to Smiley.</scene_description>
<character>EL CASPER</character>
<dialogue>Wait here.</dialogue>
<character>SMILEY</character>
<dialogue>How long? El Lil' Mago said we were supposed to stay in La Bombilla-</dialogue>
<character>EL CASPER</character>
<dialogue>-Not long.</dialogue>
<scene_description>He climbs into the window.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction>
<scene_description>A 15 year-old girl, MARTHA MARLEN, lies sleeping on a couch. Casper admires her peaceful, smooth face, sleepy eyes, sweating beading on her forehead. He gently sits down next to her and leans forward, but before he can kiss her she awakens, laying out a barrage of slaps and catching him by surprise.</scene_description>
<character>EL CASPER</character>
<dialogue>Stop it! What are you doing?</dialogue>
<scene_description>He grabs her flailing hands and forces her back, falling on top of her.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Get off of me.</dialogue>
<character>EL CASPER</character>
<dialogue>You going to calm down?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>You better get off of me or I'll scream, I swear to God I will.</dialogue>
<scene_description>Faking like she's going to scream, El Casper covers her mouth with his. They give each other one long wet kiss.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>I still hate you.</dialogue>
<scene_description>El Casper reaches around to his back pocket and pulls out the nylon flowers. Martha Marlen's eyes light up. She takes the flowers and pushes El Casper off of her, disappearing into the living room/kitchen. He can hear her fiddling with a bucket of water.</scene_description>
<character>EL CASPER</character>
<parenthetical>(El Casper yells to her)</parenthetical>
<dialogue>They don't need water.</dialogue>
<scene_description>She comes back in holding the flowers in the cup.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>I know.</dialogue>
<scene_description>She sets them down next to her bed. El Casper watches her adoringly. She catches him, smiles, then pulls off his hoodie and shirt all at once. His body is covered in the same tattoos as El Lil' Mago: the three points of la vida loca on his hand, a rosary around his wrist, "perdoname madre mia" on his neck and over his heart a still raw "Martha Marlen." He hugs her tight, breathing in her scent, then pulls her down to him and rolling on top of her. They kiss again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA MARLEN'S HOUSE - DAY</stage_direction>
<scene_description>Smiley tries to look through the window but can barely hold himself up long enough to see El Casper and Martha Marlen moving sexually on her bed. He slips down, he eagerly tries to pull himself back up, but is too weak from the baptism. He sits down, disappointed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOF TOP - TEGUCIGALPA, HONDURAS - DUSK</stage_direction>
<scene_description>Sayra watches the movements of the city from this vantage point. Orlando approaches her from behind. She says nothing to him. He sits down quietly, appreciating the view.</scene_description>
<character>SAYRA</character>
<dialogue>They're going to build a golf course there.</dialogue>
<character>(BEAT)</character>
<dialogue>You like golf?</dialogue>
<character>ORLANDO</character>
<dialogue>I've never played.</dialogue>
<character>SAYRA</character>
<dialogue>Me neither.</dialogue>
<character>(BEAT)</character>
<dialogue>I understand why you'd want to do this trip. I'm not sure yet if I understand why I should.</dialogue>
<character>(BEAT)</character>
<dialogue>I've just gone along, bad shit happens and I just go along with it. Just like your baby and Ceci will have to, with out you.</dialogue>
<character>ORLANDO</character>
<dialogue>If you want to stay, Nana won't force you to go, but...</dialogue>
<character>SAYRA</character>
<dialogue>I don't care. I don't need him. I could go north on my own if I wanted to.</dialogue>
<character>ORLANDO</character>
<dialogue>Good, then send me money when you get there. You're fifteen Sayra, you really think you could do this on your own? It's dangerous, you've heard the stories. You need a coyote, you know how much that costs?</dialogue>
<scene_description>She shrugs.</scene_description>
<character>ORLANDO</character>
<dialogue>Come with us. I know it won't be easy there either, but at least you'll have us. There's nothing for you here. Nothing.</dialogue>
<scene_description>She grinds the ground with her shoes.</scene_description>
<character>SAYRA</character>
<dialogue>If I went, it wouldn't be for him and it wouldn't be for you neither. It would be for me. I'd make my own decisions.</dialogue>
<character>ORLANDO</character>
<dialogue>Fine.</dialogue>
<character>SAYRA</character>
<dialogue>Alright, then I'll think about it. You can tell him that.</dialogue>
<scene_description>The first sharp BRASS notes of "CANCIÓN MIXTECA" played by a ragged brass band key-noted with a MARIMBA echo over the HUM of a river...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUCHIATE RIVER - GUATEMALA - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>3 DAYS LATER,</dialogue>
<scene_description>Left side SUPER: TECUN UMAN, GUATEMALA Right side SUPER: CIUDAD HIDALGO, MEXICO Nothing more than a brown, 200 yard wide river divides the two countries. We pan down from the landscape to a birds-eye perspective of the river. The source of the key notes in the music floats onto screen... A MARIMBA (looks like an oversized xylophone) played by TWO MEN on a raft made of intertubes and wooden palettes. FOUR similar rafts float into view. The ones moving right are cramped with people -- the ones moving left, product. BOYS with long poles push the rafts forward. We move towards one of those rafts with people, where everyone except for Sayra stares eagerly at the coming Mexican shore. She stares at the surreal looking MARIMBA raft. Horacio sits on the front of the raft. His bushy eyebrows drip sweat as he joins Orlando in prayer.</scene_description>
<character>HORACIO & ORLANDO</character>
<dialogue>...Amen.</dialogue>
<scene_description>Horacio crosses his chest and looks back at his daughter, who seems to ignore them both. Their raft wobbles before it hits the shore, she clenches the wooden boards, her knuckles whiten. Horacio steps off and turns to help Sayra, but she still sits with her back to them, frozen. He turns and walks away along with Orlando. Sayra notices they aren't waiting for her. She stands awkwardly and runs to join them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CIUDAD HIDALGO - CONTINUOUS</stage_direction>
<scene_description>Sayra catches up to Horacio and Orlando, who stand frozen in front of TWO JUDICIAL POLICE OFFICERS.</scene_description>
<character>JUDICIAL OFFICER #1</character>
<dialogue>Welcome to Mexico. Papers?</dialogue>
<scene_description>The officers grab the three of them by the neck and force them into a concrete building.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCRETE BUILDING - CONTINUOUS</stage_direction>
<scene_description>SEVERAL other nervous IMMIGRANTS sit on the floor in front of another JUDICIAL OFFICER.</scene_description>
<character>HORACIO</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Don't worry, we'll be okay.</dialogue>
<scene_description>SAYRA and ORLANDO do not look convinced. They are petrified.</scene_description>
<character>JUDICIAL OFFICER #2</character>
<dialogue>Okay, friends, first you will empty your pockets of any and all forms of money and valuables. Then you will take each item of clothing off and place it on the floor in front of you. Start with your shoes.</dialogue>
<scene_description>They hesitate. Judicial Officer #1 knocks an IMMIGRANT MAN in the head. They all strip quickly to their underwear as the Judicial Officers rifle through their clothes, cutting open seams and opening their bags to collect their money. Horacio looks at his cut clothes with steaming anger. Embarrassed, Sayra covers herself as best she can.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA MARLEN'S BEDROOM - DAY</stage_direction>
<scene_description>Martha Marlen and El Casper (known as Willy to her) lay half- naked in bed. El Casper takes photographs of her with the digital camera. Martha Marlen is shy, she holds her hands up defending herself from the lens, but secretly is amused with it. El Casper adjusts the BLACK STRINGED NECKLACE wooden tablet with SAINT ANTHONY\*\*\* skirting her collarbone, then snaps another. He lays down next to her to inspect the photos. Her finger caresses his tattoos while he figures out how to replay the images.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Willy, will you give me one, too, one with your name on it?</dialogue>
<character>EL CASPER</character>
<dialogue>No.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>No? Why not?</dialogue>
<character>EL CASPER</character>
<dialogue>You want to look ugly like me?</dialogue>
<scene_description>She rolls over, sighing...</scene_description>
<character>EL CASPER</character>
<dialogue>I like you just the way you are.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>I'm bored.</dialogue>
<character>EL CASPER</character>
<dialogue>Why?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>We never go out, we never do anything, just this. Take me somewhere?</dialogue>
<character>EL CASPER</character>
<dialogue>Where?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Anywhere. Some place you like... somewhere you go when you're not here.</dialogue>
<character>EL CASPER</character>
<dialogue>Why go out? When we're together, we got all we need in the world, right here.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Do you have another girl in your hood?</dialogue>
<character>EL CASPER</character>
<dialogue>What? No. Of course not.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>If I find out you do, I swear to God...</dialogue>
<scene_description>Martha Marlen makes a scissors sign with her hand, looking down at his privates. She giggles.</scene_description>
<character>EL CASPER</character>
<dialogue>What?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>You're shrinking!</dialogue>
<scene_description>El Casper looks down at his privates and shrugs. He turns a little red, but overcompensates when he says...</scene_description>
<character>EL CASPER</character>
<dialogue>It's natural. It'll come back.</dialogue>
<scene_description>He pins her down and starts kissing her again, quickly snapping another photo.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI BRIDGE - DAY</stage_direction>
<scene_description>It's late in the day as El Casper and Smiley walk back into Colonia Confeti.</scene_description>
<character>SMILEY</character>
<dialogue>So, does she have a friend for me?</dialogue>
<scene_description>Casper stops Smiley, searching for intent in his face, as if he meant it as a threat.</scene_description>
<character>EL CASPER</character>
<dialogue>You can't ever tell Lil' Mago I take you to that house, understand? No one can know.</dialogue>
<character>SMILEY</character>
<parenthetical>(intimidated)</parenthetical>
<dialogue>Okay-</dialogue>
<character>EL CASPER</character>
<dialogue>-Not a fucking word.</dialogue>
<scene_description>Casper lightens up on him.</scene_description>
<character>EL CASPER</character>
<dialogue>We'll get your cherry popped. Not just with a diecioyo, but with a girl, too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CIUDAD HIDALGO COUNTRYSIDE - DAY</stage_direction>
<scene_description>Horacio leads a startled, if not more vigilant, Orlando and Sayra in a fast march along an irrigation ditch in a green field. Their clothes are stretched and their shoes cut up. The air is filled with flies, mosquitos and other annoying pests. Sayra slaps her own neck and moans.</scene_description>
<character>HORACIO</character>
<dialogue>Again.</dialogue>
<character>SAYRA AND ORLANDO</character>
<dialogue>9-0-8-5-5-5-0-1-8-7</dialogue>
<character>HORACIO</character>
<dialogue>Again.</dialogue>
<character>SAYRA</character>
<dialogue>We got it.</dialogue>
<character>HORACIO</character>
<dialogue>Say it again.</dialogue>
<character>SAYRA</character>
<dialogue>I said we got it.</dialogue>
<scene_description>Horacio stops and looks at them sternly.</scene_description>
<character>HORACIO</character>
<dialogue>You need to know this number, in case anything happens, Yessenia will help you.</dialogue>
<character>ORLANDO</character>
<dialogue>How much more, carnal?</dialogue>
<character>HORACIO</character>
<dialogue>Six hours, maybe more.</dialogue>
<scene_description>Orlando looks back at Sayra, aghast.</scene_description>
<character>HORACIO</character>
<dialogue>This is an adventure little brother, we are adventurers.</dialogue>
<character>(BEAT)</character>
<dialogue>Easy or hard, we go on.</dialogue>
<scene_description>Horacio marches on.</scene_description>
<character>HORACIO</character>
<dialogue>Now, say the number again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EL LIL' MAGO'S HOUSE, COLONIA CONFETI - DUSK</stage_direction>
<scene_description>In the cramped alleyways of the colonia, El Lil' Mago's house hums with REGGAETONE BEATS. The front yard somehow fits the moth-balled carcass of an older model American car. Children pretend to drive inside.</scene_description>
<character>EL CASPER</character>
<dialogue>Welcome to the destroyer.</dialogue>
</scene>
<scene>
<stage_direction>INT. EL LIL' MAGO'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>It's a grimy home of small, concrete rooms, poorly organized and stuffed with detritus. The walls look like the grimy tile of a subway bathroom, the rooms contained stained mattresses and improvised furniture. As El Casper greets the inhabitants, all respond with the "M" "S" hand signs.</scene_description>
<character>EL BOMBA</character>
<dialogue>Sup Casper? Did he get a chavala\* yet? (diecioyo, 18th Street Gang\*)</dialogue>
<scene_description>El Bomba stands over a two range counter top stove warming corn tortillas. Opened cans of vegetables litter the counter. A teenage girl, KIMBERLY, helps him prepare the food.</scene_description>
<character>EL CASPER</character>
<dialogue>No.</dialogue>
<scene_description>Smiley takes in the space while nervously touching the scabbing marks on his face. He gestures to EL SMOKEY and EL PICARO ironing their clothes with their shirts off. They are covered in tattoos.</scene_description>
<character>EL CASPER</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>El Smokey and El Piqaro. They got in today from San Salvador. Thirsty?</dialogue>
<scene_description>El Casper grabs a TAMPICO from a watery bucket in the kitchen and hands one to Smiley while leading him deeper into the house, there are girls, and at least FOUR LITTLE KIDS who belong to them walking about. EL TURBINO, a skinny Mara, lays over a chair as El Peluguin applies a tattoo to him. A cigarette dangles from his mouth.</scene_description>
<character>EL CASPER</character>
<dialogue>El Turbino. 'cause he smokes like one...</dialogue>
<scene_description>EL PELUQUIN stands over El Turbino, hunched like a scare- crow.</scene_description>
<character>EL CASPER</character>
<dialogue>...And El Peluquin. He can't sit down 'cause he's bleeding from the ass. Hemorrhoids.</dialogue>
<scene_description>19A They cross a patio to another room containing a TV and parts 19A for building pipe guns, machetes, bats, chains and other sundry weapons. At the end of the room, an alter to an unknown Saint is adorned and candled. Smiley points at a chimba, a home-made pipe gun.</scene_description>
<character>EL CASPER</character>
<dialogue>When you earn it. For now, you share like everyone else, what's from La Mara is for la Mara.</dialogue>
<scene_description>In the back room, El Sol catches a glimpse of El Casper, he nods to Lil' Mago.</scene_description>
<character>EL CASPER</character>
<dialogue>El Sol, is the segunda palabra.</dialogue>
<scene_description>El Lil' Mago plays with his kid while his girl, DIANA, 18, nags him in one ear. The girl doesn't stop nagging, even when he gets up to greet El Casper and Smiley.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>My boys have arrived!</dialogue>
<character>EL CASPER</character>
<dialogue>Sup Lil' Mago?</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>How'd he do?</dialogue>
<scene_description>Casper shrugs, El Lil' Mago looks disappointed.</scene_description>
<character>EL LIL' MAGO</character>
<parenthetical>(to Smiley)</parenthetical>
<dialogue>You went to La Bombilla?</dialogue>
<character>EL CASPER</character>
<dialogue>Yeah, we didn't see nothing.</dialogue>
<scene_description>El Lil' Mago eyes El Casper sadly, then turns his attention back to Smiley.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Well, I got a little something for you anyway, Smiley.</dialogue>
<scene_description>He leads them back to THE BACK PATIO past a broken SHREK PIÑATA on the ground. Candy rappers lay scattered about. ONE YOUNG CHILD sits amongst the trash, poking around for a fresh piece of candy. 19B El Lil' Mago burps his kid, who is starting to pass out on 19B his shoulder.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Wait here.</dialogue>
<scene_description>El Lil' Mago and El Casper disappear down a darkened alley. Smiley stands by himself uncomfortably, TWO MAREROS play "paper, rock, scissors" while another is dry-humping a girl in a darkened corner. THREE KIDS, the same ones who were fishing on the bridge, watch from the top of their neighboring shack. They notice Smiley.</scene_description>
<character>BENNY</character>
<dialogue>Oh! Benito? How'd you get in there?</dialogue>
<scene_description>Smiley looks up at them. They are the same kids from the bridge.</scene_description>
<character>SMILEY</character>
<dialogue>My name is Smiley now... Smiley.</dialogue>
<character>BENNY</character>
<dialogue>No way? Holy Cow!</dialogue>
<character>(BEAT)</character>
<dialogue>So how'd you get in there?</dialogue>
<character>SMILEY</character>
<dialogue>I'm a marero, stupid.</dialogue>
<scene_description>Smiley shows them his bloodied knuckles. They look impressed. El Casper comes back, motioning for Smiley to follow. Smiley throws the "M-S" sign to the kids, they sign back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHACK ALLEY - DUSK</stage_direction>
<scene_description>El Casper leads him through the colonia to a dimly lit shack. El Lil' Mago opens the door and turns on his flashlight. Inside a beaten IMMIGRANT is tied up, his face covered in coagulated blood. Smiley looks disgusted.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>El Sol found him today amongst a group of pollitos... in La Bombilla.</dialogue>
<scene_description>El Casper flashes a look at El Lil' Mago, who lifts up the man's shirt, revealing an XVIII tattoo (18th Street) across his stomach. He looks at El Casper and Smiley, amused.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>This is Mara-land pinche chavala-</dialogue>
<character>BLEEDING IMMIGRANT</character>
<parenthetical>(crying)</parenthetical>
<dialogue>I told you, I don't do that shit no more. Please. I'm just going north.</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>After we kill you, we're going to cut you up into 18 tiny pieces and feed you to our dogs.</dialogue>
<scene_description>El Lil' Mago raises his pistol. The man writhes like a wounded snake to avoid the pistol.</scene_description>
<character>BLEEDING IMMIGRANT</character>
<dialogue>Please, I have a family, I don't do that shit no more...</dialogue>
<scene_description>Smiley smirks nervously at the man. El Casper is stoic, he knows what is about to happen and he doesn't want to do it. He's sick of it. El Lil' Mago hands him a snub nose .38 SPECIAL. Smiley is surprised. He motions to himself as if to say "who me."</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Once a diecioyo always a diecioyo, Smiley. Help him Casper.</dialogue>
<scene_description>Smiley can only stare at the gun, his heart races. El Casper takes it, cocks it, then places it carefully back in Smiley's hand.</scene_description>
<character>EL CASPER</character>
<parenthetical>(patiently)</parenthetical>
<dialogue>We'll do it together. Okay?</dialogue>
<character>(BEAT)</character>
<dialogue>Aim for his head.</dialogue>
<scene_description>Smiley nods, mentally preparing himself, but his knees shake, his stomach queasy. They raise their weapons, El Casper gently adjusts Smiley's nervous aim, positioning it over the man's body. El Lil' Mago covers his child's ears.</scene_description>
<character>EL CUERVO</character>
<dialogue>On three...</dialogue>
<character>BLEEDING MAN</character>
<dialogue>Please, for the love of Jesus-</dialogue>
<character>(BEAT) (BEAT)</character>
<dialogue>one, two, three- Fuck you, mierdaseca, fuck</dialogue>
<scene_description>you... Smiley closes his eyes as El Casper first, then he, open fire. The flashes illuminate their faces. El Casper kneels down and listens. The man still breathes. Blood floods towards their feet. Smiley, only wearing flip- flops, backs up to avoid it. El Lil' Mago rub's Smileys head playfully. Smiley is green.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Watch the blood run, Smiley. You did that.</dialogue>
<scene_description>Casper reloads his chimba with another shotgun shell, cocks it...</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD (AKA LA BOMBILLA) - DUSK</stage_direction>
<scene_description>...BANG. Casper's shot echoes across the train yard -- illuminated by the fading light of day and the radio tower that casts a blue-green glow over it's four tracks and abandoned passenger platform and station. Horacio, Orlando, and Sayra stumble in, exhausted. They take in the space: 150 HUNDRED IMMIGRANTS meander in the yard, huddling in groups, sitting on the tracks and chatting. Some look exhausted like Sayra and her family, some look scared, some look outright scary. Various MEN stare at Sayra and make comments - she's a stand- out. Horacio glares at them, then steers her protectively towards the abandoned platform. Suddenly, the ENTIRE CROWD moves, like a school of fish avoiding danger. Horacio turns to see what everyone is fleeing from. It's nothing, TWO STATION SECURITY GUARDS with SHOTGUNS. Those closest calm down. Some, who ran, are already a hundred feet away. Horacio and Orlando breath a sigh of relief. Lucresia, observing the movements of the crowd, laughs with another LOCAL about how the immigrants move like a school of fish. An IMMIGRANT snaps at her, she snaps back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED STATION PLATFORM - CONTINUOUS</stage_direction>
<scene_description>Orlando helps Sayra up onto the concrete ledge of the abandoned station. He pulls her shoes off. She winces from the pain. Her feet are swollen and blistering.</scene_description>
<character>ORLANDO</character>
<dialogue>You just walked too much today.</dialogue>
<scene_description>Sayra winces again as he places his bag under her calves.</scene_description>
<character>ORLANDO</character>
<dialogue>Let them air out.</dialogue>
<character>HORACIO</character>
<dialogue>We'll buy her some water.</dialogue>
<character>ORLANDO</character>
<dialogue>We have no money.</dialogue>
<scene_description>Horacio pulls out a small TOOTHPASTE tube from his backpack. He screws off the lid and with a string, pulls out a small twist of PESOS and US DOLLARS. Both Orlando and Sayra are surprised. Horacio, pleased with himself, hands Orlando the pesos.</scene_description>
<character>HORACIO</character>
<dialogue>Two big bottles.</dialogue>
<scene_description>Horacio looks at Sayra's feet. He reaches to touch them-</scene_description>
<character>SAYRA</character>
<dialogue>-No-no-no.</dialogue>
<scene_description>He reaches for her foot again.</scene_description>
<character>SAYRA</character>
<dialogue>No!</dialogue>
<scene_description>Horacio sits in an awkward silence next to his daughter, staring at her feet.</scene_description>
<character>HORACIO</character>
<dialogue>Your second toe is longer than your big one.</dialogue>
<scene_description>Sayra looks at her feet self consciously.</scene_description>
<character>HORACIO</character>
<dialogue>That means you're a fast runner.</dialogue>
<scene_description>He pulls out a FOLDED XEROX MAP of Mexico.</scene_description>
<character>HORACIO</character>
<dialogue>Look. This is how far we got today. See...</dialogue>
<scene_description>He places his finger at their position on the SOUTHERN BORDER OF MEXICO with GUATEMALA, tracing along a RAIL LINE that traverses Mexico to the NORTH-EASTERN border of MEXICO...</scene_description>
<character>HORACIO</character>
<dialogue>...if la migra\* (Border Patrol\*) don't get us, we'll be here in two weeks-</dialogue>
<character>SAYRA</character>
<dialogue>Two weeks, chucha?!</dialogue>
<character>HORACIO</character>
<dialogue>Maybe three.</dialogue>
<scene_description>...his finger arrives at a town called REYNOSA, south of Brownsville, Texas.</scene_description>
<character>HORACIO</character>
<dialogue>There... we cross.</dialogue>
<character>SAYRA</character>
<dialogue>New Jersey?</dialogue>
<character>HORACIO</character>
<dialogue>It's not on the map.</dialogue>
<scene_description>He looks at her, she seems pale.</scene_description>
<character>HORACIO</character>
<dialogue>Are you nervous? About the trains? Bandits?</dialogue>
<scene_description>Sayra seems lost in thought. Horacio motions to the HUNDREDS of Immigrants around them.</scene_description>
<character>HORACIO</character>
<dialogue>Not half these people are going to make it.</dialogue>
<parenthetical>(he let's this sink in on her)</parenthetical>
<dialogue>But we will.</dialogue>
<scene_description>He puts the map in his wallet. A picture of a woman peeks out. Sayra pulls the picture out: a WOMAN holds TWO little GIRLS, 4 & 5, with Horacio smiling behind them. The photo only reminds her of who her father has been spending his last ten years with. She doesn't like it.</scene_description>
<character>HORACIO</character>
<dialogue>Yessenia's not as pretty as your mother was but she has a good heart.</dialogue>
<scene_description>Horacio notices a WOODEN BRACELET on Sayra's arm with images of SAINTS.</scene_description>
<character>SAYRA</character>
<dialogue>Pretty girls.</dialogue>
<character>HORACIO</character>
<dialogue>Thank you.</dialogue>
<scene_description>He takes the picture back and looks at it longingly. He flips it over and caresses a ladies handwritten note, "vuelve pronto." He notices Sayra still looking at the photo.</scene_description>
<character>HORACIO</character>
<dialogue>Keep it. They're your family now, too.</dialogue>
<character>SAYRA</character>
<dialogue>I don't want a picture of your family.</dialogue>
<scene_description>She gently pushes the photo back towards him. He puts it back in his wallet.</scene_description>
<character>HORACIO</character>
<dialogue>I don't expect you to just forget everything that's happened, but I would like you to try to understand I did what I had to do.</dialogue>
<character>SAYRA</character>
<dialogue>Horacio, we don't need to act like other fathers and daughters, we don't even need to be friends, okay? We're adults, as far as I'm concerned, you're taking me with you, I'm grateful.</dialogue>
<scene_description>Orlando throws Horacio the bottle, who pops it open and hands it to Sayra.</scene_description>
<character>HORACIO</character>
<dialogue>Here.</dialogue>
<scene_description>Lucresia saunters by, announcing her products with a lazy drawl...</scene_description>
<character>LUCRESIA (O.S.)</character>
<dialogue>Tortillas, soup, coffee...</dialogue>
<character>HORACIO</character>
<dialogue>I'm going to call home.</dialogue>
<scene_description>He walks towards the impromptu cafe where other immigrants are lined up to use the phone. Orlando yells after him...</scene_description>
<character>ORLANDO</character>
<dialogue>9-0-8-5-5-5-0-1-8-7</dialogue>
<scene_description>Then break into laughter together.</scene_description>
<character>SAYRA</character>
<dialogue>I remember him handsomer.</dialogue>
<character>ORLANDO</character>
<dialogue>Ah, no. I'm the handsome one in the family.</dialogue>
<scene_description>Sayra smiles.</scene_description>
<character>ORLANDO</character>
<dialogue>So, ain't so bad, is it?</dialogue>
<character>(BEAT)</character>
<dialogue>Don't act like you're not a little bit happy.</dialogue>
<character>SAYRA</character>
<dialogue>If he wasn't deported we wouldn't be here.</dialogue>
<character>ORLANDO</character>
<dialogue>That don't matter anymore.</dialogue>
<character>SAYRA</character>
<dialogue>It does to me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EL LIL' MAGO'S BACK PATIO - DUSK</stage_direction>
<scene_description>Smiley sits by himself. He seems sick and slightly bewildered. El Lil' Mago sits down next to him, rubbing his neck in a brotherly way.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>The first time is like that. You'll feel better, you're part of a family with thousands of brothers. Where ever you go, there'll be someone to take care of you.</dialogue>
<scene_description>Smiley nods, he stares at the child playing in the candy rapper trash, then at TWO DOGS eating a bowl of raw MEAT ON BONES. El Bomba comes out of the house with tortillas, a bowl of vegetables and beans. Kimberly follows him with the bucket of soda.</scene_description>
<character>EL BOMBA</character>
<dialogue>Eat.</dialogue>
<scene_description>El Lil' Mago rises, grabs a tortilla and rolls it in his hands, joining El Casper smoking a cigarette. Casper hands the butt to El Lil' Mago to share. Lil' Mago holds his kid on his lap.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Hungry?</dialogue>
<scene_description>El Casper shakes his head. His cell phone BEEPS. He looks at it, another text from Martha Marlen: Vienes o no? . He stuffs the phone away.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Who was that?</dialogue>
<character>EL CASPER</character>
<dialogue>Dunno, no Caller ID.</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>I hate that, you know, when people don't show their numbers? It's really impolite.</dialogue>
<scene_description>El Lil' Mago studies El Casper's response, he nods. Casper finishes off the cigarette and scrapes it out. The embers flare as they die. Everyone in the yard stuffs their mouth.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>El Sol didn't see you today, in La Bombilla.</dialogue>
<character>EL CASPER</character>
<dialogue>We must have just missed each other.</dialogue>
<character>EL BOMBA</character>
<dialogue>El Peluquin and Turbino are doing dishes tonight.</dialogue>
<character>EL TURBINO</character>
<dialogue>Eh, we did them yesterday.</dialogue>
<character>EL BOMBA</character>
<dialogue>And I cooked yesterday... so? You going to have our guests do them?</dialogue>
<scene_description>El Turbino looks at Piqaro and Smokey shyly. His food hangs on the side of his mouth.</scene_description>
<character>EL LIL' MAGO</character>
<parenthetical>(to El Casper)</parenthetical>
<dialogue>So, El Sol didn't see you and it took four days to find a chavala for Smiley?</dialogue>
<parenthetical>(he pauses, searching Casper's face)</parenthetical>
<character>(MAS)</character>
<dialogue>EL LIL' MAGO (CONT'D) (continuación)</dialogue>
<scene_description>It's cool, I don't know, I guess I just miss seeing you more, carnal. Remember the old days? In Brownsville, we used to kick it like royalty. El Casper half smiles, wistfully.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Sometimes I wish we could just go back to those days.</dialogue>
<scene_description>El Lil' Mago gives El Casper a drunken kiss on his forehead, then puts his toddler on El Casper's lap. He strolls across the patio and grabs Kimberly.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Casper, you look like shit, man. Smile sometimes.</dialogue>
<scene_description>He motions to some of the other girls in the yard, before dragging Kimberly into his room. El Casper stares into Lil' Mago's baby's drooling face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CROWS NEST, LA BOMBILLA - NIGHT</stage_direction>
<scene_description>El Casper and Martha Marlen are perched in a 30 foot tower's basket overlooking the train yard. The city lights twinkle in front of them. Down below, Smiley throws pebbles at the ground, visibly bored. El Casper videos her with the camera...</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Stop.</dialogue>
<scene_description>He looks disappointed, hiding behind the camera. Her finger lazily caresses his ankles...</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>What's wrong?</dialogue>
<scene_description>El Casper turns the camera off.</scene_description>
<character>EL CASPER</character>
<dialogue>Nothing. Why? We're out of your room, aren't you happy?</dialogue>
<scene_description>She doesn't have an answer, she just senses it. He kisses her on her mouth until she has to push him away to breathe. He grabs her breasts with one hand, unzips her pants with the other.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>No. Just hold me.</dialogue>
<scene_description>El Casper sighs, then lays down on her lap.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Why do you guys hang out here?</dialogue>
<character>EL CASPER</character>
<dialogue>'Cause.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Why?</dialogue>
<character>EL CASPER</character>
<dialogue>Why do you care?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Dunno.</dialogue>
<character>EL CASPER</character>
<dialogue>We been doing this for months and you ain't never asked so many questions, until recently.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>I don't know. I guess I just wonder what you do all day?</dialogue>
<character>EL CASPER</character>
<dialogue>Nothing interesting.</dialogue>
<scene_description>Martha Marlen hesitates before asking him...</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Willy... you kill people?</dialogue>
<scene_description>He stands, looking over the sea of immigrants in the train yard below.</scene_description>
<character>EL CASPER</character>
<dialogue>No.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Never? You can tell me, you know.</dialogue>
<character>EL CASPER</character>
<dialogue>Not people... chavalas\* and sometimes stupid ass immigrants. If they're uncooperative bad things happen. It's their own fault.</dialogue>
<scene_description>He notices her thinking about what he just said.</scene_description>
<character>EL CASPER</character>
<dialogue>See this train here? This is our train. What would you say if I said that you and I should get on it right now and take it all the way to Texas? Have you ever been to Texas?</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>You know I haven't.</dialogue>
<character>EL CASPER</character>
<dialogue>There's this spot on the highway to Houston, a gigantic field of flowers, and the sky is all blue with puffy clouds. It looks like the cover of a magazine.</dialogue>
<scene_description>Martha Marlen leans on him.</scene_description>
<character>EL CASPER</character>
<dialogue>We could go to Six Flags.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>I have school in five hours, stupid.</dialogue>
<scene_description>Somehow the rejection hurts him. He plays it off...</scene_description>
<character>EL CASPER</character>
<dialogue>I know... I'm just playing.</dialogue>
<character>(BEAT)</character>
<dialogue>Sort of.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Tell me you love me.</dialogue>
<character>EL CASPER</character>
<dialogue>I love you.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Tell me you're going to stop hiding me.</dialogue>
<character>EL CASPER</character>
<dialogue>I don't-</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>You do, you hide yourself from me.</dialogue>
<character>EL CASPER</character>
<dialogue>You know all there is that's worth knowing about me.</dialogue>
<scene_description>Feeling that he's blocking her out again, her temper flares. She climbs down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF CROWS NEST - CONTINUOUS</stage_direction>
<scene_description>El Casper follows Martha Marlen down to the base of the tower. Smiley sits at the bottom, smoking a cigarette. Martha Marlen storms past him.</scene_description>
<character>EL CASPER</character>
<dialogue>Wait.</dialogue>
<character>MARTHA MARLEN</character>
<parenthetical>(to El Casper)</parenthetical>
<dialogue>You think I don't know what you do? All day with your friends? Partying with girls, fucking around and stuff.</dialogue>
<scene_description>Martha Marlen looks at him, waiting for a response. El Casper's attention drifts O.S. Out of the darkness, El Sol approaches them, flanked by FOUR others.</scene_description>
<character>EL SOL</character>
<dialogue>El Casper, Smiley.</dialogue>
<scene_description>El Casper freezes.</scene_description>
<character>EL CASPER</character>
<dialogue>Sol, sup carnal?</dialogue>
<character>EL SOL</character>
<dialogue>Sup.</dialogue>
<character>SMILEY</character>
<dialogue>Sup, Sol.</dialogue>
<scene_description>El Sol takes Martha Marlen in with his eyes, appreciating her beauty.</scene_description>
<character>EL SOL</character>
<dialogue>Who's this?</dialogue>
<scene_description>El Casper motions to Martha Marlen.</scene_description>
<character>EL CASPER</character>
<dialogue>Martha Marlen, El Sol -- El Sol, Martha Marlen.</dialogue>
<scene_description>Martha Marlen greets El Sol with a certain amount of apprehension, he shakes her hand. El Sol looks at her but addresses El Casper.</scene_description>
<character>EL SOL</character>
<dialogue>She your jaina (girl\*)?</dialogue>
<character>EL CASPER</character>
<dialogue>She's... a friend.</dialogue>
<scene_description>Martha Marlen looks at El Casper trying to suppress her surprise. El Sol looks between them both, then at Smiley, who looks at the ground.</scene_description>
<character>EL SOL</character>
<dialogue>We're having a parla tomorrow in the cemetery.</dialogue>
<character>EL CASPER</character>
<dialogue>Word.</dialogue>
<character>EL SOL</character>
<dialogue>See you tomorrow, then.</dialogue>
<character>SMILEY</character>
<dialogue>Word.</dialogue>
<scene_description>El Sol starts to turn and walk away, then spins around.</scene_description>
<character>EL SOL</character>
<dialogue>Watch your backs. It'll be a packed train tonight, you never know who might be lurking in the crowd.</dialogue>
<scene_description>El Sol spins walks into the darkness of the yards. El Casper turns to Martha Marlen.</scene_description>
<character>EL CASPER</character>
<dialogue>I'm taking you home.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>'Friend'?</dialogue>
<scene_description>El Casper feels the daggers from her eyes. He grabs her arm. She pulls away.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>Let go of my arm.</dialogue>
<character>EL CASPER</character>
<parenthetical>(to Smiley)</parenthetical>
<dialogue>Is it okay if I crash at your house tonight?</dialogue>
<scene_description>Smiley nods.</scene_description>
<character>EL CASPER</character>
<dialogue>Wait here, then.</dialogue>
<scene_description>El Casper runs to catch up with Martha Marlen, disappearing into the darkness.</scene_description>
<character>SMILEY</character>
<parenthetical>(mimicking El Casper)</parenthetical>
<dialogue>Wait here Smiley. Wait here.</dialogue>
<scene_description>In the distance, the ghostly WHISTLE of a coming train echoes from the darkness. Smiley sits back down and starts throwing pebbles again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD - CONTINUOUS</stage_direction>
<scene_description>Horacio reaches to wake Sayra, but she is already up, her eyes red from an unrestful sleep. El Sol and his Maras walk past them. Horacio keeps a wary eye on them. Orlando notices them too. He takes out a photograph of CECI and kisses it before placing it in the bible while keeping his eyes on them. Again the WHISTLE echoes out of the darkness. Chaos ensues as 300 IMMIGRANTS hustle to find their groups. Another WHISTLE blasts even louder. Sayra watches the far end of the tracks. The FREIGHT TRAIN emerges from the darkness, bathed in the blue-green glow. It's a gigantic two-engine, 30 car beast, already covered with 100 HUNDRED IMMIGRANTS. It glides into the train yard with a STOMACH SHAKING RUMBLE, dividing the yard in half as it comes to a halt. Horacio grabs Sayra's and Orlando's hands.</scene_description>
<character>HORACIO</character>
<dialogue>Don't let go.</dialogue>
<scene_description>Fighting against the movement of the crowd towards the grain cars, Horacio plunges into the fray. A high-pitched POP and WHOOSH blasts from the breaks. Dozens of immigrants flinch, jumping away from the wheels of the train in a wave. Horacio climbs the ladder to the roof of a car and disappears leaving Sayra and Orlando below. They are pushed around by others, waiting of Horacio to reappear. His head peeks over the edge and waves urgently for Sayra and Orlando to join him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR</stage_direction>
<scene_description>Sayra and Orlando heave themselves up over the edge and walk towards the center of the car. They are at least two stories high in the air, flanked by a DOZEN IMMIGRANTS on the top of one car. Sayra clasps Orlando's hands without realizing it. Around them immigrants run back and forth, yelling across cars. The engine clanks into reverse, pushing cars into each other, then settles. A silence settles over the yard as the hundreds of immigrant wait. Down at the back of the train, in the darkness at the end of the station, an IMMIGRANT yells to Lucresia to bring some of her food over...</scene_description>
<character>LUCRESIA</character>
<parenthetical>(yelling back)</parenthetical>
<dialogue>Hell no! You come here. If I go down there they'll break my ass.</dialogue>
<scene_description>DONALD, forties with frazzled hair and a round face, pokes his head over the top of the box car.</scene_description>
<character>DONALD</character>
<dialogue>No train. Derailed upstate. Dozens killed.</dialogue>
<scene_description>Horacio turns towards him.</scene_description>
<character>HORACIO</character>
<dialogue>Where did you hear that?</dialogue>
<character>DONALD</character>
<dialogue>Others. No train North tonight, maybe not tomorrow either.</dialogue>
<scene_description>They look at each other, commiserating. Horacio slaps his hat in frustration. Down the line of the train, the passing of the word "no train" is met with moans of disappointment. Lucresia calls out that her "shop" is still "open".</scene_description>
</scene>
<scene>
<stage_direction>27A EXT. TAPACHULA TRAIN YARD (AKA LA BOMBILLA) - DAWN 27A</stage_direction>
<scene_description>The sleeping immigrants lie in uncomfortable groups all over the yard and train.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMILEY'S HOUSE - MORNING</stage_direction>
<scene_description>Smiley's walls are decorated with magazine pages of cartoon characters and soccer stars. El Casper sleeps on the floor while Smiley quietly looks through the photos on his digital camera. He is visibly intrigued by the pseudo-naked pictures of Martha Marlene. Abue opens the door. She looks like a living corpse, thin and fragile.</scene_description>
<character>ABUE</character>
<dialogue>Benito, go and get tortillas.</dialogue>
<scene_description>Casper sits up groggily, wiping his face. She notices Casper sleeping on the floor, mutters to herself, then disappears. Casper notices the camera in Smiley's hands. Enraged, he snatches it out and stuffs it in his pants.</scene_description>
<character>EL CASPER</character>
<dialogue>Don't ever touch that again. It's mine.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD (AKA LA BOMBILLA) - DAY</stage_direction>
<scene_description>Horacio is surrounded by Sayra and SEVERAL other laughing and amused immigrants. They all pay attention to Horacio, who has a handfull of stones.</scene_description>
<character>HORACIO</character>
<dialogue>How much?</dialogue>
<character>DONALD</character>
<dialogue>60 Lempiras.</dialogue>
<character>HORACIO</character>
<dialogue>What am I going to do with Lempiras?</dialogue>
<character>DONALD</character>
<dialogue>Wipe your ass.</dialogue>
<scene_description>Horacio laughs. He readjusts his baseball cap, like a pitcher, then takes the stones and fires off three stones at PLASTIC BOTTLES some thirty feet away. Each one falls down. The Immigrants gasp impressed.</scene_description>
<character>SAYRA</character>
<dialogue>Do it again.</dialogue>
<scene_description>Horacio quickly fires of three more stones at the reset plastic bottles. The Immigrants are doubly amused. Horacio holds out his hand to collect the lempiras. Donald pays up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA HOUSE - DAY</stage_direction>
<scene_description>El Bomba, El Smokey, El Piqaro, El Casper and El Smiley watch 80's rock ballad music videos on a television with a highly improvised antenna system. Visible in another room, Lil' Mago and El Sol discuss something quietly.</scene_description>
<character>SOL</character>
<dialogue>It's hard, but you're the Primera Palabra. You got to be the example, the meanest, the illest, that's why you are respected.</dialogue>
<character>(BEAT)</character>
<dialogue>You have something I didn't have, jomi, that's why I and the Barrio chose you.</dialogue>
<scene_description>Casper looks at them, but Sol shuts the door. El Bomba brushes his teeth, when he's done he gives the toothbrush to El Bomba. When he's done he'll give it to El Smokey, and so on until Smiley... MARIA and Kimberly sit around Smiley.</scene_description>
<character>EL BOMBA</character>
<parenthetical>(to Smiley)</parenthetical>
<dialogue>Smiley, do you wear anything else besides your school uniform?</dialogue>
<scene_description>They laugh at him.</scene_description>
<character>MARIA</character>
<dialogue>Ah, it's cute.</dialogue>
<scene_description>Maria ruffs up his hair.</scene_description>
<character>SMILEY</character>
<parenthetical>(shyly)</parenthetical>
<dialogue>My Grandma hasn't done laundry yet.</dialogue>
<scene_description>El Turbino pulls off his shirt and throws it to Smiley.</scene_description>
<character>EL TURBINO</character>
<dialogue>You can have it.</dialogue>
<scene_description>Smiley looks at the shirt, excited, it's a nice button up. Kimberly sits between El Bomba and El Casper. She whispers in their ears...</scene_description>
<character>KIMBERLY</character>
<dialogue>Don't let your friend kiss her.</dialogue>
<scene_description>She motions to Maria, who flirts with Smiley wearing his new shirt.</scene_description>
<character>EL BOMBA</character>
<dialogue>Why?</dialogue>
<character>KIMBERLY</character>
<dialogue>She just gave El Sol a blow job.</dialogue>
<scene_description>El Casper looks at El Bomba. Both of them watch Smiley. Maria kisses him on his ear as he fumbles to brush his teeth. After he puts the toothbrush down, they begin to tongue each other. El Turbino and El Bomba can't contain their laughter. El Sol and Lil' Mago enter the room.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Meeting. Let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI BRIDGE - DUSK</stage_direction>
<scene_description>El Casper, Smiley, El Lil' Mago, El Bomba and about THREE DOZEN of El Lil' Mago's clica of Mara Salvatruchas walk across the bridge.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - DUSK</stage_direction>
<scene_description>The Maras sit in a circle. El Lil' Mago is finishing up speaking...</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>...We still need more cash to buy food and supplies for our homies in prison. We could also use cash for El Serpiente's Mom who's sick and needs medicine... Lastly, some of our homies are failing at their responsibilities. The fucking diecioyo's are right on top of us, none of you can be sleeping... there will be cortes for this. Casper, Smiley, you lied to me.</dialogue>
<scene_description>Casper looks up, surprised.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Where'd you go? After La Bombilla?</dialogue>
<scene_description>Smiley looks back and forth between Lil' Mago and Casper.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Smiley? Where'd you guys go?</dialogue>
<scene_description>Smiley's frozen. Unable to decide whether to lie or tell the truth.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>That's what I thought. Both of you will receive cortes. That's it for now. La Mara por vida.</dialogue>
<scene_description>The rest of the Maras raise their hands, "la mara por vida." Smiley, completely confused, looks around him for answers, but no one talks to him. Out of the corner of his eye El Casper catches sight of something and double-takes. It's Martha Marlen lurking behind a tomb. He doesn't know how long she was there, but she didn't just show up. She walks towards him with a hint of self-consciousness. He jumps to meet her.</scene_description>
<character>EL CASPER</character>
<parenthetical>(hushed)</parenthetical>
<dialogue>What the hell are you doing here?</dialogue>
<scene_description>Martha Marlen smiles and kisses him, noticing the girls, and every one else for that matter, staring at her.</scene_description>
<character>EL CASPER</character>
<dialogue>You need to leave. Now.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Why?</dialogue>
<parenthetical>(at the girls)</parenthetical>
<dialogue>Private party?</dialogue>
<scene_description>El Casper grabs her by the arm and starts to walk her out, but El Lil' Mago cuts them off. El Lil' Mago looks straight at Martha Marlen.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Who's this?</dialogue>
<character>EL CASPER</character>
<dialogue>A friend.</dialogue>
<scene_description>Martha Marlen notices Kimberly and Maria staring her down.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>From Las Guacas?</dialogue>
<character>MARTHA MARLEN</character>
<parenthetical>(insulted)</parenthetical>
<dialogue>Parque Hidalgo. Next to the Cacahuatán colectivos.</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>Oh. My bad.</dialogue>
<character>EL CASPER</character>
<dialogue>I was just going to show her out.</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>No. Uh uh.</dialogue>
<character>EL CASPER</character>
<dialogue>Come on.</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>I can show her out. Or she can wait and watch. Which do you prefer? You're not going anywhere.</dialogue>
<character>EL CASPER</character>
<parenthetical>(peering hard at Lil' Mago)</parenthetical>
<dialogue>Show her out. Quickly.</dialogue>
<scene_description>El Lil' Mago turns his back to El Casper and walks Martha Marlen away. She looks back at him confused. He watches her go.</scene_description>
<character>EL SOL</character>
<dialogue>Carnal, you ready?</dialogue>
<scene_description>His attention snaps back to El Sol.</scene_description>
<character>EL CASPER</character>
<dialogue>What?</dialogue>
<scene_description>El Casper stares at El Sol, there is a moment of cold understanding between them. Realizing his error, he whips around back towards Martha Marlen -- but she has disappeared. WHAM. It's as if the GROUND comes up to meet his face. El Bomba stands over him. Others jump in and start beating him. He jumps to his feet again, fighting to get away.</scene_description>
<character>EL SOL</character>
<dialogue>26 second corte for lying... One... two... three...</dialogue>
<scene_description>El Casper fights back, punching and kicking his attackers. Smiley watches confused. El Sol turns to him...</scene_description>
<character>EL SOL</character>
<dialogue>You too, Smiley. 13 second corte for lying with Casper.</dialogue>
<scene_description>Smiley looks up in shock just as he's knocked in the face. SEVERAL Mareros kick him over and over again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEIBA TREE - DUSK</stage_direction>
<scene_description>El Lil' Mago walks Martha Marlen down the hill past a gigantic trunk of a Ceiba tree, some twenty feet in diameter. On the other side, out of view from the others, El Lil' Mago stops. He sits down on one of the giant roots.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>This is the tallest tree in the forest. If you climbed to the top of this one, you could almost see China.</dialogue>
<character>MARTHA MARLEN</character>
<dialogue>Why couldn't Willy come?</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>Willy? You mean El Casper?</dialogue>
<character>MARTHA MARLEN</character>
<parenthetical>(self consciously asserting herself)</parenthetical>
<dialogue>Willy.</dialogue>
<scene_description>El Lil' Mago eyes her.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Ah... I get it. You're the reason he's been missing.</dialogue>
<parenthetical>(he laughs to himself)</parenthetical>
<dialogue>Sit. I want to talk to you.</dialogue>
<scene_description>She sits.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Closer.</dialogue>
<scene_description>He pats the tall root, beckoning her closer. She looks around, uncomfortably.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Don't worry, I won't bite.</dialogue>
<scene_description>She moves in a couple of inches.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>So you and El Casper aren't just friends. Are you?</dialogue>
<scene_description>El Lil' Mago puts his hand on Martha Marlen's leg. She looks as if her stomach is turning into knots.</scene_description>
<character>MARTHA MARLEN</character>
<dialogue>I have to go.</dialogue>
<scene_description>El Lil' Mago rubs her leg, slowly moving higher.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>How much time you guys spend together?</dialogue>
<scene_description>Martha Marlen is frozen.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>You know what the most important rules are in maintaining friendships?</dialogue>
<scene_description>El Lil' Mago moves in closer, right near her face.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Honesty...</dialogue>
<scene_description>He grabs her breasts. A wave of fear washes over Martha Marlen. He breathes in her smell around her neck.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>...and generosity.</dialogue>
<scene_description>She pulls away as he kisses her neck, but he holds onto her. She tries to break free but he reaches around her and pulls her in. She pushes him, he pushes back. She jumps back against the tree, but El Lil' Mago grabs her in a chokehold, ripping her NECKLACE off. He holds her in a chokehold and brings her to the ground, unzipping his pants. She struggles with all her might, but El Lil' Mago overpowers her and holds her tightly. He turns her over, pulls at her pants, gets them down. She struggles to find a grip, his arm wraps around her face. She bites him so hard he bleeds, letting her go. She tries crawling away, dazed, trying to find an escape, El Lil' Mago kicks her from behind. Her face slams into the ground hard, piercing her temple on a broken gravestone. El Lil' Mago stands over her, realizing he may have gone too far.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Hey? Hey? You okay?</dialogue>
<scene_description>He rolls her over, she's gone. He's upset, like a dog who knows he's done wrong. He sits down next to her, catching his breath, rationalizing. He notices her necklace on the ground and picks it up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - LATER, NIGHT</stage_direction>
<scene_description>El Casper, holding his belly, slowly makes his way down a row of grave stones. Lil' Mago appears out of the darkness and walks past him.</scene_description>
<character>EL CASPER</character>
<dialogue>Where's Martha Marlen?</dialogue>
<scene_description>Lil' Mago doesn't answer. He sits down next to a fire. His mood is somber, his tone cold and hard.</scene_description>
<character>EL CASPER</character>
<dialogue>Where is she?</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>She's gone.</dialogue>
<character>EL CASPER</character>
<dialogue>Home?</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>Devil took her.</dialogue>
<scene_description>These words register on El Casper's face. His emotions strangle his heart in a vice as he tries to contain himself.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>You'll find another.</dialogue>
<scene_description>El Lil' Mago stretches. El Casper can't contain himself anymore, his eyes squeeze tears. El Lil' Mago notes it, but it's unclear if he feels remorse. El Casper starts to head into the darkness, searching...</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Wait.</dialogue>
<scene_description>Lil' Mago motions him over to Smiley, who cries on the ground ten feet away from him, throbbing with fresh wounds. El Lil' Mago kneels down next to him.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Smiley...</dialogue>
<scene_description>El Lil' Mago hands Smiley a Chimba.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Here. This is yours now. Take care of it.</dialogue>
<scene_description>Smiley grasps the chimba, confused by the gesture but excited by the gift. El Lil' Mago pats his head. He turns and faces Casper...</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>We're going on a little trip to Tonála. You, me and Casper. A little family vacation.</dialogue>
<scene_description>El Lil' Mago smiles at Casper genuinely, unzips his pants and pisses on a mausoleum.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>One more thing, carnal, lie to me again and I will kill you.</dialogue>
<scene_description>El Casper's eyes tear. He looks out into the darkness, where he lost Martha Marlen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD - NIGHT</stage_direction>
<scene_description>The train yard is filled with 300 IMMIGRANTS waiting for the train to move again. Sayra and Horacio eat canned refried beans and tostadas. They look exhausted as they stuff their faces. Horacio watches as Sayra separates the beans from the rice from the meat, then eats one section at a time. She picks out the seeds from a pepper and scrapes them off her plate.</scene_description>
<character>HORACIO</character>
<dialogue>Your Mom didn't like chile either.</dialogue>
<scene_description>Sayra turns her bracelet on her wrist.</scene_description>
<character>HORACIO</character>
<dialogue>Did she give that to you?</dialogue>
<scene_description>Sayra shakes her head.</scene_description>
<character>HORACIO</character>
<dialogue>She used to wear one like that.</dialogue>
<character>(BEAT)</character>
<dialogue>I bought it for her in the Coahuitas market when I was courting her.</dialogue>
<character>SAYRA</character>
<dialogue>I know.</dialogue>
<scene_description>Horacio laughs to himself, seemingly lost in memories. Suddenly movement erupts down the line. Orlando runs up to them.</scene_description>
<character>ORLANDO</character>
<dialogue>Thank be to God... the tracks have been cleared. The train's leaving tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TAPACHULA TRAIN YARD - NIGHT</stage_direction>
<scene_description>From high above, the massive freight train is covered with human bodies. It pulls forward slowly, each car yanking on the next in one long clanking succession. Sarya, Horacio, and Orlando clamor for a position on top of a box car. The train cars hammer into each other again as the train picks up speed. Sayra's eyes are wide with uncertainty as she watches the blue light from the radio tower pass over them and towards the back of the train. Horacio pulls her and Orlando into him, holding them like two kids. Suddenly they are enveloped in darkness. Anxiety tickles her spine, the hair rises on her neck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF TRAIN - CONTINUOUS</stage_direction>
<scene_description>El Lil' Mago, El Casper, and Smiley get ready to jump aboard. El Casper is bent over, nauseous. He watches El Lil' Mago in the dark, a bitter hate in his eyes. As they jump aboard immigrants distance themselves as best they can. They know quite well who they are and what they can do. Smiley looks around excited. He's never been on a train before. He looks at Casper, but he is locked in an adrenaline drained trance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIAPAS COUNTRY-SIDE - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>SOCONUSCO, CHIAPAS</dialogue>
<character>SUPER:</character>
<dialogue>U.S. BORDER, 1530 MILES NORTH</dialogue>
<scene_description>The train in full daylight is packed with people, like a gigantic conveyor belt snaking through lush farmlands. Sayra drinks the last few drops of water from their bottle. Everyone on the car is hot, sweating, and exhausted.</scene_description>
<character>ORLANDO</character>
<dialogue>Aguas.</dialogue>
<scene_description>They duck as the branches of a tree brush over them. CHIAPAS COUNTRY-SIDE The train crosses the humid landscape, passing in front of an abandoned village and a church, half buried with dirt and covered in a tall grass. BETWEEN TRAIN CARS El Lil' Mago, El Casper, and Smiley refuse tortillas offered by the immigrants next to them. Lil' Mago pulls out their own food and disperses it to Casper and Smiley. El Casper holds the food, but he doesn't eat it. In a trance, he stares at the passing ground just underneath them. His eyes are red. Smiley points to Casper's food. He hands it to him without looking. Smiley stuffs it in his mouth. NORTH CHIAPAS COUNTRY-SIDE The sun begins to set as the train curves around a mountain. Just west, a great lagoon reflects the orange light of the sun. Above it, storm clouds brew, casting a dark shadow across the mountain and Eastern sky. TOP OF BOXCAR Sayra, Horacio, and Orlando look tired, sun burned and thirsty. The sky opens up and pours down rain. Horacio taps Orlando.</scene_description>
<character>HORACIO</character>
<dialogue>Pull out the plastic.</dialogue>
<scene_description>Sayra pulls it out of Orlando's backpack first, while several of the other immigrants pull out garbage bags, with holes cut out for their heads and arms. Horacio and Sayra spread out what looks like a plastic tarp. It covers at least FIVE people. Others pull out similar sheets and connect theirs with Horacio's, using their hands to hold the seams together. UNDER THE PLASTIC TEN hot and wet immigrants, including Sayra, Horacio and Orlando huddle together with their plastic sheets covering them. Orlando and Sayra laugh as they try to form a water tight seam with the two sheets. IN BETWEEN TRAIN CARS Soaking wet, El Casper notices a sign demarcating in TONALA 5 KM. Suddenly, the heavy iron train cars slam into each other, like thunder rolling down the line of cars, noticeably slowing the train down. The train shutters to a stop, creaking and wheezing, breaks popping. They are stopped somewhere in the dense greenery. Nothing but the rain drops and creaking train can be heard. El Lil' Mago taps El Casper and Smiley. They pull out their weaponry; Smiley has his new chimba, El Lil' Mago a .45 Pistol, and El Casper a machete. El Lil' Mago nods a theatrical "goodbye" to the immigrants next to them, then climbs up to the TOP OF THE BOXCAR. EL CASPER, distracted, climbs up last. 44A El Lil' Mago points at a mound of immigrants hidden under a 44A sheet of plastic. Lil' Mago points at them. He signs them to "lift up" the plastic on his signal. UNDER THE PLASTIC Sayra and Orlando laugh as they drink up the leaking water. Horacio's face is sprayed with water as they re-roll the pieces together. TOP OF BOXCAR El Lil' Mago gives them the signal. They rip it off.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Your fucking money, now!</dialogue>
<scene_description>FIVE unsuspecting immigrants scream as they digest the shock of being surrounded by armed Mareros. They hurriedly empty their pockets. UNDER THE PLASTIC Sayra, Orlando, and Horacio sit calmly; it's not them. Sayra takes a big gulp of water and spits it on Horacio. TOP OF BOXCAR An immigrant MAN empties his pockets. His eyes are filled with an indigestible panic as he avoids El Casper's dark stare. The water comes down so hard that the drops make it seem as if he's crying. Smiley and El Lil' Mago hand money to El Casper, but he's not paying attention. Smiley taps El Casper. He wakes up and places the money into a SMALL BOX. Smiley shakes with excitement, intoxicated with the new power. He pushes the barrel of his chimba into the same man's temple, studying his reaction with pleasure. El Casper looks at Smiley; the boy is learning quickly. El Lil' Mago turns and leads them to the end of the car, scanning the immigrants who stare at him with terror. He makes a running jump to THE NEXT BOXCAR. There, ANOTHER GROUP OF IMMIGRANTS huddle under plastic. El Casper jumps across next, his feet slip on the wet roof but El Lil' Mago catches him. He smiles at El Casper, throwing his arm over his back. Smiley hesitates... He's afraid to jump. Annoyed, Lil' Mago continues on. Casper watches him with contained contempt. UNDER THE PLASTIC Suddenly, light and water pour down on Sayra, Orlando, and Horacio, like a hurricane has ripped off the roof of their temporary house. SHRIEKS of fear scatter in the wind and rain. Sayra closes her mouth tightly as the water pounds her face. Horacio grabs her.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>The fucking money, now.</dialogue>
<scene_description>El Lil' Mago kneels down in front of Sayra. He notices her.</scene_description>
<character>HORACIO</character>
<parenthetical>(to Orlando and Sayra)</parenthetical>
<dialogue>Empty your pockets! Empty them, now!</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>Casper , spit in my face if she don't look like a mini Salmita?</dialogue>
<scene_description>El Lil' Mago jams his pistol into her jaw and forces her head towards Casper. Dread fills Horacio's face, he pleads with El Lil' Mago.</scene_description>
<character>HORACIO</character>
<dialogue>Please!</dialogue>
<scene_description>Horacio automatically grabs El Lil' Mago's shoulder. He smacks Horacio in the head with the pistol, knocking him into a daze.</scene_description>
<character>EL LIL' MAGO</character>
<dialogue>Everyone turn around.</dialogue>
<scene_description>Everyone, including Sayra, Horacio, and Orlando turn around.</scene_description>
<character>EL LIL' MAGO</character>
<parenthetical>(to Sayra)</parenthetical>
<dialogue>No, not you, baby.</dialogue>
<scene_description>Sayra trembles as she turns back around, she looks over her shoulder at Orlando and Horacio, but they are turned with Smiley's chimba pressed against their heads. Sayra looks at El Casper, her eyes plead with him, he looks away. She begins to break down, the fear coursing through her body, she screams for help...</scene_description>
<character>SAYRA</character>
<dialogue>No, please! No! Papi!</dialogue>
<character>EL LIL' MAGO</character>
<dialogue>Take her down with us.</dialogue>
<scene_description>Horacio holds his bleeding head. Orlando prays aloud, crying. We move towards El Casper as time and sound imperceptibly slows... He stares at Sayra, who's eyes plea to him for help. Then at Smiley, who is just now climbing onto their train car. Smiley takes in the scene, the scared immigrant's faces, Horacio's bleeding head, Sayra under Lil' Mago, and El Casper's departed stare. El Lil' Mago gropes Sayra's body. She resists, he smacks the back of her head. The train cars creak, then the distant slamming of cars grows loud again. This time as the train pulls forward, down the line, the rolling boom awakens El Casper from his stupor. He drops the BOX of money, it tumbles off the train. El Lil' Mago sees this, he turns towards El Casper curiously, just in time to see... El Casper's machete bearing down on him, slicing two inches into his neck and severing his jugular. El Lil' Mago stares at El Casper in confusion, his face quickly losing color. El Casper hacks twice more. Blood sprays over Sayra as El Lil' Mago grips his gushing neck and collapses onto her. She kicks him off her violently. Smiley, still holding the chimba to Horacio's head, notices El Lil' Mago's slumped body. His eyes dart up to El Casper, dumbfounded. El Casper snatches the chimba out of Smiley's hands and grabs him, as if he were going to throw him. He looks into Smiley's scared eyes but cannot hurt him. He let's go of him and backs up. His hands shake as he determines the next course of action.</scene_description>
<character>EL CASPER</character>
<dialogue>Get off the train, Smiley.</dialogue>
<character>SMILEY</character>
<dialogue>Casper?</dialogue>
<scene_description>Orlando and the others look at El Casper and Smiley. The train is moving swiftly again.</scene_description>
<character>EL CASPER</character>
<dialogue>Go!</dialogue>
<scene_description>He looks at El Lil' Mago's dead body, its legs twitch. El Casper nudges it. It falls under the wheels of the train and disappears. Smiley is still frozen.</scene_description>
<character>EL CASPER</character>
<parenthetical>(beginning to cry angrily)</parenthetical>
<dialogue>He killed Martha Marlen.</dialogue>
<scene_description>Smiley looks at him in confusion again.</scene_description>
<character>EL CASPER</character>
<dialogue>Go home Benito! Go back to your Grandma.</dialogue>
<scene_description>Smiley retreats down the ladder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN CARS</stage_direction>
<scene_description>Smiley makes a cross on his chest and jumps off the train. His feet pedal fast but his momentum topples him, \* 50A rolling him several times down the train's road bed to a foot 50A path. The train passes by rapidly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR</stage_direction>
<scene_description>Sayra moans an exhausted cry. El Lil' Mago's blood washes down her face in drops of rain. Orlando and Horacio reach out to her...</scene_description>
<character>HORACIO</character>
<dialogue>Are you okay? Did he hurt you?</dialogue>
<scene_description>Horacio tries to hold her, but she pushes him away. From this moment on, EL Casper is no longer El Casper, he has become the civilian WILLY and will be described as such. Nauseated, WILLY stumbles to the other end of the boxcar and vomits, placing the chimba and the bloody machete next to him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD BED - LATER</stage_direction>
<scene_description>The rain has stopped. Smiley stands above El Lil' Mago's body lying in a puddle of blood and water. His eyes are open and his skin is blue/gray, his left leg is gone, ripped off at the hip and his other leg is twisted 180 degrees in the other direction. Flies and mosquitos buzz around his head. Smiley digs around his clothes, pulls out his cell phone. He checks it, it works.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR - NIGHT</stage_direction>
<scene_description>The rain has stopped and the sky is clear. Sayra is quiet. She trembles from the cold and wet clothes. On the other end of the car, Willy sits by himself. Horacio, Orlando, and several other immigrants whisper inaudibly to each other, all we hear is...</scene_description>
<character>IMMIGRANT 1</character>
<dialogue>We are riding with the Devil. He'll curse us all.</dialogue>
<scene_description>They keep their eyes on Willy, unaware that he knows they are watching him. THREE IMMIGRANTS present themselves in front of Horacio, offering CIGARETTES and a COUPLE LOLLI-POPs for Sayra. Horacio accepts the gifts. OTHER SIDE OF BOX CAR - NIGHT Tears begin to drip down Willy's face. He breaks down but makes no noise, as if he were crying on mute. TOP OF BOXCAR - NIGHT Horacio's eyes are red, but they are wide and wary. He looks down at Sayra. She holds herself to stay warm. Orlando covers her with the plastic bag and leans in to whisper to her.</scene_description>
<character>ORLANDO</character>
<dialogue>Are you okay?</dialogue>
<scene_description>Sayra turns away. With her back to Horacio and Orlando, she watches Willy cry. Horacio turns on a FLASHLIGHT and scans the ground next to the tracks. All along the train OTHER IMMIGRANTS do the same, DOZENS of flashlights scanning for bandits, Migra, and Mareros, like WWII air-raid search lights, only here they are pointed at the ground.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR - DAY</stage_direction>
<scene_description>Dawn. The car is divided into two sides, Willy on the front side and the rest of the FORTY immigrants jammed on the other half. Everyone is awake, including Horacio and Orlando (lollipops in mouth), watching Willy. He sits on the edge of the car with his legs dangling over the edge, his eyes half-closed. He struggles to stay awake, wary of the immigrants watching him, but sleep overtakes him. THREE IMMIGRANTS from the night before motion to each other. Two have their farming tools, machetes wrapped in plastic protective sheathes. The other scavenges a large rock formerly used to hold down his tarp. They creep towards Willy quietly, ready to attack. Sayra gasps awake between Horacio and Orlando, both of whom intently watch what is about to go down. Slowly... Sayra realizes what they are doing. They close in on Willy, she points out to the horizon, at first unable to speak, she repeats herself until she finds her voice, suddenly screaming...</scene_description>
<character>SAYRA</character>
<dialogue>Migra!</dialogue>
<scene_description>Everyone, including Willy and the THREE attackers look at her, then where she's pointing. Willy looks at Sayra -- then the attackers. He understands their intent and grabs his chimba. The element of surprise is lost, they retreat back to their side of the train car. Meanwhile, the entire train comes alive as others pass the word, screaming...</scene_description>
<character>IMMIGRANTS</character>
<parenthetical>(telephoning down the train)</parenthetical>
<dialogue>Migra! ...</dialogue>
<scene_description>Hundreds scramble to their feet, ducking and scanning the horizon. Some point out to the side, searching for a glimpse of the raid. Others ready to jump. Horacio and Orlando look where Sayra is pointing, but they cannot see anything. There is no Migra raid. The THREE immigrants who were going to attack Willy sit near Horacio and Sayra, they stare at her suspiciously. Horacio and Orlando look at her, she looks straight back at them, unflinching. OTHER SIDE OF TRAIN CAR - LATER Willy stands up. On the car in front of him, a group of immigrants stare at him. Willy looks at them and they immediately look away. He turns and looks behind him. The same effect happens with the group on his car. Only Sayra holds his stare. He looks down at the rails passing beneath him, flirting with the sensation of falling. He closes his eyes, feels the air rushing around him. His balance waivers, he opens them again and turns to see if Sayra is still staring at him. She is. Orlando and Horacio check in with each other, wondering what he is doing. Willy kneels down and picks up his chimba; he looks around him, at the immigrants who pretend like they're not looking at him, then tosses it off the side of the train.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF BOXCAR - DAY</stage_direction>
<scene_description>The train is stopped. Horacio, Sayra, and Orlando eat more tortillas and beans from a can. Without anything else to drink, immigrants collect brackish water from an irrigation ditch along the tracks with empty soda bottles. Donald offers Sayra a sip. She declines.</scene_description>
<character>DONALD</character>
<dialogue>It's clean.</dialogue>
<character>ORLANDO</character>
<dialogue>It looks like Kool-aid.</dialogue>
<scene_description>Donald sticks the bottle of water to his eye and stares into it like a kaleidoscope.</scene_description>
<character>DONALD</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Clean.</dialogue>
<scene_description>He grabs his shirt, wraps it around the opening and drinks through it like a filter. He pulls out a small box from his pocket and shakes it like a rattler.</scene_description>
<character>DONALD</character>
<dialogue>If we get sick, I have pills.</dialogue>
<scene_description>He rubs his stomach soothingly. Sayra takes the water, wraps her shirt around the top and takes a few sips. She looks at Willy, still in the same place. She grabs a scrap of newspaper, wraps a couple tortillas in it with beans and starts to climb up the train, Horacio grabs her arm...</scene_description>
<character>HORACIO</character>
<dialogue>Sayra.</dialogue>
<scene_description>She yanks free and keeps climbing. Horacio spits.</scene_description>
<character>HORACIO</character>
<dialogue>We're cleaned out, and she gives him our last...</dialogue>
<character>ORLANDO</character>
<dialogue>Be patient with her.</dialogue>
<scene_description>Horacio is visibly frustrated.</scene_description>
<character>ORLANDO</character>
<dialogue>Can't Yessenia send money?</dialogue>
<scene_description>Horacio shakes his head.</scene_description>
<character>HORACIO</character>
<dialogue>No, we'll have to make it to the border on our own, then she can wire the money for the crossing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TOP OF STOPPED TRAIN</stage_direction>
<scene_description>Willy sits by himself. His cell phone beeps again. It's EL Sol: GREENLIGHT. You're dead. The BATTERY warning signals as well. Willy stuffs the phone away, digesting the news. With Willy only a few feet away, Sayra whistles through her teeth. Willy doesn't move. She inches closer, Willy spins around, his hand lingering over his MACHETE. He recognizes her. Sayra holds her free hand up, places a tostada with beans and her lollipop between them. He relaxes, but only slightly.</scene_description>
<character>WILLY</character>
<dialogue>Thank you.</dialogue>
<scene_description>He stretches his other arm out and grabs the food. Donald climbs up to the top of the car. Noticing Sayra and Willy together, he situates himself closer to Willy's side of the train, while maintaining a liberal distance. TWO others follow his lead, extending themselves over more space of the boxcar. Then, more of the group suddenly spread out, fed up with the divide of the car, Horacio and Orlando included.</scene_description>
<character>SAYRA</character>
<dialogue>My name is Sayra.</dialogue>
<scene_description>He hesitates at first, about to say "Casper".</scene_description>
<character>WILLY</character>
<dialogue>Willy.</dialogue>
<scene_description>Saying it, instead of "Casper" fills Willy with remorse. That part of him is dead now. Sayra retreats back to her side of the train car. Alone, Willy eats furiously while keeping a watchful eye on the immigrants around him.</scene_description>
</scene>
<scene>
<stage_direction>INT. EL LIL' MAGO'S HOUSE - DAY</stage_direction>
<scene_description>The Maras are packed into the living room, most cry. El Sol speaks into a cell phone.</scene_description>
<character>EL SOL</character>
<parenthetical>(to El Bomba)</parenthetical>
<dialogue>...I'm almost out of credit. Call D.F. with yours.</dialogue>
<parenthetical>(back into the receiver)</parenthetical>
<dialogue>Yes, on the train.</dialogue>
<character>EL BOMBA</character>
<parenthetical>(to Smiley)</parenthetical>
<dialogue>I don't understand how you let him go?</dialogue>
<scene_description>El Sol hands his phone away.</scene_description>
<character>EL SOL</character>
<dialogue>Because Smiley is a little bitch... We'll find Casper. We'll find him and cut him up into small pieces.</dialogue>
<character>SMILEY</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>I'm no bitch... I came back.</dialogue>
<character>EL SOL</character>
<dialogue>Levanten la garra. Mara Salvatrucha...</dialogue>
<scene_description>They raise their hands in front of their faces, making the "devils horns" with their index fingers for 13 SECONDS, then drop them.</scene_description>
<character>EL SOL</character>
<dialogue>We need to elect the a new Ranflero. Who does the Barrio choose?</dialogue>
<scene_description>With out hesitation the members call out Sol's name. He looks around gravely, it is not what he wanted.</scene_description>
<character>EL SOL</character>
<dialogue>Alright. Alright, I accept. Now... El Casper.</dialogue>
<scene_description>El Sol scratches his chin in pained thought.</scene_description>
<character>EL BOMBA</character>
<dialogue>We should all go, get him now.</dialogue>
<character>EL SOL</character>
<dialogue>We can't. Not with all the pinche chavalas on top of us. We'll loose everything? No. We spread the word. Even if we don't find him immediately, he has no where to go. He'll pop up eventually. And when he does-</dialogue>
<character>SMILEY</character>
<dialogue>-I'm no bitch...</dialogue>
<character>EL SOL</character>
<dialogue>You're lucky I haven't shot you already Smiley... you're not a true Marero. For all we know you helped El Casper escape. Is that what happened? Huh? Huh!?</dialogue>
<character>SMILEY</character>
<parenthetical>(fear coursing threw him)</parenthetical>
<dialogue>No, no. I didn't.</dialogue>
<character>EL SOL</character>
<dialogue>I'm going to banish you from the colonia.</dialogue>
<scene_description>Smiley sinks into a barely perceptible despair, but somewhere inside him, a response to the fear is formed, anger. He tries to find the voice for it...</scene_description>
<character>SMILEY</character>
<dialogue>Don't banish me. Please.</dialogue>
<scene_description>El Sol opens himself up for Smiley to hit him. Smiley doesn't budge.</scene_description>
<character>EL SOL</character>
<dialogue>Prove it. Prove to me you're not a little bitch.</dialogue>
<scene_description>El Sol fakes a movement -- Smiley flinches -- he shakes his head in disappointment.</scene_description>
<character>SMILEY</character>
<dialogue>Send me. Send me to find... to kill El Casper.</dialogue>
<scene_description>El Sol looks at Smiley, a tear drips down his face. El Sol pulls out a rusted .38 Special and points it in Smiley's face. Smiley flinches. Sol flips the gun around and gives it to Smiley.</scene_description>
<character>EL SOL</character>
<dialogue>Go then.</dialogue>
<character>(BEAT)</character>
<dialogue>But Smiley... until El Casper is dead, you can't step one foot in La Confeti.</dialogue>
<scene_description>Smiley avoids the stare of the men, then turns and heads out of the house. Annoyed and impatient, Sol turns his attention to the group.</scene_description>
<character>EL SOL</character>
<dialogue>Call the L.A. ranfleros. Everyone must know, everyone's got to be on the look out for El Casper. He will have no where to hide...</dialogue>
<scene_description>The hatred in El Sol's face is palpable.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR - NIGHT</stage_direction>
<scene_description>You can see all the immigrants, even the ones far in the front, holding onto the side of the cars. Horacio slaps his face to stay awake. Sayra sleeps in between them. Orlando begins to drift off into sleep, but Horacio slaps him. Orlando looks at Horacio surprised. Sayra sits up. She motions for Orlando to lay down. They switch places and he lies down between her and Horacio. Horacio grabs her hand. His eyes are heavy with exhaustion.</scene_description>
<character>SAYRA</character>
<dialogue>Sleep, I'll hold on to both of you.</dialogue>
<scene_description>He shakes his head no, silently mouthing that he's okay. Branches swoosh by, whipping the faces of immigrants sitting too high. OTHER SIDE OF BOXCAR - CONTINUOUS Willy struggles to stay awake. He unbuckles his belt, wraps it through a ring on the wagon top and around his waist again. Below him, between the train cars, a group of immigrants SING to keep themselves awake, their voices are rough, but they sing with conviction. His eyes close for a moment, then he shakes awake again. He feels something in his pocket, realizing he still has the camera, he pulls it out. Turns it on. The glow of the screen illuminates his face. He looks at the IMAGES of Martha Marlene. His eyes tears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OF BOXCAR - DAY</stage_direction>
<scene_description>It's quiet, other than the sound of the creaking train cars and the muffled hammering of iron wheels. The dawn light reveals the overwhelming fatigue on everyone's face, some of whom haven't slept in four days. The train cruises through the largest town they've seen yet. A sign reads ISLAS next to the train tracks. The creaking train rolls past stores and markets opening their doors to the new day. Pedestrians on the streets watch the passing train, half amused, half asleep, while the Immigrants watch the passing town hypnotized with fatigue. Willy, LOLLIPOP in mouth, starts to climb down the stairs, but notices Sayra is watching him. She shakes her head, as if to say, "don't go." He drops down between the cars anyway, unzips his pants and urinates. The idea of jumping off and disappearing into the town dissipates as soon as he begins seeing "M" "S" graffiti along the tracks, just beyond the observing stares of the CITIZENS of the town. The train is the only home he has now. His phone beeps again. He pulls it out. It's dead. He drops it beneath the train and climbs back up. Sayra and he make prolonged eye contact, she smiles to herself.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIERRA BLANCA - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>TIERRA BLANCA, VERACRUZ</dialogue>
<scene_description>SUPER: U.S. Border, 1100 NORTH The train pulls into a similarly ragged and industrial station as the one in Tapachula. Willy notices the large "Devil's Hand" of the Mara Salvatrucha spray painted on the side of a concrete building. Willy scans the horizon, looking for other signs of his former "brothers." Every LONE FIGURE looks like a danger to him. Along the tracks he spots a MAN scanning the immigrants on the trains. Willy's defenses immediately go on alert. They make eye-contact, the man walks towards the train, then disappears behind a wagon. The train slows to a crawl as the 300 Immigrants pile off the train. Some, including Orlando, kneel to the ground and pray. Willy stays atop the train, glancing between Sayra and a GROUP OF MEN he thinks could be Mareros melting into the crowd. Just as he's about to lose sight of Sayra she motions for him to follow her. He jumps down, tucking his machete under his arm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONIA CONFETI BRIDGE - DAY</stage_direction>
<scene_description>Smiley throws rocks into the trash filled river below. The same THREE KIDS from the colonia sit and listen to him.</scene_description>
<character>BENNY</character>
<dialogue>You're going to hurt him?</dialogue>
<scene_description>Smiley nods. The kids mimic his side armed throwing style.</scene_description>
<character>KID #2</character>
<dialogue>You're not going to kill him though, are you?</dialogue>
<scene_description>Smiley nods.</scene_description>
<character>BENNY</character>
<dialogue>But it's Casper.</dialogue>
<scene_description>Smiley throws another rock hard, then another, with each throw he tries to convince himself he's man enough.</scene_description>
<character>SMILEY</character>
<dialogue>It's the responsibility of a true Marero to avenge the death of another. Be it Casper or whoever.</dialogue>
<character>(BEAT)</character>
<dialogue>So, I'm gonna do it... I gotta do it.</dialogue>
<character>BENNY</character>
<dialogue>How? You gotta gun?</dialogue>
<scene_description>Smiley pulls out the rusted .38 -- the kids are both awed and afraid. Smiley smiles at its (and transversely, his own) power, tucking the pistol away again into his pants.</scene_description>
<character>SMILEY</character>
<dialogue>La Mara.</dialogue>
<scene_description>Down the tracks in La Bombilla, the train's WHISTLE BLOWS. Smiley nods goodbye to the kids then heads off down the tracks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP PATIO - DAY</stage_direction>
<scene_description>Willy follows Sayra and her family and about 20 immigrants towards a rest house -- a small concrete home with a patio situated off the tracks. Inside, Immigrants gather to shower, change clothes, and rest in the shade. He eyes everyone carefully, evaluating -- anyone could be a look out for the Maras, or any other gang that could want to kill him. Horacio grabs Sayra, motioning towards Willy.</scene_description>
<character>HORACIO</character>
<dialogue>He's following us.</dialogue>
<scene_description>Sayra knows why. Orlando watches, unsure what to say.</scene_description>
<character>SAYRA</character>
<dialogue>We could help him.</dialogue>
<character>HORACIO</character>
<dialogue>Absolutely not. You're to keep away from him.</dialogue>
<character>SAYRA</character>
<dialogue>Are you ordering me?</dialogue>
<character>HORACIO</character>
<dialogue>He's a murderer- Yes, yes I'm ordering you.</dialogue>
<character>SAYRA</character>
<dialogue>He's in trouble.</dialogue>
<character>HORACIO</character>
<dialogue>I don't care about him. I care about us.</dialogue>
<scene_description>Sayra is disgusted with Horacio, she looks to Orlando for support but he says nothing. Horacio, acutely annoyed, pulls out the XEROX MAP from his pocket.</scene_description>
<character>HORACIO</character>
<dialogue>Look.</dialogue>
<scene_description>He points to TIERRA BLANCA, still only 1/3 of the way to the US BORDER. Sayra is subtly surprised.</scene_description>
<character>HORACIO</character>
<dialogue>We're here. We've got a long way to go, Sayra. We have to stay sharp, stick together. We can't let anyone ruin this, for us, okay?</dialogue>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP PATIO - DAY</stage_direction>
<scene_description>The sun has set but the sky is still light. Thirty\*\* immigrants linger on the patio. Some eat, some sleep, some re-apply make-up, some talk on a pay phone with home. Horacio is in line for the phone while Orlando talks with SEVERAL other immigrants about their economic predicaments back home (45 lempiras a day speech). Sayra, fresh from a shower, sits in front of a GIRL who braids her hair, the girl compliments Sayra's skin. She tries to make herself look pretty again. In a darkened corner of the patio, Willy sits by himself watching the others. No one approaches him.</scene_description>
</scene>
<scene>
<stage_direction>67A EXT. IN FRONT OF IMMIGRANT REST STOP - LATER 67A</stage_direction>
<scene_description>Tired and bored immigrants lie about. Sayra squats next to Willy.</scene_description>
<character>SAYRA</character>
<dialogue>You going to wash up?</dialogue>
<scene_description>Willy shakes his head.</scene_description>
<character>SAYRA</character>
<dialogue>It feels nice.</dialogue>
<character>WILLY</character>
<dialogue>Later, maybe. When there are less people.</dialogue>
<character>SAYRA</character>
<dialogue>Then what'll you do?</dialogue>
<character>WILLY</character>
<dialogue>Dunno.</dialogue>
<character>SAYRA</character>
<dialogue>You going to stay here for the night?</dialogue>
<scene_description>Willy shrugs.</scene_description>
<character>SAYRA</character>
<dialogue>If I find any food, I'll bring you some.</dialogue>
<scene_description>Willy is unsure how to take her kindness. Sayra smiles, then leaves him to his thoughts. LOCALS sit in their patios eating food. The immigrants stare at them enviously, smacking their dry mouths. Atop one of the abandoned train cars, THREE IMMIGRANTS light cigarettes, then one of them bellows out in a joking tone...</scene_description>
<character>IMMIGRANT HOST</character>
<dialogue>Thank you and welcome to the show! I know some of you have come from as far away as San Pedro Sula to see this, you won't be disappointed! First up on our line up, Eugenio will sing a love ballad to his third and ugliest wife...</dialogue>
<scene_description>For a moment, the immigrants laugh, able to forget the hunger pangs and boredom. Both Willy and Sayra smile. He looks around at the other smiling faces, one of them, a glue sniffer with no teeth smiles while looking at him hard, he makes the sign of a Barrio 18, but Willy doesn't really flinch, he knows he's just a glue sniffer.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP PATIO - LATER</stage_direction>
<scene_description>Willy walks past Horacio on the way to the showers. Horacio grabs his arm.</scene_description>
<character>HORACIO</character>
<dialogue>What's your name son?</dialogue>
<character>WILLY</character>
<parenthetical>(pulling his arm from Horacio's grasp)</parenthetical>
<dialogue>Willy.</dialogue>
<character>HORACIO</character>
<dialogue>Willy... my name is Horacio. That girl over there, she's my daughter, Sayra, and he over there is my little brother, Orlando. They're my family and they mean more to me than anything else. For what you did on the train, maybe I owe you something. If it's money you want, I'll give you some as soon as my wire comes in, other than that, I don't know you, I don't trust you, and I don't want you coming anywhere near my family. Do you understand me?</dialogue>
<scene_description>Willy nods, he knows Horacio's type. Stubborn and impenetrable. He walks away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP PATIO - DAY</stage_direction>
<scene_description>Willy and Sayra help prepare a meal for the Señora of the house, a kind faced middle aged woman. He notices the contrails of a passenger-jet over head. He stares at it long enough that she notices and squints to see what he's looking at.</scene_description>
<character>WILLY</character>
<dialogue>Ever been on one?</dialogue>
<scene_description>She shakes her head.</scene_description>
<character>WILLY</character>
<dialogue>Me neither.</dialogue>
<character>(BEAT)</character>
<dialogue>In Texas I saw the factory where they make them-</dialogue>
<character>SAYRA</character>
<dialogue>-You've been to Texas?</dialogue>
<character>WILLY</character>
<dialogue>I've been to little of everywhere. This factory had this huge globe, like a giant ball, all lit up and bright. I wanted to climb it.</dialogue>
<character>SAYRA</character>
<dialogue>I'll look for it, when I get there.</dialogue>
<character>WILLY</character>
<dialogue>If you get there.</dialogue>
<character>SAYRA</character>
<dialogue>I will. I know I will. Back home, my friend Clarissa made me see this crazy neighbor, Doña Eleanor, you know, like witchcraft? She smoked this puro, then told me with her freaky voice that I'd make it to the U.S. but not in God's hand, perhaps in the Devils.'</dialogue>
<character>WILLY</character>
<dialogue>My girl saw a woman like that once.</dialogue>
<character>SAYRA</character>
<parenthetical>(playing it nonchalant)</parenthetical>
<dialogue>You have a girl?</dialogue>
<scene_description>Martha Marlen's death hits Willy again. Willy focuses on his work again.</scene_description>
<character>WILLY</character>
<dialogue>No.</dialogue>
<scene_description>The conversation falls into silence. Sayra looks at Willy who seems like his mind is elsewhere.</scene_description>
<character>SAYRA</character>
<dialogue>You should come with us. We're going to New Jersey.</dialogue>
<scene_description>Willy doesn't even look at her.</scene_description>
<character>WILLY</character>
<dialogue>I don't think your father would be cool with that.</dialogue>
<character>SAYRA</character>
<dialogue>Doesn't matter, he's my father only in blood.</dialogue>
<character>WILLY</character>
<dialogue>And your mom?</dialogue>
<character>SAYRA</character>
<dialogue>Hurricane Mitch. Just sort of... swept her away. Almost swept us both away, but it didn't, I guess.</dialogue>
<scene_description>Willy listens quietly.</scene_description>
<character>SAYRA</character>
<dialogue>It was a long time ago. I don't really remember her. I remember him even less. I was a baby when he left for the North.</dialogue>
<scene_description>She motions to Horacio.</scene_description>
<character>WILLY</character>
<dialogue>New Jersey, huh?</dialogue>
<character>SAYRA</character>
<dialogue>Better to be disguised with immigrants, no? If they come for you.</dialogue>
<scene_description>Willy thinks about his predicament. The weight of it is heavy.</scene_description>
<character>SAYRA</character>
<dialogue>They will come for you. Won't they?</dialogue>
<character>WILLY</character>
<dialogue>Maybe.</dialogue>
<character>(BEAT)</character>
<dialogue>If not now... one day. They've got a good memory.</dialogue>
<character>SAYRA</character>
<dialogue>Aren't you afraid?</dialogue>
<character>WILLY</character>
<dialogue>Of death? No. I've always lived for the day.</dialogue>
<character>(BEAT)</character>
<dialogue>The only hard part is not knowing where it'll come from.</dialogue>
<character>SAYRA</character>
<dialogue>Must be hard for the people who love you... if you think like that.</dialogue>
<scene_description>Willy nods.</scene_description>
<character>SAYRA</character>
<dialogue>It doesn't matter to me if you come, either way we go. So, there you have it.</dialogue>
<scene_description>Sayra turns and walks away, quietly embarrassed. Horacio watches, feeling his continued loss of control over his daughter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIERRA BLANCA TRAIN YARD - NIGHT</stage_direction>
<scene_description>Smiley slips a phone card into a pay booth. He pulls out a scrap of paper with a number written on it. The first time he dials he messes up. He tries again.</scene_description>
<character>SMILEY</character>
<dialogue>Abue? It's Benny...</dialogue>
<character>(BEAT)</character>
<dialogue>I've been gone, you didn't know?</dialogue>
<character>(BEAT)</character>
<dialogue>Working. Abuela.</dialogue>
<character>(BEAT)</character>
<dialogue>Yes. I have a job. It's a good job, delivering vegetables to Veracruz.</dialogue>
<character>(BEAT)</character>
<dialogue>I'm not alone... I'm with Casper. I've got to go... I'll be home... it might be some time.</dialogue>
<scene_description>Smiley notices SEVEN MEN staring at him from under a lamp post. Unsure about himself, he makes the "m-s" sign with his hands. They acknowledge him with the same sign. Smiley calls out meekly...</scene_description>
<character>SMILEY</character>
<dialogue>Quien lleva la palabra?</dialogue>
<scene_description>A younger looking man with a thick keloid scar from his cheek down his neck steps forward...</scene_description>
<character>EL SCARFACE</character>
<dialogue>Yo mero.</dialogue>
<scene_description>One of the Mareros, EL PAJARO, a muscular man with a crooked Mayan nose and deep set eyes looks Smiley up and down...</scene_description>
<character>SMILEY</character>
<dialogue>I'm El Smiley from La Confeti?</dialogue>
<scene_description>El Scarface looks him over, suspiciously, his hand drifts over his PISTOL stuck in his pants.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Estas entintado?</dialogue>
<scene_description>Smiley shakes his head.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Quien lleva la palabra en tu clica ahora?</dialogue>
<character>SMILEY</character>
<dialogue>El Sol.</dialogue>
<scene_description>El Scarface relaxes slightly, greeting Smiley with a handshake and embracing like tough guys.</scene_description>
<character>EL SCARFACE</character>
<dialogue>We heard what happened. Are you hungry or thirsty?</dialogue>
<scene_description>Smiley can only shake his head no. Two cars pull up, a red 1987 NISSAN SENTRA and a brown 1985 TOYOTA CARROLA. The cars look like shit and sound like go- carts, but the stereo systems are top notch.</scene_description>
</scene>
<scene>
<stage_direction>A71 EXT. EL LIL' MAGO'S PATIO - DAY A71</stage_direction>
<scene_description>El Sol, alone with Lil Mago's kid, and his own, watches over the two toddlers. He has a bitter sweet smile on his face. His cell phone rings, he doesn't look excited to pick up the phone.</scene_description>
<character>EL SOL</character>
<dialogue>Jomi?</dialogue>
<scene_description>Cut back and forth from:</scene_description>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP, TIERRA BLANCA - SIMULTANEOUS</stage_direction>
<scene_description>El Scarface sits on the hood of his car, phone to his ear. In the back ground, inside the rest stop, Smiley and other Mareros question immigrants.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Sup' jomi? We've got one of yours here.</dialogue>
<character>EL SOL</character>
<dialogue>I know.</dialogue>
<character>EL SCARFACE</character>
<dialogue>So what am I supposed to do with him?</dialogue>
<character>EL SOL</character>
<dialogue>Use him. However you want.</dialogue>
<character>EL SCARFACE</character>
<dialogue>Will you be sending more?</dialogue>
<character>EL SOL</character>
<dialogue>Thing is... I can't really do that right now.</dialogue>
<character>EL SCARFACE</character>
<dialogue>You can't do that now?</dialogue>
<character>EL SOL</character>
<dialogue>No.</dialogue>
<character>EL SCARFACE</character>
<dialogue>I see.</dialogue>
<character>EL SOL</character>
<dialogue>The word is out, jomi. He won't get away, we got problems down here at the moment, you know? But the word is out. El Casper ain't going no where.</dialogue>
<character>EL SCARFACE</character>
<dialogue>No.</dialogue>
<character>(BEAT)</character>
<dialogue>The barrio won't let him.</dialogue>
<character>EL SOL</character>
<dialogue>Va. I'll check in with you later.</dialogue>
<scene_description>El Sol hangs up the phone. His face reveals his fatigue with this routine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IMMIGRANT REST STOP PATIO - CONTINUOUS</stage_direction>
<scene_description>El Scarface is not happy about the call. He looks at Smiley, who talks to the SEÑORA...</scene_description>
<character>SMILEY</character>
<dialogue>You sure you haven't seen him? He's got a tear drop here.</dialogue>
<character>REST STOP OWNER</character>
<dialogue>No corazon, I haven't seen anyone with a tattoo in the last few days until you guys.</dialogue>
<scene_description>El Scarface waves Smiley over, he knows he's wasting time with the Señora. El Pajaro and the other Mareros are bored with the search. A GLUE SNIFFING MAN steps forward. He has a bag of glue hanging in his hands and yellow crust around his nostrils.</scene_description>
<character>GLUE SNIFFER</character>
<dialogue>Give me 100 pesos and I'll tell you where to look.</dialogue>
<scene_description>El Scarface joins them, smoking a cigarette while summing up the man.</scene_description>
<character>EL PAJARO</character>
<dialogue>We checked the yards and shelters.</dialogue>
<character>GLUE SNIFFER</character>
<dialogue>Not there. 100 pesos.</dialogue>
<scene_description>El Pajaro ignores him.</scene_description>
<character>EL PAJARO</character>
<dialogue>Would he have stayed on the train? Maybe he got off before.</dialogue>
<character>EL SCARFACE</character>
<dialogue>What about the farms?</dialogue>
<character>GLUE SNIFFER</character>
<dialogue>Ah, ah, ah.</dialogue>
<character>EL PAJARO</character>
<dialogue>We talked to the bosses, the workers are all chapines.</dialogue>
<scene_description>El Scarface pulls out 100 pesos, dropping it on the ground before the man. With great effort, he picks it up.</scene_description>
<character>GLUE SNIFFER</character>
<dialogue>I saw the one you're looking for. A tear drop here.</dialogue>
<parenthetical>(pointing to his eye)</parenthetical>
<dialogue>He's gone. With immigrants.</dialogue>
<scene_description>He points North, laughing. Smiley and El Pajaro look at El Scarface for direction, he motions to the car.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Smiley.</dialogue>
<scene_description>El Pajaro and the others get back in their cars</scene_description>
<character>EL SCARFACE</character>
<dialogue>El Casper's one of your padrinos?</dialogue>
<scene_description>Smiley nods.</scene_description>
<character>EL SCARFACE</character>
<dialogue>You ever shot a man, Smiley?</dialogue>
<character>SMILEY</character>
<dialogue>Yeah.</dialogue>
<scene_description>Scarface doesn't believe it, but he humours the boy.</scene_description>
<character>EL SCARFACE</character>
<dialogue>If you see him, shoot him quick. No point in thinking about it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VERACRUZ COUNTRYSIDE - DAY</stage_direction>
<scene_description>Willy, Sayra and family sit atop another train car. The train accelerates through the farmlands towards a foggy mountain range looming across the Northern skyline. Everyone sits quietly, lost in their thoughts. Their heads rock back and forth with the movement of the train. On the horizon above the train, along a ridge of low lying mountains, a gigantic STATUE OF JESUS stands like Lady Liberty, it's arms spread out to welcome them. Orlando looks at the Jesus and crosses himself, whispering an inaudible prayer over the photograph of Ceci. Sayra prays as well while Horacio stretches. Willy stares at the Jesus statue, searching for feeling again, for hope. He crosses himself and mentally pleads to Jesus. Sayra turns and sees him praying.</scene_description>
<character>SAYRA</character>
<dialogue>What are you asking him for?</dialogue>
<character>WILLY</character>
<dialogue>Too much.</dialogue>
<character>SAYRA</character>
<dialogue>I prayed for us both.</dialogue>
<scene_description>Willy is touched by Sayra's thoughtfulness and sincerity.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VERACRUZ HIGHLAND</stage_direction>
<scene_description>The air is cool and gray. A mist envelops the train tracks. Out of the gray milkiness, shadowy figures emerge running along the tracks. They startle Willy. He readies himself for a possible Mara attack. His machete, at arms length, is still his only accessory. Suddenly a sack of tortillas lands on his lap. He looks at it oddly. Sayra stands and looks out. There are TWO DOZEN KIDS and ADULTS, peasants in simple clothes, throwing food to the IMMIGRANTS on the train. TWO nine years-old GIRLS run along Sayra and Willy's car. Their smiles beam as they throw another bag that Sayra grasps awkwardly. Inside are oranges.</scene_description>
<character>SAYRA</character>
<dialogue>Thank you!</dialogue>
<character>GIRLS</character>
<parenthetical>(in unison)</parenthetical>
<dialogue>You're welcome!</dialogue>
<scene_description>Sayra and Willy smile at each other. Life is getting better. The train awakens as IMMIGRANTS scramble to catch the gifts while yelling "thank you" and "God bless you" to the peasants.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ORIZABA INDUSTRIAL YARDS</stage_direction>
<scene_description>The train cars SLAM into each other as the train slows to enter the Orizaba train yards. Willy and Sayra's car is just about to cross a bridge spanning a deep gorge like river that divides the town and the industrial factories preceding the station.</scene_description>
<character>WILLY</character>
<dialogue>We're going to have to jump down.</dialogue>
<character>HORACIO</character>
<dialogue>Why?</dialogue>
<character>WILLY</character>
<dialogue>The train station is gated, sometimes there are migra and judicial police.</dialogue>
<character>ORLANDO</character>
<dialogue>Where can we go then?</dialogue>
<character>WILLY</character>
<dialogue>Around, as fast as we can.</dialogue>
<scene_description>They gather their belongings. Horacio feels suddenly and begrudgingly dependent on Willy's knowledge.</scene_description>
</scene>
<scene>
<stage_direction>75A EXT. SOUTH SIDE OF ORIZABA TRAIN YARD - DAY 75A</stage_direction>
<scene_description>The Maras' Carrola comes to a skidding stop. Smiley jumps out with the others and runs down the side of the train. The high- pitched POP of the hydraulic breaks scares him -- he jumps back. The train pulls itself into the gated yard. He scans the train cars, all empty</scene_description>
<character>EL SCARFACE</character>
<dialogue>Smiley, we'll go around and follow the stragglers.</dialogue>
<parenthetical>(to his THREE others)</parenthetical>
<dialogue>Meet us on the other side of the station.</dialogue>
<scene_description>They JUMP ONTO THE MOVING TRAIN, Scarface quickly jumping to the other side of the train. Smiley hesitantly skitters across the coupler and jumps off on the other side.</scene_description>
</scene>
<scene>
<stage_direction>75B EXT. ORIZABA STREETS - MINUTES LATER 75B</stage_direction>
<scene_description>Sayra, Willy, Horacio, Orlando, and SEVEN other immigrants run down the streets, they are all out of breath.</scene_description>
</scene>
<scene>
<stage_direction>75C EXT. ORIZABA STREETS - SIMULTANEOUS 75C</stage_direction>
<scene_description>Scarface and Smiley turn down the street. EIGHT YOUNG MEN look at them curiously. One throws up his hand, stacking letters like sign-language. Suddenly they realize that they are in a Barrio 18 neighborhood. They've walked into the hornets next. They start to back peddle, but the BARRIO 18 members get up. YELLING after them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INDUSTRIAL YARDS - MINUTES LATER</stage_direction>
<scene_description>Sayra, Willy, Horacio, and Orlando on their last legs, meander down the crooked streets of Orizaba with a SEVEN other immigrants in tow. DONALD, who they haven't seen since Tierra Blanca appears next to them from a diagonal street. He starts running with them.</scene_description>
<character>DONALD</character>
<dialogue>Nice day for a run, eh?</dialogue>
<scene_description>Sayra and Willy are not laughing. They jump down onto a dirt path that skirts a canal running along the edge of the fenced train yard. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTH SIDE OF ORIZABA TRAIN YARD - MINUTES LATER</stage_direction>
<scene_description>Sayra, Willy, Horacio, Orlando, and Donald emerge from the canal on to the other side of the train yard, an open expanse that faces the high mountains of Orizaba pass. From what they can see, there are TWENTY Immigrants casually waiting for the train to come through and no sign of police or migra. They sit and catch their breath. Just then, ruckus erupts down towards the gate where the trains exit. THREE Maras, El Pajaro, El Sipe and El Chino rush out of El Scarface's Carrola. They scan the immigrants, trudging through huddled groups, throwing backpacks around and pushing people. It is abundantly clear they are looking for Willy and making a huge, fearless stir. Willy stands, calculates, has no options but to escape. He picks up his machete, walks back slowly, then crouches down a ditch away from the station, making his way down the tracks. The Maras pass Sayra, Horacio, and Orlando. The family tries not to look in the direction where Willy went. El Sipe pauses, looking at Sayra suspiciously. He continues on. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED TRAIN CARS AND CANAL - CONTINUOUS</stage_direction>
<scene_description>Willy hides behind a boxcar, breathing hard, his heart thumping. El Chino is the first one to enter his alley of abandoned cars. He turns the corner where Willy is standing, but he's gone. El Chino keeps moving. Above, on top of the car, Willy lays on his belly. He looks around, El Pajaro approaches from the other side. Noticing El Sipe ahead of him, he climbs into the box car and looks around. Willy can see him through holes in the roof, El Sipe crosses the car onto the next tracks. Willy crawls down into the boxcar through a hole. He lands nimbly, then carefully peaks down the line of cars to see El Sipe and El Pajaro's progress. THUMP. He looks up. Some one is one the roof. He steps back against the wall of the car, light rays streaming down around him, then a shadow. He sees a GUN in the man's hands. It's El Pajaro. Willy stops breathing, they are right next to each other. The wind blows trash inside the car. El Pajaro stops, looks down. He doesn't seem to see Willy. He keeps moving. Willy exhales. He waits for a moment, then slowly exits the car, tracking back towards the station. He passes another open boxcar, on the other side, El Sipe stares at Willy. Recognition clicks. WHOOMP. A rock slams into the side of his head. El Sipe collapses. Willy is confused. Then Horacio appears a car length down, holding another rock in his hands. Willy's face reveals shock, then relief.</scene_description>
<character>WILLY</character>
<dialogue>Take the gun.</dialogue>
<character>HORACIO</character>
<dialogue>I'll have none of it.</dialogue>
<scene_description>Horacio kicks it under the train.</scene_description>
<character>HORACIO</character>
<dialogue>Leave my family now. You brought this, there'll only be more to come.</dialogue>
<scene_description>Willy nods to himself. He knows it's true.</scene_description>
<character>WILLY</character>
<dialogue>Let me cross the mountains with you, I'll be gone by tomorrow. I promise.</dialogue>
<scene_description>GUN SHOTS erupt from far away, echoing over them like fire- works.</scene_description>
</scene>
<scene>
<stage_direction>79A EXT. BARRIO 18 STREET, ORIZABA - SIMULTANEOUS 79A</stage_direction>
<scene_description>A bullet ZIPS over Smiley and Scarface's head. They are trapped behind a car. Shards of glass spray over them as bullets THUMP into the rocking car. The Barrio 18 soldiers have fanned out down the street, making their way towards them, firing POT SHOTS, advancing in the open, then retreating as Scarface fires back. Smiley is frozen with fear.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Pull out your fucking gun, Smiley.</dialogue>
<scene_description>Smiley fumbles for the pistol in his pocket.</scene_description>
<character>EL SCARFACE</character>
<dialogue>How many bullets do you have?</dialogue>
<character>SMILEY</character>
<dialogue>Just these.</dialogue>
<scene_description>Scarface sneaks a peak at the Barrio 18's progress.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Don't worry, these guys can't aim for shit...</dialogue>
<scene_description>A bullet zips by his head-</scene_description>
<character>EL SCARFACE</character>
<dialogue>-Except that one.</dialogue>
<scene_description>El Scarface leans out and starts firing.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Go, go, go!</dialogue>
<scene_description>Smiley rushes to the next car in a hurried retreat. The bullets zip all around them.</scene_description>
</scene>
<scene>
<stage_direction>79B EXT. ORIZABA STREETS - LATER 79B</stage_direction>
<scene_description>El Pajaro drives the Carrola, El Chino holds a dazed El Sipe in the back. They see El Scarface and Smiley in an adrenaline drained run heading towards them.</scene_description>
<character>EL SCARFACE</character>
<dialogue>Where the fuck where you guys? You didn't hear the shots?</dialogue>
<character>EL PAJARO</character>
<dialogue>We did, but we almost had him, El Casper.</dialogue>
<character>EL</character>
<dialogue>So? Because pussy's left on our own?</dialogue>
<character>SCARFACE</character>
<dialogue>of El Casper you me and Smiley to fight Where is he?</dialogue>
<character>EL PAJARO</character>
<dialogue>He's on the train again. To D.F.</dialogue>
<character>EL SCARFACE</character>
<dialogue>This kid, Smiley, had my back. You didn't. Remember that. We're going to D.F. I'm going to kill this fucker. Move!</dialogue>
<scene_description>El Pajaro moves out of his way. Scarface jumps into the car. OMITTED OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTHERN HIGHLANDS OF ORIZABA - DAY</stage_direction>
<scene_description>The train heads towards a steep slope leading to a mountain range.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN TWO TRAIN CARS - CONTINUOUS</stage_direction>
<scene_description>Sayra, Horacio and Donald shutter in the frigid air. They are all tucked into the protected under-section of a GRAIN CONTAINER CAR, but it is freezing anyway. Horacio unwraps a BUNDLE of dirty blankets and decomposing sweaters. They try their best to cover themselves. Willy and Orlando hang from the side of the train car, holding their arms out, waiting for long blades of grass and dry branches they can break free. Willy snatches up a long stalked weed and tosses it to Sayra.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN TWO TRAIN CARS - LATER</stage_direction>
<scene_description>They've piled up a mound of burnable items. They move closer as Orlando sparks his lighter. Finally he's got it, and the small, damp pile of material begins to smoke. Orlando, Willy and Sayra fan it, blowing into it. It catches and they all moan with pleasure as the heat radiates from the flames. Willy lights a cigarette off of a branch and inhales gratefully, then passes it along.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN TWO TRAIN CARS - DUSK</stage_direction>
<scene_description>The fire is only a pile of burning embers. Horacio quietly stares at the photograph of his family. Sayra notices. Strangely, she finds that it hurts her. Willy climbs out and tries to gather more branches, but the tracks are sparse. He quickly dips his head back in, WHOOMPH, darkness consumes them, they are in a tunnel, in complete darkness. After a few seconds, they see the sky again, and for a moment, catch a glimpse at the magnificent view they have from the side of the mountain, thousands of feet below a beautiful canyon extends into the horizon. The train passes into another tunnel and darkness consumes them again. Others MOAN on the train, some yell just because they think it will make them feel warmer. The sound crescendos. As the train hits light again, Willy and Sayra realize that they are pressed intimately close together. Her hand innocently placed on his for warmth. They look at each other, slightly embarrassed, but she doesn't let go of his hand. Horacio doesn't seem to notice, his attention and his mind somewhere off in New Jersey. They enter another tunnel and are consumed in darkness again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHLANDS ABOVE MEXICO CITY - DAWN</stage_direction>
<scene_description>The sun has yet to peak over the highlands. The entire group lays awkwardly upon one another. Frost covers their plastic bags and the rails of the tanker. Willy and Sayra are still pressed together. All sleep. To the right, the Aztec pyramids of Teotihuacan rise from the purple horizon, and to the left, the mass of Mexico City lurks ominously in a brown smoggy haze. The train cruises slowly through an insignificant looking town. Willy rises. No one notices him. He is tired, he has slept awkwardly, and he is dazed. He hangs off the side of the car, he takes one last look at sleeping Sayra, then hops swiftly to the ground.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF TRAIN - CONTINUOUS</stage_direction>
<scene_description>Willy heads down a side street away from the train just as the last car passes by. The sudden silence is peaceful. He senses someone walking behind him. He turns, shocked.</scene_description>
<character>WILLY</character>
<dialogue>Sayra? What the fuck have you done?</dialogue>
<scene_description>She's 50 feet behind him, approaching quickly.</scene_description>
<character>SAYRA</character>
<dialogue>You were just going to leave?</dialogue>
<character>WILLY</character>
<dialogue>What have you done, Sayra?</dialogue>
<character>SAYRA</character>
<dialogue>I'm going with you.</dialogue>
<scene_description>Willy sits down, visibly distraught.</scene_description>
<character>WILLY</character>
<dialogue>Oh god... Oh god, oh god, oh god.</dialogue>
<character>(BEAT)</character>
<dialogue>I can't take care of you.</dialogue>
<character>SAYRA</character>
<dialogue>I didn't ask you to.</dialogue>
<character>WILLY</character>
<dialogue>Jesus, Sayra. Don't you get it? I'm a dead man.</dialogue>
<character>SAYRA</character>
<dialogue>I can help you.</dialogue>
<character>WILLY</character>
<dialogue>You have no idea what you've done.</dialogue>
<scene_description>He drops his head into his hands.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ON THE TRAIN - LA LECHERIA, MEXICO CITY - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>U.S. BORDER, 760 MILES NORTH</dialogue>
<scene_description>On the train, 200 hundred immigrants stretch, wary, stressed, and paranoid, work out the kinks in their body from the long hours on the train; ready to scatter if LA MIGRA has set an immigration checkpoint/raid for them in the train yards.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LA LECHERIA TRAIN YARD - DAY</stage_direction>
<scene_description>Horacio and Orlando stand next to the passing train, scanning the passengers. Stress covers Orlando's face.</scene_description>
<character>ORLANDO</character>
<dialogue>Maybe she went down to take a pee and the train left her?</dialogue>
<scene_description>Horacio puts his hand on his shoulders, dipping his head.</scene_description>
<character>HORACIO</character>
<dialogue>She's gone.</dialogue>
<scene_description>Saying it, he realizes how sick this makes him feel. Donald, stands behind them, staring sympathetically at Horacio.</scene_description>
<character>ORLANDO</character>
<dialogue>So we wait here, we'll wait for her to catch the next train.</dialogue>
<character>HORACIO</character>
<dialogue>We can't wait for her.</dialogue>
<character>ORLANDO</character>
<dialogue>What?</dialogue>
<character>HORACIO</character>
<dialogue>We keep going, or we won't make it either.</dialogue>
<scene_description>Orlando is devastated. Horacio comforts him... and himself.</scene_description>
<character>HORACIO</character>
<dialogue>There's nothing we can do. She's on her own path now.</dialogue>
</scene>
<scene>
<stage_direction>INT. TIA TOÑA'S HOUSE - DAY</stage_direction>
<scene_description>Willy and Sayra sit in a room filled with electronic merchandise, mismatching furniture, and tacky paintings. TIA TOÑA, a middle-aged woman with a large trunk-like body and a pock-marked face paces the room while tutt-tutting Willy. Her presence is at once tough and mothering.</scene_description>
<character>TIA TOÑA</character>
<dialogue>Aye Casper... why did you come here? You've put me in a tough position.</dialogue>
<scene_description>Willy nods. Sayra seems to be in a trance, at once optimistic and absolutely petrified.</scene_description>
<character>TIA TOÑA</character>
<dialogue>I think I can do what you ask of me, but it will not be easy, and I will need you to do a favor in return... for the risks involved for having seen you.</dialogue>
<character>WILLY</character>
<dialogue>Whatever it takes, Tia.</dialogue>
<character>TIA TOÑA</character>
<dialogue>Give me a day to arrange this. Are you two hungry?</dialogue>
<scene_description>They both nod. Tia Toña calls into another room...</scene_description>
<character>TIA TOÑA</character>
<dialogue>Socuro! Chilaquiles.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - LATER</stage_direction>
<scene_description>Willy and Sayra stuff their mouths with chilaquiles. Tia Toña sips a beer while watching them.</scene_description>
<character>TIA TOÑA</character>
<dialogue>You can sleep on the couch.</dialogue>
<parenthetical>(to Sayra)</parenthetical>
<dialogue>Do you want to clean up?</dialogue>
<scene_description>Sayra nods.</scene_description>
<character>TIA TOÑA</character>
<dialogue>You're a tiny little thing, but I think I have some stuff for you to change in to.</dialogue>
<scene_description>Tia Toña leaves the room.</scene_description>
<character>SAYRA</character>
<dialogue>I thought you said you didn't have any family?</dialogue>
<character>WILLY</character>
<dialogue>I don't. She's Vatos Locos. I used to do side jobs for her on this route.</dialogue>
<character>SAYRA</character>
<dialogue>She can get us to the border?</dialogue>
<scene_description>Willy nods.</scene_description>
<character>SAYRA</character>
<dialogue>And you're coming with me?</dialogue>
<scene_description>Tia Toña comes back in, dropping a sack of clothes in front of Sayra.</scene_description>
<character>TIA TOÑA</character>
<dialogue>Try these on. The shower is through there. Stay away from the windows, I don't want anyone knowing you two are here.</dialogue>
<scene_description>Sayra takes the clothes and disappears in the bathroom. Tia Toña looks at Willy, gravely.</scene_description>
<character>TIA TOÑA</character>
<dialogue>What are you doing with that poor girl?</dialogue>
<character>WILLY</character>
<dialogue>Nothing.</dialogue>
<scene_description>Tia Toña looks at him from the corner of her eye.</scene_description>
<character>WILLY</character>
<dialogue>I'm going to help her find her family. That's it.</dialogue>
<character>TIA TOÑA</character>
<dialogue>Then what'll you do?</dialogue>
<character>WILLY</character>
<dialogue>Disappear.</dialogue>
<character>TIA TOÑA</character>
<dialogue>And what's in it for you?</dialogue>
<character>WILLY</character>
<dialogue>Nothing.</dialogue>
<scene_description>Tia Toña laughs. Maybe she believes him. She shakes her head.</scene_description>
<character>TIA TOÑA</character>
<dialogue>The border? You know what's waiting for you there?</dialogue>
<scene_description>Willy ignores her.</scene_description>
<character>TIA TOÑA</character>
<dialogue>They called.</dialogue>
<character>WILLY</character>
<dialogue>What'd you tell them?</dialogue>
<character>TIA TOÑA</character>
<dialogue>I ain't seen you. Which was the truth, until now.</dialogue>
<character>WILLY</character>
<dialogue>You won't tell them now, will you?</dialogue>
<character>TIA TOÑA</character>
<dialogue>I always do what's right.</dialogue>
<scene_description>They both share a tense laugh.</scene_description>
</scene>
<scene>
<stage_direction>91A EXT. MARA HOUSE, D.F. - DAY 91A</stage_direction>
<scene_description>Smiley sits on the back patio, a cigarette in his hand. His head is on the lap of a CUTE GIRL while El Happy, a local marero, uses a homemade tattoo gun to scrawl "M S 13" on the inside of his lip. El Scarface sits approvingly nearbye. It's painful, so Smiley closes his eyes. When he opens them again, El Sol, El Bomba, El Smokey, and El Piqaro are standing over him.</scene_description>
</scene>
<scene>
<stage_direction>91B EXT. PLACE HOLDER - TIA TOÑA'S HOUSE - DAY 91B</stage_direction>
<scene_description>Sayra and Willy have some moments of relaxation, happiness, optimism. Picking fruit. Playing with a kid or feeding animals. Putting on fresh clothes. Just being kids.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEXICAN HIGHWAY - DAY</stage_direction>
<scene_description>Willy and Sayra sit in the back of a beat up Van filled with MICHELADA MIX boxes. Tia Toña sits in the passenger seat, a YOUNG BOY is driving, he doesn't even look old enough to have a license.</scene_description>
<character>TIA TOÑA</character>
<dialogue>The madrina will get you as far as Monterrey. From there you'll make the delivery where Tia Estela will arrange for a car to take you to Reynosa.</dialogue>
<scene_description>We notice Willy holding a paper bag between his legs. He stuffs it into a backpack.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN TRAIN CARS, SOUTH OF SAN LUIS POTOSI, MEXICO -</stage_direction>
<character>SUPER:</character>
<dialogue>SAN LUIS POTOSI</dialogue>
<character>SUPER:</character>
<dialogue>U.S. BORDER, 550 MILES NORTH</dialogue>
<scene_description>On the rolling hills north of Mexico City, Horacio and Orlando's red freight train speeds around reservoirs and quaint villages. It moves faster than the other trains and they have to brace themselves for the turns and bumps that are more shocking than the previous trains were. There are few immigrants on this train. Perhaps no more than 100 for a train bigger than the one they began on in Chiapas. The train passes through a neighborhood where the children are walking to class in their school uniforms. As soon as they see the train, the kids begin to yell. At first Orlando think it's cute, all of the kids running along with them. But then the kids start picking up rocks and throwing them. The large rocks bounce hard off the fast moving train. He is shocked. The CHILDREN laugh as they throw the rocks and yell at the immigrants on the train. ADULTS watch from the doorsteps of dilapidated concrete houses, but they do nothing to stop the kids. One rock bounces off an immigrant's head and lands next to Horacio. The immigrant grasps his head in pain. The duck for cover.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN LUIS POTOSI - DAY</stage_direction>
<scene_description>Tia Toña's Van drives them down an industrial road. A concrete tower looming over them is marked with an "MS" and the Devil's Hand. Below is written: "Lil' Mago, El Casper no pasará!" He notices but does not point it out to Sayra. At the end of the block Willy notices a medium sized CAR TRAILER loaded with THREE crashed cars.</scene_description>
<character>WILLY</character>
<dialogue>Thank you Tia.</dialogue>
<character>TIA TOÑA</character>
<dialogue>Don't thank me, just make the delivery.</dialogue>
<scene_description>Tia Toña hands him a plastic bag of snacks for the journey. Willy and Sayra slip out of the car and skitter towards the madrina. Tia Toña looks at the caller ID of her ringing phone. She picks it up.</scene_description>
<character>TIA TOÑA</character>
<dialogue>Sol...</dialogue>
</scene>
<scene>
<stage_direction>EXT. MADRINA - DAY</stage_direction>
<scene_description>Willy and Sayra climb up the madrina. Willy opens the door and motions for Sayra to get in, she's about to when she pauses...</scene_description>
<character>SAYRA</character>
<dialogue>Why do you get to drive?</dialogue>
<character>WILLY</character>
<dialogue>Because Nena, this is my ranfla.</dialogue>
<scene_description>She rolls her eyes and gets in. He gets in after and settles in.</scene_description>
<character>WILLY</character>
<dialogue>You really want to sit here?</dialogue>
<parenthetical>(he gestures to move)</parenthetical>
<dialogue>Wait? Do you have a license Miss?</dialogue>
<character>SAYRA</character>
<dialogue>No.</dialogue>
<character>WILLY</character>
<dialogue>Ah, well, then you can't.</dialogue>
<scene_description>He sits back down, then notices her mood has shifted. She feels an undesirable sense of loneliness setting in and tries to play it off.</scene_description>
<character>WILLY</character>
<dialogue>What?</dialogue>
<character>SAYRA</character>
<dialogue>Nothing.</dialogue>
<character>WILLY</character>
<dialogue>Scared?</dialogue>
<character>SAYRA</character>
<dialogue>No. Why? I'm with you, I'm fine.</dialogue>
<character>WILLY</character>
<dialogue>You're not fine because you're with me.</dialogue>
<character>SAYRA</character>
<dialogue>I don't care... I trust you.</dialogue>
<scene_description>She touches his cheek. He leans away.</scene_description>
<character>WILLY</character>
<dialogue>Why? I don't even trust me.</dialogue>
<scene_description>He lifts up his pant leg. A scar crosses his calf.</scene_description>
<character>WILLY</character>
<dialogue>You see this scar here, a police officer in Tamaulipas shot me when I was leading a group of pollitos to the border, for my clica.</dialogue>
<scene_description>He lifts up his shirt, showing another keloid scar on his rib cage.</scene_description>
<character>WILLY</character>
<dialogue>This is where I took a bullet from a diecioyo, for my clica.</dialogue>
<scene_description>He points at more scars across his body.</scene_description>
<character>WILLY</character>
<dialogue>And here, and here, and here, all for my clica -- my family.</dialogue>
<scene_description>Willy points at his cheekbone.</scene_description>
<character>WILLY</character>
<dialogue>I got this the night my "homies," who I'd been defending with my life, killed the girl I loved.</dialogue>
<character>(BEAT)</character>
<dialogue>And I couldn't do nothing for her. That's "trust," Sayra.</dialogue>
<character>SAYRA</character>
<dialogue>We both know loss.</dialogue>
<character>WILLY</character>
<dialogue>What I know... I know I fucked up my life already, I fucked her life... and now maybe... maybe I fucked up your life, too.</dialogue>
<character>SAYRA</character>
<dialogue>You didn't fuck it up. You saved me.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Sayra sleeps hard against the window. Willy watches her breath fog up the window around her mouth rhythmically. He pulls out his camera and turns on the playback. He looks at an IMAGE that he took of he and Martha Marlene together. His TEAR tattoo looks striking in the photo. He turns off the camera. Sadness leads to anger. He adjusts the rearview mirror so that he can look at himself. He feels the tear drop tattoo next to his eye and starts to rub it hard. Then he begins to scratch at it, until it bleeds, but he doesn't stop, he keeps scratching. Sayra winks one eye open, notices what he's doing but doesn't say anything, pretending to sleep.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NUEVO LEON - DAWN</stage_direction>
<scene_description>The truck speeds through a desert highland with sharp bedrock mountains rising high into the sky like piled tombstones stacked one against another. The towns are as sandy and brown as the landscape. There are few signs of the lush greenery they saw in the south.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - CONTINUOUS</stage_direction>
<scene_description>As the sun rises, Willy still sleeps. Sayra notices the sun illuminating the northern plains. In the distance, Sayra can see the purple haze of the metropolis of Monterrey approaching.</scene_description>
<character>SAYRA</character>
<dialogue>Willy?</dialogue>
<scene_description>Willy turns away, trying to keep sleeping.</scene_description>
<character>SAYRA</character>
<parenthetical>(nudging his shoulder)</parenthetical>
<dialogue>Willy?</dialogue>
<scene_description>Willy doesn't wake up. Sayra looks in the mirror at herself. She's still pretty, but her beauty is hidden by fatigue, dirt, and scraggly hair. She smells and notices the air is slightly foul. She smells her clothes, sucking in hard with her nose, then she leans over and breaths in Willy. She scrunches her nose; he stinks, too. He opens his eyes when her face is next to his, but they only look at each other, Willy does nothing. She pulls away slowly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSKIRTS OF MONTERREY - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>MONTERREY, NUEVO LEON</dialogue>
<character>SUPER:</character>
<dialogue>U.S. BORDER 125 MILES</dialogue>
<scene_description>The truck passes a MILITARY checkpoint. Willy and Sayra watch them from above. The truck is waved through and enters the urban center of Monterrey. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR DEMOLITION CENTER - DAY</stage_direction>
<scene_description>The madrina pulls into a demolition center. El Sol, Scarface, Smiley and dozens of others from the gang wait in hiding. Smiley looks nervous and scared. With guns out and ready, they quickly open all the cars. Smiley doesn't look. When he turns back around, he sees the disappointment on El Sol and El Scarface's faces.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CINE-OPERA THEATER - DAY</stage_direction>
<scene_description>Willy leads Sayra into an abandoned cinema palace.</scene_description>
</scene>
<scene>
<stage_direction>102A INT. CINE-OPERA THEATER - DAY 102A</stage_direction>
<scene_description>Willy leads her up a decaying side concrete staircase to a room covered in a layer of greasy dust. A a single seat and rotten mattress adorn the space.</scene_description>
<character>WILLY</character>
<dialogue>Wait here.</dialogue>
<character>SAYRA</character>
<dialogue>Where you going?</dialogue>
<character>WILLY</character>
<dialogue>I'm going to get us water. You should rest, you look like shit.</dialogue>
<scene_description>He smiles and pats her leg, leaving his BACKPACK with her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN MONTERREY - DAY</stage_direction>
<scene_description>Willy walks down a crowded street. The faces, both indifferent and malevolent streak past. Willy begins to feel paranoid, the panic becomes so heavy that he forces himself against a wall to breathe. He spots a telephone. He goes to it. Dials. Listens.</scene_description>
<character>WILLY</character>
<dialogue>Tia.</dialogue>
<character>TIA TOÑA</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Willy? So nice to hear from you.</dialogue>
<character>WILLY</character>
<dialogue>Surprised?</dialogue>
<character>TIA TOÑA</character>
<dialogue>Not at all.</dialogue>
</scene>
<scene>
<stage_direction>INT. CINE-OPERA THEATER - DAY</stage_direction>
<scene_description>Sayra, bored, begins to explore the building. It's like something out of the apocalypse. Blown out windows, crumbling floors and ceilings, grandiose stairways and terraces. She walks up an opulent set of stairs to the 2nd floor and into the theatre's main room. It's an immense space, probably able to fit thousands at one point. At the front of the balcony, she sees that many have stayed this place. Hundreds of names are scribbled around. One marking: "Oriana Carbajal-Hernandez, septiembre 2001." Sayra takes a piece of concrete and scratches in her own name: "Sayra Miranda Guzman." She stares at her second to last name, "Miranda." She sits in one of the seats and opens up the backpack. Afraid to open the package that Tia Toña gave him, she looks at Willy's camera. She turns it on and flips through the pictures, the sound of Martha Marlen's voice fills her with a rising sense of jealousy. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - DAY</stage_direction>
<scene_description>THREE VEHICLES, El Scarface's crew, El Sol's Crew and a new clica's car, an early-Eighties LINCOLN cruises down a highway, past a sign posting: REYNOSA.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - CONTINUOUS</stage_direction>
<scene_description>The stereo system BLASTS beats from a REGGAETONE song. A D.F. RANFLERO, 30, drives with El Sol in the front. Smiley sits in the back with El Bomba and El Piqaro who talks on his cell phone. Smiley notices that this ranfla (car\*) has a lot more leg room than previous cars.</scene_description>
<character>SMILEY</character>
<dialogue>I like your ranfla.</dialogue>
<scene_description>The Ranflero looks at Smiley like he's talking shit.</scene_description>
<character>SMILEY</character>
<dialogue>No, I'm serious, it's got leg room.</dialogue>
<scene_description>El Sol get's off his phone.</scene_description>
<character>EL SOL</character>
<dialogue>What do you need legroom for? You're feet don't even reach the floor.</dialogue>
<scene_description>Smiley bristles.</scene_description>
<character>EL BOMBA</character>
<dialogue>What are you going to do when you find El Casper, Smiley? Hug him?</dialogue>
<character>SMILEY</character>
<dialogue>Shut up-</dialogue>
<scene_description>El Bomba slaps him on the back of the head.</scene_description>
<character>EL BOMBA</character>
<dialogue>Now what are you going to do?</dialogue>
<character>EL PIQARO</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Casper would fuck Smiley up.</dialogue>
<scene_description>The Mareros can't stop laughing. Smiley is silently simmering with anger.</scene_description>
<character>EL SOL</character>
<dialogue>Any of you kill Casper before Smiley and he'll never be able to go home.</dialogue>
<character>RANFLERO</character>
<parenthetical>(dead pan)</parenthetical>
<dialogue>The kid doesn't have it in him. Why don't you just kill him?</dialogue>
<scene_description>El Bomba and Piqaro bust up laughing.</scene_description>
<character>EL BOMBA AND EL PIQARO</character>
<dialogue>Whoa!</dialogue>
<scene_description>Smiley is on the verge of crying, inside he fumes.</scene_description>
<character>EL SOL</character>
<dialogue>We don't kill little girls.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN MONTERREY - DAY</stage_direction>
<scene_description>Willy waits near the telephone booth. An older model Mercedes pulls up and he gets in. The car pulls away.</scene_description>
</scene>
<scene>
<stage_direction>INT. MERMCEDES - CONTINUOUS</stage_direction>
<scene_description>TIA ESTELA, a well dressed woman, slender and in her fifties sits in the back seat with him. The driver, HERNAN is a heavy set man of her same age.</scene_description>
<character>TIA ESTELA</character>
<dialogue>Toña told me you need a ride.</dialogue>
<scene_description>Willy nods. She gestures to the driver.</scene_description>
<character>TIA ESTELA</character>
<dialogue>You have a package for me?</dialogue>
<character>WILLY</character>
<dialogue>No. Not until I get to where I need to go.</dialogue>
<scene_description>Tia Estela nods, knowing the game.</scene_description>
<character>TIA ESTELA</character>
<dialogue>Hernán will take you. You had one more with you, no?</dialogue>
<character>WILLY</character>
<dialogue>We'll pick her up.</dialogue>
<character>TIA ESTELA</character>
<dialogue>As you wish. Hernán.</dialogue>
<scene_description>Hernán pulls the car over. Tia Estela gracefully exits, then looks seductively at Willy.</scene_description>
<character>TIA ESTELA</character>
<dialogue>You'll let me know won't you?</dialogue>
<character>WILLY</character>
<dialogue>About the package?</dialogue>
<character>TIA ESTELA</character>
<dialogue>If you travel alone next time.</dialogue>
<scene_description>She winks at him, closes the door and leaves. Willy slides down into the leather seats and air conditioning, amused.</scene_description>
</scene>
<scene>
<stage_direction>109A INT. CINE-OPERA THEATER - DAY 109A</stage_direction>
<scene_description>We hear the digitally recorded sound of Martha Marlen and Willy echoing over the expanse of the theatre. As we hear the conversation, we see more details of the decaying space, and evidence of the past immigrants who have gone through it.</scene_description>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>Come on... Tell me...</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>I love you.</dialogue>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>Say it better.</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>I love you so much I don't know better words to describe it.</dialogue>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>If you had to measure it with your hands.</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>I couldn't, I couldn't even with miles, you'd like, you'd like need light years to measure it.</dialogue>
<scene_description>She giggles. We see Sayra staring at the video. It's the last night Martha Marlen and Willy were together.</scene_description>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>Take me with you to the cemetery tomorrow night.</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>No... I'll see you after.</dialogue>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>Come on, why?</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>You wouldn't like it anyway. Come here, turn that off... let me kiss you.</dialogue>
<character>MARTHA MARLEN DIGITAL</character>
<dialogue>Say it...</dialogue>
<character>WILLY DIGITAL</character>
<dialogue>I love you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MONTERREY TRAIN STATION - DAY</stage_direction>
<scene_description>Horacio, Orlando, and Donald sit atop a moving train, exiting the station. An overpass crosses the train yard in front of them, providing a welcome bit of shade from the sun.</scene_description>
<character>PLACE HOLDER -- ORLANDO CONFRONTS HORACIO ABOUT SAYRA.</character>
<dialogue>Orlando takes a sip of dirty water from his bottle, using his shirt as a filter.</dialogue>
<character>ORLANDO</character>
<dialogue>I keep thinking I see Sayra... everywhere.</dialogue>
<scene_description>Horacio let's his thoughts drift to his daughter again. Sadness covers his face. Orlando and Donald's eyes have deep dark rings and their foreheads are burnt.</scene_description>
<character>HORACIO</character>
<dialogue>All we can hope is that she is okay.</dialogue>
<scene_description>Orlando can only blink. They look miserable.</scene_description>
<character>MIGRA OFFICER 1 (O.S.)</character>
<dialogue>Down, pigs!</dialogue>
<scene_description>Horacio looks down to see FOUR MIGRA OFFICERS in the back of a PICK UP TRUCK paralleling them, their rifles are out and they are waiving them down. Horacio, Donald and Orlando jump up and run towards the back. The truck slows down to match their position. They pause, Orlando doubles over. Donald finds a hiding spot BETWEEN TWO CARS. Horacio starts to run in the opposite direction. Orlando has to make a huge effort to keep up, leaping from train car to train car. The train picks up more speed, Horacio and Orlando brace themselves as the cars YANK each other. Horacio jumps to the next car. Orlando stops, then starts again because he thought he didn't have the speed. When he looks up, Horacio is not there. He runs to the edge of the car, but Horacio isn't there either. The Migra Truck is catching up. He scrambles down the other side of the train and dashes away. FADE OUT:</scene_description>
</scene>
<scene>
<stage_direction>EXT. REYNOSA - DAY</stage_direction>
<character>SUPER:</character>
<dialogue>U.S. BORDER .5 MILE</dialogue>
<scene_description>Just before sunrise, the Mercedes zooms past the shotgun pierced sign "REYNOSA."</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN SQUARE - DAY</stage_direction>
<scene_description>Willy and Sayra exit the car, stretch, and look around. The square is deserted. Willy leans down and thanks the driver, then waits for the car to leave.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALBERGUE DE LA DIVINA PROVIDENCIA, REYNOSA - DAY</stage_direction>
<scene_description>Sayra knocks on the door of the shelter. A priest, PADRE MIGUEL, late-forties, wearing casual clothes and plastic slippers, opens the door and beckons in the entire group.</scene_description>
<character>PADRE MIGUEL</character>
<dialogue>Good morning. Come in.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALBERGUE DE LA DIVIINA PROVIDENCIA, REYNOSA - DAY</stage_direction>
<scene_description>They sit around a covered veranda. Another group of immigrants wait to be helped, a skinny man who we'll call BIG LIPS stares hard at Willy. Willy notices and averts his eyes. The SISTER enters the veranda and begins passing out the cards.</scene_description>
<character>SISTER</character>
<dialogue>This card is your ticket. It's valid for three nights, after that you have to leave to make room for the new people. You will get two meals a day, lunch and dinner. Please respect the rules written on the wall...</dialogue>
</scene>
<scene>
<stage_direction>INT. ALBERGUE DE LA DIVIINA PROVIDENCIA, SHOWER - LATER</stage_direction>
<scene_description>Willy showers. He takes stock of himself in front of the mirror.</scene_description>
</scene>
<scene>
<stage_direction>115A INT. ALBERGUE DE LA DIVIINA PROVIDENCIA, DORM ROOM - LATER 115A</stage_direction>
<scene_description>Willy, almost dried off, puts on a clean shirt. He gets up to look for Sayra.</scene_description>
</scene>
<scene>
<stage_direction>115B INT. ALBERGUE DE LA DIVIINA PROVIDENCIA, HALLWAY - CONTINUOUS 115B</stage_direction>
<scene_description>Willy walks down the hallway calling for Sayra, anger rising. Big Lips, and several other immigrants block his way.</scene_description>
<character>BIG LIPS</character>
<dialogue>We don't want your kind here.</dialogue>
<character>WILLY</character>
<dialogue>You make the rules?</dialogue>
<character>BIG LIPS</character>
<dialogue>You're a Marero.</dialogue>
<character>WILLY</character>
<dialogue>Not anymore.</dialogue>
<scene_description>Big Lip shoves his finger in Willy's face.</scene_description>
<character>BIG LIPS</character>
<dialogue>We don't want you here.</dialogue>
<scene_description>Immigrants turn their attention to the fuss growing between Big Lips and Willy. Suddenly we see that DONALD is one of them. Willy grabs Big Lips pointed finger and yanks it down, quickly grabbing his neck and shoving Big Lips face to the concrete floor. All the anger he had building up he takes out on Big Lips. The blood in his veins of his forehead pump. Sayra comes out, shocked to see Willy on top of the man. Donald enters the fray, separating the two men. Willy looks around, everyone is staring at him tensely. He lets go of Big Lips, who jumps back and wipes his face off.</scene_description>
<character>DONALD</character>
<dialogue>Calm down, son.</dialogue>
<scene_description>Donald guides Sayra and Willy back towards the dorm room. The Sister walks in.</scene_description>
<character>SISTER</character>
<dialogue>What's going on in here?</dialogue>
<character>DONALD</character>
<dialogue>Nothing, Mother.</dialogue>
<scene_description>Big Lips and the other immigrants say nothing.</scene_description>
</scene>
<scene>
<stage_direction>115C INT. SHELTER DORM ROOM - CONTINUOUS 115C</stage_direction>
<scene_description>Willy, Sayra, and Donald sit together. Willy puts on a wife beater that shows less of his tattoos. Donald is quiet. He isn't his previous jovial self.</scene_description>
<character>SAYRA</character>
<dialogue>Hey...</dialogue>
<scene_description>She is happy to see him and avoid what ever anger Willy has.</scene_description>
<character>SAYRA</character>
<dialogue>I can't believe you're here, too. Have you seen my father and uncle?</dialogue>
<scene_description>He nods, gravely. Sayra can tell he has something to say.</scene_description>
<character>SAYRA</character>
<dialogue>What?</dialogue>
<character>DONALD</character>
<dialogue>I have bad news. Your Uncle has been deported, and your father is with the angels.</dialogue>
<scene_description>Sayra doesn't believe it, nor can Willy. She's in complete denial, until Donald grabs her hands. At first she laughs, like she thinks it's a joke. Willy doesn't know what to do. He tries to reach out to touch her, but hesitates. Sayra, unexpectedly even to herself, cries. She stands and leaves the room, leaving Willy and Donald sitting with each other.</scene_description>
<character>WILLY</character>
<dialogue>What happened?</dialogue>
<character>DONALD</character>
<dialogue>Migra came, they tried to run, he fell under the train.</dialogue>
<scene_description>They sit in silence. Willy nods to himself, trying to mentally reorganize his thoughts and plans. He massages the tattoos on his wrist.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL, ALBERGUE DE LA DIVIINA PROVIDENCIA - CONTINUOUS</stage_direction>
<scene_description>Sayra cries by herself on a pew. Willy enters and sits down next to her silently. She leans on him and cries.</scene_description>
</scene>
<scene>
<stage_direction>EXT. REYNOSA - DAY</stage_direction>
<scene_description>The streets are busy with cars, music, and day trippers. Willy and Sayra walk near a bridge that crosses into the U.S. Willy notices a CARLOAD OF MAREROS posted in front of it. Along the water, Mareros casually hang out where immigrants gather to cross over illegally. They keep walking up river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIO BRAVO SHORE - DAY</stage_direction>
<scene_description>The Mexican side of the river is a maze of thick, high weeds that resemble a super sized briar patch. Willy and Sayra maneuver their way through the weeds until it opens up along the creamy-green Rio Bravo. It's an encampment of immigrants, covered in the refuse of the hundreds who have passed through it before. SEVERAL men rest under a tree. There are NEEDLES on the ground near them.</scene_description>
<character>WILLY</character>
<dialogue>We're looking for a pato.</dialogue>
<scene_description>One of the men, LECHE, late-twenties, skinny and pale like a junkie looks up at them. He wears a baseball cap and a black shirt with a giant SNOW TIGER face.</scene_description>
<character>LECHE</character>
<dialogue>You want to cross?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MECHANICS GARAGE - DAY</stage_direction>
<scene_description>A Garage mainly used for tires is situated a stones throw from the river. SEVERAL shady looking characters lounge in front of it. El Sol, Scarface, and Smiley walk towards it. One of the workers, with a forehead so big it's a FIVE HEAD, late-teens, sits up. Leche has arrived, cash in hand. He holds up his fingers like the "peace" sign.</scene_description>
<character>LECHE</character>
<dialogue>Two. And if you could fill them for me, these two want to go right away.</dialogue>
<character>FIVE HEAD</character>
<dialogue>I've only got one now.</dialogue>
<scene_description>Leche nods "okay."</scene_description>
<character>FIVE HEAD</character>
<dialogue>Won't be able to cross 'til the Border Patrol change at four thirty anyway.</dialogue>
<character>LECHE</character>
<dialogue>Don't matter, I get paid either way.</dialogue>
<scene_description>The Mareros are intrigued.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIO BRAVO SHORE</stage_direction>
<scene_description>Willy and Sayra sit on the waters edge. They look at the spinning signs of fast food restaurants on the U.S. side of the river.</scene_description>
<character>SAYRA</character>
<dialogue>We can go anywhere now.</dialogue>
<character>WILLY</character>
<dialogue>We'll go to New Jersey.</dialogue>
<character>SAYRA</character>
<dialogue>It doesn't matter to me.</dialogue>
<scene_description>Willy smiles wistfully. She leans on him.</scene_description>
<character>SAYRA</character>
<dialogue>I'm not allowed to hug you?</dialogue>
<scene_description>Willy shrugs.</scene_description>
<character>WILLY</character>
<dialogue>When we get to the other side, I want you to make me a promise.</dialogue>
<character>SAYRA</character>
<dialogue>What?</dialogue>
<character>WILLY</character>
<dialogue>No matter what happens, you'll try to find your family.</dialogue>
<character>SAYRA</character>
<dialogue>They're not my family.</dialogue>
<character>WILLY</character>
<dialogue>You've got little sisters who don't have a father now.</dialogue>
<character>SAYRA</character>
<dialogue>I'd just be a burden, like I am to everyone else.</dialogue>
<character>WILLY</character>
<dialogue>To me no.</dialogue>
<character>(BEAT)</character>
<dialogue>And you could help them. You could work or something.</dialogue>
<character>SAYRA</character>
<dialogue>You'd be with me?</dialogue>
<character>WILLY</character>
<dialogue>Of course.</dialogue>
<scene_description>She shyly hands him the camera. He's surprised. He looks at her, only slightly angered, but more happy to have the camera back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIAR WEEDS - DAY</stage_direction>
<scene_description>Leche leads Willy and Sayra through the maze of weeds. A SILHOUETTE dashes across an opening in the distance. No one notices it but Willy. He grabs onto Sayra and pushes her along faster.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIO BRAVO - DAY</stage_direction>
<scene_description>Leche sits on an INNER-TUBE in a speedo.</scene_description>
<character>LECHE</character>
<dialogue>I can only take one of you at a time.</dialogue>
<character>WILLY</character>
<dialogue>We paid for two tubes.</dialogue>
<scene_description>Leche shrugs. He's not changing his mind. Sayra notices that Willy is heavily disappointed about this. He motions for her to go.</scene_description>
<character>LECHE</character>
<dialogue>Money?</dialogue>
<character>WILLY</character>
<dialogue>Once we get across.</dialogue>
<scene_description>Leche clicks his tongue, no. He holds out his hand. Neither Willy nor Sayra have any money. He reaches into his pocket and gives Leche the camera. Leche inspects it. Accepts. Sayra is bitter-sweetly amazed.</scene_description>
<character>WILLY</character>
<dialogue>You first.</dialogue>
<scene_description>Sayra looks at him nervously.</scene_description>
<character>WILLY</character>
<dialogue>Go on, now.</dialogue>
<scene_description>She hugs him tightly, he kisses her on her forehead.</scene_description>
<character>WILLY</character>
<parenthetical>(to Leche)</parenthetical>
<dialogue>Hey, you. Turn around.</dialogue>
<scene_description>Willy points at Leche, who was watching Sayra optimistically. Willy gives Sayra her privacy too and turns around, just as he sees movement again in the tall weeds.</scene_description>
<character>WILLY</character>
<dialogue>Hurry up and get in the water, girl.</dialogue>
<scene_description>Sayra undresses to her underwear quickly, puts her clothes in a plastic bag and slips into the water. Willy turns around, he tells Sayra slowly and deliberately...</scene_description>
<character>WILLY</character>
<dialogue>It'll be okay.</dialogue>
<scene_description>Leche grabs onto a rope tied to the BLACK INNER-TUBE and pulls Sayra into the current of the river. Sayra watches Willy as she's pulled further into the river, there is a sadness in his eyes. She suddenly understands why, he's not getting ready. A TATTOOED FACE appears in a clearing. She barely has time to warn him when he raises a chimba, BAM! A bullet whizzes over Willy's head. Willy ducks, then picks up a rock and throws it at the Marero. Willy darts into the briar patch of tunnels. Sayra yells after him...</scene_description>
<character>SAYRA</character>
<dialogue>Willy!</dialogue>
<scene_description>But he's gone.</scene_description>
<character>SAYRA</character>
<parenthetical>(to Leche)</parenthetical>
<dialogue>We have to go back.</dialogue>
<character>LECHE</character>
<dialogue>No.</dialogue>
<scene_description>She struggles with Leche.</scene_description>
<character>SAYRA</character>
<dialogue>Let go of me, let go.</dialogue>
<character>LECHE</character>
<dialogue>If you get off you'll drown. There are whirlpools all along that bank.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. RIO BRAVO SHORE MAZE</stage_direction>
<scene_description>The rustling footsteps increase, silhouettes and shadows zoom by Willy. COOING and CAWING sounds from all directions. The turns and roundabouts in the maze become blurs. Willy comes face to face with another MARERO, his entire face is covered in tattoos. Willy ducks as he lunges for him. He dives behind a log. His fingers scan the ground for a weapon, he finds a boulder and waits. As another set of footsteps approach, he jumps out, hammering the bolder into a man's stomach. He looks down, it's El Sol, gasping for air. Willy dashes for the river, but just when he gets to the edge, he sees Smiley blocking his way, the rusted revolver hanging heavily in his lowered hand.</scene_description>
<character>WILLY</character>
<dialogue>Smiley?</dialogue>
<scene_description>Smiley looks up at Willy fearfully, his mouth goes dry. Willy implores him with his eyes to let him by. The silhouettes of the pursuing Maras, including El Scarface, fast approach. Smiley can see them, feel the pressure of them getting closer, his eyes change to confused, sad anger. He raises the pistol.</scene_description>
<character>WILLY</character>
<dialogue>Smiley...</dialogue>
<character>SMILEY</character>
<dialogue>La Mara, carnal.</dialogue>
<scene_description>BAM! Smiley fires into Willy's stomach. It leaks blood. Willy stumbles to the waters edge. Crying, he fires again. WHAM! The bullet hits his kidney. Then again and again and again. OTHER SIDE OF THE RIVER Sayra just reaches the shore as the second shot blasts out. She screams...</scene_description>
<character>SAYRA</character>
<dialogue>Willy!</dialogue>
<parenthetical>(to Leche)</parenthetical>
<dialogue>We have to go back for him.</dialogue>
<scene_description>Leche backs into the weeds on the U.S. side of the river, then turns and runs away. She grabs the inner-tube and jumps back into the water. She struggles to swim back towards Willy but the current has already brought her far enough down river that it's making it impossible for her to get back to his position.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLY AND SMILEY'S SIDE OF THE RIVER</stage_direction>
<scene_description>More Mareros gather, watching Willy stumble into the water. Suddenly they open up on him, BULLETS from their wide variety of weaponry pummeling his body. The Mareros each take turns spitting on him. Smiley is the only one not to do it. He looks at Willy's body with a mixture of hurt and nausea. SIRENS from both sides of the river approach their direction. As a group the men disappear into the shadows of the weeds.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWN RIVER</stage_direction>
<scene_description>Sayra cannot compete with the force of the current, she's floating away. She stops trying.</scene_description>
</scene>
<scene>
<stage_direction>EXT. U.S SIDE OF RIVER - CONTINUOUS</stage_direction>
<scene_description>TWO U.S. Border Patrol vehicles speed to the site, drawn by the gun fire.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER</stage_direction>
<scene_description>Mareros follow Willy's body as it drifts down stream, silently observing its progress from the shadows. POV FROM UNDERWATER Willy's lifeless body leaks black blood into the green water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. U.S SIDE OF RIVER</stage_direction>
<scene_description>The Border Patrol vehicles follow as well. Sayra ditches the inner-tube and struggles to an alcove of weeds on the U.S. side of the river. She collapses with fatigue and cries. She breathes hard as the weight of all that has happened sinks in. Her labored breathing slowly becomes a heavy, moaning cry. She has lost everyone. FADE OUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. EL LIL' MAGO'S HOUSE, TAPACHULA - DAY</stage_direction>
<scene_description>MUSIC fades in. The LOCATION SOUND is practically muted as the music ties one character to the next... Smiley sits in the middle of the destroyer. Other Maras mingle around him, but he doesn't look at them. He stares past us absently, as if he were looking at something 1000 yards away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIO SUCHIATE, GUATEMALA - DAY</stage_direction>
<scene_description>Orlando, on the same river we began the film, steps onto a raft with a small group of immigrants. His face shows the fatigue from the journey, but there is nothing in his face that shows he's going to give up. Around him, other immigrants, individuals and families, make their first steps on a journey he knows all too well.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIO GRANDE - DAY</stage_direction>
<scene_description>Sayra finishes dressing herself. She washes her hands and face in the river, then disappears into the shrubs towards the U.S.</scene_description>
</scene>
<scene>
<stage_direction>INT. MORGUE</stage_direction>
<scene_description>Willy's lifeless face peeks from a closing PINE BOX COFFIN. A WORKER staple guns the lid shut.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POTTERS FIELD, MCALLEN, TEXAS - DAY</stage_direction>
<scene_description>The same pine box is slid into a grave, then filled with dirt by a tractor. A wooden cross reads: "Sin Nombre" and is surrounded by hundreds of similar wooden crosses marked with the same "Sin Nombre."</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE MARCHES OF MCALLEN - DAY</stage_direction>
<scene_description>Sayra walks in a sort of trance through a field of tall, green grass and flowers. Her face is both tired and peaceful. As Willy described it, there is something beautiful about the Texan landscape, like a painting, especially in the early light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MCALLEN, TEXAS - DAY</stage_direction>
<scene_description>Sayra walks across a wide boulevard into the gigantic parking lot of a super mall. She sees a pay phone on the sidewalk. She stares at it. She decides to go to it. She picks up the receiver, reads the info on the phone, written in Spanish, on how to make COLLECT CALLS. She dials the number she was forced to memorize.</scene_description>
<character>SAYRA</character>
<parenthetical>(whispering to herself)</parenthetical>
<character>9-0-8-555-0-1-8-7</character>
<dialogue>The muffled voice of an OPERATOR echoes through the line. Sayra is confused, she answers in english "yes" with out knowing what she is answering to.</dialogue>
<dialogue>The phone begins to ring. And ring. And ring. The VOICE of Yessenia picks up the phone.</dialogue>
<character>SAYRA</character>
<dialogue>Yessenia? This is... Sayra.</dialogue>
<scene_description>As we pull high and away, we loose her in the colorful mosaic of hundreds of cars.</scene_description>
</scene>
</script> | Willy, nicknamed El Casper, is a member of the Mara Salvatrucha gang and lives in Tapachula, a Mexican town near the border with Guatemala. He introduces a young boy into his gang, and the boy is given the nickname Smiley after a violent initiation. Casper later helps Smiley to complete this initiation by helping him execute a rival gang-member. Casper is romantically involved with a girl, Martha Marlen. Fearing for her safety, he keeps the relationship a secret from his gang, but his double life causes his gang to doubt his loyalty. When Martha follows Casper to a gathering of his gang, the gang leader, Lil Mago, escorts her out, despite Casper's misgivings. Mago attempts to rape Martha and accidentally kills her. Later, he blithely tells Casper that he will find another girl. Shortly afterward, Mago brings Casper and Smiley to La Bombilla, a location along the train tracks where potential undocumented immigrants stow away on passing trains on their way to the United States. Among the immigrants is a Honduran family introduced earlier, consisting of the teenage girl Sayra, her father, and her uncle, who are on their way to relatives in New Jersey. Lil Mago, Casper, and Smiley rob the passengers for any money they have until Lil Mago spots Sayra and attempts to rape her. Casper intervenes, killing Mago and then sending Smiley off. Smiley goes back to the gang and reports Mago's death. The gang's new leader, El Sol accuses Smiley of collusion, to which Smiley timidly protests and begs to be sent to kill Casper to prove his loyalty. El Sol agrees and Smiley travels north to track down Casper. On the train, the still distraught Casper is avoided by other passengers. When some try to throw him off the train, Sayra warns Casper. She keeps on approaching him, despite her father's warnings. Casper's knowledge from previously smuggling gang members and avoiding the police proves useful, as he eludes his pursuers. He is finally accepted by Sayra's family but decides to leave the train while the others are sleeping. Unbeknownst to him, Sayra follows him. Meanwhile, her father and uncle decide to continue the journey. Traveling north on a car transport organized by a friend of Casper, Casper and Sayra barely escape a trap laid for them and enter an immigrant shelter, where Sayra sees a familiar face. She is informed that her father has died and her uncle has been caught. In disbelief, she rushes off to cry at the chapel, where Casper comforts her. They reach a river that constitutes the border to the United States. A coyote agrees to take them across one by one. Casper pays the man with his camera containing the cherished pictures of his girlfriend and insists that Sayra go first. When she is halfway across, the gang appears and begins to chase Casper. He flees the pursuing gang but runs into Smiley, who shoots him once, then slowly two more times. The others arrive and proceed to empty their magazines into Casper, while Sayra struggles to hold onto the raft and screams. The closing scenes show Sayra phoning her father's new family from outside an American mall, her uncle setting off on another attempt to cross the border, and Smiley having his lip tattooed as a sign of his loyalty to the gang. |
First Cow_2019 | tt9231040 | <script>
<scene>
<stage_direction>EXT. SAUVIE ISLAND / COLLINS BEACH - MORNING - CONTINUOUS</stage_direction>
<scene_description>The day is overcast, a light on and off drizzle. The river is a solemn gray expanse. In the distance, a huge cargo barge grinds towards port, its long, globe-crossing journey almost at a rest. Up on the wet sand, JORDAN and TAKUYA are stirring. In need of coffee, they attempt to get a fire going with a bundle of store-bought logs. On the waters edge, BRUNO, fetches a stick, runs and drops it at the feet of twenty-seven year old TERI. In her rain jacket, Teri picks up the stick and throws it further down the beach.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND / COLLINS BEACH - CONTINUOUS - MORNING</stage_direction>
<scene_description>As Teri wanders the beach, she finds a head of cabbage, a bundle of radishes, a melon. She pokes at some of the groceries washed up on shore with a stick. Bruno lopes ahead. Teri follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND BEACH-SANDY TRAIL-MORNING - CONTINUOUS</stage_direction>
<scene_description>Teri turns onto a sandy trail leading back into the brush, leaving the beach behind</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND MEADOW - MORNING - CONTINUOUS</stage_direction>
<scene_description>Teri and Bruno enter a tawny meadow banded by cottonwood and maple. The ground is damp. The dead grass is matted. Bruno rushes ahead to investigate something on the ground. He barks and begins excitedly to sniff. Teri goes over to join him. Bruno stands anxiously near something white and rounded embedded in the earth. He's eager to share. Teri looks closer. She kneels, and wipes wet mud away. It's a human skull. She stares at it, worried at first, but also intrigued. She holds Bruno back and looks around. No one else is around. She pulls a phone from her sweater pocket and finds no bars, no reception. She snaps a photo of the skull, and returns the phone to her pocket. Bruno hovers, waiting impatiently. Teri crouches again and touches the remains. The wet dirt scrapes off and more bones are revealed. She gets down on her knees and starts unearthing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND MEADOW - LATE MORNING</stage_direction>
<scene_description>The sun peeks through the cloudy sky. The drizzle has let up. Jordon and Takuya walk down the path that leads to the meadow. BEGIN CREDITS: In a chunky sweater and wool cap, Teri continues her excavation, carefully digging around the bones. Bruno explores nearby, happy to be in the open air. Already, a human skeleton is uncovered. Skull, clavicle, rib cage, pelvis, all still in proper order, exposed by recent drought followed by hard rains. She keeps going.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND MEADOW - AFTERNOON</stage_direction>
<scene_description>The sun is slanting into afternoon. Teri's cap is off, her sweater unzipped. She eats a power bar and drinks from a thermos as the boys dig. The three of them take turns, working two at a time. Bruno is stretched out chewing on a stick. The skeleton is fully visible now. And more: A second skull.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUVIE ISLAND MEADOW - LATER DAY</stage_direction>
<scene_description>The afternoon is aging. The sun has disappeared and the light rain has returned. Two complete skeletons, the forms intact, only loosely jumbled by the passage of time. Teri, Jordon and Takuya, stare at the remains with amazement and reverence,. The skeletons lie side by side, holding hands. END CREDIT SEQUENCE</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CAMP - CIRCA 1820 - DUSK</stage_direction>
<scene_description>A dense rain forest. On the ground, ferns and moss-covered rocks and disintegrating trunks. Overhead, a canopy of needles and lichen-draped limbs. All around, the fir trees form melancholy aisles into the gloom. The last light of day sifts through. OTIS "COOKIE" FIGOWITZ, the hired cook for a fur trapping expedition, prowls for mushrooms. He's bearded, tentative, and dirty. From the distance, rough laughter and yelling drifts to his ears. Men's voices muffled by the woods. He walks deeper into the woods clutching his basket.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CAMP - CONTINUOUS - DUSK</stage_direction>
<scene_description>Cookie keeps hunting. The voices fade and disappear. He's alone in the silence of the primordial forest. He can hear the smallest sounds of crackling twigs, scurrying bugs. He finds some mushrooms and puts them in his wicker basket.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CAMP - CONTINUOUS - DUSK</stage_direction>
<scene_description>Cookie bends to examine a bug. His own breath is the only sound. The bug is shiny and desperate. The bug can barely scramble through the moss. Cookie helps it along. He watches the bug scurry into some ferns. He's still watching when he hears a noise, like a footstep, not far away. He pauses. He crouches still. Another crunching, foot-like sound. He waits. The woods are darkening. Every direction is the same tangle of greenery. Another foot fall.</scene_description>
<character>COOKIE</character>
<dialogue>Hello?</dialogue>
<scene_description>No answer.</scene_description>
<character>COOKIE</character>
<dialogue>Who's there?</dialogue>
<scene_description>No answer. Another rustling sound. He panics. He picks up his basket and starts walking briskly away. He hears footsteps behind him and looks behind, seeing nothing. He starts jogging. Soon he is sprinting through the trees chased by the sound of his own footsteps.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMP - CONTINUOUS - DUSK</stage_direction>
<scene_description>Cookie runs into camp. A few ramshackle tents, sleeping DOGS, and a partially unpacked sled piled with pelts and supplies. Scattered around a fire are FIVE ROUGH-LOOKING MEN, each alone among the group. They sit smoking, whittling, chewing tobacco. One stabs a log with a dagger. Another shakes a rock out of his shoe. They barely look up as Cookie catches his breath and tries to hide his terror. They pass a bottle of alcohol around. The dirty tin plates and spoons of their last meal lie cast about.</scene_description>
<character>JACK TRAPPER 4</character>
<parenthetical>(noticing Cookie)</parenthetical>
<dialogue>Cookie. How about some of that buffalo steak for breakfast? With the fried cakes?</dialogue>
<character>COOKIE</character>
<dialogue>We finished all that back in Colter's Hell--</dialogue>
<character>DAME TRAPPER 2</character>
<dialogue>What about soda bread?</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>Dried apple pie.</dialogue>
<character>COOKIE</character>
<dialogue>None of that left, either, I'm afraid.</dialogue>
<scene_description>The men brood, passing the bottle.</scene_description>
<character>CLYDE TRAPPER 3</character>
<dialogue>You find anything out there tonight?</dialogue>
<character>COOKIE</character>
<dialogue>Some mushrooms. And a digger squirrel. I had the squirrel. But it got away.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>What's in the larder?</dialogue>
<scene_description>Cookie is slow to answer.</scene_description>
<character>COOKIE</character>
<dialogue>Ten dry biscuits. Some jerky. Salt.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>Nothing else?</dialogue>
<character>COOKIE</character>
<dialogue>No.</dialogue>
<scene_description>A long silence.</scene_description>
<character>CLYDE TRAPPER 3</character>
<dialogue>It's the cookie's job to improvise. This is a land of abundance, Mr. Figowitz.</dialogue>
<scene_description>Cookie is silent, on the spot.</scene_description>
<character>CLYDE TRAPPER 3</character>
<dialogue>You're charged with finding our vittles until we reach Fort Tillikum. You're aware of that, I know.</dialogue>
<scene_description>One trapper has been hogging the bottle. Another trapper rises.</scene_description>
<character>BILL TRAPPER 1</character>
<dialogue>Hold up there, mister. Share the wealth.</dialogue>
<scene_description>The trapper takes one more swig and the other one yanks the bottle away, which causes some liquid to spill. They rise and start menacing each other.</scene_description>
<character>DAME TRAPPER 2</character>
<dialogue>Hey there, that's a waste, bud.</dialogue>
<character>BILL TRAPPER 1</character>
<dialogue>He's drinkin' more'n his share.</dialogue>
<character>JACK TRAPPER 4</character>
<dialogue>Now no one's got it.</dialogue>
<scene_description>Cookie slips away into his tent.</scene_description>
</scene>
<scene>
<stage_direction>INT. COOKIE'S TENT - CONTINUOUS - INTO EVENING</stage_direction>
<scene_description>Cookie, among the few pots and pans and utensils sits and pulls off his boots. He pokes his finger through a hole in the sole. Outside the sounds of punching, yelping, the crashing of branches.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CAMP - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie wanders the woods with his basket again. He finds some mushrooms and gladly scoops them into his basket. He watches the moon shining brightly on the trees. Faraway, a coyote howls. He moves a little farther along. An owl stares from a tree branch. Cookie stares back. The owl's eyes are wide and penetrating, seeing into Cookie's mind. The owl takes flight. Cookie is again alone. As he turns to move on, he spots a discarded plate sitting on a fallen log next to a bush. There are a few beans left on the plate. He goes over to retrieve it but when he tries to lift it the plate remains in place. He pulls again but it won't budge. He looks closer and notices a man's finger holding the plate down. The finger is attached to an arm that extends from the bush. In the bush is a NAKED MAN. He stares out at Cookie. Cookie stumbles backwards, shocked and afraid.</scene_description>
<character>NAKED MAN</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Hello.</dialogue>
<character>COOKIE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Hello.</dialogue>
<scene_description>They stare at each other in the darkness. Two men in the primordial wood. The strange man has disheveled, black hair, a two-inch scar running from his shoulder down his arm, and dark almond eyes.</scene_description>
<character>COOKIE</character>
<dialogue>Are you... all right?</dialogue>
<character>NAKED MAN</character>
<dialogue>Hungry.</dialogue>
<scene_description>Cookie nods, and realizes the man is completely naked. He seems slightly dazed.</scene_description>
<character>NAKED MAN</character>
<dialogue>Your cook has retired for the night?</dialogue>
<character>COOKIE</character>
<dialogue>No, I don't think so.</dialogue>
<character>NAKED MAN</character>
<dialogue>You can call him out here? For a moment?</dialogue>
<scene_description>Cookie examines the naked man in the moonlight.</scene_description>
<character>COOKIE</character>
<dialogue>I'm the cook.</dialogue>
<scene_description>The man takes this in. From the bush the naked man rises. He steps out and sits on a log.</scene_description>
<character>NAKED MAN</character>
<dialogue>I see. I've been walking for a long time... might stay here awhile.</dialogue>
<scene_description>Cookie watches him, debating with himself what to do.</scene_description>
<character>COOKIE</character>
<dialogue>Wait.</dialogue>
<scene_description>Cookie goes. The naked man sits and waits, watching. He keeps waiting. He's totally depleted, resigned. Eventually, Cookie returns with a dry biscuit, a piece of jerky, a jug of water and a blanket. Cookie hands him the food. The naked man wraps the blanket around himself. He sits on the log opposite Cookie and gobbles the food down. He's ravenous.</scene_description>
<character>COOKIE</character>
<dialogue>You speak good English... for an Indian.</dialogue>
<character>NAKED MAN</character>
<dialogue>I'm not Indian.</dialogue>
<character>COOKIE</character>
<dialogue>Oh.</dialogue>
<character>NAKED MAN</character>
<dialogue>Chinese.</dialogue>
<scene_description>As the eating ends, King-Lu takes a drink of water from the jug.</scene_description>
<character>COOKIE</character>
<dialogue>I didn't know there were Chinese in these parts.</dialogue>
<character>KING-LU</character>
<dialogue>Everyone is here. Everyone wants that soft gold. It's why you're here, isn't it?</dialogue>
<character>COOKIE</character>
<dialogue>We've trapped our share.</dialogue>
<scene_description>They sit in the dark. Cookie keeps his eyes on the stranger.</scene_description>
<character>COOKIE</character>
<dialogue>What's your name?</dialogue>
<character>NAKED MAN</character>
<dialogue>King-Lu. So they call me. You?</dialogue>
<character>COOKIE</character>
<dialogue>Otis Figowitz. They call me Cookie.</dialogue>
<character>KING-LU</character>
<dialogue>Good to know you.</dialogue>
<character>KING-LU</character>
<dialogue>There are some Russian men chasing me. Have you seen them?</dialogue>
<character>COOKIE</character>
<dialogue>No.</dialogue>
<scene_description>King-Lu seems mildly relieved within his weariness.</scene_description>
<character>COOKIE</character>
<dialogue>Why are the men chasing you?</dialogue>
<character>KING-LU</character>
<dialogue>I might have killed one of their friends.</dialogue>
<character>COOKIE</character>
<dialogue>Oh.</dialogue>
<scene_description>King-Lu gathers his thoughts, stares at the ground. He sighs and holds his head.</scene_description>
<character>KING-LU</character>
<dialogue>Chenamus...my friend...they called him a thief. They gutted him from neck to loin.</dialogue>
<scene_description>Cookie listens intently.</scene_description>
<character>KING-LU</character>
<dialogue>I had a pistol and I took a shot. I got one in the neck, I think.</dialogue>
<character>KING-LU</character>
<dialogue>Then they came after me, and I ran into the woods.</dialogue>
<scene_description>King-Lu shakes his head at the memory of it.</scene_description>
<character>COOKIE</character>
<dialogue>What happened to your clothes?</dialogue>
<character>KING-LU</character>
<parenthetical>(remembering)</parenthetical>
<dialogue>I stuffed them in hollow trees. Threw my gun in a creek. (sighs)</dialogue>
<scene_description>King-Lu is obviously traumatized. Cookie observes him in the dark.</scene_description>
<character>KING-LU</character>
<parenthetical>(More to himself)</parenthetical>
<dialogue>His insides fell out right there on the ground. I can still hear it.</dialogue>
<scene_description>King-Lu simply stares now, exhausted by the telling.</scene_description>
<character>COOKIE</character>
<dialogue>Come on. You can sleep.</dialogue>
<scene_description>Cookie helps him up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMP - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie and King-Lu creep past the sleeping men, the dogs, and A HORSE. King-Lu seems worried, peering at the white trappers snoring and tossing on their bedding.</scene_description>
</scene>
<scene>
<stage_direction>INT. COOKIE'S TENT - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie hides King-Lu on a mat among his supplies. Immediately, he's asleep. Cookie lies nearby, unable to sleep. His mind ablaze.</scene_description>
</scene>
<scene>
<stage_direction>INT. COOKIE'S TENT - MORNING</stage_direction>
<scene_description>The morning sun casts shadows on the tent walls. Cookie awakens. The sound of gruff conversation. Somewhere, the men are exchanging words. Cookie sees that King-Lu is gone. He pulls back his tent flap and looks out across the camp to see...</scene_description>
</scene>
<scene>
<stage_direction>INT. COOKIE'S TENT / EXT. CAMP - CONTINUOUS - MORNING</stage_direction>
<scene_description>At the edge of camp, Trapper 3 speaks to a RUSSIAN TRAPPER-- fur bonnet, long moustache, long rifle, long knife. The Russian's words float over to Cookie's ears. The Russian seems angry. The trapper nods with understanding, and some impatience.</scene_description>
<character>SABONIS RUSSIAN TRAPPER</character>
<dialogue>...a fool... a little mongrel son of a whore... when we find the whoreson he'll wish he never set foot in this shit forest.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>... So what I'm hearing is two days all told, is that right? Or sometime early on the second day?...</dialogue>
<character>SABONIS RUSSIAN TRAPPER</character>
<dialogue>Two days, the most.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>So not too late that day...</dialogue>
<character>SABONIS RUSSIAN TRAPPER</character>
<dialogue>Not late, if fast.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>If you make good time, I understand... Ford the river about midday...</dialogue>
<character>SABONIS RUSSIAN TRAPPER</character>
<dialogue>After falls, after falls. Midday, no. What's that? This time of year, midday is early.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>After the falls... whenever you get there. Right.</dialogue>
<scene_description>Some final pointing and nodding goes down between the trappers. And at last the Russian leaves, stalking into the greenery of the woods. As Trapper 3 ambles back to the center of camp, the other trappers are just rousing. He speaks to everyone in ear shot:</scene_description>
<character>CLYDE TRAPPER 3</character>
<dialogue>Move out! We got directions! North and west to Fort Tillikum. Two day's journey. Hit the river and head downstream. Downriver at every branch.</dialogue>
<scene_description>The trappers grumble their pleasure. Cookie closes his tent flap.</scene_description>
<character>CLYDE TRAPPER 3 (OS)</character>
<dialogue>Oh, and there's a murderer in the woods so stay close!</dialogue>
<scene_description>Cookie takes in the new situation.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BETWEEN CAMPS - LATER - DAY</stage_direction>
<scene_description>The trapping party slogs through the rain forest. Each trapper carries a bundle of beaver pelts on his back. The horse pulls the sled of cooking supplies and provisions. Cookie trails towards the rear carrying his own heavy load. A trapper, Dame, plays a Jew's harp until another trapper, Bill, bats it from his hands. Cookie keeps walking. He pulls near the sled. He spots King- Lu in hiding among some blankets. Their eyes meet. They say nothing. Cookie keeps walking. He looks at the horse to see if he detects signs of obvious burden from the added weight he hauls.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BETWEEN CAMPS - LATER - DAY</stage_direction>
<scene_description>The trapping party continues slogging.</scene_description>
<character>JACK TRAPPER 4</character>
<dialogue>I need food. Food!</dialogue>
<character>BILL TRAPPER 1</character>
<dialogue>Food! (mumbling to himself) Stupid, pathetic trees.</dialogue>
<character>JACK TRAPPER 4</character>
<dialogue>I'll shoot somethin.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>The Russian said the elk are gone this time of year.</dialogue>
<character>DAME TRAPPER 2</character>
<dialogue>What else he say?</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>The Russian said the company is paying three silver ingots for every beaver pelt, two copper for muskrat. Your choice of Spanish heads or Chinese sycees. There's beer at the fort. And other things.</dialogue>
<character>JACK TRAPPER 4</character>
<dialogue>Women?</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>More than one.</dialogue>
<scene_description>The men grumble, emboldened. They march on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BETWEEN CAMPS - SOON - DAY</stage_direction>
<scene_description>Cookie walks alongside his provisions sled pulled by the horse. He can see King-Lu's foot exposed under a blanket. He covers him. They keep walking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERSIDE CAMP - LATE AFTERNOON</stage_direction>
<scene_description>The sleds are stopped. The sound of a rushing river can be heard. The sun is setting.</scene_description>
<character>CLYDE TRAPPER 3</character>
<dialogue>We go down river from here. A day more. We can camp here for the night. We'll find the fort tomorrow.</dialogue>
<scene_description>The trappers hurrah. One man wanders off to piss; another starts setting up his tent; two others start joking around with each other, wrestling among the rocks. Cookie can see King-Lu peering from under the blanket.</scene_description>
<character>JACK TRAPPER 4</character>
<parenthetical>(calling from nearby)</parenthetical>
<dialogue>I'm hungry as hell, Cookie! Find me some food.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>We'll be there tomorrow. Eat your hand.</dialogue>
<character>JACK TRAPPER 4</character>
<dialogue>I want food tonight. Or I'm takin it out of this one.</dialogue>
<scene_description>He comes over and shoves Cookie.</scene_description>
<character>JACK TRAPPER 4</character>
<dialogue>I'm sick of looking at this one. Can't wait to be done with him. Can't wait to never see him again.</dialogue>
<scene_description>He shoves Cookie again.</scene_description>
<character>JACK TRAPPER 4</character>
<dialogue>You get your cut at the fort, then we can see if you keep it. I'll be waitin for you outside the gates. Waitin for you with your sack full of silver.</dialogue>
<character>CLYDE TRAPPER 3</character>
<dialogue>Leave him alone.</dialogue>
<scene_description>The trappers square off and Cookie scurries away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER NEAR RIVERSIDE CAMP - MOMENTS LATER - LATE</stage_direction>
<scene_description>AFTERNOON Flustered and afraid Cookie wanders down to the river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER SIDE - LATE AFTERNOON</stage_direction>
<scene_description>He goes to the river's edge and looks into the water. The water is teeming with fish. Fish everywhere. Big, meaty salmon with silver skin. Cookie hurries back up to the camp.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERSIDE CAMP - CONTINUOUS - LATE AFTERNOON</stage_direction>
<scene_description>Cookie locates a butterfly net among his things. He pulls a basket from his pile, too, and as he looks over at the supply sled he sees trapper, Bill, digging for something among the blankets. Cookie catches his breath, afraid for King-Lu. The trapper rips out some boxes and rope. He gives Cookie a cold look. But no King-Lu. Cookie is relieved. He doesn't wait around. He heads back down to the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER NEAR RIVERSIDE CAMP- CONTINUOUS - LATE AFTERNOON /</stage_direction>
<scene_description>DUSK Cookie wades into the river. He dips his net in the water and lifts out a silver salmon. He tosses it on the bank and dips again, catching more. He stumbles along, pulling fish from the river. He spots his blanket near the water's edge. He looks out and sees the receding figure of King-Lu swimming across the river. Cookie watches him swimming strongly towards the other side. DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHIP IN THE FOG - TWO WEEKS LATER - MORNING</stage_direction>
<scene_description>Through the thick morning mist, A COW appears. The animal seems to be floating over the river. The lapping water is even and hushed. Soon a ferry boat comes into view, piloted by a SWARTHY SAILOR MAN. The ferry floats upstream, carrying the cargo of the cow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - RIVER BANK - MORNING</stage_direction>
<scene_description>On a sandy beach, a MULTNOMAH BOY skims a rock. The ferry boat is beached. A sailor leads the cow off the ferry, onto the shore. SOME WORKERS stop to watch. A MULTNOMAH MAN and WOMAN with a BABY on her back, gather and watch as the cow arrives on land. THOMAS, a junior fur company guard, approaches, handing papers over to the sailor. The sailor looks at the papers and shrugs. He gives the reins of the cow to Thomas. Thomas leads the cow over the sandy beach towards the misty trees. DESMOND, a MULTNOMAH MAN watches them go. Up the bank wait the walls of a trading fort.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR FORT - DAY</stage_direction>
<scene_description>A ROUGH-LOOKING MAN ambles along a forest trail, counting silver coins (or Fort coupons). Over his shoulder is a pair of pants, on his head two hats, around his wrist a mahogany cane, on his face a satisfied smile. Behind him, Cookie, cleaner, with shorter hair, sits on a stump, putting on a new pair of boots. Satisfied with his purchase, he leaves his old boots behind. Cookie walks around a bend and passes a bloodied knife on the ground. Further along, some bushes and piles of debris. Among the local population's refuse, Cookie spots a BODY. Is it alive? He can't tell. All he can see are bare legs, stockinged feet that stick out of the bush. He peers at the body a moment longer but doesn't want to investigate. He hurries on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARSON'S - DAY - SOON</stage_direction>
<scene_description>Cookie, walks through town, getting used to his new boots. The new boots are fetching in his eyes, and fairly comfortable. He passes ERIC, a trapper, who is heading in the opposite direction, holding a pig he has just stolen. PARSON, who lives at the edge of town, is carrying the week's supplies back to his shack. He stops and takes notice of the man with the pig and then Cookie.</scene_description>
<character>PARSON</character>
<dialogue>Fancy boots, lad!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORT - DAY - SOON</stage_direction>
<scene_description>The trading fort is a simple cluster of wooden shacks surrounded by a sturdy wooden fence. Atop a stripped post flies the flag of the trading company. Outside the fence, imposing fir trees and a drab flea market at the edge of the world. A few INDIANS, RUSSIANS, BRITONS, and FRENCHMEN barter back and forth on blankets laid with nails, herbs, knives, whatever might have some value. A LAZY GUARD loiters near the main gate. Cookie, with his new boots, walks among the MEN and WOMEN, lonely. He overhears snippets of conversation floating through the drizzle. They talk about trade, weather, gossip. His feet slurp in the mud as he rounds the corner of the long fence. He passes TWO MEN.</scene_description>
<character>MAN #1 (OS)</character>
<dialogue>Those look like Jean-Baptiste's boots.</dialogue>
<character>MAN #2 (OS)</character>
<dialogue>How the hell would I know?</dialogue>
<scene_description>Cookie walks to the edge of "town."</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR FORT - DAY</stage_direction>
<scene_description>A LITTLE GIRL with pigtails in a gingham dress, carries an empty wooden bucket.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF FORT - CONTINUOUS - DAY</stage_direction>
<scene_description>Cookie sits under the boughs of the fir trees, untucks his pant legs from his new boots. He counts his money. A stack of fort coupons. Now where to go? He sits on a stump, with nothing to do. The LITTLE GIRL with the empty wooden bucket comes out of the woods and passes Cookie. He watches her walk gaily towards the fort, swinging her bucket. He follows her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - CONTINUOUS - DAY</stage_direction>
<scene_description>The little girl wanders past the traders Cookie just left. She enters the fort's walls. And Cookie enters behind her.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORT - CONTINUOUS - DAY</stage_direction>
<scene_description>A guarded warehouse for furs. A watchtower. A saloon. A kitchen garden. The little girl wanders across down the single row of ad-hoc buildings. Cookie follows. She goes into the saloon, passing through it's burlap door. Cookie waits outside. He can hear the boisterous sounds of the saloon's PATRONS from outside. Laughter and the stomping of boots. Soon, the little girl exits with her bucket sloshing with beer. She belches loudly and walks past Cookie, and back out the gate of the fort. Cookie has nowhere to go but into the saloon.</scene_description>
</scene>
<scene>
<stage_direction>INT. SALOON - CONTINUOUS - DAY</stage_direction>
<scene_description>Cookie enters the bar. The air is hot and filled with smoke. It's a long, dirty room with a wood stove and a tattered blanket on the wall. Some of the men speak the Multnomah trade jargon. He sits at the bar facing himself in the long mirror. He looks small and pale compared to the rough men around him. Timidly, he orders:</scene_description>
<character>COOKIE</character>
<dialogue>Whiskey, please.</dialogue>
<scene_description>The drink appears. The bartender waits for payment.</scene_description>
<character>COOKIE</character>
<dialogue>How much?</dialogue>
<scene_description>Cookie holds out his money. The bartender takes two coins. Cookie sips his drink as the PATRONS-soldiers, sailors, trappers, Indians, etc.--keep laughing and gambling, playing poker and mahjong. The bar is filled with competing voices and competing stories. The men talk about health problems, grand plans, card games, foreign countries. All the talk mixes together and cancels each other out. Among the conversations, Cookie picks up on one in particular, and tries to catch some of its details.</scene_description>
<character>LLOYD</character>
<dialogue>First one in the Territory. Shipped it all the way up from Saint Francisco.</dialogue>
<character>SAILOR</character>
<dialogue>Saint Luis Obispo.</dialogue>
<scene_description>Lloyd is annoyed by the interruption but the drunken sailor doesn't seem to notice.</scene_description>
<character>LLOYD</character>
<dialogue>I'm told Saint Francisco.</dialogue>
<character>SAILOR</character>
<dialogue>Saint Luis Obispo. I spoke to the ferryman.</dialogue>
<character>LLOYD</character>
<dialogue>The ferryman... Never trust a drunken ferryman. Your mother never told you that?</dialogue>
<character>SAILOR</character>
<dialogue>He wasn't a drunk.</dialogue>
<character>LLOYD</character>
<dialogue>Ha! You don't think so? You've seen his hand in the morning? He's always drunk, that one. Or sleeping it off.</dialogue>
<character>SAILOR</character>
<dialogue>He seemed fine to me.</dialogue>
<character>LLOYD</character>
<dialogue>His blood is whiskey.</dialogue>
<character>SAILOR</character>
<dialogue>Well, he said Saint Luis Obispo, and he was the one bringing the cow.</dialogue>
<character>LLOYD</character>
<dialogue>Have it your way, Saint Luis Obispo.</dialogue>
<scene_description>Lloyd directs his story to the man across from him.</scene_description>
<character>LLOYD</character>
<dialogue>The Chief Factor ordered two cows and a calf. That's the true story. But the other ones died on the way.</dialogue>
<character>MAN</character>
<dialogue>What good's one cow to anyone? Cow needs a stud.</dialogue>
<scene_description>The sailor nods.</scene_description>
<character>LLOYD</character>
<dialogue>Chief Factor wants milk in his tea. (putting on airs) Like a proper Englishman.</dialogue>
<character>MAN</character>
<dialogue>Like a proper lady.</dialogue>
<scene_description>They laugh.</scene_description>
<character>MAN</character>
<dialogue>This ain't a place for cows. God would've put cows here if it was.</dialogue>
<character>LLOYD</character>
<dialogue>No place for white men either then.</dialogue>
<scene_description>Cookie listens, imposing himself into the cow's part. As Cookie sips his drink and eavesdrops, a BIG, TOUGH-LOOKING MAN walks into the saloon. With him is a BABY, swaddled, in a basket. They sit beside Cookie at the bar. The big guy orders a beer. He sets the baby on the bar. Cookie keeps to himself, making eyes with the baby. Behind him, a bar patron, PAT, has noted the new arrival and can't keep his mouth shut.</scene_description>
<character>PAT</character>
<dialogue>Well, look who's here. Brilliant William.</dialogue>
<scene_description>The bartender gives William his beer.</scene_description>
<character>PAT</character>
<dialogue>I need a few sun beams, William. Can you gather me up a dozen sun beams? They're on the ground, just lying around everywhere. Any old beams will do.</dialogue>
<scene_description>The big guy ignores the show off, PAT. He drinks and stares at the bar.</scene_description>
<character>WILLIAM</character>
<parenthetical>(mumbling to himself)</parenthetical>
<dialogue>Sonsabitches.</dialogue>
<character>PAT</character>
<dialogue>Here's a question. What does a tongue taste like? You ever think about that? I bet you have some distinct notions about what your tongue tastes like, am I right William?</dialogue>
<scene_description>Some of the other men in the saloon laugh. William is not pleased but stays focused on his drink. Only Cookie can hear him mutter:</scene_description>
<character>WILLIAM</character>
<dialogue>Traders all sonsabitches.</dialogue>
<scene_description>Pat gets up and comes near William. Pacing behind him.</scene_description>
<character>PAT</character>
<dialogue>Whatcha sayin there Brilliant William? Something brilliant, I'm bettin. He's always good for some clever opinions. What's the difference between a river and lake? You figured that one out yet, Willy?</dialogue>
<scene_description>The bartender gives a warning glance.</scene_description>
<character>PAT</character>
<dialogue>I'm not bothering him. I'm just askin an honest question. What about the chicken and the egg? He knew for sure it was the chicken. Til he thought about it from the egg's point of view. That really hurt your old noggin, didn't it, William?</dialogue>
<scene_description>He touches William's back.</scene_description>
<character>PAT</character>
<dialogue>Yep, yep. I think that's how you got this crack in your brain bone. (He laughs, tapping William's head)</dialogue>
<scene_description>The bartender shakes his head. William is getting angrier and angrier. He's staring furiously at the bar, his mouth twitching.</scene_description>
<character>PAT</character>
<dialogue>Willy, you better do something or your head's gonna blow.</dialogue>
<scene_description>At last William spins around. He reaches out and grabs Cookie by the coat.</scene_description>
<character>WILLIAM</character>
<dialogue>You watch him til I'm done.</dialogue>
<scene_description>Cookie barely has time to nod yes, before William turns and slugs Pat in the face, sending him reeling. William stands and grabs Pat, dragging him across the room and through the burlap door flap. Cookie watches as the other men rise and follow too, happily chanting and yelling their blood thirst. As the room empties, Cookie sits with the baby basket and tries to ignore the brutality. The bartender locks the till and goes to watch the action. Cookie and the baby sit alone at the bar. Cookie sighs, looks at the baby. Makes a little face.</scene_description>
<character>A VOICE</character>
<dialogue>Hello, Cookie. I thought I might find you here sooner or later.</dialogue>
<scene_description>Cookie raises his gaze and in the mirror's reflection, sees behind him, a figure sitting across the now-empty saloon. It's King-Lu, now decently shod, in fine frontier regalia. Cookie turns, pleased at the sight of a familiar face, but keeps his thoughts to himself. King-Lu gives him a wide smile.</scene_description>
<character>COOKIE</character>
<dialogue>I didn't think I'd ever see you again.</dialogue>
<scene_description>King Lu crosses the room with his beer. The sounds of the fight waft in through the burlap door: the initial punches, the clamor by some men to stop the carnage, and now, a full-blown street brawl involving all parties. King-Lu takes a seat at the bar beside Cookie.</scene_description>
<character>KING-LU</character>
<dialogue>I was lucky. Those Russian villains left the country just after I left you. I thought about doing some violence to them but they were gone before I knew it. Now I'm free and easy, right back where I was.</dialogue>
<scene_description>King-Lu sips his beer.</scene_description>
<character>KING-LU</character>
<dialogue>Where are all your kind friends?</dialogue>
<character>COOKIE</character>
<dialogue>They mostly went south. Some north.</dialogue>
<character>KING-LU</character>
<dialogue>But not you.</dialogue>
<character>COOKIE</character>
<dialogue>Not yet. No one would have me.</dialogue>
<scene_description>A man tumbles in the door and bounces back out to keep brawling.</scene_description>
<character>KING-LU</character>
<dialogue>And where are you staying in the mean time?</dialogue>
<character>COOKIE</character>
<dialogue>I've got a tent a mile thataway. Other side of the hill.</dialogue>
<character>KING-LU</character>
<dialogue>I've got a place a mile thataway. I've got a bottle there, too.</dialogue>
<character>COOKIE</character>
<parenthetical>(unsure)</parenthetical>
<dialogue>Ah ha.</dialogue>
<scene_description>A beat.</scene_description>
<character>KING-LU</character>
<parenthetical>(clarifying)</parenthetical>
<dialogue>Maybe you'd like to come help me drink it.</dialogue>
<character>COOKIE</character>
<dialogue>Oh. Of course, I would... but...</dialogue>
<scene_description>He nods at the baby.</scene_description>
<character>KING-LU</character>
<dialogue>Leave him. He is fine.</dialogue>
<character>COOKIE</character>
<dialogue>But... He's just a child.</dialogue>
<character>KING-LU</character>
<dialogue>He is fine.</dialogue>
<scene_description>Cookie hands the baby a cork to play with.</scene_description>
<character>COOKIE</character>
<dialogue>You stay here. Your daddy will be back soon.</dialogue>
<scene_description>Cookie and King-Lu exit, slipping away. The fight continues outside. The baby sits alone on the bar.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN NEAR FORT - SOON - AFTERNOON</stage_direction>
<scene_description>Cookie and King-Lu walk. Outside the fort walls, the land is a mix of forest and meadow, marked by occasional huts and tents, and pathways worn in the more trafficked areas. A DOG searches for food scraps. A BUSINESS MAN, in a suit, sits outside a shack reading a months old London newspaper. He takes a page from the paper to cover the bucket of beer near his chair. The little bucket girl, his daughter, sits on the small porch stringing blue beads onto a necklace.</scene_description>
<character>KING-LU</character>
<dialogue>... I've been in these parts close to two years now. I've thought of leaving more than once, but I sense opportunity here. Ships coming in and out every week. More raw materials than anywhere I've seen, and I've been all over.</dialogue>
<scene_description>JAMES PARSONS comes out onto his makeshift porch with his RAVEN. He takes note of Cookie and King-Lu, watching them as they pass.</scene_description>
<character>COOKIE</character>
<parenthetical>(returning to the conversation)</parenthetical>
<dialogue>You've been everywhere.</dialogue>
<character>KING-LU</character>
<dialogue>I caught my first trade ship from Canton when I was nine. I sailed to London, Africa, saw the pyramids. Saw the southern cross. This is a land of riches, I'll tell you.</dialogue>
<scene_description>Quickly, the homes taper off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - SOON - AFTERNOON</stage_direction>
<scene_description>King-Lu and Cookie make their way along a deer path, stopping to check King-Lu's traps along the way. The traps are make- shift; a scrap of fish for bait, birds pick at the ground surrounding the traps.</scene_description>
<character>KING-LU</character>
<dialogue>I see something in this land I haven't seen before. Pretty much everywhere's been touched by now...</dialogue>
<scene_description>King-Lu lifts the heavy wood and pulls out a dead squirrel.</scene_description>
<character>KING-LU</character>
<dialogue>but this is still new. More nameless things around here than you could shake an eel at.</dialogue>
<scene_description>King-Lu puts the carcass in his shoulder bag and they move on.</scene_description>
<character>COOKIE</character>
<dialogue>It doesn't seem new to me. It seems old.</dialogue>
<character>KING-LU</character>
<dialogue>Everything's old if you look at it in that way. But that doesn't stop new things coming into the world, does it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS/MEADOW NEAR FORT/HUTCH - SOON - AFTERNOON</stage_direction>
<scene_description>They walk on, lost in their own thoughts. They arrive at the next trap. King-Lu lifts the fallen flat rock. Cookie picks up the smashed squirrel by its tail. King-Lu opens his bag and Cookie drops the squirrel in.</scene_description>
<character>KING-LU</character>
<dialogue>What I'm saying is history isn't here yet. It's coming, but we got here early this time. Maybe this time around we can be ready for it. We can take it on our own terms.</dialogue>
<scene_description>Cookie likes the sound of that.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - AFTERNOON</stage_direction>
<scene_description>A rustic cabin at the edge of a meadow. Almost more a pile of sticks. Chickens scratch in the yard near a chicken coop and a woodpile. A wooden ladder leans against the hutch, on the ground a long wooden yoke near a barrel of water. The two men walk inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>King-lu puts his bag of squirrel meat on a wooden table. Cookie apprises the cottage. A fire pit, a hole in the roof. Dirty clothes on the dirt floor. A grimy rug.</scene_description>
<character>KING-LU</character>
<dialogue>Not much to look at, I know.</dialogue>
<scene_description>King-Lu pulls a bottle from a shelf and finds a cup. He pours a cup and hands it to Cookie. They toast.</scene_description>
<character>KING-LU</character>
<dialogue>Here's to something.</dialogue>
<scene_description>They drink.</scene_description>
<character>KING-LU</character>
<dialogue>I'll get a fire going. You make yourself easy.</dialogue>
<scene_description>King-Lu exits to chop some wood. Cookie looks around the hovel. He finds a broom and starts sweeping.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>Cookie shakes out the rug. King-Lu gathers wood in the near distance. Cookie goes back inside with the rug as King-Lu sets up another piece of wood. Cookie returns. He picks some flowers from outside the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>Cookie puts the flowers in an empty bottle. King-Lu enters with an arm load of wood.</scene_description>
<character>KING-LU</character>
<dialogue>Looks better already!</dialogue>
<scene_description>He starts making a fire.</scene_description>
<character>KING-LU</character>
<dialogue>Where're you from, Cookie? I've been talking and talking.</dialogue>
<character>COOKIE</character>
<dialogue>Maryland.</dialogue>
<character>KING-LU</character>
<dialogue>Never been.</dialogue>
<character>COOKIE</character>
<dialogue>It's fine. I don't remember it much.</dialogue>
<character>KING-LU</character>
<dialogue>Not fine enough to stay, eh?</dialogue>
<character>COOKIE</character>
<dialogue>My momma died when I was born. Then my daddy died. I had to move on to find work. Never stopped moving. You could say I'm from no where, I guess.</dialogue>
<scene_description>A pause of understanding.</scene_description>
<character>KING-LU</character>
<dialogue>Well, here's to getting out of there.</dialogue>
<scene_description>King-Lu fills Cookie's cup again. The fire is catching, growing into licking flames, throwing heat. MONTAGE OF DAYS:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR KING-LU'S HUTCH - DAY</stage_direction>
<scene_description>Cookie and King-Lu gather nuts from the branches of a thick bush. Cookie fills his basket. Close-by King-Lu puts his stash in a sling he's made from his shirt.</scene_description>
<character>KING-LU</character>
<dialogue>... Things gain value when you send them around, that's the thing. A fur here is worth a dollar; a fur in Paris, a hundred times that. I had an idea once. Furs are one thing. But there's precious oil in the beavers, too, that's worth something in China. They use it for medicine over there. If a man could take a batch of that precious beaver oil on a ship to Canton, he could make his fortune.</dialogue>
<character>COOKIE</character>
<dialogue>Why don't you?</dialogue>
<character>KING-LU</character>
<dialogue>Oil is in the glands. Glands never make it to the fort. Just rot away in the woods. Anyway, I don't have contacts in Canton. I'm from the north, and they hate a Northern man there. Worse than a white man to them.</dialogue>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - ANOTHER DAY</stage_direction>
<scene_description>Cookie's few belongings are now mixed among King-Lu's. King-Lu debeards mussel shells while Cookie tends the fire and chops vegetables...</scene_description>
<character>KING-LU</character>
<dialogue>... What I'd really like is a farm. The land south of here is wide open. The world wants filberts. Or walnuts. Or almonds.</dialogue>
<scene_description>Cookie collects the mussels from King-Lu. He picks off the last strands that King-Lu missed, puts them in the boiling water.</scene_description>
<character>KING-LU</character>
<dialogue>Something you can pack up and send. But you can't just grow a tree, it takes time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER NEAR KING-LU'S HUTCH - ANOTHER DAY</stage_direction>
<scene_description>Cookie washes clothing and dishes in the river. King-Lu sits against a rock. He's busy thinking.</scene_description>
<character>KING-LU</character>
<dialogue>... It's the getting started that's the puzzle. No way for a poor man to get a start. You can't grow a batch of nuts, harvest them, crate and ship them to market without getting payment on them until after. You need capital. Or you need some kind of miracle.</dialogue>
<character>COOKIE</character>
<dialogue>You need leverage.</dialogue>
<character>KING-LU</character>
<dialogue>Or a crime.</dialogue>
<scene_description>King-Lu thinks harder.</scene_description>
<character>COOKIE</character>
<dialogue>I'd like to open a hotel someday. A place for travelers.</dialogue>
<character>KING-LU</character>
<dialogue>Hotel. That's nice.</dialogue>
<character>COOKIE</character>
<dialogue>Or a bakery.</dialogue>
<scene_description>King-Lu gets up and stretches. Cookie wrings water from a shirt.</scene_description>
<character>KING-LU</character>
<dialogue>A hotel and bakery. With wild huckleberry pies. You could do that here.</dialogue>
<character>COOKIE</character>
<dialogue>Someplace warmer.</dialogue>
<character>KING-LU</character>
<dialogue>Warmer then.</dialogue>
<scene_description>King-Lu goes over and helps Cookie gather up their load. Cookie puts his bag over his shoulder, nods to a small black basalt sculpture across the river.</scene_description>
<character>COOKIE</character>
<dialogue>One black rock.</dialogue>
<character>KING-LU</character>
<dialogue>That's a weather stone. It makes rain, they say. They say it was a monster or a powerful spirit once-- a Skookum--who got turned into stone. If anyone sits on it, it rains.</dialogue>
<scene_description>King-Lu and Cookie carry their items, leaving the beach.</scene_description>
<character>COOKIE</character>
<dialogue>Do you believe in that?</dialogue>
<character>KING-LU</character>
<dialogue>I believe different things in different places. It's good to be shifty in a new country. You never know who might be writing the rules come night fall.</dialogue>
<scene_description>MONTAGE ENDS</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - DAY</stage_direction>
<scene_description>King-Lu naps in a hammock.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CHIEF FACTOR'S HOUSE - DAY</stage_direction>
<scene_description>Cookie walks in the woods with his basket, gathering herbs and berries.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLEARING NEAR CHIEF FACTOR'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Beyond the trees, in a clearing, is the cow, grazing. Cookie stares at the cow. Its eyes are big and brown. Its coat shines in the sun. The cow is a glorious creature, even more beautiful so far from home.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - EARLY EVENING</stage_direction>
<scene_description>A seasonal rain pounds the roof of King-Lu's hutch. Water leaks into make-shift buckets and baskets that the men have set around the place. King-Lu is mending a pair of pants. Cookie lights a lantern.</scene_description>
<character>COOKIE</character>
<dialogue>I found the cow today.</dialogue>
<scene_description>King-Lu keeps mending.</scene_description>
<character>COOKIE</character>
<dialogue>It isn't far from the Chief Factor's house. In a meadow. I'd like some of that milk.</dialogue>
<character>KING-LU</character>
<dialogue>I'm not a milk drinker. Doesn't agree with me.</dialogue>
<scene_description>Cookie brings the lantern over to where King-Lu is sewing and sets it down next to him.</scene_description>
<character>COOKIE</character>
<dialogue>I wouldn't drink it. I'd use it for cookies, or scones. There's nothing better than buttermilk biscuits. I'm tired of this water and flour bread.</dialogue>
<scene_description>King-Lu finishes mending. He cuts the thread with his teeth. He shakes out his pants and steps into them.</scene_description>
<character>KING-LU</character>
<parenthetical>(staring at his feet)</parenthetical>
<dialogue>What else would you need for good biscuits, Cookie?</dialogue>
<character>COOKIE</character>
<dialogue>Flour, some sugar, salt, baking soda.</dialogue>
<character>KING-LU</character>
<parenthetical>(looking towards Cookie)</parenthetical>
<dialogue>How long does it take to milk a cow?</dialogue>
<character>COOKIE</character>
<dialogue>Not long.</dialogue>
<character>KING-LU</character>
<dialogue>Make much noise?</dialogue>
<character>COOKIE</character>
<dialogue>No.</dialogue>
<character>KING-LU</character>
<dialogue>Can cows give milk at night?</dialogue>
<character>COOKIE</character>
<dialogue>As long as she wasn't milked after dinner.</dialogue>
<scene_description>An idea is hatched as King-Lu looks deviously at Cookie. Cookie shakes his head, no. King-Lu shakes his head, yes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CHIEF FACTOR'S HOUSE - NIGHT</stage_direction>
<scene_description>An owl hoots. Cookie and King-Lu sneak through the woods with a watertight Indian basket. They keep moving and soon arrive at the edge of the cow's meadow. They find the cow in the moonlight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>At the edge of a clearing Cookie and King-Lu stand under a large oak tree.</scene_description>
<character>KING-LU</character>
<dialogue>I'll go up and keep an eye on things from here. Give me a lift.</dialogue>
<scene_description>Cookie gives him a leg-up.</scene_description>
<character>KING-LU</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>If I see anything, I'll give a call. I'll do an owl. Who-who.</dialogue>
<character>COOKIE</character>
<parenthetical>(looking up)</parenthetical>
<dialogue>All right but I don't think you can get up there.</dialogue>
<scene_description>King-Lu's boot is pressing on Cookie's shoulder and face, until finally King-Lu gives up.</scene_description>
<character>KING-LU</character>
<parenthetical>(on the ground)</parenthetical>
<dialogue>I'll wait here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie gently approaches the cow. Across the meadow, the dim lights of the Chief Factor's house. The cow lows softly. Cookie speaks to her softly.</scene_description>
<character>COOKIE</character>
<dialogue>How are you? Didn't expect company so late at night, did you? Well. Here we are.</dialogue>
<scene_description>Cookie kneels and begins milking the cow. The streams of milk splash in the basket.</scene_description>
<character>COOKIE</character>
<dialogue>Sorry about your husband. I heard he didn't make it all the way. And your calf... That's a terrible thing. Terrible. But you've got a nice place here. You've got a very nice little place here, don't you?</dialogue>
<scene_description>The cow is happy to have Cookie nearby.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>From beneath the branches, King-Lu watches Cookie vigilantly. Cookie rises and heads towards King-Lu. When Cookie reaches King-Lu, they retreat back into the forest.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - EARLY MORNING</stage_direction>
<scene_description>A makeshift butter churn and various ingredients lay open on the table. Cookie pulls a Dutch oven from a stone hearth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - EARLY MORNING</stage_direction>
<scene_description>King-Lu comes out of the woods carrying a pile of wood. He is in his sleeping clothes and boots. He drops the wood in the yard. He goes to one of the buckets of rain water. He takes a drink from his cupped hands. As he wipes his hands, Cookie hands him a fresh biscuit through the window. King-Lu pulls the biscuit apart and the steam comes out. Taking a bite, clearly the biscuit is heavenly.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - CONTINUOUS - EARLY MORNING</stage_direction>
<scene_description>King-Lu comes in from outdoors. He takes a seat at the table. Cookie brings over more biscuits. They are golden and fluffy. The two men lean over the plate and smell the freshly baked goods. Cookie and King-Lu eat.</scene_description>
<character>KING-LU</character>
<dialogue>How much do you think someone would pay for a biscuit like that?</dialogue>
<character>COOKIE</character>
<dialogue>I wish we had honey.</dialogue>
<character>KING-LU</character>
<dialogue>A glass of whiskey is two silver coins. A pickle is three. The men walk out of the fort loaded with silver and shells and company script-- I once saw a man spend five good beaver pelts on a broken fork.</dialogue>
<scene_description>King-Lu stands. Then he sits again. Cookie eats another biscuit.</scene_description>
<character>KING-LU</character>
<dialogue>I think we should test the waters. Next batch, Cookie, we'll take to market. I've heard of fortunes made on less.</dialogue>
<character>COOKIE</character>
<dialogue>Seems dangerous.</dialogue>
<character>KING-LU</character>
<dialogue>So's anything worth doing.</dialogue>
<scene_description>Cookie thinks, studying the plain biscuit.</scene_description>
<character>COOKIE</character>
<dialogue>I think they'd like something sweeter.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDGE OF TOWN /PARSON'S SHACK- ANOTHER MORNING</stage_direction>
<scene_description>On a path heading to town, King-Lu carries a yoke over his shoulders, balancing covered baskets on either side. Cookie follows along carrying a blanket and a plank of cedar. A random dog follows the smell coming from the baskets. James Parson is shooing away the little bucket girl when Cookie and King-Lu pass. The little girl follows Cookie and King-Lu to the edge of town, then watches them go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - DAY</stage_direction>
<scene_description>The drab flea market outside the fort is ongoing. A few INDIANS, a few TRAPPERS, all peddle their wares on the blankets. A batch of dried mushrooms. A scatter of beads. Piles of mussels and clams. Cookie lays out the blanket on the edge of the market. On top of the blanket they lay their plank of cedar. On the cedar, they lay a row of primitive donuts. Fried, sugared, puffy dough. Drizzled with honey. They sit and wait.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - SOON - DAY</stage_direction>
<scene_description>Soon enough, TWO TRAPPERS wander over.</scene_description>
<character>KING-LU</character>
<dialogue>Fresh Oily Cakes. Best this side of the Sandwich Islands.</dialogue>
<character>FORT TRAPPER 1</character>
<dialogue>Don't look like hard tack. Or soda bread.</dialogue>
<character>FORT TRAPPER 2</character>
<dialogue>Looks like some kind of pancake.</dialogue>
<character>FORT TRAPPER 1</character>
<dialogue>Smells good. What's in it?</dialogue>
<character>KING-LU</character>
<parenthetical>(exaggerating his accent)</parenthetical>
<dialogue>Secret ingredient. Ancient Chinese secret.</dialogue>
<character>FORT TRAPPER 2</character>
<dialogue>How much?</dialogue>
<character>KING-LU</character>
<dialogue>Five ingots. Or the equal in trade.</dialogue>
<scene_description>The trapper shrugs, digs into his purse. They exchange money for oily cake. He bites into it. Ecstasy appears on his face.</scene_description>
<character>FORT TRAPPER 2</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>Good lord, gimme another.</dialogue>
<scene_description>MORE TRAPPERS show up, flush with money, and buy up more. Also, Lloyd with Thomas in tow. A small bidding war ensues. Various currencies are used: silver, gold, pelts, dentalium.</scene_description>
<character>FORT TRAPPER 3</character>
<dialogue>I'll give you six ingots for the last one.</dialogue>
<character>FORT TRAPPER 4</character>
<dialogue>Seven shells.</dialogue>
<character>LLOYD</character>
<dialogue>Eight shells.</dialogue>
<character>FORT TRAPPER 4</character>
<dialogue>Eight?</dialogue>
<character>KING-LU</character>
<dialogue>Oily cake to this gentleman. We'll have more tomorrow.</dialogue>
<scene_description>Cookie hands over the last oily cake to Lloyd. Thomas watches the oily cake go from Cookie to Lloyd. He hopes Lloyd will share it but Lloyd turns his back to Thomas and shoves the cake into his mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF TOWN /PARSON'S SHACK- AFTERNOON</stage_direction>
<scene_description>The little beer girl walks through the center of town carrying a full bucket of beer. She delivers it to the businessman who sits outside his shack reading the same worn newspaper. Cookie and King-Lu pass by as the businessman pays the little girl. James Parson keeps a sharp eye on Cookie and King-Lu as they walk home talking and laughing, the empty baskets over King- Lu's shoulders. They recount the day's victory.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE NEAR COW MEADOW - NIGHT</stage_direction>
<scene_description>An ad-hoc ladder leans against the trunk of the oak tree. High above, King-Lu sits in his sentry position in the branches of the tree.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - NIGHT</stage_direction>
<scene_description>The moon is high. In the darkness, Cookie milks quietly, surreptitiously, now with a milking stool. Cookie whispers sweetly to the cow, pressing his head against her side.</scene_description>
<character>COOKIE</character>
<dialogue>There now. We made some oily cakes with your milk. They were very good. We couldn't sell them fast enough. A little honey on them. It was your milk in the batter that did it. What a good, nice girl you are.</dialogue>
<scene_description>The cow lows softly. The moon blankets them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - LATE MORNING</stage_direction>
<scene_description>TRAPPERS gather round as they set up shop. There are some Company SOLDIERS in the group, a NATIVE WOMAN, a couple Native men, returning trappers and Thomas. They jostle and jockey for the best spot in line. King-Lu has added a hand-made sign: "Best Oily Cakes East of Canton." This time they make the oily cakes on site. They have a fire and a cast iron skillet with boiling lard. They pour the batter, pull out the oily cake, drizzle it with honey and grated cinnamon. King-Lu makes the customers line up in an orderly fashion.</scene_description>
<character>KING-LU</character>
<dialogue>One for each customer, all right, men? Seems only fair. You were here first, I saw you. You step up.</dialogue>
<character>FORT TRAPPER 5</character>
<dialogue>You oughtta make more next time.</dialogue>
<character>KING-LU</character>
<dialogue>Only so many we can make in a day, friend.</dialogue>
<character>FORT TRAPPER 6</character>
<dialogue>They want to keep the prices up. They're not dumb.</dialogue>
<scene_description>The trapper takes a bite of his oily cake.</scene_description>
<character>FORT TRAPPER 6</character>
<dialogue>Damn it, what's in these things? It tastes like something my mama made.</dialogue>
<character>KING-LU</character>
<dialogue>That's our secret, boys. Think of it as a little taste of home.</dialogue>
<scene_description>The oily cakes go quickly again. The Native men pay in dentalium shells. Others in silver, gold, blue beads, one pelt. The last one is sold to a man just behind Thomas who pushes his money in King-Lu's face, right over the boy's head. As Thomas steams, King-Lu takes the money and places it in a special sack.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - LATER - DAY</stage_direction>
<scene_description>Cookie and King-Lu are back home, their money stacked on the rustic table. A hodgepodge of coins, beads, a single pelt, and shells.</scene_description>
<character>COOKIE</character>
<dialogue>You could buy an acre in California for that.</dialogue>
<character>KING-LU</character>
<dialogue>It's a start all right. It won't last much longer, though.</dialogue>
<character>COOKIE</character>
<dialogue>No?</dialogue>
<character>KING-LU</character>
<dialogue>No, they'll get tired of it. And more milk cows will be here soon. We've got a window here, Cookie.</dialogue>
<scene_description>They regard their money.</scene_description>
<character>KING-LU</character>
<dialogue>This is too much to keep in the house. We need a bank.</dialogue>
<character>COOKIE</character>
<dialogue>How about the cottonwood tree? There's a good hole in the trunk.</dialogue>
<scene_description>King-Lu concurs. They walk outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - DAY</stage_direction>
<scene_description>King-Lu goes over and puts the money in the tree as Cookie follows along. King-Lu has to climb onto a piece of wood to reach the hole.</scene_description>
<character>COOKIE</character>
<dialogue>Which side of the tree has the most branches?</dialogue>
<scene_description>King-Lu tucks the sack inside the hole.</scene_description>
<character>COOKIE</character>
<dialogue>The outside.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER NEAR KING-LU'S HUTCH - LATER DAY</stage_direction>
<scene_description>King-Lu naps on the shore. Cookie casts his line into the cold water. They enjoy their afternoon of leisure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - NEXT DAY - MORNING</stage_direction>
<scene_description>Cookie and King-Lu arrive at their spot. A GROUP OF CUSTOMERS is already waiting for them. They begin to set up when Lloyd, the Company man, draws near. Thomas staggers behind him.</scene_description>
<character>LLOYD</character>
<parenthetical>(to Cookie)</parenthetical>
<dialogue>Hold one out today. The Chief Factor wants one. He'll be here soon.</dialogue>
<scene_description>Cookie hears him. His gaze seeks King-Lu. He lights the fire. Behind Cookie, Lloyd smacks Thomas on the back of the head for loitering about.</scene_description>
<character>LLOYD</character>
<parenthetical>(to Thomas)</parenthetical>
<dialogue>Don't you have some work you should be doing? I don't need two shadows, do I?</dialogue>
<scene_description>King-Lu is already selling to the gathered men.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - SOON - MORNING</stage_direction>
<scene_description>The lazy guard snoozes with a gun in his lap. He is roused by the poking in the ribs with the long end of a decorative cane. The CHIEF FACTOR at the entrance of the fort pokes at the guard.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Look alive, sir!</dialogue>
<scene_description>The Factor is a stately, imposing figure, older and more dignified than anyone else in the territory. He has red- blonde hair and mutton chops, and wears a waistcoat with starched collar. He walks past the line of merchants selling their wares outside the fort fence. He walks directly to the oily cake area and comes to a stop. Cookie and King-Lu look at him expectantly.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>I've heard about your cakes. I'd like to try one, if I may. How much?</dialogue>
<character>KING-LU</character>
<dialogue>Yes, sir. For you, only ten silver pieces.</dialogue>
<scene_description>He pulls his purse from his coat and pays. Cookie prepares him an oily cake.</scene_description>
<character>COOKIE</character>
<dialogue>A little cinnamon is nice.</dialogue>
<scene_description>Cookie offers a small grating of cinnamon. The Chief Factor eats. He loves it.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>I taste London in this cake. A bakery in South Kensington I once knew... Astonishing. How did you do this?</dialogue>
<character>COOKIE</character>
<dialogue>I was indentured to a baker in Boston, sir. He taught me the trade.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>He was a good baker.</dialogue>
<character>COOKIE</character>
<dialogue>Indeed. He was.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>What was his name?</dialogue>
<character>COOKIE</character>
<dialogue>Barnaby Rose.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Never heard of him. I commend you on a delicious baked good, sir.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>I hope you won't be moving on too soon.</dialogue>
<character>KING-LU</character>
<dialogue>We have no plans.</dialogue>
<scene_description>The Chief Factor ignores him.</scene_description>
<character>COOKIE</character>
<dialogue>We have no plans.</dialogue>
<character>CHIEF FACTOR</character>
<parenthetical>(taking his last bite)</parenthetical>
<dialogue>Very good.</dialogue>
<scene_description>The Chief Factor bows and leaves. Cookie and King-Lu watch him go. The other vendors call for customers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CHIEF FACTOR'S HOUSE - NIGHT</stage_direction>
<scene_description>Cookie with his milking stool and King-Lu carrying his ladder, they sneak through the woods.</scene_description>
<character>KING-LU</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>... a hotel in Saint Francisco is harder. More competition. But more opportunity, too. More people coming through.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREE / COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Into the meadow they creep. King-Lu leans the ladder against the tree's trunk.</scene_description>
<character>KING-LU</character>
<parenthetical>(whispering as he climbs)</parenthetical>
<dialogue>It's a good idea. We'll have enough to go there soon enough.</dialogue>
<character>COOKIE</character>
<parenthetical>(holding the ladder)</parenthetical>
<dialogue>We have enough to go now.</dialogue>
<character>KING-LU</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Enough to go. But not enough to start.</dialogue>
<scene_description>Cookie continues towards the cow.</scene_description>
<character>KING-LU</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Psst.</dialogue>
<scene_description>Cookie looks back.</scene_description>
<character>KING-LU</character>
<dialogue>Another cup is another dozen cakes. That's another fifty silver pieces, at least.</dialogue>
<scene_description>Cookie goes to the cow.</scene_description>
<character>COOKIE</character>
<dialogue>Hello. Good evening. Back again. How are you tonight? You seem well.</dialogue>
<scene_description>Another secret milking begins. The bucket begins to fill. A faraway dog starts barking. Cookie's nervous. Cookie does a questioning owl sound.</scene_description>
<character>COOKIE</character>
<dialogue>Who who?</dialogue>
<scene_description>No response. Cookie keeps milking.</scene_description>
<character>COOKIE</character>
<dialogue>You've never slept on a feather bed. A feather bed is very nice. It would be an excellent feature in a hotel. But how do you clean a feather bed? I don't know. It might not be the best idea for a hotel.</dialogue>
<scene_description>Cookie fills the bucket as much as he can bear.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORT - LATE MORNING</stage_direction>
<scene_description>A blot of batter fries in oil. Cookie flips it. Pulls it out. Drizzles honey on it. And hands it to the Chief Factor who stands eagerly waiting.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Very good.</dialogue>
<character>COOKIE</character>
<dialogue>Good morning, sir. Here you go.</dialogue>
<scene_description>King-Lu holds out his hand for payment. The Chief Factor gives Cookie his money. The Chief Factor eats.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>I'm entertaining a small group next week. The captain of the Ruby is coming for tea. I'm tired of his jests about the savagery of life on the frontier. Do you know what a clafoutis is?</dialogue>
<character>COOKIE</character>
<dialogue>I do.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Could you make one? A good one? He loves a clafoutis. I'd like to humiliate him.</dialogue>
<character>COOKIE</character>
<dialogue>Without fresh raspberries or apricots, I'm not sure...</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Have you tried the bilberry?</dialogue>
<character>COOKIE</character>
<dialogue>Out of season, I believe.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>There are still blueberries on the bush. I would pay handsomely for a proper blueberry clafoutis.</dialogue>
<character>COOKIE</character>
<dialogue>It's a simple enough cake. If the blueberry is available, I'm sure I can make one.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Capital. Saturday then. A clafoutis. We'll be dining at my residence. You know it's whereabouts?</dialogue>
<character>COOKIE</character>
<parenthetical>(on the spot)</parenthetical>
<dialogue>I think I've passed it or know of it--</dialogue>
<character>CHIEF FACTOR</character>
<parenthetical>(departing)</parenthetical>
<dialogue>Tea time.</dialogue>
<scene_description>The Chief Factor ambles back to the fort with a spring in his step.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR KING-LU'S HUTCH - AFTERNOON</stage_direction>
<scene_description>Cookie hunts. Into his basket go berries that he tickles from a bush.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - NIGHT</stage_direction>
<scene_description>Cookie mixes the ingredients of the clafoutis in a bowl. He pours the batter into a pan. As Cookie works, King-Lu lays on his bed talking.</scene_description>
<character>KING-LU</character>
<dialogue>The hotels in Saint Francisco are grand. We can't compete on that scale. But regular travelers need shelter, too. A room with a bed, that's all. A few rooms near the sea. That's a start. And if we choose the site very well, we can add the garden and the corn rows--</dialogue>
<scene_description>King-Lu trails off, lost in his imaginings. Cookie puts the clafoutis into their make-shift oven.</scene_description>
<character>KING-LU</character>
<dialogue>This is a dangerous game we're playing here. The Chief Factor has a delicate palate. He'll taste his milk in there eventually.</dialogue>
<scene_description>Cookie comes and sits near King-Lu.</scene_description>
<character>COOKIE</character>
<dialogue>We can't say no. He'd be suspicious.</dialogue>
<character>KING-LU</character>
<dialogue>Where does he think the milk is coming from?</dialogue>
<character>COOKIE</character>
<dialogue>Some people can't imagine being stolen from. They're too strong.</dialogue>
<scene_description>Cookie wanders to stand in the open doorway.</scene_description>
<character>KING-LU</character>
<dialogue>Let's hope he's one of those.</dialogue>
<scene_description>Cookie stares up at the clouds moving across the moon.</scene_description>
<character>KING-LU</character>
<dialogue>How much will we charge?</dialogue>
<character>KING-LU</character>
<dialogue>20?</dialogue>
<scene_description>A gentle owl calls somewhere in the night.</scene_description>
<character>KING-LU</character>
<dialogue>INT. CHIEF FACTOR'S HOUSE - SOON - AFTERNOON</dialogue>
<dialogue>The GUESTS are collected in the living room.</dialogue>
<dialogue>An American CAPTAIN (né Ulysses Welt), dressed in nautical garb; a prominent Multnomah leader, TOTILLICUM, in local regalia; and his wife, ILLCHE, in a combination of local and foreign dress.</dialogue>
<dialogue>The CHIEF FACTOR (né Cheston Plumb) is also there, and the Factor's wife, CELESTE, a native woman.</dialogue>
<dialogue>A CAT drinks from a small porcelain bowl of milk.</dialogue>
<dialogue>It's a stiff party. They gather around a table with a nice table cloth, linens, a bouquet of flowers, a glass decanter.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Hmm, sounds like quite a situation, indeed. And in the end, how many lashes did you order?</dialogue>
<scene_description>Out the window, Cookie and King-Lu can be seen making their way up the long path leading to the house. Cookie carries the cake.</scene_description>
<character>CAPTAIN</character>
<dialogue>Twenty. It was a memorable day for that man.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>A fine number. But for mutiny? It seems conservative.</dialogue>
<character>CAPTAIN</character>
<dialogue>More than twenty and he would have been useless the remainder of the voyage.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>He was a young hand?</dialogue>
<character>CAPTAIN</character>
<dialogue>Not so young.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>You see, here is the rub. When one factors the loss of labor from the punished hand versus the gain of labor from the hands who witness the punishment, a stricter punishment can sometimes become the more advisable path.</dialogue>
<scene_description>Cookie and King-Lu near the residence.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Sometimes a properly rendered death is even useful in the ultimate accounting. It can be a vastly motivating spectacle for the indolent, let alone the mutinous.</dialogue>
<scene_description>Cookie and King-Lu arrive. A knock at the door.</scene_description>
<character>CAPTAIN</character>
<dialogue>Fair enough. But some calculations can never truly be made.</dialogue>
<scene_description>A SERVANT lets Cookie and King-Lu in the front door and leads them to the living room.</scene_description>
<character>CHIEF FACTOR</character>
<parenthetical>(his back to his guests)</parenthetical>
<dialogue>No, there you are wrong, Captain. Any question that can't be calculated is not worth asking.</dialogue>
<scene_description>The Chief Factor turns to greet Cookie with some pleasure.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Ah, here he is. Our baker. A baker as fine as any you'll find on the continent, captain, you'll see. Bring the clafoutis over here, Cookie. Show the captain.</dialogue>
<scene_description>Cookie brings the cake over. The servant leaves. The Captain and Chief Factor gather around a small round table where the cake has been placed. The men admire his handiwork.</scene_description>
<character>CAPTAIN</character>
<parenthetical>(looking at Cookie)</parenthetical>
<dialogue>Indeed, it is a fine looking cake Mister...</dialogue>
<character>COOKIE</character>
<dialogue>Figowitz.</dialogue>
<character>CAPTAIN</character>
<dialogue>What brought you to the Oregon Territory, Mister Figowitz?</dialogue>
<character>COOKIE</character>
<dialogue>Chance. I hired on with a trapping company.</dialogue>
<character>CAPTAIN</character>
<dialogue>Ashley's men?</dialogue>
<character>COOKIE</character>
<dialogue>No. A lesser crew.</dialogue>
<character>CAPTAIN</character>
<dialogue>They're trapping out the whole map. Won't be any pelts here much longer.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>I disagree. The beaver are endless.</dialogue>
<character>KING-LU</character>
<parenthetical>(standing in the doorway)</parenthetical>
<dialogue>When I got here, there were beaver everywhere. Whole cities of beaver. Living like people in row houses in New York. Smart animals, the beaver.</dialogue>
<scene_description>They ignore King-Lu. TOTILLICUM moves from his chair near King-Lu over to join the Captain and Chief Factor.</scene_description>
<character>CAPTAIN</character>
<dialogue>In any case, fashions are changing in Paris. The beaver hat is on the wane.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>The market in China is strong. The beaver will always find a home. It's too beautiful, too supple.</dialogue>
<scene_description>Totillicum isn't following. Celeste translates between the men.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>He's saying the men in Paris are favoring new hats this season. They no longer want beaver fur. I'm saying the beaver is forever.</dialogue>
<scene_description>Totillicum responds. Celeste translates.</scene_description>
<character>CELESTE</character>
<dialogue>He can't understand why the white men hunt so much beaver and never eat the tail. The tail is delicious.</dialogue>
<character>CAPTAIN</character>
<dialogue>Maybe I will. I'm sick to death of salmon already. You can tell him that.</dialogue>
<scene_description>An awkward pause. Thankfully, the servant brings tea.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Ah, here we are.</dialogue>
<scene_description>Tea is poured for the guests, including Cookie.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>Chinese black tea. Very subtle. Cream?</dialogue>
<character>CAPTAIN</character>
<dialogue>Thank you.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>Enjoy the cream. My cow gives only the smallest amount. She's a lonely girl, I'm afraid.</dialogue>
<character>CAPTAIN</character>
<dialogue>You have a cow?</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>She arrived only a month ago. Sans husband, I'm afraid. I hope to have a mate for her within the year.</dialogue>
<character>CAPTAIN</character>
<dialogue>She's the only cow in the region?</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>For at least five hundred miles in any direction. Would you like to meet her? Let's have a walk. Shall we?</dialogue>
<scene_description>Cookie is clearly invited, too. The men leave the room. The women immediately become more relaxed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - LATE AFTERNOON</stage_direction>
<scene_description>The men walk from the house to the meadow.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>... What are the fashions in Paris this year, captain?</dialogue>
<character>CAPTAIN</character>
<dialogue>The ladies are moving away from the empire silhouette this year. They are favoring fuller skirts and visible corseting. For the men, broad shoulders and puffed sleeves. Trousers for smart day wear, breeches in court and the country. As for colors: canary yellow and turkey red are the colors du jour.</dialogue>
<scene_description>Without taking much interest, Totillicum lets the nonsensical chatter float around him.</scene_description>
<character>CHIEF FACTOR</character>
<dialogue>History moves so quickly in Paris.</dialogue>
<character>CAPTAIN</character>
<dialogue>So quickly it wears itself out. It never reaches here at all.</dialogue>
<scene_description>The cow stands alone, chewing grass.</scene_description>
<character>CAPTAIN</character>
<dialogue>She looks well enough.</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>And yet she barely produces.</dialogue>
<character>CAPTAIN</character>
<dialogue>What's her provenance?</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>A good line. Half Alderney, of Isigny, half Froment du Leon, from the province of Brittany.</dialogue>
<scene_description>The cow edges towards Cookie. The cow lows softly. The cow nuzzles Cookie's hand and arm. Cookie pats her flank and she lows some more. Totillicum, the Chief Factor and the Captain watch Cookie petting the cow. King-Lu watches them watching.</scene_description>
<character>CAPTAIN</character>
<dialogue>She seems to have an affection for you Mr. Figowitz.</dialogue>
<scene_description>Cookie becomes self conscious and stops petting the cow.</scene_description>
<character>CAPTAIN</character>
<parenthetical>(amused)</parenthetical>
<dialogue>She is a very fine cow.</dialogue>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - NIGHT</stage_direction>
<scene_description>Cookie and King-Lu drink whiskey.</scene_description>
<character>KING-LU</character>
<dialogue>Froment du Leon, from the province of Brittany? The cow's got better breeding than me. A royal cow.</dialogue>
<character>COOKIE</character>
<dialogue>I think we should halt awhile. I think the Captain sensed something.</dialogue>
<character>KING-LU</character>
<dialogue>Now is our time. Another cow is on the way. And more cows after that.</dialogue>
<character>COOKIE</character>
<dialogue>The Chief Factor...</dialogue>
<character>KING-LU</character>
<dialogue>... is a fool. Paris this, London that. He misses everything right under his nose. What kind of woman is he?</dialogue>
<scene_description>Cookie doesn't respond. King-Lu feels a little abashed, realizing he's somehow bruised his friend.</scene_description>
<character>KING-LU</character>
<dialogue>Men like us, Cookie, we have to make our own way. There are no empire silhouettes and colors du jour for us. We have to take what we can when the taking is good.</dialogue>
<character>COOKIE</character>
<dialogue>I know.</dialogue>
<character>KING-LU</character>
<dialogue>We'll sell a little longer and then we'll make our way south. We haven't even begun, Cookie. This is only the time before the beginning. We'll be through it soon.</dialogue>
<scene_description>Cookie drinks, reluctantly agreeing.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF FACTOR'S HOUSE / KITCHEN - NIGHT</stage_direction>
<scene_description>A large CAT eats from a plate of the evenings left-overs. The Chief Factor's servant grabs the cat by the scuff of his neck and tosses him out the kitchen door, into the night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The cat lands with a thud on the wooden floor outside the house. The door closes behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant moves through the small clapboard residence, extinguishing candles with a brass snuffer, closing curtains, retrieving an empty glass. The CAPTAIN snores on a daybed, spending the night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The cow is a little skittish. She shuffles away from Cookie.</scene_description>
<character>COOKIE</character>
<dialogue>There, there. Shhhh.</dialogue>
<scene_description>The milk sprays into the basket. Shhh. Shhh. Cookie milks.</scene_description>
</scene>
<scene>
<stage_direction>INT. SERVANT'S BEDROOM - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant undresses. He neatly hangs his uniform over the back of a near-by chair. He slips on his night gown. He carries a glass lantern over to his bedside table, opens a drawer and pulls out a small toy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>In his tree, King-Lu watches the shadows from above. Below in the meadow, Cookie milks. Over at the house, a small flicker of light from a single window.</scene_description>
</scene>
<scene>
<stage_direction>INT. SERVANT'S BEDROOM - CONTINUOUS - NIGHT</stage_direction>
<scene_description>By lantern light, the servant lies in bed playing with his small toy. He tilts the little wooden box from side to side until a tiny ball rolls into one of the holes. He lowers his toy and lies listening, thinking. Finally, he gets out of bed, putting on his boots.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>King-Lu watches the small light move from one room in the house to the next. The back door opens and out steps the Chief Factor's servant, holding his lantern.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant peers into the darkness.</scene_description>
<character>SERVANT</character>
<dialogue>Psst. (Whispering) Come on back. Come on back you stupid cat. Psst. Psst.</dialogue>
<scene_description>He shines his light about the area, landing on the cat. The cat's eyes open wide.</scene_description>
<character>SERVANT</character>
<dialogue>Ah, there you are...</dialogue>
<scene_description>The cat runs into the night.</scene_description>
<character>SERVANT</character>
<dialogue>Psst. Psst.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREE - CONTINUOUS</stage_direction>
<scene_description>King-Lu gives the warning call.</scene_description>
<character>KING-LU</character>
<dialogue>Who..</dialogue>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS</stage_direction>
<character>KING-LU</character>
<dialogue>Who...</dialogue>
<scene_description>Cookie stops milking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant walks further towards the meadow.</scene_description>
<character>SERVANT</character>
<dialogue>Inside before you get me in trouble.</dialogue>
<scene_description>A CRACKING SOUND FROM THE MEADOW. The Servant holds his light out in the direction of the cow.</scene_description>
<character>SERVANT</character>
<dialogue>Who's there?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>King-Lu keeps very still.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie is hunched low behind the cow. The meadow and surrounding woods are as silent as they can be.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant stands weary, holding his lantern higher... Another long CRACK...</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie is startled by a loud thud followed by a thrashing, clunking tumble</scene_description>
<character>KING-LU (OS)</character>
<parenthetical>(groaning)</parenthetical>
<dialogue>Argh!</dialogue>
<scene_description>Cookie looks back towards King-Lu's perch and sees the jagged end of the tree where the branch once was.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant runs inside the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW / TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie abandons the basket and stool and goes to King-Lu.</scene_description>
<character>COOKIE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Are you all right?</dialogue>
<scene_description>King-Lu grunts.</scene_description>
<character>KING-LU</character>
<parenthetical>(in pain)</parenthetical>
<dialogue>Shhh.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>In his nightgown and boots, the servant runs back outside, and across the yard in another direction, towards a bunk house.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUNK HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The servant pushes open the door and kicks the man sleeping on the bottom bunk.</scene_description>
<character>LLOYD</character>
<dialogue>What?</dialogue>
<character>SERVANT</character>
<dialogue>Something, someone in the meadow!</dialogue>
<character>LLOYD</character>
<dialogue>Who?</dialogue>
<character>SERVANT</character>
<dialogue>Attackers. All around.</dialogue>
<scene_description>A SET OF LEGS fall down from the bunk above Lloyd, knocking him in the head.</scene_description>
<character>LLOYD</character>
<dialogue>Goddamn it, Thomas!</dialogue>
<character>SERVANT</character>
<dialogue>I woke the house. Get dressed, hurry!</dialogue>
<scene_description>The servant rushes out in the same flurry he came in. Lloyd pulls on his pants. Grabs his guns. Thomas jumps down from the upper bunk and starts putting on his boots.</scene_description>
<character>LLOYD</character>
<dialogue>Where the hell do you think you're going?</dialogue>
<scene_description>Lloyd laughs at the idea of it. He pushes Thomas in the head.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW NEAR THE TREE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie and King-Lu crouch in fear. King-Lu in pain, too. He clutches his shoulder, getting his breath back.</scene_description>
<character>COOKIE</character>
<dialogue>Can you move? We have to go!</dialogue>
<scene_description>The cow is between them and the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>In his socks and nightshirt, the Chief Factor comes out of the house with his gun in hand. Followed by the Captain.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>King-Lu holds his hand up to stop Cookie from talking.</scene_description>
<character>CHIEF FACTOR (OS)</character>
<dialogue>You there. Come out!</dialogue>
<scene_description>Cookie and King-Lu stare at each other in silent, appalled communication. The Chief Factor fires his gun. Time to run. Cookie and King-Lu get to their feet and make a run for it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S BACK PORCH / MEADOW - CONTINUOUS -NIGHT</stage_direction>
<scene_description>The Chief Factor and the Captain run across the meadow to where the cow stands. Lloyd joins them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUNK HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Through an opening in the bunk house, Thomas watches the men as they cross the meadow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIEF FACTOR'S HOUSE / COW MEADOW - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The Chief Factor, Captain and Lloyd arrive at the cow, followed by the servant, out of breath, carrying holsters, guns and the Chief Factor's pants. The Chief factor puts on his pants. Cookie's milking stool and bucket lay on the ground. Amused, the Captain rights the stool with his boot.</scene_description>
<character>CAPTAIN</character>
<dialogue>It would appear someone has been milking your cow.</dialogue>
<character>CHIEF FACTOR</character>
<parenthetical>(seeing the stool)</parenthetical>
<dialogue>Mr. Figowitz!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CHIEF FACTOR'S HOUSE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie and King-Lu make their way through the brush. The sound of a distant gun shot.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CLIFF - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie and King-Lu run. Cookie bends onto the path leading home. But King-Lu grabs him.</scene_description>
<character>KING-LU</character>
<dialogue>No. Not home. Keep going.</dialogue>
<scene_description>They run deeper into the woods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / CLEARING / CLIFF - CONTINUOUS - NIGHT</stage_direction>
<scene_description>They come to a clearing before a cliff. Down below is a rushing river. The moonlight shines in the current. Behind them, rising sounds. Without a word, they agree to jump. King-Lu runs and jumps off the cliff into the night. Cookie runs but is too afraid. He doesn't jump. He hears the splash of King-Lu's landing, followed by the voices of the approaching men.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CLIFF - CONTINUOUS</stage_direction>
<scene_description>Cookie crawls and hides among the ferns.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / CLEARING / CLIFF - CONTINUOUS - NIGHT</stage_direction>
<scene_description>The Chief Factor, Captain and Lloyd appear and stop on a ridge above Cookie's hiding place.</scene_description>
<character>THE CAPTAIN</character>
<dialogue>Which way?</dialogue>
<character>LLOYD</character>
<dialogue>The deer path goes that way. But the river path is over there.</dialogue>
<character>CHIEF FACTOR</character>
<parenthetical>(stomping around)</parenthetical>
<dialogue>Stealing my milk. What we did to that savage when he took my chalice, we'll do ten times--</dialogue>
<scene_description>Lloyd holds up his hand. They all listen. Lloyd looks in the direction of the cliff. He runs down towards the cliff, passing Cookie's hiding place. Lloyd peers over the edge into the darkness.</scene_description>
<character>LLOYD</character>
<dialogue>There's one. Crossing the river.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POV RIVER BELOW CLIFF - CONTINUOUS</stage_direction>
<scene_description>King-Lu splashes and reaches a clearing on the opposite side of the river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - UNDER A BUSH - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie lays low and still as Lloyd yells to the men standing above him.</scene_description>
<character>THE CAPTAIN</character>
<dialogue>Which way now? Or will we jump?</dialogue>
<character>CHIEF FACTOR</character>
<dialogue>We'll overtake him on foot. We'll use the path downriver. Lloyd, hurry along. We follow behind. The rest will find us soon enough.</dialogue>
<scene_description>The men give chase. When things settle down, Cookie creeps from the bush. He heads in the other direction. Behind him, the known world recedes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - ELSEWHERE - NIGHT</stage_direction>
<scene_description>The forest is dark. Cookie hikes, fearful. Cookie hurries through the ominous forest, fleeing faster into the forest. The trees cover the moon's light, the ground is dark beneath his feet. He trips over a fallen branch, rises and moves quickly along. A few yards later, he falls down a narrow ravine, his head landing on a rock.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAVINE - NIGHT</stage_direction>
<scene_description>Cookie is crumpled at the base of the ravine, his head bleeding. Pain and darkness all around. The silence of the forest rises. The smallest sounds press in. FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - PRE DAWN</stage_direction>
<scene_description>FADE UP Cookie awakens in a humble cottage. His face is bruised and swollen. Through his dimming consciousness An OLDER COUPLE comes into view. Across the room, the man sits in a rocking chair, smoking a pipe. The woman brews a poultice on the stove. They have white hair, shabby but dignified clothes, and an air of almost spooky peace. The room darkens, Cookie is out again. FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - MORNING</stage_direction>
<scene_description>FADE UP Cookie again opens his eyes. Through a watery softness, he sees the couple hovering over him. They appear Hawaiian. The woman offers him a bowl of steaming fluid. Cookie smells it and recoils.</scene_description>
<character>WOMAN</character>
<dialogue>Drink, drink. It will make you feel better.</dialogue>
<scene_description>Cookie drinks, wincing. He's thirsty.</scene_description>
<character>COOKIE</character>
<parenthetical>(discombobulated)</parenthetical>
<dialogue>Where am I?</dialogue>
<character>WOMAN</character>
<dialogue>No one will find you here.</dialogue>
<character>COOKIE</character>
<dialogue>Who are you?</dialogue>
<character>WOMAN</character>
<dialogue>Have a drink. You'll feel better...</dialogue>
<scene_description>Cookie takes a few more sips, then rests his throbbing head. He struggles against sleep but the room quickly dims. FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - DAY</stage_direction>
<scene_description>FADE UP Cookie awakens. He is alone. Cookie touches his swollen face, his cracked head. He looks around, trying to focus. A square mirror hangs on a post across from his bed. Through it, he can see the old man outside a window. He is doing tai chi. The motions are slow and mysterious. The old woman is at the stove. Cookie watches her from his sick bed as she stirs a large pot, her shadow large on the cottage walls. Cookie speaks to the woman from his sick bed. The sound of his own voice rings in his head.</scene_description>
<character>COOKIE</character>
<dialogue>I... I need to find my friend.</dialogue>
<character>WOMAN</character>
<dialogue>You are safe here. Nothing can harm you.</dialogue>
<scene_description>The man continues his slow, deliberate motions in the mirror.</scene_description>
<character>COOKIE</character>
<dialogue>But... my friend doesn't know where I am.</dialogue>
<character>WOMAN</character>
<dialogue>He wants you to rest. If he is a true friend.</dialogue>
<scene_description>Cooke rests his troubled head on his pillow. DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / RIVER SIDE - DAY</stage_direction>
<scene_description>King Lu emerges from the woods. He looks around to get his bearings. He walks onto the sand, takes of his socks and boots and walks on the soft sand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER SIDE - CONTINUOUS - DAY</stage_direction>
<scene_description>King-Lu comes to a sandy hill. In the distance, he sees a canoe pass along the river. As comes to the top of the small hill, he spots a beached canoe. He walks over and ponders the canoe. A small, wooden canoe, unattended. No one else is around. King-Lu goes closer to the canoe and admires it, sizing up the situation. He wonders if and how to steal the canoe, when a Multnomah man, CHONACHONA, emerges from the brush. With him is A LARGE DOG. Chonachona stands behind King-Lu watching grimly. King-Lu looks over his shoulder to make sure no one is around and sees Chonachona. King-Lu greets him in the trade jargon. They speak in the shared trade jargon.</scene_description>
<character>KING-LU</character>
<dialogue>Good day. Is this your canoe? I need to get downriver. Can you take me?</dialogue>
<character>CHONACHONA</character>
<dialogue>I'm not going downriver.</dialogue>
<character>KING-LU</character>
<dialogue>Can I pay you?</dialogue>
<character>CHONACHONA</character>
<dialogue>How much would you pay?</dialogue>
<character>KING-LU</character>
<dialogue>I don't have shells on me...</dialogue>
<character>CHONACHONA</character>
<dialogue>A knife?</dialogue>
<character>KING-LU</character>
<dialogue>I don't have a knife.</dialogue>
<character>CHONACHONA</character>
<dialogue>A bell?</dialogue>
<scene_description>King-Lu doesn't understand.</scene_description>
<character>CHONACHONA</character>
<dialogue>One of those metal cups with the little tongue inside and when you shake it it makes the sound: dinga ling a ling?</dialogue>
<character>KING-LU</character>
<dialogue>No, I don't have a bell.</dialogue>
<scene_description>King-Lu looks himself over, checking his pockets. Nothing.</scene_description>
<character>CHONACHONA</character>
<dialogue>Those buttons.</dialogue>
<scene_description>Chonachona nods at his buttons. King-Lu looks down. Relieved, he pulls all the buttons from his coat. Chonachona seems pleased enough.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>The dog rides up front as they slide over the water. Chonachona paddles steadily from the rear. King-Lu is relieved to be moving.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>They continue paddling along. Chonachona is uncommunicative.</scene_description>
<character>KING-LU</character>
<dialogue>I'm going near the fort. Not to the fort. But near.</dialogue>
<scene_description>Chonachona seems to hear. He keeps paddling. In the distance: another canoe. The Multnomah man sees the distant canoe. He raises a hand in greeting. The ROWER in the distant canoe raises a hand in greeting. They call out to each other over the water. Chonachona alters course. They head for the other canoe.</scene_description>
<character>KING-LU</character>
<dialogue>Wait. What are you doing? I need to get downriver. Quickly.</dialogue>
<character>CHONACHONA</character>
<dialogue>Don't worry.</dialogue>
<scene_description>They continue towards the other canoe. King-Lu has no way out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>King-Lu and the Chonachona pull up next to the other canoe. In the other canoe is a young Multnomah man, WATUTUM, with a cargo of acorns. The two Multnomah men talk in their native tongue. Watutum tells Chonachona that two women are collecting drying salmon downriver a mile, on the other side of the river, and there's a young woman there that was asking about Coalpo.</scene_description>
<character>WATUTUM</character>
<dialogue>There are some women drying salmon a mile upriver. The daughter of Cultee is with them. She was asking about you.</dialogue>
<character>CHONACHONA</character>
<dialogue>The older daughter?</dialogue>
<character>WATUTUM</character>
<dialogue>No, the middle daughter. The daughter of Cultee and his wife from over the mountain.</dialogue>
<character>CHONACHONA</character>
<dialogue>Mountains to the south?</dialogue>
<character>WATUTUM</character>
<dialogue>East.</dialogue>
<character>CHONACHONA</character>
<dialogue>I don't know her.</dialogue>
<character>WATUTUM</character>
<dialogue>She knows you. She kept asking about you.</dialogue>
<character>CHONACHONA</character>
<dialogue>Maybe I do know her. Maybe I should go say hello.</dialogue>
<scene_description>King-Lu waits in anger and disbelief. At last, the other canoe starts to move. And King-Lu's canoe follows.</scene_description>
<character>KING-LU</character>
<dialogue>What are we doing?</dialogue>
<scene_description>They head for the opposite shore.</scene_description>
<character>KING-LU</character>
<dialogue>You're taking me downstream. I paid you.</dialogue>
<character>CHONACHONA</character>
<dialogue>I will. I will.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OPPOSITE RIVER BANK - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>The canoes beach. The dog jumps out and goes to shore. The Multnomah men get out. King-Lu grudgingly waits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER SLOUGH - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>TWO WOMEN dry salmon on the shore. Another woman does the elaborate task of making an acorn polenta. As the Multnomah men come ashore, they call greetings to the women, who vaguely greet them back. From the canoe King-Lu watches as his ride goes over and strikes up a conversation with the younger women, STIZA. She doesn't seem that interested, though. Frustrated, King-Lu gets out of the canoe and goes up to wait on the shore.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CANOE - CONTINUOUS - AFTERNOON</stage_direction>
<scene_description>The afternoon is wearing on. King-Lu paces on the beach, watching Coalpo talk to STIZA. Chonachona is telling her about a trip to the Celilo market last year.</scene_description>
<character>CHONACHONA</character>
<dialogue>... one man from way down south, near Shasta, had twenty horses. They were beautiful horses. He counted them every morning. He didn't want to lose any. One morning he counted only nineteen. He thought someone stole his horse. He went all around the market and accused everyone...</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER SHORE - CONTINUOUS - LATE AFTERNOON</stage_direction>
<scene_description>Watutum, meanwhile, is taking a nap under a tree.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER SLOUGH - CONTINUOUS - LATE AFTERNOON</stage_direction>
<scene_description>King-Lu approaches Chonachona, watching as he hovers around the young woman dealing with her salmon. She walks away from Chonachona and he stands near ANOTHER WOMAN and starts talking to her. He wonders why the first woman didn't seem that interested. He'd heard she was asking about him. The woman keeps working, and denies knowing anything about anything.</scene_description>
<character>CHONACHONA</character>
<dialogue>I was talking. And she walked away.</dialogue>
<scene_description>Stiza's friend shrugs.</scene_description>
<character>COALPO</character>
<dialogue>I wasn't done with the story.</dialogue>
<character>STIZA'S FRIEND</character>
<dialogue>It took a long time.</dialogue>
<scene_description>King-Lu waits pacing on the beach, while the two continue talking. It goes on and on until King-Lu can't stand it any longer.</scene_description>
<character>KING-LU</character>
<dialogue>I need to go upriver! Take me or give me back my buttons!</dialogue>
<scene_description>Hearing King-Lu's voice, Chonachona looks at King-Lu without expression. He takes the buttons from his pouch and hands two of them back to King-Lu.</scene_description>
<character>KING-LU</character>
<dialogue>All of them.</dialogue>
<character>CHONACHONA</character>
<dialogue>I took you part way.</dialogue>
<character>KING-LU</character>
<dialogue>I'm not any closer than I was!</dialogue>
<character>CHONACHONA</character>
<dialogue>You are.</dialogue>
<scene_description>The woman looks at the buttons in King-Lu's hand.</scene_description>
<character>KING-LU</character>
<parenthetical>(his hand open)</parenthetical>
<dialogue>I'm not. I'm on the wrong side of the river. Give me all of them. This wasn't the deal.</dialogue>
<scene_description>Reluctantly, Chonachona gives King-Lu back the rest of the buttons. King-Lu is despondent. The woman says something to Coalpo. She tells him the young woman he was trying to impress would definitely like those buttons. He asks if she's serious. She says yes, for sure.</scene_description>
<character>STIZA'S FRIEND</character>
<dialogue>Stiza would like those. She has a collection.</dialogue>
<character>CHONACHONA</character>
<dialogue>A button collection?</dialogue>
<character>STIZA'S FRIEND</character>
<dialogue>Those would be a big deal to her. She has a box full.</dialogue>
<scene_description>Chonachona turns back to King-Lu.</scene_description>
<character>CHONACHONA</character>
<dialogue>Give me the buttons back. I'll take you downriver.</dialogue>
<character>KING-LU</character>
<dialogue>I need to go right now.</dialogue>
<character>CHONACHONA</character>
<dialogue>Good. Let's go.</dialogue>
<character>KING-LU</character>
<dialogue>No waiting. No other stops.</dialogue>
<character>CHONACHONA</character>
<dialogue>Fine.</dialogue>
<character>KING-LU</character>
<parenthetical>(sensing his new advantage)</parenthetical>
<dialogue>I'll give you three buttons.</dialogue>
<character>CHONACHONA</character>
<dialogue>All the buttons.</dialogue>
<character>KING-LU</character>
<dialogue>Three buttons. I'll give you two more when we get near the fort.</dialogue>
<character>CHONACHONA</character>
<dialogue>Three buttons.</dialogue>
<character>KING-LU</character>
<dialogue>Depends on how fast we get there. Fast, three. Slow, one.</dialogue>
<scene_description>Chonachona ponders, displeased. He looks at the woman. She tells him again that the young woman he likes really likes that kind of button. Grudgingly, Chonachona agrees.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - LATE AFTERNOON</stage_direction>
<scene_description>The canoe skims across the water. King-Lu grimly watches the horizon.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - NIGHT</stage_direction>
<scene_description>Cookie rises. His head throbs. The couple sleeps. Agonizingly, he leans over to put on his shoes. He creeps outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie makes his way through the darkness to the edge of the clearing. He stands before the wall of trees. He stares blearily into the blackness, hearing the howls of hungry animals. Nearby wolves. Distant coyotes. The trees stretch and bend taking on the shape of the wind. The eyes of many beasts shine in the rolling waves of the ferns and tall brush. Afraid, Cookie can't force himself to go farther. He turns, defeated, and stumbles back to the cottage.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - CONTINUOUS - NIGHT</stage_direction>
<scene_description>Cookie returns to bed, exhausted by his effort. His head aches. He closes his eyes but he can't sleep. He hears stirring. The old woman rises to tend the fire. He sees her shadowy shape moving across the room. She turns towards Cookie. Her face is the skeleton of a cow. Cookie is petrified. The woman looks over at Cookie. Cookie tries to rise but he can't. His vision is blurred. The world fades away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR KING-LU'S HUTCH - MORNING</stage_direction>
<scene_description>King-Lu creeps through the brush.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR KING-LU'S HUTCH - CONTINUOUS</stage_direction>
<scene_description>King-Lu pauses at a bush. Through the bush he can see his hutch. No one is there. King-Lu waits, making sure the coast is clear. At last, King-Lu exits the bush. He goes to the hutch.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - NOON</stage_direction>
<scene_description>King-Lu approaches the hutch. Before anything, he stops at the cottonwood tree. He gets a round of wood to stand on to retrieve the money sack from the hole. He can't quite reach it. He pulls it part way out and it snags on a branch. Now the bag is hanging from the tree. He tries to unsnag it but he pauses, suddenly alert. He hears something. He looks into the distance. He jumps down and kicks away the round of wood. Just in time, he scurries away and hides back in the bush he just came out of. THREE COMPANY SOLDIERS, led by Lloyd, are marching in his direction. They enter King-Lu's abode. King-Lu can hear things breaking, smashing, thumping around. A few items fly out of the door and window.</scene_description>
<character>LLOYD</character>
<dialogue>He hauls timber like a bandit, he does.</dialogue>
<character>SOLDIER</character>
<parenthetical>(half hearing)</parenthetical>
<dialogue>Heart? Like the red, beating heart? In your ribs?</dialogue>
<scene_description>King-Lu watches as the soldiers finally exit, laughing. They loiter for a moment. Lloyd goes and pisses on the cottonwood tree, the money bag hanging over his head.</scene_description>
<character>LLOYD</character>
<dialogue>Hart. Like a deer, a red deer. I believe. Jon Hart. A cheater by any spelling. I've skunked him every game regardless. He won't play me anymore. He's not a worthy opponent. He prefers to discard only one card to the crib. Abysmal.</dialogue>
<character>SOLDIER</character>
<dialogue>One card?</dialogue>
<character>LLOYD</character>
<parenthetical>((buttoning up his pants)</parenthetical>
<dialogue>An archaic rule. He prefers the old ways. He's an odd man. Wrong in many ways. A poor adversary in Sir John Suckling's noble game.</dialogue>
<character>SOLDIER</character>
<dialogue>Cribbage players are in short supply in this hemisphere.</dialogue>
<character>LLOYD</character>
<dialogue>And I suffer for it daily.</dialogue>
<scene_description>At last, they disappear. King-Lu remains in hiding, crouching in fear and contemplation.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - SOON - EARLY AFTERNOON</stage_direction>
<scene_description>Finally, King-Lu approaches the now-ruined hutch.</scene_description>
</scene>
<scene>
<stage_direction>INT. KING-LU'S HUTCH - CONTINUOUS - EARLY AFTERNOON</stage_direction>
<scene_description>King-Lu goes inside. The house is a shambles. He begins to put a few things in bags. He lifts Cookie's broken butter bowl. He puts it aside. He picks up Cookie's whisk, also broken. He sets down the bags. No point in saving any of it. He picks up a fire poker.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - EARLY AFTERNOON</stage_direction>
<scene_description>He uses the fire poker to fetch the money bag.</scene_description>
<character>KING-LU</character>
<dialogue>Who-who?</dialogue>
<scene_description>No answer. And he wanders into the woods.</scene_description>
<character>KING-LU (OS)</character>
<dialogue>Who who?</dialogue>
</scene>
<scene>
<stage_direction>INT. COTTAGE - EARLY AFTERNOON</stage_direction>
<scene_description>Cookie awakens. He is alive. He is also alone. The old couple are gone. In the light of day, the cottage is less terrifying. The fire is out. There is no sign of the night's horror. But a weird emptiness. Cookie rises. He looks around. The cottage is dusty and cobwebs cover the furniture as if they haven't been touched in a very long time. He sees a jug on the table. He goes to drink. But it's dry. He goes to the door. He slips out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - CONTINUOUS - EARLY AFTERNOON</stage_direction>
<scene_description>The yard is overgrown with weeds and vines. The whole yard is unkept. No sign of the couple here, either. Cookie pauses at the outskirts of the cottage's clearing. He turns to look back at it. The feeling in the clearing is eerie. The wind is alive, moving leaves and needles on the dry ground. It has the feel of a place that has been deserted for a long time. Cookie creeps away into the woods. The boughs of the trees close behind him. He is leaving for good.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREAM - DAY</stage_direction>
<scene_description>Thomas sits on a log in the woods near a stream. He is still, holding a rifle in his lap. He watches Cookie who is across the stream. Unaware he is being watched, Cookie lays on the ground drinking the cool water. He washes the dark dry blood from his head. He stares into the stream. As the water stills, his reflection takes shape. He touches his sore head, rubs his jaw. Thomas remains still and unnoticed. Cookie gets up and goes back into the woods. Thomas watches him go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / BLUFF - AFTERNOON</stage_direction>
<scene_description>Cookie climbs through the forest. He comes to a bluff with a view. He's careful not to leave the cover of the forest. He can see hills dense with trees. A smudge of smoke rises in the distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR BLUFF - AFTERNOON</stage_direction>
<scene_description>Cookie hikes into familiar ground. He intuits his way. Fearful and glancing over his shoulder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR CHIEF FACTOR'S HOUSE - LATER AFTERNOON</stage_direction>
<scene_description>Cookie drifts close to the cow meadow. Through the trees he can see the cow surrounded by a new, small fence. The cow raises her head from chewing; she looks towards Cookie; then back to the grass. Cookie keeps moving.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEAR KING-LU'S HUTCH - LATER AFTERNOON</stage_direction>
<scene_description>Cookie comes within sight of the hutch. Is he dreaming? He isn't sure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - LATER AFTERNOON</stage_direction>
<scene_description>The hutch has clearly been violated. Scattered possessions litter the ground. Cookie goes over to the cottonwood tree. He approaches the knothole. The money is gone. He's dismayed. Cautiously, he enters the hutch.</scene_description>
</scene>
<scene>
<stage_direction>INT. / EXT. KING-LU'S HUTCH - CONTINUOUS - LATE AFTERNOON</stage_direction>
<scene_description>With sorrow, Cookie surveys the damage. Broken furniture, tangled rugs, spilled supplies. Already, an air of dilapidation and abandonment is settling in. He hears a faint noise and drops to the floor. He crawls over to the window, and takes a peep. He spots motion among the trees, his head throbs, his double vision returns. At last: a figure emerges. Is it King-Lu? It is King-Lu. King-Lu holds the sack of money in one hand and a jug in the other. He looks at his home with a mournful expression. He doesn't come any closer, but simply watches, shaking his head. Cookie stands and goes to the door. The men see each other.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KING-LU'S HUTCH - CONTINUOUS - LATE AFTERNOON</stage_direction>
<scene_description>They both smile. Their happiness is overflowing. Silently, joyfully, King-Lu closes the distance. They stand in the open doorway and embrace.</scene_description>
<character>COOKIE</character>
<dialogue>I thought you were gone.</dialogue>
<character>KING-LU</character>
<dialogue>I thought you were gone.</dialogue>
<character>COOKIE</character>
<dialogue>I'm only late.</dialogue>
<scene_description>King-Lu's smile fades.</scene_description>
<character>KING-LU</character>
<dialogue>You're hurt. It's not safe here. We need to get away. Right now.</dialogue>
<scene_description>They start off, putting the ruined home behind them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS NEAR KING-LU'S HUTCH - TWILIGHT</stage_direction>
<scene_description>They walk together.</scene_description>
<character>KING-LU</character>
<dialogue>There's a port at the mouth of the river. We'll go downstream and catch the first clipper south. How about that?</dialogue>
<character>COOKIE</character>
<dialogue>That sounds fine.</dialogue>
<character>KING-LU</character>
<dialogue>You made it all right?</dialogue>
<scene_description>Cookie feebly nods. He concentrates on walking. King-Lu looks back, concerned.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / SANDY TRAIL - SOON - DUSK</stage_direction>
<scene_description>Cookie is having trouble keeping up with King-Lu. King-Lu waits, increasingly concerned. Cookie is clearly hurting. King-Lu gives Cookie the water jug. Cookie drinks. King-Lu watches him, calculating the time, the distance yet to go. Cookie is obviously in need of rest.</scene_description>
<character>KING-LU</character>
<dialogue>This is a good place to rest. We should stop. No one can see us here.</dialogue>
<character>COOKIE</character>
<dialogue>We haven't gone very far.</dialogue>
<character>KING-LU</character>
<dialogue>We need to rest.</dialogue>
<character>COOKIE</character>
<dialogue>I'm fine. We should be on our way.</dialogue>
<character>KING-LU</character>
<dialogue>We should travel at night. Better to stop now and wait for nightfall. This is a good place. Lie down.</dialogue>
<scene_description>Cookie accepts the argument, whether true or not.</scene_description>
<character>KING-LU</character>
<dialogue>Good. Lie here. On the needles. I'll keep first watch.</dialogue>
<scene_description>Exhausted, Cookie lies down on the dry needles. Immediately, he falls asleep. King-Lu sits down next to Cookie, realizing he too is exhausted. He lets out a deep sigh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS / CLEARING - NIGHT</stage_direction>
<scene_description>King-Lu stares at the trees, keeping watch. He strains to hear the world outside their spot. In the far distance, he hears the faintest calls. Or does he? He can't tell. He sees a bird. It's only a bird. They are alone. King-Lu looks at Cookie sleeping. He looks at trees, feeling the money sack in his hand, weighing his options. At last, King-Lu puts the money bag on the ground like a pillow. He lies down beside Cookie.</scene_description>
<character>KING-LU</character>
<dialogue>We'll go soon. I've got you.</dialogue>
<scene_description>They clasp hands. King-Lu closes his eyes. In a moment, he's asleep. An owl calls.</scene_description>
</scene>
</script> | In the present, a woman walking her dog on the riverside discovers two skeletons lying together in a shallow grave. In 1820, Otis "Cookie" Figowitz is a quiet chef traveling in Oregon Country with a group of loud and aggressive fur trappers who harass him for not finding them enough food. One night, he comes across King-Lu, a Chinese immigrant on the run for killing a Russian man. Cookie allows Lu to hide in his tent for the night and watches him escape across the river the next day. Cookie's group reaches a fort and Lu finds him there, babysitting an infant in the middle of a bar fight, and invites him to his house. Cookie moves in, and learns Lu is thinking about starting a farm, while Cookie talks about opening a bakery or hotel in San Francisco. Meanwhile, the outpost's first milk cow has arrived; her mate and calf died on the journey. She is left unattended at night just outside the house of the wealthiest English trader in town, the Chief Factor. Lu laments that poor men don't stand a chance to get ahead without some kind of fortune or committing a crime. Cookie reminisces about his days as a baker's assistant in Boston and tells Lu that he could use some of the cow's milk to make baked goods. They sneak onto the Chief Factor's property at night, Cookie milking the cow and Lu keeping watch from a tree. They manage to get enough milk to bake a batch of buttermilk biscuits. Cookie is unsatisfied with the result, wishing it could be sweeter, but Lu points out they are far better than anything on the outpost and suggests they could make a fortune. Cookie refines his recipe and adds honey. They take their first batch of sweet oily cakes to market. When asked the recipe, Lu claims it's a "Chinese secret." The first few men to try them excitedly ask for more, and a bidding war erupts for the last cake. Word spreads and the men line up day after day as they run out. One day, a big man shoves a slight man aside for the last cake, and Lu does not object, only caring for the money. As they get richer, they decide it's safer to store their money in a tree than to take it to a bank. The Chief Factor tries their cakes and asks Cookie to bake a clafoutis, the favorite of a captain he wants to impress at their next meeting. Lu and Cookie proudly deliver the clafoutis and observe as the Chief Factor offers tea with cream to the captain, remarking that despite his cow's good breeding, it is producing very little milk. He takes the captain, the chief, Cookie and Lu to see the cow, which recognizes Cookie and nuzzles him. Cookie urges Lu to leave town now, sensing the danger, but Lu persuades him they don't have enough to get to San Francisco and start their business, so they go back the next night to milk the cow once again. A man at the Chief Factor's estate comes out to fetch a cat, and the tree branch breaks before Cookie hears Lu's warning call. They run as the alarm is raised, and after the captain sees the pail and stool and informs the Chief Factor his cow was being milked, they send their men to kill Lu and Cookie. When they reach a river, Lu jumps, but Cookie hides, then falls down a hill. Cookie wakes up in a shack, helped by an elderly Native Hawaiian couple. He says he needs to find his friend and soon leaves. Lu trades his buttons to hire a canoe to go downstream in search of Cookie, and returns to the shack, hiding from the Chief Factor's men rummaging through the destruction. He retrieves their money from the tree. Cookie returns to the shack, walking by the cow on the Factor's estate, now surrounded by a fence. He is spied by the slight man Lu ignored in line at the market, who follows with a rifle. Cookie finds Lu at the shack, and Lu suggests they catch the next boat south. Cookie can't keep up through the woods and he lies down, clearly fatigued. Lu tells Cookie they will be safe and promises to keep watch, then lies beside him, reassures him, and closes his eyes. |
The Nines_2007 | tt0810988 | <script>
<scene>
<stage_direction>THE NINES</stage_direction>
<scene_description>READER NOTE One thing that will be obvious to viewers , but not to readers , is that the nine principal parts in this film are played by only three actors : 1 -RRB- Gary , Gavin , Gabriel 2 -RRB- Sarah , Susan , Sierra 3 -RRB- Margaret , Melissa , Mary It 'll make more sense in context . Promise . A MAN 'S HAND unwinds a short length of green string . We 're extremely close , with a shallow , blurry focus . It 's like the first moments after a dream - just fragments . Scissors cut the string . The man wraps it around his left wrist . A loop . A bracelet . We see the man 's teeth , the edge of his chin as he pulls the knot tight . His fingers pull against the string . Solid . It wo n't break easily . FADE OUT . PITCH BLACK There 's no music . No sound at all , really , except for some distant birds CHIRPING . Then a SQUEAK . A SQUEAL as rusty springs engage . A GARAGE DOOR LIFTS , revealing GARY BANKS in silhouette . He 's 30 , effortlessly fit , with movie - star good looks . -LRB- Although for now , he 's merely a TV star . -RRB- Like most Laurel Canyon garages , this one has never held a car . Instead , it 's the resting place for all the detritus of bachelordom : shitty Ikea furniture , a drum set , a styrofoam snowman , and the Harley he always meant to get running . Gary spots what he was looking for .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN)</stage_direction>
<scene_description>Gary drags a beaten Weber kettle . One of its wheels is broken , SCRAPING against the deck . WIDER , we see Gary 's house has an incredible view of the city . He could n't fucking care less . He yanks the circular grill out of the Weber and throws it down the canyon . He empties a garbage bag into the barbecue : mostly women 's clothes , but also some stuffed animals and photos still in their frames . There 's too much to fit , so he tries stomping it down with a flip - flopped foot . He cracks open a container of lighter fluid and begins drenching everything inside . He sprays until the container is WHEEZING air . He shakes it , making sure it 's really empty . Then he cracks open a new container and keeps spraying . And spraying . We follow the dripping fluid as it runs across a photo of Gary and a BLONDE WOMAN . Her eyes are scratched out , making her unrecognizable . Under the grill , lighter fluid is dripping in a stream , soaking into the wooden deck . Finally satisfied , Gary throws the lighter fluid aside . He takes five steps back and pulls a box of matches from his pocket . EXTREMELY CLOSE as the match SCRAPES , erupting in flames . On Gary 's left wrist , we see a green string bracelet . MUSIC STARTS : a pounding , hypnotic track that will carry us through these MAIN TITLES . In EPIC SLOW - MOTION , we follow the burning match as it sails through the air , tumbling end - over - end . Just as it 's about to reach its target , we . A DIGITAL METER shoots to 100 miles per gallon . It 's the display of Gary 's Prius . We are .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PRIUS - DAY</stage_direction>
<scene_description>Gary 's at the wheel , driving , as he finishes a fifth of bourbon . JUMP CUTS take us out of Hollywood , heading downtown . Our TRAVELLING MUSIC is serving us well . Gary stops at a light . He looks left and sees himself on the side of a bus . It 's an ad for CRIME LAB -LRB- `` This fall , Mondays are killer . '' -RRB- Gary watches himself drive away . Further along , Gary spots two THUGGY TEENAGERS sitting on a low wall . He calls out to them :</scene_description>
<character>GARY</character>
<dialogue>Hey! Do you sell crack?</dialogue>
<scene_description>The boys look wary .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's cool. I'm only a cop on TV.</dialogue>
<scene_description>Money changes hands . Gary holds a small ziplock bag - and has no idea what to do with its lumpy beige contents . HOLLYWOOD . Gary pulls up to a curb . He 's now on Sunset Blvd. . A matronly black streetwalker -LRB- OCTAVIA , 35 -RRB- approaches the passenger window . Gary holds up the little bag .</scene_description>
<character>GARY</character>
<dialogue>Is this crack?</dialogue>
<scene_description>She takes a closer look .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do you know how to do it?</dialogue>
</scene>
<scene>
<stage_direction>INT. SHITTY MOTEL ROOM - DAY</stage_direction>
<scene_description>Gary and Octavia jump up and down on the bed , each trying to bounce higher than the other , LAUGHING all the while . Gary bounces so high that he THUNKS his head against the ceiling . He crumples , falling off the bed . But he 's still laughing . LATER , Octavia is sleeping .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL BATHROOM - DAY</stage_direction>
<scene_description>Gary takes a shower with his jeans on .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - CONTINUOUS</stage_direction>
<scene_description>Toweling off , Gary looks at his body in the mirror . He notices something odd . He tries to wake Octavia up , but she 's down for the count . Looking around , he finds his cell phone . Dials 911 . Pacing , he tries to sober up while it rings . The far side answers .</scene_description>
<character>GARY</character>
<dialogue>Yes, hello. I'm having a medical situation. Yes. Okay. I do n't have a belly button.</dialogue>
<parenthetical>( explaining carefully . )</parenthetical>
<dialogue>I do not have a belly button where I should, on my belly. And I'm concerned, because I do n't know if that's.</dialogue>
<scene_description>He sits down on the edge of the bed .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Can a person live without a belly button? Because if you think about it, you're born with one. So if you do n't have one, you're unborn and it's really hazy whether you're alive or not. I guess I'm wondering : am I alive?</dialogue>
<parenthetical>( a sudden thought . )</parenthetical>
<dialogue>Or what if I'm God?</dialogue>
<scene_description>A beat .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, no. I'm totally sober.</dialogue>
<scene_description>A beat .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, I do n't think I need an ambulance. I do n't seem to be dying any faster than usual. But I should probably go to the hospital, do n't you think? Yeah, I should.</dialogue>
<scene_description>He hangs up .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PRIUS - DAY</stage_direction>
<scene_description>He 's driving again , but most of his attention is focused on trying to locate his missing navel . He looks up in the rear - view mirror , where he sees two VERSIONS OF HIMSELF sitting in the back seat . All three Garys give each other thumbs - up . Driver - Gary looks out the driver - side window , where he sees shoes and asphalt . Only now do we ROTATE to reveal we 're UPSIDE - DOWN . Gary has rolled the car . The music suddenly STOPS . We hear SIRENS approaching . CUT TO BLACK . Part One : THE PRISONER .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE PROCESSING AREA - DAY</stage_direction>
<scene_description>MARGARET O'REILLY , 34 , is speaking to herself .</scene_description>
<character>MARGARET</character>
<dialogue>La la la la la.. Like you've never done worse.</dialogue>
<scene_description>From a NEW ANGLE , we see she 's using a cell phone earpiece .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay, yes. He totalled a car. But it was an environmentally friendly car. Why does n't that get reported?</dialogue>
<scene_description>A beat .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Please! He was heartbroken, betrayed. You say you understand but you do n't. You ca n't. You're like a big giant Vulcan.</dialogue>
<scene_description>Noticing something to her right .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He's coming. I'll call you later.</dialogue>
<scene_description>She hangs up , wrapping the earpiece around her phone . We reveal GARY being escorted through glass doors by a polo - shirted PAROLE OFFICER . Margaret moves to intercept them , offering a hand .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hi. Margaret. I work for Lola.</dialogue>
<character>GARY</character>
<dialogue>Gary.</dialogue>
<character>MARGARET</character>
<dialogue>I know.</dialogue>
<parenthetical>( to the Parole Officer . )</parenthetical>
<dialogue>We need to go out the back.</dialogue>
</scene>
<scene>
<stage_direction>INT. BACK HALLWAY - DAY</stage_direction>
<scene_description>Margaret leads the way . She 's been here before .</scene_description>
<character>GARY</character>
<dialogue>Are there reporters out front?</dialogue>
<character>MARGARET</character>
<dialogue>A few. Not Hugh Grant level. More like Robert Downey, Jr. when he broke into that family's house and slept in the kid's bed like Goldilocks. `` This bed is just right.'' I handled episodes two through four for Robert. This sort of thing is my specialty.</dialogue>
<character>GARY</character>
<dialogue>What is?</dialogue>
<character>MARGARET</character>
<dialogue>Famous fuck - ups. Do n't worry. Mama's gon na take good care of you.</dialogue>
<scene_description>A phone RINGS .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>A designer kitchen in Hancock Park - spacious and kosher - ready . The phone on the counter is RINGING .</scene_description>
<character>PAROLE OFFICER</character>
<dialogue>Answer it.</dialogue>
<scene_description>Gary picks it up .</scene_description>
<character>GARY</character>
<dialogue>Hello? Yes. Yes.</dialogue>
<scene_description>He looks to Margaret while the other end of the call talks at length . Then , very deliberately .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The weather in Toledo is rainy.</dialogue>
<scene_description>He says this like a sleeper agent repeating his trigger phrase .</scene_description>
<character>PAROLE OFFICER</character>
<dialogue>Use your normal voice.</dialogue>
<character>GARY</character>
<parenthetical>( to the phone . )</parenthetical>
<dialogue>Nine dogs ran through the field. The koala sits in the tree.</dialogue>
<scene_description>The Parole Officer takes the phone from him , punching in a series of numbers and jotting notes on his work sheet .</scene_description>
<character>MARGARET</character>
<dialogue>It's computer voice recognition. The system can call you any time day or night. If you do n't answer within five rings, the police come and haul your ass off.</dialogue>
<character>GARY</character>
<dialogue>What if I'm not here?</dialogue>
<scene_description>Catching the officer 's concerned look .</scene_description>
<character>MARGARET</character>
<dialogue>That's why it's called house arrest. You stay inside your house.</dialogue>
<parenthetical>( to the officer . )</parenthetical>
<dialogue>He can take direction, I promise.</dialogue>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - DAY</stage_direction>
<scene_description>Margaret pulls open curtains , flooding the room with light . Gary wanders , checking it all out .</scene_description>
<character>MARGARET</character>
<dialogue>Okay, just so it's said, this house is flammable.</dialogue>
<character>GARY</character>
<dialogue>I did n't mean to burn down my house.</dialogue>
<character>MARGARET</character>
<dialogue>Yeah, I did n't mean to eat my way into a ten - year shame spiral, but I did, and it's healthier to acknowledge it.</dialogue>
<parenthetical>( moving on . )</parenthetical>
<dialogue>This flammable house belongs to one of Lola's other fabulous clients, who is currently shooting a pilot in Toronto.</dialogue>
<character>GARY</character>
<dialogue>Actor?</dialogue>
<character>MARGARET</character>
<dialogue>Writer. So for the next six weeks, su casa es su casa. I say, feel free to wear his clothes. He'll probably get a sick thrill of out it. The gays.</dialogue>
<scene_description>Noticing two crates .</scene_description>
<character>GARY</character>
<dialogue>He has dogs?</dialogue>
<character>MARGARET</character>
<dialogue>They're away at summer camp. Now, try the bed.</dialogue>
<scene_description>He lies back on it , feeling it out .</scene_description>
<character>GARY</character>
<dialogue>It's fine.</dialogue>
<character>MARGARET</character>
<dialogue>Comfortable?</dialogue>
<character>GARY</character>
<dialogue>Sure.</dialogue>
<scene_description>She massages his besocked feet .</scene_description>
<character>MARGARET</character>
<dialogue>Look, Gary, I know this has been crazy and stressful. I want you to feel safe. And comfortable.</dialogue>
<character>GARY</character>
<dialogue>I do.</dialogue>
<character>MARGARET</character>
<dialogue>I'm a fan of yours, you know. Your number - one fan.</dialogue>
<scene_description>Gary looks over his toes at Margaret . From this angle , she looks a bit like Kathy Bates from Misery .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But if you fuck this up, I will smash your ankles with a sledge hammer.</dialogue>
<scene_description>A long beat .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That would n't be comfortable for either of us.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Margaret boxes up the alcohol while Gary bounces a lime on the island .</scene_description>
<character>MARGARET</character>
<dialogue>I'll be coming by twice a day to check up on you. I'm the only person who should be coming by. No buddies, no pals, no heroin dealers.</dialogue>
<character>GARY</character>
<dialogue>I do n't do heroin.</dialogue>
<character>MARGARET</character>
<dialogue>Yeah, crack is classy. And I'm not buying you porn. There's spray - per - view on cable.</dialogue>
<character>GARY</character>
<dialogue>Good. I really was n't concerned about my career, my family or my future. I just wanted to jack off.</dialogue>
<scene_description>Margaret is a little impressed by this show of backbone .</scene_description>
<character>MARGARET</character>
<dialogue>Let me see your phone.</dialogue>
<scene_description>He hands over his cell phone . She drops it in the contraband box .</scene_description>
<character>GARY</character>
<dialogue>C'mon! All my numbers are in that.</dialogue>
<character>MARGARET</character>
<dialogue>Dial ten digits at random. Whoever answers will be better than the people on this phone.</dialogue>
<scene_description>She picks up the liquor box , ready to go .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have my cell number. You have delivery menus. You're fine. Right?</dialogue>
<character>GARY</character>
<dialogue>I guess.</dialogue>
<scene_description>As she leaves , Margaret notices a long butane lighter by the stove . She adds it to the box , just to be sure .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE / VARIOUS - DAY</stage_direction>
<scene_description>Gary paces around his new home , trying to get a feel for it . He plays a few NOTES on the piano . He looks up at the painting over the staircase : a cliff near the ocean . He opens random drawers in a Chinese herb cabinet , wondering if there 's anything hidden in one of the 46 slots . There is n't . He takes a long beat to consider three paintings in the dining room , which show the same thing in three different ways .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - SUMMER NIGHT</stage_direction>
<scene_description>Gary swims laps , trying to exhaust himself . He stands in the shallow end , listening to the quiet .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SUMMER NIGHT</stage_direction>
<scene_description>Wearing a fluffy white robe , he looks through the delivery menus .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER / FRONT DOOR - SUMMER NIGHT</stage_direction>
<scene_description>He takes a bag of food from a college - age DELIVERY GUY , who seems to recognize him . Gary pays him , shuts the door . As he 's walking to the kitchen with the food , Gary looks back and sees the Delivery Guy watching him from the front walk . The guy is a little embarrassed , but Gary is pretty used to being stared at .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SUMMER NIGHT</stage_direction>
<scene_description>Gary unwraps the Thai food . Makes himself a plate . He watches CRIME LAB on the plasma screen while eating dinner .</scene_description>
<character>GARY</character>
<parenthetical>( O.S. TV DIALOGUE . )</parenthetical>
<dialogue>Once we get these samples back to the Crime Lab, we'll know who the real killer is.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIBRARY / TV ROOM - NIGHT</stage_direction>
<scene_description>Gary scans the shelves , looking for something to read . There are five times more books here than Gary has opened in his lifetime . He settles on a paperback of Voltaire 's Candide . He lies back on the couch , reading it . He flips a few pages ahead to see if it gets more interesting . A beat . GARY JACKING OFF to soft - core pay - per - view . We 're CLOSE ON Gary 's straining face , but we can hear the pleasured MOANS of the actresses as they go down on each other . Nearing climax , he looks for something to come on . He ca n't find anything .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - NIGHT</stage_direction>
<scene_description>His left hand cupped to hold the semen , he pads barefoot from the TV room to the downstairs bathroom . We hear WATER RUNNING as he washes his hands . Then it shuts off . We hear a THUNK . Something hard was dropped on the wood floor . Gary hears it too . He steps out of the bathroom , looks around . He takes a few silent paces back in our direction , stopping just before he reaches the two - story section of the foyer . That 's when he hears it : CLICK - CLICK - CLICK - CLICK on the wooden floor . A JINGLE of metal . We follow Gary 's eyes up to the second - floor walkway . We can hear the little FOOTSTEPS , toe nails CLICKING . Faint PANTING . But there 's no dog . BACK ON Gary , increasingly unsettled . He 's directly below the walkway , and ca n't see up into it .</scene_description>
<character>GARY</character>
<dialogue>Is somebody there? Hello?</dialogue>
<scene_description>He CLAPS his hands twice . Listens . Nothing . He 's about to venture a step forward when suddenly THE PHONE RINGS . He nearly jumps out of his skin . It RINGS two more times before he ducks into the TV room to answer it .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hello?!</dialogue>
<parenthetical>( relieved . )</parenthetical>
<dialogue>Yes. Yes.</dialogue>
<scene_description>He turns his back to the foyer , listening to the instructions on the phone .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nine leopards run through the jungle.</dialogue>
<parenthetical>( listening . )</parenthetical>
<dialogue>I bought two cakes at the store.</dialogue>
<scene_description>His identity evidently confirmed , he hangs up . He looks back into the foyer .</scene_description>
<character>GARY</character>
<parenthetical>( PRE - LAP ; CONT 'D . )</parenthetical>
<dialogue>The house is haunted. There's a zeitgeist, or something.</dialogue>
</scene>
<scene>
<stage_direction>EXT. UPSTAIRS DECK - DAY</stage_direction>
<scene_description>Margaret 's brought coffee and pastries from Susina .</scene_description>
<character>MARGARET</character>
<dialogue>Poltergeist, and no. Maybe they were rats. L.A. is teaming with rats. They live in the palm trees.</dialogue>
<character>GARY</character>
<dialogue>Sure. Maybe.</dialogue>
<scene_description>He 's obviously not convinced .</scene_description>
<character>MARGARET</character>
<dialogue>Okay. You know I'm a licensed psychotherapist.</dialogue>
<character>GARY</character>
<dialogue>Really?</dialogue>
<character>MARGARET</character>
<dialogue>No. I'm a publicist. My job is what other people think of you, not what you think of yourself. So pull your shit together. I am thisclose to getting Christine Walsh to do your piece in Parade.</dialogue>
<character>GARY</character>
<dialogue>Parade? I fucking hate Parade.</dialogue>
<character>MARGARET</character>
<dialogue>Everyone hates Parade. But the people who watch `` Crime Lab,'' they love their Marilyn Vos Savant. Give them a woman of indeterminate age who solves riddles and they are in hee - haw heaven.</dialogue>
<character>GARY</character>
<dialogue>Okay.</dialogue>
<character>MARGARET</character>
<dialogue>One heartfelt act of contrition and maybe the showrunner wo n't kill off your character between seasons.</dialogue>
<scene_description>He nods . He gets it .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I swear to God, if you go batshit on me.</dialogue>
<character>GARY</character>
<dialogue>I'm not crazy.</dialogue>
<character>MARGARET</character>
<dialogue>Exactly. Exactly.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Gary is lying in the sun , eyes shut . Suddenly , a golf ball hits him on the head . He sits up , perplexed . For a long moment , he has no idea where the ball came from , until he hears a voice from beyond the wall that separates the properties .</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>Sorry! Really sorry.</dialogue>
<scene_description>-LRB- A practiced ear notices a Canadian accent . -RRB-</scene_description>
<character>WOMAN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Over here. To your left.</dialogue>
<parenthetical>( correcting . )</parenthetical>
<dialogue>Right. Sorry. Right.</dialogue>
<scene_description>He follows the voice to a gap in the hedges at the far corner of the yard , finding SARAH GLEASON . Late 30 's , fresh - scrubbed and girlish , she looks more fragile than she really is .</scene_description>
<character>SARAH</character>
<dialogue>I'm working on my putting, if you can believe it.</dialogue>
<scene_description>Indeed , she 's holding a putter .</scene_description>
<character>GARY</character>
<dialogue>Not really.</dialogue>
<character>SARAH</character>
<dialogue>Okay. Maybe I was just looking for a way to meet my infamous neighbor. You see, I'm under house arrest, too.</dialogue>
<character>GARY</character>
<dialogue>What did you do?</dialogue>
<character>SARAH</character>
<dialogue>I had sex with my husband.</dialogue>
<character>GARY</character>
<dialogue>That's awful.</dialogue>
<character>SARAH</character>
<dialogue>Nine months later, I had Jaden. That's her over there.</dialogue>
<scene_description>She points to a small portable baby monitor .</scene_description>
<character>GARY</character>
<dialogue>She's cute.</dialogue>
<character>SARAH</character>
<dialogue>She's sleeping for another.</dialogue>
<parenthetical>( checks watch . )</parenthetical>
<dialogue>. seventeen minutes. She keeps to a schedule.</dialogue>
<character>GARY</character>
<dialogue>She sounds really boring.</dialogue>
<character>SARAH</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>She is.</dialogue>
<scene_description>A beat . A smile between them .</scene_description>
<character>GARY</character>
<dialogue>You're rich. Should n't you have a nanny from Ecuador?</dialogue>
<character>SARAH</character>
<dialogue>I'm Canadian.</dialogue>
<character>GARY</character>
<parenthetical>( as if that explains it . )</parenthetical>
<dialogue>Ohhh.</dialogue>
<character>SARAH</character>
<dialogue>I ca n't work in the U.S. Plus, I want to maintain this air of moral superiority by doing everything myself.</dialogue>
<character>GARY</character>
<dialogue>Very Canadian.</dialogue>
<character>SARAH</character>
<dialogue>Thanks.</dialogue>
<scene_description>Another pregnant pause .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Listen, Jaden goes down again at 2:30. Maybe I could stop by.</dialogue>
<character>GARY</character>
<dialogue>I'm pretty sure I'll be here.</dialogue>
<character>SARAH</character>
<dialogue>It's a date.</dialogue>
<character>GARY</character>
<dialogue>Is it?</dialogue>
<scene_description>She picks up the baby monitor , heading back into her house . Suddenly , she realizes .</scene_description>
<character>SARAH</character>
<dialogue>Oh. I'm Sarah, by the way.</dialogue>
<character>GARY</character>
<dialogue>Gary.</dialogue>
<character>SARAH</character>
<dialogue>Yeah. I know.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Gary brushes his teeth and tongue .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Gary neatens up , tossing out newspapers and delivery boxes . He plumps pillows . He looks up at the clock : 2:30 . He sits , trying to read Candide again . He fidgets . He looks at the clock again : 2:49 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO - DAY</stage_direction>
<scene_description>Under the pretense of sweeping up leaves , he peers over the wall , looking directly into Sarah 's kitchen . But there 's no one in there .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS WALKWAY - DAY</stage_direction>
<scene_description>Gary carefully sets rat traps , staggering them every few feet . He pokes one with a pencil . The metal arm SNAPS back , breaking the pencil in two .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - DAY</stage_direction>
<scene_description>Gary notices that the piano has an electronic device attached to it . He turns it on . He opens the piano bench , finding computer disks . A red disk is labelled `` Knowing . '' He puts it in . Hits play . The piano begins playing by itself , a sensuous but melancholy CLASSICAL PIECE . Gary lies on the floor , listening to it . He stares up at the elaborate chandelier .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF HOUSE - DAY</stage_direction>
<scene_description>Gary is sitting on a bench by the front walk , trying to read more of his book . He looks over to see Sarah coming up the steps , carrying the baby monitor and a bottle of chardonnay . She stops beside him .</scene_description>
<character>SARAH</character>
<dialogue>The best of all possible worlds.</dialogue>
<character>GARY</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Okay.</dialogue>
<character>SARAH</character>
<parenthetical>( pointing to his book . )</parenthetical>
<dialogue>Voltaire. Candide.</dialogue>
<parenthetical>( off his reaction . )</parenthetical>
<dialogue>Are you actually reading it?</dialogue>
<character>GARY</character>
<dialogue>I thought I was.</dialogue>
<scene_description>He gets up .</scene_description>
<character>SARAH</character>
<dialogue>Sorry I bailed. Jaden had a fever.</dialogue>
<character>GARY</character>
<dialogue>Ah! How boring of her.</dialogue>
<scene_description>She hands him the wine .</scene_description>
<character>SARAH</character>
<dialogue>Housewarming gift.</dialogue>
<character>GARY</character>
<dialogue>Demon liquor.</dialogue>
<character>SARAH</character>
<dialogue>The best part is, I can drink it. I pumped before I came.</dialogue>
<character>GARY</character>
<dialogue>So did I.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Sarah tops off Gary 's wine glass . They 're both on the couch . The baby monitor is sitting on the table behind them .</scene_description>
<character>GARY</character>
<dialogue>so it's kind of hard to prove that I only meant to burn my ex - girlfriend's stuff, and not the entire house.</dialogue>
<character>SARAH</character>
<dialogue>Yeah. Fire's tricky that way.</dialogue>
<character>GARY</character>
<dialogue>How about you? Any history of arson?</dialogue>
<character>SARAH</character>
<dialogue>Strangely enough.</dialogue>
<character>GARY</character>
<dialogue>I knew it! I could see that little spark.</dialogue>
<character>SARAH</character>
<dialogue>It was n't arson. Probably.</dialogue>
<scene_description>A long beat while she decides whether she wants to tell him the story .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay. When I was a little girl, our house caught on fire.</dialogue>
<character>GARY</character>
<dialogue>Oh shit.</dialogue>
<scene_description>MUSIC begins , providing backing to her monologue .</scene_description>
<character>SARAH</character>
<dialogue>I'll never forget the look on my father's face as he gathered me up in his arms and raced through the burning building, out onto the pavement.</dialogue>
<scene_description>ON GARY , feeling bad he brought this up , but fascinated at the same time .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I stood there shivering in my pajamas and watched the whole world go up in flames. And when it was all over, I said to myself, `` Is that all there is to a fire?'' Is that all there is?</dialogue>
<scene_description>As she starts to SING , Gary realizes the story is n't hers at all . It 's Peggy Lee 's `` Is That All There Is . ''</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing.</dialogue>
<scene_description>She leans closer .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let's break out the booze and have a ball. If that's all there is.</dialogue>
<scene_description>Standing up , Sarah takes Gary 's hands , pulling him off the couch . She leads him to an open area - more space for dancing .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there is.</dialogue>
</scene>
<scene>
<stage_direction>INT. SARAH'S BATHROOM - DAY [MONOLOGUE]</stage_direction>
<scene_description>Sarah leans up to the mirror , trying to get her contacts in . It 's not going well . Her eyes are tearing up .</scene_description>
<character>SARAH</character>
<dialogue>Then I fell in love with the most wonderful boy in the world. We would take long walks by the river or just sit for hours gazing into each other's eyes. We were so very much in love. Then one day he went away and I thought I'd die. But I did n't. And when I did n't, I said to myself, `` Is that all there is to love?''</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Sarah and Gary start to dance .</scene_description>
<character>SARAH</character>
<dialogue>Is that all there is? Is that all there is? If that's all there is my friends, then let's keep.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANTIQUE HARDWARE STORE - DAY</stage_direction>
<scene_description>Deep in the bowels of the store , Sarah is surrounded by vintage lighting fixtures . She 's -LRB- futilely -RRB- trying to match a specific light switch plate .</scene_description>
<character>SARAH</character>
<dialogue>I know what you're thinking. If that's the way she feels about it why does n't she just end it all? I'm in no hurry for that final disappointment. I know just as well as I'm standing here talking to you, when that final moment comes and I'm breathing my last breath, I'll be saying to myself.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Sarah and Gary become more intimately acquainted on the couch . They still have n't kissed , but hands are running up and down over clothing . Sarah is n't singing anymore , though her voice continues .</scene_description>
<character>SARAH'S VOICE</character>
<dialogue>Is that all there is, is that all there is? If that's all there is my friends, then let's keep dancing. Let's break out the booze and have a ball, If that's all there.</dialogue>
<scene_description>Just as they 're about to kiss , A BABY HOWLS . It 's the monitor , HISSING and POPPING as Jaden wakes up from her nap , cranky and hungry . Sarah pushes back . Gary tries to close the gap , but she 's already standing up .</scene_description>
<character>SARAH</character>
<dialogue>I need to.</dialogue>
<character>GARY</character>
<dialogue>Just.</dialogue>
<character>SARAH</character>
<dialogue>My shoes. Are here. Okay.</dialogue>
<scene_description>As she reaches for one , she knocks over a wine glass .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Crap!</dialogue>
<character>GARY</character>
<dialogue>Do n't worry about it. Just.</dialogue>
<character>SARAH</character>
<dialogue>I'm going. Bye.</dialogue>
<scene_description>Carrying both her shoes , she 's across the room and out the front door before he can say anything more .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Gary washes the wine glasses , being sure to wash off any trace of lipstick . He dries them and puts them back in the cabinet . Faced with the remainder of the wine , he considers dumping it down the sink . Instead , he chugs it from the bottle . He wraps the empty bottle in newspaper and tucks it in the recycling .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE / GYM - SUMMER NIGHT</stage_direction>
<scene_description>Gary works out hard on the elliptical trainer . He has his iPod cranked with a POUNDING TUNE . He does abs on a stability ball . He 's spent .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Gary enters from the driveway door , gulping from a water bottle . He starts to look through the delivery menus when he notices an orange Post - It note by the telephone . It reads : Look for the Nines . He picks it up , looks at the back . Nothing . Sticks it back down on the counter .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Gary sits on the couch with his water bottle , listening to the baby monitor : Sarah is singing a LULLABY . He takes off his shoes and socks . When she 's finished .</scene_description>
<character>SARAH</character>
<parenthetical>( ON MONITOR . )</parenthetical>
<dialogue>Goodnight, sweetheart.</dialogue>
<character>GARY</character>
<dialogue>Goodnight.</dialogue>
<scene_description>For a long beat , it 's quiet . Then we hear RUSTLING . A crib toy plays a short MELODY . Then a slightly - digital voice speaks :</scene_description>
<character>VOICE</character>
<dialogue>The cat says meow! The pig says oink!</dialogue>
<scene_description>Gary smiles to himself .</scene_description>
<character>VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The cow says moo! The cow says moo! The cow says moo!</dialogue>
<scene_description>Evidently , Jaden loves the cow .</scene_description>
<character>VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The dog says, nine. Nine. Nine. Nine.</dialogue>
<scene_description>Gary looks back . Did he just hear that ? The phone RINGS .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT [CONTINUOUS]</stage_direction>
<scene_description>Gary answers it on the third ring .</scene_description>
<character>GARY</character>
<dialogue>Hello.</dialogue>
<scene_description>It 's the parole system .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yes. Yes. Two trains run through the forest.</dialogue>
<scene_description>Music STRIKES . We see a sudden change in Gary 's expression . He nearly drops the phone . Forcing himself not to panic , he pushes the button for speakerphone . He wants to make sure he 's hearing it right .</scene_description>
<character>MALE COMPUTER VOICE</character>
<dialogue>Nine. Nine. Nine. Nine.</dialogue>
<scene_description>Gary backs away from the phone like it might sprout legs and jump on him . Suddenly , he backs into SOMEONE ELSE . He spins around , startled . He only catches a glimpse of THE MAN - same height , same build , same everything . The Man is gone in half an instant , vanished into thin air . Gary bolts for the door . Reaching the foyer , Gary steps on a RAT TRAP , which SNAPS down on his toes . He SCREAMS , pulling it off . He looks around to find all eight traps are now on the main floor , rather than the second - floor walkway . Limping , he hops out the door . We stay behind , looking out through the open door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILSHIRE BLVD. - NIGHT</stage_direction>
<scene_description>HEADLIGHTS FLARE as cars travel down Miracle Mile , bringing us to a Metro Bus stop - a semi - enclosed bench with backlit signage . The far side of the shelter has a one - sheet for Crime Lab . -LRB- `` This fall , Mondays are murder . '' -RRB- The bench side is a promo poster for a show called Knowing . -LRB- `` Some fates are chosen for you . '' -RRB- It 's here we find Gary taking a seat , gingerly checking his toes where the rat trap snapped . He 's hobbled his way here from the house , which is probably a block away . There 's only a little blood , but his toes really hurt . Over Gary 's shoulder , we see a blonde 8 - year old girl -LRB- Noelle -RRB- watching him with concern . She BANGS on the shelter to get his attention . Gary nearly jumps out of his skin .</scene_description>
<character>GARY</character>
<dialogue>Jesus! You scared the shit out of.</dialogue>
<scene_description>She signs `` What 's wrong ? ''</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( confused . )</parenthetical>
<dialogue>What?</dialogue>
<character>NOELLE</character>
<parenthetical>( signed , subtitled . )</parenthetical>
<dialogue>You're hurt. GARY I do n't speak that. Sorry. I do n't.</dialogue>
<scene_description>She points to his toes . Getting what she must mean .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm fine. I'll be fine.</dialogue>
<scene_description>Looking around , he realizes that the little girl is out here by herself .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where are your parents?</dialogue>
<scene_description>She looks at him oddly , not really getting the question .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your mom, your dad. Where are they?</dialogue>
<character>NOELLE</character>
<parenthetical>( signed , subtitled . )</parenthetical>
<dialogue>Mom is at the car. Where you left her.</dialogue>
<scene_description>Again , Gary has no idea what she 's saying .</scene_description>
<character>NOELLE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( signed , subtitled . )</parenthetical>
<dialogue>You're lost. GARY Look, you need to go back, okay? You should n't be out here. It's not safe.</dialogue>
<scene_description>Noelle glances to her left . We hear BWOOP BWOOP as a police cruiser pulls over to the curb .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit.</dialogue>
<scene_description>We go to a WIDER ANGLE as TWO OFFICERS get out of the car . Gary looks back . Noelle is gone , though there 's really nowhere she could have disappeared . Putting on his best face for the police .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Evening, officers.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. POLICE CRUISER - NIGHT</stage_direction>
<scene_description>Handcuffed , Gary is placed in back . He 's reserving the right to remain silent .</scene_description>
<character>MARGARET</character>
<parenthetical>( PRE - LAP . )</parenthetical>
<dialogue>Once again, the idea of house arrest is you stay inside your house.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>The same parole officer from earlier attaches a black anklet to Gary 's left leg . We see that Gary 's left foot also features bandaged toes .</scene_description>
<character>MARGARET</character>
<dialogue>Think of it like an electronic leash. Basically, if you ever go more than 100 feet from the base station.</dialogue>
<scene_description>She points to an electronic device by the wall .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>the cops come, they throw your ass in jail. If you ever try to take it off, the cops come and throw your ass in jail. And if they ever detect drugs or alcohol in your system.</dialogue>
<character>GARY</character>
<dialogue>the cops come and throw my ass in jail.</dialogue>
<character>MARGARET</character>
<dialogue>No. I kick your ass. Then the cops come and throw your ass in jail.</dialogue>
<scene_description>The parole officer smiles .</scene_description>
<character>GARY</character>
<dialogue>Do I still have to answer the phone?</dialogue>
<character>MARGARET</character>
<dialogue>No, I'll be doing that from now on. I'm moving into the guest room.</dialogue>
<character>GARY</character>
<dialogue>I do n't need a babysitter.</dialogue>
<character>MARGARET</character>
<dialogue>Despite all evidence to the contrary. Do n't worry, I'm a cool roomie. Who do you think taught Affleck how to gamble?</dialogue>
<scene_description>The parole officer hits a test button on the anklet , which lets out a PIERCING ALARM .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let's never hear that again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT OF HOUSE - DAY</stage_direction>
<scene_description>Margaret walks heel - to - toe , counting her steps .</scene_description>
<character>MARGARET</character>
<dialogue>97. 98. 99.</dialogue>
<scene_description>With a piece of chalk , she draws a line on the concrete . She looks back to Gary , who 's waiting by the front door .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Behold! The edge of your world. In the world.</dialogue>
<parenthetical>( jumps over the line . )</parenthetical>
<dialogue>Out of the world. In the world. Out of the world. Look at me, I'm dancin'!</dialogue>
<scene_description>She starts doing the running man over the line . Even Gary 's dark mood is broken .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO - NIGHT</stage_direction>
<scene_description>Margaret and Gary roast marshmallows over the propane grill to make s'mores . They 're giggling .</scene_description>
<character>GARY</character>
<dialogue>So the guy was like, `` Do you know fencing?'' And I say, of course. That's what it says on my headshot.</dialogue>
<character>MARGARET</character>
<dialogue>Lies!</dialogue>
<character>GARY</character>
<dialogue>Always. So he says, `` Foil or epi?''</dialogue>
<character>MARGARET</character>
<dialogue>Epée.</dialogue>
<character>GARY</character>
<dialogue>I say, I'm about equal in both.</dialogue>
<character>MARGARET</character>
<dialogue>Which is true.</dialogue>
<character>GARY</character>
<dialogue>So he tosses me this fucking Conan sword and goes after me. I'm just swinging, trying to stay alive. But I end up cutting his ear.</dialogue>
<character>MARGARET</character>
<dialogue>You cut his ear off?</dialogue>
<character>GARY</character>
<dialogue>Just a little. But I got the job.</dialogue>
<scene_description>Margaret is confused .</scene_description>
<character>MARGARET</character>
<dialogue>Wait. You were in Pirates of the Caribbean?</dialogue>
<character>GARY</character>
<dialogue>Yes. No. Not the movie, the ride. I was like, `` Gar! Keep both hands inside the boat!''</dialogue>
<scene_description>Margaret laughs so hard she coughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS WALKWAY - NIGHT</stage_direction>
<scene_description>Ready for bed , Margaret leans out the guest bedroom door .</scene_description>
<character>MARGARET</character>
<dialogue>Goodnight, fuckface.</dialogue>
<scene_description>Gary looks out his door .</scene_description>
<character>GARY</character>
<dialogue>Goodnight, you filthy whore.</dialogue>
<scene_description>Both doors shut .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>Establishing .</scene_description>
<character>MARGARET</character>
<parenthetical>( PRE - LAP . )</parenthetical>
<dialogue>It's incredible.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO - DAY</stage_direction>
<scene_description>Margaret and Gary sip their morning beverages , looking at something spectacular in the yard .</scene_description>
<character>MARGARET</character>
<dialogue>It's incredible.</dialogue>
<character>GARY</character>
<dialogue>I know. Whenever I see them, and I always feel like, damn.</dialogue>
<character>MARGARET</character>
<dialogue>I was born at the wrong time.</dialogue>
<character>GARY</character>
<dialogue>Exactly.</dialogue>
<scene_description>We REVERSE to see the object of their awe : a giant inflatable jump - o - rama in the shape of a castle .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CASTLE - DAY</stage_direction>
<scene_description>VARIOUS SHOTS : Gary and Margaret jump with all their might , bouncing off the walls , SCREAMING all the time . When both finally collapse , it becomes strangely tranquil . They 're safe inside an inflatable paradise . Gary scoots over beside Margaret . She puts her head on his arms . It 's nice . Prelap : A doorbell RINGS .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - DAY</stage_direction>
<scene_description>Gary opens the door to find Sarah .</scene_description>
<character>SARAH</character>
<dialogue>Where's the warden?</dialogue>
<character>GARY</character>
<dialogue>Groceries.</dialogue>
<character>SARAH</character>
<dialogue>Quite the little missus.</dialogue>
<scene_description>She walks past him , into the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY [CONTINUOUS]</stage_direction>
<scene_description>Sarah crosses to the couch , picking up the baby monitor .</scene_description>
<character>GARY</character>
<dialogue>How's Jaden?</dialogue>
<character>SARAH</character>
<dialogue>Boring. We have n't had nearly the grand old time you two have been having.</dialogue>
<scene_description>There 's an edge to her voice .</scene_description>
<character>GARY</character>
<dialogue>You've been watching.</dialogue>
<character>SARAH</character>
<dialogue>Well. I do n't want to meddle in your affairs.</dialogue>
<character>GARY</character>
<dialogue>My affairs?</dialogue>
<character>SARAH</character>
<dialogue>Everyone needs affection. I get it.</dialogue>
<scene_description>She 's headed back for the door .</scene_description>
<character>GARY</character>
<dialogue>I do n't. Are you seriously jealous?</dialogue>
<character>SARAH</character>
<dialogue>The opposite. I just want to protect her.</dialogue>
<character>GARY</character>
<dialogue>From what?</dialogue>
<character>SARAH</character>
<dialogue>From you. Look at you. You date models. Actresses. Tennis players.</dialogue>
<character>GARY</character>
<dialogue>Yeah.</dialogue>
<character>SARAH</character>
<dialogue>On a scale of one to ten, you belong with the Nines. We both know you wo n't settle for less.</dialogue>
<scene_description>With that , she 's gone .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Gary is trying to load dishes into the dishwasher , but has a hard time getting one bowl to fit .</scene_description>
<character>MARGARET</character>
<dialogue>What are `` the Nines?''</dialogue>
<character>GARY</character>
<dialogue>What?</dialogue>
<scene_description>He looks over . Margaret holds up the orange sticky note by the phone .</scene_description>
<character>MARGARET</character>
<dialogue>`` Look for the Nines.''</dialogue>
<character>GARY</character>
<dialogue>It's not mine.</dialogue>
<character>MARGARET</character>
<dialogue>It's your handwriting.</dialogue>
<character>GARY</character>
<dialogue>I did n't write it.</dialogue>
<character>MARGARET</character>
<dialogue>Okay.</dialogue>
<scene_description>She puts it back down . But she does n't believe him .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>All - ee - all - ee - all - come - free.</dialogue>
<character>GARY</character>
<parenthetical>( perplexed . )</parenthetical>
<dialogue>What?</dialogue>
<character>MARGARET</character>
<dialogue>Nothing.</dialogue>
<character>GARY</character>
<dialogue>Seriously, what?</dialogue>
<character>MARGARET</character>
<dialogue>Nothing. I thought you were. forget it. Done. Sorry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - DAY</stage_direction>
<scene_description>At the far edge of the property , Margaret and Gary play backgammon . Their mood is significantly more subdued . Margaret answers her RINGING cell phone .</scene_description>
<character>MARGARET</character>
<dialogue>Yhello? Hi. What?!</dialogue>
<parenthetical>( to Gary . )</parenthetical>
<dialogue>I have to take this.</dialogue>
<scene_description>He nods . Margaret starts walking back to the house .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Well, who thought it was a good idea letting Courtney into a pottery shop?</dialogue>
<scene_description>Left alone , Gary rolls the dice idly . He gets a 4 and a 5 . Rolls again . 4,5 . 3,6 . 4,5 . 3,6 . 3,6 . 3,6 . 4,5 . He keeps rolling , the wheels in his head starting to turn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF HOUSE - DAY</stage_direction>
<scene_description>Sarah is looking in through the living room windows , trying to spot Gary . Giving up , she turns back to the main steps , only to find . MARGARET , who does n't look pleased .</scene_description>
<character>MARGARET</character>
<dialogue>I know who you are.</dialogue>
<character>SARAH</character>
<dialogue>Really.</dialogue>
<character>MARGARET</character>
<dialogue>I know what you are. And if you come near him again.</dialogue>
<character>SARAH</character>
<dialogue>You'll what?</dialogue>
<scene_description>Margaret lets that go unanswered . There 's obviously something big we 're not privy to .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you going to do, M.</dialogue>
<scene_description>She 's forgotten Margaret 's name - if she ever knew it .</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sorry, what's he calling you?</dialogue>
<character>MARGARET</character>
<dialogue>Margaret.</dialogue>
<character>SARAH</character>
<dialogue>I like that. `` Margaret.'' Classic.</dialogue>
<character>MARGARET</character>
<dialogue>Why ca n't you just leave him alone?</dialogue>
<character>SARAH</character>
<dialogue>Alone? He's an actor. If nobody's watching him, he does n't really exist.</dialogue>
<parenthetical>( approaching . )</parenthetical>
<dialogue>And for the record, I'm not the one deceiving him. He's going to figure it out eventually. And when he does, who do you think he's gon na blame?</dialogue>
<scene_description>Sarah lets her warning land , then walks past Margaret , heading back down the stairs . REVEAL Gary watching through the hole in the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - DAY</stage_direction>
<scene_description>Gary heard the whole conversation . Or at least enough of it to be deeply freaked out .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS WALKWAY - NIGHT</stage_direction>
<scene_description>Margaret leans out her doorway :</scene_description>
<character>MARGARET</character>
<dialogue>Goodnight, ratface.</dialogue>
<character>GARY</character>
<dialogue>Goodnight.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Gary sits in one of the upholstered chairs , staring at his still - made bed . It 's impossible to know what he 's thinking , but the wheels are turning .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE PATIO - MORNING</stage_direction>
<scene_description>Gary opens the newspaper to a page at random . He starts circling things with a red Sharpie . MACRO CLOSE UP . His pen circles the number nine every time it appears . As he flips the page , he spots Sarah looking in through the rounded trellis , just a few feet away . She 's holding her own newspaper , still in the wrapper .</scene_description>
<character>SARAH</character>
<dialogue>Hey neighbor.</dialogue>
<character>GARY</character>
<dialogue>Hi.</dialogue>
<character>SARAH</character>
<dialogue>Sorry for the psychotic episode. I'll blame it on hormones.</dialogue>
<character>GARY</character>
<dialogue>Okay.</dialogue>
<character>SARAH</character>
<dialogue>Are you alright? You look a little Beautiful Mind - ish.</dialogue>
<scene_description>He almost deflects it , but decides to trust her :</scene_description>
<character>GARY</character>
<dialogue>How many times should the number nine come up? Probablistically?</dialogue>
<character>SARAH</character>
<dialogue>Probablistically?</dialogue>
<character>GARY</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>You know what I mean.</dialogue>
<character>SARAH</character>
<dialogue>One time out of ten.</dialogue>
<character>GARY</character>
<dialogue>How about every time?</dialogue>
<scene_description>He hands her the paper through the bars .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But they only show up when you look for them. Looking for them changes things.</dialogue>
<scene_description>Trying to find an explanation .</scene_description>
<character>SARAH</character>
<dialogue>Some of these are prices. There's going to be a lot of nines when.</dialogue>
<character>GARY</character>
<dialogue>There is something wrong with the world.</dialogue>
<scene_description>Sarah looks up slowly . She smiles for an uncomfortably long beat . She 's stalling , thinking .</scene_description>
<character>SARAH</character>
<dialogue>You have an eyelash on your. here.</dialogue>
<scene_description>She steps forward , and motions for him to lean closer to the bars . Brushing off the non - existent eyelash , she WHISPERS :</scene_description>
<character>SARAH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I can get you out of here. But you have to trust me.</dialogue>
<character>MARGARET [O.S.]</character>
<dialogue>Morning.</dialogue>
<scene_description>MARGARET enters , carrying her tea . She sees Gary by himself , leaning near the bars of the trellis .</scene_description>
<character>MARGARET</character>
<dialogue>Everything okay?</dialogue>
<character>GARY</character>
<dialogue>Peachy.</dialogue>
<character>MARGARET</character>
<dialogue>Peachy's good. I like peaches.</dialogue>
<scene_description>WIDER , we see that Sarah is flush back against the wall , out of Margaret 's line of sight .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You want coffee?</dialogue>
<character>GARY</character>
<dialogue>Sure.</dialogue>
<scene_description>She turns and heads back into the house . Once she 's out of earshot .</scene_description>
<character>GARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What do I do?</dialogue>
<character>SARAH</character>
<dialogue>You have to trust me.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY [A FEW MINUTES LATER]</stage_direction>
<scene_description>CLOSE ON a white plastic device mounted in the corner of the room , about ten feet up . It might be a smoke detector . Gary stares up at it , intently . He steps forward . A little red light flicks on inside the unit . After a few seconds it turns off . It 's some sort of motion detector . Gary tests it again , trying to move his arm slowly enough that the light never engages . Margaret enters , carrying two mugs . She watches him warily .</scene_description>
<character>MARGARET</character>
<dialogue>You okay?</dialogue>
<character>GARY</character>
<dialogue>No.</dialogue>
<character>MARGARET</character>
<dialogue>Oh.</dialogue>
<character>GARY</character>
<dialogue>Tell me about the Nines.</dialogue>
<character>MARGARET</character>
<dialogue>The Nines?</dialogue>
<character>GARY</character>
<dialogue>The Nines.</dialogue>
<character>MARGARET</character>
<dialogue>Sort of hard to start there.</dialogue>
<character>GARY</character>
<dialogue>Try. And do n't tell me I'm imagining it. They're showing up everywhere, and I want to know why.</dialogue>
<scene_description>Trying to formulate the simplest truthful explanation :</scene_description>
<character>MARGARET</character>
<dialogue>Best guess? They're your subconscious trying to remind you who you are.</dialogue>
<character>GARY</character>
<dialogue>I'm a Nine?</dialogue>
<character>MARGARET</character>
<dialogue>Yes. It does n't make a lot of sense of out context.</dialogue>
<parenthetical>( offering . )</parenthetical>
<dialogue>Coffee?</dialogue>
<scene_description>He takes the mug , then reconsiders . Maybe it 's laced with something .</scene_description>
<character>GARY</character>
<dialogue>Why do n't you drink coffee? You're always drinking tea.</dialogue>
<scene_description>Frustrated , she takes his coffee back and drinks it . She 'd really like to drink the whole thing to prove her point , but it 's just too hot .</scene_description>
<character>MARGARET</character>
<dialogue>Happy?</dialogue>
<scene_description>She gestures for him to sit down . Reluctantly , he does . She sits across from him .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're not going to understand this yet, but we've known each other for like 25 years. One day when I was 12, you called me out of the blue. And we've been talking ever since.</dialogue>
<character>GARY</character>
<dialogue>Talking.</dialogue>
<character>MARGARET</character>
<dialogue>On the phone. Usually.</dialogue>
<character>GARY</character>
<dialogue>I never met you before I came here.</dialogue>
<character>MARGARET</character>
<dialogue>You, Gary, never met me. But you're not always.</dialogue>
<parenthetical>( lacking the words . )</parenthetical>
<dialogue>I can understand why you're a little confused.</dialogue>
<character>GARY</character>
<dialogue>No. I'm a lot confused.</dialogue>
<character>MARGARET</character>
<dialogue>Theories?</dialogue>
<character>GARY</character>
<dialogue>This is all a dream.</dialogue>
<character>MARGARET</character>
<dialogue>No.</dialogue>
<character>GARY</character>
<dialogue>I'm in a coma.</dialogue>
<character>MARGARET</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>No.</dialogue>
<character>GARY</character>
<dialogue>Then I'm dead. This is Hell, or Purgatorium or something.</dialogue>
<character>MARGARET</character>
<dialogue>Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be.</dialogue>
<character>GARY</character>
<parenthetical>( suspicious . )</parenthetical>
<dialogue>What does that mean?</dialogue>
<scene_description>She sits forward in her chair . By instinct , he sits back .</scene_description>
<character>MARGARET</character>
<dialogue>Everything is what it is. But you're not who you think you are.</dialogue>
<scene_description>NEW ANGLE -LRB- TIME JUMP -RRB- Gary gets up , headed for the front door .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>God, no! Please, Gary, do n't.</dialogue>
<scene_description>But he 's already outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT WALKWAY - DAY</stage_direction>
<scene_description>He 's walking towards the blue chalk perimeter line , headed for Sarah 's house . Leaves fall lazily from the trees , counter - point to the tension . Margaret calls out from the arched windows .</scene_description>
<character>MARGARET</character>
<dialogue>You do n't know what you're doing.</dialogue>
<scene_description>She 's almost at tears . He stops at the edge of the chalk line .</scene_description>
<character>GARY</character>
<dialogue>What happens if I cross this line?</dialogue>
<scene_description>The tear in her eye falls .</scene_description>
<character>MARGARET</character>
<dialogue>I do n't know. But it's not good.</dialogue>
<scene_description>He very deliberately steps over the line . We hear a thin BEEPING from the house - arrest anklet . He shoots her a look to say , is that all there is ? But the BEEPING grows louder , deeper . It starts to come from all sides , booming , a nuclear - meltdown/self - destruct - sequence - activated DRONE . Gary suddenly realizes something very , very terrible is about to happen .</scene_description>
<character>GARY</character>
<dialogue>Oh shit.</dialogue>
<scene_description>The world ignites in white - hot atomic flames . We see the blinding glare erupt behind Margaret , illuminating through her skin , right to the bone . The same flash catches a leaf in mid - air , sizzling through it like an etched x - ray . As the light hits Gary , we . CUT TO BLACK . READER NOTE : Part 2 is a half - hour episode of a Project Greenlight - style documentary series called `` Behind the Screen , '' which tracks the progress of a one - hour TV drama pilot from conception through delivery . In keeping with the genre , it 's very fast and cutty . INTERVIEW sequences are done to an off - camera interviewer . Some scenes are unscripted . The gist of these scenes is summarized in italics . Part Two : REALITY TELEVISION . ANIMATED TITLES We RUSH IN on a television set , which spins around revealing a blinding constellation of pixels .</scene_description>
<character>MELISSA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Previously, on `` Behind the Screen.''</dialogue>
</scene>
<scene>
<stage_direction>EXT. STUDIO LOT - DAY</stage_direction>
<scene_description>GAVIN TAYLOR -LRB- 30 -RRB- walks to a meeting , with his laptop bag over his shoulder . He has a tidy , Banana Republic sensibility and an easy smile that belies his manic schedule .</scene_description>
<character>SUSAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Gavin Taylor's one of the best TV writers out there.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUSAN'S OFFICE - DAY</stage_direction>
<scene_description>Cluttered and corporate , with stacks of scripts and a few touches of arbitrary quirk . SUSAN HOWARD -LRB- 35 -RRB- and Gavin kiss hello .</scene_description>
<character>SUSAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Every network would kill to work with him.</dialogue>
</scene>
<scene>
<stage_direction>INT. GAVIN'S OFFICE / GUESTHOUSE - DAY</stage_direction>
<scene_description>INTERVIEW .</scene_description>
<character>GAVIN</character>
<dialogue>`` Knowing'' is a one - hour drama about a woman whose husband disappears. She starts to believe that her daughter is the key to a dark conspiracy.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Gavin pitches his show to the NETWORK BOSSES .</scene_description>
<character>GAVIN</character>
<dialogue>Basically, it's like `` Rosemary's Toddler.''</dialogue>
</scene>
<scene>
<stage_direction>EXT. STUDIO LOT - DAY</stage_direction>
<scene_description>Impromptu INTERVIEW . Gavin is beaming .</scene_description>
<character>GAVIN</character>
<dialogue>We sold it in the room.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Gavin leans into the speakerphone .</scene_description>
<character>GAVIN</character>
<dialogue>Just tell me Roger liked the script.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUSAN'S OFFICE - DAY</stage_direction>
<scene_description>Susan is on her speakerphone .</scene_description>
<character>SUSAN</character>
<dialogue>You're shooting a pilot.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUSINA COFFEESHOP - DAY</stage_direction>
<scene_description>Gavin has coffee with actress MELISSA McCARTHY -LRB- 34 -RRB- , his best friend . He 's pitching her the idea .</scene_description>
<character>GAVIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Melissa McCarthy is my first and only choice for the lead.</dialogue>
<character>MELISSA</character>
<dialogue>I love it. I'll do it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>An EPK - style INTERVIEW , on the set of the pilot .</scene_description>
<character>MELISSA</character>
<dialogue>Gavin and I have been friends for forever.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WARNER BROS. LOT - DAY</stage_direction>
<scene_description>Melissa hangs out with her `` Gilmore Girls '' CAST and CREW .</scene_description>
<character>MELISSA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's really hard to leave a show like `` Gilmore Girls,'' but I really believe in Gavin.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Gavin , Susan and a LINE PRODUCER go over the figures .</scene_description>
<character>GAVIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The only way we can afford to shoot the pilot is in Canada.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAY</stage_direction>
<scene_description>Gavin stacks up clothes on his bed , preparing to pack .</scene_description>
<character>GAVIN</character>
<dialogue>It's really hard to think about leaving for six weeks.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST ROAD - DAY</stage_direction>
<scene_description>Gavin YELLS :</scene_description>
<character>GAVIN</character>
<dialogue>Action!</dialogue>
<scene_description>A STEADICAM follows Melissa as she gets out the passenger door of a Toyota Prius , an alarmed look on her face . EPISODE 6 : POST</scene_description>
</scene>
<scene>
<stage_direction>INT. LAX / BAGGAGE CLAIM - DAY</stage_direction>
<scene_description>A DRIVER holds up a sign for `` TAYLOR . '' Gavin approaches , waves to him . He has a laptop bag over his shoulder . TITLES identify him as : Gavin Taylor Creator / Showrunner</scene_description>
</scene>
<scene>
<stage_direction>INT. LAUNDRY ROOM / KITCHEN - DAY</stage_direction>
<scene_description>Gavin unlocks the door , entering from the driveway . He 's hauling a massive wheeled duffle bag . -LRB- Note : This is the same house from Part One . -RRB- We hear the CLATTER of toenails on hardwood floors . Gavin kneels down to greet .</scene_description>
<character>GAVIN</character>
<dialogue>Puggies!</dialogue>
<scene_description>Gavin 's PUGS pounce all over him .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY [MINUTES LATER]</stage_direction>
<scene_description>Gavin is on the cordless phone , talking with a friend as he sorts through massive piles of mail . On his left wrist , we notice the same green string bracelet Gary wore in Part One .</scene_description>
<character>GAVIN</character>
<parenthetical>( ON PHONE . )</parenthetical>
<dialogue>It's weird being back. It does n't feel like my house anymore.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOYER - DAY</stage_direction>
<scene_description>Gavin sits at the piano , pecking out a haunting melody he 's been fiddling with . He grabs a red diskette and a Sharpie .</scene_description>
<character>GAVIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At this stage, you have the script you wrote, and the film you shot, but you do n't know how it's all going to come together. You just know how you want it to feel.</dialogue>
<scene_description>He writes `` Knowing '' on the diskette , and pops it into the Disclavier unit .</scene_description>
</scene>
<scene>
<stage_direction>INT. EDITING SUITE - DAY</stage_direction>
<scene_description>Susan , Gavin and the EDITOR watch the cut . Susan is taking notes on a legal pad . Susan flips to her next note . TITLES list her position as : Susan Howard VP , Drama Development</scene_description>
<character>SUSAN</character>
<dialogue>I just do n't know if you need the cold open. People want to get right to the story.</dialogue>
<scene_description>ANGLE ON the Editor , bristling a bit .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY [LATER]</stage_direction>
<scene_description>Impromptu INTERVIEW .</scene_description>
<character>GAVIN</character>
<dialogue>I invited Susan to see a rough cut because I trust her taste.</dialogue>
<scene_description>INTERCUT editing suite .</scene_description>
<character>SUSAN</character>
<dialogue>Could we be more clear why Mary is so freaked out at that moment?</dialogue>
<character>GAVIN</character>
<dialogue>Wow. I thought it was pretty obvious. And dramatic.</dialogue>
<character>GAVIN [INTERVIEW]</character>
<dialogue>More importantly, I trust her as a barometer of Roger's taste.</dialogue>
<character>SUSAN</character>
<dialogue>I know. But that's Roger's big thing this season. Never let the audience be confused.</dialogue>
</scene>
<scene>
<stage_direction>INT. EDITING SUITE - [LATER THAT] DAY</stage_direction>
<scene_description>The Editor hands Melissa a microphone . TITLES list her simply as : Melissa McCarthy `` Mary ''</scene_description>
<character>GAVIN</character>
<dialogue>So we're trying to squeeze in a wild line over this shot of Noelle.</dialogue>
<scene_description>The monitor shows a three - second clip . It 's Melissa and a eight year - old actress -LRB- `` Noelle '' -RRB- in a car . Melissa 's character looks alarmed by something the girl has just done or said .</scene_description>
<character>MELISSA</character>
<dialogue>What's the line?</dialogue>
<character>GAVIN</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>How could you.</dialogue>
<character>MELISSA</character>
<dialogue>Howkajew?</dialogue>
<character>GAVIN</character>
<dialogue>Yeah.</dialogue>
<character>MELISSA</character>
<dialogue>Howkajew. It sounds like kosher drug paraphernalia. Like, come on Shmuley! Have a toke on the Howkajew.</dialogue>
<character>GAVIN</character>
<dialogue>I know. It's just for the test screening.</dialogue>
<character>MELISSA</character>
<dialogue>They really think people wo n't get it?</dialogue>
<character>GAVIN</character>
<dialogue>The dumb people might not.</dialogue>
<character>MELISSA</character>
<dialogue>I did n't think we were making the show for dumb people.</dialogue>
<scene_description>A beat . Melissa holds a microphone . As video footage plays back , we hear three evenly - spaced LOOPING BEEPS . Where the fourth one would be , Melissa says the line .</scene_description>
<character>MELISSA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Howkajew.</dialogue>
<parenthetical>( again . )</parenthetical>
<dialogue>How could you.</dialogue>
<parenthetical>( again . )</parenthetical>
<dialogue>How couldjew.</dialogue>
<scene_description>Finished , she hands the mic back to Gavin .</scene_description>
<character>MELISSA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I feel so dirty.</dialogue>
<character>GAVIN</character>
<dialogue>That's how I like ya.</dialogue>
<scene_description>Melissa giggles .</scene_description>
</scene>
<scene>
<stage_direction>INT. TESTING SERVICE THEATRE - DAY</stage_direction>
<scene_description>A MODERATOR explains how it all works to the RECRUITED AUDIENCE . The test begins . ANGLE ON a monitor . We see a scene of Melissa -LRB- as `` Mary '' -RRB- on a forest road .</scene_description>
</scene>
<scene>
<stage_direction>INT. TESTING SERVICE / FOCUS GROUP ROOM - DAY</stage_direction>
<scene_description>Through a one - way mirror , Gavin and Susan watch as the Moderator asks a group of twelve MALE VIEWERS about the pilot they just watched . Their comments are mostly positive . Gavin and Susan share relieved looks . She has a notepad , as always . One AGITATED MAN keeps staring at the mirror , right at Gavin . -LRB- We recognize him as the Parole Officer from Part One . -RRB-</scene_description>
<character>GAVIN</character>
<dialogue>That guy's looking at me.</dialogue>
<character>SUSAN</character>
<dialogue>He ca n't see you.</dialogue>
<scene_description>As a test , Gavin waves his arm . The Agitated Man 's expression changes slightly , but it 's not clear whether it 's in reaction or not . The Moderator directs her next question to the Agitated Man .</scene_description>
<character>MODERATOR</character>
<dialogue>How about you? Did you feel it was.</dialogue>
<character>AGITATED MAN</character>
<dialogue>It's not real.</dialogue>
<character>MODERATOR</character>
<dialogue>And what do you mean by that?</dialogue>
<character>AGITATED MAN</character>
<dialogue>The show's not real. Why ca n't you see that? Jesus! Are you fucking blind?</dialogue>
<parenthetical>( looking at the mirror . )</parenthetical>
<dialogue>You think you're above it all, do n't you? You are trapped here with the rest of them, brother.</dialogue>
<scene_description>He stands up , pushing past the other people to come right up to the one - way glass . He stares directly at Gavin , even though he should n't be able to see him . He SHOUTS :</scene_description>
<character>AGITATED MAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get out. Get out! Oblivio accebit!</dialogue>
<scene_description>Gavin backs away from the glass , freaked out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - [LATER THAT] DAY</stage_direction>
<scene_description>Impromptu INTERVIEW with Gavin , standing beside his Prius . He 's clearly still shaken by the experience .</scene_description>
<character>GAVIN</character>
<dialogue>The guy was crazy. Obviously. The show is kinda twisted, and it just flipped something in him.</dialogue>
<scene_description>Gavin sounds like he 's trying to convince himself .</scene_description>
<character>PRODUCER'S VOICE</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>What did he say?</dialogue>
<character>GAVIN</character>
<dialogue>Oblivio accebit. It's Latin. `` Oblivion approaches.''</dialogue>
<character>PRODUCER'S VOICE</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>What do you think it means?</dialogue>
<character>GAVIN</character>
<dialogue>Other than the world is coming to an end? `` Oblivio'' also means forgetting, forgetfulness.</dialogue>
<parenthetical>( jump cut . )</parenthetical>
<dialogue>I think that's what I'm going to do. Forget it.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Gavin hosts a game night : good friends and lots of cocktails . The guests include Melissa and Susan , along with SAM , TOM , BRUCE , DANA , JON , KEVIN , JEFF , DAN , and CARL . -LRB- We do n't show anyone 's names . -RRB- They 're playing Celebrity . We go several rounds , keeping the best of what 's said .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Between rounds of Celebrity , party - goers mingle . Gavin is making a new batch of cocktails - he obviously has a knack for it . Susan pours herself another glass of chardonnay .</scene_description>
<character>SUSAN</character>
<dialogue>Did you have a chance to look at the cards yet?</dialogue>
<character>GAVIN</character>
<dialogue>From the screening?</dialogue>
<scene_description>Melissa reaches in , grabbing the vodka .</scene_description>
<character>MELISSA</character>
<dialogue>Pardon me. Daddy needs his drink.</dialogue>
<scene_description>She makes a quick Cape Cod . From the other room , Sam YELLS :</scene_description>
<character>SAM</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Woman, where's my cocktail!</dialogue>
<character>MELISSA</character>
<parenthetical>( yelling back . )</parenthetical>
<dialogue>I'm a - comin!</dialogue>
<parenthetical>( to Gavin . )</parenthetical>
<dialogue>I still love you most.</dialogue>
<scene_description>She gives him a quick peck , then dashes off with Sam 's drink .</scene_description>
<character>SUSAN</character>
<parenthetical>( continuing her thought . )</parenthetical>
<dialogue>People write stuff on the cards they wo n't say in a focus group. They get more specific.</dialogue>
<scene_description>He SHAKES the mixer .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Roger has this advice I always remember. Forget about anyone who scores you in the Twos and Threes. They'll never like your show.</dialogue>
<scene_description>Gavin pours .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Instead, look for the Nines.</dialogue>
<character>GAVIN</character>
<dialogue>The Nines.</dialogue>
<character>SUSAN</character>
<dialogue>They're the one who think your show is almost the best thing they've ever seen. They get your vision. They just want it to be even better.</dialogue>
<scene_description>Melissa YELLS from the living room :</scene_description>
<character>MELISSA</character>
<dialogue>Round two is starting without you!</dialogue>
<character>SUSAN</character>
<dialogue>So you'll look at the cards?</dialogue>
<character>GAVIN</character>
<dialogue>Absolutely.</dialogue>
<scene_description>Making his way back to the living room , he stops by the phone . Pulls out an orange Post - It and makes a note . As he leaves , we go in CLOSE to read it : LOOK FOR THE NINES</scene_description>
<character>CUT TO:</character>
<dialogue />
</scene>
<scene>
<stage_direction>INT. SUSAN'S OFFICE - DAY</stage_direction>
<scene_description>INTERVIEW .</scene_description>
<character>SUSAN</character>
<dialogue>Sometimes the numbers point things out that you do n't want to admit to yourself. In this case, Melissa.</dialogue>
<scene_description>INSERT : Comment cards .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Her overall scores were okay. But if you look at the people who scored the show highest, the one consistent dip was Melissa.</dialogue>
</scene>
<scene>
<stage_direction>INT. RESTAURANT - DAY</stage_direction>
<scene_description>Susan and Gavin are having lunch .</scene_description>
<character>GAVIN</character>
<dialogue>She does n't have a ton to do in the pilot. There's so much to set up, you do n't get a lot of Melissa - time.</dialogue>
<character>SUSAN</character>
<dialogue>True. That's one of the challenges with a premise pilot.</dialogue>
<character>GAVIN</character>
<dialogue>But the network still likes the show?</dialogue>
<character>SUSAN</character>
<dialogue>Of course. Roger is your biggest cheerleader.</dialogue>
<character>GAVIN</character>
<dialogue>How about above Roger?</dialogue>
<character>SUSAN</character>
<dialogue>Roger calls the shots.</dialogue>
<character>GAVIN</character>
<dialogue>After he consults with the Higher Powers.</dialogue>
<character>SUSAN</character>
<dialogue>True.</dialogue>
<character>GAVIN</character>
<dialogue>Do they like the show?</dialogue>
<character>SUSAN</character>
<dialogue>They have n't seen it. They're watching all the pilots on Friday.</dialogue>
<scene_description>A beat .</scene_description>
<character>GAVIN</character>
<dialogue>Why are you focusing on Melissa?</dialogue>
<character>SUSAN</character>
<dialogue>Because she's the biggest concern.</dialogue>
<character>GAVIN</character>
<dialogue>She's also the biggest star in the show.</dialogue>
<character>SUSAN</character>
<dialogue>No, you're the biggest star. Roger made a huge deal with you, and he went along with casting Melissa when that was n't his instinct.</dialogue>
<character>GAVIN</character>
<dialogue>Well, hooray for Roger. I do n't understand what you want me to do.</dialogue>
<character>SUSAN</character>
<dialogue>Meet with someone.</dialogue>
<character>GAVIN</character>
<dialogue>Who?</dialogue>
<character>SUSAN</character>
<dialogue>Dahlia Salem.</dialogue>
<scene_description>Gavin drops his fork so that it will CLATTER on his plate .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The network has a holding deal with her.</dialogue>
<character>GAVIN</character>
<dialogue>Yes. And you put her in Gatin's pilot.</dialogue>
<character>SUSAN</character>
<dialogue>It's dead. It's dying. But the network loves Dahlia. So if she could jump over to your show.</dialogue>
<character>GAVIN</character>
<dialogue>Replace Melissa and reshoot the pilot.</dialogue>
<character>SUSAN</character>
<dialogue>Roger would pay for it.</dialogue>
<scene_description>Gavin is nauseous . He has to take a drink to be able to speak .</scene_description>
<character>GAVIN</character>
<dialogue>So is this even about Melissa?</dialogue>
<character>SUSAN</character>
<dialogue>It's about getting your show on the air. That's all that matters in the end.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SUSINA COFFEESHOP - DAY</stage_direction>
<scene_description>Establishing .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUSINA COFFEESHOP - DAY</stage_direction>
<scene_description>Gavin meets with Dahlia Salem . She 's pretty , funny , and very cool . They talk about the other pilot -LRB- Gatin 's -RRB- , the role , and how fucked up it is to be having these double - top - secret conversations . It goes well . They seem to genuinely like each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUSINA - DAY [LATER]</stage_direction>
<scene_description>Dahlia is gone . INTERVIEW with Gavin .</scene_description>
<character>GAVIN</character>
<dialogue>I see why the network loves her. It's just, I wrote the part for Melissa. She's one of my best friends. And in my head, I only see Melissa for the role.</dialogue>
<parenthetical>( jump cut . )</parenthetical>
<dialogue>Could Dahlia do it? Absolutely. It could work. I just do n't know if I want it to work.</dialogue>
</scene>
<scene>
<stage_direction>INT. PC BANG - NIGHT</stage_direction>
<scene_description>A empty storefront in Koreatown , both walls lined with computers for the CUSTOMERS playing high - end videogames . We see Gavin playing . His INTERVIEW is intercut with his intense focus on the screen as he plays `` Bad Day L.A. ''</scene_description>
<character>GAVIN</character>
<dialogue>When I get stressed out, I play videogames. It's my therapy. I ca n't have them on my own computer, because then I'd never write. So I come down to Koreatown.</dialogue>
<parenthetical>( jump cut . )</parenthetical>
<dialogue>Videogames are better than real life. When you get stuck, you can always hit ` reset.' Life needs a reset button.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Gavin 's on the phone .</scene_description>
<character>GAVIN</character>
<dialogue>If we're really going to replace Melissa, I want to hear it from Roger.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUSAN'S OFFICE - DAY</stage_direction>
<scene_description>Susan talks to the speakerphone . INTERCUT GAVIN</scene_description>
<character>SUSAN</character>
<dialogue>Roger's on a flight to London. But I talked with him before he left. He said yes on Dahlia.</dialogue>
<character>GAVIN</character>
<dialogue>What does that mean?</dialogue>
<character>SUSAN</character>
<dialogue>It means yes.</dialogue>
<character>GAVIN</character>
<dialogue>Yes, replace Melissa?</dialogue>
<character>SUSAN</character>
<dialogue>He wants your show on the air, starring Dahlia. I just got off the phone with her agents. They love it. She loves you.</dialogue>
<character>GAVIN</character>
<dialogue>What about Melissa?</dialogue>
<character>SUSAN</character>
<dialogue>You want me to call her agents?</dialogue>
<character>GAVIN</character>
<dialogue>God no. I'll tell her.</dialogue>
<scene_description>Gavin hangs up . We stay on his side of the conversation . In the background , we see the door to the driveway swing open by itself . A beat later , it SLAMS shut . Gavin is understandably startled .</scene_description>
</scene>
<scene>
<stage_direction>INT. REHEARSAL STUDIO - DAY</stage_direction>
<scene_description>Melissa , wearing a nun 's habit , sings `` As Long As He Needs Me . '' A PIANIST is rehearsing with her .</scene_description>
<character>MELISSA</character>
<dialogue>As long as he needs me, I know where I must be.</dialogue>
<scene_description>INTERCUT with on - camera INTERVIEW :</scene_description>
<character>MELISSA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>In - between the pilot and the series, I'm trying to squeeze in a one - woman show.</dialogue>
<parenthetical>( edit . )</parenthetical>
<dialogue>I've always been obsessed with nuns. They're sort of like God's fag - hags.</dialogue>
<scene_description>Melissa spots Gavin entering and sings the rest of the song to him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEST HOLLYWOOD BAR - NIGHT</stage_direction>
<scene_description>Gavin and Melissa have martinis .</scene_description>
<character>GAVIN</character>
<dialogue>I think my house is haunted.</dialogue>
<character>MELISSA</character>
<dialogue>Your house is really old.</dialogue>
<character>GAVIN</character>
<dialogue>1926. Ever since I got back, I feel like there's someone else there. And then last night, I thought I heard something. A woman singing.</dialogue>
<character>MELISSA</character>
<dialogue>Shit. Like a ghost?</dialogue>
<character>GAVIN</character>
<dialogue>I guess. And then I saw something. I ran into someone.</dialogue>
<character>MELISSA</character>
<dialogue>The woman?</dialogue>
<character>GAVIN</character>
<dialogue>It was a man. I think it was me.</dialogue>
<scene_description>A beat while Melissa processes .</scene_description>
<character>MELISSA</character>
<dialogue>Your house is haunted by yourself?</dialogue>
<character>GAVIN</character>
<dialogue>Yeah.</dialogue>
<character>MELISSA</character>
<dialogue>Gavin, are you alright?</dialogue>
<character>GAVIN</character>
<dialogue>No. No.</dialogue>
<scene_description>He takes a long beat , psyching himself up . What spills out is heartfelt but clearly rehearsed .</scene_description>
<character>GAVIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The network wants to replace you.</dialogue>
<character>MELISSA</character>
<dialogue>Oh my God.</dialogue>
<character>GAVIN</character>
<dialogue>And I'm letting them, because I really want the show on the air. I have all these characters inside my head, and they want to live. I'm the only way they can. This is the only way they can. I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry.</dialogue>
<scene_description>By the end of it , we can hear the emotion in his voice . Melissa takes a beat to process .</scene_description>
<character>MELISSA</character>
<dialogue>So it's done. Finished. Decided.</dialogue>
<character>GAVIN</character>
<dialogue>Yes.</dialogue>
<character>MELISSA</character>
<dialogue>I understand. It's not your fault. You're morally incapable of doing the right thing.</dialogue>
<scene_description>Gavin does n't rise to the challenge .</scene_description>
<character>MELISSA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't get me wrong. I think you do feel bad for me. But that's all you feel for me. You still see me as the fat girl you call on Friday night when a date falls through. Let's go to a movie! Let's go to Fubar! And if you meet a hot piece of ass, do n't worry about Melissa, you can apologize tomorrow. Or do n't! Same difference. It's not like we're actually friends.</dialogue>
<character>GAVIN</character>
<dialogue>I do n't want to do this on camera.</dialogue>
<character>MELISSA</character>
<dialogue>No, because you ca n't control it. Your little puppets are off their strings, running around. Saying things you did n't write. Reality terrifies you.</dialogue>
<character>GAVIN</character>
<dialogue>Reality.</dialogue>
<character>MELISSA</character>
<dialogue>Yes.</dialogue>
<character>GAVIN</character>
<dialogue>The reality is, you would not be here without me. I gave you your first few roles. And your career is a result of that.</dialogue>
<scene_description>With exaggerated relief .</scene_description>
<character>MELISSA</character>
<dialogue>God, thank you. Thank you for finally playing that card. I always knew you were holding onto it, the `` I invented Melissa McCarthy card.'' Congratulations, you win. The game is over.</dialogue>
<scene_description>She gets up to go , then decides she has one more thing to say :</scene_description>
<character>MELISSA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't you ever pity me again.</dialogue>
<scene_description>She leaves him sitting at the table . 244 UPFRONTS 244</scene_description>
</scene>
<scene>
<stage_direction>INT. NETWORK CONFERENCE ROOM - DAY</stage_direction>
<scene_description>New MUSIC for a change of mood : upbeat , excited .</scene_description>
<character>SUSAN</character>
<dialogue>Upfronts is the week each year when the networks present their fall schedule to advertisers.</dialogue>
</scene>
<scene>
<stage_direction>INT. GAVIN'S OFFICE - DAY</stage_direction>
<character>GAVIN</character>
<dialogue>Sort of like, `` Here's our new shit. Like it?''.</dialogue>
<parenthetical>( edit . )</parenthetical>
<dialogue>Upfronts is a complete oxymoron, because no one is remotely honest.</dialogue>
<character>SUSAN</character>
<dialogue>The schedule is a secret until it's announced, so everything is still in play.</dialogue>
<character>GAVIN</character>
<dialogue>But hey! At least you're in New York!</dialogue>
</scene>
<scene>
<stage_direction>INT. TOWNCAR / NEW YORK / DRIVING - DAY</stage_direction>
<scene_description>Gavin watches Manhattan roll by out the windows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN HOTEL - DAY</stage_direction>
<scene_description>Gavin tips the DRIVER and wheels his luggage into a skyscraper hotel .</scene_description>
</scene>
<scene>
<stage_direction>INT. MANHATTAN HOTEL HALLWAY - DAY</stage_direction>
<scene_description>Gavin opens the door to room 1909 .</scene_description>
</scene>
<scene>
<stage_direction>INT. MANHATTAN HOTEL ROOM - DAY</stage_direction>
<scene_description>Gavin checks out the view . We go CLOSE ON a card which reads :</scene_description>
<character>Congrats!</character>
<dialogue>says. Love Roger, Susan, and everyone at the network</dialogue>
<scene_description>It came with a fruit tray .</scene_description>
</scene>
<scene>
<stage_direction>INT. MANHATTAN HOTEL ELEVATOR - DAY</stage_direction>
<scene_description>Gavin , alone , is headed down to the lobby . Impromptu INTERVIEW continues :</scene_description>
<character>GAVIN</character>
<dialogue>It's surreal being here. None of this is how I planned it.</dialogue>
<scene_description>The elevator stops at another floor . CAMERA does n't look as the doors open , but Gavin spots someone he knows .</scene_description>
<character>GAVIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey you!</dialogue>
<character>WOMAN'S VOICE</character>
<dialogue>God. Hi. Gavin.</dialogue>
<scene_description>TURN to find Dahlia Salem . She 's hesitant to get on the elevator .</scene_description>
<character>DAHLIA</character>
<dialogue>You're doing your. show.</dialogue>
<scene_description>She means the camera filming them .</scene_description>
<character>GAVIN</character>
<dialogue>Get on. Come join reality television.</dialogue>
<scene_description>She steps on . Hits the button for `` Lobby . ''</scene_description>
<character>GAVIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When did you get in?</dialogue>
<character>DAHLIA</character>
<dialogue>Just now. This whole last 24 hours has been surreal.</dialogue>
<character>GAVIN</character>
<dialogue>I just said surreal.</dialogue>
<character>DAHLIA</character>
<dialogue>You're good? I wanted to call you.</dialogue>
<character>GAVIN</character>
<dialogue>Please. Call anytime. I do n't sleep.</dialogue>
<character>DAHLIA</character>
<dialogue>I just felt weird about what happened.</dialogue>
<scene_description>Not sure he 's following .</scene_description>
<character>GAVIN</character>
<dialogue>Did something happen?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREET - DAY</stage_direction>
<scene_description>Near the hotel , Gavin is on his cell phone .</scene_description>
<character>GAVIN</character>
<dialogue>So I just bumped into Dahlia Salem, star of my show.</dialogue>
<scene_description>TITLES indicate Gavin 's on the phone with his agents .</scene_description>
<character>GAVIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>who tells me Gatin's show got picked up, so no, she wo n't be in my show, which makes me wonder, does my show even exist?</dialogue>
<scene_description>As he listens to the other side , we hear a distant BOOM , and then a RUSH , like autumn leaves blowing down a street . Gavin reacts , though none of the PASSERSBY seem to hear it . Back to the conversation .</scene_description>
<character>GAVIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, I've left word with Roger. I've left word with Susan. It's like they've dropped off the face of the Earth.</dialogue>
</scene>
<scene>
<stage_direction>INT. MANHATTAN HOTEL SUITE - DAY</stage_direction>
<scene_description>Susan is on her phone . At the same time , she 's plowing through email on her Blackberry .</scene_description>
<character>SUSAN</character>
<parenthetical>( PRE - LAP . )</parenthetical>
<dialogue>Right now, the whole schedule's in flux. You get these missives from Roger and the Higher Powers.</dialogue>
<scene_description>JUMP CUT</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>but you're not sure what they add up to. Right now, I ca n't say for certain whether Knowing will end up on the schedule at all.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL GYM - DAY</stage_direction>
<scene_description>Gavin talks with JOHN GATINS -LRB- 34 -RRB- , who 's doing abs on an exercise ball . John Gatins Creator/Showrunner `` Paradise Fields ''</scene_description>
<character>GATINS</character>
<dialogue>Look, I'm sorry. But I'm kind of not. I want my show on the air. And I think it was shitty for you to go after Dahlia behind my back.</dialogue>
<character>GAVIN</character>
<dialogue>I heard your show was gone.</dialogue>
<character>GATINS</character>
<dialogue>I `` heard'' you fired Melissa McCarthy without having a backup. Why would they pick up your show when you do n't have a star?</dialogue>
<character>GAVIN</character>
<dialogue>The network wanted Dahlia.</dialogue>
<character>GATINS</character>
<dialogue>Yeah, in my show. We tested right before you. Our numbers were through the roof.</dialogue>
<character>GAVIN</character>
<dialogue>Really.</dialogue>
<character>GATINS</character>
<dialogue>Really. Who's your exec?</dialogue>
<character>GAVIN</character>
<dialogue>Susan Howard.</dialogue>
<character>GATINS</character>
<dialogue>She would know. She was there. Ask her.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE HALLWAY - DAY</stage_direction>
<scene_description>Susan is on her cell phone . A cocktail party is in full swing nearby . We can hear the DIN and MUSIC , and see the occasional GUEST looking for the restrooms .</scene_description>
<character>SUSAN</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>I'm at the UTA party. Yeah. Did you hear about Ricky's assistant? She literally shat herself. No, I saw it.</dialogue>
<scene_description>In the background , we see Gavin approaching . Susan spots him and seizes up a bit . She holds up a one - sec finger to him as she continues her conversation .</scene_description>
<character>GAVIN</character>
<dialogue>I will break your fucking finger.</dialogue>
<character>SUSAN</character>
<parenthetical>( to phone . )</parenthetical>
<dialogue>I'll call you back.</dialogue>
<scene_description>She hangs up . They look each other in the eye , daring each other to go first .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Roger wanted to talk to you personally.</dialogue>
<character>GAVIN</character>
<dialogue>Bullshit.</dialogue>
<character>SUSAN</character>
<dialogue>They're only picking up two dramas.</dialogue>
<character>GAVIN</character>
<dialogue>The rest is, what, reality?</dialogue>
<character>SUSAN</character>
<dialogue>You can go mid - season.</dialogue>
<character>GAVIN</character>
<dialogue>You can go to Hell.</dialogue>
<character>SUSAN</character>
<dialogue>Wow.</dialogue>
<scene_description>She takes a beat , trying to size him up .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You think I deliberately sabotaged your show.</dialogue>
<character>GAVIN</character>
<dialogue>Did n't you?</dialogue>
<character>SUSAN</character>
<dialogue>G., I'm on your side. Trust me, I'm the only one who is trying to protect you.</dialogue>
<character>GAVIN</character>
<dialogue>Protect me from what? You? You are psychotic.</dialogue>
<character>SUSAN</character>
<dialogue>There is so much more going on than you.</dialogue>
<character>GAVIN</character>
<dialogue>All I want to know is why.</dialogue>
<character>SUSAN</character>
<dialogue>You want a motive?</dialogue>
<character>GAVIN</character>
<dialogue>Yes.</dialogue>
<character>SUSAN</character>
<dialogue>This is n't `` Crime Lab.'' No one got murdered.</dialogue>
<character>GAVIN</character>
<dialogue>My show did. So tell me why.</dialogue>
<character>SUSAN</character>
<dialogue>I had to get you away from her. She was holding you back.</dialogue>
<character>GAVIN</character>
<dialogue>Melissa.</dialogue>
<character>SUSAN</character>
<dialogue>You had to give her up.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>C'mon, G. If she really mattered, you could n't have betrayed her so easily.</dialogue>
<character>GAVIN</character>
<dialogue>I did n't.</dialogue>
<character>SUSAN</character>
<dialogue>What, you're the victim? The big Creator ca n't stand up to one little d - girl? It was your choice. I did n't make you do anything. I mean, do you have any principles? Do you believe in anything but your own ego?</dialogue>
<character>GAVIN</character>
<dialogue>Fuck you.</dialogue>
<character>SUSAN</character>
<dialogue>Your dialogue used to be sharper. Maybe Gatins could do a polish.</dialogue>
<scene_description>He suddenly punches her , one hit to the face . She drops hard . Gavin takes a step back . Tasting blood , Susan gets to her knees . A wry smile .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is that all there is?</dialogue>
<scene_description>In the background , we see partygoers responding to the blow . Susan gets to her feet . She approaches Gavin , hands open . She 's not going to hit him .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do you feel like a man? Because I'll tell you a secret.</dialogue>
<scene_description>She leans in very close to his ear . There 's a strange intimacy between them .</scene_description>
<character>SUSAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( whisper . )</parenthetical>
<dialogue>You're not.</dialogue>
<scene_description>She walks away . CLOSE ON Gavin .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN SIDEWALK - DAY</stage_direction>
<scene_description>We move with Gavin as he walks . He 's trying to get away from the camera , but it keeps following him . He reaches a crosswalk . He has to wait for the light . Finally , he looks INTO CAMERA :</scene_description>
<character>GAVIN</character>
<dialogue>Look, I do n't want to do this anymore. My show's not going to happen, so this show is over. Done. Gone. I ` m not going to be your fucking puppet.</dialogue>
<character>OFF-SCREEN VOICE</character>
<dialogue>Are you alright?</dialogue>
<scene_description>Gavin looks left , where an African - American woman is waiting for the same crosswalk . -LRB- We recognize her as Octavia , the streetwalker from Part One . -RRB-</scene_description>
<character>GAVIN</character>
<dialogue>I'm fine.</dialogue>
<character>OCTAVIA</character>
<dialogue>Who were you talking to?</dialogue>
<scene_description>Gavin looks back towards camera , a strange expression . MUCH WIDER We see Gavin and the woman on the corner . There 's no camera Gavin could have been talking to . He 's understandably perplexed : Where did the documentary crew go ? Was there ever anyone there ? Our CAMERA style has changed : instead of handheld and jerky , we 're smooth and slow . The MUSIC has completely changed , underscoring a sense of creeping dread . We HOLD for a long beat . The light changes . Still a little unnerved , Octavia begins to cross the street . Only then do we notice something unusual floating above her head : A SPHERE OF BLUE LIGHT . WIDER , we see that everyone on the street has the same kind of sphere floating a foot above their heads . No one seems to see the lights other than Gavin . Gavin looks around in uneasy fascination , as if he 's just landed on an alien world . A beat , then he has an unsettling thought . He slowly looks up . Above his own head , he sees the same sphere of light - only his is bright white . Pulsing . Blinding .</scene_description>
<character>GAVIN</character>
<dialogue>Oh God.</dialogue>
<scene_description>We PULL BACK , RISING UP to a perspective above and behind Gavin . As we do , the edges of the frame creep in , revealing ICONS and unintelligible STATISTICS , changing moment by moment . A dialog box appears in the center of the screen , reading .</scene_description>
<character>Exit Now?</character>
<dialogue>says. Unsaved changes will be lost.</dialogue>
<scene_description>-LSB- Cancel -RSB- -LSB- Exit -RSB- An arrow slides back and forth between to the two options . Finally it lands on ` Exit . ' A CLICK . CUT TO BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY [PART ONE]</stage_direction>
<scene_description>We 're continuing an earlier scene from the end of Part One .</scene_description>
<character>MARGARET</character>
<dialogue>I can understand why you're a little confused.</dialogue>
<character>GARY</character>
<dialogue>No. I'm a lot confused.</dialogue>
<character>MARGARET</character>
<dialogue>Theories?</dialogue>
<character>GARY</character>
<dialogue>This is all a dream.</dialogue>
<character>MARGARET</character>
<dialogue>No.</dialogue>
<character>GARY</character>
<dialogue>I'm in a coma.</dialogue>
<character>MARGARET</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>No.</dialogue>
<character>GARY</character>
<dialogue>Then I'm dead. This is Hell, or Purgatorium or something.</dialogue>
<character>MARGARET</character>
<dialogue>Okay, a purgatorium is where Romans vomited. But no. This is as real as anything can be.</dialogue>
<character>GARY</character>
<parenthetical>( suspicious . )</parenthetical>
<dialogue>What does that mean?</dialogue>
<scene_description>She sits forward in her chair . By instinct , he sits back .</scene_description>
<character>MARGARET</character>
<dialogue>Everything is what it is. But you're not who you think you are.</dialogue>
<character>GARY</character>
<dialogue>Okay, then. Who am I?</dialogue>
<scene_description>With practiced calm .</scene_description>
<character>MARGARET</character>
<dialogue>You're a multi - dimensional being of vast, almost infinite power. You created this world on a whim, and decided to stick around to see how it turned out. You, this body you're in, is just one of your incarnations. Avatars. Call you what you will.</dialogue>
<scene_description>Not sure he follows .</scene_description>
<character>GARY</character>
<dialogue>Are you saying I'm God?</dialogue>
<character>MARGARET</character>
<dialogue>Technically, no. If God is a ten - a theoretical ultimate, that - which - no - greater - can - be - imagined - you're more of a nine.</dialogue>
<character>GARY</character>
<dialogue>So what are you?</dialogue>
<character>MARGARET</character>
<dialogue>Humans are sevens. Monkeys are sixes.</dialogue>
<character>GARY</character>
<dialogue>What are the eights?</dialogue>
<character>MARGARET</character>
<dialogue>Koalas. They're telepathic. Plus, they control the weather.</dialogue>
<scene_description>She did n't mean to get on that tangent .</scene_description>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's important is that you, you're the big cheese. El Supremo. You could destroy the world with a single thought.</dialogue>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Do n't, incidentally. Just file that away. But the truth is, you hold all the cards : every church, every candle, every sacrifice - that's for you. When people pray, they're not praying because they want this thing or that thing. They just do n't want to be forgotten.</dialogue>
<character>MARGARET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So you understand, I would have told you earlier, but I did n't.</dialogue>
<character>GARY</character>
<dialogue>Yeah.</dialogue>
<character>MARGARET</character>
<dialogue>Okay.</dialogue>
<character>GARY</character>
<dialogue>I understand. But I do n't believe you.</dialogue>
<scene_description>He gets up to exit . -LRB- This is where we jump - cut time earlier . -RRB- FREEZE FRAME . FADE TO BLACK . Part Three : KNOWING .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEADOW - DAY</stage_direction>
<scene_description>In a WIDE SHOT , we see a vast field , bordered by green mountains . Unseen BIRDS call out from the trees , while insects CLICK and WHIRR . In the distance , we spot swatches of bright colors moving our way . It 's a family : father GABRIEL -LRB- 34 -RRB- , wife MARY -LRB- 33 -RRB- and daughter NOELLE -LRB- 8 -RRB- . They 're returning from a short day hike . Mary carries a small videocamera . Seeing that Noelle is already a ways down the path .</scene_description>
<character>GABRIEL</character>
<dialogue>Noelle! Do n't get too far ahead.</dialogue>
<scene_description>Noelle turns around . Instead of speaking , she moves her hands in sign language . -LRB- She 's mute , not deaf . -RRB-</scene_description>
<character>MARY</character>
<dialogue>No. You had ice cream at lunch.</dialogue>
<scene_description>Noelle begs to differ . More signing .</scene_description>
<character>GABRIEL</character>
<parenthetical>( to Mary . )</parenthetical>
<dialogue>Apparently frozen yogurt does n't count.</dialogue>
<character>MARY</character>
<dialogue>I'll make note.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SMALL GRAVEL ROAD - DAY</stage_direction>
<scene_description>The family walks up to their car , a blue Toyota Prius . Gabriel sheds his daypack , trying to open the hatchback . It wo n't lift . Mary goes to open the passenger door . Locked .</scene_description>
<character>MARY</character>
<dialogue>Did you hit it?</dialogue>
<character>GABRIEL</character>
<dialogue>Should n't have to.</dialogue>
<scene_description>He fishes the keys out of his pocket . Presses the remote entry button repeatedly . Gabriel tries to open the driver 's side door . Locked . Even Noelle knows something 's wrong . Gabriel pulls the small mechanical key out of the fob . Unlocks the door and climbs in . Opens the door for Mary and Noelle .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I think we left the overhead light on.</dialogue>
<scene_description>He taps it . Moves the switch .</scene_description>
<character>MARY</character>
<dialogue>Shit.</dialogue>
<scene_description>Noelle signs her made - up representation of `` shit . ''</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Noelle.</dialogue>
<scene_description>Gabriel slides the key into the slot . Hits `` START . '' Nothing .</scene_description>
<character>GABRIEL</character>
<dialogue>Battery is dead. Least the starter is.</dialogue>
<scene_description>Noelle leans forward , aware that this is something serious .</scene_description>
<character>MARY</character>
<dialogue>How do we?</dialogue>
<character>GABRIEL</character>
<dialogue>We call the service. That's all we can do.</dialogue>
<character>MARY</character>
<dialogue>It's just the little battery that's dead, right? The big one is probably fine.</dialogue>
<character>GABRIEL</character>
<dialogue>I guess.</dialogue>
<character>MARY</character>
<dialogue>We ca n't jump it from one battery to the other? Cross - over somehow?</dialogue>
<character>GABRIEL</character>
<dialogue>Who did you marry? MacGyver?</dialogue>
<scene_description>He gets out of the car , retrieving his cell phone . Mary follows him out . Noticing that he 's not dialing .</scene_description>
<character>MARY</character>
<dialogue>Are you getting a signal?</dialogue>
<character>GABRIEL</character>
<dialogue>No. Do you?</dialogue>
<scene_description>She checks her phone . A long beat .</scene_description>
<character>MARY</character>
<dialogue>Yes! One bar.</dialogue>
<scene_description>They 're both relieved . Finding the AAA card in his wallet , Gabriel takes the phone and dials . It 's at this moment we notice the familiar green string bracelet around Gabriel 's wrist . In the back seat , Noelle KNOCKS on the window . She signs , asking if everything is okay .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We're okay. Daddy's calling people to help us.</dialogue>
<scene_description>Gabriel pulls the phone from his ear . Looks at the screen . Hits redial . Fuck .</scene_description>
<character>GABRIEL</character>
<dialogue>The minute you try to place a call, the bar goes away.</dialogue>
<character>MARY</character>
<dialogue>Keep trying.</dialogue>
<character>GABRIEL</character>
<dialogue>Okay, I'll keep trying, Mary. But it will keep happening.</dialogue>
<character>MARY</character>
<dialogue>Well, what do you want to do?</dialogue>
<character>GABRIEL</character>
<dialogue>I do n't know.</dialogue>
<scene_description>He tries redial .</scene_description>
<character>MARY</character>
<dialogue>Maybe if you hold it up higher.</dialogue>
<scene_description>Humoring her , he holds it at arm 's length . No good .</scene_description>
<character>GABRIEL</character>
<dialogue>The problem is we're boxed in. It's a canyon.</dialogue>
<scene_description>A beat .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where we turned off the main road, it was more open. And higher, too.</dialogue>
<character>MARY</character>
<dialogue>That's at least a mile.</dialogue>
<character>GABRIEL</character>
<dialogue>I can run that.</dialogue>
<character>MARY</character>
<dialogue>So. we stay here?</dialogue>
<character>GABRIEL</character>
<dialogue>You okay with that?</dialogue>
<character>MARY</character>
<dialogue>I do n't think we have a choice, so, yeah. Go.</dialogue>
<scene_description>Half a beat , while each waits for the other to think of a better plan . Neither does . Gabriel leans down next to Noelle 's window .</scene_description>
<character>GABRIEL</character>
<dialogue>Daddy's going to get a truck to help us out. You take care of your mom, okay?</dialogue>
<scene_description>Noelle nods .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll be right back.</dialogue>
<scene_description>Gabriel gives Mary a quick peck and starts running down the road . We MOVE IN on Noelle , who smiles a little .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEL ROAD - DAY</stage_direction>
<scene_description>Gravel CRUNCHES under Gabriel 's shoes as he runs . He keeps an easy pace . In VARIOUS SHOTS , we get a sense of the distance he 's travelling . He passes gulches , meadows and boulder fields . He finally arrives at the junction of the dirt road and a larger .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAVED ROAD - DAY [CONTINUOUS]</stage_direction>
<scene_description>Pulling out Mary 's cell phone , Gabriel tries to get a signal . By his reaction , it 's still iffy . He dials , but the call drops . Tries again . Just the same . He looks left . Looks right . Looks back down the dirt road . He decides to head off to the right , downhill .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FURTHER DOWN THE ROAD - DAY</stage_direction>
<scene_description>We catch up to Gabriel as he 's walking in the middle of the road , still trying unsuccessfully to get a signal . In the distance , he spots a patch of moving color : a female hiker . A moment 's hesitation , then he YELLS out to her :</scene_description>
<character>GABRIEL</character>
<dialogue>Excuse me! Hi! Hello?</dialogue>
<scene_description>She stops , turns . Gabriel jogs to close the distance . As we approach , we reveal SIERRA , 38 . In the past 10 years , she 's `` made a fresh start '' 12 times . In this incarnation , she 's a wilderness - loving , Bush - hating , wildly - overeducated clerk at Trader Joe 's in Venice .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Excuse me. Do you have a cell phone?</dialogue>
<character>SIERRA</character>
<dialogue>No, I do n't. There's no service up here.</dialogue>
<character>GABRIEL</character>
<parenthetical>( re : his phone . )</parenthetical>
<dialogue>Yeah, I'm finding that out.</dialogue>
<character>SIERRA</character>
<dialogue>You can usually get a signal up at the ranger station.</dialogue>
<character>GABRIEL</character>
<dialogue>Okay.</dialogue>
<scene_description>She points in the opposite direction - back the way he came .</scene_description>
<character>SIERRA</character>
<dialogue>You follow the road. It's probably. I do n't know. You have a car?</dialogue>
<character>GABRIEL</character>
<dialogue>It's dead. That's why I need.</dialogue>
<character>SIERRA</character>
<dialogue>Oh.</dialogue>
<scene_description>She pulls a stray hair back from her mouth . Notices him noticing her .</scene_description>
<character>GABRIEL</character>
<dialogue>Yeah.</dialogue>
<scene_description>A beat . She takes a subtle step closer to the center of the road .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you headed back to your car now? If you could give me a ride to a gas station, wherever.</dialogue>
<scene_description>She does n't leap to extend an invitation . It takes a beat for Gabriel to figure out why .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh. Hey. Look, I'm not some crazy Ted Bundy guy. I'm not going to rape you or kill you or anything.</dialogue>
<scene_description>She does n't seem reassured .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Of course, that's what Ted Bundy would say. Look, I'm a videogame designer.</dialogue>
<parenthetical>( fishing through wallet . )</parenthetical>
<dialogue>My wife is an editor. My daughter is four.</dialogue>
<scene_description>He offers her a family photo . She looks at it , but does n't take it .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They're waiting back at the car, and I want to get some help before it gets dark.</dialogue>
<character>SIERRA</character>
<dialogue>I can call somebody when I get to town.</dialogue>
<scene_description>Trying to temper his frustration .</scene_description>
<character>GABRIEL</character>
<dialogue>I believe you. I do. But you do n't know where the car is. And the guy might not come. We ca n't be up here all night.</dialogue>
<scene_description>Sierra backs away .</scene_description>
<character>SIERRA</character>
<dialogue>I'm sorry.</dialogue>
<character>GABRIEL</character>
<dialogue>Do n't be sorry. Just help me out here.</dialogue>
<character>SIERRA</character>
<dialogue>No. I ca n't. I'm sorry.</dialogue>
<scene_description>Once she feels she 's reached a good distance , she turns and keeps walking .</scene_description>
<character>GABRIEL</character>
<dialogue>Why wo n't you trust me?</dialogue>
<scene_description>She does n't turn back , heading down the road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD / INT. PRIUS - DAY</stage_direction>
<scene_description>Mary is sitting in the back seat of the Prius with Noelle , who 's getting tired of her coloring book . Noelle signs something to Mary , who considers the request .</scene_description>
<character>MARY</character>
<dialogue>Okay, but you have to be careful, understand? You have to use Big Girl hands.</dialogue>
<scene_description>Noelle nods . Mary hands her the small video camera . Noelle has some trouble folding out the little screen , but eventually gets it open without any help from her mom .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do you want to see where we were today?</dialogue>
<scene_description>Noelle nods . Mary takes the camera back for a second , flipping it to playback mode and rewinding . The blocky video footage zips past .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay, now hit play. This button.</dialogue>
<scene_description>Noelle does . On the tiny screen , we see Noelle and her father eating lunch by a waterfall . -LRB- Mary is filming . -RRB-</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>There's you. And there's Daddy. You're a little movie star, huh?</dialogue>
<scene_description>Noelle smiles . Signs something .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He'll be back soon. Do n't you worry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAVED ROAD - DAY</stage_direction>
<scene_description>Gabriel continues walking , headed back in the direction he came . From behind him .</scene_description>
<character>SIERRA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey!</dialogue>
<scene_description>He turns , finding her a ways back . She approaches .</scene_description>
<character>GABRIEL</character>
<dialogue>Were you following me?</dialogue>
<character>SIERRA</character>
<dialogue>Once I was sure you were n't following me. I'm sorry, it's just.</dialogue>
<character>GABRIEL</character>
<dialogue>You thought I was Ted Bundy.</dialogue>
<character>SIERRA</character>
<dialogue>Kinda.</dialogue>
<character>GABRIEL</character>
<dialogue>My name's Gabriel. Bundy.</dialogue>
<scene_description>She smiles .</scene_description>
<character>SIERRA</character>
<dialogue>Sierra.</dialogue>
<scene_description>They shake .</scene_description>
<character>SIERRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Weird that there's no cars. At all.</dialogue>
<character>GABRIEL</character>
<dialogue>Yeah.</dialogue>
<character>SIERRA</character>
<dialogue>So, listen. I'm parked that way.</dialogue>
<scene_description>She points off the road , through the forest .</scene_description>
<character>SIERRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's not that far. If you want, I'll give you a ride to town.</dialogue>
<character>GABRIEL</character>
<dialogue>Really?</dialogue>
<character>SIERRA</character>
<dialogue>Yeah. Make up some karma.</dialogue>
<character>GABRIEL</character>
<dialogue>Lead the way.</dialogue>
<scene_description>She does . They cross off the pavement , descending into a dark forest .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Gabriel walks with Sierra . The trees here are taller , creating a cathedral - like ceiling above them .</scene_description>
<character>SIERRA</character>
<dialogue>Okay, confession. I kind of recognized you.</dialogue>
<character>GABRIEL</character>
<dialogue>Really?</dialogue>
<character>SIERRA</character>
<dialogue>I was n't sure, but I think I saw a picture of you in some videogame magazine my boyfriend had. You're, like, the shit.</dialogue>
<character>GABRIEL</character>
<dialogue>No.</dialogue>
<character>SIERRA</character>
<dialogue>You're like the Quentin Tarantino of that world. A videogame God.</dialogue>
<character>GABRIEL</character>
<dialogue>Not really.</dialogue>
<character>SIERRA</character>
<dialogue>Fine.</dialogue>
<character>GABRIEL</character>
<dialogue>You seriously recognized me off of one photo?</dialogue>
<character>SIERRA</character>
<dialogue>I thought you were kinda hot. Considering.</dialogue>
<character>GABRIEL</character>
<dialogue>Considering?</dialogue>
<character>SIERRA</character>
<dialogue>Within the subset of videogame people.</dialogue>
<character>GABRIEL</character>
<dialogue>Okay.</dialogue>
<character>SIERRA</character>
<dialogue>I was n't masturbating to your picture or anything.</dialogue>
<character>GABRIEL</character>
<dialogue>Well, I guess I'm flattered.</dialogue>
<character>SIERRA</character>
<dialogue>You should be. I'm stingy with compliments.</dialogue>
<character>GABRIEL</character>
<dialogue>So your boyfriend plays videogames?</dialogue>
<character>SIERRA</character>
<dialogue>Ex - boyfriend. And yes. Way too many. He used to play Evercrack back in the day, but yours, well, that was like. what's worse than crack?</dialogue>
<character>GABRIEL</character>
<dialogue>Super - crack?</dialogue>
<character>SIERRA</character>
<dialogue>Sure. He was this orc witch doctor guy.</dialogue>
<character>GABRIEL</character>
<dialogue>Shaman?</dialogue>
<character>SIERRA</character>
<dialogue>Yeah. At one point he was spending like, 40 hours a week gathering `` thunderleaf'' or whatever. Then I was his mule, hauling it around because he ran out of space.</dialogue>
<character>GABRIEL</character>
<dialogue>You had an account?</dialogue>
<character>SIERRA</character>
<dialogue>I was part of your world, and you did n't even know it.</dialogue>
<character>GABRIEL</character>
<dialogue>Sorry.</dialogue>
<character>SIERRA</character>
<dialogue>You can make it up to me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD NEAR PRIUS - DAY</stage_direction>
<scene_description>Mary is pacing - but trying not to look like she 's pacing . She holds the other cell phone -LRB- Gabriel 's -RRB- , which she turns on and off , hoping that somehow she 'll get a signal . Each time she turns it on , we hear the CHIMES . IN THE PRIUS Noelle is still playing with the video camera , watching footage of the hike . She decides to wind back further . CLOSE ON the blocky pixels rushing past . Noelle hits `` play . '' For now , we just hear the audio .</scene_description>
<character>MAN'S VOICE</character>
<dialogue>I have five seasons mapped out, and though it sucks, either you go away, or the show goes. I had to make a decision, and that's the decision I made. I'm sorry.</dialogue>
<scene_description>We reveal the screen . We 're watching the argument between Gavin and Melissa from Part 2 .</scene_description>
<character>MELISSA</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>So it's done. Finished. Decided.</dialogue>
<character>GAVIN</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>Confused , Noelle looks out at her mother , Mary , who is still pacing with the cell phone .</scene_description>
<character>MELISSA</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>I understand.</dialogue>
<character>GAVIN</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>You do?</dialogue>
<character>MELISSA</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>I understand. It's not your fault. You're morally incapable of doing the right thing.</dialogue>
<scene_description>Noelle REWINDS further . Blocky pixels RUSH PAST as we .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Sierra continues to lead the way . She seems confident where she 's headed , even though there 's no real path . During the conversation , we notice a small tattoo on her right shoulder blade : IX .</scene_description>
<character>SIERRA</character>
<dialogue>So you play a lot of characters at once?</dialogue>
<character>GABRIEL</character>
<dialogue>A couple. Most people do.</dialogue>
<character>SIERRA</character>
<dialogue>You're not most people. You created the world. You know all the secret codes.</dialogue>
<character>GABRIEL</character>
<dialogue>What, like ` God mode'?</dialogue>
<character>SIERRA</character>
<dialogue>That's what you call it?</dialogue>
<character>GABRIEL</character>
<dialogue>That's when you have all the powers, and you ca n't be killed. It's fine when you're designing, but it's really boring to play. A game is n't fun unless there are rules.</dialogue>
<character>SIERRA</character>
<dialogue>And you make the rules.</dialogue>
<character>GABRIEL</character>
<dialogue>Yes I do. I mean, you want to give everyone freedom, but they ca n't handle it. Half your players are teenage boys, and it's like they're programmed to be destructive. They deliberately crash the world servers. They'd ruin everything just to prove they could.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOREST VALE - DAY</stage_direction>
<scene_description>Sarah offers Gary her water bottle , which he gladly takes . Out of nowhere .</scene_description>
<character>SIERRA</character>
<dialogue>Do you think I'm pretty?</dialogue>
<scene_description>She stops , turning to face him .</scene_description>
<character>GABRIEL</character>
<dialogue>What?</dialogue>
<character>SIERRA</character>
<dialogue>Do you think I'm hot? On a purely physical level.</dialogue>
<character>GABRIEL</character>
<dialogue>Sure.</dialogue>
<scene_description>He drinks .</scene_description>
<character>SIERRA</character>
<dialogue>That's a rave.</dialogue>
<character>GABRIEL</character>
<dialogue>Well, I do n't know why you're asking.</dialogue>
<character>SIERRA</character>
<dialogue>My ex - boyfriend, the orc, he says, `` What I like about you is that you're not so hot that I'm afraid of losing you.''</dialogue>
<character>GABRIEL</character>
<dialogue>So where's the orc now?</dialogue>
<character>SIERRA</character>
<dialogue>He's dead. I spiked his water bottle with a massive quantity of GHB. He hallucinated, went into convulsions and died.</dialogue>
<scene_description>He screws the cap back on the water bottle and hands it back .</scene_description>
<character>GABRIEL</character>
<dialogue>Remind me not to piss you off, Sarah.</dialogue>
<character>SIERRA</character>
<dialogue>Sierra.</dialogue>
<scene_description>He 's surprised . He could have sworn her name was Sarah .</scene_description>
<character>GABRIEL</character>
<dialogue>Sorry.</dialogue>
<character>SIERRA</character>
<dialogue>And what makes you think you have n't pissed me off already?</dialogue>
<scene_description>She smiles , keeps walking .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD / INT. PRIUS - DAY</stage_direction>
<scene_description>Mary sits down in the front passenger seat of the car . Noelle is still in back , watching footage on the video camera .</scene_description>
<character>MARY</character>
<dialogue>How are you doing, kiddo?</dialogue>
<scene_description>Noelle does n't look up .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I was thinking we could all go to El Cholo for dinner. How would you feel about some blue corn enchiladas? Should we ask Daddy when he gets back?</dialogue>
<scene_description>Without looking up .</scene_description>
<character>NOELLE</character>
<dialogue>He's not coming back.</dialogue>
<scene_description>Mary is stunned . For her part , Noelle seems to have no idea she just spoke her first words . We hear three evenly - spaced BEEPS . After the third one , Mary says :</scene_description>
<character>MARY</character>
<dialogue>How could you.</dialogue>
<scene_description>Mary flinches . It 's like someone walked over her grave . Noelle hands her the camera . The footage is cued to earlier in Part 2 , where Gavin is having Melissa loop in a wild line :</scene_description>
<character>MELISSA</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>Howkajew. How could you. How could you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I feel so dirty.</dialogue>
<character>GAVIN</character>
<parenthetical>( ON TAPE . )</parenthetical>
<dialogue>That's how I like ya.</dialogue>
<scene_description>Mary backs out of the car , as if trying to get away from the video camera . But she 's still holding it . She hits STOP . Tries to collect herself . Noelle gets out of the car , but does n't approach . She signs , `` Mommy ? '' Mary backs away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST VALE - DAY</stage_direction>
<scene_description>Gabriel and Sierra stop for a moment , so he can pull off his outer shirt . For the first time , we see that Gabriel has a large tattoo on his back which looks like this :</scene_description>
<character>IX</character>
<dialogue />
<scene_description>He 's sweating a lot .</scene_description>
<character>GABRIEL</character>
<dialogue>Am I crazy, or is it getting hotter?</dialogue>
<character>SIERRA</character>
<dialogue>Oh, you're crazy.</dialogue>
<scene_description>She hands him back the water bottle . He gladly drinks . When she takes the bottle back , she steps forward . The motion leaves them face - to - face . She pauses for a moment , just long enough for him to turn away . He does n't . She kisses him . He does n't really kiss back - but he does n't fight it , either . She puts a hand on his thigh , sliding up the inside . Only when she reaches his crotch does he pull back .</scene_description>
<character>GABRIEL</character>
<dialogue>I have a wife. And a daughter. They're waiting for me.</dialogue>
<character>SIERRA</character>
<dialogue>Where are they?</dialogue>
<character>GABRIEL</character>
<dialogue>Back at the car.</dialogue>
<character>SIERRA</character>
<dialogue>I mean, which direction?</dialogue>
<character>GABRIEL</character>
<dialogue>They're back.</dialogue>
<scene_description>Gabriel turns , trying to get his bearing . The trees BLUR . He nearly falls over . He manages to steady himself .</scene_description>
<character>SIERRA</character>
<dialogue>Face it, G. : You do n't know where they are. You do n't know where you are. We've been walking in circles for an hour.</dialogue>
<character>GABRIEL</character>
<dialogue>Where's your car?</dialogue>
<character>SIERRA</character>
<dialogue>There is no car. That was all a.</dialogue>
<parenthetical>( what 's the word . )</parenthetical>
<dialogue>`` pretense,'' I guess. An excuse to get you alone.</dialogue>
<scene_description>Wobbling , Gabriel sits down on a stump . Sierra kneels down in front of him .</scene_description>
<character>SIERRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Dizzy, huh? It's probably just the GHB. In the water.</dialogue>
<scene_description>She holds up the water bottle . QUICK FLASHBACKS FROM PARTS ONE AND TWO</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Gabriel experienced the flashbacks . He felt time move .</scene_description>
<character>GABRIEL</character>
<dialogue>What's happening?</dialogue>
<character>SIERRA</character>
<dialogue>I'm sorry it had to come this, G. But it'll all be over soon.</dialogue>
<character>GABRIEL</character>
<dialogue>You're trying to kill me.</dialogue>
<character>SIERRA</character>
<dialogue>No! No. This is n't a murder. It's an intervention.</dialogue>
<scene_description>FLASHBACK SEQUENCE . Images to accompany previous dialogue .</scene_description>
<character>SUSAN</character>
<dialogue>I had to get you away from her. She was holding you back. You had to give her up.</dialogue>
<character>GAVIN</character>
<dialogue>Melissa?</dialogue>
<character>SARAH</character>
<dialogue>I can you out of here. But you have to trust me.</dialogue>
<character>SUSAN</character>
<dialogue>Do you feel like a man? You're not.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Gabriel dry - heaves . Sierra rubs his shoulders .</scene_description>
<character>SIERRA</character>
<dialogue>That's right. Just let it go. Let it go.</dialogue>
<scene_description>She 's genuinely empathetic - she does n't enjoy his suffering .</scene_description>
<character>GABRIEL</character>
<dialogue>Why are you doing this?</dialogue>
<character>SIERRA</character>
<dialogue>You did it to yourself. Admitting that is the first step.</dialogue>
<scene_description>She comes around to face him . And now we see they 're not alone . Two other familiar faces approach : THE PAROLE OFFICER/AGITATED MAN , and OCTAVIA . They 're Nines as well .</scene_description>
<character>SIERRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're a crack - head, G. The thing is, this planet, these people, they're your drug of choice.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. VARIOUS LOCATIONS - DAY</stage_direction>
<scene_description>-LSB- The next sequence bridges multiple earlier scenes from Parts One and Two . Gary/Gavin/Gabriel has one conversation with Sarah/Susan/Sierra , but it 's broken up among previous scenes and locations , sometimes for just a line . -RSB-</scene_description>
<character>S.</character>
<dialogue>It's not that hard to make a universe. At first, you just checked in every once in a while. See how the Neanderthals were doing. Move some continents around. But then you got more into it. Starting playing a couple of characters of your own. Kings. Slaves. Messiahs. Pretty soon, you were playing 24/7.</dialogue>
<character>G.</character>
<dialogue>How long have I?</dialogue>
<character>S.</character>
<dialogue>You've been gone for four thousand years. Not that time means the same for us, but.</dialogue>
<character>G.</character>
<dialogue>You came looking for me.</dialogue>
<character>S.</character>
<dialogue>That's what a girl does.</dialogue>
<character>G.</character>
<dialogue>Why now?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY [PART ONE]</stage_direction>
<scene_description>Streetwalker Octavia leans in Gary 's car window .</scene_description>
<character>OCTAVIA</character>
<dialogue>Because you forgot who you were.</dialogue>
</scene>
<scene>
<stage_direction>INT. TESTING ROOM - DAY [PART TWO]</stage_direction>
<scene_description>The Agitated Man leans up to the one - way glass .</scene_description>
<character>AGITATED MAN</character>
<dialogue>You forgot this was n't real.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. VARIOUS LOCATIONS - DAY</stage_direction>
<character>S.</character>
<dialogue>We could n't just storm in on a fiery chariot. It's your universe. We had to play by your rules. We had to make you see how limited and corrupt your little world was. Do n't get me wrong, this world is nice. It's cozy. But do you remember where you came from?</dialogue>
<scene_description>A few beats while it comes back to him . Tears start to build in his eyes . What he 's picturing is unspeakably beautiful .</scene_description>
<character>G.</character>
<dialogue>It was warm. And white. Like.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY [PART ONE]</stage_direction>
<scene_description>The Agitated Man/Parole Officer attaches Gary 's anklet .</scene_description>
<character>AGITATED MAN</character>
<dialogue>You ca n't describe it with human words.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - DAY [PART ONE]</stage_direction>
<scene_description>Octavia leans over Gary , who has fallen off the bed .</scene_description>
<character>OCTAVIA</character>
<dialogue>You ca n't think it with human thoughts.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. VARIOUS LOCATIONS - DAY</stage_direction>
<character>S.</character>
<dialogue>That's why you have to come back. Come back with us. With me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY</stage_direction>
<scene_description>Mary is sitting on the road . Noelle has her chin on her mother 's shoulder , watching the videotape with her . ON SCREEN , with tinny audio : -LRB- from scene 177 -RRB-</scene_description>
<character>MARGARET</character>
<dialogue>You could destroy the world with a single thought.</dialogue>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Do n't, incidentally. Just file that away. But the truth is, you hold all the cards : every church, every candle, every sacrifice - that's for you. When people pray, they're not praying because they want this thing or that thing. They just do n't want to be forgotten.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD / PRIUS - DAY</stage_direction>
<scene_description>Mary is still watching the tape . She realizes Noelle is n't watching over her shoulder anymore . Mary looks around . Her daughter is nowhere to be seen .</scene_description>
<character>MARY</character>
<dialogue>Noelle? Noelle!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST CROSSROADS - DAY</stage_direction>
<scene_description>Gabriel and Sierra are back at the junction where the paved road meets the gravel road .</scene_description>
<character>GABRIEL</character>
<dialogue>Maybe if I just cut back, did n't get so involved.</dialogue>
<character>SIERRA</character>
<dialogue>We both know that'll never work. Next week, you'll be back here redesigning the pinecones. You have to quit cold - turkey.</dialogue>
<character>GABRIEL</character>
<dialogue>I ca n't.</dialogue>
<character>SIERRA</character>
<dialogue>You can. But I ca n't force you to leave. You have to want it.</dialogue>
<scene_description>She takes his hand , running a finger through the green string bracelet around his wrist . She kisses him . And then she 's gone . Gabriel stands there for a long beat , considering his decision .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY</stage_direction>
<scene_description>Panicking , Mary calls out for -</scene_description>
<character>MARY</character>
<dialogue>Noelle! Noelle!</dialogue>
<scene_description>She 's nowhere to be found . Then , from behind her .</scene_description>
<character>GABRIEL</character>
<dialogue>She's here.</dialogue>
<scene_description>Gabriel is walking up the gravel road , with Noelle holding his hand .</scene_description>
<character>GABRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I did n't forget you guys.</dialogue>
<scene_description>Mary regards him as a familiar stranger , a beloved imposter .</scene_description>
<character>MARY</character>
<dialogue>Everything okay?</dialogue>
<character>GABRIEL</character>
<dialogue>Absolutely. Let's go home.</dialogue>
<scene_description>MUSIC BEGINS , a song that will carry us through the next sequence .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIUS - DAY</stage_direction>
<scene_description>Gabriel climbs into the driver 's seat . Both Mary and Noelle watch with interest as he pushes the `` START '' button . The car BEEPS and engages without any problem . Everyone fastens their seatbelts .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST ROAD - DAY</stage_direction>
<scene_description>The Prius drives down the gravel road . Mary tries to keep her eyes on the scenery , but they keep drifting over to Gabriel , trying to read what he 's thinking .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CROSSROADS - DAY</stage_direction>
<scene_description>The Prius turns on to the paved road . Headlights switch on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT</stage_direction>
<scene_description>The metal gate at the top of the driveway swings open , SQUEALING on its rusty hinges .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY - NIGHT</stage_direction>
<scene_description>Gabriel lifts the sleeping Noelle out of the car . Carries her into the house . Mary shuts the door behind them .</scene_description>
</scene>
<scene>
<stage_direction>INT. NOELLE'S ROOM - NIGHT</stage_direction>
<scene_description>Taking off her shoes , Gabriel tucks Noelle into bed . Turns on a nightlight for her .</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER BATHROOM - NIGHT</stage_direction>
<scene_description>Gabriel brushes his teeth with an electric toothbrush while Mary reads a magazine on the toilet .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Gabriel switches off the light . He spoons Mary , who kisses his hand . On both Mary and Gabriel 's faces , we see anxiety . Things left unsaid .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT [LATER]</stage_direction>
<scene_description>Gabriel lies awake , staring at the ceiling .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWELL - NIGHT</stage_direction>
<scene_description>Gabriel 's bare feet walk down the carpeted stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Gabriel stares at the three paintings on the wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN / EXT. BACK YARD - DAWN</stage_direction>
<scene_description>Gabriel stands in the doorway , looking out at the inky - blue sky . His eyes are red , tired . He has n't slept at all . It 's very quiet , except for the occasional precocious BIRD CALL . Mary enters from the living room , still in her pajamas . He knows she 's there . Neither wants to speak .</scene_description>
<character>MARY</character>
<dialogue>You need to go, do n't you?</dialogue>
<character>GABRIEL</character>
<dialogue>No. I can stay.</dialogue>
<character>MARY</character>
<dialogue>How long? Forever? Every day, you'd know what you were missing.</dialogue>
<scene_description>He smiles , a little .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What happens? If you go.</dialogue>
<character>GABRIEL</character>
<dialogue>Worst - case scenario? Spontaneous disintegration into a fiery void. Oblivio accebit. The end of everything.</dialogue>
<character>MARY</character>
<dialogue>That's all?</dialogue>
<scene_description>Both smile .</scene_description>
<character>GABRIEL</character>
<dialogue>That probably would n't happen. The basic structure of the universe should hold. I guess I'm just worried about the human factor. You guys kill each other a lot.</dialogue>
<character>MARY</character>
<dialogue>In fairness, that's usually in your name. Plus we've gotten much more efficient at it.</dialogue>
<scene_description>A beat .</scene_description>
<character>GABRIEL</character>
<dialogue>I like this world. I like my life, here, with you and Noelle.</dialogue>
<character>MARY</character>
<dialogue>But it's not real. I'm not really your wife, you're not really my husband. On some level, it's all pretend.</dialogue>
<character>GABRIEL</character>
<dialogue>It's not pretend. There's a reason you were there, in every version. You were my sister, my wife, my best friend.</dialogue>
<character>MARY</character>
<dialogue>That's a little creepy.</dialogue>
<character>GABRIEL</character>
<dialogue>I wanted you close. In one version, I even told you. I warned you that some day they might come for me, and.</dialogue>
<character>MARY</character>
<dialogue>You'd have to leave. How many versions were there?</dialogue>
<character>GABRIEL</character>
<dialogue>Ninety. This is the last one.</dialogue>
<character>MARY</character>
<dialogue>Wow.</dialogue>
<character>GABRIEL</character>
<dialogue>I've destroyed billions of people with a thought. Obliterated them. And you'd like to think it's painless.</dialogue>
<character>MARY</character>
<dialogue>Stop. You do n't have to explain, or apologize. Everything that is, is because of you. If that's all, that's enough.</dialogue>
<scene_description>With that , there 's really nothing more to say .</scene_description>
<character>MARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So.</dialogue>
<character>GABRIEL</character>
<dialogue>So.</dialogue>
<character>MARY</character>
<dialogue>Guess you do n't really need to pack anything.</dialogue>
<character>GABRIEL</character>
<dialogue>I'm good.</dialogue>
<character>MARY</character>
<dialogue>You're great. It's been a pleasure.</dialogue>
<character>GABRIEL</character>
<dialogue>Likewise. I love you.</dialogue>
<character>MARY</character>
<dialogue>Love you, too. Ya big lug.</dialogue>
<scene_description>He kisses her . It 's not a big , passionate , movie - ending kiss , but rather a fond kiss farewell . At the end of it , he WHISPERS into her ear :</scene_description>
<character>GABRIEL</character>
<dialogue>You're my favorite.</dialogue>
<scene_description>She smiles . With two fingers , Gabriel BREAKS the green string bracelet around his left wrist . And in that moment , a film passes over him , like the boundary between water and air . He 's stepped out of this dimension . Mary is frozen with the same smile on her face , but we notice that she and the kitchen around her have flattened out to two - dimensional images . She and everything around her has become like wallpaper , slowly curling away , revealing emptiness beneath . Gabriel collapses into a single , spiky sphere of light . The light moves through the kitchen , creating waves that ripple through the tissue - thin walls . Picking up speed , the sphere rushes through the window , heading west .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOS ANGELES - DAY</stage_direction>
<scene_description>As the light flies out over Hancock Park , the mansions and skyscrapers seem unreal , like models . Reaching Santa Monica , we pass over the ferris wheel at the end of the pier . We dive into the blue ocean beneath us , which becomes only a swirling gray fog with a viscous thickness . We see three lights in the distance . We join them , moving with them . Further ahead , more lights , circling . It 's a loose spiral made of stars , resembling nothing so much as the number 9 . As we get closer and closer , we . A PALE EYE , opening . We are .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MORNING</stage_direction>
<scene_description>Hands reach up , expecting to find glasses , but there are none . As we PULL OUT , we reveal it 's not Mary , Melissa or Margaret , but a fourth person - just slightly different from any of them . We 'll call her M . She looks first to the spot where Gabriel was standing . Empty .</scene_description>
<character>MAN'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Honey, do we have nutmeg?</dialogue>
<scene_description>M looks over at husband Ben , who is busy making pancakes , reading from a recipe .</scene_description>
<character>M</character>
<dialogue>We should.</dialogue>
<scene_description>Coming around from behind Ben , Noelle checks through the spice drawer . M watches her with cautious fascination .</scene_description>
<character>BEN</character>
<dialogue>Cinnamon, too.</dialogue>
<scene_description>M catches her reflection in the toaster . Notices she looks different than she expected .</scene_description>
<character>NOELLE</character>
<parenthetical>( to Ben . )</parenthetical>
<dialogue>If I had a horse.</dialogue>
<scene_description>Noelle turns back with the spices , handing them to Ben one at a time .</scene_description>
<character>NOELLE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I would name her Cinnamon.</dialogue>
<character>BEN</character>
<dialogue>Really.</dialogue>
<character>NOELLE</character>
<dialogue>And if I had another horse.</dialogue>
<character>BEN</character>
<dialogue>Nutmeg?</dialogue>
<character>NOELLE</character>
<dialogue>No, Flash.</dialogue>
<character>M</character>
<dialogue>Sweetie?</dialogue>
<scene_description>She beckons Noelle over . Tucks back the little girl 's hair . Keeping her voice low enough so Ben ca n't hear :</scene_description>
<character>M</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is going to sound really strange, but. what's my name?</dialogue>
<scene_description>Noelle only gives her a half - crazy look .</scene_description>
<character>NOELLE</character>
<dialogue>Mmmmmmmmmm - Mommy.</dialogue>
<scene_description>Noelle smiles . M smiles too , a little embarrassed .</scene_description>
<character>M</character>
<dialogue>Right. Exactly.</dialogue>
<scene_description>Noelle looks her right in the eye .</scene_description>
<character>NOELLE</character>
<dialogue>He's not coming back. But it's gon na be okay. He put the pieces together, it's like.</dialogue>
<character>M</character>
<dialogue>The best of all possible worlds.</dialogue>
<scene_description>Noelle taps her nose .</scene_description>
<character>BEN</character>
<dialogue>Honey? Is it supposed to stick like this?</dialogue>
<scene_description>Sharing a look .</scene_description>
<character>M</character>
<dialogue>We should help him.</dialogue>
<scene_description>Noelle agrees . They head over to assist . We MOVE ACROSS the family as they work on the pancakes , Noelle directing how big the ears on hers should be . We leave them in the middle of a messy kitchen , gooey pancakes , and a good life . FADE OUT . THE END</scene_description>
</scene>
</script> | The film is broken into three chapters centred around three men (all played by Ryan Reynolds) who try to uncover the secret about strange happenings in their, at times overlapping, lives. "Part One: The Prisoner". Gary is a troubled actor who is wearing a green bracelet on his wrist, under house arrest living in another person's house because he burned down his own. The owner of the house is described as a TV writer away on work. While living in the house, he is befriended by both a P.R. "handler", Margaret, and the single mom next door, Sarah, who may or may not be interested in him romantically. Over the course of his house arrest, Gary becomes convinced that he is being haunted by the number nine, including finding a note in his own handwriting saying "Look for the nines". He encounters many occurrences of the number nine: while playing backgammon, he rolls nines; while reading newspaper advertisements, he becomes obsessed with finding nines. Asking Sarah about the number 9 worries her, and she cryptically tells him: "I can get you out of here". He sees different versions of himself around the house, which unsettles him, causing him to break out of his house arrest barrier which in turn destroys reality in a blinding flash. "Part Two: Reality Television". A television writer Gavin is trying to get his pilot produced. He leaves home to work on his TV show, Knowing, about a mother and daughter who are lost, which stars his friend Melissa McCarthy as the lead actress. In a conversation about reviews and critics Susan, a television executive and producer of the show, tells Gavin to look for the nines, which he then writes on a piece of paper, the same piece that Gary found in Part One. He also tells Melissa that he thinks he is haunted by himself. During the process of post-production, Susan pushes for Gavin to ditch his friend Melissa as the unconventional lead of his project in favor of a more attractive, well-known actress. This causes an argument between him and Melissa. He then finds out that the well-known actress was actually cast in another show, which Susan knew before suggesting her. Since the well-known actress is now unavailable, and Melissa won't answer Gavin's calls, he confronts Susan about her knowing that his show would never get picked up and about him only being a subject on a reality television show. After a heated exchange, he snaps and slaps her. Seemingly insulting his manhood for hitting a woman, she scoffs: "Do you feel like a man?" and walks away, which leads to him telling the reality TV cameraman to leave him alone. A pedestrian then asks him to whom he is talking, and it is shown that the reality television cameraman does not exist. He looks around and notices that everyone has a "7" floating above their heads and also that he has a "9" floating above his own. A flashback shows Gary's P.R. handler, Margaret, telling him that he is God, a nine like the angels, and humans are sevens (koalas, incidentally, are eights because they control weather). He created the world and can destroy it with a single thought. He exists in many different forms and that none of them are real. Gary does not believe this and becomes distraught, which is revealed to be the real reason for his breaking his house arrest barrier. "Part Three: Knowing". Acclaimed video game designer Gabriel, whose car breaks down in the middle of nowhere, leaves his wife, Mary, and young daughter, Noelle, to try to get a better signal on his phone. He meets a woman, Sierra, who leads him off into the woods to her car, so she can give him a lift to the gas station. Meanwhile, back at the car Noelle watches a video on a digital camera showing Gavin talking to Melissa from Part Two and Margaret talking to Gary in Part One. She is confused and shows her mom, who appears confused as well. Meanwhile, Gabriel becomes ill because Sierra has drugged his water with GHB. In all of the stories, as Sarah, Sierra and Susan, she has been trying to separate him from Mary/Melissa/Margaret and make him realize that none of these lives are real. She says that this is an intervention, and she and the other recurring characters have been trying to help him remember that he is not human, but God, who has absorbed himself in various human incarnations for 4000 years. She likens Gabriel's addiction to video game addiction. He is needed back home, a place that cannot be imagined with human thoughts or described in human words. Gabriel returns to the car and the family goes home. Mary deduces that Gabriel has remembered his reality and needs to leave. Gabriel tells her that there were ninety different variations of the universe, and this is the last one. Gabriel removes the green string from his wrist and the universe morphs into something else. The film ends with Melissa McCarthy's character married to Ben, to whom she had been married in Part Two, with Noelle as their daughter. Noelle tells her mother that "He's not coming back" and that "He put all the pieces together", and her mother finishes her sentence that this is "the best of all possible worlds." |
Pulp Fiction_1994 | tt0110912 | <script>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>A normal Denny 's , Spires - like coffee shop in Los Angeles . It 's about 9:00 in the morning . While the place is n't jammed , there 's a healthy number of people drinking coffee , munching on bacon and eating eggs . Two of these people are a YOUNG MAN and a YOUNG WOMAN . The Young Man has a slight working - class English accent and , like his fellow countryman , smokes cigarettes like they 're going out of style . It is impossible to tell where the Young Woman is from or how old she is ; everything she does contradicts something she did . The boy and girl sit in a booth . Their dialogue is to be said in a rapid - pace `` HIS GIRL FRIDAY '' fashion .</scene_description>
<character>YOUNG MAN</character>
<dialogue>No, forget it, it's too risky. I'm through doin' that shit.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You always say that, the same thing every time : never again, I'm through, too dangerous.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I know that's what I always say. I'm always right too, but -</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>- but you forget about it in a day or two -</dialogue>
<character>YOUNG MAN</character>
<dialogue>- yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>When you go on like this, you know what you sound like?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I sound like a sensible fucking man, is what I sound like.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You sound like a duck.</dialogue>
<parenthetical>( imitates a duck . )</parenthetical>
<dialogue>Quack, quack, quack, quack, quack, quack, quack.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Well take heart,'cause you're never gon na hafta hear it again. Because since I'm never gon na do it again, you're never gon na hafta hear me quack about how I'm never gon na do it again.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>After tonight.</dialogue>
<scene_description>The boy and girl laugh , their laughter putting a pause in there , back and forth .</scene_description>
<character>YOUNG MAN</character>
<parenthetical>( with a smile . )</parenthetical>
<dialogue>Correct. I got all tonight to quack.</dialogue>
<scene_description>A WAITRESS comes by with a pot of coffee .</scene_description>
<character>WAITRESS</character>
<dialogue>Can I get anybody anymore coffee?</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Oh yes, thank you.</dialogue>
<scene_description>The Waitress pours the Young Woman 's coffee . The Young Man lights up another cigarette .</scene_description>
<character>YOUNG MAN</character>
<dialogue>I'm doin' fine.</dialogue>
<scene_description>The Waitress leaves . The Young Man takes a drag off of his smoke . The Young Woman pours a ton of cream and sugar into her coffee . The Young Man goes right back into it .</scene_description>
<character>YOUNG MAN</character>
<dialogue>I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier! Federal banks are n't supposed to stop you anyway, during a robbery. They're insured, why should they care? You do n't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said : `` We got this guy's little girl, and if you do n't give him all your money, we're gon na kill ` er.''</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Did it work?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they do n't lift a fuckin' finger.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Did they hurt the little girl?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I do n't know. There probably never was a little girl - the point of the story is n't the little girl. The point of the story is they robbed the bank with a telephone.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You wan na rob banks?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I'm not sayin' I wan na rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>So you do n't want to be a bank robber?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Naw, all those guys are goin' down the same road, either dead or servin' twenty.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>And no more liquor stores?</dialogue>
<character>YOUNG MAN</character>
<dialogue>What have we been talking about? Yeah, no - more - liquor - stores. Besides, it ai n't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they ca n't fuckin' speak English. You tell'em : `` Empty out the register,'' and they do n't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gon na make us kill'em.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>I'm not gon na kill anybody.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I do n't wan na kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Well, what else is there, day jobs?</dialogue>
<character>YOUNG MAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Not this life.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Well what then?</dialogue>
<scene_description>He calls to the Waitress .</scene_description>
<character>YOUNG MAN</character>
<dialogue>Garcon! Coffee!</dialogue>
<scene_description>Then looks to his girl .</scene_description>
<character>YOUNG MAN</character>
<dialogue>This place.</dialogue>
<scene_description>The Waitress comes by , pouring him some more .</scene_description>
<character>WAITRESS</character>
<parenthetical>( snotty . )</parenthetical>
<dialogue>`` Garcon'' means boy.</dialogue>
<scene_description>She splits .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Here? It's a coffee shop.</dialogue>
<character>YOUNG MAN</character>
<dialogue>What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting.</dialogue>
<character>YOUNG WOMAN</character>
<parenthetical>( taking to idea . )</parenthetical>
<dialogue>I bet in places like this you could cut down on the hero factor.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Correct. Just like banks, these places are insured. The managers do n't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners. Waitresses, forget it, they ai n't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gon na really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they do n't know what's goin' on. One minute they're havin' a Denver omelette, next minute somebody's stickin' a gun in their face.</dialogue>
<scene_description>The Young Woman visibly takes in the idea . The Young Man continues in a low voice .</scene_description>
<character>YOUNG MAN</character>
<dialogue>See, I got the idea last liquor store we stuck up. ` Member all those customers kept comin' in?</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Yeah.</dialogue>
<character>YOUNG MAN</character>
<dialogue>They you got the idea to take everybody's wallet.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Uh - huh.</dialogue>
<character>YOUNG MAN</character>
<dialogue>That was a good idea.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Thank you.</dialogue>
<character>YOUNG MAN</character>
<dialogue>We made more from the wallets then we did the register.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Yes we did.</dialogue>
<character>YOUNG MAN</character>
<dialogue>A lot of people go to restaurants.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>A lot of wallets.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Pretty smart, huh?</dialogue>
<scene_description>The Young Woman scans the restaurant with this new information . She sees all the PATRONS eating , lost in conversations . The tires WAITRESS , taking orders . The BUSBOYS going through the motions , collecting dishes . The MANAGER complaining to the COOK about something . A smiles breaks out on the Young Woman 's face .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Pretty smart.</dialogue>
<parenthetical>( into it . )</parenthetical>
<dialogue>I'm ready, let's go, right here, right now.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Remember, same as before, you're crowd control, I handle the employees.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Got it.</dialogue>
<scene_description>They both take out their .32 - caliber pistols and lay them on the table . He looks at her and she back at him .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>I love you, Pumpkin.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I love you, Honey Bunny.</dialogue>
<scene_description>And with that , Pumpkin and Honey Bunny grab their weapons , stand up and rob the restaurant . Pumpkin 's robbery persona is that of the in - control professional . Honey Bunny 's is that of the psychopathic , hair - triggered , loose cannon .</scene_description>
<character>PUMPKIN</character>
<parenthetical>( yelling to all . )</parenthetical>
<dialogue>Everybody be cool this is a robbery!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?</dialogue>
<scene_description>PULP FICTION</scene_description>
</scene>
<scene>
<stage_direction>INT.'74 CHEVY (MOVING) - MORNING</stage_direction>
<scene_description>An old gas guzzling , dirty , white 1974 Chevy Nova BARRELS down a homeless - ridden street in Hollywood . In the front seat are two young fellas - one white , one black - both wearing cheap black suits with thin black ties under long green dusters . Their names are VINCENT VEGA -LRB- white -RRB- and JULES WINNFIELD -LRB- black -RRB- . Jules is behind the wheel .</scene_description>
<character>JULES</character>
<dialogue>- okay now, tell me about the hash bars?</dialogue>
<character>VINCENT</character>
<dialogue>What so you want to know?</dialogue>
<character>JULES</character>
<dialogue>Well, hash is legal there, right?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, it's legal, but is ai n't a hundred percent legal. I mean you ca n't walk into a restaurant, roll a joint, and start puffin' away. You're only supposed to smoke in your home or certain designated places.</dialogue>
<character>JULES</character>
<dialogue>Those are hash bars?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, it breaks down like this : it's legal to buy it, it's legal to own it and, if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, which does n't really matter'cause - get a load of this - if the cops stop you, it's illegal for this to search you. Searching you is a right that the cops in Amsterdam do n't have.</dialogue>
<character>JULES</character>
<dialogue>That did it, man - I'm fuckin' goin', that's all there is to it.</dialogue>
<character>VINCENT</character>
<dialogue>You'll dig it the most. But you know what the funniest thing about Europe is?</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>It's the little differences. A lotta the same shit we got here, they got there, but there they're a little different.</dialogue>
<character>JULES</character>
<dialogue>Examples?</dialogue>
<character>VINCENT</character>
<dialogue>Well, in Amsterdam, you can buy beer in a movie theatre. And I do n't mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald's. Also, you know what they call a Quarter Pounder with Cheese in Paris?</dialogue>
<character>JULES</character>
<dialogue>They do n't call it a Quarter Pounder with Cheese?</dialogue>
<character>VINCENT</character>
<dialogue>No, they got the metric system there, they would n't know what the fuck a Quarter Pounder is.</dialogue>
<character>JULES</character>
<dialogue>What'd they call it?</dialogue>
<character>VINCENT</character>
<dialogue>Royale with Cheese.</dialogue>
<character>JULES</character>
<parenthetical>( repeating . )</parenthetical>
<dialogue>Royale with Cheese. What'd they call a Big Mac?</dialogue>
<character>VINCENT</character>
<dialogue>Big Mac's a Big Mac, but they call it Le Big Mac.</dialogue>
<character>JULES</character>
<dialogue>What do they call a Whopper?</dialogue>
<character>VINCENT</character>
<dialogue>I dunno, I did n't go into a Burger King. But you know what they put on french fries in Holland instead of ketchup?</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>Mayonnaise.</dialogue>
<character>JULES</character>
<dialogue>Goddamn!</dialogue>
<character>VINCENT</character>
<dialogue>I seen'em do it. And I do n't mean a little bit on the side of the plate, they fuckin' drown'em in it.</dialogue>
<character>JULES</character>
<dialogue>Uuccch!</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEVY (TRUNK) - MORNING</stage_direction>
<scene_description>The trunk of the Chevy OPENS UP , Jules and Vincent reach inside , taking out two .45 Automatics , loading and cocking them .</scene_description>
<character>JULES</character>
<dialogue>We should have shotguns for this kind of deal.</dialogue>
<character>VINCENT</character>
<dialogue>How many up there?</dialogue>
<character>JULES</character>
<dialogue>Three or four.</dialogue>
<character>VINCENT</character>
<dialogue>Counting our guy?</dialogue>
<character>JULES</character>
<dialogue>I'm not sure.</dialogue>
<character>VINCENT</character>
<dialogue>So there could be five guys up there?</dialogue>
<character>JULES</character>
<dialogue>It's possible.</dialogue>
<character>VINCENT</character>
<dialogue>We should have fuckin' shotguns.</dialogue>
<scene_description>They CLOSE the trunk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING COURTYARD - MORNING</stage_direction>
<scene_description>Vincent and Jules , their long matching overcoats practically dragging on the ground , walk through the courtyard of what looks like a hacienda - style Hollywood apartment building . We TRACK alongside .</scene_description>
<character>VINCENT</character>
<dialogue>What's her name?</dialogue>
<character>JULES</character>
<dialogue>Mia.</dialogue>
<character>VINCENT</character>
<dialogue>How did Marsellus and her meet?</dialogue>
<character>JULES</character>
<dialogue>I dunno, however people meet people. She usta be an actress.</dialogue>
<character>VINCENT</character>
<dialogue>She ever do anything I woulda saw?</dialogue>
<character>JULES</character>
<dialogue>I think her biggest deal was she starred in a pilot.</dialogue>
<character>VINCENT</character>
<dialogue>What's a pilot?</dialogue>
<character>JULES</character>
<dialogue>Well, you know the shows on TV?</dialogue>
<character>VINCENT</character>
<dialogue>I do n't watch TV.</dialogue>
<character>JULES</character>
<dialogue>Yes, but you're aware that there's an invention called television, and on that invention they show shows?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah.</dialogue>
<character>JULES</character>
<dialogue>Well, the way they pick the shows on TV is they make one show, and that show's called a pilot. And they show that one show to the people who pick the shows, and on the strength of that one show, they decide if they want to make more shows. Some get accepted and become TV programs, and some do n't, and become nothing. She starred in one of the ones that became nothing.</dialogue>
<scene_description>They enter the apartment building .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING</stage_direction>
<scene_description>Vincent and Jules walk through the reception area and wait for the elevator .</scene_description>
<character>JULES</character>
<dialogue>You remember Antwan Rockamora? Half - black, half - Samoan, usta call him Tony Rocky Horror.</dialogue>
<character>VINCENT</character>
<dialogue>Yeah maybe, fat right?</dialogue>
<character>JULES</character>
<dialogue>I would n't go so far as to call the brother fat. He's got a weight problem. What's the nigger gon na do, he's Samoan.</dialogue>
<character>VINCENT</character>
<dialogue>I think I know who you mean, what about him?</dialogue>
<character>JULES</character>
<dialogue>Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace's wife.</dialogue>
<scene_description>The elevator arrives , the men step inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - MORNING</stage_direction>
<character>VINCENT</character>
<dialogue>What'd he do, fuck her?</dialogue>
<character>JULES</character>
<dialogue>No no no no no no no, nothin' that bad.</dialogue>
<character>VINCENT</character>
<dialogue>Well what then?</dialogue>
<character>JULES</character>
<dialogue>He gave her a foot massage.</dialogue>
<character>VINCENT</character>
<dialogue>A foot massage?</dialogue>
<scene_description>Jules nods his head : `` Yes . ''</scene_description>
<character>VINCENT</character>
<dialogue>That's all?</dialogue>
<scene_description>Jules nods his head : `` Yes . ''</scene_description>
<character>VINCENT</character>
<dialogue>What did Marsellus do?</dialogue>
<character>JULES</character>
<dialogue>Sent a couple of guys over to his place. They took him out on the patio of his apartment, threw his ass over the balcony. Nigger fell four stories. They had this garden at the bottom, enclosed in glass, like one of them greenhouses - nigger fell through that. Since then, he's kinda developed a speech impediment.</dialogue>
<scene_description>The elevator doors open , Jules and Vincent exit .</scene_description>
<character>VINCENT</character>
<dialogue>That's a damn shame.</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING HALLWAY - MORNING</stage_direction>
<scene_description>STEADICAM in front of Jules and Vincent as they make a beeline down the hall .</scene_description>
<character>VINCENT</character>
<dialogue>Still I hafta say, play with matches, ya get burned.</dialogue>
<character>JULES</character>
<dialogue>Whaddya mean?</dialogue>
<character>VINCENT</character>
<dialogue>You do n't be givin' Marsellus Wallace's new bride a foot massage.</dialogue>
<character>JULES</character>
<dialogue>You do n't think he overreacted?</dialogue>
<character>VINCENT</character>
<dialogue>Antwan probably did n't expect Marsellus to react like he did, but he had to expect a reaction.</dialogue>
<character>JULES</character>
<dialogue>It was a foot massage, a foot massage is nothing, I give my mother a foot massage.</dialogue>
<character>VINCENT</character>
<dialogue>It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but you're in the same fuckin' ballpark.</dialogue>
<scene_description>Jules stops Vincent .</scene_description>
<character>JULES</character>
<dialogue>Whoa. whoa. whoa. stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ai n't even the same fuckin' thing.</dialogue>
<character>VINCENT</character>
<dialogue>Not the same thing, the same ballpark.</dialogue>
<character>JULES</character>
<dialogue>It ai n't no ballpark either. Look maybe your method of massage differs from mine, but touchin' his lady's feet, and stickin' your tongue in her holyiest of holyies, ai n't the same ballpark, ai n't the same league, ai n't even the same fuckin' sport. Foot massages do n't mean shit.</dialogue>
<character>VINCENT</character>
<dialogue>Have you ever given a foot massage?</dialogue>
<character>JULES</character>
<dialogue>Do n't be tellin' me about foot massages - I'm the fuckin' foot master.</dialogue>
<character>VINCENT</character>
<dialogue>Given a lot of'em?</dialogue>
<character>JULES</character>
<dialogue>Shit yeah. I got my technique down man, I do n't tickle or nothin'.</dialogue>
<character>VINCENT</character>
<dialogue>Have you ever given a guy a foot massage?</dialogue>
<scene_description>Jules looks at him a long moment - he 's been set up .</scene_description>
<character>JULES</character>
<dialogue>Fuck you.</dialogue>
<scene_description>He starts walking down the hall . Vincent , smiling , walks a little bit behind .</scene_description>
<character>VINCENT</character>
<dialogue>How many?</dialogue>
<character>JULES</character>
<dialogue>Fuck you.</dialogue>
<character>VINCENT</character>
<dialogue>Would you give me a foot massage - I'm kinda tired.</dialogue>
<character>JULES</character>
<dialogue>Man, you best back off, I'm gittin' pissed - this is the door.</dialogue>
<scene_description>The two men stand in front of the door numbered `` 49 . '' They whisper .</scene_description>
<character>JULES</character>
<dialogue>What time is it?</dialogue>
<character>VINCENT</character>
<parenthetical>( checking his watch . )</parenthetical>
<dialogue>Seven - twenty - two in the morning.</dialogue>
<character>JULES</character>
<dialogue>It ai n't quite time, let's hang back.</dialogue>
<scene_description>They move a little away from the door , facing each other , still whispering .</scene_description>
<character>JULES</character>
<dialogue>Look, just because I would n't give no man a foot massage, do n't make it right for Marsellus to throw Antwan off a building into a glass - motherfuckin - house, fuckin' up the way the nigger talks. That ai n't right, man. Motherfucker do that to me, he better paralyze my ass,'cause I'd kill' a motherfucker.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not sayin' he was right, but you're sayin' a foot massage do n't mean nothing, and I'm sayin' it does. I've given a million ladies a million foot massages and they all meant somethin'. We act like they do n't, but they do. That's what's so fuckin' cool about'em. This sensual thing's goin' on that nobody's talkin about, but you know it and she knows it, fuckin' Marsellus knew it, and Antwan shoulda known fuckin' better. That's his fuckin' wife, man. He ai n't gon na have a sense of humor about that shit.</dialogue>
<character>JULES</character>
<dialogue>That's an interesting point, but let's get into character.</dialogue>
<character>VINCENT</character>
<dialogue>What's her name again?</dialogue>
<character>JULES</character>
<dialogue>Mia. Why you so interested in big man's wife?</dialogue>
<character>VINCENT</character>
<dialogue>Well, Marsellus is leavin' for Florida and when he's gone, he wants me to take care of Mia.</dialogue>
<character>JULES</character>
<dialogue>Take care of her?</dialogue>
<scene_description>Making a gun out of his finger and placing it to his head .</scene_description>
<character>VINCENT</character>
<dialogue>Not that! Take her out. Show her a good time. Do n't let her get lonely.</dialogue>
<character>JULES</character>
<dialogue>You're gon na be takin' Mia Wallace out on a date?</dialogue>
<character>VINCENT</character>
<dialogue>It ai n't a date. It's like when you and your buddy's wife go to a movie or somethin'. It's just. you know. good company.</dialogue>
<scene_description>Jules just looks at him .</scene_description>
<character>VINCENT</character>
<dialogue>It's not a date.</dialogue>
<scene_description>Jules just looks at him .</scene_description>
<character>VINCENT</character>
<dialogue>I'm not gon na be a bad boy.</dialogue>
<scene_description>Jules shakes his head and mumbles to himself .</scene_description>
<character>JULES</character>
<dialogue>Bitch gon na kill more niggers than time.</dialogue>
<character>VINCENT</character>
<dialogue>What was that?</dialogue>
<character>JULES</character>
<dialogue>Nothin'. Let's get into character.</dialogue>
<character>VINCENT</character>
<dialogue>What'd you say?</dialogue>
<character>JULES</character>
<dialogue>I did n't say shit. Let's go to work.</dialogue>
<character>VINCENT</character>
<dialogue>Do n't play with me, you said somethin', now what was it?</dialogue>
<character>JULES</character>
<parenthetical>( referring to the job . )</parenthetical>
<dialogue>Do you wan na do this?</dialogue>
<character>VINCENT</character>
<dialogue>I want you to repeat what you said.</dialogue>
<character>JULES</character>
<dialogue>That door's gon na open in about thirty seconds, so git yourself together -</dialogue>
<character>VINCENT</character>
<dialogue>- my self is together -</dialogue>
<character>JULES</character>
<dialogue>- bullshit it is. Stop thinkin' ` bout that Ho, and get yourself together like a qualified pro.</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT (ROOM 49) - MORNING</stage_direction>
<scene_description>THREE YOUNG GUYS , obviously in over their heads , sit at a table with hamburgers , french fries and soda pops laid out . One of them flips the LOUD BOLT on the door , opening it to REVEAL Jules and Vincent in the hallway .</scene_description>
<character>JULES</character>
<dialogue>Hey kids.</dialogue>
<scene_description>The two men stroll inside . The three young caught - off - guard Guys are : MARVIN The black young man , who open the door , will , as the scene progresses , back into the corner . ROGER A young blond - haired surfer kid with a `` Flock of Seagulls '' haircut , who has yet to say a word , sits at the table with a big sloppy hamburger in his hand . BRETT A white , preppy - looking sort with a blow - dry haircut . Vincent and Jules take in the place , with their hands in their pockets . Jules is the one who does the talking .</scene_description>
<character>JULES</character>
<dialogue>How you boys doin'?</dialogue>
<scene_description>No answer .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Am I trippin', or did I just ask you a question.</dialogue>
<character>BRETT</character>
<dialogue>We're doin' okay.</dialogue>
<scene_description>As Jules and Brett talk , Vincent moves behind the young Guys .</scene_description>
<character>JULES</character>
<dialogue>Do you know who we are?</dialogue>
<scene_description>Brett shakes his head : `` No . ''</scene_description>
<character>JULES</character>
<dialogue>We're associates of your business partner Marsellus Wallace, you remember your business partner dont ` ya?</dialogue>
<scene_description>No answer .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Now I'm gon na take a wild guess here : you're Brett, right?</dialogue>
<character>BRETT</character>
<dialogue>I'm Brett.</dialogue>
<character>JULES</character>
<dialogue>I thought so. Well, you remember your business partner Marsellus Wallace, dont ` ya Brett?</dialogue>
<character>BRETT</character>
<dialogue>I remember him.</dialogue>
<character>JULES</character>
<dialogue>Good for you. Looks like me and Vincent caught you at breakfast, sorry ` bout that. What ` cha eatin'?</dialogue>
<character>BRETT</character>
<dialogue>Hamburgers.</dialogue>
<character>JULES</character>
<dialogue>Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?</dialogue>
<character>BRETT</character>
<dialogue>Cheeseburgers.</dialogue>
<character>JULES</character>
<dialogue>No, I mean where did you get'em? MacDonald's, Wendy's, Jack - in - the - Box, where?</dialogue>
<character>BRETT</character>
<dialogue>Big Kahuna Burger.</dialogue>
<character>JULES</character>
<dialogue>Big Kahuna Burger. That's that Hawaiian burger joint. I heard they got some tasty burgers. I ai n't never had one myself, how are they?</dialogue>
<character>BRETT</character>
<dialogue>They're good.</dialogue>
<character>JULES</character>
<dialogue>Mind if I try one of yours?</dialogue>
<character>BRETT</character>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Yours is this one, right?</dialogue>
<character>BRETT</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jules grabs the burger and take a bite of it .</scene_description>
<character>JULES</character>
<dialogue>Uuummmm, that's a tasty burger.</dialogue>
<parenthetical>( to Vincent . )</parenthetical>
<dialogue>Vince, you ever try a Big Kahuna Burger?</dialogue>
<character>VINCENT</character>
<dialogue>No.</dialogue>
<scene_description>Jules holds out the Big Kahuna .</scene_description>
<character>JULES</character>
<dialogue>You wan na bite, they're real good.</dialogue>
<character>VINCENT</character>
<dialogue>I ai n't hungry.</dialogue>
<character>JULES</character>
<dialogue>Well, if you like hamburgers give'em a try sometime. Me, I ca n't usually eat'em'cause my girlfriend's a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.</dialogue>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>You know what they call a Quarter Pounder with Cheese in France?</dialogue>
<character>BRETT</character>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Tell'em, Vincent.</dialogue>
<character>VINCENT</character>
<dialogue>Royale with Cheese.</dialogue>
<character>JULES</character>
<dialogue>Royale with Cheese, you know why they call it that?</dialogue>
<character>BRETT</character>
<dialogue>Because of the metric system?</dialogue>
<character>JULES</character>
<dialogue>Check out the big brain on Brett. You'a smart motherfucker, that's right. The metric system.</dialogue>
<parenthetical>( he points to a fast food drink cup . )</parenthetical>
<dialogue>What's in this?</dialogue>
<character>BRETT</character>
<dialogue>Sprite.</dialogue>
<character>JULES</character>
<dialogue>Sprite, good, mind if I have some of your tasty beverage to wash this down with?</dialogue>
<character>BRETT</character>
<dialogue>Sure.</dialogue>
<scene_description>Jules grabs the cup and takes a sip .</scene_description>
<character>JULES</character>
<dialogue>Uuuuummmm, hit's the spot!</dialogue>
<parenthetical>( to Roger . )</parenthetical>
<dialogue>You, Flock of Seagulls, you know what we're here for?</dialogue>
<scene_description>Roger nods his head : `` Yes . ''</scene_description>
<character>JULES</character>
<dialogue>Then why do n't you tell my boy here Vince, where you got the shit hid.</dialogue>
<character>MARVIN</character>
<dialogue>It's under the be -</dialogue>
<character>JULES</character>
<dialogue>- I do n't remember askin' you a goddamn thing.</dialogue>
<parenthetical>( to Roger . )</parenthetical>
<dialogue>You were sayin'?</dialogue>
<character>ROGER</character>
<dialogue>It's under the bed.</dialogue>
<scene_description>Vincent moves to the bed , reaches underneath it , pulling out a black snap briefcase .</scene_description>
<character>VINCENT</character>
<dialogue>Got it.</dialogue>
<scene_description>Vincent flips the two locks , opening the case . We ca n't see what 's inside , but a small glow emits from the case . Vincent just stares at it , transfixed .</scene_description>
<character>JULES</character>
<dialogue>We happy?</dialogue>
<scene_description>No answer from the transfixed Vincent .</scene_description>
<character>JULES</character>
<dialogue>Vincent!</dialogue>
<scene_description>Vincent looks up at Jules .</scene_description>
<character>JULES</character>
<dialogue>We happy?</dialogue>
<scene_description>Closing the case .</scene_description>
<character>VINCENT</character>
<dialogue>We're happy.</dialogue>
<character>BRETT</character>
<parenthetical>( to Jules . )</parenthetical>
<dialogue>Look, what's your name? I got his name's Vincent, but what's yours?</dialogue>
<character>JULES</character>
<dialogue>My name's Pitt, and you ai n't talkin' your ass outta this shit.</dialogue>
<character>BRETT</character>
<dialogue>I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions -</dialogue>
<scene_description>As Brett talks , Jules takes out his gun and SHOOTS Roger three times in the chest , BLOWING him out of his chair . Vince smiles to himself . Jules has got style . Brett has just shit his pants . He 's not crying or whimpering , but he 's so full of fear , it 's as if his body is imploding .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Oh, I'm sorry. Did that break your concentration? I did n't mean to do that. Please, continue. I believe you were saying something about `` best intentions.''</dialogue>
<scene_description>Brett ca n't say a word .</scene_description>
<character>JULES</character>
<dialogue>Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?</dialogue>
<scene_description>Brett still ca n't speak . Jules SNAPS , SAVAGELY TIPPING the card table over , removing the only barrier between himself and Brett . Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator .</scene_description>
<character>JULES</character>
<dialogue>What country you from!</dialogue>
<character>BRETT</character>
<parenthetical>( petrified . )</parenthetical>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>`` What'' ai n't no country I know! Do they speak English in `` What?''</dialogue>
<character>BRETT</character>
<parenthetical>( near heart attack . )</parenthetical>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>English - motherfucker - can - you - speak - it?</dialogue>
<character>BRETT</character>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>Then you understand what I'm sayin'?</dialogue>
<character>BRETT</character>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>Now describe what Marsellus Wallace looks like!</dialogue>
<character>BRETT</character>
<parenthetical>( out of fear . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Jules takes his .45 and PRESSES the barrel HARD in Brett 's cheek .</scene_description>
<character>JULES</character>
<dialogue>Say `` What'' again! C'mon, say `` What'' again! I dare ya, I double dare ya motherfucker, say `` What'' one more goddamn time!</dialogue>
<scene_description>Brett is regressing on the spot .</scene_description>
<character>JULES</character>
<dialogue>Now describe to me what Marsellus Wallace looks like!</dialogue>
<scene_description>Brett does his best .</scene_description>
<character>BRETT</character>
<dialogue>Well he's. he's. black -</dialogue>
<character>JULES</character>
<dialogue>- go on!</dialogue>
<character>BRETT</character>
<dialogue>and he's. he's. tall -</dialogue>
<character>JULES</character>
<dialogue>- does he look like a bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( without thinking . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Jules ' eyes go to Vincent , Vincent smirks , Jules rolls his eyes and SHOOT Brett in the shoulder . Brett SCREAMS , breaking into a SHAKING/TREMBLING SPASM in the chair .</scene_description>
<character>JULES</character>
<dialogue>Does - he - look - like - a - bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( in agony . )</parenthetical>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Then why did you try to fuck ` im like a bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( in spasm . )</parenthetical>
<dialogue>I did n't.</dialogue>
<scene_description>Now in a lower voice .</scene_description>
<character>JULES</character>
<dialogue>Yes ya did Brett. Ya tried ta fuck ` im. You ever read the Bible, Brett?</dialogue>
<character>BRETT</character>
<parenthetical>( in spasm . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.''</dialogue>
<scene_description>The two men EMPTY their guns at the same time on the sitting Brett . When they are finished , the bullet - ridden carcass just sits there for a moment , then TOPPLES over . All is quiet . The only SOUND is Marvin MUTTERING in the corner .</scene_description>
<character>MARVIN</character>
<dialogue>goddamn. goddamn. that was fucked up. goddamn, that was cold - blooded.</dialogue>
<character>VINCENT</character>
<parenthetical>( pointing to Marvin . )</parenthetical>
<dialogue>Friend of yours?</dialogue>
<character>JULES</character>
<dialogue>Yeah, Marvin - Vincent - Vincent - Marvin.</dialogue>
<character>VINCENT</character>
<dialogue>Tell'em to shut up, he's gettin' on my nerves.</dialogue>
<character>JULES</character>
<dialogue>Marvin, I'd knock that shit off if I was you.</dialogue>
<scene_description>Then suddenly the bathroom door BURSTS OPEN , and a FOURTH MAN -LRB- as young as the rest -RRB- comes CHARGING out , a silver Magnum in his hand . We DOLLY into a MEDIUM on him .</scene_description>
<character>FOURTH MAN</character>
<dialogue>Die. die. die. die. die. die!</dialogue>
<scene_description>The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in the direction of Vincent and Jules . He SCREAMS a maniacal cry of revenge until he 's DRY FIRING . Then . his face does a complete change of expression . It goes from a `` Vengeance is mine '' expression , to a `` What the fuck '' blank look .</scene_description>
<character>FOURTH MAN</character>
<dialogue>I do n't understand -</dialogue>
<scene_description>The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by bullets that TEAR HIM TO SHREDS . He leaves the FRAME EMPTY . FADE TO BLACK Against black , TITLE CARD : `` VINCENT VEGA AND MARSELLUS WALLACE 'S WIFE '' . MEDIUM SHOT - BUTCH COOLIDGE We FADE UP on Butch Coolidge , a white , 26 - year - old prizefighter . Butch sits at a table wearing a red and blue high school athletic jacket . Talking to him OFF SCREEN is everybody 's boss MARSELLUS WALLACE . The black man sounds like a cross between a gangster and a king .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I think you're gon na find - when all this shit is over and done - I think you're gon na find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability do n't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gon na hafta git realistic about. This business is filled to the brim with unrealistic motherfuckers who thought their ass aged like wine. Besides, even if you went all the way, what would you be? Feather - weight champion of the world. Who gives a shit? I doubt you can even get a credit card based on that.</dialogue>
<scene_description>A hand lays an envelope full of money on the table in front of Butch . Butch picks it up .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Now the night of the fight, you may fell a slight sting, that's pride fuckin' wit ya. Fuck pride! Pride only hurts, it never helps. Fight through that shit.'Cause a year from now, when you're kickin' it in the Caribbean you're gon na say, `` Marsellus Wallace was right.''</dialogue>
<character>BUTCH</character>
<dialogue>I got no problem with that.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>In the fifth, your ass goes down.</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Say it!</dialogue>
<character>BUTCH</character>
<dialogue>In the fifth, my ass goes down.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR (MOVING) - DAY</stage_direction>
<scene_description>Vincent Vega looks really cool behind the wheel of a 1964 cherry - red Chevy Malibu convertible . From the car radio , ROCKABILLY MUSIC PLAYS . The b.g. is a COLORFUL PROCESS SHOT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SALLY LeROY'S - DAY</stage_direction>
<scene_description>Sally LeRoy 's is a large topless bat by LAX that Marsellus owns . Vincent 's classic Malibu WHIPS into the near empty parking lot and parks next to a white Honda Civic . Vince knocks on the door . The front entrance is unlocked , revealing the Dapper Dan fellow on the inside : ENGLISH DAVE . Dave is n't really English , he 's a young black man from Baldwin Park , who has run a few clubs for Marsellus , including Sally LeRoy 's .</scene_description>
<character>ENGLISH DAVE</character>
<dialogue>Vincent Vega, our man in Amsterdam, git your ass on in here.</dialogue>
<scene_description>Vincent , carrying the black briefcase from the scene between Vincent and Jules , steps inside . English Dave SLAMS the door in our faces .</scene_description>
</scene>
<scene>
<stage_direction>INT. SALLY LeROY'S - DAY</stage_direction>
<scene_description>The spacious club is empty this time of day . English Dave crosses to the bar , and Vince follows .</scene_description>
<character>VINCENT</character>
<dialogue>Where's the big man?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>He's over there, finishing up some business.</dialogue>
<scene_description>VINCENT 'S POV : Butch shakes hands with a huge figure with his back to us . The huge figure is the infamous and as of yet still UNSEEN Marsellus .</scene_description>
<character>ENGLISH DAVE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Hand back for a second or two, and when you see the white boy leave, go on over. In the meanwhile, can I make you an espresso?</dialogue>
<character>VINCENT</character>
<dialogue>How ` bout a cup of just plain ol' American?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Comin' up. I hear you're taking Mia out tomorrow?</dialogue>
<character>VINCENT</character>
<dialogue>At Marsellus' request.</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Have you met Mia?</dialogue>
<character>VINCENT</character>
<dialogue>Not yet.</dialogue>
<scene_description>English Dave smiles to himself .</scene_description>
<character>VINCENT</character>
<dialogue>What's so funny?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Not a goddamn thing.</dialogue>
<character>VINCENT</character>
<dialogue>Look, I'm not a idiot. She's the big man's fuckin' wife. I'm gon na sit across a table, chew my food with my mouth closed, laugh at her jokes and that's all I'm gon na do.</dialogue>
<scene_description>English Dave puts Vince 's coffee in front of him .</scene_description>
<character>ENGLISH DAVE</character>
<dialogue>My name's Paul, and this is between y' all.</dialogue>
<scene_description>Butch bellies up to the bar next to Vincent , drinking his cup of `` plain ol' American . ''</scene_description>
<character>BUTCH</character>
<parenthetical>( to English Dave . )</parenthetical>
<dialogue>Can I get a pack' a Red Apples?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Filters?</dialogue>
<character>BUTCH</character>
<dialogue>Non.</dialogue>
<scene_description>While Butch waits for his smokes , Vincent just sips his coffee , staring at him . Butch looks over at him .</scene_description>
<character>BUTCH</character>
<dialogue>Lookin' at somethin', friend?</dialogue>
<character>VINCENT</character>
<dialogue>I ai n't your friend, palooka.</dialogue>
<scene_description>Butch does a slow burn toward Vincent .</scene_description>
<character>BUTCH</character>
<dialogue>What was that?</dialogue>
<character>VINCENT</character>
<dialogue>I think ya heard me just fine, punchy.</dialogue>
<scene_description>Butch turns his body to Vincent , when .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Vincent Vega has entered the building, git your ass over here!</dialogue>
<scene_description>Vincent walks forward OUT OF FRAME , never giving Butch another glance . We DOLLY INTO CU on Butch , left alone in the FRAME , looking like he 's ready to go into the manners - teaching business . BUTCH 'S POV : Vincent hugging and kissing the obscured figure that is Marsellus . Butch makes the wise decision that is this asshole 's a friend of Marsellus , he better let it go - for now .</scene_description>
<character>ENGLISH DAVE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Pack of Red Apples, dollar - forty.</dialogue>
<scene_description>Butch is snapped out of his ass - kicking thoughts . He pays English Dave and walks out of the SHOT .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE (KITCHEN) - NIGHT</stage_direction>
<scene_description>CU JODY a woman who appears to have a fondness for earrings . Both of her ears are pierced five times . She also sports rings in her lips , eyebrows and nose .</scene_description>
<character>JODY</character>
<dialogue>I'll lend it to you. It's a great book on body piercing.</dialogue>
<scene_description>Jody , Vincent and a young woman names TRUDI sit at the kitchen table of a suburban house in Echo Park . Even though Vince is at the same table , he 's not included in the conversation .</scene_description>
<character>TRUDI</character>
<dialogue>You know how they use that gun when they pierce your ears? They do n't use that when they pierce your nipples, do they?</dialogue>
<character>JODY</character>
<dialogue>Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue.</dialogue>
<scene_description>Vince has been letting this conversation go through one ear and out the other , until that last remark .</scene_description>
<character>VINCENT</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue?</dialogue>
<scene_description>Jody looks at him and says as if it were the most obvious thing in the world .</scene_description>
<character>JODY</character>
<dialogue>It's a sex thing. It helps fellatio.</dialogue>
<scene_description>That thought never occurred to Vincent , but he ca n't deny it makes sense . Jody continues talking to Trudi , leaving Vincent to ponder the truth of her statement .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Vince, you can come in now!</dialogue>
</scene>
<scene>
<stage_direction>INT. LANCE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Lance , late - 20s , is a young man with a wild and woolly appearance that goes hand - in - hand with his wild and woolly personality . Lance has been selling drugs his entire adult life . He 's never had a day job , never filed a tax return and has never been arrested . He wears a red flannel shirt over a `` Speed Racer '' tee - shirt . Three bags of heroin lie on Lance 's bed . Lance and Vincent stand at the foot of the bed .</scene_description>
<character>LANCE</character>
<dialogue>Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty - five an ounce - those are friend prices - but this one.</dialogue>
<parenthetical>( pointing to the Choco . )</parenthetical>
<dialogue>. this one's a little more expensive. It's fifty - five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman.</dialogue>
<character>VINCENT</character>
<dialogue>Remember, I just got back from Amsterdam.</dialogue>
<character>LANCE</character>
<dialogue>Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week.</dialogue>
<character>VINCENT</character>
<dialogue>That's a bold statement.</dialogue>
<character>LANCE</character>
<dialogue>This ai n't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell.</dialogue>
<scene_description>Vincent takes out a roll of money that would choke a horse to death .</scene_description>
<character>VINCENT</character>
<dialogue>Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand.</dialogue>
<character>LANCE</character>
<dialogue>I just hope I still have it. Whaddya think of Trudi? She ai n't got a boyfriend, wan na hand out an' get high?</dialogue>
<character>VINCENT</character>
<dialogue>Which one's Trudi? The one with all the shit in her face?</dialogue>
<character>LANCE</character>
<dialogue>No, that's Jody. That's my wife.</dialogue>
<scene_description>Vincent and Lance giggle at the `` faux pas . ''</scene_description>
<character>VINCENT</character>
<dialogue>I'm on my way somewhere. I got a dinner engagement. Rain check?</dialogue>
<character>LANCE</character>
<dialogue>No problem?</dialogue>
<scene_description>Vincent takes out his case of the works -LRB- utensils for shooting up -RRB- .</scene_description>
<character>VINCENT</character>
<dialogue>You do n't mind if I shoot up here?</dialogue>
<character>LANCE</character>
<dialogue>Me casa, su casa.</dialogue>
<character>VINCENT</character>
<dialogue>Mucho gracias.</dialogue>
<scene_description>Vincent takes his works out of his case and , as the two continue to talk , Vince shoots up .</scene_description>
<character>LANCE</character>
<dialogue>Still got your Malibu?</dialogue>
<character>VINCENT</character>
<dialogue>You know what some fucker did to it the other day?</dialogue>
<character>LANCE</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>Fuckin' keyed it.</dialogue>
<character>LANCE</character>
<dialogue>Oh man, that's fucked up.</dialogue>
<character>VINCENT</character>
<dialogue>Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days - five days, and some dickless piece of shit fucks with it.</dialogue>
<character>LANCE</character>
<dialogue>They should be fuckin' killed. No trial, no jury, straight to execution.</dialogue>
<scene_description>As he cooks his heroin -</scene_description>
<character>VINCENT</character>
<dialogue>I just wish I caught'em doin' it, ya know? Oh man, I'd give anything to catch'em doin' it. It' a been worth his doin' it, if I coulda just caught'em, you know what I mean?</dialogue>
<character>LANCE</character>
<dialogue>It's chicken shit. You do n't fuck another man's vehicle.</dialogue>
<scene_description>CU - THE NEEDLE going into Vincent 's vein . CU - BLOOD spurting back into the syringe , mixing with the heroin . CU OF VINCENT 'S THUMB pushing down on the plunger .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>Vincent walks up to the driveway leading to Marsellus Wallace 's front door . When he gets to the door , he hears MUSIC on the other side , and a note in plain view taped to it . He rips it off . CU - NOTE `` Hi Vincent , I 'm getting dressed . The door 's open . Come inside and make yourself a drink . Mia . '' Vincent neatly folds the note up , sticks it in his pocket , takes a here - goes - nothing breath and turns the knob .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>As Vincent steps inside , the MUSIC that was behind the door , SWELLS drastically . Vincent , hands in pockets , strolls inside , checking out his boss ' home .</scene_description>
<character>VINCENT</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>Hello! I'm here!</dialogue>
<scene_description>We hear a DOOR OPEN , Vincent turns in its direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction>
<scene_description>We 're inside the room where the MUSIC is PLAYING . In the f.g. MIA WALLACE , naked with her back to us , talks to Vincent through a crack in the door . The door shields the front of her body from Vincent .</scene_description>
<character>MIA</character>
<dialogue>Vincent Vega?</dialogue>
<character>VINCENT</character>
<dialogue>I'm Vincent, you Mia?</dialogue>
<character>MIA</character>
<dialogue>That's me, pleased to meetcha. I'm still getting dressed. To your left, past the kitchen, is a bar. Why do n't you make yourself a drink, have a seat in the living room, and I'll be out within three shakes of a lamb's tail.</dialogue>
<character>VINCENT</character>
<dialogue>Take your time.</dialogue>
<scene_description>Mia closes the door . Before she can fully turn around and show us her face . BACK TO VINCENT standing where he was , MUSIC beating , looking at the closed door . We slowly ZOOM to the door . We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he contemplates what 's on the other side of the door . When we reach a CU , he walks OUT OF FRAME , breaking the spell . Vincent walks to the bar and pours himself a drink . WE JUXTAPOSE as the MUSIC plays . Mia 's dress selection is taken out of the closet . Vincent , drink in hand , moves into the living room . Mia , her back to CAMERA , dressed in her pretty dress , checks herself in the mirror . We DOLLY towards her . Her face is still obscured . CU - PORTRAIT OF MIA hanging on the living room wall , showing Mia sensually reclining on a couch . HIGH ANGLE SHOT OF VINCENT looking up at the portrait . CU - Mia cutting a huge line of coke on her vanity table with a credit card . Vincent sits on a plush , comfy couch . CU - MIA 'S NOSE snorting the line from a rolled up dollar bill . Vincent on the couch , drink in hand . The SONG abruptly CUTS OFF . CU - CD PLAYER OPENING Mia 's hand comes in and takes the CD out . The CAMERA follows behind Mia 's bare feet as she walks out of the dressing room , through the dining room , through the kitchen and into the living room . SHOT THROUGH A VIDEO CAMERA Mia has a camcorder and is videotaping Vincent on the couch . He looks up and sees her .</scene_description>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Smile, you're on Mia's camera!</dialogue>
<character>VINCENT</character>
<dialogue>Ready to go?</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Not yet. I'm going to interview you first. Are you any relation to Suzanne Vega?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, she's my cousin.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Suzanne Vega the folk singer is your cousin?</dialogue>
<character>VINCENT</character>
<dialogue>Suzanne Vega's my cousin. If she's become a folk singer, I sure as hell do n't know nothin' about it. But then I have n't been to too many Thanksgivings lately.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Now I'm gon na ask you a bunch of quick questions I've come up with that more of less tell me what kind of person I'm having dinner with. My theory is that when it comes to important subjects, there's only two ways a person can answer. For instance, there's two kinds of people in this world, Elvis people and Beatles people. Now Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are.</dialogue>
<character>VINCENT</character>
<dialogue>I can dig it.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I knew you could. First question, Brady Bunch or the Partridge Family?</dialogue>
<character>VINCENT</character>
<dialogue>The Partridge Family all the way, no comparison.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>On `` Rich Man, Poor Man,'' who did you like, Peter Strauss or Nick Nolte?</dialogue>
<character>VINCENT</character>
<dialogue>Nick Nolte, of course.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Are you a `` Bewitched'' man, or a `` Jeannie'' man?</dialogue>
<character>VINCENT</character>
<dialogue>`` Bewitched,'' all the way, though I always dug how Jeannie always called Larry Hagman `` master.''</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>If you were `` Archie,'' who would you fuck first, Betty or Veronica?</dialogue>
<character>VINCENT</character>
<dialogue>Betty. I never understood Veronica attraction.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Have you ever fantasized about being beaten up by a girl?</dialogue>
<character>VINCENT</character>
<dialogue>Sure.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Who?</dialogue>
<character>VINCENT</character>
<dialogue>Emma Peel on `` The Avengers.'' That tough girl who usta hang out with Encyclopedia Brown. And Arlene Motika.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Who's Arlene Motika?</dialogue>
<character>VINCENT</character>
<dialogue>Girl from sixth grade, you do n't know her.</dialogue>
<scene_description>CU - MIA lowers the camcorder from in front of her face and we get our first full - on look at her . When we do , we get a pretty good idea why Marsellus feels the way he does . She breaks out in a blinding smile .</scene_description>
<character>MIA</character>
<dialogue>Cut. Print. Let's go eat.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JACKRABBIT SLIM'S - NIGHT</stage_direction>
<scene_description>In the past six years , 50 's diners have sprung up all over LA , giving Thai restaurants a run for their money . They 're all basically the same . Decor out of an `` Archie '' comic book , Golden Oldies constantly emanating from a bubbly Wurlitzer , saucy waitresses in bobby socks , menus with items like the Fats Domino Cheeseburger , or the Wolfman Jack Omelette , and over prices that pay for all this bullshit . But then there 's JACKRABBIT SLIM 'S , the big mama of 50 's diners . Either the best or the worst , depending on your point of view . Vincent 's Malibu pulls up to the restaurant . A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment . Underneath the cartoon is the name : JACKRABBIT SLIM 'S . Underneath that is the slogan : `` Next best thing to a time machine . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S - NIGHT</stage_direction>
<scene_description>Compared to the interior , the exterior was that of a quaint English pub . Posters from 50 's A.I.P. movies are all over the wall -LRB- `` ROCK ALL NIGHT , '' `` HIGH SCHOOL CONFIDENTIAL , '' `` ATTACK OF THE CRAB MONSTER , '' and `` MACHINE GUN KELLY '' -RRB- . The booths that the patrons sit in are made out of the cut up bodies of 50s cars . In the middle of the restaurant in a dance floor . A big sign on the wall states , `` No shoes allowed . '' So wannabe beboppers -LRB- actually Melrose - types -RRB- , do the twist in their socks or barefeet . The picture windows do n't look out the street , but instead , B & W movies of 50 's street scenes play behind them . The WAITRESSES and WAITERS are made up as replicas of 50 's icons : MARILYN MONROE , ZORRO , JAMES DEAN , DONNA REED , MARTIN and LEWIS , and THE PHILIP MORRIS MIDGET , wait on tables wearing appropriate costumes . Vincent and Mia study the menu in a booth made out of a red '59 Edsel . BUDDY HOLLY -LRB- their waiter -RRB- , comes over , sporting a big button on his chest that says : `` Hi I 'm Buddy , pleasing you please me . ''</scene_description>
<character>BUDDY</character>
<dialogue>Hi I'm Buddy, what can I get ` cha?</dialogue>
<character>VINCENT</character>
<dialogue>I'll have the Douglas Sirk steak.</dialogue>
<character>BUDDY</character>
<dialogue>How d'ya want it, burnt to a crisp, or bloody as hell?</dialogue>
<character>VINCENT</character>
<dialogue>Bloody as hell. And to drink, a vanilla coke.</dialogue>
<character>BUDDY</character>
<dialogue>How ` bout you, Peggy Sue?</dialogue>
<character>MIA</character>
<dialogue>I'll have the Durwood Kirby burger - bloody - and a five - dollar shake.</dialogue>
<character>BUDDY</character>
<dialogue>How d'ya want that shake, Martin and Lewis, or Amos and Andy?</dialogue>
<character>MIA</character>
<dialogue>Martin and Lewis.</dialogue>
<character>VINCENT</character>
<dialogue>Did you just order a five - dollar shake?</dialogue>
<character>MIA</character>
<dialogue>Sure did.</dialogue>
<character>VINCENT</character>
<dialogue>A shake? Milk and ice cream?</dialogue>
<character>MIA</character>
<dialogue>Uh - huh.</dialogue>
<character>VINCENT</character>
<dialogue>It costs five dollars?</dialogue>
<character>BUDDY</character>
<dialogue>Yep.</dialogue>
<character>VINCENT</character>
<dialogue>You do n't put bourbon in it or anything?</dialogue>
<character>BUDDY</character>
<dialogue>Nope.</dialogue>
<character>VINCENT</character>
<dialogue>Just checking.</dialogue>
<scene_description>Buddy exits . Vincent takes a look around the place . The YUPPIES are dancing , the DINERS are biting into big , juicy hamburgers , and the icons are playing their parts . Marilyn is squealing , The Midget is paging Philip Morris , Donna Reed is making her customers drink their milk , and Dean and Jerry are acting a fool .</scene_description>
<character>MIA</character>
<dialogue>Whaddya think?</dialogue>
<character>VINCENT</character>
<dialogue>It's like a wax museum with a pulse rate.</dialogue>
<scene_description>Vincent takes out his pouch of tobacco and begins rolling himself a smoke . After a second of watching him -</scene_description>
<character>MIA</character>
<dialogue>What are you doing?</dialogue>
<character>VINCENT</character>
<dialogue>Rollin' a smoke.</dialogue>
<character>MIA</character>
<dialogue>Here?</dialogue>
<character>VINCENT</character>
<dialogue>It's just tobacco.</dialogue>
<character>MIA</character>
<dialogue>Oh. Well in that case, will you roll me one, cowboy?</dialogue>
<scene_description>As he finishes licking it -</scene_description>
<character>VINCENT</character>
<dialogue>You can have his one, cowgirl.</dialogue>
<scene_description>He hands her the rolled smoke . She takes it , putting it to her lips . Out of nowhere appears a Zippo lighter in Vincent 's hand . He lights it .</scene_description>
<character>MIA</character>
<dialogue>Thanks.</dialogue>
<character>VINCENT</character>
<dialogue>Think nothing of it.</dialogue>
<scene_description>He begins rolling one for himself . As this time , the SOUND of a subway car fills the diner , making everything SHAKE and RATTLE . Marilyn Monroe runs to a square vent in the floor . An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal . The entire restaurant applauds . Back to Mia and Vincent</scene_description>
<character>MIA</character>
<dialogue>Marsellus said you just got back from Amsterdam.</dialogue>
<character>VINCENT</character>
<dialogue>Sure did. I heard you did a pilot.</dialogue>
<character>MIA</character>
<dialogue>That was my fifteen minutes.</dialogue>
<character>VINCENT</character>
<dialogue>What was it?</dialogue>
<character>MIA</character>
<dialogue>It was show about a team of female secret agents called `` Fox Force Five.''</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>MIA</character>
<dialogue>`` Fox Force Five.'' Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one. two. three. four. five of us. There was a blonde one, Sommerset O'Neal from that show `` Baton Rouge,'' she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex.</dialogue>
<character>VINCENT</character>
<dialogue>What was your specialty?</dialogue>
<character>MIA</character>
<dialogue>Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist - when you're keeping the world safe from evil, you never know when being a trapeze artist's gon na come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke.</dialogue>
<character>VINCENT</character>
<dialogue>Do you remember any of the jokes?</dialogue>
<character>MIA</character>
<dialogue>Well I only got the chance to say one,'cause we only did one show.</dialogue>
<character>VINCENT</character>
<dialogue>Tell me.</dialogue>
<character>MIA</character>
<dialogue>No. It's really corny.</dialogue>
<character>VINCENT</character>
<dialogue>C'mon, do n't be that way.</dialogue>
<character>MIA</character>
<dialogue>No. You wo n't like it and I'll be embarrassed.</dialogue>
<character>VINCENT</character>
<dialogue>You told it in front of fifty million people and you ca n't tell it to me? I promise I wo n't laugh.</dialogue>
<character>MIA</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>That's what I'm afraid of.</dialogue>
<character>VINCENT</character>
<dialogue>That's not what I meant and you know it.</dialogue>
<character>MIA</character>
<dialogue>You're quite the silver tongue devil, are n't you?</dialogue>
<character>VINCENT</character>
<dialogue>I meant I would n't laugh at you.</dialogue>
<character>MIA</character>
<dialogue>That's not what you said Vince. Well now I'm definitely not gon na tell ya,'cause it's been built up too much.</dialogue>
<character>VINCENT</character>
<dialogue>What a gyp.</dialogue>
<scene_description>Buddy comes back with the drinks . Mia wraps her lips around the straw of her shake .</scene_description>
<character>MIA</character>
<dialogue>Yummy!</dialogue>
<character>VINCENT</character>
<dialogue>Can I have a sip of that? I'd like to know what a five - dollar shake tastes like.</dialogue>
<character>MIA</character>
<dialogue>Be my guest.</dialogue>
<scene_description>She slides the shake over to him .</scene_description>
<character>MIA</character>
<dialogue>You can use my straw, I do n't have kooties.</dialogue>
<scene_description>Vincent smiles .</scene_description>
<character>VINCENT</character>
<dialogue>Yeah, but maybe I do.</dialogue>
<character>MIA</character>
<dialogue>Kooties I can handle.</dialogue>
<scene_description>He takes a sip .</scene_description>
<character>VINCENT</character>
<dialogue>Goddamn! That's a pretty fuckin' good milk shake.</dialogue>
<character>MIA</character>
<dialogue>Told ya.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't know if it's worth five dollars, but it's pretty fuckin' good.</dialogue>
<scene_description>He slides the shake back . Then the first of an uncomfortable silence happens .</scene_description>
<character>MIA</character>
<dialogue>Do n't you hate that?</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>MIA</character>
<dialogue>Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?</dialogue>
<character>VINCENT</character>
<dialogue>I do n't know.</dialogue>
<character>MIA</character>
<dialogue>That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't think we're there yet. But do n't feel bad, we just met each other.</dialogue>
<character>MIA</character>
<dialogue>Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say.</dialogue>
<character>VINCENT</character>
<dialogue>I'll do that.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT</stage_direction>
<scene_description>Mia powders her nose by doing a big line of coke off the bathroom sink . Her head jerks up from the rush .</scene_description>
<character>MIA</character>
<parenthetical>( imitating Steppenwolf . )</parenthetical>
<dialogue>I said goddamn!</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S (DINING AREA) - NIGHT</stage_direction>
<scene_description>Vincent digs into his Douglas Sirk steak . As he chews , his eyes scan the Hellsapopinish restaurant . Mia comes back to the table .</scene_description>
<character>MIA</character>
<dialogue>Do n't you love it when you go to the bathroom and you come back to find your food waiting for you?</dialogue>
<character>VINCENT</character>
<dialogue>We're lucky we got it at all. Buddy Holly does n't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section.</dialogue>
<character>MIA</character>
<dialogue>Which one, there's two Marilyn Monroes.</dialogue>
<character>VINCENT</character>
<dialogue>No there's not.</dialogue>
<scene_description>Pointing at Marilyn in the white dress serving a table .</scene_description>
<character>VINCENT</character>
<dialogue>That's Marilyn Monroe.</dialogue>
<scene_description>Then , pointing at a BLONDE WAITRESS in a tight sweater and capri pants , taking an order from a bunch of FILM GEEKS -</scene_description>
<character>VINCENT</character>
<dialogue>and that's Mamie Van Doren. I do n't see Jayne Mansfield, so it must be her night off.</dialogue>
<character>MIA</character>
<dialogue>Pretty smart.</dialogue>
<character>VINCENT</character>
<dialogue>I have moments.</dialogue>
<character>MIA</character>
<dialogue>Did ya think of something to say?</dialogue>
<character>VINCENT</character>
<dialogue>Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I did n't want to offend you.</dialogue>
<character>MIA</character>
<dialogue>Oooohhhh, this does n't sound like mindless, boring, getting - to - know - you chit - chat. This sounds like you actually have something to say.</dialogue>
<character>VINCENT</character>
<dialogue>Only if you promise not to get offended.</dialogue>
<character>MIA</character>
<dialogue>You ca n't promise something like that. I have no idea what you're gon na ask. You could ask me what you're gon na ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise.</dialogue>
<character>VINCENT</character>
<dialogue>Then let's just forget it.</dialogue>
<character>MIA</character>
<dialogue>That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility.</dialogue>
<character>VINCENT</character>
<dialogue>Is that a fact?</dialogue>
<scene_description>Mia nods her head : `` Yes . ''</scene_description>
<character>MIA</character>
<dialogue>Besides, it's more exciting when you do n't have permission.</dialogue>
<character>VINCENT</character>
<dialogue>What do you think about what happened to Antwan?</dialogue>
<character>MIA</character>
<dialogue>Who's Antwan?</dialogue>
<character>VINCENT</character>
<dialogue>Tony Rocky Horror.</dialogue>
<character>MIA</character>
<dialogue>He fell out of a window.</dialogue>
<character>VINCENT</character>
<dialogue>That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you.</dialogue>
<character>MIA</character>
<dialogue>Is that a fact?</dialogue>
<character>VINCENT</character>
<dialogue>No it's not, it's just what I heard.</dialogue>
<character>MIA</character>
<dialogue>Who told you this?</dialogue>
<character>VINCENT</character>
<dialogue>They.</dialogue>
<scene_description>Mia and Vincent smile .</scene_description>
<character>MIA</character>
<dialogue>They talk a lot, do n't they?</dialogue>
<character>VINCENT</character>
<dialogue>They certainly do.</dialogue>
<character>MIA</character>
<dialogue>Well do n't by shy Vincent, what exactly did they say?</dialogue>
<scene_description>Vincent is slow to answer</scene_description>
<character>MIA</character>
<dialogue>Let me help you Bashful, did it involve the F - word?</dialogue>
<character>VINCENT</character>
<dialogue>No. They just said Rocky Horror gave you a foot massage.</dialogue>
<character>MIA</character>
<dialogue>And?</dialogue>
<character>VINCENT</character>
<dialogue>No and, that's it.</dialogue>
<character>MIA</character>
<dialogue>You heard Marsellus threw Rocky Horror out of a four - story window because he massaged my feet?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah.</dialogue>
<character>MIA</character>
<dialogue>And you believed that?</dialogue>
<character>VINCENT</character>
<dialogue>At the time I was told, it seemed reasonable.</dialogue>
<character>MIA</character>
<dialogue>Marsellus throwing Tony out of a four - story window for giving me a foot massage seemed reasonable?</dialogue>
<character>VINCENT</character>
<dialogue>No, it seemed excessive. But that does n't mean it did n't happen. I heard Marsellus is very protective of you.</dialogue>
<character>MIA</character>
<dialogue>A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else.</dialogue>
<character>VINCENT</character>
<dialogue>But did it happen?</dialogue>
<character>MIA</character>
<dialogue>The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once - at my wedding - then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle.</dialogue>
<character>VINCENT</character>
<dialogue>Are you mad?</dialogue>
<character>MIA</character>
<dialogue>Not at all. Being the subject of back - fence gossip goes with the right, I guess.</dialogue>
<scene_description>She takes a sip of her five - dollar shake , and says :</scene_description>
<character>MIA</character>
<dialogue>Thanks.</dialogue>
<character>VINCENT</character>
<dialogue>What for?</dialogue>
<character>MIA</character>
<dialogue>Asking my side.</dialogue>
<scene_description>At that moment , a great oldie - but - goodie BLASTS from the jukebox .</scene_description>
<character>MIA</character>
<dialogue>I wan na dance.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not much of a dancer.</dialogue>
<character>MIA</character>
<dialogue>Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.</dialogue>
<scene_description>Vincent smiles and begins taking off his boots . Mia triumphantly casts hers off . He takes her hand , escorting her to the dance floor . The two face each other for that brief moment before you begin to dance , than they both break into a devilish twist . Mia 's version of the twist is that of a sexy cat . Vincent is pure Mr. Cool as he gets into a hip - swivelling rhythm that would make Mr. Checker proud . The OTHER DANCERS on the floor are trying to do the same thing , but Vincent and Mia seem to be strangely shaking their asses in sync . The two definitely share a rhythm and share smiles as they SING ALONG with the last verse of the Golden Oldie .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S HOME - NIGHT</stage_direction>
<scene_description>The front door FLINGS open , and Mia and Vincent dance tango - style into the house , singing a cappella the song from the previous scene . They finish their little dance , laughing . Then . The two just stand face to face looking at each other .</scene_description>
<character>VINCENT</character>
<dialogue>Was than an uncomfortable silence?</dialogue>
<character>MIA</character>
<dialogue>I do n't know what that was.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Music and drinks!</dialogue>
<scene_description>Mia moves away to attend to both . Vincent hangs up his overcoat on a big bronze coat rack in the alcove .</scene_description>
<character>VINCENT</character>
<dialogue>I'm gon na take a piss.</dialogue>
<character>MIA</character>
<dialogue>That was a little bit more information than I needed to know, but for right ahead.</dialogue>
<scene_description>Vincent shuffles off to the john . Mia moves to her CD player , thumbs through a stack of CDs and selects one : k.d. lang . The speakers BLAST OUT a high energy country number , which Mia plays air - guitar to . She dances her way around the room and finds herself by Vincent 's overcoat hanging on the rack . She touches its sleeve . It feels good . Her hand hoes in its pocket and pulls out his tobacco pouch . Like a little girl playing cowboy , she spreads the tobacco on some rolling paper . Imitating what he did earlier , licks the paper and rolls it into a pretty good cigarette . Maybe a little too fat , but not bad for a first try . Mia thinks so anyway . Her hand reaches back in the pocket and pulls out his Zippo lighter . She SLAPS the lighter against her leg , trying to light it fancy - style like Vince did . What do you know , she did it ! Mia 's one happy clam . She triumphantly brings the fat flame up to her fat smoke , lighting it up , then LOUDLY SNAPS the Zippo closed . The Mia - made cigarette is brought up to her lips , and she takes a long , cool drag . Her hand slides the Zippo back in the overcoat pocket . But wait , her fingers touch something else . Those fingers bring out a plastic bag with white powder inside , the madman that Vincent bought earlier from Lance . Wearing a big smile , Mia brings the bag of heroin up to her face .</scene_description>
<character>MIA</character>
<parenthetical>( like you would say Bingo ! )</parenthetical>
<dialogue>Disco! Vince, you little cola nut, you've been holding out on me.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) - NIGHT</stage_direction>
<scene_description>Vincent stands at the sink , washing his hands , talking to himself in the mirror .</scene_description>
<character>VINCENT</character>
<dialogue>One drink and leave. Do n't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.</dialogue>
<scene_description>LIVING ROOM Mia has the unbeknownst - to - her heroin cut up into big lines on her glass top coffee table . Taking her trusty hundred dollar bill like a human Dust - Buster , she quickly snorts the fat line . CU - MIA her head JERKS back . Her hands go to her nose -LRB- which feels like it 's on fucking fire -RRB- , something is terribly wrong . Then . the rush hits . BATHROOM Vincent dries his hands on a towel while he continues his dialogue with the mirror .</scene_description>
<character>VINCENT</character>
<dialogue>it's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.</dialogue>
<scene_description>LIVING ROOM Mia is on all fours trying to crawl to the bathroom , but it 's like she 's trying to crawl with the bones removed from her knees . Blood begins to drip from Mia 's nose . Then her stomach gets into the act and she VOMITS . BATHROOM Vince continues .</scene_description>
<character>VINCENT</character>
<dialogue>So you're gon na go out there, drink your drink, say `` Goodnight, I've had a very lovely evening,'' go home, and jack off. And that's all you're gon na do.</dialogue>
<scene_description>Now that he 's given himself a little pep talk , Vincent 's ready for whatever 's waiting for him on the other side of that door . So he goes through it . LIVING ROOM We follow behind Vincent as he walks from the bathroom to the living room , where he finds Mia lying on the floor like a rag doll . She 's twisted on her back . Blood and puke are down her front . And her face is contorted . Not out of the tightness of pain , but just the opposite , the muscles in her face are so relaxed , she lies still with her mouth wide open . Slack - jawed .</scene_description>
<character>VINCENT</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Vincent moves like greased lightning to Mia 's fallen body . Bending down where she lays , he puts his fingers on her neck to check her pulse . She slightly stirs . Mia is aware of Vincent over her , speaking to her .</scene_description>
<character>VINCENT</character>
<parenthetical>( sounding weird . )</parenthetical>
<dialogue>Mia! Mia! What the hell happened?</dialogue>
<scene_description>But she 's unable to communicate . Mia makes a few lost mumbles , but they 're not distinctive enough to be called words . Vincent props her eyelids open and sees the story .</scene_description>
<character>VINCENT</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>I'll be a sonofabitch.</dialogue>
<parenthetical>( to Mia . )</parenthetical>
<dialogue>Mia! Mia! What did you take? Answer me honey, what did you take?</dialogue>
<scene_description>Mia is incapable of answering . He SLAPS her face hard . Vincent SPRINGS up and RUNS to his overcoat , hanging on the rack . He goes through the pockets FRANTICALLY . It 's gone . Vincent makes a beeline to Mia . We follow .</scene_description>
<character>VINCENT</character>
<parenthetical>( yelling to Mia . )</parenthetical>
<dialogue>Okay honey, we're getting you on your feet.</dialogue>
<scene_description>He reaches her and hoists the dead weight up in his arms .</scene_description>
<character>VINCENT</character>
<dialogue>We're on our feet now, and now we're gon na talk out to the car. Here we go, watch us walk.</dialogue>
<scene_description>We follow behind as he hurriedly walks the practically - unconscious Mia through the house and out the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VINCENT'S HOT ROD (MOVING) - NIGHT</stage_direction>
<scene_description>INSERT SPEEDOMETER : red needle on a hundred . Vincent driving like a madman in a town without traffic laws , speeds the car into turns and up and over hills .</scene_description>
</scene>
<scene>
<stage_direction>INT. VINCENT'S HOT ROD (MOVING) - NIGHT</stage_direction>
<scene_description>Vincent , one hand firmly on the wheel , the other shifting like Robocop , both eyes staring straight ahead except when he glances over at Mia . Mia , slack - jawed expression , mouth gaping , posture of a bag of water . Vincent takes a cellular phone out of his pocket . He punches a number .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>At this late hour , Lance has transformed from a bon vivant drug dealer to a bathrobe creature . He sits in a big comfy chair , ratty blue gym pants , a worn - out but comfortable tee - shirt that has , written on it , `` TAFT , CALIFORNIA , '' and a moth - ridden terry cloth robe . In his hand is a bowl of Cap'n Crunch with Crunch Berries . In front of him on the coffee table is a jug of milk , the box the Cap'n Crunch with Crunch Berries came out of , and a hash pipe in an ashtray . On the big - screen TV in front of the table is the Three Stooges , and they 're getting married .</scene_description>
<character>PREACHER</character>
<parenthetical>( EMIL SIMKUS . )</parenthetical>
<parenthetical>( on TV . )</parenthetical>
<dialogue>Hold hands, you love birds.</dialogue>
<scene_description>The phone RINGS . Lance puts down his cereal and makes his way to the phone . It RINGS again . Jody , his wife , CALLS from the bedroom , obviously woken up .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Lance! The phone's ringing!</dialogue>
<character>LANCE</character>
<parenthetical>( calling back . )</parenthetical>
<dialogue>I can hear it!</dialogue>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I thought you told those fuckin' assholes never to call this late!</dialogue>
<character>LANCE</character>
<parenthetical>( by the phone . )</parenthetical>
<dialogue>I told'em and that's what I'm gon na tell this fuckin' asshole right now!</dialogue>
<parenthetical>( he answers the phone . )</parenthetical>
<dialogue>Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.</dialogue>
<scene_description>BACK TO VINCENT IN THE MALIBU Vincent is still driving like a stripe - assed ape , clutching the phone to his ear . WE CUT BACK AND FORTH during the conversation .</scene_description>
<character>VINCENT</character>
<dialogue>Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.</dialogue>
<character>LANCE</character>
<dialogue>Whoa, hold you horses man, what's the problem?</dialogue>
<character>VINCENT</character>
<dialogue>You still got an adrenalin shot?</dialogue>
<character>LANCE</character>
<parenthetical>( dawning on him . )</parenthetical>
<dialogue>Maybe.</dialogue>
<character>VINCENT</character>
<dialogue>I need it man, I got a chick she's fuckin' O.D.ing on me.</dialogue>
<character>LANCE</character>
<dialogue>Do n't bring her here! I'm not even fuckin' joking with you, do n't you be bringing some fucked up pooh - butt to my house!</dialogue>
<character>VINCENT</character>
<dialogue>No choice.</dialogue>
<character>LANCE</character>
<dialogue>She's O.D.in'?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah. She's dyin'.</dialogue>
<character>LANCE</character>
<dialogue>Then bite the fuckin' bullet, take ` er to a hospital and call a lawyer!</dialogue>
<character>VINCENT</character>
<dialogue>Negative.</dialogue>
<character>LANCE</character>
<dialogue>She ai n't my fuckin' problem, you fucked her up, you deal with it - are you talkin' to me on a cellular phone?</dialogue>
<character>VINCENT</character>
<dialogue>Sorry.</dialogue>
<character>LANCE</character>
<dialogue>I do n't know you, who is this, do n't come here, I'm hangin' up.</dialogue>
<character>VINCENT</character>
<dialogue>Too late, I'm already here.</dialogue>
<scene_description>At that moment inside Lance 's house , WE HEAR Vincent 's Malibu coming up the street . Lance hangs up the phone , goes to his curtains and YANKS the cord . The curtains open with a WHOOSH in time to see Vincent 's Malibu DRIVING UP on his front lawn and CRASHING into his house . THe window Lance is looking out of SHATTERS from the impact .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What the hell was that?</dialogue>
<scene_description>Lance CHARGES from the window , out the door to his front lawn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>Vincent is already out of the car , working on getting Mia out .</scene_description>
<character>LANCE</character>
<dialogue>Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone -</dialogue>
<character>VINCENT</character>
<dialogue>If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!</dialogue>
<character>LANCE</character>
<dialogue>Are you deaf? You're not bringin' that fucked up bitch in my house!</dialogue>
<character>VINCENT</character>
<dialogue>This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gon na be forced to tell ` im about how you coulda saved her life, but instead you let her die on your front lawn.</dialogue>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>WE START in Lance 's and Jody 's bedroom . Jody , in bed , throws off the covers and stands up . She 's wearing a long tee - shirt with a picture of Fred Flintstone on it . We follow HANDHELD behind her as she opens the door , walking through the hall into the living room .</scene_description>
<character>JODY</character>
<dialogue>It's only one - thirty in the goddamn mornin'! What the fuck's goin' on out here?</dialogue>
<scene_description>As she walks in the living room , she sees Vincent and Lance standing over Mia , who 's lying on the floor in the middle of the room . From here on in , everything in this scene is frantic , like a DOCUMENTARY in an emergency ward , with the big difference here being nobody knows what the fuck they 're doing .</scene_description>
<character>JODY</character>
<dialogue>Who's she?</dialogue>
<scene_description>Lance looks up at Jody .</scene_description>
<character>LANCE</character>
<dialogue>Get that black box in the bedroom I have with the adrenalin shot.</dialogue>
<character>JODY</character>
<dialogue>What's wrong with her?</dialogue>
<character>VINCENT</character>
<dialogue>She's O.D.ing on us.</dialogue>
<character>JODY</character>
<dialogue>Well get her the hell outta here!</dialogue>
<character>LANCE AND VINCENT</character>
<parenthetical>( in stereo . )</parenthetical>
<dialogue>Get the fuckin' shot!</dialogue>
<character>JODY</character>
<dialogue>Do n't yell and me!</dialogue>
<scene_description>She angrily turns and disappears into the bedroom looking for the shot . WE MOVE into the room with the two men .</scene_description>
<character>VINCENT</character>
<parenthetical>( to Lance . )</parenthetical>
<dialogue>You two are a match made in heaven.</dialogue>
<character>LANCE</character>
<dialogue>Look, just keep talkin' to her, okay? While she's gettin' the shot, I got ta get a medical book.</dialogue>
<character>VINCENT</character>
<dialogue>What do you need a medical book for?</dialogue>
<character>LANCE</character>
<dialogue>To tell me how to do it. I've never given an adrenalin shot before.</dialogue>
<character>VINCENT</character>
<dialogue>You've had that thing for six years and you never used it?</dialogue>
<character>LANCE</character>
<dialogue>I never had to use it. I do n't go joy - poppin' with bubble - gummers, all of my friends can handle their highs!</dialogue>
<character>VINCENT</character>
<dialogue>Well then get it.</dialogue>
<character>LANCE</character>
<dialogue>I am, if you'll let me.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not fuckin' stoppin' you.</dialogue>
<character>LANCE</character>
<dialogue>Stop talkin' to me, and start talkin' to her.</dialogue>
<scene_description>WE FOLLOW Lance as he runs out of the living room into a . SPARE ROOM with a bunch of junk in it . He frantically starts scanning the junk for the book he 's looking for , repeating the words , `` Come on , '' endlessly . From OFF SCREEN we hear :</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Hurry up man! We're losin' her!</dialogue>
<character>LANCE</character>
<parenthetical>( calling back . )</parenthetical>
<dialogue>I'm looking as fast as I can!</dialogue>
<scene_description>Lance continues his frenzied search . WE HEAR Jody in the living room now as she talks to Vincent .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What's he lookin' for?</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I dunno, some medical book.</dialogue>
<scene_description>Jody calls to Lance .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What are you lookin' for?</dialogue>
<character>LANCE</character>
<dialogue>My black medical book!</dialogue>
<scene_description>As he continues searching , flipping and knocking over shit , Jody appears in the doorway .</scene_description>
<character>JODY</character>
<dialogue>Whata re you looking for?</dialogue>
<character>LANCE</character>
<dialogue>My black fuckin' medical book. It's like a text book they give to nurses.</dialogue>
<character>JODY</character>
<dialogue>I never saw a medical book.</dialogue>
<character>LANCE</character>
<dialogue>Trust me, I have one.</dialogue>
<character>JODY</character>
<dialogue>Well if it's that important, why did n't you keep it with the shot?</dialogue>
<scene_description>Lance spins toward her .</scene_description>
<character>LANCE</character>
<dialogue>I do n't know! Stop bothering me!</dialogue>
<character>JODY</character>
<dialogue>While you're lookin' for it, that girl's gon na die on our carpet. You're never gon na find it in all this shit. For six months now, I've been telling you to clean this room -</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- get your ass in here, fuck the book!</dialogue>
<scene_description>Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room . LIVING ROOM Vincent is bent over Mia , talking softly to her , when Lance reenters the room .</scene_description>
<character>VINCENT</character>
<dialogue>Quit fuckin' around man and give her the shot!</dialogue>
<scene_description>Lance bends down by the black case brought in by Jody . He opens it and begins preparing the needle for injection .</scene_description>
<character>LANCE</character>
<dialogue>While I'm doing this, take her shirt off and find her heart.</dialogue>
<scene_description>Vince rips her blouse open . Jody stumbles back in the room , hanging back from the action .</scene_description>
<character>VINCENT</character>
<dialogue>Does it have to be exact?</dialogue>
<character>LANCE</character>
<dialogue>Yeah, it has to be exact! I'm giving her an injection in the heart, so I got ta exactly hit her in the heart.</dialogue>
<character>VINCENT</character>
<dialogue>Well, I do n't know exactly where her heart is, I think it's here.</dialogue>
<scene_description>Vince points to Mia 's right breast . Lance glances over and nods .</scene_description>
<character>LANCE</character>
<dialogue>That's it.</dialogue>
<scene_description>As Lance readies the injection , Vincent looks up at Jody .</scene_description>
<character>VINCENT</character>
<dialogue>I need a big fat magic marker, got one?</dialogue>
<character>JODY</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>I need a big fat magic marker, any felt pen'll do, but a magic marker would be great.</dialogue>
<character>JODY</character>
<dialogue>Hold on.</dialogue>
<scene_description>Jody runs to the desk , opens the top drawer and , in her enthusiasm , she pulls the drawer out of the desk , the contents of which -LRB- bills , papers , pens -RRB- spill to the floor . The injection is ready . Lance hands Vincent the needle .</scene_description>
<character>LANCE</character>
<dialogue>It's ready, I'll tell you what to do.</dialogue>
<character>VINCENT</character>
<dialogue>You're gon na give her the shot.</dialogue>
<character>LANCE</character>
<dialogue>No, you're gon na give her the shot.</dialogue>
<character>VINCENT</character>
<dialogue>I've never does this before.</dialogue>
<character>LANCE</character>
<dialogue>I've never does this before either, and I ai n't starting now. You brought ` er here, that means you give her the shot. The day I bring an O.D.ing bitch to your place, then I got ta give her the shot.</dialogue>
<scene_description>Jody hurriedly joins them in the huddle , a big fat red magic marker in her hand .</scene_description>
<character>JODY</character>
<dialogue>Got it.</dialogue>
<scene_description>Vincent grabs the magic marker out of Jody 's hand and makes a big red dot in Mia 's body where her heart is .</scene_description>
<character>VINCENT</character>
<dialogue>Okay, what do I do?</dialogue>
<character>LANCE</character>
<dialogue>Well, you're giving her an injection of adrenalin straight to her heart. But she's got a breast plate in front of her heart, so you got ta pierce through that. So what you got ta do is bring the needle down in a stabbing motion.</dialogue>
<scene_description>Lance demonstrates a stabbing motion , which looks like `` The Shape '' killing its victims in `` HALLOWEEN . ''</scene_description>
<character>VINCENT</character>
<dialogue>I got ta stab her?</dialogue>
<character>LANCE</character>
<dialogue>If you want the needle to pierce through to her heart, you got ta stab her hard. Then once you do, push down on the plunger.</dialogue>
<character>VINCENT</character>
<dialogue>What happens after that?</dialogue>
<character>LANCE</character>
<dialogue>I'm curious about that myself.</dialogue>
<character>VINCENT</character>
<dialogue>This ai n't a fuckin' joke man!</dialogue>
<character>LANCE</character>
<dialogue>She's supposed to come out of it like -.</dialogue>
<parenthetical>( snaps his fingers . )</parenthetical>
<dialogue>- that.</dialogue>
<scene_description>Vincent lifts the needle up above his head in a stabbing motion . He looks down on Mia . Mia is fading fast . Soon nothing will help her . Vincent 's eyes narrow , ready to do this .</scene_description>
<character>VINCENT</character>
<dialogue>Count to three.</dialogue>
<scene_description>Lance , on this knees right beside Vincent , does not know what to expect .</scene_description>
<character>LANCE</character>
<dialogue>One.</dialogue>
<scene_description>RED DOT on Mia 's body . Needle raised ready to strike .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>two.</dialogue>
<scene_description>Jody 's face is alive with anticipation . NEEDLE in that air , poised like a rattler ready to strike .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>three!</dialogue>
<scene_description>The needle leaves frame , THRUSTING down hard . Vincent brings the needle down hard , STABBING Mia in the chest . Mia 's head if JOLTED from the impact . The syringe plunger is pushed down , PUMPING the adrenalin out through the needle . Mia 's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee . She BOLTS UP in a sitting position , needle stuck in her chest - SCREAMING . Vincent , Lance and Jody , who were in sitting positions in front of Mia , JUMP BACK , scared to death . Mia 's scream runs out . She slowly starts taking breaths of air . The other three , now scooted halfway across the room , shaken to their bones , look to see if she 's alright .</scene_description>
<character>LANCE</character>
<dialogue>If you're okay, say something.</dialogue>
<scene_description>Mia , still breathing , not looking up at them , says in a relatively normal voice .</scene_description>
<character>MIA</character>
<dialogue>Something.</dialogue>
<scene_description>Vincent and Lance collapse on their backs , exhausted and shaking from how close to death Mia came .</scene_description>
<character>JODY</character>
<dialogue>Anybody want a beer?</dialogue>
</scene>
<scene>
<stage_direction>INT. VINCENT'S MALIBU (MOVING) - NIGHT</stage_direction>
<scene_description>Vincent is behind the wheel driving Mia home . No one says anything , both are still too shaken .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>The Malibu pulls up to the front . Mia gets out without saying a word -LRB- still in a daze -RRB- and begins walking down the walkway toward her front door .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Mia!</dialogue>
<scene_description>She turns around . Vincent 's out of the car , standing on the walkway , a big distance between the two .</scene_description>
<character>VINCENT</character>
<dialogue>What are your thoughts on how to handle this?</dialogue>
<character>MIA</character>
<dialogue>What's yours?</dialogue>
<character>VINCENT</character>
<dialogue>Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident.</dialogue>
<scene_description>Mia smiles .</scene_description>
<character>MIA</character>
<dialogue>Do n't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you.</dialogue>
<character>VINCENT</character>
<dialogue>I seriously doubt that.</dialogue>
<character>MIA</character>
<dialogue>If you can keep a secret, so can I.</dialogue>
<character>VINCENT</character>
<dialogue>Let's shake on it.</dialogue>
<scene_description>The two walk toward each other , holding out their hands to shake and shake they do .</scene_description>
<character>VINCENT</character>
<dialogue>Mum's the word.</dialogue>
<scene_description>Mia lets go of Vincent 's hand and silently makes the see - no - evil , hear - no - evil , and speak - no - evil sign with her hands . Vincent smiles .</scene_description>
<character>VINCENT</character>
<dialogue>If you'll excuse me, I got ta go home and have a heart attack.</dialogue>
<scene_description>Mia giggles . Vincent turns to leave .</scene_description>
<character>MIA</character>
<dialogue>You still wan na hear my `` FOX FORCE FIVE'' joke?</dialogue>
<scene_description>Vincent turns around .</scene_description>
<character>VINCENT</character>
<dialogue>Sure, but I think I'm still a little too petrified to laugh.</dialogue>
<character>MIA</character>
<dialogue>Uh - huh. You wo n't laugh because it's not funny. But if you still wan na hear it, I'll tell it.</dialogue>
<character>VINCENT</character>
<dialogue>I ca n't wait.</dialogue>
<character>MIA</character>
<dialogue>Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him -.</dialogue>
<parenthetical>( STAMPS on the ground . )</parenthetical>
<dialogue>- and says : catch up.</dialogue>
<scene_description>They both smile , but neither laugh .</scene_description>
<character>MIA</character>
<dialogue>See ya ` round, Vince.</dialogue>
<scene_description>Mia turns and walks inside her house . CU - VINCENT after Mia walks inside . Vincent continues to look at where she was . He brings his hands to his lips and blows her a kiss . Then exits FRAME leaving it empty . WE HEAR his Malibu START UP and DRIVE AWAY . FADE TO BLACK ON THE CARTOON `` SPEED RACER . '' Speed is giving a detailed description of all the features on his race car `` The Mac - 5 , '' which he does at the beginning of every episode . OFF SCREEN we hear a WOMAN 'S VOICE .</scene_description>
<character>WOMAN'S VOICE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Butch.</dialogue>
<scene_description>BUTCH 'S POV We 're in the living room of a modest two bedroom house in Alhambra , California , in the year 1972 . BUTCH 'S MOTHER , 35ish , stands in the doorway leading into the living room . Next to her is a man dressed in the uniform of an American Air Force officer . The CAMERA is the perspective of a five - year old boy .</scene_description>
<character>MOTHER</character>
<dialogue>Butch, stop watching TV a second. We got a special visitor. Now do you remember when I told you your daddy dies in a P.O.W. camp?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Uh - huh.</dialogue>
<character>MOTHER</character>
<dialogue>Well this here is Capt. Koons. He was in the P.O.W. camp with Daddy.</dialogue>
<scene_description>CAPT. KOONS steps inside the room toward the little boy and bends down on one knee to bring him even with the boy 's eyeline . When Koons speaks , he speaks with a slight Texas accent .</scene_description>
<character>CAPT. KOONS</character>
<dialogue>Hello, little man. Boy I sure heard a bunch about you. See, I was a good friend of your Daddy's. We were in that Hanoi pit of hell over five years together. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your Daddy were, for as long as we were, you take on certain responsibilities of the other. If it had been me who had not made it, Major Coolidge would be talkin' right now to my son Jim. But the way it worked out is I'm talkin' to you, Butch. I got somethin' for ya.</dialogue>
<scene_description>The Captain pulls a gold wrist watch out of his pocket .</scene_description>
<character>CAPT. KOONS</character>
<dialogue>This watch I got here was first purchased by your great - granddaddy. It was bought during the First World War in a little general store in Knoxville, Tennessee. It was bought by private Doughboy Ernie Coolidge the day he set sail for Paris. It was your great - granddaddy's war watch, made by the first company to ever make wrist watches. You see, up until then, people just carried pocket watches. Your great - granddaddy wore that watch every day he was in the war. Then when he had done his duty, he went home to your great - grandmother, took the watch off his wrist and put it in an ol' coffee can. And in that can it stayed'til your grandfather Dane Coolidge was called upon by his country to go overseas and fight the Germans once again. This time they called it World War Two. Your great - granddaddy gave it to your granddad for good luck. Unfortunately, Dane's luck was n't as good as his old man's. Your granddad was a Marine and he was killed with all the other Marines at the battle of Wake Island. Your granddad was facing death and he knew it. None of those boys had any illusions about ever leavin' that island alive. So three days before the Japanese took the island, your 22 - year old grandfather asked a gunner on an Air Force transport named Winocki, a man he had never met before in his life, to deliver to his infant son, who he had never seen in the flesh, his gold watch. Three days later, your grandfather was dead. But Winocki kept his word. After the war was over, he paid a visit to your grandmother, delivering to your infant father, his Dad's gold watch. This watch. This watch was on your Daddy's wrist when he was shot down over Hanoi. He was captured and put in a Vietnamese prison camp. Now he knew if the gooks ever saw the watch it's be confiscated. The way your Daddy looked at it, that watch was your birthright. And he'd be damned if and slopeheads were gon na put their greasy yella hands on his boy's birthright. So he hid it in the one place he knew he could hide somethin'. His ass. Five long years, he wore this watch up his ass. Then when he died of disentary, he gave me the watch. I hid with uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.</dialogue>
<scene_description>Capt. Koons hands the watch to Butch . A little hand comes into FRAME to accept it .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER ROOM - NIGHT</stage_direction>
<scene_description>The 27 - year old Butch Coolidge is dressed in boxing regalia : trunks , shoes and gloves . He lies on a table catching a few zzzzzz 's before his big fight . Almost as soon as WE CUT to him , he wakes up with a start . Shaken by the bizarre memory , he wipes his sweaty face with his boxing glove . His trainer KLONDIKE , an older fireplug , opens the door a little , sticking his head in the room . Pandemonium seems to be breaking out behind Klondike in the hallway .</scene_description>
<character>KLONDIKE</character>
<dialogue>It's time, Butch.</dialogue>
<character>BUTCH</character>
<dialogue>I'm ready.</dialogue>
<scene_description>Klondike steps inside , closing the door on the WILD MOB outside . He goes to the long yellow robe hanging on a hook . Butch hops off the table and , without a word , Klondike helps him on with the robe , which says on the back : `` BATTLING BUTCH COOLIDGE . '' The two men head for the door . Klondike opens the door for Butch . As Butch steps into the hallway , the Crowd goes apeshit . Klondike closes the door behind him , leaving us in the quiet , empty locker room . FADE TO BLACK `` THE GOLD WATCH . ''</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- well Dan, that had to be the bloodiest and, hands - down, the most brutal fight this city has ever seen.</dialogue>
<scene_description>The SOUND of chaos in the b.g.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY (RAINING) - NIGHT</stage_direction>
<scene_description>A taxi is parked in a dark alley next to an auditorium . The sky is PISSIN ' DOWN RAIN . WE SLOWLY DOLLY toward the parked car . The SOUND of the CAR RADIO can be heard coming from inside .</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Coolidge was out of there faster than I've ever seen a victorious boxer vacate the ring. Do you think he knew Willis was dead?</dialogue>
<character>SPORTSCASTER #2</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>My guess would be yes, Richard. I could see from my position here, the frenzy in his eyes give way to the realization of what he was doing. I think any man would've left the ring that fast.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI (PARKED/RAINING) - NIGHT</stage_direction>
<scene_description>Inside the taxi , behind the wheel , is a female cabbie named ESMARELDA VILLALOBOS . A young woman , with Spanish looks , sits parked , drinking a steaming hot cup of coffee out of a white styrofoam cup . The Sportscasters continue their coverage .</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Do you feel this ring death tragedy will have an effect on the world of boxing?</dialogue>
<character>SPORTSCASTER #2</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Oh Dan, a tragedy like this ca n't help but shake the world of boxing to its very foundation. But it's of paramount importance that during the sad weeks ahead, the eyes of the W.B.A. remain firmly fixed on the - CLICK -</dialogue>
<scene_description>Esmarelda shuts off the radio . She takes a sip of coffee , then hears a NOISE behind her in the alley . She sticks her head out of the car door to see : A window about three stories high opens on the auditorium - side of the alley . A gym bag is tossed out into a garbage dumpster below the window . Then , Butch Coolidge , still dressed in boxing trunks , shoes , gloves and yellow robe , LEAPS to the dumpster below . ESMARELDA 'S REACTION takes in the strangeness of this sight . Gym bag in hand , Butch CLIMBS out of the dumpster and RUNS to the taxi . Before he climbs in , he takes off his robe and throws it to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI (PARKED/RAINING) - NIGHT</stage_direction>
<scene_description>Butch , soaking wet , naked except for trunks , shoes and gloves , HOPS in the backseat , SLAMMING the door . Esmarelda , staring straight ahead , talks to Butch through the rearview mirror :</scene_description>
<character>ESMARELDA</character>
<parenthetical>( Spanish accent . )</parenthetical>
<dialogue>Are you the man I was supposed to pick up?</dialogue>
<character>BUTCH</character>
<dialogue>If you're the cab I called, I'm the guy you're supposed to pick up.</dialogue>
<character>ESMARELDA</character>
<dialogue>Where to?</dialogue>
<character>BUTCH</character>
<dialogue>Outta here.</dialogue>
<scene_description>The ignition key is TWISTED . The engine ROARS to life . The meter is FLIPPED on . Esmarelda 's bare foot STOMPS on the gas pedal .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOXING AUDITORIUM (RAINING) - NIGHT</stage_direction>
<scene_description>The cab WHIPS out of the alley , FISH - TAILING on the wet pavement in front of the auditorium at a rapid pace .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT</stage_direction>
<scene_description>Locker room door opens , English Dave fights his way through the pandemonium which is going on outside in the hall , shutting the door on the madness . Once inside , English Dave takes time to adjust his suit and tie . In the room , black boxer FLOYD RAY WILLIS lies on a table - dead . His face looks like he went dunking for bees . His TRAINER is on his knees , head on Floyd 's chest , crying over the body . The huge figure that is Marsellus Wallace stands at the table , hand on the Trainer 's shoulder , lending emotional support . We still do not see Marsellus clearly , only that he is big . Mia sits in a chair at the far end of the room . Marsellus looks up , sees English Dave and walks over to him .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What ` cha got?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>He booked.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I'm prepared to scour the earth for this motherfucker. If Butch goes to Indo China, I want a nigger hidin' in a bowl of rice, ready to pop a cap in his ass.</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>I'll take care of it.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB (MOVING/RAINING) - NIGHT</stage_direction>
<scene_description>Butch gets one of his boxing gloves off . Esmarelda watches in the rearview mirror . He tries to roll down one of the backseat windows , but ca n't find the roll bar .</scene_description>
<character>BUTCH</character>
<dialogue>Hey, how do I open the window back here?</dialogue>
<character>ESMARELDA</character>
<dialogue>I have to do it.</dialogue>
<scene_description>She presses a button and the back window moves down . Butch tosses his boxing glove out the window , then starts untying the other one . Esmarelda ca n't keep quiet anymore .</scene_description>
<character>ESMARELDA</character>
<dialogue>Hey, mister?</dialogue>
<character>BUTCH</character>
<parenthetical>( still working on the glove . )</parenthetical>
<dialogue>What?</dialogue>
<character>ESMARELDA</character>
<dialogue>You were in that fight? The fight on the radio - you're the fighter?</dialogue>
<scene_description>As he tosses his other glove out the window .</scene_description>
<character>BUTCH</character>
<dialogue>Whatever gave you that idea?</dialogue>
<character>ESMARELDA</character>
<dialogue>No c'mon, you're him, I know you're him, tell me you're him.</dialogue>
<character>BUTCH</character>
<parenthetical>( drying himself with a gym towel . )</parenthetical>
<dialogue>I'm him.</dialogue>
<character>ESMARELDA</character>
<dialogue>You killed the other boxing man.</dialogue>
<character>BUTCH</character>
<dialogue>He's dead?</dialogue>
<character>ESMARELDA</character>
<dialogue>The radio said he was dead.</dialogue>
<scene_description>He finished wiping himself down .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Sorry ` bout that, Floyd.</dialogue>
<scene_description>He tosses the towel out the window . Silence , as Butch digs in his bag for a tee - shirt .</scene_description>
<character>ESMARELDA</character>
<dialogue>What does it feel like?</dialogue>
<character>BUTCH</character>
<parenthetical>( finds his shirt . )</parenthetical>
<dialogue>What does what feel like?</dialogue>
<character>ESMARELDA</character>
<dialogue>Killing a man. Beating another man to death with your bare hands.</dialogue>
<scene_description>Butch pulls on his tee - shirt .</scene_description>
<character>BUTCH</character>
<dialogue>Are you some kinda weirdo?</dialogue>
<character>ESMARELDA</character>
<dialogue>No, it's a subject I have much interest in. You are the first person I ever met who has killed somebody. So, what was it like to kill a man?</dialogue>
<character>BUTCH</character>
<dialogue>Tell ya what, you give me one of them cigarettes, I'll give you an answer.</dialogue>
<scene_description>Esmarelda bounces in her seat with excitment .</scene_description>
<character>ESMARELDA</character>
<dialogue>Deal!</dialogue>
<scene_description>Butch leans forward . Esmarelda , keeping her eyes on the road , passes a cigarette back to him . He takes it . Then , still not looking behind her , she brings up her hand , a lit match in it . Butch lights his smoke , then blows out the match . He takes a long drag .</scene_description>
<character>BUTCH</character>
<dialogue>So.</dialogue>
<scene_description>He looks at her license</scene_description>
<character>BUTCH</character>
<dialogue>Esmarelda Villalobos - is that Mexican?</dialogue>
<character>ESMARELDA</character>
<dialogue>The name is Spanish, but I'm Columbian.</dialogue>
<character>BUTCH</character>
<dialogue>It's a very pretty name.</dialogue>
<character>ESMARELDA</character>
<dialogue>It mean `` Esmarelda of the wolves.''</dialogue>
<character>BUTCH</character>
<dialogue>That's one hell of a name you got there, sister.</dialogue>
<character>ESMARELDA</character>
<dialogue>Thank you. And what is your name?</dialogue>
<character>BUTCH</character>
<dialogue>Butch.</dialogue>
<character>ESMARELDA</character>
<dialogue>Butch. What does it mean?</dialogue>
<character>BUTCH</character>
<dialogue>I'm an American, our names do n't mean shit. Anyway, moving right along, what is it you wan na know, Esmarelda?</dialogue>
<character>ESMARELDA</character>
<dialogue>I want to know what it feels like to kill a man -</dialogue>
<character>BUTCH</character>
<dialogue>- I could n't tell ya. I did n't know he was dead'til you told me he was dead. Now I know he's dead, do you wan na know how I feel about it?</dialogue>
<scene_description>Esmarelda nods her head : `` yes . ''</scene_description>
<character>BUTCH</character>
<dialogue>I do n't feel the least little bit bad. You wan na know why, Esmarelda?</dialogue>
<scene_description>Esmarelda nods her head : `` yes . ''</scene_description>
<character>BUTCH</character>
<dialogue>'Cause I'm a boxer. And after you've said that, you've said pretty much all there is to say about me. Now maybe that son - of - a - bitch tonight was once at one time a boxer. If he was, then he was dead before his ass ever stepped in the ring. I just put the poor bastard outta his misery. And if he never was a boxer -.</dialogue>
<parenthetical>( Butch takes a drag . )</parenthetical>
<dialogue>That's what he gets for fuckin' up my sport.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PHONE BOOTH (RAINING) - NIGHT</stage_direction>
<scene_description>We DOLLY around a phone booth as Butch talks inside .</scene_description>
<character>BUTCH</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>What's I tell ya, soon as the word got out a fix was in, the odds would be outta control. Hey, if he was a better fighter he's be alive. If he never laced up his gloves in the first place, which he never shoulda done, he'd be alive. Enough about the poor unfortunate Mr. Floyd, let's talk about the rich and prosperous Mr. Butch. How many bookies you spread it around with?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Eight? How long to collect?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>So by tomorrow evening, you'll have it all?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Good news Scotty, real good news - I understand a few stragglers aside. Me an' Fabian're gon na leave in the morning. It should take us a couple days to get into Knoxville. Next time we see each other, it'll be on Tennessee time.</dialogue>
<scene_description>Butch hangs up the phone . He looks at the cab waiting to take him wherever he wants to go .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself in French with English subtitles . )</parenthetical>
<dialogue>Fabian my love, our adventure begins.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL (STOPPED RAINING) - NIGHT</stage_direction>
<scene_description>Esmarelda 's tax pulled into the motel parking lot . The rain has stopped , but the night is still soaked . Butch gets out , now fully dressed in tee - shirt , jeans and high school athletic jacket . He leans in the driver 's side window .</scene_description>
<character>ESMARELDA</character>
<dialogue>Forty - five sixty.</dialogue>
<scene_description>Handing her the money .</scene_description>
<character>BUTCH</character>
<dialogue>Merci beaucoup. And here's a little something for the effort.</dialogue>
<scene_description>Butch holds up a hundred dollar bill . Esmarelda 's eyes light up . She goes to take it . Butch holds it out of reach .</scene_description>
<character>BUTCH</character>
<dialogue>Now if anybody should ask you about who your fare was tonight, what're you gon na tell'em?</dialogue>
<character>ESMARELDA</character>
<dialogue>The truth. Three well - dressed, slightly toasted, Mexicans.</dialogue>
<scene_description>He gives her the bill .</scene_description>
<character>BUTCH</character>
<dialogue>Bon soir, Esmarelda.</dialogue>
<character>ESMARELDA</character>
<parenthetical>( in Spanish . )</parenthetical>
<dialogue>Sleep well, Butch.</dialogue>
<scene_description>He tweaks her nose , she smiles , and he turns and walks away . She drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL (ROOM SIX) - NIGHT</stage_direction>
<scene_description>Butch enters and turns on the light . Lying curled up on the bed , fully dressed , with her back to us is Butch 's French girlfriend , FABIAN .</scene_description>
<character>FABIAN</character>
<dialogue>Keep the light off.</dialogue>
<scene_description>Butch flicks the switch back , making the room dark again .</scene_description>
<character>BUTCH</character>
<dialogue>Is that better, sugar pop?</dialogue>
<character>FABIAN</character>
<dialogue>Oui. Hard day at the office?</dialogue>
<character>BUTCH</character>
<dialogue>Pretty hard. I got into a fight.</dialogue>
<character>FABIAN</character>
<dialogue>Poor baby. Can we make spoons?</dialogue>
<scene_description>Butch climbs into bed , spooning Fabian from behind . When Butch and Fabian speak to each other , they speak in baby - talk .</scene_description>
<character>FABIAN</character>
<dialogue>I was looking at myself in the mirror.</dialogue>
<character>BUTCH</character>
<dialogue>Uh - huh?</dialogue>
<character>FABIAN</character>
<dialogue>I wish I had a pot.</dialogue>
<character>BUTCH</character>
<dialogue>You were lookin' in the mirror and you wish you had some pot?</dialogue>
<character>FABIAN</character>
<dialogue>A pot. A pot belly. Pot bellies are sexy.</dialogue>
<character>BUTCH</character>
<dialogue>Well you should be happy,'cause you do.</dialogue>
<character>FABIAN</character>
<dialogue>Shut up, Fatso! I do n't have a pot! I have a bit of a tummy, like Madonna when she did `` Lucky Star,'' it's not the same thing.</dialogue>
<character>BUTCH</character>
<dialogue>I did n't realize there was a difference between a tummy and a pot belly.</dialogue>
<character>FABIAN</character>
<dialogue>The difference is huge.</dialogue>
<character>BUTCH</character>
<dialogue>You want me to have a pot?</dialogue>
<character>FABIAN</character>
<dialogue>No. Pot bellies make a man look either oafish, or like a gorilla. But on a woman, a pot belly is very sexy. The rest of you is normal. Normal face, normal legs, normal hips, normal ass, but with a big, perfectly round pot belly. If I had one, I'd wear a tee - shirt two sizes too small to accentuate it.</dialogue>
<character>BUTCH</character>
<dialogue>You think guys would find that attractive?</dialogue>
<character>FABIAN</character>
<dialogue>I do n't give a damn what men find attractive. It's unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same.</dialogue>
<character>BUTCH</character>
<dialogue>If I had a pot belly, I'd punch you in it.</dialogue>
<character>FABIAN</character>
<dialogue>You'd punch me in my belly?</dialogue>
<character>BUTCH</character>
<dialogue>Right in the belly.</dialogue>
<character>FABIAN</character>
<dialogue>I'd smother you. I'd drop it on your right on your face'til you could n't breathe.</dialogue>
<character>BUTCH</character>
<dialogue>You'd do that to me?</dialogue>
<character>FABIAN</character>
<dialogue>Yes!</dialogue>
<character>BUTCH</character>
<dialogue>Did you get everything, sugar pop?</dialogue>
<character>FABIAN</character>
<dialogue>Yes, I did.</dialogue>
<character>BUTCH</character>
<dialogue>Good job.</dialogue>
<character>FABIAN</character>
<dialogue>Did everything go as planned?</dialogue>
<character>BUTCH</character>
<dialogue>You did n't listen to the radio?</dialogue>
<character>FABIAN</character>
<dialogue>I never listen to your fights. Were you the winner?</dialogue>
<character>BUTCH</character>
<dialogue>I won alright.</dialogue>
<character>FABIAN</character>
<dialogue>Are you still retiring?</dialogue>
<character>BUTCH</character>
<dialogue>Sure am.</dialogue>
<character>FABIAN</character>
<dialogue>What about the man you fought?</dialogue>
<character>BUTCH</character>
<dialogue>Floyd retired too.</dialogue>
<character>FABIAN</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Really?! He wo n't be fighting no more?!</dialogue>
<character>BUTCH</character>
<dialogue>Not no more.</dialogue>
<character>FABIAN</character>
<dialogue>So it all worked out in the finish?</dialogue>
<character>BUTCH</character>
<dialogue>We ai n't at the finish, baby.</dialogue>
<scene_description>Fabian rolls over and Butch gets on top of her . They kiss .</scene_description>
<character>FABIAN</character>
<dialogue>We're in a lot of danger, are n't we?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>If they find us, they'll kill us, wo n't they?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>But they wo n't find us, will they?</dialogue>
<scene_description>Butch nods his head : `` no . ''</scene_description>
<character>FABIAN</character>
<dialogue>Do you still want me to go with you?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>I do n't want to be a burden or a nuisance -</dialogue>
<scene_description>Butch 's hand goes out of frame and starts massaging her crotch . Fabian reacts .</scene_description>
<character>FABIAN</character>
<dialogue>Say it!</dialogue>
<character>BUTCH</character>
<dialogue>Fabian, I want you to be with me.</dialogue>
<character>FABIAN</character>
<dialogue>Forever?</dialogue>
<character>BUTCH</character>
<dialogue>and ever.</dialogue>
<scene_description>Fabian lies her head back . Butch continues to massage her crotch .</scene_description>
<character>FABIAN</character>
<dialogue>Do you love me?</dialogue>
<character>BUTCH</character>
<dialogue>Oui.</dialogue>
<character>FABIAN</character>
<dialogue>Butch? Will you give me oral pleasure?</dialogue>
<scene_description>Butch kisses her on the mouth .</scene_description>
<character>BUTCH</character>
<dialogue>Will you kiss it?</dialogue>
<scene_description>She nods her head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>But you first.</dialogue>
<scene_description>Butch 's head goes down out of frame to carry out the oral pleasure . Fabian 's face is alone in the frame .</scene_description>
<character>FABIAN</character>
<parenthetical>( in French , with English subtitles . )</parenthetical>
<dialogue>Butch my love, the adventure begins</dialogue>
<scene_description>FADE TO BLACK MOTEL ROOM Same motel room , except empty . WE HEAR THE SHOWER RUNNING in the bathroom . The CAMERA MOVES to the bathroom doorway . We see Fabian in a white terry cloth robe that seems to swallow her up . She 's drying her head with a towel . Butch is inside the shower washing up . We see the outline of his naked body through the smoky glass of the shower door . Steam fills the bathroom . Butch turns the shower off and opens the door , popping his head out .</scene_description>
<character>BUTCH</character>
<dialogue>I think I cracked a rib.</dialogue>
<character>FABIAN</character>
<dialogue>Giving me oral pleasure?</dialogue>
<character>BUTCH</character>
<dialogue>No retard, from the fight.</dialogue>
<character>FABIAN</character>
<dialogue>Do n't call me retard.</dialogue>
<character>BUTCH</character>
<parenthetical>( in a Mongoloid voice . )</parenthetical>
<dialogue>My name is Fabby! My name is Fabby!</dialogue>
<character>FABIAN</character>
<dialogue>Shut up fuck head! I hate that Mongoloid voice.</dialogue>
<character>BUTCH</character>
<dialogue>Okay, sorry, sorry, sorry, I take it back! Can I have a towel please, Miss Beautiful Tulip.</dialogue>
<character>FABIAN</character>
<dialogue>Oh I like that, I like being called a tulip. Tulip is much better than Mongoloid.</dialogue>
<scene_description>She finishes drying her hair and wraps the towel like a turban on her head .</scene_description>
<character>BUTCH</character>
<dialogue>I did n't call you a Mongoloid, I called you a retard, but I took it back.</dialogue>
<scene_description>She hands him a towel .</scene_description>
<character>BUTCH</character>
<dialogue>Merci beaucoup.</dialogue>
<character>FABIAN</character>
<dialogue>Butch?</dialogue>
<character>BUTCH</character>
<parenthetical>( drying his head . )</parenthetical>
<dialogue>Yes, lemon pie.</dialogue>
<character>FABIAN</character>
<dialogue>Where are we going to go?</dialogue>
<character>BUTCH</character>
<dialogue>I'm not sure yet. Wherever you want. We're gon na get a lot of money from this. But it ai n't gon na be so much, we can live like hogs in the fat house forever. I was thinking we could go somewhere in the South Pacific. The kinda money we'll have'll carry us a long way down there.</dialogue>
<character>FABIAN</character>
<dialogue>So if we wanted, we could live in Bora Bora?</dialogue>
<character>BUTCH</character>
<dialogue>You betcha. And if after awhile you do n't dig Bora Bora, then we can move over to Tahiti or Mexico.</dialogue>
<character>FABIAN</character>
<dialogue>But I do not speak Spanish.</dialogue>
<character>BUTCH</character>
<dialogue>You do n't speak Bora Boran either. Besides, Mexican is easy : Donde esta el zapataria?</dialogue>
<character>FABIAN</character>
<dialogue>What does that mean?</dialogue>
<character>BUTCH</character>
<dialogue>Where's the shoe store?</dialogue>
<character>FABIAN</character>
<dialogue>Donde esta el zapataria?</dialogue>
<character>BUTCH</character>
<dialogue>Excellent pronunciation. You'll be my little mama ceta in no time.</dialogue>
<scene_description>Butch exits the bathroom . We stay on FAbian as she brushes her teeth . Butch keeps on from the other room .</scene_description>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Que hora es?</dialogue>
<character>FABIAN</character>
<dialogue>Que hora es?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What time is it?</dialogue>
<character>FABIAN</character>
<dialogue>What time is it?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Time for bed. Sweet dream, jellybean.</dialogue>
<scene_description>Fabian brushes her teeth . We watch her for a moment or two , then she remember something .</scene_description>
<character>FABIAN</character>
<dialogue>Butch.</dialogue>
<scene_description>She walks out of the bathroom to ask Butch a question , only to find him sound asleep in bed . She looks at him for a moment .</scene_description>
<character>FABIAN</character>
<dialogue>Forget it.</dialogue>
<scene_description>She exits frame , going back in the bathroom . WE STAY on the WIDE SHOT of the unconscious Butch in bed . FADE TO BLACK MOTEL ROOM - MORNING SAME SHOT AS BEFORE , the next morning . We find Butch still asleep in bed . Fabian brushes her teeth half in and half out of the bathroom so she can watch TV at the same time . She still wears the terry cloth robe from the night before . ON TV : WILLIAM SMITH and a bunch of Hell 's Angels are taking on the entire Vietnamese army in the film `` THE LOSERS . '' Butch wakes from his sleep , as if a scary monster was chasing him . His start startles Fabian .</scene_description>
<character>FABIAN</character>
<dialogue>Merde! You startled me. Did you have a bad dream?</dialogue>
<scene_description>Butch squints down the front of the bed at her , trying to focus .</scene_description>
<character>BUTCH</character>
<dialogue>yeah. are you still brushing your teeth?</dialogue>
<character>FABIAN</character>
<dialogue>This is me. I brush my teeth all night long and into the early morning. Do you think I have a problem?</dialogue>
<scene_description>Fabian goes back into the bathroom to spit . If that was supposed to be sarcasm , it was lost on Butch at this early hour . Butch , still trying to chase the cobwebs away , sees on TV Hell 's Angels tear - assin ' through a Vietnamese prison camp .</scene_description>
<character>BUTCH</character>
<dialogue>What are you watching?</dialogue>
<character>FABIAN</character>
<dialogue>A motorcycle movie, I'm not sure the name.</dialogue>
<character>BUTCH</character>
<dialogue>Are you watchin' it?</dialogue>
<scene_description>Fabian enters the room .</scene_description>
<character>FABIAN</character>
<dialogue>In a way. Why? Would you like for me to switch it off?</dialogue>
<character>BUTCH</character>
<dialogue>Would you please?</dialogue>
<scene_description>She reaches over and turns off the TV .</scene_description>
<character>BUTCH</character>
<dialogue>It's a little too early in the morning for explosions and war.</dialogue>
<character>FABIAN</character>
<dialogue>What was it about?</dialogue>
<character>BUTCH</character>
<dialogue>How should I know, you were the one watchin' it.</dialogue>
<scene_description>Fabian laughs .</scene_description>
<character>FABIAN</character>
<dialogue>No, imbecile, what was your dream about?</dialogue>
<character>BUTCH</character>
<dialogue>Oh, I. do n't remember. It's really rare I remember a dream.</dialogue>
<character>FABIAN</character>
<dialogue>You just woke up from it.</dialogue>
<character>BUTCH</character>
<dialogue>Fabian, I'm not lying to you, I do n't remember.</dialogue>
<character>FABIAN</character>
<dialogue>Well, let's look at the grumpy man in the morning. I did n't say you were lying, it's just odd you do n't remember your dreams. I always remember mine. Did you know you talk in your sleep?</dialogue>
<character>BUTCH</character>
<dialogue>I do n't talk in my sleep, do I talk in my sleep?</dialogue>
<character>FABIAN</character>
<dialogue>You did last night.</dialogue>
<character>BUTCH</character>
<dialogue>What did I say?</dialogue>
<scene_description>Laying on top of him .</scene_description>
<character>FABIAN</character>
<dialogue>I do n't know. I could n't understand you.</dialogue>
<scene_description>She kisses Butch .</scene_description>
<character>FABIAN</character>
<dialogue>Why do n't you get up and we'll get some breakfast at that breakfast place with the pancakes.</dialogue>
<character>BUTCH</character>
<dialogue>One more kiss and I'll get up.</dialogue>
<scene_description>Fabian gives Butch a sweet long kiss .</scene_description>
<character>FABIAN</character>
<dialogue>Satisfied?</dialogue>
<character>BUTCH</character>
<dialogue>Yep.</dialogue>
<character>FABIAN</character>
<dialogue>Then get up, lazy bones.</dialogue>
<scene_description>Butch climbs out of bed and starts pulling clothes out of the suitcase that Fabian brought .</scene_description>
<character>BUTCH</character>
<dialogue>What time is it?</dialogue>
<character>FABIAN</character>
<dialogue>Almost nine in the morning. What time does our train arrive?</dialogue>
<character>BUTCH</character>
<dialogue>Eleven.</dialogue>
<scene_description>Seeing him looking at a pair of pants .</scene_description>
<character>FABIAN</character>
<dialogue>Those pants are very nice. Can you wear those with that nice blue shirt you have?</dialogue>
<scene_description>He pulls a blue shirt of the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>This one?</dialogue>
<character>FABIAN</character>
<dialogue>That's the one. That matches.</dialogue>
<character>BUTCH</character>
<dialogue>Okay.</dialogue>
<scene_description>He puts the cloths on .</scene_description>
<character>FABIAN</character>
<dialogue>I'm gon na order a big plate of blueberry pancakes with maple syrup, eggs over easy, and five sausages.</dialogue>
<character>BUTCH</character>
<parenthetical>( surprised at her potential appetite . )</parenthetical>
<dialogue>Anything to drink with that?</dialogue>
<scene_description>Butch is finished dressing .</scene_description>
<character>FABIAN</character>
<parenthetical>( referring to his clothes . )</parenthetical>
<dialogue>Oh yes, that looks nice. To drink, a tall glass or orange juice and a black cup of coffee. After that, I'm going to have a slice of pie.</dialogue>
<scene_description>As he goes through the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>Pie for breakfast?</dialogue>
<character>FABIAN</character>
<dialogue>Any time of the day is a good time for pie. Blueberry pie to go with the pancakes. And on top, a thin slice of melted cheese -</dialogue>
<character>BUTCH</character>
<dialogue>- where's my watch?</dialogue>
<character>FABIAN</character>
<dialogue>It's there.</dialogue>
<character>BUTCH</character>
<dialogue>No, it's not. It's not here.</dialogue>
<character>FABIAN</character>
<dialogue>Have you looked?</dialogue>
<scene_description>By now , Butch is frantically rummaging through the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>Yes I've fuckin' looked!</dialogue>
<scene_description>He 's now throwing clothes .</scene_description>
<character>BUTCH</character>
<dialogue>What the fuck do you think I'm doing?! Are you sure you got it?</dialogue>
<scene_description>Fabian can hardly speak , she 's never seen Butch this way .</scene_description>
<character>FABIAN</character>
<dialogue>Uhhh. yes. beside the table drawer -</dialogue>
<character>BUTCH</character>
<dialogue>- on the little kangaroo.</dialogue>
<character>FABIAN</character>
<dialogue>Yes, it was on your little kangaroo.</dialogue>
<character>BUTCH</character>
<dialogue>Well it's not here!</dialogue>
<character>FABIAN</character>
<parenthetical>( on the verge of tears . )</parenthetical>
<dialogue>Well it should be!</dialogue>
<character>BUTCH</character>
<dialogue>Oh it most definitely should be here, but it's not. So where is it?</dialogue>
<scene_description>Fabian is crying and scared . Butch lowers his voice , which only serves to make him more menacing .</scene_description>
<character>BUTCH</character>
<dialogue>Fabian, that was my father's fuckin' watch. You know what my father went through to git me that watch? I do n't wan na get into it right now. but he went through a lot. Now all this other shit, you coulda set on fire, but I specifically reminded you not to forget my father's watch. Now think, did you get it?</dialogue>
<character>FABIAN</character>
<dialogue>I believe so.</dialogue>
<character>BUTCH</character>
<dialogue>You believe so? You either did, or you did n't, now which one is it?</dialogue>
<character>FABIAN</character>
<dialogue>Then I did.</dialogue>
<character>BUTCH</character>
<dialogue>Are you sure?</dialogue>
<character>FABIAN</character>
<parenthetical>( shaking . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Butch freaks out , he punches the air . Fabian SCREAMS and backs into a corner , Butch picks up the motel TV and THROWS IT AGAINST the wall . Fabian SCREAMS IN HORROR . Butch looks toward her , suddenly calm .</scene_description>
<character>BUTCH</character>
<parenthetical>( to Fabian . )</parenthetical>
<dialogue>No! It's not your fault.</dialogue>
<parenthetical>( he approached her . )</parenthetical>
<dialogue>You left it at the apartment.</dialogue>
<scene_description>He bends down in front of the woman who has sunk to the floor . He touches her hand , she flinches .</scene_description>
<character>BUTCH</character>
<dialogue>If you did leave it at the apartment, it's not your fault. I had you bring a bunch of stuff. I reminded you about it, but I did n't illustrate how personal the watch was to me. If all I gave a fuck about was my watch, I should've told you. You ai n't a mind reader.</dialogue>
<scene_description>He kisses her hand . Then rises . Fabian is still sniffling . Butch goes to the closet .</scene_description>
<character>FABIAN</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>Butch puts on his high school jacket .</scene_description>
<character>BUTCH</character>
<dialogue>Do n't be. It just means I wo n't be able to eat breakfast with you.</dialogue>
<character>FABIAN</character>
<dialogue>Why does it mean that?</dialogue>
<character>BUTCH</character>
<dialogue>Because I'm going back to my apartment to get my watch.</dialogue>
<character>FABIAN</character>
<dialogue>Wo n't the gangsters be looking for you there?</dialogue>
<character>BUTCH</character>
<dialogue>That's what I'm gon na find out. If they are, and I do n't think I can handle it, I'll split.</dialogue>
<scene_description>Rising from the floor .</scene_description>
<character>FABIAN</character>
<dialogue>My darling, I do n't want you to be murdered over a silly watch.</dialogue>
<character>BUTCH</character>
<dialogue>One, it's not a silly watch. Two, I'm not gon na be murdered. And three, do n't be scared. I wo n't let anything get in the way of us living a happy life together.</dialogue>
<scene_description>Butch brings her close and puts his hands on her face .</scene_description>
<character>BUTCH</character>
<dialogue>Do n't feel bad, sugar pop. Nothing you could ever do would make me permanently angry at you.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I love you, remember?</dialogue>
<parenthetical>( he digs some money out of his wallet . )</parenthetical>
<dialogue>Now here's some money, order those pancakes and have a great breakfast.</dialogue>
<character>FABIAN</character>
<dialogue>Do n't go.</dialogue>
<character>BUTCH</character>
<dialogue>I'll be back before you can say, blueberry pie.</dialogue>
<character>FABIAN</character>
<dialogue>Blueberry pie.</dialogue>
<character>BUTCH</character>
<dialogue>Well maybe not that fast, but fast. Okay? Okay?</dialogue>
<character>FABIAN</character>
<dialogue>Okay.</dialogue>
<scene_description>He kisses her once more and heads for the door .</scene_description>
<character>BUTCH</character>
<dialogue>Bye - bye, sugar pop.</dialogue>
<character>FABIAN</character>
<dialogue>Bye.</dialogue>
<character>BUTCH</character>
<dialogue>I'm gon na take your Honda.</dialogue>
<character>FABIAN</character>
<dialogue>Okay.</dialogue>
<scene_description>And with that , he 's out the door . Fabian sits on the bed and looks at the money he gave her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA (MOVING) - DAY</stage_direction>
<scene_description>Butch is beating the steering wheel and the dash with his fists as he drives down the street .</scene_description>
<character>BUTCH</character>
<dialogue>Of all the fuckin' things she coulda forgot, she forgets my father's watch. I specifically reminded her not to forget it. `` Bedside table - on the kangaroo.'' I said the words : `` Do n't forget my father's watch.''</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>The little Honda races toward its destination as fast as its little engine will take it .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA (MOVING) - DAY</stage_direction>
<scene_description>Butch continues :</scene_description>
<character>BUTCH</character>
<dialogue>What the fuck am I doin'? Have I taken one too many hits to the head? That's got ta be it. Brain damage is the only excuse for this dumb a move. Stop the car, Butch.</dialogue>
<parenthetical>( he keeps on driving . )</parenthetical>
<dialogue>Stop the car, Butch.</dialogue>
<parenthetical>( he pays no attention to himself . )</parenthetical>
<dialogue>Butch, I'm talkin' to you. Put - your - foot - on - the - break!</dialogue>
<scene_description>Butch 's foot SLAMS down hard on the break .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>The little Honda SKIDS to a stop in the middle of the street . Butch HOPS out of the car like it was on fire . Butch begins PACING back and forth , talking to himself , oblivious to PASSERSBY and traffic .</scene_description>
<character>BUTCH</character>
<dialogue>I ai n't gon na do this. This is a punchy move and I ai n't punchy! Daddy would totally fuckin' understand. If he was here right now, he'd say, `` Butch, git a grip. It's a fuckin' watch, man. You lose one, ya git another. This is your life you're fuckin' around with, which you should n't be doin''cause you only got one.</dialogue>
<scene_description>Butch continues to pace , but now he 's silent . Then .</scene_description>
<character>BUTCH</character>
<dialogue>This is my war. You see, Butch, what you're forgettin' is this watch is n't just a device that enables you to keep track of time. This watch is a symbol. It's a symbol of how your father, and his father before him, and his father before him, distinguished themselves in war. And when I took Marsellus Wallace's money, I started a war. This is my World War Two. That apartment in North Hollywood, that's my Wake Island. In fact, if you look at it that way, it's almost kismet that Fabian left it behind. And using that perspective, going back for it is n't stupid. It may be dangerous, but it's not stupid. Because there are certain things in this world that are worth going back for.</dialogue>
<scene_description>That 's it , Butch has talked himself into it again . He HOPS in the car , starts it up and TAKES OFF . A parking meter red flag rises up , then out , leaving the arrow pointing at one hour .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RESIDENTIAL STREET CORNER - DAY</stage_direction>
<scene_description>Butch is n't completely reckless . He has parked his car a couple of blocks from his apartment to check things out before he goes boppin ' through the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - DAY</stage_direction>
<scene_description>Butch walks down the alley until he gets to another street , then he discreetly glances out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - BUTCH'S APARTMENT - DAY</stage_direction>
<scene_description>Everything seems normal . More or less the right number of cars in the street . None of the parked cars appear out of place . None of them have a couple of goons sitting inside . Basically , it looks like normal morning activity in front of Butch 's home . Butch peers around a wall , taking in the vital information .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Everything looks hunky dorie. Looks can be deceiving, but this time I do n't think they are. Why waste the manpower to stake out my place. I'd have to be a fuckin' idiot to come back here. That's how you're gon na beat'em Butch, they keep underestimating you.</dialogue>
<scene_description>Butch walks out of the alley and is ready for anything . He crosses the street and enters his apartment courtyard . Across the street from Butch 's building , on the corner , is a combination donut shop and Japanese restaurant . A big sign sticks up in the air , with the name `` Teriyaki Donut '' and a graphic of a donut sticking out of a bowl of rice .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUTCH'S APARTMENT COURTYARD - DAY</stage_direction>
<scene_description>Butch is in the courtyard of his North Hollywood apartment building . Once again , everything appears normal - the laundry room , the pool , his apartment door - nothing appears disturbed . Butch climbs the stairs leading to his apartment , number 12 . He steps outside the door and listens inside . Nothing . Butch slowly inserts the key into the door , quietly opening it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTCH'S APARTMENT - DAY</stage_direction>
<scene_description>His apartment has n't been touched . He cautiously steps inside , shuts the door and takes a quick look around . Obviously , no one is there . Butch walks into his modest kitchen , and opens the refrigerator . He takes out a carton of milk and drinks from it . With carton in hard , Butch surveys the apartment . Then he goes to the bedroom . His bedroom is like the rest of the apartment - neat , clean and anonymous . The only things personal in his room are a few boxing trophies , an Olympic silver medal , a framed issue of `` Ring Magazine '' with Butch on the cover , and a poster of Jerry Quarry and one of George Chuvalo . Sure enough , there 's the watch just like he said it was : on the bedside table , hanging on his little kangaroo statue . He walks through the apartment and back into the kitchen . He opens a cupboard and takes out a box of Pop Tarts . Putting down the milk , he opens the box , takes out two Pop Tarts and puts them in the toaster . Butch glances to his right , his eyes fall on something . What he sees is a small compact Czech M61 submachine gun with a huge silencer on it , lying on his kitchen counter .</scene_description>
<character>BUTCH</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Holy shit.</dialogue>
<scene_description>He picks up the intimidating peace of weaponary and examines it . Then . a toilet FLUSHES . Butch looks up to the bathroom door , which is parallel to the kitchen . There is someone behind it . Like a rabbit caught in a radish patch , Butch freezes , not knowing what to do . The bathroom door opens and Vincent Vega steps out of the bathroom , tightening his belt . In his hand is the book `` MODESTY BLAISE '' by Peter O'Donnell . Vincent and Butch lock eyes . Vincent freezes . Butch does n't move , except to point the M61 in Vincent 's direction . Neither man opens his mouth . Then . the toaster LOUDLY kicks up the Pop Tarts . That 's all the situation needed . Butch 's finger HITS the trigger . MUFFLED FIRE SHOOTS out of the end of the gun . Vincent is seemingly WRACKED with twenty bullets SIMULTANEOUSLY - LIFTING him off his feet , PROPELLING him through the air and CRASHING through the glass shower door at the end of the bathroom . By the time Butch removes his finger from the trigger , Vincent is annihilated . Butch stands frozen , amazed at what just happened . His look goes from the grease spot in the bathroom that was once Vincent , down to the powerful piece of artillery in his grip . With the respect it deserves , Butch carefully places the M61 back on the kitchen counter . Then he exits the apartment , quickly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT COURTYARD - DAY</stage_direction>
<scene_description>Butch , not running , but walking very rapidly , crosses the courtyard . comes out of the apartment building , crosses the street . goes through the alley . and into his car in one STEADICAM SHOT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HONDA - DAY</stage_direction>
<scene_description>Butch CRANKS the car into gear and drives away . The big wide smile of a survivor breaks across his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING STREET - DAY</stage_direction>
<scene_description>The Honda turns down the alley and slowly cruises by his apartment building .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA - DAY</stage_direction>
<scene_description>Butch looks out the window at his former home .</scene_description>
<character>BUTCH</character>
<dialogue>That's how you're gon na beat'em, Butch. They keep underestimatin' ya.</dialogue>
<scene_description>This makes the boxer laugh out loud . As he laughs , he flips a tape in the cassette player . When the MUSIC starts , he SINGS along with it . He drives by the apartment , but is stopped at the light on the corner across from Teriyaki Donut . Butch is still chuckling , singing along with the song , as we see : THROUGH THE WINDSHIELD the big man himself , Marsellus Wallace , exit Teriyaki Donut , carrying a box of a dozen donuts and two large styrofoam cups of coffee . He steps off the curb , crossing the street in front of Butch 's car . This is the first time we see Marsellus clearly . Laughing boy stops when he sees the big man directly in front of him . When Marsellus is in front of Butch 's car , he casually glances to his left , sees Butch , continues walking . then STOPS ! DOUBLE - TAKE : `` Am I really seeing what I 'm seeing ? '' Butch does n't wait for the big man to answer his own question . He STOMPS on the gas pedal . The little Honda SLAMS into Marsellus , sending him , the donuts and the coffee HITTING the pavement at thirty miles an hour . Butch CUTS into cross traffic and is BROAD - SIDED by a gold Camaro Z - 28 , BREAKING all the windows in the Honda and sending it up on the sidewalk . Butch sits dazed and confused in the crumpled mess of what at one time was Fabian 's Honda . Blood flows from his nostrils . The still - functional tape player continues to play . A PEDESTRIAN pokes his head inside .</scene_description>
<character>PEDESTRIAN</character>
<dialogue>Jesus, are you okay?</dialogue>
<scene_description>Butch look at him , spaced - out .</scene_description>
<character>BUTCH</character>
<dialogue>I guess.</dialogue>
<scene_description>Marsellus Wallace lies sprawled out in the street . GAWKERS gather around the body .</scene_description>
<character>GAWKER #1</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>He's dead! He's dead!</dialogue>
<scene_description>This jerk 's yelling makes Marsellus come to . TWO PEDESTRIANS help the shaken Butch out of the wreckage . The woozy Marsellus gets to his feet .</scene_description>
<character>GAWKER #2</character>
<dialogue>If you need a witness in court, I'll be glad to help. He was a drunken maniac. He hit you and crashed into that car.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( still incoherent . )</parenthetical>
<dialogue>Who?</dialogue>
<character>GAWKER #2</character>
<parenthetical>( pointing at Butch . )</parenthetical>
<dialogue>Him.</dialogue>
<scene_description>Marsellus follows the Gawker 's finger and sees Butch Coolidge down the street , looking a shambles .</scene_description>
<character>MARSELLUS</character>
<dialogue>Well, I'll be damned.</dialogue>
<scene_description>The big man takes out a .45 Automatic and the Gawkers back away . Marsellus starts moving toward Butch . Butch sees the fierce figure making a wobbly bee - line toward him .</scene_description>
<character>BUTCH</character>
<dialogue>Sacre bleu.</dialogue>
<scene_description>Marsellus brings up his weapon and FIRES , but he 's so hurt , shaky and dazed that his arm goes wild . He HITS a LOOKY - LOO WOMAN in the hip . She falls to the ground , screaming .</scene_description>
<character>LOOKY-LOO WOMAN</character>
<dialogue>Oh my God, I've been shot!</dialogue>
<scene_description>That 's all Butch needs to see . He 's outta here . Marsellus RUNS after him . The CROWD looks agape . Butch is in a mad , limping RUN . The big man 's hot on his ass with a cockeyed wobbly run . Butch cuts across traffic and dashes into a business with a sign that reads `` MASON - DIXIE PAWNSHOP . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. MASON-DIXIE PAWNSHOP - DAY</stage_direction>
<scene_description>MAYNARD , a hillbilly - lookin ' boy , stands behind the counter of his pawnshop when , all of a sudden , chaos in the form of Butch RACES into his world .</scene_description>
<character>MAYNARD</character>
<dialogue>Can I help you wit' somethin'?</dialogue>
<character>BUTCH</character>
<dialogue>Shut up!</dialogue>
<scene_description>Butch quickly takes measure of the situation , than stands next to the door .</scene_description>
<character>MAYNARD</character>
<dialogue>Now you just wait one goddamn minute -</dialogue>
<scene_description>Before Maynard can finish his threat , Marsellus CHARGES in . He does n't get past the doorway because Butch LANDS his fist in Marsellus ' face . The gangster 's feet go out from under him and the big man FALLS FLAT on his back . Outside , two police cars with their SIRENS BLARING race by . Butch POUNCES on the fallen body , PUNCHING him twice more in the face . Butch takes the gun out of Marsellus ' hand , than grabs ahold of his middle finger .</scene_description>
<character>BUTCH</character>
<dialogue>So you like chasing people, huh?</dialogue>
<scene_description>He BREAKS the finger . Marsellus lets out a pain sound . Butch then places the barrel of the .45 between his eyes , PULLS back the hammer and places his open hand behind the gun to shield the splatter .</scene_description>
<character>BUTCH</character>
<dialogue>Well guess what, big man, you caught me -</dialogue>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- hold it right there, godammit!</dialogue>
<scene_description>Butch and Marsellus look up at Maynard , who 's brandishing a pump - action shotgun , aimed at the two men .</scene_description>
<character>BUTCH</character>
<dialogue>Look mister, this ai n't any of your business -</dialogue>
<character>MAYNARD</character>
<dialogue>- I'm makin' it my business! Now toss that gun!</dialogue>
<scene_description>Butch does .</scene_description>
<character>MAYNARD</character>
<dialogue>Now you on top, stand up and come to the counter.</dialogue>
<scene_description>Butch slowly gets up and moves to the counter . As soon as he gets there , Maynard HAULS OFF , HITTING him hard in the face with the butt of the shotgun , knocking Butch down and out . After Butch goes down , Maynard calmly lays the shotgun on the counter and moves to the telephone . Marsellus Wallace , from his position on the floor , groggily watches the pawnshop owner dial a number . Maynard waits on the line while the other end rings . Then it picks up .</scene_description>
<character>MAYNARD</character>
<dialogue>Zed? It's Maynard. The spider just caught a coupl' a flies.</dialogue>
<scene_description>Marsellus passes out . FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP BACK ROOM - DAY</stage_direction>
<scene_description>TWO SHOT - BUTCH AND MARSELLUS are tied up in two separate chairs . In their mouths are two S&M - style ball gags -LRB- a belt goes around their heads and a little red ball sticks in their mouths -RRB- . Both men are unconscious . Maynard steps in with a fire extinguisher and SPRAYS both guys until they 're wide awake and wet as otters . The two prisoners look up at their captors . Maynard stands in front of them , fire extinguisher in one hand , shotgun in the other , and Marsellus ' .45 sticking in his belt .</scene_description>
<character>MAYNARD</character>
<dialogue>Nobody kills anybody in my place of business except me or Zed.</dialogue>
<scene_description>A BUZZER buzzes .</scene_description>
<character>MAYNARD</character>
<dialogue>That' Zed.</dialogue>
<scene_description>Without saying another word , Maynard climbs up the stairs that lead to red curtains and goes through them . WE HEAR , on the other side of the curtains , Maynard let Zed inside the store . Butch and Marsellus look around the room . The basement of the pawnshop has been converted into a dungeon . After taking in their predicament , Butch and Marsellus look at each other , all traces of hostility gone , replaced by a terror they both share at what they 've gotten themselves into . Maynard and ZED come through the curtains . Zed is an even more intense version of Maynard , if such a thing is possible . The two hillbillys are obviously brothers . Where Maynard is a vicious pitbull , Zed is a deadly cobra . Zed walks in and stands in front of the two captives . He inspects them for a long time , then says :</scene_description>
<character>ZED</character>
<parenthetical>( to Maynard . )</parenthetical>
<dialogue>You said you waited for me?</dialogue>
<character>MAYNARD</character>
<dialogue>I did.</dialogue>
<character>ZED</character>
<dialogue>Then how come they're all beat up?</dialogue>
<character>MAYNARD</character>
<dialogue>They did that to each other. They was fightin' when they came in. This one was gon na shoot that one.</dialogue>
<character>ZED</character>
<parenthetical>( to Butch . )</parenthetical>
<dialogue>You were gon na shoot him?</dialogue>
<scene_description>Butch makes no reply .</scene_description>
<character>ZED</character>
<dialogue>Hey, is Grace gon na be okay in front of this place?</dialogue>
<character>MAYNARD</character>
<dialogue>Yeah, it ai n't Tuesday is it?</dialogue>
<character>ZED</character>
<dialogue>No, it's Thursday.</dialogue>
<character>MAYNARD</character>
<dialogue>Then she'll be fine.</dialogue>
<character>ZED</character>
<dialogue>Bring out The Gimp.</dialogue>
<character>MAYNARD</character>
<dialogue>I think The Gimp's asleep.</dialogue>
<character>ZED</character>
<dialogue>Well, I guess you'll just wake'em up then, wo n't you?</dialogue>
<scene_description>Maynard opens a trap door in the floor .</scene_description>
<character>MAYNARD</character>
<parenthetical>( yelling in the hole . )</parenthetical>
<dialogue>Wake up!</dialogue>
<scene_description>Maynard reaches into the hole and comes back holding onto a leash . He gives it a rough yank and , from below the floor , rises THE GIMP . The Gimp is a man they keep dressed from head to toe in black leather bondage gear . There are zippers , buckles and studs here and there on the body . On his head is a black leather mask with two eye holes and a zipper -LRB- closed -RRB- for a mouth . They keep him in a hole in the floor big enough for a large dog . Zed takes the chair , sits it in front of the two prisoners , then lowers into it . Maynard hands The Gimp 's leash to Zed , then backs away .</scene_description>
<character>MAYNARD</character>
<parenthetical>( to The Gimp . )</parenthetical>
<dialogue>Down!</dialogue>
<scene_description>The Gimp gets on its knees . Maynard hangs back while Zed appraises the two men .</scene_description>
<character>MAYNARD</character>
<dialogue>Who's first?</dialogue>
<character>ZED</character>
<dialogue>I ai n't fer sure yet.</dialogue>
<scene_description>Then with his little finger , Zed does a silent `` Eenie , meany , miney , moe . '' just his mouth mouthing the words and his finger going back and forth between the two . Butch are Marsellus are terrified . Maynard looks back and forth at the victims . The Gimps 's eyes go from one to the other inside the mask . Zed continues his silent sing - song with his finger moving left to right , then it stops . TWO SHOT - BUTCH AND MARSELLUS after a beat , THE CAMERA MOVES to the right , zeroing in on Marsellus . Zed stands up .</scene_description>
<character>ZED</character>
<dialogue>Wan na do it here?</dialogue>
<character>MAYNARD</character>
<dialogue>Naw, drag big boy to Russell's old room.</dialogue>
<scene_description>Zed grabs Marsellus ' chair and DRAGS him into Russell 's old room . Russell , no doubt , was some other poor bastard that has the misfortune of stumbling into the Mason - Dixie pawnshop . Whatever happened to Russell is known only to Maynard and Zed because his old room , a back room in the back of the back room , is empty . As Marsellus is dragged away , he locks eyes with Butch before he disappears behind the door of Russell 's old room .</scene_description>
<character>MAYNARD</character>
<parenthetical>( to The Gimp . )</parenthetical>
<dialogue>Up!</dialogue>
<scene_description>The Gimp rises . Maynard ties The Gimp 's leash to a hook on the ceiling .</scene_description>
<character>MAYNARD</character>
<dialogue>Keep an eye on this one.</dialogue>
<scene_description>The Gimp bows its head : `` yes . '' Maynard disappears into Russell 's old room . There must be a stereo in there because suddenly The Judds , singing in harmony , fills the air . Butch looks at The Gimp . The Gimp giggles from underneath the mask as if this were the funniest moment in the history of comedy . From behind the door we hear country MUSIC , struggling , and :</scene_description>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Whoa, this boy's got a bit of fight in'em!</dialogue>
<scene_description>We the HEAR Maynard and Zed beat on Marsellus .</scene_description>
<character>ZED</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>You wan na fight? You wan na fight? Good, I like to fight!</dialogue>
<scene_description>Butch pauses , listens to the voices . Then , in a panic , hurriedly struggles to get free . The Gimp is laughing wildly . The ropes are on too tight and Butch ca n't break free . The Gimp slaps his knee laughing In the back room , we hear :</scene_description>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>That's it. that's it boy, you're goin' fine. Oooooooh, just like that. that's good.</dialogue>
<parenthetical>( grunting faster . )</parenthetical>
<dialogue>Stay still. stay still goddamn ya! Zed goddammit, git over here and hold'em!</dialogue>
<scene_description>Butch stops struggling and lifts up on his arms . Then , quite easily , the padded chair back slides up and off as if it were never connected by a bolt . The Gimp sees this and its eyes widen .</scene_description>
<character>THE GIMP</character>
<dialogue>Huhng?</dialogue>
<scene_description>The Gimp FLAILS WILDLY , trying to get the leash off the hook . He tries to yell , but all that comes out are excited gurgles and grunts . Butch is out of his chair , quickly dispensing three BOXER 'S PUNCHES to its face . The punches knock The Gimp out , making him fall to his knees , this HANGING HIMSELF by the leash attached to the hook , Butch removes the ball gag , then silently makes his way through the red curtains .</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP - DAY</stage_direction>
<scene_description>Butch sneaks to the door . On the counter is a big set of keys with a large Z connected to the ring . Grabbing them , he 's about to go out when he stops and listens to the hillbilly psychopaths having their way with Marsellus . Butch decides for the life of him , he ca n't leave anybody in a situation like that . Se he begins rooting around the pawnshop for a weapon to bash those hillbillies ' heads in with . He picks up a big destructive - looking hammer , then discards it : not destructive enough . He picks up a chainsaw , thinks about it for a moment , then puts it back . Next , a large Louisville slugger he tries on for size . But then he spots what he 's been looking for : A Samurai sword . It hands in its hand - carved wood sheath from a nail on the wall , next to a neon `` DAD 'S OLD - FASHIONED ROOT BEER '' sign . Butch takes the sword off the wall , removing it from its sheath . It 's a magnificent piece of steel . It seems to glisten in the low - wattage light of the pawnshop . Butch touches his thumb to the blade to see if the sword is just for show . Not on your life . It 's as sharp as it gets . This weapon seems made to order for the Brothers Grimm downstairs . Holding the sword pointed downward , Takakura Ken - style , he disappears through the red curtains to take care of business .</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP BACK ROOM - DAY</stage_direction>
<scene_description>Butch quietly sneaks down the stairs leading to the dungeon . Sodomy and the Judds can still be heard going string behind the closed door that leads to Russell 's old room .</scene_description>
</scene>
<scene>
<stage_direction>INT. RUSSELL'S OLD ROOM - DAY</stage_direction>
<scene_description>Butch 's hand comes into frame , pushing the door open . It swings open silently , revealing the rapists , who have switched positions . Zed is now bent over Marsellus , who is bent over a wooden horse . Maynard watches . Both have their backs to Butch . Maynard faces the CAMERA , grinning , while Butch comes up behind him with the sword . Miserable , violated , and looking like a rag doll , Marsellus , red ball gag still in mouth , opens his watery eyes to see Butch coming up behind Maynard . His eyes widen .</scene_description>
<character>BUTCH</character>
<dialogue>Hey hillbilly.</dialogue>
<scene_description>Maynard turns and sees Butch holding the sword . Butch SCREAMS . with one mighty SWING , SLASHES Maynard across the front , moving past him , eyes and blade now locked on Zed . Maynard stands trembling , his front sliced open , in shock . Butch , while never taking his eyes off Zed , THRUSTS the sword behind him , SKEWERING Maynard , then EXTRACTS it , pointing the blade toward Zed . Maynard COLLAPSES . Zed disengages from Marsellus in a hurry and his eyes go from the tip of Butch 's sword to Marsellus ' .45 Automatic , which lies within reach . Butch 's eyes follow Zed 's .</scene_description>
<character>BUTCH</character>
<dialogue>You want that gun, Zed? Pick it up.</dialogue>
<scene_description>Zed 's hand inches toward the weapon . Butch GRIPS the sword tighter . Zed studies Butch , Butch looks hard at Zed . Then a VOICE says :</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Step aside, Butch.</dialogue>
<scene_description>Butch steps aside , REVEALING Marsellus standing behind him , holding Maynard 's pump - action shotgun . KABOOM ! Zed is BLASTED in the groin . Down he goes , SCREAMING in AGONY . Marsellus , looking down at his whimpering rapist , EJECTS the used shotgun shell . Butch lowers the sword and hangs back . Not a word , until :</scene_description>
<character>BUTCH</character>
<dialogue>You okay?</dialogue>
<character>MARSELLUS</character>
<dialogue>Naw man. I'm pretty fuckin' far from okay!</dialogue>
<scene_description>Long pause .</scene_description>
<character>BUTCH</character>
<dialogue>What now?</dialogue>
<character>MARSELLUS</character>
<dialogue>What now? Well let me tell you what now. I'm gon na call a couple pipe - hittin' niggers, who'll go to work on homes here with a pair of pliers and a blow torch.</dialogue>
<parenthetical>( to Zed . )</parenthetical>
<dialogue>Hear me talkin' hillbilly boy?! I ai n't through with you by a damn sight. I'm gon na git Medieval on your ass.</dialogue>
<character>BUTCH</character>
<dialogue>I meant what now, between me and you?</dialogue>
<character>MARSELLUS</character>
<dialogue>Oh, that what now? Well, let me tell ya what now between me an' you. There is no me an' you. Not no more.</dialogue>
<character>BUTCH</character>
<dialogue>So we're cool?</dialogue>
<character>MARSELLUS</character>
<dialogue>Yeah man, we're cool. One thing I ask - two things I ask : do n't tell nobody about this. This shit's between me and you and the soon - to - be - livin' - the - rest - of - his - short - ass - life - in - agonizing - pain, Mr. Rapist here. It ai n't nobody else's business. Two : leave town. Tonight. Right now. And when you're gone, stay gone. You've lost your Los Angeles privileges. Deal?</dialogue>
<character>BUTCH</character>
<dialogue>Deal.</dialogue>
<scene_description>The two men shake hands , then hug one another .</scene_description>
<character>MARSELLUS</character>
<dialogue>Go on now, get your ass outta here.</dialogue>
<scene_description>Butch leaves Russell 's old room through the red curtains . Marsellus walks over to a phone , dialing a number .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Hello Mr. Wolf, it's Marsellus. Got ta bit of a situation.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MASON-DIXIE PAWNSHOP - DAY</stage_direction>
<scene_description>Butch , still shaking in his boots , exits the pawnshop . He looks ahead and sees , parked in front of the establishment , Zed 's Big Chrome Chopper with a teardrop gas tank that has the name `` GRACE '' on it . He climbs aboard , takes out the keys with the big Z on them and starts up the huge hog . It RUMBLES to life , making sounds like a rocket fighting for orbit . Butch twists the accelerator handle and SPEEDS off . WE CUT BACK AND FORTH BETWEEN .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY</stage_direction>
<scene_description>Fabian stands in front of a mirror wearing a `` Frankie says , Relax '' tee - shirt , singing along with MUSIC coming from a BOOM BOX .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - CHOPPER (MOVING) - DAY</stage_direction>
<scene_description>Butch drives down the street , humping a hot dog names `` GRACE . '' He checks his father 's watch . It says : 10:30 . The SONG in the motel room PLAYS OVER this .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL ROOM - DAY</stage_direction>
<scene_description>Butch rides up on Grace . He hops off and runs inside the motel room , while we stay outside with the bike .</scene_description>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Butch, I was so worried!</dialogue>
<character>BUTCH</character>
<dialogue>Honey, grab your radio and your purse and let's go!</dialogue>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>But what about all our bags?</dialogue>
<character>BUTCH</character>
<dialogue>Fuck the bags. We'll miss our train if we do n't split now.</dialogue>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Is everything well? Are we in danger?</dialogue>
<character>BUTCH</character>
<dialogue>We're cool. In fact, we're super - cool. But we gots to go. I'll wait for you outside.</dialogue>
<scene_description>Butch runs out and hops back on the bike . Fabian exits the motel room with the boom box and a large purse . When she sees Butch on the chopper , she stops dead .</scene_description>
<character>FABIAN</character>
<dialogue>Where did you get this motorcycle?</dialogue>
<character>BUTCH</character>
<parenthetical>( he KICK - STARTS it . )</parenthetical>
<dialogue>It's a chopper, baby, hop on.</dialogue>
<scene_description>Fabian slowly approaches the two - wheel demon .</scene_description>
<character>FABIAN</character>
<dialogue>What happened to my Honda?</dialogue>
<character>BUTCH</character>
<dialogue>Sorry baby, I crashed the Honda.</dialogue>
<character>FABIAN</character>
<dialogue>You're hurt?</dialogue>
<character>BUTCH</character>
<dialogue>I might've broke my nose, no biggie. Hop on.</dialogue>
<scene_description>She does n't move . Butch looks at her .</scene_description>
<character>BUTCH</character>
<dialogue>Honey, we got ta hit the fuckin' road!</dialogue>
<scene_description>Fabian starts to cry . Butch realizes that this is not the way to get her on the bike . He turns off the engine and reaches out , taking her hand .</scene_description>
<character>BUTCH</character>
<dialogue>I'm sorry, baby - love.</dialogue>
<character>FABIAN</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>You were gone so long, I started to think dreadful thoughts.</dialogue>
<character>BUTCH</character>
<dialogue>I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast?</dialogue>
<character>FABIAN</character>
<parenthetical>( waterworks drying a little . )</parenthetical>
<dialogue>It was good -</dialogue>
<character>BUTCH</character>
<dialogue>- did you get the blueberry pancakes?</dialogue>
<character>FABIAN</character>
<dialogue>No, they did n't have blueberry pancakes, I had to get buttermilk - are you sure you're okay?</dialogue>
<character>BUTCH</character>
<dialogue>Baby - love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it.</dialogue>
<scene_description>Fabian does climb on . Butch STARTS her up .</scene_description>
<character>FABIAN</character>
<dialogue>Butch, whose motorcycle is this?</dialogue>
<character>BUTCH</character>
<dialogue>It's a chopper.</dialogue>
<character>FABIAN</character>
<dialogue>Whose chopper is this?</dialogue>
<character>BUTCH</character>
<dialogue>Zed's.</dialogue>
<character>FABIAN</character>
<dialogue>Who's Zed?</dialogue>
<character>BUTCH</character>
<dialogue>Zed's dead, baby, Zed's dead.</dialogue>
<scene_description>And with that , the two lovebirds PEEL AWAY on Grace , as the SONG on the BOOM BOX RISES . FADE TO BLACK `` JULES , VINCENT , JIMMIE , & THE WOLF '' TITLE DISAPPEARS . Over black , we can HEAR in the distance , men talking .</scene_description>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>You ever read the Bible, Brett?</dialogue>
<character>BRETT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Yes!</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.''</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>We 're in the bathroom of the Hollywood apartment we were in earlier . In fact , we 're there at exactly the same time . Except this time , we 're in the bathroom with the FOURTH MAN . The Fourth Man is pacing around the small room , listening hard to what 's being said on the other side of the door , tightly CLUTCHING his huge silver ,357 Magnum .</scene_description>
<character>JULES</character>
<parenthetical>( OS . ) ''</parenthetical>
<dialogue>. blessed is he who, in the name of charity and good will, shephered the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.''</dialogue>
<scene_description>BANG ! BANG ! BOOM ! POW ! BAM BAM BAM BAM BAM ! The Fourth Man freaks out . He THROWS himself against the back wall , gun outstretched in front of him , a look of yellow fear on his face , ready to blow in half anybody fool enough to stick their head through that door . Then he listens to them talk .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Friend of yours?</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Yeah, Marvin - Vincent - Vincent - Marvin.</dialogue>
<scene_description>Waiting for them is n't the smartest move . Bursting out the door and blowing them all away while they 're fuckin ' around is the way to go .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>The bathroom door BURSTS OPEN and the Fourth Man CHARGES out , silver Magnum raised , FIRING SIX BOOMING SHOTS from his hand cannon .</scene_description>
<character>FOURTH MAN</character>
<dialogue>Die. die. die. die!</dialogue>
<scene_description>DOLLY INTO Fourth Man , same as before . He SCREAM until he 's dry firing . Then a look of confusion crosses his face . TWO SHOT - JULES AND VINCENT standing next to each other , unharmed . Amazing as it seems , none of the Fourth Man 's shots appear to have hit anybody . Jules and Vincent exchange looks like , `` Are we hit ? '' They 're as confused at the shooter . After looking at each other , they bring their looks up to the Fourth Man .</scene_description>
<character>FOURTH MAN</character>
<dialogue>I do n't understand -</dialogue>
<scene_description>The Fourth Man is taken out of the scenario by the two men 's bullets who , unlike his , HIT their marks . He drops DEAD . The two men lower their guns . Jules , obviously shaken , sits down in a chair . Vincent , after a moment of respect , shrugs it off . Then heads toward Marvin in the corner .</scene_description>
<character>VINCENT</character>
<dialogue>Why the fuck did n't you tell us about that guy in the bathroom? Slip your mind? Forget he was in there with a goddamn hand cannon?</dialogue>
<character>JULES</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>We should be fuckin' dead right now.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Did you see that gun he fired at us? It was bigger than him.</dialogue>
<character>VINCENT</character>
<dialogue>357.</dialogue>
<character>JULES</character>
<dialogue>We should be fuckin' dead!</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, we were lucky.</dialogue>
<scene_description>Jules rises , moving toward Vincent .</scene_description>
<character>JULES</character>
<dialogue>That shit was n't luck. That shit was somethin' else.</dialogue>
<scene_description>Vincent prepares to leave .</scene_description>
<character>VINCENT</character>
<dialogue>Yeah, maybe.</dialogue>
<character>JULES</character>
<dialogue>That was. divine intervention. You know what divine intervention is?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, I think so. That means God came down from Heaven and stopped the bullets.</dialogue>
<character>JULES</character>
<dialogue>Yeah, man, that's what is means. That's exactly what it means! God came down from Heaven and stopped the bullets.</dialogue>
<character>VINCENT</character>
<dialogue>I think we should be going now.</dialogue>
<character>JULES</character>
<dialogue>Do n't do that! Do n't you fuckin' do that! Do n't blow this shit off! What just happened was a fuckin' miracle!</dialogue>
<character>VINCENT</character>
<dialogue>Chill the fuck out, Jules, this shit happens.</dialogue>
<character>JULES</character>
<dialogue>Wrong, wrong, this shit does n't just happen.</dialogue>
<character>VINCENT</character>
<dialogue>Do you wan na continue this theological discussion in the car, or at the jailhouse with the cops?</dialogue>
<character>JULES</character>
<dialogue>We should be fuckin' dead now, my friend! We just witnessed a miracle, and I want you to fuckin' acknowledge it!</dialogue>
<character>VINCENT</character>
<dialogue>Okay man, it was a miracle, can we leave now?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLLYWOOD APARTMENT BUILDING - MORNING</stage_direction>
<scene_description>The Chevy Nova PROPELS itself into traffic .</scene_description>
</scene>
<scene>
<stage_direction>INT. NOVA (MOVING) - MORNING</stage_direction>
<scene_description>Jules is behind the wheel , Vincent in the passenger seat and Marvin in the back .</scene_description>
<character>VINCENT</character>
<dialogue>ever seen that show `` COPS?'' I was watchin' it once and this cop was on it who was talkin' about this time he got into this gun fight with a guy in a hallway. He unloads on this guy and he does n't hit anything. And these guys were in a hallway. It's a freak, but it happens.</dialogue>
<character>JULES</character>
<dialogue>If you wan na play blind man, then go walk with a Shepherd. But me, my eyes are wide fuckin' open.</dialogue>
<character>VINCENT</character>
<dialogue>What the fuck does that mean?</dialogue>
<character>JULES</character>
<dialogue>That's it for me. For here on in, you can consider my ass retired.</dialogue>
<character>VINCENT</character>
<dialogue>Jesus Christ!</dialogue>
<character>JULES</character>
<dialogue>Do n't blaspheme!</dialogue>
<character>VINCENT</character>
<dialogue>Goddammit, Jules -</dialogue>
<character>JULES</character>
<dialogue>- I said do n't do that -</dialogue>
<character>VINCENT</character>
<dialogue>- you're fuckin' freakin' out!</dialogue>
<character>JULES</character>
<dialogue>I'm tellin' Marsellus today I'm through.</dialogue>
<character>VINCENT</character>
<dialogue>While you're at it, be sure to tell ` im why.</dialogue>
<character>JULES</character>
<dialogue>Do n't worry, I will.</dialogue>
<character>VINCENT</character>
<dialogue>I'll bet ya ten thousand dollars, he laughs his ass off.</dialogue>
<character>JULES</character>
<dialogue>I do n't give a damn if he does.</dialogue>
<scene_description>Vincent turns to the backseat with the .45 casually in his grip .</scene_description>
<character>VINCENT</character>
<dialogue>Marvin, what do you make of all this?</dialogue>
<character>MARVIN</character>
<dialogue>I do n't even have an opinion.</dialogue>
<character>VINCENT</character>
<dialogue>C'mon, Marvin. Do you think God came down from Heaven and stopped the bullets?</dialogue>
<scene_description>Vincent 's .45 goes BANG ! Marvin is hit in the upper chest , below the throat . He GURGLES blood and SHAKES .</scene_description>
<character>JULES</character>
<dialogue>What the fuck's happening?</dialogue>
<character>VINCENT</character>
<dialogue>I just accidentally shot Marvin in the throat.</dialogue>
<character>JULES</character>
<dialogue>Why the fuck did you do that?</dialogue>
<character>VINCENT</character>
<dialogue>I did n't mean to do it. I said it was an accident.</dialogue>
<character>JULES</character>
<dialogue>I've seen a lot of crazy - ass shit in my time -</dialogue>
<character>VINCENT</character>
<dialogue>- chill out, man, it was an accident, okay? You hit a bump or somethin' and the gun went off.</dialogue>
<character>JULES</character>
<dialogue>The car did n't hit no motherfuckin' bump!</dialogue>
<character>VINCENT</character>
<dialogue>Look! I did n't mean to shoot this son - of - a - bitch, the gun just went off, do n't ask me how! Now I think the humane thing to do is put him out of his misery.</dialogue>
<character>JULES</character>
<parenthetical>( ca n't believe it . )</parenthetical>
<dialogue>You wan na shoot ` im again?</dialogue>
<character>VINCENT</character>
<dialogue>The guy's sufferin'. It's the right thing to do.</dialogue>
<scene_description>Marvin , suffering though he is , is listening to this debate , not believing what he 's hearing .</scene_description>
<character>JULES</character>
<dialogue>This is really uncool.</dialogue>
<scene_description>Vincent turns to the backseat , places the barrel of the .45 against Marvin 's forehead . Marvin 's eyes are as big as saucers . He tries to talk Vince out of this , but when he opens his mouth , only GURGLES come out .</scene_description>
<character>JULES</character>
<dialogue>Marvin, I just wan na apologize. I got nothin' to do with this shit. And I want you to know I think it's fucked up.</dialogue>
<character>VINCENT</character>
<dialogue>Okay, Pontius Pilot, when I count three, honk your horn. One. two.</dialogue>
<scene_description>CU of the steering wheel .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>three.</dialogue>
<scene_description>Jules presses down hard on the horn : HONK and BANG ! When we CUT BACK to the two men , the car is completely covered in blood . It 's all over everything , including Jules and Vincent .</scene_description>
<character>JULES</character>
<dialogue>Jesus Christ Almighty!</dialogue>
<character>VINCENT</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Fuck.</dialogue>
<character>JULES</character>
<dialogue>Look at this mess! We're drivin' around on a city street in broad daylight -</dialogue>
<character>VINCENT</character>
<dialogue>- I know, I know, I was n't thinkin' about the splatter.</dialogue>
<character>JULES</character>
<dialogue>Well you better be thinkin' about it now, motherfucker! We got ta get this car off the road. Cops tend to notice shit like you're driving a car drenched in fuckin' blood.</dialogue>
<character>VINCENT</character>
<dialogue>Ca n't we just take it to a friendly place?</dialogue>
<character>JULES</character>
<dialogue>This is the Valley, Vincent. Marsellus do n't got no friendly places in the Valley.</dialogue>
<character>VINCENT</character>
<dialogue>Well, do n't look at me, this is your town, Jules.</dialogue>
<scene_description>Jules takes out a cellular phone and starts punching digits .</scene_description>
<character>VINCENT</character>
<dialogue>Who ya callin'?</dialogue>
<character>JULES</character>
<dialogue>A buddy of mine in Toluca Lake.</dialogue>
<character>VINCENT</character>
<dialogue>Where's Toluca Lake.</dialogue>
<character>JULES</character>
<dialogue>On the other side of the hill, by Burbank Studios. If Jimmie's ass ai n't home, I do n't know what the fuck we're gon na go. I ai n't got any other partners in 818.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Jimmie! How you doin' man, it's Jules.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Listen up man, me an' my homeboy are in some serious shit. We're in a car we got ta get off the road, pronto! I need to use your garage for a couple hours.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Jimmie, you know I ca n't get into this shit on a cellular fuckin' phone. But what I can say is my ass is out in the cold and I'm askin' you for some sanctuary'til our people can bring us in.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I appreciate this, man -.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>We'll be gone by then.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- Jimmie, I'm aware of your situation. I ai n't gon na fuck things up for you. I give you my word, partner, she'll never know we were there.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Five minutes. Later.</dialogue>
<scene_description>He folds up the phone , turns to Vincent .</scene_description>
<character>JULES</character>
<dialogue>We're set. But his wife come home from work in an hour and a half and we got ta be outta there by then,</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S HOUSE - MORNING</stage_direction>
<scene_description>The Nova pulls into the garage of a two - bedroom suburban house .</scene_description>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BATHROOM - DAY</stage_direction>
<scene_description>Jules is bent over a sink , washing his bloody hands while Vincent stands behind him .</scene_description>
<character>JULES</character>
<dialogue>We got ta be real fuckin' delicate with this Jimmie's situation. He's one remark away from kickin' our asses out the door.</dialogue>
<character>VINCENT</character>
<dialogue>If he kicks us out, whadda we do?</dialogue>
<character>JULES</character>
<dialogue>Well, we ai n't leavin''til we made a couple phone calls. But I never want it to reach that pitch. Jimmie's my friend and you do n't bust in your friend's house and start tellin' ` im what's what.</dialogue>
<scene_description>Jules rises and dries his hands . Vincent takes his place at the sink .</scene_description>
<character>VINCENT</character>
<dialogue>Just tell ` im not to be abusive. He kinda freaked out back there when he saw Marvin.</dialogue>
<character>JULES</character>
<dialogue>Put yourself in his position. It's eight o'clock in the morning. He just woke up, he was n't prepared for this shit. Do n't forget who's doin' who a favor.</dialogue>
<scene_description>Vincent finishes , then dries his hands on a white towel .</scene_description>
<character>VINCENT</character>
<dialogue>If the price of that favor is I got ta take shit, he can stick his favor straight up his ass.</dialogue>
<scene_description>When Vincent is finished drying his hands , the towel is stained with red .</scene_description>
<character>JULES</character>
<dialogue>What the fuck did you just do to his towel?</dialogue>
<character>VINCENT</character>
<dialogue>I was just dryin' my hands.</dialogue>
<character>JULES</character>
<dialogue>You're supposed to wash'em first.</dialogue>
<character>VINCENT</character>
<dialogue>You watched me wash'em.</dialogue>
<character>JULES</character>
<dialogue>I watched you get'em wet.</dialogue>
<character>VINCENT</character>
<dialogue>I washed'em. Blood's real hard to get off. Maybe if he had some Lava, I coulda done a better job.</dialogue>
<character>JULES</character>
<dialogue>I used the same soap you did and when I dried my hands, the towel did n't look like a fuckin' Maxie pad. Look, fuck it, alright. Who cares? But it's shit like this that's gon na bring this situation to a boil. If he were to come in here and see that towel like that. I'm tellin' you Vincent, you best be cool.'Cause if I got ta get in to it with Jimmie on account of you. Look, I ai n't threatenin' you, I respect you an' all, just do n't put me in that position.</dialogue>
<character>JULES</character>
<dialogue>Jules, you ask me nice like that, no problem. He's your friend, you handle him.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S KITCHEN - MORNING</stage_direction>
<scene_description>Three men are standing in Jimmie 's kitchen , each with a mug of coffee . Jules , Vincent and JIMMIE DIMMICK , a young man in his late - 20s dressed in a bathrobe .</scene_description>
<character>JULES</character>
<dialogue>Goddamn Jimmie, this is some serious gourmet shit. Me an' Vincent woulda been satisfied with freeze - dried Tasters Choice. You spring this gourmet fuckin' shit on us. What flavor is this?</dialogue>
<character>JIMMIE</character>
<dialogue>Knock it off, Julie.</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>JIMMIE</character>
<dialogue>I'm not a cobb or corn, so you can stop butterin' me up. I do n't need you to tell me how good my coffee is. I'm the one who buys it, I know how fuckin' good it is. When Bonnie goes shoppin ;, she buys shit. I buy the gourmet expensive stuff'cause when I drink it, I wan na taste it. But what's on my mind at this moment is n't the coffee in my kitchen, it's the dead nigger in my garage.</dialogue>
<character>JULES</character>
<dialogue>Jimmie -</dialogue>
<character>JIMMIE</character>
<dialogue>- I'm talkin'. Now let me ask you a question, Jules. When you drove in here, did you notice a sign out front that said, `` Dead nigger storage?''</dialogue>
<scene_description>Jules starts to `` Jimmie '' him -</scene_description>
<character>JIMMIE</character>
<dialogue>- answer to question. Did you see a sign out in front of my house that said, `` Dead nigger storage?''</dialogue>
<character>JULES</character>
<parenthetical>( playing along . )</parenthetical>
<dialogue>Naw man, I did n't.</dialogue>
<character>JIMMIE</character>
<dialogue>You know why you did n't see that sign?</dialogue>
<character>JULES</character>
<dialogue>Why?</dialogue>
<character>JIMMIE</character>
<dialogue>'Cause storin' dead niggers ai n't my fuckin' business!</dialogue>
<scene_description>Jules starts to `` Jimmie '' him .</scene_description>
<character>JIMMIE</character>
<dialogue>- I ai n't through! Now do n't you understand that if Bonnie comes home and finds a dead body in her house, I'm gon na get divorced. No marriage counselor, no trial separation - fuckin' divorced. And I do n't wan na get fuckin' divorced. The last time me an' Bonnie talked about this shit was gon na be the last time me an' Bonnie talked about this shit. Now I wan na help ya out Julie, I really do. But I ai n't gon na lose my wife doin' it.</dialogue>
<character>JULES</character>
<dialogue>Jimmie -</dialogue>
<character>JIMMIE</character>
<dialogue>- do n't fuckin' Jimmie me, man, I ca n't be Jimmied. There's nothin' you can say that's gon na make me forget I love my wife. Now she's workin' the graveyard shift at the hospital. She'll be comin' home in less than an hour and a half. Make your phone calls, talk to your people, than get the fuck out of my house.</dialogue>
<character>JULES</character>
<dialogue>That's all we want. We do n't wan na fuck up your shit, We just need to call our people to bring us in.</dialogue>
<character>JIMMIE</character>
<dialogue>Then I suggest you get to it. Phone's in my bedroom.</dialogue>
<scene_description>As Jules crosses the room , exiting .</scene_description>
<character>JULES</character>
<parenthetical>( calling behind him . )</parenthetical>
<dialogue>You're a friend, Jimmie, you're a good fuckin' friend!</dialogue>
<character>JIMMIE</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Yeah, yeah, yeah, yeah, yeah. I'm a real good friend. Good friend, bad husband, soon to be ex - husband.</dialogue>
<parenthetical>( look up and sees Vincent . )</parenthetical>
<dialogue>Who the fuck are you?</dialogue>
<character>VINCENT</character>
<dialogue>I'm Vincent. And Jimmie, thank a bunch,</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>JIMMIE</character>
<dialogue>Do n't mention it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S DINING ROOM - MORNING</stage_direction>
<scene_description>Marsellus Wallace sits at his dining table in a big comfy robe , eating his large breakfast , while talking on the phone .</scene_description>
<character>MARSELLUS</character>
<dialogue>well, say she comes home. Whaddya think she'll do?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>No fuckin' shit she'll freak. That ai n't no kinda answer. You know ` er, I do n't. How bad, a lot or a little?</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BEDROOM - MORNING</stage_direction>
<scene_description>Jules paces around in Jimmie 's bedroom on the phone .</scene_description>
<character>JULES</character>
<dialogue>You got to appreciate what an explosive element this Bonnie situation is. If she comes home from a hard day's work and finds a bunch of gangsters doin' a bunch of gangsta' shit in her kitchen, ai n't no tellin' what she's apt to do.</dialogue>
<character>MARSELLUS</character>
<dialogue>Let us speak of the unspeakable.</dialogue>
<character>JULES</character>
<dialogue>Possibility exists, but unlikely.</dialogue>
<character>MARSELLUS</character>
<dialogue>Why possible but unlikely?</dialogue>
<character>JULES</character>
<dialogue>'Cause if push met shove, you know I'll take care of business. But push ai n't never gon na meet shove. Because You're gon na solve this shit for us. You're gon na take our asses outta the cold and bring it inside where it's warm.'Cause if I got ta get into it with my friend about his wife over your boy Vincent, I'm gon na have bad feelings.</dialogue>
<character>MARSELLUS</character>
<dialogue>I've grasped that, Jules. All I'm doin' is contemplating the `` ifs.''</dialogue>
<character>JULES</character>
<dialogue>I do n't wan na hear about no motherfuckin' `` ifs.'' What I wan na hear from your ass is : `` you ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for the cavalry, which should be comin' directly.''</dialogue>
<character>MARSELLUS</character>
<dialogue>You ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for The Wolf, who should be comin' directly.</dialogue>
<character>JULES</character>
<dialogue>You sendin' The Wolf?</dialogue>
<character>MARSELLUS</character>
<dialogue>Feel better?</dialogue>
<character>JULES</character>
<dialogue>Shit Negro, that's all you had to say.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - MORNING</stage_direction>
<scene_description>The CAMERA looks through the bedroom doorway of a hotel suite into the main area . We SEE a crap game being played on a fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in fancy evening gowns . The CAMERA PANS to the right revealing : sitting on a bed , phone in hand with his back to us , the tuxedo - clad WINSTON WOLF aka `` THE WOLF . '' We also see The Wolf has a small notepad that he jots details in .</scene_description>
<character>THE WOLF</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Is she the hysterical type?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>When she due?</dialogue>
<parenthetical>( jotting down . )</parenthetical>
<dialogue>Give me the principals' names again?</dialogue>
<parenthetical>( jots down . )</parenthetical>
<dialogue>Jules.</dialogue>
<scene_description>We SEE his book . The page has written on it : 1265 Riverside Drive Toluca Lake 1 body . -LRB- no head . -RRB- Bloody shot - up car Jules . -LRB- black . -RRB-</scene_description>
<character>THE WOLF</character>
<dialogue>Vincent. Jimmie. Bonnie.</dialogue>
<scene_description>He writes : Vincent . -LRB- Dean Martin . -RRB- Jimmie . -LRB- house . -RRB- Bonnie . -LRB- 9:30 . -RRB-</scene_description>
<character>THE WOLF</character>
<dialogue>Expect a call around 10:30. It's about thirty minutes away. I'll be there in ten.</dialogue>
<scene_description>He hangs up . We never see his face . `` NINE MINUTES AND THIRTY - SEVEN SECONDS LATER . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S STREET - MORNING</stage_direction>
<scene_description>A silver Porsche WHIPS the corner leading to Jimmie 's home , in HYPER DRIVE . Easily doing 135 mph , the Porsche stops on a dime in front of Jimmie 's house . A ringed finger touches the doorbell : DING DONG .</scene_description>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S HOUSE - MORNING</stage_direction>
<scene_description>Jimmie opens the door . We see , standing in the doorway , the tuxedo - clad man . He looks down to his notebook , then up at Jimmie .</scene_description>
<character>THE WOLF</character>
<dialogue>You're Jimmie, right? This is your house?</dialogue>
<character>JIMMIE</character>
<dialogue>Yeah.</dialogue>
<character>THE WOLF</character>
<parenthetical>( stick his hand out . )</parenthetical>
<dialogue>I'm Winston Wolf, I solve problems.</dialogue>
<character>JIMMIE</character>
<dialogue>Good,'cause we got one.</dialogue>
<character>THE WOLF</character>
<dialogue>So I heard. May I come in?</dialogue>
<character>JIMMIE</character>
<dialogue>Please do.</dialogue>
<scene_description>The two men walk to the dining room .</scene_description>
<character>THE WOLF</character>
<dialogue>I want to convey Mr. Wallace's gratitude with the help you're providing on this matter. Let me assure you Jimmie, Mr. Wallace's gratitude is worth having.</dialogue>
<scene_description>In the dining room , Jules and Vincent stand up .</scene_description>
<character>THE WOLF</character>
<dialogue>You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>100 %.</dialogue>
<character>THE WOLF</character>
<dialogue>Your wife, Bonnie.</dialogue>
<parenthetical>( refers to his pad . )</parenthetical>
<dialogue>. comes home at 9:30 in the AM, is that correct?</dialogue>
<character>JIMMIE</character>
<dialogue>Uh - huh.</dialogue>
<character>THE WOLF</character>
<dialogue>I was led to believe if she comes home and finds us here, she would n't appreciate it none too much.</dialogue>
<character>JIMMMIE</character>
<dialogue>She wo n't at that.</dialogue>
<character>THE WOLF</character>
<dialogue>That give use forty minutes to get the fuck outta Dodge, which, if you do what I say when I say it, should by plenty. Now you got a corpse in a car, minus a head, in a garage. Take me to it.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S GARAGE - MORNING</stage_direction>
<scene_description>The three men hand back as The Wolf examines the car . He studies the car in silence , opening the door , looking inside , circling it .</scene_description>
<character>THE WOLF</character>
<dialogue>Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>Yes.</dialogue>
<character>THE WOLF</character>
<dialogue>Do me a favor, will ya? Thought I smelled some coffee in there. Would you make me a cup?</dialogue>
<character>JIMMIE</character>
<dialogue>Sure, how do you take it?</dialogue>
<character>THE WOLF</character>
<dialogue>Lotsa cream, lotsa sugar.</dialogue>
<scene_description>Jimmie exists . The Wolf continues his examination .</scene_description>
<character>THE WOLF</character>
<dialogue>About the car, is there anything I need to know? Does it stall, does it make a lot of noise, does it smoke, is there gas in it, anything?</dialogue>
<character>JULES</character>
<dialogue>Aside from how it looks, the car's cool.</dialogue>
<character>THE WOLF</character>
<dialogue>Positive? Do n't get me out on the road and I find out the brake lights do n't work.</dialogue>
<character>JULES</character>
<dialogue>Hey man, as far as I know, the motherfucker's tip - top.</dialogue>
<character>THE WOLF</character>
<dialogue>Good enough, let's go back to the kitchen.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MORNING</stage_direction>
<scene_description>Jimmie hands The Wolf a cup of coffee .</scene_description>
<character>THE WOLF</character>
<dialogue>Thank you, Jimmie.</dialogue>
<scene_description>He takes a sip , then , pacing as he thinks , lays out for the three men the plan of action .</scene_description>
<character>THE WOLF</character>
<dialogue>Okay first thing, you two.</dialogue>
<parenthetical>( meaning Jules and Vincent . )</parenthetical>
<dialogue>Take the body, stick it in the trunk. Now Jimmie, this looks to be a pretty domesticated house. That would lead me to believe that in the garage or under the sink, you got a bunch of cleaners and cleaners and shit like that, am I correct?</dialogue>
<character>JIMMIE</character>
<dialogue>Yeah. Exactly. Under the sink.</dialogue>
<character>THE WOLF</character>
<dialogue>Good. What I need you two fellas to do is take those cleaning products and clean the inside of the car. And I'm talkin' fast, fast, fast. You need to go in the backseat, scoop up all those little pieces of brain and skull. Get it out of there. Wipe down the upholstery - now when it comes to upholstery, it do n't need to be spic and span, you do n't need to eat off in. Give it a good once over. What you need to take care of are the really messy parts. The pools of blood that have collected, you got ta soak that shit up. But the windows are a different story. Them you really clean. Get the Windex, do a good job. Now Jimmie, we need to raid your linen closet. I need blankets, I need comforters, I need quilts, I need bedspreads. The thicker the better, the darker the better. No whites, ca n't use'em. We need to camouflage the interior of the car. We're gon na line the front seat and the backseat and the floor boards with quilts and blankets. If a cop stops us and starts stickin' his big snout in the car, the subterfuge wo n't last. But at a glance, the car will appear to be normal. Jimmie - lead the way, boys - get to work.</dialogue>
<scene_description>The Wolf and Jimmie turn , heading for the bedroom , leaving Vincent and Jules standing in the kitchen .</scene_description>
<character>VINCENT</character>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>A `` please'' would be nice.</dialogue>
<scene_description>The Wolf stops and turns around .</scene_description>
<character>THE WOLF</character>
<dialogue>Come again?</dialogue>
<character>VINCENT</character>
<dialogue>I said a `` please'' would be nice.</dialogue>
<scene_description>The Wolf takes a step toward him .</scene_description>
<character>THE WOLF</character>
<dialogue>Set is straight, Buster. I'm not here to say `` please.'' I'm here to tell you want to do. And if self - preservation is an instinct you possess, you better fuckin' do it and do it quick. I'm here to help. If my help's not appreciated, lotsa luck gentlemen.</dialogue>
<character>JULES</character>
<dialogue>It ai n't that way, Mr. Wolf. Your help is definitely appreciated.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't mean any disrespect. I just do n't like people barkin' orders at me.</dialogue>
<character>THE WOLF</character>
<dialogue>If I'm curt with you, it's because time is a factor. I think fast, I talk fast, and I need you guys to act fast if you want to get out of this. So pretty please, with sugar on top, clean the fuckin' car.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BEDROOM - MORNING</stage_direction>
<scene_description>Jimmie 's gathering all the bedspreads , quilts and linen he has . The Wolf is on the phone .</scene_description>
<character>THE WOLF</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>It's a 1974 Chevy Nova.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>White.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Nothin', except for the mess inside.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>About twenty minutes.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Nobody who'll be missed.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You're a good man, Joe. See ya soon.</dialogue>
<parenthetical>( he looks at Jimmie . )</parenthetical>
<dialogue>How we comin', Jimmie?</dialogue>
<scene_description>Jimmie comes over with a handful of linen .</scene_description>
<character>JIMMIE</character>
<dialogue>Mr. Wolf, you got ta understand somethin' -</dialogue>
<character>THE WOLF</character>
<dialogue>- Winston, Jimmie - please, Winston.</dialogue>
<character>JIMMIE</character>
<dialogue>You got ta understand something, Winston. I want to help you guys out and all, but that's my best linen. It was a wedding present from my Uncle Conrad and Aunt Ginny, and they ai n't with us anymore -</dialogue>
<character>THE WOLF</character>
<dialogue>- let me ask you a question, if you do n't mind?</dialogue>
<character>JIMMIE</character>
<dialogue>Sure.</dialogue>
<character>THE WOLF</character>
<dialogue>Were you Uncle Conrad and Aunt Ginny millionaires?</dialogue>
<character>JIMMIE</character>
<dialogue>No.</dialogue>
<character>THE WOLF</character>
<dialogue>Well, your Uncle Marsellus is. And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set, which your Uncle Marsellus is more than happy to do.</dialogue>
<parenthetical>( takes out a roll of bills . )</parenthetical>
<dialogue>I like oak myself, that's what's in my bedroom. How ` bout you Jimmie, you an oak man?</dialogue>
<character>JIMMIE</character>
<dialogue>Oak's nice.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARAGE - MORNING</stage_direction>
<scene_description>Both Jules and Vincent are inside the car cleaning it up . Vincent is in the front seat washing windows , while Jules is in the backseat , picking up little pieces of skull and gobs of brain . Both are twice as bloody as they were before .</scene_description>
<character>JULES</character>
<dialogue>I will never forgive your ass for this shit. This is some fucked - up repugnant shit!</dialogue>
<character>VINCENT</character>
<dialogue>Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong - doings?</dialogue>
<character>JULES</character>
<dialogue>Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty - bitty pieces of skull with his fingers on account of your dumb ass.</dialogue>
<character>VINCENT</character>
<dialogue>I got a threshold, Jules. I got a threshold for the abuse I'll take. And you're crossin' it. I'm a race car and you got me in the red. Redline 7000, that's where you are. Just know, it's fuckin' dangerous to be drivin' a race car when it's in the red. It could blow.</dialogue>
<character>JULES</character>
<dialogue>You're gettin' ready to blow? I'm a mushroom - cloud - layin' motherfucker! Every time my fingers touch brain I'm `` SUPERFLY T.N.T,'' I'm the `` GUNS OF NAVARONE.'' I'm what Jimmie Walker usta talk about. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're tradin'. I'm washin' windows and you're pickin' up this nigger's skull.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEVY NOVA - MORNING</stage_direction>
<scene_description>The interior of the car has been cleaned and lined with bedspreads and quilts . Believe it or not , what looked like a portable slaughterhouse can actually pass for a non - descript vehicle . The Wolf circles the car examining it . Jules and Vincent stand aside , their clothes are literally a bloody mess , but they do have a sense of pride in what a good job they 've done .</scene_description>
<character>THE WOLF</character>
<dialogue>Fine job, gentlemen. We may get out of this yet.</dialogue>
<character>JIMMIE</character>
<dialogue>I ca n't believe that's the same car.</dialogue>
<character>THE WOLF</character>
<dialogue>Well, let's not start suckin' each other's dicks quite yet. Phase one is complete, clean the car, which moves us right along to phase two, clean you two.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S BACKYARD - MORNING</stage_direction>
<scene_description>Jules and Vincent stand side by side in their black suits , covered in blood , in Jimmie 's backyard . Jimmie holds a plastic Hefty trash bag , while The Wolf holds a garden hose with one of those guns nossles attached .</scene_description>
<character>THE WOLF</character>
<dialogue>Strip.</dialogue>
<character>VINCENT</character>
<dialogue>All the way?</dialogue>
<character>THE WOLF</character>
<dialogue>To your bare ass.</dialogue>
<scene_description>As they follow directions , The Wolf enjoys a smoke .</scene_description>
<character>THE WOLF</character>
<dialogue>Quickly gentlemen, we got about fifteen minutes before Jimmie's better - half comes pulling into the driveway.</dialogue>
<character>JULES</character>
<dialogue>This morning air is some chilly shit.</dialogue>
<character>VINCENT</character>
<dialogue>Are you sure this is absolutely necessary?</dialogue>
<character>THE WOLF</character>
<dialogue>You know what you two look like?</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>THE WOLF</character>
<dialogue>Like a couple of guys who just blew off somebody's head. Yes, strippin' off those bloody rags is absolutely necessary. Toss the clothes in Jim's garbage bag.</dialogue>
<character>JULES</character>
<dialogue>Now Jimmie, do n't do nothin' stupid like puttin' that out in front of your house for Elmo the garbage man to take away.</dialogue>
<character>THE WOLF</character>
<dialogue>Do n't worry, we're takin' it with us. Jim, the soap.</dialogue>
<scene_description>He hands the now - naked men a bar of soap .</scene_description>
<character>THE WOLF</character>
<dialogue>Okay gentlemen, you're both been to County before, I'm sure. Here it comes.</dialogue>
<scene_description>He hits the trigger , water SHOOTS OUT , SMACKING both men .</scene_description>
<character>JULES</character>
<dialogue>Goddamn, that water's fuckin' cold!</dialogue>
<character>THE WOLF</character>
<dialogue>Better you than me, gentlemen.</dialogue>
<scene_description>The two men , trembling , scrub themselves .</scene_description>
<character>THE WOLF</character>
<dialogue>Do n't be afraid of the soap, spread it around.</dialogue>
<scene_description>The Wolf stops the hose , tossing it on the ground .</scene_description>
<character>THE WOLF</character>
<dialogue>Towel'em.</dialogue>
<scene_description>Jimmie tosses them each a towel , which they rub furiously across their bodies .</scene_description>
<character>THE WOLF</character>
<dialogue>You're dry enough, give'em their clothes.</dialogue>
<character>JIMMIE</character>
<dialogue>Okay fellas, in the one - size - fits - all category, we got swim trunks, one red - one white. And two extra - large tee - shirts. A UC Santa Cruz shirt and an `` I'm with Stupid'' shirt.</dialogue>
<character>JULES</character>
<dialogue>I get the `` I'm with Stupid'' shirt.</dialogue>
<scene_description>JULES AND VINCENT in their tee - shirts and swim trunks . They look a million miles away from the black - suited , bad - asses we first met .</scene_description>
<character>THE WOLF</character>
<dialogue>Perfect. Perfect. We could n't've planned this better. You guys look like. what do they look like, Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>Dorks. They look like a couple of dorks.</dialogue>
<scene_description>The Wolf and Jimmie laugh .</scene_description>
<character>JULES</character>
<dialogue>Ha ha ha. They're your clothes, motherfucker.</dialogue>
<character>JIMMIE</character>
<dialogue>I guess you just got ta know how to wear them.</dialogue>
<character>JULES</character>
<dialogue>Yeah, well, out asses ai n't the expert on wearin' dorky shit that your is.</dialogue>
<character>THE WOLF</character>
<dialogue>C'mon, gentlemen, we're laughin' and jokin' our way into prison. Do n't make me beg.</dialogue>
<scene_description>They start walking through the house to the garage .</scene_description>
<character>JIMMIE</character>
<dialogue>Wait a minute, before you guys split, I wan na get a picture of this.</dialogue>
<character>JULES</character>
<dialogue>Jimmie, have you forgotten about your wife comin' home?</dialogue>
<character>JIMMIE</character>
<dialogue>It wo n't take a second.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't like this photograph shit.</dialogue>
<character>JIMMIE</character>
<dialogue>Sorry - my house, my rules.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S GARAGE - MORNING</stage_direction>
<scene_description>The garbage bag is tossed in the car trunk on top of Marvin . The Wolf SLAMS is closed .</scene_description>
<character>THE WOLF</character>
<dialogue>Gentlemen, let's get our rules of the road straight. We're going to a place called Monster Joe's Truck and Tow. Monster Joe and his daughter Raquel are sympathetic to out dilemma. The place is North Hollywood, so a few twist and turns aside, we'll be goin' up Hollywood Way. Now I'll drive the tainted car. Jules, you ride with me. Vincent, you follow in my Porsche. Now if we cross the path of any John Q. Laws, nobody does a fuckin' thing'til I do something.</dialogue>
<parenthetical>( to Jules . )</parenthetical>
<dialogue>What did I say?</dialogue>
<character>JULES</character>
<dialogue>Do n't do shit unless -</dialogue>
<character>THE WOLF</character>
<dialogue>- unless what?</dialogue>
<character>JULES</character>
<dialogue>Unless you do it first.</dialogue>
<character>THE WOLF</character>
<dialogue>Spoken like a true prodigy.</dialogue>
<parenthetical>( to Vincent . )</parenthetical>
<dialogue>How ` bout you, Lash Larue? Can you keep your spurs from jingling and jangling?</dialogue>
<character>VINCENT</character>
<dialogue>I'm cool, Mr. Wolf. My gun just went off, I dunno how.</dialogue>
<character>THE WOLF</character>
<dialogue>Fair enough.</dialogue>
<parenthetical>( he throws Vince his car keys . )</parenthetical>
<dialogue>I drive real fuckin' fast, so keep up. If I get my car back any different than I gave it, Monster Joe's gon na be disposing of two bodies.</dialogue>
<character>JULES</character>
<dialogue>Why do you drive fast?</dialogue>
<character>THE WOLF</character>
<dialogue>Because it's a lot of fun.</dialogue>
<scene_description>Jules and Vincent laugh .</scene_description>
<character>THE WOLF</character>
<dialogue>Let's move.</dialogue>
<scene_description>Jimmie comes through the door , camera in hand .</scene_description>
<character>JIMMIE</character>
<dialogue>Wait a minute, I wan na take a picture.</dialogue>
<character>JULES</character>
<dialogue>We ai n't got time, man.</dialogue>
<character>JIMMIE</character>
<dialogue>We got time for one picture. You and Vincent get together.</dialogue>
<scene_description>Jules and Vincent stand next to each other .</scene_description>
<character>JIMMIE</character>
<dialogue>Okay, you guys put your arms around each other.</dialogue>
<scene_description>The two men look at each other and , after a long beat , a smile breaks out . They put their arms around each other .</scene_description>
<character>JIMMIE</character>
<dialogue>Okay Winston, get in there.</dialogue>
<character>THE WOLF</character>
<dialogue>I ai n't no model.</dialogue>
<character>JIMMIE</character>
<dialogue>After what a cool guy I've been, I ca n't believe you do me like this. It's the only thing I asked.</dialogue>
<character>JULES & VINCENT</character>
<dialogue>C'mon, Mr. Wolf.</dialogue>
<character>THE WOLF</character>
<dialogue>Okay, one photo and we go.</dialogue>
<scene_description>SLOW DOLLY TOWARD A LONE CAMERA</scene_description>
<character>JIMMIE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Everybody say Pepsi.</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I ai n't fuckin' sayin' Pepsi.</dialogue>
<character>JIMMIE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Smile, Winston.</dialogue>
<character>THE WOLF</character>
<dialogue>I do n't smile in pictures.</dialogue>
<scene_description>The camera goes off , FLASHING THE SCREEN WHITE . THE PHOTO FADES UP OVER WHITE . it 's Jules and Vincent , their arms around each other , next to Jimmie ' whose arm is around The Wolf . Everyone is smiling except you - know - who .</scene_description>
</scene>
<scene>
<stage_direction>INT. MONSTER JOE'S TRUCK AND TOW - MORNING</stage_direction>
<scene_description>Winston is counting out three thousand dollars to an older man in a dirty tee - shirt , MONSTER JOE . We 're in Joe 's office , which looks like the office of every tow yard on the planet . A filthy , disarrayed mess .</scene_description>
<character>MONSTER JOE</character>
<dialogue>I've said it before, I'll say it again, your business is always welcome.</dialogue>
<character>WINSTON</character>
<dialogue>I would think by now I've earned the equivalent of Frequent Flyer miles.</dialogue>
<character>MONSTER JOE</character>
<dialogue>I'll tell ya what, if you ever need it, I'll dispose of a body part for free.</dialogue>
<character>WINSTON</character>
<dialogue>How ` bout an upgrade, you dispose a whole body for the price of a body part.</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>MONSTER JOE</character>
<dialogue>That one I need to speak with my accountant on.</dialogue>
<character>WINSTON</character>
<dialogue>Where's that reprobate daughter of yours?</dialogue>
<character>MONSTER JOE</character>
<dialogue>Out in the yard, up to no good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MONSTER JOE'S TRUCK AND TOW - MORNING</stage_direction>
<scene_description>Winston steps outside and is joined by Monster Joe 's daughter , RAQUEL . They walk in step across the yard with their arms around each other 's waists .</scene_description>
<character>RAQUEL</character>
<dialogue>Hello, Boyfriend!</dialogue>
<character>WINSTON</character>
<dialogue>Hello, Girlfriend. I swear, heartbreaker, Joe should change the name of this place to Beauty and the Beast Truck and Tow.</dialogue>
<character>RAQUEL</character>
<dialogue>You're prejudiced because you love me.</dialogue>
<character>WINSTON</character>
<dialogue>Guilty.</dialogue>
<character>RAQUEL</character>
<dialogue>Now business is done, it's time for pleasure.</dialogue>
<character>WINSTON</character>
<dialogue>The time it is, is time for bed.</dialogue>
<character>RAQUEL</character>
<dialogue>Contre senior Lobo.</dialogue>
<character>WINSTON</character>
<dialogue>Do you have a different idea?</dialogue>
<character>RAQUEL</character>
<dialogue>Most definitely.</dialogue>
<character>WINSTON</character>
<dialogue>What do you think?</dialogue>
<character>RAQUEL</character>
<dialogue>I think you're taking me out to breakfast.</dialogue>
<character>WINSTON</character>
<dialogue>Well, you thought wrong.</dialogue>
<character>RAQUEL</character>
<dialogue>That's no fair! I never get to see you.</dialogue>
<character>WINSTON</character>
<dialogue>Raquel, I been up all night. I need sleep. You understand the concept of sleep?</dialogue>
<character>RAQUEL</character>
<dialogue>Yes, sleep is what you do after you've taken me to breakfast. Just get used to the idea, indulging me is the price of doing business at Monster Joe's Truck and Tow.</dialogue>
<character>WINSTON</character>
<dialogue>Raquel -</dialogue>
<character>RAQUEL</character>
<dialogue>I have n't seen you in a long time. I miss you, we're going to breakfast. So it is written, so shall it be done.</dialogue>
<scene_description>They exit the tow yard . Jules and Vincent wait by Winston 's Porsche .</scene_description>
<character>JULES</character>
<dialogue>We cool?</dialogue>
<character>WINSTON</character>
<dialogue>Like it never happened.</dialogue>
<scene_description>Jules and Vincent bump fists .</scene_description>
<character>JULES</character>
<dialogue>I apologize for bein' in your shit like I was.</dialogue>
<character>VINCENT</character>
<dialogue>You had every right, I fucked up.</dialogue>
<character>RAQUEL</character>
<parenthetical>( to Winston . )</parenthetical>
<dialogue>Are they having a moment?</dialogue>
<character>WINSTON</character>
<dialogue>Boys, this is Raquel. Someday, all this will be hers.</dialogue>
<character>RAQUEL</character>
<parenthetical>( to the boys . )</parenthetical>
<dialogue>Hi. You know, if they ever do `` I SPY : THE MOTION PICTURE,'' you guys, I'd be great. What's with the outfits. You guys going to a volleyball game?</dialogue>
<scene_description>Winston laughs , the boys groan .</scene_description>
<character>WINSTON</character>
<dialogue>I'm takin' m ` lady out to breakfast. Maybe I can drop you two off. Where do you live?</dialogue>
<character>VINCENT</character>
<dialogue>Redondo Beach.</dialogue>
<character>JULES</character>
<dialogue>Inglewood.</dialogue>
<scene_description>Winston grabs Jules ' wrist and pantomimes like he 's in a `` DEAD ZONE '' trance .</scene_description>
<character>WINSTON</character>
<parenthetical>( painfully . )</parenthetical>
<dialogue>It's your future : I see. a cab ride.</dialogue>
<parenthetical>( dropping the act . )</parenthetical>
<dialogue>Sorry guys, move out of the sticks.</dialogue>
<parenthetical>( to Raquel . )</parenthetical>
<dialogue>Say goodbye, Raquel</dialogue>
<character>RAQUEL</character>
<dialogue>Goodbye, Raquel.</dialogue>
<character>WINSTON</character>
<dialogue>I'll see you two around, and stay outta trouble, you crazy kids.</dialogue>
<scene_description>Winston turns to leave .</scene_description>
<character>JULES</character>
<dialogue>Mr. Wolf.</dialogue>
<scene_description>He turns around .</scene_description>
<character>JULES</character>
<dialogue>I was a pleasure watchin' you work.</dialogue>
<scene_description>The Wolf smiles .</scene_description>
<character>WINSTON</character>
<dialogue>Call me Winston.</dialogue>
<scene_description>He turns and banters with Raquel as they get in the Porsche .</scene_description>
<character>WINSTON</character>
<dialogue>You hear that, young lady? Respect. You could lean a lot from those two fine specimens. Respect for one's elders shows character.</dialogue>
<character>RAQUEL</character>
<dialogue>I have character.</dialogue>
<character>WINSTON</character>
<dialogue>Just because you are a character does n't mean you have character.</dialogue>
<character>RAQUEL</character>
<dialogue>Oh you're so funny, oh you're so funny.</dialogue>
<scene_description>The Porsche SHOOTS OFF down the road . The two men left alone look at each other .</scene_description>
<character>JULES</character>
<dialogue>Wan na share a cab?</dialogue>
<character>VINCENT</character>
<dialogue>You know I could go for some breakfast. What to have breakfast with me?</dialogue>
<character>JULES</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>Jules and Vincent sit at a booth . In front of Vincent is a big stack of pancakes and sausages , which he eats with gusto . Jules , on the other hand , just has a cup of coffee and a muffin . He seems far away in thought . The Waitress pours a refill for both men ,</scene_description>
<character>VINCENT</character>
<dialogue>Thanks a bunch.</dialogue>
<parenthetical>( to Jules , who 's nursing his coffee . )</parenthetical>
<dialogue>Want a sausage?</dialogue>
<character>JULES</character>
<dialogue>Naw, I do n't eat pork.</dialogue>
<character>VINCENT</character>
<dialogue>Are you Jewish?</dialogue>
<character>JULES</character>
<dialogue>I ai n't Jewish man, I just do n't dig on swine.</dialogue>
<character>VINCENT</character>
<dialogue>Why not?</dialogue>
<character>JULES</character>
<dialogue>They're filthy animals. I do n't eat filthy animals.</dialogue>
<character>VINCENT</character>
<dialogue>Sausages taste good. Pork chops taste good.</dialogue>
<character>JULES</character>
<dialogue>A sewer rat may taste like pumpkin pie. I'll never know'cause even if it did, I would n't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I do n't wan na eat nothin' that ai n't got enough sense to disregard its own feces.</dialogue>
<character>VINCENT</character>
<dialogue>How about dogs? Dogs eat their own feces.</dialogue>
<character>JULES</character>
<dialogue>I do n't eat dog either.</dialogue>
<character>VINCENT</character>
<dialogue>Yes, but do you consider a dog to be a filthy animal?</dialogue>
<character>JULES</character>
<dialogue>I would n't go so far as to call a dog filthy, but they're definitely dirty. But a dog's got personality. And personality goes a long way.</dialogue>
<character>VINCENT</character>
<dialogue>So by that rationale, if a pig had a better personality, he's cease to be a filthy animal?</dialogue>
<character>JULES</character>
<dialogue>We'd have to be talkin' ` bout one motherfuckin' charmin' pig. It'd have to be the Cary Grant of pigs.</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>VINCENT</character>
<dialogue>Good for you. Lighten up a little. You been sittin' there all quiet.</dialogue>
<character>JULES</character>
<dialogue>I just been sittin' here thinkin'.</dialogue>
<character>VINCENT</character>
<parenthetical>( mouthful of food . )</parenthetical>
<dialogue>About what?</dialogue>
<character>JULES</character>
<dialogue>The miracle we witnessed.</dialogue>
<character>VINCENT</character>
<dialogue>The miracle you witnessed. I witnessed a freak occurrence.</dialogue>
<character>JULES</character>
<dialogue>Do you know that a miracle is?</dialogue>
<character>VINCENT</character>
<dialogue>An act of God.</dialogue>
<character>JULES</character>
<dialogue>What's an act of God?</dialogue>
<character>VINCENT</character>
<dialogue>I guess it's when God makes the impossible possible. And I'm sorry Jules, but I do n't think what happened this morning qualifies.</dialogue>
<character>JULES</character>
<dialogue>Do n't you see, Vince, that shit do n't matter. You're judging this thing the wrong way. It's not about what. It could be God stopped the bullets, he changed Coke into Pepsi, he found my fuckin' car keys. You do n't judge shit like this based on merit. Whether or not what we experienced was an according - to - Hoyle miracle is insignificant. What is significant is I felt God's touch, God got involved.</dialogue>
<character>VINCENT</character>
<dialogue>But why?</dialogue>
<character>JULES</character>
<dialogue>That's what's fuckin' wit' me! I do n't know why. But I ca n't go back to sleep.</dialogue>
<character>VINCENT</character>
<dialogue>So you're serious, you're really gon na quit?</dialogue>
<character>JULES</character>
<dialogue>The life, most definitely.</dialogue>
<scene_description>Vincent takes a bite of food . Jules takes a sip of coffee In the b.g. , we see a PATRON call the Waitress .</scene_description>
<character>PATRON</character>
<dialogue>Garcon! Coffee!</dialogue>
<scene_description>We recognize the patron to be Pumpkin from the first scene of Pumpkin and Honey Bunny .</scene_description>
<character>VINCENT</character>
<dialogue>So if you're quitting the life, what'll you do?</dialogue>
<character>JULES</character>
<dialogue>That's what I've been sitting here contemplating. First, I'm gon na deliver this case to Marsellus. Then, basically, I'm gon na walk the earth.</dialogue>
<character>VINCENT</character>
<dialogue>What do you mean, walk the earth?</dialogue>
<character>JULES</character>
<dialogue>You know, like Caine in `` KUNG FU.'' Just walk from town to town, meet people, get in adventures.</dialogue>
<character>VINCENT</character>
<dialogue>How long do you intend to walk the earth?</dialogue>
<character>JULES</character>
<dialogue>Until God puts me where he want me to be.</dialogue>
<character>VINCENT</character>
<dialogue>What if he never does?</dialogue>
<character>JULES</character>
<dialogue>If it takes forever, I'll wait forever.</dialogue>
<character>VINCENT</character>
<dialogue>So you decided to be a bum?</dialogue>
<character>JULES</character>
<dialogue>I'll just be Jules, Vincent - no more, no less.</dialogue>
<character>VINCENT</character>
<dialogue>No Jules, you're gon na be like those pieces of shit out there who beg for change. They walk around like a bunch of fuckin' zombies, they sleep in garbage bins, they eat what I throw away, and dogs piss on'em. They got a word for'em, they're called bums. And without a job, residence, or legal tender, that's what you're gon na be - a fuckin' bum!</dialogue>
<character>JULES</character>
<dialogue>Look my friend, this is just where me and you differ -</dialogue>
<character>VINCENT</character>
<dialogue>- what happened was peculiar - no doubt about it - but it was n't water into wine.</dialogue>
<character>JULES</character>
<dialogue>All shapes and sizes, Vince.</dialogue>
<character>VINCENT</character>
<dialogue>Stop fuckin' talkin' like that!</dialogue>
<character>JULES</character>
<dialogue>If you find my answers frightening, Vincent, you should cease askin' scary questions.</dialogue>
<character>VINCENT</character>
<dialogue>When did you make this decision - while you were sitting there eatin' your muffin?</dialogue>
<character>JULES</character>
<dialogue>Yeah. I was just sitting here drinking my coffee, eating my muffin, playin' the incident in my head, when I had what alcoholics refer to as a `` moment of clarity.''</dialogue>
<character>VINCENT</character>
<dialogue>I got ta take a shit. To be continued.</dialogue>
<scene_description>Vincent exits for the restroom . Jules , alone , takes a mouthful of muffin , then . Pumpkin and Honey Bunny rise with guns raised .</scene_description>
<character>PUMPKIN</character>
<dialogue>Everybody be cool, this is a robbery!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?!</dialogue>
<scene_description>Jules looks up , not believing what he 's seeing . Under the table , Jules ' hand goes to his .45 Automatic . He pulls it out , COCKING IT .</scene_description>
<character>PUMPKIN</character>
<dialogue>Customers stay seated, waitresses on the floor.</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Now mean fuckin' now! Do it or die, do it or fucking die!</dialogue>
<scene_description>Like lightning , Pumpkin moves over to the kitchen . While Honey Bunny SCREAMS out threats to the PATRONS , keeping them terrified .</scene_description>
<character>PUMPKIN</character>
<dialogue>You Mexicans in the kitchen, get out here! Asta luego!</dialogue>
<scene_description>Three COOKS and two BUSBOYS come out of the kitchen .</scene_description>
<character>PUMPKIN</character>
<dialogue>On the floor or I'll cook you ass, comprende?</dialogue>
<scene_description>They comprende . The portly MANAGER speaks up .</scene_description>
<character>MANAGER</character>
<dialogue>I'm the manager here, there's no problem, no problem at all -</dialogue>
<scene_description>Pumpkin head his way .</scene_description>
<character>PUMPKIN</character>
<dialogue>You're gon na give me a problem?</dialogue>
<scene_description>He reaches him and sticks the barrel of his gun hard in the Manager 's neck .</scene_description>
<character>PUMPKIN</character>
<dialogue>What? You said you're gon na give me a problem?</dialogue>
<character>MANAGER</character>
<dialogue>No, I'm not. I'm not gon na give you any problem!</dialogue>
<character>PUMPKIN</character>
<dialogue>I do n't know, Honey Bunny. He looks like the hero type to me!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Do n't take any chances. Execute him!</dialogue>
<scene_description>The Patrons SCREAM . Jules watches all this silently , his hand tightly gripping the .45 Automatic under the table .</scene_description>
<character>MANAGER</character>
<dialogue>Please do n't! I'm not a hero. I'm just a coffee shop manager. Take anything you want.</dialogue>
<character>PUMPKIN</character>
<dialogue>Tell everyone to cooperate and it'll be all over.</dialogue>
<character>MANAGER</character>
<dialogue>Everybody just be calm and cooperate with them and this will be all over soon!</dialogue>
<character>PUMPKIN</character>
<dialogue>Well done, now git your fuckin' ass on the ground.</dialogue>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP BATHROOM - MORNING</stage_direction>
<scene_description>Vincent , on the toilet , oblivious to the pandemonium outside , reads his `` MODESTY BLAISE '' book .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>Cash register drawer opens . Pumpkin stuffs the money from the till in his pocket . Then walks from behind the counter with a trash bag in his hand .</scene_description>
<character>PUMPKIN</character>
<dialogue>Okay people, I'm going to go ` round and collect your wallets. Do n't talk, just toss'em in the bag. We clear?</dialogue>
<scene_description>Pumpkin goes around collecting wallets . Jules sits with his .45 ready to spit under the table . Pumpkin sees Jules sitting in his booth , holding his wallet , briefcase next to him . Pumpkin crosses to him , his tone more respectful , him manner more on guard .</scene_description>
<character>PUMPKIN</character>
<dialogue>In the bag.</dialogue>
<scene_description>Jules DROPS his wallet in the bag . Using his gun as a pointer , Pumpkin points to the briefcase .</scene_description>
<character>PUMPKIN</character>
<dialogue>What's in that?</dialogue>
<character>JULES</character>
<dialogue>My boss' dirty laundry.</dialogue>
<character>PUMPKIN</character>
<dialogue>You boss makes you do his laundry?</dialogue>
<character>JULES</character>
<dialogue>When he wants it clean.</dialogue>
<character>PUMPKIN</character>
<dialogue>Sounds like a shit job.</dialogue>
<character>JULES</character>
<dialogue>Funny, I've been thinkin' the same thing.</dialogue>
<character>PUMPKIN</character>
<dialogue>Open it up.</dialogue>
<scene_description>Jules ' free hand lays palm flat on the briefcase .</scene_description>
<character>JULES</character>
<dialogue>` Fraid I ca n't do that.</dialogue>
<scene_description>Pumpkin is definitely surprised by his answer . He aims the gun right in the middle of Jules ' face and pulls back the hammer .</scene_description>
<character>PUMPKIN</character>
<dialogue>I did n't hear you.</dialogue>
<character>JULES</character>
<dialogue>Yes, you did.</dialogue>
<scene_description>This exchange has been kind of quiet , not everybody heard it , but Honey Bunny senses something 's wrong .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>What's goin' on?</dialogue>
<character>PUMPKIN</character>
<dialogue>Looks like we got a vigilante in our midst.</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Shoot'em in the face!</dialogue>
<character>JULES</character>
<dialogue>I do n't mean to shatter your ego, but this ai n't the first time I've had gun pointed at me.</dialogue>
<character>PUMPKIN</character>
<dialogue>You do n't open up that case, it's gon na be the last.</dialogue>
<character>MANAGER</character>
<parenthetical>( on the ground . )</parenthetical>
<dialogue>Quit causing problems, you'll get us all killed! Give'em what you got and get'em out of here.</dialogue>
<character>JULES</character>
<dialogue>Keep your fuckin' mouth closed, fat man, this ai n't any of your goddamn business!</dialogue>
<character>PUMPKIN</character>
<dialogue>I'm countin' to three, and if your hand ai n't off that case, I'm gon na unload right in your fuckin' face. Clear? One.</dialogue>
<scene_description>Jules closes his eyes .</scene_description>
<character>PUMPKIN</character>
<dialogue>two.</dialogue>
<scene_description>Jules SHOOTS Pumpkin twice , up through the table , sending him to the floor . While still in the booth , he SWINGS around to Honey Bunny , who has aimed at Jules , but slowed down by the shock of Pumpkin getting shot . He FIRES three times . Honey Bunny takes all three HITS in the chest . As she FALLS SCREAMING , she FIRES wildly , HITTING a SURFER PATRON .</scene_description>
<character>SURFER</character>
<dialogue>She shot me! I'm dying! Sally! Sally!</dialogue>
<scene_description>Jules now brings the gun down to Pumpkin 's face . Pumpkin lies shot on the floor at Jules ' feet . Pumpkin looks up at the big gun .</scene_description>
<character>JULES</character>
<dialogue>Wrong guy, Ringo.</dialogue>
<scene_description>Jules FIRES straight at the CAMERA , BLINDING UP with his FLASH . Jules ' eyes , still closed , suddenly open . Pumpkin still stands , holding the gun on him .</scene_description>
<character>PUMPKIN</character>
<dialogue>three.</dialogue>
<character>JULES</character>
<dialogue>You win.</dialogue>
<scene_description>Jules raises his hand off the briefcase .</scene_description>
<character>JULES</character>
<dialogue>It's all yours, Ringo.</dialogue>
<character>PUMPKIN</character>
<dialogue>Open it.</dialogue>
<scene_description>Jules flips the locks and opens the case , revealing it to Pumpkin but not to us . The same light SHINES from the case . Pumpkin 's expression goes to amazement . Honey Bunny , across the room , ca n't see shit .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>What is it? What is it?</dialogue>
<character>PUMPKIN</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Is that what I think it is?</dialogue>
<scene_description>Jules nods his head : `` yes . ''</scene_description>
<character>PUMPKIN</character>
<dialogue>It's beautiful.</dialogue>
<scene_description>Jules nods his head : `` yes . ''</scene_description>
<character>HONEY BUNNY</character>
<dialogue>Goddammit, what is it?</dialogue>
<scene_description>Jules SLAMS the case closed , then sits back , as if offering the case to Pumpkin . Pumpkin , one big smile , bends over to pick up the case . Like a rattlesnake , Jules ' free hand GRABS the wrist of Pumpkin 's gun hand , SLAMMING it on the table . His other hand comes from under the table and STICKS the barrel of his .45 hand under Pumpkin 's chin . Honey Bunny freaks out , waving his gun in Jules ' direction .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>Let him go! Let him go! I'll blow your fuckin' head off! I'll kill ya! I'll kill ya! You're gon na die, you're gon na fuckin' die bad!</dialogue>
<character>JULES</character>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Tell that bitch to be cool! Say, bitch be cool! Say, bitch be cool!</dialogue>
<character>PUMPKIN</character>
<dialogue>Chill out, honey!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Let him go!</dialogue>
<character>JULES</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Tell her it's gon na be okay.</dialogue>
<character>PUMPKIN</character>
<dialogue>I'm gon na be okay.</dialogue>
<character>JULES</character>
<dialogue>Promise her.</dialogue>
<character>PUMPKIN</character>
<dialogue>I promise.</dialogue>
<character>JULES</character>
<dialogue>Tell her to chill.</dialogue>
<character>PUMPKIN</character>
<dialogue>Just chill out.</dialogue>
<character>JULES</character>
<dialogue>What's her name?</dialogue>
<character>PUMPKIN</character>
<dialogue>Yolanda.</dialogue>
<scene_description>Whenever Jules talks to Yolanda , he never looks at her , only at Pumpkin .</scene_description>
<character>JULES</character>
<parenthetical>( to Yolanda . )</parenthetical>
<dialogue>So, we cool Yolanda? We ai n't gon na do anything stupid, are we?</dialogue>
<character>YOLANDA</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Do n't you hurt him.</dialogue>
<character>JULES</character>
<dialogue>Nobody's gon na hurt anybody. We're gon na be like three Fonzies. And what' Fonzie like?</dialogue>
<scene_description>No answer ,</scene_description>
<character>JULES</character>
<dialogue>C'mon Yolanda, what's Fonzie like?</dialogue>
<character>YOLANDA</character>
<parenthetical>( through tears , unsure . )</parenthetical>
<dialogue>He's cool?</dialogue>
<character>JULES</character>
<dialogue>Correct - amundo! And that's what we're gon na be, we're gon na be cool.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Now Ringo, I'm gon na count to three and I want you to let go your gun and lay your palms flat on the table. But when you do it, do it cool. Ready?</dialogue>
<scene_description>Pumpkin looks at him .</scene_description>
<character>JULES</character>
<dialogue>One. two. three.</dialogue>
<scene_description>Pumpkin lets go of his gun and places both hands on the table . Yolanda ca n't stand it anymore .</scene_description>
<character>YOLANDA</character>
<dialogue>Okay, now let him go!</dialogue>
<character>JULES</character>
<dialogue>Yolanda, I thought you were gon na be cool. When you yell at me, it makes me nervous. When I get nervous, I get scared. And when motherfuckers get scared, that's when motherfuckers get accidentally shot.</dialogue>
<character>YOLANDA</character>
<parenthetical>( more conversational . )</parenthetical>
<dialogue>Just know : you hurt him, you die.</dialogue>
<character>JULES</character>
<dialogue>That seems to be the situation. Now I do n't want that and you do n't want that and Ringo here do n't want that. So let's see what we can do.</dialogue>
<parenthetical>( to Ringo . )</parenthetical>
<dialogue>Now this is the situation. Normally both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I do n't wan na kill ya, I want to help ya. But I'm afraid I ca n't give you the case. It do n't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass.</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What the fuck's goin' on here?</dialogue>
<scene_description>Yolanda WHIPS her gun toward the stranger . VINCENT , by the bathroom , has his gun out , dead - aimed at Yolanda .</scene_description>
<character>JULES</character>
<dialogue>It's cool, Vincent! It's cool! Do n't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Tell her we're still cool.</dialogue>
<character>PUMPKIN</character>
<dialogue>It's cool, Honey Bunny, we're still cool.</dialogue>
<character>VINCENT</character>
<parenthetical>( gun raised . )</parenthetical>
<dialogue>What the hell's goin' on, Jules?</dialogue>
<character>JULES</character>
<dialogue>Nothin' I ca n't handle. I want you to just hang back and do n't do shit unless it's absolutely necessary.</dialogue>
<character>VINCENT</character>
<dialogue>Check.</dialogue>
<character>JULES</character>
<dialogue>Yolanda, how we doin, baby?</dialogue>
<character>YOLANDA</character>
<dialogue>I got ta go pee! I want to go home.</dialogue>
<character>JULES</character>
<dialogue>Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Now I want you to go in that bag and find my wallet.</dialogue>
<character>PUMPKIN</character>
<dialogue>Which one is it?</dialogue>
<character>JULES</character>
<dialogue>It's the one that says Bad Motherfucker on it.</dialogue>
<scene_description>Pumpkin looks in the bag and - sure enough - there 's a wallet with `` Bad Motherfucker '' embroidered on it .</scene_description>
<character>JULES</character>
<dialogue>That's my bad motherfucker. Now open it up and take out the cash. How much is there?</dialogue>
<character>PUMPKIN</character>
<dialogue>About fifteen hundred dollars.</dialogue>
<character>JULES</character>
<dialogue>Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score.</dialogue>
<character>VINCENT</character>
<dialogue>Jules, if you give this nimrod fifteen hundred buck, I'm gon na shoot'em on general principle.</dialogue>
<character>JULES</character>
<dialogue>You ai n't gon na do a goddamn thing, now hang back and shut the fuck up. Besides, I ai n't givin' it to him. I'm buyin' somethin' for my money. Wan na know what I'm buyin' Ringo?</dialogue>
<character>PUMPKIN</character>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>Your life. I'm givin' you that money so I do n't hafta kill your ass. You read the Bible?</dialogue>
<character>PUMPKIN</character>
<dialogue>Not regularly.</dialogue>
<character>JULES</character>
<dialogue>There's a passage I got memorized. Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.'' I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold - blooded thing to say to a motherfucker ` fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. 45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ai n't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd.</dialogue>
<scene_description>Jules lowers his gun , lying it on the table . Pumpkin looks at him , to the money in his hand , then to Yolanda . She looks back . Grabbing the trash bag full of wallets , the two RUN out the door . Jules , who was never risen from his seat the whole time , takes a sip of coffee .</scene_description>
<character>JULES</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>It's cold.</dialogue>
<scene_description>He pushes it aside . Vincent appears next to Jules .</scene_description>
<character>VINCENT</character>
<dialogue>I think we oughta leave now.</dialogue>
<character>JULES</character>
<dialogue>That's probably a good idea.</dialogue>
<scene_description>Vincent throws some money on the table and Jules grabs the briefcase . Then , to the amazement of the Patrons , the Waitresses , the Cooks , the Bus Boys , and the Manager , these two bad - ass dudes - wearing UC Santa Cruz and `` I 'm with Stupid '' tee - shirts , swim trunks , thongs and packing .45 Automatics - walk out of the coffee shop together without saying a word . THE END</scene_description>
</scene>
</script> | Hitmen Jules Winnfield and Vincent Vega arrive at an apartment to retrieve a briefcase for their boss, gangster Marsellus Wallace, from a business partner, Brett. After Vincent checks the contents of the briefcase, Jules shoots one of Brett's associates. He declaims a passage from the Bible, and he and Vincent kill Brett for trying to double-cross Marsellus. They take the briefcase to Marsellus and wait while he bribes boxer Butch Coolidge to take a dive in his upcoming match. The next day, Vincent purchases heroin from his drug dealer, Lance. He shoots up and drives to meet Marsellus's wife Mia, having agreed to escort her while Marsellus is out of town. They eat at Jack Rabbit Slim's, a 1950s-themed restaurant, and participate in a twist contest, then return home. While Vincent is in the bathroom, Mia finds his heroin and snorts it, mistaking it for cocaine. She suffers an overdose; Vincent rushes her to Lance's house, where they revive her with an injection of adrenaline into her heart. Vincent drops Mia off at her home, and the two agree never to tell Marsellus about the incident. Butch bets the bribe money on himself and double-crosses Marsellus, winning the bout but accidentally killing his opponent as well. Knowing that Marsellus will send hitmen after him, he prepares to flee with his girlfriend Fabienne, but discovers she has forgotten to pack a gold watch passed down to him through his family. Returning to his apartment to retrieve it, he notices a submachine gun on the kitchen counter and hears the toilet flush. When Vincent exits the bathroom, Butch shoots him dead and departs. When Marsellus spots Butch stopped at a traffic light, Butch rams his car into him, leaving both of them injured and dazed. Once Marsellus regains consciousness, he draws a gun and shoots at Butch, chasing him into a pawnshop. As Butch gains the upper hand and is about to shoot Marsellus, Maynard the shop owner captures them at gunpoint and binds and gags them in the basement. Maynard and his accomplice Zed take Marsellus into another room and begin to rape him, leaving the "gimp" – a silent figure in a bondage suit – to watch over Butch. Butch breaks loose and knocks the gimp unconscious. Instead of fleeing, he decides to save Marsellus, and arms himself with a katana from the pawnshop. He kills Maynard and frees Marsellus, who shoots Zed in the crotch with Maynard's shotgun. Marsellus informs Butch that they are even, and to tell no one about the rape and to depart Los Angeles forever. Butch picks up Fabienne on Zed's chopper, and they ride away. Earlier, after Vincent and Jules have killed Brett in his apartment, another man bursts out of the bathroom and fires at them, but every shot misses; after briefly checking themselves for wounds, Jules and Vincent shoot him dead. While driving away with Brett's associate Marvin, Jules professes that their survival was a miracle, which Vincent disputes. Vincent accidentally shoots Marvin in the face, killing him, and covering Vincent, Jules, and the car interior in blood in broad daylight. They hide the car at the home of Jules's friend Jimmie, who demands they deal with the problem before his wife Bonnie comes home. Marsellus sends a cleaner, Winston Wolfe, who directs Jules and Vincent to clean the car, hide the body in the trunk, dispose of their bloody clothes, and take the car to a junkyard. At a diner, Jules tells Vincent that he plans to retire from his life of crime, convinced that their "miraculous" survival at the apartment was a sign of divine intervention. While Vincent is in the bathroom, a couple, "Pumpkin" and "Honey Bunny" hold up the restaurant and demand Marsellus's briefcase. Distracting him with its contents, Jules overpowers Pumpkin and holds him at gunpoint; Honey Bunny becomes hysterical and points her gun on him. Vincent returns with his gun aimed at her, but Jules defuses the situation. He recites the biblical passage, expresses ambivalence about his life of crime, and allows the robbers to take his cash and leave. Jules and Vincent leave the diner with the briefcase in hand. |
Capote_2005 | tt0379725 | <script>
<scene>
<stage_direction>Capote</stage_direction>
<scene_description>TITLE UP : `` Western Kansas , 1959 ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - MORNING</stage_direction>
<scene_description>The CAMERA follows a SIXTEEN YEAR OLD GIRL , long hair , pretty Sunday church dress , walking toward a peaceful farmhouse . At the door she lifts the knocker . The door opens slightly . The girl turns and looks past the camera at her MOTHER , sitting in an old Plymouth idling in the driveway . Her mother shrugs , motions for her to go inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - CONTINUOUS</stage_direction>
<scene_description>The girl walks through the downstairs rooms . In the kitchen , the PHONE is OFF the hook . The girl looks back toward the open front door . She turns toward the stairs , climbs them .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE, UPSTAIRS HALL - CONTINUOUS</stage_direction>
<scene_description>She walks down the hall to a BEDROOM DOOR at the end . The door is slightly ajar . She knocks , then enters the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE, BEDROOM - CONTINUOUS</stage_direction>
<scene_description>The girl 's POV : the CAMERA pans across the bedroom of a high school coed . We see the desk , the bureau , the bed . On the bed lies NANCY CLUTTER , her wrists and legs bound in rope , SHOT in the head . There is blood on the wall . The sixteen year - old girl stands immobile . Before she starts to scream ,</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS LANDSCAPE - DAY</stage_direction>
<scene_description>Trees ring the edge of a field .</scene_description>
</scene>
<scene>
<stage_direction>EXT. N.Y. CITYSCAPE, ESTABLISHING - NIGHT</stage_direction>
<scene_description>Buildings lit against the night sky .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK APARTMENT BUILDING/STAIRS - NIGHT</stage_direction>
<scene_description>Camera follows group of partygoers as they mount the stairs : Truman Capote , Barbara -LRB- very tall -RRB- , Rose , Christopher , Williams .</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL, PACKED NEW YORK APARTMENT/KITCHEN - LATER</stage_direction>
<scene_description>The friends are standing in the crowded kitchen - people are coming in and out - talking and drinking and laughing .</scene_description>
<character>TRUMAN</character>
<dialogue>So Jimmy Baldwin tells me the plot of his book, and he says to me : the writing's going well, but I just want to make sure it's not one of those problem novels. I said : Jimmy, your novel's about a Negro homosexual who's in love with a Jew - would n't you call that a problem?</dialogue>
<scene_description>Laughter .</scene_description>
<character>CHRISTOPHER</character>
<dialogue>Susan's father had a minor heart attack, so she's writing more erotic poems about death and sex.</dialogue>
<character>BARBARA</character>
<dialogue>It's so tiresome.</dialogue>
<character>WILLIAMS</character>
<dialogue>Hmm. What rhymes with angina?</dialogue>
<scene_description>Laughter . We see Truman watching everyone laugh . GRAYSON notices , leans in to him . As the rest of the group continues talking , we come closer , hear their conversation .</scene_description>
<character>GRAYSON</character>
<dialogue>How's your writing?</dialogue>
<character>TRUMAN</character>
<dialogue>Oh, I've got a million ideas of what to write next - I just have to choose one.</dialogue>
<character>GRAYSON</character>
<dialogue>Really?</dialogue>
<character>TRUMAN</character>
<dialogue>No.</dialogue>
<scene_description>Their attention is pulled back into the group as :</scene_description>
<character>BARBARA</character>
<dialogue>Who would I want to play me? Natalie Wood.</dialogue>
<character>ROSE</character>
<dialogue>Too fat.</dialogue>
<character>BARBARA</character>
<dialogue>Audrey Hepburn?</dialogue>
<character>ROSE</character>
<dialogue>Not bad. Sort of middle - class.</dialogue>
<character>TRUMAN</character>
<dialogue>When a movie is made of my life I know exactly who I want as me.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Marilyn Monroe.</dialogue>
<scene_description>Barbara cracks up , chokes on her drink .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRUMAN AND JACK'S HOUSE/BACK PATIO - MORNING</stage_direction>
<scene_description>Truman sits with his coffee , reading the New York Times . An article catches his eye . He sits up straight , folds the paper over , reads it .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, STUDY - DAY</stage_direction>
<scene_description>C/U of article being snipped out of PAGE 39 of the Times , November 16 , 1959 . As the page gets turned around with each snip , we see a small PHOTO of a middle - aged man wearing glasses , with the caption : `` FOUND DEAD : Herbert W. Clutter , a wealthy Kansas farmer . '' We read the headline : `` WEALTHY FARMER , 3 OF FAMILY SLAIN . Parts of the story : `` HOLCOMB , Kan. , Nov. 15 -LRB- UPI -RRB- - . wheat farmer , his wife . two young children found shot today . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, STUDY - MOMENTS LATER</stage_direction>
<scene_description>Truman on the phone .</scene_description>
<character>FEMALE VOICE OVER THE PHONE</character>
<dialogue>New Yorker magazine.</dialogue>
<character>TRUMAN</character>
<parenthetical>( ON PHONE . )</parenthetical>
<dialogue>William Shawn, please.</dialogue>
<parenthetical>( he listens . )</parenthetical>
<dialogue>Adorable one? All of a sudden I know what article I'm going to write for you next.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, STUDY/KITCHEN - MOMENTS LATER</stage_direction>
<scene_description>Truman on the phone , on a long cord , travels between the study and the kitchen as he talks to William Shawn . We hear pieces of the conversation , and see Truman in different parts of the room as he says each bit .</scene_description>
<character>TRUMAN</character>
<dialogue>never had anything like this happen to them before. They're used to sleeping at night with the doors unlatched.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Yes, we should buy stock in Master Locks - all of Kansas will be in the hardware store tomorrow.</dialogue>
<scene_description>Jump to -</scene_description>
<character>TRUMAN</character>
<dialogue>They have no idea who the killer is. But it does n't matter who the killer is - what matters is who the townspeople imagine the killer is. That's what I want to write about.</dialogue>
<scene_description>Jump to -</scene_description>
<character>TRUMAN</character>
<dialogue>I'm gon na need some help. I'm thinking about Nelle - she can protect me.</dialogue>
<scene_description>JACK DUNPHY -LRB- strong , Irish - American , ten years older than Truman -RRB- - his longtime boyfriend - enters the front door with a bag of groceries , stops in the hall . He sees Truman on the phone . Truman looks at Jack , though he 's still speaking to Shawn -</scene_description>
<character>TRUMAN</character>
<dialogue>I want to leave tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRAIN TRACKS, OUTSKIRTS OF NEW YORK CITY - NIGHT</stage_direction>
<scene_description>A train barrels toward us , its headlight bright . The train roars past , away from the city .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN, MOVING - NIGHT</stage_direction>
<scene_description>Truman hurries through the train , checking his ticket with the sleeper cabins . His long SCARF trails behind . His longer cashmere COAT practically brushes the floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND HARPER LEE'S CABIN, TRAIN - CONTINUOUS</stage_direction>
<scene_description>Truman opens the door . Inside the cabin his childhood friend from Monroeville , Alabama , NELLE HARPER LEE -LRB- yes , that Harper Lee -RRB- , is reading . She looks up , deadpan -</scene_description>
<character>NELLE</character>
<dialogue>I figured you'd missed it.</dialogue>
<scene_description>Nelle is a year younger than Truman , dowdy in dress , but smart , tough , sensible . Truman smiles .</scene_description>
<character>TRUMAN</character>
<dialogue>God I'm glad you agreed to come. You're the only one I know with the qualifications to be both a research assistant and personal bodyguard.</dialogue>
<parenthetical>( then , noticing . )</parenthetical>
<dialogue>Oh, Nelle, you poor thing.</dialogue>
<scene_description>He tries to spruce up her limp silk scarf .</scene_description>
<character>NELLE</character>
<dialogue>Off. Truman. Off.</dialogue>
<parenthetical>( holds his hands . )</parenthetical>
<dialogue>I'm happy to see you too, but I can still whip your behind.</dialogue>
<scene_description>TWO BLACK PORTERS enter , one with an enormous TRUNK -LRB- Truman 's -RRB- , the other with a sensible SUITCASE -LRB- Nelle 's -RRB- .</scene_description>
<character>PORTER #1</character>
<parenthetical>( reading tags . )</parenthetical>
<dialogue>Mr. Truman Capote, Miss Nelle Harper Lee. Where would you like these, sir?</dialogue>
<character>TRUMAN</character>
<dialogue>That one up there and that one on the floor.</dialogue>
<scene_description>He tips them .</scene_description>
<character>NELLE</character>
<dialogue>What all did you bring?</dialogue>
<character>PORTER #2</character>
<dialogue>Thank you greatly, sir. It's an honor to have you with us. If you do n't mind my saying, your last book was even better than the first -</dialogue>
<character>TRUMAN</character>
<dialogue>You're sweet.</dialogue>
<character>PORTER #2</character>
<dialogue>Just when you think they've gotten as good as they can get.</dialogue>
<character>TRUMAN</character>
<dialogue>Thank you. You're very kind.</dialogue>
<character>PORTER #1</character>
<parenthetical>( to Nelle . )</parenthetical>
<dialogue>Ma'am.</dialogue>
<scene_description>The PORTERS leave . Nelle is stunned . Truman fiddles with the trunk locks , his back to Nelle . Silence , then :</scene_description>
<character>NELLE</character>
<dialogue>You're pathetic.</dialogue>
<scene_description>Truman does n't answer .</scene_description>
<character>NELLE</character>
<dialogue>You're pathetic.</dialogue>
<character>TRUMAN</character>
<dialogue>What?</dialogue>
<character>NELLE</character>
<dialogue>You paid them to say that.</dialogue>
<scene_description>Truman wo n't look at her . She whacks him .</scene_description>
<character>NELLE</character>
<dialogue>You paid them to say that!</dialogue>
<character>TRUMAN</character>
<parenthetical>( squealing . )</parenthetical>
<dialogue>How'd you know? How did you know?!</dialogue>
<character>NELLE</character>
<dialogue>`` Just when you think they've gotten as good as they can get.''</dialogue>
<character>TRUMAN</character>
<dialogue>You think that was too much?</dialogue>
<parenthetical>( laughter . )</parenthetical>
<dialogue>I thought that was a good line.</dialogue>
<scene_description>More laughter . More smacking of Truman . Then it is quiet .</scene_description>
<character>NELLE</character>
<dialogue>Pathetic.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND HARPER LEE'S CABIN, TRAIN - MORNING</stage_direction>
<scene_description>Nelle 's awake , but still in her bunk , looking out the window at the Kansas plains . Truman 's dressing , watching her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE - DAY</stage_direction>
<scene_description>TRAVELING SHOTS of harvested FIELDS , grazing LIVESTOCK , solitary FARMHOUSES . The TRAIN chugs across the Kansas flatlands . SHOTS of SIGNS outside Garden City : `` World 's Largest Free Swimpool '' and `` Howdy , Stranger ! Welcome to Garden City . A Friendly Place . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN CITY RENT-A-CAR - DAY</stage_direction>
<scene_description>Truman and Nelle rent a car . People stare . I/E . RENTAL CAR - DAY Nelle drives past the main square , Truman in the passenger seat . Truman looks at a photo in THE GARDEN CITY TELEGRAM .</scene_description>
<character>TRUMAN</character>
<dialogue>Alvin Dewey, Kansas Bureau of Investigation. KBI.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY, WALKER HOTEL, GARDEN CITY - DAY</stage_direction>
<scene_description>Truman and Nelle check in . People stare . Nelle notices .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FINNEY COUNTY COURTHOUSE, GARDEN CITY - CONTINUOUS</stage_direction>
<scene_description>Truman and Nelle trot up the COURTHOUSE STEPS .</scene_description>
</scene>
<scene>
<stage_direction>INT. FINNEY COUNTY COURTHOUSE, LOBBY - MOMENTS LATER</stage_direction>
<scene_description>Truman approaches the GUARD DESK .</scene_description>
<character>TRUMAN</character>
<dialogue>Mr. Alvin Dewey, please.</dialogue>
<character>GUARD</character>
<dialogue>Third floor. In what used to be the Sheriff's Office.</dialogue>
<scene_description>Truman CURTSIES .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S OFFICE - DAY</stage_direction>
<scene_description>In the reception area , ALVIN DEWEY and the two other KBI AGENTS assigned to the Clutter case are getting their jackets on and straightening their ties . They 've completely taken over the office . They are : HAROLD `` Brother '' NYE -LRB- 34 -RRB- ; and ROY `` Curly CHURCH -LRB- 60 - bald -RRB- . They all smoke . Sheriff WALTER SANDERSON - 60 's , kind , overweight - is office - less -LRB- though he and his wife DOROTHY still live on the fourth floor of the Courthouse . -RRB- WALTER lurks in the background , nowhere to go , emptying one of many FILLED ASHTRAYS , BOTHERED by the SMOKE . Truman and Nelle enter as :</scene_description>
<character>CHURCH</character>
<dialogue>The wife said no more smoking in the house. I told her, `` Fine. Walter's got a couch upstairs in his apartment. I'll stay with him and Dorothy till we're done here.''</dialogue>
<parenthetical>( to Walter . )</parenthetical>
<dialogue>I've got my bag and a carton of cigarettes in the car.</dialogue>
<scene_description>WALTER looks uncomfortable . Dewey shakes his head at Church .</scene_description>
<character>DEWEY</character>
<dialogue>Roy.</dialogue>
<character>TRUMAN</character>
<dialogue>Mr. Dewey. Truman Capote from the New Yorker.</dialogue>
<scene_description>Silence . The Agents stare at him .</scene_description>
<character>TRUMAN</character>
<dialogue>Hello.</dialogue>
<scene_description>Silence . Nye is looking at Truman , particularly puzzled .</scene_description>
<character>TRUMAN</character>
<dialogue>Bergdorf's.</dialogue>
<character>NYE</character>
<dialogue>Sorry?</dialogue>
<character>TRUMAN</character>
<dialogue>The scarf.</dialogue>
<character>NYE</character>
<dialogue>Oh.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Nice.</dialogue>
<character>TRUMAN</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( turns to Dewey . )</parenthetical>
<dialogue>I wonder when we could arrange an interview? Some time to talk.</dialogue>
<scene_description>Dewey stubs out his cigarette .</scene_description>
<character>DEWEY</character>
<dialogue>About what?</dialogue>
<character>TRUMAN</character>
<dialogue>We're not looking for any inside information - I do n't care one way or another if you catch whoever did this - I'm writing an article not about the Clutter killings, but how they're affecting the town, how you all are bearing up -</dialogue>
<character>DEWEY</character>
<dialogue>I care.</dialogue>
<character>TRUMAN</character>
<dialogue>Excuse me?</dialogue>
<character>DEWEY</character>
<dialogue>I care.</dialogue>
<parenthetical>( puts on his hat , pulls out another cigarette . )</parenthetical>
<dialogue>I care a great deal if we catch whoever did this.</dialogue>
<character>TRUMAN</character>
<dialogue>Yes -</dialogue>
<character>DEWEY</character>
<dialogue>As do a lot of folks around here.</dialogue>
<character>TRUMAN</character>
<dialogue>Of course.</dialogue>
<scene_description>Dewey walks out . Nye and Church start out after him .</scene_description>
<character>NYE</character>
<parenthetical>( to Church . )</parenthetical>
<dialogue>New Yorker?</dialogue>
<character>CHURCH</character>
<dialogue>You have press credentials?</dialogue>
<character>NYE</character>
<dialogue>What's the New Yorker?</dialogue>
<character>CHURCH</character>
<dialogue>Magazine.</dialogue>
<character>TRUMAN</character>
<dialogue>Magazines do n't give out -</dialogue>
<character>CHURCH</character>
<dialogue>You can come to the news conference with the rest of them.</dialogue>
<parenthetical>( tips his hat to Nelle . )</parenthetical>
<dialogue>Sears and Roebuck.</dialogue>
<scene_description>Nelle and Truman are left alone .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPARE COURTROOM - DAY</stage_direction>
<scene_description>Packed with PRESS from all over the Midwest , as well as local Finney County CITIZENS . Dewey 's leading the press conference from a FOLDING TABLE set up in front of the Judge 's bench , flanked by the two other KBI Agents . He 's got a cigarette burning in an ashtray . Truman and Nelle stand in the back .</scene_description>
<character>DEWEY</character>
<dialogue>I'll talk facts but I wo n't speculate. The main fact here we need to be clear on is not one, but four people were killed. A lot of folks say Herb Clutter had to be the main target because he was dealt with the most brutally -</dialogue>
<character>JOURNALIST #1</character>
<dialogue>Had his throat cut.</dialogue>
<character>DEWEY</character>
<parenthetical>( a moment . )</parenthetical>
<dialogue>Yes. We'd all like to know why. But it could've been any one of the family they were after. We just do n't know -</dialogue>
<character>JOURNALIST #2</character>
<dialogue>You've identified the murder weapon?</dialogue>
<character>DEWEY</character>
<dialogue>Wounds indicate a shotgun, close - range, but no casings were found.</dialogue>
<character>JOURNALIST #1</character>
<dialogue>Twelve - gauge, hunting -</dialogue>
<character>DEWEY</character>
<dialogue>Right.</dialogue>
<character>JOURNALIST #1</character>
<dialogue>They were all shot in the face?</dialogue>
<scene_description>Dewey looks at the journalist . Then , evenly :</scene_description>
<character>DEWEY</character>
<dialogue>No. Nancy in the back of the head.</dialogue>
<character>JOURNALIST #2</character>
<dialogue>Is there any evidence of, I'm sorry, sexual molestation of the women?</dialogue>
<character>DEWEY</character>
<dialogue>No.</dialogue>
<character>JOURNALIST #2</character>
<dialogue>Anything else stolen?</dialogue>
<character>DEWEY</character>
<dialogue>Kenyon's radio seems to be the only.</dialogue>
<character>JOURNALIST #3</character>
<dialogue>The boy was sixteen?</dialogue>
<character>DEWEY</character>
<dialogue>Fifteen. Nancy was sixteen.</dialogue>
<character>JOURNALIST #2</character>
<dialogue>It's her friend that found them?</dialogue>
<character>DEWEY</character>
<dialogue>Laura Kinney.</dialogue>
<character>JOURNALIST #2</character>
<dialogue>Spell that?</dialogue>
<character>DEWEY</character>
<dialogue>I assume you're okay with the Laura part. K - I - N - N - E - Y. But, please, leave her be.</dialogue>
<scene_description>Lots of folks try to talk at once , one OLD MAN makes himself heard above the rest :</scene_description>
<character>OLD MAN</character>
<dialogue>There's talk of a bunch of Mexicans, a whole bunch of Mexicans.</dialogue>
<character>DEWEY</character>
<parenthetical>( standing , stubs out cigarette . )</parenthetical>
<dialogue>George, it's good to see you again. I do have an opinion whether this was the work of one man or a whole bunch, as you said, but it does n't matter a whole lot whether it was Mexicans or Methodists or Eskimos. We're going to find whoever did this. Four good people from our community are dead. Let's remember that. Okay with you?</dialogue>
<parenthetical>( holds up a notice . )</parenthetical>
<dialogue>The West Kansas Farm Committee's offering a thousand dollar reward for information leading to an arrest. Please print that.</dialogue>
<parenthetical>( moving to the exit . )</parenthetical>
<dialogue>Thank you all for coming.</dialogue>
<scene_description>The room is immediately noisy as Dewey makes his way to the door , pulling a pack of cigarettes from his pocket , followed by Church and Nye . He 's about to step out when Truman catches his eye . Dewey exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - LATE AFTERNOON</stage_direction>
<scene_description>Nelle drives while consulting a MAP . Truman is leaning back , looking out at the passing farms through the window . He speaks almost to himself .</scene_description>
<character>TRUMAN</character>
<dialogue>Mr. Dewey's protective of the Clutters. I wonder how well he knew them.</dialogue>
<scene_description>Nelle glances over at him . He does n't notice .</scene_description>
<character>TRUMAN</character>
<dialogue>He was foxy with that old man.</dialogue>
<parenthetical>( turns to Nelle . )</parenthetical>
<dialogue>Are you ever gon na let me drive?</dialogue>
<character>NELLE</character>
<dialogue>Truman, you're a menace. You can barely see over the wheel.</dialogue>
<scene_description>Truman looks back out the window at the farms , leans back .</scene_description>
<character>NELLE</character>
<dialogue>This make you miss Alabama?</dialogue>
<character>TRUMAN</character>
<parenthetical>( rolling window down , shakes his head . )</parenthetical>
<dialogue>Not even a little bit.</dialogue>
<scene_description>He leans his head out , closes his eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLUTTER FARM - SUNSET</stage_direction>
<scene_description>Nelle pulls their car to the side of the COUNTY ROAD which fronts the CLUTTER FARM . We recognize the FARMHOUSE as the one in which Nancy Clutter was found dead . A HIGHWAY PATROLMAN -LRB- 20 years old -RRB- sits in a CRUISER parked up the driveway . CRIME SCENE TAPE marks the perimeter of the property . Truman and Nelle get out of their car , stand at the foot of the driveway , gazing at the lonely farmhouse . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLCOMB HIGH SCHOOL - MORNING</stage_direction>
<scene_description>A gorgeous fall day . Crowds of kids arriving at school . Many are SOMBER . As Truman and Nelle walk toward the kids , some look warily at Truman and give him a wide berth .</scene_description>
<character>TRUMAN</character>
<dialogue>Hello.</dialogue>
<scene_description>Kids back away . Nelle notices . She leaves Truman , walks up to a group of THREE GIRLS .</scene_description>
<character>NELLE</character>
<dialogue>Morning.</dialogue>
<character>GIRL #1</character>
<dialogue>Hi.</dialogue>
<character>NELLE</character>
<dialogue>Can any of you tell me where I'd find Laura Kinney?</dialogue>
<character>GIRL #1</character>
<dialogue>Oh, um.</dialogue>
<scene_description>The girl glances toward the school entrance where LAURA KINNEY -LRB- who found Nancy Clutter 's body -RRB- walks with DANNY BURKE -LRB- tall , 17 -RRB- .</scene_description>
<character>NELLE</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Is that her? With the tall boy?</dialogue>
<character>GIRL #2</character>
<dialogue>Yeah. With Danny Burke.</dialogue>
<character>NELLE</character>
<dialogue>Danny Burke?</dialogue>
<parenthetical>( Girl # 2 nods . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>As Nelle leaves , Girl # 1 turns to her friend :</scene_description>
<character>GIRL #2</character>
<dialogue>Oh, quiet yourself, Janice.</dialogue>
<scene_description>Nelle sees Truman on his way toward Laura , calls out -</scene_description>
<character>NELLE</character>
<dialogue>Truman. Truman -</dialogue>
<scene_description>Truman does n't hear . She watches Truman approach them . Laura backs away . Danny leads her off . Nelle walks over to Truman , looks at him for several moments .</scene_description>
<character>NELLE</character>
<dialogue>These folks live their lives in a particular way. You need to consider adapting yourself to that fact.</dialogue>
<character>TRUMAN</character>
<dialogue>What -</dialogue>
<character>NELLE</character>
<dialogue>- I'm gon na find out where those two kids live. Maybe you'll let me do that alone?</dialogue>
<scene_description>Nelle leaves . On Truman , as the bell rings and the mass of teenagers starts to enter the school .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET, GARDEN CITY - DAY</stage_direction>
<scene_description>Truman walks alone , sees the Gilbart Funeral Home . He removes his hat , slips past the few people standing outside .</scene_description>
</scene>
<scene>
<stage_direction>INT. GILBART FUNERAL HOME - CONTINUOUS</stage_direction>
<scene_description>Warm but slightly tacky . Some people are engaged in hushed conversation at the reception area . Truman slips past , into the back room .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK ROOM, GILBART FUNERAL HOME - CONTINUOUS</stage_direction>
<scene_description>No people , low light . Four CLOSED CASKETS at the back of the room . Truman walks over slowly . After a moment , he checks to make sure he 's alone . Then he LIFTS THE TOP of one of the caskets . It 's Bonnie Clutter 's body , in a long - sleaved navy - blue dress ; but her head is wrapped in layers and layers of white cotton gauze , and lacquered with a shiny substance - like an enormous cocoon . Truman stares .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, TRUMAN'S ROOM - NIGHT</stage_direction>
<scene_description>Truman on the PHONE to Jack in Brooklyn . One of Truman 's trunks is open , displaying bottles of liquor , packaged and tinned gourmet food , and stacks of unused yellow legal pads . He drinks , standing at the window .</scene_description>
<character>JACK</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>I think I scared a friend of yours this morning. He came looking for you while I was writing.</dialogue>
<character>TRUMAN</character>
<dialogue>You hate my friends.</dialogue>
<character>JACK</character>
<dialogue>I would n't say hate. So long as they do n't knock on my door.</dialogue>
<character>TRUMAN</character>
<dialogue>I saw the bodies today.</dialogue>
<character>JACK</character>
<dialogue>Which?</dialogue>
<character>TRUMAN</character>
<dialogue>The Clutters. I looked inside the coffins.</dialogue>
<character>JACK</character>
<dialogue>That's horrifying.</dialogue>
<character>TRUMAN</character>
<dialogue>It comforts me - something so horrifying it's freeing. It's a relief. Normal life falls away.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But, then, I was never much for normal life -</dialogue>
<character>JACK</character>
<dialogue>No, you were n't.</dialogue>
<character>TRUMAN</character>
<dialogue>People here wo n't talk to me. They want someone like you, like Nelle. Me they hate.</dialogue>
<character>JACK</character>
<dialogue>I ca n't think of a single quality I share with Nelle.</dialogue>
<character>TRUMAN</character>
<dialogue>Well -</dialogue>
<character>JACK</character>
<dialogue>Maybe manliness.</dialogue>
<character>TRUMAN</character>
<dialogue>My point exactly.</dialogue>
<character>JACK</character>
<dialogue>It's why I left the Midwest in the first place. I knew I could only find someone like you in New York City.</dialogue>
<scene_description>On Truman , gazing at the EMPTY TOWN SQUARE below .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN CITY, VARIOUS - EARLY MORNING</stage_direction>
<scene_description>A SHOPKEEPER sweeps the sidewalk . There are THANKSGIVING DECORATIONS in his shop window . A SCHOOL BUS picks up a SMALL BOY at the intersection of a DIRT ROAD and the paved COUNTY ROAD . A SMALL BRIDGE over the Arkansas river . Below them , men are sifting the riverbed with nets , moving slowly downstream .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, LOBBY - EARLY MORNING</stage_direction>
<scene_description>Nelle waits by the FRONT DESK . The ELEVATOR DOORS open and Truman emerges . He is DRESSED SOBERLY - NO LONG SCARF , NO LONG COAT . He walks toward Nelle , then TURNS as if he 's a runway model , walks away , turns again and walks back . He stops a few feet in front of her . Nelle refuses to smile .</scene_description>
<character>NELLE</character>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLCOMB TOWN ROAD - EARLY MORNING</stage_direction>
<scene_description>Danny Burke walks down the road with a bookbag over his shoulder . Nelle approaches him , Truman keeps his distance .</scene_description>
<character>NELLE</character>
<dialogue>Danny?</dialogue>
<parenthetical>( Danny stops . )</parenthetical>
<dialogue>Would you mind terribly if I walked with you for a bit?</dialogue>
<scene_description>He shrugs . They walk together .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAURA KINNEY HOUSE - AFTERNOON</stage_direction>
<scene_description>Laura opens door to Truman and Nelle .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAURA KINNEY HOUSE, KITCHEN - AFTERNOON</stage_direction>
<scene_description>Nelle and Laura Kinney sit at the table . Truman stands at the counter .</scene_description>
<character>LAURA</character>
<dialogue>I thought you were from the FBI with your long coat.</dialogue>
<character>TRUMAN</character>
<dialogue>Is that so?</dialogue>
<character>LAURA</character>
<dialogue>That's why I ran off.</dialogue>
<character>TRUMAN</character>
<dialogue>I've been getting a lot of that lately.</dialogue>
<scene_description>Truman smiles . Laura smiles back , amused , a bit comforted .</scene_description>
<character>LAURA</character>
<dialogue>It's fine talking to you all. Practically nobody around here wants to talk since what happened.</dialogue>
<character>NELLE</character>
<dialogue>Folks have been through a rough patch. Including you.</dialogue>
<parenthetical>( Laura nods . )</parenthetical>
<dialogue>Nancy was your best friend.</dialogue>
<character>LAURA</character>
<dialogue>She was my best friend.</dialogue>
<scene_description>They 're quiet for a few moments .</scene_description>
<character>NELLE</character>
<dialogue>How has Danny been?</dialogue>
<character>LAURA</character>
<dialogue>Pretty shattered. Nothing terrible ever happened to him before. Nancy just started wearing his ring again after this huge fight - Mr. Clutter was trying to get her to end it'cause Danny's Catholic.</dialogue>
<character>NELLE</character>
<dialogue>What were the Clutters?</dialogue>
<character>LAURA</character>
<dialogue>Methodist. Danny was the last person at the house that night. That's why Mr. Dewey's keeps interviewing him - they do n't think he had anything to do with it - just to see if he remembers anything unusual and all.</dialogue>
<character>NELLE</character>
<dialogue>People in town seem to wonder if he was involved.</dialogue>
<character>LAURA</character>
<dialogue>That's been real hard for Danny.</dialogue>
<character>TRUMAN</character>
<dialogue>Oh, it's the hardest - when people have a notion about you and it's impossible to convince them otherwise. Since I was a child folks have thought they had me pegged because of the way I look and the way I talk. They're always wrong.</dialogue>
<parenthetical>( looks at her . )</parenthetical>
<dialogue>Do you know what I mean?</dialogue>
<scene_description>Laura stares at him and nods . He 's clearly struck a chord .</scene_description>
<character>LAURA</character>
<dialogue>I want to show you something.</dialogue>
<scene_description>She goes in the door to the GROUND FLOOR APARTMENT . They see her through the LACE CURTAINS getting something from her DESK , which is stacked with books . Truman whispers to Nelle :</scene_description>
<character>TRUMAN</character>
<dialogue>Not one person here understands her.</dialogue>
<scene_description>Laura returns . She hugs a SMALL BOOK to her chest . After a moment , she holds it out to them .</scene_description>
<character>LAURA</character>
<dialogue>Maybe you'll get a better picture of Nancy. And the family.</dialogue>
<character>NELLE</character>
<dialogue>What is this?</dialogue>
<character>LAURA</character>
<dialogue>It's her diary.</dialogue>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR/EXT. NEIGHBORHOOD - AFTERNOON</stage_direction>
<scene_description>Nelle and Truman walk quickly back to the hotel . Nelle has the diary open .</scene_description>
<character>NELLE</character>
<dialogue>`` Danny here tonight and we watched TV. So nice just having him sit with us. Left at eleven. P.S. - He's the only one I really love.''</dialogue>
<scene_description>She turns the page . The rest of the book is blank .</scene_description>
<character>NELLE</character>
<dialogue>And that was that.</dialogue>
<character>TRUMAN</character>
<dialogue>The end of a life.</dialogue>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, NELLE'S ROOM - LATE NIGHT</stage_direction>
<scene_description>Nelle typing . Truman is propped up on pillows on the bed , scrunching his eyes to remember what was said that afternoon , then writing quickly on one of many YELLOW LEGAL PADS , handing the pages of interview dialogue to Nelle . He 's exhausted . Nelle stops typing a moment , looks through the pages Truman has handed her :</scene_description>
<character>NELLE</character>
<dialogue>`` Shattered.''</dialogue>
<character>TRUMAN</character>
<dialogue>`` Pretty shattered. Nothing terrible ever happened to him before.''</dialogue>
<scene_description>He pushes some pillows aside and lies down .</scene_description>
<character>TRUMAN</character>
<dialogue>I have 94 percent recall of all conversations.</dialogue>
<character>NELLE</character>
<dialogue>94 percent.</dialogue>
<character>TRUMAN</character>
<dialogue>I've tested myself.</dialogue>
<character>NELLE</character>
<parenthetical>( scans some of what he 's written . )</parenthetical>
<dialogue>I hate that you're better than me at this.</dialogue>
<scene_description>She turns back to the typewriter . She types . Truman lies there , looking at the ceiling for a few moments . He closes his eyes . Nelle knows without looking -</scene_description>
<character>NELLE</character>
<dialogue>Do n't you dare close your eyes on my bed.</dialogue>
<scene_description>No answer . She keeps typing .</scene_description>
<character>NELLE</character>
<dialogue>Stand up and walk out that door. Go to your room if you're gon na sleep. Truman. Truman.</dialogue>
<scene_description>Nelle turns to look at him . He 's asleep . She goes back to typing . Under her breath :</scene_description>
<character>NELLE</character>
<dialogue>Crap.</dialogue>
<scene_description>FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, BREAKFAST ROOM - LATE MORNING</stage_direction>
<scene_description>Truman drinks coffee alone , sleepy . He takes a SMALL BOTTLE of HOT - PEPPER TABASCO from his jacket pocket and shakes it over his EGGS . He replaces the bottle in his jacket . Nelle walks into the lobby from upstairs , heads for Truman .</scene_description>
<character>NELLE</character>
<dialogue>What right do you have being tired? You were snoring blissfully -</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't snore -</dialogue>
<character>NELLE</character>
<dialogue>- while I lay there, hating you -</dialogue>
<character>TRUMAN</character>
<dialogue>You do n't hate me.</dialogue>
<character>NELLE</character>
<dialogue>Not much.</dialogue>
<parenthetical>( She sits .</parenthetical>
<parenthetical>Truman holds out a NOTE . )</parenthetical>
<dialogue>What?</dialogue>
<parenthetical>( takes it , looks . )</parenthetical>
<dialogue>Marie Dewey? We've got somewhere to go for Thanksgiving supper.</dialogue>
<character>TRUMAN</character>
<dialogue>Apparently Detective Foxy's wife has a better opinion of me than Detective Foxy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEWEY HOME - AFTERNOON</stage_direction>
<scene_description>Ding Dong . We see the FRONT DOOR open . Reveal MARIE DEWEY - pretty , 35 , dressed primly - and her two boys : ALVIN JR. -LRB- 9 -RRB- , and PAUL -LRB- 6 -RRB- , lurking behind , curious . Marie smiles .</scene_description>
<character>MARIE</character>
<dialogue>You came.</dialogue>
<scene_description>Reverse onto Nelle . and Truman , dressed in a DARK SUIT , hair neatly combed , like an Exeter schoolboy attending a funeral . Nelle smiles .</scene_description>
<character>NELLE</character>
<dialogue>Hi.</dialogue>
<scene_description>Nelle nudges Truman , who hands over his gifts : a BOTTLE OF J&B , and a PACKAGE of GOURMET SPICED NUTS .</scene_description>
<character>TRUMAN</character>
<parenthetical>( soberly . )</parenthetical>
<dialogue>Thank you for having us.</dialogue>
<character>MARIE</character>
<parenthetical>( mock serious . )</parenthetical>
<dialogue>Thank you.</dialogue>
<parenthetical>( then : . )</parenthetical>
<dialogue>Get yourselves in here.</dialogue>
<parenthetical>( turns and walks into the house . )</parenthetical>
<dialogue>Alvin! Get your pants on. They're here.</dialogue>
<scene_description>On Nelle and Truman , surprised .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, LIVING ROOM - AFTERNOON</stage_direction>
<scene_description>A FOOTBALL GAME plays on the television . No one 's watching . We can HEAR Alvin on the phone in his study at the back of the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Truman and Marie at the stove . Nelle sits at the kitchen table . Truman has his jacket off and an apron on , as does Marie . They are peering into a POT OF BLACK - EYED PEAS . Marie is shaking in drops of HOT PEPPER TABASCO .</scene_description>
<character>TRUMAN</character>
<dialogue>More. More.</dialogue>
<character>MARIE</character>
<dialogue>Alvin will hate this.</dialogue>
<character>TRUMAN</character>
<dialogue>Yes, but we who know the truth will love it.</dialogue>
<character>MARIE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>I have to stop.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>I can not believe you're from New Orleans. I miss it so much.</dialogue>
<character>TRUMAN</character>
<dialogue>I only lived there for a short while but my Mama was born and bred.</dialogue>
<character>MARIE</character>
<dialogue>You know something - Alvin pretends he does n't know who you are, but the minute you came to town he read your books. He had one of his men pick up `` Breakfast at Tiffany's'' in Kansas City'cause it's banned from the library here.</dialogue>
<character>TRUMAN</character>
<dialogue>What did Mr. Dewey think?</dialogue>
<character>MARIE</character>
<dialogue>He liked it more than he's willing to admit.</dialogue>
<character>TRUMAN</character>
<dialogue>How very foxy.</dialogue>
<scene_description>Marie smiles at that word used to describe her husband .</scene_description>
<character>TRUMAN</character>
<dialogue>Mama would've put in half the bottle by now.</dialogue>
<scene_description>Beat .</scene_description>
<character>MARIE</character>
<dialogue>Alright, one more shake.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Alvin walks toward the kitchen . He smokes . He looks exhausted . He hears SQUEALS of laughter .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Alvin enters . They all stop laughing and look at him . nods to Truman and Nelle .</scene_description>
<character>TRUMAN</character>
<dialogue>Hello.</dialogue>
<character>NELLE</character>
<dialogue>Hi.</dialogue>
<scene_description>Silence . Marie sips her drink .</scene_description>
<character>MARIE</character>
<dialogue>How you doing, foxy?</dialogue>
<scene_description>She cracks up .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, DINING ROOM - LATER</stage_direction>
<scene_description>The remains of dinner . The kids have left . The bottle of J&B sits on the table , half - empty . Marie 's a bit drunk . Everyone 's PLATE is clean except for Alvin 's , on which sits a MOUND of uneaten black - eyed peas . Truman is mid - story .</scene_description>
<character>TRUMAN</character>
<dialogue>I was writing the script as they were filming, all that time in Italy. I'd work like mad all day long and then dash down to the bar around midnight to hand in the next day's scenes. Humphrey had just about moved into the hotel bar -</dialogue>
<character>MARIE</character>
<parenthetical>( whispers to Alvin . )</parenthetical>
<dialogue>Humphrey Bogart.</dialogue>
<scene_description>Alvin knows .</scene_description>
<character>TRUMAN</character>
<dialogue>- where he and John drank every night -</dialogue>
<character>MARIE</character>
<parenthetical>( to Alvin . )</parenthetical>
<dialogue>John Huston.</dialogue>
<scene_description>Alvin knows .</scene_description>
<character>TRUMAN</character>
<dialogue>- and I mean drank, like famished water buffaloes. Well - I'd only just handed them the final scene when the bellhop told me I had a phone call. It was my stepfather, Joe Capote, calling to say that my mother had died. I flew home to New York - terribly distraught - but when I got to the apartment I could see that Joe was in even worse shape than I was. He grabbed my hands and sat me down at the kitchen table, and he said to me, `` Talk. Talk about anything, any subject in the world. Do n't worry whether it will interest me or not. Just talk so I wo n't break down.'' And I did. He could n't bear to be alone with his thoughts. It was too painful.</dialogue>
<scene_description>It 's quiet for a moment , then Marie looks at Alvin .</scene_description>
<character>MARIE</character>
<dialogue>It's been a hard couple weeks for Alvin. He and Herb Clutter were good friends. From church.</dialogue>
<character>DEWEY</character>
<dialogue>Marie -</dialogue>
<character>MARIE</character>
<dialogue>Oh come on, Alvin. These are good people.</dialogue>
<scene_description>Finally , Dewey looks at Truman and Nelle .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, STUDY - NIGHT</stage_direction>
<scene_description>Alvin shows Truman and Nelle the CRIME SCENE PHOTOS from the Clutter murders . We see the four corpses , BOUND and SHOT , the bloody footprints in the Clutter basement . Truman and Nelle stare at the photos of Nancy and Kenyon . Then , quietly -</scene_description>
<character>TRUMAN</character>
<dialogue>Who would put a pillow under the boy's head just to shoot him? Why would they tuck Nancy in?</dialogue>
<character>DEWEY</character>
<parenthetical>( surprised by the insight . )</parenthetical>
<dialogue>I want to know the same thing.</dialogue>
<scene_description>Truman hands Nelle one of the photos . She looks at it -</scene_description>
<character>NELLE</character>
<dialogue>Twisted notion of tenderness.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEWEY HOME - NIGHT</stage_direction>
<scene_description>Truman and Nelle are leaving . Alvin and Marie stand in the front door . Nelle kisses Marie .</scene_description>
<character>NELLE</character>
<dialogue>Thank you.</dialogue>
<character>MARIE</character>
<dialogue>So many of my friends would love to meet you.</dialogue>
<character>NELLE</character>
<dialogue>That'd be fine -</dialogue>
<character>TRUMAN</character>
<parenthetical>( to Dewey . )</parenthetical>
<dialogue>You do n't have to worry. I'm not going to write about this until everything's over.</dialogue>
<character>DEWEY</character>
<dialogue>I'm not worried. I know what room you're in at the hotel. And I know where you live in Brooklyn.</dialogue>
<scene_description>Truman smiles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN CITY - VARIOUS - DAY AND NIGHT</stage_direction>
<scene_description>MUSIC : `` Have yourself a Merry Little Christmas . '' Main Street , CHRISTMAS LIGHTS in the TREES . The HARDWARE STORE , with Santa Claus DECORATIONS in the window and a `` ONE WEEK LEFT TO BUY YOUR GIFTS . '' sign .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLUTTER FARM - LATE AFTERNOON</stage_direction>
<scene_description>Truman and Nelle walk with PETE HOLT -LRB- 70 , very frail -RRB- on the Clutter property . Apples rot on the ground , the trees are bare , signs of disrepair are beginning to weather the house .</scene_description>
<character>HOLT</character>
<parenthetical>( re the apples . )</parenthetical>
<dialogue>I'd of picked them up but I have n't been myself. Mind you, I make the walk out here every day, check the house, make sure the pipes do n't freeze - that sort of item. The least I can do for Mr. Clutter.</dialogue>
<character>NELLE</character>
<dialogue>How long have you worked here?</dialogue>
<character>HOLT</character>
<dialogue>1940 - a lotta years. The wife too, cleaning the house. Cooking.</dialogue>
<character>NELLE</character>
<dialogue>Well, she's marvelous. Lunch was wonderful.</dialogue>
<character>HOLT</character>
<parenthetical>( ignoring this . )</parenthetical>
<dialogue>She had a hard job after what all happened. Cleaning. I burned most of the rest - mattresses - too far of a mess.</dialogue>
<parenthetical>( then , looks at them . )</parenthetical>
<dialogue>I've asked around some - if anyone's looking for a strong hand.</dialogue>
<scene_description>They do n't know what to say . Finally , he looks away .</scene_description>
<character>HOLT</character>
<dialogue>I do n't think they'll be able to sell the place till they catch the ones that did it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>That's what I hear anyhow.</dialogue>
<scene_description>Silence as the three of them look out over the barren fields .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, BONNIE'S BEDROOM - DUSK</stage_direction>
<scene_description>Just the bed - frame - the mattress is gone . Truman and Nelle find her Bible on the bedside table , her bookmark , see the painting of Jesus walking on water . Pete Holt stands off to the side , waiting patiently .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WALKER HOTEL LOBBY, GARDEN CITY - NIGHT</stage_direction>
<scene_description>Through the front window we see a Christmas tree in the lobby .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, TRUMAN'S ROOM - NIGHT</stage_direction>
<scene_description>Jazzy Christmas music on the RADIO . Nelle sits in the big armchair with a drink . She laughs . We HEAR Jack on the phone :</scene_description>
<character>JACK</character>
<dialogue>You're celebrating.</dialogue>
<scene_description>We see Truman wearing a YELLOW SILK SHORT ROBE with white lace , bare legs . He 's on the phone and walking , for Nelle 's enjoyment , back and forth , like a runway model .</scene_description>
<character>TRUMAN</character>
<dialogue>Remember Nelle's manuscript she sent me in New York?</dialogue>
<character>JACK</character>
<dialogue>Mockingbird. Killing a Mockingbird. You said it was good.</dialogue>
<character>TRUMAN</character>
<dialogue>And I was right. She just heard Lipincott wants to publish it.</dialogue>
<character>JACK</character>
<parenthetical>( pause . )</parenthetical>
<dialogue>Well. Jesus. That's terrific. Tell her congratulations.</dialogue>
<character>TRUMAN</character>
<dialogue>Congratulations.</dialogue>
<parenthetical>( covers phone , mouths to Nelle : . )</parenthetical>
<dialogue>Jealous.</dialogue>
<character>JACK</character>
<dialogue>Just promise you'll be home by Christmas.</dialogue>
<character>TRUMAN</character>
<dialogue>I ca n't leave now Jack - I mean it was hard at first, but now I'm practically the mayor.</dialogue>
<scene_description>He vamps . Nelle laughs .</scene_description>
<character>JACK</character>
<dialogue>Alright.</dialogue>
<character>TRUMAN</character>
<dialogue>I want to come home - I do. Though if they catch whoever did this, who knows what - I'll probably be here til next Christmas.</dialogue>
<character>JACK</character>
<dialogue>Right. I'll let you go.</dialogue>
<character>TRUMAN</character>
<dialogue>Jack, we'll go away this spring to write. Maybe Spain.</dialogue>
<character>JACK</character>
<dialogue>Alright, Truman.</dialogue>
<character>TRUMAN</character>
<dialogue>Bye.</dialogue>
<parenthetical>( hangs up . )</parenthetical>
<dialogue>The poor boy misses me.</dialogue>
<scene_description>Goes to the mini - bar to fix a drink .</scene_description>
<character>NELLE</character>
<dialogue>Truman.</dialogue>
<character>TRUMAN</character>
<dialogue>Nelle.</dialogue>
<character>NELLE</character>
<dialogue>You remember when we were kids?</dialogue>
<character>TRUMAN</character>
<dialogue>I was never a kid. I was born fully formed.</dialogue>
<character>NELLE</character>
<dialogue>I had no idea what a homosexual was. But I knew whatever they were, you were one of'em.</dialogue>
<scene_description>Truman puts down his drink and marches out of the room , shuts the door . Nelle 's unsure whether she really insulted him . From the HALL , we hear a WOMAN SHRIEK , and a MAN saying :</scene_description>
<character>MAN IN HALL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Oh. Uh. Oh. Excuse us.</dialogue>
<scene_description>Truman runs back in , shuts door . They crack up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEWEY HOME - NIGHT, CHRISTMAS EVE, ESTABLISHING</stage_direction>
<scene_description>Tasteful Christmas lights strung on the BUSHES . A WREATH on the FRONT DOOR .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, LIVING ROOM - NIGHT</stage_direction>
<scene_description>Truman , Nelle , Marie and Alvin . Drinks . A FULL ASHTRAY on the coffee table in front of Alvin . He 's distracted , smoking . Marie holds a WOMEN 'S MAGAZINE , checking what Truman says with what 's written there .</scene_description>
<character>TRUMAN</character>
<parenthetical>( quickly , as if reciting . )</parenthetical>
<dialogue>- girdle up - no extra bulges - if you're dressed right for him when he gets home, the evening should be smooth sailing. Bon voyage, gals.</dialogue>
<character>MARIE</character>
<dialogue>I ca n't believe you got this whole page - I only read it to you once!</dialogue>
<character>TRUMAN</character>
<dialogue>I've trained myself.</dialogue>
<character>NELLE</character>
<dialogue>trained myself.</dialogue>
<scene_description>Truman looks at Nelle .</scene_description>
<character>TRUMAN</character>
<dialogue>I have 94 percent recall.</dialogue>
<character>NELLE</character>
<dialogue>94 percent recall.</dialogue>
<character>TRUMAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>You cut that out.</dialogue>
<scene_description>Alvin stubs out his cigarette - though it still burns . He stands .</scene_description>
<character>MARIE</character>
<dialogue>You believe that Alvin?</dialogue>
<character>ALVIN</character>
<dialogue>Impressive.</dialogue>
<scene_description>He walks out . Silence .</scene_description>
<character>MARIE</character>
<dialogue>I'm sorry. He's upset.</dialogue>
<parenthetical>( stubs out cigarette . )</parenthetical>
<dialogue>- smoking three packs a day.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Two men did it. They know who. One of them used to have a cellmate who gave him up for the thousand dollar reward. They passed through Kansas City last week writing bad checks - by the time Alvin's boys got up there they'd skipped out again.</dialogue>
<character>NELLE</character>
<dialogue>Where to?</dialogue>
<character>MARIE</character>
<dialogue>They have no idea.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEWEY HOME, DINING ROOM - LATER</stage_direction>
<scene_description>Christmas dinner . Truman , Nelle , Marie and Alvin have just sat down . They wait for the Dewey boys - Alvin Jr. and Paul . We hear them in the living room horsing around .</scene_description>
<character>DEWEY</character>
<dialogue>Alvin. Paul. Now.</dialogue>
<scene_description>It 's quiet for a second . Then something crashes and breaks .</scene_description>
<character>DEWEY</character>
<dialogue>Damnit.</dialogue>
<parenthetical>( gets up , goes . )</parenthetical>
<dialogue>Come here.</dialogue>
<character>MARIE</character>
<dialogue>Alvin.</dialogue>
<scene_description>Phone RINGS .</scene_description>
<character>DEWEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Alvin Jr.. Get over here.</dialogue>
<character>ALVIN JR.</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Dad, the phone.</dialogue>
<character>DEWEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Paul. Back to the table.</dialogue>
<scene_description>Dewey returns to the dining room , pushing Paul ahead of him .</scene_description>
<character>DEWEY</character>
<dialogue>Sit.</dialogue>
<scene_description>Alvin Jr. enters .</scene_description>
<character>ALVIN JR.</character>
<dialogue>Dad?</dialogue>
<character>MARIE</character>
<dialogue>Tell them we're at dinner, Alvin.</dialogue>
<character>ALVIN JR.</character>
<dialogue>Dad?</dialogue>
<character>DEWEY</character>
<dialogue>Not now, Alvin.</dialogue>
<scene_description>Alvin Jr. leaves . We hear the PHONE being HUNG UP . Alvin Jr. returns and sits . They all get ready to say grace , then :</scene_description>
<character>ALVIN JR.</character>
<dialogue>You need to call the Chief of Police in Las Vegas when you have a minute.</dialogue>
<scene_description>Everyone looks at Dewey .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTHOUSE SQUARE, GARDEN CITY - LATE AFTERNOON</stage_direction>
<scene_description>OVER BLACK SCREEN we hear the voice of a RADIO ANNOUNCER .</scene_description>
<character>RADIO ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This is KERG radio, Garden City. A friendly broadcast from a friendly place. Our lead story :</dialogue>
<scene_description>Slowly , the sounds of a CROWD emerge in the background . FADE UP ON : HIGH SCHOOL kids sitting on the hood and front seat of a CHEW parked at the edge of a CROWD of 200 people . Truman watches . It is COLD . A fat , shivering CO - ED reads the headline in the Kansas City Star : `` Police Fear Lynch Mob . '' The CAR RADIO is on .</scene_description>
<character>RADIO ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>newsmen from six states have joined scores of Kansans as they await the arrival of confessed killers Perry Smith and Richard Hickock. KBI officers have been driving the Clutter family's brutal killers nonstop from.</dialogue>
<scene_description>Truman moves from the car into the large crowd . Old ladies ; ranchers ; local businessmen ; moms with kids ; journalists INTERVIEWING citizens ; photographers lined up at the bottom of the COURTHOUSE STEPS . We hear snippets of conversation as we pass . A CITIZEN is being interviewed by a JOURNALIST ; a MOM WITH BABY standing with a FRIEND ; a MIDDLE - AGED man in an overcoat CRYING silently . Truman approaches Nelle and Marie Dewey , standing together at the curb in front of the courthouse , near the photographers . They are talking quietly , turn to Truman -</scene_description>
<character>NELLE</character>
<dialogue>Hey.</dialogue>
<scene_description>We hear LOUD CROWD NOISE at the south end of the square . A CONVOY of FOUR CARS enters the square . It pulls around to the front of the courthouse . STATE TROOPERS spill out of the lead and rear CARS . Nye gets out of the second car . He opens the back door . The crowd falls SILENT . Two state troopers get DICK HICKOCK - handcuffed , pale - out of the car and lead him up the steps . FLASH . FLASH . Dewey and Church open the third car 's back door . Silence . They retrieve PERRY SMITH . Perry is extremely SHORT , STRONG , ODDLY BEAUTIFUL , with the dark skin and hair of his American Indian mother , and the pug features of his Irish father . As he stands , he has trouble straightening his stubby LEGS , as if they are arthritic . Truman stares .</scene_description>
<character>MARIE</character>
<parenthetical>( whispers to Truman . )</parenthetical>
<dialogue>Motorcycle accident. He broke them and they never healed right.</dialogue>
<parenthetical>( Truman looks at her . )</parenthetical>
<dialogue>Alvin told me.</dialogue>
<scene_description>Truman watches Perry , transfixed . Perry seems terrified of the crowd , all the faces , like a child . Perry scans the crowd . His eyes fall on Truman . FLASH . FLASH . Truman and Perry look at each other as Perry is led slowly past . At the top of the steps the COURTHOUSE DOORS slam shut .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHERIFF'S RESIDENCE (4TH FLOOR OF COURTHOUSE ) MORNING</stage_direction>
<scene_description>FADE IN : Truman knocks on the door , a NEWSPAPER , a BOOK , and a PAPER BAG in his hand . On the door it says `` SHERIFF 'S RESIDENCE - PRIVATE '' . Dorothy Sanderson opens the door .</scene_description>
<character>DOROTHY</character>
<dialogue>Truman Capote.</dialogue>
<character>TRUMAN</character>
<dialogue>Dorothy Sanderson. I figured you'd be left alone this morning by that hard - working husband of yours.</dialogue>
<parenthetical>( holds up bag . )</parenthetical>
<dialogue>So I have breakfast.</dialogue>
<parenthetical>( holds up paper . )</parenthetical>
<dialogue>I have news.</dialogue>
<parenthetical>( book . )</parenthetical>
<dialogue>And I have literature. My friend Jack mailed me the book you wanted.</dialogue>
<scene_description>He presents book . Dorothy , flattered , takes it , reads the inscription inside .</scene_description>
<character>DOROTHY</character>
<dialogue>`` For the maiden of the Midwest, the priestess of the plains, the queen of the kitchen : my first novel. Truman.''</dialogue>
<scene_description>It is `` Other Voices , Other Rooms '' and we see on the back of it the INFAMOUS JACKET PHOTO of Truman at 23 draped sexily on a couch . Truman curtsies . The PHONE RINGS .</scene_description>
<character>DOROTHY</character>
<dialogue>You're too much. Go on into the living room, lem me grab that - it's been ringing all morning.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S RESIDENCE, FOYER - CONTINUOUS</stage_direction>
<scene_description>Truman walks into the residence . To the left is the kitchen ; to the right is the living room . Truman looks back at Dorothy - she 's still on the phone . He heads for the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S RESIDENCE, KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Truman walks slowly through the doorway of the large kitchen . On the far side of the kitchen is a JAIL CELL . Inside the cell is PERRY SMITH . -LRB- Now we know why Truman came here . -RRB- Truman STARES . Perry does n't see him - he 's resting his head on a small table , the tip of his THUMB in his mouth . The chair seems too tall for Perry . He looks like a lonely kindergartner , told to take his afternoon nap . After several moments , Dorothy enters , flustered :</scene_description>
<character>DOROTHY</character>
<dialogue>Oh. Truman. I meant in there.</dialogue>
<parenthetical>( points to living room . )</parenthetical>
<dialogue>I. um.</dialogue>
<scene_description>Perry sits up quickly , rubs his legs .</scene_description>
<character>DOROTHY</character>
<dialogue>It's the women's cell. It's hardly ever used. But they wanted to, um, separate. Please. Let's sit in the living room. I'll set up in the living room.</dialogue>
<scene_description>She gathers a tray of Truman 's PASTRIES , and COFFEE CUPS .</scene_description>
<character>DOROTHY</character>
<dialogue>Come.</dialogue>
<scene_description>She goes - Truman starts to follow , then lingers .</scene_description>
<character>TRUMAN</character>
<dialogue>They put you in the women's cell.</dialogue>
<character>PERRY</character>
<dialogue>Among other indignities.</dialogue>
<scene_description>Perry 's voice is oddly high , whispery - special words are precisely enunciated .</scene_description>
<character>TRUMAN</character>
<dialogue>Well. she's a good cook.</dialogue>
<character>PERRY</character>
<dialogue>She's scared of me.</dialogue>
<character>TRUMAN</character>
<dialogue>I think so am I. A little bit.</dialogue>
<character>PERRY</character>
<dialogue>Are you?</dialogue>
<parenthetical>( a moment , then : . )</parenthetical>
<dialogue>You have any aspirin? My legs -</dialogue>
<scene_description>Dorothy 's in the doorway .</scene_description>
<character>DOROTHY</character>
<dialogue>Um. Truman? All set.</dialogue>
<scene_description>Truman looks at Dorothy , looks back at Perry .</scene_description>
<character>TRUMAN</character>
<dialogue>I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Judge ROLAND TATE , white - haired , imperious , bangs his gavel . The packed crowd quiets down . Perry and Dick sit at the defense table chewing JUICY FRUIT GUM . Next to them : their aged court - appointed lawyer , Franklin Weeks -LRB- 70 -RRB- . Dick wears a SHIRT AND TIE . Perry wears jeans rolled up at the cuff , his SHIRT OPEN at the collar . He draws on a piece of paper with a STUBBY PENCIL - a rather good picture of a LARGE PARROT . Truman sits with Nelle , watching Perry -</scene_description>
<character>TRUMAN</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>His feet do n't touch the floor.</dialogue>
<character>JUDGE TATE</character>
<dialogue>In the matter of the State of Kansas v. Richard Eugene Hickock and Perry Edward Smith this Court has been informed by counsel - Mr. Weeks - that defendants wish to waive their right to Preliminary Hearing. Mr. Hickock, is that your wish?</dialogue>
<scene_description>Hickock looks at Weeks . Weeks nods . Hickock stands .</scene_description>
<character>HICKOCK</character>
<parenthetical>( unconvincing . )</parenthetical>
<dialogue>Yessir. Yes.</dialogue>
<scene_description>Hickock sits . Truman whispers to Nelle -</scene_description>
<character>TRUMAN</character>
<dialogue>Why are they doing that?</dialogue>
<character>JUDGE TATE</character>
<dialogue>Mr. Smith.</dialogue>
<character>PERRY</character>
<parenthetical>( stands .</parenthetical>
<parenthetical>then : . )</parenthetical>
<dialogue>I ask that the waiver be effectuated.</dialogue>
<scene_description>Judge Tate looks at him for a moment -</scene_description>
<character>JUDGE TATE</character>
<dialogue>So noted.</dialogue>
<parenthetical>( bangs gavel . )</parenthetical>
<dialogue>We're adjourned.</dialogue>
<scene_description>Crowd gets up . Much talk . Truman watches Perry and Dick through the forest of bodies . They are led away in handcuffs . Franklin Weeks stands slowly , then begins gathering his things - he 's old and it takes him ages to collect his papers . Truman watches .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHERIFF'S RESIDENCE - AFTERNOON</stage_direction>
<scene_description>Truman knocks . He holds a PIE . Dorothy answers .</scene_description>
<character>DOROTHY</character>
<dialogue>Mr. Capote.</dialogue>
<character>TRUMAN</character>
<parenthetical>( offers pie . )</parenthetical>
<dialogue>Madame Sanderson.</dialogue>
<character>DOROTHY</character>
<dialogue>Is that for the two of us to share? Or for me to eat alone while you talk to our guest?</dialogue>
<scene_description>Truman is caught . He smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S RESIDENCE, KITCHEN - AFTERNOON</stage_direction>
<scene_description>Truman sits near the bars of the cell . Perry draws on a scrap of paper at the small table . Dorothy watches from the door to the living room . The BOOK Truman gave to Dorothy lies on the floor next to Perry 's meticulously made bed .</scene_description>
<character>TRUMAN</character>
<dialogue>Was it your choice to waive the hearing?</dialogue>
<scene_description>Perry does n't answer . Dorothy checks her watch , leaves . Truman takes a bottle of BAYER ASPIRIN out of his pocket .</scene_description>
<character>TRUMAN</character>
<dialogue>You still need some?</dialogue>
<parenthetical>( Perry does n't move . )</parenthetical>
<dialogue>Give me your hand.</dialogue>
<scene_description>Perry extends his hand through the bars . As Truman shakes some aspirin into it -</scene_description>
<character>PERRY</character>
<dialogue>I could kill you if you got too close.</dialogue>
<scene_description>Perry puts the aspirin in his mouth , CHEWS THEM , holds out his hand for more . Truman gives him more , which Perry puts in his pocket for later .</scene_description>
<character>TRUMAN</character>
<dialogue>Would you like some water?</dialogue>
<scene_description>Perry shakes his head . Silence .</scene_description>
<character>TRUMAN</character>
<dialogue>Mrs. Sanderson lent you my book -</dialogue>
<character>PERRY</character>
<dialogue>He said we'd curry favor with the Judge if we waived our rights.</dialogue>
<character>TRUMAN</character>
<dialogue>Who did?</dialogue>
<character>PERRY</character>
<dialogue>The lawyer.</dialogue>
<character>TRUMAN</character>
<dialogue>Okay.</dialogue>
<scene_description>Truman nods , not wanting to push this any further . Perry picks up the book , holds it out through the bars .</scene_description>
<character>PERRY</character>
<dialogue>Your picture's undignified. People recall first impressions.</dialogue>
<character>TRUMAN</character>
<dialogue>What's been your first impression?</dialogue>
<character>PERRY</character>
<dialogue>You want something.</dialogue>
<character>TRUMAN</character>
<dialogue>From you?</dialogue>
<scene_description>Dorothy pokes her head in from the living room .</scene_description>
<character>DOROTHY</character>
<dialogue>Truman. Walter's gon na be home soon.</dialogue>
<character>TRUMAN</character>
<parenthetical>( to Perry . )</parenthetical>
<dialogue>I just want permission to talk.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Has anyone else visited?</dialogue>
<scene_description>Perry does n't answer .</scene_description>
<character>DOROTHY</character>
<dialogue>Truman -</dialogue>
<character>TRUMAN</character>
<dialogue>Will you tell me if you need anything? I can have whatever you want sent from New York.</dialogue>
<parenthetical>( no answer . )</parenthetical>
<dialogue>Will you do that?</dialogue>
<scene_description>On Perry , considering whether to trust this man .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORKER, WILLIAM SHAWN'S OFFICE - LATE AFTERNOON</stage_direction>
<scene_description>Phone RINGS , WILLIAM SHAWN answers -LRB- 50 , New Yorker editor , conservatively attired -RRB- at a desk looking onto 44th street .</scene_description>
<character>SHAWN</character>
<dialogue>William Shawn.</dialogue>
<character>TRUMAN</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Gorgeous?</dialogue>
<character>SHAWN</character>
<dialogue>Truman.</dialogue>
<scene_description>INTERCUT to Truman in a PHONE BOOTH outside the COURTHOUSE .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE PHONEBOOTH - DAY</stage_direction>
<character>TRUMAN</character>
<dialogue>I'm writing a book. It's too much for a single article - this town, the killers most of all - you will be stunned by Perry Smith -</dialogue>
<character>SHAWN</character>
<dialogue>Why? What has he -</dialogue>
<character>TRUMAN</character>
<dialogue>Not much yet, but I know. I can sense him. He's desperately lonely, frightened. I have questions - are you ready?</dialogue>
<character>SHAWN</character>
<dialogue>Would it matter -</dialogue>
<character>TRUMAN</character>
<dialogue>How much more money can you send me? How quickly can you get Dick Avedon out here to take some pictures?</dialogue>
<scene_description>INTERCUT to WILLIAM SHAWN 'S OFFICE . On Shawn - he does n't know how to begin to respond .</scene_description>
</scene>
<scene>
<stage_direction>INT. HICKOCK'S JAIL CELL - DAY</stage_direction>
<scene_description>Perry has been placed in an adjoining cell for the afternoon . He COMBS his greased hair in a mirror . A camera FLASHES . Nelle and Truman sit outside the cells . Franklin Weeks dozes off to the side . RICHARD AVEDON - small , dark , wiry , flamboyant - is snapping photos of a bare - chested Hickock in the next cell , particularly his TATTOOS , while Hickock chatters away .</scene_description>
<character>HICKOCK</character>
<dialogue>Perry, honey. You look terrific.</dialogue>
<scene_description>Perry is embarrassed , glances over at Truman . FLASH .</scene_description>
<character>HICKOCK</character>
<dialogue>Calm yourself down, sweetheart.</dialogue>
<scene_description>Perry glances at Nelle . She MOTIONS to him that his SHIRT is buttoned wrong . Perry fixes it , looks back at her . Hickock notices Truman gazing at his tattoos - the one on his CHEST : the word PEACE , with a cross radiating rays of light .</scene_description>
<character>HICKOCK</character>
<dialogue>Be patient, Capote. Maybe later they'll send you my skin.</dialogue>
<character>TRUMAN</character>
<dialogue>I have the perfect place for it, over the hearth.</dialogue>
<scene_description>Hickock smiles . FLASH . Truman looks over at Perry , sitting alone . Truman starts to remove his TIE . PHOTOS , in quick succession : Of Hickock pulling up his sleeve to reveal his tattoos . Of Perry combing his HAIR . FLASH . The GRINNING CAT on Hickock 's hand . FLASH . Perry looking directly at the camera . FLASH .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE - MORNING, ONE MONTH LATER</stage_direction>
<scene_description>Series of shots in and around the courthouse : TITLE UP : `` One month later '' An officer approaches down a long hallway . A janitor cleans the basin of the water fountain . Spectators are drawn into the courthouse . The officer opens the courtroom doors . A crescendo of sounds .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Spectators take seats . The jury files back into the box . Perry and Dick chew gum . Perry wears TRUMAN 'S TIE , and draws on a pad with a NEW SET OF COLORED PENCILS - another PARROT , quite beautiful , now YELLOW . Nelle and Truman sit together .</scene_description>
<character>NELLE</character>
<dialogue>Where'd Perry get the art set?</dialogue>
<scene_description>Truman shrugs . Nelle raises her eyebrows . Judge Tate GAVELS loudly , looks to the jury .</scene_description>
<character>JUDGE TATE</character>
<dialogue>Members of the jury. Have you reached a verdict?</dialogue>
<character>FOREMAN</character>
<parenthetical>( stands . )</parenthetical>
<dialogue>Yes sir.</dialogue>
<character>JUDGE TATE</character>
<dialogue>Defendants rise.</dialogue>
<scene_description>Perry and Dick stand . Judge Tate turns back to the Foreman .</scene_description>
<character>JUDGE TATE</character>
<dialogue>Perry Edward Smith and Richard Eugene Hickock stand accused of four counts of the crime of murder in the first degree. Have you reached a unanimous verdict?</dialogue>
<character>FOREMAN</character>
<dialogue>We have, your honor.</dialogue>
<character>JUDGE TATE</character>
<dialogue>What is your verdict?</dialogue>
<character>FOREMAN</character>
<dialogue>Guilty. On all counts.</dialogue>
<character>JUDGE TATE</character>
<dialogue>Have you unanimously reached a sentence.</dialogue>
<character>FOREMAN</character>
<dialogue>We have, your honor.</dialogue>
<character>JUDGE TATE</character>
<dialogue>What is the sentence?</dialogue>
<character>FOREMAN</character>
<dialogue>Death.</dialogue>
<scene_description>Judge nods , the foreman sits . Judge turns to Perry and Dick .</scene_description>
<character>JUDGE TATE</character>
<dialogue>Perry Edward Smith and Richard Eugene Hickock. You've been found guilty of four counts of murder in the first degree. You will be taken to the state penitentiary at Lansing. No later than midnight, May 13 of this year, nineteen hundred and sixty, each of you will be hanged by the neck until dead. So ordered.</dialogue>
<scene_description>He GAVELS . Perry and Dick are set upon by Sheriff 's Deputies and led out . Photographers crowd them . Dick turns to Perry .</scene_description>
<character>HICKOCK</character>
<dialogue>Alright, partner. Least now we're not the only killers in Kansas.</dialogue>
<scene_description>Perry looks at him , utterly lost . FLASH .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALKER HOTEL, NELLE'S ROOM - JUST BEFORE DAWN</stage_direction>
<scene_description>Nelle sits at the window , smoking . Truman in the armchair , holding a drink . They 've been up all night . Their bags are packed . Also - a few packed boxes of written - in yellow notepads and many typed pages . Truman glances at his watch .</scene_description>
<character>TRUMAN</character>
<dialogue>You think he slept at all?</dialogue>
<scene_description>Nelle looks over at him .</scene_description>
<character>TRUMAN</character>
<dialogue>I need to see him before we go.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S RESIDENCE - MORNING</stage_direction>
<scene_description>Truman sits next to Perry 's cell . Perry lies on the bed , staring at the ceiling .</scene_description>
<character>TRUMAN</character>
<dialogue>They're going to transfer you up to Lansing today. You'll have to make sure to put me on the visitor's list. Otherwise I ca n't see you.</dialogue>
<scene_description>No response .</scene_description>
<character>TRUMAN</character>
<dialogue>Will you do that? I'm going to help find you a proper lawyer. You need a serious lawyer for an appeal.</dialogue>
<parenthetical>( no response . )</parenthetical>
<dialogue>They took Dick last night. I need you to get him to do the same thing - put me on the visitor's list. Will you do that, Perry?</dialogue>
<scene_description>Perry closes his eyes .</scene_description>
<character>TRUMAN</character>
<dialogue>Perry.</dialogue>
<scene_description>FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, LIVING ROOM - NIGHT</stage_direction>
<scene_description>FADE UP ON the sounds of a HUGE PARTY in progress . We see a home - made BANNER reading `` Return to Civilization ! '' The CAMERA follows NELLE as she walks through the crowd : Gays , straights , smoke and noise . Society women , slender and beautiful ; BEN BARON pontificating to CHRISTOPHER ISHERWOOD .</scene_description>
<character>BEN BARON</character>
<dialogue>Nelle. Kudos on `` Kill the Bird.'' Is that it?</dialogue>
<character>NELLE</character>
<dialogue>Close enough. Thanks.</dialogue>
<scene_description>William Shawn talks to a MUCH TALLER WOMAN .</scene_description>
<character>SHAWN</character>
<dialogue>He has n't written a word yet, though he says it's the nonfiction book of the decade.</dialogue>
<scene_description>We HEAR Truman before we see him :</scene_description>
<character>TRUMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He's little, but terrifying -</dialogue>
<scene_description>We see Truman in the corner entertaining a small group . Jack Dunphy stands off to the side . Nelle settles next to Jack .</scene_description>
<character>TRUMAN</character>
<dialogue>He's as short as I am. And almost as pretty. I'd be with him right now but he's being given new accommodations -</dialogue>
<scene_description>Guests laugh .</scene_description>
<character>TRUMAN</character>
<dialogue>Most people assume he's a monster. I do n't see him that way. The book I'm writing will return him to the realm of humanity - it's the book I was always meant to write.</dialogue>
<scene_description>Nelle and Jack stand back , watching .</scene_description>
<character>JACK</character>
<dialogue>Watch out. This is the start of a great love affair.</dialogue>
<character>NELLE</character>
<dialogue>Oh yes. Truman in love with Truman.</dialogue>
</scene>
<scene>
<stage_direction>INT. LE PAVILLON RESTAURANT - DAY</stage_direction>
<scene_description>Truman is being interviewed over lunch .</scene_description>
<character>TRUMAN</character>
<dialogue>I was in Marilyn's apartment just last week. I had to break it to her that, of the four Matisses hanging on her wall, two were upside down.</dialogue>
<scene_description>The REPORTER laughs . A waiter passes . Truman taps his glass .</scene_description>
<character>TRUMAN</character>
<dialogue>Another.</dialogue>
<parenthetical>( to reporter . )</parenthetical>
<dialogue>To answer your question, I'm following `` Breakfast at Tiffany's'' by blazing a different path - by inventing an entirely new kind of writing : the non - fiction novel.</dialogue>
<character>REPORTER</character>
<dialogue>You have a subject?</dialogue>
<scene_description>Truman takes a last sip of his drink - utterly serious now .</scene_description>
<character>TRUMAN</character>
<dialogue>On the night of November 14, two men broke into a quite farmhouse in Kansas and murdered an entire family. Why did they do that? It's been suggested that this subject is tawdry - it's not worthy of literature. I disagree. Two worlds exist in this country - the quiet conservative life, and the life of those two men - the underbelly, the criminally violent. Those worlds converged that bloody night. I spent the past three months interviewing everyone in Kansas touched by that violence. I spent hours talking to the killers - and I'll spend more.</dialogue>
<parenthetical>( waiter brings his drink . )</parenthetical>
<dialogue>Researching this work has changed my life, altered my point of view about almost everything. I think those who read it will be similarly affected.</dialogue>
<parenthetical>( he sips . )</parenthetical>
<dialogue>Such a book can only be written by a journalist who has mastered the techniques of fiction -</dialogue>
<character>REPORTER</character>
<dialogue>You're speaking of yourself.</dialogue>
<character>TRUMAN</character>
<dialogue>You're really very clever.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - DAY</stage_direction>
<scene_description>Truman sits in bed , writing on a yellow LEGAL PAD , surrounded by PILES of notes . He squints his eyes , concentrating . Jack enters , delivers a CUP OF COFFEE . Truman does n't notice .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER</stage_direction>
<scene_description>Truman is rifling through the boxes , looking for particular notes . He ca n't find what he needs . The phone RINGS .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET, BROOKLYN HEIGHTS - LATE AFTERNOON</stage_direction>
<scene_description>Jack and Truman walk .</scene_description>
<character>TRUMAN</character>
<dialogue>Perry's decided to appeal. He claims their attorney was incompetent - that he never raised the issue of temporary insanity.</dialogue>
<character>JACK</character>
<dialogue>So you find them a new lawyer.</dialogue>
<character>TRUMAN</character>
<dialogue>They're facing execution in six weeks, Jack. They need someone to argue whether or not that's right.</dialogue>
<character>JACK</character>
<dialogue>Okay.</dialogue>
<character>TRUMAN</character>
<dialogue>I'd also like to see them alive, yes, thank you very much. I need to hear their story.</dialogue>
<scene_description>They walk in silence for a few moments .</scene_description>
<character>TRUMAN</character>
<dialogue>If you met him you'd understand. It's as if no - one's ever asked him a single question about himself. He's so. damaged - and strange - unexplored.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>I do n't trust this Hickock fellow. Perry's the only person who can describe to me what happened that night. I need to hear him say it.</dialogue>
<character>JACK</character>
<dialogue>Just be careful what you do to get what you want.</dialogue>
<character>TRUMAN</character>
<dialogue>I'm finding them a lawyer.</dialogue>
<character>JACK</character>
<dialogue>Truman. You're finding yourself a lawyer.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR, DRIVING, TWO-LANE KANSAS HIGHWAY - DAY</stage_direction>
<scene_description>Truman drives alone , concentrating intently . He has to stretch to see over the dashboard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS STATE PENITENTIARY (KSP), LANSING - DAY</stage_direction>
<scene_description>A turreted , Civil War - era fortress an hour 's drive from Kansas City . Truman pulls up to the GUARDHOUSE .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, WAITING ROOM/WARDEN'S OFFICE - DAY</stage_direction>
<scene_description>Truman waits alone , looking at the lone decoration : a campaign poster , showing a fat man in a suit grinning while holding a shotgun . Across the bottom it reads : WALK TALL WITH KRUTCH . A YOUNG PRISON GUARD sticks his head out of the office door .</scene_description>
<character>YOUNG PRISON GUARD</character>
<dialogue>Warden Krutch will see you now.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, WARDEN'S OFFICE - DAY</stage_direction>
<scene_description>Wood - paneled walls , government - issue desk . On the wall behind the desk is a CHART - a racial accounting of the current inmate population . It reads : WHITE - 1405 , COLORED - 360 , MEXICANS - 12 , INDIANS - 6 . WARDEN MARSHALL KRUTCH is fat , coarse , sweaty even in winter . And it 's spring . He 's running for Congress - there are `` KRUTCH FOR CONGRESS '' bumper stickers laying around the office . He 's enjoying a chance at a little publicity . The YOUNG PRISON GUARD stands quietly by the wall .</scene_description>
<character>KRUTCH</character>
<dialogue>We do well by our boys. Showers once a week. Feed em good. We'll be feeding Perry Smith in the infirmary soon if he do n't eat. Get the food in through his arm.</dialogue>
<character>TRUMAN</character>
<dialogue>What are you talking about?</dialogue>
<character>KRUTCH</character>
<dialogue>Has n't eaten in a month. But it's not his right to kill himself. It's the People's right. The People of this State. And that's who I work for, the People. You can write any of this down.</dialogue>
<character>TRUMAN</character>
<dialogue>No one told me.</dialogue>
<character>KRUTCH</character>
<dialogue>Yah. Wo n't eat.</dialogue>
<character>TRUMAN</character>
<dialogue>When can I see him?</dialogue>
<character>KRUTCH</character>
<parenthetical>( checking desk calendar . )</parenthetical>
<dialogue>How about you come back Thursday?</dialogue>
<character>TRUMAN</character>
<dialogue>No. That's no good. I need to see them now, then whenever I want for as long as I want.</dialogue>
<character>KRUTCH</character>
<dialogue>Not how we do things here.</dialogue>
<scene_description>Pause .</scene_description>
<character>TRUMAN</character>
<dialogue>I see.</dialogue>
<scene_description>Truman glances at the campaign stickers , the young prison guard , then back at Krutch .</scene_description>
<character>TRUMAN</character>
<dialogue>I understand what a burden unlimited visitation might be - on this institution, and on the People who pay for it. I want to be clear that I do n't expect the citizens of Leavenworth County to have to shoulder that burden.</dialogue>
<scene_description>Truman reaches into his jacket , pulls from it an ENVELOPE STUFFED with CASH . He lays it on the desk .</scene_description>
<character>TRUMAN</character>
<dialogue>To be dispensed as you see fit.</dialogue>
<scene_description>Krutch is stone - faced as he regards the money . Finally :</scene_description>
<character>KRUTCH</character>
<dialogue>I did n't know where to count your boy - being half - Indian. I did him a favor though.</dialogue>
<parenthetical>( points to race chart . )</parenthetical>
<dialogue>Counted him White.</dialogue>
<character>TRUMAN</character>
<dialogue>You're a kind and generous man.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - DAY</stage_direction>
<scene_description>The second floor of a small building in the corner of the prison complex . Decrepit . The one hall is lit by mesh - covered BARE BULBS in the ceiling . Twelve cells - six on each side . Each is 7 by 10 feet , with one small , high WINDOW covered by bars and wire . The YOUNG PRISON GUARD opens the heavy GATE at the end of the hall and shows Truman in . They walk down the row of cells . In one of them we notice Lowell Lee Andrews -LRB- 20 , white , spectacled , ENORMOUSLY FAT -RRB- peering at his own face 4 inches from a mirror . Dick is leaning against the bars of his own cell . He smiles .</scene_description>
<character>HICKOCK</character>
<dialogue>My hero.</dialogue>
<character>TRUMAN</character>
<dialogue>Hello.</dialogue>
<character>HICKOCK</character>
<dialogue>Thanks for your help with the lawyer.</dialogue>
<character>TRUMAN</character>
<dialogue>That's fine.</dialogue>
<character>HICKOCK</character>
<dialogue>You must be desperate for a story to come all the way out here.</dialogue>
<character>YOUNG PRISON GUARD</character>
<dialogue>Mr. Capote. You're entitled to go in. You may, um, go in. If you wish.</dialogue>
<scene_description>Truman hesitates for a second .</scene_description>
<character>HICKOCK</character>
<dialogue>You want to see Perry. Go ahead.</dialogue>
<character>TRUMAN</character>
<dialogue>Thank you.</dialogue>
<scene_description>Truman walks to the next cell .</scene_description>
<character>HICKOCK</character>
<dialogue>Ask me, he's just trying to prove the insanity defense.</dialogue>
<scene_description>Truman sees Perry , gaunt , lying on his cot , almost comatose . Perry 's rather striking drawing of a LARGE YELLOW PARROT sits propped on his table . An UNEATEN LUNCH TRAY lies on the floor - a cockroach runs over it . Truman watches , disturbed .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUPERMARKET - NIGHT</stage_direction>
<scene_description>Camera follows Truman as he walks down an aisle with a small WICKER BASKET . He stops , looks at a shelf .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUPERMARKET - NIGHT</stage_direction>
<scene_description>Truman waits in the check - out line behind a MOM paying for her groceries . Her SON -LRB- 3 -RRB- stands next to her legs , wearing a little cowboy hat and cradling a TOY GUN to his chest . He sucks his thumb . Truman and the boy look at each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - DAY</stage_direction>
<scene_description>Truman sits on the chair , his WICKER BASKET on the table . He has spread out a cloth napkin . A GUARD watches from outside the cell . Perry lies completely still on the cot . Truman takes out jars of BONNET BABY FOOD , inspects the labels .</scene_description>
<character>TRUMAN</character>
<parenthetical>( to Perry . )</parenthetical>
<dialogue>I do n't care what your plans are for yourself.</dialogue>
<scene_description>He decides on the CUSTARD jar . He opens it , takes a plastic BABY SPOON from the basket .</scene_description>
<character>TRUMAN</character>
<dialogue>But you're gon na wake up enough to tell me what you did with my tie.</dialogue>
<scene_description>He spoons a bit into Perry 's mouth . The GUARD walks away . Truman leans close to Perry , whispers :</scene_description>
<character>TRUMAN</character>
<dialogue>It's okay. It's Truman. It's your friend.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - LATER (LATE AFTERNOON)</stage_direction>
<scene_description>Perry sleeps . Truman stands against the wall watching him . He has cleaned up the basket of food . He walks over to Perry 's desk , sees two handwritten notebooks on it : THE PRIVATE DIARY OF PERRY EDWARD SMITH and PERSONAL DICTIONARY . Next to them , he sees a pencil SELF - PORTRAIT Perry drew . It 's very good . Truman touches it .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP DEATH ROW, PERRY'S CELL - LATER (EVENING)</stage_direction>
<scene_description>Perry sleeps . Truman sits on the chair watching , waiting . Perry opens his eyes , looks at Truman .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - LATER (NIGHT)</stage_direction>
<scene_description>Perry is sitting up a bit , Truman helps him sip a cup of water . Perry lies back down . He 's looking at Truman .</scene_description>
<character>TRUMAN</character>
<dialogue>How'd you learn to draw like that?</dialogue>
<scene_description>Perry closes his eyes .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR, DRIVING - AFTERNOON (NEXT DAY)</stage_direction>
<scene_description>Truman drives through the KANSAS STATE PENITENTIARY gate , waves to the Guard .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - EVENING</stage_direction>
<scene_description>Perry sits on the bed , cleaned up , wet hair neatly combed , looking at a few OLD SNAPSHOTS he has saved in a handkerchief . Truman sits in the chair across from him . Perry hands him a photo of his mother . Perry speaks quietly .</scene_description>
<character>PERRY</character>
<dialogue>Before she had us. Before she started drinking.</dialogue>
<character>TRUMAN</character>
<dialogue>Who took care of you as a child?</dialogue>
<character>PERRY</character>
<dialogue>Orphanage. Me and Linda.</dialogue>
<character>TRUMAN</character>
<dialogue>That's your sister?</dialogue>
<scene_description>Perry nods . Truman waits for more . It does n't come .</scene_description>
<character>TRUMAN</character>
<dialogue>We're not so different as you might think. I was abandoned repeatedly as a child. My mama'd drag me along to some new town so she could take up with another man she'd met. Night after night she'd lock me in the hotel room - Mama'd turn the latch and tell the staff not to let me out no matter what. I was terrified - I'd scream my head off - till finally I'd collapse on the carpet next to the door and fall asleep. After years of this she just left me with relatives in Alabama.</dialogue>
<character>PERRY</character>
<dialogue>Who raised you up?</dialogue>
<character>TRUMAN</character>
<dialogue>My Aunts.</dialogue>
<parenthetical>( Perry nods . )</parenthetical>
<dialogue>That's when I met Nelle - she lived next door.</dialogue>
<parenthetical>( looks again at the photo , hands it back . )</parenthetical>
<dialogue>Your mother was Indian?</dialogue>
<character>PERRY</character>
<dialogue>Cherokee.</dialogue>
<character>TRUMAN</character>
<dialogue>Drinking was not a good thing for her.</dialogue>
<character>PERRY</character>
<dialogue>No tolerance for it.</dialogue>
<character>TRUMAN</character>
<dialogue>And your father?</dialogue>
<character>PERRY</character>
<dialogue>No tolerance for him either.</dialogue>
<scene_description>Truman 's laughs , surprised by the joke , though it 's unclear whether Perry meant it as one . He stares at Perry .</scene_description>
<character>TRUMAN</character>
<dialogue>What I ca n't decide is if you understand how fascinating you are.</dialogue>
<scene_description>Perry does n't respond , then -</scene_description>
<character>PERRY</character>
<dialogue>I'm sorry about your tie. They took it away from me because we're all on suicide watch. It's why the lights stay on at night.</dialogue>
<character>TRUMAN</character>
<dialogue>I hope we're past that now. You had me worried.</dialogue>
<character>PERRY</character>
<dialogue>Okay.</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't care about the tie. It's just a pity because it looked so good on you.</dialogue>
<scene_description>Perry leans in , motions toward Dick 's cell , lowers his voice -</scene_description>
<character>PERRY</character>
<dialogue>Be careful of Ricardo. I think he wants you all to himself.</dialogue>
<character>TRUMAN</character>
<dialogue>Alright -</dialogue>
<character>PERRY</character>
<dialogue>But he's naturally mendacious - not to be trusted - if he had a hundred dollars he'd steal a stick of chewing gum.</dialogue>
<character>TRUMAN</character>
<dialogue>You would n't.</dialogue>
<scene_description>Perry shakes his head . Then , Truman nods toward Perry 's notebooks .</scene_description>
<character>TRUMAN</character>
<dialogue>I want to take your notebooks with me - I want to read them.</dialogue>
<scene_description>Perry hesitates .</scene_description>
<character>TRUMAN</character>
<dialogue>If I leave here without understanding you, the world will always see you as a monster. I do n't want that - I do n't see you that way.</dialogue>
<scene_description>A moment , then Perry reaches for the NOTEBOOKS , hands them to Truman . Then he hands Truman the DRAWING he did of himself .</scene_description>
<character>PERRY</character>
<dialogue>I tracked my father down in Alaska. I was 14. One day I said to him, `` Mom's dead.'' I could see it. A week later we got the news. She finally drunk herself to death.</dialogue>
<scene_description>Truman regards Perry . Then he looks at the drawing -</scene_description>
<character>TRUMAN</character>
<dialogue>This is remarkable.</dialogue>
<character>PERRY</character>
<dialogue>Sometimes you see a thing - how it really is.</dialogue>
<scene_description>On Truman holding the drawing , looking at Perry .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS STATE PENITENTIARY PARKING LOT - NIGHT</stage_direction>
<scene_description>Truman walks quickly to his car , holding Perry 's DRAWING and NOTEBOOKS . At the car , he looks back at the dark jailhouse .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM, KANSAS CITY - LATE NIGHT</stage_direction>
<scene_description>Truman at the desk , PERRY 'S TWO BOOKS next to a LEGAL PAD already filled with notes . He 's on the PHONE with Nelle , paging through the PERSONAL DICTIONARY captivated by it .</scene_description>
<character>TRUMAN</character>
<dialogue>He trusts me - that's why he gave it to me. He's given me absolutely everything.</dialogue>
<parenthetical>( paging through Diary . )</parenthetical>
<dialogue>You should see his drawings, Nelle, how good he is. He wants so badly to be taken seriously, to be held in some esteem.</dialogue>
<scene_description>INTERCUT with Nelle , in pajamas , sitting on the porch of her home in Monroeville , smoking .</scene_description>
</scene>
<scene>
<stage_direction>INT. NELLE'S LIVING ROOM - NIGHT</stage_direction>
<character>NELLE</character>
<dialogue>Do you?</dialogue>
<character>TRUMAN</character>
<dialogue>Do I what?</dialogue>
<character>NELLE</character>
<dialogue>Hold him in esteem?</dialogue>
<character>TRUMAN</character>
<dialogue>Well. he's a gold mine. I mean he's told me his entire life, and now it's all here for me to write down - All of the history I need. His entire life in this Diary. His dead mother. A brother and sister killed themselves.</dialogue>
<character>NELLE</character>
<dialogue>You tell him your mama did the same thing?</dialogue>
<character>TRUMAN</character>
<dialogue>I tell him everything. We've been talking our heads off the past month. Sometimes, when I think how good my book can be, I can hardly breathe.</dialogue>
<character>NELLE</character>
<dialogue>Huh.</dialogue>
<character>TRUMAN</character>
<parenthetical>( finds what he wants . )</parenthetical>
<dialogue>Here's what I wanted to read to you : `` If Called Upon to Make a Speech :'' - this is exactly what I was talking about - a speech just in case he's ever recognized for an achievement : `` If Called Upon to Make a Speech : I ca n't remember what I was going to say for the life of me. I do n't think ever before have so many people been so directly responsible for my being so very, very glad. It's a wonderful moment and a rare one. Thank you!''.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>There's an exclamation point on the end of that thank you, in case you did n't catch it.</dialogue>
<parenthetical>( silence . )</parenthetical>
<dialogue>Where'd you go?</dialogue>
<scene_description>We hear Nelle exhale her cigarette .</scene_description>
<character>NELLE</character>
<dialogue>Christ. I guess it stopped being funny.</dialogue>
<character>TRUMAN</character>
<dialogue>I never said it was.</dialogue>
<parenthetical>( turns a page . )</parenthetical>
<dialogue>Listen to this.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KANSAS CITYSCAPE - VARIOUS (TWO WEEKS ELAPSE)</stage_direction>
</scene>
<scene>
<stage_direction>INT. DINER, DOWNTOWN KANSAS CITY - MORNING</stage_direction>
<scene_description>Truman is eating breakfast with Alvin Dewey . A WAITRESS refills their coffees .</scene_description>
<character>DEWEY</character>
<parenthetical>( to waitress . )</parenthetical>
<dialogue>Thanks.</dialogue>
<scene_description>She leaves . An uncomfortable silence . Then :</scene_description>
<character>DEWEY</character>
<dialogue>You're nothing if not hard - working.</dialogue>
<character>TRUMAN</character>
<dialogue>You look good, healthy again.</dialogue>
<character>DEWEY</character>
<dialogue>Not a chance.</dialogue>
<scene_description>Dewey taps a cigarette out of his pack .</scene_description>
<character>TRUMAN</character>
<dialogue>I've decided on a title for my book. I think you'll like it - very masculine. `` In Cold Blood.''</dialogue>
<character>DEWEY</character>
<parenthetical>( lights the cigarette . )</parenthetical>
<dialogue>That refers to the crime or the fact that you're still talking to the criminals?</dialogue>
<character>TRUMAN</character>
<dialogue>The former, among other things.</dialogue>
<character>DEWEY</character>
<dialogue>I see.</dialogue>
<scene_description>They eat for a moment . Then :</scene_description>
<character>TRUMAN</character>
<dialogue>I've been wanting to ask if you'll let me look at your investigation notes.</dialogue>
<character>DEWEY</character>
<dialogue>That lawyer you helped find for your friends got them a hearing at the Kansas Supreme Court -</dialogue>
<character>TRUMAN</character>
<dialogue>I heard this morning.</dialogue>
<character>DEWEY</character>
<dialogue>- on the issue of inadequate counsel.</dialogue>
<character>TRUMAN</character>
<dialogue>Alvin. Do you not want me to look at your notes? You are permitted to say no.</dialogue>
<character>DEWEY</character>
<parenthetical>( rises , takes out wallet . )</parenthetical>
<dialogue>I'll tell you what : if those boys get off, I'm coming to Brooklyn to hunt you down.</dialogue>
<scene_description>Truman ca n't decide whether Dewey is kidding or not . Dewey puts money on the table .</scene_description>
<character>DEWEY</character>
<dialogue>I have to be in court at nine o'clock.</dialogue>
<scene_description>He walks away . Over his shoulder :</scene_description>
<character>DEWEY</character>
<dialogue>Call Roy Church. He'll show you what you want to see.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - DAY</stage_direction>
<scene_description>Truman walks down the hall . He passes Dick 's cell . Dick is lying in bed . Dick rises and smiles widely at Truman .</scene_description>
<character>HICKOCK</character>
<dialogue>Hey, hey.</dialogue>
<scene_description>Truman smiles , puts HIS FINGERS TO HIS LIPS , continues past . He stops outside Perry 's cell . Perry -LRB- looking MUCH HEALTHIER -RRB- is drawing at his table - a picture of the HUGE YELLOW PARROT swooping down from the sky . Truman watches for a few moments , then Perry looks at him .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - MOMENTS LATER</stage_direction>
<scene_description>The Guard locks Truman inside with Perry .</scene_description>
<character>PERRY</character>
<dialogue>Thank you.</dialogue>
<scene_description>Truman looks at the Guard - he leaves .</scene_description>
<character>TRUMAN</character>
<dialogue>It was as much for me as for anyone. I could n't bear the thought of losing you so soon.</dialogue>
<character>PERRY</character>
<dialogue>We're going to be able to use your book for our case. You'll write we never got to raise our insanity plea. You wrote how terrible the lawyer was?</dialogue>
<character>TRUMAN</character>
<dialogue>I have n't written a word yet.</dialogue>
<scene_description>Beat .</scene_description>
<character>PERRY</character>
<dialogue>What have you been doing?</dialogue>
<character>TRUMAN</character>
<dialogue>Research. Waiting to talk to you.</dialogue>
<character>PERRY</character>
<dialogue>All right.</dialogue>
<character>TRUMAN</character>
<dialogue>I had hoped -</dialogue>
<character>PERRY</character>
<dialogue>What are you calling it?</dialogue>
<character>TRUMAN</character>
<dialogue>The book?</dialogue>
<parenthetical>( looks directly at him . )</parenthetical>
<dialogue>I have no idea.</dialogue>
<scene_description>Pause .</scene_description>
<character>TRUMAN</character>
<dialogue>If I'm going to write about you - if I'm going to determine how to write about you - you need to tell me about that night at the Clutter house.</dialogue>
<scene_description>Perry just looks at him .</scene_description>
<character>TRUMAN</character>
<dialogue>Perry.</dialogue>
<scene_description>Perry shakes his head .</scene_description>
<character>TRUMAN</character>
<dialogue>Why? Do you worry what I'll think?</dialogue>
<scene_description>Perry looks away . A long moment .</scene_description>
<character>TRUMAN</character>
<dialogue>Is that it?</dialogue>
<scene_description>Silence . Then :</scene_description>
<character>PERRY</character>
<dialogue>Dick says you know Elizabeth Taylor.</dialogue>
<character>TRUMAN</character>
<dialogue>I know a lot of people.</dialogue>
<scene_description>Truman gives up for now . Sees the PICTURE OF THE YELLOW BIRD on the desk .</scene_description>
<character>TRUMAN</character>
<dialogue>What is that you keep drawing?</dialogue>
<character>PERRY</character>
<dialogue>You must hate having to come to this place -</dialogue>
<character>TRUMAN</character>
<dialogue>Perry, I have invitations to be in Morocco, Greece. I choose to be here. Those people have everything, all their prayers have been answered, yet they're more desperate than ever. I prefer to be here with you.</dialogue>
<character>PERRY</character>
<parenthetical>( looks at Truman ; evenly . )</parenthetical>
<dialogue>I was ten, I wet the bed, the nuns at the orphanage hated the smell. First month one of them found me shivering - just trying to get through the night. The Sister pulled back the covers and shined her flashlight to see what I'd did. The sheets were wet. She hit me so many times with that flashlight she broke it.</dialogue>
<parenthetical>( he shrugs . )</parenthetical>
<dialogue>That night I dreamed about the yellow bird. Tall. Yellow like the sun. It picked me up and it clawed the Nun's eyes and it lifted me into the sky.</dialogue>
<scene_description>They look at each other .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAR, DOWNTOWN K.C. - NIGHT</stage_direction>
<scene_description>Truman on the street outside the club at a PAY PHONE . He talks with Jack in Brooklyn .</scene_description>
<character>TRUMAN</character>
<dialogue>I'm just missing this one piece, Jack. Be patient with me.</dialogue>
<character>JACK</character>
<dialogue>How long is that gon na take? Why do n't you try leaving him alone for a while? Come to Spain. You can always visit him later.</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know.</dialogue>
<character>JACK</character>
<dialogue>Well, I'm off. I've got my own writing to do.</dialogue>
<character>TRUMAN</character>
<dialogue>Do it in Brooklyn. Wait for me.</dialogue>
<character>JACK</character>
<dialogue>Too many people around.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'll leave the address on the kitchen table. Truman, what do you do there when you're not with him? - It must be awful.</dialogue>
<scene_description>Truman 's watching a YOUNG GUY standing outside the bar , looking at him .</scene_description>
<character>JACK</character>
<dialogue>Think about what I said. Join me when you can.</dialogue>
<character>TRUMAN</character>
<dialogue>I will. I will. Bye.</dialogue>
<scene_description>Truman follows the YOUNG GUY into the bar .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM, KANSAS CITY - LATE NIGHT</stage_direction>
<scene_description>Truman sleeps . He OPENS HIS EYES in bed . Turns to the bedside table to see the drawing of Perry looking at him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS CITY - DAWN</stage_direction>
<scene_description>A young drifter stands alone on an empty street corner . He checks a pay phone for a coin . It 's empty .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - DAY</stage_direction>
<scene_description>Perry is lying on his cot reading an ADVENTURE MAGAZINE - something to do with finding buried treasure off the coast of Mexico - and sucking on the tip of his thumb . After a moment he STARTLES and looks up . Truman stands outside his cell . He holds a stack of books : Perry 's PERSONAL DICTIONARY and DIARY , and a new WEBSTER 'S DICTIONARY and THESAURUS .</scene_description>
<character>PERRY</character>
<dialogue>I did n't see you. Jesus, you.</dialogue>
<parenthetical>( stands , tucks in shirt . )</parenthetical>
<dialogue>Come in. Where's the guard?</dialogue>
<character>TRUMAN</character>
<dialogue>I ca n't. I brought you some things, but I have to fly back East.</dialogue>
<character>PERRY</character>
<dialogue>When?</dialogue>
<character>TRUMAN</character>
<dialogue>An hour. I'm sorry.</dialogue>
<character>PERRY</character>
<dialogue>You ca n't.</dialogue>
<character>TRUMAN</character>
<dialogue>I'm sorry.</dialogue>
<character>PERRY</character>
<dialogue>Who are you going there to see -</dialogue>
<character>HICKOCK</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( from next cell . )</parenthetical>
<dialogue>Capote, get it straight in your book - we never intended on killing that family -</dialogue>
<character>PERRY</character>
<dialogue>I told him that.</dialogue>
<character>HICKOCK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No premeditation -</dialogue>
<character>PERRY</character>
<dialogue>I told him!</dialogue>
<scene_description>Perry searches the cell for something else to give to Truman to keep him there . Then , he stops . He has nothing left to give , and is unwilling to talk about that night at the Clutters . He becomes very still . Truman speaks gently -</scene_description>
<character>TRUMAN</character>
<dialogue>Your writings are magnificent. I hope these help you do more.</dialogue>
<scene_description>No response . Truman places the books on the floor just outside Perry 's cell - Perry 's writings in one stack and the new dictionaries in another right next to it .</scene_description>
<character>TRUMAN</character>
<dialogue>I have so much material - from the trial, from our visits, your journals. I have to organize it all, and I have to start the process of writing.</dialogue>
<parenthetical>( no response . )</parenthetical>
<dialogue>I'll visit soon. Perhaps this fall.</dialogue>
<parenthetical>( backing away . )</parenthetical>
<dialogue>I miss you already. Write me every five minutes.</dialogue>
<scene_description>He turns and goes . We stay with Perry as Truman leaves . We hear Dick speak to Truman .</scene_description>
<character>HICKOCK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Be good now.</dialogue>
<scene_description>Hear Truman 's footsteps receding . Then , a long shot of the hallway as the Guard lets Truman out the gate at the end of the row . Silence .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL</stage_direction>
<scene_description>Perry looks down at the books sitting on the floor outside his cell . He crouches , puts his hand through the bars and touches the cover of the new dictionary . He 's alone . FADE OUT . Over black - the sound of a JET airplane - loud , then passing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - DAY</stage_direction>
<scene_description>FADE IN : BRIGHT WHITE SKY . Sounds of seagulls . Ocean , sand , cottage houses in greenery set back from the beach .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RENTED COTTAGE HOUSE - DAY</stage_direction>
<scene_description>The house Jack rented . Jack types on the upstairs deck . Truman pulls up in an OLD TAXI . Jack looks out over the railing to the street . Jack emerges on the FRONT PORCH as Truman walks up the path with his bags . They look at each other . Then Truman looks around at the incredible garden , the ocean in the background , and starts to LAUGH . FADE OUT . Title up : `` January , 1962 '' Sound of a MANUAL TYPEWRITER over black .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RENTED COTTAGE HOUSE - EARLY MORNING</stage_direction>
<scene_description>FADE IN on the peaceful outside of the house . Sound of TYPING .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTED COTTAGE HOUSE - EARLY MORNING</stage_direction>
<scene_description>More typing . A PHONE rings . CAMERA tracks slowly through the pretty , tiled living room , toward a DOOR at the far end .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, RENTED COTTAGE HOUSE - EARLY MORNING</stage_direction>
<scene_description>Truman at his DESK , surrounded by piles of filled YELLOW PADS , NOTE CARDS , an open TRUNK of random notes . He is at the MANUAL TYPEWRITER . The phone is on the floor , ringing . He types . The phone rings . Exasperated , he picks up .</scene_description>
<character>TRUMAN</character>
<dialogue>What.</dialogue>
<character>SHAWN</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Truman. I was supposed to be home for dinner with my wife three hours ago - I have not been able to tear myself away from your book. It's that good. It's not good, it's astonishing. This first half is astonishing. If the second half lives up to this it, - it - how much is left to do?</dialogue>
<scene_description>INTERCUT with Shawn 's OFFICE at the New Yorker , NIGHT . Shawn has a stack of manuscript pages on his desk .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORKER, WILLIAM SHAWN'S OFFICE</stage_direction>
<character>TRUMAN</character>
<dialogue>I'm already well into the third part, but I - I ca n't finish that till I convince Perry to describe the night of the killings to me. I was planning to visit this fall, see -</dialogue>
<character>SHAWN</character>
<dialogue>I think you need to talk to him now.</dialogue>
<character>TRUMAN</character>
<dialogue>And we all need to see how this ends for the final part. I ca n't finish the book till I know what happens. If Perry and Dick are executed it's one thing - and if not, well -</dialogue>
<character>SHAWN</character>
<dialogue>Truman. You got your ending -</dialogue>
<character>TRUMAN</character>
<dialogue>I really do n't know -</dialogue>
<character>SHAWN</character>
<dialogue>The Kansas court denied their appeal. It came over the wire on Friday. You need to talk to Perry now. He'll be dead by September. I'm sorry, I know how much you've come to care about him.</dialogue>
<scene_description>Truman is completely immobile .</scene_description>
<character>SHAWN</character>
<dialogue>Truman?</dialogue>
<character>TRUMAN</character>
<dialogue>Right. Yes. Right.</dialogue>
<character>SHAWN</character>
<dialogue>I want to set up a reading for you in the fall, in New York. We'll build some interest, and we'll publish in the fall.</dialogue>
<scene_description>On Truman .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, RENTED COTTAGE HOUSE - MORNING</stage_direction>
<scene_description>Truman at the stove watching his tea water heat up . Jack enters with a HUGE BASKET of WINE and GROCERIES .</scene_description>
<character>TRUMAN</character>
<dialogue>Plums. Thank god. We have nothing in the house.</dialogue>
<scene_description>He takes one from the basket . Jack starts to unpack food .</scene_description>
<character>TRUMAN</character>
<dialogue>Why are n't you working?</dialogue>
<character>JACK</character>
<dialogue>I knew you could n't be depended on to stock the kitchen.</dialogue>
<scene_description>Truman looks at him blankly .</scene_description>
<character>JACK</character>
<dialogue>What would we feed our famous guest?</dialogue>
<character>TRUMAN</character>
<dialogue>Oh, Jesus. I completely forgot.</dialogue>
<scene_description>He helps Jack put away the groceries . Then :</scene_description>
<character>JACK</character>
<parenthetical>( utterly nonchalant . )</parenthetical>
<dialogue>Plus - I finished my novel yesterday.</dialogue>
<scene_description>Truman looks at Jack , smiles widely .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - NIGHT</stage_direction>
<scene_description>Truman , Jack and Nelle . A BONFIRE , a wind - up Victrola playing Ella Fitzgerald , bottles of wine . Jack and Nelle dance . Truman toasts Jack drunkenly .</scene_description>
<character>TRUMAN</character>
<dialogue>My man, my hero, my talented. My man.</dialogue>
<character>JACK</character>
<dialogue>You said that.</dialogue>
<character>TRUMAN</character>
<dialogue>You are the hardest worker, the most unsung talent I know. As Nelle passes by on her way to London to sell her book which needs no selling, may a little of her success rub off on both of us.</dialogue>
<scene_description>Jack laughs .</scene_description>
<character>JACK</character>
<dialogue>Here, here!</dialogue>
<scene_description>Nelle tries to smack Truman but ca n't catch him . The song changes to a slow one . Jack and Truman dance sweetly together . Nelle sits on the sand and watches .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPSTAIRS DECK, RENTED COTTAGE HOUSE - MORNING</stage_direction>
<scene_description>Breakfast . Truman and Nelle are sitting - Nelle has a small envelope in her hand . Truman is obviously uncomfortable . As Jack delivers a platter of omelettes to the table :</scene_description>
<character>NELLE</character>
<parenthetical>( to Truman . )</parenthetical>
<dialogue>When was the last time you wrote back to him?</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know.</dialogue>
<character>JACK</character>
<dialogue>What's this?</dialogue>
<character>NELLE</character>
<dialogue>A letter for your boyfriend I was asked to deliver.</dialogue>
<character>TRUMAN</character>
<dialogue>From Perry.</dialogue>
<character>JACK</character>
<dialogue>Let's have it.</dialogue>
<scene_description>Jack sits . Nelle opens the letter , reads :</scene_description>
<character>NELLE</character>
<dialogue>`` Dear Friend Truman. Where are you? Read this item in a medical dictionary : `` Death by hanging is caused by asphyxia, by fracture of the cervical vertebrae, by laceration of the trachea.'' Not too comforting as we lost our appeal. Missing you - alone and desirous of your presence. Your amigo, Perry.''</dialogue>
<scene_description>Pause .</scene_description>
<character>TRUMAN</character>
<dialogue>Mr. Shawn told me about the court decision yesterday.</dialogue>
<character>JACK</character>
<dialogue>I was wondering why you were in such a good mood. Surely, I thought, it's not because I finished my little book.</dialogue>
<character>TRUMAN</character>
<dialogue>That's a terrible thing to say.</dialogue>
<scene_description>Jack looks out at the ocean .</scene_description>
<character>TRUMAN</character>
<parenthetical>( to no one in particular . )</parenthetical>
<dialogue>I used to write him all the time. I've been so focused lately on the book.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RENTED COTTAGE HOUSE - DAY</stage_direction>
<scene_description>Truman and Nelle carry her bags down the front walk toward a waiting TAXI .</scene_description>
<character>TRUMAN</character>
<dialogue>Jack says I'm using Perry, but he also thinks I fell in love with him when I was in Kansas. How both of those things can be true is beyond me.</dialogue>
<character>NELLE</character>
<dialogue>Did you? Fall in love with him.</dialogue>
<scene_description>Silence as they load the bags into the trunk .</scene_description>
<character>NELLE</character>
<dialogue>Truman? -</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know how to answer that. It's as if Perry and I started life in the same house. One day he stood up and walked out the back door while I walked out the front. With some different choices, he's the man I might have become.</dialogue>
<character>NELLE</character>
<dialogue>Are you kidding me?</dialogue>
<scene_description>Truman shrugs , does n't answer . Nelle kisses him .</scene_description>
<character>NELLE</character>
<dialogue>Be nice to Jack. Sometimes I think he's what I like about you best.</dialogue>
<character>TRUMAN</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>I'll see you at the reading in New York.</dialogue>
<character>NELLE</character>
<dialogue>The sixteenth.</dialogue>
<scene_description>Nelle gets in the taxi , then leans her head out the window .</scene_description>
<character>NELLE</character>
<dialogue>Truman. Honestly. Are you going back to Kansas because you care about Perry or because you need information before he's killed?</dialogue>
<character>TRUMAN</character>
<dialogue>Ca n't it be both?</dialogue>
<character>NELLE</character>
<dialogue>No. I do n't think it can be.</dialogue>
<scene_description>She drives away . Truman watches her go . He turns back up toward the house , stops a moment to pick a FLOWER from the bushes at the front gate .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - DAY</stage_direction>
<scene_description>A Guard walks down the corridor carrying a SINGLE FLOWER . He delivers it to Perry , then walks off . Perry is confused . He hears FOOTSTEPS approaching , but ca n't see who it is .</scene_description>
<character>HICKOCK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, buddy. Thanks.</dialogue>
<scene_description>More footsteps . CAMERA on Perry as the footsteps finally arrive outside his cell . He 's shocked . REVERSE onto Truman , looking tanned , healthy , very blond . He holds a STACK OF BOOKS with a BOW on top . He smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - LATER THAT NIGHT</stage_direction>
<scene_description>LONG SHOT of dimly lit corridor , light spilling out from each cell . A ROW GUARD walks the hall . We hear voices murmuring . SIX MORE GUARDS arrive at the top of the stairs . The ROW GUARD walks over , unlocks the GATE to let them in .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>Perry is looking at the cover of a BOOK - `` WALDEN POND . '' Other books sit next to Perry on the cot . Among them - WILLA CATHER 's `` MY ANTONIA '' , also `` GREAT EXPECTATIONS '' -</scene_description>
<character>PERRY</character>
<dialogue>What was he in jail for?</dialogue>
<character>TRUMAN</character>
<dialogue>They said it was not paying his taxes. But really for being an outsider - refusing to go along.</dialogue>
<scene_description>Perry nods , looks at the other books .</scene_description>
<character>TRUMAN</character>
<dialogue>You do n't have to read any of these if you do n't want to. But I thought you'd like something decent. You're much too smart for adventure magazines.</dialogue>
<scene_description>Through the bars of Perry 's cell , we can see the SIX GUARDS enter Lowell Lee Andrew 's cell -LRB- diagonally across the corridor -RRB- . The ROW GUARD appears at Perry 's cell .</scene_description>
<character>ROW GUARD</character>
<dialogue>Lock - down while Lowell goes to solitary. Nobody in or out.</dialogue>
<parenthetical>( to Truman . )</parenthetical>
<dialogue>You want in or out?</dialogue>
<scene_description>Truman looks at Perry , then back to the Guard .</scene_description>
<character>TRUMAN</character>
<dialogue>In.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, LOWELL LEE ANDREW'S CELL - MOMENTS LATER</stage_direction>
<scene_description>The SIX GUARDS start to pack up Andrews cell while he sits on the cot and watches .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - LATER</stage_direction>
<scene_description>Perry and Truman talk very QUIETLY . -LRB- Throughout this scene , we see in the background , across the corridor , the mostly obscured cell of Andrews . We see his incredibly FAT LEG being shackled , his belongings being packed in boxes . -RRB-</scene_description>
<character>PERRY</character>
<dialogue>Everyone says he's a genius. I do n't think he's a genius. He's rich and he went to college - like any of us would've if we got the chance. He came home for Christmas and shot his parents -</dialogue>
<character>TRUMAN</character>
<dialogue>- in front of the television.</dialogue>
<character>PERRY</character>
<dialogue>You remember the story -</dialogue>
<character>TRUMAN</character>
<dialogue>They were watching Father Knows Best.</dialogue>
<scene_description>They look at each other and smile . Then :</scene_description>
<character>PERRY</character>
<dialogue>I wo n't be sorry to see him go. Always correcting my grammar.</dialogue>
<scene_description>They watch Andrews being shackled in the background .</scene_description>
<character>PERRY</character>
<dialogue>Now - Dick and me - we're next in line.</dialogue>
<scene_description>Truman regards Perry , who looks down .</scene_description>
<character>TRUMAN</character>
<dialogue>I'm so sorry I've been away.</dialogue>
<character>PERRY</character>
<dialogue>It was a long time.</dialogue>
<character>TRUMAN</character>
<dialogue>I know.</dialogue>
<character>PERRY</character>
<dialogue>I wish you could come next week, when they take him out to the Corner, but the whole prison shuts down.</dialogue>
<character>TRUMAN</character>
<dialogue>I have to be in New York anyway.</dialogue>
<scene_description>Perry nods .</scene_description>
<character>PERRY</character>
<dialogue>How's the book going?</dialogue>
<character>TRUMAN</character>
<dialogue>Very slowly.</dialogue>
<character>PERRY</character>
<dialogue>Will you show it to me?</dialogue>
<character>TRUMAN</character>
<dialogue>I've hardly written anything.</dialogue>
<scene_description>One of the six guards CLANGS Andrews ' cell bars with his stick .</scene_description>
<character>GUARD #1</character>
<dialogue>Ready.</dialogue>
<scene_description>The ROW GUARD opens the cell door . Andrews is led out , arms and legs shackled , into the corridor .</scene_description>
<character>HICKOCK</character>
<dialogue>Keep your head high, buddy.</dialogue>
<character>ANDREWS</character>
<dialogue>Alright now.</dialogue>
<character>HICKOCK</character>
<dialogue>or they wo n't be able to rope you under your fat fucking chin.</dialogue>
<scene_description>Andrews is led past Perry 's cell . He looks in at Perry .</scene_description>
<character>ANDREWS</character>
<dialogue>Next!</dialogue>
<scene_description>Andrews shuffles down the hall . Perry watches him go . On Truman watching Perry . We hear the GATE slam shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER - EVENING</stage_direction>
<scene_description>Packed . Nelle stands with William Shawn , who receives well - wishers . BEN BARON enters , seeing Nelle .</scene_description>
<character>BEN BARON</character>
<parenthetical>( loudly , over the hubbub . )</parenthetical>
<dialogue>Hello Hollywood. That's quite a bundle you sold your book for.</dialogue>
<scene_description>Nelle is embarrassed , mostly for Baron , to have the issue of money brought up publicly .</scene_description>
<character>NELLE</character>
<dialogue>Well.</dialogue>
<scene_description>Baron moves past , Nelle smiles politely , whispers to Shawn .</scene_description>
<character>NELLE</character>
<dialogue>What a gentleman.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEATER, BACKSTAGE ROOM - MOMENTS LATER</stage_direction>
<scene_description>Truman sits alone . In the background , we can HEAR the noise of the huge crowd gathering in the theater . Truman wears his MOST STYLISH LITERARY OUTFIT : a gorgeous dark green Knize SUIT over a black cashmere turtleneck sweater , and horn - rimmed GLASSES -LRB- which we 've never seen him wear before -RRB- . He 's frozen with anticipation , nervousness . After several moments a THEATER ASSISTANT opens the door .</scene_description>
<character>YOUNG ASSISTANT</character>
<dialogue>Mr. Capote. Can I get you anything?</dialogue>
<character>TRUMAN</character>
<dialogue>No.</dialogue>
<parenthetical>( clears his throat . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>The assistant leaves . We hear the crowd quiet down . Truman rises slowly , walks through the door to the backstage area . We hear William Shawn on stage .</scene_description>
<character>SHAWN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Welcome New Yorkers.</dialogue>
</scene>
<scene>
<stage_direction>INT. WINGS/STAGE - NIGHT</stage_direction>
<scene_description>Shawn pauses briefly for a laugh that does n't come . Truman continues walking toward the backstage curtains .</scene_description>
<character>SHAWN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Thank you for coming to the first public reading, the first offering of any kind, of Truman Capote's new work `` In Cold Blood.'' Our magazine -</dialogue>
<scene_description>Truman walks on stage . Loud applause . Shawn sees him , slinks back to his seat . Truman walks over to the podium , takes in the enormous crowd . Once it is completely quiet :</scene_description>
<character>TRUMAN</character>
<dialogue>Hello. My name is Truman Capote.</dialogue>
<scene_description>People laugh and applaud loudly .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - SAME TIME, NIGHT</stage_direction>
<scene_description>Perry , eating dinner alone at his table , looks up . We HEAR a LOUD ENGINE revving outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KSP, THE CORNER WAREHOUSE - SAME TIME</stage_direction>
<scene_description>A FRONT - LOADER TRACTOR drives into the warehouse . A PRISON POLICE CAR parks outside the warehouse . Guards get the enormous Lowell Lee Andrews , shackled , from the back seat , walk him inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>C/U on Perry , now standing on his chair and watching out the tiny window .</scene_description>
</scene>
<scene>
<stage_direction>INT THEATER, NYC - NIGHT</stage_direction>
<scene_description>Truman on stage reading .</scene_description>
<character>TRUMAN</character>
<dialogue>Perry Smith's voice was both gentle and prim - a voice that, though soft, manufactured each sound exactly - ejected it like a smoke ring issuing from a parson's mouth.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - SAME TIME</stage_direction>
<scene_description>Perry watches through his window . From inside the warehouse we hear the gallows TRAP DOOR spring and CLATTER . On Perry ,</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER, NYC - SAME TIME</stage_direction>
<scene_description>Truman reading . Utter silence except for his voice .</scene_description>
<character>TRUMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The village of Holcomb stands on the high wheat plains of western Kansas, a lonesome area that other Kansans call `` out there.'' Until one morning in mid - November 1959, few Americans - in fact, few Kansans - had ever heard of Holcomb. Like the waters of the.</dialogue>
<parenthetical>( Arkansas . )</parenthetical>
<dialogue>river, like the motorists on the highway. exceptional happenings had never stopped there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KSP, DEATH ROW BUILDING - SAME TIME</stage_direction>
<scene_description>We see the outside wall with Perry and Dick 's faces peering out through their tiny windows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KSP, THE CORNER WAREHOUSE - NIGHT</stage_direction>
<scene_description>The TRACTOR emerges through the warehouse doors . It carries in its FRONT SHOVEL the enormous , dead BODY of ANDREWS covered by a BLACK CLOTH .</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER, NYC - SAME TIME</stage_direction>
<scene_description>Truman reading . The audience completely still .</scene_description>
<character>TRUMAN</character>
<dialogue>The four coffins, which quite filled the small, flower - crowded parlor, were to be sealed at the funeral services - very understandably, for the effect. was disquieting. Nancy wore her dress of cherry - red velvet, her brother a bright plaid shirt ; the parents were more sedately attired, Mr. Clutter in navy - blue flannel, his wife in navy - blue crepe ; and - and it was this especially that lent the scene an awful aura - the head of each was completely encased in cotton, a swollen cocoon twice the size of an ordinary blown - up balloon, and the cotton, because it had been sprayed with a glossy substance, twinkled like Christmas - tree snow.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KSP, THE CORNER WAREHOUSE - NIGHT</stage_direction>
<scene_description>The TRACTOR rolls the body into the BED of a waiting PICK - UP TRUCK .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KSP, DEATH ROW BUILDING - SAME TIME</stage_direction>
<scene_description>Perry watches through his window .</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER, NYC - SAME TIME</stage_direction>
<scene_description>Truman reading . The audience transfixed .</scene_description>
<character>TRUMAN</character>
<dialogue>Imagination, of course, can open any door - turn the key and let terror walk right in.</dialogue>
<parenthetical>( One . )</parenthetical>
<dialogue>Tuesday, at dawn, a carload of. strangers, ignorant of the local disaster - were startled by what they saw as they crossed the prairies and passed through Holcomb : windows ablaze, almost every window in almost every house, and, in the brightly lit rooms, fully clothed people, even entire families, who had sat the whole night wide awake, watchful, listening. Of what were they frightened? `` It might happen again.''</dialogue>
<scene_description>He closes his manuscript . Several moments of SILENCE , then thunderous APPLAUSE .</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER, BACKSTAGE ROOM - NIGHT</stage_direction>
<scene_description>Truman 's dressing room . Packed with well - wishers drinking from bottles of CHAMPAGNE , smoking , toasting , shouting to be heard . Truman in the corner with Christopher Isherwood , BEN BARON others , laughing . A LITERARY ENTHUSIAST approaches , leans in .</scene_description>
<character>LITERARY ENTHUSIAST</character>
<dialogue>Your portrait of those men was terrifying. Terrifying.</dialogue>
<character>TRUMAN</character>
<dialogue>Thank you.</dialogue>
<scene_description>Truman and Isherwood watch him walk away .</scene_description>
<character>ISHERWOOD</character>
<dialogue>Your hairpiece is terrifying.</dialogue>
<character>TRUMAN</character>
<dialogue>I was going to say the same thing!</dialogue>
<scene_description>Truman laughs loudly . We SEE Nelle look over from across the room at her friend having the time of his life .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORKER, WILLIAM SHAWN'S OFFICE - NEXT DAY</stage_direction>
<scene_description>Truman is hung over but immensely gratified . He 's with Shawn .</scene_description>
<character>SHAWN</character>
<dialogue>Everyone was there.</dialogue>
<character>TRUMAN</character>
<dialogue>Tennessee loved it.</dialogue>
<character>SHAWN</character>
<dialogue>Of course he did.</dialogue>
<character>TRUMAN</character>
<dialogue>Should we do more? I was terrified, but -</dialogue>
<character>SHAWN</character>
<dialogue>No, Now we get to withhold while everyone else talks. Let them do the work.</dialogue>
<scene_description>Truman is barely able to suppress his excitement .</scene_description>
<character>SHAWN</character>
<dialogue>This book is going to change everything. It'll change how people see you as a writer. It'll change how people write. You'll finish by October?</dialogue>
<character>TRUMAN</character>
<dialogue>I think so. You know they're scheduled for next month?</dialogue>
<character>SHAWN</character>
<dialogue>Hanging. Yes. I'll commit as many issues as it takes to publish. Three. As many as it takes.</dialogue>
<character>TRUMAN</character>
<dialogue>I'm flying to Kansas tomorrow. I'll get Perry to talk -</dialogue>
<character>SHAWN</character>
<dialogue>Honestly, what's he got to lose?</dialogue>
<scene_description>Truman smiles at the joke , then stops himself .</scene_description>
<character>TRUMAN</character>
<dialogue>It really is too awful. Institutionalized sadism.</dialogue>
<scene_description>Shawn nods .</scene_description>
<character>SHAWN</character>
<dialogue>You'll be able to finish now.</dialogue>
<character>TRUMAN</character>
<dialogue>As strange as it may sound to you, I'm going to miss him.</dialogue>
<scene_description>FADE OUT . Over black - the sound of a JET airplane - loud , then passing .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - DAY</stage_direction>
<scene_description>Truman , flushed , out of breath , stands outside Perry 's cell . He 's just arrived . He holds a FOLDED - UP NEWSPAPER . Perry sits at his table reading LEGAL DOCUMENTS .</scene_description>
<character>TRUMAN</character>
<dialogue>When did you hear?</dialogue>
<scene_description>Perry looks up , mistaking Truman 's state for shared enthusiasm . He smiles widely .</scene_description>
<character>PERRY</character>
<dialogue>Two days ago.</dialogue>
<scene_description>The Guard opens the cell for Truman . Perry holds up one of the DOCUMENTS .</scene_description>
<character>PERRY</character>
<dialogue>It's what we've been waiting for. A stay of execution to make a federal appeal.</dialogue>
<scene_description>Truman enters . Perry goes to him and hugs him tightly .</scene_description>
<character>PERRY</character>
<dialogue>All thanks to you.</dialogue>
<scene_description>On Truman , shocked , being hugged .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - LATER</stage_direction>
<scene_description>Truman sits on the bed , his coat still on , watching Perry - hyped up , talking , walking around the cell .</scene_description>
<character>PERRY</character>
<dialogue>Kansas's had it in for me for ten years - in prison the first time, at that trial, here. They ca n't corner me now. Not till the U.S. Government says so -</dialogue>
<character>TRUMAN</character>
<dialogue>Perry, sit down. For a minute.</dialogue>
<parenthetical>( Perry sits . )</parenthetical>
<dialogue>I need you to talk to me.</dialogue>
<character>PERRY</character>
<dialogue>We've got all the time in the world to talk. About everything. I've been thinking about Ricardo. You need to stop sending him those trashy books. I wo n't even mention the pornography.</dialogue>
<parenthetical>( getting up . )</parenthetical>
<dialogue>I realize he might have trouble grasping the literature you gave me, but those books only exacerbate the problem - only ` heighten' or ` intensify' it. Maybe we should start him on a program.</dialogue>
<character>TRUMAN</character>
<dialogue>Perry.</dialogue>
<character>PERRY</character>
<dialogue>Give him the simple novels first -</dialogue>
<character>TRUMAN</character>
<dialogue>Perry.</dialogue>
<scene_description>Perry stops .</scene_description>
<character>TRUMAN</character>
<dialogue>I know what exacerbate means.</dialogue>
<character>PERRY</character>
<dialogue>Okay. I thought in case.</dialogue>
<character>TRUMAN</character>
<dialogue>There is not a word, or a sentence, or a concept, that you can illuminate for me. There is one singular reason that I keep coming here -</dialogue>
<character>PERRY</character>
<dialogue>Truman -</dialogue>
<character>TRUMAN</character>
<dialogue>November 14th, 1959. Three years ago. Three years. That's all I want to hear from you.</dialogue>
<scene_description>Pause .</scene_description>
<character>PERRY</character>
<dialogue>I've asked you not to -</dialogue>
<character>TRUMAN</character>
<parenthetical>( stands up . )</parenthetical>
<dialogue>This is ridiculous.</dialogue>
<parenthetical>( to the Guard . )</parenthetical>
<dialogue>I'm ready.</dialogue>
<parenthetical>( to Perry . )</parenthetical>
<dialogue>I have a plane to catch. I found your sister in Tacoma. Maybe she'll talk to me about something useful.</dialogue>
<character>PERRY</character>
<dialogue>Do n't go out there.</dialogue>
<scene_description>The Guard lets Truman out of the cell .</scene_description>
<character>PERRY</character>
<dialogue>Please do n't go out there.</dialogue>
<scene_description>The Guard shuts the door .</scene_description>
<character>TRUMAN</character>
<dialogue>This is my work, Perry. I'm working. When you want to tell me what I need to hear, you let me know.</dialogue>
<scene_description>He walks off down the hall . The GATE slams shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. PERRY'S SISTER'S HOUSE, KITCHEN - DAY</stage_direction>
<scene_description>Cheaply built ranch house . LINDA MURCHAK -LRB- 30 -RRB- walks in the kitchen back door , shuts it .</scene_description>
<character>MRS. MURCHAK</character>
<dialogue>They'll play outside a while longer.</dialogue>
<scene_description>Mrs. Murchak looks like a female Perry , dark and small , attractive and nervous . Through the window , we see THREE LITTLE CHILDREN playing on a DECREPIT JUNGLE GYM in the yard . Truman sits at the table , leafing through a PHOTO ALBUM .</scene_description>
<character>MRS. MURCHAK</character>
<dialogue>I do n't want them to see that.</dialogue>
<character>TRUMAN</character>
<dialogue>They've never seen these pictures?</dialogue>
<character>MRS. MURCHAK</character>
<parenthetical>( shakes her head . )</parenthetical>
<dialogue>Too many questions.</dialogue>
<scene_description>She joins Truman again at the table . We see an OLD PHOTO of the SMITH FAMILY - Linda at age 8 , Perry -LRB- 5 -RRB- ; their older sister , June ; their brother Frank ; and the parents : Florence -LRB- American Indian -RRB- and John -LRB- Irish -RRB- - in front of their rundown truck on a desolate road .</scene_description>
<character>MRS. MURCHAK</character>
<dialogue>June's dead. Frank shot himself. Now Perry's did what he did. I suppose I'm next. Some ruination will visit me.</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't think life works that way.</dialogue>
<character>MRS. MURCHAK</character>
<dialogue>It does in this family.</dialogue>
<scene_description>Truman turns the page . A PICTURE of Perry -LRB- 3 -RRB- and Linda HOLDING HANDS and splashing in a big mud - puddle in the rain . Linda is smiling at Perry , who is naked , laughing .</scene_description>
<character>MRS. MURCHAK</character>
<dialogue>I used to love him. He was my little doll.</dialogue>
<scene_description>He turns the page . A PICTURE of Perry -LRB- 6 -RRB- and Linda sitting on the back steps of a shack , poking with a stick at something in the dirt . After a moment , she gets up , clears coffee cups .</scene_description>
<character>MRS. MURCHAK</character>
<dialogue>He scares me now.</dialogue>
<character>TRUMAN</character>
<dialogue>When was the last time you saw him?</dialogue>
<character>MRS. MURCHAK</character>
<dialogue>Ten years.</dialogue>
<scene_description>She picks up the album to put it away .</scene_description>
<character>TRUMAN</character>
<dialogue>Do you think I could borrow one of those pictures?</dialogue>
<character>MRS. MURCHAK</character>
<parenthetical>( hands it to him . )</parenthetical>
<dialogue>Take the whole thing. I do n't want'em anymore.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Just. Perry does n't know where I live. He thinks we're still in Portland. Please do n't tell him we're not.</dialogue>
<character>TRUMAN</character>
<parenthetical>( he already has . )</parenthetical>
<dialogue>Alright.</dialogue>
<character>MRS. MURCHAK</character>
<dialogue>Do n't be taken in by my brother. He's got this sensitive side he'll show. You believe he's gentle, so easily hurt. But he'd just as soon kill you as shake your hand. I believe that.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - NEXT DAY</stage_direction>
<scene_description>Truman slows for a moment as he passes Hickock 's cell .</scene_description>
<character>TRUMAN</character>
<dialogue>Hello handsome.</dialogue>
<scene_description>Hickock just stares at him . Truman , unnerved , moves on to Perry 's cell .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - CONTINUOUS</stage_direction>
<scene_description>Perry doing pushups . He sees Truman and stops . He stands . The Row Guard approaches .</scene_description>
<character>ROW GUARD</character>
<dialogue>You want to go in?</dialogue>
<scene_description>Truman regards Perry for a few moments , then :</scene_description>
<character>TRUMAN</character>
<dialogue>Yes</dialogue>
<scene_description>The Guard unlocks the door . Perry STARTS TO MOVE toward it . The Guard SLAMS it shut .</scene_description>
<character>PERRY</character>
<dialogue>What's the name of your book?</dialogue>
<scene_description>No response . Perry can barely control his anger .</scene_description>
<character>PERRY</character>
<dialogue>What's the name of your book?</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't.</dialogue>
<character>PERRY</character>
<dialogue>What's the name of your book?</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know what you're talking about.</dialogue>
<scene_description>Perry picks up a cut - out ARTICLE from the NY Times from his desk . He reads .</scene_description>
<character>PERRY</character>
<dialogue>`` Truman Capote read last night before a packed audience from his non - fiction book IN COLD BLOOD.''</dialogue>
<scene_description>He looks at Truman .</scene_description>
<character>PERRY</character>
<dialogue>More?</dialogue>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` The true - crime novel tells of killers Richard Hickock and Perry Smith, who brutally murdered a Kansas family three years ago.''</dialogue>
<character>TRUMAN</character>
<dialogue>Who sent that to you?</dialogue>
<scene_description>Perry does n't answer .</scene_description>
<character>TRUMAN</character>
<dialogue>Who sent that to you?</dialogue>
<character>PERRY</character>
<dialogue>That's not your goddamn business.</dialogue>
<character>TRUMAN</character>
<dialogue>It is my business, because it's not true. The organizers of the reading needed a title. They picked one - a sensational one, I admit - to attract a crowd.</dialogue>
<character>PERRY</character>
<dialogue>They picked it.</dialogue>
<character>TRUMAN</character>
<dialogue>Yes.</dialogue>
<character>PERRY</character>
<dialogue>That's not your title.</dialogue>
<character>TRUMAN</character>
<dialogue>I have n't chosen one yet.</dialogue>
<scene_description>Perry stares at him , not believing .</scene_description>
<character>TRUMAN</character>
<dialogue>How could I choose -</dialogue>
<character>PERRY</character>
<dialogue>You pretend to be my friend.</dialogue>
<character>TRUMAN</character>
<dialogue>How could I choose a title when you still have n't told me what happened that night? How could I? I could n't possibly.</dialogue>
<scene_description>Long pause . Truman reaches in his breast pocket and extracts a PHOTO -LRB- the one of Perry and Linda splashing in the puddle . -RRB-</scene_description>
<character>TRUMAN</character>
<dialogue>I have something from your sister.</dialogue>
<scene_description>He hands it through the bars to Perry . Perry takes it .</scene_description>
<character>TRUMAN</character>
<dialogue>She misses you.</dialogue>
<scene_description>Perry looks at the photo . After a few moments , Truman turns to the Guard .</scene_description>
<character>TRUMAN</character>
<dialogue>It's alright. I'll go in.</dialogue>
<scene_description>The Guard unlocks the cell . Truman enters . The Guard locks up , walks away . Perry is still looking at the PHOTO .</scene_description>
<character>TRUMAN</character>
<dialogue>I'm sorry. I should have told you what they made me call the book.</dialogue>
<parenthetical>( touches Perry 's arm . )</parenthetical>
<dialogue>I could n't pretend to be your friend. The truth is, I ca n't help wanting to be.</dialogue>
<parenthetical>( silence , then : . )</parenthetical>
<dialogue>You do n't have to tell me anything if you do n't want to.</dialogue>
<scene_description>Perry looks at the photo of himself and his sister for a long time .</scene_description>
<character>PERRY</character>
<dialogue>Look at my belly.</dialogue>
<scene_description>Perry sits on the bed . Then , almost to himself :</scene_description>
<character>PERRY</character>
<dialogue>There must be something wrong with us. To do what we did.</dialogue>
<scene_description>Truman waits him out , sitting on the chair . Finally , Perry looks at him . When Perry speaks , it is quietly , completely matter - of - fact .</scene_description>
<character>PERRY</character>
<dialogue>We heard there was ten thousand dollars in that house. Once we'd tied up everybody and searched all over, I knew the guy who told us about it was wrong. There was n't any money. But Dick would n't believe it. He went tearing through the house again, banging on the walls, looking for a safe. He said when he was done, he was going to come up to Nancy's room and have his way with her. I would n't allow it. I told him that. I sat with Nancy.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, NANCY'S ROOM - FLASHBACK, NIGHT</stage_direction>
<scene_description>Perry and Nancy . Perry sits quietly on the edge of Nancy 's bed . A SMALL BEDSIDE LAMP softly illuminates a portion of the room . We hear Dick banging around downstairs .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was nice in there.</dialogue>
<scene_description>The scene is almost sweet , until we see that Nancy 's legs and hands are TIED and her mouth is TAPED .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>Perry talking to Truman .</scene_description>
<character>PERRY</character>
<dialogue>Dick came to get me and we turned out the lights and went down to the basement, where we had Mr. Clutter and the boy. Dick kept saying `` No witnesses.'' I figured if I just waited him out he'd give up and leave them tied up there. We'd drive all night, they'd never find us. Mr. Clutter's wrists were tied to a pipe over his head. He looked like he was hurt, so I cut him down.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT</stage_direction>
<scene_description>HERBERT CLUTTER is bound and taped , his hands tied to a PIPE on the LOW CEILING . Perry CUTS the rope with a HUNTING KNIFE , catches hold of Herb Clutter , lowers him onto a mattress box on the floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>Perry talking to Truman .</scene_description>
<character>PERRY</character>
<dialogue>We put a box there on the floor so he'd be more comfortable. He asked if his wife and daughter were alright and I said they were fine, they were ready to go to sleep. I told him it was n't long till morning when somebody would find them.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He was looking at me. Just. looking at me. Looking at my eyes. Like he expects me to kill him - expects me to be the kind of person who would kill him. I was thinking - this nice man, he's scared of me. I was ashamed. I mean, I thought he was a kind man, a good. a gentleman. I thought so right up to the moment I cut his throat. I did n't realize what I'd did till I heard the sound.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT</stage_direction>
<scene_description>Herb Clutter gurgling on the floor .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Like some one drowning under water.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>Perry and Truman . Silence , then :</scene_description>
<character>PERRY</character>
<dialogue>I was staring at him, bleeding on the floor. I told Dick to finish him off, but he would n't do it. We could n't leave Mr. Clutter like that, so I got the shotgun.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, BASEMENT - FLASHBACK, NIGHT</stage_direction>
<scene_description>Perry approaches with a SHOTGUN . He aims and SHOOTS him in the face .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, ANOTHER PART OF THE BASEMENT - FLASHBACK NIGHT</stage_direction>
<scene_description>KENYON CLUTTER -LRB- 15 -RRB- is bound and gagged on an old sofa , a pillow under his head . A flashlight illuminates his face . A shotgun enters frame , FIRES . An enormous BURST of LIGHT .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, HERB AND BONNIE'S ROOM - FLASHBACK, NIGHT</stage_direction>
<scene_description>Bonnie Clutter -LRB- 40 's , small and thin -RRB- tied up on her bed . Moonlight through the window .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We went to Mrs. Clutter's room.</dialogue>
<scene_description>The DOOR opens . Perry and Dick walk in with a flashlight . Perry points the shotgun at Bonnie 's face , FIRES . A BURST of LIGHT .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUTTER HOUSE, NANCY'S ROOM - FLASHBACK, NIGHT</stage_direction>
<scene_description>Perry and Dick enter Nancy 's room , shine the flashlight on her face . She looks at Perry . She has been crying . After a moment , she TURNS HER FACE to the wall , as if she knows what is coming and does n't want to watch it . Perry AIMS the shotgun at the back of her head . The FLASHLIGHT switches OFF . The shotgun FIRES . A BURST of LIGHT .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW, PERRY'S CELL - NIGHT</stage_direction>
<scene_description>Perry and Truman . Perry still on the bed . Truman sits , not moving , on the chair . Silence .</scene_description>
<character>PERRY</character>
<dialogue>Then we drove off.</dialogue>
<scene_description>Silence . Perry looks at Truman .</scene_description>
<character>PERRY</character>
<dialogue>What do you think of me now?</dialogue>
<scene_description>No answer . Then :</scene_description>
<character>TRUMAN</character>
<dialogue>Added up, how much money did you get from the Clutters?</dialogue>
<scene_description>Perry thinks .</scene_description>
<character>PERRY</character>
<dialogue>Between forty and fifty dollars.</dialogue>
<scene_description>Truman nods . They sit there for a long time .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM, KANSAS CITY - DAWN, CONTINUOUS</stage_direction>
<scene_description>FADE IN : Hands typing on a MANUAL TYPEWRITER . Truman typing at the desk . He stops , removes the page from the typewriter , places it on top of a SMALL STACK OF PAGES . He sits back .</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANE - DAY</stage_direction>
<scene_description>Truman in his seat , sips a drink . He looks out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET, BROOKLYN HEIGHTS - LATE AFTERNOON</stage_direction>
<scene_description>Truman walks with his TRAVEL BAG on his shoulder . He takes out his KEYS and turns up the steps to his house .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, FRONT HALL - CONTINUOUS</stage_direction>
<scene_description>Truman opens the door .</scene_description>
<character>TRUMAN</character>
<dialogue>Jack.</dialogue>
<scene_description>No answer . He walks down the hall to the BEDROOM .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Truman enters , drops his travel bag on the bed , zips it open , removes a SMALL STACK OF TYPED PAGES . He walks to his desk . On the desk , we see a HUGE STACK OF TYPED PAGES with a title page on top which reads : IN COLD BLOOD . Truman lifts the HUGE STACK , places the SMALL STACK under it . He smooths out the pages , then steps back from it . He calls out :</scene_description>
<character>TRUMAN</character>
<dialogue>Jack.</dialogue>
<scene_description>No answer . On Truman , standing in the middle of his room . He has finished all that he can finish , and is lost as to what to do next . FADE OUT . TITLE UP : `` One Year Later ''</scene_description>
<character>TRUMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I want to give it to you. The truth is, I'm desperate to be done with it.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, KITCHEN - DAY</stage_direction>
<scene_description>Truman on the PHONE , in pajamas , looking in the FRIDGE .</scene_description>
<character>TRUMAN</character>
<dialogue>Mr. Shawn, I. I've spent four years of my life on this book. They got a stay of execution yesterday. Another, yes.</dialogue>
<scene_description>He gets out a jar of BONNET BABY FOOD CUSTARD and starts to eat it . Truman finds a bottle of J&B on the counter and pours a shot in his custard .</scene_description>
<character>TRUMAN</character>
<dialogue>Supreme Court.</dialogue>
<scene_description>He stirs the custard , eats it .</scene_description>
<character>TRUMAN</character>
<dialogue>It's harrowing - all I want is to write the ending and there's no fucking end in sight. No. No, I have n't been drinking again.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER</stage_direction>
<scene_description>Truman sits on the bed with a glass of bourbon , staring at the television . An empty jar of BABY CUSTARD sits on the bedside table .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER</stage_direction>
<scene_description>Truman on the bed , the television still on , another drink . We hear a DOORBELL . We hear Jack walk down the hall , answer the door , shut the door . Jack enters with a TELEGRAM .</scene_description>
<character>JACK</character>
<dialogue>I do n't know how you can eat that. Perhaps if you were n't drinking so much you would n't have to.</dialogue>
<scene_description>No response . Jack turns down the television , opens the telegram .</scene_description>
<character>JACK</character>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` Dear friend Truman. Have n't heard from you in such a long while. Please help find new lawyer. If not, Dick will have to write Supreme Court brief himself. Our last appeal. What a pair of wretched creatures. Please help. Your amigo? Perry.''</dialogue>
<scene_description>Pause . Jack looks at Truman .</scene_description>
<character>JACK</character>
<dialogue>Your amigo.</dialogue>
<scene_description>Truman stares back . Finally , he turns back to the television .</scene_description>
<character>TRUMAN</character>
<dialogue>Put it with the others.</dialogue>
<scene_description>Jack goes to the DESK and places the telegram on top of a LARGE PILE OF TELEGRAMS , all from Perry - all , we should assume , unanswered . Jack walks out . Truman sips his drink .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATER, EARLY EVENING</stage_direction>
<scene_description>Truman at the desk , still in PAJAMAS , typing . Jack enters wearing a TUXEDO , reads over Truman 's shoulder . We see : '' . unable to find laywer despite extensive search . So sorry . All best , Truman . ''</scene_description>
<character>JACK</character>
<dialogue>You tried?</dialogue>
<scene_description>Truman extracts the page from the typewriter , folds it , and puts it in an envelope . He takes a sip of his BOURBON .</scene_description>
<character>JACK</character>
<parenthetical>( walking out . )</parenthetical>
<dialogue>You need to get ready.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIMOUSINE, MOVING - NIGHT</stage_direction>
<scene_description>Truman and Jack are driven . Both wear TUXEDOS and OVERCOATS . Truman drinks .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIMOUSINE, MOVING - NIGHT, LATER</stage_direction>
<scene_description>Driving . Truman and Jack sit in silence , then :</scene_description>
<character>JACK</character>
<dialogue>At least pretend for Nelle that you're having a good time tonight.</dialogue>
<scene_description>The limo turns a corner and we see an ENORMOUS CROWD in front of a THEATER . On the marquee it says : `` Opening tonight - TO KILL A MOCKINGBIRD '' It is COLD . Truman and Jack 's limo pulls up . An USHER opens their DOOR .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOVIE THEATER - MOMENTS LATER</stage_direction>
<scene_description>Truman , obviously drunk , preens and poses on the red carpet for the CAMERAS . Jack watches from the side .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARDI'S RESTAURANT, OPENING PARTY - NIGHT</stage_direction>
<scene_description>Huge party in progress . Nelle walks through the crowd . People turn to her saying : `` Congratulations '' ; `` Wonderful '' . She finds Truman sitting at the BAR , receiving a new drink .</scene_description>
<character>TRUMAN</character>
<dialogue>Nelle.</dialogue>
<scene_description>She looks UNCOMFORTABLY DOLLED UP for the premiere of her movie .</scene_description>
<character>NELLE</character>
<dialogue>I thought I'd find you here.</dialogue>
<character>TRUMAN</character>
<parenthetical>( to the bartender . )</parenthetical>
<dialogue>Please, another.</dialogue>
<scene_description>He hands Nelle his drink , receives another . After a moment :</scene_description>
<character>NELLE</character>
<dialogue>How are you?</dialogue>
<character>TRUMAN</character>
<dialogue>Terrible.</dialogue>
<scene_description>Beat .</scene_description>
<character>NELLE</character>
<dialogue>I'm sorry to hear that.</dialogue>
<character>TRUMAN</character>
<dialogue>Well. It's torture. Torture.</dialogue>
<parenthetical>( he drinks . )</parenthetical>
<dialogue>. what they're doing to me.</dialogue>
<character>NELLE</character>
<dialogue>Uh - huh.</dialogue>
<character>TRUMAN</character>
<dialogue>Now the Supreme Court. Can you believe it? If they win this appeal I will have a complete nervous breakdown. I may never recover. Just pray things turn my way.</dialogue>
<character>NELLE</character>
<dialogue>It must be hard.</dialogue>
<character>TRUMAN</character>
<dialogue>It's torture. They're torturing me.</dialogue>
<character>NELLE</character>
<dialogue>I see.</dialogue>
<scene_description>Nelle regards him for a moment .</scene_description>
<character>NELLE</character>
<dialogue>And how'd you like the movie, Truman.</dialogue>
<scene_description>She puts her drink down on the bar and walks away . Truman turns back to the bartender , shrugs .</scene_description>
<character>TRUMAN</character>
<dialogue>I frankly do n't know what the fuss is about.</dialogue>
<scene_description>On Truman , alone at the bar . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET, OUTSIDE TRUMAN AND JACK'S HOUSE - EARLY MORNING</stage_direction>
<scene_description>FADE UP on a PAPER BOY riding his BIKE down the street . New buds are on the trees . It is SPRING . The BOY wears a NEW YORK TIMES bag slung over his chest and is tossing copies of the paper . One of them lands on Truman and Jack 's stoop .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - MORNING</stage_direction>
<scene_description>Phone RINGING . Truman asleep .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, JACK'S TINY OFFICE - SAME TIME</stage_direction>
<scene_description>Jack is writing , longhand , at his desk . PHONE is ringing . Jack notices that his door is slightly ajar . He kicks it shut . The ringing is much quieter . He keeps writing .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - SAME TIME</stage_direction>
<scene_description>Truman asleep . PHONE ringing . He wakes up , groggy , answers .</scene_description>
<character>TRUMAN</character>
<dialogue>Hello.</dialogue>
<character>OPERATOR</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Mr. Capote?</dialogue>
<character>TRUMAN</character>
<dialogue>Yes?</dialogue>
<character>OPERATOR</character>
<dialogue>I have a call from Mr. Perry Smith in the Kansas Correctional System. Will you accept charges?</dialogue>
<scene_description>Pause .</scene_description>
<character>OPERATOR</character>
<dialogue>Mr. Truman Capote?</dialogue>
<character>TRUMAN</character>
<dialogue>Yes.</dialogue>
<character>OPERATOR</character>
<dialogue>Will you accept charges?</dialogue>
<character>TRUMAN</character>
<dialogue>Oh.</dialogue>
<parenthetical>( no way out of this . )</parenthetical>
<dialogue>Uh. Yes.</dialogue>
<character>OPERATOR</character>
<dialogue>You'll accept charges?</dialogue>
<character>TRUMAN</character>
<dialogue>Yes.</dialogue>
<character>OPERATOR</character>
<dialogue>Mr. Smith, you're on the line.</dialogue>
<scene_description>Now Truman 's awake . We hear a series of CLICKS , then :</scene_description>
<character>PERRY</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Hello.</dialogue>
<scene_description>Truman ca n't bring himself to speak .</scene_description>
<character>PERRY</character>
<dialogue>Hello? I ca n't -.</dialogue>
<parenthetical>( to someone . )</parenthetical>
<dialogue>This does n't seem -.</dialogue>
<parenthetical>( we hear Perry clicking the cradle , then : . )</parenthetical>
<dialogue>Operator, I do n't think you put me -</dialogue>
<character>TRUMAN</character>
<dialogue>I'm here.</dialogue>
<scene_description>Beat .</scene_description>
<character>PERRY</character>
<dialogue>Truman.</dialogue>
<character>TRUMAN</character>
<dialogue>Hello, Perry.</dialogue>
<character>PERRY</character>
<dialogue>They let me make a couple phone calls before I go down to Holding. You heard the Supreme Court rejected the appeal.</dialogue>
<character>TRUMAN</character>
<dialogue>I did n't. I had n't heard that.</dialogue>
<character>PERRY</character>
<dialogue>Yeah.</dialogue>
<scene_description>Pause .</scene_description>
<character>TRUMAN</character>
<dialogue>I'm sorry.</dialogue>
<character>PERRY</character>
<dialogue>Yeah. They let me make two phone calls.</dialogue>
<scene_description>Truman does n't know what to say .</scene_description>
<character>PERRY</character>
<dialogue>We've got a date set for the Warehouse, Dick and me. Two weeks and. Finito. April 14.</dialogue>
<scene_description>Beat .</scene_description>
<character>PERRY</character>
<dialogue>Will you visit me? Truman. Will you come visit?</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know if I can. I'll try.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I do n't know if I can.</dialogue>
<scene_description>We hear over the line a GUARD in the background :</scene_description>
<character>GUARD IN BACKGROUND</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Time, Smith. Hang it up.</dialogue>
<character>PERRY</character>
<dialogue>Please visit me, Truman. Just.</dialogue>
<character>GUARD IN BACKGROUND</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Time. Smith.</dialogue>
<scene_description>CLICK . Truman sits very still , the phone in his hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, DEATH ROW - ONE WEEK LATER, NIGHT</stage_direction>
<scene_description>Perry and Dick being shackled , their belongings packed into boxes . One of the GUARDS in Perry 's cell CLANGS the bars with his STICK .</scene_description>
<character>GUARD</character>
<dialogue>Ready.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, CONFINEMENT CELL - ONE WEEK LATER, NIGHT</stage_direction>
<scene_description>Perry lies alone on his cot . The DOOR opens , KRUTCH enters with a GUARD .</scene_description>
<character>KRUTCH</character>
<dialogue>Perry.</dialogue>
<scene_description>Perry sits up . Krutch sits on the one chair . The Guard stands by the door , takes out a PAD and STUBBY PENCIL .</scene_description>
<character>KRUTCH</character>
<dialogue>You're allowed three names of people you'd like to witness tomorrow. If there's anybody you want, tell me now.</dialogue>
<character>PERRY</character>
<dialogue>Truman Capote.</dialogue>
<scene_description>Krutch nods to the Guard who writes the name down . Krutch waits , then :</scene_description>
<character>KRUTCH</character>
<dialogue>Anybody else?</dialogue>
<scene_description>Perry SHAKES HIS HEAD .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUMAN AND JACK'S HOUSE, BEDROOM - LATE NIGHT</stage_direction>
<scene_description>In a chair near the window , Truman sits awake in his pajamas , unable to sleep , completely unable to decide what to do . He watches Jack sleep . A long time - then Truman walks to the closet , gets out a travel bag , starts to pack .</scene_description>
</scene>
<scene>
<stage_direction>EXT. IDLEWILD AIRPORT, NEW YORK - DAY</stage_direction>
<scene_description>A PLANE takes off .</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANE, FIRST CLASS SECTION - DAY</stage_direction>
<scene_description>Truman sits next to William Shawn , who looks exhausted . The STEWARDESS is approaching with the DRINKS CART . She collects an empty BABY CUSTARD JAR from Truman 's tray .</scene_description>
<character>SHAWN</character>
<dialogue>You want anything?</dialogue>
<scene_description>Truman shakes his head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS STATE PENITENTIARY - DUSK</stage_direction>
<scene_description>OUTSIDE LIGHTS switch on as it gets dark .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, CONFINEMENT CELL - NIGHT</stage_direction>
<scene_description>Perry sits alone . The door opens and a Guard brings in his LAST MEAL : three hot dogs , french fries , an ice cream sundae , a strawberry soda . The Guard sets it down on the chair .</scene_description>
<character>PERRY</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>You sent the telegram to his hotel?</dialogue>
<character>GUARD</character>
<dialogue>Hours ago.</dialogue>
<scene_description>Perry looks at the CLOCK on the wall : it 's after 8pm .</scene_description>
<character>PERRY</character>
<dialogue>May I make a phone call?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM, MUEHLEBACH HOTEL, KANSAS CITY - NIGHT</stage_direction>
<scene_description>PHONE ringing . The CLOCK rads 8:55 pm . Empty drinks glasses , a custard jar . Truman lies curled in a fetal position on the BED . Shawn walks the floor , exasperated .</scene_description>
<character>SHAWN</character>
<dialogue>That's him again.</dialogue>
<scene_description>Truman is immobile . Phone still rings .</scene_description>
<character>SHAWN</character>
<dialogue>We've never even met. It is utterly inappropriate for me to be talking to him.</dialogue>
<scene_description>Shawn gives up , PICKS UP the phone .</scene_description>
<character>SHAWN</character>
<dialogue>Yes. I'm sorry, he's out, gone out. I'm not sure when.</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, HALLWAY - NIGHT</stage_direction>
<scene_description>Krutch walks with a TELEGRAM PAGE in hand . A Guard follows . They pass a WALL CLOCK : 9:40 pm .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, CONFINEMENT CELL - NIGHT</stage_direction>
<scene_description>Krutch and Guard enter Perry 's cell . Perry has n't touched his meal .</scene_description>
<character>KRUTCH</character>
<dialogue>You got a telex.</dialogue>
<scene_description>Perry nods . Krutch reads :</scene_description>
<character>KRUTCH</character>
<dialogue>`` Perry. Unable to visit today because not permitted. Always your friend, Truman.''</dialogue>
<parenthetical>( apologetically . )</parenthetical>
<dialogue>That's it.</dialogue>
<character>PERRY</character>
<dialogue>It's not true, is it?</dialogue>
<scene_description>Krutch hesitates a moment , then SHAKES his head .</scene_description>
</scene>
<scene>
<stage_direction>INT. NELLE'S KITCHEN, MONROEVILLE - MINUTES LATER</stage_direction>
<scene_description>Nelle on the PHONE looking at a TELEGRAM . The kitchen CLOCK reads 10:20 pm . She waits a moment till the line is answered .</scene_description>
<character>NELLE</character>
<parenthetical>( ON PHONE . )</parenthetical>
<dialogue>Mr. Shawn? It's Nelle. I just got this telegram, has he seen it?</dialogue>
<scene_description>INTERCUT with William Shawn on the phone in Truman 's hotel room . A TELEGRAM lies on the DESK . Truman lies on the bed .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUEHLEBACH HOTEL ROOM, KANSAS CITY - NIGHT</stage_direction>
<character>SHAWN</character>
<parenthetical>( ON PHONE . )</parenthetical>
<dialogue>He wo n't look at it.</dialogue>
<character>NELLE</character>
<dialogue>Would you put him on please?</dialogue>
<character>SHAWN</character>
<dialogue>He wo n't talk.</dialogue>
<character>NELLE</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Mr. Shawn, if you have to hold him down and put the phone on his ear, I need to speak to him.</dialogue>
<scene_description>Shawn , terrifically uncomfortable , walks over to Truman and holds the phone out to him .</scene_description>
<character>SHAWN</character>
<dialogue>It's Nelle.</dialogue>
<scene_description>A moment , then Truman takes the phone . On Truman 's face . We hear , through the receiver , Nelle :</scene_description>
<character>NELLE</character>
<parenthetical>( OVER PHONE . )</parenthetical>
<dialogue>Truman.</dialogue>
<scene_description>Truman finally breathes out .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, HOLDING CELL - SAME TIME</stage_direction>
<scene_description>Perry is led , SHACKLED , into a holding cell on the ground floor of the Death Row Building . Dick is already there , seated , shackled . We HEAR PERRY 'S VOICE :</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` Miss Nelle Harper Lee and Truman Capote : Sorry that Truman was unable to make it here at the prison for a brief word prior to necktie party.</dialogue>
<scene_description>The CLOCK reads 11:05 pm . Through the WINDOW , we see activity in the Gallows Warehouse across the yard .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Whatever his reason for not showing up, I want him to know that I can not condemn him for it and understand.</dialogue>
<scene_description>Perry makes eye contact with the Guard , who CHEWS GUM . The Guard checks through the SMALL WINDOW in the door , then approaches Perry , places a STICK OF GUM in Perry 's mouth . Perry CHEWS .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Not much time left but want you both to know that I've been sincerely grateful for your friendship through the years and everything else.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUEHLEBACH HOTEL ROOM, KANSAS CITY - NIGHT</stage_direction>
<scene_description>Truman opens the door to the other part of the suite , where William Shawn is waiting . Truman is fully dressed and ready . Perry 's VOICE :</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm not very good at these things.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KANSAS STATE PENITENTIARY - NIGHT</stage_direction>
<scene_description>TAXICAB pulls up to the prison gates . Perry 's VOICE :</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I have become extremely affectionate toward you both. But, harness time. Adios amigos. Your friend, Perry.''</dialogue>
</scene>
<scene>
<stage_direction>INT. KSP, WAITING ROOM OUTSIDE CELLS - NIGHT</stage_direction>
<scene_description>Clock reads 11:35 pm . Truman sits with Shawn . Truman is looking at the TELEGRAM from Perry . He folds it , puts it in the breast pocket of his jacket . Krutch approaches .</scene_description>
<character>KRUTCH</character>
<dialogue>I did n't think I'd be seeing you again.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>You can visit for a few minutes.</dialogue>
<scene_description>Truman stands , turns to Shawn , still seated .</scene_description>
<character>SHAWN</character>
<dialogue>No.</dialogue>
<character>TRUMAN</character>
<dialogue>Come with me.</dialogue>
<character>SHAWN</character>
<dialogue>Truman. No.</dialogue>
<scene_description>Truman goes alone .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, HOLDING CELL - NIGHT</stage_direction>
<scene_description>Perry , Dick , a Guard . Krutch lets Truman in .</scene_description>
<character>KRUTCH</character>
<dialogue>Five minutes.</dialogue>
<scene_description>He exits , closes the door . Truman does n't know what to say .</scene_description>
<character>HICKOCK</character>
<parenthetical>( without rancor . )</parenthetical>
<dialogue>He returns. Long time.</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know what you must think of me.</dialogue>
<character>HICKOCK</character>
<dialogue>You have n't been foremost on my mind lately. As you can imagine.</dialogue>
<scene_description>Dick looks at Perry and smiles . Perry chews his gum and smiles back , then looks to Truman who seems upset .</scene_description>
<character>PERRY</character>
<dialogue>You got the letter?</dialogue>
<character>TRUMAN</character>
<dialogue>Yes.</dialogue>
<character>PERRY</character>
<dialogue>It's true. I mean I understand why you did n't want to come. I would n't be here either if I did n't have to.</dialogue>
<character>HICKOCK</character>
<dialogue>You got that right.</dialogue>
<scene_description>Silence .</scene_description>
<character>PERRY</character>
<dialogue>You know Ricardo donated his eyes to science? Next week, some blind man will be seeing what Dick used to see.</dialogue>
<character>HICKOCK</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>He'd be better off the way he was. What I've seen has n't been so nice to look at - but I guess it's better than nothing.</dialogue>
<parenthetical>( he shrugs , to Truman . )</parenthetical>
<dialogue>They came around with a form.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Hey. You'll be walking down the street one day in Denver, wherever - and suddenly these eyes will be staring at you. Would n't that be something?</dialogue>
<character>TRUMAN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>It would be.</dialogue>
<scene_description>Krutch opens the door .</scene_description>
<character>KRUTCH</character>
<dialogue>Time.</dialogue>
<scene_description>Truman looks at the clock : 11:50 pm . Truman turns to Perry and Dick . Perry stands .</scene_description>
<character>PERRY</character>
<dialogue>You'll be watching?</dialogue>
<character>TRUMAN</character>
<dialogue>I do n't know. Do you want me to?</dialogue>
<character>PERRY</character>
<dialogue>I'd like to have a friend there.</dialogue>
<character>TRUMAN</character>
<dialogue>Okay. Then I will.</dialogue>
<scene_description>Truman looks down , starts to cry .</scene_description>
<character>PERRY</character>
<dialogue>It's alright.</dialogue>
<character>TRUMAN</character>
<dialogue>I did everything I could.</dialogue>
<character>PERRY</character>
<dialogue>Okay.</dialogue>
<character>TRUMAN</character>
<dialogue>I truly did.</dialogue>
<character>PERRY</character>
<dialogue>I know.</dialogue>
<scene_description>Truman nods , wipes his eyes .</scene_description>
<character>TRUMAN</character>
<dialogue>Goodbye, Perry.</dialogue>
<character>PERRY</character>
<dialogue>You're not rid of me yet. I'll see you in a few minutes.</dialogue>
<scene_description>Truman goes . On Perry watching him leave .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNER WAREHOUSE - NIGHT</stage_direction>
<scene_description>Huge . Dirt floor . Wooden gallows . TWENTY MEN stand around , some smoking . Some are silent . Some whisper quietly . Journalists . Also , Alvin Dewey and the KBI men : Church and Nye . Krutch in front of the gallows with a CHAPLAIN . At the foot of the gallows steps , the EXECUTIONER - thin , older , a too - large pin - striped suit and stained cowboy hat . Truman . William Shawn . HEADLIGHTS , then a PRISON CAR enters , stops . Dick is extracted from the back seat . He stands , looks at the CROWD , then at the GALLOWS . The Guards nudge him forward .</scene_description>
</scene>
<scene>
<stage_direction>INT. KSP, HOLDING CELL - A FEW MINUTES LATER</stage_direction>
<scene_description>CLOCK reads 12:05 pm . Perry sits alone looking at his hands . We HEAR A TRAP DOOR SPRING and CLATTER . Perry looks up .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON CAR - NIGHT</stage_direction>
<scene_description>Light rain outside . Perry in the back seat being driven across the yard . He looks out his window , sees a PICKUP TRUCK drive out of the Corner Warehouse . On it : a BODY covered by a BLACK CLOTH .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNER WAREHOUSE - NIGHT</stage_direction>
<scene_description>The PRISON CAR enters , stops . Perry is removed from the back seat . He stands , looks at the assembled men , looks at Truman . He 's nudged forward . As he passes DEWEY , he extends his hand :</scene_description>
<character>PERRY</character>
<dialogue>Nice to see you.</dialogue>
<scene_description>Dewey is caught off - guard so shakes his hand . Perry is led to the base of the gallows .</scene_description>
<character>KRUTCH</character>
<dialogue>Perry Edward Smith.</dialogue>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` For the crime of murder in the first degree, by order of the Court of Finney County and the Supreme Court of the sovereign State of Kansas, you are sentenced to hang until you die.''</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>You can say something if you want.</dialogue>
<character>PERRY</character>
<parenthetical>( quietly , to Krutch . )</parenthetical>
<dialogue>Is there anybody from the family here?</dialogue>
<character>KRUTCH</character>
<dialogue>No.</dialogue>
<scene_description>Perry is disappointed by this information .</scene_description>
<character>PERRY</character>
<dialogue>Well. Tell them.</dialogue>
<parenthetical>( he look out at everyone . )</parenthetical>
<dialogue>I ca n't remember what I was going to say for the life of me.</dialogue>
<scene_description>He stops . Several moments . Krutch ca n't tell if he 's done . Finally , Krutch nods to the Guard . Perry is led up the STEPS . The Chaplain follows .</scene_description>
<character>CHAPLAIN</character>
<dialogue>Though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me.</dialogue>
<scene_description>The Executioner puts the NOOSE around Perry 's neck . Perry chews his gum . Executioner opens a BLACK CLOTH SACK . Perry looks at the Chaplain reading prayers , looks at the crowd , at Truman .</scene_description>
<character>CHAPLAIN</character>
<dialogue>Thy rod and thy staff, they comfort me.</dialogue>
<scene_description>The BLACK SACK goes over Perry 's head . Truman watches . He stands next to Alvin Dewey .</scene_description>
<character>CHAPLAIN</character>
<dialogue>Thou preparest a table before me in the presence of mine enemies. Thou annointest my head with oil.</dialogue>
<scene_description>The Executioner pulls the handle , Perry drops .</scene_description>
<character>CHAPLAIN</character>
<dialogue>My cup runneth over.</dialogue>
<scene_description>On Truman . Then a WIDE SHOT of the inside of the Warehouse : twenty men watching Perry Smith hang , the Chaplain reading . FADE OUT . The SOUND of a TELEPHONE RINGING , as heard through the receiver . We HEAR the CLICK of the phone being PICKED UP , then , after a moment , a VOICE :</scene_description>
<character>NELLE</character>
<dialogue>Hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM, KANSAS CITY - EARLY MORNING</stage_direction>
<scene_description>Truman sits on the edge of the bed in his WET OVERCOAT , as if he 'd walked in the rain .</scene_description>
<character>TRUMAN</character>
<dialogue>Someday I'll tell you about it. For the moment, I'm too shattered.</dialogue>
<scene_description>Pause .</scene_description>
<character>NELLE</character>
<dialogue>They're dead, Truman. You're alive.</dialogue>
<character>TRUMAN</character>
<dialogue>It was a terrible experience and I will never get over it.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>There was n't anything I could have done to save them.</dialogue>
<scene_description>We hear Nelle light a cigarette .</scene_description>
<character>NELLE</character>
<dialogue>Maybe not.</dialogue>
<scene_description>We hear her exhale slowly .</scene_description>
<character>NELLE</character>
<dialogue>But the fact is, you did n't want to.</dialogue>
<scene_description>On Truman , FADE OUT . FADE IN : BRIGHT WHITE . AIRPLANE NOISE . COLORS RESOLVE INTO :</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS SECTION, AIRPLANE - DAY</stage_direction>
<scene_description>Truman , seated on the aisle , next to William Shawn . After a long silence , he extracts from his leather briefcase a PACKAGE wrapped in BROWN PAPER . Hands it to Truman .</scene_description>
<character>SHAWN</character>
<dialogue>It came to the hotel this morning. I told them I'd give it to you.</dialogue>
<scene_description>The package says KANSAS STATE PENITENTIARY and is addressed to Truman . Truman opens it . He takes out PERRY 'S NOTEBOOKS - the DIARY and PERSONAL DICTIONARY . He opens the Diary . Toward the end , he finds Perry 's final entry . He READS silently . We hear Perry 's VOICE :</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Did we not know we were to die, we would be children. By knowing it, we are given the opportunity to mature in spirit.</dialogue>
<scene_description>Truman turns the page . It 's BLANK . He closes the Diary . We CONTINUE to hear Perry 's VOICE as Truman takes out a SNAPSHOT - the one of Perry -LRB- at age 3 -RRB- and Linda splashing in the puddle .</scene_description>
<character>PERRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Some take that opportunity. I hope I have.</dialogue>
<scene_description>Truman takes out a PENCIL DRAWING Perry did of him . It 's very good , though Truman looks old and weary in it .</scene_description>
<character>PERRY</character>
<dialogue>Life is only the father of wisdom. Death is the mother.</dialogue>
<scene_description>Truman finds , at the bottom of the package , his TIE . He takes it out , clutches it . Truman grasps for William Shawn 's HAND , finds it , holds on tightly . Shawn sits stoically , hoping no one will notice . The CAMERA pulls back , up the aisle . Truman clutches the tie , and holds on to Shawn 's hand , for dear life . FADE TO BLACK . TITLE UP : -LRB- each title fades up in succession -RRB- In Cold Blood made Truman Capote the most famous writer in America . He never finished another book . The epigraph he chose for his last published work reads : `` More tears are shed over answered prayers than unanswered ones . '' He died in 1984 of complications due to alcoholism . THE END</scene_description>
</scene>
</script> | In Kansas, a family friend discovers the dead bodies of four of the members of the Clutter family. While reading The New York Times, the story of the Clutters rivets writer Truman Capote (Philip Seymour Hoffman), who calls The New Yorker magazine editor William Shawn (Bob Balaban) to tell him that he plans to document the tragedy. Capote travels to Kansas, inviting childhood friend Nelle Harper Lee (Catherine Keener) to come along. Capote intends to interview those involved with the victims, the Clutter family, with Lee as his go-between and facilitator. Alvin Dewey (Chris Cooper), the Kansas Bureau of Investigation's lead detective on the case, brushes him off, but Dewey's wife Marie (Amy Ryan) is a fan of Capote's writing and persuades Dewey to invite Capote and Lee to their house for dinner. She is starstruck by Capote's stories of being on movie sets with film stars. Dewey warms up to Capote and allows him to view the photographs of the victims. The Deweys, Lee, and Capote are having dinner when the murder suspects, Perry Smith (Clifton Collins, Jr.) and Richard "Dick" Hickock (Mark Pellegrino), are caught. Flattery, bribery and a keen insight into the human condition facilitate Capote's visits to the prison where the accused are being held. Capote begins to form an attachment to Smith. He informs Shawn of his intent to expand the story into a full-length book. Following the trial and conviction, Capote is able to gain continued access to the murderers by bribing Warden Marshall Krutch (Marshall Bell). Capote spends the following years regularly visiting Smith and learning about his life, excepting a year-long stint when Capote goes off to Morocco and Spain to write the "first three parts" of the book, accompanied by his romantic partner Jack Dunphy (Bruce Greenwood). The story of Smith's life, his remorseful manner, and emotional sincerity impress Capote, who becomes emotionally attached to him despite the gruesome murders. Smith refuses to tell Capote what happened on that fateful night, angering Capote. After much persuasion, Smith tells him in great detail. The story becomes a meditation upon the need for redemption even in very grave circumstances. Legal appeals drag on for years. Capote is exasperated, as he is unable to have his book published without an ending. In the meantime, Lee writes a novel, To Kill a Mockingbird, which becomes a best-seller, to Capote's surprise and jealous annoyance. The last appeal is finally rejected. Capote is an eyewitness as Smith and Hickock are hanged, with Smith's hanging being explicitly shown. Capote talks to Lee about the horrifying experience and laments that he could not have done anything to stop it. She replies, "Maybe not; the fact is you didn't want to." This is the last line of the film. The next and last scene shows Capote looking at photos from the case as well as writings and drawings given to him by Smith. |
The Meddler_2015 | tt4501454 | <script>
<scene>
<character>THE MEDDLER</character>
<dialogue>by Lorene Scafaria</dialogue>
<scene_description>April 1, 2015 FADE IN: A CEILING FAN SPINNING SLOW AND SAD ABOVE US.:</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - BEDROOM -- MORNING</stage_direction>
<scene_description>MARNIE MINERVINI (60s) stares at the ceiling, tucked in her side of the bed, a chasm of empty space beside her. She sighs, forgotten. Then turns to the window. Looks out at the California sun. And immediately brightens. She props herself up and out of bed.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Anyway...</dialogue>
<scene_description>Her chipper Brooklyn/Jersey accent rings out:</scene_description>
</scene>
<scene>
<stage_direction>INT. WEST HOLLYWOOD - APPLE STORE -- DAY</stage_direction>
<scene_description>Marnie makes her way through the store, happy and confused.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Today I went across the street to the Apple store and got one of the new iPhones with the 64 gigabytes cause I wasn't sure if I should get the 16s or the 64s but the 64s looked good so there you go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE GROVE -- LATER</stage_direction>
<scene_description>Marnie has breakfast with her iPhone.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>The genius bartender showed me how to make things bigger but I already forgot. God, my eyesight is so shot. But I got on the Safari before and I looked up The Palazzo and it said they filmed "The Hills" here for two seasons. Isn't that neat?</dialogue>
<scene_description>-- Marnie happily weaves through The Grove's morning crowd.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>And they used to do the Extra program at The Grove every day with Mario Lopez. He seems nice.</dialogue>
<scene_description>-- Marnie stands shyly at the fountain, watching the children play nearby.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I swear I could stand there and watch that fountain for hours. Today they played "Come Fly With Me" and I almost started crying thinking about Daddy. But I didn't cause basically, I feel great.</dialogue>
<scene_description>-- Marnie buys a Wetzel Pretzel.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>It's like living on Main Street in Disneyland. Every day is sunny and I wake up and I think, "Thank you, Joey, for making it possible."</dialogue>
<scene_description>-- The trolley man rings the bell, Marnie scuttles out of the way, packages from Crate & Barrel in her arms.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I swear, if I get hit by that trolley, I'll die happy.</dialogue>
</scene>
<scene>
<stage_direction>INT. PALAZZO APARTMENT -- VARIOUS</stage_direction>
<scene_description>Marnie puts pillows, still tagged, on her small couch.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>And just wait 'til you see my apartment.</dialogue>
<scene_description>-- Marnie has a cup of decaf at the kitchen table.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I have a balcony that's far enough from other peoples' balconies so nobody could jump down from the roof or whatever...</dialogue>
<scene_description>-- Marnie looks off her small balcony, eyeing, suspicious.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>And I have a parking spot right next to the elevator so I can just run right in there.</dialogue>
<scene_description>-- Underground, Marnie sprints from her Toyota toward the elevator, bags in hand.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>And I got everything shipped out from Jersey. All my artwork...</dialogue>
<scene_description>-- Marnie hangs up a local-artist painting of Kermit the Frog playing guitar in the woods.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>The doll I had made of you...</dialogue>
<scene_description>-- Marnie sets out a HANDMADE DOLL replicated to look like her DAUGHTER as a little kid, next to a matching photo.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>And of course the pictures of me and Daddy on our honeymoon.</dialogue>
<scene_description>-- She slides a photo in her mirror. A YOUNGER MARNIE and her HANDSOME ITALIAN HUSBAND when he was alive.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>God, I can't believe I smoked back then. I hope you're not still smoking. It's really bad for you.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- MORNING</stage_direction>
<scene_description>Marnie awkwardly drives up Laurel Canyon, holding her iPhone on speaker.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway... call me back. Love you.</dialogue>
<scene_description>She hangs up. Then turns up her Beyonce CD, humming along. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- SAME TIME</stage_direction>
<scene_description>LORI (30s) lies face down in bed, a cell phone buzzing in her outstretched hand. She looks at it. CLOSE on: MA VOICEMAIL (5) Lori closes her eyes again. Almost immediately, the doorbell RINGS. She sits up.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- MOMENTS LATER</stage_direction>
<scene_description>Lori opens the door to see Marnie holding up a brown bag.</scene_description>
<character>MARNIE</character>
<dialogue>I brought bagels.</dialogue>
<character>LORI</character>
<dialogue>You should've called.</dialogue>
<character>MARNIE</character>
<dialogue>I did.</dialogue>
<character>LORI</character>
<dialogue>But I didn't answer.</dialogue>
<character>MARNIE</character>
<dialogue>Well, I'm sure you were busy.</dialogue>
<scene_description>Marnie hugs Lori, then gives her the bag. Lori follows her inside the small, neglected house.</scene_description>
<character>LORI</character>
<dialogue>Say hi to your grand-dogs.</dialogue>
<scene_description>TWO MUTTS jump and sniff at Marnie. She pets them with the back of her hand, clearly uncomfortable.</scene_description>
<character>MARNIE</character>
<dialogue>Hi, doggies. Hello.</dialogue>
<scene_description>Marnie shuts the front door, leaving the dogs outside.</scene_description>
<character>LORI</character>
<parenthetical>(looking in bag)</parenthetical>
<dialogue>Six bagels. All salt.</dialogue>
<character>MARNIE</character>
<dialogue>They're the best kind.</dialogue>
<parenthetical>(seeing something)</parenthetical>
<dialogue>Oh Lor, you let Daddy's bonsai die?</dialogue>
<scene_description>Marnie goes to the bonsai, trying to spruce it back to life.</scene_description>
<character>LORI</character>
<dialogue>Yeah... Sorry, Mom... I tried. They're like crazy delicate. It was... crazy.</dialogue>
<scene_description>Marnie tsks sadly, then whispers to Heaven:</scene_description>
<character>MARNIE</character>
<dialogue>Sorry, Joey.</dialogue>
<character>LORI</character>
<dialogue>See, this is why I asked you not to put me in charge.</dialogue>
<character>LORI</character>
<dialogue>You can't just give someone a man's bonsai and orchid and put all this pressure on them.</dialogue>
<character>MARNIE</character>
<dialogue>You let the orchid die too?</dialogue>
<character>LORI</character>
<dialogue>Yes "I let it die". I watered it every day.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, Lor, you're not supposed to water it every day.</dialogue>
<character>LORI</character>
<dialogue>Well, I watered it the right amount, okay? Plants die. It's a part of plant life. Please don't make me feel any more bad about it.</dialogue>
<character>MARNIE</character>
<dialogue>Alright, forget it.</dialogue>
<scene_description>Lori puts a bagel in the toaster. Marnie looks through a pile of Lori's mail and sees an INVITATION.</scene_description>
<character>MARNIE</character>
<dialogue>What's this?</dialogue>
<character>LORI</character>
<dialogue>Emily's baby shower.</dialogue>
<character>MARNIE</character>
<dialogue>Do you get to bring somebody?</dialogue>
<character>LORI</character>
<dialogue>Why? I probably won't go.</dialogue>
<character>MARNIE</character>
<dialogue>Why not?</dialogue>
<character>LORI</character>
<dialogue>Cause I'll have to get all dressed up... And it's gonna be like everyone I know there...</dialogue>
<scene_description>Lori disappears into a cabinet.</scene_description>
<character>MARNIE</character>
<dialogue>I thought you stopped smoking.</dialogue>
<character>LORI</character>
<parenthetical>(holding in smoke)</parenthetical>
<dialogue>Cigarettes.</dialogue>
<parenthetical>(exhaling)</parenthetical>
<dialogue>You said this was better.</dialogue>
<character>MARNIE</character>
<dialogue>I said it was okay after your father died when your stomach hurt.</dialogue>
<character>LORI</character>
<dialogue>Well, it's after my father died. And my stomach hurts.</dialogue>
<scene_description>Lori disappears into the cabinet again.</scene_description>
<character>MARNIE</character>
<dialogue>Well, have you heard from Jacob? You shouldn't call him. What's going on with work? Did they call you about the pilot? You shouldn't be smoking if you have a deadline.</dialogue>
<character>LORI</character>
<dialogue>Mom. Please. Don't say deadline. Don't say pilot. And do not, please, ever again, say the word Jacob, okay?</dialogue>
<character>MARNIE</character>
<dialogue>Alright.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I just don't think you should call him. Especially when you have a deadline on your pilot. Jacob, I mean.</dialogue>
<scene_description>Lori bites her cheek.</scene_description>
<character>LORI</character>
<dialogue>We should find you a hobby.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I thought you were gonna volunteer at the hospital.</dialogue>
<character>MARNIE</character>
<dialogue>Yeah, I keep meaning to do that.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Or maybe you could be my hobby.</dialogue>
<scene_description>Lori looks up, eyes wide. A bagel POPS out of the toaster. Mother and daughter both jump.</scene_description>
</scene>
<scene>
<stage_direction>INT. GROVE - MOVIE THEATER LOBBY -- DAY</stage_direction>
<scene_description>Marnie steps up to the ticket counter.</scene_description>
<character>MARNIE</character>
<dialogue>Three for "Fight School".</dialogue>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER -- LATER</stage_direction>
<scene_description>Marnie sits alone, eating popcorn in the back row of a Liam Neeson movie. She enjoys the explosive action.</scene_description>
</scene>
<scene>
<stage_direction>INT. APPLE STORE -- LATER</stage_direction>
<scene_description>Marnie is being helped by FREDDY (20s, GENIUS T-shirt).</scene_description>
<character>FREDDY</character>
<dialogue>And you just put your fingers on the screen like this...</dialogue>
<character>MARNIE</character>
<dialogue>Oh, look at that, you magnified it.</dialogue>
<parenthetical>(squinting)</parenthetical>
<dialogue>So if I wanted to look up an address for a baby shower?</dialogue>
<character>FREDDY</character>
<dialogue>Well, you'd go on Safari and...</dialogue>
<character>MARNIE</character>
<dialogue>Oh you just Google it?</dialogue>
<character>FREDDY</character>
<dialogue>Yeah you just type it in. And if you need to find it again, it's in your search history. There.</dialogue>
<character>MARNIE</character>
<dialogue>Oh my god Freddy, you really are a genius.</dialogue>
<character>FREDDY</character>
<parenthetical>(humble)</parenthetical>
<dialogue>It's just a label.</dialogue>
<character>MARNIE</character>
<dialogue>Your mother must be so proud.</dialogue>
<character>FREDDY</character>
<dialogue>I guess so.</dialogue>
<character>MARNIE</character>
<dialogue>Well, I would be. My daughter's a genius, but she's too old for you. How old are you?</dialogue>
<character>FREDDY</character>
<dialogue>I turn twenty-three in October.</dialogue>
<character>MARNIE</character>
<dialogue>Get outta here. Happy Birthday. What does that make you? A Libra? What does that mean? It's the scales, right? Justice? You're probably very diplomatic. You should be a lawyer.</dialogue>
<character>FREDDY</character>
<dialogue>Maybe.</dialogue>
<character>MARNIE</character>
<dialogue>You should.</dialogue>
<scene_description>Marnie smiles. Freddy nods, not sure how to respond.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUGE BACKYARD -- DAY</stage_direction>
<scene_description>Marnie, wearing black as usual, tries to mingle with various 30-SOMETHING WOMEN at a fancy BABY SHOWER. -- Marnie stands on the outskirts of one group.</scene_description>
<character>MARNIE</character>
<dialogue>You should get the kind I have. Transitions. They go from regular glasses to sunglasses when you walk outside. You can find 'em anywhere... Lenscrafters....</dialogue>
<parenthetical>(pulling out her iPhone)</parenthetical>
<dialogue>You want me to make you an appointment?</dialogue>
<scene_description>-- Marnie interrupts an ENGAGED WOMAN --</scene_description>
<character>MARNIE</character>
<dialogue>You're gonna want to clean that with Windex.</dialogue>
<scene_description>-- To an INFERTILE WOMAN --</scene_description>
<character>MARNIE</character>
<dialogue>What you should do is have him tip you upside-down. That's what Joe and I did when we conceived Lori.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUGE BACKYARD -- LATER</stage_direction>
<character>EMILY</character>
<dialogue>And this one's from Mrs. Minervini.</dialogue>
<scene_description>Marnie sits among the much-younger group, feeling under- dressed, awkwardly squeezed next to a tree. They watch EMILY (30s, pregnant) unwrap a white box.</scene_description>
<character>EMILY</character>
<dialogue>Oh my god... an iPad.</dialogue>
<scene_description>The women "ooh" and "ah" at it, a bit confused.</scene_description>
<character>EMILY</character>
<dialogue>Wow, Marnie, that's crazy generous.</dialogue>
<character>MARNIE</character>
<dialogue>Well, I know it wasn't on your list but I went to the Apple store the other day and I saw this little Filipino boy, practically a baby, playing on one of these, what do you call it's...</dialogue>
<character>EMILY</character>
<dialogue>... iPads...</dialogue>
<character>MARNIE</character>
<dialogue>... iPads... And then Freddy told me they have all these programs you can download, like Barney's Circus and Nemo--</dialogue>
<character>EMILY</character>
<dialogue>Thanks, Marnie. That's sooooo nice. Lori has the best mom ever.</dialogue>
<scene_description>Emily moves on to other gifts. Marnie goes back to eating a scone. The BRUNETTE (30s) sitting next to her, leans in.</scene_description>
<character>BRUNETTE</character>
<dialogue>Where is Lori?</dialogue>
<character>MARNIE</character>
<dialogue>Oh, I think she's working today. She's got that deadline. I mean... countdown.</dialogue>
<character>BRUNETTE</character>
<dialogue>She said she'd baby-sit Tehya tonight. Dani and I haven't gotten out in a year.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, well I could--</dialogue>
<scene_description>A BLONDE WOMAN (30s) leans in.</scene_description>
<character>BLONDE WOMAN</character>
<dialogue>I thought she was out of town.</dialogue>
<scene_description>A CURLY-HAIRED WOMAN (30s) leans in, holding a TINY DOG.</scene_description>
<character>CURLY-HAIRED WOMAN</character>
<dialogue>She told me she was sick.</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Well, she was sick....</dialogue>
<character>BLONDE WOMAN</character>
<dialogue>I'd be sick too. With everything Jacob puts her through.</dialogue>
<character>CURLY-HAIRED WOMAN</character>
<dialogue>She's so pretty. Why can't she just get over him?</dialogue>
<character>BRUNETTE WOMAN</character>
<dialogue>She's never gonna get over him if she keeps giving him what he wants.</dialogue>
<scene_description>They all nod in agreement. Marnie looks at them.</scene_description>
<character>MARNIE</character>
<dialogue>What does he want?</dialogue>
<character>EMILY (O.S.)</character>
<dialogue>O M G shut it.</dialogue>
<scene_description>Everyone turns back to Emily holding up a tiny onesie.</scene_description>
<character>EMILY</character>
<dialogue>Does this come in my size? I'm kidding. I know it doesn't.</dialogue>
<scene_description>The women ooh and ah at it, except Marnie.</scene_description>
<character>MARNIE</character>
<dialogue>What does he want?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUGE BACKYARD -- LATER</stage_direction>
<scene_description>Marnie is standing by the buffet table, a pastry in one hand, her iPhone in the other. She texts Lori: Where r u?</scene_description>
<character>EMILY (O.S.)</character>
<dialogue>Marnie?</dialogue>
<scene_description>Marnie turns to see the mom-to-be with an OLDER MAN (60s).</scene_description>
<character>EMILY</character>
<dialogue>Marnie, this is Greg's dad. He came out to help us with the nursery.</dialogue>
<character>OLDER MAN</character>
<dialogue>Mark, hi.</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Marnie.</dialogue>
<scene_description>She gestures with her hands full.</scene_description>
<character>EMILY</character>
<dialogue>He's in town til Thursday.</dialogue>
<scene_description>Emily walks away. It takes awhile for Marnie to finish her bite. Finally:</scene_description>
<character>MARNIE</character>
<dialogue>So you're out visiting your son?</dialogue>
<character>MARK</character>
<dialogue>Yeah. Emily said it was important that I come but... I think I'm just here to carry gifts.</dialogue>
<parenthetical>(laughs, then)</parenthetical>
<dialogue>His mother isn't around.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, my husband died a year ago.</dialogue>
<character>MARK</character>
<dialogue>Oh. Well, she lives in London, but, we're divorced....</dialogue>
<scene_description>Marnie takes a sip of her drink.</scene_description>
<character>MARK</character>
<dialogue>Emily said that you grew up in Brooklyn. Which, um, which part?</dialogue>
<character>MARNIE</character>
<dialogue>Near Sunset Park.</dialogue>
<character>MARK</character>
<dialogue>I lived on the corner of 48th and 7th right by the church.</dialogue>
<character>MARNIE</character>
<dialogue>Get outta here. I was on 43rd and 4th right by the other church.</dialogue>
<character>MARK</character>
<dialogue>We used to go to the public pool before it became a parking lot.</dialogue>
<character>MARNIE</character>
<dialogue>Get outta here. I went there every summer we weren't with my aunt at Greenwood Lake.</dialogue>
<character>MARK</character>
<dialogue>I bet we ran in similar circles.</dialogue>
<character>MARNIE</character>
<dialogue>Isn't that funny?</dialogue>
<scene_description>She laughs.</scene_description>
<character>MARK</character>
<dialogue>Well, maybe before I leave town, we can have lunch with the girls.</dialogue>
<scene_description>Marnie stops, frozen, unable to breathe.</scene_description>
<character>MARK</character>
<dialogue>Or there's this Holocaust museum I've been meaning to check out. Have you been to the Holocaust museum?</dialogue>
<scene_description>Marnie finally exhales, flustered, and starts piling food on her plate.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, yeah, no, I can't, I've got so much to do, settling into my apartment, getting all my papers in order, plus I'm just about to start volunteering at the hospital... And maybe get into baby-sitting, so...</dialogue>
<scene_description>She backs away from him.</scene_description>
<character>MARNIE</character>
<parenthetical>(too loud)</parenthetical>
<dialogue>I've never been so busy.</dialogue>
<scene_description>She puts down the full plate and scuttles away. PRE-LAP: BEEP</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- DAY</stage_direction>
<scene_description>Marnie drives while leaving Lori a voicemail, on speaker.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway... I just wanted to tell you that I'm on my way to the hospital to volunteer. So give me a call soon or else I'll already be in there and it'll be too hard to reach me, okay? Oh and I've been listening to the best Beyonce song!</dialogue>
<scene_description>She turns up the volume, the same Beyonce song we've already heard in progress. Marnie holds up the phone for a verse. Then lowers it:</scene_description>
<character>MARNIE</character>
<dialogue>Anyway, I'm almost at the hospital so give me a call. Soon. Otherwise I'll already be in there. Okay. Love you.</dialogue>
<scene_description>Marnie hangs up, then turns up the song. When it comes to an end, she starts it over again. It continues: OMITTED OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WAITING AREA -- LATER</stage_direction>
<scene_description>Through the double doors, Marnie is frozen, hesitating to come inside. SOMEONE is wheeled outside, opening the doors automatically. Marnie finally walks through.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WAITING AREA -- LATER</stage_direction>
<scene_description>Marnie sits among the sick and injured, filling out a volunteer form. She writes in her name and address. She puts down Lori as her emergency contact. She stops at marital status, unsure what to write. A HOMELESS WOMAN (40s) coughs loudly across from her. Marnie looks up and gives a polite smile.</scene_description>
<character>HOMELESS WOMAN</character>
<dialogue>The demons are chasing me. With their dicks.</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Well, that must be scary.</dialogue>
<character>HOMELESS WOMAN</character>
<dialogue>It is. Can you buy me a Sprite?</dialogue>
<character>MARNIE</character>
<dialogue>Sure.</dialogue>
<scene_description>Marnie puts down her volunteer form. And makes her way toward the VENDING MACHINES. She weaves in between patients and their ailments. Someone coughs. Someone cries. Marnie puts a dollar in the machine, pushes the button, now hearing the TELEVISION playing the NEWS above her.</scene_description>
<character>FEMALE NEWSCASTER (ON TV)</character>
<dialogue>... Within ten miles of where the skeletal remains were found. Police suspect this could be the work of a serial killer that's been targeting young women in the area since 2005...</dialogue>
<character>HOMELESS WOMAN (O.S.)</character>
<dialogue>Can I get my Sprite?</dialogue>
<scene_description>Marnie jumps, startled, as the homeless woman takes the soda and disappears. Marnie looks around at all the people in need and starts backing away from them all, panicked.</scene_description>
<character>MARNIE</character>
<dialogue>Excuse me, sorry....</dialogue>
<scene_description>She quickly bursts out of the hospital doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- MORNING</stage_direction>
<scene_description>Marnie unlocks the door with a key, holding a brown bag.</scene_description>
<character>MARNIE</character>
<dialogue>Lori?</dialogue>
<scene_description>There's no answer. Marnie greets the dogs, then rounds the corner, into the bedroom --</scene_description>
<character>MARNIE</character>
<dialogue>Don't you get the mail anymore?</dialogue>
<scene_description>Lori screams from inside the shower. Then pokes around the shower curtain.</scene_description>
<character>LORI</character>
<dialogue>Jesus, Mom, I was shaving. You need to ring the fucking doorbell.</dialogue>
<character>MARNIE</character>
<dialogue>But I have the key.</dialogue>
<character>LORI</character>
<dialogue>Well, what if I had company?</dialogue>
<character>MARNIE</character>
<dialogue>Who? Jacob?</dialogue>
<character>LORI</character>
<dialogue>No. Who told you that?</dialogue>
<scene_description>Marnie looks at the TV. A TEEN SOAP plays, MUTED. ON TV: a HANDSOME ACTOR (30s) charms a PRETTY ACTRESS (20s).</scene_description>
<character>MARNIE</character>
<dialogue>Your friends at the baby shower.</dialogue>
<scene_description>Lori disappears behind the curtain again.</scene_description>
<character>LORI (O.S.)</character>
<dialogue>Please don't talk to my friends, okay? They're not my friends. And you're not supposed to plus one when there isn't a one to plus.</dialogue>
<character>MARNIE</character>
<dialogue>Well, you never told me if you were going or not. Did you get my message about the serial killer? He's been all over Southern California, targeting young women.</dialogue>
<character>LORI (O.S.)</character>
<dialogue>Well, we should be fine then.</dialogue>
<character>MARNIE</character>
<dialogue>Maybe we should have a system in place, like if you let me know every time you're leaving the house and then text me when you get home.</dialogue>
<character>LORI (O.S.)</character>
<dialogue>That's crazy.</dialogue>
<character>MARNIE</character>
<dialogue>Just until the guy is caught. And if you ever run into him, remember "Eyes, Throat, Crotch."</dialogue>
<character>LORI (O.S.)</character>
<dialogue>Mom, maybe you shouldn't just drop by here all the time.</dialogue>
<character>MARNIE</character>
<dialogue>But I barely see you.</dialogue>
<scene_description>Marnie looks at Lori's computer and does a quick scan of Lori's SEARCH HISTORY. In reverse order: Jacob Mailer girlfriend 2015 > Jacob Mailer girlfriend > Jacob Mailer > weird color stool > green stool > least painful suicide > how much valium does it take to kill yourself > adoption agencies LA > adoption</scene_description>
<character>LORI (O.S.)</character>
<dialogue>I just have a ton of work to do. And it requires a lot of research.</dialogue>
<scene_description>Lori shuts off the faucet. Marnie quickly moves away from the computer and sits on the bed as Lori wraps herself in a robe and steps out. They look at each other.</scene_description>
<character>LORI</character>
<dialogue>I'm just saying, I'm in no shape to be entertaining right now. I don't have any good stories.</dialogue>
<character>MARNIE</character>
<dialogue>Is there anything you want to talk about?</dialogue>
<scene_description>Lori rushes into the living room. Marnie follows.</scene_description>
<character>LORI</character>
<dialogue>Didn't you hear what I just said? What I need to do is write, okay? This is my office. This is my desk.</dialogue>
<parenthetical>(gesturing to couch)</parenthetical>
<dialogue>These are my coworkers.</dialogue>
<parenthetical>(gesturing to dogs)</parenthetical>
<dialogue>If I was in a real office, you wouldn't just come in and sit on my desk and pet my coworkers, would you?</dialogue>
<scene_description>Marnie tries to answer correctly.</scene_description>
<character>MARNIE</character>
<dialogue>No?</dialogue>
<scene_description>Lori takes a breath.</scene_description>
<character>LORI</character>
<dialogue>I've been talking to my therapist about it and I think we need to establish... certain... boundaries.</dialogue>
<scene_description>Marnie tries to hide how much this hurts.</scene_description>
<character>MARNIE</character>
<dialogue>Sure. I get it. You need to work. I'll get out of your office.</dialogue>
<scene_description>Marnie starts out. Lori feels guilty immediately.</scene_description>
<character>LORI</character>
<dialogue>You don't have to leave right now.</dialogue>
<character>MARNIE</character>
<dialogue>No, it's fine. Wouldn't want to cross peoples' boundaries.</dialogue>
</scene>
<scene>
<stage_direction>INT. THERAPIST'S OFFICE -- LATER</stage_direction>
<scene_description>Marnie sits across from DIANE (40s) perched in a papasan chair. Next to her, a desk and a RABBIT in a cage.</scene_description>
<character>MARNIE</character>
<dialogue>And I just think she's never gonna get over him if she keeps giving him what he wants. You know? And I think she'd feel better if she at least, you know, tried to get over him, but she just seems so angry all the time... I mean, you've been seeing her for awhile, did she always seem so angry?</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>I just don't want her to hurt herself or anything, I mean, has she talked to you about that? I'm not saying I want to know anything, I just hope that if she's talking to you, she's talking to you about the right stuff and that, you know, you tell her not to hurt herself or anything. And that she should quit smoking grass. I mean, I know she's in some stage of grief or something....</dialogue>
<character>DIANE</character>
<dialogue>And what about you?</dialogue>
<character>MARNIE</character>
<dialogue>What about me?</dialogue>
<character>DIANE</character>
<dialogue>How do you feel?</dialogue>
<character>MARNIE</character>
<dialogue>Well, I feel like she should find other ways to make herself feel better besides marijuana.</dialogue>
<character>DIANE</character>
<dialogue>I mean, how do you feel since your husband died?</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Well, of course I get sad. But I don't think I'm as stressed as Lori is cause I don't have to worry about a career or money. I mean, Joey left me set for life, so really I can do anything. Like when I go to an action movie, I always buy three tickets. One for me, one for Joe and one for my mother, and I don't have to worry about it. I mean, I spend a lot of time by myself and sometimes I don't really know what to do with the hours in the day so I call Lori, but it's not like she really wants my advice or like I have anything important to say...</dialogue>
<parenthetical>(adrift, then)</parenthetical>
<dialogue>But basically I feel fine. I love my apartment. And of course you can't beat this weather. I mean, who doesn't love The Grove? It's like living on Main Street in Disneyland.</dialogue>
<scene_description>Marnie smiles. Diane reaches for her notepad.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. PALAZZO APARTMENTS -- VARIOUS</stage_direction>
<scene_description>-- Marnie unlocks the front door and locks it behind her. -- Marnie spruces the dead bonsai out on the balcony, trying to bring it back to life. -- Marnie does a Sudoku puzzle on her phone. -- Marnie leaves another message after the beep.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway, let me know that you got in safe. Oh and remind me to tell you what your therapist said.</dialogue>
<scene_description>-- Marnie makes a single cup of decaf, while watching TV; more about the serial killer called "Red Ripper". Marnie tsks at the gruesome crime photos. -- Marnie takes forever to send Lori a text "Cl me". The history of texts is very one-sided. -- Marnie falls asleep in bed next to her iPhone playing sounds of the ocean. The ceiling fan spins above Marnie. FADE TO: BLACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. BLD RESTAURANT -- NIGHT</stage_direction>
<scene_description>Marnie and Lori sit across from each other, both dressed in black, surrounded by Valentine's Day decorations.</scene_description>
<character>MARNIE</character>
<dialogue>It's so good to see you out of the house. And for such a nice occasion.</dialogue>
<scene_description>Lori reaches for her drink. Marnie reaches for the bread.</scene_description>
<character>MARNIE</character>
<dialogue>Mmmmm... Pretzel bread reminds me of my father. Well... pretzels.</dialogue>
<parenthetical>(then, to Heaven)</parenthetical>
<dialogue>And I got risotto for Daddy.</dialogue>
<scene_description>Lori downs her drink. Marnie munches.</scene_description>
<character>MARNIE</character>
<dialogue>If Daddy saw me eating like this, you know what he'd say...</dialogue>
<parenthetical>(bad Italian accent)</parenthetical>
<dialogue>"Marnie, you're killing yourself."</dialogue>
<character>LORI</character>
<parenthetical>(trying to be funny)</parenthetical>
<dialogue>Well, you got the last laugh.</dialogue>
<scene_description>Marnie smiles, but doesn't laugh. Lori clears her throat.</scene_description>
<character>LORI</character>
<dialogue>So... listen, I have to go to New York for a few weeks. To shoot the pilot.</dialogue>
<character>MARNIE</character>
<dialogue>New York? Why?</dialogue>
<character>LORI</character>
<dialogue>Well, cause the show is set there, so it's actually a good thing. But I wanted to tell you that I'm not gonna be reachable, like, at all, for a few weeks. Like someone else will be holding my phone for me. But I was thinking at the end of it, maybe you could come visit the set and we can finally think about getting a headstone for Dad. Or at least maybe figure out what to do with his ashes....</dialogue>
<character>MARNIE</character>
<dialogue>Sure, we can talk about all that before you go. There's no rush.</dialogue>
<character>LORI</character>
<dialogue>Well, I leave tomorrow.</dialogue>
<character>MARNIE</character>
<dialogue>Tomorrow?</dialogue>
<parenthetical>(sinking in)</parenthetical>
<dialogue>That's really soon.</dialogue>
<character>LORI</character>
<dialogue>I know. But if you want to come over after dinner and help me pack and maybe even crash so you could take me to the airport in the morning, that'd be fun....</dialogue>
<character>MARNIE</character>
<dialogue>Well, of course, but are you sure you don't want me to come with you? I could be like your assistant.</dialogue>
<character>LORI</character>
<parenthetical>(quick)</parenthetical>
<dialogue>No. No, if anything I'd need you here. Watching the house and taking care of your grand-dogs.</dialogue>
<scene_description>Marnie sighs.</scene_description>
<character>LORI</character>
<dialogue>It's my job, Mom.</dialogue>
<character>MARNIE</character>
<dialogue>No, of course. You're right. That's great news.</dialogue>
<character>LORI</character>
<dialogue>It is. And it's really good timing for me, you know? I can get out of town and be busy and finally take my mind off things.</dialogue>
<scene_description>Marnie suddenly gasps.</scene_description>
<character>MARNIE</character>
<dialogue>Jacob.</dialogue>
<character>LORI</character>
<dialogue>Exactly--</dialogue>
<scene_description>Then Lori follows Marnie's wide eyes to see JACOB (30s), the handsome actor we recognize from TV. He comes toward them, holding hands with a VERY TALL GIRL (20s). SOMEONE stops him/them for a picture. They finally reach the table.</scene_description>
<character>JACOB</character>
<dialogue>Hey, you two.</dialogue>
<character>LORI</character>
<dialogue>Hey. You two.</dialogue>
<character>JACOB</character>
<dialogue>Hey, Marnie.</dialogue>
<character>MARNIE</character>
<dialogue>Jacob, good to see you. I never had anything bad to say about you.</dialogue>
<scene_description>Marnie looks down, trying not to say things.</scene_description>
<character>JACOB</character>
<parenthetical>(to Lori)</parenthetical>
<dialogue>You know Elise.</dialogue>
<character>VERY TALL GIRL</character>
<dialogue>Hi.</dialogue>
<character>LORI</character>
<dialogue>Yeah.</dialogue>
<scene_description>They stand there awkwardly for a second.</scene_description>
<character>JACOB</character>
<dialogue>Well, we don't want to interrupt your girl time.</dialogue>
<character>LORI</character>
<dialogue>Oh no it's fine. We're just doing a drive-by before I head out later. I just didn't want her to have to spend Valentine's Day alone.</dialogue>
<character>MARNIE</character>
<dialogue>And I didn't want her to be alone.</dialogue>
<character>LORI</character>
<dialogue>I'm not alone.</dialogue>
<character>MARNIE</character>
<dialogue>That's right. We're here together.</dialogue>
<character>LORI</character>
<dialogue>Until later. And then I'm with other people.</dialogue>
<character>MARNIE</character>
<dialogue>I thought I was sleeping over.</dialogue>
<character>VERY TALL GIRL</character>
<dialogue>Aw, that's so cute. I wish my mom and I were that close.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, well, maybe when you get older.</dialogue>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- NIGHT</stage_direction>
<scene_description>Lori charges in and slams the door behind her. The door then opens and Marnie walks inside, shutting it again.</scene_description>
<character>MARNIE</character>
<dialogue>What would make you happy?</dialogue>
<scene_description>Lori flops onto the couch.</scene_description>
<character>LORI</character>
<dialogue>If I could be stuffed into a cannon and shot into space.</dialogue>
<character>MARNIE</character>
<dialogue>Should we go get milkshakes?</dialogue>
<scene_description>Lori screams into a pillow.</scene_description>
<character>MARNIE</character>
<dialogue>Why don't we go to a waterpark this week?</dialogue>
<character>LORI</character>
<dialogue>I'm going to kill myself.</dialogue>
<character>MARNIE</character>
<dialogue>Don't say that.</dialogue>
<character>LORI</character>
<dialogue>I can't live here anymore, Mom. There's no safe place. My TV is haunted. My job is make believe. And just when I wanted to hit the eject button, you move here.</dialogue>
<character>MARNIE</character>
<dialogue>What does that mean?</dialogue>
<character>LORI</character>
<dialogue>It means, I tried to book a session with my therapist to talk about my mother, and I couldn't. Because my mother was there.</dialogue>
<character>MARNIE</character>
<dialogue>You said maybe I should talk to her after Daddy died. So?</dialogue>
<character>LORI</character>
<dialogue>Don't you understand that eighty percent of the time my phone rings, it's you? The phone rings, and I think it could be a guy or a friend or a job and it's my mother. Almost every single time. Do you understand how terrible that makes me feel?</dialogue>
<scene_description>Marnie blinks, stung.</scene_description>
<character>MARNIE</character>
<dialogue>Well, I could call you less. Like if I don't hear back from you, I could just text you.</dialogue>
<scene_description>Lori suddenly breaks down, sobbing. Marnie goes to her.</scene_description>
<character>LORI</character>
<dialogue>I'm never gonna get over him.</dialogue>
<character>MARNIE</character>
<dialogue>How can I help? What can I do?</dialogue>
<character>LORI</character>
<dialogue>Nothing.</dialogue>
<scene_description>Lori pulls out her phone and starts texting.</scene_description>
<character>MARNIE</character>
<dialogue>Who are you texting? Don't act out.</dialogue>
<character>LORI</character>
<dialogue>Mom, I need to have sex with someone else, and you can't be here for it.</dialogue>
<character>MARNIE</character>
<dialogue>Okay, just not with Jacob.</dialogue>
<scene_description>Lori's body explodes, shoving Marnie out of her room.</scene_description>
<character>LORI</character>
<dialogue>Please, Mom, I can't do this anymore. I need to get a life of my own, okay? And so do you.</dialogue>
<scene_description>Lori slams the door. Marnie sighs. A sad beat, then Lori talks from the other side of the door.</scene_description>
<character>LORI (O.S.)</character>
<dialogue>I still need a ride to the airport.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- MORNING</stage_direction>
<scene_description>Marnie drives, Lori is quiet in the passenger seat. They make their way up to the terminal.</scene_description>
<character>MARNIE</character>
<dialogue>Do you have everything?</dialogue>
<character>LORI</character>
<dialogue>I have no idea.</dialogue>
<scene_description>Lori kisses Marnie on the head, then drags out two suitcases, shutting the door behind her. Marnie watches her daughter until she gets safely inside. Then she slowly pulls away. We stay with Marnie as she drives ahead. The silence is deafening. Marnie quickly turns on Beyonce, humming along. She reaches for her phone. About to call Lori. Then.... She puts the phone down. Both hands on the wheel. Determined.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL -- DAY</stage_direction>
<scene_description>Marnie stands in the hospital hallway staring at a sign. "Volunteer Center" to the left. "Gift Shop" to the right.</scene_description>
</scene>
<scene>
<stage_direction>INT. GIFT SHOP -- MOMENTS LATER</stage_direction>
<scene_description>Marnie strolls though the gift shop, scanning the different stuffed animals. She decides on a STUFFED BUNNY. Its goofy face makes her smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL -- LATER</stage_direction>
<scene_description>Marnie strolls the halls with the stuffed bunny, trying to walk tall. There's a LOUD BEEPING. Nurses rush through with an emergency. Marnie starts to look uneasy. Up ahead, a MAN IN A GOWN (60s) dragging his IV. He's coming toward her. As he gets closer and closer to her, she turns away, pushing through a door --</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- CONTINUOUS</stage_direction>
<scene_description>Marnie ducks into the room and shuts the door behind her, the noise of the hospital hallway is muffled. She looks up to see an OLD WOMAN (80s), lying in bed, mouth agape, no visitors. Something next to her is beeping. Marnie takes a few small steps up to the hospital bed.</scene_description>
<character>MARNIE</character>
<dialogue>Hi. Hello.</dialogue>
<scene_description>She leans over to see some wires twisted under the woman's twisted arm. Marnie reaches down and fixes the wires, moving her arm into a more comfortable position. The beeping stops.</scene_description>
<character>MARNIE</character>
<dialogue>Is anyone here with you?</dialogue>
<scene_description>The old woman slowly raises her arm. Her finger extends, pointing. Marnie lowers her arm, placing the stuffed bunny in her hand.</scene_description>
<character>MARNIE</character>
<dialogue>Here. I'll get someone.</dialogue>
<scene_description>Marnie slowly backs away and out of the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL HALLWAY -- CONTINUOUS</stage_direction>
<scene_description>Marnie quickly finds a NURSE (40s).</scene_description>
<character>MARNIE</character>
<dialogue>Excuse me, the woman in 142, I don't know if she's in pain. Could you just?</dialogue>
<scene_description>The nurse walks off toward the woman's room. Marnie watches, feeling proud of herself, a smile curling on her face, as she continues down the hall. PRE-LAP: A doorbell.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAUREL CANYON HOME -- DAY</stage_direction>
<scene_description>The brunette from the baby shower, JILLIAN, opens the door to see Marnie.</scene_description>
<character>BRUNETTE/JILLIAN</character>
<dialogue>Marnie? What are you doing here?</dialogue>
<character>MARNIE</character>
<dialogue>You said you needed a baby-sitter.</dialogue>
<scene_description>Marnie holds up a brown bag.</scene_description>
<character>MARNIE</character>
<dialogue>I brought bagels.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAUREL CANYON HOME -- LATER</stage_direction>
<scene_description>Jillian cuts up a salt bagel for her daughter, TEHYA (4 years old).</scene_description>
<character>JILLIAN</character>
<dialogue>I swear, I'm like the only one of my friends without full-time help. And in this town, it literally cost more than my salary to hire a decent nanny. So I quit. And now I'm home all day. All day, every day. Isn't that right, Tehya?</dialogue>
<scene_description>Tehya screams.</scene_description>
<character>MARNIE</character>
<dialogue>You could go into the nanny business.</dialogue>
<scene_description>Jillian looks at Marnie and cracks up, laughing.</scene_description>
<character>JILLIAN</character>
<dialogue>Oh my god. That's like the funniest thing ever said, ever.</dialogue>
<character>JILLIAN</character>
<dialogue>No wonder Lori's so funny. Well, not anymore, but....</dialogue>
<scene_description>Marnie reaches out to Tehya, but she runs off to the other side of the room to eat her bagel.</scene_description>
<character>JILLIAN</character>
<dialogue>It's just nobody ever tells you how lonely it is. Like some days, I don't think I talk to another grown person the entire day. Like by the time Dani gets home, I can't even turn off the baby talk.</dialogue>
<character>MARNIE</character>
<dialogue>Well, that's normal.</dialogue>
<character>JILLIAN</character>
<dialogue>Really?</dialogue>
<character>MARNIE</character>
<dialogue>But just think, someday you and Tehya will be having like real conversations... You could talk about everything. Like me and Lori.</dialogue>
<character>JILLIAN</character>
<dialogue>Yeah. You're right. I don't know why I worry so much like I'm not doing it right. Like at any moment I'm gonna do the thing that gives her a body complex or a foot fetish.... I don't know. I lost my mom when I was young so... I'm kinda flying blind.</dialogue>
<scene_description>Jillian lets out a laugh. Marnie stops.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, yeah. Lori said something about that, I'm sorry.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Well, anytime you need a baby- sitter, you can call on me.</dialogue>
<scene_description>Jillian smiles.</scene_description>
<character>JILLIAN</character>
<dialogue>Lori's lucky to have you so close. If she ever has kids. My dad couldn't even fly in for my fake wedding. I had to walk myself down the aisle.</dialogue>
<character>MARNIE</character>
<dialogue>Aw. Why was your wedding fake?</dialogue>
<character>JILLIAN</character>
<dialogue>Because. It was at City Hall and we had just found out that the adoption had gone through and I told myself that I didn't care about having a special day. I just wanted a quickie wedding and we'd have a real wedding sometime after we got Tehya home. But then I thought it'd be so selfish to spend any of the money I'd spend on her on having a special day, so....</dialogue>
<scene_description>Marnie looks at Tehya who is slamming a toy phone on the opposite side of the room.</scene_description>
<character>MARNIE</character>
<dialogue>What about Danny? Is he working?</dialogue>
<character>JILLIAN</character>
<dialogue>She.</dialogue>
<scene_description>Marnie tries not to react. If anything, it's a thrill.</scene_description>
<character>JILLIAN</character>
<dialogue>Yeah, Dani's a chef at Bouchon, but she's like fifth in line and she works crazy hours.</dialogue>
<character>MARNIE</character>
<dialogue>She does....</dialogue>
<scene_description>The wheels are turning in Marnie's head.</scene_description>
<character>MARNIE</character>
<dialogue>Well, what if I gave you the money?</dialogue>
<character>JILLIAN</character>
<dialogue>What?</dialogue>
<scene_description>Marnie turns back to her.</scene_description>
<character>MARNIE</character>
<dialogue>Well, I can gift a certain amount of money to a person per year without having to pay taxes. I mean, I don't know if it's enough to make the wedding of your dreams but... thirteen thousand dollars?</dialogue>
<character>JILLIAN</character>
<dialogue>Marnie, that's crazy.</dialogue>
<character>MARNIE</character>
<dialogue>What's crazy? I have it. You need it. Can't have it sitting there.</dialogue>
<character>JILLIAN</character>
<dialogue>You should save it. Spend it on yourself. I mean, wouldn't Lori be upset?</dialogue>
<character>MARNIE</character>
<dialogue>Why? She's not getting married.</dialogue>
<character>JILLIAN</character>
<dialogue>I just... I mean, why would you want to do that?</dialogue>
<character>MARNIE</character>
<dialogue>Cause. It sounds romantic. Like renewing your vows. Joe and I talked about that. I mean, who doesn't love love?</dialogue>
<scene_description>Jillian bursts into tears and leaps into Marnie's arms.</scene_description>
<character>JILLIAN</character>
<dialogue>Oh my God, this is so totally amazing. Of course you're gonna be in on all the planning.</dialogue>
<character>MARNIE</character>
<dialogue>Well, only as much as you'd want... What do you think you'll want?</dialogue>
<character>JILLIAN</character>
<dialogue>Oh I don't know, nothing extravagant.... Dani was in the Navy, so... maybe it could be a nautical theme?</dialogue>
<character>MARNIE</character>
<dialogue>Yes. You could wear a sailor dress and she could wear her uniform. Like Officer and a Gentleman.</dialogue>
<parenthetical>(she gasps)</parenthetical>
<dialogue>You could do it on a submarine.</dialogue>
<scene_description>CLOSE on Marnie's face. More excited than the "bride-to-be."</scene_description>
</scene>
<scene>
<stage_direction>INT. APPLE STORE -- DAY</stage_direction>
<scene_description>Freddy helps Marnie look up things on an iPad.</scene_description>
<character>FREDDY</character>
<dialogue>I don't see any submarines for rent. But there are a bunch of boats at the yacht club in Marina Del Rey.</dialogue>
<character>MARNIE</character>
<dialogue>And you can rent 'em out for a party?</dialogue>
<character>FREDDY</character>
<dialogue>Looks like it.</dialogue>
<scene_description>Marnie magnifies the screen, squinting at the boat image.</scene_description>
<character>MARNIE</character>
<dialogue>Oh Freddy, you really are a genius.</dialogue>
<scene_description>Freddy smiles. Marnie squints at the boat price.</scene_description>
<character>MARNIE</character>
<dialogue>Jeez, ten thousand dollars for just the venue?</dialogue>
<scene_description>Marnie clicks a few buttons.</scene_description>
<character>MARNIE</character>
<dialogue>God, I really should get one of these for my daughter. Could you ring me up another iPad?</dialogue>
<character>FREDDY</character>
<dialogue>Sure.</dialogue>
<scene_description>Freddy smiles at her generosity. Then:</scene_description>
<character>FREDDY</character>
<dialogue>So I decided to take your advice.</dialogue>
<scene_description>She looks up.</scene_description>
<character>MARNIE</character>
<dialogue>You're gonna be a lawyer?</dialogue>
<character>FREDDY</character>
<dialogue>Well, no, but... I'm gonna go back to school. Well, night school. Maybe engineering or programming, see how far I get. And work'll pay for my classes, so...</dialogue>
<character>MARNIE</character>
<dialogue>Oh, Freddy. You took my advice.</dialogue>
<scene_description>Marnie looks at him, smiling, proud, marveling. Then:</scene_description>
<character>FREDDY</character>
<dialogue>Yeah. Now I just have to figure out my work schedule. And the bus schedule.</dialogue>
<character>MARNIE</character>
<dialogue>You don't have a car?</dialogue>
<character>FREDDY</character>
<dialogue>Well, my mom uses it for work. It's okay, I like taking the bus. You get to meet a lot of freaky people....</dialogue>
<scene_description>Marnie doesn't like the sound of that.</scene_description>
<character>MARNIE</character>
<dialogue>I could take you. When is it?</dialogue>
<character>FREDDY</character>
<dialogue>What do you mean?</dialogue>
<character>MARNIE</character>
<dialogue>I'm in the neighborhood. Plus, you're always helping me out here. It'd be my way of paying you back.</dialogue>
<scene_description>She hands him her credit card. He swipes it. She slides it back in her rubber-banded stack of cards. We see her husband's driver's license on top of the pile.</scene_description>
<character>MARNIE</character>
<dialogue>We wouldn't have to take the freeway, would we?</dialogue>
<character>FREDDY</character>
<dialogue>We can avoid it.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>But are you sure? It's pretty late.</dialogue>
<character>MARNIE</character>
<dialogue>It's okay.</dialogue>
<scene_description>She stares at the image of the boat.</scene_description>
<character>MARNIE</character>
<dialogue>I don't sleep much.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARINA DEL REY HARBOR -- DAY</stage_direction>
<scene_description>The boat from the picture stares back at Marnie.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOAT -- LATER</stage_direction>
<scene_description>Marnie snaps pictures with her iPhone of every crevice of the boat's insides, trying to get just the right angles. She texts Jillian way too many pictures.</scene_description>
</scene>
<scene>
<stage_direction>INT. FLORIST -- LATER</stage_direction>
<scene_description>Marnie browses the different flowers, thinking of the centerpiece possibilities. She takes pictures of various flowers with her iPhone. She pays for an assorted bunch.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARINA DEL REY STREET -- LATER</stage_direction>
<scene_description>Marnie walks with the bouquet of flowers. A HOMELESS MAN (40s) is begging for change against a brick wall. Marnie stops in front of him, digging in her pocket for loose change. She pulls out a twenty and hands it to him.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Cut!</dialogue>
<scene_description>A GUY WEARING A HEAD-SET (20s) comes up to Marnie.</scene_description>
<character>GUY IN HEAD-SET</character>
<dialogue>Are you supposed to be here?</dialogue>
<character>MARNIE</character>
<dialogue>What?</dialogue>
<character>GUY IN HEAD-SET</character>
<dialogue>Here.</dialogue>
<scene_description>He backs her away from the homeless man.</scene_description>
<character>GUY IN HEAD-SET</character>
<dialogue>On "background" you cross and talk to the woman in the blue hat.</dialogue>
<scene_description>Marnie looks up at a WOMAN IN A BLUE HAT (50s). The woman smiles at her.</scene_description>
<character>GUY IN HEAD-SET</character>
<parenthetical>(listening to his walkie)</parenthetical>
<dialogue>Losing the flowers.</dialogue>
<scene_description>He takes the flowers away from Marnie and walks off. Marnie looks around to see a CAMERA CREW is filming on this part of the street. And she's in the middle of it.</scene_description>
<character>GUY IN HEAD-SET</character>
<dialogue>Okay, we're going again.</dialogue>
<scene_description>The "homeless man" pockets the twenty. Marnie is frozen, unsure of what's happening, then:</scene_description>
<character>GUY IN HEAD-SET (O.S.)</character>
<dialogue>Background!</dialogue>
<character>MARNIE</character>
<dialogue>Oh!</dialogue>
<scene_description>She quickly crosses to the woman in the blue hat.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Action!</dialogue>
<character>MARNIE</character>
<parenthetical>(to woman in blue hat)</parenthetical>
<dialogue>Hi, how are you?</dialogue>
<character>WOMAN IN BLUE HAT</character>
<dialogue>Shhhhh...</dialogue>
<scene_description>Marnie stops. The woman mouths words through a smile. Marnie tries to do the same, confused.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Anyway...</dialogue>
<character>CUT TO: LATER</character>
<dialogue>GUY IN HEAD-SET (O.S.)</dialogue>
<scene_description>Background! Marnie crosses again. This time with more confidence.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>The craziest thing happened, you would not believe.... I wandered onto a Hollywood movie set and ended up being a part of the action. Isn't that wild?</dialogue>
<character>CUT TO: LATER</character>
<dialogue>Marnie eats lunch with the other extras. She laughs and talks to the woman in the blue hat.</dialogue>
<character>MARNIE (V.O.)</character>
<dialogue>They say that movie stars aren't nice people, but they really are.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET -- DAY/EVENING</stage_direction>
<scene_description>Marnie says good-night to her fellow extras as she walks to the edge of the set. Yellow signs marked TO SET point her back in its direction. As she reaches the perimeter of orange cones, she sees a COP IN UNIFORM (late 50s, too tan) leaning against a motorcycle. He looks up at Marnie and gives a devastating smile.</scene_description>
<character>COP</character>
<dialogue>Half day?</dialogue>
<scene_description>He winks. She opens her mouth but nothing comes out. She quickly disappears around the corner and runs to her car.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I don't think I'll go back but I'm glad I did it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- NIGHT</stage_direction>
<scene_description>Marnie drives Freddy to school.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Then, three nights a week, I take Freddy to his class and we talk the whole way.</dialogue>
<parenthetical>(then, to Freddy)</parenthetical>
<dialogue>He scalps his victims while they're still alive and then he eats their brains.</dialogue>
<character>FREDDY</character>
<dialogue>Sick.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOAT -- DAY</stage_direction>
<character>MARNIE (V.O.)</character>
<dialogue>And I've been having a great time doing wedding planning with what's her name.</dialogue>
<scene_description>Marnie uncovers Jillian's eyes, showing her the boat. Jillian gasps, excitedly. She pulls Marnie in and they walk down the ramp together.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANCY BAKERY -- DAY</stage_direction>
<scene_description>Marnie and Jillian taste different cakes.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>She seems really excited and loves all my ideas...</dialogue>
<character>MARNIE</character>
<dialogue>Definitely the chocolate.</dialogue>
<character>JILLIAN</character>
<dialogue>The coconut.</dialogue>
<character>MARNIE</character>
<dialogue>That's true. A lot of people are allergic to chocolate.</dialogue>
<scene_description>Jillian smiles at Marnie. Marnie smiles back.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- DAY</stage_direction>
<character>MARNIE (V.O.)</character>
<dialogue>And I've been really getting into volunteering at the hospital.</dialogue>
<scene_description>Marnie chats up a HANDSOME DOCTOR (30s) as he checks the old woman's chart.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>You should come down here with me sometime and meet the staff.</dialogue>
<parenthetical>(to the doctor)</parenthetical>
<dialogue>Oh, you're not married? That's funny. My daughter's not married.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LORI'S HOUSE -- DAY</stage_direction>
<scene_description>In the backyard, Marnie feeds Lori's dogs, phone under her chin, pacing.</scene_description>
<character>MARNIE (INTO PHONE)</character>
<dialogue>Anyway, just wanted to let you know I've been keeping busy with my own stuff and basically I feel great, so give me a call. I just want to hear that you're safe and sound and hopefully you're not thinking about Jacob too much...</dialogue>
<scene_description>BEEP. CALL WAITING.</scene_description>
<character>MARNIE (INTO PHONE)</character>
<dialogue>Oh, is that you?</dialogue>
<scene_description>Marnie clicks over.</scene_description>
<character>MARNIE</character>
<dialogue>Hello?</dialogue>
<character>ITALIAN MAN (O.S.)</character>
<dialogue>Marnie, is that you?</dialogue>
<scene_description>Marnie stops. For a moment, the voice is too familiar. The Italian accent is strong.</scene_description>
<character>ITALIAN MAN (O.S.)</character>
<dialogue>It's Tony. I'm here with Cos and Dominic and we all wanted to say hi. Here, talk to Dom.</dialogue>
<character>ANOTHER ITALIAN MAN (O.S.)</character>
<dialogue>Hey, Marnie. How are you?</dialogue>
<character>MARNIE</character>
<dialogue>Hi, Dom. How you feeling?</dialogue>
<character>ANOTHER ITALIAN MAN (O.S.)</character>
<dialogue>Are you coming back to Jersey for Joe's anniversary?</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Yeah. Uh... I don't know if I can come on the actual day, but I've been meaning to visit, so as soon as I'm settled, I'll get on a flight and come see you guys. You feeling good? How's Angie?</dialogue>
<character>ANOTHER ITALIAN MAN (O.S.)</character>
<dialogue>She's good. You want to talk to her?</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>Angie!</dialogue>
<character>MARNIE</character>
<dialogue>Oh, that's okay, if she's busy....</dialogue>
<scene_description>Each Italian accent is thicker than the last.</scene_description>
<character>ITALIAN WOMAN (O.S.)</character>
<parenthetical>(taking phone)</parenthetical>
<dialogue>Marnie, where are you? When are you coming to visit?</dialogue>
<character>MARNIE</character>
<dialogue>Hi, Ang. Soon, yeah. I just... can't right now. I actually have a lot on my plate.</dialogue>
<character>ITALIAN WOMAN (O.S.)</character>
<dialogue>Have you thought about what kind a headstone you want to get for Joe? We were talking and Tony thought it should have a quote on it....</dialogue>
<character>ITALIAN MAN (O.S.)</character>
<dialogue>Sinatra.</dialogue>
<character>ITALIAN WOMAN (O.S.)</character>
<dialogue>Well, of course, Sinatra, but should it be "My Way"....</dialogue>
<character>ITALIAN MAN (O.S.)</character>
<dialogue>Of course it should be "My Way"....</dialogue>
<character>ANOTHER ITALIAN MAN (O.S.)</character>
<dialogue>Why wouldn't it be "My Way"....</dialogue>
<scene_description>Marnie's head spins.</scene_description>
<character>MARNIE</character>
<dialogue>You know, I'm actually so busy planning this wedding right now and... dog-sitting... and I have to drive a friend of mine somewhere, so.... Oh shoot, Ang, there's a problem with something, I have to go fix it, can I call you back? I'll call you back.</dialogue>
<scene_description>Marnie quickly hangs up. She stands there in silence, watching her daughter's dogs finish their dinner.</scene_description>
</scene>
<scene>
<stage_direction>INT. JILLIAN'S HOUSE -- DAY</stage_direction>
<scene_description>Marnie sits with Jillian, little Tehya, and the blonde woman from the baby shower, ELAINE. Marnie seems distracted, lost in thought, as they sift through online footage of various wedding bands.</scene_description>
<character>JILLIAN</character>
<dialogue>Unless you want like to spend a million bucks, bands suck. They just suck.</dialogue>
<character>ELAINE</character>
<dialogue>My sister had this Police cover band for her wedding. It had a lady singer.</dialogue>
<scene_description>Elaine shows Jillian the band photo on her phone.</scene_description>
<character>JILLIAN</character>
<dialogue>She's too pretty.</dialogue>
<character>MARNIE</character>
<dialogue>Maybe a DJ is more fun cause then you get to hear the real people sing the songs. Or what if you got a karaoke machine and then everybody just gets up throughout the celebration to sing dedicated songs to you?</dialogue>
<character>ELAINE</character>
<dialogue>No... you have to get a band.</dialogue>
<scene_description>Tehya wanders up to Marnie. Marnie immediately shifts her attention to playing with Tehya.</scene_description>
<character>JILLIAN</character>
<dialogue>I don't know. The venue is already so expensive. Maybe we should just pare this down. Stop all this planning. We don't even have to meet up really.... We can do most of this over the phone--</dialogue>
<character>MARNIE</character>
<dialogue>No.</dialogue>
<scene_description>Jillian turns to Marnie.</scene_description>
<character>MARNIE</character>
<dialogue>I mean... what if we start off by having a string quartet play when you come down the aisle? Then we have a DJ playing records while everybody eats. We get a kick-ass band for the big dance party, spare no expense. And, it might be fun to have a four-piece playing at the front of the boat the entire night. Like in "Titanic".</dialogue>
<scene_description>Jillian looks at her, overwhelmed.</scene_description>
<character>MARNIE</character>
<dialogue>Come on. This could be the only wedding I get to be a part of. I say we blow it out.</dialogue>
<scene_description>Marnie puts her hand out. Jillian beams. She puts her hand on Marnie's hand. And they start laughing. Elaine puts her hand in the mix too. And they all squeal and scream.</scene_description>
<character>MARNIE</character>
<dialogue>And we know who the flower girl is!</dialogue>
<scene_description>They all tickle Tehya. Tehya laughs with glee. The sound of a FOUR-PIECE takes us to:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GROVE -- NIGHT</stage_direction>
<scene_description>Marnie strides happily through the empty square toward the well-lit harbor of the Apple Store.</scene_description>
</scene>
<scene>
<stage_direction>INT. APPLE STORE -- MOMENTS LATER</stage_direction>
<scene_description>She walks up to the Genius Bar. The door in back bursts open. Freddy emerges, still buttoning his shirt, flustered.</scene_description>
<character>MARNIE</character>
<dialogue>You okay?</dialogue>
<scene_description>He hurries out of the store. She quickly follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- LATER</stage_direction>
<scene_description>Marnie drives, Freddy is quiet next to her. Beyonce plays.</scene_description>
<character>MARNIE</character>
<dialogue>You don't have to say anything if you don't want to. Is it a problem with work?</dialogue>
<character>FREDDY</character>
<dialogue>He just always does this to me.</dialogue>
<character>MARNIE</character>
<dialogue>Your boss?</dialogue>
<character>FREDDY</character>
<dialogue>No. My brother. He sends me an email, saying he wants to see me. I'm not even talking to him and he's still telling me what to do.</dialogue>
<character>MARNIE</character>
<dialogue>Why aren't you talking to him?</dialogue>
<character>FREDDY</character>
<dialogue>Cause he's always getting me in trouble, man. Ever since we were kids. It's like as soon as I get something good going, he tries to wreck it.</dialogue>
<parenthetical>(frustrated sound)</parenthetical>
<dialogue>He bailed me out one time and I've been paying for it ever since.</dialogue>
<scene_description>She pulls over OUTSIDE OF THE SCHOOL.</scene_description>
<character>MARNIE</character>
<dialogue>You know, Freddy, sometimes I think it looks like a person doesn't care as much, but really they're just not as strong as you.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I bet it'd make your mother happy if you gave him another chance.</dialogue>
<scene_description>Freddy exhales, really listening.</scene_description>
<character>FREDDY</character>
<dialogue>Yeah, okay.</dialogue>
<scene_description>He starts out.</scene_description>
<character>FREDDY</character>
<dialogue>Thanks.</dialogue>
<scene_description>He shuts the door and walks off to class. Marnie looks pleased with her advice. She waits until he gets safely inside, then pulls away, smiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL GIFT SHOP -- DAY</stage_direction>
<scene_description>CLOSE ON: Marnie stocking up on stuffed animals.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- LATER</stage_direction>
<scene_description>Marnie shows the old woman a stuffed bear. The old woman smiles. Marnie puts the giraffe under one of the woman's arm. Marnie shows her a stuffed elephant. And a bird. With each toy, the old woman smiles as much as she can. Marnie laughs as she places them all around the old woman's head and throughout the room. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDAL SHOP -- DAY</stage_direction>
<scene_description>Marnie is still smiling, as she's handed a glass of champagne. Jillian is in the dressing room, while Marnie sits with, Emily, Elaine, the curly-haired woman AKA TRISH (30s), and TWO OTHER BRIDESMAIDS.</scene_description>
<character>TRISH</character>
<dialogue>I just don't look good in strapless.</dialogue>
<character>EMILY</character>
<dialogue>I don't look good in anything.</dialogue>
<character>ELAINE</character>
<dialogue>A wrap dress looks good on everyone.</dialogue>
<character>MARNIE</character>
<dialogue>So how many bridesmaids are there now?</dialogue>
<character>ELAINE</character>
<dialogue>Well, it's me, Emily, Trish, Stacy, Casey... Katie M., Katie P., Molly... Gina, Amy, Fern... Windy, and... who am I forgetting? Lori. If she's even in town.</dialogue>
<character>MARNIE</character>
<dialogue>She'll be in town.</dialogue>
<character>ELAINE</character>
<dialogue>Are you sure? Cause the dresses are color coordinated and we need an odd number.</dialogue>
<character>MARNIE</character>
<dialogue>She'll be in town. I'll make sure.</dialogue>
<character>TRISH</character>
<dialogue>Did you really book Blues Traveler?</dialogue>
<character>MARNIE</character>
<dialogue>The guy with the harmonica? Oh yeah, he's fantastic.</dialogue>
<character>JILLIAN (O.S.)</character>
<dialogue>Okay, you guys....</dialogue>
<scene_description>Jillian emerges in a couture wedding gown. The women all go crazy.</scene_description>
<character>TRISH</character>
<dialogue>Oh that is it!</dialogue>
<character>ELAINE</character>
<dialogue>I could murder you.</dialogue>
<character>EMILY</character>
<dialogue>You have seriously never looked skinnier.</dialogue>
<character>JILLIAN</character>
<dialogue>Well, don't fall in love with it, because I'm not gonna get this exact dress. I'm gonna copy it and buy cheaper fabric and have it made for half the cost.</dialogue>
<scene_description>A STORE EMPLOYEE (20s) hears this and rolls her eyes.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, Jillian.</dialogue>
<scene_description>Marnie stands and comes towards her.</scene_description>
<character>MARNIE</character>
<dialogue>You really look beautiful.</dialogue>
<scene_description>They look in the mirror together.</scene_description>
<character>MARNIE</character>
<dialogue>Do you love it?</dialogue>
<character>JILLIAN</character>
<dialogue>Well, of course, but....</dialogue>
<scene_description>RIP. Marnie rips the price-tag off of the dress. The women all gasp. Then Jillian jumps up and down. A flurry of girls screaming, then the women all envelop Marnie in a huge hug.</scene_description>
<character>JILLIAN</character>
<dialogue>My mom was my birth mother, but would you be my Earth mother?</dialogue>
<scene_description>The other women surround them in a group hug. The store employee joins in.</scene_description>
<character>ELAINE</character>
<dialogue>My mom's not dead but will you be mine too?</dialogue>
<character>TRISH</character>
<dialogue>Mine too!</dialogue>
<character>MARNIE</character>
<dialogue>Oh, you girls!</dialogue>
<scene_description>They jump together in a circle, squealing and screaming.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Anyway....</dialogue>
</scene>
<scene>
<stage_direction>INT. JILLIAN'S HOUSE -- DAY</stage_direction>
<scene_description>Marnie and Jillian huddle around an iPad on a Crate & Barrel's bridal registry. Marnie helps Jillian click on different items.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I just wanted to make sure that you're gonna be back in time for what's her name's wedding. I don't think you're gonna want to miss it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GROVE -- DAY</stage_direction>
<scene_description>Marnie walks with Crate & Barrel bags full of everything on Jillian's list.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>It's gonna be the party of the century. So hopefully you don't have to do reshoots or whatever.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- LATER</stage_direction>
<scene_description>The car is filled with Crate & Barrel shopping bags. Marnie shouts into her hands-free cell, on speaker.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway, I hope you're having a good time.</dialogue>
<scene_description>Marnie spots a YELLOW SIGN on a telephone pole: TO SET! She immediately follows the sign's arrow.</scene_description>
<character>MARNIE</character>
<dialogue>I'm kind of dying to hear about everything. I miss you....</dialogue>
<scene_description>Suddenly, a RIGHT ARROW. TO SET! Marnie tries to change lanes, looking over her shoulder--</scene_description>
<character>MARNIE</character>
<dialogue>But basically I feel fine, so give me a call or don't if you can't--</dialogue>
<scene_description>CRUNCH! Marnie looks up to see she has crashed her Toyota into the back of the car in front of her. She reaches for her cell.</scene_description>
<character>MARNIE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>... Okay, love you.</dialogue>
<scene_description>She hangs up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THERAPIST'S OFFICE -- DAY</stage_direction>
<scene_description>Marnie gets dropped off in a TAXI CAB.</scene_description>
</scene>
<scene>
<stage_direction>INT. THERAPIST'S OFFICE -- LATER</stage_direction>
<scene_description>Marnie sits across from Lori's therapist again, surrounded by the Crate & Barrel shopping bags.</scene_description>
<character>MARNIE</character>
<dialogue>And then I realized that Freddy doesn't have anyone to help him with his studying. So I found out what classes he's taking and what books they're using at the school and I found them on Amazon for half the price, so... you know, I could help him with his studying.</dialogue>
<character>DIANE</character>
<dialogue>And why do you think you're helping him?</dialogue>
<character>MARNIE</character>
<dialogue>Freddy? Well... he lives in a poor neighborhood and his mother works full time and all he really wants is an education.</dialogue>
<character>DIANE</character>
<dialogue>And what about Jillian?</dialogue>
<character>MARNIE</character>
<dialogue>Well, she didn't get to have a proper lesbian wedding and I have the money so I figured, well, I could do that.</dialogue>
<character>DIANE</character>
<dialogue>What's Jillian's last name?</dialogue>
<scene_description>Marnie stops, giving it real thought.</scene_description>
<character>MARNIE</character>
<dialogue>I think it starts with a G. Or a K. It's definitely a consonant.</dialogue>
<character>DIANE</character>
<dialogue>A consonant?</dialogue>
<scene_description>Marnie looks at the rabbit in the cage on the desk. The rabbit looks back.</scene_description>
<character>DIANE</character>
<dialogue>Marnie, do you think there's some part of you that feels guilty that you have your husband's money? Like you received this consolation prize that you don't know what to do with? Or is there a part of you that thinks that maybe money is the way to save everybody? Or possibly even a way to stay in peoples' lives and be needed? And maybe your relationship with Freddy and Jillian is all a way of replacing your own daughter and husband?</dialogue>
<scene_description>Marnie looks at her.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- DAY</stage_direction>
<scene_description>Marnie fluffs the many stuffed animals around the old woman.</scene_description>
<character>MARNIE</character>
<parenthetical>(scoffing)</parenthetical>
<dialogue>And I told her, I said, I don't need to replace anybody. And why should I feel guilty for Joe's money? He came from nothing and worked his whole life for it. He would've wanted me to put it to good use. Like Cinderella. Bippity-boppity-boo. But she just kept saying all this stuff and asking all the questions. And I was like, you're a therapist, aren't you supposed to listen?</dialogue>
<scene_description>Marnie then fluffs the pillow under the woman's head. She looks up at Marnie, grateful.</scene_description>
<character>MARNIE</character>
<dialogue>You know, this hospital is one of the best in the country. My husband died here, so you're in really good hands.</dialogue>
<scene_description>The woman slowly raises her arm and points her finger at Marnie. Marnie looks at it.</scene_description>
<character>MARNIE</character>
<dialogue>ET phone home?</dialogue>
<scene_description>Marnie smiles and puts her finger on the woman's finger. The woman begins to make small half circles again, tracing the sky. Marnie's finger moves with it. The old woman's eyes are fixated on Marnie, but she's stirring inside, trapped in her body. Marnie looks back, also stirring. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. PARKING GARAGE -- DAY</stage_direction>
<scene_description>Marnie looks at her empty parking space. Then turns to the car parked in front of it, under the tarp. She walks to it and rather unceremoniously pulls off the tarp. She steps back. And the ceremony takes over.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOS ANGELES -- LATER</stage_direction>
<scene_description>Marnie drives the sunny streets in Joe's shiny, two-door, cherry-red Lexus convertible, palm trees reflected in the glass.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- CONTINUOUS</stage_direction>
<scene_description>She pushes a button. And the top goes down. She drives towards the sunset, wind in her hair, Beyonce turned up.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- NIGHT</stage_direction>
<scene_description>Grove parking lot. Marnie sits in the parked car, looking at pictures of the bridesmaid dresses on her phone when a text comes through from a 917 number. It reads: Hey Marnie, I'm in town again. Want 2 get that lunch sometime? xo Mark Marnie looks petrified, unsure how to respond when:</scene_description>
<character>FREDDY</character>
<dialogue>Whoa, look at this. Is this yours?</dialogue>
<scene_description>Freddy tosses his backpack in the car.</scene_description>
<character>MARNIE</character>
<dialogue>No. Well, it was my husband's. So, I guess so.</dialogue>
<scene_description>Just then, Freddy's twin, FREDO (20s) appears at his side, wearing a hat, also carrying a backpack.</scene_description>
<character>FREDO</character>
<dialogue>Got room for one more?</dialogue>
<character>FREDDY</character>
<dialogue>Marnie, this is my brother Fredo.</dialogue>
<scene_description>Marnie's eyes explode with pleasant surprise.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, wow, it's so nice to meet you.</dialogue>
<character>FREDDY</character>
<dialogue>I told him we'd give him a ride somewhere, is that okay?</dialogue>
<character>FREDO</character>
<dialogue>Actually I have to stop one other place first...</dialogue>
<character>MARNIE</character>
<dialogue>Of course. Any brother of Freddy's is a friend of mine.</dialogue>
<character>FREDO</character>
<dialogue>Shotgun!</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- LATER</stage_direction>
<scene_description>Marnie drives, Freddy squeezed in back, Fredo up front.</scene_description>
<character>FREDDY</character>
<dialogue>I read the book cover to cover, and you were right about that memorization technique....</dialogue>
<parenthetical>(then, testing it out)</parenthetical>
<dialogue>The executive's legs are juicy.</dialogue>
<character>MARNIE</character>
<dialogue>Ooh, what's that?</dialogue>
<character>FREDDY</character>
<dialogue>Executive, legislative, judicial.</dialogue>
<character>MARNIE</character>
<dialogue>Very good.</dialogue>
<character>FREDO</character>
<dialogue>Does this top go down?</dialogue>
<character>MARNIE</character>
<dialogue>Sure.</dialogue>
<scene_description>Marnie pushes a button and the top goes down.</scene_description>
<character>FREDO</character>
<dialogue>Yeah, this is the kind of car I need. But I'd paint it black. Matte black.</dialogue>
<character>MARNIE</character>
<dialogue>Ooh, that's an idea.</dialogue>
<character>FREDO</character>
<parenthetical>(to Freddy)</parenthetical>
<dialogue>Hey, remember when Tre stole that car and it turned out to be a hearse? You pissed your pants!</dialogue>
<scene_description>Fredo laughs hard. Freddy can't help but laugh a little. Marnie smiles at them both.</scene_description>
<character>FREDO</character>
<dialogue>This is the place.</dialogue>
<scene_description>Marnie pulls the car over. It's not a great neighborhood.</scene_description>
<character>FREDO</character>
<dialogue>I'll be two minutes.</dialogue>
<scene_description>Fredo takes his backpack and makes his way to a run-down house. Marnie and Freddy wait.</scene_description>
<character>FREDDY</character>
<dialogue>Thanks for taking him.</dialogue>
<character>MARNIE</character>
<dialogue>Of course. It's just nice to see the two of you together.</dialogue>
<scene_description>They watch as a THUG (20s) opens the door and lets Fredo in.</scene_description>
<character>MARNIE</character>
<dialogue>If you guys want, we can stop for ice cream on the way back.</dialogue>
<scene_description>Freddy laughs, knowing that's unlikely.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- LATER</stage_direction>
<scene_description>Marnie, Freddy and Fredo eat ice cream. She drives on.</scene_description>
<character>FREDO</character>
<dialogue>... Well, by then Freddy lost like thirty pounds and the doctors said if he didn't get another kidney within three months, the toxins would spread through his entire body and he'd definitely die.</dialogue>
<character>MARNIE</character>
<dialogue>Oh my God.</dialogue>
<character>FREDO</character>
<dialogue>I said, "Mom, Freddy's the smart one in the family. I'm not worth saving, but he is."</dialogue>
<parenthetical>(then, to Freddy)</parenthetical>
<dialogue>Show her the scar.</dialogue>
<scene_description>Freddy rolls his eyes, then turns around and shows the scar on his lower back. Marnie marvels at Fredo's generosity. She turns back to Fredo, showing his scar.</scene_description>
<character>FREDO</character>
<dialogue>See, we're not so different.</dialogue>
<scene_description>He points ahead.</scene_description>
<character>FREDO</character>
<dialogue>Here we go.</dialogue>
</scene>
<scene>
<stage_direction>63A EXT. CITY STREET/INT. JOE'S CAR -- CONTINUOUS 63A</stage_direction>
<scene_description>Marnie pulls the car over and Fredo zips up his bag and hops out. Freddy climbs in the front seat.</scene_description>
<character>FREDO</character>
<dialogue>Thanks, Mrs. M.</dialogue>
<character>MARNIE</character>
<dialogue>So nice to meet you, Fredo.</dialogue>
<scene_description>Freddy shuts the door. Marnie watches Fredo go. He waves. She waves back. He walks toward the seediest house ever.</scene_description>
<character>MARNIE</character>
<dialogue>Isn't it crazy? At one point, you were just these little kids who looked exactly the same. And now look at you.</dialogue>
<scene_description>She pulls ahead.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- LATER</stage_direction>
<scene_description>Marnie pulls over in the parking lot of Freddy's school.</scene_description>
<character>MARNIE</character>
<dialogue>And what's the difference between a veto and a pocket veto?</dialogue>
<character>FREDDY</character>
<dialogue>A pocket veto is when the President doesn't sign a bill for ten days but Congress can't overrule it.</dialogue>
<character>MARNIE</character>
<dialogue>You're ready, Freddy.</dialogue>
<parenthetical>(laughing)</parenthetical>
<dialogue>Ha. Ready, Freddy.</dialogue>
<scene_description>Just then, Freddy reaches down and picks something up off the passenger seat floor, trying to hide it.</scene_description>
<character>MARNIE</character>
<dialogue>What's that?</dialogue>
<scene_description>Freddy reluctantly shows her what he's found. A plastic bag filled with weed. She looks at it, disappointed. Then: ORANGE AND BLUE LIGHTS flash behind them.</scene_description>
<character>MARNIE</character>
<dialogue>Oh God.</dialogue>
<scene_description>A FLASHLIGHT shines on the two of them inside.</scene_description>
<character>MARNIE</character>
<dialogue>Cheese it!</dialogue>
<scene_description>She looks at Freddy. He's panicking.</scene_description>
<character>FREDDY</character>
<dialogue>What do we do? What do we do? I can't get in trouble. Not now.</dialogue>
<scene_description>A man is coming towards her. Marnie thinks fast. She takes the weed by the handful and turns to Heaven.</scene_description>
<character>MARNIE</character>
<dialogue>Sorry, Joey.</dialogue>
<scene_description>Freddy watches as Marnie throws the entire chunk of weed in her mouth and chews it. The man gets closer and closer. Marnie chews faster and faster. He's at the window. She swallows. He knocks. She lowers the window.</scene_description>
<character>CAMPUS SECURITY</character>
<dialogue>Are you alright, ma'am?</dialogue>
<scene_description>Marnie looks up at CAMPUS SECURITY (20s). Marnie shakes her head yes. The guy walks away. She looks back at Freddy. Her head starts shaking no. No, no, no.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR -- LATER</stage_direction>
<scene_description>Still on campus, Marnie drives as slow as humanly possible, Freddy beside her. The drugs move through her system.</scene_description>
<character>FREDDY</character>
<dialogue>I am so so sorry, Marnie. I never should've let him in the car. I shouldn't even be talking to him again. Damn this stupid kidney!</dialogue>
<character>MARNIE</character>
<dialogue>Freddy? I'm very something right now but when I'm not this we should talk about everything, okay?</dialogue>
<character>FREDDY</character>
<dialogue>Okay.</dialogue>
<scene_description>She rolls to a stop. Freddy climbs out of the car.</scene_description>
<character>FREDDY</character>
<dialogue>But Marnie?</dialogue>
<character>MARNIE</character>
<dialogue>Yeah, Freddy?</dialogue>
<character>FREDDY</character>
<dialogue>I am really sorry.</dialogue>
<character>MARNIE</character>
<dialogue>I know, Freddy. I'm gonna get off the road now, Freddy.</dialogue>
<scene_description>He shuts the door. She looks at him for a stoned beat, then pulls away, ever-so-slowly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GROVE -- LATER THAT NIGHT</stage_direction>
<scene_description>-- Marnie wanders The Grove, stoned out of her mind. The sights. The sounds. Everything is vivid, alive. -- The fountain is more mesmerizing than ever. -- The trolley is a locomotive. -- Outside the theater, she stares at a poster of Jacob in an upcoming indie. Marnie's mind explodes, like she's seeing the universe through her daughter's eyes. -- The stores have closed. Marnie walks the full length of The Grove and keeps going, crossing into:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMER'S MARKET -- LATER</stage_direction>
<scene_description>She wanders through the cluster of closed restaurants.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUPAR'S -- LATER</stage_direction>
<scene_description>She makes her way to the brightly-lit diner.</scene_description>
</scene>
<scene>
<stage_direction>INT. DUPAR'S -- LATER</stage_direction>
<scene_description>She stares at the gigantic cakes and pies spinning in a glass case. Her eyes are glazed over. She looks up at a WAITRESS.</scene_description>
<character>MARNIE</character>
<dialogue>Howm... uch?</dialogue>
<character>WAITRESS</character>
<dialogue>They're all twelve dollars.</dialogue>
<character>MARNIE</character>
<dialogue>I can have them all for twelve dollars?</dialogue>
<character>COP (O.S.)</character>
<dialogue>Hey, I know you.</dialogue>
<scene_description>Marnie turns to see the motorcycle cop from set. Out of uniform. He's even better-looking up close. Marnie's glazed eyes widen, starting to panic.</scene_description>
<character>MARNIE</character>
<dialogue>Uh... No, you don't.</dialogue>
<character>COP</character>
<dialogue>You're an actress, right?</dialogue>
<character>MARNIE</character>
<dialogue>And you are a police... officerman.</dialogue>
<scene_description>She turns back to the pies, nervous, paranoid, feeling the weed. He steps up to her.</scene_description>
<character>COP</character>
<dialogue>Well, technically, I'm retired. But they still need us on set.</dialogue>
<parenthetical>(making joke)</parenthetical>
<dialogue>In case a director starts throwing things.</dialogue>
<scene_description>He laughs. She laughs, confused.</scene_description>
<character>COP</character>
<dialogue>Everybody calls me Zipper.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, that's nice.</dialogue>
<scene_description>He looks at her.</scene_description>
<character>COP/ZIPPER</character>
<dialogue>And you are, Miss...</dialogue>
<character>MARNIE</character>
<dialogue>Minervini.</dialogue>
<character>ZIPPER</character>
<dialogue>Miss Minervini...</dialogue>
<character>MARNIE</character>
<dialogue>Mrs.</dialogue>
<character>ZIPPER</character>
<dialogue>Mrs. Minervini...</dialogue>
<character>MARNIE</character>
<dialogue>Or is it Miss? My husband died, but it's still Mrs., right? Or do I go back to my maiden name? You know what? Call me Marnie, that way it won't be confusing.</dialogue>
<scene_description>She steadies herself, trying to look casual.</scene_description>
<character>ZIPPER</character>
<dialogue>Marnie?</dialogue>
<character>MARNIE</character>
<dialogue>Hm?</dialogue>
<character>ZIPPER</character>
<dialogue>Do you want to join us?</dialogue>
<character>MARNIE</character>
<dialogue>Us?</dialogue>
<scene_description>Marnie looks up to see an entire corner of the restaurant swarmed with COPS, some detectives, some off-duty. She turns ghost white. Zipper leads her toward them.</scene_description>
<character>MARNIE</character>
<dialogue>Um...</dialogue>
</scene>
<scene>
<stage_direction>INT. DUPAR'S -- LATER</stage_direction>
<scene_description>Marnie sits next to Zipper in the middle of the circle of COPS, some in uniform, some detectives, all chugging coffee and talking a mile a minute. Marnie is staring at her hands.</scene_description>
<character>OFFICER LEE</character>
<dialogue>So we get to the area and sure enough there's a naked guy and he's just walking down the street, waving in the wind.</dialogue>
<character>OFFICER BERNIE</character>
<dialogue>He wasn't waving. He was saluting.</dialogue>
<scene_description>The cops crack up. The sound echoes through Marnie's body. She looks up from her hands.</scene_description>
<character>OFFICER DAVIS</character>
<dialogue>Anyway, he was being real belligerent and refused to put any clothes on or get in the car. So Bernie suggested we taze him.</dialogue>
<character>OFFICER BERNIE</character>
<parenthetical>(throwing up an arm)</parenthetical>
<dialogue>What can I say? I love tazing.</dialogue>
<character>OFFICER DAVIS</character>
<dialogue>So Bernie gets his tazer out and... you know how Bernie's aim has always been a little low...</dialogue>
<character>ZIPPER</character>
<dialogue>No...</dialogue>
<scene_description>Everyone dies of laughter. Marnie tries to join them, laughing too hard.</scene_description>
<character>OFFICER DAVIS</character>
<parenthetical>(laughing, shaking)</parenthetical>
<dialogue>He would not go down. He just stood there, vibrating, pointing north...</dialogue>
<parenthetical>(turns to Marnie)</parenthetical>
<dialogue>Pardon my language.</dialogue>
<scene_description>Marnie stop and turns to him.</scene_description>
<character>MARNIE</character>
<dialogue>Oh. Were you talking?</dialogue>
<scene_description>They all look at her, then everyone bursts into laughter. Zipper smiles. She laughs, unsure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUPAR'S -- LATER</stage_direction>
<scene_description>Zipper opens the door for her. She hurries outside.</scene_description>
<character>ZIPPER</character>
<dialogue>Sorry about them. They're good guys. They just like hearing themselves talk.</dialogue>
<character>MARNIE</character>
<dialogue>Well, if I had stories like them, I'd just like to hear myself think.</dialogue>
<scene_description>He laughs. They stand at the edge of Dupar's parking lot, under a street-lamp. She looks at him, knees weakening.</scene_description>
<character>MARNIE</character>
<dialogue>Well, I better get home.</dialogue>
<character>ZIPPER</character>
<dialogue>Okay.</dialogue>
<character>MARNIE</character>
<dialogue>I gotta dog-sit my daughter's kids and my hands are really loud, so...</dialogue>
<character>ZIPPER</character>
<dialogue>Do you need a ride or...?</dialogue>
<scene_description>He gestures. Marnie looks at Zipper's motorcycle.</scene_description>
<character>MARNIE</character>
<dialogue>I can't drive that thing.</dialogue>
<character>ZIPPER</character>
<parenthetical>(slight laugh)</parenthetical>
<dialogue>Okay, well, how bout just this once I drive it and you can sit on back.</dialogue>
<scene_description>He climbs on.</scene_description>
<character>MARNIE</character>
<dialogue>Are you crazy? I would kill my daughter if she died on a motorcycle.</dialogue>
<character>ZIPPER</character>
<dialogue>Oh, no, this isn't a motorcycle. This is a Harley Davidson. There's a world of difference. It's important that you understand that.</dialogue>
<scene_description>A few other cops start out of Dupar's toward their COP CAR.</scene_description>
<character>ZIPPER</character>
<dialogue>Let me just kick-start her here.</dialogue>
<scene_description>Zipper "kick-starts" his Harley with his thumb.</scene_description>
<character>ZIPPER</character>
<dialogue>You wanna go on a ride-along?</dialogue>
<character>MARNIE</character>
<dialogue>A what-along?</dialogue>
<character>ZIPPER</character>
<dialogue>You're new in town. Let me give you the tour.</dialogue>
<scene_description>She looks at him, unsure.</scene_description>
<character>ZIPPER</character>
<dialogue>The safest place you can be in Los Angeles is on the back of this bike, I promise you.</dialogue>
<scene_description>He extends a helmet.</scene_description>
<character>ZIPPER</character>
<dialogue>Don't worry. I'll go slow.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LOS ANGELES STREETS -- LATER</stage_direction>
<scene_description>Not slowly, the motorcycle tails a COP CAR. Marnie is strapped to Zipper's back, helmet on, terror in her eyes.</scene_description>
<character>ZIPPER</character>
<dialogue>So tell me about your kids.</dialogue>
<character>MARNIE</character>
<dialogue>LATER!</dialogue>
<scene_description>She grips his waist and closes her eyes, starting to pray.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SANTA MONICA STREET -- LATER</stage_direction>
<scene_description>Marnie and Zipper are parked behind the cop car. Zipper looks through binoculars at something.</scene_description>
<character>ZIPPER</character>
<dialogue>After I retired, I used to drive around listening to the CB just to see where the action was. And then I started following them around, so the guys said I should just come along. Sort of like unofficial back-up. In case anything goes wrong.</dialogue>
<character>MARNIE</character>
<dialogue>That's cool. So you make your own hours.</dialogue>
<scene_description>He swallows, letting her think it's cool.</scene_description>
<character>MARNIE</character>
<dialogue>Were you on the Red Ripper case?</dialogue>
<character>ZIPPER</character>
<dialogue>No. No, but I knew of the guy following him. Hadn't seen his family in eight years. That's what chasing a rabbit will do to you.</dialogue>
<scene_description>This hits her. She nods, letting go of irrational fears.</scene_description>
<character>ZIPPER</character>
<dialogue>Took thirty years on the force to realize you can't save everybody.</dialogue>
<scene_description>He looks through the binoculars.</scene_description>
<character>ZIPPER</character>
<dialogue>But you try.</dialogue>
<scene_description>Marnie smiles at him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER SANTA MONICA STREET -- LATER</stage_direction>
<scene_description>With a view of the pier, Marnie and Zipper sit on a bench, the motorcycle nearby. She looks through the binoculars now, like they're in the last row of an action movie.</scene_description>
<character>MARNIE</character>
<dialogue>So why do they call you Zipper?</dialogue>
<character>ZIPPER</character>
<dialogue>It's my last name.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, well, that makes sense. What's your first name?</dialogue>
<character>ZIPPER</character>
<dialogue>Randy. Randall.</dialogue>
<character>MARNIE</character>
<dialogue>Are you from out here? Am I asking too many questions?</dialogue>
<scene_description>He smiles and shakes his head.</scene_description>
<character>ZIPPER</character>
<dialogue>I'm from Oxnard originally. I moved to Ventura when I got married and then I moved to Topanga when I got divorced.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, I'm sorry.</dialogue>
<character>ZIPPER</character>
<dialogue>Oh, don't be sorry. She's not.</dialogue>
<scene_description>He laughs. She joins him.</scene_description>
<character>ZIPPER</character>
<dialogue>She never smiled with her teeth. You know? I should've known.</dialogue>
<scene_description>Marnie doesn't know whether or not to smile.</scene_description>
<character>MARNIE</character>
<dialogue>Topanga? Is that by the beach?</dialogue>
<character>ZIPPER</character>
<dialogue>It's by the beach. Not on the beach.</dialogue>
<character>ZIPPER</character>
<dialogue>I wouldn't mind living on the beach. But I wouldn't know where to keep the chickens.</dialogue>
<character>MARNIE</character>
<dialogue>Chickens?</dialogue>
<character>ZIPPER</character>
<dialogue>Some people have dogs. I am a man with chickens.</dialogue>
<character>MARNIE</character>
<dialogue>How many?</dialogue>
<character>ZIPPER</character>
<dialogue>You know what they say about counting chickens.</dialogue>
<scene_description>She laughs.</scene_description>
<character>ZIPPER</character>
<dialogue>We have a very symbiotic relationship. I give them a coop and some grass and sometimes a little Parmesan cheese and they keep me in eggs.</dialogue>
<scene_description>He reaches into his pocket and pulls out a blue egg.</scene_description>
<character>ZIPPER</character>
<dialogue>This is from the Ameraucana. I only have one Easter Egger.</dialogue>
<scene_description>He hands her the blue egg. She looks at it up close.</scene_description>
<character>MARNIE</character>
<dialogue>I can't believe it didn't break.</dialogue>
<character>ZIPPER</character>
<dialogue>Yeah, she's a toughie.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You want to meet her?</dialogue>
<scene_description>She looks up at him, thinking.</scene_description>
<character>MARNIE</character>
<dialogue>You mean at your house?</dialogue>
<character>ZIPPER</character>
<parenthetical>(looks at his watch)</parenthetical>
<dialogue>Well, she's been out at the bar all night but she should be home by now.</dialogue>
<scene_description>She deliberates, fighting the voices in her head.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ZIPPER'S TOPANGA HOME -- EARLY DAWN</stage_direction>
<scene_description>Marnie and Zipper walk up to the coop. He holds open a chicken-wire gate and she nervously walks through it. She stands there as Zipper calls to the chickens and spreads out some feed.</scene_description>
<character>ZIPPER</character>
<dialogue>Okay, that's Joan, that's Gertude, that's Henrietta... Don't let her sass you. She's got an attitude on account of being so damn beautiful. Ladies, this is Marnie.</dialogue>
<scene_description>Marnie shyly waves at them. Zipper walks to the other side of the coop and messes with a boom box, an extension cord extends into the house.</scene_description>
<character>ZIPPER</character>
<dialogue>Couple a months back, I was cleaning the coop and playing my boom box and I looked at their faces and I swear, the chickens just looked happy. So I did a little experiment to see what kind of music they dig the most. Rock 'n' roll makes them lay eggs like crazy, but seems to stress them out. Classical works. Reggae does not. But I find for the perfect balance of productivity and happiness, all roads lead to Dolly.</dialogue>
<scene_description>He pushes PLAY on the boom box and a Dolly Parton song plays. Zipper and Marnie stand in the coop.</scene_description>
<character>MARNIE</character>
<dialogue>How can you tell if it's working?</dialogue>
<character>ZIPPER</character>
<dialogue>Don't they look like they're smiling?</dialogue>
<scene_description>She looks at the chickens. They all have different chicken faces. She can't tell if they're smiling, but she sure is. It gets wider and wider, as she moves around the coop, two- stepping out of the chickens' way. It's almost dancing.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZIPPER'S HOUSE -- MORNING</stage_direction>
<scene_description>The sun is just coming up, bathing the room in a pink glow. Zipper makes Marnie a cup of coffee in his small kitchen.</scene_description>
<character>MARNIE</character>
<dialogue>Well, Joe didn't want to know how much time he had left. But Lori and I knew. So he asked her if she could throw us our wedding anniversary in August. But she knew he wouldn't make it til then so she said, "Why don't I throw you a party forty years from the day you met?" So Lori decorated her house like it was 1969 and all the music was from 1969 and all her friends came dressed in 60s clothes and Joe's brothers flew out and she served fondue. And it was just the most spectacular day. Like the day we got married.</dialogue>
<scene_description>Marnie smiles. Zipper sits across from her.</scene_description>
<character>MARNIE</character>
<dialogue>We came out here for his treatments and then took care of him for another two months and....</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>Lori said we were in the delivery business.</dialogue>
<parenthetical>(hands to Heaven)</parenthetical>
<dialogue>Shipping and handling.</dialogue>
<scene_description>She forces a smile. Zipper can see this is still an open wound. He moves on.</scene_description>
<character>ZIPPER</character>
<dialogue>And then you stayed in LA? That's a pretty big sea change, literally. I mean, that's really, very brave.</dialogue>
<character>MARNIE</character>
<dialogue>Yeah? Well, who wouldn't love it here? The sun is always shining. It's like living on Main Street in Disneyland.</dialogue>
<scene_description>He looks at her. For a second too long. And smiles.</scene_description>
<character>MARNIE</character>
<dialogue>What about you? You got kids?</dialogue>
<character>ZIPPER</character>
<dialogue>Two beautiful girls.</dialogue>
<scene_description>She smiles.</scene_description>
<character>ZIPPER</character>
<dialogue>The one who likes me lives far away. And the one that doesn't is in Palm Springs.</dialogue>
<scene_description>Her smile drops. He explains.</scene_description>
<character>ZIPPER</character>
<dialogue>Lizzy was still in high school when her mom and I fell apart, which was mostly my fault. 70/30. 60/40, maybe. I was working all the time. I brought it home with me. And as soon as she started to slip away, I started gripping and I guess I held on too tightly. And I lost her. Lizzy, I mean. The younger one.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>She's in a rehab--</dialogue>
<parenthetical>(correcting himself)</parenthetical>
<dialogue>Program. She's in a program. I was hoping one of those steps would lead her back here, but....</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I don't know. I was a hot head then. I let my temper get the best of me. I was too strict. Had too many rules. Curfews. Made them scared to tell me things.</dialogue>
<character>MARNIE</character>
<dialogue>Well, sure. Look at everything you were seeing all day. Serial killers and stuff? I just watch the news. Never-mind being a part of it. It's like an action movie.</dialogue>
<character>ZIPPER</character>
<parenthetical>(slight scoff)</parenthetical>
<dialogue>Well, not anymore.</dialogue>
<character>MARNIE</character>
<dialogue>Still. It's not your fault the world is a scary place.</dialogue>
<scene_description>She takes a sip of coffee. He looks at her. She has no idea how beautiful she looks.</scene_description>
<character>MARNIE</character>
<dialogue>Thank God you're retired.</dialogue>
<scene_description>He clears his throat, almost laughing, but not.</scene_description>
<character>ZIPPER</character>
<dialogue>Yeah, it has its moments. I've learned to calm down. I meditate, if you can believe that. The chickens keep me in line. Sometimes I hit the bag in the garage. Mostly I just exercise patience. With everything. My ex. My girls. If Lizzy doesn't want me to call her anymore, I have to respect that.</dialogue>
<character>MARNIE</character>
<parenthetical>(bursting)</parenthetical>
<dialogue>No. I mean... you can't not call.</dialogue>
<character>ZIPPER</character>
<dialogue>I left her messages until it was full.</dialogue>
<character>MARNIE</character>
<dialogue>So? I'm sorry. I should mind my own business. But you should call her.</dialogue>
<character>ZIPPER</character>
<dialogue>I really wouldn't know what to say.</dialogue>
<character>MARNIE</character>
<dialogue>Just tell her you love her. No matter what she's up to.</dialogue>
<parenthetical>(then, matter-of-fact)</parenthetical>
<dialogue>Everybody knows their mothers love them unconditionally. Fathers have to... say it out loud. I think.</dialogue>
<scene_description>He smiles. Struck by this. Her. She can suddenly feel the weight in the air and barrels through it.</scene_description>
<character>MARNIE</character>
<dialogue>Joe used to have a temper. But he was Italian, so.... Oh my God, what time is it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LORI'S HOUSE -- EARLY MORNING</stage_direction>
<scene_description>Zipper pulls the motorcycle over and Marnie hops off. She hands him the helmet. He hands her a carton of eggs.</scene_description>
<character>MARNIE</character>
<dialogue>Well, thanks.</dialogue>
<character>ZIPPER</character>
<dialogue>Okay.</dialogue>
<scene_description>He reaches into his wallet and hands her his card. Their hands touch for a flash. She quickly puts the card in her pants pocket.</scene_description>
<character>ZIPPER</character>
<dialogue>In case you need to get out of a speeding ticket or something.</dialogue>
<scene_description>She turns and hurries away. He watches her go.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- MOMENTS LATER</stage_direction>
<scene_description>-- Marnie puts down the carton of eggs. -- Outside, she feeds the dogs. Watching them eat. -- She opens the carton of eggs and sees eleven brown eggs and one blue one. She smiles. -- Music begins over:</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>-- Marnie takes a piece of bread and cuts a hole in it. -- She places the bread in a hot pan. The butter sizzles. -- She cracks the blue egg open and drops the yolk in the center of the bread. -- The egg fries in the heat. The steam rises up to meet her. She slides the spatula underneath it and flips it at exactly the right time. -- Marnie sits at the table and cuts into the egg-fried bread. She salts the single bite and puts it in her mouth. It's so good, her eyes roll back. -- Bite after bite, it seems to only get better. She hasn't tasted an egg like this in so long. Maybe ever. -- Marnie finishes the last bite, wipes her mouth and pounds a fist on the table, as she swallows. And exhales. Slowly, her expression changes from ecstasy to something like guilt. -- At the sink, she scrubs the plate clean, shaking her head.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Anyway...</dialogue>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>Marnie packs a suitcase.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>I'm taking United flight 352 landing at JFK at 4:30. Just thought I should head back east for a little bit. See Daddy's brothers and maybe get to visit you on set.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLLYWOOD HOUSE -- LATER</stage_direction>
<character>MARNIE (V.O.)</character>
<dialogue>Don't worry about the dogs. I dropped them off at Jacob's house so they'd be somewhere familiar.</dialogue>
<scene_description>Marnie hands the dogs off to the tall girl from Valentine's.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE -- LATER</stage_direction>
<scene_description>Marnie looks out the tiny window at the incomparable New York City skyline. Her eyes light up.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>To be honest, I can't wait to be back in the city.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN -- DAY</stage_direction>
<scene_description>The streets are alive. Marnie walks along the bustling sidewalks, taking hundreds of pictures with her iPhone.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>Seeing the old stomping grounds. Walking through Midtown and the garment district and seeing Daddy's old building.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MIDTOWN BUILDING -- MOMENTS LATER</stage_direction>
<scene_description>Marnie takes a picture of herself under the address, but cuts off half her face. She looks up at the skyscraper, people flowing in and out, unable to bring herself inside.</scene_description>
<character>MARNIE (V.O.)</character>
<dialogue>But mostly I can't wait to see you. So let me know when's a good time.</dialogue>
</scene>
<scene>
<stage_direction>INT. SILVERCUP STUDIOS -- NOT A GOOD TIME/NEXT DAY</stage_direction>
<scene_description>The set of Lori's TV pilot. Lori looks frazzled, surrounded by a crew of people asking questions, as Marnie approaches, smiling proud, clapping excitedly. Lori looks up at her and smiles wide, coming in for a long hug. Then, pulling away:</scene_description>
<character>LORI</character>
<dialogue>Okay, this is your chair.</dialogue>
<scene_description>She sits her mother in a chair.</scene_description>
<character>LORI</character>
<dialogue>These are your cans.</dialogue>
<scene_description>She hands her mother a pair of headphones.</scene_description>
<character>LORI</character>
<dialogue>Don't talk to anyone. And the safe word is "cantaloupe".</dialogue>
<scene_description>ON A BELL. Marnie puts on her headphones, already on the edge of her seat. Lori sits behind the DIRECTOR (40s). Marnie sits behind Lori. Marnie peeks around them all to look at the tiny monitors, A and B. A clapboard comes into view. Rolling. Set. Action. ON THE A-MONITOR: A TV DAUGHTER (20s, too pretty) says good- night to a DATE (20s) at the door.</scene_description>
<character>TV DAUGHTER</character>
<dialogue>Okay, call me. Good-night. Bye.</dialogue>
<scene_description>She shuts the door, swooning, then walks into the kitchen to find -- ON THE B-MONITOR: The TV MOM (40s, too young) sits at the table, eating ice cream from a carton and reading a book.</scene_description>
<character>TV DAUGHTER</character>
<dialogue>Jesus, Mom, you scared the crap out of me. Don't you have ice cream in the guest house?</dialogue>
<character>TV MOM</character>
<dialogue>Well, yeah but I already picked all the cookie dough out of it.</dialogue>
<character>TV DAUGHTER</character>
<dialogue>What are you reading?</dialogue>
<parenthetical>(then, freaking)</parenthetical>
<dialogue>Is that my journal?</dialogue>
<character>TV MOM</character>
<dialogue>Oh, is that what this is? I thought the characters seemed a little slutty.</dialogue>
<character>TV DAUGHTER</character>
<dialogue>Give me that!</dialogue>
<character>TV MOM</character>
<dialogue>Aren't you too old to keep a journal?</dialogue>
<character>TV DAUGHTER</character>
<dialogue>Aren't you too old to read your daughter's journal? That's a violation of space and time.</dialogue>
<character>TV DAD (O.S.)</character>
<dialogue>What's all the yelling about?</dialogue>
<scene_description>A TV DAD (50s, bad Italian accent) enters in nothing but a towel. He fills the frame, taking over the B-CAMERA.</scene_description>
<character>TV MOM</character>
<dialogue>I violated space and time.</dialogue>
<character>TV DAD</character>
<dialogue>You peed in the upstairs shower too?</dialogue>
<scene_description>The director chuckles. Lori looks pained. But Marnie is mesmerized. The father and daughter talk, their images facing each other on opposite monitors.</scene_description>
<character>TV DAUGHTER</character>
<dialogue>What's wrong with the shower in the guest house?</dialogue>
<character>TV DAD</character>
<dialogue>It started to get this weird smell.</dialogue>
<scene_description>SLOW PUSH on Marnie. For a moment, Joe is alive. She watches without blinking, riveted.</scene_description>
<character>TV DAUGHTER (O.S.)</character>
<dialogue>Mom, Dad, when I said you guys should move here after you retire, I didn't mean here here. I need to get a life. I need to meet a guy and get married and give you grandchildren so you'll leave me alone. Wet towel, Dad. Wet towel.</dialogue>
<character>TV DAD</character>
<dialogue>Oh, sorry.</dialogue>
<scene_description>The dad removes the towel and hands it to the daughter.</scene_description>
<character>TV DAD</character>
<dialogue>Could you hang this up for me?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Lorraine?</dialogue>
<character>DIRECTOR</character>
<dialogue>Aaaaaaand.... cut.</dialogue>
<scene_description>Everyone stands up and starts moving, back to work. Lori goes to talk to one of the CAMERA GUYS. But Marnie is frozen in place, dazed, nostalgic. Until: The actor playing the father comes to sit at video village. Marnie is a chair away from him as he checks his phone. She tries not to breathe. Then can't help herself, and leans in.</scene_description>
<character>MARNIE</character>
<dialogue>You look so much like him.</dialogue>
<scene_description>He turns to her. No Italian accent.</scene_description>
<character>TV DAD</character>
<dialogue>I'm sorry?</dialogue>
<character>MARNIE</character>
<dialogue>The character you're playing. You look so much like the person it's based on.</dialogue>
<character>TV DAD</character>
<dialogue>Oh. I didn't realize it was....</dialogue>
<character>LORI</character>
<dialogue>Cantaloupe, Mom.</dialogue>
<parenthetical>(clearing throat)</parenthetical>
<dialogue>Cantaloupe.</dialogue>
<scene_description>Lori gestures to her mother, while over-coughing.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BAR -- LATER</stage_direction>
<scene_description>At a round booth, Lori sits in between Marnie and the camera guy from Lori's set, BEN (30s). He's in the middle of a long, animated story.</scene_description>
<character>BEN</character>
<dialogue>Indy races through the jungle, all the way back to Jock and the seaplane. Indy screams, "Come on, Jock! Get going!" but the natives are chasing him to the edge of the water. So Indy grabs onto a vine and goes swinging through the air...</dialogue>
<scene_description>Ben sings some theme music. Marnie laughs, enchanted. Lori takes a big sip of her drink.</scene_description>
<character>BEN</character>
<dialogue>Indy hits the water. Splewsh. Poison arrows are firing all around him. Pew pew pew pew pew.... Then Indy climbs into the seat of the plane just as it lifts out of the water and takes to the sky. And that's when Indy looks down and sees.... are you ready?... a giant snake in his lap.</dialogue>
<scene_description>Marnie gasps.</scene_description>
<character>BEN</character>
<dialogue>Indy screams, "Jock, why is there a snake on this plane?". And Jock says, "Oh that's just Reggie!" And Indy says, "But Jock, I hate snakes!" And the plane flies off into the sunset. And that's the first twenty minutes of "Indiana Jones and the Raiders of the Lost Ark".</dialogue>
<scene_description>Marnie claps, entertained. Lori forces a laugh. Ben laughs the hardest, wiping his brow, and exhales.</scene_description>
<character>MARNIE</character>
<dialogue>I've never seen it.</dialogue>
<character>BEN</character>
<dialogue>Well, we'll have to watch it before you leave town.</dialogue>
<scene_description>He gives Lori a too-hard squeeze. The WAITER brings more drinks. Lori can't get to hers fast enough.</scene_description>
<character>MARNIE</character>
<dialogue>So you guys met on set?</dialogue>
<character>LORI</character>
<parenthetical>(pointed)</parenthetical>
<dialogue>That's right, just two weeks ago. Like I was telling you right before you invited him to dinner.</dialogue>
<character>MARNIE</character>
<dialogue>Well, I think it's romantic. Meeting on a movie set.</dialogue>
<character>LORI</character>
<dialogue>People meet on sets all the time and it's usually scandalous and home-wrecking.</dialogue>
<character>MARNIE</character>
<dialogue>I knew my husband for two weeks before he proposed.</dialogue>
<character>BEN</character>
<dialogue>Two weeks?</dialogue>
<character>MARNIE</character>
<dialogue>I think when you know, you know, you know?</dialogue>
<character>BEN</character>
<dialogue>I totally agree.</dialogue>
<scene_description>He pulls Lori towards him.</scene_description>
<character>LORI</character>
<dialogue>I'm gonna run to the bathroom.</dialogue>
<character>BEN</character>
<dialogue>Hurry back.</dialogue>
<scene_description>Lori slides under the booth and away. Ben looks around, then looks back at Marnie, with a secret.</scene_description>
<character>BEN</character>
<dialogue>Hey...</dialogue>
<scene_description>He gestures for Marnie to lean in. As she does, he leans forward and presents an ENGAGEMENT RING in a light-up box.</scene_description>
<character>MARNIE</character>
<dialogue>Oh my God...</dialogue>
<character>BEN</character>
<dialogue>I got it the day after we met.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I don't do things half-assed. When I know I want something, I go for it. That's how I got this far in my career. Russell Boyd, Rodney Charters, Don McAlpine... when the top cinematographers need a B- camera operator, do you know who they call?</dialogue>
<character>MARNIE</character>
<dialogue>You?</dialogue>
<scene_description>He shuts the ring box and leans back.</scene_description>
<character>BEN</character>
<dialogue>When you know, you know.</dialogue>
<character>MARNIE</character>
<dialogue>Wow, it's all so fast. But if it'll make Lori happy...</dialogue>
<scene_description>He leans in, too intense.</scene_description>
<character>BEN</character>
<dialogue>So I was thinking that we get everyone she knows, all her friends and family and people she works with and the entire crew and we put together one of those Youtube videos, and maybe it starts with you putting Lori on the back of my truck and then the radio starts playing our song...</dialogue>
<scene_description>Marnie beams. Her eyes couldn't get any wider.</scene_description>
<character>BEN</character>
<dialogue>And everyone she knows comes out one at a time and does this choreographed dance number until it ends with me appearing with the ring and getting down on one knee, all in one tracking shot....</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM -- LATER</stage_direction>
<scene_description>Lori rummages through the mini bar while Marnie sits up in bed, smiling too wide, practically vibrating.</scene_description>
<character>LORI</character>
<dialogue>I just feel like the whole thing is getting bastardized by everybody's notes and the guy playing the dad is just not up for the challenge. Why are you so hyper?</dialogue>
<character>MARNIE</character>
<dialogue>Nothing. I'm just excited for you.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>And Ben seems nice.</dialogue>
<character>LORI</character>
<dialogue>Yeah, well, don't get too used to him, Mom, it's not gonna last.</dialogue>
<character>MARNIE</character>
<parenthetical>(sing-songy)</parenthetical>
<dialogue>I wouldn't be so sure.</dialogue>
<character>LORI</character>
<dialogue>No, I'm telling you. I'm just rebounding. I need to date below- the-line for a change.</dialogue>
<character>MARNIE</character>
<dialogue>You know, sometimes, people think they're having a rebound but then it evolves into something more.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Actually, there's something I should tell you.</dialogue>
<scene_description>Marnie sits Lori down. She takes a breath.</scene_description>
<character>MARNIE</character>
<dialogue>I was engaged to someone else before Daddy.</dialogue>
<character>LORI</character>
<dialogue>Yeah, I know. You told me before.</dialogue>
<character>MARNIE</character>
<dialogue>I did?</dialogue>
<character>LORI</character>
<dialogue>Yeah, his name was Matteo and you weren't that attracted to him and then you went to Atlantic City with your girlfriends and that's where you met Daddy. You have like three stories, Mom.</dialogue>
<character>MARNIE</character>
<dialogue>Alright. So, if you're rebounding then why don't you and Jacob give it another go?</dialogue>
<scene_description>Lori gets up, downs a quick drink.</scene_description>
<character>LORI</character>
<dialogue>That's not up to me.</dialogue>
<character>MARNIE</character>
<dialogue>Well, maybe if you just told him how you feel....</dialogue>
<character>LORI</character>
<dialogue>See, that is the great lie of your life, Mom. That if you dream it, you can do it. And the world doesn't work that way.</dialogue>
<character>MARNIE</character>
<dialogue>What are you talking about? You dreamt you could move to Hollywood and you did it. You dreamt you could be a writer and you did it. You dream up different stories all the time.</dialogue>
<scene_description>Lori half-smiles. It's almost working.</scene_description>
<character>MARFNIE</character>
<dialogue>Which reminds me, I met the cutest girl in the bathroom at JFK. She's in a wheelchair and she writes a blog about empowering young women and I told her you were a writer and she hadn't heard of you but she was really impressed when I told her you'd have coffee with her sometime and give her some industry tips. Your cell phone's 323?</dialogue>
<scene_description>Lori stops smiling.</scene_description>
<character>LORI</character>
<dialogue>I don't have industry tips.</dialogue>
<character>MARNIE</character>
<dialogue>Well, it's just a coffee. She's in a wheelchair.</dialogue>
<scene_description>Lori climbs into bed next to Marnie, drink in hand. Marnie has her cell phone out, camera on, unsure where to aim it.</scene_description>
<character>MARNIE</character>
<dialogue>How do you take a selfie?</dialogue>
<character>LORI</character>
<dialogue>What do you mean? You just take it. You just take a picture of yourself.</dialogue>
<parenthetical>(immediately curious)</parenthetical>
<dialogue>Who are you sending a selfie to??</dialogue>
<character>MARNIE</character>
<dialogue>Nobody. Shhhhh.</dialogue>
<scene_description>Marnie quickly puts her phone down, then grabs the remote.</scene_description>
<character>LORI</character>
<parenthetical>(playfully)</parenthetical>
<dialogue>Do you have a new friend??</dialogue>
<character>MARNIE</character>
<dialogue>I said I didn't want to talk about it!</dialogue>
<scene_description>Lori stifles her happy curiosity as much as she can. She toasts the air, takes a sip of her drink and --</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM -- LATER</stage_direction>
<scene_description>Lori is passed out in bed. Marnie pours a tiny bottle of vodka into a cup and into her mouth. Marnie swallows it in one gulp, then reaches for her phone. She squints to see the phone number written on his card. Dials before she changes her mind. Straight to voicemail:</scene_description>
<character>ZIPPER (O.S.)</character>
<dialogue>This is obviously me.</dialogue>
<scene_description>BEEP. Marnie loud-whispers in the dark.</scene_description>
<character>MARNIE</character>
<dialogue>Hello. Zipper, um, it's Marnie. Minervini. I'm in New York with my daughter who is making her TV show and I saw the set today and it made me think of you. Well, your job. And also what you do for a living.</dialogue>
<scene_description>She gestures and hits the table, knocking over bottles.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway, I ordered the scrambled eggs at the hotel this morning and they were nothing like what I ate of yours. I mean, the eggs you gave me. I had one. Briefly. So I just wanted to check in... on the chickens and, oh...</dialogue>
<parenthetical>(whispering more)</parenthetical>
<dialogue>Lori has a new boyfriend, or should I say fiancee... so give me a call, okay, love you. I mean, bye.</dialogue>
<scene_description>She gasps, hanging up as quickly as possible, then tosses her phone out of frame.</scene_description>
</scene>
<scene>
<stage_direction>INT. JERSEY HOME -- DAY</stage_direction>
<scene_description>The door opens and Marnie is pulled in by Joe's surviving brothers COS, TONY and DOMINIC (60s).</scene_description>
</scene>
<scene>
<stage_direction>INT. JERSEY HOME -- STILL DAY</stage_direction>
<scene_description>Marnie eats dinner with Joe's brothers and their wives. ANGIE (60s) is among them.</scene_description>
<character>ANGIE</character>
<dialogue>You lost weight.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, yeah, right.</dialogue>
<character>ANGIE</character>
<dialogue>Here. Mangia.</dialogue>
<scene_description>Angie dumps food on Marnie's plate.</scene_description>
<character>MARNIE</character>
<dialogue>Ooh, Angie, ariancini. They don't have anything like this in Los Angeles.</dialogue>
<character>ANGIE</character>
<dialogue>Of course not. They don't have anything like this anywhere. Only my mother made these and now I make them and I take the recipe to the grave.</dialogue>
<scene_description>Marnie turns to two other wives.</scene_description>
<character>MARNIE</character>
<dialogue>Tina, Pina, how are you feeling?</dialogue>
<scene_description>TINA and PINA (60s) both make hand gestures.</scene_description>
<character>COS</character>
<dialogue>Hey, how's the TV show?</dialogue>
<character>MARNIE</character>
<dialogue>So funny, you wouldn't believe it. I don't know where she gets her characters from.</dialogue>
<scene_description>Marnie takes a bite and makes food noises.</scene_description>
</scene>
<scene>
<stage_direction>INT. JERSEY HOME -- STILL DAY</stage_direction>
<scene_description>They continue to eat and talk loudly.</scene_description>
<character>MARNIE</character>
<dialogue>The first time I cooked for Joe, I wanted to make him pasta. And my mother told me that you know if pasta is done is by throwing it against the wall and if it sticks, you take it out of the water. So I had the water boiling and I broke the pasta in half...</dialogue>
<scene_description>The Italians let out a collective "ugh".</scene_description>
<character>MARNIE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>And then I cooked it and threw it against the wall and nothing. So I cooked it some more and then a little bit more until it finally stuck on the wall and stuck to the pot and stuck to itself and stuck to everything it touched.</dialogue>
<scene_description>Marnie laughs. The group laughs along, knowing the story.</scene_description>
<character>MARNIE</character>
<dialogue>After he took the first bite, I saw him take a little pasta off of his plate and put it in his napkin and I said, "What are you doing?" And he said, "I just have to show this to my mother."</dialogue>
<scene_description>They howl with laughter, hitting the table. Then one by one, they laugh into sighs. Marnie is the last, wiping away laughing-tears.</scene_description>
<character>TONY</character>
<dialogue>I can't believe it's his anniversary already.</dialogue>
<character>MARNIE</character>
<dialogue>I know. A whole year.</dialogue>
<scene_description>They look at her.</scene_description>
<character>DOMINIC</character>
<dialogue>You mean, two years.</dialogue>
<scene_description>Marnie recovers.</scene_description>
<character>MARNIE</character>
<dialogue>Right. A year since last year.</dialogue>
<character>ANGIE</character>
<dialogue>Time flies.</dialogue>
<character>COS</character>
<dialogue>Time flies.</dialogue>
<character>TONY</character>
<dialogue>So, we were thinking that half of his ashes could stay with you and Lori in California and the other half could be buried in Elizabeth with our mother and father. That way we all have a place to go.</dialogue>
<scene_description>Marnie swirls the food on her plate.</scene_description>
<character>MARNIE</character>
<dialogue>Yeah, you know, I really just want to talk to Lori about it first? She's been really sensitive about it lately and I just don't want to cause her too much stress while she's doing the tv show.</dialogue>
<character>TONY</character>
<dialogue>Well, we talked to her and she said it was up to you.</dialogue>
<scene_description>Marnie stops, out of excuses.</scene_description>
<character>COS</character>
<dialogue>Maybe since we're all on the east coast for a change, we could at least pick out a headstone.</dialogue>
<character>TONY</character>
<dialogue>Lori said you wanted to use a quote maybe?</dialogue>
<character>DOMINIC</character>
<dialogue>Something from "My Way".</dialogue>
<scene_description>Marnie looks at them all, starting to sweat.</scene_description>
<character>COS</character>
<dialogue>It doesn't have to be "My Way".</dialogue>
<character>DOMINIC</character>
<dialogue>How could it not be "My Way"?</dialogue>
<character>TONY</character>
<dialogue>As long as it's Sinatra.</dialogue>
<character>DOMINIC</character>
<dialogue>Well, of course it's Sinatra.</dialogue>
<character>COS</character>
<dialogue>Obviously.</dialogue>
<character>ANGIE</character>
<dialogue>But it's totally up to you, Marnie, if you want to bury his ashes here with our parents or if you wanted to sprinkle a little here and a little out there.</dialogue>
<character>TONY</character>
<dialogue>"A little here and there?"</dialogue>
<character>DOMINIC</character>
<dialogue>How could it not be "My Way"?</dialogue>
<scene_description>The brothers talk over each other. Marnie can't catch her breath. Panting. Panicking. The walls caving in.</scene_description>
</scene>
<scene>
<stage_direction>INT. JFK AIRPORT -- EARLY MORNING</stage_direction>
<scene_description>Departure gate. Marnie gives her license to AIRPORT SECURITY (30s). The man looks up at Marnie.</scene_description>
<character>AIRPORT SECURITY</character>
<dialogue>Joseph Minervini?</dialogue>
<character>MARNIE</character>
<dialogue>What?</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Oh. I handed you my husband's license by mistake.</dialogue>
<scene_description>She puts his license back on top of her rubber-banded stack of cards. And pulls out her license, handing it over.</scene_description>
<character>AIRPORT SECURITY</character>
<dialogue>Marnie Minervini. That makes more sense. And where are you headed today, Mrs. Minervini?</dialogue>
<character>MARNIE</character>
<dialogue>Los Angeles. I live there now.</dialogue>
<scene_description>Marnie stands up straighter, saying it out loud. The security guy hands back her license.</scene_description>
<character>AIRPORT SECURITY</character>
<dialogue>And how was your time in New York?</dialogue>
<scene_description>Marnie takes her license.</scene_description>
<character>MARNIE</character>
<dialogue>Great. My daughter shot a pilot.</dialogue>
<scene_description>The guy looks at her, not letting go of the license, then gestures for an ARMED SECURITY GUARD. Marnie's eyes widen.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE -- EARLY MORNING</stage_direction>
<scene_description>Marnie sits in her seat, staring at Joe's license at the top of her stack of credit cards. She starts to cry, leaning toward the window so people can't see. She doesn't make a sound. The tears fall until they don't. Then, she pulls out Joe's license, and slides it into the middle of the stack.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE -- MORNING</stage_direction>
<scene_description>The plane lands on the tarmac. Marnie wakes up with it.</scene_description>
<character>FLIGHT ATTENDANT (O.S.)</character>
<dialogue>Welcome to Los Angeles where the local time is 9:37am. Please remain in your seats while we taxi to the gate. If your cell phone is in reach, you may use it now.</dialogue>
<scene_description>Marnie straightens herself, then opens the window shade, the sun blares through. She lowers it halfway, then pulls out her cell phone and takes it off AIRPLANE MODE. She looks at it, then sets it in her lap. IT BUZZES. She picks it back up, surprised to see a NEW VOICEMAIL. An UNKNOWN CALLER. She pushes PLAY.</scene_description>
<character>ZIPPER (O.S.)</character>
<dialogue>Hey, Marnie, it's your new friend Zipper.</dialogue>
<parenthetical>(she sits up)</parenthetical>
<dialogue>Or Randy. Depending on who you ask. I just saw that you called. Sorry I'm just getting back to you now. There's such bad reception in the canyon, I could barely hear your message.</dialogue>
<scene_description>Marnie exhales, a bit relieved.</scene_description>
<character>ZIPPER (O.S.)</character>
<dialogue>But I wanted to try you back and see how the east coast is treating you. And also let you know that the chickens have expanded their musical library to include Peggy Lee, as well as Dolly Parton covers, so you've got that to look forward to. If you ever make it back this way. But... give me a call if you get a chance. Okay.</dialogue>
<parenthetical>(then, being funny)</parenthetical>
<dialogue>Love you, bye.</dialogue>
<scene_description>Click. Marnie's eyes widen. She covers her mouth, shocked, unable to breathe. Then, she cracks up, laughing. And goes to listen to the message again.</scene_description>
</scene>
<scene>
<stage_direction>INT. APPLE STORE -- DAY</stage_direction>
<scene_description>-- Marnie walks up the glass steps. -- Marnie combs the accessories department. -- Marnie buys a SPEAKER SYSTEM from an APPLE EMPLOYEE (20s). Marnie looks around for Freddy but doesn't see him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOPANGA HOME -- LATER</stage_direction>
<scene_description>Marnie pulls the red Lexus up in front of Zipper's house and climbs out, holding the Apple bag. She walks up the front step. There's music playing inside. As she gets closer, she realizes it's Zipper, singing and playing guitar. She stops short, listening through the screen door. It takes a moment to recognize the song, Dolly Parton's "To Daddy".</scene_description>
<character>ZIPPER</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Being took for granted was a thing that she accepted/ And she didn't need those things to make her happy / She didn't even seem to notice / That he didn't kiss and hold her/ If she did, she never did say so to daddy....</dialogue>
<scene_description>Marnie mouths along with the lyrics, getting lost in the song. She leans against the screen door and it CREAKS. The guitar stops. She quickly hangs the bag on the door knob and starts away. The screen door swings open.</scene_description>
<character>ZIPPER</character>
<dialogue>This counts as trespassing.</dialogue>
<scene_description>She turns back to him. He "hides" an acoustic guitar.</scene_description>
<character>ZIPPER</character>
<dialogue>You didn't hear any sort of music- type sounds coming from inside....</dialogue>
<character>MARNIE</character>
<dialogue>Oh, was that you?</dialogue>
<scene_description>He steps out.</scene_description>
<character>ZIPPER</character>
<dialogue>Just a little Dolly cover band I'm putting together. Zipper and the Fuzz. We have a mostly avian fan- base. You want to come in, let me test this out on a human lady?</dialogue>
<scene_description>He holds the screen door open, then notices the bag.</scene_description>
<character>ZIPPER</character>
<dialogue>What's this?</dialogue>
<character>MARNIE</character>
<dialogue>Oh, it's nothing. I just thought you could use it to play music for the chickens.</dialogue>
<scene_description>He opens the bag, seeing a Beats home speaker system inside.</scene_description>
<character>MARNIE</character>
<dialogue>You can plug it in your iPhone. Oh, God, do you have an iPhone?</dialogue>
<character>ZIPPER</character>
<dialogue>I have been meaning to get one of those. Thank you. You wannna come in? Show me how to plug it in?</dialogue>
<scene_description>She looks at him, her courage waning.</scene_description>
<character>MARNIE</character>
<dialogue>I'm supposed to be at this wedding.</dialogue>
<character>ZIPPER</character>
<dialogue>Oh. That's fun.</dialogue>
<scene_description>He walks down the steps towards her. She swallows.</scene_description>
<character>ZIPPER</character>
<dialogue>Well, I missed ya.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Isn't that funny?</dialogue>
<scene_description>She doesn't know how to respond.</scene_description>
<character>ZIPPER</character>
<dialogue>I ended up calling her. My daughter.</dialogue>
<scene_description>Marnie smiles, genuinely excited.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, Zipper, that's great.</dialogue>
<character>ZIPPER</character>
<dialogue>Yeah. She yelled at me. A lot. I'm thinking I should ride out there and let her scream in my face a little. You wanna come with?</dialogue>
<scene_description>He reaches out and takes hold of her hand. She's stunned, silenced.</scene_description>
<character>ZIPPER</character>
<dialogue>Just a day trip. Nothing overnight or... I just thought you should check out the desert and... I could use the moral support--</dialogue>
<character>MARNIE</character>
<dialogue>I can't.</dialogue>
<scene_description>She rips her hand away. He puts his hands in his pockets.</scene_description>
<character>MARNIE</character>
<parenthetical>(softening)</parenthetical>
<dialogue>I... um...</dialogue>
<character>MARNIE</character>
<dialogue>I can't do that right now....</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Anyway, I just wanted to give you the speaker and tell you that I probably won't be around for a little while. I need to go back east and... I just won't be around.</dialogue>
<scene_description>He looks at her, hurt, disappointed, but understanding.</scene_description>
<character>ZIPPER</character>
<dialogue>Okay.</dialogue>
<scene_description>He doesn't move. Marnie turns away. And starts toward her car. She doesn't turn back. He lets her go.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>Marnie stands in her black clothes, looking at her daughter's RED BRIDESMAID DRESS hung in front of the closet. She shakes her head, takes a breath and begins to undress. Throwing off her black top. Kicking off her black pants. She wraps herself up in the red dress. She looks stunning, transformed. She turns to the side and exhales. Okay, it's a bit tight. But the color of the dress puts the roses in her cheeks. She tries her hair up. Then down. Then up. She paints her never-painted nails. She slides on lipstick. She puts contacts, leaving her glasses behind.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARINA DEL REY HARBOR -- LATER/DAY</stage_direction>
<scene_description>She parks her husband's car near the harbor and hurries toward the twinkling strings of lights that lead to the boat.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOAT - WEDDING -- LATER/DAY</stage_direction>
<scene_description>Marnie steps onto the boat just as it starts to leave. The water churns. Marnie races up the stairs to THE BOW OF THE BOAT, where the bridesmaids stand in a row, wearing their color-coordinated dresses. They look flustered until they turn and see Marnie in the red dress. Marnie joins the back of the line, creating a perfect rainbow of color. Jillian gives her a squeeze, sighing, relieved.</scene_description>
<character>EMILY</character>
<dialogue>Tehya, come here.</dialogue>
<scene_description>Emily tries to wrangle Tehya, dressed as the flower girl, but she runs to Marnie's side.</scene_description>
<character>MARNIE</character>
<dialogue>I got her.</dialogue>
<scene_description>ON THE TOP DECK -- A string quartet begins to play. And one by one, the bridesmaids make their way down the aisle. Marnie is at the end of the line, twice their age but just as gorgeous, holding Tehya's hand. She waves hello to the people she knows. She spots Emily's husband GREG (30s), and his father, Mark, near the front. Mark smiles at Marnie. Marnie smiles back. And the music begins. Everyone stands. Jillian is walked down the aisle by her SMILING FATHER (70s). The bride looks beautiful in the overdone dress, beaming, near tears, as she reaches her wife, DANI (30s, dress whites) with her BRIDESMEN & WOMEN and the boat's CAPTAIN (40s). Everyone is a-glow. Especially Marnie.</scene_description>
</scene>
<scene>
<stage_direction>99A EXT. HARBOR -- LATER/DAY 99A</stage_direction>
<scene_description>The boat moves across the calm harbor waters, as the party starts on the second floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION -- LATER/DAY</stage_direction>
<scene_description>Marnie holds her number, shyly looking for her table. It's beautifully lit, filled with flowers, and simply beautiful.</scene_description>
<character>ELAINE</character>
<dialogue>Marnie, everything looks incredible.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, yeah, isn't it pretty?</dialogue>
<character>EMILY</character>
<dialogue>Over here, Marnie.</dialogue>
<scene_description>Emily waves Marnie over to the bridesmaids table. She is surprised to take a seat next to the other girls.</scene_description>
<character>EMILY</character>
<dialogue>Marnie, you really did it.</dialogue>
<character>MARNIE</character>
<dialogue>Oh?</dialogue>
<character>EMILY</character>
<dialogue>Can you believe how gorgeous this is and it's all thanks to you.</dialogue>
<scene_description>Marnie looks around, seeing her touches everywhere. She has to admit -- it's quite remarkable.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION -- LATER/DAY</stage_direction>
<scene_description>Marnie and the rest of the guests watch Jillian's wife Dani finish her speech.</scene_description>
<character>DANI</character>
<dialogue>... And that's when Jillian turned to me and said, "Now about that pilot's license."</dialogue>
<scene_description>The room laughs, including Marnie.</scene_description>
<character>DANI</character>
<dialogue>Jilly Bean, I know people could've thought we were fools rushing in, but I want to spend the rest of my life getting to know you.</dialogue>
<scene_description>Marnie nearly sheds a tear. Everyone cheers as the couple shares a sweet kiss. Jillian takes the microphone.</scene_description>
<character>JILLIAN</character>
<dialogue>Thank you guys so much. There are so many people in this room that made this day possible, I can't believe it. First, my incredible wife who married me a year ago against her better judgment....</dialogue>
<parenthetical>(laughing)</parenthetical>
<dialogue>And then agreed to do it again in front of everyone we love, cause she knew it was important to me.</dialogue>
<scene_description>Everyone awwwws. They kiss.</scene_description>
<character>JILLIAN</character>
<dialogue>I want to thank all of my bridesmaids. Nobody could ask for thirteen better friends. I love you all so much.</dialogue>
<scene_description>Marnie and the other twelve bridesmaids smile.</scene_description>
<character>JILLIAN</character>
<dialogue>And I want to thank my family for flying in from all over the country. Daddy, I love you.</dialogue>
<parenthetical>(blows a kiss)</parenthetical>
<dialogue>And Marnie...</dialogue>
<scene_description>Marnie stops, looking up, surprised to hear her name.</scene_description>
<character>JILLIAN</character>
<parenthetical>(starting to cry)</parenthetical>
<dialogue>There are no words to describe my gratitude. I have never met anyone more generous and truly selfless. When my mother died, I never imagined that I could feel loved so... unconditionally... by someone who wasn't in my family. You are proof that when one angel leaves this Earth, another angel takes its place. I love you. To Marnie!</dialogue>
<scene_description>Everyone holds up their glasses and cheers.</scene_description>
<character>EVERYONE</character>
<dialogue>To Marnie!</dialogue>
<scene_description>Marnie looks around at everyone toasting her. She is overwhelmed, tears welling up in her eyes as she takes it in.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION -- LATER</stage_direction>
<scene_description>Blues Traveler plays on-stage while everyone dances. Marnie is among them, shoes off, shaking what the good Lord gave her. She dances with the other bridesmaids. Jillian swings Tehya onto the dance-floor and into Marnie's arms. Marnie beams as she dances with the little girl, holding hands with Jillian. They make a circle. Emily joins the circle. And so does Mark. Marnie and Mark dance with Tehya between them. They boogie and jump and scream along to the music. Then:</scene_description>
<character>JOHN POPPER</character>
<dialogue>This is a newer one.</dialogue>
<scene_description>The band plays a slower song. Marnie and Mark stand there, catching their breath.</scene_description>
<character>MARK</character>
<dialogue>I can't remember the last time I danced this much.</dialogue>
<character>MARNIE</character>
<dialogue>I know. When I was a kid, we always went out dancing. I'm always telling Lori, "Why don't you go out dancing?"</dialogue>
<character>MARK</character>
<dialogue>You know, you did a really amazing thing, Marnie. All of this. They look really happy.</dialogue>
<scene_description>Marnie turns to see Jillian and Dani slow-dancing, happy. She smiles. Then, just beyond them, Jacob crosses through a group of people on his way out of the room.</scene_description>
<character>MARK</character>
<dialogue>So about that lunch....</dialogue>
<character>MARNIE</character>
<dialogue>Would you excuse me?</dialogue>
<character>MARK</character>
<dialogue>Oh-kay.</dialogue>
<scene_description>Marnie runs away from Mark.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOAT -- EVENING</stage_direction>
<scene_description>Jacob walks to the bow of the boat, lighting up a cigarette.</scene_description>
<character>MARNIE</character>
<dialogue>Jacob!</dialogue>
<scene_description>He turns to see Marnie racing up to him, without shoes, out of breath.</scene_description>
<character>JACOB</character>
<dialogue>Hey, Marnie.</dialogue>
<character>MARNIE</character>
<dialogue>Listen...</dialogue>
<scene_description>She huffs and puffs.</scene_description>
<character>JACOB</character>
<dialogue>You okay?</dialogue>
<character>MARNIE</character>
<dialogue>She loves you.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Lori loves you, you know. And I know because I see how unhappy she's been since you guys split up. And I know people are supposed to make their own happiness, but she's never been that way. Or maybe she used to be, but not anymore. And I don't know if it's too late for you guys and maybe this is totally awkward and I'm overstepping my bounds, I know I'm overstepping my bounds, but it doesn't matter. Cause if there's even the slightest chance that you could end up with her, and make her happy, then that's all that matters to me. Her happiness is all that matters. So what do you say?</dialogue>
<scene_description>She stops. He looks at her. Takes his time.</scene_description>
<character>JACOB</character>
<dialogue>Marnie, I.... I'm sorry.</dialogue>
<scene_description>Marnie looks at him, devastated, silenced. Just then, the very tall girl appears at Jacob's side.</scene_description>
<character>MARNIE</character>
<dialogue>Hello, I was just leaving.</dialogue>
<scene_description>Marnie turns on her heels and starts out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARINA PARKING LOT -- NIGHT</stage_direction>
<scene_description>The boat is docked in the background. Marnie fast-walks toward her car, Mark trailing behind her.</scene_description>
<character>MARK</character>
<dialogue>You sure you don't want to stay for another drink?</dialogue>
<character>MARNIE</character>
<dialogue>No I really have to get back to....</dialogue>
<scene_description>Marnie arrives in her empty parking space. Her car is not there. She looks around, confused.</scene_description>
<character>MARNIE</character>
<dialogue>Huh.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARK'S CAR/EXT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>Mark pulls over in front of Lori's house, as Marnie finishes up a phone call.</scene_description>
<character>MARNIE</character>
<dialogue>Okay, thank you...</dialogue>
<parenthetical>(hangs up, to Mark)</parenthetical>
<dialogue>Well, looks like it was stolen.</dialogue>
<character>MARK</character>
<dialogue>Oh my God. The crime in this city.</dialogue>
<scene_description>She doesn't realize Mark is facing her.</scene_description>
<character>MARK</character>
<dialogue>Well, I'm sorry this is how your night's ending.</dialogue>
<character>MARNIE</character>
<dialogue>That's okay.</dialogue>
<character>MARK</character>
<dialogue>Can't remember the last time I had so much fun.</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Well.</dialogue>
<character>MARK</character>
<dialogue>Couple of Brooklynites, we are.</dialogue>
<character>MARNIE</character>
<dialogue>Yeah.</dialogue>
<character>MARK</character>
<dialogue>And that dress is a knockout.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>The color. Blood red.</dialogue>
<scene_description>Mark touches her face. Marnie stops, frozen.</scene_description>
<character>MARK</character>
<dialogue>And hair to match.</dialogue>
<scene_description>Suddenly his touch feels strange. He puts his hand on the back of her neck. Marnie's eyes widen, as Mark's eyes close. She can feel his grip. He leans in. And she explodes.</scene_description>
<character>MARNIE</character>
<dialogue>Eyes, Throat, Crotch!</dialogue>
<scene_description>Marnie pokes Mark's eyes, chops his throat, punches his balls.</scene_description>
<character>MARK</character>
<dialogue>Ow! Marnie! What are you doing?</dialogue>
<scene_description>She bursts from his car door and runs in a zig-zag pattern away from him. He is not chasing her.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>Marnie locks every lock behind her. Then frantically fumbles for her cell phone, quickly CALLING LORI.</scene_description>
<character>MARNIE</character>
<dialogue>Pick up, pick up, pick up....</dialogue>
<character>LORI (O.S.)</character>
<dialogue>Mom?</dialogue>
<scene_description>Marnie jumps. And looks up to see Lori.</scene_description>
<character>MARNIE</character>
<dialogue>You're home.</dialogue>
<scene_description>Lori is holding her laptop.</scene_description>
<character>LORI</character>
<dialogue>You gave my rebound guy every single one of my contacts so he could propose in a video?</dialogue>
<character>MARNIE</character>
<dialogue>Uh--</dialogue>
<character>LORI</character>
<dialogue>That's gonna be fun to explain to everyone I know, including Jacob, who I have to see right now because that's where my dogs are, so that's not uncomfortable.</dialogue>
<scene_description>Lori's phone buzzes. She answers, while walking out of the room. We stay with Marnie.</scene_description>
<character>LORI (O.S., INTO PHONE)</character>
<dialogue>Emily?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Wait, what? Slow down. She did what?</dialogue>
<character>LORI (O.S., INTO PHONE)</character>
<parenthetical>(then)</parenthetical>
<dialogue>Are you kidding? Is he okay?</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. APPLE STORE -- NIGHT</stage_direction>
<scene_description>Marnie walks up to the store. She stops in the doorway.</scene_description>
</scene>
<scene>
<stage_direction>108A INT. APPLE STORE -- CONTINUOUS 108A</stage_direction>
<scene_description>Freddy helps a NERDY GIRL (20s) with her phone. Marnie watches Freddy for a moment, seeing him in his element, at home in his work. Freddy makes the girl laugh. Marnie smiles to herself, proud of Freddy, knowing that he's going to be okay, knowing she can't go inside. Still smiling, Marnie turns away and out of the store.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GROVE -- CONTINUOUS</stage_direction>
<scene_description>As soon as she does, A BELL RINGS. Marnie snaps out of her smile and sees that she's standing on the trolley tracks. The TROLLEY is heading straight for her and -- CUT TO: BLACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- MORNING</stage_direction>
<scene_description>Marnie rubs lotion on the old woman's arm.</scene_description>
<character>MARNIE</character>
<dialogue>See, every year the writers pitch the studios their ideas and then the studios choose a small percentage of those ideas to pay the writers to write the pilots, and then out of those scripts, they only pick, like, five percent of the pilots to actually shoot. I mean, film. And then only a handful of those pilots makes it to the air. And then only a handful of those gets to stay on the air. Seinfeld....</dialogue>
<scene_description>Marnie lets go of the woman's arm but it stays in place, pointing at Marnie.</scene_description>
<character>MARNIE</character>
<dialogue>Who? Me?</dialogue>
<scene_description>The old woman's finger moves. Marnie turns.</scene_description>
<character>MARNIE</character>
<dialogue>You want me to put on the TV?</dialogue>
<scene_description>Marnie reaches for the remote.</scene_description>
<character>MARNIE</character>
<dialogue>I thought you didn't like the news.</dialogue>
<scene_description>The old woman traces the air with her finger. Making small half circles over and over. Marnie looks at it. Like a puzzle. Trying to decipher it. Just then, Marnie's cell phone rings. She looks down to see: LORI CALLING. Marnie can't answer fast enough.</scene_description>
<character>MARNIE (INTO PHONE)</character>
<dialogue>Hello? Hello?</dialogue>
<character>LORI (O.S.)</character>
<dialogue>Mom. I need you.</dialogue>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER/DAY</stage_direction>
<scene_description>Lori opens the door to find Marnie holding a paper bag.</scene_description>
<character>LORI</character>
<dialogue>Did you bring 'em?</dialogue>
<character>MARNIE</character>
<dialogue>Yeah, yeah.</dialogue>
<scene_description>Lori grabs the paper bag. Marnie follows her inside.</scene_description>
<character>LORI</character>
<dialogue>What is this?</dialogue>
<character>MARNIE</character>
<dialogue>Oh. Those are the bagels.</dialogue>
<scene_description>Marnie holds up a plastic bag.</scene_description>
<character>MARNIE</character>
<dialogue>These are the pregnancy tests.</dialogue>
<scene_description>Lori grabs the plastic bag. Starts towards the bathroom, Marnie following.</scene_description>
<character>LORI</character>
<dialogue>Why did you get the jumbo pack?</dialogue>
<character>MARNIE</character>
<dialogue>Well, I don't know how many times you have to take it.</dialogue>
<scene_description>Lori rips open a box and unveils a white stick.</scene_description>
<character>LORI</character>
<dialogue>Please don't watch me pee on a stick?</dialogue>
<scene_description>Marnie turns her whole body the other away.</scene_description>
<character>LORI</character>
<dialogue>I'm not really that late, for me. It's probably just stress. I can't stop sleeping, but other than that.</dialogue>
<character>MARNIE</character>
<dialogue>I just hope you know who the father is.</dialogue>
<scene_description>Lori stops.</scene_description>
<character>LORI</character>
<dialogue>I can't believe you just said that.</dialogue>
<character>MARNIE</character>
<dialogue>I didn't mean it in a bad way...</dialogue>
<character>LORI</character>
<dialogue>I slept with Jacob one time. When I had to go to his house to pick up my dogs, thanks to you. Besides, I'm probably barren. You should worry about that. I have a lot of testosterone in me.</dialogue>
<parenthetical>(looking at stick)</parenthetical>
<dialogue>There. See? A single line. No grand-kids. Congratulations.</dialogue>
<scene_description>Lori wraps the stick in toilet paper and puts it on top of the piled garbage. The garbage tips over and the stick shoots out. Marnie leans over it.</scene_description>
<character>MARNIE</character>
<dialogue>Lor?</dialogue>
<scene_description>Lori comes back and leans over it. They both see a double line. It takes a second to sink in.</scene_description>
<character>LORI</character>
<dialogue>What the what?</dialogue>
<scene_description>Lori grabs the box and pulls out a second stick. -- LATER Marnie and Lori look at two sticks with double lines.</scene_description>
<character>LORI</character>
<dialogue>What the what??</dialogue>
<character>MARNIE</character>
<dialogue>Maybe we should google it.</dialogue>
<scene_description>Marnie pulls out her phone.</scene_description>
<character>LORI</character>
<dialogue>Google what?</dialogue>
<character>MARNIE</character>
<dialogue>Well, it could be a false positive.</dialogue>
<character>LORI</character>
<dialogue>It doesn't work that way. It's not AIDS. I need to get a blood test.</dialogue>
<character>MARNIE</character>
<dialogue>For AIDS?</dialogue>
<character>LORI</character>
<dialogue>For this, Mom! Are you here?</dialogue>
<character>MARNIE</character>
<dialogue>I'm sorry.</dialogue>
<character>LORI</character>
<dialogue>I'm pregnant. And I'm too old to have an abortion. This is real.</dialogue>
<scene_description>Lori hugs her knees and buries her head. Marnie goes to her.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, Lor. Don't be sad.</dialogue>
<scene_description>Lori lifts her head.</scene_description>
<character>LORI</character>
<dialogue>I'm not.</dialogue>
<scene_description>Lori tries to hide her smile but she can't. She smiles wider and wider. Marnie quickly gets just as happy.</scene_description>
</scene>
<scene>
<stage_direction>INT. DOCTOR'S OFFICE -- LATER</stage_direction>
<scene_description>Marnie watches Lori bounce her legs while a NURSE (50s) takes her blood.</scene_description>
<character>NURSE</character>
<dialogue>My daughter was a surprise.</dialogue>
<scene_description>Lori smiles, then winces from the needle.</scene_description>
</scene>
<scene>
<stage_direction>INT. LORI'S CAR -- LATER</stage_direction>
<scene_description>Lori drives with Marnie in the passenger seat.</scene_description>
<character>LORI</character>
<dialogue>I should sell my house. Get something bigger with carpets... How am I gonna tell Jacob?</dialogue>
<scene_description>Lori starts crying.</scene_description>
<character>LORI</character>
<dialogue>I can't believe Dad's not around.</dialogue>
<character>MARNIE</character>
<dialogue>I'm around.</dialogue>
<scene_description>Lori turns to her mother and smiles.</scene_description>
<character>LORI</character>
<dialogue>Yeah, I know.</dialogue>
<scene_description>Lori's cell phone rings. She answers on speaker.</scene_description>
<character>LORI</character>
<dialogue>Hello?</dialogue>
<character>NURSE (O.S.)</character>
<dialogue>Hey, hon, it's Anna in Dr. Segal's office. It's negative.</dialogue>
<character>LORI</character>
<dialogue>Really?</dialogue>
<character>NURSE (O.S.)</character>
<dialogue>I know, I'm sorry.</dialogue>
<character>LORI</character>
<dialogue>What about all the tests I took?</dialogue>
<character>NURSE (O.S.)</character>
<dialogue>I don't know, but we tested your blood and urine and you're not pregnant. I'm sorry, hon.</dialogue>
<scene_description>Marnie takes out her phone, looking online.</scene_description>
<character>LORI</character>
<dialogue>Okay, thanks for calling.</dialogue>
<scene_description>Lori hangs up.</scene_description>
<character>LORI</character>
<dialogue>I don't understand.</dialogue>
<character>MARNIE</character>
<dialogue>It says here that a false positive could be certain types of stomach tumors. Do you feel sick?</dialogue>
<scene_description>Lori looks ahead.</scene_description>
<character>LORI</character>
<dialogue>Yes. I feel very sick.</dialogue>
</scene>
<scene>
<stage_direction>INT. LORI'S HOUSE -- LATER</stage_direction>
<scene_description>Lori storms into the house, heading straight for the bathroom. Marnie follows.</scene_description>
<character>MARNIE</character>
<dialogue>Maybe you could ask the doctor to test the blood for other stuff? Like AIDS.</dialogue>
<character>LORI</character>
<dialogue>I don't have AIDS.</dialogue>
<character>MARNIE</character>
<dialogue>I said like AIDS.</dialogue>
<scene_description>Lori picks up the bag of sticks and looks.</scene_description>
<character>LORI</character>
<dialogue>I don't get it, it says if you have two lines, that means you're ovu...lating....</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>What the fuck??</dialogue>
<scene_description>She holds the bag out to Marnie.</scene_description>
<character>LORI</character>
<dialogue>Are you kidding me? I've been peeing on ovulation sticks?</dialogue>
<scene_description>Marnie looks at the bag.</scene_description>
<character>LORI</character>
<dialogue>You bought ovulation sticks?</dialogue>
<scene_description>Marnie suddenly cracks up laughing.</scene_description>
<character>LORI</character>
<dialogue>This isn't funny, Mom.</dialogue>
<character>MARNIE</character>
<dialogue>Oh, come on...</dialogue>
<character>LORI</character>
<dialogue>Do you understand the roller- coaster you put me on? I went from pregnant to stomach tumors to... ovulating in three hours....</dialogue>
<scene_description>Lori suddenly bursts into laughter. Marnie cracks up more. The two of them roll around on the bathroom floor together, hysterically laughing. Until, Lori stops. And she's crying.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, Lor, I wasn't laughing at you.</dialogue>
<scene_description>Lori can't stop crying. Marnie wraps her arms around her.</scene_description>
<character>MARNIE</character>
<dialogue>But this is a good thing. You didn't plan it.</dialogue>
<character>LORI</character>
<dialogue>I know.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I was just relieved to have that decision made for me.</dialogue>
<scene_description>Lori sobs in her mother's arms.</scene_description>
<character>LORI</character>
<dialogue>Oh God, I'm so sorry.</dialogue>
<character>MARNIE</character>
<dialogue>For what?</dialogue>
<character>LORI</character>
<dialogue>For the way I am.</dialogue>
<character>MARNIE</character>
<dialogue>I love you the way you are.</dialogue>
<character>LORI</character>
<dialogue>I just miss him so much.</dialogue>
<character>MARNIE</character>
<dialogue>Well, maybe he's not the one for you...</dialogue>
<character>LORI</character>
<dialogue>Not Jacob. Dad. I miss Dad. I miss my dad.</dialogue>
<character>MARNIE</character>
<dialogue>Me too.</dialogue>
<character>LORI</character>
<dialogue>I know and it's hard to look at you sometimes.</dialogue>
<character>MARNIE</character>
<dialogue>Why?</dialogue>
<character>LORI</character>
<dialogue>Cause half the room is missing.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>And we're both alone.</dialogue>
<scene_description>Marnie pulls her in as tight as she can.</scene_description>
<character>MARNIE</character>
<dialogue>We're not alone.</dialogue>
<scene_description>Lori wipes away a few tears, leaning into her mother.</scene_description>
<character>LORI</character>
<dialogue>See, this is what happens when you follow the black sheep across the country.</dialogue>
<scene_description>Marnie rests her head on Lori's head.</scene_description>
<character>MARNIE</character>
<dialogue>Well, if you're a black sheep, I'm a black sheep.</dialogue>
<scene_description>Marnie rocks her back on forth on the bathroom floor. Lori slowly stops crying.</scene_description>
<character>LORI</character>
<dialogue>You beat up Greg's dad.</dialogue>
</scene>
<scene>
<stage_direction>INT. LORI'S BEDROOM -- NIGHT</stage_direction>
<scene_description>Marnie lies awake, staring up at the ceiling fan, Lori asleep next to her. The fan cools the room with a mechanical breeze. Marnie stares at the blades spinning around and around and around and around and -- She gasps, sitting straight up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S APARTMENT -- LATER</stage_direction>
<scene_description>Marnie searches her closet. Then pulls out a TUPPERWARE box and sets it on the bed. She opens the lid. It's full of photos, memories, Joe's old shirts. She slides things aside. Looking for something. Until... her eyes light up.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL -- DAY</stage_direction>
<scene_description>Marnie walks down the hall carrying something in a plastic bag. She makes her way straight toward the old woman's room.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- CONTINUOUS</stage_direction>
<scene_description>And up to the old woman's bed. The woman turns her eyes to Marnie, mouth agape, breathing.</scene_description>
<character>MARNIE</character>
<dialogue>It's me.</dialogue>
<scene_description>The woman's hand raises into the air and points. Marnie reaches into her plastic bag and pulls out a ROTARY PHONE. She pulls the plug out of the hospital phone and inserts it into the rotary phone. She holds it up, then lifts the receiver to her ear. The old woman's finger guides through the air and lands in a slot - 7. The old woman turns her finger and begins to dial. Marnie's eyes widen - 5. The woman moves her hand in the same circular motion - 4.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, shoot, I think you need to dial a nine first, let me, darn it...</dialogue>
<scene_description>Marnie hangs up, tsks at herself and quickly dials a 9. Then holds it out again. The woman uses all of her energy to dial again - 7 - 5 - 4 - 4 - 1 - 7 - 7 - and stops. Marnie waits, phone to her ear. And it rings. Now Marnie's breathing fills the room. It rings again and --</scene_description>
<character>MAN'S VOICE (O.S.)</character>
<dialogue>Hello?</dialogue>
<scene_description>Marnie stops, can't speak.</scene_description>
<character>MAN'S VOICE (O.S.)</character>
<dialogue>Hello?</dialogue>
<character>MARNIE</character>
<dialogue>Hello?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM -- LATER</stage_direction>
<scene_description>The old lady is surrounded in stuffed animals. Marnie sits next to her, holding her hand, when a MAN (40s) enters the room. Marnie stands to greet him. He hugs Marnie, grateful, then quickly moves to the hospital bed. He leans over the old woman.</scene_description>
<character>MAN</character>
<dialogue>Mom?</dialogue>
<scene_description>The old woman looks up at him. Her eyes fill with happy tears. His do the same.</scene_description>
<character>MAN</character>
<dialogue>Yeah, it's me, Mom. I'm here.</dialogue>
<scene_description>He brushes the hair off her face, kissing her hands. Marnie watches, overwhelmed. The same tears fill her eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOYOTA BODY SHOP -- DAY</stage_direction>
<scene_description>Marnie watches as her fixed Toyota is lowered to the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- LATER</stage_direction>
<scene_description>Marnie drives up the Pacific Coast Highway, windows down, perfect weather, the sun glistening on the ocean.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- LATER</stage_direction>
<scene_description>Marnie parks near the sand and opens the glove compartment. Inside, a SEALED URN. Marnie takes it out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH -- LATER</stage_direction>
<scene_description>Marnie walks across the sand, holding the urn. As she gets closer to the water, she kicks off her shoes. She steps out into the ocean, her pants getting wet up to her knees. It's colder than the Atlantic. She unseals the urn. And talks to the horizon.</scene_description>
<character>MARNIE</character>
<dialogue>Joey, I don't know if this is what you want. But it's all I can do.</dialogue>
<scene_description>She takes the ashes and begins to sprinkle them. The waves move around her, sending his spirit out to sea. It's over too quickly.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Hold it right there.</dialogue>
<scene_description>A VOICE echoes across the beach. Marnie turns back to see a POLICE CAR in the sand. A MALIBU COP (40s) is making his way to her. It's nobody she knows.</scene_description>
<character>MALIBU COP</character>
<dialogue>What is that you're doing?</dialogue>
<character>MARNIE</character>
<dialogue>Uh... none of your business.</dialogue>
<character>MALIBU COP</character>
<dialogue>Ma'am, this is a private beach. It's illegal to be doing what you're doing.</dialogue>
<character>MARNIE</character>
<dialogue>You've gotta be kidding me.</dialogue>
<character>MALIBU COP</character>
<dialogue>Can you step out of the water please?</dialogue>
<character>MARNIE</character>
<dialogue>I am a resident of greater Los Angeles. And if you want me to get out of this ocean, you're just gonna have to come in here and drag me the hell out of it.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLDING AREA -- LATER</stage_direction>
<scene_description>Marnie is pushed into a seat, soaking wet.</scene_description>
<character>MALIBU COP</character>
<dialogue>Think about who your one phone call is.</dialogue>
<scene_description>He walks out, soaking wet, and shuts the doors on her. She sits and thinks about who her phone call will be.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAIL -- LATER</stage_direction>
<scene_description>Marnie comes down the jail steps, looks up, and stops to see Zipper standing by his motorcycle, smiling. She looks exhausted, but can't help but smile when she sees him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PACIFIC COAST HIGHWAY -- LATER</stage_direction>
<scene_description>Marnie rides on the back of Zipper's bike, her arms wrapped around his waist. The sun is setting and simply beautiful.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH -- SUNSET</stage_direction>
<scene_description>Zipper pulls his motorcycle up to Marnie's Toyota, still parked in the lot. She steps off the bike. He cuts the engine. They look at each other. The ocean sounds nearby.</scene_description>
<character>MARNIE</character>
<dialogue>Do you ever listen to Beyonce?</dialogue>
<character>ZIPPER</character>
<dialogue>Of course.</dialogue>
<character>MARNIE</character>
<dialogue>She has this song called "I Was Here", have you heard it?</dialogue>
<character>ZIPPER</character>
<dialogue>I don't think so.</dialogue>
<character>MARNIE</character>
<dialogue>It goes... "I wanna leave my footprints on the sands of time, know there was something that I left behind. When I leave this world, I'll leave no regrets, to leave something to remember, so they won't forget".</dialogue>
<character>ZIPPER</character>
<dialogue>That sounds like a good one.</dialogue>
<character>MARNIE</character>
<dialogue>Did you bail me out because you had to as an officer of the law?</dialogue>
<character>ZIPPER</character>
<dialogue>No, that's actually the opposite of what I usually do.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I bailed you out as a friend.</dialogue>
<scene_description>She smiles. Then reaches out and takes hold of his hand. His thumb gently rubs hers. She interlocks fingers. Then:</scene_description>
<character>MARNIE</character>
<dialogue>Do you want to go to an action movie sometime?</dialogue>
<scene_description>He looks up at her. A smile spreads across his tan face.</scene_description>
<character>ZIPPER</character>
<dialogue>Definitely.</dialogue>
<scene_description>They look at each other. And suddenly, slowly, they lean in. He kisses her on the mouth, gently, but with fire behind it. They slowly pull away. Their hands slide apart. Marnie turns away, walking back to her car, smiling the whole way. He watches her go, then "kick-starts" his bike and rides off.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- MOMENTS LATER</stage_direction>
<scene_description>Marnie climbs into the driver's seat and shuts the door. Taking a moment to realize her iPhone is on the console where she left it. She picks it up to see:</scene_description>
<character>LORI VOICEMAIL (3) JILLIAN VOICEMAIL</character>
<dialogue>Marnie gasps, surprised. She quickly listens, in order.</dialogue>
<character>LORI (O.S.)</character>
<dialogue>Mom, where are you? You left in the middle of the night and I got worried. Are you okay? Call me back when you get this.</dialogue>
<scene_description>Marnie beams brighter than we've ever seen her. She hits the next voicemail.</scene_description>
<character>LORI (O.S.)</character>
<dialogue>Hey, it's me, I hope you're not mad at me. Maybe just text me and let me know that you got this. Okay, love you.</dialogue>
<scene_description>Marnie's eyes well with happy tears. She hits the next voicemail.</scene_description>
<character>LORI (O.S.)</character>
<dialogue>Okay, I'm officially worried. Where are you? Call me. This is weird. This is your daughter.</dialogue>
<scene_description>She hits another voicemail. Jillian's voice comes on.</scene_description>
<character>JILLIAN (O.S.)</character>
<dialogue>Hey, Marnie. It's Jillian. I was wondering if you could watch Tehya for me today...</dialogue>
<scene_description>Marnie's eyes shoot open.</scene_description>
<character>JILLIAN (O.S.)</character>
<dialogue>The nanny is sick and Dani and I have this thing at seven....</dialogue>
<scene_description>Marnie looks at the clock.</scene_description>
<character>JILLIAN (O.S.)</character>
<dialogue>So if you could be here by then...</dialogue>
<scene_description>Marnie drops her phone. Turns the ignition. And takes off.</scene_description>
</scene>
<scene>
<stage_direction>INT. JILLIAN'S HOUSE -- LATER/NIGHT</stage_direction>
<scene_description>Jillian opens the door to see Marnie panting, out of breath.</scene_description>
<character>JILLIAN</character>
<dialogue>You are a lifesaver.</dialogue>
<scene_description>Jillian hugs Marnie, then shouts into the house.</scene_description>
<character>JILLIAN</character>
<dialogue>Dani! We're leaving!</dialogue>
<parenthetical>(then, to Tehya)</parenthetical>
<dialogue>Grandma Marnie is here!</dialogue>
<scene_description>Little Tehya comes running up to Marnie. She bends down and Tehya's tiny arms wrap around her neck. It's the greatest feeling in the world.</scene_description>
<character>JILLIAN</character>
<dialogue>Do you mind putting her to bed?</dialogue>
<scene_description>Tehya runs up the stairs to her room. Marnie follows her.</scene_description>
<character>MARNIE</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. TEHYA'S ROOM -- MOMENTS LATER</stage_direction>
<scene_description>Tehya kicks around some toys, while Marnie situates herself in a nearby rocking chair.</scene_description>
<character>MARNIE</character>
<dialogue>What should we do? You want me to tell you a story?</dialogue>
<character>TEHYA</character>
<dialogue>Yeah.</dialogue>
<scene_description>Tehya hands Marnie a book.</scene_description>
<character>MARNIE</character>
<dialogue>Oh, I know this. I used to read it to my Lori.</dialogue>
<scene_description>Tehya peels open the pages and Marnie begins to read.</scene_description>
<character>MARNIE</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast and swagger, and by- and-by break their mainsprings and pass away, and he knew that they were only toys, and would never turn into anything else. For nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it.</dialogue>
<scene_description>Tehya lies down in her lap. Marnie clears her throat.</scene_description>
<character>MARNIE</character>
<dialogue>'What is REAL?' asked the Velveteen Rabbit one day... 'Does it mean having things that buzz inside you and a stick-out handle?' 'Real isn't how you are made,' said the Skin Horse. 'It's a thing that happens to you.</dialogue>
<character>MARNIE</character>
<dialogue>When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real.' 'Does it hurt?' asked the Rabbit. 'Sometimes,' said the Skin Horse, for he was always truthful. 'When you are Real you don't mind being hurt.' 'Does it happen all at once, like being wound up,' he asked, 'or bit by bit?' 'It doesn't happen all at once,' said the Skin Horse. 'You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept.</dialogue>
<scene_description>She has trouble reading, keeping the tears from her eyes.</scene_description>
<character>MARNIE</character>
<dialogue>Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."</dialogue>
<scene_description>She stops.</scene_description>
<character>TEHYA</character>
<dialogue>More.</dialogue>
<scene_description>She blinks the tears away, then turns to the girl. And smiles. Opening up the book again.</scene_description>
<character>MARNIE</character>
<dialogue>More.</dialogue>
</scene>
<scene>
<stage_direction>130A EXT. LOS ANGELES -- DAY - SOME TIME LATER 130A</stage_direction>
<scene_description>The sun is shining. Another blue-sky day. Marnie's Toyota makes its way down a tree-lined street.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARNIE'S TOYOTA -- CONTINUOUS</stage_direction>
<scene_description>Marnie holds her cell phone in her hand, her daughter's picture on the home screen. She looks at the phone, waiting for it to get service. NO SERVICE. ONE BAR. TWO BARS. FULL BARS. Marnie pulls up her list of FAVORITES: LORI and ZIPPER. She chooses Lori. The phone rings and rings and then:</scene_description>
<character>LORI (O.S.)</character>
<dialogue>Hey, it's Lori, leave a message.</dialogue>
<scene_description>Marnie waits for the BEEP. Takes a breath.</scene_description>
<character>MARNIE</character>
<dialogue>Anyway... I just wanted to see what you were up to and how your date went last night... or whatever you said to call it... I don't know how much longer I'm gonna have service....</dialogue>
<scene_description>As Marnie continues, CREDITS BEGIN TO ROLL OVER HER.</scene_description>
<character>MARNIE</character>
<dialogue>Cause I'm headed to Topanga to see my friend with the chickens, and also that new Jason Statham movie about the guy who stops time. It looks fabulous. And then I told Jillian that I'd baby-sit Tehya tomorrow, so I'll be in the neighborhood if you want me to drop off any bagels....</dialogue>
<character>FADE TO: BLACK</character>
<dialogue>OVER BLACK: Credits continue. And so does Marnie.</dialogue>
<character>MARNIE (OVER BLACK)</character>
<dialogue>... or read to me what you're working on or whatever... Cause I was thinking that maybe next weekend I might take a ride out to the desert maybe. Not sure if I'm gonna stay overnight, but.... It's just something I've been thinking about.... Seeing the desert.... And, you know, it's right there, so.... Anyway, call me. Love you.</dialogue>
<scene_description>Marnie thinks she's hung up. But we still hear her. She starts humming to herself. Then, finally realizes.</scene_description>
<character>MARNIE (OVER BLACK)</character>
<dialogue>Ooh.</dialogue>
<scene_description>Marnie hangs up.</scene_description>
</scene>
</script> | Aging widow Marnie is lonely and heartbroken. When her daughter Lori moves to Los Angeles, for her work as a television screenwriter, Marnie follows in the hope of restarting her life. She begins interfering with Lori's life, constantly calling her and showing up at her house. This annoys Lori, who is currently seeing a therapist. On Valentine's Day, Lori agrees to go out with Marnie. At the restaurant, Jacob – Lori's ex – shows up with his new girlfriend. Lori tries to act like she is also dating, but Marnie ruins it for her. Marnie visits Lori's therapist, hoping to find out why her daughter acts the way she does but instead gets evaluated by her. The therapist believes that Marnie needs to sort out her own issues, relating to the loss of her husband. Marnie gradually learns to develop new friendships. She helps her tech friend Freddie, who she met while buying a new mobile, with rides to his night classes. She volunteers at the hospital, upon Lori's suggestion, and connects with a female stroke victim, helping the lady reconnects with her son. At the baby shower of Lori's friend Emily, Marnie connects with her friends and is introduced to Emily's divorced father-in-law, Mark. They have things in common, but she's not interested. Marnie connects with Lori's friend Jillian, who she offers to babysit for. As her own mom died when she was young, Jillian ends up taking her as a mom, especially as Marnie helps her pay for a proper wedding. Freddie's brother Fredo gets a lift from Marnie, leaving a big bag of pot behind. They find it as she is reviewing his test material in the car. A police officer approaches them, so she fills her mouth with it. Shortly after, high, she meets Zipper, who is a retired cop who was on the set where she'd inadvertently become an extra. Marnie and Zipper stay out all night talking and he introduces her to his chickens. He tells her his younger daughter Lizzie is estranged due to his divorce. Marnie then goes back to NYC to see her daughter working on the pilot and to make her long overdue visit to her late husband's family. They want to discuss getting a headstone and distributing his ashes, but she isn't ready. Back in LA, Lori asks Marnie to help get a pregnancy test kit but Marnie mistakenly gets an ovulation kit. After the rush of emotions and mix up, Lori apologies for the way she had been acting. She explains that she misses her dad so found it hard to look at her. Marnie replies she feels the same but that she is not alone. Marnie finally pours her husband's ashes in the ocean and for this she is arrested. After Zipper bails her out, they kiss and agree to go watch an action movie together. Back in her car, Marnie sees that she had three voicemails from Lori to which she listens and smiles. Some time later, Marnie is happily settled into her LA life. She sends a voicemail to Lori asking about her current boyfriend and informing her of her intended trip with Zipper. |
Mortal Kombat_2021 | tt0293429 | <script>
<scene>
<character>MORTAL KOMBAT</character>
<dialogue>Written by:</dialogue>
<scene_description>Greg Russo Based on the game MORTAL KOMBAT created by Ed Boon & John Tobias New Line Cinema D: Simon McQuoid Broken Road Atomic Monster NOVEMBER 2018</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMAN WOODS - NIGHT</stage_direction>
<scene_description>OPEN ON: A FACE, African descent, mired in filth and grime; DREADLOCKS dangle like vines over a pair of black eyes. PULL BACK TO REVEAL: The SLAVE is locked inside a cramped iron cage, shackles around his wrists and neck. The cage sits in a HORSE-DRAWN CARRIAGE. A small GUARD accompanies the wagon through a MISTY FOREST. ABOVE THE TREELINE: A BLOOD RED MOON towers in the night sky. They arrive at their destination: A RING OF TORCHES and SPIKED TIMBER, a FIGHTING PIT in the middle of the woodland. AROUND THE FIGHTING PIT: Roughly two dozen ROMAN DIGNITARIES gather with their cadre of servants. DREADLOCKS Peers through the cage bars, eagerly searches the assemblage until he finds: AEMILIA, a strikingly beautiful HANDMAID, pouring wine for the noblemen. They lock eyes, her face wracked with grief for him. She touches ONE-HALF of a PENDANT draped around her neck. Dreadlocks holds her gaze. He mirrors the gesture, tracing the place above his heart where he once wore the other half. These two have been in love for some time. A grizzled SLAVE TRADER dismounts his steed. He walks towards a GENERAL'S TENT perched above the pit.</scene_description>
</scene>
<scene>
<stage_direction>INT. GENERAL'S TENT - CONTINUOUS</stage_direction>
<scene_description>A pair of GUARDS part to reveal: The all-powerful ROMAN EMPEROR. The Slave Trader bows before him.</scene_description>
<character>SLAVE TRADER</character>
<dialogue>I brought our strongest slave.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Forgive me, Caesar. I thought we would stage this in the Coliseum?</dialogue>
<character>THE EMPEROR</character>
<parenthetical>(condescending)</parenthetical>
<dialogue>This is NOT theater.</dialogue>
<scene_description>The Emperor gazes upward at the foreboding Blood Moon.</scene_description>
<character>SLAVE TRADER</character>
<dialogue>Do you know if he'll grace us with his presence?</dialogue>
<character>THE EMPEROR</character>
<dialogue>I never know.</dialogue>
<parenthetical>(with a hint of fear)</parenthetical>
<dialogue>That's why we must always be ready.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROMAN WOODS - CONTINUOUS</stage_direction>
<scene_description>THUNDER billows from the HEAVENS; a gentle RAIN SHOWER falls. SUDDEN GASPS from the CROWD OF DIGNITARIES! Everyone scrambles, noblemen and servants alike, pulling up their linens, dropping to their knees in reverence. The Emperor anxiously turns. As the patrons part, we REVEAL: LORD RAIDEN, framed in the TREELINE. (Think Gandalf from 'Lord of the Rings,' but far more powerful). He carries a divine presence. His eyes narrow into ELECTRIC BLUE SLITS. Only the Emperor and Lord Raiden remain standing. Then the Emperor takes a knee as well.</scene_description>
<character>THE EMPEROR</character>
<dialogue>Rome salutes you, My Lord.</dialogue>
<scene_description>Raiden approaches; the Emperor nervously offers his THRONE, but the Thunder God remains standing, his ageless eyes fixed on the PIT below.</scene_description>
<character>THE EMPEROR</character>
<dialogue>You'll be pleased to see. We have found our Champion.</dialogue>
<scene_description>A PRAETORIAN SOLDIER (the most awesome, Roman warrior imaginable), jumps into the FIGHTING PIT. He wears HEAVY ARMOR, carries a SHIELD emblazoned with a ROMAN EAGLE. AEMILIA Looks to Dreadlocks, fear in her eyes. He tries to silently console her. The CAGE DOOR is suddenly RIPPED OPEN! A PAIR OF GUARDS seize Dreadlocks by the arms, drag the chained slave from his cell, throw him into the pit. A SHORT SWORD lands by his side. Still chained, he grabs the sword, staggers to his feet. The Roman Warrior rushes him, CLOCKS Dreadlocks in the face, sending him HARD to the mud, right in front of Aemilia. (NOTE: the fight choreography will feel more akin to Mortal Kombat, than to gladiator bouts we've seen before). ABOVE THE PIT: The Emperor gestures with assurance to his Champion.</scene_description>
<character>THE EMPEROR</character>
<dialogue>Thirty straight victories. No mortal man can defeat him. You'll never find a stronger...</dialogue>
<scene_description>Raiden lifts his hand, stopping the Emperor cold. DOWN BELOW: The Roman Warrior batters Dreadlocks, nowhere near a fair fight. Eventually, beat to within an inch of his life, Dreadlocks looks towards Aemilia. She pleads for him to GET UP. A MOMENT between them. She's all the strength he needs. JUST AS... The Roman PLUNGES his sword downward...</scene_description>
</scene>
<scene>
<stage_direction>.. Dreadlocks SPINS, SHIELDS THE BLOW WITH HIS OWN FOREARM!</stage_direction>
<scene_description>The short sword SKEWERS HIS ARM, very nearly reaches his face... but the hilt catches. Dreadlocks sweeps his ruined arm in a WIDE ARC, SLICING his opponent's KNEECAP! And now the comeback is on: The slave PUMMELS the shell- shocked Roman until the brute has nothing left in him. And only now does Dreadlocks look up at Lord Raiden, standing beside the Emperor. ABOVE THE PIT: The EMPEROR stares wide-eyed at the victorious slave. How could this be?</scene_description>
<character>THE EMPEROR</character>
<dialogue>Impossible. Forgive me, my Lord. I've wasted your time...</dialogue>
<scene_description>But Raiden only smiles:</scene_description>
<character>RAIDEN</character>
<dialogue>He is exactly as I had hoped.</dialogue>
<scene_description>The Emperor gazes at Dreadlocks with confusion. Then he thrusts out his arm, turns his thumb down. DOWN BELOW: Dreadlocks reels his arm back, then SWIPES AT THE AIR. The impaled sword SLICES through the ROMAN'S JUGULAR... And it's during this moment that Dreadlocks grabs a MEDALLION draped around his opponent's neck. The Roman Warrior falls back. The necklace goes TAUT, SEVERING his head from his body! Dreadlocks dislodges the sword from his arm, studies the bruised SILVER MEDALLION hanging from the rusted chain. We see the ICONIC MORTAL KOMBAT DRAGON. Raiden appears SUDDENLY by his side. Rain deflects off his wide-brimmed hat. He removes the slave's shackles. In their place, he drapes the DRAGON MEDALLION around his neck.</scene_description>
<character>RAIDEN</character>
<dialogue>Now the REAL FIGHT begins.</dialogue>
<scene_description>Raiden takes a step back, lifts his arms to the sky... A LIGHTNING BOLT CRASHES DOWN, STRIKES THE THUNDER GOD! The CROWD SCREAMS in terror. They run for their horses. Everyone except for AEMILIA. Raiden absorbs the POWERFUL CHARGE, his ELECTRIFIED SKELETON flickering in the SURGING BLUE LIGHT! Dreadlocks shields his eyes. When he dares look again, a PORTAL STANDS in the FIGHTING PIT. Raiden takes a MOMENT to recover, his body weakened by this act. He gestures to the dimensional gateway.</scene_description>
<character>RAIDEN</character>
<dialogue>Come. Your destiny awaits.</dialogue>
<scene_description>Dreadlocks stares at the mysterious portal, then he turns and gazes upon Aemilia, heartache in his eyes. We watch as a tear sleds down her stunned face.</scene_description>
<character>RAIDEN</character>
<dialogue>For all that you hold dear.</dialogue>
<parenthetical>(off Dreadlocks's look)</parenthetical>
<dialogue>For Earth.</dialogue>
<scene_description>Dreadlocks knows what he has to do. He nods to himself, turns away from Aemilia, steps through the PORTAL. As the TWISTING, BRILLIANT LIGHT consumes us, we... CUT TO: OPENING CREDIT SEQUENCE (HOW THE MEDALLIONS ARE MADE): We're in a STONE FORGE, somewhere divine, ancient. FIRE. SMOKE. The CLANGING and POUNDING OF TOOLS. HOODED FIGURES carry raw chunks of metal and stone to a BLAZING FURNACE - (some of the materials we recognize: GOLD, SILVER, BRONZE - while others, like a mysterious BLACK ROCK, are clearly not from this world). The STRANGE BLACK ROCK is melted down, poured into a MOLD of the iconic MORTAL KOMBAT COILED DRAGON, and then COOLED. As a BURST OF STEAM evaporates before our eyes, the newly forged BLACK MEDALLION solidifies. We GO IN CLOSE on the MYSTICAL MEDALLION. The DRAGON'S eyes FLASH BLOOD RED, and we... SMASH TO TITLE: FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOUTH PHILLY BOXING GYM - DAY</stage_direction>
<scene_description>An SUV pulls up across the street from the age-old South Philly boxing establishment.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV - SAME</stage_direction>
<scene_description>JACKSON "JAX" BRIGGS, (30s, black), arms like cannons, sits behind the wheel. He opens a FOLDER on the passenger seat and double-checks the DOSSIER inside. CLOSE ON THE DOSSIER: We see surveillance photos of the same boxing gym, as well as black and white SHOTS of a BOXER wearing a WHITE ROBE. On the back of the WHITE ROBE, we see a stitched patch of the MK COILED DRAGON. Jax has CIRCLED the DRAGON and added his NOTES: COLE MORINO - FORMER MIDDLEWEIGHT CHAMPION. Jax lowers his shades, studies the gym. This is definitely the place... He opens his door.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOUTH PHILLY BOXING GYM - PRESENT DAY</stage_direction>
<scene_description>RAUCOUS CHEERING. PUNCHES and GRUNTS. Two warriors SLUGGING AWAY in the ring. As Jax weaves his way through the bloodthirsty crowd, a VOICE SCREAMS OUT:</scene_description>
<character>VOICE (V.O.)</character>
<dialogue>FINISH HIM!</dialogue>
<scene_description>A GLOVE rips across FRAME and DETONATES our hero's face! Blood and sweat spray. COLE MORINO, (30s), drops to the mat; his head CRACKS the canvas. CHEERS ERUPT as Cole shakes the stars from his eyes. The long count hovers over him: "FIVE... SIX... SEVEN..." Cole rolls to face his corner. We expect a team of trainers and coaches. Instead we find only his daughter, EMILY, (12).</scene_description>
<character>EMILY</character>
<dialogue>Get up, Dad! Never quit!</dialogue>
<scene_description>Her voice is all the spirit he needs. Cole plants one foot, then the other... He's up!!! The BELL SOUNDS. Cole retreats to his corner. Emily dabs coagulant on his wound, sprays water into his mouth.</scene_description>
<character>COLE</character>
<dialogue>I'm getting my ass kicked. He's faster than I am... Got a longer reach too.</dialogue>
<character>EMILY</character>
<dialogue>What was our plan?</dialogue>
<character>COLE</character>
<dialogue>Be smarter. Get in close. Use the ring to my advantage.</dialogue>
<character>EMILY</character>
<dialogue>Stick to it. You got this!</dialogue>
<scene_description>She holds up her fists. Cole taps them with his gloves. The REFEREE walks over, inspects Cole's vision.</scene_description>
<character>REFEREE</character>
<dialogue>Sure you want to keep going, Champ? I can call it now.</dialogue>
<scene_description>Cole glances at Emily, perched on the ropes.</scene_description>
<character>COLE</character>
<parenthetical>(aside, to the Ref)</parenthetical>
<dialogue>I get another hundred if I make it through three.</dialogue>
<character>REFEREE</character>
<dialogue>I wouldn't take that bet, Champ.</dialogue>
<character>COLE</character>
<dialogue>We'll see.</dialogue>
<scene_description>The Ref shakes his head, steps away. The BELL RINGS. Cole works his way to the center of the ring. Bobbing. Weaving. But MISSING with every punch he throws.</scene_description>
<character>EMILY</character>
<dialogue>Let's go, Dad! Get in close!</dialogue>
<scene_description>Cole heeds Emily's advice, shortens the gap, lets it rip. Head. Body. Head. The comeback is on! JAX folds his arms across his chest, watches Cole with interest. We see flashes of the champion Cole once was! Cole ducks a punch, lands a HARD CROSS, staggers his opponent, RAMIREZ, backwards. Ramirez holds a glove to his mouth, impressed.</scene_description>
<character>EMILY</character>
<dialogue>That's how you do it!</dialogue>
<scene_description>Ramirez fires off a series of RAPID PUNCHES and... -WHAAAM!- Cole's DECKED HARD, right back to the canvas. COLE tries to PUSH HIMSELF UP again. Nothing left. He falls back to his chest. The BELL RINGS. Emily comes to her Dad's side. She holds a towel to his open wound, gets an arm under him, guides him to his feet. The CROWD BOOS both of them as they exit the ring. JAX lowers his head, disappointment in his eyes. A BIT LATER: Cole exits the lockers, wearing his robe, the MK COILED DRAGON emblazoned across his back. Much like Cole, the robe has seen better days. Ramirez walks by.</scene_description>
<character>RAMIREZ</character>
<parenthetical>(with genuine respect)</parenthetical>
<dialogue>Nice fight, Morino.</dialogue>
<scene_description>Cole nods his thanks as he rubs his bruised knuckles. Emily waits for him, his boxing gloves slung over her shoulder. They leave together.</scene_description>
<character>EMILY</character>
<dialogue>You sure you're okay?</dialogue>
<scene_description>Cole rubs his jaw, hurts like hell, doesn't let her see it.</scene_description>
<character>COLE</character>
<dialogue>Yeah. Kid had a nasty left hook. Right wasn't bad either.</dialogue>
<character>EMILY</character>
<dialogue>Ramirez is legit. They have him pegged to win the Golden Gloves this year.</dialogue>
<character>COLE</character>
<parenthetical>(puffing out his chest)</parenthetical>
<dialogue>And your old man lasted three rounds against him...</dialogue>
<character>EMILY</character>
<dialogue>Uh... like two and a half. Like two and ten seconds.</dialogue>
<scene_description>Cole playfully jabs at her. She blocks it with a laugh.</scene_description>
<character>COLE</character>
<dialogue>I must be doing something right.</dialogue>
<parenthetical>(off her look)</parenthetical>
<dialogue>I got the best trainer in Philly.</dialogue>
<scene_description>Cole tries to tuck the hair behind her ear. She brushes away his hand.</scene_description>
<character>EMILY</character>
<parenthetical>(glancing around)</parenthetical>
<dialogue>Dad, stop. I'm not a kid anymore.</dialogue>
<scene_description>Cole backs off as Jax approaches them.</scene_description>
<character>JAX</character>
<dialogue>Cole Morino.</dialogue>
<parenthetical>(off Cole's look)</parenthetical>
<dialogue>I'm a big fan. I was ringside when you beat Eddie Tobias back in the day. You were something else.</dialogue>
<scene_description>Emily smiles at her Dad. Cole brushes off the compliment.</scene_description>
<character>COLE</character>
<dialogue>That was a long time ago.</dialogue>
<scene_description>Cole turns to leave. Jax walks with him, points to the EMBLEM stitched on Cole's robe: THE COILED DRAGON, BATHED IN FLAMES.</scene_description>
<character>JAX</character>
<dialogue>I've always wondered... Where'd you get your logo?</dialogue>
<character>COLE</character>
<dialogue>It's something my Dad left me.</dialogue>
<scene_description>Jax perks up at this. He plays it off, acts natural.</scene_description>
<character>JAX</character>
<dialogue>Oh yeah? He a fighter to?</dialogue>
<character>COLE</character>
<dialogue>Wouldn't know. Never met him.</dialogue>
<parenthetical>(then, to Emily)</parenthetical>
<dialogue>Come on, baby. We're gonna be late.</dialogue>
<scene_description>Cole puts his arm around his daughter. They leave together.</scene_description>
<character>JAX</character>
<parenthetical>(calling after them)</parenthetical>
<dialogue>Nice meeting you, Champ.</dialogue>
<scene_description>We HOLD ON Jax. His smile fades. He sharpens his eyes with certainty. This is the guy he's been looking for...</scene_description>
</scene>
<scene>
<stage_direction>EXT. ICE CREAM PARLOR - A BIT LATER - DAY</stage_direction>
<scene_description>Cole and Emily sit on a bench together outside the shop, sharing an ice cream cone.</scene_description>
<character>EMILY</character>
<dialogue>Hey, maybe next Sunday, if you don't have a fight, we could go see a movie. That new Johnny Cage one looks cool ... We can't tell Mom about it though. She's got this weird thing against violent movies.</dialogue>
<character>COLE</character>
<dialogue>You remember that time Cage was fighting that one guy and he did that split...</dialogue>
<character>EMILY</character>
<dialogue>That was awesome. He punched that dude right in the balls.</dialogue>
<scene_description>They both laugh. After a MOMENT, her smile fades.</scene_description>
<character>EMILY</character>
<dialogue>I wish we could hang out on more than just Sundays.</dialogue>
<scene_description>Cole's heart breaks.</scene_description>
<character>COLE</character>
<dialogue>I do too. It's just... Mom and I... we're still figuring stuff out...</dialogue>
<character>EMILY</character>
<dialogue>It's been almost two months. I don't want to live with Grandma anymore. Everything in her apartment smells like Ben-Gay.</dialogue>
<scene_description>Cole laughs.</scene_description>
<character>COLE</character>
<dialogue>I'm working on it. I promise.</dialogue>
<scene_description>A CAR turns onto the street.</scene_description>
<character>COLE</character>
<parenthetical>(RE: the ice cream)</parenthetical>
<dialogue>Better not let Mom see that before dinner.</dialogue>
<scene_description>Emily hands over the cone. Cole takes the last bite, tosses it in the trash as the CAR pulls up to the curb. Cole's wife, ALLISON, (30s), gets out. She takes one look at Cole. The cut above his eye. The bruising by his jaw. She folds her arms with a sigh.</scene_description>
<character>ALLISON</character>
<dialogue>Ice cream before dinner?</dialogue>
<scene_description>Cole wipes his mouth. Busted.</scene_description>
<character>ALLISON</character>
<parenthetical>(aside, to Emily)</parenthetical>
<dialogue>Get in the car, sweetheart.</dialogue>
<character>EMILY</character>
<dialogue>Bye, Dad. See you next weekend.</dialogue>
<scene_description>Cole gives her a monster hug. She holds out her fist.</scene_description>
<character>EMILY</character>
<dialogue>Never quit.</dialogue>
<character>COLE</character>
<dialogue>Never quit.</dialogue>
<scene_description>Cole taps her fist. Emily gets in the back of the car as Allison walks over to Cole. He pulls the fight money out.</scene_description>
<character>COLE</character>
<dialogue>It's six-hundred. Em's gonna need school supplies next month...</dialogue>
<scene_description>Allison reluctantly takes the money.</scene_description>
<character>COLE</character>
<dialogue>I know what you're gonna say...</dialogue>
<character>ALLISON</character>
<dialogue>I don't want you taking Emily to any more fights.</dialogue>
<character>COLE</character>
<dialogue>It came up last minute. It was easy money, Ally...</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>For what it's worth, she has fun.</dialogue>
<scene_description>Allison shakes her head, looks at Cole.</scene_description>
<character>ALLISON</character>
<dialogue>Ten years ago, it was fun, Cole. But this... They throw you in, you get your ass kicked by guys half your age. When's it gonna be enough? ... When Emily watches you die in the ring someday?</dialogue>
<scene_description>Cole looks away.</scene_description>
<character>COLE</character>
<dialogue>Not many places are looking to hire a washed up boxer with no high school diploma. This is all I got.</dialogue>
<scene_description>Allison waits for his gaze.</scene_description>
<character>ALLISON</character>
<dialogue>You got us.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Tommy said he could get you an interview with a security firm.</dialogue>
<character>COLE</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>That's what you want? To be married to some rent-a-cop?</dialogue>
<character>ALLISON</character>
<dialogue>The man I fell in love with isn't defined by his job.</dialogue>
<scene_description>Allison reaches her hand to the TAPED CUT by Cole's eye, wipes a TRICKLE of BLOOD from his face. Cole locks eyes with her, moved by the gesture. A MOMENT between them.</scene_description>
<character>COLE</character>
<dialogue>You win. No more fighting.</dialogue>
<character>ALLISON</character>
<parenthetical>(skeptical)</parenthetical>
<dialogue>I've heard that before.</dialogue>
<character>COLE</character>
<dialogue>Swear to God. I'll give it up right now...</dialogue>
<parenthetical>(then, with a smile)</parenthetical>
<dialogue>If you go on a date with me.</dialogue>
<character>ALLISON</character>
<parenthetical>(matching his smile)</parenthetical>
<dialogue>I'll think about it.</dialogue>
<character>COLE</character>
<dialogue>Come on. One date. We'll go to Lambertis...</dialogue>
<character>ALLISON</character>
<parenthetical>(hard to get)</parenthetical>
<dialogue>I said, I'll think about it.</dialogue>
<character>COLE</character>
<dialogue>Good. You think about it.</dialogue>
<parenthetical>(then, as he walks away)</parenthetical>
<dialogue>I'll pick you up at seven.</dialogue>
<scene_description>Allison laughs as she opens her door.</scene_description>
<character>COLE</character>
<dialogue>Oh, one more thing...</dialogue>
<parenthetical>(turning back around)</parenthetical>
<dialogue>I might need you to pay.</dialogue>
<character>ALLISON</character>
<parenthetical>(playful, with love)</parenthetical>
<dialogue>Get the hell outta' here.</dialogue>
<scene_description>They share a final smile as she gets inside the car.</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S APARTMENT - NIGHT</stage_direction>
<scene_description>About as low-rent as South Philly gets. Bare walls. Mattress on the floor. Cole walks in, drops his keys, pulls a beer from his fridge. He stares at the fridge door. We see pictures of Cole, Allison, and Emily. Birthdays, Eagles games, trips to the Jersey Shore. There isn't a recent photo for months. MOMENTS LATER: A CLOSET DOOR SLIDES BACK. The CLOSET IS STUFFED TO THE BRIM with artifacts of Cole's early years in the ring, from back when he was a champion. Cole carefully repositions a few BOXES until he can hang up his gloves and robe. He pauses, staring at the COILED DRAGON emblazoned on the fabric. WHEN JUST THEN: BOXES tumble down, SPILLING their contents all over the floor.</scene_description>
<character>COLE</character>
<dialogue>Shit.</dialogue>
<scene_description>Cole starts cleaning them up. He STOPS. One of the FALLEN BOXES grabs his attention. An ANCIENT WOODEN CHEST - Carved into the dark wood are Japanese characters (translated to: FIGHT FOR WHAT MATTERS). Cole pops the lid. First thing we see: OLD HOSPITAL ADMISSION PAPERS. CLOSE ON: PATIENT RECORDS: "ON-CALL NURSE FOUND ABANDONED CHILD SLEEPING INSIDE STRANGE BLACK CHEST. PARENTS UNKNOWN." And there... in the bottom on the chest: THE DRAGON MEDALLION, forged from black rock. (the same one we saw forged in our opening credit sequence). Cole considers the strange relic, unsure what to make of it. His eyes fall to the STRANGE CHEST. He runs his fingers along the engraved wood. What do these symbols mean? He turns the chest over. More ENGRAVINGS. Cole traces his finger along the ghastly IMAGE OF A SKULL. A LOUD -POP- A SIDE COMPARTMENT of the chest opens! Cole reaches in to find: A RUSTED CHAIN. He turns his gaze back to the MEDALLION. Could it be...? Cole fastens the CHAIN to the MEDALLION. Here goes nothing... He places the medallion around his neck for the first time. The DRAGON'S EYES FLASH BLOOD RED! Only for a MOMENT. We see it. Cole doesn't. He removes the medallion, tosses it on his desk. We GO IN CLOSE on the mystical dragon and... HARD CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BLOCK - NEXT DAY</stage_direction>
<scene_description>A gritty, South Philly apartment block. Cole walks up the cracked steps of an apartment building. He rings the buzzer. SOPHIA, (60s), Allison's Mom, answers.</scene_description>
<character>COLE</character>
<dialogue>It's Cole.</dialogue>
<character>SOPHIA</character>
<dialogue>Hi, Cole. If you're looking for Ally, she's still at work.</dialogue>
<character>COLE</character>
<dialogue>Actually, Sophia... Is it cool if I talk to Em' for a second?</dialogue>
<character>SOPHIA</character>
<dialogue>You're her father, Cole. You don't have to ask.</dialogue>
<scene_description>She BUZZES him in.</scene_description>
</scene>
<scene>
<stage_direction>INT. EMILY'S ROOM - MOMENTS LATER - DAY</stage_direction>
<scene_description>Emily's temporary bedroom. A VINTAGE POSTER FOR: COLE MORINO VS. EDDIE TOBIAS - CHAMPIONSHIP BOUT - hangs over her bed. Cole shuts her door; Emily pulls off her headphones.</scene_description>
<character>EMILY</character>
<dialogue>Dad? What are you doing here?</dialogue>
<scene_description>She walks over, buries into him. He hugs her tightly. Cole reaches into his pocket, takes out the chained medallion. He dangles the relic before her eyes.</scene_description>
<character>EMILY</character>
<dialogue>So it's a medallion...</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I always thought it was some weird old rock.</dialogue>
<character>COLE</character>
<dialogue>It got me thinking. If it's some sort of antique jewelry...</dialogue>
<character>EMILY</character>
<dialogue>...It's probably worth a fortune.</dialogue>
<scene_description>They share a smile. Like father, like daughter. MOMENTS LATER: Cole hovers over her laptop. Emily stands beside him. He types "DRAGON MEDALLION" into GOOGLE. A bunch of random links and images appear. Clearly not what they're looking for.</scene_description>
<character>EMILY</character>
<dialogue>Let me.</dialogue>
<scene_description>Cole pushes over the keyboard. Emily runs a reverse image search. A SECOND LATER, SMACKS the ENTER KEY and BINGO! "MORTAL KOMBAT" -- TOURNAMENT OF CHAMPIONS.</scene_description>
<character>EMILY</character>
<dialogue>Try that one.</dialogue>
<scene_description>Cole shoots her a look.</scene_description>
<character>COLE</character>
<dialogue>Show off.</dialogue>
<scene_description>He clicks the link. A SEIZURE-INDUCING WEBSITE BLASTS HIM IN THE FACE - SCORED BY THE FAMOUS EAR-SPLITTING MORTAL KOMBAT TECHNO TRACK! Cole tries to mute the volume, somehow makes it even louder!</scene_description>
<character>COLE</character>
<dialogue>How do you turn it off?!</dialogue>
<scene_description>Emily quickly cranks down the volume.</scene_description>
<character>COLE</character>
<dialogue>You thinking what I'm thinking?</dialogue>
<character>EMILY</character>
<dialogue>How did Techno ever become popular?</dialogue>
<character>COLE</character>
<dialogue>No. This thing is important. Look.</dialogue>
<scene_description>ON COLE'S SCREEN: We see: THE SAME COILED DRAGON! Here represented in multiple mediums, across cultures: An ETRUSCAN FRESCO, AZTEC STONEWORK, CHINESE STEEL... Emily scrolls down, reads from the page:</scene_description>
<character>EMILY</character>
<dialogue>Fought since the dawn of time, the ancient battle fast approaches. Will Earth's greatest champions rise to defend us? Or will our world fall to the forces of darkness?</dialogue>
<scene_description>Emily looks at her Dad, shares in his look of not just confusion. There's something very unnerving about this.</scene_description>
<character>EMILY</character>
<dialogue>This is some freaky s-h-i-t.</dialogue>
<character>COLE</character>
<dialogue>Tell me about it.</dialogue>
<parenthetical>(then, as a parent)</parenthetical>
<dialogue>Spelling it out still makes it a curse, baby.</dialogue>
<character>EMILY</character>
<dialogue>Sorry, Dad.</dialogue>
<scene_description>Cole sits back in his seat, thinks it through carefully. When just then: BANG! BANG! BANG! There's someone outside the apartment building, HAMMERING on the FRONT DOOR! Cole goes to the window to see: JAX.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING - LOBBY - MOMENTS LATER - DAY</stage_direction>
<scene_description>Cole reaches the door just as Sophia opens it. He pulls her back, then squares up opposite JAX. The MOMENT Jax sees Cole's black medallion:</scene_description>
<character>JAX</character>
<dialogue>You need to come with me.</dialogue>
<character>COLE</character>
<dialogue>You out of your mind? I'm not going anywhere with you.</dialogue>
<scene_description>Jax reaches into his vest, extracts: a DRAGON MEDALLION of his own. It's the same one DREADLOCKS wore in our opening scene, forged in SILVER. Ancient. Coarse. Rugged. We NOTE: The Dragon's eyes are GLOWING RED. As are the ones on COLE'S MEDALLION.</scene_description>
<character>EMILY</character>
<dialogue>Dad...?</dialogue>
<character>COLE</character>
<dialogue>Not now.</dialogue>
<parenthetical>(then, to Jax)</parenthetical>
<dialogue>What are you doing here? ... Why are you following me?</dialogue>
<character>EMILY</character>
<dialogue>Dad...?</dialogue>
<character>COLE</character>
<dialogue>Not now, Emily.</dialogue>
<character>JAX</character>
<dialogue>It's extremely important, Cole. I can explain on the way.</dialogue>
<scene_description>Jax grabs Cole by the arm; Cole shakes him off.</scene_description>
<character>EMILY</character>
<dialogue>DAD!</dialogue>
<character>COLE</character>
<dialogue>YES, EMILY! ... What is it?</dialogue>
<scene_description>Cole finally turns to Emily. She's staring out the lobby window, her face filled with WONDER.</scene_description>
<character>EMILY</character>
<dialogue>It's snowing...</dialogue>
<scene_description>Sure enough, we see SNOW, gently falling from the sky. Cole pushes past Jax, eyes wide.</scene_description>
<character>EMILY</character>
<parenthetical>(with excitement)</parenthetical>
<dialogue>... in the middle of summer!</dialogue>
<scene_description>OUTSIDE: A few NEIGHBORS, dressed in shorts and t-shirts, stop to marvel at the mysterious change in weather. The SNOW quickly INTENSIFIES. HEAVY. POUNDING. Jax surveys the apartment block, realizes... something's wrong.</scene_description>
<character>JAX</character>
<dialogue>We need to leave RIGHT NOW!</dialogue>
<scene_description>-SMAAAASH!!!- A THREE-FOOT ICICLE ERUPTS THROUGH THE LOBBY WINDOW, SPEARS RIGHT PAST EMILY'S HEAD, AND DETONATES THE WALL BEHIND HER! Emily lands on the ground; Cole and Sophia race towards her.</scene_description>
<character>COLE</character>
<dialogue>You okay?!</dialogue>
<scene_description>She nods, scared out of her mind. Cole stares at the SHATTERED WINDOW, SNOW gusting inside.</scene_description>
<character>COLE</character>
<dialogue>Stay here.</dialogue>
<scene_description>Cole puts on his medallion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BLOCK - CONTINUOUS</stage_direction>
<scene_description>An EERIE, HOLLOW WIND WHISTLES from down the block. Cole reaches Jax's side, follows his gaze: That's when they see him. And so do we. BUT ONLY FOR A SINGLE TERRIFYING MOMENT. The GHOSTLY FROZEN SILHOUETTE of SUB-ZERO. The ICE NINJA stalks the road; each footfall FREEZES the ground beneath it. His visage half-obscured by pounding snow. He wears a DRAGON MEDALLION forged from BLUE CRYSTAL.</scene_description>
<character>JAX</character>
<dialogue>GET IN THE TRUCK, COLE!</dialogue>
<scene_description>HEADLIGHTS. A CAR turns onto the street. Cole recognizes it.</scene_description>
<character>COLE</character>
<dialogue>ALLY!</dialogue>
<scene_description>The car SWERVES VIOLENTLY over a patch of ice, SMASHES into a TREE! Cole runs towards her. Ally, still dazed from the air bag, looks up at Cole as he helps her out of the car.</scene_description>
<character>ALLISON</character>
<dialogue>Cole..?</dialogue>
<character>COLE</character>
<dialogue>You need to get inside now!</dialogue>
<scene_description>Cole turns towards SUB-ZERO. The Ice Ninja clocks the MEDALLION hanging from Cole's neck. Cole notices, glances down at the rock. When he looks back up, Sub-Zero is gone! Cole spins back towards Allison. SUB-ZERO IS STANDING BEHIND HER! The demon GRABS Ally by the THROAT! She GASPS for AIR as BLUE ICE RACES over her skin! She reaches her hand out to Cole.</scene_description>
<character>COLE</character>
<dialogue>ALLY!!!</dialogue>
<scene_description>A GLIMMER OF LIFE in Ally's eye, BEGGING Cole to save her, before the DEAD ICE overtakes her face. It races down her arm, finishes at her outstretched hand. Sub-Zero turns his gaze slowly towards Cole. A MOMENT between them. Sub-Zero's OPAQUE, LIFELESS EYES locked on Cole. Making sure Cole knows who's responsible. Making sure Cole sees what he's about to do.... Sub-Zero clenches his fist. ALLISON SHATTERS INTO A MILLION PIECES. Cole SCREAMS! AN EXPLOSION OF PAIN and FURY! He steps towards Sub-Zero, but the demon THRUSTS OUT HIS HANDS, DRILLS Cole with an ICE BLAST, LAUNCHING him into the air! Cole lands on his back. He pushes himself up. REELS BACK in ANGUISH as he cradles his left arm. A NASTY LACERATION, the skin severed. Still in a daze as Jax reaches his side. Cole pushes him off, sits up to see: Emily and Sophia. Standing in the doorway. They just witnessed the whole thing.</scene_description>
<character>COLE</character>
<dialogue>Oh God...</dialogue>
<scene_description>Cole staggers to his feet. Overwhelmed with pain and anguish, all he can do is scream.</scene_description>
<character>COLE</character>
<dialogue>WE HAVE TO GO!</dialogue>
<scene_description>Cole takes his daughter (still shocked, speechless) into his arms. He hurries her towards the truck.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV - CONTINUOUS</stage_direction>
<scene_description>Jax SLAMS the gas; they speed off through the dense snow. He checks his rear-view. SUB-ZERO pursues them. Methodical. Relentless. Tears explode from Emily's eyes. Cole keeps his one good arm wrapped around her, clutching her to his chest. With his wounded arm, he holds Sophia's hand.</scene_description>
<character>JAX</character>
<dialogue>I'm sorry, Cole.</dialogue>
<character>COLE</character>
<dialogue>WHAT'S HAPPENING TO US?!</dialogue>
<character>JAX</character>
<parenthetical>(locking eyes)</parenthetical>
<dialogue>There's a war coming. Bigger than anything you can imagine. And you're at the center of it.</dialogue>
<scene_description>Cole tries to process this. Can't. A BUZZ on Jax's phone. He holds a finger to his ear piece.</scene_description>
<character>JAX</character>
<dialogue>Sonya. I found the medallion.</dialogue>
<parenthetical>(a somber glance at Cole)</parenthetical>
<dialogue>Yeah, I have him too...</dialogue>
<scene_description>We can read the compassion in Jax's eyes.</scene_description>
<character>JAX</character>
<dialogue>What about the mercenary?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>I'll meet you at the Farm in two hours.</dialogue>
<scene_description>Jax hangs up, steers the SUV into an UNDERGROUND TUNNEL. DARKNESS consumes them. Emily lifts her head from Cole's chest. As the TUNNEL LIGHTS wash over her tear-strewn cheeks...</scene_description>
<character>EMILY</character>
<dialogue>He killed Mom...</dialogue>
<scene_description>Cole holds her back to his chest.</scene_description>
<character>COLE</character>
<dialogue>I got you.</dialogue>
<scene_description>AN ICICLE ERUPTS THROUGH THE REAR WINDOW, SPEARS PAST COLE'S HEAD, EMBEDS ITSELF IN THE DASH! CLOSE ON: the truck's TEMPERATURE DISPLAY: the digital number plummets: -10...-15...-30... Jax SLAMS the brakes. He leaves the keys in the ignition, shoulders open his door. Jax walks to the trunk, pausing by Cole's window.</scene_description>
<character>JAX</character>
<dialogue>You need to GO, find Sonya Blade! BROOK MILL FARM. LANCASTER. She's the only one who can help you!</dialogue>
<character>COLE</character>
<dialogue>What about you?!</dialogue>
<character>JAX</character>
<dialogue>I'll hold him off. Take the truck. Get your family out of here!</dialogue>
</scene>
<scene>
<stage_direction>INT. ROAD TUNNEL - DAY</stage_direction>
<scene_description>Jax pops the frost-covered trunk to REVEAL: A DUFFEL BAG filled with WEAPONS. He pulls out a COMBAT SHOTGUN, SLAMS the trunk, catches Cole's gaze. We can see Cole's hesitation.</scene_description>
<character>JAX</character>
<parenthetical>(racking the gun)</parenthetical>
<character>GO, COLE! NOW!</character>
<dialogue>Cole nods to him, slides behind the wheel, SLAMS the TRUCK into DRIVE.</dialogue>
<dialogue>As he escapes with his family, Cole locks eyes with Jax in the REAR VIEW. A silent THANK YOU.</dialogue>
<scene_description>HOLD ON JAX: A MOMENT of TERRIFYING STILLNESS. A GENTLE SNOWFALL dances before his eyes. The OVERHEAD SODIUM VAPOUR LIGHTS in the TUNNEL SUDDENLY GO OUT pitching the entire scene into DARKNESS. JUST THEN: The SNOWFALL INTENSIFIES! TRANSLUCENT BLUE ICE CREEPS DOWN THE TUNNEL WALLS! Jax flips on the gun's ATTACHED FLASHLIGHT. He tracks his aim through the icy darkness, no sign of Sub-Zero. Heart pounding, breath steaming from his lips. Jax takes a few steps forward... A SHADOW NEXT TO HIM! Jax spins and BLASTS a SHELL into the CONCRETE WALL! That's when he senses something... BEHIND HIM. Jax spins around! The FLASHLIGHT illuminates SUB-ZERO'S GHASTLY FACE! Those dead eyes, that gruesome mask! SUB-ZERO grabs the SHOTGUN in his FRIGID GRIP. He FREEZES the gun, rips it from Jax's hands. Sub-Zero BREAKS the SHOTGUN over his knee. He then STARES at JAX for a LONG MOMENT, daring him.</scene_description>
<character>JAX</character>
<dialogue>Fine.</dialogue>
<scene_description>Jax pulls off his jacket. He's wearing a BLACK TANK-TOP and a PAIR OF SILVER DOG TAGS. He FLEXES his MASSIVE ARMS, marches on his opponent, and... DRILLS SUB-ZERO in the FACE with a SHATTERING RIGHT CROSS. The TWO GO AT EACH OTHER: HAND-TO-HAND. (No powers). Trading blows. Jax puts his cannons to good use! He launches a rapid-fire assault, finishes with a BONE- SHATTERING UPPER-CUT! Sub-Zero staggers backwards. A MOMENT as JAX catches his breath, staring down his weakened opponent, knowing he has him on the ropes. He readies the FINISHING BLOW, throws a MONSTER LEFT HOOK. Sub-Zero catches his FIST. Jax counters with a RIGHT CROSS. Sub-Zero catches his OTHER HAND. With both fists now clenched in his grip, SUB-ZERO FREEZES JAX'S ARMS! Jax can only stare in horror as the ICE RACES down his trapped limbs The Ice Ninja stares deep into Jax's soul. Then... he RIPS both of Jax's ARMS OFF! Jax drops to his knees, collapses onto his side. POLICE SIRENS CLOSING IN FAST! - RED AND BLUE LIGHTS rapidly approaching his position. Sub-Zero tosses the arms away. He stares down the tunnel in the direction of Cole's escape. Then he takes a step backwards, DISSOLVING into darkness. BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAINOUS PASS - (OUTWORLD) - NIGHT</stage_direction>
<scene_description>We TRACK MILEENA, the female Outworld assassin, (think Elektra from Marvel Comics but twice as vicious and deadly), magenta leather armor, dual sais strapped to her back, BLOOD RED DRAGON MEDALLION around her neck. She hikes up a barren, black mountain pass. There's a desolate, lifeless feel to the world around her. FLAKES OF ASH dance through RAW WIND. She reaches the apex of her climb and we REVEAL: SHANG TSUNG, Outworld General, ageless, robed in black and gold, standing at the edge of a cliff, hands behind his back. (think Ken Watanabe as an evil fucking sorcerer). His ELITE GUARD stands by his side. TEN MEN TOTAL - armed with POLE WEAPONS. They don BLACK ARMOR topped with BRONZE MASKS that resemble the ANGUISHED FACES OF TORTURED SOULS. A DEEP TREMOR shakes the Earth! Mileena braces herself as a chunk of RETAINING WALL breaks off behind her. The DEATH RATTLE subsides.</scene_description>
<character>MILEENA</character>
<dialogue>I wasn't expecting to find you out here, Sorcerer. It's not safe.</dialogue>
<scene_description>Shang Tsung inhales a long, deep, breath through his nose, stares out over the CRUMBLING HORIZON. IN THE DISTANCE: We can see the OUTLINE OF A MIGHTY OUTWORLD CITY, at the mercy of the elements.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>I come here often, to see what my people see. To feel as they feel. Every day, the ash falls thicker, suffocating them. Those that remain look to me for sanctuary, the last hope they have for a better world.</dialogue>
<parenthetical>(then, with emotion)</parenthetical>
<dialogue>Never forget what it is we're fighting for, Mileena.</dialogue>
<character>MILENNA</character>
<dialogue>Earthrealm.</dialogue>
<character>SHANG</character>
<dialogue>(correcting</dialogue>
<character>TSUNG (OUTWORLD GENERAL)</character>
<dialogue>her)</dialogue>
<scene_description>Salvation. From this dying rock. I will not fail them. ANOTHER, MORE VIOLENT, TREMOR SHAKES THE WORLD AROUND THEM!</scene_description>
<character>MILEENA</character>
<dialogue>You'll be pleased to know Sub-Zero tracked the black medallion as you ordered. He killed one of Earth's champions.</dialogue>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Excellent.</dialogue>
<character>MILEENA</character>
<dialogue>We have the numbers. We should attack now with force, finish the rest of them!</dialogue>
<scene_description>Shang Tsung turns to face her for the first time.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Patience, Mileena. This plan has been in motion for some time.</dialogue>
<character>MILEENA</character>
<dialogue>There's no time to be patient. Outworld is...</dialogue>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>... Outworld is MY concern! The Earth Mortal who wears the black medallion is the key to everything! He will lead us to the rest of them. That's when we strike. By the time the tournament begins, we will already be victorious.</dialogue>
<character>MILEENA</character>
<dialogue>What of Lord Raiden? If he discovers we're breaking rules set in stone by the Elder Gods...</dialogue>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Lord Raiden gave up on Earthrealm a long time ago. He abandoned his people. What kind of leader does such a thing?</dialogue>
<scene_description>Shang Tsung turns back to the horizon. Ash clings to his black hair as he sharpens his eyes on his dying world.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>As long as we fight for what matters... we cannot be defeated.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUV - NIGHT</stage_direction>
<scene_description>The SUV winds through the PITCH BLACK WOODS. Emily's restless, but asleep, curled into Sophia's arm in the back of the truck. Sophia stares out the window, her face blank with grief. Cole grips the steering wheel. REVEAL: his lacerated arm, wrapped in BLOOD-STAINED PHARMACY GAUZE and DUCT TAPE. He stares at his WEDDING RING, blood caked around the band. As the MOON shines through the windshield, casting rays of light across our vision, we... FLASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - TWELVE YEARS AGO - DAY</stage_direction>
<scene_description>COLE, younger here, fewer scars and bruises, opens his eyes. Half asleep, shirtless, wrapped in hotel sheets. We notice a few TATTOOS on his chest. His daughter's name, Emily, written in cursive. And two words: NEVER QUIT. ALLISON, as gorgeous as ever, appears above him. She's carrying EMILY, then four-months-old. Cole smiles as she lowers Emily into his arms. He holds his daughter to his chest. Emily grasps her father's fingers, playfully reaches for his wedding ring. Ally gets into bed next to them. She leans in, kisses Cole softly on the cheek. He reaches his arm around her. SUNLIGHT washes over the scene and we're suddenly back to:</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV - NIGHT</stage_direction>
<scene_description>They reach their destination at the end of a LONG DRIVE. A CABIN nestled deep into the PINE BARRENS. Cole parks, glances back at Emily, asleep in Sophia's arms.</scene_description>
<character>COLE</character>
<dialogue>I'll carry her.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOPHIA'S CABIN - A BIT LATER - NIGHT</stage_direction>
<scene_description>Cole leaves Emily asleep, shuts a bedroom door. He joins Sophia in the kitchen. She shakes her head, trying to understand, eyes red, exhausted with grief.</scene_description>
<character>SOPHIA</character>
<dialogue>What was that thing?</dialogue>
<character>COLE</character>
<dialogue>I don't know, but it's after me. I won't let anything happen to Emily. That's why I have to go.</dialogue>
<scene_description>Sophia nods, wipes the edges of her eyes.</scene_description>
<character>SOPHIA</character>
<dialogue>What do I tell her... when she wakes up...?</dialogue>
<character>COLE</character>
<dialogue>Tell her I love her. And I'm gonna find who did this.</dialogue>
<scene_description>A flash of anger crosses Cole's face.</scene_description>
<character>COLE</character>
<dialogue>When I do, I promise you, Sophia... I'm gonna kill him.</dialogue>
<scene_description>HARD CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV - (DRIVING) - LATER STILL - NIGHT</stage_direction>
<scene_description>The clock reads 3AM. He's been at this for a while. Cole peers out his window: a rusted mailbox comes into view: "BROOK MILL FARM." He pulls over.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESOLATE ROAD - NIGHT</stage_direction>
<scene_description>Cole places the DRAGON MEDALLION around his neck, pulls his hoodie over his head, takes off on foot. THICK, BLACK WOODS encroach on both sides. BARBED WIRE FENCES stand guard. HAND-PAINTED SIGNS tacked up: "NO TRESPASSING" - "24 HOUR VIDEO SURVEILLANCE" BROOK MILL FARM comes into view. Ghostly quiet. The old FARMHOUSE and ADJACENT BARN overlook a derelict survivor's compound - Overgrown vegetation. Corroded shipping containers. Shells of rusted cars, some dating back thirty years. A row of TURBINES, upgraded and abandoned. CLOSE ON: Cole's medallion. The Dragon's eyes are glowing red again. He inspects it. What the hell is that...? -WHAAAM!- Someone STRIKES him from behind! Cole tries to stand but his legs GIVE OUT. As he stumbles, a KNEE STRIKES HIS JAW. He SPITS OUT A GOB OF BLOOD... He INSTINCTIVELY throws a PUNCH. His assailant catches it, bends his arm backwards, and sweeps him HARD to the ground. A VICIOUS KICK to the RIB CAGE spins him onto his back. A MILITARY-GRADE SPOTLIGHT FLASHES ON FROM SOMEWHERE! Cole shields his eyes from the BLINDING WHITE LIGHT!</scene_description>
<character>FEMALE VOICE (O.S.)</character>
<dialogue>What are you doing here?</dialogue>
<scene_description>Cole squints through the light, can't see a thing.</scene_description>
<character>COLE</character>
<dialogue>I'm looking for Sonya Blade. Jax told me to find her.</dialogue>
<scene_description>SILENCE. Then the SHADOW moves into the light. REVEAL: SONYA BLADE, (30s), (think a jacked Charlize Theron), dressed in military gear, blonde hair pulled into a ponytail. She JUTS her gloved fist into Cole's shirt and fishes out his black medallion. She stares at the dragon with fascination. Cole cradles his BANDAGED ARM, rolls to his side. That's when he sees: KANO, (30s), (think Jason Clarke), the rugged, bearded Australian, sitting in a rocking chair on the front porch, feet up, beer in hand.</scene_description>
<character>KANO</character>
<dialogue>She did the same thing to me a couple days ago. Though to be honest, I fared a bit better.</dialogue>
<character>SONYA</character>
<dialogue>Not that much better.</dialogue>
<scene_description>Sonya grabs Cole by his good arm, pulls him to his feet.</scene_description>
<character>SONYA</character>
<dialogue>It's nice to meet you, Cole. I'm Sonya Blade.</dialogue>
<parenthetical>(then, the obvious)</parenthetical>
<dialogue>Jax hasn't checked in. It's been hours. Where is he?</dialogue>
<character>COLE</character>
<dialogue>He stayed behind to fight. This guy, he shoots ice out of his hands...</dialogue>
<character>SONYA</character>
<dialogue>You saw what attacked you?</dialogue>
<character>COLE</character>
<parenthetical>(nodding to her)</parenthetical>
<dialogue>He was something else... Not of this world.</dialogue>
<character>SONYA</character>
<dialogue>I knew it.</dialogue>
<scene_description>Sonya fights back her emotion, turns and walks back to the farmhouse. Kano chugs the rest of his beer, CRUSHES it in his grip.</scene_description>
<character>KANO</character>
<dialogue>You didn't happen to bring any more beer, did ya?</dialogue>
<parenthetical>(off Cole's look)</parenthetical>
<dialogue>I'll take that as a no.</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - MOMENTS LATER - NIGHT</stage_direction>
<scene_description>Cole and Kano wind their way through the house. The decor is country quaint meets conspiracy theorist. Shipping crates filled with cassette tapes and old newspapers stand at odds alongside a neatly kept china cabinet, a vase of blooming sunflowers. Pockets of a woman's touch. PICTURE FRAMES line a hallway. They tell a story. The OLDEST ONES show Sonya playing around the farm, a care-free kid. MORE RECENT ONES show Sonya, dressed in MILITARY FATIGUES, posing with her SPECIAL FORCES BATTALION around the world. Cole warily eyes his new companion.</scene_description>
<character>COLE</character>
<dialogue>Who are you?</dialogue>
<character>KANO</character>
<dialogue>I'm Kano.</dialogue>
<character>COLE</character>
<dialogue>Kano. Kano what?</dialogue>
<scene_description>Kano walks up to Cole, sizing him up.</scene_description>
<character>KANO</character>
<dialogue>Just Kano.</dialogue>
<scene_description>The brute STARES at Cole, an unhinged look in his eyes.</scene_description>
<character>COLE</character>
<dialogue>Okay, then...</dialogue>
<scene_description>A LOUD -BANG- from inside the house. SONYA CURSES to herself.</scene_description>
<character>KANO</character>
<dialogue>There's something wrong with that woman. I'm sure of it.</dialogue>
<scene_description>Cole considers this, moves further down the hallway, steps through a REINFORCED STEEL DOOR to reveal:</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - CONTINUOUS</stage_direction>
<scene_description>A RESEARCH COMMAND CENTER, built into the adjacent barn. Computers (some broken) line one wall; an enormous MAP OF THE WORLD covers the other. The map is spackled with hundreds of images and notes related to years of information that Sonya has gathered on Mortal Kombat. Sonya types FURIOUSLY at her COMPUTER, muttering to herself:</scene_description>
<character>SONYA</character>
<dialogue>How are they able to find us? It doesn't make sense.</dialogue>
<scene_description>Kano whistles to Cole, twirls a finger by his head.</scene_description>
<character>KANO</character>
<dialogue>See what I mean.</dialogue>
<parenthetical>(then, to Sonya)</parenthetical>
<dialogue>So it's clear you live alone, hoard all your stuff. My new friend here was just wondering... Where you keeping all your cats?</dialogue>
<scene_description>Sonya marches towards Kano, drives a finger into his chest.</scene_description>
<character>SONYA</character>
<dialogue>You don't get to call me crazy.</dialogue>
<character>COLE</character>
<parenthetical>(at a breaking point)</parenthetical>
<dialogue>That thing killed my wife! I need to know what this has to do with me. Can you help me or not?</dialogue>
<scene_description>A MOMENT as that news sinks in. We can see the sympathy in Sonya's eyes. After a MOMENT, she nods to Cole, guides his attention to her wall of research.</scene_description>
<character>SONYA</character>
<dialogue>I first learned about this when I was stationed overseas. A bar in Malaysia. This old man was going on about it... At first, I thought he was full of shit but...</dialogue>
<parenthetical>(with passion)</parenthetical>
<dialogue>I couldn't get it out of my head.</dialogue>
<scene_description>Cole studies the wall: We see ANCIENT DEPICTIONS OF FANTASTIC BATTLES, rendered on various canvasses across time.</scene_description>
<character>SONYA</character>
<dialogue>This was my first discovery. Images of men fighting for the favor of the Gods. In every culture: Chinese, African. Egyptian. Cultures that had no crossover, yet they all shared this one myth in common. How?</dialogue>
<scene_description>She points to an IMAGE OF THE COILED DRAGON.</scene_description>
<character>SONYA</character>
<dialogue>The answer lies with this symbol. In almost every instance of this myth's portrayal, the COILED DRAGON is present. See for yourself.</dialogue>
<scene_description>CLOSE ON A FEW OF THESE IMAGES: An EGYPTIAN PAPYRUS: A slave confronts Anubis. Tucked into the hieroglyphics bordering the image: THE COILED DRAGON. A GRECIAN VASE: Zeus strikes down a mortal man... the Dragon visible in the swirling heavens. An INDIAN TAPESTRY: Kala Bhairava rains down unholy vengeance... and again... and ALWAYS... THE DRAGON.</scene_description>
<character>SONYA</character>
<dialogue>One myth. One symbol. Shared by different cultures, throughout time. There's only one explanation: They weren't repeating stories they heard... they were reporting things they saw. That one shared myth was no myth. It was true. At various points in the past, Earth's greatest champions went to war for mankind's survival. An eternal war. To protect Earth from foreign enemies. The war was known as:</dialogue>
<parenthetical>(then, as a throwaway)</parenthetical>
<dialogue>Mortal Kombat.</dialogue>
<scene_description>She gesture to the name, written across the wall.</scene_description>
<character>KANO</character>
<parenthetical>(interrupting them)</parenthetical>
<dialogue>Did you make that part up?</dialogue>
<parenthetical>(off Sonya's look)</parenthetical>
<dialogue>It sounds like you made it up. Plus you spelled it wrong.</dialogue>
<scene_description>Sonya ignores him.</scene_description>
<character>SONYA</character>
<dialogue>The thing that attacked you was an assassin, sent by our enemies to kill anyone with a medallion.</dialogue>
<scene_description>Cole shakes his head, struggling to believe any of this.</scene_description>
<character>COLE</character>
<dialogue>That's insane.</dialogue>
<scene_description>Sonya gestures for Cole to join her in front of another wall. We see surveillance on DOZENS OF PROSPECTIVE CHAMPIONS wearing medallions. People, like Cole, Sonya and Jax were scouting. Cole is pictured here with his BOXING ROBE on. Cole takes off his MEDALLION, stares at the strange relic.</scene_description>
<character>COLE</character>
<dialogue>So these people...</dialogue>
<character>SONYA</character>
<dialogue>Like you. Champions selected to fight in Mortal Kombat. Most of them are already dead.</dialogue>
<scene_description>KANO is pictured here. Cole turns to face him.</scene_description>
<character>KANO</character>
<dialogue>Don't look so surprised...</dialogue>
<scene_description>Kano reaches into his shirt, extracts a MEDALLION of his own. This one, made of RUGGED BRONZE.</scene_description>
<character>COLE</character>
<dialogue>Where'd you get yours?</dialogue>
<scene_description>Kano points to the wall of known medallion holders. -- STRYKER, KURTIS, 34, UNITED STATES -- LOCATION UNKNOWN</scene_description>
<character>KANO</character>
<dialogue>I found it on HIS dead body. After I killed him.</dialogue>
<parenthetical>(then, with a smile)</parenthetical>
<dialogue>You should really update that. He's currently in a landfill in Rio.</dialogue>
<scene_description>Cole just STARES at Kano, then turns back to Sonya.</scene_description>
<character>COLE</character>
<dialogue>Where's yours?</dialogue>
<scene_description>Sonya looks away, bothered by this.</scene_description>
<character>SONYA</character>
<dialogue>I wasn't chosen. For whatever reason, you two were.</dialogue>
<character>COLE</character>
<dialogue>I didn't kill anyone to earn this. My Dad left it to me.</dialogue>
<scene_description>Sonya considers this, walks over to him.</scene_description>
<character>SONYA</character>
<dialogue>Tell me about your parents.</dialogue>
<character>COLE</character>
<dialogue>I was raised in foster care. I never met them.</dialogue>
<character>SONYA</character>
<dialogue>My research shows there are only two ways to earn a medallion. Pass it down through one's lineage, or kill its current owner. Blood or Bloodshed.</dialogue>
<character>KANO</character>
<parenthetical>(interrupting again)</parenthetical>
<dialogue>You definitely made that part up.</dialogue>
<character>SONYA</character>
<dialogue>Our enemies won't stop. Not until all of Earth's champions are dead.</dialogue>
<scene_description>JUST THEN: THE POWER GOES OUT. A HUSHED DARKNESS takes hold. Sonya LISTENS carefully, then locates a flashlight. FOOTSTEPS. FAST. RUNNING ALONG THE FLOORBOARDS ABOVE THEM!</scene_description>
<character>SONYA</character>
<dialogue>They found us.</dialogue>
<scene_description>Sonya hurries towards the REINFORCED DOOR, SLAMS it shut, SNAPS the DEAD BOLTS into place. Kano moves to his gear, pulls out a HANDGUN, CHAMBERS a ROUND, aims it at the door.</scene_description>
<character>KANO</character>
<dialogue>Moment it comes through, I'm taking its head off.</dialogue>
<character>SONYA</character>
<dialogue>That's reinforced steel. Nothing's getting through that.</dialogue>
<scene_description>A -LOUD CRACKLING SOUND- BENDING. BUCKLING OF METAL. A DARK GREEN ACIDIC SUBSTANCE EATS AWAY AT THE STEEL DOOR. A GAPING CORROSIVE HOLE slowly expands as the steel dissolves before their eyes. Kano OPENS FIRE at the widening hole -BANG- -BANG- -BANG- A BLACK, BARBED, WHIP-LIKE TONGUE, SNAPS INTO FRAME, RIPS THE GUN RIGHT OUT OF HIS HAND. SO FAST, WE BARELY SEE IT. Kano grips his hand. BURN MARKS on his skin. COMMOTION BEHIND THEM. RESEARCH TOPPLES. DISCS SCATTER. A CHAIR UPENDED.</scene_description>
<character>COLE</character>
<dialogue>It's inside the room.</dialogue>
<scene_description>They hold their breath, as the FLASHLIGHT searches the darkness for the unseen enemy.</scene_description>
<character>SONYA</character>
<dialogue>You see anything???</dialogue>
<scene_description>BEHIND SONYA: The unseen assassin blinks off his invisibility to reveal: REPTILE (think Alien meets The Terminator). The OUTWORLD CHAMPION wears a suit of DARK GREEN ARMOR. What little we can see of his face appears to be BLACK and SCALY. CLAWS hang from his fingertips. His eyes are piercing YELLOW. He wears a DARK GREEN MEDALLION. Reptile VANISHES. REAPPEARING with a NIGHTMARISH -HISS- right behind Kano, leaping onto his back!</scene_description>
<character>KANO</character>
<dialogue>Christ, he's on me!</dialogue>
<scene_description>CLAWING, TEARING INTO HIS SHOULDER. Kano SPINS WILDLY, trying to shake the assailant free... REPTILE manages a BRUTAL SLASH across Kano's right eye! Sonya DARTS FORWARD, blade in hand. The assassin sees her coming, BLINKS INVISIBLE again. She STABS at NOTHING! REPTILE APPEARS behind her, KICKS her HARD in the back, sending her CRASHING into research equipment. Cole sets his fists like a boxer. He charges Reptile, throws a jab. Reptile vanishes. He hits nothing but air! The DEMON REAPPEARS behind Cole, stares at him... sees something. The NOW EXPOSED medallion hanging from Cole's neck. Reptile COCKS HIS HEAD, studies it, then he SNAPS INVISIBLE moments before Sonya can strike him. KANO rummages through Sonya's SURVIVAL SUPPLIES. His eyes fall on a STACK OF FLARES and some DUCT TAPE. He POPS a FLARE. The BLACK ROOM LIGHTS UP IN BLOOD RED LIGHT. SPARKS FLY, FLAMES CATCH. THEY QUICKLY DEVOUR the STACKS OF OLD NEWSPAPERS and BOOKS. Sonya watches in HORROR as her WALL OF RESEARCH burns!</scene_description>
<character>SONYA</character>
<dialogue>What the hell are you doing?!</dialogue>
<character>KANO</character>
<dialogue>Giving us an edge!</dialogue>
<scene_description>Kano tapes the flare to his KNIFE. He waits for Reptile to appear and STABS THE KNIFE into the assassin's BACK! Reptile BLINKS INVISIBLE. But NOW they can track him. The CRIMSON FLARE dances around the room as our HEROES land a few quick strikes, evening the odds. Reptile STAGGERS back, gives up on his invisibility.</scene_description>
<character>SONYA</character>
<dialogue>Get me a knife, Cole!</dialogue>
<scene_description>Cole sprints towards Sonya's RACK OF KNIVES. Reptile TRACKS HIM, SPITTING FASTBALLS OF GREEN ACID, barely MISSING as Cole slides behind cover. Reptile turns his YELLOW EYES to Kano. The demon LASHES out his TONGUE, STICKS it to the side of KANO'S HEAD and pulls him in. Then he wraps his tongue AROUND KANO'S NECK like a noose, unhinges his grotesque jaws.</scene_description>
<character>KANO</character>
<dialogue>I could use a hand, here!</dialogue>
<scene_description>Cole locks eyes with Sonya on the opposite side of the room, squatting behind an overturned table. Cole pulls down the first BLADE he sees, FASTBALLS it towards Sonya. She ducks as the blade WHIZZES past her head and SPEARS into the wall behind her.</scene_description>
<character>SONYA</character>
<dialogue>What the hell are you doing?!</dialogue>
<character>COLE</character>
<dialogue>Trying to help!</dialogue>
<character>SONYA</character>
<dialogue>Killing me isn't helping!</dialogue>
<scene_description>Kano writhes as the demon opens his mouth even wider, about to devour his entire head in one bite when...</scene_description>
<character>SONYA</character>
<dialogue>The machete, you see it?! SLOWLY on three. One... Two... NOW.</dialogue>
<scene_description>Cole detaches a 10-INCH-MACHETE from the rack; the MOMENT Sonya gets to her feet, Cole UNDER-HANDS it towards her. FIRE LIGHT GLINTS OFF THE BLADE as it SPIRALS towards Sonya. She times it perfectly and in one beautiful move... ... CATCHES the MACHETE BY THE HANDLE, LUNGES forward, and DRIVES the blade through Reptile's chest. REPTILE SCREAMS, SPINS, KNOCKS Sonya away. Allowing just enough time for a recovered Kano to rip the BLADE out of REPTILE'S CHEST, and BRING IT SHARPLY ACROSS the ASSASSIN'S THROAT.</scene_description>
<character>KANO</character>
<dialogue>How's that taste, dick head?</dialogue>
<scene_description>Reptile emits a PANICKED -HISS-, GRASPS AT HIS NECK... The DEMON drops to his knees, falls forward. His body dissolves through the floorboards, leaving a charred black hole behind. OVERHEAD SPRINKLERS DOUSE THE FLAMES. A MOMENT as our crew collects themselves, beat to hell, breathless.</scene_description>
<character>KANO</character>
<parenthetical>(grimacing through pain)</parenthetical>
<dialogue>I think we can all agree...</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>That's definitely my kill.</dialogue>
<scene_description>A BIT LATER - NIGHT Sonya, devastated, stands before what's left of her research. Most of it destroyed, burned beyond recognition. Seated nearby, Cole holds a BAG OF ICE to his head; Kano's right eye is BLOOD RED, framed by CLAWED SKIN. Despite the injuries, Kano's got a SKETCH BOOK open in his lap. He's drawing a rather impressive portrait of Reptile. Cole stares at the sketch book.</scene_description>
<character>COLE</character>
<dialogue>What the hell is that?</dialogue>
<character>KANO</character>
<dialogue>What? ... Oh, this?</dialogue>
<parenthetical>(flipping through pages)</parenthetical>
<dialogue>I like to document my kills.</dialogue>
<character>COLE</character>
<dialogue>Those are ALL your kills?</dialogue>
<character>KANO</character>
<dialogue>No, mate, of course not.</dialogue>
<parenthetical>(then, with a smile)</parenthetical>
<dialogue>This is volume two.</dialogue>
<scene_description>Cole shakes his head, pushes himself up. He approaches Sonya, who's all but given up at this point.</scene_description>
<character>COLE</character>
<dialogue>You said we were fighting for Earth... what happens if we lose?</dialogue>
<scene_description>Cole helps Sonya gather up her research.</scene_description>
<character>SONYA</character>
<dialogue>What do you think?</dialogue>
<character>COLE</character>
<dialogue>I have a daughter. There must be something we can do.</dialogue>
<character>KANO (O.S.)</character>
<dialogue>What's that? ... Right there.</dialogue>
<scene_description>Kano points his knife at the wall. With most of the clutter burned away, a SINGLE IMAGE stands out. A DRAWING of an ANCIENT BUDDHIST TEMPLE. Forged into the old stone are BOLTS OF ELECTRICITY.</scene_description>
<character>SONYA</character>
<dialogue>Legend says it's a temple devoted to the Thunder God, Lord Raiden. He's said to be some sort of... protector of Earth. Prior to the start of Mortal Kombat, Earth's champions would meet there to train for the upcoming fight. I've never actually seen the temple myself.</dialogue>
<scene_description>Kano walks over to the map of the world. He STABS his knife down on a remote area of CHINA.</scene_description>
<character>KANO</character>
<dialogue>I used to run guns through here. I remember, the villagers worshipped that thing. I still got a contact in that area. He might be able to show us where your temple is.</dialogue>
<character>COLE</character>
<dialogue>Call him.</dialogue>
<character>KANO</character>
<dialogue>Guys like him don't carry phones, mate. Nope, we'd have to go in person. Lucky for us, I got a contact with a plane.</dialogue>
<character>COLE</character>
<dialogue>You got a lot of contacts.</dialogue>
<scene_description>Kano digs the tip of his knife between his teeth.</scene_description>
<character>KANO</character>
<dialogue>I'm a popular guy. Who wouldn't want to be friends with me?</dialogue>
<scene_description>He spits on the ground.</scene_description>
<character>SONYA</character>
<dialogue>I'm in.</dialogue>
<scene_description>Sonya wastes no time. She grabs her bag, heads to a wall comprised of STEEL SLIDING DOORS, pushes open the first one and starts packing up her gear. Cole goes to her side.</scene_description>
<character>COLE</character>
<dialogue>Maybe we should think this through...</dialogue>
<character>SONYA</character>
<dialogue>If we find that temple... All of our questions will be answered.</dialogue>
<scene_description>Cole considers this. What choice does he have?</scene_description>
<character>KANO</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>Looks like I'm proving myself quite useful, huh, Blade?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Speaking of which... Is that really your last name? Blade?</dialogue>
<scene_description>Sonya pushes open the next SLIDING DOOR. REVEAL: EVERY TYPE OF AWESOME BLADED WEAPON you could possibly think of. From daggers to swords to everything in between.</scene_description>
<character>SONYA</character>
<dialogue>It's more of a nick name.</dialogue>
<character>KANO</character>
<dialogue>Got it.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEAT-UP CARGO PLANE - (FLYING) - NIGHT</stage_direction>
<scene_description>CLOSE ON: A TURBO PROP PROPELLER spinning mid-flight. The very used plane LURCHES and CHOKES through the night sky. Kano rides shotgun in the cockpit, feet up on the dash, chatting with the ANCIENT PILOT next to him. IN THE BELLY OF THE PLANE: Cole sits alone, thoughts locked on his daughter. Sonya approaches, sits across from him. A MOMENT of SILENCE between them.</scene_description>
<character>SONYA</character>
<dialogue>I wish we could have gotten to you sooner. Maybe then...</dialogue>
<scene_description>Cole shakes his head, takes off his medallion. He studies the ancient rock. Where did it come from?</scene_description>
<character>SONYA</character>
<dialogue>If your father wore that medallion, then it means he was a champion like you. If it's true Mortal Kombat occurs once a generation, it's possible he fought for Earth before you were born.</dialogue>
<character>COLE</character>
<parenthetical>(staring at the medallion)</parenthetical>
<dialogue>Why wouldn't he give me some kind of warning?</dialogue>
<scene_description>Kano strolls over.</scene_description>
<character>KANO</character>
<dialogue>Sorry to break up this lovely moment. It's time.</dialogue>
<scene_description>The BAY DOORS OPEN with a LOUD GROAN. Cole stares at the doors. He nods to himself, psyching himself up. He wraps a CHUTE PACK around his shoulders, fumbles with the straps.</scene_description>
<character>SONYA</character>
<dialogue>First time?</dialogue>
<scene_description>Sonya helps tighten the chute to Cole's back.</scene_description>
<character>COLE</character>
<dialogue>Thanks.</dialogue>
<character>SONYA</character>
<dialogue>Count to 30. Pull this cord.</dialogue>
<scene_description>She smiles, smacks Cole on the shoulder. Cole takes a DEEP BREATH, walks to the edge of the plane and stops. He stares into the void.</scene_description>
<character>COLE</character>
<dialogue>On three. One... Two...</dialogue>
<scene_description>Kano SHOVES Cole out of the plane!</scene_description>
<character>KANO</character>
<dialogue>We haven't got all day, princess.</dialogue>
<parenthetical>(off Sonya's look)</parenthetical>
<dialogue>What?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHINESE MOUNTAIN RANGE - DAWN</stage_direction>
<scene_description>Cole touches down atop a LUSH, UNTOUCHED, MOUNTAIN RANGE. Not a road or path for miles. Sonya and Kano lands beside him. As they strip their chutes:</scene_description>
<character>SONYA</character>
<dialogue>How close are we to your contact?</dialogue>
<scene_description>Kano takes out his HAND-HELD GPS DEVICE. He taps his finger on the glass, holds the device to his ear.</scene_description>
<character>KANO</character>
<dialogue>We're a little off mark.</dialogue>
<character>COLE</character>
<dialogue>How far off mark?</dialogue>
<character>KANO</character>
<dialogue>Nothing major. Twenty-seven. Twenty- eight kilometers. Call it thirty to be safe.</dialogue>
<parenthetical>(clearing his throat)</parenthetical>
<dialogue>Thirty-two. To be safe.</dialogue>
<scene_description>Kano walks off towards the horizon.</scene_description>
<character>COLE</character>
<parenthetical>(aside to Sonya)</parenthetical>
<dialogue>Can we trust this guy?</dialogue>
<scene_description>As Sonya packs up her gear:</scene_description>
<character>SONYA</character>
<dialogue>He's ex-special forces turned merc- for-hire. Wanted by Interpol for arms dealing, drug running. He's killed at least two dozen people that I know about, assassinations most of them...</dialogue>
<scene_description>Cole just STARES at her.</scene_description>
<character>SONYA</character>
<dialogue>Point I'm trying to make is... we don't know if the remaining champions are alive or dead. It doesn't matter if we trust him. He has a medallion. We need him.</dialogue>
<scene_description>She slings her pack around her shoulder, follows Kano out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIGHTING PIT - (OUTWORLD) - NIGHT</stage_direction>
<scene_description>As RAW and BARREN as we remember. ASH falls thicker from the dead sky. SKULL TORCHES ring a BLACK, CRAG-FILLED ARENA. Shang Tsung, (the evil Outworld sorcerer and enemy of Earth), watches from the perimeter. An eternal, dignified presence to him. He addresses a YOUNG OUTWORLD WARRIOR.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>You fight today for the privileged honor of representing Outworld in Mortal Kombat.</dialogue>
<scene_description>The Warrior bows, then turns to face a DARK, MENACING CAVE.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Your competitor awaits. Six-hundred and one straight victories.</dialogue>
<scene_description>A MONSTROUS, CARNAL -ROAAAAR- echoes from within the cave. The Young Warrior's eyes go wide. STOMP! ... STOMP! ... STOMP! ... STOMP! ... STOMP! The WARRIOR charges his OFF-SCREEN opponent. We hear the CLANGING of SWORD AND SHIELD. A tremendous -ROAAAAAAAR!- And then: The TOP HALF of the warrior's body lands in front of Shang Tsung. BLOOD pumps from his twitching corpse. Shang Tsung kneels by the FALLEN WARRIOR. He places his hand on the man's forehead.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>You have given your life for Outworld, my son. In the name of our great emperor, Shao Kahn, your sacrifice will not be forgotten.</dialogue>
<scene_description>The SORCERER'S BODY SHAKES as he ABSORBS the DEAD WARRIOR'S SOUL into his own. Shang Tsung's eyes roll back into his head. His body relaxes with a sort of satiated release. As he slowly rises, DARK SHADOWS FLIT across his IRISES.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>FA-TAL-ITY.</dialogue>
<scene_description>Mileena (the female Outworld assassin) approaches. She holds her ground, though clearly unsettled by this. Shang Tsung turns slowly towards her.</scene_description>
<character>MILEENA</character>
<dialogue>Reptile is dead. You should have sent me. We're running out of time!</dialogue>
<scene_description>Shang Tsung grabs Mileena by the throat, the veins in his neck pronounced, black like his eye sockets! Mileena struggles to break his grasp. Can't. Suffocating. A VICIOUS TREMOR, stronger than we've felt before, SHAKES the ENTIRE WORLD around them! Shang Tsung releases Mileena. He stares with alarm at the CRACKED EARTH, then studies the LIFELESS HEAVENS. The falling ash clings to his ageless skin.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Sub-Zero is tracking the black medallion. It will lead us to Raiden's temple. Be ready to move on my command.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>And Mileena...</dialogue>
<scene_description>She looks up at him.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Tell me what to do again... And I will rip the soul from your body.</dialogue>
<scene_description>Mileena nods, slowly backs away from him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITE FOREST - LATER - DAY</stage_direction>
<scene_description>OPPOSITE from the LUSH GREENERY they started in, our team winds through a MAZE OF LEAFLESS WHITE TREES. Their slender BRANCHES bend at JAGGED ANGLES. We can tell they've been at this for a while.</scene_description>
<character>KANO</character>
<dialogue>I need a break.</dialogue>
<scene_description>Kano plops down on a twisted tree stump.</scene_description>
<character>COLE</character>
<dialogue>You took a break five minutes ago.</dialogue>
<scene_description>Sonya shakes her head, patience wearing thin.</scene_description>
<character>SONYA</character>
<dialogue>Give me the GPS. I'm taking point.</dialogue>
<character>KANO</character>
<dialogue>I don't take orders from you.</dialogue>
<scene_description>Sonya turns around, walks right up to Kano, who's now got his feet stretched out, hands behind his head.</scene_description>
<character>SONYA</character>
<dialogue>You don't know how lucky you are to have one of those medallions.</dialogue>
<character>KANO</character>
<dialogue>Didn't seem so lucky when Lizard Man was trying to eat my head.</dialogue>
<scene_description>Sonya massages her temples, patience at its end.</scene_description>
<character>SONYA</character>
<dialogue>The idea that you, of all people, were chosen...</dialogue>
<character>KANO</character>
<dialogue>Ah... I see what's going on here. There's no need for jealously. You want a medallion so badly... Take mine.</dialogue>
<scene_description>There's something unhinged in the way Kano's challenging her. He's not offering it, he's insinuating a fight to the death.</scene_description>
<character>COLE</character>
<dialogue>I wouldn't mess with her, man.</dialogue>
<character>KANO</character>
<dialogue>Stay out of this, numb nuts.</dialogue>
<scene_description>Kano STANDS, walks right up to SONYA, never taking his crazed eyes off of her. Sonya doesn't budge. Not even an inch.</scene_description>
<character>KANO</character>
<parenthetical>(cold, unstable)</parenthetical>
<dialogue>You know, the guy who had this medallion before me underestimated me too. Last mistake he ever made.</dialogue>
<parenthetical>(then, with a smile)</parenthetical>
<dialogue>Shall we dance?</dialogue>
<character>SONYA</character>
<dialogue>It's your blood.</dialogue>
<scene_description>Kano LAUGHS, breaking the tension for a SPLIT SECOND before, THROWING A SUCKER PUNCH AT SONYA. She ducks it, follows up with a VICIOUS CRACK TO KANO'S JAW. -WHAAAM!- SONYA SWEEPS KANO OFF HIS FEET, ROLLS ON TOP OF HIM, BRINGS HER RAZOR-SHARP KNIFE TO HIS NECK. Kano CHALLENGES her!</scene_description>
<character>KANO</character>
<dialogue>GO ON, DO IT!</dialogue>
<scene_description>Sonya PRESSES the blade tighter to his neck. The STEEL slices into his skin; blood seeps.</scene_description>
<character>KANO</character>
<dialogue>DO IT! KILL ME! TAKE MY MEDALLION!</dialogue>
<scene_description>Sonya grits her TEETH, PRESSES the blade even DEEPER and... ...pulls the knife away. Kano laughs in her face.</scene_description>
<character>KANO</character>
<dialogue>See? You don't have it in you.</dialogue>
<parenthetical>(RE: his medallion)</parenthetical>
<dialogue>That's why you don't have one of these.</dialogue>
<scene_description>WHEN OUT OF NOWHERE: A VOICE SPEAKS.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Champions of Earthrealm?!</dialogue>
<scene_description>Cole, Sonya, and Kano all turn to see: LIU KANG. (think Henry Golding from "Crazy Rich Asians" with the fighting skills of Bruce Lee) Red pants. Matching vest. Handsome as hell. Kano, as usual, considers this a challenge. He walks towards Liu Kang, fists clenched. The Shaolin warrior THRUSTS out his hand. A FIREBALL shoots from his open palm and DETONATES the ground by Kano's feet!</scene_description>
<character>KANO</character>
<dialogue>What the hell?!</dialogue>
<character>LIU KANG</character>
<dialogue>I am not your enemy. I am Liu Kang of the White Lotus Society.</dialogue>
<character>SONYA</character>
<dialogue>A champion.</dialogue>
<character>LIU KANG</character>
<dialogue>From Earthrealm. Like you. You came to China to seek Raiden's temple. I will take you there.</dialogue>
<character>SONYA</character>
<dialogue>How did you find us?</dialogue>
<scene_description>Liu Kang reaches into his vest, extracts a DRAGON MEDALLION forged from ancient Chinese jade. The Dragon's eyes are GLOWING RED.</scene_description>
<character>LIU KANG</character>
<dialogue>Earth's medallions are linked together. The eyes will glow when other Champions are near.</dialogue>
<character>KANO</character>
<dialogue>Forget the medallions. You made a fireball come out of your hand.</dialogue>
<character>LIU KANG</character>
<dialogue>There is much to learn. But not here. You must follow me.</dialogue>
<scene_description>Liu Kang walks away.</scene_description>
<character>SONYA</character>
<dialogue>We just came from that direction.</dialogue>
<scene_description>Cole shoots Kano a look.</scene_description>
<character>KANO</character>
<dialogue>My bad.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAIDEN'S TEMPLE - LATER - DAY</stage_direction>
<scene_description>They follow Liu Kang through a maze of THICK VEGETATION. As Sonya hacks away the overgrowth with her machete, we come to REVEAL: RAIDEN'S TEMPLE. A ONCE GLORIOUS BUDDHIST TEMPLE hidden from the world. But whatever marvelous temple this once was, today it appears run-down, forgotten. From the caved-in roof, to the crumbling walls, covered in vines.</scene_description>
<character>LIU KANG</character>
<dialogue>It wasn't always like this. For thousands of years, this temple was a holy place of worship, dedicated to the great Lord Raiden.</dialogue>
<scene_description>They follow Liu Kang towards the old, forsaken building.</scene_description>
<character>COLE</character>
<dialogue>What happened to it?</dialogue>
<character>LIU KANG</character>
<dialogue>The temple's former worshippers abandoned their faith. Turning instead to the simple pleasures of wealth and sin. Time took care of the rest.</dialogue>
<scene_description>As they reach the temple entrance: a GHOSTLY WIND swirls the loose gravel by their feet. Sonya crosses her arms; a chill creeps over her. Liu Kang stops. He turns around and LISTENS. Are they being followed? But there's only SILENCE. No sign of anyone...</scene_description>
<character>LIU KANG</character>
<dialogue>It's just through here.</dialogue>
<scene_description>Liu Kang and Kano FORCE OPEN the temple's front door.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAIDEN'S TEMPLE - MOMENTS LATER - DAY</stage_direction>
<scene_description>A disused, forgotten place. FADED MURALS of Raiden decorate the walls. Liu Kang lifts open a TRAP DOOR hidden beneath the SHRINE. Our heroes follow him down a RICKETY WOOD LADDER.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAIDEN'S TEMPLE - SAME TIME</stage_direction>
<scene_description>REVEAL: SUB-ZERO. Camouflaged amongst the foliage, hand pressed to a TREE TRUNK. As BLUE ICE creeps over the BARK, he sharpens his eyes on Raiden's once-hidden temple. A SWIRLING, NIGHTMARISH BLACK PORTAL suddenly opens behind him. Leaves swirl. Trees sway. We can see IMAGES OF OUTWORLD in the portal's surreal window. Sub-Zero turns to leave, his mission accomplished.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRYPT - DAY</stage_direction>
<scene_description>A festering burial place. Earth's champions move past the mummified remains of ancient kombatants and arrive at: A TOWERING STONE DOOR. Built underground. In the center of the door: A GOLD RELIEF of the MORTAL KOMBAT COILED DRAGON.</scene_description>
<character>SONYA</character>
<parenthetical>(stunned)</parenthetical>
<dialogue>It actually exists...</dialogue>
<scene_description>Liu Kang pulls the medallion from his chest. The STONE DOOR reacts to its presence. A DEEP TREMOR shakes the crypt. The DOOR slides open for our champions!</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSTERIOUS HALLWAY - CONTINUOUS</stage_direction>
<scene_description>The door seals shut behind them. SILENCE takes hold. Unlike the crypt, this HALLWAY feels alive. Cleansed of cobwebs and debris. The walls are decorated with murals. Torchlight guides their path. Our heroes pass by a SERIES OF PAINTED MURALS. ABOVE EACH MURAL: a ROMAN NUMERAL. The murals depict the following in chronological order: I. ANCIENT EGYPT. Pyramids. The Sphinx. Ten human combatants battle otherworldly monsters. II. ANCIENT GREECE. A new set of battles waged outside the Parthenon, in the Theater of Apollo. CLOSE ON: MURAL III. The full outcome of the battle having been recorded centuries ago in ANCIENT ROME. We see: DREADLOCKS'S LIFELESS BODY (the slave from our opening scene), held aloft by a FOUR-ARMED MONSTER OF A MAN, who we all know as PRINCE GORO. MURALS (IV-IX) have also been drawn, battles waged across time. Each one shows Earthrealm badly defeated.</scene_description>
<character>SONYA</character>
<dialogue>These drawings...</dialogue>
<character>LIU KANG</character>
<dialogue>The Living Hallway. All stories begin and end here.</dialogue>
<scene_description>Cole STOPS by MURAL X. We see SILHOUETTES of our heroes: Kano. Liu Kang. Kung Lao. And a FIGHTER wearing BOXING GLOVES. Cole studies the figure closely: Is that him?</scene_description>
</scene>
<scene>
<stage_direction>INT. ARCHIVES - MOMENTS LATER - DAY</stage_direction>
<scene_description>They pass through a STONE KEEP built into the underground catacombs. Sonya, eyes wide with excitement, struggles to take in the history of Mortal Kombat on display. CLOSE ON: A GLASS CASE. We see a GORGEOUS CERULEAN FAN resting inside, inlaid with calligraphy. A GOLDEN PLACARD reads: CEREMONIAL FAN of PRINCESS KITANA. A group of ARMED, ROBE-CLAD MONKS gather before our heroes. They stand in reverence, swords pinned to the earth.</scene_description>
<character>LIU KANG</character>
<dialogue>Those who have kept their faith. From the moment they are born, they devote their lives to protecting this hallowed place.</dialogue>
<scene_description>A YOUNG BOY parts through the crowd.</scene_description>
<character>YOUNG BOY (O.S.)</character>
<dialogue>The champions!</dialogue>
<scene_description>He's wearing a medallion made from paper maché, carrying a hand-crafted doll of Lord Raiden. The boy walks up to Kano, face full of wonder.</scene_description>
<character>YOUNG BOY</character>
<dialogue>A medallion... Can I touch it?</dialogue>
<scene_description>The boy reaches a hand to Kano's medallion. Kano smacks the boy's hand away.</scene_description>
<character>KANO</character>
<dialogue>Hands off the merchandise, kid.</dialogue>
<scene_description>The boy takes up a fighting position; he throws a few punches. Then he sets himself and fires off a few kicks.</scene_description>
<character>YOUNG BOY</character>
<dialogue>I'm training to be a champion myself. Perhaps you could give me a few pointers.</dialogue>
<scene_description>Kano SHOVES the boy to the ground.</scene_description>
<character>COLE</character>
<dialogue>What the hell, man?!</dialogue>
<character>KANO</character>
<dialogue>What?</dialogue>
<parenthetical>(then, with a shrug)</parenthetical>
<dialogue>That's how my father taught me.</dialogue>
<scene_description>Cole helps the young boy up, hands him his doll.</scene_description>
<character>COLE</character>
<dialogue>Here you go, bud.</dialogue>
<character>YOUNG BOY</character>
<dialogue>Thank you. You honor us with your presence. You are a true hero.</dialogue>
<scene_description>Cole considers this as he scans the faces of the temple's devoted protectors. All eyes watching him with respect and admiration.</scene_description>
<character>COLE</character>
<dialogue>I don't know about that.</dialogue>
<character>YOUNG BOY</character>
<dialogue>I do.</dialogue>
<scene_description>The boy hurries away. Liu Kang leads our heroes through the archives.</scene_description>
<character>LIU KANG</character>
<dialogue>Since the dawn of time, Champions of Earth have come here to train. To fight in Earth's eternal war against Outworld.</dialogue>
<character>SONYA</character>
<dialogue>Outworld?</dialogue>
<character>LIU KANG</character>
<dialogue>Earth is one of many realms. The Elder Gods that oversee these realms, in order to keep balance and prevent constant war, struck a deal centuries ago. Once a generation, a realm could send its eight greatest champions to fight those of another. Slay all eight of your opponent's champions, win the battle. Win ten straight battles, win the war and with it, control of the losing realm. The idea of winning ten straight battles was deemed an impossible task, so the balance was always kept.</dialogue>
<scene_description>Cole stares at a TIME-WORN MAP showing DOZENS OF REALMS. Among them: Earthrealm. Outworld. Netherrealm. Edenia. Chaosrealm.</scene_description>
<character>LIU KANG</character>
<dialogue>Across every realm and throughout history, this eternal war has been known by a single name...</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Mortal Kombat.</dialogue>
<character>SONYA</character>
<dialogue>How do you spell that?</dialogue>
<character>LIU KANG</character>
<dialogue>With a K.</dialogue>
<scene_description>Sonya leans into Kano, flashes a pretentious smile.</scene_description>
<character>SONYA</character>
<dialogue>Told ya' I didn't make it up.</dialogue>
<character>LIU KANG</character>
<dialogue>Our culture doesn't speak of these stories anymore. But I have always believed. I have dedicated my life to this. Waited for my moment to serve.</dialogue>
<scene_description>Sonya pulls an ancient book from the shelf. She flips through several pages depicting great warrior crucibles: The Ancient Olympics. The Roman Coliseum. Medieval Tournaments.</scene_description>
<character>LIU KANG</character>
<dialogue>All around the world, different cultures would hone their very best, in hopes that he or she might represent Earth in the next Mortal Kombat. They fought for the right to wear the medallion. Many have given their lives protecting Earth.</dialogue>
<scene_description>REVEAL: Kano. Sitting in an OLD CHAIR. Head propped in his hand, eyes closed. Cole kicks his leg.</scene_description>
<character>KANO</character>
<parenthetical>(snorting awake)</parenthetical>
<dialogue>Huh?! Fireballs!</dialogue>
<scene_description>A SIDE ROOM catches Sonya's attention. Inside, a team of MONKS tend to a PATIENT lying in bed. CLOSE ON: the bedside wall. Hanging on a hook, we see a DRAGON MEDALLION. Forged in bruised SILVER. We've seen this one before. So has Sonya. She immediately walks towards it.</scene_description>
</scene>
<scene>
<stage_direction>INT. INFIRMARY - MOMENTS LATER</stage_direction>
<scene_description>As Sonya reaches the doorway, her face drops. She shakes her head, trying to process what she's seeing. JAX. Intubated. Unconscious. His arms are missing, the remaining stumps wrapped in white bandages. Patches of BLACK FROSTBITE decorate his chest and neck. Cole reaches Sonya's side, can't believe his eyes.</scene_description>
<character>COLE</character>
<dialogue>He's alive...?</dialogue>
<character>LIU KANG</character>
<dialogue>It has been my charge to track down Earth's champions. By the time I found Jax, I was too late. I should have been there to help. I'm sorry.</dialogue>
<character>SONYA</character>
<dialogue>Will he be okay?</dialogue>
<character>LIU KANG</character>
<dialogue>The ice cauterized his wounds, kept him alive. Still, I'm afraid there's no guarantee.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Come. He is waiting.</dialogue>
<scene_description>Cole turns Sonya away, eyes heavy. Liu Kang leads our heroes towards a STONE DOOR, lightning bolts chiseled into the rock. Once again the door reacts to the presence of Liu Kang's medallion and opens for them.</scene_description>
</scene>
<scene>
<stage_direction>INT. RAIDEN'S CHAMBER - CONTINUOUS</stage_direction>
<scene_description>A simple circular chamber. Empty, save for a ROCK SLAB THRONE. On which, sits LORD RAIDEN. A far cry from the REGAL GOD we saw at the beginning of our story. His ornate robes and hat are hung up behind him. He wears a simple white tunic now, a rope around his waist. His eyes cast down.</scene_description>
<character>LIU KANG</character>
<dialogue>The Great Protector. Lord Raiden.</dialogue>
<scene_description>Liu Kang immediately bows in reverence. Cole looks to Sonya. They both awkwardly follow suit. Only Kano remains standing.</scene_description>
<character>LIU KANG</character>
<dialogue>I have fulfilled your mission, my Lord. I have gathered the remaining champions of Earth.</dialogue>
<scene_description>After a MOMENT, Raiden lifts his head. The energy in his eyes is gone. All that remains are his gray pupils, empty like his chamber, and twice as cold.</scene_description>
<character>RAIDEN</character>
<dialogue>What you did... was pointless.</dialogue>
<scene_description>Raiden pushes himself up, walks towards our heroes. His eyes linger over Cole's wounded arm.</scene_description>
<character>RAIDEN</character>
<dialogue>You ... You are in no physical or mental shape to fight.</dialogue>
<parenthetical>(then, to Sonya)</parenthetical>
<dialogue>You don't even have a medallion.</dialogue>
<character>KANO</character>
<dialogue>What about me, huh? ... What's my fortune, Gandalf?</dialogue>
<scene_description>Without looking, Raiden BLASTS Kano with a BOLT of ELECTRICITY, launching him backwards!</scene_description>
<character>RAIDEN</character>
<dialogue>Powerless. Insubordinate. This changes nothing. You should go.</dialogue>
<scene_description>Raiden shakes his head with disappointment.</scene_description>
<character>SONYA</character>
<dialogue>That's it? We almost died finding you. Jax was crippled.</dialogue>
<character>RAIDEN</character>
<dialogue>You're too late. It's over.</dialogue>
<character>COLE</character>
<dialogue>What do you mean, "it's over?"</dialogue>
<character>RAIDEN</character>
<dialogue>There was a time when Earth respected Mortal Kombat. That time has long passed. Outworld has taken advantage of humankind's ignorance for many years.</dialogue>
<scene_description>Raiden returns to his throne.</scene_description>
<character>RAIDEN</character>
<dialogue>They have claimed nine straight victories. One more victory, and Outworld will gain control over Earth. Forever.</dialogue>
<scene_description>A MOMENT as our heroes exchange stunned, apprehensive looks. Kano stumbles back over, shirt smoking.</scene_description>
<character>KANO</character>
<dialogue>What'd I miss?</dialogue>
<character>RAIDEN</character>
<dialogue>You did this to yourselves.</dialogue>
<scene_description>Cole steps forward, determination in his eyes.</scene_description>
<character>COLE</character>
<dialogue>When does Mortal Kombat begin?</dialogue>
<character>RAIDEN</character>
<dialogue>On the next blood moon.</dialogue>
<scene_description>The group exchanges a few confused looks.</scene_description>
<character>KANO</character>
<dialogue>I didn't bring a moon calendar.</dialogue>
<character>RAIDEN</character>
<parenthetical>(silencing him)</parenthetical>
<dialogue>Five days! But I already told you, you're wasting your time.</dialogue>
<character>COLE</character>
<dialogue>We've already killed one of them. You used to help humanity train for this. Help us now! We can still beat them!</dialogue>
<scene_description>Raiden looks at Cole, his ancient eyes boring into him.</scene_description>
<character>RAIDEN</character>
<dialogue>You've seen what they're capable of. Your wife, Allison. You were powerless to save her. That's what you came here for, Cole Morino. Revenge. But you will not find it. Only more death.</dialogue>
<scene_description>Cole looks to his teammates. He holds his ground.</scene_description>
<character>COLE</character>
<dialogue>If what you said is true... we lose this, we lose everything, then I'd die to keep my daughter safe. You don't want to help us, fine. We'll do it ourselves.</dialogue>
<scene_description>Cole walks away. Sonya and Kano right behind him. We HOLD ON: Raiden's eyes. He sharpens them, considering Cole's final words... very carefully.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARCHIVES - MOMENTS LATER</stage_direction>
<scene_description>Liu Kang leads our heroes away from Raiden's quarters.</scene_description>
<character>LIU KANG</character>
<dialogue>That could have gone better.</dialogue>
<scene_description>A SUDDEN EXPLOSION ROCKS the entire temple! They spin towards the bombardment with shock! Cole can see his BREATH steaming before his eyes. A single SNOWFLAKE lands on the back on his neck. He knows EXACTLY what this means.</scene_description>
<character>COLE</character>
<dialogue>It's him.</dialogue>
<character>SONYA</character>
<dialogue>Who...?</dialogue>
<scene_description>Cole clenches his fists, races back the way they came.</scene_description>
<character>LIU KANG</character>
<dialogue>Wait!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>The SNOW INTENSIFIES as Cole reaches the Living Hallway. The GREAT STONE DOOR - breached!</scene_description>
<character>COLE</character>
<parenthetical>(screaming out)</parenthetical>
<character>FACE ME!</character>
<dialogue>Slowly reveal: The MENACING, FROZEN SILHOUETTE of SUB-ZERO, stepping out of the darkness.</dialogue>
<dialogue>Cole keeps his eyes locked on him.</dialogue>
<dialogue>We can see the SAME COLD, UNDEAD LOOK HE GAVE COLE RIGHT</dialogue>
<scene_description>BEFORE HE KILLED ALLISON. The ANGER, the RAGE, the NEED for VENGEANCE burning inside of Cole! He CHARGES Sub-Zero! The Outworld assassin patiently waits for him. Then... HE DEMOLISHES COLE. But not with his powers. With his brutal martial arts skill. BONE-SHATTERING PUNCHES. KICKS. It would be too easy to just freeze Cole solid. Sub-Zero wants to enjoy this. Cole MISSES with a PUNCH. Sub-Zero SWEEPS his legs out. Cole lands HARD on the ground, cradling his WOUNDED ARM. Sub-Zero marches on him. He extends his arm; a MASSIVE ICICLE grows into his waiting palm! Seconds from FINISHING him, WHEN... A RAZOR-SHARP HAT WHIPS DOWN THE HALLWAY, SLICES THE ICICLE IN HALF! The FORCE of IMPACT launches Sub-Zero backwards. A HAND appears above Cole's face. MEET: KUNG LAO! - (think Donnie Yen, his looks say a million words). The stoic WARRIOR MONK wears a dragon medallion around his neck. His hat returns to him like a FRISBEE. He catches it using TELEKINESIS. A GLOWING BLUE HALO FRAMES THE WEAPON. Kung Lao pulls Cole to his feet as the rest of Earth's champions arrive. MILEENA (female Outworld assassin) steps out of the tunnel. One of the temple's ARMED MONKS races towards her, sword raised in defense. Mileena easily counters his attack, pulls a SAI from her back, ready to end him... LIU KANG steps forward. A FIREBALL engulfs his hand. Mileena stares at him. Liu Kang shakes his head. Don't. Mileena smiles, releases the Monk. SHANG TSUNG (the evil Outworld sorcerer and enemy of Earth) emerges from the DARKNESS. His presence is a storm cloud of dark energy. An evil smile unfurls from his lips as he walks towards our heroes. The sorcerer looks to Cole, cocks his head slightly.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Interesting. You look... different than I imagined.</dialogue>
<scene_description>Cole looks to his teammates: What's that supposed to mean?</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>The time has come to FINISH this!</dialogue>
<scene_description>Shang Tsung turns and walks away. With a cavalier hand gesture, he commands his soldiers:</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Take whatever trophies you desire. But their souls are mine.</dialogue>
<scene_description>RAIDEN'S VOICE SUDDENLY ECHOES THROUGH THE CHAMBER:</scene_description>
<character>RAIDEN (O.S.)</character>
<dialogue>SILENCE! This is a violation of the HIGHEST ORDER!</dialogue>
<scene_description>Shang Tsung stops in his tracks. He slowly turns around to see: RAIDEN. Standing behind Earth's champions.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>You're too late, Raiden. Earth belongs to Outworld now.</dialogue>
<parenthetical>(then, with a smile)</parenthetical>
<dialogue>I wonder if a part of you isn't pleased by that.</dialogue>
<character>RAIDEN</character>
<dialogue>The blood moon has not yet risen in the sky! It is forbidden to claim victory until the tournament begins!</dialogue>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Why prolong the inevitable? Every day, millions of my people die. Upon the ashes of your conquered planet, I will rebuild our realm into a glorious empire!</dialogue>
<scene_description>Raiden takes a STEP FORWARD.</scene_description>
<character>RAIDEN</character>
<dialogue>You will leave this place at once, Sorcerer!</dialogue>
<parenthetical>(then, with intensity)</parenthetical>
<dialogue>Or I will have NO CHOICE but to alert the Elder Gods. An eternity of punishment will be cast upon your soul!</dialogue>
<scene_description>Shang Tsung steps forward, meeting Raiden face-to-face. His ever-changing eyes swirl with DARK ENERGY.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<parenthetical>(glancing at our heroes)</parenthetical>
<dialogue>These are your champions?</dialogue>
<parenthetical>(then, with a laugh)</parenthetical>
<dialogue>Five days changes nothing. I will return to claim what's rightfully mine. You FAILED Earthrealm, Raiden. Soon you will have the pleasure of watching it die.</dialogue>
<scene_description>Shang Tsung turns and leaves. Sub-Zero holds his ground, cocks his head, stares at Cole. Cole holds his gaze. Mileena winks at Sonya. Then the Outworld Warriors follow the great sorcerer out. A MOMENT passes.</scene_description>
<character>COLE</character>
<parenthetical>(to Raiden)</parenthetical>
<dialogue>Thank you. For giving us a chance.</dialogue>
<character>RAIDEN</character>
<parenthetical>(brushing him off)</parenthetical>
<dialogue>I only did that to afford you enough time to say goodbye to the people you love. Make no mistake, Shang Tsung WILL return in five days. Earth WILL die.</dialogue>
<scene_description>With that, Raiden turns and walks away. Kano steps to Cole's side.</scene_description>
<character>KANO</character>
<dialogue>I have to say... For some super powerful protector guy... he's a real bummer.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRAINING AREA - A BIT LATER - DAY</stage_direction>
<scene_description>Built into the underground catacombs, the TRAINING AREA features a FIGHTING PIT filled with RED SAND. EXPOSED ROCK high above the pit offers NATURAL SUNLIGHT to cascade downward upon the arena. This is where Earth's CHAMPIONS have trained for centuries. Ancient. Antique. Awesome. Liu Kang and Kung Lao lead the others towards the pit. Liu Kang introduces Kung Lao.</scene_description>
<character>LIU KANG</character>
<dialogue>This is my brother, Kung Lao.</dialogue>
<character>KANO</character>
<parenthetical>(smacking KL's shoulder)</parenthetical>
<dialogue>Nice to meet you, mate. But... getting back to my question about the fireball thing...</dialogue>
<character>LIU KANG</character>
<dialogue>In order to properly prepare for battle, it is essential that you discover your Arcana.</dialogue>
<character>COLE</character>
<dialogue>Our... what?</dialogue>
<character>LIU KANG</character>
<dialogue>It is the true power within you. Unique to each champion. It is your greatest weapon, and your only chance of victory.</dialogue>
<scene_description>Liu Kang looks at his hands. Kung Lao takes off his hat. The brothers exchange a glance.</scene_description>
<character>LIU KANG</character>
<dialogue>My brother and I have found our Arcana. Perhaps we can help you discover yours.</dialogue>
<character>COLE</character>
<dialogue>How?</dialogue>
<character>LIU KANG</character>
<dialogue>It will not be easy and there is no guarantee. All you can do now is TEST YOUR MIGHT. If you do have the Arcana inside of you, only you can bring that power forth.</dialogue>
<scene_description>A MOMENT as that final piece of wisdom washes over our group. Then, Kano leans in to Cole.</scene_description>
<character>KANO</character>
<dialogue>I hope I get fireballs.</dialogue>
<character>COLE</character>
<dialogue>Yeah. I got that.</dialogue>
<scene_description>Liu Kang holds out his hand, allowing Kano and Cole access to the training area. But when Sonya tries to cross, Kung Lao juts out his hat, blocking her entry.</scene_description>
<character>LIU KANG</character>
<dialogue>You're welcome to stay here with us, Miss Blade, but the training area is for Champions only.</dialogue>
<scene_description>Sonya takes a step back, her spirits visibly crushed.</scene_description>
<character>COLE</character>
<dialogue>Hang on a second. We wouldn't be here if it wasn't for her.</dialogue>
<scene_description>Kung Lao shakes his head, refuses to budge.</scene_description>
<character>LIU KANG</character>
<dialogue>A fighter without their medallion can never achieve their Arcana. A fighter without their Arcana is a liability to the others.</dialogue>
<character>COLE</character>
<dialogue>She's one of us.</dialogue>
<scene_description>Sonya shakes her head, resigned to her fate.</scene_description>
<character>SONYA</character>
<dialogue>No I'm not, Cole.</dialogue>
<scene_description>As much as it pains her, she turns and walks away. LATER: Cole stands opposite Kung Lao in the fighting pit. Liu Kang sits between them on the sidelines.</scene_description>
<character>LIU KANG</character>
<dialogue>Ready? ... Fight.</dialogue>
<scene_description>Before Cole can take a step... The Warrior Monk pulls the hat off his head, whips it into a GLOWING DERVISH, and flings it at Cole. Cole instinctively BLOCKS with his wounded LEFT ARM. The resulting impact FLATTENS him, sends him skidding back into the sand. He GRIPS his ARM in pain. We can see the LACERATION has opened. Blood trickles into his open palm. Cole scrapes himself off the ground.</scene_description>
<character>COLE</character>
<dialogue>How do you summon this "Arcana?"</dialogue>
<scene_description>Liu Kang focuses on his hand, igniting a FIREBALL.</scene_description>
<character>LIU KANG</character>
<dialogue>No strength of desire, no acuity of reflexes will summon it. It must come from your soul.</dialogue>
<scene_description>Kano waltzes up to the pit, smacks Liu Kang HARD on the back.</scene_description>
<character>KANO</character>
<dialogue>Super helpful. Thank you.</dialogue>
<parenthetical>(then, to Kung Lao)</parenthetical>
<dialogue>What's up with you, mate? Cat got your tongue or something?</dialogue>
<character>LIU KANG</character>
<dialogue>As part of his dedication to Kung Fu, my brother has taken a vow of silence.</dialogue>
<character>KANO</character>
<dialogue>Oh yeah? ... Give me a chance, I'll knock some sound out of him!</dialogue>
<scene_description>ON SONYA: Seated on a bench, watching from a short distance away. Longing in her eyes. Something catches her attention. IN THE FAR CORNER OF THE ROOM, bathed in shadows... RAIDEN. Watching the champions train. He turns his head to Sonya, sensing her gaze. She quickly looks down. After a MOMENT, she looks back up. The Thunder God is gone. ON LIU KANG: His fireball slowly diminishes, but still he concentrates intently on it, willing it to maintain.</scene_description>
<character>LIU KANG</character>
<dialogue>Your Arcana can manifest in different ways. Mine is different than my brother's; we've heard tales of levitation, teleportation, all manner of impossibility. So don't be discouraged if your first attempts prove fruitless.</dialogue>
<scene_description>Liu Kang's flame finally snuffs out. He turns to Cole.</scene_description>
<character>LIU KANG</character>
<dialogue>Whatever it is that drives you, whatever it is that defines you, tap into that.</dialogue>
<scene_description>Cole gazes at his hands, curious fascination in his eyes.</scene_description>
<character>COLE</character>
<dialogue>I wonder what it will be.</dialogue>
<scene_description>The MOMENT he looks back up: -WHAAM!- Kano CLOCKS him right in the face! Cole stumbles back, cupping his nose.</scene_description>
<character>KANO</character>
<dialogue>It's definitely not reflexes.</dialogue>
<scene_description>LATER STILL: Cole duels with Liu Kang in the fighting pit. He approaches like a boxer, fists raised. He throws a jab, a cross, a hook. Everything he's trained to do. Just as Cole WHIFFS an uppercut, Liu Kang WHIPS a ROUNDHOUSE KICK to Cole's face, then HITS him in the CHEST with a FIREBALL, launching him ten feet into the air. He lands on his back, a HOLE burned into his shirt! Cole grips his busted LEFT ARM, clutches it to his chest. Kano hovers over him, counts off his fingers:</scene_description>
<character>KANO</character>
<dialogue>Let's recap. We know it's not reflexes. It's not speed. Sure as shit ain't strength...</dialogue>
<scene_description>Liu Kang approaches Cole.</scene_description>
<character>LIU KANG</character>
<dialogue>Your wound is too severe.</dialogue>
<character>COLE</character>
<dialogue>I'm fine. Let's keep going!</dialogue>
<scene_description>Cole holds up his arm: It's a disgusting, bloody mess.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECOVERY AREA - MOMENTS LATER - DAY</stage_direction>
<scene_description>Cole drops onto a bench. Liu Kang stands on the periphery. A PAIR of MONKS, robed in WHITE, tend to Cole's wound. They cut away the tattered bandages. We see for the first time, the BRUTAL LACERATION down Cole's forearm.</scene_description>
<character>LIU KANG</character>
<dialogue>How did you sustain this?</dialogue>
<character>COLE</character>
<dialogue>The Ice Man ... after he... killed Ally. I tried to stop him.</dialogue>
<character>LIU KANG</character>
<dialogue>The one they call SUB-ZERO, formerly of the Lin Kuei clan. He was killed in Kombat many years ago. Shang Tsung brought him back to life so that he would fight for Outworld. He is a formidable opponent.</dialogue>
<scene_description>The Monks apply MYSTICAL BLUE PASTE to Cole's wound.</scene_description>
<character>COLE</character>
<dialogue>I need to find my Arcana soon. How did you discover yours?</dialogue>
<character>LIU KANG</character>
<dialogue>My brother and I grew up on the streets. Like many orphaned children, we had to learn quickly how to protect ourselves. But still, the streets are a dangerous place for a child. We wouldn't have lasted long. The White Lotus Society found us. Master Fujin took us in. He saved our lives.</dialogue>
<scene_description>The Monks add a SPRINKLE of TRANSLUCENT POWDER to the wound, then use a hollow bone to blow RED SMOKE onto Cole's arm. The salve CRACKLES, then instantly CAUTERIZES.</scene_description>
<character>LIU KANG</character>
<dialogue>We were taught about Mortal Kombat. Worshipped the great Lord Raiden and dedicated our lives to training for this moment. Upon graduation, we were offered a final test. A chance to earn our medallions.</dialogue>
<scene_description>Liu Kang takes a seat beside the Monks. He wraps fresh bandages around Cole's wound.</scene_description>
<character>LIU KANG</character>
<dialogue>I was given the name of a man in Hong Kong. A purveyor of rare things... His specialty was selling people. Children mostly.</dialogue>
<parenthetical>(off Cole's look)</parenthetical>
<dialogue>He had a medallion. So I took it from him. It was in that moment that I discovered my Arcana. Fueled by vengeance.</dialogue>
<scene_description>Liu Kang balls his hand into a fist. It REDDENS with fire. Then he lets it go, returns to wrapping Cole's arm.</scene_description>
<character>COLE</character>
<dialogue>They killed my wife, Liu. Talk about vengeance... How is that not enough to activate my Arcana?</dialogue>
<scene_description>Liu lowers his eyes in sympathy, finishes his work. REVEAL for the first time: Cole's new YELLOW BANDAGES wrapped down his arm. Liu Kang places his hand on Cole's shoulder.</scene_description>
<character>LIU KANG</character>
<dialogue>Vengeance is not what defines everyone, my friend.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING AREA - NIGHT</stage_direction>
<scene_description>The entire collected crew eats a light meal. Kano GULPS down his soup, surveys the remaining food.</scene_description>
<character>KANO</character>
<dialogue>Pass me that egg roll, will ya?</dialogue>
<scene_description>Kung Lao reaches for the dish. But instead of passing it, he picks up the last egg roll and takes a bite. Then he makes a series of hand gestures to his brother.</scene_description>
<character>LIU KANG</character>
<dialogue>He says you wouldn't be ready to fight if you had a hundred days to train. You are a fat, lazy man.</dialogue>
<character>KANO</character>
<dialogue>Is that right? ... Well I know some sign language of my own.</dialogue>
<scene_description>Kano holds up two MEATY MIDDLE FINGERS, cracks a laugh. Kung Lao throws more gestures at his brother.</scene_description>
<character>LIU KANG</character>
<dialogue>He also says you are a terrible fighter. Zero skill.</dialogue>
<scene_description>OK, now things are uncomfortable. Kano STARES at Kung Lao, marble-eyed. That MANIC, UNHINGED LOOK we saw earlier with Sonya, returning to his face.</scene_description>
<character>LIU KANG</character>
<dialogue>And that you're stupid, like a dog.</dialogue>
<parenthetical>(more gestures)</parenthetical>
<dialogue>What? ... Oh.</dialogue>
<parenthetical>(with a laugh)</parenthetical>
<dialogue>Like a dog who fails his training classes.</dialogue>
<scene_description>Kano clenches his teeth, then his fists.</scene_description>
<character>KANO</character>
<dialogue>You tell him he better put those hands away or I'm gonna take that stupid fucking hat off his head and shove it so far up his monk ass...</dialogue>
<scene_description>Kung Lao STANDS, ready for a fight! Kano stands. More than happy to oblige.</scene_description>
<character>LIU KANG</character>
<dialogue>You would dare raise a fist against your best hope of survival?</dialogue>
<character>KANO</character>
<dialogue>Tell him to sit down.</dialogue>
<character>LIU KANG</character>
<dialogue>He's here to save you. Because you cannot save yourself. Because you are incapable. Useless. Mentally, physically...</dialogue>
<character>KANO</character>
<dialogue>Last warning, mate.</dialogue>
<scene_description>Kano looks like a lobster at this point; he's bright red. His eyes are BULGING. Liu Kang is unfazed.</scene_description>
<character>LIU KANG</character>
<dialogue>You should be on your knees before this man.</dialogue>
<scene_description>Cole stands... but Sonya pulls him back to his seat. At first, Cole's confused by this interference... but then he sees it in her eyes: she's noticed something. The same thing as Liu Kang: KANO'S DAMAGED EYE IS GLOWING. Barely at first... but it's growing in intensity by the second. And the angrier he gets, the brighter it becomes...</scene_description>
<character>LIU KANG</character>
<dialogue>Good. Be angry. You should be.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You failure.</dialogue>
<scene_description>Kano BARES HIS TEETH, unleashes a PRIMAL GROWL... which is matched in intensity only by his DEMONIC EYE: it RADIATES A BRILLIANT, SEARING RED LIGHT. A split second later, it's ALL WE CAN SEE... Kano FIRES his EYE BLAST! Kung Lao DEFLECTS it with his hat. It RICOCHETS around the room, RIPPING apart everything in its path. Sonya pulls Cole to the floor as the BLAST EXPLODES through the wall and LASER BEAMS across the temple, where it DETONATES one of the many bookshelves. Kung Lao signs to Liu Kang, punctuates it with a smile. Kano points to his eye. Big smile on his face!</scene_description>
<character>KANO</character>
<dialogue>Did you see that!? I've got a LASER BEAM in my eye! A GOD DAMN LASER BEAM! It doesn't get any cooler than that...</dialogue>
<parenthetical>(then, to Cole)</parenthetical>
<dialogue>I knew I'd get my power before you.</dialogue>
<scene_description>No denying that one stings.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAINING AREA - DAY</stage_direction>
<scene_description>Cole squares off against Kano in the fighting pit. Liu Kang and Kung Lao stand on the periphery.</scene_description>
<character>LIU KANG</character>
<dialogue>We are down to our final day. But do not be discouraged, Cole. We have yet to try pain. It is the ultimate activator. I want you to focus on it. Allow your Arcana to manifest as a defense mechanism.</dialogue>
<parenthetical>(then, to Kano)</parenthetical>
<dialogue>Hit him.</dialogue>
<character>KANO</character>
<dialogue>With pleasure.</dialogue>
<character>COLE</character>
<dialogue>Does it have to be him?</dialogue>
<scene_description>-WHAAAM!- Kano CLOCKS Cole in the face. Cole stumbles back, holds a hand to his throbbing jaw. GODDAMMIT!:</scene_description>
<character>LIU KANG</character>
<dialogue>Focus on the pain, Cole! Channel it! ... Hit him again.</dialogue>
<character>KANO</character>
<dialogue>Yeah. Focus on the pain!</dialogue>
<scene_description>-WHAAAM!- Kano lands a HAYMAKER, then an UPPERCUT. Then he holds a finger to his head and EYE BLASTS Cole right in the back. Cole lands face-down in the sand. Broken. Beaten. Powerless.</scene_description>
<character>KANO</character>
<dialogue>Champion, my ass.</dialogue>
<scene_description>The brothers share a look of dismay. Cole punches the sand. Pissed at himself. He wipes the blood off his face, pushes himself up, walks away. ON RAIDEN: Once again, watching from the SHADOWS. He studies Cole for a LONG MOMENT...</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAINING AREA - SOMETIME LATER - LATE NIGHT</stage_direction>
<scene_description>Cole sits alone, back against the wall. We see something we haven't seen before in his eyes: Defeat. Despite Liu Kang's best efforts, the LACERATION on his arm has once again bled through the yellow bandages. He winces in pain as he balls his busted left hand into a fist. He roots through his pocket, fishes out his PHONE. It POWERS ON. No signal. Battery light flashing 2%. He digs through his PHOTOS. We see sweet, candid shots of Cole, Emily, and Allison together. His PHONE BEEPS. He NOTICES something for the first time: "ONE NEW VOICEMAIL" - He plays it.</scene_description>
<character>EMILY (V.O.)</character>
<dialogue>Dad. I miss you so much. I know you have to do this...</dialogue>
<scene_description>Cole closes his eyes.</scene_description>
<character>EMILY (V.O.)</character>
<parenthetical>(then, fighting tears)</parenthetical>
<dialogue>I wish you were here. Please be safe. I can't lose you too.</dialogue>
<scene_description>The PHONE POWERS DOWN in his hand. Cole lets it fall away; he wipes the tears from his eyes, shakes his head, turning all of that ANGER he feels inward. He pushes himself up to see: SONYA. Standing nearby. How long was she watching him?</scene_description>
<character>SONYA</character>
<dialogue>You okay?</dialogue>
<character>COLE</character>
<parenthetical>(with rising anger)</parenthetical>
<dialogue>Whatever this Arcana thing is, I don't have it. I can't fight for Earth. Not like this.</dialogue>
<character>SONYA</character>
<dialogue>That's not what you said.</dialogue>
<parenthetical>(off Cole's look)</parenthetical>
<dialogue>I heard what you said to Raiden. That you would never let anything happen to Emily. Is that true?</dialogue>
<character>COLE</character>
<dialogue>Of course.</dialogue>
<character>SONYA</character>
<dialogue>Then fight for her. This is your chance, Cole. You were a champion once.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You can be that again.</dialogue>
<character>RAIDEN (O.S.)</character>
<dialogue>I'm afraid not.</dialogue>
<scene_description>Raiden walks towards them, gestures to the night sky.</scene_description>
<character>RAIDEN</character>
<parenthetical>(with disappointment)</parenthetical>
<dialogue>The blood moon soon rises but you have failed to find your Arcana. Without it, you are a liability to the others. I'm sorry, Cole.</dialogue>
<scene_description>Raiden lifts his arms to the heavens... A LIGHTNING BOLT CRASHES DOWN, STRIKES THE THUNDER GOD! Raiden absorbs the CHARGE. From this energy, he creates a PORTAL in the center of the pit. A moment to catch his breath, weakened by the effort.</scene_description>
<character>RAIDEN</character>
<dialogue>This will take you home.</dialogue>
<scene_description>Cole nods to himself, walks towards it.</scene_description>
<character>SONYA</character>
<dialogue>Cole... Don't give up on this!</dialogue>
<character>COLE</character>
<dialogue>He's right. I'm no use to anyone here, Sonya. Emily needs me now.</dialogue>
<scene_description>Before Sonya can respond, Cole heads down the walkway. He steps through the portal. INTENSE BLINDING LIGHT SWALLOWS COLE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOPHIA'S CABIN - MOMENTS LATER - NIGHT</stage_direction>
<scene_description>Cole exits the portal to find himself at the edge of the treeline. The gateway seals shut behind him. A soft light glows from the cabin. Cole heads towards it. Emily opens the door, buries into her Dad.</scene_description>
<character>COLE</character>
<dialogue>I found him.</dialogue>
<character>EMILY</character>
<parenthetical>(pulling away)</parenthetical>
<dialogue>The guy who killed Mom?</dialogue>
<scene_description>Cole weakly nods to her.</scene_description>
<character>EMILY</character>
<dialogue>Did you...</dialogue>
<scene_description>Cole's heart shatters.</scene_description>
<character>COLE</character>
<dialogue>I wasn't strong enough.</dialogue>
<scene_description>A flash of disappointment in Emily's face. She buries it down, turns Cole's arm over revealing his VICIOUS WOUND.</scene_description>
<character>EMILY</character>
<dialogue>Let me help you.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAIDEN'S QUARTERS - SAME TIME - NIGHT</stage_direction>
<scene_description>A MOMENT alone with Lord Raiden. He walks towards his iconic wardrobe. He puts on his white robe, places his RAIN HAT on his head again for the first time. ELECTRICITY crackles across his irises.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAINING AREA - SAME</stage_direction>
<scene_description>Earth's remaining champions prepare for battle. KUNG LAO - uses a BLADE to sharpen the brim of his hat. LIU KANG - prays silently, legs crossed. KANO - flips a new page over in his sketch book. RAIDEN enters, stands beside SONYA. His presence draws the attention of the entire room.</scene_description>
<character>RAIDEN</character>
<dialogue>IT HAS BEGUN.</dialogue>
<scene_description>He gazes upward. Through the natural opening in the ROCK FACE ABOVE, we see: The ominous BLOOD MOON.</scene_description>
</scene>
<scene>
<stage_direction>INT. SOPHIA'S CABIN - EMILY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Just like in the ring, Emily tends to Cole's injuries. He gently takes hold of her shoulders.</scene_description>
<character>COLE</character>
<dialogue>Listen to me, it's not safe here. We need to leave.</dialogue>
<character>EMILY</character>
<dialogue>You need to rest.</dialogue>
<scene_description>JUST THEN: WE HEAR THE DISTANT SOUND OF A PINE TREE FALLING DOWN! -SHHHH-BOOOOOOM!- Cole and Emily quickly go to the window. Emily flips on her KID'S LAMP as they peer out at the moonlit forest. ANOTHER TREE SMASHES DOWN. What the fuck...? Then ANOTHER. -SHHHH-BOOOOOOM!- And ANOTHER. -SHHHH-BOOOOOOM!- FASTER. CLOSER. The tree tops begin to sway. Something is coming... Cole races out of the room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOPHIA'S CABIN - CONTINUOUS</stage_direction>
<scene_description>Cole steps down the porch. He stares across the yard at the WOODS. MOONLIGHT bleeds over the black trees. SILENCE. The trees stand perfectly still. Emily pushes through the door after him.</scene_description>
<character>EMILY</character>
<dialogue>Dad?! ... What's going on?!</dialogue>
<scene_description>Cole sharpens his eyes on the still woods. SOMETHING SHOOTS OUT of the canopy of trees. It takes a MOMENT to realize it's a TWO-TON SEVERED TRUNK. As Cole spins back towards his daughter... The TREE TRUNK TORPEDOES the CABIN ROOF with a DEAFENING CRASH, throwing debris into the sky! STOMP! ... STOMP! ... STOMP! ... STOMP! ... STOMP! THE NINE-FOOT, FOUR-ARMED, ARMOR-CLAD OUTWORLD CHAMPION KNOWN AS PRINCE GORO emerges from the treeline. (Think a four-armed evil version of HULK, as seen in 'READY PLAYER ONE') The beast THUNDERS its MASSIVE CHEST, ROARRRRS at Cole!</scene_description>
<character>COLE</character>
<scene_description>GORO CHARGES! Emily, shocked, runs back inside the cabin. GORO LEAPS TWENTY FEET INTO THE AIR... and SMASHES DOWN in front of Cole. The SHOCKWAVE knocks Cole off his feet. GORO grabs Cole by the CHEST, THROWS him across the yard, then the behemoth rips the cabin's A/C UNIT out of the ground, HURLS it at Cole. Cole ROLLS TO HIS FEET, as the MACHINERY SKIPS past him. GORO picks Cole up with his LOWER TWO ARMS, SLAMS him down! ON EMILY: Watching from the windows as the monster destroys her Dad, pummeling him with BRUTAL, BONE-CRUNCHING ATTACKS. The beast tosses Cole away, sends him skidding across the dirt. A MOMENT as Cole lies there. Then he gets one arm under his chest, then the other. He pushes himself up. GORO ROARRRRS, RIPS a WOODEN POST from the cabin, MARCHES on Cole and DRILLS him with it. Ribs shatter as Cole IMPACTS the ground again. He COUGHS BLOOD. Then after a BEAT, he gets one hand under his chest, then the other... GORO LAUGHS at Cole's resilience. He lifts his MASSIVE LEG and STOMPS Cole in the back. DRIVING HIM into the earth. Cole SCREAMS in agony. ON EMILY: Watching her Dad beat to within an inch of his life. Tears in her eyes. She runs for the door. ON COLE: Again, trying to push himself up. THE FRONT DOOR OPENS. Emily steps outside. Cole sees her, blood coursing down his face. Goro follows Cole's gaze towards the cabin, slowly turning his head to see... EMILY. An evil smile crosses the monster's face. GORO MARCHES ON EMILY NOW! Emily backs up, paralyzed. Pinned against the front door. Cole spits blood as he SCREAMS after GORO:</scene_description>
<character>COLE</character>
<dialogue>I'M THE ONE YOU WANT! NOT HER!</dialogue>
<scene_description>GORO laughs as he towers over Emily. The demon's heavy shadow blankets her terrified face. Cole REACHES his hand out to Emily. All he can do at this point. Tears break from his eyes. GORO lifts his ARMS over Emily's head. He ROARS, brings his fists down with tremendous force and...</scene_description>
</scene>
<scene>
<stage_direction>.... SHUUUUUUUNK!!!</stage_direction>
<scene_description>Blood SPRAYS across Emily's face. The monster staggers for a moment, fists INCHES from Emily's head. Goro glances down at his chest: A VICIOUS, RAZOR-SHARP, FLAMING, KUNAI SPEAR HEAD juts out of his rib cage. Blood pumps from the wound. GO WIDE TO REVEAL: COLE. ON HIS FEET! PHYSICALLY STRONGER than before, his muscles chiseled, defined. The YELLOW BANDAGE on his wounded left arm, SPLIT OPEN. The SPEAR HEAD's attached to a SYNTHETIC CABLE, that runs directly into Cole's forearm! Cole grips the attached cable, SCREAMS WITH FURY:</scene_description>
<character>COLE</character>
<scene_description>HE RETRACTS THE SPEAR, PULLING THE MONSTER IN CLOSE, WHERE HE RAPIDLY SHANKS GORO IN THE HEART WITH THE CLENCHED BLADE! BLOOD SPRAYS AS COLE VICIOUSLY PUNCHES HIM OVER AND OVER AGAIN, FINISHING THE BEAST OFF WITH A BRUTAL UPPERCUT! The force of which SEVERS Goro's head from his body! The fiery spear slides back into Cole's forearm. He examines his incredible new weapon. Where the laceration once was, we see the SKIN has GRAFTED, HEALED. THREE JAPANESE CHARACTERS are scorched into his raised skin. They stand for (SHIRAI RYU), an ancient NINJA CLAN. Cole looks to Emily. Her wild face spattered with blood. She struggles to catch her breath, STARING IN AWE at the hero standing before her.</scene_description>
<character>EMILY</character>
<dialogue>Holy shit ... Dad?!</dialogue>
<scene_description>She runs over. Cole hugs her tightly to his chest.</scene_description>
<character>COLE</character>
<dialogue>I promise to explain everything. I have to go now. It's not over yet. There's more of them. A lot more.</dialogue>
<character>EMILY</character>
<parenthetical>(with encouragement)</parenthetical>
<dialogue>It doesn't matter how many of them there are, Dad. You can beat them. Remember, fight smarter, just like we always said...</dialogue>
<scene_description>Cole smiles at Emily, pride in his eyes.</scene_description>
<character>COLE</character>
<dialogue>That's the one thing I got that they don't...</dialogue>
<character>EMILY</character>
<dialogue>A crazy spear weapon that shoots out of your arm?</dialogue>
<character>COLE</character>
<dialogue>The best trainer in Philly.</dialogue>
<scene_description>Cole tucks the hair behind her ear. This time, she lets him.</scene_description>
<character>EMILY</character>
<dialogue>Wait, Dad. Before you go... I made you something.</dialogue>
<scene_description>From inside her shirt, Emily takes out a BEAUTIFUL LEATHER NECKLACE. We notice WHITE LACES elegantly threaded through the leather braids. She takes it off, presents it to him.</scene_description>
<character>EMILY</character>
<dialogue>The necklace was Mom's. The laces are from the gloves you gave me.</dialogue>
<parenthetical>(off Cole's look)</parenthetical>
<dialogue>The pair you won your championship with. It's so you know we're always with you.</dialogue>
<scene_description>Cole's heart swells. He rips the rusted chain off his medallion, threads his daughter's necklace through in its place. Then he hangs it around his neck.</scene_description>
<character>EMILY</character>
<dialogue>Go, Dad. Finish it.</dialogue>
<scene_description>Cole nods to her.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING HALLWAY - SAME TIME - NIGHT</stage_direction>
<scene_description>Our heroes watch as the army of Outworld champions march inside the temple Led by Sub-Zero and Mileena, we see: KABAL. (Think Michael Myers meets Jason Voorhees). Outfitted in a black armored vest and trench coat. His entire head covered by a SCARRED BLACK RESPIRATOR. The assassin WHEEZES and HISSES air into his lungs, as he wields his signature weapon: TWO RAZOR-SHARP HOOK SWORDS. REIKO. (Think an evil Thor). An armor-clad Outworld General with opaque eyes. He drags a MASSIVE WAR HAMMER behind him. NITARA. (Think Zoe Saldana as a vampire). A PAIR OF LEATHERY BAT-WINGS protrude from her bare shoulders. Shang Tsung, Outworld sorcerer and enemy of Earth, takes his place beside his warriors.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<parenthetical>(lifting his hands)</parenthetical>
<dialogue>The tenth and final Mortal Kombat.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Your beloved rules state...</dialogue>
<character>RAIDEN</character>
<dialogue>You follow no such rules. On with it, Sorcerer. Select your first opponent.</dialogue>
<scene_description>Kung Lao, Liu Kang, Kano, even Sonya, all step forward. Shang Tsung smiles at the eager heroes.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>I have already made my selection.</dialogue>
<scene_description>Shang Tsung clenches his fists. ENERGY swirls around him as he creates a NIGHTMARISH BLACK PORTAL. We can just barely see SOPHIA'S CABIN on the other side of the gateway.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<parenthetical>(gesturing to the portal)</parenthetical>
<dialogue>Prince Goro wins.</dialogue>
<scene_description>WHEN JUST THEN: GORO'S SEVERED HEAD bounces through the open portal. It comes to a bloody stop by Shang Tsung's feet.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Impossible.</dialogue>
<scene_description>Cole steps through the portal next. Stronger. More confident than we've seen him. Sonya and the other Earth champions welcome him back; the SPEAR slides into Cole's open palm. We see the slightest smile on Raiden's face.</scene_description>
<character>COLE</character>
<dialogue>That's why you sent me home. You knew.</dialogue>
<character>RAIDEN</character>
<dialogue>Your love for Emily is what drives you, Cole. It defines you.</dialogue>
<character>KANO</character>
<parenthetical>(with a wink)</parenthetical>
<dialogue>My power's still cooler.</dialogue>
<scene_description>Shang Tsung glances at Cole, the spear clenched in his hand. His eyes linger over him for a LONG BEAT. He smiles at Cole's "progress." Cole absorbs his reaction.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>I tire of this.</dialogue>
<scene_description>The sorcerer's eyes TURN BLACK. A WAVE OF DARK ENERGY spews from his mouth, fueled by the souls he has consumed: agonized faces swirl through the air, scream in silence! Our heroes back away in TERROR as... The SOULS wash over the TEMPLE'S ARMED MONKS. The men collapse; their bodies drained of life, nothing but withered, white husks remain.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<parenthetical>(aside, to his warriors)</parenthetical>
<dialogue>Kill them all.</dialogue>
<scene_description>Raiden emits a LIGHTNING BLAST from his open palms. Shang Tsung counters. The two magics COLLIDE IN AN EXPLOSION OF LIGHT AND OTHERWORLDLY ENERGY! KANO'S DRILLED in the CHEST by an UNSEEN ASSAILANT! He's launched across the temple towards the TRAINING AREA. Our heroes exchange a panicked glance. SONYA pulls two blades, squares up opposite Mileena (the female Outworld assassin). MILEENA VANISHES, reappears behind Sonya, spins and KICKS her through a door into the DINING AREA!</scene_description>
<character>LIU KANG</character>
<dialogue>We must fight together!</dialogue>
<scene_description>NITARA SHRIEKS; LEATHERY BAT WINGS extend from her shoulders. She grabs Kung Lao with her CLAWS, lifts him into the air! LIU KANG moves to help his brother. Only Cole and Sub-Zero remain. They stare at each other. The SPEAR slides into Cole's hand. He THROWS IT! Sub-Zero VANISHES, reappears behind Cole. He grabs Cole's shoulder with his ICY GRIP, spins and THROWS Cole down the hallway!</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAINING AREA - NIGHT</stage_direction>
<scene_description>Kano wipes the blood from his mouth. He's surrounded by a RING OF TRAINING DUMMIES. He searches for his opponent... We hear the WHEEZING of a RESPIRATOR. ONE OF THE DUMMIES slowly... MOVES... KABAL DASHES towards Kano. The TWO FIGHT HAND-TO-HAND, until Kabal SLASHES Kano with his HOOK SWORDS and VANISHES in the blink of an eye. He repeats the process.</scene_description>
<character>KANO</character>
<parenthetical>(clutching his wound)</parenthetical>
<dialogue>Neat trick, asshole. I got a rabbit in my hat, too.</dialogue>
<scene_description>Kano launches an EYE BLAST, sweeps it in a circular arc, decapitating the training dummies. Kano smirks as the smoke clears. Kabal's standing behind him. He SLASHES Kano, then KICKS him away. We hear the SOUND of METAL SCRAPING STONE.... REVEAL: REIKO, stalking towards Kano, dragging his MASSIVE WAR HAMMER, the brutal instrument stained with blood. Kano FIRES another EYE BLAST. Reiko DEFLECTS it with HAMMER, winds up and DRILLS Kano in the chest, knocking him HARD to the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING AREA - SAME</stage_direction>
<scene_description>Mileena enters, pulls both SAIS from her back. Sonya quickly searches for a weapon. Counter tops, tables, something, anything she can use, finally FINDS: A BUTTER KNIFE. She spins to her feet, utensil raised. Mileena ATTACKS. They duel at close range. Sonya somehow manages to defend herself. DURING THE FIGHT: A LANTERN SMASHES to the ground. FLAMES race up the BAMBOO walls with alarming speed. Eventually, Mileena breaks Sonya's guard and STABS her SAI through Sonya's shoulder! Sonya SCREAMS. Mileena lifts the blade to her mouth. A BLACK TONGUE FLITS out, licks the blood from the weapon. That's when: Mileena notices something about Sonya. The lack of a medallion around her neck.</scene_description>
<character>MILEENA</character>
<dialogue>You wear no medallion. You were never chosen.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You no longer interest me.</dialogue>
<scene_description>Mileena VANISHES from sight. FLAMES spread across the ceiling. A MASSIVE WOOD PILLAR CRASHES DOWN, trapping the wounded Sonya inside the room! The FIRE encircles her, seconds from being burned alive! WHEN JUST THEN: -WHAM!- The WALL SHUDDERS from IMPACT. -WHAAAM!- It SHUDDERS again. One final strike. -BOOOOOOM!- The WALL BLOWS APART! A MUSCULAR FIGURE steps through the flames. Silhouetted against the FIRELIGHT, the FIGURE lifts his arms over his head and brings them DOWN, SMASHING the fallen pillar with a THUNDEROUS CRACK! Sonya readies herself to fight. As the FIGURE steps into the light, we REVEAL: JAX! In place of his missing limbs, we see a pair of MASSIVE, HEAVILY COILED, BIONIC ARMS! A MOMENT between them.</scene_description>
<character>SONYA</character>
<dialogue>Holy shit. Nice upgrade.</dialogue>
<character>JAX</character>
<parenthetical>(matching her smile)</parenthetical>
<dialogue>Good to see you, Blade.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARCHIVES - SAME</stage_direction>
<scene_description>Kung Lao stands alone inside the archives, eyes searching the SMOKE-FILLED RAFTERS above. When just then... NITARA SWOOPS out of the SMOKE, just misses Kung Lao's face with her claws, then vanishes into the thick cover above. Kung Lao pulls off his hat. He SPIKES it straight down into the ground where it SPINS like a BUZZ SAW. Then he centers himself. He closes his eyes. Listening... NITARA BURSTS out of the SMOKE. Without opening his eyes, Kung Lao jumps and grabs her by the SHOULDERS, SLAMMING her straight down onto his WHIRRING HAT. BLOOD SPRAYS as the hat severs through the better part of her face. Kung Lao signs to himself:</scene_description>
<character>KUNG LAO</character>
<parenthetical>(subtitle)</parenthetical>
<dialogue>Flawless Victory.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING HALLWAY - SAME</stage_direction>
<scene_description>Cole gets to his feet. He CHARGES Sub-Zero, but the Ice Ninja sees him coming. He FREEZES the ground. Cole slides across the ice, missing wildly with his SPEAR. Sub-Zero spins and KICKS Cole in the FACE, laying him out. NEARBY: Raiden and Shang Tsung vie for control. The two energy fields pushing and pulling until: With one final flourish, SHANG TSUNG BLOWS RAIDEN BACKWARDS! The Thunder God skids down the hallway. It's in that MOMENT: Raiden knows they don't stand a chance. Raiden LIFTS HIS HANDS. A BOLT OF LIGHTNING STRIKES him! He creates a PORTAL, further weakening his life force.</scene_description>
<character>RAIDEN</character>
<dialogue>THIS WAY!</dialogue>
<scene_description>Jax helps Sonya towards the exit. Liu Kang and Kano, both bloodied and beaten, retreat with them.</scene_description>
<character>SHANG TSUNG</character>
<dialogue>You CANNOT run from me, RAIDEN!</dialogue>
<character>SONYA</character>
<dialogue>Where's Cole?!</dialogue>
<scene_description>SUB-ZERO marches on Cole, seconds from FINISHING HIM! KUNG LAO sees what's about to happen. He makes a selfless decision. He takes off his hat and FRISBEES it towards Cole WHERE IT... RAPIDLY CIRCLES around him, creating a REVOLVING BLUE SHIELD. Cole locks eyes with Kung Lao. Then he SPRINTS, shielded, across the TEMPLE, as SUB-ZERO fires ICICLES at him. Kung Lao's HAT protects Cole the entire way. SHANG TSUNG appears SUDDENLY behind KUNG LAO! He GRABS the monk by the throat, lifts him into the air! Cole reaches the portal where his teammates are waiting. Liu Kang can only watch in horror.</scene_description>
<character>LIU KANG</character>
<dialogue>Brother!!!</dialogue>
<scene_description>Kung Lao locks eyes with Liu Kang, silently telling him: GO. Within seconds, SHANG TSUNG SUCKS KUNG LAO'S SOUL FROM HIS BODY, reducing the Earth Champion's flesh to nothing but withered white stalk! CLOSE ON: Kung Lao's MEDALLION as it CLANGS on the FLOOR. Sonya pulls a destroyed Liu Kang through the portal.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMAN WOODS - NIGHT</stage_direction>
<scene_description>Our heroes return to the location of our opening fight. Now, centuries later, a historical site. Liu Kang drops to his knees, spirit and body broken.</scene_description>
<character>LIU KANG</character>
<dialogue>If we were to die, it was supposed to be together!</dialogue>
<scene_description>Cole goes to his side.</scene_description>
<character>COLE</character>
<dialogue>He gave his life to save me. I'll fight beside you to avenge him.</dialogue>
<scene_description>Liu Kang nods to Cole.</scene_description>
<character>SONYA</character>
<dialogue>They have us outnumbered.</dialogue>
<character>RAIDEN</character>
<dialogue>That was Shang Tsung's intention. To isolate you. Eliminate you one by one. So that you have no chance of fighting back as a team.</dialogue>
<scene_description>Cole stands, addresses the remaining champions.</scene_description>
<character>COLE</character>
<parenthetical>(recalling Emily's words)</parenthetical>
<dialogue>Then we have to fight smarter.</dialogue>
<scene_description>An IDEA suddenly hits Cole. He sharpens his eyes, remembering his daughter's advice.</scene_description>
<character>JAX</character>
<dialogue>What are you thinking?</dialogue>
<character>COLE</character>
<dialogue>We use the ring to our advantage.</dialogue>
<parenthetical>(then, to Raiden)</parenthetical>
<dialogue>These portals. You can open them to anywhere?</dialogue>
<character>RAIDEN</character>
<dialogue>Correct.</dialogue>
<character>COLE</character>
<dialogue>We'll need a few.</dialogue>
<scene_description>Kano spits out a gob of blood.</scene_description>
<character>KANO</character>
<dialogue>Wait a minute!</dialogue>
<parenthetical>(pointing at Cole)</parenthetical>
<dialogue>Who elected this guy leader?</dialogue>
<scene_description>Kano appeals to the others for support. Clearly, no one shares his feelings. Jax folds his BIONIC ARMS across his chest, glares at Kano.</scene_description>
<character>KANO</character>
<dialogue>You uh... you been working out?</dialogue>
<character>COLE</character>
<dialogue>If this plan's gonna work, it's gonna take all of us.</dialogue>
<parenthetical>(then, to Kano)</parenthetical>
<dialogue>We have to work together.</dialogue>
<scene_description>Kano locks eyes with Cole. A MOMENT between them.</scene_description>
<character>KANO</character>
<dialogue>Alright, sweetheart. I'm in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROMAN WOODS - A BIT LATER - NIGHT</stage_direction>
<scene_description>SHANG TSUNG arrives through one of his NIGHTMARISH PORTALS. His army of warriors follow. No sign of Earth's champions. Instead, they find: TWO ELECTRIC BLUE PORTALS. Where they go is anyone's guess. A PIECE OF PAPER blows over to Shang Tsung's feet. He picks it up to reveal: One of Kano's sketches: It shows Kano LASERBEAMING them all in half while laughing and drinking a beer. Shang Tsung glowers. He DIVIDES his TROOPS: sending REIKO through one portal, KABAL through the other. Then he turns to SUB-ZERO, nods an ORDER to him. The ICE NINJA retreats through one of SHANG TSUNG'S portals. (Note: This is the MOMENT he goes to get Emily).</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIT - (OUTWORLD) - NIGHT</stage_direction>
<scene_description>REIKO (Outworld's evil version of Thor), arrives through Raiden's portal. He finds himself standing at the FAR END of a LONG STONE WALKWAY. A few TORCHES offer minimal visibility. Reiko grabs a torch, drops it over the edge. MOMENTARILY REVEAL: The walkway is suspended two-hundred feet over a SEA OF STEEL SPIKES! Reiko grabs another torch, carefully inches his way down the railing-free walkway; his WAR HAMMER drags behind him. AHEAD OF HIM: the TORCHLIGHT slowly reveals: JAX. Standing in the middle of the WALKWAY. COLE'S SPEAR SUDDENLY RIPS INTO FRAME and IMPALES Reiko through the back of the leg! Reiko struggles to keep his balance, his HEAVY HAMMER throwing off his weight.</scene_description>
<character>COLE</character>
<dialogue>Now!</dialogue>
<scene_description>Jax BANGS his FISTS together, marvels at his new "arms."</scene_description>
<character>JAX</character>
<dialogue>I could get used to this.</dialogue>
<scene_description>Reiko swings his HAMMER just as Jax throws a PUNCH! - -WHAM!- -CLANG!- The TWO deflect off each other. Jax follows up with a series of BRUTAL PUNCHES. Jax catches Reiko's hammer on the next swing and -CRACKS- it in half with his BIONIC ELBOW. Reiko drags his LEG, pulling Cole down the walkway, as he and Jax go at each other. TRADING PUNCHES. We get to see Jax kick some ass here with his new GUNS. Still, Reiko is no pushover. The Outworld champion lands a few HARD STRIKES of his own, staggering Jax backwards. Jax barely keeps his balance, his foot toeing the edge of the walkway. Reiko goes to FINISH HIM, when Cole YANKS his SPEAR! The FORCE throws Reiko off-balance for a split second, allowing a recovered Jax to open his MASSIVE ARMS out wide and... PANCAKE Reiko's head! Reiko's lifeless (headless) body falls over the side... SKEWERED on the SPIKES below!</scene_description>
<character>COLE</character>
<dialogue>You know where to go next?</dialogue>
<character>JAX</character>
<dialogue>Heading there now.</dialogue>
<scene_description>Jax holds out his METALLIC FIST for a bump. Cole stares at it for a MOMENT... then gently touches it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LIVING FOREST - (OUTWORLD) - NIGHT</stage_direction>
<scene_description>A corrupt, festering woods. HUMAN FACES etched into the gnarled, wide-trunked trees. VILE GREEN GAS rises from the SWAMP WATER, hidden under a BED OF RANCID VEGETATION. KABAL (Outworld Jason Voorhees) arrives through Raiden's portal, spies KANO, all by himself.</scene_description>
<character>KANO</character>
<dialogue>This is one UGLY world you got here! Want to give me a tour?</dialogue>
<scene_description>The assassin SLICES his HOOK SWORDS together and CHARGES him. Like a FLASH, so FAST, his MOTION BLURS! But as Kabal SPLASHES through the SWAMP WATER, the THICK MUD hiding underneath clings to his legs, slows him down! Kabal finds himself STUCK in the BLACK MUD.</scene_description>
<character>KANO</character>
<parenthetical>(still squatting)</parenthetical>
<dialogue>Whoops! Looks like someone's in deep shit.</dialogue>
<scene_description>LIU KANG races into FRAME behind Kano and - LAUNCHES TWO FIREBALLS at KABAL! The FIRE CONSUMES the SWAMP GAS. The ASSASSIN LIGHTS UP! Despite being on FIRE, KABAL still drags his feet through the MUCK, swinging and slicing his swords! Only now does KANO stand and EYE BLAST KABAL in the CHEST. Then he lets out a PRIMAL SCREAM and PUNCHES HIS FIST through Kabal's rib cage. He RIPS out his BLACK HEART! Kabal's BURNT body falls away. Liu Kang waves the FOUL SMOKE from his face.</scene_description>
<character>LIU KANG</character>
<dialogue>Toasty.</dialogue>
<scene_description>He glances at Kano, the black heart still beating, clenched in his meaty fist. Kano shrugs, tosses away the organ.</scene_description>
<character>LIU KANG</character>
<dialogue>Moving to next position.</dialogue>
<character>KANO</character>
<dialogue>Right behind you, mate.</dialogue>
<scene_description>Liu Kang leaves through the portal. Kano reaches into his pocket, takes out his sketch book. He sits down on the stump, flips through the pages.</scene_description>
<character>KANO</character>
<parenthetical>(licking his fingers)</parenthetical>
<dialogue>An artist must always tackle the canvas while the inspiration's still fresh.</dialogue>
<scene_description>A SAI BURSTS OUT OF KANO'S CHEST! The shocked Aussie reaches a hand to his wound. Blood flows over his fingers as he slides off the stump. REVEAL: MILEENA. Standing right behind him. MOMENTS LATER: SONYA arrives. She sees KANO, slumped over. She quickly goes to his side. She scans the woods. Reveal MILEENA. Twenty yards away. Leaning against a tree. The Outworld assassin twirls her SAI between her fingers, smiles at Sonya. Taunting her. Sonya GLARES back, presses her hand to Kano's wound.</scene_description>
<character>KANO</character>
<dialogue>Is it bad?</dialogue>
<scene_description>Sonya hesitates, unsure what to say...</scene_description>
<character>KANO</character>
<dialogue>At least fuckin' lie.</dialogue>
<character>SONYA</character>
<dialogue>It's just a scratch.</dialogue>
<scene_description>Kano laughs; blood edges from his mouth.</scene_description>
<character>KANO</character>
<parenthetical>(with all seriousness)</parenthetical>
<dialogue>I want you to have my medallion.</dialogue>
<scene_description>Kano motions to his knife.</scene_description>
<character>SONYA</character>
<dialogue>I can't.</dialogue>
<character>KANO</character>
<dialogue>Come on. I know you've wanted to kill me since the moment you met me. You earned it.</dialogue>
<scene_description>Sonya lowers her eyes, picks up the blade, holds it over Kano's chest, her hand trembling.</scene_description>
<character>KANO</character>
<dialogue>I always liked you, Sonya.</dialogue>
<scene_description>Kano reaches into his pocket, takes out his sketch book.</scene_description>
<character>KANO</character>
<dialogue>Do me a favor will you?</dialogue>
<scene_description>Kano slides the book towards her, his hand shaking.</scene_description>
<character>KANO</character>
<dialogue>Draw one of me.</dialogue>
<scene_description>Sonya nods, tears forming in her eyes.</scene_description>
<character>KANO</character>
<dialogue>Clearly it won't be as good, but... you know... do the best you can.</dialogue>
<character>SONYA</character>
<dialogue>Asshole.</dialogue>
<scene_description>They share a final laugh. Kano readies himself, nods to her. She PLUNGES the BLADE into his HEART, TWISTS IT. The LIGHT in Kano's eye GOES OUT. Sonya wipes the tears from her face, sheathes her blade. She takes the medallion from Kano. As Sonya STANDS, she places the medallion around her neck for the first time. MILEENA smiles at Sonya. Her BLACK TONGUE traces the edge of her SAI, cleaning Kano's blood from the blade. Sonya looks down at Kano. Out of compassion for him, an AURA OF ENERGY instantly surrounds her body. She clenches her fists as she looks back up at Mileena. Mileena takes one step... SONYA WAVES HER ARM: She EXPELS a PULSE WAVE of ENERGY that knocks Mileena off her feet!</scene_description>
<character>SONYA</character>
<dialogue>Interested in me now, bitch?</dialogue>
<scene_description>As Mileena slowly gets up, she SCREAMS a HIGH-PITCHED BANSHEE WAIL. Her jaws detach like that of a snake, revealing: A HIDEOUS ALIEN MOUTH, FILLED WITH WHITE TEETH! Sonya STARES at her, HORRIFIED. Mileena SPRINTS at Sonya, runs right up her legs and LATCHES onto her CHEST. Sonya spins wildly, as Mileena CLAWS and BITES at her neck like a rabid animal before KNOCKING Sonya to the ground. The FIGHT continues at CLOSE RANGE. Sonya, armed with Kano's knife, SLASHES, SLICES, KICKS Mileena away. Sonya RACES TOWARDS HER, GRABS her by the NECK, and throws the OUTWORLDER TO THE GROUND. Mileena lands on her back; Sonya lands on top of her, straddling her chest. Mileena grips her final sai, stabs it at Sonya. She blocks it, twists her arm, and DIGS the sai into Mileena's gut. Mileena SCREAMS, her hideous alien mouth agape... Sonya JAMS her FIST into the back of Mileena's throat and BLASTS A SHOT OF ENERGY out the back of her head! BRAIN MATTER SPRAYS. The assassin goes limp.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMAN WOODS - SAME TIME - NIGHT</stage_direction>
<scene_description>Cole returns to their starting position where he meets up with Liu Kang, their plan working to full effect. A GENTLE SNOWFALL dances from the night sky. The two heroes spin around, searching for him. SUB-ZERO emerges from the FOG. He LAUNCHES an ICE BLAST! Cole returns fire. The SPEAR BURSTS out of his arm, SNAKES through the trees, SHATTERS the BLAST mid-air, slicing Sub-Zero across the face. The ICE WARRIOR stumbles backwards, touches his wound. Blood runs over his fingertips. His eyes read SHOCK for a moment, then switch back to rage.</scene_description>
<character>LIU KANG</character>
<dialogue>For my brother.</dialogue>
<scene_description>Cole locks eyes with Liu Kang, nods to him.</scene_description>
<character>COLE</character>
<dialogue>For my wife.</dialogue>
<scene_description>The two champions fight Sub-Zero side-by-side! Sub-Zero holds his own against both of them, eventually GRABBING Cole by the throat! ICE RACES over HIM... seconds from meeting the same demise as his wife... A recovered Liu Kang launches a FIREBALL that DRILLS Sub-Zero in the back, MELTING the ICE. Sub-Zero turns and BLASTS LIU KANG, FREEZING the MONK SOLID! A METALLIC FIST SLAMS into Sub-Zero's HEAD! JAX Steps up. Sub-Zero narrows his dead eyes on him. Jax bangs his fists together.</scene_description>
<character>JAX</character>
<dialogue>Payback. Mother Fucker.</dialogue>
<scene_description>Jax CHARGES his foe, THROWING a MASSIVE PUNCH at SUB-ZERO who... VANISHES before the attack can land... ... LEAVING a HOLLOW ICE SCULPTURE of himself behind. Jax demolishes this, searches for his opponent. Who appears behind him. STRIKING Jax hard in the back. Jax rights himself, GRIPS the HISTORICAL SITE RAILING, BREAKS off a SHARP PIECE OF METAL, spins around, and CLOCKS Sub-Zero upside the head with it! Sub-Zero recovers, FIRES an ICE BLAST at the GROUND, freezing the earth. Sub-Zero RUNS, and SLIDES across his icy bridge, LANDING A FROST PUNCH that FREEZES JAX SOLID! SONYA Appears by Cole's side. Cole stares at the STRONGER, MORE CONFIDENT CHAMPION.</scene_description>
<character>COLE</character>
<dialogue>You found your Arcana quickly.</dialogue>
<character>SONYA</character>
<dialogue>Women mature faster than men.</dialogue>
<character>COLE</character>
<dialogue>Kano?</dialogue>
<scene_description>Sonya shakes her head. The FINAL TWO CHAMPIONS turn their attention to SUB-ZERO. They attack together. Sonya HITS him with a PULSE WAVE as Cole LAUNCHES his SPEAR HARPOONING a TREE BEHIND SUB-ZERO, PULLING the trunk down on top of him! ICE RACES over the fallen tree. The wood EXPLODE; SHARDS of ICE splinter out in every direction! Sub-Zero marches on them. Unscathed. Relentless. He LAUNCHES an ICE BLAST that FREEZES SONYA SOLID! Then he STARES at COLE. That same, UNDEAD LOOK he gave him before he killed his wife. Only the two of them remain standing. Face-to-face. A BLACK PORTAL materializes next to SUB-ZERO. The ICE NINJA retreats through it. Cole RUNS after him, CHARGING through the dimensional shift, only to arrive at:</scene_description>
</scene>
<scene>
<stage_direction>INT. SOUTH PHILLY BOXING GYM - NIGHT</stage_direction>
<scene_description>Cole stops in his tracks. It's the same BOXING RING we saw him fight in (and lose) during the start of our story. Only this time, the RING, the ROPES, the FLOORS, WALLS, CEILING... EVERYTHING IS COVERED IN ICE.</scene_description>
<character>EMILY (O.S.)</character>
<dialogue>DAD?!</dialogue>
<scene_description>Cole's HEART SINKS when he sees her. EMILY. She's standing inside the ring. One her hands is FROZEN to the corner buckle. The ICE IS SLOWLY... MOVING... up her arm.</scene_description>
<character>COLE</character>
<dialogue>EMILY!</dialogue>
<scene_description>Cole races to his daughter, his feet sliding across the floor. He ducks under the FROSTED ROPES.</scene_description>
<character>EMILY</character>
<dialogue>WATCH OUT!</dialogue>
<scene_description>Cole spins away JUST IN TIME as an ICICLE RIPS PAST his HEAD and SMASHES into the WALL. SUB-ZERO Steps into the RING, traverses the ICE without hindrance. Cole SLIPS, fighting to KEEP HIS BALANCE! Sub-Zero ATTACKS. He THROTTLES Cole PUNCH after PUNCH, grabbing Cole's head, BASHING it against the ROPES. Cole crumples to the ground. The ICE washes over Emily's elbow, creeps towards her shoulder...</scene_description>
<character>EMILY</character>
<dialogue>YOU GOT THIS, DAD! FIND THE</dialogue>
<character>ADVANTAGE!</character>
<dialogue>Cole STAGGERS to his feet. He thinks for a MOMENT, heeding his daughter's advice.</dialogue>
<dialogue>He turns around and FIRES his SPEAR into the FROZEN CORNER POST behind him.</dialogue>
<dialogue>A makeshift ANCHOR POINT.</dialogue>
<dialogue>Sub-Zero charges. Cole holds his balance this time, fighting him off with ONE-HAND.</dialogue>
<dialogue>He retracts his SPEAR, JABS it into Sub-Zero's gut, then EXPELS it, LAUNCHING the undead assassin into the opposite corner with a BRUTAL CRASH!</dialogue>
<dialogue>Cole FIRES his SPEAR again.</dialogue>
<dialogue>Sub-Zero catches it, pulls Cole across the ice, twists his wrist, and with one FINAL STRIKE, SNAPS the BONE! Then he KICKS Cole away.</dialogue>
<dialogue>Cole writhes on the ground in front of Emily, cradling his shattered appendage.</dialogue>
<dialogue>The ICE JUST... BARELY... REACHING her neck.</dialogue>
<character>EMILY</character>
<dialogue>GET UP, DAD! NEVER QUIT!</dialogue>
<scene_description>Cole looks up at Emily. It's NOW OR NEVER. She's all the strength he needs. Cole rolls over, SCREAMS, and THRUSTS out his BROKEN WRIST. The FLAMING SPEAR ejects out of his arm and -SHUUNKS- right into Sub-Zero's chest! The Ice Ninja reaches down, tries to detach it. Cole slowly rises. He grips the cable. His eyes begin to GLOW. With rage, with revenge, for everything he's been through, for the wife he lost, and the daughter he loves. He SCREAMS as his ENTIRE BODY REDDENS and then... HE ERUPTS INTO FLAMES! BREATHING LITERAL FIRE! The FIRE races down the CABLE and ENGULFS SUB-ZERO! The ICE DEMON LIGHTS UP, COOKING in the searing hot flames. Cole retracts the spear into his arm. Sub-Zero drops to his knees, falls forward. The fire stops; the glow subsides. The ROOM BEGINS to MELT. Cole uses his SPEAR to HACK AWAY the ICE clinging to Emily. He frees her, HUGS her tightly.</scene_description>
<character>EMILY</character>
<dialogue>I knew you could do it.</dialogue>
<character>COLE</character>
<dialogue>I love you, baby.</dialogue>
<character>EMILY</character>
<dialogue>I love you too.</dialogue>
<scene_description>A BURST OF ELECTRICITY (O.S.) Sonya, Jax, and Liu Kang, now free from Sub-Zero's ice, arrive with RAIDEN, through one of his portals. The Thunder God glances at Sub-Zero's remains, then nods to Cole, the slightest smile on his ageless face.</scene_description>
<character>SONYA</character>
<dialogue>It's over.</dialogue>
<scene_description>A MOMENT as Cole considers exactly what this means. A MOMENT later, Shang Tsung (Outworld sorcerer and enemy of Earth) arrives through a portal of his own.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Impressive. Truly impressive.</dialogue>
<character>RAIDEN</character>
<dialogue>ENOUGH, Sorcerer!</dialogue>
<scene_description>Our heroes FACE OFF opposite Shang Tsung in the ring.</scene_description>
<character>RAIDEN</character>
<dialogue>Earth has won Mortal Kombat. Your streak ends here. You will return to Outworld at once.</dialogue>
<scene_description>Shang Tsung slowly circles Cole, fascinated by him.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>How blind you are, Raiden. To think you've defeated all of my champions</dialogue>
<parenthetical>(smiling at Cole)</parenthetical>
<dialogue>... when my best fighter still stands before you.</dialogue>
<scene_description>Cole spins towards Raiden.</scene_description>
<character>COLE</character>
<dialogue>What's he talking about?</dialogue>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Perhaps if you paid more attention to your realm, Thunder God, you might have realized what I knew to be true all along.</dialogue>
<scene_description>Shang Tsung stops in front of Cole.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Your father. The brave warrior who fought in Mortal Kombat before you were born... who bequeathed you his "destiny" ... He was one of Outworld's greatest champions. He won his battle, chose to defect, to take up with a human woman. Only to realize the danger he was putting you in. So he returned to Outworld, where he belongs. Where you belong.</dialogue>
<scene_description>Cole's eyes fall to the BLACK DRAGON MEDALLION around his neck. He takes it into his hand.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>That medallion is one of ours. We've been tracking it since the moment you put it on.</dialogue>
<scene_description>Cole shakes his head, his entire world crashing to pieces around him. He turns to Raiden for confirmation.</scene_description>
<character>RAIDEN</character>
<parenthetical>(with grim honesty)</parenthetical>
<dialogue>The paternal line is the blood line in Mortal Kombat. I'm sorry, Cole. You cannot fight for Earth.</dialogue>
<character>LIU KANG</character>
<dialogue>This means that Mortal Kombat...</dialogue>
<character>RAIDEN</character>
<dialogue>Has not ended. Not until one side defeats the other.</dialogue>
<scene_description>Cole considers these words. He looks to Emily, knows what he has to do. He quickly turns to Sonya.</scene_description>
<character>COLE</character>
<dialogue>I'm all he has left. You kill me, Earth wins.</dialogue>
<character>SONYA</character>
<dialogue>I'm not killing you, Cole.</dialogue>
<character>COLE</character>
<dialogue>We don't have a choice, Sonya. Please. Listen to me...</dialogue>
<character>SONYA</character>
<dialogue>I'm not doing it.</dialogue>
<scene_description>Cole looks to Liu Kang, Jax. Eyes begging. ANGRY.</scene_description>
<character>COLE</character>
<dialogue>He planned this! In case he lost, I was his insurance policy. We can still beat him!</dialogue>
<character>JAX</character>
<dialogue>It's not ending like that.</dialogue>
<scene_description>Cole turns back to Raiden:</scene_description>
<character>RAIDEN</character>
<parenthetical>(with remorse)</parenthetical>
<dialogue>If both sides refuse to fight, Mortal Kombat will be deferred until new champions have been assembled. Champions willing to finish what was started.</dialogue>
<scene_description>Shang Tsung INHALES deeply through his nose. Black energy swirls through his entire core. His LIPS curl into a SMILE.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>Whether it's this fight or the next, Earth WILL burn.</dialogue>
<parenthetical>(then, to Cole)</parenthetical>
<dialogue>As for you, Cole Morino. As long as you wear that medallion, your soul is mine.</dialogue>
<scene_description>Cole stares at the medallion around his neck. Then he takes it off. He frees Emily's necklace from the ancient relic. Then he tosses the medallion towards Shang Tsung. It lands by his feet.</scene_description>
<character>COLE</character>
<dialogue>Give it back to my father. I'll take it from him when I'm ready.</dialogue>
<scene_description>Raiden smiles at Cole's defiance. Shang Tsung picks up the medallion, locks eyes with Cole. Each word, like a dagger to Cole's heart.</scene_description>
<character>SHANG TSUNG (OUTWORLD GENERAL)</character>
<dialogue>REMEMBER WHO YOU ARE.</dialogue>
<scene_description>Cole FIRES HIS SPEAR! It ROCKETS right towards Shang Tsung's face and... Misses. As Shang Tsung VANISHES through his portal. The SPEAR RETRACTS into Cole's flesh. He stares at it, the sorcerer's final words echoing through his mind.</scene_description>
<character>EMILY</character>
<dialogue>Dad? ... You okay?</dialogue>
<scene_description>Cole reaches out, takes his daughter's hand. Then he locks eyes with Raiden.</scene_description>
<character>COLE</character>
<dialogue>What happens now?</dialogue>
<character>RAIDEN</character>
<dialogue>The fight has not ended. I will assemble a new list of champions. You must find them at once.</dialogue>
<scene_description>Cole looks to his teammates, to Emily, then back at Raiden. We can see the steadfast determination in his eyes.</scene_description>
<character>COLE</character>
<dialogue>Tell me who's first.</dialogue>
<scene_description>SMASH TO: The AIRY SOUNDS of CALIFORNIA BEACH MUSIC mixed with a CHORUS OF ABRASIVE, HONKING HORNS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STUDIO LOT - DAY</stage_direction>
<scene_description>A souped-up SUV turns out of traffic, pulls past an iron gate and stops at a security booth. A tinted window slowly lowers on the passenger side to reveal: EMILY. Camera around her neck, shades pushed up.</scene_description>
<character>SECURITY GUARD</character>
<parenthetical>(slightly confused)</parenthetical>
<dialogue>Can I help you?</dialogue>
<character>EMILY</character>
<dialogue>It's Cole Morino. Here to see Johnny Cage.</dialogue>
<scene_description>INSIDE THE TRUCK: We see Cole behind the wheel, Sonya in the back seat. She's got Kano's sketchbook open in her lap, finishing up a drawing of him. Cole glances back at her, the medallion around her neck. Seeing that their situation is now reversed...</scene_description>
<character>COLE</character>
<dialogue>It's a good look on you.</dialogue>
<scene_description>Sonya smiles. The security guard returns to the window.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Mr. Cage is expecting you. Park straight ahead. Second level.</dialogue>
<character>EMILY</character>
<dialogue>Thank you.</dialogue>
<scene_description>Emily sits back down. Cole smiles at his daughter. As the SUV heads deeper into the studio lot, we... FADE TO CREDITS: MID-CREDITS FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. SHANG TSUNG'S CASTLE - (OUTWORLD) - NIGHT</stage_direction>
<scene_description>WE FOLLOW Shang Tsung down the black rock hallways of his impenetrable stronghold. He stops at the mouth of a SHADOWY CHAMBER to speak with... someone.</scene_description>
<character>SHANG TSUNG</character>
<dialogue>The war is not over. Your son stands to fight with Earthrealm. Deal with him.</dialogue>
<scene_description>The sorcerer extends the BLACK MEDALLION. An IMPOSING FIGURE slowly unfurls from the heavy darkness, takes the medallion from Shang Tsung. We see only a glimpse of him. The YELLOW MASK over his face, the matching tabard, his KUNAI SPEAR clenched in his RIGHT HAND. Cole's father: SCORPION. LIGHT passes over Scorpion's face. We see his CLOUDY WHITE EYES, staring into our soul. Scorpion drapes the medallion around his neck. Then the darkness consumes him once more. CREDITS.:</scene_description>
</scene>
</script> | In 17th-century Japan, assassins led by Bi-Han kill a rival clan led by Hanzo Hasashi, including Hanzo's family. After killing the attackers, Hanzo fights Bi-Han, who stabs him with his own kunai. Hanzo dies, and his soul is condemned to the Netherrealm. Raiden, God of Thunder, later takes Hanzo's surviving infant daughter to safety. In the year 2021, the realm of Outworld has defeated Earthrealm in nine tournaments known as "Mortal Kombat". If Earthrealm loses a tenth one, the rules state it will be conquered by Outworld. However, an ancient prophecy states that the "blood of Hanzo Hasashi" will unite a new generation of Earthrealm's champions to prevent Outworld's victory. Aware of this, sorcerer Shang Tsung, who has overseen the last nine victories, sends his warriors to kill Earthrealm's champions, identified by a dragon mark, before the next tournament begins. One such champion, MMA fighter Cole Young, is attacked alongside his family by Bi-Han, who now calls himself Sub-Zero. However, Special Forces Major Jackson "Jax" Briggs rescues the Youngs, directing them to find his partner, Sonya Blade, with whom he has been investigating Mortal Kombat's existence. Jax stays to battle Sub-Zero, but loses his arms in the process. Cole goes to Sonya's hideout, where she is interrogating a captive Australian mercenary named Kano. She reveals that the dragon mark can be transferred to anyone who kills the original bearer. They are attacked by Shang Tsung's assassin, Syzoth, who Kano kills with Cole and Sonya's help. They travel to Raiden's temple and meet Earthrealm champions Liu Kang and Kung Lao and Raiden himself, who is critical of the newcomers. They also find Jax, whom Raiden rescued and fitted with a set of mechanical arms. Shang Tsung attempts to attack the temple, but is stopped when Raiden shields it from intrusion. Cole and Kano train with Kang and Kung Lao to unlock their "Arcana", a power unique to all dragon mark bearers. During an argument, Kano awakens his arcana, the ability to shoot lasers from his right eye. Meanwhile, Cole is unable to awaken his. Disappointed, Raiden sends Cole back to his family, revealing that he is a descendant of Hasashi. Shang Tsung gathers his warriors, including Kano's former ally, Kabal, to attack the temple. Kabal convinces Kano to defect and sabotage the shield. During the fray, Jax awakens his arcana, granting him superhuman strength and upgraded arms. Concurrently, the Youngs are attacked by Goro. Cole rouses his arcana, gaining a suit of armor that can absorb kinetic energy from physical attacks and a set of tonfas, and kills Goro before helping repel the attack on the temple. As Raiden teleports the Earthrealm fighters to the Void, a safe space between realms, Sub-Zero attempts to stop Cole. However, Kung Lao saves Cole from Sub-Zero and has his soul taken by Shang Tsung. Cole proposes a plan to force Outworld's champions into single combat with them before neutralizing Sub-Zero together. Agreeing with the plan, Raiden gives Cole Hanzo's kunai, which still has Hanzo's blood on it. Raiden transports Cole and his allies to their targets. While defeating Outworld's champions, Sonya kills Kano and acquires his dragon mark, gaining the ability to fire energy blasts from her arms as her arcana in the process. Sub-Zero abducts Cole's family to lure him into a one-on-one fight. Overpowered, Cole uses the kunai and drains the blood from it, releasing Hanzo as the vengeful specter, Scorpion. Recognizing Cole as his descendant, Scorpion helps him kill Sub-Zero and free his family. Thanking Cole for freeing him and requesting that he take care of the Hasashi bloodline, Scorpion departs as Raiden, the other champions and Shang Tsung arrive. Shang Tsung threatens to bring armies instead of individual fighters next time they meet. Raiden banishes him, declaring his intention to train new warriors for the next tournament and assigning his current champions to recruit them. Cole then departs to Los Angeles to look for martial arts movie star Johnny Cage. |
Pan's Labyrinth_2006 | tt0457430 | <script>
<scene>
<character>PAN'S LABYRINTH</character>
<parenthetical>(El Laberinto del Fauno)</parenthetical>
<dialogue>By</dialogue>
<scene_description>Guillermo del Toro (PAN'S LABYRINTH is in Spanish with English subtitles. This is an English translation of the script.) © Picturehouse 2006. All rights reserved. DARKNESS. A female voice hums a sweet lullaby. SUPERIMPOSITION: SPAIN, 1944. THE CIVIL WAR IS OVER. HIDDEN IN THE MOUNTAINS, ARMED MEN FIGHT THE NEW FASCIST REGIME. MILITARY POSTS ARE ESTABLISHED TO EXTERMINATE THE RESISTANCE. Then: the raw, raspy SOUND of a child struggling to breathe. FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - NIGHT</stage_direction>
<scene_description>In the foreground, OFELIA - 11 years old, skin white as snow, ruby lips and ebony hair - is sprawled on the ground. A thick ribbon of blood runs from her nose. But - the blood is flowing backward into her nostril. Drop by drop, the blood leaps up and disappears. Ofelia's pupils dilate-</scene_description>
<character>NARRATOR</character>
<dialogue>Long ago in the Underground Realm...</dialogue>
<scene_description>CAMERA MOVES INTO THE DARK PUPIL- BLACK SCREEN</scene_description>
<character>NARRATOR</character>
<dialogue>...where there are no lies or pain, there lived a Princess who dreamt of the human world.</dialogue>
<scene_description>The sound of muffled wind.</scene_description>
<character>NARRATOR</character>
<dialogue>She dreamt of blue skies, the soft breeze and sunshine...</dialogue>
<scene_description>A dark CASTLE takes shape. Here, a tower... there, a turret... and lighted windows. Finally, the damp, mildewed walls of a water well come into focus.</scene_description>
<character>NARRATOR</character>
<dialogue>One day, eluding her keepers, the Princess escaped.</dialogue>
<scene_description>A woman's silhouette crosses CAMERA-</scene_description>
<character>NARRATOR</character>
<dialogue>Once outside, the brightness blinded her and erased her memory...</dialogue>
<scene_description>A circular staircase leads up... toward daylight, where the image...</scene_description>
<character>NARRATOR</character>
<dialogue>She forgot who she was and where she came from. Her body suffered cold, sickness and pain. Eventually, she died.</dialogue>
<scene_description>FADES TO WHITE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOMBED CITY - DAY</stage_direction>
<scene_description>CAMERA TRACKS past scenes of destruction: bombed-out buildings... cathedrals in ruins.</scene_description>
<character>NARRATOR</character>
<dialogue>Her father, the King, always knew that the Princess would return, perhaps in another body, in another place, at another time.</dialogue>
<scene_description>On half-demolished walls, Falangist posters declare Franco's triumph. Among the ruins, smaller, poignant traces of war: shoes, broken eye-glasses...</scene_description>
<character>NARRATOR</character>
<dialogue>And he would wait for her, until he drew his last breath, until the world stopped turning…</dialogue>
<scene_description>Through the ruined buildings, a SMALL CARAVAN OF BLACK BENTLEY CARS comes into view. The shiny chrome fenders pass directly by CAMERA; they bear all the Fascist insignias and flags.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN CAR - SAME</stage_direction>
<scene_description>Looking out the window: OFELIA. She's dressed in plain, slightly frayed clothing. Not very dainty. On her lap is a book of fairy tales. CAMERA studies one of the watercolors that adorn the pages: an illustration of a little girl dancing with several fairies flying around her. At her side, a small pile of similar books in a book strap.</scene_description>
<character>CARMEN</character>
<dialogue>I don't understand why you had to bring so many books, Ofelia.</dialogue>
<scene_description>Ofelia turns her gaze toward the opposite seat, where her mother, CARMEN, 28, is napping, her enormous stomach evidence of advanced pregnancy. She, too, has black hair.</scene_description>
<character>CARMEN</character>
<dialogue>We're going to the country... the outdoors... plenty of fresh air.</dialogue>
<scene_description>She takes the book away from Ofelia.</scene_description>
<character>CARMEN</character>
<dialogue>Fairy tales? You're too old to be filling your head with such nonsense.</dialogue>
<scene_description>She pauses, feeling nausea.</scene_description>
<character>CARMEN</character>
<dialogue>Ask them to stop the car- please-</dialogue>
<scene_description>Ofelia knocks on the partition window of the sedan. The Driver stops.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - SAME</stage_direction>
<scene_description>The caravan of cars stops. Carmen hurriedly climbs down and moves to the front of the main car. Gasping for air, she battles the nausea. Ofelia timidly approaches her.</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia, wait up.</dialogue>
<scene_description>She grabs her pregnant abdomen.</scene_description>
<character>CARMEN</character>
<dialogue>Your brother's not well.</dialogue>
<scene_description>Ofelia nods and moves away. SERRANO, a military man, climbs out of the car behind them and approaches Carmen solicitous.</scene_description>
<character>SERRANO</character>
<dialogue>Madam, are you feeling ill?</dialogue>
<character>CARMEN</character>
<dialogue>Water- just a bit of water-</dialogue>
<character>SERRANO</character>
<parenthetical>(to one of his men)</parenthetical>
<dialogue>Water, bring water for the Captain's wife.</dialogue>
<scene_description>Ofelia walks alongside the road, moving into the woods and further away from the caravan of cars. CAMERA surveys the heavy forest: a tangled tapestry of moss and fog. The trees, swayed by the wind, murmur softly around Ofelia. She stumbles upon a strange stone by the side of the road. Roughly the size of a fist- carved on it, the outline of a human EYE. Fascinated, the young girl picks it up. She looks around and finds -amidst the shrubs- an ancient stone monolith incised with Celtic lettering. It's crowned with the grotesque face of a satyr- mouth open wide. A piece of the brutish face is missing: an eye. Ofelia fits the piece of engraved stone in the missing area. A perfect fit. From inside the statue a clicking noise emerges. The wind picks up and- -out of the satyr's open mouth, a STICK INSECT lazily crawls out. Ofelia smiles. The insect climbs atop the stone head and studies the girl for a moment. Then-</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia??</dialogue>
<scene_description>The sound of Carmen's voice startles the creature, which flies off. Ofelia runs to her mother's side.</scene_description>
<character>OFELIA</character>
<parenthetical>(enthusiastic)</parenthetical>
<dialogue>A fairy- I saw a fairy!!</dialogue>
<character>CARMEN</character>
<dialogue>Oh- look at your shoes!! They're covered in mud!</dialogue>
<scene_description>They head back to the caravan.</scene_description>
<character>CARMEN</character>
<dialogue>When we get to the mill I want you to greet Captain Vidal.</dialogue>
<dialogue>That man- has been very good to us, darling. You have no idea-</dialogue>
<dialogue>So, I want you to call him "Father." Do you hear me? "Father..."</dialogue>
<dialogue>It's just a word, Ofelia.</dialogue>
<scene_description>The Stick Insect lands in a nearby tree and observes inquisitively as Mother and daughter climb into the main car and head off. A beat later, the Stick Insect flies after them. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WATER MILL - DAY</stage_direction>
<scene_description>CLOSE-UP: a gold pocket watch, on a heavy chain. The glass dial is cracked... A gloved THUMB snaps the cover shut. A VOICE - CAPTAIN VIDAL - mutters in irritation.</scene_description>
<character>VIDAL</character>
<dialogue>Fifteen minutes late.</dialogue>
<scene_description>ANGLE WIDENS to describe a dilapidated WATER MILL. The site consists of a pair of dark stone buildings with corrugated roofs, connected to the mill by a small stone bridge. A large water wheel hangs over the dry riverbed. The wooden beams and columns bear sculpted Celtic motifs and here and there, small, odd, carved creatures. The walls have been reinforced with hundreds of sand-bags and wooden pontoons, as if preparing for an attack. CAPTAIN VIDAL and a small group of SERVANTS and SOLDIERS wait patiently outside.</scene_description>
<character>SOLDIER</character>
<dialogue>Captain!! They're here-</dialogue>
<scene_description>The caravan of Bentleys stops in front of the building. Vidal and his group moves in. Servants and Soldiers unload luggage withy military efficiency. In charge is MERCEDES, a young but strict country woman. Vidal greets Carmen.</scene_description>
<character>VIDAL</character>
<dialogue>Carmen- Welcome-</dialogue>
<scene_description>With a pleasant smile, he touches her pregnant belly and then points at a wooden wheelchair pushed to Carmen's side by a small, nervous man SGT. GARCÉS. By his side stands DOCTOR FERREIRO, a pleasant, scholarly man in his mid forties.</scene_description>
<character>CARMEN</character>
<dialogue>I- I don't need it- I can walk by myself.</dialogue>
<character>VIDAL</character>
<dialogue>Doctor Ferreiro prefers that you don't exert yourself.</dialogue>
<character>CARMEN</character>
<dialogue>N-no...</dialogue>
<scene_description>Vidal leans towards her and whispers -ever so softly- in her ear:</scene_description>
<character>VIDAL</character>
<dialogue>Then do it for me...</dialogue>
<scene_description>She obeys. As she sits, Ofelia exits the automobile, holding her books close to her chest.</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia. Greet the Captain.</dialogue>
<scene_description>She is wheeled away. An awkward silence passes between the young girl and the Captain.</scene_description>
<character>VIDAL</character>
<dialogue>Ofelia-</dialogue>
<scene_description>The girl extends her hand. He grabs it, firm but cold. It is her left hand.</scene_description>
<character>VIDAL</character>
<dialogue>It's the other hand, Ofelia.</dialogue>
<scene_description>He turns to the servants.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes, take my wife's luggage to her room-</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Mercedes glances back to find Ofelia curiously gazing at- -a pile of sandbags. Perched on top- -the big Stick Insect. It fans out its multiple wings. Twice. Ofelia runs over and tries to catch it. But the Stick Insect takes off and escapes. The girl drops her books and goes after it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDENS - FURTHER - CONTINUOUS</stage_direction>
<scene_description>Ofelia follows the Stick Insect to the edge of a small rise. She follows it with her eyes and sees, about 100 meters away, surrounded by trees, the ruins of a garden LABYRINTH. The CAMERA glides up for a better view. The labyrinth is circular, its paths overgrown and partially blocked. Ofelia enters the labyrinth through an archway. She ventures down one of its pathways and stops-</scene_description>
<character>MERCEDES</character>
<dialogue>It's a labyrinth-</dialogue>
<scene_description>Ofelia turns- the young woman stands by her side. Ofelia's books in hand.</scene_description>
<character>MERCEDES</character>
<dialogue>Just a pile of old stones. They've always been there, even before the mill. Better you don't go near it- You could get lost.</dialogue>
<scene_description>A ray of sunlight breaks through the grey clouds and illuminates the old ruins. Mercedes hands her the books.</scene_description>
<character>OFELIA</character>
<dialogue>Thank you.</dialogue>
<character>MERCEDES</character>
<dialogue>Have you read them all?</dialogue>
<scene_description>Garcés shouts from the mill:</scene_description>
<character>GARCÉS</character>
<dialogue>Mercedes!</dialogue>
<parenthetical>(Mercedes reacts)</parenthetical>
<dialogue>The Captain's calling you.</dialogue>
<scene_description>Mercedes makes a small gesture of goodbye to Ofelia.</scene_description>
<character>MERCEDES</character>
<dialogue>Your father needs me.</dialogue>
<scene_description>She turns and walks away-</scene_description>
<character>OFELIA</character>
<dialogue>He's not my father.</dialogue>
<scene_description>Mercedes doesn't understand. The girl runs up to her.</scene_description>
<character>OFELIA</character>
<dialogue>The Captain- he's not my father. My father was a tailor. He died in the war. The Captain's not my father!</dialogue>
<scene_description>Mercedes can't help but smile at the girl's sudden vehemence.</scene_description>
<character>MERCEDES</character>
<dialogue>Well, you've made that clear enough.</dialogue>
<scene_description>They walk away together.</scene_description>
<character>OFELIA</character>
<dialogue>Did you see my mother?</dialogue>
<parenthetical>(Mercedes nods)</parenthetical>
<dialogue>She's pretty isn't she?</dialogue>
<parenthetical>(Mercedes nods)</parenthetical>
<dialogue>You saw her belly? She's sick with child.</dialogue>
<scene_description>As they go into the house, the Stick Insect - perched atop the labyrinth's archway - monitors their every move. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<character>VIDAL</character>
<dialogue>The guerillas are sticking to the woods because it's hard to track them down up there.</dialogue>
<scene_description>Vidal is standing at an enormous dining table. Serrano, Garcés and a few lower-ranking officials surround him.</scene_description>
<character>VIDAL</character>
<dialogue>Those pricks know the terrain better than any of us. We need to force them down -</dialogue>
<scene_description>Vidal sticks pins into one of the larger maps.</scene_description>
<character>VIDAL</character>
<dialogue>-let's block their access to medicine and supplies.</dialogue>
<scene_description>Mercedes enters bearing a tray of olives, cold cuts and a bottle of Orujo liquor.</scene_description>
<character>VIDAL</character>
<dialogue>We'll set up three command posts. Here, here and here.</dialogue>
<scene_description>Mercedes glances briefly at the maps, concealing avid interest. Suddenly, Vidal grabs Mercedes by the arm.</scene_description>
<character>VIDAL</character>
<dialogue>Have Dr. Ferreiro come see me.</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, Sir...</dialogue>
<scene_description>Turning his attention back to his maps, Vidal takes two olives and pops them into his mouth.</scene_description>
<character>VIDAL</character>
<parenthetical>(chewing)</parenthetical>
<dialogue>Those bastards are going to starve... you'll see...</dialogue>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - DUSK</stage_direction>
<scene_description>The doctor stirs some drops of medicine into a glass of water. Carmen lies back in a monumental carved bed. On her lap there are several playing cards.</scene_description>
<character>DOCTOR</character>
<dialogue>Just four drops at bedtime and you'll sleep all night long.</dialogue>
<scene_description>He gives her the water and the medicine vial. Carmen drinks weakly. Ofelia stands by her side.</scene_description>
<character>DOCTOR</character>
<dialogue>Don't hesitate to call if you need anything, Madame. You- or your little nurse.</dialogue>
<scene_description>He grins at Ofelia, then exits the room. Carmen gives Ofelia the medicine vial.</scene_description>
<character>CARMEN</character>
<dialogue>Go. Close the door so I can sleep.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOYER/STAIRWAY - NIGHT</stage_direction>
<scene_description>In the hallway, the doctor finds Mercedes waiting for him. They proceed in silence down the hallway and look down into the foyer: empty.</scene_description>
<character>MERCEDES</character>
<dialogue>You must come up the mountain and see him- the leg wound- its getting worse...</dialogue>
<scene_description>The doctor nods timidly and gives Mercedes a small PACKAGE wrapped in dark paper and neatly tied in string.</scene_description>
<character>DOCTOR</character>
<dialogue>This is all I could get. I'm sorry.</dialogue>
<scene_description>Mercedes sighs, disappointed.</scene_description>
<character>MERCEDES</character>
<dialogue>He's downstairs- don't keep him waiting.</dialogue>
<scene_description>The doctor moves downstairs. Mercedes glances toward the Upper Bedroom and- -discovers Ofelia, watching her attentively- how long has she been there? The girl closes the door quietly.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - NIGHT</stage_direction>
<scene_description>Ofelia takes off her shoes and climbs into her mother's bed. As she cuddles close to her mother-</scene_description>
<character>CARMEN</character>
<dialogue>Jesus- Your feet- they're frozen.</dialogue>
<scene_description>She caresses Ofelia's head. The wind picks up and the house timbers moan and creak.</scene_description>
<character>CARMEN</character>
<dialogue>Are you scared?</dialogue>
<character>OFELIA</character>
<dialogue>A little bit.</dialogue>
<character>OFELIA</character>
<dialogue>What's that noise?</dialogue>
<character>CARMEN</character>
<dialogue>Nothing, just the wind. Nights here are different from city nights. There, you hear cars, trains. Here the houses are old and creaky.</dialogue>
<scene_description>The house utters a series of deep, rumbling noises.</scene_description>
<character>CARMEN</character>
<dialogue>Almost like they're speaking.</dialogue>
<dialogue>Tomorrow, I'm going to give you something special.</dialogue>
<character>OFELIA</character>
<dialogue>A book?</dialogue>
<character>CARMEN</character>
<dialogue>No, something much better.</dialogue>
<scene_description>A beat of silence and then-</scene_description>
<character>OFELIA</character>
<dialogue>Why did you have to get married?</dialogue>
<character>CARMEN</character>
<dialogue>We were alone too long.</dialogue>
<character>OFELIA</character>
<dialogue>You weren't alone. You were never alone.</dialogue>
<character>CARMEN</character>
<dialogue>When you're older you'll understand. It hasn't been easy for me.</dialogue>
<scene_description>She winces in pain-</scene_description>
<character>CARMEN</character>
<dialogue>Your brother's- he's acting up. Tell him one of your stories so he'll calm down.</dialogue>
<scene_description>Ofelia gently leans on her mother's stomach and taps it with one finger, as if it were a telegraph key.</scene_description>
<character>CARMEN</character>
<dialogue>My brother, my brother...</dialogue>
<scene_description>Carmen closes her eyes and listens to her daughter's voice-</scene_description>
<character>OFELIA</character>
<dialogue>… a long, long time ago in a grey, sad country…</dialogue>
<scene_description>INSIDE THE STOMACH Floating in a limbo of amniotic fluid, the BABY opens his eyes and listens.</scene_description>
<character>OFELIA</character>
<dialogue>There was a magic rose that made whoever plucked it immortal.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAGICAL MOUNTAIN - SUNSET</stage_direction>
<scene_description>Against a scarlet sky: a BLUE ROSE. Its thorny stem clutches the dagger-like crest of a black granite mountain. The thorns grow around the granite like suffocating serpents.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>But no one would dare go near it because its thorns were full of mortal poison.</dialogue>
<scene_description>The Stick Insect lands on one of the thorns and then flies off into the night sky-</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>So amongst the men tales of pain and death were told in hushed voices. But there was no talk of eternal life... because men fear pain more than they</dialogue>
<dialogue>want immortality.</dialogue>
<scene_description>-up, up and then through-</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDENS - TWILIGHT</stage_direction>
<scene_description>-the WINDOW of the Upper Bedroom. Through the glass, the Stick Insect observes how Ofelia hugs her mother.</scene_description>
<character>OFELIA</character>
<dialogue>So every day the rose wilted unable to bequeath his gift to anyone--</dialogue>
<scene_description>The Stick Insect clicks its jaws in excitement. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - DAY</stage_direction>
<scene_description>The improvised office is in one of the lower rooms, where the gigantic mill wheel and the wooden gears lie in a heap.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>Alone and forgotten at the top of that mountain. Forgotten until the end of time…</dialogue>
<scene_description>Small steel gears shine like metallic stars on a small swatch of black velvet. Tweezers pick them up and- -put them into place within the workings of a watch. Using a jeweler's magnifying glass, Vidal oils and closes up his pocket watch while he listens to cuplé (traditional Spanish music) on a phonograph. The doctor comes to the door. Vidal motions for him to enter.</scene_description>
<character>VIDAL</character>
<dialogue>Come in-</dialogue>
<dialogue>How is she?</dialogue>
<character>DOCTOR</character>
<dialogue>Very weak.</dialogue>
<scene_description>Vidal closes the watch.</scene_description>
<character>VIDAL</character>
<dialogue>She'll rest as much as she needs to. I'll sleep down here.</dialogue>
<dialogue>And my son?</dialogue>
<character>DOCTOR</character>
<dialogue>Your-?</dialogue>
<scene_description>Serrano and Garcés enter the room.</scene_description>
<character>GARCÉS</character>
<dialogue>Excuse us, Captain...</dialogue>
<scene_description>Vidal motions for them to be silent. Then he looks at the Doctor again.</scene_description>
<character>VIDAL</character>
<dialogue>My son. How is he?</dialogue>
<character>DOCTOR</character>
<dialogue>For the moment, there's no reason to be alarmed.</dialogue>
<character>VIDAL</character>
<dialogue>Good. That's good.</dialogue>
<character>DOCTOR</character>
<dialogue>Captain.</dialogue>
<dialogue>Your wife- she shouldn't have traveled this late in the pregnancy.</dialogue>
<character>VIDAL</character>
<dialogue>Is that your opinion?</dialogue>
<character>DOCTOR</character>
<dialogue>My professional opinion, yes sir.</dialogue>
<character>VIDAL</character>
<dialogue>Well, a boy should be born wherever his father is. And that's that.</dialogue>
<scene_description>He heads for the door.</scene_description>
<character>DOCTOR</character>
<dialogue>Captain...</dialogue>
<scene_description>Vidal stops and looks at him fixedly.</scene_description>
<character>DOCTOR</character>
<dialogue>One more thing, sir. What makes you so sure it's a boy?</dialogue>
<character>VIDAL</character>
<dialogue>Don't fuck with me.</dialogue>
<scene_description>He exits the mill. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - NIGHT</stage_direction>
<scene_description>The mill and the tents are silhouettes in the night. Soldiers patrol the gravel paths. Vidal, Garcés and Serrano walk towards the outer Water Wheel. There, a small group of soldiers surrounds an OLD MAN and his young SON.</scene_description>
<character>GARCÉS</character>
<dialogue>At 8 o'clock, we detected activity in the southeastern sector. Gunfire. Sergeant Bayona captured a suspect. The other prisoner is his son, who's here from town.</dialogue>
<character>SON</character>
<dialogue>Captain, my father is an honorable man.</dialogue>
<character>VIDAL</character>
<dialogue>I'll decide that. Take your hat off when you talk to me.</dialogue>
<scene_description>The Son quietly obeys. BAYONA hands the Captain a small gauge rifle and a leather pouch.</scene_description>
<character>VIDAL</character>
<dialogue>We found this weapon. It's been fired.</dialogue>
<character>SON</character>
<dialogue>He was hunting rabbits -</dialogue>
<character>VIDAL</character>
<dialogue>Shut up, damn it.</dialogue>
<scene_description>Vidal takes opens the leather pouch and finds a farmer's almanac. He reads an inscription printed on the back page:</scene_description>
<character>VIDAL</character>
<dialogue>"...No God, nor Government, nor Master?"</dialogue>
<character>GARCÉS</character>
<dialogue>Red propaganda, sir.</dialogue>
<character>SON</character>
<dialogue>It's not propaganda, Sir.</dialogue>
<scene_description>Vidal, impatiently motions for him to be silent.</scene_description>
<character>OLD MAN</character>
<dialogue>"It's an old almanac; we're farmers, sir."</dialogue>
<character>VIDAL</character>
<dialogue>Go on.</dialogue>
<character>OLD MAN</character>
<dialogue>I was in the forest hunting rabbits for my daughters. They're sick.</dialogue>
<character>VIDAL</character>
<dialogue>Rabbits, uh?</dialogue>
<scene_description>In the pouch, Vidal finds a half-empty bottle of wine.</scene_description>
<character>SON</character>
<dialogue>Captain, if my father says so- he was hunting rabbits.</dialogue>
<scene_description>Vidal hands Garcés the pouch and moves towards the boy, bottle in hand. BAM!! Without warning he flattens the boy's nose with the bottle bottom. The Father screams, horrified, but without the guts to intervene. Vidal lifts the Son up, bashes his nose again and again, leveling bone and cartilage.</scene_description>
<character>FATHER</character>
<dialogue>No!! No!! You killed him!! You son of a bitch!!</dialogue>
<scene_description>Vidal drops the boy, who falls to the ground spitting blood. He turns to the Father and shoots him twice in cold blood, then turns to the Son and shoots him once, in the head. Then all is silence. The distant whistle of a train can be heard. Vidal heads back towards Garcés and calmly searches the pouch: Inside he finds two scrawny rabbits.</scene_description>
<character>VIDAL</character>
<dialogue>Learn to frisk these motherfuckers before you come bothering me.</dialogue>
<character>GARCÉS</character>
<dialogue>Yes, my Captain.</dialogue>
<scene_description>He moves away. And he takes the rabbits with him. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - NIGHT</stage_direction>
<scene_description>Eyes wide, Ofelia hears a dry rattle, followed by a soft ululation at the window, which is half open. The curtains billow. The mill groans. Ofelia is restless. Then- a dry clicking noise.</scene_description>
<character>OFELIA</character>
<dialogue>Mama, wake up-</dialogue>
<scene_description>Carmen doesn't move. A scuttling noise reaches her ears as something small and quick skitters over the floor.</scene_description>
<character>OFELIA</character>
<dialogue>Mother- please! There's something in the room-</dialogue>
<scene_description>Impossible. Ofelia gets up and carefully puts on her shoes. Something shifts in the ceiling beams. Ofelia looks up, searching. Nothing. Suddenly, something the size of a human hand scurries past her feet and hides under the bed. Then, pulling at the goose down comforter, the Stick Insect climbs up into the bed. Ofelia leans over it, shocked.</scene_description>
<character>OFELIA</character>
<dialogue>H-hello- Did you follow me here??</dialogue>
<scene_description>The Stick Insect clicks its mandibles.</scene_description>
<character>OFELIA</character>
<dialogue>Are you a fairy??</dialogue>
<scene_description>The Stick Insect regards her with curiosity.</scene_description>
<character>OFELIA</character>
<dialogue>Look- This is a fairy-</dialogue>
<scene_description>She picks up one of her books and opens it to an illustration: a beautiful fairy. The Stick Insect scrutinizes the illustration and sits upright. It opens and closes its wings, transforming into a GREEN FAIRY - a tiny human form with striped wings. The Green Fairy flies to the foot of the bed, pointing to the window.</scene_description>
<character>OFELIA</character>
<dialogue>You want me to go with you? Outside? Where?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDENS - NIGHT</stage_direction>
<scene_description>The Green Fairy flies swiftly, but Ofelia follows close behind. Suddenly it stops! They're at the ruins of the labyrinth, which is bathed in moonlight. Trees and roots crowd the broken niches, as if fused with the stone. Some of the pathways are blocked by gnarled trees that have grown through the rock. LABYRINTH - CONTINUOUS Ofelia runs through the narrow, spooky pathways, but she has lost sight of the Green Fairy. Ofelia stops and looks around until she spots it, waiting for her at- ROTUNDA AT CENTER OF LABYRINTH - NIGHT The Green Fairy alights on an ancient monolith at the edge of an empty stone pool. It's decorated in Celtic lettering, just like the one in the forest. Another monolith stands at its center. Ofelia nears the edge of the pool.</scene_description>
<character>OFELIA</character>
<dialogue>Hello?!</dialogue>
<scene_description>The pool returns her cry, again and again. The tree trunks creak- and a cloud covers the moon.</scene_description>
<character>OFELIA</character>
<dialogue>Echo! Echo!</dialogue>
<scene_description>Then, she hears the sound of something big clattering about on hooves, like a horse or a bull.</scene_description>
<character>VOICE</character>
<dialogue>It's you- It's you- You've returned!!</dialogue>
<scene_description>The VOICE is cold and full of sibilance. The cloud moves aside... On its hind quarters in the shadows is the twisted and sinister figure of a FAUN. He's covered in roots and moss. Ofelia backs away- speechless.</scene_description>
<character>FAUN</character>
<dialogue>No- no- don't be afraid- I beg you!! Look!!</dialogue>
<scene_description>He opens a small wicker basket and from it emerge two more FAIRIES: one BLUE, one RED. Ofelia smiles.</scene_description>
<character>OFELIA</character>
<dialogue>My name is Ofelia. Who are you?</dialogue>
<character>FAUN</character>
<dialogue>Me? I've had so many names. Old names that only the wind and the trees can pronounce.</dialogue>
<scene_description>The Green Fairy flies toward its colorful companions.</scene_description>
<character>FAUN</character>
<dialogue>I am the mountain, the forest and the earth. I am... a faun.</dialogue>
<scene_description>As he bows to her, moonlight dapples his body. His coarse hooves and the strange angle of his legs make his courtly manner clumsy yet oddly gracious.</scene_description>
<character>FAUN</character>
<dialogue>Your Highness-</dialogue>
<character>OFELIA</character>
<dialogue>No, I'm -</dialogue>
<character>FAUN</character>
<dialogue>You are Princess Moanna, daughter of the King of the Underworld.</dialogue>
<character>OFELIA</character>
<dialogue>No- My father was a tailor.</dialogue>
<character>FAUN</character>
<dialogue>You are not born of man. It was the moon that bore you.</dialogue>
<dialogue>Look on your left shoulder and you will find a mark that proves it.</dialogue>
<scene_description>Ofelia instinctively touches her shoulder, with a strange expression on her face.</scene_description>
<character>FAUN</character>
<dialogue>Your real father had us open portals all over the world to allow your return. This is the last of them.</dialogue>
<scene_description>He opens his arm and gestures at the well around them.</scene_description>
<character>FAUN</character>
<dialogue>But we have to make sure that your essence is intact, that you have not become a mortal.</dialogue>
<dialogue>To insure your return, you have three tasks to fulfill - before the moon is full.</dialogue>
<scene_description>The Faun steps back a few paces. He deposits a large leather bound book on the ground, as well as a leather bag.</scene_description>
<character>FAUN</character>
<dialogue>This is the Book of Crossroads. Open it</dialogue>
<scene_description>when you're alone and it will show you your future - show you what must be done. Then he and the Fairies fade back into the shadows. Ofelia goes to the book and opens it. No matter how many pages she turns- -they are all blank.</scene_description>
<character>OFELIA</character>
<dialogue>There's nothing here-</dialogue>
<scene_description>But she is alone. Absolutely alone in the well. MUSIC starts- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - BATHROOM - EARLY MORNING</stage_direction>
<scene_description>Vidal, shirtless, shaves with a switchblade while listening to music. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - DAY</stage_direction>
<scene_description>Now, alone in the massive dining room, Vidal shines his boots. Methodically. This is obviously a daily ritual for him. By his side: the two scrawny rabbits he impounded the night before. Mercedes brings him a cup of coffee.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes, prepare these rabbits for dinner tonight.</dialogue>
<scene_description>Mercedes eyes the scrawny animals-</scene_description>
<character>MERCEDES</character>
<dialogue>They are too young.</dialogue>
<character>VIDAL</character>
<dialogue>Well, see if they'll do for a stew.</dialogue>
<character>MERCEDES</character>
<dialogue>Yes sir.</dialogue>
<scene_description>She turns to leave but Vidal stops her gently.</scene_description>
<character>VIDAL</character>
<dialogue>And- This coffee- was burnt. Taste it yourself.</dialogue>
<scene_description>She does. Vidal places a hand on her shoulder. There is something unpleasant about this sudden contact, something too familiar. She bears it in silence.</scene_description>
<character>VIDAL</character>
<dialogue>You should keep an eye on it.</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>She moves into-</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - LATER</stage_direction>
<scene_description>The kitchen is enormous. The open charcoal cook stove is two meters high by five meters wide.</scene_description>
<character>MERCEDES</character>
<parenthetical>(hands out the rabbits)</parenthetical>
<dialogue>Take them to the table-</dialogue>
<scene_description>Two old, stout cooks, JACINTA and PAZ, wash the gigantic work table with boiling water.</scene_description>
<character>MERCEDES</character>
<parenthetical>(to the others)</parenthetical>
<dialogue>He didn't like the coffee.</dialogue>
<character>JACINTA</character>
<dialogue>Agh- He's nothing but a fussy dandy. A</dialogue>
<dialogue>dandy!</dialogue>
<scene_description>MERCEDES picks up a pail of hot water.</scene_description>
<character>MERCEDES</character>
<dialogue>We're going to need some beef and one more chicken. We have more guests-</dialogue>
<scene_description>Conchita, Paloma and two other GIRLS pluck chickens, peel potatoes, etc.</scene_description>
<character>PAZ</character>
<dialogue>Well, where are we supposed to find that?</dialogue>
<character>MERCEDES</character>
<dialogue>The doctor's wife and the mayor's, too.</dialogue>
<character>JACINTA</character>
<dialogue>Well, they eat more than a pig.</dialogue>
<character>PAZ</character>
<dialogue>And they don't shut up-</dialogue>
<character>JACINTA</character>
<dialogue>-not even underwater.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, UPPER BEDROOM - DAY</stage_direction>
<scene_description>Mercedes and Conchita empty buckets of hot water into a porcelain bathtub.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - BEDROOM - DAY</stage_direction>
<scene_description>Carmen opens one of her travel trunks.</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia. Your father is giving a dinner party tonight… Look what I've made you.</dialogue>
<scene_description>She lifts out a beautiful green dress in shiny silk and ivory tulle. Ofelia studies the dress as if it were a strange artifact rather than something she might wear. Mercedes enters with a breakfast tray.</scene_description>
<character>CARMEN</character>
<dialogue>Do you like it? What I wouldn't have given to have a dress as fine as this when I was little.</dialogue>
<scene_description>In a reverie, Carmen takes out a pair of new patent leather shoes and a green silk hair ribbon.</scene_description>
<character>CARMEN</character>
<parenthetical>(to Ofelia)</parenthetical>
<dialogue>And look at these shoes! Do you like them?</dialogue>
<scene_description>Ofelia makes an effort and smiles a weak smile.</scene_description>
<character>OFELIA</character>
<dialogue>Yes, they are very pretty.</dialogue>
<scene_description>But Carmen is not fooled-</scene_description>
<character>CARMEN</character>
<dialogue>Go on, now. Take your bath. Go-</dialogue>
<scene_description>Ofelia obeys- She enters-</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, UPPER BEDROOM - DAY</stage_direction>
<scene_description>Ofelia, alone in the bathroom, opens the magical book. At first, the page is blank, but a wondrous image takes shape: Ofelia and five chestnuts. Squatting at her side, under a huge tree: a massive TOAD. Then a KNOCK on the door-</scene_description>
<character>CARMEN'S VOICE</character>
<dialogue>Ofelia-</dialogue>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - DAY</stage_direction>
<scene_description>Alone now, Carmen readies the little green dress.</scene_description>
<character>CARMEN</character>
<dialogue>Hurry up. I want to see the dress on you. I want you to be beautiful for the Captain...</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, UPPER BEDROOM - DAY</stage_direction>
<scene_description>On her right shoulder, Ofelia examines, exactly as the Faun said, a birthmark in the form of the crescent moon...</scene_description>
<character>CARMEN'S VOICE</character>
<dialogue>You'll look like a princess-</dialogue>
<scene_description>Ofelia smiles.</scene_description>
<character>OFELIA</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>...a princess...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - LATER</stage_direction>
<scene_description>Mercedes organizes the kitchen.</scene_description>
<character>MERCEDES</character>
<dialogue>Make sure those chickens are cleaned properly... and the beans...</dialogue>
<scene_description>Mercedes takes out a small, sharp knife from the folds in her apron. She skillfully chops an onion. The bustle suddenly stops. Everyone looks toward the door, where, among chicken feathers floating like confetti, Ofelia stands, dressed in green silk.</scene_description>
<character>CONCHITA</character>
<dialogue>You look marvelous, my girl, just gorgeous.</dialogue>
<character>JACINTA</character>
<dialogue>What a dress!!</dialogue>
<scene_description>Mercedes smiles. She's pleased too, but she claps her hands together-</scene_description>
<character>MERCEDES</character>
<dialogue>Get back to work, stop wasting time.</dialogue>
<scene_description>They obey. Mercedes goes next to Ofelia.</scene_description>
<character>MERCEDES</character>
<dialogue>Do want some milk with honey?</dialogue>
<scene_description>Ofelia nods eagerly.</scene_description>
</scene>
<scene>
<stage_direction>INT. STABLE - LATER</stage_direction>
<scene_description>Mercedes puts a bucket under a huge milk cow.</scene_description>
<character>MERCEDES</character>
<dialogue>Step back, I don't want you getting milk on your dress, with you looking so pretty.</dialogue>
<scene_description>Mercedes begins to milk the cow.</scene_description>
<character>OFELIA</character>
<dialogue>Mercedes, do you believe in fairies?</dialogue>
<character>MERCEDES</character>
<dialogue>No. But when I was a little girl, I did.</dialogue>
<dialogue>I believed in a lot of things that I don't believe any more.</dialogue>
<character>OFELIA</character>
<dialogue>Well, last night, a fairy visited me. And it wasn't alone, there were lots of them - and a faun, too.</dialogue>
<character>MERCEDES</character>
<dialogue>A faun??</dialogue>
<scene_description>Mercedes picks up the bucket and fills a wooden bowl with milk.</scene_description>
<character>OFELIA</character>
<dialogue>He was very old, very tall and smelled like dirt.</dialogue>
<character>MERCEDES</character>
<dialogue>My mother warned me to be wary of fauns-</dialogue>
<scene_description>Suddenly, Vidal and Garcés approach them.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes, come with me.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STORAGE BUILDING - MILL - DAY</stage_direction>
<scene_description>Vidal and Mercedes walk toward the bodega, or storage building, adjoining the mill. Guards unload giant sacks of provisions from trucks. A Civil Guard CAPITAN supervises the operation and greets Vidal.</scene_description>
<character>CAPITAN</character>
<dialogue>Captain, everything is here.</dialogue>
</scene>
<scene>
<stage_direction>INT. BODEGA - MILL - CONTINUOUS</stage_direction>
<scene_description>The men fill the enormous bodega with grain, bottles of wine, barrels of oil, salt and sugar, etc.</scene_description>
<character>CAPITAN</character>
<dialogue>Flour, salt, oil, medicine, olives, bacon, tobacco...</dialogue>
<scene_description>Vidal grabs a packet of tobacco.</scene_description>
<character>VIDAL</character>
<dialogue>Tobacco, huh? Real tobacco!</dialogue>
<scene_description>The CAPITAN hands over some papers with the Falangist letterhead.</scene_description>
<character>CAPITAN</character>
<dialogue>And the ration cards.</dialogue>
<scene_description>Mercedes is stunned by the quantity of food and supplies. Vidal checks the padlock on the door.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes, the key-</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Mercedes hands over the key from her large key ring.</scene_description>
<character>VIDAL</character>
<parenthetical>(to Mercedes)</parenthetical>
<dialogue>Is this the only copy?</dialogue>
<character>MERCEDES</character>
<dialogue>The only one.</dialogue>
<scene_description>Vidal locks the padlock. Yanks on it: nice and strong.</scene_description>
<character>VIDAL</character>
<dialogue>From now on, I'll carry it.</dialogue>
<scene_description>From outside, Serrano calls him.</scene_description>
<character>SERRANO</character>
<dialogue>Captain!!</dialogue>
<scene_description>Vidal hurries over to Serrano who hands him a pair of binoculars and points to something on the horizon-</scene_description>
<character>SERRANO</character>
<dialogue>Captain, perhaps it's nothing.</dialogue>
<scene_description>Through the binoculars, Vidal sees a plume of SMOKE on the horizon.</scene_description>
<character>VIDAL</character>
<dialogue>It's them.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Garcés, Vidal and a few of his men ride through the forest on horseback.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>When the forest was young, a fig tree took root and grew to colossal size.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - DAY</stage_direction>
<scene_description>Ofelia walks away from the mill and into the woods.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>When the forest was young, it was home to creatures who were full of magic and wonder...</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS - DAY</stage_direction>
<scene_description>Vidal and his men ride through the forest.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>At the heart of this forest stood a colossal fig tree. The Forest Folk slept in its shadow.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDGE OF THE FOREST - DAY</stage_direction>
<character>OFELIA (V.O.)</character>
<dialogue>But now, the tree is dying. Its branches are dry, its trunk old and twisted.</dialogue>
<scene_description>Ofelia finds herself under a huge FIG TREE that has twisted into an arch reaching to a nearby crag.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>A monstrous toad has settled in its roots and won't let the tree thrive.</dialogue>
<scene_description>Ofelia opens her leather bag. Inside there are five large chestnuts.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>You must put the three magic rocks in its mouth and retrieve a magic key from its insides. Only then will the fig tree flourish again.</dialogue>
<scene_description>The tree roots are partly exposed. The tree itself is surrounded by a large mud puddle. Ofelia decides to take off her fancy silk dress. She carefully hangs everything - including her hair ribbon - on the tree branches. Finally she's down to only a simple cotton slip and her shoes. As she enters- The wind picks up and moves her hanging dress. Then, a sudden gust sends the hair ribbon flying.</scene_description>
</scene>
<scene>
<stage_direction>INT. GALLERY UNDER FIG TREE ROOTS - DAY</stage_direction>
<scene_description>Ofelia crawls slowly; the gaps between the roots are narrow and claustrophobic. A few big, black pill bugs are nestled in the mud. Ofelia keeps going. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMPSITE IN THE MIDDLE OF THE FOREST - DAY</stage_direction>
<scene_description>Vidal and his men probe a forest cave. Inside, they find the remains of a campfire. Vidal removes a glove and touches the embers.</scene_description>
<character>VIDAL</character>
<dialogue>Less than twenty minutes, they left in a hurry.</dialogue>
<scene_description>He finds the remains of food and drink.</scene_description>
<character>VIDAL</character>
<dialogue>A dozen men, at most...</dialogue>
<scene_description>In the dirt, he discovers the remains of the package the doctor gave to Mercedes. Inside he finds empty antibiotics containers.</scene_description>
<character>VIDAL</character>
<dialogue>Antibiotics...</dialogue>
<scene_description>Garcés comes upon a half-burnt lottery ticket.</scene_description>
<character>GARCÉS</character>
<parenthetical>(showing him the lottery ticket)</parenthetical>
<dialogue>Shit- They forgot this lottery ticket.</dialogue>
<scene_description>Vidal motions for silence.</scene_description>
<character>VIDAL</character>
<dialogue>They're here. Those bastards are here and they are watching us.</dialogue>
<scene_description>He stands in rapt silence. The trees sway gently. He hefts the empty package like a trophy.</scene_description>
<character>VIDAL</character>
<dialogue>You left this behind! And the lottery ticket! Come back and get it!! This could be your lucky day - !</dialogue>
<scene_description>Silence. Then, they mount up and ride off. Invisible under the trees, six GUERRILLAS are indeed watching. Among them is PEDRO, a tall and serious young man. In a flash, they all disappear into the underbrush. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GALLERY UNDER FIG TREE ROOTS - DAY</stage_direction>
<scene_description>Ofelia's progress is slow. Water oozes from the surrounding roots and mud. Bugs crawl on her arms. She hears a sudden, soggy movement up ahead. She takes out the five chestnuts - which are so large they barely fit in her hands - and works her way toward the noise. Soon, she comes face to face with- -an immense TOAD, as big as a boar. His golden eyes blink; his cheeks puff rhythmically in and out.</scene_description>
<character>OFELIA</character>
<dialogue>Hi-</dialogue>
<scene_description>The Toad's long tongue flicks out, trapping a couple of beetles and pulling them back into his mouth. Their chitinous shells crunch noisily in its slimy jaws. Ofelia shudders and tries to stand up. As she speaks, a large red pill bug clings to her cheek.</scene_description>
<character>OFELIA</character>
<dialogue>I am- I'm princess Moanna and I'm not afraid of you-</dialogue>
<scene_description>The Toad observes her, unmoved.</scene_description>
<character>OFELIA</character>
<dialogue>Aren't you ashamed? Living down here, eating all the pill bugs and getting fat while the tree dies!</dialogue>
<scene_description>FWAPPPP!!!! The Toad sends out its soft pink tongue, which flattens against her face, then slides off, taking the pill bug and leaving a gelatinous goo. Three of the chestnuts roll to the ground. Ofelia spits in disgust. The Toad hunkers down, shaking violently as it croaks. Ofelia backpedals, frightened. The Toad resumes its resting position. Ofelia scoops up the chestnuts. Two fall back into the mud. She kneels to get them and- -deftly palms a juicy, fat pill bug. It curls itself into a tight ball. She keeps it in the same hand as the chestnuts. The Toad croaks again, shoots out its tongue, which wraps around her wrist. She stays calm. When the tongue retracts, covering her hand with viscous spittle, the pill bug is gone. And so are the chestnuts. The Toad croaks violently and suddenly burps up a gigantic pearly bubble, which floats in the air, bathed in blood and saliva. And with this, the Toad shrivels away, like a serpent shedding its skin. Ofelia picks up the warty, empty skin and looks at the bubble. In its center: a GOLD KEY. Ofelia plunges her hands into the bubble to grab it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF THE FOREST - TWILIGHT</stage_direction>
<scene_description>Ofelia emerges from under the tree with the golden key in hand. She's filthy, sweaty and exhausted. She nears the place where she left her dress- -but it's not there! After a brief search, she finds her hair ribbon. Covered in mud. A few meters away, the dress- covered in wet, mossy mud. It starts to rain. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - DUSK</stage_direction>
<scene_description>A pair of BENTLEYS sweeps into the driveway. Elegant dinner guests get out of the cars: the MAYOR, his WIFE, and a parish PRIEST. Vidal stands at the front door to greet them. He's in his formal uniform.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - SAME</stage_direction>
<scene_description>Carmen, in a velvet maternity dress and in her wheelchair, wrings her hands in anguish. The dining room is looking its best, with sparkling crystal and china at each place setting.</scene_description>
<character>CARMEN</character>
<parenthetical>(to Mercedes)</parenthetical>
<dialogue>Have you checked in her room?? And the garden??</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, madam.</dialogue>
<scene_description>The VOICES of the dinner guests get louder. As Vidal enters-</scene_description>
<character>VIDAL</character>
<dialogue>May I introduce you to my wife, Carmen.</dialogue>
<scene_description>Carmen manages a wan smile of greeting. The Mayor's wife smiles back-</scene_description>
<character>MAYOR'S WIFE</character>
<dialogue>Enchanted.</dialogue>
<character>MERCEDES</character>
<dialogue>Pleasure to meet you.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>A ration card with the Falangist stamps on it. The Mayor examines it.</scene_description>
<character>VIDAL</character>
<dialogue>From now on- one ration card peer family.</dialogue>
<scene_description>Seated around the table are: the doctor and his WIFE, the mayor and his wife, Garcés, Serrano, Carmen, the Guardia Civil Capitan, and the Priest. Carmen is stony-faced in her distraction.</scene_description>
<character>MAYOR</character>
<dialogue>One?? Captain, I'm not sure it'll be enough.</dialogue>
<character>PRIEST</character>
<dialogue>If people are careful, it should be plenty.</dialogue>
<scene_description>He eats more potatoes.</scene_description>
<character>VIDAL</character>
<dialogue>What we can't allow is for anyone to send food to the guerillas in the mountains. They're losing ground - and one of them is wounded.</dialogue>
<character>DOCTOR</character>
<dialogue>Excuse me, Captain, how can you be so sure?</dialogue>
<character>VIDAL</character>
<dialogue>We almost got them today. They had this.</dialogue>
<scene_description>Vidal pulls out one of the antibiotic vials.</scene_description>
<character>VIDAL</character>
<dialogue>Antibiotics.</dialogue>
<scene_description>Mercedes briefly catches the Doctor's eye.</scene_description>
<character>PRIEST</character>
<dialogue>God has already saved their souls. What happens to their bodies, well, it hardly matters to Him.</dialogue>
<character>MAYOR</character>
<dialogue>We'll help you in any way we can, Captain.</dialogue>
<dialogue>We know you're not here by choice-</dialogue>
<scene_description>Vidal pauses and locks eyes with him.</scene_description>
<character>VIDAL</character>
<dialogue>You're wrong about that.</dialogue>
<scene_description>The guests grow silent.</scene_description>
<character>VIDAL</character>
<dialogue>I choose to be here because I want my son to be born in a clean, new Spain.</dialogue>
<dialogue>Because these people have the idea that we're all alike. But there's a big difference: The war is over and we won.</dialogue>
<dialogue>And if we need to kill each of those motherfuckers to agree on it, then we'll kill them all. And that's that.</dialogue>
<scene_description>He raises his glass and toasts.</scene_description>
<character>VIDAL</character>
<dialogue>We're all here by choice.</dialogue>
<scene_description>All the guests raise their glasses.</scene_description>
<character>ALL</character>
<dialogue>By choice.</dialogue>
<scene_description>Mercedes quickly leaves the dining room.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - LATER</stage_direction>
<scene_description>The kitchen door opens and Mercedes enters, trembling. On the verge of tears, she grabs a lantern and readies to leave.</scene_description>
<character>MERCEDES</character>
<dialogue>Put the coffee on. I'm going for more wood.</dialogue>
<scene_description>She leaves the kitchen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - BACK - NIGHT</stage_direction>
<scene_description>The mill receding in the distance, Mercedes hurries uphill. She pauses next to a large wood pile and sadly gazes at the forest. Using her hand to shield the lantern's light she signals the woods- one, two, three times. Then she turns around- She sees-</scene_description>
<character>MERCEDES</character>
<dialogue>Ofelia-</dialogue>
<scene_description>Shivering, covered in mud, Ofelia climbs downhill and into Mercedes's arms. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Everyone eats with relish, impeccably attended by the kitchen staff.</scene_description>
<character>MAYOR'S WIFE</character>
<dialogue>And- How did you and the Captain meet?</dialogue>
<scene_description>Vidal seems uncomfortable but Carmen gently touches his hand.</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia's father was a tailor - he used to make the Captain's uniforms-</dialogue>
<character>MAYOR'S WIFE</character>
<dialogue>I see-</dialogue>
<character>CARMEN</character>
<dialogue>-and after he died, I went to work at the shop. A little more than a year ago, the Captain and I met again...</dialogue>
<scene_description>Vidal moves his hand away from Carmen's.</scene_description>
<character>MAYOR'S WIFE</character>
<dialogue>Curious, isn't it? Finding each other after such a long time.</dialogue>
<character>DOCTOR'S WIFE</character>
<dialogue>Curious indeed- very curious...</dialogue>
<character>VIDAL</character>
<dialogue>Please, forgive my wife. She hasn't been exposed to the world. She thinks these silly stories are interesting to others.</dialogue>
<scene_description>Carmen grows silent. Ashamed. Mercedes discreetly comes over to Carmen and speaks to her. Carmen pushes back from the table.</scene_description>
<character>CARMEN</character>
<dialogue>Please, excuse me.</dialogue>
<scene_description>All the men get up as Carmen leaves the dining room. The Guardia Civil Capitan smiles at Vidal.</scene_description>
<character>CAPITAN</character>
<dialogue>Have I told you that I was acquainted with your father, Captain?</dialogue>
<scene_description>Vidal can't suppress a brief grimace.</scene_description>
<character>VIDAL</character>
<dialogue>No- I had no idea.</dialogue>
<character>CAPITAN</character>
<dialogue>In Morocco. I met him only briefly, but he left a great impression.</dialogue>
<scene_description>Vidal chews his food nervously.</scene_description>
<character>VIDAL</character>
<dialogue>An excellent soldier.</dialogue>
<character>CAPITAN</character>
<dialogue>The men in his battalion said that when General Vidal died on the battlefield, he smashed his watch on a rock so that his son would know the exact hour and minute of his death.</dialogue>
<dialogue>So he would know how a brave man dies.</dialogue>
<scene_description>All eyes turn to Vidal.</scene_description>
<character>CAPITAN</character>
<dialogue>Nonsense. He didn't own a watch.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM / BATHROOM - MOMENTS LATER</stage_direction>
<scene_description>Ofelia is floating on the warm water of the tub.</scene_description>
<character>CARMEN</character>
<dialogue>What you've done hurts me. When you get out of the tub, you'll go to bed without dinner.</dialogue>
<scene_description>Ofelia listens in silence, holding back.</scene_description>
<character>CARMEN</character>
<dialogue>Are you listening? Sometimes I think you'll never learn to behave.</dialogue>
<dialogue>You've disappointed me, and your father, too.</dialogue>
<character>OFELIA</character>
<dialogue>The Captain?</dialogue>
<character>CARMEN</character>
<dialogue>Yes- Him more than me.</dialogue>
<scene_description>The faintest trace of satisfaction is visible on Ofelia's face. Carmen leaves. The Green Fairy flies in through the open window. Ofelia greets it.</scene_description>
<character>OFELIA</character>
<dialogue>I've got the key. Take me to the labyrinth.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - THE WELL - NIGHT</stage_direction>
<scene_description>With the book and the key in hand, Ofelia steps to the center of the well. She is wearing a striped robe. She examines the engravings on the monolith: the Faun, embracing a girl and a baby.</scene_description>
<character>FAUN</character>
<dialogue>That's me and the girl is you.</dialogue>
<scene_description>From out of the shadows comes the Faun. The Green Fairy hurries to him.</scene_description>
<character>OFELIA</character>
<dialogue>And the baby?</dialogue>
<scene_description>The Faun comes near Ofelia chewing a chunk of raw meat.</scene_description>
<character>FAUN</character>
<dialogue>I see that you got the key-</dialogue>
<scene_description>The Green Fairy lands on his shoulder. He feeds her some meat.</scene_description>
<character>FAUN</character>
<dialogue>She's very glad you succeeded. She's believed in you from the very start.</dialogue>
<scene_description>Keep the key. You'll be needing it. And this also- Out of nowhere he produces a piece of white chalk.</scene_description>
<character>FAUN</character>
<dialogue>a piece of chalk-</dialogue>
<scene_description>Ofelia takes the chalk.</scene_description>
<character>FAUN</character>
<dialogue>There are still two tasks left and the moon is almost full. Be patient.</dialogue>
<scene_description>He caresses her face with his dirty hands, which are covered with creeping bugs.</scene_description>
<character>FAUN</character>
<dialogue>We'll soon be strolling through the seven circular gardens of your palace.</dialogue>
<character>OFELIA</character>
<dialogue>How do I know that what you say is true??</dialogue>
<scene_description>As he comes closer, the Faun's face again comes into the light. A wicked grin is revealed-</scene_description>
<character>FAUN</character>
<dialogue>Why would a poor little faun like me lie to you?</dialogue>
<scene_description>Ofelia leaves the well. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - SUNRISE</stage_direction>
<scene_description>VIDAL opens the warehouse. A large CROWD OF PEOPLE lines up for rations. The soldiers keep order as Vidal supervises the distribution of wheat, cooking oil and tobacco.</scene_description>
<character>VIDAL</character>
<dialogue>Proceed.</dialogue>
<character>SERRANO</character>
<dialogue>Have your cards in hand and ready. Let's go. Your name?</dialogue>
<scene_description>In a logbook, he makes note of every handout. Mercedes, Conchita and Paz come out of the granary carrying baskets of bread. Each piece is contained in a brown bag with a legend printed. The Guardia Civil Capitan grabs a piece and starts reciting the printed legend.</scene_description>
<character>CAPITAN</character>
<dialogue>This is our daily bread in Franco's Spain! Which we keep safe in this mill. The Reds lie when they say there's hunger in Spain. Because in a united Spain, there's not a single home without a warm fire or without bread.</dialogue>
<scene_description>Mercedes looks toward the mountains. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - DAWN</stage_direction>
<scene_description>Ofelia wakes up next to her mother. She quietly slips out of bed; her mother sleeps on. As Ofelia reaches the middle of the room, her mother moans softly.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM NORTH BEDROOM - DAWN</stage_direction>
<scene_description>Ofelia opens the special book. Impatient, she starts turning the pages- NOTHING. She keeps flipping through, looking and looking. But each page fades to white. Ofelia looks at a beam of sunlight coming in from the small bathroom window. She reaches out her hand and plays with it. She looks down at a page in the book. A small red stain has appeared. Blood. It spreads rapidly, until it covers the whole page. Frightened, Ofelia drops the book. The blood flows onto the next page and covers it, too. Ofelia notices a bloodstain on her nightgown. She steps back. Opens the door.</scene_description>
<character>CARMEN (V.O.)</character>
<parenthetical>(weak)</parenthetical>
<dialogue>Ofelia...</dialogue>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - MORNING</stage_direction>
<scene_description>Ofelia returns to her mother. Huge torrents of blood flow from the bed onto the floor. Carmen extends a bloody hand toward the girl.</scene_description>
<character>CARMEN</character>
<parenthetical>(barely a whisper)</parenthetical>
<dialogue>Ofelia... help me...</dialogue>
<scene_description>She gets out of bed; the lower half of her body is completely bloody. Ofelia runs to her. Carmen disappears from her arms.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - EARLY MORNING</stage_direction>
<scene_description>Ofelia hurries from the building and goes to Vidal, who supervises the food rationing.</scene_description>
<character>OFELIA</character>
<dialogue>Captain! Come quickly!</dialogue>
<scene_description>CAMERA pulls back to follow Vidal as he runs inside the mill. The day is just beginning. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MILL - DAY</stage_direction>
<scene_description>It's raining. Vidal and the Doctor stand near the front entrance:</scene_description>
<character>DOCTOR</character>
<dialogue>Your wife needs absolute bed rest. She'll be sedated from now on. The girl should sleep somewhere else. I'll stay here until the birth.</dialogue>
<character>VIDAL</character>
<dialogue>Take care of her. Heal her. I don't care what it costs or what you need, make her well.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC - LATE AFTERNOON</stage_direction>
<scene_description>Ofelia surveys the filthy attic and the dark, low ceiling, full of holes. Mercedes and Conchita make a bed with a large comforter and several fluffy pillows. Conchita leaves.</scene_description>
<character>MERCEDES</character>
<dialogue>Don't worry. Your mother will get better soon, you'll see. Having a baby is complicated.</dialogue>
<scene_description>Ofelia shakes her head.</scene_description>
<character>OFELIA</character>
<dialogue>Then I'll never have a one.</dialogue>
<scene_description>Mercedes sits by her side.</scene_description>
<character>OFELIA</character>
<dialogue>You are helping the men in the woods, aren't you?</dialogue>
<scene_description>This comes out of the blue. Mercedes freezes and after a long beat:</scene_description>
<character>MERCEDES</character>
<dialogue>Have you told anyone?</dialogue>
<character>OFELIA</character>
<dialogue>No, I haven't- I don't want anything bad happening to you.</dialogue>
<character>MERCEDES</character>
<dialogue>Or me to you-</dialogue>
<scene_description>They embrace softly.</scene_description>
<character>OFELIA</character>
<dialogue>Do you know a lullaby?</dialogue>
<character>MERCEDES</character>
<dialogue>Only one, but I don't remember the words.</dialogue>
<character>OFELIA</character>
<dialogue>I don't care. I still want to hear it.</dialogue>
<scene_description>As she sings we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Mercedes is alone in the kitchen. She carries a canvas bag. There is a low flame burning on the charcoal range. She kneels down and removes a tile from the floor: she has hidden some food, a bottle of Orujo and some papers. She transfers everything to the canvas bag. Someone comes into the kitchen, startling her.</scene_description>
<character>DOCTOR</character>
<dialogue>Don't be afraid- it's just me--</dialogue>
<scene_description>Mercedes exhales, relieved.</scene_description>
<character>MERCEDES</character>
<dialogue>Are you ready?</dialogue>
<character>DOCTOR</character>
<dialogue>Yes.</dialogue>
<character>MERCEDES</character>
<dialogue>Well, let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST / RIVER- NIGHT</stage_direction>
<scene_description>Carrying the bag, Mercedes walks through the river with the Doctor. They stop in front of a large, half-cut tree.</scene_description>
<character>DOCTOR</character>
<dialogue>This is sheer madness. When that man finds out about us, he'll kill us all. Have you thought about that?</dialogue>
<character>MERCEDES</character>
<dialogue>Are you that afraid of him, Doctor?</dialogue>
<scene_description>After a long beat-</scene_description>
<character>DOCTOR</character>
<dialogue>It's not fear, at least not for myself.</dialogue>
<scene_description>A noise. Then silence. The tree trunks sway and creak softly. Something moves among the trees... Mercedes takes a couple steps... and suddenly, someone is there: it is Pedro, the young guerrilla. He hugs her.</scene_description>
<character>MERCEDES</character>
<dialogue>Pedro, Pedro- My brother.</dialogue>
<scene_description>He kisses her on both cheeks. The Doctor looks around with alarm as twenty more men appear from out of the shadows. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Ofelia is lying in bed.</scene_description>
<character>FAUN</character>
<dialogue>You refused the task -</dialogue>
<scene_description>Ofelia is startled: the Faun is perched on the foot rail of her bed, like a big crow.</scene_description>
<character>OFELIA</character>
<dialogue>N-no- my mother is sick.</dialogue>
<character>FAUN</character>
<dialogue>That's no excuse for negligence.</dialogue>
<scene_description>The Faun looks in a tattered bag, takes out a twisted root of MANDRAKE.</scene_description>
<character>FAUN</character>
<dialogue>Look, this is a mandrake root. A plant that dreamt of being human. Put it under your mother's bed in a bowl of fresh milk. Each morning give it two drops of blood.</dialogue>
<scene_description>Ofelia, revolted, takes the root.</scene_description>
<character>FAUN</character>
<dialogue>Now, we have no time to waste. The full moon will be upon us. Let my pets guide you through--</dialogue>
<scene_description>He hands her his basket. The Fairies chitter-chatter inside it.</scene_description>
<character>FAUN</character>
<dialogue>You're going to a very dangerous place,</dialogue>
<scene_description>so be careful. The thing that slumbers there, it's not human... He hands her a small, dark hourglass.</scene_description>
<character>FAUN</character>
<dialogue>You will see a sumptuous banquet, but don't eat or drink anything.</dialogue>
<dialogue>Your life depends on it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAVE - NIGHT</stage_direction>
<scene_description>Mercedes, Pedro and the Doctor arrive at a large cave mouth. GUERILLA sentries allow them to pass.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAVE - NIGHT</stage_direction>
<scene_description>The walls are covered with soot. A dozen more guerillas sit around an open fire in the middle of the cave. Mercedes opens up the canvas bag and starts handing out letters, food, tobacco and newspapers.</scene_description>
<character>MERCEDES</character>
<dialogue>I've brought some Orujo, tobacco, cheese. Some mail for "Trigo" and "Piloto.".</dialogue>
<scene_description>The men divide a newspaper among themselves. One page each. The doctor approaches a group of wounded men. One of them, FRENCHIE, is very weak. His leg is bandaged.</scene_description>
<character>DOCTOR</character>
<dialogue>Let"s see how that leg is doing, Frenchie-</dialogue>
<character>FRENCHIE</character>
<dialogue>Well, how do you think it's doing?? It's</dialogue>
<dialogue>fucked up-</dialogue>
<character>STUTTER</character>
<dialogue>... North American, B-b-british and C-c canadian T-t-troops disemb-b-barked on a small beach in the North of F-F-france-</dialogue>
<scene_description>STUTTER, a thin guy in his thirties, reads a ragged newspaper.</scene_description>
<character>TRIGO</character>
<dialogue>Gimme that, you stammering piece of shit!</dialogue>
<scene_description>Muscle-bound TRIGO grabs the newspaper from Stutter.</scene_description>
<character>TRIGO</character>
<dialogue>More than 150,000 soldiers... under the command of General Dwight D. Eisenhower who said: "We will not accept anything less than complete victory over Germany."</dialogue>
<scene_description>The Doctor cuts the bandages off Frenchie's leg. It looks horrible.</scene_description>
<character>FRENCHIE</character>
<dialogue>Is it bad, doctor?</dialogue>
<character>DOCTOR</character>
<dialogue>Look, Frenchie- There's no way to save it.</dialogue>
<scene_description>Everyone goes quiet-</scene_description>
</scene>
<scene>
<stage_direction>INT. CAVE - LATER</stage_direction>
<scene_description>The Doctor readies a stainless steel bone saw.</scene_description>
<character>DOCTOR</character>
<dialogue>I'll try to do it in as few cuts as I can.</dialogue>
<scene_description>The men give Frenchie the bottle. He gulps down half of it.</scene_description>
<character>FRENCHIE</character>
<parenthetical>(stoically)</parenthetical>
<dialogue>Wait a second, doctor, just a second.</dialogue>
<scene_description>Frenchie looks longingly at his leg. One last time- Then, he takes hold of Trigo and Rubio's arms. Mercedes and Pedro put all their weight on the injured limb. The Doctor touches his saw to the leg- -and cuts. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - SUNRISE</stage_direction>
<scene_description>Ofelia takes the book out from under her bed. Opening it, she sees herself illustrated in a room with a lavish table full of food. In the wall are three niches. And at the far end of the table, a pale human figure.</scene_description>
<character>OFELIA (V.O.)</character>
<dialogue>Use the chalk to trace a door anywhere in your room. Open it and start the hourglass - let yourself be guided by the Fairies-</dialogue>
<scene_description>Ofelia draws the outline of a door on the wall... and then opens it onto a long hallway. Ofelia goes through, wearing the wicker basket around her neck.</scene_description>
<character>OFELIA</character>
<dialogue>Don't eat or drink anything and come back before the last grain of sand falls through...</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY LEADING TO DINING HALL - SUNRISE</stage_direction>
<scene_description>The girl walks down a corridor with a low ceiling and a multitude of arches. Each column represents a tree with fanning branches. An elaborate mosaic pattern spreads over the floor; the ceiling fresco depicts the lunar cycle.</scene_description>
</scene>
<scene>
<stage_direction>INT. BANQUET HALL - SAME</stage_direction>
<scene_description>In the next room, a large, wooden table overflows with a cornucopia of cakes, meat, fish, liquor, exotic fruits... Light and warmth pour forth from a roaring fireplace. A PALE MAN with a gaunt, featureless face and skeletal body sits silently at the far end of the table. He's ominously still, his head hanging at an odd angle. In front of him, a small metallic plate displays two human eyeballs. It's very hot: beads of sweat roll down Ofelia's face. Her hungry stomach growls. She spots the three niches. She takes out her golden key and considers the doors. Each one clad in smooth gold, with identical locks. The wicker basket starts to shake furiously. Ofelia opens it. The Fairies fly out. They buzz around the three niches, like flies around honey. They fan their wings repeatedly, vibrating, communicating, sniffing the gold doors. Stepping back to let the Fairies investigate, Ofelia knocks over a platter of green grapes. She picks them up and puts them back on the table. One of the grapes remains on the floor. The Green Fairy stops in front of the door in the middle, announcing its decision. Ofelia goes to the door and puts the key in the lock.</scene_description>
<character>OFELIA</character>
<dialogue>No- It's this one-</dialogue>
<scene_description>-she goes to the adjoining door, sticks the key in the lock and turns it. CLACK. She opens the door and reaches through the doorway to take whatever is there. Her hand nears a package, about 16 centimeters long, wrapped in a dirty rag. Ofelia looks around: nothing has happened. All is calm. The Pale Man is immobile. Ofelia readies to exit, but then she spots a plate full of ripe grapes: so many of them!! She looks back at the eerie, sitting figure: immobile and seemingly lifeless. The Fairies warn her repeatedly, trying to prevent her from eating any grapes. But the girl sneakily picks one up and eats it. Unseen by her- The Pale Man lifts his head and grabs the two human eyeballs from the metallic plate in front of him. He introduces the eyeballs into twin stigmatas in his palms and uses his hands to look around, splaying his fingers like excited peacock feathers as he discovers- -Ofelia eating yet another grape. The Pale Man jerks toward her, in spastic, disembodied steps. He crouches like an animal ready to pounce. Ofelia turns just in time. The Pale Man roars. The Fairies fly at him and attack! Flailing his arms, the monster turns over the table, dumping all the food. Swatting and snapping, he eats two of the Fairies. They HOWL as he bites down... Ofelia runs, carrying the precious package. The Green Fairy follows her. The Pale Man comes after her.</scene_description>
</scene>
<scene>
<stage_direction>INT. LONG HALLWAY</stage_direction>
<scene_description>Ofelia gets to the end of the hallway. She pounds the blank wall where moments ago there was a door.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Ofelia's thumping is barely audible.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY LEADING TO DINING HALL</stage_direction>
<scene_description>Ofelia sees the Pale Man's silhouette coming up the hallway. Ofelia searches her pockets for the chalk. Finding it, she stands on tiptoe and traces the outline of a door! Ofelia pushes against it and opens-</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - SUNRISE</stage_direction>
<scene_description>A trapdoor in the attic floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY LEADING TO DINING HALL</stage_direction>
<scene_description>Ofelia crawls out the new exit. Her legs dangle briefly. The pale monster leaps at them, snarling. Ofelia pulls herself up and out just in time. The Green Fairy follows shortly thereafter.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - SUNRISE</stage_direction>
<scene_description>Ofelia slams the door behind her. The marks on the floor disappear and it seals itself shut. All the while, something directly below bumps violently, almost bursting through the floor. When all is calm, Ofelia sits on the bed, exhausted. The Green Fairy flutters and chirps, excitedly. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - SUNRISE</stage_direction>
<scene_description>The Doctor, Mercedes and Pedro start down the mountain.</scene_description>
<character>PEDRO</character>
<dialogue>We'll soon have reinforcements from Jaca. Fifty men or more. Then we'll go head to head with Vidal.</dialogue>
<character>DOCTOR</character>
<dialogue>And then what- ? You kill him, they'll send another just like him. And another...</dialogue>
<scene_description>LATER - RIVER BED The Doctor washes his bloody hands and his surgical instruments in the stream that runs through the mountains.</scene_description>
<character>DOCTOR</character>
<dialogue>You're screwed, no guns, no roof over your heads... You need food, medicine. You should take care of Mercedes. If you really loved her, you would cross the border with her. This is a lost cause.</dialogue>
<character>PEDRO</character>
<dialogue>I'm staying here, Doctor. There's no choice.</dialogue>
<scene_description>He moves away, towards Mercedes, who awaits him nearby. She hands him a copy of the warehouse KEY.</scene_description>
<character>MERCEDES</character>
<dialogue>Here's the key- but you can't come down now. It's exactly what he wants-</dialogue>
<scene_description>He kisses her on the cheek.</scene_description>
<character>PEDRO</character>
<dialogue>Leave it to me.</dialogue>
<character>MERCEDES</character>
<dialogue>I'm a coward.</dialogue>
<character>PEDRO</character>
<dialogue>No, you're not.</dialogue>
<character>MERCEDES</character>
<dialogue>Yes, I am- a coward for living next to that sonofabitch, making his bed, feeding him...</dialogue>
<dialogue>What if the Doctor's right and we cannot win?</dialogue>
<scene_description>Pedro looks at Mercedes, hugs her fiercely.</scene_description>
<character>PEDRO</character>
<dialogue>Well- At least we'll make things harder for that bastard.</dialogue>
<scene_description>A SONG starts up, full of good cheer.</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - BATHROOM - SUNRISE</stage_direction>
<scene_description>Once more, Vidal, shirtless, is shaving with his switchblade while listening to music on the Victrola. On the sink: his father's gold and silver watch. Vidal looks at it and then studies himself in the mirror, as if sizing up an old enemy. He places the steel blade on his own reflection and- -cuts swiftly. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. UPPER BEDROOM - DAY</stage_direction>
<scene_description>The music drifts upstairs into the Upper bedroom. Ofelia approaches her mother, who is asleep in bed, sweating profusely. She caresses her face. There is a breakfast tray on the night stand. Ofelia empties a glass of milk into a bowl and pulls the mandrake root out from under her clothing. She submerges it in the milk, then slides the bowl under the bed. She bites her finger until a small drop of blood appears. It falls into the milk... The mandrake twitches, sucking avidly at the pink liquid. The root uncoils into the floor, spiralling around the legs of the bed-frame. Ofelia hears FOOTSTEPS: somebody's coming into the bedroom. Ofelia stays down: she can see a pair of shoes. It is the Doctor. He checks Carmen's pulse and temperature.</scene_description>
<character>DOCTOR</character>
<dialogue>Captain Vidal!</dialogue>
<scene_description>Vidal paces nervously, nearby-</scene_description>
<character>DOCTOR</character>
<dialogue>Her temperature is down...</dialogue>
<character>VIDAL</character>
<dialogue>But she still has a fever?</dialogue>
<character>DOCTOR</character>
<dialogue>Yes, but it's a good sign- her body is responding.</dialogue>
<scene_description>Vidal stares at the Doctor, not a trace of emotion in his eyes.</scene_description>
<character>DOCTOR</character>
<dialogue>Listen to me. If you have to choose, save the baby. That boy will bear my name and my father's name, too.</dialogue>
<scene_description>Ofelia hears this from beneath the bed. Suddenly an explosion shakes the room. Vidal looks outside, then another explosion rattles the windows. Bits of plaster drop down from the ceiling onto the ground near Ofelia. Cursing, Vidal rushes from the bedroom. The Doctor follows</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDENS - DAY</stage_direction>
<scene_description>Vidal hurries out to the garden. The guards have come out of their tents and look at- -a colossal column of smoke and fire in the distance. Another explosion shakes the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Ofelia comes out from beneath the bed. Tentatively, she nears her mother's belly.</scene_description>
<character>OFELIA</character>
<dialogue>Brother, brother, if you can hear me...</dialogue>
<scene_description>She leans her head gently on it.</scene_description>
<character>OFELIA</character>
<dialogue>...things out here aren't too good. And soon you'll have to come out. Mom isn't doing well.</dialogue>
<scene_description>Unexpectedly, the girl tears up.</scene_description>
<character>OFELIA</character>
<dialogue>I'm asking you for one thing, just one: don't hurt her.</dialogue>
<dialogue>She's very pretty, you'll see. Even though she's sad some of the time. You'll see, when she smiles - you'll love her.</dialogue>
<dialogue>So- if you do what I say, I'll make you a Prince in my kingdom...</dialogue>
<dialogue>I promise you- a Prince...</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRAIN TRACKS IN COUNTRYSIDE - DAY</stage_direction>
<scene_description>Something has blown a large crater into the rural railroad track. Tipped into it is the smoking ruin of a locomotive. Vidal inspects a couple of charred BODIES by the wreckage.</scene_description>
<character>ENGINEER</character>
<dialogue>I sounded the whistle- but they wouldn't move. I tried to stop, but it was too late-</dialogue>
<scene_description>The long freight train has derailed in the middle of nowhere. Dozens of GUARDIAS CIVIL patrol the disaster. The engineer and the FIREMAN walk among the burned freight cars with Vidal and his men. Some GUARDIAS CIVIL ride up and dismount.</scene_description>
<character>VIDAL</character>
<dialogue>What did they steal from inside the freight cars?</dialogue>
<character>FIREMAN</character>
<dialogue>Nothing They didn't open a single one.</dialogue>
<character>VIDAL</character>
<dialogue>What the hell are you talking about?</dialogue>
<character>FIREMAN</character>
<dialogue>This whole mess- and they didn't open any of the cars. They didn't take anything.</dialogue>
<character>VIDAL</character>
<dialogue>Nothing, are you sure?</dialogue>
<character>FIREMAN</character>
<dialogue>Nothing, who the hell knows that they wanted- other than to make us waste our time.</dialogue>
<scene_description>And, just as Vidal realizes he's been tricked. The sound of DISTANT GUNFIRE reaches his ears. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - DAY</stage_direction>
<scene_description>Rain is falling as Vidal's Bentley roars to a stop in front of the mill. A gunfight is raging. Staying low, the Captain runs over to Garcés. There are several cadavers strewn on the ground. Guards have taken cover among the trees. Some bloody, wounded soldiers cower on the ground. Garcés is bleeding from a wound on his forehead.</scene_description>
<character>GARCÉS</character>
<parenthetical>(pointing)</parenthetical>
<dialogue>Captain- they came out of nowhere- They have grenades...</dialogue>
<scene_description>Vidal sees the open bodega. It has been thoroughly looted: jugs and empty crates are scattered everywhere. He takes special note of- -the open lock, hanging from the door. Serrano hurries up to him.</scene_description>
<character>SERRANO</character>
<dialogue>One group stayed behind - up on the cliff- with rifles... We've surrounded them-</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEEP FOREST - DAY</stage_direction>
<scene_description>Holding his gun, Vidal advances on foot through the dripping forest. He is accompanied by a squad of guards. GUNSHOTS. A pair of GUERRILLAS jumps out from a pile of boulders, blasting away. A guard falls down dead at Vidal's feet, three bullets in his chest. Vidal, Serrano and Garcés take cover behind a craggy outcropping. Bullets explode onto the stone. Excited, Vidal glances at his Father's watch and smiles.</scene_description>
<character>VIDAL</character>
<dialogue>C'mon, Serrano, this is the only decent way to die.</dialogue>
<scene_description>He leaps out, firing. Two bullets whiz by his head and bury themselves in a tree. Vidal keeps shooting, wounding two of the guerrillas. Garcés follows, also firing. Vidal and Garcés get to- -the boulders: kneeling there is a YOUNG GUERRILLA, panting, torn to pieces by the gunfire.</scene_description>
<character>VIDAL</character>
<dialogue>Let me see- Can you talk??</dialogue>
<scene_description>The Young Guerrilla gasps for air: a gaping wound on his neck bleeds profusely.</scene_description>
<character>VIDAL</character>
<dialogue>Pity.</dialogue>
<scene_description>He empties his pistol into the Young Guerrilla. Garcés is appalled. Vidal reloads and finishes off the second one with a shot to the temple.</scene_description>
<character>VIDAL</character>
<parenthetical>(to Serrano)</parenthetical>
<dialogue>This is useless- we need one alive- Just one-</dialogue>
<scene_description>Garcés spots something nearby. Lurking in the bushes is a WOUNDED MAN, gasping for air, wounded in the leg. His face remains hidden.</scene_description>
<character>GARCÉS</character>
<dialogue>Captain, this one's still alive. He's got a leg wound.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - LATE AFTERNOON</stage_direction>
<scene_description>Mercedes comes down the service stairs into the kitchen. She runs to the window. All the kitchen maids are there.</scene_description>
<character>MERCEDES</character>
<dialogue>What's happened?</dialogue>
<character>CONCHITA</character>
<dialogue>They took one of them- alive. And they're taking him to the storeroom.</dialogue>
<scene_description>Mercedes darts out into the rain.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - LATE AFTERNOON</stage_direction>
<character>CONCHITA</character>
<dialogue>Mercedes!</dialogue>
<scene_description>Mercedes heads toward the old bodega. She sees the guards drag a man inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODEGA - LATE AFTERNOON</stage_direction>
<scene_description>Mercedes stands, in the middle of the rain not knowing what to do- where to go- where to run- Vidal approaches her.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes?</dialogue>
<character>MERCEDES</character>
<dialogue>I-I needed to get in the bodega-</dialogue>
<character>VIDAL</character>
<dialogue>Not now, Mercedes.</dialogue>
<scene_description>A guard comes out. Mercedes can see-</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA - LATE AFTERNOON</stage_direction>
<scene_description>-the prisoner is Stutter. Stutter and Mercedes look each other in the eye- There is a mixture of relief and pity in Mercedes' eyes. A guard closes the door. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Mercedes takes the hidden knife from her apron and peels vegetables. Rapidly and mechanically. The kitchen is bustling with activity, but her mind is miles away. She picks up a dinner tray.</scene_description>
</scene>
<scene>
<stage_direction>INT. VESTIBULE- MILL - NIGHT</stage_direction>
<scene_description>She carries the tray upstairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - NIGHT</stage_direction>
<scene_description>She places the tray on the night stand. Carmen and Ofelia play card games by the light of the oil lamp. The Doctor readies Carmen daily doze of sleeping medication into a glass of water for Carmen.</scene_description>
<character>DOCTOR</character>
<dialogue>This is half the dose: only one drop-</dialogue>
<scene_description>As Ofelia comes to the bedside, a weak but conscious Carmen pushes the medicine away.</scene_description>
<character>CARMEN</character>
<dialogue>I don't think I need it. I feel better.</dialogue>
<character>DOCTOR</character>
<dialogue>I don't understand it. But I'm glad.</dialogue>
<scene_description>Ofelia smiles. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA - NIGHT</stage_direction>
<scene_description>Vidal finishes rolling a cigarette. He's standing in front of Stutter, who is tied to a concrete post.</scene_description>
<character>VIDAL</character>
<dialogue>Damn! This cigarette is good. Real good tobacco-</dialogue>
<scene_description>He offers him a puff.</scene_description>
<character>STUTTER</character>
<dialogue>F-f-f-fuck you-</dialogue>
<scene_description>Garcés enters and sets down a table and some chairs.</scene_description>
<character>VIDAL</character>
<dialogue>We catch one and he turns out to be a stutterer. Fuck! We'll be here all night.</dialogue>
<character>GARCÉS</character>
<dialogue>As long as he talks, Captain-</dialogue>
<character>VIDAL</character>
<dialogue>Garcés is right- You better tell us everything. Because, to make it happen, I brought along a few tools. Nothing fancy- Things you pick up along the way.</dialogue>
<scene_description>He goes over to a tool box and takes out a hammer, some needle-nose pliers and a leather-working blade.</scene_description>
<character>VIDAL</character>
<dialogue>At first I won't be able to trust you.. But when I use this one-</dialogue>
<scene_description>He lifts the hammer.</scene_description>
<character>VIDAL</character>
<dialogue>- you'll own up to a few things...</dialogue>
<scene_description>Next, he shows off the pliers.</scene_description>
<character>VIDAL</character>
<dialogue>When we get to this one, we'll have a closer relationship, almost like brothers. You'll see.</dialogue>
<scene_description>He picks up the blade.</scene_description>
<character>VIDAL</character>
<dialogue>And when we get to this one, I'll believe everything you tell me.</dialogue>
<scene_description>Vidal picks up the hammer.</scene_description>
<character>VIDAL</character>
<dialogue>Now- I'll make you a deal. If you can count to three without st-t-tuttering, you can go.</dialogue>
<scene_description>He approaches the shivering man, who looks around as if in search of an answer.</scene_description>
<character>VIDAL</character>
<dialogue>Don't look around, look at me. There's no</dialogue>
<dialogue>one above me.</dialogue>
<dialogue>Garcés- If I say this asshole can leave-</dialogue>
<character>GARCÉS</character>
<dialogue>Then he can leave, Captain-</dialogue>
<character>VIDAL</character>
<dialogue>So, there- count to three.</dialogue>
<scene_description>And Stutter tries- sweating- making a supreme effort-</scene_description>
<character>STUTTER</character>
<dialogue>One-</dialogue>
<character>VIDAL</character>
<dialogue>Good.</dialogue>
<scene_description>Again, Stutter struggles and manages a-</scene_description>
<character>STUTTER</character>
<dialogue>Two.</dialogue>
<character>VIDAL</character>
<dialogue>One more and you will be free.</dialogue>
<scene_description>And he goes for it. But-</scene_description>
<character>STUTTER</character>
<dialogue>T--t-t-t-</dialogue>
<scene_description>He looks up at Vidal, imploring.</scene_description>
<character>VIDAL</character>
<dialogue>Pity.</dialogue>
<scene_description>His arm is a blur as the hammer lands a terrible blow. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Thunder, lightning, it's raining again. Ofelia is asleep in her bed. A shadow passes over her body-</scene_description>
<character>FAUN</character>
<dialogue>Your mother is much better, Your Highness- You must be relieved!!</dialogue>
<scene_description>Ofelia is startled awake. The Faun looms over her.</scene_description>
<character>OFELIA</character>
<dialogue>Yes, thank you. But things haven't turned out so well.</dialogue>
<character>FAUN</character>
<dialogue>No??</dialogue>
<scene_description>She gives him the package. The Faun opens it: inside there is a long, gold dagger. It's beautiful. The blade is engraved with Celtic lettering and on the handle is the figure of a satyr hugging a girl who holds a baby.</scene_description>
<character>OFELIA</character>
<dialogue>No. I had an accident.</dialogue>
<character>FAUN</character>
<dialogue>An accident??</dialogue>
<scene_description>She hands him the Fairy basket. Out of it comes the damaged Green Fairy, who immediately perches atop his shoulder and starts chattering and pointing at the girl.</scene_description>
<character>FAUN</character>
<dialogue>You broke the rules!</dialogue>
<character>OFELIA</character>
<dialogue>It was just two grapes! I thought no one would notice-</dialogue>
<character>FAUN</character>
<dialogue>We made a mistake!!</dialogue>
<character>OFELIA</character>
<dialogue>A mistake?</dialogue>
<character>FAUN</character>
<dialogue>You failed. You can never go back.</dialogue>
<dialogue>The moon will be full in three days.</dialogue>
<dialogue>Your spirit will stay forever among humans.</dialogue>
<dialogue>You'll live among them, you'll get old like them, you'll die like them-- and your memory of us will fade.</dialogue>
<dialogue>And we'll vanish along with it!</dialogue>
<scene_description>The Faun backs into the darkest corner of the attic.</scene_description>
<character>FAUN</character>
<dialogue>You will never, ever see us again.</dialogue>
<scene_description>A flash of lightning briefly illuminates the corner: The Faun is gone. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODEGA - SUNRISE</stage_direction>
<scene_description>Vidal calmly smokes a cigarette under an umbrella. Garcés arrives with the Doctor.</scene_description>
<character>VIDAL</character>
<dialogue>Good day, Doctor. Sorry to wake you so early, but I think we need some help.</dialogue>
<scene_description>The Doctor goes inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA - MILL - SUNRISE</stage_direction>
<scene_description>The Doctor comes into the bodega. Vidal stays at the door. Stutter is curled up on the ground. His nose is flattened, one eye is bloodshot and a head wound is bleeding. Flies buzz around him.</scene_description>
<character>DOCTOR</character>
<dialogue>My God, what have you done to him?</dialogue>
<character>VIDAL</character>
<dialogue>Not much. But things are getting better.</dialogue>
<scene_description>Vidal surreptitiously removes a vial of antibiotics from the Doctor's medical bag. He wraps it in a linen handkerchief.</scene_description>
<character>VIDAL</character>
<dialogue>I like having you near, Doctor. It has its advantages.</dialogue>
<scene_description>He moves away along with Garcés.</scene_description>
<character>VIDAL</character>
<dialogue>Serrano, stay here-</dialogue>
<scene_description>Once alone, the Doctor opens up his bag and takes out some alcohol and gauze to clean the wounds.</scene_description>
<character>STUTTER</character>
<dialogue>I spoke. Not much- b-b-but I did-</dialogue>
<scene_description>The Doctor sees the man's hand: it's a mess of broken bones and lacerations.</scene_description>
<character>DOCTOR</character>
<dialogue>I'm sorry-</dialogue>
<scene_description>He glances at Serrano, outside smoking a cigarette.</scene_description>
<character>STUTTER</character>
<dialogue>No... Kill me, kill me now.</dialogue>
<scene_description>The Doctor looks him in the eye, unsurprised.</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - DAWN</stage_direction>
<scene_description>Vidal brings out the packet of medicine from the cave. He takes out a vial of antibiotics and compares it with the one from the Doctor's bag. They are identical.</scene_description>
<character>VIDAL</character>
<dialogue>Son of a bitch-</dialogue>
</scene>
<scene>
<stage_direction>INT. BODEGA - SUNRISE</stage_direction>
<scene_description>The Doctor prepares an injection.</scene_description>
<character>DOCTOR</character>
<parenthetical>(to Stutter, in a whisper)</parenthetical>
<dialogue>It will be over soon.</dialogue>
<scene_description>Stutter gratefully squeezes his hand. After a brief hesitation, the Doctor administers the injection. The men stare at one another. Slowly, the life ebbs from Stutter's eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILL VESTIBULE - SAME</stage_direction>
<scene_description>Vidal briskly leaves his study. Hearing a door click shut somewhere above- he stops-</scene_description>
<character>VIDAL</character>
<parenthetical>(to Garcés)</parenthetical>
<dialogue>Go check on Doctor Ferreiro. I'll be there soon.</dialogue>
<character>GARCÉS</character>
<dialogue>Yes, Captain.</dialogue>
<scene_description>Vidal goes upstairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM</stage_direction>
<scene_description>Ofelia is crawling under the bed- There she finds the mandrake root, bloated and immobile.</scene_description>
<character>OFELIA</character>
<dialogue>You're not moving- are you ill?</dialogue>
<scene_description>Suddenly, Vidal yanks her out from under the bed. BEDROOM - CONTINUOUS</scene_description>
<character>VIDAL</character>
<dialogue>What the hell are you doing down there?</dialogue>
<scene_description>Vidal looks underneath the dust ruffle-</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODEGA - DAY</stage_direction>
<scene_description>Garcés walks to the bodega. Serrano snuffs out his cigarette.</scene_description>
<character>GARCÉS</character>
<dialogue>Where is he? Call him out here-</dialogue>
<character>SERRANO</character>
<dialogue>Who?</dialogue>
<character>GARCÉS</character>
<dialogue>Who do you think, you idiot? Ferreiro!</dialogue>
<scene_description>He pushes Serrano aside, enters the bodega-</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA - SAME</stage_direction>
<scene_description>The Doctor holds the dying Stutter in his arms. Garcés sees- -the syringe in his hands. He understands immediately.</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - DAY</stage_direction>
<scene_description>VIDAL drags out the mandrake root from under the bed. Its foul smell makes him wince.</scene_description>
<character>VIDAL</character>
<dialogue>What the hell is this?</dialogue>
<scene_description>He rips it off the milk plate.</scene_description>
<character>OFELIA</character>
<dialogue>No! Nooo!</dialogue>
<scene_description>Vidal is about to hit the girl when-</scene_description>
<character>CARMEN</character>
<dialogue>Please, leave her be!</dialogue>
<scene_description>Vidal turns: Carmen has awakened. She motions for him to stop.</scene_description>
<character>VIDAL</character>
<dialogue>Look what she hid under your bed?! What do you think of this?</dialogue>
<scene_description>He hands Carmen the mandrake root. Ashen-faced and weak, Carmen looks at the disgusting thing, trying to make sense of it.</scene_description>
<character>CARMEN</character>
<dialogue>Ofelia, what is this doing under the bed?</dialogue>
<character>OFELIA</character>
<parenthetical>(matter of fact)</parenthetical>
<dialogue>It's a magic root the Faun gave me!</dialogue>
<character>VIDAL</character>
<dialogue>This is all because of that junk you let her read. Look what you've done-</dialogue>
<character>CARMEN</character>
<dialogue>Leave us alone, I'll speak to her, Darling...</dialogue>
<character>VIDAL</character>
<dialogue>As you wish.</dialogue>
<scene_description>Vidal, furious, leaves the room.</scene_description>
<character>OFELIA</character>
<dialogue>The Faun told me you would get better - and you did!</dialogue>
<character>CARMEN</character>
<dialogue>You have to listen to your father. You</dialogue>
<dialogue>have to stop all this.</dialogue>
<scene_description>Ofelia hugs her mother with all her might.</scene_description>
<character>OFELIA</character>
<dialogue>No- I want to leave this place! Please, let's just go -</dialogue>
<character>CARMEN</character>
<dialogue>Things are not that simple.</dialogue>
<scene_description>Carmen pries her off and looks her in the eye.</scene_description>
<character>CARMEN</character>
<dialogue>As you get older, you'll see that life isn't like your fairy tales. The world is a cruel place.</dialogue>
<scene_description>She moves away and near the open chimney. The firelight cast shadows over her sweaty face.</scene_description>
<character>CARMEN</character>
<dialogue>And you'll learn that, even if it hurts.</dialogue>
<scene_description>She throws the root into the fire!!</scene_description>
<character>OFELIA</character>
<dialogue>Noooo!!</dialogue>
<character>CARMEN</character>
<dialogue>Ofelia!! Magic does not exist!</dialogue>
<scene_description>She grabs the girl by the shoulders, shaking her.</scene_description>
<character>CARMEN</character>
<dialogue>Not for you, me or anyone else!</dialogue>
<scene_description>Then- a horrible, inhuman squeal. The dying shriek of the mandrake!!! Ofelia watches in horror as the humanoid root writhes and squeals in the chimney flames!!! Carmen gasps and doubles over in pain, clutching her stomach. Ofelia holds her as best as she can.</scene_description>
<character>OFELIA</character>
<dialogue>Help, help, help!</dialogue>
</scene>
<scene>
<stage_direction>INT. BODEGA - SAME</stage_direction>
<scene_description>The Ddoctor and Vidal study each other.</scene_description>
<character>VIDAL</character>
<dialogue>Why did you do it?</dialogue>
<character>DOCTOR</character>
<dialogue>It was the only thing I could do.</dialogue>
<character>VIDAL</character>
<dialogue>No. You could have obeyed me?</dialogue>
<character>DOCTOR</character>
<dialogue>I could have. But I did not.</dialogue>
<scene_description>From somewhere in the house, someone CRIES OUT. They hear a commotion among the servants. The Doctor stands up and collects his bag.</scene_description>
<character>VIDAL</character>
<dialogue>But it would have been better for you-</dialogue>
<scene_description>Vidal grips his arm, stopping him.</scene_description>
<character>VIDAL</character>
<dialogue>I don't understand- Why didn't you obey me??</dialogue>
<scene_description>A long beat. The Doctor knows that his response will seal his fate.</scene_description>
<character>DOCTOR</character>
<dialogue>To obey without thinking- just like that-</dialogue>
<dialogue>Well- that's something only people like you can do- Captain-</dialogue>
<scene_description>Vidal takes out his gun and shoots the Doctor, who drops to the ground. Vidal stands over him and finishes him off. A stunned Garcés looks on. It begins to rain. Jacinta and Conchita approach Vidal- an urgent murmur.</scene_description>
<character>VIDAL</character>
<dialogue>Garcés!! Have the troop paramedic come to my wife's room right away!!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY MILL - LATE AFTERNOON</stage_direction>
<scene_description>A stream of servants hustles up and down the stairs with steaming basins and clean towels. Some go in and out of the bedroom. The SOUND of Carmen's screams. Vidal and Ofelia wait impatiently outside the bedroom. Beyond the half-open door: chaos. Mercedes washes her bloody hands in a wash basin. Ofelia listens to her mother's cries. Carmen's screams stop, replaced by a NEWBORN'S CRY. The PARAMEDIC walks towards Vidal and whispers-</scene_description>
<character>PARAMEDIC</character>
<dialogue>Your wife- is dead-</dialogue>
<scene_description>Vidal hurries into the room. Ofelia is now alone in the corridor. There's no one around. She hears the crying infant in her mother's bedroom. A PRIEST's eulogy can be heard. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY ON A HILL - LATE AFTERNOON</stage_direction>
<scene_description>A beautiful afternoon: the sun is shining, the sky is clear. Gathered around a grave are the Mayor, his wife, the Priest, all THE SERVANTS FROM THE MILL, the guards and Vidal in a civilian black dress suit, with his newborn son in his arms. Ofelia weeps silently. Mercedes puts her hand on Ofelia's shoulder. They lower the coffin into the grave.</scene_description>
</scene>
<scene>
<stage_direction>INT. NORTH BEDROOM - DAY</stage_direction>
<scene_description>Ofelia closes the trunk that held her mother's dresses. She puts away her mother's make-up, letters and photographs. Various medicines and the bottle of sleeping drops are on the night stand. She puts everything into a small suitcase. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - NIGHT</stage_direction>
<scene_description>Vidal wipes a record with his shirt sleeve. He places it on the Victrola. Mercedes lays the sleeping baby in a simple wooden cradle.</scene_description>
<character>VIDAL</character>
<dialogue>You knew the Doctor well, didn't you Mercedes?</dialogue>
<character>MERCEDES</character>
<dialogue>We all knew him, sir. Everyone around here.</dialogue>
<character>VIDAL</character>
<dialogue>The stutterer spoke of an informant here- inside the mill. Can you imagine that? Right under my nose.</dialogue>
<scene_description>Vidal places the needle on the record.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes, please.</dialogue>
<scene_description>He points at an empty seat in front of his desk. The music starts up.</scene_description>
<character>VIDAL</character>
<dialogue>What must you think of me, my dear young woman? You must think I'm a monster.</dialogue>
<character>MERCEDES</character>
<dialogue>What someone like me thinks of you- hardly matters, Sir-</dialogue>
<scene_description>He pours himself a glass of Orujo and pours one for her as well.</scene_description>
<character>VIDAL</character>
<dialogue>Would you go to the bodega, Mercedes? And bring me another bottle of liquor. Please.</dialogue>
<scene_description>He glances at the bottle: a quarter of the liquor still remains.</scene_description>
<character>MERCEDES</character>
<dialogue>Yes, sir- right away.</dialogue>
<character>VIDAL</character>
<dialogue>Aren't you forgetting something?</dialogue>
<character>MERCEDES</character>
<dialogue>Sir?</dialogue>
<character>VIDAL</character>
<dialogue>The key. I have the only copy, don't I?</dialogue>
<character>MERCEDES</character>
<dialogue>Y-yes.</dialogue>
<character>VIDAL</character>
<dialogue>You know? Something's bothering me. It's not important, a tiny detail- but the day they broke into the storehouse, with all those grenades and explosives, the lock itself was never forced.</dialogue>
<dialogue>But as I said- It's probably not important.</dialogue>
<scene_description>He gives her the key and hovers dangerously.</scene_description>
<character>VIDAL</character>
<dialogue>Be very careful.</dialogue>
<character>MERCEDES</character>
<dialogue>Good night, sir.</dialogue>
<scene_description>Vidal watches her leave as he sips his liquor.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>The music from Vidal's study carries into the kitchen. Mercedes pries up the loose floor tile and fills her canvas bag with letters and groceries. She hears a noise, and stops: nothing... She hurriedly keeps packing.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Ofelia, sound asleep. A shadow looms over her. She wakes up-</scene_description>
<character>MERCEDES</character>
<dialogue>Shh. Ofelia- I'm leaving tonight.</dialogue>
<character>OFELIA</character>
<dialogue>Where are you going?</dialogue>
<character>MERCEDES</character>
<dialogue>I can't tell you.</dialogue>
<scene_description>Ofelia puts her arms around her neck.</scene_description>
<character>OFELIA</character>
<dialogue>Take me with you, please.</dialogue>
<character>MERCEDES</character>
<dialogue>I can't, my child-</dialogue>
<character>OFELIA</character>
<dialogue>Take me with you.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - NIGHT</stage_direction>
<scene_description>Ofelia and Mercedes cautiously move away from the mill. Mercedes uses an old umbrella to shelter the girl from the rain.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVER BED - NIGHT</stage_direction>
<scene_description>The two women wade the shallow end of the river. Suddenly a noise- Mercedes pauses, agitated.</scene_description>
<character>MERCEDES</character>
<dialogue>I heard something-</dialogue>
<scene_description>She listens intently.</scene_description>
<character>MERCEDES</character>
<dialogue>Nothing- It was nothing.</dialogue>
<scene_description>When she turns, she's surprised to discover- Vidal, Serrano and half a dozen men surrounding them. Vidal nods at them, gentlemanly.</scene_description>
<character>VIDAL</character>
<dialogue>Mercedes-</dialogue>
<scene_description>Then he gazes down at his stepdaughter.</scene_description>
<character>VIDAL</character>
<dialogue>Ofelia...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Vidal pushes Ofelia into the attic.</scene_description>
<character>VIDAL</character>
<dialogue>How long have you known about her?? Uh??</dialogue>
<scene_description>He slaps the girl- twice.</scene_description>
<character>VIDAL</character>
<dialogue>How you must have laughed at me, you little bitch!!</dialogue>
<scene_description>He turns to his men, awaiting orders by the door.</scene_description>
<character>VIDAL</character>
<dialogue>Lock the door-</dialogue>
<character>-</character>
<dialogue>Keep an eye on her and if anyone tries to get in, kill her first.</dialogue>
<scene_description>He exits. Leaving the weeping girl alone in the enormous attic.</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA - DAY</stage_direction>
<scene_description>Vidal takes the canvas bag from Mercedes. He opens it and brings out a few meager items.</scene_description>
<character>VIDAL</character>
<dialogue>Dry meat- Tobacco - if you had asked for it, I would have given it to you, Mercedes-</dialogue>
<scene_description>Then, a small packet of letters.</scene_description>
<character>VIDAL</character>
<dialogue>I want the names of anyone named in these letters and I want them in front of me- first thing in the morning.</dialogue>
<character>GARCÉS</character>
<dialogue>Yes, Sir!</dialogue>
<scene_description>Garcés nods he finishes roping Mercedes to the exact same wooden post where Stutter was tied.</scene_description>
<character>VIDAL</character>
<dialogue>You can leave, Garcés.</dialogue>
<character>GARCÉS</character>
<dialogue>You're sure, Captain?</dialogue>
<character>VIDAL</character>
<dialogue>For God's sake, she's just a woman.</dialogue>
<scene_description>Garcés leers and leaves.</scene_description>
<character>MERCEDES</character>
<dialogue>That's what you always thought. That's why I was able to get away with it. I was invisible to you.</dialogue>
<scene_description>Vidal rolls up his sleeves and unbuttons his shirt collar.</scene_description>
<character>VIDAL</character>
<dialogue>Damn. You found my weakness: arrogance. How perceptive.</dialogue>
<dialogue>But we're here to find your weak points.</dialogue>
<scene_description>Vidal busies himself with his tools: the hammer, pliers, etc.</scene_description>
<character>VIDAL</character>
<dialogue>It's very simple: you will talk... and I have to know that everything you say is the truth.</dialogue>
<scene_description>Straining against the ropes, Mercedes manages reach the knife in her apron.</scene_description>
<character>VIDAL</character>
<dialogue>At first, I won't be able to trust-</dialogue>
<scene_description>Suddenly- WHACK!!! Vidal's body shudders- -he puts his hand to his left shoulder blade. He looks at his bloody fingers. He turns around and stumbles. Mercedes holds the knife. Vidal reaches for his gun. Mercedes stabs him again, this time deep in his upper arm. As Vidal doubles over in pain, she sticks the knife in his mouth.</scene_description>
<character>MERCEDES</character>
<dialogue>At first, I won't be able to trust- I'm not some old man -! Not a wounded prisoner- ! Sonofabitch- sonofabitch- Don't you dare touch the girl... You won't be the first pig I've gutted -!</dialogue>
<scene_description>With a brutal thrust - from the inside out - she slices open his cheek. Vidal collapses, gurgling blood. Mercedes uses the knife to cut the ropes as quick as she can. Once free, Mercedes runs toward the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODEGA - NIGHT</stage_direction>
<scene_description>Outside, no one has any idea of what has just happened. Garcés, Serrano and other guards go about their business. Garcés, in fact, is listening to a radio, tuned to the NATIONAL LOTTERY results. He holds in his hand the Guerrilla's abandoned ticket.</scene_description>
<character>RADIO ANNOUNCER</character>
<dialogue>... the winning numbers are...</dialogue>
<scene_description>Mercedes, surreptitious, moves away into the woods. Serrano spots her at the last minute.</scene_description>
<character>SERRANO</character>
<parenthetical>(to Garcés)</parenthetical>
<dialogue>He let her go!</dialogue>
<character>GARCÉS</character>
<dialogue>Shh-</dialogue>
<scene_description>He listens to the radio and finally, grunting crumples the lottery ticket and moves towards Serrano.</scene_description>
<character>GARCÉS</character>
<dialogue>What the fuck are you talking about??</dialogue>
<scene_description>Serrano points at Mercedes, already halfway into the woods.</scene_description>
<character>GARCÉS</character>
<dialogue>Hey!!</dialogue>
<scene_description>She starts to run. Garcés pulls out his gun and readies it. Vidal stumbles out of the bodega, bleeding and covering his face with his right hand.</scene_description>
<character>VIDAL</character>
<parenthetical>(to Garcés)</parenthetical>
<dialogue>Get her!!!</dialogue>
<scene_description>Garcés is shocked- an injured Vidal???</scene_description>
<character>GARCÉS</character>
<dialogue>Captain! What-??</dialogue>
<character>VIDAL</character>
<dialogue>Bring her to me, Goddamit!!!</dialogue>
<scene_description>He uncovers his slashed face. Garcés, startled runs to comply.</scene_description>
<character>GARCÉS</character>
<parenthetical>(to all men)</parenthetical>
<dialogue>Mount up!!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEEP FOREST - NIGHT</stage_direction>
<scene_description>Mercedes runs through the trees. Suddenly a rumble makes her turn around: A group of TEN MEN on horses surges into view. She stumbles, losing ground. Mercedes gets up, limping now- She gets to a clearing. Closing in, Garcés dismounts. Six other riders surround her. Mercedes flashes her knife. The horsemen tighten the circle around her.</scene_description>
<character>GARCÉS</character>
<dialogue>It'll be better if you come without struggling. The Captain-</dialogue>
<scene_description>She puts the blade to her own throat.</scene_description>
<character>GARCÉS</character>
<dialogue>Don't be foolish, sweetheart, if anyone is going to kill you-</dialogue>
<scene_description>He takes out his gun.</scene_description>
<character>GARCÉS</character>
<dialogue>It'll be me-</dialogue>
<scene_description>He walks up to her. Suddenly, a gunshot hits him in the chest, and then another and another. He falls to the ground, dead. A series of gunshots pick off the other horsemen. The last three soldiers try to escape. One is killed by a furious hail of bullets; Serrano and another one manage to get away. A blood-spattered Mercedes sees men emerging from the forest: Pedro now leads FORTY ARMED GUERRILLAS. Brother and sister embrace. The Guerillas finish off the injured soldiers on the ground. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Ofelia lies on the floor, motionless, defeated, when the Green Fairy appears. Ofelia sits up, and the Faun is there.</scene_description>
<character>FAUN</character>
<dialogue>I've decided to give you one last chance.</dialogue>
<scene_description>Mesmerized, Ofelia nods.</scene_description>
<character>FAUN</character>
<dialogue>You promise to listen, to do everything I tell you? Without question?</dialogue>
<scene_description>Ofelia nods again.</scene_description>
<character>FAUN</character>
<dialogue>Very well, then: Pick up your brother and bring him to the labyrinth- as fast as you can. Your Highness...</dialogue>
<character>OFELIA</character>
<dialogue>My brother?</dialogue>
<character>FAUN</character>
<dialogue>We need him.</dialogue>
<character>OFELIA</character>
<dialogue>Why-</dialogue>
<character>FAUN</character>
<parenthetical>(irritated)</parenthetical>
<dialogue>No more questions.</dialogue>
<character>OFELIA</character>
<dialogue>The door's locked.</dialogue>
<scene_description>The Faun gives her piece of chalk.</scene_description>
<character>FAUN</character>
<dialogue>Then, create your own door.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - NIGHTFALL</stage_direction>
<scene_description>Serrano and the injured soldier return to the mill.</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - NIGHT</stage_direction>
<scene_description>Vidal sews his split cheek and then wraps a blood-stained bandage around it. Ofelia steals in, past the Captain's desk. In the cradle, the baby starts crying. The baby's wails grow louder. The Captain turns around; Ofelia hides but leaves her magic chalk behind. Vidal goes to a small table and serves himself the last of the Orujo. He's takes a sip. The bandage soaks up in blood and alcohol. He grunts- -and pours himself another one. He's about to take a sip when he sees the chalk on his desk. He instinctively readies his gun... Then-</scene_description>
<character>SERGEANT</character>
<dialogue>Captain- Captain- Please come, quickly-</dialogue>
<character>VIDAL</character>
<dialogue>Now what?</dialogue>
<character>SERGEANT</character>
<dialogue>Serrano is back. He's wounded.</dialogue>
<character>VIDAL</character>
<dialogue>Wounded?</dialogue>
<scene_description>He leaves the study. Ofelia comes out from hiding and looks at the cradle, at the crying infant. She takes out her mother's bottle of sleeping medicine and empties it into Vidal's liquor.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILL - NIGHT</stage_direction>
<scene_description>A dozen men gather around the WOUNDED GUARD.</scene_description>
<character>VIDAL</character>
<dialogue>What happened?? Where is Garcés??</dialogue>
<scene_description>Serrano shakes his head.</scene_description>
<character>VIDAL</character>
<dialogue>How many were there?</dialogue>
<character>WOUNDED GUARD</character>
<dialogue>I don't know, sir. The shots came from all around us. Fifty- at least-</dialogue>
<character>SERGEANT</character>
<dialogue>None of the watch posts are responding, Sir-</dialogue>
<character>VIDAL</character>
<dialogue>How many men here in camp?</dialogue>
<character>SERRANO</character>
<dialogue>Twenty, maybe less, sir-</dialogue>
<scene_description>Vidal does the math.</scene_description>
</scene>
<scene>
<stage_direction>INT. VIDAL'S STUDY - NIGHT</stage_direction>
<scene_description>Ofelia lifts her brother from the cradle.</scene_description>
<character>OFELIA</character>
<dialogue>We're leaving. Together. Don't be afraid. Nothing is going to happen to you.</dialogue>
<scene_description>She wraps him in a blanket and tries to soothe him. Halfway to the door, she hears footsteps and hides in a nook.</scene_description>
<character>VIDAL</character>
<dialogue>Put the remaining men on picket duty at the tree line- when another squad gets back, have it report immediately to me.</dialogue>
<scene_description>Vidal comes back in, followed by the Sergeant.</scene_description>
<character>VIDAL</character>
<dialogue>Call for reinforcements.</dialogue>
<character>SERGEANT</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>The Sergeant leaves, Vidal goes to his drink. But he stops to pick up his gold and silver watch; he winds it and slips it into his pocket. Finally, he drinks his Orujo. In the shadows, Ofelia takes a few steps towards the door. Outside, the sound of SHOUTING and GUNFIRE. An explosion illuminates the room, revealing Ofelia and the baby to Vidal. Vidal takes out his gun and takes a few faltering steps.</scene_description>
<character>VIDAL</character>
<dialogue>Put him down-</dialogue>
<scene_description>The girl edges toward the study door. Vidal stumbles toward her. Outside, a terrible explosion shatters the window and shakes the whole house.</scene_description>
<character>VIDAL</character>
<dialogue>I'm warning you- put him down-</dialogue>
<scene_description>He trips on his desk, barely staying on his feet. Ofelia runs away. Vidal tries to shake himself awake and goes after her.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILL VESTIBULE - NIGHT</stage_direction>
<scene_description>The girl runs toward the kitchen. Another explosion lights up the room, allowing Vidal to see her. He heads straight at her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEHIND THE MILL - NIGHT</stage_direction>
<scene_description>Ofelia runs outside, holding her brother. She looks up. The moon is FULL. She runs toward the labyrinth. Vidal staggers out behind her. In the background, more explosions, flames and bursts of fire. A battle rages in the forest. Some bullets whiz past Vidal, but he keeps going. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY TO ATTIC</stage_direction>
<scene_description>Mercedes walks up the attic stairs, followed by Pedro and a few of his men.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>She finds the attic empty. On a wall there is a child's chalk drawing of a doorway. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - NIGHT</stage_direction>
<scene_description>Ofelia dashes into the labyrinth. Vidal is not far behind. The sleeping medicine makes him stumble and falter. He slumps against a wall. Ofelia gains on him. But right away, she loses her way, but the leafy walls move aside to guide her-! -first one, then another- -and yet another. Vidal, meanwhile, bumps into obstacles at every turn. Head spinning, he pauses.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROTUNDA IN CENTER OF LABYRINTH - NIGHT</stage_direction>
<scene_description>Reaching the rotunda, Ofelia sees the Faun waiting, halfway up the stone staircase. Ofelia calms the baby and starts down the stairs toward him.</scene_description>
<character>FAUN</character>
<dialogue>Quickly, Your Majesty, give him to me. The full moon is almost here and we need him to open the portal.</dialogue>
<character>OFELIA</character>
<parenthetical>(seeing something)</parenthetical>
<dialogue>What's that in your hand?</dialogue>
<scene_description>It's the golden dagger.</scene_description>
<character>FAUN</character>
<dialogue>The portal will only open if we shed the blood of an innocent. A pin prick- That's all. Just a drop of blood-</dialogue>
<dialogue>It's the last task!! Hurry!!</dialogue>
<scene_description>The basket shakes furiously. The Green Fairy escapes and buzzes furiously around Ofelia.</scene_description>
<character>FAUN</character>
<dialogue>You promised to do it, so give me the boy. I want to leave this place, I can't wait any longer!</dialogue>
<scene_description>The Faun comes closer to the girl. His face radiates a wicked hunger. She steps back, horrified.</scene_description>
<character>OFELIA</character>
<dialogue>No. My brother stays with me.</dialogue>
<character>FAUN</character>
<dialogue>You would give up your sacred rights for this brat?</dialogue>
<character>OFELIA</character>
<dialogue>Yes, I would.</dialogue>
<character>FAUN</character>
<dialogue>You will give up your throne for him? He who has caused you such misery, such humiliation?</dialogue>
<scene_description>Vidal comes into the rotunda. He sees Ofelia, alone. He can't see the Faun. With enormous effort, Vidal lifts his gun.</scene_description>
<character>OFELIA</character>
<dialogue>I will.</dialogue>
<character>FAUN</character>
<dialogue>As you wish- Your Highness-</dialogue>
<scene_description>As he recedes into the darkness, Vidal shoots. The bullet hits Ofelia in the stomach. She falls gently to the ground, at the edge of the well, clutching her baby brother. The book lands next to her. Vidal picks up the infant. Ofelia reaches out for help, tears in her eyes. Vidal ignores her, spits on the ground and leaves. CAMERA closes in on Ofelia's face. A ribbon of blood streams from her nose.</scene_description>
</scene>
<scene>
<stage_direction>INT. LABYRINTH - NIGHT</stage_direction>
<scene_description>Vidal runs down the last path of the labyrinth, leading to the exit-</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - NIGHT</stage_direction>
<scene_description>-where Pedro and his men are waiting. In their midst: Mercedes. With a loud bang- gunshots tear into Vidal. Vidal falls to his knees, hoisting his howling son in the air.</scene_description>
<character>VIDAL</character>
<dialogue>My son-</dialogue>
<scene_description>Mercedes walks forward. Vidal and Mercedes look at each other.</scene_description>
<character>VIDAL</character>
<dialogue>Tell him about his father- About the time his father died-</dialogue>
<scene_description>Mercedes takes the baby in her arms. Vidal understands the situation. He takes out his pocket watch and smashes it on the ground.</scene_description>
<character>VIDAL</character>
<dialogue>Tell him-</dialogue>
<character>MERCEDES</character>
<dialogue>No-</dialogue>
<scene_description>Pedro steps over to Vidal, gun in his hand.</scene_description>
<character>MERCEDES</character>
<parenthetical>(to Vidal)</parenthetical>
<dialogue>He won't even know your name.</dialogue>
<scene_description>Mercedes' words are Vidal's last and most painful wound. His face goes pale- - and Pedro shoots him in the head. Vidal collapses, dead.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROTUNDA IN CENTER OF LABYRINTH</stage_direction>
<scene_description>Mercedes and Pedro reach the rotunda. Mercedes kneels next to the dying girl. Crying, Mercedes hums a sweet Galician lullaby. Ofelia's pupils dilate. Her blood runs down into the well, into the puddle at the bottom. The moon's reflection shimmers. In the book, an image takes shape: Ofelia at a royal court, in front of a fabulous banquet.</scene_description>
<character>KING/FATHER (O.S.)</character>
<dialogue>Arise, my daughter.</dialogue>
</scene>
<scene>
<stage_direction>INT. VAST HALL - NIGHT</stage_direction>
<scene_description>Ofelia stands. The labyrinth has disappeared. This is an immense hall, in a dark, sumptuous castle. A swarm of fairies floats around her head. Before her, on a golden throne sits the KING OF THE UNDERWORLD. At his side, an almost unrecognizable Carmen - radiant and gilded, she has transformed into a FAIRY QUEEN. Between them, there is another throne, empty, waiting. Ofelia looks at the King-</scene_description>
<character>OFELIA</character>
<parenthetical>(a whisper)</parenthetical>
<dialogue>Father...</dialogue>
<character>KING</character>
<dialogue>It was your blood and not that of an innocent that made you worthy of the throne. It was the last task. The most important one...</dialogue>
<scene_description>And out from behind a pillar comes out the Faun. Smiling, surrounded by the Fairies.</scene_description>
<character>FAUN</character>
<dialogue>And you chose well, Your Highness...</dialogue>
<scene_description>He bows down.</scene_description>
<character>QUEEN</character>
<dialogue>So, come sit by your Father's side, my child? He's been waiting so long.</dialogue>
<scene_description>The Green Fairy flies around Ofelia, celebrating her return. Ofelia is cheered by a hundred voices. Ofelia smiles-</scene_description>
</scene>
<scene>
<stage_direction>INT. LABYRINTH - NIGHT</stage_direction>
<scene_description>- and finally dies. In her eye: one frozen tear. Mercedes hugs the dead girl. CAMERA dollies back. The moon is reflected at the bottom of the pool. Buzzing in the night air is the Stick Insect.</scene_description>
<character>NARRATOR</character>
<dialogue>And it is said that the Princess went back to her father's kingdom-</dialogue>
<dialogue>And that she reigned with justice and a kind heart for many centuries. And that she was loved by all her subjects...</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDGE OF FOREST - SUNRISE</stage_direction>
<scene_description>The sunlight emanates gradually from the darkness and shines on the silhouette of the fallen fig tree.</scene_description>
<character>NARRATOR</character>
<dialogue>And, like most of us, she left behind small traces of her time on earth.</dialogue>
<dialogue>Visible only to those that know where to look...</dialogue>
<scene_description>The fig tree is flowering again. FADE TO BLACK.:</scene_description>
</scene>
</script> | In a fairy tale, Princess Moanna, whose father is the king of the underworld, visits the human world, where the sunlight blinds her and erases her memory. She becomes mortal and eventually dies. The king believes that eventually, her spirit will return to the underworld, so he builds labyrinths, which act as portals, around the world in preparation for her return. In 1944 Francoist Spain, ten-year-old Ofelia travels with her pregnant mother Carmen to meet Captain Vidal, her new stepfather. Vidal believes strongly in Falangism and has been assigned to hunt down republican rebels. A large stick insect, which Ofelia believes to be a fairy, leads Ofelia into an ancient stone labyrinth, but she is stopped by Vidal's housekeeper Mercedes, who is secretly supporting her brother Pedro and other rebels. That night, the insect appears in Ofelia's bedroom, where it transforms into a fairy and leads her through the labyrinth. There, she meets a faun, who believes she is the reincarnation of Princess Moanna. He gives her a book and tells her she will find in it three tasks to complete in order for her to acquire immortality and return to her kingdom. Ofelia completes the first task — retrieving a key from the belly of a giant toad — but becomes worried about her mother, whose condition is worsening. The faun gives Ofelia a mandrake root, instructing her to keep it under Carmen's bed and regularly supply it with blood, which seems to ease Carmen's illness. Accompanied by three fairy guides and equipped with a piece of magic chalk, Ofelia then completes the second task — retrieving a dagger from the lair of the Pale Man, a child-eating monster. Warned not to consume anything there, she eats two grapes, awakening the Pale Man. He devours two of the fairies and chases Ofelia, but she manages to escape. Infuriated at her disobedience, the faun refuses to give Ofelia the third task. During this time, Ofelia becomes aware of Vidal's ruthlessness in the course of hunting down the rebels. After killing two local farmers, Vidal interrogates and tortures a captive rebel. He asks Doctor Ferreiro to tend to the captive, whom Ferreiro then euthanises at the rebel's own urging. Realising that Ferreiro is a rebel collaborator, Vidal kills him. Vidal later catches Ofelia tending to the mandrake root, which he considers delusional. Carmen agrees and throws the root into the fire. She immediately develops painful contractions and dies giving birth to Vidal's son. A discovered spy, Mercedes tries to escape with Ofelia, but they are caught. Ofelia is locked in her bedroom, while Mercedes is taken to be interrogated. Mercedes frees herself, and stabs Vidal non-lethally in her escape to re-join the rebels. The faun, having changed his mind about giving Ofelia a chance to perform the third task, returns and tells her to bring her newborn brother into the labyrinth to complete it. Ofelia retrieves the baby and flees into the labyrinth. Vidal pursues her as the rebels launch an attack on the outpost. Ofelia meets the faun at the centre of the labyrinth. The faun suggests drawing a small amount of the baby's blood, as completing the third task and opening the portal to the underworld requires the blood of an innocent, but Ofelia refuses to harm her brother. Vidal finds her talking to the faun, whom he cannot see. The faun leaves, and Vidal takes the baby from Ofelia's arms before shooting her. Vidal returns to the labyrinth's entrance, where he is surrounded by rebels, including Mercedes and Pedro. Knowing that he will be killed, he hands the baby to Mercedes, asking that his son be told the time of his father's death. Mercedes replies that his son will not even know his name, before Pedro shoots Vidal dead. Mercedes enters the labyrinth and comforts a dying Ofelia. Drops of Ofelia's blood fall down the centre of the spiral stone staircase onto an altar. Ofelia, well dressed and uninjured, then appears in a golden throne room. The King of the underworld tells her that, by choosing to spill her own blood rather than that of another, she passed the final test. The faun praises Ofelia for her choice, addressing her as "Your Highness". The Queen of the underworld, her mother, invites Ofelia to sit next to her father and rule at his side. Back in the stone labyrinth, Ofelia smiles as she dies. The epilogue completes the tale of Princess Moanna, stating that she returned to the Underworld, ruled with kindness and justice for many centuries, and left little traces of her time in the human realm, "visible only to those who know where to look." |
Wild Wild West_1999 | tt0120891 | <script>
<scene>
<character>MORTON</character>
<parenthetical>( mumbling . )</parenthetical>
<dialogue>Madman. Hideous spider. Run. Run! Warn the President. Morton zig - zags through a grove of trees, a desperate attempt to avoid the horrible serrated disc. But the ruse is futile. The disc goes straight through the trees, slicing a path straight as the crow flies. NEW ANGLE - OLD WAGON dilapidated, broken down, weathering away in the field. Morton runs around the wagon - but the DISC BUZZES straight through the sideboards! Wood shavings spit everywhere! There's no stopping this thing. NEW ANGLE - MORTON running for his life - stops, turns. He turns, incomprehensibly mumbling, pleading for his life, cowering.</dialogue>
<character>MORTON</character>
<dialogue>Noooooooo! And the DISC SWOOSHES TOWARD the CAMERA - BZZZZZZZ! CUT TO : BLACK DISSOLVE TO : NIGHT SKY FULL OF STARS - LOW ANGLE A man leans INTO FRAME. This is GENERAL McGRATH. And he's there to collect the silver death disc.</dialogue>
<character>McGRATH</character>
<parenthetical>( to the unseen , dead Morton . )</parenthetical>
<dialogue>And they says you scientists are supposed to be smart.</dialogue>
</scene>
<scene />
<scene>
<stage_direction>EXT. WATER TOWER - NIGHT</stage_direction>
<character>SALOON GIRL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>The legendary Captain James West and I finally got him all to myself.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>That's right, sugar, and you should feel free to treat him just bad. She moves in and kisses him, long and hard. West hears the CLATTER of the APPROACHING WAGONS. He stops the kiss and peeks out the knothole.</dialogue>
</scene>
<scene />
<scene>
<stage_direction>INT. WATER TOWER - NIGHT</stage_direction>
<character>WEST</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>General McGrath's boys. I thought y' all was never gon na show up.</dialogue>
<character>SALOON GIRL</character>
<dialogue>Mister West, you would n't be here workin' tonight, now would you?</dialogue>
<character>WEST</character>
<dialogue>No, no. ` Course not. Not tonight. Would you be working if you were up here with you?</dialogue>
<character>SALOON GIRL</character>
<dialogue>Good. They start kissing again. He surreptitiously peeks out the knothole, while continuing his kiss.</dialogue>
</scene>
<scene>
<character>DORA</character>
<dialogue>I'm sorry. That wo n't be possible. I have. tonsillitis.</dialogue>
</scene>
<scene>
<character>BIG REB</character>
<dialogue>Pack ` er up good, Virgil. Next stop N'Orleans.</dialogue>
</scene>
<scene>
<character>SALOON GIRL</character>
<parenthetical>( admonishing . )</parenthetical>
<dialogue>Jim!</dialogue>
<character>WEST</character>
<dialogue>Ah, this hole is a safety issue. I'm thinking, what if it starts to rain and the water level goes up. It could suck you right up. I'm protecting you.</dialogue>
<parenthetical>( variations . )</parenthetical>
<dialogue>Saloon Girl frustrated, has grabbed West's boxer shorts.</dialogue>
<parenthetical>( with little horses on them . )</parenthetical>
<dialogue>and plugs the hole with them.</dialogue>
<character>SALOON GIRL</character>
<dialogue>Problem solved.</dialogue>
<character>WEST</character>
<dialogue>Belle, you do n't just ram a man's underbritches into a knothole. You wan na plug the hole, you ram your own britches in there. West is at a loss. She moves in for another kiss.</dialogue>
</scene>
<scene />
<scene>
<character>SALOON GIRL</character>
<dialogue>Oh, Jim.</dialogue>
<character>WEST</character>
<parenthetical>( serious . )</parenthetical>
<dialogue>Much as I'd like to take credit for that you might need to hand me my gun. The tower starts to topple.</dialogue>
<character>WEST</character>
<dialogue>Hand me my gun. It CRASHES. CUT TO :</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Okay, who just made a wish? Was it you? He looks up at the freaked - out Saloon Girl, still in the tank. She hangs on with one hand, the other hand clutches his clothes.</dialogue>
<character>WEST</character>
<dialogue>I could sure use those clothes now. She responds by Frisbee - ing his hat down. West picks it up, with a look. uses it to cover his genitals.</dialogue>
<character>BIG REB</character>
<dialogue>Well, we got us a shy nig. But he never gets that word out. Bang! West lashes a lightning martial arts kick to the Reb's jaw.</dialogue>
<character>WEST</character>
<dialogue>Fought five long years with the Union Army not to hear that word again. And you boys lost, remember? As the other Reb comes at him, he spins, still holding the hat in front of him. and whap! Down that one goes. West looks up at the none - too - bright water tank woman.</dialogue>
<character>WEST</character>
<dialogue>How ` bout some pants!? As she throws the rest of his clothes down in a heap.</dialogue>
</scene>
<scene>
<character>McGRATH</character>
<dialogue>I'm still waiting on my guns and ammo, but I see my men have brought your merchandise. McGrath subtly gestures with his eyes to the balcony for Hudson to confirm. Hudson nods.</dialogue>
<character>McGRATH</character>
<dialogue>I had expected to be delivering it personally to Mr. Hudson quickly cuts him off before he can say the name. The Indian speaks in a very precise King's English.</dialogue>
<character>HUDSON</character>
<dialogue>My employer, here in a brothel?</dialogue>
<parenthetical>( a small ironic smile . )</parenthetical>
<dialogue>That would be quite. redundant.</dialogue>
</scene>
<scene />
<scene>
<stage_direction>INT. FAT-CAN'S - McGRATH AND HUDSON - NIGHT</stage_direction>
<character>HUDSON</character>
<dialogue>You'll meet him when the time - and place - are appropriate. Now.</dialogue>
<parenthetical>( stands . )</parenthetical>
<dialogue>. shall we go upstairs to check the ` merchandise'?</dialogue>
<character>McGRATH</character>
<dialogue>Frankly, Mr. Hudson, I was n't planning to walk those oaken stairs with you. Direct me to the poot, sir. Something young and creamy. A gamer that takes to the crop and spur. McGrath looks to the singer.</dialogue>
<parenthetical>( Rita . )</parenthetical>
<dialogue>, who beats a hasty retreat from him after her song. So, once again, McGrath lays his rheumy eyes on. ANGLE ON SOILED DOVE She's oblivious, more intrigued by the ex - Rebs on the balcony with the trunk. As she starts for the stairs. a man's hand grabs her. It's the Eye - Crossed Reb again.</dialogue>
<character>EYE-CROSSED REB</character>
<dialogue>You drive a hard bargain, lady. All right, fifty cents to take them big juicy lips and.</dialogue>
<character>DORA</character>
<dialogue>Still not interested. She tries to pull away. But the Reb wo n't let go.</dialogue>
<character>EYE-CROSSED REB</character>
<dialogue>But you got ta be interested. You're a whore. Suddenly the coquettishness in the eyes becomes rage. The falsetto becomes a baritone growl.</dialogue>
<character>DORA</character>
<parenthetical>( baritone . )</parenthetical>
<dialogue>That does n't mean a girl ca n't have high standards. Just as the Reb registers the odd new voice. wham! Her corsage springs out and whacks him right in the jaw. The Reb's eyes roll back. and he slumps to the ground. Whooa, hoss. the Soiled Dove is a man! He's ARTEMUS GORDON and his true profession will be revealed to us shortly. But now, as he/she stashes the unconscious Reb behind the bar, straightens bosom and wig.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Could I have a little privacy here? As if in response, the water tower, still hovering above, now crashes to the floor - obliterating his opponents.</dialogue>
<character>WEST</character>
<dialogue>Thank you. He calmly looks up in time to catch the falling, naked, screaming Saloon Girl in his arms.</dialogue>
<character>WEST</character>
<dialogue>You'll have to excuse me, darlin'. but my evidence is getting away. West gallantly puts her down, jumps up, grabs the overhead block and tackle system and slides through the warehouse. As the HORSE TEAM, which has spooked, THUNDERS past. CLOSEUP - WEST sails onto the runaway wagon. As he pulls himself into the back, he gives the shivering Saloon Girl a tip of his hat - now on his head.</dialogue>
<character>WEST</character>
<dialogue>Sorry about there not being any towels.</dialogue>
</scene>
<scene>
<character>McGRATH</character>
<dialogue>What's your name, missy?</dialogue>
<character>GORDON/DORA</character>
<parenthetical>( demurely ; back to his falsetto . )</parenthetical>
<dialogue>Dora. Would you like to go upstairs?</dialogue>
<character>McGRATH</character>
<dialogue>Oh, indeedy I would. Gordon/Dora starts to go as the Eye - Crossed Reb wakes up. He grabs him/her, very pissed.</dialogue>
<character>EYE-CROSSED REB</character>
<dialogue>Hey, c ` mere! Who the hell are you anyway?!</dialogue>
<character>McGRATH</character>
<dialogue>She's. mine! Blam! McGrath emphasizes his claim by gut - shooting the Reb. The shot makes Dora/Gordon jump and the room go quiet. As the Reb crumples, McGrath turns back to Gordon/Dora, oddly inspired.</dialogue>
<character>McGRATH</character>
<dialogue>I feel like. a ditty!</dialogue>
<character>GORDON/DORA</character>
<dialogue>A ditty? But General.</dialogue>
<parenthetical>( trying to be coquettish again . )</parenthetical>
<dialogue>. my talents really lay elsewhere.</dialogue>
<character>McGRATH</character>
<dialogue>Nothing stokes the fire in my loins like a ditty. McGrath hauls him/her over to the piano player.</dialogue>
<character>McGRATH</character>
<dialogue>You've got some pretty fair lungs on ya, girl, now use'em! He punctuates with a slap to Gordon/Dora's rump. The other singer.</dialogue>
<parenthetical>( Rita . )</parenthetical>
<dialogue>watches too.</dialogue>
</scene>
<scene>
<character>GORDON/DORA</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>` Buy a drink for the boys In the backroom for me.'</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Backwards - ass bumpkins got a wagon full of nitro! West tries to steady the glass vials with his hands. but it's no use. He quickly climbs over the boxes, onto the buckboard seat. But the reins are dragging on the ground beneath the frothing horses. West leaps onto the horses as the wagon careens down the street. He pulls himself over the first one's neck. onto the next horse. And as he tries for the lead horse, he falls between them!</dialogue>
</scene>
<scene>
<character>GORDON/DORA</character>
<dialogue>` And tell them I tried. And tell them I cried.' Just when it looks like the stone - faced rowdies might rip him/her apart, McGrath starts tapping a mud - caked toe. Encouraged, Gordon/Dora belts out the next verses OVER.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Whoa now! But it does n't whoa. The wagon goes around a corner up on two wheels! It's about to tilt over when West grabs both the horses' ears, yanks them back - screaming into them.</dialogue>
<character>WEST</character>
<dialogue>I said, whoa! This approach seems to work.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Well, well, this is workin' out to be a perfect day. My man. HIS POV - VICTORIAN BUILDING - ACROSS STREET The tasteful sign under the red light reads : `` FAT - CAN CANDY'S.'' And framed in the window, General McGrath with his singing soiled dove.</dialogue>
<character>WEST</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>General Bloodbath McGrath.</dialogue>
</scene>
<scene>
<character>GORDON/CROWD</character>
<parenthetical>( rousing finish . )</parenthetical>
<dialogue>And tell them I tried just the same! He/she curtsies to rousing applause. McGrath beams like a man with the fire in his loins roaring. He grabs his little songbird and up the stairs they go. Out the WINDOWS, we see West tracking them. Simul - taneously going up outside steps.</dialogue>
</scene>
<scene>
<character>GORDON/DORA</character>
<dialogue>Well, that's a new one. McGrath slams the door, drags Gordon/Dora roughly.</dialogue>
</scene>
<scene>
<character>McGRATH</character>
<dialogue>Do n't let the ear scare you. I lost it at Chickamauga. Gordon/Dora squints at the jerry - rigged ear.</dialogue>
<character>GORDON/DORA</character>
<dialogue>Oh really. One can hardly notice.</dialogue>
<parenthetical>( fiddles with her belt buckle . )</parenthetical>
<dialogue>Would you mind? I. I. ca n't seem to release the clasp of my belt. Say no more. McGrath is on her like a flash, fidgeting with it. But it pops open, revealing a spiraling screen courtesy of Dr. Mesmer. His eyes lock onto it.</dialogue>
<character>McGRATH</character>
<dialogue>Wha. what's this?</dialogue>
<character>GORDON/DORA</character>
<dialogue>It's a deep, deep pool. Maybe your old swimmin' hole. Getting sleepy, General?</dialogue>
<character>McGRATH</character>
<parenthetical>( ga - ga. ) Yes , I 'm sleepy .</parenthetical>
<parenthetical>McGrath sits on the floor .</parenthetical>
<parenthetical>Gordon smiles .</parenthetical>
<parenthetical>this is gon na be easy .</parenthetical>
<dialogue />
<character>GORDON</character>
<parenthetical>( normal voice . )</parenthetical>
<dialogue>Good. You're going to be my little doggy. And when I say ` speak,' you tell me everything I want to know. Understood?</dialogue>
<character>McGRATH</character>
<parenthetical>( barks . )</parenthetical>
<dialogue>Woof!</dialogue>
<character>GORDON</character>
<dialogue>All right, little doggy. Sit up.</dialogue>
<parenthetical>( as he does . )</parenthetical>
<dialogue>Now tell me who's in the sack next door. Is it the scientist, Dr. Escobar? Speak!</dialogue>
<character>McGRATH</character>
<dialogue>Woof! Woof!</dialogue>
<character>GORDON</character>
<dialogue>Speak words, dumb doggy! Tell me the name of the man you kidnapped him for. But McGrath does n't answer. Gordon's Mesmer spiral slows to a stop. McGrath is coming out of the trance. McGrath starts to growl, rip at his/her petticoats.</dialogue>
<character>GORDON</character>
<dialogue>Watch the swirling spiral! Lie down, bad dog! As Gordon notices that his contraption's failed.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Did n't mean to startle you, ma'am. Looked like you could use some help. It takes Gordon a moment to recover. He stares at this black Samaritan, obviously having no clue who he is.</dialogue>
<character>GORDON</character>
<parenthetical>( clears throat to recover falsetto . )</parenthetical>
<dialogue>Looks can be deceivin'. dark stranger. I am perfectly fine. West quickly pats McGrath down, removes a revolver and his bag of gold coins.</dialogue>
<character>WEST</character>
<dialogue>I can see that, darlin'. Woman of your caliber probably gets top dollar, too. So here you go.</dialogue>
<parenthetical>( flips her McGrath 's coin bag . )</parenthetical>
<dialogue>You can run along. I'll take care of McGrath. As West sticks the barrel of his gun in McGrath's gramophone ear, Gordon's eyes pop.</dialogue>
<character>GORDON/DORA</character>
<dialogue>No! I need him!</dialogue>
<character>WEST</character>
<dialogue>C'mon, lady. You got the money. Have a little dignity. Gordon jerks West's gun hand away from McGrath's head just as the dog - soldier comes around. McGrath suddenly lunges at him.</dialogue>
<character>McGRATH</character>
<parenthetical>( bellows ferociously . )</parenthetical>
<dialogue>West!! He drives his full weight into Jim's back, pushing him out into.</dialogue>
</scene>
<scene />
<scene>
<character>HUDSON</character>
<dialogue>Get Escobar out of here! The henchmen heft the wriggling sack, when :</dialogue>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Leave him right there. Hudson whirls to see the gruff - talking Gordon/Dora holding the perfume bottle on him like it's a Colt 45. Now Gordon shakes one of the heavy bracelets off his wrist, CLICKS a LOCK, snapping it open. He's accessorized with custom handcuffs.</dialogue>
<character>GORDON</character>
<dialogue>Let's go, Hudson. hands! Hudson gives a sick little smile, reaches for his gun when. WSSSSHT! Gordon sprays him in the eyes with the second bulb of the atomizer.</dialogue>
<parenthetical>( The first Mace ! )</parenthetical>
<dialogue>Hudson howls in pain, drops the gun, rubs his eyes madly with both hands.</dialogue>
<character>GORDON</character>
<dialogue>Thank. you. Gordon starts to snap the cuffs on the perfectly presented wrists when. FAT - CAN'S - UPSTAIRS HALL - WEST - NIGHT brawling a dozen attackers. West spots McGrath trying to escape down the stairs. He uncorks a lethal kick, sending a thug flying through the doorway and into the back of Gordon. Gordon staggers, drops the perfume/mace BOTTLE which SHATTERS. Hudson recovers his vision enough to send a fist into Gordon's mascaraed face, pile - driving him back into the hall. While Hudson and his men make their escape down the back stairs with the scientist sack. CLOSE - WEST AND GORDON West is blocked from chasing McGrath, Gordon from going after Hudson. West tries to push her aside.</dialogue>
<character>WEST</character>
<dialogue>U.S. Army. Now get outta my way, lady!</dialogue>
<character>GORDON</character>
<parenthetical>( the baritone growl . )</parenthetical>
<dialogue>I'm no lady! I'm a U.S. Marshal! You get out of my way! Gordon whip off his wig, reaches inside it for something. West blinks at the weirdness, reflexively draws his Colt. As Gordon withdraws not a gun, but a badge, from his wig.</dialogue>
</scene>
<scene>
<character>LIPPENREIDER</character>
<parenthetical>( in a monotone . )</parenthetical>
<dialogue>Get out of my way. get out of my way. U.S. Army. U.S. Marshal.</dialogue>
<character>LOVELESS</character>
<dialogue>Oh, dear. The lip - reading is interrupted by the arrival of. ANGLE - TOP OF INCLINE - HUDSON AND HIS HENCHMEN who come racing up with the scientist - in - the - sack.</dialogue>
<character>HUDSON</character>
<dialogue>Federal agents inside, sir!</dialogue>
<character>LOVELESS</character>
<dialogue>So Miss Lippenreider informs me.</dialogue>
<parenthetical>( sighs . )</parenthetical>
<dialogue>Still, I believe good manners dictate we should send out. His cane telescopes out and Loveless pokes the lynch pin out of the harness on the nitro wagon. Then he gives the wagon the slightest push.</dialogue>
<character>LOVELESS</character>
<dialogue>the welcome wagon. Once started, the wagon rolls downhill, toward the back door of Fat - Can Candy's, picking up speed. Then, as his female coterie pulls the burlap sack into the carriage, Loveless steps in behind. And they're off.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>So now what? The answer is provided as the NITRO WAGON hits downstairs. KABOOOOOOM! THEME MUSIC UP. as we roll. MAIN TITLES The titles are the familiar animated freeze frames from the TV show. In the two corners are our heroes - Upper left shows West with his gun levelled toward. upper right - Gordon with his wig in one hand and his badge in the other, pointed across toward West. The cowboy/agent in the middle square fights and defeats the various bad guys. Then as he exits, QUICK ZOOM ON main title : `` THE WILD WILD WEST.'' PAN DOWN TO a sketch of a train caboose as TITLES END.</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>HOUSE DETECTIVE</character>
<dialogue>Whoa there, ` pardner.'.</dialogue>
<parenthetical>( as West stops . )</parenthetical>
<dialogue>Winning the war may have got you forty acres and a mule, but you ca n't just traipse into the President's office. Now gim me that gun. He nods at the six gun on West's hip. West coolly flexes his hand above it, like he's about to draw.</dialogue>
<character>WEST</character>
<dialogue>This gun? Then like lightning, with his other hand, he whips out a sawed - off shotgun hidden by his jacket. He pokes the 12 - gauge barrels up against Pinkerton's surprised crotch.</dialogue>
<character>WEST</character>
<dialogue>Or this one? A voice stops the situation from escalating further.</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Gentlemen! The detective's head swivels around to see. ANGLE - OVAL OFFICE DOOR - PRESIDENT GRANT stands in the doorway.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Do n't make Captain West any later for his appointment than he already is! The detectives back away from the hair - trigger cowboy as fast as they can. West reholsters the gun and continues.</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Been a lot of death threats lately. Cabinet made me hire some damn detectives.</dialogue>
<parenthetical>( by way of apology . )</parenthetical>
<dialogue>Drink, cigar?</dialogue>
<character>WEST</character>
<dialogue>Thank you, sir. West limps across the room to the bar, pours himself a glass of whiskey, takes a cigar out of the humidor.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I hear you let General McGrath get away? Now West's blood is up.</dialogue>
<character>WEST</character>
<dialogue>Sir, I had him right in my hands when some half - a - sissy wearin' a dress ruined.</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( cuts him off . )</parenthetical>
<dialogue>Artemus Gordon.</dialogue>
<character>WEST</character>
<dialogue>You. know him?</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Of course I know him, he's the best marshal I've got! He's a genius.</dialogue>
<parenthetical>( off West 's incredulous look . )</parenthetical>
<dialogue>Gordon has proven himself time and again as a very cunning operator with a rapacious intellect. Nothing will stop him from completing a mission for his President. except the impulsive actions of a headstrong cowboy! West just looks at him soberly. Draws his gun and places it against the President's head. Grant's eyes widen.</dialogue>
<character>WEST</character>
<dialogue>Who are you?</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I am the President of the United States! West points the GUN to the ceiling and pulls the trigger. BLAM! As Grant jumps a foot and plaster rains down.</dialogue>
<character>WEST</character>
<dialogue>Wrong answer. Who are you?</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I am the President of.</dialogue>
<parenthetical>( as West cocks gun . )</parenthetical>
<dialogue>. I'm Artemus Gordon. West lowers his gun, nods at Gordon's class ring.</dialogue>
<character>WEST</character>
<dialogue>The President went to West Point. not Harvard.</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Will somebody tell me what the hell this stunt is all about!?!</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Sir, in perilous times like these, I was simply illustrating how someone impersonating you could actually walk right into the very bowels of the White House. Just as Gordon makes his intestinal allusion, West takes a ceremonial bayonet off Grant's desk and pokes a hole in the inflated bladder that was his fake paunch. The AIR HISSES out, finishes deflating with a flatulent R - R - RIP.</dialogue>
<parenthetical>( Hey , the first whoopee cushion ? )</parenthetical>
<dialogue>Gordon scowls at him.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>You're clever, Gordon. One day it'll get you killed. West smirks as Grant looks up at the bullet hole in the ceiling, then fixes West with a disapproving eye.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>And you, West - not every situation calls for your patented approach of shoot first, shoot later, shoot again - then when they're all dead, try to ask a question or two.</dialogue>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>Working together will be good for both of you.</dialogue>
<character>WEST AND GORDON</character>
<dialogue>But, sir, I work.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>You work the way your Commander In Chief tells you to work. Grant turns and EXITS FRAME.</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Ten of our country's best scientists. all kidnapped in the last year. By General McGrath, it now seems.</dialogue>
<parenthetical>( turns to them . )</parenthetical>
<dialogue>The fact is, gentlemen, you've both been working on the same case all along. Why did it take you so long to realize it?</dialogue>
<character>WEST</character>
<dialogue>Well, sir, one of us was still trying to figure out if he was a man or a woman. The detectives snicker over that one. Grant's had enough.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I do n't have time for this bickering! One week, if we're to believe this. Grant holds out a letter to Gordon and West. Gordon snatches it, reads :</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>` General Grant, the scientists that you seek are in my employ - - Creating a weapons system beyond the pale of contemporary imagination. History and justice are on my side. I suggest you put your affairs in order. You have one week before you will surrender the U.S. Government.'</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>This letter was delivered inside this. An aide presents a glass case. Inside is a cake in the shape of the White House.</dialogue>
<character>GORDON</character>
<parenthetical>( reaching inside . )</parenthetical>
<dialogue>Marzipan, is n't it?</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( grabs his hand . )</parenthetical>
<dialogue>Wait! Suddenly dozens of deadly - looking spiders swarm out from inside the cake. Gordon jerks his hand back.</dialogue>
<character>WEST</character>
<dialogue>It's McGrath, sir. The South is rising again. I'm gon na stop it.</dialogue>
<character>GORDON</character>
<dialogue>Sir, West's obsession aside, McGrath may be a vicious killer, but a mastermind he is not. So whom do we seek? After consulting with Intelligence.</dialogue>
<character>WEST</character>
<parenthetical>( cuts him off . )</parenthetical>
<dialogue>McGrath's headed for New Orleans. The longer we stand here talkin', the farther away he gets. I do n't need ` Intelligence' to tell me that.</dialogue>
<character>GORDON</character>
<dialogue>Ah, so that would mean you rely on. Stupidity? Grant's had enough.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Gentlemen! I'm leaving today for Utah where the transcontinental railroads will be joined at Promontory Point. Grant points to a map of the United States. The railroad lines have been drawn in. still a gap between them.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>For the first time the United States will truly be united.</dialogue>
<parenthetical>( turns , holds up letter . )</parenthetical>
<dialogue>Someone wants us divided. Now look, you two are the best I've got. Put aside your differences and stop this madman. whoever he is. If you fail, well. we may never know how great this country could've been.</dialogue>
<parenthetical>( snaps off a salute . )</parenthetical>
<dialogue>You have a week. Dismissed! They both return Grant's salute as the President stomps off. His AIDE now approaches.</dialogue>
<character>AIDE</character>
<dialogue>The President has put a private train at your disposal. Engine number five, track six.</dialogue>
<parenthetical>( holds out a wrapped box . )</parenthetical>
<dialogue>Mr. Gordon, the item you requested. Gordon takes the box, hurries to catch up with West.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Figures.</dialogue>
<character>GORDON</character>
<dialogue>I call it the Bi - axle Nitro - Combust.</dialogue>
<character>WEST</character>
<dialogue>Save it. I've got ta train to catch. West swings into the saddle. He looks at the SNORTING wild HORSE under him, then down at Gordon attaching the box onto the seat of his Nitro - whatever.</dialogue>
<character>WEST</character>
<parenthetical>( snaps off a smug salute . )</parenthetical>
<dialogue>Yee - haaa! West spurs his horse and leaves Gordon in the proverbial cloud of dust. Although West's intentions are clear, for some reason, Gordon's in no particular hurry. He sighs, climbs on the bike, takes out a hankie and cleans a pair of goggles. Then, finally ready.</dialogue>
<character>GORDON</character>
<dialogue>Avant! VROOOM! An ENGINE KICKS IN and Gordon rockets forward.</dialogue>
<parenthetical>( Yep , Artemus has invented the first motorcycle ! )</parenthetical>
<dialogue>Fiery exhaust blasts out of the manifolds as the bike propels him down the street at about 60 mph right past. ANGLE ON WEST AND HIS STALLION who both look over in wide - eyed shock. The horse rears as Gordon SCREAMS by - leaving them in a cloud of internal combustion.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Stop this train! You hear me!?! If Gordon hears him, he pretends not to. He just casually makes the next stitch. West's horse has had it. They're losing ground to the train. At the last second, West leans over at full gallop and grabs a handle on the side of the train. He swings out of the saddle, hanging on for dear life, blowing in the breeze like laundry. Finally, his boot finds a small metal plate to put its weight on. Just as West stands safely on it. whoosh! He flies up in the air and drops through a sliding partition in the roof.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Thanks for dropping in.</dialogue>
<character>WEST</character>
<dialogue>Forget the bikes, the beards, the fake boobies. Put down the needlepoint and let's settle this like men! He takes off jacket, starts rolling up his sleeves. Gordon remains remarkably cool, continues sewing.</dialogue>
<character>GORDON</character>
<dialogue>As a matter of clarification, this is n't needlepoint. This is. He shows him some real needlepoint.</dialogue>
<character>GORDON</character>
<dialogue>Right now, I'm putting the final touches on a new invention of my creation. I call it. The Impermeable. It's a vest that, when worn under the clothing, can stop any modern bullet fired even at close range. West draws his gun, aims it at Gordon's stomach and cocks the trigger.</dialogue>
<character>WEST</character>
<dialogue>Really? Gordon quickly pulls the vest away from his stomach.</dialogue>
<character>GORDON</character>
<dialogue>But it has n't been really tested empirically yet.</dialogue>
<character>WEST</character>
<dialogue>Get up! West takes off his guns and puts them on the table.</dialogue>
<character>GORDON</character>
<parenthetical>( yawn , yawn . )</parenthetical>
<dialogue>Guns. I find them so primitive and unnecessary. if one has done one's proper planning.</dialogue>
<character>WEST</character>
<dialogue>Yeah? How do you feel about a fist? Gordon puts down The Impermeable, stands with a weary sigh.</dialogue>
<character>GORDON</character>
<dialogue>I must tell you, Mr. West, I've always felt that allowing a situation to degenerate into physical violence is a failure on my part.</dialogue>
<character>WEST</character>
<dialogue>Well then, ` Mr.' Gordon, you failed. Whap! West unleashes a lightning punch that drives Gordon across the train car. He dabs at his bloody lip.</dialogue>
<character>GORDON</character>
<dialogue>I'm sorry, Mr. West, you brought this on yourself. Then to West's utter amazement, Gordon puts his hands together as if praying while at the same time, crooking his right leg stork - like. Is this some kind of martial art? Then, he bends at the waist, and like a ballet dancer, extends his leg out to the wall and flips a switch. It immediately triggers a leather hammer to swing down from the ceiling. It whacks West on the side of the head, and sends him spinning back onto the pool table. ANGLE ON POOL TABLE - WEST shakes it off and is about to attack again. Gordon calmly pokes a hidden button. Suddenly the pool table revolves. West is gone.</dialogue>
<character>GORDON</character>
<dialogue>I love this train!</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>The President asked for my suggestions on how to make the Wanderer both comfortable and functional. As he swishes the wine in his mouth.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>And while you're down there, you may want to avail yourself of my Sub - carriage Inter - rail Egressor. Suddenly SHACKLES SNAP out of the arms of the chair, pinning Gordon's wrists. Before he knows what hit him, the floor opens and the club chair disappears.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Only one doin' any ` egressin' is gon na be you.</dialogue>
<character>GORDON</character>
<parenthetical>( wide - eyed . )</parenthetical>
<dialogue>Perhaps the President was right about us putting aside our petty differences.</dialogue>
<parenthetical>( recites above the CLATTER . )</parenthetical>
<dialogue>` The opposite is beneficial, from things that differ comes the fairest attunement.' Aristotle. Suddenly they flip OUT OF FRAME and back into the car, shocked to find themselves facing.</dialogue>
</scene>
<scene>
<character>COLEMAN</character>
<dialogue>Knock each other about all ya please, but harm my train and I'll douse ya like dogs. He threatens them with the pot of steaming liquid. Now, for the first time, Gordon really looks troubled.</dialogue>
<character>GORDON</character>
<dialogue>That's my veal reduction sauce!</dialogue>
<character>COLEMAN</character>
<dialogue>Well then, let's get on about our business, shall we, gentlemen? Now, where to?</dialogue>
<character>WEST</character>
<dialogue>New Orleans.</dialogue>
<character>GORDON</character>
<dialogue>Shall we let Professor Morton decide?</dialogue>
<character>WEST</character>
<dialogue>Who?</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Meet Professor Thaddeus Morton, expert in the field of metallurgy. discovered in a field of alfalfa. Kidnapped from M.I.T. six months ago. West looks from the head to the open box.</dialogue>
<character>WEST</character>
<dialogue>That's a man's head! Gordon holds up a strange, circular metallic object.</dialogue>
<character>GORDON</character>
<dialogue>And this magnetic collar was around it when his body was discovered. Have n't figured that one out yet. But West is still staring in disbelief at the head.</dialogue>
<character>WEST</character>
<dialogue>That's a man's head. Gordon starts fiddling with a lantern positioned behind the head.</dialogue>
<character>GORDON</character>
<dialogue>According to the Retinal Terminus Theory. a dying person's last conscious image is burned into the back of the eyeball like a photograph. Perhaps there's a clue there. Excited, Gordon turns on the lantern attached to the back of his head. Beams of light are coming through his eyeballs, creating a blurry color image on the wall.</dialogue>
<character>GORDON</character>
<dialogue>Morton's last image!</dialogue>
<character>WEST</character>
<dialogue>That's a man's head! West turns his head sideways to try to view the inverted image projected on the wall. Gordon realizes the problem.</dialogue>
<character>GORDON</character>
<dialogue>Ah. The refraction of the lenses causes the image to appear upside down. We simply. He turns Morton's head in the vise. It's right side up, but still blurry. ANGLE ON WALL - FUZZY IMAGE appears. It's a man who has a tiny Victrola horn for an ear. He's holding a bloody metal boomerang.</dialogue>
<character>WEST</character>
<dialogue>It's McGrath. I was right all along. Gordon sees something in McGrath's pocket.</dialogue>
<character>GORDON</character>
<dialogue>He seems to have something in his pocket. too fuzzy to read, though. Gordon drums his fingers on his great frontal lobe, stymied.</dialogue>
<character>GORDON</character>
<dialogue>Mortification of the aqueous humor seems to have led to the loss of.</dialogue>
<character>WEST</character>
<dialogue>glasses. West takes the bifocals out of the box, casually puts them on Morton's nose. West now gestures to the wall. CLOSE - IMAGE ON WALL The white blur in the man's pocket is now focused. We can see that it's the top of a piece of paper. He reads the writing on it.</dialogue>
<character>WEST</character>
<dialogue>` Friends of the South! Come to a Surprise Costume Ball. April 14, eight - thirty. 346 Garden Street.'.</dialogue>
<parenthetical>( lowers glasses , looks up . )</parenthetical>
<dialogue>Like I said. New Orleans.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>How about this? You could come as my man servant?</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>How about this? You could come as my man servant.</dialogue>
<character>WEST</character>
<parenthetical>( slave voice . )</parenthetical>
<dialogue>Oh yes, Massa Gordon, dats what I'll do. And I'll jus' smile and do as I's tole so those people won' ever know that I would rather shoot myself in the head than play your god damned man servant! West is right in Gordon's face.</dialogue>
<character>GORDON</character>
<dialogue>I have a horse costume.</dialogue>
<parenthetical>( then , cheery . )</parenthetical>
<dialogue>You could be the head.</dialogue>
<character>WEST</character>
<dialogue>The only thing I need to wear is this. West straps on his holster.</dialogue>
<character>GORDON</character>
<dialogue>Okay, if you insist on carrying a firearm, I have something I think you'll find intriguing. Gordon displays a belt with a silver buckle. He taps the buckle. a Derringer pops out. West stares, impressed.</dialogue>
<character>GORDON</character>
<dialogue>And it would go nicely with this. Gordon takes out a sequined dress, holds the Derringer up against it.</dialogue>
<character>WEST</character>
<dialogue>Jim West does not wear a dress.</dialogue>
<character>GORDON</character>
<dialogue>Then what's your plan?</dialogue>
<character>WEST</character>
<dialogue>How ` bout this : I'll go as a government agent who's gon na kill McGrath.</dialogue>
<character>GORDON</character>
<dialogue>An armed, Negro cowboy costume, how creative. In a room full of white Southerners, you oughtta fit right in. You might even win first prize! West starts to walk away. Gordon grabs him.</dialogue>
<character>GORDON</character>
<dialogue>Listen to me. The art of disguise is what's going to get us into that party, thus allowing us to find these kidnapped scientists before they're forced to create something that will destroy this great country. Now you and I are the chosen ones, Jim. We're under direct orders from the President himself. And our mission is clear : Save our country. Our freedom is at stake and this is our duty as men. Now, you go as a riverboat captain and I'll be a saloon girl.</dialogue>
<character>WEST</character>
<dialogue>Let me tell you a little something about beloved ` art of disguise'. That night at Fat - Can's, I knew you were n't a woman.</dialogue>
<character>GORDON</character>
<dialogue>But I was propositioned by three men.</dialogue>
<character>WEST</character>
<dialogue>Gordon, you looked nasty. Your breasts were all hard and stiff, and were sticking straight out like two rusty cannons on a sunken ship. Gordon grabs his fake breasts off the rack. He puts them on.</dialogue>
<character>GORDON</character>
<dialogue>These are a work of art. Scientifically and aesthetically perfect.</dialogue>
<character>WEST</character>
<dialogue>They look like shit.</dialogue>
<character>GORDON</character>
<dialogue>Touch them.</dialogue>
<character>WEST</character>
<dialogue>I do n't wan na touch'em. I can see I do n't like'em.</dialogue>
<character>GORDON</character>
<dialogue>What, are you afraid you're wrong? Touch my breasts. West touches Gordon's fake breasts. ANGLE - COLEMAN walking through the next car, carrying a tray of tea. Gordon's last line got his attention. What the? Coleman peeks around the corner to see West eyeing Gordon's `` chest.''</dialogue>
<character>COLEMAN</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>I knew it. Well, I'll have no part of it! Coleman shakes his head and walks off. ANGLE - WEST AND GORDON West is thwapping Gordon's breasts.</dialogue>
<character>WEST</character>
<dialogue>There, Gordon, you happy? I'm touching your breasts.</dialogue>
<character>GORDON</character>
<dialogue>Not so rough. The buckwheat'll come out.</dialogue>
<character>WEST</character>
<dialogue>Buckwheat? That's your problem. West takes one of the cow udders out of Gordon's bodice and dumps the buckwheat onto the ground.</dialogue>
<character>GORDON</character>
<dialogue>What are you doing? West goes over to a wash basin, picks up a water pitcher and fills the cow bladder. West squeezes the cow bladder shut and holds it up to his chest.</dialogue>
<character>WEST</character>
<dialogue>Now, squeeze this. This is what a breast should feel like. ANGLE - COLEMAN Passing back through the next car. When he hears that last line, he ca n't believe it. He peeks in again to see.</dialogue>
<character>GORDON</character>
<dialogue>Whoa.</dialogue>
<character>WEST</character>
<dialogue>Is n't that nice?</dialogue>
<character>GORDON</character>
<dialogue>Very nice. Coleman's mouth drops. He's sweating.</dialogue>
<character>WEST</character>
<dialogue>Now touch yourself.</dialogue>
<character>GORDON</character>
<dialogue>You win. I'm hard.</dialogue>
<character>COLEMAN</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>Federal officers, bah! Coleman walks off, shaking his head. BACK TO SCENE Suddenly, Gordon shoots the cuffs off his jacket. Out of one sleeve comes a pen. Out the other, a small pad of paper. They are both connected to a spring - loaded metal gizmo up his sleeve. West reacts, drawing his pistol up into Gordon's face.</dialogue>
<character>GORDON</character>
<dialogue>I was just going to jot down a thought.</dialogue>
<character>WEST</character>
<dialogue>You know something, that's a good place to put a gun.</dialogue>
<character>GORDON</character>
<dialogue>But then, where would I keep my notepad.</dialogue>
<character>WEST</character>
<dialogue>You know, Artemus, I think you underestimate the convenience of a pocket.</dialogue>
</scene>
<scene />
<scene>
<character>GUARD</character>
<dialogue>You got about as much chance of havin' an invitation as him. He smirks at a lawn jockey. West reaches into his coat.</dialogue>
<character>WEST</character>
<dialogue>Matter of fact, got it right here. He withdraws his hand. While the Guard squints at his empty palm, West grabs his head with his other hand and smacks it into the lawn jockey's fist. clang! West leans the cold - cocked Guard against the house, uses his shoulder as a step, boosting him up to.</dialogue>
</scene>
<scene />
<scene>
<character>WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( in a Spanish accent . )</parenthetical>
<dialogue>Hey. get your hands off me! Now Miss Lippenreider, Amazonia and Munitia.</dialogue>
<parenthetical>( bewigged and wearing costumes . )</parenthetical>
<dialogue>wrangle a beautiful and defiant Latina into the room. When she turns we recognize she's the singer from Fat - Can's. Rita is in her early 20s, wearing a 19th - Century camisole so scanty, it makes it hard to concentrate on what she's saying.</dialogue>
<character>RITA</character>
<dialogue>Put me in the dungeon with all those smelly, dirty bearded men. but I am not goin' in there.</dialogue>
<character>AMAZONIA</character>
<dialogue>You applied for the position.</dialogue>
<character>RITA</character>
<dialogue>Yeah, a standing up position. I'm an entertainer, not a. Amazonia grabs her by the throat, choking the word off.</dialogue>
<character>MISS LIPPENREIDER</character>
<dialogue>Do not be selfish and stupid. He always spoils his new girl.</dialogue>
<character>RITA</character>
<dialogue>Yeah. Well gim me a simple diamond bracelet instead of that. POV - THROUGH DOOR - INTO BEDROOM A ramp leads to a large bed. A leather and steel prosthesis is hanging from pulleys attached to the ceiling.</dialogue>
<character>MUNITIA</character>
<dialogue>It is not so bad. once the metal warms up. Amazonia just picks her up and drags the hapless Rita into the room. West emerges from behind the curtains, shakes his head. Weird. He eases out the door and into.</dialogue>
</scene>
<scene>
<character>SULTRY WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>An authentic cowboy outfit. complete with six - guns! West turns to see who busted him. Coming his way is a ravishing Chinese girl dressed up as a DRAGON LADY.</dialogue>
<character>DRAGON LADY</character>
<dialogue>What a terribly clever costume, Mr?</dialogue>
<character>WEST</character>
<dialogue>West. Jim West.</dialogue>
<character>DRAGON LADY</character>
<dialogue>Well. West meets East. Mae Lee East.</dialogue>
<parenthetical>( holds out delicate hand . )</parenthetical>
<dialogue>Are you here alone, Mr. West?</dialogue>
<character>WEST</character>
<dialogue>Actually I'm, uh trying to surprise an old friend - General McGrath. Seen him around anywhere?</dialogue>
<character>MISS EAST</character>
<parenthetical>( DRAGON LADY . )</parenthetical>
<dialogue>I do n't believe that name was on our guest list. And I would know. I'm Dr. Loveless's personal assistant. The name means something to West.</dialogue>
<character>WEST</character>
<dialogue>Dr. Arliss Loveless? One of the great founders of the Confederacy with Jefferson Davis. Funny how most people think he's dead.</dialogue>
<character>MISS EAST</character>
<dialogue>Tonight's his coming - out party. We FOLLOW them as she takes his arm and leads him down the stairs, into the party.</dialogue>
</scene>
<scene>
<character>MISS EAST</character>
<dialogue>See anybody that looks familiar? West scans the room. Stops.</dialogue>
<character>WEST</character>
<dialogue>Matter of fact, I do. WEST'S POV - WOMAN WITH BIG HAIR She's got the mole, too. Gordon has apparently encored his Soiled Dove get - up. Miss East sees who he's looking at. She makes a pouty face as there's a flourish from the STEREO QUARTET.</dialogue>
<character>MISS EAST</character>
<dialogue>I'm. jealous.</dialogue>
<parenthetical>( blows a little kiss at him . )</parenthetical>
<dialogue>Meet me later. in the foyer. West watches as she joins.</dialogue>
</scene>
<scene>
<character>DISTAFF CORPS</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Mine eyes have seen the glory Of the coming of the Lord.' From behind the doors we hear the WHIR of an ELEVATOR. It stops with a CLUNK. Suddenly. NEW ANGLE - DOORWAY bursts open and Abraham Lincoln in a mini - float appears. It's decked out like Lincoln's box at Ford's theater. On its own power, it moves past the laughing party - goers in the foyer. Now the women throw grapes on the floor.</dialogue>
<character>DISTAFF CORPS</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` He has trampled down the vintage Where the grapes of wrath are stored!' WEST'S POV - ANGLE ON WHEELS OF WHEELCHAIR are what's trampling down the vintage. West takes in the whole man. Very curious. Then suddenly. KABOOM! ANGLE ON ABE'S HEAD It explodes like a pinata. Up from the hole in his neck peeps. DR. ARLISS LOVELESS.</dialogue>
<character>LOVELESS</character>
<parenthetical>( impishly . )</parenthetical>
<dialogue>Do n't you just hate that song? The Southern crowd gasps at Loveless's dramatic appearance.</dialogue>
<character>LOVELESS</character>
<dialogue>Why, y' all look like you've seen a ghost! It's me, dear friends, alive and kicking! Well, alive, anyway. As he giggles, the distaff corps surround him and remove the Lincoln paraphernalia. Then step aside, revealing. NEW ANGLE - DR. LOVELESS is half a man. Literally. Cut off at the waist and mounted on a wheelchair platform that is powered by an engine, he is a man bereft of tuchus, kishkes and everything else in that vicinity that makes life interesting.</dialogue>
<character>LOVELESS</character>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>We may've lost the war, but heaven knows. we have n't lost our sense of humor! Dr. Loveless looks down at himself, smoothes half of his Fritz Lang Metropolis - style suit. His face turns dark as he surveys the crowd.</dialogue>
<character>LOVELESS</character>
<dialogue>Not even when we've lost a lung. a spleen. a bladder. two legs. thirty - five feet of small intestine and our ability to reproduce.</dialogue>
<parenthetical>( like a preacher . )</parenthetical>
<dialogue>All in the name of the South.</dialogue>
<parenthetical>( then quietly . )</parenthetical>
<dialogue>. do we lose our sense of humor. You can hear a pin drop. Loveless turns to the foreign dignitaries.</dialogue>
<character>LOVELESS</character>
<dialogue>I owe a deep debt of gratitude to my friends across the sea for their comfort and. succor. He suddenly seems distracted by the comely beauties that surround him. Then abruptly, manically.</dialogue>
<character>LOVELESS</character>
<dialogue>So! Mi casa es su casa! Ma maison est a vous! Let the party begin! Loveless signals to the quartets to resume playing. Miss East leans down and whispers in his ear. Loveless looks in West's direction. Now Loveless wheels over to West. West is n't hiding. He's cocky in the face of rolling danger.</dialogue>
<character>LOVELESS</character>
<dialogue>Mr. West, how nice of you to join us tonight. and add color to these monochromatic proceedings. West keeps a lid on his temper. Two can play at this game.</dialogue>
<character>WEST</character>
<dialogue>Well, when a man comes back from the dead, it's an occasion to stand and be counted. Loveless smiles slightly.</dialogue>
<character>LOVELESS</character>
<dialogue>Miss East informs me that you were expecting to meet General McGrath here. I knew him years ago. but have n't seen him in a coon's age.</dialogue>
<character>WEST</character>
<dialogue>I bet a man like yourself would find it difficult to keep in touch with even half the people you know. Danger flickers in Loveless's eyes. He looks to Miss East.</dialogue>
<character>LOVELESS</character>
<dialogue>Perhaps the lovely Miss East will keep you from being a slave to your disappointment.</dialogue>
<character>WEST</character>
<dialogue>Well, you know beautiful women. they encourage you one second, cut the legs out from under you the next. Loveless's face drops. He is no longer amused. Miss East winks at West, then accompanies Loveless in the direction of the study where.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Hey, honey. I see a big ole spider up on the wall. Hope it does n't drop down your pretty dress. As the Soiled Dove jumps a little, West continues over to the study door. Now the Soiled Dove turns, and we see the scared/confused expression. Maybe it's because she is not Artemus. ANGLE - GORDON - ACROSS ROOM He's the mountain man in the fringe jacket. And right now he's shaking his head as he watches West resort to a decidedly low - tech surveillance method of Loveless's study.</dialogue>
<character>GORDON</character>
<dialogue>Peeking through the keyhole? So 18th Century.</dialogue>
</scene>
<scene>
<character>McGRATH</character>
<dialogue>Dr. Loveless, my men are ready to go to war with no weapons to fight. Ever since the nitro and the guns were destroyed at Fat - Can's, lice and demoralization have set in!</dialogue>
<character>LOVELESS</character>
<dialogue>Your men will have their weapons tonight. And my promise that they will be part of the greatest military victory of this century! McGrath's face relaxes into a pyorrheic grin.</dialogue>
<character>McGRATH</character>
<dialogue>Oh, you're a pip, sir! I'd follow you into the maw of Cerberus himself! Loveless takes pencil in hand and draws a map on the desk.</dialogue>
<character>LOVELESS</character>
<dialogue>And so you shall.</dialogue>
<parenthetical>( makes an X. ) Have your men here at .</parenthetical>
<parenthetical>10 o'clock tonight .</parenthetical>
<parenthetical>Loveless wheels his chair toward the door with McGrath behind him folding up the map .</parenthetical>
<dialogue />
</scene>
<scene />
<scene>
<character>MISS EAST</character>
<dialogue>I said to meet me in the foyer.</dialogue>
<character>WEST</character>
<dialogue>Oh, the foy - aay. Sorry, I've never been much good at French. But instead of scolding him further, Miss East plants an over - heated kiss on him. Tongues are involved. As they break, she gives a little nod of approval.</dialogue>
<character>MISS EAST</character>
<dialogue>Au contraire. She pushes him down into Dr. Loveless's chair.</dialogue>
<character>MISS EAST</character>
<dialogue>So let's see, Mr. West. are you a dangerous spy of some sort? Or just a handsome cowboy who likes to. poke around.</dialogue>
<character>WEST</character>
<dialogue>Um. that second one. She starts to undo the buttons of his trousers. But West has a job to do. Well, maybe he can do two jobs at once.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Howdy there. big sturdy gal. Yer dance card full? Amazonia stares at him, then spiels off a couple lines in a foreign language that makes Gordon's eyes widen. He understands what she said and it's not flattering. Gordon moves off in a shock.</dialogue>
</scene>
<scene />
<scene>
<character>WEST</character>
<dialogue>Thanks for helpin' me get to the bottom of this case.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Real impressed the way you got the dance floor staked out. Maybe one of your missin' scientists'll cut in.</dialogue>
<parenthetical>( dip . )</parenthetical>
<dialogue>Thought you should know that while you were trying to decide what shoes to wear tonight.</dialogue>
<parenthetical>( twirl . )</parenthetical>
<dialogue>I found that our host, Dr. Loveless. West looks over to where Loveless is leading a contingent of foreigners out a side exit.</dialogue>
<character>WEST</character>
<dialogue>is meeting McGrath and his troops at Malheureux Point in an hour.</dialogue>
<parenthetical>( bends her back . )</parenthetical>
<dialogue>So you enjoy the party. I'm gon na go save the Republic. The Soiled Dove look - alike is speechless. Before he goes, West leans in, smirks.</dialogue>
<character>WEST</character>
<dialogue>But I will say, good work on your bladders tonight. they're damn perky. And just to dig the grave deeper, West lays hands on them and gives them a little squeeze. This immediately elicits a scream and a slap in the face that shocks the bejesus out of the black cowboy. And he's not the only one. ANGLE ON CROWD staring at him. We know what they're thinking, but the Mountain Man behind West says it for everyone.</dialogue>
<character>GORDON/MOUNTAIN MAN</character>
<dialogue>Hang him! And with that, Gordon opens his deerskin jacket to reveal his own rope, which he throws to the mob. West looks back at the character in amazement. That's Gordon?! Before West can say or do anything, guns are at his temple, and he's swept out of the room. Gordon calmly straightens his coonskin cap, seemingly uninterested in West's imminent hanging. In the hubbub of everyone rushing out for the hanging, Gordon heads up the unguarded stairs to the locked room. As he pulls out his high tech auto - wind lock - pick and quickly gains entrance to the door.</dialogue>
</scene>
<scene>
<character>GEORGE WASHINGTON</character>
<dialogue>Looks like we're gon na have to teach y' all a little lesson on how to behave in polite society.</dialogue>
<character>WEST</character>
<dialogue>Do n't grab a white lady's boobies at the big redneck dance. Is that the lesson? Well, I learned it. Do n't scratch your head with the shrimp fork. I got that one too. So whaddaya say we call this off?</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>I feel as if we know each other from someplace?</dialogue>
<character>RITA</character>
<dialogue>Try again, buster! She takes a breath as if she's going to start screaming. Gordon quickly holds up a hand.</dialogue>
<character>GORDON</character>
<dialogue>Ma'am, please! While I realize I look like something straight out of James Fenimore Cooper. I mean you no harm. My name is Artemus Gordon. And you look like you're in trouble.</dialogue>
<character>RITA</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>Really? To Rita's amazement, Gordon opens his jacket and unbuttons his vest to reveal. a complete miniature tool shop. Quickly he pulls out a thin cable and attaches it to a tiny wheel on the spur of one of his boots.</dialogue>
<character>RITA</character>
<dialogue>I'm Rita. I was hired here as an entertainer. Not that I'm complaining, but what are you doin' in here?</dialogue>
<character>GORDON</character>
<parenthetical>( looking up miles of leg . )</parenthetical>
<dialogue>Looking for some missing scientists. not that I'm complaining. Gordon unsnaps the sole of his shoe. It becomes a pedal that operates the wheels' rotation. Now he removes a bit and handle from his vest and attaches the cable. Starts to pump his foot. It's a foot - powered drill.</dialogue>
<character>GORDON</character>
<dialogue>I'm a special U.S. Marshal on assignment from the President.</dialogue>
<character>RITA</character>
<parenthetical>( almost impressed . )</parenthetical>
<dialogue>If you're so special, how come you're lookin' up here when Loveless has'em all workin' down in the dungeon?</dialogue>
<parenthetical>( rattles bars impatiently . )</parenthetical>
<dialogue>Get me out of here and I'll take you down there.</dialogue>
<character>GORDON</character>
<dialogue>Too late. The ` dungeon' is cleaned out. It was the first place I checked, right after I sampled the gumbo. Bit heavy on the okra. But Rita is n't listening to the food review. Her mind's racing. Finally, the LOCK CLICKS and the cage door swings open. Gordon takes the distressed damsel in his arms, lifts her out.</dialogue>
<character>RITA</character>
<parenthetical>( suddenly a coquettish smile . )</parenthetical>
<dialogue>Thank you. Artemus, was it?</dialogue>
<character>GORDON</character>
<dialogue>One does n't forget a smile like that. Now where in the world was it? Have you ever played the Empire Room. the Bijou Cafe perhaps?</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Can I have everyone's attention please. I think we've had a series of major misunderstandings and I'd like to take a moment to clear them up. First, the whole drumming on the boobies thing. In my native land, Africa, my ancestors used drums to communicate between villages. I'm sure y' all can see that this young girl here can communicate all the way down to Baton Rouge. Hell, on a clear day, we might even get Galveston. All I was saying was, ` How're you doing,' ` My name's Jim,' ` How's your mama?' Second misunderstanding. That redneck comment. I'm getting the sense that some of you took that negatively. You know, some of my best friends are whiskey - guzzling, pot - bellied rednecks just like y' all here.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>That slavery thing, I do n't see what the big deal was. Hell, who would n't want somebody to run around for them doing chores. Are you going to get your big, fat, lazy ass out of bed every morning and pick your own damn cotton. I do n't think so.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Let's head on inside and knock back some shine. Come on, back inside. No. Okay.</dialogue>
<parenthetical>( to Soiled Dove . )</parenthetical>
<dialogue>I stand before you as a man who realizes he has done something wrong and I am prepared to do the right thing. Will you marry me? Soiled Dove gasps.</dialogue>
<character>WEST</character>
<dialogue>I'll take that as a no. Darling, would it help at all if I said I thought you were a man? The CAMERA FINDS the Soiled Dove. She faints. BACK TO SCENE</dialogue>
<character>WEST</character>
<dialogue>Guess not. As West searches desperately for signs of rescue by his `` partner,'' suddenly the wagon lurches forward.</dialogue>
<character>GEORGE WASHINGTON</character>
<dialogue>Hang him! NEW ANGLE - WEST'S FEET As they plummet toward the ground. CLOSE - WEST'S NECK The rope catches. and stretches! CLOSE - WEST'S FEET As they slowly touch the ground. Nobody is more confused than West. ANGLE ON CROWD How the fuck did that happen? But before anybody can figure out Gordon's trick rope, speak of the devil.</dialogue>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey - yaa! The crowd turns with alarm to see. ANGLE ON TEAM OF CHARGING HORSES Nostrils flared and wild - eyed, are having their rumps snapped by Gordon's reins. Rita holds on for dear life as the mad Mountain Man drives the carriage at full speed right into the crowd - scattering them. ANGLE ON WEST He sees his opportunity for rescue, puts a foot into the back of George Washington, grabs his gun, and somersaults into the air. ANGLE ON GORDON AND CARRIAGE - WEST lands squarely in the back. And just as the rope starts to stretch around his neck again, Gordon whirls around with a Bowie knife and cuts it.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Hang'm! Suddenly, there's a VOLLEY of SHOTS from some cracker sharpshooters. West responds with an amazing display of RAPID - FIRE marksmanship, picking off half a dozen of Loveless's shooters, even while the carriage bumps wildly on its getaway. BLAMBLAMBLAMBLAM!</dialogue>
<character>WEST</character>
<parenthetical>( still pissed , to Gordon . )</parenthetical>
<dialogue>Hang'm!?!</dialogue>
<character>GORDON</character>
<parenthetical>( to Rita . )</parenthetical>
<dialogue>Meet my trigger - happy partner, James West. who does n't seem to realize that my carefully planned diversion gave me the opportunity to search for the missing scientists. Now West notices the half - dressed bombshell in the carriage.</dialogue>
<character>WEST</character>
<dialogue>Scientist, huh.</dialogue>
<character>GORDON</character>
<dialogue>This is Rita. I found her locked in a cage in Loveless's bedroom. She's an entertainer.</dialogue>
<character>RITA</character>
<dialogue>Um, maybe I have n't been quite honest about that. My name is Rita Escobar. I came to find Guillermo Escobar, the scientist, my. father. Gordon's eyes pop.</dialogue>
<character>GORDON</character>
<dialogue>Professor Escobar?! He was the one I almost rescued that night when.</dialogue>
<parenthetical>( lightbulb . )</parenthetical>
<dialogue>That's where I know you from! Fat - Can Candy's. you sang before I did.</dialogue>
<character>RITA</character>
<dialogue>Excuse me?</dialogue>
<character>GORDON</character>
<dialogue>That was me. Burgundy dress with the bustle. Gordon starts singing the song. West rolls his eyes, cuts off the chit - chat.</dialogue>
<character>WEST</character>
<dialogue>Look, Rita, I'm sorry you had the wrong agent working on your case. When I find your father I promise I'll send him back safely. And with that. West suddenly leaps over Rita - lands on the back of one of the horses. He grabs a handful of mane, leans over and unclips the harness. And with a kick in the ribs, West is off at a gallop - leaving Gordon, one remaining horse and an awed Rita behind to chew his dust.</dialogue>
<character>RITA</character>
<dialogue>He's impulsive, James.</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Well, General, it's been a long journey from New Liberty. McGrath visibly winces at the sound of it.</dialogue>
<character>McGRATH</character>
<dialogue>Sir, there is n't a day that passes that I do n't contemplate it.</dialogue>
<character>LOVELESS</character>
<dialogue>Yes, and so do I. So do I.</dialogue>
<parenthetical>( reflexively reaches for missing legs . )</parenthetical>
<dialogue>If I'd only had the scientific understanding of gunpowder and primers that I have today.</dialogue>
<character>McGRATH</character>
<dialogue>That's not what I meant. Loveless looks at him, puzzled, then gets it.</dialogue>
<character>LOVELESS</character>
<dialogue>Oh, you mean the stomach - churning carnage that earned you your unfortunate nom de guerre. Loveless speaks for the benefit of the others.</dialogue>
<character>LOVELESS</character>
<dialogue>What was that nickname again?</dialogue>
<character>McGRATH</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>` Bloodbath' McGrath. the Butcher of New Liberty.'</dialogue>
</scene>
<scene>
<character>REB #1</character>
<dialogue>They oughta be here by now.</dialogue>
<character>REB #2</character>
<dialogue>Maybe we're in the wrong place.</dialogue>
<character>REB #1</character>
<parenthetical>( rechecks map . )</parenthetical>
<dialogue>No, we're supposed to wait ` xactly on this here spot. Suddenly they hear a CLANKING and SCREECHING coming from the marsh. They ready their arms and get in defensive positions. What they ca n't see through the fog is. ANGLE - MARSH - ARMORED TANK amphibiously sludges up through the mud and reeds, passing by the dumbstruck soldiers as it heads to the center of the field. The contraption has a large cannon and Gatling guns bristling from several ports. The Rebs cheer their new weapon. THE WILD WILD WEST - Rev. 7/1/98 52.</dialogue>
</scene>
<scene />
<scene>
<character>McGRATH</character>
<dialogue>Why you sawed - off sadistic bastard! You've betrayed us! Loveless turns to him, cocks his head.</dialogue>
<character>LOVELESS</character>
<dialogue>My dear General, after donating half my physical being creating a weapon capable of doing this. how did you and General Lee repay my loyalty? You surrendered at Appomattox! So, who betrayed whom? Loveless turns to Munitia holding a steno pad.</dialogue>
<character>LOVELESS</character>
<dialogue>Munitia, make note. Turret speed needs to be accelerated!</dialogue>
<character>MUNITIA</character>
<parenthetical>( to Amazonia . )</parenthetical>
<dialogue>Change gear ratio from 2.2 to 2.8! Amazonia pushes a sick dignitary away from the rail so she can get a sight line to the tank with her lantern semaphore. She begins flashing the new gear ratio.</dialogue>
<character>AMAZONIA</character>
<dialogue>A bucket for the minister, please! Now in the b.g., we hear the GATLINGS OPEN UP. Lippenreider is reading the lips of the tank's victims.</dialogue>
<character>LIPPENREIDER</character>
<dialogue>Scream. Scream. My head. I'm dying. Scream. Moan. Scream.</dialogue>
<character>McGRATH</character>
<dialogue>Loveless, I demand you give the order to stop this slaughter now!</dialogue>
<character>LOVELESS</character>
<parenthetical>( ignores him . )</parenthetical>
<dialogue>. We're going to need more loading drills! I'm hearing too much time between screams. As Munitia scribbles dutifully, McGrath shoves her aside. He pulls his pistol.</dialogue>
<character>McGRATH</character>
<dialogue>For the last time, give them the order to desist! Loveless, his back to him, is seemingly unconcerned at having a gun barrel pressed against his skull.</dialogue>
<character>LOVELESS</character>
<dialogue>General, I understand your distress. But believe me, those men are not dying senselessly. It is for a far greater cause than you can imagine. As Loveless's right index finger finds a black button on the arm of his wheelchair. CLOSE ANGLE - LOVELESS'S WHEELCHAIR ARM The steel tubes that comprise the armrests are actually shotgun barrels facing fore and aft. McGrath's finger tightens on the trigger. WIDER</dialogue>
<character>McGRATH</character>
<dialogue>Go straight to hell, sir!</dialogue>
<character>LOVELESS</character>
<dialogue>After you. sir. BOOOM! McGrath has a very startled expression as he looks down at the aftereffects of DOUBLE - OUGHT BUCKSHOT. As he crumples to the deck, Loveless sniffs.</dialogue>
<character>LOVELESS</character>
<dialogue>Bloodbath McGrath indeed. The dignitary's DOG starts BARKING, jumps to the deck. It sits next to the fallen General's gramophone ear and cocks his head. With the RCA logo invented we MOVE BACK TO. ANGLE ON LOVELESS He sighs at his pale guests. They do n't seem to appreciate the efficiency of his slaughter.</dialogue>
<character>LOVELESS</character>
<dialogue>Well, that concludes the festivities. Ladies, feed him to the crabs. Munitia and Amazonia unceremoniously dump McGrath's BODY overboard. SPLOOSH. Loveless addresses the dignitaries.</dialogue>
<character>LOVELESS</character>
<dialogue>But, my friends, that tank is just a little ol' toy compared to what this country's greatest scientists are cooking up for me next. So if I've piqued your interest, bring 1000 kilograms of your country's gold to Spider Canyon four days from now.</dialogue>
<parenthetical>( starts to roll off boat . )</parenthetical>
<dialogue>Now if you'll excuse me, I've got a tank to catch. CUT TO :</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>My destination is both the future. and the past! Forget Paul Revere, this will be the most revolutionary ride in the history of America! He looks dotingly at the TANK, which CLATTERS up from the battlefield on its treads. then drives onto the tracks. Wheels drop down out of the chassis, the treads retract up, and the TANK BACKS INTO the rest of the TRAIN. CLANK. It's a neat modular fit. Black death on rails. The foreigners watch with awe as. ANGLE - LOVELESS wheels up onto the tank/train. He drops the expansiveness, fixes them with a viper's eye.</dialogue>
<character>LOVELESS</character>
<dialogue>If you do n't want to miss the ride, have the last payment of 1000 kilograms of your country's gold in my hands no later than Friday. That's when I make our little proposal to President Grant. One I'm ever so confident he's gon na accept.</dialogue>
<parenthetical>( now a jaunty wave of his hat . )</parenthetical>
<dialogue>Au revoir, adios, and ta - ta!</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>It came up out of the lake. from the way these corpses are positioned, laid down a 360 - degree pattern of cannon fire. then disappeared in moments.</dialogue>
<parenthetical>( puts a foot on a body , scratches his chin . )</parenthetical>
<dialogue>My God, what kind of weapon is it? Rita ca n't handle Gordon's clinical posturing.</dialogue>
<character>RITA</character>
<dialogue>Excuse me, I think I'm going to be sick. As she walks quickly away, West comes over, a haunted look on his face.</dialogue>
<character>WEST</character>
<dialogue>It just rolls on and on. Makes a screeching sound - like a wounded animal. Got a ` cabin' on top with a cannon. swivels ` round like an eagle's head.</dialogue>
<character>GORDON</character>
<dialogue>You saw it?</dialogue>
<character>WEST</character>
<dialogue>Heard about it. Thought it was crazy survivors' stories.</dialogue>
<character>GORDON</character>
<dialogue>What survivors? There are n't any here.</dialogue>
<character>WEST</character>
<dialogue>New Liberty, Illinois - the free slave town just over the border. Just one week before the War ended in' 65. I was in the 9th Cavalry that discovered it. Old men, women, children. they used them for target practice. He looks out at the battlefield as if reliving it. Gordon is sympathetic to his obvious pain - just shuts up. West's grim reverie is interrupted by MOANING coming from the shoreline. They all follow the sound to find.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>That's when I vowed to follow McGrath to the end of the earth. As grey as four - day - old mullet, McGrath manages a smile for his relentless pursuer.</dialogue>
<character>McGRATH</character>
<parenthetical>( barely audible . )</parenthetical>
<dialogue>What's the matter, West? Thought you'd be happy to find me. like this.</dialogue>
<character>WEST</character>
<dialogue>I was hoping to kill you myself.</dialogue>
<character>RITA</character>
<dialogue>That's a nice way to talk to people.</dialogue>
<character>McGRATH</character>
<dialogue>You'll have to live with it. As I've lived with the blame for New Liberty. McGrath fades out. West grabs him and shakes him.</dialogue>
<character>WEST</character>
<dialogue>What do you mean?</dialogue>
<character>McGRATH</character>
<parenthetical>( opens eyes . )</parenthetical>
<dialogue>It was Loveless. his plan. He operated the killing machine there. Smarter now. left it to others here. With the meaning of it all sinking in, West grabs McGrath by the collar and pulls him toward him.</dialogue>
<character>WEST</character>
<dialogue>Where is he? Where did he go?! The General tries to speak. West puts his ear to the General's mouth. But before he can say it, McGrath closes his eyes for the last time. West's shoulders sag. Then from behind.</dialogue>
<character>RITA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well, I know that. West turns to her. well?</dialogue>
<character>RITA</character>
<dialogue>I'll tell you if you take me along.</dialogue>
<character>WEST</character>
<parenthetical>( in no mood . )</parenthetical>
<dialogue>Just tell me.</dialogue>
<character>RITA</character>
<dialogue>The girls at the mansion. They talk.</dialogue>
<parenthetical>( imitating a la Lippenreider . ) '</parenthetical>
<dialogue>I vonder if my hair vill get frissy in ze desert? Vhere is diss Ooo - tah anyvay?' As West and Gordon turn to one another in alarm.</dialogue>
<character>WEST/GORDON</character>
<dialogue>Ooo - tah?!</dialogue>
</scene>
<scene />
<scene>
<character>WEST</character>
<dialogue>Coleman. let's go! Full speed ahead! West snatches the catalogue out of his hands, does a take at the pictures of chunky models in bloomers.</dialogue>
<character>COLEMAN</character>
<dialogue>Aye, sir! As Coleman quickly exits, Gordon looks out the window, onto the platform.</dialogue>
<character>GORDON</character>
<parenthetical>( wistful . )</parenthetical>
<dialogue>I do n't see why we could n't have given her a ride back home to Texas. It is on the way.</dialogue>
<character>WEST</character>
<dialogue>On the way to Utah where our President happens to be. Maybe we oughta be worryin' about that little coincidence! As the ENGINE ROARS to life.</dialogue>
</scene>
<scene />
<scene>
<stage_direction>INT. WANDERER - ENGINE CAR - NIGHT</stage_direction>
<character>GORDON</character>
<dialogue>We would n't have known where Loveless was going if it was n't for her. Seems a bit ungracious. Possibly perilous.</dialogue>
<character>WEST</character>
<dialogue>Look, all that would happen would be she'd get in our way and I'd probably wind up gettin' in the saddle with her.</dialogue>
<character>GORDON</character>
<dialogue>Funny that you say that. Because I thought she was more interested in me.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( from gallery . )</parenthetical>
<dialogue>You know, I've been trying to place myself in Loveless's shoes.</dialogue>
<character>WEST</character>
<dialogue>Good luck on that one.</dialogue>
<character>GORDON</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>Ha, ha, ha. You know, I ca n't imagine what Loveless - a man without any reproductive organs could possibly want with Rita. Suddenly there's a WHOOSH and Rita falls through the ceiling and plops in the chair just like West did earlier. He instinctively pulls his gun. Puts it away as Gordon muses about her anatomy.</dialogue>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( not realizing she 's there . )</parenthetical>
<dialogue>Not that Rita does n't have a figure that would inspire a Botticelli. or a Raphael. Rita raises an eyebrow, looks to the galley as Gordon comes out with a platter of food. He still does n't see her there.</dialogue>
<character>GORDON</character>
<dialogue>especially her breasts. Did you notice the way one of them.</dialogue>
<parenthetical>( cups his hands . )</parenthetical>
<dialogue>Both of them actually. to say nothing of her buttocks. Gordon turns and looks into the car. Finally sees her. Changes gears without missing a beat.</dialogue>
<character>GORDON</character>
<dialogue>and the group of foreign ministers at Loveless's party. What were they doing there? Gordon gestures for West to join him at the pool table. Rita immediately goes for the food.</dialogue>
<character>GORDON</character>
<parenthetical>( using pool balls . )</parenthetical>
<dialogue>Here's France, Spain and Britain.</dialogue>
<parenthetical>( sotto voce . )</parenthetical>
<dialogue>How long has she been here?</dialogue>
<character>WEST</character>
<dialogue>Since the first breast. Gordon turns to her, exasperated with himself.</dialogue>
<character>GORDON</character>
<dialogue>I am so embarrassed.</dialogue>
<character>WEST</character>
<dialogue>I'll spare you.</dialogue>
<parenthetical>( to Rita . )</parenthetical>
<dialogue>Make yourself a sandwich to take with you. You're getting off.</dialogue>
</scene>
<scene>
<character>RITA</character>
<dialogue>But. I can help you.</dialogue>
<character>WEST</character>
<dialogue>How could you possibly help us?</dialogue>
<character>RITA</character>
<dialogue>Well, I heard you talking about why all those foreign guys were at Loveless's party? You want me to tell you?</dialogue>
<character>GORDON</character>
<dialogue>By all means. She uses the time to get another bite into her mouth.</dialogue>
<character>RITA</character>
<parenthetical>( to Gordon , chewing . )</parenthetical>
<dialogue>This is fantastic. You can cut it with a fork! How'd you cook it?</dialogue>
<character>GORDON</character>
<parenthetical>( someone appreciates him . )</parenthetical>
<dialogue>Well, in a daubiere. a clay pot. A French method which. West cuts off the chit - chat.</dialogue>
<character>WEST</character>
<dialogue>What about the foreign guys?!</dialogue>
<character>RITA</character>
<dialogue>They were mad about something, you know? Something about a real bad deal in Louisiana on purpose.</dialogue>
<character>GORDON</character>
<dialogue>The Louisiana Purchase?</dialogue>
<character>RITA</character>
<dialogue>And Queen somebody - somebody of France got swindled.</dialogue>
<character>GORDON</character>
<dialogue>Queen Isabella of Spain. West rolls his eyes.</dialogue>
<character>WEST</character>
<dialogue>Gordon, this is crazy. She does n't know what she's talking about! West picks up the speaker horn and calls Coleman.</dialogue>
<character>WEST</character>
<parenthetical>( into speaker horn . )</parenthetical>
<dialogue>Coleman, stop the train! Miss Escobar's getting off.</dialogue>
<character>COLEMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( over pipe . )</parenthetical>
<dialogue>Who the hell's Miss Escobar?</dialogue>
<character>RITA</character>
<parenthetical>( grabs horn . )</parenthetical>
<dialogue>I'm a frightened, starving, half - naked young woman who only wants to find her father!</dialogue>
<character>COLEMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( over pipe . )</parenthetical>
<dialogue>Half - naked?</dialogue>
<character>WEST</character>
<parenthetical>( grabs it back . )</parenthetical>
<dialogue>Coleman. stop the train.</dialogue>
<character>COLEMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( over pipe . )</parenthetical>
<dialogue>We're not puttin' anybody off. Not out here in the middle of nowhere. West looks out the window. Nothing but sagebrush and animal skulls out there. Rita comes up close to Jim, fire in her big, brown eyes.</dialogue>
<character>RITA</character>
<dialogue>Please, Jim. My father's the only family I've got. What am I supposed to do? Sit home and wait for news he's been killed? Or go do something! What would you do, Jim?! That gets the man of action where he lives.</dialogue>
<character>WEST</character>
<dialogue>Look, I got nothing against you, Rita. It's just that. What's going to happen when we catch up to Loveless. with you on the train? She grabs West's hand.</dialogue>
<character>RITA</character>
<dialogue>I know you'd never let him take me back. I've seen you shoot. West kinda melts a little. This girl does have her charms. Gordon, a little jealous, puffs his chest out.</dialogue>
<character>GORDON</character>
<dialogue>I assure you, Rita, an attack by Loveless would be an exercise in futility.</dialogue>
<parenthetical>( stands for tour . )</parenthetical>
<dialogue>. Allow me to demonstrate how my design suggestions have made the Wanderer impervious to attack. West draws his guns, twirls them and reholsters.</dialogue>
<character>WEST</character>
<dialogue>I'm the impervious part.</dialogue>
<character>GORDON</character>
<dialogue>Hardly. Completely armor - plated. Artemus raps his knuckles on the wall making a METALLIC sound. Then he smugly demonstrates that the light fixture is actually a Gatling gun.</dialogue>
<character>GORDON</character>
<dialogue>An attacker would find the lighting inside extremely. unflattering. Finally he moves to the billiard table, while Rita nods. and keeps eating.</dialogue>
<character>GORDON</character>
<dialogue>And if, by some inconceivable fluke, they did manage to gain entrance.</dialogue>
<parenthetical>( rolls billiard ball into bumper . )</parenthetical>
<dialogue>An innocent billiard ball this way.</dialogue>
<parenthetical>( picks it up , presses the number . )</parenthetical>
<dialogue>But depress the number. a sleeping gas bomb. Effective in under three seconds. Gordon unclicks it, triumphantly rolls it into a pocket.</dialogue>
<character>GORDON</character>
<dialogue>So rest assured, Rita. you are completely safe within these walls. West snorts at his obvious play for Rita's attentions.</dialogue>
<character>WEST</character>
<dialogue>I do n't know about you, ma'am, but I know I'll be sleeping a whole lot better tonight.</dialogue>
<parenthetical>( yawns . )</parenthetical>
<dialogue>. assuming Loveless barges in here and feels like a game of pool.</dialogue>
<character>RITA</character>
<dialogue>Speaking of sleeping, I'm pretty tired. Artemus, do you think I could borrow something to wear? West jumps in before Gordon can answer.</dialogue>
<character>WEST</character>
<dialogue>I've got somethin' you might use. It ai n't stylish, but it's practical.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Loveless kidnapped two chemists, that means there's gon na be explosives. He's got a metallurgist, so there's gon na be heavy armor. And he's got Rita's father, who - according to you - is the world's foremost specialist in hydraulics. Which means, whatever it is. it's gon na move. West sits up.</dialogue>
<character>WEST</character>
<dialogue>So what, is he building that's gon na make the President fall to his knees and surrender the country?</dialogue>
<character>GORDON</character>
<dialogue>A bedside heater.</dialogue>
<character>WEST</character>
<dialogue>What?</dialogue>
<character>GORDON</character>
<dialogue>Rita. She needs a bedside heater. I mean, it gets cold in there, you know, with the stained glass window right over the - ANGLE - COLEMAN opens and Rita emerges from the state room.</dialogue>
<parenthetical>( INSERT RITA 'S BUTT HERE . )</parenthetical>
<dialogue>Rita leaves.</dialogue>
<character>GORDON</character>
<dialogue>Such a pleasant girl. A real breath of fresh ass.</dialogue>
<character>WEST</character>
<dialogue>You said ass.</dialogue>
<character>GORDON</character>
<dialogue>Did I? No. CUT TO :</dialogue>
</scene>
<scene>
<character>COLEMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( over pipe . )</parenthetical>
<dialogue>We have Loveless, gentlemen! Seven hundred yards and closing! As they scramble for boots, weapons, Rita comes out of her room.</dialogue>
<character>RITA</character>
<dialogue>What's going on? Gordon ushers her to the back.</dialogue>
<character>GORDON</character>
<dialogue>Stay back here, take cover! Meanwhile, West pulls on his boot. When he stands on it, a three - inch STILETTO SNAPS out of the toe.</dialogue>
<character>WEST</character>
<dialogue>What the hell is this?</dialogue>
<character>GORDON</character>
<dialogue>I took the liberty of installing it while you were sleeping. West looks at him incredulously.</dialogue>
<character>WEST</character>
<dialogue>Leave my stuff alone!</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>COLEMAN</character>
<dialogue>Am I missin' somethin' here?</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Amazonia, shall we disabuse our friends of the notion that one's problems are solved when we see the light at the end of the tunnel! As Munitia swivels the cannon barrel.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Jim, we're the ones chasing Loveless, correct?</dialogue>
<parenthetical>( as West shoots him a look . )</parenthetical>
<dialogue>Then perhaps you could explain what they're doing behind us. As West looks out the back too. KA - BOOM! A SHELL EXPLODES just to the right of them. Now ANOTHER EXPLOSION to the left of them. The Wanderer rocks precariously from wheel to wheel, throwing a screaming Rita back and forth between West and Gordon.</dialogue>
<character>WEST</character>
<dialogue>They could n't fire the cannon at us from in front. Any other questions?</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Would it put you out too much to throw me a rope and hit your little secret button? With a shrug, Gordon tosses West a rope and hits the same hidden button he had during their fight. Whoosh! West is gone as the pool table flips over. As Rita covers her mouth in amazement.</dialogue>
<character>GORDON</character>
<dialogue>I taught him how it worked.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>RITA</character>
<dialogue>You know you could put a gun on that thing. Gordon looks up at her disapprovingly. not you too? Meanwhile, on the tracks.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene />
<scene />
<scene>
<character>MUNITIA</character>
<dialogue>I have them square in my sights, sire.</dialogue>
<character>LOVELESS</character>
<parenthetical>( distracted . )</parenthetical>
<dialogue>As do I, Munitia. as do I.</dialogue>
<parenthetical>( looks up , wry smile . )</parenthetical>
<dialogue>Fire away! But it's a little difficult with him stroking her buttocks. BOOM! The CANNON FIRES.</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Close the fire door! Just in time, Amazonia swings it shut as the unvented BOILER EXPLODES, sending a FIREBALL ripping through the back of the train, destroying it. Up ahead.</dialogue>
</scene>
<scene>
<character>RITA</character>
<dialogue>I wo n't let Loveless take me again! I'd rather be dead!</dialogue>
<character>GORDON</character>
<parenthetical>( recalling West 's words . )</parenthetical>
<dialogue>That's not a good one to wish for. To defend herself, Rita grabs one of the sleeping - gas pool balls rolling around on the ground. Gordon leads her into the stateroom to lock her in, but she grabs his hand.</dialogue>
<character>RITA</character>
<dialogue>Please, Artemus, do n't leave me alone! Rita closes the door behind him and locks it.</dialogue>
</scene>
<scene>
<character>WEST</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( hoarsely , not sounding like him . )</parenthetical>
<dialogue>It's me, Jim. Open up!</dialogue>
<character>RITA</character>
<dialogue>It's a trick, I know Loveless. CLICK, she pushes the number. Gordon makes a grab for it.</dialogue>
<character>GORDON</character>
<dialogue>Rita, no! It's just. CLUNK. she drops it to the floor. ANGLE - WEST standing in the doorway. He rubs a raw welt on his neck from the garrote, smirks when he sees Gordon on the bed with Rita. But his smirk drops when he sees the pool ball roll between his feet - spewing a purple cloud of sleeping gas. West gives Gordon a Wile E. Coyote look, croaks.</dialogue>
<character>WEST</character>
<dialogue>Too damn late, is what it is.</dialogue>
</scene>
<scene>
<character>WEST</character>
<parenthetical>( mimicking him . )</parenthetical>
<dialogue>An innocent billiard ball this way, but depress the number and on impact. a sleeping - gas bomb. West shakes his head disparagingly and stands. He feels the metal band around his neck and surveys the 18 - inch wire fence which has been laid around them in a circle. West is about to step over it. Gordon grabs his leg.</dialogue>
<character>GORDON</character>
<dialogue>Do n't move!</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Continue, Miss Lippenreider.</dialogue>
<character>MISS LIPPENREIDER</character>
<parenthetical>( doing both voices in a monotone . )</parenthetical>
<dialogue>West. Let go of my leg! Gordon. Listen to me. Loveless collared us with the same metal device we found on Morton. Loveless turns to Munitia, who is loading two 36 - inch - diameter metal discs into what looks like a CD changer/clay - pigeon - thrower.</dialogue>
<character>LOVELESS</character>
<dialogue>Oh, Munitia. I hope we're not going to leave evidence behind like we did last time.</dialogue>
<character>MUNITIA</character>
<dialogue>Nitro this time, sire. As she arms the device, and a red light comes on.</dialogue>
<character>LOVELESS</character>
<parenthetical>( through megaphone . )</parenthetical>
<dialogue>Good morning, gentlemen! I trust you slept well.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>What have you done with Rita?</dialogue>
<character>LOVELESS</character>
<dialogue>Rita, is it? How familiar! Rita is sleeping off the after - effects in the stateroom.</dialogue>
<parenthetical>( looks toward bedroom . )</parenthetical>
<dialogue>Quite lovely, is n't she? Who knows. I might even become ` familiar' with her myself. Gordon takes a step. West stops him.</dialogue>
<character>WEST</character>
<dialogue>And that would become one more reason why I'm going to kill you.</dialogue>
<character>LOVELESS</character>
<dialogue>Yes, Mr. West, I'm sure a well - endowed blackamoor like yourself must find it absolutely impossible. that a freak like me could fully enjoy the pleasure of a woman. But having witnessed my use of mechinology so far. would n't you think I could provide myself with something for the lower half of my body that was hard - pumping and indefatigably steely? Loveless looks O.S.</dialogue>
<character>LOVELESS</character>
<dialogue>And speaking of ` hard pumping.' Mr. Coleman, full steam ahead!</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>What a marvelous train! You do n't mind if I borrow it, do you, gentlemen? Other than a lack of wheelchair access, I find it a most comfortable way to pass the long miles from here to my laboratory in Spider Canyon.</dialogue>
<parenthetical>( louder , as they move off . )</parenthetical>
<dialogue>I'll be seeing President Grant soon at Promontory Point. What shall I tell him for you? I'm afraid it ca n't be that you're alive and well. And as his maniacal giggle hangs in the air.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Gordon, get out your little tool kit and get this damn thing off of me! Gordon unbuttons his shirt to reveal his leather tool kit. empty except for a note. Gordon opens it and reads.</dialogue>
<character>GORDON</character>
<dialogue>` Gentlemen, welcome to the Loveless Experimental Camp for Political Dissidents. There are no guards. No barbed wire. As long as you stay within the designated perimeter, you will stay alive.'</dialogue>
</scene>
<scene>
<character>MISS LIPPENREIDER</character>
<dialogue>West. How do you know it's not just bullshit? Gordon. Step over the fence and find out. Rita and I will put flowers on your grave every year.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>I do n't have time for this.</dialogue>
<character>GORDON</character>
<dialogue>Wait, I have an auxiliary tool kit! Gordon peels back the top of his boot revealing it. But it's too late. West has jumped over the fence. Then he hops back inside it. He holds his hands out to Gordon.</dialogue>
<character>WEST</character>
<dialogue>See? Nothing happened. West grabs Gordon by the back of his vest and yanks him over the fence. Now they hear a slight BUZZING in the air and it's not a bee. NEW ANGLE - DISC comes whipping over the corn straight for West's head. In a split second, he ducks and the disc cuts the tops of the corn off and banks around for a new attack.</dialogue>
<character>GORDON</character>
<dialogue>Oh, really? Now both of them step over the fenced perimeter and start running like hell through the cornfield.</dialogue>
<character>WEST</character>
<dialogue>Is it too late to take it off of me now?</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>MUNITIA</character>
<dialogue>Caviar?</dialogue>
<character>LIPPENREIDER</character>
<dialogue>Blini?</dialogue>
<character>LOVELESS</character>
<parenthetical>( opening champagne bottle . )</parenthetical>
<dialogue>Rita, my dear, not that I'm ungrateful to Providence for bringing you back to me. Rita jumps as the champagne CORK POPS.</dialogue>
<character>LOVELESS</character>
<dialogue>I'm just a wee bit curious as to how you managed to wind up with them.</dialogue>
<character>RITA</character>
<parenthetical>( scrambling . )</parenthetical>
<dialogue>Well, they uh. seemed so. sure that they could find you. and I thought if I stayed with them. they'd lead me back to. all my friends. Munitia shoots a look at Lippenreider.</dialogue>
<character>RITA</character>
<dialogue>And not to give you a big head but.</dialogue>
<parenthetical>( wrinkles her nose to Loveless . )</parenthetical>
<dialogue>I kinda missed you.</dialogue>
<character>LOVELESS</character>
<parenthetical>( not buying it . )</parenthetical>
<dialogue>Is n't that a coincidence? I miss me, too.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>Head for that gully! West zigs out of the cornfield one way. Gordon zags out the other. They're both beat - up and exhausted from running and flopping on the ground.</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>WEST</character>
<dialogue>When I give the signal. Jump off the cliff into my arms.</dialogue>
<character>GORDON</character>
<dialogue>Are you crazy?! Do you see what's down there?</dialogue>
<character>WEST</character>
<parenthetical>( watching the discs approach . )</parenthetical>
<dialogue>Five, four, three, two. West holds out his arms.</dialogue>
<character>GORDON</character>
<dialogue>Forget it. I'm not doing it.</dialogue>
<character>WEST</character>
<dialogue>One. West takes a leap of faith. and finally, so does Gordon.</dialogue>
<character>GORDON</character>
<dialogue>Oh shit! CLOSE - PARTNERS meeting mid - air. They drop OUT OF FRAME, just as. the two discs collide with a MIGHTY EXPLOSION that is heard by.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>I just remembered. I ca n't swim!</dialogue>
<character>WEST</character>
<dialogue>You wo n't have to! They drop OUT OF FRAME and we hear a LOUD THUK THUK.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Maybe I should have stayed inside that fence another moment or two. CUT TO :</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>All right, Gordon, what's your plan? How are you gon na get this damn thing off my neck? Gordon turns to West, simmering, controlling himself.</dialogue>
<character>GORDON</character>
<dialogue>Excuse me?</dialogue>
<character>WEST</character>
<dialogue>Is n't that why you're here?'Cause you're the master of, you know, mechanical stuff?</dialogue>
<character>GORDON</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Oh. Oh, I see. Now I'm the master of. ` mechanical stuff.' As opposed to five minutes ago, when I was trying to collect my thoughts and figure out a way to get us out of these contraptions! But no! Gordon starts moving towards West, who is forced to back up - looking a tad nervous for the first time in the movie.</dialogue>
<character>GORDON</character>
<dialogue>- That would n't have been any fun for a certain somebody, and I wo n't mention any names - Jim West! - who decided to take me on a bracing romp through a cornfield and play a fanciful game of hide and seek with serrated, spinning death discs, while our only mode of transportation is in the hands of a sadistic madman with weapons of mass destruction, who kidnapped Rita, and is on his way to kill our President and take over the country!</dialogue>
<character>WEST</character>
<dialogue>Hey, calm down, Gordon.</dialogue>
<character>GORDON</character>
<parenthetical>( he 's completely lost it . )</parenthetical>
<dialogue>No! Because I'm the ` Master of Mechanical Stuff!' And I have to help YOU! Because you're the ` Master of Stupid Stuff!'</dialogue>
<character>WEST</character>
<dialogue>Gordon.</dialogue>
<character>GORDON</character>
<dialogue>You want to get that collar off? Fine! Let's do it the fun, Jim West way!</dialogue>
<parenthetical>( picks up a rock . )</parenthetical>
<dialogue>Let's bash it with a rock!</dialogue>
<character>WEST</character>
<dialogue>Gordon, you do n't want to do that.</dialogue>
<character>GORDON</character>
<parenthetical>( crazy . )</parenthetical>
<dialogue>Oh, but I do. Gordon grabs a rock and smashes West's collar. Suddenly - ZIIIINNG! West's collar emits a LOW HUM. Suddenly, West is thrown into Gordon, their collars locking. CLANG!</dialogue>
<character>GORDON</character>
<parenthetical>( suddenly calm . )</parenthetical>
<dialogue>That's odd. What did you do?</dialogue>
<character>WEST</character>
<dialogue>I did n't do shit!</dialogue>
<character>GORDON</character>
<dialogue>No, you must've reversed the polarity of the magnets.</dialogue>
<character>WEST</character>
<dialogue>I did not do shit!</dialogue>
<parenthetical>( he 's had enough . )</parenthetical>
<dialogue>That's it - West lifts his leg to Gordon's collar to push him away, but then - CLANG! The stiletto in his shoe dislodges and instantly sticks to Gordon's magnetic collar. For a mega - millisecond, West - his foot stuck to his partner's neck - is stunned. But before he knows what even happened, West flips upside down onto his shoulders.</dialogue>
<character>GORDON</character>
<dialogue>Are you all right?</dialogue>
<character>WEST</character>
<dialogue>Oh, I'm peachey. Now help me get my boot off! First, Gordon - trying to get some leverage - puts his foot in West's crotch and pulls the boot.</dialogue>
<character>WEST</character>
<dialogue>Ahhhh!</dialogue>
<character>GORDON</character>
<dialogue>Apologies, apologies. Gordon struggles to free the writhing West from the boot.</dialogue>
<parenthetical>( attached to Gordon 's collar . )</parenthetical>
<dialogue>. Finally, West's foot comes free. But when he sits up - THWAP! His collar is sucked into Gordon's belt buckle. West is face to face with his partner's crotch.</dialogue>
<character>WEST</character>
<dialogue>Do me a favor. When you're telling this story to your grandkids, leave this part out.</dialogue>
<character>GORDON</character>
<dialogue>Do n't worry. West starts unbuttoning Gordon's belt.</dialogue>
<character>WEST</character>
<dialogue>Now, when I undo your belt, I'm going to run as fast as I can that way, and you run as fast as you can the other way. Understand?</dialogue>
<character>GORDON</character>
<dialogue>You're going to run as fast as you can one way and I'm going to run as fast as I can the other? Ingenious.</dialogue>
<character>WEST</character>
<dialogue>One. two.</dialogue>
<parenthetical>( undos belt . )</parenthetical>
<dialogue>Three! The men run in opposite directions.</dialogue>
<parenthetical>( Gordon 's belt on West 's collar , West 's boot on Gordon 's . )</parenthetical>
<dialogue>. They get about thirty, forty yards. Then - They're yanked backwards into each other. SPLASH! They fall in the water - back to back. Every time one rolls up and catches his breath, the other is under water.</dialogue>
<character>WEST</character>
<parenthetical>( rolling face up . )</parenthetical>
<dialogue>Get off me, you steaming pile of.</dialogue>
<parenthetical>( GURGLE . )</parenthetical>
<dialogue>!</dialogue>
<character>GORDON</character>
<parenthetical>( rolling face up . )</parenthetical>
<dialogue>I'm trying, you son of a.</dialogue>
<parenthetical>( GURGLE . )</parenthetical>
<dialogue>!</dialogue>
<character>WEST</character>
<parenthetical>( rolling face up GURGLE . )</parenthetical>
<dialogue>you!</dialogue>
<character>GORDON</character>
<parenthetical>( rolling face up GURGLE . )</parenthetical>
<dialogue>yourself! Finally they roll out of the stream and onto dry land. They sit up, out of breath, stuck together, back to back.</dialogue>
<character>WEST</character>
<dialogue>I do not want to spend the rest of my life looking like a meatball on a plate.</dialogue>
<character>GORDON</character>
<dialogue>We're going to have to discuss bathroom etiquette soon. Very soon. ANGLE ON TOOL KIT bobbing in the stream. Gordon grabs it out of the water.</dialogue>
<character>GORDON</character>
<dialogue>Aha. My auxiliary tool kit. I forgot all about it. It must've slipped out of my pocket.</dialogue>
<character>WEST</character>
<dialogue>Your pocket? Why was n't it attached to some spring - loaded something - or - other that shoots out of your ass?</dialogue>
<character>GORDON</character>
<dialogue>Because that, my friend, would be uncomfortable. CUT TO :</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Why did n't you tell me you had an ` auxiliary' tool kit?</dialogue>
<character>GORDON</character>
<dialogue>I did tell you, but in your zeal to run and leap off a two - hundred - foot cliff, I do n't think you heard me. West eats the grilled Gila monster voraciously. And eats. And enjoys it more. And eats. He notices Gordon watching him.</dialogue>
<character>WEST</character>
<dialogue>What?! Gordon looks to the heavens and recites.</dialogue>
<character>GORDON</character>
<dialogue>. Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.' Gordon's quote has gone on. And on. And on. He notices West watching him.</dialogue>
<character>GORDON</character>
<dialogue>What?!</dialogue>
<character>WEST</character>
<dialogue>You know, Gordon, you can be quite annoying - flaunting that fancy education.</dialogue>
<character>GORDON</character>
<dialogue>Well, truth be told, I never had a fancy education - not a formal one, anyway.</dialogue>
<character>WEST</character>
<parenthetical>( looks at Gordon 's ring . )</parenthetical>
<dialogue>The Harvard thing seems pretty formal to me.</dialogue>
<character>GORDON</character>
<dialogue>This ring? This ring is n't real. Do you want it?</dialogue>
<parenthetical>( takes ring off and tosses it into fire . )</parenthetical>
<dialogue>A prop. I'm an actor. Or was. I gave it up. I went by the name of Arthur Gordon. Ever hear of me?</dialogue>
<character>WEST</character>
<dialogue>No. How did you wind up in this line of work?</dialogue>
<character>GORDON</character>
<dialogue>The pinnacle of my life in the theater came in a production of Our American Cousin - a light comedy - at Ford's Theater in Washington. There was this one line I had. always got the biggest laugh in the show. One night, it drowned out the gunshot that killed President Lincoln.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I decided to devote my talents to making sure that never happened again. CLOSE - TARANTULA walks slowly across West's outstretched hand.</dialogue>
<character>GORDON</character>
<dialogue>Uh. There's a spider on your hand. Does n't that bother you?</dialogue>
<character>WEST</character>
<dialogue>She does n't want any trouble. She's just trying to get warm. He puts the spider down into the sand.</dialogue>
<character>GORDON</character>
<dialogue>How come you know so much about the desert, anyway?</dialogue>
<character>WEST</character>
<dialogue>The Indians taught me. I lived out here when I was a boy. Gordon starts to ask West something but West does n't want him to pry further.</dialogue>
<character>WEST</character>
<dialogue>Hey - watch - He points toward a small black wasp flying from above.</dialogue>
<character>WEST</character>
<dialogue>The desert wasp. one of the world's great hunters. She'll kill the tarantula - and lay her eggs on it, so her babies can have something to eat.</dialogue>
<character>GORDON</character>
<dialogue>Now I'm really hungry.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>How did your parents, who I assume were Negroes, feel about you being raised by Indians?</dialogue>
<character>WEST</character>
<dialogue>They did n't have much to say about it. I was sent to another plantation when I was little. Ran away as soon as my legs were strong enough to take me. West can see the effect his story has had on Gordon.</dialogue>
<character>GORDON</character>
<dialogue>Did you ever see your family again?</dialogue>
<character>WEST</character>
<dialogue>Yeah.</dialogue>
<parenthetical>( stands , kicks out fire . )</parenthetical>
<dialogue>They were at the camp at New Liberty. Now they both stare into the fire. Finally Gordon speaks.</dialogue>
<character>GORDON</character>
<dialogue>I'll help you get him, Jim.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>You have no idea where you're going, do you?</dialogue>
<character>WEST</character>
<dialogue>I know exactly where I'm goin'. Spider Canyon. Gordon stops to catch his breath.</dialogue>
<character>WEST</character>
<parenthetical>( stops , looks back . )</parenthetical>
<dialogue>But I'm never gon na get there with you draggin' that damn thing around! Now we see Gordon's got the heavy metal collar in his hand. West grabs him and they start to walk away - Gordon listing noticeably.</dialogue>
<character>GORDON</character>
<dialogue>While a magneto of this power may not inspire your scientific curiosity, it does mine. Besides, you never know when it might come in handy. Gordon suddenly disappears OUT OF FRAME. West stops to see what's happened to his partner now. ANGLE - GORDON He's on his back, arm holding the metal doughnut straight out over his head, being dragged across the desert floor by some unseen force. Gordon snowplows backwards through the sand for 40 feet, finally coming to an abrupt stop with a metallic klang! West deadpans this bit of insanity, walks over, and with the toe of his boot, uncovers the explanation - iron railroad tracks covered by drifting sand.</dialogue>
<character>WEST</character>
<dialogue>Arte. when you're right, you're right.</dialogue>
<character>GORDON</character>
<dialogue>Well I think our partnership is taking a big step forward. You finally admitted I was right about something. West helps him up. Then, as or two heroes follow the tracks into the distance. towards Spider Canyon.</dialogue>
<character>GORDON</character>
<dialogue>Now. how about admitting you were lost?</dialogue>
<character>WEST</character>
<dialogue>Do n't push it.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Jim, I know I've hallucinated it several times before, so is that really the Wanderer?</dialogue>
<character>WEST</character>
<dialogue>That's the Wanderer. Gordon seems relieved to know his beloved train is not another mirage. They continue on to the rim of the canyon, peer over the edge. Reacting to what they see.</dialogue>
<character>GORDON</character>
<dialogue>And would it be too much to hope that I'm simply seeing a World's Fair down there?</dialogue>
<character>WEST</character>
<dialogue>Yeah, it would. That's Loveless' Lair.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<dialogue>Now that's impressive.</dialogue>
<character>WEST</character>
<dialogue>Nice to see an invention that actually works.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON</character>
<parenthetical>( dismissive . )</parenthetical>
<dialogue>We'll see about that. The fool does n't even realize he's trapped.</dialogue>
</scene>
<scene />
<scene>
<character>WEST</character>
<dialogue>Gordon, let's ride!</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You do know how to ride? He sticks his head through the door to.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>A horse, I mean.</dialogue>
<character>GORDON</character>
<parenthetical>( distracted . )</parenthetical>
<dialogue>Yes. I know how to ride a horse. When the situation calls for something primitive.</dialogue>
<character>WEST</character>
<dialogue>How about now? There's a big spider stompin' towards our President! But Gordon wo n't be hurried. He has a big book out, studies it, then looks back to his Nitro - cycle.</dialogue>
<character>GORDON</character>
<dialogue>I was just thinking about another spider. Remember in the desert, when that little wasp killed the tarantula? West rolls his eyes impatiently.</dialogue>
<character>WEST</character>
<dialogue>Yeah. Well, the wasp had a small advantage. It could fly.</dialogue>
<character>GORDON</character>
<dialogue>Exactly! Gordon excitedly shows the book to West. Pictured is an archaic sepia diagram of a weird aircraft. West looks at it in disbelief as Gordon prattles on manically.</dialogue>
<character>GORDON</character>
<dialogue>In 1540, Leonardo Da Vinci invented a flying machine called the ` Ornithopter.' Though he never actually flew it. West's heard enough. He grabs Gordon, shakes him.</dialogue>
<character>WEST</character>
<dialogue>Artemus! There's no time for plans or half - cocked inventions! They do n't work. We got ta stick to what we're each good at! As West drags Gordon to the wardrobe.</dialogue>
</scene>
<scene />
<scene>
<character>PRESIDENT GRANT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>May God continue the unity of our country. CAMERA PULLS BACK to reveal a crowd present to watch President Grant knock in the famous spike. Behind him, two train engines are facing each other. The detectives scan the crowd for possible trouble.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>as this railroad unites the two great oceans of this world. Now he swings back the sledgehammer. but at the top of his swing. CLOSE - SPIKE starts to shake, wiggle, and actually pop out of its hole. Very curious. As it begins to hop on the ground, bounced by a RESOUNDING THUMPING. ANGLE ON GRANT AND CROWD look across the desert to see.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Well, is n't this a coincidence! I'm out for a little mornin' ride, and right in the middle of nowhere, I bump into General Ulysses S. Grant himself!</dialogue>
<parenthetical>( leans over edge , mocking salute . )</parenthetical>
<dialogue>We've never been properly introduced. I'm Dr. Arliss Loveless, formerly with the Confederate Army.</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Yes, Dr. Loveless, what can I do for you today?</dialogue>
<parenthetical>( to his military aides . )</parenthetical>
<dialogue>Flank him, left and right.</dialogue>
<character>LOVELESS</character>
<dialogue>I have a humble abode nearby, and I hope you'll accept my hospitality. I have a little proposition to make.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>What proposition is that?</dialogue>
<character>LOVELESS</character>
<dialogue>The unconditional and immediate surrender of the United States of America to the Loveless Alliance.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I did n't realize we were at war. Loveless gives the nod to Munitia.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>How about now?</dialogue>
</scene>
<scene>
<character>GORDON/GRANT</character>
<dialogue>In matters of war, the person to talk to would be me. If there's anyone more surprised than the President himself it's.</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Now just who are you?</dialogue>
<character>GORDON/GRANT</character>
<dialogue>The President.</dialogue>
<parenthetical>( turns to President , snorts . )</parenthetical>
<dialogue>He's just an actor hired to stand in for me on public occasions. A very bad actor, I must say. a little puffy and overweight. As the President eyes him, puffs on his cigar, Gordon/Grant apes his every move, bigger, mockingly.</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( aside . )</parenthetical>
<dialogue>Gordon, you've got a lot of brass. Where's West?</dialogue>
<character>GORDON</character>
<dialogue>You know him, sir. Gordon/Grant shifts his eyes toward.</dialogue>
</scene>
<scene />
<scene>
<character>GORDON/GRANT</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Captain, get this man out of my sight! And next time get me a real actor! As the bewildered captain starts to lead the President away.</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Take them both! Munitia, manning a sort of cannon, takes a bead on the two Grants. She pulls the trigger.</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Well, Gordon. was this part of your plan?</dialogue>
<character>GORDON</character>
<dialogue>I'm by your side, sir. That's what's important. Now Munitia hits a lever and they're hoisted up off the ground. They only get a couple of feet when. BLAM! West shoots the mechanism and it jerks to a stop. All eyes turn to the source of the sharpshooting.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene />
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Bonjour, buenas tardes and good day! Great glorious day! A day of healing for the wrongs that have been done to us all! Framed by a large flag featuring the spider emblem, he looks out from center stage of a Greek theater at the crowd of foreign dignitaries seated around him.</dialogue>
<character>LOVELESS</character>
<dialogue>Oh, how long have we waited! ANGLE - AMAZONIA, MUNITIA AND LIPPENREIDER dressed in tight Fascist - brown tankwear, rise from their seats and applaud. The only people not applauding are a row of haggard, bearded scientists and the manacled prisoners Gordon.</dialogue>
<parenthetical>( sans disguise . )</parenthetical>
<dialogue>, Rita, Grant and Coleman.</dialogue>
<character>LOVELESS</character>
<parenthetical>( looks to Englishman . )</parenthetical>
<dialogue>. 1776, was n't it, old bean? Most expensive cup o' tea in history! As the Englishman dignitary nods soberly.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<parenthetical>( looks to Hudson the indian . )</parenthetical>
<dialogue>Manhattan for a handful of beads?</dialogue>
<parenthetical>( raises his hand ; injun - style . )</parenthetical>
<dialogue>How?</dialogue>
<parenthetical>( to the Mexicans . )</parenthetical>
<dialogue>Remember the Alamo indeed!</dialogue>
<parenthetical>( humbly to crowd . )</parenthetical>
<dialogue>Today I'm proud to be able to sit before you and tell you the wrongs will be righted. the past made present. the United, divided! To thunderous applause. Loveless signals for the flag to be pulled down, revealing. ANGLE ON MAP OF `` THE DE - UNITED STATES'' There have been some significant internal changes which Loveless now describes. The delegation from each country stands when they hear their name.</dialogue>
<character>LOVELESS</character>
<dialogue>Great Britain gets back the thirteen original colonies. minus Manhattan.</dialogue>
<parenthetical>( off applause . )</parenthetical>
<dialogue>Florida and the Fountain of Youth go back to Spain!</dialogue>
<parenthetical>( off applause . )</parenthetical>
<dialogue>Texas, New Mexico, California, Arizona revolve a Mexico!</dialogue>
<parenthetical>( off applause . )</parenthetical>
<dialogue>And the Louisiana Purchase reverts back to the King of France! In the front row Rita leans over to Gordon.</dialogue>
<character>RITA</character>
<dialogue>Queen of Spain. King of France. I was close.</dialogue>
<character>MUNITIA</character>
<parenthetical>( jostles her . )</parenthetical>
<dialogue>Shut up and listen to a real genius! Finally Loveless taps Colorado, Kansas, Utah and Nevada - now labelled as `` Loveless Land.'' Smiles impishly.</dialogue>
<character>LOVELESS</character>
<dialogue>And a tiny piece for me to retire on. There's appreciative laughter.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>My partner nations insist that we make this as legal as possible. Personally, I like the symmetry of it. After all was n't it you who made us sign a surrender at Appomattox? Loveless snaps his fingers. Amazonia drags Grant out of his seat and sticks a pen in his manacled hands.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Never will I sign that paper, never will the United States ever surrender!</dialogue>
<character>LOVELESS</character>
<dialogue>Well, sir, we're at loggerheads then, are n't we? And I suppose the threat of death to someone with your valorous war record, would mean nothing. Grant sets his jaw intractably. He's right about that.</dialogue>
<character>LOVELESS</character>
<dialogue>so, if you still refuse to sign this surrender. we'll start by shooting your man, Gordon. Loveless whirls, nods to Amazonia who drags the President back to his seat, pulls Gordon out of his. Rita ca n't help her outburst.</dialogue>
<character>RITA</character>
<dialogue>Artemus! Artemus smiles at her, extremely brave under the circumstances. He whispers to Rita and the President.</dialogue>
<character>GORDON</character>
<parenthetical>( tugs at his vest . )</parenthetical>
<dialogue>Do n't worry, I'm wearing the Impermeable. Rita turns to Grant. What the hell is that? Gordon has no time to explain as Amazonia hauls him up on the stage. As Munitia aims her rifle. Gordon holds up a finger.</dialogue>
<character>GORDON</character>
<dialogue>If I may have one request. it's that she aim at my heart. which has loved this great country so much!</dialogue>
<character>LOVELESS</character>
<parenthetical>( considers for a moment . )</parenthetical>
<dialogue>Shoot him in the head.</dialogue>
<character>GORDON</character>
<dialogue>Great. Munitia cocks her rifle, then just as Loveless holds his hands up for the signal to fire. the lights dim.</dialogue>
</scene>
<scene>
<character>CHANTEUSE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Ohhh. Hangtown gals are plump and rosy.' Loveless wheels his chair around to take a gander and forgets Gordon's execution instantly. And why not? She's young and beautiful in a RuPaul sort of way. About six feet tall, wearing the blue sequined number Gordon had in his dressing room. Accessorized with black mesh stockings, big feather boa, silver - buckled belt, lots of frilly petticoats for those can - can moves.</dialogue>
<character>CHANTEUSE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Hair in ringlets, mighty cozy.' She winds her finger around her ringlets and sticks out her derriere to the crowd. They stare, mouths agape at this piece of ass worthy of Othello. CLOSE - LOVELESS Intrigued. Well, maybe more than intrigued.</dialogue>
<character>LOVELESS</character>
<dialogue>A new girl! What a nice surprise! He motions to hold up Gordon's execution, rolls to her.</dialogue>
<character>CHANTEUSE</character>
<dialogue>` Painted cheeks and frilly corsets.'.</dialogue>
<parenthetical>( bends over showing her undergarment . )</parenthetical>
<dialogue>Touch them.' Loveless hears this as an invitation, reaches out with his hand and whap! She slaps him right in the face.</dialogue>
<character>CHANTEUSE</character>
<dialogue>. And they'll sting like hornets!' There's a hush in the crowd. Loveless, a red handprint on his face, is a little nonplussed. Amazonia moves in threateningly, but Loveless stops her, starts to laugh.</dialogue>
<character>LOVELESS</character>
<parenthetical>( making her name up on the spot . )</parenthetical>
<dialogue>Ebonia! Why are you so cruel to me? Ebonia has escaped a head - cutting neck bracelet. But she probably should n't be teasing a man who's having `` ghost aches'' in certain amputated places. ANGLE - GORDON waiting to be executed. Something's not quite kosher about her for Gordon.</dialogue>
<character>GORDON</character>
<parenthetical>( musing to himself . )</parenthetical>
<dialogue>I have a dress like that. ANGLE - CHANTEUSE Now with the crowd singing along, she pulls out all the stops. Her gestures and dance moves become more exaggerated, she's in the thrall of her audience.</dialogue>
<character>CHANTEUSE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Hangtown gals are lovely creatures Think they'll marry Mormon preachers.' She sashays over to the French dignitary, pulls his monocle out of his eye and blows hot breath on it, steaming it up. As she pops it back on his face.</dialogue>
<character>CHANTEUSE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Heads thrown back to show their features.' Now she puts her cheek next to Rita as if matching their relative beauty while picking the pocket of Lippenreider. Rita pushes her away disgustedly but not before Ebonia hands Coleman the keys to the cuffs. Coleman looks from the keys to Ebonia. He just caught on.</dialogue>
<character>COLEMAN</character>
<dialogue>Go, Ebonia, go. Then Ebonia prances on stage to Gordon, cuddles up to him. Gordon looks at the big beautiful black woman with a mixture of amusement and relief. Of course, it's his `` I'd rather be dead'' partner, Jim West.</dialogue>
<character>WEST</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Ha. Ha. Hangtown girls.</dialogue>
<character>GORDON</character>
<dialogue>Not to sound ungrateful, but you're a little over the top.</dialogue>
<character>WEST</character>
<parenthetical>( sings . )</parenthetical>
<dialogue>Ha. Ha. Ha. West/Ebonia wraps the feather boa around Gordon's neck - hiding the derringer in the palm of his hand. Gordon looks worried. What's he going to do with a gun? As he tucks it up his sleeve.</dialogue>
<character>GORDON</character>
<dialogue>Let me warn you about that dress.</dialogue>
<character>WEST</character>
<dialogue>Got ta go. Big finish.</dialogue>
<parenthetical>( belts it out . )</parenthetical>
<dialogue>` Ha, ha, ha! Hangtown gals!' An immediate standing ovation. The diversion allows Coleman to unlock both Grant's and Rita's shackles. Grant looks at the keys.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Where'd those come from?</dialogue>
<character>COLEMAN</character>
<parenthetical>( nods to Ebonia . )</parenthetical>
<dialogue>Captain West. Their eyes practically pop out of their heads.</dialogue>
<character>RITA</character>
<dialogue>She's. no! ANGLE - EBONIA/WEST One more time.</dialogue>
<character>WEST</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>` Ha, ha, ha. Hang. Town. Girls!' Suddenly the tassels on his bosoms are spinning to the delight of the crowd.</dialogue>
<character>WEST</character>
<parenthetical>( suddenly blinks . )</parenthetical>
<dialogue>Wait a minute. What the hell is this? He stops, but his tassels are still spinning on their own.</dialogue>
</scene>
<scene>
<character>RITA</character>
<dialogue>Serves you right for staring at them. As she relieves the charred goon of his keys. Loveless turns to the rest of his goons.</dialogue>
<character>LOVELESS</character>
<dialogue>Kill him!</dialogue>
<parenthetical>( off their confused looks , points . )</parenthetical>
<dialogue>Him! Him! The girl! Finally getting it, they rush Ebonia. Even his 4th of July breasts are n't a match for them. Desperate, West reaches way down in his undergarments to retrieve one of Gordon's billiard balls. He depresses the number and rolls it at the guards.</dialogue>
<character>GORDON</character>
<dialogue>Was that the eight ball?</dialogue>
<character>WEST</character>
<dialogue>Mmm - hmm. Gordon grabs West and Rita, pulls them behind the bar.</dialogue>
<character>GORDON</character>
<dialogue>That one's an incendiary bomb. KA - BOOOOM! An EXPLOSION rips the place and a Santa Ana - sized fire starts immediately. Rita jumps up and makes her way through the smoke to a bearded SCIENTIST.</dialogue>
<character>WEST/GORDON</character>
<dialogue>Rita! She unlocks his neck collar, turns to them and smiles.</dialogue>
<character>RITA</character>
<parenthetical>( disappearing into the chaos . )</parenthetical>
<dialogue>Meet me after the show! Both West and Gordon look after her with yearning as three goons charge them. Coleman, amazed at their torpor, quickly grabs a RIFLE from the incinerated goon and OPENS FIRE. BLAM! BLAM! BLAM! Three goons drop. Gordon and West exchange looks. Not bad for an emphysemic old engineer.</dialogue>
<character>COLEMAN</character>
<dialogue>Special Marshal. President thought you needed some lookin' after. Speaking of the President. he's grabbed a dead goon's RIFLE, and is LAYING DOWN a pretty good field of FIRE himself. Suddenly, he gets a tap on the shoulder from behind. It's Amazonia. Whap, she sends a right to his chin knocking him out. She throws him over her shoulder and carries him away.</dialogue>
</scene>
<scene>
<character>FRENCH MINISTER</character>
<dialogue>Monsieur, we are your partners! You ca n't let us die in this fire!</dialogue>
<character>LOVELESS</character>
<dialogue>It's not the first time y' all have been burned in America. He chuckles, nods to Amazonia, who SLAMS the DOOR closed.</dialogue>
</scene>
<scene />
<scene />
<scene>
<stage_direction>EXT. AMPHITHEATER - DUSK</stage_direction>
<character>COLEMAN</character>
<dialogue>This is diabolical! They've got the President and I've still got that silly song in my head!</dialogue>
<character>GORDON</character>
<parenthetical>( freaking out . )</parenthetical>
<dialogue>C'mon we got ta go! We got ta ride horse! Something! West is watching the Tarantula, turns to calm him.</dialogue>
<character>WEST</character>
<dialogue>No, Arte. Right now, we need a plan. Gordon tries to compose himself.</dialogue>
<character>WEST</character>
<dialogue>That flyin' machine idea of yours. were you just acting like you knew what you were talking about. or could you build it?</dialogue>
</scene>
<scene>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Now Bernoulli's Principle states that the air flowing over a bird's wings. is moving at a lower pressure than the pressure below the wing. that's called ` lift.' Course, it's just a theory. it's never been tested. NEW ANGLE - GORDON'S DRAWING It depicts a wing cutting through the air. Arrows indicating airflow. Circular lines indicating `` life.'' Only one problem, it's upside down. Gordon remedies that. Looks sheepishly to West who, like him, is wearing a leather flight jacket and goggles.</dialogue>
<character>WEST</character>
<dialogue>You're not makin' me feel any better. Now they attach the wing to the frame - which is connected to the Nitro - cycle. Coleman, his ever - present cigarette dangling from his mouth, readies bombs from the gunpowder of cartridges and Gordon's design. They look like Flash Gordon's spaceship. He passes them out.</dialogue>
<character>COLEMAN</character>
<dialogue>Here's a coupla bon voyage presents.</dialogue>
<character>GORDON</character>
<dialogue>Coleman! Must you smoke when handling explosives! Gordon grabs them away from him and sits in the saddle of the Nitro - cycle. West looks at Coleman apologetically as he stuffs the bombs into his jacket.</dialogue>
<character>WEST</character>
<dialogue>He's just a little nervous'cause no one's ever flown before. West is barely on the back when Gordon kicks it over and they BLAST OUT OF FRAME.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>Avant! Avant! But their speed is not enough to get them airborne.</dialogue>
<character>GORDON</character>
<dialogue>We're not getting enough lift! We need more speed! Then in an uncharacteristic move by Gordon, he turns the machine around and heads for the cliff.</dialogue>
<character>WEST</character>
<dialogue>Hey, uh. that's the cliff over there, you know? He guns the accelerator.</dialogue>
<character>GORDON</character>
<dialogue>Yes, I do know. And with that, the Nitro - cycle goes off the cliff! It disappears for the count of five. Then suddenly it swoops up and PAST CAMERA. They're flying!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SKY - DESERT WASP - IN FLIGHT - DUSK</stage_direction>
<character>GORDON</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>It worked? It worked!</dialogue>
<character>WEST</character>
<parenthetical>( looking down . )</parenthetical>
<dialogue>If you had to get one right, I'm real glad it was this one.</dialogue>
<character>GORDON</character>
<parenthetical>( exhilarated , with West - like abandon . )</parenthetical>
<dialogue>Yeee - haaa! And with that, they bank the Desert Wasp around and fly off to save the Republic.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Mr. President, I'll ask you once again. Sign the surrender or I decimate this town!</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>You've had my answer. Loveless's face darkens as Amazonia hands him a tray of cotton balls.</dialogue>
<character>LOVELESS</character>
<parenthetical>( as he puts in earplugs . )</parenthetical>
<dialogue>I find the sound of people screaming while they get blown to smithereens, ruins the ear for music. Do n't you? He offers them to the President. Grant swats them away.</dialogue>
<character>LOVELESS</character>
<dialogue>Commence firing! And with that the Tarantula OPENS FIRE on the town. There's a lot of stomping and smashing, too.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>I think I'll call it.</dialogue>
<character>WEST</character>
<dialogue>Lem me guess. an Elevation Enhancer?</dialogue>
<character>GORDON</character>
<parenthetical>( why would you call it that ? )</parenthetical>
<dialogue>No, Air. Gordon. Now West points to the Tarantula and chaos below.</dialogue>
<character>WEST</character>
<dialogue>Go down, down there!</dialogue>
<character>GORDON</character>
<parenthetical>( as if to a child . )</parenthetical>
<dialogue>You ca n't just ` go down there.' Flight depends on lift, which must be calibrated to the angle of descent.</dialogue>
<character>WEST</character>
<dialogue>Shut up and go down there, will ya? West reaches up, shoves the make - shift joystick forward. As the wasp plummets toward the bridge of the Tarantula and Gordon strains to keep control.</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Well, Mr. President. Have you had enough yet? Would you like to sign the surrender or shall we set a course for Denver? Wichita? Washington, perhaps? Suddenly there's a LOUD WHOOOSH and.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Well, I'll be damned. it's West and Gordon. flying! Grant chuckles at the dauntless pair's pluck.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Keep that surrender handy. I think you're going to need it!</dialogue>
<character>LOVELESS</character>
<dialogue>Do n't be too sure. Loveless thinks for a moment, pushes Grant out of the way, and rolls over to the controls. He pushes a lever and the Tarantula bends down on its knees. He barks to Munitia.</dialogue>
<character>LOVELESS</character>
<dialogue>I'm through with diplomacy. Take him away and kill him!</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>WEST</character>
<dialogue>What does your boy da Vinci say about puttin' this bird down?</dialogue>
<character>GORDON</character>
<dialogue>I do n't think he thought it would ever work, so he did n't get that far. I'm open to suggestions.</dialogue>
<character>WEST</character>
<dialogue>Take out as many bad guys out as you can. Gordon aims wasp at the Tarantula kamikaze - like just as.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Munitia! Munitia!</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Sorry about that, sir. Nose up, flaps down. Have to remember that next time.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Son, never apologize for saving a President's life. As Gordon realizes that he's finally made amends for that night long ago in Ford's Theater.</dialogue>
<character>AMAZONIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Soon you all can fly again. This time with little angel wings. West, Gordon and Grant turn to see Amazonia and Lippenreider with the drop on them.</dialogue>
</scene>
<scene>
<character>LOVELESS</character>
<dialogue>Gentlemen, I am truly impressed by your effort and ingenuity. Why not swear an oath of loyalty to me. and forego your executions.</dialogue>
<character>WEST</character>
<dialogue>Why not? Well, I guess maybe I'd rather see what happens when I stuff your ass into that cannon up there and fertilize the landscape.</dialogue>
<character>GORDON</character>
<dialogue>Uh, Jim, I think a polite ` no' would suffice. Loveless taps a button on his chair and the floor opens up beneath West. He goes crashing down a story. Loveless sics Amazonia on Gordon and Grant and proceeds down the ramp to the level below.</dialogue>
<character>LOVELESS</character>
<dialogue>Lippenreider, take over the controls.</dialogue>
<parenthetical>( looks down at West . )</parenthetical>
<dialogue>We may not have a woodshed on board, but that boy is gon na get a whoopin' anyway!</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>So, I guess you're the one who's gon na give me my whoopin'. They square off. A beat. Then, a long steely blade shoots out from where his left hand used to be.</dialogue>
<character>WEST</character>
<dialogue>Pfft. I got one a' those. West reveals the less impressive four inch stiletto in his boot. Knife Guy responds by producing another blade from his other cuff.</dialogue>
<character>WEST</character>
<dialogue>But you've got two of those.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Okay, lem me talk to Gordon, I'll see if he can. No time for talk. Knife Guy does a bad - ass series of moves. The blades criss - crossing one another at blinding speed. West, unimpressed, retorts with a lame shake of his stiletto and boot. And the fight begins. Knife Guy attacks! West narrowly escapes each thrust of the knife, and attempts a kick to the groin. but comes up short - The stiletto collides with one of the blades and snaps like a carrot. His only weapon. gone.</dialogue>
<character>WEST</character>
<dialogue>Damn. West rolls onto the railing to avoid the attack. Sparks fly as the Knife Guy tries to slice and dice West but misses each time, hitting the metal railing instead. West rolls to the floor, sucking air. Knife Guy lands a kick to West's ribs. And to make matters worse. WRENCH GUY just showed up. He swings his wrench at West's head. West ducks but gets kicked in the back. He sails across the room, lands flat on his back. Now. SHOVEL GUY makes an appearance. He hammers his shovel at West's groin, over and over.</dialogue>
<parenthetical>( West is in a crab position and backs up to avoid this . )</parenthetical>
<dialogue>West finally gets a kick in - it does a moderate amount of damage. Wrench Guy appears and swings his huge wrench at West's head. West escapes it, barely. Knife Guy thrusts a side - kick at West's chest, but West catches his foot, holds on for dear life. Wrench Guy is inbound, with wrench in hand. He swings on West, but West blocks it with Knife Guy's leg. OUCH! West punches both of them. Wrench Guy tumbles OUT OF FRAME. West stands. Looking for a way out, but. no luck. Shovel Guy attacks. West ducks and the shovel connects squarely with Knife Guy's blades. West crouches and throws two simultaneous punches, each connecting with a set of jewels. West stands, follows it up with a right cross and left hook and these two jokers wind up OUT OF FRAME. Now. the Wrench Guy is on his feet and he's pissed! He attacks West, lands a solid kick to the chest and West flies backward toward a. HANGING CHAIN which he grabs. He scales the gears, gets a solid grip, then swings, a huge arc across the room, gaining momentum, and kicks Shovel Guy and Wrench Guy at the same time! Off their feet they go, slamming onto the metal floor. West lands. Knife Guy attacks. West uses the chain to block the blades which are flying at him, left and right. Sparks fly. West manages to wrap the chain around one of the knives, locks it down, and heaves it into the gears. the blade snaps.</dialogue>
<character>WEST</character>
<dialogue>No more Mister Knife guy! West drops a stiff right - cross on the chin of the Knife Guy. wobbles his legs a bit. But before West can follow up. ANOTHER BLADE SHOOTS OUT to replace the broken one. It stops about a half - an - inch from West's nose. A struggle ensues, but West manages to wrap the chain around Knife Guy's neck and string him up. West throws a kick to his back. Knife Guy, hanging by his neck, flies through the belly.</dialogue>
<parenthetical>( the chain is on a track . )</parenthetical>
<dialogue>. and out of the mouth of the beast, down into the abyss, chain and all. Shovel Guy springs to his feet and swings on West. West grabs the shovel and they struggle for possession. Wrench Guy comes out of nowhere and wants a piece of the action. But West uses the shovel to deflect the swing - ing wrench. sparks fly. West gains sole possession of the shovel and mule - kicks Shovel Guy OUT OF FRAME. West spins just in time to land a crippling blow to Wrench Guy's back. Shovel Guy grabs the shovel. He and West tug - o' - war again. West ducks under the shovel and moves back - to - front with him. West elbows him in the ribs. He responds by putting West in a choke hold. West swings the shovel wildly but hits his target - shovel Guy's head! West steps back, gets his footing and, for good measure, whacks him in the back. Wrench Guy attacks. West defends himself with the shovel and lands a stiff kick to his stomach. Wrench Guy goes down. West turns, hits Shovel Guy in the chest with the shovel and he goes down. Wrench Guy sneaks up on West from behind and swings at his head. West, on instinct, lifts the shovel and blocks the deadly blow at the last second. West has now found his rhythm. He swings and shovel and connects with. first, the foot, then the chin, and last but not least, the head - BOINK! West drops the shovel and, World Wrestling Federation style, picks him up and hurls him into the space between the gears. We wo n't see him anymore! West pivots and WHACK! Shovel Guy plants a neat little roundhouse kick squarely on West's jaw. West backs up and catches another in the stomach. Then. Shovel Guy really shows what he's made of. He does a series of jump - kicks, round - houses and fan - kicks into the air. All perfectly timed, all deadly.</dialogue>
<character>SHOVEL GUY</character>
<dialogue>I learned that from a Chinaman. West, without missing a beat, steps on the shovel, which flips into his hand and - WHACK! - lands a clean one right on the top of Shovel Guy's melon.</dialogue>
<character>WEST</character>
<dialogue>I just made that up. Shovel Guy reels back and tumbles over the railing, through the hole and he's gone.</dialogue>
<character>WEST</character>
<dialogue>Do n't forget your shovel! West casts the shovel out into the abyss.</dialogue>
<character>WEST</character>
<parenthetical>( upward . )</parenthetical>
<dialogue>Is that all you got for me, Loveless?! West, exhausted, turns and sees. METAL HEAD all seven feet of him. The top of his head is a metal plate. Extending downward, encircling his eyes. West soaks him in, sighs.</dialogue>
<character>WEST</character>
<dialogue>Uh, I just threw my shovel out. So this really is n't fair. If you do n't mind, I'd like to. West, at lightning speed, throws a sucker - punch/spin - ning back - fist to Metal Head's jaw. PING! That one really hurt. West's hand, that is. Metal Head is n't fazed a bit. West throws another shot, this time to the gut. PING! Then a kick to the groin. PING!</dialogue>
<character>WEST</character>
<parenthetical>( incredulous . )</parenthetical>
<dialogue>Noooo. Metal Head has had enough. He effortlessly picks West up by his lapels and flings him across the room. West tumbles, and lands right next to. WRENCH He picks it up and starts swinging! A shot to the body. PING! Then another. PING! Then another. PINGGGG! Metal Head lurches forward, absorbing each blow with not so much as a twitch of the eye. West furries. PING! PING! PING! PING! nothing! He goes for the head. PINNNNNNGGGG! nothing! West is out of time. He's been backed up as far as he can go. His heels are dangling over the mouth of the beast, a thousand feet above the rocky cliff.</dialogue>
<character>WEST</character>
<dialogue>Sorry. Metal head grunts, grimaces and pitches forward, toward West, slowly but menacingly. West braces himself.</dialogue>
<character>METAL HEAD</character>
<dialogue>Urrrrrrrrrrggggghhh! West side - steps and Metal Head falls face first into the open air.</dialogue>
<character>WEST</character>
<parenthetical>( downward . )</parenthetical>
<dialogue>You guys just do n't get out enough. CUT TO :</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>When you get right down to it, Loveless, you just ca n't beat a good pair of legs.</dialogue>
<character>LOVELESS</character>
<parenthetical>( thin smile . )</parenthetical>
<dialogue>You're obviously not a poker player, Mr. West. Loveless presses a button, the sound of MECHANICAL GEARS ENGAGING. Suddenly four metal legs appear from underneath the wheelchair, raising his body to a height of six foot ten.</dialogue>
<character>LOVELESS</character>
<dialogue>Two pair always beats a pair. West stares up at him slack - jawed. Loveless rolls up his sleeves, steps away from the wheelchair ready to fight.</dialogue>
<character>LOVELESS</character>
<dialogue>Now. Was it someone particularly close to you who perished in that military action? West responds with a roundhouse kick to the chin that makes Loveless spin around on the platform of his chair.</dialogue>
<character>LOVELESS</character>
<parenthetical>( stunned . )</parenthetical>
<dialogue>Hmmm. Well, that hit a nerve. Loveless imitates West by kicking with a lightning flash of an alloy leg. It's a rib cracker that sends West sprawling.</dialogue>
<character>LOVELESS</character>
<dialogue>A mother, perhaps? A father? CLOSE - WEST'S HAND He's just trying to get up when a cleated metal foot stomps down with hundreds of foot pounds per square inch. As West screams in pain.</dialogue>
</scene>
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>It feels so good to stretch my legs. West ca n't take much more of this, he's about to pass out. Loveless lowers his alloy foot over West's head and begins to crush it like a grape.</dialogue>
<character>LOVELESS</character>
<dialogue>I likes to beat my feet on the Mississippi mud!</dialogue>
</scene>
<scene>
<character>GORDON</character>
<dialogue>Stop this violence! Gordon blinks at the gun. So do Lippenreider and Amazonia. Grant knows what to say, if Gordon does n't.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>Drop'em. They obey, chucking their guns overboard.</dialogue>
</scene>
<scene>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Stop or I'll shoot! If possible, West's eyes pop even further. Gordon shoot? NEW ANGLE - LOVELESS looks up to see Gordon holding the derringer on him from up above.</dialogue>
<character>LOVELESS</character>
<dialogue>You expect to kill me with that little pea shooter?</dialogue>
<character>GORDON</character>
<dialogue>If I have to. Yes.</dialogue>
<character>LOVELESS</character>
<dialogue>Why is it, that I'm unafraid?</dialogue>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>I believe you gentlemen are the polar opposites of a moral dilemma and I'm stuck in the middle. On one end, we have Mr. West, a man of primitive vigours uncomplicated by intellect. And on the other, there's Mr. Gordon. A man of ideas, but unlike myself, lacks the passion to kill for them. He'd like to be able to act his way out of it. And for some reason when he's actin', someone always seems to get killed. Loveless puts more pressure on West's head, he groans. Gordon aims.</dialogue>
<character>WEST</character>
<parenthetical>( gasps . )</parenthetical>
<dialogue>Shoot him, Gordon!</dialogue>
<character>LOVELESS</character>
<dialogue>I'm right about you, are n't I, Gordon? And that's why I'm gon na kill your friend here. Then I'm going to kill you. POP! The SHOT startles Loveless, West and even Gordon. But when Loveless realizes that he's not hit, he laughs.</dialogue>
<character>LOVELESS</character>
<dialogue>After all that, you missed.</dialogue>
<character>GORDON</character>
<dialogue>Not exactly. He gestures down Loveless's legs to a punctured metal tube that's spraying a stream of hydraulic fluid all over the deck - rendering the foot on West's head, powerless. West gets out from under, rubs his neck to regain circulation.</dialogue>
<character>WEST</character>
<dialogue>Better than a fountain pen, do n't you think.</dialogue>
<parenthetical>( nods behind Gordon . )</parenthetical>
<dialogue>By the way, your chivalry's about to be tested. Gordon turns to see. ANGLE - AMAZONIA AND LIPPENREIDER Charging him. They smash into him, driving him to the rail. As they pummel him, trying to throw him over, Gordon realizes this is no time for passivity. He retaliates with a series of chops and kicks that would make West proud. Over the rail, goes Lippenreider. In that split - second before she drops, Gordon mouths `` bye - bye.'' Before he can savor the moment further, Amazonia clubs him from behind. Gordon whirls and hits her so hard it surprises them both. Over the railing she goes! As Amazonia hovers there, President Grant gives her the kick in the pants she needs to go sailing.</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( to Gordon , impressed . )</parenthetical>
<dialogue>We'll be joining them in a moment if you ca n't stop that thing!</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Let's see how clever you really are. Gordon frantically starts pulling this lever and that. Meanwhile.</dialogue>
</scene>
<scene>
<character>WEST</character>
<dialogue>For almost four long years I've been trackin' the animal responsible for the Massacre at New Liberty. And I hear that's you. But with the hydraulic fluid, the fight has gone out of Loveless. His mechanical legs shrivel before our eyes, and Loveless sinks helplessly to the deck like the Wicked Witch. Whimpering pathetically, he uncouples his body from the useless contraption and slowly backs up to his wheelchair that's stuck against the railing.</dialogue>
<character>LOVELESS</character>
<dialogue>Please, West. show a little mercy to a poor defenseless cripple.</dialogue>
<character>WEST</character>
<parenthetical>( imitating his accent . )</parenthetical>
<dialogue>Now, now, Doctor. let's not cloud this otherwise sunny day with that poor - ol' - me - cripple - talk. Just buck up and say to yourself,' I am indefatigably hard - pumpin' and steely!' Loveless gets to his wheelchair and collapses in it.</dialogue>
<character>LOVELESS</character>
<dialogue>After I kill ya, I swear I'm gon na boil you down to axle grease!</dialogue>
<character>WEST</character>
<dialogue>Now that's the ol' doctor I know! But the smile fades from West's face when he sees Loveless's shotgun armrests pop out leveled at his waist. West has nowhere to go but up as he leaps to grab the I - beam over his head just as Loveless pulls the triggers on both BARRELS. BOOM! BOOM! The SHOTS almost blow the heels off West's boots. They PUNCTURE a PIPE behind him. Steam spews out. This is going to have an effect on something.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene />
<scene>
<character>LOVELESS</character>
<dialogue>Well, I'll be a monkey's uncle. How did we arrive in this dark situation?</dialogue>
<character>WEST</character>
<dialogue>I do n't know. Guess I'm stumped!</dialogue>
<character>LOVELESS</character>
<dialogue>And I'm so cotton - pickin' afraid of heights. They just give me the spooks!</dialogue>
<character>WEST</character>
<dialogue>Ah, do n't be afraid, Loveless. With this being the last leg of our journey and all, you should soak in the view, you're really missing something.</dialogue>
<character>LOVELESS</character>
<dialogue>Mister West, I'm gon na cut this conversation short.</dialogue>
<character>WEST</character>
<dialogue>Good one, Loveless. I did n't think of that one.</dialogue>
<character>LOVELESS</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>Mister West! I am faced with a difficult decision here. On one hand, there is the overwhelming love that I have for myself, and on the other, the raw, seething hatred I have for you! Now, I could kill you very easily, just by pulling this lever. He moves the joystick. The chair jerks back.</dialogue>
<character>LOVELESS</character>
<dialogue>But, of course, I would die along with you. I guess the only thing that I can take comfort in is the hope that you would hit those rocks a second before me and I could enjoy immeasurable bliss before I vanish.</dialogue>
<parenthetical>( moving joystick back and forth . )</parenthetical>
<dialogue>What to do, what to do. West grabs the joystick.</dialogue>
<character>WEST</character>
<dialogue>Allow me to make that decision easy on you, Loveless. Because I want to see you dead a hell of a lot more than I want to live.</dialogue>
<character>LOVELESS</character>
<dialogue>Why is it that I have a sneaking suspicion, that although you are as black as the night on the outside. inside, you are yellow?! They lock eyes. A beat.</dialogue>
<character>LOVELESS</character>
<dialogue>You do n't have it in you, do you. boy?!</dialogue>
<character>WEST</character>
<dialogue>You were right. Let's cut this conversation short! West yanks the joystick back. ANGLE - LOVELESS his eyes widen. The wheels spin for a second, finally catch, and in a flash, Loveless and West free - fall into space.</dialogue>
<character>LOVELESS</character>
<dialogue>Weeeeeeeeeest! A beat, then. ANGLE - CHAIN which is dangling from the belly of the beast. At the bottom of the chain is the Knife Guy from the fight scene. West is hanging on to his ankles, enjoying a vindictive, belly laugh.</dialogue>
<character>WEST</character>
<parenthetical>( downward . )</parenthetical>
<dialogue>Now that looked like it hurt. CUT TO :</dialogue>
</scene>
<scene>
<character>PRESIDENT GRANT</character>
<dialogue>Gentlemen, I now strongly believe the United States is going to be truly united. Not because of this railroad. but because of you. Grant scans the crowd, every race seems present at this momentous event. He reaches into his pocket, takes out two silver shields.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I've signed into law the creation of an agency whose sole duty is to protect the President and the country from lunatics like Loveless.</dialogue>
<parenthetical>( pins badges on their vests . )</parenthetical>
<dialogue>Welcome to the Secret Service, Agents No. 1 and No. 2. The President shakes both their hands. Gordon resists looking down.</dialogue>
<character>GORDON</character>
<dialogue>Uh, just out of curiosity, sir. who's Agent No. 1? Grant just shakes his head, some things never change.</dialogue>
<character>PRESIDENT GRANT</character>
<dialogue>I do n't think that matters very much, do you? Gordon? Besides, you'll have plenty of time to discuss it on your new assignment.</dialogue>
<parenthetical>( hands them piece of paper . )</parenthetical>
<dialogue>See you back in Washington. He snaps off a salute, starts to go as they read it. Gordon looks up, very troubled.</dialogue>
<character>GORDON</character>
<dialogue>But, sir. what about our train?</dialogue>
<character>PRESIDENT GRANT</character>
<parenthetical>( over shoulder . )</parenthetical>
<dialogue>Well, I'm taking it of course. Hell, you let Loveless blow up mine. As they look at one another in dismay.</dialogue>
<character>RITA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Jim. Arte? They turn to see Rita approaching them from a crowd of scientists. She's looking extraordinarily fetching in a print dress and parasol. West and Gordon sit up like dogs.</dialogue>
<character>WEST</character>
<dialogue>Rita! You look great.</dialogue>
<character>GORDON</character>
<dialogue>Ravishing, a vision. She hugs West, she hugs Gordon. Who's it gon na be?</dialogue>
<character>RITA</character>
<dialogue>I just wanted to thank you for everything you've done for me. before I went back home to Texas.</dialogue>
<character>WEST</character>
<dialogue>Texas? Why're you going back there? Why do n't you come with me back to Washington?</dialogue>
<character>GORDON</character>
<dialogue>Or better still, come with me to Washington. I could introduce you to people I still know in the theater.</dialogue>
<character>WEST</character>
<dialogue>She's not really an entertainer, remember?</dialogue>
<character>RITA</character>
<parenthetical>( intercedes . )</parenthetical>
<dialogue>I ca n't go with either of you. She looks from one crestfallen suitor to the other.</dialogue>
<character>RITA</character>
<dialogue>It's not that you both do n't have your attributes.</dialogue>
<parenthetical>( to Gordon . )</parenthetical>
<dialogue>You're so sophisticated and such a wonderful cook.</dialogue>
<parenthetical>( to West . )</parenthetical>
<dialogue>Jim, you're good with a gun. and have great legs.</dialogue>
<parenthetical>( to both . )</parenthetical>
<dialogue>And you're both so brave. But. I'm afraid I have n't been completely honest with you.</dialogue>
<character>WEST AND GORDON</character>
<dialogue>Uh - oh.</dialogue>
<character>RITA</character>
<dialogue>Professor Escobar's not my father. He's my husband. She gestures to a handsome goateed Latino waiting for her. Shaved and cleaned up, he's not the old man we thought.</dialogue>
<character>WEST</character>
<dialogue>Rita. why did n't you just tell us that in the first place?</dialogue>
<character>RITA</character>
<dialogue>Well, I was going to. but would you have really brought me along if I said I was married? Honestly. Neither West nor Gordon knows what to say.</dialogue>
<character>RITA</character>
<dialogue>I did n't think so. She turns and starts to walk away. Stops and smiles.</dialogue>
<character>RITA</character>
<dialogue>At least you still have each other. As West and Gordon look at one another.</dialogue>
</scene>
<scene>
<character>WEST</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You know, Arte.</dialogue>
<character>GORDON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What's that, Jim?</dialogue>
<character>WEST</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Maybe Rita's right. Suddenly intruding into the f.g. is a huge metal leg. Then another LEG CLOMPS down. and the Tarantula comes INTO FULL VIEW. As our heroes ride slowly into the sunset.</dialogue>
<character>WEST</character>
<dialogue>Besides. there's a lot of other women in the world.</dialogue>
<character>GORDON</character>
<dialogue>That's easy for you to say. She did n't walk off with your best dress. FADE OUT. THE END</dialogue>
</scene>
</script> | In 1869, four years after the end of the American Civil War, U.S. Army Captain James T. "Jim" West and U.S. Marshal Artemus Gordon hunt for ex-Confederate General "Bloodbath" McGrath. West is after McGrath for another reason: the general was responsible for the massacre of New Liberty which claimed his parents' lives. U.S. President Ulysses S. Grant informs the two about the disappearance of America's key scientists and a treasonous plot by McGrath, and tasks them with finding the scientists. Aboard their train The Wanderer, Gordon examines the head of a murdered scientist and found a clue leading them to Dr. Arliss Loveless, a legless ex-Confederate scientist. West and Gordon infiltrate Loveless's party, where they rescue a woman named Rita Escobar. Rita asks for their help in rescuing her father Professor Guillermo Escobar, one of the kidnapped scientists. Loveless holds a demonstration of his newest weapon, a steam-powered tank, and angers McGrath by using his soldiers as target practice. Accusing McGrath of "betrayal" for surrendering at Appomattox, Loveless shoots him and leaves him for dead. Gordon, West, and Rita find the dying McGrath, who reveals he was framed by Loveless for the massacre of New Liberty. The three caught up with Loveless on The Wanderer. After a brief fight, Rita accidentally releases sleeping gas which knocks out West, Gordon and herself. West and Gordon wake up as Loveless pulls away in The Wanderer with Rita as a hostage, announcing his intention to capture President Grant at the golden spike ceremony and leaving West and Gordon in a deadly trap. Evading the trap, the pair stumble across Loveless's private railroad leading to his industrial complex hidden in Spider Canyon. They witness Loveless's ultimate weapon: a gigantic mechanical spider armed with nitroglycerin cannons. Loveless uses his spider to capture Grant and Gordon at the ceremony. As West attempts to infiltrate the spider, he is shot in the chest by Munitia, one of Loveless's bodyguards. At his complex, Loveless threatens to destroy the United States with his mechanized forces unless Grant divides the states among Great Britain, France, Spain, Mexico, the Native American people and Loveless himself. After Grant refuses, West, having survived the shot, disguises himself as a belly dancer and distracts Loveless, allowing Gordon to free the captives. Loveless escapes on his mechanical spider while taking Grant with him, and attacks a small town to force Grant to sign the surrender. Using a flying machine, Gordon and West catch up to the spider. West battles the henchmen before confronting Loveless, who is now on mechanical legs. After freeing Grant, Gordon shoots one of Loveless's legs, allowing West to gain the upper hand. As the mechanical spider approaches a cliff, Loveless shoots West with a concealed gun, but instead hits the control and halts it abruptly at the edge of the canyon. West maneuvers himself to safety while Loveless falls to his death. Grant promotes Gordon and West as the first agents of his new United States Secret Service. After Grant departs on The Wanderer to Washington, D.C., West and Gordon reunite with Rita, whom they both attempt to court, but she announces that Professor Escobar is actually her husband. Gordon and West ride into the sunset on the spider. |
Wild Things: Foursome_2010 | tt1523372 | <script>
<scene>
<stage_direction>Wild Things</stage_direction>
<scene_description>MAIN TITLE SEQUENCE - BLACK INTERCUT - QUICK FLASH - FORWARDS INSIDE A STEAMY SHOWER - A wet naked woman and man wrapped around each other in ecstasy - legs , arms , hair , mouths . BLACK - MORE TITLES - then Moonlight reflects on a vehicle 's shiny surface . FISTS THUD into flesh . O.S. - a man slams of the hood , rebounds away . BLACK - MORE TITLES - then LOVERS - caught in FREEZE - FRAMES of green neon - off , on , off , on - like a strobe 's instant - images - of gasping , tough sex . BLACK - MORE TITLES - then ON A GLEAMING POOL DECK of black - and - white tile - two women in soaked , clinging clothes - fight - hands squeeze a throat . BLACK - MORE TITLES - then A SCREAM - a sickening hollow THWACK - an arc of blood , two teeth fall on dark stone . BLACK - MORE TITLES - then GUNSHOTS - Blood sprays across the glass of a picture frame - obscures the photo inside . BLACK - MORE TITLES - then THE SURFACE OF A SPARKLING SEA - a distant emerald island . A 40 - foot sloop APPEARS - shapes on deck - we are about to SEE - BLACK - MORE TITLES - then SHARKS - underwater - rip something into a bloody cloud . END MAIN TITLES .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>A place of money and privilege . White coral buildings surround an open yard . Tile roofs rise among banyan trees and banana palms , shimmering before a blue blaze of sky . Beyond the yard is the school 's playing field and beyond that the waters of Biscayne Bay , dappled in sunlight where the sloops of the school 's sailing class bob at their moorings . For a moment all is quiet . Then , faintly , the HUM of many VOICES , rising and falling , LAUGHTER . The CAMERA PANS to the open windows of a building somewhat larger than the others . The SOUNDS grow louder .</scene_description>
</scene>
<scene>
<stage_direction>INT. BLUE BAY AUDITORIUM - DAY</stage_direction>
<scene_description>A hundred high school kids sit before a raised , hardwood stage . The students are not unlike the campus , radiant , well - tended - a veritable sea of adolescent sexuality - bronze boys who seem to have just come from the boats or tennis courts - girls in tight shorts riding high up shapely thighs , as . SAM LOMBARDO strolls out onto the stage . The man is thirtyish , drop - dead handsome . Dressed not that differently from the kids , in an Izod polo shirt , khakis and boat shoes . His entrance has an effect upon the audience , particularly upon the girls . KAREN and JANELLE , 16 , pretty blondes , whisper then giggle . NICOLE , a dark - eyed beauty , 17 but going on 25 , watches Sam 's walk , then turns to the girl at her side . KELLY VAN RYAN , 17 , a fully - developed knockout .</scene_description>
<character>NICOLE</character>
<dialogue>When we graduate the only thing I'm going to miss is.</dialogue>
<parenthetical>( with a nod to the stage . )</parenthetical>
<dialogue>Know what I mean?</dialogue>
<scene_description>Kelly 's eyes are locked on Sam . Nicole has to nudge her .</scene_description>
<character>NICOLE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Kelly?</dialogue>
<character>KELLY</character>
<parenthetical>( still staring . )</parenthetical>
<dialogue>Oh yeah.</dialogue>
<scene_description>Sam is at the podium . He looks out across the audience . There are a couple of flirtatious whistles , laughter . Sam smiles , silencing them with a wave of his hand .</scene_description>
<character>SAM</character>
<dialogue>We've come to the halfway point in my senior seminars.</dialogue>
<scene_description>Cheers , applause . Sam waits for the kids to settle .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come on. Beats study hall, does n't it?</dialogue>
<character>JIMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No!</dialogue>
<scene_description>Boos as we FIND . JIMMY LEACH , 18 , grumge look , long hair . He sits with a clique of white trashy types , or at least what passes for such at Blue Bay School . Jimmy appears a bit more genuine , as does . SUZlE TOLLER , a boyish brunette , seated nearby , but with just enough space between her and everyone else to mark her as a loner . She studies Sam Lombardo with a dark , sullen stare .</scene_description>
<character>SAM</character>
<dialogue>Thank you, Jimmy.</dialogue>
<character>JIMMY</character>
<dialogue>Hey, man, at least in study hail I could meditate.</dialogue>
<character>KIRK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He means masturbate.</dialogue>
<scene_description>This remark is greeted by a chorus of laughter as we FIND . KIRK , one of the golden boys , seated with Kelly and Nicole .</scene_description>
<character>SAM</character>
<dialogue>Something Kirk with which I'm sure you have hands - on experience.</dialogue>
<scene_description>Loud laughter . Sam quiets them again , then turns to the blackboard , where he begins to write , in big letters - S - E - X . The kids start to cheer . Sam writes another word - C - R - I - M - E - S . The cheering fades into silence .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We've all heard the words, date rape, sexual harassment. We've talked about some of these things in this room.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Our speakers today head up the Blue Bay Police Sex Crimes Unit - Detectives Ray Duquette and Gloria Perez.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>They're here to give you what we hope will be a fresh perspective on these subjects, and to answer any questions you night have.</dialogue>
<scene_description>Sam turns to the wings , his hand out to welcome the visitors . RAY DUQUETTE , mid - thirties , with the lanky build of a light heavyweight , walks out onto the stage . He 's dressed in a dark suit , dark hair combed straight back above steel - rimmed glasses . GLORIA PEREZ walks at his side . She 's a good six inches shorter than Ray , with a sweet face . Attractive but no stunner . About five kids applaud . Ray takes the podium .</scene_description>
<character>RAY</character>
<dialogue>Thank you for having us. We'll each talk for ten or fifteen minutes, then open it up to your questions.</dialogue>
<scene_description>IN THE AUDIENCE Suzie Toller suddenly gets to her feet . As she passes behind Jimmy , we HEAR her VOICE , beneath her breath .</scene_description>
<character>SUZIE</character>
<dialogue>I'm not going to listen to this jack - off.</dialogue>
<scene_description>She marches down the aisle and bangs out the rear door . Ray pauses , a dark look on his face , then goes on .</scene_description>
<character>RAY</character>
<dialogue>Let's begin with a question. What is a sex crime?</dialogue>
<scene_description>A moment .</scene_description>
<character>JIMMY</character>
<dialogue>Not getting any.</dialogue>
<scene_description>This draws a few laughs from the kids , a couple of thin smiles from Sam and Gloria . And none at all from Ray Duquette .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUDITORIUM - DAY</stage_direction>
<scene_description>The kids change classes . Sam , Ray and Gloria CROSS the grass . The kids swarm past . A pair of girls flash by .</scene_description>
<character>CAROLE</character>
<dialogue>Have a nice weekend, Mr. Lombardo.</dialogue>
<character>SAM</character>
<dialogue>Hey, Carole, you too. And be good.</dialogue>
<character>CAROLE</character>
<parenthetical>( beneath a pouty look . )</parenthetical>
<dialogue>I hate to be good.</dialogue>
<scene_description>The three adults ENTER an old wooden building .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUILDING - DAY</stage_direction>
<character>SAM</character>
<dialogue>This is one of the original buildings. We have the offices here now.</dialogue>
<scene_description>The walls are paneled in wood , decorated with framed photographs . Gloria stops before one of the photos . ANGLE ON PHOTOGRAPH An old black - and - white , with that sepia caste harkening back to another age . A handsome young man of perhaps 14 stands at the helm of a boat under sail . His hair is swept back , his eyes fixed upon an unseen horizon . There is something in this boy 's pose , in the line of his jaw , in the clarity of his gaze , as if what he has fixed upon is the future itself .</scene_description>
<character>GLORIA</character>
<dialogue>Anybody in particular?</dialogue>
<scene_description>When no one answers , she turns to find Sam at her side . He stares at the picture , then looks at Gloria .</scene_description>
<character>SAM</character>
<dialogue>Sam Lombardo. The first. Class of ` Forty - Two.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>My father.</dialogue>
<scene_description>Gloria does a slow double - take , looking from Sam to the photo and back again .</scene_description>
<character>VOICE</character>
<parenthetical>( 0 .</parenthetical>
<parenthetical>S . )</parenthetical>
<dialogue>Ca n't seem to get rid of the Lombardos around here.</dialogue>
<scene_description>Sam and the detectives turn as a professorial - looking guy in a baggy brown suit -LRB- ART MADDOX -RRB- arrives on the scene .</scene_description>
<character>SAM</character>
<dialogue>Art. Say hello to Detectives Perez and Duquette.</dialogue>
<parenthetical>( to the cops . )</parenthetical>
<dialogue>Art Maddox. A fellow guidance counselor.</dialogue>
<scene_description>Art and the detectives shake hands .</scene_description>
<character>ART</character>
<dialogue>So, did you set'em all straight on the ugly facts of life?</dialogue>
<character>SAM</character>
<dialogue>I have the feeling, they got it down already. They're a step ahead of us, Artie.</dialogue>
<scene_description>Gloria seems to find this amusing . Ray stands at her side , looks at Sam . Sam feels it , makes eye contact with Ray - a beat - at which point , Ray puts a hand on Gloria 's back .</scene_description>
<character>RAY</character>
<dialogue>I've got that two o'clock in town.</dialogue>
<character>GLORIA</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>Back to the land of grownups.</dialogue>
<scene_description>The detectives shake hands once more with San and Art .</scene_description>
<character>SAM</character>
<parenthetical>( to Gloria . )</parenthetical>
<dialogue>If old pictures interest you, come back some time, there's quite a collection down in the pagoda. I'll see you get a proper tour.</dialogue>
<character>GLORIA</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I'd like that.</dialogue>
<scene_description>Ray opens a door for her . The detectives pass through it . Art claps Sam on the shoulder , then walks off down the hallway . Sam remains near the doors , watching as . ANGLE ON THE DRIVE LEADING TO THE SCHOOL Ray and Gloria walk past half a dozen expensive cars - Range Rovers , Beamers and Mercedes , to a plain , white Ford Taurus , which they get into and drive away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - LATER</stage_direction>
<scene_description>Cheerleaders perform a sensual dance on the porch of a wooden pagoda . A rugby team runs drills on the grass , as out on the bay , six tiny racing sloops tack toward the docks . ANGLE ON DOCKS As the sloops enter the narrow channel between the slips one student from each boat jumps onto the dock where he or she sets about tying off the boat . Sam is on one of the boats . Jimmy Leach is at the rudder .</scene_description>
<character>SAM</character>
<parenthetical>( loud enough to be heard by his class . )</parenthetical>
<dialogue>Okay, you guys. Good work. Now coil those dock lines and I'll see you all on Monday.</dialogue>
<scene_description>He watches his class clamber up the docks . His eye falls upon the pagoda , the dancing cheerleaders - Kelly Van Ryan in work - out tights - bare arms reaching for the sky .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL DOCKS - SAM & JIMMY - LATER</stage_direction>
<scene_description>hosing down boats , stowing sails . They look up as . A HUGE POWER BOAT glides past . The docks rock in its wake .</scene_description>
<character>JIMMY</character>
<dialogue>All right. I could party on that.</dialogue>
<scene_description>Sam just laughs at him .</scene_description>
<character>SAM</character>
<dialogue>That's about all it's good for.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>That's the one to have.</dialogue>
<scene_description>He points to a beautiful triple - masted schooner headed out of the bay , under sail .</scene_description>
<character>SAM</character>
<dialogue>The Windward Passage. I crewed on that one summer.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Long time ago.</dialogue>
<scene_description>He pulls his eyes from the boat , sets about coiling a line .</scene_description>
<character>JIMMY</character>
<dialogue>You know, I want to thank you for getting me into this class. No way was my old man going to spring for the fees.</dialogue>
<character>SAM</character>
<dialogue>Hey, you're working for it.</dialogue>
<parenthetical>( beneath a laugh . )</parenthetical>
<dialogue>Least you're supposed to be.</dialogue>
<scene_description>He tosses Jimmy the coiled line . Jimmy 's caught off - guard , but catches it at the last second , then shares the laugh with Sam .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Can I play too? Or is it just for boys?</dialogue>
<scene_description>Sam and Jimmy turn to find Kelly Van Ryan at the far end of the dock . She 's fresh from cheerleader practice , in a white blouse knotted at the bottom to REVEAL a flat , tanned stomach ; open at the top to REVEAL the swelling of her breasts . She favors Sam with a coy smile .</scene_description>
<character>KELLY</character>
<dialogue>So who's washing your car this weekend, Mr. Lombardo?</dialogue>
<parenthetical>( off Sam 's blank look . )</parenthetical>
<dialogue>The senior car wash, remember?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Tamara's making a schedule. She said you bought a coupon but you're not on anybody's list.</dialogue>
<scene_description>Sam smiles , remembering .</scene_description>
<character>SAM</character>
<dialogue>Well, you know. Figured I'd buy a Washing ticket, support the effort. That old Jeep of mine's kind of a waste of time, do n't you think?</dialogue>
<scene_description>Sam places the coiled hose on top of a locker then starts up the dock , Jimmy at his side . Kelly falls in with then .</scene_description>
<character>KELLY</character>
<dialogue>Not at all. How about if Nicole and I do it? We're working as a team.</dialogue>
<scene_description>Sam just looks at her . She looks back - big , pleading eyes .</scene_description>
<character>SAM</character>
<dialogue>Okay, try me on Sunday. I'm going out to the Everglades on Saturday. You guys can wash the mud off.</dialogue>
<character>KELLY</character>
<dialogue>Deal.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You know, I just looked out front. My ride was n't there. You suppose you could give me one?</dialogue>
<scene_description>Sam does n't answer right away . He looks toward the school .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You would n't want me to walk, would you? I mean like, something bad might happen.</dialogue>
<scene_description>Sam hesitates , momentarily at a loss , then turns to Jimmy , who seems to regard Kelly with something akin to physical pain .</scene_description>
<character>SAM</character>
<dialogue>What about you, Jimbo, you need a ride?</dialogue>
<character>JIMMY</character>
<parenthetical>( still looking at Kelly . )</parenthetical>
<dialogue>What?</dialogue>
<character>SAM</character>
<dialogue>A ride. You want one?</dialogue>
<character>JIMMY</character>
<dialogue>Yeah. But I got my bike.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>Sam 's Jeep rolls out of the drive , Jimmy 's bike in back , meaning that Jimmy and Kelly are squeezed into the passenger seat , which is fine with Jimmy . Kelly 's thigh is pressed against his . His arm pushes against her breast . Kelly is not so happy . As they near the school 's entrance , they come upon a beat - to - shit VW bug - stalled at a stop sign . A John Deere tractor mower sits nearby . A groundsman - a tall black guy with a shaved head , waits at the wheel of the bug as . Suzie Toller - in black platform shoes , a T - shirt and cutoff jeans , leans over the engine , fiddling with the car 's linkage . Sam pulls up next to the bug and stops .</scene_description>
<character>SAM</character>
<dialogue>We got room for one more, Suzie. You need a ride?</dialogue>
<scene_description>Kelly rolls her eyes as Suzie turns to look at them .</scene_description>
<character>KELLY</character>
<dialogue>Jesus. Where'd she get those shoes? Whores - 4 - Less?</dialogue>
<scene_description>Suzie 's eyes go cold . She signals the groundsman , who turns the key . The CAR SPLUTTERS to life . Suzie flashes a smile , then sticks out her tongue - which has been pierced by a silver stud .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's cute.</dialogue>
<scene_description>Suzie gives her the finger . Sam makes eye contact with Suzie , offers a sad smile , while putting the Jeep in gear .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Suzie . )</parenthetical>
<dialogue>I hope you swallow it.</dialogue>
<scene_description>Jimmy turns , waving to Suzie as the Jeep pulls away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPSCALE NEIGHBORHOOD - DAY</stage_direction>
<scene_description>Magnificent old mansions occupy five - acre bay - front parcels amid lush , tropical settings . Sam 's Jeep stops before a pair of gates with the words `` VAN RYAN '' woven into their wrought - iron design . Beyond the gates a long drive leads toward a huge stone house . Kelly jumps out , punches in a code . The gates swing open .</scene_description>
<character>KELLY</character>
<dialogue>Do n't forget the car wash.</dialogue>
<character>SAM</character>
<dialogue>I wo n't.</dialogue>
<scene_description>SANDRA VAN RYAN , Kelly 's mom , big , sexy , aggressive , a young 42 in a string bikini , comes out from the side of the house . When she sees the Jeep , she starts down the drive . Kelly waves to Sam , then walks up the drive . When she sees her mother coming toward her , her face hardens .</scene_description>
<character>SANDRA</character>
<dialogue>Is that Sam Lombardo?</dialogue>
<character>KELLY</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Hi, Mon..</dialogue>
<character>SANDRA</character>
<dialogue>Sam! Hi!</dialogue>
<scene_description>Sam has already hung a U. Sandra comes through the gate and up to the Jeep . Jimmy is checking her out . All eyes .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Sam ; as if Jimmy was n't even there . )</parenthetical>
<dialogue>What? You're going to drive off without even saying hi?</dialogue>
<character>SAM</character>
<dialogue>Hi, Sandy.</dialogue>
<character>SANDRA</character>
<dialogue>Why do n't you come in, have a drink?</dialogue>
<character>SAM</character>
<dialogue>Ca n't. Got a passenger.</dialogue>
<scene_description>Sandra looks down her nose at Jimmy .</scene_description>
<character>SANDRA</character>
<dialogue>He can wait.</dialogue>
<scene_description>Sam glances past her , to Kelly , who stands languidly at the front of the house , watching .</scene_description>
<character>SAM</character>
<dialogue>I ca n't, Sandy. I've got to run.</dialogue>
<character>SANDRA</character>
<dialogue>I'll bet.</dialogue>
<parenthetical>( then , softening . )</parenthetical>
<dialogue>Look, Sam. Why do n't you come by this weekend. We'll take the boat out.</dialogue>
<character>SAM</character>
<parenthetical>( cutting her off . )</parenthetical>
<dialogue>Sorry, Sandy. I've got plans.</dialogue>
<character>SANDRA</character>
<dialogue>What? Running over alligators with that silly swamp jalopy when you could be sailing a real boat.</dialogue>
<character>SAM</character>
<dialogue>Swamp's where it's at, Sandy. Gives you a look into the muck we all crawled out of. You ought to try it some time.</dialogue>
<scene_description>Sandra gives him a hard stare , then marches off toward the house . CLOSE ON KELLY still at the door , a cold smile on her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN CUL-DE-SAC - DAY</stage_direction>
<scene_description>Neat little stucco houses - some not so neat - simmer in tropical heat . A BMW Z - 3 Roadster stops at the head of the cul - de - sac . Nicole is driving . Kelly sits beside her .</scene_description>
<character>NICOLE</character>
<dialogue>This is it?</dialogue>
<scene_description>Kelly looks at a pad of paper , nods .</scene_description>
<character>KELLY</character>
<dialogue>Four - thirty - seven.</dialogue>
<scene_description>They pass a couple of teenagers playing basketball in a driveway , a guy mowing his yard .</scene_description>
<character>NICOLE</character>
<dialogue>Nice.</dialogue>
<character>KELLY</character>
<dialogue>What do you want, he's a teacher for Christ's sake.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's here. Pull over.</dialogue>
<scene_description>Nicole does , before one of the not - so - neat houses . Sam 's muddy Jeep Wrangler is parked in the drive . Behind that is a red Mercedes convertible .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S HOUSE - BEDROOM - SAME</stage_direction>
<scene_description>Sam and BARBARA , 28 , a lean , beautiful country - clubber roll on the bed . Barbara is dressed for tennis . Sam wears a baggy pair of khaki shorts . Barbara struggles to escape . Sam grabs a leg , kisses the back of her knee . He pushes up the little white skirt , kissing her between her thighs .</scene_description>
<character>BARBARA</character>
<parenthetical>( getting just a little breathless . )</parenthetical>
<dialogue>Sam, come on. I'm gon na be late for my game.</dialogue>
<scene_description>Sam keeps at it . She 's starting to weaken .</scene_description>
<character>BARBARA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Not that I'm going to be much good after last night.</dialogue>
<character>SAM</character>
<dialogue>Eat a power bar.</dialogue>
<scene_description>Barbara starts to giggle . He 's just about got her when . The DOORBELL RINGS . Sam lets go . Barbara sighs .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SAME</stage_direction>
<scene_description>Sam goes to the front door , opens it , to find . Kelly and Nicole , holding plastic pails full of rags . The girls are dressed in Blue Bay High T - shirts , cropped to REVEAL flat tummies , shorts and running shoes .</scene_description>
<character>GIRLS</character>
<dialogue>Hi, Mr. Lombardo.</dialogue>
<scene_description>Sam looks over the girls - a small , exasperated smile .</scene_description>
<character>KELLY</character>
<dialogue>Look, he forgot. I knew it.</dialogue>
<character>SAM</character>
<dialogue>No I did n't. Check out the Jeep. It's nice and dirty for you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But you might want to wait a minute. The Mercedes is leaving.</dialogue>
<character>NICOLE</character>
<dialogue>You mean that is n't yours too?</dialogue>
<scene_description>The girls giggle . Sam smiles .</scene_description>
<character>KELLY</character>
<dialogue>Where's the hose? We can set up.</dialogue>
<character>SAM</character>
<dialogue>In back of the garage.</dialogue>
<scene_description>As they walk away , he is joined by Barbara . She watches the girls with an appraising eye .</scene_description>
<character>BARBARA</character>
<dialogue>Is that Sandra Van Ryan's kid?</dialogue>
<character>SAM</character>
<dialogue>Kelly.</dialogue>
<character>BARBARA</character>
<dialogue>She's going to wash your Jeep?</dialogue>
<character>SAM</character>
<dialogue>Senior class fund - raising gig. I told'em they could hose down the Jeep.</dialogue>
<parenthetical>( off Barbara 's look . )</parenthetical>
<dialogue>Hey, come on. It's for a good cause.</dialogue>
<scene_description>Barbara laughs at him .</scene_description>
<character>BARBARA</character>
<dialogue>Sam the philanthropist.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Tomorrow, right?</dialogue>
<scene_description>Sam nods . Another kiss .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S DRIVEWAY - SAME</stage_direction>
<scene_description>As Barbara goes to her car she sees the girls coming from behind the garage . She looks at Sam , standing in his doorway , watching the girls . When he sees Barbara looking at him , he shrugs , then waves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT DOOR - SAM'S HOUSE - LATER</stage_direction>
<scene_description>Kelly and Nicole , looking very much like the finalists in a wet T - shirt derby , ring the bell . Sam answers . He looks them over . A couple of houses down he can see the guy with the mower , dumping grass into a can , watching the girls , then turning to walk back to his house .</scene_description>
<character>SAM</character>
<dialogue>So, where you off to now?</dialogue>
<character>KELLY</character>
<dialogue>Are n't you forgetting something?</dialogue>
<parenthetical>( off Sam 's look . )</parenthetical>
<dialogue>Your coupon. We got ta have it.</dialogue>
<character>SAM</character>
<dialogue>Jeez, that thing. Ca n't you.</dialogue>
<character>KELLY</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Rules are rules, Mr. Lombardo.</dialogue>
<scene_description>Nicole laughs .</scene_description>
<character>SAM</character>
<dialogue>All right. I'll have to look for it.</dialogue>
<character>KELLY</character>
<parenthetical>( as he starts to go . )</parenthetical>
<dialogue>Mr. Lombardo.</dialogue>
<parenthetical>( as he stops . )</parenthetical>
<dialogue>We're running kind of late. How about if Nicole goes on to the Mansons? You could give me a ride when you find the ticket.</dialogue>
<scene_description>Sam looks at her , as does Nicole .</scene_description>
<character>SAM</character>
<dialogue>Give me a minute.</dialogue>
<scene_description>He hurries from the room . Kelly turns to Nicole , giving her the eye , pointing toward the drive .</scene_description>
<character>NICOLE</character>
<parenthetical>( mouthing the words . )</parenthetical>
<dialogue>Are you sure?</dialogue>
<scene_description>Kelly nods , a mischievous smile on her face .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S BEDROOM - SAME</stage_direction>
<scene_description>Sam is rummaging through drawers . He stops when he hears the SOUND of a CAR . He goes to the window in time to see Nicole 's BMW headed down his street .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S LIVING ROOM - SAME</stage_direction>
<scene_description>Sam ENTERS the room to find Kelly just inside the doorway , where the water from her wet clothing has formed little pools on the linoleum . Sam looks at the water . He looks at Kelly . She moves a step closer , allowing the door to SWING shut behind her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S NEIGHBORHOOD</stage_direction>
<scene_description>A long , slow , Antonioni PAN - time passes - the cul - de - sac - the sparkling lawns - the kids with the basketball - a jogger passing by .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S PORCH - LATER</stage_direction>
<scene_description>The front door . The door opens . Kelly comes out , fast , slamming the door behind her . She walks down the drive . There are tears on her face . As she hits the street , she begins to run . The man with the mower is now seated on his parch , drinking beer . He watches as the girl runs by . The teenagers are still playing hoops . They stop as Kelly jogs past , sobbing . They watch as she hits the end of the cul - de - sac and DISAPPEARS around a corner .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE EVERGLADES - DAY</stage_direction>
<scene_description>Sam , perched in the pilot 's seat of a beat - to - shit old air boat , rips through the Florida swamp land . He glides across channels of water , then turns into the tall grass which whips at the hull of his boat . Bits and pieces of debris fly through the air . Sam smiles , swinging the boat through a series of wide , sliding turns . Suddenly he spots something . He throttles down gliding into a shallow pool where . A HUGE ALLIGATOR , aware it has been found out , whips about , stirring up mud , then scuttling OUT OF SIGHT</scene_description>
<character>SAM</character>
<dialogue>Sly old fucker. How you got so big, was n't it?</dialogue>
<scene_description>Sam sits for a moment in the silence . He pulls a pair of binoculars from beneath his seat and looks through them . ANGLE ON HORIZON All we SEE is a shabby collection of whitewashed buildings shimmering in the last long light of afternoon . Sam watches for some time . At last he lowers the binoculars , revs up his engine and leaves . ANGLE ON SAM 'S BOAT as it moves away , as SEEN from water level where . The old gator has risen once more - just the eyes - a cold primordial intelligence , gazing out , unblinking across the murky waters of the swamp .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S HOUSE - NIGHT</stage_direction>
<scene_description>Sam 's Wrangler pulls in next to Barbara 's Mercedes . The Jeep is muddy once more . So is Sam . He gets out .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S HOUSE - SAME</stage_direction>
<scene_description>Sam ENTERS . The house is dark .</scene_description>
<character>SAM</character>
<dialogue>Barbara?</dialogue>
<scene_description>Nothing . Me CROSSES the living room and starts down the hallway , where a faint light issues from beneath the bedroom door .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - SAME</stage_direction>
<scene_description>Sam opens the door . He hears the SOUND of RUNNING WATER . He walks across the room and into the bathroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - SAME</stage_direction>
<scene_description>Clouded mirrors , a shower stall full of . steam . Behind the glass door we SEE an indistinct shape , moving about in the hot water . Sam opens the shower door . The steam clears to REVEAL Barbara 's gorgeous athletic body .</scene_description>
<character>BARBARA</character>
<dialogue>It's hot in here, just the way you like it.</dialogue>
<scene_description>She grabs his shirt , pulling him into the shower 's flow . They kiss . She pulls his shirt open , loosens his pants . His clothes fall away . Sam pushes her up against the tile wall , hard . She holds to his shoulders , nails sinking into his flesh , wrapping her legs around his hips as . The water , dark with swamp mud , spirals down the drain .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN ESTATE - NIGHT</stage_direction>
<scene_description>Kelly Van Ryan sits on the dock , looking back toward the huge stone house , where . A YELLOW LIGHT burns in one of the upstairs windows . Kelly has a shotgun laid across her knees . Slowly , she raises the gun , pointing at the yellow window . She holds it there for some time , then , softly , to herself .</scene_description>
<character>KELLY</character>
<dialogue>Bang.</dialogue>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - VAN RYAN ESTATE - NEXT DAY</stage_direction>
<scene_description>Sunlight streams through open windows , mingling with loud sighs of pleasure . Sandra Van Ryan on top of FRANKIE CONDO , a big , buffed - out Cuban . They 're making love on the bed . She throws her head back - an explosion of hair - gasps - an orgasm is near , as . A cordless PHONE RINGS on the night table . They try to ignore it . No dice . Sandra groans , finally pulling away .</scene_description>
<character>SANDRA</character>
<dialogue>Goddamnit!</dialogue>
<parenthetical>( she answers . )</parenthetical>
<dialogue>Hello.</dialogue>
<character>COMPUTER VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello, this is the attendance office at Blue Bay School. Your son or daughter is absent today, Monday.</dialogue>
<character>SANDRA</character>
<dialogue>Jesus H. Christ!</dialogue>
<scene_description>She hangs up hard . Sits on the edge of the bed .</scene_description>
<character>FRANKIE</character>
<dialogue>What?</dialogue>
<scene_description>Sandra waves him off . She pulls on a T - shirt , then grabs up the phone once more , punching in a number .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S OFFICE - BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>Desk , files , a terrarium full of swamp lizards , above which a photo of the Windward Passage decorates the wall . There 's a Waterford bowl on the desk - etched with `` Sam Lombardo - Blue Bay Educator of the Year . '' Sam is working on the computer . The PHONE RINGS . He answers .</scene_description>
<character>SAM</character>
<dialogue>Counseling.</dialogue>
<scene_description>XNTERCUT - SANDRA/SAM PHONE CONVERSATION Sandra seated on the bed , one long leg tucked beneath her .</scene_description>
<character>SANDRA</character>
<dialogue>Sam, Sandy Van Ryan.</dialogue>
<scene_description>Frankie 's eyes go cold when he hears the word `` Sam . '' In his office , Sam pushes himself away from the computer , stiffening noticeably .</scene_description>
<character>SAM</character>
<dialogue>Sandy. What's up?</dialogue>
<character>SANDRA</character>
<dialogue>Listen, Kelly skipped school. Have you talked to her?</dialogue>
<character>SAM</character>
<dialogue>No.</dialogue>
<character>SANDRA</character>
<dialogue>Shit. Here we go again.</dialogue>
<character>SAM</character>
<dialogue>Did n't you see her this morning?</dialogue>
<character>SANDRA</character>
<dialogue>To tell you the truth, I have n't seen her since Friday.</dialogue>
<scene_description>BOOM - A SHOTGUN BLASTS outside Sandra 's window . She jumps . BOOM , BOOM - more BLASTS . She jumps up to look outside . SANDRA 'S POV - KELLY stands at the edge of the bay , launching skeet then blasting them high above the water . BACK TO SCENE</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Never mind. I found her.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Listen, Sam. It was good seeing you the other day.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I have n't found anyone else can handle the Jonathan like you can.</dialogue>
<scene_description>She glances at Frankie - who has heard enough . He gives her a long hard look , then rolls from the bed to walk from the room . Sam remains silent , watching the lizards with their blank , unblinking eyes .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look. I know you're seeing Barbara Baxter. So what?</dialogue>
<character>SAM</character>
<dialogue>So maybe I'm a one - woman man.</dialogue>
<scene_description>Sandra laughs .</scene_description>
<character>SANDRA</character>
<dialogue>Right.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You really think you're gon na get one of these Blue Bay women to marry you?</dialogue>
<scene_description>Sandra pauses to laugh once more .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Grab a clue, Sam. You're a hired hand around here. Enjoy it while it lasts.</dialogue>
<character>SAM</character>
<dialogue>Goodbye, Sandra.</dialogue>
<scene_description>Sam puts down the phone , looks at it - a long moment as - the barest hint of a smile plays upon his face . Sandra slams down her phone . She looks to the bay , to the sleek racing sloop floating beyond the private dock .</scene_description>
<character>SANDRA</character>
<dialogue>The nerve of some people.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN ESTATE - DAY</stage_direction>
<scene_description>The SHOTGUN BLASTS away . Kelly pauses to reload . She catches sight of . Sandra , approaching from the main house .</scene_description>
<character>SANDRA</character>
<dialogue>You seem to find guns therapeutic. Maybe I oughta try it.</dialogue>
<scene_description>Kelly lets the gun 's barrel drift over Sandra , then turns to walk away . She moves toward the guest house . A used - brick cottage tucked among the gnarled branches and roots of a huge banyan tree . Sandra follows .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let me guess, some boy did n't call and screwed up the weekend. So you're taking the day off.</dialogue>
<scene_description>Kelly looks toward the main house , in time to see . Frankie walk from the bedroom and dive into the pool .</scene_description>
<character>KELLY</character>
<dialogue>Which one of your `` bodyguards'' is that?</dialogue>
<character>SANDRA</character>
<dialogue>Whichever one I want.</dialogue>
<scene_description>Kelly turns away , starts for the guest house once more .</scene_description>
</scene>
<scene>
<stage_direction>INT. GUEST HOUSE - DAY</stage_direction>
<scene_description>PAN to REVEAL room - the gun case , the animal trophies , the photos - One of a stately old gentleman in an elaborate wicker chair , a cane at his side , a bowler on his knee . Others of Kelly and a handsome middle - aged man in safari gear , posing with their rifles above slain wildebeests and bison . Sandra and Kelly ENTER . Kelly puts down the shotgun , turns , tears in her eyes .</scene_description>
<character>SANDRA</character>
<dialogue>Okay, what's the matter?</dialogue>
<character>KELLY</character>
<dialogue>You notice my new jumper?</dialogue>
<scene_description>Kelly does a three - sixty , like a model on a runway .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>My friends buy me clothes, so I do n't look like trash.</dialogue>
<character>SANDRA</character>
<dialogue>I would hardly say you look like trash.</dialogue>
<character>KELLY</character>
<dialogue>No thanks to you.</dialogue>
<scene_description>She sits on the bed . Sandra moves to stand over her , angry now .</scene_description>
<character>SANDRA</character>
<dialogue>Come off of it.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>You run with all these little trust fund brats. They think money grows on trees. It does n't. Believe me. And a lot of your little friends are gon na learn that one the hard way.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm trying to spare you that.</dialogue>
<scene_description>Kelly goes to one shoulder on the bed , sobbing now . Her mother continues to stand over her , suddenly more perplexed than angry .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Kelly. What is it?</dialogue>
<character>KELLY</character>
<dialogue>I miss Dad.</dialogue>
<character>SANDRA</character>
<dialogue>Jesus.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Well, I do too, sometimes.</dialogue>
<character>KELLY</character>
<dialogue>No you do n't.</dialogue>
<character>SANDRA</character>
<dialogue>He did n't have to kill himself, Kelly. He could have gone out and gotten a job. Christ, he could've found another rich woman. He never had a problem tucking my friends when we were married.</dialogue>
<scene_description>She pauses as Kelly cries all the harder .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't know why he did it. I really do n't.</dialogue>
<scene_description>Her voice trails away , as meanwhile Kelly has drawn herself up into a fetal position on the bed . The sobbing has stopped but her shoulders continue to shake . Sandra sits on the edge of the bed , reaches over to rub Kelly 's back .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Can I get you anything?</dialogue>
<scene_description>Kelly shakes her head , no . Her mother looks at her , clearly at a loss . At last she stands . She is headed out of the room when Kelly says something , but the words are indistinct , as her fists are pressed against her mouth .</scene_description>
<character>SANDRA</character>
<dialogue>What, honey? I ca n't hear you.</dialogue>
<scene_description>There is a long beat as Kelly collects herself . She stares at the wall , her eyes filled with tears , but when she speaks she enunciates each word .</scene_description>
<character>KELLY</character>
<dialogue>I said. I was raped.</dialogue>
<scene_description>Sandra looks as if she has been struck .</scene_description>
<character>SANDRA</character>
<dialogue>What?</dialogue>
<character>KELLY</character>
<dialogue>I was raped.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>By Sam Lombardo.</dialogue>
<scene_description>Sandra moves over to the bed , sits once more .</scene_description>
<character>SANDRA</character>
<dialogue>He. Sam Lombardo?</dialogue>
<character>KELLY</character>
<dialogue>Yes. God, Mom.</dialogue>
<scene_description>Kelly begins to cry . Sandra pulls her upright , cradling her in her arms , eyes on fire .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY POLICE STATION - DAY</stage_direction>
<scene_description>An old Spanish - style building sits before a neat square of grass .</scene_description>
<character>SANDRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My daughter does not get raped in Blue Bay!</dialogue>
</scene>
<scene>
<stage_direction>INT. STATION HOUSE - INTERVIEW ROOM - DAY</stage_direction>
<scene_description>Sandra slams a fist on the conference table . Kelly is seated between her mother and her mother 's attorney , TOM BAXTER . Baxter sports an Italian suit and a lethal Alexander Haig look . Seated across from these three are Ray , Gloria and BRYCE HUNTER , the local D.A. Silence follows Sandra 's outburst . Baxter reaches to squeeze Sandra 's shoulder . Kelly puts her face in her hands .</scene_description>
<character>RAY</character>
<parenthetical>( in a quiet voice . )</parenthetical>
<dialogue>You're saying that Kelly was raped by Sam Lombardo.</dialogue>
<character>SANDRA</character>
<dialogue>That's right.</dialogue>
<scene_description>Ray and Gloria exchange looks . Gloria in particular looks slightly stunned .</scene_description>
<character>GLORIA</character>
<dialogue>The guidance counselor at Blue Bay?</dialogue>
<character>SANDRA</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>The guidance counselor at Blue Bay.</dialogue>
<character>GLORIA</character>
<dialogue>We understand your feelings, Ms. Van Ryan. But please, we'd like some time with Kelly. We'd like to take her statement alone.</dialogue>
<scene_description>Baxter nods , yes . Sandra looks at Kelly .</scene_description>
<character>SANDRA</character>
<dialogue>Are you okay for this?</dialogue>
<scene_description>Kelly nods .</scene_description>
<character>SANDRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The man must be insane to think he can do this to me.</dialogue>
<scene_description>Tom Baxter takes her by the arm as Ray CROSSES the room to open the door . Bryce Hunter walks out with then . Gloria takes a seat closer to Kelly . When she speaks , she is very calm and quiet .</scene_description>
<character>GLORIA</character>
<dialogue>How are you, Kelly? Would you like to take a break for a minute?</dialogue>
<character>KELLY</character>
<parenthetical>( shaking her head . )</parenthetical>
<dialogue>I just want to get it over with. My mom's making me do this. I just want to forget it.</dialogue>
<character>GLORIA</character>
<dialogue>I know you do.</dialogue>
<scene_description>She waits as Ray sets up a camera on a tripod .</scene_description>
<character>GLORIA</character>
<parenthetical>( CCNT 'D . )</parenthetical>
<dialogue>We'd like to videotape the statement if that's all right with you.</dialogue>
<scene_description>Kelly shrugs .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know this is not pleasant, Kelly. But these are serious charges and we need to know everything that happened between you and Mr. Lombardo.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Are you ready?</dialogue>
<scene_description>Kelly nods . CLOSE ON VIDEO MONITOR - KELLY 'S STATEMENT</scene_description>
<character>KELLY</character>
<dialogue>He started rubbing my shoulders. Said must be sore after washing cars. I. let him I mean he's a nice guy.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I do n't know. It was so fast. I closed my eyes. I remember his hands moved to my breasts. I mean just for a second it was nice. I forgot whore I was. I mean he's so gorgeous.</dialogue>
<scene_description>PULL BACK to REVEAL .</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION HOUSE - DAY</stage_direction>
<scene_description>Ray , Gloria and Bryce Hunter stand at one end of the long conference table , watching the playback of Kelly 's tape . BACK TO VIDEOTAPE</scene_description>
<character>KELLY</character>
<dialogue>The next thing. his hand was in my shorts. you know, from behind. His fingers. his fingers.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Take your time.</dialogue>
<character>KELLY</character>
<dialogue>They were in me. Both places. you know.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I understand.</dialogue>
<character>KELLY</character>
<dialogue>He said something like, `` Do you want it dirty7'' or something.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I tried to turn away, but he pushed me to the floor.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Was there penetration? Did he put himself inside you?</dialogue>
<character>KELLY</character>
<dialogue>Yes. I said stop. I screamed. I mean that's how it sounded in my head. He hurt me.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( as Kelly breaks into tears . )</parenthetical>
<dialogue>That's okay, Kelly. You're doing fine.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But I have to ask you something here. When you say it hurt. Was this the first time a man was inside you?</dialogue>
<character>KELLY</character>
<dialogue>No. I've done it a couple of times, I mean with guys I dated. But this hurt. like, he was built. you know.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He was large?</dialogue>
<scene_description>Kelly nods , starts to break down again , then holds it off .</scene_description>
<character>GLORIA</character>
<parenthetical>( O.S. , CONT 'D . )</parenthetical>
<dialogue>Did you try to fight him?</dialogue>
<character>KELLY</character>
<dialogue>I. he had my wrists pinned behind me. I remember my hands were cold.'</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Then what?</dialogue>
<character>KELLY</character>
<dialogue>He kept saying, `` Let it happen, let it happen.'' Then he just stopped.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You mean he withdrew.</dialogue>
<character>KELLY</character>
<dialogue>Not at first. He was still inside but he was n't moving or anything. He said we had this secret. And that now he'd be able to help me. because we were close. Something like that. I do n't know. It's hard to remember, exactly.</dialogue>
<character>GLORIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Try, Kelly.</dialogue>
<character>KELLY</character>
<dialogue>I know one thing he said. It was when. when he took himself out and was standing up.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He said, `` Do n't worry, I did n't come.'' I ca n't forget that. He said, `` No little girl can ever make me come.''</dialogue>
<scene_description>The tape is paused - FREEZES on Kelly 's face ON SCREEN . BACK TO RAY , GLORIA & HUNTER</scene_description>
<character>HUNTER</character>
<dialogue>`` No little girl can ever make me come.'' Jesus. Too bad. We might have some physical evidence.</dialogue>
<scene_description>Ray and Gloria stare at the screen .</scene_description>
<character>GLORIA</character>
<dialogue>I do n't know. It feels wrong.</dialogue>
<scene_description>Ray and Hunter look at her .</scene_description>
<character>HUNTER</character>
<dialogue>Why?</dialogue>
<character>GLORIA</character>
<dialogue>I think she's acting. I think she set it up to be alone with him because she wanted him to come on to her.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I think maybe she's upset that he did n't.</dialogue>
<character>RAY</character>
<dialogue>Or maybe she thought that was what she wanted and she got a little more than she bargained for.</dialogue>
<character>HUNTER</character>
<dialogue>The line I get on this guy, is that he's done half the women in Blue Bay.</dialogue>
<character>GLORIA</character>
<dialogue>That does n't make him a child rapist.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>There's something else. This girl's had some problems. Wrecked a couple of her mom's cars. Ran away.</dialogue>
<character>HUNTER</character>
<dialogue>Where's this coming from?</dialogue>
<character>GLORIA</character>
<dialogue>I worked Juvenile in Dade County for three years. We had a missing persons on Kelly Van Ryan for two weeks. Maybe a year ago. The family kept it out of the papers.</dialogue>
<character>RAY</character>
<dialogue>That would make it about the time of her old man's suicide. You do n't think that could explain some erratic behavior?</dialogue>
<character>GLORIA</character>
<dialogue>All I'm saying is, I think we should go slow here.</dialogue>
<scene_description>Hunter puts his hands together , thinking . He looks from Ray to Gloria , than back to Ray .</scene_description>
<character>HUNTER</character>
<dialogue>I want a full - scale investigation.</dialogue>
<character>GLORIA</character>
<dialogue>You know what that will mean for Lombardo.</dialogue>
<character>HUNTER</character>
<dialogue>I do n't care. You heard that girl's statement. I think he's dirty. Get me a case.</dialogue>
<scene_description>Gloria and Ray watch as Hunter gets up and leaves the room .</scene_description>
<character>GLORIA</character>
<dialogue>Well you were a big help. You know what's going to happen if we go full - bore on this.</dialogue>
<scene_description>Ray looks at the screen .</scene_description>
<character>RAY</character>
<dialogue>It's our job, Gloria.</dialogue>
<character>GLORIA</character>
<dialogue>Hunter's making it our job because Sandra Van Ryan's got a bug up his ass. You know that as well as I do.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>We're gon na trash this guy's life and I keep asking myself if it's really necessary.</dialogue>
<scene_description>Ray thinks this over . He continues to study the screen . CLOSE ON SCREEN - KELLY 'S FACE</scene_description>
<character>RAY</character>
<parenthetical>( 0 .</parenthetical>
<parenthetical>S . )</parenthetical>
<dialogue>Yeah, well, maybe you're wrong about him. Maybe he's got it coming.</dialogue>
<scene_description>BEGIN MONTAGE - INVESTIGATION</scene_description>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - DAY</stage_direction>
<scene_description>Ray takes notes , talks with neighbors , kids , lawn mower man .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - DRIVEWAY - DAY</stage_direction>
<scene_description>Gloria talks with students - Jimmy , Nicole , others .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S OFFICE - DAY</stage_direction>
<scene_description>Sam sits at his desk , toying with a pencil . He watches students pass - no smiles , no waves , an occasional dark look . Through the press of students Sam sees Art at the door of his office . The two men look at one another . At which point . Gloria , followed by Ray , steps INTO SCENE . The detectives shake hands with Art . As Art turns to close the door , Sam falls within his line of vision . Art looks away . The door swings shut .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL DOCKS - LATER</stage_direction>
<scene_description>The sky has begun to color . Art Maddox stands on the grass at the end of the channel separating the slips , watching as . A lone sailboat tacks toward the school . ANGLE ON BOAT - SAM & JIMMY Sam drops his sail , leaving himself just enough momentum to cruise expertly into the little channel then into the slip . Art watches as Jimmy jumps from the boat , ties it off .</scene_description>
<character>SAM</character>
<dialogue>That's good, Jimbo. I'll see you on Monday.</dialogue>
<scene_description>Jimmy hesitates , he wants to say something . Sam waves him off . Jimmy gives Art a hard look and heads for the grass .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Art , nodding after Jimmy . )</parenthetical>
<dialogue>What's left of my sailing class.</dialogue>
<scene_description>Art studies the dock between his feet .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Talk to me Artie.</dialogue>
<character>ART</character>
<dialogue>Kelly Van Ryan.</dialogue>
<character>SAM</character>
<dialogue>is accusing me of rape. Jimmy told me. Apparently I'm the last to know.</dialogue>
<character>ART</character>
<dialogue>Sam. I.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Sandra Van Ryan's been on the horn with every member of the school board all day long. She's pushing for suspension.</dialogue>
<character>SAM</character>
<dialogue>This is insane.</dialogue>
<scene_description>Art shakes his head .</scene_description>
<character>ART</character>
<dialogue>All I can tell you Sam, is hang in there. They clear you of this mess, you get reinstated, with back pay.</dialogue>
<character>SAM</character>
<dialogue>That's great. I'll just tell my creditors I'm not a rapist. No problem. Shit.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I ca n't believe the board's going to act without even hearing my side of it.</dialogue>
<character>ART</character>
<dialogue>The Van Ryan family created Blue Bay. They built the school. Sandra Van Ryan calls up the board and says kiss my ass, they say, left, right, or in the middle.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You're gon na need some help on this one, Sam. You're gon na need a lawyer, and he'd better be a good one.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STRIP MALL - DAY</stage_direction>
<scene_description>Typical of its kind - a Blockbuster Video , a 7 - Eleven , half a dozen small businesses , one of which , sandwiched between a donut shop and the Mongolian Beef Bowl , bears the sign : `` KEN BOWDEN - ATTORNEY AT LAW . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - DAY</stage_direction>
<scene_description>Sam sits in a cramped waiting room , leafing through a magazine . An attractive young SECRETARY sits a few feet away , behind her desk . Her PHONE RINGS . She picks it up , then turns to Sam , favoring him with a flirtatious smile .</scene_description>
<character>SECRETARY</character>
<dialogue>Mr. Bowden will see you now.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<scene_description>Ken Bowden , a slightly oily - looking young man in a nice suit and a large , padded neck brace , rises to shake Sam 's hand .</scene_description>
<character>KEN</character>
<dialogue>Sam, hey, it's been a while.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Looked for you at the ten year reunion. You missed out. Three days at the Disneyworld Hotel. Partied ourselves silly.</dialogue>
<scene_description>Sam nods .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Couple of your old flames were there. You remember Jill, with the knockers.</dialogue>
<scene_description>Ken holds his hands out in front of his chest .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Blew up like the Goodyear blimp.</dialogue>
<scene_description>Sam forces a smile .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But check this.</dialogue>
<character>SAM</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Ken. I'm in some trouble. I need an attorney and you're the only one I know. So I figured I'd start here.</dialogue>
<scene_description>Ken stops , puts on a serious face .</scene_description>
<character>KEN</character>
<dialogue>Well, I'm glad you did. And I'm sorry.</dialogue>
<parenthetical>( folding his hands before him . )</parenthetical>
<dialogue>Why do n't you tell me about it.</dialogue>
<scene_description>Sam looks at him . He starts to speak , then checks himself .</scene_description>
<character>SAM</character>
<dialogue>What did you do to your neck?</dialogue>
<scene_description>Ken puts a hand to his throat , as if aware of the brace for the first time .</scene_description>
<character>KEN</character>
<dialogue>Oh this. chiropractor did a number on me.</dialogue>
<scene_description>He takes the brace off , tossing it on his desk .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't really have to wear the thing all the time.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>A guy from the insurance was here.</dialogue>
<scene_description>Ken smiles . Sam looks slightly ill .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go ahead, Sam. Shoot. Let's see what we've got here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A BLUE HAY RESTAURANT - NIGHT</stage_direction>
<scene_description>Trendy nouveau . A valet parks Sam 's Jeep .</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURLNT - SAME</stage_direction>
<scene_description>Sam walks across a tiled entry . He looks tired , but smiles at the maitre d' .</scene_description>
<character>SAM</character>
<dialogue>Georgie, hey. I'm meeting Barbara. She here yet?</dialogue>
<scene_description>GEORGE looks stiff , maybe a little nervous . Sam picks up on it . He scans the room . ANGLE ON ROOM Dimly - lit , crowded , but we PICK OUT Barbara , stunning in a delicate white sun dress , tanned arms resting upon a table . Sam starts toward her . George reaches out to touch his arm .</scene_description>
<character>GEORGE</character>
<dialogue>Mr. Lombardo.</dialogue>
<scene_description>Sam ignores him , threading his way among the people at a lavish bar , then stopping short as he sees who Barbara is with - her father , Tom Baxter . Tom Baxter sees Sam , gets to his feet .</scene_description>
<character>BAXTER</character>
<dialogue>This is not appropriate Lombardo.</dialogue>
<scene_description>Sam steps to one side , makes eye contact with Barbara . Barbara has tears in her eyes . She looks at Sam , then shakes her head , looking away .</scene_description>
<character>SAM</character>
<dialogue>Barbara.</dialogue>
<character>BAZTER</character>
<dialogue>You're finished in Blue Bay, Lombardo. You've been scratching at the door long enough.</dialogue>
<parenthetical>( as Sam faces him . )</parenthetical>
<dialogue>I ever see you around my daughter, you're going to be finished, period.</dialogue>
<scene_description>The two men square off , but already we can SEE Georgie , trailed by a pair of beefy characters in blue blazers making their way across the room . Sam sees them too . He takes a final look at Barbara . When she refuses to meet his eye , he pushes past Baxter , through the crowd and out of the restaurant .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AN EVERGLADES ROADHOUSE - NIGHT</stage_direction>
<scene_description>Red neon identifies it as Jim 's Recovery Room . A handful of trucks sit in a dirt parking lot , Sam 's Jeep among them .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROADHOUSE - NIGHT</stage_direction>
<scene_description>The air is thick with smoke . Locals shoot pool . The walls are decorated with dusty fishing nets and inflated blowfish . An aging BARMAID - good - looking - once , runs a rag around a pitcher , looks down the bar , smiles , finding . Sam , alone , awaiting service .</scene_description>
<character>BARMAID</character>
<dialogue>Sam, honey. Have n't seen you in a while. How's life treatin' you?</dialogue>
<parenthetical>( off Sam 's look . )</parenthetical>
<dialogue>That bad, huh? Well, you came to the right place.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROADHOUSE - LATER</stage_direction>
<scene_description>Sam walks outside . He stands in the red glow of neon light , looking toward the road . On the opposite side of which . sits a sorry little collection of whitewashed stucco bungalows , identified by a green neon sign as the Glades Motel . Beyond the motel are the Everglades , a great expanse of darkness . Sam stares at the motel . At last he gets in his Jeep . As he EXITS the lot , a second pair of headlights flashes on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERGLADES - NIGHT</stage_direction>
<scene_description>A deserted two - lane road cuts through the swamp . Trees bearded with moss appear as ghostly shapes in the lights of Sam 's Jeep .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. SAM'S JEEP - MOVING - SAME</stage_direction>
<scene_description>San drives - a tired face . Soft MUSIC on the RADIO . Something APPEARS in the road , caught for a moment in the headlights . Sam swerves , whirls his head around , sees . A GATOR sliding of the shoulder and into the murky water . Sam lets out some air , relaxing a bit , then catches sight of something else - Headlights finding reflection in his rearview mirror , coming fast . Sam watches as the lights get closer . He looks back to the road - an approaching curve . Sam is into the curve when the lights catch him . A black Range Rover moves out to pass , then turns suddenly into Sam 's lane , cutting him off . It happens quickly . Sam swerves to avoid hitting the larger car , but the road affords little margin for error . The JEEP slides across a narrow shoulder , then plummets down a steep embankment , CRASHING through cattails , rolling over to SLAM BACK DOWN on its tires in a swampy gulch . Sam slumps back from the steering wheel . Somewhere over his head he can see headlights shining into the trees . He hears a CAR DOOR SLAM , the SOUNDS of someone scrambling down the embankment . Sam tries to get out of his seat harness . Someone is approaching , splashing through the muck . Suddenly a hand reaches through the broken driver 's window , helping him .</scene_description>
<character>MAN'S VOICE</character>
<dialogue>Are you all right?</dialogue>
<scene_description>The hands get him loose . Sam stumbles from the car .</scene_description>
<character>SAM</character>
<dialogue>Yeah, I'm okay.</dialogue>
<scene_description>He looks up to find - Frankie Condo , looming over him .</scene_description>
<character>FRANKIE</character>
<dialogue>That's too bad.</dialogue>
<scene_description>He grabs Sam , pulling him OUT OF FRAME . What we are left with is the SOUND of FISTS THUDDING INTO FLESH - then Sam , hitting the hood of his Jeep , slumping down into the muck . Frankie is breathing hard . We HEAR him SLOGGING back up the embankment . We HEAR a DOOR SLAM , the RANGE ROVER driving away , leaving only darkness , and the EERIE SOUNDS of the swamp .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STRIP MALL - DAY</stage_direction>
<scene_description>Dazzling light . Sam 's smashed - up Jeep is parked before Ken Bowden 's office , next door to the Mongolian Beef Bowl .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEEF BOWL - SAME</stage_direction>
<scene_description>Sam and Ken eye one another over a green plastic table - Ken with his neck brace , Sam with a bruised face .</scene_description>
<character>KEN</character>
<dialogue>I figured, you know, it would be darker in here.</dialogue>
<scene_description>He moves a hand to his face .</scene_description>
<character>SAM</character>
<dialogue>Good thinking.</dialogue>
<character>KEN</character>
<dialogue>You can tie whoever did it to Sandra Van Ryan.</dialogue>
<character>SAM</character>
<dialogue>Forget it.</dialogue>
<character>KEN</character>
<dialogue>Lady has some deep pockets. That's all I'm saying.</dialogue>
<character>SAM</character>
<dialogue>I know how deep her pockets are, Ken. I thought I might be able to save my fucking house with an equity loan. Guess who's on the board of directors at the bank?</dialogue>
<scene_description>He pauses to look at Ken Bowden .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ca n't you take that stupid thing off?</dialogue>
<character>KEN</character>
<dialogue>Not in here. Chiropractor comes in here for lunch sometimes.</dialogue>
<scene_description>San sighs , slumps back in his plastic seat .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're not in bad shape, really. I know you think you are, but you're not. Let me tell you why.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Sandra Van Ryan.</dialogue>
<character>SAM</character>
<dialogue>What's that supposed to mean?</dialogue>
<character>KEN</character>
<dialogue>For you to be getting this kind of heat, for what they have on you. It does n't add up. Sandra Van Ryan's got'em running scared.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And I'll tell you something else, you rush, you get careless.</dialogue>
<scene_description>Ken reaches into his briefcase . He pulls out some papers , tosses them on the table . Sam picks one up , starts to read .</scene_description>
<character>SAM</character>
<dialogue>Nellie Gail Ranch.</dialogue>
<character>KEN</character>
<dialogue>Sound nice? It's a fucking drug rehab farm. It's where Kelly Van Ryan went when her morn fished her out of the swamp.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Meanwhile, you get educator of the year I mean there's no way they can put this thing in front of a jury.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Shit, they have n't even taken your statement yet. Reason? They're still shoveling dirt and my guess is, they're coming up empty. Now tell me I'm right.</dialogue>
<character>SAM</character>
<dialogue>There's nothing for them to get.</dialogue>
<character>KEN</character>
<dialogue>Good. So what we're going to do is march right to Hunter's doorstep. We're going to insist they take a statement. We're going to tell them to charge your ass or get off your back.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>They're walking a fine line here. Defamation of character, malicious prosecution.</dialogue>
<character>SAM</character>
<dialogue>I just want my life back.</dialogue>
<character>KEN</character>
<dialogue>Fair enough. Let's go make a statement.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE INTERVIEW ROOM - DAY</stage_direction>
<scene_description>Everyone 's looking a little tired , with the possible exception of Ray . At this moment he sits back in his chair , staring at Sam .</scene_description>
<character>RAY</character>
<dialogue>Why do n't you tell us one more time, how Kelly came to be with you, alone in your house.</dialogue>
<character>SAM</character>
<parenthetical>( with growing impatience . )</parenthetical>
<dialogue>Story's the same, Detective.</dialogue>
<scene_description>Ken pats him on the arm . When Sam speaks again , it is in a calmer voice , calm but tired .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I had to go look for this coupon.</dialogue>
<character>RAY</character>
<dialogue>The one you bought at school.</dialogue>
<character>SAM</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>Like I said, I had n't really expected to use it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Anyway, I'm going through a drawer. I hear a car. I look out the window. I see Nicole driving away. I leave my room, and there's Kelly.</dialogue>
<character>RAY</character>
<dialogue>In cutoffs, a wet T - shirt.</dialogue>
<character>SAM</character>
<dialogue>Yes.</dialogue>
<character>RAY</character>
<dialogue>And she wanted to talk.</dialogue>
<character>SAM</character>
<dialogue>Yes.</dialogue>
<character>RAY</character>
<dialogue>But you ca n't tell us what she wanted to talk about.</dialogue>
<character>SAM</character>
<dialogue>I could, but it's confidential. Look, the point is, we did n't talk. I told her this was not an appropriate time or place.</dialogue>
<character>RAY</character>
<dialogue>And she began to cry. And you put an arm around her.</dialogue>
<character>SAM</character>
<dialogue>Yes. Mainly to turn her toward the door. I told her we would talk on Monday, in the office.</dialogue>
<character>GLORIA</character>
<dialogue>And when you turned her toward the door, where did you expect her to go, without a car?</dialogue>
<character>SAM</character>
<dialogue>Again. I think we covered this. I told her I was going to call a cab.</dialogue>
<character>RAY</character>
<dialogue>But she ran away.</dialogue>
<character>SAM</character>
<dialogue>That's right.</dialogue>
<character>GLORIA</character>
<dialogue>Did you call anyone? Did you call her house to see if she got home? Did you call the Masons?</dialogue>
<character>SAM</character>
<dialogue>No.</dialogue>
<character>GLORIA</character>
<dialogue>Were n't you a little worried about her?</dialogue>
<character>SAM</character>
<dialogue>There's a strip mall not half a mile from my house. There's phones there. I cruised the place, but I did n't see her. I figured she was probably there but that she was angry and did n't want to be found. I do n't know. Maybe I should have called. But it's not like Kelly ca n't take care of herself. I figured we'd just take it up on Monday, in the office.</dialogue>
<scene_description>There is a moment of silence in the room .</scene_description>
<character>RAY</character>
<dialogue>But you do admit to touching her, to putting your arm around her. Is n't that against the rules?</dialogue>
<character>SAM</character>
<dialogue>It is and I do n't. Ordinarily.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But, I mean. there's this kid standing in front of you crying.</dialogue>
<character>RAY</character>
<dialogue>With a thirty - five inch bustline in a wet T - shirt with no bra.</dialogue>
<scene_description>He is cut short as Sam shoves his chair back from the table .</scene_description>
<character>SAM</character>
<dialogue>Fuck you. This is bullshit. I'm outta here.</dialogue>
<character>RAY</character>
<dialogue>Sit down, Lombardo.</dialogue>
<scene_description>Sam and Ray stare at one another . Ken puts a hand on his client 's arm .</scene_description>
<character>KEN</character>
<dialogue>All right, all right. Enough.</dialogue>
<scene_description>Ken stands up . He walks to the two - way mirror set in one wall , rapping on the glass with his knuckles .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We came down here to make a statement. We've made it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>If you're going to charge my client, do it now.</dialogue>
</scene>
<scene>
<stage_direction>INT. OPPOSITE SIDE MIRROR ROOM - HUNTER</stage_direction>
<scene_description>stares at Ken 's face , about a foot away . Ken of course ca n't see him . Hunter gives him the finger .</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERVIEW ROOM - KEN</stage_direction>
<scene_description>stares into the mirror , waiting .</scene_description>
<character>KEN</character>
<dialogue>I did n't think so.</dialogue>
<parenthetical>( to Sam . )</parenthetical>
<dialogue>Let's go.</dialogue>
<scene_description>Ken opens the door . Sam turns back to Ray and Gloria .</scene_description>
<character>SAM</character>
<dialogue>I've spent the last ten years of my life working with kids. I love what I do, and I think I'm good at it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>These kids trust me, and there is no way. No way in hell I would ever betray that trust.</dialogue>
<scene_description>As Ken and Sam leave , Ray and Gloria are joined by Bryce Hunter .</scene_description>
<character>HUNTER</character>
<dialogue>Nice speech. Either of you buying?</dialogue>
<scene_description>Ray shrugs .</scene_description>
<character>RAY</character>
<dialogue>Not that stuff about her running away, him trying to find her. That's bullshit.</dialogue>
<character>HUNTER</character>
<dialogue>What about witnesses?</dialogue>
<character>RAY</character>
<dialogue>We've got three. Guy mowing his yard, couple of kids playing hoops.</dialogue>
<character>HUNTER</character>
<dialogue>And what do they say?</dialogue>
<character>GLORIA</character>
<dialogue>Same as him. They saw her come. They saw her go. They saw him follow.</dialogue>
<character>RAY</character>
<dialogue>Still does n't explain why he could n't catch up with her. I mean how long does it take to put on a shirt?</dialogue>
<scene_description>At which point , a COP APPEARS in the doorway .</scene_description>
<character>COP</character>
<dialogue>Phone, Bryce. It's Sandra Van Ryan.</dialogue>
<character>HUNTER</character>
<dialogue>Christ Almighty. That woman's calling me six times a day.</dialogue>
<scene_description>He starts away , then stops .</scene_description>
<character>HUNTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I think you're onto something, Ray. Stay with it.</dialogue>
<scene_description>Hunter bangs out of the room . Gloria slumps in a chair , tired , disgusted .</scene_description>
<character>GLORIA</character>
<dialogue>We failed to mention the mower guy's a drunk, that he was after more beer and never really saw Kelly go into the house, so he ca n't say how long she was in there. Same with the kids. They saw her running down the street, but that's it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>With no physical evidence, what do we have? Her word against his.</dialogue>
<character>RAY</character>
<dialogue>You're telling me you believe the guy?</dialogue>
<character>GLORIA</character>
<dialogue>All I'm saying is, we let Sandra Van Ryan push us too hard, we're going to wind up looking stupid.</dialogue>
<scene_description>Ray is paged by his BEEPER . He pulls it off his belt , looks at the number .</scene_description>
<character>RAY</character>
<dialogue>I'd better return this.</dialogue>
<scene_description>Ray leaves . Gloria pulls a cigarette from her purse and lights up , rests her head back in the chair , blowing smoke at the ceiling .</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERVIEW ROOM - LATER</stage_direction>
<scene_description>Gloria is grinding out the butt as Ray walks back in . There is something in the way he carries himself , some sense of urgency .</scene_description>
<character>RAY</character>
<parenthetical>( off Gloria 's look . )</parenthetical>
<dialogue>Seen any good gator wrestling lately?</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. DETECTIVES' CAR - MOVING - DAY</stage_direction>
<scene_description>Ray and Gloria drive through the Everglades , past marshlands punctuated by thick stands of melaluca trees .</scene_description>
<character>GLORIA</character>
<dialogue>They say it was old man Van Ryan planted the melalucas to dry up the swamp.</dialogue>
<scene_description>Ray nods .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You can go up to one of those trees and peel the bark. You know what you get? More bark. And more bark. There's no core. Tree's not good tar anything but sucking up water. And now they ca n't get rid of them. They've tried poisons. Nothing works. They do n't die.</dialogue>
<character>RAY</character>
<dialogue>Yeah, well, Van Ryan got his. I do n't imagine he gives a shit now.</dialogue>
<scene_description>Gloria just looks at him . Ray stares into the dusty light of an approaching sunset . At last he slows , turning off the highway and onto a narrow dirt road . A sign pokes out from the tall grass - `` SMILIN ' JACK 'S FISH CAMP . '' The Taurus bounces along the washboard road .</scene_description>
<character>GLORIA</character>
<dialogue>You're sure we're not lost?</dialogue>
<scene_description>They are driving now at the edge of a canal .</scene_description>
<character>RAY</character>
<dialogue>You remember that little girl walked out of our talk at Blue Bay?</dialogue>
<character>GLORIA</character>
<dialogue>The skinny brunette.</dialogue>
<character>RAY</character>
<dialogue>This is where she lives. She wants to talk.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Beats the shit out of me why she would call me at all. I busted her once for possession. she wound up doing about six months at Camp Nine.</dialogue>
<character>GLORIA</character>
<dialogue>You mean Camp Sixty - Nine.</dialogue>
<scene_description>Ray gives her a look . Gloria shrugs .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's what they called it when I was in Juvenile. It's a pretty dismal place.</dialogue>
<character>RAY</character>
<dialogue>It's a shithole. But she was dirty, what was I gon na do?</dialogue>
<scene_description>They pass a sagging chain - link fence , entering a quarter - mile run of shabby trailers and cheap shacks . The squalor of the buildings is seat in contrast to the beauty of the Glades where the waters have gone to the color of polished brass beneath an immense , darkening sky . Ray parks before a ramshackle building covered in vines and peeling paint . A sign reads : `` NIGHT CRAWLERS $ 1 A BUCKET . '' The jawbones of numerous gators hang beneath the eaves . As they get out of the car , something catches Gloria 's eye - along the bank of the canal . ANGLE ON BANK where a tall man -LRB- WALTER -RRB- with long white hair and tattooed arms kneels inside a pen , slapping a huge gator on its snout . The reptile lifts its upper body , hissing , opening its jaws . Walter takes a stick from his hip pocket , passing it through the gator 's mouth . The jaws snap shut , incredibly fast , with a hollow snapping sound . Gloria jumps instinctively , then watches , aghast , as Walter slaps the creature once more . This time moving round to the front of the gator , sticking halt his arm inside its mouth .</scene_description>
<character>VOICE</character>
<parenthetical>( 0.5 . )</parenthetical>
<dialogue>He's just showin' off for you now.</dialogue>
<scene_description>Gloria starts , then turns to find a woman -LRB- RUBY -RRB- has walked up beside her . The woman is in her sixties . She 's dressed in polyester . Her hair is piled on top of her head - too dark to be anything but a dye job . A cigarette bobs from her lips . Before Gloria can respond , Ray steps up behind than .</scene_description>
<character>RAY</character>
<dialogue>Evening Ruby.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I see you still got Walter. I was sort of hoping something had eaten him by now.</dialogue>
<character>RUBY</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Can I help you with something?</dialogue>
<scene_description>Ray and the old lady look at each other .</scene_description>
<character>RAY</character>
<dialogue>Suzie called. You know where we can find her?</dialogue>
<scene_description>Ruby looks toward the store .</scene_description>
<character>RUBY</character>
<dialogue>You know the way.</dialogue>
<scene_description>She watches as the detectives CROSS the road , then calls to them as they start up the steps .</scene_description>
<character>RUBY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You wo n't shoot her will you? I do n't believe she's armed.</dialogue>
<scene_description>Gloria turns , surprised . Ray gives the woman a long , cold stare , then opens the door for Gloria .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP STORE - SAME</stage_direction>
<scene_description>It 's dark inside . The main light source is a tiny , beat - up black - and - white TV . Two elderly women in colored bouffant hairdos sit on a ratty old couch watching reruns of `` Family Feud . '' They look up as Ray and Gloria ENTER then EXIT through a door in the back .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUZIE'S ROOM - SAME</stage_direction>
<scene_description>Black walls . Cheap bookshelves , filled to overflowing . A wire strung with dismembered doll parts runs the length of the room . Suzie is propped on a ratty futon , an open book on her stomach , her thin , white arms crossed behind her head .</scene_description>
<character>SUZIE</character>
<dialogue>Jesus. It took you long enough. What if somebody was trying to strangle me? Or fuck me in the ass, even?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I mean, you guys are Sex Crimes.</dialogue>
<scene_description>Ray manages a thin smile .</scene_description>
<character>RAY</character>
<dialogue>Meet my partner, Gloria Perez.</dialogue>
<character>SUZIE</character>
<dialogue>I did. At Blue Balls.</dialogue>
<character>GLORIA</character>
<dialogue>Seems to me you left early, before we could meet. But hi, Suzie.</dialogue>
<scene_description>Gloria puts out a hand . Suzie looks at it , puts out a hand of her own . As the women shake , Gloria looks at the book on Suzie 's stomach , turning her head as if to read the title .</scene_description>
<character>SUZIE</character>
<dialogue>It's Celine. He's okay. He had a pretty good line on what cheap fucks people are.</dialogue>
<character>RAY</character>
<dialogue>So Suzie, you called us, remember?</dialogue>
<scene_description>Suzie takes a cigarette from a pack at her side , lights up , blows smoke at the ceiling .</scene_description>
<character>SUZIE</character>
<dialogue>Did they arrest Mr. Lombardo?</dialogue>
<scene_description>Ray and Gloria exchange looks .</scene_description>
<character>RAY</character>
<dialogue>No.</dialogue>
<character>SUZIE</character>
<dialogue>Will they?</dialogue>
<character>RAY</character>
<dialogue>It does n't look like it.</dialogue>
<character>SUZIE</character>
<dialogue>Then he'll be back at Blue Balls?</dialogue>
<scene_description>Ray shrugs .</scene_description>
<character>GLORIA</character>
<dialogue>That bothers you?</dialogue>
<character>SUZIE</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Yeah, maybe, a little.</dialogue>
<character>GLORIA</character>
<dialogue>Why is that?</dialogue>
<scene_description>Suzie lets out her breath . She rests her head against the wall .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You can talk to us, Suzie. That's why we're here.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE INTERVIEW ROOM - DAY</stage_direction>
<scene_description>Suzie , Gloria and Hunter sit at the conference table . Ray operates the video cam .</scene_description>
<character>GLORIA</character>
<dialogue>Okay, Suzie. We want you to tell us about the day Mr. Lombardo gave you and Jimmy a ride.</dialogue>
<scene_description>Suzie stares at the three cops around her , then at the camera .</scene_description>
<character>SUZIE</character>
<dialogue>You did n't tell me you were gon na put me on the fucking news.</dialogue>
<character>GLORIA</character>
<dialogue>We need to tape the interview, Suzie. No one will see it but us.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Now when was this, that Mr. Lombardo gave you the ride?</dialogue>
<scene_description>Suzie stares at the camera . She 's lost the cockiness she had on her own turf . She looks small , white and frail in the sterile room , surrounded by the detectives .</scene_description>
<character>SUZIE</character>
<dialogue>About a year ago.</dialogue>
<character>GLORIA</character>
<dialogue>He dropped Jimmy off first?</dialogue>
<character>SUZIE</character>
<dialogue>Yeah.</dialogue>
<character>GLORIA</character>
<dialogue>And when he arrived at your house, was anyone there?</dialogue>
<character>SUZIE</character>
<dialogue>No.</dialogue>
<character>GLORIA</character>
<dialogue>So you were alone.</dialogue>
<character>SUZIE</character>
<dialogue>Yes.</dialogue>
<character>GLORIA</character>
<dialogue>Did he come in with you?</dialogue>
<character>SUZIE</character>
<dialogue>I guess.</dialogue>
<character>HUNTER</character>
<dialogue>You guess? Did he or did n't he?</dialogue>
<character>SUZIE</character>
<dialogue>Yeah. okay. he did</dialogue>
<character>HUNTER</character>
<dialogue>And then what. he touched you? Did you maybe flirt a little.</dialogue>
<character>SUZIE</character>
<dialogue>I wan na go home now.</dialogue>
<scene_description>Gloria glares at Hunter , shakes her head .</scene_description>
<character>GLORIA</character>
<dialogue>Suzie, look, I know you feel bad. I know it's harder to talk here than in your room, but we need to get it on tape.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Just tell us what you told us before. Tell us the truth.</dialogue>
<scene_description>Suzie huddles in her skinny arms , studying the detectives .</scene_description>
<character>SUZIE</character>
<dialogue>I did n't say a thing to him. He just put his arm around me. Told me I was pretty. I could be really pretty, he said.</dialogue>
<scene_description>Another moment - she looks at Ray , then at Hunter .</scene_description>
<character>HUNTER</character>
<dialogue>What did you do then?</dialogue>
<character>SUZIE</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Shit, what difference does it make. Nobody's gon na believe me anyway.</dialogue>
<character>HUNTER</character>
<dialogue>Suzie! Did this man rape you?</dialogue>
<character>SUZIE</character>
<dialogue>Okay! He did. He pushed me to the floor and he did it to me. Now, can I go home?</dialogue>
<scene_description>She stands up .</scene_description>
<character>GLORIA</character>
<dialogue>At that point were you able to fight him off?</dialogue>
<character>SUZIE</character>
<dialogue>No. He stopped by himself. Okay? That's all. Let me go.</dialogue>
<scene_description>Gloria gets to her feet as well ; she tries to put an arm around Suzie . The girl jumps back as if she has been shocked .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't touch me.</dialogue>
<scene_description>Gloria 's hands fall to her sides . Suzie heads for the door . The detectives exchange looks . At which point , Suzie stops , turns to face the room .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He did say something.</dialogue>
<character>GLORIA</character>
<dialogue>What was that?</dialogue>
<character>SUZIE</character>
<dialogue>He said, `` No little bitch can ever make me come.''</dialogue>
<scene_description>THE SLIDING BAR DOOR of a jail SLAMS shut on Sam Lombardo . He turns to . TWO menacing PRISONERS .</scene_description>
<character>PRISONER</character>
<dialogue>So you're the new chicken licker.</dialogue>
<scene_description>COURT TV IMAGE The graphic - `` Prime Time Justice '' - then the anchor - CYNTHIA .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( TV . )</parenthetical>
<dialogue>Today from Superior Court in Miami, Florida - Dade County versus Samuel J. Lonbardo.</dialogue>
<scene_description>PULL BACK to REVEAL .</scene_description>
</scene>
<scene>
<stage_direction>INT. ART'S OFFICE, BLUE BAY HIGH - DAY</stage_direction>
<scene_description>Art , students , faculty members huddle around the TV .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( TV , CONT 'D . )</parenthetical>
<dialogue>The Lonbardo rape case has galvanized the upscale town of Blue Bay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COURTHOUSE - DAY</stage_direction>
<scene_description>Video crews surround a limo as Sandra and Kelly EMERGE .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( V. 0. , CONT 'D . )</parenthetical>
<dialogue>with its tabloid appeal - Sandra Van Ryan - jet - set real estate heiress.</dialogue>
<scene_description>Tom Baxter and Barbara jostle up the steps .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( V. 0. , CONT 'D . )</parenthetical>
<dialogue>The powerful Blue Bay elite.</dialogue>
<scene_description>Suzie , in the company of Ruby and Walter , pushes past the video crews .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( V. 0. , CONT 'D . )</parenthetical>
<dialogue>the girl from the wrong side of the tracks.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Bryce Hunter confers with his team . Ken in his neck brace , ENTERS with Sam and a bailiff . Sam wears a suit . Re 's clean - shaven , recovered from the car wreck and beating . Still , there is a weariness about him we have not seen before . He makes eye contact with Sandra - a cold stare .</scene_description>
<character>CYNTHIA</character>
<parenthetical>( V. 0. , CONT 'D . )</parenthetical>
<dialogue>In the end, the prosecution's case will come down to.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Hunter in front of the jury .</scene_description>
<character>HUNTER</character>
<dialogue>what happened to Kelly Lanier Van Ryan and Susan Marie Toller that will forever change the lives of these two young women? What happened in those fifteen minutes alone with Samuel Lombardo?</dialogue>
<scene_description>CLOSE ON SAM The dark , seductive eyes .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE - WITNESS WAITING ROOM - DAY</stage_direction>
<scene_description>Suzie , nervous , paces the floor , stops , lights a cigarette . The other witnesses sit in chairs along the wail - the lawn mower man , cul - de - sac kids , Barbara , Nicole , as . IN THE COURTROOM Kelly Van Ryan sits in the witness box , dabbing her eyes with a handkerchief while Bryce Hunter stands before her . The room is silent , the spectators riveted on the scene .</scene_description>
<character>HUNTER</character>
<dialogue>Do you need more time?</dialogue>
<scene_description>Kelly shakes her head , no .</scene_description>
<character>HUNTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know this is hard, Kelly, but I have just one more question and even though its something we've been over, I want us all to be very clear about it.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>When you made the decision to stay at Mr. Lombardo's house, after he had offered you a ride. When you saw that he intended to have sex with you, what were your exact words? What did you say?</dialogue>
<character>KELLY</character>
<dialogue>I told him, no. I said stop, Mr. Lombardo, please. I screamed for him to stop.</dialogue>
<character>HUNTER</character>
<dialogue>And did he?</dialogue>
<scene_description>Kelly looks defiantly at the courtroom .</scene_description>
<character>KELLY</character>
<dialogue>No. He raped me on the floor of his shitty house.</dialogue>
<scene_description>WITNESS WAITING ROOM - SAME - SUZIE still pacing , as Ray and Gloria ENTER the room . Suzie shoots them a nervous glance , drops her cigarette , bends to pick it up , burns her fingers , drops it again . She curses beneath her breath , wrapping her fingers about her shoulders . Ray and Gloria watch her , exchange glances . Gloria picks up Suzie 's cigarette for her , puts it out in an ashtray .</scene_description>
<character>GLORIA</character>
<dialogue>You've got nothing to be scared of, Suzie, just take a deep breath.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>PANNING the spectators , we SEE Sandra , Baxter , Ray , Gloria . Hunter is on the witness stand . Suzie is in the box . She looks pale , even more nervous .</scene_description>
<character>SUZIE</character>
<dialogue>He pushed into me. I could n't stop him. it hurt.</dialogue>
<character>HUNTER</character>
<dialogue>I'm sorry. you said it hurt? Why?</dialogue>
<character>SUZIE</character>
<dialogue>Because. it was the biggest I've ever seen. And I've seen a lot on their way through Jack's Fish Camp.</dialogue>
<scene_description>Chuckling in the courtroom . The JUDGE glares , silencing it .</scene_description>
<character>HUNTER</character>
<dialogue>Ms. Toller, did Samuel Lombardo rape you in your family's home on the 23rd of April last year?</dialogue>
<scene_description>Suzie glances at Sam , hesitates .</scene_description>
<character>HUNTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ms. Toller?</dialogue>
<character>SUZIE</character>
<dialogue>I said he did.</dialogue>
<character>HUNTER</character>
<dialogue>Ms. Toller. I'm asking you now, under oath, did Samuel Lonbardo rape you?</dialogue>
<scene_description>Suzie looks around , as if for help . The spectators stir . Ray rubs his eyes . Gloria 's are closed .</scene_description>
<character>SUZIE</character>
<dialogue>This was n't my idea.</dialogue>
<character>HUNTER</character>
<dialogue>I'm sorry?</dialogue>
<scene_description>Suzie looks at Sam once more .</scene_description>
<character>SUZIE</character>
<dialogue>Look. I just do n't want to get into any more trouble.</dialogue>
<scene_description>Tom Baxter rises to his feet . The Judge raises a hand , motioning him to sit back down .</scene_description>
<character>JUDGE</character>
<parenthetical>( to Baxter . )</parenthetical>
<dialogue>The Court would like to hear what Miss Toller has to say.</dialogue>
<parenthetical>( to Suzie . )</parenthetical>
<dialogue>Miss Toller.</dialogue>
<character>SUZIE</character>
<dialogue>Mr. Lombardo did n't rape me. He did n't rape Kelly either. He did n't do anything.</dialogue>
<scene_description>QUICK CUTS Hunter slumps back against the prosecution table . Sandra 's hand covers her mouth . Baxter mumbles a curse . Sam hangs his head in relief . Ken grins above his neck brace . COURTROOM LOBBY The press corps scrambles for cameras . BLUE BAY HIGS Teachers , students , Art , Jimmy - crammed around the TV .</scene_description>
<character>JIMMY</character>
<dialogue>I do n't believe it.</dialogue>
<scene_description>IN THE COURTROOM Bryce Hunter and Tom Baxter are both on their feet , trying to make themselves heard above the din .</scene_description>
<character>HUNTER</character>
<dialogue>Your Honor. I must object.</dialogue>
<character>JUDGE</character>
<parenthetical>( hammering for order . )</parenthetical>
<dialogue>I think I made it plain that the Court intends to near Miss Toller's story.</dialogue>
<scene_description>The Judge turns a cold eye on Suzie .</scene_description>
<character>SUZIE</character>
<dialogue>I'm sorry.</dialogue>
<character>JUDGE</character>
<dialogue>Sorry? Just how far did you intend to let this go?</dialogue>
<character>SUZIE</character>
<dialogue>I do n't know. I just wanted to hurt Mr. Lombardo.</dialogue>
<scene_description>Sam looks up , confused .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He was my friend at first. Then I got busted. he did n't even stick up for me. I had to go away to that hellhole. It's like, you're his favorite, then who cares? You wan na know something? When Kelly said we should do this, I thought cool, all these big shots screwing me over, like that cop, Duquette. Now they're gon na get screwed.</dialogue>
<character>HUNTER</character>
<dialogue>Your Honor. Please.</dialogue>
<character>JUDGE</character>
<dialogue>Any more interruptions Mr. Hunter, and the Court will hold you in contempt.</dialogue>
<parenthetical>( to Suzie . )</parenthetical>
<dialogue>What you are telling me, Ms. Toller, is that Kelly Van Ryan is responsible for conceiving this entire charade.</dialogue>
<character>SUZIE</character>
<dialogue>Kelly's pissed at Mr. Lombardo, too. She's in love with him. I mean her whole fantasy is him since her old man died. Then she found out that Mr. Lombardo was doing her mom. I mean that was it.</dialogue>
<scene_description>Gasps in the court as - Kelly BURSTS from the witness waiting room , trailed by a bailiff .</scene_description>
<character>KELLY</character>
<dialogue>You stupid little bitch.</dialogue>
<scene_description>She grabs the first thing she can get her hands on - a glass of water from one of the tables and hurls it toward the witness stand before the bailiff can pin her arms against her sides .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE LOBBY - LATER</stage_direction>
<scene_description>A mob scene . Video crews are herded to one side by bailiffs as Sandra and Baxter , with Kelly in tow , move toward a side door . Sam and Ken round a corner , followed by Ray and Gloria who walk on either side of Suzie . Kelly sees them . She makes a run at Suzie . For a moment the girls shove and kick but Ray and Gloria are between them in a hurry , pulling then apart as Baxter arrives to take charge of Kelly , pulling her toward the door . Ruby and Walter arrive now too . Suzie runs to them and they lead her through the crowd , Walter pushing people aside with his long , tattooed arms . Gloria heaves a sigh . Ray pushes a hand through his hair , then turns to find Sam looking at him . Most of the press have run off to follow the girls - looking for more action . It is a quiet moment . The two men lock eyes .</scene_description>
<character>SAM</character>
<dialogue>I've found that adolescents make the best liars. They're old enough to be good at it, but you want like hell to believe them, because they're still children.</dialogue>
<scene_description>Ray just looks at him - a hard stare .</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. KEN'S T-BIRD - DAY</stage_direction>
<scene_description>top down , speeds on a highway , banana palms on one side , the blue Atlantic on the other . Wind buffets Ken and Sam - who has a dazed look .</scene_description>
<character>KEN</character>
<parenthetical>( hyped . )</parenthetical>
<dialogue>Come on, let loose!</dialogue>
<character>SAM</character>
<dialogue>I was just thinking about where I'm gon na stay. I lost the house. It's like waking up from a goddamn nightmare.</dialogue>
<character>KEN</character>
<dialogue>You'll get over it. We've got a knockdown, airtight, motherfucker of a lawsuit against Sandra Van Ryan.</dialogue>
<character>SAM</character>
<dialogue>Just like that?</dialogue>
<character>KEN</character>
<dialogue>Just like that? These people ruined your life, bro.</dialogue>
<scene_description>Ken pauses to thump the wheel with the butt of his hand .</scene_description>
<character>KEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I told you they were going overboard and they did. They'll settle. Believe me. They'll be begging to settle.</dialogue>
<scene_description>At which point Ken spots something up ahead . His smile broadens . He swerves into the other lane , tooting his horn , waving , as . The T - bird draws even with a sleek black limo .</scene_description>
<character>SAM</character>
<dialogue>You do n't think you're overdoing it?</dialogue>
<scene_description>He pulls off his neck brace , dangles it in front of Sam 's face , then tosses it out the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIMO - MOVING - SAME</stage_direction>
<scene_description>Tom Baxter watches as the T - bird rockets off into the distance , a white piece of foam rubber bouncing across the road in its wake . A console TV is on - news of the courthouse chaos . Sandra is next to Baxter . Kelly is on the opposite bench seat .</scene_description>
<character>SANDRA</character>
<dialogue>I hope you're going to nail his scrotum to the nearest wall.</dialogue>
<character>BAXTER</character>
<dialogue>That might have been a possibility, if little miss not - so - bright here had n't started throwing things.</dialogue>
<character>KELLY</character>
<dialogue>Fuck off.</dialogue>
<scene_description>Sandra lunges to slap Kelly . Baxter stops it in midair .</scene_description>
<character>BAXTER</character>
<dialogue>See what I mean.</dialogue>
<character>SANDRA</character>
<dialogue>You're going to let them get away with this. this shit? On the word of one little white trash bitch.</dialogue>
<character>BAXTER</character>
<dialogue>You like seeing your name in the papers?</dialogue>
<scene_description>Sandra glares at him .</scene_description>
<character>BAXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Leave town, Sandy. Go to your place in St. Barts. Let things cool down.</dialogue>
<scene_description>Sandra concentrates on the TV .</scene_description>
<character>BAXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They'll try for twenty million. The cheaper the lawyer, the higher the demand.</dialogue>
<character>SANDRA</character>
<dialogue>You've got to be kidding.</dialogue>
<character>HAXTER</character>
<dialogue>The man's life has been destroyed. There will always be doubters, no matter what happened in court.</dialogue>
<character>SANDRA</character>
<dialogue>I'm not paying any idiot twenty million dollars.</dialogue>
<character>BAXTER</character>
<dialogue>I said that's what they'd ask for.</dialogue>
<scene_description>Sandra stares from the window . At last she turns to Kelly .</scene_description>
<character>SANDRA</character>
<dialogue>I hope you're happy.</dialogue>
<scene_description>Kelly seems to give this a moment 's thought , then , smiling .</scene_description>
<character>KELLY</character>
<dialogue>Ecstatic.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EVERGLADES - DAY</stage_direction>
<scene_description>Sam cruises slowly across the water in his junked - out air boat . He kills the engine , allowing the craft to glide to a stop . He 's close to where he found the big gator - the same shabby collection of whitewashed buildings we now RECOGNIZE as the Glades Motel , shimmers in the distance . Sam leans back , enjoying the silence . He reaches into a cooler , takes out a beer , opens it , takes a drink , then pulls something else from the cooler - - a bundle of white butcher 's paper . Sam opens the paper , takes out raw meat - something disgusting to look at - big red turkey necks , maybe , which he tosses into the water . ANGLE ON WATER as the meat drifts down - then , a sudden boiling , as - quick as the strike of a snake - the huge gator EMERGES , jaws wide , to snap up the morsel before slipping beneath the surface once mare .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAW OFFICE - DAY</stage_direction>
<scene_description>Ken 's Secretary opens the inner office door for Baxter . Ken rises from a desk to greet him .</scene_description>
<character>KEN</character>
<dialogue>Tom Baxter. Good to see you again.</dialogue>
<character>BAXTER</character>
<dialogue>Let's cut the crap. What does your client want?</dialogue>
<character>KEN</character>
<dialogue>Besides an apology?</dialogue>
<character>BAXTER</character>
<dialogue>Unless you're planning on leaving Blue Bay, there's gon na be other cases, other days. You might want to keep that in mind.</dialogue>
<character>KEN</character>
<dialogue>Okay Tom. My client wants your client to saddle up. so we can ride her ass all the way to the bank.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>A hot morning in June . Shadows angle across the campus . Students line up at the old wooden pagoda , picking up caps and gowns . A few turn , surprised to see . SAM LOMBARDO cross the parking lot , ENTERS a building .</scene_description>
</scene>
<scene>
<stage_direction>INT. ART'S OFFICE - ART</stage_direction>
<scene_description>working at his desk . Sam 's terrarium is behind him , his `` Educator of the Year '' Waterford bowl , a storage box of files . Art looks up at a KNOCK on the DOOR . Sam walks into the room . It is a slightly awkward moment .</scene_description>
<character>SAM</character>
<dialogue>Lizards do n't seem to miss me.</dialogue>
<scene_description>The two men smile , breaking the tension .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How you doing, Artie?</dialogue>
<character>ART</character>
<dialogue>I. You know. I.</dialogue>
<scene_description>Sam waves him off .</scene_description>
<character>SAM</character>
<dialogue>Take care of my lizards, Art.</dialogue>
<scene_description>Art stands up . The two men shake hands . OUTSIDE GUIDANCE OFFICE Sam comes out , then stops suddenly . Kelly waits for him . Kirk and Nicole are with her . A long moment .</scene_description>
<character>SAM</character>
<dialogue>Kelly.</dialogue>
<character>KELLY</character>
<dialogue>Drop dead. You know where my mom is trying to get the money to pay you off? She's trying to break my trust. How do you like that? I ca n't touch it until she's dead and she wo n't give me a dime and now she's trying to break it to pay you.</dialogue>
<character>SAM</character>
<dialogue>Look, Kelly. I'm sorry. I know what you've been through. I should've seen something like this coning.</dialogue>
<scene_description>Art APPEARS in the door behind Sam . Kelly cones closer .</scene_description>
<character>KELLY</character>
<dialogue>Why do n't you start fucking her again. You can spend it together.</dialogue>
<scene_description>Kirk tries to take Kelly 's arm . She jerks away , swings at Sam . He ducks , dropping the Waterford BOWL , which SHATTERS upon the floor . Kirk bear - hugs Kelly . She throws a notebook at Sam .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I hate you!</dialogue>
<scene_description>She starts crying . Kirk and Nicole drag her away as a crowd gathers . Sam , shaken , kneels over the broken crystal . Art bends to help him pick up the pieces .</scene_description>
<character>SAM</character>
<dialogue>You see. I could n't stay, even if I wanted to.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STRIP MALL - NIGHT</stage_direction>
<scene_description>Sam 's Jeep is parked next to the T - bird and Jaguar .</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN'S OFFICE - SAME</stage_direction>
<scene_description>Baxter , Ken , Sandra , Frankie stand watching , as Sam signs papers . At last Sam looks up , faces Sandra - not a happy moment . Sandra gives him a long , hard stare , then walks from the room . Frankie prepares to follow her , then stops , looks at Sam .</scene_description>
<character>FRANKIE</character>
<dialogue>I'll be seeing you.</dialogue>
<scene_description>Sam just looks at him . The big man leaves . Baxter closes his briefcase .</scene_description>
<character>KEN</character>
<dialogue>So long, Tom. Come by sometime. We'll have lunch at the Beef Bowl.</dialogue>
<scene_description>Baxter stops , gives him a cold look , then a surprising smile .</scene_description>
<character>BAXTER</character>
<dialogue>I do n't think you're gon na be eating at the Beef Bowl anymore, kid.</dialogue>
<scene_description>He EXITS . Ken goes apeshit - whoops , dances around the desk , drops into his chair , holds up the documents . Sam watches , smiling , finally .</scene_description>
<character>SAM</character>
<dialogue>Thanks Ken, you did okay.</dialogue>
<scene_description>Both men stand , they shake hands . Ken claps him on the arm .</scene_description>
<character>KEN</character>
<parenthetical>( no clowning now . )</parenthetical>
<dialogue>Look, I know there's a part of you wishes none of this had happened. But it did. Now take the money and get out of here. Find a happy place.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EVERGLADES - NIGHT</stage_direction>
<scene_description>Moonlit fog - the vast swamp .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GLADES MOTEL - NIGHT</stage_direction>
<scene_description>It 's late . A neon palm tree flashes across an empty lot as . Sam 's Jeep pulls in out of the night , parks before its bungalow . Sam gets out , lifts his storage box of files from the rear .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUNGALOW - NIGHT</stage_direction>
<scene_description>The neon 's green light slashes across the dark walls through old Venetian blinds . Sam ENTERS , puts the file box on the floor . Arches a sore back . He reaches for a bedside lamp , stops , listens , decides it 's nothing , reaches again for the lamp , stops again , listening . BZZZZZ - the high - pitched WHINE of a MOSQUITO . Then more - a flurry of BZZZZZZZZS Sam frowns , sees . A cloud of mosquitoes circling him . He checks the front windows - closed . He goes around the bed . The slightly ajar bathroom door with full - length mirror comes up on his right . Ahead is a rear window - wide open . Sam stops fast . Thinks . Lets out a breath .</scene_description>
<character>SAM</character>
<dialogue>Damn maid.</dialogue>
<scene_description>He steps to the window . He looks down - Muddy footprints . Sam freezes . He whirls around - A sudden green FACE APPEARS in the big mirror - like a nightmare image - lit by the neon flash , then DISAPPEARS . Sam jumps back .</scene_description>
<character>SAM</character>
<dialogue>Ahhhh!</dialogue>
<scene_description>The neon green face flashes again in the mirror - DISAPPEARS . Now the bathroom door slowly opens all the way . Sam backs up , hits the wall . Kelly Van Ryan steps out of the bathroom , a long object held at her side , wrapped in a towel .</scene_description>
<character>SAM</character>
<dialogue>Jesus Christ, what are you doing?</dialogue>
<character>KELLY</character>
<dialogue>So you got my mom's money.</dialogue>
<scene_description>Sam tries to breathe , manages a nod .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How much?</dialogue>
<scene_description>Kelly prods him with the concealed object .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How much?</dialogue>
<character>SAM</character>
<dialogue>About six and a half million dollars.</dialogue>
<scene_description>Kelly raises the abject covered by the towel , aims it at Sam .</scene_description>
<character>KELLY</character>
<dialogue>Your turn to pay.</dialogue>
<scene_description>A moment - then she yanks the towel away to REVEAL - - a two - foot - long novelty penis with giant balls . Her hand grips the acrylic scrotum like the butt of a gun .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>King Dong! That's you, Sam!</dialogue>
<scene_description>She screams with joy , vaults into his arms , wraps those perfect thighs around him . The dildo goes flying . They fall on the bed .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It worked! We screwed the bitch!</dialogue>
<scene_description>She 's all over him now - tongue kisses .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It worked just like you said it would.</dialogue>
<scene_description>He kisses her , finally gets her to sit , straddling him .</scene_description>
<character>SAM</character>
<dialogue>God, you scared the shit out of me. You must be crazy coming here.</dialogue>
<character>KELLY</character>
<dialogue>Of course I'm crazy. Ask my mom.</dialogue>
<scene_description>She kisses him again , more passionately now . He gets into it , tears her blouse open , putting his tongue to her breasts . A SHADOW moves on the wall , looming above them . Sam sees it , his eyes widen . He tries to sit up , as . BANG ! - an EXPLOSION . Sam jumps , knocks Kelly to his side . A champagne cork hits the ceiling . Suzie Toller stands over the bed with a foaming champagne bottle .</scene_description>
<character>SUZIE</character>
<dialogue>How much is about six and a half million divided by three?</dialogue>
<character>SAM</character>
<dialogue>Jesus. Two million one hundred thirty - three thousand three hundred thirty - three and change.</dialogue>
<scene_description>Kelly screams in joy again .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now calm down. Both of you.</dialogue>
<scene_description>The girls put on mock serious expressions .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>From now on, if we're seen together, it's got to be accidental. I thought that was understood.</dialogue>
<character>KELLY</character>
<dialogue>Hey, come on. We've got to have at least one victory party.</dialogue>
<scene_description>Kelly grabs the champagne , takes a long gulp , pours some on her breasts as she straddles Sam once more , inviting him to lick them clean .</scene_description>
<character>SAM</character>
<dialogue>Kelly, for christ's sake.</dialogue>
<scene_description>She has begun to move like a lap dancer , inviting him to take her breasts in his mouth , putting a hand to his crotch .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The only way we're gon na blow this now, is if we do it ourselves.</dialogue>
<character>KELLY</character>
<parenthetical>( her hand in his crotch . )</parenthetical>
<dialogue>Do it to ourselves?</dialogue>
<character>SAM</character>
<parenthetical>( weakening . )</parenthetical>
<dialogue>We have to stick with the plan.</dialogue>
<character>KELLY</character>
<dialogue>Stick?</dialogue>
<scene_description>Sam gives up , lays back as Kelly undoes his pants , then moves to get him inside her . Suzie watches . She takes another drink , then tosses the bottle , pulling off her top , REVEALING her small , white breasts , a couple of tattoos , a pierced nipple . She slips behind Kelly , fondling Kelly 's breasts as Sam arches beneath them both - all of them totally into it now , losing themselves in the sex .</scene_description>
</scene>
<scene>
<stage_direction>INT. DETECTIVZS' ROOM, BLUE BAY POLICE STATION - NIGHT</stage_direction>
<scene_description>The room is dark and empty , with the exception of a single desk lamp , by which halo we find . Ray Duquette , in an aloha shirt , waiting as his computer 's printer finishes a job , as suddenly . a new light rushes into the room . Ray turns to find Gloria standing in the doorway . He stops as his printer finishes the job . He pulls out the paper , looks at it , smiles . Gloria walks to his desk .</scene_description>
<character>RAY</character>
<dialogue>You saw the news today?</dialogue>
<character>GLORIA</character>
<dialogue>Lombardo's settlement?</dialogue>
<scene_description>Ray nods .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yeah, well, I told you they were gon na make us look stupid.</dialogue>
<scene_description>Ray gives her a long look . Gloria waits a moment , shrugs .</scene_description>
<character>RAY</character>
<dialogue>Hey, do n't back away from it, you were right. We did look stupid.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What you were wrong about, is who made us look that way.</dialogue>
<scene_description>Gloria just looks at him , puzzled .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Think back, before the suit was filed, before the trial. Lombardo had an affair with Sandra, right?</dialogue>
<parenthetical>( Gloria nods . )</parenthetical>
<dialogue>So why not tell us about the affair? I mean it could be a hell of a motive for Kelly to fabricate her charge in the first place.</dialogue>
<character>GLORIA</character>
<dialogue>Maybe Lombardo's attorney was saving the affair for the trial.</dialogue>
<character>RAY</character>
<dialogue>I thought of that. Then I said, come on, you're Lombardo. Your reputation is getting trashed. You want to stop the bleeding. You do n't want to sit in jail for three months. Unless.</dialogue>
<character>GLORIA</character>
<dialogue>Unless what?</dialogue>
<character>RAY</character>
<dialogue>Unless you're setting up Sandra Van Ryan for the big payday.</dialogue>
<scene_description>It is quiet in the office , save for the soft BUZZ of Ray 's COMPUTER .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They chumped us, Gloria, right from the start.</dialogue>
<character>GLORIA</character>
<dialogue>Why? You ask me, Lombardo had it pretty good already, nice job in a beautiful setting, popular, an active social life.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He's gon na put this all on the line for some dicey play like what you're describing.</dialogue>
<character>RAY</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>The job looks okay to us. But look at it from his point of view. The man's surrounded by wealth and privilege. But for him. it's just a reminder of what should have been his.</dialogue>
<scene_description>Gloria gives this a moment 's thought .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your old man graduates from Blue Bay School, you're not supposed to wind up there. Board of Directors maybe, but not in the lousy guidance office. Now. Point number two.</dialogue>
<parenthetical>( he taps at the printout on his desk . )</parenthetical>
<dialogue>I've run a financial on Lombardo. Guy was eyeball - deep in debt before this all happened - trying to keep up with pricey trim like Barbara Baxter.</dialogue>
<scene_description>He passes the printout to Gloria . She looks at it , thinking .</scene_description>
<character>GLORIA</character>
<dialogue>So what about the girls? Suzie's poor, but why would Kelly have to steal from her own mother? Surely her father.</dialogue>
<character>RAY</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Her father did n't leave her squat. The kid's got money in trust from her grandfather, but she ca n't touch that till her mother dies and Sandra seems to have the idea that Kelly ought to learn the value of a buck.</dialogue>
<scene_description>Gloria looks over Lombardo 's financial once more , tosses it on the desk , then studies Ray - long beat .</scene_description>
<character>GLORIA</character>
<dialogue>This one's got you working overtime, has n't it?</dialogue>
<character>RAY</character>
<dialogue>I flat do n't like the guy, Glory. He's dirty. And I'll tell you something else. You want to know how old man Lombardo lost his money?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He was fucked out of it by old man Van Ryan, on a little item known as the Salt Creek Land Deal.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It was after the war. Van Ryan set up a corporation to develop swamp land, got investors like Lombardo to put up money, then turned around and got the state to declare the area an ecological preserve, on the sly, of course, but everyone knew it was him. The freeway went to the coast, right where Van Ryan wanted it.</dialogue>
<character>GLORIA</character>
<dialogue>Eliminate the competition.</dialogue>
<character>RAY</character>
<dialogue>You got it. The rich got richer. While the saps like Lombardo went belly - up in the swamp.</dialogue>
<scene_description>Gloria looks at him a long moment .</scene_description>
<character>GLORIA</character>
<dialogue>Where'd you come up with this stuff, anyway?</dialogue>
<character>RAY</character>
<parenthetical>( a long beat ; then beneath a smile . )</parenthetical>
<dialogue>I net a guy in a bar.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A BANK, BLUE BAY - DAY</stage_direction>
<scene_description>Sam walks down the steps , gets into his Jeep , and drives away . Across the street - the white Taurus - Ray and Gloria watch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. YACHT BROKERAGE - DAY</stage_direction>
<scene_description>Sam comes out , rounds a corner and is gone . Ray Duquette steps INTO FRAME , turns into the brokerage . The door swings shut behind him .</scene_description>
</scene>
<scene>
<stage_direction>INT. SWIMMING POOL, BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>Girls in tank suits finish laps , towel off . As the girls begin to walk toward the lockers , they encounter . Ray Duquette , threading his way among the girls , his eye on . Kelly , alone on the deck , still dripping - a Botticelli vision .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Nice stroke.</dialogue>
<scene_description>Kelly , startled , turns to find Ray walking toward her across the deck . She snatches a towel from one of the racing platforms and begins to dry herself , wrapping the towel around her .</scene_description>
<character>KELLY</character>
<dialogue>Is there some reason why you're here?</dialogue>
<character>RAY</character>
<dialogue>Curiosity, I guess.</dialogue>
<character>KELLY</character>
<dialogue>About what? How to improve your breast stroke?</dialogue>
<scene_description>Ray gives her a cold smile .</scene_description>
<character>RAY</character>
<dialogue>Actually, I was curious about how you see things working out, for you, Sam and Suzie.</dialogue>
<scene_description>This appears to give her pause , a moment of hesitation .</scene_description>
<character>KELLY</character>
<dialogue>Excuse me?</dialogue>
<character>RAY</character>
<dialogue>You all gon na go down to the Caribbean together?</dialogue>
<scene_description>Kelly looks around the pool area . A number of girls are watching from a corner of the deck , but no one is close enough to hear .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The thing about it is, threesomes so rarely work out.</dialogue>
<character>KELLY</character>
<dialogue>You're out of your mind.</dialogue>
<character>RAY</character>
<dialogue>I've been a cop for a while, Kelly.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's hard enough for one person to keep a secret, let alone three. And then there's the love angle. I mean do you and Sam really want that little pill - head around, now that you have the money?</dialogue>
<scene_description>Kelly starts to walk away . Ray cuts her off .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Am I right, did Sam sell you on the idea right up front, of whacking Suzie? That's murder, Kelly.</dialogue>
<character>KELLY</character>
<dialogue>Police - God - get a life.</dialogue>
<scene_description>She moves around him and walks calmly away .</scene_description>
<character>RAY</character>
<parenthetical>( loud enough to make himself heard . )</parenthetical>
<dialogue>You're good. But you do n't think that little ditz Suzie's gon na hold together, do you?</dialogue>
<scene_description>Kelly continues to walk , her face giving nothing away , as Ray 's WORDS ECHO over the pool .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL PARKING LOT - LONG SHOT - LATER</stage_direction>
<scene_description>Only a few cars left - one of them Suzie 's old VW bug , at the side of which Kelly and Suzie engage in heated conversation . CLOSER - SUZIE paces around Kelly .</scene_description>
<character>SUZIE</character>
<dialogue>You do n't know Duquette. I'm the one he busted. He's a fucker, man. He'll fuck us both over.</dialogue>
<scene_description>Kelly tries to take her by the arm . Suzie jerks away .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm not going back to that prison. That's what it was. a fucking hell hole.</dialogue>
<scene_description>Kelly looks around the lot . She takes Suzie by the arm once more , this time more firmly , pulling Suzie to her .</scene_description>
<character>KELLY</character>
<dialogue>Will you calm down. Duquette's gon na come to you just like he did to me. You're gon na have to be ready for him.</dialogue>
<character>SUZIE</character>
<dialogue>Yeah, but he ca n't push you around like he can me. You've got family and they've got clout. With we it's different. with me.</dialogue>
<character>KELLY</character>
<parenthetical>( circling her with her arm . )</parenthetical>
<dialogue>Yeah, I've got family and they've got clout and now you have me. Right? And Sam. Believe me, Suzie, this dickhead's not going to send you anywhere. He's gon na try and rattle your cage, and that's it. Stay strong and he ca n't do shit.</dialogue>
<character>SUZIE</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Man, I wan na smoke a joint.</dialogue>
<scene_description>PULL BACK to REVEAL - in the distance - the white Ford Taurus at the side of the road leading to the school . The car is pulled just far enough off the road to be mostly hidden among pampas grass and oleander , but angled in such a way as to afford a view of the two girls now hugging in the lot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILIN' JACK'S FISH CAMP - NIGHT</stage_direction>
<scene_description>Suzie wanders along the canal , smoking a joint . At her back a few faint lights flicker here and there in the windows of trailers . She walks down to the little dock , sits on a rail , takes another hit .</scene_description>
<character>VOICE</character>
<parenthetical>( 0 .</parenthetical>
<parenthetical>S . )</parenthetical>
<dialogue>` Evening, Suzie. How was school today?</dialogue>
<scene_description>Suzie freezes , holds back her exhale , looking around . A shadow stirs in one of the skiffs tied to the dock . A man stands , walks up the couple of wooden stairs . The light from a trailer across the road glances off steel - rimmed glasses as Ray Duquette steps onto the dock . Suzie gags on the smoke in her lungs , coughs . She squeezes the lit roach into her palm , then tosses it into the canal .</scene_description>
<character>RAY</character>
<dialogue>You ought to watch it with that shit, Suzie. You get busted again, you go back in a two - tine loser.</dialogue>
<character>SUZIE</character>
<dialogue>You got something against cigarettes?</dialogue>
<scene_description>Ray just laughs at her .</scene_description>
<character>RAY</character>
<dialogue>Yeah, they're bad for your health.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm tryin' to look out for you.</dialogue>
<character>SUZIE</character>
<dialogue>That's cop bullshit.</dialogue>
<character>RAY</character>
<dialogue>Well, you're half right. Best thing you could do for yourself right now would be to talk to me.</dialogue>
<character>SUZIE</character>
<dialogue>About what?</dialogue>
<character>RAY</character>
<dialogue>Every triangle I've ever seen never lasts. Somebody's got to go.</dialogue>
<character>SUZIE</character>
<dialogue>Is this supposed to mean something to me? What triangle?</dialogue>
<character>RAY</character>
<dialogue>You, Kelly, Sam.</dialogue>
<character>SUZIE</character>
<dialogue>I do n't have to listen to this. And you ca n't shove me around. I have friends now.</dialogue>
<scene_description>She catches herself , falters . Ray laughs once more .</scene_description>
<character>RAY</character>
<dialogue>Is that what you think? You have friends? Is that what they told you?</dialogue>
<character>SUZIE</character>
<dialogue>I do n't mean who you're thinking. I have other friends.</dialogue>
<character>RAY</character>
<dialogue>Suzie, Suzie. This is me, Ray, you're talking to. We both know you do n't have shit, never have had shit, never will have shit.</dialogue>
<scene_description>He takes a sheet of paper from his coat .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here, Suzie. I want you : o look this over. Know what it is?</dialogue>
<parenthetical>( as Suzie takes it . )</parenthetical>
<dialogue>Sam deposited his check, transferred the funds to an offshore bank, a numbered account. Not even the cops can find out whose names are on it. Think one of them's yours?</dialogue>
<scene_description>Suzie looks over the paper .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He also put a down on some island property, and a lease - to - buy on a forty - foot sailboat. You're into sailing, are n't you, Suzie?</dialogue>
<scene_description>Suzie thrusts the paper back at Ray .</scene_description>
<character>SUZIE</character>
<dialogue>Get away from me.</dialogue>
<character>RAY</character>
<dialogue>Do n't you see what this means? You really think Sam and Kelly are gon na give you a third of the money? You, the pill - head with the rap sheet?</dialogue>
<character>SUZIE</character>
<dialogue>Shut up.</dialogue>
<scene_description>Ray smiles at her . He moves up close .</scene_description>
<character>RAY</character>
<dialogue>You know, I do n't think I ever told you I was sorry about your little friend. What was his name?</dialogue>
<scene_description>Suzie tries to back away . She bumps against the rail . Ray reaches out , takes her hand in both of his .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come on, Suzie, help me out here. You know his name.</dialogue>
<scene_description>Suzie looks scared , in a way she has n't before . When she speaks her voice is scarcely above a whisper .</scene_description>
<character>SUZIE</character>
<dialogue>Davy.</dialogue>
<character>RAY</character>
<parenthetical>( nodding , a scary smile . )</parenthetical>
<dialogue>That's right. That was his name.</dialogue>
<scene_description>The smile fades , as if he 's thinking about something , still holding her hand , rubbing it with his fingers .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sometimes I wonder if you're really as dumb as you pretend to be.</dialogue>
<scene_description>He looks into Suzie 's eyes , slowly opening her hand to REVEAL the burn mark on her palm .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But you know what? I'd be keeping a clear mind right now if I were you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'd hate to see you come to a bad end. Like Davy did.</dialogue>
<scene_description>He holds her hand a moment longer , then drops it . He goes back down he steps to the little skiff . An outboard MOTOR STARTS in the night .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUZIE'S ROOM - NIGHT</stage_direction>
<scene_description>Suzie cones in fast , grabs the phone , punches out a number .</scene_description>
<character>SAM</character>
<parenthetical>( V. 0 . )</parenthetical>
<parenthetical>( answering machine . )</parenthetical>
<dialogue>This is Sam. I'm not in right now.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. RAY'S PICKUP - NIGHT</stage_direction>
<scene_description>parked behind some cottonwoods in a small launch area where the highway crosses both the canal and the road to the fish camp . The skiff has been shoved into the bed . Ray sits at the wheel . He removes his glasses , wipes his face with a handkerchief , then starts at the uneven 50UNDS of a tired ENGINE , looks up to see . HEADLIGHTS Suzie 's VW bouncing along the dirt road , turning onto the highway . RAY 'S TRUCK - RAY watching , then starting his truck and pulling out onto the highway , following the tiny red lights of Suzie 's bug . SXT . VAN RYAN ESTATE - MAIN GATE - NIGHT Suzie 's VW idles . She leans out the window , talks to the intercom , the gate opens . The VW ENTERS . The gate closes . Ray 's pickup drives past . He drives to a big lot where one of the mansions has been torn down . He drives up onto the dirt , keeps going , right down to the water 's edge where he pulls his little skiff out of the back once more . He walks back to the truck , pulls off his sport coat , hangs a Hi - 8 video camera over his shoulder and wades out into the calm waters of the bay , pushing the skiff , then climbing in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN ESTATE, REAR OF MAIN HOUSE - NIGHT</stage_direction>
<scene_description>Suzie follows Kelly past the pool , which is all lit ~ up , and on toward the jacuzzi . The whole deck is tiled in black - and - white . Kelly 's in a bikini - the killer body . Suzie , the contrast - pale , skinny , boyish , in a T - shirt and cutoff jeans . They argue - we CAN NOT HEAR .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BAY - SAME</stage_direction>
<scene_description>Ray has arrived near the docks . He has killed his engine , maneuvering here with a single oar . He ties the skiff off behind the Jonathan , then climbs to the dock , moving around the guest house and coming close to the pool . He takes a position behind the cabanas , readies his camera .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POOL AREA - SAME</stage_direction>
<scene_description>Kelly and Suzie continue their argument in front of the jacuzzi .</scene_description>
<character>KELLY</character>
<dialogue>I ca n't believe you called Sam. What's the matter with you?</dialogue>
<character>SUZIE</character>
<dialogue>I'm scared, that's what. I'm scared there's no one to trust.</dialogue>
<character>KELLY</character>
<dialogue>You can trust me.</dialogue>
<scene_description>A cordless PHONE RINGS on the patio chair . Kelly and Suzie are startled by it . Kelly answers .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S BUNGALOW - NIGHT</stage_direction>
<scene_description>The bedside lamp is on . Sam is on the phone .</scene_description>
<character>SAM</character>
<dialogue>Kelly. Is Suzie there?</dialogue>
<character>KELLY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>SAM</character>
<dialogue>Shit. I was afraid of that. She left this garbled message on my machine.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Can you calm her down?</dialogue>
<character>KELLY</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Why ca n't you come.</dialogue>
<character>SAM</character>
<dialogue>No! Christ. Listen, Kelly, I'm counting on you. You calm her down. I mean do whatever you have to, whatever it takes.</dialogue>
<character>KELLY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You know what it takes.</dialogue>
<character>SAM</character>
<dialogue>Then do it. I need you on this Kelly. Do it tonight. We'll figure something out. Okay?</dialogue>
</scene>
<scene>
<stage_direction>EXT. JACUZZI - NIGHT</stage_direction>
<scene_description>Kelly glances across the steamy water at Suzie .</scene_description>
<character>KELLY</character>
<dialogue>Yeah, right. Can you at least talk to her, on the phone?</dialogue>
<scene_description>NT . SAM 'S BUNGALOW - SAME Sam lies on his bed , waits for Suzie 's voice on the line .</scene_description>
<character>SUZIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sam.</dialogue>
<character>SAM</character>
<dialogue>Put Kelly on too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JACUZZI - SAME</stage_direction>
<scene_description>The girls stand cheek - to - cheek , the phone between them .</scene_description>
<character>KELLY</character>
<dialogue>I'm here.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAM'S BUNGALOW - SAME</stage_direction>
<character>SAM</character>
<dialogue>Okay. I want you to hear this too. We've got to be cool. All of us. People think I'm rich, for Christ's sake. I'm doing what rich guys do.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm spending my money. It's more suspicious if I sit around doing nothing. Now do n't let this cop fuck with your minds.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CABANAS - NIGHT</stage_direction>
<scene_description>Ray tapes the scene . The girls still hold the phone .</scene_description>
<character>SUZIE</character>
<dialogue>But I.</dialogue>
<character>SAM</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Shut up. Do n't fall apart. The only people who can blow this is us. Remember?</dialogue>
<character>KELLY</character>
<dialogue>Right.</dialogue>
<scene_description>Suzie says nothing . Kelly nudges her .</scene_description>
<character>SUZIE</character>
<dialogue>Yeah, right.</dialogue>
<character>SAM</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Good. Just keep telling yourselves that, the only people who can fuck this up is us.</dialogue>
<scene_description>The line goes dead . Kelly hangs up . Suzie stares into the jacuzzi .</scene_description>
<character>SUZIE</character>
<dialogue>You're gon na fuck me over, are n't you?</dialogue>
<character>KELLY</character>
<dialogue>Oh, for Christ's sake.</dialogue>
<character>SUZIE</character>
<dialogue>You are.</dialogue>
<character>KELLY</character>
<dialogue>Are you retarded, or just brain dead from whiffin' fumes out there in the swamp.</dialogue>
<scene_description>Suzie 's face goes hard .</scene_description>
<character>SUZIE</character>
<dialogue>That's what I am to you, is n't it? Swamp trash. It's what I am to everybody, just like my mom.</dialogue>
<scene_description>Kelly tries to put an arm around her . Suzie slaps her - a mistake - Kelly 's bigger , faster . She slaps the side of Suzie 's head , then grabs her legs , dumping her on the tile deck . ON RAY focusing the camera . Suzie tries to kick Kelly . Something changes in Kelly , a scary , calm rage .</scene_description>
<character>KELLY</character>
<dialogue>Stupid bitch.</dialogue>
<scene_description>She very methodically grabs Suzie 's hair , dragging her into the jacuzzi , holding her under the hot water . Suzie thrashes , breaks free , gags , arches out of the water , the wet T - shirt clinging to her small breasts . Kelly is on her again , slaps her , puts her hands to Suzie 's throat - violently sexual in her wet bikini . Kelly slams Suzie back onto the black - and - white tile , gets on top of her , knees between Suzie 's legs , her hands on her throat . Suzie 's skinny shape writhes underneath Kelly on the gleaming tile . She gasps for air . Kelly finally lets go , but remains on her knees between Suzie 's legs , breathing hard . A moment . Kelly touches Suzie 's face .</scene_description>
<character>KELLY</character>
<dialogue>Why do you make me hurt you? It's like you want it or something.</dialogue>
<scene_description>Suzie sobs , takes Kelly 's hand .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>God, you are scared, are n't you?</dialogue>
<scene_description>Suzie runs her lips over Kelly 's fingers , then pushes her T - shirt up , pushing Kelly 's hand onto her breast .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And this is going to make you feel better, make you trust me.</dialogue>
<scene_description>Suzie nods , tearing her T - shirt , getting both of Kelly 's hands onto her breasts , then pushing at Kelly 's wrists , getting her to pull at her nipples , hard . Kelly obliges . Suzie cries out in pain . Kelly 's hands move down to pull off Suzie 's bottoms . ON RAY still at it with the video , his face impassive , watching . As Kelly pulls Suzie back into the jacuzzi , as the girls ' hands slide round the curves of each other 's hips , pulling themselves to each other , as the layers of steam rise to envelope them . VIDEOTAPE Kelly and Suzie making love in the jacuzzi . PULL BACK to REVEAL -</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE ROOM - DAY</stage_direction>
<scene_description>Gloria , Ray , Hunter watch the tape . Hunter 's seen enough . He slams the stop/tape .</scene_description>
<character>HUNTER</character>
<dialogue>Are you crazy, Ray?</dialogue>
<character>RAY</character>
<dialogue>You heard Kelly say `` Sam.'' That was Lombardo on the phone. And you saw the girls.</dialogue>
<character>HUNTER</character>
<dialogue>Ray. The conversation on this tape is totally unintelligible.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What we have here, is you on the Van Ryan property, without a proper warrant, shooting a porn flick.</dialogue>
<character>RAY</character>
<dialogue>I do n't believe I'm hearing this. A month ago you were pulling these two apart at the courthouse.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>They were acting. They were all acting, from the beginning. And we bought it, hook, line and sinker. And now they're home free with six million of Sandra Van Ryan's money.</dialogue>
<character>GLORIA</character>
<dialogue>Which she might have saved, if she had n't set out to destroy the man's life.</dialogue>
<character>RAY</character>
<parenthetical>( turning now on Gloria . )</parenthetical>
<dialogue>What? You would n't go after some guy you thought raped your daughter?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Cone on. She bought the same story we did.</dialogue>
<scene_description>Ray stops as Hunter brings the palm of his hand down on the table a loud SLAP .</scene_description>
<character>HUNTER</character>
<dialogue>Listen, both of you. You're not on a case. There is no fucking case.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I've had it up to here with Sandra Van Ryan. Ray, you keep mucking around like this and you are going to have her suing us for invasion of privacy. Get out of these people's lives.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Am I getting through on this?</dialogue>
<scene_description>Ray walks to the door , jerks it open -</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - DAY</stage_direction>
<scene_description>Sam , angry , sits in the corridor with a uniformed officer . Hunter sees Sam , rolls his eyes .</scene_description>
<character>HUNTER</character>
<dialogue>Oh, Ray. no.</dialogue>
<character>RAY</character>
<dialogue>You think this is just about money, about us looking foolish? Question him. You're gon na find a stone cold manipulative psychopath. And those girls are going to wind up dead.</dialogue>
<scene_description>Sam lunges at Ray . The officer and Hunter restrain him . Gloria looks on , taken aback by Ray 's accusations , Sam 's response .</scene_description>
<character>HUNTER</character>
<dialogue>Mr. Lombardo, please. I'm sorry about this.</dialogue>
<character>SAM</character>
<dialogue>Give this idiot something to do. Let him look into the Kennedy assassination.</dialogue>
<scene_description>Ray flares , grabs Sam , shoves him against the wall , before they can be separated once again .</scene_description>
<character>SAM</character>
<parenthetical>( CCNT 'D . )</parenthetical>
<parenthetical>( to Hunter . )</parenthetical>
<dialogue>Next time this guy drags me down here, I'll sue you. You're goddamn lucky I did n't sue you the first time!</dialogue>
<scene_description>Sam storms from the room , followed by Hunter . Ray stares after them , finally he turns , looks at Gloria , collecting himself .</scene_description>
<character>RAY</character>
<dialogue>Guess I kind of lost it there.</dialogue>
<character>GLORIA</character>
<dialogue>You could say that.</dialogue>
<character>RAY</character>
<dialogue>Were you ever in a situation where you could see a thing coming and you did n't do what you could to stop it?</dialogue>
<scene_description>Gloria studies Ray , clearly concerned .</scene_description>
<character>GLORIA</character>
<dialogue>We all have.</dialogue>
<character>RAY</character>
<dialogue>I mean something bad, Gloria, something bad you saw coning, and you did n't do anything, and then it happened.</dialogue>
<parenthetical>( off Gloria 's silence . )</parenthetical>
<dialogue>I did that once. I do n't want to do it again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MALL ENTRANCE - LATE AFTERNOON</stage_direction>
<scene_description>Sam EXXTS a building , a large package of wrapped goods beneath his arm . He looks toward the parking lot where - Barbara Baxter stands beside the red Mercedes . She tips a valet then starts toward the mall . She sees San . Their eyes meet . A moment of hesitation , as neither is quite sure what to say .</scene_description>
<character>SAM</character>
<dialogue>You look pretty.</dialogue>
<character>BARBARA</character>
<dialogue>Thanks.</dialogue>
<scene_description>Sam smiles . She points to the stuff beneath his arm .</scene_description>
<character>BARBARA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Quite a shopping spree.</dialogue>
<scene_description>She 's kidding , then seems to consider how Sam might take it .</scene_description>
<character>BARBARA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I did n't mean.</dialogue>
<scene_description>Sam laughs it off .</scene_description>
<character>SAM</character>
<dialogue>Hey, I've got it, I may as well spend it, right? I've always wanted to live where I could dive for my dinner.</dialogue>
<character>BARBARA</character>
<dialogue>And where might that be?</dialogue>
<character>SAM</character>
<dialogue>I was thinking, Antigua, maybe.</dialogue>
<character>BARBARA</character>
<dialogue>I love Antigua.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Maybe I'll come visit you.</dialogue>
<character>SAM</character>
<dialogue>I'd like that.</dialogue>
<scene_description>A moment , she touches his face . Sam raises a hand to cover hers , as . in b.g. , a BLACK RANGE ROVER - just the roof VISIBLE above the tops of the other cars , cruises the lot .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANGE ROVER - KELLY VAN RYAN</stage_direction>
<scene_description>seated at the wheel , parks , stares toward the mall entrance . ANGLE ON ENTRANCE - KELLY 'S POV Sam and Barbara stand in the orange light , hand - in - hand . Barbara leans forward , kisses Sam on the lips . CLOSE ON KELLY lost in thought , when she is startled by a sudden CACOPHONY of ENGINE NOISE . She turns to find . Suzie 's BUG , SPLUTTERING and BELCHING smoke , parks next to her . Suzie opens the door of the Rover , jumps in . She 's wearing a black ball cap , armed with a huge straw bag . As she settles in the seat , she lets out a long breath . Kelly makes a face , fans the air .</scene_description>
<character>KELLY</character>
<dialogue>Jesus. What are you drinking?</dialogue>
<scene_description>Suzie laughs , pulls a bottle of Mad Dog 20/20 from the bag .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( looking at the bottle . )</parenthetical>
<dialogue>Anybody ever tell you that stuff will rot your brain?</dialogue>
<character>SUZIE</character>
<dialogue>What brain?</dialogue>
<scene_description>Suzie takes a big drink . Kelly shakes her head , looks back toward the entrance . ANGLE ON ENTRANCE - KELLY 'S POV empty . Sam and Barbara are gone . Kelly continues to stare .</scene_description>
<character>SUZIE</character>
<dialogue>What are you looking at?</dialogue>
<character>KELLY</character>
<parenthetical>( starting the car . )</parenthetical>
<dialogue>Nothing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - NIGHT</stage_direction>
<scene_description>The Atlantic rolls before a long stretch of empty sand as the last red light drains from the sky . The Range Rover comes down onto the sand , parks .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. RANGE ROVER - SAME</stage_direction>
<scene_description>Kelly turns off the engine . Suzie tokes on a joint , swills the MD 20/20 . She gazes upon the sea , eyes at half - mast .</scene_description>
<character>SUZIE</character>
<dialogue>I thought we were goin' to a movie.</dialogue>
<character>KELLY</character>
<dialogue>I think we just need to get wasted.</dialogue>
<scene_description>Suzie shrugs , gets out . Kelly gets out with her . Suzie staggers . Kelly circles her with an arm , looks nervously around , begins leading her down the beach .</scene_description>
<character>SUZIE</character>
<dialogue>I wan na live at the beach someday.</dialogue>
<character>KELLY</character>
<dialogue>Shit.</dialogue>
<scene_description>She stops walking . Suzie takes a few more steps then turns to look at her .</scene_description>
<character>KELLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I left the keys. I'll get'em.</dialogue>
<scene_description>Suzie plops down on the sand , drinks from the bottle . She watches Kelly fading into the darkness , mumbles something beneath her breath , then lies on her back . SUZIE 'S POV - THE NIGHT SKY The SOUND of CRASHING WAVES . She rolls to one side , looking down the beach Murky blackness . She tries to focus , sits up .</scene_description>
<character>SUZIE</character>
<dialogue>Kelly?</dialogue>
<scene_description>She stands - wobbly - peers down the beach . A shape EMERGES in the blackness , moving toward her .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Kelly?</dialogue>
<scene_description>The shape gets closer and closer , until . Sam Lombardo steps up to loom over Suzie . She takes a step back . Sam puts a hand on her shoulder . He carries something in his other hand - hard to see on the dark beach .</scene_description>
<character>SAM</character>
<dialogue>Suzie, it's okay. It's me.</dialogue>
<scene_description>Suzie steadies herself . A face APPEARS behind Sam - Kelly .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I was worried about you, Suzie. I decided we should all get together, one more time, before we split up.</dialogue>
<character>SUZIE</character>
<dialogue>Are you mad at me?</dialogue>
<character>SAM</character>
<dialogue>No, no. Look, I probably should have told you a little more, about the part I intended to play.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>We'll go through it all again tonight.</dialogue>
<scene_description>Sam takes the bottle from Suzie , looks at it .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is a celebration Suzie, not a suicide pact.</dialogue>
<scene_description>He lifts the object in his other hand - a champagne battle .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We'll chill out first, have a drink, watch the stars.</dialogue>
<scene_description>Suzie nods .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Kelly, there's a beach blanket in the Jeep. Could you get it for us?</dialogue>
<scene_description>Kelly nods , starts back , looks once over her shoulder as . Sam leads Suzie toward a huge rock formation .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let me tell you about this boat I picked out for us.</dialogue>
<scene_description>They move OUT OF SIGHT . Kelly continues to walk , back along the sand toward the cars . INSERT - A SCREAM A sickening hollow THWACK - an arc of blood and two teeth fall silently on dark stone . Kelly begins to run , stumbling through the sand to Sam 's Jeep , where she pulls a big roll of clear plastic from behind the seats . She stuffs it under her arm , then runs back along the beach . As she runs , she can hear them - more THWACKS , MOANS - it seems like forever Sam APP # ARS before her on the sand . The champagne bottle swings loosely at the end of one arm . it looks shiny now , dripping with Suzie 's blood . Kelly goes to him . She looks at the bottle , then throws herself against him - a hard kiss .</scene_description>
<character>SAM</character>
<dialogue>I'm sorry, Kelly. I'm sorry it had to happen like this. She was losing it.</dialogue>
<character>KELLY</character>
<parenthetical>( breathless . )</parenthetical>
<dialogue>There was no way. That cop would've gotten her to tell him. everything. She was weak and dumb.</dialogue>
<scene_description>She kisses him again , her hands moving over his body . Sam takes a step back , looks into Kelly 's face - the parted lips , sultry eyes - as if seeing her for the first time - a long beat - at which point he turns , heaving the champagne bottle as far as he can into the black waves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RANGE ROVER ON THE SAUD - LATER</stage_direction>
<scene_description>Rear hatch open - overhead light on . Sam and Kelly drag Suzie 's body - wrapped in the plastic - to the rear hatch . As they heft her inside , the light catches - SUZIE 'S FACE A mask of blood . Kelly turns away in disgust . She goes to the passenger side door , gets in . Sam gets in behind the wheel . For a moment the two of them just sit there , in the darkness , with the SOUND of the SEA , and their own BREATHING . Sam looks at Kelly . She is focused on the dark Atlantic .</scene_description>
<character>SAM</character>
<dialogue>Are you okay?</dialogue>
<scene_description>Kelly turns to him - an anxious face .</scene_description>
<character>KELLY</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>My mom would kill me if she knew I took the Rover.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EVERGLADES - NIGHT</stage_direction>
<scene_description>Kelly waits by the Rover , swatting mosquitoes . SLOSHING SOUNDS - a shape approaches in the dark - Sam in waders , muddy , tired , carrying a shovel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GALLERIA PARKING LOT - NIGHT</stage_direction>
<scene_description>Almost empty of cars . The Range Rover cruises past Suzie 's VW , circles , comes back . Sam jumps out , pulls on latex gloves , gets into the VW and backs it out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUS TERMINAL (MIAMI) - DAY</stage_direction>
<scene_description>Almost dawn . A long parking lot fronts the terminal . Suzie 's VW arrives , parks , Sam gets out . He goes to the waiting Range Rover , gets in and drives away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT GATE - VAN RYAN ESTATE - DAY</stage_direction>
<scene_description>A THIN STREAM OF MUDDY WATER flows beneath the gate , down the drive , toward the street . A HAND touches the water . PULL BACK to REVEAL the hand as that of Ray Duquette .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN DRIVEWAY - SAME</stage_direction>
<scene_description>Ray kneels , fingers wriggling in the water , then straightens , looking toward the house where . On the other side of the gate , Kelly , in a tube - top and tight shorts , washes mud from the Range Rover . She looks up , sees . Ray , drying his hand on a handkerchief , walking up the drive , arriving at the wrought - iron gates .</scene_description>
<character>RAY</character>
<dialogue>Been four - wheelin'?</dialogue>
<scene_description>Kelly freezes - not so cool this time .</scene_description>
<character>KELLY</character>
<dialogue>Get off my property.</dialogue>
<character>RAY</character>
<dialogue>I'm not on your property!</dialogue>
<scene_description>He grabs the wrought - iron gate - rattles it - harder and harder . Kelly backs away , frightened .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILIN' JACK'S FISH CAMP - DAY</stage_direction>
<scene_description>Gloria and Ray stand in front of the ramshackle wooden building , talking to Ruby . Walter sits nearby , sharpening a knife .</scene_description>
<character>RAY</character>
<dialogue>You say she did n't come back last night.</dialogue>
<character>RUBY</character>
<dialogue>She's been sayin' she was going to go to L.A.. But I do n't know. I mean all her clothes are still here. An' she's missin' her graduation.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>She should graduate. She's a smart girl.</dialogue>
<scene_description>Ray nods . He makes a note in his pad .</scene_description>
<character>RAY</character>
<dialogue>May have been she just partied too much. But we'll look into it. We find something, you'll be the first to know.</dialogue>
<scene_description>Ray turns and walks to the car . Gloria follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - SAME</stage_direction>
<scene_description>Ray sits for a moment behind the wheel .</scene_description>
<character>RAY</character>
<dialogue>It's starting, Gloria. This is how it begins.</dialogue>
<character>GLORIA</character>
<dialogue>Ray. We do n't know anything yet. She could be anywhere.</dialogue>
<scene_description>Ray silences her with a look .</scene_description>
<character>RAY</character>
<dialogue>I'm gon na take you back to the office. Will you put out a call on Suzie's car for me?</dialogue>
<character>GLORIA</character>
<dialogue>You have someplace to be?</dialogue>
<scene_description>Ray starts the car , does n't answer .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>If you want company.</dialogue>
<character>RAY</character>
<dialogue>Just check out the car.</dialogue>
<scene_description>Gloria nods . She looks toward the camp store where the old lady can still be SEEN standing on the porch , beneath the jawbones .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY SCHOOL - DAY</stage_direction>
<scene_description>Caps and gowns - kids and parents on the lawn - taking photos . Kelly poses with Sandra . Tom Baxter aims the camera .</scene_description>
<character>BAXTER</character>
<dialogue>Smile.</dialogue>
<scene_description>Kelly and Sandra force miserable smiles . CLICK .</scene_description>
<character>BAXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's one for the scrapbook.</dialogue>
<scene_description>Baxter moves away , greets Nicole and her parents . Kelly puts some room between her and Sandra .</scene_description>
<character>KELLY</character>
<dialogue>You did n't have to fly back - from - wherever, for me.</dialogue>
<character>SANDRA</character>
<dialogue>I'm here to congratulate my friends and their children. I'm leaving again tonight.</dialogue>
<character>KELLY</character>
<dialogue>Do n't bother. I'm taking a trip.</dialogue>
<character>SANDRA</character>
<dialogue>Where, the mall?</dialogue>
<character>KELLY</character>
<dialogue>A friend of mine bought a boat.</dialogue>
<scene_description>Sandra shakes her head , walks off . Kelly turns away , freezes , as she catches sight of - Ray talking with Jimmy .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - DAY</stage_direction>
<scene_description>Ray and Jimmy walk along the sand , moving in the direction of the big rocks . Jimmy wears sagger shorts , a surfer T - shirt . Ray wears a suit . He carries the coat over his shoulder .</scene_description>
<character>JIMMY</character>
<dialogue>It's those rocks, up there.</dialogue>
<character>RAY</character>
<dialogue>You and Suzie used to come out here together?</dialogue>
<character>JIMMY</character>
<dialogue>Yeah, sometimes. Lots of the kids hang out here.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You really think something bad happened to Suzie?</dialogue>
<character>RAY</character>
<parenthetical>( ignoring the question . )</parenthetical>
<dialogue>Lombardo ever come out here?</dialogue>
<scene_description>Jimmy looks at him , surprised , sees that Ray is serious . Still , the idea generates a laugh .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I say something funny?</dialogue>
<character>JIMMY</character>
<dialogue>No. But I mean. just the idea that Mr. Lombardo would.</dialogue>
<character>RAY</character>
<dialogue>Way I hear it, he was pretty tight with the kids, one of the guys.</dialogue>
<character>JIMMY</character>
<dialogue>Yeah, but.</dialogue>
<scene_description>He breaks off as Ray kneels over a big flat rock . Ray brushes away some sand , drapes the sport coat over his arm , taking tweezers and latex gloves from the pockets . Jimmy moves closer , curious , seeing what Ray sees . CLOSE ON GLOVED HANDS as tweezers pick up two teeth from a crevice in the stone . Ray straightens , holding the teeth in the palm of his hand . Jimmy stares at the teeth . Ray takes a couple of bills from his pocket , hands them to Jimmy .</scene_description>
<character>RAY</character>
<dialogue>I'm going to be staying here, Jimmy. You can catch a bus up there at the lot, okay?</dialogue>
<scene_description>Jimmy looks a little sick , but he takes the money . He starts toward the lot . Ray watches for a moment . Then calls out to him .</scene_description>
<character>RAY</character>
<dialogue>People are n't always what they appear to be, kid. Remember it.</dialogue>
<scene_description>Jimmy looks at him , trying to make sense of what Ray is saying , clearly disturbed by the implications . But he asks no more questions . He turns , trudging alone back through the sand .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN COVE - LATER</stage_direction>
<scene_description>THE TEETH go into a plastic bag . PULL BACK TO REVEAL Black - and - whites , county cars - police tape across the site . Ray , Gloria and Hunter watch as DAVE MERRITT , a forensic expert bags the teeth . He passes the bag to Ray , then bends to the rocks where he begins to take a blood sample .</scene_description>
<character>RAY</character>
<dialogue>Lonbardo and Kelly killed her here.</dialogue>
<scene_description>Hunter and Gloria exchange a look .</scene_description>
<character>GLORIA</character>
<dialogue>Two kids could've gotten into a fight, lost a couple of teeth.</dialogue>
<character>RAY</character>
<dialogue>Those are Suzie Toller's teeth.</dialogue>
<character>GLORIA</character>
<dialogue>Where's the body?</dialogue>
<character>RAY</character>
<dialogue>The swamp, most likely. Lombardo's a swamp rat, knows the body will never be found there. But he's made a mistake.</dialogue>
<scene_description>He holds up the evidence bag containing the teeth .</scene_description>
<character>GLORIA</character>
<dialogue>Her grandmother said she'd been threatening to run away. And I found the car at the Miami bus terminal.</dialogue>
<character>RAY</character>
<dialogue>You do n't think Sam could've put it there?</dialogue>
<character>HUNTER</character>
<dialogue>Dust it for prints. My guess is, if anybody murdered Suzie it was probably that little sociopath Kelly Van Ryan.</dialogue>
<scene_description>Ray shakes his head ; he turns to Dave , still working .</scene_description>
<character>RAY</character>
<dialogue>How soon can we get something?</dialogue>
<character>DAVE</character>
<dialogue>We can get blood type right away. Dental records will take longer. You want DNA, that can take weeks.</dialogue>
<scene_description>Ray nods , looks out to sea .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Poor dumb Suzie, she never had a chance.</dialogue>
<character>GLORIA</character>
<dialogue>We do n't know that, Ray.</dialogue>
<scene_description>Ray turns to her - an intense look .</scene_description>
<character>RAY</character>
<dialogue>Kelly's next, Gloria.</dialogue>
<character>HUNTER</character>
<parenthetical>( ice cold . )</parenthetical>
<dialogue>Get off this Ray, now.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>If there is any evidence here, it's for Homicide.</dialogue>
<parenthetical>( turning to Dave . )</parenthetical>
<dialogue>You get an ID, you call me.</dialogue>
<scene_description>Dave nods . Hunter stalks off toward his car . Ray turns to Gloria .</scene_description>
<character>RAY</character>
<dialogue>Will you do me one favor?</dialogue>
<character>GLORIA</character>
<dialogue>Ray, you heard him.</dialogue>
<character>RAY</character>
<dialogue>What if I'm right, Gloria? What if I'm right and Hunter's wrong?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What do you do if you see a bad thing coming?</dialogue>
<scene_description>Gloria looks toward the highway , trying to decide .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Stick with me on this Gloria. I need you.</dialogue>
<character>GLORIA</character>
<dialogue>And if the teeth are n't Suzie's? You'll give this up?</dialogue>
<character>RAY</character>
<dialogue>If I'm wrong about those teeth - it's a promise.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GLADES MOTEL - SUNSET</stage_direction>
<scene_description>Sam 's Jeep - a `` FOR SALE '' sign in the window - sits in the lot . Across the road - Gloria sits in the white Taurus .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN ESTATE, MAIN GATE - SUNSET</stage_direction>
<scene_description>Ray sits in his truck , picks up his cellular , punches in a number .</scene_description>
<character>DAVE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( speaker . )</parenthetical>
<dialogue>Merritt, Forensics.</dialogue>
<character>RAY</character>
<dialogue>The teeth doin' any talkin'?</dialogue>
<character>DAVE</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Ray. Stop calling. I told you the dental records will take time.</dialogue>
<character>RAY</character>
<dialogue>What about the blood?</dialogue>
<character>DAVE</character>
<parenthetical>( V. 0 . )</parenthetical>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Could be hers. Types match. Could be a lot of other people's too.</dialogue>
<character>RAY</character>
<parenthetical>( cutting him off . )</parenthetical>
<dialogue>Second you get something on those teeth, I want it</dialogue>
<scene_description>Ray hangs up without waiting for a reply . He turns to the Van Ryan house , an orange light slanting across its facade .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GLADES MOTEL - NIGHT</stage_direction>
<scene_description>Gloria waits in her car . She looks toward the motel . Sam 's Jeep is parked before one of the bungalows . There is a light on in the room . We can SEE inside . Gloria sighs , picks up a pair of binoculars and trains them on the room . ANGLE ON ROOM - GLORIA 'S POV Suitcases and boxes are stacked everywhere . Sam , bare - chested , in khaki slacks , moves about the room . CLOSE ON GLORIA watching Sam , as . IN THE ROOM The PHONE has begun to RING . Sam looks at it until it stops , then picks it up and dials a number . Kelly answers .</scene_description>
<character>KELLY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello?</dialogue>
<character>SAM</character>
<dialogue>Hello.</dialogue>
<character>KELLY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God, I've been calling you.</dialogue>
<scene_description>INTERCUT - KELLY/SAM PHONE CONVERSATION Kelly is in the guest house , pacing in front of the gun case .</scene_description>
<character>KELLY</character>
<dialogue>I'm really serious. That cop, he keeps watching me.</dialogue>
<character>SAM</character>
<dialogue>Duquette. Forget him.</dialogue>
<character>KELLY</character>
<dialogue>I ca n't help it. He gives me the creeps. I mean why was Suzie so scared of him? She's not that way. I think he did something.</dialogue>
<character>SAM</character>
<dialogue>Yeah, he got her busted for possession.</dialogue>
<character>KELLY</character>
<dialogue>I do n't know. I think it was something else. Suzie says the bust was bullshit.</dialogue>
<character>SAM</character>
<dialogue>And you believe her?</dialogue>
<character>KELLY</character>
<parenthetical>( a long beat - a sigh . )</parenthetical>
<dialogue>I do n't know.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I want to see you.</dialogue>
<character>SAM</character>
<dialogue>Kelly. Relax. Take one of your mom's valium or something. In another week you get on the plane. It's over. We're rich.</dialogue>
<character>KELLY</character>
<dialogue>But what if they find out. God, they'd put you in the gas chamber.</dialogue>
<scene_description>Sam is about to respond , then looks out the window , sees . ACROSS THE STREET , the white Taurus .</scene_description>
<character>SAM</character>
<dialogue>So if they're tapping your phone, we're dead. Stay in the guest house. Skip the graduation parties. You'll never see Duquette. Okay? I love you.</dialogue>
<character>KELLY</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>Okay. I love you too.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAURUS - SAME - GLORIA</stage_direction>
<scene_description>sees the light go out in Sam 's room , lowers her binoculars , sits for a moment , then begins to write something on a pad . She 's still at it when something KNOCKS at a FENDER . She looks up , startled , to find . Sam in the street , still shirtless , his arms and shoulders back - lit by the neon light of the Glades Motel .</scene_description>
<character>SAM</character>
<dialogue>Is n't that against the law, peeking into windows?</dialogue>
<character>GLORIA</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Suzie Toller is missing.</dialogue>
<scene_description>Sam lets out his breath , shakes his head .</scene_description>
<character>SAM</character>
<dialogue>How long?</dialogue>
<character>GLORIA</character>
<dialogue>She did n't cone home last night. We found her car at the bus terminal, but nothing to suggest she bought a ticket.</dialogue>
<character>SAM</character>
<dialogue>Maybe she used another name.</dialogue>
<character>GLORIA</character>
<dialogue>Ray thinks she was murdered.</dialogue>
<scene_description>Sam shakes his head once more .</scene_description>
<character>SAM</character>
<dialogue>I do n't know what to say.</dialogue>
<character>GLORIA</character>
<dialogue>You could tell me where you were last night.</dialogue>
<scene_description>Sam stares at her .</scene_description>
<character>SAM</character>
<dialogue>Goddannit. I do n't have to.</dialogue>
<scene_description>He stops himself , calms down .</scene_description>
<character>SAM</character>
<dialogue>Come here. I want you to see something.</dialogue>
<scene_description>Gloria hesitates , looks up at Sam , then puts down the phone and opens her door .</scene_description>
</scene>
<scene>
<stage_direction>INT. GLADES MOTEL - SAME</stage_direction>
<scene_description>Sam and Gloria walk among the boxes and suitcases .</scene_description>
<character>GLORIA</character>
<dialogue>Looks like goodbye.</dialogue>
<scene_description>Sam nods . He goes to one of his cardboard filing boxes , pulls out a file , hands it to Gloria . As she takes it , he goes to the closet , takes a shirt from a hanger .</scene_description>
<character>SAM</character>
<dialogue>Kelly's file. Read it. You're going to find an angry, sexually confused girl who's made threats on her mother's life and a female lover she'd never identify.</dialogue>
<character>GLORIA</character>
<dialogue>Suzie?</dialogue>
<scene_description>Sam shrugs .</scene_description>
<character>SAM</character>
<dialogue>You're telling me Ray thinks Suzie was killed. I do n't have to ask you who he thinks did it, do I?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>All I'm saying is, read that, you'll have a new perspective on things.</dialogue>
<scene_description>Gloria sits on the bed , the file in her hand . She watches as Sam pulls on the shirt .</scene_description>
<character>GLORIA</character>
<dialogue>Why did n't you tell us about this before the trial?</dialogue>
<scene_description>Sam holds her eyes .</scene_description>
<character>SAM</character>
<dialogue>Then - I still had ethical standards to protect. They meant a lot to me. Now, I do n't care. And no amount of money can buy that back.</dialogue>
<scene_description>Sam is interrupted by the HONKING of a HORN . He looks outside . ANGLE ON LOT - SAM 'S POV A taxi waits in the glow of the green neon . Sam looks down on Gloria , seated on his bed , her skirt short enough to REVEAL shapely legs . For a moment the two hold one another 's eyes .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>My ride. If you're not planning on arresting me, that is.</dialogue>
</scene>
<scene>
<stage_direction>INT. RAY'S TRUCK - NIGHT - LATER</stage_direction>
<scene_description>The PHONE RINGS . Ray picks it up .</scene_description>
<character>RAY</character>
<dialogue>Ray. What's happening?</dialogue>
<scene_description>INTERCUT - RAY/GLORIA PHONE CONVERSATION She 's still in Sam 's room , the file spread across the bed .</scene_description>
<character>GLORIA</character>
<dialogue>I'm tired, Ray. I'm going home.</dialogue>
<character>RAY</character>
<dialogue>Where's Lombardo?</dialogue>
<character>GLORIA</character>
<dialogue>He's leaving the country. And I do n't give a shit.</dialogue>
<character>RAY</character>
<dialogue>The blood type on the rocks matches Suzie's.</dialogue>
<character>GLORIA</character>
<dialogue>It's Homicide's job now, Ray, let'em do it. I'll tell you something else, there's more to this story than you know, Ray. If Suzie is dead, I think Hunter may be on the right track.</dialogue>
<scene_description>Ray clicks off his phone .</scene_description>
<character>GLORIA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ray?</dialogue>
<parenthetical>( nothing but dial tone . )</parenthetical>
<dialogue>Shit. Ray.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VAN RYAN ESTATE, FRONT GATE - NIGHT</stage_direction>
<scene_description>Ray gets out of his car , presses the intercom .</scene_description>
<character>SANDRA</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( intercom . )</parenthetical>
<dialogue>Who is it?</dialogue>
<character>RAY</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Detective Duquette, Ms. Van Ryan. Let me in. Now.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POOL & JACUZZI - NIGHT</stage_direction>
<scene_description>Ray CROSSES the deck , Sandra at his heels .</scene_description>
<character>RAY</character>
<dialogue>Where is she?</dialogue>
<character>SANDRA</character>
<dialogue>Where she lives. In the guest house. Now will you tell me what this is about?</dialogue>
<character>RAY</character>
<dialogue>I'm placing your daughter under arrest.</dialogue>
<character>SANDRA</character>
<dialogue>You ca n't.</dialogue>
<character>RAY</character>
<parenthetical>( turning , cutting her off . )</parenthetical>
<dialogue>Suzie Toller is dead. You do n't want Kelly to be next, then take my advice. Stay out of my way.</dialogue>
</scene>
<scene>
<stage_direction>INT. GUEST HOUSE - SAME</stage_direction>
<scene_description>A cap and gown lay strewn on the sofa . Kelly wears jeans and a bra . She looks up to see Ray moving across the tile . Her eyes go wide , then move to the gun case .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GUEST HOUSE - SAME</stage_direction>
<scene_description>Sandra stands near the jacuzzi , not exactly sure what to do , watching as . ANGLE ON GUEST HOUSE - SANDRA 'S POV Ray knocks at the French door . It swings open . He steps inside . A long moment , then VOI ? ES , the SOUND of things being knocked about , BREAKING GLASS . Sandra starts toward the house then stops at the SOUND of a single GUNSHOT . A SECOND GUNSHOT follows , then a THIRD . The guest house door opens . Ray stumbles out , his shoulder bloody , a .357 in his hand . VIDEOTAPE - RAY 'S STATEMENT We SEE him from the waist up - a white T - shirt , his shoulder bandaged , his arm in a sling . There are red scratch marks on his face . His eyes look blankly into the camera .</scene_description>
<character>RAY</character>
<dialogue>I fucked up. I lost control of the situation, the one thing they train you for. God, what did I do?</dialogue>
<character>HUNTER</character>
<parenthetical>( 0 .</parenthetical>
<parenthetical>S . )</parenthetical>
<dialogue>Just tell us what happened.</dialogue>
<character>RAY</character>
<dialogue>I told Kelly Van Ryan she was under arrest for conspiracy and murder. I did her rights.</dialogue>
<scene_description>INTERCUT -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARIBBEAN BEACH RESORT - LONG SHOT - DAY</stage_direction>
<scene_description>Perfect crescent of sand . A man in white shorts reclines in a beach chair , beneath a gaily - colored umbrella , sipping a drink . VIDEOTAPE - RAY</scene_description>
<character>RAY</character>
<dialogue>Kelly went crazy, started screaming. I grabbed her, put her on the floor.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEACH RESORT - CLOSER SHOT - DAY</stage_direction>
<scene_description>Sam , in white shorts , looking good , watches a beautiful island girl in a thong bikini frolic in the surf . She seems to sense Sam watching , turns toward the beach . Her eyes meet Sam 's . She breaks into a beautiful smile . VIDEOTAPE - RAY</scene_description>
<character>HUNTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>She bit you?</dialogue>
<character>RAY</character>
<dialogue>Bit, scratched. But I had her pinned. She calmed down. I was going to cuff her. She said she thought she was going to be sick. She asked to use the bathroom.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEACH RESORT - DAY</stage_direction>
<scene_description>Sam and the island girl sit at an outdoor table . The girl wears a short , terry cloth robe , Sam the white shorts and a flowered shirt . They sip drinks . Their eyes meet . Their fingers touch . VIDEOTAPE - RAY</scene_description>
<character>RAY</character>
<dialogue>I told her I was coming with her. She nodded, like she understood. We stood up together.</dialogue>
<character>HUNTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You did n't cuff her?</dialogue>
<character>RAY</character>
<dialogue>She looked shaky, but lucid. I thought, I would just go with her, stand at the door.</dialogue>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>I think I looked away. A split second. Then, bingo. Just like that. She puts a knee into my groin.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>There was this coffee table between us and the wall. She got one foot on that thing and launched herself at the gun case. Thing had a glass door. I could hear it breaking.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I did n't go down, but she slowed me up, just enough. Before I could get to her, she'd turned on me with this small caliber handgun. I yelled at her to put it down. She got off a shot. I took it in the shoulder. I. I had no choice. I returned fire. Two rounds, I think. In the chest.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE ROOM - SAME</stage_direction>
<scene_description>A moment of silence , save for the BUZZING of the MACHINE . A number of plainclothes police , Hunter and Gloria among them , watch the tape .</scene_description>
<character>RAY</character>
<dialogue>I went there to protect her.</dialogue>
<scene_description>He hangs his head , then looks up , his eyes focusing .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The teeth, were they.</dialogue>
<character>HUNTER</character>
<parenthetical>( 0 .</parenthetical>
<parenthetical>S . )</parenthetical>
<dialogue>Suzie Toller's. And that's the only thing saving your sorry ass.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOAT HARBOR (CARIBBEAN ISLAND) - DAY</stage_direction>
<scene_description>Brilliant sun on turquoise water . A few boats anchored in a lagoon . A quiet place . Heading out - a forty - foot sloop , Sam at the helm .</scene_description>
</scene>
<scene>
<stage_direction>INT. HEARING ROOM - DAY</stage_direction>
<scene_description>Gloria , Baxter , a tearful Sandra , sit in seats , watch as - Ray stands before a panel , A SUIT , A CHIEF in uniform , Hunter . Ray wears a suit , his hair neatly trimmed . His arm is no longer in a sling , but one of his hands is still bandaged .</scene_description>
<character>CHIEF</character>
<dialogue>Detective Duquette ; our investigation concludes that this was a good shooting. But that's irrelevant. You were not assigned to this case - whatever you imagined this case to be. And now two young women are dead. You are terminated with forfeiture of pension and benefits.</dialogue>
<scene_description>Ray looks at the floor . Hunter coughs . His hands rest on a file - we SEE the video cassette inside - labeled `` TOLLER/VAN RYAN - CONFIDENTIAL . ''</scene_description>
<character>HUNTER</character>
<dialogue>Suzie Toller's teeth and blood were found near the area known as Stoner Rocks. Suzie's blood was found in the Van Ryan Range Rover. This, in conjunction with evidence obtained by Detectives Duquette and Perez has led this office to the conclusion that Susan Marie Toller was murdered by Kelly Lanier Van Ryan.</dialogue>
<scene_description>Sandra chokes back a sob . She gets to her feet , to be led from the room by Tom Baxter . Gloria Perez watches , a sad look in her eye , then turns to look at Ray . His back is to her - the broad shoulders , expensive suit . His hands are clasped behind his back .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLUE BAY CEMETERY - KELLY'S FUNERAL - DAY</stage_direction>
<scene_description>Gloria stands among a considerable number of mourners . She is just back from Sandra and Tom Baxter , who , in turn , are just back from the open grave . As Gloria watches , Sandra looks off to the side , where something catches her eye . Gloria sees her start , then follows her gaze . ANGLE ON CEMETERY - GLORIA 'S POV On a rise some fifty yards from the Van Ryan plot , two people stand near an old oak - Ruby and Walter . When Gloria looks back at Sandra , it seems to her as if the woman has slumped against Tom Baxter , who now stares at the two people on the rise as if , by doing so with sufficient intensity , he might make them disappear . Gloria turns to the grave site , her eye lingers on the open grave , then moves to the huge marker which dominates the Van Ryan family plot and , in fact , the entire scene . ANGLE CN MARKER The angel Gabriel , trumpet in hand , carved in relief upon a huge obelisk of black marble . Beneath the angel is a carved scroll and upon it the words : `` I AM THE RESURRECTION AND THE LIFE , '' and below that : `` WILLIAM TECUMSEH VAN RYAN . MAY HE REST IN PEACE . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. A BEACH - NIGHT</stage_direction>
<scene_description>Sam Lombardo walks along a moonlit lagoon , headed toward a lone bungalow . The bungalow is simple , picturesque - whitewashed walls , a thatched roof . A patio opens onto the beach .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATIO - SAME</stage_direction>
<scene_description>As Sam steps in off the sand , he sees something and stops short . Wet spots lead toward the bungalow . Sam listens . Everything is quiet .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUNGALOW - SAME</stage_direction>
<scene_description>Sam ENTERS in a room lit only by the blue light of a large aquarium . He listens once more , hears it - RUNNING WATER . He moves down a short hallway , observes the light which spills from beneath a bedroom door . He pushes it open , goes inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - SAME</stage_direction>
<scene_description>He CROSSES the room . The bathroom door is ajar , the room leaking steam .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - SAME</stage_direction>
<scene_description>Sam steps inside , looks at the shower stall - an indistinct shape moves there in the steam . San watches , then jerks open the shower door . The steam clears - REVEALING a tall , athletic body , and now the face - Ray Duquette , grinning at Sam out of the swirling steam .</scene_description>
<character>RAY</character>
<dialogue>Buy you a drink?</dialogue>
<scene_description>San takes a step back .</scene_description>
<character>SAM</character>
<dialogue>Jesus. I was n't expecting you'til tomorrow.</dialogue>
<scene_description>Ray turns off the water , steps out of the stall , wrapping himself in a towel . There 's a fresh , raised scar across one shoulder and Ray winces a little as he tucks the towel about his waist . He looks at himself in the mirror , touching the scar .</scene_description>
<character>RAY</character>
<dialogue>Nice girlfriend you had there.</dialogue>
<scene_description>Sam just looks at him .</scene_description>
<character>SAM</character>
<dialogue>Yeah, well, you fixed that.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What the hell happened, anyway?</dialogue>
<character>RAY</character>
<dialogue>The bitch shot me, is what happened.</dialogue>
<scene_description>Sam shakes his head , walks back into the bedroom . Ray follows .</scene_description>
<character>RAY</character>
<parenthetical>( CCNT 'D . )</parenthetical>
<dialogue>Hey, what did you want me to do, die?</dialogue>
<character>SAM</character>
<dialogue>Well, shit, you're the cop, they do n't teach you to disarm people, shoot them in the leg or something? You were n't supposed to kill her for Christ's sake.</dialogue>
<scene_description>Now Ray just looks at Sam , his eyes narrowing .</scene_description>
<character>RAY</character>
<dialogue>Did you become squeamish about these things before or after you bludgeoned little Suzie Toller to death with a wine bottle?</dialogue>
<parenthetical>( off Sam 's silence . )</parenthetical>
<dialogue>Jesus, man. It could n't have worked out better. They're convinced Kelly whacked Suzie. I ca n't talk'em out of it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>We should be celebrating. This thing worked out just like you said, only better.</dialogue>
<character>SAM</character>
<dialogue>Kelly was supposed to be framed, not killed.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What I'm telling you is, I do n't like surprises.</dialogue>
<scene_description>Ray walks to a dresser where a bottle of champagne sits in a bucket of ice . He opens the bottle , fills two glasses . He hands one of the glasses to Sam .</scene_description>
<character>RAY</character>
<dialogue>Every cloud has a silver lining, partner. Here's to no loose ends.</dialogue>
<scene_description>He raises his glass in a toast . Sam looks at it , then raises his glass as well . Ray smiles . Sam does n't .</scene_description>
<character>SAM</character>
<dialogue>Here's to no more surprises.</dialogue>
<scene_description>Ray shrugs . The two men 's eyes meet . They touch glasses and drink .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMALL BOAT HARBOR (ISLAND) - DAY</stage_direction>
<scene_description>Sam and Ray work on the deck of Sam 's sloop , stowing gear , loading supplies . The boat 's mast shines in the sunlight before a brilliant sky . Palms sway . The men work in silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILIN' JACK'S FISH CAMP - DAY</stage_direction>
<scene_description>Gloria drives up in the white Taurus . She parks before the ramshackle old building and the gator pen . Walter is in the pen . Ruby stands just outside of it . She looks toward the road as Gloria gets out , then back to the pen . Gloria comes down the bank to stand beside Ruby . She 's just in time to see the huge old reptile raise itself , hissing , on its front legs , jaws sprung wide . The women watch as Walter sticks his arm into the gator 's mouth .</scene_description>
<character>RUBY</character>
<dialogue>Gator ca n't see what's in front of it for shit. They see out the sides.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>That one do n't even know Walter's arm's in his mouth.</dialogue>
<character>GLORIA</character>
<dialogue>What if something distracts it and it snaps anyway?</dialogue>
<character>RUBY</character>
<dialogue>Then I guess Walter can kiss that arm of his goodbye.</dialogue>
<parenthetical>( loud enough for Walter to hear . )</parenthetical>
<dialogue>He do n't use it for no good deeds anyway.</dialogue>
<scene_description>Walter looks at the ladies , picks up the stick and sweeps it between the gaping jaws , which snap in its wake .</scene_description>
<character>RUBY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You come all the way out here to watch Walter?</dialogue>
<character>GLORIA</character>
<dialogue>I was wondering if I could ask you a few questions.</dialogue>
<character>RUBY</character>
<dialogue>About Suzie?</dialogue>
<character>GLORIA</character>
<dialogue>Actually, I was wondering if I might ask you about Ray Duquette.</dialogue>
<character>RUBY</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>He used to come around here. He had a thing going with one of the girls over at the Glades.</dialogue>
<scene_description>Ruby nods toward the motel , a bitter smile on her face .</scene_description>
<character>RUBY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Got sort of hung up on her, from what hear.</dialogue>
<character>GLORIA</character>
<dialogue>She still work there?</dialogue>
<character>RUBY</character>
<dialogue>No. Not after that night.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>I do n't know what happened. Maybe he caught her with some john. All I know is, the next morning the girl was gone and there was a dead boy. Indian kid named Davy. Used to live down the road there in a wrecked car. Him and Suzie were at the Glades that night.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It was right after that, Ray got Suzie busted and sent her away. That's what there is to say about Ray Duquette.</dialogue>
<character>GLORIA</character>
<dialogue>Was there ever any kind of investigation.</dialogue>
<scene_description>Ruby cuts her off with a short laugh .</scene_description>
<character>RUBY</character>
<dialogue>Duquette always claimed the kid was dusted, came after him with a knife. But it was Jack's Fish Camp. This could be the moon for all most people care.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Was n't supposed to be like that though. This place was supposed to be something once. There were going to be roads and houses. There was going to be a town. They were going to call it Salt Creek.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OCEAN - DAY</stage_direction>
<scene_description>From the surface of the sea - the emerald island in the distance . The bow of the sloop comes INTO FRAME . On board - Sam stands in the cockpit , at the helm . Ray lounges on the deck . The boat sails easily before the wind .</scene_description>
<character>SAM</character>
<dialogue>Ray. you see that winch by your head? Take a couple of turns on it for me, she's luffing.</dialogue>
<scene_description>Ray cranes his neck to look at the winch .</scene_description>
<character>RAY</character>
<dialogue>You mean this thing?</dialogue>
<character>SAM</character>
<dialogue>Yes, we call it a winch.</dialogue>
<parenthetical>( pointing at pieces of the rigging . )</parenthetical>
<dialogue>And these are shrouds, and these are stays.</dialogue>
<character>RAY</character>
<dialogue>I thought this was supposed to be a vacation. Why did n't you buy a nice big power boat?</dialogue>
<character>SAM</character>
<dialogue>Come on, man. I'll make a sailor out of you yet.</dialogue>
<character>RAY</character>
<dialogue>Yeah, or get me drowned.</dialogue>
<scene_description>Ray kneels . He begins to tighten the winch . Sam watches him for a moment , then reaches around behind his back to unhook the short line which holds the boom . The mainsail catches wind , swinging the boom in a wide arc , directly at Ray . Ray looks up , sees it coming just in time to catch it on his arm . The blow is enough to send him sprawling through the lifelines , where he just manages to grab one of the nylon cords . Sam ducks as the boon continues to swing erratically above the deck , watching as Ray hauls himself on board . The boat no longer driven by the wind , bobs up and down on a small ground swell . The two men face each other .</scene_description>
<character>SAM</character>
<dialogue>Jesus, man. You okay?</dialogue>
<character>RAY</character>
<dialogue>That how you planned it? You take cut Suzie, get me to hang it on Kelly, then dump me in the ocean.</dialogue>
<character>SAM</character>
<dialogue>Come off it, man. It was an accident.</dialogue>
<scene_description>Ray nods , then reaches down , pulls off the winch handle and starts with it toward Sam . Sam looks around . He jerks open a storage compartment . A diver 's weight belt tumbles out . Sam grabs it , swings it over his head in circles , letting the weight pick up momentum , preparing to throw . Ray crouches , still brandishing the winch handle . The boom sweeps the deck . Sam throws the belt . Ray grabs a shroud , dances out of the way , then steadies himself , a mean grin spreading across his face . There 's no tine for Sam to look for anything else . Ray moves quickly across the deck - a menacing sight - tall , well - muscled , the handle gleaming in his hand . Sam pulls himself out of the cockpit . Ray jumps in . But that 's as far as he gets . WHOOSH - A spear pierces Ray 's thigh . He screams , goes down , the handle skittering across the deck . Ray follows it with his eyes , reaching out , then freezing as he sees something else . He draws in his hand as if bitten .</scene_description>
<character>RAY</character>
<dialogue>You. You're.</dialogue>
<scene_description>He scuttles backward , pulling himself onto the deck , clutching at his leg which squirts blood as if an artery has been severed . But his eyes never leave the hatchway leading belowdecks .</scene_description>
<character>RAY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're dead. for godsake.</dialogue>
<scene_description>The boat heels over . The spear in Ray 's thigh bangs against the edge of the cockpit . He grimaces in pain as . Suzie Toller steps up from belowdecks . She 's wearing a bikini and showing a nice tan . She 's carrying Sam 's new spear gun , a fresh spear at the ready .</scene_description>
<character>SUZIE</character>
<dialogue>Rumors of my demise have been greatly exaggerated.</dialogue>
<parenthetical>( to Sam . )</parenthetical>
<dialogue>Nice move. Good thing I was here to save your incompetent ass.</dialogue>
<scene_description>Sam secures the boom . Ray stares at Suzie , his face twisted with some combination of pain , rage and fear .</scene_description>
<character>RAY</character>
<dialogue>You. I should've killed you myself. should never have left it up to him.</dialogue>
<character>SUZIE</character>
<dialogue>Shoulda, coulda, woulda.</dialogue>
<parenthetical>( to Sam . )</parenthetical>
<dialogue>Get him in the water.</dialogue>
<scene_description>San starts for Ray .</scene_description>
<character>RAY</character>
<dialogue>Sam, for Christ's sake.</dialogue>
<scene_description>Sam 's feet slide in the bloody smear . He stops . Ray clings to a safety line .</scene_description>
<character>SAM</character>
<dialogue>I ca n't.</dialogue>
<scene_description>WHOOSH - A second spear penetrates Ray 's shoulder . He loses his grip . The boat heels over , dumping Ray into the water . Suzie puts down her spear gun . She goes to a storage locker , takes out a bait bucket . She steps up on the deck . Ray is floating not far from the boat , the water going red around him . He calls out .</scene_description>
<character>RAY</character>
<dialogue>Sam, for godsake.</dialogue>
<character>SUZIE</character>
<dialogue>Hey, Ray. Guess whose name is on the numbered bank account besides yours and Sam's?</dialogue>
<scene_description>She raises the bucket , heaves bloody chum into the water .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I like these joint survivorship accounts. Something unfortunate happens to one of the signatories, the others do n't have to worry. Are you worrying, Ray?</dialogue>
<scene_description>She heaves more chum - a big red slurp across Ray 's face . Ray gasps , goes under , thrashing around in the red slick .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Men, use'em abuse'em lose'em.</dialogue>
<scene_description>INSERT - SHARKS from underwater , in a frenzy , rip a human body into a bloody cloud .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAILBOAT - LATER</stage_direction>
<scene_description>Suzie cones up from below with a champagne bottle and glasses , already filled .</scene_description>
<character>SUZIE</character>
<dialogue>Feeling better?</dialogue>
<scene_description>Sam gazes out to sea .</scene_description>
<character>SAM</character>
<dialogue>That was about as grim as it gets.</dialogue>
<character>SUZIE</character>
<dialogue>The guy was history when he killed Kelly. You knew that.</dialogue>
<character>SAM</character>
<dialogue>But then you knew what he was like all along. Maybe his killing Kelly was a thing you had counted on.</dialogue>
<character>SUZIE</character>
<dialogue>But then it is better this way, do n't you think? No loose ends.</dialogue>
<scene_description>Sam just looks at her .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What?</dialogue>
<character>SAM</character>
<dialogue>That was the same thing Ray said.</dialogue>
<scene_description>Suzie smiles - showing the big gap where her two front teeth used to be .</scene_description>
<character>SUZIE</character>
<dialogue>Poor Ray.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Come on Sam, we did it. We put the screws to the Van Ryans. We won.</dialogue>
<scene_description>She hands a glass to Sam , takes the other . He puts it to his lips , suddenly hesitates , thinks , sniffs the glass . A moment . Suzie shakes her head .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Talk about paranoid. Now are you gon na teach me to sail this big old boat or not?</dialogue>
<scene_description>Sam downs his drink .</scene_description>
<character>SAM</character>
<dialogue>Okay. Grab that winch there.</dialogue>
<scene_description>Suzie gives him a pouty look .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's wrong?</dialogue>
<character>SUZIE</character>
<dialogue>Fuck the winch. I wan na drive.</dialogue>
<scene_description>Sam sighs .</scene_description>
<character>SAM</character>
<dialogue>Okay. Come here and take the helm. I'll get the winch.</dialogue>
<scene_description>Suzie gives him her best , gap - toothed smile , then comes forward to take the gleaming chrome wheel , as Sam scrambles up on deck , kneeling where Ray had kneeled before him to set the jib . Suzie watches - a long beat , then , slowly reaches behind her , unhooking the line which holds the boom . ANGLE ON BOOM sweeping the deck - coming right at us , blotting out the sky .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILING JACK'S - SUZIE'S ROOM - DAY</stage_direction>
<scene_description>Gloria sits on Suzie 's bed , books spread out around her . Ruby stands beside her .</scene_description>
<character>RUBY</character>
<dialogue>You asked if Suzie knew about the Salt Creek land deal? Girl read every book she could find on it, the Van Ryans too.</dialogue>
<scene_description>Ruby takes a photo album from among the books , opens it , tosses a photograph on the bed . It is one we have seen before . ANGLE ON PHOTO A stately old gentleman in a three - piece suit . White hair , a white handlebar mustache . A derby on his knee , a walking stick at his side . He stares out at the world from a high - backed wicker chair , flanked by potted palms and two small terriers . Across the bottom of the picture is the name - `` WILLIAM TECUMSEH VAN RYAN . '' And beside that , in another hand - `` Dear old Dad . ''</scene_description>
<character>RUBY</character>
<dialogue>Was n't enough Van Ryan had to destroy the people who invested here. He got to be old, he and his rich cronies would come down here, hunt and whore, act like assholes. One trip he showed up with this young girl he'd picked up somewhere, gotten her pregnant then dumped her in the swamp.</dialogue>
<parenthetical>( indicating the photo . )</parenthetical>
<dialogue>That came with her.</dialogue>
<character>GLORIA</character>
<dialogue>And the child.</dialogue>
<character>RUBY</character>
<dialogue>She had it, before she drank herself to death. Was n't exactly a love child.</dialogue>
<character>GLORIA</character>
<dialogue>Suzie.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Then you're not her grandmother.</dialogue>
<character>RUBY</character>
<dialogue>Raised her like she was, but no, Walter's my only child.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He was a good boy, till the army took him.</dialogue>
<scene_description>Gloria looks once more at the old photograph .</scene_description>
<character>GLORIA</character>
<dialogue>So Suzie and Sandra Van Ryan were half - sisters.</dialogue>
<character>RUBY</character>
<dialogue>And the other girl, Kelly. Suzie's niece.</dialogue>
<scene_description>Gloria stands , a little weary . Ruby walks her from the room .</scene_description>
<character>GLORIA</character>
<dialogue>Thank you for talking to me, Ruby. I am sorry about Suzie, she.</dialogue>
<scene_description>They have gotten to the main room and Gloria stops short , noticing for the first time that the beat - up old black - and - white TV has been replaced by a high - tech , giant - screen television .</scene_description>
<character>RUBY</character>
<dialogue>You okay?</dialogue>
<character>GLORIA</character>
<dialogue>I'm fine. Nice TV.</dialogue>
<scene_description>The old lady nods , walks her outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILIN' JACK'S FISH CAMP - DAY</stage_direction>
<scene_description>The dusty road , the little dock , the gator pen .</scene_description>
<character>RUBY</character>
<dialogue>There's an old saying from the Everglades - virtue may be missed but sin ca n't hide.</dialogue>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Folks pay in the end.</dialogue>
<scene_description>Gloria nods . She is distracted by a movement in the gator pen . CLOSE ON PEN For a moment there is nothing more than a few ripples across the surface of the pond which lies inside the pen , then , slowly , the GATOR 'S EYES - cold , reptilian , unblinking , rising up to gaze across the oily waters . BLACK . CREDITS . for about ten seconds , enough to fool the audience , then . INTERCUT - LIKE OUTTAKES . PIECES OF SCENES WE COULD N'T SEE , or SCENES WE DID N'T SEE AT ALL , in reverse chronological order .</scene_description>
</scene>
<scene>
<stage_direction>INT. GUEST HOUSE - NIGHT</stage_direction>
<scene_description>Kelly is frantically trying to unlock the gun case as Ray comes through the French doors . She ca n't get it done . He 's there in an instant . She screams , backs away , then watches as Ray stops , wraps a hanky around his hand and breaks the glass . He takes out a small caliber handgun , checks the clip , aims the gun at his own shoulder and fires . BLACK - MORE CREDITS - then</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERGLADES - DAY</stage_direction>
<scene_description>A Jeep and a truck parked in the mud . Sam and Ray meet under heavy , moss - draped cypress . Sam hands Ray a plastic bag - the teeth .</scene_description>
<character>SAM</character>
<dialogue>You know the place I'm talking about - the big rocks?</dialogue>
<scene_description>BLACK - MORE CREDITS - then</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - NIGHT</stage_direction>
<scene_description>SAM & SUZIE behind the big rocks . He 's got vise - grip pliers jammed in her mouth . Suzie moans , for real . He loosens his grip .</scene_description>
<character>SUZIE</character>
<dialogue>You've got the pressure too tight. You'll crush the fucking evidence.</dialogue>
<scene_description>Sam takes a breath , prepares to try again . Suzie pops a couple of pills with gulps of wine . Sam goes to it once more . BLACK - MORE CREDITS - then</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S HOUSE - DAY</stage_direction>
<scene_description>Kelly and Sam on the floor , naked . He 's on her from the rear . It 's getting wild . He suddenly stops , rolls to the floor .</scene_description>
<character>SAM</character>
<dialogue>We got ta stop. I'm gon na come.</dialogue>
<scene_description>Kelly laughs , straddles him .</scene_description>
<character>KELLY</character>
<dialogue>That never seemed to worry you at the Glades.</dialogue>
<character>SAM</character>
<dialogue>That's not your line.</dialogue>
<character>KELLY</character>
<dialogue>Say you love me.</dialogue>
<character>SAM</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>I love you. Now give me the line.</dialogue>
<character>KELLY</character>
<parenthetical>( a whiny voice . )</parenthetical>
<dialogue>No little girl can ever make me come.</dialogue>
<scene_description>BLACK - MORE CREDITS - then</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GLADES MOTEL - NIGHT</stage_direction>
<scene_description>Suzie 's VW is parked across the street , in the shadows of tall trees . She and Sam sit inside , watching as . Ray Duquette EXITS a bungalow , a sport coat over his arm . He heads for Jim 's Recovery Room . In another moment , a young hooker in a leather miniskirt walks out of the same bungalow .</scene_description>
<character>SUZIE</character>
<dialogue>Seems to like some of the same places you do. Funny you never met.</dialogue>
<character>SAM</character>
<dialogue>Yeah, real funny. You're wrong about this, I could get busted on the spot.</dialogue>
<character>SUZIE</character>
<dialogue>Trust me, the guy's dirty. He'll like it. Especially the part about offing me.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Now get out of here. Go make yourself a new friend.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S RECOVERY ROOM - NIGHT</stage_direction>
<scene_description>Ray is at the bar . Sam sits down next to him . A moment of silence , the twang of a country JUKE BOX - then .</scene_description>
<character>SAM</character>
<dialogue>Buy you a drink?</dialogue>
<scene_description>BLACK - MORE CREDITS - then ZNT . SAM 'S OFFICE - BLUE BAY SCHOOL Suzie Toller framed in the doorway . She walks in .</scene_description>
<character>SUZIE</character>
<dialogue>You like bein' a caddy for rich kids' problems?</dialogue>
<scene_description>Sam just looks at her .</scene_description>
<character>SUZIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I've seen you out there in your old air boat, thinking about what might have been, old man Van Ryan had n't fucked you out of it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What if I told you I had a way we could get a big piece of it back?</dialogue>
<character>SAM</character>
<dialogue>We?</dialogue>
<character>SUZIE</character>
<dialogue>Well, I'd need the famous Lombardo charm, not that you'd have to do anything you have n't done already.</dialogue>
<scene_description>She takes an envelope from her notebook , tosses it in front of Sam . Pictures slide onto his desk - Sam and Kelly - in various poses of coked - out debauchery at the Glades Motel .</scene_description>
<character>SAM</character>
<parenthetical>( white - faced . )</parenthetical>
<dialogue>How.</dialogue>
<character>SUZIE</character>
<dialogue>Walter. He's been aimin' that Brownie through knotholes for years. I saw these, I knew he'd finally struck gold.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I ca n't decide which came out better, that little straw Kelly's got up her nose, or that vibrator you've got up her ass. What do you think, Mr. Lombardo?</dialogue>
<character>SAM</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>I think there's some things you do, you do n't want to see yourself doing them.</dialogue>
<scene_description>BLACK - MORE CREDITS - then</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S RECOVERY ROOM - DAY</stage_direction>
<scene_description>Sam lounges in a booth . He looks hot , bored . He stirs a drink . Kelly walks in out of the light . She is looking a little strung out , a big straw bag slung over one shoulder , but oh , so sexy in skimpy cutoffs and cowboy boots - long legs flashing as she nears Sam 's booth . Sam looks up , as .</scene_description>
<character>KELLY</character>
<dialogue>I'm running away.</dialogue>
<character>SAM</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>You think that's wise?</dialogue>
<character>KELLY</character>
<parenthetical>( sitting next to him . )</parenthetical>
<dialogue>Um - huh. And guess what else?</dialogue>
<parenthetical>( reaching into her bag . )</parenthetical>
<dialogue>I have toys.</dialogue>
<scene_description>She takes out a snail bag of white powder , taps out a line on the table top . Sam looks at it . He looks at Kelly . He 's had a few drinks .</scene_description>
<character>SAM</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>Well, Z guess one taste would n't hurt.</dialogue>
<scene_description>END CREDITS . The seal comes up . It 's over . They head for the lobby - but -</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMILIN' JACK'S FISH CAMP - LATE AFTERNOON</stage_direction>
<scene_description>Gloria stands beneath the jawbones , looking toward the channel as the shadows lengthen across the dirt road . ANGLE ON CHANNEL Walter hangs a `` FOR SALE '' sign on a small , shabby sloop . Gloria CROSSES the road .</scene_description>
<character>GLORIA</character>
<dialogue>Selling your boat?</dialogue>
<scene_description>Walter shoots her a look .</scene_description>
<character>WALTER</character>
<dialogue>This was Suzie's boat. Guess she wo n't be needin' it.</dialogue>
<character>GLORIA</character>
<dialogue>I would n't have guessed Suzie was a sailor.</dialogue>
<scene_description>Walter finishes with the sign .</scene_description>
<character>WALTER</character>
<dialogue>Old lady had her tested once. They said her IQ was way up there, round two hundred or some such shit.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>That girl could do just about anything, she put her mind to it.</dialogue>
<scene_description>Gloria has nothing to say . She stares at the little sloop bobbing in the muddy water of the swamp .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CARIBBEAN - WIDE ANGLE - SEA LEVEL - DAY</stage_direction>
<scene_description>A head bobs among the groundswells . CLOSE - SAM LOMBARDO sucking wind through a smashed face , struggling to stay afloat , as . in the distance , the sloop races toward a far horizon . ANGLE ON SLOOP - HELICOPTER SHOT Suzie , at the helm , looking good , face to the wind . END -LRB- really -RRB-</scene_description>
</scene>
</script> | Carson Wheetly is the wealthy and spoiled 20-year-old son of millionaire NASCAR car racer Ted Wheetly. Carson hates his father who he thinks might have murdered his mother one year earlier in order to inherit her money. Carson finds himself tangled up in a game of seduction, greed and murder after a raunchy night (a foursome) with three beautiful women: his girlfriend Rachel Thomas, her school friend Brandi Cox and a local woman named Linda Dobson during a party. Then the three women bring rape charges against Carson who is arrested. Linda drops the rape charges against Carson after being offered a large cash settlement and leaves town. Rachel also drops the rape charges, but Brandi continues to insist that Carson forced himself upon her. A few days later, Ted dies during a race and the police get involved when Detective Frank Walker investigates Ted's death which happened under questionable circumstances. Ted's lawyer, George Stuben, suddenly announces during the reading of the will that Carson cannot inherit Ted's money and estate until he turns 30 or marries. Carson quickly gets married to Rachel, and inherits. Carson and Rachel decide to kill Brandi rather than give her a share of the money after she finally drops the rape charges against Carson so that they keep all the money for themselves. However, Rachel, along with Brandi, are also plotting to kill Carson so that Rachel can inherit as a grieving widow and split the money between them. One evening, Rachel and Brandi lure Carson to a cheap motel in the Everglades with the intention of sex, and after a struggle, Brandi does murder Carson by shooting him in the head and leaves a forged suicide note implying the Carson killed himself. Rachel then inherits Carson's money, but rather than split the money, Rachel plots to murder Brandi to keep all the money for herself. Brandi, anticipating that Rachel might do just that, plots a scheme of her own to kill Rachel. Brandi lures Rachel to an old cabin in the nearby swamps with the intention of sex. Rachel and Brandi, both try to kill each other, and though Brandi gets the upper hand, they get discovered. They are both arrested and are separately interrogated by Detective Walker, who reveals that he knows that both grew up together and plotted to find a man to marry and then murder so they can inherent a fortune. Brandi incriminates Rachel by revealing hidden video DVDs that show that both Carson and Rachel tampered with Ted Wheetley's car on order to cause his death, as well as Rachel's blood-stained blouse from the motel, which suggests that Rachel murdered Carson all by herself. Rachel is arrested and sent to prison while Brandi gets away scot-free. After closing the case, Detective Walker retires and joins Brandi on a motor launch boat, revealing himself to be a corrupt cop who helped Brandi incriminate Rachel for Carson's murder so he could get a share of the Wheetly money. However at sea, Brandi double-crosses Walker by stabbing him to death and throwing his body overboard. She then flees to the Caribbean to claim all of the money for herself. A series of scenes over the end credits reveal the truth behind the crime. It turns out that Ted Wheetly's shy, nebbish lawyer, George, was in fact the mastermind behind the whole scheme. George is actually a career con artist who, for many years, impersonated a lawyer who plotted to steal all of the Wheetly family's money, totaling $155 million. George first approached Brandi (who held a grudge against the Wheetly family) to help him, and Brandi then approached Rachel. Rachel and Brandi then manipulated Carson into believing that Ted murdered his mother so they could get his assistance. Brandi then pretended to bring rape charges against Carson during a party in order to blackmail him into marrying Rachel, and to get a share of Ted's money. George worked behind the scenes throughout the film by changing the nature of Ted's will, as well as by planting evidence for Detective Walker to find. Brandi was the one who learned that Walker was corrupt and could by swayed by the offer of money. After killing Walker, Brandi meets with George at a Caribbean island. George empties all of his shell accounts to bring the money into his personal Cayman Islands account. George then gives Brandi a suitcase supposedly full of cash as her share of the Wheetlys money. But when Brandi climbs aboard a motorboat to pilot away and opens the suitcase, the contents of the case are revealed to be a bomb which explodes, killing Brandi. It is also implied that George had Rachel murdered in prison and set it up to look like a suicide. George walks away with all of the $155 million for himself. In the very final shot, George is joined by yet another co-conspirator; Linda Dobson, who happens to be his wife. |
Da 5 Bloods_2020 | tt9777644 | <script>
<scene>
<character>DA 5 BLOODS</character>
<dialogue>Written By</dialogue>
<scene_description>Kevin Willmott & Spike Lee Revisions By Matt Billingsly Written By Danny Bilson & Paul DeMeo 7TH REVISION - SALMON March 11th, In Da Year Of Our Lawd Two Thousand And Nineteen 40 Acres And A Mule Filmworks Da Peoples Republic Of Brooklyn Dear Beloved, The Soul, The Spirit And Conscious Of This Script DA 5 BLOODS Is Our Brother MARVIN GAYE'S OPUS - WHAT'S GOING ON. All Of The Songs On This G.O.A.T Album Will Be Interwoven Into The Fabric Of This Joint. As Marvin Said "In 1969 Or 1970, I Began To Reevaluate My Whole Concept Of What I Wanted My Music To Say. I Was Very Affected By Letters My Brother (Frankie - Who Did 3 Tours In Vietnam) Was Sending Me From Vietnam, As Well As The Social Situation Here At Home. I Realized That I Had To Put My Own Fantasies Behind Me If I Wanted To Write Songs That Would Reach The Souls Of People. I Wanted Them To Take A Look At What Was Happening In The World". WHAT'S GOING ON Would Most Def Be The Vinyl That Was Spinning In The Homes Of Our BLACK VIETNAM VETS Like PAUL, OTIS, MELVIN, EDDIE And NORMAN, When DA 5 BLOODS Returned From The War To The War At Home. Peace And Love. Onward And Upward, Kevin Willmott and Spike Lee. 1 - WHAT'S GOING ON 2 - WHAT'S HAPPENING BROTHER 3 - FLYIN' HIGH (IN THE FRIENDLY SKY) 4 - SAVE THE CHILDREN 5 - GOD IS LOVE 6 - MERCY MERCY ME (THE ECOLOGY) 7 - RIGHT ON 8 - WHOLY HOLY 9 - INNER CITY BLUES (MAKE ME WANNA HOLLER) Under A BLACK SCREEN The Hip Sound Of The Legendary 1971 Classic Song, Marvin Gaye's "INNER CITY BLUES." Credits Begin. FADE IN: OVERTURE OPERATIC MONTAGE I Take A Lot Of Pride And Care With The Opening Credits Sequences Of My Joints Over The Last 4 Decades. I See It As An Opportunity To Get The Audiences Mindset In Tune With The Story That Will Follow. It Is Much More To Me Than Just Putting Credits On The Screen. Who's In It? Who Did This? Who Did That? This Joint DA 5 BLOODS Will Open In That Same Spirit Of MO' BETTER BLUES, DO THE RIGHT THING, MALCOLM X, 25TH HOUR And Now BLACKKKLANSMAN. It Will Be A Collage Of Images Of All Things That Make Up This Crazy, Insane, Upside Down, Topsy Turvy Unjust World We All Live In Today. As MARVIN GAYE Sang On SAVE THE CHILDREN CU - WHAT'S GOING ON - ALBUM COVER</scene_description>
<character>MARVIN GAYE</character>
<dialogue>I Just Wanna Ask A Question Who Really Cares? To Save A World In Despair Who Really Cares?</dialogue>
<scene_description>When This Opening Credit Sequence Has Concluded The Audiences' Mind Will Be Right, Onboard, Strapped In TIGHT For This RIDE To Follow. TRUST. TITLE: DA 5 BLOODS</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI - HO CHI MINH CITY - VIETNAM - DAY</stage_direction>
<scene_description>OTIS, A youthful 69, The Rock Solid, Medic of The Squad, he kept them all alive. A Family Man who recently lost his Wife to Breast Cancer. He's now alone and lonely. In the back seat with him is PAUL, 69, Stormin' Norman's Main Man, now full of Blue Collar resentment. He has a paranoid intensity and a Hair Trigger Temper that's only grown worse with age.</scene_description>
<character>OTIS</character>
<dialogue>Twenty hours in the air. My Black Ass is officially kicked.</dialogue>
<scene_description>Otis rotates his stiff neck and arches his sore back. He pops a Pill chasing it with bottled water.</scene_description>
<character>PAUL</character>
<dialogue>Can't believe we back in Dis Bitch, Saigon.</dialogue>
<character>OTIS</character>
<dialogue>No Saigon. Ho Chi Minh City, Baby.</dialogue>
<scene_description>Paul and Otis looking out at how the City has changed. Skyscrapers, Office buildings. A New Modern Beautiful City!</scene_description>
<character>PAUL</character>
<dialogue>Damn Hands sweatin'. Ain't felt dis way since the last time I was "In Country."</dialogue>
<character>OTIS</character>
<dialogue>Hey, you the one suddenly got all Gung Ho about returning. You knew I always had my reasons to come back.</dialogue>
<character>PAUL</character>
<dialogue>Yeah, times running out. We ain't getting no younger. I Dream about dis damn place every night. Maybe this'll put my PTSD Shit in check.</dialogue>
<character>OTIS</character>
<dialogue>Tell me 'bout it.</dialogue>
<character>PAUL</character>
<dialogue>Y'know, Man, my memories grow old wit' me.</dialogue>
<character>OTIS</character>
<dialogue>What do you mean?</dialogue>
<character>PAUL</character>
<dialogue>Da incidents never change, but I do. I age within da memory.</dialogue>
<scene_description>Otis listens. You can see he is realizing it too.</scene_description>
<character>OTIS</character>
<dialogue>Yeah, weird, like the memory changes with you. Like an update.</dialogue>
<character>PAUL</character>
<dialogue>Shit always stays current. I can't get this Country out my head, now here I am, back in dis God forsaken place of my own Free Will.</dialogue>
<character>OTIS</character>
<dialogue>I recall back in 68' somebody tellin' me he volunteered to serve his "Country, Tis Of Thee."</dialogue>
<scene_description>Paul has to grin.</scene_description>
<character>PAUL</character>
<dialogue>See you remember dat Shit.</dialogue>
<character>OTIS</character>
<dialogue>Oh Yeah, that's when we knew like Richard Pryor said... Dat Niggas crazy.</dialogue>
<character>PAUL</character>
<dialogue>You got to understand back then, I was Young, Cock Strong, Dumb as a Rock. There's a reason dey don't send Old Men to Fight in The War.</dialogue>
<character>OTIS</character>
<dialogue>We wouldn't go.</dialogue>
<character>PAUL</character>
<dialogue>You damn right. We know Death is Real. When you Young, you think you Ain't Never Gonna' Die.</dialogue>
<scene_description>Paul hands Otis something. We don't see it. Otis looks at it, then he looks at Paul, who remains silent. Otis slips the envelope in his jacket looking out at the passing City.</scene_description>
<character>OTIS</character>
<dialogue>Yeah, War is hell. I just keep tellin' myself. We're doin' it for Norman.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL MAJESTIC - HO CHI MINH CITY - VIETNAM - DAY</stage_direction>
<scene_description>EDDIE, also 69, was one of the few Black Battle Photographers. He's dressed in affluent Southwest style, owner of a string of Car Dealerships, who has gone through numerous Wives and Gallons of Courvoisier. He gives Paul a Big Bear Hug longing for a Bloods Reunion for years. Eddie does however have one pronounced FLAW, He is Pigeon Toed - A LOT. Da Bloods DAP each other up.</scene_description>
<character>EDDIE</character>
<dialogue>Gawwwdamn!</dialogue>
<character>MELVIN</character>
<dialogue>Damn, Eddie. You still Pigeon Toed. Couldn't get that fixed?</dialogue>
<character>EDDIE</character>
<dialogue>Decided not to. Why Bother? Da Ladies Love It. And also did y'know Jackie Robinson, John Elway, Agassi, Messi, Neymar, Mookie and Michael Jordan are Pigeon Toed too?</dialogue>
<scene_description>MELVIN, 65, so desperate to enlist he lied about his age, then learned War Kills and developed a "Live For Today" selfish attitude that made him among things a Pussy Hound. He dresses and acts way too Hip for his age. He nears Otis breaking into a elaborate "Dap" handshake from Back In Da Day. They all laugh! Melvin holds his hand up to give Paul some "Dap."</scene_description>
<character>PAUL</character>
<dialogue>I can't remember none of dat Foolishness.</dialogue>
<scene_description>They hug. It's an Explosive Reunion as Otis and Paul greet Melvin and Eddie after so many years.</scene_description>
<character>EDDIE</character>
<dialogue>Man, it's good to see ya'll!!!</dialogue>
<character>OTIS</character>
<dialogue>Can you believe dis Shit?</dialogue>
<character>MELVIN</character>
<dialogue>I'm tellin' ya! It's a Stone Cold Trip US bein' back in Country. MAN!!!</dialogue>
<character>OTIS</character>
<dialogue>Yeah, we stepped off dat Plane and that Heat slapped us right upside da head just like back in '68.</dialogue>
<character>EDDIE</character>
<dialogue>Brother Man, We are back!!!</dialogue>
<character>MELVIN</character>
<dialogue>Da Bloods iz back!!!</dialogue>
<character>PAUL</character>
<dialogue>Da Five Bloods don't die, We just Multiply!</dialogue>
<scene_description>Melvin does a SLAP shake with Otis. Otis corrects.</scene_description>
<character>OTIS</character>
<dialogue>Soon to be Five...</dialogue>
<scene_description>A joyous moment of silence.</scene_description>
<character>MELVIN</character>
<dialogue>...Amen.</dialogue>
<scene_description>ANGLE - CHECK IN DESK Eddie SNAPS photos of the Bloods with his Nikon Camera. It's the same one he had during his Stint in Nam.</scene_description>
<character>OTIS</character>
<dialogue>See you still at it.</dialogue>
<scene_description>Eddie nears the Hotel Counter.</scene_description>
<character>OTIS</character>
<dialogue>What happened to all those pictures you took Back in the Day?</dialogue>
<character>EDDIE</character>
<dialogue>Had some Exhibits. Officially they were the U.S. Army's not mine.</dialogue>
<scene_description>Eddie hands Otis a B/W Photo. Otis is immediately moved.</scene_description>
<character>OTIS</character>
<dialogue>Check this out.</dialogue>
<scene_description>Melvin and Paul gather around seeing... A PHOTO of STORMIN' NORMAN in his Hooch. On his Wicker Chair Throne, M-16 in one hand like a Black Panther Huey P. Newton.</scene_description>
<character>MELVIN</character>
<dialogue>DAMN! Brother Man in all his Glory.</dialogue>
<scene_description>Paul stares at it longer than the others. Eddie SLAPS his American Express Black Card down speaking to The Hotel Clerk KMUE.</scene_description>
<character>EDDIE</character>
<dialogue>Sir, make sure all Four of The Rooms are on My Card.</dialogue>
<character>PAUL</character>
<dialogue>No Thank You. I'm good.</dialogue>
<character>EDDIE</character>
<dialogue>On me. Remember?</dialogue>
<character>PAUL</character>
<dialogue>No, I got mines.</dialogue>
<character>EDDIE</character>
<dialogue>What? Come on, we agreed...</dialogue>
<character>OTIS</character>
<dialogue>...We talked about this.</dialogue>
<character>PAUL</character>
<dialogue>I'm not your Welfare Charity Case.</dialogue>
<character>EDDIE</character>
<dialogue>Nobody said that.</dialogue>
<character>PAUL</character>
<dialogue>We all know yo' Black Ass Da biggest Car Dealership in Da Fuckin' World. Keep your money.</dialogue>
<character>EDDIE</character>
<dialogue>I see your Head is still Hard as Hell.</dialogue>
<character>PAUL</character>
<dialogue>Like My Swanson Johnson.</dialogue>
<character>EDDIE</character>
<dialogue>You haven't changed one bit.</dialogue>
</scene>
<scene>
<stage_direction>INT. APOCALYPSE NOW CLUB - NIGHT</stage_direction>
<scene_description>A large picture of Marlon Brando from The Film Poster of Apocalypse Now. It is all Surreal. A mix of Locals and Tourists on the Dance Floor. Marvin Gaye's GOT TO GIVE IT UP Blasts from The Speakers. The Bloods stand there looking at it all like Brothers From Another Planet. The Disco lighting bouncing off their faces. DA BLOODS start to Dance to The Patio.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATIO - APOCALYPSE NOW CLUB - NIGHT</stage_direction>
<scene_description>The crowded Dining area is lit by hanging Paper Lanterns. The Thumping Bass bleeding out from The Club. The 4 Comrades in arms sit around a table drinking and catching up.</scene_description>
<character>MELVIN</character>
<dialogue>Y'know I got an eight year old Son.</dialogue>
<scene_description>Shows them a Photo of Cissy and his Son, Melvin Jr. on his phone.</scene_description>
<character>MELVIN</character>
<dialogue>I got Thug-Ass Hardheads moving in my Hood. Cissy wants to move.</dialogue>
<character>PAUL</character>
<dialogue>You got a Piece for protection?</dialogue>
<character>MELVIN</character>
<dialogue>Oh I do. Gotta Side Piece.</dialogue>
<scene_description>Melvin shows the Boys a photo of his Side Thing on his phone. A healthy YOUNG Black Woman in a Sexy Provocative Pose.</scene_description>
<character>OTIS</character>
<dialogue>Damn!</dialogue>
<character>EDDIE</character>
<dialogue>Being The Pussy Hound Yo Ass is now, it's hard to believe you was a damn Virgin when you came to Nam.</dialogue>
<scene_description>Melvin checks out a couple of Very Pretty Vietnamese Women walking into The Club. They eye him back.</scene_description>
<character>MELVIN</character>
<dialogue>Yeah, lost my innocence here. But I gained my skills. HA! What are we doin' out here? Action's back inside!!!</dialogue>
<character>EDDIE</character>
<dialogue>We couldn't hear each other talk!!!</dialogue>
<character>MELVIN</character>
<dialogue>Talk? We can talk later!!!</dialogue>
<character>OTIS</character>
<dialogue>We're meeting our Guide out here.</dialogue>
<character>PAUL</character>
<dialogue>We wasn't nuthin' but Babies back then. And Melvin You still one!!!</dialogue>
<character>MELVIN</character>
<dialogue>Fuck you, I ain't never gettin' old. Not like ya'll. Hell No. I'm a Live in The Club until My Pete's Null and Void, then I hope they manufacture some Atomic Viagra to resuscitate my Wood, make it BUKKO GOOD!!!</dialogue>
<scene_description>Even Paul has to laugh. ANGLE - PATIO A Very Small Vietnamese Boy, HUY Age 10 hobbles to Da Bloods on a makeshift crutch. His whole right leg is missing. Huy goes directly to Paul holding a tin Cup in front of his Face.</scene_description>
<character>HUY</character>
<dialogue>Tien xin ngài (Money Please Sir).</dialogue>
<character>PAUL</character>
<dialogue>Kid, Get outta here.</dialogue>
<character>HUY</character>
<dialogue>Tien xin ngài. (Money Please Sir).</dialogue>
<character>PAUL</character>
<dialogue>Dey got no age limit in a Bar here in Nam?</dialogue>
<scene_description>Huy moves closer to Paul.</scene_description>
<character>HUY</character>
<dialogue>Tien xin ngài. (Money Please Sir). USA!!! USA!!!</dialogue>
<scene_description>Paul Screams at Huy.</scene_description>
<character>PAUL</character>
<dialogue>I said Get Outta here, KID. GO AWAY. FUCKOUTTAHERE!!!</dialogue>
<scene_description>Huy starts to cry.</scene_description>
<character>OTIS</character>
<dialogue>Hey. Leave him alone.</dialogue>
<scene_description>Otis collects Dollar Bills from Da Bloods stopping at Paul. CLOSE - 2 SHOT OTIS and PAUL</scene_description>
<character>OTIS</character>
<dialogue>C'mon Bro. Give it up.</dialogue>
<scene_description>Paul digs into his pants and reluctantly pulls out a 20. Which Otis grabs and gives to The Kid. Paul watches Huy hobble away, still crying.</scene_description>
<character>PAUL</character>
<dialogue>Eddie what you gonna' do with your share? Buy another Yacht?</dialogue>
<character>EDDIE</character>
<dialogue>It's a Sailboat.</dialogue>
<character>PAUL</character>
<dialogue>Maybe you ought to get one of those Private Jets.</dialogue>
<character>EDDIE</character>
<dialogue>I came here to find Stormin' Norman. I don't really care about The Money.</dialogue>
<character>PAUL</character>
<dialogue>Nigga Pleeeeze.</dialogue>
<character>EDDIE</character>
<dialogue>Oh yeah, right, you're the only one loved Stormin' Norman.</dialogue>
<character>PAUL</character>
<dialogue>No but your Shit is suspect cuz' you're one of dem High Fa'lootin' Kapernick, Obama Nigga's always complain' and takin' a Knee, I Can't Breathe, shoutin' Black Lives this and White Supremacy that. Time for your Type to take some damn responsibility.</dialogue>
<character>EDDIE</character>
<dialogue>Thank you Agent Orange. Pun Intended!!!</dialogue>
<character>PAUL</character>
<dialogue>When we got back to the World all we got was a hard damn time. I bought into dat Obama Bullshit, how did your Life change? Yeah, Right! Well, time to get the Free Loadin' Immigrants off our backs. Niggas better Wake Da Fuck Up wit Da Quickness.</dialogue>
<character>OTIS</character>
<dialogue>You voted for President Fake Bone Spurs?</dialogue>
<character>PAUL</character>
<dialogue>Yeah, I voted for him.</dialogue>
<character>MELVIN</character>
<dialogue>Get da' Fuck outta here!</dialogue>
<character>EDDIE</character>
<dialogue>You gotta' be kiddin'. Ain't dat a Bitch.</dialogue>
<character>OTIS</character>
<dialogue>I thought that was You, that Grinnin' Ass Negro they always put in the front behind Trump at those Rallies.</dialogue>
<character>PAUL</character>
<dialogue>Fuck you, Otis. You think you so goddamn smart.</dialogue>
<character>OTIS</character>
<dialogue>You watch that Fox News Bullshit?</dialogue>
<character>PAUL</character>
<dialogue>And you must watch that CNN, MS... Miss Da Damn Point. Fake news.</dialogue>
<scene_description>Eddie and Melvin can't believe he is into this.</scene_description>
<character>PAUL</character>
<dialogue>I'm tired of not gettin' mine. I been Fucked my whole Goddamn Life. Otis, I'm plan on doin' for me. Before it's too late.</dialogue>
<scene_description>Eddie stands with his drink.</scene_description>
<character>EDDIE</character>
<dialogue>Man, I called some Kid "Brother" the other day and he looked like he wanted to Fuckin' kill me. Listen to us. Each one of us out for ourselves now. Back in the Day being a Brother meant something. We fought against The Man. We loved each other! We became Ace Boon Coon Blood Brothers in that Damn Jungle!</dialogue>
<character>PAUL</character>
<dialogue>Stormin' Norman demanded it!</dialogue>
<scene_description>Otis stands, also declaring The Mission.</scene_description>
<character>OTIS</character>
<dialogue>Damn right he did! We died for a Cause that wasn't ours, for Rights we didn't have. This time! We do it for a Brotherhood we done forgot...</dialogue>
<character>EDDIE</character>
<dialogue>...But God willing, never lost.</dialogue>
<scene_description>They DAP UP as Otis sees VINH TRAN, their Vietnamese GUIDE, he walks up shaking Otis' hand with a warm smile.</scene_description>
<character>OTIS</character>
<dialogue>Bloods, this is our Guide Vinh.</dialogue>
<character>VINH</character>
<dialogue>Gentleman, welcome back to Vietnam.</dialogue>
<scene_description>ANGLE - PATIO TABLE Vinh is seated with the others. He opens a Folder, passing around printed itineraries.</scene_description>
<character>VINH</character>
<dialogue>I still think hiking into The Jungle without me as your Guide is a Big mistake.</dialogue>
<scene_description>Da Bloods look over the itinerary, satisfied.</scene_description>
<character>PAUL</character>
<dialogue>We know dat Jungle.</dialogue>
<character>VINH</character>
<dialogue>You have the necessary Documents?</dialogue>
<scene_description>Otis pulls out an Envelope and removes Two Sheets of paper. He passes them to Vinh.</scene_description>
<character>OTIS</character>
<dialogue>From The Pentagon and The Vietnamese Government. We locate Norman's remains, DPM Double A will send a Recovery Team to bring him Home...</dialogue>
<character>PAUL</character>
<dialogue>...Arlington National Cemetery.</dialogue>
<scene_description>Paul isn't listening. He's watching a GROUP of SIX VIETNAMESE MEN, 70's, at a nearby table. The Men stare back.</scene_description>
<character>PAUL</character>
<dialogue>What da Fuck do dey want?</dialogue>
<scene_description>Everyone looks over. One of the Vietnamese Men waves to Paul.</scene_description>
<character>MELVIN</character>
<dialogue>Chill.</dialogue>
<scene_description>DUC, A WAITER approaches with a round of Drinks, and says something to Vinh in Vietnamese.</scene_description>
<character>VINH</character>
<dialogue>Those Gentlemen would like to buy us a round. They are Former Viet Cong and welcome you back to their Country.</dialogue>
<scene_description>Da Bloods all turn to the former VC Soldiers. A VIETNAMESE Male NGUYEN, HOUANG in a WHEELCHAIR next to him, they nod respectfully to them.</scene_description>
<character>VINH</character>
<dialogue>One of them is my Cousin Nguyen and my Father's younger Brother.</dialogue>
<character>EDDIE</character>
<dialogue>But you are from the South...</dialogue>
<character>VINH</character>
<dialogue>...And they fought for the North. Nguyen does Tours for North Vietnamese Tourists...</dialogue>
<scene_description>Nguyen smiles, he raises his glass again.</scene_description>
<character>VINH</character>
<dialogue>It turned Vietnamese Families against Vietnamese Families.</dialogue>
<scene_description>The Former V.C. Raise their glasses to the Bloods. Eddie, Otis and Melvin toast their drinks in return but not Paul.</scene_description>
<character>OTIS</character>
<dialogue>Paul...</dialogue>
<character>PAUL</character>
<dialogue>For all we know, one of those Gooks zapped Norm.</dialogue>
<scene_description>Otis sees everyone on the Patio is watching with interest... The slur doesn't slip by Vinh.</scene_description>
<character>OTIS</character>
<dialogue>Raise your Goddamn glass.</dialogue>
<scene_description>Paul sighs then halfheartedly raises his glass.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APOCALYPSE NOW CLUB - NIGHT</stage_direction>
<scene_description>Da 4 Bloods come out of The Club and look up into City Lights.</scene_description>
<character>CRACK - CRACK - CRACK - CRACK</character>
<dialogue>Da 4 Bloods hit The Sidewalk. They all look at each other. They all are holding hands.</dialogue>
<dialogue>WE SEE Huy, laughing. He had just lit a Pack of FIRECRACKERS.</dialogue>
<dialogue>Da Bloods look at him.</dialogue>
<scene_description>SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HUEY HELICOPTER - VIETNAM FLASHBACK - DAY</stage_direction>
<scene_description>BOOM! Otis jerks away from the window on the door of the Huey. He turns to a worried Paul, who sits across from him, tightly clutching his M-16. Everyone is JOSTLED about! Otis turns to Eddie and Melvin with the rest of soldiers (eight in all). Everyone afraid. Everyone is young. But DA 4 BLOODS. THEY ARE THE AGE THEY ARE TODAY. NO MAKEUP. NO NOTHING. THEY WILL BE THE SAME AGE.</scene_description>
<character>CLOSE - STAFF SERGEANT STORMIN' NORMAN</character>
<dialogue>Black, 30's Strong, Smart, a Charismatic Leader with a charming smile, changes seats and plops next to Otis.</dialogue>
<character>STORMIN' NORM</character>
<dialogue>I know now why this Mission was so damn important. Cuz' it's about what The War is all about?</dialogue>
<character>JOE THE PILOT (O.S.)</character>
<dialogue>There it is.</dialogue>
<scene_description>Otis turns seeing JOE THE PILOT, from behind, point down at a</scene_description>
<character>ANGLE - CRASHED C-47 AIRPLANE</character>
<dialogue>in numerous pieces scattered about in the thick brush.</dialogue>
<character>ANGLE - THE DOOR GUNNER - VITO</character>
<dialogue>opens up with his M-60 Machine Gun BLASTING like crazy! On the opposite door is</dialogue>
<character>THE OTHER DOOR GUNNER - BOBBY JOE</character>
<dialogue>also BLASTING AWAY at the enemy below!</dialogue>
<dialogue>V.C. small arms fire RIPS through The Huey.</dialogue>
<character>VITO THE GUNNER</character>
<dialogue>is Killed still strapped in his window harness. The Cockpit is SPLATTERED with Machine Gun Fire! Otis reaches out to him as Bobby Joe the Gunner falls on Paul, dead. Bullets rip through the windshield killing The Pilots JOE and BERNIE!</dialogue>
<character>ANGLE - THE HUEY</character>
<dialogue>tips sideways. Everyone is SLUNG crashing into things!</dialogue>
<character>STORMIN' NORM</character>
<dialogue>Hold on! Hold on!</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNGLE NEAR CAMBODIA - DAY</stage_direction>
<scene_description>The Huey slices through Trees CRASHING, propellers flying off, The Helicopter cracking into pieces sending Men tossed into The Jungle.</scene_description>
<character>GUNFIRE ERUPTS!!!</character>
<dialogue>Otis gets up limping, he darts over to the already dead Vito, nothing Otis can do. Otis sees DENNIS THE MENACE, the Radio Operator directing Stormin' Norman toward the</dialogue>
<character>ANGLE - TAIL END OF A CRASHED C-47</character>
<dialogue>nestled in some trees. Stormin' Norman signals to Paul, who then signals to</dialogue>
<character>ANGLE - EDDIE AND MELVIN</character>
<dialogue>behind Helicopter wreckage. They both dash toward The C-47.</dialogue>
<scene_description>ANGLE - PAUL provides cover FIRE! As the other Men are ducking and fleeing from the V.C. Gunfire!!! ANGLE - OTIS pulls the wounded Dennis to a safer position. ANGLE - EDDIE AND MELVIN reach the cover of the C-47 Wreckage. ANGLE - SHADOWY V.C. FIGURES take positions inching closer to the wreckage. ANGLE - PAUL opens FIRE on them as Dennis the Radio Operator, on hook calling for support, dash toward the C-47. ANGLE - V.C. FIRE FROM THE BRUSH! Dennis The Menace, The Radio Man falls hit in the side. ANGLE - OTIS rushes out to Dennis The Menace as ANGLE - STORMIN' NORMAN, PAUL AND THE OTHERS provide COVER FIRE! Otis takes The Radio off Dennis The Menace and drags him, still limping, behind a large section of the C-47's Wing. Everything goes quiet. All of them sit there, recovering, Otis patches up Dennis, who is badly bleeding. ANGLE - THE V.C. POSITION IS DEATHLY STILL. CLOSE - STORMIN' NORMAN carefully rises, then head down, moves into the TAIL SECTION OF THE C-47.</scene_description>
<character>ANGLE - PAUL</character>
<dialogue>watching Stormin' Norman disappear into the darkness of hull of The Plane. He sits there for a moment. He looks over at Eddie and Melvin, both confused. Otis watches from the cover of the Broken Wing. Paul quietly rises cautiously moving into the Tail Section. Creeping through the wreckage finding...</dialogue>
<character>CLOSE - STORMIN' NORMAN</character>
<dialogue>kissing The Cross that dangles from around his neck.</dialogue>
<character>ANGLE - PAUL</character>
<dialogue>is looking down at it. Eddie and Melvin come up from behind. Otis follows down The Hull reaching The Others finding...</dialogue>
<character>CLOSE - A STRONG BOX WITH 2 BIG PADLOCKS</character>
<dialogue>ANGLE - STORMIN' NORMAN</dialogue>
<dialogue>unholsters his Colt 1911 side arm</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>Clear. Clear.</dialogue>
<scene_description>He busts off 2 rounds.</scene_description>
<character>ANGLE - C-47 HULL</character>
<dialogue>Illuminated by The Zippo and small Flashlights. A vacuumed packed box full of GLEAMING SPECTACULAR GOLD BARS. They all stand there, speechless. Stormin' Norman, a Cocky-Ass smile breaking across his face, holds up a glistening Gold Bar.</dialogue>
<character>PAUL</character>
<dialogue>Holy Muthafuckin' Mother of God!!!</dialogue>
<scene_description>CUT BACK TO THE PRESENT:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HO CHI MINH CITY - NIGHT</stage_direction>
<scene_description>A Minivan crawls through Heavy Traffic. Scooters and Motorcycles vastly outnumber Cars.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HO CHI MINH CITY - NIGHT</stage_direction>
<scene_description>Vinh leads The Bloods as they walk through the Times Square Plaza, taking in The City. Old French Colonial Buildings are caught between Modern High-Rises and Neon-Lit Storefronts.</scene_description>
<character>VINH</character>
<dialogue>I've run many Tours for GI's from The American War. We're glad you can now see our Country in a different light.</dialogue>
<character>OTIS</character>
<dialogue>Will you look at this.</dialogue>
<character>MELVIN</character>
<dialogue>Yeah, it's a whole different place.</dialogue>
<scene_description>They pass McDonald's, KFC, Burger King and Pizza Hut.</scene_description>
<character>PAUL</character>
<dialogue>You believe this?</dialogue>
<character>EDDIE</character>
<dialogue>They didn't need us. They just should have sent, McDonald's, Pizza Hut and The Colonel and we would have defeated The V.C. in a week Finger Lickin' Good.</dialogue>
<scene_description>Vinh asks Paul. Eddie takes a Photo of them CLICK!</scene_description>
<character>VINH</character>
<dialogue>When did you serve?</dialogue>
<character>PAUL</character>
<dialogue>1st Infantry Division, Big Red One. 2nd Battalion, 136th Regiment.</dialogue>
<character>VINH</character>
<dialogue>Where you involved in Operation Junction City?</dialogue>
<character>PAUL</character>
<dialogue>We were there.</dialogue>
<character>VINH</character>
<dialogue>My Father was there too. 25th Infantry, ARVN. We fought to the last.</dialogue>
<character>OTIS</character>
<dialogue>My Brother.</dialogue>
<character>VINH</character>
<dialogue>My Family was in Saigon when it fell, eighteen months in a Communist Re-Education Camp. Many others were not so lucky.</dialogue>
<scene_description>Awkward silence. Melvin lightens it up.</scene_description>
<character>MELVIN</character>
<dialogue>Y'all ever watch some of them Fake Hollywood Rambo Movies?</dialogue>
<character>PAUL</character>
<dialogue>Stallone. I like dat Shit.</dialogue>
<character>OTIS</character>
<dialogue>Are you Fuckin' Kiddin'. Him and that other Dude, Walker Texas Ranger, rescuing non-existent POW's.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, dem Hollywood Muthafuckas always wanna go back and Win The War.</dialogue>
<character>OTIS</character>
<dialogue>I would be the first in line to buy a ticket to see a Flick about some Really Real Heroes like Milton Olive...</dialogue>
<character>EDDIE</character>
<dialogue>...Yeah, Brother Man threw himself on a Grenade to save his Bloods' Lives.</dialogue>
<scene_description>CUT TO: CU - PICTURE OF MILTON OLIVE IN UNIFORM</scene_description>
<character>OTIS (V.O.)</character>
<dialogue>Was First Brother to be awarded the Medal Of Honor in Nam. Was 18 years old.</dialogue>
<scene_description>ANGLE - STREET</scene_description>
<character>MELVIN</character>
<dialogue>I love you Guys and all that Bullshit but I ain't doin' dat.</dialogue>
<character>PAUL</character>
<dialogue>Boy, don't nobody want you to die for dem.</dialogue>
<character>OTIS</character>
<dialogue>Vinh, Bloods, I'll check y'all later.</dialogue>
<scene_description>The Guys are surprised as Otis walks away from them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAIGON PEARL TOWERS - NIGHT</stage_direction>
<scene_description>Luxury High-Rises tower over The River.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY - SAIGON PEARL TOWERS - NIGHT</stage_direction>
<scene_description>Polished stone gleams under recessed lighting. Otis enters and a RECEPTIONIST behind a Mile-Long Counter greets him.</scene_description>
<character>OTIS</character>
<dialogue>Tien Luu, please.</dialogue>
<scene_description>The Receptionist NHAN DIALS a number, then gestures to the HOUSE PHONE. Otis picks up the Phone.</scene_description>
<character>OTIS</character>
<dialogue>Hello... It's me...</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIEN'S APARTMENT DOOR - NIGHT</stage_direction>
<scene_description>Otis walks to the front door it opens. TIEN LUU, a slender Woman in a Black Dress, stands in the doorway. She stares at him, both speechless. She's nearly his age, but looks Much Younger. Tien and Otis are overcome. They haven't seen each other in Years.</scene_description>
<character>OTIS</character>
<dialogue>You've hardly changed.</dialogue>
<character>TIEN</character>
<dialogue>We both know that's not true. But Thank You for being so kind.</dialogue>
<scene_description>A well-appointed Penthouse with Floor-To-Ceiling windows overlooking The City. Otis takes in the opulence.</scene_description>
<character>OTIS</character>
<dialogue>You done very well for yourself.</dialogue>
<character>TIEN</character>
<dialogue>We find a way.</dialogue>
<character>OTIS</character>
<dialogue>Yes we do... When we can.</dialogue>
</scene>
<scene>
<stage_direction>INT. TIEN'S APARTMENT - DINING ROOM - NIGHT</stage_direction>
<scene_description>They are eating Dinner and drinking Red Wine.</scene_description>
<character>TIEN</character>
<dialogue>Who do you have with you?</dialogue>
<character>OTIS</character>
<dialogue>Just The Bloods.</dialogue>
<character>TIEN</character>
<dialogue>Bloods. I have not heard that word in such a long time.</dialogue>
<scene_description>She tries to remember all the names.</scene_description>
<character>TIEN</character>
<dialogue>...And Eddie, Paul, Melvin? They're good too?</dialogue>
<character>OTIS</character>
<dialogue>Good as they're gonna' get.</dialogue>
<scene_description>She reflects knowing what he means. Otis moves to Tien.</scene_description>
<character>OTIS</character>
<dialogue>We had a Bond, back then, Stronger than The War. Hope we can find it again.</dialogue>
<character>TIEN</character>
<dialogue>Still The Medic, always full of Hope.</dialogue>
<scene_description>Otis accepts it. Tien goes back to business.</scene_description>
<character>TIEN</character>
<dialogue>The Gold belongs to The Vietnamese Government. Monsieur Victor Desroche can convert The Gold into Cash. He's the only person I know who can handle a transaction of this size.</dialogue>
<character>OTIS</character>
<dialogue>You've dealt with him before?</dialogue>
<character>TIEN</character>
<dialogue>Yes. He's very expensive. Could be Fifteen, even Twenty percent.</dialogue>
<character>TIEN</character>
<dialogue>There's also the issue of my Cut... I'll need Ten Percent.</dialogue>
<character>OTIS</character>
<dialogue>There's no other way to move it?</dialogue>
<character>TIEN</character>
<dialogue>International Exports are my Business. It's why you called me.</dialogue>
<character>OTIS</character>
<dialogue>That's not the only reason.</dialogue>
<scene_description>He waits but no response from her. The Front Door opens... ANGLE - MICHON 46, Blasian, walks in with groceries, a stunning Professional Woman. She pauses seeing Otis sitting there staring at her.</scene_description>
<character>MICHON</character>
<parenthetical>(In Vietnamese)</parenthetical>
<dialogue>I believe this is everything you wanted from The Market.</dialogue>
<scene_description>She sets the Grocery Bags down in The Kitchen.</scene_description>
<character>TIEN</character>
<dialogue>Come here I want to introduce you to someone.</dialogue>
<scene_description>Otis stands as Michon nears him.</scene_description>
<character>TIEN</character>
<dialogue>This is my daughter Michon. This is my Old Friend Otis... From The American War.</dialogue>
<scene_description>They both stare into each others eyes, shaking hands, accessing one another. You can see him in her.</scene_description>
<character>OTIS</character>
<dialogue>Very nice to meet you.</dialogue>
<scene_description>It is awkward, stilted, finally.</scene_description>
<character>MICHON</character>
<dialogue>I should go.</dialogue>
<character>TIEN</character>
<dialogue>Thank you, Dear.</dialogue>
<scene_description>Michon leaves, clearly affected. Otis looks at Tien.</scene_description>
<character>OTIS</character>
<dialogue>That Our Daughter?</dialogue>
<scene_description>Tien calmly sits down.</scene_description>
<character>TIEN</character>
<dialogue>Yes.</dialogue>
<scene_description>Otis lowers to his seat, stunned.</scene_description>
<character>TIEN</character>
<dialogue>She was a Bastard Child of The Enemy. I was a Whore. Her Father was a Moi, a Nigger...</dialogue>
<scene_description>Otis listens.</scene_description>
<character>TIEN</character>
<dialogue>...White GI's taught us that word. Everyone wanted us out. We were too Dirty to even clean Toilets. They call our Daughter a Cockroach.</dialogue>
<character>OTIS</character>
<dialogue>You wanted Michon to meet me.</dialogue>
<character>TIEN</character>
<dialogue>I did.</dialogue>
<character>OTIS</character>
<dialogue>Why?</dialogue>
<character>TIEN</character>
<dialogue>She deserves that. So do you.</dialogue>
<scene_description>Otis is just blown away.</scene_description>
<character>TIEN</character>
<dialogue>Michon is your Daughter. I ask nothing of you. You have your own Life.</dialogue>
<character>OTIS</character>
<dialogue>I came here to see you.</dialogue>
<scene_description>Tien is taken aback, surprised. She studies him.</scene_description>
</scene>
<scene>
<stage_direction>INT. TIEN'S APARTMENT - HALLWAY</stage_direction>
<scene_description>Otis and Tien stand at The Apartment Door.</scene_description>
<character>OTIS</character>
<dialogue>Why don't you come back to The Majestic Hotel with me and have a Nightcap? I don't want to be alone tonight.</dialogue>
<character>TIEN</character>
<dialogue>That I can't do.</dialogue>
<scene_description>Otis takes her hand and kisses it.</scene_description>
<character>TIEN</character>
<dialogue>I'll see you at the meeting tomorrow.</dialogue>
<character>OTIS</character>
<dialogue>Good Night... Tien... I Missya.</dialogue>
<character>TIEN</character>
<dialogue>Good Night, Otis.</dialogue>
</scene>
<scene>
<stage_direction>INT. DESROCHE'S OFFICE - DAY</stage_direction>
<scene_description>An Old French Colonial Palace. Ceiling fans. Plantation shutters. Otis enters looking around seeing</scene_description>
<character>IN A SIDE ROOM (OTIS' POV)</character>
<dialogue>VICTOR DESROCHE, 70's, a Gauloises Chain-Smoking Frenchman in a timeless White Linen Suit. He is in the middle of an intense conversation with Tien. She pleads to him in French.</dialogue>
<character>TIEN</character>
<dialogue>Ces hommes signifient beaucoup pour moi. Je veux que tu sois honnête et à l'avant avec eux. Promets-moi de faire ça. (These Men mean a great deal to me. I want you to be honest and up front with them. Please promise you will do that)</dialogue>
<scene_description>Otis stares, listening. Desroche gently touches her face.</scene_description>
<character>DESROCHE</character>
<dialogue>Ah mon chéri, tu sais que je suis toujours honnête et à l'avant. (Ah, My Darling, you know I am always Honest and up Front.)</dialogue>
<scene_description>Paul comes in behind Otis seeing them.</scene_description>
<character>PAUL</character>
<dialogue>What The Fuck they talkin' about?</dialogue>
<scene_description>Tien sees them, breaking it off, approaching with Desroche. ANGLE - ALL are seated. Otis observes Desroche's Gold Cuff-Links, Gold Lighter, Pocket Square and Pink Gold Pinkie Ring as Paul, Melvin, Eddie sit across from him and Tien.</scene_description>
<character>DESROCHE</character>
<dialogue>How many did you say you have?</dialogue>
<character>OTIS</character>
<dialogue>How many can you handle?</dialogue>
<scene_description>Desroche smiles but it's more cunning than warm.</scene_description>
<character>DESROCHE</character>
<dialogue>The entire amount.</dialogue>
<character>OTIS</character>
<dialogue>Must be. Two hundred? U.S. Eagle with Serial Numbers.</dialogue>
<character>DESROCHE</character>
<dialogue>That won't be a problem. May I ask how did they end up in your possession?</dialogue>
<scene_description>Paul, Wound-Up Tight, cuts in.</scene_description>
<character>PAUL</character>
<dialogue>You ask a lotta' Goddamn questions...</dialogue>
<character>DESROCHE</character>
<dialogue>Monsieur maybe they're from a Bank you just knocked off in Manila. Maybe the Authorities are looking for them. I don't need that kind of trouble.</dialogue>
<character>MELVIN</character>
<dialogue>We ain't no Damn International Criminals, Ya Dig?</dialogue>
<character>DESROCHE</character>
<dialogue>In my line of work, I must be careful and that means knowing what I'm getting myself into.</dialogue>
<character>PAUL</character>
<dialogue>You getting on my Last Goddamn Nerve.</dialogue>
<character>DESROCHE</character>
<dialogue>Gentlemen, I believe Our Business is finished.</dialogue>
<scene_description>Paul stands up over Desroche.</scene_description>
<character>PAUL</character>
<dialogue>You Frog Muthafucka speak Mo' Shit Den a Lil' Bit. Muthafucka can't tell me a Muthafucking thing. Where were the Frenchies in World War II? Hitler had y'all by The Snails. The Goddamn US of A saved Ya Asses. If It Wasn't for Good Ole Uncle Sam All of youse Y'all Be Speaking Da Dutch eating Schnitzel's Sauerkraut Brat-Wurst 'stead of Crew-sants, Snails and Es-Car-Gos.</dialogue>
<character>OTIS</character>
<dialogue>C'mon Bro. Let it Go.</dialogue>
<character>PAUL</character>
<dialogue>Naw Son. Fuck dat. I ain't done. Dis Muthafucka can't tell me Shit. My Daddy, Perfume Dick Willie, Dat's what Ladies named him, God Rest Soul, Landed in Normandy. Killed Bukoo, Goose Steppin' Jerry's. Dem Nazis weren't No Punks Tho Like You. OK I'm Done...</dialogue>
<scene_description>Paul sits down. Desroche lights another Gauloises with his Gold Lighter, then takes a big pull and blows The Smoke Into The Air.</scene_description>
<character>DESROCHE</character>
<dialogue>And I Thank You for this American One Sided Version of World War II.</dialogue>
<scene_description>Tien tries to reassure Desroche.</scene_description>
<character>TIEN</character>
<dialogue>Detendez-vous, Victor. Permettez- moi de leur parler. (Relax, Victor. Let me talk to them.)</dialogue>
<scene_description>Desroche shrugs, crushing his Gauloises Cigarette in a Gold Ashtray. Tien turns to Otis.</scene_description>
<character>TIEN</character>
<dialogue>You must understand. He's taking a big risk...</dialogue>
<character>PAUL</character>
<dialogue>...And we ain't ...De Roach or whatever ya name is you got to Trust Us and we gotta' Trust you.</dialogue>
<scene_description>Desroche is unmoved. Otis comes clean. CLOSE - Otis places his Hand over Paul's on the table.</scene_description>
<character>CLOSE - OTIS</character>
<dialogue>OTIS</dialogue>
<scene_description>Our Platoon was ordered to find a C-47 CIA Plane that went down with Payroll for The Native People. The La Hu's. They didn't want or use Paper Currency so Uncle Sam paid them with Gold for their help against the V.C.. SMASH CUT TO: VIETNAM FLASHBACK Norman holds up his Zippo illuminating him and The Gold.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>We may not get out alive. If we do, we ain't getting outta' here with this Gold. So this is what we do. We bury it. For now. They ask, We say the V.C. got it. Then we come back and collect.</dialogue>
<character>PAUL</character>
<dialogue>Steal it?</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>We ain't stealin' Shit! WE were the very First People to die for this Red, White and Blue. It was a Soul Brother, Crispus Attucks at The Muthafuckin' Boston Massacre. We been dying for this Country from the very Get-Go, hoping someday they'd they give us our rightful place but all we got was a Foot up our Black Asses. No Mule, No Forty Acres, No nothing! Fuck dat! The USA owe us! We built this Bitch!</dialogue>
<character>OTIS</character>
<dialogue>What you sayin'?</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>We abscond this Gold for every single Black Boot that never made it back home. For all the Brothers and Sistas that were Stolen From Mother Africa to Jamestown, Virginia way back in 1619.</dialogue>
<scene_description>Otis looks at Paul. Eddie and Melvin, ponder it.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>We give this Gold to our People not us.</dialogue>
<scene_description>Stormin' Norman sticks his Clenched Fist out over The Gold. Otis extends his fist. Then Eddie and Melvin. Finally, Paul. It is agreed. CUT TO:</scene_description>
<character>A HUGE MOUNTAIN OF DIRT</character>
<dialogue>Stormin' Norman, Paul, Eddie, Melvin and Otis.</dialogue>
<character>OTIS (V.O.)</character>
<dialogue>A few weeks later, we went back, but the Area had been Napalmed. All of our landmarks were gone.</dialogue>
<scene_description>All of them struggle lifting The Strong Box down in The Pit. CUT TO: PRESENT DAY:</scene_description>
</scene>
<scene>
<stage_direction>INT. DESROCHE'S OFFICE - DAY</stage_direction>
<scene_description>Desroche mulls over The Story. He looks to Tien to see if she buys it. She nods. They're telling the truth.</scene_description>
<character>OTIS</character>
<dialogue>A Mud Slide just exposed what looks like the C-47's Tail. Satellite images have pin pointed The Spot.</dialogue>
<character>DESROCHE</character>
<dialogue>You are more informed than you appear.</dialogue>
<character>PAUL</character>
<dialogue>Yeah!!! Yo Mama likes it too!!! Fuck all Da Dumb Shit. You In or Out?</dialogue>
<scene_description>Desroche lights another Gauloises Cigarette, thinking it over. Then he taps something on his Cell Phone. He shows it to The Vets.</scene_description>
<character>DESROCHE</character>
<dialogue>This is my offer per Kilo, less my Commission.</dialogue>
<character>OTIS</character>
<dialogue>Tien said twenty.</dialogue>
<character>DESROCHE</character>
<dialogue>One can't carry Millions of Dollars through US Customs. The Extra Two Points gets you a Dummy Corporation and a Tax-Free Offshore account in Macau. You can then withdraw the Funds from any Bank in The World.</dialogue>
<scene_description>Paul looks at Tien and Desroche.</scene_description>
<character>PAUL</character>
<dialogue>How do I know you Two ain't a French Toast and Fried Rice Con Artist Team?</dialogue>
<character>DESROCHE</character>
<dialogue>As you said, I guess you simply must trust us.</dialogue>
<character>PAUL</character>
<dialogue>Yeah, well, The Extra Two Percent comes outta' her cut.</dialogue>
<scene_description>Tien looks at Paul, Wounded but he doesn't care.</scene_description>
<character>OTIS</character>
<dialogue>I'll cover it.</dialogue>
<scene_description>Tien looks at Otis their eyes meet. Eddie philosophical.</scene_description>
<character>EDDIE</character>
<dialogue>Price of doing business.</dialogue>
<scene_description>Otis, Paul, Eddie and Melvin exchange looks.</scene_description>
<character>OTIS</character>
<dialogue>We all good?</dialogue>
<scene_description>They nod "Yes." Desroche rises, extending a hand...</scene_description>
<character>DESROCHE</character>
<dialogue>Gentlemen, I look forward to seeing you in a few days. Bonne chance...</dialogue>
<character>DESROCHE</character>
<dialogue>Excuse Me, Gentlemen I have a lot of Work to do... For All Of Us.</dialogue>
<character>CLOSE - DESROCHE</character>
<dialogue>He looks directly at Paul.</dialogue>
<character>DESROCHE</character>
<dialogue>Vive La France.</dialogue>
</scene>
<scene>
<stage_direction>INT. PAUL'S ROOM - MAJESTIC HOTEL - DAY</stage_direction>
<scene_description>Paul enters seeing a Duffle Bag and Backpack on The Bed. Not his. He looks over at the SOUND of someone taking a Piss in The Bathroom, the door ajar. Paul crosses to The Bed, reads The Luggage Tag.</scene_description>
<character>PAUL</character>
<dialogue>What da'...</dialogue>
<scene_description>Just then DAVID, his Son, 33, very much like his Father comes out of the rest room wiping his hands.</scene_description>
<character>PAUL</character>
<dialogue>What da Fuck you doin' here!!!</dialogue>
<character>DAVID</character>
<dialogue>I'm worried about you.</dialogue>
<character>PAUL</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<dialogue>When I heard you came here...</dialogue>
<character>PAUL</character>
<dialogue>...And?</dialogue>
<character>DAVID</character>
<dialogue>I needed to check on you.</dialogue>
<character>PAUL</character>
<dialogue>You don't give a Flyin' Fuck 'bout me.</dialogue>
<scene_description>He closes his Son's Suitcase packing him back up.</scene_description>
<character>DAVID</character>
<dialogue>I do. You been actin' even more Crazy than usual.</dialogue>
<scene_description>Paul chuckles to himself.</scene_description>
<character>PAUL</character>
<dialogue>Yeah, well, consider me Checked On.</dialogue>
<scene_description>He locks the suitcase up PUSHING it into his Son's Chest!</scene_description>
<character>DAVID</character>
<dialogue>You're here for The Gold. Don't Lie.</dialogue>
<scene_description>Paul goes quiet.</scene_description>
<character>DAVID</character>
<dialogue>You're goin' after The Gold. I read Otis' E-mails.</dialogue>
<scene_description>Paul is totally stunned.</scene_description>
<character>DAVID</character>
<dialogue>You gotta choose better passwords. '1234.' C'mon, Dad.</dialogue>
<character>PAUL</character>
<dialogue>What you want?</dialogue>
<character>DAVID</character>
<dialogue>An equal share for helping you find it.</dialogue>
<character>PAUL</character>
<dialogue>HELL TO DA NAW!!!</dialogue>
<character>DAVID</character>
<dialogue>The Authorities hear about this ya'll go back to The Crib empty- handed.</dialogue>
<scene_description>Paul takes a step back looking at his Son.</scene_description>
<character>PAUL</character>
<dialogue>So you just a lil' Jive-Ass Gangster now, ain't cha?</dialogue>
<character>DAVID</character>
<dialogue>After everything you've put me through, I think you would be getting off pretty Damn light.</dialogue>
<scene_description>Paul grabs David by the shirt and SLAMS him against the wall.</scene_description>
<character>PAUL</character>
<dialogue>Ungrateful Lil' Black Studies Teacher Nigga.</dialogue>
<scene_description>David remains totally cool. Which is what scares Paul.</scene_description>
<character>DAVID</character>
<dialogue>Get off me.</dialogue>
<scene_description>David's in much better shape than his Father and he knows it. He let's go, steps away. David smooths out his rumpled shirt.</scene_description>
<character>DAVID</character>
<dialogue>You want to tell your Bloods or should I?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALCONY - OTIS' ROOM - MAJESTIC HOTEL - DAY</stage_direction>
<scene_description>David stands across from Da Angry Bloods. No one speaks.</scene_description>
<character>EDDIE</character>
<dialogue>You sure know how to raise 'em, don't you?</dialogue>
<scene_description>Otis, Eddie and Melvin all stare at David.</scene_description>
<character>MELVIN</character>
<dialogue>What happens if the 4 of us Bum Rush ya Boy and throw him off that Balcony?</dialogue>
<character>DAVID</character>
<dialogue>Just know I'm takin' a couple of you OG's with me.</dialogue>
<character>PAUL</character>
<dialogue>Don't ever threaten my Son.</dialogue>
<character>MELVIN</character>
<dialogue>Or what?</dialogue>
<character>PAUL</character>
<dialogue>Or you're gonna' have more trouble than you know what to do wit'.</dialogue>
<scene_description>Paul takes a step toward Melvin but Otis blocks the way.</scene_description>
<character>OTIS</character>
<dialogue>Cool it, Goddammit! David, you're not getting an Equal Share. You and your Father can split A Share.</dialogue>
<character>PAUL</character>
<dialogue>No Fuckin' way!!!</dialogue>
<character>OTIS</character>
<dialogue>Take it or leave it!!!</dialogue>
<scene_description>Paul sighs deep, looking at his Son, disgusted.</scene_description>
<character>PAUL</character>
<dialogue>You ain't been nuthin' but an Anchor 'round my neck since da day you were Born. Yeah, I said it. I mean it too.</dialogue>
<scene_description>Paul walks off leaving David standing there, gutted. Da Bloods watch this. Eddie slaps David on the back. They all walk out as David lingers. Otis steps up to him.</scene_description>
<character>OTIS</character>
<dialogue>You're a Buck Private in this Outfit. That means you do what you're told, when you're told, no questions asked. Understood?</dialogue>
<character>DAVID</character>
<dialogue>Overstood.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOCK - TOUR BOAT - DAWN</stage_direction>
<scene_description>Melvin and Eddie, both drinking Coffee on The Boat. Paul buys a Butterfly Knife from a STREET VENDOR. He plays with his new blade watching Otis still on the dock speaking to Tien, a Newspaper under her arm.</scene_description>
<character>OTIS</character>
<dialogue>Surprised you came.</dialogue>
<character>TIEN</character>
<dialogue>I have a Bad feeling about this.</dialogue>
<character>OTIS</character>
<dialogue>Tien, I don't care about The Gold.</dialogue>
<character>TIEN</character>
<dialogue>Then why do this? To find Norman?</dialogue>
<scene_description>Otis digs deep.</scene_description>
<character>OTIS</character>
<dialogue>Keep thinking about waiting for you at the Airport and you not showing. I'm still waiting.</dialogue>
<scene_description>He stares at her. She feels it. Tien hands him A Folded Ho Chi Minh City Newspaper and he opens it. Inside is an Army issue 1911-style COLT .45 HANDGUN. Otis is surprised.</scene_description>
<character>TIEN</character>
<dialogue>Gold does Strange Things to People. Even Old Friends. Be safe.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MEKONG RIVER DELTA - DAWN</stage_direction>
<scene_description>A wide Brown River dotted with Wooden Boats. Among them:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOUR BOAT - MOVING - DAY</stage_direction>
<scene_description>Vinh pilots a small Tour Boat up The Mekong River. Otis, Melvin and David sit with their OVERSIZE PACKS resting. Paul stands away from the others muttering to himself twirling his Butterfly Knife. Otis notices Paul talking to himself.</scene_description>
<character>VINH</character>
<dialogue>This is my favorite time. Not too Hot. Not so many Mosquitoes.</dialogue>
<scene_description>Melvin puts a stick of Gum in his mouth. He nears Paul noticing his Baseball Cap. Paul sports a "Make America Great Again" Red Trump Baseball Cap. Paul sees Melvin staring at it.</scene_description>
<character>PAUL</character>
<dialogue>You don't like it?</dialogue>
<character>MELVIN</character>
<dialogue>Who does?</dialogue>
<character>PAUL</character>
<dialogue>Don't like it. Kiss my Happy Black Ass. 2 Times, 1 for each Butt Cheek.</dialogue>
<character>MELVIN</character>
<dialogue>Well, hopefully the People here don't know what that really means.</dialogue>
<character>EDDIE</character>
<dialogue>Oh, they know. Everybody knows.</dialogue>
<scene_description>Melvin and Eddie laugh. Paul even cracks a grin.</scene_description>
<character>MELVIN</character>
<dialogue>Hey Eddie, you still got that place in Vegas?</dialogue>
<character>EDDIE</character>
<dialogue>Nah, Ex Number One got that one.</dialogue>
<character>MELVIN</character>
<dialogue>How about that one in LA? The one in the Hollywood Hills. I really loved that place.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, that was really a terrific getaway. Ex Number Two, The Actress got that one.</dialogue>
<character>MELVIN</character>
<dialogue>Damn, Blood.</dialogue>
<character>EDDIE</character>
<dialogue>Dat Life.</dialogue>
<character>MELVIN</character>
<dialogue>Glad you can be so philosophical about it. I'd be Mad'n a Hornet!</dialogue>
<character>EDDIE</character>
<dialogue>I've downsized quite a bit. Cut way back on my lifestyle. Spend almost 100% of my time in Phoenix now.</dialogue>
<character>MELVIN</character>
<dialogue>You gonna' jump that Broom again?</dialogue>
<character>EDDIE</character>
<dialogue>No, I've learned my lesson. Love and Money don't mix. You gotta pick one. It's either Love or Money not both. NEVER!!!</dialogue>
<scene_description>Melvin and Paul both laugh. On the other side of The Boat, Otis and David talk quietly.</scene_description>
<character>OTIS</character>
<dialogue>Why'd you follow him here?</dialogue>
<character>DAVID</character>
<dialogue>Felt like my last chance with him. Needs Counseling. Talks to himself.</dialogue>
<character>OTIS</character>
<dialogue>I don't think your Father was ever the same after we lost Norman.</dialogue>
<character>DAVID</character>
<dialogue>He Calls his name in his sleep all the time. So who was that Guy?</dialogue>
<scene_description>CLOSE - Otis puts his Hand on Top of David's. SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - DAY - VIETNAM FLASHBACK</stage_direction>
<character>ANGLE - STORMIN' NORMAN</character>
<dialogue>leading The Squad Through The Jungle. He raises his hand. Paul, Melvin, Eddie, Otis and The Squad halt. Norman silently gives orders sending Men in different directions.</dialogue>
<character>OTIS (V.O.)</character>
<dialogue>Best Damn Soldier ever lived. Wasn't many Brothers made Squad Leader. The Man was using Bloods for Cannon Fodder. White Boys who stayed in College dodged that shit. They put our poor Black Asses in The Front Lines Killing us off like Flies.</dialogue>
<scene_description>A Fire Fight breaks out! The Squad is in a fierce exchange! Stormin' Norman directs traffic and gets everyone to Safety.</scene_description>
<character>OTIS (V.O.)</character>
<dialogue>Stormin' earned his name, was in all kinda Fire Fights. Trained us in the ways of The Jungle. Made us believe we'd get back Home Alive.</dialogue>
<character>ANGLE - HOOCH</character>
<dialogue>A safe position. The Squad sit around after The Fire Fight. Exhaling, recovering, all of them seem to be looking at Stormin' knowing he kept them alive. Eddie takes a Photo.</dialogue>
<character>OTIS (V.O.)</character>
<dialogue>He was a Prophet. Gave us something to believe in. A Direction, A Purpose. Taught us about Black History, no one knew that Shit back then. Schooled us about drinking that Anti-Commie Kool-Aid they was selling. He was our Malcolm and Martin. Norman had a way of keeping us from going off. And he wasn't no Tom. He was a Baaad Man... Like Ali.</dialogue>
</scene>
<scene>
<stage_direction>INT. HANOI RADIO STATION - DAY</stage_direction>
<scene_description>HANOI HANNAH a very attractive Vietnamese Woman speaks into a microphone doing her 3 times Daily Show. Hanoi Hannah was the North Vietnamese version of the World War II's Axis Sally of NAZI GERMANY and Japan's Tokyo Rose. Hanoi Hannah was a Radio Personality who broadcast Anti-American Propaganda. (Which actually contained a lot of truth) Between playing great R and B Soul and Rock and Roll which the US Troops, Black and White loved to hear. It was another reminder of their homes that they missed.</scene_description>
<character>ANGLE - HANOI HANNAH</character>
<dialogue>HANOI HANNAH</dialogue>
<scene_description>In Memphis, Tennessee, a White Man Assassinated Dr. Martin Luther King who heroically opposed the cruel racial discrimination in the USA. Dr. King also opposed the US War in Vietnam. CUT TO: ARCHIVAL FOOTAGE OF THE UPRISINGS - (NOT RIOTS) IN THE U.S.</scene_description>
<character>IN RESPONSE TO DR. KING'S ASSASSINATION ON APRIL 4, 1968. IN</character>
<dialogue>OVER 100 CITIES AMONG THEM NEW YORK, NEWARK, CHICAGO,</dialogue>
<character>DETROIT, PITTSBURGH, BALTIMORE, CINCINNATI, LOUISVILLE ETC.</character>
<dialogue>HANOI HANNAH (V.O.)</dialogue>
<scene_description>Your Government sent 600,000 Troops to crush the Rebellion. Your Soul Sisters and Soul Brothers are enraged in over 122 Cities. They kill them while you fight against us so far away from where you are needed.</scene_description>
</scene>
<scene>
<stage_direction>INT. HANOI RADIO STATION - DAY</stage_direction>
<character>CLOSE - HANOI HANNAH</character>
<dialogue>HANOI HANNAH</dialogue>
<scene_description>The South Vietnamese People are resolute against these Fascist acts against Negroes... CUT TO:</scene_description>
<character>ARCHIVAL FOOTAGE OF THE UPRISING</character>
<dialogue>HANOI HANNAH (V.O.)(CONT'T)</dialogue>
<scene_description>...Who struggle for Civil Rights and Freedom.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DA BLOODS HOOCH - DAY</stage_direction>
<scene_description>The Bloods are passing The Weed around as they listen intently to Hanoi Hannah on a Translator Radio. Everyone partakes except Paul.</scene_description>
<character>HANOI HANNAH (V.O.)</character>
<dialogue>Negroes are only 11 percent of The US Population but among Troops here in Vietnam you are 32 percent.</dialogue>
</scene>
<scene>
<stage_direction>INT. HANOI RADIO STATION - DAY</stage_direction>
<character>CLOSE - HANOI HANNAH</character>
<dialogue>HANOI HANNAH</dialogue>
<scene_description>Is it fair you serve more than the White Americans that sent you here!</scene_description>
</scene>
<scene>
<stage_direction>EXT. DA BLOODS HOOCH - DAY</stage_direction>
<scene_description>Hanoi Hannah's words are starting to take hold on Da Bloods. They know what her purpose is but she is speaking some Truths. They all look at the small Transistor Radio.</scene_description>
<character>HANOI HANNAH (V.O.)</character>
<dialogue>Nothing is more confused than to be ordered into a War to DIE or to be MAIMED for Life without the faintest idea of what's going on. I dedicate Brother Marvin Gaye's WHAT'S GOING ON to the Soul Brothers of the 1st Infantry Division. Big Red One, 2nd Battalion 136th Regiment.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DA BLOODS HOOCH - DAY</stage_direction>
<character>WE HEAR MARVIN GAYE'S WHAT'S GOING ON</character>
<dialogue>Da Bloods are up in ARMS. (NO PUN INTENDED)</dialogue>
<character>OTIS</character>
<dialogue>Let's Go Kill Some Crackers.</dialogue>
<character>EDDIE</character>
<dialogue>Goddamn White Man Gone Too Far.</dialogue>
<character>MELVIN</character>
<dialogue>Da Bible say an Eye For An Eye.</dialogue>
<character>EDDIE</character>
<dialogue>Tooth For A Tooth.</dialogue>
<character>OTIS</character>
<dialogue>We got Da Wrong Enemy.</dialogue>
<character>PAUL</character>
<dialogue>Our Brothers and Sisters are Burnin' Shit Down Back Home.</dialogue>
<scene_description>Da Bloods move FORWARD: Stormin' Norman steps in their way.</scene_description>
<character>OTIS</character>
<dialogue>Git out Da Way.</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>Dr. King Was A Man Of Peace.</dialogue>
<character>PAUL</character>
<dialogue>And Dat Killed MLK.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DA BLOODS HOOCH - DAY</stage_direction>
<character>WE STILL HEAR WHAT'S GOING ON.</character>
<dialogue>STORMIN' NORMAN</dialogue>
<scene_description>I'm Mad as anybody and all us BLOODS got a Right to be, but what you tryin' to do now ain't changin' Shit.</scene_description>
<character>PAUL</character>
<dialogue>MOVE!!!</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>I'm not movin'. You Bloods gotta KILL ME FIRST. BLOOD ON BLOOD.</dialogue>
<scene_description>There is a BLOOD STANDOFF. Stormin' Norman sticks his Black Fist Out to Otis, Otis sticks his to Paul, who touches Eddie's Fist, who touches Melvin's Fist. DA BLOODS SCREAM, cock their M-16's and start shooting above their Heads into The Jungle. CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOUR BOAT - MOVING - DAY</stage_direction>
<scene_description>Otis and David on The Boat. Otis remembers something.</scene_description>
<character>OTIS</character>
<dialogue>Let me tell you something, outta' all of us, your Father was closest to Norm. He believed in Norm like a Religion... I don't know if he's believed in anything since.</dialogue>
<scene_description>Otis looks to Paul.</scene_description>
<character>OTIS</character>
<dialogue>Paul Can I Make A Confession To You?</dialogue>
<character>PAUL</character>
<dialogue>What Nigga?</dialogue>
<character>OTIS</character>
<dialogue>It's Something I've Wanted To Tell You For The Longest.</dialogue>
<character>EDDIE</character>
<dialogue>Awwww Shit.</dialogue>
<scene_description>Otis Sings.</scene_description>
<character>OTIS</character>
<dialogue>You Really Got A Hold On Me.</dialogue>
<scene_description>The Boat Rocks With Laughter. Eddie Sings.</scene_description>
<character>EDDIE</character>
<dialogue>Ain't Nothing Like The Real Thing.</dialogue>
<scene_description>Paul Sings.</scene_description>
<character>PAUL</character>
<dialogue>Ain't No Mountain High Enough.</dialogue>
<scene_description>Eddie Sings.</scene_description>
<character>EDDIE</character>
<dialogue>Money, That's What I Want.</dialogue>
<scene_description>Paul Shouts.</scene_description>
<character>PAUL</character>
<dialogue>War. What Is It Good For?</dialogue>
<scene_description>Otis Sings.</scene_description>
<character>OTIS</character>
<dialogue>Ball Of Confusion That's What The World Is Today.</dialogue>
<scene_description>Melvin Sings.</scene_description>
<character>MELVIN</character>
<dialogue>I Wish It Would Rain.</dialogue>
<scene_description>Paul Sings.</scene_description>
<character>PAUL</character>
<dialogue>It's The Same Old Song.</dialogue>
<scene_description>David Jumps Up.</scene_description>
<character>DAVID</character>
<dialogue>Hey, Hey. I Got One. I Got One.</dialogue>
<character>OTIS</character>
<dialogue>It Better Be A Good One. Young Blood.</dialogue>
<scene_description>CLOSE - DAVID David Sings.</scene_description>
<character>DAVID</character>
<dialogue>Papa Was A Rollin' Stone, Whoever He Left His Hat Was His Home. By The Temptin' Temptations.</dialogue>
<scene_description>ANGLE - BOAT Everybody Stares At David In Silence Waiting To See His Father's Reaction. CLOSE - PAUL Paul Stares At David. Is He About To Go DA FUCK OFF OR NOT. Paul Sings.</scene_description>
<character>PAUL</character>
<dialogue>You Are The Sunshine Of My Life... NOT.</dialogue>
<character>ANGLE - BOAT</character>
<dialogue>The Whole Boat Roaring With Laughter As Father Hugs Son.</dialogue>
<character>PAUL</character>
<dialogue>I Thought You Old Goats Had Forgotten The MOTOWN GAME We Played In Da Jungle.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PHUNG HIEP FLOATING MARKET - MEKONG DELTA - DAY</stage_direction>
<scene_description>Sampans clog The Mekong River. Vinh slows pulling alongside a constellation of Boats. The sound of Consumers and sellers HAGGLING prices in Vietnamese. Vinh says to Paul.</scene_description>
<character>VINH</character>
<dialogue>Market. You Brothers want anything?</dialogue>
<scene_description>Paul watches SELLERS lifting up items: Chickens, Fish, pushing their Wares. The Boats are filled with Fruits and Veggies, as well as more Exotic Fare: Pot-Bellied Pigs, Turtles, Snakes. Paul stares at it all the noise and confusion rattles him. David watches a SELLER DÛNG dip his hand in a tub full of Snakes.</scene_description>
<character>VINH</character>
<dialogue>How's the Snake today?</dialogue>
<scene_description>DÛNG chops the head off a Large Snake skinning it.</scene_description>
<character>OTIS</character>
<dialogue>David likes The Head. Can't live without a Head.</dialogue>
<scene_description>Vinh and Otis laugh while David is stunned. Eddie HAGGLES in Vietnamese with another BOAT VENDOR HOÀNG. He takes Eddie's Money, and hands over a Six-Pack of Bud Lite.</scene_description>
<character>EDDIE</character>
<dialogue>Anybody want a Cold One?</dialogue>
<scene_description>David holds his hands out to catch one. Eddie tosses him one.</scene_description>
<character>ANGLE - OTHER SAMPANS</character>
<dialogue>Crowd around, HAWKING their Wares. They're surrounded. Paul looks around growing more intense at all the SHOUTING FACES.</dialogue>
<dialogue>A Sampan of Citrus pulls alongside. The CITRUS SELLER BINH barks!</dialogue>
<character>BINH</character>
<dialogue>B?n có mu?n mua trái cây? Cam? R?t t?t. (Do you want to buy fruit? Oranges? Very Good.)</dialogue>
<character>PAUL</character>
<dialogue>No. Not today. Không. Không.</dialogue>
<scene_description>He tries to wave the Guy off, but he persists, Louder!!! Reeling from the noise and confusion, Paul SNAPS.</scene_description>
<character>PAUL</character>
<dialogue>I SAID NO. NO MEANS MUTHAFUCKIN' NO</dialogue>
<scene_description>ANGLE - ANOTHER SELLER IN A BOAT, CHU full of SQUAWKING POULTRY uses a Hooked Pole to grab their Boat and pull himself alongside. Paul dislodges the Hook SHOVING The Pole back at The Seller, knocking him over, nearly capsizing his rickety boat.</scene_description>
<character>PAUL</character>
<dialogue>HEAR ME! I SAID BACK DA FUCK UP!</dialogue>
<scene_description>Otis and Melvin grab The Sellers Boat steadying it. Eddie intervenes trying to calm Chu in Vietnamese.</scene_description>
<character>PAUL</character>
<dialogue>Shut Da Fuck Up nobody wanna hear all dat Dink Shit.</dialogue>
<scene_description>David turns to Vinh.</scene_description>
<character>DAVID</character>
<dialogue>Yo! Dad, Chill Man!</dialogue>
<scene_description>The Merchants stare pissed knowing what Paul said.</scene_description>
<character>PAUL</character>
<dialogue>Fuck Dis place and all youse Backward Ass GOOK MUTHAFUCKAS!</dialogue>
<scene_description>Vinh quickly speeds away from The Floating Market. Vinh says to David and Otis.</scene_description>
<character>VINH</character>
<dialogue>They know GOOK is a SLUR.</dialogue>
<character>PAUL</character>
<dialogue>Like I give 2 Fucks.</dialogue>
<scene_description>Paul sits isolated, bouncing his knee, breathing in short ragged gasps. Otis nears Paul checking his Pulse.</scene_description>
<character>PAUL</character>
<dialogue>What you doin'?</dialogue>
<character>DAVID</character>
<dialogue>Is it a Heart Attack?</dialogue>
<scene_description>Paul jerks his hand away jumping up. He stumbles and almost falls. He stands holding on to something.</scene_description>
<character>OTIS</character>
<dialogue>You're having a Panic Attack.</dialogue>
<character>PAUL</character>
<dialogue>No Shit.</dialogue>
<scene_description>Paul sits back down as Melvin and Eddie also now look on.</scene_description>
<character>OTIS</character>
<dialogue>You have these often?</dialogue>
<scene_description>Paul's leg keeps shaking. He takes some deep breaths.</scene_description>
<character>DAVID</character>
<dialogue>He gets claustrophobic.</dialogue>
<character>OTIS</character>
<dialogue>You have nightmares?</dialogue>
<scene_description>Paul looks at him, pissed, but still racing high.</scene_description>
<character>DAVID</character>
<dialogue>He does.</dialogue>
<character>PAUL</character>
<dialogue>What you know 'bout it! Huh! I don't Fuckin' have No Nightmares.</dialogue>
<scene_description>He looks up in David's Face. Melvin and Eddie looking on.</scene_description>
<character>PAUL</character>
<dialogue>I see Ghosts.</dialogue>
<character>EDDIE</character>
<dialogue>We've all been there, Bro.</dialogue>
<character>PAUL</character>
<dialogue>You see em' too? The Dead come to you at night?</dialogue>
<scene_description>Da Bloods go quiet.</scene_description>
<character>PAUL</character>
<dialogue>Stormin' Norm comes back damn near every night? He talk to ya'll? Like He does to me?</dialogue>
<scene_description>Eddie puts a hand on his shoulder. Paul rises jerking away.</scene_description>
<character>PAUL</character>
<dialogue>Think I'm a Crazy Fuck, don't cha?</dialogue>
<scene_description>He stares at them all.</scene_description>
<character>PAUL</character>
<dialogue>I don't need your Goddamn pity. None of Y'all.</dialogue>
<character>OTIS</character>
<dialogue>You could put The Mission at risk.</dialogue>
<character>PAUL</character>
<dialogue>Let's just do da job dat needs to done and get outta dis Shit Hole.</dialogue>
<scene_description>Another disparaging remark cuts Vinh but doesn't react. No one responds. Paul looks at them getting more paranoid.</scene_description>
<character>PAUL</character>
<dialogue>Oh, I get it. Sideline me and you can take a Bigger Share. HA! Think ya' slick don't cha' Niggas...</dialogue>
<character>EDDIE</character>
<dialogue>...Don't call me that.</dialogue>
<character>PAUL</character>
<dialogue>Oh, that's right. You High Saddity Niggas don't like dat word.</dialogue>
<scene_description>Paul in Eddie's face.</scene_description>
<character>PAUL</character>
<dialogue>NIGGA. NIGGA, NIGGA, NIGGA!!!</dialogue>
<scene_description>Super tense between Eddie and Paul. Otis steps in.</scene_description>
<character>OTIS</character>
<dialogue>I think you and David should stay in Tân Châu.</dialogue>
<character>PAUL</character>
<dialogue>Who died and made you Squad Leader? Oh, that's right, Norm. Well, you ain't Stormin' Norm. You were a Punk Ass Medic.</dialogue>
<scene_description>Otis about to respond when Melvin cuts in.</scene_description>
<character>MELVIN</character>
<dialogue>He's right. You're not Norm. You don't get to order us around.</dialogue>
<character>EDDIE</character>
<dialogue>If Brother Man is out, I'm out.</dialogue>
<scene_description>Otis is boggled by this turn. Paul even more so.</scene_description>
<character>MELVIN</character>
<dialogue>We do this together or not at all.</dialogue>
<scene_description>Otis sees they're united. Humbled, he nods. Okay then.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - TÂN CHÂU - DAY</stage_direction>
<scene_description>Vinh eases the Boat alongside a Small Riverfront Town. Corrugated metal buildings perched over The Water on wooden pilings. A busy Village full of activity. Vinh tells Otis.</scene_description>
<character>VINH</character>
<dialogue>The Hotel is not far. It's not The Ritz-Carlton but it's Clean and Cheap.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. They Keep The Lights On.</dialogue>
<scene_description>Da Bloods laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LUCKY RIVER HOTEL - DAY</stage_direction>
<scene_description>A Three-Story Cement Building wedged between Two Shops.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY - LUCKY RIVER HOTEL - DAY</stage_direction>
<scene_description>David comes downstairs, freshly showered, clean clothes. He nears The Reception Desk. VAN The MANAGER, 50's, watches them. David turns to see a Woman, HEDY BOUVIER, 30's, entering. Tall, Fit and FINE, wearing well-worn hiking gear. Her T- shirt for LAMB, features a Skull and Crossbones. The Slogan, "LOVE AGAINST MINES AND BOMBS". TWO MEN in identical T-shirts, SIMON and SEPPO, 30's, are standing next to her, unloading gear.</scene_description>
<character>DAVID</character>
<dialogue>Didn't think I'd meet another American up here.</dialogue>
<character>HEDY</character>
<dialogue>I'm French.</dialogue>
<scene_description>The Men nod, then go back out for the rest of their stuff. Hedy has to grin.</scene_description>
<character>HEDY</character>
<dialogue>Traveling alone?</dialogue>
<character>DAVID</character>
<dialogue>I'm with a group of Vietnam Vets. One is my Father.</dialogue>
<character>HEDY</character>
<dialogue>Must be amazing coming back after all these years with him.</dialogue>
<character>DAVID</character>
<dialogue>Yeah. It's amazing all right... Is there a place to go at Night around here?</dialogue>
<character>HEDY</character>
<dialogue>There is a Bar a couple of Streets down, on the River. Can't miss it.</dialogue>
<character>DAVID</character>
<dialogue>I'll see you there? Maybe.</dialogue>
<character>HEDY</character>
<dialogue>Maybe.</dialogue>
<scene_description>She grins, grabs her backpack, and starts to head upstairs.</scene_description>
<character>DAVID</character>
<dialogue>What is your Name?</dialogue>
<character>HEDY</character>
<dialogue>Hedy, like Hedy Lamarr... Old Time Movie Star but my last name is Bouvier.</dialogue>
<character>DAVID</character>
<dialogue>Cool. I'm David like David Ruffin from The Temptations.</dialogue>
<scene_description>They both laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER BANK - DAY</stage_direction>
<scene_description>Paul stands at a railing looking out over the Water smoking a Cigarette. In deep thought, he sees... SLAP! Paul looks at Otis' hand on his shoulder. He offers Otis a Cigarette pack with a colorful Vietnamese Logo.</scene_description>
<character>OTIS</character>
<dialogue>Cancer Sticks, gave them up years ago.</dialogue>
<character>PAUL</character>
<dialogue>Me too.</dialogue>
<scene_description>Paul stares at TWO VIETNAMESE MEN, QUAN 30's, and his Brother CHAVY 20's. They walk up to the rail, talking quietly. Paul eyes them warily, then flicks his Cigarette Butt into the water. He strolls away. Otis follows.</scene_description>
<character>PAUL</character>
<dialogue>I spotted them earlier. When we were checking in.</dialogue>
<scene_description>Otis listens to Paul, not buying it but not showing him.</scene_description>
<character>PAUL</character>
<dialogue>Got a feelin' I haven't felt in a long time. Like I'm bein' Hunted...</dialogue>
<scene_description>Otis looks down at the Two Men again. They appear normal.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VICTORIA BAR - NIGHT</stage_direction>
<scene_description>A Ramshackle Building perched over The River on stilts.</scene_description>
</scene>
<scene>
<stage_direction>INT. VICTORIA BAR - NIGHT</stage_direction>
<scene_description>Jammed with Local Customers. Melvin at The Bar drinking and talking to ANH and NU. Eddie sits near but is just drinking. David and Hedy sit at a table, a couple of Tropical Drinks between them. Simon and Seppo shoot Pool nearby.</scene_description>
<character>DAVID</character>
<dialogue>So how long are you here for?</dialogue>
<character>HEDY</character>
<dialogue>Head out early morning.</dialogue>
<scene_description>David nods to Simon and Seppo.</scene_description>
<character>DAVID</character>
<dialogue>What's their story?</dialogue>
<character>HEDY</character>
<dialogue>Simon's my Best Friend. Seppo and I use each other for Sex Once in a Blue Moon.</dialogue>
<scene_description>David nods. He looks over at Seppo, who eyes him back.</scene_description>
<character>HEDY</character>
<dialogue>What about you? Girlfriend? Wife? Kids? Married?</dialogue>
<character>DAVID</character>
<dialogue>Just Me, Myself and I.</dialogue>
<character>HEDY</character>
<dialogue>Dey-La-Soul.</dialogue>
<scene_description>They both laugh.</scene_description>
<character>DAVID</character>
<dialogue>Can I buy you another?</dialogue>
<character>HEDY</character>
<dialogue>Please do.</dialogue>
<scene_description>David motions to The Waitress. Another Round.</scene_description>
<character>DAVID</character>
<dialogue>What do you, Simon and Seppo do?</dialogue>
<character>HEDY</character>
<dialogue>We locate old Land Mines, Detonate Bombs too.</dialogue>
<character>DAVID</character>
<dialogue>Woo!!! That's some Gangsta Shit. So how does one end up in The Mine and Bomb Disposal Business?</dialogue>
<character>HEDY</character>
<dialogue>The Bouvier's has a History in Vietnam.</dialogue>
<scene_description>She looks over at Eddie knocking them back at The Bar with his Two New Friends.</scene_description>
<character>DAVID</character>
<dialogue>My Father... we ain't close. Never would talk to me about it.</dialogue>
<character>DAVID</character>
<dialogue>Heard him tell somebody being called a Baby Killer didn't bother him as much as being called a Uncle Tom.</dialogue>
<character>HEDY</character>
<dialogue>Uncle Tom? I do not know that term.</dialogue>
<character>DAVID</character>
<dialogue>Uncle Tom, A Traitor to The Race. Everyone was back home fighting for Civil Rights he was here fighting a White Man's War.</dialogue>
<character>HEDY</character>
<dialogue>It's strange how War never ends for those involved. Like the Land Mines. Planted years ago. Still harvesting Death all these years later.</dialogue>
<character>DAVID</character>
<dialogue>Back to your Family History.</dialogue>
<character>HEDY</character>
<dialogue>Well, let's just say... my Family... benefited from The War.</dialogue>
<character>DAVID</character>
<dialogue>Now you got me curious.</dialogue>
<character>HEDY</character>
<dialogue>I shouldn't have brought it up.</dialogue>
<character>DAVID</character>
<dialogue>Hey, I understand...</dialogue>
<scene_description>David backs off. Hedy says it.</scene_description>
<character>HEDY</character>
<dialogue>My Family made several Fortunes owning a Rubber Plantation, then we bought up much of The Rice Market and made another Fortune. WHITE GOLD.</dialogue>
<character>DAVID</character>
<dialogue>Jezzus.</dialogue>
<character>HEDY</character>
<dialogue>Was a wonderful Family Business. One exception, We exploited the Shit out of The Vietnamese people.</dialogue>
<scene_description>She takes a sip from her Drink.</scene_description>
<character>DAVID</character>
<dialogue>So that's the meaning behind The Mines.</dialogue>
<scene_description>She nods, taking another drink.</scene_description>
<character>DAVID</character>
<dialogue>What do the Bouvier's Family think of what you do?</dialogue>
<character>HEDY</character>
<dialogue>What Family?</dialogue>
<scene_description>She covers but David sees it still hurts her.</scene_description>
<character>HEDY</character>
<dialogue>I joined LAMB three years ago. Never looked back.</dialogue>
<character>DAVID</character>
<dialogue>LAMB?</dialogue>
<character>HEDY</character>
<dialogue>Love Against Mines And Bombs. I'm leader of a Rapid Response Team.</dialogue>
<scene_description>David looks at her, listening. Impressed.</scene_description>
<character>HEDY</character>
<dialogue>I must look like some Patty Hearst Style Heiress who's cast herself as a French guilt ridden Liberal Stereotype.</dialogue>
<character>DAVID</character>
<dialogue>Hey, I know all about Liberal Stereotypes. I'm a Poverty Stricken idiot that Loves teaching.</dialogue>
<scene_description>Hedy has to smile.</scene_description>
<character>DAVID</character>
<dialogue>However, my guilt trip is a little less dangerous than yours... Except for School shootings.</dialogue>
<scene_description>Hedy laughs.</scene_description>
<character>DAVID</character>
<dialogue>I wasn't joking. School shootings are no FUN.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VICTORIA BAR - NIGHT</stage_direction>
<scene_description>Otis and Paul walking out.</scene_description>
<character>OTIS</character>
<dialogue>I can't have you Crackin' up out there.</dialogue>
<character>PAUL</character>
<dialogue>Sir, Yes Sir.</dialogue>
<character>OTIS</character>
<dialogue>Come on Man. Cut the Bullshit. We've known each other too long.</dialogue>
<scene_description>Paul gets Real with Otis. They look at a Tiny boat reflect in the current.</scene_description>
<character>PAUL</character>
<dialogue>It's different for me.</dialogue>
<character>OTIS</character>
<dialogue>How so, Man?</dialogue>
<character>PAUL</character>
<dialogue>You always been the Solid One. Had a good Wife. Daughter loves ya.</dialogue>
<character>OTIS</character>
<dialogue>Lost my Wife just like you did. And you got a Son that loves you, too.</dialogue>
<character>PAUL</character>
<dialogue>I COULDN'T LOVE THEM BACK, MAN!!!</dialogue>
<dialogue>When you got back to The World you made that Transition. I'm all Fucked up inside. I'm Broken.</dialogue>
<character>OTIS</character>
<dialogue>We're all broken.</dialogue>
<character>PAUL</character>
<dialogue>Not like me. You Guys were burying Da Gold. Norm and I were holding those Gook's when Norm bought it. I saw him die.</dialogue>
<character>OTIS</character>
<dialogue>Blaming yourself?</dialogue>
<character>PAUL</character>
<dialogue>You don't even know.</dialogue>
<character>OTIS</character>
<dialogue>When we get back, I'd like you to come with me to a Meeting.</dialogue>
<character>PAUL</character>
<dialogue>I don't do dat sit in a Circle whinin' 'bout your Shit Group Thing. Don't do it. Never Have. Never Will.</dialogue>
<character>OTIS</character>
<dialogue>You gotta talk to somebody.</dialogue>
<character>PAUL</character>
<dialogue>I talk to My Brother Stormin' Norman... Every Night.</dialogue>
</scene>
<scene>
<stage_direction>INT. VICTORIA BAR - NIGHT</stage_direction>
<scene_description>Simon and Seppo pull up chairs and join David and Hedy.</scene_description>
<character>SIMON</character>
<dialogue>Simon.</dialogue>
<scene_description>They shake hands.</scene_description>
<character>SIMON</character>
<dialogue>How's it going?</dialogue>
<character>DAVID</character>
<dialogue>I can't call it.</dialogue>
<character>SIMON</character>
<dialogue>That one of yours over there?</dialogue>
<scene_description>He gestures to Eddie at The Bar. David turns seeing Eddie, clearly loaded, standing now with Melvin, Anh and Nu.</scene_description>
<character>SIMON</character>
<dialogue>He's getting pretty loaded.</dialogue>
<character>SEPPO</character>
<parenthetical>(in Finnish)</parenthetical>
<dialogue>Vitun Amerikkalaiset, Kannissa Ku Kale. (Fucking Americans. He's Drink as a Woodpecker.)</dialogue>
<scene_description>David looks at him, concerned.</scene_description>
<character>DAVID</character>
<dialogue>It's been an emotional trip.</dialogue>
<character>SEPPO</character>
<dialogue>It appears so.</dialogue>
<scene_description>Seppo leans in getting into Hedy and David's Business.</scene_description>
<character>SEPPO</character>
<dialogue>Do you know how many Children are killed or maimed by unexploded Land Mines each year?</dialogue>
<character>DAVID</character>
<dialogue>I'm sure too damn many.</dialogue>
<character>SEPPO</character>
<dialogue>Do you know most of those Mines were made in America?</dialogue>
<character>DAVID</character>
<dialogue>I didn't know that.</dialogue>
<character>SEPPO</character>
<dialogue>Of course you don't...</dialogue>
<character>SIMON</character>
<dialogue>...Over 900,000 Tons of Bombs were dropped too.</dialogue>
<scene_description>Seppo and David's eyes meet. He is picking a Fight.</scene_description>
<character>SEPPO</character>
<dialogue>You Americans are Criminally uninformed. I guess you're too busy watching Reality TV and electing a Reality TV Clown for a President.</dialogue>
<character>HEDY</character>
<dialogue>Seppo, don't...</dialogue>
<scene_description>David raises his hand like he is being Sworn In.</scene_description>
<character>DAVID</character>
<dialogue>...Well, on behalf of all The Black People of the U.S.A., who are the ONLY group who did not vote for that Muthafucka, we plead innocent to all Charges, Counts, Accusations, Allegations and Associations connected to The Klansman in The Oval Office.</dialogue>
<scene_description>CRASH!!! Glass shatters! Eddie has gone down taking Anh and Nu with him.</scene_description>
<character>DAVID</character>
<dialogue>Shit.</dialogue>
<scene_description>The Ladies CURSE out Melvin, their Silk Blouses soaked with Beer. David and Melvin, also with Beer on him, help Eddie to his feet.</scene_description>
<character>MELVIN</character>
<dialogue>Goddamn Eddie.</dialogue>
<scene_description>Eddie is mumbling, laughing to himself. David says to Hedy.</scene_description>
<character>DAVID</character>
<dialogue>I gotta go.</dialogue>
<scene_description>Hedy nods, understanding.</scene_description>
<character>EDDIE</character>
<dialogue>Da Bloods search for Lost Treasure...</dialogue>
<character>DAVID</character>
<dialogue>...He's loaded.</dialogue>
<scene_description>David helps Melvin and Eddie.</scene_description>
<character>DAVID</character>
<dialogue>Let's call it a Night...</dialogue>
<character>EDDIE</character>
<dialogue>...the Lost Treasure of Youth and the remains of the dearly departed Norman Earl Holloway, KIA, December Third, 1971. We're here to bring Home a Long Lost Fallen Brother...</dialogue>
<scene_description>The Bar watches as David and Melvin drag Eddie out.</scene_description>
<character>EDDIE</character>
<dialogue>...A Tomb is sacred. Not to be looted by Rogues and Vandals... GOLD!!! There is Gold in Those Hills!!!</dialogue>
<scene_description>Then the Door BANGS shut and they're gone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE ROADS - DRONE SHOT - DAY</stage_direction>
<scene_description>The SUV turns onto a Dirt Road that leads into The Jungle. Vinh's at the wheel. Da Bloods and David are crowded in with their backpacks, fully loaded for The Trail. Tires splash through Mud as the SUV bucks and bounces down the rutted dirt road. Foliage scrapes against the windows.</scene_description>
<character>ANGLE - DAVID</character>
<dialogue>David stares at his Smartphone, but there's No Signal.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD'S END - DAY</stage_direction>
<scene_description>The Men step out of The Mud-Splattered SUV and begin gearing up. Melvin straps a METAL DETECTOR to his pack.</scene_description>
<character>MELVIN</character>
<dialogue>Thanks for getting us this far, Vinh. You put on a Hell of A Tour.</dialogue>
<scene_description>Eddie draws a worn Green Boonie Hat from his pack. In faded Black Marker is a BLACK POWER and the words "RIGHT ON." In Answer, Paul puts on his Trump Cap. David sprays him down with insect repellent. Paul then sprays down David.</scene_description>
<character>VINH</character>
<dialogue>Nothing Is More Precious Than Independence And Liberty. Said By Our Uncle.</dialogue>
<character>OTIS</character>
<dialogue>What Uncle?</dialogue>
<character>VINH</character>
<dialogue>Uncle Ho Chi Minh.</dialogue>
<character>OTIS</character>
<dialogue>Ohhhh So Now's He's Your Uncle?</dialogue>
<character>VINH</character>
<dialogue>No. Actually He's the Father Of Vietnam. Like Your George Washington.</dialogue>
<character>OTIS</character>
<dialogue>My Dear Misinformed, Misguided Vietnamese Brother. Uncle George Owned Slaves... Several...</dialogue>
<character>VINH</character>
<dialogue>And As They Say In Our Colonist 2nd Language TOUCHÉ!!!</dialogue>
<scene_description>Vinh hands Otis a small SATELLITE PHONE in a plastic bag.</scene_description>
<character>VINH</character>
<dialogue>I'll be waiting to hear from you. I hope you find your Friend.</dialogue>
<scene_description>Otis pulls on his pack, wincing as he tightens the straps, pulls out his phone, hits a button. Otis starts SINGING Marvin Gaye's "WHAT'S HAPPENING BROTHER." Soon all Da Bloods are Singing. Eddie flashes Vinh The Peace Sign. Da Bloods Move Out.</scene_description>
<character>DA BLOODS (SINGING)</character>
<dialogue>Hey Baby/What'Cha Know Good I'm Just Gettin' Back/But You Knew I Would/War Is Hell/When Will It End/When Will People Start Gettin' Together Again/Are Things Really Gettin' Better/Like The Newspaper Said/What Else Is New My Friend/Besides What I Read/Can't Find No Work/Can't Find No Job My Friend/Money Is Tighter Than It's Ever Been/Say Man, I Just Don't Understand What's Going On Across This Land/Ah, What's Happening Brother/Yeah, What's Happening My Man/Are They Still Gettin' Down/ Where We Used To Go And Dance/Will Our Ball Club Win The Pennant/Do You Think They Have A Chance/And Tell My Friend/How In The World Have Ya Been/Tell Me What's Out And I Want To Know What's In/What's The Deal Man/What's Happening/What's Happening Brother/Ah What's Happening Brother/What's Happening My Man/Ah What's Happening Brother/What's Been Shaken Up And Down The Line/I Want To Know Cuz' I'm Slightly Behind The Time.</dialogue>
<character>ANGLE - DRONE SHOT</character>
<dialogue>Moving Downhill, Eddie, Melvin, David and Paul Singing feeling the Old Brotherhood. Otis holds the rear. Vinh watches them disappear into The Jungle. The Song FADES AWAY.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - DAY</stage_direction>
<scene_description>They are spread out along a Narrow Trail that cuts through The Trees. All are drenched in sweat. Swatting Mosquitoes. David stays close to his Father.</scene_description>
<character>DAVID</character>
<dialogue>How you hangin'?</dialogue>
<character>PAUL</character>
<dialogue>Boy, you ask that every five minutes. Y'know, I did make it through Da 'Nam War on my own, Bukoo Tours too.</dialogue>
<scene_description>Otis trails behind, his Limp slowing him down. Eddie stops.</scene_description>
<character>EDDIE</character>
<dialogue>Hold up. Let Otis catch up.</dialogue>
<scene_description>Melvin removes his Hat and wipes his head with a Bandanna.</scene_description>
<character>MELVIN</character>
<dialogue>Paul, you can still hump it out On Point.</dialogue>
<character>DAVID</character>
<dialogue>What happens if one of us gets Heat Stroke or sprains an Ankle?</dialogue>
<character>EDDIE</character>
<dialogue>Otis is a Medic. A Good One.</dialogue>
<scene_description>David nears Melvin holding out his hand. Melvin gives him some "Dap" teaching him.</scene_description>
<character>PAUL</character>
<dialogue>Even took a couple of rounds out of me once.</dialogue>
<character>MELVIN</character>
<dialogue>From your Black Hairy Ass as I recall.</dialogue>
<scene_description>Melvin gives David a WINK. Otis limps up, struggling. Eddie takes another Drink from his Canteen.</scene_description>
<character>OTIS</character>
<dialogue>What is that?</dialogue>
<character>EDDIE</character>
<dialogue>Water. What? You wanna smell my breath?</dialogue>
<scene_description>Otis backs down, feeling a little Foolish.</scene_description>
<character>OTIS</character>
<dialogue>Let's just keep moving.</dialogue>
<scene_description>As the Men heft their packs on, Eddie surreptitiously unwraps a piece of GUM and pops it in his mouth. Otis adjusts his pack, wincing in pain. He takes out a Pill, pops it in his mouth, and chews it. Grimacing at the bitter taste, he washes it down with a swig of water.</scene_description>
<character>EDDIE</character>
<dialogue>What are those?</dialogue>
<character>OTIS</character>
<dialogue>Something for my Hip.</dialogue>
<character>EDDIE</character>
<dialogue>I know that! What are they?</dialogue>
<character>OTIS</character>
<dialogue>OxyContin.</dialogue>
<scene_description>Eddie starts LAUGHING.</scene_description>
<character>EDDIE</character>
<dialogue>Are you Fuckin' Kiddin' me! You think I'm Sneakin' a Drink and you're on dat Opioid Epidemic Shit!</dialogue>
<character>OTIS</character>
<dialogue>It's prescribed.</dialogue>
<character>EDDIE</character>
<dialogue>Oh yeah. You write ya own Prescriptions?</dialogue>
<character>OTIS</character>
<dialogue>No at The VA. Like everyone else.</dialogue>
<character>MELVIN</character>
<dialogue>Best be careful wit' dat Shit.</dialogue>
<character>OTIS</character>
<dialogue>This a Fuckin' intervention?</dialogue>
<character>EDDIE</character>
<dialogue>You need one?</dialogue>
<character>OTIS</character>
<dialogue>So you think I'm a Junkie.</dialogue>
<scene_description>Otis takes the lid off his Oxycontin and throws them in the Bush. The Pills flying everywhere Lost Forever.</scene_description>
<character>OTIS</character>
<dialogue>I don't need dat Shit.</dialogue>
<scene_description>The Guys all know he does. Otis limps off, moving faster than he should, fueled by Self-Pity. Paul holds out his hand.</scene_description>
<character>PAUL</character>
<dialogue>You ain't foolin' nobody wit' ya Juicy Fruit Bullshit.</dialogue>
<scene_description>Eddie blows out his Gum, WHOO! Then hands over his Canteen.</scene_description>
<character>MELVIN</character>
<dialogue>Old Crow?</dialogue>
<character>EDDIE</character>
<dialogue>All they had.</dialogue>
<scene_description>Melvin pours it out. Every Last Drop!!!</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPSITE - JUNGLE - NIGHT</stage_direction>
<scene_description>Otis is laid out, asleep. Several BATTERY POWERED LANTERNS illuminates the Camp. Eddie holds up Bags of Dried Ramen Noodles shaking them. Melvin ignites The Propane Camp Stove. Eddie and Melvin look over at Otis already sleeping.</scene_description>
<character>MELVIN</character>
<dialogue>You know he's hurtin'.</dialogue>
<scene_description>David near Paul, who stares into the Darkness. An Animal CALLS OUT IN DEATH!</scene_description>
<character>DAVID</character>
<dialogue>Dad, what the Hell is that?</dialogue>
<scene_description>Other Animals respond, HOOTING and SCREECHING.</scene_description>
<character>PAUL</character>
<dialogue>Gibbons. I saw a Leopard tear one apart once.</dialogue>
<character>DAVID</character>
<dialogue>They're Leopards out there.</dialogue>
<character>PAUL</character>
<dialogue>Leopard's are all gone now. Poachers wiped em' out.</dialogue>
<scene_description>Paul sees something and stiffens. He crouches down, pulling David with him. The Father Whispers to his Son.</scene_description>
<character>PAUL</character>
<dialogue>You see dat?</dialogue>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>PAUL</character>
<dialogue>Looked like a Man Movin' out there.</dialogue>
<scene_description>David tries to see it but Paul pulls him back.</scene_description>
<character>PAUL</character>
<dialogue>It was just a Flash but I saw him.</dialogue>
<character>DAVID</character>
<dialogue>Maybe it was a Monkey.</dialogue>
<character>PAUL</character>
<dialogue>Wasn't no Damn Monkey.</dialogue>
<scene_description>The Two stare into the dark for a long beat.</scene_description>
<character>DAVID</character>
<dialogue>See anything?</dialogue>
<scene_description>Paul slowly rises, looking. It's all clear.</scene_description>
<character>PAUL</character>
<dialogue>Sorry, I've been on edge. Bein' back here. It's not easy.</dialogue>
<character>DAVID</character>
<dialogue>It's Cool.</dialogue>
<character>PAUL</character>
<dialogue>I don't like the way you did it, but I'm glad you're here. Y'know Ya Daddy Loves You. Y'know dat right?</dialogue>
<scene_description>Their Eyes meet. His first sign of Paternal affection.</scene_description>
<character>DAVID</character>
<dialogue>Dad, you got a Funny way of showing Love but I do know that. Love ya.</dialogue>
<scene_description>Father and Son return to the Fire. Melvin fights Mosquitos.</scene_description>
<character>MELVIN</character>
<dialogue>Where's the Bug Spray?</dialogue>
<character>EDDIE</character>
<dialogue>Otis had it last.</dialogue>
<scene_description>Letting Otis sleep, Melvin opens Otis' pack and rummages inside. Removing a Rolled-Up Rag. He unwraps it, revealing CLOSE - THE '45 HANDGUN AND THE SPARE CLIP TIEN GAVE HIM ANGLE - CAMP Eddie sees it and stops. David and Paul walk up, stunned.</scene_description>
<character>PAUL</character>
<dialogue>Ain't dat A Bitch.</dialogue>
<scene_description>Paul kicks the bottom of Otis' Boot, waking him.</scene_description>
<character>PAUL</character>
<dialogue>Nigga, get up. I said get up.</dialogue>
<scene_description>Otis wakes up. He sits up seeing Melvin holding up the '45.</scene_description>
<character>EDDIE</character>
<dialogue>Why didn't you tell us?</dialogue>
<scene_description>They all look at Otis waiting for an explanation.</scene_description>
<character>PAUL</character>
<dialogue>No wonder you made all the arrangements. Tien give it to you?</dialogue>
<character>OTIS</character>
<dialogue>And what 'bout it.</dialogue>
<character>PAUL</character>
<dialogue>We should all be Fuckin' Packin'.</dialogue>
<character>MELVIN</character>
<dialogue>Fool, shut up!</dialogue>
<character>PAUL</character>
<dialogue>Otis, you are totally Pussy Whooped, ain't ya'? You don't see what she is? Or dat French Fuck Day- Roach.</dialogue>
<character>OTIS</character>
<dialogue>I don't know Desroche from Adam's House Cat but if Tien vouches for him, that's good enough for me.</dialogue>
<character>PAUL</character>
<dialogue>She's a Fuckin' Ho, Otis, remember.</dialogue>
<character>OTIS</character>
<dialogue>You need to check yourself.</dialogue>
<character>PAUL</character>
<dialogue>I know ya MaMa San Slanted Pussy Strung you out but she's still just a Ho!!!</dialogue>
<scene_description>Otis charges Paul. They tumble to The Ground, scattering Mess Kits and Provisions. The Two Men grapple and trade Punches as Melvin, David and Eddie try to pull them apart.</scene_description>
<character>DAVID</character>
<dialogue>Dad! Stop it!</dialogue>
<scene_description>They finally separate The Two. Paul yanks free of David.</scene_description>
<character>DAVID</character>
<dialogue>What The Fuck's wrong with you?</dialogue>
<scene_description>Melvin holds The Gun looking at both The Chest Heaving Men.</scene_description>
<character>OTIS</character>
<dialogue>Give it to him.</dialogue>
<scene_description>He hands The '45 to Eddie, who passes it to Paul.</scene_description>
<character>OTIS</character>
<dialogue>Happy?</dialogue>
<scene_description>Paul stares at Otis.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICE PADDY - MORNING</stage_direction>
<scene_description>The Sun beats down on the Flooded Fields and the WORKERS in Coolie Hats. It's a Scene unchanged for Centuries. The Workers turn curious eyes to the Odd Group of Backpackers walking along the dykes staying out of the Muddy Water. Melvin stops to wait for Otis, who lags even further behind. Eddie checks a GPS against The Topo Map. He sees some Hill Country ahead. Melvin looks back at Otis, concerned.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLSIDE OUTCROPPING - DAY</stage_direction>
<scene_description>The Men are gathered around The GPS and the Topo Map.</scene_description>
<character>OTIS</character>
<dialogue>We're standing right on top of it.</dialogue>
<character>MELVIN</character>
<dialogue>You said that on the Last Hill.</dialogue>
<scene_description>Otis pulls out SATELLITE PHOTOS and passes them around. The Men hold them up, trying to match them to The Landscape.</scene_description>
<character>MELVIN</character>
<dialogue>Perspective's totally different.</dialogue>
<character>OTIS</character>
<dialogue>It's gotta be here.</dialogue>
<scene_description>Paul rinses his Mouth with Water and Spits.</scene_description>
<character>EDDIE</character>
<dialogue>Goddamn! We're Fuckin' lost!!!</dialogue>
<character>PAUL</character>
<dialogue>Otis thinks he's slick. Marchin' us 'round 'til we give up and Go Home, then you come back and collect it all for yourself.</dialogue>
<character>OTIS</character>
<dialogue>Then why'd I follow your Sorry Ass here in the first place?</dialogue>
<character>PAUL</character>
<dialogue>'Cuz you couldn't afford Da Airfare, The Hotel, The Gear. You needed Banker Drysdale there!</dialogue>
<scene_description>He jerks a Thumb at Eddie. Otis is so Mad he says nothing.</scene_description>
<character>PAUL</character>
<dialogue>You and Tien are up to sumpthin'. I don't need dis Shit, My Life is fine. I'm here for Norm. I'm not fallin' for The OKEY DOKE. The Dope Fiend Doublecross. Hell Naw.</dialogue>
<scene_description>David grabs something from his Pack, and starts down The Hill into The Brush...</scene_description>
<character>PAUL</character>
<dialogue>Boy, where you goin'?</dialogue>
<scene_description>Without looking back, David holds up a Camp Shovel and a Roll of Toilet Paper.</scene_description>
<character>DAVID</character>
<dialogue>I'm going to The Bank to make a deposit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - HILLSIDE - DAY</stage_direction>
<scene_description>David plunges The Camp Shovel into The Ground and digs a shallow trench, flinging loads of Earth Downhill. He hears an ODD SOUND and stops. He flings another Scoop and the dirt THUMPS against something HOLLOW... David drops The Camp Shovel and scampers down The Hill. He drops to his Hands and Knees and feels around in the undergrowth. Feeling SOMETHING, he excitedly tears away The Vegetation to reveal an expanse of MANGLED, CORRODED ALUMINUM. A faded White "Star and Bar" emblem is painted on the metal.</scene_description>
<character>DAVID</character>
<dialogue>Hey, HEY, DAD. GUYS! I FOUND SOMETHING!!! I THINK I FOUND IT!!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - HILLSIDE - DAY</stage_direction>
<scene_description>SLASHING! Paul, Eddie, Melvin, David and Otis SLASH through the dense brush with Machetes and New Energy! They reach a clearing overlooking another Rugged, Deep Ravine. Melvin quickly flips through The Photos. Then Otis spots it. A BARREN SECTION of Hill. Otis checks the GPS again and nods confidently.</scene_description>
<character>EDDIE</character>
<dialogue>Hallowed Ground, Bloods. Holy Ground.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - HILLSIDE - DAY</stage_direction>
<scene_description>The Metal Detector TICKS in Melvin's HEADSET as he waves The Sensor over The Ground. David and Paul follow along. Fifty yards away, Eddie paces around while Otis sits on A Rock, catching his breath. Melvin works The Metal Detector.</scene_description>
<character>MELVIN</character>
<dialogue>I got something!</dialogue>
<scene_description>Paul and David Attack The Ground in a Frenzy of Digging. Eddie and Otis hurry over. David's Shovel CLANGS against something. He scrapes more dirt away, revealing a Flat Metal Surface... The top of the LOST STRONGBOX... The Men have creating a deep trench around The Box, exposing the Top Half. Melvin and Paul grab the handles on the sides of The Box. They pull hard, muscles straining... SNAP! ...they stumble back falling in The Dirt as The Box disintegrates in a Shower of Rusted Metal Flakes. Paul plunges a Shovel into The Dirt, desperately turning it over. It's just Earth. Flecked through with Rust and Bits of Metal. The Men peer into The Dirt. DREAMS CRUSHED TO METAL BITS. Eddie laughs, bitterly. David watches, Paul laughs too. And Lo And Behold, despite THE PAIN Otis starts to DO A JIG.</scene_description>
<character>OTIS</character>
<dialogue>Fools Gold.</dialogue>
<character>PAUL</character>
<dialogue>We're Gold Fools.</dialogue>
<scene_description>Melvin can't accept it. He picks up The Metal Detector, puts on The Headphones, and begins sweeping The Ground...</scene_description>
<character>PAUL</character>
<dialogue>Give it up. It's over. Da Jig is Up.</dialogue>
<scene_description>Eddie lights up A Smoke and takes a deep drag.</scene_description>
<character>EDDIE</character>
<dialogue>Well, Fuck it, let's find Norm.</dialogue>
<character>MELVIN</character>
<dialogue>Something's here!</dialogue>
<character>PAUL</character>
<dialogue>Just some more Goddamn Box...</dialogue>
<scene_description>Ignoring him, Melvin keeping moving down The Slope.</scene_description>
<character>MELVIN</character>
<dialogue>...Another one. They're small, but there's something here.</dialogue>
<scene_description>David climbs out of the Pit with his Shovel.</scene_description>
<character>DAVID</character>
<dialogue>Where?</dialogue>
<scene_description>Melvin points to A Spot. David plunges his Shovel into The Earth and begins Digging. Melvin moves on, scanning Terrain.</scene_description>
<character>MELVIN</character>
<dialogue>Another one.</dialogue>
<scene_description>Otis joins David, both digging. A Shovel CLANKS against something. Otis pulls up a Dirt-Caked OBJECT. He rubs The Soil away and-- -- GOLD GLEAMS. It's a Gold Bar, just like the ones in The Photos. Otis GRINS. Paul moves to Otis who hands it to him. Paul turns it over in his hands, astounded. It's Real. REAL AF (AS FUCK).</scene_description>
<character>PAUL</character>
<dialogue>Kiss My Old Black Ass 2 Times and Say Hallelujah.</dialogue>
<character>EDDIE</character>
<dialogue>They spilled open in Da Mud Slide.</dialogue>
<character>MELVIN</character>
<dialogue>Goddamn! Gettin' Hits everywhere!</dialogue>
<scene_description>Eddie and Melvin Grab Shovels, scraping dirt off A Spot, it's Gold. Scraping another one, GOLD! More, IT'S THE GOLD!</scene_description>
<character>PAUL</character>
<dialogue>Holy Muthafuckin' Mother of Gold!!!</dialogue>
<scene_description>Paul HUGS Otis! Eddie gives Melvin some Dap! David does an "End Zone" Dance! The Bloods are cracking up with Pure JOY!!! THE BLOODS START JUMPING UP AND DOWN LIKE THEY ARE Q'S STOMPIN' AT A GREEK SHOW.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - FLATS - LATER - DAY</stage_direction>
<scene_description>FLYING HIGH (IN THE FRIENDLY SKY) By MARVIN GAYE Plays. 200 GOLD BARS are piled in stacks on a plastic tarp. David finishes washing The Dirt off them with A Canvas Bucket, while the Guys, Dirty and Sweat-Soaked, catch their breath.</scene_description>
<character>OTIS</character>
<dialogue>Thirty Five Thousand Per Bar. Seven Million Bucks all in...</dialogue>
<character>DAVID</character>
<dialogue>...So Fifty Kilos Per Person. That's...</dialogue>
<character>MELVIN</character>
<dialogue>...A Hundred Pounds Each.</dialogue>
<scene_description>Paul WHISTLES. That's a Heavy Load. Still grinning, Paul picks up The Metal Detector.</scene_description>
<character>PAUL</character>
<dialogue>Otis, will you pack up my share for me?</dialogue>
<character>OTIS</character>
<dialogue>Sure. Where you going?</dialogue>
<character>PAUL</character>
<dialogue>To look for Norm.</dialogue>
<scene_description>Paul suddenly stares into The Bush. Otis watches. Paul pulls out the '45. A Paul crouched enters The Brush.</scene_description>
<character>DAVID</character>
<dialogue>Dad?</dialogue>
<scene_description>Paul put his Finger to His Mouth. Quiet. Melvin and Otis exchange looks. Is Paul Cracking Up?</scene_description>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - TREELINES - DAY</stage_direction>
<scene_description>Paul moves through The Jungle, ready. They stop in The Cover of Deep Brush. Melvin catches up, panting for breath. Paul sees movement in The Brush. Points. ANGLE - THE TWO VIETNAMESE MEN Quan AND Chavy with BACKPACKS and AK-47s bolt through The Trees disappearing over a Ridge. They speak very quietly.</scene_description>
<character>ANGLE - JUNGLE</character>
<dialogue>PAUL</dialogue>
<scene_description>Same Two Dinks I saw in Tân Châu.</scene_description>
<character>MELVIN</character>
<dialogue>What... Fuck. We got to split NOW.</dialogue>
<scene_description>Otis, Melvin, Paul and David packs filled with Gold Bars Hustle through The Jungle as Fast as They can carrying The Stash. David lugs Eddie's Pack behind him by its straps.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVINE - FLATS - DAY</stage_direction>
<scene_description>Eddie is scanning The Ground with The Metal Detector when Melvin approaches, Otis, Paul and David trailing behind.</scene_description>
<character>MELVIN</character>
<dialogue>Those Guys are on us. C'mon!</dialogue>
<scene_description>Eddie yanks off his Headphones.</scene_description>
<character>EDDIE</character>
<dialogue>I'm not leaving without Norman.</dialogue>
<character>MELVIN</character>
<dialogue>You really think Norm cares whether you find his Remains or not?</dialogue>
<character>EDDIE</character>
<dialogue>Remember what Norm said: The Gold should go to our People.</dialogue>
<character>PAUL</character>
<dialogue>What you tryin' to say...?</dialogue>
<character>EDDIE</character>
<dialogue>...Dat Gold should go to Black Liberation.</dialogue>
<character>PAUL</character>
<dialogue>Yeah, Our Fuckin' Black Liberation!!! Do fo' Self?</dialogue>
<character>MELVIN</character>
<dialogue>Get yours.</dialogue>
<character>EDDIE</character>
<dialogue>What about our People?</dialogue>
<character>MELVIN</character>
<dialogue>What about my People! You do what you want with your Share and we'll each decide for ourselves.</dialogue>
<character>OTIS</character>
<dialogue>That is what Norman said.</dialogue>
<character>EDDIE</character>
<dialogue>Otis knows! Norm wanted that Gold to be used for The Cause!!!</dialogue>
<character>PAUL</character>
<dialogue>You Rich! Easy for you to say! Money don't mean Shit to you!</dialogue>
<character>EDDIE</character>
<dialogue>I'm not Rich! I'm Broke!...</dialogue>
<character>PAUL</character>
<dialogue>...How Da Fuck you broke?</dialogue>
<character>EDDIE</character>
<dialogue>I lost it all.</dialogue>
<character>MELVIN</character>
<dialogue>He's Bull-Shittin'.</dialogue>
<character>EDDIE</character>
<dialogue>Humph, wish I was...</dialogue>
<character>MELVIN</character>
<dialogue>...OK. Spill it.</dialogue>
<character>PAUL</character>
<dialogue>Fess up.</dialogue>
<character>EDDIE</character>
<dialogue>Ex-Wives, Bad Investments, Back Taxes, Drinkin', Livin' Large, being stupid. You Fuckin' name it, I spent Money on it!</dialogue>
<character>MELVIN</character>
<dialogue>But you paid for all dis Shit.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, on a Black Credit Card that's already overdrawn.</dialogue>
<scene_description>They all get quiet.</scene_description>
<character>OTIS</character>
<dialogue>What about all those Car Dealerships with your name on them?</dialogue>
<character>EDDIE</character>
<dialogue>I don't own them. My Name is still worth something in The Business, so some of The Dealers choose to keep it. They'll pull it when it stops working for them. Telling ya, ain't gotta Pot to Piss in or A Window to Toss it out!!! FACTS!!!</dialogue>
<character>PAUL</character>
<dialogue>Damn.</dialogue>
<character>MELVIN</character>
<dialogue>Sorry, Bro.</dialogue>
<character>EDDIE</character>
<dialogue>Can we go find Norm???</dialogue>
</scene>
<scene>
<stage_direction>EXT. CRASH SITE RAVIVE - BOULDER - DAY</stage_direction>
<scene_description>Paul wearing Headphones takes a turn with The Metal Detector. Eddie stares off. Otis turns to Melvin and David.</scene_description>
<character>OTIS</character>
<dialogue>If those Guys are gonna hit us. It'll be at night.</dialogue>
<character>DAVID</character>
<dialogue>Great.</dialogue>
<scene_description>Paul CALLS OUT from across the clearing.</scene_description>
<character>PAUL</character>
<dialogue>Bloods!!! I got something!!!</dialogue>
<scene_description>Eddie is the first on his feet. Otis, Melvin and David follow him over to a spot where Paul is digging. Paul pulls something out rubbing The Dirt off. It's an AMERICAN M-16 RIFLE. Eddie kneels next to Paul.</scene_description>
<character>PAUL</character>
<dialogue>Let me do this.</dialogue>
<scene_description>Eddie stands back up.</scene_description>
<character>CLOSE - PAUL</character>
<dialogue>Digs with both HANDS, Slowly and Carefully.</dialogue>
<dialogue>Paul uncovers part of a Skull with a Dirt-Filled Eye Socket. He digs around the Neck Area finding what he's looking for: A PAIR OF DOG TAGS.</dialogue>
<dialogue>Paul rubs The Dirt off. The Tags read: "HOLLOWAY, NORMAN EARL. 379-46-2286. A NEG. BAPTIST."</dialogue>
<character>PAUL</character>
<dialogue>It's Norm.</dialogue>
<scene_description>Paul breaks down Weeping on His Knees like A Baby. Otis looks at him. Eddie and Melvin put their arms around each other, GROWN MEN CRYING. David goes to comfort his Father.</scene_description>
<character>ANGLE - EXCAVATION SITE</character>
<dialogue>The last bit of Daylight is quickly fading. MARVIN GAYE'S "Wholy Holy" Fades in.</dialogue>
<dialogue>Eddie pulls a Red, Black and Green Liberation Flag from his Back Pack.</dialogue>
<character>MELVIN</character>
<dialogue>Like the one Norm always carried on him.</dialogue>
<scene_description>Eddie nods. He spreads it out on the Ground. He places Norm's Skeletal remains on it. Melvin helps him. They fold the Flag ceremoniously around Norman's Remains. The Black Nam Vets have covered Norm's Grave and roped off a small area around it. Otis lays some Flowers at the base of The Grave. Otis and Melvin kneel next to The Grave. Paul just stands, watching. David watches from a few feet away moved by how emotional this is for them. Paul takes a Knee, Eulogizing.</scene_description>
<character>PAUL</character>
<dialogue>Hey Norm. It took us longer than we thought but we came back, just like we said we would. This time when we get on that Plane to go back to The World you'll be coming with us.</dialogue>
<scene_description>Tears run down Melvin's Face.</scene_description>
<character>PAUL</character>
<dialogue>Both your Parents have passed, I guess you know that but your Sisters Janet and Kim will be waiting to meet us when We land. You're goin' Home, Blood.</dialogue>
<scene_description>BAAM! A round just misses Paul's Head splintering a Tree behind him! Gunfire rips up around them! They hit The Dirt!</scene_description>
<character>PAUL</character>
<dialogue>Where's it comin' from?</dialogue>
<character>EDDIE</character>
<dialogue>I didn't see.</dialogue>
<character>MELVIN</character>
<dialogue>Anybody hit?</dialogue>
<scene_description>David looks at all of them. Paul aims The Pistol, ready.</scene_description>
<character>PAUL</character>
<dialogue>All good.</dialogue>
<character>OTIS</character>
<dialogue>We should make A Run for that Open Trail there.</dialogue>
<scene_description>Otis points in that direction.</scene_description>
<character>PAUL</character>
<dialogue>Tien, Da Roach, Vinh. Blood hidin' Gun in your Bag.</dialogue>
<scene_description>Otis looks at Paul with disgust.</scene_description>
<character>OTIS</character>
<dialogue>You go right ahead and believe that...</dialogue>
<scene_description>Otis head down takes off with his Back Pack for The Trail. They all watch him disappear in The Darkness. Eddie decides to follow. Then Melvin. David looks at his Father and dashes off. No choice. Paul follows the others down The Trail.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE TRAIL - TALL GRASS MINEFIELD - DAY</stage_direction>
<scene_description>Eddie and David stop to let the others catch up. Everyone's glistening with Sweat. They take off their Packs and Stretch their Aching Backs and Muscles. Otis brings up The Rear, using a Bamboo as a Walking Stick. Melvin stops. Otis and Eddie are both too winded to speak.</scene_description>
<character>DAVID</character>
<dialogue>I can manage another Thirty, Forty Pounds.</dialogue>
<character>MELVIN</character>
<dialogue>Yeah?</dialogue>
<character>OTIS</character>
<dialogue>Oh Man, that'd be great.</dialogue>
<scene_description>As he starts to open his pack, Paul holds up a Hand.</scene_description>
<character>PAUL</character>
<dialogue>My Son plays Da Pack Mule. My Son gets a Cut.</dialogue>
<character>DAVID</character>
<dialogue>It's Fine Dad.</dialogue>
<character>PAUL</character>
<dialogue>The Hell it is. You've got half my Goddamn Share.</dialogue>
<character>MELVIN</character>
<dialogue>When did you turn into a Grade A First Rate Certified Tired and Krazy Muthafucka?</dialogue>
<character>PAUL</character>
<dialogue>When you've been cheated as many times as I have, you learn to spot the signs of a Dirty Rat Bastard.</dialogue>
<scene_description>Otis just listens to him. Paul looks at Otis. A Gold Bar lands at Paul's Feet. Eddie stands there with an open backpack and throws more Gold Bars at Paul.</scene_description>
<character>EDDIE</character>
<dialogue>How much do you want? Huh?</dialogue>
<scene_description>Eddie throws more Gold Bars.</scene_description>
<character>EDDIE</character>
<dialogue>That enough? More?</dialogue>
<scene_description>Paul just looks at him. Eddie gets in his face!</scene_description>
<character>EDDIE</character>
<dialogue>Do you remember! HUH! You remember what Norm said about Money!!!</dialogue>
<scene_description>Eddie puts his Hand on Paul's Shoulder. SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>VIETNAM FLASHBACK - EXT. STORMIN' NORMAN'S HOOCH - DAY</stage_direction>
<scene_description>Stormin' Norm Chilling, Shirt off African beads around his neck smoking a Joint with Eddie and Melvin. His Black Liberation Flag behind him. Once Again Paul Does Not Partake.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>War is 'bout Money. Money is 'bout War. War to Free Us from Slavery was 'bout Money. We over here killin' Shoe-Less Undernourished Viet Cong cuz of Money. And back in Da World, Black Folks offin' each other Over Money.</dialogue>
<character>EDDIE</character>
<dialogue>What's Da Answer, Blood?</dialogue>
<scene_description>The Bloods watch Norman recite MARVIN GAYE'S SONG GOD IS LOVE. One of those Special Moments as The Joint is passed around from BLOOD to BLOOD except Paul.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>Oh Don't Go And Talk About My Father/God Is My Friend/Jesus Is My Friend/He Made This World/For Us To Live In/And Gave Us Everything/And All He Asks Of Us/Is We Give Each Other Love/Oh Yeah/Don't Go Talk About My Father/Cause God Is My Friend/Jesus Is My Friend/He Loves Us Whether/Or Not We Know It/Just Loves Us Oh Yeah/And He'll Forgive All Our Sins/Forgive All Our Sins/And All He Asks Of Us/Is We Give Each Other Love/Oh Ya/Love Your Mother/She Bore You/Love Your Father/He Works For You/Love Your Sister/ She's Good To You/Love Your Brother/Love Your Brother/Don't Go And Talk About My Father/He's Good To Us/God Is My Friend/Jesus Is My Friend/For When We Call In Him For Mercy/My Father He'll Be Merciful/My Friend/Oh Yes He Will/All He Asks Of Us/I Know/ Is We Give Each Other Love/Bloods... GOD IS LOVE. OUR BROTHER, MARVIN</dialogue>
<scene_description>CUT TO: PRESENT DAY:</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE TRAIL - TALL GRASS - DAY</stage_direction>
<character>PAUL</character>
<dialogue>I don't remember dat.</dialogue>
<scene_description>Otis steps in trying to calm Eddie. He pushes him away.</scene_description>
<character>EDDIE</character>
<dialogue>NAW MAN! I'm tired a trying to make you Fools Love each other!</dialogue>
<scene_description>Paul just looks at Eddie giving him nothing. Eddie's had it.</scene_description>
<character>EDDIE</character>
<dialogue>Wanna tear each other apart! DO IT!</dialogue>
<scene_description>Picks up a Gold Bar, walking backwards Pigeon Toed talking to them.</scene_description>
<character>EDDIE</character>
<dialogue>Was hoping we'd be Bloods one more time. But no, we ain't never getting that back. Not with this!</dialogue>
<scene_description>He holds up the Bar still walking backwards Pigeon Toed.</scene_description>
<character>EDDIE</character>
<dialogue>Traded Brotherhood for this Shit! Means more than me, DON'T IT, PAUL!</dialogue>
<character>PAUL</character>
<dialogue>Muthafucka walks backward Pigeon Toed.</dialogue>
<scene_description>Eddie takes out his Cell Phone.</scene_description>
<character>EDDIE</character>
<dialogue>Like a Rapper. Posing wit my Gold.</dialogue>
<scene_description>Holding the Gold Bar, kissing it. He poses for a Selfie with his Phone. Grinning, the Gold Bar next to his Face like a Post on his Instagram.</scene_description>
<character>EDDIE</character>
<dialogue>Out for me, MYSELF and I now! FUCK Y'ALL. I'M GETTING PAID.</dialogue>
<scene_description>He takes another Pigeon Toed step back... --DIRT AND GRASS EXPLODE INTO THE AIR. Eddie vanishes in The Blast. A FLYING GOLD BAR hits David in the Chest, knocking him back a step. Da Bloods Hit the Deck.</scene_description>
<character>MELVIN</character>
<dialogue>DON'T MOVE.</dialogue>
<scene_description>As Bits of Grass float Back Down Out Of The Air, WHITE SMOKE OBSCURES The Blast Site -- and Eddie. Otis pushes past the others into The WHITE SMOKE.</scene_description>
<character>MELVIN</character>
<dialogue>Otis, Stop!!! It's a Minefield!</dialogue>
<scene_description>Otis ignores him and finds Eddie looking up at The Heavenly Sky. Eddie's Mouth is Full Of Blood. BOTH LEGS AND ARMS HAVE BEEN BLOWN OFF and his Bowels are hanging out. Gold Bars and Chunks of Flesh are scattered around Eddie. Otis kneels next to A DYING EDDIE.</scene_description>
<character>OTIS</character>
<dialogue>EDDIE!!! EDDIE!!!</dialogue>
<scene_description>Eddie just stares up at THE HEAVENS, mouth moving wordlessly. A Large Bubble Of Blood forms on his Lips, then Pops. Otis cradles a DYING EDDIE.</scene_description>
<character>OTIS</character>
<dialogue>It's Otis. I'm here.</dialogue>
<scene_description>Eddie's Eyes Flick over and he seems to recognize Otis. More Blood Burbles up Out Of His Mouth. Eddie's Mouth moves but No More Words come. Eddie SLIPS AWAY.</scene_description>
<character>OTIS</character>
<dialogue>EDDIE...</dialogue>
<scene_description>But Eddie isn't looking at Otis. He stares Into THE BLUE HEAVENS.</scene_description>
<character>EDDIE</character>
<dialogue>Bye.</dialogue>
<scene_description>Then Eddie is gone. Otis sits there, holding him. By now the White Smoke has dissipated. Otis gently closes Eddie's Eyelids. David steps on something!!! WE HEAR A LOUD CLICK - David FREEZES</scene_description>
<character>DAVID</character>
<dialogue>Oh Jesus...</dialogue>
<character>PAUL</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<dialogue>Jezzus. I stepped on something.</dialogue>
<scene_description>EVERYONE Freezes In Place.</scene_description>
<character>PAUL</character>
<dialogue>Son, don't move.</dialogue>
<character>MELVIN</character>
<dialogue>Muthafucka!!!</dialogue>
<scene_description>David holds tight. Not moving. Hedy, Simon and Seppo rush toward them emerging from The White Smoke. Paul draws The '45!</scene_description>
<character>DAVID</character>
<dialogue>DAD NO!!! It's Cool!!! They can help!!!</dialogue>
<scene_description>Paul puts it away. Hedy and the others stop. She instructs.</scene_description>
<character>HEDY</character>
<dialogue>Everybody Freeze!</dialogue>
<scene_description>She looks over and sees what's left of Eddie's Body.</scene_description>
<character>HEDY</character>
<dialogue>Oh my God...</dialogue>
<scene_description>Seppo notices Eddie's Gold Bars scattered about. Otis points to David.</scene_description>
<character>OTIS</character>
<dialogue>He stepped on something.</dialogue>
<scene_description>Hedy sees him.</scene_description>
<character>HEDY</character>
<dialogue>Could be a Field of Cluster Bombs.</dialogue>
<scene_description>Hedy directs Simon. He uses his Ground Penetrating Radar device searching the ground moving closer to David. ANGLE - DAVID Now sweating Bullets. Simon reaches David's Foot. The Device emits a high pitched BEEPING sound.</scene_description>
<character>SIMON</character>
<dialogue>It's a B.L.U., BOMB LIVE UNIT. Hedy's right, probably a Cluster Bomb. Blue 26, size of a tennis ball, but it's enough to tear you apart in half.</dialogue>
<scene_description>David nods. Paul, Otis and Melvin can only watch.</scene_description>
<character>SEPPO</character>
<dialogue>You've got to lead them out of there.</dialogue>
<scene_description>Hedy points to Otis.</scene_description>
<character>HEDY</character>
<dialogue>You stay there. And David don't move.</dialogue>
<scene_description>Hedy points to Paul and Melvin.</scene_description>
<character>HEDY</character>
<dialogue>You two step back but only step in your footprints. Nice and Easy.</dialogue>
<scene_description>Paul and Melvin both carefully back away, looking behind themselves, stepping into their Footprints. David watches the sweat rolling down his dark face. Otis also watches holding his breath still clutching Eddie. Melvin and Paul reach Hedy and Seppo. Safe. Simon uses the Ground Penetrating Radar to reach Otis.</scene_description>
<character>HEDY</character>
<dialogue>Slowly lay your Dead Friend to the ground.</dialogue>
<scene_description>Otis gently lays Eddie down, and slowly gets up and joins Simon as he leads to SAFE SPOT with the others. David now stands there alone in the Minefield.</scene_description>
<character>PAUL</character>
<dialogue>What about my Son?</dialogue>
<scene_description>Hedy looks at Simon and Seppo, then to David, concerned.</scene_description>
<character>HEDY</character>
<dialogue>All he can do is lift up his Foot and Pray to God it doesn't explode.</dialogue>
<scene_description>Otis and Melvin are distraught! Paul is crazed.</scene_description>
<character>PAUL</character>
<dialogue>There's got to be another way.</dialogue>
<character>HEDY</character>
<dialogue>If there is... we don't know it.</dialogue>
<character>OTIS</character>
<dialogue>Fuck... Fuck-Fuck-Fuck!!!</dialogue>
<scene_description>Paul steps away, thinks, then turns to Otis.</scene_description>
<character>PAUL</character>
<dialogue>Jethro Bodine.</dialogue>
<character>OTIS</character>
<dialogue>What?</dialogue>
<character>PAUL</character>
<dialogue>Remember that Big Ass Hillbilly from Oklahoma. Remember he stepped on that Toe-Popper. REMEMBER!</dialogue>
<character>OTIS</character>
<dialogue>Yeah, YEAH!</dialogue>
<scene_description>Paul points to Seppo.</scene_description>
<character>PAUL</character>
<dialogue>Gimme dat Rope.</dialogue>
<scene_description>Seppo produces a good amount of rope from one of their backpacks. He hands it to Paul. Paul goes to David and carefully ties the rope around his waist tightly. David is sweating bullets. Paul steps away holding The Rope out like he has lassoed David. It stretches out 20 yards. Paul instructs the others.</scene_description>
<character>PAUL</character>
<dialogue>I need everybody to grab the end.</dialogue>
<scene_description>Hedy, Simon, Otis, Melvin, Seppo they all grab the rope. Paul grabs the end closest to David instructing him.</scene_description>
<character>PAUL</character>
<dialogue>We're gonna pull you off that Mine before it blows. Just like we did Jethro Bodine. Now on three we all pull hardn' a Muthafucka. GOT IT!</dialogue>
<scene_description>They get it. David looks down at his Foot, a Gold Bar, near it. He then looks at Paul, who nods to him.</scene_description>
<character>PAUL</character>
<dialogue>Don't worry, Son, I got you. ONE!!!</dialogue>
<scene_description>All the hands tighten their grip around The Rope. It becomes taunt and tight. David watches, sweating, eyes frightened.</scene_description>
<character>PAUL</character>
<dialogue>TWO!!!</dialogue>
<scene_description>The hands tighten more. David's eyes grow larger.</scene_description>
<character>PAUL</character>
<dialogue>THREE!!!</dialogue>
<scene_description>They pull HARD and David flies in The Air and off The Mine as it explodes! BOOM!!!! Everyone pulled so hard they fall to the ground like The Tug Of War Game. David lands on his Father. He quickly turns around and looks at his feet and the sole of his Boot is smoking. In a panic, he kicks off his Boot examining his foot. It is fine. On the ground, David hugs his Paul tightly. Their first moment of Father and Son love. Everyone erupts into Joy and Laughter! Otis and Melvin join them helping the Two get to their feet. It is a nervous burst of Relief and Celebration. Simon and Seppo pat David on the back joining the Celebration. David's face falls looking over seeing his Father... ANGLE - PAUL pointing the '45 at Hedy, Seppo and Simon.</scene_description>
<character>PAUL</character>
<dialogue>Git on your Knees. All Three of you.</dialogue>
<scene_description>Everyone is stunned. David raises his hands trying to calm.</scene_description>
<character>DAVID</character>
<dialogue>Dad...</dialogue>
<character>MELVIN</character>
<dialogue>Put dat Damn Gun down! NOW!!</dialogue>
<character>PAUL</character>
<dialogue>We're compromised!</dialogue>
<scene_description>Hedy, Simon and Seppo slowly raise their hands.</scene_description>
<character>SEPPO</character>
<dialogue>Okay, Okay. Just stay Cool.</dialogue>
<character>HEDY</character>
<dialogue>Whatever you're doing, it's none of Our Business. We can just go.</dialogue>
<character>PAUL</character>
<dialogue>The Sound of dat Blast traveled for Miles. Whoever's followin' us, is on their way here, right now.</dialogue>
<character>PAUL</character>
<dialogue>David, get Eddie's Gold. We gotta get the Fuck outta here!!!</dialogue>
<scene_description>David doesn't move. Melvin stands there in Shock...</scene_description>
<character>MELVIN</character>
<dialogue>Are you serious?</dialogue>
<character>DAVID</character>
<dialogue>We gotta tell someone about Eddie. The American Embassy...</dialogue>
<character>PAUL</character>
<dialogue>...We're not tellin' Nobody Nuthin'.</dialogue>
<character>MELVIN</character>
<dialogue>SLOW THE FUCK DOWN!!!</dialogue>
<character>OTIS</character>
<dialogue>We have to bury Eddie.</dialogue>
<character>PAUL</character>
<dialogue>Are you Deaf! We got to get Da Hell outta' here. NOW!!!</dialogue>
<scene_description>Otis Finally Loses It.</scene_description>
<character>OTIS</character>
<dialogue>I'M NOT LEAVING EDDIE LIKE DAT!!!</dialogue>
<scene_description>Hedy stands up.</scene_description>
<character>HEDY</character>
<dialogue>Just let us help you...</dialogue>
<scene_description>Paul wheels the '45 toward them!</scene_description>
<character>PAUL</character>
<dialogue>...Can you bring back The Dead? Huh? HUH? I said ON YA KNEES. NOW.</dialogue>
<scene_description>Hedy joins Simon and Seppo on their Knees. Afraid for their very Life.</scene_description>
<character>PAUL</character>
<dialogue>David, get Da Rope. Tie 'em up!</dialogue>
<character>DAVID</character>
<dialogue>Not doin' it.</dialogue>
<character>OTIS</character>
<dialogue>Let's talk about this.</dialogue>
<character>PAUL</character>
<dialogue>You're not givin' Da orders! I'M RUNNIN' SHIT NOW.</dialogue>
<scene_description>ANOTHER CLUSTER BOMB GOES OFF!!! Sending everyone to the ground. Paul turns toward The Blast as Seppo lunges to his Feet hurling himself at Paul. The Two Men crash to the ground. Seppo is Younger and Stronger but Paul's a Man Possessed.</scene_description>
<character>SEPPO</character>
<dialogue>Get The Gun!!!</dialogue>
<scene_description>Simon lunges to help. Everyone is against each other. Melvin stops Simon. David grabs Seppo from behind. Otis grabs Paul but he slings him off! Paul pistol whips Seppo across The Face knocking him away, who grabs his Face in pain! Paul shakes Otis loose, standing over Seppo, The '45 pointing down at his Bleeding Face.</scene_description>
<character>PAUL</character>
<dialogue>Boy, I have killed far better Men than you. I won't hesitate to plug a Hole in you.</dialogue>
<scene_description>Paul looks at David.</scene_description>
<character>PAUL</character>
<dialogue>Tie em up!</dialogue>
<scene_description>ANGLE - DAVID looks over at Hedy. Who gives him a challenging glare. "Do it and we are done."</scene_description>
<character>PAUL</character>
<dialogue>You want your share? Tie em up!</dialogue>
<scene_description>David still doesn't move.</scene_description>
<character>PAUL</character>
<dialogue>You wanna remain my Son... then get at it.</dialogue>
<scene_description>Paul grabs The Coil of Rope and tosses it to his David. Otis holds a rag to Seppo' face, watches. Melvin looks at Paul. David picks it up and reluctantly ties up a disgusted Hedy.</scene_description>
<character>HEDY</character>
<dialogue>I had you pegged wrong.</dialogue>
<scene_description>David finishes tying her. Otis presses a rag to Seppo's laceration. He steps away from Seppo as David ties him up. Paul says to Melvin and Otis.</scene_description>
<character>PAUL</character>
<dialogue>You got something to say?</dialogue>
<scene_description>Otis and Melvin just stare at him, Silent.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE TRAIL - TALL GRASS - DAY</stage_direction>
<scene_description>Paul nears Simon, instructing.</scene_description>
<character>PAUL</character>
<dialogue>Navigate us through The Mine Field.</dialogue>
<scene_description>Simon nods using the Mine Sweeper. Paul taunts The Attackers.</scene_description>
<character>PAUL</character>
<dialogue>Try to follow us now, Bitches.</dialogue>
<scene_description>Otis and Melvin drag Eddie's Body into A Thicket. Otis places a Blanket over him. He then picks up EDDIE'S CAMERA. He stares at it, wiping it off, reflecting on his Friend. Hedy, Seppo and Simon nearby watch, their Wrists bound. Eddie's Blood Speckled Gold is stacked up into Four Piles.</scene_description>
<character>MELVIN</character>
<dialogue>We should give Eddie's share to his Family.</dialogue>
<scene_description>Otis looks over at The Four Piles.</scene_description>
<character>PAUL</character>
<dialogue>It's the Right Thing to Do.</dialogue>
<character>MELVIN</character>
<dialogue>What about your Son?</dialogue>
<character>PAUL</character>
<dialogue>Yeah, that's my Boy. He gets a share.</dialogue>
<scene_description>David stares at him.</scene_description>
<character>PAUL</character>
<dialogue>Deal?</dialogue>
<scene_description>Melvin and Otis nod, agreeing. Paul goes over and starts putting his Stack in his Backpack. Melvin and Otis step away, speaking quietly.</scene_description>
<character>MELVIN</character>
<dialogue>Need to get that '45 away from him.</dialogue>
<character>OTIS</character>
<dialogue>Tonight. When he's sleeping. In the meantime, don't argue with him. We'll find our moment.</dialogue>
<scene_description>Simon has finished marking The Mines with A Trail of LITTLE RED FLAGS. Otis and Melvin stand over Eddie's remains, Their Hands Covered with His Blood.</scene_description>
<character>MELVIN</character>
<dialogue>So long, Blood. Rest In Peace.</dialogue>
<scene_description>Simon navigates The Minefield using the ground penetrating Radar. Paul follows, holding Simon by A Rope Leash, The '45 trained on his back. Otis and Melvin slowly get their Packs. David pulls on his Pack, then tries to help Hedy along. Hedy jerks away. They walk into the Minefield, dodging the Flagged Areas. David and Otis follow. Melvin brings up the rear, plucking The Red Flags out of the ground as He goes...</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE TRAIL - TALL GRASS - DAY</stage_direction>
<scene_description>The Vets and The Hostages hump down The Trail. Paul, Simon, and Melvin are in The Lead. David, Hedy, Seppo and Otis bring up The Rear. Seppo gives David a hard time.</scene_description>
<character>SEPPO</character>
<dialogue>I can't believe back at that Bar I was actually jealous of you.</dialogue>
<scene_description>David looks at him.</scene_description>
<character>SEPPO</character>
<dialogue>You seemed so fuckin' sure of yourself. Should of known you were actually a Spineless Fuckin' Rat.</dialogue>
<scene_description>Hedy says nothing.</scene_description>
<character>SEPPO</character>
<dialogue>Hedy, you couldn't still want him knowing his demented Father is about to murder us.</dialogue>
<character>DAVID</character>
<dialogue>Seppo, SHUT UP.</dialogue>
<character>HEDY</character>
<dialogue>David, he is going to Kill us. You know that, right?</dialogue>
<scene_description>David looks at her. Paul, up front, shouts back.</scene_description>
<character>PAUL</character>
<dialogue>I said shut the Fuck Up back there!!!</dialogue>
<scene_description>They all go quiet. Otis watches it all.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMP SITE - JUNGLE - NIGHT</stage_direction>
<scene_description>Paul, Melvin and Otis look over The Topo Map.</scene_description>
<character>OTIS</character>
<dialogue>Can we call Vinh and let him know The Rendezvous Point has changed?</dialogue>
<character>PAUL</character>
<dialogue>Vinh's out. He's in Cahoots wit' those Charlies. Right, Traitor?</dialogue>
<character>OTIS</character>
<dialogue>If you don't trust me then just shoot me when you Kill them.</dialogue>
<scene_description>Hedy, Seppo and Simon react their backs against a Tree tied up. Paul stares at them for a long moment. Scary. Paul steps away. Otis and Melvin exchange looks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEAR CAMP - NIGHT</stage_direction>
<scene_description>Paul lays near Camp, 30 Yards away, scanning The Jungle with Night Vision Binoculars. Melvin crawls over and joins him.</scene_description>
<character>MELVIN</character>
<dialogue>We'll never get our Money out of The Country with those Three alive.</dialogue>
<scene_description>Paul turns to Melvin and gives him a long hard look.</scene_description>
<character>PAUL</character>
<dialogue>How?</dialogue>
<character>MELVIN</character>
<dialogue>With your Blade. March 'em into The Jungle. Quick and Quiet. In the morning, we'll tell David and Otis they escaped.</dialogue>
<scene_description>Paul ponders it, nods, agreeing to it.</scene_description>
<character>PAUL</character>
<dialogue>Okay, but You gotta do one of them.</dialogue>
<character>MELVIN</character>
<dialogue>What?</dialogue>
<character>PAUL</character>
<dialogue>I gotta know you're not going to turn on me later. It's the only way.</dialogue>
<character>MELVIN</character>
<dialogue>Fine. But you have to do The Mademoiselle.</dialogue>
<scene_description>Paul nods. DONE DEAL.</scene_description>
<character>PAUL</character>
<dialogue>With Pleasure.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAMP SITE - NIGHT</stage_direction>
<scene_description>Hedy and Simon are tied to A Tree. Otis is resting his Eyes.</scene_description>
<character>HEDY</character>
<dialogue>I need to Urinate.</dialogue>
<scene_description>David unties Hedy leading her into The Jungle.</scene_description>
<character>HEDY</character>
<dialogue>Could you untie my Hands please?</dialogue>
<scene_description>David mulls it over.</scene_description>
<character>HEDY</character>
<dialogue>David, don't you want the First Time you unzip and remove My Pants to be under better circumstances?</dialogue>
<character>DAVID</character>
<dialogue>Not Buyin' It. Ya Ain't Playin' Me.</dialogue>
<scene_description>Hedy raises her hands. Please. A Beat, then David unties her. Hedy pulls down her Pants and Squats. David turns his head, stares past her, into The Darkness.</scene_description>
<character>HEDY</character>
<dialogue>Were you flirting with me the other night because you were just looking for an Easy Fuck or because you were actually interested in me?</dialogue>
<character>DAVID</character>
<dialogue>Actually... I'm interested.</dialogue>
<character>HEDY</character>
<dialogue>Why?</dialogue>
<character>DAVID</character>
<dialogue>Because you left your Rich Family behind to try to do something good, Help People. And Ya Fine Too! Ain't Gonna Lie.</dialogue>
<scene_description>She stands, pulling up her pants. David shifts his gaze and makes eye contact with her.</scene_description>
<character>HEDY</character>
<dialogue>Then let me go. Give me a Ten Minute Head Start. All I ask.</dialogue>
<scene_description>Hedy steps closer to him, eyes pleading, and puts A Hand on the back of his neck as if she might Kiss David...</scene_description>
<character>HEDY</character>
<dialogue>Please.</dialogue>
<scene_description>David Kisses Hedy and She Kisses him back. It's Fierce, Desperate, Raw...</scene_description>
<character>PAUL (O.S.)</character>
<dialogue>Hate to Cock Block... Son. She Fine Tho!!!</dialogue>
<scene_description>Hedy and David turn finding... ANGLE - PAUL AND MELVIN standing there. They have Simon with them, Hands Bound. Hedy and David separate. Paul directs David with The Knife.</scene_description>
<character>PAUL</character>
<dialogue>Back to Camp.</dialogue>
<scene_description>Melvin pulls The Rope from David's Hand tieing Hedy's Hands. Hedy stares at David. Paul has a closed Deadly Look.</scene_description>
<character>MELVIN</character>
<dialogue>Better do what your Father says.</dialogue>
<scene_description>David is Face to Face with his Father.</scene_description>
<character>DAVID</character>
<dialogue>Better not hurt them.</dialogue>
<character>PAUL</character>
<dialogue>Or what?</dialogue>
<scene_description>Melvin and Paul push Hedy and Simon on into The Jungle.</scene_description>
<character>HEDY</character>
<dialogue>David, you're a worthless Fuck.</dialogue>
<scene_description>Hedy shouts not looking back at David.</scene_description>
<character>HEDY</character>
<dialogue>Just so you know, I was only trying to get away! I wouldn't Fuck you for all the Gold In The World!</dialogue>
<scene_description>Paul lets out a Big Guffaw! HA!</scene_description>
<character>PAUL</character>
<dialogue>See, told you 'bout Fuckin' wit' dem White Girls.</dialogue>
<scene_description>Hedy CURSES UP a FRENCH PROFANE STORM AT EVERYBODY. David stands there. Then he turns looking at something...</scene_description>
</scene>
<scene>
<stage_direction>EXT. A SMALL CLEARING - JUNGLE - NIGHT</stage_direction>
<scene_description>Melvin pushes Hedy, Seppo and Simon against a Large Tree.</scene_description>
<character>PAUL</character>
<dialogue>This'll work.</dialogue>
<character>DAVID (O.S.)</character>
<dialogue>Dad.</dialogue>
<scene_description>Paul turns and Otis swings his Bamboo Walking Stick across his face SMACK!!! Knocking him down. ANGLE - OTIS, DAVID AND MELVIN Jump On Paul. Melvin has a Knee in Paul's Back pinning him down. They get The Knife and Gun from Paul. Seppo bolts off! He dashes into The Jungle, escaping. Hedy and Simon start to run. Otis points the Gun at them.</scene_description>
<character>OTIS</character>
<dialogue>Hold it.</dialogue>
<scene_description>Hedy and Simon Freeze.</scene_description>
<character>PAUL</character>
<dialogue>Get Off me! DAVID!</dialogue>
<character>DAVID</character>
<dialogue>Let it go Dad!!!</dialogue>
<scene_description>They climb off Paul having tied him up. He sits bleeding above his Left Eye from The Blow. Paul looks up at Otis, SEETHING. Then laughs, sarcastic.</scene_description>
<character>PAUL</character>
<dialogue>I knew it! Another Muthafuckin' Dope Fiend Double Cross. Don't you see what Otis' doin'? Playin' right into his hands, Fool!!! Dis iz some straight up Subterfuge, Shenanigans... Skullduggery.</dialogue>
<scene_description>Otis looks around frantically and sees David standing there watching, pity in his Eyes.</scene_description>
<character>PAUL</character>
<dialogue>You're with them now? My own Son?</dialogue>
<scene_description>David looks away.</scene_description>
<character>PAUL</character>
<dialogue>Ungrateful Bastard! You're no Son of mine! Hear me!!! You're Dead to me!!! Buried!!! Gone!!! Fuckin' Coward!!!</dialogue>
<scene_description>Otis steps away with David and Melvin. Discussing quietly.</scene_description>
<character>DAVID</character>
<dialogue>If we don't let them go now we cross the line into Kidnapping.</dialogue>
<character>OTIS</character>
<dialogue>Yeah, give up The Gold. It's over.</dialogue>
<character>MELVIN</character>
<dialogue>Man, I can't do that. I need this. My Family needs it.</dialogue>
<character>PAUL</character>
<dialogue>My Sherry More.</dialogue>
<character>HEDY</character>
<dialogue>What do you want?</dialogue>
<character>PAUL</character>
<dialogue>I'm really a Good Guy. I like French Folks. When all that mess happened between your Country and My Country, We were Dead Wrong, not me but dem Red Neck Crackers. No Way in Hell was I saying Liberty Fries. Liberty Toast. Fuck dat, it's French Fries and French Toast. And y'know what was Da Most Stupid I ever heard?</dialogue>
<character>HEDY</character>
<dialogue>What?</dialogue>
<character>PAUL</character>
<dialogue>Dem Ofay's dumping DOM-PERRY-ON down Da Toilet. As much as dat Shit cost. Good as it Tastes too. I gotta give it to your People, The Guillotine. If I was King I'd be Chopping off Heads left and right.</dialogue>
<character>HEDY</character>
<dialogue>Anything else?</dialogue>
<character>PAUL</character>
<dialogue>And another thing. You Frenchies are some Grape growing Muthafuckers. Goddamn.</dialogue>
<scene_description>Hedy has to SMILE.</scene_description>
<character>HEDY</character>
<dialogue>Vive La France.</dialogue>
<scene_description>Hedy looks at the others.</scene_description>
<character>HEDY</character>
<dialogue>Aren't you going to let us go!</dialogue>
<scene_description>Melvin goes quiet. She looks to David, who looks at Otis.</scene_description>
<character>OTIS</character>
<dialogue>Soon.</dialogue>
<scene_description>She SCREAMS OUT IN MAD frustration. Crazy Paul watches tied up.</scene_description>
<character>PAUL</character>
<dialogue>He's callin' his Partners. Makin' plans to Kill you Dumb Fucks!</dialogue>
<character>OTIS</character>
<dialogue>Vinh, it's Otis. There's been a change of plans.</dialogue>
<scene_description>Otis on the phone steps away. Melvin kneels before Paul. David standing over him.</scene_description>
<character>MELVIN</character>
<dialogue>If you can behave yourself, we'll let you put your pack on. You can carry it out like the rest of us. Your call.</dialogue>
<scene_description>Paul looks up at him, Broken. Melvin turns to Hedy and Simon.</scene_description>
<character>MELVIN</character>
<dialogue>Follow along with us. Try anything Stupid. You answer to Him.</dialogue>
<scene_description>Paul stares a seething Mass Of Madness.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD'S END - MORNING</stage_direction>
<scene_description>A Dirt Road ends in a small clearing. Vinh leans against The SUV, passing the time with a Sudoku Puzzle Book.</scene_description>
</scene>
<scene>
<stage_direction>INT. JUNGLE - CLEARING - MORNING</stage_direction>
<scene_description>Vinh peers into The Morning Mist and sees Figures emerging from The Jungle. Melvin sees Vinh up ahead in the clearing and raises A Hand. He recognizes Melvin in The Lead and SMILES. The Smile fades as he spots Hedy and Simon and notices Eddie is missing. The Group is beyond exhausted. They're Hungry, Thirsty, covered with Mud and countless Scratches.</scene_description>
<character>VINH</character>
<dialogue>You have had quite An Adventure.</dialogue>
<scene_description>Melvin and David reach Vinh first. He reaches out to help Melvin remove his pack.</scene_description>
<character>MELVIN</character>
<dialogue>I got it. Thanks.</dialogue>
<scene_description>Hedy, Simon and a Paranoid Paul follow. Otis struggles up The Hill. Vinh rushes over to help him up.</scene_description>
<character>VINH</character>
<dialogue>Where is Eddie?</dialogue>
<character>OTIS</character>
<dialogue>Broke his Ankle. We left him with Food and Water...</dialogue>
<character>VINH</character>
<dialogue>...I would have brought help. Why didn't you call?</dialogue>
<character>OTIS</character>
<dialogue>Eddie insisted... Stubborn like a Mule.</dialogue>
<character>VINH</character>
<dialogue>This is very bad. I knew you should not go alone. I have a Friend in The District. He'll send a Rescue Group.</dialogue>
<scene_description>Vinh pulls out his Satellite Phone. Otis and Melvin react.</scene_description>
<character>OTIS</character>
<dialogue>How would you like to make the most Money ever in your Life?</dialogue>
<scene_description>Vinh smiles. Then he notices The Blood on Otis' Pants.</scene_description>
<character>VINH</character>
<dialogue>Eddie did not Break an Ankle, did he?</dialogue>
<scene_description>The Vets exchange a look. Otis decides to come clean.</scene_description>
<character>OTIS</character>
<dialogue>No.</dialogue>
<character>VINH</character>
<dialogue>You Kill him?</dialogue>
<character>OTIS</character>
<dialogue>No, no. Mine Field.</dialogue>
<scene_description>He's interrupted by the sound of an APPROACHING VEHICLE.</scene_description>
<character>PAUL</character>
<dialogue>Otis, it's your Partners!!!</dialogue>
<scene_description>A Jeep rolls up in a cloud of dust, blocking the SUV. TWO VIETNAMESE MEN with AK-47s hop out. Meet BAO and TAM.</scene_description>
<character>VINH</character>
<dialogue>Do you know these Men?</dialogue>
<scene_description>A VOICE SHOUTS in The Distance. Quan and his Brother Chavy. As they approach, they reveal.. ANGLE - SEPPO who has been captured and is now their very frightened Hostage. He is tied up and looks even the worse than he did when he was with the Bloods. Quan calls out to Vinh.</scene_description>
<character>QUAN</character>
<dialogue>Chúng tôi mu?n vàng c?a chúng tôi. Cho nó lên (We want our Gold. Give it over.)</dialogue>
<character>VINH</character>
<dialogue>He said you have his Gold.</dialogue>
<character>PAUL</character>
<dialogue>Forget that!!!</dialogue>
<scene_description>Quan approaches Otis, who tries to stand firm but is Edgy.</scene_description>
<character>QUAN</character>
<dialogue>We trade your Friend for Gold.</dialogue>
<character>PAUL</character>
<dialogue>He ain't our Friend!</dialogue>
<character>SEPPO</character>
<dialogue>Hedy!!! For God sakes help me!!!</dialogue>
<character>HEDY</character>
<dialogue>David, you've got to help him. Otis, Please!!!</dialogue>
<scene_description>Otis looks at her. He says to Quan pointing at Seppo.</scene_description>
<character>OTIS</character>
<dialogue>We want him alive.</dialogue>
<scene_description>Quan moves to Otis and points to bag. He grabs for The Bag, ripping it and his Gold drops to the ground! THUD!!! Quan picks up a couple of Bars grinning holding them up for his Men to see. JACKPOT. Melvin closes his eyes, Fuck. Quan stunned. Smiles. Jackpot.</scene_description>
<character>MELVIN</character>
<dialogue>FUCK!!!</dialogue>
<character>OTIS</character>
<dialogue>Listen. We can share it. There's more than enough for everyone.</dialogue>
<scene_description>Amused, Quan translates for his Men:</scene_description>
<character>QUAN</character>
<dialogue>Ông mu?n chia s? nó v?i chúng tôi.(You want to divide, which is ours?)</dialogue>
<scene_description>They laugh again.</scene_description>
<character>QUAN</character>
<dialogue>I like you, Black Uncle Sam. Okay, We share.</dialogue>
<scene_description>He takes Otis' Hand and slaps a Single Bar into his palm, hard, then crushes Otis' Fist with his own. Otis grimaces.</scene_description>
<character>QUAN</character>
<dialogue>This share for you. Rest for us.</dialogue>
<scene_description>Quan shoves Otis.</scene_description>
<character>QUAN</character>
<dialogue>Big Man mu?n chia s? ngay bây gi? (Big Man wants to share now?)</dialogue>
<scene_description>They laugh at their Leader's witty remark. Otis gives Melvin a look. Melvin has The '45. He slowly brings his hand toward his waist. Quan stops smiling and turns to Paul, trying to stare him down. But Paul's not afraid. He's ready to explode.</scene_description>
<character>DAVID</character>
<dialogue>We're Americans. If you kill him...</dialogue>
<scene_description>David points at Seppo.</scene_description>
<character>DAVID</character>
<dialogue>...or us, you've got an International...</dialogue>
<character>QUAN</character>
<dialogue>...We not kill anyone.</dialogue>
<character>OTIS</character>
<dialogue>You hurt that Young Man, you get nothing. Hear me, nothing!</dialogue>
<scene_description>Quan grins to himself.</scene_description>
<character>QUAN</character>
<dialogue>Black Uncle Sam, this belong to Vietnamese People. We take what is ours. Dat vàng trong jeep. (Put the Gold in The Jeep.)</dialogue>
<character>PAUL</character>
<dialogue>Boy you ain't takin' what's ours. Look on there it says USA.</dialogue>
<character>QUAN</character>
<dialogue>You USA?</dialogue>
<character>PAUL</character>
<dialogue>Muthafuckin' right.</dialogue>
<scene_description>Quan nears Paul yanking off his Trump hat, pulling out a wicked-looking Combat Knife, holding it to his face.</scene_description>
<character>QUAN</character>
<dialogue>That say USA but I don't think so.</dialogue>
<character>PAUL</character>
<dialogue>Believe it. Who the Fuck are you?</dialogue>
<character>QUAN</character>
<dialogue>We... Vietnam Officials.</dialogue>
<scene_description>Otis and Melvin watch Bao and Tam boldly grab Two of The Gold Packs and put them into The SUV.</scene_description>
<character>PAUL</character>
<dialogue>Where are ya Official Badges?</dialogue>
<character>QUAN</character>
<dialogue>We don't Need No Stinkin' Official Badges.</dialogue>
<scene_description>Paul says nothing. Quan turns away from him glares at Paul.</scene_description>
<character>QUAN</character>
<dialogue>Do You Know Calley? Brother.</dialogue>
<character>PAUL</character>
<dialogue>You ain't no Brother of mine... Hell Yeah, I Know California.</dialogue>
<character>QUAN</character>
<dialogue>You imbecile. Not The State. Lt. Calley. Ever Heard Of My Lai?</dialogue>
<character>PAUL</character>
<dialogue>I Know 'Bout My Lai... And...</dialogue>
<character>QUAN</character>
<dialogue>...You GI's Are Murderers. Killers Of Innocent Children.</dialogue>
<character>PAUL</character>
<dialogue>There were Atrocities On Both Sides Mister Victor Charlie So Go Chew On Some Chopsticks.</dialogue>
<character>QUAN</character>
<dialogue>Black Uncle Sam, I'll show you Chopsticks.</dialogue>
<scene_description>Quan spins Slashing at Paul but he sidesteps The Knife. Seppo panics and RAMS into Chavy knocking him to the ground. He takes off running! AN EXPLOSION!!! Seppo vanishes. White smoke and haze is everywhere! Hedy and Simon SCREAM in horror! Everyone is stunned. Seppo has stepped on a mine. Through the white smoke David CHARGES Quan!</scene_description>
<character>DAVID</character>
<dialogue>DAD!</dialogue>
<scene_description>Chavy spins FIRING hitting David in the leg! He goes down! Paul seizes Chavy wrapping an arm around his throat. With his other hand, he pulls a KNIFE from Chavy's belt plunging it into him as he SCREAMS until he collapses. By the Jeep, Bao and Tam, drop The Gold getting their AK's. Otis gesturing with open palms to Bao and Tam.</scene_description>
<character>OTIS</character>
<dialogue>Don't shoot! Không ban!</dialogue>
<scene_description>Paul snatches Chavy's AK and aims as Bao and Tam do the same. Quan rushes to his Wounded Brother as Melvin whips out The '45. Bao and Tam open FIRE! Paul and Melvin FIRES BACK! Hedy and Simon dive into The Ditch. Otis hits The Deck! Quan presses his hands to Chavy's stab wounds, but it's hopeless. The Man is Bleeding Out. He's near Death.</scene_description>
<character>QUAN</character>
<dialogue>Chavy... CHAVY không chet! (Chavy don't die!)</dialogue>
<scene_description>Vinh pulls a Norinco M-77 HANDGUN from beneath The Driver's seat. Quan picks up his AK marching toward Paul, SHOUTING!</scene_description>
<character>QUAN</character>
<dialogue>Các Muthafucker các! (Die Muthafucker Die!)</dialogue>
<scene_description>Quan sprays wildly just missing David, who is hit in the thigh, crawling for cover. Otis dashes into the Gunfire grabbing David dragging him in the Ditch with Simon and Hedy. Vinh FIRES at Quan sending him to the ground for cover. Paul and Melvin SHOOT Bao several times. He goes down badly wounded. Quan dashes to the SUV and grabs several of the Back Packs of Gold. Paul sees Quan dragging The Packs to The Jeep. Tam goes to help Quan. Paul FIRES. Rounds THUNK against The Gold Bars. Vinh FIRES and hits Tam in the leg! Quan lets go of The Bags and RETURNS FIRE. He grabs the limping Tam and gets him in the Jeep. Tam screams FIRING forcing Paul back. The Jeep reverses, Quan SPEEDS OFF as Paul FIRES! Bullets ricochet off the tailgate. The Jeep vanishes in a cloud of dust. ANGLE - VINH rushes to The SUV, ground soaked with liquid, he scoots underneath. Melvin helps David out of The Ditch. David looks around, taking in The Carnage. ANGLE - SIMON AND HEDY climb from The Ditch, Hands in The Air. They see where Seppo stepped on the mine. Hedy hands go to her mouth overcome with Shock and Sadness. They walk over looking at the hole.</scene_description>
<character>HEDY</character>
<dialogue>My God. Seppo is gone.</dialogue>
<character>SIMON</character>
<dialogue>Could there be more?</dialogue>
<character>HEDY</character>
<dialogue>Who the fuck knows.</dialogue>
<scene_description>Vinh sticks a handkerchief into the punctured Gas Tank. Otis in the ditch with David RIPS his pants leg open, revealing a Chunk of Meat missing from his thigh.</scene_description>
<character>OTIS</character>
<dialogue>Through and Through.</dialogue>
<scene_description>Vinh crawls from under The SUV, getting in, starting The SUV. Melvin nears him. The GAUGE is very low! Vinh strikes the steering wheel. He turns off The SUV. Paul nears Otis still in the ditch. Otis ties a tourniquet around David's Upper Leg bandaging it up.</scene_description>
<character>OTIS</character>
<dialogue>Relax, it's just a Mosquito bite.</dialogue>
<scene_description>David looks at his Father but is totally ignored. Finished, Otis walks out of the ditch followed by Paul.</scene_description>
<character>PAUL</character>
<dialogue>Da first thing dat Gook is gonna' do when he gets into Town is hire all The Local Muscle he can find.</dialogue>
<scene_description>Otis gets The Sat-Phone from the SUV dials a number.</scene_description>
<character>PAUL</character>
<dialogue>Who you calling?</dialogue>
<character>OTIS</character>
<dialogue>Tien. She can get us outta here.</dialogue>
<scene_description>Paul tries to Snatch the phone from him but Otis grabs him with his Free Hand and tries to push him away. Paul PUSHES Otis and rips The Phone free SMASHING it against the SUV. Everyone is stunned.</scene_description>
<character>MELVIN</character>
<dialogue>I should shoot you Dead.</dialogue>
<character>PAUL</character>
<dialogue>Try it. Nobody stoppin' You.</dialogue>
<scene_description>Paul squares off like He's ready for A Showdown.</scene_description>
<character>PAUL</character>
<dialogue>Ain't Nuthin' To It But To Do It.</dialogue>
<character>OTIS</character>
<dialogue>WHAT IS WRONG WITH YOU?</dialogue>
<scene_description>Melvin shakes his head, stepping away. Vinh Nears Otis.</scene_description>
<character>VINH</character>
<dialogue>We have very little Gas perhaps enough Gas to reach some Ruins a few miles from here.</dialogue>
<character>OTIS</character>
<dialogue>What advantage would that give us?</dialogue>
<character>VINH</character>
<dialogue>If you choose to fight these Men you need some defenses.</dialogue>
<character>PAUL</character>
<dialogue>Charley is in with Tien. Dat's how they learned about Da Gold. Dat's how dis whole Ambush was A Set Up!!!</dialogue>
<character>MELVIN</character>
<dialogue>You know Tien?</dialogue>
<character>VINH</character>
<dialogue>No. I do not.</dialogue>
<character>PAUL</character>
<dialogue>You expect him to tell The Truth!</dialogue>
<scene_description>Paul spreads out The Topo Map on The Hood of The SUV.</scene_description>
<character>PAUL</character>
<dialogue>...We cut through Da Jungle to Da River. To a Village, Toh Dhan. We wait until Nightfall, then we steal A Boat and skirt past Tân Châu.</dialogue>
<scene_description>Simon and Hedy carefully moving David to the SUV. They pause.</scene_description>
<character>SIMON</character>
<dialogue>That's Twenty Miles.</dialogue>
<character>OTIS</character>
<dialogue>Your Son's Leg won't make it.</dialogue>
<character>PAUL</character>
<dialogue>He's not my problem... anymore.</dialogue>
<character>MELVIN</character>
<dialogue>David is your Son!!!</dialogue>
<character>PAUL</character>
<dialogue>He's no Son of mine. He's a Fuckin' Muthafuckin' Back-Stabber!</dialogue>
<scene_description>Paul gives David a Hateful look. David says nothing. Paul spits he is finished! They sit David in the back of the SUV.</scene_description>
<character>VINH</character>
<dialogue>We need to go. Now.</dialogue>
<scene_description>Paul collects weapons and spare Mags from The Dead. Everyone gets in The SUV. Paul watches. Settled they stare at him.</scene_description>
<character>OTIS</character>
<dialogue>You coming?</dialogue>
<character>PAUL</character>
<dialogue>My Share is mine again. He gets Doodly Squat.</dialogue>
<scene_description>David looks away from him too hurt to even look anymore.</scene_description>
<character>OTIS</character>
<dialogue>Norm wouldn't want us to split up.</dialogue>
<character>PAUL</character>
<dialogue>Right. He wouldn't. But that's my problem. Stormin' Norm ain't wit' Da Livin'.</dialogue>
<scene_description>He picks up his Trump Cap off the ground, crunching it on his Head, taking off down The Trail, vanishing into Da Jungle.</scene_description>
</scene>
<scene>
<stage_direction>INT. JUNGLE - ROAD - DAY</stage_direction>
<scene_description>Otis stands next to Vihn talking on the side of the road.</scene_description>
<character>VINH</character>
<dialogue>I can help you get it out of The Country.</dialogue>
<scene_description>Otis looks at Melvin. He nods.</scene_description>
<character>OTIS</character>
<dialogue>We'll split a share with you.</dialogue>
<character>VINH</character>
<dialogue>How much is that?</dialogue>
<character>OTIS</character>
<dialogue>A Million.</dialogue>
<scene_description>Vinh reacts.</scene_description>
<character>HEDY</character>
<dialogue>We want in, too.</dialogue>
<character>OTIS</character>
<dialogue>You want in?</dialogue>
<character>HEDY</character>
<dialogue>Yeah.</dialogue>
<character>OTIS</character>
<dialogue>All right.</dialogue>
<scene_description>Otis nods. Simon looks at Hedy. They are in.</scene_description>
<character>MELVIN</character>
<dialogue>Otis, Goddamn. Put our Gold on Craig's List.</dialogue>
<character>OTIS</character>
<dialogue>What choice we got? Hedy, Simon that bullshit with Paul and The Kidnapping never happened. Right?</dialogue>
<character>HEDY</character>
<dialogue>What about Seppo?</dialogue>
<character>OTIS</character>
<dialogue>All we know is what happened. He stepped on a landmine..</dialogue>
<character>SIMON</character>
<dialogue>Hey real quick just for our own edification. Our share is also going to be a million?</dialogue>
<character>MELVIN</character>
<dialogue>Sheeeeeeeeeeeit!</dialogue>
<character>OTIS</character>
<dialogue>Half.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - ROAD'S END CLEARING - DAY</stage_direction>
<scene_description>Flies swarm around The Bodies of Chavy and Bao. Quan and SEVEN OTHER MEN, all carrying AK-47s watch, a LAHU in his 50s, examines the hodgepodge of Footprints. He shows Quan pointing in TWO DIRECTIONS. Quan and Three Men rush back to The Jeep and take off! The Lahu Tracker takes Three Men in another Jeep following Paul.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - DAY</stage_direction>
<scene_description>Paul steps out of The Jungle, onto A Ridge. Twenty feet below, A Wide River surges, the current swift and strong. He sighs and reluctantly turns walking along The Ridge, following the course of The River.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE ROAD - DAY</stage_direction>
<scene_description>The SUV sits abandoned having run out of gas.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLES - DAY</stage_direction>
<scene_description>Hedy and Simon help carry David, who struggles from his Thigh wound. Otis and Melvin follow Vinh as he leads them. They move through some Brush cutting through. The long forgotten Kingdom of Champa. An ancient Hindu complex built Centuries ago. Overgrowth, neglect and a few days of Intense Carpet Bombing have left the structures in ruins.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MY SON TEMPLE - DAY</stage_direction>
<scene_description>Otis, Melvin and Vinh bring in The Backpacks Of Gold. They are stacked up in a Large Pile. Simon and Hedy sit David down his leg stretched out trying to get him comfortable.</scene_description>
<character>SIMON</character>
<dialogue>You all right?</dialogue>
<scene_description>David nods, grimacing.</scene_description>
<character>SIMON</character>
<dialogue>I'll be back.</dialogue>
<scene_description>Hedy slides down the wall, exhausted with everything. David looks at her, closing his eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLES - DAY</stage_direction>
<scene_description>Vinh leads Otis and Melvin through The Red Brick Ruins. The Ruins look more Indian than Asian. Astounding Sculptures, Designs, collapsed buildings dating back to The 4th Century.</scene_description>
<character>VINH</character>
<dialogue>The Temples were dedicated to The God Shiva. It was Carpet Bombed in 1969... By you know who?</dialogue>
<scene_description>Otis and Melvin turn staring down at a Massive Hole in the ground, now overgrown with Vegetation created by A B-52 Bomb.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - DAY</stage_direction>
<scene_description>Paul machete in hand madly hacking down Tree Branches. He charges through The Jungle hauling the heavy load on his back like an enraged Bull, MUTTERING to himself, as he slashes!</scene_description>
<character>PAUL</character>
<dialogue>Dey Mind's weak. Got no intestinal fortitude. Ain't as strong as you, Paul, NO SIR!!! Ain't got da Guts Paul got!!! Ain't dey fault. Dey wuz Born Weak. Otis and his Ho. Car Thieves, Guttersnipes, Chain Snatchers! Dey ain't snatchin' My Gold Bars. Not Me. No, Sir. I ain't gettin' Fucked again. Trying to Fuck Me with Salt in the Vasaline. Not Paul. Not dis Time. I'm gettin' mine!!! SHONUFF!!! Sum-Bitches turned my Goddamn own Son against Me. My own Blood! Yeah, well, we'll see who's standin' in Da End... I don't care what dat Damn VA say... VA don't know Shit from Shinola! Worst Fucking Doctors In Da World! Malignancy, Shit... I was born Malignant! Dis Fuckin' Place bathed me in dat Agent Orange Lymphoma Herbicidal Stew. Army Bastards scorched Da Earth wit' it! Sprayed dat Poisonous Shit in Da Water, Da Air, My Blood Stream, My Cells, My DNA, in my Muthafuckin' Soul!!! I ain't dying from dat Shit!!! HEAR ME!!! HEAR ME!!!</dialogue>
<character>PAUL</character>
<dialogue>You will not Kill Paul!!! THE U.S. GOVERNMENT WILL NOT TAKE ME OUT!!! I will choose how I die!!! GOT IT!!! Couldn't kill me then, ya'll SHO' IN DA FUCK WON'T KILL ME NOW!!! RIGHT ON!!! RIGHT ON!!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLE - DAY</stage_direction>
<scene_description>Vinh is explaining how The Gunmen may attack.</scene_description>
<character>VINH</character>
<dialogue>There could be Eight. Ten. Some may be tracking your Friend.</dialogue>
<scene_description>Melvin holds out a Pistol to Simon.</scene_description>
<character>SIMON</character>
<dialogue>I can't. I can't Kill a Man.</dialogue>
<character>MELVIN</character>
<dialogue>Fair enough.</dialogue>
<scene_description>He pulls The Gun back and hands it to Otis. He takes it. Otis points to a Temple Building.</scene_description>
<character>OTIS</character>
<dialogue>Could you get on The Roof with binoculars and warn us Perhaps. Make yourself useful.</dialogue>
<scene_description>Simon looks up at The Building.</scene_description>
<character>SIMON</character>
<dialogue>That I can do.</dialogue>
<character>OTIS</character>
<dialogue>Good. I guess before we go any further. I should ask...</dialogue>
<character>MELVIN</character>
<dialogue>...NO! I don't want to just give them The Gold. Hell no. I've come too far to give up now. No...</dialogue>
<scene_description>Otis turns to Vinh.</scene_description>
<character>VINH</character>
<dialogue>...I have risked my Life for much less.</dialogue>
<scene_description>Otis turns to Simon.</scene_description>
<character>SIMON</character>
<dialogue>I still have a lot of Student Debt.</dialogue>
<scene_description>Otis and Melvin look at each and have to laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN TEMPLE - DAY</stage_direction>
<scene_description>Melvin pulls on A Rope that Simon has tied to the Roof of The Tallest Temple building. Simon looks down at Melvin. He gives him The Thumbs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE - DAY</stage_direction>
<scene_description>Otis enters carrying a stripped Tree Branch.</scene_description>
<character>OTIS</character>
<dialogue>Gonna make a splint for your Leg. It'll keep it stable and help stop The Bleeding.</dialogue>
<scene_description>Hedy pulls out a Water Bottle. She nears David, who is sweating hard and uses what little is left to rinse off David's Face and Leg.</scene_description>
<character>DAVID</character>
<dialogue>Thank you.</dialogue>
<scene_description>Otis pulls out The OxyContin he received from Melvin and hands it to a surprised David. He then pops it with a swig of water.</scene_description>
<character>OTIS</character>
<dialogue>Don't thank me, thank Melvin.</dialogue>
<character>DAVID</character>
<dialogue>You Old Goats are something else.</dialogue>
<scene_description>Otis feels David's Forehead.</scene_description>
<character>OTIS</character>
<dialogue>Running A Fever. The Wounds probably already infected, Hedy, can you find me something to tie it?</dialogue>
<scene_description>Otis hands her a Leatherman Pocket Tool. Hedy cuts a strip of fabric from his pants. They gently lift David's Leg placing the Splint there. He holds it up as she ties strips around it. David grimaces as they lower it to the ground.</scene_description>
<character>OTIS</character>
<dialogue>You good?</dialogue>
<scene_description>David nods.</scene_description>
<character>OTIS</character>
<dialogue>Your Pops gave me this when we arrived. It's addressed for you.</dialogue>
<scene_description>Otis hands him The Letter. Hedy looks at David. The Letter says: TO BE OPENED UPON MY DEATH.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - DAY</stage_direction>
<scene_description>Paul charges through The Brush, Eyes Blazing with Maniacal Energy. He's a Man Possessed. A POSSESSED MAN. He crashes headlong through The Leaves and Branches. As he passes through a dense patch of foliage, he CRIES OUT. A Bright Green TREE VIPER SNAKE has latched onto his Upper Arm. Three Feet Long with RED DEVIL EYES, this Snake doesn't release after a Bite like other Snakes, it HOLDS ON...</scene_description>
<character>PAUL</character>
<dialogue>SonofaBitch!!!</dialogue>
<scene_description>Paul falls to The Ground flinging it off! ENRAGED! He then FIRES His AK at it!!!</scene_description>
</scene>
<scene>
<stage_direction>EXT. QUAN'S JUNGLE - DAY</stage_direction>
<scene_description>Quan and his Men following Paul's Trail HEAR the SHOTS!!!</scene_description>
<character>QUAN</character>
<dialogue>Nhanh lên! Di! Di! (Hurry up!)</dialogue>
<scene_description>They break into a Trot, high-stepping over Tree Roots...</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - DAY</stage_direction>
<scene_description>Paul rips open his sleeve, revealing TWO PUNCTURE WOUNDS Oozing Blood. He puts his Mouth over The Wound, Sucks, and SPITS. He repeats the process twice more, then stumbles out...</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLLAPSED TEMPLE - DAY</stage_direction>
<scene_description>Melvin and Otis sit on a couple of Large Slabs.</scene_description>
<character>OTIS</character>
<dialogue>Wish Paul was in this fight.</dialogue>
<character>MELVIN</character>
<dialogue>I know.</dialogue>
<character>OTIS</character>
<dialogue>Probably our Last Go Round, Blood.</dialogue>
<character>MELVIN</character>
<dialogue>Oh Yeah.</dialogue>
<character>OTIS</character>
<dialogue>I gotta have this Money.</dialogue>
<character>MELVIN</character>
<dialogue>You've done Okay for yourself. Why you need it so bad?</dialogue>
<character>OTIS</character>
<dialogue>I'm a God fearing Man and Da Lawd knows I've been blessed with a Great Woman, Cindy. I'm the Luckiest Man in The World but between you and me sometimes, I don't feel that way. I feel like a Bum. The Bum who couldn't provide as much as he should have for his Saint of a Wife and Kids. Back when we were in College all those Bougie, Light Skin, Green Eyed, Curly Hair, Ralph Lauren, Polo Wearing and Shiny Penny Loafing wearing Dudes were all over My Cindy like White on Rice. Cindy had her pick, coulda been living a Good life, Summer Home in Martha's Vineyard and whatnot but she didn't Love Em'. Big Money or not. Cindy Love Me. Married Me. I pleaded with her, told her I'm not that Guy, I'm just a simple Working Class Brother. Cindy, said "I Love You". I wish I coulda got her all the nice things she truly deserved. From Day One we have been living from Paycheck to Paycheck, trying to make Ends meet. I did the Best I could.</dialogue>
<character>OTIS</character>
<dialogue>Kept Roof over our Heads, hand me down clothes on our Kids backs, Food on The Table, Cindy was a great Writer in College but gave it up and took a job as a Librarian, never wrote one Single Word again- Ever. Only Reads. Cindy sacrificed her artistic Life for my Black Broke Ass and our Kids. I Blame myself. Blood this is my Last and Final Chance to make it up to my Partner in Life, for her to live in comfort the years she has left. Maybe Cindy can start to write that Novel she always talked about. I will send our Grandchildren to College. My share of this Gold is for Cindy so help me God. If I go out, I need to go out like a Man.</dialogue>
<character>MELVIN</character>
<dialogue>Morals and Ethics. Sound like Stormin' Norm.</dialogue>
<character>OTIS</character>
<dialogue>Keep hearing his voice telling me to get right, to Do Right. You know, Norm had this whole living thing figured out. Brother, We are not going to die in Nam.</dialogue>
<character>MELVIN</character>
<dialogue>'Cuz this is Our Hill. Blood.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE CANYON REGION - DAY</stage_direction>
<scene_description>Paul trudges along, swaying unevenly, trying to keep his balance. The Venom isn't deadly, but it's debilitating.</scene_description>
<character>PAUL</character>
<dialogue>Damn... Snake Poison...</dialogue>
<scene_description>He sits on a bolder near the edge of The Canyon. He tries to recover squeezing his eyes tight, then opening them. He gets grabbing his AK-47, but he stumbles backward, arms flailing... ...and FALLS OVER THE EDGE, into The Canyon. Paul tumbles down the side of the Cliff his...</scene_description>
<character>CLOSE - BACKPACK</character>
<dialogue>It flies off vanishing into a Thicket of Trees.</dialogue>
<character>CLOSE - PAUL</character>
<dialogue>Paul falls ripping through Tree Branches and brush! Flipping and catching on limbs SLAMMING on The Ground Below!!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - DAY</stage_direction>
<scene_description>Paul flat on his back. Most Men would be Dead. However, he pulls himself up covered with Bleeding Cuts and Scratches.</scene_description>
<character>PAUL</character>
<dialogue>Dat's All You Got?</dialogue>
<scene_description>Paul LAUGHS!!!</scene_description>
<character>PAUL</character>
<dialogue>DAT'S ALL YOU GOT???</dialogue>
<scene_description>He holds his aching back. He sees his Trump Cap. He dusts it off on his leg and puts it on. His mind then goes to...</scene_description>
<character>PAUL</character>
<dialogue>Where is it? Come on Baby...</dialogue>
<scene_description>He looks around, eyes darting about, stumbling about growing desperate then he spots...</scene_description>
<character>PAUL</character>
<dialogue>Come to PaPa.</dialogue>
<character>PAUL'S POV</character>
<dialogue>CLOSE - BACKPACK</dialogue>
<dialogue>sitting there upright intact like someone placed it there lodged in a Tree.</dialogue>
<character>ANGLE - JUNGLE</character>
<dialogue>Paul staggers without his BACKPACK into The Jungle.</dialogue>
</scene>
<scene>
<stage_direction>INT. TEMPLE - DAY</stage_direction>
<scene_description>Hedy is across from David. He stares at The Unopened Letter.</scene_description>
<character>HEDY</character>
<dialogue>What's this issue between you and your Father?</dialogue>
<scene_description>David looks at her.</scene_description>
<character>DAVID</character>
<dialogue>Jacquelyn.</dialogue>
<character>HEDY</character>
<dialogue>Who is that?</dialogue>
<character>DAVID</character>
<dialogue>My Mother. She had a very difficult Delivery with me.</dialogue>
<character>HEDY</character>
<dialogue>She didn't survive?</dialogue>
<scene_description>David shakes his head no. She sees his pain.</scene_description>
<character>HEDY</character>
<dialogue>Sorry. I'm intruding...</dialogue>
<character>DAVID</character>
<dialogue>...My Father loved her more than me. He has Hated me since The Day I Was Born. It was all my fault.</dialogue>
<scene_description>David Breaks Down. Tears and Sobs are FLOWING.</scene_description>
<character>DAVID</character>
<dialogue>I should have Died instead of My Mother.</dialogue>
<scene_description>Hedy moves to him, holds him TIGHT, trying to Comfort him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - BAMBOO CATHEDERAL - DAY</stage_direction>
<scene_description>He staggers out of The Jungle entering a small clearing.</scene_description>
<character>PAUL</character>
<dialogue>I wuz fast asleep and God poked me and woke me. I said to God "God, why you waking my Black ass up?" And God said to me "Paul, Fuck dem Muthafuckers. You keep keepin' on." I said back to God "God, Do what?" And God raised his voice, didn't yell but God put some Bass in dat Heavenly Voice and answered "Fuck dem Muthafuckers.</dialogue>
<character>PAUL</character>
<dialogue>Dey don't know SHIT. Do ya Thang. RIGHT ON. RIGHT."</dialogue>
<scene_description>He stares at something... becoming Frozen. Stormin' Norman stands holding his M-16. His Squad Leader.</scene_description>
<character>PAUL</character>
<dialogue>What you doing here, Bro?</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>I've been wantin' to talk to you.</dialogue>
<character>PAUL</character>
<dialogue>'Bout what?</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>Y'know.</dialogue>
<scene_description>Paul's look turns even more frightened.</scene_description>
<character>PAUL</character>
<dialogue>Go away. Please. Go Away.</dialogue>
<character>STORMIN' NORMAN</character>
<dialogue>Paul, that I can't do. You gotta' come clean.</dialogue>
<scene_description>Norman rips open his Flak Jacket, then rips open his shirt revealing a huge gaping Bullet Wound in his Chest. Moving closer and closer toward the Wound actually entering it... going back to... CUT TO: VIETNAM FLASHBACK - DAY Norman and Paul under intense FIRE! They return fire!</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>Get outta here. Go!!! Go!!! Go!!!</dialogue>
<scene_description>The V.C. FIRING also FIRING at Eddie, Melvin and Otis, 400 yards away.</scene_description>
<character>ANGLE - STORMIN' NORMAN AND PAUL</character>
<dialogue>Paul turns to Norman when an RPG lands, just in front of the ROCK COVER. BOOM! The BLAST JOLTS both FORWARD! Paul accidently FIRES his M-16 as he is thrown to the GROUND and SMOKE is everywhere.</dialogue>
<dialogue>Dazed, Paul looks up struggling to his feet, still groggy. Focusing he sees in the smoke...</dialogue>
<character>CLOSE - STORMIN' NORMAN</character>
<dialogue>Lying there before him, totally surprised, shot in the chest by Paul. He immediately goes to him and holds him. But Norm is Dead. Paul is left destroyed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VALLEY - OPPOSITE END - DAY</stage_direction>
<scene_description>Paul bounding back to The Bloods.</scene_description>
<character>OTIS</character>
<dialogue>Where's Norm?</dialogue>
<scene_description>As the Blood look at Paul.</scene_description>
<character>CLOSE - PAUL</character>
<dialogue>PAUL</dialogue>
<scene_description>Killed in Action. Let's move. De De Mau!!!</scene_description>
<character>ANGLE - BLOODS</character>
<dialogue>Devastated, but The Bloods pull out from the advancing VC.</dialogue>
<scene_description>CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE - SMALL CLEARING - DAY</stage_direction>
<character>STORMIN' NORMAN</character>
<dialogue>Let me lighten your load.</dialogue>
<scene_description>Norman nears him taking off Paul's Backpack and setting it on the ground. He HUGS him tightly.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>It was an accident.</dialogue>
<scene_description>Paul just stands there very still, then finally raises his arms up, hugging him back. Tighter and tighter. Norman says in his ear, softly.</scene_description>
<character>STORMIN' NORMAN</character>
<dialogue>I forgive you.</dialogue>
<scene_description>Paul breaks loose weeping in Norman's Arms.</scene_description>
<character>QUAN (O.S.)</character>
</scene>
<scene>
<stage_direction>EXT. PAUL'S JUNGLE CANYON REGION - DAY</stage_direction>
<scene_description>Quan and His Men emerge from The Jungle. Paul stands, now alone, no Backpack, Weapon, Nothing. Quan BARKS ORDERS in Vietnamese. The Men fan out and encircle Paul. Paul scans all the GUNMEN surrounding him.</scene_description>
<character>QUAN</character>
<dialogue>You outnumbered.</dialogue>
<character>PAUL</character>
<dialogue>We were always outnumbered.</dialogue>
<character>QUAN</character>
<dialogue>Where's Gold?</dialogue>
<character>PAUL</character>
<dialogue>Norman took it. It was his.</dialogue>
<scene_description>Quan doesn't get it.</scene_description>
<character>QUAN</character>
<dialogue>Who Norman?</dialogue>
<character>PAUL</character>
<dialogue>One Badd Black Muthafucka.</dialogue>
<character>QUAN</character>
<dialogue>Where other GI's?</dialogue>
<character>PAUL</character>
<dialogue>I will never say. See, We Bloods. We gotta Bond. We fought in a War that wasn't ours, for Rights we didn't have. They're my Brothers.</dialogue>
<character>QUAN</character>
<dialogue>You kill my Brother.</dialogue>
<scene_description>Paul and Quan just stare at each other. Finally. Paul starts to SING MARVIN GAYE'S GOD IS LOVE, Slowly.</scene_description>
<character>PAUL</character>
<dialogue>Oh Don't Go And Talk About My Father/Cause God Is My Friend/Jesus Is My Friend/He Made This World/For Us To Live In/And Gave Us Everything/And All He Asks Of Us/Is We Give Each Other Love.</dialogue>
<scene_description>Quan stands there, confused, he shakes his Head.</scene_description>
<character>PAUL</character>
<dialogue>My Brother Marvin.</dialogue>
<character>QUAN</character>
<dialogue>You Drunk?</dialogue>
<character>PAUL</character>
<dialogue>Never been Mo' Sober in My Life.</dialogue>
<scene_description>Quan throws Paul a Shovel.</scene_description>
<character>QUAN</character>
<dialogue>Dig.</dialogue>
<scene_description>Paul takes the Shovel and starts to Dig and continues to Sing Slowly.</scene_description>
<character>PAUL</character>
<dialogue>Oh Ya/Don't Go And Talk About My Father/Cause God Is My Friend/Jesus Is My Friend/He Loves Us Whether Or Not We Know it/And He'll Forgive All Our Sins.</dialogue>
<scene_description>Quan and the others FIRE! Paul is shredded, falls Dead into the Grave he dug for himself. Quan walks over to The Body and reaches down for The MAGA Cap.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLES - DAY</stage_direction>
<scene_description>Simon on Top of The Roof surveying with the Binoculars. Vinh and Otis are together walking The Grounds.</scene_description>
<character>VINH</character>
<dialogue>After you have been in War you understand it really never ends. Whether it is just in your Mind or in Reality. There are just Degrees.</dialogue>
<scene_description>Otis listens, understanding. Vinh hands him a Card.</scene_description>
<character>VINH</character>
<dialogue>If I Die, send my share here.</dialogue>
<scene_description>Otis shakes his hand. A deep moment between New Friends.</scene_description>
<character>OTIS</character>
<dialogue>Do you have another Card, a Pen?</dialogue>
</scene>
<scene>
<stage_direction>INT. TEMPLE - DAY</stage_direction>
<scene_description>Melvin steps inside with The AK-47. He looks to The Backpacks. They are gone. He pulls The Pistol from his pants.</scene_description>
<character>MELVIN</character>
<dialogue>One of you two should have this.</dialogue>
<scene_description>David raises his hand to help him up. Melvin and Hedy help him up the splint on his Leg. David looks at Hedy.</scene_description>
<character>HEDY</character>
<dialogue>I don't want it.</dialogue>
<character>DAVID</character>
<dialogue>Ain't never shot a Gun in My life. If I fired it, I'd miss by a Mile especially with my Leg.</dialogue>
<scene_description>Melvin leaves it on Small Stone Altar in The Temple.</scene_description>
<character>DAVID</character>
<dialogue>My Father?</dialogue>
<scene_description>Melvin shakes his head, No. David accepts Paul's fate.</scene_description>
<character>MELVIN</character>
<dialogue>My Hunch is that Desroche is with them?</dialogue>
<character>HEDY</character>
<dialogue>Who's he?</dialogue>
<character>MELVIN</character>
<dialogue>One of your Countrymen. He set up our deal. And probably double crossed us.</dialogue>
<character>HEDY</character>
<dialogue>Perhaps I could appeal to him.</dialogue>
<character>MELVIN</character>
<dialogue>Worth a try.</dialogue>
<character>DAVID</character>
<dialogue>You ready for this?</dialogue>
<character>MELVIN</character>
<dialogue>Not my 1st time in Nam.</dialogue>
<scene_description>They slap each other some "Dap." Hedy watches. Melvin leaves.</scene_description>
<character>HEDY</character>
<dialogue>If We live. Teach me that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLES - DAY</stage_direction>
<scene_description>Simon looking through The Binoculars.</scene_description>
<character>SIMON'S POV</character>
<dialogue>He spots Quan's Jeep and a Range Rover coming up the road. He WHISTLES LOUDLY from The Roof!</dialogue>
<dialogue>Otis hears him turning to Melvin and Vinh. They both dart off taking their positions.</dialogue>
<dialogue>Quan's Jeep and The SUV roll down bumpy The Entrance Road. They come to a stop. Quan gets out of The Jeep he looks down at something revealing</dialogue>
<character>ANGLE - THREE BACK PACKS</character>
<dialogue>They are stacked up in the front of The Major Tall Building of The Ruins.</dialogue>
<character>ANGLE - RUINS</character>
<dialogue>Quan and EIGHT BANDITS stands there looking at the stack of Gold. He turns back at The Range Rover...</dialogue>
<character>CLOSE - A WHITE LINEN TROUSER LEG</character>
<dialogue>Desroche steps out of The Vehicle in his Linen Panama Suit and Hat. He lights a Cigarette. Takes a deep puff.</dialogue>
<dialogue>Otis appears standing near The Collapsed Building a short distance from them. The Two stare at one another.</dialogue>
<dialogue>Desroche removes his Hat. He puts on Paul's Souvenir Trump "MAGA" Baseball Cap.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLE - DAY</stage_direction>
<scene_description>David watches from just inside The Doorway. David sees The MAGA Baseball Cap on Desroche's head knowing what it means.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MY SON TEMPLES/VARIOUS POSITIONS - DAY</stage_direction>
<scene_description>Otis and Hedy stand before Desroche.</scene_description>
<character>DESROCHE</character>
<dialogue>Who is your Pretty companion?</dialogue>
<character>HEDY</character>
<dialogue>Je vous fais appel en tant que citoyen Français. Échangez notre histoire et laissez ces hommes avoir ce qu'ils ont sacrifié pour. Nous leur devons beaucoup. (I appeal to you as a Fellow French Citizen. Redeem our History here in Vietnam and let these Men have what they have sacrificed for. We owe them that much.)</dialogue>
<character>DESROCHE</character>
<dialogue>Nous avons tous sacrifié Miss. Leur noirceur ne rend pas leur sacrifice plus grand. C'est tout simplement des affaires. (We have all sacrificed Madam. Their Blackness does not make their sacrifice any greater. This is simply business.)</dialogue>
<character>OTIS</character>
<dialogue>What did he say?</dialogue>
<character>HEDY</character>
<dialogue>That Green is more important than Black.</dialogue>
<character>DESROCHE</character>
<dialogue>Avez-vous la part de Norman? J'espère que Norman le partagera avec nous.</dialogue>
<character>HEDY</character>
<dialogue>He asked if you have Norman's share?</dialogue>
<character>OTIS</character>
<dialogue>I don't know. Norman is very set in his ways... I have a question.</dialogue>
<character>DESROCHE</character>
<dialogue>Of course.</dialogue>
<character>OTIS</character>
<dialogue>Is Tien in on this?</dialogue>
<scene_description>Desroche SNORTS, dismissive.</scene_description>
<character>DESROCHE</character>
<dialogue>Tien is a smart Woman but she doesn't have the... appetite for a venture such as this. No, your Love knew nothing about this. She is Innocent as you are Ignorant.</dialogue>
<character>OTIS</character>
<dialogue>Just take The Gold. And leave. Leave Us in Peace.</dialogue>
<character>DESROCHE</character>
<dialogue>We just want what we came for.</dialogue>
<scene_description>Otis sends Hedy away. She dashes off toward the Temple Room. Desroche nods to Quan. He walks toward The Backpacks. Otis stands there one hand behind his Back. Desroche smokes, calm. Quan picks up The Heavy Backpack. He sets it on a large stone unzipping it. He looks inside, surprised. He lifts up the backpack turning to Desroche. Quan turns it upside down and ROCKS falls from The Backpack. Desroche Face falls. Quan turns back around and... Otis FIRES his '45 putting a round through his forehead BLOWING out the back of his Head. Quan falls over Dead. ANGLE - MELVIN ON TOP OF THE MAIN TEMPLE OPENS FIRE with his AK-47! He rips apart Two more next to Desroche. Desroche scrambles back in the Range Rover as Melvin pelts it with Gunfire from above! THUNK! THUNK! THUNK! Desroche SCREAMS at The DRIVER.</scene_description>
<character>DESROCHE</character>
<dialogue>ROULE!!! ROULE!!! ROULE!!!</dialogue>
<parenthetical>(Drive! Drive! Drive!)</parenthetical>
<dialogue>The Driver floors it backing up!</dialogue>
<dialogue>Vinh from the doorway of this Temple position, on the other side of the Range Rover, UNLOADS with his Pistol on the vehicle striking Desroche in the arm!</dialogue>
<character>DESROCHE</character>
<dialogue>FUCK!</dialogue>
<scene_description>Melvin SHATTERS the windshield killing The Driver with a devastating CROSSFIRE! The Vehicle in reverse SLAMS into some LARGE ANCIENT SCULPTURES sending the SUV on it's side. Gunmen FIRE on Vinh ripping apart the doorway of his Temple position. He is hit in the shoulder falling back into The Darkness of The Building. Otis sees Vinh is hit. ANGLE - GUNMEN BEHIND QUAN'S JEEP fire at Melvin on the roof POUNDING his position with Rounds!!! He scrambles getting to another spot. ANGLE - ON THE ROOF Simon hands Melvin another CLIP for his AK. He SLAMS The clip in shouldering The Rifle as Simon holds The Rope. Melvin CLIMBS DOWN down the Main Temple wall. A Gunman SCREAMS charging straight toward Otis FIRING at him. Otis ducks behind the large stone as it's pelted with rounds. He then raises up BLASTING rounds CUTTING down The Gunman! Otis fires at The Jeep dashing as fast as he can to Vinh. Melvin on the side of The Main Temple provides cover FIRE for Otis pinning down the remaining Five Gunmen by The Jeep. Otis gets into Vinh's doorway as Bullets rain around him. IN THE TIPPED OVER RANGE ROVER A bleeding Desroche opens a side compartment removing two HAND GRENADES and a 9MM LUGER PISTOL that he shoves in his Pants. Desroche climbs out of the tipped over Range Rover. Otis quickly attends Vinh's wound. Vinh tosses his empty Gun. Desroche holds his Wounded Arm running to The Jeep speaking with The Lahu Tracker, who directs TWO to them. Desroche then SLAPS a Hand Grenade in each of The Hands of The Two. The Lahu Tracker BARKS ORDERS in Vietnamese pointing to Otis and Vinh's doorway. Melvin sees this from The Corner of The Main Temple. He calls out to Otis.</scene_description>
<character>MELVIN</character>
<dialogue>OTIS!!!</dialogue>
<character>THE THREE OTHER GUNMEN</character>
<dialogue>OPEN FIRE on Melvin pushing him back behind The Corner of The Main Building. So much Gunfire, Melvin can't get off A Shot.</dialogue>
<character>MELVIN</character>
<dialogue>Goddammit!!!</dialogue>
<scene_description>The Two Bandits With Grenades dash toward The Temple moving toward Otis and Vinh's position. Melvin tries to warn Otis.</scene_description>
<character>MELVIN</character>
<dialogue>OTIS, OTIS!!!</dialogue>
<character>ANGLE - MY SON TEMPLE</character>
<dialogue>In the Temple, Otis finishes working on Vinh's Shoulder.</dialogue>
<dialogue>In their Temple Room, Hedy and David stare at The Gun.</dialogue>
<character>DAVID</character>
<dialogue>Give it to me.</dialogue>
<scene_description>Melvin by the corner of The Main Temple, still taking Gunfire, yells out!</scene_description>
<character>MELVIN</character>
<dialogue>OTIS! OTIS!!!</dialogue>
<scene_description>The Two Bandits moving closer to Otis and Vinh's position. Bullets RIDDLE Melvin's Corner spot.</scene_description>
</scene>
<scene>
<stage_direction>INT. MY SON TEMPLE ROOM - DAY</stage_direction>
<scene_description>Hedy huddled behind the door watches the action. David hobbles over and gets The Gun, but is so weak with Fever he cannot aim correctly. Hedy watches, frustrated. The Gunman edging his way toward The Door opening of Otis' position his finger on the Grenade Ring.</scene_description>
<character>MELVIN</character>
<dialogue>Have Mercy Sweet Jesus!!!</dialogue>
<scene_description>Melvin commits running out SPRAYING Desroche and The Three Gunmen by the Jeep!!! CRACK!!! CRACK!!! CRACK!!! CRACK!!! Pinning them down, then turning his AK on the... A GUNMAN with The Grenade BLASTING him against The Wall killing him! Otis sees Melvin in The Line of Fire. He rushes out and OPENS UP on Desroche and The Three Gunmen by The Jeep! The Other Bandit PULLS THE PEN on his Grenade as Otis turns shooting him in The Head! He drops the Grenade and it rolls out away from The Building toward... Melvin and Otis. He pushes Otis away and leaps on The Grenade SMOTHERING the EXPLOSION with his OWN BODY. Otis on the ground looks over at Melvin, Dead, having just saved his Life. CLOSE - HEDY Collapses against the wall horrified. Davis is SPEECHLESS! Desroche and The Three Gunmen FIRE on Otis, who is in the middle, with No Cover. Otis is HIT in the Side, Shoulder and Leg. He is knocked to the ground by all the wounds, losing his '45. He lays there bleeding badly reaching out for The Gun. Desroche steps through the lingering Grenade smoke standing over Otis with the La Hu Tracker and the last Two Gunmen. Vinh gets to his feet and stumbles to the doorway. Desroche stands over Otis looking down at him.</scene_description>
<character>DESROCHE</character>
<dialogue>I'm afraid you are dying my Friend.</dialogue>
<scene_description>Desroche lights a smoke stepping on his wound. Otis SCREAMS!</scene_description>
<character>DESROCHE</character>
<dialogue>Your Black Brothers are all Dead. You have No One left. It was a valiant effort My Friend but you have lost. Now. Where is The Gold?</dialogue>
<scene_description>With all the strength Otis can muster.</scene_description>
<character>OTIS</character>
<dialogue>5 Bloods Don't Die, We Multiply.</dialogue>
<scene_description>Otis spits Blood on Desroche's Pants Leg. The Lahu Tracker raises his Rifle to SMASH him to death. Desroche stops him removing the Luger from his Pants.</scene_description>
<character>DESROCHE</character>
<dialogue>Allow me.</dialogue>
<scene_description>He points The Gun down in Otis' face. He closes his Eyes. BAAM! Desroche stands there, then Blood runs down his Face. Desroche falls, shot through the back of the head. Dead. CUT TO: David opens his aiming eye, sweat pouring off him, his arm stretched out on the shoulder of Hedy, who served as his tripod steadying his aim for The Shot that Killed Desroche. ANGLE - TEMPLE The Lahu Tracker turns pointing his Gun at Vinh, standing there in his doorway, pointing his empty Pistol at him. SEVERAL VEHICLES ZOOM UP! Men with Guns pour out! It is Nguyen from the Apocalypse Now Night Club, he is with his Viet Cong V.C. Vets. They hold weapons staring down the Lahu Tracker. The Lahu Tracker is No Fool. He waves off the others. They slowly walk to The Jeep, climbing in and driving off.</scene_description>
<character>NGUYEN</character>
<parenthetical>(in Vietnamese to Vinh)</parenthetical>
<dialogue>When you didn't come back to the Office we worried.</dialogue>
<scene_description>Vinh exhales a deep sigh of relief. HEDY, SIMON (OTIS' POV) looking down on Otis. Vinh rushes in joining them!</scene_description>
<character>VINH</character>
<dialogue>OTIS!</dialogue>
<scene_description>David's face suddenly appears with the others.</scene_description>
<character>DAVID</character>
<dialogue>HANG ON!</dialogue>
<scene_description>Otis looks up at them, Shot to Pieces his Eyes closing. BLACKOUT.:</scene_description>
</scene>
<scene>
<stage_direction>INT. VINH'S TOUR TRAVEL OFFICE - HO CHI MINH CITY - DAY</stage_direction>
<scene_description>UP CLOSE ON A PEN It writes. We don't see the hand or who is writing. All we see is the Pen and its busy strokes.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>Dear David, Son, if you are reading this Y'know I've met my Maker.</dialogue>
</scene>
<scene>
<stage_direction>INT. PAUL'S HOUSE - DETROIT - DAY</stage_direction>
<scene_description>Paul looks directly at us as if Speaking to David.</scene_description>
<character>PAUL</character>
<dialogue>I gave This letter To My Main Man, Otis when we landed back in Nam. I came back to confront the Demons that haunted me and tortured you.</dialogue>
</scene>
<scene>
<stage_direction>INT. VINH'S TOUR TRAVEL OFFICE - HO CHI MINH CITY - DAY</stage_direction>
<scene_description>CLOSE - THE PEN CONTINUES TO WRITE</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>I made you feel you weren't Loved.</dialogue>
</scene>
<scene>
<stage_direction>INT. BLM HEADQUARTERS - NEW YORK - DAY</stage_direction>
<scene_description>Black Young People doing office work. Huddles of Volunteers working on Projects. A VOLUNTEER opens an envelope and STOPS.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>Our Brother Stormin' Norm always commanded that The Bloods Love One and Another. In that way, I failed you.</dialogue>
</scene>
<scene>
<stage_direction>INT. L.A.M.B. - HO CHI MINH CITY - DAY</stage_direction>
<scene_description>Hedy sits there alone with a look of Inner Determination.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>All I Can Say To You Is I'm Sorry. Sorry I Put You Through Holy Hell.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORT BENNING ARMY BASE - DAY</stage_direction>
<scene_description>Norman's framed Official Army Photograph from 1967.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>Please Believe Me. It Wasn't Your Fault.</dialogue>
<scene_description>CLOSE - JANET and KIM Stormin' Norman's Sisters, 60's, wipe tears, on the Tarmac hold The Photo of Norman. Five Soldier Honor Guard in Dress Uniforms carry a Metal Casket draped with an American into a C-1 Cargo Plane.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>There are things about me you will never know or understand.</dialogue>
</scene>
<scene>
<stage_direction>INT. PAUL'S HOUSE - DETROIT - DAY</stage_direction>
<scene_description>Paul looks straight into THE CAMERA.</scene_description>
<character>PAUL</character>
<dialogue>I WISH I COULD TURN BACK THE HANDS</dialogue>
<dialogue>OF TIME... But I Can't. Nobody Can. Not Even Almighty God.</dialogue>
</scene>
<scene>
<stage_direction>INT. BLM HEADQUARTERS - BROOKLYN - HALLWAY - DAY</stage_direction>
<scene_description>A BLACK MAN is Flying down A Long Hallway. He is RUNNING with a PURPOSE.</scene_description>
</scene>
<scene>
<stage_direction>INT. BLM HEADQUARTERS - BROOKLYN - DAY</stage_direction>
<scene_description>The BLACK MAN is The President of BLACK LIVES MATTER - HAWK NEWSOME. He bursts into the Crowded Space and jumps on a Table.</scene_description>
<character>HAWK NEWSOME</character>
<dialogue>Quiet Down. Quiet Down.</dialogue>
<scene_description>The Young Volunteers become QUIET.</scene_description>
<character>HAWK NEWSOME</character>
<dialogue>I got an important thing to share with your before we hit Da Streets with Our March. Some Blessed soul just sent us a check For 2 Million Dollars.</dialogue>
<scene_description>Hawk holds up the 2 MILLION DOLLAR CHECK.</scene_description>
<character>ANGLE - ROOM</character>
<dialogue>HAWK NEWSOME</dialogue>
<character>BLACK LIVES MATTER!</character>
<dialogue>Folks go CRAZY! Jumping Up and Down and begin to CHANT.</dialogue>
<character>HAWK NEWSOME AND GROUP</character>
<dialogue>BLACK LIVES MATTER</dialogue>
<character>BLACK LIVES MATTER</character>
</scene>
<scene>
<stage_direction>INT. MELVIN'S KITCHEN - PHILADELPHIA - DAY</stage_direction>
<scene_description>A Grieving CISSY And MELVIN JR., The Wife And Son Of Melvin Sit In The Kitchen And Stare At The PURPLE HEART On The Table. The Door Bell Rings.</scene_description>
<character>MELVIN JR.</character>
<dialogue>Mom, I'll Get It.</dialogue>
<scene_description>Melvin Jr. Gets Up And Goes to The Front Door.</scene_description>
<character>CLOSE - CISSY</character>
<dialogue>She Picks Up The PURPLE HEART And Gently Kisses It.</dialogue>
<character>ANGLE - KITCHEN TABLE</character>
<dialogue>Melvin Jr. Sits Back Down.</dialogue>
<character>CISSY</character>
<dialogue>Who Was That?</dialogue>
<scene_description>MELVIN JR.: Fed Ex. He Holds Up The FedEx Envelope.</scene_description>
<character>CISSY</character>
<dialogue>You Open It.</dialogue>
<character>CLOSE - MELVIN JR.'S FACE</character>
<dialogue>He Opens The Envelope.</dialogue>
<character>ANGLE - KITCHEN TABLE</character>
<dialogue>CISSY</dialogue>
<scene_description>What Is It? Her Son Hands The Check To His Mother.</scene_description>
<character>CLOSE - CISSY</character>
<dialogue>CISSY</dialogue>
<scene_description>Sweet Jesus.</scene_description>
</scene>
<scene>
<stage_direction>INT. L.A.M.B. - HO CHI MINH CITY - DAY</stage_direction>
<scene_description>Revealing a Banner: THE SEPPO KELLY FOUNDATION FOR PROSTHETICS OUTREACH. Hedy flanked by Simon speaks to room filled with the Press.</scene_description>
<character>HEDY</character>
<dialogue>This Three Million Dollar Gift will work toward removing Mines and restoring the lives of Land Mine Victims all over the World.</dialogue>
<scene_description>Several Children from The Village have new prosthetic limbs. FLASHES from Press Cameras!!!</scene_description>
</scene>
<scene>
<stage_direction>INT. VINH'S TOUR TRAVEL OFFICE - HO CHI MINH CITY - DAY</stage_direction>
<scene_description>Vinh is behind the Pen. He is at a polished glass desk, arm in a sling, in his Business High Rise in Ho Chi Minh City. He exhales with satisfaction, closing The Large Check Book.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S JUNIOR HIGH CLASSROOM - NEW ORLEANS - DAY</stage_direction>
<scene_description>David at his desk in the empty classroom, reading The Letter.</scene_description>
<character>PAUL (V.O.)</character>
<dialogue>But To Eternity And Back, Your Dear Mother Jackie And I Will Love You Always, Your Father... Paul.</dialogue>
<scene_description>He gets up with the help of a Cane and walks to the window, still holding the letter, staring out into the Sunlight, reflecting on his Father. Finally at Peace.</scene_description>
</scene>
<scene>
<stage_direction>INT. TIEN'S APARTMENT - HO CHI MINH CITY - NIGHT</stage_direction>
<scene_description>A door opens. Tien looks stunned seeing Otis standing before her. He looks behind Tien seeing Michon, who cracks a warm smile at him. Tien hugs Otis tightly, tears in her Eyes, as Otis enters.</scene_description>
<character>MICHON</character>
<dialogue>Daddy. Daddy I Love You. I MISS YOU.</dialogue>
<scene_description>Otis closes THE DOOR.</scene_description>
<character>WE DOLLY DOWN THE HALLWAY AWAY FROM MICHON'S APARTMENT DOOR.</character>
<dialogue>AS WE HEAR THE HAUNTING END OF MARVIN GAYE'S SONG WHAT'S</dialogue>
<character>GOING ON.</character>
<dialogue>Mother, Mother/Everybody Thinks We're Wrong/Who Are They To Judge Us/Simply Because We Wear Our Hair Long</dialogue>
<scene_description>FADE TO BLACK: FINI.:</scene_description>
</scene>
</script> | During the Vietnam War, a squad of black US Army soldiers of the 1st Infantry Division, Paul, Otis, Eddie, Melvin, and their squad leader Norman, who dub themselves the "Bloods," secure the site of a CIA airplane crash and recover its cargo, a locker of gold bars intended as payment for the Lahu people for their help in fighting the Viet Cong. The Bloods decide to take the gold for themselves and bury it so they can retrieve it later. However, in the ensuing Vietnamese counter-attack, Norman is killed, and the Bloods cannot locate the buried gold after a napalm strike obliterates the identifying landmarks. In the present day, Paul, Otis, Eddie, and Melvin meet up in Ho Chi Minh City. A recent landslide had uncovered the tail of the crashed plane, and with this new information, they plan to find the gold and Norman's body. Otis reunites with his old Vietnamese girlfriend Tiên, who reveals that he is the father of her grown child. Tiên introduces the Bloods to Desroche, a French businessman who agrees to help the Bloods smuggle the gold out of Vietnam once they retrieve it. Soon thereafter, they are joined by Paul's son David, who has a tempestuous relationship with his father. Vinh, a tour guide hired by the Bloods, leads the group out into the countryside, where a confrontation with a local merchant forces Paul to admit that he has post-traumatic stress disorder. At a hotel bar, David meets Hedy, the founder of LAMB, an organization dedicated to clearing landmines. The next day, Vinh drops off the group and tells them he will pick them up in a few days. During their first night, Paul confiscates a pistol Otis had been secretly given by Tiên and becomes suspicious of his motives. Eventually, the Bloods find the gold bars scattered across the side of a hill. They also find Norman's remains and pray over them. Eddie reveals that his excessive spending has rendered him broke but reminds the Bloods of Norman's original plan to give the gold to their black brethren in the United States. On the hike out, Eddie steps on a landmine and is killed. David also steps on a mine but does not trigger it, just as Hedy and two other volunteers from LAMB, Simon and Seppo, show up. Paul and the others manage to pull David off the mine safely. Paul then holds the three outsiders hostage with Otis's gun, paranoid that they will report them to the authorities. During the night Seppo escapes while David and the others forcibly disarm Paul. When the Bloods regroup with Vinh, a group of gunmen shows up demanding the gold in exchange for Seppo, whom they have captured. In the ensuing shootout, David is shot in the leg, and Seppo is killed by a landmine. All of the gunmen are killed except for one, who flees. Assuming that Desroche has crossed them, Vinh suggests retreating to a nearby abandoned temple to defend themselves from reinforcements. Unwilling to trust Vinh, Paul takes his share of the gold and heads out into the jungle alone. The remaining Bloods offer Vinh, Hedy, and Simon a share of the remaining gold for their trouble. As he rages to himself, Paul has a vision of Norman who reminds Paul that he was the one who had accidentally killed Norman during a firefight and that he should let go of his guilt. He is subsequently located and killed by Desroche's men. Desroche, now wearing Paul's MAGA hat, arrives with the gunmen at the temple and is then ambushed by Otis, Melvin, and Vinh; all of his men are killed. Desroche wounds Otis and tries to finish him off with a hand grenade, but Melvin sacrifices himself by leaping on top of it. As Desroche prepares to execute Otis, David shoots and kills him with Otis's gun. Vinh helps the surviving Bloods share out the gold. Melvin's widow receives his share, and Eddie's goes to a Black Lives Matter organization. Hedy and Simon donate their shares to LAMB in Seppo's name. Norman's remains are brought home to his family by the military. David reads a letter from Paul, who tells him that he will always love him. Otis visits Tiên and bonds with his daughter for the first time. |
The Fifth Element_1997 | tt0119116 | <script>
<scene>
<character>THE FIFTH ELEMENT</character>
<dialogue>by</dialogue>
<scene_description>Luc Besson</scene_description>
<character>FOR EDUCATIONAL PURPOSES ONLY</character>
<dialogue>Converted to PDF by ScreenTalk™ Online http://www.screentalk.org</dialogue>
<scene_description>FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT NILE RIVER VALLEY - DAY</stage_direction>
<scene_description>Somewhere in the Nile at the edge of the desert. CREDITS ROLL WRITTEN: EGYPT 1913 OMAR and his mule zigzag along the bottom of sun scorched dunes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEMPLE EXCAVATION - DAY</stage_direction>
<scene_description>The mule and the boy finally reach a camp. A few tents dwarfed by a huge temple door jutting out of the sand. The camp is deserted except for some kids by the temple entrance holding large mirrors, reflecting light into the temple. Omar leaves his mule in the shade, seizes two goatskins and slips inside the temple.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE - DAY</stage_direction>
<scene_description>Omar makes his way uneasily down a pillared corridor that opens into a vast room where an old scientist stands on a small wooden ladder in front of the wall across the room. PROFESSOR MASSIMO PACOLI. A young man is beside him, BILLY MASTERSON, age 25, an American student. He has a large sketchpad in his hands. Behind them AZIZ, age 10, whose job is to hold the last mirror which shines light into the expansive room.</scene_description>
<character>PROFESSOR</character>
<parenthetical>(deciphering)</parenthetical>
<dialogue>"..when the three planets are in eclipse.."</dialogue>
<scene_description>His fingers trace across the wall which is covered with symbols and strange hieroglyphs as he deciphers.</scene_description>
<character>PROFESSOR</character>
<dialogue>"..the black hole like a door is open... Evil comes ... sowing terror and chaos..." See? The snake, Billy. The Ultimate Evil ... make sure you get the snake!</dialogue>
<scene_description>The Professor points emphatically to the snake, the symbol of Evil, coming through the door between the three planets in eclipse. C.U. Billy's hand sketches the snake quickly. He is a natural artist.</scene_description>
<character>BILLY</character>
<dialogue>And when is this door opening snake act supposed to occur?</dialogue>
<scene_description>The Professor's fingers touch the signs.</scene_description>
<character>PROFESSOR</character>
<dialogue>..if this is the five..and this the thousand..</dialogue>
<scene_description>He calculates.</scene_description>
<character>PROFESSOR</character>
<dialogue>Every five thousand years..</dialogue>
<character>BILLY</character>
<parenthetical>(kidding)</parenthetical>
<dialogue>So I have some time..</dialogue>
<scene_description>He reaches for the pad. ANGLE ON: Omar. Standing at the entrance to the chamber with the water bag, entranced by the sight. A skeletal hand falls on his shoulder. Omar turns to an ancient PRIEST in a rough milled black cannock.</scene_description>
<character>PRIEST</character>
<dialogue>I will take it to them my son.</dialogue>
<scene_description>Startled but obedient, Omar gives the water bag to the Priest.</scene_description>
<character>PRIEST</character>
<dialogue>Go with God.. be safe from Evil..</dialogue>
<scene_description>The Priest makes the sign of the Cross on the boy's forehead, dismissing him. As soon as he is gone, the Priest turns a worried eye to the Professor. ANGLE ON: The Professor is back to translating, Billy to sketching.</scene_description>
<character>PROFESSOR</character>
<dialogue>"..then arrange the elements of life against the Terror just so.."</dialogue>
<scene_description>His fingers run on.</scene_description>
<character>PROFESSOR</character>
<dialogue>"..Water..fire..earth..air..four elements around the fifth.."</dialogue>
<scene_description>His fingers fall on the one element that has a human shape, surrounded by all the others. The Priest opens the water skin and begins to pour a vial of powder into the skin. ANGLE ON: Aziz falling asleep. The mirror falls, the light fails.</scene_description>
<character>PROFESSOR</character>
<dialogue>Aziz! Light!</dialogue>
<scene_description>The boy struggles to stay awake. The mirror comes up.</scene_description>
<character>PRIEST</character>
<dialogue>Lord forgive me.. they already know too, much..</dialogue>
<character>PROFESSOR</character>
<dialogue>"..in which all the history of the Universe resides ..all the strength..all the hope..Protect us from Evil.."</dialogue>
<character>PRIEST (V.O.)</character>
<dialogue>Amen..</dialogue>
<scene_description>The Professor turns to the Priest who is pouring water into a tin cup from the skin.</scene_description>
<character>PROFESSOR</character>
<dialogue>Father.. it in the most extraordinary thing.. the greatest find in history..can you imagine the implications.</dialogue>
<character>PRIEST</character>
<dialogue>Only too well... here you must be parched..</dialogue>
<scene_description>He hands the cup to the Professor. The Professor takes it, has it almost to his lips when..</scene_description>
<character>PROFESSOR</character>
<dialogue>I mean look.. it is like a battle plan..</dialogue>
<scene_description>In his excitement he does not drink, much to the Priest's chagrin.</scene_description>
<character>PROFESSOR</character>
<dialogue>Here the Good.. Here the Evil..</dialogue>
<scene_description>As the Priest looks up, Aziz the mirror boy, tips his mouth under the water skin, drinking the leakage.</scene_description>
<character>PROFESSOR</character>
<dialogue>Here..</dialogue>
<scene_description>He points to the Five Elements.</scene_description>
<character>PROFESSOR</character>
<dialogue>A weapon against evil. Amazing! I am going to be famous.</dialogue>
<character>PRIEST</character>
<dialogue>Then let us toast to your fame! Here Billy..</dialogue>
<scene_description>The Priest hands Billy a cup.</scene_description>
<character>PRIEST</character>
<dialogue>Drink!</dialogue>
<character>PROFESSOR</character>
<dialogue>To fame.. salud..</dialogue>
<scene_description>The Professor raises the cup to drink, and then...</scene_description>
<character>PROFESSOR</character>
<dialogue>We cannot toast with water.. Billy ! In my sack.. the Grappa!</dialogue>
<scene_description>The Priest watches, disconsolate, as the Professor tosses away his water. Billy finishes his cup before running off into the tunnel.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONNADE - DAY</stage_direction>
<scene_description>A muffled SOUND grows steadily louder. Outside, a monstrous linear shadow disturbs the kid's game and gradually darkens the temple entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Billy is looking for the grappa in the Professor's bag. He comes upon a machine pistol. When the muffled SOUND suddenly grabs his attention. He leans toward the corridor and sees part of a spaceship appear. Billy is paralyzed.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE ROOM - DAY</stage_direction>
<scene_description>The Professor keeps reading over the inscription.</scene_description>
<character>PROFESSOR</character>
<dialogue>"..this perfect person.. this perfect being.." I do not understand this.. perfect? Where is that boy? Billy!</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Billy presses himself against the wall, in the shadows, terrified, but sketching away like mad, as large shadowed figures lumber past him. He begins to blink, feeling the effects of the Priest's potion..</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE ROOM - DAY</stage_direction>
<scene_description>The Professor reads the wall.</scene_description>
<character>PROFESSOR</character>
<dialogue>And this divine Light they talk about.. what is Divine light?</dialogue>
<scene_description>At that moment, the reflection from Aziz's mirror drops again. The light fails.</scene_description>
<character>PROFESSOR</character>
<parenthetical>(without turning)</parenthetical>
<dialogue>Aziz light!</dialogue>
<scene_description>The room is flooded with light all of the sudden.</scene_description>
<character>PROFESSOR</character>
<dialogue>Better.. this is the most unbelievable thing I have ever seen..</dialogue>
<scene_description>The Professor turns around, and is stunned speechless to find himself face to face with two MONDOSHAWANS. A dozen others fill the hall manning the source of the light, large luminous globes. Aziz is fast asleep.</scene_description>
<character>PROFESSOR</character>
<parenthetical>(uncomprehending)</parenthetical>
<dialogue>...Uh, yes?</dialogue>
<scene_description>The Professor is lifted up and carried off to the side by the aliens. The KOMMANDER stops in front of the Priest who is still on his knees, face to the ground.</scene_description>
<character>PRIEST</character>
<dialogue>Master... He was about to discover everything, but I had the situation under control.</dialogue>
<scene_description>The two MONDOSHAWAN GUARDS hold the professor three feet off the ground.</scene_description>
<character>PROFESSOR</character>
<parenthetical>(in a panic)</parenthetical>
<dialogue>Who are you? Are you Germans? Sprechen Sie Deutsch?</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL</stage_direction>
<scene_description>Billy staggers forward, a machine pistol in his hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE ROOM</stage_direction>
<scene_description>The KOMMANDER holds out his hand to the Priest.</scene_description>
<character>PRIEST</character>
<dialogue>What did I do wrong?</dialogue>
<scene_description>The Priest jumps to his feet excitedly.</scene_description>
<character>KOMMANDER</character>
<dialogue>Servant, you and the thousand guards before you... You have done your work well, but we have to recover the elements. War will soon engulf your planet. We must keep them safe.</dialogue>
<scene_description>The Kommander goes over to the wall and seems to be looking for a lock. He finds it and slides in his metallic finger which is more intricate than a key to a safe. He turns his hand, activating a mechanism that opens the wall.</scene_description>
<character>PROFESSOR</character>
<dialogue>Unbelievable!!!</dialogue>
<scene_description>The Kommander turns around and crooks a finger. One of the MONDOSHAWANS waves his hand, puts the professor to sleep and heads down the hallway revealed by the opening. He is followed by his men. The Priest slips in behind them.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 2 - TEMPLE - DAY</stage_direction>
<scene_description>The Kommander steps into a vast room. The ceiling is very high, pyramid-shaped. In each corner of the room, four vessels contain four rectangular twelve-inch stones-, the four elements. In the middle, an opaque sarcophagus rests on an altar. The Kommander stops and contemplates it a moment.</scene_description>
<character>PRIEST</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>The Fifth Element...</dialogue>
<character>KOMMANDER</character>
<dialogue>Take them and put them in a safe place.</dialogue>
<scene_description>His men carry out his order.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 1 - TEMPLE - DAY</stage_direction>
<scene_description>Billy staggers across the floor, struggling to stay awake.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 2 - TEMPLE - DAY</stage_direction>
<scene_description>The Kommander opens a case. His men come and put the four, precious stones in it, one by one.</scene_description>
<character>PRIEST</character>
<parenthetical>(moved)</parenthetical>
<dialogue>Will the elements be gone now forever from this place?</dialogue>
<character>KOMMANDER</character>
<dialogue>When mankind comes to its senses.</dialogue>
<character>KOMMANDER</character>
<dialogue>We will return.</dialogue>
<character>PRIEST</character>
<dialogue>Knowing mankind as I do, that could take centuries!</dialogue>
<character>KOMMANDER</character>
<dialogue>Time is of no importance, only life is important.</dialogue>
<scene_description>The Priest nods and lowers his eyes. Angle on: Billy staggering forward, raising his pistol, blinking his eyes to focus.. A MONDOSHAWAN puts the fourth element in the case The Kommander shuts the case and looks at the Priest.</scene_description>
<character>KOMMANDER</character>
<dialogue>When EVIL returns so shall we.</dialogue>
<character>PRIEST</character>
<parenthetical>(head lowered)</parenthetical>
<dialogue>We will be ready, Lord.</dialogue>
<scene_description>Billy suddenly staggers into the room, brandishing his gun.</scene_description>
<character>BILLY</character>
<dialogue>Stop.</dialogue>
<scene_description>Billy trips, the gun goes off. He empties the clip. The Mondoshawan carrying the case crumples to the ground. The wall immediately begins to close. Billy fires wildly, unable to control the powerful kicking gun.</scene_description>
<character>PRIEST</character>
<dialogue>No!!! Don't!!!</dialogue>
<scene_description>The Priest rushes Billy. The weapon has such a kick to it that Billy starts shooting into the air, backs up, then stumbles and knocks himself out. The Priest is on the ground, seriously wounded. So is the Kommander. The WARRIORS are in a panic.</scene_description>
<character>CLERK</character>
<dialogue>Hurry, Kommander! The wall's closing!!!</dialogue>
<scene_description>The wall continues to close. Sand pours in from everywhere. The vast room fills up like an hourglass.</scene_description>
<character>KOMMANDER</character>
<dialogue>A mission is a mission, Savoia. You'll learn that.</dialogue>
<scene_description>The Kommander picks up the case and reaches the wall but can't get through it. His armor is too bulky, the opening too small. He manages to get his arm and the case through.</scene_description>
<character>KOMMANDER</character>
<dialogue>My apologies to General Kroi -- and my wife..</dialogue>
<scene_description>The wall closes, crushing his arm. The CLERK scoops up the case and runs through the huge piles of sand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLONNADE - DAY</stage_direction>
<scene_description>The CLERK boards the ship carrying the case. Omar hides in a corner, frightened to death, hugging Billy's bag of drawings.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE ROOM - DAY</stage_direction>
<scene_description>The room fills with sand. The Priest's body is soon buried.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT - DAY</stage_direction>
<scene_description>The huge ship's main hatch closes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEMPLE - DAY</stage_direction>
<scene_description>The ship lifts off and speeds away. Omar emerges from the temple gaping at the ship as it vanishes in the sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PYRAMIDS</stage_direction>
<scene_description>A gigantic shooting star flashes above the pyramids.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT</stage_direction>
<scene_description>The ship passes in front of us and heads for the stars disappearing at unbelievable speed. The background is a star-spattered cosmos. WRITTEN: 500 YEARS LATER Another, more modern, spaceship, fills the screen. A warship belonging to the Federal Army.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACESHIP - CONTROL ROOM</stage_direction>
<scene_description>CU of a digital control screen. Three planets projecting three straight lines that crisscross at one point. Identical to the one observed by the professor on the temple wall. GENERAL STAEDERT looks out through the ship's window at one of the three huge planets in eclipse.</scene_description>
<character>STAEDERT</character>
<dialogue>Don't you have anything? Not even a temperature?</dialogue>
<character>CAPTAIN</character>
<dialogue>The thermo-analyzers have jammed. One of them reads over a million degrees, the other's at minus 5000... Never seen anything like it.</dialogue>
<character>TECHNICIAN</character>
<dialogue>It's taking shape.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>In the middle of the shadows, a door to the nightmare has just opened. Evil is back. A round, moving mass, continually changing color.</scene_description>
<character>CAPTAIN</character>
<parenthetical>(in awe)</parenthetical>
<dialogue>What the hell can it be?</dialogue>
<character>TECHNICIAN</character>
<dialogue>Hook-up with the president in one minute, General.</dialogue>
<scene_description>General Staedert remains calm.</scene_description>
<character>STAEDERT</character>
<dialogue>...Send out a probe.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE MANHATTAN</stage_direction>
<scene_description>LINDBERG, 50, the president of the United Federations, his features lined and worn by various delegations, mainly military, enters his office. There's a crisis in the air. The President's AIDE leans down to his ear.</scene_description>
<character>AIDE</character>
<dialogue>On air in 30 seconds.</dialogue>
<scene_description>In the middle of the group is a Priest whose appearance reminds us of Egypt. A younger man DAVID, 18, shy, a priest- in-training attends the old man.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM / PRESIDENT'S OFFICE</stage_direction>
<character>CAPTAIN</character>
<dialogue>President on line sir..</dialogue>
<scene_description>General Staedert leans over his screen and seems surprised to see the room but not the president.</scene_description>
<character>PRESIDENT (O.S.)</character>
<dialogue>Staedert, do you read me?</dialogue>
<character>STAEDERT</character>
<dialogue>I can hear you, Mr. President, but I can't see you .</dialogue>
<scene_description>The President grabs the mini-camera on his desk and yanks it around to face him. His face fills the screen.</scene_description>
<character>PRESIDENT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Is that better?</dialogue>
<character>STAEDERT</character>
<dialogue>Perfect, Mr. President.</dialogue>
<character>PRESIDENT</character>
<dialogue>I have to address the Supreme Council in 10 minutes. Just the facts, General.</dialogue>
<character>STAEDERT</character>
<dialogue>There are no results from the chemical and molecular analysis as of yet, all the calibers are overshot..we're hoping a thermo nucleatic imaging...</dialogue>
<character>PRESIDENT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>What you are saying is you don't know what this..thing..is.</dialogue>
<scene_description>Consternation reigns in the President's office.</scene_description>
<character>STAEDERT</character>
<dialogue>Not yet Sir..The only thing we know is it just keeps getting bigger!</dialogue>
<character>PRESIDENT</character>
<dialogue>Options.</dialogue>
<character>STAEDERT</character>
<dialogue>Wait or act.</dialogue>
<character>PRESIDENT</character>
<dialogue>Recommendations.</dialogue>
<character>STAEDERT</character>
<dialogue>My philosophy Mr. President is shoot first ask questions later. I don't like uninvited guests.</dialogue>
<character>PRESIDENT</character>
<dialogue>Gentlemen?</dialogue>
<character>HEAD CHEMISTS</character>
<dialogue>I think it would be foolish to shoot at an organism that seems alive, without first taking the time to study it more! Besides, it has shown no signs of hostility.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(worried)</parenthetical>
<dialogue>No... it's just getting bigger.</dialogue>
<character>HEAD CHEMISTS</character>
<dialogue>So do people, but that's no reason to shoot them.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>The security of the Federated Territories is and remains number one priority.</dialogue>
<parenthetical>(to the military)</parenthetical>
<dialogue>I suppose General Staedert's "philosophy" is acceptable to you?</dialogue>
<scene_description>All the Generals nod "yes"</scene_description>
<character>PRESIDENT</character>
<dialogue>All right, then! Staedert?</dialogue>
<character>PRIEST (O.S.)</character>
<dialogue>Mr. President?</dialogue>
<scene_description>The President scans the room. Staedert remote controls the camera toward the room.</scene_description>
<character>PRESIDENT</character>
<dialogue>...Yes?</dialogue>
<scene_description>The camera moves up the Priest and we finally discover his face. He is in his sixties, a shrewd look in his eyes. Around his neck hangs the Kommander's finger, the key to the temple.</scene_description>
<character>PRIEST</character>
<dialogue>Cornelius, Vito Cornelius. 50th level parish. I have a different theory to offer you, Mr. President.</dialogue>
<character>PRESIDENT</character>
<dialogue>I'm listening.</dialogue>
<character>CORNELIUS</character>
<dialogue>Imagine for a moment that this thing is not anything that can be identified because it prefers not to be, because it is the antithesis of all we are. Because it is evil.. TOTAL EVIL.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(a little sarcastically)</parenthetical>
<dialogue>One more reason to shoot first eh?</dialogue>
<scene_description>All the Generals nod in agreement.</scene_description>
<character>CORNELIUS</character>
<dialogue>Evil begets evil, Mr. President. Shooting would only make it stronger.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPACESHIP</stage_direction>
<character>TECHNICIAN</character>
<dialogue>The probe will attain its objective in five seconds.</dialogue>
<scene_description>Staedert moves closer to the ship's window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE.</stage_direction>
<scene_description>Evil swallows the probe and immediately bubbles over with activity like a furious volcano.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>STAEDERT</character>
<dialogue>Mr. President, we're at crisis point.</dialogue>
<scene_description>The President looks puzzled.</scene_description>
<character>PRESIDENT</character>
<dialogue>Your theory is interesting Father but I don't think we have time to go into it right now!</dialogue>
<character>CORNELIUS</character>
<dialogue>Time is of no importance, Mr. President. Only life is important.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>That's exactly what we are going to try and do: Protect the lives of some 200 billion of our fellow citizens! General? You may fire when ready.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPACESHIP</stage_direction>
<character>STAEDERT</character>
<parenthetical>(cold) (to the CAPTAIN)</parenthetical>
<dialogue>..Up front loading of a 120 ZZR missile.</dialogue>
<scene_description>Marker lights on the objective.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE SPACESHIP</stage_direction>
<scene_description>All of a sudden, outside the ship, the strange planet's activity ceases. A black crust immediately covers it.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>SCIENTIST</character>
<parenthetical>(consulting new data)</parenthetical>
<dialogue>Its structure has just solidified on the surface, as if the object felt something. If that's the case, we are undoubtedly dealing with an intelligence.</dialogue>
<character>CORNELIUS</character>
<dialogue>The most terrible intelligence imaginable, Mr. President.</dialogue>
<scene_description>The President hesitates.</scene_description>
<character>CAPTAIN</character>
<dialogue>...The ship is in combat formation. The missile is loaded, General.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(uneasy)</parenthetical>
<dialogue>Staedert? Give me a minute... I have a doubt.</dialogue>
<character>STAEDERT</character>
<parenthetical>(cold)</parenthetical>
<dialogue>I don't, Mr. President.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE SPACESHIP</stage_direction>
<scene_description>The missile explodes from the ship and penetrates its target. The explosion is swallowed like a fizzy pill in a small glass of water. Nothing happens. And then the mass grows larger.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM / PRESIDENT'S OFFICE</stage_direction>
<scene_description>Staedert looks worried.</scene_description>
<character>STAEDERT</character>
<dialogue>Load a series of 740 missiles. Maximum shield protection.</dialogue>
<character>CAPTAIN</character>
<dialogue>Yes, Sir.</dialogue>
<scene_description>The President is growing ever more worried.</scene_description>
<character>PRESIDENT</character>
<dialogue>Staedert? What's going on? Did you destroy it?</dialogue>
<character>STAEDERT</character>
<dialogue>I'm about to, Mr. President.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACESHIP</stage_direction>
<scene_description>A series of three missiles heads for the planet, which absorbs them all. And literally doubles in size.</scene_description>
<character>SCIENTIST</character>
<dialogue>The planet's diameter has greatly increased and it's moving toward the ship.</dialogue>
<character>PRESIDENT</character>
<dialogue>Staedert? Get out of there immediately! I don't want an incident, do you hear me, Staedert?</dialogue>
<character>STAEDERT</character>
<parenthetical>(worried)</parenthetical>
<dialogue>...What do we have that's bigger than 240?</dialogue>
<character>CAPTAIN</character>
<dialogue>Nothing, General.</dialogue>
<character>PRESIDENT</character>
<dialogue>Staedert, get out of there! That's an order!</dialogue>
<scene_description>A bead of sweat pearls Staedert's forehead. He is about to give an order when a gigantic flame emerges from the planet and literally swallows Staedert's spaceship.</scene_description>
<character>STAEDERT</character>
<parenthetical>(eyes wide)</parenthetical>
<dialogue>... Good God!</dialogue>
<scene_description>The flame fills the screen with a horrendous NOISE that....</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT</stage_direction>
<scene_description>... wakes up a man trying to escape from a nightmare. KORBEN DALLAS rubs his head. Thirty five years old, short hair, powerfully built, unquestionable charm, good looking in spite of the scars here and there. The alarm clock is still ringing, it shows the date as March 18, 2359. It in two in the morning. Ha grabs a cigarette, and stops to look for a light. He shuts oft the alarm. He hears a cat mewing in the hall. But it still rings. Korben takes a moment and then realizes it in the phone that is ringing.</scene_description>
<character>KORBEN</character>
<parenthetical>(to the cat)</parenthetical>
<dialogue>I'm coming.</dialogue>
<scene_description>He grabs the phone and crosses his tiny apartment (27 feet long by 6 feet wide) heading for the door, patting himself for a light. Behind him, the bed makes itself automatically.</scene_description>
<character>KORBEN</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>Yeah?</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>Hey bud! Finger here.</dialogue>
<scene_description>He opens the door for the cat and starts to rummage through a drawer for a match. Out come a handful of war decorations, a hero's collection.</scene_description>
<character>KORBEN</character>
<parenthetical>(to the cat)</parenthetical>
<dialogue>Hi sweetie!</dialogue>
<scene_description>...A Medal of Honor Certificate to Major Dallas</scene_description>
<character>FINGER (V.O.)</character>
<dialogue>I love you too Major, but you haven't called me that since basic training.</dialogue>
<character>KORBEN</character>
<dialogue>I was talking to the cat.</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>Oh, yeah, I forgot.You still prefer your cat to the real thing.</dialogue>
<scene_description>...A picture of Korben and his ex-wife on their wedding day.</scene_description>
<character>KORBEN</character>
<dialogue>At least, the cat comes back.</dialogue>
<character>FINGER (V.O.)</character>
<parenthetical>(ironical)</parenthetical>
<dialogue>You still pining for that two timing bitch. Forget her. There are a million women out there.</dialogue>
<character>KORBEN</character>
<dialogue>I don't want a million - I just want one. A perfect one.</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>Don't exist bud.</dialogue>
<scene_description>...A picture of Korben and Finger in uniform next to a space fighter.</scene_description>
<character>KORBEN</character>
<dialogue>I just found a picture of you.</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>How do I look?</dialogue>
<character>KORBEN</character>
<dialogue>Like shit.</dialogue>
<scene_description>Korben finds a box of matches with three matches. He strikes one. It does not light. Korben opens the fridge, bare, except for an empty can of GEMINI croquettes. On the packet is an ad: WIN A DREAM TRIP FOR 2 TO FHLOSTON PARADISE.</scene_description>
<character>FINGER (V.O.)</character>
<dialogue>Must be an old picture.. Listen, you gotta bring me your hack for the 6 month overhaul. A.S.A.P.</dialogue>
<scene_description>Korben heats up some brackish water.</scene_description>
<character>KORBEN</character>
<parenthetical>(sighs)</parenthetical>
<dialogue>I don't need one.</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>You forgetting who sat next to you for a thousand missions. I know how you drive.</dialogue>
<character>KORBEN</character>
<dialogue>Finger! I'm driving a cab now, not a space fighter!!</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>How many points you got left on your license?</dialogue>
<character>KORBEN</character>
<parenthetical>(lying)</parenthetical>
<dialogue>Uh... at least fifty.</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>In your dreams! See you tonight!</dialogue>
<scene_description>Finger has hang up. Korben sighs and does the same. He gets the heated brackish water and sits down. The cat pounces on the table and meows for its food. Korben pours half the coffee in the cat's cup. The cat meows. Korben taps his cup to the cat's saucer.</scene_description>
<character>KORBEN</character>
<dialogue>Cheers!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The office is emptied, only a few army officers remain. An ancient manuscript, Billy's drawings, sits in front of the President. Cornelius turns page after page, illustrating his point.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(to the President)</parenthetical>
<dialogue>We have forty-eight hours, the time it needs to adapt itself to our living conditions.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(worried)</parenthetical>
<dialogue>And then?</dialogue>
<character>CORNELIUS</character>
<dialogue>And then it will be too late. The goal of evil is to wipe out life! All forms of life. For all eternity...Life upsets it.</dialogue>
<scene_description>The President appears upset himself by this image.</scene_description>
<character>PRESIDENT</character>
<dialogue>Is there anything that can stop it?</dialogue>
<character>CORNELIUS</character>
<parenthetical>(knowing)</parenthetical>
<dialogue>Yes..thank God..</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The Mondoshawan spaceship bursts through a star cluster and fills the screen.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The manuscript is open on the President's desk.. CLOSE ON: Billy's rendering of the Mondoshawan.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(to the President)</parenthetical>
<dialogue>The Mondoshawans don't belong to the Federated Territories, but they are peaceful... in their possession are the four elements of life. These elements when they are gathered around a fifth: The Supreme Being, ultimate warrior, created to protect life......</dialogue>
<scene_description>The SUPREME BEING is standing, as if frozen in armor. All we see is the bottom half of his body. Big metallic gloves hold the case engraved with the emblem of the three suns containing the four Sacred Stones.</scene_description>
<character>CORNELIUS</character>
<dialogue>..will produce what the ancients called the light of creation, the light of total goodness which is the only thing that can defeat EVIL.</dialogue>
<scene_description>The President points to the spot occupied by the 5th element.</scene_description>
<character>PRESIDENT</character>
<dialogue>But what happens if instead of this... Ultimate Warrior... it is EVIL who stands here?</dialogue>
<character>CORNELIUS</character>
<dialogue>White turns to black. Light to Dark. Life to Death. For all eternity.</dialogue>
<scene_description>The President's nerves quiver.</scene_description>
<character>CAPTAIN</character>
<dialogue>Sir, we have a Mondoshawan spaceship at the frontier requesting permission to enter our territory.</dialogue>
<character>PRESIDENT</character>
<dialogue>I guess I should make a decision..</dialogue>
<character>CORNELIUS</character>
<dialogue>They are the only ones who can help..</dialogue>
<character>GENERAL</character>
<dialogue>Sir..the Mondoshawan do not belong to the federation. We do not know their intention.. I must recommend a full trinuclear assault..</dialogue>
<character>PRESIDENT</character>
<parenthetical>(yells)</parenthetical>
<dialogue>Did you see that..thing..swallow our battleship like a gum drop? You can't even tell me what it is! I ask you for options you give me bullshit. Give them permission to enter our territories with my warmest regards.</dialogue>
<character>CORNELIUS</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Thank you, Mr. President.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE / INT. MONDOSHAWAN SHIP</stage_direction>
<scene_description>The MONDOSHAWAN spaceship zips across the Federated Galaxy. But it is not alone: Two black warships seem to be dogging it.</scene_description>
</scene>
<scene>
<stage_direction>INT. MONDOSHAWAN COCKPIT</stage_direction>
<scene_description>The MONDOSHAWANS have spotted the spacecraft chasing them.</scene_description>
<character>FIRST OFFICER</character>
<dialogue>Two non-identified ships approaching.</dialogue>
<character>CAPTAIN</character>
<dialogue>Must be the welcoming committee.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARSHIP COCKPIT</stage_direction>
<scene_description>A MANGALORE sits at the controls of the warship. His terrifying features tell us what sort of welcome they can expect. The pilot fires without warning.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE / INT. MONDOSHAWAN SHIP</stage_direction>
<scene_description>The huge ship is badly hit and immediately swerves oft course. Panic aboard the MONDOSHAWAN ship.</scene_description>
</scene>
<scene>
<stage_direction>INT. MONDOSHAWAN SHIP</stage_direction>
<character>CAPTAIN</character>
<dialogue>We've been hit! General alert!!!</dialogue>
<scene_description>Blast after blast hits the defenseless ship.</scene_description>
<character>CAPTAIN</character>
<dialogue>We're losing control! We have to land fast!</dialogue>
<scene_description>The huge ship veers oft course and heads for a small red planet, taking hit after hit.</scene_description>
<character>CAPTAIN</character>
<dialogue>Send out a distress signal!!! Activate the emergency landing procedure!</dialogue>
<scene_description>The huge ship approaches the planet at blinding speed.</scene_description>
<character>FIRST OFFICER</character>
<dialogue>Impact in less than ten seconds!</dialogue>
<scene_description>The red planet looms ever closer.</scene_description>
<character>CAPTAIN</character>
<dialogue>Time is of no importance...</dialogue>
<scene_description>The ship crashes in a gigantic explosion.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - DAY</stage_direction>
<scene_description>A thermo nuclear explosion fills a T.V. screen..Which Korben's cat watches with interest. Korben is about to exit the apartment.</scene_description>
<character>KORBEN</character>
<dialogue>Don't watch it all day, it'll rot your mind. Bye sweetie..</dialogue>
<scene_description>In response, the cat meows. Korben opens the door to..A huge gun, brandished by a nervous MUGGER, pointing right in his face.</scene_description>
<character>MUGGER</character>
<dialogue>The cash man!</dialogue>
<character>KORBEN</character>
<dialogue>Been here long?</dialogue>
<character>MUGGER</character>
<dialogue>Don't fuck with me man or I'll blow you into tomorrow!</dialogue>
<scene_description>Unperterbed, Korben looks at the mugger's fearsome weapon.</scene_description>
<character>KORBEN</character>
<dialogue>Isn't that a Z140? Alleviated titanium. Neuro charged assault model?</dialogue>
<character>MUGGER</character>
<parenthetical>(off balance)</parenthetical>
<dialogue>Uh..</dialogue>
<character>KORBEN</character>
<dialogue>You know you could hurt someone with this puppy..good thing it's not loaded..</dialogue>
<scene_description>The mugger is lost. He looks at his weapon.</scene_description>
<character>MUGGER</character>
<dialogue>It's not?</dialogue>
<character>KORBEN</character>
<dialogue>You gotta push the little yellow button...</dialogue>
<scene_description>Korben points to the button on the side of the gun. The mugger takes his advice.</scene_description>
<character>MUGGER</character>
<dialogue>Thanks..</dialogue>
<character>KORBEN</character>
<dialogue>You're welcome..</dialogue>
<scene_description>And with lightning speed, Korben blasts the mugger with a straight right hand, sending him down for the count. Korben retrieves the gun.</scene_description>
<character>KORBEN</character>
<dialogue>..you know these things are VERY illegal.. you could get in a shit load of trouble.. I better hang onto it for you..</dialogue>
<scene_description>As the mugger clears his head, Korben opens a drawer next to him which is full of similar guns! The mugger's eyes pop out of his head. He scampers to his feet and runs off. Korben shrugs, exits his apartment, and closes the door. The cat watches a nuclear holocaust on T.V., uninterrupted.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S GARAGE - DAY</stage_direction>
<scene_description>Korben enters his taxi. A robotic voice greets him.</scene_description>
<character>VOICE</character>
<dialogue>Please enter your license..</dialogue>
<scene_description>Korben complies, and starts to push a series of buttons on the dash.</scene_description>
<character>VOICE</character>
<dialogue>Welcome on board Mr. Dallas..</dialogue>
<character>KORBEN</character>
<dialogue>How you doing this morning? Sleep OK? I didn't.</dialogue>
<scene_description>Korben hits a button. The garage door starts to open.</scene_description>
<character>VOICE</character>
<dialogue>Fuel level 6.03..Propulsion 2x4...</dialogue>
<character>KORBEN</character>
<dialogue>I had the worst goddamn nightmare.</dialogue>
<character>VOICE</character>
<dialogue>You have nine points left on your license..</dialogue>
<character>KORBEN</character>
<dialogue>Thanks for reminding me..</dialogue>
<scene_description>As the garage door lifts, the Megalopolis that is New York City in the 23rd century comes into view. Startling in it's height, and breath.</scene_description>
<character>VOICE</character>
<dialogue>Have a nice day..</dialogue>
<scene_description>Korben lets the propulsion build.</scene_description>
<character>KORBEN</character>
<dialogue>Right..</dialogue>
<scene_description>He lets the gear slip. The taxi rockets off into the City.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>Cornelius collapses in a chair.</scene_description>
<character>CORNELIUS</character>
<dialogue>We are lost!</dialogue>
<character>GENERAL MUNRO</character>
<dialogue>Mr. President, the attack was launched by two unregistered warships.</dialogue>
<character>PRESIDENT</character>
<dialogue>Close all borders and declare a state of general alert.</dialogue>
<character>GENERAL MUNRO</character>
<dialogue>Yes, sir.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(to another OFFICER)</parenthetical>
<dialogue>Try to contact these Mondoshawans. We owe them an explanation.</dialogue>
<character>CORNELIUS</character>
<parenthetical>(lost, to himself)</parenthetical>
<dialogue>What are we going to do?</dialogue>
<character>PRESIDENT</character>
<dialogue>This is government business now. You ought to go home and get some rest, Father.</dialogue>
<scene_description>The President motions to his guards to come and get Cornelius.</scene_description>
<character>PRESIDENT</character>
<dialogue>I promise to keep you informed.</dialogue>
<scene_description>A weary Cornelius leaves the room with David's help.</scene_description>
<character>PRESIDENT</character>
<parenthetical>(to the CAPTAIN)</parenthetical>
<dialogue>...Has the rescue team found any survivors?</dialogue>
</scene>
<scene>
<stage_direction>INT. LABORATORY - 1ST DISTRICT - MANHATTAN - DAWN</stage_direction>
<scene_description>An arm, on a surgical cart, moves down the hall of the Nucleological Center, the most sterile of environments. PROFESSOR MACTILBURGH, age 60, hurries alongside GENERAL MUNRO.</scene_description>
<character>MUNRO</character>
<dialogue>This is all that survived?</dialogue>
<character>MACTILBURGH</character>
<dialogue>Actually only one cell survived..</dialogue>
<character>MUNRO</character>
<dialogue>Have you identified it?</dialogue>
<character>MACTILBURGH</character>
<dialogue>It's not that easy..we've never encountered anything like it before..you see normal human beings have 40 DNA memo groums..which is more than enough for any species to perpetuate itself... This one has 200,000.</dialogue>
<character>MUNRO</character>
<dialogue>Talk English Doc.</dialogue>
<character>MACTILBURGH</character>
<dialogue>This cell is like a huge library. It has infinite genetic knowledge stored inside. Almost like it was...engineered.</dialogue>
<character>MUNRO</character>
<dialogue>Sounds like a freak of nature to me.</dialogue>
<character>MACTILBURGH</character>
<dialogue>Yes... I can't wait to meet him.</dialogue>
<scene_description>They pass into the lab.</scene_description>
</scene>
<scene>
<stage_direction>INT. LABORATORY</stage_direction>
<scene_description>The two enter a cylindrical laboratory. There is a huge glass turbine in the middle with the metal glove inside. A DNA chain scrolls on the computer screen.</scene_description>
<character>MACTILBURGH</character>
<parenthetical>(rather fascinated)</parenthetical>
<dialogue>The compositional elements of his DNA chain are the same as ours, there are simply more of them tightly packed. His knowledge is probably limitless..</dialogue>
<character>MUNRO</character>
<parenthetical>(worried)</parenthetical>
<dialogue>Is there any danger? Some kind of virus?</dialogue>
<character>MACTILBURGH</character>
<dialogue>We put it through the cellular hygiene detector. The cell is for lack of a better word... perfect.</dialogue>
<scene_description>Munro hesitates a moment. Then he sighs and uses his personal key to open the self-destruct box.</scene_description>
<character>MUNRO</character>
<dialogue>OK, go ahead! But Mr. Perfect better be polite... otherwise I turn him into cat food.</dialogue>
<scene_description>Mactilburgh starts the operation rolling as Munro puts his hand on the sell-destruct button, ready to use it. Thousands of cells form in the heart of the generator, an assemblage of DNA elements. Then the cells move down a tube, like a fluid, and gather in an imprint of a HUMAN body. Step by step bones are reconstructed, then the nervous and muscular systems. Whole veins wrap around the muscles. An entire body is reconstructing before our very eyes.</scene_description>
<character>DOCTOR</character>
<dialogue>Three seconds to ultra-violet protection.</dialogue>
<scene_description>A shield comes over the reconstructing body and makes it invisible.</scene_description>
<character>MACTILBURGH</character>
<parenthetical>(to Munro)</parenthetical>
<dialogue>...This is the crucial phase, The reconstruction of pigment. Cells are bombarded with slightly greasy solar atoms which forces the body cells to react, to protect themselves. That means growing skin. Clever, eh?</dialogue>
<character>MUNRO</character>
<parenthetical>(disgusted)</parenthetical>
<dialogue>Wonderful!</dialogue>
<scene_description>The meter slows, drops to zero.</scene_description>
<character>ASSISTANT</character>
<dialogue>... End of reconstruction, beginning of reanimation .</dialogue>
<scene_description>A whoosh of air in the glass chamber. Captain Munro has his hand on the self-destruct button, ready to destroy the being that has barely been reborn.</scene_description>
<character>MACTILBURGH</character>
<parenthetical>(pushing a button)</parenthetical>
<dialogue>Activate life support system.</dialogue>
<scene_description>An electrical discharge fills the glass chamber causing the body inside to jerk. After a few moments of silence, the SOUND of a heartbeat fills the room over the loudspeaker.</scene_description>
<character>ASSISTANT</character>
<dialogue>Life support system activated.</dialogue>
<scene_description>The Supreme Being is alive once again.</scene_description>
<character>MACTILBURGH</character>
<dialogue>Remove the shield.</dialogue>
<scene_description>The ASSISTANT automatically removes the ultra-violet shield which slowly reveals... a woman... nude... young... and very beautiful. Munro stands there gaping. Not quite his vision of the Supreme Being. Mactilburgh glances at Munro and gently pushes his hand away from the self-destruct button.</scene_description>
<character>MACTILBURGH</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>I told you ... perfect!</dialogue>
<scene_description>Munro is hypnotized by the GIRL's beauty.</scene_description>
<character>MUNRO</character>
<dialogue>...I'd, uh , like to get a few pictures for the archives before she wakes up.</dialogue>
<scene_description>Mactilburgh looks at him with a grin. A remote-control camera approaches the girl's face, a flash goes off. Blinded by the flash, the girl jumps and screams. She cowers in a corner, shaking from the cold, darting eyes everywhere looking for the case she was holding.</scene_description>
<character>GIRL</character>
<parenthetical>(very angry)</parenthetical>
<dialogue>Ouacra cocha o dayodomo binay ouacra mo cocha ferji akba ligounai makta keratapla. Tokemata tokemata! Seno santonoi-aypa! Minoi ay Cheba! Givomana seno!</dialogue>
<character>MUNRO</character>
<parenthetical>(worried)</parenthetical>
<dialogue>What's she saying?</dialogue>
<character>MACTILBURGH</character>
<parenthetical>(to his ASSISTANT)</parenthetical>
<dialogue>Activate the phonic detector.</dialogue>
<scene_description>The girl kicks the window repeatedly.</scene_description>
<character>MACTILBURGH</character>
<dialogue>And give her a light sedative... and something to wear!</dialogue>
<scene_description>The ASSISTANT hits a button. A pile of clothes drops out of a trapdoor in the ceiling. She snatches up the clothes angrily and dresses quickly. Munro draws closer to the glass window. He watches her dress with undisguised pleasure.</scene_description>
<character>MUNRO</character>
<parenthetical>(to Mactilburgh)</parenthetical>
<dialogue>This thing solid?</dialogue>
<character>MACTILBURGH</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>An elephant couldn't crack it.</dialogue>
<scene_description>The Girl finishes dressing.</scene_description>
<character>GIRL</character>
<parenthetical>(angrily)</parenthetical>
<dialogue>Teno akta chataman assin-omekta!</dialogue>
<scene_description>Munro smiles safely behind his plate glass window.</scene_description>
<character>MUNRO</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>You're gonna have to learn to communicate better than that angel if you want out.</dialogue>
<scene_description>Munro dangles the key on a chain that will let her out. The girl rams her fist right through the window. She grabs the key and yanks it. The chain snaps tight and Munro slams into the window knocking himself out. The girl puts her hand through the window again, unlocks the chamber and steps out. She is still bit wobbly on her legs. Two GUARDS try to grab her. She sends them flying across the room. Mactilburgh is most impressed. He sets off a general alarm.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR LABORATORY</stage_direction>
<scene_description>The girl runs through a maze of corridors looking for a way out. A squad of SECURITY GUARDS appear in front of her and open fire without warning. The girl takes a leap, grabs an air vent, kicks it out and dives into the air shaft. The COPS try and jump up to the vent, but none can reach it.</scene_description>
<character>CHIEF</character>
<dialogue>Get me a chair or a stepladder The rest of you go through the main ventilation!</dialogue>
</scene>
<scene>
<stage_direction>INT. VENTILATION DUCT - LABORATORY</stage_direction>
<scene_description>The girl moves along unable to see what's ahead of her. She comes to a dead-end, a grill that leads outside. She pushes it out and exits onto the ledge.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LEDGE - LABORATORY - DAWN</stage_direction>
<scene_description>She has exited to a ledge on the 450th floor of a building, right in the middle of Manhattan, which we discover for the first time. The city has become monstrous. Buildings rise 600 stories. Cars fly. Subways run vertically...The girl edges along the narrow ledge, unfazed by the height. The CHIEF leans out the vent, looking out into the void.</scene_description>
<character>CHIEF</character>
<parenthetical>(to his men)</parenthetical>
<dialogue>Go on follow her!</dialogue>
<scene_description>The COPS stare into the gaping void.</scene_description>
<character>COP</character>
<dialogue>...No way.</dialogue>
<scene_description>The CHIEF angrily pulls out his gun and shoots at the girl who ducks around the corner of the building. Unfortunately the other side in full of cops as well. A flying police car zooms up in front of her, sirens blaring.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>This in the police. Your status is illegal. Please put up your hands and follow our instructions!</dialogue>
<scene_description>The girl feels trapped. She looks down into the endless 450 below and all the cars flying underneath her. Then she raises her arms... and dives off.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - NIGHT</stage_direction>
<character>COP</character>
<parenthetical>(in the car.)</parenthetical>
<dialogue>Christ! She dove off!</dialogue>
<scene_description>In a panic, the COP makes a wrong turn. The girl falls for several seconds. She lands on the roof of a flying cab.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - NIGHT</stage_direction>
<scene_description>Korben tries to control his car, reeling from the impact.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>You have just had an accident. Seven points have been temporarily removed...</dialogue>
<scene_description>Korben manages to stop his cab, pulls over to the side.</scene_description>
<character>VOICE / KORBEN</character>
<dialogue>You have one point left on your license. Have a good day.</dialogue>
<scene_description>Korben sighs and looks in the back seat to see what the damages are. The girl, a bit dazed (who wouldn't be), emerges from the debris and sits up. There's some blood on her face. Korben is stunned. The girl's still alive and... so beautiful. His heart heads for a meltdown.</scene_description>
<character>GIRL</character>
<dialogue>Akina delutan, nou-shan.</dialogue>
<character>KORBEN</character>
<parenthetical>(lost)</parenthetical>
<dialogue>...'Scuse me?</dialogue>
<scene_description>A police car with wailing sirens halts in front of Korben.</scene_description>
<character>COP</character>
<parenthetical>(over a loudspeaker)</parenthetical>
<dialogue>You have an unauthorized passenger in your vehicle. We are going to arrest her. Please leave your hands on the wheel. Thank you for your cooperation.</dialogue>
<character>KORBEN</character>
<parenthetical>(obeying)</parenthetical>
<dialogue>Sorry, Hon, but I only got one point left on my license and I gotta get to the garage!</dialogue>
<scene_description>The police car presses up against the cab. Doors slide open. Huge guns point at her. Korben feels lousy. The girl's helpless, there are tears in her eyes, she looks exhausted. Korben glances at her in the rear view mirror. She's looking all around to find something to help her communicate with him. HER POV: AN AD ON THE BACK OF THE SEAT. AN 800 NUMBER TO HELP AN ORPHANAGE. A TEARY photo of a kid over the words Please Help. She shoots to Korben a look of pure distress.</scene_description>
<character>GIRL</character>
<parenthetical>(irresistible)</parenthetical>
<dialogue>Please... HELP...</dialogue>
<scene_description>Korben can't resist her plea.</scene_description>
<character>KORBEN</character>
<dialogue>Don't put me in this position... I can't... I'm late as it is...</dialogue>
<scene_description>But he cannot say no to her eyes.</scene_description>
<character>KORBEN</character>
<dialogue>Finger's gonna kill me.</dialogue>
<scene_description>Korben shuts oft the meter and floors it, sideswiping the police car as he roars away.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Your license has been revoked. Would you please....</dialogue>
<scene_description>Korben whips out a gun and shatters the loudspeaker.</scene_description>
<character>KORBEN</character>
<dialogue>I hate when people cry... I got no defense...</dialogue>
<scene_description>The police car takes out after him, sirens screeching. An insane chase ensues.</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK STREETS - DAY</stage_direction>
<scene_description>Korben and his flying taxi are absolute masters of the air. The cops have trouble following him but then another cop car comes to join in the fun. Korben drives like a man possessed, nothing can stop him. Except the dead-end he's just come up against.</scene_description>
<character>GIRL</character>
<dialogue>Daya deo dono Dato. Dalutan!</dialogue>
<character>KORBEN</character>
<dialogue>It there's one thing I don't need advice on, it's how to drive.</dialogue>
<scene_description>Korben turns his cab sideways and scrapes through a narrow passageway, ripping his taxi light from the roof. The police car smashes into the wall. The other one brakes just in time.</scene_description>
<character>COP</character>
<dialogue>Shit! Attention all-patrol cars!</dialogue>
<scene_description>The car makes a U-turn, looking for a wider passageway.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK STREET</stage_direction>
<scene_description>The police car roars up, sirens screaming then slows down and checks out a dead-end flanked by a large vertical neon billboard. The dead-end is empty . Korben's cab is hidden vertically behind the billboard. Seeing nothing, the police drive away.</scene_description>
<character>KORBEN</character>
<dialogue>We'll wait till things quiet down a bit. You mind?</dialogue>
<scene_description>The girl grabs his shirt collar and pulls him close, whispers in his ear.</scene_description>
<character>GIRL</character>
<parenthetical>(weak)</parenthetical>
<dialogue>...Priest...</dialogue>
<character>KORBEN</character>
<dialogue>You're not that bad... Come on we'll get you to a doctor.</dialogue>
<scene_description>The girl hands him the handle of the case, struck with the three Egyptian suns.</scene_description>
<character>GIRL</character>
<parenthetical>(weak)</parenthetical>
<dialogue>Vito... Cor... Ni-lious... Priest...</dialogue>
<character>KORBEN</character>
<dialogue>Vito Cornelius?</dialogue>
<scene_description>The girl nods, then faints. Korben is somewhat lost faced with so much mystery.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>The door opens. Korben is there with the unconscious girl in his arms.</scene_description>
<character>KORBEN</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Excuse me, I'm looking for a priest.</dialogue>
<character>CORNELIUS</character>
<parenthetical>(tired)</parenthetical>
<dialogue>Weddings are one floor down. Congratulations.</dialogue>
<scene_description>Cornelius closes the door. The doorbell RINGS again.</scene_description>
<character>KORBEN</character>
<dialogue>She's not my bride, she's my fare. She's looking for this Vito Cornelius. According to the phone guide he lives here.</dialogue>
<character>CORNELIUS</character>
<parenthetical>(curious)</parenthetical>
<dialogue>That's me. But I don't know who she is... where did you find her?</dialogue>
<character>KORBEN</character>
<dialogue>She dropped in on me... holding this.</dialogue>
<scene_description>Korben hands him the metal handle with the three Egyptian suns, stamped on it.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(staggered)</parenthetical>
<dialogue>The fifth element.</dialogue>
<scene_description>He faints dead away. Korben, with the girl still in his arms looks around helpless.</scene_description>
<character>KORBEN</character>
<parenthetical>(sighing)</parenthetical>
<dialogue>Finger's gonna kill me...</dialogue>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>In his armchair, Cornelius gets woken by a slap in the face.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(with a start)</parenthetical>
<dialogue>Who are you?</dialogue>
<character>KORBEN</character>
<dialogue>I brought the girl remember?</dialogue>
<character>CORNELIUS</character>
<dialogue>The girl?</dialogue>
<scene_description>Cornalius gets up. He looks at the handle.</scene_description>
<character>KORBEN</character>
<dialogue>Yeah! She dropped in on me. I mean on my taxi... talking... this... this bizarre language...</dialogue>
<scene_description>And then it dawns on Cornelius who the girl is.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(eyes riveted on her)</parenthetical>
<dialogue>He's a she!</dialogue>
<character>KORBEN</character>
<parenthetical>(bemused)</parenthetical>
<dialogue>You noticed...</dialogue>
<character>CORNELIUS</character>
<parenthetical>(face shining)</parenthetical>
<dialogue>There's not a moment to lose! Wake her up, but be gentle about it! This woman is mankind's most precious possession! She is... perfect!</dialogue>
<character>KORBEN</character>
<dialogue>So you do know her.</dialogue>
<character>CORNELIUS</character>
<dialogue>Uh yes, we're cousins..distant cousins..</dialogue>
<scene_description>Cornelius runs into the next room. Korben looks at the girl, goes to slap her, then changes his mind. Her beauty troubles him. He hesitates, then, gently caresses her cheek. Her skin seems so soft, so fragile.</scene_description>
<character>KORBEN</character>
<dialogue>Perfect...</dialogue>
</scene>
<scene>
<stage_direction>INT. SMALL ROOM</stage_direction>
<scene_description>David, is mending a cassock when Cornelius bursts into the room out of breath.</scene_description>
<character>CORNELIUS</character>
<dialogue>It's a miracle!!!</dialogue>
<character>DAVID</character>
<parenthetical>(worried)</parenthetical>
<dialogue>What is?</dialogue>
<character>CORNELIUS</character>
<parenthetical>(babbling crazily)</parenthetical>
<dialogue>I can't wear these clothes! This calls for dignity! I have to dress the part!</dialogue>
<scene_description>He opens a closet filled with identical robes and plunges in, disappearing as David looks on, uncomprehending. INT LIVING ROOM - CORNELIUS' APARTMENT Korben gently kisses the girl's cheeks, but she doesn't respond. He looks around then kisses her on the lips. The girl's eyes snap open. When Korben straightens up he discovers his own gun jammed under his chin.</scene_description>
<character>GIRL</character>
<parenthetical>(angry)</parenthetical>
<dialogue>Eto Akta Gamat!</dialogue>
<character>KORBEN</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>I'm sorry, it's just that... I was told to wake you up gently, so I figured...</dialogue>
<scene_description>The girl pauses a moment. She stares at him, looks puzzled.</scene_description>
<character>KORBEN</character>
<dialogue>You're right, I was wrong! I shouldn't have kissed you... especially since we haven't been introduced and...</dialogue>
<parenthetical>(he pulls out a business card)</parenthetical>
<dialogue>Here, it's a bit late, but... my name is Korben, Korben Dallas. Keep it, you never know, maybe... you'll need a cab one day. I'll be happy to open the door this time!.</dialogue>
<scene_description>The girl hesitates, then snatches the card like a wild animal.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL ROOM</stage_direction>
<scene_description>Cornelius is lost in the closet.</scene_description>
<character>DAVID</character>
<dialogue>Father, will you please explain what's going on?</dialogue>
<character>CORNELIUS</character>
<dialogue>The Supreme Being, the fifth element is here, in our parish!!! It's a miracle!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<character>KORBEN</character>
<dialogue>...What's your name?</dialogue>
<character>GIRL</character>
<parenthetical>(after a moment)</parenthetical>
<dialogue>Leeloo Minai Lekarariba-Laminai-Tchai Ekbat De Sebat.</dialogue>
<character>KORBEN</character>
<parenthetical>(polite)</parenthetical>
<dialogue>Hey, that's... cute... Do you have a nickname, something a little... shorter?</dialogue>
<character>GIRL</character>
<dialogue>...Leeloo.</dialogue>
<scene_description>Korben is falling in love.</scene_description>
<character>KORBEN</character>
<dialogue>That's... really cute...</dialogue>
<scene_description>Cornelius bursts into the room. She turns the gun on him. He bows before her.</scene_description>
<character>CORNELIUS</character>
<dialogue>Appipulai Leeloo Minai..</dialogue>
<character>LEELOO</character>
<dialogue>Corn-i-Lius?</dialogue>
<character>CORNELIUS</character>
<parenthetical>(bowing)</parenthetical>
<dialogue>At your service.</dialogue>
<scene_description>LEELOO lowers her guard starts to laugh. An irresistible childish laugh. Korben smiles.</scene_description>
<character>DAVID</character>
<dialogue>Father. You sure she's the Supreme Being?</dialogue>
<character>CORNELIUS</character>
<dialogue>Absolutely sure. There's the triple suns on her gloves!</dialogue>
<scene_description>David bows low, but his eyes glance up at Leeloo. Cornelius begins to lead Korben toward the door, hustling him out.</scene_description>
<character>KORBEN</character>
<dialogue>They all like this in your family, father?</dialogue>
<character>CORNELIUS</character>
<dialogue>She's an exception... Thank you so much for your help Mr...?</dialogue>
<character>KORBEN</character>
<dialogue>Dallas. Korben Dallas.</dialogue>
<scene_description>Cornelius takes his arm. Leeloo stops laughing when she sees Korben leaving.</scene_description>
<character>CORNELIUS</character>
<dialogue>Yes. That's fine! Thank you very much. A thousand times over!</dialogue>
<character>KORBEN</character>
<dialogue>I might call to check up on her, you know... to see if she's better?</dialogue>
<character>CORNELIUS</character>
<dialogue>She's fine, really..don't you worry.. just needs some rest..she's had a very long trip.</dialogue>
<character>KORBEN</character>
<dialogue>I know. I was there when she arrived.</dialogue>
<scene_description>Cornelius is about to close the door. Korben's hand blocks it.</scene_description>
<character>KORBEN</character>
<dialogue>Excuse me! Just one thing! She said something to me a while ago and... I don't really get it... Akta Gamat?</dialogue>
<character>CORNELIUS</character>
<dialogue>It means, "Never without my permission".</dialogue>
<character>KORBEN</character>
<dialogue>That's what I thought.</dialogue>
<scene_description>Cornelius slams the door in his face.</scene_description>
<character>KORBEN</character>
<dialogue>...Thanks.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - DAY</stage_direction>
<scene_description>Korben beads down the hallway. He passes his NEIGHBOR.</scene_description>
<character>KORBEN</character>
<dialogue>Evening...</dialogue>
<character>NEIGHBOR</character>
<dialogue>Fuck you!</dialogue>
<character>KORBEN</character>
<dialogue>...Thanks... You, too.</dialogue>
<scene_description>Korben enters his-apartment.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - DAY</stage_direction>
<scene_description>The door slides back and the cat comes rubbing up against him, tail in the air.</scene_description>
<character>KORBEN</character>
<dialogue>Oh god. I forgot your food ... I'm really sorry! How about a nice Thai nosh to apologize? How does that sound, huh?</dialogue>
<scene_description>The cat meows, appeased, just an the phone rings.</scene_description>
<character>KORBEN</character>
<dialogue>Hello?</dialogue>
<character>FINGER (V.O.)</character>
<dialogue>Hey bud...I'm waiting all day here.</dialogue>
<character>KORBEN</character>
<dialogue>Finger..man..I'm sorry..listen..I was on the way over but I had a fare fall into my lap.. y'know one of those big fares you just can't resist..</dialogue>
<character>FINGER (V.O.)</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>So, just how big was this fare?</dialogue>
<character>KORBEN</character>
<dialogue>5'7", green eyes... long legs... great skin... perfect..</dialogue>
<scene_description>Korben takes out a cigarette.</scene_description>
<character>FINGER (V.O.)</character>
<dialogue>Uh huh..and I don't suppose you got the name of this... perfect fare...</dialogue>
<character>KORBEN</character>
<parenthetical>(dreamy)</parenthetical>
<dialogue>Leeloo..</dialogue>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>Leeloo has a towel wrapped around her, it looks like she just took a shower. She sits in front of a computer wolfing down some chicken. Data scrolls by on the screen. David watches from the corner, in awe.</scene_description>
<character>DAVID</character>
<dialogue>What's she doing?</dialogue>
<character>CORNELIUS</character>
<dialogue>Learning our history! The last 5000 years that she missed! She's been out of circulation a while, you know.</dialogue>
<scene_description>Leeloo breaks into her childish laughter.</scene_description>
<character>CORNELIUS</character>
<dialogue>What're you laughing about?</dialogue>
<character>LEELOO</character>
<parenthetical>(pronouncing badly)</parenthetical>
<dialogue>Napoleon... small.</dialogue>
<scene_description>She laughs again and tosses some capsules into the microwave.</scene_description>
<character>DAVID</character>
<parenthetical>(hesitant)</parenthetical>
<dialogue>Uh father, I know she's been through a lot... but the sacred stones..we don't have much time..</dialogue>
<character>CORNELIUS</character>
<dialogue>Yes. Of course..</dialogue>
<scene_description>Leeloo takes her plate out of the microwave. A steaming plate heaped with chicken and exotic vegetables.</scene_description>
<character>CORNELIUS</character>
<dialogue>Leeloo..I'm sorry to interrupt you but..</dialogue>
<scene_description>She sits back down in front of the screen and chomps away heavily on her second chicken. Cornelius sits opposite her. and holds up the case handle.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(serious)</parenthetical>
<dialogue>The case..with the stones... Where is it?</dialogue>
<character>LEELOO</character>
<dialogue>San Agamat chay bet... envolet!</dialogue>
<character>CORNELIUS</character>
<dialogue>The case was stolen?</dialogue>
<scene_description>Leeloo nods her head, quite unperturbed and continues to devour the food in front of her.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Who in gods name would do such a thing?</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - ZORG'S WAREHOUSE - DAY</stage_direction>
<scene_description>CLOSE ON: A pair of feet limping heavily. A MAN comes alongside them.</scene_description>
<character>RIGHT ARM</character>
<dialogue>Excuse me sir, the council is worried about the economy heating up. They wondered if it would be possible to fire 500...</dialogue>
<scene_description>They reach a door at the end of the corridor. Zorg enters a code.</scene_description>
<character>ZORG</character>
<dialogue>Fire 1000.</dialogue>
<character>RIGHT ARM</character>
<dialogue>But... 500 is all they need, sir.</dialogue>
<scene_description>ZORG turns slowly. A small scar across run across his face, his eye stutters. This is not a man to cross, or contradict.</scene_description>
<character>RIGHT ARM</character>
<dialogue>1000! Fine, sir! Sorry to have disturbed you.</dialogue>
<scene_description>The door opens...</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>... and David enters carrying a bundle of clothes.</scene_description>
<character>CORNELIUS</character>
<dialogue>There was this guy with a limp who came a month ago..said he was an art dealer ... Asking all these questions about the Sacred Stones..at the time I didn't think anything of it.. What was his name? I'm so bad with names...</dialogue>
<character>DAVID</character>
<parenthetical>(to Leeloo, timid)</parenthetical>
<dialogue>I didn't know your size.</dialogue>
<scene_description>Leeloo is happy. She pulls off the towel and stands there nude. Cornelius and David turn away.</scene_description>
<character>DAVID</character>
<dialogue>They really made her...</dialogue>
<character>CORNELIUS</character>
<dialogue>Perfect.</dialogue>
<scene_description>Leeloo finishes dressing. She is delighted.</scene_description>
<character>LEELOO</character>
<parenthetical>(to David)</parenthetical>
<dialogue>Domo danko!</dialogue>
<scene_description>David smiles, dumb with admiration. Cornelius comes over.</scene_description>
<character>CORNELIUS</character>
<dialogue>Leeloo? The Stones...</dialogue>
<scene_description>We must get them back. Leeloo settles down, sits at the computer and turns it on.</scene_description>
<character>LEELOO</character>
<dialogue>Ikset-kiba. Me imanetaba oum dalat!</dialogue>
<character>CORNELIUS</character>
<dialogue>You know exactly where they are!</dialogue>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - DAY</stage_direction>
<scene_description>A group of handsome WARRIORS approaches. AKNOT, their leader has the sacred case in his hands. The metal handle is missing but the second metal glove is still grasping the case.</scene_description>
<character>ZORG</character>
<parenthetical>(pretending to be worried)</parenthetical>
<dialogue>Aknot? Is that you?</dialogue>
<scene_description>The LEADER nods. A disgusted look stamps Zorg's features.</scene_description>
<character>ZORG</character>
<dialogue>...What an ugly face! Doesn't suit you at all! Take it off...</dialogue>
<scene_description>AKNOT's face burns away revealing the head of a monstrous MANGALORE.</scene_description>
<character>ZORG</character>
<dialogue>That's better! Never be ashamed of who you are... You're warriors... be proud...</dialogue>
<scene_description>AKNOT says nothing, but if his eyes could talk!</scene_description>
<character>ZORG</character>
<dialogue>So what if the Federal Army crushed your entire race and scattered your</dialogue>
<character>ZORG</character>
<dialogue>people to the wind... Your time for revenge is at hand... Viola... the ZF1.</dialogue>
<scene_description>He takes out a weapon from one a crate and goes into a sales pitch.</scene_description>
<character>ZORG</character>
<parenthetical>(very fast)</parenthetical>
<dialogue>...It's light... the handle's adjustable for easy carrying... good for righties and lefties.</dialogue>
<scene_description>Meanwhile, two MEN set up a mannequin rigged with various defense mechanisms at the far end of the warehouse.</scene_description>
<character>ZORG</character>
<dialogue>... Breaks down into four parts, undetectable by X-rays.. It's the ideal weapon for quick, discreet interventions. A word on fire power: Titanium recharger. 3000 round clip with bursts of 3 to 300.</dialogue>
<scene_description>With the replay button, another Zorg innovation, it's even easier... one shot. He fires at the mannequin.</scene_description>
<character>ZORG</character>
<dialogue>... and replay sends every following shot to the same location...</dialogue>
<scene_description>Zorg spins around, the rounds all hit the mannequin.</scene_description>
<character>ZORG</character>
<parenthetical>(even faster)</parenthetical>
<dialogue>I recharge, but the enemy has launched a cowardly sneak attack from behind, the automirror takes care of that. Gives me the time to turn around and finish the job. 300 round bursts, then there are the Zorg oldies...</dialogue>
<scene_description>He fires off each item he names.</scene_description>
<character>ZORG</character>
<dialogue>...Rocket launcher. The always efficient flame thrower... My favorite. Our famous net launcher, the arrow launcher, with exploding or poisonous gas heads - very practical. And for the grand finale, the all-new ice-cube system!</dialogue>
<scene_description>The mannequin has been blasted into a pile of ashes covered by a net, stuck with arrows, the whole mess frozen solid. He tosses the weapon into AKNOT's hands.</scene_description>
<character>ZORG</character>
<dialogue>...Four full crates, delivered right on time! What about you, my dear Aknot, did you bring me what I asked you for?</dialogue>
<scene_description>AKNOT sets the case on a crate. Zorg gloats while stroking the case.</scene_description>
<character>ZORG</character>
<dialogue>...Magnificent.</dialogue>
<scene_description>Zorg smiles, takes a deep breath, opens the case. It's empty</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>Leeloo breaks into her childish laughter once again.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(astonished)</parenthetical>
<dialogue>What do you mean empty?</dialogue>
</scene>
<scene>
<stage_direction>INT. ZORG'S WAREHOUSE - DAY</stage_direction>
<scene_description>AKNOT looks into the case. Things grow tense.</scene_description>
<character>ZORG</character>
<dialogue>Alright..I've got an open mind here.. anyone care to explain?</dialogue>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>Leeloo explains what happened in her language.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(translating)</parenthetical>
<dialogue>She says that the Guardians never really had much faith in humans. They were afraid of being attacked. The stones were given to someone they could trust who took another route. She's supposed to contact this person in a little less than twelve hours from now in a hotel. She's looking for the address!</dialogue>
<scene_description>A map of the stars flashes onto the screen, Leeloo points.</scene_description>
<character>LEELOO</character>
<dialogue>Dot!</dialogue>
<scene_description>The little group comes over to look.</scene_description>
<character>DAVID</character>
<dialogue>Planet Fhloston, in the Angel constellation Cornelius plops down into his armchair.</dialogue>
<character>CORNELIUS</character>
<dialogue>...We're saved!</dialogue>
</scene>
<scene>
<stage_direction>INT. ZORG'S WAREHOUSE - DAY</stage_direction>
<character>ZORG</character>
<dialogue>I'm fucked!</dialogue>
<scene_description>Zorg calmly closes the case and gives Aknot a blood-chilling stare.</scene_description>
<character>AKNOT</character>
<dialogue>You asked for a case. We brought you a case.</dialogue>
<character>ZORG</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>A case with four stones in it. Not one! Not two or three! But four!!! Four stones!!! What the fuck am I supposed to do with an EMPTY case?!!</dialogue>
<scene_description>AKNOT's men grow edgy.</scene_description>
<character>AKNOT</character>
<parenthetical>(tense)</parenthetical>
<dialogue>...We are warriors, not merchants!</dialogue>
<character>ZORG</character>
<parenthetical>(humored)</parenthetical>
<dialogue>But you can still count. Look... my fingers.</dialogue>
<scene_description>He holds up four fingers.</scene_description>
<character>ZORG</character>
<dialogue>...Four stones, four crates... Zero stones...</dialogue>
<parenthetical>(yelling)</parenthetical>
<character>ZERO CRATES!!!</character>
<parenthetical>(to his men)</parenthetical>
<dialogue>Put everything back, we're outta here.</dialogue>
<scene_description>AKNOT's warriors turn their weapons on Zorg.</scene_description>
<character>AKNOT</character>
<parenthetical>(icily)</parenthetical>
<dialogue>We risked our lives. I believe a little compensation is in order.</dialogue>
<character>ZORG</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>So, you are a merchant, after all.</dialogue>
<parenthetical>(to his men)</parenthetical>
<dialogue>Leave them one crate. For the cause!</dialogue>
<scene_description>Zorg's men leave a crate and exit with the other three.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE ZORG'S WAREHOUSE - DAY</stage_direction>
<scene_description>Zorg walks along the street to his limo. RIGHT ARM carries the empty case.</scene_description>
<character>ZORG</character>
<dialogue>I don't like warriors! They're too narrow-minded, no sublety. Worse, they fight for hopeless causes..for honor! Honor has killed millions of people but hasn't saved a single one.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>You know what -- do I like though, I like killer. A real dyed in the wool killer. Cold-blooded. Clean. Methodical. Thorough. A killer, when he picked up the ZF1, would've immediately asked about the little red button on the bottom of the gun.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY ZORG'S WAREHOUSE - DAY</stage_direction>
<scene_description>The warriors have all taken a weapon. One of them inspects his ZF1. He turns it over and notices the little red button. He presses it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE ZORG'S WAREHOUSE - DAY</stage_direction>
<scene_description>Behind Zorg, an ear-shattering explosion levels the warehouse.</scene_description>
<character>ZORG</character>
<parenthetical>(impassive)</parenthetical>
<dialogue>Bring the priest.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - DAY</stage_direction>
<scene_description>Korben is finishing a Thai meal, cooked by a Thai on his mini restaurant anchored at the window. The cat eats next to Korben, contented.</scene_description>
<character>KORBEN</character>
<dialogue>So you forgive me?</dialogue>
<scene_description>The cat meows just as a red light blinks, announcing the arrival of a message in a glass tube. Korben ignores it.</scene_description>
<character>THAI</character>
<dialogue>Not going to open?</dialogue>
<character>KORBEN</character>
<dialogue>I've never gotten a message that wasn't bad news.</dialogue>
<character>THAI</character>
<dialogue>How someone strong like you scared from a message? Is good news I sure!</dialogue>
<character>KORBEN</character>
<dialogue>The last two messages I got? The first one was from my wife telling me she was leaving! And the second was from my lawyer telling me he was leaving too... with my wife.</dialogue>
<character>THAI</character>
<dialogue>You right that is bad.. but mathematically luck must change! Grandfather say: "It never rain every day." This is good news guarantee.. I bet you lunch!</dialogue>
<scene_description>Korben hesitates, then gives the envelope to the Thai, who opens it with a big smile that fades as reads the contents aloud.</scene_description>
<character>THAI</character>
<dialogue>...You're fired. Oh!</dialogue>
<scene_description>Korben smiles at him.</scene_description>
<character>KORBEN</character>
<dialogue>At least I won lunch.</dialogue>
<character>THAI</character>
<dialogue>Good philosophy... see good in bad... I like... I prepare number one dessert.. special for you and pussy..</dialogue>
<scene_description>The cat meows.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNELIUS' APARTMENT - DAY</stage_direction>
<scene_description>Leeloo is polishing of' an immense pile of dessert as David bangs away at the computer.</scene_description>
<character>DAVID</character>
<dialogue>I got it! Everything here we need to know about Fhloston Paradise Hotel... and a detailed blueprint of the entire hotel!</dialogue>
<character>CORNELIUS</character>
<dialogue>Good work, my son. Now all we need is a way to get there.</dialogue>
<scene_description>The doorbell rings.</scene_description>
<character>CORNELIUS</character>
<dialogue>I'll get it. Finish your work my son.</dialogue>
<scene_description>Cornelius opens to Right Arm with armed escort.</scene_description>
<character>RIGHT ARM</character>
<dialogue>Father Cornelius?</dialogue>
<character>CORNELIUS</character>
<dialogue>My son?</dialogue>
<character>RIGHT ARM</character>
<dialogue>Mr. Zorg would like a word with you.</dialogue>
<character>CORNELIUS</character>
<dialogue>Mr. Who?</dialogue>
</scene>
<scene>
<stage_direction>INT. ZORG'S OFFICE</stage_direction>
<scene_description>Zorg turns to Cornelius.</scene_description>
<character>ZORG</character>
<dialogue>Zorg. Jean-Baptiste Emmanuel Zorg... nice to see you again</dialogue>
<character>CORNELIUS</character>
<dialogue>I remember you now... the so called art dealer.</dialogue>
<character>ZORG</character>
<dialogue>I'm glad you got your memory back, Father... Because you're going to need it... Where are the stones?</dialogue>
<character>CORNELIUS</character>
<dialogue>...Why on earth do the stones interest you?</dialogue>
<character>ZORG</character>
<dialogue>Personally, they are of no interest to me, I'd rather sell weapons..but I have a customer... so tell me...</dialogue>
<character>CORNELIUS</character>
<dialogue>Even it I did know where the stones were I would never tell somebody like you.</dialogue>
<character>ZORG</character>
<dialogue>Why? What's wrong with me?</dialogue>
<character>CORNELIUS</character>
<dialogue>...I'm a priest! I'm here to serve life, All you want to do is destroy it.</dialogue>
<character>ZORG</character>
<dialogue>Ah, Father... You are so wrong. Let me explain...</dialogue>
<scene_description>Zorg leads Cornelius into his inner office.</scene_description>
<character>ZORG</character>
<dialogue>...would you like a drink?</dialogue>
<character>CORNELIUS</character>
<dialogue>No thank you.</dialogue>
<character>ZORG</character>
<dialogue>Follow me.. Life, which you so nobly serve, comes from destruction. Look at this empty glass.</dialogue>
<scene_description>Zorg pushes the glass with his finger.</scene_description>
<character>ZORG</character>
<dialogue>Here it is... peaceful... serene... but if it is...</dialogue>
<scene_description>Zorg pushes the glass off the table. It shatters on the floor.</scene_description>
<character>ZORG</character>
<dialogue>Destroyed...</dialogue>
<scene_description>Small individual robots, both free-wheeling and integrated, come zipping out to clean up the mess.</scene_description>
<character>ZORG</character>
<dialogue>...Look at all these little things... so busy all of a sudden. Notice how each one is useful. What a lovely ballet, so full of form and color. So full of..life!</dialogue>
<character>CORNELIUS</character>
<dialogue>They are robots!</dialogue>
<scene_description>A SERVANT comes in pours water in another glass. Zorg tosses a cherry into it.</scene_description>
<character>ZORG</character>
<dialogue>Yes but... by that simple gesture of destruction. I gave work to at least fifty people today. The engineers, the technicians, the mechanics. Fifty people who will be able to feed their children so they can grow up big and strong. Children who will have children of their own, adding to the great cycle of life!</dialogue>
<scene_description>Cornelius sits in silence.</scene_description>
<character>ZORG</character>
<dialogue>Father, by creating a little destruction, I am, in fact, encouraging life! So, in reality, you and I are in the same business!</dialogue>
<character>CORNELIUS</character>
<dialogue>Destroying a glass is one thing..killing people with the weapons you produce is quite another.</dialogue>
<character>ZORG</character>
<dialogue>Let me reassure you Father..I will never kill more people in my entire life than religion has killed in the last 2000 years.</dialogue>
<scene_description>Zorg smiles, holds up the glass and takes a drink. Unfortunately, he chokes on the cherry. Unable to breathe, Zorg starts to panic.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(mocking)</parenthetical>
<dialogue>Where's the robot to pat your back?</dialogue>
<scene_description>Zorg falls, writhing, on his desk, inadvertently hitting buttons which trigger a slew of little mechanisms. They pop out all over the desk. True chaos reigns. Even a cage appears, holding a Souliman Aktapan, a fat multicolored beastie, PICASSO, who seems surprised to be out in daylight. He licks his half-dead master in thanks. Cornelius gets up and walks around the desk. Zorg motions for help.</scene_description>
<character>CORNELIUS</character>
<dialogue>Can I give you a hand?</dialogue>
<scene_description>Cornelius whacks him on the back. The cherry comes flying out. Zorg regains control of himself. GUARDS come running in.</scene_description>
<character>ZORG</character>
<dialogue>You saved my life... So, I'm going to spare yours.</dialogue>
<parenthetical>(to the GUARDS)</parenthetical>
<dialogue>Throw him out!</dialogue>
<scene_description>The GUARDS throw Cornelius out.</scene_description>
<character>CORNELIUS</character>
<dialogue>You are a monster, Zorg!</dialogue>
<character>ZORG</character>
<parenthetical>(complimented)</parenthetical>
<dialogue>I know...</dialogue>
<scene_description>The GUARDS drag Cornelius out of the office.</scene_description>
<character>ZORG</character>
<dialogue>...Torture whoever you want, the president if you have to but I want those Stones. You have an hour.</dialogue>
<scene_description>Right Arm salutes and hurries out of the office.</scene_description>
</scene>
<scene>
<stage_direction>EXT. / INT. SPACE - SPACESHIP</stage_direction>
<scene_description>...The dark planet. Three warships are positioned in front of it. Communication satellites arrive from all over the place, drawn to it like a magnet.</scene_description>
<character>CAPTAIN</character>
<parenthetical>(observing)</parenthetical>
<dialogue>It's gobbling up all the communication satellites in the galaxy!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindberg appears even more crushed by recent events.</scene_description>
<character>PRESIDENT</character>
<dialogue>Why the hell is it eating up all those satellites like that?</dialogue>
<character>HEAD SCIENTIST</character>
<parenthetical>(desperate)</parenthetical>
<dialogue>...We're working on it, Mr. President. We're working on it.</dialogue>
<character>PRESIDENT</character>
<dialogue>It should only choke on them.</dialogue>
<scene_description>MUNRO enters the office just as a cockroach crawls onto the desk. There's a small antenna on its back.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL ROOM</stage_direction>
<scene_description>Zorg's Right Arm wears earphones, monitoring the President's conversation with the cockroach-spy.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE - SMALL ROOM</stage_direction>
<character>MUNRO</character>
<dialogue>I managed to contact the Mondoshawan. They deplore the incident, but accept our apologies.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>And the Stones? Did you find them in the wreckage?</dialogue>
<character>MUNRO</character>
<dialogue>The-Stones weren't aboard the ship.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>...What do you mean?</dialogue>
<scene_description>The President is all ears. So is Zorg's Right Arm.</scene_description>
<character>MUNRO</character>
<dialogue>The Mondoshawan never fully trusted the human race..they felt we're too unpredictable.. so they gave up the Stones to somebody they do trust. Her name is Plavalaguna. She's a Diva and she's going to sing at the charity ball on Fhloston Paradise in a few hours. She has the Stones with her.</dialogue>
<scene_description>The President breathes easier. Zorg's Right Arm is delighted.</scene_description>
<character>PRESIDENT</character>
<parenthetical>(taking off a shoe)</parenthetical>
<dialogue>Excellent!</dialogue>
<scene_description>The President crushes the cockroach with his shoe. Right Arm's earphones fly off his head. Good-bye eardrums.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>PRESIDENT</character>
<dialogue>I want your best man on this!</dialogue>
<character>MUNRO</character>
<dialogue>Don't worry, Sir. I have the perfect one.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - DAY</stage_direction>
<scene_description>C.U. The most disgusting dessert ever made. Korben looks at it shimmying on a plate as the Thai serves it to him proudly.</scene_description>
<character>THAI</character>
<dialogue>Stewed jellyfish cake... my speciality...</dialogue>
<scene_description>Korben forces a weak, polite smile as the Thai looks on expectantly. The phone rings.</scene_description>
<character>KORBEN</character>
<dialogue>Saved by the bell.</dialogue>
<scene_description>Korben rises to get his cigarettes, and answer the phone.</scene_description>
<character>KORBEN</character>
<dialogue>...Hello?</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>You're the nastiest dirtbag I know in this stinking City!</dialogue>
<character>KORBEN</character>
<parenthetical>(resigned)</parenthetical>
<dialogue>Hi Ma...</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>I've been playing twice a week for 20 years, 20 years I've been eating those shitty croquettes.</dialogue>
<scene_description>Korben goes to light his cigarette. There are only two matches left in the match box. Korben strikes one and it fizzles.</scene_description>
<character>MOTHER (V.O.)</character>
<dialogue>You wouldn't even eat one to help your poor mother, and you win the big prize? Know something? The whole thing makes me sick!</dialogue>
<scene_description>The Thai starts to clean up. Just as Korben goes to strike the second match..</scene_description>
<character>MOTHER (V.O.)</character>
<dialogue>Are you listening to me, you ingrate!</dialogue>
<character>KORBEN</character>
<parenthetical>(resigned)</parenthetical>
<dialogue>Yes ma..</dialogue>
<scene_description>Korben sighs and puts the match back in the box. Korben enters his code on the keypad the Thai is holding.</scene_description>
<character>KORBEN</character>
<parenthetical>(to the Thai)</parenthetical>
<dialogue>Go on... This is gonna take a while!</dialogue>
<scene_description>The Thai casts oft. Korben closes the window.</scene_description>
<character>KORBEN</character>
<dialogue>Other than that... You all right?</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>...And now you're making fun of me? I'm warning you! If you don't take me after all these years of sacrifice, I'll never forgive you!!</dialogue>
<scene_description>The Thai flies off. In the hall, the cat meows-for more food.</scene_description>
<character>KORBEN</character>
<parenthetical>(to the cat)</parenthetical>
<dialogue>I'm coming!. Ma, what're you talking about?</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>I get it! You want to make me beg, is that it?</dialogue>
<character>KORBEN</character>
<dialogue>All I want is an explanation! I just got in, I lost my job. I smashed my cab. I got mugged, but other than that everything's peachy, Ma, thanks for asking!! Now settle down and explain to me calmly..</dialogue>
<scene_description>A message drops in his tube. The red light goes on.</scene_description>
<character>MOTHER (V.O.)</character>
<dialogue>You just won a trip, you dolt! Ten days in Fhloston Paradise for two!</dialogue>
<character>KORBEN</character>
<dialogue>Ma. If I'd won, I'd know about it. Someone would have notified me.</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>They've been blaring out your name on the radio for the last hour, blockhead!</dialogue>
<scene_description>He eyeballs the message still in the tube. The doorbell rings.</scene_description>
<character>KORBEN</character>
<dialogue>Ma... it's the door. I'll call you back.</dialogue>
<scene_description>Korben hangs up before his mother can say anything and heads for the door. Before he gets there it opens, General Munro enters followed by a Captain and a Major. MAJOR ICEBORG is a woman. All she needs to become a man is a mustache. Munro opens a file.</scene_description>
<character>MUNRO</character>
<parenthetical>(clipped)</parenthetical>
<dialogue>Major Dallas, if our calculations are correct you still have 57 hours owed to the Federal Army on your</dialogue>
<character>MUNRO</character>
<dialogue>enlistment which is more than you will need for a mission of the utmost importance.</dialogue>
<character>KORBEN</character>
<dialogue>What mission?</dialogue>
<character>MUNRO</character>
<dialogue>To save the world.</dialogue>
<character>KORBEN</character>
<dialogue>Where have I heard this song before?</dialogue>
<character>MUNRO</character>
<dialogue>You're to leave immediately for Fhloston Paradise. Retrieve four Stones from the Diva Plavalaguna. And bring them back with the utmost discretion as possible. Any questions?</dialogue>
<character>KORBEN</character>
<parenthetical>(a little bewildered)</parenthetical>
<dialogue>Just one... why me?</dialogue>
<character>MUNRO</character>
<dialogue>Three reasons... One: As part of The Elite Special Forces Unit of the Federated Army you are an expert in the use of all weapons and spacecraft needed for this mission.</dialogue>
<scene_description>Munro pulls out a long list of documents.</scene_description>
<character>MUNRO</character>
<dialogue>Two: Of all the members of your unit you were the most highly decorated.</dialogue>
<character>KORBEN</character>
<dialogue>And the third one?</dialogue>
<character>MUNRO</character>
<dialogue>You're the only one left alive...</dialogue>
<scene_description>Munro removes the message Korben hasn't bothered to look at.</scene_description>
<character>MUNRO</character>
<dialogue>Don't you open your messages?</dialogue>
<character>KORBEN</character>
<dialogue>I've had enough good news for today</dialogue>
<character>MUNRO</character>
<parenthetical>(by rote)</parenthetical>
<dialogue>You have won the annual Gemini contest and a trip to Fhloston Paradise. For</dialogue>
<character>MUNRO</character>
<dialogue>two. Congratulations. Here are your tickets.</dialogue>
<scene_description>He hands Korben the tickets. Korben gets it.</scene_description>
<character>KORBEN</character>
<dialogue>You rigged the contest?</dialogue>
<scene_description>Munro nods.</scene_description>
<character>MUNRO</character>
<dialogue>Major Iceborg will accompany you... as your wife...</dialogue>
<scene_description>The idea of taking a trip with Iceborg makes him sick.</scene_description>
<character>KORBEN</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>You couldn't come up with something a little more discreet?</dialogue>
<character>MUNRO</character>
<dialogue>Old tricks are the best tricks eh?</dialogue>
<character>KORBEN</character>
<dialogue>I'm not going.</dialogue>
<character>MUNRO</character>
<dialogue>Why not?</dialogue>
<character>KORBEN</character>
<dialogue>One reason... I want to stay the only one left alive.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S HALL</stage_direction>
<scene_description>Leeloo and Cornelius search for Korben's apartment. Leeloo carries the card Korben gave her. Cornelius finds the apartment, and yanks the. number off the door. He waves Leeloo over as his hand goes to the bell.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT</stage_direction>
<scene_description>The doorbell rings.</scene_description>
<character>KORBEN</character>
<dialogue>...Scuse me.</dialogue>
<scene_description>Korben goes to the door and looks out the peephole: the beautiful Leeloo. Korben panics, overcome with happiness.</scene_description>
<character>KORBEN</character>
<dialogue>...Shit!</dialogue>
<character>MUNRO</character>
<parenthetical>(worried)</parenthetical>
<dialogue>What is it?</dialogue>
<scene_description>Korben has two seconds to make up something to get rid of Munro.</scene_description>
<character>KORBEN</character>
<dialogue>It's my wife.</dialogue>
<character>MUNRO</character>
<dialogue>I thought you were divorced.</dialogue>
<character>KORBEN</character>
<dialogue>I mean my future... my ex... My future ex... if she sees you here I'm finished. She hates you guys. It's what killed us in the first place. Please...</dialogue>
<scene_description>He puts them in the fridge, shoving the jellyfish cake in Iceborg's hands.</scene_description>
<character>KORBEN</character>
<dialogue>...Sorry, General, but we've got no choice! It'll only take a minute! Let me set up another meeting and I'll be back.</dialogue>
<character>MUNRO</character>
<dialogue>Three of us will never fit in there!</dialogue>
<character>KORBEN</character>
<parenthetical>(pushing him)</parenthetical>
<dialogue>Oh, yes you will...</dialogue>
<scene_description>Korben slams the fridge door. The doorbell RINGS again.</scene_description>
<character>KORBEN</character>
<dialogue>...Coming!</dialogue>
<scene_description>He whips through his place in ten seconds, gathers up things laying about, shuts drawers, rolls up his laundry in the folding bed. He brushes his hair back and opens the door with a big smile only to discover a gun stuck between his eyes held by Cornelius.</scene_description>
<character>LEELOO</character>
<dialogue>Apipoulai!</dialogue>
<character>KORBEN</character>
<dialogue>I suppose that means "Hi" ?</dialogue>
<character>CORNELIUS</character>
<dialogue>I'm sorry to have to resort to such methods, but we heard about your</dialogue>
<character>CORNELIUS</character>
<dialogue>good luck on he radio and we need the tickets to Fhloston.</dialogue>
<character>KORBEN</character>
<dialogue>Is that the usual way priests go on vacation?</dialogue>
<character>CORNELIUS</character>
<dialogue>We're not going on vacation... we're on a mission...</dialogue>
<character>KORBEN</character>
<dialogue>What kind of mission?</dialogue>
<character>CORNELIUS</character>
<parenthetical>(sincere)</parenthetical>
<dialogue>We have to save the world.</dialogue>
<character>KORBEN</character>
<parenthetical>(skeptical)</parenthetical>
<dialogue>Good luck..</dialogue>
<character>CORNELIUS</character>
<dialogue>Of course.</dialogue>
<character>KORBEN</character>
<dialogue>Father, I was in the Army for awhile and every time they told us we were on a mission to save the world the only thing that changed was I lost a lot of friends. So thanks for the offer... but no thanks.</dialogue>
<scene_description>Cornelius is disappointed. Leeloo looks crestfallen.</scene_description>
<character>KORBEN</character>
<dialogue>I'm sorry...</dialogue>
<character>VOICE</character>
<dialogue>This is a police control action...</dialogue>
<scene_description>Everyone freezes as the whole building resounds with the electronic voice.</scene_description>
</scene>
<scene>
<stage_direction>INT. LANDING - KORBEN'S BUILDING</stage_direction>
<scene_description>A group of POLICEMEN bursts into the hallway. One of the cops enters a code on the police wall box. A device descends from the ceiling, a flashing light-siren, a VOICE fills the air.</scene_description>
<character>VOICE</character>
<dialogue>This is not an exercise. This is a police control.</dialogue>
<scene_description>Cornelius starts to panic. Korben takes charge.</scene_description>
<character>CORNELIUS</character>
<dialogue>Oh my god oh my god..</dialogue>
<scene_description>Korben pushes a button sending the fridge to the next floor. A shower takes its place.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo, hide in here and don't move!</dialogue>
<scene_description>Leeloo hops in. Korben tosses Cornelius on the bed.</scene_description>
<character>CORNELIUS</character>
<dialogue>What are you doing?</dialogue>
<character>KORBEN</character>
<dialogue>Trying to save your ass so you can save the world.</dialogue>
<scene_description>...and hits a button on the wall. The bed disappears into the wall. Korben grabs his tickets and slides them in his belt.</scene_description>
</scene>
<scene>
<stage_direction>INT. LANDING - KORBEN'S BUILDING - DAY</stage_direction>
<scene_description>Meanwhile, the automatic police voice continues.</scene_description>
<character>VOICE</character>
<dialogue>...Spread your legs and place your hands in the yellow circles, please.</dialogue>
<scene_description>A COP slaps a viewer device on Korben's door which makes part of it transparent.</scene_description>
<character>COP 1</character>
<dialogue>Put your hands in the yellow circles, please.</dialogue>
<scene_description>Korben takes his time hiding his face. The Cop looks at his sheet. He's looking for a... KORBEN DALLAS. He has his picture, but it is Korben with long hair and beard.</scene_description>
<character>COP 1</character>
<parenthetical>(to COP 2)</parenthetical>
<dialogue>Sir? Are you a human?</dialogue>
<character>KORBEN</character>
<dialogue>No, I'm a meat popsicle.</dialogue>
<character>COP 3</character>
<parenthetical>(at the other end of the hall)</parenthetical>
<dialogue>I found him!</dialogue>
<scene_description>C.U. Korben's calling card is clumsily stuck to the door of the neighbor's apartment. COP 3 slaps the viewer on the nasty neighbor's door. The neighbor is at his sink shaving instead of against the wall, COP 1 arrives with Korben's picture.</scene_description>
<character>COP 1</character>
<dialogue>Sir, this is a control. Please put your hands in the yellow circles.</dialogue>
<scene_description>The neighbor steps right up to the viewer, shaving cream on his face. He could pass for Korben.</scene_description>
<character>NEIGHBOR</character>
<dialogue>Fuck you!!</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT</stage_direction>
<scene_description>Korben still has his hands to the wall.</scene_description>
<character>KORBEN</character>
<dialogue>Wrong answer.</dialogue>
<scene_description>SHOT O.S. EXPLOSION. Scuffle.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL</stage_direction>
<scene_description>The riot police hustle down the hall dragging the neighbor behind them in a canvas bag. A cop is on the wall phone.</scene_description>
<character>COP</character>
<dialogue>OK, we got the guy under wraps.</dialogue>
</scene>
<scene>
<stage_direction>INT. ZORG'S OFFICE</stage_direction>
<scene_description>Right Arm is on the phone, facing Zorg.</scene_description>
<character>COP (O.S.)</character>
<dialogue>It was not easy, but we bagged him!. Thanks for the tip!</dialogue>
<character>RIGHT ARM</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Glad to help.</dialogue>
<scene_description>He hangs up.</scene_description>
<character>RIGHT ARM</character>
<dialogue>They just arrested the guy for Uranium smuggling. Everything's going as planned.</dialogue>
<scene_description>He shows him a plane ticket, and a passport with his picture and Korben's name.</scene_description>
<character>RIGHT ARM</character>
<dialogue>All I have to do now is to go to the airport and take his place. I should be in Fhloston in less than four hours.</dialogue>
<scene_description>Zorg sits there quietly for a moment.</scene_description>
<character>ZORG</character>
<dialogue>Don't come back without the Stones.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT</stage_direction>
<scene_description>Korben opens the shower door. Leeloo is soaking wet, her teeth chattering from the cold.</scene_description>
<character>KORBEN</character>
<dialogue>I'm really sorry... there wasn't time.</dialogue>
<scene_description>His eyes fall on an old blanket.</scene_description>
<character>KORBEN</character>
<dialogue>Here let me wrap you up.</dialogue>
<scene_description>Korben wraps her in an blanket and vigoroualy rubs her back. Leeloo warms gradually and snuggles closer to that warm comfortable shoulder. Korben's rubbing slows, looking more like caresses.</scene_description>
<character>KORBEN</character>
<dialogue>...It's funny. I've met you twice today and you've ended up in my arms both times.</dialogue>
<scene_description>Leeloo suddenly realizes that she has maybe gone a bit too far. She recovers, looking embarrassed too.</scene_description>
<character>LEELOO</character>
<parenthetical>(nicely)</parenthetical>
<dialogue>Valo massa... Chacha hamas.</dialogue>
<character>KORBEN</character>
<dialogue>Uh..you're welcome.</dialogue>
<scene_description>The intimacy makes him nervous. He looks for a diversion.</scene_description>
<character>KORBEN</character>
<dialogue>Coffee! That's what you need! A nice, hot cup of coffee!</dialogue>
<scene_description>He pushes a button on the coffee machine.</scene_description>
<character>KORBEN</character>
<dialogue>With some honey!</dialogue>
<character>KORBEN</character>
<dialogue>You'll see, honey's great!...</dialogue>
<scene_description>Korben rummages through the drawer. Leeloo, innocent, doesn't seem to quite understand everything that is going on.</scene_description>
<character>KORBEN</character>
<dialogue>A hot cup of coffee... with honey...</dialogue>
<scene_description>He rummages through the cupboard, exceedingly nervous. Leeloo smiles and begins to look around. She opens a drawer and comes upon...</scene_description>
<character>KORBEN</character>
<parenthetical>(nervously)</parenthetical>
<dialogue>I've got this great honey somewhere. You know about honey? There used to be these little animals who made it with antenna...</dialogue>
<scene_description>...pictures of Major Korben Dallas War Hero.</scene_description>
<character>KORBEN</character>
<dialogue>...and these other animals who ate it... one were bees the other were bears...</dialogue>
<scene_description>She looks back to the man fumbling for honey.</scene_description>
<character>KORBEN</character>
<dialogue>I forget which ate it and which made it but...</dialogue>
<scene_description>And she smiles.</scene_description>
<character>KORBEN</character>
<dialogue>Here it is!</dialogue>
<scene_description>Korben holds up the jar of honey.</scene_description>
<character>KORBEN</character>
<dialogue>Taste this...</dialogue>
<scene_description>Leeloo innocently sticks his finger in the jar then puts it in her mouth.</scene_description>
<character>KORBEN</character>
<dialogue>It... melts in your mouth, doesn't it?</dialogue>
<scene_description>She savors the honey, slowly; sensually. Her lips shine with honey. Her eyes narrow with pleasure. Korben is hypnotized by her lips, like a moth attracted to a flame. He begins to lose control, which makes him nervous. An indistinct sound comes from the wall. But Korben is so entranced with the sight of Leeloo licking her honied fingers, he doesn't hear it until it becomes quite a racket.</scene_description>
<character>KORBEN</character>
<dialogue>You hear that?</dialogue>
<character>LEELOO</character>
<parenthetical>(licking)</parenthetical>
<dialogue>Cornelius...</dialogue>
<character>KORBEN</character>
<dialogue>Oh god!</dialogue>
<scene_description>Korben pushes the button on the wall. The bed pops out, fully made, with Cornelius tucked in it, struggling to get out.</scene_description>
<character>KORBEN</character>
<dialogue>I'm really sorry... let me help you...</dialogue>
<scene_description>Korben begins to pull at the covers when...</scene_description>
<character>LEELOO</character>
<dialogue>Achta ge lumitai de matala..</dialogue>
<scene_description>Korben turns..</scene_description>
<character>KORBEN</character>
<dialogue>What?</dialogue>
<scene_description>He turns to Leeloo struggling out of her wet clothes. His breath is taken away by the sight of her perfect body. Cornelius whacks him heavily on the head with a lamp. Korben drops to the floor.</scene_description>
<character>LEELOO</character>
<parenthetical>(displeased)</parenthetical>
<dialogue>Vano da, mechteba?! Soun domo kala chon hammas!</dialogue>
<character>CORNELIUS</character>
<dialogue>No, I'm not proud of myself... But we don't have the luxury of choice.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTRANCE - KORBEN'S BUILDING - DAY</stage_direction>
<scene_description>The POLICE exit the elevator and head for the front door. A cop suddenly takes a hit from a silencer, then a second. Others are bashed on the head by MANGALORE warriors. One of them picks up the prisoner bag, takes it into a small shed.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHED</stage_direction>
<scene_description>Aknot, the Mangalore leader, is seriously wounded and can't walk.</scene_description>
<character>AKANIT</character>
<dialogue>Korben Dallas! We got him.</dialogue>
<character>AKNOT</character>
<dialogue>Perfect... Take command, Akanit. Go to Fhloston and get the Stones... If Zorg really wants them... He'll have to negotiate. Revenge is at hand.</dialogue>
</scene>
<scene>
<stage_direction>INT. KORBEN'S APARTMENT - KORBEN'S BUILDING - DAY</stage_direction>
<scene_description>Korben gets unsteadily to his feet, some blood drips down his face. He daubs at it.</scene_description>
<character>KORBEN</character>
<dialogue>Jesus!... Some priest!</dialogue>
<scene_description>The phone rings, he manages to answer.</scene_description>
<character>KORBEN</character>
<dialogue>Yeah?</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>Have you pulled yourself together?</dialogue>
<character>KORBEN</character>
<dialogue>...Not yet.</dialogue>
<scene_description>He hangs up. Korben opens the fridge door. The three officers are frozen solid. Korben grabs some ice, presses it to his forehead.</scene_description>
<character>KORBEN</character>
<dialogue>I'll take the mission.</dialogue>
<scene_description>He closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPORT HALL - DAY</stage_direction>
<scene_description>Cornelius and Leeloo (still damp) arrive at the Manhattan Intergalactic Airport. A huge hall three quarters filled with trash piled up to the ceiling. There are groups of extra-terrestrials on strike standing in trash holding picket signs. A SECURITY GUARD picks up a phone off the wall.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Illegal gathering in Zone 4.</dialogue>
<scene_description>A hand taps Leeloo from behind. She whips around catching David in the face.</scene_description>
<character>CORNELIUS</character>
<dialogue>Leeloo, be careful.</dialogue>
<scene_description>He turns to David who in holding his bloody nose.</scene_description>
<character>CORNELIUS</character>
<dialogue>Did you get them?</dialogue>
<scene_description>David hands Cornelius two passports.</scene_description>
<character>CORNELIUS</character>
<dialogue>Excellent... Leeloo Dallas.</dialogue>
<scene_description>He hands it to her. The name makes her smile.</scene_description>
<character>CORNELIUS</character>
<dialogue>And Korben David Dallas.</dialogue>
<scene_description>She frowns.</scene_description>
<character>LEELOO</character>
<dialogue>Akta dedero ansila do mektet.</dialogue>
<character>CORNELIUS</character>
<dialogue>I can't pretend to be your husband... David's in great shape.</dialogue>
<scene_description>She looks at David holding his bloody nose.</scene_description>
<character>CORNELIUS</character>
<dialogue>He'll protect you. Go on... See the Diva... get the Stones... See you at the temple... God be with you.</dialogue>
<scene_description>ANGLE ON: Korben comes rushing into the airport. Walking quickly, he scopes the hall looking for Leeloo. A POLICE PATROL bearing down on the STRIKERS jostles him. The cops open fire. The strikers dive into the garbage and disappear.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDING GATE</stage_direction>
<scene_description>David nervously puts tickets and IDs on the check-in counter. Leeloo tosses her suitcase on the conveyor belt.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<dialogue>Congratulations on winning the contest.</dialogue>
<scene_description>David gives her a bleak smile. Leeloo rolls her eyes. Back a ways, Korben has spotted Leeloo and... David. He heads right for them. Leeloo's seen him. She is both delighted and panicked. David's seen nothing. Korben presses one of his fingers like a gun to David's back.</scene_description>
<character>KORBEN</character>
<parenthetical>(friendly)</parenthetical>
<dialogue>Hey! I really thought I was going to miss my flight!</dialogue>
<parenthetical>(to David)</parenthetical>
<dialogue>Thanks, kid! You put the luggage on the conveyor belt?</dialogue>
<character>DAVID</character>
<parenthetical>(freaking)</parenthetical>
<dialogue>Uh... yeah.</dialogue>
<character>KORBEN</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Great! Now beat it!</dialogue>
<scene_description>Paralyzed, David leaves. Korben turns to the attendant.</scene_description>
<character>KORBEN</character>
<dialogue>Excuse me. I was so afraid I'd miss the flight that I sent the kid here to pick up my boarding card.</dialogue>
<scene_description>He looks at David's fake ID.</scene_description>
<character>KORBEN</character>
<dialogue>...My cousin David...</dialogue>
<scene_description>Leeloo is unable to hold back a smile.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<parenthetical>(looking at Leeloo's ID)</parenthetical>
<dialogue>Your wife?</dialogue>
<scene_description>Korben grabs the ID and reads it.</scene_description>
<character>KORBEN</character>
<dialogue>Uh, yes... Newlyweds.</dialogue>
<parenthetical>(aside)</parenthetical>
<dialogue>You know how it is... Love at first sight. You meet, something goes tilt, you get married, you hardly know each other. Right, darling?</dialogue>
<scene_description>Leeloo rips her boarding card out of the attendant's hand.</scene_description>
<character>LEELOO</character>
<parenthetical>(sharply)</parenthetical>
<dialogue>Dinoine chagantakat!</dialogue>
<character>KORBEN</character>
<dialogue>Took the words right out of my mouth. Go on... I'll be right with you.</dialogue>
<character>KORBEN</character>
<parenthetical>(to Check-in Attendant)</parenthetical>
<dialogue>It's our honeymoon. We're going to use the trip to get to know each other better.</dialogue>
<scene_description>He winks at the stewardess. ANGLE ON: The neighbor and a tawdry young girl cross the airport. The couple in almost knocked over by a police patrol holding a 500 pound PIG on a stainless steel leash. The couple panics a moment, the realize the patrol isn't for them. The pig heads for the pile where the strikers disappeared.</scene_description>
<character>COP</character>
<parenthetical>(to pig)</parenthetical>
<dialogue>Come on, snyffer, go root!</dialogue>
<scene_description>The pig piles into the garbage. The Cop cuts it some slack. Cornelius sits at a bar.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(to the bartender)</parenthetical>
<dialogue>I feel so guilty sending her to do the dirty work. I know she was made to be strong but she's also so fragile... So human. You know what I mean?</dialogue>
<scene_description>The bartender, a robot, nods his head as he pours Cornelius a drink. ANGLE ON: The nasty neighbor and his wife hand their tickets to the check-in attendant.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Dallas... Korben...</dialogue>
<character>NEIGHBOR</character>
<parenthetical>(in a different voice)</parenthetical>
<dialogue>Yes, that's me.</dialogue>
<scene_description>The check-in attendant triggers a transparent blue light that shines on their faces, revealing two other faces: Mangalores.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Just a minute, please.</dialogue>
<scene_description>She hits a silent alarm, but the Mangalores feel something is wrong.</scene_description>
<character>NEIGHBOR</character>
<dialogue>We'll be right back ... we're gonna check out the duty free...</dialogue>
<scene_description>They spin around and hurry away. ANGLE ON: Cornelius at the bar, half in the bag.</scene_description>
<character>ROBOT</character>
<dialogue>The same?</dialogue>
<character>CORNELIUS</character>
<dialogue>Yeah...</dialogue>
<character>DAVID (V.O.)</character>
<dialogue>Make that two...</dialogue>
<scene_description>Cornelius turns to David.</scene_description>
<character>CORNELIUS</character>
<dialogue>Where's Leeloo?</dialogue>
<character>DAVID</character>
<dialogue>On the plane... with Mr. Dallas... the real one.</dialogue>
<character>CORNELIUS</character>
<dialogue>It's all my fault. I'm the servant... It's my mission! Here!</dialogue>
<scene_description>He hands David the Temple Key from around his neck.</scene_description>
<character>CORNELIUS</character>
<dialogue>Here's the key to the Temple... Prepare for our arrival!</dialogue>
<scene_description>Cornelius tosses David's drink into his own, downs it all in one shot, and takes off, passing the Mangalore couple headed for the exit. They are very nervous. A police patrol is coming. This time, it seems to be for them.</scene_description>
<character>NEIGHBOR</character>
<parenthetical>(to the tawdry girl)</parenthetical>
<dialogue>Tell Aknot plan A flopped. Tell him to go to plan B.</dialogue>
<scene_description>The tawdry girl nods and peels off. The neighbor takes out a gun and blasts away at the cops. The cops fire back. A firefight rages in the hall. The tawdry girl dives into a pile of garbage and disappears.</scene_description>
<character>COP</character>
<parenthetical>(into walkie-talkie)</parenthetical>
<dialogue>...Send in a back-up unit, Zone 7!</dialogue>
<scene_description>ANGLE ON: On one side of the hall, a trap door opens. Three pigs come running out, grabbed by their police handler. Cornelius waits until everyone has left, gets down on all fours and crawls through the trapdoor reserved for the pigs.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS LOUNGE</stage_direction>
<scene_description>Leeloo stands at the buffet in the first class lounge eating everything in sight.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL</stage_direction>
<scene_description>Korben is led down the hall by a STEWARDESS.</scene_description>
<character>STEWARDESS</character>
<dialogue>You are so lucky... Loc Rhod is the coolest DJ in the universe.</dialogue>
<character>KORBEN</character>
<dialogue>Listen... I don't want to be interviewed. I'd prefer to remain anonymous.</dialogue>
<scene_description>The stewardess stops in the corridor.</scene_description>
<character>STEWARDESS</character>
<dialogue>Forget anonymous. You'll be doing Loc Rhod's live show every day from 5 to 7!</dialogue>
<character>KORBEN</character>
<parenthetical>(expression changes)</parenthetical>
<dialogue>You gotta be kidding!</dialogue>
<scene_description>The stewardess smiles and shakes her head. The door next to him suddenly swings open and smashes him in the face. In walks LOC RHOD amidst a tornado of music and security guards. He is young, good-looking, eccentric, charming as an elf or sly as a fox. A bundle of energy. He is the 24th century's most popular DJ.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(speedy, in rhythm)</parenthetical>
<dialogue>Korben Dallas! Here he is The most hated man in the universe. The one and only winner of the Gemini Croquette contest! Ladies, start melting 'cause the boy's hot! Hot! Hot! The boy is perfect..</dialogue>
<character>LOC RHOD</character>
<parenthetical>(he feels his muscles)</parenthetical>
<dialogue>...The right size, right build, right hair. Right on! Say something to those 50 billion pair of ears out there D-man!</dialogue>
<scene_description>An ASSISTANT hands a totally lost Korben a mike.</scene_description>
<character>KORBEN</character>
<parenthetical>(hesitant)</parenthetical>
<dialogue>...Hi.</dialogue>
<character>LOC RHOD</character>
<dialogue>Does it get any better or what!</dialogue>
<scene_description>Loc Rhod grabs Korben's arm and leads him down the hallway, as fast as the music.</scene_description>
<character>LOC RHOD</character>
<dialogue>...Quiver ladies, he's gonna set the world on fire right here from 5 to 7! You'll know everything there is to know about the D-man. His dreams, his desires, his most intimate of intimates. And from what I'm looking at intimate is the stud muffin's middle name. So tell me my main man... you nervous in the service?</dialogue>
<character>KORBEN</character>
<dialogue>Uh... not really.</dialogue>
<scene_description>Loc Rhod lets go of Korben's arm and grabs the Stewardess.</scene_description>
<character>LOC RHOD</character>
<dialogue>Freeze those knees, my chickadees, 'cause Korben is on the case with a major face...</dialogue>
<scene_description>Loc Rhod rubs up against the stewardess.</scene_description>
<character>LOC RHOD</character>
<dialogue>...Start drooling, ladies! My man here is a sharp-tongued Sire who's gonna stroke your every desire.</dialogue>
<scene_description>They come to an intersection. The airline company has prepared drinks for them. Loc Rhod pushes on, grabs a glass of champagne, scribbles his autograph.</scene_description>
<character>LOC RHOD</character>
<dialogue>Yesterday's unknown will be tomorrow's Prince of Fhloston Paradise, the hotel of a thousand and one follies, home of luxury and beauty.</dialogue>
<character>LOC RHOD</character>
<dialogue>A magic fountain flowing with non- stop wine, women and Bootchie Koochie Koo...</dialogue>
<scene_description>He tosses away his champagne glass.</scene_description>
<character>LOC RHOD</character>
<dialogue>Beware out there puppy dogs my man is on the prowl. Owwww!</dialogue>
<scene_description>Howling, Loc Rhod grabs another stewardess by the arm.</scene_description>
<character>LOC RHOD</character>
<dialogue>...And start licking your stamps little girls, this guy's gonna have you writing home to Momma! Tomorrow from 5 to 7, I'll be your voice, your tongue and I'll be hot on the tail of the sexiest man of the year... D-man... Your man... My man.</dialogue>
<scene_description>The stewardess shivers. A BEEP is heard.</scene_description>
<character>VOCODER (O.S.)</character>
<dialogue>End of transmission.</dialogue>
<scene_description>The MUSIC suddenly stops. Several assistants come and compliment Loc Rhod who sighs, lights up a cigarette, and drops his pretense.</scene_description>
<character>LOC RHOD</character>
<dialogue>Korben sweetheart do me a favor I know this is probably the biggest thing that ever happened to you in your inconsequential life. But I've got a show to do here and it's got to pop. So tomorrow, when we're on air, give me a hand... Try to make believe you have more than a one word vocabulary. OK pal?</dialogue>
<scene_description>That does it. Korben grabs him by the collar and drags him into a corner. Loc Rhod's feet don't touch the ground.</scene_description>
<character>KORBEN</character>
<parenthetical>(pissed)</parenthetical>
<dialogue>I didn't come here to play Dumbo on the radio. So tomorrow between 5 and 7 give yourself a hand, that clear pal?</dialogue>
<character>LOC RHOD</character>
<parenthetical>(petrified)</parenthetical>
<dialogue>Crystal.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT</stage_direction>
<scene_description>The Check-in attendant has two more tickets in her hand.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<parenthetical>(alter a moment, reading)</parenthetical>
<dialogue>...Mr. Dallas... Korben Dallas?</dialogue>
<scene_description>Zorg's Right Arm gives her a big smile.</scene_description>
<character>RIGHT ARM</character>
<dialogue>That's right.</dialogue>
<scene_description>The attendant scans the ID with a yellow beam, it checks out, and the blue light reveals no other face but his.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<dialogue>The problem is I only have one Korben Dallas on my list... and he's already checked in.</dialogue>
<scene_description>Right Arm's smile shatters.</scene_description>
<character>RIGHT ARM</character>
<dialogue>That's impossible! He's in j... I mean, there must be some mistake. I have my ticket! I'm the real Korben Dallas!</dialogue>
<scene_description>A shrill BELL rings out.</scene_description>
<character>CHECK-IN ATTENDANT</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>I'm sorry, sir, boarding is finished.</dialogue>
<scene_description>The attendant hits a button. A thick window slowly slides up between them. Right Arm totally loses it.</scene_description>
<character>RIGHT ARM</character>
<dialogue>I want to see your boss! Get rid of this fucking window! Somebody's made a mistake, goddamnit!</dialogue>
<scene_description>He pounds on the counter with both fists. A steel curtain comes down. Red sighting beams target spots on his body, ten gun barrels protrude from the wall, all aimed at him.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>This is not an exercise. This is a police control.</dialogue>
<scene_description>Put your hands in the nearest yellow circles...</scene_description>
<character>RIGHT ARM</character>
<parenthetical>(slowing down)</parenthetical>
<dialogue>Sorry, my fault... Just a little overexcited... that's all... I'm calm now.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHUTTLE - DAY</stage_direction>
<scene_description>Korben makes his way in the plane looking for his seat. No more seats in modern planes, just individual travel boxes lined up like microwaves. He passes STEWARD holding his bloodied nose. He has found what he is looking for. He enters to.... Leeloo quietly stretched out in front of a computer screen. Korben slips in beside her. Leeloo in concentrating on the words that scroll rapidly past her on the screen. He doesn't understand what she is doing.</scene_description>
<character>LEELOO</character>
<dialogue>Apipoulai!</dialogue>
<character>KORBEN</character>
<dialogue>Not hard to find you...just follow the Chaos...</dialogue>
<scene_description>Leeloo smiles, as if complimented.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo, listen to me... these tickets... they're not mine... I mean they are, but not for vacation like everyone thinks... I'm on an operation... and if I didn't come get you, you'd be in a shitload of trouble... I'd love to be on vacation with you... but now.... now I've got to work... And Leeloo... I would love to work in peace.</dialogue>
<scene_description>Leeloo types in "LOVE" on the keyboard.</scene_description>
<character>LEELOO</character>
<dialogue>Love...</dialogue>
<character>KORBEN</character>
<dialogue>Yes! But "love" isn't the operative word here, PEACE is!</dialogue>
<scene_description>Leeloo types in this new word.</scene_description>
<character>LEELOO</character>
<parenthetical>(rather pleased)</parenthetical>
<dialogue>Peace... and love...</dialogue>
<scene_description>She brings up a picture of a 60's style Hippie flashing a peace sign. Korben sighs and switches off the screen.</scene_description>
<character>KORBEN</character>
<dialogue>Sometimes you can't learn everything from a screen... sometimes it's better to ask someone who has experience...</dialogue>
<character>LEELOO</character>
<parenthetical>(quite happy)</parenthetical>
<dialogue>What is... make Love?</dialogue>
<scene_description>Korben just stares at her for a few minutes.</scene_description>
<character>KORBEN</character>
<dialogue>Know what? On that subject maybe you'd be better off asking the screen.</dialogue>
<scene_description>He turns the computer back on. ANGLE ON: A STEWARDESS walks up the aisle of the shuttle pushing the red buttons on top of each individual box.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>...to make your flight as short and agreeable as possible, our flight attendants are switching on the timing sleeper which will regulate your sleep during the trip...</dialogue>
<scene_description>ANGLE ON:</scene_description>
<character>LEELOO</character>
<parenthetical>(switching off the screen)</parenthetical>
<dialogue>OK! Finished!</dialogue>
<character>KORBEN</character>
<dialogue>Finished what?</dialogue>
<character>LEELOO</character>
<dialogue>Learning language.</dialogue>
<character>KORBEN</character>
<dialogue>Which one?</dialogue>
<character>LEELOO</character>
<dialogue>All 900.</dialogue>
<scene_description>Korben doesn't know if he should laugh or not.</scene_description>
<character>KORBEN</character>
<dialogue>You learned 900 languages in five minutes?!</dialogue>
<character>LEELOO</character>
<parenthetical>(pleased)</parenthetical>
<dialogue>Yes! Now it's your turn!</dialogue>
<character>LEELOO</character>
<dialogue>I learned your language, you have to learn mine!</dialogue>
<character>KORBEN</character>
<dialogue>I know how to say "Hello". Teach me how to say "Good-bye", that's all I need.</dialogue>
<character>LEELOO</character>
<dialogue>Apipoussan!</dialogue>
<character>KORBEN</character>
<dialogue>Apipoussan?</dialogue>
<character>LEELOO</character>
<dialogue>Good! Do you know how we say "make love"?</dialogue>
<character>KORBEN</character>
<parenthetical>(fumbling)</parenthetical>
<dialogue>Uh...</dialogue>
<character>LEELOO</character>
<dialogue>...Hoppi-hoppa.</dialogue>
<scene_description>Korben literally melts.</scene_description>
<character>KORBEN</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Help...</dialogue>
<scene_description>Luckily, a stewardess smiles at him through the box window.</scene_description>
<character>STEWARDESS</character>
<dialogue>Sweet dreams, Mr. Dallas!</dialogue>
<scene_description>The stewardess sets the timing sleeper. Korben and Leeloo immediately fall asleep. A STEWARDESS at the other end of the shuttle has a problem.</scene_description>
<character>STEWARDESS 2</character>
<dialogue>Mr. Loc Rhod you have to assume your individual position.</dialogue>
<character>LOC RHOD</character>
<parenthetical>(hugging her)</parenthetical>
<dialogue>I don't want an individual position, I want all positions!</dialogue>
<character>STEWARDESS 2</character>
<parenthetical>(resisting somewhat)</parenthetical>
<dialogue>We're going to take off soon, Mr. Rhod!</dialogue>
<character>LOC RHOD</character>
<dialogue>Now you're talking!</dialogue>
</scene>
<scene>
<stage_direction>INT. COCKPIT - FHLOSTON SPACE SHUTTLE</stage_direction>
<scene_description>Three CREW MEMBERS prepare for liftoff.</scene_description>
<character>COPILOT</character>
<parenthetical>(on the radio)</parenthetical>
<dialogue>Molecular axis authorization. Vector 130. Destination Fhloston.</dialogue>
<scene_description>Stewardess 1 enters the cockpit.</scene_description>
<character>STEWARDESS 1</character>
<dialogue>Zone 1. 217 locked. The sleep regulator is OK.</dialogue>
<character>PILOT</character>
<parenthetical>(checking her out)</parenthetical>
<dialogue>Thanks, Miss.</dialogue>
<scene_description>The Stewardess leaves with a smile. A red light flashes on the vast control panel.</scene_description>
<character>MECHANIC</character>
<dialogue>Tell the ground crew we've got parasites in the landing gear.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT LANDING STRIP - DAY</stage_direction>
<scene_description>A GROUND CREW MEMBER goes over to the truck parked under one of the plane's wings and bangs on the side of it with a shout.</scene_description>
<character>GROUND CREW MEMBER</character>
<dialogue>Disinfecting!</dialogue>
<scene_description>Two DISINFECTORS in hermetically sealed suits exit the truck. They go over to the front landing gear and send up a whooshing beam. The flame burns everything it touches. A pack of repugnant creatures falls squealing from the landing gear. A small trapdoor is opened under the shuttle and a huge slightly phosphorescent tube falls out.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPORT HALL / ZORG'S OFFICE</stage_direction>
<scene_description>Zorg's Right Arm is in a phone booth in the middle of the hall.</scene_description>
<character>RIGHT ARM</character>
<dialogue>Yeah, it's me... Put Zorg on.</dialogue>
<scene_description>He is already sweating.</scene_description>
<character>ZORG</character>
<parenthetical>(cold)</parenthetical>
<dialogue>I'm listening.</dialogue>
<character>RIGHT ARM</character>
<dialogue>The real Korben Dallas is on the plane! He took my place.</dialogue>
<character>ZORG</character>
<dialogue>This is a joke, right?</dialogue>
</scene>
<scene>
<stage_direction>INT. SHUTTLE</stage_direction>
<scene_description>Loc Rhod is wrapped around a stewardess like a snake.</scene_description>
<character>LOC RHOD</character>
<dialogue>No!! I swear to God! I've never been this sincere with a human before!</dialogue>
</scene>
<scene>
<stage_direction>EXT. LANDING STRIP</stage_direction>
<scene_description>TWO GROUND CREW MEMBERS stick an enormous, highly phosphorescant tube into the opening.</scene_description>
<character>GROUND CREW MEMBER</character>
<dialogue>You're fueled and ready to go.</dialogue>
<scene_description>Have a nice flight.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHUTTLE</stage_direction>
<character>PILOT</character>
<parenthetical>(to copilot)</parenthetical>
<dialogue>Everything ready for liftoff?</dialogue>
</scene>
<scene>
<stage_direction>INT. CABIN</stage_direction>
<character>STEWARDESS</character>
<parenthetical>(weakly, to Loc Rhod)</parenthetical>
<dialogue>No, no... I'm not ready! I'd like to talk first...</dialogue>
</scene>
<scene>
<stage_direction>INT. ZORG'S OFFICE / AIRPORT HALL</stage_direction>
<character>ZORG</character>
<dialogue>I cannot hear you. We have a bad connection here. What's your number?</dialogue>
<scene_description>Right Arm reads off the phone number.</scene_description>
<character>RIGHT ARM</character>
<dialogue>278-500-645-321</dialogue>
<character>ZORG</character>
<dialogue>I'll call you back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LANDING STRIP</stage_direction>
<scene_description>The runway is now empty. A man slips out of the shadows. It's Cornelius. He scurries over to the front landing gear. He pauses for an instant, the climbs up the wheel well and disappears inside the shuttle.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHUTTLE</stage_direction>
<scene_description>The pilots are going through the pre-flight check list.</scene_description>
<character>COPILOT</character>
<dialogue>Anti static pressure?</dialogue>
<character>MECHANIC</character>
<dialogue>Primed.</dialogue>
<scene_description>The mechanic presses a series of buttons.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN</stage_direction>
<scene_description>Loc Rhod undoes a series of buttons on the stewardess' blouse, behind a curtain. He whispers a poem. Impossible to resist him. Outside the curtain the stewardess' legs rise slowly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LANDING STRIP</stage_direction>
<scene_description>On the ground, protective fire curtains rise slowly to contain the engine exhaust on liftoff.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZORG'S OFFICE</stage_direction>
<scene_description>A keyboard slowly appears in front of Zorg.</scene_description>
<character>ZORG</character>
<parenthetical>(typing the number)</parenthetical>
<scene_description>SERIES OF QUICK CUTS: The pilot gradually turns the engines up.</scene_description>
<character>COPILOT</character>
<dialogue>10 seconds...</dialogue>
<character>PILOT</character>
<dialogue>Power increase.</dialogue>
<scene_description>- The stewardess undergoes a power surge from Loc Rhod that's about to lift her of. - Zorg finishes gleefully typing in the number.</scene_description>
<character>ZORG</character>
<dialogue>3... 2... 1...</dialogue>
<scene_description>- The engines at full blast. - The stewardess in close to screaming.</scene_description>
<character>PILOT</character>
<dialogue>Liftoff.</dialogue>
<scene_description>- The copilot pushes a button. - So does Zorg. - The engines release their full power. - The stewardess screams in ecstasy. - In the hall, Right Arm literally explodes along with the phone and everything else within 60 feet.</scene_description>
</scene>
<scene>
<stage_direction>INT. FHLOSTON SPACE SHUTTLE</stage_direction>
<scene_description>The stewardess' legs slowly descend and disappear behind the curtain.</scene_description>
</scene>
<scene>
<stage_direction>INT. COCKPIT</stage_direction>
<scene_description>In the cockpit, the atmosphere loosens up.</scene_description>
<character>COPILOT</character>
<parenthetical>(relaxing)</parenthetical>
<dialogue>Landing gear secure. Let's light one up.</dialogue>
</scene>
<scene>
<stage_direction>INT. CABIN</stage_direction>
<scene_description>Korben and Leeloo sleep soundly in their box. Leeloo has a smile on her face and her hand in Korben's.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTERSPACE - NIGHT</stage_direction>
<scene_description>The spaceship rockets past us, then suddenly vanishes with amazing speed. Space is now empty and calm. Billions of stars glow in perfect silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The nefarious planet in still there, immobile, even larger now, writhing like a serpent. Then, suddenly, for no apparent reason, all activity stops and it becomes gray and cold.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACESHIP</stage_direction>
<scene_description>In the Admiral's starship, scientists watch the measuring device. One of the devices suddenly starts working.</scene_description>
<character>TECHNICIAN</character>
<dialogue>All right! We're finally getting something!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The Head Scientist stands facing the President, who is looking more tired than ever.</scene_description>
<character>HEAD SCIENTIST</character>
<dialogue>The thing is sending out radio wavelengths!</dialogue>
<character>PRESIDENT</character>
<dialogue>What the hell does it want with radio waves?</dialogue>
<character>HEAD SCIENTIST</character>
<dialogue>...Probably wants to make a call!</dialogue>
<scene_description>The President and his Generals look at him in astonishment.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZORG'S OFFICE</stage_direction>
<scene_description>Picasso purrs contentedly on Zorg's lap. The phone rings.</scene_description>
<character>SECRETARY (O.S.)</character>
<dialogue>Mr. Shadow on the line.</dialogue>
<scene_description>Zorg shoots to his feet. Picasso tumbles to the floor. Zorg picks up the phone, both excited and uneasy. He stands there, almost coming to attention.</scene_description>
<character>ZORG</character>
<dialogue>Yes... Zorg here.</dialogue>
<scene_description>The voice is feeble. It comes from the far reaches of time, from the bowels of the universe.</scene_description>
<character>SHADOW</character>
<dialogue>Am I disturbing you?</dialogue>
<character>ZORG</character>
<dialogue>No... not at all. Where are you?</dialogue>
<scene_description>SHADOW'S breathing is awesome.</scene_description>
<character>SHADOW</character>
<dialogue>...Not far, now.</dialogue>
<character>ZORG</character>
<dialogue>Really? Maybe I can get you on my screen and see you at last!</dialogue>
<scene_description>Zorg brings up a huge screen and pushes a few buttons. In the middle of an electronic snowstorm, a blackish, vaguely human, quiverinq form appears. Two eyes, like lava, give an idea where the head is. Zorg feels sick.</scene_description>
<character>SHADOW</character>
<dialogue>Do you have the picture now Mr. Zorg?</dialogue>
<character>ZORG</character>
<dialogue>Got it.</dialogue>
<character>SHADOW</character>
<dialogue>How's our deal coming along?</dialogue>
<character>ZORG</character>
<parenthetical>(ill at ease)</parenthetical>
<dialogue>Fine, just fine! I'll have the 4 pieces you asked for any time now. But it wasn't easy. My costs have tripled.</dialogue>
<scene_description>Shadow pauses an instant. A black slimy liquid starts to ooze from the top of the screen. Zorg is feeling worse all the time.</scene_description>
<character>SHADOW</character>
<dialogue>Money is of no importance... I want the Stones!</dialogue>
<scene_description>The black liquid oozes all over the screen which starts to melt. Zorg sweats profusely, his legs tremble.</scene_description>
<character>ZORG</character>
<dialogue>The Stones will be here. I'll see to it personally!</dialogue>
<character>SHADOW</character>
<dialogue>...I can't wait to be among you.</dialogue>
<scene_description>Zorg sighs and sits down totally freaked.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ORBIT - FHLOSTON PARADISE</stage_direction>
<scene_description>The space shuttle fills the screen. It banks left and begins its descent toward Fhloston, the turquoise planet. Crystal blue water, perfect white sand beaches. A true paradise.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHUTTLE</stage_direction>
<scene_description>The stewardess picks up a microphone to make an announcement.</scene_description>
<character>STEWARDESS</character>
<dialogue>Ladies and gentlemen, we have begun our descent toward Fhloston Paradise...</dialogue>
<scene_description>Stewardesses walk down the aisles waking the passengers one by one. They press a button on the door of each box. In the corner, Loc Rhod and the stewardess awake with a start and straighten their clothes quickly. The stewardess is embarrassed.</scene_description>
<character>STEWARDESS</character>
<parenthetical>(timidly)</parenthetical>
<dialogue>I wanted to tell you that...</dialogue>
<scene_description>Loc Rhod puts on his sunglasses and presses a finger to her lips. He disappears behind the curtain leaving the sighing stewardess on her own.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON PARADISE</stage_direction>
<scene_description>The spaceship descends through some clouds and glides over a vast turquoise sea. Fhloston Paradise looms into view. An enormous oceanliner floating a dozen yards above the water. On closer inspection it is more modern than a traditional oceanliner. The shuttle draws near, looking ridiculously small next to the monster. Like a sardine next to a whale.</scene_description>
</scene>
<scene>
<stage_direction>INT. COCKPIT</stage_direction>
<scene_description>A blinking light goes on.</scene_description>
<character>PILOT</character>
<dialogue>Shit! Parasites in Zone 1. Take a look.</dialogue>
<scene_description>The 1st Mate heads off.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN</stage_direction>
<scene_description>A stewardess opens Korben's box door. He is still heavy with sleep. He looks over at Leeloo. She's not there.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON</stage_direction>
<scene_description>The tiny space shuttle clings to the huge oceanliner.</scene_description>
</scene>
<scene>
<stage_direction>INT. COCKPIT</stage_direction>
<scene_description>The Pilot maneuvers the ship into it's docking area.</scene_description>
<character>PILOT</character>
<dialogue>Docking activated. You can let the passengers out.</dialogue>
</scene>
<scene>
<stage_direction>INT. REAR OF COCKPIT</stage_direction>
<scene_description>The 1st mate pries open the door to an overhead panel. Cornelius falls out, hanging in a jumble of wires.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENTRANCE HALL - FHLOSTON PARADISE - DAY</stage_direction>
<scene_description>The enormous door opens and the passengers exit. Leeloo is among them. She appears quite impressed by the beauty and luxury of the 19th century decoration.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN</stage_direction>
<scene_description>Korben attempts to make his way up the shuttle's aisle.</scene_description>
<character>KORBEN</character>
<parenthetical>(jostling everybody)</parenthetical>
<dialogue>Pardon me. Excuse me. I'm trying to reach my wife... Sorry!</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTRANCE HALL</stage_direction>
<scene_description>A dozen policemen wait patiently at the end of the hall. Leeloo stops and presses against the wall. She spots Korben leaving the shuttle. A gorgeous HOSTESS comes up to him, drapes a lei around his neck and plants a kiss on his lips in welcome.</scene_description>
<character>HOSTESS</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Welcome to Paradise.</dialogue>
<scene_description>Korben's face is covered in lipstick. Leeloo sees he did nothing to stop the girl and she doesn't like it. A HEFTY MAN wearing a sarong drapes some flowers around her neck. Then, obviously relishing it, he leans down to kiss her. Leeloo bashes him on the forehead. The hefty man straightens up. He's still smiling, but his nose is bleeding. He falls slowly to the floor. Korben pushes forward trying to spot Leeloo. He also tries to wipe the lipstick off. Leeloo tries to escape through a door marked PERSONNEL ONLY, but it's locked. A HOST looks at her with a grin.</scene_description>
<character>HOST</character>
<parenthetical>(playful)</parenthetical>
<dialogue>If you don't have the code you can't open it!</dialogue>
<scene_description>Leeloo smiles and punches in an old code and twists the doorknob. The door opens with the sound of a braking lock. Leeloo smiles sweetly and enters as if nothing were amiss. A shriek of joy fills the room. Korben turns around. The HOSTESSES cluster around Loc Rhod as he comes out of the plane. Loc Rhod spots Korben and latches onto his arm. It's not going to be easy to remain discrete.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>My main man! Please don't leave me here alone. My head's killing me and my adoring fans are gonna tear me apart! Get me outta here!</dialogue>
<character>KORBEN</character>
<dialogue>I'll take you to the bar, after that, you're on your own.</dialogue>
<character>LOC RHOD</character>
<parenthetical>(hanging on to Korben)</parenthetical>
<dialogue>Oh, yes! Do that! You treat me right, man. Tell me all about yourself, your roots, your personal life, your childhood dreams...</dialogue>
<character>KORBEN</character>
<dialogue>I don't think this is a good time...</dialogue>
<character>LOC RHOD</character>
<dialogue>...You got brothers and sisters? What about your dad? Tell me about your dad! What was he like? Physically? Big, I suppose?</dialogue>
<character>KORBEN</character>
<parenthetical>(evasive)</parenthetical>
<dialogue>Yeah, very big, a giant.</dialogue>
<character>LOC RHOD</character>
<dialogue>I didn't have a dad... never saw him... never even heard him. 50 billion people listen to me every day... and he doesn't hear me...</dialogue>
</scene>
<scene>
<stage_direction>INT. SMALL ROOM - FHLOSTON PARADISE - DAY</stage_direction>
<scene_description>Leeloo is in a small room, ear at the door, listening. Everything seems normal. She turns and discovers the room for what it is: a rest room for... three cops who look up from their books and stare blankly at her. Leeloo doesn't know what to do. So she smiles.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S STATEROOM</stage_direction>
<scene_description>The door opens. The HOSTESS turns on the light and enters. Korben follows her, gaping at all the luxury. The BAGGAGE BOY enters bringing Leeloo's two suitcases. Korben grabs the notice announcing Diva Plavalaguna's concert at 5:30 in that evening. Dress: Formal attire.</scene_description>
<character>KORBEN</character>
<dialogue>For the concert it says formal attire... I didn't bring...</dialogue>
<scene_description>The hostess pulls back the closet door. Twenty tuxedos in a row.</scene_description>
<character>HOSTESS</character>
<parenthetical>(looking him over)</parenthetical>
<dialogue>Here's some champagne. I'll drop by after the concert to open it.</dialogue>
<scene_description>She gives him a blinding smile and closes the door. Korben pushes a button. The curtains open to reveal a most spectacular view of the turquoise planet. Stars shoot out into infinity. Breathtaking. Korben stands gaping. The phone rings, snapping him out of his reverie.</scene_description>
<character>KORBEN</character>
<dialogue>Hello?</dialogue>
<character>MOTHER (O.S.)</character>
<dialogue>You little sleaze bag!</dialogue>
<character>KORBEN</character>
<dialogue>...Ma???</dialogue>
<character>MOTHER (O.S.)</character>
<dialogue>Don't you ever ask me for another thing in my life again, you've killed your poor mother with your own hands!</dialogue>
<scene_description>Korben drops into an armchair and sighs. His eyes go to the ceiling.</scene_description>
<character>KORBEN</character>
<dialogue>...Ma!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. FHLOSTON PARADISE - POLICE OFFICE - DAY</stage_direction>
<scene_description>The Chief of Police has Cornelius in front of him, handcuffed.</scene_description>
<character>FOG</character>
<dialogue>The Diva's ship is coming in.</dialogue>
<character>CHIEF OF POLICE</character>
<dialogue>I want maximum security.</dialogue>
<character>FOG</character>
<dialogue>Yes. Sir!</dialogue>
<character>CHIEF OF POLICE</character>
<parenthetical>(to Cornelius)</parenthetical>
<dialogue>OK, let's hear it.</dialogue>
<character>CORNELIUS</character>
<dialogue>Where was I?</dialogue>
<character>CHIEF OF POLICE</character>
<parenthetical>(bored)</parenthetical>
<dialogue>...You open the door. There's a cabby with a girl in his arms.</dialogue>
<scene_description>FOG opens the door. Two COPS come hobbling in all bloody and bandaged. They hold up a THIRD COP.</scene_description>
<character>CHIEF OF POLICE</character>
<dialogue>What happened? A bomb go off in your face?</dialogue>
<character>BEAT-UP COP</character>
<dialogue>Yeah... A 5 foot 7 inch bomb... with green eyes.</dialogue>
<scene_description>Cornelius perks up.</scene_description>
<character>CORNELIUS</character>
<dialogue>And the smile of an angel?</dialogue>
<scene_description>They all turn to look at him.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(to Chief)</parenthetical>
<dialogue>May I speak to you alone.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - FHLOSTON PARADISE - DAY</stage_direction>
<scene_description>Leeloo watches the Diva's arrival. A door opens and two POLICEMAN clear the way for DIVA PLAVALAGUNA, her MANAGER, her BODYGUARDS and a gaggle of PORTERS carrying trunks. Not wanting to draw attention to herself, Leeloo feigns interest in a painting that is obviously upside down. A white chiffon veil covers the face of the Diva, she stops in front of Leeloo. The Diva reaches out and strokes Leeloo's face, without touching her. The Diva removes her hand making a sound of crackling electricity, then passes on. Leeloo is groggy. The Diva's ASSISTANT comes up to her.</scene_description>
<character>DIVA'S ASSISTANT</character>
<dialogue>Please forgive this little incident. She wants you to know that she senses great powers in you... in the service of a noble cause... She will give you what you have come to get, but she wants to sing first... One last time...</dialogue>
<scene_description>The Diva's assistant turns the painting right side up.</scene_description>
<character>DIVA'S ASSISTANT</character>
<parenthetical>(nodding)</parenthetical>
<dialogue>Miss.</dialogue>
<scene_description>Leeloo looks at the painting, seems to understand it better.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIVA'S SUITE</stage_direction>
<scene_description>Policemen stand at attention in front of the Diva's suite.</scene_description>
<character>FOG</character>
<dialogue>Hello, I'm head of security. Everything is in order. You can...</dialogue>
<scene_description>The Diva enters her suite without letting him finish.</scene_description>
<character>FOG</character>
<dialogue>...make yourselves at home safely. If you need anything...give it a knock!</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE OFFICE - HALLWAY - NIGHT</stage_direction>
<scene_description>A door opens near the police officer's main entrance. Cornelius looks both ways. Then crosses the hall, dragging the Chief of Police by the feet.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S STATEROOM</stage_direction>
<scene_description>Korben finishes putting on his tux, still on the phone.</scene_description>
<character>KORBEN</character>
<dialogue>Listen, Ma! I've only got a few days vacation and I'll be damned if I'm gonna spend them on the phone.</dialogue>
<scene_description>The door RINGS.</scene_description>
<character>KORBEN</character>
<dialogue>...Hang on, it's the door. No! I told you I didn't bring anybody! I'm all alone... as usual!</dialogue>
<scene_description>Korben opens the door. It's not the champagne. Even better. It's Leeloo.</scene_description>
<character>KORBEN</character>
<parenthetical>(to his mother)</parenthetical>
<dialogue>...I'll call you back.</dialogue>
<scene_description>Leeloo heads right for her suitcase and starts to undress. Korben has to turn away once more.</scene_description>
<character>KORBEN</character>
<dialogue>Here we go again...</dialogue>
<character>LEELOO</character>
<parenthetical>(by rote)</parenthetical>
<dialogue>You know women normally change five times more than men.</dialogue>
<character>KORBEN</character>
<dialogue>You get that off the screen?</dialogue>
<character>LEELOO</character>
<dialogue>Yes... you know there's a lot of differences between men women.</dialogue>
<character>KORBEN</character>
<dialogue>You noticed..</dialogue>
<character>LEELOO</character>
<dialogue>OK, you can turn around!</dialogue>
<scene_description>Korben turns around. Leeloo has put on a very simple dress which is sexy to the max. He is smitten. So much so that Leeloo wonders if something isn't quite right.</scene_description>
<character>KORBEN</character>
<dialogue>Where you going?</dialogue>
<character>LEELOO</character>
<dialogue>I'm going to see the Diva sing. What's the matter?... Do I look bad?</dialogue>
<character>KORBEN</character>
<dialogue>No, not at all! I mean, just the opposite, you're... you're beautiful!</dialogue>
<scene_description>Leeloo smiles at him, his compliment pleases her. She turns, revealing her unzippered back. Korben cannot help but stare at her bare flesh. Her perfect bottom.</scene_description>
<character>LEELOO</character>
<dialogue>Do you know how this works?</dialogue>
<scene_description>Korben's blood boils. She wriggles, pressing her hands together close to the zipper.</scene_description>
<character>KORBEN</character>
<dialogue>I have an idea.</dialogue>
<scene_description>But instead of pulling on the zipper he slips a bracelet on her wrist. A flourescent beam bursts out of the bracelet and forms a vertical bar going from the floor to the ceiling. Stunned, Leeloo is held captive.</scene_description>
<character>KORBEN</character>
<dialogue>I told you I need to work in peace. Remember? I need to concentrate.</dialogue>
<character>LEELOO</character>
<dialogue>And you can't concentrate with me around?</dialogue>
<character>KORBEN</character>
<dialogue>It's difficult.</dialogue>
<scene_description>She tries to breakout.</scene_description>
<character>KORBEN</character>
<dialogue>Army issue. I'm sorry.</dialogue>
<scene_description>Leeloo tries desperately to get out of the handcuffs. Impossible. Korben sets the radio down in front of her and turns it on. Leeloo looks like she'd like to break his head.</scene_description>
<character>LEELOO</character>
<parenthetical>(seething)</parenthetical>
<dialogue>You're nothing but a... a...</dialogue>
<character>KORBEN</character>
<dialogue>The words you're looking for weren't in the dictionary you studied. I won't be long.</dialogue>
<scene_description>The door flies open. Loc Rhod barges in.</scene_description>
<character>LOC RHOD</character>
<dialogue>Hey Stud we gotta...</dialogue>
<scene_description>Then he sees the scene, Leeloo cuffed, in a low cut dress. His mind goes to the obvious.</scene_description>
<character>LOC RHOD</character>
<dialogue>Korben my man what's happening here? Who's the chick? What's the gig? We free forming here? Getting funky with the monkey? Can I get in on this?</dialogue>
<scene_description>Korben grabs him by the collar..</scene_description>
<character>KORBEN</character>
<dialogue>No... to all of the above.</dialogue>
<scene_description>And yanks Loc Rhod out of the room. Leaving Leeloo looking extremely unhappy.</scene_description>
</scene>
<scene>
<stage_direction>INT. FHLOSTON PARADISE - OPERA - NIGHT</stage_direction>
<scene_description>Loc Rhod and Korben enter what turns out to be a replica of the Garnier Opera in Paris. A hostess escorts them to their seats.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(broadcasting)</parenthetical>
<dialogue>We have just walked into what is probably the most beautiful concert hall in the universe. Totally awesome! Magnificent paintings on the ceiling. I don't know who painted them, but he must have busted his balls!</dialogue>
<character>LOC RHOD</character>
<dialogue>I see a row of former ministers, more sinister than minister! A few generals practicing how to sleep. And there's Baby Ray, star of stage and screen, drowning in a sea of nymphets. He's not gonna get much out of this concert, he's stone-deaf!</dialogue>
<scene_description>ANGLE ON: Baby Ray bending his ear to a girl asking for an autograph.</scene_description>
<character>BABY RAY</character>
<dialogue>...to who?</dialogue>
<character>LOC RHOD</character>
<parenthetical>(moving down the aisle)</parenthetical>
<dialogue>...And over there is Roy Von Bacon, the king of laserball and the best paid player in the League.</dialogue>
<parenthetical>(shakes hands as he goes by)</parenthetical>
<dialogue>...And over there is the Emperor Kodar Japhet whose daughter Aachen is still at the bar. "I love to sing, too, but in the shower", she recently confessed to me. She will no doubt prove to be as generous tonight as she always is.</dialogue>
<scene_description>A waiter gives them two glasses of champagne. Track with the WAITER an he leaves the hall with his empty tray. He enters a small room reserved for staff.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAFF ROOM - FHLOSTON PARADISE - NIGHT</stage_direction>
<scene_description>The waiter joins some other WAITERS. They are well armed. He opens a cupboard and pulls out a humongous weapon. Suddenly their faces burn off revealing AKANIT, the young leader of the Mangalores, and his troops.</scene_description>
<character>AKANIT</character>
<dialogue>It's showtime!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>The lights dim slowly in the concert hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindbergh and his staff, including Munro, sit at the desk. Speakers appear.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S SUITE</stage_direction>
<scene_description>Leeloo, still a prisoner, listens to the concert.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Korben is tense. The curtain rises. The Diva, in a stunning gown, stands in the center of the stage, head bowed. Behind her, a star filled window. The MUSIC begins. The Diva looks up, a rare beauty, but an alien. And then she begins to sing. Her voice is divine, unmatched. Korben is swept up in the TEARS.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S SUITE</stage_direction>
<scene_description>Leeloo has tears in her eyes</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>The manager couldn't care less about the concert. His main problem is the bottle of scotch he can't seem to open. The doorbell RINGS.</scene_description>
<character>MANAGER</character>
<parenthetical>(ugly mood)</parenthetical>
<dialogue>Yeah!?</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>Flowers for the Diva.</dialogue>
<character>MANAGER</character>
<dialogue>She's allergic to flowers!!!</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>There's champagne as well...</dialogue>
<scene_description>The manager takes one look at the stubborn bottle and opens the door. And finds himself staring down the barrel of a gun. A dozen Mangalores rush in. One of them, with a human face, closes the door and waits out in the hall. ANGLE ON: Cornelius watching from around the corner.</scene_description>
<character>CORNELIUS</character>
<dialogue>...My God!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - FHLOSTON PARADISE</stage_direction>
<character>CAPTAIN</character>
<dialogue>Commander, I have a ship with a main malfunction. He requests permission to dock for repairs.</dialogue>
<character>COMMANDER</character>
<dialogue>Did you check out his registration number?</dialogue>
<character>CAPTAIN</character>
<dialogue>Everything's in order.</dialogue>
<character>COMMANDER</character>
<dialogue>Put him in the docking garage and inform the police.</dialogue>
</scene>
<scene>
<stage_direction>INT. COCKPIT - ZFX200 - NIGHT</stage_direction>
<character>CAPTAIN (V.O.)</character>
<dialogue>Permission granted. Dock 575. You have an hour. Will that be enough time'?</dialogue>
<scene_description>Zorg sits at the controls.</scene_description>
<character>ZORG</character>
<parenthetical>(cold)</parenthetical>
<dialogue>More than enough.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON PARADISE - NIGHT</stage_direction>
<scene_description>The ZFX approaches Fhloston.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S SUITE</stage_direction>
<scene_description>The ship comes close enough for Leeloo to see it out the window. FLASHBACK: The same ships with Mangalores at the controls attack the Mondoshawans at the beginning of our story.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S SUITE</stage_direction>
<scene_description>Leeloo is alarmed. She has to act. She seizes the flourescent bar beam with great effort and rams it into the ceiling, marking a hole large enough for her to escape.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLOSET - FHLOSTON PARADISE</stage_direction>
<scene_description>Cornelius bursts into the closet he left the Chief of Police tied and gagged in. He quickly unties him.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(in a panic)</parenthetical>
<dialogue>Mangalores! The Diva's suite! They want the Sacred Stones! They must be stopped. We must stop them! I'm going to free you but you must promise to help me!</dialogue>
<scene_description>The Chief of Police nods his agreement.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>The Mangalores have trashed the suite. One of the Mangalores finally finds a case engraved with the four elements.</scene_description>
<character>MANGALORE</character>
<dialogue>I have it.</dialogue>
<scene_description>The Mangalore is about to open the case when... Leeloo descends quietly and gracefully from the ceiling. Time stands still.</scene_description>
<character>LEELOO</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Apipoulai!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>The Diva switches from classical music to funk, picking up the tempo. INTERCUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE / CONCERT HALL</stage_direction>
<scene_description>A WARRIOR whips out the biggest knife ever made and rushes Leeloo. She disarms him gracefully. A violent fight breaks out. The Diva sings and Leeloo dances. The Mangalores pay a heavy price for the show.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Hearing noise from inside the suite, the Mangalore by the door gets nervous. He runs for reinforcements.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Cornelius enters the police station wearing handcuffs. The Chief of Police is behind him holding a gun.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE / CONCERT HALL</stage_direction>
<scene_description>Leeloo knocks out the last Mangalore just as the Diva finishes her song to a burst of applause. The Diva takes a bow. So does Leeloo.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM</stage_direction>
<scene_description>Akanit and his men listen to the concert. The Mangalore guard runs in.</scene_description>
<character>MANGALORE</character>
<dialogue>They were waiting for us! It was an ambush!</dialogue>
<character>AKANIT</character>
<dialogue>If it's war they want it's war they'll get! Enact the Final Plan!</dialogue>
<scene_description>All the Mangalores cock their weapons.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Leeloo is about to open the case when the door EXPLODES. Zorg is there holding a ZF1.</scene_description>
<character>ZORG</character>
<dialogue>My compliments, little lady! ...And thanks for doing all the dirty work! I couldn't have done it any better myself!</dialogue>
<parenthetical>(sharply)</parenthetical>
<dialogue>...Now hand over the Stones!</dialogue>
<scene_description>Leeloo smiles and hands him the case. Zorg arms the ZF1 and gets ready to kill her.</scene_description>
<character>ZORG</character>
<dialogue>Nice knowing you.</dialogue>
<scene_description>Leeloo catches on quickly. She kicks the scotch bottle on the floor into the gun which throws Zorg's shot off. She jumps to the ceiling and disappears in an air vent. Furious, Zorg fires at the ceiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSHAFT</stage_direction>
<scene_description>Leeloo dodges the bullets as best as she can.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUITE</stage_direction>
<scene_description>Zorg fires his 3000 round clip. The ceiling looks like a piece of swiss cheese. Zorg sticks a small cylinder in the wall and flicks it on. The numbers flashing by tell us it's a bomb. The timer reads: 19 minutes and 59 seconds.</scene_description>
<character>ZORG</character>
<parenthetical>(with a crafty smile)</parenthetical>
<dialogue>You can run but you can't hide...</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE OFFICE - FHLOSTON PARADISE - NIGHT</stage_direction>
<scene_description>Cornelius is seated opposite the Chief of Police. A MEDIC is bandaging the chief's head. The door explodes. The cop outside in riddled with bullets. A dozen Mangalores attack the police office. Akanit is at their head. The policemen are caught unaware.</scene_description>
<character>AKANIT</character>
<dialogue>Nobody move! We're taking over this ship!</dialogue>
<scene_description>The Chief of Police is goggle-eyed. Cornelius leans toward him.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(pleased with himself)</parenthetical>
<dialogue>I told you...</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Zorg has the case and exits the suite just as the general alarm goes off. He sighs in exasperation.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Three Mangalores suddenly rush into the opera hall shooting.</scene_description>
<character>MANGALORE 1</character>
<dialogue>Everyone down!</dialogue>
<scene_description>There is panic all around.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(broadcasting, panic stricken)</parenthetical>
<dialogue>Ladies and gentlemen, I think we're being... attacked. The place is crawling with warriors.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindberg and his generals look very worried.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Some security guards open fire one of the Mangalores is hit. The others turn their guns on the cops. People scream, diving for cover. Korben bides his time. More Mangalores rush in from all around shooting. Two cops are killed. The Diva... takes a bullet. She falls from the stage into Korben's arms. He lowers her to the floor. Korben ignores the panic all around and wraps her in his dinner jacket, trying to stop the blue blood spurting from her wounds.</scene_description>
</scene>
<scene>
<stage_direction>EXT./ INT. SPACE - AROUND FHLOSTON</stage_direction>
<scene_description>Zorg's ZFX200 speeds away from the boat. Zorg is at the controls, a devilish smile on his lips.</scene_description>
<character>ZORG</character>
<dialogue>You want something done, do it yourself!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Fighting rages all around in the concert hall, but Korben is oblivious to it. He sets the Diva's head delicately on the floor. Loc Rhod is hidden nearby, still on the air.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(voice low, panicked)</parenthetical>
<dialogue>They're hideous. They've got a crest on the head, the eyes of a toad and fingers all over their hands. Totally hideous!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE.</stage_direction>
<character>MUNRO</character>
<parenthetical>(worried)</parenthetical>
<dialogue>...Mangalores!</dialogue>
<character>PRESIDENT</character>
<dialogue>Send a battalion out immediately!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<character>KORBEN</character>
<parenthetical>(to the Diva)</parenthetical>
<dialogue>I was sent by the government to help you.</dialogue>
<character>DIVA</character>
<dialogue>Don't worry. This is my fate... How was the concert?</dialogue>
<scene_description>Korben is a little surprised, but... the Diva is an artist.</scene_description>
<character>KORBEN</character>
<dialogue>I've never heard anything so beautiful in my life.</dialogue>
<scene_description>A Mangalore jumps on them from the stage. Korben makes short work of him and grabs his gun.</scene_description>
<character>DIVA</character>
<parenthetical>(weak)</parenthetical>
<dialogue>You're a good man... She was right to have chosen you...</dialogue>
<character>KORBEN</character>
<dialogue>Who?</dialogue>
<character>DIVA</character>
<dialogue>The Fifth Element... The Supreme Being... Your wife...</dialogue>
<scene_description>Korben is floored.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo... is... she's...</dialogue>
<character>DIVA</character>
<dialogue>Yes, and more than that... You must give her the Stones, she's the only one who knows how to use them.</dialogue>
<character>KORBEN</character>
<parenthetical>(to himself, suddenly realizing)</parenthetical>
<dialogue>...So Cornelius was telling the truth!</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>The Mangalores tie up Cornelius and the Chief of Police together.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(to the Chief of Police)</parenthetical>
<dialogue>Of course I was telling you the truth!... If you had listened to me in the first place, we wouldn't be in this predicament now!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Korben wastes two more Mangalores.</scene_description>
<character>DIVA</character>
<dialogue>She needs you. She needs your help and your love. She's more fragile than she seems...</dialogue>
<scene_description>Korben looks around, ready for another attack.</scene_description>
<character>KORBEN</character>
<dialogue>...Yeah, so am I.</dialogue>
<scene_description>The Diva takes his hand.</scene_description>
<character>DIVA</character>
<dialogue>She was taught to love the life of others... but not her own. You have to teach her to love if you want her to truly live!</dialogue>
<character>KORBEN</character>
<parenthetical>(uncomfortable)</parenthetical>
<dialogue>I'll help her, I promise, but I think you should tell me where the Stones are!</dialogue>
<character>DIVA</character>
<dialogue>Do you love her?</dialogue>
<character>KORBEN</character>
<dialogue>I... I don't know! We hardly know each other... it takes time!</dialogue>
<character>DIVA</character>
<dialogue>I don't have time... I need to know.</dialogue>
<character>KORBEN</character>
<dialogue>Listen, the last time I admitted to a woman I loved her ... I never saw her again.</dialogue>
<character>DIVA</character>
<dialogue>I would like to have died in peace...</dialogue>
<scene_description>The Diva's eyes close.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>The timer on Zorg's bomb clicks over to "15 minutes".</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<character>KORBEN</character>
<dialogue>You tell me to save the world then you go off and leave me in the shit!</dialogue>
<scene_description>He shakes her, gently slapping her cheeks.</scene_description>
<character>KORBEN</character>
<dialogue>Come on! You're not gonna die in peace! You're not going to die at all! You hear me? Where are the Stones?</dialogue>
</scene>
<scene>
<stage_direction>INT. SPACESHIP</stage_direction>
<scene_description>Zorg sets the Sacred Case on a table in the cockpit. He opens it with a complacent smile: It's empty! He cannot believe his eyes. He goes berserk, destroying everything in sight.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONCERT HALL</stage_direction>
<scene_description>Korben slaps the Diva soundly. She comes around somewhat.</scene_description>
<character>KORBEN</character>
<dialogue>I'm sorry, but... the Stones...</dialogue>
<character>DIVA</character>
<parenthetical>(very weak)</parenthetical>
<dialogue>They are... with me...</dialogue>
<scene_description>The Diva dies. Blue blood streams from her mouth. Korben frisks the Diva but doesn't find anything. The shooting slowly stops in the theatre. The Mangalores are now in total control.</scene_description>
<character>MANGALORE 2</character>
<dialogue>Stay calm and nobody will get hurt! Hands on your head and into the hall!</dialogue>
<scene_description>The guests comply.</scene_description>
<character>KORBEN</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>...The Stones are with me?</dialogue>
<scene_description>And then it occurs to him.</scene_description>
<character>KORBEN</character>
<dialogue>...In me?</dialogue>
<scene_description>He touches the Diva's stomach and senses something hard. Girding himself, he sticks his hand in the wound and pulls out a Sacred Stone. Then another. And another. Korben pulls out all four Stones, covered in blue blood. Everyone has left the theater. The Mangalores check the aisles one by one. Loc Rhod peeks out from under a seat.</scene_description>
<character>LOC RHOD</character>
<dialogue>Don't you think we'd better be going?</dialogue>
<scene_description>A Mangalore spots Korben kneeling alongside the Diva. He grabs Korben by the shoulder and pokes him with his gun.</scene_description>
<character>MANGALORE</character>
<dialogue>Hey, you! With the others!</dialogue>
<scene_description>Korben spins and, in one swift motion, breaks his arm. Just for starters. Another WARRIOR rushes over. Korben punches him into oblivion and snatches the gun.</scene_description>
<character>KORBEN</character>
<dialogue>That's it... I've had... all day people have been sticking guns in my face...</dialogue>
<scene_description>Korben wraps up the four Stones in his shirt.</scene_description>
<character>LOC RHOD</character>
<dialogue>Korben man... These dudes are going to waste us if we don't do what they say.</dialogue>
<scene_description>Korben gives him the package and grabs his mike.</scene_description>
<character>KORBEN</character>
<dialogue>You don't do what I say... I'll waste you myself. Got it?</dialogue>
<character>LOC RHOD</character>
<dialogue>Got it...</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindberg dabs his sweaty face with a towel.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Akanit is still in the police station facing control screens. He barks into a walkie-talkie.</scene_description>
<character>AKANIT</character>
<dialogue>What's the situation in the hall?</dialogue>
</scene>
<scene>
<stage_direction>INT. HALL</stage_direction>
<scene_description>Hostages are being gathered in the middle of the hall. They are surrounded by Mangalores who guard them.</scene_description>
<character>MUGGER</character>
<parenthetical>(into walkie-talkie)</parenthetical>
<dialogue>There's no more resistance. Everything's under control.</dialogue>
<scene_description>Three Mangalores are suddenly blasted through the glass door leading to the theater. Korben bursts into the hall, two huge guns in his hands.</scene_description>
<character>KORBEN</character>
<dialogue>Everybody down!</dialogue>
<scene_description>Korben takes out two more WARRIORS coming towards him, rolls behind a column. Laser bullets stinging all around his head.</scene_description>
<character>LOC RHOD</character>
<dialogue>This is amazing! Korben, Korben Dallas, the winner of the Gemini Croquette contest just killed three warriors like he was swatting flies... Panic everywhere! Heavy firing fills the hall.</dialogue>
<scene_description>ANGLE ON: Roy von Bacon, the laserball player, rises from the floor behind a Mangalore, grabs him and smashes his head into a column, seizing the gun. ANGLE ON: Two Mangalores firing a huge machine gun at the column Korben is using for cover. He dives for cover behind the bar. ANGLE ON: Two Mangalores watch awestruck. Roy whistles behind them. The two Mangalores turn around. Roy bonks their heads together.</scene_description>
<character>LOC RHOD</character>
<dialogue>It's Roy von Bacon, the Lions center forward joining in the battle...</dialogue>
<scene_description>Someone taps Loc Rhod on the shoulder. He jumps with fright.</scene_description>
<character>PRINCESS AACHEN</character>
<parenthetical>(hot to trot)</parenthetical>
<dialogue>All this is terribly exciting, hmmm?</dialogue>
<scene_description>Loc Rhod covers his mike.</scene_description>
<character>LOC RHOD</character>
<dialogue>GET OFF MY BACK!</dialogue>
<scene_description>A Mangalore shoots in their direction. Loc Rhod flattens himself on the floor. A vase falls on the Princess knocking her out. A Mangalore loads some missiles in his gun and destroys the bar piece by piece forcing Korben to move forward. Korben motions to Baby Ray hiding under the pool table.</scene_description>
<character>KORBEN</character>
<dialogue>Toss me the balls!</dialogue>
<character>BABY RAY</character>
<parenthetical>(terrified, still deaf)</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Another piece of the bar explodes.</scene_description>
<character>KORBEN</character>
<dialogue>The balls for Christ's sake!</dialogue>
<scene_description>Korben apes playing pool, but Baby Ray really is stone-deaf.</scene_description>
<character>EMPEROR JAPHET</character>
<dialogue>He wants the balls! You deaf or something?</dialogue>
<scene_description>The EMPEROR rolls the balls over to Korben. The Mangalore loads more missiles and shatters another part of the bar. Korben hides behind the last bit left.</scene_description>
<character>KORBEN</character>
<dialogue>How far is he from here?</dialogue>
<scene_description>The EMPEROR glances at the Mangalore, who in reloading.</scene_description>
<character>EMPEROR</character>
<dialogue>I'd say about thirty yards to the left.</dialogue>
<scene_description>Korben hefts the ball, jumps up and hurls it with blinding speed. The Mangalore catches it right in the head. He drops, firing in the air. The missile strikes the ceiling which collapses on him. The emperor gives Korben a thumb's up.</scene_description>
<character>LOC RHOD</character>
<dialogue>...And our man Korben has literally knocked out the opposition with an amazing 90 foot pitch.</dialogue>
<scene_description>The COPS on the floor rise, scoop up weapons from dead Mangalores and lay down a line of fire at the last of the fleeing rebels . Roy whirls his arm in victory.</scene_description>
<character>FOG</character>
<dialogue>Thanks for your help.</dialogue>
<character>KORBEN</character>
<dialogue>Forget it.</dialogue>
<scene_description>Korben grabs Loc Rhod and takes him with him.</scene_description>
</scene>
<scene>
<stage_direction>INT. KORBEN'S SUITE</stage_direction>
<scene_description>Korben bursts into the room. He stares at the luminous bar still struck to the ground and sees the hole Leeloo escaped through.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo???</dialogue>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE - CEILING</stage_direction>
<scene_description>Leeloo in bleeding all over. She can barely move.</scene_description>
<character>LEELOO</character>
<parenthetical>(feeble)</parenthetical>
<dialogue>Kor... ban...</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEAR FHLOSTON</stage_direction>
<scene_description>The ZFX 200 speeds back toward Fhloston Paradise.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>The bomb timer now reads 10 minutes.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION HALLWAY - FHLOSTON PARADISE</stage_direction>
<scene_description>The last of the Mangalores have barricaded themselves in the back of the station and shoot at anything that tries to enter. Korben joins the policemen already there.</scene_description>
<character>COP 1</character>
<dialogue>Hey, who are you?</dialogue>
<character>KORBEN</character>
<dialogue>The winner of the Gemini Croquette contest.</dialogue>
<scene_description>Korben goes to the door and peeks around the corner. Loc Rhod arrives.</scene_description>
<character>KORBEN</character>
<dialogue>Seven to the left. Five to the right.</dialogue>
<character>COP</character>
<dialogue>What's he doing?</dialogue>
<scene_description>Korben leans around the corner and fires rapidly.</scene_description>
<character>KORBEN</character>
<dialogue>Six to the left. One to the right.</dialogue>
<character>LOC RHOD</character>
<dialogue>He's on vacation.</dialogue>
<character>KORBEN</character>
<parenthetical>(reloading)</parenthetical>
<dialogue>We got to find the leader. Mangalores don't fight without a leader.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Akanit gets up, grabs Cornelius by the throat and put a gun to his head.</scene_description>
<character>AKANIT</character>
<dialogue>One more shot and we start killing hostages, got that?</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION HALLWAY</stage_direction>
<character>KORBEN</character>
<dialogue>Found him...</dialogue>
<character>AKANIT</character>
<parenthetical>(tense)</parenthetical>
<dialogue>Send someone to negotiate!</dialogue>
<character>KORBEN</character>
<dialogue>Mind if I go? I'm an excellent negotiator.</dialogue>
<character>COP 1</character>
<dialogue>Uh... Sure, go ahead.</dialogue>
<scene_description>Korben gets ready.</scene_description>
<character>COP 1</character>
<dialogue>We're sending someone in who's authorized to negotiate.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Korben walks quickly into the room, heads straight for Akanit, raises his gun and puts a bullet through his head.</scene_description>
<character>KORBEN</character>
<dialogue>Anyone else want to negotiate?</dialogue>
<character>COP 2</character>
<parenthetical>(to another Cop)</parenthetical>
<dialogue>Where'd he learn to negotiate like that?</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>MUNRO</character>
<dialogue>From us!</dialogue>
<scene_description>The President gives Munro a hard look.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM</stage_direction>
<scene_description>The police round up the remaining Mangalores. Korben is at the control center screens trying to find Leeloo. Cornelius comes over to him, embarrassed.</scene_description>
<character>CORNELIUS</character>
<dialogue>You're probably very angry with me and I quite understand. But I want you to know I'm fighting for a noble cause.</dialogue>
<character>KORBEN</character>
<dialogue>Yeah, I know... to save the world... but right now all I want to do is save Leeloo.</dialogue>
<character>CORNELIUS</character>
<dialogue>Leeloo's in trouble?</dialogue>
<character>KORBEN</character>
<dialogue>When is she not in trouble?</dialogue>
<character>CORNELIUS</character>
<dialogue>Uh.. Have you tried the Diva's suite?</dialogue>
<scene_description>Korben realizes that Cornelius in probably right.</scene_description>
</scene>
<scene>
<stage_direction>INT. FHLOSTON PARADISE - LANDING DOCK AND GARAGE</stage_direction>
<scene_description>The ZFX200 settles in the landing dock garage. SECURITY POLICE approach the ship just as Zorg in getting out holding the ZF1.</scene_description>
<character>POLICEMAN</character>
<dialogue>More trouble?</dialogue>
<character>ZORG</character>
<dialogue>Nothing I can't fix myself.</dialogue>
<scene_description>He brings up the ZF1 and wipes out the garage.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Korben enters the Diva's suite which is in shambles. He looks everywhere, but finds nothing.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSHAFT</stage_direction>
<scene_description>Leeloo lies in a pool of blood. She hears something below her.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Exhausted, Loc Rhod wipes his forehead and finds himself face to face with the bomb stuck on the wall. Korben in busy looking for Leeloo.</scene_description>
<character>KORBEN</character>
<parenthetical>(loudly)</parenthetical>
<dialogue>Leeloo?</dialogue>
<scene_description>Up in the airshaft, Leeloo has heard him.</scene_description>
<character>LEELOO</character>
<dialogue>Korben...</dialogue>
<scene_description>Her voice is too weak, Korben can't hear her.</scene_description>
<character>LOC RHOD</character>
<dialogue>Korben man... what the hell is this?</dialogue>
<scene_description>Korben gives the bomb a prefunctory glance.</scene_description>
<character>KORBEN</character>
<dialogue>A molecular bomb. Three minutes left on the timer.</dialogue>
<character>LOC RHOD</character>
<parenthetical>(increasingly worried)</parenthetical>
<dialogue>And, uh, what're these numbers clicking by?</dialogue>
<character>CORNELIUS</character>
<dialogue>Probably the time remaining before it explodes.</dialogue>
<scene_description>Cornelius smiles and continues his search.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(weak smile)</parenthetical>
<dialogue>You're just saying that to scare me! Right? If it was a bomb, an alarm would've gone off. There's bomb detectors in all these hotels!</dialogue>
<scene_description>A general alarm goes off. Loc Rhod is crushed.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN HALL</stage_direction>
<scene_description>The lights flicker.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>This is a Type A alert. For security reasons the hotel must be evacuated. Please proceed calmly to the lifeboats located in the main hallways.</dialogue>
<scene_description>A wave of panic engulfs the hall. The cops are unable to hold back the crowd as it stampedes to the exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Zorg marches down the corridor shooting everyone in his path.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Loc Rhod stands paralyzed in front of the flashing timer. Less than two minutes left.</scene_description>
<character>LOC RHOD</character>
<dialogue>Maybe we oughta be going, what do you think?</dialogue>
<character>KORBEN</character>
<dialogue>Not without Leeloo.</dialogue>
<scene_description>Loc Rhod cannot take his eyes off the bomb.</scene_description>
<character>LOC RHOD</character>
<dialogue>Like D-Man, I hate to bother you but uh, like, we're down to 2 minutes here...</dialogue>
<scene_description>Korben breathes out, bothered. He turns his attention to the bomb.</scene_description>
<character>KORBEN</character>
<dialogue>It's the latest model.. I've never seen one before... it works off a magnetic coded card... Let's see if I can rig it up.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRSHAFT</stage_direction>
<scene_description>Leeloo sticks her fingers out one of the bullet holes and lets some of her blood drip down. The blood splats on Korben's hand. He snaps his head up and knows immediately who is up there. He forgets about the bomb.</scene_description>
<character>LOC RHOD</character>
<dialogue>Hey! What are you doing? The bomb!</dialogue>
<scene_description>Korben drags the desk over, jumps on it and pokes his head in the torn up airshaft He spots Leeloo who gives him a weak smile.</scene_description>
<character>KORBEN</character>
<dialogue>Don't worry, I'm here now!</dialogue>
<scene_description>He pulls her toward him, helps her out of the shaft and stretches her out on the desk.</scene_description>
<character>KORBEN</character>
<dialogue>Just relax. I've got the Stones. Everything's going to be fine.</dialogue>
<scene_description>30 seconds left on the timer.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(falling to pieces)</parenthetical>
<dialogue>Like Korben, can I have 30 seconds of your time here?</dialogue>
<character>KORBEN</character>
<parenthetical>(to Leeloo)</parenthetical>
<dialogue>I'll be right back.</dialogue>
<scene_description>Korben dashes over to the bomb. He is stopped by the barrel of the ZF1. Zorg, in person, holding a magnetic card.</scene_description>
<character>ZORG</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Allow me...</dialogue>
<scene_description>Zorg slips a small magnetic card in the bomb, it starts to count down from 5 minutes.</scene_description>
<character>ZORG</character>
<dialogue>Just for the fun of it.</dialogue>
<scene_description>Loc Rhod faints.</scene_description>
<character>ZORG</character>
<dialogue>Well, what do we have here? Is this Korben Dallas? The famous winner of the Gemini Croquette contest?</dialogue>
<character>ZORG</character>
<dialogue>Or is this Korben Dallas from Special Section sent by old Lindberg himself.</dialogue>
<scene_description>Korben doesn't reply.</scene_description>
<character>ZORG</character>
<dialogue>...In any event, whoever you are, I was glad to meet you.</dialogue>
<scene_description>Zorg fires at Korben who figures he is dead. Nothing. Zorg tries again. Nada. The clip is empty. Zorg starts to panic.</scene_description>
<character>ZORG</character>
<dialogue>...A 3000 round clip! I didn't fire off 3000 rounds... did I?</dialogue>
<character>KORBEN</character>
<dialogue>Don't you know how to count. It's not all that hard. Watch!</dialogue>
<scene_description>Korben punches him square in the face, shows him his index.</scene_description>
<character>KORBEN</character>
<dialogue>One! That's for trying to kill me!</dialogue>
<scene_description>Second Punch.</scene_description>
<character>KORBEN</character>
<dialogue>Two! That's for firing me! Three! That's for pushing around a priest! And the rest is for what you did to my wife!</dialogue>
<scene_description>Korben pummels him mercilessly.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindberg prefers closing his eyes. Munro's shoulders move as if he were beating on Zorg.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Zorg falls to the floor, beaten to a pulp. The timer clicks over to 3 minutes.</scene_description>
<character>KORBEN</character>
<dialogue>We're outta here!</dialogue>
<scene_description>He picks Leeloo up in his arms. Cornelius grabs Loc Rhod and gives him a resounding slap.</scene_description>
<character>LOC RHOD</character>
<dialogue>Are you nuts, Father? That hurts! I can't feel my teeth.</dialogue>
<character>CORNELIUS</character>
<dialogue>Doesn't matter all you need are your legs.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON PARADISE - NIGHT</stage_direction>
<scene_description>The lifeboats launch from the hotel and fly out into space.</scene_description>
</scene>
<scene>
<stage_direction>INT. FHLOSTON PARADISE - LANDING DOCK GARAGE</stage_direction>
<scene_description>Korben, carrying Leeloo, Cornelius and Loc Rhod are in the garage.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Two minutes to complete evacuation...</dialogue>
<scene_description>Korben bursts the lock on the first ship he finds and enters followed by Cornelius and Loc Rhod. The ZFX200.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Zorg starts to come around.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZFX</stage_direction>
<scene_description>Korben sets Leeloo down.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Zorg picks up his ZF1, unaware of the bomb and the countdown.</scene_description>
<character>ZORG</character>
<dialogue>I didn't fire three thousand rounds...</dialogue>
</scene>
<scene>
<stage_direction>INT. ZFX2O0 COCKPIT</stage_direction>
<character>VOICE (O.S.)</character>
<dialogue>One minute to total evacuation...</dialogue>
<character>LOC RHOD</character>
<dialogue>You know how to fly this thing?</dialogue>
<character>KORBEN</character>
<parenthetical>(concentrating)</parenthetical>
<dialogue>It's like a cab isn't it?</dialogue>
<character>VOICE</character>
<dialogue>30 seconds...</dialogue>
<character>KORBEN</character>
<dialogue>Anyone know how to release the lines on this crate?</dialogue>
</scene>
<scene>
<stage_direction>INT. DIVA'S SUITE</stage_direction>
<scene_description>Zorg is busy with the ZF1 when the bomb starts to BEEP signaling the last ten seconds. Zorg is terror stricken. He pushes a button and holds the ZF1 over his head.</scene_description>
<character>ZORG</character>
<parenthetical>(loudly)</parenthetical>
<dialogue>Maximum Protection.</dialogue>
<scene_description>A mauve-colored magnetic shield closes around Zorg like an indestructible sarcophagus.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZFX200 COCKPIT</stage_direction>
<scene_description>Cornelius and Loc Rhod are bent over the buttons looking for a way to release the lines.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>6... 5...</dialogue>
<character>KORBEN</character>
<dialogue>Found it?</dialogue>
<scene_description>Loc Rhod searches frantically.</scene_description>
<character>LOC RHOD</character>
<dialogue>I don't even know what I'm looking for!</dialogue>
<character>KORBEN</character>
<dialogue>Fuck it! Hold tight!</dialogue>
<scene_description>Korben slams the throttle into full forward. The ship roars away ripping the lines to shreds. Loc Rhod is thrown to the rear of the ship. CUT TO: The counter goes 1... 0 - The suite disintegrates - The corridor is consumed. - The main hall is no more.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON PARADISE</stage_direction>
<scene_description>The ZFX200 jets away as the enormous oceanliner explodes behind it.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZFX</stage_direction>
<scene_description>The ship stops shaking. That was a close one. Everyone's relieved.</scene_description>
<character>KORBEN</character>
<dialogue>Solid little jobs, aren't they?</dialogue>
<character>LOC RHOD</character>
<parenthetical>(broadcasting, exhausted)</parenthetical>
<dialogue>Dear listeners, your favorite DJ is alive and kicking. It's seven o'clock and time for the news. Tune in tomorrow for another adventure.</dialogue>
<character>VOCODER (O.S.)</character>
<dialogue>Beep. End of transmission.</dialogue>
<scene_description>Loc Rhod lets out a huge sigh.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(to the others)</parenthetical>
<dialogue>The best show I ever did!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLANET FHLOSTON</stage_direction>
<scene_description>A magnetic sarcophagus crosses the Fhloston sky and crashes into a glacier.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FHLOSTON</stage_direction>
<scene_description>Zorg appears in the middle of the ice. He takes a portable phone out of the ZF1.</scene_description>
<character>ZORG</character>
<dialogue>How's that? Can you hear me better now?</dialogue>
<character>SECRETARY (O.S.)</character>
<dialogue>Yes, Mr. Zorg, I hear you perfectly! So, how was the concert?</dialogue>
<character>ZORG</character>
<dialogue>Who gives a shit! I didn't come here to listen to music! Listen up instead of running off at the mouth! The batteries on my phone are almost gone.</dialogue>
<character>SECRETARY (O.S.)</character>
<dialogue>Yes, Sir!</dialogue>
<character>ZORG</character>
<dialogue>Dispatch me another ZFX200 immediately. Someone stole mine.</dialogue>
<character>SECRETARY (O.S.)</character>
<dialogue>Right away, Sir. I'll send you a new one to the hotel.</dialogue>
<character>ZORG</character>
<dialogue>I'm not at the hotel! Hello?...</dialogue>
<character>BEEPER (O.S.)</character>
<dialogue>Battery dead.</dialogue>
<scene_description>Zorg is all alone, lost, in the middle of the glacier.</scene_description>
<character>ZORG</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Stay calm.... stay calm...</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>General Munro enters the office with a smile.</scene_description>
<character>MUNRO</character>
<dialogue>Major Dallas has the Five Elements on board. The priest is guiding them directly to the temple.</dialogue>
<scene_description>President Lindberg closes his eyes in relief.</scene_description>
<character>PRESIDENT</character>
<dialogue>Thank God! We've been saved!</dialogue>
<scene_description>A SCIENTIST rushes in.</scene_description>
<character>SCIENTIST</character>
<dialogue>Mr. President.</dialogue>
<character>PRESIDENT</character>
<dialogue>Yes? Now, what?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>A ball of fire, all-powerful Evil, speeds across the screen with three Federal Army warships following along behind it as best they can.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>PRESIDENT</character>
<dialogue>What do you mean, "it's advancing"?!</dialogue>
</scene>
<scene>
<stage_direction>INT. COCKPIT - FEDERATED WARSHIP</stage_direction>
<character>COMMANDER</character>
<dialogue>It's not only advancing, but it's moving at incredible speed! We're having trouble following it.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>PRESIDENT</character>
<parenthetical>(to Scientist)</parenthetical>
<dialogue>...And... Do you have any idea where it's heading?</dialogue>
<scene_description>The scientist is hard to put to answer, he shakes his head.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZFX200 COCKPIT - NIGHT</stage_direction>
<scene_description>Korben gently wipes Leeloo's forehead with a cloth. She opens her eyes a little.</scene_description>
<character>KORBEN</character>
<parenthetical>(gentle, loving)</parenthetical>
<dialogue>Apipoulai..</dialogue>
<scene_description>Leeloo smiles, weakly, feverish.</scene_description>
<character>LEELOO</character>
<dialogue>I'm so very sad.</dialogue>
<character>KORBEN</character>
<dialogue>Why? We did pretty well, wouldn't you say?</dialogue>
<character>LEELOO</character>
<dialogue>Five hundred wars... Arms... Drugs... Money... Everything you create is used to destroy...</dialogue>
<character>KORBEN</character>
<dialogue>I told you not to read all that crap!</dialogue>
<character>LEELOO</character>
<dialogue>Protect life... Until death.</dialogue>
<scene_description>Her eyes close and she falls back asleep. Korben is worried. She seems so depressed. Cornelius enters.</scene_description>
<character>CORNELIUS</character>
<dialogue>There's a General on the phone... His name's Mambo, I think.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>MUNRO</character>
<dialogue>Munro here. President Lindberg wants to talk to you. Hold the line.</dialogue>
<scene_description>The President clears his throat and takes the phone.</scene_description>
<character>PRESIDENT</character>
<dialogue>Major, first off, I want to thank you, in my name and in the name of the Federation...</dialogue>
</scene>
<scene>
<stage_direction>INT. ZFX200 / PRESIDENT'S OFFICE</stage_direction>
<character>PRESIDENT (O.S.)</character>
<dialogue>For the praiseworthy courage you have shown us!</dialogue>
<character>PRESIDENT (O.S.)</character>
<dialogue>I'd like to congratulate General Munro for his choice. He found the ideal man for such a...</dialogue>
<character>KORBEN</character>
<parenthetical>(to the point)</parenthetical>
<dialogue>So now what's the problem?</dialogue>
<scene_description>The President drops into his armchair and sighs.</scene_description>
<character>PRESIDENT</character>
<dialogue>There's a ball of fire 1,200 miles in diameter heading straight for the earth. And we have no idea how to stop it! ...That's the problem.</dialogue>
<scene_description>Korben thinks fast. The Priest is with him. The Five Elements are on board.</scene_description>
<character>KORBEN</character>
<dialogue>How much time before the collision?</dialogue>
<scene_description>The President queries the scientist with a nod of the head.</scene_description>
<character>SCIENTIST</character>
<dialogue>If its speed remains constant... in an hour and 57 minutes.</dialogue>
<character>KORBEN (O.S.)</character>
<dialogue>I'll call you back in two hours.</dialogue>
<scene_description>Korben hangs up. The President looks stunned.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The ZFX200 shifts to the speed of light and vanishes in the star-studded cosmos.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>David is asleep. He is woken by the sound of...</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT - DAWN</stage_direction>
<scene_description>The ZFX200 is parked in the middle of the desert. Korben walks ahead carrying Leeloo. Cornelius has the four Stones with him. Barely awake, Loc Rhod stumbles along. David appears at the door of the chapel.</scene_description>
<character>DAVID</character>
<dialogue>You're all safe. Thanks be to God!</dialogue>
<character>CORNELIUS</character>
<dialogue>Later, David! Later! There's not a minute to lose!</dialogue>
<scene_description>The small group enters the chapel.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>Cornelius pushes the group onto the altar which is surrounded by a wooden barrier. Cornelius stands in front of the cross.</scene_description>
<character>KORBEN</character>
<dialogue>Excuse me, Father, but... could we pray later?</dialogue>
<scene_description>Cornelius bends the cross and pushes it down. A mechanism is set off lowering the altar like a service elevator. The altar descends amid rocky walls.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>MUNRO</character>
<dialogue>They just landed in the desert.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(sweating)</parenthetical>
<dialogue>How much time is left?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>Earth is in view. The Dark Planet fills the screen and heads for the blue planet.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>SCIENTIST</character>
<dialogue>About nine minutes.</dialogue>
<scene_description>President Lindberg has trouble breathing.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE</stage_direction>
<scene_description>Lit by torches, Korben sets Leeloo delicately on the altar in the exact center of the four elements. Cornelius looks over the four Stones every which way.</scene_description>
<character>CORNELIUS</character>
<parenthetical>(panic-stricken)</parenthetical>
<dialogue>Uh, this one... must be water!</dialogue>
<scene_description>It's obvious he doesn't know where to put it.</scene_description>
<character>KORBEN</character>
<dialogue>Don't tell me you don't know how all this works?</dialogue>
<character>CORNELIUS</character>
<dialogue>Theoretically, yes! The four Stones form the beam and the Fifth Element is supposed to stand in the middle there, but... I don't have the reference book. I've never seen the Stones work!</dialogue>
<scene_description>Korben can't believe his ears. He tears the Stone out of Cornelius' hand and studies the inscriptions. He goes over to one of the four bases the stones rest on and tries to figure it out. The symbol of air is on the Stone, the same as on the base.</scene_description>
<character>KORBEN</character>
<dialogue>Match the symbols!</dialogue>
<scene_description>Korben places the first Stone and picks up another one. Cornelius has found the symbol for water. Loc Rhod sits down. He is very tired.</scene_description>
<character>LOC RHOD</character>
<dialogue>What is this some kinda game? Like chess?</dialogue>
<scene_description>Korben pulls him to his feet and sticks a Stone in his hands.</scene_description>
<character>KORBEN</character>
<dialogue>No. It's much simpler. If we don't figure out where these Stones go in five minutes, we're all dead! Think you got it?</dialogue>
<scene_description>Loc Rhod's got it and runs over to put in his Stone. The four Stones are all in place but nothing happens.</scene_description>
<character>KORBEN</character>
<dialogue>There's no light! You told me there were supposed to be four beams of light.</dialogue>
<character>CORNELIUS</character>
<parenthetical>(lost)</parenthetical>
<dialogue>Yes, of course, but... The Stones are shut! They have to be open for it to work.</dialogue>
<character>KORBEN</character>
<dialogue>And you don't know how they open, is that what you are saying?</dialogue>
<character>CORNELIUS</character>
<dialogue>That's what I'm saying.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The Dark Planet closes in on Earth rapidly.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>Korben leans over Leeloo.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo? The Stones! We have to open them! How does it work?</dialogue>
<character>LEELOO</character>
<parenthetical>(feeble)</parenthetical>
<dialogue>The wind blows... the fire burns...</dialogue>
<character>KORBEN</character>
<dialogue>I know all that, Leeloo! I'm talking about the Stones.</dialogue>
<character>LEELOO</character>
<dialogue>...The rain falls...</dialogue>
<scene_description>Korben is desperate. Leeloo's too weak, he won't get anything more out of her. He darts over to a Stone and turns it over and over.</scene_description>
<character>KORBEN</character>
<dialogue>The rain falls... the wind blows?</dialogue>
<scene_description>Loc Rhod stands in front of his Stone looking at Korben.</scene_description>
<character>KORBEN</character>
<dialogue>Try and figure out how this fucking thing opens, instead of staring at me like that!</dialogue>
<scene_description>Loc Rhod starts feeling the Stone all around.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(afraid)</parenthetical>
<dialogue>I'm looking, I'm looking.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The tension is palpable in the President's office.</scene_description>
<character>SCIENTIST</character>
<dialogue>...Three minutes.</dialogue>
<character>MUNRO</character>
<dialogue>We've lost contact with them.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>Korben and Cornelius turn the Stones every which way. All to no avai1. Loc Rhod is discouraged.</scene_description>
<character>LOC RHOD</character>
<dialogue>...we'll never make it.</dialogue>
<scene_description>He sighs. Three hooks pop off the Stone. Loc Rhod can't believe his eyes.</scene_description>
<character>LOC RHOD</character>
<dialogue>It... it moved! Korben! Korben!</dialogue>
<scene_description>Korben rushes over, looks at the Stone. Hooks are undone.</scene_description>
<character>KORBEN</character>
<dialogue>What did you say? What did you do?</dialogue>
<character>LOC RHOD</character>
<dialogue>Nothing! Swear to God, I didn't do nothing!</dialogue>
<character>KORBEN</character>
<dialogue>Look, you did something that set it off. Try to remember. Concentrate. Tell me exactly what you did!!</dialogue>
<scene_description>Loc Rhod tries to duplicate the same movement.</scene_description>
<character>LOC RHOD</character>
<dialogue>I was like this... With my hands here and... I said, "We'll never make it!" That's all!</dialogue>
<scene_description>Nothing happens.</scene_description>
<character>KORBEN</character>
<dialogue>Is that all?</dialogue>
<character>LOC RHOD</character>
<dialogue>Yeah... then I sighed... like this.</dialogue>
<scene_description>Loc Rhod sighs, really depressed this time. The Stone opens even more. Korben's got it.</scene_description>
<character>KORBEN</character>
<dialogue>The wind! The wind blows...</dialogue>
<scene_description>Korben blows on the Stone which immediately opens revealing a patch of blue sky with some miniature clouds floating around inside. A yellow beam pops up like a ray of sunlight, like Korben's smile.</scene_description>
<character>KORBEN</character>
<dialogue>Quickly, everyone on a Stone! Water for water! Fire for fire! Earth for earth!</dialogue>
<scene_description>The two men move fast. Korben on the 4th Stone: Earth. He grabs a fistful of earth and throws it on the Stone. A miniature patch of green appears and immediately forms a green beam. Cornelius wipes his forehead with a scarf and wrings it out over the Stone. It opens revealing a patch of miniature raging sea. A blue beam appears. Loc Rhod has a problem.</scene_description>
<character>LOC RHOD</character>
<parenthetical>(shaking)</parenthetical>
<dialogue>I don't have a light. I stopped smoking last week! If we'd come a bit sooner...</dialogue>
<scene_description>Korben pats his pockets, he comes up with a box of matches. There's only one left.</scene_description>
<character>KORBEN</character>
<dialogue>Don't breathe.</dialogue>
<scene_description>Loc Rhod and Cornelius hold their breath. Korben strikes the match. A small flame appears on the tip. A breeze goes through the room. Korben feels like he's got TNT in his hands. He approaches the flame to the Stone. The flame twists, dims, flickers ...but holds on. The Stone opens. A patch of miniature fire appears. Korben sighs, snuffs out the match. The fourth beam, a red one, immediately forms.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>A mass of fire fills the screen. The Earth is only a thousand miles away.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<character>SCIENTIST</character>
<dialogue>Two more minutes.</dialogue>
<scene_description>The President shuts his eyes. His lids move in prayer.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>Korben helps Leeloo onto her feet where the four beams and four colors crisscross.</scene_description>
<character>KORBEN</character>
<dialogue>It's up to you now, Angel!</dialogue>
<character>LEELOO</character>
<dialogue>I'm so tired...</dialogue>
<character>KORBEN</character>
<dialogue>You can sleep tomorrow... come on...</dialogue>
<character>LEELOO</character>
<dialogue>I want to sleep... forever...</dialogue>
<character>KORBEN</character>
<dialogue>Leeloo! Listen to me! I'll take you on a vacation afterwards! A real vacation, this time, for as long as you want. Come on! You can do it!</dialogue>
<scene_description>Korben slowly releases Leeloo and steps back from the altar. Leeloo can barely stand in the center of the four beams. An indistinct white beam begins to form around her, starts to rise.</scene_description>
<character>CORNELIUS</character>
<dialogue>Come on Leeloo! Come on!</dialogue>
<scene_description>The beam loses its intensity. Leeloo crumples to the floor.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The Dark Planet hurtles toward Earth. A hundred miles before impact. The African continent is visible. No doubt about it: The fireball is heading right for Egypt.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>Seconds tick away relentlessly on the scientist's stopwatch.</scene_description>
<character>SCIENTIST</character>
<dialogue>It'll be entering the atmosphere in one minute.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>The heat in the temple is unbearable. All the walls start to ooze the same horrible black slimy liquid seen at Zorg's. A drop of liquid falls to the temple floor and begins to smoke, eating away at it like acid. Loc Rhod has to dodge another drop of the stuff. Korben quickly straightens Leeloo up and puts her back in the center of the beams.</scene_description>
<character>KORBEN</character>
<dialogue>Leeloo! If you don't get on with the program we're all gonna die! And that's not on my agenda for today.</dialogue>
<scene_description>Leeloo wraps her arms around Korben's neck.</scene_description>
<character>LEELOO</character>
<parenthetical>(weak)</parenthetical>
<dialogue>What's the use of saving lives... when you see what you do with them!</dialogue>
<character>KORBEN</character>
<dialogue>You're right but there are lots of good things... beautiful things...</dialogue>
<character>LEELOO</character>
<dialogue>...Like love...</dialogue>
<character>KORBEN</character>
<dialogue>Exactly.</dialogue>
<character>LEELOO</character>
<dialogue>But I don't know love... I'm like a machine programmed to save other people's lives but never to have one of my own.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The Scientist's stopwatch goes from 30 to 29 seconds.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<character>LEELOO</character>
<dialogue>I have thousands of memories but none of them are mine... There is no need for me other than this. I'm immortal but I have no life.</dialogue>
<character>KORBEN</character>
<dialogue>Yes, you do! I need you. More than you can imagine! Stand up straight!</dialogue>
<character>LEELOO</character>
<dialogue>Why?... Why would you need me?</dialogue>
<character>KORBEN</character>
<dialogue>Because...</dialogue>
<character>CORNELIUS</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Tell her, for God's sake!</dialogue>
<scene_description>A bit of the black acid falls on Loc Rhod's shirt setting it on fire. He rips if off. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<character>KORBEN</character>
<dialogue>Because...</dialogue>
<scene_description>Leeloo has tears in her eyes. The heat is overpowering. Black acid is everywhere.</scene_description>
<character>LEELOO</character>
<dialogue>Tell me...</dialogue>
<character>KORBEN</character>
<dialogue>I love you...</dialogue>
<scene_description>Despite her fatigue, Leeloo smiles broadly. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>The stopwatch goes from 3 to 2.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<character>LEELOO</character>
<dialogue>Now you're allowed to kiss me.</dialogue>
<scene_description>- Korben wraps his arms around her and kisses her like he's never kissed anybody before. - The white beam, the Divine Light, immediately forms around Leeloo and Korben. - The stopwatch hits zero. - The Absolute Beam explodes from the top of the pyramid and heads straight into the sky zapping the fireball smack in the middle, slowing it down. Korben and Leeloo kiss like there was no tomorrow. - The beam hardens and slowly solidifies the Evil Planet. Inaudible screeches escape from the dying planet. Screeches of terrifying pain as if a million souls were dying. - Streams of black acid spurt from the pyramid and solidify like brilliant stalactites.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE</stage_direction>
<scene_description>The pure beam, the Light of Life, has finished its work. The Dark Planet nothing more than a dead planet. Strangely enough, it looks like the moon. Everything is calm around it.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRESIDENT'S OFFICE</stage_direction>
<scene_description>President Lindberg opens his eyes and realizes he's not dead-</scene_description>
<character>SCIENTIST</character>
<dialogue>The planet seems to have stopped at... 62 miles from impact.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHAPEL</stage_direction>
<scene_description>In the temple, the beam loses its intensity. But Leeloo and Korben remain stuck together, lost in their kiss. Cornelius has dropped to his knees, clutching his hands. Loc Rhod slips along the wall with a sigh. He gives Cornelius a knowing smile.</scene_description>
<character>LOC RHOD</character>
<dialogue>This guy is a killer with the babes. I knew it from the moment I laid eyes on him.</dialogue>
<scene_description>Cornelius and Loc Rhod burst out laughing. Korben and Leeloo keep on kissing.</scene_description>
</scene>
<scene>
<stage_direction>INT. LABORATORY</stage_direction>
<scene_description>We are in the Nucleological Laboratory that gave birth to Leeloo in the beginning of our story. The President enters the lab followed by a group of officials in ceremonial dress.</scene_description>
<character>MUNRO</character>
<dialogue>Mr. President, let me introduce you to Professor Mactilburgh, who runs the center.</dialogue>
<character>MACTILBURGH</character>
<dialogue>It's an honor to receive you. Mr. President.</dialogue>
<character>PRESIDENT</character>
<parenthetical>(beaming)</parenthetical>
<dialogue>Yes.. Well? Where are our two heroes?</dialogue>
<character>MACTILBURGH</character>
<dialogue>They were so tired from their ordeal that we put them in the reactor this morning...</dialogue>
<character>PRESIDENT</character>
<dialogue>I have 19 more meetings after this one Professor..</dialogue>
<character>PROFESSOR</character>
<dialogue>Of course.. Let me see if they're revived.</dialogue>
<character>AIDE</character>
<dialogue>We go live in one minute, Mr. President.</dialogue>
<scene_description>Mactilburgh goes to the reactor and opens a small slot which allows him to see what is going on under the blue shield. Leeloo and Korben are naked, arms wrapped around each other, kissing and probably engaged in hoppi hoppa. Mactilburgh looks troubled.</scene_description>
<character>MACTILBURGH</character>
<dialogue>I... uh... they need five more minutes, Mr. President.</dialogue>
<scene_description>The President, pressed for time, looks over to his aide who is struggling with a phone call.</scene_description>
<character>AIDE</character>
<dialogue>No ma'am... I tried... No ma'am...</dialogue>
<character>PRESIDENT</character>
<dialogue>Who is it?</dialogue>
<character>AIDE</character>
<dialogue>Some woman... claims she's Korben's mother...</dialogue>
<character>PRESIDENT</character>
<dialogue>Give it here...</dialogue>
<scene_description>The President takes the phone and goes to the window.</scene_description>
<character>PRESIDENT</character>
<dialogue>Mrs. Dallas, this in the President. On behalf of the entire Federation, I would like to thank...</dialogue>
<character>MOTHER (V.O.)</character>
<dialogue>Don't pull that crap with me, Finger... I'd recognize that trash can voice of yours in a dark alley during a rain storm. You tell that worthless no account son of mine he should plotz for the way he's ignored his mother... when I think of all I sacrificed for him...</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEW YORK</stage_direction>
<scene_description>Outside the lab we see the President through the window, holding the phone away from his ear. PAN slowly across Manhattan. Credits Roll as TWO full rising silver moons ascend in the dark blue sky. THE END</scene_description>
</scene>
</script> | In 1914, aliens known as Mondoshawans meet their human contact, a priest of a secret order, at an ancient Egyptian temple. They take the only weapon capable of defeating a great evil that appears every five thousand years, promising to protect it and return it before the great evil's re-emergence. The weapon consists of the four classical elements, as four engraved stones, plus a sarcophagus containing a "fifth element". In 2263, the great evil appears in deep space as a giant living fireball. It destroys an armed Earth spaceship as it heads to Earth. The Mondoshawans' current human contact on Earth, priest Vito Cornelius, informs the President of the Federated Territories of the great evil's history and of the weapon that can stop it. On their way to Earth, a Mondoshawan spacecraft carrying the weapon is ambushed and destroyed by a crew of Mangalores, alien mercenaries hired by Earth industrialist Jean-Baptiste Emanuel Zorg, who is working for the great evil. A severed hand in metal armor from the wreckage of the spacecraft is brought to New York City. From this, the government uses biotechnology to recreate the original occupant of the sarcophagus, a humanoid woman named Leeloo who remembers her previous life. Alarmed by the unfamiliar surroundings and high security, she escapes and jumps off a ledge, crashing into the flying taxicab of Korben Dallas, a former major in Earth's Special Forces. Dallas delivers Leeloo to Cornelius and his apprentice, David, who recognizes her as the Fifth Element. As Leeloo recuperates, she tells Cornelius that the stones were not on board the Mondoshawan ship. Simultaneously, the Mondoshawans inform Earth's government the stones were entrusted to an alien opera singer, the diva Plavalaguna. Zorg reneges on his deal with the Mangalores for failing to obtain the stones and kills some of them. Earth's military sends Dallas to meet Plavalaguna; a rigged radio contest provides a cover, awarding Dallas a luxury vacation aboard a flying hotel on planet Fhloston, accompanied by flamboyant talk-show host Ruby Rhod. It includes a concert by Plavalaguna, and learning that Leeloo shares his mission, Dallas lets her accompany him. Cornelius instructs David to prepare the temple, then stows away on the luxury spaceship. The Mangalore crew, pursuing the stones for themselves, also illegally board the ship. During the concert, the Mangalores attack and Plavalaguna is killed. Dallas extracts the stones from her body and kills the Mangalore leader, causing the others to surrender. Zorg arrives, shoots Leeloo and activates a time bomb. He flees with a carrying case he presumes contains the stones, but returns when he discovers it is empty. Dallas finds Leeloo traumatized, and escapes with her, Cornelius, Rhod and the stones in Zorg's private spaceship. Zorg deactivates his bomb, but a dying Mangalore sets off his own, destroying the hotel and killing Zorg. As the great evil approaches Earth, the four meet David at the temple. They deploy the stones but Leeloo, having learned of humanity's history of cruelty, has given up on life. Dallas declares his love for her and kisses her. Leeloo combines the power of the stones, emitting divine light onto the great evil and defeating it. She and Dallas are hailed as heroes and as dignitaries wait to greet them, the two passionately embrace in a recovery chamber. |
American Graffiti_1973 | tt0069704 | <script>
<scene>
<character>"AMERICAN GRAFFITI"</character>
<dialogue>Screenplay by</dialogue>
<scene_description>George Lucas Gloria Katz & Willard Huyck RADIO On a dark screen an immense amber light appears and an electric humming begins. The eerie light glows brighter and illuminates a single huge number--11. We hear static and a large vertical band of red floats mysteriously across the screen. Pulling back slowly, we watch the glowing band traverse back and forth over the amber light and past more numbers appearing-- 70... 90... 110... 130. And we begin to hear voices--strange songs, fading conversations and snatches of music drifting with static. Pulling back further, we realize it is a car radio filling the screen and radio stations we're hearing, until the indicator stops. There's a pause...and suddenly we are hit by a blasting-out-of-the-past, Rocking and Rolling, turn-up- the-volume, pounding Intro to a Vintage 1962 Golden Week-End Radio Show--back when things were simpler and the music was better. And now a wolf howl shatters through time as the legendary Wolfman Jack hits the airwaves, his gravel voice shrieking and growling while the music pumps and grinds...</scene_description>
<character>WOLFMAN</character>
<dialogue>Awwrigght, baay-haay-baay! I got a oldie for ya--gonna knock ya right on de flowa--baay-haay-hee-baay!</dialogue>
<scene_description>The Wolfman howls like a soulful banshee as "Rock Around the Clock" blasts forth. MEL'S DRIVE-IN--DUSK A neon drive-in casts long shadows across a vast parking lot as the sun drops behind a distant hill. A large neon sign buzzes in the foreground... MEL'S DRIVE-IN, while in the background, "Rock Around The Clock" blares from the radio of a beautiful decked and channeled, white with red trim, tuck- and-rolled '58 Chevy Impala that glides into the drive-in. Main titles appear over action. Steve Bolander stops the elegant machine and gets out. He looks around, then walks to the front of the car and leans against the flame-covered hood. Steve is eighteen, good-looking in a conservative, button-down, short-sleeved shirt. Most likely to succeed, president of his graduating class. He looks around the empty drive-in, then hears a funny little horn. A Vespa scooter bumps into the lot. A young kid waves at him-- and suddenly grabs the handlebars again as the scooter nearly topples. Terry Fields ("The Toad") maneuvers the scooter next to Steve's Chevy but misjudges and ricochets off the trash can before stopping. Terry grins sheepishly. He's seventeen, short but plenty loud, both vocally and sartorically in his pink and black shirt, levis, and white bucks. He looks slightly ridiculous but always thinks he's projecting an air of supercool. Steve watches Terry smooth back his shiny ducktail and primp his waterfall to a perfect cascade over his forehead. He unbuttons his shirt one more button and lowers his pants to look tough. Terry walks over and leans against the flamed car, imitating Steve who pays him no mind. In the background, we hear the Wolfman howling with the music. The record ends and a barrage of humor begins from Wolfman Jack. The Wolfman is an unseen companion to all the kids. Witty and knowledgeable about the trivia that counts, he's their best friend, confidant, and guardian angel. Now, a grey, insect-like Citroen deux-chevaux putters into the parking lot and stops on the other side of the lot. Steve and Terry watch Curt Henderson get out. Curt stands by his little car. He's seventeen, a curly bespectacled, scraggly kid with a summer-grown moustache and a paperback stuck in his bermuda shorts. Curt thinks of himself as the town cynic. In reality, he's a hopeless romantic. He starts over to his buddies.</scene_description>
<character>TERRY</character>
<dialogue>Hey, whadaya say? Curt? Last night in town, you guys gonna have a little bash before you leave?</dialogue>
<character>STEVE</character>
<dialogue>The Moose have been lookin' for you all day, man.</dialogue>
<scene_description>Steve reaches into his pocket and hands Curt an envelope without saying anything. Curt opens it slowly and pulls out a check.</scene_description>
<character>CURT</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>Oh great...</dialogue>
<character>TERRY</character>
<dialogue>Whadaya got, whadaya got? Wow--two thousand dollars. Two thousand doll-- !!</dialogue>
<scene_description>Steve looks at Curt suspiciously; Curt seems somehow guilty.</scene_description>
<character>STEVE</character>
<dialogue>Mr. Jenning couldn't find you, so he gave it to me to give to you. He said he's sorry it's so late, but it's the first scholarship the Moose</dialogue>
<dialogue>Lodge has given out. Oh yeah, he says they're all very proud of you.</dialogue>
<scene_description>Curt hands the envelope back to Steve.</scene_description>
<character>CURT</character>
<dialogue>Well... ah... why don't you hold onto it for a while?</dialogue>
<character>STEVE</character>
<dialogue>What's with you? It's yours! Take it! I don't want it.</dialogue>
<character>TERRY</character>
<dialogue>I'll take it.</dialogue>
<character>CURT</character>
<dialogue>Steve... Ah, I think we'd better have a talk. I've gotten-</dialogue>
<scene_description>Suddenly a horn honks and they all turn. Laurie Henderson pulls into the drive-in and waves to them. She is driving the family's '58 Edsel.</scene_description>
<character>STEVE</character>
<dialogue>Your sister calls. I'll talk to you later.</dialogue>
<character>CURT</character>
<dialogue>Now, Steve! Let her wait.</dialogue>
<character>STEVE</character>
<dialogue>Okay, make it short and sweet.</dialogue>
<character>CURT</character>
<dialogue>Yeah, well... Listen...</dialogue>
<parenthetical>(clearing his throat)</parenthetical>
<dialogue>I... I don't think I'm going tomorrow.</dialogue>
<character>STEVE</character>
<dialogue>What! Come on, what are you talking about?</dialogue>
<character>CURT</character>
<dialogue>I don't know. I was thinking I might wait for a year... go to city--</dialogue>
<scene_description>Laurie honks the horn a couple of times. Steve ignores her. There is a long moment and Curt looks uncomfortable.</scene_description>
<character>STEVE</character>
<dialogue>You chicken fink.</dialogue>
<character>CURT</character>
<dialogue>Wait, let me explain--</dialogue>
<character>STEVE</character>
<dialogue>You can't back out now! After all we went through to get accepted. We're finally getting out of this turkey town and now you want to crawl back</dialogue>
<dialogue>into your cell--look, I gotta talk to Laurie.</dialogue>
<parenthetical>(he hands the check back to Curt)</parenthetical>
<dialogue>Now take it. We're leaving in the morning. Okay?</dialogue>
<scene_description>Suddenly, there's an ear-splitting roar and they all turn as a yellow '32 Ford deuce coupe--chopped, lowered and sporting a Hemi-V8--bumps into the lot. The low slung classic rumbles and parks at the rear of the drive in. Big John Milner, twenty-two, sits in his Ford, tough and indifferent, puffing on a Camel. He wears a white T-shirt and a butch haircut molded on the sides into a ducktail. A cowboy in a deuce coupe--simple, sentimental and cocksure of himself.</scene_description>
<character>STEVE</character>
<dialogue>You wanna end up like John? You can't stay seventeen forever.</dialogue>
<character>CURT</character>
<dialogue>I just want some time to think. What's the rush? I'll go next year.</dialogue>
<character>STEVE</character>
<dialogue>We'll talk later.</dialogue>
<scene_description>Steve walks off toward Laurie's Edsel. Laurie gets out. She's wearing a letterman's sweater with a large "Class of '62" emblazoned on the shoulder. Steve goes to her and they hug. On the radio, the music ends, and the Wolfman's intro tune comes on.</scene_description>
<character>RADIO</character>
<parenthetical>(singing)</parenthetical>
<dialogue>"Here comes the Wolfman--Wolfman Jack!"</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>Oh, We're gonna rock and roll ourselves to death baby. You got the Wolfman Jack Show!</dialogue>
<scene_description>MEL'S DRIVE-IN--NIGHT As the radio blares "Sixteen Candles," we see that with the darkness Burger City has come alive. A continual line of hot rods pulls into the parking lot to check out the parked cars, then returns to the maindrag. Carhops glide by on roller skates. Curt and John are fooling around in front of the deuce coupe. A horn honks and they turn as a '60 Ford with three girls in it slows by them. A girl leans out the window and smiles.</scene_description>
<character>GIRL</character>
<dialogue>Hi John!</dialogue>
<scene_description>The girls in the car all screech and giggle as they zoom off.</scene_description>
<character>JOHN</character>
<dialogue>Not too good, huh?</dialogue>
<character>CURT</character>
<dialogue>Why is it every girl that comes around here is ugly? Or has a boyfriend? Where is the dazzling beauty I've been searching for all my life?</dialogue>
<scene_description>John watches the procession of gleaming cars traveling through the hot night.</scene_description>
<character>JOHN</character>
<dialogue>I know what you mean. The pickin's are really gettin' slim. The whole strip is shrinking. Ah, you know, I remember about five years ago, take you a couple of hours and a tank full of gas just to make one circuit. It was really somethin.'</dialogue>
<scene_description>Suddenly, in the distance, there's a blood-curdling scream from an incredible high-performance engine. The entire drive- in stops and listens.</scene_description>
<character>CURT</character>
<dialogue>Hey, John. Someone new in town.</dialogue>
<character>JOHN</character>
<dialogue>Ahhh.</dialogue>
<character>CURT</character>
<dialogue>You gonna go after him?</dialogue>
<character>JOHN</character>
<dialogue>Hey, listen, Professor, if he can't find me, then he ain't worth racin', right?</dialogue>
<character>CURT</character>
<dialogue>The big shot!</dialogue>
<scene_description>Across the swarming parking lot, Steve sits in the front seat of his chevy with Laurie. Budda Macrae, a car hop, leans down to attach a tray to Steve's window, showing off her tight blouse.</scene_description>
<character>BUDDA</character>
<dialogue>A cherry-vanilla coke and a chocolate mountain. Anything else you want, Steve?</dialogue>
<parenthetical>(Steve shakes his head.)</parenthetical>
<dialogue>If there is you let me know now. Just honk and I'm yours.</dialogue>
<scene_description>She tucks in her blouse a little tighter, gives him a hot look and goes to get the other tray. Budda takes the other tray around the car, almost shoves it in the window where Laurie is sitting.</scene_description>
<character>BUDDA</character>
<dialogue>One fries--grab it before I drop it.</dialogue>
<scene_description>She gives Laurie an antagonistic look and goes off. Steve laughs. Laurie smiles. She's seventeen, very pretty, with big doe-eyes, and a short bobbed hairdo. She pushes up the sleeves on Steve's letterman sweater, which is sizes too large for her. His class ring glints on a chain around her neck. Laurie is sweet, the image of vulnerability, but with a practical and self-preserving mind beneath.</scene_description>
<character>STEVE</character>
<dialogue>Where was I?</dialogue>
<character>LAURIE</character>
<dialogue>Um, how you thought high school romances were goofy and we started going together just because you thought I was kinda cute and funny, but then you suddenly realized you were in love with me, it was serious... and ah... oh, you were leadin' up to somethin' kinda big.</dialogue>
<character>STEVE</character>
<dialogue>You make it sound like I'm giving dictation. Well, seriously, what I meant was, that ah... since we do care for each other so much, and since we should really consider ourselves as adults. Now, I, ah... could I have a couple of those fries?</dialogue>
<scene_description>Through the windshield of the Chevy, they see Terry run by in front of them, chasing Budda Macrae who's outdistancing him on her roller skates.</scene_description>
<character>TERRY:</character>
<dialogue>Come on, Budda. Come on...</dialogue>
<scene_description>Steve watches them go by, then looks back at Laurie.</scene_description>
<character>STEVE</character>
<dialogue>Ah, where was I?</dialogue>
<character>LAURIE</character>
<dialogue>..."consider ourselves adults"...</dialogue>
<scene_description>Laurie pretends to be interested in her french fries, but is obviously expecting something big.</scene_description>
<character>STEVE</character>
<dialogue>Right... right... anyway, I thought maybe, before I leave, we could ah... agree that... that seeing other people while I'm away can't possibly hurt, you know?</dialogue>
<scene_description>Laurie hasn't looked up but her mood has changed like a mask.</scene_description>
<character>LAURIE</character>
<dialogue>You mean dating other people?</dialogue>
<character>STEVE</character>
<dialogue>I think it would strengthen our relationship. Then we'd know for sure that we're really in love. Not that there's any doubt.</dialogue>
<scene_description>Steve smiles and then looks to her. He stops smiling. They listen to the radio for an awkward moment. Laurie struggles to hold back her tears. With obvious difficulty, she turns to him and smiles. He's expected something different and doesn't know what to do, so he smiles back.</scene_description>
<character>LAURIE</character>
<dialogue>I think you're right. I mean, we're not kids anymore, and it's silly to think that when we're three thousand miles apart we shouldn't be able to see other people and go out.</dialogue>
<scene_description>Laurie takes his ring on the chain from around her neck and puts it in her purse.</scene_description>
<character>STEVE</character>
<dialogue>Laurie, now, listen, I didn't ask for that back. I think that...</dialogue>
<character>LAURIE</character>
<dialogue>I know. I just sort of think it's juvenile now. I'll keep it at home. It's less conspicuous there.</dialogue>
<character>STEVE</character>
<dialogue>You don't want to wear it?</dialogue>
<character>LAURIE</character>
<dialogue>I didn't say that. I understand and I'm not upset. I mean, I can't expect you to be a monk or something while you're away.</dialogue>
<scene_description>Steve just looks at her and nods. The Wolfman howls an intro to "Gee" by the Crows. Outside, skooting around the drive-in after Budda, Terry is pleading with the sexy car hop as she delivers a tray to a car.</scene_description>
<character>TERRY</character>
<dialogue>...and I have a really sharp record collection. I even have "Pledging My Love" by Johnny Ace. Anyway, how can you love Nelson when he's going out with Marilyn Gator. Since he dumped on you maybe we could--</dialogue>
<character>BUDDA</character>
<dialogue>He didn't dump on me, you little dip. Hi, Steve!</dialogue>
<scene_description>Her tone changes immediately. Terry looks sour and turns around to Steve who's getting out of the chevy. Budda leaves, wiggling her butt for Steve.</scene_description>
<character>TERRY</character>
<dialogue>She's a little conceited--just playing hard to get.</dialogue>
<character>STEVE</character>
<dialogue>Listen, I came over here to talk to you about--</dialogue>
<character>TERRY</character>
<dialogue>Any time, buddy. I'm your man. Nothing I like better than chewing the rug with a pal. You talk, I'll listen. I'm all ears. Shoot.</dialogue>
<character>STEVE</character>
<dialogue>Shut up.</dialogue>
<character>TERRY</character>
<dialogue>Sure.</dialogue>
<character>STEVE</character>
<dialogue>Terry, I'm going to let you take care of my car while we're away--at least until Christmas. I'm afraid if I leave it with my--</dialogue>
<scene_description>Steve notices Terry isn't with him any more and turns. Terry is standing frozen to a spot.</scene_description>
<character>STEVE</character>
<dialogue>What's wrong?</dialogue>
<scene_description>Terry tries to talk, much like a shell-shocked war veteran. His mouth moves but only a gurgle comes out. Curt is standing by the Chevy, talking with his sister Laurie. She's still upset by what Steve said to her.</scene_description>
<character>CURT</character>
<dialogue>Hey, sis--what's wrong?</dialogue>
<character>LAURIE</character>
<dialogue>Nothing.</dialogue>
<scene_description>Meanwhile, they watch Terry as Steve explains to him about the car.</scene_description>
<character>STEVE</character>
<dialogue>Now listen, only 30 weight Castrol- R. I've written the tire pressure and stuff on a pad in the glove compartment. Are you listening?</dialogue>
<scene_description>The others are watching now as Terry shakes his head mechanically.</scene_description>
<character>CURT</character>
<dialogue>What's wrong, he's crying!</dialogue>
<scene_description>There is indeed a tear rolling down Terry's cheek.</scene_description>
<character>TERRY</character>
<dialogue>I can't... believe... it.</dialogue>
<parenthetical>(He starts toward the car and gently caresses its paint.)</parenthetical>
<dialogue>I don't know what to say. I'll... love and protect this car until death do us part.</dialogue>
<parenthetical>(He circles the car.)</parenthetical>
<dialogue>This is a superfine machine. This may even be better than Daryl Starbird's superfleck moonbird. It is better than Daryl Starbird's.</dialogue>
<scene_description>Laurie watches Terry, realizing that like the car, she'll be left behind as a fond memory. She turns and looks at Steve, who's been watching her. There's a moment between them... Budda comes by with an empty tray. Terry sees her and wipes his eyes. He walks up to her, a strange look on his face.</scene_description>
<character>TERRY</character>
<dialogue>Budda, how would you like to go to the drive-in movies with me?</dialogue>
<scene_description>The idea is so preposterous that even Budda is speechless. She looks around at others.</scene_description>
<character>BUDDA</character>
<dialogue>You've got to be kidding!</dialogue>
<character>TERRY</character>
<dialogue>Would I kid you about a thing like that? I want you to know that something has happened to me tonight that is going to change everything. I've got a new...</dialogue>
<scene_description>John walks up quietly and casually pulls down hard on the back pockets of Terry's low riding levis. There is general hysteria as Terry quickly pulls up his pants.</scene_description>
<character>TERRY</character>
<dialogue>Car!! All right, who's the wise--</dialogue>
<parenthetical>(He turns and sees John and changes his tune.)</parenthetical>
<dialogue>Oh, John--verrry funny.</dialogue>
<parenthetical>(He tries to laugh with the others.)</parenthetical>
<character>JOHN</character>
<dialogue>Hey, did she do that to you?</dialogue>
<character>STEVE</character>
<dialogue>Let's get going. It seems like we've spent most of our lives in this parking lot.</dialogue>
<character>TERRY</character>
<dialogue>Hey, Curt, let's bomb around, I wanna try out my new wheels!</dialogue>
<character>CURT</character>
<dialogue>I'd like to, Toad, but I'm going with Steve and Laurie to the hop. I'd just slow you down anyway.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, tonight things are going to be different.</dialogue>
<character>JOHN</character>
<dialogue>Hey, wait a minute, you're goin' to the Hop? The Freshman Hop?</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>JOHN</character>
<dialogue>Oh, come on, man. That place is for kids. You two just got your ass out of there. Don't go back now.</dialogue>
<character>CURT</character>
<dialogue>You ain't got no emotions?</dialogue>
<character>TERRY</character>
<dialogue>We're gonna remember all of the good times, is what we're gonna do.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, well, go.</dialogue>
<character>CURT</character>
<dialogue>Why don't you come with us?</dialogue>
<character>JOHN</character>
<dialogue>Bullshit, man!</dialogue>
<character>CURT</character>
<dialogue>Come on. For old time's sake.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, yeah... Well, listen. You go. Go ahead, Curtsy, baby. You go on over there and you remember all the good times you won't be having. I ain't goin' off to some goddamned fancy college. I'm stayin' right here. Havin' fun, as usual.</dialogue>
<scene_description>John walks angrily to his coupe, gets in and slams the door. Curt looks at the others and shrugs.</scene_description>
<character>TERRY</character>
<dialogue>Jesus, Milner, you're in a great mood tonight.</dialogue>
<scene_description>Curt goes over and stands by the window of the yellow coupe.</scene_description>
<character>CURT</character>
<dialogue>What's the matter John? Did I say somethin' wrong? I'm sorry.</dialogue>
<character>JOHN</character>
<dialogue>Ah, man, it's nothin'.</dialogue>
<character>CURT</character>
<dialogue>Well, we'll see you later, okay?</dialogue>
<character>JOHN</character>
<dialogue>Right.</dialogue>
<character>CURT</character>
<dialogue>We'll all do somethin' together. You know, before Steve leaves.</dialogue>
<scene_description>John looks at him suspiciously.</scene_description>
<character>JOHN</character>
<dialogue>Okay, wait a minute. Now, you're not going?</dialogue>
<character>CURT</character>
<dialogue>I don't know.</dialogue>
<scene_description>John shakes his head. On the radio, Wolfman is taking a call from a listener--</scene_description>
<character>MAN (V.O.)</character>
<dialogue>Wolfman?</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>Who is this?</dialogue>
<character>MAN</character>
<dialogue>This is Joe... in Little Rock, way down in the Valley.</dialogue>
<character>WOLFMAN</character>
<dialogue>You callin' from Little Rock, California?</dialogue>
<character>MAN</character>
<dialogue>Long distance.</dialogue>
<character>WOLFMAN</character>
<dialogue>My, my, my... listen, man, what kind of entertainment you got in that town?</dialogue>
<character>MAN</character>
<dialogue>All we got is you.</dialogue>
<scene_description>John roars his engine and pulls the yellow deuce coupe into a screeching take-off out of the drive-in. Terry and Curt watch him go off. MAIN STREET, MODESTO-NIGHT During the day, G street is a line of used car lots, small shops, tacky department stores and greasy spoons. At night, it is transformed into an endless parade of kids in flamed, lowered and customed machines who rumble down the one way street, through the seemingly adultless, heat-drugged little town. Police cars glide ominously with the flow of traffic. In parked cars, couples neck between flashing headlights. Guys looking cool in a '56 Chevy sit in the slouched position of the true Low Rider--and over it all the music and the Wolfman can be heard. Just now, it's "Runaway" by Del Shannon. John travels with the flow of traffic, watching some dopey guys shooting squirt guns from a moving car. John drives the deuce coupe effortlessly. He looks over at a car pacing alongside of his own.</scene_description>
<character>JOHN</character>
<dialogue>Hey, Zudo.</dialogue>
<scene_description>A sweaty looking guy turns and nods from the window.</scene_description>
<character>PAZUDO</character>
<dialogue>Hey, Milner.</dialogue>
<character>JOHN</character>
<dialogue>Hey, man, what happened to your flathead?</dialogue>
<character>PAZUDO</character>
<dialogue>Huh?</dialogue>
<character>JOHN</character>
<dialogue>What happened to your flathead?</dialogue>
<character>PAZUDO</character>
<dialogue>Ah, your mother!</dialogue>
<character>JOHN</character>
<dialogue>What?</dialogue>
<character>PAZUDO</character>
<dialogue>Your mother. Hey, we been talkin' about you.</dialogue>
<character>JOHN</character>
<dialogue>Yeah?</dialogue>
<character>PAZUDO</character>
<dialogue>Yeah. There's a very wicked '55 Chevy lookin' for you.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, I know.</dialogue>
<character>PAZUDO</character>
<dialogue>Watch out for the cop that's in Jerry's Cherry.</dialogue>
<character>JOHN</character>
<dialogue>Yeah. All right, thanks.</dialogue>
<scene_description>John nods and the two cars pull apart down the street. TRAVELING G STREET-STEVE'S WHITE '58 CHEVY The Rock and Roll blares as Terry the Toad cruises along the main drag, singing along with the music. Sitting low in his seat, he looks around, his face aglow, experiencing a new world from the inside of a really fine car. This is the greatest thing that has happened to Terry in seventeen long years of being a short loser. Terry turns a corner and another car pulls alongside. A guy looks out the window.</scene_description>
<character>GUY</character>
<dialogue>Hey, Toad.</dialogue>
<scene_description>Terry looks over and smiles coolly, proud of his new wheels.</scene_description>
<character>GUY</character>
<parenthetical>(leaning out the window)</parenthetical>
<dialogue>Is that you in that beautiful car?</dialogue>
<parenthetical>(Terry nods modestly)</parenthetical>
<dialogue>Geez, what a waste of machinery.</dialogue>
<scene_description>Terry's smile changes to a scowl as the car pulls away from him.. Terry accounts the slight to jealousy. Then he forgets it and enjoys driving the beautiful Chevy again. Another car pulls alongside of him as he cruises along slowly.</scene_description>
<character>GIRL</character>
<dialogue>Hey, kid.</dialogue>
<scene_description>Terry looks over at the car cruising next to him. In the back seat, a guy has dropped his trousers and is pushing his bare buttocks against the side window--a classic BA complete with pressed ham. Terry looks away, wondering why this is still happening to him, even in his new car. TRAVELING G STREET-LAURIE'S '58 EDSEL Curt is in the back seat gazing out the window at the dark main street of the small farm community. Steve and Laurie are talking quietly in the front seat. Laurie is sitting near the window and it sounds like Steve is convincing her to move over. Laurie finally does. His arm goes around her and her head rests on his shoulder. Curt is laughing as the Wolfman harasses someone on the radio. The Wolfman is placing a call.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Here we go with another call out of the station. Can you dig it? Answer the phone, dummy.</dialogue>
<character>MAN (V.O.)</character>
<dialogue>Pinkie's Pizza</dialogue>
<character>WOLFMAN</character>
<dialogue>Ah, yeah, listen, you got any more of those secret agent spy-scopes?</dialogue>
<character>MAN</character>
<dialogue>Hit parade on the stethoscope?</dialogue>
<character>WOLFMAN</character>
<dialogue>No. No, the secret agent spy-scope, man. That pulls in the moon, the sky and the planets... and the satellites and the little bitty space men.</dialogue>
<character>MAN</character>
<dialogue>You must have the wrong number, partner.</dialogue>
<character>WOLFMAN</character>
<dialogue>'Bye.</dialogue>
<scene_description>Wolfman cuts into "Why Do Fools Fall in Love." Curt is laughing in the back of the car, as he listens to the ever- present D.J. Steve slows the Edsel to a stop at the next light. Curt glances over at a classic white '56 Thunderbird and sits up. In the T-bird, a girl watches him. Blonde, beautiful, her hair, backlit by a used car lot, seems to glow, making her look almost ethereal. Curt doesn't move, as if afraid of scaring her away. She smiles faintly---then says something, so softly it's lost...</scene_description>
<character>CURT</character>
<dialogue>What?</dialogue>
<scene_description>Curt struggles to lower his window. She repeats it, but he can't hear. The light changes. She smiles once more and is gone.</scene_description>
<character>CURT</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>What? What?!!!</dialogue>
<character>STEVE</character>
<dialogue>We didn't say anything.</dialogue>
<character>CURT</character>
<dialogue>Quick! Hang a right!</dialogue>
<character>STEVE</character>
<dialogue>What? Why?</dialogue>
<character>CURT</character>
<dialogue>Cut over to G Street, I've just seen a vision! She was a goddess. You've got to catch her!</dialogue>
<character>STEVE</character>
<dialogue>I didn't see anything.</dialogue>
<character>LAURIE</character>
<dialogue>We're not going to spend the night chasing girls for you.</dialogue>
<character>CURT</character>
<dialogue>I'm telling you, this was the most perfect, dazzling creature I've ever seen.</dialogue>
<character>STEVE</character>
<dialogue>She's gone. Forget it.</dialogue>
<character>CURT</character>
<dialogue>She spoke to me. She spoke to me, right through the window. I think she said, "I love you."</dialogue>
<scene_description>Curt looks at his sister and Steve in the front seat. They are bored by his romantic visions.</scene_description>
<character>CURT</character>
<dialogue>That means nothing to you people? You have no romance, no soul? She-- someone wants me. Someone roaming the streets wants me! Will you turn the corner?</dialogue>
<scene_description>Laurie looks around at him and seems to pity his flights of poetic fantasy. Curt sits back and shakes his head. PARKING LOT Big John sits in his deuce coupe, backed into the parking lot of the Acme Fall-out Shelter Co., the prime spot in town for girl watching. A guy in wrap-around dark glasses leans by the car next to John. They watch a group of laughing girls cruise by in a Studebaker.</scene_description>
<character>JOHN</character>
<dialogue>Oh, oh. Later.</dialogue>
<character>GUY</character>
<dialogue>Alligator.</dialogue>
<scene_description>John turns on his lights and swings the deuce coupe out into the flow of traffic, after the Studebaker. John accelerates and pulls alongside the Studebaker. The girl in the front seat rolls down her window. John grins and yells over at the carload of cuties.</scene_description>
<character>JOHN</character>
<dialogue>Hey, you're new around here. Where're you from?</dialogue>
<character>FIRST GIRL</character>
<dialogue>Turlock.</dialogue>
<character>JOHN</character>
<dialogue>Turlock? You know a guy named Frank Bartlett?</dialogue>
<character>FIRST GIRL</character>
<dialogue>No. Does he go to Turlock High?</dialogue>
<character>JOHN</character>
<dialogue>Well, he used to. He goes to J.C. now.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Do you go to J.C.?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, sure.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Oh, wow! Do you know Guy Phillips?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, sure. I got him in a class.</dialogue>
<character>FIRST GIRL</character>
<dialogue>He's so boss.</dialogue>
<character>JOHN</character>
<dialogue>How would you like to ride around with me for awhile?</dialogue>
<character>FIRST GIRL</character>
<dialogue>I'm sorry, I can't. I'm going steady.</dialogue>
<character>JOHN</character>
<dialogue>Ah, come on!</dialogue>
<character>FIRST GIRL</character>
<dialogue>I just can't.</dialogue>
<character>JOHN</character>
<dialogue>You're just ridin' around with a bunch of girls. Hey, how about somebody else in there? Anybody else want to go for a ride?</dialogue>
<scene_description>The girls chatter and giggle among themselves. One of the girls dangles a bra out the back window, and they all break into hysterical laughter. The girls try to accelerate ahead, but John stays alongside their car.</scene_description>
<character>JOHN</character>
<dialogue>Aw, come on... I got plenty of room. It's dangerous to have that many people in a car. Cops see ya, you're had. You got nothing to fear, I'm as harmless as a baby kitten.</dialogue>
<scene_description>A small voice rises above the chatter.</scene_description>
<character>CAROL</character>
<dialogue>I'll go. I'll go.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Judy's sister wants to ride with you. Is that all right?</dialogue>
<character>JOHN</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Yeah, sure, Judy--her sister--her mother--anybody. I'll take 'em all. Listen, we'll go up and stop at that light. It'll turn red by the time we get there. All right?</dialogue>
<scene_description>The first girl grins and nods. John winks at her.</scene_description>
<character>JOHN</character>
<dialogue>You ever get tired of going steady with somebody that ain't around--I'm up for grabs.</dialogue>
<scene_description>The cars stop at the light. A girl rushes out from the Studey and runs around the back of John's coupe. She opens the door and climbs in fast as the light changes. The Studebaker pulls off fast. John pushes through the gears and turns and smiles at his pick-up, as "That'll Be the Day" plays on the Wolfman Jack Show.</scene_description>
<character>JOHN</character>
<dialogue>So, you're Judy's little sister.</dialogue>
<scene_description>Carol Morrison shakes her head. She is thirteen years old, very cute--wearing blue jeans, sneakers and a "Dewey Webber Surf Board" T-shirt which hangs to her knees. John seems slightly panicked.</scene_description>
<character>JOHN</character>
<dialogue>Ah, shit,--how old are you?</dialogue>
<character>CAROL</character>
<dialogue>Old enough. How old are you?</dialogue>
<character>JOHN</character>
<dialogue>I'm too old for you.</dialogue>
<character>CAROL</character>
<dialogue>You can't be that old.</dialogue>
<character>JOHN</character>
<dialogue>Listen, listen. I think you better go back and sit with your sister. Hey, ah... where are they, anyway? They comin' back or somethin'? This is a joke, right? This better be a joke, 'cause I'm not drivin' you around.</dialogue>
<character>CAROL</character>
<dialogue>But you asked me. What's the matter? Am I too ugly?</dialogue>
<parenthetical>(on the verge of tears)</parenthetical>
<dialogue>Judy doesn't want me with her and now you don't want me with you. Nobody wants me... even my mother and father hate me. Everybody hates me.</dialogue>
<character>JOHN</character>
<dialogue>No they don't. I mean, I don't know, maybe they do. But I don't. It's just that you're a little young for me.</dialogue>
<character>CAROL</character>
<dialogue>I am not! If you throw me out I'll scream.</dialogue>
<character>JOHN</character>
<dialogue>OK, OK, just stay cool. There's no need to scream. We'll think of something.</dialogue>
<parenthetical>(He looks at her as she wipes her eyes.)</parenthetical>
<dialogue>It shouldn't take too long to find your sister again.</dialogue>
<scene_description>Suddenly, a car horn honks next to them. John looks over at the car.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Hey John--you gonna be there tonight?</dialogue>
<character>JOHN</character>
<dialogue>Oh, shit! Hey, get down!</dialogue>
<scene_description>John grabs Carol by the neck and pushes her head down onto his lap so she can't be seen. John casually waves to the friend in the car cruising alongside.</scene_description>
<character>JOHN</character>
<dialogue>Hey, cool...</dialogue>
<scene_description>Carol's head is being held down on his lap. She looks up at him.</scene_description>
<character>CAROL</character>
<dialogue>Hey, is this what they call copping a feel?</dialogue>
<scene_description>John jumps, and immediately lets go of her as if burned.</scene_description>
<character>JOHN</character>
<dialogue>NO! Uh uh. N-O. Don't even say that. Jesus...</dialogue>
<scene_description>John is beginning to sweat now.</scene_description>
<character>CAROL</character>
<dialogue>What's your name?</dialogue>
<character>JOHN</character>
<dialogue>Mud, if anybody sees you.</dialogue>
<scene_description>CRUISING G STREET-STEVE'S '58 CHEVY Terry continues to cruise the main drag, slouched low and looking cool in his newly acquired machine. He adjusts his waterfall curl as the Wolfman dedicates a list of songs. He passes a group of guys bullshitting around the raised hood of a souped-up parked car. Terry cruises alongside two girls in a Ford. He revs the engine to get their attention and once he has it he motions to roll down their window. They flip him the bird instead and he lets them pass. Terry pulls up to a stop light. The car next to him is a '56 Ford--a good opponent and besides, the kid driving looks younger than Terry.</scene_description>
<character>TERRY</character>
<dialogue>What you got in there, kid?</dialogue>
<character>KID</character>
<dialogue>More than you can handle.</dialogue>
<scene_description>Terry revs his engine. So does the Ford. The tension mounts. The green arrow for the left turn lane flashes on, the car on Terry's other side moves off, and before he can control his reflexes, Terry, too, has shot into the intersection while the light remains red! Terry quickly shifts and returns to the starting position. The other driver is grinning. Terry is flustered and embarrassed. Terry revs the Chevy a couple more times, concentration intently this time on the right light. Green!... The Ford bolts into the intersection. Terry likewise floors the gas pedal and goes crashing backwards into a large Buick. Terry is stunned for a moment, then realizes he forgot to shift into first. He fumbles to get the car into first gear. A distinguished looking man comes up to his window after inspecting the damage. Terry tries to escape, but in his panic the engine dies. He struggles to start it.</scene_description>
<character>OLDER MAN</character>
<dialogue>Excuse me, but I think we've had an accident.</dialogue>
<character>TERRY</character>
<dialogue>Well, goddamnit, I won't report you this time, but next time just watch it, will ya?</dialogue>
<scene_description>Terry roars off in a cloud of indignant smoke, leaving the gentleman standing in the street looking dismayed. The cars behind him begin to honk their horns and shout crudities. USED CAR LOT Terry pulls up in front of a used car lot and jumps out to inspect the damage to Steve's Chevy. He rubs a small scratch on the back fender, but it won't disappear. As he spits on it, a slick, baggy-suited car salesman ambles up.</scene_description>
<character>SALESMAN</character>
<dialogue>I'll give you $525 for her on a practically new Corvette... and on top of this, I'm going to know 10% off the low price of this beautiful Vette. I'm talking about only $98 down and $98 a month. Now, how am I able to make you this incredible offer? I'll tell you! I'm forced to move all the sporty cars off the lot as quickly as I can. Boss's orders. He doesn't want 'em. I think it's a mistake, but what can I do?</dialogue>
<scene_description>Terry begins to get worried as the salesman begins to fondle his new Chevy. He becomes frightened as the salesman attempts to drag him over to one of the 'Vettes. Finally Terry breaks away and jumps back into his car and the salesman continues to rave on as Terry drives away. HIGH SCHOOL GYM--"AT THE HOP" Herbie and the Heartbeats, wearing their matching red blazers, rock into a raunchy rendition of their masterpiece--</scene_description>
<character>HERBIE AND THE HEARTBEATS</character>
<dialogue>One, two, three, four-- one, two three, four-- BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... BAH... At the hop!!</dialogue>
<scene_description>Pulling back from the bandstand, we see the Dewey High School gym--the basketball nets swung back and draped with crepe, the lights half-low, the noise high, and the waxed floor being polished and pounded by stockinged feet as a seething mob of adolescents join in that ancient rite--The Hop. A hundred of them are dancing and swaying while the band gyrates on a raised platform. Kids on wooden bleachers watch the whirling and spinning mass of ponytails and ducktails, button-down shirts and mid calf skirts, cardigan sweaters with little belts in the back. THE GIRLS' LAVATORY Laurie stands in front of a mirror in a line of other girls. She brushes her hair, staring rather despondently at herself in the mirror. The girl next to her is Peg Fuller, a cute cheerleader.</scene_description>
<character>PEG</character>
<dialogue>Hey, why are you so depressed? You'll forget him in a week. Listen, after you're elected senior queen you'll have so many boys after your bod--</dialogue>
<character>LAURIE</character>
<dialogue>I don't want to go out with anybody else.</dialogue>
<character>PEG</character>
<dialogue>Laurie, I know it's a drag but you can't--remember what happened to Evelyn Chelnick? When Mike went to the Marines? She had a nervous breakdown and was acting so wacky she got run over by a bus.</dialogue>
<character>LAURIE</character>
<dialogue>I just wish I could go with him or something.</dialogue>
<character>PEG</character>
<dialogue>Laurie, jeez... Come on.</dialogue>
<scene_description>BOY'S LAVATORY We move down a row of sinks at which guys are working as intently on their coiffures as the girls. Ducktails being smoothed; glassy waterfalls being primped; the fronts of crew cuts being waxed to stand stiff. Steve stands looking at himself, then glances at Eddie Quentin standing next to him, dabbing something on his face.</scene_description>
<character>STEVE</character>
<dialogue>What's that?</dialogue>
<scene_description>Eddie jerks his hand down and hides something.</scene_description>
<character>EDDIE</character>
<dialogue>What's what?</dialogue>
<scene_description>Steve turns and pulls Eddie's hand up.</scene_description>
<character>STEVE</character>
<dialogue>Hey, zit make-up!</dialogue>
<parenthetical>(laughing)</parenthetical>
<dialogue>Wait till I tell--hey, everybody, Eddie--</dialogue>
<character>EDDIE</character>
<dialogue>Come on, Steve--don't. Just cool it.</dialogue>
<scene_description>He takes his pimple cream back and Steve continues to laugh. He stops slowly and looks at himself again in the mirror. He finds something on his neck, looks around at Eddie.</scene_description>
<character>STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Let me see some of that stuff.</dialogue>
<scene_description>Eddie gives him the tube and Steve dabs it on his neck.</scene_description>
<character>EDDIE</character>
<dialogue>You leave tomorrow?</dialogue>
<scene_description>Steve nods.</scene_description>
<character>EDDIE</character>
<dialogue>You and Laurie engaged yet?</dialogue>
<character>STEVE</character>
<dialogue>No, but we got it worked out. We're still going together but we can date other people.</dialogue>
<character>EDDIE</character>
<dialogue>And screw around--I hear college girls really give out.</dialogue>
<scene_description>Suddenly a voice shouts "One-two--" they turn to see a guy at every toilet hit the flusher on "Three," sending a torrent of water down the pipes. Suddenly, there's a rumbling noise as the pipes break and water gushes over the floor. Panic! Everybody crashes for the doors, laughing and shoving each other. HIGH SCHOOL GYM The guys tumble out the lavatory door and abruptly cool it as a dumb-looking paunchy teacher stops and looks them over, rocking on his heels. They escape quietly. Steve and Eddie meet Laurie coming out of the girls' lavatory with Peg. They're watching the dancers as Hervie and his band moan through a slow number--"She's So Fine."</scene_description>
<character>STEVE</character>
<dialogue>Come on.</dialogue>
<character>LAURIE</character>
<dialogue>Come on what?</dialogue>
<character>STEVE</character>
<dialogue>Let's dance.</dialogue>
<character>LAURIE</character>
<dialogue>No thanks.</dialogue>
<character>STEVE</character>
<dialogue>Laurie, I want to dance.</dialogue>
<character>LAURIE</character>
<dialogue>Who's stopping you?</dialogue>
<scene_description>Eddie and Peg are listening and watching. Steve smiles at them like everything's okay. He glares at Laurie.</scene_description>
<character>STEVE</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Laurie, I thought since this was our last night together for 3 months, you might want to dance with me.</dialogue>
<character>LAURIE</character>
<dialogue>How sentimental. You'll be back at Christmas.</dialogue>
<character>STEVE</character>
<dialogue>I want to dance now, not at Christmas.</dialogue>
<scene_description>He takes her arm, which she pulls away.</scene_description>
<character>LAURIE</character>
<dialogue>Get your cooties off me--</dialogue>
<scene_description>Eddie and Peg are watching with great interest. Steve smiles at them again. Then he leans down and whispers something to Laurie.</scene_description>
<character>LAURIE</character>
<dialogue>Go ahead, slug me, scar my face. I wouldn't dance with you if you were the last guy left in this gym.</dialogue>
<character>EDDIE</character>
<dialogue>Uh, Peg, I think we should dance.</dialogue>
<character>PEG</character>
<dialogue>No, this is getting good.</dialogue>
<character>LAURIE</character>
<dialogue>I'll dance with you, Eddie. You don't mind, do you, Peggy?</dialogue>
<scene_description>She takes Eddie by the hand and leaves Steve fuming with Peg.</scene_description>
<character>PEG</character>
<dialogue>Joe College strikes out.</dialogue>
<scene_description>Steve gives her a snide look, then watches Laurie and Eddie laughing, as they join in The Stroll. The whole gym is Strolling in unison, like some strange musical military formation. HIGH SCHOOL HALLWAY The Stroll music floats from the gym down the empty hall. Curt walks along with his hands in his pockets. One last trip down the grey, locker-lined corridor. He slows and stops by locker 2127. He smiles a little, then flips the dial of the lock. Once to the right--back to the left--then to the right again. Curt hits the handle. It doesn't open. Changed already. He shrugs and goes off down the hallway. HIGH SCHOOL GYM Curt walks in the background, behind the line of kids clapping as one couple Strolls down between them. Then Curt hears somebody call him.</scene_description>
<character>MR. WOLFE (O.S.)</character>
<dialogue>Hey--Curtis!</dialogue>
<scene_description>Curt wanders over toward a young teacher, Mr. Wolfe, who is surrounded by a group of admiring (and grade-seeking) girls. Mr. Wolfe wears ivy league clothes and is about twenty-five, not much older than his students.</scene_description>
<character>MR. WOLFE</character>
<dialogue>Curtis, come here. Help me, will you? I'm surrounded.</dialogue>
<character>GIRL</character>
<dialogue>You won't dance? Come on.</dialogue>
<character>MR. WOLFE</character>
<dialogue>No, really, I'd like to, but I can't. I mean, if old Mr. Simpson came in here and saw me dancing with one of you sexy little--excuse me... one of you young ladies, he'd have my rear end.</dialogue>
<character>GIRLS</character>
<dialogue>Aahhh.</dialogue>
<scene_description>The all giggle. Mr. Wolfe shrugs at Curt and heads for a door. Curt follows him and they escape from the girls into the night. OUTSIDE THE GYM Curt and Mr. Wolfe come out of the gym. Mr. Wolfe sees a couple of guys skulking around in the shadows smoking cigarettes and laughing. The music has changed to "See You in September."</scene_description>
<character>MR. WOLFE</character>
<dialogue>Hey, Warren. Come on, gentlemen, back inside. Put 'em out. Let's go.</dialogue>
<character>CURT</character>
<parenthetical>(grinning as he pulls out a pack of cigarettes)</parenthetical>
<dialogue>Kids... Want one?</dialogue>
<character>MR. WOLFE</character>
<parenthetical>(taking one from the pack)</parenthetical>
<dialogue>All right. Hey, I thought you'd left.</dialogue>
<character>CURT</character>
<dialogue>No, not yet.</dialogue>
<parenthetical>(looking for matches)</parenthetical>
<dialogue>I have no matches.</dialogue>
<scene_description>Mr. Wolfe takes out a pack of matches and lights both their cigarettes. They walk down a chain-link fence, past dark, venetian-blinded classrooms.</scene_description>
<character>MR. WOLFE</character>
<dialogue>Brother, how do I get stuck with dance supervision? Will you tell me that?... You going back East? Boy, I remember the day I went off. Got drunk as hell the night before. Just--</dialogue>
<character>CURT</character>
<dialogue>Blotto.</dialogue>
<character>MR. WOLFE</character>
<dialogue>Blotto. Exactly. Barfed on the train</dialogue>
<dialogue>all the next day.</dialogue>
<character>CURT</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Cute. Very cute. Where'd you go again?</dialogue>
<character>MR. WOLFE</character>
<dialogue>Middlebury. Vermont. Got a scholarship.</dialogue>
<character>CURT</character>
<dialogue>And only stayed a semester.</dialogue>
<character>MR. WOLFE</character>
<parenthetical>(smiling and nodding)</parenthetical>
<dialogue>One semester. And after all that, I came back here.</dialogue>
<character>CURT</character>
<dialogue>Why?</dialogue>
<character>MR. WOLFE</character>
<parenthetical>(shrugging)</parenthetical>
<dialogue>Decided I wasn't the competitive type. I don't know... maybe I was scared.</dialogue>
<character>CURT</character>
<dialogue>Well, you know I might find I'm not the competitive type myself.</dialogue>
<character>MR. WOLFE</character>
<dialogue>What do you mean?</dialogue>
<character>CURT</character>
<dialogue>Well, I'm not really sure that I'm going.</dialogue>
<character>MR. WOLFE</character>
<dialogue>Hey, now--don't be stupid. Go. Experience life. Have some fun, Curtis.</dialogue>
<scene_description>Then a voice calls from the shadows.</scene_description>
<character>JANE (O.S.)</character>
<dialogue>Bill?</dialogue>
<scene_description>They turn and see a girl coming out of a doorway. Mr. Wolfe looks at Jane, one of his students, but doesn't say anything.</scene_description>
<character>JANE</character>
<dialogue>I mean--Mr. Wolfe. Can I speak with you a minute.</dialogue>
<parenthetical>(She smiles at Curt.)</parenthetical>
<dialogue>Hi, Curt.</dialogue>
<character>CURT</character>
<dialogue>Jane...</dialogue>
<scene_description>He looks at Mr. Wolfe, who seems a little embarrassed. Then, Mr. Wolfe sticks out his hand.</scene_description>
<character>MR. WOLFE</character>
<dialogue>Anyway--good luck, Curtis.</dialogue>
<scene_description>Curt shakes his hand.</scene_description>
<character>CURT</character>
<dialogue>Yeah... I'll see you. Thanks a lot.</dialogue>
<scene_description>Curt walks back toward the gym. Looking around, he sees Mr. Wolfe standing in the shadows with the girl, talking intimately. Curt turns away and goes off. Before going back into the gym, Curt stops. He sees a white T-bird parked among a row of cars in the parking lot. He walks--then starts running toward the car. There's a blonde sitting in the front seat making out with some guy. Curt leans down to the window and is about to say something to his dream girl. But she turns and he sees it's not her. Her boyfriend glares at him like he's some kind of peeping Tom. Curt backs away awkwardly, trying to smile. He leaves. CRUISING MAIN STREET--'32 DEUCE COUPE The yellow Ford coupe is gliding down the street--skimming around corners gracefully as the night lights glide up its lacquered hood. Inside the car, Carol glances at John and smiles. The Wolfman is howling on the radio.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>A Wolfman exclusive for ya now. The Beach Boys, baby, a brand new group. I predict they gonna go a long way. This is called "Surfin' Safari."</dialogue>
<scene_description>Carol is continuing to jabber on, relating past adventures with her little friends. John is unimpressed.</scene_description>
<character>CAROL</character>
<dialogue>So the next night we found out where they parked and went out with ammunition.</dialogue>
<character>JOHN</character>
<dialogue>Don't you have homework or something to do?</dialogue>
<character>CAROL</character>
<dialogue>No sweat--my mother does it. Anyway, he thought he was had. He started the car and couldn't see through the windshield--and zoomed straight into the canal--it was a riot.</dialogue>
<scene_description>John smiles sarcastically.</scene_description>
<character>CAROL</character>
<dialogue>I still got some, so don't try anything.</dialogue>
<scene_description>She takes a pressurized can of shaving cream and squirts his nose. He swipes the shaving cream on his nose--swerving--A car honks.</scene_description>
<character>JOHN</character>
<dialogue>Hey, watch it will ya! Jesus Christ, thanks a lot.</dialogue>
<parenthetical>(looking at her angrily)</parenthetical>
<dialogue>Hey, drivin' is a serious business. I ain't havin' no accidents because of you.</dialogue>
<scene_description>Carol sinks into her corner of the car. She sticks her tongue out for a quick moment.</scene_description>
<character>JOHN</character>
<parenthetical>(catching her look)</parenthetical>
<dialogue>Come on, don't give me any grief. I'm warning ya.</dialogue>
<character>CAROL</character>
<dialogue>Spare me, killer.</dialogue>
<scene_description>He stares at her and she shuts up. "Surfin' Safari" is blaring on the radio and she starts twisting with the music. John turns the radio off.</scene_description>
<character>CAROL</character>
<dialogue>Why'd you do that?</dialogue>
<character>JOHN</character>
<dialogue>I don't like that surfing shit. Rock 'n Roll's been going downhill ever since Buddy Holly died.</dialogue>
<character>CAROL</character>
<dialogue>Don't you think the Beach Boys are boss!</dialogue>
<character>JOHN</character>
<dialogue>You would, you grungy little twerp.</dialogue>
<character>CAROL</character>
<dialogue>Grungy? You big weenie, if I had a boyfriend he'd pound you.</dialogue>
<character>JOHN</character>
<parenthetical>(looking in the rear- view mirror)</parenthetical>
<dialogue>Sure--ah, shit, Holstein!</dialogue>
<scene_description>She looks around, and sees a police car following them, bubble lights aglow.</scene_description>
<character>CAROL</character>
<dialogue>Good, a cop--I'm going to tell him you tried to rape me.</dialogue>
<scene_description>John pulls the car over and stops.</scene_description>
<character>JOHN</character>
<dialogue>Oh, no--No. Hey--</dialogue>
<character>CAROL</character>
<dialogue>It's past my curfew. I'm going to tell him how old I am, my parents don't know I'm out and you tried to rape me. Boy, are you up a creek.</dialogue>
<scene_description>John looks at her.</scene_description>
<character>JOHN</character>
<dialogue>Hey--ah, really--don't say anything.</dialogue>
<scene_description>She looks at him.</scene_description>
<character>CAROL</character>
<dialogue>If you say "I was a dirty bird. Carol's not grungy, she's bitchin'."</dialogue>
<scene_description>The cop is tapping at John's window. John wipes his face.</scene_description>
<character>CAROL</character>
<dialogue>Say it--I'll tell him.</dialogue>
<character>JOHN</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I was a dirty bird, Carol's not grungy, she's bitchin.'</dialogue>
<character>CAROL</character>
<dialogue>Okay--I'll think about it.</dialogue>
<scene_description>"The Great Imposter" can be heard on the passing car radios. John rolls down his window. He looks at the surly cop.</scene_description>
<character>HOLSTEIN</character>
<dialogue>Where you going, Milner?</dialogue>
<character>JOHN</character>
<dialogue>I'm going home--sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>Where you been, Milner?</dialogue>
<character>JOHN</character>
<dialogue>Ah--at the movies--sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>Milner, you weren't around the 12th and G streets at about 8:30, were you?</dialogue>
<character>JOHN</character>
<dialogue>No, I wa at the movies--like I said-- sir.</dialogue>
<scene_description>Holstein looks at him, then steps back, looks at the car. Holstein's only a couple years older than John, but the uniform separates them by light years.</scene_description>
<character>HOLSTEIN</character>
<dialogue>Uh-huh. Milner, the reason I stopped you was because the light on your license plate is out.</dialogue>
<parenthetical>(opening his ticket book)</parenthetical>
<dialogue>I'm gonna have to cite you for that. And Milner, the front end of this... this... this thing you're driving looks a little low.</dialogue>
<character>JOHN</character>
<dialogue>Oh, no sir. It's twelve and a half inches. Regulation size. Now, it's been checked several times. You can check it if you like, sir.</dialogue>
<scene_description>Holstein just glares at him and then leans in close through the window.</scene_description>
<character>HOLSTEIN</character>
<dialogue>Look, Milner.</dialogue>
<character>JOHN</character>
<dialogue>Yes, sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>You can't fool with the law.</dialogue>
<character>JOHN</character>
<dialogue>Yes, sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>We know that was you tonight. We have an excellent description of this car. I could run you in right now and I could make it stick. But I'm not gonna do that, Milner, you know why?</dialogue>
<scene_description>John shakes his head no.</scene_description>
<character>HOLSTEIN</character>
<dialogue>Because I want to catch you in the act. And when I do, I'm gonna nail you, but good. Happy Birthday, Milner.</dialogue>
<scene_description>Holstein drops the ticket through the window onto John's lap. He starts back to his patrol car. When he's out of earshot John answers.</scene_description>
<character>JOHN</character>
<dialogue>Thank you--asshole.</dialogue>
<character>CAROL</character>
<parenthetical>(looking over at him)</parenthetical>
<dialogue>You're a regular J.D.</dialogue>
<character>JOHN</character>
<dialogue>Here, file that under C.S. over there.</dialogue>
<scene_description>Carol takes the ticket and opens the glove compartment.</scene_description>
<character>CAROL</character>
<dialogue>C.S.? What's that stand for?</dialogue>
<character>JOHN</character>
<dialogue>Chicken shit--that's what it is.</dialogue>
<character>CAROL</character>
<dialogue>Oh...</dialogue>
<scene_description>She looks amazed as she adds the new ticket to a mess of similar tickets crammed in the glove compartment. The police car pulls by them. John scowls, then roars his engine and pulls back into the stream of traffic. CRUISING MAIN STREET--STEVE'S '58 CHEVY Terry is looking and feeling like he's got it made. He downshifts and slows for a red light. A very mean-looking black '55 Chevy--blown, scooped and slicked--pulls up next to him. The driver, Bob Falfa, has a gum-chewing girlfriend sitting almost on top of him. Terry challenges the '55 Chevy by revving his engine. Bob Falfa doesn't even look over. He revs his engine--which sounds like a cross between a Boeing 707 and a SuperChief. Terry can't believe it. He quits revving his engine--feeling deflated. Terry looks over at the snotty grin on Falfa's girlfriends' face.</scene_description>
<character>GIRLFRIEND</character>
<dialogue>Ain't he neat?</dialogue>
<scene_description>Terry doesn't say anything and Bob Falfa glares over at him.</scene_description>
<character>FALFA</character>
<dialogue>Hey, you know a guy around here with a piss yellow deuce coupe--supposed to be hot stuff?</dialogue>
<character>TERRY</character>
<dialogue>You mean John Milner?</dialogue>
<scene_description>Falfa nods slowly.</scene_description>
<character>TERRY</character>
<dialogue>Hey, nobody can beat him, man. He's got the fastest--</dialogue>
<character>FALFA</character>
<dialogue>I ain't nobody, dork. Right?</dialogue>
<character>TERRY</character>
<dialogue>Right...</dialogue>
<character>FALFA</character>
<dialogue>Hey, you see this Milner, you tell him I'm lookin' for him, huh? Tell him I aim to blow his ass right off</dialogue>
<dialogue>the road.</dialogue>
<character>GIRLFRIEND</character>
<parenthetical>(giving another snotty smile)</parenthetical>
<dialogue>Ain't he neat?</dialogue>
<scene_description>Terry doesn't say anything. There's another incredible scream as Falfa roars off, leaving Terry to stare through his smoke. Terry accelerates the '58 Chevy--at a prudent speed. As the radio blares "Almost Grown," Terry glides past the lighted stores slowly, taking in everything with wide eyes from his beautiful new car. Terry passes a steaming rear-end collision at an intersection where two guys and two girls are all yelling. Then, suddenly, he spots a girl--walking--alone. His mouth drops open in amazement as he slows to a crawl. Debbie, nineteen, with blonde hair, wearing a blue and white spaghetti- strap dress, strolls along the sidewalk. Terry rolls the powerful engine, but she ignores him. As he passes her, he speeds up.</scene_description>
<character>TERRY</character>
<dialogue>What a babe... what a bitchin' babe... And Wolfman Baby, she's all mine.</dialogue>
<scene_description>Terry tears around the corner and starts his approach once more. He quickly whips out his comb, touches up his hair and settles down into a comfortable slouch.</scene_description>
<character>TERRY</character>
<dialogue>Okay, honey, here I come--James Dean lives!</dialogue>
<scene_description>He hits the clutch, roars the engine a couple more times and then--disaster. Debbie passes behind some rough looking dudes on motorcycles, parked along the curb. One especially vicious biker turns and looks at Terry as he passes. Terry roars off around the block.</scene_description>
<character>TERRY</character>
<dialogue>Stay cool, honey--don't let those creeps bug you. Wolfman, please don't let those creeps bug her... please.</dialogue>
<scene_description>As Debbie passes the bikers, they hoot, holler, and make barnyard noises. From the cat calls, and Debbie's manner it seems obvious that Debbie is a girl a lot of boys have "known." She has walked clear of the bikers as Terry screeches around the corner again. He pulls up alongside her and again slows to a crawl. The pass each other for awhile, but she doesn't look over.</scene_description>
<character>TERRY</character>
<dialogue>Hi!</dialogue>
<parenthetical>(lowering his voice)</parenthetical>
<dialogue>Hello... buenos noches? Need a lift? Nice night for a walk? Do you know John Milner? Curt Henderson? Sure you wouldn't like a ride somewhere? Did anyone ever tell you that you look just like Connie Stevens?</dialogue>
<scene_description>This stops her and she turns--Terry hits the brakes and the car bounces.</scene_description>
<character>TERRY</character>
<dialogue>You do! I mean it! Just like Connie Stevens. I met her once.</dialogue>
<character>DEBBIE</character>
<dialogue>For real?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. At a Dick Clark road show.</dialogue>
<scene_description>Debbie starts slowly toward the car.</scene_description>
<character>DEBBIE</character>
<dialogue>You really think I look like her?</dialogue>
<character>TERRY</character>
<dialogue>No shit--excuse me, I mean I'm not just feeding you a line. You look like Connie Stevens. What's your name?</dialogue>
<character>DEBBIE</character>
<dialogue>Debbie. I always though I looked like Sandra Dee.</dialogue>
<character>TERRY</character>
<dialogue>Oh yeah--well, you look a lot like her too.</dialogue>
<character>DEBBIE</character>
<dialogue>This your car?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. I'm Terry the--they call me Terry the Tiger.</dialogue>
<character>DEBBIE</character>
<dialogue>It's really tough looking.</dialogue>
<character>TERRY</character>
<dialogue>What school do you go to?</dialogue>
<character>DEBBIE</character>
<dialogue>Dewey--can it lay rubber?</dialogue>
<character>TERRY</character>
<dialogue>Oh yeah, it's got a 327 Chevy mill with six Strombergs.</dialogue>
<character>DEBBIE</character>
<dialogue>Wow--bitchin' tuck and roll. I just love the feel of tuck and roll upholstery.</dialogue>
<character>TERRY</character>
<dialogue>You do?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Well, come on in--I'll let you feel it. I mean, you can touch it if you want--</dialogue>
<parenthetical>(realizing it's coming out wrong he gets nervous)</parenthetical>
<dialogue>I mean the upholstery, you know.</dialogue>
<character>DEBBIE</character>
<dialogue>Okay.</dialogue>
<scene_description>Terry is elated. He climbs out of the car and she slides in the driver's side. Terry climbs back in next to her and slams the door. She's sitting right next to him--like a real date should. Terry gets a little nervous.</scene_description>
<character>DEBBIE</character>
<dialogue>Peel out.</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>DEBBIE</character>
<dialogue>Peel out. I love it when guys peel out.</dialogue>
<scene_description>Terry nods, checks his clutch, revs the engine to a high- pitched whine and they're off-- The tires smoke, scream, the car shots off, fish-tailing, nearly hitting a parked car, straightening out... and disappears down Main Street. HIGH SCHOOL GYM--THE HOP On stage, the band is "taking five." They're looking tough for the girls while the Student Body Secretary is making announcements at the mike.</scene_description>
<character>GIRL</character>
<dialogue>--a great band and they came all the way from Stockton. Let's hear it.</dialogue>
<scene_description>There's applause as the girl continues.</scene_description>
<character>GIRL</character>
<dialogue>And we want to thank Darby Langdon, who did all these neat decorations.</dialogue>
<scene_description>There's more applause. Standing among the crowd, Steve and Laurie both look angry.</scene_description>
<character>LAURIE</character>
<dialogue>I don't care if you leave this second.</dialogue>
<character>GIRL</character>
<parenthetical>(into the mike)</parenthetical>
<dialogue>Now the next dance is gonna be a snowball and leading it off is last year's class president Steven Bolander-- and this year's head cheerleader, Laurie Henderson.</dialogue>
<scene_description>There's applause, whistles and cheers from the crowd. A blue spotlight floats over the dance floor and then lands on Steve and Laurie, who are in the midst of their argument.</scene_description>
<character>STEVE</character>
<dialogue>What's wrong with you! You're acting like a snotty--</dialogue>
<scene_description>Laurie squints into the spotlight and realizes everybody's watching them.</scene_description>
<character>LAURIE</character>
<dialogue>Oh God, come on.</dialogue>
<character>STEVE</character>
<dialogue>Come on what?</dialogue>
<character>LAURIE</character>
<parenthetical>(pulling him toward the floor)</parenthetical>
<dialogue>Oh, Steven--please, everybody's watching. Smile or something.</dialogue>
<scene_description>Steve gives a sick smile as she drags him out onto the floor. A record needle scratches and "Smoke Gets in Your Eyes" blares out as Steve and Laurie dance alone in the middle of the floor. The crowd quiets, getting a little misty about this soon-to-be separated teenage couple. For their part, Steve and Laurie are arguing, whispering in each other's ears.</scene_description>
<character>LAURIE</character>
<dialogue>You think I care if you go off. You think I'm going to crack up or something. Are you conceited!</dialogue>
<character>STEVE</character>
<dialogue>Quit--quit pinching--I don't know why I ever started taking you out in the first place.</dialogue>
<scene_description>He takes her hand from the tucked-under-the-chin position and puts it around him, in a bear-hug.</scene_description>
<character>LAURIE</character>
<dialogue>You take me out? When we first met you didn't have enough sense to take the garbage out... I asked you out,</dialogue>
<scene_description>remember?</scene_description>
<character>STEVE</character>
<dialogue>What do you mean, you asked me out!</dialogue>
<character>LAURIE</character>
<dialogue>Backwards Day--remember? If I had waited for you to ask me--even after that you didn't call me for two weeks.</dialogue>
<character>STEVE</character>
<dialogue>I was busy.</dialogue>
<character>LAURIE</character>
<dialogue>You were scared. Dave Oboler told me. Then when you did ask me out you didn't kiss me for three dates.</dialogue>
<character>STEVE</character>
<dialogue>Well--I was--</dialogue>
<character>LAURIE</character>
<dialogue>Scared--Jim Kaylor told me. I even asked my father why you hadn't kissed me.</dialogue>
<character>STEVE</character>
<dialogue>Your father--great!</dialogue>
<character>LAURIE</character>
<dialogue>He said he thought you were bright and you'd probably think of kissing me after a while.</dialogue>
<scene_description>He moans.</scene_description>
<character>LAURIE</character>
<dialogue>You didn't, of course. I had to. Remember that picnic?</dialogue>
<character>STEVE</character>
<dialogue>Out at the canyon?</dialogue>
<character>LAURIE</character>
<dialogue>Oh boy! You can't remember anything-- the first one, up at the lake. That was the first time you kissed me--I practically had to throw myself at you.</dialogue>
<character>STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I remember.</dialogue>
<scene_description>They continue to dance slowly. Laurie starts to cry, hating herself for it. Steve loosens a minute and looks at her.</scene_description>
<character>STEVE</character>
<dialogue>What's wrong?</dialogue>
<character>LAURIE</character>
<dialogue>Go to hell.</dialogue>
<scene_description>He holds her tighter and they circle the floor, all alone, the crowd watching quietly, the gym echoing with "Smoke Gets in Your Eyes." THE GYM PARKING LOT Curt is leaning against a car in the parking lot. He's looking up at the stars and listening to the music floating out from the gym.</scene_description>
<character>WENDY</character>
<dialogue>What are you doin', stealing hub caps?</dialogue>
<scene_description>A pretty, dark-haired girl, Wendy, slides up next to him and leans against the car. There's an awkward pause like that which happens often when two people who used to be close meet after things have changed.</scene_description>
<character>CURT</character>
<dialogue>Well--hey, Wendy.</dialogue>
<character>WENDY</character>
<dialogue>How've you been?</dialogue>
<character>CURT</character>
<dialogue>Fine. Great. How've you been?</dialogue>
<scene_description>A horn honks and Wendy turns to a VW that's idling nearby.</scene_description>
<character>WENDY</character>
<dialogue>I'm coming--wait a sec.</dialogue>
<parenthetical>(turning back to Curt)</parenthetical>
<dialogue>She's got her car. Hey, I thought you were going away to school.</dialogue>
<character>CURT</character>
<dialogue>Ah, maybe... maybe.</dialogue>
<character>WENDY</character>
<dialogue>Same old Curt. All the time we were going together you never knew what you were doing... well, anyway, I gotta go.</dialogue>
<character>CURT</character>
<dialogue>Hey, Wendy--where are you going?</dialogue>
<character>WENDY</character>
<dialogue>Nowhere.</dialogue>
<character>CURT</character>
<parenthetical>(smiling at her)</parenthetical>
<dialogue>Well, you mind if I come along?</dialogue>
<character>WENDY</character>
<parenthetical>(affectionately)</parenthetical>
<dialogue>Okay.</dialogue>
<character>CURT</character>
<dialogue>Okay.</dialogue>
<scene_description>They go off toward the VW and climb in. BACK INSIDE THE GYM The hop is almost over and the lights have been lowered, conservatively. Steve and Laurie hold each other, hardly moving and he kisses her. Still kissing, they continue to circle slowly--until a short, totally bald teacher comes and pokes Steve in the side.</scene_description>
<character>MR. KROOT</character>
<dialogue>All right, Bolander, break it up. You know the rules. You and your panting girlfriend want to do that you'll have to go someplace else.</dialogue>
<scene_description>He gives them a disgusted look and starts off.</scene_description>
<character>STEVE</character>
<dialogue>Hey, Kroot!</dialogue>
<scene_description>The teacher turns, surprised by the omission of "Mr."</scene_description>
<character>STEVE</character>
<dialogue>Why don't you go kiss a duck.</dialogue>
<scene_description>Kroot's beady eyes widen and he comes back.</scene_description>
<character>KROOT</character>
<dialogue>What? What did you say?</dialogue>
<character>STEVE</character>
<dialogue>I said go kiss a duck, marblehead.</dialogue>
<scene_description>Kroot is stunned and people have stopped dancing to watch</scene_description>
<character>MR. KROOT</character>
<dialogue>Bolander--you're suspended. You're-- don't even come Monday. You are out!</dialogue>
<character>STEVE</character>
<parenthetical>(smiling broadly)</parenthetical>
<dialogue>I graduated last semester.</dialogue>
<scene_description>Suddenly everything has changed. Mr. Kroot is furious, but unable to do anything. He finally storms off in a huff. Steve, Laurie and the people watching all laugh.</scene_description>
<character>STEVE</character>
<parenthetical>(to Laurie)</parenthetical>
<dialogue>Get your shoes. Let's go before we get thrown out.</dialogue>
<scene_description>THE GYM PARKING LOT Steve and Laurie walk toward her Edsel. In the background Wolfman Jack is taking a phone call from someone.</scene_description>
<character>MAN (V.O.)</character>
<dialogue>Hello, Wolfman.</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>Who's this?</dialogue>
<character>MAN</character>
<dialogue>This is Weird Willard.</dialogue>
<character>WOLFMAN</character>
<dialogue>Hold on a minute, let me get my pants off... you understand?</dialogue>
<scene_description>Steve opens the door to the car and then turns Laurie and kisses her.</scene_description>
<character>STEVE</character>
<dialogue>Why don't we go to the canal?</dialogue>
<character>LAURIE</character>
<parenthetical>(teasing)</parenthetical>
<dialogue>What for?</dialogue>
<character>STEVE</character>
<dialogue>Listen, I can get tough with you too, you know.</dialogue>
<character>LAURIE</character>
<dialogue>Yeah, hard tough.</dialogue>
<scene_description>She kisses him and they get into the car. As they pull out, the Wolfman continues his conversation on the radio.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>I got 'em down around my knees, man. Wear these tight pants. I can't get 'em... All right, I'm gonna do my little dance now, man.</dialogue>
<scene_description>And the Wolfman goes into an insane rain-dance rhythm as we hear "Little Darlin'" CRUISING MAIN STREET--STEVE'S '58 CHEVY Terry not only looks cool now, but is cool, singing with the radio, a girl beside him. Hot stuff. Terry ever so slowly tries to put his arm around her, but by the time he manages it, he has to shift. They drive by some kids having a car-to-car water pistol war.</scene_description>
<character>TERRY</character>
<dialogue>I go to Dewey too, ya know.</dialogue>
<character>DEBBIE</character>
<dialogue>I never seen ya.</dialogue>
<character>TERRY</character>
<dialogue>I bug out a lot. When I graduate,</dialogue>
<dialogue>I'm going to join the Marines.</dialogue>
<character>DEBBIE</character>
<dialogue>They got the best uniforms. But what if there's a war?</dialogue>
<character>TERRY</character>
<dialogue>With the bomb, who's going to start it? We'd all blow up together. Anyway, I'd rather be at the front. I'm like that--rather be where the action is, you know. Once I got in a fight with--</dialogue>
<character>DEBBIE</character>
<dialogue>I love Eddie Burns.</dialogue>
<scene_description>Terry stops, trying to figure out where their conversation went.</scene_description>
<character>TERRY</character>
<dialogue>Eddie Burns--oh, yeah, Eddie Burns. I met him once, too.</dialogue>
<character>DEBBIE</character>
<dialogue>You really think I look like Connie Stevens? I like her--Tuesday Weld is too much of a beatnik, don't you think?</dialogue>
<character>TERRY</character>
<dialogue>Yeah, beatniks are losers.</dialogue>
<character>DEBBIE</character>
<dialogue>Who do you like? I mean, singers and stuff.</dialogue>
<scene_description>Terry slowly maneuvers his arm around her.</scene_description>
<character>TERRY</character>
<dialogue>Ah hell--I like most of the people you like.</dialogue>
<character>DEBBIE</character>
<parenthetical>(putting her head on his shoulder)</parenthetical>
<dialogue>That's nice--we got a lot in common.</dialogue>
<scene_description>Both of them start singing with the radio. Suddenly she puts her hand on his leg.</scene_description>
<character>DEBBIE</character>
<dialogue>You know what I'd like more than anything in the world right now?</dialogue>
<scene_description>Terry almost does a comic strip "Gulp!"</scene_description>
<character>DEBBIE</character>
<dialogue>I'd love a double Chubby Chuck. Isn't that what you'd like more than anything right now?</dialogue>
<character>TERRY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Sure...</dialogue>
<scene_description>MEL'S DRIVE-IN The endless chrome-flashing parade continues. Among the lines of fine cars, Terry is parked in the '58 Chevy next to an order speaker on a metal pole. Terry leans out the car window and orders into the intercom.</scene_description>
<character>TERRY</character>
<dialogue>A double Chubby Chuck, a Mexicali Chili Barb, two orders of French fries--</dialogue>
<character>DEBBIE</character>
<dialogue>And cherry cokes.</dialogue>
<scene_description>The intercom clicks on and a garbled voice squawks back at him.</scene_description>
<character>INTERCOM</character>
<dialogue>Ark, wark, dork.</dialogue>
<character>TERRY</character>
<parenthetical>(pushing the button)</parenthetical>
<dialogue>Now wait a minute. What? Huh?</dialogue>
<character>INTERCOM</character>
<dialogue>Ark, wark, dork.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, right. Cool.</dialogue>
<scene_description>As they wait for their order, several guys in various passing cars yell sleazy greetings to Debbie. Suddenly, a rough- looking face, belonging to Vic Lozier, pops in her window.</scene_description>
<character>VIC</character>
<dialogue>Hey, Deb. How's my soft baby?</dialogue>
<character>DEBBIE</character>
<dialogue>Beat it, Vic. I'm not your baby.</dialogue>
<scene_description>Terry nervously pretends not to hear.</scene_description>
<character>VIC</character>
<dialogue>Oh, come on, honey. So I never called you back. I've been, you know, busy...</dialogue>
<character>DEBBIE</character>
<dialogue>Three weeks... besides, it only took one night for me to realize that if brains were dynamite, you couldn't blow your nose.</dialogue>
<character>VIC</character>
<dialogue>Look who's talking. Who's the wimp you're hanging out with now? Einstein?</dialogue>
<character>DEBBIE</character>
<dialogue>Tiger happens to be very intelligent. Unlike you. I know every thing your dirty little mind is thinking...</dialogue>
<parenthetical>(She looks out the window, down at Vic's pants)</parenthetical>
<dialogue>...it shows...</dialogue>
<character>TERRY</character>
<dialogue>Hey, now--</dialogue>
<parenthetical>(his voice cracks)</parenthetical>
<dialogue>I mean, hey now, buddy, the lady obviously doesn't--</dialogue>
<character>VIC</character>
<dialogue>Look, creep, you want a knuckle sandwich?</dialogue>
<character>TERRY</character>
<dialogue>Ah, no thanks, I'm waiting for a double Chubby--Chuck...</dialogue>
<character>VIC</character>
<dialogue>Then shut your smart ass mouth! I'll call ya, Deb, some night when I'm hard up.</dialogue>
<character>DEBBIE</character>
<dialogue>I won't be home.</dialogue>
<scene_description>Vic makes a kiss-off noise. She lights a match and flicks it at him. He finally leaves.</scene_description>
<character>TERRY</character>
<dialogue>You seem to, ah--know a lot of weird guys.</dialogue>
<character>DEBBIE</character>
<dialogue>That sex fiend is not a friend of mine; he's just horny. That's why I like you, you're different.</dialogue>
<character>TERRY</character>
<dialogue>I am? You really think I'm intelligent?</dialogue>
<scene_description>She moves very close to him and whispers in his ear.</scene_description>
<character>DEBBIE</character>
<dialogue>Yeah. And I'll bet you're smart enough to get us some brew.</dialogue>
<character>TERRY</character>
<dialogue>Brew?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Brew... oh--yeah... oh, sure...</dialogue>
<parenthetical>(she kisses him)</parenthetical>
<dialogue>Yes! Liquor! This place is too crowded anyway.</dialogue>
<scene_description>Terry backs out and drives off, leaving the approaching car hop standing in an empty parking space.</scene_description>
<character>CAR HOP</character>
<dialogue>What about your double Chubby Chuck, mexicali-chili-barb and</dialogue>
<parenthetical>(looking at the tray)</parenthetical>
<dialogue>--two cherry cokes, sir?</dialogue>
<scene_description>CRUISING MAIN STREET-'57 VOLKSWAGEN We see the white T-bird ahead for just a moment, before it accelerates, passes a car and disappears, as we hear "Peppermint Twist" from the radio. In the VW, Curt is in the back, shaking the driver's seat, yelling at Bobbie. Wendy is in front next to Bobbie.</scene_description>
<character>CURT</character>
<dialogue>There--don't you see it? Speed up, you're losing her--</dialogue>
<character>BOBBIE</character>
<dialogue>Quit shouting in my ear!</dialogue>
<character>CURT</character>
<dialogue>Cut around him, cut around him.</dialogue>
<scene_description>The little VW swerves and cuts around an old dagoed Dodge, then speeds along the fast lane. Ahead, we catch a glimpse of the T-bird as it turns a corner.</scene_description>
<character>CURT</character>
<dialogue>There, hang a right--over there!</dialogue>
<scene_description>Bobbie turns, somebody honks, she hits the curb, shifting madly she mis-clutches; the beetle lugs forward; Curt falls back in the seat and Wendy looks at him.</scene_description>
<character>CURT</character>
<dialogue>You lost her!</dialogue>
<character>WENDY</character>
<dialogue>What's wrong with you? You know Bobbie gets nose bleeds when she's upset.</dialogue>
<character>BOBBIE</character>
<dialogue>I do not! You shut up!</dialogue>
<character>CURT</character>
<dialogue>Lost her again. Ah, Wendy, my old lover, come back here and console me.</dialogue>
<character>WENDY</character>
<dialogue>Eat your heart out. Who was she</dialogue>
<dialogue>anyway?</dialogue>
<character>CURT</character>
<dialogue>I don't know, but I'm going to find out.</dialogue>
<character>BOBBIE</character>
<dialogue>I know her!</dialogue>
<scene_description>There are a few moments of silence as Bobbie lets Curt sweat it out. Finally, Curt breaks.</scene_description>
<character>CURT</character>
<dialogue>Okay, come on, who is she?</dialogue>
<character>BOBBIE</character>
<dialogue>You know Mr. Beeman? He owns Hepcat Jewelers.</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>BOBBIE</character>
<dialogue>Well, she's his wife.</dialogue>
<character>CURT</character>
<dialogue>But she was young and beautiful, and cruising 10th Street. You're thinking of someone else.</dialogue>
<character>WENDY</character>
<dialogue>Mr. Beeman's not so old.</dialogue>
<character>CURT</character>
<dialogue>What cruel fate keeps me from my true love? How am I ever going to meet her?</dialogue>
<character>WENDY</character>
<parenthetical>(to Bobbie)</parenthetical>
<dialogue>Did you know that my ex is going to become a presidential aide? It's supposed to be a secret, but his big ambition in life is to shake hands with President Kennedy. How are you going to accomplish that at J.C.?</dialogue>
<character>CURT</character>
<dialogue>Maybe I've grown up. Maybe I've changed my mind.</dialogue>
<character>WENDY</character>
<dialogue>Maybe you don't think you can do it!</dialogue>
<character>CURT</character>
<dialogue>Maybe you should shut up!</dialogue>
<character>WENDY</character>
<dialogue>Maybe I will... and maybe I won't.</dialogue>
<character>CURT</character>
<dialogue>Why don't you move your bod into aft chamber, where we might discuss this in private.</dialogue>
<character>BOBBIE</character>
<parenthetical>(seeing that Wendy is considering it)</parenthetical>
<dialogue>Thanks a lot.</dialogue>
<character>CURT</character>
<dialogue>Come on, Wendy? She doesn't say anything. They pull up to a stoplight. Wendy looks at the red stoplight and then abruptly gets out of the car and jumps in the back.</dialogue>
<character>WENDY</character>
<dialogue>Well, slide over, I'm not sitting on your lap.</dialogue>
<scene_description>She gets in and the car goes off. In the back seat, Curt and Wendy are talking softly. He puts his arm around her and she makes a face, but doesn't remove it. Bobbie watches in the rear-view mirror, Curt sees her.</scene_description>
<character>CURT</character>
<dialogue>To the Opera, James.</dialogue>
<character>BOBBIE</character>
<dialogue>Drop dead.</dialogue>
<character>CURT</character>
<dialogue>Unless you want to go to Gallo Dam and have an orgy.</dialogue>
<character>WENDY</character>
<dialogue>You wish.</dialogue>
<scene_description>Curt looks at her and turns her head. He kisses her and puts his arm around her. They neck. The radio plays "Barbara Ann." The little VW flashes by in the stream of traffic. Bobbie drives, glancing in here rear-view mirror occasionally and also watching the station wagon ahead, in which two pairs of feet are dancing against the back window. Wendy pulls away from Curt's lips and looks out the window.</scene_description>
<character>WENDY</character>
<dialogue>I've been silly. I'm glad you're going to stay. Maybe we'll have some classes together.</dialogue>
<character>CURT</character>
<dialogue>Maybe.</dialogue>
<character>BOBBIE</character>
<parenthetical>(from the front seat)</parenthetical>
<dialogue>Look, there's Kip Pullman! He's so neat.</dialogue>
<scene_description>Wendy turns and leans forward, laughing. Curt watches her seriously, studying her.</scene_description>
<character>BOBBIE</character>
<dialogue>Do you know Kip?</dialogue>
<character>CURT</character>
<dialogue>Huh? Yeah, I know him.</dialogue>
<character>BOBBIE</character>
<dialogue>Talk to him when we go by.</dialogue>
<character>CURT</character>
<dialogue>What do you want me to say?</dialogue>
<character>BOBBIE</character>
<dialogue>Anything... I just want to meet him.</dialogue>
<scene_description>They pull up next to Kip's car and Curt leans forward and yells out Bobbie's window.</scene_description>
<character>CURT</character>
<dialogue>Kip, baby, what's up?</dialogue>
<character>KIP</character>
<dialogue>Henderson, long time no see. Whadaya been doing?</dialogue>
<character>CURT</character>
<dialogue>Not much, just wanted to let you know that Bobbie here is hopelessly in love with you and trembles at the sight of your rippling biceps...</dialogue>
<scene_description>Bobbie swerves the car away and turns a corner. She stops on a dime at the curb.</scene_description>
<character>BOBBIE</character>
<dialogue>You creep, fink, son-of-a-bitch--</dialogue>
<scene_description>She turns and starts flailing at Curt with her purse.</scene_description>
<character>CURT</character>
<dialogue>Help, wait! Joke--Joke--Bobbie, remember your nose bleeds!</dialogue>
<character>BOBBIE</character>
<dialogue>Get out--get out of my car--I hate you!</dialogue>
<character>CURT</character>
<dialogue>Excuse me--ouch--Wendy--I got to go now.</dialogue>
<scene_description>Wendy is laughing and Curt climbs over her out of the small car. He gets out and closes the door. Wendy changes seats and looks at him seriously.</scene_description>
<character>WENDY</character>
<dialogue>Curt, I hope I see you at</dialogue>
<dialogue>registration. Call me if you want. It was nice seeing you again.</dialogue>
<character>CURT</character>
<dialogue>See ya.</dialogue>
<scene_description>The car pulls off and Curt watches it. Suddenly, he sees something--the T-bird going the other way down the street.</scene_description>
<character>CURT</character>
<dialogue>Oh shit--there!! Wait!</dialogue>
<scene_description>The VW's gone and Curt starts after the T-bird on foot. He runs down the middle of the street, oblivious to the horns honking and the cars swerving to miss him. We move with Curt as he moves like a broken field runner through the traffic only to finally lose the girl and the Thunderbird and to slow and finally stop, standing on the white line. Cars slow down and kids rubberneck as they go by him. CRUISING G STREET--'32 YELLOW DEUCE COUPE John is driving and the Wolfman is howling on the radio while Carol is having the time of her life.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Went to a dance lookin' for romance. Found Barbara Ann... baby... Hey, this one is for all you out there watchin' the Submarine Races.</dialogue>
<scene_description>And the radio moans into "Who Wrote the Book of Love." Carol sits with her feet up against the dash. John knocks them off and she scowls at him.</scene_description>
<character>CAROL</character>
<dialogue>I'm so thirsty, I could die. Just a little 10 cent coke to wet my whistle. It won't take a minute, I can drink it in the--</dialogue>
<scene_description>John suddenly hits the brakes and Carol almost hits the floor. John reaches over and opens the door.</scene_description>
<character>JOHN</character>
<dialogue>Why don't you just get out and get one then! So long, goodbye, hasta lumbago.</dialogue>
<scene_description>She stares at him, shaken, looking sweet and helpless. He turns and looks at her. A tear rolls down her cheek slowly. John can't take it.</scene_description>
<character>JOHN</character>
<dialogue>All right, one coke and then home.</dialogue>
<scene_description>Carol is delighted. She slams the door. John takes off.</scene_description>
<character>CAROL</character>
<dialogue>Isn't it great, the way I can cry whenever I want. A lot of people can't do that, but Vicki showed me how. I bet you can't cry.</dialogue>
<character>JOHN</character>
<dialogue>Don't count on it. I may surprise you any minute now.</dialogue>
<scene_description>MEL'S DRIVE-IN John cruises around the lot until he finds a space among the rows of dazzling cars. He pulls in and leans out to hit the intercom button.</scene_description>
<character>JOHN</character>
<parenthetical>(into intercom)</parenthetical>
<dialogue>One ten cent coke. Is ice extra? All right, ice.</dialogue>
<character>CAROL</character>
<dialogue>Thanks for nothing.</dialogue>
<scene_description>She looks around, sitting up so maybe some of her friends will see her in John's neat car.</scene_description>
<character>CAROL</character>
<dialogue>Oh rats, I though some of my friends might be here.</dialogue>
<character>JOHN</character>
<dialogue>Probably a couple of weeks past their bedtime.</dialogue>
<character>CAROL</character>
<dialogue>Wait, there's Dee Dee. I hope she sees me.</dialogue>
<character>JOHN</character>
<dialogue>Oh Shit, Dee Dee!</dialogue>
<scene_description>A long line of cars coast past. Occasionally, someone yells a greeting to John. The car hop brings the coke. Then a couple, Al and Linda, come over. They lean in the window smiling--John prays they don't see Carol.</scene_description>
<character>AL</character>
<dialogue>Hiya, John. Say, do you think if I brought my Mopar by the shop Monday you could spot weld the bumper bracket?</dialogue>
<character>JOHN</character>
<dialogue>Have to be before noon.</dialogue>
<character>AL</character>
<dialogue>Sure. Hey, have you met Linda?</dialogue>
<character>JOHN</character>
<dialogue>No. Hi--ahh, this is my, ahh, cousin, Carol. I'm kinda babysitting tonight.</dialogue>
<character>CAROL</character>
<dialogue>Babysitting!!</dialogue>
<scene_description>She slugs John on the arm. John grabs her arm as she starts to swing again.</scene_description>
<character>JOHN</character>
<dialogue>Jesus--watch it, will yuh?</dialogue>
<parenthetical>(smiling at Al)</parenthetical>
<dialogue>Been hittin' me all night. Kids will be kids, you know.</dialogue>
<scene_description>She struggles to hit him and spills her coke all over the car. He pushes her rather roughly against the door.</scene_description>
<character>JOHN</character>
<dialogue>Watch out--damn it! Look what--why don't you grow up!</dialogue>
<parenthetical>(looking at Al again)</parenthetical>
<dialogue>We don't get along too well. It's been like this--</dialogue>
<character>CAROL</character>
<dialogue>You spastic creep!</dialogue>
<scene_description>She is about to really cry this time. She jumps out of the car and runs off down the street. John wipes his car out as Al and Linda watch in amazement.</scene_description>
<character>JOHN</character>
<dialogue>We don't get along too well. You know what cousins are like.</dialogue>
<character>AL</character>
<dialogue>Yeah... well, I'll see ya on Monday before noon.</dialogue>
<scene_description>John mutters profanities to himself, but his anger subsides after a few moments. He looks back in the direction Carol went. All he can see are two Hell's Angels on choppers rolling in the same direction. He looks a little concerned and starts the coupe. CRUISING MAIN STREET--'32 YELLOW DEUCE COUPE John roars along looking for her until he sees her walking angrily along the sidewalk--being followed by a Ford full of guys. John passes Carol and the Ford and pulls over and stops just ahead of them. Carol stops when she sees John. The Ford also stops and the guys call out to her. She considers the situation a moment, then runs and gets in with John. He pulls off and she grins at him happily.</scene_description>
<character>CAROL</character>
<dialogue>Hi cousin, how's your bod?</dialogue>
<scene_description>SCENIC LIQUOR STORE--STEVE'S '58 CHEVY Terry pulls into the parking lot and stops. He looks up at the flashing liquor store sign and considers his battle plan. "Maybe Baby" by Buddy Holly is playing on the radio.</scene_description>
<character>DEBBIE</character>
<dialogue>Do you have an ID?</dialogue>
<character>TERRY</character>
<dialogue>No... hey, but no sweat. What'll it be? Beer, little wine?</dialogue>
<character>DEBBIE</character>
<dialogue>If you could get some Old Harper, I'd give you a French kiss.</dialogue>
<character>TERRY</character>
<dialogue>Old Harper, rrright! He gives her an OK sign with his fingers and goes over to the store. He starts to enter, then stops and thinks. He sees a man in a business suit approaching, and smiles.</dialogue>
<character>TERRY</character>
<dialogue>Excuse me, sir, while you're in there-- I mean, since you're going in anyway, I wonder if--</dialogue>
<character>MAN</character>
<dialogue>Yes, son?</dialogue>
<character>TERRY</character>
<dialogue>Could you--sir--could you give me the time?</dialogue>
<character>MAN</character>
<parenthetical>(looking at his watch)</parenthetical>
<dialogue>Why sure, it's a quarter to twelve.</dialogue>
<character>TERRY</character>
<dialogue>Great. Quarter to twelve. Thanks a lot.</dialogue>
<scene_description>The man regards him, Terry pretends to start off until the man goes in. Terry pulls himself together as another man approaches, or rather stumbles up, being older, scruffy and, essentially, a bum.</scene_description>
<character>TERRY</character>
<dialogue>Pardon me, sir, but I lost my I.D. in--in a flood and I'd like to get some Old Harper, hard stuff. Would you mind buying a bottle for me?</dialogue>
<scene_description>The bum is still trying to focus on Terry and smiles.</scene_description>
<character>BUM</character>
<dialogue>Why certainly, I lost my wife, too-- her name wasn't Idy, though, and it wasn't in a flood--but I know what ya--</dialogue>
<character>TERRY</character>
<dialogue>Thanks, here's enough for a pint.</dialogue>
<scene_description>The old man takes the money and falls into the store. Terry watches and then waves to Debbie in the car that everything is cool. As he waits for the bum to come back out, the first man in the suit exits. Terry smiles at him again.</scene_description>
<character>TERRY</character>
<dialogue>Hi. Still quarter to twelve.</dialogue>
<character>MAN</character>
<dialogue>Right-o. Night.</dialogue>
<character>TERRY</character>
<dialogue>Night.</dialogue>
<scene_description>The man gets into the car and backs out. Terry goes over to the window of the liquor store and looks to see how the wino's doing with his booze. Terry sees the liquor store owner setting four bottles of cheap wine on the counter.</scene_description>
<character>TERRY</character>
<parenthetical>(gesturing through the window from outside)</parenthetical>
<dialogue>Hey, no. Not wine. Ssss--hey!</dialogue>
<scene_description>The owner turns and sees Terry waving. Terry ducks out of sight. When he looks back again, Terry sees the old bum is gone! Terry can't believe it. He finally enters the store. INSIDE THE LIQUOR STORE Terry tries to look very casual as he sidles up to the counter. Country-Western music hums over the liquor in hi- fi.</scene_description>
<character>TERRY</character>
<parenthetical>(smiling at the owner)</parenthetical>
<dialogue>Hi there--ah, say--was there an old man in here a minute ago?</dialogue>
<character>OWNER</character>
<dialogue>Yeah. He went out the back.</dialogue>
<scene_description>Terry is destroyed.</scene_description>
<character>OWNER</character>
<dialogue>You want something?</dialogue>
<scene_description>Terry looks at the man and the endless rows of liquor behind him.</scene_description>
<character>TERRY</character>
<dialogue>Yeah--ah--let me have a Three Musketeers, ah, and a ball point pen ther, a comp, a pint of Old Harper,</dialogue>
<dialogue>couple of flashlight batteries and some of this beef jerky.</dialogue>
<scene_description>The owner puts everything into a bag and starts to ring it up.</scene_description>
<character>OWNER</character>
<dialogue>Okay, got an I.D. for the liquor?</dialogue>
<character>TERRY</character>
<dialogue>A what? Oh, sure--</dialogue>
<parenthetical>(feeling his pockets)</parenthetical>
<dialogue>Oh nuts, I left it--I left it in the car.</dialogue>
<character>OWNER</character>
<dialogue>Sorry, you'll have to get it before--</dialogue>
<character>TERRY</character>
<dialogue>Well, I can't. I also ah, forgot the car.</dialogue>
<scene_description>The owner takes the liquor out of the bag and puts it back on the shelf. Terry stands there. The owner takes the money from him and gives him his change. OUTSIDE THE LIQUOR STORE Terry comes back to the Chevy with the bag full of junk. Debbie smiles at him excitedly and scoots over to the window.</scene_description>
<character>DEBBIE</character>
<dialogue>Hey, did ya get it? Ya get it, ya get it?</dialogue>
<scene_description>He hands her the bag.</scene_description>
<character>DEBBIE</character>
<dialogue>You got it. You got it!</dialogue>
<scene_description>She goes through the bag and finds a comb and the batteries.</scene_description>
<character>DEBBIE</character>
<dialogue>You didn't get it. Why didn't you get it?</dialogue>
<character>TERRY</character>
<dialogue>Ah, well, I needed some things and I thought as long as I was in there-- look, Debbie, can you loan me a dollar?</dialogue>
<character>DEBBIE</character>
<dialogue>What? Are you for real? Come on. Girls don't pay. Guys pay.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, well, see--I've only got a fifty and he doesn't have change.</dialogue>
<character>DEBBIE</character>
<dialogue>Well, I can't believe this... I really cannot believe this. Here.</dialogue>
<scene_description>She takes the money from a squeeze-open plastic change purse and hands it to him. Terry smiles weakly and goes back to try his luck again at the liquor store. He stops in front of the door as a young guy with numerous tattoos on his bulging arms approaches the liquor store.</scene_description>
<character>TERRY</character>
<dialogue>Hi--excuse me. I was wondering--could you, ah--</dialogue>
<character>GUY</character>
<dialogue>Buy you a bottle of booze. Yeah, I know. You lost your I.D. What kind do you want?</dialogue>
<character>TERRY</character>
<parenthetical>(amazed)</parenthetical>
<dialogue>Gee, that's terrific. Ah, just some ah--Old Harper.</dialogue>
<scene_description>He takes Terry's money and enters the store. The clerk hands the man a bottle of Old Harper. Terry waves excitedly to Debbie, lowering his pants a bit. Suddenly, there's a gunshot! Terry whirls to see the young man stuffing cash from the register into his pockets, backing away with a smoking gun. He rushes out of the store, tossing the bottle to Terry and running off into the night. Suddenly, the owner emerges from behind the counter, shooting wildly. Terry ducks and heads for the car with his pint of Old Harper. AUTO WRECKING YARD John's '32 deuce coupe crunches to a gravelly stop in front of a dark auto-wrecking yard. John and Carol get out and climb over the fence. They walk through a valley of twisted, rusting piles of squashed, mashed and crushed automobiles. John sticks his hand into his pockets moodily and stops and looks at one of the burnt-out cars.</scene_description>
<character>JOHN</character>
<dialogue>That's Freddy Benson's Vette... he got his head on with some drunk. Never had a chance. Damn good driver, too. What a waste when somebody gets it and it ain't even their fault.</dialogue>
<character>CAROL</character>
<dialogue>Needs a paint job, that's for sure.</dialogue>
<scene_description>John doesn't hear her and walks on.</scene_description>
<character>JOHN</character>
<dialogue>That Vette over there. Walt Hawkins, a real ding-a-ling. Wrapped it around a fig tree out on Mesa Vista with five kids in it. Draggin' with five kids in the car, how dumb can you</dialogue>
<dialogue>get? All the ding-a-lings get it sooner or later. Maybe that's why they invented cars. To get rid of the ding-a-lings. Tough when they take someone with them.</dialogue>
<character>CAROL</character>
<dialogue>You never had a wreck though--you told me.</dialogue>
<character>JOHN</character>
<dialogue>I come pretty close a couple of times. Almost rolled once. So far I've been quick enough to stay out of here. The quick and the dead.</dialogue>
<character>CAROL</character>
<dialogue>I bet you're the fastest.</dialogue>
<character>JOHN</character>
<dialogue>I've never been beaten--lot of punks have tried. See that '41 Ford there? Used to be the fastest wheels in the valley. I never got a chance to race old Earl. He got his in '55 in the hairiest crash ever happened around here. He was racing a '54 Chevy, bored and loaded, out on the old Oakdale Highway and every damn kid in town was out there. The Chevy lost its front wheel doing about 85. The idiot had torched the spindles to lower the front end and it snapped right off. He slammed bam into the Ford and then they both of them crashed into a row of cars and all those kids watchin! Jesus, eight kids killed including both drivers, looked like a battlefield. Board of Education was so impressed they filmed it. Show it now in Drivers Education, maybe you'll see it. Anyway, since then street racing's gone underground. No spectators, I mean. Too bad.</dialogue>
<character>CAROL</character>
<dialogue>I'd love to see you race.</dialogue>
<scene_description>Carol takes his hand and they walk a bit, until John realizes what he's doing, and drops her hand and pulls away.</scene_description>
<character>JOHN</character>
<dialogue>Come on! None of that.</dialogue>
<character>CAROL</character>
<dialogue>Whadaya mean? I'm the one who's supposed to say that. Whadaya afraid of? I'll keep it above the waist.</dialogue>
<character>JOHN</character>
<dialogue>Funny...</dialogue>
<parenthetical>(he looks at her for a moment)</parenthetical>
<dialogue>Who knows, in a few years--but not now, bunny rabbit.</dialogue>
<character>CAROL</character>
<dialogue>Bunny rabbit! Oh brother, you are such a drip.</dialogue>
<scene_description>She stomps off and gets back into the coupe, quickly rolling up all the windows. John saunters up and finds the door locked.</scene_description>
<character>JOHN</character>
<dialogue>Come on, open the door.</dialogue>
<character>CAROL</character>
<dialogue>If you say "Carol's not a bunny, she's a foxy little tail."</dialogue>
<scene_description>John grins and starts to pull his keys out of his pocket. He stops grinning: Carol grins and dangles his keys inside the car. John leans against the window, closes his eyes, a defeated man.</scene_description>
<character>JOHN</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Carol's not a rabbit, she's a foxy little tail.</dialogue>
<scene_description>He hears the button click up and slowly opens the door.</scene_description>
<character>CAROL</character>
<dialogue>You say the cutest things.</dialogue>
<scene_description>John gets into the car.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Sneakin' around with the Wolfman, Baby.</dialogue>
<scene_description>The Wolfman's gravelly voice whispers over the airwaves as John and Carol drive out of the shadowy car grave-yard. WILSON'S APPLIANCE STORE Curt is sitting on the hood of a parked De Soto watching a row of televisions in the window of an appliance store. Twelve silent images of Ricky Nelson on "Ozzie and Harriet" glow in the dark showroom. Music from passing cars rises and fades as they cruise behind Curt. The Wolfman can be heard.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Oh, this is gonna strike a raw nerve, mama. Here's the Platters.</dialogue>
<scene_description>The Wolfman howls and the Platters wail into the "Great Pretender." Curt sings along, mouthing the words. Then somebody walks in front of Curt. Curt pays no attention, then sense the presence of another guy. Soon he realizes that he is being surrounded by a group of three hoods. They slink up from all sides wearing car coats with the name "PHAROAHS" embroidered across the back. Curt looks them over--they all watch the silent tv's. One of them, without turning, talks to Curt.</scene_description>
<character>JOE</character>
<dialogue>Whadaya doin', creep?</dialogue>
<character>CURT</character>
<dialogue>Me?</dialogue>
<character>JOE</character>
<dialogue>No, I'm talking to the other fifty creeps here. You know Gil Gonzales?</dialogue>
<character>CURT</character>
<dialogue>Gil Gonzales... no.</dialogue>
<character>JOE</character>
<dialogue>Don't know Gil... you oughta. You really should.</dialogue>
<character>CURT</character>
<dialogue>Yeah... why?</dialogue>
<character>JOE</character>
<dialogue>No reason... he's a friend of ours... and that's his car you're sitting on.</dialogue>
<scene_description>There's silence. Curt looks uneasy and slides quietly off the De Soto. Curt sticks his hands in his pockets and starts slowly down the sidewalk.</scene_description>
<character>JOE</character>
<dialogue>Hey, where ya goin?</dialogue>
<character>CURT</character>
<parenthetical>(turning)</parenthetical>
<dialogue>No place. Not going any place.</dialogue>
<character>JOE</character>
<dialogue>Ya must be going someplace--I mean ya left here. Bring him over here, Ants, I want to show him something.</dialogue>
<scene_description>Ants (a tall, ghoulish-looking kid who probably got his name from the scar across his face which has recently been stitched to look like a party of ants marching across his cheek) brings Curt back gently. Joe is bent over looking across the hood of the De Soto.</scene_description>
<character>JOE</character>
<dialogue>Here--bend down, look here. See that? Right across there--see?</dialogue>
<character>CURT</character>
<dialogue>I guess so--yeah.</dialogue>
<scene_description>Joe unbends and lightly punches Curt on the shoulder.</scene_description>
<character>JOE</character>
<dialogue>You scratched it, man. Where do you get off sitting on Gil's car, huh, man?</dialogue>
<scene_description>Joe gives him another charming punch on the shoulder. The others have left the tv's and are watching Curt now, looking puzzled and pained at the scratch on the car.</scene_description>
<character>CURT</character>
<dialogue>I'm sorry. It's not much of a scratch. I don't think he'll even--</dialogue>
<character>JOE</character>
<dialogue>It ain't the size that's in question here. It's the principle. Jeez, this is tough... what should we do with ya?</dialogue>
<character>ANTS</character>
<dialogue>Tie him to the car and drag him.</dialogue>
<scene_description>Curt turns and laughs at Ants' suggestion. He laughs and laughs until he realizes nobody else is; they are pondering the suggestion.</scene_description>
<character>CURT</character>
<dialogue>That's funny</dialogue>
<parenthetical>(clearing his throat)</parenthetical>
<dialogue>Hey, you guys know Toby Juarez? He's a Pharoah, isn't he?</dialogue>
<character>JOE</character>
<dialogue>Toby Juarez. Yeah, sure we know Toby.</dialogue>
<character>CURT</character>
<dialogue>He's a friend of mine.</dialogue>
<scene_description>They all grin and laugh with Curt who feels better.</scene_description>
<character>JOE</character>
<dialogue>Sure, good old Toby. He's a friend of yours. That's cool... we all hate his guts.</dialogue>
<scene_description>Curt stops smiling again.</scene_description>
<character>CURT</character>
<dialogue>Oh--well, I don't know him that much anyway.</dialogue>
<character>JOE</character>
<dialogue>We killed him last night.</dialogue>
<character>ANTS</character>
<dialogue>Tied him to a car and dragged him.</dialogue>
<scene_description>Curt looks at them both, praying they're kidding. Joe looks at him, shaking his head.</scene_description>
<character>JOE</character>
<dialogue>This is going to take some thinking. You better come with us maybe.</dialogue>
<parenthetical>(putting his arm around Curt)</parenthetical>
<dialogue>Go riding with the Pharoahs...</dialogue>
<character>CURT</character>
<dialogue>Well, I don't think I can--I gotta--</dialogue>
<character>JOE</character>
<dialogue>I know just how ya feel.</dialogue>
<scene_description>Joe leads Curt gently but forcibly toward an incredible maroon '51 Merc that's been lowered and chopped so that the windows are like ominous slits and the whole machine has a submarine quality. Joe opens the door and Curt slides into the white fluffy interior. In the small back window, a metal plaque reads "PHAROAHS." The third member of the gang is Carlos, a short little kid about fifteen years old. He appears tougher than the rest with a cigarette dangling from his mouth. Joe heads for the driver's side and Ants and Carlos both go for the front passenger door.</scene_description>
<character>CARLOS</character>
<dialogue>Shotgun!</dialogue>
<character>ANTS</character>
<dialogue>No, I called it!</dialogue>
<character>CARLOS</character>
<dialogue>When?</dialogue>
<character>ANTS</character>
<dialogue>Before we picked you up.</dialogue>
<character>CARLOS</character>
<dialogue>You can't call it for the whole night, man. I got it now. Get in the back.</dialogue>
<scene_description>Carlos gives Ants a hard look and Ants backs down and climbs in the back with Curt. The Pharoah's Mercury roars out from the curb. CRUISING MAIN STREET--PHAROAHS' '51 MERCURY The radio blares "Ain't that a Shame?" as Curt sits in the back seat of the car looking very nervous. He eyes the three hoods cautiously. They are sitting super low, their eyes just visible over the windows. Then, Curt happens to look around. He does a double take. Through the narrow window he sees the Thunderbird passing in the opposite direction. Curt swivels and watches through the back window as the T-bird disappears around a corner. Then, he shakes his head. Of all the times to be trapped with the Pharoahs. On the radio the Wolfman is giving a phone operator a bad time and the Pharoahs are chuckling. As the Wolfman continues on the radio, the cars pass though the night like a metallic ballet. The Pharoahs' Mercury (with Curt aboard) passes Laurie's Edsel... Inside the Edsel, Steve is driving. He puts his arm around Laurie and she leans her head on his shoulder. As the Edsel cruises by in one direction, John Milner's '32 Ford coupe rumbles by on the other side of the street. INSIDE THE DEUCE COUPE Carol is laughing like mad as the Wolfman continues. Even John has to chuckle at the mad D.J.'s raspy patter.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Who is this on the Wolfman telephone?</dialogue>
<character>OPERATOR (V.O.)</character>
<dialogue>Hello, Collect...</dialogue>
<character>WOLFMAN</character>
<dialogue>Pardon me. Your name is Colette?</dialogue>
<character>OPERATOR</character>
<dialogue>Yes. Collect Call.</dialogue>
<character>WOLFMAN</character>
<dialogue>Your name is Colette Call?</dialogue>
<character>OPERATOR</character>
<dialogue>Sir, this is the Operator.</dialogue>
<character>WOLFMAN</character>
<dialogue>Are you French, Operator?</dialogue>
<character>OPERATOR</character>
<dialogue>This is a collect call for Wolfman Jack.</dialogue>
<character>WOLFMAN</character>
<dialogue>I... I love you, Operator.</dialogue>
<character>OPERATOR</character>
<dialogue>Is this Wolfman Jack?</dialogue>
<character>WOLFMAN</character>
<dialogue>Is Floyd there?</dialogue>
<character>OPERATOR</character>
<dialogue>It's for a Wolfman... Jack...</dialogue>
<scene_description>Carol looks over at John and shakes her head.</scene_description>
<character>CAROL</character>
<dialogue>I just love listening to the Wolfman. My Mom won't let me at home. Because</dialogue>
<dialogue>he's a Negro, I think... anyway, he's terrific. Do you know that he just broadcasts from a plane that flies around in circles all the time? Do you think that's true?</dialogue>
<scene_description>INSIDE STEVE'S '58 CHEVY Terry drives on through the wonderful night--a blonde sitting next to him, he's feeling very bitchin'. He and Debbie are also mesmerized by the Wolfman.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Floyd, I love you, Floyd. Is this you, Floyd? I cannot look on thee, love took my hand... and smiling did reply, who made the eyes but I. Floyd, reach out and touch my soul.</dialogue>
<scene_description>INSIDE THE PHAROAHS' '51 MERCURY Even Curt has to laugh at the Wolfman--despite his situation. Little Carlos sits in the front seat and looks over at Joe who's driving.</scene_description>
<character>OPERATOR (V.O.)</character>
<dialogue>Your party's ready, sir.</dialogue>
<character>WOLFMAN</character>
<dialogue>You mean Floyd? Hello, is this Floyd?</dialogue>
<character>VOICE (V.O.)</character>
<dialogue>Hello, is this Matilda?</dialogue>
<character>WOLFMAN</character>
<dialogue>No, it ain't honey--bye!</dialogue>
<character>CARLOS</character>
<dialogue>You tell her, Wolfman. He's my man. When I graduate, I'm gonna be a Wolfman. Hey, you know he broadcasts out of Mexico someplace?</dialogue>
<character>JOE</character>
<dialogue>No, he don't. I seen the station right outside of town.</dialogue>
<character>CARLOS</character>
<dialogue>That's just a clearing station, man. So he can fool the cops. He blasts that thing all the way around the world. It's against the law, man.</dialogue>
<scene_description>In the back seat, Ants nods in agreement.</scene_description>
<character>ANTS</character>
<dialogue>Ah, man--they'll never catch the Wolfman.</dialogue>
<scene_description>Then Ants' nose starts twitching and he looks over at Curt suspiciously.</scene_description>
<character>ANTS</character>
<dialogue>Hey, man, who cut the cheese?</dialogue>
<scene_description>Curt tries to smile but looks pretty guilty. Then Joe looks around from the front seat.</scene_description>
<character>JOE</character>
<dialogue>He who smelt it, dealt it.</dialogue>
<parenthetical>(looking at Curt in the back)</parenthetical>
<dialogue>Hey, creep, scoot down. Sitting up like that, it wrecks the lines of the car, you know what I mean?</dialogue>
<scene_description>Curt scoots down to a level even with Ants. Ants is staring at him and grinning evilly. Then they hear an incredible roar, and they all turn to see Bob Falfa's black '55 Chevy pass by. Falfa has a new girl with him this time, a lovely redhead.</scene_description>
<character>JOE</character>
<dialogue>There's that badass Chevy again. Look at he snatch he's got with him.</dialogue>
<character>ANTS</character>
<dialogue>Hey, man, he looks like a whimp.</dialogue>
<scene_description>Curt nods and tries to join in.</scene_description>
<character>CURT</character>
<dialogue>Probably is. Whimps get all the snatch.</dialogue>
<scene_description>Carlos and Ants look at him. Like nobody asked him to open his mouth.</scene_description>
<character>CARLOS</character>
<dialogue>Milner ain't gonna beat that. His time has come. He's getting old. He ain't as fast as he used to be.</dialogue>
<scene_description>INSIDE THE DEUCE COUPE Milner may not be as fast a he used to be--and having a little teeny-bopper with him isn't helping matters. He looks over at Carol. She's moved closer to him.</scene_description>
<character>JOHN</character>
<dialogue>You got two seconds to get your ass over in the corner.</dialogue>
<character>CAROL</character>
<dialogue>Don't worry, I won't rape you.</dialogue>
<scene_description>Carol slides back to her side. But as they glide along, Carol watches John. She's moon-eyed and flipped over him. John deftly down-shifts as he approaches a light and then accelerates through the gears with a "race" expertise. There's a honk and John and Carol look over to see a '60 Cadillac full of girls laughing at them.</scene_description>
<character>GIRL</character>
<dialogue>You got a bitchin' car.</dialogue>
<scene_description>John nods modestly.</scene_description>
<character>GIRL</character>
<dialogue>In fact, we're gonna give you our special prize for having the neatest car around. You want me to give it to you?</dialogue>
<character>JOHN</character>
<dialogue>If the prize is you, honey, I'm a ready Teddy.</dialogue>
<character>GIRL</character>
<dialogue>Yeah, well get bent turkey.</dialogue>
<scene_description>The girl suddenly launches a water balloon, which John ducks deftly, the tumescent missile catching Carol full in the face. The girls roar off. John cracks up as Carol blinks away the water, not believing what's happened. She wipes her face.</scene_description>
<character>CAROL</character>
<dialogue>All right, very funny. What a chop. Ha ha. Quit laughing!!</dialogue>
<scene_description>John tries to control himself, but can't.</scene_description>
<character>CAROL</character>
<dialogue>Let's catch 'em at the light. Then you jump out and flatten their tires.</dialogue>
<character>JOHN</character>
<dialogue>Hey, wait a--</dialogue>
<character>CAROL</character>
<dialogue>Just do what I say!</dialogue>
<character>JOHN</character>
<dialogue>Yezz, bozz....</dialogue>
<scene_description>MAIN STREET INTERSECTION Carol jumps out of the car as John stops the car in the right hand lane next to the Cadillac. As Chuck Berry wails "Johnny B. Goode," they go into action. The girls in the Cadillac recognize John as one of their victims and quickly roll up all windows and lock their doors. John starts pulling the stems from the front tires, sinking the car. Carol starts around the car with the shaving cream, spraying all their windows with the foamy lather. Carol is having a great time and John is laughing as they continue their guerrilla attack. They finish and jump back in the coupe. The light turns green and John takes off, leaving the Cadillac stranded at the intersection, covered with shaving cream. Traffic begins to back up... horns begin to honk. CANAL BANK--STEVE'S '58 CHEVY The crickets chirp under the full moon. We hear "I Only Have Eyes for You" playing as the Chevy slowly comes to a stop in an isolated spot along the irrigation canal. Terry gets out of the car, pops the top off two cokes and pours half of them into the canal. He hums, refilling them with bourbon. He goes back to the car.</scene_description>
<character>TERRY</character>
<dialogue>Tootie fruiti all ruti... It's Super Cola!</dialogue>
<scene_description>He hands her one of the bottles and takes a long drink out of the other. He grabs the steering wheel for support and his eyes begin to water.</scene_description>
<character>TERRY</character>
<dialogue>It's a... a little... strong, I think.</dialogue>
<character>DEBBIE</character>
<parenthetical>(drinking)</parenthetical>
<dialogue>It's the living end.</dialogue>
<scene_description>Terry takes a smaller sip this time...</scene_description>
<character>TERRY</character>
<dialogue>Yeaah, I guess it wasn't mixed.</dialogue>
<character>DEBBIE</character>
<dialogue>Wow, it's pretty tonight. It's a perfect night to go horseback riding-- I was going with a guy once who had a horse.</dialogue>
<scene_description>Terry chokes.</scene_description>
<character>TERRY</character>
<dialogue>Oh yeah? I used to have a couple of horses myself.</dialogue>
<character>DEBBIE</character>
<dialogue>Really?</dialogue>
<character>TERRY</character>
<dialogue>I used them for hunting. I do a lot of hunting. Deer mostly, although I got a couple of bear last year. Yep, they were good ponies--hunting ponies. I had to train 'em special, you know.</dialogue>
<character>DEBBIE</character>
<dialogue>Do you still have 'em? We could go for a ride.</dialogue>
<character>TERRY</character>
<dialogue>No, I had to sell 'em. To get these</dialogue>
<dialogue>wheels... and a jeep. I also have a jeep pick-up, with four-wheel drive. It's got a gun rack. And I use that for hunting mostly.</dialogue>
<character>DEBBIE</character>
<dialogue>Why do you kill little animals? I think that's terrible.</dialogue>
<character>TERRY</character>
<dialogue>Oh, well, yeah, I figure with bears, though, it's either me or them... You know, I think you're really neat.</dialogue>
<scene_description>He suddenly grabs at her, putting his arms around her. She's caught off-guard and tries to move away.</scene_description>
<character>DEBBIE</character>
<dialogue>Wait a second.</dialogue>
<scene_description>Terry immediately lets go of her.</scene_description>
<character>TERRY</character>
<dialogue>Oh, jeez, I'm sorry. I don't know what got into me--I didn't mean to-- maybe it's the booze or something.</dialogue>
<scene_description>She puts her coke on the floor. She unfastens the chain holding her sweater together and takes it off.</scene_description>
<character>DEBBIE</character>
<dialogue>There--now.</dialogue>
<scene_description>Suddenly, she grabs him and pulls him down on top of herself. She kisses him madly. At first he's surprised, but then gets the hang of it. They begin to neck passionately, encountering many obstacles in the cramped front seat.</scene_description>
<character>DEBBIE</character>
<dialogue>Ow--you pinched me.</dialogue>
<character>TERRY</character>
<dialogue>I'm sorry.</dialogue>
<character>DEBBIE</character>
<dialogue>Let me get my head over here--okay, now you get up--</dialogue>
<character>TERRY</character>
<dialogue>Ow--my leg, my leg. Ow, watch it!</dialogue>
<character>DEBBIE</character>
<dialogue>Ummm, I just love tuck 'n roll upholstery.</dialogue>
<scene_description>As they roll around, a couple of guys walk by the car laughing. Terry manages to sit up and watches them go off into the night.</scene_description>
<character>TERRY</character>
<dialogue>Geez, it's like Grand Central Station</dialogue>
<dialogue>around here. Why don't we go someplace else.</dialogue>
<scene_description>Debbie pulls him back down on top of her.</scene_description>
<character>DEBBIE</character>
<dialogue>Nah, come on. They won't come back.</dialogue>
<character>TERRY</character>
<dialogue>Wait a minute. I got a blanket in the back. Why don't we go over into the field?</dialogue>
<character>DEBBIE</character>
<dialogue>All right. Okay.</dialogue>
<scene_description>They both get out of the car. Terry gets the blanket out of the trunk. They walk along a path next to the moonlit canal. Debbie carries their drinks for them. They left the radio on and Wolfman's voice can be heard as he takes another call.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Hello.</dialogue>
<character>GIRL (V.O.)</character>
<dialogue>Yeah!</dialogue>
<character>WOLFMAN</character>
<dialogue>How old are you?</dialogue>
<character>GIRL</character>
<dialogue>I'm thirteen, how old are you?</dialogue>
<character>WOLFMAN</character>
<dialogue>I'm only fourteen.</dialogue>
<character>GIRL</character>
<dialogue>Oh, boy, I love you, Wolfman.</dialogue>
<character>SINGERS</character>
<parenthetical>(singing over)</parenthetical>
<dialogue>"Wolfman Jack."</dialogue>
<character>WOLFMAN</character>
<dialogue>Oh, now we gonna do the weather for all the valleys and the mountain tops. Gonna be hot... about 200 degrees in Merced, 400 degrees out in Fresno, and I know we're gonna have about 500 degrees up around the valley somewhere. You got the Wolfman Jack Show.</dialogue>
<scene_description>MINIATURE GOLF COURSE AND ARCADE As the Silhouettes yip-yip-yip-yip into "Get a Job," we see the mysterious white Thunderbirds cruise by and disappear. The Pharoahs' Mercury turns into the parking lot of a a miniature golf course. The doors open and the Pharoahs exit. There's a pause, then Ants reaches into the car and pulls Curt out also. The Pharoahs saunter into the miniature golf compound.</scene_description>
<character>CURT</character>
<dialogue>Hey, terrific, I love miniature golf.</dialogue>
<character>JOE</character>
<dialogue>I hate it.</dialogue>
<character>CURT</character>
<dialogue>Well, I don't play that often really. Ah--what're we doing here then?</dialogue>
<character>JOE</character>
<dialogue>We're outta gas.</dialogue>
<character>CURT</character>
<dialogue>They don't sell gas here.</dialogue>
<character>JOE</character>
<dialogue>No... but we're outta money, too. Come on, Carl.</dialogue>
<character>CURT</character>
<dialogue>Curt.</dialogue>
<scene_description>Joe gives Curt a gentle push and they go inside. The golf course is empty, except for a couple of ugly girls putting around in the far corner. Under a trellis, Curt and Joe enter as the Pharoahs fool around with the candy machine, pinball games, "Check Your Weight," and "Air Corps Gunner" games, pretending to play with them. Joe looks around, whistling again.</scene_description>
<character>JOE</character>
<dialogue>All right, men.</dialogue>
<scene_description>Quickly the Pharoahs go into action, jimmying locks, pounding coin returns, pulling out plugs, prying open change boxes and stuffing looses coins into their pockets. Joe smiles at Curt, who looks sick again, involved now in a robbery. Ants is sitting in a "Rocket to the Moon" ride, pounding on it unsuccessfully when suddenly it starts. Ants starts bouncing up and down looking dumber than usual. He swears at Rocket to the Moon under his breath--suddenly a screen door slams. The Pharoahs turn. A man in an undershirt stands by the "Get Your Balls Here" booth, regarding them warily.</scene_description>
<character>MR. GORDON</character>
<dialogue>What're you punks doing?</dialogue>
<scene_description>The Pharoahs can't think of anything right away. Ants bounces noisily in the "Rocket to the Moon." The Pharoahs are all looking to Joe for guidance. Joe for his part is mumbling.</scene_description>
<character>CURT</character>
<dialogue>Hey, hi. Mr. Gordon, what's up?</dialogue>
<scene_description>The man looks at Curt, surprised.</scene_description>
<character>MR. GORDON</character>
<dialogue>Henderson--Curt Henderson? You with these punks?</dialogue>
<scene_description>The Pharoahs don't know what's happening yet. Curt walks over to Mr. Gordon.</scene_description>
<character>CURT</character>
<dialogue>These are my friends. We were just...</dialogue>
<scene_description>Mr. Gordon looks skeptical, then Curt smiles at him. Then Mr. Gordon smiles.</scene_description>
<character>MR. GORDON</character>
<dialogue>Jeez, you guys had me scared.</dialogue>
<scene_description>He laughs nervously. The Pharoahs laugh. Everybody's happy.</scene_description>
<character>MR. GORDON</character>
<dialogue>Hey, you haven't left yet?</dialogue>
<character>CURT</character>
<dialogue>Oh ah--no--no, I'm not--</dialogue>
<scene_description>Mr. Gordon looks puzzled.</scene_description>
<character>CURT</character>
<dialogue>I mean, I'm not leaving until tomorrow.</dialogue>
<character>MR. GORDON</character>
<dialogue>Tomorrow. Well, listen, Hank Anderson's inside. Come in and say goodbye. You know, Hank's the one that brought your name up on the floor of the Moose Hall. You got the check, didn't you?</dialogue>
<scene_description>He leads Curt toward the screen door. Curt looks around at the Pharoahs, who are slowly starting to work again pilfering the machines. Inside the small office, Curt shakes hands with Hank Anderson, who pats him on the shoulder.</scene_description>
<character>HANK</character>
<dialogue>We are all proud of you, Curt. The Moose Scholarship couldn't have gone to a better boy. And if there's anything we can do, let us know.</dialogue>
<character>MR. GORDON</character>
<dialogue>Yeah, you'll stay in touch by letter, won't you?</dialogue>
<scene_description>There's a knock at the screen and they turn to see Joe at the screen door.</scene_description>
<character>JOE</character>
<dialogue>Hey, we're all done out here.</dialogue>
<character>MR. GORDON</character>
<dialogue>All done? What--what's he mean?</dialogue>
<character>CURT</character>
<dialogue>Ah, he means, we're all done having loads of fun out here.</dialogue>
<character>MR. GORDON</character>
<dialogue>Oh, well...</dialogue>
<character>HANK</character>
<dialogue>Wonderful. You can have all the fun you want. This place is for fun.</dialogue>
<character>CURT</character>
<dialogue>Yes. Yes, it is. Thank you. Thank you both.</dialogue>
<character>MR. GORDON</character>
<dialogue>Good luck now.</dialogue>
<character>HANK</character>
<dialogue>Before I say goodbye, Curt, I want to tell you I hope you'll be taking along with you a little piece of this place.</dialogue>
<character>CURT</character>
<dialogue>I think I have.</dialogue>
<character>HANK</character>
<dialogue>Good. Don't forget us.</dialogue>
<character>CURT</character>
<dialogue>No, I won't forget you and you won't forget me.</dialogue>
<character>MR. GORDON</character>
<dialogue>Okay. 'Bye.</dialogue>
<character>HANK</character>
<dialogue>Good-bye and good luck.</dialogue>
<character>CURT</character>
<dialogue>'Bye.</dialogue>
<character>JOE</character>
<dialogue>It was nice to meet yuh.</dialogue>
<character>CURT</character>
<dialogue>Right. What he said goes for me, too.</dialogue>
<scene_description>Curt and Joe go out through the arcade toward the Mercury. They start walking faster, anxious to get away. Joe grins at Curt as they climb into the car.</scene_description>
<character>JOE</character>
<dialogue>Yeah, you just might make it as a Pharoah yet, boy.</dialogue>
<scene_description>Back in the office, Hank and Mr. Gordon watch the car pull out.</scene_description>
<character>HANK</character>
<dialogue>Some day he'll make a fine Moose.</dialogue>
<scene_description>THE CANAL BANK Steve's Chevy sits near the canal. The door is open and the radio blares, while Terry and Debbie are off somewhere in the weeds making out. Suddenly, a beam from a flashlight plays across the trunk. Feet approach the car as the light beam moves across the interior and stops on the vacated shoes on the front seat. The light beam continues past the empty bourbon bottle and starts int he direction of the field where Terry and Debbie are lost in the throes of passionate love. As we follow the light into the field we hear footsteps. As the darkened figure approaches the couple, we see the light go out and catch a gleam of silver in the moonlight as a switchblade springs open! Terry reacts to the sound.</scene_description>
<character>DEBBIE</character>
<dialogue>What's wrong?</dialogue>
<character>TERRY</character>
<dialogue>I thought I heard something.</dialogue>
<scene_description>She kisses him and he forgets about the noise. The figure retreats back to the Chevy, where another indistinct figure waits.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>They're porking in the weeds. No sweat.</dialogue>
<scene_description>Terry and Debbie are resting in the field, listening to the radio in the distance. A car engine is heard starting up and disappearing down the canal bank. The countryside is very quiet. Only crickets and frogs are heard as Terry begins to drop off asleep. He suddenly jumps with a start.</scene_description>
<character>TERRY</character>
<dialogue>Wait a minute!</dialogue>
<character>DEBBIE</character>
<dialogue>What?</dialogue>
<character>TERRY</character>
<dialogue>The radio is gone... That means--the car is gone!</dialogue>
<scene_description>He scrambles to the spot where the Chevy once stood.</scene_description>
<character>TERRY</character>
<dialogue>Oh no!!! OH NO!!!</dialogue>
<scene_description>Debbie comes up and watches Terry look heavenward.</scene_description>
<character>TERRY</character>
<dialogue>Oh God--I'm sorry. But, why the car? You could have struck us with lightning or something--anything--- but not the car!</dialogue>
<scene_description>THE CANAL BANK--LAURIE'S '58 EDSEL Cars are seen here and there in the moonlight along the irrigation canal outside of town. In the cars radios are playing "To the Aisle," laughter can be heard in some, whispering in others. Laurie's Edsel is parked by the slow-moving water. In the front seat of the car, Steve and Laurie are making out. Laurie leans back against Steve, his arms around her, and they look out the window at the stars...</scene_description>
<character>LAURIE</character>
<dialogue>You know, it doesn't make sense to leave home to look for a home, to give up a life to find a new life, to say goodbye to friends you love just to find new friends.</dialogue>
<character>STEVE</character>
<dialogue>What? Say that again, I didn't--</dialogue>
<character>LAURIE</character>
<dialogue>That's what Curt said.</dialogue>
<character>STEVE</character>
<dialogue>Oh, figures.</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>You must've talked his ear off trying to get him to stay.</dialogue>
<character>LAURIE</character>
<dialogue>That's not true. I didn't say anything. Curt just said at dinner tonight he realized there was no big hurry. He thought he should take it easy for a while, go to J.C. and try to figure out what he wants to do with his life.</dialogue>
<character>STEVE</character>
<dialogue>That sounds logical.</dialogue>
<scene_description>Laurie's expression changes.</scene_description>
<character>LAURIE</character>
<dialogue>You think so?</dialogue>
<character>STEVE</character>
<dialogue>Sure. I think Curt's probably right for Curt. Not for me though. Laurie, look at me. Now you know what I want</dialogue>
<dialogue>out of life. And it's just not in this town.</dialogue>
<character>LAURIE</character>
<dialogue>I'm not going to the airport tomorrow.</dialogue>
<scene_description>She looks sullen and he smiles a little. He turns her around and gently kisses here. They begin to make out, Laurie seeming a little desperate. Steve pushes her slowly down on the seat. He moves on top of here and his hand begins to wander.</scene_description>
<character>LAURIE</character>
<dialogue>Steve! Don't.</dialogue>
<character>STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>It's our last night together for three months... come on.</dialogue>
<character>LAURIE</character>
<dialogue>We've been through this before.</dialogue>
<character>STEVE</character>
<dialogue>I'm going to miss you so much. I need something to remember you by. You don't want me to forget you.</dialogue>
<scene_description>She closes her eyes, trying not to cry.</scene_description>
<character>LAURIE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>No...</dialogue>
<scene_description>He starts to move on top of her, kissing her neck. She struggles for a few moments, then goes limp, not responding. He pulls away angrily.</scene_description>
<character>STEVE</character>
<dialogue>What's wrong? You're just lying there.</dialogue>
<character>LAURIE</character>
<dialogue>Well go ahead, you want to.</dialogue>
<character>STEVE</character>
<dialogue>Not like that.</dialogue>
<character>LAURIE</character>
<dialogue>If you're not going to remember me for anything else, why don't you go ahead?</dialogue>
<character>STEVE</character>
<dialogue>You want it and you know it. Don't be so damn self-righteous with me. After those things you told me about watching your brother--</dialogue>
<character>LAURIE</character>
<dialogue>You're disgusting! Get out of my car! I told you never--</dialogue>
<character>STEVE</character>
<dialogue>I'm sorry.</dialogue>
<character>LAURIE</character>
<dialogue>Get out! It's not worth it. I don't care if you're leaving--now get out!</dialogue>
<scene_description>She reaches past him and pulls the door handle. The door swings open and she shoves Steve out. Then she starts the engine and drives away, leaving Steve standing there in the darkness. In the distance, he hears the laughter of other couples and the drifting music from their radios. THE CANAL ROAD Terry and Debbie walk slowly along the dark canal. Terry takes a large slug of his bourbon and coke.</scene_description>
<character>DEBBIE</character>
<dialogue>Anyway, the Goat Killer--</dialogue>
<character>TERRY</character>
<dialogue>Let's talk about something else.</dialogue>
<character>DEBBIE</character>
<dialogue>--Whenever he strikes, he leaves a bloody goat's head near the victim. Isn't that creepy?</dialogue>
<scene_description>Terry thinks about it and indeed it is. He looks around into the darkness and then takes Debbie's hand.</scene_description>
<character>DEBBIE</character>
<dialogue>They thought he went up to Stockton, but two nights ago they found Carlie Johnson and Don White right here by the canal all hacked to pieces and--</dialogue>
<character>TERRY</character>
<dialogue>Who do you think'll take the regionals this--</dialogue>
<character>DEBBIE</character>
<dialogue>--not only were there bloody goats' heads, but he had switched all the parts of their bodies around. You know putting her arms on him and his legs on--</dialogue>
<scene_description>Terry is slowing and he stops her. He motions for her to shut up and they listen. The wind whines across the flat valley. Ahead there is only darkness, then footsteps!</scene_description>
<character>TERRY</character>
<dialogue>Wait a second. Did you hear...?</dialogue>
<character>DEBBIE</character>
<dialogue>You think it's the Goat Killer?</dialogue>
<character>TERRY</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>No! I mean, no. Listen, I'll go for help, you stay here.</dialogue>
<scene_description>Terry has turned and is starting off when she grabs him by his shirt-tail.</scene_description>
<character>DEBBIE</character>
<dialogue>Come on, we'll hide in the field.</dialogue>
<scene_description>She takes Terry's hand and they go off behind some bushes, away from the black water. Debbie looks through the bushes, squinting.</scene_description>
<character>DEBBIE</character>
<dialogue>Maybe if it's the Goat Killer he'll get somebody and we'll see the whole thing.</dialogue>
<scene_description>Terry stands with his eyes closed.</scene_description>
<character>TERRY</character>
<dialogue>I don't want to see the whole thing. Especially if it's us he--oh, why me? I'm going to look lousy with your legs and a goat's head and--</dialogue>
<character>DEBBIE</character>
<dialogue>Shhh--he's stopped. I can't see him very--I think he's coming this way.</dialogue>
<scene_description>She edges off to get a better view.</scene_description>
<character>TERRY</character>
<dialogue>Well, as long as he's not--Debbie! Debbie!</dialogue>
<scene_description>She's gone. Terry starts off, taking one step, turns, takes another, turns, takes another. Suddenly Terry hears something behind him. He turns very slowly and looks... A figure is standing right behind him, silhouetted by the moon, its face obscured. Terry jumps about three feet and yells.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Terry!</dialogue>
<character>TERRY</character>
<dialogue>Who, me? Why me?</dialogue>
<scene_description>Terry stops yelling, seeing that it's Steve.</scene_description>
<character>STEVE</character>
<dialogue>Terry.</dialogue>
<character>TERRY</character>
<dialogue>Steve!</dialogue>
<scene_description>Debbie comes back through the bushes and Terry looks at her nervously.</scene_description>
<character>TERRY</character>
<dialogue>Where'd you go, anyway?</dialogue>
<character>DEBBIE</character>
<dialogue>Over there.</dialogue>
<character>TERRY</character>
<dialogue>Well, don't go off again. Come on, let's get out of here.</dialogue>
<scene_description>Terry and Debbie start to walk with Steve back toward town. Terry keeps taking pulls from the bottle of bourbon.</scene_description>
<character>STEVE</character>
<dialogue>What're you doing out here? Hey, where's my rod?</dialogue>
<character>TERRY</character>
<parenthetical>(choking)</parenthetical>
<dialogue>Um, oh, did I introduce you? This is Debbie. Debbie, this is Steve.</dialogue>
<character>DEBBIE</character>
<dialogue>Hello.</dialogue>
<character>STEVE</character>
<dialogue>Hi.</dialogue>
<character>DEBBIE</character>
<dialogue>Hi.</dialogue>
<scene_description>They continue to walk along the dark canal bank.</scene_description>
<character>STEVE</character>
<dialogue>Well, what about my car?</dialogue>
<character>TERRY</character>
<dialogue>Um... I'ts in the garage. I put it in the garage for safe keeping. I mean... I don't want to take any chances with it.</dialogue>
<character>STEVE</character>
<dialogue>Oh, great.</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah. Yeah. It's a good thing too. 'Cause somebody stole our car.</dialogue>
<character>STEVE</character>
<dialogue>Really? That's terrible. What kind was it?</dialogue>
<character>TERRY</character>
<dialogue>Gee, ah, where's Laurie, anyway?</dialogue>
<character>STEVE</character>
<dialogue>I guess we broke up.</dialogue>
<character>TERRY</character>
<dialogue>You broke up? Bull!</dialogue>
<scene_description>Steve just shrugs. The three of them go off into the darkness. CRUISING MAIN STREET-'32 YELLOW DEUCE COUPE The coupe makes an eccentric swerve as it cruises along the main drag. Inside, Carol is looking at the gear-shift knob that she's taken off the shift arm as they listen to "Do You Want to Dance?"</scene_description>
<character>CAROL</character>
<dialogue>It doesn't look like a gear shift knob.</dialogue>
<character>JOHN</character>
<dialogue>Come on, will ya? Give it back to me.</dialogue>
<character>CAROL</character>
<dialogue>Well, go ahead, cream me. What's wrong, you're a tough guy. Break my arm, see if I care.</dialogue>
<character>JOHN</character>
<dialogue>Forget it.</dialogue>
<scene_description>He ignores her, and finally his silence makes her take a small round knob out of her pocket and put it back on the shifter where it belongs.</scene_description>
<character>CAROL</character>
<dialogue>I was just going to keep it for a little while. You're an ogre, just like my father. He won't let me play records, or stay out late, or anything.</dialogue>
<character>JOHN</character>
<parenthetical>(worried)</parenthetical>
<dialogue>He ah--doesn't like you to stay out late?</dialogue>
<character>CAROL</character>
<dialogue>No--he's terrible. Once I was at a party that didn't end till late and he called the cops. Can you imagine? It was only a little after midnight and he had the whole police force--</dialogue>
<character>JOHN</character>
<dialogue>Say, where do you live anyway?</dialogue>
<character>CAROL</character>
<dialogue>Over on Ramona, why?</dialogue>
<parenthetical>(She suddenly smiles)</parenthetical>
<dialogue>Oh no. Uh uh. You thought I'd tell you where--not me, not old Carol. The night is young and I'm not hitting the rack until I get a little action.</dialogue>
<scene_description>John sighs, wondering if he'll ever get rid of her. He looks back at something in the rear view mirror. He speeds up and checks the mirror again.</scene_description>
<character>CAROL</character>
<dialogue>What do you keep lookin' at?</dialogue>
<parenthetical>(she looks around behind them)</parenthetical>
<dialogue>Who's that? You know him? He's following awful close.</dialogue>
<character>JOHN</character>
<dialogue>Grab onto something.</dialogue>
<scene_description>Carol looks scared and grabs onto the dash. John suddenly hits the brakes. The deuce coupe noses down and Bob Falfa's Chevy has to swerve abruptly to avoid a crash. Falfa pulls the Chevy around and alongside the coupe. He has another new girl with him.</scene_description>
<character>FALFA</character>
<parenthetical>(shouting over)</parenthetical>
<dialogue>Sorry if I scared ya, man.</dialogue>
<character>JOHN</character>
<parenthetical>(looking ahead)</parenthetical>
<dialogue>Takes more than that to scare me.</dialogue>
<character>FALFA</character>
<dialogue>Where ya been hiding? Didn't anyone tell ya I been looking for ya?</dialogue>
<character>JOHN</character>
<dialogue>Hey, I can't keep tracka all the punks lookin' for me.</dialogue>
<character>FALFA</character>
<dialogue>They say you're the fastest thing in the Valley. But that can't be your car, man. That must be your mama's car. Hell, I feel embarrassed just getting near ya.</dialogue>
<character>JOHN</character>
<dialogue>Ya should, man--you're driving a field car.</dialogue>
<character>FALFA</character>
<dialogue>Field car? What's a Field Car?</dialogue>
<character>JOHN</character>
<dialogue>Field Cars drive through the fields, dropping cow shit all over the place to make the lettuce grow.</dialogue>
<character>FALFA</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>That's pretty good. Hey, I like that paint job you got. What they call that--sorta a cross between Piss</dialogue>
<dialogue>Yellow and Puke Green, ain't it?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, well, you're car's so ugly you must have to sneak up on the pumps to get a tank of gas.</dialogue>
<character>FALFA</character>
<dialogue>Well, at least I don't have to move over to let a funeral go by, man.</dialogue>
<scene_description>Through all the insults, Carol has been cracking up.</scene_description>
<character>CAROL</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Your car's uglier than I am.</dialogue>
<scene_description>John and Falfa both look at her and she sits back.</scene_description>
<character>CAROL</character>
<dialogue>That didn't come out right...</dialogue>
<scene_description>They both stop at a light now. Falfa roars his engine.</scene_description>
<character>FALFA</character>
<dialogue>Come on, boy, prove it. Let's go.</dialogue>
<character>JOHN</character>
<dialogue>Look kid, why don't you go out and win a few races, then come back and see me.</dialogue>
<character>CAROL</character>
<dialogue>Oh, race him, you can beat him.</dialogue>
<scene_description>John gives Carol a very fierce look and she sinks back into her corner.</scene_description>
<character>FALFA</character>
<dialogue>Hey, that's a tough lookin' girl you got with you, man. What're you doin'? Trying to pick up a few extra bucks babysitting?</dialogue>
<parenthetical>(grinning at Carol)</parenthetical>
<dialogue>Hey, Doll. Why don't you come on and ride with me--in about ten years?</dialogue>
<character>JOHN</character>
<dialogue>Leave her out of this. This is just between you and me.</dialogue>
<scene_description>Falfa revs his engine again. John thinks a moment, then shifts down into first. The light changes, and John and Falfa take off, tires screaming. The two cars perfectly in sync, rocket down the block toward the next red light. John starts to slow for the light. Falfa looks over, laughs, and runs the red light. John stops.</scene_description>
<character>CAROL</character>
<dialogue>Wow! He's really fast, isn't he?</dialogue>
<character>JOHN</character>
<dialogue>Yeah. But he's stupid.</dialogue>
<scene_description>CRUISING 10TH STREET-PHAROAH'S '51 MERCURY Curt is still out riding with the Pharoahs. He seems a little easier with them now, after their successful heist at the miniature golf course. The radio is playing "Party Doll."</scene_description>
<character>CURT</character>
<dialogue>Hey--any of you guys know a blonde in a white T-Bird?</dialogue>
<character>JOE</character>
<dialogue>Yeah, I seen her, what about it?</dialogue>
<character>CURT</character>
<dialogue>I was just wondering who she is.</dialogue>
<character>JOE</character>
<dialogue>She's outta your price range, man. My brother's been with her and he clued me in.</dialogue>
<character>CURT</character>
<dialogue>Price range? You mean she's a--</dialogue>
<character>JOE</character>
<dialogue>Yeah, Thirty Dollar Sheri. Can you believe that? Thirty dollars.</dialogue>
<character>CURT</character>
<dialogue>We must be thinking of different blondes.</dialogue>
<character>CARLOS</character>
<dialogue>Hey man, don't tell Joe what he thinks.</dialogue>
<character>ANTS</character>
<dialogue>Thirty dollars ain't much. I saw ten thousand once. My old man had it in a suitcase. They caught him the next morning though.</dialogue>
<character>CARLOS</character>
<dialogue>Fuzz ahead, watch it.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>CARLOS</character>
<dialogue>Fuzz ahead, watch it.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>CARLOS</character>
<dialogue>At Jerrie's Cherries. You can just</dialogue>
<scene_description>barely see the fender.</scene_description>
<character>ANTS</character>
<dialogue>That's rotten, man. Hiding like that.</dialogue>
<character>CARLOS</character>
<dialogue>That's shitty.</dialogue>
<character>JOE</character>
<dialogue>It's dishonest.</dialogue>
<scene_description>Ants gives him the evil eye. Joe watches the cop car in the used car lot as they pass it.</scene_description>
<character>JOE</character>
<dialogue>We oughta do something. I got an idea. I got a good idea.</dialogue>
<scene_description>MAIN STREET Steve, Terry and Debbie have made it back into town from the canal. They walk past the closed stores and stop on a busy corner.</scene_description>
<character>STEVE</character>
<dialogue>I think I'm gonna go over to Burger City.</dialogue>
<character>TERRY</character>
<dialogue>Yeah. Yeah. Laurie's probably over there.</dialogue>
<character>STEVE</character>
<dialogue>You really think she's got me worried about where she is, don't you?</dialogue>
<character>TERRY</character>
<dialogue>Well...</dialogue>
<character>STEVE</character>
<dialogue>Let me tell you something. I couldn't care less. Want to come along?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah, I do. I do.</dialogue>
<character>TERRY</character>
<dialogue>No.</dialogue>
<character>STEVE</character>
<dialogue>Make up your minds.</dialogue>
<character>TERRY</character>
<dialogue>No, thanks. U'mm. You know we got to report the car missing.</dialogue>
<character>STEVE</character>
<dialogue>All right. See yuh.</dialogue>
<character>TERRY</character>
<dialogue>Yeah. See yuh.</dialogue>
<scene_description>Steve goes off and Debbie looks at Terry.</scene_description>
<character>DEBBIE</character>
<dialogue>Why can't we go to Burger City?</dialogue>
<character>TERRY</character>
<dialogue>Burger City? Burger City!!? How can you think of hamburgers when somebody stole my car.</dialogue>
<scene_description>She looks hurt and starts off. ALLEY BEHIND JERRY'S CHERRIES USED-CAR LOT Curt is getting out of the low-slung Merc and Joe saunters around from the driver's side. He smiles, friendly like--</scene_description>
<character>JOE</character>
<dialogue>Listen, ah--Carl, I--</dialogue>
<character>CURT</character>
<dialogue>Curt.</dialogue>
<character>JOE</character>
<dialogue>Curt.</dialogue>
<scene_description>He nods at Curt, looking cautiously around the dark lot.</scene_description>
<character>JOE</character>
<dialogue>Despite you scratching Gil's car, I like you. And I know what you'd like more than anything right now. Like every guy in town, you got the same secret dream, right?</dialogue>
<scene_description>Curt nods.</scene_description>
<character>JOE</character>
<dialogue>Ya want to join the Pharoahs. Huh? You can admit it--you'd like to--but you never dreamed it could be possible, did you?</dialogue>
<scene_description>Curt shakes his head slowly.</scene_description>
<character>JOE</character>
<dialogue>Well, tonight, I'm goin' to give you your chance.</dialogue>
<scene_description>Curt hasn't the slightest idea what Joe is talking about. Joe puts his arm around Curt's shoulders and leads him away, explaining what he has to do, while Ants and Carlos grin. In the middle of the used car lot, a patrol car hides among the autos for sale. Inside the car, Holstein sits with another officer who's dozing. Across Holstein's dark glasses, reflections of the kids' cars cruising by can be seen, as Holstein waits to nab somebody. Joe approaches the patrol car through the lot. He ducks, carrying a length of metal cable in his hand. Curt wanders behind him. Joe sees him and motions for him to get down.</scene_description>
<character>JOE</character>
<dialogue>Get down!</dialogue>
<scene_description>Curt ducks down near Joe.</scene_description>
<character>JOE</character>
<dialogue>Okay. Now you got it? I'm stayin' here. You're on your own.</dialogue>
<character>CURT</character>
<dialogue>Wait a minute, wait a minute, Joe. What if he hears me?</dialogue>
<character>JOE</character>
<dialogue>Shhh. Listen. Look at it this way: Now you got three choices. One, you chicken out. In that case, I let Ants tie you to the car and drag you around a little bit. And you don't want that, right?</dialogue>
<character>CURT</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Two, you foul up and Holstein hears you and well, ah... you don't want that, right?</dialogue>
<character>CURT</character>
<dialogue>No, I don't.</dialogue>
<character>JOE</character>
<dialogue>Three, you are successful and you join the Pharoahs with a carcoat, and the blood initiation and all that, huh?</dialogue>
<character>CURT</character>
<parenthetical>(seeing Joe walk away)</parenthetical>
<dialogue>Wait--wait a minute. Wait a minute! What blood initiation?</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>Oh, here we go baby! Here's "Come Go With Me."</dialogue>
<scene_description>The policeman waits for a victim. In the background, we see Curt dodging from behind one car to another. Taking cover, Curt makes another break toward a car--and trips and falls. In the cop car, Holstein thinks he hears something. He opens the door and gets out. Adjusting his billy club, he paces around the used car lot officiously, while Curt hides behind a Falcon and peeks out from behind a fender. He sees Holstein walking back toward the squad car. The cop opens the door again and climbs in. The echoing sound of the calls coming over the police radio blend with the Wolfman's howling as cars pass with their radios blaring. Curt is inching forward with the cable, toward the squad car. In the background, a slow freight train can be heard starting to move across the valley. Curt ties the cable to a post and then, looking scared, crawls under the police car with the cable. Underneath the car, Curt inches on his back and then reaches up and attaches the cable to the rear axle of the car. MAIN STREET Terry and Debbie are walking across the street, Terry looks miserable and disconsolate about the loss of the Chevy he possessed for three short hours. Debbie tries to be more positive about the situation.</scene_description>
<character>DEBBIE</character>
<dialogue>Hey, why don't we go get your jeep?</dialogue>
<character>TERRY</character>
<dialogue>What? What are you talking about?</dialogue>
<character>DEBBIE</character>
<dialogue>You know, your jeep. The one you sold the hunting ponies for. The one with the four-wheel drive.</dialogue>
<scene_description>Terry just stares at her morosely. He stops by a parking meter and sinks down on top of it.</scene_description>
<character>DEBBIE</character>
<dialogue>Come on, Terry--Terry?</dialogue>
<scene_description>ALLEY BEHIND JERRY'S CHERRIES USED CAR LOT Curt and Joe are on the run toward the Merc. Ants and Carlos jump in as they start their getaway.</scene_description>
<character>JOE</character>
<dialogue>Hey, you sure you got enough slack?</dialogue>
<character>CURT</character>
<dialogue>Yeah, yeah. No sweat. Let's get out of here.</dialogue>
<scene_description>MAIN STREET Joe shifts into high gear and is flying down the main drag. Terry and Debbie look startled as they see the Pharoah's Mercury roaring by--and Curt leaning out the door, shouting insanely.</scene_description>
<character>CURT</character>
<dialogue>Stand by for Justice!</dialogue>
<scene_description>Terry and Debbie watch the Merc speed suicidally past Jerry's Cherries Used-Car Lot. Holstein spots them and the driver starts up the engine of the squad car. THe red lights start flashing and the siren wails. The patrol car shifts into gear and leaps forward. Suddenly, there's a horrendous metallic screech, the patrol car hurtles up and out, airborne for a moment--then noses down and bounces along the pavement, sending out sparks as it slides to a stop. The driver is stunned and frozen to the wheel. Holstein manages to remove his dark glasses and looks back. There, sitting quietly in the middle of the parking lot, is their trans-axle and two rear wheels. The patrol car sits on the ground at a twenty degree angle, while its engine whines impotently at top speed. On the radio, the all-seeing Wolfman gives an evil laugh--</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Oh, I can't believe it. Feels so good 'cause you're sweet sixteen.</dialogue>
<scene_description>And Johnny Burnette takes his cue and croons into "You're Sixteen." A DARK ROAD OUTSIDE TOWN--DEUCE COUPE John has glided off the main drag and into a residential area. Everything is dark and quiet as the adult population sleeps through the night. John pulls the coupe to the curb and turns off the engine. He turns out the lights. Inside the car, there's silence. Only the clock ticking. Carol looks over at John a little nervously.</scene_description>
<character>CAROL</character>
<dialogue>Why are we stopping here?</dialogue>
<scene_description>John looks at her and his arm slides along the back of the seat above her. She notices his arm and the fact that he's moving slowly toward her.</scene_description>
<character>JOHN</character>
<parenthetical>(in a husky voice)</parenthetical>
<dialogue>Carol...</dialogue>
<character>CAROL</character>
<dialogue>What?</dialogue>
<character>JOHN</character>
<dialogue>I--I don't think that I can control myself any longer.</dialogue>
<character>CAROL</character>
<dialogue>You can't?</dialogue>
<character>JOHN</character>
<dialogue>No... Carol, I've got to have you.</dialogue>
<character>CAROL</character>
<dialogue>Me?</dialogue>
<scene_description>He touches her hair and she slouches back into her corner fearfully.</scene_description>
<character>JOHN</character>
<dialogue>All night you've been sitting there and you've been so sexy and it's been so hot--and I can't wait any more...</dialogue>
<character>CAROL</character>
<dialogue>Well--well, a lot of that's an act, you know. Like... like my crying. It was just an act.</dialogue>
<character>JOHN</character>
<dialogue>Well, it's been building up inside of me like a volcano, all night. Maybe if I knew where you lived I could fight it--I could take you home--but since you won't tell me, and since here we are--I've got to have you. It's too late--</dialogue>
<character>CAROL</character>
<dialogue>It's not too late! It's never too late! 231 Ramona--two three one--</dialogue>
<character>JOHN</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Two three one--</dialogue>
<character>CAROL</character>
<dialogue>I'll show you! It's easy to find.</dialogue>
<scene_description>John starts the car engine. Carol looks very relieved. The yellow deuce coupe roars off down the dark street. MEL'S DRIVE-IN Steve sits in the almost empty cafe section of Burger City. He stirs a coffee and mulls over the night's events in his mind. A door opens and Budda Macrae comes in. She watches him a moment, then takes off her little Bell Boy Cap and gets a cup of coffee for herself. Steve looks up as she comes over on her roller skates.</scene_description>
<character>BUDDA</character>
<dialogue>Hi. You mind if I sit down?</dialogue>
<character>STEVE</character>
<dialogue>Hi Budda. No, have a seat.</dialogue>
<character>BUDDA</character>
<dialogue>I got five minutes outa the rat race, and I saw you all alone. For a change.</dialogue>
<scene_description>She drinks her coffee and he looks out the window thinking about something else.</scene_description>
<character>BUDDA</character>
<dialogue>Where's Laurie?</dialogue>
<character>STEVE</character>
<dialogue>I don't know.</dialogue>
<character>BUDDA</character>
<dialogue>I thought the two of you'd be going strong, this being your last night and everything--</dialogue>
<character>STEVE</character>
<dialogue>We broke up.</dialogue>
<scene_description>Budda looks surprised.</scene_description>
<character>STEVE</character>
<dialogue>No big deal.</dialogue>
<character>BUDDA</character>
<dialogue>Wow... what happened?</dialogue>
<character>STEVE</character>
<dialogue>Nothing. We were out at the canal and... we had a fight.</dialogue>
<scene_description>Budda smiles and he looks at her strangely.</scene_description>
<character>STEVE</character>
<dialogue>What's so funny?</dialogue>
<character>BUDDA</character>
<dialogue>Nothing. Just thinking. A girl like Laurie--I mean, she goes to school and is cute and popular and all, but we're not so different. We know what we want. I've seen her after you for two years now.</dialogue>
<character>STEVE</character>
<dialogue>She's not like that.</dialogue>
<character>BUDDA</character>
<dialogue>Maybe not. She does have a different approach. Hers is "Never surrender," me I lay down my arms at the drop of a hat--</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>Budda, you got an hour left, let's get on it.</dialogue>
<character>BUDDA</character>
<parenthetical>(yelling back)</parenthetical>
<dialogue>All right, relax... old fart. Listen, I'm off in an hour. If you wanta come over, my girlfriend's away for the weekend.</dialogue>
<character>STEVE</character>
<dialogue>I don't know...</dialogue>
<scene_description>Laurie walks up the drive-in and is about to enter when she stops and watches Steve and Budda. She thinks about going in, then hesitates, watching them.</scene_description>
<character>BUDDA</character>
<dialogue>Why don't you? I never got a chance to talk to you. You're leaving tomorrow. Listen, I gave up a long time ago, so it'd be just for fun. No problems.</dialogue>
<scene_description>She smiles at him and he smiles back a little. At the door, Laurie turns and leaves before Steven sees her.</scene_description>
<character>BUDDA</character>
<dialogue>I'll see ya later then.</dialogue>
<scene_description>She gets up and goes back to the counter on her skates. Steve thinks a moment and gets up also.</scene_description>
<character>STEVE</character>
<dialogue>Budda, Budda wait.</dialogue>
<scene_description>She turns and he comes over to her as she puts back on her little cap.</scene_description>
<character>STEVE</character>
<dialogue>I gotta get up early and--I just don't think it'd work out.</dialogue>
<character>BUDDA</character>
<dialogue>She's got you so brainwashed--well, hell. Some day I'm gonna win. Don't ya think?</dialogue>
<character>STEVE</character>
<dialogue>Sure.</dialogue>
<scene_description>She smiles briefly, then turns and leaves. Steve watches her go. MEL'S DRIVE-IN The drive-in remains a raucous roar: Cars coming in from the hop, from the movies, other cars going out to the canal or back out to cruise. Only the car hops, who have developed a late-hour, harried look, suggest it's nearly closing time. The Pharoahs arrive. The Mercury swings imperiously into the lot. The radio can be heard as the rumbling engine dies. The Clovers are singing "Love Potion #9." Curt jumps out of the Mercury elated. The Pharoahs all climb out and circle him, punching him playfully. Joe holds him while Carlos tickles him and they all laugh.</scene_description>
<character>JOE</character>
<dialogue>Oh mother, it's been a glorious night.</dialogue>
<character>CARLOS</character>
<dialogue>That was the bitchinest thing I ever seen in my whole life.</dialogue>
<character>ANTS</character>
<dialogue>I seen a little kid attacked by pigs once, but this was even better.</dialogue>
<character>JOE</character>
<dialogue>Oh boy, I'll tell you something, that car must've jumped five feet in the air!</dialogue>
<scene_description>Curt nods, feeling pretty good.</scene_description>
<character>JOE</character>
<dialogue>You sure you got to go? The night's young.</dialogue>
<character>CURT</character>
<dialogue>Yeah, there's some things I got to do. I still want to find that blonde.</dialogue>
<character>JOE</character>
<dialogue>I think she was an optical delusion, man. Psychology-wise it ain't good to dwell on it. You'll alter your ego or something. Anyway, catch ya tomorrow night?</dialogue>
<character>CURT</character>
<dialogue>Yeah, I guess so.</dialogue>
<character>JOE</character>
<dialogue>Guess so? Man, we don't admit a lot of guys to the Pharoahs. You understand we're going to have to swipe your jacket and all--you gotta make up your mind.</dialogue>
<scene_description>Curt nods, thinking about it. Then he shrugs. He looks at the three Pharoahs as they climb back into their maroon chariot.</scene_description>
<character>CURT</character>
<dialogue>Hey--I'll see you guys.</dialogue>
<character>JOE</character>
<dialogue>Sure--listen, remember, Rome wasn't buried in a night.</dialogue>
<scene_description>Joe laughs and Curt nods. He watches the Mercury pull out and then he wanders back across the drive-in toward his little Citroen.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>My, my, my. You only got five minutes left, if you want to talk to the Wolfman. Gonna make all your dreams come true, baby.</dialogue>
<scene_description>Curt gets into the little car and sits listening to the radio. The neon MEL'S DRIVE-IN is reflected across the windshield.</scene_description>
<character>VOICE (V.O.)</character>
<dialogue>Wolfman...</dialogue>
<character>WOLFMAN</character>
<dialogue>Yeah.</dialogue>
<character>VOICE</character>
<dialogue>Would you dedicate a record to keep me and my girlfriend together?</dialogue>
<character>WOLFMAN</character>
<dialogue>Are you separated?</dialogue>
<character>VOICE</character>
<dialogue>Well, see, we're havin' a little problem.</dialogue>
<character>WOLFMAN</character>
<dialogue>I'll bring you right together. Hold on a minute, man. Hi ya, hi ya, hi, hi, hi. Everything's gonna be all right now, man, you understand? Now, let me play the record for you.</dialogue>
<scene_description>As the Wolfman talks on, Curt glances toward the street. He sees the white Thunderbird gliding by. He sits up quickly and tries to start the Citroen--but the machine barely turns over. He keeps trying desperately, but the engine won't catch. CRUISING G STREET--'58 EDSEL Laurie drives slowly, alone in the Edsel. On the radio, the Skyliners are lamenting the sad state of things--"Since I Don't Have You." Laurie wipes her eyes, crying with the music. A horn honks. She looks over to see Bob Falfa's car pacing her. He's alone now and grinning at her. Laurie ignores him. They drive along further. Falfa roars his engine, but she still doesn't give him any attention. He gives up and pulls off. Laurie thinks a while, pouting. She pulls alongside Falfa at the next light. He isn't looking at her. She toots her horn and he turns. Laurie motions him to pull over. Falfa looks surprised. The light changes, and he follows her to the curb. Laurie takes a deep breath, and with a determined look, gets out and walks back to his car. She gets in and closes the door. They start off. He looks over and smiles.</scene_description>
<character>FALFA</character>
<dialogue>Hey Hey Hey, baby, what do you say?</dialogue>
<character>LAURIE</character>
<dialogue>Just don't say anything and we'll get along fine.</dialogue>
<scene_description>Falfa is puzzled by the frigidity in the air. He glances at her then back at the road, wondering about this strange chick. RESIDENTIAL STREET--DEUCE COUPE The coupe slows in front of a modest California ranch-style home. John stops the car and turns off the engine. He looks over at Carol, who seems lost in thought.</scene_description>
<character>JOHN</character>
<dialogue>This the first time you've been quiet all night.</dialogue>
<character>CAROL</character>
<dialogue>I had fun. Goodbye.</dialogue>
<scene_description>She sits for a moment, about to say something.</scene_description>
<character>CAROL</character>
<dialogue>Do you like me?</dialogue>
<character>JOHN</character>
<dialogue>Yeah. I like you. You're all right.</dialogue>
<character>CAROL</character>
<dialogue>But I mean, do you like me?</dialogue>
<character>JOHN</character>
<dialogue>I, ah... I like you. Okay?</dialogue>
<character>CAROL</character>
<dialogue>Couldn't I have something to remember you by?</dialogue>
<scene_description>John gives in to her sweet gaze. He takes off the gearshift knob, gives it to her, and leans over and gives her a kiss.</scene_description>
<character>JOHN</character>
<dialogue>'Bye, kid.</dialogue>
<character>CAROL</character>
<dialogue>Gee, thanks. It's just like a ring or something.</dialogue>
<character>JOHN</character>
<dialogue>Yeah.</dialogue>
<character>CAROL</character>
<dialogue>It's like we were going steady. Wait'll I tell Marcia.</dialogue>
<character>JOHN</character>
<dialogue>Wait a minute, now.</dialogue>
<character>CAROL</character>
<dialogue>Wait'll I tell everybody.</dialogue>
<character>JOHN</character>
<dialogue>Don't go overboard with this thing.</dialogue>
<character>CAROL</character>
<dialogue>Well, I'll see you around.</dialogue>
<scene_description>She jumps out of the car and runs up the walk to the house. He watches her stop at the screen door and turn. She gives him a little wave, then goes inside. John looks over at the empty seat next to him and seems a little sad. He starts the engine and drives off slowly.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>I haven't cried so much. And the tears and everything, man... I leaned down towards the microphone and I almost shorted myself out.</dialogue>
<scene_description>OUTSIDE MEL'S DRIVE-IN Curt has the font hood up on the beetle-like Citroen and is fooling with the recalcitrant engine. Steve is standing beside him.</scene_description>
<character>CURT</character>
<dialogue>Hold that up.</dialogue>
<character>STEVE</character>
<parenthetical>(taking the hood from him)</parenthetical>
<dialogue>I've been thinking--maybe you're right. Why should I leave home to find a new home. Why should I leave friends that I love to find new friends?</dialogue>
<character>CURT</character>
<dialogue>Wait a minute, wait a minute. I've heard this already. Aren't you the one who for eight weeks has been telling me you have to leave the nest sometime?</dialogue>
<character>STEVE</character>
<dialogue>I realize that. I realize--</dialogue>
<character>CURT</character>
<dialogue>No--no realizing. You've been telling me all summer that it's time to pull your head out of the sand and take a look at the big, beautiful world out there. Gimme this thing.</dialogue>
<character>STEVE</character>
<parenthetical>(letting him close the hood)</parenthetical>
<dialogue>I don't know--I--</dialogue>
<character>CURT</character>
<parenthetical>(banging the Citroen hood shut)</parenthetical>
<dialogue>I feel like a mid-wife.</dialogue>
<character>STEVE</character>
<dialogue>I guess I was wrong. I may have been wrong.</dialogue>
<character>CURT</character>
<dialogue>Wrong nothing. You've been talking about getting out of this town for eight weeks. And now--goddamnit!-- you're just--you're just mentally playing with yourself. If you can just relax, we'll talk about it at the airport.</dialogue>
<scene_description>Curt walks around the side of the car and opens the door.</scene_description>
<character>STEVE</character>
<dialogue>Where are you going? It's awfully early in the morning.</dialogue>
<character>CURT</character>
<dialogue>I have a dental appointment.</dialogue>
<character>STEVE</character>
<dialogue>Come on, Curt...</dialogue>
<character>CURT</character>
<dialogue>Just relax, wil ya? I'll see you at the airport.</dialogue>
<scene_description>Curt gets into the car and starts the engine. Steve watches him pull out of the drive-in, then walks off. ALLEY BEHIND THE "COME ON INN" BAR A half dozen people are standing around in the parking lot behind the bar. Debbie is sitting on the hood of a car, swinging her legs and chewing gum. The people all seem to be watching something on the ground behind the car. Coughing is heard, then gagging, and the unmistakable sounds of someone being sick. At the back door of the bar even the cooks are looking and pointing. We hear more coughing and vomiting. A guy slides up on the hood next to Debbie.</scene_description>
<character>GUY</character>
<dialogue>I never seen a guy lose so much. He mustn't have been used to drinking.</dialogue>
<character>DEBBIE</character>
<dialogue>Oh no, he really likes to drink. He told me.</dialogue>
<scene_description>An old man looks at his watch and then up at the stars.</scene_description>
<character>OLD MAN</character>
<dialogue>Gettin' late... I knew a man once who got this sick. Billy Webber. That was ten years ago. What do you think that was there, that he had for dinner?</dialogue>
<scene_description>More groaning and gaggin is heard. An old woman moves close to the old man and he puts an arm around her sentimentally.</scene_description>
<character>OLD WOMAN</character>
<dialogue>Staying on his hands and knees like that...</dialogue>
<parenthetical>(she grins)</parenthetical>
<dialogue>He looks like a dog, doesn't he? Looks like old Ginger.</dialogue>
<character>OLD MAN</character>
<dialogue>Sicker than a dog, that's for sure.</dialogue>
<scene_description>The people drift off, leaving Debbie sitting alone on the car. Now, Terry slowly emerges, pulling himself up the hood of the car. His face is white. He lies across the hood trying to catch his breath.</scene_description>
<character>TERRY</character>
<dialogue>Ohh rats, I feel like--</dialogue>
<parenthetical>(he notices a car nearby and pushes himself up)</parenthetical>
<dialogue>Wait a second... hey!</dialogue>
<scene_description>He staggers across the lot toward Steve's Chevy! Debbie slides off the car and follows him.</scene_description>
<character>TERRY</character>
<dialogue>It's--oh my god--it looks like Steve's car. Look, right here under our-- it's my car. My car. We found it. Look!</dialogue>
<scene_description>Terry staggers around and looks for the keys. He searches under the front seat and over the visor. Must've taken the keys with them.</scene_description>
<character>DEBBIE</character>
<dialogue>Maybe we oughta call the police.</dialogue>
<character>TERRY</character>
<dialogue>Never get here in time. I got a better idea. We'll just steal it back. See if you can find some wire around. We only need a foot to hot-wire it... okay?</dialogue>
<scene_description>GAS STATION--DEUCE COUPE John pulls the coupe out of the garage and wheels up to the pumps of the gas station. An attendant nods, looking at the roaring engine.</scene_description>
<character>ATTENDANT</character>
<dialogue>Took the header plugs off. Expectin' some action?</dialogue>
<scene_description>John looks at him from inside the coupe and nods slowly.</scene_description>
<character>JOHN</character>
<dialogue>Yeah. Think so. There's some punk lookin' for me.</dialogue>
<character>ATTENDANT</character>
<dialogue>Why the hell do they bother? You've been number one as long as I can remember.</dialogue>
<character>JOHN</character>
<dialogue>Yeah... it's been a long time, ain't it? I'll see ya. Thanks.</dialogue>
<scene_description>John drives the car out of the station and screeches down the street. ALLEY BEHIND THE "COME ON INN" BAR--STEVE'S '58 CHEVY Terry is fiddling around under the dashboard, trying to hot- wire the Chevy. As the wires connect, the radio comes to life and the Wolfman growls.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Who is this on the Wolfman telephone?</dialogue>
<scene_description>There's the sound of a phone ringing, then the unmistakable voice of the Big Bopper answering.</scene_description>
<character>BIG BOPPER (V.O.)</character>
<dialogue>Hellooo, baaaby--</dialogue>
<scene_description>Just then, Terry looks up and sees one large badass looking at him. Terry gets up slowly and sees another big guy standing nearby. The first badass reaches in and grabs Terry by the shirt. He pulls him from the car. Terry is smiling weakly.</scene_description>
<character>TERRY</character>
<dialogue>Ah, hi--this is my car. What I mean is, somebody stole my car--I mean I lost my car and I want to thank you two guys for--</dialogue>
<scene_description>The first badass shoves Terry toward the other badass.</scene_description>
<character>TERRY</character>
<dialogue>--for returning--I mean finding it. I mean, listen now, listen guys-- I've been sick recently, and this kind of activity can really be hard on a guy. Now, easy will you? Easy!</dialogue>
<scene_description>They throw him back and forth and start to rough him up seriously. Debbie is running around helplessly while they pummel Terry. Then, she sees the yellow deuce coupe passing. John glances out his window and notices the fight behind the Come On Inn. He punches it and wheels into a fast U-turn. The hoods have quit playing with Terry and are punching him. Terry's still on his feet, mostly because he's drunk and staggering away from a lot of the blows; also, Debbie is screaming and pelting the assailants with her purse.</scene_description>
<character>DEBBIE</character>
<dialogue>Stop it, stop it, stop it! Help! Police! You creeps!</dialogue>
<scene_description>John jumps out of the coupe and runs into the parking lot. He grabs one of the punks and turns him--smashing him in the face. The punk lands on his ass. John starts circling the other.</scene_description>
<character>TERRY</character>
<dialogue>Go, John!</dialogue>
<character>DEBBIE</character>
<dialogue>Hit him!</dialogue>
<scene_description>A good fighter, John lands a couple of blows to the gut and lands him on his can. Both of them crawl off. Terry is lying nearby, drunk, sick and bloodied. Debbie holds his head in her lap. John goes over and kneels by them.</scene_description>
<character>JOHN</character>
<dialogue>Hey, man, you all right?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. I'll die soon and it'll all be over.</dialogue>
<character>DEBBIE</character>
<parenthetical>(looking at John)</parenthetical>
<dialogue>Wow--you're just like the Lone Ranger.</dialogue>
<character>JOHN</character>
<parenthetical>(eyeing Debbie)</parenthetical>
<dialogue>Yeah. Listen, are you with the Toad, or were you with them?</dialogue>
<scene_description>Terry manages to raise his head.</scene_description>
<character>TERRY</character>
<dialogue>You're talking to the woman I love...</dialogue>
<scene_description>His head falls back again.</scene_description>
<character>JOHN</character>
<dialogue>What happened, man?</dialogue>
<scene_description>Terry opens his mouth to start to explain, but it's too hard. He can only moan. MEL'S DRIVE-IN The drive-in is emptying out finally as the midnight hour approaches and passes. The die-hards and the hard-ups are still wheeling through Mel's looking for remains of any action. Steve sits inside in a booth. Two gossipy looking girls come in smiling and slide into the booth across from him.</scene_description>
<character>STEVE</character>
<dialogue>Hi, Karen, Judy.</dialogue>
<character>JUDY</character>
<dialogue>Hi, Steve. Have you seen Laurie lately?</dialogue>
<scene_description>Steve shakes his head no.</scene_description>
<character>JUDY</character>
<dialogue>Well, we have.</dialogue>
<character>STEVE</character>
<parenthetical>(already annoyed)</parenthetical>
<dialogue>Oh yeah. So what?</dialogue>
<character>JUDY</character>
<dialogue>So nothing. She was just with a really cute guy in a boss car. We wondered who he was.</dialogue>
<character>STEVE</character>
<dialogue>I wouldn't know.</dialogue>
<character>JUDY</character>
<dialogue>We do. His name's Bob Falfa.</dialogue>
<scene_description>The name registers with Steve. Terry and Debbie pull into the drive-in and park. Terry, his face swelling, groans as he leans toward the intercom.</scene_description>
<character>TERRY</character>
<dialogue>Help... I mean, I want two cherry cokes with lots of ice. Never mind, forget the cokes, just bring the ice, pronto.</dialogue>
<scene_description>The intercom repeats his order in a foreign language and suddenly Steve arrives and opens the door.</scene_description>
<character>STEVE</character>
<dialogue>Out! OUT!</dialogue>
<character>TERRY</character>
<dialogue>What??</dialogue>
<character>STEVE</character>
<dialogue>I need the car--now.</dialogue>
<scene_description>Terry gets out and Debbie gets out her side. Steve gets in.</scene_description>
<character>TERRY</character>
<dialogue>What's going on?</dialogue>
<character>STEVE</character>
<dialogue>I'm about to find out.</dialogue>
<scene_description>Steve roars out of the drive-in, leaving Terry and Debbie standing in an empty space.</scene_description>
<character>DEBBIE</character>
<dialogue>I don't believe it! You practically get killed trying to get your car</dialogue>
<dialogue>back, then you let him have it.</dialogue>
<scene_description>Terry looks at her, his eye swollen, his lip ballooning, his glasses broken. Finally, he gives up--it's not worth the trouble any longer.</scene_description>
<character>TERRY</character>
<dialogue>It's not my car.</dialogue>
<character>DEBBIE</character>
<dialogue>What?</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<scene_description>IT IS NOT MY CAR!</scene_description>
<character>DEBBIE</character>
<dialogue>Well, where is your car?</dialogue>
<scene_description>Terry is upset now. I DON'T HAVE A CAR!</scene_description>
<character>DEBBIE</character>
<dialogue>You don't--no car at all. What about your jeep?</dialogue>
<scene_description>Terry shakes his head.</scene_description>
<character>DEBBIE</character>
<dialogue>No car... well, how am I going to get home?</dialogue>
<scene_description>Just then the car hop approaches with the two cokes on two trays.</scene_description>
<character>CAR HOP</character>
<dialogue>Where's your car? I gotta hook 'em to your car.</dialogue>
<scene_description>Terry shrugs, standing in the empty stall, the carhop with the trays and Debbie watching. There's a low rumbling sound and the girls turn as John's deuce coupe glides into the stall next to them. Terry shuffles toward John's car, a defeated man. Terry leans against John's car and John looks out the window at him.</scene_description>
<character>JOHN</character>
<dialogue>What's wrong, Toad? You lose the car again?</dialogue>
<character>TERRY</character>
<parenthetical>(softly)</parenthetical>
<dialogue>No... Steve took it.</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>It's a shame, Baby. I'll tell yuh... Got to take it easy when you're drivin' that car of yours. You got to cruise easy, baby. Don't be doin' any accidents or anything on me.</dialogue>
<scene_description>And the radio plays "Cryin' in the Chapel." John smiles and gets out of the car. He goes and opens his hood, making a last-minute check on something. Terry sits down gently on a curb by John. Debbie has been talking with some other boys. Eventually she wanders up slowly and looks at Terry. He looks up at her, then away, disgraced and embarrassed. She sits down by him and they're silent.</scene_description>
<character>DEBBIE</character>
<dialogue>You know, I had a pretty good time tonight.</dialogue>
<character>TERRY</character>
<dialogue>Oh come on, you're just--</dialogue>
<character>DEBBIE</character>
<dialogue>No, no, really. I really had a good time. I mean, you picked me up and we got some hard stuff and saw a hold-up, and then we went to the Canal, you got your car stolen, and then I got to watch you gettin' sick, and then you got in this really bitchin' fight... I really had a good time.</dialogue>
<scene_description>Terry looks at her, starting to regain a little cool.</scene_description>
<character>TERRY</character>
<dialogue>You think so? Yeah--well I guess I have pretty much fun every night.</dialogue>
<character>DEBBIE</character>
<dialogue>Anyway if you're not doing anything tomorrow night, why don't you come over?</dialogue>
<character>TERRY</character>
<dialogue>Yeah--well, I might be busy, you know. But we could--well, I got a little Vespa I just play around with.</dialogue>
<character>DEBBIE</character>
<dialogue>Really? Why that's almost a motorcycle. And I just love motorcycles.</dialogue>
<scene_description>He feels his swollen lip and she touches it. Then she leans over and kisses him.</scene_description>
<character>DEBBIE</character>
<dialogue>I got to go.</dialogue>
<character>TERRY</character>
<dialogue>Ow.</dialogue>
<character>DEBBIE</character>
<dialogue>Goodnight.</dialogue>
<character>TERRY</character>
<dialogue>See ya.</dialogue>
<scene_description>She smiles, walks off, swinging her purse. She looks over her shoulder and smiles. He smiles back. OUTSIDE RADIO STATION--CITROEN The little Citroen bumps along a lonely dirt road, winding its way through dark peach orchards and wizened grape vineyards. Curt watches the deserted landscape when suddenly, the radio increases in volume and he turns it down. Then it begins to roar and distort eerily as the signal becomes more powerful. Then Curt sees it. He stops the car and gets out. He stands looking at an isolated white frame house hitting in the moonlight. Curt looks up at a spidery radio antenna that rises toward the stars, its black wires humming in the stillness. Curt starts up the gravel walk to the door. Under the glare of a naked spotlight, he sees a small intercom which plays soft Rock and Roll. He hesitates, then pushes a buzzer. He pushes it again and finally a voice comes over the intercom.</scene_description>
<character>VOICE (V.O.)</character>
<dialogue>Yeah, who is it?</dialogue>
<character>CURT</character>
<dialogue>It's--I want to talk to the Wolfman.</dialogue>
<character>VOICE</character>
<dialogue>The Wolfman ain't here.</dialogue>
<character>CURT</character>
<dialogue>I know, but I got to get in touch with him. I got something to give him before--</dialogue>
<character>VOICE</character>
<dialogue>We don't take no deliveries after eight. Come back tomorrow.</dialogue>
<character>CURT</character>
<dialogue>No, I can't. I want to ask him something that--</dialogue>
<character>VOICE</character>
<dialogue>Dedications by phone is Diamond 75044. Wolfman Top 40 is Box 13, Chula Vista. Wolfman Sweatshirts is Wolf Enterprises, Bakersfield. 'Bye.</dialogue>
<character>CURT</character>
<dialogue>Listen, I got a right to talk to him. I listened to him every night</dialogue>
<dialogue>for as long--for twelve years almost. I know him and it's personal and it'll only take a minute and I bet Wolfman would be upset if he knew a friend couldn't get in touch with--</dialogue>
<scene_description>A buzzer interrupts him and the door opens an inch. Curt pushes it open slowly--no one is there. A little scared, he goes inside and closes the door. INSIDE RADIO STATION Curt walks slowly down a dark eerie corridor, passing strangely lit rooms with electronic generators, humming dynamos and glassed-off booths filled with flashing electronic apparatus. Curt goes through this other-worldly maze until he comes to a small, dimly lit control booth. A figure inside is barely visible through the reflections in the double glass windows. The figure turns and walks up to the window. Curt backs off a bit. A face stares at him--long hair greased in a ducktail, a short chinbeard. Then he speaks, his voice filtering strangely through a hidden speaker.</scene_description>
<character>MANAGER</character>
<dialogue>What do you want?</dialogue>
<scene_description>Through the window, Curt can be seen but no sound is heard.</scene_description>
<character>MANAGER</character>
<dialogue>Pull the red switch.</dialogue>
<character>CURT</character>
<dialogue>I'm looking for a girl.</dialogue>
<character>MANAGER</character>
<dialogue>Aren't we all. She ain't here. Come on back to the booth.</dialogue>
<scene_description>Curt walks around through a few more glass doors and ends up in the booth with the manager. The manager sits down and leans back, turning a fan to blow on his large chest. He's a large, friendly looking man; he wears a Hawaiian shirt. He sucks on a popsicle. Curt stands awkwardly.</scene_description>
<character>MANAGER</character>
<dialogue>Hey, have a popsicle. The ice box just broke down and they're meltin' all over the place. You want one?</dialogue>
<character>CURT</character>
<dialogue>No. Thanks. Listen, ah...</dialogue>
<character>MANAGER</character>
<dialogue>Have a popsicle.</dialogue>
<character>CURT</character>
<dialogue>Are you the Wolfman?</dialogue>
<character>MANAGER</character>
<dialogue>No, man. I'm not the Wolfman.</dialogue>
<scene_description>The manager leans forward and picks up a spool of tape. He holds it up as a magician would for audience inspection, then puts it on a machine. A record is about to end. As it does the manager punches some buttons and the record segues into a Wolfman howl and then the distinctive Wolfman voice takes over. The manager adjusts the monitor volume down and sucks his popsicle.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Who is this on the Wolfman's telephone?</dialogue>
<character>DIANE (V.O.)</character>
<dialogue>Diane.</dialogue>
<character>WOLFMAN</character>
<dialogue>How're you doin', Diane?</dialogue>
<character>DIANE</character>
<dialogue>All right.</dialogue>
<scene_description>The station manager smiles at Curt, who is watching the tape and blinking lights of the large console.</scene_description>
<character>MANAGER</character>
<dialogue>That's the Wolfman.</dialogue>
<character>CURT</character>
<dialogue>He's on tape. The man is on tape.</dialogue>
<character>WOLFMAN (V.O.)</character>
<dialogue>Do you love me? Say you love me, Diane.</dialogue>
<character>CURT</character>
<dialogue>Well, ah--where does he work? I mean, where is the Wolfman now?</dialogue>
<character>MANAGER</character>
<dialogue>The Wolfman is everywhere.</dialogue>
<character>CURT</character>
<dialogue>But I got to give him this note.</dialogue>
<character>MANAGER</character>
<parenthetical>(taking it from Curt)</parenthetical>
<dialogue>Here, let me see the note.</dialogue>
<parenthetical>(he reads it)</parenthetical>
<dialogue>Hell, that's just a dedication. All I gotta do is relay it. And it'll be on the air tomorrow, or Tuesday at the latest.</dialogue>
<character>CURT</character>
<dialogue>No, no. See, this is very important. I may be leaving town tomorrow, and it's very important that I--damn it,</dialogue>
<dialogue>that I reach this girl right now.</dialogue>
<character>MANAGER</character>
<dialogue>You don't know whether you're gonna leave town or not?</dialogue>
<character>CURT</character>
<dialogue>Well, I'm supposed to go to college back East tomorrow. And I don't know if I'm gonna go.</dialogue>
<character>MANAGER</character>
<dialogue>Wait a minute. Have a popsicle.</dialogue>
<character>CURT</character>
<dialogue>No, thank you.</dialogue>
<character>MANAGER</character>
<dialogue>Sit down a minute.</dialogue>
<scene_description>Curt sits down, undecided about leaving and upset about not being able to get in touch with the lovely creature he saw earlier that night.</scene_description>
<character>MANAGER</character>
<dialogue>Listen, it's early in the morning. Now, I can't really talk for the Wolfman. But I think if he was here he'd tell you to get your ass in gear. Now, no offense to your home town here, but this place ain't exactly the hub of the universe, if you know what I mean. And well--I'll tell you this much--the Wolfman does come in here now and then, with tapes, to check up on me, you know, and when I hear the stories he got about the places he goes. Hell, here I sit while there's a big beautiful world out there, don't ya know. Wolfman comes in last time talking about some exotic jungle country, handing me cigars he says was rolled on the naked thighs of brown beauties. The Wolfman been everywhere and he seen everything. He got so many stories, so many memories. And here I sit sucking on popsicles.</dialogue>
<scene_description>Curt looks at him a moment.</scene_description>
<character>CURT</character>
<dialogue>Why don't you leave?</dialogue>
<character>MANAGER</character>
<dialogue>Well, I'm no kid anymore. I been here a long time. And the Wolfman-- well, the Wolfman gave me my start and he's sorta become my life. I can't leave him now. Gotta be loyal to the Wolfman, you understand.</dialogue>
<scene_description>Curt nods and stands. The manager swivels around and punches some buttons, putting on a commercial. He turns back.</scene_description>
<character>MANAGER</character>
<dialogue>I tell you what. If I can possibly do it tonight, I'll try to relay this dedication and get it on the air for you later on.</dialogue>
<character>CURT</character>
<dialogue>That'd be great. Thanks. Really.</dialogue>
<scene_description>He shakes the manager's hand, then wipes it on his pants.</scene_description>
<character>MANAGER</character>
<dialogue>Sorry, sticky little mothers ain't they? Bye.</dialogue>
<character>CURT</character>
<dialogue>'Bye.</dialogue>
<scene_description>Curt goes out the door. He starts back out through the maze of windows and electronic machines. Echoing throughout the rooms, the Wolfman's raucous voice follows Curt. The Wolfman howls and Curt turns. Through the maze of glass, shifting like prisms, he sees the station manager sitting by the mike--howling! Then, he laughs and howls again, starting to sing a song called "Bluebirds on My Dingaling," pounding out the rhythm on the console.</scene_description>
<character>CURT</character>
<dialogue>Wolfman...</dialogue>
<scene_description>He backs away, leaving the Wolfman, who's on his feet now, screaming out the end of the song, dancing by himself in the little glass room, from which his voice radiates out through the night and around the world... MEL'S DRIVE-IN John is working under the hood of the deuce coupe when Falfa's Chevy drives into the parking lot. The radio is now blasting "Heart and Soul." Terry moves over toward John's car. John doesn't look up, although he is quite aware of Falfa's entrance. Falfa slows down in front of John's car and revs his engine again. John looks up--Laurie is in the car with Falfa. She looks determined not to seem as scared as she really is.</scene_description>
<character>TERRY</character>
<dialogue>Hey, John, let me go with you. Come on.</dialogue>
<character>JOHN</character>
<dialogue>Naw, man. I can't take you when I'm racin' somebody.</dialogue>
<character>TERRY</character>
<dialogue>Ah, come on. Just let me go. So I can watch. Or, I'll flag you, okay?</dialogue>
<character>JOHN</character>
<dialogue>All right. Go ahead.</dialogue>
<scene_description>Terry starts to climb into the car. John looks over at Falfa in the rumbling Chevy.</scene_description>
<character>JOHN</character>
<dialogue>Paradise Road.</dialogue>
<scene_description>Falfa grins and gooses the Chevy, peeling out of Mel's Drive- in. CRUISING MAIN STREET--FALFA'S '55 CHEVY Falfa looks over at Laurie, who is watching the road nervously.</scene_description>
<character>FALFA</character>
<dialogue>All right now, where's this Paradise Road?</dialogue>
<character>LAURIE</character>
<dialogue>You just follow this street straight out of town... Listen, if you're gonna race John Milner, you can let me out right when we get there.</dialogue>
<character>FALFA</character>
<dialogue>Why don't you shut up, baby? You ain't said one word all night long. What a weird broad. But you're gonna appreciate me soon. You're gonna be hangin' on for mercy, when I get this sucker rollin'.</dialogue>
<scene_description>He accelerates the Chevy, shifting up deftly. Laurie looks scared now. CRUISING 10TH STREET--STEVE'S '58 CHEVY Steve is cruising along the almost deserted streets looking for Laurie. A T-Roadster pulls up alongside and a guy shouts at Steve.</scene_description>
<character>DALE</character>
<dialogue>You heading out to Paradise Road?</dialogue>
<character>STEVE</character>
<dialogue>Paradise Road, I'm not--</dialogue>
<character>DALE</character>
<dialogue>Some guy named Falfa going up against Milner.</dialogue>
<character>STEVE</character>
<dialogue>John's racing Falfa?</dialogue>
<character>DALE</character>
<dialogue>Yeah. Figured something was up, saw them going out of town real cautious and then--</dialogue>
<scene_description>But Steve is gone. Dale looks surprised as the Chevy roars off toward Paradise Road. MEL'S DRIVE-IN--PRE-DAWN Curt pulls into the parking lot just as the neon sign goes out. The last cars are leaving as the drive-in shutters up for the night. Curt stops next to the lighted phone booth and sits in his car, listening to the Wolfman.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>I got a dedication here that's for a friend of the Wolfman--a special friend of the Wolfman who's leaving town tomorrow and wants me to play the next song for a blonde young lady in a Thunderbird. A white T- Bird, you understand? Now my friend's named Curt and he wants to talk to you out there, baby. So you meet him at Burger City, or phone Diamond 3132. Now he's a friend of mine, you hear, and, little girl, you better call him, or the Wolfman gonna get you.</dialogue>
<scene_description>The Wolfman howls and Curt smiles, leaning his chin on his hand, looking around the dark drive-in, wondering about tomorrow. PARADISE ROAD--DAWN John's '32 yellow deuce coupe and Falfa's black '55 Chevy are waiting side by side on a long, straight country road, their front wheels resting on a weather-beaten starting line. The sky is getting lighter as the radio plays "Green Onions." There are about six to eight other cars parked off the road to watch the race. Everything is quiet now, only the crickets ignoring the solemnity of the scene, and still singing. Terry jumps out of John's car, John hands him the flashlight and he takes up a position in front of the two cars. John looks over at Falfa, who's arguing with Laurie.</scene_description>
<character>JOHN</character>
<dialogue>Hey--Laurie, what in the hell are you doing in there? Is she gonna ride with you?</dialogue>
<character>LAURIE</character>
<dialogue>Mind your own business, John.</dialogue>
<character>FALFA</character>
<dialogue>Yeah, she's with me. You worry about</dialogue>
<dialogue>yourself, man.</dialogue>
<character>TERRY</character>
<dialogue>Everybody ready?</dialogue>
<scene_description>John settles back in the driver's seat and positions his hand on the gear-shift, which we see is wrapped with rags because of the missing knob. Both drivers start revvin' their engines; the tension builds. Terry looks nervous, the engines start to scream and Terry, his hands shaking on the flashlight, manages to flash it on. Both cars roar off the starting line, tires smoking and screaming. Terry has his hands over his head and is coughing in a cloud of smoke as they pass. John beats Falfa off the line. Out on the road, as they hit third gear, the cars are almost neck and neck. Inside Falfa's car, Laurie looks scared to death. Falfa looks insane as he tromps it. John hits fourth at about eighty-five. Falfa does likewise-- but starts to fish-tail. Laurie closes her eyes, almost crying-- Falfa regains control nervously. Falfa's engine is winding out incredibly and he begins to get the edge on John. The cars rocket through the dawn light along the flashing white line until suddenly Falfa's car blows a tire, his front wheel slips off and the car shoots off into a tomato field, hits an irrigation ditch and begins flipping over wildly in a horrifying cloud of dust and smoke-- John sees the Chevy leaving the road and screams to a halt, swimming through an unbelievable U-turn and high tailing it back to the crash site. He is out of the car like a bullet, running across the dirty cloddy field. The crash car is beginning to burn in the engine compartment and John is panicked. Meanwhile, the spectators have arrived, including Steve, who jumps from his car and is running across the field. Steve and John arrive at the fire at approximately the same time. They stop, the flames are getting higher, burning up into the trees now. Steve looks around wildly--he sees John and goes at him.</scene_description>
<character>STEVE</character>
<dialogue>You stupid sonofabitch, she was in that car! Why did you have--</dialogue>
<scene_description>He takes a couple of swings at John, who finally manages to tackle him around the waist. They both get up looking at the flaming wreckage. Then John moves around the side, crouching, trying to see past the flames--suddenly, he stands and motions to Steve to come over. They both circle the wreck. Around behind the flaming car Falfa is standing in a state of shock watching the car go up in smoke, while Laurie is circling him, screaming and beating him with her purse.</scene_description>
<character>LAURIE</character>
<dialogue>I said I didn't--you lousy greasy jerk! You coulda killed me--what's wrong with you. You clubfoot...</dialogue>
<scene_description>She beats at him, crying hysterically. Steve runs over and grabs her, pulling her away. She fights at Steve, too, not knowing what's going on.</scene_description>
<character>LAURIE</character>
<dialogue>No, no, no. Please, don't come near me. No, please. I think I'm gonna be sick. Oh, Steven.</dialogue>
<character>STEVE</character>
<dialogue>Laurie, please.</dialogue>
<scene_description>Standing in the early light, Steve holds her. She throws her arms around him as the crowd develops along the irrigation ditch to watch the flaming car.</scene_description>
<character>LAURIE</character>
<dialogue>Oh, Steven! Oh, Steven, please, don't leave me. Don't leave me, Steven.</dialogue>
<character>STEVE</character>
<dialogue>I won't.</dialogue>
<character>LAURIE</character>
<dialogue>I couldn't bear it.</dialogue>
<character>STEVE</character>
<dialogue>I won't.</dialogue>
<character>LAURIE</character>
<dialogue>Please.</dialogue>
<character>STEVE</character>
<dialogue>Believe me.</dialogue>
<scene_description>John looks at Falfa who's shaking his head, watching the car dissolve.</scene_description>
<character>JOHN</character>
<dialogue>Come on, before she blows.</dialogue>
<scene_description>He pulls him off by the neck of the shirt and when they're a few yards off, Falfa's '55 Chevy does blow--exploding like a small A-bomb, blowing it into Modesto history. Back on the road, John is heading toward his car, its engine still running, its door open. Terry runs up, trotting alongside John like a puppy.</scene_description>
<character>TERRY</character>
<dialogue>Jeez, did you show him! He'll probably never even get in a car again.</dialogue>
<character>JOHN</character>
<dialogue>He was faster.</dialogue>
<character>TERRY</character>
<dialogue>It was beautiful, John. Just beauti-- what?</dialogue>
<scene_description>John stops by the open door of the deuce coupe. Terry stares at him and squints against the rising sun.</scene_description>
<character>JOHN</character>
<dialogue>I was losin', man.</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>JOHN</character>
<dialogue>He had me, man. He was pullin' away from me just before he crashed.</dialogue>
<character>TERRY</character>
<dialogue>You're crazy.</dialogue>
<character>JOHN</character>
<dialogue>You saw it.</dialogue>
<character>TERRY</character>
<dialogue>No, you creamed him, from right off the line. The guy never had a chance.</dialogue>
<character>JOHN</character>
<dialogue>Shit, Toad. The man had me. He was beating me.</dialogue>
<character>TERRY</character>
<dialogue>John, I don't know what you're talking about. It was the most beautiful thing I've ever seen. That guy, he might as well get a wheelchair and roll himself home. Man, you got... you got the bitchinist car in the Valley. You'll always be number one, John. You're the greatest.</dialogue>
<scene_description>John nods, then looks up at Terry. His face is glowing, his glasses are smashed and his lip is swollen. John smiles.</scene_description>
<character>JOHN</character>
<dialogue>Look at your glasses, man.</dialogue>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Okay, Toad. We'll take 'em all.</dialogue>
<character>TERRY</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Right.</dialogue>
<character>JOHN</character>
<dialogue>We'll take em... let's get out of here.</dialogue>
<scene_description>John climbs in the car. Terry yawns and shakes his head.</scene_description>
<character>TERRY</character>
<dialogue>Jesus, what a night.</dialogue>
<scene_description>He climbs in too, and the deuce coupe drives off slowly as the sun rises over the ploughed fields and on the radio we hear "Only You." MEL'S DRIVE-IN-DAWN-CITROEN Curt sleeps in the little car as the sky grows lighter over the empty parking lot. The phone is ringing in the booth. It continues to ring. Finally Curt becomes aware of it and opens his eyes. It takes him a moment to remember. Then, panicked, he jumps from the car and rushes to the booth.</scene_description>
<character>CURT</character>
<dialogue>Hello, hello, hello!</dialogue>
<scene_description>A soft sexy female voice is on the other end of the line.</scene_description>
<character>VOICE (V.O.)</character>
<dialogue>Curt?</dialogue>
<character>CURT</character>
<dialogue>Yeah... this is Curt, who is this?</dialogue>
<character>VOICE</character>
<dialogue>Who were you expecting?</dialogue>
<character>CURT</character>
<dialogue>Do you drive a white T-Bird?</dialogue>
<character>VOICE</character>
<dialogue>A white '56. I saw you on Third Street.</dialogue>
<character>CURT</character>
<dialogue>You know me.</dialogue>
<character>VOICE</character>
<dialogue>Of course!</dialogue>
<character>CURT</character>
<dialogue>Who are you? How do you know me?</dialogue>
<character>VOICE</character>
<dialogue>It's not important.</dialogue>
<character>CURT</character>
<parenthetical>(excitedly)</parenthetical>
<dialogue>It's important to me. You're the most perfect, beautiful creature I've ever seen and I don't know anything about you. Could we meet someplace?</dialogue>
<character>VOICE</character>
<dialogue>I cruise Third Street every night. Maybe I'll see you again tonight.</dialogue>
<character>CURT</character>
<dialogue>No... I don't think so.</dialogue>
<character>VOICE</character>
<dialogue>Why?</dialogue>
<character>CURT</character>
<dialogue>I'm leaving... in a couple of hours. Where are you from?</dialogue>
<character>VOICE</character>
<dialogue>Curt...</dialogue>
<character>CURT</character>
<dialogue>What's your name? At least tell me your name?</dialogue>
<character>VOICE</character>
<dialogue>Goodbye, Curt.</dialogue>
<character>CURT</character>
<dialogue>Wait a second! Wait a second!</dialogue>
<scene_description>But there's a click as she hangs up. Curt looks at the phone a moment, then also hangs up. From the car radio, he hears the Wolfman making kissing noises.</scene_description>
<character>WOLFMAN (V.O.)</character>
<dialogue>Little kiss on your ear. Good night, sweetheart. I'll see you later.</dialogue>
<scene_description>And then the Spaniels duh-duh-duh-duh-duh into "Goodnight Sweetheart." AIRPORT DAY A DC-3 prop airliner is warming up its engines as it waits to take off from a small country airport. There aren't too many people around. Just Curt and his friends and family seeing him off. Curt stands with a kindly-looking couple in their fifties. He hugs his mother and shakes hands with his dad. Then, Curt moves to his friends. He shakes Steve's hand.</scene_description>
<character>STEVE</character>
<dialogue>Good luck.</dialogue>
<character>CURT</character>
<dialogue>Yeah, same to you. And I better see you there next year.</dialogue>
<character>STEVE</character>
<dialogue>Oh yeah, I'll be there.</dialogue>
<character>CURT</character>
<dialogue>Sure.</dialogue>
<scene_description>Curt hugs his sister. Laurie holds on to him for a moment.</scene_description>
<character>CURT</character>
<dialogue>See ya later.</dialogue>
<character>LAURIE</character>
<dialogue>'Bye 'bye, Curt.</dialogue>
<scene_description>Curt goes to Terry and John.</scene_description>
<character>CURT</character>
<dialogue>So long, guys.</dialogue>
<character>TERRY</character>
<dialogue>Well, stay cool, man.</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Ah--don't do anything I wouldn't do.</dialogue>
<scene_description>Curt smiles at Terry, who has a bandage on his forehead. Curt looks at John and they don't seem to know what to say. Finally, John gives Curt a little slap on the cheek.</scene_description>
<character>CURT</character>
<dialogue>I'll see ya, buddy.</dialogue>
<character>JOHN</character>
<dialogue>I know, you probably think you're a big shot, goin' off like this--but you're still a punk.</dialogue>
<character>CURT</character>
<dialogue>Okay, John. So long.</dialogue>
<scene_description>He walks toward the plane and they all wave. He looks around as he goes up the steps carrying a small bag and a portable radio. The stewardess smiles as he passes her. Above the door of the plane it reads RADAR EQUIPPED. Curt looks back again, then goes inside. The plane takes off down the runway and then climbs up into the sky. INSIDE THE PLANE Curt listens to the radio as the plane takes off. It's playing "Goodnight Sweetheart." As the plane climbs and banks over the valley, the music fades and the station drifts between static and other stations...and then it's gone. Curt turns off the radio and looks out the window. As the plane banks, through the window Curt sees the white Thunderbird crossing beneath on the small grey ribbon of highway. Curt watches it. Then the plane's shadow ripples over the car and it, too, is gone. THE BLUE SKY As the plane flies off against the blue sky we see cameos of Curt and his friends: John Milner was killed by a drunk driver in December 1964. Terry Fields was reported missing in action near An Loc in December 1965. Steve Bolander is an insurance agent in Modesto, California. Curt Henderson is a writer living in Canada.</scene_description>
<character>THE END</character>
</scene>
</script> | On their last evening of summer vacation in 1962, high school graduates Curt Henderson and Steve Bolander meet two other friends, confident drag-racing king John Milner and unpopular but well-meaning Terry "The Toad" Fields in the parking lot of Mel's Drive-In in Modesto, California. Steve and Curt are to travel "Back East" in the morning and start college but the latter has second thoughts about leaving. Laurie, Steve's girlfriend and Curt's sister, arrives moments later, Steve suggesting to her that they see other people while he is away at college to "strengthen" their relationship. Though not openly upset, it affects her interactions with him through the night. Curt, Steve and Laurie attend the high-school sock hop. En route, Curt sees a beautiful blonde woman driving a white Ford Thunderbird next to them, who mouths "I love you" before turning a right. The interaction causes Curt to desperately search for her throughout the night. After leaving the hop, he is coerced into joining a group of greasers called "The Pharaohs", who force him into several tasks including stealing coins from arcade machines and hooking a chain to a police car, ripping out its back axle. During a tense ride, the Pharaoh leader tells Curt that "The Blonde" is a prostitute, which he does not believe. With Steve allowing Terry to take care of his car while he's studying at college, Terry cruises around the strip and picks up rebellious Debbie. Now calling himself "Terry The Tiger", he attempts all night to impress her by lying about the car being his and purchasing alcohol with no ID. While he and Debbie leave Steve's car in a rural spot in order to share a romantic interlude, thieves steal the car. Later, after the alcohol has made Terry violently sick, he sees Steve's car and attempts to steal it back. The car thieves appear and beat him up until John intervenes. Terry eventually admits to Debbie that he's been lying about the car all along and he actually drives a scooter; she suggests it is "almost a motorcycle" and says she had fun with him, agreeing to meet up with him again. In an attempt to get cruising company for the evening, John inadvertently picks up Carol, a precocious 12-year-old who manipulates him into driving her around all night. Lying to suspicious friends that she's a cousin and he's stuck with babysitting duty, they have a series of petty arguments until another car's occupants verbally harass her as she attempts to walk home alone, John then deciding to protect her. Meanwhile, skilled racer Bob Falfa is searching out John to challenge him to the defining race for John's drag-racing crown. During his night of goading anyone he comes across for a challenge, he picks up an emotional Laurie after the argument with Steve that was brewing all night. After leaving the Pharaohs, Curt drives to the radio station to ask omnipotent disc jockey "Wolfman Jack" to read a message out on air for the blonde in the White Thunderbird. He encounters an employee who tells him the Wolfman does not work there and that the shows are pre-taped for replay, claiming the Wolfman "is everywhere" but promises to have the Wolfman air the request. As Curt leaves, he notices the employee talking into the microphone and realizes he is in fact the Wolfman, who reads the message for the blonde asking her to call Curt on the pay phone at Mel's Drive-In. After taking Carol home, John is found by Bob Falfa, successfully goading him into the definitive race along Paradise Road outside the city, with some spectators appearing to watch. As Terry starts the drag race, John takes the lead but Bob's tire blows out, swerving into a ditch and rolling over before bursting into flames. Steve, aware that Laurie was Bob's passenger, rushes to the wreck as she and Bob crawl out and stagger away before the car explodes. While John helps his rival to safety, Laurie begs Steve not to leave her, he assures her that he will stay with her in Modesto. Exhausted, Curt is awakened by the pay phone. He finally speaks to the blonde, who does not reveal her identity but hints at the possibility of meeting that night. Curt replies that he is leaving town. Later at the airfield, he says goodbye to his parents and friends before boarding the plane. After takeoff, he looks down at the ground from the window and sees the white Thunderbird driving along the road below. Curt thoughtfully gazes into the sky. Postscript: In 1964, John was killed by a drunk driver; in 1965, Terry was reported missing in action near An Lộc, South Viet Nam. Steve is an insurance agent in Modesto and Curt is a writer living in Canada. |
From Hell_2001 | tt0120681 | <script>
<scene>
<scene_description>r-</scene_description>
<character>FROM HELL</character>
<dialogue>The Real Story of Jack the Ripper</dialogue>
<scene_description>by Terry Hayes Based on the Comic Series by Alan Moore and Eddie Campbell</scene_description>
<character>PRODUCERS:</character>
<dialogue>JDPRODUCTIONS</dialogue>
<dialogue>Jane Hamsher Don Murphy FIRST DRAFT 2600 W. Olive #1039 AUGUST 1995 BurbankCA 91521</dialogue>
<scene_description>^ 818-972-3030 f\*\*^ OUT OF DARKNESS Fade up a title card: In 1883 the volcano on the Indonesian island of Krakatoa erupted, showering the world with dust. As this debris fell slowly to earth, it led to a number of strange atmospheric effects. In 1888 the city of London witnessed increasingly bizarre sunsets - green and blood red skies. Contemporary accounts describe it as an unusually lightless year. In retrospect, it seems entirely appropriate... WhooshI The screen erupts in orange and red flame. We pull back to reveal</scene_description>
<character>A STREET VENDOR</character>
<dialogue>fires up a brazier, starting to roast chestnuts and squirrels over the flames. Unseen by him, two urchins crouch under the barrow, trying to capture some of the warmth. It's dusk • a blood red sky turns to purple as night falls.</dialogue>
<dialogue>Silhouetted against it is a grim and awful church. The massive portico and tower are deliberately out of proportion, designed to instill a sense of fear in those who enter. Its name is Christchurch and it stands in the heart of Whitechapel.</dialogue>
<dialogue>This is the armpit of London • grim Victorian tenements, dark alleys and lanes, a filthy pub on every corner. The streets are crowded with the poor and desperate. Scores of prostitutes, ranging in age from the early teens to the late 40's, work the sidewalks and alleys, looking for trade.</dialogue>
<character>A SHOP WINDOW</character>
<dialogue>throws a wedge of light across Dorset Street. Several prostitutes look in at the cheap bonnets and shoes. Among them is a woman in her early 20's • she's poorly dressed, thy looking. Her face is beautiful - she has auburn hair that falls to her shoulders and large bright eyes. Her name is Mary Kelly. Like the other women, she is tired and hungry \* trying to make a living the only way she can.</dialogue>
<dialogue>An unshaven bear of a man approaches. Under his jecket he wears e leather apron • he's a butcher. Despite his appearance, several of the women put on their most attractive smiles. None of them can afford to be choosy.</dialogue>
<scene_description>/""""^ The butcher eyes the women up and down, appraising them. Then he sees Mary and smiles. s-s</scene_description>
<character>BUTCHER</character>
<dialogue>New around here, ain't you?</dialogue>
<character>MARY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>A couple of weeks, that's all...</dialogue>
<character>BUTCHER</character>
<dialogue>What's the fare then?</dialogue>
<character>MARY</character>
<dialogue>Eight pence. Six pence for me end tuppence for a room.</dialogue>
<character>BUTCHER</character>
<dialogue>Eight pence for the hour? I can't afford to travel that far. Anything for less?</dialogue>
<character>MARY</character>
<dialogue>A three-penny upright is the cheapest.</dialogue>
<character>BUTCHER</character>
<dialogue>What's an upright, missy?</dialogue>
<character>MARY</character>
<dialogue>There's a lane 'round the back - you do it up against the wall.</dialogue>
<scene_description>The Butcher looks around • a narrow alley leads between two tenements.</scene_description>
<character>BUTCHER</character>
<dialogue>It's dark, is it?</dialogue>
<character>MARY</character>
<dialogue>Dark enough.</dialogue>
<scene_description>He smiles at her • then reaches up and rings an imaginary bell.</scene_description>
<character>BUTCHER</character>
<dialogue>Dingl Ding! All aboard.</dialogue>
<scene_description>Mary turns and leads him into the alley.</scene_description>
<character>A SADOLE MAKER'S YARD</character>
<dialogue>/ff!fmK</dialogue>
<scene_description>Mary and the Butcher move through the shadows behind the tenements • a workshop and stables form a courtyard. Alleys and passageways run off of it. /""N Another prostitute enters the courtyard. In her 30's with raven hair and eyes like jet, she looks sassy - a half open blouse and a pert bonnet tied under her chin. This is Annie Chapman • Dark Annie to her friends.</scene_description>
<character>MARY</character>
<dialogue>Hello Annie.</dialogue>
<scene_description>Dark Annie can't see clearly in the gloom. She comes forward, peering •</scene_description>
<character>MARY</character>
<dialogue>It's Mary... Mary Kelly.</dialogue>
<character>DARK ANNIE</character>
<dialogue>Hello, Mary. How's tricks? If you're going to Dutfield Yard be careful • there's a drunk fallen down in the doorway.</dialogue>
<character>MARY</character>
<dialogue>Thanks, Annie.</dialogue>
<scene_description>As they go their separate ways, we crane up: the slums behind the tenements stretch forever • a maze of alleys, broken down hovels and towering walls.</scene_description>
<character>DARK ANNIE</character>
<dialogue>steps into a covered passageway littered with garbage. Smiling, she starts to play hopscotch over the trash.</dialogue>
<character>DARK ANNIE</character>
<dialogue>One, two, buckle my shoe. Three, four shut the door...</dialogue>
<scene_description>A man steps into frame. Silently, he watches Dark Annie from behind. In his hand he cerries a knife. Annie skips forward, into -</scene_description>
<character>A MARKET YARD</character>
<dialogue>It's deserted now • empty barrows and wagons line the walls, blocking the only exit. Dark Annie curses at having to retrace her steps. She turns - straight into the manl He slashes with the knife! It cuts straight across her throat - her bonnet flutters to the ground.</dialogue>
<dialogue>Annie keeps staring at the man. Oh, he's good with the blade - he's cut the bonnet clean off her chin and not even scratched the skin. He pulls her face close to his.</dialogue>
<scene_description>jf\*\*. He's a young man - dead eyes and a cruel smile. r"- GEORDIE Annie, isn't it? Dark Annie Chapman?</scene_description>
<character>DARK ANNIE</character>
<dialogue>If...if., it's money you want, I'm.. I've only got a shilling. If it's t'other... I... I'll do it here.</dialogue>
<character>GEORDIE</character>
<dialogue>Time enough for pleasure later. It's business first.</dialogue>
<scene_description>He jerks her head back, laying open her throat and breasts. A sound behind Annie. She rolls her eyes back • two men emerge from the shadows and stand at back of her. One of them is obviously the leader. This is McQueen. McQUEEN We come from Old Nichol Street. Maybe you've heard of us? Annie nods her head • yes.</scene_description>
<character>MCQUEEN</character>
<dialogue>The girls up the other end of Whitechapel</dialogue>
<scene_description>(\*\*\*\* like us, Annie. We keep an eye on the streets, make sure there's no trouble, you know the son of thing. Now a fine service like that doesn't come free, does it? The girls have to pay, and not a shilling, either.</scene_description>
<character>DARK ANNIE</character>
<dialogue>How much?</dialogue>
<scene_description>McQUEEN Every girl, e pound a week each.</scene_description>
<character>DARK ANNIE</character>
<dialogue>A pound?! There's no hope •</dialogue>
<scene_description>McQUEEN That doesn't sound like enthusiasm. What a shame. (to Geordie) Doit! Geordie clamps his hand over Annie's mouth and slashes the knife across her ^ exposed breasts. Annie's face crumples in pain - she slumps in his arms. McQueen puts his face close. ( ' McQUEEN We like you. Annie \* that's why we chose you. You're a good looking girl and you work hard. Now if we do that to someone we like, just imagine what we'll do to someone who gives us trouble. Tell that to the other girls, will you? We'll be round come Friday for the money. Geordie lets go of her. She falls to the ground. The men vanish into the shadows.</scene_description>
<character>THREE PENNIES</character>
<dialogue>are thrown to the ground. We are in Outfield's Yard, a small and shadowy area next to a warehouse. Mary bends and picks up the money. The Butcher pulls aside his apron, getting ready to take her. A sound in the shadows, sort of like a gasping • Annie staggers into the yard, clutching her blouse across her chest.</dialogue>
<character>DARK ANNIE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Mary... I've been cut, Mary.</dialogue>
<scene_description>yiS^V, Mary goes to her • she sees the blood covering Annie's blouse.</scene_description>
<character>MARY</character>
<dialogue>Sweet Jesus...</dialogue>
<parenthetical>(to the butcher)</parenthetical>
<dialogue>Help us • c'mon she needs help.</dialogue>
<scene_description>The man backs away, doing up his fly •</scene_description>
<character>BUTCHER</character>
<dialogue>I came here for some twat • I don't want any trouble.</dialogue>
<character>MARY</character>
<dialogue>For Chrissakes, the girl's bleedingl</dialogue>
<scene_description>He turns and runs. Slaml He trips over something lying in the doorway - it's the drunk. The Butcher scrambles to his feet and keeps running.</scene_description>
<character>MARY</character>
<dialogue>Men... bloody men!</dialogue>
<scene_description>/\*\*\*\*• She cradles Annie in her arms and yells for help. The sound carries ecross the slums of Dorset Street. A couple of lanterns come on -</scene_description>
<character>C\*\*' THE RINGERS</character>
<dialogue>is a down-at-heel pub on the corner of Dorset end Crispin Streets. It's real name \* as it still is today • is The Britannia. The nickname comes from the proprietors - Walter Ringer and his wife. Annie lies on a couch, a sheet draped from the rafters gives a little privacy from the drinkers. The wound across her chest has just been bandaged.</dialogue>
<dialogue>The local Doctor washes the blood and iodine from his hands. Two policemen, Mary and several other more experienced prostitutes watch •</dialogue>
<character>DOCTOR LEWELLYN</character>
<dialogue>It'll heal, well enough. She just needs to bathe it every day - no doubt that'll come as quite a shock. I've left some laudanum for the pain.</dialogue>
<scene_description>He packs his equipment into his bag. Annie reaches in to her purse and drops a couple of pennies in his hand - that's all the money she's got. The Doctor looks at the other women, waiting. They all contribute • Mary pulls out the three soiled pennies and hands it over.</scene_description>
<character>DOCTOR LEWELLYN</character>
<dialogue>Glad to be of service. Good night, ladies.</dialogue>
<scene_description>He steps through the sheet. The senior policeman turns to Annie •</scene_description>
<character>SERGEANT</character>
<dialogue>I need to get a statement from you.</dialogue>
<character>DARK ANNIE</character>
<dialogue>What • and it'll be my throat that's cut tomorrow? No, thank you. Sergeant. There's taws down here in the East End, but they're not made by coppers.</dialogue>
<scene_description>Several of the other prostitutes nod in agreement.</scene_description>
<character>SERGEANT</character>
<dialogue>Do you want our help or not?</dialogue>
<scene_description>One of the women laughs. This is Polly Nichols. She's a good hearted woman in her late 20'e. A crooked smile gives her a cock-eyed, impish look •</scene_description>
<character>POLLY</character>
<dialogue>Help • you? Since when has anyone given e shit about us? We're poor and</dialogue>
<scene_description>(/<"v we're women. There's never e copper around when we need one. /\*s\*%v^..</scene_description>
<character>DARK ANNIE</character>
<dialogue>You just come round and pick up the pieces. Glorified undertakers, that's what you are.</dialogue>
<character>SERGEANT</character>
<dialogue>And what do you call something that fucks in the street? A bitch, that's what I say.</dialogue>
<parenthetical>(turns to the constable)</parenthetical>
<dialogue>Write it down, Charlie - she tripped and fell on a piece of glass. Accidental injury.</dialogue>
<scene_description>He picks up his jacket, turns and walks out.</scene_description>
<character>A MAGNIFICENT HOUSE</character>
<dialogue>It's a grand Nash-designed terrace in Belgravia - all pillars and balustrades. Through a huge window we see a sparkling chandelier •</dialogue>
<character>IN THE DRAWING ROOM</character>
<dialogue>are about thirty people - men in black tie, the women in satin and jewels. It's after dinner and the butler serves drinks and cigars. A man near the fireplace turns and takes a brandy balloon. He's in his early 30's. handsome, a little out of his depth in such glittering company. But there's a strength about him, a cool intelligence in his eyes that makes you feel if there was trouble you'd want him on your side. This is Fred Abberline.</dialogue>
<dialogue>On the other side of the room is Sir Charles Warren, the Commissioner of Police. He is in his 60's. gray-haired, strong in appearance but week in character. He is talking to a big elderly woman, dressed in leyers of cream silk. She looks like a galleon in full sail •</dialogue>
<character>LADY ROSSIE</character>
<dialogue>And this Mr Abberline, Sir Charles • you say he's a Detective Inspector or something. Tell me, what brings a man like him to the attention of the Police Commissioner?</dialogue>
<character>SIR CHARLES</character>
<dialogue>Heve you ever been to Whitechapel,</dialogue>
<scene_description>^•""""V m'lady?</scene_description>
<character>C^' LADY ROSSIE</character>
<dialogue>Good God, no.</dialogue>
<character>SIR CHARLES</character>
<dialogue>I don't recommend it. There's seventy thousand people crammed into five square miles. Unemployment is over sixty per cent • and that's among the men. There's nothing for the women, nothing at all, not unless you count starvation or a profession which good manners precludes me from mentioning. The Black Hole of Calcutta • it's here, in the heart of London. Imagine the son of man that has brought at least some order to it. That's Inspector Abberline. He's an outstanding officer, m'lady.</dialogue>
<character>LADY ROSSIE</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Apparently so. And now you're going to turn him loose on us wicked dowagers</dialogue>
<scene_description>y£fli"5\*v of Belgravia? Of course, this place is full of crime, too, but as everybody knows - up here we at least have the good taste to keep it behind closed doors. Don't you think your Inspector may be a trifle bored?</scene_description>
<character>SIR CHARLES</character>
<dialogue>I shouldn't think so. Mr Abberline's very ambitious - this is a wonderful opportunity for him. He's already an Inspector at thiny-four - who knows, at this rate he'll have my job before he's done.</dialogue>
<character>LADY ROSSIE</character>
<dialogue>Then it's just as well he works hard - that's a high bar for anyone to clear.</dialogue>
<scene_description>Sir Charles gives a little bow, acknowledging the compliment.</scene_description>
<character>LADY ROSSIE</character>
<dialogue>When does he stan?</dialogue>
<character>SIR CHARLES</character>
<dialogue>Not for a couple of months but I thought</dialogue>
<scene_description>{\*\*\*\* we should get him acclimatized. The air up in the West End can be quite rarefied. Lady Rossie keeps looking at Abberline. She speaks quietly.</scene_description>
<character>LADY ROSSIE</character>
<dialogue>He's handsome enough, I'll give him that. Standards and loyalty, that's all we ask of a man, isn't it Sir Charles?</dialogue>
<character>AT THE FIREPLACE</character>
<dialogue>Abberline is with a group about to play cards. One of the men shuffles the two packs - nonchalantly he fires the cards from one hand to the other, fans them in mid-sir, cuts them and fans them again. He's in his late 30's • rich and arrogant. This is the seventh Earl of Pembroke • Duchy to his friends. He speaks to Abberline</dialogue>
<character>DUCHY</character>
<dialogue>Would you care to shuffle... I'm sorry, I can't recall your name.</dialogue>
<character>ABBERLINE</character>
<dialogue>Abberline. Fred Abberline. I don't know any tricks. I can play, that's about all.</dialogue>
<scene_description>(^ DUCHY Surprising. I would have thought a member of the constabulary would have known a lot more tricks than us less worldly people. I think you're being shy. Come on • dazzle us. Before Abberline can answer, a middle-aged men who has spent his life with the bottle interrupts. Pouring himself another cognac, he speaks to the Earl •</scene_description>
<character>WILLY</character>
<dialogue>Leave it off. Duchy. What would you know about "the constabulary" anyway?</dialogue>
<character>DUCHY</character>
<parenthetical>(evenly)</parenthetical>
<dialogue>You're quite right, of course, Willy - I've never actually met a policeman before.</dialogue>
<scene_description>He turns back to Abberline. His smile is even more patronizing than his words -</scene_description>
<character>WILLY</character>
<dialogue>Light me up. will you Frederick?</dialogue>
<scene_description>/"""v. He puts a large Havana in his mouth and points at a glowing taper lying in the fireplace. The two men look at each other. The other members of the group watch. Among them is the hostess. She is 29, very beautiful and quite spoilt • ten years previously she inherited a fonune. Her name is Lady Jane D'Urbanville and right now her eyes are totally on the handsome Abberline. A beat • then Abberline turns and reaches for the taper. So - he gives in. Duchy smiles and leans forward with the cigar, waiting for the light.</scene_description>
<character>ABBERLINE</character>
<dialogue>Actually, there is one trick I know.</dialogue>
<character>DUCHY</character>
<dialogue>Really? You must show us -</dialogue>
<scene_description>Abberline knocks back his entire glass of cognac • and spits! A stream of liquor arches towards the cigar. Abberline touches the glowing teper to it \* the liquor bursts into flame. It looks like Abberline is breathing fire. The stream of flame lights the end of the cigar and dies. The rest of the group stare in amazement - then Ledy Jane claps and cheers. The others join in. Duchy touches his singed forehead •</scene_description>
<character>DUCHY</character>
<dialogue>^ Those jMfilfi\_my eyebrows.</dialogue>
<character>ABBERLINE</character>
<dialogue>Sorry. The trick's a bit like me I guess - it needs a little refinement.</dialogue>
<character>WILLY</character>
<dialogue>Damn fine trick it you ask me! Far bener than that crap with the cards.</dialogue>
<scene_description>Lady Jane catches Abberline's eye -they smile at one another. And Ledy Jane keeps smiling • long enough for Willy to note her interest in Abberline.</scene_description>
<character>A ROW OF CARRIAGES</character>
<dialogue>is drawn up in front of the mansion - the guests are leaving. Lady Jane stands at the drawing room window. Only a few intimate friends remain. She watches Abberline get into Sir Charles' coach. Willy takes Lady Jane's hand \*</dialogue>
<character>WILLY</character>
<dialogue>He seems like a fine chap.</dialogue>
<character>LADY JANE</character>
<dialogue>f\*\*\* He does, doesn't he?</dialogue>
<scene_description>/\*\*V WILLY It's funny though, he said his father was the doctor at High Wycombe. When I was young my family had a place there. Damned if I can recall the doctor having a son.</scene_description>
<character>LADY JANE</character>
<dialogue>You were probably drunk, that's why.</dialogue>
<scene_description>Another woman has been listening. She turns to Lady Jane •</scene_description>
<character>VIOLET</character>
<dialogue>How could you, Jane? You heard Willy - he said he wes just a child. You didn't become a drunk until much later, did you darling?</dialogue>
<character>WILLY</character>
<dialogue>No. Jane's right, I'm afraid. I realized very early drinking's like sport • you have to start very young if you really want to achieve anything.</dialogue>
<scene_description>Lady Jane laughs but her eyes are still on the coach.</scene_description>
<character>MILLER'S RENTS</character>
<dialogue>is a collection of hovels built around a courtyard just off Dorset Street. It's late et night, the pubs have closed, and the courtyard is crowded with men and women. The landlord - an unshaven pig of man • stands outside collecting money for an overnight stay in a tiny room. Mary and Polly, accompanied by another prostitute from The Ringers, are supporting Dark Annie. They shuffle towards the landlord. Mary looks in her purse -</dialogue>
<character>MARY</character>
<dialogue>I've only got e half-penny left - it looks like I'll be traveling steerage.</dialogue>
<character>POLLY</character>
<dialogue>Me too.</dialogue>
<parenthetical>(turns to Annie)</parenthetical>
<dialogue>You cleaned us out, darlin' • what with the doctor and all that gin you needed for your nerves. I had a husband like</dialogue>
<scene_description>r that once • he was so nervous he never spent a day sober. They front up to the landlord, each dropping a half-penny into his dirt-stained hand. He jerks his head, indicating the house behind him.</scene_description>
<character>LANDLORD</character>
<dialogue>Second hall on the left. -</dialogue>
<character>A NARROW ROOM</character>
<dialogue>is empty except for several long wooden benches. Crowded onto them are the urban poor • mothers with kids, hollow-eyed men and down-trodden youths. Sitting on back-to-back benches so they form a huddle, art the four women -</dialogue>
<character>POLLY</character>
<dialogue>A pound each!</dialogue>
<scene_description>t</scene_description>
<character>DARK ANNIE</character>
<dialogue>That's what they said.</dialogue>
<scene_description>Mary and the other prostitute • Liz Stride - look equally shocked. Liz • known as Long Liz because of her height • grew up in Sweden and speaks with an accent.</scene_description>
<character>LONG U2</character>
<dialogue>f How do they think we earn so much?</dialogue>
<character>DARK ANNIE</character>
<dialogue>That's not their problem. I used to work up that end of Whitechapel, that's how they knew me. There was a girl called Emma Smith who wouldn't pay. They didn't cut her breasts, they... they cut her down there.</dialogue>
<scene_description>The other women look horrified.</scene_description>
<character>DARK ANNIE</character>
<dialogue>That's when I moved down Dorset Street. I'm not getting cut again, I don't care how hard I have to work.</dialogue>
<character>LONG LIZ</character>
<dialogue>Easy to say. How many hours are there in the day?</dialogue>
<character>POLLY</character>
<dialogue>h's not just that. There are ways to earn</dialogue>
<scene_description>/\*'"\*" . more money, but there's some things I just won't do. ^ DARK ANNIE What are you talking about?</scene_description>
<character>POLLY</character>
<dialogue>You know, what some blokes want - foreign ideas, if you ask me.</dialogue>
<scene_description>Dark Annie just stares at her. She's the most experienced of them all and obviously nothing's off the menu with her.</scene_description>
<character>DARK ANNIE</character>
<dialogue>Yeah - not like the English, of course - pull your dress up, back against the wall, that's their contribution to the an of love.</dialogue>
<character>POLLY</character>
<dialogue>I've got standards, that's all I'm saying... yes, you can laugh Annie Chapman but -</dialogue>
<character>MARY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I think I know where we can get the money.</dialogue>
<scene_description>The other three women turn and look at her, taken aback.</scene_description>
<character>DARK ANNIE</character>
<dialogue>What?</dialogue>
<character>MARY</character>
<dialogue>And not a few pounds either. If we're going to do this, I was thinking we should all get out of Whitechapel. I was going to ask for fifty.</dialogue>
<scene_description>The other women just stare. Then Polly starts to laugh - fifty pounds! Liz Stride's not sure if it's a joke or not. Only Dark Annie doesn't smile •</scene_description>
<character>DARK ANNIE</character>
<dialogue>If we're going to do what. Mary?</dialogue>
<scene_description>Mary is about to answer but she sees three men approaching. She falls silent. The men, employees of the lendtord, string ropes the length of the room and pull them taut, across the chests of the people sitting on the benches. They've paid to sleep sitting upright - the rope prevents them pitching forwerd while they're asleep. The gas lights are turned down. Darkness.</scene_description>
<character>CLOUDS OF STEAM</character>
<dialogue>billow out of the rail yards at Liverpool Street station • a huge building, a Gothic cathedral to the locomotive. The steam pours across a busy road and hits a grim stone building. Over the doors is a sign: .</dialogue>
<scene_description>Bishopsgate Police Station</scene_description>
<character>INSIDE THE BASEMENT</character>
<dialogue>Bang! A jet of flame shoots out the end of a barrel as a gun fires. We pull back to reveal a group of policemen watching Abberline firing at a makeshift target. He's still got his coat on - he's just arrived at work. The gun is a long-barreled revolver, deadly accurate and beautifully made. He hands it to one of the uniformed officers -</dialogue>
<character>ABBERLINE</character>
<dialogue>Where did you get it. Constable?</dialogue>
<character>CONSTABLE</character>
<dialogue>We took it off an American seaman last night. He was walking around with it in his coat • probably thought he was</dialogue>
<scene_description>^ Wyatt Earp.</scene_description>
<character>ABBERLINE</character>
<dialogue>Lock it in the evidence cabinet when you're finished. Not that we'll need it - I bet he's already jumped bail. He's probably on a freighter right now practicing his French.</dialogue>
<scene_description>He turns to the door. He sees the Sergeant at his locker - he's just finished the night shift and is getting ready to leeve. Abberline joins him - together they walk out the door and along a corridor.</scene_description>
<character>ABBERLINE</character>
<dialogue>What's on the blotter • anything I should know?</dialogue>
<character>SERGEANT</character>
<dialogue>A bang-tail got her tits cut down near Dutfield Yard. It looks like our friends from Nichol Street are moving south -</dialogue>
<scene_description>ff^^ not that the women'd tell you. Still, I \* suppose we should feel sorry for 'em.</scene_description>
<character>ABBERLINE</character>
<dialogue>Sorry for em? I would if they tried to help themselves. You've seen what it's like down Commercial Road • the night schools and the free institute are empty. But you cen't say that about the pubs, can you? Drinking's the biggest industry in Whitechapel. And the women are as bad as the men.</dialogue>
<character>SERGEANT</character>
<dialogue>Worse. But not yours to worry about much longer, Fred. No whores up in Belgravia • et least none that we could afford.</dialogue>
<character>ABBERLINE</character>
<dialogue>Two months, Pete - it can't happen soon enough.</dialogue>
<scene_description>They disappear up the stairs. /fi">^</scene_description>
<character>LARGE SKYUGHTS</character>
<dialogue>form the ceiling of a spectacular artist's studio: beautiful furniture, an easel in the middle of the room, canvasses on the walls. It's mid-morning • the front door opens and a man enters. He's in his early 30's - well-dressed, sophisticated, cold. This is Walter Sickert and he's a painter • in time, a famous one. As he takes off his hat and coat he sees an envelope that's been pushed under the door.</dialogue>
<dialogue>He picks it up, rips open the flap and starts to read the letter. Though we don't see the words, his face becomes increasingly grim -</dialogue>
<character>SICKERT</character>
<dialogue>What the hell, Mary...</dialogue>
<scene_description>At last he lays it down. He walks to the window and stares out, thinking. Then he comes to a decision.</scene_description>
<character>SICKERT</character>
<dialogue>Anyway, I wash my hands of it.</dialogue>
<scene_description>He tugs on e bell-pull and a moment later a manservant enters •</scene_description>
<character>SICKERT</character>
<dialogue>I want you to deliver something for me.</dialogue>
<scene_description>As he puts the letter in another envelope and addresses it, we tilt up to one of the canvasses on the wall. It shows a naked woman lying on a crumpled bed. We recognize the props - it was obviously painted in the studio - and the woman. It's Mary Kelly. CLIVEDEN is one of Englend's great country houses • east wing, west wing, twenty bedrooms and attics for sixty servants. The whole magnificent pile sparkles now in the autumn sunshine. A horse-drawn carriage travels down the driveway and stops in front of the house's elegant entrance. Sir Charles Warren gets out and walks up the steps. THE GARDENS of the house seem to stretch forever, banks of flowers, stunning topiaries, immaculate hedges. An elderly man • beautifully dressed, distinguished, powerful - walks down an avenue of white jonquils. This is Lord Hailsham and Cliveden is his home. Sir Charles walks at his side.</scene_description>
<character>HAILSHAM</character>
<dialogue>Forty years I was a soldier. Sir Charles. I saw men with great skill and learning, on a few occesions I witnessed outstanding bravery, but you know the quality I came to value most - love of country. I know you have it. Sir Charles, and so do I. In our different ways we both serve the Kingdom. We would pay any price rather than see harm come to h, wouldn't we?</dialogue>
<character>SIR CHARLES</character>
<dialogue>Yes, certainly, Lord Hailsham.</dialogue>
<character>HAILSHAM</character>
<dialogue>So it is with deep regret I must tell you that I have received a letter, a very worrisome letter. It deals with matters of great delicacy. Some woman is trying to trade information for money. Somehow she has learned things and now, like a ghost out of the past, they come back. But like most ghosts, the only thing to do is lay it to rest.</dialogue>
<scene_description>Hailsham takes Mary's letter out of his jacket pocket and gives it to Sir Charles. They continue walking - the jonquils give way to banks of roses as Sir Charles reads the letter. He looks up •</scene_description>
<character>SIR CHARLES</character>
<dialogue>I can assure you. m'lord. the Metropolitan Police will do whatever is necessary to apprehend the offender.</dialogue>
<character>HAILSHAM</character>
<dialogue>Offenders - you see the woman refers to us. But it's not really a question of catching anyone, Sir Charles. As I said, this is a situation of great delicacy. It's more a matter of silence.</dialogue>
<character>SIR CHARLES</character>
<dialogue>Silence, m'lord? I'm not sure I follow...</dialogue>
<character>HAILSHAM</character>
<dialogue>| You have a good man in Whitechepel,</dialogue>
<scene_description>do you? i Sir Charles stares at him, his anxiety starting to rocket. ' SIR CHARLES Yes. Abberline. Fred Abberline.</scene_description>
<character>HAILSHAM</character>
<dialogue>Good. We don't want any of your people blundering around where they don't belong, do we?</dialogue>
<character>SIR CHARLES</character>
<dialogue>Blundering into what? I really need to know what you mean •</dialogue>
<character>HAILSHAM</character>
<dialogue>Not at all. You don't have to do a thing, Sir Charles. This Abberline - ambitious is he?</dialogue>
<character>SIR CHARLES</character>
<parenthetical>(lost)</parenthetical>
<dialogue>Yes.</dialogue>
<character>HAILSHAM</character>
<dialogue>Excellent. In my experience men who want to move out of their class are always bendable • wouldn't you agree, Sir Charles?</dialogue>
<scene_description>(^^" Hailsham looks straight at him -a look of real cruelty. We realize - Sir Charles wasn't always a knight of the realm; he. too. has moved out of his class.</scene_description>
<character>SIR CHARLES</character>
<dialogue>(bitterly) -</dialogue>
<scene_description>Bendable? Yes, my lord, I suppose they often are. But I am the Commissioner of Police. I must insist you tell me what this entails.</scene_description>
<character>HAILSHAM</character>
<dialogue>No, you won't insist. Sir Charles. AH I have to do is ask you a question... Who will help the widow's son?</dialogue>
<scene_description>Sir Charles stares in silence. A beat. Then he bows his head in acquiescence. Lord Hailsham puts his hand on Sir Charles's shoulder end leads him back towards the house.</scene_description>
<character>BROOK STREET</character>
<dialogue>is a row of beautiful houses in the heart of Mayfair. Gas lamps glow in the cold London night. It's late and the houses are in darkness. All except number seventy- four. This is the residence of Sir William Gull. We push in on it -</dialogue>
<character>IN THE BATHROOM</character>
<dialogue>Gull is in his SO's, a handsome but arrogant looking man - a tilted jaw, aquiline nose, a soft mouth. Right now he is almost naked. His flesh is flabby and sickly white, the teats of an aging man hang down. Despite the hour he has just finished shaving, his face pink and shining, his heir powdered and perfectly parted. He reaches into a jar, takes out a handful of lavender and crushes the petals in his fingers, releasing the perfume. Slowly he rubs it over his soft skin, scenting himself. He starts to dress.</dialogue>
<character>THE RINGERS</character>
<dialogue>The pub is crowded with drinkers. We track past a crowd of men to e table near the fire. Sitting at it are Mary, Dark Annie, Long Liz and Polly. With them is a friend of theirs - another prostitute called Catherine Eddowes. Polly is laughing, modeling a new black bonnet.</dialogue>
<dialogue>At the bar is a coachman • a big man in his early 30's - mean and cunning. This is the sort of man who is cruel to those beneath him and fawning to those he considers his betters. His neme is John Netley. He leans forward and says</dialogue>
<scene_description>C- something to Welter Ringer - the publican.</scene_description>
<character>RINGER</character>
<dialogue>Mary Kelly? That's her - the fine looking woman.</dialogue>
<scene_description>He points across the room then leans close, confidential •</scene_description>
<character>RINGER</character>
<dialogue>She hasn't been on the street long. Fresh, so to speak. If it's fun you're efter, you couldn't do better than her.</dialogue>
<character>NETLEY</character>
<dialogue>Those others they're all her friends, are they?</dialogue>
<scene_description>Ringer looks at him • he's not sure what he's driving at.</scene_description>
<character>RINGER</character>
<dialogue>Well... yeah... she drinks with 'am, if that's what you mean. Most nights they heve a bite of supper.</dialogue>
<character>NETLEY</character>
<dialogue>/>""\* I'm a coachman, Mr Ringer. Let me</dialogue>
<scene_description>tell you what I'm gettin' at. If I wanted to double-team a couple of fillies and take 'em for a good hard ride, then it could be Mary Kelly and one of her pals, could it?</scene_description>
<character>RINGER</character>
<dialogue>Double team 'em? Ha! Ha! Yeah, but don't let your head make a promise your dick can't keep. Ha! Hal</dialogue>
<character>NETLEY</character>
<dialogue>Don't worry about that. It's like you say, Mr Ringer • it's certainly fun I'm after.</dialogue>
<scene_description>At the table, the women have bought another round of drinks • they're still laughing, enjoying themselves. They look up • Netley is standing next to them. Polly is the most brazen -</scene_description>
<character>POLLY</character>
<dialogue>Hello. A strappin' fella like you - you're lookin' for company, I bet.</dialogue>
<scene_description>> Netley just keeps looking at her. He doesn't say a word. jtSP-v.^</scene_description>
<character>POLLY</character>
<dialogue>Oh, Lord - not a foreigner, are you?</dialogue>
<scene_description>There's peals of laughter from the others. Netley gives a crooked smile •</scene_description>
<character>-NETLEY</character>
<dialogue>No, missus. East End born and bred. What's yer name, darlin'?</dialogue>
<character>POLLY</character>
<dialogue>Polly Nichols. Interested?</dialogue>
<character>NETLEY</character>
<dialogue>Maybe later, Polly.</dialogue>
<character>POLLY</character>
<dialogue>Yeah, sure - that's what they all say.</dialogue>
<scene_description>Netley pulls on his coat, smiles and goes out the door.</scene_description>
<character>THE DRAWING ROOM</character>
<dialogue>j ^ S ^</dialogue>
<scene_description>at Brook Street. Gull, elegantly dressed now, takes a small medicine bottle and puts it in his pocket. A clock somewhere in the house chimes the hour. 11 p.m. Gull checks his watch. Right on time a butler opens the door •</scene_description>
<character>BUTLER</character>
<dialogue>Your carriage, sir.</dialogue>
<scene_description>Gull picks up a small leather bag (like an attache case) and heeds for the door.</scene_description>
<character>IN THE STREET</character>
<dialogue>Gull comes out of the house. Netley climbs down from the driver's seat and opens the door of a small black carriage.</dialogue>
<character>GULL</character>
<dialogue>Good evening, Netley. They say before any great campaign Roman generals always marched their men past the glories of the city. No matter what lay ahead, they wanted the soldiers to remember whet they were fighting for. We have time, Netley - drive past the</dialogue>
<scene_description>(\* Palace and down the Mall. I want to see the sights of London.</scene_description>
<character>(^- RATCLIFFE DOCKS</character>
<dialogue>are burning. Several large warehouses sticking into the Thames River are ablaze. Pillars of smoke rise into the night, the leaping flames reflected in the river. Boom! Barrels of pitch, stored in one of the warehouses, explode. In the glare we see people gathering on the nearby roads and docks to watch.</dialogue>
<character>A SCOTTISH CASTLE</character>
<dialogue>stands brilliant in the moonlight • turrets, crenellated walls and a silver lake. From inside, we hear an orchestra and gay, brittle laughter.</dialogue>
<character>IN THE BALLROOM</character>
<dialogue>aristocratic men in kilts and dinner suits swing jeweled women around the dance floor. As the silk and taffeta sail by, we hold on a man's face. He's in his late 20's • pale skin and refined features - dressed in the best clothes money can buy. We don't know his name but at one stage in his life he called himself Albert Victor.</dialogue>
<dialogue>The dance comes to an end end Albert bows to his young and silly partner. From the back of the room, a voice rings out. This is the Laird of the cestle -</dialogue>
<character>THE LAIRD</character>
<dialogue>My lords, ladies and gentlemen - the loyal toast.</dialogue>
<scene_description>Everyone picks up a glass and raises it to an illuminated portrait of Queen Victoria -</scene_description>
<character>THE LAIRD</character>
<dialogue>The Queen!</dialogue>
<scene_description>Albert Victor stares at the portrait, undisguised hatred in his eyes. The orchestra strikes up "God save the Queen", it bridges over to •</scene_description>
<character>A COMFORTABLE APARTMENT</character>
<dialogue>in London. Sir Charles Warren, the Police Commissioner, is getting ready for bed. His butler, holding a silver tray, watches as Sir Charles opens a letter that has just arrived. On the top is an embossed letter-head - h's from Lord Hailsham.</dialogue>
<character>SIR CHARLES</character>
<dialogue>"Just a note to inform you the first of the ghosts will be laid to rest tonight. I believe</dialogue>
<scene_description>/ ^ you dined this evening with the Prime Minister. I trust you enjoyed your dinner."</scene_description>
<character>INSIDE THE RINGERS</character>
<dialogue>Mary and the other prostitutes are still at their table. Mrs Ringer delivers a pile of bread and plates of stew to the teble.</dialogue>
<character>MARY</character>
<dialogue>You sure you won't be having any, Polly?</dialogue>
<character>POLLY</character>
<dialogue>I can't be sittin' here all night. Board needs earning.</dialogue>
<scene_description>She drains the last of the gin from her glass and gets to her feet.</scene_description>
<character>SPITALFIELDS MARKET</character>
<dialogue>is a huge place. A stall keeper puts a bunch of black grapes into e bag and hands it to Netley. He pays and walks to the carriage. The door handle turns as Gull tries to open it. Netley laughs -</dialogue>
<character>NETLEY</character>
<dialogue>You've forgotten, yer lordship. I told you - I fixed the doors so they can't be opened from inside.</dialogue>
<scene_description>Netley slides the window down and hands the bag of grapes to Gull.</scene_description>
<character>OUTSIDE THE RINGERS</character>
<dialogue>The front door of the pub opens and Polly steps out into the cold night. She ties on her new bonnet and heads down the dimly-lit street. Above the roofs of the tenements the sky glows red from the fire at the docks. It looks like hell. Polly heads towards it. She starts to sing -</dialogue>
<character>POLLY</character>
<dialogue>"Green grow the rushes-o! One is one and all alone And ever more shall be so..."</dialogue>
<scene_description>She turns into •</scene_description>
<character>DORSET STREET</character>
<dialogue>^"=\*v</dialogue>
<scene_description>The white stone of Christchurch reaches up into the night. Under every street lamp we see prostitutes - old and young, pretty and haggard, ashamed and brazen. /""\*>.. Polly moves through the shadows. We track in behind her • someone is following her. Closer... closer. Crack! She turns, startled. Netley's coach stands right beside her. He sits atop it. smiling, the whip he's just cracked dangling in his hand.</scene_description>
<character>NETLEY</character>
<dialogue>Didn't scare you, did 1 darlin'? Polly, isn't it? Remember me - the strappin' feller from The Ringers? Said I'd come back, didn't I?</dialogue>
<character>POLLY</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Yeah, that's right • you did too.</dialogue>
<character>NETLEY</character>
<dialogue>Listen, Polly - I've got a very refined gentleman inside. He's tsken a likin' to you - a real likin'.</dialogue>
<character>POLLY</character>
<dialogue>Oh, he has, has he?</dialogue>
<scene_description>J0&r\ She turns and looks in the window • the blind is drawn.</scene_description>
<character>NETLEY</character>
<dialogue>Go on, girl • open the door.</dialogue>
<scene_description>She turns the handle and swings the door open. All she can see is a pair of expensive doe-skin shoes • then Gull leans forward out of the darkness and smiles at her.</scene_description>
<character>GULL</character>
<dialogue>Would you like e grape, Polly?</dialogue>
<character>POLLY</character>
<dialogue>Ooh, I do love 'em. I never cen afford 'em though.</dialogue>
<scene_description>She steps into the carriage.</scene_description>
<character>GULL</character>
<dialogue>Go on, have es many as you like. To the Druids, grapes were known as the fruit of sacrifice. London was once a Druid village • did you know that, Polly?</dialogue>
<scene_description>(\*\*-; POLLY No, sir, I can't say I did. f^ Gull closes the door. Netley snaps the reins. The carriage disappears into the gloom.</scene_description>
<character>RATCLIFFE DOCKS</character>
<dialogue>The fire has burned the warehouses to the bones > the brick walls stand like skeletons amid the flames. People have crowded around the docks, watching the fire-trucks and bucket brigades.</dialogue>
<dialogue>The coach is parked in a quiet cul-de-sac, hard up against a building. The door handle jerks as Polly tries desperately to open it. Slam! Her head is rammed up against the window. Her eyes are glazed, she tries to scream but somehow she doesn't seem able to manage it. Gull puts his soft mouth close to her ear -</dialogue>
<character>GULL</character>
<dialogue>Mary Kelly. Liz Stride, Annie Chapman and you. Who else, Polly?</dialogue>
<character>POLLY</character>
<parenthetical>(tiny, slurred)</parenthetical>
<dialogue>Kate Eddowes. She weren't there for the letter writing, we told her later.</dialogue>
<scene_description>/""\*\*• GULL Anyone else?</scene_description>
<character>POLLY</character>
<dialogue>There weren't nobody else. Can I go now?</dialogue>
<character>GULL</character>
<parenthetical>(kindly)</parenthetical>
<dialogue>Freedom, Polly - that's what we ell want, isn't it? "You shall know the truth and the truth shall set you free." That's what the Savior said. Do you believe in the Savior, Polly?</dialogue>
<character>POLLY</character>
<dialogue>'Course I do.</dialogue>
<character>GULL</character>
<dialogue>I don't. Mine is the God of the Old Testsment -</dialogue>
<scene_description>His manicured hand twists Polly's head back, exposing her throat.</scene_description>
<character>/^N,</character>
<dialogue>GULL</dialogue>
<scene_description>"Thou shalt break them with a rod of iron, thou shalt dash them in pieces like a potter's jar." A flash of steel! Gull drives a long double-edged knife down towards her throat -</scene_description>
<character>GULL</character>
<dialogue>The God who punishes blackmailers and traitors • that's the God I love, Polly!</dialogue>
<scene_description>At the lest moment, Gull looks away • he can't even wetch it himself. Polly screams and jerks. Gull feels the blade hit flesh and bone. He slumps, relieved - the anticipation is always worse than the reality. He looks back • Polly is staring at him, wide-eyed, terrified. The blade has missed her throat end sliced into her collarbone. For e moment they just stare at one another, then Gull lifts up the bloody knife and plunges it at her throat again. This time she can't avoid it.</scene_description>
<character>ON TOP OF THE COACH</character>
<dialogue>Netley sits in the driver's seat, rocking as the coach sways with the fury of what is happening inside. Netley's too scared to even look down • he stares straight ahead, watching the fire turn the sky blood-red.</dialogue>
<character>BRADY STREET</character>
<dialogue>Netley's coach is parked in an unlit street. He and Gull stagger along beneath the weight of something wrapped in the canvas tarpaulin. They turn into Buck's Row, a narrow alley. Gull stumbles and falls. He picks himself up and moves on but he's limping - he's sprained his ankle. They up-end the tarpaulin. Polly's body slides to the ground. Netley looks at her blood-soaked clothes -</dialogue>
<character>NETLEY</character>
<dialogue>Jesus God...</dialogue>
<scene_description>Polly moans ever so slightly. She's still alive. Netley. revolted, looks at Gull -</scene_description>
<character>GULL</character>
<dialogue>Don't stare at me! Men have always reserved the most extreme punishment for crimes like hers. Now lay her out. Netley. Pull up her petticoats.</dialogue>
<scene_description>Netley rolls her over onto her back. He looks down at his hands - they're covered in MC\*\*\ blood. He turns and walks away •</scene_description>
<character>GULL</character>
<dialogue>Damn you, Netley!</dialogue>
<scene_description>Gull opens the leather ettache case. Fitted inside are a range of instruments - it's a portable amputation kit. He takes out a knife with a hooked end. It's called a crooked bistoury. He kneels between Polly's legs and runs his hand up the flesh of her thighs. He's sweating • he loosens his collar. He grabs hold of her underpants and slowly pulls them down. Netley looks at Gull's face. The man's lips are moist, his eyes glistening. He stebs the crooked bistoury towerds Polly's stomach. Netley can't watch. All we heer is a gasp from Polly. A POLICE CARRIAGE travels fast down a dark, leafy street. It stops in from of a big house that has been turned into a middle-class lodging house. The Sergeant from Bishopsgate leaps out of the carriage and hurries up the steps - A SUITE OF ROOMS The embers of e fire glow in the hearth • we glimpse a study, a sitting room, a bedroom. There's a loud knock on the door. Abberline, alone in bed, sits up. He picks up his watch - it's almost 3am. Another knock - louder, more insistent. Abberline swings out of bed and goes for the door. POLLY'S BODY lies spread-eagled in the grime of Buck's Row. Her dress and petticoats are back in place. Abberline • unshaven, hair still tousled from sleep • and the Sergeant make their way through curious onlookers. Doctor Lewellyn is waiting for them.</scene_description>
<character>DOCTOR LEWELLYN</character>
<dialogue>There are two major knife wounds. The first hit her collarbone and deflected. I doubt it would have killed her. The second cut her throat from ear to ear. It's so deep it damn near cut her head off.</dialogue>
<scene_description>Abberline kneels beside the body. Polly's skirt and bodice are covered in blood but none of the rest of her clothing appears out of place. Abberline takes her clenched right hand. Gently, he folds back the fingers • lying in her palm is a grape. Flash! A brilliant white light bathes the scene. Abberline turns • a photographer has set up his huge camera and tripod. Abberline turns to the Sergeant - /fl""^V</scene_description>
<character>ABBERLINE</character>
<dialogue>Who the fuck let him in here?! Come on get her down to the morgue.</dialogue>
<character>THE MORGUE</character>
<dialogue>is the grimmest place we've seen • a cobbled floor, stone walls and marble slabs. Two elderly men - paupers - use shears to cut away Polly's blood-stained clothing. One of the paupers reels back, gagging.</dialogue>
<character>DOCTOR LEWELLYN</character>
<dialogue>What the...?!</dialogue>
<scene_description>He walks forward and looks at where Polly's stomach has been exposed. Her petticoats are draped so that we don't see what the Doctor does, but from the look on his face it must be terrible.</scene_description>
<character>DOCTOR LEWELLYN</character>
<dialogue>Jesus Christ.</dialogue>
<character>INSIDE THE POLICE STATION</character>
<dialogue>It's not quite dawn • two overworked constables are taking statements from residents of Buck's Row. Through en open door we see into •</dialogue>
<character>ABBERLINE'S OFFICE</character>
<dialogue>He sits et his desk • grim, haggard. Polly's blood-stained dress has been pinned to the wall. The Sergeant enters. He hands Abberline a copy of a newspaper • the morning's "Illustrated Police News". On the front page is the photo of Abberline kneeling over the body.</dialogue>
<character>SERGEANT</character>
<dialogue>Have you seen it? They say the killing's so ferocious, it couldn't possibly have been done by en Englishmen.</dialogue>
<character>ABBERLINE</character>
<dialogue>Yes. I've already had a note from the Commissioner. He says Buffalo Bill Cody and his Wild West Show are appearing in Drury Lane. He wants us to interview the Red Indians. And you know what? We might as well because I'm damned if I know where else to start.</dialogue>
<scene_description>( SERGEANT The Old Nichol Street boys. That lass Annie Chapman was cut by them. And then there was Emma Smith - we damn well know, they killed her.</scene_description>
<character>ABBERLINE</character>
<dialogue>Question them, Pete • we'll have to try anything - but I don't think it's them. There were forty-two separate wounds on her body •</dialogue>
<character>SERGEANT</character>
<dialogue>I know. I was there, I saw them.</dialogue>
<character>ABBERLINE</character>
<dialogue>Not all of theml Neither of us did. I want this kept quiet as long as possible, Pete.</dialogue>
<parenthetical>(he pauses)</parenthetical>
<dialogue>He disemboweled her. The killer took her intestines out then replaced her underwear. Some of her organs, or at least parts of 'em, are missing. For all I</dialogue>
<scene_description>(" know he ate them. No, I'm not joking. Does that sound like the Old Nichol Street boys to you?</scene_description>
<character>SERGEANT</character>
<dialogue>I've seen alligators waddling through the shit in the gutters, I arrested a bloke one night who was leading an albino round on a chain, but a woman ripped and gutted...? What the fuck ere we dealing with, Fred?</dialogue>
<scene_description>Abberline shakes his head • he can't answer that.</scene_description>
<character>A HORSE TROUGH</character>
<dialogue>stands at the back of Miller's Rents. It's the start of a new day • half dressed women are gethered around the trough, washing themselves. Mary, Dark Annie, Uz end Kate are standing to one side. Several of them are red-eyed, they are all distraught, worried - they've heard the news about Polly.</dialogue>
<character>LONG UZ</character>
<dialogue>jfltOa^^</dialogue>
<scene_description>Of course it was them! We haven't paid, have we? r- DARK ANNIE Imagine what we'll do if we have trouble that's what the bastard said, something like that.</scene_description>
<character>MARY</character>
<dialogue>But Polly... she was so •</dialogue>
<character>KATE</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>There's no helping Polly. It's who's next that worries me. What about the letter you sent?</dialogue>
<character>MARY</character>
<dialogue>Not a word.</dialogue>
<character>DARK ANNIE</character>
<dialogue>He's had long enough, I reckon.</dialogue>
<character>MARY</character>
<dialogue>I'll send him another note tomorrow.</dialogue>
<character>DARK ANNIE</character>
<dialogue>No. You go round there, darlin'. Understand?</dialogue>
<scene_description>Mary, scared like the rest of them, nods her head • yes.</scene_description>
<character>A SMALL GRAVEYARD</character>
<dialogue>A huge crowd has gathered, pushing forward, trying to get a glimpse of Polly's cheap wooden coffin. It stands next to an open grave, a minister leading the small group of mourners through the burial service. Mery and the other three prostitutes stsnd at one side. Liz tries but she can't stop crying.</dialogue>
<dialogue>Abberline and the Sergeant stand on a small hillock, shocked et the size of the crowd.</dialogue>
<character>ABBERLINE</character>
<dialogue>Jesus! Have you seen anything like it? Nobody gave a shit about her when she was alive. Now they can't get enough of her.</dialogue>
<scene_description>rf\*sm,V /iWs^</scene_description>
<character>SERGEANT</character>
<dialogue>That's the newspapers for you - trumping everything up. They don't let the truth get in the way of a good story. The "Star's" got some bloke - called "Leather Apron". Of course, he just happens to be a butcher so that's put the fear of God up everyone.</dialogue>
<character>ABBERLINE</character>
<dialogue>But it goes deeper than that, Pete - this has got sex and blood and death. Those are the things of myth, older than any of us. Look at these people! It makes you wonder what else is ripping along just below the surface. Get some men - keep those bloody kids awayl</dialogue>
<scene_description>i The Sergeent sends a pair of constables to drive off a group of urchins. Abberline i keeps looking at the crowd. His eye falls on the group of women. He points at them.</scene_description>
<character>ABBERLINE</character>
<dialogue>Polly's co-workers?</dialogue>
<character>SERGEANT</character>
<dialogue>Some of 'em. They etl drink at the Ringers. The one at the end is Annie Chapman - Dark Annie • the one that got cut.</dialogue>
<scene_description>But Abberline's not looking at her.</scene_description>
<character>ABBERLINE</character>
<dialogue>Who's next to her - the handsome one?</dialogue>
<character>SERGEANT</character>
<dialogue>Mary Kelly. But there's not point in speaking to any of 'cm • even if they know anything they're not going to help.</dialogue>
<character>THE STREETS OF WHITECHAPEL</character>
<dialogue>It's early evening, the seme day - the lodging houses are empty, the sidewalks are</dialogue>
<scene_description>/?\*\*\*\*•• crowded with drunks, beggers and women trolling for trade. Abberline picks his way through a log-jam of carts and horse-drawn buses. An organ grinder and his monkey belt out a tune. A sidewalk preacher stands on a ladder, waving his Bible - jfli^V</scene_description>
<character>PREACHER</character>
<dialogue>"I looked, end behold a pale horse! His neme that sat on him was Death, and Hell followed with him. And power was given to him over the earth, to kill with sword and with famine..."</dialogue>
<scene_description>Abberline shoulders his way through a circle of men. In the center is a man with a bear on a chain. Other men have pit bulls on leashes. In a moment one of the dogs will be turned loose on the bear. Abberline, disgusted, keeps walking. He passes -</scene_description>
<character>THE STEPS OF CHRISTCHURCH</character>
<dialogue>A group of street urchins chase each other through the derelicts camped on the steps. It's an old game with a new twist - a stockily-built boy has a piece of rag tied around his waist and a pointed stick like a knife in his hand. He yells •</dialogue>
<character>BOY</character>
<dialogue>Aaargh! I'm Lever Apron! Where's Polly? Where's Polly?!</dialogue>
<scene_description>Other kids, girls mostly, run screaming, clutching their throats.</scene_description>
<character>THE RINGERS PUB</character>
<dialogue>is packed • an informal wake for Polly is still in progress. Dark Annie and Liz Stride get up from e corner table and head for the door. They leave Mary Kelly to count through pennies and farthings, settling up the bill. A voice behind her -</dialogue>
<character>ABBERLINE</character>
<dialogue>If you're happier on your own I understand, but I was wondering if I could buy you a drink?</dialogue>
<scene_description>Mary turns. She looks him up and down. Then she smiles •</scene_description>
<character>MARY</character>
<dialogue>A drink'd be lovely. A small gin. thanks.</dialogue>
<scene_description>Abberline signals to the barman and sits down at the table.</scene_description>
<character>MARY</character>
<dialogue>You must be new around here.</dialogue>
<scene_description>j ^ . ABBERLINE Why's thet?</scene_description>
<character>MARY</character>
<dialogue>Well, you're polite for a start.</dialogue>
<character>ABBERLINE</character>
<dialogue>-(smiling)</dialogue>
<scene_description>Not new. I work up the other end of Whitechapel. I'm e saddle-maker.</scene_description>
<character>MARY</character>
<dialogue>I knew a chap that was a saddle-maker up there - in Folgate Street.</dialogue>
<character>ABBERLINE</character>
<dialogue>That's Eric Howell. No, I'm down in Brady Street, near Buck's Row.</dialogue>
<scene_description>, He watches her react. i i ABBERLINE I Yeah, that's right - where that woman got I murdered. The place is full of gswkers - can't even get in a pub.</scene_description>
<character>MARY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I knew her.</dialogue>
<scene_description>Abberline feigns surprise. The barman arrives with the drinks. Mary takes a hit.</scene_description>
<character>ABBERLINE</character>
<dialogue>One of the papers said it might have been a protection racket but I don't believe it. I mean, killing someone isn't going to make her pay, is it?</dialogue>
<character>MARY</character>
<dialogue>It would others, though. They cut another friend of mine just the other night. You know whet it's like in the East End • women are just trade. Why not kill Polly - there's always another girl. It's a business expense. One thing I don't understand, though, is the carriage. These are hard- boys - it's not like them to be in e carriage.</dialogue>
<character>^ ABBERLINE</character>
<parenthetical>( (surprised)</parenthetical>
<dialogue>A carriage?</dialogue>
<character>MARY</character>
<dialogue>' Yaah, they had to be, didn't they? Emily</dialogue>
<scene_description>Holland said she saw Polly in Whitechapel Road. Twenty minutes later, according to the paper, Polly was dead. She couldn't get from Whitechapel Road to Bucks Row in that time.</scene_description>
<character>ABBERLINE</character>
<dialogue>'Course she could - she just goes up past Christchurch.</dialogue>
<character>MARY</character>
<dialogue>How? They're digging up the road. A mountain goat couldn't get through.</dialogue>
<character>ABBERLINE</character>
<dialogue>Then she'd cut across Dorset Street and through Outfield's Yard. It's a five minute walk to Bucks Row.</dialogue>
<character>MARY</character>
<dialogue>\*m^- You'd never make a detective. Mr</dialogue>
<scene_description>f Saddlemaker - Dutfield's yard is where Annie Chapman got cut. Most of the working women think evil sticks to a place. Polly was really superstitious, she'd never heve gone near Dutfield's Yard. Not in a hundred years. No, the only way was by cab or carriage, no question. Abberline spins it round in his head. Finally •</scene_description>
<character>ABBERLINE</character>
<dialogue>Fred.</dialogue>
<character>MARY</character>
<dialogue>Whet?</dialogue>
<character>ABBERLINE</character>
<dialogue>My name. It's not Mr Saddlemaker, it's Fred.</dialogue>
<scene_description>Mary smiles - H makes her look even more beautiful. She puts out her hand r V MARY Mary Kelly. f"^ ABBERLINE That's clever, Mary • that thing about the carriage. Can I get you another drink?</scene_description>
<character>MARY</character>
<dialogue>No. but thanks • I've got to earn my keep.</dialogue>
<scene_description>Their eyes meet. They look at one another.</scene_description>
<character>MARY</character>
<dialogue>You know, if you've a mind to, we could get a room.</dialogue>
<scene_description>Abberline looks et her - he's tempted, no doubt of that. Then he shakes his head •</scene_description>
<character>ABBERLINE</character>
<dialogue>No. I mean... thanks, but I won't • not tonight.</dialogue>
<scene_description>She smiles at him.</scene_description>
<character>MARY</character>
<dialogue>First it was my virtue, now it's my looks.</dialogue>
<scene_description>/\*^ Things are going from bad to worse.</scene_description>
<character>ABBERLINE</character>
<dialogue>You know that's not true.</dialogue>
<character>MARY</character>
<dialogue>That's nice of you to say, Fred.</dialogue>
<scene_description>Her eyes are twinkling at him.</scene_description>
<character>ABBERLINE</character>
<dialogue>I'd like to see you again, Mary - you know, just to sit down and have chat, maybe get a bite to eat.</dialogue>
<scene_description>She looks at him • serious.</scene_description>
<character>MARY</character>
<dialogue>Don't say it if you don't mean it. Fred.</dialogue>
<character>ABBERLINE</character>
<dialogue>I mean it.</dialogue>
<character>MARY</character>
<dialogue>h's been a while since e man just wanted me for my company. I'll make sure I'm in here this week between ten and eleven. Good night. Fred.</dialogue>
<character>ABBERLINE</character>
<dialogue>G'night, Mary.</dialogue>
<scene_description>Smiling, she turns and goes out the door. Abberline sits down in his chair. The grin vanishes from his face - he really likes her, he's lied to her and now she's going to get hurt. Things seemed e lot clearer a few hours ego.</scene_description>
<character>WHITECHAPEL ROAD</character>
<dialogue>It's a sparkling morning. A line of carriages are drawn up on the side of the road - poorly-dressed men and boys are washing them. Uniformed police move among the group, showing an artist's sketch of Polly. One of them talks to a washer-boy.</dialogue>
<character>CONSTABLE</character>
<dialogue>Have you seen blood in any of the</dialogue>
<scene_description>/QM&S. carriages? The boy shakes his head - no. The cop moves on. We rack focus • Mary Kelly, not paying any heed to the police, hurries along the crowded sidewalk. She hails a horse-drawn bus.</scene_description>
<character>A LIGHT-FILLED CORRIDOR</character>
<dialogue>Mary walks towards the front door of an apartment. She is about to knock when she realizes - the door is open. She pushes it and steps inside •</dialogue>
<character>THE ARTIST'S STUDIO</character>
<dialogue>It's the place where Mary sent the letter. There's no-one in the room •</dialogue>
<character>MARY</character>
<dialogue>Mr Sicken... Mr Sicken!</dialogue>
<scene_description>No answer. She crosses the room and opens one of severel doors on the far side. She looks into a study. Everything is in its place but there's no Walter Sicken. r^-. MARY It's Mary Kelly! I've come to talk to you about the letter. I need the money • A sound behind her. She spins - a man is at her shoulder! Dressed in s suit, he's come out of one of the other doors •</scene_description>
<character>AGENT</character>
<dialogue>I'm the property agent. Mr Sickert left for Venice this morning. Can I help you? -</dialogue>
<character>MARY</character>
<dialogue>Venice? How long for?</dialogue>
<character>AGENT</character>
<dialogue>It was all rather unexpected, but indefinitely, I believe.</dialogue>
<scene_description>The color drains from Mary's face - no Sicken, no money.</scene_description>
<character>AGENT</character>
<dialogue>Are you alright, madam?</dialogue>
<character>MARY</character>
<dialogue>Yes... yes, thank you.</dialogue>
<scene_description>As she turns and hurries out the room we hold on a newspaper lying on the desk. jf0^y Across the top is the report of Polly's death.</scene_description>
<character>A TRAIN LOCOMOTIVE</character>
<dialogue>belches steam as it approaches Liverpool Street station. The tracks run right alongside the road. Galloping down it is a beautiful horse-drawn carriage • deep red lacquer and two liveried footmen perched on its running board. For a moment the train end the carriage keep perfect pace • like the era itself, the past and the future run together in tandem. Then the carriage swings aside and halts in front of the Bishopsgate Police Station.</dialogue>
<character>INSIDE THE POUCE STATION</character>
<dialogue>The Desk Sergeant escorts one of the footmen into Abberline's office.</dialogue>
<character>AN ENVELOPE</character>
<dialogue>is ripped open. Abberline reads a gilt-edged invitation.</dialogue>
<character>ABBERLINE</character>
<dialogue>/\*"\*\ Your company is requested... to view</dialogue>
<scene_description>something of unique interest. Down the bottom is a signature • Lady Jane D'Urbanville.</scene_description>
<character>GAS LIGHTS</character>
<dialogue>illuminate the front of a large building. By their light we see a sign : London Hospital. A string of coaches pull up in front. A group of people including Duchy and Willy spill out. Abberline offers Lady Jane his hand and helps her down -</dialogue>
<character>ABBERLINE</character>
<dialogue>Now are you going to tell us what we're doing?</dialogue>
<character>LADY JANE</character>
<dialogue>Then it wouldn't be e surprise, would it?</dialogue>
<character>A MARBLE LOBBY</character>
<dialogue>deep inside the hospital. A glittering crowd are milling about - distinguished doctors, socialites and patrons of the hospital. They are waiting for something to begin. Abberline and Lady Jane stend pan way up a sweeping staircase, looking down •</dialogue>
<character>LADY JANE</character>
<dialogue>Do you recognize any of these people?</dialogue>
<scene_description>Abberline shakes his head • no. Lady Jane indicetes a beautifully-dressed, dissolute man on the far side.</scene_description>
<character>LADY JANE</character>
<dialogue>That's Lord Norris. He killed a man in Italy over a gambling debt. Not that anyone cares much since he inherited his father's estate. He's richer than God.</dialogue>
<character>ABBERLINE</character>
<dialogue>Better dressed too, by the look of it.</dialogue>
<scene_description>An overweight man catches Lady Jane's eye. He raises a jeweled hand in silent greeting. Lady Jane smiles ever so sweetly but keeps her voice low -</scene_description>
<character>LADY JANE</character>
<dialogue>The fet pig is the Duke of Westminster. The woman next to him is supposedly his wife but there's not a boy in London who's safe in his compeny.</dialogue>
<scene_description>r^V As Ledy Jane continues her commentary, we push in on the crowd. A distinguished man turns away from his group. His glance falls on Abberline end Lady Jane. He watches them for a beat. It's Sir William Gull. Ding! A bell rings. Uniformed attendants open a pair of large doors. Everyone enters •</scene_description>
<character>A SMALL LECTURE HALL</character>
<dialogue>The rows of tiered seats are full - doctors and surgeons at the front, socialites and patrons at the rear. The lights dim • a man steps onto the stage.</dialogue>
<character>DOCTOR TREVES</character>
<dialogue>Distinguished colleagues, ladies and gentlemen - it is my honor tonight to present e unique medicel phenomenon. Until last week, Mr John Merrick was an attraction at a traveling sideshow. Now he is being cared for at one of the world's leading hospitals. With your generosity, I am sure we will be able to continue to do so. Ladies and gentlemen • Mr John Merrick, previously known as The Elephant Man.</dialogue>
<scene_description>f A half-naked man • his lower torso covered by a hospital gown • steps out of the shadows. His face is terribly deformed • a bulbous forehead, flaps of gray wrinkled skin and a thick stump of bone, like a tusk, protrudes from his upper jew.' Several socialites, including Lady Jane, stifle a cry, others laugh. Abberline stares at them, taken aback they should gswk and laugh so freely at someone less fortunate. He looks at Lady Jane - she's all rapt attention, fascinated by Merrick. Then she turns and smiles brightly at Abberline -</scene_description>
<character>LADY JANE</character>
<dialogue>Aren't you glad we came?</dialogue>
<scene_description>She takes his arm and leans closer against him.</scene_description>
<character>A WOOD-PANELED ROOM</character>
<dialogue>Waiters are serving drinks at a reception following Dr Treves' lecture. Several aristocrats write out drafts on their banks, contributing to the Doctor's cause. Merrick, dressed in a suit now, talks to a group of prominent doctors. Lady Jane is at Abberline's side. She takes a drink from a waiter and looks around -</dialogue>
<character>LADY JANE</character>
<dialogue>/""•"V Mr Merrick's a bigger draw than the</dialogue>
<scene_description>Egyptian mummies. She sees Gull and motions him over - Gull's ankle is bandaged, he walks with the help of a cane. He takes Lady Jane's hand and she kisses him on the cheek -</scene_description>
<character>LADY JANE</character>
<dialogue>What ever have you done to yourself?</dialogue>
<character>GULL</character>
<dialogue>It's nothing • just a sprain.</dialogue>
<character>LADY JANE</character>
<dialogue>Sir William Gull, allow me to introduce Mister Frederick Abberline. Perhaps you've read about Mr Abberline - he's investigating that murder in Whitechapel.</dialogue>
<scene_description>Gull looks anew at Abberline. The two men shake hands.</scene_description>
<character>GULL</character>
<dialogue>A grisly business. Inspector. The newspapers have a lot of theories • what about the police?</dialogue>
<character>ABBERLINE</character>
<dialogue>j^i?\*t>\</dialogue>
<scene_description>Information, Sir William, but nothing you could dignify with the term "theory". Not yet, enyway.</scene_description>
<character>GULL</character>
<dialogue>Yet? That indicates confidence, Inspector. I'm reassured already. How many murders have you investigated?</dialogue>
<character>ABBERLINE</character>
<dialogue>Thirty... meybe more.</dialogue>
<character>GULL</character>
<dialogue>And how many have you solved?</dialogue>
<character>ABBERLINE</character>
<dialogue>All of them.</dialogue>
<character>GULL</character>
<dialogue>Very impressive.</dialogue>
<character>LADY JANE</character>
<dialogue>Oh, yes, Sir William • Mr Abberline's quite outstanding. The Police Commissioner told me so himself.</dialogue>
<scene_description>This is news to Abberline. Sir William sees the flirtatious look she gives Abberline.</scene_description>
<character>GULL</character>
<dialogue>Well, it hardly seems likely then the murderer can long evade capture. Not unless he's extraordinarily clever, of course. Tell me, inspector •</dialogue>
<character>LADY JANE</character>
<dialogue>If you will excuse me -1 should have at least one word with the freak. I don't want it getting around I'm a complete coward.</dialogue>
<scene_description>The men bow es Lady Jane withdraws.</scene_description>
<character>GULL</character>
<dialogue>So tell me - confidentially - he's not just some slash and stab merchant is he, this Whitechapel killer?</dialogue>
<character>ABBERLINE</character>
<dialogue>Why do you say that?</dialogue>
<scene_description>S0£\*\</scene_description>
<character>GULL</character>
<dialogue>The Coroner's report in The Times listed the woman's injuries. It didn't say explicitly, but it seems to me, professionally speaking, he disemboweled her.</dialogue>
<character>ABBERLINE</character>
<dialogue>Professionally speaking? Are you a doctor, Sir William?</dialogue>
<character>GULL</character>
<dialogue>Surgeon.</dialogue>
<character>ABBERLINE</character>
<dialogue>You're right • that's exactly what he did.</dialogue>
<character>GULL</character>
<dialogue>A lot of people wouldn't appreciate how difficult that is. It takes a substantial knowledge of anatomy • and in the dark, blood everywhere, his heart probably pounding - the closest thing I could equate it to is the work of one of those fine battlefield surgeons. Of course, for all we know that's how he sees himself • a man on a battlefield of his own.</dialogue>
<character>ABBERLINE</character>
<dialogue>A battlefield? I'm sorry -1 don't follow.</dialogue>
<character>GULL</character>
<dialogue>The eternal struggle between good and evil, of course.</dialogue>
<parenthetical>(he smiles)</parenthetical>
<dialogue>Naturally, it's just speculation • who could really know what goes through the mind of such e man? I'm probably making a fool of myself. For all I know, right now the police ere arresting a butcher.</dialogue>
<character>ABBERLINE</character>
<dialogue>Not at all. We're looking for a wealthy and intelligent man. He travels by carriage and that probably means an accomplice. He can afford grapes - they're out of season. Sir William, two shillings a pound down Spitalfields' market and that's a lot of money in anyone's Isnguege -</dialogue>
<character>GULL</character>
<dialogue>Grapes, Inspector? What have they got to do with it?</dialogue>
<character>ABBERLINE</character>
<dialogue>I found one in the woman's hand. I spent hours trying to fathom why she didn't cry out - surely somebody would have heerd her. Then I realized - he fed her grapes. But first he brushed them with laudanum. She was drugged, that's why she didn't scream.</dialogue>
<scene_description>Gull stares at him, impressed •</scene_description>
<character>GULL</character>
<dialogue>Obviously your reputation is well deserved, Mr Abberline.</dialogue>
<scene_description>Before Abberline can even shrug it off, Lady Jane returns, flushed with her boldness at speaking with Merrick. >#=~s</scene_description>
<character>LADY JANE</character>
<dialogue>You must forgive me, gentlemen. I know I have a weakness for hendsome men but whoever gave Mr Merrick his stage name insulted the elephant. -</dialogue>
<scene_description>She laughs, looking up at Abberline, holding him with her eyes. Gull turns to the Inspector and puts out his hand •</scene_description>
<character>GULL</character>
<dialogue>A fascinating conversation, Inspector. I hope we can continue it some time. If I can be of any help, any help at all, please don't hesitate to call.</dialogue>
<scene_description>Abberline offers Lady Jane his arm • they head towards the doors. Gull doesn't take his eyes off of Abberline.</scene_description>
<character>THE THAMES EMBANKMENT</character>
<dialogue>It's a beautiful evening • the lights of the city reflected in the river. Tower Bridge breathtaking in the moonlight. Abberline and Lady Jane have left the hospital reception. They walk along the gas-lit path that follows the embankment, expensive homes lining the street. Lady Jane's carriage follows st a discrete distance.</dialogue>
<character>LADY JANE</character>
<dialogue>Sir William has a reputation for being arrogant. I've never heard him offer help to anyone. That's quite a coup - he's so well connected, too.</dialogue>
<character>ABBERLINE</character>
<dialogue>Is that why you invited me - to make connections, m'lady?</dialogue>
<character>LADY JANE</character>
<dialogue>You're so very formal • all this "m'lady" business. It's quaint but it's not really necessary, you know.</dialogue>
<character>ABBERLINE</character>
<dialogue>Why • what should I call you? Jane?</dialogue>
<scene_description>/^""N ; Well, if you're going to kiss a woman goodnight, that's more appropriate, don't you think? She turns and gives him her most dazzling smile. Instead of taking her in his arms, Abberline's face grows serious.</scene_description>
<character>ABBERLINE</character>
<dialogue>What of the future, Jane? I mean - who was your father, the fourteenth Earl of Leicester? Your family have been aristocrats since Magna Carta.</dialogue>
<character>LADY JANE</character>
<dialogue>My family wrote the Magna Carta.</dialogue>
<scene_description>She smiles, but she's only half joking.</scene_description>
<character>ABBERLINE</character>
<dialogue>You can hardly say we share a common background, can you?</dialogue>
<character>LADY JANE</character>
<dialogue>No, but you come from a good family • your father's a doctor. Anyway, background can be lost in achievement. You're going to the top, I don't have any doubt.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I elways intended to, and if I'm lucky I'll make it to Commissioner one day. The top copper, Jane - but a copper all the same.</dialogue>
<scene_description>She moves closer to him. Unthinkingly, she straightens his tie -</scene_description>
<character>LADY JANE</character>
<dialogue>Don't be so modest. With the right connections, an outstanding career as a police officer can open a host of doors. Politics...business...diplomacy. Can you imagine • Ambassador in Rome?</dialogue>
<scene_description>She indicates the mansions all around them. Through severel windows we see elegant, jeweled people at dinner parties •</scene_description>
<character>LADY JANE</character>
<dialogue>Once you make it to this part of the world, Fred • people look after their own. Everything's possible.</dialogue>
<scene_description>f0^v (she looks up at him) Everything. ( ^ Abberline hesitates. Again he looks at the beautiful houses - it's so far from where he began, farther than anyone realizes. He feels light-headed • the beautiful night, her perfume, the bright shining prizes slmost within his grasp. She leans towards him. He takes her in his arms and kisses her.</scene_description>
<character>A SALVATION ARMY HALL</character>
<dialogue>Bare boards and rows of trestle tebles. It's a soup kitchen - a line of ragged people snake past cauldrons of food. But right now everything is frozen - one of the Salvation Army captains is leading everyone in grace.</dialogue>
<character>CAPTAIN</character>
<dialogue>"... for thine is the kingdom, the power and the glory. Forever and ever. Amen."</dialogue>
<scene_description>The room erupts in a clatter of plates and a rising tide of voices. Mary sits with Dark Annie, Liz and Kate, a bowl of soup and a Bible in front of each of them.</scene_description>
<character>DARK ANNIE</character>
<dialogue>Jesus, Mary! I know it's not your fault this bloke's gone away, but we've got to get money from somewhere.</dialogue>
<scene_description>f\*^ What are we going to do?</scene_description>
<character>MARY</character>
<dialogue>I sey we go and see 'em • all of us.</dialogue>
<character>DARK ANNIE</character>
<dialogue>Who?!</dialogue>
<character>MARY</character>
<dialogue>The Old Nichol Street blokes.</dialogue>
<scene_description>The other women look et her, incredulous -</scene_description>
<character>KATE</character>
<dialogue>Don't be stupid!</dialogue>
<character>MARY</character>
<dialogue>We give 'em what money we can, like e gesture of good faith. We tell 'em we need more time to get on our feet.</dialogue>
<character>LONG LIZ</character>
<dialogue>On our backs, you mean.</dialogue>
<scene_description>I The others smile but there's no joy in it • they're far too worried. Mary looks at them for their response.</scene_description>
<character>DARK ANNIE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>It's an idea, Mary, and maybe it'd work. But I can't to go • not after last time. I'm not proud, I'll say it • I'm scared.</dialogue>
<scene_description>Mary nods • she understands. She looks at Kate.</scene_description>
<character>KATE</character>
<dialogue>I'm only working another few days. John Kelly's asked me to go hop- picking with him in Kent. The money's not much but it's a damn sight safer. No, Mary.</dialogue>
<scene_description>It's up to Long Liz. By nature she is a nervous sort of woman -</scene_description>
<character>LONG LIZ</character>
<dialogue>I'd go if the others were... but you don't know these men. Just the two of us • it's asking for trouble.</dialogue>
<scene_description>Her voice treils away. Silence. Dark Annie, Kate and Liz look down at their food, sort of ashamed. We push in on Mary's face. There's a determination to it • A DARK AND EMPTY STREET Mary • alone - walks through the shadows. She turns a corner - in the glow of a street lamp we see a sign on a wall: Old Nichol Street. Mary stops in front of a building and steps into - THE BRICKLAYER'S ARMS It's a quiet pub. People turn and look. Mary makes her wey up to the bar. She speaks so close to the ear of the bartender we can't catch what she says. The bartender indicates a table in the corner - McQueen is holding court. Several young women, obviously prostitutes, sit with Geordie and the Old Nichol Street boys. Mary approaches them - she's frightened but she's dsmned if she's going to show it. McQueen turns and looks at her.</scene_description>
<character>MARY</character>
<dialogue>A couple of you blokes know e friend of mine - Annie Chapman. Dark Annie.</dialogue>
<character>THE BACK OF THE PUB</character>
<dialogue>is a pig-sty: piles of trash, empty beer barrels, a tiny out-house for the women. Mary hands McQueen and Geordie a bag of coins.</dialogue>
<character>MARY</character>
<dialogue>There's eighteen shillings - that's from the four of us. It would have been more, but a chap that's going to help us had to go away.</dialogue>
<scene_description>McQueen and Geordie look at each other • they're surprised about the money but they don't let Mary know it. McQUEEN Yeah, well - when's he expected back, this chap of yours? yfltf\*"\*\ MARY A week, maybe. We need time to give you the rest, that's why I'm here. McQUEEN A week you say? At least you made an effort. All right, then. Mary turns, about to go, but she can't contain herself. She turns back.</scene_description>
<character>MARY</character>
<dialogue>Why did you do that to Polly? If you'd have just shown her the knife it would have scared her half to death.</dialogue>
<scene_description>McQUEEN Polly?</scene_description>
<character>MARY</character>
<dialogue>Yes, Polly. And next time you want to send us a messege just come to Miller's Rents.</dialogue>
<scene_description>/\*$!\*\*\*; McQUEEN We didn't kill Polly Nichols. yjfflflfr^-.</scene_description>
<character>MARY</character>
<dialogue>Oh, save that for the coppers!</dialogue>
<scene_description>McQueen's hand flashes out and grabs Mary by the neck. He pulls her close • McQUEEN Listen • we got a business here. Sometimes we have to encourege the punters, like with Annie. But kill Polly Nichols • why the fuck would we bring that shit down on Whitechapel? Mary looks into his eyes and knows it's the truth. She trembles, shsken by it • McQUEEN What's wrong with you?</scene_description>
<character>MARY</character>
<dialogue>I thought we could deal with you, Mr McQueen. But me and the other women have to work those streets. Now somebody's killed one of us. I'm scared • that's what's wrong with me.</dialogue>
<scene_description>y^ti"~"\*\ McQUEEN I never thought I'd see the day when a woman would miss dealing with Tom McQueen. God, what's the fucking world coming to?! He pushes Mary aside. He and Geordie head back into the pub.</scene_description>
<character>A SPRIG OF GRAPES</character>
<dialogue>lies on the ground in a narrow passage-way just off Dorset Street. From ehead, we heer voices - Dark Annie has found herself e customer. She leads Gull towards a dark and deserted yard at the back of a row of tenements.</dialogue>
<character>DARK ANNIE</character>
<parenthetical>(leughing. sort of high)</parenthetical>
<dialogue>Look at me staggerin' will you? You'd think I was drunk.</dialogue>
<character>GULL</character>
<dialogue>We can stop here if you want.</dialogue>
<scene_description>y^"~V yS"V-\_</scene_description>
<character>DARK ANNIE</character>
<dialogue>No, I'm just tired or something. Everything seems like it's floating. It feels nice.</dialogue>
<character>GULL</character>
<dialogue>Excellent. Annie - that's excellent.</dialogue>
<scene_description>They keep walking, entering •</scene_description>
<character>THE YARD</character>
<dialogue>Dark Annie props herself against a tall fence. Gull puts down the leather briefcase. Annie turns to face him. She touches his face •</dialogue>
<character>DARK ANNIE</character>
<dialogue>You're e hendsome man.</dialogue>
<parenthetical>(she laughs)</parenthetical>
<dialogue>I just wish your nose'd stay still, that's all.</dialogue>
<character>GULL</character>
<dialogue>Are you ready, Annie?</dialogue>
<character>DARK ANNIE</character>
<dialogue>Gettin' all bothered are you?</dialogue>
<parenthetical>(she grabs his crotch)</parenthetical>
<dialogue>Gawd • it's hard enough, isn't it?</dialogue>
<scene_description>He strikes her hand away. Gull's mask of civility drops • he grabs her by the shoulder and spins her around. But Annie, drugged and disoriented, leughs-</scene_description>
<character>DARK ANNIE</character>
<dialogue>Ooh • want it doggie-style, do you?</dialogue>
<scene_description>Gull slips his fingers around her throat. He starts to tighten them - she gasps and tries to tear free but the drug seems to have sapped her strength. In the first murder, Gull was nervous but now he starts to find pleasure in his work. He strsngles her with one hand while the other goes to her bodice. He rips open the buttons, exposing her breests. His hand slides towards them. Annie fights for air - her ayes bulge. Gull smiles.</scene_description>
<character>THE YARD NEXT DOOR</character>
<dialogue>A men comes out the beck of the adjoining tenement. This is Albert Cadosch, a carpenter, heeding out early for work. He unzips his fly. and starts to pee. He sees nothing • but from next door, he hears a cry.</dialogue>
<scene_description>/ifflBS^</scene_description>
<character>DARK ANNIE (O.S.)</character>
<dialogue>No...</dialogue>
<scene_description>Cadosch listens - a couple of whimpering sounds - then he decides what it is.</scene_description>
<character>CADOSCH</character>
<dialogue>Fuckin' whores! Why don't you do your business somewhere else.</dialogue>
<scene_description>He turns and walks back inside.</scene_description>
<character>THE YARD</character>
<dialogue>Annie fights for her life. Her fingers tear at Gull's expert stranglehold but she's growing weaker by the moment. Her eyes roll back in her head and her body shakes as she goes through the death rattle. Gull lets her crumple to the ground. He turns, opens the briefcase and selects a long pointed knife -</dialogue>
<character>GULL</character>
<dialogue>Now I'll give you some artistry, Mr Abberline.</dialogue>
<scene_description>d<!\&>\</scene_description>
<character>INSIDE THE MORGUE</character>
<dialogue>It's 4.30 em, still dark outside. Abberline watches as Doctor Lewellyn pulls back the sheet from a body, revealing the face. Abberline turns to the Sergeant •</dialogue>
<character>ABBERLINE</character>
<dialogue>It's Polly Nichols' friend, isn't it?</dialogue>
<character>SERGEANT</character>
<dialogue>Yeah. Annie Chapman's her neme.</dialogue>
<character>ABBERLINE</character>
<dialogue>What about the injuries - similar?</dialogue>
<character>DOCTOR LEWELLYN</character>
<dialogue>Worse. He laid open the abdomen, severed the intestines and put them over her shoulder. The uterus, the womb and its attachments were removed, including -</dialogue>
<character>ABBERLINE</character>
<dialogue>f"""V All right. George.</dialogue>
<scene_description>He turns away. He rubs his eyes - he's weary, dreined.</scene_description>
<character>ABBERLINE</character>
<dialogue>Jesus. Where do you even start with a man like this?</dialogue>
<scene_description>He looks at them. Silence. Nobody can answer. OUTSIDE THE MORGUE reporters end sightseers all over the place • Whitechapel's rumor mill has been spreading the news for the last hour. The reporters surge forward as Abberline comes out the front doors. They yell questions but Abberline, grim-faced, shoulders his way through. An ugly murmur rises up from the crowd • women shout abuse at Abberline. They want the police to do something - two murders in a couple of days! Abberline stares at them • he knows they're frightened but still he's shocked. He gets into a waiting cab. The driver cracks his whip. The horses push through... INSIDE THE RINGERS Mary Kelly has been crying. It's about 9am • there's only a few hard-core drinkers in the pub. She sits alone, pale and frightened. Walter Ringer puts a glass in front of her and fills it with gin. He puts out his hand for payment •</scene_description>
<character>MARY</character>
<dialogue>I'm skint, Mr Ringer. Can you put it on the slate?</dialogue>
<scene_description>He goes to take the drink away • then he looks at her face.</scene_description>
<character>RINGER</character>
<dialogue>Just this once, 'cos of Dark Annie, that's all. You pay me tomorrow, you hear?</dialogue>
<scene_description>She nods her head. Unseen by Mary, Abberline comes through the front door and looks around. He sees Mary in the corner and makes his way towards her. Mary picks up the glass but her hand's trembling. Before she can get it to her mouth, liquor splashes onto the table.</scene_description>
<character>MARY</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>Damn • get a grip!</dialogue>
<character>ABBERLINE (O.S.)</character>
<dialogue>I knew a man with a problem like that.</dialogue>
<scene_description>Mary turns. She tries to smile - she really is pleased to see him. He pulls up a chair.</scene_description>
<character>ABBERLINE</character>
<dialogue>He drank himself into an early grave, but you. know what he used to do?</dialogue>
<scene_description>She shakes her head • no. Abberline leans close and drapes his handkerchief around the back of her neck. One end he puts in her left hand, the other he wreps around the glass of liquor. He clamps her right hand around it -</scene_description>
<character>ABBERLINE</character>
<dialogue>Now pull down your left hand.</dialogue>
<scene_description>The handkerchief around her neck acts like a pulley. The farther she pulls down with her left hand, the higher her right hand and the glass rise up. It gets it to her mouth without spilling a drop. Despite her troubles, she can't help smiling.</scene_description>
<character>ABBERLINE</character>
<dialogue>See, works like a charm. Of course, the man I learned it from was an alcoholic - that's why he couldn't hold a glass. What about you?</dialogue>
<scene_description>/$>&\</scene_description>
<character>MARY</character>
<dialogue>You heerd about Annie Chapman?</dialogue>
<scene_description>Abberline nods. Mary starts to say something but she cen't • tears fill her eyes.</scene_description>
<character>ABBERLINE</character>
<dialogue>There's a writer called Oscar Wilde - he's got s play on now. One of the characters says "to lose one parent may be a misfortune; to lose both looks like csrelessness". You could say the same about friends. What's going on, Mary?</dialogue>
<scene_description>She looks at him, not sure how far she can trust him. Their eyes meet • Abberline's don't waver. She's tempted to unburden herself but then she thinks better of it •</scene_description>
<character>MARY</character>
<dialogue>Nothing. Working girls stick together. They heve to • we're sort of outcasts, aren't we? I guess a lot of girls knew both of 'em.</dialogue>
<scene_description>/j\*"""""N</scene_description>
<character>ABBERLINE</character>
<dialogue>It seems strange... there must be more to it than that. Listen -1 want to help you, Mary. Just give me a chance.</dialogue>
<character>MARY"</character>
<dialogue>There's nothing more to it, Fred. It's nice of you to offer, but anyway - what could you do?</dialogue>
<scene_description>He reaches into his coat and gives her three one pound notes.</scene_description>
<character>ABBERLINE</character>
<dialogue>I want you to get a proper room and</dialogue>
<scene_description>i stay off the streets. That's a start. i She stares et him for a moment, unbelieving - MARY , I can't take this, Fred. | ABBERLINE 'Course you can. Now go on.</scene_description>
<character>MARY</character>
<dialogue>But... why ere you doing this?</dialogue>
<character>ABBERLINE</character>
<dialogue>I told you I could help, didn't I?</dialogue>
<scene_description>Mery looks at him. The money could be a life-saver - literally. She puts her arms around his neck and kisses him. Men turn and look. Abberline gently disentangles her arms. She takes hold of his hand •</scene_description>
<character>MARY</character>
<dialogue>I didn't always do this work, Fred. Ever since I was thirteen I've had real jobs. For five years I was a lace-maker - but then that went bad and what can you do? Virtue's easy on a full stomach. It's different when you're starving.</dialogue>
<character>ABBERLINE</character>
<dialogue>Yeah, but weren't there other jobs?</dialogue>
<character>V MARY</character>
<dialogue>Not in my line • machines ere doing it all, and it's hard • you grow up in Ireland, most of the kids barely get an education. I tried everything -1 sold flowers down at St James then I worked as an artist's model. Last year I was living in a lovely place in Cleveland Street. Sort of like home help.</dialogue>
<character>ABBERLINE</character>
<dialogue>What happened?</dialogue>
<character>MARY</character>
<parenthetical>(evasive)</parenthetical>
<dialogue>Oh. there was trouble... a lot of trouble, Fred. Nothing to do with me but it all came to en end • I was out on the street.</dialogue>
<scene_description>Abberline notes the evasion. Mary is looking down at the money, thinking of the possibilities. She can't help but be excited •</scene_description>
<character>MARY</character>
<dialogue>There's a woman I know, a good Irish Catholic - she runs a boarding house in Dwyer Street. It's clean and there's two meals a day. It'd be just like Cleveland Street. Only better.</dialogue>
<parenthetical>(pauses)</parenthetical>
<dialogue>I've never asked you • but are you married, Fred?</dialogue>
<scene_description>He just looks at her. A beat.</scene_description>
<character>ABBERLINE</character>
<dialogue>No... no, I'm not married.</dialogue>
<character>MARY</character>
<dialogue>You could come 'round... you know, stay the night... only if you want, but it's not like I'm saving myself, is it? I'd like it, Fred. I really would...</dialogue>
<scene_description>Abberline looks around, not sure what to say. He smiles at her -</scene_description>
<character>ABBERLINE</character>
<dialogue>f^y Maybe... let's see, shall we?</dialogue>
<character>MARY</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>You're right • I'm always rushing things. But just say you will, Fred.</dialogue>
<character>ABBERLINE "</character>
<dialogue>There's nothing you want to tell me about Polly and Annie, is there? You're being honest with me, aren't you?</dialogue>
<character>MARY</character>
<dialogue>Sure I am.</dialogue>
<scene_description>She smiles at him. He smiles back. But he doesn't believe her. He looks at the dock.</scene_description>
<character>ABBERLINE</character>
<dialogue>Gawd - time I was going.</dialogue>
<scene_description>He gets up. Mary leans forward and kisses his cheek -</scene_description>
<character>MARY</character>
<dialogue>You're a good man, Fred. You really are.</dialogue>
<scene_description>He squeezes her hand, turns and leaves.</scene_description>
<character>CLEVELAND STREET</character>
<dialogue>is a pleasant road • a couple of grand old houses, apartments, a good number of shops. It is busy - Saturday morning, a clear and crisp autumn day. Abberline is going door to door. He comes out of a small cobbler's store and enters a -</dialogue>
<character>GROCER'S SHOP</character>
<dialogue>Abberline is talking to the owner. He leys out a copy of one of the tabloids and points at a photograph taken at Polly's burial. It shows the women near the grave</dialogue>
<character>ABBERLINE</character>
<dialogue>Her name's Mary Kelly • do you recognize her?</dialogue>
<character>GROCER</character>
<dialogue>She lived down the roed with a lass</dialogue>
<scene_description>/flS^^S - called Annie Crook. She had a baby • Annie did - a lovely little girl as I recall.</scene_description>
<character>ABBERLINE</character>
<dialogue>You know the house?</dialogue>
<character>GROCER</character>
<dialogue>A basement flat • but it won't do you no good. The police come for Annie • at least most of us think they were police. They were in plain-clothes but who else would have blocked off the whole roed?</dialogue>
<character>ABBERLINE</character>
<dialogue>They blocked off the road to arrest one woman?</dialogue>
<character>GROCER</character>
<dialogue>That's right.</dialogue>
<character>ABBERUNE</character>
<dialogue>Have you got a minute, Mr Baxter? I want you to tell me everything you remember.</dialogue>
<scene_description>Mr Baxter nods. He goes and closes the front door of the shop. DWYER STREET It's just sfter lunch, the seme day. Mrs Finnane's boarding house has a sign hanging out the front: Rooms To Let Gentlewomen Only INSIDE ONE OF THE ROOMS Mary, looking more rested and happier than she has for days, is washing her underwear in a small bowl. A knock on the door. She turns, instantly alert, scared</scene_description>
<character>MARY</character>
<dialogue>Who is it?</dialogue>
<character>ABBERLINE (O.S.)</character>
<dialogue>Fred... Fred Abberline.</dialogue>
<scene_description>Mary's face lights up - he's come to see her! She flies into action - grabbing underweer off e drying line, trying to tidy up, looking in a mirror, cursing her heir and make-up. She calls out, excited -</scene_description>
<character>MARY</character>
<dialogue>Give me a minute. You should have warned me. This place is e mess...</dialogue>
<character>IN THE CORRIDOR</character>
<dialogue>Abberline weits in front of the door. It swings open - revealing Mary, her hair fixed, lipstick on. One look at Abberline's stony face and she knows something is wrong •</dialogue>
<character>MARY</character>
<dialogue>What is it?</dialogue>
<character>ABBERLINE</character>
<dialogue>Why didn't you tell me about Cleveland Street?</dialogue>
<character>MARY</character>
<dialogue>What..?</dialogue>
<character>THE BEDROOM</character>
<dialogue>f0^ Abberline enters and closes the door behind him.</dialogue>
<character>ABBERLINE</character>
<dialogue>Who were they • the men that came and took Annie Crook and her baby? Why did they do that, Mary?</dialogue>
<character>MARY</character>
<dialogue>What were you doing in Cleveland Street? What gives you the right to go digging in people's lives?!</dialogue>
<character>ABBERLINE</character>
<dialogue>I've got every right. I'm not e seddlemaker, Mary. I'm a copper.</dialogue>
<scene_description>Mary stares at him. Whatever dreems she had are turning to ashes •</scene_description>
<character>MARY</character>
<dialogue>A copper? It was just lies... all that stuff about wanting to see me... you let me make a fool of myself! All you wanted was information... God, I tell you, I've</dialogue>
<scene_description>/>\*\*\*• been used by men but never like this -</scene_description>
<character>ABBERLINE</character>
<dialogue>Listen, Mary -</dialogue>
<character>MARY</character>
<dialogue>You listen! You may not think much of women like me, but remember what I ~ told you • "don't say it if you don't mean it". What gives you the right to lie and cheat with other people's emotions? And the three quid, I suppose that was some sort of reward, was it? What a pity you didn't mention what it was for!</dialogue>
<scene_description>She pulls out a banknote and throws it at him. Abberline tries to cetch hold of her but she wrenches free.</scene_description>
<character>MARY</character>
<dialogue>I'm so stupid! I should've listened to my head, not my heart. It was your hands, Fred-</dialogue>
<parenthetical>(she stops, corrects herself)</parenthetical>
<dialogue>I'm sorry, I mean... what is it • Sergeant?</dialogue>
<character>/^\*N</character>
<dialogue>ABBERLINE</dialogue>
<scene_description>Inspector.</scene_description>
<character>MARY</character>
<dialogue>Oh, Inspector • I guess I should be flattered. 1 looked at your hands and I swear to God, it crossed my mind • those aren't a saddlemaker's hands. But I put it aside... you know why? Because I wanted to believe... I wanted to believe so much. For some people that's the only thing they've got. That's what you've taken from me • not money,</dialogue>
<scene_description>not my body, but the last thing I had. Arrest me or get out. Inspector. She indicates the door but he stends his ground.</scene_description>
<character>ABBERLINE</character>
<dialogue>I didn't have to tell you, Mary. I could have kept pleying you along. But I chose not to. Why do you think I did that?</dialogue>
<scene_description>{ MARY You tell me • you're the detective.</scene_description>
<character>ABBERLINE</character>
<dialogue>Because I care about you. That's why I gave you the three quid - to keep you sefe. How could I tell you who I was - I knew you wouldn't talk to the police. I never meant to hurt you, Mary.</dialogue>
<character>MARY</character>
<dialogue>Pretty words, Fred - but that's all they are. I don't believe enything you say. You're pulling yourself if you think ) could trust you. Now go, will you?!</dialogue>
<scene_description>She's close to tears. She turns away from him.</scene_description>
<character>ABBERLINE</character>
<dialogue>Like it or not. you're going to have to talk to me. I'm a copper. I want to know who the toff was that came to visit. An aristocrat, people say.</dialogue>
<character>MARY</character>
<dialogue>I don't know who he was.</dialogue>
<character>ABBERLINE</character>
<dialogue>Bullshit! A year or more he came, and you don't know his name!</dialogue>
<character>MARY</character>
<dialogue>He didn't use his real name! Albert Victor he called himself. There - are you satisfied?! Just go, will you!</dialogue>
<character>ABBERLINE</character>
<dialogue>And Annie Crook - what heppened to her? Where's she?</dialogue>
<character>MARY</character>
<parenthetical>(soft)</parenthetical>
<dialogue>I don't know where Annie is.</dialogue>
<character>ABBERLINE</character>
<dialogue>Oh, come on...!</dialogue>
<scene_description>She turns and looks at him • her fece is crumpling with tears •</scene_description>
<character>MARY</character>
<dialogue>I don't know! I searched for her. I even went to the police. Bloody liars! They said they hadn't even arrested her. She might as well have vanished! Is that enough? Go on - go!</dialogue>
<scene_description>He looks at her face • she's crying, anguished. At least about Annie, she's telling the truth. Abberline turns and goes towards the door. Just inside, he puts some money on a table - several pounds.</scene_description>
<character>MARY</character>
<dialogue>What's that for?</dialogue>
<character>ABBERLINE</character>
<dialogue>Like I said -1 want to keep you safe.</dialogue>
<scene_description>He's out the door and gone before she can protest.</scene_description>
<character>NIGHT IS FALLING</character>
<dialogue>Lanterns illuminate a group of government buildings. In a courtyard is a sign:</dialogue>
<scene_description>I Scotland Yard I Uniformed police, finished work for the day, spill out the front doors. Going against the tide is Abberline. He disappears inside.</scene_description>
<character>A STACK OF OLD FILES</character>
<dialogue>are dumped onto a wooden counter. An ancient man in uniform, he must be 80 if he's a day. wipes away the dust. He is the keeper of the records • all around him ere shelves piled with police files. He pushes the steck across to Abberline •</dialogue>
<character>OLD MAN</character>
<dialogue>You can look for yourself. That's the file on every case investigated in that area for the last five years. I'm tellin' you, though - there's nothing about 24 Cleveland Street.</dialogue>
<character>ABBERLINE</character>
<dialogue>What about the girl • Annie Crook?</dialogue>
<scene_description>y^F^V</scene_description>
<character>OLD MAN</character>
<dialogue>We've got a system of cross-referencing. There's nothing on her either.</dialogue>
<scene_description>/$nat\^</scene_description>
<character>ABBERLINE</character>
<dialogue>Say she'd died, would her file have been put somewhere else?</dialogue>
<character>OLD MAN</character>
<dialogue>No. If you're born in these files, you die in these files. She's no deader than you or I -</dialogue>
<parenthetical>(he laughs)</parenthetical>
<dialogue>Well, no deader than you.-anyway. But like I say Inspector, you're welcome to look for yourself.</dialogue>
<scene_description>i Abberline shakes his head - no. He starts to leave. Then he remembers something. , He turns beck - ABBERLINE One of the residents said he heard the name of a copper. He doesn't know his rank or anything but he said he thought he was a senior man. Mr Kidney they called him. A shadow passes across the old man's face •</scene_description>
<character>OLD MAN</character>
<dialogue>There's only one bloke I know of that name, not thet you'll find him listed anywhere. Superintendent Ben Kidney. He works for the Speciel Branch.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(taken aback)</parenthetical>
<dialogue>Jesus. Is that why there'd be no file?</dialogue>
<character>OLD MAN</character>
<dialogue>Oh, there'd be a file alright, but they keep all that stuff to 'emselves. You won't find out nought from them. Dirty bastards, if you ask me.</dialogue>
<character>ABBERLINE</character>
<dialogue>Yeah, that's their reputation all right.</dialogue>
<scene_description>More worried than ever, he turns end goes. f\*\*"\*\* SIR CHARLES WARREN stends in the corner of his beautiful, wood-paneled office. It's a cozy place on this cold night • a fire in the hearth, gas lights on the walls. Sir Charles pours Scotch from a crystal decanter and carries two glasses to a pair of arm-chairs. Abberline sits in one of them -</scene_description>
<character>SIR CHARLES</character>
<dialogue>No, I'm not going to authorize K • mainly because I can't. The Special Branch report directly to the Home Secretary.</dialogue>
<character>ABBERUNE</character>
<dialogue>But you know the Prime Minister, Sir Charles. He could direct the Home Secretary -</dialogue>
<character>SIR CHARLES</character>
<dialogue>For one file?</dialogue>
<character>ABBERLINE</character>
<dialogue>For a murder investigation.</dialogue>
<scene_description>(\* SIR CHARLES (smiling) That's just a guess, Fred - a wild one I might say. I don't believe this event has anything to do with the Whitechapel murders. (he leans forward) You know the Special Branch • God knows what they were doing in Cleveland Street, but I'm not going to let you or the Department get swept into something we don't understand.</scene_description>
<character>ABBERLINE</character>
<dialogue>We are alreedy, Sir Charles.</dialogue>
<character>SIR CHARLES</character>
<dialogue>Dammit, Fred! You know what I mean. This is a murder investigation - a difficult one, I grant you - but you're an outstanding officer. I suggest we drop this line of inquiry end pursue something more substantial.</dialogue>
<character>ABBERLINE</character>
<dialogue>If I'm a good officer, it's because my intuition -</dialogue>
<character>SIR CHARLES</character>
<dialogue>I seid no, Fred.</dialogue>
<scene_description>Agein the two men look at one another. Sir Charles rolls the scotch around in his glass. He softens -</scene_description>
<character>SIR CHARLES</character>
<dialogue>You said yourself he was an aristocrat. He used an alias for a reason, don't you</dialogue>
<scene_description>think? I wouldn't mind if this was going to serve some useful purpose, but it's • not going to help either of us, is it? You i understand what I'm saying? " Abberline understands alright.</scene_description>
<character>ABBERLINE</character>
<dialogue>Yes... yes, I suppose I do. Sir Charles.</dialogue>
<scene_description>, ( SIR CHARLES Excellent. To our health, then. • (he raises his glsss) Cheers. I</scene_description>
<character>THE STEEPLE OF CHRISTCHURCH</character>
<dialogue>rises up into the night. On either side of the road prostitutes walk their beat. Mary stands under a street lamp, waiting for business. Abberline comes towards her. Despite the anger she feels towards him, she doesn't want him to see her like this. She turns away, but too late • he's seen her.</dialogue>
<character>ABBERLINE</character>
<dialogue>I went to the boarding house. A bloke there said you looked like you were dressed for work.</dialogue>
<character>MARY</character>
<dialogue>A woman's got to earn a living.</dialogue>
<character>ABBERLINE</character>
<dialogue>^ What about the money I gave you?</dialogue>
<scene_description>JHW\*\*^WV\_</scene_description>
<character>MARY</character>
<dialogue>I've still got it. I'm trying to eern as much as I can • I'm going back to Ireland. And don't think of giving me any more, Inspector. I'd rather earn - it this way than take h from you.</dialogue>
<character>ABBERLINE</character>
<dialogue>I wasn't thinking of it. I'm here because I want to know something. What were you mixed up in, Mary?</dialogue>
<character>MARY</character>
<dialogue>I wasn't mixed up in anything.</dialogue>
<scene_description>She starts to turn away but he reaches out. grabs her shoulder end spins her back.</scene_description>
<character>ABBERLINE</character>
<dialogue>Listen to me! That wasn't the police down in Cleveland Street • that was the Special Branch. Do you know who they are? They were set up to deal with your countrymen, Mary. Their brief is to catch the Irish bombers. They don't exectly respect the law - they don't heve to. They report directly to the Government. These are hard men, Mary. Killers. What the fuck were they doing in Cleveland Street?</dialogue>
<scene_description>Mary's frightened by the thing about the Special Branch but she's not going to show it-</scene_description>
<character>MARY</character>
<dialogue>You already know - they came for Annie.</dialogue>
<character>ABBERLINE</character>
<dialogue>Why? Whet else?!</dialogue>
<character>MARY</character>
<dialogue>Maybe it was Albert Victor. How would I know -1 was just the help!</dialogue>
<character>ABBERLINE</character>
<dialogue>You were her friend - what did she tell you?</dialogue>
<character>MARY</character>
<dialogue>I don't know anything about the Special Branch. I'm just trying to earn a living. Now leave me alone!</dialogue>
<scene_description>She pulls her arm free of his grip, turns and walks away. Abberline watches her head down Dorset Street. He sets off himself - then stops and looks back. Mary has been stopped by a man - she's smiling at him. tucking the hair back from her beautiful eyes. Abberline can't help it • he's angry and jealous. He turns and keeps walking, not wanting to see how the man's proposition is resolved.</scene_description>
<character>A SQUAT STONE BUILDING</character>
<dialogue>The ground rumbles with s fast approaching roar. It's night - through a tall iron railing a train flashes by. Abberline crosses a courtyard and enters the heavily barred front door of the building. These are the offices of the Special Branch.</dialogue>
<character>INSIDE THE BUILDING</character>
<dialogue>A police consteble sits behind a security grill. Abberline stsnds on the other side. He opens his wallet and shows a gold crest • the badge of his rank.</dialogue>
<character>ABBERLINE</character>
<dialogue>. (mumbling)</dialogue>
<scene_description>Inspector Adderly, here to see Mister Kidney. The constable barely looks at the name (Adderly and Abberline are close anyway) - he recognizes the crest as genuine. He indicates a clock on the well •</scene_description>
<character>CONSTABLE</character>
<dialogue>It's dinner time. Superintendent Kidney's not back yet, sir.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>And the bastard said he had a big job on • a big job with a knife and fork obviously. He said to wait in his office.</dialogue>
<scene_description>The consteble smiles back and opens the grill.</scene_description>
<character>CONSTABLE</character>
<dialogue>You know the way, sir?</dialogue>
<scene_description>yrf^^N y?tfw-Trv,</scene_description>
<character>ABBERLINE</character>
<dialogue>Third floor, isn't it?</dialogue>
<character>CONSTABLE</character>
<dialogue>Second.</dialogue>
<scene_description>Abberline makes a show of remembering and heads towards the stairs.</scene_description>
<character>THE COURTYARD</character>
<dialogue>Three men head towards the stone building. Ben Kidney, the senior man, is in his 40's. Dressed in a fine gabardine coat, there's an air of sophistication to him. But it's his eyes that give him away • they are hard and cruel. With him are Tom Press, in his 20's. end a brutal-looking man called Garret Brack • also members of the Special Branch. The light from a candle flickers in a third-floor window.</dialogue>
<character>TOM</character>
<dialogue>Somebody's working late...</dialogue>
<scene_description>Kidney follows the direction of his gaze. J^JTTOV</scene_description>
<character>KIDNEY</character>
<dialogue>Whoever it is, I'm gonna take their bells off. How many times heve I told 'em - you can't use an open light in the file room? One day they'll burn the whole shitbox down.</dialogue>
<character>IN THE FILE ROOM</character>
<dialogue>Abberline is working fast, searching through the racks of files that line the walls. Screech! Abberline jumps - then he realizes it's the whistle of a train on the tracks right next to the building. The smoke from its engine, visible through two long windows at the back of the room, throws strange shadows across the wells.</dialogue>
<character>THE FRONT DESK</character>
<dialogue>The constable unlocks the security grill, admitting Kidney and the two other men.</dialogue>
<character>CONSTABLE</character>
<dialogue>Inspector Adderly's here, sir. I sent him up to your room.</dialogue>
<character>KIDNEY</character>
<dialogue>Who? I'm not expecting anyone.</dialogue>
<scene_description>\ The constable stares at Kidney, confused. A beat.</scene_description>
<character>KIDNEY</character>
<dialogue>Jesus Christ • the file room!</dialogue>
<scene_description>The three of them race for the stairs.</scene_description>
<character>THE FILE ROOM</character>
<dialogue>Abberline's got a cabinet open at the letter "c", tearing through the files, searching for "Cleveland Street". Nothing. He keeps looking. From outside the room - Bam!</dialogue>
<character>KIDNEY (O.S.)</character>
<dialogue>Shit!</dialogue>
<scene_description>Abberline reacts - his early warning system has been triggered.</scene_description>
<character>THE CORRIDOR</character>
<dialogue>Kidney is in a heap on the floor, tripped by a thin wire stretched across the derkened corridor. He scrambles up, mouth twisted in anger.</dialogue>
<character>THE FILE ROOM</character>
<dialogue>Abberline searches furiously. He stops at a file. On the top • "Crook, Annie Mary' He rips the file out of the cabinet. It contains a single sheet of paper • an official document, like an admission form. Printed across the top ere the words:</dialogue>
<scene_description>Marylebone Workhouse</scene_description>
<character>THE CORRIDOR</character>
<dialogue>There are two doors into the file room. Kidney motions to Press and Brack - they approach one door. Kidney takes the other. Simultaneously, they burst in -</dialogue>
<character>THE FILE ROOM</character>
<dialogue>is empty. The lentern flickers on a table. Drawers are open, the room in disarray. Kidney's eyes search the shadows • the intruder could be anywhere. He draws a gun. Slowly he moves forward • screech! Kidney jumps • then realizes, it's just the</dialogue>
<scene_description>><tf""\*N, train whistle. He looks at one of the tall windows • smoke from the train's locomotive spills through a tiny crack at the top. Someone hasn't closed it properly! Kidney motions to Press and Brack. They close in on one window. Kidney on the other.</scene_description>
<character>OUTSIDE THE BUILDING</character>
<dialogue>Abberline dangles between the two windows, his hands gripping the iron gutter, nothing supporting his feet. The railway tracks are fifty feet below. He watches the shadows inside the room. They move closer • smash! Fists come through the gless on either side of him. He only has a second to think - Kidney's heed is out the window, the gun rising, his finger on the trigger. Abberline looks down • train carriages hurtle along the tracks. Kidney's finger tightens. Abberline drops! Kidney fires - misses. Abberline plunges down •</dialogue>
<character>THE ROOF OF THE TRAIN</character>
<dialogue>He hits the roof of the carriage end tumbles • towards the edge. His hand grabs an iron conduit on the roof. He lies there, spread-eagled on top of the speeding train.</dialogue>
<character>IN THE FILE ROOM</character>
<dialogue>f Kidney leans out the window, watching the figure of the man grow smaller.</dialogue>
<character>KIDNEY</character>
<dialogue>Who the fuck was that?</dialogue>
<scene_description>The train disappears into a tunnel.</scene_description>
<character>A HUGE ARCHED ROOM</character>
<dialogue>The ceiling is supported by three messive beams. A slogan is painted on each of them: God Is Good; God Is Holy; God Is Just. We tilt down to severe! hundred women - some infirm, some retarded, all dressed in gray smocks. They sit at work benches doing simple sewing • sheets, pillow cases, sacks. This is Marylebone Work House - a pauper's prison. A female Governor steps onto an observation platform. Abberline stands behind her.</dialogue>
<character>GOVERNOR</character>
<parenthetical>(calling out)</parenthetical>
<dialogue>Annie Crook... Annie Mary Crook!</dialogue>
<scene_description>A woman stumbles to her feet. She's in her late 20's and must have been quite beautiful once. Now her hair is lank, shoulders stooped, her eyes dull end vacant. -^J^\*\ /fldP-'h^y^</scene_description>
<character>INSIDE AN OFFICE</character>
<dialogue>Annie sits on a chair, twisting the sleeve of her smock. The Governor and a resident doctor wstch as Abberline pulls up a chair and sits in front of her •</dialogue>
<character>ABBERLINE</character>
<dialogue>Annie, I want to ask you some questions •</dialogue>
<scene_description>Annie doesn't look at him. She keeps staring straight ahead. Her voice is dull, flat -</scene_description>
<character>ANNIE</character>
<dialogue>I want my Alice. I climbed out but she didn't.</dialogue>
<character>ABBERLINE</character>
<dialogue>Who's Alice - is that your baby?</dialogue>
<character>ANNIE</character>
<dialogue>We called her Alice 'cos of that book Albert read me... ell about a little girl that went down the rabbit hole.</dialogue>
<scene_description>A^;- ABBERLINE (' Annie, listen -</scene_description>
<character>ANNIE</character>
<dialogue>And there was a Queen, a wicked old Queen and the Queen said "Off... off with her... off with her head!"</dialogue>
<scene_description>She looks up at Abberline - there ere tears in her eyes. Abberline speeks gently •</scene_description>
<character>ABBERLINE</character>
<dialogue>It's just a story, Annie.</dialogue>
<character>ANNIE</character>
<dialogue>No! I want my Alice. I climbed out...</dialogue>
<scene_description>Abberline looks to the Governor for help. She shakes her head •</scene_description>
<character>GOVERNOR</character>
<dialogue>I don't waste time with books, but I'm told it's from "Alice in Wonderland". That's atl she talks about • "Annie in Wonderland" • that's what they should have called it. Ha! Ha!</dialogue>
<scene_description>rv Abberline looks et the doctor -</scene_description>
<character>DOCTOR</character>
<dialogue>I'm afraid the Governor's right - you'll get no sense from Annie.</dialogue>
<scene_description>Annie is still rambling on about the children's story. Abberline shakes his head what can you do? The Governor takes Annie by the arm and leads her out.</scene_description>
<character>ABBERLINE</character>
<dialogue>What was the cause of it?</dialogue>
<character>DOCTOR</character>
<dialogue>There's a number of serious medical conditions for which it is necessary to remove the thyroid gland. This was before she came here, of course. Unfortunately one of the side effects is almost a total loss of memory.</dialogue>
<character>ABBERLINE</character>
<dialogue>Do you know anything about her? Is there a case file or anything like thet?</dialogue>
<character>DOCTOR</character>
<dialogue>C^" Not that I know of. Inspector, but she</dialogue>
<scene_description>came from Guy's Hospital. They'd saved her life or something. I remember because they told me the name of the surgeon involved • he's one of the finest in the land. Sir William Gull. Abberline just looks at him. A beat..</scene_description>
<character>DOCTOR</character>
<dialogue>Are you alright, Inspector?</dialogue>
<character>ABBERLINE</character>
<dialogue>Yes... yes, I'm fine, thank you.</dialogue>
<character>A STATUE OF QUEEN VICTORIA</character>
<dialogue>stands at the entrance to Guy's Hospital. It's dusk, the eun starting to set. We crane up from the Queen's fece to a window high above. Through the gless •</dialogue>
<character>A LARGE WOOD-PANELED OFFICE</character>
<dialogue>Sir William Gull sits behind his desk, his injured ankle propped up on a stool. He watches Abberline open his briefcase and take out a file.</dialogue>
<character>ABBERLINE</character>
<dialogue>These ere the Coroners' reports on the two murders. I was hoping you might be able to help in regard to the weapon.</dialogue>
<character>GULL</character>
<dialogue>The weapon. Inspector?</dialogue>
<character>ABBERLINE</character>
<dialogue>Yes. If you look at the report on the first murder, h says the wounds were so deep, they were probably done with an ax. I don't think that's possible • there's</dialogue>
<scene_description>| not enough room to wield an ax in a I carriage. I GULL i Of course not. The Coroner's reports • ( fascinating... i I He picks up the file and starts to read. Abberline studies the man • the arrogant face, the soft flesh, the expensive clothes. He glances at Gull's doe-skin boot resting on the stool. It's obviously hand-made • pressed into the heel is the i bootmaker's personal mark, a three-turreted castle. Gull lays the file down •</scene_description>
<character>GULL</character>
<dialogue>It certainly wasn't an ax. ft seems from</dialogue>
<scene_description>i the wounds it was a long double edged blade. One has to wonder how these > Coroners get the job.</scene_description>
<character>ABBERLINE</character>
<dialogue>I often think that myself. So, in a confined space without much force behind it, the weapon would have to be incredibly sharp, wouldn't it? You were saying before, this is probably a man with a substantiel knowledge of anatomy • I think you mentioned e battlefield surgeon. What sort of weapon do you think a man like that would use, Sir William?</dialogue>
<character>GULL</character>
<dialogue>Welt, there's a number of possibilities... of course, being double edged narrows it down. The word "battlefield™ brings st</dialogue>
<scene_description>f\*' least one instrument to mind. He smiles es he reaches into his drawer and pulls out the long double-bladed knife he used to kill Polly. He hands it to Abberline •</scene_description>
<character>GULL</character>
<dialogue>It's called a Liston knife, named after e brilliant surgeon in the Crimean War. Because there was no anesthetic he had to carry out amputations as quickly as possible. He designed the knife so that he could heve a leg "on the sawdust" in under a minute. Naturally I can't say it's the weapon, but it does fit our criteria • about ten inches long, double-edged, serrated, two narrow ridges to fold back the flesh and drain away the blood. It's a beautiful instrument, surgically speeking, of course.</dialogue>
<scene_description>Abberline turns the instrument over in his hands -</scene_description>
<character>ABBERLINE</character>
<dialogue>Every surgeon would have one?</dialogue>
<character>GULL</character>
<dialogue>Yes. They're standard issue in a portable amputation kit. But even if I'm right, I'm afraid it doesn't do us much good, Inspector • you can get them at any medical supply shop. Apart from that, the army must have thousands of them.</dialogue>
<scene_description>Gull takes the knife beck and returns K to the drawer.</scene_description>
<character>ABBERLINE</character>
<dialogue>But it's a start • a Liston knife. Thank you, Sir William, as always you've been a great help.</dialogue>
<scene_description>Abberline gets up, shakes Gull's hand • then stops. He makes out he has just remembered -</scene_description>
<character>ABBERUNE</character>
<dialogue>Oh, there was one other thing. Stupid of me, I almost forgot - do you</dialogue>
<scene_description>^N remember a woman by the name of • Annie Crook? f He looks straight at Gull, watching for his reaction. Gull's eyes flicker for e moment, his bend goes to straighten his tie. then he changes his mind. A beat.</scene_description>
<character>GULL</character>
<dialogue>Annie Crook...-such e common name. No... I can't say I do. Why?</dialogue>
<character>ABBERLINE</character>
<dialogue>h's nothing really... she seems to have some small connection to one of the women involved. It turned out she was a patient of yours. I was wondering if you knew anything about her.</dialogue>
<character>GULL</character>
<dialogue>A patient of mine - where?</dialogue>
<character>ABBERLINE</character>
<dialogue>Here at Guy's.</dialogue>
<character>GULL</character>
<dialogue>A lower class woman, was she?</dialogue>
<scene_description>(\*\*\* ABBERLINE Yes, I suppose she was. Gull smiles, acting as if the mystery is solved •</scene_description>
<character>GULL</character>
<dialogue>Like most surgeons, I do a substantial amount of pro-bono work. I perform mine et Guy's. You could hsrdly call such people patients -1 just do the surgery on the list. Naturally, I don't know anything about these people.</dialogue>
<character>ABBERLINE</character>
<dialogue>Naturally. Still, I hope you don't mind me esking. Goodnight, Sir William.</dialogue>
<character>GULL</character>
<dialogue>Goodnight, Inspector.</dialogue>
<scene_description>He watches Abberline go. For the first time, despite his arrogance, he feels uneasy. r ^ THE MUSIC ROOM of Lady Jane's mansion - guests in formal wear listen to a dinner recital. Abberline has come straight from his meeting with Gull. He hurries elong e terrace, hoping to slip in unobserved. Lady Jane sees him. She goes onto the terrace -</scene_description>
<character>LADY JANE</character>
<dialogue>I held dinner as long as I could, but I had no idea •</dialogue>
<scene_description>She looks st his face • he's agitated, worried.</scene_description>
<character>LADY JANE</character>
<dialogue>What's wrong?</dialogue>
<character>ABBERLINE</character>
<dialogue>I went to see Sir William Gull.</dialogue>
<scene_description>She weits for him to go on. He doesn't - he's thinking about something.</scene_description>
<character>LADY JANE</character>
<dialogue>You went to see Sir William - and?</dialogue>
<scene_description>^ ABBERLINE He lied to me.</scene_description>
<character>LADY JANE</character>
<dialogue>Sir William? For heaven's sake - you must be mistaken.</dialogue>
<character>ABBERLINE</character>
<dialogue>1 saw it. Jane - the flicker in his eye. the nervous hand that went to straighten his tie... he was lying.</dialogue>
<character>LADY JANE</character>
<dialogue>He's one of the most highly respected men in London.</dialogue>
<character>ABBERLINE</character>
<dialogue>I know his reputation.</dialogue>
<character>LADY JANE</character>
<dialogue>I don't think you do. He's Physician in Ordinary to her Majesty the Queen. I Didn't I tell you he was very well connected?</dialogue>
<scene_description>Abberline's shocked - physician to the Queen? Where does all this end?</scene_description>
<character>LADY JANE</character>
<dialogue>What do you say he... "lied"... about?</dialogue>
<character>ABBERLINE</character>
<dialogue>There was a young woman.... a working class girl he operated on. He said he didn't recall her.</dialogue>
<character>LADY JANE</character>
<dialogue>Why would he? He must have had thousands of patients. I can hear it in your voice - you're not even sure yourself, are you?</dialogue>
<character>ABBERLINE</character>
<dialogue>Of course you doubt... there are always doubts. But I've been in the force fifteen years. I know what I saw.</dialogue>
<character>LADY JANE</character>
<dialogue>JWEV. And why would he lie about it?</dialogue>
<character>ABBERLINE</character>
<dialogue>I don't know. There's someone else involved - en eristocrat. He calls himself Albert Victor • but that sounds like two first names.</dialogue>
<scene_description>He looks at Lady Jane to see if the name meens anything to her •</scene_description>
<character>LADY JANE</character>
<dialogue>Don't took at me • I'm sure I don't know.</dialogue>
<character>ABBERLINE</character>
<dialogue>There's a book, isn't there • it lists knights and lords?</dialogue>
<character>LADY JANE</character>
<dialogue>Earls, viscounts, marquis and dukes. It's called Burke's Peerage.</dialogue>
<character>THE PAGES OF A BOOK</character>
<dialogue>being turned. Abberline sits elone in Lady Jane's library, working by candlelight.</dialogue>
<scene_description>He is searching the pages of a huge book. The door opens •</scene_description>
<character>LADY JANE</character>
<dialogue>Fred • it's almost 3am.</dialogue>
<character>ABBERLINE</character>
<dialogue>I know...</dialogue>
<scene_description>He leans back in the chair and rubs his eyes. He's so tired he can barely see.</scene_description>
<character>LADY JANE</character>
<dialogue>Have you thought • maybe Albert Victor's a completely invented name?</dialogue>
<scene_description>' ABBERLINE I Yes I have, but it's what the woman I who loved him used. It's all I've got. , LADY JANE i What - and she didn't remember ' anything else? jfi$&>\ ABBERLINE Just that she had a daughter. She went down the rabbit hole and the wicked old queen said "off with her head".</scene_description>
<character>LADY JANE</character>
<dialogue>"Alice in Wonderland" - that's helpful.</dialogue>
<scene_description>But Abberline barely hears her • he's following a thought.</scene_description>
<character>ABBERLINE</character>
<dialogue>She remembered her daughter's name... I wonder... why couldn't her mind hold onto something else...?</dialogue>
<scene_description>Lady Jane looks at him, lost. She shrugs.</scene_description>
<character>LADY JANE</character>
<dialogue>I'm sorry. Fred • it's too Iste for children's stories. I'm going to bed.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(distracted)</parenthetical>
<dialogue>j0$?\*\ Yes, all right... good night.</dialogue>
<scene_description>He leafs backwards through the pages - very fast. Lady Jane leaves. Abberline keeps looking • then he stops. He stares at the page. We don't see what's on it but we see his face. He's scared now. Very, very scared.</scene_description>
<character>EARLY MORNING</character>
<dialogue>The street et the front of Bishopsgate Police station is coming to life. A cab draws up and Abberline. looking exhausted, gets out. He goes up the front steps end into the station. A constable behind the desk looks up.</dialogue>
<character>CONSTABLE</character>
<dialogue>There's been e letter, sir.</dialogue>
<character>INSIDE ABBERLINE'S OFFICE</character>
<dialogue>The Sergeant and several other cops watch as Abberline reads aloud parts of a handwritten letter.</dialogue>
<character>ABBERLINE</character>
<dialogue>"I am down on whores end shsn't quit ripping them 'til I do get buckled... the next job I do I'll clip the lady's ears off. just for jolly..."</dialogue>
<parenthetical>(he throws it down on the desk • tired)</parenthetical>
<dialogue>It's bullshit.</dialogue>
<character>DETECTIVE</character>
<dialogue>How do you know? There's been other cases -</dialogue>
<character>ABBERLINE</character>
<dialogue>The killer's intelligent. He doesn't write letters in red ink that start with "Dear Boss" and he certainly doesn't call himself "Jeck the Ripper".</dialogue>
<parenthetical>(he rubs his eyes)</parenthetical>
<dialogue>It's a hoax.</dialogue>
<character>SERGEANT</character>
<dialogue>I don't think so, Fred.</dialogue>
<character>ABBERLINE</character>
<dialogue>Christ - not you too, Pete I</dialogue>
<scene_description>-<\*KN. (\*®\*\*~- SERGEANT I don't think it's a hoax. I think one of the bastards from the gutter press wrote it. Abberline stares at him. The logic of what he says sinks in.</scene_description>
<character>ABBERLINE</character>
<dialogue>Who? Thet idiot Best from "The Star", the one who dreamt up Leather Apron?</dialogue>
<character>SERGEANT</character>
<dialogue>Probably. Invent a letter, send it to the coppers and then just report on developments. Can you think of a better way of keeping the story going?</dialogue>
<scene_description>Abberline runs his fingers through his hair -</scene_description>
<character>ABBERLINE</character>
<dialogue>Jesus!</dialogue>
<parenthetical>(looks at his watch)</parenthetical>
<dialogue>I've got to go.</dialogue>
<character>THE DOOR OF MARY'S ROOM</character>
<dialogue>opens e creek. She's not dressed yet, covering herself with a blanket. She looks through the gep at Abberline •</dialogue>
<character>MARY</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>What do you want?</dialogue>
<character>ABBERLINE</character>
<dialogue>I want you to come with me.</dialogue>
<character>MARY</character>
<dialogue>Are you arresting me?</dialogue>
<character>ABBERLINE</character>
<dialogue>If I have to. I'll wait outside while you get dressed.</dialogue>
<scene_description>She swings the door open, letting him in.</scene_description>
<character>MARY</character>
<dialogue>Why bother? It doesn't matter, does it, Inspector - a woman like me, you can see ell you want for three pence.</dialogue>
<scene_description>yflflf^v^ She lets the blanket fall, revealing her naked body, and walks to the chair where her clothes are lying. Abberline picks up the blanket and throws it at her -</scene_description>
<character>-ABBERLINE--</character>
<dialogue>Of course it matters!</dialogue>
<scene_description>He turns his back, allowing her to get dressed. For a moment, she just looks at him • still hurt and caring about him.</scene_description>
<character>MARY</character>
<dialogue>So... where are we going?</dialogue>
<character>ABBERLINE</character>
<dialogue>The opening of Parliament. The Queen arrives at nine o'clock.</dialogue>
<character>MARY</character>
<dialogue>Parliament?</dialogue>
<character>ABBERLINE</character>
<dialogue>What's wrong - not interested in democracy, Mary?</dialogue>
<scene_description>.rf\*B\</scene_description>
<character>MARY</character>
<dialogue>Of course I would be - if anyone in England practiced it.</dialogue>
<scene_description>She's pulled on her dress and shoes • she's ready.</scene_description>
<character>PALACE ROAD</character>
<dialogue>runs from the gates of Buckingham Palace to the Houses of Parliament. The street is lined with sightseers. Uniformed police keep them back as ranks of ceremonial troops pass by - the Household Cavalry, the Life Guard, the Imperial Dragoons...</dialogue>
<dialogue>A cheer goes up for the Queen's gold-encrusted State coach. The dour old woman, dressed in her perpetual black, sits alone, waving at her subjects. Following close behind are dozens of other coaches carrying members of the Royal Family and the country's leading noblemen.</dialogue>
<dialogue>In the second rank is a magnificent vehicle trimmed in gold. Driving it - ramrod straight and dressed in finery • is a man we recognize. John Netleyl</dialogue>
<scene_description>r^- IN THE CROWD Abberline and Mary push through to the front. The coaches are approaching the gates to the Houses of Parliament. Abberline points out Netley's coach (they can't see the driver's face because the footmen and postillions block him from view.)</scene_description>
<character>ABBERLINE</character>
<dialogue>The second coach! Look at the men inside... look at his face... understand?</dialogue>
<scene_description>Mary nods her head • yes. She steps out onto the road. The coach draws abreast of them. Inside a man sits alone. It's Albert Victor. He turns - Mary looks through the window. The man starts to wave at what he thinks is an enthusiastic subject. Then he stops • he and the woman have seen each other before... a year ago in a basement apartment. Mary stares at him- He looks back. Then the coach is gone, passing through the gates and into the forecourt of the Houses of Parliament.</scene_description>
<character>ABBERLINE</character>
<dialogue>Was it him, Mary?!</dialogue>
<character>MARY</character>
<dialogue>^ (soft)</dialogue>
<scene_description>Who is he? Abberline feels his stomach turn as the truth is confirmed.</scene_description>
<character>ABBERLINE</character>
<dialogue>Albert Victor. Prince Edward Albert Victor Christian. Grandson of Her Majesty the Queen. Heir to the throne of England.</dialogue>
<scene_description>Mary stares at him • God, what has she brought down on herself? All around them, the crowd is dispersing. Abberline speaks softly •</scene_description>
<character>ABBERLINE</character>
<dialogue>I can't see all the threads. Mary • not half of them I shouldn't think • but the Special Branch are involved, so's the Queen's surgeon end the Prince himself. God knows where else it leads. But there's one thing I can't fathom • the connection to Polly and Dark Annie.</dialogue>
<scene_description>He looks at her, hoping she'll volunteer something but she doesn't.</scene_description>
<character>ABBERLINE</character>
<dialogue>I found your friend Annie Crook, you know?</dialogue>
<character>MARY</character>
<dialogue>Annie? Where?!</dialogue>
<character>ABBERLINE</character>
<dialogue>It doesn't matter - she won't know you. She had an operation • maybe it was necessary, but it just so happens it destroyed her memory.</dialogue>
<character>MARY</character>
<parenthetical>(close to tears)</parenthetical>
<dialogue>But... memories are like someone's life.</dialogue>
<character>ABBERLINE</character>
<dialogue>I suppose they are but that's what we're dealing with. What's the connection, Mary? Help me.</dialogue>
<scene_description>/\*\*>\ But now she's more frightened than ever -</scene_description>
<character>MARY</character>
<dialogue>I don't know.</dialogue>
<character>ABBERLINE</character>
<dialogue>I'll tell you what I think - you did something or you know something. I think you're the link.</dialogue>
<character>MARY</character>
<dialogue>You're wrong, Inspector.</dialogue>
<character>ABBERLINE</character>
<dialogue>I know you don't trust coppers • me especially! • and if you're frightened, you've got every right to be, but you've got to give me a chance. You've got to help, Mary!</dialogue>
<character>MARY</character>
<dialogue>I can't.</dialogue>
<scene_description>Abberline turns away - frustrated, engry. He takes a second to compose himself.</scene_description>
<character>MARY</character>
<dialogue>I'd better be going...</dialogue>
<character>ABBERLINE</character>
<dialogue>How much money have you got?</dialogue>
<character>MARY</character>
<dialogue>Why?</dialogue>
<character>ABBERLINE</character>
<dialogue>I don't believe you, Mary -1 think you're in danger. More danger than I probably realize. If I'm right, you mustn't go anywhere you're known. You can't work, can you? Stick to the poor neighborhoods • you've got a better chance of being lost there. Stay in that lodging house, but only as long as nobody knows you. That takes money. Can you afford it?</dialogue>
<scene_description>Mary looks at him • tenderness in her eyes.</scene_description>
<character>MARY</character>
<dialogue>/^\*\ I'll ask Mrs Finnane if I can work for</dialogue>
<scene_description>lodging. If she'll do h, it'll be char work in the kitchen • four in the morning 'til after dinner time and I'll still have to pay for my food. But with what you gave me. I'll be able to manage for a while • I'll have to won't I? But thanks, anyway. Time to go. They look at one another. A beat - then Mary puts out her hand. Abberline shakes it.</scene_description>
<character>MARY</character>
<dialogue>Goodbye, Fred.</dialogue>
<scene_description>She goes. Abberline watches her heed towards the Houses of Parliament. He turns away, into the crowd.</scene_description>
<character>AN IRON RAILING</character>
<dialogue>Mary hurries past it. She glances in at the State carriages parked on the other side • and stops dead in her tracks. She stares through the bars and though we don't see what she does, we can tell from her face • it chills her to the bone.</dialogue>
<scene_description>THE THAMES EMBANKMENT Fred walks along the sidewalk at the river's edge. A voice behind him</scene_description>
<character>MARY (O.S.)</character>
<dialogue>Fred!</dialogue>
<scene_description>He turns - Mary comes towards him.</scene_description>
<character>MARY</character>
<dialogue>The Prince's coachman, I've seen him before... he came in the pub one night - he asked Polly her name.</dialogue>
<scene_description>Abberline stares at her • at last he gets a break.</scene_description>
<character>ABBERLINE</character>
<dialogue>Where. Mary?! Point him out!</dialogue>
<scene_description>Mary leads him into the crowd. THE IRON RAILING Mary and Abberline push through to the front of the crowd. She points at the carriages • Netley is laughing, sharing a joke with one of the other drivers. Abberline stares at him, marking him well.</scene_description>
<character>ABBERLINE</character>
<dialogue>I always thought he had an accomplice • who better than a coachman? It looks like you've found the monkey. Mary. God willing, the organ grinder won't be far behind.</dialogue>
<scene_description>He turns and looks at her - she's got other things on her mind.</scene_description>
<character>MARY</character>
<dialogue>I've got to go, Fred.</dialogue>
<scene_description>She gathers up her skirts, pushes through the crowd and hurries ewey • THE RINGERS PUB Mary enters and quickly looks around. It's mid-morning and the pub is elmost empty. She goes to the bar -</scene_description>
<character>MARY</character>
<dialogue>I've got to find Liz Stride. You haven't seen her have you, Mr Ringer?</dialogue>
<character>RINGER</character>
<dialogue>Not this week. Peter Leyland said he saw her on Monday at the Horn 0' Plenty, pissed out of her mind. Have you tried Miller's Rents?</dialogue>
<character>MARY</character>
<dialogue>There end everywhere else. Listen - I've got to tell her something. When she comes in, will you give her a message?</dialogue>
<scene_description>Ringer nods. Mary hurriedly writes out a note. Above the bar, she sees e sign for "Gilbey's Gin". She signs the note "Mary Gilbey" and puts it in an envelope.</scene_description>
<character>MARY</character>
<dialogue>Make sure you tell her it's from me, will you?</dialogue>
<scene_description>y^f^N He nods his head. She turns and leaves.</scene_description>
<character>BEAUTIFUL ROLLING HILLS</character>
<dialogue>Fields of gold and yellow, haycarts in the dales, men and women harvesting vegetables. Under e tree, Kate Eddowes takes a drink from a bucket. She turns as a sunburnt man in his 30's approaches. This is John Kelly, her common-law husband.</dialogue>
<character>JOHN</character>
<dialogue>There's a bloke just arrived from London. He says they're offering a two hundred quid reward for the Whitechapel killer.</dialogue>
<character>KATE</character>
<dialogue>So? I don't know nothing about it.</dialogue>
<character>JOHN</character>
<dialogue>Don't be daft! Four women take a punt on getting some money and two of 'em are killed. It's gotta be that artist bloke. What's his name •</dialogue>
<scene_description>j0^\ Sicken?</scene_description>
<character>KATE</character>
<dialogue>Listen to me, John Kelly - I'm not telling the coppers anything. There's a name for that letter - it's called blackmail and I'm not going to jail for anyone.</dialogue>
<character>JOHN</character>
<dialogue>Jesus, woman. Nobody's gonna think you had anything to do with the letter! You can't even write. You just tell 'em you heard the other women talking about it. Now you're being a good citizen and informin' the coppers.</dialogue>
<scene_description>Kate starts to think about it -</scene_description>
<character>JOHN</character>
<dialogue>Shit, Kate • two hundred quid, just for us. ft'd set us up. Or do you went to keep slogging away in Kent or London? Either wey it's hard on your back.</dialogue>
<character>KATE</character>
<dialogue>It is a lot of money, isn't it?</dialogue>
<character>JOHN</character>
<dialogue>That's the girl! We can jump a train to London tonight.</dialogue>
<character>THE BANK OF ENGLAND</character>
<dialogue>is a huge and impressive building • sweeping steps leed up to a row of Doric columns. A horse-drawn cart pulls up in front of it, delivering bundles of the afternoon edition of "The Ster" to the street vendors. A newsboy grabs an armful and starts to hawk them •</dialogue>
<character>NEWSBOY</character>
<dialogue>Coppers get a letter! Read all about him • Jack the Ripper!</dialogue>
<scene_description>Gentlemen of the City - businessmen - stop end listen. The newsboy sterts to sell them as fast as he can take the money. C-</scene_description>
<character>THE HOUSE OF COMMONS</character>
<dialogue>The green leather benches of the beautiful chamber are full. A Member of Parliament rises to his feet.</dialogue>
<character>POLITICIAN</character>
<dialogue>My question is directed to the Prime Minister. Will the Honorable member assure terrified residents of London that the Government is do everything in its power to apprehend the men calling himself Jack the Ripper?</dialogue>
<scene_description>The six hundred members roar their approval - "Heer. hear... hear, hear". The Prime Minister stands up to answer. He looks around, beleaguered, worried...</scene_description>
<character>HYDE PARK</character>
<dialogue>Gull and Lord Hailsham walk down an avenue of beautiful oak trees. The sun is setting, casting a tangled web of shadows across their feces. Though we don't hear what they are saying, it's obvious Hailsham is angry. They come to a rise and look a cross a lawn. An afternoon rally has attracted thousands of people. A sign behind the podium reads:</dialogue>
<scene_description>Whitechapel Vigilance Committee The president of the newly-formed group addresses the crowd •</scene_description>
<character>PRESIDENT</character>
<dialogue>Four women dead in a matter of weeks • how many more before the Police and Government take action?!</dialogue>
<scene_description>A roar of agreement goes up from the crowd. Lord Hailsham turns to Gull -</scene_description>
<character>HAILSHAM</character>
<dialogue>Now do you know what I'm saying? Finish it. You hear me? Finish it!</dialogue>
<character>A PIGEON</character>
<dialogue>pecks at a trail of bread crumbs. It's night -the trail of crumbs lead under a wooden box. propped up by a stick. Three street urchins hide around a corner, waiting to spring the trap - pigeon pie for dinner. We tilt up from the box - to a carriage parked</dialogue>
<scene_description>j#>N on the aide of the road. ( Abberline sits next to the driver - watching the kids and the side gate of Buckingham Palace. The pigeon pecks its way under the box. One of the urchins tugs a string • the box falls down! Abberline looks up - a black carriage, the death coach, comes fast out of the gate. In the light of a street lamp, Abberline sees the driver's face • it's Netley.</scene_description>
<character>ABBERLINE</character>
<dialogue>Gol</dialogue>
<scene_description>The driver cracks his whip. Abberline looks down the street - it's bustling with carriages. Netley's coach travels fast • already it's half a block ahead.</scene_description>
<character>NETLEY</character>
<dialogue>is a fine driver, weaving in and out of the chaos of the street. He looks across, into the sweeping driveway of Buckingham Palace. Uniformed guards start to open the black and gold wrought-iron gates.</dialogue>
<character>NETLEY</character>
<dialogue>Shitl</dialogue>
<scene_description>/tf\*""~K He whips the horses hard, driving them into a gallop. Other uniformed guards step into the street, stopping all traffic. Netley's carriage squeezes through.</scene_description>
<character>ABBERLINE'S DRIVER</character>
<dialogue>reins to a screeching halt as the traffic in front stops.</dialogue>
<character>ABBERLINE</character>
<dialogue>Go round 'em!</dialogue>
<character>DRIVER</character>
<dialogue>I can't • it's the Queen, sir.</dialogue>
<scene_description>Abberline stands up and looks - the traffic all around the Palace has been stopped. The Queen, in a beautiful crimson carriage, is returning from dinner. The Household cavalry accompany her towards the gates of the Palace. The Royal carriage swings past Abberline. For a moment, he and the bitter old woman look at one another. Then she's gone and Abberline looks down Pall Mall • Netley's carriage is gathering speed, disappearing. Abberline's lost him.</scene_description>
<character>THE BURNED OUT RUINS</character>
<dialogue>p- of Ratcliffe Docks are silhouetted against the night. A row of filthy slums line the</dialogue>
<scene_description>waterfront. In front of one a sign swings in the breeze: The People's Palace Cheap Lodging</scene_description>
<character>INSIDE THE PEOPLE'S PALACE</character>
<dialogue>Liz Stride lies on the floor of a room little bigger than a closet. Empty gin bottles lie next to her. She opens her eyes • God, it's one hell of a bender she's been on. Bang! Bang! on the door - the sound cuts through her head like a knife.</dialogue>
<character>LANDLORD (O.S.)</character>
<dialogue>Open the bloody door!</dialogue>
<scene_description>Liz crewls to the door on her knees and unslips the bolt. The door swings open -</scene_description>
<character>LANDLORD</character>
<dialogue>Your doss money only lasts 'til midnight. You've got an hour to pay another day or get your ass out of here.</dialogue>
<character>LONG LIZ</character>
<dialogue>My compliments to the manager - how could I resist another night in such a</dialogue>
<scene_description>/0&\ fine establishment?</scene_description>
<character>LANDLORD</character>
<dialogue>And don't give me any foreign lip either.</dialogue>
<scene_description>He slams the door. Long Liz up-ends her purse. Two half pennies fall out • that's all she's got. She slumps against the door, nursing her head.</scene_description>
<character>LONG LIZ</character>
<dialogue>Oh God...</dialogue>
<character>BISHOPSGATE POLICE STATION</character>
<dialogue>Abberline pays his driver end bounds up the steps. He's lost Netley • whatever he can do, it's got to be done fast. He goes through the door.</dialogue>
<character>IN A CORRIDOR</character>
<dialogue>Abberline meets the Sergeant coming out of another office. Abberline shows him the newspaper photograph of the women at the funeral.</dialogue>
<character>ABBERLINE</character>
<dialogue>You know the names of these women, Pete?</dialogue>
<character>SERGEANT</character>
<dialogue>Most of 'em.</dialogue>
<character>ABBERLINE</character>
<dialogue>I want everyone working this shift assembled in the muster room • that includes the men on the beat. I want the women arrested. No muckin' about, any charge you like.</dialogue>
<character>SERGEANT</character>
<dialogue>You mind telling me why?</dialogue>
<character>ABBERLINE</character>
<dialogue>Just do it, Pete. Use fucking bloodhounds if you like.</dialogue>
<scene_description>He stares at Abberline but the Inspector turns away, heading into his office. THE DEATH COACH is parked out of sight in a dark alleyway. We crane up from it • above the adjoining tenements. We look down Dorset Street - on the corner is The Ringers pub. INSIDE THE PUB Ringer serves e gloss of ale to Netley.</scene_description>
<character>NETLEY</character>
<dialogue>You told me about a dark-haired lass one night. Said I couldn't do better than her if I wanted a bit of fun.</dialogue>
<character>RINGER</character>
<dialogue>That's right • you were going to double team her. Mary Kelly.</dialogue>
<character>NETLEY</character>
<dialogue>Yeah, that's her. She been in tonight?</dialogue>
<scene_description>(\*\*"\*\*\* RINGER I don't think she's workin' the street eny more. Like e lot of girls, she probably doesn't have the stomach for it • hatha!</scene_description>
<character>NETLEY</character>
<dialogue>Oh yeah, ha!ha! I've got a hard-on that'd make a blacksmith blush. You don't know where she lives, eh... maybe a home visit?</dialogue>
<character>RINGER</character>
<dialogue>Sorry... no idea, mate.</dialogue>
<character>NETLEY</character>
<dialogue>I'd make it worth her while. Yours, too.</dialogue>
<scene_description>Ringer looks down - Netley slides a silver florin across the bar.</scene_description>
<character>RINGER</character>
<dialogue>Now you put it tike that • she did leave a note for one of her pals.</dialogue>
<scene_description>He rummages under the bar, pulls out the envelope and reads the note. /#£N</scene_description>
<character>RINGER</character>
<dialogue>It says a friend from Sweden's turned up and's staying at an address in Dwyer Street. Signed Mrs Gilbey, whoever that is. No help, I'm efraid.</dialogue>
<character>NETLEY</character>
<dialogue>Ah well, we can't do any more than that, can we?</dialogue>
<scene_description>Ringer tosses the note and envelope in a corner of the counter and turns away. Netley reaches over, flicks open the note and looks at the address.</scene_description>
<character>THE DARK ALLEY</character>
<dialogue>Netley walks towards the death coach. The window slides down. Gull looks out</dialogue>
<character>NETLEY</character>
<dialogue>I've got an address for Mary Kelly. She's either using the name Mrs Gilbey or that's a friend of hers. Either way we cen find her - it's about three mile eway.</dialogue>
<character>GULL</character>
<dialogue>What about the others?</dialogue>
<character>NETLEY</character>
<dialogue>I didn't ask. The bloke'd believe I'd want to rut Mary Kelly, but not the other two.</dialogue>
<character>GULL</character>
<dialogue>I told you! We have to finish it, Netley.</dialogue>
<parenthetical>(looks at his watch)</parenthetical>
<dialogue>Still, it's early - the Kelly woman can await our pleasure. Jesus himself said he'd make us fishers of men. Drive, Netley • we'll cast our net once more in the sewer of Whitechapel.</dialogue>
<scene_description>Netley turns and swings himself onto the driver's seat. He snaps the reins - the carriage disappears into the night.</scene_description>
<character>WILKES STREET</character>
<dialogue>A flower seller has a stall on the comer. Liz Stride - looking for trede - picks e broken red cernetion out of the gutter. She snaps off the stem end fits the bloom into her buttonhole. Smiling, she continues on her way.</dialogue>
<character>THE DEATH COACH</character>
<dialogue>turns into Wilkes Street. Traveling fast, it passes pawnshops, pubs and a group of drunk, arguing men. It beers down on the flower seller. Neither Gull or Netley have seen Liz. but at any moment they will. Closer they come, closer • still they haven't seen herl Liz, blithely unaware, turns into a tiny alley-way. The death coach gallops past.</dialogue>
<character>DORSET STREET</character>
<dialogue>Liz has cut through the alley into the heart of the red-light area. She stands outside the Salvation Army hall, talking to a friend of hers • Kate Eddowes. The sounds of voices singing a hymn - "Amazing Grace" • carries over from inside the hell. Kate is giggly, a bit drunk.</dialogue>
<scene_description>y"f"""S"v</scene_description>
<character>KATE</character>
<dialogue>We got back from Kent this mornin" and been loaded ever since. They put me in the drink tank down in Whitechapel - only let me out half an hour ago.</dialogue>
<parenthetical>(drops her voice, confidential)</parenthetical>
<dialogue>We've been celebratin'.</dialogue>
<character>LONG LIZ</character>
<dialogue>Celebrating what?</dialogue>
<character>KATE</character>
<dialogue>My John's come up with a way to make some money. Real money.</dialogue>
<character>LONG LIZ</character>
<dialogue>He has, has he? How's that, then?</dialogue>
<character>KATE</character>
<dialogue>You know that -</dialogue>
<scene_description>X^JioSSi, Then her street cunning cuts through the alcoholic fog • why share this with anyone?</scene_description>
<character>KATE</character>
<dialogue>Forget it. You know how it is • I don't want to put a jinx on it.</dialogue>
<scene_description>Liz knows how it is alright • people looking after themselves. They keep telking but we pull back from them -</scene_description>
<character>THE DEATH COACH</character>
<dialogue>has turned into Dorset Street. The sidewalks are crowded and Liz and Kate stend in the shadows. Then the hymn, accompanied by an organ, reaches it's finale. The sound of the voices, uplifted to God, carries across the road. Netley turns • and reins the horses back hard.</dialogue>
<dialogue>Bangl Gull slides open a narrow panel that allows the passenger to talk to the driver. Netley inclines his head and holds up his fingers • two. Gull looks at the two women. Already the excitement is starting to rise within him. He smiles.</dialogue>
<character>ON THE SIDEWALK</character>
<dialogue>Liz checks her make-up in a fragment of mirror and returns it to Kate.</dialogue>
<character>LONG LIZ</character>
<dialogue>One more fare and I'll have enough for rent. It'll be home to bed for me.</dialogue>
<character>KATE</character>
<dialogue>Half your luck. I had my doss money three times over this mornin' - still that's the perils of drink for you. I'll try my luck down Mitre Square.</dialogue>
<scene_description>The two women nod to each other in farewell. Liz turns and walks down the street, looking for trade. Netley loosens the reins • the carriage moves towards her. A man stops Liz and looks her up and down. We don't hear what he says but he's obviously asking her the price. Inside the cerriege. Gull's excitement turns to anger. Under his breath, he curses the man - a vile string of obscenities. The man shakes his head • whatever price Liz is asking is too much for him. Liz keeps walking. As the carriage drews abreast of her, Gull slides down the passenger window.</scene_description>
<character>GULL</character>
<dialogue>Young lady. Young lady...</dialogue>
<scene_description>Long Liz turns and approaches the coach.</scene_description>
<character>GULL</character>
<dialogue>My dear, you look chilled to the bone. Open the door, come into the warm.</dialogue>
<scene_description>He smiles at her. Liz looks at his distinguished fece • it reassures her. She puts on a comely smile -</scene_description>
<character>LONG LIZ</character>
<dialogue>It's a pleasure to meet a kind gentleman on such a raw evening.</dialogue>
<scene_description>She climbs in out of the wind but just to be safe leaves the door open.</scene_description>
<character>LONG LIZ</character>
<dialogue>What did you have in mind, sir?</dialogue>
<character>GULL</character>
<dialogue>Come closer...</dialogue>
<scene_description>He slides his hand inside her bodice end starts to feel her breasts. y$&\*\*\ f\*^ LONG UZ (smiling) A tit man, are you? It's e shilling for short time, a florin for • Netley leans down from the driver's seat and slams the door shut. Liz turns, suddenly frightened. She grabs the door handle and turns • it won't open! The crack of the whip • the coach starts moving. She spins back to Gull •</scene_description>
<character>GULL</character>
<dialogue>We're going to have to be quick!</dialogue>
<scene_description>The Liston knife drives towards her breasts • it hits her flesh. Liz screams. Gull's hend clamps across her mouth. He slashes the knife down from her breasts to her knees, cutting apart her dress and petticoats, laying bare her stomach and crotch. Liz. still alive, stares at him in horror. He draws the knife back, aiming at her stomach - The coach turns into a dark, cobblestoned road. Liz's stifled cry is drowned out by the clatter of wheels.</scene_description>
<character>LIZ STRIDE'S BODY</character>
<dialogue>lies in e heap in Outfield Yard. Constables with lanterns search the surrounding alleyways. Alreedy the curious are starting to gather - in another few hours it will grow to a flood. Abberline pushes through. He bends down next to the half naked body and looks at Liz's mutilated face - her eyelids have been slashed, the tip of her nose is missing. A detective comes to Abberline's side •</dialogue>
<character>DETECTIVE</character>
<dialogue>She hesn't got any papers on her. We're rounding up some of the bang-tails to see if anyone can identify her.</dialogue>
<character>ABBERLINE</character>
<dialogue>Don't bother • her name's Elizabeth Stride. Long Liz.</dialogue>
<scene_description>He turns end leans back against the wall • tired, defeated.</scene_description>
<character>ABBERLINE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>H's like the Mad Hatter said • "they tried and tried but it was too little, too late. Off with her head, off with her headl"</dialogue>
<scene_description>j<fl""~ t> S ( DETECTIVE What was that, Fred?</scene_description>
<character>ABBERLINE</character>
<dialogue>Nothing. A kid's book that's all.</dialogue>
<scene_description>The detective turns away - maybe the Inspector's starting to lose it, after ell. The Sergeant, sweating, runs up to Abberline.</scene_description>
<character>SERGEANT</character>
<dialogue>We need you, Fred! We've got another one! About e mile away.</dialogue>
<scene_description>Abberline stares at the Sergeant. Fear and panic sweep over him •</scene_description>
<character>ABBERLINE</character>
<dialogue>Jesus... who?! Mary Kelly?</dialogue>
<character>SERGEANT</character>
<dialogue>No. Woman by the name of Eddowes.</dialogue>
<scene_description>Abberline stares at him - Kate Eddowes? He takes a moment to calm himself. The thought that it might have been Mary has really panicked him. God, he didn't realize (^ how much he'd come to care about her.</scene_description>
<character>SERGEANT</character>
<dialogue>Are you all right, Fred?</dialogue>
<character>ABBERLINE</character>
<dialogue>Yeah... just give me a moment.</dialogue>
<character>SERGEANT</character>
<dialogue>Quick! The woman screamed • we were only a couple of minutes behind him.</dialogue>
<character>GRAFFITI ON A WALL</character>
<dialogue>is written in large letters in chalk:</dialogue>
<scene_description>"The Juwes are not the men who will be blamed for this for nothing" Lying underneath it is a piece of blood-soaked apron and, not far away, the slashed and gutted body of Kate Eddowes. Police are milling ebout everywhere. Abberline id$&\*>\ and the Commissioner himself. Sir Charles Warren, look at the graffiti -</scene_description>
<character>("\*\*�� ABBERLINE</character>
<dialogue>Of course, it could have been on the wall before the murder • they're mostly Jewish people living in this building.</dialogue>
<character>SIR CHARLES</character>
<dialogue>Wash it off.</dialogue>
<scene_description>Abberline looks at him, unbelieving -</scene_description>
<character>ABBERLINE</character>
<dialogue>Sir Charles - it may be evidence. It should be photographed.</dialogue>
<character>SIR CHARLES</character>
<dialogue>That's not a mis-spelling of "Jews". It's got nothing to do with synagogues. It's a word only a Mason would use. Like everything to do with the Freemasons,</dialogue>
<scene_description>• its meaning is secret.</scene_description>
<character>ABBERLINE</character>
<dialogue>That's even more reason we should</dialogue>
<scene_description>/ ^ keep it.</scene_description>
<character>SIR CHARLES</character>
<dialogue>No! It's probably someone trying to discredit the Masons. A lot of powerful men are members of the society. I don't need them asking why that was allowed to happen. Come to that, we don't need every rabbi in London asking the same thing.</dialogue>
<scene_description>The two men look at each other • Abberline obviously doesn't agree.</scene_description>
<character>SIR CHARLES</character>
<dialogue>It's my responsibility, Fred.</dialogue>
<scene_description>Grim-faced, Abberline nods his head in agreement. He turns end walks away. Sir Charles watches him go. There's a sadness in the Commissioner's eyes • he knows just how compromised he is.</scene_description>
<character>KATE'S BODY</character>
<dialogue>is lifted onto a stretcher and carried to the back of an ambulance. A constable has almost finished scrubbing the graffiti from the wall. Abberline moves slowly, almost alone, near where her body lay. On the ground are a couple of buttons.</dialogue>
<scene_description>y^^N^ He bends to look at them • probably torn from Kate as the killer ripped her bodice off. He starts to stand - then he sees one of the cobblestones is missing. A thin film of blood has flowed into it, covering the mud. Pressed into it is the perfect imprint of a man's heel. Abberline pulls out a white handkerchief and presses it into the hole. Carefully he lifts it out. Traced in blood is an impression of the heel print. In its center is the bootmaker's mark - a three-turreted castle.</scene_description>
<character>ABBERLINE</character>
<dialogue>Gull.</dialogue>
<scene_description>We hold on him - totally alone, staring at the truth. The wind starts to rise, moaning and sighing through the tenements. It carries over to -</scene_description>
<character>THE SIGN</character>
<dialogue>out the front of Mrs Finnane's boarding house. It's the early hours of the same morning, the house in darkness, nothing stirring. We crane up to a window -</dialogue>
<character>INSIDE A BEDROOM</character>
<dialogue>Mary is asleep. The few possessions she has are scattered eround the room couple of dresses hanging from hooks on the wall, a photograph of a family standing in front of a broken-down Irish cottage, a smatl glass perfume jar...</dialogue>
<character>A LONG AND LONELY ROAD</character>
<dialogue>The death carriage travels fast, foam flying from the horses' mouths. Netley cracks the whip • heeding for the boarding house. Inside. Gull looks et his watch. It's 3.50am.</dialogue>
<character>THE REAR OF MARY'S BOARDING HOUSE</character>
<dialogue>Gull, carrying the leather case, mounts a flight of exterior steps. He opens a door and steps into a -</dialogue>
<character>CORRIDOR</character>
<dialogue>A candle in e glass bracket casts a shifting, faltering light. Silently Gull makes his way past the numbered doors. He stops in front of number 14 and tries the handle. Locked.</dialogue>
<character>INSIDE MARY'S ROOM</character>
<dialogue>The point of the Liston knife slides between the edge of the door and the frame. It flicks up the latch. Without a sound, the door opens. Gull slides in and closes it behind him. Click! He locks it. He puts the bag down on the floor and crosses to the bed. In the darkness H's a jumble of blankets and pillows. He takes hold of the bed clothes and draws them back. The bed is empty.</dialogue>
<dialogue>A rustle of movement behind him! He spins, reising an arm to fend off the blow. There's nothing there - just the wind through a crack in the window, hitting the dress hanging on the wall. Gull looks around - the room is empty.</dialogue>
<character>A NARROW LANEWAY</character>
<dialogue>The death coach is parked in the shadows. Netley is in his seat. There's blood on his overcoat, a smear of it across his face • he looks shattered. He glances up at the second floor of the boarding house. Through the window of room 14 he sees a candle moving back and forth. What's Gull doing? Is it over • that fast?</dialogue>
<character>INSIDE MARY'S ROOM</character>
<dialogue>jf0&\ Gull lifts up Mary's underwear and holds it to his face, catching the smell of her</dialogue>
<scene_description>body. He casts it aside end picks up the photograph • a dirt poor Irish family. There's five children • all boys except for a beautiful girl aged about twelve. It's unmistakably Mary. Gull puts it down and takes up the perfume bottle. It's called "Wild Roses". He takes out the stopper - and curls his nose in disgust. Crash! Something metallic hits the ground deep within the house. Gull turns, listening •</scene_description>
<character>IN THE KITCHEN</character>
<dialogue>Mary is at work. She curses as she picks up a large cauldron of water she's dropped. It's four in the morning and she's atone, getting the kitchen reedy for the day. It's a sequence of inter-connected rooms • food pantry, scullery, china room, bread ovens. A fire roars in the hearth. Mary picks up the cauldron and puts it on the grate to boil.</dialogue>
<character>THE DOOR</character>
<dialogue>into the scullery opens end Gull - his frock-coat buttoned, carrying his leather beg enters. He listens. Nothing. He walks between the wooden benches, passes the pantry and enters the heert of the kitchen.</dialogue>
<scene_description>C- It's hard to see - pots and pans heng from racks, a series of benches and half-walls, shadows playing from the firelight. From a nook near the fireplace, the sound of movement. Gull silently unclips the leather bag - he has the Liston knife close at hand. He walks forward. NEXT TO THE BREAD OVENS Three cats circle e rat they've trepped. One of the cats pounces, grabs the rat by the neck and shakes it. A second cat turns • Gull is standing looking at them. This was the noise he heard. The adrenaline runs out of him. He relaxes. A voice behind him -</scene_description>
<character>MARY (O.S.)</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Gull, startled, spins - Mary's come in from the courtyard. She holds two buckets she's filled from the water pump. She looks at Gull's distinguished face, takes in his frock-coat and the leather bag - and smiles.</scene_description>
<character>MARY</character>
<dialogue>I'm sorry, Doctor • I didn't mean to startle you.</dialogue>
<scene_description>Gull's seen her before, or a version of her • in the photogreph. He drinks her in with his eyes • the lustrous hair, the fine features, the soft swell of her breasts. The others were nothing compared to this.</scene_description>
<character>GULL</character>
<dialogue>What a lovely scent you're wearing. It smells like wild roses.</dialogue>
<character>MARY</character>
<dialogue>That's exactly what it is. Can I help you?</dialogue>
<character>GULL</character>
<dialogue>Yes, I've been looking for someone. Would you care for a grape?</dialogue>
<scene_description>Out of his pocket he takes a bag of grapes. He walks up to her, offering the grapes. Mary reaches out and takes one. Gull is now within striking distance. Mery lifts the grape to her mouth. Gull's hand, hidden from her. is coming up • he's going to grab her throat and close off the cerotid artery. Not to kill her, but enough to make her helpless. He wants to enjoy this. His lips ere dry. he runs his tongue elong them. Mary doesn't notice • she's looking past him. /W\*\*-^.</scene_description>
<character>MARY</character>
<dialogue>'Morning, Mrs Finnane.</dialogue>
<scene_description>Gull turns - a big woman in her 50's is coming through the doorwey. This is the owner of the boarding house. She looks at the Doctor ---</scene_description>
<character>MRS FINNANE</character>
<dialogue>Is something wrong?</dialogue>
<character>MARY</character>
<dialogue>No, nothing. The Doctor's looking for someone.</dialogue>
<scene_description>Gull is caught between the two women. He barely misses e beat •</scene_description>
<character>GULL</character>
<dialogue>A woman by the name of Netley, the mother of one of my staff. They sent for me, said she was having convulsions.</dialogue>
<character>MRS FINNANE</character>
<dialogue>No-one by the name of Netley here.</dialogue>
<character>GULL</character>
<dialogue>Number 42?</dialogue>
<character>MRS FINNANE</character>
<dialogue>Next door.</dialogue>
<character>GULL</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>I do beg your pardon.</dialogue>
<scene_description>He picks up his beg, looks once more at Mary and goes. Mary catches the look - there's something about it... as if someone just walked across her grave.</scene_description>
<character>THE FIRST LIGHT OF DAY</character>
<dialogue>streams through a window and into the kitchen. The place is bustling - cooks and maids are getting breakfast reedy for the lodgers.</dialogue>
<dialogue>Mary looks up from scrubbing down a bench - she sees Abberline standing in the doorway. He has come straight from the crime scene. One look at his face and she knows something terrible has happened. She goes to him.</dialogue>
<character>ABBERLINE</character>
<dialogue>It's bad news. Liz Stride and Kate Eddowes were murdered four hours ago.</dialogue>
<scene_description>Mary feels her knees weaken • she leans on a bench. She tries to be strong but tears fill her eyes. Abberline takes her arm and guides her out of the kitchen, into</scene_description>
<character>THE DESERTED DINING ROOM</character>
<dialogue>Mary sits down at one of the long tables. Abberline tekes the page from "The Star' out of his pocket • the one that shows the women at Polly's funeral. He lays it down in front of her.</dialogue>
<character>ABBERLINE</character>
<dialogue>There were five of you and now there's only one. When's he coming for you?</dialogue>
<scene_description>Mary's face is turned away but she shudders - she's starting to sob.</scene_description>
<character>ABBERLINE</character>
<parenthetical>(gently)</parenthetical>
<dialogue>s$$S\ Do you want to tell me now?</dialogue>
<scene_description>Silence. A beat. Then she looks up.</scene_description>
<character>MARY</character>
<dialogue>You're right, there were the five of us, but it was my idea so I have to take the blame.</dialogue>
<scene_description>She stops to collect herself, trying not to cry. She goes on •</scene_description>
<character>MARY</character>
<dialogue>We were desperate... I knew about Albert Victor's relationship with Annie. He was in love with her - every chence he got, he was at the house. You only had to see them together to know it. He was the father of her child.</dialogue>
<character>ABBERLINE</character>
<dialogue>The Prince's child? That would make her third in line to the throne. Jesusl But maybe not • her being illegitimate • I don't know what the law is.</dialogue>
<character>MARY</character>
<dialogue>That's the point, Fred • she wasn't illegitimate. Over a year ago, before she was pregnant, Annie Crook and Albert Victor went to a tiny church in Sussex. The only witnesses were two farm workers. On an afternoon late in July they were married.</dialogue>
<character>ABBERLINE</character>
<dialogue>This is the Kingdom you're talking about, Mary. A thousand years of power! No wonder they're killing people. She would have been Queen. As monarch, Albert Victor becomes head of the Church of England • the marriage couldn't be dissolved.</dialogue>
<parenthetical>(he pauses)</parenthetical>
<dialogue>You said you were desperate.</dialogue>
<character>MARY</character>
<dialogue>I saw men come for him and Annie • you say it was the Special Branch,</dialogue>
<dialogue>but I didn't know that then. All I knew was that somebody was willing to go</dialogue>
<dialogue>to a lot of trouble to keep it quiet. I got to thinking, they might pay us to do the same. So I wrote a letter -</dialogue>
<character>ABBERLINE</character>
<dialogue>You tried to blackmail the heir to the Throne?!</dialogue>
<character>MARY</character>
<dialogue>I didn't know it was him! I thought he was just some lord or something •</dialogue>
<character>ABBERLINE</character>
<dialogue>F c God's sake! How the hell could you threaten to expose someone if you didn't know who he was?</dialogue>
<character>MARY</character>
<dialogue>I didn't have to know, did I? His people just had to think that I did. I sent the letter to a friend of his - an artist, Walter Sicken. I posed for him once • he's the one who got me the job with Annie. Now he's supposed to be in Italy but maybe that's just a blind. I've thought for a week or more he might be the killer.</dialogue>
<character>ABBERLINE</character>
<dialogue>It's not him.</dialogue>
<character>MARY</character>
<dialogue>You know?</dialogue>
<scene_description>i i</scene_description>
<character>ABBERLINE</character>
<dialogue>It's man by the name of Gull. Sir</dialogue>
<scene_description>| William Gull. The same man that took away Annie Crook's memory. He's the i Royal doctor. Mary stares at him • really scared.</scene_description>
<character>ABBERLINE</character>
<dialogue>i</dialogue>
<scene_description>What is it?</scene_description>
<character>MARY</character>
<dialogue>There was a doctor here this morning.</dialogue>
<character>ABBERLINE</character>
<dialogue>How do you know?</dialogue>
<character>MARY</character>
<dialogue>I spoke to him. He offered me grapes...</dialogue>
<scene_description>She looks at Abberline. His face is ashen.</scene_description>
<character>MARY</character>
<dialogue>It was him, wasn't h?</dialogue>
<scene_description>Abberline nods his head - yes. Mery starts to sheke. Abberline reaches out and finally puts his arms around her. She folds herself against him. He holds her tight /fS&&"\.</scene_description>
<character>ABBERLINE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>I should have thought... I almost lost you, Mary.</dialogue>
<scene_description>She looks up at him • he kisses her forehead, her eyes...</scene_description>
<character>MARY</character>
<dialogue>I think you have, Fred - they're not going to stop are they?</dialogue>
<character>ABBERLINE</character>
<dialogue>We're not done yet. There has to be someone I can go to, someone worth his position and power.</dialogue>
<character>MARY</character>
<dialogue>Say there is • how would you find him?</dialogue>
<character>ABBERLINE</character>
<dialogue>There's a woman I know... she's an aristocrat, nobody's better connected.</dialogue>
<scene_description>f0^. MARY How do you know you can trust her?</scene_description>
<character>ABBERLINE</character>
<dialogue>Because she's... she...</dialogue>
<scene_description>He tries to find the right words. Mary looks at his face • she guesses the nature of the relationship. Their eyes meet and they look at one another.</scene_description>
<character>ABBERLINE</character>
<dialogue>No, Mary - it's not like that. It all seems like a lifetime ago.</dialogue>
<scene_description>She looks even deeper into his eyes. He leans forward and kisses her. She kisses him back • not matter what else happens, she's thankful she's found this. She puts her head against his chest, feeling the warmth of him. From outside • the sound of voices. Breakfast is starting to be served.</scene_description>
<character>ABBERLINE</character>
<dialogue>We have to get you of here. Do you know some place to go?</dialogue>
<character>MARY</character>
<dialogue>^V. What about where you live? I'd feel</dialogue>
<scene_description>safer there. ^ ^ ABBERLINE I don't know if someone's watching me. I've met Gull. Mary. I've told him things • including about Annie • I should never have said. Is there somewhere else?</scene_description>
<character>MARY</character>
<dialogue>There's a place down the other end of Whitechapel. I just saw it once, nobody knows me there.</dialogue>
<scene_description>Abberline nods, getting to his feet, helping her up.</scene_description>
<character>OUTSIDE THE BOARDING HOUSE</character>
<dialogue>It's starting to rain • people hurry along the sidewalks, heading out eerly for work. Abberline and Mary • carrying a bag holding her few possessions • come out the front door of Mrs Finnane's. They move fast • Abberline is looking around, wary • and head up the street.</dialogue>
<dialogue>We hold on a block of stables opposite. A young kid - no more than twelve • watches them. He tosses his grooming brush to another kid, pulls on his jacket and</dialogue>
<scene_description>/""N sets off in pursuit.</scene_description>
<character>IN THE STREET</character>
<dialogue>Abberline and Mary, collars turned up against the rain, splash through the puddles. The street is getting busier. Neither of them notice the boy on the other side of the road shadowing them. The three of them fade into the crowd. The sound of thunder carries over •</dialogue>
<character>THE MARBLE ENTRANCE FOYER</character>
<dialogue>of Lady Jane's house, h's an hour later and the rain has turned to a full-fledged storm. The Butler opens the front door. He looks askance at Abberline • sodden suit, crumpled shirt, a day-and-a-half's stubble.</dialogue>
<character>BUTLER</character>
<dialogue>I'm not sure Her Ladyship is receiving this morning, sir.</dialogue>
<character>LADY JANE (O.S.)</character>
<dialogue>Who is it. Mister P?</dialogue>
<scene_description>(\*"\*\*\*\* The Butler steps aside. Abberline looks through the door • Lady Jane stands half way up the sweeping staircase. She stares at him -</scene_description>
<character>LADY JANE</character>
<dialogue>Good God • you don't look like you've slept for days.</dialogue>
<character>ABBERLINE</character>
<dialogue>I don't think I have.</dialogue>
<character>A MAGNIFICENT BEDROOM SUITE</character>
<dialogue>Tall windows command a view of a garden. Fires burn in the bedroom, the sitting room, the bathroom, the dressing room. A platoon of servants hurry back and forth, drawing the bath, laying out towels and clothes. Abberline sits in an armchair, still in his suit, barely noticing it all.</dialogue>
<dialogue>The Butler and two maids position a table in front of the windows and remove e host of silver covers • eggs, beef, fruit, toast, juice, bacon, salmon. Breakfast. Lady Jane takes Abberline by the arm. They sit down at the table together. The Butler and servants withdraw. Lady Jane picks up serving utensils -</dialogue>
<character>LADY JANE</character>
<dialogue>You'll have to bear with me - I've never done this before.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I need your help, Jane.</dialogue>
<character>LADY JANE</character>
<dialogue>Of course.</dialogue>
<character>ABBERLINE</character>
<dialogue>I need an introduction to someone, a person you trust beyond doubt... someone powerful. The Prime Minister, perhaps...</dialogue>
<scene_description>She looks at him. There's something in the way he's sitting - just perfectly still - but suddenly she's afraid.</scene_description>
<character>LADY JANE</character>
<dialogue>I don't understand. The police... ?</dialogue>
<character>ABBERLINE</character>
<dialogue>h's a conspiracy, Jane • some of the highest in the land. I don't know what</dialogue>
<character>LADY JANE</character>
<dialogue>A conspiracy? Of course I'll do anything I can.</dialogue>
<parenthetical>(pauses while she thinks)</parenthetical>
<dialogue>But don't you think...</dialogue>
<character>ABBERLINE</character>
<dialogue>Think what?</dialogue>
<character>LADY JANE</character>
<dialogue>If it's the sort of people you say, some of the highest people -</dialogue>
<character>ABBERLINE</character>
<dialogue>There's four women dead!</dialogue>
<character>LADY JANE</character>
<dialogue>You're not letting me finish. You're going to make accusations against people who are very powerful. I'm asking you if that's sensible. Should anyone fight a battle they can't win? You've done your job, Fred. Nobody says you have to take it any farther. Will you be rewarded? I hardly think so.</dialogue>
<scene_description>He stares at her. She takes his hands in hers.</scene_description>
<character>LADY JANE</character>
<dialogue>Think of the future, Fred. Remember what we spoke about • everything's possible for you. Why risk that?</dialogue>
<scene_description>Abberline looks at the luxurious room • silk drapes, Old Masters on the walls, servants at beck and call. She smiles at him... perfect...</scene_description>
<character>ABBERLINE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>For me.</dialogue>
<character>LADY JANE</character>
<dialogue>^. What?</dialogue>
<character>ABBERLINE</character>
<dialogue>You asked - why risk it? That's what I'm telling you - for what's inside of me. For what I think is right.</dialogue>
<character>LADY JANE</character>
<dialogue>"For what is right" • compared to these other things? Forgive the word, but you seem to be forgetting, these women were just whores.</dialogue>
<scene_description>He gets to his feet</scene_description>
<character>ABBERLINE</character>
<dialogue>Whores?! Whores, Jane? And if I turn my back on this, I'll be selling whatever beliefs I have left for the promise of a future. What do you think that makes me?</dialogue>
<character>LADY JANE</character>
<dialogue>Go ahead, then. But you're throwing it all away. You understand that, don't</dialogue>
<scene_description>/^""""N you? What a waste. You've come so far - a doctor's son to... who knows where?</scene_description>
<character>ABBERLINE</character>
<dialogue>No - do me justice, Jane. It's farther even than that.</dialogue>
<character>LADY JANE</character>
<dialogue>What?</dialogue>
<character>ABBERLINE</character>
<dialogue>You should go down Ratcliffe Highway one day, right where it runs alongside the river. I was taken there as a boy once. You can see the rings where they used to chain pirates at low tide. People would sit on the bank and watch the river rise. The prisoners would claw and tear at their chains until they couldn't keep their heeds</dialogue>
<scene_description>ebove water any longer. It's en evil place and I still think about it, you know, (com.) ytf""""^ ABBERLINE (cont.) When I look back on my childhood, there's only one thing I've ever known that's more cruel • growing up in poverty. I lied to you. Jane. I'm not a doctor!\* son. My father was a saddlemaker in Oorset, e drunken saddlemaker who died when I was ten. I did a hundred jobs to put myself through school. By the time I came to London, I'd leerned a lot about the world. I knew where you came from is almost as important as where you're going. I created a history and somewhere along the line I think, I elmost lost myself. But not quite. I thought the cost didn't matter, the end justified the means. I was wrong. I don't want it at this price, Jane. From what I've seen now, I don't think I want it at any price. He looks up. She meets his gaze - her eyes are distant. It's the look she uses with the servants. f0^ LADY JANE I would appreciate it if you would never mention this to anyone.</scene_description>
<character>ABBERLINE</character>
<dialogue>Or any of this conversation.</dialogue>
<character>LADY JANE</character>
<parenthetical>(rising to her feet)</parenthetical>
<dialogue>I will tell my friends that the gulf between us was too great to bridge. I think that's the truth, isn't it? Good day. Inspector.</dialogue>
<scene_description>She indicates the door • she's throwing him out.</scene_description>
<character>ABBERLINE</character>
<dialogue>Good day, m'lady.</dialogue>
<scene_description>Abberline turns and opens a pair of folding doors. In silence, he walks out of Belgravia. r\- ^\*v THE SERVANTS' QUARTERS overlooking the stables of Buckingham Palace. It's nearly lunchtime • the place is bustling.</scene_description>
<character>GULL (O.S.)</character>
<dialogue>What do you mean - you've had enough?</dialogue>
<character>INSIDE NETLEY'S ROOM</character>
<dialogue>Netley is unsheven and ragged-looking. Gull, in his overcoat, stares down st him</dialogue>
<character>NETLEY</character>
<dialogue>I reckon I'm done. sir. Holdin' that Kate iass • I felt her struggiin'... trying so hard... then her blood, hitting my face.</dialogue>
<character>GULL</character>
<dialogue>Oh, for God's sake, man! A little bit of blood. It washes off.</dialogue>
<scene_description>j0&\ NETLEY I don't know as if it does. I'm just an ordinary bloke. It's in all the pepers, it's everywhere you look. I... I don't know where I am any more, sir... He looks up at Gull, frightened of his reaction. But the Doctor has softened •</scene_description>
<character>GULL</character>
<dialogue>1 can tell you exactly where we ere Netley • in the most extreme region of the human mind, a subconscious underworld, a radiant abyss where men meet themselves.</dialogue>
<scene_description>Netley stares at him " more confused than ever.</scene_description>
<character>GULL</character>
<dialogue>But you're right, Netley • we've hit e nerve. The stories are everywhere. But they don't understand, do they? Let's acquaint the newspapers' fabrications with reality, shall we?</dialogue>
<scene_description>sf^ Can you write? C ''</scene_description>
<character>NETLEY</character>
<dialogue>It's the same as me readin', sir - pretty rough like.</dialogue>
<character>GULL</character>
<dialogue>But good enough, I'll warrant. Come Netley, we're going to write a letter.</dialogue>
<scene_description>Gull picks up a couple of sheets of paper. He takes out his fountain pen and gives it to the coechman -</scene_description>
<character>GULL</character>
<dialogue>How would you start, Netley?</dialogue>
<character>NETLEY</character>
<dialogue>Well, "Dear Sir" I s'pose.</dialogue>
<character>GULL</character>
<dialogue>No. One begins a letter with one's own address. Didn't I tell you I knew where we were? Write it. Netley - write this: "From Hell..."</dialogue>
<scene_description>BISHOPSGATE POLICE STATION Abberline comes through the front door • he looks like he's dead on his feet. He barely acknowledges the constable on the desk and goes into the reer of the station. About half a dozen cops are gathered around a desk, looking at something. The Sergeant turns and sees him •</scene_description>
<character>SERGEANT</character>
<dialogue>We got another letter, about an hour ago.</dialogue>
<character>ABBERLINE</character>
<dialogue>Good • file it with the other five hundred.</dialogue>
<scene_description>Abberline keeps walking. The anxiety, the fatigue • he's close to breaking point.</scene_description>
<character>SERGEANT</character>
<dialogue>Yeah, but it's the first to enclose part of a human kidney. The doctor says the length of artery matches exactly what was left in Kate Eddowes' body.</dialogue>
<scene_description>That stops him - he just stares. Then he turns end goes. The Sergeant follows him • /\*5iV</scene_description>
<character>SERGEANT</character>
<dialogue>A genuine letter • and you're not interested. What's wrong?</dialogue>
<character>�</character>
<dialogue>ABBERLINE ~</dialogue>
<scene_description>I'm out of my depth... I'm so fer out I think I'm drowning. I'm going down to see the Commissioner. I don't know what else to do. I hope to God he can help.</scene_description>
<character>SERGEANT</character>
<parenthetical>(kindly)</parenthetical>
<dialogue>I wouldn't bother, Fred.</dialogue>
<character>ABBERLINE</character>
<dialogue>What?</dialogue>
<character>SERGEANT</character>
<dialogue>The rumor is Sir Charles resigned earlier today. One of the reporters told me.</dialogue>
<character>ABBERLINE</character>
<dialogue>Then I guess it's true. Someone that low probably has his ear to the ground.</dialogue>
<scene_description>He turns on his heel and heads back out.</scene_description>
<character>THE COMMISSIONER'S OFFICE</character>
<dialogue>Gaslights are burning, it's early evening. Sir Charles' possessions are packed in boxes. He sits behind his desk, listening to a uniformed constable.</dialogue>
<character>CONSTABLE</character>
<dialogue>It's Inspector Abberline, sir. He's weiting outside.</dialogue>
<character>SIR CHARLES</character>
<dialogue>No. Tell him I've already gone. Suggest he might find me down at •</dialogue>
<scene_description>Sir Charles glences up • Abberline has come in from the waiting room and stands in the helf-open doorway. For a moment the two men's eyes meet, Sir Charles caught in the lie.</scene_description>
<character>/\*\*N\_. SIR CHARLES</character>
<dialogue>• Sorry, Fred. Trying not to see anyone.</dialogue>
<scene_description>A hard day for me, you know - forty years in the force, ten years in this office... Still, Marjorie's been on at me for months to do it. Not getting any younger, am I? Finally, I decided to take the plunge. Abberline enters the office. The Constable leaves. The two men look at one another.</scene_description>
<character>ABBERLINE</character>
<dialogue>Can I ask you something • are you a Mason, Sir Charles?</dialogue>
<scene_description>i</scene_description>
<character>SIR CHARLES</character>
<dialogue>I Yes...as a matter of fact I am. Why?</dialogue>
<dialogue>i ABBERUNE</dialogue>
<scene_description>I know members are prohibited from discussing the society, but I'm told there's a saying - "Who will help the widow's son?" Is that right?</scene_description>
<character>SIR CHARLES</character>
<dialogue>It's a secret phrase but I suppose I</dialogue>
<scene_description>can tell you. When one Mason says it to another, it means he should render assistance without question. Why do you ask?</scene_description>
<character>ABBERLINE</character>
<dialogue>Queen Victoria's a widow, isn't she?</dialogue>
<character>SIR CHARLES</character>
<dialogue>I don't follow...</dialogue>
<character>ABBERLINE</character>
<dialogue>I'm just wondering who will help the widow's son - or in her case, grandson. Sir William Gull's a Meson too, isn't he?</dialogue>
<character>SIR CHARLES</character>
<dialogue>Don't say any more, Fred. Whatever you think you know, forget it. Turn around and walk out.</dialogue>
<character>/0£\*\</character>
<dialogue>f\*\*^ ABBERLINE</dialogue>
<scene_description>I've come to you for help.</scene_description>
<character>SIR CHARLES</character>
<dialogue>I can't help you.</dialogue>
<character>ABBERLINE</character>
<dialogue>You're the Commissioner of Police!</dialogue>
<character>SIR CHARLES</character>
<dialogue>What good is that? How do you think I got there? All I ean do is offer a small, private protest. That's why I'm resigning.</dialogue>
<character>ABBERLINE</character>
<dialogue>No. There's one thing you can do - what am I dealing with? How high does it go?</dialogue>
<scene_description>Sir Cherles shakes his head - he can't answer that. Abberline leans over the desk •</scene_description>
<character>ABBERLINE</character>
<dialogue>Tell me! To the Government?</dialogue>
<scene_description>Sir Charles looks up - the two men's eyes meet.</scene_description>
<character>ABBERLINE</character>
<dialogue>Higher? The Prime Minister?</dialogue>
<scene_description>No response.</scene_description>
<character>ABBERLINE</character>
<dialogue>Higher? The Lord High Chancellor?</dialogue>
<scene_description>No response.</scene_description>
<character>ABBERLINE</character>
<dialogue>The Queen?</dialogue>
<scene_description>Sir Charles looks straight at Abberline • thet's his answer.</scene_description>
<character>ABBERLINE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Oh God.</dialogue>
<scene_description>/<$\*\*y TWO FLAGS fly in s storm-driven wind. One is the Union jack, the other shows three gold lions on e red field. This is the Royal Standard, the coat of arms of the kings end queens of England. The flags fly atop Buckingham Palace. THE ENTRANCE FOYER of the palace is huge - all marble and gilt and a sweeping steircase. At the top of the stairs, two uniformed soldiers - members of the elite Household Guard • stand on either side of a pair of inlaid doors. THE QUEEN'S STUDY is a beautiful room • book-lined walls, Old Masters on either side of the fireplace, windows thst look straight up Pall Mall. Queen Victoria sits behind e priceless Chippendale desk. She is almost seventy years old, a hard and uncompromising woman. This is the fiftieth year of her reign and in that time the Empire she rules has come to embrace a third of the world. She is speaking to someone we cen't see •</scene_description>
<character>VICTORIA</character>
<dialogue>Frankly, we are disappointed. As our principal private secretary this was your responsibility. Now look st itl Questions in Parliament, protests - where will it end?!</dialogue>
<scene_description>She turns • we see the man she is talking to. It's Lord Hailsham. He bows his heed •</scene_description>
<character>HAILSHAM</character>
<dialogue>I'm sorry, ma'am. As I said, I did speak to him •</dialogue>
<character>VICTORIA</character>
<dialogue>And did he explain the necessity for such excessive ghastliness?</dialogue>
<character>HAILSHAM</character>
<dialogue>He seys the women are traitors - he appears to have en encyclopedic knowledge of the terrible weys in which such people have been punished. That's what he says • but I believe the reason may be more prosaic.</dialogue>
<scene_description>The Queen looks at him, wanting him to continue.</scene_description>
<character>HAILSHAM</character>
<dialogue>As you know, Gull is a very disciplined man • and yet the murders are increasingly... shall I say - lurid. I think the man has come to gain some form of... physical satisfaction... from his activities.</dialogue>
<scene_description>The Queen gets the meaning. She stares at him, sickened.</scene_description>
<character>VICTORIA</character>
<dialogue>One more woman, that's all, isn't it?</dialogue>
<character>HAILSHAM</character>
<dialogue>Yes.</dialogue>
<character>VICTORIA</character>
<dialogue>Tonight. We want it finished tonight. Do we make ourselves clear?</dialogue>
<character>ABBERLINE'S LODGING HOUSE</character>
<dialogue>Gas lights are burning • it's night. An overnight bag is lying on the floor in Abberline's suite of rooms. He is whirling through the place, grabbing clothes and whatever possessions come to hand. He thrusts them in the bag and heads for the door.</dialogue>
<dialogue>Abberline is getting out. Two tickets for the steamer to Ireland lie on the hall table. Abberline grabs them, takes one last look around the place, and goes out the door.</dialogue>
<character>GARDENER'S COURT</character>
<dialogue>is a group of old brick buildings built around a courtyard. At the front hangs a rusted sign:</dialogue>
<scene_description>Rooms to Let A steady rein, storting to turn to mist, pours down on it. Alreedy the mist is gethering like a cloak around the street lamps. The death carriage pulls up and parks in a street alongside the rooming house. Netley, bundled up against the weather, is on the driver's seat. Next to him is the ^~\*V young boy from the stables - the one that followed Abberline and Mary. /$$£\*^ The stable-boy points at a lighted window. Mary steps up to the glass and pulls down the shade. The stable-boy turns to Netley and puts out his hand. Netley pays him. The kid grins, swings off the coach and melts into the mist.</scene_description>
<character>INSIDE THE POLICE STATION</character>
<dialogue>Abberline walks fast down a deserted corridor. He fishes a key from his pocket and opens e heavy oak door - the evidence locker. He searches the shelves until he finds whet he's looking for - the revolver he took from the American seaman. He shrugs off his jacket, swings the holster over his shoulder end pulls his jacket back on. He fills a pocket with bullets.</dialogue>
<character>OUTSIDE THE POLICE STATION</character>
<dialogue>Abberline, carrying his overnight bag, comes out the front doors, straight into the miserable night. The mist is turning to London fog. He looks for a cab • the line in front of Liverpool Street station stretches forever. He curses, pulls up his collar and starts walking fast.</dialogue>
<character>BROOK STREET</character>
<dialogue>\ The foul night muffles every sound. Lights are dimly visible in the row of elegant</dialogue>
<scene_description>homes. The front door of number seventy-four opens and Gull emerges from his house. The death carriage is parked et the curb. He hurries towards it and climbs inside.</scene_description>
<character>A CORNER STORE</character>
<dialogue>Mary is buying food for supper. The shopkeeper hands her the change - e five pound note and some coins. She puts it in her pocket, buttons it closed and leaves. Outside, people stand and watch three kids brawling over a penny. Another urchin cruises the crowd. Mary pushes through the crowd. The urchin stumbles into Mary. As she pushes him off, we see him slice the button off her pocket with a knife. The kid has his hand in and out of her pocket before we can blink. Mary doesn't feel a thing.</dialogue>
<dialogue>The pickpocket disappears into the crowd. His accomplices stop their brawling and melt away.</dialogue>
<character>THE DEATH COACH</character>
<dialogue>is parked in the street alongside Gerdener's Court. Gull and Netley watch Mary, carrying her groceries, enter the front door of the building.</dialogue>
<scene_description>They turn to Mary's window, waiting for the lantern to be lit. Nothing heppens. Gull slaps his gloves back and forth, impatient.</scene_description>
<character>GULL</character>
<dialogue>Demned women... always gossiping.</dialogue>
<scene_description>Still the window remains unlit.</scene_description>
<character>LIVERPOOL STREET</character>
<dialogue>Steam and smoke from e train pulling into Liverpool Street station rolls through the rain and fog. It almost obscures Abberline. He darts out into the road and succeeds in flagging down a vacant cab.</dialogue>
<character>ABBERLINE</character>
<parenthetical>(urgent)</parenthetical>
<dialogue>Gardener's Court. You know it? Down near Highgate.</dialogue>
<scene_description>Abberline climbs inside. Crack! The driver snaps his whip. /#"V GARDENER'S COURT At last the light goes on in Mary's room. Netley snd Gull watch • through the drawn shade they see her pull her dress over her head and step out of her petticoat. We push in on Gulfs face • he can barely contain his excitement. He watches the naked silhouette move across the room and extinguish the lantern.</scene_description>
<character>THE CAB</character>
<dialogue>crawls through a jumble of traffic. Abberline calls to the driver -</dialogue>
<character>ABBERLINE</character>
<dialogue>What's the trouble?</dialogue>
<scene_description>The driver points through the fog > ahead is an overturned milk cart, its horse tying on its side, gallons of milk pouring out of the pails. It runs down the sveet, turning the cobblestones a ghostly white. The traffic trundles slowly through it.</scene_description>
<character>THE DEATH COACH</character>
<dialogue>stands in the shadows. Netley is in the driver's seat, hunched up against the weather, whistling tunelessly to himself. Mary's window is in darkness -</dialogue>
<scene_description>INSIDE MARY'S ROOM A woman's sleeping figure is curled under the blankets, her beck to the door. The only light comes from the coals in the fireplace. The door inches open. Gull, carrying the amputation kit, steps inside. A LONG STREET Abberline's cab skirts the overturned wagon. It accelerates fast down a fog- shrouded, rain-slicked street. MARY'S ROOM Gull moves across the room. In the firelight he sees the familiar clothes, the photo of the Irish cottege, the bottle of cheap scent. He stops et the side of the bed and drinks in the curled form • an arm stretched across the pillow, one breast partly exposed.</scene_description>
<character>GULL</character>
<parenthetical>(like a lover)</parenthetical>
<dialogue>Hello, Mary •</dialogue>
<scene_description>She stirs under the covers. He whips the pillow out and rams it over her head. She threshes with her legs, trying to kick herself free, exposing her naked body. Gull smiles at the whiteness of her. One handed, he selects a knife from the amputation kit. He plunges the instrument down! It slices through the pillow and into her face. She screams • a scream of primal pain. Not even the pillow can muffle it entirely. The cry carries over - A CAT in an upstairs room catches the sound. It jumps from a table onto e bed, waking an elderly woman. She sits up - another cry, or was it? Again she listens • nothing. MARY'S ROOM She's still alive - a rasping breathing comes from beneath the blood-soaked pillow. Gull turns to the amputation kit and selects his favorite • the Liston knife. He pulls aside the tangle of blankets - her body is completely unmarked. Not for long • he mekes two ritualistic cuts across her breasts. She jerks from the pain but there's no strength to it. Gull holds her down with one hand on the pillow. He looks at the neked, bleeding body - he's sweeting, his breathing fast and shallow. r\*0^. He positions himself between her legs and raises the knife above her stomach. He slides it through her flesh and lays open the abdominal cavity. Blood sprays. There's a reflex spasm then she lies still. Completely still.</scene_description>
<character>ABBERLINE</character>
<dialogue>is in the back of the fast-traveling cab. In his hand are the tickets to Ireland...</dialogue>
<character>MARY'S ROOM</character>
<dialogue>Gull has banked the fire into a roaring blaze - the iron kettle hanging above it is starting to melt. The walls around the bed ere covered in blood. We barely glimpse the body but we see that it is terribly mutilated • at least one arm has been severed and what is left of the face is a mask of blood.</dialogue>
<dialogue>Gull walks to the fire with his instruments. He pushes the Liston knife and the crooked bistoury into the flames, purifying them. The heat threatens to scorch him but he is so euphoric, he barely notices.</dialogue>
<character>THE DEATH COACH</character>
<dialogue>is almost obscured in the fog and rain. Netley sees Gull approaching - he looks exhausted but his eyes are shining bright. He seems to stagger as he opens the coach door.</dialogue>
<character>NETLEY</character>
<dialogue>Are you all right, sir?</dialogue>
<character>GULL</character>
<dialogue>Perfectly. I have come through the fire. I have stood in the Sea of Tranquillity and seen the five rings of Saturn. "He is risen", that's what the good book says, isn't it? "He is risen."</dialogue>
<scene_description>As he gets in. he turns and looks once more at Netley. His voice is gentle •</scene_description>
<character>GULL</character>
<dialogue>I saved the best for last. Our great work is finished. You've done your duty. Go home, Netley.</dialogue>
<scene_description>Netley straightens himself up and snaps the reins. The coach heads into the ^ N / darkness. ^ A CORRIDOR in the boarding house. The elderly woman from upstairs, holding a lantern, comes down the stairs. She heads towards the open door of a bathroom then stops. She lowers the lantern - a bloody footprint on the floor. Then another - she follows them to Mery's door, ft stsnds ajar. She pushes it open and looks into the room. She screamsl</scene_description>
<character>THE CAB</character>
<dialogue>turns into the street in front of Gardener's Court. Abberline sees police, an ambulance and a throng of people gathered outside the boarding house.</dialogue>
<character>ABBERLINE</character>
<dialogue>No...</dialogue>
<scene_description>He hurls the door open, scrambles out and runs -</scene_description>
<character>THE CORRIDOR</character>
<dialogue>outside Mary's room is packed. The local police try to bring some sort of order.</dialogue>
<scene_description>/•""^ Abberline pushes through to a bluff-faced cop.</scene_description>
<character>ABBERLINE</character>
<parenthetical>(anguished)</parenthetical>
<dialogue>Where is she?</dialogue>
<scene_description>The cop inclines his head, indicating the room. Abberline looks inside - the blood splattered walls, the crumpled form covered by a bloody sheet. The world reels...</scene_description>
<character>COP</character>
<dialogue>There's a bag by the wash-stand. It's got a few things in it • a woman by the name of Mary Kelly.</dialogue>
<scene_description>But Abberline barely hears. He steps inside the room. The cop, disinterested, turns away. Abberline looks - the dress Mery was wearing the last time he saw her is hanging in the closet. On the table is the photograph of her family in Ireland. He reaches down and picks up a silk ribbon a woman uses to tie her bonnet. He runs the fabric - her fabric • through his fingers. Slowly he goes to the bed. As hard as it is, he has to look at her. He takes hold of the sheet and draws it back. His eyes go to her face. But it's not really a faee any more • just a mutilated and bloody mess. We push in on him - the anguish and fury AO@>\ . overwhelm him. He's going to kill Gull! Conspiracy or not, he's going to kill himl y</scene_description>
<character>(</character>
<dialogue>(\*\*-' BROOK STREET</dialogue>
<scene_description>The houses in the street are in darkness - all except for number 74. Gas lights illuminate the entrance to Gull's home. A cab pulls up in front.</scene_description>
<character>IN THE ENTRY HALL</character>
<dialogue>A butler • dressed, but obviously roused from bed • crosses the marble foyer and opens the front door. Abberline stands on the threshold. The butler looks the disheveled figure up and down but before he can say anything, Gull • freshly bathed and acented • appears at the top of the stairs. He and Abberline look at each other. Gull comes forward, calm and pleasant -</dialogue>
<character>GULL</character>
<dialogue>I can only assume it's official business that brings you out at such an hour. What's happened. Inspector?</dialogue>
<character>ABBERLINE</character>
<dialogue>No, not official - personal.</dialogue>
<scene_description>Gull can't miss the anger in Abberline's voice but he's completely composed. He f smiles -</scene_description>
<character>GULL</character>
<dialogue>Then I only hope I can be of help. Do you mind the study, Inspector? Given the hour, I think we can allow ourselves a little informality, don't you?</dialogue>
<scene_description>Abberline is so wound up he barely makes sense of what Gull is saying. Gull ushers him into -</scene_description>
<character>THE STUDY</character>
<dialogue>A fire still bums in the hearth. Gull takes a taper and starts to light the lamps.</dialogue>
<character>GULL</character>
<dialogue>If you can tell me, Inspector •</dialogue>
<character>ABBERLINE</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>You left something behind in Mitre Square.</dialogue>
<scene_description>r^V For a fraction of a second it makes Gull pause but then he covers it, continuing his task.</scene_description>
<character>GULL</character>
<dialogue>That's strange -1 don't recall ever being in Mitre Square.</dialogue>
<character>-ABBERLINE</character>
<dialogue>It's where Kate Eddowes was murdered.</dialogue>
<character>GULL</character>
<dialogue>Kate Eddowes? Really?</dialogue>
<scene_description>Abberline says nothing. At last Gull turns and looks at him - Abberline is holding out the white handkerchief. Gull stares et the bloody heel-print of the three-turreted castle. A beat - then he laughs.</scene_description>
<character>GULL</character>
<dialogue>Who would have thought it - the vanity of hand-made shoes? A poorer man might have passed completely unnoticed. It's hard not to appreciate the irony of it, isn't it?</dialogue>
<scene_description>Abberline ssys nothing. ff^- GULL So, is that why you're here. Inspector • to arrest me? Because if you are, I think I should explain a number of things to you. It could save you substantial embarrassment -</scene_description>
<character>ABBERLINE</character>
<dialogue>I know about Prince Edward.</dialogue>
<scene_description>It stops Gull in his tracks.</scene_description>
<character>GULL</character>
<dialogue>So • the question about Annie Crook wasn't just an idle inquiry then? I should have realized. Well... I stand corrected. Inspector - your reputation may be deserved after atl. As you know about the Prince, there's no need for me to say anymore, is there? You must understand perfectly the favor and protection in which Her Majesty holds me.</dialogue>
<scene_description>f /0&3\ ^v. ABBERLINE Perfectly, Sir William. But I'm not here to arrest you. He draws the revolver out from under his jacket.</scene_description>
<character>GULL</character>
<dialogue>Now I understand • it's justice you want!</dialogue>
<character>ABBERLINE</character>
<dialogue>I wasn't sure you even knew the word.</dialogue>
<character>GULL</character>
<dialogue>Oh, I know it. But I'm afraid you're bound to be disappointed. You won't find justice, at least not here. Inspector.</dialogue>
<character>ABBERLINE</character>
<dialogue>There you go again • another under- estimation. What do you call an execution?</dialogue>
<scene_description>He raises the gun and points it straight at Gull. yflBmft^</scene_description>
<character>GULL</character>
<dialogue>And they'll hang you for it. They'll say you murdered an innocent man. Is that the justice you're looking for?! Five women dead and the man who knows the truth strung up at Newgate. Will that restore your faith?</dialogue>
<character>ABBERLINE</character>
<dialogue>I doubt it - but it'll do for now.</dialogue>
<scene_description>From outside, very faint, the sound of a carriage stopping. Neither Abberline or Gull pay it any mind. Abberline cocks the hammer. The doctor stores straight down the barrel.</scene_description>
<character>GULL</character>
<dialogue>I did my duty, that's all! I was a loyal servent of the Crown. If H's justice you're looking for, whet about them? Shouldn't they be brought to account? But they won't be, will they? It's only you thst will be punished. But go ahead • throw your life away. In the end. it won't change a thing.</dialogue>
<character>ABBERLINE</character>
<dialogue>Good night, doctor. I'll be looking at your face. I want to see the bullet hit.</dialogue>
<scene_description>His finger starts to squeeze the trigger. He looks elong the barrel, straight at Gull's eyes. Behind the doctor, a flicker of movement. For a moment, Abberline racks focus - he is looking through a set of french doors. Someone is hurrying up the front steps - it's a woman. She turns and looks into the study. It's Mary!</scene_description>
<character>GULL</character>
<dialogue>What is it. Inspector? Lost your nerve?</dialogue>
<scene_description>Mary walks up to the french doors. Abberline's hend on the gun starts to shake.</scene_description>
<character>GULL</character>
<dialogue>You can't do it, can you? Deep inside, you believe in the law -</dialogue>
<scene_description>Abberline wrenches his eyes away from mary. he looks at Gull es if seeing him for the first time. Abberline's fist smashes out! The butt of the pistol crashes into Gull's fleshy cheek. Crunch! The sound of breaking bone and teeth. Gull crumples, unconscious. s$&\ Abberline goes to the doors and unlatches them. Mary takes a step towards him and he opens up his arms. She's real • he's holding herl They kiss • but only for a moment. Abberline's mind is racing. He bustles her out along the front terrace.</scene_description>
<character>ABBERLINE</character>
<dialogue>I don't know what happened... but he thinks he murdered you. You're deed, Maryl And in killing you, he's given you beck your life. You're free, Mary!</dialogue>
<character>MARY</character>
<dialogue>But won't somebody identify •</dialogue>
<character>ABBERLINE</character>
<dialogue>I've seen the body. Believe me • they can't.</dialogue>
<scene_description>Mary shudders. The cab Mary came in waits at the curb. They hurry towards it. Abberline gives directions to the driver but we don't hear what they are. J!0\*>>L Abberline climbs in and slams the door shut. The driver snaps the reins • the ceb takes off. Abberline turns and looks at her •</scene_description>
<character>ABBERLINE</character>
<dialogue>How, Mary... how?</dialogue>
<character>MARY</character>
<dialogue>I went up the road to buy food for supper. By the time I came back, my pocket had been picked. I told the landlady I'd lost my money - but she wouldn't let me keep the room if I couldn't pay, would she? People were queuing up. There was a young lass, three months pregnant they said. The landlady gave it to her.</dialogue>
<character>ABBERLINE</character>
<dialogue>I was in the room -1 saw your dress, the photo -</dialogue>
<character>MARY</character>
<dialogue>I told the landlady I could get money in the morning. She said to leave my things in the room, as security like. She let me have the cheapest doss -</dialogue>
<scene_description>•^ a cupboard up near the attic. When I {\*' heard women screaming, I took off. I tried to find you at the police station. Then I realized... I guessed you'd come here. Again they look at one another - for the first time in weeks she almost smiles.</scene_description>
<character>MARY</character>
<dialogue>Where are we going?</dialogue>
<character>ABBERLINE</character>
<dialogue>Victoria Station.</dialogue>
<character>MARY</character>
<dialogue>And then?</dialogue>
<character>ABBERLINE</character>
<dialogue>If anyone recognizes you, it's over. You've got to get out of London.</dialogue>
<scene_description>He pulls one of the steamer tickets end a bunch of banknotes out of his pocket. He thrusts them into her hend. f " ABBERLINE There's a train to Portsmouth every hour. From there you can take the night boet to Ireland.</scene_description>
<character>MARY</character>
<dialogue>Home • that sounds like a fine place to be. But no, Fred! Not without you.</dialogue>
<character>ABBERLINE</character>
<dialogue>I'll be coming.</dialogue>
<character>MARY</character>
<dialogue>When?</dialogue>
<character>ABBERLINE</character>
<dialogue>As soon as I can.</dialogue>
<character>MARY</character>
<dialogue>What are you going to do?</dialogue>
<character>ABBERLINE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>I'm going to kill him.</dialogue>
<character>MARY</character>
<dialogue>Nol</dialogue>
<character>ABBERLINE</character>
<dialogue>Not like thet. I should have thought of it before. I'm going to kill him with my head.</dialogue>
<scene_description>The ceb stops in front of the huge Victoria railway station. Abberline looks up at the station clock • it's five minutes before the hour.</scene_description>
<character>ABBERLINE</character>
<dialogue>Hurry!</dialogue>
<scene_description>She looks at him •</scene_description>
<character>MARY</character>
<dialogue>Promise me, Fred.</dialogue>
<character>ABBERLINE</character>
<dialogue>I promise.</dialogue>
<scene_description>Sh j\*m^ " reeches out her arms and kisses him. And then again. She gets out of the cab ( and walks towards the station. He watches her go.</scene_description>
<character>ABBERLINE'S OFFICE</character>
<dialogue>dawn is poking through the window. Abberline sits at his desk, several files in front of him. On top of one we see the title:</dialogue>
<scene_description>The Whitechapel Murders a.k.a Jack the Ripper A knock et the door. A young constable puts his hesd in.</scene_description>
<character>CONSTABLE</character>
<dialogue>There's a gentleman here to see you. sir. He says he has an appointment but he won't give his name.</dialogue>
<scene_description>Abberline gets to his feet. The door swings open. Ben Kidney of the Special Branch walks in. Abberline puts out his hand •</scene_description>
<character>- ABBERLINE</character>
<dialogue>\[ ' Mr Kidney? It was good of you to</dialogue>
<scene_description>come.</scene_description>
<character>KIDNEY</character>
<dialogue>I hope it's worth it. Inspector. I don't like being woken for nothing.</dialogue>
<scene_description>Abberline closes and bolts the door, Kidney notes it - hardly anything escapes his attention • but says nothing.</scene_description>
<character>ABBERLINE</character>
<dialogue>I think you'll find it worthwhile. It concerns the Whitechapel murders. As you may know, their investigation has been my responsibility.</dialogue>
<character>KIDNEY</character>
<dialogue>I'm ewere of that.</dialogue>
<scene_description>Abberline sits down behind his desk. He pauses, as if weighing the burden of what he is about to say. He speaks quietly • {\*\*\*-• ABBERLINE v During the course of my inquiries, I have come across a name. It's an alias, Mr Kidney • I don't know who the person is • buthe calls himself Albert Victor. ~\_\_ Even Kidney, as inscrutable as he is. sits forward. His cold ayes stare straight at Abberline.</scene_description>
<character>KIDNEY</character>
<dialogue>Where did you hear this name?</dialogue>
<character>ABBERLINE</character>
<dialogue>From Sir William Gull. Which is why I called you • my inquiries indicate that on at least two occasions he has told people that the murders are somehow connected to a person of great rank. I thought you should know of this.</dialogue>
<character>KIDNEY</character>
<dialogue>Did Sir William elaborate?</dialogue>
<character>ABBERLINE</character>
<dialogue>No. But to be honest, I haven't pursued it. I'm a loyal officer, Mr Kidney -I'm sure there ere some areas areas no investigation should blunder into. If there is any truth to what Sir William says, I thought the thing to do was to put it in the hands of those best equipped to deal with it.</dialogue>
<character>KIDNEY</character>
<dialogue>That was exactly the right thing. And you're sure he said nothing else?</dialogue>
<character>ABBERLINE</character>
<dialogue>Not that I know of.</dialogue>
<character>KIDNEY</character>
<dialogue>I'll take care of this. We'll have a talk to Sir William.</dialogue>
<scene_description>He gets to his feet and shakes hands with Abberline. (' KIDNEY People heve told me you're a good officer. Ambitious, they said. It seems a man like you has an outstanding career -in front of him. • -</scene_description>
<character>ABBERLINE</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>I don't think so, Mr Kidney. I'm afriad I decided some time ago to seek opportunities elsewhere.</dialogue>
<character>KIDNEY</character>
<dialogue>That's a shame.</dialogue>
<scene_description>He walks to the door, he's about to open it - then stops. He turns back</scene_description>
<character>KIDNEY</character>
<dialogue>I'm sorry -1 didn't ask you. What made you come to me?</dialogue>
<character>ABBERLINE</character>
<dialogue>- That was the easy part. I spoke to a</dialogue>
<scene_description>( friend. I asked him - "Who will help the widow's son?" Kidney smiles warmly. KIDNEY Good day, Inspector.</scene_description>
<character>ABBERLINE</character>
<dialogue>Good day. Superintendent.</dialogue>
<character>BROOK STREET</character>
<dialogue>It's the morning of the same day. Gull leads Lord Hailsham and Kidney across the foyer and into his study. He closes the door and speaks to Hailsham •</dialogue>
<character>GULL</character>
<dialogue>I was going to call on you this morning - we've got a problem.</dialogue>
<character>KIDNEY</character>
<dialogue>We certainly do.</dialogue>
<scene_description>^\_^ Before Gull can say anything, there's a noise behind him. He turns - Tom Press, \[ ^ Garret Brack and several other members of the Special Branch come through the doors. A look of confusion, panic crosses Gull's face. He spins back to Hailsham • Kidney is waiting for him. He grabs Gull's arm and drives it up behind his back • the doetor cries out in pain. Tom Press has the handcuffs on before Gull even realizes.</scene_description>
<character>THE QUEEN'S STUDY</character>
<dialogue>A middle-aged man stands nervously in front of Queen Victoria.</dialogue>
<character>VICTORIA</character>
<dialogue>As a surgeon. Sir Richard, are we right in ssying that the removal of the thyroid gland can have devastating effects on memory?</dialogue>
<character>SIR RICHARD</character>
<dialogue>That's quite right. Your Majesty.</dialogue>
<character>VICTORIA</character>
<dialogue>And there are medical conditions which would leed a doctor to perform such an operation?</dialogue>
<character>SIR RICHARD</character>
<dialogue>Most certainly, ma'am.</dialogue>
<character>VICTORIA</character>
<dialogue>Even under unusual circumstances, a doctor could find ethical reasons for undertaking such an operation - am I right. Sir Richard?</dialogue>
<character>SIR RICHARD</character>
<dialogue>There can be no higher ethical reason than the opportunity to serve Queen and country, ma'am.</dialogue>
<scene_description>Victoria inclines her head and smiles, acknowledging his loyalty.</scene_description>
<character>VICTORIA</character>
<dialogue>Excellent, Sir Richard.</dialogue>
<scene_description>/3$"5"N, PORTSMOUTH DOCKS Passengers line the decks of the night boat to Ireland. Mary stands near the gangplank, watching the crowd on the wharf. There's no sign of Abberline. The ship's whistle blows - seamen start to cast off the stern lines. She turns away, downcast. Then, out of the comer of her eye, aha sees something. She turns back - it's him! Abberline is running down the wharf, carrying the overnight bag, heading for the gangplank. She tries to smile but she's too close to tears. She goes towards him - halfway down the gangplank they meet. He takes her in his arms. They kiss. BEDLAM is the name of England's worst lunatic asylum. In a stone-walled cavern, men dressed in nightshirts, some of them shackled, walk in an endless circle. One man stands out • his nightshirt still white, not yet soiled by years of incarceration, h's Gull. The once bright eyes are vacant, disoriented now. He stumbles into the circling mass. Slowly he starts to walk. We pull back to reveel room after room • hundreds of men are circling endlessly, his companions in the seventh ring of Hell. THE COAST OF IRELAND appears out of the mist. We draw closer. In the first light of day it looks like a land born brand new. Abberline and Mary stand on the deck of the boat staring out at it. Mary turns and looks at Abberline. She speaks softly •</scene_description>
<character>MARY</character>
<dialogue>Home.</dialogue>
<scene_description>Abberline puts his arm around her shoulder. They stand together, the land coming closer, the sun rising higher by the second.</scene_description>
<character>THE END</character>
</scene>
</script> | In 1888, Mary Kelly and a small group of London prostitutes trudge through unrelenting daily misery. Their friend Ann Crook is a former prostitute now married to a wealthy painter named Albert, and she has recently given birth to a daughter, Alice. When Ann is kidnapped, the women are drawn into a conspiracy with links to high society. Ann's kidnapping is followed by the gruesome murder of another one of the women, and it soon becomes apparent that each of the prostitutes is being hunted, murdered and mutilated post-mortem by a killer called Jack the Ripper. The prostitute murders grab the attention of Whitechapel police inspector Frederick Abberline, a brilliant yet troubled man whose police work is often aided by his psychic "visions". Abberline is still grieving the death of his wife during childbirth two years earlier. His colleague Sergeant Peter Godley tries to grasp Abberline's strange theories. Abberline's investigations reveal that an educated person, likely knowledgeable in human anatomy, is responsible for the murders because of the highly precise, surgical methods used. Ann is soon located in a workhouse after being lobotomized because doctors deemed her violent and insane. It is implied that the operation was performed in order to silence her. Abberline consults Sir William Gull, a physician to the royal family, drawing on his experience and knowledge of medicine. During this meeting, Gull deduces that Abberline is struggling with opium addiction. Gull's findings point Abberline to a darker, more organized conspiracy than he had originally suspected. Abberline becomes deeply involved with the case, which takes on personal meaning when he falls in love with Mary. Abberline deduces that Freemason influence is involved in the murders. His superior, a high-ranking Freemason, opposes Abberline's methods and suspends him from the case. Thereafter, Abberline persists and discovers that Gull is the killer. Gull was instructed to dispose of all witnesses to the forbidden marriage of painter Albert Sickert to Ann Crook, the mother of his legitimate daughter, Alice. Sickert is revealed to be Prince Albert, grandson of reigning Queen Victoria. Albert is dying of syphilis, which makes baby Alice the soon-to-be heiress to the British throne. Gull boasts to Abberline that he will be remembered in history for giving "birth to the 20th century". Abberline draws his gun, vowing that Gull will never see the 20th century, but before he is able to shoot Gull, he is knocked out by Ben Kidney, another Freemason. The Freemasons try to eliminate Abberline without leaving any witnesses, but Abberline fights back and kills one of the assassins by overturning a carriage. Next, he rushes to save Mary but arrives too late, and blames his superior for not helping him or Godley on the cases. Going through the gruesome murder, Abberline discovers a brunette lock of hair differing from Mary’s red, concealing this evidence to protect her. Gull's increasingly sinister behaviour lends insight into his murderous, but calculating mind. Rather than publicly charge Gull, the Freemasons lobotomize him to protect themselves and the royal family from the scandal. Gull defiantly states he has no equal among men, remaining unrepentant until the operation, which renders him an invalid like Ann. Abberline goes to the Ten Bells Tavern in Whitechapel and receives a mysterious letter from Mary. It is revealed that Gull had mistaken another prostitute, Ada, for Mary and killed her instead. Leery of being watched closely by Freemasons, Abberline decides not to look for her despite knowing she’s out there. He burns Mary's letter, knowing that he can never have a normal life with her. Sergeant Godley later finds Abberline dead of an opium overdose. Distraught, Godley places two coins over Abberline's eyes and mournfully says, "Good night, sweet prince." Years later, Mary is shown to have adopted Alice, and the two are living in a cottage on a cliff by the sea. |
The Man Who Invented Christmas_2017 | tt6225520 | <script>
<scene>
<character>THE MAN WHO INVENTED CHRISTMAS</character>
<dialogue>by</dialogue>
<scene_description>Susan Coyne (Based on the book: The Man Who Invented Christmas By Les Standiford) December 1, 2016 Shooting Script December 16, 2016 Blue Revisions January 5, 2017 Pink Revisions January 8, 2017 Yellow Revisions Producers: Robert Mickelson Mystic Point Productions 310-450-1435 Vadim Jean, Ian Sharples The Mob Film Co Tel: +44 (0) 20 3535 8969 Paula Mazur, Mitchell Kaplan Mazur/Kaplan Company 310-450-5838 THE MAN WHO INVENTED CHRISTMAS: FADE IN: CARD: NEW YORK CITY. JUNE. 1841 In darkness we hear:</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Dear Forster... How can I give you the faintest notion of my reception here in America?</dialogue>
<scene_description>OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - CONTINUOUS</stage_direction>
<scene_description>A STAGE MANAGER knocks and calls out in a Brooklyn accent:</scene_description>
<character>STAGE MANAGER (O.S.)</character>
<dialogue>Five minutes...five minutes</dialogue>
<scene_description>Ink stained fingers fumble with silver CUFF LINKS. A pair of BOOTS is smartly buffed. A brightly coloured SILK SCARF is adjusted.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Of the crowds that pour in and out the whole day; of the people that line the streets when I go out...</dialogue>
<scene_description>In the mirror, the writer (CHARLES DICKENS) looking like an English rock star in his prime (silk blouse, tight trousers, velvet jacket), fusses with the locks on his forehead, then steps back and regards himself critically.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>....of the balls, dinners, speeches, parties, assemblies without end. There never was a king or Emperor upon the Earth, so cheered.</dialogue>
<scene_description>He breaks into a wide grin.</scene_description>
<character>DICKENS</character>
<dialogue>'Ello, Charlie.</dialogue>
<scene_description>Another knock at the door breaks the moment.</scene_description>
<character>STAGE MANAGER (O.S.)</character>
<dialogue>Places, please. Places.</dialogue>
<character>DICKENS (V.O.)</character>
<dialogue>I have had deputations from the Far West, who have come from more than two thousand miles distance.</dialogue>
</scene>
<scene>
<stage_direction>INT. PARK THEATER. CORRIDOR & STAGE- CONTINUOUS</stage_direction>
<scene_description>Dickens moves along the corridor. The sounds of the crowd stomping their feet and clapping their hands gets louder as he nears the stage.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>They come from the lakes, the rivers, the back-woods, the log- houses, the cities, factories, villages and towns-</dialogue>
<scene_description>A PRESENTER is making a flowery introduction on stage. The sound of the crowd is deafening.</scene_description>
<character>PRESENTER</character>
<dialogue>....The great magician of our time, whose wand is a book. The Shakespeare of the novel. The people's author.</dialogue>
<scene_description>Dickens reaches the wings. He breathes in deeply through his nose, steadying himself. He nods at the Stage Manager.</scene_description>
<character>STAGE MANAGER</character>
<dialogue>Ready?</dialogue>
<character>DICKENS</character>
<dialogue>Ready.</dialogue>
<character>PRESENTER (O.S.)</character>
<dialogue>... the one and only, the inimitable, the great and marvellous Boz! Ladies and gentlemen- Mr. Charles Dickens!</dialogue>
<scene_description>The stagehands raise the curtain. Dickens takes a deep breath and steps into the light. At the sight of him, the audience rises to its feet as one. Behind him "TABLEAUX VIVANTS" appear, depicting sights and scenes of London, Beef Eaters roll out canons, characters from Oliver Twist come to life, urchins dance along to the band. Dickens taking this in.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Americans are friendly, earnest, hospitable, kind, frank, accomplished, warm-hearted, fervent and enthusiastic...</dialogue>
<scene_description>Uncertainly, he raises his arms above his head. The crowd goes wilder still, BLANKETING the stage with flowers and SCREAMING "BOZ, BOZ, BOZ". Dickens attempts to speak to the crowd.</scene_description>
<character>DICKENS</character>
<dialogue>Dear friends, you have welcomed me to your country with such open arms that I fear that I-</dialogue>
<scene_description>But his speech is cut off by a deafening volley as the cannons behind him fire ticker tape into the air. Dickens shrinks, covering his ears.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>I can't wait to get home.</dialogue>
<scene_description>OMIT TITLE CARD: LONDON, OCTOBER, 1843 SIXTEEN MONTHS LATER</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - MORNING</stage_direction>
<scene_description>Dickens sits at his desk, pen in hand, in front of a blank piece of paper, as if willing something to appear. After a moment, he throws the pen down and gets up to look in the mirror, making a face. He picks up an ACCORDION and plays a few squeaky NOTES.</scene_description>
<character>DICKENS</character>
<parenthetical>(sings)</parenthetical>
<dialogue>Yanky doodle, doodle dandy Turn right round in the bottom of the gangy-</dialogue>
<scene_description>There is a tentative KNOCK at the door. He throws it open in frustration.</scene_description>
<character>DICKENS</character>
<dialogue>Mrs. Fisk. I have told you repeatedly not to disturb me when I'm working.</dialogue>
<scene_description>MRS. FISK, the housekeeper, a rather severe Scotswoman, is taken aback.</scene_description>
<character>MRS. FISK</character>
<dialogue>I beg your pardon sir. Only, Mr. Forster is here.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>I'll be right down.</dialogue>
</scene>
<scene>
<stage_direction>INT. DICKENS HOUSE/HALLWAY - MORNING</stage_direction>
<scene_description>The front hall is full of workmen, including the energetic SIGNOR MAZZINI, who is busy directing traffic, as various of the DICKENS CHILDREN run in and out of the chaos.</scene_description>
<character>SIGNOR MAZZINI</character>
<dialogue>Adesso! Subito! Veni qui!</dialogue>
<scene_description>Kate gives a tour to Dickens' friend and de facto literary manager, JOHN FORSTER -- a big, pleasant-looking man with a Geordie accent.</scene_description>
<character>KATE</character>
<dialogue>You see, Mr. Forster, we're having all new wallpaper. French. New doors, new roller blinds for the windows, new book-cases in the library, all chosen by Charles, of course. And the staircase is to be painted green</dialogue>
<parenthetical>(to Signor Mazzini)</parenthetical>
<dialogue>- though not too dull a green, Signor Mazzini.</dialogue>
<character>SIGNOR MAZZINI</character>
<dialogue>Si, si. Capice.</dialogue>
<character>KATE</character>
<parenthetical>(to Forster)</parenthetical>
<dialogue>You know how Charles is.</dialogue>
<character>FORSTER</character>
<dialogue>The best is good enough for me!</dialogue>
<character>KATE</character>
<dialogue>I wish he'd redecorate that study of his. It's like an animal's den. But he won't let anyone touch it!</dialogue>
<scene_description>Two workmen pass between them carrying a large chandelier.</scene_description>
<character>4A</character>
<dialogue>Workman</dialogue>
<scene_description>Scusi.</scene_description>
<character>KATE</character>
<dialogue>Mr. Forster. If you will allow me: how do things stand between you and Miss Wigmore?</dialogue>
<character>FORSTER</character>
<dialogue>Splendid, Mrs. Dickens. In fact, I intend to ask her to bestow upon me the greatest happiness a man can ever know.</dialogue>
<scene_description>Kate stares at him, uncomprehending.</scene_description>
<character>FORSTER</character>
<dialogue>To marry me.</dialogue>
<character>KATE</character>
<dialogue>Oh!</dialogue>
<scene_description>She embraces him, causing him to flush a deep crimson.</scene_description>
<character>KATE</character>
<dialogue>I am very glad to hear it.</dialogue>
<scene_description>Dickens comes thundering down the stairs.</scene_description>
<character>DICKENS</character>
<dialogue>Forster. Good Lord. I completely lost track of the time.</dialogue>
<scene_description>Kate puts out a hand.</scene_description>
<character>KATE</character>
<dialogue>Charles. We need to pay Signor Mazzini. For the parlour mantle.</dialogue>
<character>DICKENS</character>
<dialogue>How much?</dialogue>
<character>SIGNOR MAZZINI</character>
<dialogue>Seventy-five pounds.</dialogue>
<scene_description>Dickens staggers back.</scene_description>
<character>DICKENS</character>
<dialogue>Seventy-five - what is it made of, gold?</dialogue>
<character>SIGNOR MAZZINI</character>
<dialogue>Carrara marble, Signor. Finest quality. No gentleman would accept less.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>I'll have the money for you when I return, Signor Mazzini.</dialogue>
<scene_description>Dickens turns to Forster.</scene_description>
<character>DICKENS</character>
<dialogue>Shall we?</dialogue>
<scene_description>Forster bows to Kate.</scene_description>
<character>FORSTER</character>
<dialogue>Good day, Mrs. Dickens.</dialogue>
<character>KATE</character>
<dialogue>Good day, Mr. Forster.</dialogue>
<scene_description>Dickens is nearly out the door, where a WORKMAN is busy attaching a shiny new knocker.</scene_description>
<character>FORSTER</character>
<dialogue>I'll hail us a cab.</dialogue>
<character>DICKENS</character>
<dialogue>Waste of money. We'll walk.</dialogue>
<character>FORSTER</character>
<dialogue>Walk? Are you mad?</dialogue>
<scene_description>Dickens rushes out, followed by Forster. They head down the street at pace, the London skyline in the distance.</scene_description>
<character>DICKENS</character>
<dialogue>The best way to lengthen our days is to walk steadily and with a purpose.</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPMAN AND HALL. OUTER OFFICE - DAY</stage_direction>
<scene_description>A publishing house in The Strand. In the outside office, a nervous young CLERK listens to a heated conversation in the other room.</scene_description>
<character>FORSTER (O.S.)</character>
<dialogue>Gentlemen, we don't seem to understand one another. I asked you a simple question: where is the money?</dialogue>
<character>CHAPMAN (O.S.)</character>
<dialogue>The money, Mr. Forster-</dialogue>
<character>FORSTER (O.S.)</character>
<dialogue>Yes. Money. You know: Pounds, shillings, stumpy, shiners, joeys-</dialogue>
<scene_description>A huge CRASH, then silence. The clerk winces.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPMAN AND HALL. INNER OFFICE - DAY</stage_direction>
<scene_description>Forster stands by an overturned tea trolley. Crockery everywhere. He gestures apologetically at the two publishers, CHAPMAN (rather portly and florid ) and HALL (tall and angular).</scene_description>
<character>FORSTER</character>
<dialogue>I do apologize.</dialogue>
<scene_description>He attempts to pick up the broken crockery.</scene_description>
<character>FORSTER</character>
<dialogue>Bull in a china shop.</dialogue>
<character>CHAPMAN</character>
<dialogue>Please don't trouble yourself.</dialogue>
<scene_description>Forster resumes his tirade.</scene_description>
<character>FORSTER</character>
<dialogue>Charles Bloody Dickens! The best- selling bloody author in the history of English bloody literature -</dialogue>
<scene_description>He gestures towards Dickens. Dickens' lips are pressed together, his attention on a magazine publication. The headline on it reads "Martin Chuzzlewit, A Tedious Journey."</scene_description>
<character>FORSTER</character>
<dialogue>Three of his books you've published in the last year and a half. Three. So- where is the money?</dialogue>
<character>CHAPMAN</character>
<dialogue>Mr. Forster. Like you, we are as Puzzled as the Egyptians in their Fog.</dialogue>
<character>FORSTER</character>
<dialogue>Howzat?</dialogue>
<character>HALL</character>
<dialogue>The Excitement with which a Popular Reputation is Kept up to the Highest Selling Mark will always be Subject to Lulls too Capricious for Explanation.</dialogue>
<character>FORSTER</character>
<dialogue>Ahm still not followin'.</dialogue>
<character>CHAPMAN</character>
<dialogue>-Martin Chuzzlewit- a Masterpiece of the Picaresque Genre- and Yet-</dialogue>
<character>HALL</character>
<dialogue>Barnaby Rudge- a Fine Book- an Important Subject- But- alas-</dialogue>
<character>CHAPMAN</character>
<dialogue>And The Travel book- "American Notes"-</dialogue>
<character>HALL</character>
<dialogue>Perhaps- a Little Too Candid for our American Cousins-</dialogue>
<character>FORSTER</character>
<dialogue>No joke. I heard they were burning copies in the streets.</dialogue>
<scene_description>Forster notices Dickens pained look.</scene_description>
<character>FORSTER</character>
<dialogue>Mad as snakes, the Yanks.</dialogue>
<scene_description>Forster renews his attack.</scene_description>
<character>FORSTER</character>
<dialogue>And what about this fifty pounds a month you're withholding from his royalties? What's the explanation for that?</dialogue>
<scene_description>The two publishers squirm uncomfortably. Chapman produces the contract and peers at it to cover his nervousness.</scene_description>
<character>HALL</character>
<dialogue>You May Remember that when Mr. Dickens Approached us about the Tour to America, we were Pleased to Provide Him with an Interest-Free Loan -</dialogue>
<scene_description>He falters. Chapman continues.</scene_description>
<character>CHAPMAN</character>
<dialogue>With the Provision That- In the Unlikely Case of Profits being Inadequate to Certain Repayments-</dialogue>
<scene_description>Forster erupts.</scene_description>
<character>FORSTER</character>
<dialogue>Oh, divven't hoy me that ket, you sackless mairks.</dialogue>
<scene_description>The publishers exchange glances.</scene_description>
<character>FORSTER</character>
<dialogue>So, he's had a few flops, who hasn't? Your publishing house wouldn't exist without this man!</dialogue>
<scene_description>Chapman gives Dickens a nervous look.</scene_description>
<character>CHAPMAN</character>
<dialogue>Actually, we do have a Suggestion-</dialogue>
<character>HALL</character>
<dialogue>- very Popular with the Reading Public -</dialogue>
<character>CHAPMAN</character>
<dialogue>Perhaps Mr. Dickens might consider-</dialogue>
<character>HALL</character>
<dialogue>- and a lot of Money to be Made in-</dialogue>
<character>CHAPMAN</character>
<dialogue>- a Railway Edition of his works?</dialogue>
<scene_description>Dickens is frowning.</scene_description>
<character>FORSTER</character>
<dialogue>You're not serious? Those cheap yellow-backed jobs? With adverts for fig syrup on the cover?</dialogue>
<scene_description>They all watch as Dickens gets to his feet. He turns the magazine publication over to obscure his bad Chuzzlewit review.</scene_description>
<character>DICKENS</character>
<dialogue>What about an advance?</dialogue>
<character>CHAPMAN</character>
<dialogue>-- on?</dialogue>
<character>DICKENS</character>
<parenthetical>(bluffing)</parenthetical>
<dialogue>...A new book.</dialogue>
<character>HALL</character>
<dialogue>You have a New Book in mind?</dialogue>
<character>FORSTER</character>
<dialogue>Of course he does...</dialogue>
<character>CHAPMAN</character>
<dialogue>Well, in that case, obviously. We'd Love to Consider it...</dialogue>
<character>DICKENS</character>
<dialogue>Consider it?</dialogue>
<character>HALL</character>
<dialogue>That is to say, If we Like it--</dialogue>
<character>DICKENS</character>
<dialogue>If?</dialogue>
<character>CHAPMAN</character>
<dialogue>I'm sure we will--</dialogue>
<character>DICKENS</character>
<dialogue>Gentlemen. I bid you good day.</dialogue>
<scene_description>He sweeps out of the room.</scene_description>
<character>CHAPMAN</character>
<dialogue>Mr. Forster: Please. We had no Intention of Causing Offense.</dialogue>
<character>FORSTER</character>
<dialogue>Ay. He's in a fettle now. Give him a day to calm down -</dialogue>
<character>HALL</character>
<dialogue>And then... It's Most Awkward... "He" was in last week. In some Difficulty. Again.</dialogue>
<character>FORSTER</character>
<dialogue>No, that's not possible. He's in the countryside. Under strict instructions to remain there.</dialogue>
<scene_description>Beat.</scene_description>
<character>FORSTER</character>
<dialogue>What is it this time?</dialogue>
<scene_description>Chapman hands him a letter and an envelope.</scene_description>
<character>FORSTER</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"...need money immediately or productive of fatal consequences... I beseech you to do the needful..."</dialogue>
<scene_description>Forster shakes the envelope, causing several SLIPS OF PAPER to fall out, each one torn from a letter, each with a signature: Charles Dickens. Forster makes a face.</scene_description>
<character>HALL</character>
<dialogue>He's been Offering Mr. Dickens' Autographs for Sale in the Newspapers.</dialogue>
<character>FORSTER</character>
<dialogue>How much did you give him?</dialogue>
<character>CHAPMAN</character>
<dialogue>Forty-five, All Told.</dialogue>
<character>FORSTER</character>
<dialogue>Forty-five! - I'll pay you back for it. Not a word of this to Charles, do you hear?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARRICK CLUB - AFTERNOON</stage_direction>
<scene_description>A Georgian building near Covent Garden, once a private house, now a gentlemen's club, with a brass plate beside the door: THE GARRICK CLUB. And underneath, the motto: "ALL THE WORLD'S A STAGE." FORSTER rushes in, umbrella in hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRICK CLUB. DINING ROOM - AFTERNOON</stage_direction>
<scene_description>A cozy dining room, typical of a Victorian men's club. Beside the bar, a group of SMART YOUNG MEN are gathered, gossiping and making quips. At the centre of the group is a tall fellow with a braying laugh (WILLIAM MAKEPEACE THACKERAY). Dickens stands by the cloak room, holding a newspaper in front of his face.</scene_description>
<character>FORSTER (O.S.)</character>
<dialogue>Charles?</dialogue>
<scene_description>Dickens folds down a corner of the newspaper.</scene_description>
<character>DICKENS</character>
<dialogue>Shhh...</dialogue>
<character>FORSTER</character>
<dialogue>What are you doing over here?</dialogue>
<scene_description>Dickens gestures towards the group.</scene_description>
<character>DICKENS</character>
<dialogue>I'm hiding. From Thackeray. He'll want to commiserate with me on my Chuzzlewit reviews. Which he will quote by heart.</dialogue>
<scene_description>Forster walks into the dining room. Dickens scuttles after him, taking care not to be seen by Thackeray. Forster grabs a chair and cranes his head around.</scene_description>
<character>FORSTER</character>
<dialogue>Where's Robertson? I'm clammin' for some scran.</dialogue>
<scene_description>Dickens slinks into another chair.</scene_description>
<character>DICKENS</character>
<dialogue>Why do we come here? The service is terrible. The food is inedible. And the fees keep going up -</dialogue>
<scene_description>An elderly WAITER appears and bows low, losing his balance. He fixes his gaze somewhere above their heads.</scene_description>
<character>WAITER</character>
<dialogue>Gentlemen?</dialogue>
<character>FORSTER</character>
<dialogue>You're not Robertson.</dialogue>
<character>WAITER</character>
<dialogue>The name is Marley, sir.</dialogue>
<character>DICKENS</character>
<dialogue>Marley?</dialogue>
<scene_description>Dickens gets out a pencil and a notebook.</scene_description>
<character>DICKENS</character>
<dialogue>With an e?</dialogue>
<scene_description>The waiter's eyes flicker with apprehension.</scene_description>
<character>WAITER</character>
<dialogue>Yes, sir.</dialogue>
<character>FORSTER</character>
<dialogue>Don't worry. He collects names. Let's have some oysters. And a bottle of champagne.</dialogue>
<character>WAITER</character>
<dialogue>Very good, sir.</dialogue>
<scene_description>The waiter exits, at a stately pace.</scene_description>
<character>DICKENS</character>
<dialogue>Champagne?</dialogue>
<character>FORSTER</character>
<dialogue>We're celebrating.</dialogue>
<character>THACKERAY (O.C.)</character>
<dialogue>Celebrating?</dialogue>
<scene_description>Thackeray has somehow materialized at their table, an evil glint in his eyes.</scene_description>
<character>DICKENS</character>
<dialogue>Thackeray. How are you?</dialogue>
<character>THACKERAY</character>
<dialogue>Tolerable I thank ye. Charles. I must say, I'm relieved to see you out and about.</dialogue>
<character>DICKENS</character>
<dialogue>Relieved?</dialogue>
<character>THACKERAY</character>
<dialogue>You know. After those vile things they wrote about Chuzzlewit. I won't even call them reviews.</dialogue>
<character>DICKENS</character>
<dialogue>No matter, I never read them.</dialogue>
<scene_description>Forster shoots him a skeptical look.</scene_description>
<character>THACKERAY</character>
<dialogue>Quite right. Scandalous, what one is allowed to print nowadays.</dialogue>
<scene_description>He waits. Dickens grits his teeth.</scene_description>
<character>DICKENS</character>
<dialogue>Why? What did they say?</dialogue>
<character>THACKERAY</character>
<dialogue>"Dull, vapid, and vulgar... Not a single character capable of exciting the reader's sympathy."</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I certainly didn't think it was vulgar.</dialogue>
<scene_description>Dickens gives him a tight smile.</scene_description>
<character>THACKERAY</character>
<dialogue>Oh, look! There's Macready. Poor thing. His Macbeth was absolutely shredded in The Times. I must go and give him my condolences.</dialogue>
<scene_description>Thackeray wafts away to rejoin the group at the bar.</scene_description>
<character>DICKENS</character>
<dialogue>I'm sick of London. Over-crowded, over-priced--</dialogue>
<character>FORSTER</character>
<dialogue>-You love this town-</dialogue>
<character>DICKENS</character>
<dialogue>- no place for a man without money. Not to mention the bloody fog--</dialogue>
<character>FORSTER</character>
<dialogue>It's your inspiration. You're what- do-you-call it? Magic lantern.</dialogue>
<scene_description>The waiter arrives. He opens the bottle with some difficulty, then bangs a plate of oysters down on the table and leaves.</scene_description>
<character>DICKENS</character>
<dialogue>I tell you, Forster, my lamp's gone out. I've run out of ideas. I feel old.</dialogue>
<character>FORSTER</character>
<dialogue>Old. Whssht. You're a puppy.</dialogue>
<scene_description>Forster pours some champagne.</scene_description>
<character>FORSTER</character>
<dialogue>You're exhausted, that's what. Too many speeches.</dialogue>
<character>DICKENS</character>
<dialogue>I've got one tomorrow, for the Children's Refuge.</dialogue>
<character>FORSTER</character>
<dialogue>You have to learn to say no.</dialogue>
<character>DICKENS</character>
<dialogue>How can I? If I can be useful.</dialogue>
<character>FORSTER</character>
<dialogue>You'll have to. What with your new commission.</dialogue>
<character>DICKENS</character>
<dialogue>Forster, I just told you-</dialogue>
<scene_description>He stops himself.</scene_description>
<character>DICKENS</character>
<dialogue>- what commission?</dialogue>
<character>FORSTER</character>
<dialogue>From Chapman and Hall. For your next book.</dialogue>
<scene_description>Forster grins and hands him a cheque.</scene_description>
<character>FORSTER</character>
<dialogue>I told them you'd have the first chapter by the end of the year. You like a deadline.</dialogue>
<scene_description>Dickens stares at him.</scene_description>
<character>DICKENS</character>
<dialogue>Do you mind telling me what it's about?</dialogue>
<character>FORSTER</character>
<dialogue>Oh, I leave that up to youse.</dialogue>
<scene_description>He grins and helps himself to the oysters.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - NIGHT</stage_direction>
<scene_description>Dickens goes through a complicated pre-writing ritual: straightening everything on his desk, paper, ink, pen knife, quills; then rapidly touching his desk ornaments one by one: a CUP with fresh flowers in it, a pair of BRONZE TOADS, a RABBIT, and a CERAMIC MONKEY. He places a blank sheet in front of him, dips his pen in ink, then stares at the paper, once again willing something to appear. INK drips slowly from the pen onto the page. He hears a strange, unearthly cry coming from nearby.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Ul-ul-alul-alu!</dialogue>
<scene_description>He opens the door, listening.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS HOUSE. NURSERY - NIGHT</stage_direction>
<scene_description>Dickens descends the stairs to the nursery. A young nursemaid, TARA is telling a bedtime story to the children in a soft Irish lilt.</scene_description>
<character>TARA</character>
<dialogue>... And on Christmas Eve, they say, the fairy mounds open wide, and the fire spirits pour into the night... and then the Lord of the Dead leads all of the spirits in a Wild Hunt. And he calls to them...</dialogue>
<scene_description>She throws back her head.</scene_description>
<character>TARA</character>
<dialogue>Ul-ul-alul-alu!</dialogue>
<scene_description>CHARLIE age 10, Dickens's oldest son, shivers with excitement and dread. Dickens lingers a moment, mesmerized.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS BEDROOM - NIGHT</stage_direction>
<scene_description>Dickens is in bed, going through the accounts book, while Kate reads a book called Roughing it in the Bush.</scene_description>
<character>DICKENS</character>
<dialogue>Do we have a new housemaid?</dialogue>
<character>KATE</character>
<dialogue>What? Oh, yes. Tara. She's Irish. Charley adores her.</dialogue>
<scene_description>The candle sputters. She lights a new one.</scene_description>
<character>DICKENS</character>
<dialogue>What are you doing?</dialogue>
<scene_description>She shows him the stub of the old candle.</scene_description>
<character>KATE</character>
<dialogue>It was only a stub.</dialogue>
<character>DICKENS</character>
<dialogue>There's another hour in that.</dialogue>
<character>KATE</character>
<dialogue>Oh, really, Charles.</dialogue>
<character>DICKENS</character>
<dialogue>If you carry on like this, we'll end up in the Poor House.</dialogue>
<scene_description>Kate laughs.</scene_description>
<character>KATE</character>
<dialogue>You are funny.</dialogue>
<character>DICKENS</character>
<dialogue>I'm not joking.</dialogue>
<character>KATE</character>
<dialogue>Charles. You give money to any and every beggar on the street. You insist on moving to a bigger house, and order all new fixtures, and then you complain about a new candle.</dialogue>
<scene_description>Dickens speaks with a fervid intensity.</scene_description>
<character>DICKENS</character>
<dialogue>I know whereof I speak, Kate. Debt is - an ogre. If you're not careful it can eat you up.</dialogue>
<scene_description>Beat.</scene_description>
<character>KATE</character>
<dialogue>Are we in trouble?</dialogue>
<character>DICKENS</character>
<dialogue>No. Of course not.</dialogue>
<character>KATE</character>
<dialogue>Then what - ?</dialogue>
<character>DICKENS</character>
<dialogue>Nothing.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>I'm sick of writing tooth and nail for bread, that's all.</dialogue>
<scene_description>Kate has heard this before. She goes back to her book.</scene_description>
<character>KATE</character>
<dialogue>Mmmm...</dialogue>
<character>DICKENS</character>
<dialogue>I should have become a journalist.</dialogue>
<character>KATE</character>
<dialogue>You hate the press.</dialogue>
<character>DICKENS</character>
<dialogue>Or a lawyer.</dialogue>
<character>KATE</character>
<dialogue>"The law is an ass." I believe you wrote that.</dialogue>
<character>DICKENS</character>
<dialogue>A hairdresser, then. In the Burlington Arcade. "Hair Shampooed on the Oxford system."</dialogue>
<scene_description>Kate smiles.</scene_description>
<character>KATE</character>
<dialogue>Do you know what I should have liked to be?</dialogue>
<scene_description>Referring to her book-</scene_description>
<character>KATE</character>
<dialogue>An explorer. Paddling a canoe. Somewhere in the wilds of Canada. In a pair of buckskin breeches... All on my own... No nappies to change...</dialogue>
<scene_description>She glances at Dickens, lost in his own thoughts.</scene_description>
<character>KATE</character>
<dialogue>By the way, dear... I saw the doctor today.</dialogue>
<scene_description>This gets his attention.</scene_description>
<character>DICKENS</character>
<dialogue>Not- another Little Stranger?</dialogue>
<scene_description>She smiles.</scene_description>
<character>KATE</character>
<dialogue>Are you pleased?</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>Of course! Splendid.</dialogue>
<scene_description>He stares straight ahead for a moment, then blows out the light. FLASHBACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS CHILDHOOD HOME - EVENING</stage_direction>
<scene_description>A match flares and touches the wick of a magic lantern.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>And now for this year's Christmas present!</dialogue>
<scene_description>Above it, the genial face of a middle-aged man appears,(whom we will come to know as JOHN DICKENS). He is dressed in the elaborate headdress of a stage magician.</scene_description>
<character>MR. DICKENS</character>
<dialogue>I am the necromancer, Rhia Rhama Rhoos, educated cabalistically in the Orange Groves of Salamanca. Behold!</dialogue>
<scene_description>He CLAPS his hands, theatrically. YOUNG CHARLES (AGE 10) and his six brothers and sisters are settled in front of a sheet hanging from the clothes horse. Behind them we can see a table set for Christmas dinner with holly and mistletoe. Mr. Dickens slips a painted slide into the magic lantern and an image appears on the sheet: an angel, hovering above a group of shepherds.</scene_description>
<character>CHILDREN</character>
<dialogue>Ohhh...</dialogue>
<scene_description>Then, a bearded hunter, with a stag over his shoulder.</scene_description>
<character>CHILDREN</character>
<dialogue>Ahhh....</dialogue>
<scene_description>Then, Aladdin and his lantern.</scene_description>
<character>CHILDREN</character>
<dialogue>Hooray!</dialogue>
<scene_description>On the faces of the children, there is a look of utter enchantment, but most particularly Young Charles. A terrifying ghost appears next. Young Charles covers his face with his hands.</scene_description>
<character>YOUNG CHARLES</character>
<dialogue>No. Go away.</dialogue>
<scene_description>Mr. Dickens puts his hand on the young boy's head to comfort him. Mr. DICKENS It's all right, Charlie. I'm here. You're safe. Young Charles climbs into his father's arms.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Here. Now. I'll show you how to get rid of bad spirits. Ready?</dialogue>
<scene_description>They CLAP their hands together. The light on the magic lantern goes out, and the Ghost disappears.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - EARLY MORNING (PRESENT)</stage_direction>
<scene_description>Dickens awakes from his dream. Beside him, Kate sleeps peacefully.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR - MORNING</stage_direction>
<scene_description>The Dickens children, Charley, MAMIE (age 5), KATE (4), WALTER (age 3) line up for inspection. Dickens bowls in using a different voice to talk to each child, starting with Mamie.</scene_description>
<character>DICKENS</character>
<dialogue>Mistress Chickenstalker. How are you this fine morning?</dialogue>
<scene_description>She giggles.</scene_description>
<character>DICKENS</character>
<dialogue>What is the matter with your pinnie? It looks as if you have been caught in a cyclone.</dialogue>
<scene_description>She straightens it. He moves on to Walter, standing as straight as he can. Dickens salutes.</scene_description>
<character>DICKENS</character>
<dialogue>Master Corporal Skittles. Sir.</dialogue>
<scene_description>He stares fixedly at Walter's shoes.</scene_description>
<character>DICKENS</character>
<dialogue>Ahem.</dialogue>
<scene_description>The little boy self-consciously rubs one on the back of his leg. Dickens nods, approvingly. He moves on to Kate.</scene_description>
<character>DICKENS</character>
<dialogue>Hello, Lucifer Box.</dialogue>
<character>KATE</character>
<dialogue>Hello, Papa.</dialogue>
<scene_description>Dickens offers her his handkerchief.</scene_description>
<character>DICKENS</character>
<dialogue>Would you do me the honour?</dialogue>
<scene_description>She blows her nose. He arrives at Charley, clinging to the leg of Tara.</scene_description>
<character>DICKENS</character>
<dialogue>A-ha. The Snodgering Blee. We meet at last.</dialogue>
<scene_description>Charley shrinks behind Tara.</scene_description>
<character>CHARLEY</character>
<dialogue>Morning, Pa.</dialogue>
<scene_description>Dickens inspects him up and down.</scene_description>
<character>DICKENS</character>
<dialogue>Much better, sir. But... What's this? You forgot to wash behind your ears.</dialogue>
<scene_description>Dickens pulls a coin from Charley's ear, to his delight.</scene_description>
<character>TARA</character>
<dialogue>Cor!</dialogue>
<scene_description>Dickens turns his attention to Tara.</scene_description>
<character>DICKENS</character>
<dialogue>Tara, is it?</dialogue>
<character>TARA</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Dickens notes the look of adoration on Charley's face. Dickens I see you've made a conquest. Tara ruffles Charley's hair. Dickens What were you telling the children last night? About the fairies? Tara glances at Mrs. Fisk, nervously.</scene_description>
<character>TARA</character>
<dialogue>Only a story my gran used to tell us, sir. Back home in Ireland. She used to say that on Christmas Eve the veil between this world and the next thins out. And that's when the spirits cross over, and walk among us.</dialogue>
<scene_description>Dickens reflects on this.</scene_description>
<character>DICKENS</character>
<dialogue>Do they indeed?</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. FREEMASON'S HALL - NIGHT</stage_direction>
<scene_description>On the interior steps of the great hall, a sign announces: "A Benefit for the Children's Refuge. With Charles Dickens." Well-dressed PATRONS stream out. Dickens walks out of the hall, shaking hands with a haughty Society Woman.</scene_description>
<character>SOCIETY WOMAN #1</character>
<dialogue>Thank you for coming. Such an interesting speech.</dialogue>
<scene_description>Another couple of SOCIETY LADIES go by, whispering.</scene_description>
<character>SOCIETY LADY #2</character>
<dialogue>... not nearly as handsome as I'd thought...</dialogue>
<scene_description>A red-faced industrialist, GRIMSBY, and his star-struck WIFE approach.</scene_description>
<character>MRS. GRIMSBY</character>
<dialogue>Oh, Mr. Dickens. It is such an honour to meet you.</dialogue>
<scene_description>Mr. Grimsby looks unimpressed.</scene_description>
<character>MRS. GRIMSBY</character>
<dialogue>We just adore your books.</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>No, I don't.</dialogue>
<character>MRS. GRIMSBY</character>
<dialogue>Well, I love them.</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>Nonsense. You just like a good cry.</dialogue>
<scene_description>Dickens gives him a strained smile.</scene_description>
<character>DICKENS</character>
<dialogue>What is it you particularly object to in my books?</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>Pickpockets, streetwalkers, charity boys. Those people don't belong in books.</dialogue>
<character>DICKENS</character>
<dialogue>Those people? You mean, the poor?</dialogue>
<scene_description>They continue outside the building where Dickens indicates to a knot of BARE-FOOT URCHINS, watching from the shadows. Grimsby straightens up.</scene_description>
<character>MR. GRIMSBY</character>
<dialogue>Look here, Mr. Dickens. I'm a self- made man. I pulled myself up by my own bootstraps, never asked for anything from anyone that I wasn't willing to pay for.</dialogue>
<character>DICKENS</character>
<dialogue>No help from anyone?</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>None.</dialogue>
<character>MRS. GRIMSBY</character>
<dialogue>Well, Papa did give us a very small cotton mill for our wedding.</dialogue>
<scene_description>Mr. Grimsby ignores this, whilst shoeing away a poor urchin begging for money.</scene_description>
<character>DICKENS</character>
<dialogue>What would you suggest we do about "those people"?</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>Are there no workhouses?</dialogue>
<character>DICKENS</character>
<dialogue>Do you know that many people had rather die than go there?</dialogue>
<character>MR. GRIMSBY</character>
<dialogue>Then they had better do it, and reduce the surplus population.</dialogue>
<scene_description>Dickens struggles to control his temper.</scene_description>
<character>DICKENS</character>
<dialogue>Will you excuse me? I have a -- I must-- good evening.</dialogue>
<scene_description>He strides off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON STREETS - NIGHT</stage_direction>
<scene_description>Dickens strides angrily through the chaotic, noisy streets of London, past WAITERS thrusting handbills into the hands of passersby, CABBIES soliciting fares, a BALLAD SINGER croaking out a tune, a barefooted CROSSING SWEEPER leaping into the street to clear away the manure. A TOOTHLESS MAN in a long cloak approaches emerges out of the crowd and flashes Dickens a lop-sided grin.</scene_description>
<character>TOOTHLESS MAN</character>
<dialogue>Care to buy? Hard workers. Suitable for factory work or chimney sweeping.</dialogue>
<scene_description>Moving aside his cloak he reveals two CHILDREN, a boy and a girl, pale and emaciated, clinging to his legs. Dickens reels back in shock.</scene_description>
<character>DICKENS</character>
<dialogue>Let them go! Let them go, or I'll have the police after you.</dialogue>
<scene_description>The man turns and runs, the children in tow. Dickens tries to give chase across the street, but is nearly knocked over by a large cart drawn by four horses. On the side the words are written: "Warren's Blacking: The Pride of Mankind". Dickens freezes. He looks around. The toothless man and his children are gone. Hearing FOOTSTEPS, he gives chase down a darkened alleyway. Faster he goes, left, right, until he is completely disorientated.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCH GRAVEYARD - NIGHT</stage_direction>
<scene_description>Turning a corner, Dickens finds himself in the graveyard of a church and collapses under a tree, exhausted. He closes his eyes.</scene_description>
<character>VOICE #1 (O.S.)</character>
<dialogue>I lift up mine eyes unto the hills From whence cometh my help My help cometh even from the Lord Who hath made heaven and earth--</dialogue>
<scene_description>A gravelly voice cuts him off.</scene_description>
<character>VOICE #2 (O.S.)</character>
<dialogue>-- All right. I'm not paying you by the hour. Skip to the end.</dialogue>
<scene_description>Dickens opens his eyes. In the glow of a lantern, a grave- side burial is taking place, attended only by a red-nosed CLERIC in a threadbare black coat, and a LONE MOURNER in a black silk hat, and two stalwart GRAVE-DIGGERS.</scene_description>
<character>CLERIC</character>
<parenthetical>(rapidly)</parenthetical>
<dialogue>Rest eternal grant to him, O Lord: And let light perpetual shine upon him. Amen.</dialogue>
<character>LONE MOURNER</character>
<dialogue>Amen.</dialogue>
<scene_description>The Lone Mourner presses a coin into the clergyman's hand and strides away, clearly anxious to be gone. The Grave-diggers shuffle towards the grave, spades in hand. Grave Digger #1 points towards the coffin.</scene_description>
<character>GRAVE DIGGER #1</character>
<dialogue>Shame, innit? All that money and no- one to mourn him.</dialogue>
<character>GRAVE DIGGER #2</character>
<dialogue>-- except Old Scratch there.</dialogue>
<scene_description>He nods towards the departing Lone Mourner.</scene_description>
<character>GRAVE DIGGER #1</character>
<dialogue>Who is he?</dialogue>
<character>GRAVE DIGGER #2</character>
<dialogue>His business partner. The meanest cur on two legs, so they say.</dialogue>
<scene_description>Dickens shrinks against the wall as the Lone Mourner passes him, shooting him a look of pure malice.</scene_description>
<character>LONE MOURNER</character>
<dialogue>Humbug.</dialogue>
<scene_description>Dickens recoils.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. DICKENS HOUSE - NIGHT</stage_direction>
<scene_description>Dicken returns home, in a state of agitation, muttering to himself.</scene_description>
<character>DICKENS</character>
<dialogue>Old Scratch... all that money... shame...</dialogue>
<scene_description>He reaches for the doorknocker when suddenly the door flies open. Dickens reacts as the knocker comes away in his hand.</scene_description>
<character>MRS. FISK</character>
<dialogue>Good evening, sir.</dialogue>
<character>DICKENS</character>
<dialogue>Indeed, Mrs. Fisk.</dialogue>
<scene_description>He hands her his hat, and heads for the stairs, holds on to the knocker, not quite sure what to do with it, past the dining room where the whole family sits waiting for him.</scene_description>
<character>KATE</character>
<dialogue>Charles?</dialogue>
<scene_description>Dickens is oblivious.</scene_description>
<character>DICKENS</character>
<dialogue>Humbug!</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY - NIGHT</stage_direction>
<scene_description>Dickens scribbles furiously, talking to himself, like a man possessed.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>It's about a businessman. Or a factory owner. A miser. His partner dies. But he doesn't shed a tear. Thinks only of the money. And on Christmas Eve-</dialogue>
</scene>
<scene>
<stage_direction>INT. CHAPMAN AND HALL. INNER OFFICE - MORNING</stage_direction>
<scene_description>Dickens paces, flushed with excitement, referring to his hastily scrawled notes.</scene_description>
<character>DICKENS</character>
<dialogue>-on Christmas Eve- he meets some kind of, of, of, I don't know-</dialogue>
<scene_description>He gestures with his hands.</scene_description>
<character>DICKENS</character>
<dialogue>-supernatural guides- or, spirits possibly- who in the course of one night, teach him what a miserable, loathsome, selfish toad he is. A short book. Short and sharp. A hammerblow to the heart of this smug, self-satisfied age.</dialogue>
<scene_description>Forster and the publishers nod their heads with enthusiasm, though it is clear they don't follow.</scene_description>
<character>DICKENS</character>
<dialogue>It's a comedy.</dialogue>
<scene_description>Forster breathes out, with relief.</scene_description>
<character>FORSTER</character>
<dialogue>Ah-ha!</dialogue>
<scene_description>Hall Brilliant.</scene_description>
<character>CHAPMAN</character>
<dialogue>Does it have a title?</dialogue>
<character>DICKENS</character>
<dialogue>Yes. It's called, A Christmas Ghost Story... No, uh- A Christmas- Song. Ballad. Something like that.</dialogue>
<scene_description>Chapman clears his throat, glances at Hall.</scene_description>
<character>CHAPMAN</character>
<dialogue>Intriguing. Really.... Er. One Question- Why Christmas?</dialogue>
<scene_description>Dickens's mouth twitches dangerously.</scene_description>
<character>DICKENS</character>
<dialogue>Why not?</dialogue>
<scene_description>Hall leaps into the fray.</scene_description>
<character>HALL</character>
<dialogue>Well, Christmas: Not what it Used to Be, what?</dialogue>
<scene_description>He chortles at his own joke.</scene_description>
<character>CHAPMAN</character>
<dialogue>I mean to say, Does Anyone Still Celebrate It? Other than our Clerk? Who Never misses an Opportunity to Take a Day off with Pay!</dialogue>
<character>HALL</character>
<dialogue>Indeed! Ha, ha. More or less an Excuse for Picking a Man's Pocket every Twenty-fifth of December!</dialogue>
<scene_description>Dickens stares at them. Hall shifts uncomfortably. An awkward silence.</scene_description>
<character>CHAPMAN</character>
<dialogue>What We Mean to Say, Mr. Dickens, is, Not Much Market for "Christmas Books"....What?</dialogue>
<scene_description>Dickens tries to control his rising temper. Dickens It is a Christmas book because Christmas is- or ought to be- the one time of the year when men and women open their shut-up hearts, and think of the people below them as if they really were fellow- passengers to the grave, and not another race of creatures altogether. Hall nods, vigorously.</scene_description>
<character>HALL</character>
<dialogue>Indeed.</dialogue>
<character>CHAPMAN</character>
<dialogue>Mr. Dickens. We are Already Halfway Through October.</dialogue>
<character>CHAPMAN</character>
<dialogue>Even if you Had already Written it, we couldn't Possibly Get it Illustrated, Typeset, Printed and Bound, Advertised and Distributed to Shops in only Six Weeks.</dialogue>
<scene_description>Dickens voice is calm, but his eyes blaze.</scene_description>
<character>DICKENS</character>
<dialogue>I see. Well, gentlemen. Thank you for your opinion.</dialogue>
<scene_description>And with that, he rips up the cheque Forster had given him and sweeps out of the room.</scene_description>
<character>CHAPMAN</character>
<dialogue>Mr. Dickens!</dialogue>
</scene>
<scene>
<stage_direction>EXT. LONDON STREET -DAY</stage_direction>
<scene_description>Dickens hastens down the street. Forster catches him by the sleeve.</scene_description>
<character>DICKENS</character>
<dialogue>-the scaly-headed vultures- money grubbing, scum-sucking-</dialogue>
<character>FORSTER</character>
<dialogue>Charles.</dialogue>
<character>DICKENS</character>
<dialogue>I'll do it myself.</dialogue>
<scene_description>WHAT?:</scene_description>
<character>DICKENS</character>
<dialogue>I will pay for it, all of it, including the illustrations, and distribute myself.</dialogue>
<character>FORSTER</character>
<dialogue>Charles. This is madness. Think of your finances! Let's go back and renegotiate. No shame in it. It's just business. Why throw everything over for a-a- minor holiday?</dialogue>
<scene_description>Dickens regards him coldly.</scene_description>
<character>DICKENS</character>
<dialogue>My mind is made up, John. I've never felt so strongly about anything in my life. You can help me, or not. As you wish.</dialogue>
<scene_description>Dickens storms off, heading straight for a nearby Tailors Shop.</scene_description>
<character>FORSTER</character>
<dialogue>Where are you off to?</dialogue>
<character>DICKENS</character>
<dialogue>To raise some capital.</dialogue>
<character>FORSTER</character>
<dialogue>Eh?</dialogue>
<character>DICKENS</character>
<parenthetical>(off his look)</parenthetical>
<dialogue>One thing I've learned from my father: people will believe anything if you're properly dressed.</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILWAY STATION - DAY</stage_direction>
<scene_description>Through the steam from the engines, a NATTILY-DRESSED MAN helps his WIFE down from the train. We can't quite make out his features at first. Then he turns and we see that it is MR. DICKENS SR., older than before but still as ebullient.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Nothing like the air of the metropolis to put colour in your cheeks, eh mother?</dialogue>
<scene_description>Mrs. Dickens inhales deeply.</scene_description>
</scene>
<scene>
<stage_direction>INT. HADDOCK'S OFFICE - DAY</stage_direction>
<scene_description>Forster and Dickens, in his new clothes, perch on uncomfortable chairs in the office of his solicitor. Dickens's eyes dart around the room: at the PAPERS stained with coffee, GLASSES WITH MOLD halfway up the side. A SAFE, wound round and about with heavy chains. The door flies open and THOMAS HADDOCK, appears, in a faded coat over a threadbare waistcoat.</scene_description>
<character>HADDOCK</character>
<dialogue>Mr. Dickens. Mr. Forster. How do you?</dialogue>
<character>DICKENS</character>
<dialogue>Very well, thank you, Mr. Haddock.</dialogue>
<character>HADDOCK</character>
<dialogue>Mittens. Bad boy.</dialogue>
<scene_description>He picks an evil-looking cat off his chair and sits down.</scene_description>
<character>HADDOCK</character>
<dialogue>Now. How can I be of service?</dialogue>
<character>DICKENS</character>
<dialogue>Well, sir, it's about the loan--</dialogue>
<character>MR. HADDOCK</character>
<dialogue>- come to think of it, there was something I wanted to tell you. What was it?</dialogue>
<scene_description>Haddock gets up and starts to rifle through some DOG-EARED FILES on the desk.</scene_description>
<character>HADDOCK</character>
<dialogue>It was rather good news, as I recall--</dialogue>
<scene_description>Haddock finds a plate of biscuits under one of the files them and offers them to Forster.</scene_description>
<character>FORSTER</character>
<dialogue>Thank you. Ow!</dialogue>
<scene_description>The cat has leapt onto his lap.</scene_description>
<character>HADDOCK</character>
<dialogue>Mittens! You rascal... What was I--</dialogue>
<character>DICKENS</character>
<dialogue>You said you had good news. About the lawsuit?</dialogue>
<character>HADDOCK</character>
<dialogue>Lawsuit?</dialogue>
<character>DICKENS</character>
<dialogue>Copyright infringement.</dialogue>
<character>HADDOCK</character>
<dialogue>Eh?</dialogue>
<character>FORSTER</character>
<dialogue>Oliver Twisted. "As Re-originated from the Original."</dialogue>
<scene_description>Haddock has found the file.</scene_description>
<character>HADDOCK</character>
<dialogue>Oh, yes! Here it is. Good news indeed. We won.</dialogue>
<character>DICKENS</character>
<dialogue>What?</dialogue>
<character>HADDOCK</character>
<dialogue>The fine was set at twenty-two hundred pounds.</dialogue>
<scene_description>Dickens nearly cries with relief.</scene_description>
<character>DICKENS</character>
<dialogue>Twenty-two hundred- Oh, Haddock. You can't think how relieved I am. The pirates are beaten-</dialogue>
<character>HADDOCK</character>
<dialogue>The bad news is the defendants have no money.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>What?</dialogue>
<character>HADDOCK</character>
<dialogue>Bankrupt... Disappointing, I know... Of course, we could have them arrested. Throw them in the debtor's prison.</dialogue>
<scene_description>Dickens shakes his head, repulsed.</scene_description>
<character>DICKENS</character>
<dialogue>No. No. No.</dialogue>
<character>HADDOCK</character>
<dialogue>As you wish. Meanwhile, if you would be so good.</dialogue>
<scene_description>Haddock unlocks a METAL CASE wrapped round with CHAINS and takes out a paper, stamped "Payment on Demand".</scene_description>
<character>HADDOCK</character>
<dialogue>Here's my bill. No rush. Next week will be fine.</dialogue>
<scene_description>Haddock dips his biscuit in his tea, placidly. Dickens attempts to stifle his anxiety.</scene_description>
<character>DICKENS</character>
<dialogue>The thing is, Haddock...</dialogue>
<scene_description>He glances at Forster.</scene_description>
<character>DICKENS</character>
<dialogue>I'm waiting for a big royalty cheque from America. A trifling sum- what was it, 400 pounds, Forster?</dialogue>
<scene_description>Forster nearly chokes on his biscuit.</scene_description>
<character>FORSTER</character>
<dialogue>Mm? Something like that.</dialogue>
<scene_description>The solicitor listens attentively.</scene_description>
<character>DICKENS</character>
<dialogue>Tell you what... why don't we defer this bill until, say January. And, while we're at it, perhaps you might add a little more to it. I'll make it worth your while.</dialogue>
<character>HADDOCK</character>
<dialogue>More? You mean, borrow more?</dialogue>
<character>DICKENS</character>
<dialogue>Not much- perhaps 300 pounds? Until- until, January.</dialogue>
<scene_description>Forster reaches for the tea. The solicitor thinks. Dickens looks pale, wipes his brow.</scene_description>
<character>HADDOCK</character>
<dialogue>I'm sure we can work something out. At, say, twenty-five percent?</dialogue>
<scene_description>Forster can't contain himself.</scene_description>
<character>FORSTER</character>
<dialogue>God's teeth!</dialogue>
<scene_description>The cat leaps off Forster's lap with a piteous MEOW. Dickens is not well. Ashen.</scene_description>
<character>HADDOCK</character>
<dialogue>However, I will require the money to be repaid at the end of January without fail.</dialogue>
<character>DICKENS</character>
<dialogue>Of course. Forster here will sort out the details with you.</dialogue>
<scene_description>Dickens walks carefully from the room, as if he might faint.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HADDOCK'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Dickens hastens down the street, and turns the corner. He leans up against the wall, eyes closed, sweating.</scene_description>
<character>FORSTER (O.S.)</character>
<dialogue>Charles?</dialogue>
<scene_description>Dickens opens his eyes to find FORSTER looking at him closely. He claps him on the shoulder.</scene_description>
<character>FORSTER</character>
<dialogue>Charles? Are you all right?</dialogue>
<scene_description>Dickens straightens up, shrugging off the moment.</scene_description>
<character>DICKENS</character>
<dialogue>A kidney spasm. That's all.</dialogue>
<scene_description>He stalks off.</scene_description>
<character>DICKENS</character>
<parenthetical>(over his shoulder)</parenthetical>
<dialogue>Find me an illustrator.</dialogue>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP - DAY</stage_direction>
<scene_description>Mr. Dickens Senior is showing a PAWNBROKER a book as his wife looks on.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Best quality, sir. A1 condition.... and look -</dialogue>
<scene_description>He opens the cover.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Inscribed by the author.</dialogue>
<scene_description>The pawnbroker peers at the handwritten inscription.</scene_description>
<character>PAWNBROKER</character>
<dialogue>To Papa. Love, Charles.</dialogue>
<scene_description>The pawnbroker examines Dickens Senior skeptically.</scene_description>
<character>PAWNBROKER</character>
<dialogue>Five bob.</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>Hallo old girl. Hallo old girl.</dialogue>
<scene_description>Mr. Dickens looks up to see a CAGED CROW, walking up and down on his perch. Mr. Dickens's face lights up. He turns back to the pawnbroker.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Perhaps we might strike a bargain?</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Outside the study, a trio of servants and Tara are giggling as they listen to the master making strange noises.</scene_description>
<character>DICKENS</character>
<dialogue>Oh but he was a tight-fisted hand at the grindstone, old- ... Scratch? Scrounger?...</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY - DAY</stage_direction>
<character>DICKENS</character>
<dialogue>- a covetous old sinner! ... old - whatshisname!</dialogue>
<scene_description>He throws his pen down in frustration.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<character>DICKENS (O.S.)</character>
<dialogue>....Screwpull.... Scrabbly... scr-rrrr-aahhh- chh...aahhh</dialogue>
<scene_description>They push Tara forward.</scene_description>
<character>SERVANT</character>
<dialogue>Go on. He won't bite.</dialogue>
<scene_description>Tara knocks softly on the door, and opens it.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - CONTINUOUS</stage_direction>
<scene_description>Tara enters. Dickens is nowhere to be seen. She tiptoes over to the fire. Suddenly, she hears-</scene_description>
<character>DICKENS (O.S.)</character>
<dialogue>Mr.... Scrimple!</dialogue>
<scene_description>She squeals with terror. Dickens sits up from the couch where he has been lying and takes the handkerchief off his face.</scene_description>
<character>DICKENS</character>
<dialogue>You, what are you doing in here?</dialogue>
<character>TARA</character>
<dialogue>I've just come to see to the fire, sir.</dialogue>
<character>DICKENS</character>
<dialogue>I'm not to be interrupted under any circumstances. Do you hear?</dialogue>
<character>TARA</character>
<dialogue>I beg your pardon, sir. It won't happen again.</dialogue>
<scene_description>Tara turns to go.</scene_description>
<character>DICKENS</character>
<dialogue>Wait. What's that in your pocket?</dialogue>
<scene_description>Tara's takes out a Penny Dreadful magazine and reluctantly hands it over to Dickens. Dickens examines the cover: a winged vampire with bloody teeth.</scene_description>
<character>DICKENS</character>
<dialogue>"Varney the Vampire: The Feast of Blood." Any good?</dialogue>
<character>TARA</character>
<dialogue>Oh, yes, sir. Thrilling.</dialogue>
<scene_description>He smiles.</scene_description>
<character>DICKENS</character>
<dialogue>Where did you learn to read?</dialogue>
<character>TARA</character>
<dialogue>My mum taught me. But then she died. So, I had to go to the Grubber.</dialogue>
<scene_description>Dickens recoils.</scene_description>
<character>DICKENS</character>
<dialogue>The Workhouse?</dialogue>
<character>TARA</character>
<dialogue>You won't tell Mrs. Fisk, will you? She'd think I was shirking.</dialogue>
<character>DICKENS</character>
<dialogue>It will be our secret.</dialogue>
<scene_description>Dickens plucks a book off the shelf: The Arabian Nights.</scene_description>
<character>DICKENS</character>
<dialogue>In fact, I'll make you a trade. Varney the Vampire for... Aladdin and his Magic Lamp.</dialogue>
<scene_description>She takes the book in her hands with awe.</scene_description>
<character>TARA</character>
<dialogue>Oh. My.</dialogue>
<character>DICKENS</character>
<dialogue>Read it and tell me what you think.</dialogue>
<character>TARA</character>
<dialogue>Thank you, sir.</dialogue>
<scene_description>She hesitates.</scene_description>
<character>TARA</character>
<dialogue>Who is Scrimple?</dialogue>
<character>DICKENS</character>
<dialogue>Scrimple?</dialogue>
<character>TARA</character>
<dialogue>When I came in... You was saying-</dialogue>
<character>DICKENS</character>
<dialogue>It's just a name. In a story I'm concocting. You get the name right and then- if you're lucky - the character will appear.</dialogue>
<scene_description>Tara eyes dart around the room.</scene_description>
<character>DICKENS</character>
<dialogue>He's not here yet.</dialogue>
<scene_description>He smiles. Then is struck by a thought. He starts to pace, oblivious to her.</scene_description>
<character>DICKENS</character>
<dialogue>Scrantish?</dialogue>
<scene_description>Tara tiptoes out, unobserved.</scene_description>
<character>DICKENS</character>
<dialogue>S-c-rarmer-... S-c-r-ungge. No! Come on, come on, you old sinner.</dialogue>
<scene_description>He closes his eyes, conjuring up the image of the Lone Mourner in his mind.</scene_description>
<character>DICKENS</character>
<dialogue>SCROOGE!</dialogue>
<scene_description>A sudden gust of wind makes the fire leap up, the papers fly around the room.</scene_description>
<character>SCROOGE (O.S.)</character>
<dialogue>Shut the window! Do you think I am made of money?</dialogue>
<scene_description>Dickens jumps. Behind him, SCROOGE, dressed as the Lone Mourner. Dickens is awe-struck.</scene_description>
<character>DICKENS</character>
<dialogue>Mr. Scrooge. How delightful to meet you, sir.</dialogue>
<character>SCROOGE</character>
<dialogue>I'm sorry I can't say the same.</dialogue>
<character>DICKENS</character>
<dialogue>Come now, Mr. Scrooge. Don't be standoffish. We ought to be friends.</dialogue>
<character>SCROOGE</character>
<dialogue>Don't have friends. Don't need 'em.</dialogue>
<scene_description>Dickens laughs.</scene_description>
<character>DICKENS</character>
<dialogue>Naturally.... I know. Let's play a game.</dialogue>
<character>SCROOGE</character>
<dialogue>I don't like games.</dialogue>
<character>DICKENS</character>
<dialogue>Humour me... What do you think of when I say the word "Darkness".</dialogue>
<character>SCROOGE</character>
<dialogue>Cheap.</dialogue>
<character>DICKENS</character>
<dialogue>Love.</dialogue>
<character>SCROOGE</character>
<dialogue>A Swindle.</dialogue>
<character>DICKENS</character>
<dialogue>Money.</dialogue>
<character>SCROOGE</character>
<dialogue>Security.</dialogue>
<character>DICKENS</character>
<dialogue>Children.</dialogue>
<character>SCROOGE</character>
<dialogue>Nuisances.</dialogue>
<character>DICKENS</character>
<dialogue>Workhouse.</dialogue>
<character>SCROOGE</character>
<dialogue>Useful.</dialogue>
<character>DICKENS</character>
<dialogue>Christmas.</dialogue>
<scene_description>A strange look passes over Scrooge's face.</scene_description>
<character>SCROOGE</character>
<dialogue>Christmas.</dialogue>
<character>DICKENS</character>
<dialogue>That's right.</dialogue>
<scene_description>Dickens leans in, pen at the ready. They both jump at the sound of a piercing SCREAM.</scene_description>
<character>MRS. FISK (O.S.)</character>
<dialogue>Help! Help! Get it away!</dialogue>
<scene_description>Dickens throws open the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT HALL - CONTINUOUS</stage_direction>
<scene_description>Dickens thunders down the stairs.</scene_description>
<character>DICKENS</character>
<dialogue>What is going on?</dialogue>
<scene_description>He sees Miss Fisk cowering in a corner, as a large RAVEN makes a dive at her head.</scene_description>
<character>MRS. FISK</character>
<dialogue>Get it away! The filthy thing!</dialogue>
<scene_description>The children laugh and clap their hands as Mr. Dickens waves a cage at the bird.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Come on now, Grip. Back in your cage, old chap.</dialogue>
<character>DICKENS</character>
<dialogue>Father?</dialogue>
<character>MR. DICKENS</character>
<dialogue>Charles! Good day!</dialogue>
<character>DICKENS</character>
<dialogue>What are you doing here?</dialogue>
<character>MR. DICKENS</character>
<dialogue>I was in the neighbourhood. Thought I'd drop by with a present for the children.</dialogue>
<character>CHARLEY</character>
<dialogue>His name is Grip! He talks!</dialogue>
<scene_description>Grip is on a ledge, marching back and forth in agitation.</scene_description>
<character>CHILDREN</character>
<dialogue>Can we keep him?</dialogue>
<character>GRIP</character>
<dialogue>Halloa, old girl. Halloa old girl.</dialogue>
<scene_description>Mrs. Fisk clutches the edge of the bannister.</scene_description>
<character>MRS. FISK</character>
<dialogue>It's bad luck. A bird in the house. It means death.</dialogue>
<scene_description>Dickens motions for his father to move into the parlour.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR - CONTINUOUS</stage_direction>
<scene_description>Dickens turns to address his father.</scene_description>
<character>DICKENS</character>
<dialogue>What are you doing back in London?</dialogue>
<character>MR. DICKENS</character>
<dialogue>My dear Charles. I will not disguise from you, that this is not the ardor with which a loving father might be expected-</dialogue>
<character>DICKENS</character>
<dialogue>You are supposed to be in Devon.</dialogue>
<character>MR. DICKENS</character>
<dialogue>Ha, banishment! Be merciful, say 'death;' For exile hath more terror in his look-'</dialogue>
<character>DICKENS</character>
<dialogue>We had an agreement. I bought you a house. Gave you an allowance.</dialogue>
<scene_description>Mr. Dickens looks sheepish.</scene_description>
<character>MR. DICKENS</character>
<dialogue>And you know how very grateful I am. As for me, I'm happy wherever the weather. But your Mother- is of a more delicate sensibility. The sight of cows causes her actual physical pain.</dialogue>
<character>DICKENS</character>
<dialogue>Father-</dialogue>
<character>MR. DICKENS</character>
<dialogue>And then you see, I need to do some research in the London Library.</dialogue>
<scene_description>Dickens is skeptical of this.</scene_description>
<character>DICKENS</character>
<dialogue>Research?</dialogue>
<character>MR. DICKENS</character>
<dialogue>I have a commission from the Spectator. To write a feature on the Bank Charter Act. The editor was greatly impressed by my series on Marine Insurance.</dialogue>
<scene_description>Kate and Mrs. Dickens appear in the doorway.</scene_description>
<character>KATE</character>
<dialogue>Good for you, Father. And I hope you and Mother will stay here with us.</dialogue>
<scene_description>She shoots a look at Dickens.</scene_description>
<character>KATE</character>
<dialogue>The children and I will enjoy having some company in the evening.</dialogue>
<scene_description>Mr. Dickens glances at his son, apprehensively.</scene_description>
<character>DICKENS</character>
<parenthetical>(relenting)</parenthetical>
<dialogue>The Spectator. Most impressive.</dialogue>
<character>MR. DICKENS</character>
<dialogue>Thank you my boy...</dialogue>
<parenthetical>(dropping his voice)</parenthetical>
<dialogue>Er. You couldn't perhaps lend me a tenner? The fellow took my last farthing for the cage.</dialogue>
<scene_description>Suddenly there is an ominous CRASH in the hallway. They run to see Grip, perched on the new chandelier, causing bits and pieces to fall to the floor.</scene_description>
<character>MR. DICKENS</character>
<dialogue>I'll see that's all cleaned up.</dialogue>
<scene_description>The children surround Mr. Dickens, delighted, as Dickens holds his tongue and heads back upstairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - LATER THAT NIGHT</stage_direction>
<scene_description>Dickens paces, gripping his hair in frustration.</scene_description>
<character>DICKENS</character>
<dialogue>Gah! "This is not the ardor, with which a loving father-"</dialogue>
<scene_description>He throws himself down on the couch. He looks up and sees Scrooge.</scene_description>
<character>SCROOGE</character>
<dialogue>Humbug.</dialogue>
<character>DICKENS</character>
<dialogue>What is?</dialogue>
<character>SCROOGE</character>
<dialogue>Christmas.</dialogue>
<scene_description>Dickens sits up.</scene_description>
<character>DICKENS</character>
<dialogue>What about it?</dialogue>
<character>SCROOGE</character>
<dialogue>What is it but an excuse for picking a man's pocket every twenty- fifth of December?...</dialogue>
<scene_description>Dickens jumps up and runs to his desk and rapidly goes through his pre-writing ritual.</scene_description>
<character>DICKENS</character>
<dialogue>Yes, yes! Keep going.</dialogue>
<character>SCROOGE</character>
<dialogue>...a time for paying bills without money....</dialogue>
<scene_description>Dickens starts to write, furiously.</scene_description>
<character>SCROOGE</character>
<dialogue>...a time for finding yourself a year older and not an hour richer.</dialogue>
<character>DICKENS</character>
<dialogue>Excellent.</dialogue>
<character>SCROOGE</character>
<dialogue>If I could work my will, every idiot who goes about with "Merry Christmas" on his lips, should be boiled with his own pudding and buried with a stake of holly through his heart. He should.</dialogue>
<scene_description>Dickens laughs out loud. He looks at Scrooge, admiringly.</scene_description>
<character>DICKENS</character>
<dialogue>Oh, Mr. Scrooge. You and I are going to do great things together.</dialogue>
<scene_description>Dickens starts scratching away, while Scrooge peers over his shoulder, smiling.</scene_description>
<character>DICKENS</character>
<dialogue>Oh, but he was a tight-fisted hand at the grindstone, Scrooge. A squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self- contained and solitary as an oyster.</dialogue>
<scene_description>Dickens glances over his shoulder. Scrooge immediately rearranges his features into a scowl. There is a KNOCK at the door.</scene_description>
<character>MR. DICKENS (O.S.)</character>
<dialogue>Charles?</dialogue>
<scene_description>Scrooge disappears. Mr. Dickens pokes his head in, smiling.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Hard at work?</dialogue>
<scene_description>Dickens grits his teeth.</scene_description>
<character>DICKENS</character>
<dialogue>What can I help you with, Father?</dialogue>
<character>MR. DICKENS</character>
<dialogue>I wondered if we might have an extra candlestick for our room?</dialogue>
<character>DICKENS</character>
<dialogue>Of course.</dialogue>
<scene_description>He hands him a candlestick. Mr. Dickens eyes a box on the mantelpiece.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Oooo. Are those cigars?</dialogue>
<scene_description>Mr. Dickens advances into the room.</scene_description>
<character>MR. DICKENS</character>
<dialogue>I must confess, I have acquired an irrepressible habit of smoking whilst I write. Shameful, I know.</dialogue>
<scene_description>He pockets the box.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Well. I won't detain you.</dialogue>
<scene_description>He tiptoes out. Dickens picks up the doorknocker from the front door, now sat on his desk, and raps on it a few times, angrily. Scrooge immediately reappears, a look of alarm on his face.</scene_description>
<character>SCROOGE</character>
<dialogue>Don't do that.</dialogue>
<character>DICKENS</character>
<dialogue>Why?</dialogue>
<character>SCROOGE</character>
<dialogue>He'll think he's being summoned--</dialogue>
<scene_description>Suddenly, the air is filled with a terrible clanking sound, as of chains being dragged up the stairs and the hallway. Scrooge looks terrified.</scene_description>
<character>SCROOGE</character>
<dialogue>Too late.</dialogue>
<character>DICKENS</character>
<dialogue>Who is it?</dialogue>
<scene_description>Scrooge is too terrified to speak. Dickens picks up his book of names, rapidly flipping through the list.</scene_description>
<character>DICKENS</character>
<dialogue>Uh...Bunsby. Clennam. Heep...Hexam.</dialogue>
<character>SCROOGE</character>
<dialogue>Stop.</dialogue>
<character>DICKENS</character>
<dialogue>Magwitch?... Marley...</dialogue>
<scene_description>The lights in the room dim one by one. Suddenly, the door flies open and the ghost of JACOB MARLEY (bearing a strong resemblance to his solicitor, Haddock), covered in chains, padlocks, cash-boxes and steel purses, appears. Scrooge attempts a smile.</scene_description>
<character>SCROOGE</character>
<dialogue>Jacob? Is that you?</dialogue>
<scene_description>Dickens looks at Scrooge.</scene_description>
<character>DICKENS</character>
<dialogue>You know him?</dialogue>
<character>SCROOGE</character>
<dialogue>My business partner. Last I saw him, he was dead as a doornail.</dialogue>
<scene_description>The ghost gives out a dreadful howl.</scene_description>
<character>MARLEY</character>
<dialogue>Business! Mankind was my business! The common welfare was my business; charity, mercy, forbearance, and benevolence, were, all, my business. But I did none of these.</dialogue>
<character>SCROOGE</character>
<dialogue>He was never one for a straight answer.</dialogue>
<scene_description>The ghost gives another howl.</scene_description>
<character>DICKENS</character>
<dialogue>Come in, I pray you.</dialogue>
<scene_description>Marley clanks into the room, dragging his chains.</scene_description>
<character>DICKENS</character>
<dialogue>You are in chains. Tell me why.</dialogue>
<character>MARLEY</character>
<dialogue>I wear the chain I forged in life. I made it link by link, and yard by yard. I girded it on of my own free will, and of my own free will I wore it.</dialogue>
<character>DICKENS</character>
<dialogue>Indeed.</dialogue>
<character>MARLEY</character>
<dialogue>Is its pattern strange to you?</dialogue>
<scene_description>Dickens starts to write.</scene_description>
<character>DICKENS</character>
<dialogue>.... strange to you....</dialogue>
<character>MARLEY</character>
<dialogue>Or would you know the weight and length of the strong coil you bear yourself?</dialogue>
<scene_description>Dickens looks up. Marley is staring straight at him. Dickens takes a careful step towards Marley.</scene_description>
<character>DICKENS</character>
<dialogue>You mean him, surely.</dialogue>
<scene_description>Marley leans towards him, confidentially. He walks around Dickens, circling him with a loose chain.</scene_description>
<character>MARLEY</character>
<dialogue>Chains man, all around you. Past... and present... and what is to come.</dialogue>
<scene_description>Dickens stares at him, his mind racing. And with that, Marley pulls the loose chain tight around Dickens. FLASHBACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS FAMILY HOME - NIGHT</stage_direction>
<scene_description>The children crowd around the Christmas table. Mr. Dickens at the head, in a richly patterned waistcoat. A cheer goes up as Mrs. Dickens, sets a large turkey down on the table. Mr. Dickens holds up his hands for silence. He intones.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Hail to thee blithe turkey. Whose exquisite odours now perfume the circumambient air. So let this day be fragrant with the love we bear each other. And may God bless us everyone.</dialogue>
<scene_description>He winks at YOUNG CHARLES, who stares up at him with adoration.</scene_description>
<character>YOUNG CHARLES</character>
<dialogue>....every one.</dialogue>
<scene_description>Suddenly, the door flies open. A BAILIFF fills the door frame, accompanied by two burly Deputies.</scene_description>
<character>BAILIFF</character>
<dialogue>Mr. John Dickens?</dialogue>
<character>MR. DICKENS</character>
<dialogue>That is my name.</dialogue>
<character>BAILIFF</character>
<dialogue>Come with me.</dialogue>
<character>MR. DICKENS</character>
<dialogue>What is the meaning of this termagant breach of our Yuletide feast?</dialogue>
<character>BAILIFF</character>
<dialogue>Eh?</dialogue>
<character>MR. DICKENS</character>
<dialogue>What is the matter?</dialogue>
<character>BAILIFF</character>
<dialogue>The matter is a debt of some forty pounds and ten shillings. Fourteen months in arrears.</dialogue>
<scene_description>The bailiff holds out a set of handcuffs.</scene_description>
<character>BAILIFF</character>
<dialogue>If you please.</dialogue>
<scene_description>The deputies enter the room, and start loading household goods onto a cart, furniture, silverware, books, anything they can get their hands on.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Gentlemen! Please! This is all a misunderstanding. A circumstance of great moment to me is to be decided in the ensuing term -</dialogue>
<scene_description>Young Charles bursts into tears.</scene_description>
<character>YOUNG CHARLES</character>
<dialogue>Tell them to stop. Tell them to stop!</dialogue>
<scene_description>A handcuffed Mr. Dickens is helpless to comfort him. As he struggles to reach Charles, he knocks the magic lantern and it falls, shattering on the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKEN STUDY- MORNING</stage_direction>
<scene_description>Dickens wakes with a start. He is lying on the couch. He looks around. The room is empty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ST. JAMES PARK - DAY</stage_direction>
<scene_description>Dickens marches along the foot path, with Forster struggling to keep up.</scene_description>
<character>DICKENS</character>
<dialogue>What about Leech? For the illustrations.</dialogue>
<character>FORSTER</character>
<dialogue>Leech? He's so prickly. And by no means the cheapest-</dialogue>
<character>DICKENS</character>
<dialogue>I don't want the cheapest-</dialogue>
<character>FORSTER</character>
<dialogue>-Charles. For God's sake, slow down. You move at railway speed.</dialogue>
<scene_description>Dickens slows down slightly.</scene_description>
<character>DICKENS</character>
<dialogue>I want the best.</dialogue>
<character>FORSTER</character>
<dialogue>It's going well then?</dialogue>
<character>DICKENS</character>
<dialogue>What?</dialogue>
<character>FORSTER</character>
<dialogue>The book.</dialogue>
<character>DICKENS</character>
<dialogue>Brilliant. Best thing I've ever done.</dialogue>
<character>FORSTER</character>
<dialogue>So you're--</dialogue>
<character>DICKENS</character>
<dialogue>I have eleven pages.</dialogue>
<character>FORSTER</character>
<dialogue>- Eleven?</dialogue>
<character>DICKENS</character>
<dialogue>If it weren't for the constant interruptions - you know my father's staying with us?</dialogue>
<character>FORSTER</character>
<dialogue>Oh.</dialogue>
<character>DICKENS</character>
<dialogue>Indeed. He could not have come at a worse time-</dialogue>
<scene_description>Forster is distracted by the sight of a pretty young woman (CHARLOTTE WIGMORE, age 25) walking by with a CHAPERONE.</scene_description>
<character>FORSTER</character>
<dialogue>Oh!</dialogue>
<scene_description>Charlotte's face lights up at the sight of Forster. Her companion turns her around to walk the other way.</scene_description>
<character>DICKENS</character>
<dialogue>Who was that?</dialogue>
<character>FORSTER</character>
<dialogue>Charlotte.</dialogue>
<character>DICKENS</character>
<dialogue>Who?</dialogue>
<character>FORSTER</character>
<dialogue>My fiancee. I told you--</dialogue>
<character>DICKENS</character>
<dialogue>Fiancee?</dialogue>
<character>FORSTER</character>
<dialogue>She's a canny lass, is she not?</dialogue>
<character>DICKENS</character>
<dialogue>Indeed, most amiable.</dialogue>
<character>FORSTER</character>
<dialogue>Amiable? Why man, she's an angel, a sylph, a- I don't know what.</dialogue>
<scene_description>Suddenly Forster bursts into tears. Dickens stares at him, perplexed.</scene_description>
<character>DICKENS</character>
<dialogue>Whatever is the matter?</dialogue>
<character>FORSTER</character>
<dialogue>Charlotte and I - have come to a parting of the ways.</dialogue>
<character>DICKENS</character>
<dialogue>I thought you said you were engaged-</dialogue>
<character>FORSTER</character>
<dialogue>Were. Her father had no intention for her to marry the son of a Gateshead butcher.</dialogue>
<scene_description>Dickens tries to think what to say.</scene_description>
<character>DICKENS</character>
<dialogue>Perhaps its for the best. The life matrimonial... it's not for everyone, old stick.</dialogue>
<scene_description>Forster manfully masters his emotions.</scene_description>
<character>FORSTER</character>
<dialogue>No doubt. No doubt.</dialogue>
<scene_description>Forster blows his nose.</scene_description>
<character>FORSTER</character>
<dialogue>So... Leech?</dialogue>
<character>DICKENS</character>
<dialogue>That's the ticket.</dialogue>
</scene>
<scene>
<stage_direction>INT. LEECH'S STUDIO - DAY</stage_direction>
<scene_description>Dickens and Forster visit LEECH, an eccentric-looking man, with hair like a rooster. Forster studies the framed cartoons on the wall as Dickens describes his vision to Leech.</scene_description>
<character>DICKENS</character>
<dialogue>Four wood cuts and four etchings. The cover in red. Hand-coloured. The title in rustic writing. The end papers to be green and all three edges to be gilded.</dialogue>
<character>LEECH</character>
<dialogue>Gilded? That will cost you.</dialogue>
<character>DICKENS</character>
<dialogue>It must be exquisite. That's why we came to you.</dialogue>
<character>LEECH</character>
<dialogue>You'll have to sell every copy to make your money back.</dialogue>
<character>DICKENS</character>
<dialogue>That is my intention, Mr. Leech.</dialogue>
<scene_description>Leech purses his lips together.</scene_description>
<character>LEECH</character>
<dialogue>Have you brought the manuscript?</dialogue>
<character>DICKENS</character>
<dialogue>I'll have something for you in a week.</dialogue>
<character>LEECH</character>
<dialogue>A week? That leaves only four weeks to do the illustrations and get it to the printers in time for Christmas.</dialogue>
<character>DICKENS</character>
<dialogue>Can you do it?</dialogue>
<character>LEECH</character>
<dialogue>Mr. Dickens. I am not a hired hand. I am an artist. What you are asking is impossible.</dialogue>
<character>DICKENS</character>
<dialogue>Impossible for an ordinary man, yes. But you are no ordinary man, Mr. Leech. You are a genius.</dialogue>
<scene_description>Leech draws himself up like a poker.</scene_description>
<character>LEECH</character>
<dialogue>Fifty pounds. Paid in advance. Plus more for the plates.</dialogue>
<scene_description>Dickens hesitates.</scene_description>
<character>DICKENS</character>
<dialogue>Done.</dialogue>
<scene_description>Forster passes his hand over his face as Dickens heads for the door.</scene_description>
<character>FORSTER</character>
<dialogue>Charles-</dialogue>
</scene>
<scene>
<stage_direction>EXT. LONDON STREET - DAY</stage_direction>
<scene_description>Forster confronts Dickens on the street outside Leech's studio.</scene_description>
<character>FORSTER</character>
<dialogue>Look, Charles, I don't mean to be the voice of doom but before we lay out money for illustrations, we should consider what happens if you don't finish on time.</dialogue>
<character>DICKENS</character>
<dialogue>I will finish on time.</dialogue>
<scene_description>Forster doesn't have the heart to pursue it.</scene_description>
<character>FORSTER</character>
<dialogue>Quite.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DICKENS HOUSE -DAY</stage_direction>
<scene_description>Dickens arrives home. The door is open. A workman stands by it, perplexed by the missing door knocker.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS HALLWAY - DAY</stage_direction>
<scene_description>Dickens steps in. Mrs. Fisk takes his hat.</scene_description>
<character>DICKENS</character>
<dialogue>Thank you-</dialogue>
<scene_description>Signor Mazzini is fixing the chandelier.</scene_description>
<character>SIGNOR MAZZINI</character>
<dialogue>Mr. Dickens. I fix. See?</dialogue>
<character>DICKENS</character>
<dialogue>Yes. Grazie, Mr. Mazzini.</dialogue>
<character>SIGNOR MAZZINI</character>
<dialogue>Is no problem. No problem! Only twelve guineas extra!</dialogue>
<scene_description>There is a sound of LAUGHTER in the parlour above. Dickens turns to Mrs. Fisk.</scene_description>
<character>DICKENS</character>
<dialogue>I thought my father was off to the British library.</dialogue>
<character>MRS. FISK</character>
<dialogue>It's your sister, sir. Come from Manchester with her little boy.</dialogue>
</scene>
<scene>
<stage_direction>INT. PARLOUR - CONTINUOUS</stage_direction>
<scene_description>Dickens' sister FANNY (mid-thirties, pretty but faded) is on the floor, with her young son, HENRY JR, and all the Dickens children, playing with a toy theatre. Henry's father, the REVEREND HENRY BURNETT looks on, beaming.</scene_description>
<character>DICKENS</character>
<dialogue>Fanny!</dialogue>
<scene_description>Fanny glances up.</scene_description>
<character>FANNY</character>
<dialogue>Charlie!</dialogue>
<scene_description>She jumps up to embrace her brother.</scene_description>
<character>DICKENS</character>
<dialogue>Henry. How are you?</dialogue>
<scene_description>Dickens shakes the Reverend Henry's hand.</scene_description>
<character>REVEREND HENRY</character>
<dialogue>Very well, grace be to God.</dialogue>
<scene_description>Dickens smiles at his nephew on the floor.</scene_description>
<character>DICKENS</character>
<dialogue>Master Henry. I hardly recognize you. How old are you now?</dialogue>
<scene_description>Henry struggles to his feet, with the help of a crutch.</scene_description>
<character>YOUNG HENRY</character>
<dialogue>Nine, if you please sir.</dialogue>
<scene_description>He coughs, violently.</scene_description>
<character>DICKENS</character>
<dialogue>Nine. Is it possible?</dialogue>
<scene_description>Tara enters, a little shyly.</scene_description>
<character>TARA</character>
<dialogue>Excuse me, sir. The children's tea is ready in the dining room.</dialogue>
<character>REVEREND HENRY</character>
<dialogue>Come on, then young 'un.</dialogue>
<scene_description>The Reverend puts Young Henry on his shoulders, and follows Tara and the other children out the door and down the stairs. Fanny watches them go.</scene_description>
<character>FANNY</character>
<dialogue>There goes my heart.</dialogue>
<character>DICKENS</character>
<dialogue>What did the doctor say?</dialogue>
<character>FANNY</character>
<dialogue>He says we have to wait and see.</dialogue>
<character>DICKENS</character>
<dialogue>Fanny. Won't you let me help?</dialogue>
<character>FANNY</character>
<dialogue>We'll manage.</dialogue>
<character>DICKENS</character>
<dialogue>At least until Henry gets a new position?</dialogue>
<character>FANNY</character>
<dialogue>Something will turn up. I'm sure of it.</dialogue>
<character>DICKENS</character>
<dialogue>You sound like father.</dialogue>
<scene_description>She smiles.</scene_description>
<character>FANNY</character>
<dialogue>How is the old reprobate?</dialogue>
<scene_description>Dickens adopts their father's tone of voice.</scene_description>
<character>DICKENS</character>
<dialogue>"This morning I had twenty-five shillings in my hand and now...</dialogue>
<scene_description>He holds out his hands.</scene_description>
<character>DICKENS</character>
<dialogue>"Observe the vacancy."</dialogue>
<scene_description>They laugh.</scene_description>
<character>FANNY</character>
<dialogue>He means no harm.</dialogue>
<character>DICKENS</character>
<dialogue>It's not enough. He bobs along like a cork on the surface of life, no thought for the future--</dialogue>
<scene_description>Fanny puts her hand on his arm.</scene_description>
<character>FANNY</character>
<dialogue>Charlie. Let it go, can't you?</dialogue>
<character>MR. DICKENS (O.S.)</character>
<dialogue>Abaft, you scurvy pirates!</dialogue>
<scene_description>Dickens and Fanny crack open the door. Mr. Dickens, has just arrived home, Young Henry at his side. The children are crowded around him, rummaging in his pockets for gifts as he shouts, uproariously.</scene_description>
<character>MR DICKENS</character>
<dialogue>Brail up your capstan-bar! Sheepshank your mizzen! Full speed ahead!</dialogue>
<scene_description>She smiles.</scene_description>
<character>KATE</character>
<dialogue>For all his faults, you won't find a kinder man.</dialogue>
<scene_description>Dickens sighs.</scene_description>
<character>DICKENS</character>
<dialogue>How long he is growing up to be one.</dialogue>
</scene>
<scene>
<stage_direction>INT. DICKENS BEDROOM - NIGHT</stage_direction>
<scene_description>Dickens wakes up with a start. Scrooge is standing over him, with a candle.</scene_description>
<character>DICKENS</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Why are you here?</dialogue>
<character>SCROOGE</character>
<dialogue>You'd better come and see who's turned up.</dialogue>
<scene_description>Beside him, in bed, Kate stirs.</scene_description>
<character>KATE</character>
<dialogue>Charles?</dialogue>
<scene_description>Dickens puts his finger to his lips.</scene_description>
<character>DICKENS</character>
<dialogue>Just a touch of indigestion... Go back to sleep.</dialogue>
<scene_description>Dickens and Scrooge creep out.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - NIGHT</stage_direction>
<scene_description>Dickens and Scrooge stare at a ghostly figure (looking a good deal like Tara), dressed in white, wearing a wreath on her head. She stands by the window where the muslin curtains float eerily around her in the wind.</scene_description>
<character>SCROOGE</character>
<dialogue>Tell him who you are.</dialogue>
<character>GHOST OF CHRISTMAS PAST</character>
<dialogue>I am the Ghost of Christmas Past.</dialogue>
<scene_description>The Ghost gestures towards the window.</scene_description>
<character>GHOST OF CHRISTMAS PAST</character>
<dialogue>Follow.</dialogue>
<character>SCROOGE</character>
<dialogue>It's awfully late and I'm not quite dressed.</dialogue>
<character>GHOST OF CHRISTMAS PAST</character>
<dialogue>Follow.</dialogue>
<scene_description>Scrooge draws back.</scene_description>
<character>SCROOGE</character>
<dialogue>Not bloody likely.</dialogue>
<character>DICKENS</character>
<dialogue>Why?</dialogue>
<character>SCROOGE</character>
<dialogue>Mucking around in the past? What's the point?</dialogue>
<character>DICKENS</character>
<dialogue>You might learn something.</dialogue>
<character>SCROOGE</character>
<dialogue>I already know everything I need to know.</dialogue>
<parenthetical>(to the Ghost)</parenthetical>
<dialogue>Take him, why don't you?</dialogue>
<character>DICKENS</character>
<dialogue>Me?</dialogue>
<character>SCROOGE</character>
<dialogue>If you're so keen.</dialogue>
<scene_description>The ghost turns her gaze to Dickens.</scene_description>
<character>55A</character>
<dialogue>DICKENS</dialogue>
<scene_description>It's not about me.</scene_description>
<character>SCROOGE</character>
<dialogue>You're the author aren't you?</dialogue>
<scene_description>Dickens looks at the ghost, fearful. He doesn't move. The Ghost turns to look at the slightly ajar window, which now SLAMS wide open.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WARREN'S BLACKING FACTORY - NIGHT</stage_direction>
<scene_description>Young Charles holds his father's hand tightly, through the bars of a bailiff's van, trying to keep from crying. The rest of the family are huddled together behind his father in the van.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Don't cry, Charlie. We'll be back for you before you know it.</dialogue>
<character>YOUNG CHARLES</character>
<dialogue>But why can't I stay with you?</dialogue>
<character>MR. DICKENS</character>
<dialogue>You're a big boy now, Charlie. You need to help out. You'll see.</dialogue>
<character>MR. DICKENS</character>
<dialogue>It will be an adventure. You'll hardly think of us at all.</dialogue>
<scene_description>Behind him, the bailiff climbs on board the van.</scene_description>
<character>BAILIFF</character>
<dialogue>Time to go.</dialogue>
<scene_description>Young Charles starts to cry.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Now, sir, enough of that. Stand up tall. Blood of iron, heart of ice.</dialogue>
<scene_description>The van starts to move off. Young Charles lets go of his father's hands.</scene_description>
<character>MR. DICKENS</character>
<parenthetical>(shouting back)</parenthetical>
<dialogue>Remember: you are the son of John Dickens. A Gentleman. You be sure and tell them that!</dialogue>
<scene_description>The van disappears around the corner. The boy turns and looks with dread at the old, tumbledown building, beneath the sign WARRENS BLACKING: "The Pride of Mankind". A door opens spilling some light.</scene_description>
<character>YOUNG CHARLES</character>
<parenthetical>(trying to gather strength)</parenthetical>
<dialogue>Blood of iron, heart of ice.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - MORNING (PRESENT)</stage_direction>
<scene_description>Dickens is in bed, tossing in his sleep. Kate comes in, dressed for the day. Dickens awakes with a start.</scene_description>
<character>KATE</character>
<dialogue>Good morning.</dialogue>
<scene_description>She bustles about the room.</scene_description>
<character>DICKENS</character>
<dialogue>What? Oh. Yes.</dialogue>
<character>KATE</character>
<dialogue>You were tossing and turning all night, you know.</dialogue>
<character>DICKENS</character>
<dialogue>Bad dreams.</dialogue>
<character>KATE</character>
<dialogue>What about?</dialogue>
<scene_description>He shakes his head.</scene_description>
<character>DICKENS</character>
<dialogue>I don't know. Shadows. Nothing more.</dialogue>
<character>KATE</character>
<dialogue>A little daylight will cure you.</dialogue>
<scene_description>She throws open the curtains.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. MARKET - DAY</stage_direction>
<scene_description>A theatre curtain is pulled aside to reveal a puppet show, performing to a watching crowd in the COVERED market. All is bustle and colour. Dickens wanders amongst the stalls overflowing with brightly coloured goods, tin pans, second-hand clothes, baskets of chestnuts, pears and apples, piles of filberts. Suddenly, a figure is there, tugging on his sleeve. It's Scrooge.</scene_description>
<character>SCROOGE</character>
<dialogue>I trust we'll have no more of that.</dialogue>
<scene_description>Dickens is taken aback.</scene_description>
<character>DICKENS</character>
<dialogue>Of --?</dialogue>
<character>SCROOGE</character>
<dialogue>The past. A lot of nonsense. Onward.</dialogue>
<scene_description>Scrooge flinches as a couple of CHILDREN run screaming by them.</scene_description>
<character>DICKENS</character>
<dialogue>Were you never a child, Mr. Scrooge?</dialogue>
<character>SCROOGE</character>
<dialogue>I don't recall. Come on, we're wasting time. We should be working.</dialogue>
<character>DICKENS</character>
<dialogue>I am working.</dialogue>
<character>SCROOGE</character>
<dialogue>Here?</dialogue>
<character>DICKENS</character>
<dialogue>I'm gathering inspiration.</dialogue>
<character>SCROOGE</character>
<dialogue>Gathering... what??</dialogue>
<scene_description>Dickens gestures.</scene_description>
<character>DICKENS</character>
<dialogue>What do you see? When you look around?</dialogue>
<character>SCROOGE</character>
<dialogue>A market.</dialogue>
<character>DICKENS</character>
<dialogue>What else?</dialogue>
<scene_description>He points to various people in the market: A PIEMAN with his arms laden with pie cans, yelling:</scene_description>
<character>PIEMAN</character>
<dialogue>Pies all'ot! Eel, beef, or mutton pies! Penny Pies, all' ot!</dialogue>
<character>SCROOGE</character>
<dialogue>Buyers and sellers.</dialogue>
<character>DICKENS</character>
<dialogue>What else?</dialogue>
<scene_description>A Cockney SCAM ARTIST, doing a patter.</scene_description>
<character>SCAM ARTIST</character>
<dialogue>....Three thimbles and one little pea- with a one, two, three, and a two, three, one, catch him who can, look on, keep your eyes open and niver say die!</dialogue>
<character>SCROOGE</character>
<dialogue>Thieves and ruffians.</dialogue>
<scene_description>As they step out from the "souk" into the open air street market, He points to A YOUNG COUPLE, lost in admiration of each other. A NEWSAGENT, calling out:</scene_description>
<character>NEWSAGENT</character>
<dialogue>Times, gen'l'mn, Times! Highly Interesting murder, gen'l'mn,</dialogue>
<scene_description>A FIDDLER, plays a tune and a BUTCHER calls out.</scene_description>
<character>BUTCHER</character>
<dialogue>Clear away! Clear away, lads!</dialogue>
<scene_description>He tosses the fiddler a coin, catches up his WIFE and starts to dance. Dickens laughs with pleasure, then looks at Scrooge, who shrugs.</scene_description>
<character>DICKENS</character>
<dialogue>Life, Mr. Scrooge! London! The great theatre of the world! It's all here!</dialogue>
<character>SCROOGE</character>
<dialogue>Humbug.</dialogue>
<character>DICKENS</character>
<dialogue>You say that a lot.</dialogue>
<character>SCROOGE</character>
<dialogue>I'm a man of facts and calculations. Realities, not fancy... Not-- not-- what the devil is that?--</dialogue>
<scene_description>Dickens and Scrooge stare at a strange sight: a PAPIER MACHE BOTTLE is toddling along the street. When the bottle reaches Dickens, a hand pops out of it, and thrusts a flyer in his hand: an advertisement for Warren's Blacking. Dickens is frozen for a moment, unnerved. He takes off in the other direction.</scene_description>
<character>DICKENS</character>
<dialogue>Must go.</dialogue>
<character>SCROOGE</character>
<dialogue>Where to?</dialogue>
<character>DICKENS</character>
<parenthetical>(over his shoulder)</parenthetical>
<dialogue>Back to work.</dialogue>
</scene>
<scene>
<stage_direction>INT. DICKENS HOUSE. DINING ROOM - NIGHT</stage_direction>
<scene_description>The family are at the dinner table waiting to eat. Mr. Dickens entertains the children, making them giggle.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Papa... potatoes... poultry... and prunes... are all very good words for the lips.</dialogue>
<scene_description>At the other end of the table, Mrs. Dickens reminisces for Kate's benefit.</scene_description>
<character>59A</character>
<dialogue>MRS. DICKENS</dialogue>
<scene_description>And oh, the parties.... We used to keep such hours! Balls, dinners- champagne- Mr. Dickens ties his napkin around his head, winks at the children. The children giggle.</scene_description>
<character>KATE</character>
<dialogue>Well, it looks as if Charles won't be joining us this evening. Again. We may as well begin.</dialogue>
<scene_description>Mr. Dickens has already begun.</scene_description>
<character>MR. DICKENS</character>
<dialogue>First rate capon, Mrs. Fisk.</dialogue>
<character>MRS. FISK</character>
<dialogue>Thank you sir. I'll let the cook know.</dialogue>
<character>MRS. DICKENS</character>
<dialogue>...and the chairs had turned legs with green chintz squabs to match the curtains.</dialogue>
<scene_description>At that moment, Dickens appears in the doorway.</scene_description>
<character>DICKENS</character>
<dialogue>What story is that, Mother?</dialogue>
<scene_description>Mrs. Dickens reddens.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>I was only telling Kate about the dining room set we used to have. Rosewood. In the most approved taste.</dialogue>
<character>DICKENS</character>
<dialogue>You mean, the one we pawned?</dialogue>
<scene_description>An awkward silence.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>Charles. You are a satirical monster.</dialogue>
<scene_description>Kate is bewildered.</scene_description>
<character>KATE</character>
<dialogue>Is that a joke, dear?</dialogue>
<character>DICKENS</character>
<dialogue>Not a very amusing one.</dialogue>
<scene_description>Mrs. Dickens examines her hands, mortified. An awkward silence. Dickens turns a cold eye on his father.</scene_description>
<character>DICKENS</character>
<dialogue>Is that a new waistcoat father?</dialogue>
<character>MR. DICKENS</character>
<dialogue>Eh? What? Oh, yes. Persian crimson. It is a little more expensive, but I've always said, people will believe anything if you're properly dressed.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>Kate. Will you ask Tara to bring up a tray with something on it?</dialogue>
<character>KATE</character>
<dialogue>I'll bring it up.</dialogue>
<character>DICKENS</character>
<dialogue>No! I need Tara to do it.</dialogue>
<character>MR. DICKENS</character>
<dialogue>That's the spirit my boy. Procrastination is the thief of time, eh Charles. Collar him!</dialogue>
<scene_description>Dickens looks at him, but decides not to say anything.</scene_description>
<character>MRS. FISK</character>
<dialogue>I'll get her sir. Tara!</dialogue>
<scene_description>Mr. Dickens, unperturbed, digs into his food.</scene_description>
<character>MR. DICKENS</character>
<dialogue>We must never disturb the poet when the divine frenzy is upon him. I myself have suffered the same delirium. Often to the detriment of my health, as you know, my love.</dialogue>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - NIGHT</stage_direction>
<scene_description>Dickens is talking to himself in the mirror, like a mad man.</scene_description>
<character>DICKENS</character>
<dialogue>Know the place! Was I apprenticed here? Why it's old Fezziwig!</dialogue>
<scene_description>Behind him, in the room, the FEZZIWIGS appear (the genial BUTCHER and his WIFE from the market). They start to dance.</scene_description>
<character>FEZZIWIG</character>
<dialogue>Clear away, lads! Clear away! It's Friday night!</dialogue>
<scene_description>There is a knock on the door. The Fezziwigs freeze.</scene_description>
<character>DICKENS</character>
<dialogue>Who is it?</dialogue>
<character>TARA (O.S.)</character>
<dialogue>It's Tara, sir. With your dinner.</dialogue>
<scene_description>Dickens throws open the door.</scene_description>
<character>DICKENS</character>
<dialogue>Tara. Come in. Come in.</dialogue>
<scene_description>He takes the tray from her.</scene_description>
<character>DICKENS</character>
<dialogue>Sit. I want to read you something.</dialogue>
<character>TARA</character>
<dialogue>Oh, I don't think Mrs. Fisk-</dialogue>
<character>DICKENS</character>
<dialogue>Skittleshins to Mrs. Fisk. Sit. Please.</dialogue>
<scene_description>She does.</scene_description>
</scene>
<scene>
<stage_direction>INT. SITTING ROOM - NIGHT</stage_direction>
<scene_description>Kate sits alone and bored. Another evening without the company of her husband. She looks at the ceiling. The study above her. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - NIGHT</stage_direction>
<scene_description>Dickens is reading to Tara from the manuscript. She smiles lost in her imagination.</scene_description>
<character>DICKENS</character>
<dialogue>... in easy state upon this couch, there sat a jolly giant, who bore a glowing torch and held it up to shed its light on Scrooge as he came peeping round the corner.</dialogue>
<character>TARA</character>
<dialogue>The second ghost!</dialogue>
<scene_description>The lights in the room slowly brighten, revealing the GHOST OF CHRISTMAS PRESENT (bearing a strong resemblance to Forster in a beard), seated high up on a throne, amidst a cornucopia of apples and oranges and pears, chestnuts, mistletoe and holly. Around him in a circle, various other CHARACTERS from the book, stare up in rapt attention. The Ghost laughs as he sees Scrooge approach, shielding his eyes from the bright light.</scene_description>
<character>SCROOGE</character>
<dialogue>Who are you?</dialogue>
<scene_description>The ghost laughs.</scene_description>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>I am the Ghost of Christmas present. Come closer man and know me better.</dialogue>
<scene_description>Scrooge fearfully climbs the library steps.</scene_description>
<character>SCROOGE</character>
<dialogue>Excuse me, but -- why all this- produce?</dialogue>
<scene_description>The Ghost laughs again.</scene_description>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>These are the gifts of abundance, of good will and generosity.</dialogue>
<character>SCROOGE</character>
<dialogue>Eh?</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>Of course you wouldn't understand much about that, would you? Unlike these good people.</dialogue>
<scene_description>The Ghost of Christmas Present points towards the hearth, where the CRATCHIT FAMILY including BOB (looking a good deal like Henry Burnett Sr.), and TINY TIM (a paler, more fragile version of Henry) are seated round a table, staring joyfully at a very modest Christmas dinner of mashed potatoes, apple sauce, gravy, and a very small roasted goose.</scene_description>
<character>CRATCHIT</character>
<dialogue>My dear Mrs. Cratchit. You have outdone yourself this year.</dialogue>
<scene_description>Mrs. Cratchit beams, and looks around at her children.</scene_description>
<character>MRS. CRATCHIT</character>
<dialogue>Everyone pitched in. Even Tim.</dialogue>
<scene_description>Tim points to the mismatched cups and plates.</scene_description>
<character>TINY TIM</character>
<dialogue>I set the table!</dialogue>
<scene_description>Cratchit lifts his glass.</scene_description>
<character>CRATCHIT</character>
<dialogue>A Merry Christmas to us all, my dears. And may God bless us.</dialogue>
<character>TINY TIM</character>
<dialogue>God bless us every one!</dialogue>
<scene_description>Tiny Tim's little body is racked with coughs. Cratchit picks him up in his arms. Scrooge stares at Tiny Tim, moved.</scene_description>
<character>SCROOGE</character>
<dialogue>I didn't know Cratchit had a crippled son.</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>Didn't you ever think to ask?</dialogue>
<character>SCROOGE</character>
<dialogue>He's my clerk. I don't pay him to tell me about his personal life.</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>You hardly pay him at all.</dialogue>
<character>SCROOGE</character>
<dialogue>Fifteen shillings a week.</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>For a man with a family? Not too mention a sick child.</dialogue>
<character>SCROOGE</character>
<dialogue>That is the market rate.</dialogue>
<scene_description>The ghost bristles.</scene_description>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>Do you really believe that every inch of existence is a bargain across the counter?</dialogue>
<character>SCROOGE</character>
<dialogue>I-- I-</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>Observe this family. They don't have much, and yet they're happy, grateful and contented with the time. Whereas you are miserable and content with nothing.</dialogue>
<character>SCROOGE</character>
<dialogue>I never heard such folly.</dialogue>
<scene_description>A clock in the room strikes the hour.</scene_description>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>Heed well what I have said. Farewell.</dialogue>
<character>SCROOGE</character>
<dialogue>No. Wait-</dialogue>
<character>DICKENS (O.S.)</character>
<dialogue>Intermission.</dialogue>
<scene_description>The characters spontaneously applaud as Scrooge and the Ghost take a bow.</scene_description>
<character>MRS. FEZZIWIG</character>
<dialogue>Thrilling performance.</dialogue>
<character>GHOST OF CHRISTMAS PRESENT</character>
<dialogue>That's very kind.</dialogue>
<character>MR. FEZZIWIG</character>
<dialogue>Where did you train?</dialogue>
<scene_description>A clock in the room strikes the hour. The lights start returning to normal. The characters disappear. Dickens turns over the last page of the manuscript.</scene_description>
<character>DICKENS</character>
<dialogue>And that's as far as I've got.</dialogue>
<scene_description>Tara stirs herself, like one awaking from a sleep.</scene_description>
<character>DICKENS</character>
<dialogue>Tara?</dialogue>
<scene_description>She nods, still half in a dream, then turns back.</scene_description>
<character>TARA</character>
<dialogue>How do you do that, sir?</dialogue>
<character>DICKENS</character>
<dialogue>What, Tara?</dialogue>
<character>TARA</character>
<dialogue>Make a world, come alive.... I could almost see and hear them people.</dialogue>
<scene_description>She drifts out the door.</scene_description>
<character>TARA</character>
<dialogue>Especially that Tiny Tim. The poor mite</dialogue>
<scene_description>Dickens pleased his writing has affected someone so much, turns to see Scrooge, jolting him out of his reverie.</scene_description>
<character>SCROOGE</character>
<dialogue>A word in your ear.</dialogue>
<scene_description>Dickens is wary.</scene_description>
<character>DICKENS</character>
<dialogue>About?</dialogue>
<character>SCROOGE</character>
<dialogue>The scene. It's very one-sided-</dialogue>
<character>DICKENS</character>
<dialogue>One-sided?</dialogue>
<character>SCROOGE</character>
<dialogue>My character doesn't get to explain his side of things. I've taken the liberty of writing a speech -</dialogue>
<character>DICKENS</character>
<dialogue>No.</dialogue>
<character>SCROOGE</character>
<dialogue>-- something about the rational self-interest and the natural tendency of free markets--</dialogue>
<character>DICKENS</character>
<dialogue>No. No. And no.</dialogue>
<scene_description>Scrooge scowls.</scene_description>
<character>SCROOGE</character>
<dialogue>What kind of book is this, anyway?</dialogue>
<scene_description>Dickens sweeps out of the room. 56A OMIT 56A</scene_description>
</scene>
<scene>
<stage_direction>INT. LEECH'S STUDIO - DAY</stage_direction>
<scene_description>Dickens and Forster study a sketch that Leech has done.</scene_description>
<character>DICKENS</character>
<dialogue>No! Too gloomy. The Ghost of Christmas Present should be wonderful. Warm. Jolly.</dialogue>
<character>LEECH</character>
<dialogue>Jolly.</dialogue>
<character>DICKENS</character>
<dialogue>Yes.</dialogue>
<character>LEECH</character>
<dialogue>A jolly ghost.</dialogue>
<character>DICKENS</character>
<dialogue>That's it.</dialogue>
<scene_description>Leech goes to a cabinet and counts out fifty pounds in cash.</scene_description>
<character>DICKENS</character>
<dialogue>What's this?</dialogue>
<character>LEECH</character>
<dialogue>I am returning your money.</dialogue>
<character>FORSTER</character>
<dialogue>-My dear Mr. Leech-</dialogue>
<character>LEECH</character>
<dialogue>Find another artist.</dialogue>
<character>DICKENS</character>
<dialogue>We don't want another artist.</dialogue>
<character>LEECH</character>
<dialogue>A jolly Christmas ghost? What does that mean? I can't draw what I don't understand!</dialogue>
<character>DICKENS</character>
<dialogue>Well, he's - he's everything that's best about Christmas. He's the soul of kindness and generosity, he's-</dialogue>
<scene_description>He glances at Forster.</scene_description>
<character>DICKENS</character>
<dialogue>Forster.</dialogue>
<character>FORSTER</character>
<dialogue>Eh?</dialogue>
</scene>
<scene>
<stage_direction>INT. LEECH'S STUDIO - LATER</stage_direction>
<scene_description>Forster, dressed in a sheet, open to his navel, and holding a lamp aloft, poses uncomfortably while Dickens applies makeup to his cheeks. Leech waits to sketch him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON/HATCHARD'S - NIGHT</stage_direction>
<scene_description>Dickens is stopped outside of Hatchard's. In the store window a sign advertises "A New Christmas Book by Mr. Dickens. Order Now and Avoid Disappointment." Dickens peers through the window lost in thought. Suddenly, a POSSE of Characters from the book appears behind him, Scrooge amongst them, staring in at the window.</scene_description>
<character>SCROOGE</character>
<parenthetical>(to Cratchit)</parenthetical>
<dialogue>In stores by Christmas? That will be a miracle.</dialogue>
<scene_description>The posse sniggers.</scene_description>
<character>DICKENS</character>
<dialogue>Go away.</dialogue>
<character>SCROOGE</character>
<dialogue>Three flops in a row. Up to your eyeballs in debt. I'd think you'd be glad of some advice.</dialogue>
<scene_description>The POSSE nods in agreement.</scene_description>
<character>DICKENS</character>
<dialogue>All right. I've had a few flops, what of it? I'm still young. It's not as if I--</dialogue>
<scene_description>Suddenly the surrounding area falls into darkness as the gas lamps dim one by one. Scrooge turns pale as shadows take over the street. Dickens turns to see the POSSE and SCROOGE staring at a dark STATUE across the road. Slowly the statue comes to life, its robes float eerily in the wind, giving form to a terrifying Phantom, its face obscured by a hood. (The GHOST OF CHRISTMAS YET-TO-COME). Dickens and Scrooge exchange fearful looks.</scene_description>
<character>DICKENS</character>
<dialogue>Are we in the presence of the Ghost of Christmas Yet to Come?</dialogue>
<scene_description>The Spirit nods.</scene_description>
<character>SCROOGE</character>
<parenthetical>(to Dickens)</parenthetical>
<dialogue>Why doesn't he speak?</dialogue>
<character>DICKENS</character>
<dialogue>Shhh.</dialogue>
<parenthetical>(to Ghost)</parenthetical>
<dialogue>You are here to show us the shadows of the things that have not happened but will happen, is that so?</dialogue>
<scene_description>The Spirit slowly raises a shrouded arm and points down the street, the giant shadow of its finger comes to a stop at a small door.</scene_description>
<character>SCROOGE</character>
<parenthetical>(whispering to Dickens)</parenthetical>
<dialogue>Where does it want us to go?</dialogue>
<character>DICKENS</character>
<dialogue>I think I know.</dialogue>
<scene_description>With that he heads towards the door, SCROOGE and the POSSE following.</scene_description>
<character>SCROOGE</character>
<dialogue>I have a bad feeling about this.</dialogue>
<character>DICKENS (O.S.)</character>
<dialogue>They entered poor Bob Cratchit's house and found the mother and the children seated round the fire.</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY/CRATCHIT HOUSE - LATER IN NIGHT</stage_direction>
<scene_description>Mrs. Cratchit and the children, dressed in black, huddle together by the fire. Tiny Tim is not among them. We see his lonely crutch leaning against the fireplace.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Then Bob came in the door.</dialogue>
<character>MRS. CRATCHIT</character>
<dialogue>You went today, then Robert? To the cemetery?</dialogue>
<scene_description>Cratchit struggles to be cheerful as he enters the room.</scene_description>
<character>CRATCHIT</character>
<dialogue>Yes, my dear. I wish you could have gone to see how green a place it is. But you'll see it often. I promised him that I would walk there on a Sunday.</dialogue>
<scene_description>He smiles through his tears.</scene_description>
<character>CRATCHIT</character>
<dialogue>My little child. My little, little child!</dialogue>
<scene_description>His voice cracks and he covers his eyes.</scene_description>
<character>TARA</character>
<dialogue>Oh no!</dialogue>
<scene_description>The characters freeze. Scrooge shoots a look over his shoulder, TO REVEAL THE SCENE IS TAKING PLACE IN DICKENS STUDY</scene_description>
<character>SCROOGE</character>
<dialogue>Rude!</dialogue>
<scene_description>Tara has been listening to the story, her eyes wide with emotion.</scene_description>
<character>TARA</character>
<dialogue>Is Tiny Tim dead?</dialogue>
<character>SCROOGE</character>
<dialogue>Of course he is. Imbecile.</dialogue>
<character>DICKENS</character>
<parenthetical>(gently)</parenthetical>
<dialogue>He was very ill.</dialogue>
<character>SCROOGE</character>
<dialogue>You can't save every child in London.</dialogue>
<character>DICKENS</character>
<dialogue>And the family has no money for a doctor.</dialogue>
<scene_description>Tara is becoming upset.</scene_description>
<character>TARA</character>
<dialogue>Then Scrooge must save him.</dialogue>
<scene_description>Scrooge is taken aback.</scene_description>
<character>SCROOGE</character>
<dialogue>Me?</dialogue>
<scene_description>Dickens looks from one to the other.</scene_description>
<character>DICKENS</character>
<dialogue>But he wouldn't-</dialogue>
<character>TARA</character>
<dialogue>Why?</dialogue>
<character>DICKENS</character>
<dialogue>He's too selfish.</dialogue>
<character>TARA</character>
<dialogue>He can change. There's good in him somewhere, I know it.</dialogue>
<scene_description>Scrooge rolls his eyes.</scene_description>
<character>SCROOGE</character>
<dialogue>People don't change.</dialogue>
<character>DICKENS</character>
<dialogue>He's been this way for a long time. I'm not sure he can change.</dialogue>
<character>TARA</character>
<dialogue>Of course he can. He's not a monster.</dialogue>
<character>DICKENS</character>
<dialogue>I don't - he isn't -</dialogue>
<character>SCROOGE</character>
<dialogue>Thought this was a ghost story. Not a fairy tale.</dialogue>
<character>TARA</character>
<dialogue>He wouldn't let Tiny Tim die, Mr. Dickens. He has a heart, doesn't he? It would be too wicked. Even for him.</dialogue>
<scene_description>Dickens stares at them a moment, now plagued with doubt. FLASHBACK:</scene_description>
</scene>
<scene>
<stage_direction>60A INT. WARREN'S BLACKING - CONTINUOUS 60A</stage_direction>
<scene_description>Inside the noisy, squalid factory, Young Charles is led by a Foreman to a score of pale-faced, miserable-looking CHILDREN, all of them busy pasting labels on bottles or packing them in casks.</scene_description>
<character>FOREMAN</character>
<dialogue>Boys. This here is Charlie Dickens. And what was it you was just telling me, lad? About your Dad?</dialogue>
<scene_description>Young Charles draws himself up proudly.</scene_description>
<character>YOUNG CHARLES</character>
<dialogue>My father is a gentleman.</dialogue>
<scene_description>The boys jeer. Young Charles flushes with embarrassment. One of the boys, POLL, calls out.</scene_description>
<character>POLL</character>
<dialogue>Where is he, then? Dining with the queen?</dialogue>
<scene_description>Another boy calls out.</scene_description>
<character>BOY</character>
<dialogue>I 'eard he's in the stone jug.</dialogue>
<character>FOREMAN</character>
<dialogue>Hush, you lot. Where's your manners?</dialogue>
<scene_description>The Foreman addresses him with elaborate politeness.</scene_description>
<character>FOREMAN</character>
<dialogue>Master Dickens. Perhaps you would be so good as to join us at work? If you've nothing better to do?</dialogue>
<scene_description>The Foreman thrusts him down hard onto the work bench. Young Charles looks around, miserable, at his surroundings.</scene_description>
<character>FOREMAN</character>
<dialogue>No shirking here.</dialogue>
<scene_description>A rat scuttles nearby, to reveal a sheer drop to the giant blacking VATS below. Poll sits down beside him and hisses at him. 72A:</scene_description>
<character>POLL</character>
<dialogue>You're no better than me, cocker. You'd best learn that.</dialogue>
<scene_description>BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKEN STUDY - NIGHT</stage_direction>
<scene_description>Dickens sits at his desk. He looks at the clock. It's the middle of the night. He once again goes through his ritual of straightening everything on his desk. He tidies his manuscript, picks up his pen, dips it in ink, then stares at the paper. There is a racket in the hallway outside the door.</scene_description>
<character>MR. DICKENS (O.S.)</character>
<dialogue>'Tis now the very witching time of night,</dialogue>
<character>MRS. DICKENS (O.S.)</character>
<dialogue>Shhh, dear.</dialogue>
<scene_description>Mr. and Mrs. Dickens are in the hallway outside the door.</scene_description>
<character>MR. DICKENS (O.S.)</character>
<dialogue>When churchyards yawn and hell itself breathes out-</dialogue>
<scene_description>Scrooge appears.</scene_description>
<character>SCROOGE</character>
<dialogue>Shakespeare. Now there's a man who could write. I doubt he ever had a blockage.</dialogue>
<character>MR. DICKENS (O.S.)</character>
<dialogue>Now could I drink hot blood!</dialogue>
<scene_description>Dickens grips his hair in frustration.</scene_description>
<character>SCROOGE</character>
<parenthetical>(egging dickens on)</parenthetical>
<dialogue>Self-preservation is the first law of nature. That's just a fact.</dialogue>
<scene_description>Dickens throws open the door to find Mr. Dickens, drunkenly negotiating the stairs with the help of Mrs. Dickens.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>That's right dear. Just a few more steps.</dialogue>
<character>MR. DICKENS</character>
<dialogue>"Oh, heart lose not thy nature; let not ever the soul of Nero--</dialogue>
<scene_description>Mr. Dickens sees Charles and attempts to regain his posture. 73A:</scene_description>
<character>MR. DICKENS</character>
<dialogue>Oh. Good evening, Charles.</dialogue>
<scene_description>Mrs. Dickens is a little afraid of her son.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>We'll get him straight into bed, Charles, dear. We were up the river to Kew and I think perhaps it was too long a day.</dialogue>
<character>DICKENS</character>
<dialogue>Kew! What about your newspaper article?</dialogue>
<character>MR. DICKENS</character>
<dialogue>Article?</dialogue>
<character>DICKENS</character>
<dialogue>The one you're writing on the Bank Charter Act? It's been over a month.</dialogue>
<scene_description>Mr. Dickens shifts, uncomfortably.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Oh, that. As it happens, the editor was not able to- that is to say- due to pecuniary involvements of a complicated nature- he found it necessary to- to cancel the commission.</dialogue>
<character>DICKENS</character>
<dialogue>So. No newspaper article.</dialogue>
<character>MR. DICKENS</character>
<dialogue>However, I rejoice to say that I have every hope of something turning up -</dialogue>
<scene_description>Dickens sees Scrooge hovering behind him, scowling.</scene_description>
<character>DICKENS</character>
<dialogue>I think it's time you went back to Devon, Father.</dialogue>
<scene_description>Beat.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Indeed.</dialogue>
<character>DICKENS</character>
<dialogue>As soon as possible.</dialogue>
<character>MR. DICKENS</character>
<dialogue>Of course, dear boy. We shall catch the afternoon train tomorrow.</dialogue>
<scene_description>He stumbles and nearly falls, but is caught by Tara.</scene_description>
<character>MR. DICKENS</character>
<parenthetical>(with dignity)</parenthetical>
<dialogue>Thank you, my dear. Here--</dialogue>
<scene_description>He fumbles in his pocket for a coin.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Let me give you something for your trouble.</dialogue>
<character>TARA</character>
<dialogue>That's all right, sir.</dialogue>
<character>MR. DICKENS</character>
<dialogue>You're very kind.</dialogue>
<scene_description>They move away.</scene_description>
<character>MR. DICKENS</character>
<parenthetical>(to Tara)</parenthetical>
<dialogue>No-one is useless in this world who lightens the burden of another. Remember that, Tara.</dialogue>
<character>TARA</character>
<dialogue>I will, sir.</dialogue>
<scene_description>Mrs. Dickens gives Dickens a reproachful look.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>Don't be hard on him, Charlie. You don't know what he's been through.</dialogue>
<character>DICKENS</character>
<dialogue>Don't I?</dialogue>
<character>MRS. DICKENS</character>
<dialogue>He feels it all, you know. He would never tell you, but he feels it all.</dialogue>
<character>MR. DICKENS (O.S.)</character>
<dialogue>Ride on! Ride on over all obstacles and win the race!</dialogue>
<scene_description>Dickens turns back to his study. Scrooge is smug.</scene_description>
<character>SCROOGE</character>
<dialogue>That's it. Blood of iron, heart of ice. Now maybe we can finish this thing.</dialogue>
<character>75A</character>
<dialogue>Off Dickens his face. Lost.</dialogue>
<scene_description>CUT TO: OMIT OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - DAY</stage_direction>
<scene_description>Dickens sits at his desk, staring straight ahead. In the room, the characters (including Cratchit, Mr. and Mrs. Fezziwig), lounge around, like actors on a break. Some knitting or doing the crossword. Dickens picks up a pen, and the characters look up hopefully.</scene_description>
<character>DICKENS</character>
<dialogue>All right, let's run it again. From the scene with Scrooge's debtors.</dialogue>
<scene_description>The characters groan. Scrooge, lying on the chaise, looks over with disdain.</scene_description>
<character>SCROOGE</character>
<dialogue>What's the point?</dialogue>
<character>DICKENS</character>
<dialogue>The point?</dialogue>
<character>SCROOGE</character>
<dialogue>We keep stopping at the same place.</dialogue>
<character>DICKENS</character>
<dialogue>Because I'm working out the ending.</dialogue>
<character>SCROOGE</character>
<dialogue>Admit it. You're blocked.</dialogue>
<character>DICKENS</character>
<dialogue>I'm not blocked.</dialogue>
<character>SCROOGE</character>
<dialogue>Now if you'd take my advice--</dialogue>
<character>DICKENS</character>
<dialogue>I am the author here.</dialogue>
<character>SCROOGE</character>
<parenthetical>(mutters)</parenthetical>
<dialogue>Allegedly.</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>I'm going out.</dialogue>
<scene_description>All the characters get to their feet.</scene_description>
<character>DICKENS</character>
<dialogue>Alone!</dialogue>
<scene_description>The characters fall back, silent.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRICK CLUB - DAY</stage_direction>
<scene_description>Dickens finds Forster at a table, scribbling in a notebook.</scene_description>
<character>DICKENS</character>
<dialogue>Forster. I need your help.</dialogue>
<scene_description>Forster grabs his coat in alarm.</scene_description>
<character>FORSTER</character>
<dialogue>What is it? The children?</dialogue>
<character>DICKENS</character>
<dialogue>What? No. The children are fine.</dialogue>
<scene_description>Forster sits back down. Dickens glances at the notebook Forster has been writing in.</scene_description>
<character>DICKENS</character>
<dialogue>Candle/scandal... flirt/hurt... Charlotte/Poor heart. My God, is it a poem? It's atrocious. What's got into you?</dialogue>
<scene_description>Forster rushes to snatch the paper away.</scene_description>
<character>FORSTER</character>
<dialogue>You look terrible. Is something wrong?</dialogue>
<character>DICKENS</character>
<dialogue>It's the book. I'm having trouble with one of the characters.</dialogue>
<scene_description>He looks out the window again where the entire CAST OF CHARACTERS from the book are standing, looking up at him.</scene_description>
<character>DICKENS</character>
<dialogue>Several of them, actually.</dialogue>
<character>FORSTER</character>
<dialogue>What exactly is the problem?</dialogue>
<scene_description>Dickens picks away at Forster's dinner.</scene_description>
<character>DICKENS</character>
<dialogue>The problem is, could a man as mean- spirited, as evil as Scrooge- could he become a different person overnight?</dialogue>
<character>FORSTER</character>
<dialogue>What is so evil about him?</dialogue>
<character>DICKENS</character>
<dialogue>Well, he's a miser.</dialogue>
<character>FORSTER</character>
<dialogue>That doesn't make him evil. It just makes him cheap.</dialogue>
<character>DICKENS</character>
<dialogue>No, but he worships money. It's the only thing that matters to him.</dialogue>
<character>FORSTER</character>
<dialogue>Why?</dialogue>
<character>DICKENS</character>
<dialogue>Because... he has nothing else.</dialogue>
<character>FORSTER</character>
<dialogue>No friends? No family?</dialogue>
<character>DICKENS</character>
<dialogue>No-one he trusts.</dialogue>
<character>FORSTER</character>
<dialogue>Why?</dialogue>
<character>DICKENS</character>
<dialogue>I suppose he's afraid-</dialogue>
<character>FORSTER</character>
<dialogue>Of?</dialogue>
<scene_description>Dickens struggles to answer.</scene_description>
<character>DICKENS</character>
<dialogue>Of- being found out.</dialogue>
<character>FORSTER</character>
<dialogue>What?</dialogue>
<character>THACKERAY (O.S.)</character>
<dialogue>Hullo, chaps.</dialogue>
<scene_description>Thackeray appears at the table.</scene_description>
<character>FORSTER</character>
<dialogue>Thackeray.</dialogue>
<character>THACKERAY</character>
<dialogue>Charles! Haven't seen anything of yours in print for ages. Don't tell me you have a blockage!</dialogue>
<character>DICKENS</character>
<dialogue>Not in the least. I'm neck and heels into a Christmas book!</dialogue>
<scene_description>Thackeray is flummoxed.</scene_description>
<character>THACKERAY</character>
<dialogue>What the deuce is that?</dialogue>
<character>DICKENS</character>
<dialogue>A story about Christmas. For Christmas.</dialogue>
<character>THACKERAY</character>
<dialogue>A story about-? Ha ha! How amusing... Well.</dialogue>
<character>THACKERAY</character>
<dialogue>Best of luck with it! Oh! Did you hear? My last book has come out in a Railway edition. Sold ten thousand copies. In one week! "There's gold in them thar hills" as your American friends would say.</dialogue>
<scene_description>He wafts away. Dickens and Forster exchange looks.</scene_description>
<character>FORSTER</character>
<dialogue>Let's go somewhere else and get a real drink.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE GREEN HOG - NIGHT</stage_direction>
<scene_description>Forster and Dickens stumble out of a bar, laughing. Forster sings, in a thick North Country accent-</scene_description>
<character>FORSTER</character>
<dialogue>"She's a big lass, she's a bonny lass, an she likes her beer An I call her Cushie Butterfield an I wish she was here."</dialogue>
<character>DICKENS</character>
<dialogue>What language is that?</dialogue>
<character>FORSTER</character>
<dialogue>I am a Geordie! And we are Gods!</dialogue>
<scene_description>Dickens gapes around him in confusion.</scene_description>
<character>DICKENS</character>
<dialogue>Where are we?</dialogue>
<character>FORSTER</character>
<dialogue>Hungerford Stairs. Phew. Smell the river? What's that?</dialogue>
<scene_description>Dickens recoils at the sight of the Warren's Blacking Factory looming out of the swirling fog.</scene_description>
<character>DICKENS</character>
<parenthetical>(bitterly)</parenthetical>
<dialogue>A grave yard.</dialogue>
<character>FORSTER</character>
<dialogue>It's the old Warren's Factory. I wonder they haven't torn it down yet.</dialogue>
<character>DICKENS</character>
<dialogue>Or burnt it. I might do it myself one night.</dialogue>
<character>FORSTER</character>
<dialogue>Why? What have you got against boot blacking?</dialogue>
<scene_description>Forster looks at a pale and sweaty Dickens.</scene_description>
<character>FORSTER</character>
<dialogue>Charles? What is it?</dialogue>
<scene_description>Dickens looks at Forster, a strange expression on his face.</scene_description>
<character>DICKENS</character>
<dialogue>I -- I have this recurring nightmare.</dialogue>
<character>FORSTER</character>
<dialogue>Oh, nightmares. I have one where I'm being chased by a giant badger. What's yours?</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>Never mind.</dialogue>
<character>FORSTER</character>
<dialogue>Right. Time to go home.</dialogue>
<character>DICKENS</character>
<dialogue>I can't.</dialogue>
<character>FORSTER</character>
<dialogue>Why?</dialogue>
<scene_description>Dickens is becoming emotional.</scene_description>
<character>DICKENS</character>
<dialogue>The book - I can't -- The characters - won't do what I want. ... I'm afraid.</dialogue>
<character>FORSTER</character>
<dialogue>Of what?</dialogue>
<character>DICKENS</character>
<dialogue>That if I don't finish it, I'll never write again.</dialogue>
<character>FORSTER</character>
<dialogue>Go home, marra. Get some sleep.</dialogue>
<character>DICKENS</character>
<dialogue>I don't want to.</dialogue>
<character>FORSTER</character>
<dialogue>Don't be daft. Your wife will be worried sick.</dialogue>
<character>DICKENS</character>
<dialogue>My wife- doesn't understand me-</dialogue>
<scene_description>Forster puts his arm heavily on his friend's shoulder.</scene_description>
<character>FORSTER</character>
<dialogue>I've got news for you, marra. None of us understand you! You're a freak of nature. I'm exhausted spending two hours in your company. ...Go on home, now. It's cowld, the night. Go home. I'll see you in the morning.</dialogue>
<scene_description>He leaves. Dickens stares at the building. He takes a few drunken steps towards it, then turns and flees.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DICKENS HOUSE - NIGHT</stage_direction>
<scene_description>Dickens goes to let himself in the front door. He glances down and sees someone rooting through the dust bin. Dickens rushes down to the vagrant who is going through his rubbish.</scene_description>
<character>DICKENS</character>
<dialogue>Here, you, what are you up to?</dialogue>
<scene_description>The man turns around.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Hello, Charlie.</dialogue>
<scene_description>His father.</scene_description>
<character>DICKENS</character>
<dialogue>Father? What are you doing here?</dialogue>
<character>MR. DICKENS</character>
<dialogue>I - I had some business to attend to, so I thought I'd-</dialogue>
<character>DICKENS</character>
<dialogue>You just left town! What business could you possibly have-</dialogue>
<scene_description>Dickens notices the piece of paper in his hands and grabs it. It's a letter with his own signature on it, crumpled and discarded.</scene_description>
<character>DICKENS</character>
<dialogue>What were you going to do with that?</dialogue>
<scene_description>His father looks sheepish.</scene_description>
<character>DICKENS</character>
<dialogue>You were going to sell it, weren't you?</dialogue>
<character>MR. DICKENS</character>
<dialogue>It's no good to you, is it?</dialogue>
<character>DICKENS</character>
<dialogue>This is what you've been doing? Going through the rubbish like a tramp? Selling bits and pieces of me. Is that your business? Look at me. Aren't you ashamed?</dialogue>
<scene_description>Mr. Dickens doesn't respond.</scene_description>
<character>DICKENS</character>
<dialogue>I bought you a house and furnished it myself. I give you an allowance. What more could you possibly need?</dialogue>
<character>MR. DICKENS</character>
<dialogue>Oh, reason not the need!</dialogue>
<scene_description>His voice rises.</scene_description>
<character>MR. DICKENS</character>
<dialogue>You see me here, you gods, a poor old man-</dialogue>
<character>DICKENS</character>
<dialogue>No. Stop.</dialogue>
<scene_description>Mr. Dickens can't look his son in the eye.</scene_description>
<character>MR. DICKENS</character>
<dialogue>You don't know what it's like, Charlie. To be poor. To be nothing.</dialogue>
<scene_description>Dickens fury is incandescent-</scene_description>
<character>DICKENS</character>
<dialogue>Not know? Not know? At eleven years old I was made to know it- Working twelve hours a day, going hungry, wandering the streets all alone and afraid-</dialogue>
<scene_description>Mr. Dickens attempts to respond, but is cut off by Dickens.</scene_description>
<character>DICKENS</character>
<dialogue>Because your father- who is supposed to care for you- is so utterly thriftless--</dialogue>
<scene_description>Mr. Dickens weeps.</scene_description>
<character>MR. DICKENS</character>
<dialogue>Dear boy. Don't- I beg you.</dialogue>
<character>DICKENS</character>
<dialogue>No. You are not the victim here. This is about me. And Fanny. It's about all of us. We've lived our whole lives in the shadow of your recklessness.</dialogue>
<scene_description>Dickens stares at his father, weeping in the street.</scene_description>
<character>DICKENS</character>
<dialogue>Go away. I'm sickened at the sight of you. You are nothing but a drag and chain upon my life. I owe you nothing. Go.</dialogue>
<scene_description>Dickens goes in the house and shuts the door firmly behind him. Then leans against it, breathing heavily.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR - NEXT DAY</stage_direction>
<scene_description>Forster, is listening while Dickens reads the manuscript aloud.</scene_description>
<character>DICKENS</character>
<dialogue>"....Are these the shadows of the things that Will be, or are they shadows of the things that May be only?'"</dialogue>
<scene_description>He looks up.</scene_description>
<character>DICKENS</character>
<dialogue>And that's as far as I got.</dialogue>
<scene_description>Beat.</scene_description>
<character>FORSTER</character>
<dialogue>It's brilliant.</dialogue>
<character>DICKENS</character>
<dialogue>Are you pulling my leg?</dialogue>
<character>FORSTER</character>
<dialogue>No. I promise you.</dialogue>
<character>DICKENS</character>
<dialogue>Well... that's... encouraging-</dialogue>
<character>FORSTER</character>
<dialogue>My only criticism-</dialogue>
<scene_description>Forster stops himself.</scene_description>
<character>DICKENS</character>
<dialogue>Yes?</dialogue>
<character>FORSTER</character>
<dialogue>-Tiny Tim-</dialogue>
<scene_description>Dickens stares at him.</scene_description>
<character>DICKENS</character>
<dialogue>What about him?</dialogue>
<character>FORSTER</character>
<dialogue>Are you really going to let him die?</dialogue>
<character>DICKENS</character>
<dialogue>Why? What's the problem?</dialogue>
<character>FORSTER</character>
<dialogue>Well, it's a Christmas book. Shouldn't it be hopeful? Isn't that what Christmas is about? The hope that, in the end, our better natures will prevail?</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>You were the one who made me kill off Little Nell.</dialogue>
<character>FORSTER</character>
<dialogue>I stand by that decision.</dialogue>
<character>DICKENS</character>
<dialogue>My readers implored me-</dialogue>
<character>FORSTER</character>
<dialogue>But this is different. If Tiny Tim dies, then what's the point?</dialogue>
<character>DICKENS</character>
<dialogue>This isn't a fairy tale.</dialogue>
<character>FORSTER</character>
<dialogue>As mean as Scrooge is, he still has a heart. Doesn't he deserve a second chance?</dialogue>
<scene_description>Beat.</scene_description>
<character>DICKENS</character>
<dialogue>Thank you, Forster-</dialogue>
<character>FORSTER</character>
<dialogue>You're welcome-</dialogue>
<character>DICKENS</character>
<dialogue>-for reminding me why I never ask your opinion on my work.</dialogue>
<character>FORSTER</character>
<dialogue>You ask me for my opinion all the time.</dialogue>
<character>DICKENS</character>
<dialogue>Your services are no longer required.</dialogue>
<character>FORSTER</character>
<dialogue>You can't sack me.</dialogue>
<character>DICKENS</character>
<dialogue>Why?</dialogue>
<character>FORSTER</character>
<dialogue>Because - I don't work for you. I do what I do as a friend.</dialogue>
<character>DICKENS</character>
<dialogue>Good day, Mr. Forster.</dialogue>
<scene_description>Forster gets to his feet, heavily.</scene_description>
<character>FORSTER</character>
<dialogue>Right...</dialogue>
<parenthetical>(turning back)</parenthetical>
<dialogue>See you Friday, will I?</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY - NIGHT</stage_direction>
<scene_description>The characters have taken over every inch of it. Cratchit and The Pieman, are drinking tea by the window. Mr. and Mrs. Fezziwig are playing cards. There's an atmosphere of gloom.</scene_description>
<character>85A</character>
<dialogue>A CHARWOMAN sits by the fire with her feet up on the hob. As Dickens enters the room she glances over at him with mild interest.</dialogue>
<character>CHARWOMAN</character>
<dialogue>Who's that, then?</dialogue>
<scene_description>Scrooge, dozing on the sofa, opens an eye.</scene_description>
<character>SCROOGE</character>
<dialogue>Nobody. The author.</dialogue>
<character>CHARWOMAN</character>
<dialogue>No wonder he looks so depressed.</dialogue>
<scene_description>Dickens picks up the manuscript and flips through it.</scene_description>
<character>DICKENS</character>
<dialogue>All right. That's enough. Let's get back to work.</dialogue>
<character>SCROOGE</character>
<parenthetical>(to Cratchit)</parenthetical>
<dialogue>God bless us, everyone...</dialogue>
<scene_description>They titter together like children.</scene_description>
<character>DICKENS</character>
<dialogue>Why are you so miserable?</dialogue>
<character>SCROOGE</character>
<dialogue>What else can I be, when I live in such a world of fools as this.</dialogue>
<character>DICKENS</character>
<dialogue>Mean-spirited, cynical -</dialogue>
<character>SCROOGE</character>
<dialogue>Take a look in the mirror sometime.</dialogue>
<character>DICKENS</character>
<dialogue>Me?</dialogue>
<character>SCROOGE</character>
<dialogue>"Is that a new candle, Kate?" "Your services are no longer required." "I'm sickened at the sight of you." Hypocrite.</dialogue>
<scene_description>A knock at the door stops him from replying. Dickens throws it open, furious. Tara is there with a cup of cocoa.</scene_description>
<character>TARA</character>
<dialogue>Pardon me, sir. Mrs. Dickens sent me -</dialogue>
<character>DICKENS</character>
<dialogue>This is intolerable.</dialogue>
<scene_description>Dickens calls down the hall.</scene_description>
<character>DICKENS</character>
<dialogue>Mrs. Fisk?</dialogue>
<scene_description>Mrs. Fisk appears.</scene_description>
<character>MRS. FISK</character>
<dialogue>Yes, sir?</dialogue>
<character>DICKENS</character>
<dialogue>Take this child away from here and see that she doesn't disturb me ever again. Do you hear me?</dialogue>
<character>MRS. FISK</character>
<dialogue>Yes, sir. Come on, girl.</dialogue>
<scene_description>Tara is mortified. Head down, she scurries down the stairs. Back in the room, Scrooge raises his arms above his head in triumph.</scene_description>
<character>SCROOGE</character>
<dialogue>Yes! Banish her! Banish them all!</dialogue>
<character>DICKENS</character>
<dialogue>Be quiet--</dialogue>
<character>SCROOGE</character>
<dialogue>Humanity's great benefactor? Humbug!</dialogue>
<character>DICKENS</character>
<dialogue>Shut it. Or I'll make you bald. With bad teeth.</dialogue>
<character>SCROOGE</character>
<dialogue>Go ahead. It won't change a thing. You still won't have an ending.</dialogue>
<scene_description>Scrooge crosses his arms defiantly. He looks at the others: they follow suit.</scene_description>
<character>DICKENS</character>
<dialogue>This is ridiculous. You're all being ridiculous.</dialogue>
<scene_description>They continue to stare him down. In a sudden movement, Dickens picks up the glass inkwell and throws it at the fireplace, where it shatters. The room instantly empties of characters.</scene_description>
<character>DICKENS</character>
<dialogue>Come on then. Coward. Fight me. Fight me. Come out. If you be a man. Come out and fight!</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Kate stares at the ceiling, as Dickens rails away in the study.</scene_description>
<character>DICKENS (O.S.)</character>
<dialogue>Come out. If you be a man. Come out and fight!</dialogue>
<scene_description>She is clearly disturbed.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - MORNING</stage_direction>
<scene_description>Dickens wakes with a start and looks around. The room is a disaster. Papers everywhere. Ink staining the wall. His glance falls on the Penny Dreadful that Tara left behind, with its lurid cover of Varney the Vampire. He stares at it a moment.</scene_description>
<character>DICKENS</character>
<dialogue>Tara!</dialogue>
<scene_description>He goes to the door and bellows down the stairs.</scene_description>
<character>DICKENS</character>
<dialogue>Tara!</dialogue>
</scene>
<scene>
<stage_direction>INT. DICKENS HOUSE. DINING ROOM - MORNING</stage_direction>
<scene_description>The children are at breakfast with Kate. Mrs Fisk is there too. The mood is sombre. Dickens appears, his clothes awry, full of an edgy energy.</scene_description>
<character>DICKENS</character>
<dialogue>Whatever is the matter?</dialogue>
<character>CHARLEY</character>
<dialogue>Tara.</dialogue>
<scene_description>Charley bursts into tears.</scene_description>
<character>DICKENS</character>
<dialogue>What about her?</dialogue>
<character>CHARLEY</character>
<dialogue>She's gone.</dialogue>
<character>DICKENS</character>
<dialogue>On whose authority?</dialogue>
<scene_description>88A:</scene_description>
<character>KATE</character>
<dialogue>You asked Mrs. Fisk to take her away.</dialogue>
<character>DICKENS</character>
<parenthetical>(to Mrs Fisk)</parenthetical>
<dialogue>Then go and search for her. Rehire her at once.</dialogue>
<character>MRS. FISK</character>
<dialogue>An Irish orphan in London? It would be like trying to find a needle in a haystack.</dialogue>
<scene_description>Dickens eyes blaze. He turns on Kate.</scene_description>
<character>DICKENS</character>
<dialogue>Why didn't you stop her?</dialogue>
<character>KATE</character>
<dialogue>How was I to know you didn't mean it? You said-</dialogue>
<character>DICKENS</character>
<dialogue>I say a lot of things that are nonsense. It's what happens when I'm working.</dialogue>
<character>KATE</character>
<dialogue>Charles.</dialogue>
<character>DICKENS</character>
<dialogue>You knew, when you married me, what I was like: how ideas take possession of me.</dialogue>
<character>KATE</character>
<dialogue>I did. But you don't know what it's like to live with you, always walking on eggshells, trying to guess your mood, to know which of your commands is a whim and which is in earnest. Sometimes I think your characters matter more to you than your own flesh and blood.</dialogue>
<character>DICKENS</character>
<dialogue>I am who I am.</dialogue>
<character>KATE</character>
<dialogue>And who is that? It's as if there are two of you, Charles. One that is good and kind, and a secret self, that no-one is allowed to know or question.</dialogue>
<scene_description>Dickens stares at her a moment, then storms out of the room.</scene_description>
</scene>
<scene>
<stage_direction>73A INT. STUDY - DAY 73A</stage_direction>
<scene_description>Dickens, heads back into the study, distraught. He catches himself in the mirror. We hear sounds of squealing rats, quietly as first, but as they build up... OMIT OMIT OMIT OMIT OMIT OMIT OMIT OMIT OMIT FLASHBACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. WARREN'S BLACKING FACTORY - DAY</stage_direction>
<scene_description>Young Charles is sitting at his bench, looking frail. His clothes are torn and dirty. His eyes are hollow. A ragged cough shakes his body. Young Charles chants to himself, to keep from crying.</scene_description>
<character>YOUNG CHARLES</character>
<dialogue>Blood of iron, heart of ice. Blood of iron, heart of ice. ...</dialogue>
<character>POLL (O.S.)</character>
<dialogue>Got a present for the young gent'lmun. Seeing as it's Christmas.</dialogue>
<scene_description>Young Charles, open his eyes to see one of the older boys, POLL, approaching, hands behind his back. In a sudden movement, he flings a DEAD RAT at him. The other boys laugh. With a howl of rage, Young Charles launches himself at Poll. But Poll easily pushes him away.</scene_description>
<character>POLL</character>
<dialogue>You're no better than me, cocker, and you know it.</dialogue>
<scene_description>The other boys gather round to cheer as Poll commences pummelling Young Charles.</scene_description>
<character>BACK TO:</character>
<dialogue>83A INT STUDY - DAY 83A</dialogue>
<scene_description>Dickens picks up the manuscript, then tosses it into the wastebasket in disgust. Then abruptly storms out of the room, off to confront his demons. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. WARRENS BLACKING FACTORY</stage_direction>
<scene_description>Dickens stands outside decrepit Warren's Blacking Factory. Slowly, fearfully, he pulls a board off a door and peers inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. WARREN'S BLACKING FACTORY - NIGHT</stage_direction>
<scene_description>Dickens walks through the dusty, abandoned warehouse, remembering. In his imagination, he hears the SOUNDS of SQUEAKING RATS. Of boys LAUGHING. In the basement, he finds a low bench beneath the window on which are a few dusty POTS OF SHOE-BLACKING. Scrooge materializes behind him holding a lamp.</scene_description>
<character>SCROOGE</character>
<dialogue>'ello, Charlie.</dialogue>
<scene_description>Dickens turns to see him.</scene_description>
<character>SCROOGE</character>
<dialogue>So. This is your miserable secret. The famous author, the inimitable Charles Dickens, was once a scabby little factory boy.</dialogue>
<character>DICKENS</character>
<dialogue>Leave me be.</dialogue>
<character>SCROOGE</character>
<dialogue>A common bit of riffraff, living on scraps, a squalid wretch of no worth to anyone-</dialogue>
<scene_description>Dickens lunges at Scrooge, grabbing at thin air, he falls to the ground, his face reflected across a broken mirror lying on the floor. Scrooge looms over Dickens.</scene_description>
<character>SCROOGE</character>
<dialogue>Look! What do you see there? Hmm? A nothing. A nobody. A debtor's son. Who could ever care for you? Certainly not your father. He abandoned you.</dialogue>
<scene_description>Dickens struggles to his feet, putting distance between him and Scrooge.</scene_description>
<character>DICKENS</character>
<dialogue>He didn't -- he -- It wasn't his fault.</dialogue>
<scene_description>A rotten railing blocking his path. Dickens looks down at a sheer drop into a huge empty blacking vat below. The railing gives way, the squeal of a thousand rats disturbed by the falling woodwork.</scene_description>
<character>SCROOGE</character>
<dialogue>He failed you. Again and again. You said it yourself. Nothing but a drag and chain upon your life.</dialogue>
<scene_description>Dickens turn to look at the fall below. Dickens looks at Scrooge in horror.</scene_description>
<character>DICKENS</character>
<dialogue>Who are you?</dialogue>
<scene_description>Scrooge advances on him, holding his lamp high, forcing Dickens to back up against the sheer drop.</scene_description>
<character>SCROOGE</character>
<dialogue>You know me, Charlie. I'm hunger. I'm cold. I'm darkness.... I'm the shadow on your thoughts, the crack in your heart, the stain on your soul... And I will never leave you.</dialogue>
<scene_description>Dickens holds up his hands as if to block Scrooge's words.</scene_description>
<character>DICKENS</character>
<dialogue>Go away.</dialogue>
<character>SCROOGE</character>
<dialogue>But we're having such fun. (beat) People don't change, Charlie.</dialogue>
<character>DICKENS</character>
<dialogue>They can. They do.</dialogue>
<character>SCROOGE</character>
<dialogue>Lies. Look around. You're still that scabby boy. No use to anyone. Just like your father.</dialogue>
<character>DICKENS</character>
<parenthetical>(enraged)</parenthetical>
<dialogue>No...</dialogue>
<scene_description>Dickens take a sharp breath in. His eyes blaze.</scene_description>
<character>DICKENS</character>
<dialogue>"No one is useless in this world who lightens the burden of another."</dialogue>
<character>SCROOGE</character>
<dialogue>Eh?</dialogue>
<character>DICKENS</character>
<parenthetical>(emboldened)</parenthetical>
<dialogue>My father taught me that.</dialogue>
<scene_description>Scrooge turns to see an empty grave, with a blank HEADSTONE in the middle of the warehouse floor. Scrooge nervously edges towards it.</scene_description>
<character>SCROOGE</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Whose grave it that? There's no name on the headstone.</dialogue>
<character>DICKENS</character>
<dialogue>Why should there be? The man to whom this grave belongs never made himself useful to anyone but himself. No friends. No family. Never felt love, or joy, or took any kind of pleasure in life... It's time. Mr. Scrooge. We've come to the end--</dialogue>
<scene_description>Scrooge unnerved, turns back to Dickens only to see an earth wall where Dickens was stood. Turning again and then again he realizes he is surrounded by earth walls. Looking up he sees the blank headstone. He realizes he is now inside the empty grave. Dickens appears above, framed by the blacking factory ceiling. Suddenly the walls of the grave start closing in on Scrooge.</scene_description>
<character>SCROOGE</character>
<dialogue>Please. - I- don't want to die like this, alone, unloved, forgotten.</dialogue>
<character>94A</character>
<dialogue>DICKENS</dialogue>
<scene_description>Too late.</scene_description>
<character>SCROOGE</character>
<dialogue>Never too late! Oh, never too late. Please. I'll change.</dialogue>
<scene_description>The grave walls keep closing.</scene_description>
<character>SCROOGE</character>
<dialogue>-- I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present and the Future. I will not shut out the lessons that they teach.</dialogue>
<scene_description>He looks directly at Dickens, imploring him.</scene_description>
<character>SCROOGE</character>
<dialogue>Give me another chance. I beg you. Let me do some good before I die.</dialogue>
<scene_description>The walls stop closing, a beat, then they start opening. Scrooge is delighted, laughing, crying as the walls pull back. He smiles, genuinely transformed. Dickens smiles back.</scene_description>
<character>DICKENS</character>
<dialogue>And so we come to the last chapter.</dialogue>
<scene_description>Somewhere, a church bell CHIMES twelve o'clock. Dickens looks around, shocked to discover that the warehouse is empty and he is all alone. He lets out a sharp breath. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - NIGHT</stage_direction>
<scene_description>He enters taking a deep, steadying breath, then goes over to his desk and pulls out a new sheet of paper. He writes: "Stave Five: The End of It."</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - EARLY MORNING</stage_direction>
<scene_description>Early morning light filters in through the windows as Dickens bends over his writing, his pen SCRATCHING AWAY:</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Scrooge was better than his word. He did it all and infinitely more; and to Tiny Tim who did not die, he was a second father. And so, as Tiny Tim observed, God bless us every one!... The End.</dialogue>
<scene_description>Dickens bundles up the manuscript and rushes downstairs.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. DICKENS HOUSE - MORNING</stage_direction>
<scene_description>Dickens rushes to the front door, manuscript in hand. Kate appears in the doorway.</scene_description>
<character>KATE</character>
<dialogue>Charles? There's someone here to see you.</dialogue>
<character>DICKENS</character>
<dialogue>Not now, Kate. I have to get this to the printers before nine o'clock-</dialogue>
<scene_description>OMIT OMIT OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR - DAY</stage_direction>
<scene_description>Tara is laughing and playing with the children.</scene_description>
<character>DICKENS</character>
<dialogue>Tara? How did you --</dialogue>
<character>TARA</character>
<dialogue>It were Mr. Dickens sir. He heard you were looking for me.</dialogue>
<scene_description>Dickens looks at Kate.</scene_description>
<character>KATE</character>
<dialogue>Your father makes it his business to know things about people.</dialogue>
<scene_description>Tara hands him back his book, Aladdin.</scene_description>
<character>TARA</character>
<dialogue>Thank you for the loan.</dialogue>
<character>DICKENS</character>
<dialogue>Did you like it?</dialogue>
<scene_description>Tara brightens.</scene_description>
<character>TARA</character>
<dialogue>Oh, yes, sir. It was fizzing.</dialogue>
<scene_description>This delights Dickens.</scene_description>
<character>DICKENS</character>
<dialogue>Fizzing! Delightful. You must read Robinson Crusoe next.</dialogue>
<scene_description>Tara looks at him, in surprise.</scene_description>
<character>DICKENS</character>
<dialogue>Tara. I'm sorry for sending you away. It was a mistake. Will you stay?</dialogue>
<scene_description>Tara nods, moved. Dickens smiles.</scene_description>
<character>DICKENS</character>
<dialogue>And by the way, you were right about Tiny Tim. He doesn't die. Scrooge helps him to get better.</dialogue>
<character>TARA</character>
<dialogue>Of course. And doesn't he help Scrooge get better, too?</dialogue>
<character>DICKENS</character>
<dialogue>He does. He does, indeed.</dialogue>
<scene_description>Dickens looks at the mantelpiece, where a magic lantern is sitting.</scene_description>
<character>DICKENS</character>
<dialogue>Where did that come from?</dialogue>
<character>KATE</character>
<dialogue>A gift. For the children. From your father.</dialogue>
<character>DICKENS</character>
<dialogue>He was here?</dialogue>
<character>KATE</character>
<dialogue>You can still catch him if--</dialogue>
<scene_description>Dickens hesitates, then stuffs the manuscript into his jacket as he rushes towards the door, turns around abruptly, grabs Kate and kisses her.</scene_description>
<character>DICKENS</character>
<dialogue>Kate--</dialogue>
<character>KATE</character>
<dialogue>I know, you don't deserve me. Go.</dialogue>
<scene_description>He rushes out of the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION - DAY</stage_direction>
<scene_description>Outside the station, Dickens' cab pulls up. He jumps out and dashes past an enterprising VENDOR who is attempting to interest the passersby in his selection of "Christmas trees".</scene_description>
<character>VENDOR</character>
<dialogue>...the very latest, the same as what's in the Queen's own drawing room...</dialogue>
</scene>
<scene>
<stage_direction>INT. TRAIN STATION - DAY</stage_direction>
<scene_description>Dickens enters the station and sees his father and mother on the platform about to get on the train. He leaps over the barrier and runs towards them.</scene_description>
<character>CONDUCTOR (O.S.)</character>
<dialogue>Last call. All aboard.</dialogue>
<character>DICKENS</character>
<dialogue>Stop!</dialogue>
<scene_description>A CONSTABLE sees him and blows his whistle.</scene_description>
<character>CONSTABLE</character>
<dialogue>Stop!</dialogue>
<scene_description>Mr. and Mrs. Dickens, just getting on the train, turn to see their son running along the platform.</scene_description>
<character>DICKENS</character>
<dialogue>What do you think you are doing?</dialogue>
<character>MRS. DICKENS</character>
<dialogue>Please, dear. Don't make a scene. We're going away.</dialogue>
<character>DICKENS</character>
<dialogue>Oh, no you don't.</dialogue>
<character>CONSTABLE</character>
<dialogue>Hi! You!</dialogue>
<scene_description>Mr. Dickens sees the Constable, rushing to catch up to them.</scene_description>
<character>MR. DICKENS</character>
<dialogue>What have I done?</dialogue>
<character>DICKENS</character>
<dialogue>Done? It's what you haven't done.</dialogue>
<scene_description>Mrs. Dickens flinches.</scene_description>
<character>MR. DICKENS</character>
<dialogue>I don't understand-</dialogue>
<scene_description>Dickens laughs, a touch maniacally.</scene_description>
<character>DICKENS</character>
<dialogue>Who is going to carve the turkey?</dialogue>
<parenthetical>(to his mother)</parenthetical>
<dialogue>Who is going to make the Christmas pudding? It won't be the same without you?</dialogue>
<scene_description>Mrs. Dickens softens.</scene_description>
<character>MRS. DICKENS</character>
<dialogue>Oh, the pudding. The secret is to warm the treacle first.</dialogue>
<scene_description>Mr. Dickens turns to his wife.</scene_description>
<character>MR. DICKENS</character>
<dialogue>There you see, my dear? I told you something would turn up.</dialogue>
<character>MRS. DICKENS</character>
<parenthetical>(through tears)</parenthetical>
<dialogue>You did, you did.</dialogue>
<scene_description>Dickens laughs again, joyfully. He embraces them warmly. The Constable has finally caught up with them. His eyes widen in astonishment.</scene_description>
<character>CONSTABLE</character>
<dialogue>You're that Charles Dickens.</dialogue>
<character>DICKENS</character>
<dialogue>Guilty.</dialogue>
<character>CONSTABLE</character>
<dialogue>I'm a huge fan.</dialogue>
<character>DICKENS</character>
<dialogue>Thank you.</dialogue>
<character>CONSTABLE</character>
<dialogue>That last one. Chuzzlewit. Wept like a baby, I did.</dialogue>
<character>DICKENS</character>
<dialogue>Well, that's very- What is your name, Constable?</dialogue>
<character>CONSTABLE</character>
<dialogue>My name? Copperfield, Sir.</dialogue>
<scene_description>Dickens whips out his notebook of names.</scene_description>
<character>DICKENS</character>
<dialogue>Copperfield? Interesting.</dialogue>
<character>CONSTABLE</character>
<dialogue>Any chance of a new book soon?</dialogue>
<character>DICKENS</character>
<dialogue>Eh?</dialogue>
<scene_description>Dickens suddenly pats his coat, remembering the Christmas Carol manuscript stuffed in his jacket. He pulls it out and rushes for a cab. 97A EXT TRAIN STATION - DAY 97A Manuscript in hand , Dickens runs out of the train station, jumps in a cab.</scene_description>
<character>DICKENS</character>
<dialogue>Shoe Lane. And hurry.</dialogue>
<scene_description>97B EXT PRINTERS - DAY 97B Dickens arrives at the printer, just as the clock is striking ten. Forster is waiting for him on the street.</scene_description>
<character>FORSTER</character>
<dialogue>Charles. Where have you been? I've been waiting here for an hour.</dialogue>
<character>DICKENS</character>
<dialogue>It's all right. I have the manuscript.</dialogue>
<scene_description>He pulls it out of his coat pocket. Several pages go flying in the wind.</scene_description>
<character>DICKENS</character>
<dialogue>No!</dialogue>
<scene_description>Forster and Dickens go chasing after the pages. A couple of PASSERSBY stop to help.</scene_description>
</scene>
<scene>
<stage_direction>97C INT. PRINTERS - DAY 97C</stage_direction>
<scene_description>Forster and Dickens run through the halls, past the noisy press room, past the bookbinding room, to the Composing room. A cranky, ink-stained compositor (MR. GRUB) is just setting up when the two men arrive, out of breath, with the manuscript.</scene_description>
<character>100A</character>
<dialogue>FORSTER</dialogue>
<scene_description>Mr. Grub! We're here. The compositor starts and drops a line of type on the floor.</scene_description>
<character>DICKENS</character>
<dialogue>I have the ending! You can finish it now.</dialogue>
<character>MR GRUB</character>
<dialogue>It's too late.</dialogue>
<character>FORSTER</character>
<dialogue>Come on. You've already printed the other four chapters. It's just one more. Please.</dialogue>
<scene_description>Grub struggles with this.</scene_description>
<character>MR GRUB</character>
<dialogue>I can't guarantee anything.</dialogue>
<character>DICKENS</character>
<dialogue>Thank you. Thank you!</dialogue>
<character>MR GRUB</character>
<parenthetical>(sourly)</parenthetical>
<dialogue>I didn't say I could do it.</dialogue>
</scene>
<scene>
<stage_direction>97D INT. GARRICK CLUB - DAY 97D</stage_direction>
<scene_description>Dickens waits nervously. He straightens at the sight of Forster, making his way through the crowded room. Finally, he arrives at the table.</scene_description>
<character>DICKENS</character>
<dialogue>Well? For God's sake man, don't prolong the agony.</dialogue>
<scene_description>Forster pulls out a package, wrapped in gold paper and tied with a bright red ribbon and hands it to Dickens. Dickens opens it carefully. Inside is the book. The cover is red, the title stamped in gold: A Christmas Carol, By Charles Dickens. Dickens handles it with awe, turning the pages slowly.</scene_description>
<character>DICKENS</character>
<dialogue>It's exactly as I'd imagined it.</dialogue>
<character>THACKERAY (O.S.)</character>
<dialogue>Hello, gents. Extraordinary weather, isn't it? Looks like snow.</dialogue>
<scene_description>Dickens Thackeray. Thackeray holds up a galley copy of the Christmas Carol.</scene_description>
<character>THACKERAY</character>
<dialogue>What's this I have? Why, it's your new book. I'm going to review it for this evening's Spectator. I'm told you wrote it in only six weeks, Charles? What a prodigy you are!</dialogue>
<scene_description>Thackeray throws himself into a nearby armchair, opening the book with a flourish. Dickens and Forster exchange looks.</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS HOUSE/PARLOUR - NIGHT</stage_direction>
<scene_description>Through the parlour windows we see the first Christmas snowfall. The gleaming new chandelier takes pride of place next to a Christmas tree as a splendid party is underway. Fanny, Henry Sr. and Junior are there, watching as Mr. Dickens, dressed as a conjuror, does some magic tricks for Tara and the children. Mrs. Dickens chatters away to an uncomprehending Signor Mazzini. Mrs. Fisk has been into the punch.</scene_description>
<character>MRS. FISK</character>
<parenthetical>(humming to herself....)</parenthetical>
<dialogue>Kate appears.</dialogue>
<character>KATE</character>
<dialogue>Good heavens, what is that?</dialogue>
<character>DICKENS</character>
<dialogue>The Germans call it a Tannenbaum. Now that the royal family has one, it's going to be all the rage.</dialogue>
<scene_description>Grip, the raven, flies onto a branch and eyes Mrs. Fisk.</scene_description>
<character>GRIP</character>
<dialogue>Halloa, old girl. Halloa.</dialogue>
<scene_description>Forster arrives, a blushing Charlotte in tow.</scene_description>
<character>KATE</character>
<dialogue>Miss Wigmore!</dialogue>
<scene_description>Charlotte holds up her hand to show off her engagement ring.</scene_description>
<character>CHARLOTTE</character>
<dialogue>Papa had a change of heart.</dialogue>
<scene_description>Forster brandishes a newspaper.</scene_description>
<character>FORSTER</character>
<dialogue>Charles, I think you'll want to hear this. It's by Thackeray.</dialogue>
<character>DICKENS</character>
<dialogue>Not now please, Forster...</dialogue>
<character>FORSTER</character>
<parenthetical>(ignoring charles)</parenthetical>
<dialogue>"It was a blessed inspiration that put such a book into the head of Charles Dickens...a happy inspiration of the heart, that warms every page. It is impossible to read without a glowing bosom and burning cheeks, between love and shame of our kind...."</dialogue>
<scene_description>The group applauds. Smiling, Dickens holds up a glass of punch:</scene_description>
<character>DICKENS</character>
<dialogue>Ladies and gentlemen, boys and girls.</dialogue>
<scene_description>He smiles at Kate.</scene_description>
<character>DICKENS</character>
<dialogue>...and those on the way. A toast: I wish you all many merry Christmases, friendships, great accumulation of cheerful recollections and heaven at last for all of us.</dialogue>
<scene_description>At that moment, Grip sees an opportunity and flies up the staircase towards Dickens' study. We follow him...</scene_description>
</scene>
<scene>
<stage_direction>INT. DICKENS STUDY - NIGHT</stage_direction>
<scene_description>GRIP lands on the desk, revealing a happy Scrooge and the POSSE flicking through the newly printed book, giggling at the Leech print of the Fezziwigs.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>In the season of hope, we will shut out nothing from our firesides and everyone will be welcome.</dialogue>
<scene_description>Taking off once again GRIP flies through the open window and out over the chimney tops of London...</scene_description>
</scene>
<scene>
<stage_direction>EXT. HATCHARD'S BOOKSTORE - NIGHT</stage_direction>
<scene_description>... Grip lands on the Hatchard's sign.</scene_description>
<character>DICKENS (V.O.)</character>
<dialogue>Welcome what has been and what is, and what we hope may be, to this shelter underneath the holly. Happy, happy Christmas to one and all.</dialogue>
<scene_description>Below, a line-up of people trail down the street and around the corner, waiting to purchase their copy of The Carol. We move up and up to reveal the wide snow filled streets of a beautiful bustling Dickensian Christmas world.</scene_description>
<character>FADE OUT.</character>
<dialogue>THE END</dialogue>
</scene>
</script> | In 1843, four years after the success of Oliver Twist, Charles Dickens (Dan Stevens) is suffering financial hardship after the failure of his last three books. Rejected by his publishers, he sets out to write a new book, and publish it himself, to restore his finances. Seeing inspiration around London, most notably a rich man's funeral that is largely unattended and a mean-spirited old man who gives him the catchphrase "Humbug" and inspiration of a new character, he begins writing A Christmas Carol, due in six weeks in order to be published by Christmas, despite his friends and publishers telling him that the book will also be a failure as Christmas (at the time) was considered irrelevant and few people celebrated it. As Charles develops the story, he interacts with the characters that manifest in front of him, most notably Ebenezer Scrooge (Christopher Plummer). Dickens is helped by one of his servants, Tara (Anna Murphy), a literate Irish nursemaid to his children, with whom he discusses story elements. While writing his book, Charles is greeted by the unannounced arrival of his eccentric father, John Dickens (Jonathan Pryce), whom Charles views as immature and fiscally irresponsible. When Charles shows Tara the next draft, she is distraught that Scrooge would not save Tiny Tim. Tara believes that people can change and suggests instead that Scrooge saves Tiny Tim. However, Charles is unable to believe that a man as cruel and cold as Scrooge could change. He rejects the notion but it continues to haunt him in the form of writer's block. Charles' relationship with his family and friends increasingly strains as he struggles with Scrooge's ending and his debts mount, until he sends both his parents and Tara out of the house in a fit of rage. The next morning, he regrets dismissing Tara, but is unable to find and rehire her. His wife, Catherine Dickens, tearfully confronts Charles over his recklessness and instability, and admits that she believes that he puts his work before his own family. It is revealed that much of Charles' animosity toward his father stems from his childhood trauma of laboring in a blacking factory after his family was taken to debtors' prison, all due to John Dickens' failure to pay his debts. Returning to the long-abandoned factory, Charles is forced to confront his own insecurities through Scrooge. Charles realizes that his story should be one of redemption and races home to finish his manuscript. As he is about to leave his home to submit it to his printer, he finds that Tara has come to return a book that he had lent her, and he apologizes for his angry outburst and invites her back to the household. His wife suggests that he do the same with his father, who is about to board a train to leave London. He does so and, after reconnecting with his family, submits the manuscript in time for publishing before Christmas. The Dickens family celebrates the holiday, while a text epilogue explains the overnight success of A Christmas Carol and its lasting impact on the Christmas holiday. |
American Ultra_2015 | tt3316948 | <script>
<scene>
<character>AMERICAN ULTRA</character>
<dialogue>Bravo</dialogue>
<scene_description>Charlie Delta Echo Foxtrot Golf Hotel India Written by Juliet Kilo Lima Max Landis November Oscar Papa Quebec Romeo Sierra Tango Uniform Victor Whisky X-Ray Zulu 3/13/2013</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERROGATION ROOM</stage_direction>
<scene_description>The room is spotlessly clean and empty, save for a steel table and two chairs. In one of them is a slumped figure. We see his bloody, slightly burnt finger tips drumming away on the table, but other than that, he's motionless. The door opens, and a young CIA ANALYST, in a suit and looking very official, comes in carrying a file, and sits down across from the figure.</scene_description>
<character>ANALYST</character>
<dialogue>Normally we would do this digitally, but as you know, I am not permitted to bring in any kind of blunt or pointed object.</dialogue>
<parenthetical>(glances through the file)</parenthetical>
<dialogue>I'm sure you've noticed the seats are bolted to the floor...</dialogue>
<scene_description>The figure doesn't move or speak.</scene_description>
<character>ANALYST</character>
<dialogue>So we're going to do this the old- fashioned way.</dialogue>
<scene_description>He opens the file, and spills out a number of very high definition photographs, and begins sorting and separating them, sliding them around on the smooth metal surface. He stares down at the ordered photos. Among others, we see: A bloody iPhone. A bloody ring of car keys. A completely demolished kitchen, swiss cheesed with bulletholes. A body hanging from a resistance training machine. A bloody spoon. A teddy bear with an exploded head and a shotgun shoved up its ass. A burning Wal-Mart. His face is blank, staring at them, and then he allows a small expression of "hm, what the fuck" to peek out.</scene_description>
<character>ANALYST</character>
<dialogue>Okay. Where do you want to begin?</dialogue>
<character>STARTLING SLAM</character>
<dialogue>IN ON</dialogue>
<scene_description>A 737 taking off! WHOA! SHIT! LOUD!</scene_description>
</scene>
<scene>
<stage_direction>INT. PORTLAND INTERNATIONAL AIRPORT - DEPARTURE GATE</stage_direction>
<scene_description>Sitting alone, silently crying, IS PHOEBE Larson, 28, petite, strange and beautiful in her knit monkey cap and tomboyish, defeminizing stoner-garb, looking very small in her big puffy thermal winter coat.</scene_description>
<character>GATE ATTENDANT (INTERCOM)</character>
<dialogue>This is the final boarding call for Flight 1204, departing for Oahu, Hawaii.</dialogue>
<scene_description>She sits there in silence, turning her unused boarding pass over and over again in her hands. She wipes a tear.</scene_description>
<character>PHOEBE</character>
<dialogue>...Goddamnit, Mike.</dialogue>
</scene>
<scene>
<stage_direction>INT. PORTLAND INTERNATIONAL AIRPORT - MENSROOM</stage_direction>
<scene_description>Sitting alone in a stall, panting in quick, panicked breaths, leaned over a toilet, is MIKE Howell, 29, unkempt and scruffy all over, looking like a lot of a mess. He comes across as kind of a smudge of a person; a charcoal sketch of the American slacker. He grunts, and then bangs the wall of the stall in frustration.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LIMAN, OREGON - COUNTRY ROAD</stage_direction>
<scene_description>Phoebe is driving her 1998 Civic up the snowy country road, Mike sitting shotgun, his head pressed against the window. She looks pale and heartbroken. Mike dares a look at her.</scene_description>
<character>MIKE</character>
<dialogue>I really am sorry, Pheebs.</dialogue>
<character>PHOEBE</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>S'okay.</dialogue>
<scene_description>Mike looks back out the window, but then summons up courage.</scene_description>
<character>MIKE</character>
<dialogue>It's not okay-</dialogue>
<character>PHOEBE</character>
<dialogue>S'fine.</dialogue>
<character>MIKE</character>
<dialogue>No it's not, because I- this is something, we wanted, right, and I ruined it, and now-</dialogue>
<character>PHOEBE</character>
<dialogue>-didn't ruin it-</dialogue>
<character>MIKE</character>
<dialogue>I did, it's my fault, and you can, you should be, y'know- mad at me, or punish me-</dialogue>
<character>PHOEBE</character>
<dialogue>-not going to punish you-</dialogue>
<character>MIKE</character>
<dialogue>Well- ugh, like why not?</dialogue>
<character>PHOEBE</character>
<dialogue>Because you can't help it.</dialogue>
<character>MIKE</character>
<dialogue>Yeah- I- but when you say it like that it just makes me sound retarded, Phoebe, I want-</dialogue>
<scene_description>YOU WANT ME TO SHOUT AT YOU MIKE?</scene_description>
<character>MIKE</character>
<dialogue>Ah- no fuck no-</dialogue>
<scene_description>THEN MAYBE YOU SHOULD LEAVE ME ALONE, MAYBE I'M JUST PROCESSING THIS OKAY? MAYBE I'M- There's the whoop of a police siren, and Phoebe sees police headlights in her rearview. OH COME ONNNNNNN (to Mike) Are you holding?</scene_description>
<character>MIKE</character>
<dialogue>No, hell no, we were going on a plane-</dialogue>
<character>PHOEBE</character>
<dialogue>Are you holding?</dialogue>
<character>MIKE</character>
<dialogue>I- maybe in the trunk, yeah-</dialogue>
<character>PHOEBE</character>
<dialogue>Fuck. Mike. Fuck.</dialogue>
<scene_description>Phoebe pulls over.</scene_description>
<character>MIKE</character>
<dialogue>I'm sorry.</dialogue>
<character>PHOEBE</character>
<dialogue>Stop apologizing.</dialogue>
<scene_description>Behind them, Sheriff Bernie WATTS, 44, who looks exactly as you'd expect a 44 year old man named Bernie Watts to look, gets out of his car, and slowly sidles up to the Honda.</scene_description>
<character>WATTS</character>
<dialogue>Hi Phoebe.</dialogue>
<parenthetical>(beat, leans in)</parenthetical>
<dialogue>Hi Mike.</dialogue>
<scene_description>They're both silent. Mike waves awkwardly.</scene_description>
<character>WATTS</character>
<dialogue>Heard you two were going on vacation? Ha-wai-ee.</dialogue>
<scene_description>Mike shifts self-consciously.</scene_description>
<character>WATTS</character>
<dialogue>You have another one of your little episodes, Mike?</dialogue>
<parenthetical>(laughs)</parenthetical>
<dialogue>You know Phoebe I once had to drive your boy home cause he was having one of them ep-i-sodes out on the freeway tryna leave town. Isn't that right, Mikey?</dialogue>
<character>PHOEBE</character>
<dialogue>Is there a reason you pulled us over?</dialogue>
<character>WATTS</character>
<dialogue>Easy on the tone there, Miss Larson.</dialogue>
<scene_description>Phoebe looks down, silent.</scene_description>
<character>PHOEBE</character>
<dialogue>Sorry.</dialogue>
<character>WATTS</character>
<dialogue>I'd hate to search this car. Getting to the point that your boyfriend here should start leaving a toothbrush over at the overnight down at the station.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Ain't that right Mike?</dialogue>
<character>MIKE</character>
<dialogue>...That's right, Sheriff Watts.</dialogue>
<scene_description>Watts stands up and stretches, looking around the empty, snowy road, then sighs.</scene_description>
<character>WATTS</character>
<dialogue>Welcome back to town, hope you enjoyed your vacation, all three hours of it, HA! Just kiddin'. Just checkin on you. You know I like to keep you safe.</dialogue>
<character>SLAM TO:</character>
<dialogue>Moments later. Watts is gone; they're driving into town. Phoebe is clearly still furious, silent.</dialogue>
<character>MIKE</character>
<parenthetical>(imitating Watts)</parenthetical>
<dialogue>Oh I'm just checkin on you, trying to fuck your life up just a bit, hope you don't mind while I fuck up your whole deal-</dialogue>
<character>PHOEBE</character>
<dialogue>I'm not gonna do this.</dialogue>
<character>MIKE</character>
<dialogue>...What?</dialogue>
<character>PHOEBE</character>
<dialogue>I'm not gonna make fun of him with you, I'm mad at you. I'm not on your side right now.</dialogue>
<scene_description>Mike's quiet as they pull into the driveway of Phoebe's little one-bedroom.</scene_description>
<character>MIKE</character>
<dialogue>But if you're not on my side...then my side is just me.</dialogue>
<character>PHOEBE</character>
<dialogue>You wanted to be punished. So there it is.</dialogue>
<scene_description>Phoebe gets out, and slams her car door. Mike gingerly closes his, and follows her into the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE - KITCHEN - LATER</stage_direction>
<scene_description>Night has fallen on the town of Liman, Oregon. Phoebe's kitchen is a complete fucking mess, clearly due to Mike; there are half empty beer bottles and cans everywhere, as well as wrappers and boxes from quickie-meals. Phoebe is furiously washing dishes, fully focused on her task. Mike sticks a quickie-meal in the microwave (with a fork), presses ON, and then goes and sits down on the ruddy couch in the living room.</scene_description>
<character>MIKE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Home sweet home.</dialogue>
<scene_description>He takes out his bong, lights it, and takes a hit. He looks at Phoebe in the kitchen. She looks pissed. He reaches into his pocket, and pulls out a small ringbox. He opens it, looking at the classy, single stone engagement ring inside. He takes another hit on his bong, and then turns to Phoebe.</scene_description>
<character>MIKE</character>
<dialogue>Phoebe?</dialogue>
<character>PHOEBE</character>
<parenthetical>(not looking up)</parenthetical>
<dialogue>What.</dialogue>
<scene_description>There's a flash from inside the microwave. Mike notices, Phoebe doesn't. He clumsily hops over the couch, going to the microwave.</scene_description>
<character>MIKE</character>
<dialogue>Hey, you think it's true what they say about microwaves?</dialogue>
<character>PHOEBE</character>
<parenthetical>(not looking up)</parenthetical>
<dialogue>What do they say about microwaves?</dialogue>
<scene_description>There's another flash from inside the microwave.</scene_description>
<character>MIKE</character>
<dialogue>You know that if you put metal in, it- ...cancer or something?</dialogue>
<character>PHOEBE</character>
<dialogue>Why, did you- shit Mike! Mike-</dialogue>
<scene_description>Phoebe rushes across the kitchen and yanks opens the microwave; the fork is sparking, and billows black smoke.</scene_description>
<character>MIKE</character>
<dialogue>Shit I'm sorry I'm sorry-</dialogue>
<character>PHOEBE</character>
<dialogue>What the hell are you doing, dude!</dialogue>
<scene_description>Phoebe picks up a rotting beer and throws it into the microwave to put out the fire. Mike stands helplessly by, muttering apologies.</scene_description>
<character>PHOEBE</character>
<dialogue>It's broken, man, you broke my microwave. You broke my-</dialogue>
<character>MIKE</character>
<dialogue>I'm sorry- I didn't- I-</dialogue>
<scene_description>Phoebe groans, throwing up her hands. STOP FUCKING UP! FOR TEN SECONDS, JUST STOP FUCKING UP, OKAY?</scene_description>
<character>MIKE</character>
<dialogue>I'm sorry-</dialogue>
<scene_description>AND STOP APOLOGIZING!</scene_description>
<character>LATER</character>
<dialogue>Phoebe is sitting on the couch, now in her sweatpants, watching TV; some Discovery channel show. She picks up the bong, and takes the biggest rip off of it you've ever seen.</dialogue>
<dialogue>She notices BOO-BOO BEAR seated on a barcolounger opposite her. It's a stuffed carnival bear; ugly and stupid looking.</dialogue>
<dialogue>Sharp eyes might recognize that we've seen this bear before. With its head blown off and a shotgun shoved up its ass.</dialogue>
<dialogue>Mike begins rubbing Phoebe's shoulders from behind the couch.</dialogue>
<character>PHOEBE</character>
<dialogue>That feels nice.</dialogue>
<character>MIKE</character>
<dialogue>Yeah?</dialogue>
<scene_description>Mike climbs over the couch to sit next to her.</scene_description>
<character>PHOEBE</character>
<dialogue>No you don't get to cuddle me now I'm mad at you.</dialogue>
<character>MIKE</character>
<dialogue>Oh no?</dialogue>
<scene_description>Mike leans in, kissing her neck.</scene_description>
<character>MIKE</character>
<dialogue>I'm seducing you.</dialogue>
<character>PHOEBE</character>
<dialogue>No I'm mad at you.</dialogue>
<scene_description>Mike pushes the kissing up her neck, and they start to make- out. Phoebe begins feebly bashing at Mikes head with her fists as they continue kissing.</scene_description>
<character>PHOEBE</character>
<dialogue>See, I'm hitting you because I'm mad at you.</dialogue>
<scene_description>Mike begins hitting her too.</scene_description>
<character>MIKE</character>
<dialogue>I'm hitting you now too-</dialogue>
<character>PHOEBE</character>
<dialogue>We're mad at each other- we're hitting each other</dialogue>
<scene_description>Mike rolls over on top of her.</scene_description>
<character>MIKE</character>
<dialogue>How are we ever going to work through all of this aggression?</dialogue>
<scene_description>The making out gets much heavier. Mike lifts her pajama top and starts kissing down the length of her body, til his head is at her crotch.</scene_description>
<character>PHOEBE</character>
<dialogue>This isn't going to make me less mad.</dialogue>
<character>MIKE</character>
<dialogue>Yeah, well. Give it a minute.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - LASSETER'S OFFICE</stage_direction>
<scene_description>Diane LASSETER, 47, sits alone in her office. She looks like someone who's been alone in their office for most of their life, although there's something striking about her presence that says "the office I'm alone in isn't normally this small, buster." She's reviewing different files on her computer, as well as a few hard documents, large portions of them blacked-out. She looks at one page, on which the only not blacked out words are "car," "melon" and "Harry Potter."</scene_description>
<character>LASSETER</character>
<parenthetical>(muttered)</parenthetical>
<dialogue>The fuck am I supposed to read this? This is retarded.</dialogue>
<scene_description>She sighs in frustration, and someone knocks on her doorframe. It's Petey DOUGLAS, 34, latino, energetic and babyfaced, looking sharp in his CIA suit.</scene_description>
<character>DOUGLAS</character>
<dialogue>You still here, Lasseter?</dialogue>
<character>LASSETER</character>
<dialogue>Til the break of dawn, that's how we're running it. You aren't my assistant anymore, what're you doing down here?</dialogue>
<character>DOUGLAS</character>
<dialogue>I just miss you. You know, you're not on the big desk now, you can let some things slide-</dialogue>
<character>LASSETER</character>
<dialogue>Thanks for reminding me about the size of my desk, Petey, you can go.</dialogue>
<character>DOUGLAS</character>
<dialogue>I'm sorry, I just-</dialogue>
<character>LASSETER</character>
<dialogue>Enough, Agent Douglas.</dialogue>
<scene_description>Douglas stands there awkwardly.</scene_description>
<character>DOUGLAS</character>
<dialogue>I just- your son called, and he said that he was staying at his girlfriend's house, so- did you want me to feed Mister Timothy, tonight?</dialogue>
<character>LASSETER</character>
<dialogue>I'm sorry, his girlfriend's house? And you said that was okay?</dialogue>
<character>DOUGLAS</character>
<dialogue>I didn't know, if you know, you said it was okay-</dialogue>
<character>LASSETER</character>
<dialogue>Jesus christ. He's- shit. Okay, fuck, Mister Timothy. God, yes, feed him, thank you Petey.</dialogue>
<character>DOUGLAS</character>
<dialogue>Okay, I got it Miss Lasseter.</dialogue>
<scene_description>Douglas heads out. Lasseter sighs, looking at her file, and then takes out her cell phone, the background of which is an adorable picture of her cat, Mister Timothy. She dials "Scott." Her son, SCOTT Lasseter, 15, picks up IN HIS GIRLFRIEND'S ROOM, pushing his AMOROUS GIRLFRIEND away from him; they're clearly mid hook up. We CUT BACK AND FORTH between them.</scene_description>
<character>SCOTT</character>
<dialogue>Hey mom-</dialogue>
<character>LASSETER</character>
<dialogue>Sharp move there passing the bill off on my Douglas hot shot-</dialogue>
<character>SCOTT</character>
<dialogue>Mom it wasn't a "move" I thought you'd be okay with it-</dialogue>
<character>LASSETER</character>
<dialogue>I'm sick of people making plays behind my back-</dialogue>
<character>SCOTT</character>
<dialogue>I'm upfront I swear I thought you'd be cool-</dialogue>
<character>LASSETER</character>
<dialogue>Well I'm not "cool," Scott-</dialogue>
<character>SCOTT</character>
<dialogue>Obviously not.</dialogue>
<character>LASSETER</character>
<dialogue>Oh yeah very clever-</dialogue>
<character>SCOTT</character>
<parenthetical>(winking at his girlfriend)</parenthetical>
<dialogue>I thought so.</dialogue>
<character>LASSETER</character>
<dialogue>We're gonna see who's clever tomorrow morning bucko, I-</dialogue>
<scene_description>There's a buzz from inside Lasseter's desk. She stops dead.</scene_description>
<character>SCOTT</character>
<dialogue>...Mom? Are you okay?</dialogue>
<scene_description>The buzz comes again. Lasseter gasps.</scene_description>
<character>LASSETER</character>
<dialogue>I- Scott, I'll call you back. I love you.</dialogue>
<character>SCOTT</character>
<dialogue>Mom what's going on-</dialogue>
<scene_description>Lasseter hangs up. She unlocks her desk, and takes out a cell that's been plugged into her hard-drive from inside. She presses a button on her desk; her door shuts, then locks. The mood has completely changed. Lasseter is clearly on the edge of her seat, her mind racing, as she raises the phone to her ear.</scene_description>
<character>LASSETER</character>
<dialogue>Lasseter.</dialogue>
<character>DISTORTED VOICE (ON PHONE)</character>
<dialogue>Toughguy is active. Initiative base is Wiseman. Thought you should know.</dialogue>
<character>LASSETER</character>
<dialogue>What?</dialogue>
<scene_description>There's silence on the other end. Lasseter, shifts in her seat, frantically trying to find something to do, but is clearly already out of ideas.</scene_description>
<character>LASSETER</character>
<dialogue>But that's American soil, that's treason, who is it, Yates, he can't-</dialogue>
<character>DISTORTED VOICE (O.S.)</character>
<dialogue>Toughguy is active. Initiative base is Wiseman. It's already happening. That is all.</dialogue>
<scene_description>The Voice hangs up. Lasseter sits alone in her office, staring straight ahead. Everyone else has gone home, and she's there, alone, her heart pounding in her chest.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE</stage_direction>
<scene_description>Mike snorts awake on the couch as Phoebe's car starts in the driveway. She's headed to work.</scene_description>
<character>WE MOVE INTO A</character>
<dialogue>MONTAGE</dialogue>
<scene_description>Set to INXS's "Disappear" as we watch Mike's morning routine. He showers, eats eggo waffles with his hands while smoking weed, gets dressed, hops in his car, a yellow 1977 Chevy Chevette, and heads to</scene_description>
<character>STOP AND SHOP</character>
<dialogue>The grocery market where he works. We watch Mike working the register, stocking items, doing little dances as the day goes by, generally being a mediocre to shitty employee.</dialogue>
<dialogue>Once the store is closed, he walks through, "cleaning up," which Mike simply translates to "walking around, eating fresh produce," until</dialogue>
<character>IT'S NIGHT</character>
<dialogue>And he's gathering the carts in the dark parking lot. He looks around to make sure no one's watching, and then fires up a blunt from his pocket...But we</dialogue>
<character>ZOOM OUT AND UP</character>
<dialogue>Into a computerized grid, covered in data read-outs and information, Mike standing at the center of it-</dialogue>
<character>UP HIGHER</character>
<dialogue>To cloud level, more data scrolling in every direction; three BLACK TROOP TRANSPORT HELICOPTERS BLOW PAST, descending towards the town-</dialogue>
<character>INTO SPACE</character>
<dialogue>Where a spy satellite passes, the world neatly separated into a million different coordinates on a massive grid, data read- outs blurring the screen until-</dialogue>
<character>SLAM BACK TO</character>
<dialogue>Mike, coughing up some smoke from his joint.</dialogue>
<character>MIKE</character>
<dialogue>Ack- ckkk- ugh that's nasty, that was some nasty shit.</dialogue>
<parenthetical>(tosses away the joint)</parenthetical>
<dialogue>Yipes.</dialogue>
<scene_description>Mike turns, and starts pushing the carts inside.</scene_description>
<character>SLAM TO TITLE:</character>
</scene>
<scene>
<stage_direction>INT. HOUSE PARTY - NIGHT</stage_direction>
<scene_description>It's a youngish, hipstery house party; it's as hipstery as Liman, Oregon gets, anyway. People are drinking, smoking, playing beerpong. Phoebe is talking to her friends, GRETCHEN and HOOPER.</scene_description>
<character>PHOEBE</character>
<dialogue>No, we were gonna go, but Mike- you know, had one of his things-</dialogue>
<character>GRETCHEN</character>
<dialogue>He should get help, that's not normal-</dialogue>
<character>HOOPER</character>
<dialogue>Wait, I'm behind, what things-</dialogue>
<character>PHOEBE</character>
<dialogue>It's nothing, he-</dialogue>
<character>GRETCHEN</character>
<dialogue>Ohmafugahd, how do you not know about this? Mike can't leave town.</dialogue>
<character>PHOEBE</character>
<dialogue>Gretchen-</dialogue>
<character>GRETCHEN</character>
<dialogue>It's like a super serious thing, he can't leave it ever, he has like, nervous breakdowns and throws up-</dialogue>
<character>PHOEBE</character>
<dialogue>It's not- he's not-</dialogue>
<character>GRETCHEN</character>
<dialogue>That's why he never goes to any concerts or anything, because he can't leave Liman, like, ever, didn't you wonder about that?</dialogue>
<character>HOOPER</character>
<dialogue>I just sorta thought that he was- y'know, lazy, or whatever-</dialogue>
<character>GRETCHEN</character>
<dialogue>No, it's like a serious, super serious mental disorder.</dialogue>
<scene_description>Gretchen and Hooper keep talking, but Phoebe looks over to where Mike is standing uncomfortably in the corner. Mike notices Phoebe looking, and tries to fake enjoying himself and dancing. Phoebe laughs, and Mike starts doing impressions of various people at the party, making Phoebe laugh harder. One of the guys notices Mike making fun of him, and turns around and shoves him into a shelf full of stuff, which breaks and comes apart.</scene_description>
<character>PHOEBE</character>
<dialogue>Oh shit Mike!</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIMAN, OREGON - DARK ROAD - NIGHT</stage_direction>
<scene_description>Mike and Phoebe are sitting in Phoebe's car, parked on the side of the road, smoking weed. Up on a hillside far ahead of them, there's been a bad car accident. A Porsche has gone off the road and hit a tree, sending the driver through the windshield. Emergency vehicles are tending to the scene, lighting the area in flashing reds and yellows.</scene_description>
<character>MIKE</character>
<dialogue>So then Rocket Monkey and Chip the Brick are both like, "what the heck just happened," right? And it turns out Spicy Tomato was in charge the whole time, and they've been duped, so in the next book they have to go after him.</dialogue>
<character>PHOEBE</character>
<dialogue>Are you ever gonna write this stuff down?</dialogue>
<character>MIKE</character>
<dialogue>I- yeah, man, soon, I just gotta finish the drawings. I just- I just like talking about it, and thinking about it, Rocket Monkey and his adventures-</dialogue>
<character>PHOEBE</character>
<dialogue>No I like when you talk about it too, but I mean...There's gonna be a point where you could maybe make money off this or whatever. Tell your stories to other people than me...and all that.</dialogue>
<scene_description>Mike nods, thinking, listless, looking out at the accident.</scene_description>
<character>MIKE</character>
<dialogue>You know what skeebs me out?</dialogue>
<character>PHOEBE</character>
<parenthetical>(coughing)</parenthetical>
<dialogue>What?</dialogue>
<character>MIKE</character>
<dialogue>Like, that car has moved so much. It was built in a factory, okay, on a production line, then it got shipped-</dialogue>
<character>PHOEBE</character>
<dialogue>Right and then the guy was driving it-</dialogue>
<character>MIKE</character>
<dialogue>Right, but all this time, for like years, for decades, this one tree has been sitting in this one place doing nothing. And then, tonight, it stops this car.</dialogue>
<scene_description>Phoebe's into it.</scene_description>
<character>PHOEBE</character>
<dialogue>Right, okay, yeah...</dialogue>
<character>MIKE</character>
<dialogue>So it's like this car was always going, right, but this tree was always...stopping? Like it's just been stopping there for years and then tonight it meets something that's going and it's like NO. STOPPING. And then suddenly this tree that's never done anything is fuckin' destroying this beautiful, fast thing-</dialogue>
<character>PHOEBE</character>
<dialogue>Are you crying?</dialogue>
<scene_description>Mike quickly tries to cover this up, and Phoebe reaches across to him, giving him an awkward front-seat hug.</scene_description>
<character>PHOEBE</character>
<dialogue>No, no, why are you crying-</dialogue>
<character>MIKE</character>
<dialogue>Because, like...Am I that tree?</dialogue>
<character>PHOEBE</character>
<dialogue>What, no, no-</dialogue>
<character>MIKE</character>
<dialogue>Am I that tree and you're that car and I'm just stopping you and the guy goes through the windshield-</dialogue>
<character>PHOEBE</character>
<dialogue>No, Mike, stop-</dialogue>
<scene_description>Mike's crying way harder now, he looks fresh retarded.</scene_description>
<character>MIKE</character>
<dialogue>My roots, you're tangled in my roots-</dialogue>
<character>PHOEBE</character>
<dialogue>No Mike you're not a tree!</dialogue>
<character>MIKE</character>
<parenthetical>(wailing)</parenthetical>
<dialogue>I am a tree! I'm a bad tree! AHHHH! WAHHHHHH!</dialogue>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE - BEDROOM</stage_direction>
<scene_description>Mike and Phoebe lay in bed, Mike holding her. They're both almost asleep.</scene_description>
<character>PHOEBE</character>
<dialogue>I love you. You feel good. You make me feel good.</dialogue>
<character>MIKE</character>
<dialogue>Phoebe I'm so sorry Hawaii-</dialogue>
<character>PHOEBE</character>
<dialogue>Hey, it's okay. It really is, it's okay. I know you're going to beat this, I know you're going to get through it. You are the kindest, sweetest person I've ever met. I believe in you, I have faith in you. I love you. I can wait.</dialogue>
<scene_description>He holds her tight, and then blows a raspberry into the back of her neck, and Phoebe laughs.</scene_description>
<character>PHOEBE</character>
<dialogue>You're a fuckin' mess, man.</dialogue>
<character>MIKE</character>
<dialogue>I know.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - MEETING ROOM - NIGHT</stage_direction>
<scene_description>A meeting room full of people is clearing out; among them is Adrian YATES, 29, a young hot-shot if you've ever seen one. He's straight top-gun, squared-away, half poli-sci geek and half fratboy douche, with a haircut that makes you want to shoot him three times in the chest. Lasseter intercepts him, and they talk as she pesters him up the hallway.</scene_description>
<character>LASSETER</character>
<dialogue>Yates!</dialogue>
<character>YATES</character>
<dialogue>Oh for christsakes- yes, Diane?</dialogue>
<character>LASSETER</character>
<dialogue>I got word Toughguy was moving on the old Wiseman assets?</dialogue>
<character>YATES</character>
<dialogue>Where'd you hear that?</dialogue>
<character>LASSETER</character>
<dialogue>Is it true?</dialogue>
<character>YATES</character>
<dialogue>It doesn't concern you-</dialogue>
<character>LASSETER</character>
<dialogue>Wiseman is my baby-</dialogue>
<character>YATES</character>
<dialogue>Yes, and it was stillborn, so what're you crying about?</dialogue>
<character>LASSETER</character>
<dialogue>You're coming after my stillborn baby-</dialogue>
<character>YATES</character>
<dialogue>Can we take this into my office?</dialogue>
<scene_description>They go into</scene_description>
<character>HIS OFFICE</character>
<dialogue>Much nicer than Lasseter's.</dialogue>
<character>YATES</character>
<dialogue>Wiseman is dead as a doornail, you don't even have ops on any of the assets-</dialogue>
<character>LASSETER</character>
<dialogue>That's not true, Selburg-</dialogue>
<character>YATES</character>
<dialogue>Fuck Selburg, Selburg's gone native. Why are you so upset, you're the one who closed the program down-</dialogue>
<scene_description>LASSETER Because it was a flawed model, I didn't know your yuppie ass was going to ride in on a vulture and pick the bones of my operation- YATES I was made supervisor fair and square- LASSETER TEMPORARY supervisor, because you kissed the right asses- YATES No because I'm the best guy for the job- LASSETER According to who, Daffy Duck!? YATES According to Krueger, and I'm clearly doin somethin' right cause it's been two years-</scene_description>
<character>LASSETER</character>
<dialogue>And it was supposed to be two months! I- look I don't care how long you've been here, you don't have the experience nor the intelligence to run an operation like this-</dialogue>
<scene_description>YATES (conversation-ender) We're clearing the portfolio. LASSETER Clear the- but they're human beings- YATES They're assets- LASSETER -they're American citizens- YATES -They're government property- LASSETER -you can't argue semantics-</scene_description>
<character>YATES</character>
<dialogue>I can and will, you want to go in on semantics we can talk all day and all of Wiseman will still be dead by midnight tomorrow.</dialogue>
<character>LASSETER</character>
<dialogue>I- but-</dialogue>
<parenthetical>(frantic)</parenthetical>
<dialogue>What about Selburg?</dialogue>
<character>YATES</character>
<dialogue>Selburg's part of the portfolio, vis-a-vis-</dialogue>
<character>LASSETER</character>
<dialogue>You are not clearing an embedded asset in the field, there is no way you could get a go-ahead on that, that's insanity, let me call it in-</dialogue>
<character>YATES</character>
<dialogue>Call it in TO WHO, exactly? Krueger? He'd laugh in your face. How many ops on homesoil actually ever get fully cleared? It doesn't stop them from happening, the wheels are in motion-</dialogue>
<character>LASSETER</character>
<dialogue>Are you fucking insane?</dialogue>
<character>YATES</character>
<dialogue>Language please.</dialogue>
<character>LASSETER</character>
<dialogue>Listen to me, King Idiot, you are riding a very thin line of legality-</dialogue>
<character>YATES</character>
<dialogue>No you listen to me, you snipey, overbearing cunt.</dialogue>
<scene_description>Lasseter falters, shocked.</scene_description>
<character>YATES</character>
<dialogue>We're nine down as of right now.</dialogue>
<character>LASSETER</character>
<dialogue>I- nine!?</dialogue>
<character>YATES</character>
<dialogue>Yes, and you can't do shit. What're you going to do, go over me? You even having this information is a massive security breach. You'll be detained and tortured to reveal your source, indited as a traitor and locked away forever, even if you found out I didn't have proper sanction or protocol you'd still be in a bureaucratic catch 22 where you're the bad guy. You're my fucking dog here, I could walk you, behave. My program works, yours doesn't, my security clearance is go, yours is stop, my direction is up, yours is down and falling, you're gonna come in my fuckin' office and shout at me? Are you fucking kidding? You only stand to screw yourself over royally. So essentially you're fucked, you were better off not knowing, and there is absolutely no move you can make without putting yourself deep, deep, deep in the red. Got that?</dialogue>
<scene_description>Lasseter stares at him, quaking with anger.</scene_description>
<character>YATES</character>
<dialogue>Get the fuck. Out of my. Off-eez.</dialogue>
<scene_description>Lasseter stands up, and marches straight out of the office.</scene_description>
<character>YATES</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Boom.</dialogue>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE - BEDROOM - MORNING</stage_direction>
<scene_description>Phoebe's car starts in the driveway, waking Mike up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. 7-11 - OUT BACK - MIDMORNING</stage_direction>
<scene_description>Mike's car is parked, and he's waiting. After a moment, a lifted-truck, candy-painted green with pink stripes like a watermelon from hell, rolls up blasting terrible rap. Mike gets out of the car, to greet ROSE, early 30s, a frightening dealer-type with tattoos covering his neck and face. They slap hands.</scene_description>
<character>MIKE</character>
<dialogue>Rose, hey man!</dialogue>
<character>ROSE</character>
<dialogue>Mike, sup nigga. Got that for me?</dialogue>
<character>MIKE</character>
<dialogue>Yeah, here.</dialogue>
<scene_description>Mike fumbles in his coat, drawing out a folio.</scene_description>
<character>MIKE</character>
<dialogue>I really appreciate you doing this for me, man.</dialogue>
<scene_description>Rose opens the folio, and looks at the picture inside; it's an illustration of Rose, smoking a huge joint, riding a dragon that has the lower body of a motorcycle, killing a bunch of police officers as he flies through space.</scene_description>
<character>ROSE</character>
<dialogue>Aw man. Aw shit man. This is siiiiiiiick!</dialogue>
<scene_description>Rose slaps hands with Mike, who smiles, but seems to be waiting for something-</scene_description>
<character>ROSE</character>
<dialogue>Aw here man it's cool I got you, I got you nigga-nogga.</dialogue>
<scene_description>Rose goes to the back of his truck, pulling down a big box.</scene_description>
<character>ROSE</character>
<dialogue>This is more illegal than the shit you usual get, feel me? Possession of this shit is serious shit up in a bitch, yeah? Bitch shit to be shit bitching all over this shit, fuck, you know what I mean nigga?</dialogue>
<scene_description>Mike has opened the box, and is looking down at a two dozen high-explosive illegal mortar fireworks.</scene_description>
<character>MIKE</character>
<dialogue>Perfect. Rose, they're perfect.</dialogue>
<character>ROSE</character>
<dialogue>You gonna make it real romantic for that pussy.</dialogue>
<character>ROSE</character>
<dialogue>That's some serious proposal engagement wedding type life changer shit.</dialogue>
<character>MIKE</character>
<dialogue>That's the plan.</dialogue>
<character>ROSE</character>
<dialogue>You one sensitive nigga, bitch. That's gonna be cute.</dialogue>
<scene_description>Mike laughs and hugs Rose.</scene_description>
</scene>
<scene>
<stage_direction>INT. STOP AND SHOP - NIGHT - CONTINUOUS</stage_direction>
<scene_description>Mike is ringing out the last couple customers. He's quietly sketching a picture of his two characters, ROCKET MONKEY and CHIP THE BRICK, dancing around an engagement ring, as the next customer comes up. He smiles down at his two creations, and then looks up to see-</scene_description>
<character>LASSETER</character>
<dialogue>Chariot progressive. Listen.</dialogue>
<scene_description>Finally, our threads intersect. Mike's head jerks oddly; he stares at her across the counter, completely blank. Lasseter, looking harried and dishevelled, stands across the counter from him.</scene_description>
<character>LASSETER</character>
<dialogue>Mandelbrot set is in motion. Echo Choir has been breached, we are fielding the ball.</dialogue>
<scene_description>Mike blinks, confused.</scene_description>
<character>MIKE</character>
<dialogue>Is that- what is that, is that a lyric from something-</dialogue>
<character>LASSETER</character>
<dialogue>Fuck. No. Chariot progressive, listen. Mandelbrot set is in motion-</dialogue>
<character>MIKE</character>
<dialogue>Yeah man were you gonna get anything, or-</dialogue>
<character>LASSETER</character>
<dialogue>Mike you're not listening to me-</dialogue>
<character>MIKE</character>
<dialogue>Cause you're buying a carton of milk and a cup'a'noodle, what's that supposed to be about-</dialogue>
<character>LASSETER</character>
<dialogue>Chariot progressive-</dialogue>
<character>MIKE</character>
<dialogue>Lady, enough with the...stuff, okay? I'm supposed to be closing up, I can't...What's wrong?</dialogue>
<scene_description>Lasseter is staring at him helplessly, tears streaming down her face.</scene_description>
<character>MIKE</character>
<dialogue>You're crying.</dialogue>
<character>LASSETER</character>
<parenthetical>(breaking down)</parenthetical>
<dialogue>I'm sorry Mike. I'm so sorry, I tried. I tried.</dialogue>
<scene_description>Lasseter leaves, Mike looking after her, bewildered.</scene_description>
<character>MIKE</character>
<parenthetical>(noticing)</parenthetical>
<dialogue>Don't you want your soup?</dialogue>
<character>MOMENTS LATER</character>
<dialogue>Mike is cleaning up, walking through the store, eating produce. He seems distracted and fidgety; he's playing with the engagement ring again, while he eats the cup'o'noodle.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHOP AND STOP - PARKING LOT - MOMENTS LATER</stage_direction>
<scene_description>Mike exits the store, locking it up, and then notices something odd. Under the one light in the parking lot, his 1976 Chevy Chevette is being accosted by TWO MEN in all black. They look fairly scary. Mike stares at them, eating the Cup'A'Noodle and then starts walking towards them, casually.</scene_description>
<character>MIKE</character>
<dialogue>Hey.</dialogue>
<scene_description>They don't notice him. They're too busy doing something to the underside of his car.</scene_description>
<character>MIKE</character>
<dialogue>H-</dialogue>
<scene_description>Mike notices that the men have pistols in shoulder holsters. Holy shit. What's this about? But Mike isn't stopping his forward progress. He seems almost trancelike, dropping the hand holding the spoon down to his side.</scene_description>
<character>MIKE</character>
<parenthetical>(quietly, muttering)</parenthetical>
<dialogue>Got guns. ...my soup.</dialogue>
<scene_description>He's still walking, calmly, flipping the spoon. He's almost to the car now. One of the two men looks up, seeing him, and signals to the other. They advance on Mike.</scene_description>
<character>MIKE</character>
<dialogue>Hey, stop doing shit to my car-</dialogue>
<scene_description>One of the men LUNGES AT MIKE- the flash of a tactical knife in the street light- Mike fades back, dodging three swipes of the knife easily, before throwing the steaming cup'a'noodle into the man's face, grabbing his arm and kneeing the elbow- The arm breaks, and Mike brings the spoon around hard into the side of the man's head, breaking his jaw- The other man lunges, but Mike lurches towards him, knocking his arms away and slamming the spoon down into the bridge of the man's nose, breaking it- He spins, and as the man with the broken jaw stands, raising a pistol- Mike kicks the pistol out of his hands, palms the man's jaw and jabs the spoon into his neck, crushing his windpipe. The man staggers back, gagging, and Mike turns- The man with the broken nose is back up, also raising a gun- Mike STABS THE SPOON INTO HIS EYE, then into his ear, then shoves the man away, casually snatching the gun and firing a single round into the man's head. He drops, dead. The other man lays on the ground, choking, and then dies. Mike stands alone, holding the spoon.</scene_description>
<character>MIKE</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>What the FUCK just happened!?</dialogue>
</scene>
<scene>
<stage_direction>INT. 24 HOUR BAIL BONDS</stage_direction>
<scene_description>Phoebe sits at her desk at the front counter. She's looking down at the Oahu boarding pass, staring at it. She sighs, and then slides it off her desk, into the garbage. Her cell phone rings. "MIKE SO CUTE." She answers it.</scene_description>
<character>PHOEBE</character>
<dialogue>Hey honey-</dialogue>
<character>MIKE</character>
<dialogue>I just killed two dudes!</dialogue>
<character>PHOEBE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>...What?</dialogue>
<character>WE CUT BACK AND</character>
<dialogue>FORTH BETWEEN</dialogue>
<scene_description>Phoebe, and MIKE SITTING IN HIS CAR. The two dead dudes are visible in the background.</scene_description>
<character>MIKE</character>
<dialogue>Two dudes were trying to get into my car at work, and they had knives and guns and deadly shit, and this weird old chick, not super old, fuckable old but she was weird- and then I took a spoon and shoved it through these two dudes-</dialogue>
<character>PHOEBE</character>
<dialogue>Slow down, okay, you need to slow down for a second-</dialogue>
<scene_description>I CAN'T SLOW DOWN I JUST KILLED MAD DUDES IN THIS PARKING LOT-</scene_description>
<character>PHOEBE</character>
<dialogue>Did you call the police?</dialogue>
<character>MIKE</character>
<dialogue>No man cause I'm the kill-guy, I'm the murder...I'VE GOT MUSHROOMS AND WEED AND SHIT IN MY CAR AND I JUST KILLED TWO DUDES WITH A spoon, I NEED YOU TO COME HERE RIGHT NOW OR I'M JUST GONNA START PISSING MAN, I'M GONNA PISS MY FUCKING PANTS-</dialogue>
<character>SLAM TO:</character>
<dialogue>Phoebe is in the parking lot, staring at the two dead dudes. Mike, head in hands, stands behind her, leaning on his car.</dialogue>
<character>PHOEBE</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>How the fuck did this happen?</dialogue>
<character>MIKE</character>
<dialogue>One dude I shot in the head and the other guy I just, I don't know, spooned him in the neck and his shit ENDED-</dialogue>
<character>PHOEBE</character>
<dialogue>No I mean who the fuck are these two guys, Mike, like who the shit ARE they actually-</dialogue>
<scene_description>I DON'T KNOW</scene_description>
<character>PHOEBE</character>
<dialogue>You just killed two guys man!</dialogue>
<character>MIKE</character>
<dialogue>They WERE GONNA STAB MY SHIT, PHEEBS-</dialogue>
<character>PHOEBE</character>
<dialogue>Why are people trying to stab you!?</dialogue>
<scene_description>I DON'T KNOW, I'M FREAKING OUT BABE I'M ALL OVER THE FUCKIN'...PLACE! There's the whoop of a police siren.</scene_description>
<character>PHOEBE</character>
<dialogue>Oh fuck me.</dialogue>
<scene_description>A police car slowly rolls into the parking lot. A spotlight hits each of the dead guys, then settles on Mike and Phoebe. I'M SORRY.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - YATES' OFFICE</stage_direction>
<scene_description>Yates is freaking out via videochat with OTIS, 30, a stern- faced military type.</scene_description>
<character>YATES</character>
<dialogue>Two casualties. What do you mean two casualties.</dialogue>
<character>OTIS</character>
<dialogue>We lost two assets attempting to neutralize Wiseman designate Howl.</dialogue>
<character>YATES</character>
<dialogue>...How is that possible?</dialogue>
<character>OTIS</character>
<dialogue>Howl engaged Toughguy assets Diesel and Potter outside of callsign sigma-</dialogue>
<character>YATES</character>
<dialogue>"Engaged," clarify please-</dialogue>
<character>OTIS</character>
<dialogue>He was armed with a spoon sir. He engaged and neutralized-</dialogue>
<scene_description>A CA- A FUCKING SPOON? ...WHAT?</scene_description>
<character>OTIS</character>
<dialogue>We aren't sure yet the exact nature of the confrontation-</dialogue>
<character>YATES</character>
<dialogue>He's been fucking activated, do you not see that? This is Lasseter, it has to be. She's in the town. Lock it down and find her, now!</dialogue>
<character>OTIS</character>
<dialogue>Sir yes sir. The whole town?</dialogue>
<character>YATES</character>
<dialogue>Yes the whole town. Liman is as of right now, a hot zone. Contain it. I'm sending you a fake-out, use it.</dialogue>
<character>OTIS</character>
<dialogue>-Sir yes sir-</dialogue>
<character>YATES</character>
<dialogue>Where's asset Howl now?</dialogue>
<character>OTIS</character>
<dialogue>He's been arrested, sir.</dialogue>
<character>YATES</character>
<dialogue>ARRESTED- I- YOU- okay. We go in, and we take him out. Employ assets Crane and Laugher.</dialogue>
<character>OTIS</character>
<dialogue>The station is under watch by civilian police officers, sir-</dialogue>
<character>YATES</character>
<dialogue>Civilians? Who gives a f- bulldoze the place. We cannot have an code orange rogue Wiseman asset, that is outside mission parameters.</dialogue>
<character>OTIS</character>
<dialogue>Sir yes sir.</dialogue>
<scene_description>Yates closes his laptop, fidgeting.</scene_description>
<character>YATES</character>
<dialogue>What the fuck. What the fuck.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>No, you know what, no.</dialogue>
<scene_description>Yates opens and then re-slams closed his laptop, turns off his computer, unplugs his cell...</scene_description>
<character>YATES</character>
<dialogue>Nuhnuhnuh NO NO.</dialogue>
<scene_description>Yates grabs his coat and heads out the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIMAN SHERIFF'S STATION - HOLDING CELL - NIGHT</stage_direction>
<scene_description>Phoebe is laying out on one of the cots in one of the sparse holding cells, looking miserable. Mike is pacing rapidly back and forth. Deputy KRANTZ, 20s, portly, is keeping watch on them. Mike, facing away from Phoebe, is playing with the engagement ring box.</scene_description>
<character>MIKE</character>
<parenthetical>(muttering to himself)</parenthetical>
<dialogue>This-</dialogue>
<parenthetical>(glances at Phoebe, quietly)</parenthetical>
<dialogue>This is the wrong moment.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIMAN SHERIFF'S STATION - CONTINUOUS</stage_direction>
<scene_description>Deputies JORDAN, 20s, and LaBUTTE, 40s, are standing next to an ambulance. Sheriff Watts drives up in his station wagon, clearly woken up, drinking coffee from a thermos as he gets out.</scene_description>
<character>WATTS</character>
<dialogue>Okay, jesus, I'm awake, what's the big emergency.</dialogue>
<character>DEPUTY JORDAN</character>
<dialogue>We got-</dialogue>
<character>DEPUTY LABUTTE</character>
<dialogue>We've got two bodies in there. No IDs, no nothin. We're running the prints now, but-</dialogue>
<character>WATTS</character>
<dialogue>Bodies? What, you mean, corpses? Dead human beings?</dialogue>
<character>SLAM TO:</character>
<dialogue>Watts is in the ambulance, looking at the two dead guys. He pokes one of them.</dialogue>
<character>WATTS</character>
<dialogue>Christ. This guy is huge.</dialogue>
<character>DEPUTY LABUTTE</character>
<dialogue>They were both armed, we got the guns in evidence. Glocks, lookin' factory fresh.</dialogue>
<scene_description>Watts pulls down one of the guy's collar, seeing a huge red splotch on the neck.</scene_description>
<character>WATTS</character>
<dialogue>What did this?</dialogue>
<character>DEPUTY LABUTTE</character>
<dialogue>We don't know, sir. No weapons on scene but two knives and the two glocks.</dialogue>
<character>WATTS</character>
<dialogue>And you say Mikey Howell did this?</dialogue>
<scene_description>LaButte and Jordan are both quiet.</scene_description>
<character>BACK IN THE CELL</character>
<dialogue>Mike is kneeling in front of Phoebe, talking to her quietly.</dialogue>
<character>PHOEBE</character>
<dialogue>Tell me one more time, Mike-</dialogue>
<character>MIKE</character>
<dialogue>I hit him with a spoon and his lungs exploded.</dialogue>
<character>PHOEBE</character>
<dialogue>It wasn't his lungs-</dialogue>
<character>MIKE</character>
<dialogue>That's what happened, he couldn't breathe, I got him in the neck-</dialogue>
<character>PHOEBE</character>
<dialogue>Your lungs aren't in your neck they're in your chest.</dialogue>
<character>MIKE</character>
<dialogue>Okay that doesn't even make any sense to me right now!</dialogue>
<character>PHOEBE</character>
<dialogue>You said an old lady said something to you, what did she say?</dialogue>
<character>MIKE</character>
<dialogue>I don't- I don't even remember, just some like blahblah nothing-</dialogue>
<character>PHOEBE</character>
<dialogue>Mike we're in jail right now, okay? I am in jail. You need to focus for me, okay? Please just remember what the lady said.</dialogue>
<character>MIKE</character>
<parenthetical>(thinks)</parenthetical>
<dialogue>She said.</dialogue>
<parenthetical>(rapidly)</parenthetical>
<character>MIKE</character>
<dialogue>Mandelbrot set is in motion. Echo Choir has been breached, we are fielding the ball.</dialogue>
<character>PHOEBE</character>
<parenthetical>(beat)</parenthetical>
<dialogue>What the fuck does that mean?</dialogue>
<character>MIKE</character>
<dialogue>I don't know, but that was crazy, I like- I remembered the whole thing like it- wait, holy shit, I like remember everything, like every single thing that happened in the last ninety four minutes- ninety four minutes, how did I know that exact number, that's crazy-</dialogue>
<character>PHOEBE</character>
<dialogue>Mike, slow down.</dialogue>
<character>WATTS</character>
<dialogue>Yeah Mike.</dialogue>
<scene_description>They turn to see Watts standing at the bars.</scene_description>
<character>WATTS</character>
<dialogue>You slow waaaaaaaaay down.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIMAN SHERIFF'S STATION - SHORTLY THEREAFTER</stage_direction>
<scene_description>The night is cold, snowy, windy and dark. There's a faint sound; "thukathukathuka." If that's a helicopter, it's whisper quiet. And then, two figures step into frame; dark outlines against the lights of the station. The first of them carries a massive SAW Machine gun. He moves sort of jerkily, like his joints ache. This is CRANE. The second figure, closer to us, appears empty handed, nothing more than a silohuette. He makes a horrible coughing sound, then stops, motionless, and throws back his head... ...Letting out a bizarrely quavering, trilling laugh, that echoes out against the wind; it's unnerving, seizure-like, a noise this man clearly can't control. It could only come from a true lunatic. This is LAUGHER. The laughter gets louder and louder and then</scene_description>
</scene>
<scene>
<stage_direction>INT. LIMAN SHERIFF'S STATION - INTERROGATION ROOM</stage_direction>
<scene_description>Mike and Phoebe are sitting across from Sheriff Watts, who looks deeply troubled. Mike, handcuffed, takes Phoebe's hand under the table. She pulls away. Mike hangs his head.</scene_description>
<character>WATTS</character>
<dialogue>How many times you been in this station, Mike. Since you were twenty two, how many times you think.</dialogue>
<scene_description>Mike's silent.</scene_description>
<character>WATTS</character>
<dialogue>Would you believe thirty? Would you believe that?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I had you in here on trespassing. I had you in here on public intoxication. I had you in here on disorderly conduct, and possession, holy hell, possession.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Now you and I both know you're the luckiest man alive. Your probation officer must be the Michael Jordan of bullshitters, because I never see you gone for more than four days before you're back at that market, back toolin around town...</dialogue>
<parenthetical>(long beat)</parenthetical>
<dialogue>Tell me you didn't kill these people, Mike.</dialogue>
<scene_description>Mike's silent.</scene_description>
<character>PHOEBE</character>
<dialogue>They attacked him.</dialogue>
<character>WATTS</character>
<dialogue>Excuse me?</dialogue>
<character>PHOEBE</character>
<dialogue>They attacked Mike, it was self defense-</dialogue>
<character>WATTS</character>
<dialogue>You're his girlfriend, his mother, his maid, his landlord and now you're his lawyer? Phoebe, let the man speak for himself.</dialogue>
<character>MIKE</character>
<dialogue>Don't be a dick. It was just a thing, it was a thing that happened-</dialogue>
<character>WATTS</character>
<dialogue>A thing? Mike two men are dead-</dialogue>
<scene_description>There's a knock, and Deputy Krantz leans in.</scene_description>
<character>WATTS</character>
<dialogue>What?</dialogue>
<character>DEPUTY KRANTZ</character>
<dialogue>We've got a problem.</dialogue>
<character>WATTS</character>
<dialogue>We got plenty of problems-</dialogue>
<character>DEPUTY KRANTZ</character>
<dialogue>Nah man we got a big weird problem out here.</dialogue>
<scene_description>Watts thinks for a moment.</scene_description>
<character>WATTS</character>
<dialogue>Okay, take'em back to the cell. This ain't over.</dialogue>
<character>OUT IN THE</character>
<dialogue>STATION</dialogue>
<scene_description>Phoebe and Mike are being led by Krantz. They reach the cell, Krantz opens it; he starts to uncuff Mike, but then gets a text.</scene_description>
<character>MIKE</character>
<dialogue>Hey man, come on.</dialogue>
<character>DEPUTY KRANTZ</character>
<dialogue>Huh. Somethin's up with my phone.</dialogue>
<scene_description>The iPhone screen is scrambled and malfunctioning.</scene_description>
<character>PHOEBE</character>
<dialogue>What the hell, that's not normal.</dialogue>
<character>DEPUTY KRANTZ</character>
<dialogue>...It ain't?</dialogue>
<character>IN THE FRONT OF</character>
<dialogue>THE STATION</dialogue>
<scene_description>LaButte, Jordan and Watts are huddled over a computer.</scene_description>
<character>WATTS</character>
<dialogue>I don't get it.</dialogue>
<character>DEPUTY JORDAN</character>
<dialogue>Every line out of the station is down, radio, internet, the phone lines-</dialogue>
<character>DEPUTY LABUTTE</character>
<dialogue>We tried cells, too, nothin works, not even the computer-</dialogue>
<character>DEPUTY JORDAN</character>
<dialogue>Yeah I said the internet was down-</dialogue>
<character>DEPUTY LABUTTE</character>
<dialogue>Yeah but the computer's mail is down too.</dialogue>
<character>WATTS</character>
<dialogue>Is it a power shortage or-</dialogue>
<scene_description>All of the lights in the station SHUT OFF.</scene_description>
<character>BACK AT THE CELL</character>
<dialogue>Krantz, lit by the screen of his iPhone, looks around, confused, when his NECK IS ABRUPTLY SNAPPED-</dialogue>
<dialogue>Mike catches his cellphone before it hits the ground-</dialogue>
<dialogue>Phoebe SCREAMS, and Mike steps in front of her, holding up the iPhone for light. There's silence in the darkness. Mike frantically moves the light around...</dialogue>
<dialogue>...there's nobody.</dialogue>
<character>MIKE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Phoebe get the keys, the keys for the handcuffs.</dialogue>
<scene_description>Phoebe kneels, getting Krantz's flashlight as Mike swings around the iPhone. She begins yanking on the keys.</scene_description>
<character>PHOEBE</character>
<dialogue>Shit- shit-</dialogue>
<scene_description>And then, from the darkness...</scene_description>
<character>LAUGHER</character>
<dialogue>EeeheheheheheHEEHEEAHHAHAHAHAHA</dialogue>
<character>BACK AT THE</character>
<dialogue>FRONT</dialogue>
<scene_description>Watts, LaButte and Jordan, their flashlights out, spin at the horrible sound. WHAT IN THE FUCK IS GOING- HOLY SHIT, CRANE IS IN THE ROOM! HE BEGINS TO FIRE THE MACHINE GUN, INSTANTLY KILLING JORDAN, BULLETS SHREDDING HIM! Watts and LaButte drop behind desks, drawing guns.</scene_description>
<character>BACK AT THE CELL</character>
<dialogue>Phoebe and Mike turn at the sound of the gunfire, and LAUGHER POUNCES ONTO MIKE-</dialogue>
<dialogue>Oh shit KRAV MAGA close quarters exchange! Laugher and Mike go back and forth impossibly fast- attack, block, counter, attack, counter, attack-</dialogue>
<character>PHOEBE</character>
<dialogue>Mike! MIKE!</dialogue>
<scene_description>As the back-up generator to the police station hums to life, casting everything in flim-flash flickers of light, Phoebe frantically unholsters Krantz's revolver, as Laugher grabs Mike into a deadly headlock- But Laugher's distracted by Phoebe, and he turns and kicks the gun out of her hands- But Mike twists his way free, turns and brings up Krantz's iPhone, quickly puts it up against Laugher's front teeth, and then SLAMS HIS PALM INTO THE BACK OF IT- -KNOCKING LAUGHER'S TEETH DOWN HIS THROAT! WHOA! EW! Laugher staggers backwards, but Mike catches his head and slams it against the bars repeatedly- Laugher screams and BREAKS FREE, elbowing Mike in the throat, then the nose, WHAM- And Mike KICKS HIM INTO THE JAIL CELL! Phoebe pops up and slams the door! HAH! GOTCHA!</scene_description>
<character>MIKE</character>
<dialogue>Ha! NICE!</dialogue>
<scene_description>Mike notices Krantz's gun is in the cell.</scene_description>
<character>MIKE</character>
<parenthetical>(pointing)</parenthetical>
<scene_description>THE GUN, THE GUN! Laugher dives for it, grabbing it, but Mike rolls, grabbing Phoebe and pulling her out of the way down the hall JUST AS LAUGHER OPENS FIRE. He pulls her</scene_description>
<character>OUT TO THE MAIN</character>
<dialogue>ROOM</dialogue>
<scene_description>Where Crane immediately turns and opens fire on them with the machine gun!</scene_description>
<character>WE SEE</character>
<dialogue>Outside the station, bullets blowing out through the windows and walls!</dialogue>
<character>BACK INSIDE</character>
<dialogue>Mike and Phoebe dive behind a partition, scrambling as Crane continues firing, DECIMATING the station.</dialogue>
<dialogue>The gun runs out of ammunition, and Crane frowns at it.</dialogue>
<dialogue>They lay flat, as LaButte pops up and takes a shot at Crane-</dialogue>
<dialogue>-Who ducks it, and then swings the gun like a baseball bat, SMASHING LaBUTTE IN THE FACE!</dialogue>
<dialogue>LaButte goes down, and Watts pops up, firing twice- Crane tilt dodges both shots draws a pistol and shoots Watts twice in the chest-</dialogue>
<dialogue>Watts goes down, and Crane starts slowly approaching Watts.</dialogue>
<character>PHOEBE</character>
<parenthetical>(pulling at mike)</parenthetical>
<dialogue>C'mon- c'mon-</dialogue>
<scene_description>Crane turns at the sound, and fires three times at the desk Phoebe and Mike hide behind. There's dead silence. Crane shifts, and again we see the odd, jerky way he moves as he pops every joint in his body, shaking himself out.</scene_description>
<character>CRANE</character>
<dialogue>...Bonjour. Jambo. Hello. Hola. Salut.</dialogue>
<character>MIKE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>What the hell is he-</dialogue>
<scene_description>Crane tosses aside his gun and CHARGES THE DESK, MOVING WAY TOO FAST- But Mike, hearing his approach, pops up, grabs a laptop off the desk and FLINGS IT LIKE A FRISBEE, CATCHING CRANE FLUSH IN THE CHEST! Crane is knocked off his feet, landing flat on his back, OW! SHIT!</scene_description>
<character>PHOEBE</character>
<dialogue>Come on!</dialogue>
<scene_description>Phoebe grabs Mike and pulls him towards the front door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LIMAN SHERIFF'S STATION - CONTINUOUS</stage_direction>
<scene_description>Mike and Phoebe burst out, running, and seconds later Crane comes CRASHING THROUGH THE GLASS DOORS.</scene_description>
<character>CRANE</character>
<parenthetical>(loudly)</parenthetical>
<scene_description>WAIT. Mike instinctively stops and turns, looking at Crane.</scene_description>
<character>MIKE</character>
<dialogue>What?</dialogue>
<scene_description>Crane flings a grenade at Mike- who catches it and throws it back- Crane catches it and throws it back- MIKE FLIPS AND SPIKE KICKS THE GRENADE BACK AT CRANE, who ducks, it passes him and goes into the police station- BOOM THE GRENADE GOES OFF, KNOCKING CRANE DOWN! Mike hurries to his feet to see Crane CHARGING AT HIM, moving herky-jerky, bloody from cuts from the explosion.</scene_description>
<character>MIKE</character>
<dialogue>Oh no no no-</dialogue>
<scene_description>Crane begins beating the snot out of Mike, huge haymakers BAM BAM BAM, but Mike recovers, throwing a handful of snow in his face and knocking him away, countering a few punches- Crane knocks him down, and Mike grabs Krantz's keys out of his pocket, balls them in between his fingers to give himself claws and then SLASHES CRANE REPEATEDLY- No CRANE COMES BACK, counter strike, counter, reversal, counter- this makes Bourne Identity look like Power Rangers- Mike weaves through another barrage of big hits, then brings up the loose handcuff still locked on his wrist, and, using it like a pair of brass-knuckles, BASHES CRANE IN THE FACE! Crane stumbles backwards, and then falls dead. Mike stares at him, and then looks up at the police station: the front office is on fire from the grenade, smoke leaking out of the shattered glass doors. Mike turns and grabs Phoebe. We hear Laugher, distant, cackling from inside the station.</scene_description>
<character>MIKE</character>
<dialogue>Come on!</dialogue>
<character>PHOEBE</character>
<dialogue>Mike, wait-</dialogue>
<scene_description>NAH MAN, NO WAITING, LET'S GO, NOW.</scene_description>
</scene>
<scene>
<stage_direction>INT. CIA JET</stage_direction>
<scene_description>Yates sits on a CIA private jet, in flight. He's sitting calmly, looking out the window and sipping a rum and coke. His satellite phone rings, and he takes it out. His eyes widen, and he smiles, answering.</scene_description>
<character>YATES</character>
<dialogue>Hello darling.</dialogue>
<character>CUT TO:</character>
<dialogue>Lasseter, on her own satellite phone, is</dialogue>
<character>AT THE EDGE OF</character>
<dialogue>TOWN</dialogue>
<scene_description>Where we can see white trucks with orange flashing lights, and men in Disease Containment suits setting up a checkpoint. Lasseter is pulled over in shadow at the edge of the road.</scene_description>
<character>LASSETER</character>
<dialogue>Why am I looking at FEMA trucks. Why are there men in HAZ-Mat suits walking around like extraterrestrials. What in the shit are you doing.</dialogue>
<character>YATES</character>
<dialogue>A dog with rabies got loose. A real old bitch-</dialogue>
<character>LASSETER</character>
<dialogue>You prick-</dialogue>
<character>YATES</character>
<dialogue>I'm a prick? Thanks to your actions, two CIA assets are DEAD, you're trying to blow my whole operation-</dialogue>
<character>LASSETER</character>
<dialogue>Your "operation" is murder!</dialogue>
<character>YATES</character>
<dialogue>Oh cry me a fucking river why don't you! This is the last time you and me talk. There's a reckoning coming for you, Diane-</dialogue>
<character>LASSETER</character>
<dialogue>This is about me?</dialogue>
<character>YATES</character>
<dialogue>"this is about me" YES IT'S ABOUT YOU. You think I'm stupid, you think I don't think I know what you're doing, you're trying to make me look like an asshole-</dialogue>
<character>LASSETER</character>
<dialogue>You're doing a fine job of that yourself-</dialogue>
<character>YATES</character>
<dialogue>I tried to play nice about this, back in my office-</dialogue>
<character>LASSETER</character>
<dialogue>What, when you called me a cunt?</dialogue>
<scene_description>Yates splutters, flustered.</scene_description>
<character>LASSETER</character>
<dialogue>I am taking you down, Yates. I'm bringing this whole thing crashing through the floor do you hear me?</dialogue>
<character>YATES</character>
<dialogue>"Bring it through the floor", really, that's big talk for a fortysomething year old woman with what, a CELL PHONE, you can't touch me, you can't-</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Did you hang up? Tell me you didn't hang up.</dialogue>
<scene_description>Yates flings the phone away from him in anger. He then waits a beat, grabs his rum and coke, and flings that, too.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STOP AND SHOP - NIGHT</stage_direction>
<scene_description>Phoebe and Mike rapidly approach the Stop and Shop parking lot, heading towards Mike's car, Mike pulling Phoebe along by the arm.</scene_description>
<character>PHOEBE</character>
<dialogue>Where are we going?</dialogue>
<character>MIKE</character>
<dialogue>We'll get my car, and we'll go to Rose's house-</dialogue>
<scene_description>Phoebe pulls away from him.</scene_description>
<character>PHOEBE</character>
<dialogue>Rose!? That's your plan?</dialogue>
<character>MIKE</character>
<dialogue>Rose has guns and shit, plus maybe he can get us out of the town-</dialogue>
<character>PHOEBE</character>
<dialogue>Out of the town- Mike you can't do that, you know you won't be able to-</dialogue>
<character>MIKE</character>
<dialogue>Well I didn't have people trying to kill me before, Phoebe-</dialogue>
<character>PHOEBE</character>
<dialogue>You are not- you are not in a position to be making plans-</dialogue>
<character>MIKE</character>
<dialogue>Then who is? I've killed THREE PEOPLE tonight, man, the cops are dead, who's qualified to handle shit right now?</dialogue>
<scene_description>Phoebe takes a breath. Mike shrugs. Phoebe's tone changes.</scene_description>
<character>PHOEBE</character>
<dialogue>...If the guy's in the thing, in the cell, and he doesn't see the gun, don't point at the gun and say "GUN! GUN!"</dialogue>
<character>MIKE</character>
<dialogue>I know-</dialogue>
<character>PHOEBE</character>
<dialogue>And if someone who just tried to kill you says "WAIT," YOU DON'T STOP TO SEE WHAT THEY WANT TO TALK ABOUT-</dialogue>
<scene_description>STOP YELLING AT ME! I'M SCARED MIKE!</scene_description>
<character>NO, YOU'RE FINE!</character>
<dialogue>OKAY?</dialogue>
<character>YOU'RE FINE,</character>
<dialogue>Mike grabs Phoebe and pulls her to him.</dialogue>
<character>MIKE</character>
<dialogue>Listen to me, you're fine, it's done, we made it out of there, okay?</dialogue>
<scene_description>There's a strong wind, and Mike holds Phoebe close. The wind rattles a shopping cart in the parking lot, and it rolls forward, gently bumping Mike's car- IT EXPLODES INTO A MASSIVE FIREBALL, KNOCKING BOTH PHOEBE AND MIKE FLAT ON THEIR ASSES. I guess that thing the guys were doing to the car was...uh...a bomb. Dazed, they stare at the burning wreckage.</scene_description>
<character>PHOEBE</character>
<dialogue>...Let's take my car.</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHINGTON DC NIGHTCLUB - CONCURRENT</stage_direction>
<scene_description>The music is too loud, the club is too dark and the lights that are on are too damn bright, lasers and strobes blotting out all the sense. Petey Douglas, Lasseter's erstwhile assistant, is dancing. Dancing crazy. Night of his life. A REALLY SEXY GIRL approaches.</scene_description>
<character>REALLY SEXY GIRL</character>
<dialogue>Hey!</dialogue>
<scene_description>HI!</scene_description>
<character>REALLY SEXY GIRL</character>
<dialogue>My friends and I were talking about your dancing!</dialogue>
<character>DOUGLAS</character>
<dialogue>Yeah man, I'm a machine tonight!</dialogue>
<character>REALLY SEXY GIRL</character>
<dialogue>Do you want to come sit with us?</dialogue>
<scene_description>Petey looks. It's a whole table of SUPER HOT WOMEN.</scene_description>
<character>DOUGLAS</character>
<dialogue>Yeah man, maybe I can teach you some moves. I'ma hit the bathroom and I'll be over in a jiffy.</dialogue>
<character>REALLY SEXY GIRL</character>
<dialogue>Jiffy, huh?</dialogue>
<character>DOUGLAS</character>
<dialogue>Yeah man, I'm the jiff-master tonight!</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHINGTON DC NIGHTCLUB - THE BATHROOM</stage_direction>
<scene_description>Douglas is peeing at a urinal, when his phone rings. He answers it without looking.</scene_description>
<character>DOUGLAS</character>
<dialogue>This is the jiff-master, how can I help you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIMAN SHERIFF'S STATION - CONTINUOUS</stage_direction>
<scene_description>Lasseter stands over Crane's dead body, in front of the burning police station.</scene_description>
<character>LASSETER</character>
<dialogue>Be somewhere you can talk. Now.</dialogue>
<character>DOUGLAS</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON DC NIGHTCLUB - ALLEY - MOMENTS LATER</stage_direction>
<scene_description>Douglas comes out into the alley behind the nightclub.</scene_description>
<character>DOUGLAS</character>
<dialogue>Okay Diane, what's-</dialogue>
<character>WE INTERCUT</character>
<dialogue>LASSETER</dialogue>
<scene_description>I'm in Liman.</scene_description>
<character>DOUGLAS</character>
<dialogue>-Say what now-</dialogue>
<character>LASSETER</character>
<dialogue>Yates is using the Toughguy assets to eliminate the Wiseman assets. I'm trying to save asset Howl and derail the operation but now Yates has got the town quarantined by the CDC and I am looking at the town's Sheriff Station, which is on fire with the entire civilian police force dead inside it.</dialogue>
<scene_description>Douglas takes a beat, and actually pulls his phone away from his face, staring at it in shock.</scene_description>
<character>DOUGLAS</character>
<dialogue>I don't understand, why would you- I shouldn't be talking to you if you're there, that's-</dialogue>
<character>LASSETER</character>
<dialogue>I need a weapon. And I need to know where Yates was pulling the subjects for Toughguy. This behavior doesn't make sense.</dialogue>
<scene_description>Douglas is quiet.</scene_description>
<character>LASSETER</character>
<dialogue>There is no reason for that police station to be ON FIRE, okay? Do you see what I'm saying? If they're trained assets they should be doing this quickly and quietly-</dialogue>
<character>DOUGLAS</character>
<dialogue>I have to hang up, I'm sorry-</dialogue>
<character>LASSETER</character>
<dialogue>Don't hang up don't hang up don't hang up-</dialogue>
<scene_description>Douglas groans, seeing the hot girl group departing from the front of the club.</scene_description>
<character>LASSETER</character>
<dialogue>He's boxing me into this town and he's going to trap me like a rat and kill me, Pete, do you understand that? I will be murdered and he will be protected by our own secrecy laws for MURDERING ME.</dialogue>
<scene_description>Firetruck sirens begin rapidly approaching the burning sheriff's station, and Lasseter quickly goes around to the side of the station, hiding from the arriving trucks.</scene_description>
<character>DOUGLAS</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>You shouldn't have gone.</dialogue>
<character>LASSETER</character>
<dialogue>No, wrong response.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>There is a machine at work here, Douglas.</dialogue>
<character>LASSETER</character>
<dialogue>A big, bad machine, and it's gone off the rails, you are witnessing the wrong guy in charge, that's what's happening, Madness of King George do you understand-</dialogue>
<character>DOUGLAS</character>
<dialogue>Yes shakespeare sure-</dialogue>
<character>LASSETER</character>
<dialogue>No, actually happening right now, tonight, now!</dialogue>
<scene_description>Helicopters blow past overhead. The firefighters who've congregated around Crane's dead body, and look up, confused.</scene_description>
<character>LASSETER</character>
<dialogue>This is fire and brimstone, this is sinister lunacy sanctioned by arbitrary nothing, I need you on my side, the side of good and order and NOT DEATH AND CHAOS, fuck the chain of command. On MY SIDE, RIGHT NOW, understand?</dialogue>
<scene_description>Douglas is silent. He looks around the alley. There's a couple hooking up by a dumpster. He glances again, and realizes they are full on fucking. Whoa, gross. He sighs, mustering his courage, looks up at the sky...</scene_description>
<character>LASSETER</character>
<dialogue>Did you hang-</dialogue>
<character>DOUGLAS</character>
<dialogue>You've got me.</dialogue>
<character>LASSETER</character>
<dialogue>What?</dialogue>
<character>DOUGLAS</character>
<dialogue>...I'm with the side of good and order.</dialogue>
<scene_description>Lasseter breathes hard, processing this.</scene_description>
<character>LASSETER</character>
<dialogue>Okay. Okay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROSE'S HOUSE - NIGHT</stage_direction>
<scene_description>Mike and Phoebe pull up to Rose's house, which is a two-story deal out in the woods, isolated, a little bit hood but a little swanky too, in its way. They park on a landbridge over a ruddy little ravine. Phoebe looks over to Mike, who looks totally miserable.</scene_description>
<character>PHOEBE</character>
<dialogue>You seem like...spooky quiet-</dialogue>
<character>MIKE</character>
<dialogue>I am spooky quiet. I'm in the...anaphalactic shock-</dialogue>
<character>PHOEBE</character>
<dialogue>-that's not what it's called-</dialogue>
<character>MIKE</character>
<dialogue>Like, I'm trying to think of stuff, and I can't think of anything, Phoebe. Like I never even- I can't remember where I went to school, or my parents...</dialogue>
<character>PHOEBE</character>
<dialogue>What? You can't remember your parents? What're you talking about, you sound crazy, dude-</dialogue>
<character>MIKE</character>
<dialogue>I'm like overwhelmed! Pheebs...Did we even ever talk about my parents?</dialogue>
<character>PHOEBE</character>
<dialogue>I mean...no I guess but-</dialogue>
<character>MIKE</character>
<dialogue>Shit, what if I'm like...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>A robot? Do you think that's possible that I'm a robot? With the- gigabytes of memory recall, and the karate programming where I use house hold objects to kill assholes- Oh shit I'm freaking out again-</dialogue>
<character>PHOEBE</character>
<dialogue>Okay stay calm. Mike. Listen. You are not a robot.</dialogue>
<character>MIKE</character>
<dialogue>Are you sure?</dialogue>
<character>PHOEBE</character>
<dialogue>I'm sure, you are not a robot.</dialogue>
<character>MIKE</character>
<dialogue>How can you know that?</dialogue>
<character>PHOEBE</character>
<dialogue>...Because that is obviously retarded.</dialogue>
<character>MIKE</character>
<dialogue>...Right, yes, you're right. Shit-</dialogue>
<scene_description>A GAS MASKED FIGURE POPS UP NEXT TO THE CAR WITH A SHOTGUN POINTED IN.</scene_description>
<character>PHOEBE</character>
<dialogue>AHH!</dialogue>
<character>MIKE</character>
<dialogue>FUCK!</dialogue>
<scene_description>TWO MORE GUYS POP UP ON EITHER SIDE OF THE CAR WITH A COUGAR MAGNUM AND AN UZI.</scene_description>
<character>ROSE</character>
<parenthetical>(under gas mask)</parenthetical>
<scene_description>YO FREEZE MOTHAFUCKAAA- OH HI MIKE! Rose lifts his gas mask, smiling.</scene_description>
<character>PHOEBE</character>
<parenthetical>(freaked out)</parenthetical>
<scene_description>JESUS CHRIST.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOVERNMENT FIELD OPS CENTER - NIGHT</stage_direction>
<scene_description>The field ops center is set up in a Wal-Mart parking lot, in a big tent. It's clearly still in the process of being set up; computers and government operators everywhere. Several teenagers are hanging out, smoking cigarettes nearby. Yates rapidly walks up.</scene_description>
<character>YATES</character>
<dialogue>What the fuck is this?</dialogue>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER - MOMENTS LATER</stage_direction>
<scene_description>Yates bursts in, and immediately several officers stand and salute. Among them is Otis.</scene_description>
<character>OTIS</character>
<dialogue>Mr. Yates sir-</dialogue>
<character>YATES</character>
<dialogue>I said SUBTLE, I said COVERT, not PITCH A TENT IN A PARKING LOT.</dialogue>
<character>OTIS</character>
<dialogue>Sir the tent is covered by FEMA protocol, the tent is covert as a disease control tent sir-</dialogue>
<character>YATES</character>
<dialogue>IT'S A BIG WHITE TENT. It's covert as a fucking elephant!</dialogue>
<character>OTIS</character>
<dialogue>Sir civilians will not recognize the big white tent as a government operation, they'll- mistake it for-</dialogue>
<character>YATES</character>
<dialogue>I get the concept, but there are-</dialogue>
<scene_description>Yates pops out of the tent into the</scene_description>
<character>PARKING LOT</character>
<dialogue>And references the teenagers.</dialogue>
<scene_description>HIPSTERS HANGING OUT TEN FEET FROM THE OP CENTER! Otis looks out.</scene_description>
<character>OTIS</character>
<dialogue>They're punks sir.</dialogue>
<character>YATES</character>
<dialogue>...What?</dialogue>
<character>OTIS</character>
<dialogue>They are not hipsters, sir, they look to me like skate punks sir, possibly grunge-</dialogue>
<character>YATES</character>
<dialogue>Ohmigod.</dialogue>
<scene_description>One of the kids takes a camera phone picture of them.</scene_description>
<character>YATES</character>
<dialogue>Get that phone. Now. Thank you.</dialogue>
<scene_description>Immediately several soldiers take a running start at the teenagers, who are like "oh shit."</scene_description>
<character>YATES</character>
<dialogue>Where are the assets?</dialogue>
</scene>
<scene>
<stage_direction>INT. EIGHTEEN WHEELER - SECONDS LATER</stage_direction>
<scene_description>It's dark, and then the door opens, revealing fifteen men sitting in darkness, completely motionless. Yates peers in, Otis behind him.</scene_description>
<character>YATES</character>
<dialogue>Just a truck? We've got them all sitting in a truck?</dialogue>
<character>OTIS</character>
<dialogue>This is the best we could get for the available money sir. You said as barebones as possible, this-</dialogue>
<character>YATES</character>
<dialogue>Shit, shit. Right.</dialogue>
<scene_description>He sees LAUGHER, who's covered in soot and slightly burned.</scene_description>
<character>YATES</character>
<dialogue>Laugher. What happened to you, I heard you were KIA?</dialogue>
<character>LAUGHER</character>
<dialogue>No sir.</dialogue>
<scene_description>Laugher lets out a weird giggle which he tries to stifle.</scene_description>
<character>OTIS</character>
<dialogue>We recovered him from the police station thirty minutes ago.</dialogue>
<scene_description>Yates climbs up into the truck, sitting across from Laugher.</scene_description>
<character>YATES</character>
<dialogue>You saw him. Howl. "Mike." What was it like?</dialogue>
<scene_description>Laugher just stares.</scene_description>
<character>YATES</character>
<dialogue>I mean, was he...how was he, were his protocols all...I mean was he kicking ass out there?</dialogue>
<scene_description>Laugher giggles, but then stifles it.</scene_description>
<character>LAUGHER</character>
<dialogue>Hit me with a phone. He took my teeth.</dialogue>
<scene_description>Laugher holds up two bloody cracked teeth.</scene_description>
<character>LAUGHER</character>
<dialogue>But I got them back.</dialogue>
<scene_description>Yates stares at him.</scene_description>
<character>YATES</character>
<dialogue>Okay, good. Okay that's...good. You still wanna take this guy down?</dialogue>
<scene_description>Laugher painfully stifles a laugh.</scene_description>
<character>MOMENTS LATER</character>
<dialogue>Yates hops out of the truck. He stares down at his shoes for a moment.</dialogue>
<character>YATES</character>
<dialogue>Do we have a location on Howl?</dialogue>
<character>OTIS</character>
<dialogue>Sir yes sir, he's at his friend's home.</dialogue>
<character>YATES</character>
<dialogue>We roll in waves, yeah? Activate Newton, Laugher and Bourbon. Is the press package ready?</dialogue>
<character>OTIS</character>
<dialogue>Yes sir.</dialogue>
<character>YATES</character>
<dialogue>Alright, activate it. And...And I'm clearing use of bugspray.</dialogue>
<character>OTIS</character>
<dialogue>Yes sir.</dialogue>
<scene_description>Yates takes a moment, looking in the sky. Is the situation out of control? No, no of course not. He has this.</scene_description>
<character>YATES</character>
<dialogue>We're pulling this together and ending it in an hour. Clean sweep. CLEAN. SWEEP.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - LIVING ROOM</stage_direction>
<scene_description>Rose's house is filled with hip-hop and porn posters, but actually kind of nice, in a ghetto way. There are three big screen TVs playing the news, CNN and local, an emergency broadcast with a FEMA scroll running along the bottom, and a third playing music videos. Rose leads Mike and Phoebe inside, his two lackies with the revolver and the uzi following.</scene_description>
<character>ROSE</character>
<dialogue>This is Big Harold and Quinzin. Niggas this is Mike and Phoebe.</dialogue>
<character>QUINZIN</character>
<dialogue>Me and Mike know each other-</dialogue>
<character>MIKE</character>
<dialogue>I know Quinzin-</dialogue>
<character>MIKE</character>
<dialogue>Oh haha JINX-</dialogue>
<character>QUINZIN</character>
<dialogue>We do fantasy football together.</dialogue>
<character>ROSE</character>
<dialogue>What? And you ain't tell me? Mike you don't even like football.</dialogue>
<character>PHOEBE</character>
<dialogue>He likes to do fantasy.</dialogue>
<scene_description>OH DOES EVERYONE KNOW? EVERYBODY GOT A FANTASY FOOTBALL LEAGUE TEAM BUT ROSE IS WHAT YOU'RE SAYIN, ROSE JUST SITS ALONE I GUESS</scene_description>
<character>BIG HAROLD</character>
<dialogue>I don't know about fantasy football-</dialogue>
<character>ROSE</character>
<dialogue>That doesn't make me feel better, nobody tells you shit!</dialogue>
<character>BIG HAROLD</character>
<dialogue>...s'hurtful.</dialogue>
<character>ROSE</character>
<dialogue>It's all conspiracies tonight, baby...</dialogue>
<character>PHOEBE</character>
<dialogue>What're you talking about? Why're you wearing those gas masks, what's going on?</dialogue>
<scene_description>Rose lifts up the gas mask a little bit.</scene_description>
<character>ROSE</character>
<dialogue>Didn't you hear, man, the town is under government wildfire outer- space shit, straight Andromeda Strain disease bacteria shit-</dialogue>
<character>PHOEBE</character>
<dialogue>Rose, slow down-</dialogue>
<character>ROSE</character>
<dialogue>You haven't seen, fuckin' look at the TV man!</dialogue>
<scene_description>Phoebe and Mike turn to the TVs.</scene_description>
<character>MIKE</character>
<dialogue>Bruno Mars. How is he involved?</dialogue>
<character>PHOEBE</character>
<dialogue>The other TVs Mike.</dialogue>
<character>MIKE</character>
<dialogue>Oh, of course.</dialogue>
<scene_description>On CNN, they are showing shots of CDC and FEMA roadblocks and safety helicopters flying over the town.</scene_description>
<character>CNN REPORTER</character>
<dialogue>-Reports continue to come in of a full-on level six quarantine around the town of Liman, Oregon, where a break out of what is being described as "Super Malaria" began earlier this evening. All roads out of the town have been blocked, and media access to the town has been suspended.</dialogue>
<character>PHOEBE</character>
<dialogue>It's not real. It can't be real-</dialogue>
<character>MIKE</character>
<dialogue>Look. Us.</dialogue>
<scene_description>Indeed; Mugshots of Mike and Phoebe are being displayed on the local channel. Phoebe just looks at him: "HOLY FUCK."</scene_description>
<character>CNN REPORTER</character>
<dialogue>-believes the beginning of the outbreak can be traced back to these two individuals.</dialogue>
<character>PHOEBE</character>
<dialogue>It's some kind of- fake thing, fake freaky thing made up by the people who are after you, Mike-</dialogue>
<character>MIKE</character>
<dialogue>Hey, that's the lady.</dialogue>
<scene_description>On TV, they're showing a picture of Lasseter.</scene_description>
<character>ROSE</character>
<dialogue>Which lady? Why the fuck ya'll on TV?</dialogue>
<character>PHOEBE</character>
<dialogue>The woman from the grocery store? Who said that stuff to you?</dialogue>
<scene_description>Rose is starting to get heightened, giving Big Harold and Quinzin a look.</scene_description>
<character>REPORTER</character>
<dialogue>-described by FEMA representatives as a "mad scientist," this woman, Diane Lasseter is responsible for the outbreak. It is believed this act of terrorism was triggered by Lasseter's illicit love affair with several doomed test monkeys-</dialogue>
<character>MIKE</character>
<dialogue>Yeah dude that's definitely her.</dialogue>
<scene_description>WHY DO YOU KNOW THAT MONKEYFUCKIN MOTHERFUCKER? WHAT AIN'T YOU TELLIN ME NIGGA?</scene_description>
<character>PHOEBE</character>
<dialogue>Rose just calm down-</dialogue>
<character>ROSE</character>
<dialogue>Fuck a calm down!</dialogue>
<scene_description>Rose and his lackies raise their guns on Mike and Phoebe.</scene_description>
<character>WHOA!</character>
<dialogue>ROSE</dialogue>
<character>WHOA!</character>
<dialogue>I want answers, now!</dialogue>
<scene_description>Mike and Phoebe exchange a look.</scene_description>
<character>MIKE</character>
<dialogue>I'm sorry Rose, but we don't have any.</dialogue>
<scene_description>Rose didn't expect this, and is now in the awkward position of holding guns on his friends.</scene_description>
<character>ROSE</character>
<dialogue>Okay. Okay. Then for the moment, you two gotta go into quarantine.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - WORKOUT ROOM</stage_direction>
<scene_description>Mike and Phoebe are roughly pushed into Rose's workout room, tripping over the gym equipment.</scene_description>
<character>MIKE</character>
<dialogue>Please Rose, let's just talk about this-</dialogue>
<scene_description>NUH UH MIKE. NERH URH. Rose slams the door, and the lights turn off, activating blacklights, revealing dozens of elaborate drawings of naked ladies on the walls.</scene_description>
<character>MIKE</character>
<dialogue>...It's okay. We'll-</dialogue>
<scene_description>He turns to see Phoebe standing on a piece of workout machinery, punching loose one of the ceiling tiles.</scene_description>
<character>PHOEBE</character>
<dialogue>No, Mike. It's not okay. We're getting the hell out of here.</dialogue>
</scene>
<scene>
<stage_direction>INT. LASSETER'S HOUSE - NIGHT</stage_direction>
<scene_description>All the lights are off, but we can faintly see the outlines and shadows of a tasteful, if somewhat messy home. The door unlocks, and Scott, Lasseter's son, tries to sneak in, but the alarm immediately goes off.</scene_description>
<character>SCOTT</character>
<dialogue>Shit shit shit-</dialogue>
<scene_description>Scott hurriedly punches in a code, deactivating it, and then turns around, apologizing already.</scene_description>
<character>SCOTT</character>
<dialogue>Mom I know I said I'd make it home tonight, but things got really complex, and I promise if you just give me a chance and listen you'll...</dialogue>
<scene_description>Scott realizes no one is challenging him. The house is silent. Mister Timothy, Lasseter's cat, steps out of the darkness and meows hungrily.</scene_description>
<character>SCOTT</character>
<dialogue>...Mom?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LIMAN, OREGON - THE WOODS - MOMENTS LATER</stage_direction>
<scene_description>Lasseter clumsily makes her way through the dark woods, following a GPS device in her hands. It leads her to a blinking package. She takes out a knife and cuts away the little parachute.</scene_description>
<character>LASSETER</character>
<dialogue>...Fucking mud. There is MUD in my hair...</dialogue>
<scene_description>She opens it. It's a Heckler and Koch Mark 23 pistol. She takes it out, loads it, and we watch in a series of quick cuts as she quickly attaches a weapon light, laser sight, silencer, gunner grips... The gun ends up looking completely awesome. She goes deeper, pulling out a Mossberg 500 shotgun. She attaches a strap, and throws it over her shoulder. She sees a paper at the bottom of the package. Lasseter lifts it, and reads it.</scene_description>
<character>LASSETER</character>
<dialogue>...Oh my god.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - CUBICLES</stage_direction>
<scene_description>Douglas sits alone at his desk in the cubicles. He's still clearly a little drunk; the office is empty, and a janitor is vacuuming loudly behind him.</scene_description>
<character>JANITOR</character>
<dialogue>Working late, Petey?</dialogue>
<character>DOUGLAS</character>
<dialogue>I guess that's right.</dialogue>
<character>JANITOR</character>
<dialogue>You boys work hard to keep our country safe.</dialogue>
<character>DOUGLAS</character>
<dialogue>Yeah, I-</dialogue>
<scene_description>His phone rings, and he picks it up.</scene_description>
<character>WE INTERCUT</character>
<dialogue>Between Yates, who's in the Wal-Mart parking lot, and Douglas in his office.</dialogue>
<character>YATES</character>
<dialogue>Why am I hearing that there was a supply drop made over Liman?</dialogue>
<character>DOUGLAS</character>
<dialogue>I- uh-</dialogue>
<character>YATES</character>
<dialogue>Did you use my authorization code to send something to Lasseter. Say yes or say no.</dialogue>
<character>DOUGLAS</character>
<dialogue>...Yes.</dialogue>
<character>YATES</character>
<dialogue>Do you understand that you are assisting the efforts of a ROGUE CIA OPERATIVE acting against national security? Do you know what they call that, when someone is actively working against the interests of their own country?</dialogue>
<scene_description>Douglas is silent.</scene_description>
<character>YATES</character>
<dialogue>And what's the punishment for treason? We shoot you in the head, don't we Petey.</dialogue>
<scene_description>Douglas, alone in the office, is terrified. Despite how silly Yates is, there's an odd, compellingly homicidal edge we've seen glimpses of before, and it's on full display now. The janitor's vacuum seems deafeningly loud.</scene_description>
<character>YATES</character>
<dialogue>Now I know, I am sharply aware that you have a degree of loyalty to Lasseter. But you're not to help her again.</dialogue>
<scene_description>I-</scene_description>
<character>YATES</character>
<dialogue>No, you nothing. She's trying to put me over a barrel, here-</dialogue>
<character>DOUGLAS</character>
<dialogue>A barrel?</dialogue>
<character>YATES</character>
<dialogue>Put you over a barrel, it's an idiom, it means you fuck someone over, someone bent over a barrel, their ass is in the air, they get fucked in the ass. That's what she's trying to do is fuck my ass.</dialogue>
<character>DOUGLAS</character>
<dialogue>I- yes sir-</dialogue>
<character>YATES</character>
<dialogue>Well no, fuck her. You make a report to central for insubordination, you have them search her office, yeah, we find out her source, and we FUCK HER IN THE ASS. She thinks she can put me over a barrel, no, fuck her, BIGGER BARREL, I'm taking it up the line, I got barrels for fuckin days! We are in a full-on hardcore barrel escalation situation, Douglas, don't you forget it!</dialogue>
<scene_description>Yates hangs up, and then does a little fist pump.</scene_description>
<character>BACK WITH</character>
<dialogue>DOUGLAS</dialogue>
<scene_description>Douglas sits in mortified silence, and then his phone rings. He stares at it, not wanting to answer, but then picks it up.</scene_description>
<character>LASSETER</character>
<dialogue>I've got a lead on Howl from Selburg's tracking device, I'm going to pursue it, but in the meantime we have to go public. Call Krueger, tell him-</dialogue>
<character>DOUGLAS</character>
<dialogue>Public- like how public?</dialogue>
<character>LASSETER</character>
<dialogue>Like all the way.</dialogue>
<scene_description>Douglas sits in silence.</scene_description>
<character>LASSETER</character>
<dialogue>Pete? Peter are you there-</dialogue>
<character>DOUGLAS</character>
<dialogue>Yates just officially put you on the watch list. It is my duty to inform you that should you go public with this operation-</dialogue>
<character>LASSETER</character>
<dialogue>Your duty, what the fuck are you saying right now-</dialogue>
<character>DOUGLAS</character>
<dialogue>If you go public with this operation you are committing treason and will be treated as a traitor to the United States of America.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm sorry. I can't help you any more.</dialogue>
<character>LASSETER</character>
<dialogue>Petey wait PETER-</dialogue>
<scene_description>Douglas quickly hangs up. Then, after a short beat, unplugs his phone, and cradles his head in his hands.</scene_description>
<character>WITH LASSETER</character>
<dialogue>Lasseter, standing along in the woods, stares numbly at her phone. After a moment, she regains her composure, and begins walking with fast, hard purpose.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - GYM</stage_direction>
<scene_description>Phoebe is up in the ceiling, her legs dangling out, trying to get further in, while Mike keeps watch.</scene_description>
<character>MIKE</character>
<dialogue>We shouldn't be doin' this. We should just wait, Rose'll come around, he's a good guy, you'll see-</dialogue>
<character>PHOEBE</character>
<dialogue>No, Mike, we are not waiting around here on the judgment of your DRUG dealer.</dialogue>
<character>MIKE</character>
<dialogue>Well what are you gonna do?</dialogue>
<character>PHOEBE</character>
<dialogue>I'm gonna crawl- unh- further in and see if I can get to the next room, and then-</dialogue>
<character>MIKE</character>
<dialogue>Shh.</dialogue>
<character>PHOEBE</character>
<dialogue>What?</dialogue>
<character>MIKE</character>
<dialogue>Do you hear that?</dialogue>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - LIVING ROOM</stage_direction>
<scene_description>Rose, Harold and Quinzin turn, watch as some sort of curtain drops down over all the windows to the outside.</scene_description>
<character>ROSE</character>
<dialogue>...the fuck is this?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROSE'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The entire house has been tented, like for fumigation. BOURBON, an asset with marine-style red mohawk, stands outside of Rose's tented house. He's activating some sort of fumigator, which is pouring a green fog into the house</scene_description>
<character>BOURBON</character>
<dialogue>Puff, the magic dragon, lived by the sea...</dialogue>
<scene_description>A second figure steps into frame.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>The fog is starting to come in.</scene_description>
<character>ROSE</character>
<dialogue>What the fuck is going on...</dialogue>
<scene_description>Rose stands, and there's a noise at the door- ALL THREE MEN OPEN FIRE ON THE DOOR, BLASTING IT TO PIECES AS THE GREEN FOG BEGINS TO ROLL IN-</scene_description>
<character>IN THE GYM</character>
<dialogue>Phoebe's almost all the way up in the ceiling as the sounds of gunfire blare out from the living room.</dialogue>
<character>MIKE</character>
<dialogue>Oh no. Not again man, not again!</dialogue>
<character>IN THE LIVING</character>
<dialogue>ROOM</dialogue>
<scene_description>Rose, Harold and Quinzin are out of ammunition, frantically reloading their guns.</scene_description>
<character>QUINZIN</character>
<dialogue>Were we shooting at nothing-</dialogue>
<character>ROSE</character>
<dialogue>Nah, hell nah, there's something, there's-</dialogue>
<scene_description>The lights cut off for a moment. When they come back up, a new figure stands in the room. It's a skinny, muscular man wearing a sleeveless bullet proof vest. His skin is covered in do-it-yourself tattoos, the scribbling of an insane person, but his hair is short, military cropped. This is NEWTON. He raises a sawed off shotgun.</scene_description>
<character>ROSE</character>
<dialogue>...now who's this freaky motherfu-</dialogue>
<scene_description>NEWTON BLASTS ROSE. Rose is knocked violently backwards by the blast, Big Harold raises the magnum, and Newton dodges three shots, sharply tilting and leaning his body as he swiftly crosses the room to Big Harold, hopping over furniture and strikes him once in the face, killing him, then tucks rolls and somersaults up to strike Quinzin, who's still trying to reload once in the side of the head, killing him as well. Newton killed everyone in the room in roughly four seconds. He pulls on a gas mask, and turns to the gym door as green fog rises all around him.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S HOUSE - GYM - CONTINUOUS</stage_direction>
<scene_description>Phoebe pulls herself all the way up into the ceiling as the door BURSTS OPEN and Newton comes into the blacklights. He raises Quinzin's magnum, and Mike dodges two blasts as they both move towards each-other; again BAM BAM BAM krav maga exchange of hits before Newton KICKS MIKE TO THE GROUND! Phoebe, in the ceiling above him, pulls an amazing "oh shit" face. Her flinching makes enough noise for Newton to notice, and he looks up and starts shooting into the ceiling.</scene_description>
<character>FUCK!</character>
<dialogue>FUCK!</dialogue>
<scene_description>PHOEBE NO! Mike attacks Newton again, and again there's an incredible rapidfire sequence of hits and counters, which ends with Newton flinging Mike into the mirrored wall, shattering it. Mike lands next to the free-weights. Newton advances on Mike when suddenly Phoebe plunges out of the ceiling behind him in a cloud of dust and plaster. She turns and sees the green fog pouring into the room. Newtown turns but-</scene_description>
<character>PHOEBE</character>
<dialogue>His mask, Mike get his mask!</dialogue>
<scene_description>HEY! Newtown turns back to Mike- Mike smashes Newton in the sternum with the free weight, then immediately jerks it up into the bottom of his chin, cracking his jaw! Mike YANKS OFF HIS MASK! Newton staggers backward, coughing and spitting out blood and teeth, and Mike FLINGS THE FREEWEIGHT INTO HIS FACE, SMASH- He falls backwards, covered in blood, and Mike quickly grabs the pull-hook of the bench press machine, and SLAMS IT INTO NEWTON'S THROAT; the weights drop, ripping out Newton's throat and LYNCHING him on the machine!</scene_description>
<character>HA!</character>
<dialogue>FUCK!</dialogue>
<scene_description>In yelling this, Mike inhales the green gas, and staggers, gagging. Phoebe catches him, having put on the gas mask.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROSE'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Bourbon is standing out front, waiting. Phoebe bursts out of the front of the tent, holding Mike, who's vomiting, tears running out of his eyes. Bourbon laughs, drawing a knife.</scene_description>
<character>BOURBON</character>
<dialogue>Oh dear me. Look at you, octopus-</dialogue>
<scene_description>Phoebe fires the shotgun from in between Mike's legs, blowing Bourbon away. Phoebe leans Mike against the house, and pats down Bourbon's corpse, grabbing something. Phoebe hurriedly pulls the staggering Mike</scene_description>
<character>UP THE DRIVEWAY</character>
<dialogue>Towards where their car is parked, next to the ravine, but Mike is staggering too badly, and collapses. Phoebe drops down next to him, throwing aside the gas mask, and then injects Mike with the thing she grabbed from Bourbon.</dialogue>
<character>PHOEBE</character>
<dialogue>Stay awake baby please okay stay awake. That gas was Riofloxin K I gave you something that'll help but you just have to stay awake, look at me, look at me baby-</dialogue>
<scene_description>Mike is pallid and sweaty.</scene_description>
<character>MIKE</character>
<dialogue>I feel sleepy-</dialogue>
<character>PHOEBE</character>
<dialogue>No Mike if you sleep you die, if you sleep you die, that's the way it works is it shuts down your senses one by one, eyes open-</dialogue>
<scene_description>Mike is losing it.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike please stay awake, okay? Please? Listen if you die, what about Rocket Monkey, Mike? What about Chip the Brick? If you die what happens to all your stories they disappear, right? You don't want that, you never even got to write them down! You want to stay awake because if you die, Rocket Monkey dies- Please Mike I love you oh please please stay awake, I love Rocket Monkey I don't want him to go away, please I love you I love you if you just stay awake for ten more seconds-</dialogue>
<scene_description>Mike turns suddenly and vomits. He lays there heaving on the edge of the ravine. Phoebe tries to comfort him, but he swats her away.</scene_description>
<character>WHY. THE FUCK.</character>
<dialogue>WHAT THAT GAS WAS?</dialogue>
<character>DO YOU KNOW</character>
<dialogue>Phoebe is silent.</dialogue>
<character>MIKE</character>
<dialogue>What the FUCK IS GOING ON, PHOEBE.</dialogue>
<scene_description>Phoebe bites her lip, tears welling in her eyes.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike-</dialogue>
<scene_description>WHAT THE FUCK IS GOING ON AHHHHH</scene_description>
<character>PHOEBE</character>
<dialogue>Mike...I'm CIA, okay, I-</dialogue>
<scene_description>AHHHHHHHHHHHHHHHHHHHHHHH</scene_description>
<character>PHOEBE</character>
<dialogue>I'm your handler, I was assigned to you five years ago, and I-</dialogue>
<scene_description>FUCK! FUCKKKKK! WHAT ARE YOU FUCKING SAYING RIGHT NOW! AHHHHHHHHHHHHHHHH! Mike storms back to the car, getting in.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike wait, wait-</dialogue>
<scene_description>She gets into the passenger side.</scene_description>
<character>IN THE CAR</character>
<dialogue>Mike's sitting there in silence. Phoebe looks at him, and then, hesitantly...</dialogue>
<character>PHOEBE</character>
<dialogue>Mike just listen to me, I think I can explain everything that's happening right now-</dialogue>
<character>MIKE</character>
<dialogue>Why should I believe anything you say, you're full of fuckin'- garbage, you're a garbage liar piece of shit person-</dialogue>
<character>PHOEBE</character>
<dialogue>I know, I know-</dialogue>
<character>MIKE</character>
<dialogue>You don't know! You don't care about me, you're a fuckin' bitch, man, you're an asshole-</dialogue>
<character>PHOEBE</character>
<parenthetical>(hard)</parenthetical>
<dialogue>Just let me explain.</dialogue>
<character>MIKE</character>
<dialogue>No don't use your fuckin' grown up voice with me fucking CIA douchebag liar, you don't get to like debrief me or whatever! I'm IN LOVE WITH YOU, you're my whole life! You're the whole reason I do anything, just to spend more time with you, you're the only reason I even ever left the house-</dialogue>
<character>PHOEBE</character>
<parenthetical>(weaker)</parenthetical>
<dialogue>Mike, stop-</dialogue>
<character>MIKE</character>
<dialogue>So you were just sitting there fucking laughing at me, taking orders, and I always wondered how the fuck could someone so wonderful and perfect come into my life, I thought there's no way I could ever deserve someone like you, and you know what, you had me going, you had me thinking that I could do shit, man, for you, and with you, but that's all BULLSHIT isn't it?</dialogue>
<character>PHOEBE</character>
<dialogue>Mike-</dialogue>
<character>MIKE</character>
<dialogue>I don't even know who the fuck you are, I probably don't know your fucking real name! Ugh I want to fucking vomit just thinking about you, and shit! SHIT! You fucked me so many times, was that your job too, you're just a fucking like government nanny prostitute...</dialogue>
<scene_description>Mike trails off, seeing that Phoebe is overcome with emotion, silently weeping, staring at him. Mike stares back, unsure of what to do, then shakes his head violently and repeatedly punches the steering wheel.</scene_description>
<character>MIKE</character>
<dialogue>No! No no NO! You don't get to just fucking fake cry, okay- I know how this works, I know they fucking train you to do this shit and play with my emotions, so stop. Just stop. Stop.</dialogue>
<scene_description>Phoebe continues crying in silence staring at him. STOP.</scene_description>
<character>PHOEBE</character>
<dialogue>Selburg.</dialogue>
<character>MIKE</character>
<dialogue>...What?</dialogue>
<character>PHOEBE</character>
<dialogue>My last name is Selburg, Phoebe is my real name, but my last name is Selburg, Phoebe Selburg-</dialogue>
<character>MIKE</character>
<dialogue>Get out.</dialogue>
<character>PHOEBE</character>
<dialogue>Mike, no-</dialogue>
<character>MIKE</character>
<dialogue>Get out of my car!</dialogue>
<character>PHOEBE</character>
<dialogue>It's my car-</dialogue>
<character>MIKE</character>
<dialogue>GET OUT OF THE CAR!</dialogue>
<scene_description>Phoebe is completely breaking down now in tears.</scene_description>
<character>PHOEBE</character>
<dialogue>No no you have to listen to me it's not like you think it is-</dialogue>
<character>MIKE</character>
<dialogue>GET OUT! No I don't care! STOP TALKING AND GET OUT OF THE CAR! I'M DONE WITH YOU JUST FUCK OFF!</dialogue>
<character>PHOEBE</character>
<dialogue>(sobbing) Please Mike just please- No you have to listen- listen PLEASE-</dialogue>
<scene_description>Phoebe goes silent. They sit there staring at each other. CRASH A CAR IMPACTS THEM FROM BEHIND AND SENDS PHOEBE'S CAR CAREENING OFF THE ROAD.</scene_description>
<character>SLAM TO BLACK.</character>
<dialogue>SECONDS LATER.</dialogue>
<scene_description>The car is upside-down on the edge of the ravine, off the road, next to a rusty tin-waterpass pipe. Mike snaps awake, dazed; he turns to see that Phoebe is being dragged out the passenger side window, kicking and screaming. She's gone. Suddenly, an assault rifle pokes through the window, accompanied by a CRAZY LAUGH- Mike dives</scene_description>
<character>OUT OF THE CAR</character>
<dialogue>As bullets spark all around him, Mike plummets down into the mucky ravine water. He scrambles up to see Laugher standing atop the upside-down car, raising an M-16.</dialogue>
<dialogue>He opens fire, forcing Mike to scramble headfirst into the cramped pipe, which slants diagonally down.</dialogue>
<dialogue>It's EXTREMELY claustrophobic, but Mike sees light at the end of the tunnel, and crawls towards it...and gets stuck midway, his arms sticking out of the tunnel on the other side.</dialogue>
<scene_description>SHIT! FUCK! WHAT IS THIS WINNIE THE POOH SHIT! Laugher walks up, and squats down, looking into the pipe, at Mike's legs. Mike, hearing him approach, goes quiet, squeezing his eyes shut and putting a finger to his own lips. Laugher's face is oddly serious as he stares down at Mike.</scene_description>
<character>LAUGHER</character>
<dialogue>I don't really understand who you are.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>They showed me...they showed me how to do so many things. I was so lost. I think the government is my friend? I don't know. They told me they were doctors? Showed me how to do karate. I did so much training, they showed me how to use all different guns...I saw a swan earlier...I don't know. I think we have to take the Easter Eggs to...Someone, but-</dialogue>
<character>MIKE</character>
<dialogue>Dude what the fuck are you talking about.</dialogue>
<scene_description>Laugher goes quiet, looking at Mike's legs.</scene_description>
<character>LAUGHER</character>
<dialogue>I'm going to do something very bad.</dialogue>
<scene_description>Laugher trudges off. Mike immediately begins struggling but it's funny and pathetic instead of being helpful. From above him, he can hear Laugher moving around, and then, softly:</scene_description>
<character>PHOEBE (O.S.)</character>
<dialogue>Mike, I'm sorry. I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>..YOU'RE A DICK.</stage_direction>
<character>PHOEBE (O.S.)</character>
<dialogue>I didn't want this to happen, I-</dialogue>
<scene_description>There's the abrupt sound of a brutal impact; Phoebe goes silent.</scene_description>
<character>MIKE</character>
<dialogue>Phoebe?</dialogue>
<scene_description>There's a distant laugh.</scene_description>
<character>MIKE</character>
<dialogue>Are you there, what's- what smells like gas?</dialogue>
<character>LAUGHER</character>
<dialogue>Gas.</dialogue>
<scene_description>Laugher is standing up on the road, pouring out a can of gasoline into the ravine, which pours down into the pipe onto Mike's legs.</scene_description>
<character>MIKE</character>
<dialogue>No way man what the shit-</dialogue>
<scene_description>Laugher throws back his head and let's out that trilling, lunatic's laugh.</scene_description>
<character>LAUGHER</character>
<dialogue>I'm gonna burn you in a shithole!</dialogue>
<character>MIKE</character>
<dialogue>No! Don't!</dialogue>
<character>I AM!</character>
<dialogue>I WILL!</dialogue>
<scene_description>NO STOP DON'T NO I WILL I WILL Laugher lights a flare. AHHH I FUCKIN HATE YOU MAN! Laugher tosses the flare down into the ravine, which IGNITES THE GASOLINE, the fire RAPIDLY SPREADING DOWN INTO THE PIPE, pouring straight towards Mike's helpless legs and groin! Lasseter suddenly appears, reaching up- -and pulls out Mike- -Who comes crashing down on top of her, sending them both splashing into the gross pond! Mike struggles up, shoving her away, and she quickly makes the SHH motion and pulls him to cover as burning gas pours out of the pipe. Mike stares at Lasseter, who keeps her finger up. Above them, we can here Laugher's car screech away. Mike runs up to the road; Laugher's already far gone. Phoebe's nowhere to be seen.</scene_description>
<character>MIKE</character>
<dialogue>Shit.</dialogue>
<character>IN THE CAR</character>
<dialogue>Phoebe sits in the back seat, her face covered in blood, holding her broken nose. Laugher, in the front seat, chuckles and starts whistling.</dialogue>
<character>WITH MIKE</character>
<dialogue>Lasseter comes up on the road behind him, approaching him slowly as he looks after the disappearing tail lights.</dialogue>
<character>LASSETER</character>
<dialogue>...Do you know who I am? Do you recognize me?</dialogue>
<scene_description>Mike turns, looking at her.</scene_description>
<character>MIKE</character>
<dialogue>You- You-</dialogue>
<parenthetical>(remembers, long beat)</parenthetical>
<dialogue>You're that woman who fucked those monkeys!</dialogue>
<character>LASSETER</character>
<dialogue>I- you- ...WHAT.</dialogue>
<character>MIKE</character>
<dialogue>On TV, they said you gave the town malaria because you wanted to fuck the disease test monkeys!</dialogue>
<character>LASSETER</character>
<dialogue>...Yates you little-</dialogue>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER - SHORTLY THEREAFTER</stage_direction>
<scene_description>Laugher pushes Phoebe through the doors into the tent. Otis, who's at a computer, hurriedly stands up and salutes; Phoebe gives him the finger. Yates laughs, quickly approaching, tossing her a roll of paper towel, which she swats away.</scene_description>
<character>YATES</character>
<dialogue>Ha! Hello Phoebe Selburg.</dialogue>
<character>PHOEBE</character>
<dialogue>Hello dickless.</dialogue>
<character>YATES</character>
<dialogue>Wha- wow, that's not polite-</dialogue>
<character>PHOEBE</character>
<dialogue>Your assets are unreliable. Where did you find these guys?</dialogue>
<scene_description>Yates doesn't respond.</scene_description>
<character>YATES</character>
<dialogue>Laugher, where's Howl?</dialogue>
<character>LAUGHER</character>
<dialogue>Dead.</dialogue>
<character>PHOEBE</character>
<dialogue>Yeah, where's your confirm on that? With the two dead assets we left at the house? I didn't see a body. The clown here poured a bunch of gasoline down a hole and lit it on fire. Did he look in the hole, no. But you know that, don't you.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Don't you?</dialogue>
<scene_description>Yates stands there chewing gum.</scene_description>
<character>PHOEBE</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Are you not even in audio contact with your assets during ops?</dialogue>
<character>YATES</character>
<dialogue>We can't risk being overheard-</dialogue>
<character>PHOEBE</character>
<dialogue>Via what, why not use secure channels-</dialogue>
<character>YATES</character>
<dialogue>Because we don't have- we don't have full satellite support-</dialogue>
<character>PHOEBE</character>
<dialogue>WHAT? Who authorized this? Where's Krueger, why the fuck is Diane Lasseter on television-</dialogue>
<scene_description>Some of the techs working at computers are looking up. Some of the soldiers too. Yates stands there chewing gum for a moment, regarding Phoebe.</scene_description>
<character>YATES</character>
<dialogue>You're gonna ask me about my authorization? Phoebe fucking Selburg, she who'd rather suck some stoner's cock than turn herself back in for debrief is going to question MY authority?</dialogue>
<parenthetical>(approaches her)</parenthetical>
<dialogue>Oh you think I don't know? This isn't The fucking Notebook, I've read your file, you have no secrets me. Oh I'm sorry the lab-rat retard made you cum a bunch of times in the back of a Taco Bell, that's worth throwing away the most promising CIA undercover in my class? Look at where I am now, I'm in charge of a major operation, look where you are, under departmental arrest for insubordination awaiting trial as of RIGHT NOW where you'll be found guilty and shot by a firing squad, and your nose is broken, and I'm gonna fucking get the comp on the kill, your boyfriend has been burned alive, and if he hasn't, guess what, I'm next leveling. You want to see my authorization? Here, MEASURE MY DICK.</dialogue>
<scene_description>Yates reaches into his pants...and pulls out his phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - DOUGLAS' DESK - CONTINUOUS</stage_direction>
<scene_description>Douglas has his head down on his desk. The phone rings, and he scrambles up, answering it.</scene_description>
<character>YATES</character>
<dialogue>I need a MQ-9 in the sky in one hour. Can you get me that? The answer is yes, thank you. Call me when it's entering my airspace.</dialogue>
<scene_description>Yates hangs up. Douglas stares at the phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER - CONTINUOUS</stage_direction>
<scene_description>(same)</scene_description>
<character>YATES</character>
<dialogue>BOOM, DRONE ON ITS WAY. I will clear this town the fuck out, we're already six civvies down you think if I give a fuck we lose ten more? This has gone past a training exercise, you've got you out there now, a rogue agent, you've got your boy-toy killing government assets, and you've got Lasseter, HA, fucking Lasseter's menopause ridden ass betraying this country at THE HIGHEST LEVEL. This is it. The kid gloves are off.</dialogue>
<scene_description>Phoebe, looking at Yates, realizes he's insane. She looks to Otis, like "Can you believe this?" Otis looks at her hard, emotionless, and Phoebe realizes just how fucked she is.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>So what the dick is going on.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION PARKING LOT</stage_direction>
<scene_description>Lasseter and Mike are sitting in the parking lot of a gas station, around by the dumpsters. Mike is drying off his hair with an old McDonalds wrapper, as Lasseter paces nervously.</scene_description>
<character>LASSETER</character>
<dialogue>Your name...isn't Mike Howell.</dialogue>
<character>MIKE</character>
<dialogue>Oooohhhh shiiiiiiiit. Fuckin...twist. TWIST. In REAL LIFE.</dialogue>
<scene_description>Lasseter falters. He looks at Lasseter, deadly serious.</scene_description>
<character>MIKE</character>
<dialogue>Did you- do me like Ghost Protocol?</dialogue>
<character>LASSETER</character>
<dialogue>Ghost- what?</dialogue>
<character>MIKE</character>
<dialogue>You did me a Ghost Protocol and now I'm alone on the mission-</dialogue>
<character>LASSETER</character>
<dialogue>No, what's- there is no mission, just stop talking and listen-</dialogue>
<character>MIKE</character>
<dialogue>AM I A ROBOT, IS THAT WHAT THIS IS ABOUT-</dialogue>
<character>LASSETER</character>
<dialogue>Wh- NO, Mike, stop.</dialogue>
<character>MIKE</character>
<dialogue>Okay, sorry, okay, I'm going through a lot right now-</dialogue>
<character>LASSETER</character>
<dialogue>Do you remember when you were arrested?</dialogue>
<character>MIKE</character>
<dialogue>When- which time-</dialogue>
<character>LASSETER</character>
<dialogue>When you were eighteen. The acid.</dialogue>
<character>MIKE</character>
<dialogue>Oh, yeah.</dialogue>
<character>LASSETER</character>
<dialogue>That was your third strike. Now I know you don't remember this, but that was when we first met. I was recruiting people for a Program called Wiseman-</dialogue>
<character>MIKE</character>
<dialogue>A computer program?</dialogue>
<character>LASSETER</character>
<dialogue>No, how could you possibly- no. It was a program designed to take third strike misdemeanor offenders and- Listen, Mike, have you familiar with MK Ultra?</dialogue>
<character>MIKE</character>
<dialogue>The videogame?</dialogue>
<character>LASSETER</character>
<dialogue>No not the- there's a?- no.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>MK Ultra was a classified government research operation throughout the 1950s, the objective being the perfection of behavioral engineering.</dialogue>
<character>MIKE</character>
<dialogue>Behavioral enginee-</dialogue>
<character>LASSETER</character>
<dialogue>Training brain function, physical strength and stamina, strategic thinking, language, sharpening reflexes, response times and memory to a degree that would seem, to a normal person...super human.</dialogue>
<character>MIKE</character>
<dialogue>How?</dialogue>
<character>LASSETER</character>
<dialogue>A variety...a variety of ways. Chemicals...drugs, along with hypnosis, sensory deprivation, isolation, and various...various procedures that could be described as...torture-</dialogue>
<character>MIKE</character>
<dialogue>You did this to me? This is me, one of the super-soldiers?</dialogue>
<character>LASSETER</character>
<dialogue>You were in the program for four years. The directive of my program, Project Wiseman, was to take third strike offenders who volunteered and-</dialogue>
<scene_description>HEY! Lasseter and Mike look up.</scene_description>
<character>LASSETER</character>
<dialogue>What?</dialogue>
<scene_description>YOU'RE THE LADY FROM TV!</scene_description>
<character>LASSETER</character>
<dialogue>What? No?</dialogue>
<character>GAS STATION ATTENDANT</character>
<dialogue>...You fuck monkeys!</dialogue>
<scene_description>Lasseter reaches down into her coat and draws her pistol, firing it at his feet; the bullets plink off the asphalt, and he runs back inside.</scene_description>
<character>SHIT!</character>
<dialogue>The gas station attendant runs inside.</dialogue>
<character>YOU'RE CRAZY!</character>
<dialogue>Lasseter turns back</dialogue>
<scene_description>to Mike.</scene_description>
<character>LASSETER</character>
<dialogue>You were by far the stand out of the program; most of the assets were failures, but you, your test results were off the chart. But one success simply wasn't enough. The program was cancelled, and all the agents were wiped.</dialogue>
<character>MIKE</character>
<dialogue>...You erased my memories. Fucked with my head and left me here as mayor of Idiotville, with a fake ass girlfriend to watch over me.</dialogue>
<character>LASSETER</character>
<dialogue>Why do you think you never go to court? Why do you think you've never even thought of contacting your parents, why do you think you're afraid to leave the town? You have been living half a life.</dialogue>
<scene_description>Mike looks straight ahead, miserable.</scene_description>
</scene>
<scene>
<stage_direction>INT. GAS STATION - CONTINUOUS</stage_direction>
<scene_description>The gas station attendant is on the phone.</scene_description>
<character>GAS STATION ATTENDANT</character>
<dialogue>No, I guarantee you, it's the lady from TV!</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Lasseter leans in, concerned.</scene_description>
<character>LASSETER</character>
<parenthetical>(trying to comfort him)</parenthetical>
<dialogue>This isn't you, you know? This wasn't always you. The anxieties, the phobias, we did that to you, to protect you. You understand? To protect not just our investment, but your life.</dialogue>
<scene_description>There's a long beat.</scene_description>
<character>MIKE</character>
<dialogue>Turned me into Boner T. Moron, cuz you were done with me. Boner T. Moron, the Mayor Of Idiotville.</dialogue>
<character>LASSETER</character>
<dialogue>No, you were...You were always SORT of like this, but-</dialogue>
<character>MIKE</character>
<dialogue>Why are they trying to kill me now?</dialogue>
<character>LASSETER</character>
<dialogue>...After my program was deemed a failure, it was handed to a man named Adrian Yates to be dismantled; it was meant to be a temporary assignment, he was only supposed to help shut the program down, but Yates developed a new system, around my guidelines-</dialogue>
<character>MIKE</character>
<dialogue>What?</dialogue>
<character>LASSETER</character>
<dialogue>There is VERY LITTLE oversight at this level of top secret, especially on a cancelled program. Yates restructured, he cut corners; he wants to make a big impression-</dialogue>
<parenthetical>(off Mike's blank look)</parenthetical>
<dialogue>He's using my old wiped agents as training targets for his new ones-</dialogue>
<character>MIKE</character>
<dialogue>What!? They're just murdering people who have no idea what's going on?</dialogue>
<character>LASSETER</character>
<dialogue>...That's right. Yates is-</dialogue>
<character>MIKE</character>
<dialogue>But those guys, they shot police, they murdered Rose-</dialogue>
<character>LASSETER</character>
<dialogue>That's because they're unpredictable. The new assets aren't first strike offenders. And they're not military volunteers.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>To get around regulations, Yates is pulling from a different criminal pool. ...Offenders deemed unfit to stand trial.</dialogue>
<character>MIKE</character>
<dialogue>So you're saying...Mental patients?</dialogue>
<character>LASSETER</character>
<dialogue>Yes...Schizophrenics, severe bipolar, clinical psychotics-</dialogue>
<character>MIKE</character>
<dialogue>Crazy people? This dude was giving HIGH TECH NINJA MATRIX TRAINING to FUCKING CRAZY PEOPLE?</dialogue>
<scene_description>Lasseter reluctantly nods. WHAT THE FU-</scene_description>
</scene>
<scene>
<stage_direction>EXT. KRUEGER'S HOME - DAWN</stage_direction>
<scene_description>The sun is just starting to come up over the home of Raymond KRUEGER. We can faintly hear music.</scene_description>
</scene>
<scene>
<stage_direction>INT. KRUEGER'S HOME - KITCHEN</stage_direction>
<scene_description>"TEACH ME HOW TO DOUGIE" is playing very loud on an iPod speaker. BUGGY Krueger and ADRIANA Krueger, respectively 9 and 15, black, are dancing in the kitchen while eating breakfast. Raymond KRUEGER, 62, white, paunchy and broad, the quintessential CIA higher-up, is dancing with them, being taught how to do the Dougie. He's actually a pretty good dancer.</scene_description>
<character>BUGGY</character>
<dialogue>You gotta put more lean into it dad-</dialogue>
<character>KRUEGER</character>
<parenthetical>(more lean)</parenthetical>
<dialogue>Like this?</dialogue>
<character>BUGGY</character>
<dialogue>Yeah that's right.</dialogue>
<character>KRUEGER</character>
<dialogue>I put some hips into it like this-</dialogue>
<character>ADRIANA</character>
<dialogue>Oh no, you got sex appeal now-</dialogue>
<character>KRUEGER</character>
<dialogue>See, I get the hands too- hands- elbows- boom boom-</dialogue>
<character>ADRIANA</character>
<dialogue>Ah yeah, boom boom-</dialogue>
<character>BUGGY</character>
<dialogue>Dad you're a good dancer!</dialogue>
<character>KRUEGER</character>
<dialogue>Well I-</dialogue>
<scene_description>There's an odd, loud tone from the landline. Krueger's expression changes, the smile dropping from his face as he stares at it. In fact, the smile doesn't just disappear, it's replaced. Replaced by an otherworldly chill, a look so intense and frightening it could only come from a cold, hardened killer.</scene_description>
<character>KRUEGER</character>
<dialogue>Wake up your mother. Tell her she's going to have to drive you to school today.</dialogue>
<scene_description>The two children go quiet. They know he means business. He walks into the</scene_description>
<character>STUDY</character>
<dialogue>And closes, then locks the door, before finally picking up the beeping landline.</dialogue>
<character>KRUEGER</character>
<dialogue>Kilo Baritone Polo. This is Krueger.</dialogue>
<character>HARDCUT TO:</character>
<dialogue>Douglas sits in his cubicle, clearly shitting his pants. After a long beat:</dialogue>
<character>DOUGLAS</character>
<dialogue>Hiiiiiiiiiiiiiiiiiiiiiiiiiii.</dialogue>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER</stage_direction>
<scene_description>Yates is sitting and looking at a picture of Mike on a laptop, drumming his fingers. He notices Phoebe, who's seated over to the right of him, being watched by Laugher. Yates stares at her and she stares back.</scene_description>
<character>PHOEBE</character>
<dialogue>What is the number, now?</dialogue>
<scene_description>Yates is quiet.</scene_description>
<character>PHOEBE</character>
<dialogue>What are the numbers on this op? Do you even know?</dialogue>
<scene_description>One of the techs, at a computer, speaks up.</scene_description>
<character>TECH</character>
<dialogue>Sir, we've got a sighting. Both subjects, headed east on Perryman way.</dialogue>
<character>PHOEBE</character>
<dialogue>Looks like he's still alive after all.</dialogue>
<scene_description>Yates flinches, and then throws a pen at Laugher; it plinks off his face.</scene_description>
<character>YATES</character>
<parenthetical>(after a beat)</parenthetical>
<dialogue>They're going back to the house.</dialogue>
<character>PHOEBE</character>
<dialogue>He wouldn't go back to the house. He's stupid, not retarded.</dialogue>
<character>YATES</character>
<parenthetical>(ignoring her)</parenthetical>
<dialogue>Otis, we still have Beedle on the house right?</dialogue>
<character>OTIS</character>
<dialogue>That's right.</dialogue>
<character>YATES</character>
<dialogue>You go. You go YOURSELF and oversee the capture or termination of Lasseter and Asset Howl.</dialogue>
<scene_description>I- NOW THANK YOU, NOW.</scene_description>
<character>OTIS</character>
<dialogue>Sir yes sir.</dialogue>
<scene_description>Otis heads out. Yates, straightens his hair, and then lights a cigarette. He looks up to see Phoebe staring at him.</scene_description>
<character>YATES</character>
<dialogue>The fuck are you looking at?</dialogue>
<scene_description>Phoebe doesn't react. Yates looks around, and sees all the techs are looking at him too. There's a beep, and a tech speaks up.</scene_description>
<character>TECH</character>
<dialogue>MQ-9 just entered Liman's airspace.</dialogue>
<character>YATES</character>
<dialogue>Can we call it from here?</dialogue>
<character>TECH</character>
<dialogue>No sir, only central can call it.</dialogue>
<character>YATES</character>
<dialogue>But I've got the authorization, right?</dialogue>
<character>TECH</character>
<dialogue>Yes sir.</dialogue>
<character>YATES</character>
<dialogue>Right. Tell them to ready a strike on Asset Hotel Hotel.</dialogue>
<character>PHOEBE</character>
<dialogue>You're...you're going to blow up my house.</dialogue>
<scene_description>Yates smirks, tapping his forehead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHOEBE'S HOUSE - DAWN</stage_direction>
<scene_description>Mike approaches, Lasseter following him, angry. The sun is just starting to rise.</scene_description>
<character>LASSETER</character>
<dialogue>I am begging you, BEGGING you not to go in there, he could have snipers taking aim at us right now-</dialogue>
<character>MIKE</character>
<dialogue>Then let them shoot us, who cares-</dialogue>
<character>LASSETER</character>
<dialogue>I CARE, I don't want to die, and I don't want you to die either-</dialogue>
<character>MIKE</character>
<dialogue>I'm going home, I'm going to sleep-</dialogue>
<character>LASSETER</character>
<dialogue>WHAT ARE YOU TALKING ABOUT? Mike you can't do that, we have to keep you alive until someone at the Pentagon can see what's happened, can rectify-</dialogue>
<character>MIKE</character>
<dialogue>WAIT? That's your plan? You're as stupid as the other guy! Did you call anyone? Is anyone even listening to you? Have you ever been on like, missions and shit, are you a secret agent or just like, a desk person? Do the people at the Pentagon even know you're here? Does anyone even care?</dialogue>
<scene_description>Lasseter is silent.</scene_description>
<character>MIKE</character>
<dialogue>You're both fuckin crazy, crazy people. I have accepted that I am going to die, okay? I'm not even the person I thought I was, and my whole life is total bullshit, so who cares, right? WHO CARES? If I die, I'm gonna die stoned, in my bed, you can go or you can stay.</dialogue>
<scene_description>Mike unlocks his front door, and Lasseter steps back, raising her shotgun. But he enters without incident. Lasseter looks around, helpless, and then follows him inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SKY - CONTINUOUS</stage_direction>
<scene_description>The MQ-9 strike drone banks and turns around in the sky.</scene_description>
<character>AT THE PENTAGON</character>
<dialogue>Yates sits with a laptop, communicating with Airforce command via video chat.</dialogue>
<character>AIRFORCE COMMAND</character>
<dialogue>Repeat, confirm target coordinates 58-91-10 local.</dialogue>
<character>DOUGLAS</character>
<dialogue>Confirm.</dialogue>
<character>AIRFORCE COMMAND</character>
<dialogue>Targeting in progress, awaiting confirmation to strike.</dialogue>
<scene_description>Douglas' cell phone rings, and he lifts it, answering it without looking.</scene_description>
<character>SCOTT</character>
<dialogue>Hey Pete, it's Scott.</dialogue>
<scene_description>Douglas' face freezes, realizing he made a mistake answering.</scene_description>
<character>INTERCUT WITH</character>
<dialogue>Scott at home.</dialogue>
<character>SCOTT</character>
<dialogue>Do you know where my mom is? She didn't come home last night-</dialogue>
<scene_description>Douglas hurriedly hangs up, and then chucks the phone across the office; a young CIA woman is coming in, and it smacks her in the face; she spills her coffee and falls on the ground. Douglas instinctively ducks behind his desk.</scene_description>
<character>AIRFORCE COMMAND</character>
<dialogue>Douglas? Agent Douglas?</dialogue>
<scene_description>Douglas peeks up over the desk.</scene_description>
<character>DOUGLAS</character>
<dialogue>Still here.</dialogue>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE - BEDROOM</stage_direction>
<scene_description>Mike picks up the horrible stuffed bear, and goes into the bedroom. He sits down on the bed, hugging it. He stares at his feet. After a moment he begins crying.</scene_description>
<character>IN THE LIVING</character>
<dialogue>ROOM</dialogue>
<scene_description>Lasseter is standing awkwardly with her shotgun, looking around, nervous. She notices all the pictures of Rocket Monkey and Chip the Brick on the ground.</scene_description>
<character>LASSETER</character>
<dialogue>Who's Rocket Monkey?</dialogue>
<scene_description>Mike, still crying in the other room, shouts back a response.</scene_description>
<character>MIKE</character>
<dialogue>He's a monkey astronaut, I made him up. He goes on adventures.</dialogue>
<scene_description>Lasseter looks down, ashamed, sad.</scene_description>
<character>LASSETER</character>
<dialogue>You know, Selburg was supposed to come back in.</dialogue>
<scene_description>Mike blinks, annoyed.</scene_description>
<character>LASSETER</character>
<dialogue>When you were in the program, she was your number one. As all the other assets in the program failed out, you just kept suceeding...She had so much faith in you. She believed in you, and you showed her kindness, warmth, even then. Phoebe didn't have a lot of that, growing up...</dialogue>
<scene_description>We become subtly aware that there is another person in the room with her; a VERY MUSCLEBOUND military asset, who has camouflaged himself into the mess. This is BEEDLE. As Lasseter speaks, Beedle slowly extracts himself from the camouflage.</scene_description>
<character>LASSETER</character>
<dialogue>She was just supposed to help you get set up in the town, and then she was going to leave you. Over time, her faith in you, the nature of it had...changed.</dialogue>
<character>LASSETER</character>
<dialogue>We were going to fake her death and give her a promotion, but she...I've actually never seen this in undercover work, she decided to stay with you. She gave up everything, her whole 'real life.'</dialogue>
<scene_description>Mike sits up, listening, wiping his tears.</scene_description>
<character>LASSETER</character>
<dialogue>I thought you should know that. I don't suppose it means much now but-</dialogue>
<scene_description>BEEDLE SILENTLY STRIKES LASSETER FROM BEHIND-</scene_description>
<character>IN THE BEDROOM</character>
<dialogue>Mike perks up, even though there's barely a sound.</dialogue>
<character>MIKE</character>
<dialogue>Miss Lasseter?</dialogue>
<character>IN THE LIVING</character>
<dialogue>ROOM</dialogue>
<scene_description>Beedle slams Lasseter against the wall, and begins beating the holy hell out of her- It's terrifying. We are witnessing a super agent toying with a forty five year old woman like a cat torturing a lizard, it's horrible to watch, WHAM WHAM WHAM WHAM! Mike is suddenly in the room next to Beedle, hurling a lamp at him! Beedle dodges, and Mike flings the Playstation at him, then beer bottle after beer bottle, rotten microwave meals; the mess state of the kitchen gives Mike a LOT of stuff to throw. Beedle suddenly advances, and lands some huge, bone-jarring hits on Mike, but Mike grabs the ratty rug under, him, and PULLS IT OUT- HA FUCK YOU Beedle staggers, and Mike GRABS HIS ARM-</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHOEBE'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Otis drives up in a jeep, just as Beedle comes CRASHING OUT THE FRONT WINDOW. Mike appears in the window, wielding the shotgun, and fires at Otis three times. Otis drops out of the jeep, taking cover and unslinging an AR- 10 assault rifle. He returns fire, and Mike drops, ducking out of sight, as Beedle starts to stand. Otis raises his walkie-talkie. ASSET HOWL CONFIRMED ON SIGHT, I AM ENGAGED NOW.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER - CONTINUOUS</stage_direction>
<scene_description>Yates nods.</scene_description>
<character>YATES</character>
<dialogue>Copy that.</dialogue>
<parenthetical>(sets down his walkie- talkie)</parenthetical>
<dialogue>Drone strike is a go, call it.</dialogue>
<character>TECH</character>
<dialogue>But what about-</dialogue>
<scene_description>STRIKE IS A GO, CALL IT NOW.</scene_description>
<character>TECH</character>
<dialogue>We are go for strike.</dialogue>
<character>AT THE PENTAGON</character>
<dialogue>Douglas, slumped behind his desk, moans nervously.</dialogue>
<character>DOUGLAS</character>
<dialogue>Go for strike.</dialogue>
<character>AIRFORCE COMMAND</character>
<dialogue>Moving into attack position.</dialogue>
<character>IN THE SKY</character>
<dialogue>The drone banks, and swoops low, zooming in over the suburban neighborhood</dialogue>
<character>IN PHOEBE'S</character>
<dialogue>HOUSE</dialogue>
<scene_description>Mike flips Lasseter her over, dragging her to the bedroom door, grabs her pistol out of her holster, hops over her and tosses her the shotgun as the front door flies off the hinges. Lasseter hides into bedroom, as Mike dives for cover in the kitchen. Otis begins SHREDDING THE KITCHEN WITH GUNFIRE, as Mike hugs the ground, destroyed garbage falling all around him.</scene_description>
<character>IN THE BEDROOM</character>
<dialogue>Beedle comes crashing through the bedroom window, and Lasseter rolls under her the bed. Beedle hops over the bed, and goes to the doorframe, not seeing her, but Mike, pinned down by Otis, takes a shot at him.</dialogue>
<character>IN THE KITCHEN</character>
<dialogue>Otis, seeing that he has Mike pinned on both sides, smiles slightly and continues swiss-cheesing the kitchen. Pots and pans fall all around him.</dialogue>
<character>AT THE</character>
<dialogue>GOVERNMENT</dialogue>
<character>COMMAND CENTER</character>
<dialogue>YATES</dialogue>
<scene_description>Fire.</scene_description>
<character>IN THE PENTAGON</character>
<dialogue>Douglas sits with his head in his hands.</dialogue>
<scene_description>I SAID FIRE.</scene_description>
<character>IN THE BEDROOM</character>
<dialogue>Lasseter comes up on the other side of the bed, unseen by Otis, shoves the shotgun up Horrible Bear's ass, swings it up one handed into Beedle's face just as he turns-</dialogue>
<character>IN THE KITCHEN</character>
<dialogue>There's a soft "whud" from the bedroom.</dialogue>
<character>OTIS</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Beedle?</dialogue>
<scene_description>Mike pops up and turns on the broken microwave- WHICH EXPLODES INTO FLAME, STARLING OTIS, who starts firing blindly- Mike closes his eyes, takes a deep breath, and then grabs a saucepan and throws it straight up into the air-</scene_description>
<character>WE GO INTO SLOW</character>
<dialogue>MOTION AS</dialogue>
<scene_description>It arcs up, flipping and turning; Otis looks at it confused, and then, we</scene_description>
<character>LAUNCH BACK INTO</character>
<dialogue>NORMAL SPEED</dialogue>
<scene_description>As Mike fires a single shot up into the airborne pan, and it RICOCHETS OFF, STRIKING OTIS IN THE CHEST. WHAT. THAT WAS SO AWESOME. The pot clatters to the ground, and Otis falls. Mike sits there motionless, then peeks out, seeing Otis laying on the floor..</scene_description>
<character>MIKE</character>
<dialogue>Whoa-ho-ho. Hoooooo. Hoooooof.</dialogue>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT FIELD OPS CENTER - CONTINUOUS</stage_direction>
<scene_description>Yates, having heard the gunshot, lifts his communicator.</scene_description>
<character>YATES (ON PHONE)</character>
<dialogue>Drop it now, the fuck are you waiting for you idiot!? DROP IT NOW.</dialogue>
<character>IN THE PENTAGON</character>
<dialogue>Douglas slumped staring into the distance.</dialogue>
<character>AIRFORCE COMMAND</character>
<dialogue>Please confirm deployment.</dialogue>
<scene_description>Douglas slams closed his laptop, and then hangs up the phone.</scene_description>
<character>DOUGLAS</character>
<parenthetical>(quietly to himself)</parenthetical>
<dialogue>No. Fuck you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PORTLAND INTERNATIONAL AIRPORT - TARMAC - SUNRISE</stage_direction>
<scene_description>Krueger is standing alone in cold light of the Oregon sunrise. He checks his watch.</scene_description>
<character>KRUEGER</character>
<dialogue>Okay.</dialogue>
<scene_description>He clicks his watch, starting a timer.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOEBE'S HOUSE - KITCHEN</stage_direction>
<scene_description>Mike is standing in his kitchen, smoking a bowl. He surveys the destruction of the living room, and sighs.</scene_description>
<character>MIKE</character>
<dialogue>Whoa, this room's fuuuuucked up.</dialogue>
<scene_description>Lasseter limps out of the bedroom.</scene_description>
<character>MIKE</character>
<dialogue>Did you kill the big jacked guy?</dialogue>
<scene_description>Lasseter gives a pained nod, and then slumps against the wall, falling to the floor. She sees Otis, who's dying.</scene_description>
<character>LASSETER</character>
<dialogue>Otis. How'd you get tied up into this?</dialogue>
<character>OTIS</character>
<parenthetical>(weak, dying)</parenthetical>
<dialogue>They told me the call came in. They told me it was the new Wiseman.</dialogue>
<character>LASSETER</character>
<dialogue>But you must've known. All this insanity, you must've known-</dialogue>
<character>OTIS</character>
<dialogue>It's not my job to "know," you know that. Who was I gonna call, Miss Lasseter? ...top secret...Who was I gonna...call...</dialogue>
<scene_description>Otis dies. The kitchen landline starts ringing. Lasseter, pained, rolls over.</scene_description>
<character>LASSETER</character>
<dialogue>Don't answer that.</dialogue>
<character>MIKE</character>
<dialogue>What if it's the mean government people?</dialogue>
<character>LASSETER</character>
<dialogue>It definitely is.</dialogue>
<character>MIKE</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>What about Phoebe?</dialogue>
<character>LASSETER</character>
<dialogue>Selburg will be fine, but you can't-</dialogue>
<scene_description>Mike awkwardly puts a finger to her lips, silencing her.</scene_description>
<character>MIKE</character>
<dialogue>You have been a good mom to me. I don't really remember my mom and I assume that's kind of your fault but I want you to know if I had a mom that I remembered I'd hope she fought jacked dudes and was a top secret bad-ass just like you, except didn't fuck me over and replace my memories and make my life all fake too. I am proud of you, fake-mom. You are a real stupid idiot.</dialogue>
<character>LASSETER</character>
<dialogue>Mike wait-</dialogue>
<scene_description>Mike answers the phone.</scene_description>
<character>YATES (ON PHONE)</character>
<dialogue>...Hello?</dialogue>
<character>MIKE</character>
<dialogue>Hello?</dialogue>
<character>YATES (ON PHONE)</character>
<dialogue>Who's this?</dialogue>
<character>MIKE</character>
<dialogue>You first?</dialogue>
<character>WE CUT BACK AND</character>
<dialogue>FORTH BETWEEN</dialogue>
<scene_description>Yates at the command center and Mike.</scene_description>
<character>YATES (ON PHONE)</character>
<dialogue>...Aw shit. Aw...fuuuck. It's you, isn't it, it's Mike Howell-</dialogue>
<character>MIKE</character>
<dialogue>Yes. Is this...the bad guy?...speaking?</dialogue>
<scene_description>Lasseter facepalms.</scene_description>
<character>YATES</character>
<dialogue>Is the house not all...on fire? Big crater?</dialogue>
<scene_description>MIKE Uhhh...No man, the house is basically normal. YATES ..................Okay.... MIKE So...what are you doing?</scene_description>
<character>YATES</character>
<dialogue>What?</dialogue>
<scene_description>MIKE What's the plan now? YATES I'm sorry what? MIKE Like do you wanna...be friends, or- YATES NO I DON'T WANNA FUCKING BE FRIENDS. Do you understand- can you comprehend the scale of fuck-up you are causing!? This is all your fault, you're the goddamn fart in the machine- MIKE Don't call me a fart YOU'RE a fart- I AM NOT MIKE Yes you are you're a dickfart- NO YOU NO YOU</scene_description>
<character>YATES</character>
<dialogue>OKAY WHAT FUCK, stop, shit, jesus. Look, okay, let's be friends. You want to be friends, we can be friends. Okay. This is retarded, oh my god. Okay.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You wanna come visit us, we're at the Wal-Mart.</dialogue>
<character>MIKE</character>
<dialogue>On Wilson?</dialogue>
<character>YATES</character>
<dialogue>Yes.</dialogue>
<character>MIKE</character>
<dialogue>Why, I mean, what would we do?</dialogue>
<scene_description>Yates eyes Phoebe.</scene_description>
<character>YATES</character>
<dialogue>You wanna talk to Phoebe?</dialogue>
<character>MIKE</character>
<dialogue>No, fuck her.</dialogue>
<scene_description>Yates draws his pistol, and points it at Phoebe's head.</scene_description>
<character>YATES</character>
<dialogue>Fuck her? So if I shot her in the head right now, you're chill, you're chill with that, it's all chill, ooh shaggy-doo, it's all cool dude?</dialogue>
<character>MIKE</character>
<parenthetical>(long, conflicted beat)</parenthetical>
<dialogue>No, that wouldn't be cool.</dialogue>
<scene_description>Yates laughs, and tosses Phoebe the phone. She catches it, and stares at it.</scene_description>
<character>YATES</character>
<dialogue>Go on. Say something.</dialogue>
<scene_description>Phoebe steels herself.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike, Mike just listen okay. I'm sorry I lied to you, I'm so sorry but listen, don't let them win, don't let them kill you, and I know you won't but they're going to kill me if you don't come get me, and if you hate me then I'll understand, and if you come get me you're walking into a trap, and I know you're scared but Mike, if you think you can do this, you CAN, okay, you're better than these guys, and I believe in you Mike, I always did, I believe in you and I love you and you can come or not come either way just please forgive me I love you I love you I-</dialogue>
<scene_description>Yates takes the phone, and hangs up. Phoebe sits sobbing, and breathing hard. He stands watching her.</scene_description>
<character>YATES</character>
<dialogue>Is he coming or not?</dialogue>
<character>SLAM TO:</character>
<dialogue>Mike stands in his bullet riddled kitchen, tears streaming down his face. He sets down the phone, staring at it.</dialogue>
<dialogue>He mutters something, inaudible, then straightens himself, pulling his shit together.</dialogue>
<character>LASSETER</character>
<dialogue>Mike? What are you doing?</dialogue>
<character>MIKE</character>
<dialogue>Don't fucking...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Don't fuck with my girlfriend.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - OFFICES</stage_direction>
<scene_description>Douglas is sitting in a meeting room, laying on the desk. He's taken off his shoes, and lays staring at the ceiling, repeatedly tossing and catching a koosh ball. The koosh ball is SNATCHED OUT OF THE AIR. The room is FILLED with government agents, holding guns on him.</scene_description>
<character>DOUGLAS</character>
<dialogue>Okay. Great. This is just perfect. What a shitty night.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAL-MART</stage_direction>
<scene_description>Yates stands looking out at the dawn light, smoking a cigarette.</scene_description>
<character>YATES</character>
<dialogue>This sucks. This truly sucks. But you're okay, you're gonna get it done. There's winners and there's losers. You're a winner. You're gonna get it done. That's what winners do, we get it done, we-</dialogue>
<scene_description>Techs begin walking past him, hauling equipment. They're dismantling the base.</scene_description>
<character>YATES</character>
<dialogue>What is this? Where are you going?</dialogue>
<character>TECH</character>
<dialogue>They pulled the operation, they're saying anyone who doesn't report back to debrief is acting against interests of POTUS.</dialogue>
<character>YATES</character>
<dialogue>POTUS? How the fuck is the President involved, he's not-</dialogue>
<character>TECH</character>
<dialogue>He is now, sir.</dialogue>
<scene_description>Yates stands there, flummoxed, and then turns and hurries to the big eighteen wheeler, opening the door.</scene_description>
<character>YATES</character>
<dialogue>ALL ASSETS OUT, NOW, you are all CODE THREE, on ME.</dialogue>
<scene_description>The remaining thirteen men begin unloading from the truck, swarming around Yates; they all look like what they are, highly trained psychotic supersoldiers. Yates turns, and sees Otis' jeep coming up the street, very quickly.</scene_description>
<character>YATES</character>
<dialogue>Otis' jeep? What the fuck is-</dialogue>
<scene_description>ILLEGAL FIREWORKS BEGIN LAUNCHING FROM THE edge of the parking lot, AT GROUND LEVEL. Lasseter is FIRING THEM FROM COVER. FUCK! WHAT? NO SHIT FUCK! Yates turns, and starts back towards the tent, which is STRUCK BY A FIREWORK AND EXPLODES, flooring Yates as the jeep, driven by Mike, comes skidding into the lot. Fire works start streaking in all over the place, exploding at ground level; the chaos of light and sound this causes is INCREDIBLE. The tent COLLAPSES, techs running everywhere in panic.</scene_description>
<character>YATES</character>
<dialogue>Laugher! BRING SELBURG! WITH ME, NOW!</dialogue>
<scene_description>Yates shoots out the front door of the Wal-Mart. Laugher, dragging Phoebe, approaches, with the rest of the assets following. THE JEEP IS DRIVING STRAIGHT TOWARDS THEM, FIREWORKS FIRING OFF FROM INSIDE IT!</scene_description>
<character>YATES</character>
<dialogue>Shit, shit, FALL BACK, FALL BACK! Form a defensive line, we'll take him out inside!</dialogue>
</scene>
<scene>
<stage_direction>INT. WAL-MART - CONTINUOUS</stage_direction>
<scene_description>The Wal-Mart is dark as Yates and the assets enter. Yates, with Laugher dragging Phoebe in tow, hurries towards the back as the rest of the assets follow loosely and then- THE JEEP COMES crashing through the front doors of the Wal- Mart, fireworks EXPLODING INDOORS. The assets are dazed. Mike HOPS OUT, and we enter a THE MOST EPIC TRACKING SHOT YOU EVER DID SEE: Mike encounters an asset immediately at check-out; he hops the counter, throws a magazine in the guy's face, and then SMASHES HIM WITH THE DIGITAL CASH REGISTER- Mike moves into the first aisle, cosmetics, an asset rushing up to him- Mike fights him for a moment before knocking him away, grabbing hairspray off the shelf, raises a lighter- BOOM THE GUY'S ON FIRE- Mike grabs eyeliner pencil and SLAMS IT INTO THE ASSETS EYE- He ducks around the corner- An asset attacks- Mike fights him before grabbing dish soap off the shelf and spraying him in the face, then nabbing a dustpan-dustbrush combo- another asset rushes him and after a few blocks Mike slams the dustpan into his neck, slicing it, then turns and DRIVES THE DUSTBRUSH into the side of the blinded agent's face- He grabs some Lemon Pledge off the shelf, and a mop and moves to the next aisle, nearly catching up to Yates-</scene_description>
<character>HOLY FUCKING SHIT!</character>
<dialogue>HOLY SHIT!</dialogue>
<scene_description>Yates shoves three assets at him, and Mike faces them ALL with the Lemon Pledge, and then begins beating them with the mop before realizing he's in kitchenwares, and grabs a set of kitchen knives, dumping it out onto the floor- Everyone scrambles to pick up the knives and Mike QUICKLY GRABS KNIVES, PINNING TWO OF THE ASSETS HANDS TO THE FLOOR, THEN STANDS- And is slashed THREE TIMES by the remaining asset. Mike staggers back, then pops up and SLAMS A MEAT CLEAVER INTO THE ASSET'S HEAD, before curbstomping one of the downed assets and punting the other- RAHHHHHHHHHHHHHHHHH! Mike charges into the next aisle, grabbing a teapot as he goes, and Yates takes a shot at him; he ducks to cover and is ATTACKED BY AN ASSET, punches and kicks before MIKE JAMS THE TEAPOT STRAIGHT INTO THE GUY'S FACE, KILLING HIM. WOW, this is a lot of action to write out, let's hope you're having more fun reading it than if I just wrote "Mike goes ape on these motherfuckers."</scene_description>
<character>PHOEBE</character>
<dialogue>You can't stop him Yates, just let me go! He doesn't care about you, he just-</dialogue>
<scene_description>Yates PUNCHES PHOEBE IN THE FACE.</scene_description>
<character>YATES</character>
<dialogue>COME ON, we're going out the back! YOU TWO, STOP HIM PLEASE.</dialogue>
<scene_description>Laugher drags her along. Back with Mike, he's confronted by three assets- He's in the garden aisle. Everyone realizes where they are, and immediately goes to grab weapons- MIKE CHARGES THEM WITH A PITCHFORK. One goes down, but the other two pincher Mike, repeatedly kicking and punching him- He grabs a can of RAID of the shelf and GETS THEM BOTH IN THE FACE, then picks up a garden sheers and STABS A DUDE IN THE HEART. The other asset, he sprays with more Raid and then bashes him with the can before jumping over him into THE HARDWARE AISLE, where he's confronted by the remaining four assets- MIKE DRAWS OUT ONE OF THE ILLEGAL FIREWORKS AND LIGHTS IT- KABOOM! When the smoke clears, noise is gone, replaced by a piercing ringing, and everything is colorfully on fire. Mike stands up, grabbing a rubber mallet off a burning shelf, and walks through the assets, SMASHING THEIR HEADS LIKE WHACKAMOLE as they start to recover. Yates, seeing Mike approaching looking like the mother- fuckering terminator, grabs Phoebe by the hair and yanks her to her feet.</scene_description>
<character>MIKE</character>
<parenthetical>(to Laugher)</parenthetical>
<dialogue>For fucksakes, KILL HIM.</dialogue>
<character>LAUGHER</character>
<dialogue>Yeah okay.</dialogue>
<scene_description>Laugher starts towards Mike, as Yates retreats back into an Employees Only hallway. ...But Mike is suddenly gone. Laugher looks around, confused.</scene_description>
<character>LAUGHER</character>
<dialogue>...Don't hide. Come out. Don't hide. I want to talk to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. WAL-MART - EMPLOYEES ONLY HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Yates hurls Phoebe into the hallway, she hits the walls hard, her head banging off, leaving a smear of blood. Yates slams the door behind him, locking it.</scene_description>
<character>PHOEBE</character>
<dialogue>ow- ow--</dialogue>
<scene_description>Yates tries to grab her and she swats his hand away. I FUCKING HATE YOU!</scene_description>
<character>YATES</character>
<dialogue>What?</dialogue>
<character>PHOEBE</character>
<dialogue>You're the worst fucking- CHRIST do you see how stupid you are? You can't even see it you're still sure that you're going to come out on top, WELL YOU'RE NOT, ADRIAN. YOU'RE GOING TO FUCKING DIE. IS THAT REAL TO YOU YET, DO YOU SEE THE FIRE, DO YOU SMELL THE FUCKING SMOKE, YOU'RE GOING TO DIE-</dialogue>
<scene_description>Yates grabs Phoebe's head, and smashes it against the wall, SPLAT, and she drops to her knees.</scene_description>
<character>YATES</character>
<dialogue>Look at you. Pathetic, And you "hate me?" What are you, fucking fourteen years old-</dialogue>
<scene_description>Yates tries to grab her head again and Phoebe blocks and goes for the throat. Yates jumps backwards, startled. Phoebe looks at him through bangs of bloody hair.</scene_description>
<character>YATES</character>
<dialogue>Fuck. What's that about, fuck you-</dialogue>
<scene_description>Yates tries to smash her head again, and AGAIN PHOEBE BLOCKS AND GOES FOR THE THROAT- SHIT MAN, FUCK! Yates leaps back.</scene_description>
<character>YATES</character>
<dialogue>Man, fuck this. And fuck you, Selburg. They'll be fucking laughing at your dead pothead ass tomorrow morning in the debriefing. Tarzan, you can fucking burn with your ape.</dialogue>
<scene_description>Yates spits on her, and starts to walk away. Phoebe, on her knees, concussed and bloody, let's out a weird low laugh.</scene_description>
<character>PHOEBE</character>
<parenthetical>(sing song)</parenthetical>
<dialogue>You're gonna diiiiieeeeee</dialogue>
<parenthetical>(laughs)</parenthetical>
<dialogue>ADRIIIIANNNN, you're gonna diiieee-</dialogue>
</scene>
<scene>
<stage_direction>INT. WAL-MART - CONTINUOUS</stage_direction>
<scene_description>Laugher is looking around the burning Wal-Mart.</scene_description>
<character>LAUGHER</character>
<dialogue>Were you crazy too? Were you a person who was exceptional like me or are you a different type of exceptional, do you...can you move me? Will you move me? I feel like I need to be moved, you know, please move me-</dialogue>
<scene_description>MIKE ATTACKS- LAUGHER BLOCKS- Listen, I've written a lot of action here. You know it, I know it, and I want this script to be under 110 pages because, c'mon, it's Stoner Bourne, not Kafka. This isn't Kafka, okay? They have guys...There are like, fight coordinators, guys who can make this look awesome. This isn't a comic book. We all know ultimately it's going to come down to what we can shoot on the day anyway, right? So just take my word for it that the fight between Mike and Laugher makes any of the action in the new James Bond films look like fucking 1960s Batman. It's violent, it's incredible, they beat the living shit out of each other, and it ends with them REPEATEDLY STABBING EACH OTHER WITH SCREWDRIVERS before Mike BURIES A CLAW HAMMER INTO LAUGHER'S FOREHEAD, and then collapses, seemingly dead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF WAL-MART - CONTINUOUS</stage_direction>
<scene_description>Yates is running, frantic. He gets about twenty feet, repeatedly looking behind him, spinning and running STRAIGHT INTO KRUEGER.</scene_description>
<character>KRUEGER</character>
<dialogue>Hello Adrian.</dialogue>
</scene>
<scene>
<stage_direction>INT. WAL-MART - CONTINUOUS</stage_direction>
<scene_description>Phoebe slowly moves through the back of the burning Wal-Mart, discovering Mike laying face down on the ground.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike. Mike. Hey.</dialogue>
<character>MIKE</character>
<dialogue>Hey Phoebe.</dialogue>
<character>PHOEBE</character>
<dialogue>Do you want to...leave Wal-Mart?</dialogue>
<character>MIKE</character>
<dialogue>...Yeah...I guess, yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAL-MART - MOMENTS LATER</stage_direction>
<scene_description>Phoebe, supporting Mike, exits Wal-Mart, and is immediately HIT BY MULTIPLE SPOTLIGHTS. She squints against the light, and turns, seeing Krueger, nearby, surrounded by Seal Team 6, with Lasseter and Yates handcuffed on their knees in front of him. Phoebe looks around, dazed. The Wal-Mart burning behind them, Black Hawk choppers in the air overhead, dozens of military vehicles and cop cars are parked into the lot, it's CRAZY. They are ready to take down God himself out here.</scene_description>
<character>PHOEBE</character>
<dialogue>I wanted you to break your training. You know that right? I wanted you to come to Hawaii with me, I hoped you'd be able to get through it, I believed in you-</dialogue>
<character>MIKE</character>
<dialogue>I know. Lasseter told me.</dialogue>
<character>PHOEBE</character>
<dialogue>What? Lasseter, you saw Lasseter-</dialogue>
<scene_description>Mike drops to one knee, clearly about to pass out.</scene_description>
<character>PHOEBE</character>
<dialogue>Mike, are you-</dialogue>
<scene_description>He produces the ring box.</scene_description>
<character>MIKE</character>
<dialogue>Are you want to...marry me?</dialogue>
<scene_description>Phoebe looks around, breathing hard, and immediately begins to cry, wiping blood off her face.</scene_description>
<character>MIKE</character>
<dialogue>Don't cry. It's perfect. This is all just...this is perfect.</dialogue>
<character>PHOEBE</character>
<dialogue>I'm sorry...</dialogue>
<character>MIKE</character>
<dialogue>Don't say sorry. Just say yes.</dialogue>
<character>PHOEBE</character>
<dialogue>...Yes.</dialogue>
<scene_description>THEN A SYMPHONY OF CLICKING GUNS.</scene_description>
<character>MIKE</character>
<parenthetical>(thrilled)</parenthetical>
<dialogue>Hey! SHE SAID YES! WOOO-</dialogue>
<scene_description>Mike is HIT WITH A BOUT A MILLION TAZERS, DROPPED INSTANTLY.</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERROGATION ROOM</stage_direction>
<scene_description>The room is spotlessly clean and empty, save for a stainless steel table and two chairs. In one of them is Mike. He's been cleaned up and bandaged, but he's still a total mess. Bloody, slightly burnt finger tips drumming away on the steel, but other than that, he's motionless. The door opens, and a young CIA ANALYST, in a suit and looking very official, comes in carrying a file, and sits down across from the Mike.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOVERNMENT CAR - BACKSEAT</stage_direction>
<scene_description>Yates and Lasseter, still all fucked up, are being driven somewhere. They're let out in a</scene_description>
<character>SNOWY FIELD</character>
<dialogue>In the middle of the woods. It's about noon on a cold, gray day. Both of them are shivering.</dialogue>
<dialogue>They stand there with one another in silence. Krueger clears his throat, startling them.</dialogue>
<character>KRUEGER</character>
<dialogue>Diane Lasseter. Adrian Yates.</dialogue>
<character>YATES</character>
<dialogue>Hello sir-</dialogue>
<character>LASSETER</character>
<dialogue>Good morning-</dialogue>
<character>KRUEGER</character>
<dialogue>Shhhhhhhh.</dialogue>
<scene_description>Krueger regards them both, shivering there in the cold, while he himself is dressed warmly, and looks comfortable.</scene_description>
<character>KRUEGER</character>
<dialogue>All right.</dialogue>
<scene_description>He checks his watch. The timer is at 3 HOURS 40 MINUTES.</scene_description>
<character>KRUEGER</character>
<dialogue>Let's wrap this up.</dialogue>
<scene_description>Lasseter can't hide an involuntary chill.</scene_description>
<character>LASSETER</character>
<dialogue>I just want to say, sir, that Peter Douglas should not have his actions in the past twenty four hours held against him. I manipulated Douglas-</dialogue>
<character>KRUEGER</character>
<dialogue>To betray the United States and the direct orders of his commanding officer?</dialogue>
<character>LASSETER</character>
<dialogue>I-</dialogue>
<character>KRUEGER</character>
<dialogue>Douglas will be dealt with when he's dealt with. You, on the other hand directly interfered in a government operation. Unsanctioned, without notification, without authorization, you killed an American Government Operative, and share indirect accountability for the deaths of seven civilians and seventeen government assets. Is that correct?</dialogue>
<character>LASSETER</character>
<dialogue>Yes, but sir, I felt Yates was-</dialogue>
<character>KRUEGER</character>
<dialogue>Shhh.</dialogue>
<character>YATES</character>
<dialogue>Thanks to Lasseter alerting asset "Howl," seven American citizens were killed in the-</dialogue>
<character>KRUEGER</character>
<dialogue>-Operation you created and spearheaded, without any direct authorization-</dialogue>
<character>YATES</character>
<dialogue>Yes sir, but you have to understand, I was self starting. You see opportunities, you take them; what am I supposed to do other than take opportunities? You weren't gonna authorize some multibillion dollar test in Europe, Asia, so I started here, with people we already had deemed expendable. Yes, maybe I took shortcuts, maybe I made mistakes, but in the end, I was doing what I understood that I needed to do to create a cost-efficient exploit of a system already put in place. I know maybe I didn't have "permission" or whatever, but if I'd pulled this off, you'd be thanking me. You'd be fucking THANKING ME, right? Am I right?</dialogue>
<scene_description>After a beat, Krueger nods. CIA is shady like that.</scene_description>
<character>YATES</character>
<dialogue>This is what the problem is, is that somebody created an environment where I was made to look foolish. It was an unpredictable environment; I didn't account for Diane Lasseter and Phoebe Selburg betraying their country, their ideals, and this agency in defense of a wash-out stoned nonfunctional asset, I acted to the best of my abilities and in the best interest of national security-</dialogue>
<character>KRUEGER</character>
<dialogue>And was this before or after you created a fake malaria panic, attempted to order a drone strike on a American soil and wiped out an entire small town police force?</dialogue>
<character>YATES</character>
<dialogue>Well sir, it's complicated.</dialogue>
<character>KRUEGER</character>
<dialogue>No it isn't.</dialogue>
<character>YATES</character>
<dialogue>With all due respect, yes it is. With all due respect, you weren't fucking there. You haven't read the file, there is no file yet, you haven't read the logs, you have no fucking clue the kind of bullshit I've been dealing with from these two psycho bitches, and I-</dialogue>
<scene_description>Krueger draws a pistol and shoots Yates three times in the chest. Lasseter stifles a scream. Yates drops, falling onto his back. Yates lays in the snow, shocked, bleeding, dying, and Krueger goes and stands over him. YOU ARE FUCKING STUPID. YOU GO BEHIND THE BACK OF THE DIRECTOR AND AUTHORIZE A CLANDESTINE OPERATION USING MURDERERS AND LUNATICS TO KILL AMERICAN AGENTS? THAT'S HIGH TREASON, MORON. WHAT THE FUCK ARE WE COMING TO THAT A PSYCHOPATH LIKE YOU WAS PUT IN CHARGE OF ANYTHING!? You cost the taxpayers money, and worse than that, you KILL TAXPAYERS, and then you're going to tell ME I don't have a clue? I'm so happy and relieved that I just killed you, because now there's no paperwork, you just FUCKING DIE, AND IN DOING SO, BECOME LESS OF A FUCKING PROBLEM. Yates dies. Krueger straightens himself, and turns to Lasseter, who's shaking.</scene_description>
<character>LASSETER</character>
<dialogue>Sir. I don't know if this is appropriate to say, but please, please, please do not kill me.</dialogue>
<character>KRUEGER</character>
<dialogue>You know there's a strong chance that's exactly what's going to happen.</dialogue>
<character>LASSETER</character>
<dialogue>Yes sir.</dialogue>
<scene_description>There's a beat, Krueger staring Yates' body.</scene_description>
<character>KRUEGER</character>
<dialogue>I'm your source.</dialogue>
<scene_description>Lasseter widely hides any kind of reaction.</scene_description>
<character>KRUEGER</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>When I called you to notify you the sweep was happening, I did it out respect and courtesy. You've made me regret that now.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>There is a universe where this is all my fault. But since no one knows that am I am your source, and no one will ever know that I am your source, we are not living in that universe, understood?</dialogue>
<character>LASSETER</character>
<dialogue>-yes sir-</dialogue>
<character>KRUEGER</character>
<dialogue>My intention was not for you to act like fool child moron and try to save your puppy, the puppy was being put down, I was notifying you of the puppy's death, not asking you to save the puppy, nor implying that I'd vindicate you saving the puppy. Well the puppy just shit all over everything and lit a Wal- Mart on fire. You have a crazy, scary, rabid puppy that murders people. It's a bad puppy, and will still need to be put down. You understand that, correct?</dialogue>
<character>LASSETER</character>
<dialogue>...yes sir-</dialogue>
<character>KRUEGER</character>
<dialogue>Douglas, hell, Douglas might be okay. He called me. You better pray you can find a way to turn this into a win. You better pray and sweat and pull a miracle out of your ass, a fucking Bethlehem make me believe shock the world miracle, because if you can't...</dialogue>
<parenthetical>(indicates Yates)</parenthetical>
<dialogue>That's you. That's you.</dialogue>
<scene_description>Krueger turns, getting ready to walk away, trudging up the hill. Lasseter steels herself.</scene_description>
<character>LASSETER</character>
<dialogue>You already have your miracle, sir.</dialogue>
<scene_description>Krueger stops dead, and turns back to Lasseter.</scene_description>
<character>LASSETER</character>
<dialogue>My project worked. Wiseman returned on its investment, even if it wasn't in the way we expected. Mike Howell dismantled the entire Toughguy program singlehandedly. That makes him the most effective asset ANY of the Ultra programs have ever seen. In sixty years.</dialogue>
<parenthetical>(Krueger is listening)</parenthetical>
<dialogue>Pardon me for saying this sir, but that is a puppy worth saving. That is a two hundred million dollar puppy.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And you have him sitting in a holding cell right now.</dialogue>
<scene_description>Krueger just stares at her. Yates lays dead between them. The wind howls on the snowy field. Yates reaches down, and clicks off the timer on his wristwatch.</scene_description>
</scene>
<scene>
<stage_direction>INT. LASSETER'S HOUSE - LATER</stage_direction>
<scene_description>Scott is sitting up on the couch, watching the news, which is debunking the "false malaria panic" created by a "disgruntled CDC employee." He's clearly been up all night. The door opens, and the alarm goes off, startling him. Scott rushes over the foyer, and sees Lasseter coming in.</scene_description>
<character>SCOTT</character>
<dialogue>Mom?</dialogue>
<scene_description>Lasseter turns, clearly exhausted, and Scott rushes and hugs her tight. Lasseter hugs him back, and begins crying, more exhausted than emotional. She laughs, repeatedly kissing the top of Scotts head.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELIZE - BEACH - MONTHS LATER</stage_direction>
<scene_description>It's a stunningly beautiful beach in Belize. Mike and Phoebe are sitting out on the beach, holding hands, drinking Bellinis. Mike and Phoebe look great. Healthy, rested. Mike's hair is a little longer. Mike gets up, and Phoebe waves to him as he walks up to the bathrooms. Mike gives her thumbs up, and goes inside, only to be SNATCHED BY GOONS-</scene_description>
</scene>
<scene>
<stage_direction>INT. INDUSTRIAL KITCHEN</stage_direction>
<scene_description>It's all clean steel surfaces, and whites; we're in a very high end industrial kitchen. Mike, on his knees, has a bag pulled off his head, and finds himself facing an INTERNATIONAL CRIMINAL, impeccably dressed, looking like one of Ocean's Eleven. Goons flank him on all sides. One of them approaches the boss.</scene_description>
<character>GOON</character>
<dialogue>All he had on him was this.</dialogue>
<scene_description>The goon shows the International Criminal a napkin with a picture of Rocket Monkey drawn on it that says "FUCK YOU."</scene_description>
<character>INTERNATIONAL CRIMINAL</character>
<dialogue>This is it? This is him? How far has the CIA fallen, that they send one man. Who are you? Are you James Bond? Did they really think they could sneak up on ME? I am Robertito Lazaniafrespasda. And what do they send? A TOURIST.</dialogue>
<scene_description>The goons laugh. Mike looks around the room; knives on the counter, skewers in a cupboard, pans hanging, sausages hanging, open flame on the grills, a tray of dirty forks knives and spoons, a pile of plates.</scene_description>
<character>INTERNATIONAL CRIMINAL</character>
<dialogue>One man. One UNARMED man.</dialogue>
<scene_description>Mike laughs to himself weirdly.</scene_description>
<character>INTERNATIONAL CRIMINAL</character>
<dialogue>Something funny?</dialogue>
<character>MIKE</character>
<dialogue>I'm sorry.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm just so fucking high right now.</dialogue>
<scene_description>The criminal reacts: "What?" And then MIKE SUDDENLY LUNGES FORWARD-</scene_description>
<character>SLAM TO BLACK.</character>
<dialogue>CUE: "EXTREME</dialogue>
<character>WAYS" BY MOBY</character>
<dialogue>THE END.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE MAURY POVITCH SHOW</stage_direction>
<scene_description>MAURY Povitch is interviewing Rose, who's seated next to a big fat chinese woman who looks mad. Up on a big screen there's an image of a half-chinese baby.</scene_description>
<character>MAURY</character>
<dialogue>Well, the test results are in. Rose, do you still deny you are the father?</dialogue>
<character>ROSE</character>
<dialogue>That's right, it is unfeasible that that baby could be mine.</dialogue>
<character>MAURY</character>
<dialogue>Unfeasible, really?</dialogue>
<character>ROSE</character>
<dialogue>Yes sir. Yes sir Maury, I was involved in an incident, a violent incident ten months ago, clandestine and sworn to secrecy, but it has left me unfertile.</dialogue>
<character>MAURY</character>
<dialogue>Unfertile?</dialogue>
<character>ROSE</character>
<dialogue>Yes sir unfertile and barren.</dialogue>
<character>MAURY</character>
<dialogue>Okay. In the case of one month old baby Dim Dom Kwang...</dialogue>
<parenthetical>(opens folder)</parenthetical>
<dialogue>You are NOT the father!</dialogue>
<scene_description>Heavy music comes on, the camera moves all around as Rose jumps up and starts dancing.</scene_description>
<character>SLAM TO BLACK.</character>
</scene>
</script> | Mike Howell is a stoner who lives in the sleepy town of Liman, West Virginia, where he works as a convenience store clerk. He is planning to propose to his longtime girlfriend, Phoebe Larson, on a trip to Hawaii. He is unable to board the plane, as he suffers from intense panic attacks anytime he tries to leave town. He does not understand why Phoebe puts up with him. In Langley, Virginia, CIA Agent Victoria Lasseter receives a coded warning that Mike, the sole survivor of her "Wiseman" Ultra program, is to be eliminated by her rival, Adrian Yates, and his similar "Toughguy" agents. Feeling a duty to protect Mike, Lasseter travels to Liman and "activates" Mike through a series of code words. Mike fails to understand their significance, and she leaves in resigned frustration. Mike finds two Toughguys interfering with his car and is attacked, but his training activates and he kills them using a spoon. He calls Phoebe, who reaches him just as Sheriff Watts arrives. Yates sends two Toughguy operatives, Laugher and Crane, to kill Mike and Phoebe at the sheriff station, but they evade Laugher and kill Crane before escaping to the home of Mike's drug dealer Rose. Mike becomes unnerved by an array of facts he suddenly knows regarding military strategy. He also realizes he has very little memory prior to living in the town with Phoebe, wondering aloud why he never questioned this before. Yates quarantines the town, and puts Lasseter and Mike's pictures on the local news. Lasseter convinces her former assistant, Petey Douglas, to air drop her a weapon using a drone. Yates finds out and threatens to charge Petey with treason. Yates then attacks Rose's house with two Toughguys using a lethal gas. The agents kill Rose and his two guards, Big Harold and Quinzin, before Mike and Phoebe kill the attackers and she rescues Mike from the gas, which she is familiar with. When pressed for answers on her knowledge of the gas, Phoebe reluctantly reveals she was a CIA agent assigned to be Mike's handler, leaving him heartbroken. Laugher ambushes the duo and captures Phoebe. Mike is rescued by Lasseter and insists on returning to his house. She tells him that he volunteered for Wiseman due to his criminal record and subsequently had his memories erased. He also learns that Phoebe was to get him settled in Liman and then leave, but chose to stay because she genuinely fell in love. Lasseter explains that his panic attacks, including his fear of leaving town, were implanted to keep him safe. Yates' army liaison, Otis, joins a Toughguy to attack Mike's house. Mike and Lasseter kill them, prompting Yates to order a drone strike on the entire block. Petey calls off the drone strike at the last minute, then secretly reports the situation to Yates' superior, Raymond Krueger. Mike contacts Yates and arranges to exchange himself for Phoebe at a local grocery store. He attacks the store, killing or incapacitating multiple Toughguys before fighting and defeating Laugher, whom he spares when Mike learns he is a mentally unbalanced man forcibly conscripted by Yates. Phoebe escapes from Yates when Lasseter attacks him, but Krueger arrives and stops her. Phoebe and Mike leave the store under gunpoint of multiple law enforcement officers, as he proposes to her. In a forested area, Krueger has Yates and Lasseter bound and kneeling. Yates argues that what he was doing would have been okay with Krueger, despite the deaths of innocent people, if the results had been successful, and Krueger agrees. Yates, smugly smiles and stands, but is executed by Krueger for his failure. Krueger admits he informed Lasseter of Yates' plan as a courtesy but did not expect her to intervene. She points out that, by taking out seventeen Toughguys, Mike is proof of the success of the Wiseman program and a potentially valuable asset. Six months later, Mike and Phoebe are in Manila, confident and happy as they carry out a CIA assignment together. |
The Hitcher_1986 | tt0091209 | <script>
<scene>
<character>I</character>
<dialogue>I</dialogue>
<character>THE HITCHER</character>
<dialogue>A Sc:eer:.play by</dialogue>
<scene_description>Eric Red</scene_description>
</scene>
<scene>
<stage_direction>I</stage_direction>
<scene_description>I "Living on the road, my friend was gonna keep you free and clean Now you wear your skin like iron Your breath's as hard as kerosene ••• " Townes Van Zandt, "Pancho & Lefty" FADE IN: ,</scene_description>
</scene>
<scene>
<stage_direction>INT.</stage_direction>
<character>79 CAMARO - INTERSTATE HIGHWAY 10 WEST NEAR THE</character>
<dialogue>TEXAS</dialogue>
<character>1</character>
<dialogue>BORDERLINE - NIGHT</dialogue>
<scene_description>JIM HALSEY is asleep at the wheel. Lit up by a splash of headlights flooding the front seat. Windshield awash with the twin headlamps of an eighteen-wheeler rig bearing down on him. Be has drifted onto the oncoming lanes. EAR-SPLITTING TOOTS of the truck's HORN shock him awake. Shouting, he spins the steering wheel hand over hand, swerving wild- ly onto the right side of the road. Head-on collision missed by inches. The titanic tractor trailer THUNDERS past, shuddering the car's suspension in its afterblow. Then it is gone. Soothing country dark thick and tangible as oil flows into the car again. The world outside the windows is black and empty save for a distant pinpoint of head- lights ahead and the red and amber warning lights of the truck receding in the rearview mirror. Broken white lines and blacktop roll out of the darkness in the Camaro's high-beams. Halsey gasps for breath, long drags of air to calm himself down. In the white glow of the dashboard lights, Jim is seen to be a 20-year-old young man with long, dirty blond hair and rugged good looks. He is clad in a black leather jacket and a white tee-shirt. He has on blue jeans and Etonic running shoes. Halsey starts to nod off again. He blinks and slaps himself to stay awake. A signpost comets out of the void. •welcome to Texas.• The kid cheers, punching the horn and pounding on the roof above his head. Made it. Droplets begin to fleck the windshield. The drizzle becomes a rainstorm. He switches on the windshield WIPERS and they SLAP away the splashing water. THUNDER CRACKBOOMS. A slag of lightning jags across the gloomy sky. The speedometer needle hovers at 45· mph. Jim CLICKS down his signal stick. He checks his blind spot to see if it's safe to change lanes. The Interstate is inky pitch fore and aft. Halsey steers his car sideways. HORN BLARE. SOUND OF SHEARING METAL. Somethir.g rockets past on his left side, scraping his door, showering sparks. The kid yells out, steering, veering his'camaro into the right lane again. In his head- lights, the ghostly form of a white Volkswagen bug hurtles on ahead. CONTINUED: It has all its lights ominously off and it is swallowed up in the dark like an egg in ink. His nerves shot, he travels on. The horizon ahead is turning a shade of deep blue. Dawn imminent. A second shard of lightning silhouettes a HITCHHIKER on the highwayside in the strobing electrical flash. He resembles a drenched scarecrow. Arm out, thumb ex- tended. The kid signals right. He glides the Camara over to the shoulder of the road and sits waiting. RAIN SPLASHING, WIPERS WHAPPING, SIGNAL CLICKING, ENGINE HUMMING. A TAP on the window of the passenger door. Halsey reaches his hand out to unlock the door. It hovers momentarily, hesitant, wary. He shrugs and opens the latch. The door swings open and the ROARING DIN OF THE STORM shatters the silence. The Hitcher hustles into the seat. There is only a brief glimpse of him before he shuts the door and the inside light goes off. He is a grimly gaunt man in his mid-thirties. His bony, skele- tal physique is wrapped in a black rubber raincoat like a cape. He has a coyote face, hair close-c~opped to his skull in convict fashion. His skin is pallid and bad. A plastic tube is inserted in his neck at the larynx. His vocal cords have been removed and he has an artificial voice box. His eyes are his most striking feature. Pure black and bullet hard, brute force in them. He settles in his seat, fixing his· eyeballs on Halsey. Jim shifts into gear and drives back onto the road. The stranger sits silent and still, staring.</scene_description>
<character>HALSEY</character>
<dialogue>My mother told me never to do this.</dialogue>
<scene_description>No response.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>The name's Jim Halsey, man.</dialogue>
<scene_description>He extends his hand. The Hitcher shakes it. He SPEAKS with a VOICE like a TRANSISTOR RADIO.</scene_description>
<character>HITCHER</character>
<dialogue>John Ryder.</dialogue>
<character>HALSEY</character>
<dialogue>So where do you want me to drop you?</dialogue>
<scene_description>l CONTINUED: (2) l No answer.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You gonna tell me where you're goin' • or what?</dialogue>
<scene_description>No answer. Eyeballs glinting in the dark, reptilian, alien.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>What are you looking at me that way for? I said, what are you looking at?</dialogue>
<character>RYDER</character>
<dialogue>Scare ya?</dialogue>
<scene_description>Bis bullet eyes are riveted on Jim but Jim's attention has been diverted. A white spectre in the watery wind- shield, the Volkswagen bug is parked off to the side of the road, all its lights off. .·. The kid takes his foot off the gas pedal, sl~wing down alongside the car. Abruptly, Ryder places his hand on the kid's knee, pressing down firmly, forcing the accelerator to the floor. The Camara lunges on past the other car.</scene_description>
<character>HALSEY</character>
<dialogue>Are you stoned or stupid?</dialogue>
<scene_description>Ryder just sits and stares at him. Jim glances into the rearview mirror. Out of the backshield, the ghostly automotive appari- tion recedes in the red taillight. A popping strobe of lightning emblazons its windows translucent. A swash of dark liquid drips down the windshield. The car vanishes behind sheets of rain.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Why did you stop me from stopping by that car?</dialogue>
<scene_description>No answer.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I asked you a question, man. I said I asked you a question.</dialogue>
<scene_description>CONTINUED: ( 3}</scene_description>
<character>RYDER</character>
<dialogue>Scare ya?</dialogue>
<character>HALSEY</character>
<dialogue>Gimme a break.</dialogue>
<character>RYDER</character>
<dialogue>Scare ya?</dialogue>
<character>HALSEY</character>
<dialogue>The ride's over.</dialogue>
<scene_description>He steers the car over to the embankment and shifts angrily to "park." Halsey looks Ryder in the eye.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Goodbye.</dialogue>
<scene_description>The Hitcher doesn't move a muscle. Something about him is very powerful.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Get out.</dialogue>
<scene_description>Ryder's gaze is very, very dangerous. The kid holds it but sweaty fear is setting in. Condensation fogs up the windows. The sounds of breathing and heartbeats. Jim drops his eyes. Ryder is not going to move and Halsey knows he can't make him.</scene_description>
<character>RYDER</character>
<dialogue>What you're going to do is drive.</dialogue>
<character>HALSEY</character>
<dialogue>Oh boy.</dialogue>
<scene_description>The kid reluctantly does what he is told. The Camara glides back onto the Interstate. The sky is now blue and faint dawn light falls on the two men. There are no other cars in sight.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>What was wrong with that car back there?</dialogue>
<character>RYDER</character>
<dialogue>Why?</dialogue>
<character>HALSEY</character>
<dialogue>Thought I saw something is all.</dialogue>
<character>(CONTINUED}</character>
<dialogue>s.</dialogue>
<scene_description>CONTINUED: (4)</scene_description>
<character>RYDER</character>
<dialogue>Like?</dialogue>
<character>HALSEY</character>
<dialogue>Nothin'.</dialogue>
<character>RYDER</character>
<dialogue>Like?</dialogue>
<character>HALSEY</character>
<dialogue>It wasn't anything.</dialogue>
<character>RYDER</character>
<dialogue>Like?</dialogue>
<character>HALSEY</character>
<dialogue>Trick of the light.</dialogue>
<character>RYDER</character>
<dialogue>I'm warnin' you.</dialogue>
<character>HALSEY</character>
<dialogue>Well, blood.</dialogue>
<character>RYDER</character>
<dialogue>Blood?</dialogue>
<character>HALSEY</character>
<dialogue>Blood.</dialogue>
<character>RYDER</character>
<dialogue>You did.</dialogue>
<character>HALSEY</character>
<dialogue>Wonderful.</dialogue>
<character>RYDER</character>
<dialogue>Do ya know why there was blood?</dialogue>
<character>HALSEY</character>
<dialogue>Dunno.</dialogue>
<character>RYDER</character>
<dialogue>Guess.</dialogue>
<character>HALSEY</character>
<dialogue>Got me.</dialogue>
<character>RYDER</character>
<dialogue>Guess.</dialogue>
<character>HALSEY</character>
<dialogue>Don't want to.</dialogue>
<scene_description>CONTINUED: ( 5)</scene_description>
<character>RYDER</character>
<dialogue>Ask.</dialogue>
<character>HALSEY</character>
<dialogue>So where did you want me to drop you?</dialogue>
<character>RYDER</character>
<dialogue>Ask. Say, "John, why was there blood?"</dialogue>
<character>HALSEY</character>
<dialogue>Drop it.</dialogue>
<character>RYDER</character>
<dialogue>I'm warning you.</dialogue>
<character>HALSEY</character>
<dialogue>John, why was there blood?</dialogue>
<character>RYDER</character>
<dialogue>Because I'm Dracula. I always keep a warm, wet supply on hand when I drive.</dialogue>
<character>HALSEY</character>
<dialogue>You're playing with my head, aren't you?</dialogue>
<character>RYDER</character>
<dialogue>You're such an asshole you'll believe any dumb shit.</dialogue>
<character>HALSEY</character>
<dialogue>So what's the real story with that car back there?</dialogue>
<character>RYDER</character>
<dialogue>Ran out of gas.</dialogue>
<character>HALSEY</character>
<dialogue>So you want to find a gas station?</dialogue>
<character>RYDER</character>
<dialogue>It would help.</dialogue>
<scene_description>The kid breathes a sigh of relief.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Gas stations have cigarettes and I need some smokes.</dialogue>
<scene_description>CONTINUED: ( 6)</scene_description>
<character>HALSEY</character>
<dialogue>What about gas?</dialogue>
<character>RYDER</character>
<dialogue>I don't need no gas.</dialogue>
<scene_description>The kid's spirits sink.</scene_description>
<character>HALSEY</character>
<dialogue>How are you gonna drive without gas?</dialogue>
<character>RYDER</character>
<dialogue>I don't drive.</dialogue>
<character>HALSEY</character>
<dialogue>What do you want?</dialogue>
<scene_description>The Hitcher chuckles.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>What's so funny?</dialogue>
<character>RYDER</character>
<dialogue>That's what she said.</dialogue>
<character>HALSEY</character>
<dialogue>Who is she?</dialogue>
<character>RYDER</character>
<dialogue>"She• is the girl that was driving that car back there. She's the one who picked me up before you did.</dialogue>
<scene_description>The kid is quivering with fright. Squinting through the windshield, he sees a sign whiz by. "Pay Toll. 1/2 Mile." Ryder has his eyes set on Halsey and doesn't spot it. The kid accelerates.</scene_description>
<character>HALSEY</character>
<dialogue>Where is she?</dialogue>
<character>RYDER</character>
<dialogue>I'm sure she's still back there. She couldn't have walked very far.</dialogue>
<character>HALSEY</character>
<dialogue>Why' s that?</dialogue>
<character>RYDER</character>
<dialogue>Because I cut her legs off. And her arms. And her head.</dialogue>
<scene_description>a. CONTINUED: (7)</scene_description>
<character>HALSEY</character>
<dialogue>Wow.</dialogue>
<character>RYDER</character>
<dialogue>And I'm going to do the same to you.</dialogue>
<scene_description>Their faces are shined on by the glittering illuminated tollbooth plaza just a few hundred yards away. Four Highway Patrol cars are parked by the side of the structure. Jim steers out of the exact change lane towards one of the manned booths. Jim turns his head to stare square in Ryder's face. He gathers up a mouthful of saliva and spits it at him. Drool dribbles down the Hitcher's cheek. He is un- ruffled as the Camaro eases onto the ramp into the terminal. The car nestles in next to the window. Green lights flash red. Guard gatepost winds down. Ryder cups his hand over Halsey's crotch. METALLIC SNAP. A switchblade knife is secreted in the palm. The razor edge is laid ag~inst the fly of Jim's pants. The smile runs away from the kid's face.</scene_description>
<character>RYDER</character>
<dialogue>Don't.</dialogue>
<scene_description>The TOLL ATTENDANT is a tobacco-chewing old geezer. He rolls his eyes as he sees the two men in the car, one with his hand on the other's privates. Ryder blows him a smooch. The geezer grimaces in disgust, flicking his fingers impatiently.</scene_description>
<character>TOLL ATTENDANT</character>
<dialogue>Come on. Let's go, sweethearts.</dialogue>
<scene_description>The kid is pouring sweat. Raw desperation. He tries to catch the old man's eye. The Toll Attendant won't acknowledge him, aloof. The Hitcher fetches a crumpled greenback from his rain- coat pocket. He squeezes Jim's fingers around it.</scene_description>
<character>RYDER</character>
<dialogue>Pay the man.</dialogue>
<scene_description>Jim starts to offer the bill. He holds his breath as he sees damp splotches of fresh blood smearing the face of George Washington. He might have a hope. CONTINUED: (8) Just a small one. He holds the bill out his window, go:y side up, for the Attendant to take. The geezer snatches it and plops it into the cash drawer without so much as a second glance, Jim emits~ choked sob, gritting his teeth as Ryder applies a bit of pressure to the knife against his genitals.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Drive.</dialogue>
<scene_description>· Red lights flash green. Guard gatepost winds up. Halsey clamps his• eyes tight shut. He puts his sneaker down on the gas pedal and presses it in, leg shaking. The Camaro VROOMS out of the tollbooth plaza. The two-lane blacktop ahead is deserted of cars as far as the eye can see, utterly desolate and an inconsol- ably bleak place to die. The Hitcher rests the razor blade edge of the shiv on the ridge of Jim's eye socket. He delicately pricks the pinpoint tip on the white of his eyeball. Tears stream from the ducts. Ji~ keeps his gaze religiously fixed on the road.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Ya wanna know what happens to an eyeball when it gets punctured? It deflates like a balloon and all the goo oozes out.</dialogue>
<character>HALSEY</character>
<dialogue>Great.</dialogue>
<scene_description>Ryder scrapes the switchblade in a red scratch line down Halsey's cheek and over the jut of his jawbone. He indents the point on Jim's throbbing jugular vein.</scene_description>
<character>RYDER</character>
<dialogue>Ya got any idea how much blood jets out of a guy's neck when his throat's been slit? Gallons. You'll be up to your ankles in the stuff.</dialogue>
<character>HALSEY</character>
<dialogue>What do you want?</dialogue>
<character>RYDER</character>
<dialogue>I want you to stop me.</dialogue>
<scene_description>CONTINUED: ( 9)</scene_description>
<character>HALSEY</character>
<dialogue>You got the knife. You'd stick me with it before I could do anything.</dialogue>
<character>RYDER</character>
<dialogue>That's right, I would. I'm going to. So what do you got to lose? Stop me.</dialogue>
<character>HALSEY</character>
<dialogue>I can't.</dialogue>
<scene_description>A.dark, damp stain spreads across the legs of Jim's jeans. The Hitcher notices it and goes berserk.</scene_description>
<character>RYDER</character>
<dialogue>Ya pissed your pants, ya vegetable! Ya think that's gonna save your ass! Ya wanna know why I'm gonna gut ya like a fish? Even the lowest of animals got the survival reflex to fight back when its life is on the line. If ya ain't got that, you're like some jelly amoeba with no backbone or spine and ya ain't fit to live. I'm gonna hack you up, chop you apart piece by piece, and I swear you're gonna be conscious during surgery.</dialogue>
<character>HALSEY</character>
<dialogue>Please, I'll do anything you want, man.</dialogue>
<character>RYDER</character>
<dialogue>Anything?</dialogue>
<character>HALSEY</character>
<dialogue>Anything.</dialogue>
<character>RYDER</character>
<dialogue>Say four words.</dialogue>
<character>HALSEY</character>
<dialogue>Okay.</dialogue>
<character>RYDER</character>
<dialogue>Say, "I want to die."</dialogue>
<character>HALSEY</character>
<dialogue>•r want to die"?</dialogue>
<scene_description>CONTINUED: (10)</scene_description>
<character>RYDER</character>
<dialogue>No, say it.</dialogue>
<character>HALSEY</character>
<dialogue>I dunno if I can say ••• say that.</dialogue>
<character>RYDER</character>
<dialogue>Sure ya can. Repeat after me. nI ••• 11</dialogue>
<scene_description>"I-I ... ":</scene_description>
<character>RYDER</character>
<dialogue>"Want ••• "</dialogue>
<character>HALSEY</character>
<dialogue>"Want ••• "</dialogue>
<character>RYDER</character>
<dialogue>"To .•. II</dialogue>
<character>HALSEY</character>
<dialogue>"T-to ... "</dialogue>
<character>RYDER</character>
<dialogue>"Die."</dialogue>
<scene_description>Halsey stutters. Stammers.</scene_description>
<character>RYDER</character>
<dialogue>"Die."</dialogue>
<scene_description>Jim's eyes chance on the speedometer gauge. Two illum- inated words in red. "Door Ajar." Face bloated, flushed with adrenalin, he sucks in air.</scene_description>
<character>HALSEY</character>
<dialogue>"I don't want to die111"</dialogue>
<scene_description>The kid ramrods his shoulder into Ryder's torso. The Hitcher is slammed into the passenger door It springs open, jettisoning him out onto --</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 - DAY</stage_direction>
<scene_description>Ryder tumbles head over heels into the ripping wind, somersaulting down onto the hard blacktop, rolling loose-limbed over and over and over. Flopping like a limp rag doll onto his belly, he recedes away into a black speck in the --</scene_description>
</scene>
<scene>
<stage_direction>INT. '79 CA.MARO - DAY</stage_direction>
<scene_description>-- rearview mirror. The dot evaporates FROM VIEW. Halsey is spaced out, jaw drooping, out of it. The road ROARS through the open door. Be leans over and y~nks it shut. Sits up straight. He pats his forearm, knee and stomach and feels his face to assure himself that they are all intact. An astonished expression hits his face. He laughs and cheers hysterically. He slaps on the dashboard and pounds on the aluminum roof and drums on the steering wheel and punches the horn repeatedly. HONKl HONK! HONK! HONKl BONK!</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 - BACK DOWN THE ROAD - DAY</stage_direction>
<scene_description>John Ryder is sprawled and splayed akimbo on the muddy tarmac. Fingers scraped raw. Twitch. White eyes pop open in a wild Kabuki mask of a face. War paint streaks cf rainy grime anc gore. His body quivers and contracts in wracking stabs of pain. Shaking, he rises to his hands and knees. A string of pink drool dribbles from the contorted ori- fice of his mouth. Stooped over, he staggers onto his feet and sways, unsure of footing. Bent, he stumbles around the blacktop searching for something. Locating it, he grabs it up off the ground. The switchblade shiv gets clenched so hard in his fist his knuckles go white. The Hitcher stands tall and awful on the empty freeway, staring in the direction the kid has fled. His lips pull back in an ear to ear death's head grin. s. INT. '79 CAMARO - DAY 5 Jim lays back in his seat, smoking a cigarette, spent and gloriously happy. One hand guides the steering wheel. He wears a beautific expression beholding the badlands spreading out on all sides of him. Droplets of rain are drying on the windshield so he turns off the wipers. The titanic black storm clouds are behind him. CONTINUED: Ahead, the great ceiling of sky glows with a silver light that makes the desert incandescent. The sun rs just about to rise and the world shines with a newness and freshness that suggests someone just took the Saran Wrap off it. Jim's face becomes waxy as his adrenalin high wears off and he starts to come down. Looking chalky and sick, he steers his car over to the gravel shoulder and shifts to "park." Urgently, he bolts out of his door onto</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 - DAY</stage_direction>
<scene_description>Wretching and heaving, he gets on his knees and chucks his guts onto the tarmac. He catches his breath when his insides are empty and climbs back into the --</scene_description>
</scene>
<scene>
<stage_direction>INT. '79 CAMARO - DAY</stage_direction>
<scene_description>He turns over the ignition and rolls back onto the road. Accelerating to speed, he shakes his head to himself.</scene_description>
<character>HALSEY</character>
<dialogue>Welcome to Texas.</dialogue>
<scene_description>The SOUND of an ENGINE behind him. The kid consults the rearview mirror. A Ford station wagon swells in the oval glass. It flashes its brights alerting it's going to pass. Jim watches it out his side window as it goes on ahead, alongside. A middle-aged mother regards him blankly out the pas- senger window, her hair set in pink curlers. The car advances onwards, and three children come into view. Faces pressed flat against the glass of the rear compartment. They stick out their tonques, shooting at Jim with plastic pistols and rifles. Halsey chuckles and returns his eyes to the road, set- tling back in his seat. The station wagon glides on ahead, sliding over into his lane. The kid jolts bolt upright, stricken speechless. {CONTINUED): CONTINUED: The scalding visage of John Ryder glares at him through the back tailgate window, shrinking away as the car . picks up speed. Jim leaps into action. He flattens the HORN button, BLARING it unremittingly. He hits the hi-beams. Halsey smacks the steering wheel.</scene_description>
<character>HALSEY</character>
<dialogue>No, you stupid shit!</dialogue>
<scene_description>Jim cranes his neck to scout the oncoming lanes. No cars there as far as the eye can see. He wheels the Camaro over the solid yellow lines to the wrong side of the road, stomping on the gas pedal. In seconds he is racing nose to nose with the station wagon. The driver is the father. A stern-faced, crew-cutted man who looks at Jim like he's some kind of nut. The kid leans over to unwind the passenger window. As he does so he inadvertently weaves his car treacher- ously inward. When he sits back up the dad is BEEPING his BORN and angrily shouting in his direction. The kid hollers words of warning at the top of his lungs. Bis voice is drowned out by the roar of the road. Frustrated, he tries exaggerated physical ges- tures, unaware of how ludicrous they come off. The father responds with a hand signal of his own. A jabbed, upraised middle finger. With that, he gives his car some gas and the station wagon lunges on ahead. Halsey is undaunted. Gritting his teeth, he throws the Camaro into second. The eight-cylinder muscle car easily catches up with the rinky-dink Ford. The kid looks over to see the father miming another hand sig- nal. Forefinger frantically pointing ahead, a frightened look on his face. The BOOMING BLAST of a BORN. Jim's eyes snap front and he screams. A trailways bus is rearing up, bearing down on him. Jirn hand-over-hand's the wheel, steering his car in a right angle to the left. The silver cruiser chariots past. Too close. CONTINUED: (2) A jarring SOUND of MASHING METAL. The Camara is struck on the rear bumper and sledgehammered into a 360 degree spin-out. Halsey hangs onto the steering wheel for dear life as the view through the windshield becomes a loonily swirling blur of desert and highway. SQUALL of tortured rubber. When everything settles down, Jim opens his eyes to see his car is sitting in the middle of the Interstate. He is breathing in spurts and sweating all over. Behind him, the bus has pulled over to the side of the road. Dazed and somewhat incohe- rent, Halsey wipes a trickle of blood away from the corner of his mouth. Shutting his eyes, he tries to settle down.</scene_description>
<character>HALSEY</character>
<dialogue>Cool down. Down, boy. Whoa. Cool out.</dialogue>
<scene_description>The kid turns on the ignition. The Camaro shimmies and shakes but turns over. He puts down the accelerator. The car rolls out into the westerly lanes. He's in business again. Jim squints up the straightaway. Not a trace of the station wagon to be seen. He puts the pedal to the metal and shifts up to second. The sports car thrusts beneath him. He throws the stick into third. The Camaro bucks like a bronco into high gear. The speedometer climbs steadily. 80. 85. 90. 100. 110. 115. 120. 125 MPH. A speck appears up ahead. The speck becomes a dot. The dot rearranges into the now familiar tailgate of the Ford station wagon. The kid shifts down to first and lifts his foot off the gas pedal. Space closes. He squints through the windshield in suspense. The station wagon is sitting at a standstill in the middle of the road. Jim slows his speed and steers his car alongside the stopped station wagon. He turns his head to look out his window at it. The windshield is gruesomely smeared with finger paint streaks of bright red blood. Halsey turns a whiter shade of pale. He screams and screams again, until his throat is raw and hoarse and only a rasping comes out. He stamps his foot on the accelerator and doesn't stop. He drives on down the road at full-tilt, forgetting to breathe. He stares straight ahead, not daring to look back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GHOST GAS DEPOT - INTERSTATE HIGHWAY 10 - DAY</stage_direction>
<scene_description>A derelict, abandoned service and fueling station. The off ice and garage are bombed out. There is a black - crater in the asphalt where the pumps once stood. The Camaro barrels into the driveway and stops in a skid. Jim leaves the engine running. He shambles out of the car and hurries around the obliterated premises, searching.</scene_description>
<character>HALSEY</character>
<dialogue>Telephone •••</dialogue>
<scene_description>He walks into the cave cavity of the --</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - DAY</stage_direction>
<scene_description>Inside, all is gutted and blackened by fire. A few melted tires are welded together in a morbid, grotesquely suggestive mass in the corner. Dim light digging in the dirty window shows the shape of a pay phone wall unit next to the glass panes. H~lsey runs over to it. He pick~ up the receiver and lets out a sigh of relief when get a DIAL TONE. Fish- ing in his jeans for a dime, he plugs one into the slot, dialing up 911. He waits, tapping his foot.</scene_description>
<character>HALSEY</character>
<dialogue>Hello? Hello, police? You gotta listen to me. I'm out here about ten miles past the toll booth on the Interstate •••</dialogue>
<scene_description>CRASH! A familiar fist punches through a pane of glass, shat- tering shards. A switchblade stabs for his armpit as Jim wrenches out of the way, hollering. The hand with the shiv entangles itself in the phone cord, neatly snipping it in two. A dead line. The kid shuffles back toward the rear of the garage. His hand is clamped onto the severed receiver as he backs himself into a corner. The opening to the garage is emblazoned by the molten red fireball of the rising sun, erupting over the desert horizon, spewing fiery rivers across the burning sky. CONTINUED: The silhouette of John Ryder steps into view, framed against the blazing su~rise. As he approaches, the· steel blade glimmers in his hand as if it were red hot. Halsey wallops the burned brick masonry with the phone receiver in his fist. He holds it out threateningly. His muscular young form shakes from head to foot.</scene_description>
<character>HALSEY</character>
<dialogue>C'mon!</dialogue>
<scene_description>The Hitcher doesn't say a word. He takes a few more steps and stops where he is standing. Purposefully, he outstretches his arm. There is something in his fist. He revolves his wrist until the palm is downwards. Be opens his hand and something metallic and glittery drops onto the ground with a JINGLE. Ryder turns on his heel and walks back from whence he came, disappear- ing from view as he is swallowed up by the flaming sky. Jim watches him go, uncomprehending. Venturing over to the spot on the ground where the object was dropped, he stoops down to retrieve it. Halsey rubs it in his fingers, confused. His ring of car keys. The kid trods over to the gateway and sticks his head out to peer around. A stale, dry breeze is whisking up the dust at his feet. Ill at ease, he steps out onto EXT. GHOST GAS DEPor - DAY Outside, the little wind is shaping up into a freak dust storm. Grit and dirt are swept up and swirled into tiny twisters whipping around the lot. Jim has to shield his face with his forearm. Squinting against the blowing scrub, he can see the scarecrow figure of John Ryder standing stone still on the edge of the highway. His black raincoat is flap- ping around his skeletal frame, bony body buffetted by gusts of tumbleweed, sassafras and sand. His hand extends in Jim's direction, fingers beckoning, compelling. Come. The Hitcher becomes obscured behind a haze of desert debris. Halsey claps his hand over his face and peers through the space between his fingers. CONTINUED: The clouds of flying matter die down long enough to discern the blurry outline of Ryder. His hand is stjll held out, but this time it is toward the road. This time his thumb is extended. The dust storm wreathes him in a brownish smoke screen of dirt. Molten red taillights melt through. The shadow shape of a black pickup truck. All at once the ground is upheaved in a HOWLING HURRICANE of sand and scrub. The truck is erased from view. Halsey takes off in a run in that direction. He waves 1 his arms and yells, but his voice is drowned out in the DUST STORM DIN. He gets nowhere fast. His body is pummelled by the blistering winds and debris.</scene_description>
<character>HALSEY</character>
<dialogue>Don't pick that guy up! Don't!</dialogue>
<scene_description>As quickly as it rose up, the TUMULT DIES DOWN. The winds sigh into a breeze and whisper away into still- ness and an UNCANNY SILENCE. Straw, dirt, tumbleweed, sand and scrub settle into a fine carpet of dust as visibility returns. The kid wipes off his face with his tee-shirt. Dis- oriented, getting his bearings, he sees he is standing alone on the dirty blacktop of Interstate Highway 10. John Ryder and the black pickup truck are gone. Halsey ponders the key ring in his sweaty palm, then he looks up resolutely into the highway's middle distance, into the vanishing point.</scene_description>
<character>HALSEY</character>
<dialogue>Okay. You got it.</dialogue>
<scene_description>He sprints over to the Camaro and hops inside. The MOTOR ROARS on and REVS UP in snorts of exhaust. It tears out of the station and onto the westbound freeway in a SQUEAL of BURNT RUBBER tread marks. As it rockets up the road, it disappears from sight in its smokey wake. The chase is on.</scene_description>
</scene>
<scene>
<stage_direction>INT. '79 CAMARO - DAY</stage_direction>
<scene_description>Halsey's features are tight with concentration and intent as he scouts the onrushing Interstate, eyes scanning left, then right, fingers wrapped firmly around the steering wheel. He twists his wrist to uncover his Timex. 5:35 a.m. CONTINUED: The world is waking up. Morning rush hour traffic parades by in the opposite lanes. A motorcade of tractor-trailer eighteen-wheelers, a yellow school bus, a milk truck, a few commuter economy cars on the way to work somewhere. The routine daybreak traffic proces- sion returns some sense of normalcy and sanity to the highway that was so psychotically surreal only minutes before. The cars are turning their headli;hts off. Keeping a sharp lookout, Jim uncaps the coffee thermos he has resting on the dashboard, sipping the steaming liquid. A Marlboro billboard sails by. Be grits his teeth in a caffeine rush satisfaction, screwing the cap back on the hot java. He checks the rearview mirror. The road behind is as empty as the one still to come. He lifts the container to place it back on the dash- board. CAROOOOOOOOOMMMMMPH 11 1 The Camaro is lambasted from behind. The car is rocked by a shocking seizure that whiplashes Halsey's forehead into the steering wheel with terrific force. The thermos leaps out of his hand and douses his lap with scalding liquid. Jim barks in pain, jumping in his seat. Recovering his sense quickly enough to regain control of the car, he fires off a glance into the rearview mirror. The back shield is filled with the front end of the black pickup truck. It is suggestive of a skull with its grinning iron grill and darkened headlamp sockets. A bleached cow skull is rigged on the hood. Once again it charges into the rear bumper, jackhammer- ing the Camaro. The car is violently jarred, slipslid- ing in and out of its lane before regaining traction. The TRUCK THUNDERS up alongside. Jim is getting des- perate by degrees. He stomps on the accelerator and shifts down to gain power and speed as his vehicle lunges beneath him. The pickup's ENGINE GROWLS and it picks up speed. It easily resumes its side-by-side position. Without warning, the truck dives in across the white lines and piledrives itself into the left side of the Camaro. CONTINUED: The driver's door buckles in and Jim is flung helplessly into the next seat, fingers pried free of the wheel. He clambers back into position, but it's too late. The car is bounding off the road and all he can do is step on the brake. The Camaro nosediv~s into an irrigation ditch, coming to rest half in and half out, lifted at an angle. Halsey grimaces, moaning in pain as he cuts the igni- tion. Looking over at the nearby highway, he sees the pickup's tail end shrink away in the trailing cloud of dirt. Gone. The kid tenderly touches a welling welt on his fore- head. His brow knits in anger. He spits. He switches on the ignition and REVS the eight-cylinder ENGINE until it ROARS and ROARS. Confident his car is intact, he shifts into first. The Camaro jounces as it climbs out of the water channel and back onto the gravel shoulder. Halsey peers left and right. Seeing the Interstate is clear, he accelerates back onto it. A blue road sign whizzes by. "GAS. NEXT EXIT. 1/4 MILE." Jim checks the fuel gauge on the dashboard. The needle pin is into the red shading on the "E" end. Swearing, he taps up the signal stick and slows to enter the exit ramp. Over a small upgrade, at the base of the downgrade by the little intersection, he eases to a halt by the stop sign. A Texaco gas depot is across the way. Towering ~win pinions support an illuminated signboard high overhead. A metal drawhorse reading "Closed" rests on the driveway. Jim's eyes stare without blinking, his tongue wetting his lips suddenly gone dry. The black pickup truck is parked at the curb of the lot inside. Very slowly, the kid drives his car across the intersection. Climbing his car up on the curb of the smooth cement paveway of the gas station, he parks at the base of the ramp. Shutting off the Camaro, he pockets the keys. Unhitching the door, he climbs out onto --</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEXACO SERVICE STATION - DAY</stage_direction>
<scene_description>Halsey walks around the rear of his car to the trunk. CONTINUED: The back fender is bent and dented in and his tail- lights are smashed. Inserting his key, he lifts open the storage compartment. A Goodyear radial, a lug wrench and a tire iron lie inside. He takes up the crowbar and swings down the trunk door. Jim wields the iron like a crowbar and hikes up the asphalt ramp onto the cement paveway. The black pickup truck is parked across from the gas pumps. It sits sheeny as a big beetle in the hot sun. To the left of it is another lot surrounded by a six- foot-high wood slat fence. The kid takes a few more paces, then stops. He can see from where he's standing that the cab of the truck is empty. He gives the station a once over. Nothing and nobody in plain sight. He makes his way around to the rear of the low white office building. Two doors against the wall. •Men.• "Ladies.• The women's restroom door is slightly ajar. Jim brings the tire iron high up over his shoulder and sidles up against the wall. He counts under his breath. He launches off a kick that bursts open the door, bust- ing his way into</scene_description>
</scene>
<scene>
<stage_direction>INT. LADIES ROOM - TEXACO SERVICE STATION - DAY</stage_direction>
<scene_description>The kid wheels around with the crowbar poised. The lights are out and the room is empty. He nudges the door to the toilet stall open with the toe of his Pro Ked. Also empty. He shrugs and relaxes. He walks out into --</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEXACO SERVICE STATION - DAY</stage_direction>
<scene_description>Outside, he gets back to business. Clenching the tire iron with one hand, he tries the knob to the door of the men's room with the other. It won't budge. Be presses his ear flat against the door, but can detect no sound inside. The kid decides to check around front again. CONTINUED: He goes the other direction this time. Turning the corner of the building, he spots the black pickup truck sitting where it was before. About twenty yards from the slat fence. He cautiously goes over to it. Up on his tip toes to peer into the driver's seat. Nobody home. Down on his hands and knees to peek below the chassis. No one hiding beneath. He scratches his head. An idea comes to him. He walks around front and examines the grill and front fenders. Spotless. Not a scratch on it.</scene_description>
<character>HALSEY</character>
<dialogue>This ain't the same truck.</dialogue>
<scene_description>Jim slogs back around the left side. Resting his butt against the rim of the tire, he lights up a cigarette. KABRRRAAAAAASSSSSSHHHHHH ! 11 A second black pickup truck explodes through the picket fence in an eruption of splintering chunks of wood planking. It comes charging straight for the kid like a rampaging steer. A ccw skull is rigged on the hood. Halsey comes alive, swan-diving through the air out of the path of the pickup. He lands hard on the cement in a belly roll just as the truck battering-rams its brother. The first pickup is tipped over onto its side. With a GRINDING SNARL of SHIFTING GEARS, the black pickup TRUCK SCREECHES into reverse and SQUEALS forward with a SNORT of exhaust. Jim gets to his feet and runs for his life. The pickup rears up behind him like a black bull. Jim fakes the truck out by breaking off to the right and dodging in between the four gas pumps. The pickup speeds past, slamming on its brakes. It does a full turnaround with almost animalistic agility. Spewing out noxious carbon monoxide fumes, it barrels headlong for the pump stalls the kid is climbing through. BBARRRRAAAAANNNNKKKKKKK!11 The truck bulldozes into the first row of pumps, crump- ling them into hunks of twisted steel under its tires. Geysering jets of Super Preminium and Regular Unleaded skyrocket into the air from the underground tanks. CONTINUED: (2) Jim is caught square in the chest by a flying gas hose handle and goes toppling onto his back. Gasoline rains down on him, dousing him in a spreading pool. In seconds he is drenched with the stuff. The kid starts to scramble to his feet. The black pickup TRUCK ROARS straight for him. Jim slips on the viscous petrol and drops again. The truck is on top of him and it stops with its tire treads touching his sneaker soles. Halsey stares in raw animal terror at the skull-faced front end of the vehicle looming over him. It sits there for long, terrible moments. Finger lakes of petrol flow down the lot and ramp, streaming around the Camaro's whitewalls. The driver's window of the black pickup truck rolls down. A familiar blanched, bony hand holds out a stick match between thumb and forefinger. It strikes it up with the thumbnail in a flash of flame. The hand holds the burning match out over the sea of gasoline the kid is taking a bath in. The flickering flame roasts away the wood stick, singeing the flesh of the fingertips. Jim can stand it no longer. He leaps to his feet and bolts in the direction of his parked car, sneakers splashing through streams of Texaco Plus. The match is dropped. WWWHHHHHHHHOOOOOOOSSSSSSSHHHHHlll A fulgeration of fireclouds. The flames blaze a fiery trail along the oceans of petrol, chasing him and catching up. Halsey scatters as fast as his feet will carry him, but the fiery licks are snapping at his heels. If it touches him he will ignite like a human torch. He arrives at the Camaro in the nick of time, diving headfirst through the open door into the front seat as the car is immersed in a swamp of burning gasoline.</scene_description>
</scene>
<scene>
<stage_direction>INT. '79 CA.MARO - DAY</stage_direction>
<scene_description>Dripping with petrol and perspiration from the intense heat, Jim drags the door closed. He jams the keys in the ignition and takes position behind the wheel. The ENGINE TURNS OVER. Throwing the car into gear, he stamps his foot down on the gas pedal. CONTINUED: The windshield is awash with red and yellow fire. For a second it is unclear whether the car is even moving. Suddenly, the windshield flashes a view of the Interstate 10 overpass and the intersection beneath. Out of pure reflex, Halsey manages to swerve the car into the right side of the road and hurtle off down it. Home free. He lets out a hysterical howl of glee when he realizes he has once again survived, shifting straight up to third and putting the pedal to the metal. The perspec- tive of the road ahead seems to flatten as he thunder- balls down the two-lane strip. He is trying to cover as much ground as he can before the Texaco gas depot blows sky-high. BBBBAAAAARRRRRROOOOOOOOOOOOMMMMM!l! A blinding flash whites-out the world as far as the eye can see. The Camaro is tremored by an earth-shaking shock wave. The deafening EXPLOSION gives way to a ringing SILENCE. Halsey keeps mumbling words to himself over and over and over as he drives on and on and on.</scene_description>
<character>HALSEY</character>
<dialogue>It's over, buddy, it's over buddy, it's over buddy it's over buddy it's over •••</dialogue>
<scene_description>A signpost wings on past. "Food/Rest 1/2 mile.• A "Longhorn Sirloin Burger• restaurant approaches ahead. Jim can barely drive anymore. He has to keep his hands glued to the steering wheel. He keeps it together enough to negotiate the simple turn into the parking lot and puts his car into one of the spaces. Halsey turns off the Camaro. He steps on the emergency brake. Shouldering open the door, he achingly rises out of the car into --</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - LONGHORN SIRLOIN BURGER</stage_direction>
<character>RESTAURANT - DAY</character>
<dialogue>Jim stretches and shakes his head around to clear it, still in a semi-state of shock. He is sopping with gasoline, his soaked clothes dripping a puddle of Regular and Unleaded onto the asphalt. He wrinkles his nose when he gets a whiff of himself.</dialogue>
<scene_description>CONTINUED: Halsey shoulders the strap of his duffel bag and closes the door of his car. He shuffles up the steps to the restaurant and shambles to the glass doors. A WAITRESS is behind the pane of glass, in the process of unlocking it with a key in her hand. The girl is a pretty, plain young woman of 22 with a simple, rural face and strong, straight-ahead eyes. She is just pushing open the door as she looks up and sees the soiled, strung-out kid. Rolling her eyes, she pulls on the door to shut it. Jim catches the handle and holds it half open as she holds it half closed.</scene_description>
<character>WAITRESS</character>
<dialogue>We ain't open yet.</dialogue>
<character>HALSEY</character>
<dialogue>Do you have a phone? I gotta use a phone.</dialogue>
<character>WAITRESS</character>
<dialogue>I said we're shut.</dialogue>
<scene_description>The young man and the young woman are having a tug of war with the door.</scene_description>
<character>HALSEY</character>
<dialogue>You gotta let me use your phone!</dialogue>
<character>WAITRESS</character>
<dialogue>I'll call the cops!</dialogue>
<scene_description>The kid stops pulling against it and pushes in with the Waitress. She stumbles back, out of balance. He slumps through the door into --</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - LONGHORN SIRLOIN BURGER</stage_direction>
<character>RESTAURANT - DAY</character>
<dialogue>Jim is suddenly standing inside the shop. The place is devoid of diners and employees. The two of them are all by themselves. The Waitress finds her footing and grabs a napkin dispenser. She faces him and threatens to throw it.</dialogue>
<character>WAITRESS</character>
<dialogue>Get out of here or I'll crown you!</dialogue>
<character>HALSEY</character>
<dialogue>All I wanna do is use your phone! I'll be right out!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>WAITRESS</character>
<dialogue>Get your butt out of this restaurant this goddamn instant!</dialogue>
<character>HALSEY</character>
<dialogue>God, what's it gonna take for somebody to show some compassion? Don't you see I been through some serious shit here?</dialogue>
<scene_description>The kid is close to tears. The Waitress sees the upset on his face and her eyes soften. She shakes her head sympathetically and sets the napkin container on the counter.</scene_description>
<character>WAITRESS</character>
<dialogue>Look at you. You want to use the phone, go right ahead.</dialogue>
<character>HALSEY</character>
<dialogue>Thank you. I really mean it.</dialogue>
<character>WAITRESS</character>
<dialogue>Do you want something to eat?</dialogue>
<character>HALSEY</character>
<dialogue>I could use something actually.</dialogue>
<character>WAITRESS</character>
<dialogue>Do you have the money to pay for it?</dialogue>
<scene_description>Jim lightens up and chuckles.</scene_description>
<character>HALSEY</character>
<dialogue>Oh boy, I must look pretty disreputable. It's okay. I'm cool for cash.</dialogue>
<scene_description>Halsey reaches into the open pocket of his leather jacket and draws out his wallet, flipping open the billfold to show her several dollars inside. The Waitress puts her hands on her hips and guffaws. Jim grins boyishly, glad he's found a friend. He holds out his hand.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I'm Jim.</dialogue>
<character>WAITRESS</character>
<dialogue>Glad to meet you. I'm Galveston and I'm not going to get within a mile of you till you scrub off that gas.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>HALSEY</character>
<dialogue>Yeah, sure.</dialogue>
<character>GAL</character>
<dialogue>You got some fresh, clean clothes in that bag?</dialogue>
<character>HALSEY</character>
<dialogue>Yeah.</dialogue>
<character>GAL</character>
<dialogue>Good. Change into 'em. Go make your phone call. I'll cook you a cheeseburger.</dialogue>
<character>HALSEY</character>
<dialogue>Hey.</dialogue>
<scene_description>She smiles at him and waves her hand. He grins like an idiot at her cheerful mothering and removes his leather jacket, sliding it over one of the stools at the counter. He puts his wallet in the open pocket and walks around the corner towards the bathroom and the pay phone section. The Waitress goes into the kitchen. The jacket sits slung over the stool in the deserted dining room.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAY PHONE SECTION - LONGHORN SIRLOIN BURGER</stage_direction>
<character>RESTAURANT - DAY</character>
<dialogue>Jim puts down his duffel bag by the unit and picks up the receiver, inserting a dime and dialing up •o.•</dialogue>
<character>HALSEY</character>
<dialogue>Operator? Hook me up with the Highway Patrol. It's an emergency so hurry it up ••• Sergeant, my name's Jim Halsey. Get something to write with, man. I seen some stuff. What's it about? It's about the family that got wasted in the station wagon and the Texaco station that got blown up a coupla minutes ago. Why don't you get where I am and I'll give you the rundown. I'll see you in a few minutes, okay? Oh yeah, the address. I'm sitting at the Longhorn Sirloin Burger off of Interstate 10. I'll wait for you. So long, Sergeant.</dialogue>
<scene_description>Halsey hangs up .and grabs his duffel bag. He heads to the door and pushes through it into --</scene_description>
</scene>
<scene>
<stage_direction>INT. MEN I S ROOM - LONGHORN SIRLOIN BURGER RESTAURANT -</stage_direction>
<character>DAY</character>
<dialogue>The kid puts his duffel bag on the sink. He looks in the mirror and gets his first look at his grisly, grimy appearance. He does a double take.</dialogue>
<character>HALSEY</character>
<dialogue>Holy shit.</dialogue>
<scene_description>Jim turns on the spigot and splashes water on his face. Halsey dries himself off with a paper towel and looks into the mirror. Little improvement. The kid zips open his bag and draws out a fresh pair of jeans, a white tee-shirt, clean socks and underwear, a toothbrush, toothpaste and dental floss. He p~els off his gas-coated undershirt and pitches the sopping rag into the rubbish. He pulls off his damp and dirty blue jeans and dumps them in the trash bin. He strips out of his petrol-soaked underclothes and deposits them in the refuse. Naked, he clothes his muscular, lean body in his clean, dry garments. The kid looks a little refreshed. He goes to the sink and brushes his teeth, flossing and gargling with tap water. He spits foamy froth in the basin and looks himself over in the mir- ror. Possibilities. Jim puts the toothpaste, brush and dental floss back in the bag and zips it up. He shoulders the strap and walks out the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - LONGHORN SIRLOIN BURGER RESTAURANT</stage_direction>
<character>- DAY</character>
<dialogue>The kid walks around to the counter. The room is de- serted. A cheeseburger and fries platter is set down beside a cup of coffee. Jim lays his bag on the floor and puts on his leather jacket, sitting on the stool. He looks around for the waitress, shrugs his shoulders and takes a sip of the coffee. Galveston comes out of the kitchen. She raises her eyebrows and smiles when she sees the new, improved young man at the counter.</dialogue>
<character>HALSEY</character>
<dialogue>Can I stay?</dialogue>
<character>GAL</character>
<dialogue>Soap and water does wonders for you. Are you alright?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HALSEY</character>
<dialogue>I'll be okay. You been ~eally nice.</dialogue>
<character>GAL</character>
<dialogue>"ihat in the world happened to you?</dialogue>
<scene_description>Jim stares into his coffee cup and shivers. He takes a sip and looks at the girl.</scene_description>
<character>HALSEY</character>
<dialogue>If it's all the same to you, I'd like to talk about something else.</dialogue>
<scene_description>Galveston shrugs and leans back against the wall. Halsey is spaced.</scene_description>
<character>GAL</character>
<dialogue>You're not from around here, are you?</dialogue>
<character>HALSEY</character>
<dialogue>I come from Ohio.</dialogue>
<character>GAL</character>
<dialogue>What brings you out here'?</dialogue>
<character>HALSEY</character>
<dialogue>I grew up in this town called Buford. You're driving down the road, you see this sign that says, •You are now entering Buford.• The other side of the sign says, •You are now leaving Buford.• Place gets a little old after awhile. I hit the road. Heard there was work in Texas, so I came down to check it out.</dialogue>
<character>G).L</character>
<dialogue>What if you can't find a job?</dialogue>
<character>HALSEY</character>
<dialogue>I'll check out California.</dialogue>
<character>~L</character>
<dialogue>You don't sit still, do you?</dialogue>
<character>HALSEY</character>
<dialogue>Ain't seen the place I'm gonna make my stand is all. I still got some adventuring to do before I shift into low gear.</dialogue>
<scene_description>CONTINUED: (2) The kid laughs.</scene_description>
<character>GAL</character>
<dialogue>What's so funny?</dialogue>
<character>HALSEY</character>
<dialogue>I got all the adventure I can use this day.</dialogue>
<scene_description>Jim has taken a hearty mouthful of his cheeseburger. He stops chewing all of a sudden, a puzzled expression on his face. He feels the top of the bun with his fingertips. Halsey lays the burger back down on the plate and flips the bread lid. The kid chokes on the morsel of food in his mouth and starts to gag. A disembodied human eyeball floats gorily glassy on a bed of gooey cheese. Jim swats the plate off the counter, sending it sailing against the wall and shattering to smithereens. Galveston puts her hands over her mouth, shock-stricken at the spectacle. Halsey staggers off the seat and stumbles around, coughing, choking to death. He jams the small of his back against one of the stools and punches himself with both fists in the solar plexus. The bit of food is disgorged from his windpipe. He sits on the floor in a stupor. Suddenly he is on his feet, in too much pain and shock to speak as he flees out the door of the restaurant. The waitress is speechless. She gathers herself to- gether and walks to the window, watching the kid scramble down the staircase.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - LONGHORN SIRLOIN BURGER RESTAURANT</stage_direction>
<character>- DAY</character>
<dialogue>Jim scatters across the parking lot. Be stops in his tracks. A Highway Patrol car dips up the ramp and drives into the lot in his direction. Halsey puts himself in the path of the oncoming police car. He flags his hands above his head, waving it down.</dialogue>
<character>HALSEY</character>
<dialogue>Hey! Wait, guys!</dialogue>
<scene_description>CONTINUED: The patrol car jams on its brakes and jerks to a halt. The side doors are heaved open and TROOPER DODGE and TROOPER DONNER land on the pavement on one knee. They draw out their • 357 Magnums from their sideholsters ··· with practiced liquidity, taking two-handed aim at the kid. Sunlight glints off their mirrored shades.</scene_description>
<character>TROOPER DONNER</character>
<dialogue>Put your hands in the air and get down on the ground!</dialogue>
<scene_description>Jim is stunned. He just stands frozen with a stupid look on his face.</scene_description>
<character>HALSEY</character>
<dialogue>You got it wrong, guys!</dialogue>
<character>TROOPER DODGE</character>
<dialogue>Get your ass down on the cement or we open fire! Put your hands up!</dialogue>
<scene_description>Halsey does what he is told. Putting his hands behind his head, he climbs down onto his knees and flattens himself face-first on the cement. The Highway Patrolmen hurry over to where he lies.</scene_description>
<character>TROOPER DONNER</character>
<dialogue>Do you have any identification with you?</dialogue>
<character>HALSEY</character>
<dialogue>My wallet's in the pocket of my jacket.</dialogue>
<scene_description>Trooper Donner, a seasoned senior officer, looks on as Trooper Dodge, a redneck rookie, crouches down and runs his hand on the sides of the kid's leather coat. He sticks his fingers in the pocket and pulls out some- thing other than a wallet the two policemen stare at. John Ryder's switchblade shiv, spiderwebbed with sticky blood. Jim turns his head to look over his shoulder. He sees it and starts to say something. Trooper Dodge looks down at him, red with rage.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - LONGHORN SIRLOIN BURGER RESTAURANT</stage_direction>
<character>- DAY</character>
<dialogue>Galveston is still standing staring out of the window at the spectacle in the parking lot.</dialogue>
<scene_description>CONTINUED: She puts her hands on her mouth as she sees Jim Halsey rise to his hands and knees and Trooper Dodge send his shoe squarely in his face, socking him senseless. The waitress rushes out the door of the restaurant in alarm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - "LONGHORN SIRLOIN BURGER"</stage_direction>
<character>RESTAURANT - DAY</character>
<dialogue>The kid is bleeding from a bruised welt on his mouth as he is dragged to his feet and pushed over the hood of the Highway Patrol car by the roughneck cop. Trooper Dodge clips a set of silver handcuffs off his belt and claps them around Jim's wrists. Trooper Donner pulls his rule book out of his back pocket and flips to a specific page.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>You have the right to remain silent •••</dialogue>
<scene_description>A SHOUT attracts the attention of the two policemen. They turn their heads to see Galveston run down the stairs of the restaurant and across the lot, stopping and standing in appalled silence, squinting squeamishly at the scene. Jim stares at her stuperously.</scene_description>
<character>GAL</character>
<dialogue>What's going on?</dialogue>
<character>TROOPER DODGE</character>
<dialogue>Get back inside, miss.</dialogue>
<character>GAL</character>
<dialogue>What did he do for you to work him over like that?</dialogue>
<character>TROOPER DONNER</character>
<dialogue>This psychotic has slaughtered ten people on the highways in the last two days. We found this switchblade in his jacket and it fits the APB on the airwaves.</dialogue>
<scene_description>The policeman shows the girl the shiv in the handker- chief. Halsey shakes his head slowly. She looks back and forth between the kid and the cops, not knowing what to think. Jim shuts his eyes and slumps as Trooper Donner reads off his rights. Trooper Dodge opens the rear door of the car. CONTINUED:</scene_description>
<character>TROOPER DODGE</character>
<dialogue>Let's take this piece of crap in.</dialogue>
<scene_description>The two Highway Patrolmen shove the kid into the back seat and shut the door. The cops climb into the front seat and switch on the ch~rry-top. The car hangs~ huey and heads out of the parking lot. Galveston stands on the asphalt in a cloud of exhaust, watching the police car drive away up the road, smooth- ing her hair with her hand. EXT. HIGHWAY PATROL ROADSIDE STATIONHOUSE t4 - DAY A small, L-shaped building of drab green brick. A driveway leads down to it off the busy thoroughfare of Interstate Highway 10. The squad car turns off the freeway and pulls up in front of the glass doors of the main entrance. Troopers Donner and Dodge drag the limp Jim Halsey out of the back, hauling him through the doors into the</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT OFFICE - HIGHWAY PATROL STATIONHOUSE 14 -</stage_direction>
<character>DAY</character>
<dialogue>A big room with four desks set on the floor. Numerous file cabinets flank a wall case of rifles and shotguns. A computer bank connecting to a main data terminal is in a corner. A photography setup complete with a box camera on a tripod, a 1-K lamp on a stand, and a back- drop of grey seamless fills another corner. There is only one officer in the building. DESK SERGEANT STARR is fetching a cup of coffee from a bub- bling percolater. He looks up, stirring in sugar, to see Trooper Donner and Trooper Dodge come in with the worse-for-wear Jim Halsey.</dialogue>
<character>DESK SERGEANT STARR</character>
<dialogue>What have we got here?</dialogue>
<character>TROOPER DODGE</character>
<dialogue>Swallow that coffee in your mouth.</dialogue>
<character>DESK SERGEANT STARR</character>
<dialogue>Gulp.</dialogue>
<character>TROOPER DODGE</character>
<dialogue>We got us The Hitcher.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DESK SERGEANT STARR</character>
<dialogue>Bullshit.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>Kid had a switchblade that fits the general description the forensic people sent out.</dialogue>
<character>DESK SERGEANT STARR</character>
<dialogue>Book him.</dialogue>
<scene_description>Jim is led over to one of the desks with an Olivetti Lexicon 83 DL on it. Trooper Dodge sees to handcuffing him to the legs of the chair he sits him down on. Trooper Donner seats himself behind the desk and rum- mages through the stack of papers for an arrest form. He inserts the report sheet into the typewriter and pecks out preliminary information. Desk Sergeant Starr puts his shoe on the tabletop and chews a chaw from a pack of Red Man Tobacco. Jim is bleary from the beating.</scene_description>
<character>TROOPER DONNER</character>
<dialogue>Name?</dialogue>
<character>HALSEY</character>
<dialogue>Jim Halsey.</dialogue>
<character>DESK SERGEANT STARR</character>
<dialogue>Does he have any identification on him? Driver's license? Credit card?</dialogue>
<character>TROOPER DONNER</character>
<dialogue>Nope. Nothin'.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>HALSEY</character>
<dialogue>I must have dropped it back there at the restaurant.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>Where'd you get the car?</dialogue>
<character>HALSEY</character>
<dialogue>It's an Auto-Drive-A-Way. It's not mine. I'm delivering the car to this guy in San Antonio.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>Do you have the registration?</dialogue>
<character>HALSEY</character>
<dialogue>The car belongs to the guy. Call the Auto-Drive-A-Way office in Cleveland. I know the number. It's (216) 676-4800.</dialogue>
<scene_description>Trooper Donner looks at him a moment. He picks up the phone receiver and dials the number, switching on the speaker phone. The SOUND of an ANSWERING MACHI?-."E on the SPEAKER PHONE •</scene_description>
<character>ANSWERING MACHINE (V .0.)</character>
<dialogue>You have reached the offices of Cleveland Auto-Drive-A-Way. We are closed on Saturday and Sunday but will reopen at 9:00 on Monday morning.</dialogue>
<scene_description>The Highway Patrolman hangs up. The kid looks at the three cops. Trooper Donner taps a pencil in his palm.</scene_description>
<character>HALSEY</character>
<dialogue>Call my mother, for Christsakes. She manages the Buford 7-11 in Ohio.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>You got one more call.</dialogue>
<character>HALSEY</character>
<dialogue>(216) 555-0980. Check her out. Let me talk to her.</dialogue>
<scene_description>The Highway Patrolman dials up the number. The SOUND OF RINGING on the SPEAKER PHONE • It RINGS • RINGS. RINGS. RINGS. RINGS. RINGS. RINGS. The policeman hangs up. CONTINUED: (3)</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Maybe you didn't give it enough rings.</dialogue>
<scene_description>The three Highway Patrolmen regard him stone-faced.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• C'mon, guys, do I look like a bloodthirsty psycho to you?</dialogue>
<scene_description>Trooper Donner settles in his seat and scratches his nose. Jim looks at the gas and grime stains on his skin and runs his hand through his crumbly, crud-caked, uncombed hair. Trooper Dodge leans down and looks him in the face.</scene_description>
<character>TROOPER DODGE</character>
<dialogue>You open your mouth and say one more word and I'm gonna take my stick and smash your teeth down your throat.</dialogue>
<character>TROOPER DONNER</character>
<dialogue>Get him printed, get his shots, get him locked up, get him out of my sight.</dialogue>
<scene_description>Trooper Donner yanks the arrest report sheet out of the typewriter spool and sets out an ink pad. Trooper Dodge unlocks the handcuffs, smearing Jim's finger- prints onto the sponge and the ten digits onto the appropriate spaces on the paper. Halsey doesn't dare resist. Desk Sergeant Starr goes over to the photography rig in the corner. Flicking on the floodlight, he adjusts the box camera and inserts plastic numerals into a block with a neck strap. Jim is led over to the seamless backing in front of the lens. The numeralled block is slung around his neck. The flashbulb strobes four times as snapshots are taken of his front and side views. Despondent, the kid is led away from the mug shot setup by Trooper Dodge. He is drawn toward a door leading into an adjoining area. The rookie unlatches it and pushes the boy into -- INT. CELL BLOCK - HIGHWAY PATROL STATIONHOUSE t4 - DAY The two of them walk down the row of dull, cold metal- barred cubicles without saying a word. Their FOOTFALLS ECHO bleakly. All of the cages are empty. The cop selects the one furthest down the line and opens the gate with his ring of keys. Be stuffs Jim roughly inside and slams the gate shut with a hopeless CLANG. He turns his back and walks back up the hall. The DOOR SLAMS. The kid is alone. Jim Halsey is not looking well. He starts to wander around the cramped compartment in circles, staring at the walls. Nervous energy presaging a complete exhaus- tive collapse.</scene_description>
<character>HALSEY</character>
<dialogue>I don't believe this. I don't.</dialogue>
<scene_description>The kid wilts to the ground and lies there in a heap.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAIL CELL - CELL BLOCK - DAY (LATER)</stage_direction>
<scene_description>Jim Halsey's eyes blink open, crusted over. Bis cheek is squished against the cold stone floor. Se groans and pushes himself onto his hands and knees, shaking his head around to clear it. It's unclear how long he has been unconscious or how much time has elapsed. Jim climbs unhappily to his feet and stretches his aching bones with a grunt. Rubbing his swollen jaw, he rests his weight against the gate. CRREEEAAAK. It spreads wide open. The kid is thrown off balance and, toppling out, nearly trips onto his duff. Surprised, he hurries back into his cell, clos- ing the gate. Be clings onto the bars, chewing his lips. Be scouts his surroundings on all sides. Deserted. A fraction of an inch at a time, so as not to make any sound, he reopens the gate, slipping out into -- INT. CELL BLOCK - HIGHWAY PATROL STATIONBOUSE t4 -</scene_description>
<character>DAY</character>
<dialogue>Jim tiptoes across the hall and flattens himself against the wall. Holding his breath, he steals step by step toward the door to the front office.</dialogue>
<scene_description>CONTINUED: He draws his tongue around his parched lips, wetting them, listening intently fer any sound and being cate- ful not to make any of his own. Arriving at the door frame, he squeezes up against it. He braces himself to make his move.</scene_description>
<character>HALSEY</character>
<dialogue>One ••• two ••• Go for itl</dialogue>
<scene_description>Jim takes off like a shot through the doorway into</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT OFFICE - HIGH'WAY PATROL STATIONHOUSE 14 -</stage_direction>
<character>DAY</character>
<dialogue>Jim tears into the room in a desperate break for the front doorway. After three paces he stop so short that he almost falls on his face. He stumbles into the file cabinets, fingers stuffed in his mouth to keep his gorge down. Buckling over, he wretches in dry heaving spasms.</dialogue>
<dialogue>Trooper Donner is slumped spread-eagled in hi~ chair behind the typewriter. His throat i3 cut from ear to ear. Trooper Dodge is sprawled on the floor with his back propped up against the base of the wall, his stomach savaged with stab wounds. The carpet area seven feet around him is a sea of red wetness. His stainless steel .357 Magnum rests in his open palm, chalky fingers beginning to stiffen with rigor mortis around the vulcanized rubber stock. Desk Sergeant Starr is crumpled over on his knees. His arms are hugging his belly and a sanguine stain flowers his shirt. Jim gathers himself together and gets to his feet. He walks incredulously in and around the carnage. Then he spots it. The bleached cow skull from the front of the black pickup truck is on the carpet. The eyesockets are cupped with blood. Long red drip-drops like ghastly tears bleed down the toothy jawbone. With a scream, Jim stomps his sneaker down onto the skull, shattering it to smithereens.</dialogue>
<scene_description>CONTINUED: Fright and revulsion turn to raw panic. Frantic, Jim scampers around the room trying to decide the best course of action. He doesn't know what to do with himself. The PHONE RING.S. RINGS again. And again. Another PHONE RINGS. Out of his mind with confusion, Jim sprints over to the butchered corpse of Trooper Dodge. He bends down on one knee and tries to pry the stony fingers from around the stock of the .357 Magnum. Rock solid from rigor, they won't budge. Halsey breaks the fingerbones at the knuckles, grimacing squeamishly with each SICKENING SNAP. He twists the bulky pistol free. Standing up, he tests the weight of the gun and gets the feel of it in his hand. He handles it clunkily and awkwardly. He stuffs the barrel down into his belt underneath his white tee-shirt. He zips up his leather jacket to conceal it. The PHONES are RINGING off the wall. The kid's mind is fuzz tone. Scattering across the room, he shoulders out of the glass doors into -- EXT. HIGHWAY PATROL STATIONHOUSE t4 - DAY Jim Halsey runs at full-tilt out of the driveway and into the tall, dry crabgrass that lines the roadside. A SYMPHONY OF SIRENS rise and stop him in his tracks. The kid hits the deck, ducking down onto his stomach in the weeds to see a posse of five black and white police cars blur past with their cherry-tops flaring. Peeking through the grass blades, the young man watches them assemble and congregate in the driveway of the slaugh- terhouse stationhouse. Ten troopers dash out of their vehicles and into the building. In a second, six of the cops scramble out the door and sprint into three of the squad cars. In a SQUEAL OF SMOKING TIRES, the vehicles speed out onto the highway in opposite direc- tions. The kid waits until he is sure he is not being watched and takes off out of his place of concealment. He runs into a field of high weeds as fast as his legs will carry him. He is running blind, his eyes squeezed shut, his head thrown back, his face flushed crimson. His fists are clenched. CONTINUED: He runs and runs, his heart punching his chest, his lungs tearing out of his torso. Bis face is screwed up in a mask of adrenalic agony. Jim starts to lose steam and he stumbles to a stop, standing and sucking in air in spurting spasms, stroking his aching stomach. Halsey surveys his surroundings, scanning for a sanctuary. He sees the silver eagle signpost of a small Trailways bus station several hundred yards away, situated on a side road to the highway. Scrambling across the re- mainder of the field, he steps into the lot of the --</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - TRAILWAYS BOS STATION - DAY</stage_direction>
<scene_description>The only cruiser presently at the gates is the one that just pulled in and now it's pulling out. In a HISS OF AIR BRAKES, it starts edging out of its dock. Jim bangs on the door with his hands. It keeps revers- ing backwards.</scene_description>
<character>HALSEY</character>
<dialogue>Hey! Stop this thing1 This is my bus! Bey! Stop!</dialogue>
<scene_description>The bus driver ignores him. The bus maneuvers around with a warning HONK of its HORN and RUMBLES off toward the ramp to the side road. Jim is left panting for air in a smoky fog of exhaust fumes. He scoops an empty Dr. Pepper can off the ground and chucks it at the tailgate of the bus. It CLATTERS onto the ground as the cruiser disappears around the bend. The kid turns and schleps into --</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM AND TICKETING AREA -</stage_direction>
<character>TRAILWAYS BUS STATION - DAY</character>
<dialogue>As soon as he steps inside he becomes awake and alert. He stays by the door with his hand resting on the reas- suring mound under his leather jacket. The room has a row of black plastic seats with 25¢ pay TVs attached to the armrests. A black Marine in uni- form sits patiently with his hands folded in his lap. A drunken cowboy with a cowhide face is slumped over, wearing a sheepskin coat and ten-gallon Stetson.</dialogue>
<scene_description>CONTINUED: A cigarette is burned to the butt in his cattle-hoof hands. A Mexican laborer with a ponytail dangling down the back of his denim jacket is cradling his snoozing nino on his knee. A backpacker is having a go with a BEEPING ANO CHIMING VIDEO ~ME in the corner. No cops anywhere. Yet. Be loosens up a bit and folds up his collar as he crosses over to the ticket counter. The TICKETEER is a very fat black girl who smiles at him through gobs of lipstick.</scene_description>
<character>TICKETEER</character>
<dialogue>May I help you?</dialogue>
<character>HALSEY</character>
<dialogue>I'd like a ticket on the next bus out.</dialogue>
<character>TICKETEER</character>
<dialogue>To where, sir?</dialogue>
<character>HALSEY</character>
<dialogue>Anywhere.</dialogue>
<character>TICKETEER</character>
<dialogue>sir?</dialogue>
<character>HALSEY</character>
<dialogue>Whaddya got?</dialogue>
<character>TICKETEER</character>
<dialogue>Well, we have a bus going to --</dialogue>
<character>HALSEY</character>
<dialogue>When will it get here?</dialogue>
<character>TICKETEER</character>
<dialogue>It's scheduled to arrive any minute.</dialogue>
<character>HALSEY</character>
<dialogue>Sounds great. Always wanted to go there.</dialogue>
<character>TICKETEER</character>
<dialogue>That's the number twelve and it's headed all the way to Seattle.</dialogue>
<character>HALSEY</character>
<dialogue>How far will this get me?</dialogue>
<scene_description>CONTINUED: (2) He gropes in his pockets and comes up with a handful of balled-up bills and loose change. He plops it in a-- sloppy pile on the counter. The girl counts it, poking aside the change coin by coin.</scene_description>
<character>TICKETEER</character>
<dialogue>Let's see •.. two, six, twenty- four. You got twenty-one dollars and twenty-four cents. I can sell you a ticket to Austin if you like.</dialogue>
<character>HALSEY</character>
<dialogue>How far is Austin from here?</dialogue>
<character>TICKETEER</character>
<dialogue>Four hundred miles or so.</dialogue>
<character>HALSEY</character>
<dialogue>That's as far as I can get?</dialogue>
<character>TICKETEER</character>
<dialogue>Yes, sir. 'Fraid so.</dialogue>
<scene_description>She punches out the ticket and passes it over the coun- ter. The kid folds it up and slips it into his pocket. Jim has to move. Placing his hand on the butt of the pistol under his jacket, he looks both ways and stalks to the door he came in, shoving through it out onto --</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - TRAILWAYS BUS STATION - DAY</stage_direction>
<scene_description>Jim walks over to one of the pillars and leans back against it. Be taps a Marlboro out of his pack. He breaks it apart in a crumple of paper and tobacco shreds. The WAIL of a SIREN makes him dodge for cover behind the pinion. He withdraws the .357 Magnum from his belt and takes hold of it with both hands. A Highway Patrol car with its beacon ablaze bobs up over the ramp incline into the lot. The vehicle swerves around and comes to a stop. TROOPER PRESTONE and TROOPER CONNERS get out, leaving the MOTOR RUNNING. Jim takes the sound of the doors opening as a cue. Leaping around the pillar onto both feet, he trains the hog pistol on the two Highway Patrolmen. CONTINUED:</scene_description>
<character>HALSEY</character>
<dialogue>Stop!</dialogue>
<scene_description>Trooper Prestone and Trooper Conners obey. Their hands hover by their hips. The guns have not been taken out of the holsters.</scene_description>
<character>TROOPER PRESTONE</character>
<dialogue>Take it easy.</dialogue>
<character>HALSEY</character>
<dialogue>Tell me about itl</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>We both have wives and kids, and we both want to see them again. We'll do whatever you want us to do. What do you want us to do?</dialogue>
<character>HALSEY</character>
<dialogue>Gimme a minute.</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>We got all da~i-.</dialogue>
<character>HALSEY</character>
<dialogue>Get over by the car.</dialogue>
<scene_description>The cops back up slowly and carefully.</scene_description>
<character>HALSEY</character>
<dialogue>••• Those handcuffs you got on your belt. I want you to take them off and lock your partner's hands behind his back.</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>You mean me?</dialogue>
<character>HALSEY</character>
<dialogue>No, I meant you, the other guy. But you do it. You do it.</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>Me?</dialogue>
<character>HALSEY</character>
<dialogue>You. Go ahead, but don't go anywhere your gun. You. Get your hands behind your back.</dialogue>
<scene_description>Trooper Conners obediently follows Halsey's directions. He places his wrists together in the small of his back. CONTINUED: (2) Trooper Prestone unhitches his cuffs from his belt ~nd clamps them securely around his brother officer's wrists.</scene_description>
<character>HALSEY</character>
<dialogue>We're all gonna get in the car and take a drive.</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>Where to?</dialogue>
<character>HALSEY</character>
<dialogue>Let's do this one step at a time. How are we gonna work this? Let's see. You guys get in the front and I'll get in the back. Does that sound alright?</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>Sounds good to me.</dialogue>
<scene_description>Jim walks over to the right hand back door and gestures with the barrel of the .357 Magnum. The subservient troopers get together by the right front door.</scene_description>
<character>HALSEY</character>
<dialogue>One of you open the door.</dialogue>
<scene_description>Trooper Prestone gently unlatches the door and eases it open. Halsey opens his with one hand and keeps the·gun leveled with the other.</scene_description>
<character>HALSEY</character>
<dialogue>••• We're all gonna get in at the same time. Ready. Steady. Go.</dialogue>
<scene_description>The three of them climb into the vehicle in unison.</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGHWAY PATROL CAR - DAY</stage_direction>
<scene_description>Trooper Conners slides over and Trooper Prestone gets behind the wheel. Halsey braces his sneakers against the frame of the front seat. Resting his elbows, he keeps a steady and unwavering two-hand grip on the cannon.</scene_description>
<character>HALSEY</character>
<dialogue>Start the car. Head for the highway.</dialogue>
<scene_description>The patrolman switches ON the IGNITION and shifts into gear. CONTINUED: He drives out of the parking lot, down the dip of the ramp and turns onto the road. A Motorola shortwave RADIO is under the dashboard. The light is blinking as a wire band frequency is monitored on the speaker amid storms of STATIC.</scene_description>
<character>TRANSMISSION</character>
<dialogue>All units, this is Texas Ranger C company commander Captain Eszterhas. Suspect is a mal.e Caucasian in his early twenties with long hair. Name Jim Halsey. Patrol IH 10 and search all establishments in a ten-mile radius. Two pistols were found to be missing fran the station. He is to be considered armed and extremely dangerous. Approach with caution •••</dialogue>
<scene_description>The kid and the police officers listen to the broadcast in states of canplete attention. Jim shakes his head· and rubs his eyes.</scene_description>
<character>HALSEY</character>
<dialogue>The shortwave radio. Could you call out on it and get me connected with this Captain guy?</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>I can put you through.</dialogue>
<character>HALSEY</character>
<dialogue>Go for it. Do it but don't tell anyone where we are or anything.</dialogue>
<scene_description>The cop takes the mike off the clip and puts it to his lips.</scene_description>
<character>TROOPER PRESTONE</character>
<dialogue>Central, this is car-</dialogue>
<character>HALSEY</character>
<dialogue>I said don't give them any information, Goddammitl</dialogue>
<character>TROOPER PRESTONE</character>
<dialogue>Central, this is one of your cars and we have been hijacked by the suspect.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>TROOPER PRESTONE</character>
<dialogue>We are under orders not to reveal our identities or coordinates. He wishes to speak directly to Captain Eszterhas. Over.</dialogue>
<scene_description>STATIC BUZZ and uRGENT VOICES on the SQUAWK BOX. The three men have their ears glued to it as the car cruises through the mid-morning traffic.</scene_description>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>This is Captain Eszterhas. Do you read? Over.</dialogue>
<scene_description>Trooper Prestone passes the mike over his shoulder to Halsey.</scene_description>
<character>TROOPER PRESTONE</character>
<dialogue>Push the red button to relay. Release it to receive.</dialogue>
<scene_description>Jim puts the microphone to his mouth and presses the button.</scene_description>
<character>HALSEY</character>
<dialogue>Captain, this is Jim Halsey. I have one of your cars and both of your men are alright.</dialogue>
<scene_description>He releases the button.</scene_description>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>I want to know if you're alright, Halsey. Over.</dialogue>
<character>HALSEY</character>
<dialogue>Yeah, I'm okay, Captain. You gotta listen to me. I didn't do any of this stuff. I got set up and framed by the psycho who's responsible. I swear it. Over.</dialogue>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>I'm supposed to swallow that story? What do you suggest we do?</dialogue>
<character>HALSEY</character>
<dialogue>Anything. I want to get this over and done with.</dialogue>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>Are you willing to lay down your arms and surrender? Over.</dialogue>
<scene_description>CONTINUED: (3)</scene_description>
<character>HALSEY</character>
<dialogue>Sure. As long as I'm safe. Over.</dialogue>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>Alright. I will give you the chance to give up. What I want you to do is hand your weapons over to my men. I will be with you in a little while. Are we in agreement? Over.</dialogue>
<character>HALSEY</character>
<dialogue>We are in agreement. Over.</dialogue>
<character>CAPTAIN ESZTERHAS (V.O.)</character>
<dialogue>I'll see you shortly. Over and out.</dialogue>
<scene_description>The two Highway Patrolmen, who have been listening to the conversation, exchange flabbergasted glances. The kid grins broadly in relief.</scene_description>
<character>HALSEY</character>
<dialogue>Pull the car over to the side of the road.</dialogue>
<scene_description>Trooper Prestone steers the car onto the shoulder and slows to a stop, shutting off the ignition. Be holds out his open hand.</scene_description>
<character>TROOPER PRESTONE</character>
<dialogue>Guess you better let me have the gun.</dialogue>
<scene_description>The angry SNARL OF AN ENGINE and a SQUEAL OF BRAKING TIRES. The kid's and the trooper's attention is com- manded by a VEHICLE that zooms up and sits SNORTING exhaust alongside the police car. The black pickup truck. Trooper Prestone and Trooper Conners rotate their heads to peer out the open window at the darkened cab of the malific truck.</scene_description>
<character>HALSEY</character>
<dialogue>N 00000000001 1 1</dialogue>
<scene_description>CRACKAKABOOOOOOOMl CRACKAKABOOOOOOOOMl Muzzle flashes of PISTOL SHOTS. The cops slump like sandbags. CONTINUED: (4) The black PICKUP THUNDERS off up the freeway, leaving an ugly gray cloud of carbon monoxide-laden smoke an<! dirt in its place. Jim has his hands clapped over his ears, drowning out the SOUND OF BIS S C ~ splitting the RINGING SILENCE. The interior decorating of the squad car consists of a bright red bloodbath. Out of his mind, the kid breaks out the side door onto --</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 - DAY</stage_direction>
<scene_description>Shoving the .357 Magnum brutally back into his belt, Jim runs like a lunatic from the scene, derangedly dashing along the roadside as traffic flies by. Stub- bing his toe on a rock, he stumbles to his knees, chaf- ing them raw. Staying there, he turns his dilated eyes up into the broad expanse of sky. Sliding the gun out of his waist, Jim turns it on him- self. Fitting this thumb around the trigger, he opens his mouth and stretches it wide. He inserts the silver barrel so deep it tickles the back of his throat. The muzzle chokes him up before he can fire and he gags. Sagging down, he returns the .357 to the inside of his jacket. He raises his head and looks ahead of him. A truckstop diner lies a stone's throw away. wPit Stop.• A slapdash painted sign reads, "Last Food For Miles.• The kid pauses, shambles to his feet and stumbles off in the direction of the restaurant.</scene_description>
</scene>
<scene>
<stage_direction>INT. "PIT STOP" - DAY</stage_direction>
<scene_description>Jim walks through the revolving door. A BELL RINGS with a DING. A counter with stools and a few booths by the window, devoid of customers. The PROPRIETOR is scrubbing the formica countertop with a Bounty towel. Jim schleps over to it, drained and defeated.</scene_description>
<character>PROPRIETOR</character>
<dialogue>Can I help you?</dialogue>
<character>HALSEY</character>
<dialogue>Coffee. Somethin'. I dunno. Coffee.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROPRIETOR</character>
<dialogue>It's brewing. Got a few minutes?</dialogue>
<character>HALSEY</character>
<dialogue>Probably not.</dialogue>
<character>PROPRIETOR</character>
<dialogue>To go?</dialogue>
<character>HALSEY</character>
<dialogue>Bring it to me at one of the booths. If I'm still here.</dialogue>
<character>PROPRIETOR</character>
<dialogue>You okay, kid?</dialogue>
<character>HALSEY</character>
<dialogue>Nope.</dialogue>
<character>PROPRIETOR</character>
<dialogue>Go on. Have a seat.</dialogue>
<scene_description>The owner goes into the kitchen. The kid is totally dejected and despondent. Be flops into a booth by the window and stares forlornly out the pane glass at the highway and the relentless procession of cars and trucks streaking across it. Jim rests his elbows on the table and puts his face in his hands. Somebody slides into the seat across from him. The kid drops his hands. John Ryder is sighting him down with his trademark bullet eyes. Bis black raincoated shoulders unfurl like bat wings, his unearthly transistor radio voice makes Jim sink into the seat cushion.</scene_description>
<character>RYDER</character>
<dialogue>So how do you like shitsville, stupid?</dialogue>
<scene_description>Jim gropes for his gun under his jacket. This can't escape Ryder's notice but he takes it in stride. Under the table, the CLICK of a HAMMER being COCKED back on a .357 Magnum. Jim's face brightens in a de- mented gloat.</scene_description>
<character>HALSEY</character>
<dialogue>You stay sitting right where you are. Don't move or I'll blow your brains out your ass.</dialogue>
<dialogue>so.</dialogue>
<scene_description>(2) 36: 36 CONTINUED: Ryder rolls his eyes.</scene_description>
<character>RYDER</character>
<dialogue>Ain't no bullets in that gun.</dialogue>
<character>HALSEY</character>
<dialogue>Yeah?</dialogue>
<character>RYDER</character>
<dialogue>Yeah, oh yeah.</dialogue>
<scene_description>The Hitcher sees the doubt written plainly on the boy's reatures and laughs incredulously. ~</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Yer so stupid ya never even checked, did ya?</dialogue>
<character>HALSEY</character>
<dialogue>So help me, I'll blow you in half.</dialogue>
<character>RYDER</character>
<dialogue>Squeeze the trigger if ya want.</dialogue>
<character>HALSEY</character>
<dialogue>I will.</dialogue>
<character>RYDER</character>
<dialogue>Go 'head.</dialogue>
<scene_description>Jim is on the spot. Be chews his tongue in his cheek. Be is in no way capable of that action. Under the table there is a second, similar CLICK. The Hitcher's face becomes very serious.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Because you can sure as shit bet I'm gonna squeeze mine.</dialogue>
<scene_description>The kid goes an ashen hue.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Bang! 1 !</dialogue>
<scene_description>Ryder makes the sound of a gunshot and Jim j~~ps in his seat. Out of reflex, he pulls the trigger, summoning only the hollow SNAP OF A HAMMER striking an empty cylinder. Aghast, Jim squeezes the trigger again and again, but the gun is indeed empty. CONTINUED: (3) The kid shrinks away as Ryder leans forward, his pale thin lips whitening into a scar-tissue sneer. Ryder digs into his pocket, bringing his hand out with something in his pallid fist. He spits on tha tips 0£ two of his fingers and balances twin copper pennies on them. Stretching his hand across the table, he presses the coins in Halsey's eye sockets. Jim just sits there with the pennies on his eyes. He doesn't breathe. Moments pass. The silence is so complete that the soft "puft• of a container of coffee being set on the table is deafening. The PENNIES drop out of his eyes and CLATTER around the tabletop. He looks around, disoriented. The Proprietor is stand- ing over him with his hands on his hips. John Ryder is nowhere to be seen.</scene_description>
<character>PROPRIETOR</character>
<dialogue>That coffee's to go because I don't want you hanging out here. Take it and get going.</dialogue>
<scene_description>The owner goes away. Phoenix scans the place in vain for the Hitcher. His gaze settles on something left in front of him on the table. A napkin folded over some objects. Two words scribbled on the tissue. "Next time.• The kid unwraps the napkin and exhales. Twelve .357 ammo cartridges. He scoops them hurriedly into his coat pocket before· anyone could notice them. His attention is suddenly diverted. Out the window beside him he sees a Trailways bus parked in the lot. Its door opens and a bunch of pass- engers step out to stretch and get some fresh air. Several of them come inside to fetch food from the Proprietor. Rest stop. Halsey downs his coffee in a single gulp, s~acking his lips.</scene_description>
<character>HALSEY</character>
<dialogue>Get your ass in gear, buddy.</dialogue>
<scene_description>CONTINUED: ( 4) The kid gets up out of the booth and makes his way past the passengers at the counter to the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. "PIT STOP" PARKING LOT - DAY</stage_direction>
<scene_description>The bus sits pluming heat waves into the baking noon air. In the distance down the freeway, a flurry of police activity. Sparking red road flares are set on the blacktop. A squadron of highway patrol cars are parked around the blood-spattered one. Troopers are hauling the dead bodies out and placing them on the tarmac. One cop is directing traffic. The bus driver waddles to the rear of the cruiser, absorbed in the spectacle down the road. Halsey steals out the door to the diner and sneaks across the lot, up the gangway and into the bus.</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTROOM - TRAILWAYS BOS - DAY</stage_direction>
<scene_description>Unoccupied. The door is pushed in and the kid steps inside, closing and locking it behind him. Jim throws some cold water on his face from the basin. Resting his rear end against the sink, he dries himself with a paper towel. Withdrawing the .357 Magnum from his belt, he scoops a handful of the big-bore cartridges from his jacket pocket. Halsey peruses the handgun, fingering its various components and fittings. He hasn't a clue about how to break the cylinder to insert the bullets. Patience nil, he works himself into a red-faced frenzy pawing at the pistol. Tricking open the dead bolt by accident, he flips the tumbler out. Plugging slugs into the six holes and slapping shut the chambers, he returns the gun to his belt. Outside the bathroom can be heard the RUSTLING OF PASS- ENGERS returning to their seats. The john quivers as the MOTOR RUMBLES on directly be- neath the floor. The kid makes his move, undoing the latch lock and edging open the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEATING SECTION - TRAILWA Y'S BUS - DAY</stage_direction>
<scene_description>Halsey ducks out the door and drops himself into the aisle seat in the row set against the rest room. Jim settles in the cushion and has himself a smoke. Be returns his pack of Marlboros to the pocket of his leather jacket and looks about, spotting the passengers in the seats around him. He hasn't been seen. The kid breathes a sigh of relief. Stiff, he stretches his neck and sees someone sitting in the rear seat row over his shoulder. He shakes his head and smiles. The girl is out of her waitress uniform and clad in a denim jacket, jeans, a dungaree shirt and worn cowboy boots. GALVESTON NASH is sitting alone in the window seat, staring absently through the glass, the side of her face to him. She has her handbag in her lap. Jim gets out of the aisle seat and slides onto the cushion across from her. Gal is removing a pack of Merits from her breast pocket. As she lights up, she gets her first look at her seat mate. A double take.</scene_description>
<character>HALSEY</character>
<dialogue>Hi.</dialogue>
<character>GAL</character>
<dialogue>You.</dialogue>
<scene_description>The girl tries to get up and run at the same time. The kid is wide awake and in action. Jack-knifing himself across the seats, he drags her down in a clinch and wrestles her onto his lap. He stuffs his hand in her mouth to silence her. She bites down hard and he has to stifle a yelp. He draws the .357 Magnum from his belt and holds it in his hand so she can see it. She stops struggling and stares at the gun.</scene_description>
<character>HALSEY</character>
<dialogue>••• Are you gonna stop?</dialogue>
<scene_description>Jim takes his hand from her mouth and suckles the red teeth marks semi-circling the palm. He lets her go. She sits up and smooths off her rumpled garments. Her eyes remain riveted on him.</scene_description>
<character>GAL</character>
<dialogue>Are you gonna shoot me?</dialogue>
<character>HALSEY</character>
<dialogue>Stop worrying about me shooting you.</dialogue>
<scene_description>53A.: CONTINUED: Be sticks the revolver in his belt and closes the flaps of his jacket over it.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>... See? I ' m a kid. I'm a normal kid -- I'm just like you.</dialogue>
<character>GAL</character>
<dialogue>A kid with a gun.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HALSEY</character>
<dialogue>This gun I stole for protection. I haven't fired it once. It still has all the bullets in it. It didn't have any bullets in it at all until five minutes ago.</dialogue>
<character>GAL</character>
<dialogue>So you have the bullets to shoot me if I don't shut up.</dialogue>
<character>HALSEY</character>
<dialogue>What are you doing here, anyway?</dialogue>
<character>GAL</character>
<dialogue>I commute from my job to my town. My stop is coming up next. Are you going to let me get off?</dialogue>
<character>HALSEY</character>
<dialogue>Don't know what I'm going to do with you.</dialogue>
<character>GAL</character>
<dialogue>If you're not going to let me go, you're going to shoot me like you shot all those other people, and if you're going to shoot me, I'm going to scream.</dialogue>
<scene_description>The kid claps his hand over the girl's mouth. Seizing her by the shoulders, he hoists her over to him and holds her face inches from his own.</scene_description>
<character>HALSEY</character>
<dialogue>Look in my face! Look in it! Do I look like somebody who gets his rocks off wasting people? Is that what you see?</dialogue>
<scene_description>She looks him over a long moment and shakes her head sincerely. Jim Halsey has made contact with somebody and all the pressure and pain overcome him as he breaks down and cries. He weeps in shuddering sobs. Galveston suddenly sees a severely shaken, strung-out and scared young man, and she is shocked. He puts his head on her shoulder. She puts her arms around him and hugs him softly. He lays his head on her lap. She is astonished and affected. ss. CONTINUED: (2)</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• It doesn't stop. I can't get any relief. I gotta get some relief.</dialogue>
<scene_description>Stunned, she strokes his hair soothingly.</scene_description>
<character>GAL</character>
<dialogue>I don't know who you are. I don't know what's going on. I do know you didn't shoot anybody. You settle down. It's going to be alright.</dialogue>
<scene_description>A big glass portico looms behind the two of them. The highway recedes behind tinted glass. The black pickup truck is keeping steady pursuit, hovering like some relentless and poisonous beetle on the wing. GRIND OF GEARS as the bus shifts to a lower mode, slows its speed, steers onto the road shoulder, and comes to a stop. The kid sits up and looks over the headrest out the glass portico. A Highway ~atrol car with its party lights flashing is bringing up the rear. It parks b~hind the cruiser and two troopers climb out, unsnap- ping their side holsters. The young man sinks down in the seat with a groan.</scene_description>
<character>HALSEY</character>
<dialogue>It's the cops.</dialogue>
<scene_description>Gt\L What are you gonna do?</scene_description>
<character>HALSEY</character>
<dialogue>I gotta give up. I got no choice.</dialogue>
<character>GAL</character>
<dialogue>I'll go with you. It's going to be alright.</dialogue>
<character>HALSEY</character>
<dialogue>Let's go.</dialogue>
<scene_description>The two young people get up out of the seat and go down the aisle. The bus driver pistons open the door with an AIRLOCK RELEASE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 WEST - DAY</stage_direction>
<scene_description>The .357 Magnum is chucked out the open door. It lands on the gravel. TROOPER HAPSCOMB and TROOPER HANCOCK are approaching the bus. They draw out their handguns and wait in apprehension. Jim Halsey climbs gingerly down the gangway. He disem- barks with his hands clasped behind his head.</scene_description>
<character>HALSEY</character>
<dialogue>I'm unarmed. I'm turning myself in.</dialogue>
<scene_description>The kid goes over to the cops calmly and carefully. The Highway Patrolmen point their pistols at him. Trooper Hapscomb reaches for the manacles on his belt. Trooper Hancock gives him a loaded look. The policeman leaves the cuffs on the clip.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• I'm giving up but I'm not guilty.</dialogue>
<character>TROOPER HANCOCK</character>
<dialogue>You spit on my wrist.</dialogue>
<scene_description>Jim looks down at the wrist. It is connected to a hand which is clenching a .357 Magnum snub-nosed aimed at his abdomen.</scene_description>
<character>TROOPER HANCOCK</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>• • • Wipe it off •</dialogue>
<character>HALSEY</character>
<dialogue>You can see I'm unarmed.</dialogue>
<character>TROOPER HANCOCK</character>
<dialogue>Wipe it off.</dialogue>
<character>HALSEY</character>
<dialogue>Put the gun in your other hand.</dialogue>
<character>TROOPER HANCOCK</character>
<dialogue>Wipe it off.</dialogue>
</scene>
<scene>
<stage_direction>INT. SEATING SECTION - TRAILWAYS BUS - DAY</stage_direction>
<scene_description>Galveston is biting her lip as she leans over the head- rest of a seat, looking out the tinted glass window at Jim standing with his hands behind his head with the Troopers on either side. CONTINUED: A gum-chewing old woman and a little boy with a knapsack rubberneck in their seats to see the scene.\_ Trooper Hancock sees the spectators and slowly shifts his position to shield the kid from the sight of the passengers. The girl swears and sprints down the aisle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 WEST - DAY</stage_direction>
<scene_description>The young man swallows as he sees the cop cock back the hammer of the gun with his thumb. The kid understands the situation. Be scrambles away and scatters along the shoulder of the road. The Highway Patrolmen drop to one knee and draw beads on him. Their fingers close on the triggers. A GUNSHOT cuts the air. Halsey cries out and collapses on the blacktop tarmac. Troopers Bapscomb and Hancock stay still and start to sweat. Galveston is standing outside the door of the bt.\S. Her simple country girl face is flushed with anxiety. She is aiming the .357 Magnum she is holding in her hands at the backs of the crouched Highway Patrolmen. Gunsmoke drifts from the barrel.</scene_description>
<character>GM,</character>
<dialogue>I don't believe you were going to do what you were going to do. Drop your guns.</dialogue>
<scene_description>The policemen set their revolvers on the road. Jim Halsey gets to his feet. Sick with anger, he stalks along the roadway to where Trooper Bapscomb and Trooper Hancock are down on one knee. Be bends down and grabs up a .357 Magnum in each fist. Be points the guns grimly in the cops' faces and grits his teeth as they flinch and wince.</scene_description>
<character>HALSEY</character>
<dialogue>I understand the situation.</dialogue>
<scene_description>He is not interfered with as he walks past the Highway Patrolmen to where the girl is standing holding the handgun at her side. CONTINUED: He heaves the two .357 Magnums over the guard rail, down a slope and into a small creek at the bottom of the hill. He takes the pistol from her grasp and levels it on the policemen.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Get up and get out your handcuffs. Cuff yourselves to the guard rail.</dialogue>
<scene_description>Grudging, but obliging, the cops disengage the manacles from their belt clips, close a clamp around a wrist and clamp the other cuff to the guard rail crossbeam.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>... Chuck the keys •</dialogue>
<scene_description>The policemen toss the car keys to the kid. He catches them and puts them in his pocket. The Highway Patrol- men glower at the girl who is growing concerned about the consequences of her actions.</scene_description>
<character>TROOPER HAPSCOMB</character>
<dialogue>You're in a world of hurt, young lady.</dialogue>
<character>GAL</character>
<dialogue>What was I supposed to do? I wasn't going to stand and watch while you shot him in cold blood.</dialogue>
<character>TROOPER HANCOCK</character>
<dialogue>You're an accessory and you're going to jail.</dialogue>
<character>HALSEY</character>
<dialogue>Shut up, asshole!</dialogue>
<scene_description>The kid turns to the girl, shoving the revolver in his belt under his jacket.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• I'm gonna grab the car and get out of here. You gonna come?</dialogue>
<character>GAL</character>
<dialogue>I can't go with you.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>HALSEY</character>
<dialogue>You can't stay here, you'll get arrested. If you come with me I can drive you a couple miles, and you can get out and get away.</dialogue>
<scene_description>She shuts her eyes and shakes her head at the situa- tion. She shrugs and nods. The kid takes the girl by the hand and hurries her over to where the Highway Patrol Mustang is parked with its doors flung open and its ENGINE IDLING. He helps her into the passenger seat, heads around the hood and hustles into the driver's seat. They slam shut their doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - BLACK PICKCP TRUCK - DAY</stage_direction>
<scene_description>A skeletal hand sticking out of the sleeve of a black rubber raincoat stubs out the butt of a Lucky Strike cigarette in the pallid palm of the other hand. It wraps around the wooden stock of a .357 Magnum ~ammed in the belt of the grey pleated trousers. Yanking it out, it pulls the pin and flops open the cylinder. Digging into the pants pocket, it comes up with two fr~sh cartridges. W~dging out the charred casings, it pops in the new shells.</scene_description>
<character>RYDER</character>
<dialogue>Bitch.</dialogue>
<scene_description>The bony hand slaps shut the chambers and spins them around with a WHIZZ by the heel of the palm. Stuffing the revolver rudely back in the belt, it grabs the dangling key ring and switches on the ignition. The ENGINE SNARLS. The hand slams the stick into first gear.</scene_description>
</scene>
<scene>
<stage_direction>INT. STOLEN SQUAD CAR - DAY</stage_direction>
<scene_description>Jim Halsey turns over the motor. The turbo-charged ENGINE BURSTS on with a BLAST of horsepower. The kid shifts into gear and steers onto the Interstate and into the midday traffic. He looks at the girl sitting apprehensively alongside him.</scene_description>
<character>HALSEY</character>
<dialogue>Relax.</dialogue>
<scene_description>Jim returns his eyes to the road.</scene_description>
<character>(CONTINUED}</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>SIRENS RISE. Halsey looks into the rearview mirror to see two cherrytops flashing. The flowering red flares blossom brighter. The two pursuing police cars get· closer, hot on their tail. Gal looks over her shoulder. She looks at Jim, distraught. He shrugs weakly.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Sorry.</dialogue>
<scene_description>The kid starts to concentrate on his driving and he stares straight ahead. He ignites a Marlboro with the dashboard lighter.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Buckle your seatbelt.</dialogue>
<scene_description>The girl's face is tight with tension as she extends her strap and latches it into the niche.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Do mine,</dialogue>
<scene_description>Frightened and fidgety, she reaches over and secures his belt. Jim shifts straight up to fifth gear. A RACING SURGE OF THE V-8 ENGINE and the supercharged car sears off so sensationally fast the two occupants suck in their breath. Halsey jockeys his way through the cars. He swoops in and out of traffic, soaring from lane to lane. The speedometer needle swivels up to 110 m.p.h. The SIRENS are growing LOUDER. The kid reaches into his jacket and drags out the .357 Magnum. Be drops it on the dashboard.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I don't think I'll be able to drive and work the gun at the same time. Do you know how to fire a pistol?</dialogue>
<character>GAL</character>
<dialogue>I'm not going to shoot anybody.</dialogue>
<character>HALSEY</character>
<dialogue>Aim for the tires.</dialogue>
<scene_description>CONTINUED: {2) Two Highway Patrol black and whites blast over the blacktop behind the backshield. Jim angles his head out the open window. At this speed, the violence and velocity of the wind nearly beheads him. He looks out long enough to see one of the police cars take the lead of its brother, advancing on the left. Over the HOWL OF THE WIND can be heard the voice of one of the Highway Patrolemn, METALICALLY STATIC over the MEGAPHONE.</scene_description>
<character>TROOPER (V. 0 � )</character>
<dialogue>We are ordering you to stop! If you ignore this warning, you will be shot down!</dialogue>
<scene_description>The kid looks over his shoulder to see the squad car keeping perfect pace alongside. The passenger door is so close he could reach out and touch it. A bald Trooper is aiming a sawed-off shotgun at point-blank range, resting his elbow on the base of the window for a brace. Halsey spins the steering wheel hand over hand and smashes the police car sideways. The skinhead Trooper is slammed into his partner at the wheel. Jim watches as the patrol car goes out of control, sideswiping the aluminum divider and slipsliding around the road. It recovers and resumes its pursuit. The second squad car drifts to the right and comes into alighnment. The THIN BLAST OF A SHOTGUN. The backshield is blown out in a hailstorm of tinted glass granules that hurri- cane into the front seat. Galveston covers her head and screams. A SECOND BLAST. The trunk door flies open, peppered with buckshot. A THIRD BLAST. The trunk gate disappears. BRANNNNG! It comes crashing down on the hood, flopping over the windshield.</scene_description>
<character>HALSEY</character>
<dialogue>I can't seel</dialogue>
<scene_description>The wind sweeps the obstruction off. CONTINUED: (3) The Highway Patrol black and whites fan out, approach- ing one on each side. Jim snatches the .357 Magnum off the dash, tossing it in Gal's lap.</scene_description>
<character>HALSEY</character>
<dialogue>Use it! We're in trouble!</dialogue>
<scene_description>Sobbing she rolls down her window. Galveston bears the huge hog pistol in both her slender little hands, frig- id with fear. Squinting, she points it in the general direction of the squad car on her right side. Shutting her eyes and wincing, she squeezes the trigger. CRACKAKABOOM! The handgun's potent kick lashes her back into her seat. The shot goes wild. The first police car maneuvers alongside the stolen one. Jim ducks as the bald Trooper FIRES a cloud of PELLETS. The hood is blown clean off in a flash of sparks. A smoke screen of steam enshrouds the wind- shield. Jim wheels his car inwards and sideslam.s the attacking a11to. The other car is smashed into the metal divider. Halsey batters it again and again. THREE SHOTGUN BLASTS in rapid-fire succession from the right. The rear side window spiderwebs. The back fender drops away. The roof curls like a sardine can. Goosed, Galveston grits her teeth and sticks the .357 Magnum out the window again. She squeezes off five slugs in quick sequence. KABOOM! BOOM 1 BOOM! BOOM! BOOM! The police car keeps coming, not even fazed. The wind blows the pistol out of her hands.</scene_description>
<character>GAL</character>
<dialogue>I dropped the gun!</dialogue>
<character>HALSEY</character>
<dialogue>You what?l</dialogue>
<scene_description>The twin black and whites close in for the kill, sand- wiching the commandeered cop car on both sides. CONTINUED: ( 4) The girl looks over, white with fright, to see a blond Trooper struggling to aim his shotgun over his part- ner's hands on the wheel. The kid turns his head to face the car beside him. He looks up the smoking bar- rel of a loaded .410. SHOTGUN BLAST. Muzzle flash. The buckshot shears Jim's door off at the hinges. It falls away. Halsey's exposed body is whiplashed by the ROARING WINDS. The Highway Patrol car on the right edges up and the blond Trooper locks them in his sights. The Highway Patrol car on the left holds its position. The bald Trooper draws a bead on Jim's unshielded and vulnerable figure. The kid flattens the brake pedal. TRANSMISSION SHRIEK and the SCREECH of shorn-off TIRE ROBBER. Jim and Gal are tossed forward like rag dolls. The seat belts snap tension, saving them from being catapulted through the windshield. The twin black and whites open FIRE on a car that was in between them but suddenly isn't. The autos are both on the receiving end of each other's lead shot. The storm of pellets peppers their front tires, ripping them to rubber ribbons. Both cars suddenly ride on raw rims and spin out of control. The police car on the right careens over the embankment and becomes airborne. It nosedives onto the hillside and rolls top over tail down the slope. The police car on the left crashes into the divider and flips onto the broken white lines in the center of the blacktop. Steaming emission from under the overturned and crumpled hood. The stolen squad car sits stationary, a ruined wreck. The kid and the girl lie back, gasping.</scene_description>
<character>HALSEY</character>
<dialogue>Are you okay?</dialogue>
<character>GAL</character>
<dialogue>Yeah. Yeah.</dialogue>
<character>HALSEY</character>
<dialogue>Good.</dialogue>
<character>44</character>
<dialogue>They look at each other with anxious alarm at the</dialogue>
<character>CONTINUED:</character>
<dialogue>wreckage they have wrought. The kid reaches to the dangling key ring and switches on the ignition. The FNGINE CHOKES. It COUGHS. It CHOKES again, then it SPUTTERS on. He shifts to first and gently gives the car some gas. The vehicle shudders forward shakily. The two people roll to the scene of the smashup. Gas, glass and mashed mangled metal litter the blacktop. Jim and Galveston have lumps in their throats as they chance a glance over the embankment at the patrol car set on its side on the slope. The two Troopers are alive and in shock, stunned and stumbling along the hillside. The kid and the girl breathe a sigh of relief and turn to look at the overturned squad car. The bald Trooper clambers out. He drags his partner, grimacing and glaring at the boy, too weak and wounded to do anything about it. Galveston applies a shear strip to a gash on Jim's brow from a box of Band-Aids in the glove compartment. Halsey shrugs apologetically at the Trooper, grabs the canister and chucks it to him. The cop catches the Band-~ids and pitches a surly stare in return. The kid gives the stolen squad car some gas and the auto starts covering ground. Halsey pumps the gas pedal and floors it. The savaged car shivers and shimmies. It is not well. It is having trouble maintaining a steady speed of 40 MPH. Gal looks over her shoulder. She puts her face in her hands and starts weeping. Jim checks the rearview mirror. Reflected are a sea of sparkling red and white pinpoints of light. An armada of Highway Patrol cars are approaching in the distance. The kid pounds on the gas pedal and punches the steering wheel in frustration.</dialogue>
<character>HALSEY</character>
<dialogue>C'monl Go! Go!</dialogue>
<scene_description>Something appears in the sky up ahead. Jim snaps to attention when he sees it. A black dot. A Bell Jet chopper with the insignia of the Texas Rangers on the side. A little flash. PTAAAAAAAANK! A fist-sized hole is punched in the carburetor. / A second flash. CONTINUED: (6) CRRRRAAAASHHH! A windshield cobwebs. The crater is carved out of the vinyl upholstery an inch from Jim's ear. He cries out. CRRRRAAAANNNNKSSSSSHHNK! A third SHOT blows the windshield to smithereens. The 30.06 shell RICOCHETS around the interior of the car. Galveston puts her arms over her head and screams. Halsey looks over his shoulder to see the platoon of patrol cars rising on the road to his rear in a flare of slashing red light. He looks through the smashed windshield to see the black hornet of a helicopter dip its gleaming glass dome of a nose and divebomb his car. Jim reaches his hand over and pushes Gal's head down as he ducks. KAPOW! KAPOW! The headrests of the two front seats explode in showers of stuffing. A shadow crosses the interior of the car as the chopper speeds over the roof in a BOZZSAW of ROTOR BLADES Halsey sits up in the seat, staring all around him. The helicopter is no- where to be seen, but the ROARING WHIRR of its ROTORS is all over the place. Whiplashing WINDS assault the two people inside the car. Jim has his hand on Galveston's head and holds it there.</scene_description>
<character>HALSEY</character>
<dialogue>Stay down!</dialogue>
<scene_description>The kid looks into the rearview mirror to see the shiny, steely windshield dome of the helicopter reflected as it lowers itself into position behind the car. A firecracker flash. The rearview mirror is obliterated in sharp splinters of glass by a slug. The kid looks over his shoulder to see that the chopper is out of sight. The ROTOR ROAR rips the air. A RIFLESHOT shears through the metal roof of the car like a spike. Jim jumps out of the way as the parking brake between the seats is blown to bits. Halsey's eyes come out of his head as he sees the helicopter swoop, sink and settle alongside the car, the landing struts sev- eral feet away from the window. The glint of sunlight on the co-pilot's gunbarrel. The kid jam himself back in his seat and spins the steering wheel, swishing his car sideways. The roof of the automobile strikes the struts of the chopper and sends the aircraft into a WHIRRING, WHIZZING spinout. 65A.: CONTINUED: (7) The helicopter weaves and wobbles and slipslides across the sky as it tries to stay airborne. It swings up in front of the automobile and tilts its nose down, angling its propellers to gain altitude and to batter the two people inside the car with the wind from the rotor blades. Amid the chaos, the familiar SNORT of a familiar EN- GINE. The black pickup truck lumbers up alongside. The Hitcher's hand extends out the driver's window, a .357 Magnum clenched in his fist. The kid cowers. The gun is not pointed in his direction. It targets the bird of prey helicopter. Six GUNSHOTS RING OUT as Ryder pumps a pistol load into the aircraft. The truck hurtles on and disappears. Jim squints through the shattered windshield, his hair and clothes blown about by the RUSHING WIND. Loud and clear are the SOUNDS OF A HELICOPTER IN DISTRESS. Halsey sees the chopper zig-zagging across the sky, smoke funneling out of its rear rotor. It goes into a tailspin. The kid looks over his shoulder to see the cavalry of cop cars closing in a quarter-mile behind. As he watches, the HELICOPTER CRASHES on the cP.nter of the highway. It EXPLODES in boiling balls of fire and billowing clouds of smoke. Fiery debris rains down. No police cars are about to drive through the inferno.</scene_description>
<character>HALSEY</character>
<dialogue>Gal. We got away.</dialogue>
<scene_description>Galveston has her face in her hands, shivering in shock. CONTINUED: (7) Flaming licks and smoking sparks shoot out of the rav- aged engine. Anxiously, Jim swerves the car to the - shoulder of the road and stops. He throws on the emer- gency brake and unbuckles his seat belt.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>C'mon, Gal. Let's split.</dialogue>
<scene_description>She just sits there. He climbs out of the decimated door frame onto</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 EAST - DAY</stage_direction>
<scene_description>He hurries around the other side and heaves open her door. Unlatching her strap, he hauls the limp young lady out of her seat. Heaping her against him, he helps her up the highway side. The bullet-ridden and burning BLACK AND WHITE BLOWS SKY HIGH in a pillar of fire and smoke. He walks with her along the roadside. A regulation road marker set in the cement by the guard rail. ftcas/ Food/Lodging 1/4 Mile.• The kid stumbles with the girl in the direction of the access road stretching off the Interstate.</scene_description>
</scene>
<scene>
<stage_direction>EXT. "GASLAND" - DAY</stage_direction>
<scene_description>A settlement of fueling stations on the frontage road. The depots have luminescent logos perched atop 100 foot high pinions advertising •shell," "Exxon," "Texaco,• "BP" and "FasGas.• A two-story motel surrounded by unoccupied tractor- trailer eighteen-wheelers. A sign perched atop a pole -- "White's Truckstop & Restaurant.• Jim Halsey shambles into the parking lot with the barely coherent girl clinging to his shoulders. The kid slumps to the registration office with his last bit of strength.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM 113 - "WHITE'S TRUCKSTOP" - DAY</stage_direction>
<scene_description>A comfy, carpeted suite decorated in baby blue. A twin bed with neat sheets and pillow cases. A dresser and a television set on a stand with a remote switcher set on top. CONTINUED: The SOUND OF A KEY TURNING IN THE LOCK. The door opens. The kid stumbles in with the girl, holding her up with an arm around her waist. He drops her on the bed and she lies there in a heap. He shuts the door and locks it with the key. Barely able to stand on his feet, he slides his leather jacket off his shoulders and slings it over the television console. The remote switcher is knocked onto the carpet. He collapses on the mattress. Jim and Galveston are sound asleep in seconds.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM 113 - NIGHT (LATER)</stage_direction>
<scene_description>THROUGH THE CURTAINS, out of the window, the illumi- nated gas station signs beam brightly in the blackness of the night. A table lamp on a bedstand casts the two sleeping bodies on the bed in a warm and cozy glow. The kid stirs in his slumber. Still asleep, he rolls over and puts an arm around the girl's shoulders. She doesn't awaken but she responds to his warmth and curls up against him. He pulls her close and she clings to his back with her hands. The two fit together like a soft glove and, in sleep, seek relief in the sanctuary of each other's bodies. Snoozing, their faces touch, th~ir lips brush and they breathe each other's breath. Jim and Galveston gently kiss. She touches her fingers to the back of his neck and runs her hands down his shoulders. He caresses her bosom beneath her clothes. He works open the buttons of her dungaree shirt. Her breasts jiggle free. Be squeezes them and suckles her nipples. She sighs and her smile seems to wipe the anxiety off her face. She rummages her fingers through his hair as his hand ventures down her belly to the snap of her blue jeans. SNAP. He ZIPS down her fly and insinuates his fingers in under her panties at the crotch. She rolls her head from side to side. She takes hold of his hand softly and gently removes it from between her legs. Be looks up into her face and smiles. She smiles back.</scene_description>
<character>GAL</character>
<dialogue>I want to take a shower.</dialogue>
<character>HALSEY</character>
<dialogue>I'll run it.</dialogue>
<scene_description>Jim gets off the bed and struts to the door of the bathroom. CONTINUED:</scene_description>
<character>GAL</character>
<dialogue>I'll be right in.</dialogue>
<scene_description>Halsey opens the door and walks into --</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - MOTEL ROOM 113 - NIGHT</stage_direction>
<scene_description>The kid pulls his perspiration-stained undershirt over his head and slam-dunks it into the waste bin. He reaches behind the curtain into the shower stall and turns the hot water knob. Steaming jets of water blast out. The NOISE is deafening. The room begins to fog up. Jim wets his hands and splashes his face and chest.</scene_description>
<character>HALSEY</character>
<dialogue>C'mon, Gal!</dialogue>
<scene_description>He pokes his head out into the doorway into -- so INT. MOTEL ROOM 113 - NIGHT so The front door is wide open. John Ryder has Galveston's head jerked back at an un- natural angle by a handful of her hair. His switch- blade knife is laid against her throat. She is too scared to scream. Halsey cries out and jumps into the room. Ryder resembles the Grim Reaper in his black raincoat and skeleton shape as he rears up over the struggling girl he restrains so brutally. His coyote face is grimly set and bis bullet eyes are afire with psycho- sis. His forearm muscles flex to cut Gal's head off. Jim's gaze chances on the television remote switcher on the carpet by his foot. He injects the •power• button with his big toe. The Sony Trinitron 24-Inch Diagonal flashes ON at FULL VOLUME behind Ryder. Jolted, Ryder glances over his shoulder for a critical instant. The kid dives over the bed and tackles the psycho, dragging him to the floor. CONTINUED: Halsey seizes Ryder by the throat and smashes his head through the glass screen of the television console. The SET IMPLODES in a FLASHBULB POP. ELECTRIC CRACK- LING BUZZ as SPARI<S SIZZLE out the back of the unit. Ryder shrieks and screams as his face is fried with high-voltage electricity. His body spasms spastically in Jim's firm and merciless grip. The kid yanks Rrder's head out of the gaping hole in the TV and drops him on the carpet. Ryder's face is charred and crisped. Transistors and chinks of glass confetti his cheeks and his hair is burned off his scalp in spots. Blood dribbles out the corner of his mouth. A bubble pops on his lips. Res- piration.</scene_description>
<character>HALSEY</character>
<dialogue>I got you.</dialogue>
<scene_description>Jim cracks the knuckles of his fists. He sees the .357 Magnum in Ryder's belt strap in a gleam of chromium steel. He bends down and extracts it. To be sure, he opens the cylinder with practiced ease and checks to see if it's loaded. Six copper cartridge casings. Halsay spins it shut. He picks up the switchblade s~d. pockets it. Jim looks at Galveston. She is crammed in the corner of the room with her arms covering her bare bosom, watching him wide-eyed. Be puts the revolver in his belt and puts out his arms to her.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Come here.</dialogue>
<scene_description>Galveston starts to sob. She runs into Jim's arms and he embraces her, hugging her hard. She has her head on his shoulder and he has tears in his eyes.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• It's all over. We're gonna be alright. I'm gonna turn his ass into the police and it's all gonna get sorted out. I gotta call the cops.</dialogue>
<scene_description>The kid strokes the girl's hair. He walks to the tele- phone on the dresser and picks up the receiver. He gets an outside line and dials •911.• so CONTINUED: (2) so Gal sits down on the bed and looks at the skeletal scarecrow of John Ryder sprawled on the carpet, his- scorched head steaming. She shakes her head, staring at him like she would at some strange animal who has been subdued and is safe to see. Jim gets the police on the line.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Hello, police? Put someone in charge on the phone. Sergeant, this is Jim Halsey. Got a pencil? I want to leave a message for Captain Eszterhas. This is what I want you to write. I'm giving up. I'm at the White's Truckstop off of Interstate Highway Ten. I'm in room number thirteen and I'm not armed. Got it? Get it to him.</dialogue>
<scene_description>The kid hangs up the phone.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>They'll be here in a few minutes.</dialogue>
<scene_description>Jim runs his hands through his hair. He squints at the outside lock latch of the open door. Something is stuck in the tumbler. Halsey walks over to the door and pries out a prong resembling a serrated file. A jimmie pick. He looks it over and slips it in the side of his right sneaker. Jim checks his watch and crosses the room. Halsey gets down on one knee beside the body of John Ryder on the floor. Be draws out the .357 Magnum and looks over the maimed man, leaning in a little too close.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>... Is he still alive?</dialogue>
<scene_description>The Hitcher's fist pistons a punch into the kid's throat. Jim's eyes go out of focus and he drools, dazed and dizzy. The psycho claps his hands on Halsey's ears with eardrum-bursting force. The young man's eyes roll up in their sockets and the pistol drops out of his hand. He wilts like a limp rag doll onto the carpet. so CONTINUED: (3) so John Ryder rises to a sitting position, stuffing the gun in his belt. He shoots a searing stare at Galveston, in a state of shock on the bed. The girl screams and runs for the open door. The Hitcher has- the speed of a spectral spirit as he soars to his feet and slams his back against the door, shutting it sound- ly. He rips the .357 Magnum from his belt and holds it at his hips on Galveston. An overturned table lamp sheds his skeletal silhouette up the wall and across the ceiling, his black raincoated shadow like a gigan- tic bat folding the girl in its wings.</scene_description>
<character>RYDER</character>
<dialogue>Back, bitch.</dialogue>
<scene_description>Galveston's pupils are dilated with fear as she shrinks from him step by step. She has her hands on her mouth as she stuffs herself in the corner of the room. The Hitcher advances several steps and stands over the out-cold body of the kid slumped on the floor. He stares down at the boy, the scorched skin on his face smoking, his eyes burning with psychosis. Be seems in a state of severe anxiety, splitting apart at the seams, his finger rubbing a slick sheen of sweat on the trigger of the pistol in his hand. John Ryder turns his head like a gun turret to regard the girl squeezed in the corner, shuddering, scared spitless. Something stirs in his eyes. INT. MOTEL ROOM tl3 - NIGHT Jim Halsey comes to. He puts his hands on his aching ears and opens his eyes. Coming to his senses, he sits up and looks around. The room is empty.</scene_description>
<character>HALSEY</character>
<dialogue>Galveston!</dialogue>
<scene_description>The kid jumps to his feet and takes off out the open door into the dark, dank night air.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH - NIGHT</stage_direction>
<scene_description>Jim is in a state. He runs around in circles, scouting all around him. CONTINUED:</scene_description>
<character>HALSEY</character>
<dialogue>Galveston!</dialogue>
<scene_description>The parking lot at the front of the motel is terrify- ingly dark. The titanic tractor-trailer eighteen- wheelers sit there like slumbering behemoths. Halsey runs along the porch calling the girl's name. He dashes around the corner of the two-story structure onto --</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK LOT - "WHITE'S TRUCKSTOP" - NIGHT</stage_direction>
<scene_description>The kid sees it and it stops him dead in his tracks. The black pickup truck's sheeny metallic finish glints in the ink and oil night. It's ENGINE is PERCOLATING. Red taillights like smouldering coals shed a sinister light on Galveston. The girl's hands are cuffed together at the wrist and cuffed to the rear bumper. Her feet are cuffed to- gether at the ankles and cuffed to a heavy iron pole lodged in the cement. The tension on hsr body is tor- tuously taut between the two braces. Her limbs are stretched in their sockets. Her dungaree shirt is stuffed in her mouth to smother her screams. Jim stands like a statue. He can see through the back window of the cab of the truck. Reflected in the rearview mirror, cast in the ghoulish green glow of the dashboard lights, are the Hitcher's eyes. Two bullets drilling into his skull. The passenger door of the cab is pushed open with a SQUEAK. An invitation. Halsey walks across the gravel ground of the lot to the door. Weakly, he climbs up the running board and steps into --</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - BLACK PICKUP TRUCK - NIGHT</stage_direction>
<scene_description>John Ryder glares at him, his drippingly disfigured face gruesome in the gangrenous green glow. Jim Halsey sits in the seat shaking all over, afraid to move a muscle. 73-:</scene_description>
<character>RYDER</character>
<dialogue>So what are you gonna do?</dialogue>
<scene_description>The Hitcher's transistor radio voice is garbled and gurgling from the blood in his throat. The kid just sits there, paralyzed with fear. Ryder nudges with his jaw to indicate the chromium .357 Magnum resting on the dashboard in between them.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>... It's loaded up. Go for it.</dialogue>
<scene_description>Jim doesn't go near it.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Go 'head. Maybe you'll be able to put a bullet in me before I step on the gas and separate your girl at the panty line.</dialogue>
<scene_description>Halsey shudders at the thought. Bis teeth start to chatter. He makes no move for the gun.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You're thinking, •even if I grab the gun and shoot him before he pushes down the gas pedal, his foot will still come off the brake and the truck will roll a foot before! can press it down again.• Ain't that what you're thinking?</dialogue>
<scene_description>Jim nods meekly.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• So what you need is a head start. You won't have to grab for it, I'll let you hold it on me. Pick up the pistol.</dialogue>
<scene_description>Halsey is frozen.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Pick up the pistol1</dialogue>
<scene_description>CONTINUED: The Hitcher's hand shimmies the stick shift in its transmission slot. Scared shitless, the kid takes the handgun off the dashboard.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• Put it in my face. I said point it right between my eyes.</dialogue>
<scene_description>Jim takes hold of the cannon with both hands. He levels it with the long silver barrel point blank in Ryder's face, the black hole of the muzzle an inch from the cleft of his brows. Halsey's arms are goose- pimpled and wet with sweat, his face is soaked with perspiration. He's got the shakes.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>.. . Squeeze the trigger •</dialogue>
<scene_description>Their eyes are locked. The kid's face is a portrait of psychic torture -- the Hitcher's is impassive, hideous. Jim's forefinger rubs on the trigger but he can't seem to squeeze it. Bis body is as rigid as a rock. His systems have shut down. The scarifying situation has set him in rigor mortis. Ryder's mouth deforms into a disgusted grimace. He opens his hand an~ pries the .357 Magnum from Halsey's grasp. Be holds the revolver by the barrel, with the handle out, wielding it like a hammer.</scene_description>
<character>RYDER</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You zero. After all the work I put in on you. You waste.</dialogue>
<scene_description>The Hitcher clubs the handle of the handgun down onto the kid's groin. Very hard. Jim screams his lungs out, drooping drunkenly, passing out from the pain. As consciousness deserts him, all SOUNDS BECOME DIS- TORTEDJ the SNARL OF THE ENGINE J the SHRIEK OF TIRE ROBBER1 the GIRL'S SCREAM that is cut off so quickly1 the CALLIOPE OF POLICE SIRENS. As his vision becomes liquid and watery, it becomes a wet blur of pulsing red and white light. CONTINUED: (2) Then it fades to black. Things become white, sterile and antiseptic. Figures like clean ghosts move to and fro. Clarity returns and everywhere are things medical.</scene_description>
<character>DOCTOR (O.S.)</character>
<dialogue>He's coming around.</dialogue>
</scene>
<scene>
<stage_direction>INT. INFIRMARY - HIGHWAY PATROL HEADQUARTERS BUILDING</stage_direction>
<character>- NIGHT</character>
<dialogue>J·im Halsey comes to. Groggily, he opens his eyes to blink, blinded at his bright white surroundings. Be is lying on a cot. His torso is naked and the abrasions have been washed and disinfected with peroxide. He is still in his stained Levi's. Gold badges gleam. Officers and officials of the police and justice departments stand around scrutiniz- ing him and speaking amongst each other. Doctors and nurses are interspersed with them. White smocks and aprons amid blue uniforms, black suits and ties. Medics and orderlies move around carts and fetch hospi- tal supplies. Two sunglassed federal agent~ are doing sentry duty by the door. The mountainous, monocled Texas Ranger CAPTAIN ESZTERHAS is looming over the cot. His expression is dreadful. He holds his Stetson hat in his hands on his landslide girth.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>I'm Captain Henry Eszterhas. I can't tell you how sorry I am, son.</dialogue>
<character>HALSEY</character>
<dialogue>Where am I?</dialogue>
<scene_description>Jim tries to sit up but gasps in pain. Touching his hands tenderly to his crotch. The police commander puts a strong hand on his shoulder and softly eases him down onto his back, keeping his hand there.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You're in the infirmary of the Highway Patrol headquarters building.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You've been unconscious for hours. This was partly due to a hard blow to your privates, partly due to psychological shock. Can you remember anything about the last few hours?</dialogue>
<scene_description>Jim is quiet and lost in himself, like he's amnesiac about the last few hours and can't remember a thing. His eyes light up.</scene_description>
<character>HALSEY</character>
<dialogue>Where's Galveston?</dialogue>
<scene_description>He searches the police commander's face for an answer, in all forgetfulness. A look of suffering in the man's world-weary eyes suggests that for all he's seen and been through, he would rather not go into details. Remembrance returns to Halsey like a set of molar and incisor teeth chewing on his brain. His body convulses and contracts. He lets out a scream of such raw horror and revulsion the police and justice men screw up their faces in pain and syiupathy and the nurse covers her ears. The Texas Ranger bears himself up and seizes the kid by the shoulders. Halsey will not be sedated. Jim's torso quakes volcan- icly. Foaming lickspittle froths his mouth. His fing- ers curl into crushing claws. Captain Eszterhas has to restrain him with the help of a PATROLMAN.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Gggggggrrraaaaaaggggggghhhhhhhl Where's Ryder? Where is he? Let me get my hands on him! I'll rip his stomach open and tear out his guts and stuff them down his throat and</dialogue>
<scene_description>The police commander slaps him in the face, hard. Jim is silenced and, in a few seconds, sobered.</scene_description>
<character>PATROLMAN</character>
<dialogue>Do you want a straightjacket for him, sir?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>I think that's unnecessary.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>CAPTAIN ESZTERBAS</character>
<dialogue>Mr. Halsey here is a very strong young man who has been under abnormal stress. I'm sure he can keep his head but I'll ask him.</dialogue>
<character>HALSEY</character>
<dialogue>Yeah. Be can. What happened to him?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>We have him in custody. As a matter of fact he's in this building. Be's under armed guard right now ••• You're cleared of all charges, Jim.</dialogue>
<character>HALSEY</character>
<dialogue>I'm cleared of all charges. I'm clean. I can walk out the door.</dialogue>
<scene_description>He sits up and rubs his aching shoulders and arms.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>I think you should lie down awhile. You've had a rough day.</dialogue>
<character>HALSEY</character>
<dialogue>I feel lame laid out here and I feel alright. I want to get dressed and on my feet. Let me get my clothes on.</dialogue>
<scene_description>The Texas Ranger nods to the nurse. She fetches the undershirt and the leather motorcycle jacket from a stool and brings it to the kid. Halsey pulls on the sweat-soaked tee-shirt and slides into his coat. Feeling strong and armored again, he stands up.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Are you okay?</dialogue>
<character>HALSEY</character>
<dialogue>I could use a cup of coffee and a cigarette.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>I'll have them brought to you.</dialogue>
<character>HALSEY</character>
<dialogue>Could I have a minute with you, Captain? I got some questions and stuff I want to ask you.</dialogue>
<scene_description>CONTINUED: (3)</scene_description>
<character>CAPTAIN ESZTERBAS</character>
<dialogue>If you will excuse us, gentlemen.</dialogue>
<scene_description>The police camnander gestures the kid towards the door, signaling the federal agents stationed there to stand aside.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN LOBBY - HOUSTON POLICE CENTRAL HEADQUARTERS</stage_direction>
<character>- NIGHT</character>
<dialogue>Jim Halsey and Captain Eszterhas shove through the swinging doors and walk amidst the traffic of patrolmen and policewomen parading by.</dialogue>
<character>HALSEY</character>
<dialogue>Who is he?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>We don't know. We put his fingerprints and shots through the computers and we've come up with nothing. No prison record. No driver's license. No birth certificate. I'm sure we'll come up with something, but right now we don't know a thing about him.</dialogue>
<scene_description>They reach the --</scene_description>
</scene>
<scene>
<stage_direction>INT. REFRESHMENT AREA - MAIN LOBBY - HIGHWAY PATROL</stage_direction>
<character>HEADQUARTERS BUILDING - NIGHT</character>
<dialogue>The police commander inserts a few quarters into the coffee dispenser.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>How do you take your coffee, Jim?</dialogue>
<character>HALSEY</character>
<dialogue>Black.</dialogue>
<scene_description>The Texas Ranger presses the approriate buttons and waits as the machine drops a dixie cup and fills it with a cardboard-colored beverage. Jim is limping. A look of uncomfortable curiosity crosses his face. Halsey lifts his right sneaker and presses his finger into the side of the sole, feeling something stuck in his shoe. He realizes what it is. His eyes light up. He sets his sneaker down on the floor. CONTINUED: The cop gives the cup of coffee to the kid and lights a Marlboro for him. The young man sips the cheap liquid and smokes, shutting his eyes and stiffening as the caffeine and nicotine seize his system. He opens his eyes and stares at the wall.</scene_description>
<character>HALSEY</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• You said the psycho's in the building.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>In the prison quadrant.</dialogue>
<character>HALSEY</character>
<dialogue>In a cell?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>In a holding tank.</dialogue>
<character>HALSEY</character>
<dialogue>Guards?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Be is watched around the clock bv eight guards with shotguns. -</dialogue>
<scene_description>Jim nods to himself and stubs out his cigarette. Be looks Captain Eszterhas in the eye.</scene_description>
<character>HALSEY</character>
<dialogue>I want to see him.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Out of the question.</dialogue>
<character>HALSEY</character>
<dialogue>I got something I want to say to him.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Forget about it.</dialogue>
<character>HALSEY</character>
<dialogue>C'mon, Captain -- how 'bout it? You owe me one, don't you think?</dialogue>
<scene_description>Captain Eszterhas looks into Halsey's determined face and rolls his eyes heavenward. He turns and goes over to a PD interdepartmental intercom on the wall. He picks up the receiver and dials a number. CONTINUED: (2) The kid waits until the police commander's back is to him. He props his sneaker up on a candy dispenser, prying an object out of the side of the shoe and putting it in the palm of his hand. The jimmie pick lock tool. Jim slides the serrated file up his shirt sleeve and stands with his hands at his sides as Captain Eszterhas hangs up the intercom receiver and walks up to him. There are serious misgivings on The Texas Ranger Commander's face.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You have three minutes with him. Let's go.</dialogue>
<scene_description>The cop turns and heads down the hall towards a bolted iron door to the prison quadrant. The kid follows him.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE CORRIDOR - CELLBLOCK SECTOR - HIGHWAY</stage_direction>
<character>PATROL HEADQUARTERS - NIGHT</character>
<dialogue>The police ~omman1er and the kid trod down a drab, bland hallway lit by garish, eyesore fluorescent tubes. Captain Eszterhas leads Jim to a room with four shot- gun-toting guards positioned by the door. A picture window sheet of two-way mirror gives a tinted glass view of the interrogation room within the walls. The cop goes over to it and nods his head.</dialogue>
<character>CAPTAIN ESZTERBAS</character>
<dialogue>There he is. He can't see us.</dialogue>
<scene_description>Halsey walks up and looks through the window.</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERROGATION ROOM - HIGHWAY PATROL HEADQUARTERS</stage_direction>
<character>- NIGHT</character>
<dialogue>A glaring table lamp sheds a stark, stabbing light on the face of John Ryder. His head is swollen and scorched, the skin stitched with thread tracks of su- tures and stuck with band-aids. He is clad in his black rubber raincoat and seated in a chair. His wrists are handcuffed on his lap and shackled to a padlocked steel chain wound around his waist.</dialogue>
<scene_description>CONTINUED: Four guards have rifles leveled on his right side, left side and back. A SERGEANT is standing with one shoe on the seat of the chair, chain-smoking cigarettes and -- stubbing them out on the floor of the coldly bleak, nondescript room. He is looking at the Hitcher, who returns his rough stare with unblinking brute force in his black bullet eyes, a cigarette dangling from his lips.</scene_description>
<character>SERGEANT</character>
<dialogue>Where are you from?</dialogue>
<scene_description>The psycho sits silently.</scene_description>
<character>SERGEANT</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Do you have a family? ••• Do you have any surviving relatives? ••• Do you have a job? ••• Do you have a police record? ••• How old are you? ••• Where were you born? ••• Who are you? •••</dialogue>
<scene_description>The Hitcher stares in stubborn silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE CORRIDOR - HIGHWAY PATROL HEADQUARTERS</stage_direction>
<character>- NIGHT</character>
<dialogue>Jim Halsey has his eyes riveted on John Ryder in his straightjacket, chained to his solid steel seat. He takes a step to the window. Captain Eszterhas squints, scrutinizing the kid. He looks through the two-way mirror to see the Sergeant sit down on his chair with the back-rest between his legs.</dialogue>
<character>SERGEANT</character>
<dialogue>What is your name?</dialogue>
<scene_description>Ryder regards the police officer in stony, staring silence. Jim mouths the words, •John Ryder• under his breath. The Texas Ranger commander furrows his brow.</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERROGATION ROOM - HIGHWAY PATROL HEADQUARTERS</stage_direction>
<character>BUILDING - NIGHT</character>
<dialogue>The Hitcher revolves his head to look at his reflection in the sheeny surface of the mirror on the wall. His subhuman eyes shine like an animal that can see in the dark. His scabrous, ruptured mouth shows all his teeth in a skeletal grin like a throat cut from ear to ear.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE CORRIDOR - HIGHWAY PATROL HEADQUARTERS</stage_direction>
<scene_description>BUILDING - NIGHT The kid shivers to his socks. John Ryder sees him somehow through the mirrored glass, staring him straight in the eye. Jim stands his ground and returns the savage stare, his eyes sure and strong. Halsey chews his tongue and points his forefinger like a pistol at his archenemy, snapping his thumb like a hammer, whispering the sound of a shot. The Hitcher winks at him. Captain Eszterhas' skin starts to crawl as he watches the strange acknowledgment that passes between the two men. For a second it is as if he realizes that the war between them is superhuman, almost supernatural. He puts his hand on the doorknob and points his finger in the kid's face.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>If you lay a hand on him, you will be locked up. Are we understood?</dialogue>
<scene_description>Jim nods, preoccupied. Captain Eszterhas opens the door to the interrogation room. Halsey takes a deep breath and walks into --</scene_description>
</scene>
<scene>
<stage_direction>62A INT. INTERROGATION ROOM - HIGHWAY PATROL HEADQUARTERS 62A</stage_direction>
<scene_description>BUILDING - NIGHT The police commander slams the door shut. The kid sucks wind. The Hitcher is standing on his feet, his handcuffed wrists shackled to the padlocked chain wrapped around his waist. There is an aura of darkness and black air about him so thick you could cut it with a knife. He locks eyes with the kid and his contorted cavity of a mouth disfigures into something like a smile. The four guards post themselves in the corners of the bleak, nondescript room. They hold their shotguns across their chests, ready to use them in an instant. A GUARD addresses Ryder.</scene_description>
<character>SERGEANT</character>
<dialogue>If you so much as blink the wrong way, we'll blow your legs out from under you.</dialogue>
<scene_description>62A CONTINUED: 62A They kid walks up to the Hitcher. Face to face with a foot of space. Jim's gaze is raw, bloodthirsty. Ryder's is reptilian, alien. Halsey offers his hand. His face is hard and tough. The guards fidget, whisper. Ryder raises his bound wrists. Be returns the unusually potent handshake he receives. The jimmie pick lock tool is sent shooting up the Hitcher's raincoat sleeve out of the kid's jacket cuff. The transaction goes unnoticed by the authorities. Ryder's eyes widen in surprise, and he stares into Jim's sure and steady eyes with astonishment. For the first time, it's he who is at a disadvantage. A crooked smile cracks his split scar of a mouth. A dead giveaway. Halsey works up a wet gob of spit and spats the saliva into Ryder's face. Captain Eszterhas steps forward and tugs the young man back by the elbow.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>I think that's quite enough. This meeting is concluded. It was a bad idea in the first place.</dialogue>
<scene_description>The police commander accompanies Jim to the door.</scene_description>
<character>RYDER</character>
<dialogue>I'll be seeing you, kid.</dialogue>
<character>HALSEY</character>
<dialogue>You can say that again.</dialogue>
<scene_description>The kid is led out the door by the Texas Ranger Commander who closes it behind them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY PATROL HEADQUARTERS BUILDING - NIGHT</stage_direction>
<scene_description>The first faint blue rays of daylight fall on the squat brick building complex in the lonely cool before dawn. The parking lot in front of the main entrance doors leads to an access ramp onto thg thin black thread of Interstate Highway 10. The darkened desertscape is a black smudge against the blacker sky. CONTINUED: Jim Halsey stands smoking a cigarette beside Captain Eszterhas on the cement pavement in front of the main entrance d~or~. The two of them are looking at a gunmetal grey, armoured, iron-clad prison bus parked by the door to the prison quadrant of the building. The transport carrier is like a fortress on wheels. The windows are cages, bars and steel slits on them. The massive, menacing vehicle is sitting with its ENGINE RUMBLING, exhaust puffing out of its pipe. The bolted, pole-locked door to the cellblock sector is opened and five guards with riot helmets step outside into the morning air. They assume sentry position against the wall with shotguns in their hands. Four policemen with rifles walk out in single file. The Hitcher, in black raincoat, his wrists cuffed and padlocked to the chain on his waist, is sandwiched between them. The kid is watching him like a hawk. The driver pistons open the hydraulic rear door of the bus. John Ryder is walked up to the stairwell leading into a solitary steel cell in the back compartment of the transport carrier. Be stands still and turns his head to look at Jim Halsey standing thirty feet away on the ~!dewalk. - The kid and the Hitcher lock eyes. The ycung man winks. The psychopath squints. John Ryder gets a gun barrel in the small of his back. Be has a small smile on his face as he climbs up the steps of the stairwell into the steel cell, alone. The driver secures the door behind him and shuts the lock with a key in his hand. Be walks around to the cab and hoists himself insice. The ENGINE GRINDS into gear and the ten-ton prison bus rolls out in a BISS OF AIR BRAKES. Jim Halsey and Captain Eszterhas watch the tank-like bus lurch onto the acess road. The grey iron transport vehicle with the bars and slots on the windows lumbers out onto the freeway. It drives into the distance and disappears in the dust settling in its wake. The police commander pats the young man on the shoul- der. Be walks him across the parking lot towards a Texas Ranger car with a captain's insignia on the side. The cop hands the kid a subpoena pamphlet from the state courthouse. Jim reads it absently while he walks. CONTINUED: (2) Captain Eszterhas unlocks Halsey's door, walking around the hood of the car to unlatch his own. The Texas Ranger commander stuffs his heft¥ bulk behind the wheel and sticks the keys in the ignition. Jim climbs down into --</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXAS RANGER CAR - NIGHT</stage_direction>
<scene_description>The kid settles into his seat as Captain Eszterhas SWITCHES ON THE ENGINE, shifts into gear and steers out of the lot onto the access ramp. The young man's fea- tures look haggard, battered and haunted in the early traces of morning light. The police commander drives the car onto the freeway in the opposite direction of the departing bus.</scene_description>
<character>HALSEY</character>
<dialogue>Where are we going?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>The department has a room reserved for you at the Best Western. You should get some sleep. You've had a long day.</dialogue>
<character>HALSEY</character>
<dialogue>Yeah, you could say that.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Something on your mind, son?</dialogue>
<character>HALSEY</character>
<dialogue>What's going to happen to him?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Right now he's on his way to a holding tank in the Huntsville Maximum Security Penitentiary.</dialogue>
<character>HALSEY</character>
<dialogue>You know what I'm talking about.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Yes, I guess I do. His trial is set for two weeks from today. You'll be the star witness and your testimony should serve to get him committed to a high-security sanitarium for the rest of his life.</dialogue>
<scene_description>CONTINUED: The kid looks out the window, seemingly sleepy but secretly awake and aware. He is winding up as he watches the tundra and brush blur by on the side of the road. His face registers a Richter scale reading on the inner disturbance in his guts and intestines.</scene_description>
<character>HALSEY</character>
<dialogue>You know you won't be able to keep him in prison. You know he'll break out. You know he'll get loose.</dialogue>
<scene_description>The Texas Ranger commander turns his head to look at he kid and his eyes are soldered steel.</scene_description>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You listen and you listen good. There's something strange going on between the two of you. I don't know what it is and I don't know if I want to know. I don't like it. And I'll warn you. The psycho is in the hands of the authorities and whatever happens to him will be decided by the judicial process. It doesn't have anything to do with you.</dialogue>
<scene_description>Halsey shrugs his shoulders and stares straight ahead, his mind working.</scene_description>
<character>HALSEY</character>
<dialogue>You got a cigarette on you?</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>Sure.</dialogue>
<scene_description>The cop looks down at his breast pocket, reaching to remove his pack. Jim snakes out his hand and snatches the Colt .45 out of the police commander's sideholster, aiming it in a two-hand grip at the man's head. Captain Eszterhas is too slow to stop him. Halsey speaks in a soft whisper.</scene_description>
<character>HALSEY</character>
<dialogue>Stop the car.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You're not going to use that.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>HALSEY</character>
<dialogue>I can't say for sure that I won't shoot you if you don't do wh~t I say. Stop the car and don't do anything stupid.</dialogue>
<scene_description>The Texas Ranger's eyes are iron. Be sees the kid is talking straight. So he slows down and steers onto the road shoulder, shutting off the ignition and putting on the parking brake.</scene_description>
<character>CAPTAIN ESZTERBAS</character>
<dialogue>What do you have in mind?</dialogue>
<character>HALSEY</character>
<dialogue>I'm going to have to ask you to get out of the car.</dialogue>
<scene_description>The police commander sits with his hands on the wheel, looking hard at the kid pointing the pistol in his face.</scene_description>
<character>CAPTAIN ESZTERBAS</character>
<dialogue>You're going to get killed. If you don't die, you'll be imprisoned.</dialogue>
<character>HALSEY</character>
<dialogue>I'm sorry, sir. I really am. It's something I gotta do.</dialogue>
<character>CAPTAIN ESZTERHAS</character>
<dialogue>You don't know what you're doing.</dialogue>
<character>HALSEY</character>
<dialogue>We'll see.</dialogue>
<scene_description>The cop shakes his head and sighs. Be opens the door latch and climbs out onto the roadside. The kid slams the door shut, jams the gun in his belt, positions himself behind the wheel and stomps on the gas pedal. Be steers the car in a speeding, SCREECHING TIRE "U" turn and rockets the car back up the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD SHOULDER - INTERSTATE HIGHWAY 10 EAST - DAY</stage_direction>
<scene_description>Captain Eszterhas stands in the smokey smog of dust and dirt swirled up by the rapidly receding car. CONTINUED: The Texas Ranger commander squints down the road at the shrinking speck of the 'car. He swears and throws his Stetson hat on the blacktop and broken white lines. He runs his hand through his hair, his face registering the realization that what is going to happen is out of his hands. As he stands in the desert stillness, an acceptance of the situation appears on his features. Captain Eszterhas sighs wearily and picks up his hat. He holds it weakly at his side and surveys his sur- roundings. He's in the middle of nowhere. The cop shakes his head, shrugs and sticks out his thumb.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXAS RANGER CAR - DAY</stage_direction>
<scene_description>Dawn is coming on like a freight train. Jim Halsey is sitting in the seat, his hands squarely on the steering wheel, his sneaker stamped on the accelerator. The speedometer needle is climbing past 100 MPH. The car shivers and shakes, rocked by the wind raging through the open window. The kid brushes the hair from his face and gets a grip on the Colt .45 thrust in his belt. He draws it out, gritting his teeth and grinning as he sees something up ahead on the road through the windshield. The gunmetal grey armored prison transport carrier is a quarter of a mile away, the iron-clad rear tailgate curtained in a cloud of dust. Jim shifts gears and slows his speed, decelerating to take position behind the back end of the bus. He BEEPS his horn. The vehicle HONKS its KLAXON in acknowledgement. Halsey ejects the clip of the gun in his hand to see there is a full load of .45 calibre shells. He injects th,e magazine back into the pistol and lights a cigarette, puffing smoke.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON BOS - DAY</stage_direction>
<scene_description>The rear door of the back compartment of the transport carrier BURSTS OPEN in the rushing air. The Hitcher appears like a black bat in the doorway, his handcuffs hanging open on his wrists, his hair and raincoat flapping furiously in the whipping wind. CONTINUED: His black bullet eyes are bloodshot in his scarred skull of a face as he stares at the Texas Ranger car ten yards behind the bus below him. The prong of the lock pick is stuck in the inside tumbler of the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXAS RANGER CAR - DAY</stage_direction>
<scene_description>Jim Halsey stares in stunned awe at the skeletal scare- crow standing in the doorway of the bus several yards in front of him. The kid snaps out of it, snarls, and raises his Colt .45, attempting to aim a shot through the windshield. John Ryder sees him and his stitched face smiles like an open wound. He propels himself off the back of the bus and plunges through space. Bis body strikes the windshield of the car and shatters it to smithereens as he slumps into the front seat in sprinkling showers of splintered glass. The kid screams and spins the steer- ing wheel hand over hand, swerving the car in a SCREECHING TIRE arc around the slowing prison transport carrier in front of him. The pistol drops onto the floor by his feet. The Hitcher sits up in the seat in a sea of blood and broken glass. He snatches the sawed-off shotgun from the dashboard rack. The stitches on his scarred, ripped-to-ribbons face hang in tattered strings and a single bloodshot black bullet eye stares down the sight of the shotgun he levels on the side of Halsey's head. His finger is on the trigger.</scene_description>
<character>RYDER</character>
<dialogue>Hi, kid.</dialogue>
<scene_description>Jim braces himself and stomps his foot on the brake pedal. The Texas Ranger car slams to a stop. Halsey's head is whiplashed against the steering wheel with stunning force. Ryder shrieks as he is catapulted over the dashboard and out the smashed windscreen onto -- EXT. INTERSTATE HfaHWAY 10 WEST - DAY The Hitcher is steamshoveled onto the blacktop tarmac and broken white lines with a sickening sound. CONTINUED: Bis shotgun spins away on the road. The psychotic is sprawled and splayed on the hot tar in the rising, rippling waves of heat. The Texas Ranger car sits stationary a short distance away, chunks of stripped, smoking rubber on the road near the skinned tires. Steam wafts up from under the hood. John Ryder stirs. Be rises to his hands and knees, his fingers stamping bloody handprints on the white lines of the road. In a spaced-out stupor, he stumbles to his feet and staggers towards the sawed-off shotgun sitting in the dirt on the road shoulder.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXAS RANGER CAR - DAY</stage_direction>
<scene_description>The kid lies back in his seat, squinting through the windshield to see the skeletal scarecrow silhouette of The Hitcher reaching for his weapon through the wispy steam spewing out of the hood. Jim shakes the sand out of his head and shiveringly picks up the Colt .45 lying at his feet. He gets a good grip on the weapon ana rests his wrist against the steering wheel. His eyes refuse to focus ash~ settles his aim on the shadow in the smoke screen of steam. Bis finger finds the trigger. The silhouette shape raises its shotgun to its shoulder. Halsey screams his lungs out and squeezes the trigger again and again, using up all the slugs. The FIERY 'WOOSHES of flame spitting out of the barrel burn away the steam. Jim is smashed back in his seat by the recoil. Be sits and stares silently at the sight of John Ryder staggering spastically around the roadway, ruptured rips in his shirt where several shots have struck him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE HIGHWAY 10 - DAY</stage_direction>
<scene_description>The sun beats down on the back of The Hitcher as he stumbles across the blacktop and broken white lines. The kid watches him breathlessly through the windshield of the stalled-out car as he shuffles to a stop and stands straight with the sawed-off shotgun held in both hands. His bloodshot eyes are both blurry and clear. His body is riddled with bullets but some sick spirit inside him refuses to die, he is staying alive by sheer psychosis. CONTINUED: John Ryder raises the shotgun and rests the wooden stock against his abdomen, aiming from the waist and swivoting his hips to point the weapon at Jim Halse~ sitting in the automobile. He has a ghoulish grin on his face. The kid's eyes widen and he switches on the ignition. The car ENGINE ROARS on. The Hitcher snarls and FIRES the sawed-off shotgun, shooting a cartridge and shear- ing a hole through the grillwork of the hood of the car, shattering a headlight in a shower of sparks and glass. The MOTOR SPUTTERS and STALLS, smashed by the shotgun blast.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXAS RANGER CAR - DAY</stage_direction>
<scene_description>Jim's face is flushed with adrenalin as he sees Ryder recover from the recoil of the shot and revolve at the waist to aim the weapon at Halsey through the wind- screen. The kid grits his teeth and twists the keys in the ignition, pumping the gas pedal for all he is worth. The ENGINE WHINNIES and WHINES. It's not working. Jim ducks down and covers his head with his arms as the psycho COCKS the sawed-off shotgun and SHOOTS a round of shot that splinters a section off the steering wheel and smashes a hole in the stuffing of the seat Halsey is sitting in. The kid rises up straight to see The Hitcher walking towards the car on the road, COCKING the gun and aiming it with the butt resting against his waist, a skeletal grin on his skull face. Jim shrieks and winds the key ring in the ignition slot, summoning a SCRATCHY SQUEALING from the ravaged ENGINE. John Ryder's eyes shine as he laps his chapped lips and FIRES the sawed-off shotgun in a licking tongue of flame. Halsey drops into the passenger seat as the headrest is blasted to bits and the backshield is blown out. The kid sucks in air and sits up in his seat, staring straight into The Hitcher's eyes as the psycho stops walking and stands twenty feet from the car, COCKING the shotgun and aiming it with one arm at the automobile. Jim crosses his fingers. Halsey SWITCHES on the igni- tion and slams the stick shift into gear, stomping on the accelerator. The MOTOR RAGES on. The Texas Ranger car RIPROARS up the road in a SCREAM of TIRES.</scene_description>
<character>72</character>
<dialogue>For a single split second the eyes of the kid meet the</dialogue>
<character>CONTINUED:</character>
<dialogue>eyes of The Hitcher as the shadow of the advancing automobile falls over his face and the ROAR of the-- ENGINE fills his ears. A relieved smile spreads across the psycho's mouth. The bumper of the speeding car surges into the skeletal ~·· scarecrow shape of John Ryder, striking him in the t· .'</dialogue>
<character>~··</character>
<dialogue>stomach at 40 MPH.</dialogue>
<scene_description>j Jim shouts in satisfaction as the automobile bu.~ps ;</scene_description>
<character>'.·\]</character>
<dialogue>i.:.~derneath him as it rolls over the bony body benea~h ¼ the wheels. Halsey stares straight ahead as he steers ~ the car a few more feet and switches off the ignition, pu~ting on the parking brake. The kid shoves open the door, shouldering out onto --</dialogue>
<character>:</character>
<dialogue>'</dialogue>
<dialogue>Ii t ~</dialogue>
<character>73</character>
<dialogue>Jim stands on the hot tarmac in the wet waves of heat.</dialogue>
<character>EXT.</character>
<dialogue>He is a sizzling silhouette against the searing fire- .i ball of the rising sun in the settling dust. '</dialogue>
<character>{</character>
<dialogue>~</dialogue>
<scene_description>He lights a cigarette and walks along the bloody tire t tread marks on the blacktop and broken white li~es to f the remains cf John Ryder. He stands and stares down at it, testing it with the toe of his sneaker. i The Hitcher is definitely dead. No doubt about it. ' t l ~ The kid heaves the Colt .45 in his hand into the desert I as far as he can throw it. ! ' The SOUND OF SIRENS shatters the desert silence. Jim looks up the road to see scintillating red sparkles. He walks back to the smoking, steaming automobile, Halsey clirr~s up on the hood and sits on it, awaiting the arrival of the authorities. He smokes his cigarette in the sunlight of the day. ) THE ENO</scene_description>
</scene>
</script> | Jim Halsey, a young man delivering a car from Chicago to San Diego, spots a man hitch-hiking in the West Texas desert and gives him a ride. The hitch-hiker, who calls himself John Ryder, forces Jim's leg down on the accelerator when they pass a stranded car. Ryder states he murdered the driver and intends to do the same to Jim, threatening him with a switchblade. Terrified, Jim asks what Ryder wants. He replies, "I want you to stop me." When Jim realizes that Ryder's seat belt is unbuckled and the passenger door is ajar, he shoves Ryder out of the moving car. Relieved, Jim continues his journey. When he sees Ryder in the back of a family car, Jim tries to warn the occupants, but has a minor accident. He comes across the family's blood-soaked car and vomits. Ryder corners Jim but simply tosses him the keys from Jim's car. Ryder leaves with a trucker, and nearly runs Jim down with the truck as it crashes into the pumps of a gas station. As Jim flees, Ryder causes the station to explode. At a roadside diner, Jim meets Nash, a waitress who cooks him lunch while he calls the police. He finds a severed finger among his French fries, indicating Ryder's proximity. The police arrive and arrest Jim, whom Ryder is framing for his murders. Though the police doubt his guilt, they lock him up overnight as protocol. Jim wakes to find the cell door unlocked and the officers murdered. He panics and flees with a revolver. At a gas station, he sees two officers, takes them hostage, and speaks on the radio to Captain Esteridge, the officer in charge of the manhunt. As Esteridge convinces Jim to surrender, Ryder pulls up and kills the two officers. The patrol car crashes, and Ryder disappears again. After briefly considering suicide, Jim reaches a cafe, where Ryder confronts him. He points out Jim's revolver is unloaded. Ryder leaves him several bullets and departs. Jim boards a bus, where he meets Nash and explains his situation. After a police car pulls the bus over, Jim surrenders. The furious officers accuse him of killing their colleagues and attempt to kill him. Nash appears with Jim's revolver, disarms the officers, and flees with Jim in their patrol car. As the police chase after them, Ryder joins the chase and murders the officers by causing a massive car accident and shooting down a police helicopter. Jim and Nash abandon the patrol car and hike to a motel. While Jim is in the shower, Ryder abducts Nash. Jim searches for her. Captain Esteridge discovers Jim and enlists him to negotiate with Ryder, who is at the wheel of a large Mack truck. Ryder has gagged and tied Nash between the truck and its trailer hitch, and is threatening to tear her apart. Esteridge tells Jim that his men cannot shoot Ryder because his foot would slip off the clutch, causing the truck to roll. Jim enters the cab with Ryder, who gives him a revolver and tells him to shoot, but Jim is unable to do so. Ryder, disappointed, releases the clutch, killing Nash. Ryder is taken into custody. Esteridge gives Jim a ride, but Jim, believing the police cannot hold Ryder, takes Esteridge's revolver and vehicle to chase down Ryder's prison bus. Ryder kills the deputies and leaps through Jim's windshield as the bus crashes. Jim slams on his brakes, sending Ryder through the windshield and onto the road. Ryder challenges Jim to run him over, which he does. When Jim leaves his car to look at Ryder's body, Ryder jumps up, but Jim shoots him repeatedly with a shotgun, killing him. Jim leans against Esteridge's car in a daze, and smokes a cigarette as the sun sets. |
Mini's First Time_2006 | tt0425253 | <script>
<scene>
<stage_direction>MINI'S FIRST TIME</stage_direction>
<scene_description>The face of MINERVA `` MINI '' DROGUES , 18 , watching something . She looks extremely bored by the television images flickering across her eyes . She has a pretty face : Large eyes , and pouty mouth . Her knowing look is incongruous with a face clearly still that of a girl .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I know what you're thinking. Do n't bullshit me, because I do. You're thinking, oh dear lord in heaven, please, I'm begging you. I'll gouge out my eyes with the straw in my drink right now. I'll jam every last kernel of popcorn into my mouth until I suffocate, just not another fucking teenage coming - of - age story.</dialogue>
<scene_description>We pull back to reveal her body , which is moving out of that awkward stage between adolescence and womanhood . Though tall and thin , her hips have n't quite rounded . She 's wearing a `` FUCT '' T - shirt and jean shorts .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Well, relax. no prom night highjinks, no nerds becoming popular and no Shakespeare set in high school. I promise.</dialogue>
<scene_description>CLOSE ON : THE TV SCREEN . `` When Animals Attack '' is on . In a series of quick cuts : A zoo keeper is mauled by an elephant . A sport fisherman is attacked on the deck of a boat by a shark he and his buddies thought was dead . A pit bull clamps down on his owner 's arm . An alligator hunter stupidly puts his head in the mouth of a just - captured alligator , only to have it chomp down on his skull .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Since it happened, everyone's asked me how it all started.</dialogue>
<scene_description>Mini 's face registers no reaction to the gruesome images . We now see she is sitting in the living room of a well - appointed Studio City hillside home .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM- EVENING- A PARTY.</stage_direction>
<scene_description>TEENAGERS OF PRIVILEGE and their UPTIGHT PARENTS are milling around , dancing and chatting as A DEEJAY spins tunes .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I suppose the obvious answer is my eighteenth birthday.</dialogue>
<scene_description>Mini dances with a few friends in a very short mini - skirt and halter top . She clearly understands how to the drive the boys crazy and this is not lost on her mother , DIANE , 42 , who stands off to the side , nursing a drink with some other HYPER - AEROBICIZED MOTHERS .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>See, I was blessed with a terrific mom. Not only is she a lush, but she also hates me.</dialogue>
<scene_description>Diane is beautiful , but there is an essential hardness to her that comes from a life spent trading on her looks . The blouse and mini - skirt she wears are inappropriately revealing for the occasion of her daughter 's birthday .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>A few days before the party, I overhear her on the phone ordering me a male stripper. Nothing says `` I love you'' like ten inches of man meat in your face.</dialogue>
<scene_description>Diane and the other mothers are talking about Mini 's dancing .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And knowing dear old ma, she'll try and nail him after the party. in my bed.</dialogue>
<scene_description>Mini 's friend KAYLA , a little rounder , but also brash , comes dancing over . She 's swaying her hips provocatively at Mini , almost challenging her . MIKE RUDELL , a tanned and trim man of 55 , watches their display , clearly enjoying the way it 's jump - starting his imagination .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That guy? Our neighbor Mike Rudell, big shot TV producer and the guy my mom screws whenever the batteries run out.</dialogue>
<scene_description>Kayla and Mini begin dancing together in a very explicit way , clearly trying to make the adults uncomfortable .</scene_description>
<character>MINI</character>
<dialogue>Yo, bee - ach!</dialogue>
<character>KAYLA</character>
<dialogue>Yo, birthday bee - ach!</dialogue>
<character>MINI</character>
<dialogue>Is it on?</dialogue>
<character>KAYLA</character>
<dialogue>Oh, it's on!</dialogue>
<character>MINI</character>
<dialogue>That's my girl!</dialogue>
<scene_description>Mini grabs Kayla and dips her low .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN - LATER.</stage_direction>
<scene_description>Kayla instructs some CATERERS to start wheeling a giant birthday cake into the living room . The caterers look confused , but Kayla is insistent and the young men obey , starting to wheel the cake down the long hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>The cake emerges from the hallway . The caterers begin singing `` Happy Birthday '' , as Diane turns to see it and her eyes flash rage . As Diane comes storming over , we switch to SLOW MOTION .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>See, to understand me, you need to understand that life, in my opinion, is all about new experiences. `` Firsts'' is what I call them.</dialogue>
<scene_description>As she strides across the room , the look of vitriolic rage on Diane 's face grows stronger with every step .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Somewhere around fourteen, when I had my first. rhymes with duck, I realized that the goal of life, any life, should be to cram as many `` firsts'' into it as possible.</dialogue>
<scene_description>We switch back to real time .</scene_description>
<character>DIANE</character>
<dialogue>What the hell are you doing? I said wait until -.</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>She's not even here, you morons!</dialogue>
<scene_description>A YOUNG CATERER 'S face turns white .</scene_description>
<character>CATERER</character>
<dialogue>But, but her friend said -</dialogue>
<scene_description>POP ! Suddenly the lid to the cake flies off and from behind we see A NUDE MINI rises out of it like Venus on the half shell .</scene_description>
<character>MINI</character>
<dialogue>SURPRISE!</dialogue>
<scene_description>MINI 'S POV : A collection of reactions from the party goers : The mothers are numb , the fathers pretend to be disturbed , while copping looks , and her friends are in stitches . Some are even waving dollar bills .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>That was definitely a first, but more importantly, it was the first time I really understood my potential. And that's when it all started.</dialogue>
<scene_description>Mini leans over and gives her STUNNED mom a big hug .</scene_description>
<character>MINI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( doing her best Donna Reed . )</parenthetical>
<dialogue>Oh, Mom, this is the best birthday ever!</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BATHROOM - NIGHT</stage_direction>
<scene_description>Mini stands in a bathrobe with a towel around her head , having just taken a shower . She removes the towel to reveal she 's just changed her hair color to FLAMING RED .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That little stunt got me grounded for a week, but it was worth it.</dialogue>
<scene_description>Mini blow drying her hair .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>See, I just do n't understand people who live their lives as one big routine.</dialogue>
<scene_description>Mini evenly spreading the base to her make - up .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>They're basically saying `` I'm not worthy of a unique experience on this earth.'' Well, sorry, but I am.</dialogue>
<scene_description>Mini applying blush to her cheeks .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>The law of firsts has served me well, because it's liberated me from the usual pathetic, repetitive concerns of high school.</dialogue>
<scene_description>Mini applying eye liner .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I simply do n't care if I'm popular, because if I did, then I'd be constantly stressing about whether my clothes are cool enough, or if Troy, the `` gay but he does n't know it yet'' quarterback, is gon na call.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY OF MINI'S HIGH SCHOOL - DAY</stage_direction>
<scene_description>Mini and Kayla walk down the crowded halls attracting lustful looks from some of the more aggressive boys . They approach a group of FOOTBALL PLAYERS .</scene_description>
<character>KAYLA</character>
<parenthetical>( whispering , worried . )</parenthetical>
<dialogue>Oh, God, it's Troy.</dialogue>
<character>MINI</character>
<dialogue>Just keep walking and do n't look at him.</dialogue>
<scene_description>TROY , a cocky , chiseled , all - around nightmare , sticks his tongue in his cheek , simulating a blow job .</scene_description>
<character>TROY</character>
<dialogue>Yo, Kayla, I got some more of what you were looking for Saturday night.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ahh. The joys of the American educational system.</dialogue>
<scene_description>Kayla puts her head down , her face turning red , as Mini stops to address Troy and his posse .</scene_description>
<character>MINI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( suddenly brightening . )</parenthetical>
<dialogue>Actually, Troy, I think you confused her with that senile, toothless grandmother of yours.</dialogue>
<scene_description>`` Ooohs '' and `` Aaahs '' erupt from the onlookers as Troy looks concerned his ambush has backfired .</scene_description>
<character>TROY</character>
<dialogue>Yo, Mini, why do n't you use that mouth for something useful and suck my dick?</dialogue>
<scene_description>More students start to gather , overhearing them .</scene_description>
<character>MINI</character>
<dialogue>Actually, now that you mention it, I ca n't think of anything I'd rather do than suck your dick.</dialogue>
<scene_description>Troy looks around , surprised and emboldened by her declaration .</scene_description>
<character>TROY</character>
<dialogue>Well, it's all for you, babe.</dialogue>
<scene_description>Mini moves closer , looking him right in the eye .</scene_description>
<character>MINI</character>
<dialogue>Really?</dialogue>
<character>TROY</character>
<parenthetical>( daring her . )</parenthetical>
<dialogue>If you can fit it all in.</dialogue>
<scene_description>The crowd has now swelled to a few dozen , as everyone is riveted by the exchange . Suddenly , Mini starts unzipping his fly .</scene_description>
<character>TROY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, what the?!</dialogue>
<character>MINI</character>
<parenthetical>( grabbing his belt buckle . )</parenthetical>
<dialogue>I'm going to suck your dick, Troy, you said I could.</dialogue>
<scene_description>Troy tries to push her away , but she 's got a grip on his belt . Everyone watching is almost speechless at first , but then giggles start to erupt .</scene_description>
<character>TROY</character>
<dialogue>Yo, this ai n't funny!</dialogue>
<character>MINI</character>
<dialogue>No, Troy, I want to suck your dick right now!</dialogue>
<character>TROY</character>
<dialogue>Jesus, Mini, come on, get off!</dialogue>
<character>MINI</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>No, Troy! You said I could, now come on!</dialogue>
<scene_description>She gets down on her knees , struggling to get a hand in his pants . The crowd howls with approval , as they almost ca n't believe their eyes .</scene_description>
<character>MINI</character>
<dialogue>Let's see it! Come on, I want to suck your throbbing member right now!</dialogue>
<scene_description>Troy finally pushes her off , humiliated , and runs down the hall as the mob laughs at him . Kayla looks at her gratefully and smiles . Mini applying frosty hot pink lipstick , making her lips as full as possible .</scene_description>
<character>DIANE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mini?</dialogue>
<scene_description>Mini looks towards the door , deciding to ignore her mother .</scene_description>
<character>DIANE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( screaming . )</parenthetical>
<dialogue />
<scene_description>MINI ?! Mini turns towards the sound .</scene_description>
<character>MINI</character>
<dialogue>WHAT?!</dialogue>
<scene_description>Diane comes storming in .</scene_description>
<character>DIANE</character>
<dialogue>When I call you, I expect you to answer.</dialogue>
<character>MINI</character>
<parenthetical>( flatly . )</parenthetical>
<dialogue>Sorry.</dialogue>
<character>DIANE</character>
<dialogue>Do n't patronize me.</dialogue>
<character>MINI</character>
<parenthetical>( sugar sweet . )</parenthetical>
<dialogue>Sorry!</dialogue>
<character>DIANE</character>
<dialogue>If you're trying to get me to call you a spoiled little ungrateful bitch, you're out of luck, because I wo n't give you the satisfaction.</dialogue>
<character>MINI</character>
<dialogue>Thanks, mommy.</dialogue>
<scene_description>Diane 's eyes narrow , as it 's clear Mini knows exactly where her mother 's buttons are .</scene_description>
<character>MINI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What do you want?</dialogue>
<character>DIANE</character>
<dialogue>I'm going out and I need you to wait for the delivery from the liquor store. They'll be here by nine.</dialogue>
<character>MINI</character>
<dialogue>Fine.</dialogue>
<scene_description>Diane gives Mini the once over , lingering on her mini - skirt . Diane winces at the outfit .</scene_description>
<character>DIANE</character>
<dialogue>Just thought you should know, that makes your thighs look fat.</dialogue>
<character>MINI</character>
<parenthetical>( deadpan . )</parenthetical>
<dialogue>Gosh, you're right, mom, I'm such a cow.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's a freakin' miracle I'm not anorexic after eighteen years of her little pep talks.</dialogue>
<character>MINI</character>
<dialogue>Have fun, do n't do anything I would n't.</dialogue>
<scene_description>Diane turns and leaves .</scene_description>
<character>DIANE</character>
<parenthetical>( over her shoulder . )</parenthetical>
<dialogue>Well, that does n't leave much.</dialogue>
<character>MINI</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Cunt.</dialogue>
<scene_description>Mini turns back to the mirror .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM - NIGHT</stage_direction>
<scene_description>Mini pulls on a pair of thigh - high stockings , as a lit cigarette hangs from her mouth .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My mother moved out to LA from Ohio when she was twenty to become an actress. Even though she was a total flatliner, somehow she managed to land a few bit parts on soaps. without screwing anyone.</dialogue>
</scene>
<scene>
<stage_direction>INT. A HALLWAY OF THE HOUSE - LATER.</stage_direction>
<scene_description>Mini walks along the corridor in a pair of `` fuck me '' pumps , as the doorbell is heard ringing .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>When she gets really sauced, she'll pop the tapes in and make me watch, then I'll threaten to call the suicide hotline.</dialogue>
<scene_description>She continues through the living room towards the door , hiking her mini skirt up a little .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>After a few years, she got desperate and spread'em for this fat, ugly producer when he promised to give her a role in some bullshit cable series that was basically softcore porn. She got knocked up with me and he told her she could n't be on the show, unless she hoovered me out.</dialogue>
<scene_description>She reaches the front the door .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Excuse me for one sec.</dialogue>
<scene_description>She opens the door to reveal a delivery boy , JIMMY 20 's , with six cases of liquor stacked on a handcart .</scene_description>
<character>JIMMY</character>
<parenthetical>( nervously excited . )</parenthetical>
<dialogue>Hey, Mini, how you doin'?</dialogue>
<character>MINI</character>
<dialogue>You're late.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN- MOMENTS LATER.</stage_direction>
<scene_description>Mini watches as Jimmy carefully lifts one case after another on to the counter .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She was gon na do it, too, at least that what's she told me when she was feeling particularly loving. But then she heard rumors the show was n't gon na fly and realized eighteen years of child support beat thirteen weeks on `` Skin Tight'', so I got to stick around. Bad choice.</dialogue>
<scene_description>Mini opens one case , takes out a bottle and heads out of the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE WET BAR - LATER.</stage_direction>
<scene_description>Mini mixes herself a large Sapphire martini .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Anyway, what Mom did n't count on was the prick having a heart attack and croaking a year after I was born.</dialogue>
<scene_description>She pours it into a martini glass and drops an olive in .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>When she tried to collect on his estate, she found out he'd owed the government two point five in back taxes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A RUN DOWN STUCCO APARTMENT BUILDING IN THE VALLEY</stage_direction>
<scene_description>CIRCA 1993 . Diane walks down the steps to a waiting Porsche , with a SLEAZY LOOKING , BUT CLEARLY RICH GUY behind the wheel .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now, if she had been smart, she would've set her sights a little lower and gone after a guy who would've worshipped the ground she walked on and would n't care that she already had a kid.</dialogue>
<scene_description>Diane getting into the car . She turns to the driver and gives him a flirty smile . IT 'S NOW A DIFFERENT , but just as SLEAZY GUY smiling back at her .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But not mom, she was gon na bag another elephant if it meant gobbling every knob from Hollywood to the Palisades.</dialogue>
<scene_description>As the car pulls away , we see an 8 YEAR OLD MINI watch from an upstairs window of the building .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE SAME RUN DOWN APARTMENT - EVENING</stage_direction>
<scene_description>Mini sits watching TV as Diane walks in with YET ANOTHER SLEAZY GUY , his hands all over her . Diane looks surprised and pissed to see Mini still up .</scene_description>
<character>DIANE</character>
<dialogue>Jesus Chr - Mini, why are n't you in bed?</dialogue>
<scene_description>Mini just stares at her , then shifts her penetrating gaze to SLEAZY GUY # 3 . He looks unnerved by Mini .</scene_description>
<character>SLEAZY GUY #3</character>
<dialogue>I thought you said we'd be -</dialogue>
<character>DIANE</character>
<dialogue>Do n't worry, Larry, she's going to bed, right now. Are n't you?</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S TINY BEDROOM - NIGHT</stage_direction>
<scene_description>Mini lies awake as the SOUNDS OF DIANE FUCKING SLEAZY GUY # 3 's brains out waft through the thin walls .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN OF DIANE'S APARTMENT - EARLY MORNING.</stage_direction>
<scene_description>Mini sits at the kitchen table eating cereal as THE FOURTH SLEAZY GUY emerges from Diane 's bedroom , he 's tucking his shirt in . He looks a little startled to see her up .</scene_description>
<character>SLEAZY GUY #4</character>
<dialogue>Oh. Uh, hi, uh, tell your mom I, uh, had a good time.</dialogue>
<character>MINI</character>
<dialogue>Oh, I will. Like some coffee for the road?</dialogue>
<scene_description>The guy looks at her a little surprised , then smiles .</scene_description>
<character>SLEAZY GUY #4</character>
<dialogue>Sure. thanks, kid.</dialogue>
<scene_description>Mini watching the PORSCHE PULL AWAY from the curb . In her hand , she holds a bottle of MAXIMUM STRENGTH EX - LAX . SLEAZY GUY # 4 driving down the freeway , drinking coffee from a paper cup . Suddenly , a look of absolute dread overcomes him .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIANE'S APARTMENT - LATER.</stage_direction>
<scene_description>Diane emerges from her bedroom in her bathrobe , looking disheveled . She glares at Mini , who sits at the kitchen table eating her cereal .</scene_description>
<character>DIANE</character>
<dialogue>Do you want to live in this shit hole your whole life?</dialogue>
<scene_description>Mini just stares at her .</scene_description>
<character>DIANE</character>
<dialogue>Then stay in your fucking room until they leave. Got it?</dialogue>
<scene_description>Mini says nothing . Suddenly , Diane picks up a SMALL PIECE OF POTTERY from the coffee table and throws it at Mini 's head . Mini ducks as it SMASHES behind her on the wall . CUT BACK TO : 18 YEAR OLD MINI MIXING HER MARTINI IN THE WET BAR .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>So it pretty much went on like that until.</dialogue>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mini? Diane? I'm home.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Five years ago, when she met Martin.</dialogue>
<scene_description>Mini starts downing the drink in a few big gulps .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It was a win - win.</dialogue>
</scene>
<scene>
<stage_direction>INT. A HOTEL BALLROOM - NIGHT</stage_direction>
<scene_description>Mini , Diane and MARTIN TANNEN , 45 , a trim executive in an Armani suit and $ 300 haircut , mingle at a large corporate cocktail party . Martin , a man who understands , in his world , style over substance is a way of life , works the crowd effortlessly .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He did n't want kids, but needed a ready - made family to help project an image of stability for his corporate outings. We finally got out of Reseda.</dialogue>
<scene_description>Mini at the bar , stealing the drink of a TROPHY WIFE who has turned her back on it , to make a point to her OLDER HUSBAND .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It was great for about a year.</dialogue>
<scene_description>LATER . Martin finishes talking to a client and heads out on the balcony to get some air , where he sees Diane kissing a HANDSOME YOUNG EXECUTIVE off to the side . Martin stiffens as he watches in SLOW MOTION her tongue slip into his mouth .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Then he figured out what he had married. by then it was too late.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE FRONT DOOR TO THE HOUSE - NIGHT</stage_direction>
<scene_description>Martin puts his keys and cell phone on a table near the door .</scene_description>
<character>MINI</character>
<parenthetical>( breezing past him . )</parenthetical>
<dialogue>You're home early.</dialogue>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>First time in three months he's walked in before Letterman. He totally forgot my birthday party, and right now I'm thinking his pin cushion must have given him the walking papers or. found a new pin.</dialogue>
<character>MARTIN</character>
<dialogue>Yeah. uh.</dialogue>
<parenthetical>( searching . )</parenthetical>
<dialogue>A dinner with a client got canceled.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Bingo.</dialogue>
<character>MINI</character>
<dialogue>Tough day?</dialogue>
<character>MARTIN</character>
<dialogue>About the same.</dialogue>
<scene_description>They head back into the living room .</scene_description>
<character>MINI</character>
<dialogue>Protecting all those poor defenseless oil companies from those big bad environmentalists?</dialogue>
<character>MARTIN</character>
<dialogue>Someone's got to make the payments on your Beemer.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He's a partner at a public relations firm, which is ironic because I ca n't remember the last time he and my mom were seen in public together. or had relations.</dialogue>
<scene_description>He plops down on the couch , taking an electronic organizer out of his breast pocket .</scene_description>
<character>MARTIN</character>
<dialogue>Is your mother around?</dialogue>
<character>MINI</character>
<dialogue>No, she went to a party off Beachwood. She was in one of her `` happy moods'', so I doubt she'll be sleeping here.</dialogue>
<character>MARTIN</character>
<dialogue>Oh.</dialogue>
<character>MINI</character>
<parenthetical>( innocently . )</parenthetical>
<dialogue>If you were thinking of inviting a guest over.</dialogue>
<character>MARTIN</character>
<parenthetical>( measured . )</parenthetical>
<dialogue>I was n't, but thanks for the concern. You're going out on a school night?</dialogue>
<character>MINI</character>
<dialogue>Yeah?</dialogue>
<scene_description>Martin punches a few buttons on the organizer , his mind clearly elsewhere .</scene_description>
<character>MARTIN</character>
<dialogue>Mmm. Is your homework done?</dialogue>
<character>MINI</character>
<dialogue>Have n't even cracked a book.</dialogue>
<character>MARTIN</character>
<parenthetical>( not listening . )</parenthetical>
<dialogue>Mmm.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BATHROOM- MOMENTS LATER.</stage_direction>
<scene_description>Mini double checks her purse for everything : lipstick , compact , Altoids , a flask of liquor and a string of condoms .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Considering how many guys my mom has done in his bed, you've got to admire his resolve. He could've left her years ago, but with no pre - nup, he loses half and he just wo n't give in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE FRONT OF THE HOUSE- MOMENTS LATER.</stage_direction>
<scene_description>Mini walks out the front door , revealing an impressive front of the house with stone pillars and a brick circular drive . Martin 's MERCEDES 500 SL COUPE and Mini 's BMW Z3 convertible sit in the open garage .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Their arrangement actually keeps everything very calm.</dialogue>
<scene_description>Mini gets into her BMW .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNSET BOULEVARD - NIGHT</stage_direction>
<scene_description>The BMW drives down the street , weaving in and out of traffic . M</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As I said, the rule of firsts guides my life. Once you've gotten into every club in town and had enough Ivy League lawyers cum too fast, drastic measures are called for.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLLYWOOD BOULEVARD - NIGHT</stage_direction>
<scene_description>Mini walks past the neon covered shop windows .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I thought it would be a goof if I put a photo ad in one of those 25 cent `` outcall'' massage newspapers they sell around town. But I just got a bunch of pervs breathing heavy on my voice mail. So I went to an escort service, and when they found out I was 18, they told me they had two tricks in the same hotel that night. if I was up to it.</dialogue>
<scene_description>She passes OLDER PROSTITUTES soliciting cars that have slowed down for a peek .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Would you look at them?</dialogue>
<scene_description>One of the prostitutes gives her a threatening look .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It's pathetic. I mean, she's got to be, what? At least twenty eight? In dog years.</dialogue>
<parenthetical>( pausing . )</parenthetical>
<dialogue>Oh, wait, that would make her four.</dialogue>
<scene_description>She arrives in front of the HOLLYWOOD ROOSEVELT HOTEL .</scene_description>
</scene>
<scene>
<stage_direction>INT. A HALLWAY OF THE HOTEL - NIGHT</stage_direction>
<scene_description>Mini walks down a hall and stops in front of a room and knocks . She looks around trepidatiously , as she waits for an answer . The door opens and a MIDDLE AGED MAN opens the door . He 's very well groomed in a creepy middle american way . He could be a serial killer or .</scene_description>
</scene>
<scene>
<stage_direction>INT. A HOTEL ROOM - LATER.</stage_direction>
<scene_description>Mini pulls her red top on and heads for the door , as the man sheepishly follows her .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My first night as a call girl was a serious let down. It turns out both guys were in town for the `` Promise Keepers'' convention.</dialogue>
<scene_description>She reaches the door . He opens it and points to the room across from his . Mini walks across and knocks .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The first one got so excited I did n't even get a chance to get my panties off before he creamed himself.</dialogue>
<scene_description>A HEAVIER MAN in a denim shirt opens it .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE OTHER HOTEL ROOM - LATER.</stage_direction>
<scene_description>The heavier man is on his knees , weeping as he hugs Mini around the waist .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And the other said I looked so much like his niece, he started whimpering and praying for forgiveness.</dialogue>
<scene_description>She rolls her eyes in frustration .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUNTAIN AVENUE - NIGHT</stage_direction>
<scene_description>Mini drives home , suddenly a SIREN is heard and she sees the FLASHING LIGHTS of a cop car behind her . Mini pulls over looking pissed .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Time to bat the eye lashes.</dialogue>
<scene_description>The cop car pulls up behind her and a FEMALE COP WITH A BUZZ CUT gets out , approaching the car . Mini looks in her mirror , with a sly smile . The cop reaches Mini 's door and looks down at her , clearly attracted to her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A BACK ALLEY OFF FOUNTAIN - NIGHT</stage_direction>
<scene_description>THE POLICE CRUISER is parked with its lights off .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CAR - CONTINUOUS</stage_direction>
<scene_description>THE FEMALE COP is lying on the seat with her legs spread , as Mini goes down on her . The woman is clutching the steering wheel with her left hand and the seat with her right , hanging on for dear life as Mini rocks her world .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This? Are you kidding? My first woman and my first cop? It would've been perfect if she had n't wanted to cuddle afterwards.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S HOUSE - LATER.</stage_direction>
<scene_description>Mini unlocks the door and walks in to find Diane passed out , face - up on the sofa in a loosely - tied bathrobe . At the sound of the door , Diane looks up .</scene_description>
<character>DIANE</character>
<parenthetical>( slurring . )</parenthetical>
<dialogue>Oh. wha - what are you doing here?</dialogue>
<scene_description>Mini stops and looks at her mother , absorbing her insightful question . Mini sighs and heads for the bedroom .</scene_description>
<character>DIANE</character>
<dialogue>Did you have fun, dear?</dialogue>
<character>MINI</character>
<dialogue>Yeah, I turned two tricks and went down on a dyke cop.</dialogue>
<character>DIANE</character>
<dialogue>Thass nice.</dialogue>
<scene_description>Mini heads down the hallway .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God, what's gotten into her? She was almost warm and fuzzy.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM- MOMENTS LATER.</stage_direction>
<scene_description>Mini walks in and stops dead in her tracks . A GREASY - HAIRED NAKED MAN lies passed out on her bed . His body hair is thick and matted . His genitals are covered by her pillow , which he cradles like a teddy bear . Mini 's jaw tightens slowly .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LOBBY OF THE PENINSULA HOTEL - NIGHT</stage_direction>
<scene_description>Mini walks through the lobby past TWO BUSINESSMEN sitting at the bar , chatting up TWO VERY ATTRACTIVE WOMEN in their mid twenties .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After that night, things really picked up.</dialogue>
<scene_description>The men 's eyes instinctively follow Mini , as their dates exchange a glance of annoyance .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My one rule which the agency was n't too happy about was, of course, only firsts, no repeat customers.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AN OFFICE BUILDING IN SHERMAN OAKS - DAY</stage_direction>
<scene_description>This time Mini walks in , dressed like a normal high school student , past a SECURITY GUARD .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But believe me, they did n't have too much trouble honoring that request.</dialogue>
</scene>
<scene>
<stage_direction>INT. AN IMPRESSIVE CORNER OFFICE - CONTINUOUS</stage_direction>
<scene_description>Mini is led in by a SECRETARY who presents Mini to one of the PENINSULA BUSINESSMEN sitting behind a large oak desk .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'd make house calls to offices at lunch hour and we'd say I was someone's niece or cousin in town on vacation.</dialogue>
<scene_description>The man stands up and greets her like she 's family , and then quickly shuts the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A HOUSE IN THE HILLS - NIGHT</stage_direction>
<scene_description>Mini arrives in her convertible and gets out dressed in a cheerleaders uniform .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And then when football season started, Saturday through Monday.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE ENTRANCE TO THE HOUSE - CONTINUOUS</stage_direction>
<scene_description>A HUSKY MAN in a football jersey opens the door to find Mini waving her pom poms with a Texas sized grin on her face .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I was busier than Domino's.</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. A MULTI LEVEL PARKING GARAGE - NIGHT</stage_direction>
<scene_description>Mini drives into the garage .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Then one Thursday night I get a a last minute gig at a fuck pad in Westwood that some executive keeps so `` wifey'' does n't find the motel bills on the gold card statements. They say I'm just his type. young.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LOBBY OF A MODERN APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Mini walks quickly through the lobby .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>They tell me he's not big on the chit - chat and he loves paying extra for the stuff we charge extra for.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY OUTSIDE THE APARTMENT- MOMENTS LATER.</stage_direction>
<scene_description>Mini knocks on the door .</scene_description>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's open.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE APARTMENT - CONTINUOUS</stage_direction>
<scene_description>The executive `` convenience '' apartment is cold , sterile and clearly just used for short amounts of time . Mini opens the door , passing the closet , the bathroom door and then stops suddenly as she sees . MARTIN , her stepfather , sitting up in bed . She quickly turns away before he sees her face .</scene_description>
<character>MARTIN</character>
<dialogue>Hello?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Can you fucking believe it?</dialogue>
<scene_description>Mini goes back towards the front door , panicking . She absently hangs her jacket up in the closet , to buy some time .</scene_description>
<character>MINI</character>
<dialogue>Uh. hi.</dialogue>
<parenthetical>( quickly adopting a southern accent . )</parenthetical>
<dialogue>Sorry, I'm Mlate.</dialogue>
<character>ARTIN</character>
<dialogue>Do n't worry about it.</dialogue>
<character>MINI</character>
<dialogue>Mind if I freshen up?</dialogue>
<character>MARTIN</character>
<dialogue>Sure.</dialogue>
<scene_description>Mini ducks into the bathroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Mini shuts the door , turns on the light and looks at herself in the mirror . She 's almost white from the shock . She looks down at the counter .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My own dad! My first thought was `` how sick is he?'' But then I started thinking. I'm one to talk, and. well.</dialogue>
<scene_description>Mini 's expression softens as she examines herself closer .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Why not? I mean, he is n't my real dad. and talk about a first. The more I thought about it.</dialogue>
<scene_description>A wicked glint dances across her eyes .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>the more turned on I got. Then I thought that if my mother could do some strange guy in my bed, I could do her strange guy in this bed.</dialogue>
<character>MARTIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Everything alright in there?</dialogue>
<character>MINI</character>
<parenthetical>( still in her southern accent . )</parenthetical>
<dialogue>Just peachy. Listen, Sugar, would you mind turning the lights off, I'm kinda new to all this and a little shy.</dialogue>
<character>MARTIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No, that's fine, but can we get this show on the road?</dialogue>
<character>MINI</character>
<dialogue>Sure can, in two shakes of a lamb's tail.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Martin turns the light off next to the bed . A little bit of light from the street sneaks in around the edges of the blinds . After a second , the door opens and Mini comes out in a bra and panties . Mini crosses the room slowly and sits on the edge of the bed , letting her hair fall over her face . Martin tries to pull her hair away from her eyes , but she turns away , playfully shaking her head `` no '' . She reaches down and touches him through the sheet . He looks up at her , clearly excited , but she keeps her gaze down . He reaches over to the nightstand and picks up his wallet .</scene_description>
<character>MINI</character>
<dialogue>What did you have in mind tonight?</dialogue>
<character>MARTIN</character>
<dialogue>The deluxe.</dialogue>
<character>MINI</character>
<dialogue>Oh, so you want complete access?</dialogue>
<character>MARTIN</character>
<parenthetical>( voice quivering . )</parenthetical>
<dialogue>Y. yes.</dialogue>
<character>MINI</character>
<dialogue>You do know that's extra?</dialogue>
<scene_description>He nods .</scene_description>
<character>MINI</character>
<dialogue>Just so we're clear. Now, close your eyes.</dialogue>
<scene_description>Martin furrows his brow , disappointed .</scene_description>
<character>MINI</character>
<dialogue>Come on.</dialogue>
<scene_description>He obeys .</scene_description>
<character>MINI</character>
<dialogue>Now just keep them shut for a while.</dialogue>
<scene_description>Mini pulls the sheet back , revealing his body to her . She starts kissing his chest , inhaling deeply . She looks up at his expectant face , intoxicated with her power . Her mouth starts to move down his chest . Martin lets out a small , almost self - conscious gasp .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE ROOM - LATER.</stage_direction>
<scene_description>It is still dark as Martin and Mini lie under the sheets , post coitus in the `` spoons '' position . Martin has a dreamy , satisfied look on his face . Mini smiles to herself .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I ca n't believe I pulled that off. Keeping my face hidden actually was n't that hard, and he pretty much let me do whatever I wanted.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE BATHROOM- MOMENTS LATER.</stage_direction>
<scene_description>Mini is getting dressed .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And you know what? He was damn good. I do n't why Mom is throwing the cat all over town, when she can have this every night.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE BEDROOM- MOMENTS LATER.</stage_direction>
<scene_description>The room still dark , Mini emerges from the bathroom , dressed .</scene_description>
<character>MARTIN</character>
<dialogue>I.</dialogue>
<parenthetical>( searching . )</parenthetical>
<dialogue>that was. you were really good.</dialogue>
<character>MINI</character>
<parenthetical>( southern accent . )</parenthetical>
<dialogue>Thanks, Sugar.</dialogue>
<character>MARTIN</character>
<dialogue>I'd like to see you again, but. uh. I never got your name?</dialogue>
<scene_description>Even in the dark , he looks a little embarrassed . Mini smiles .</scene_description>
<character>MINI</character>
<dialogue>Ginger.</dialogue>
<character>MARTIN</character>
<dialogue>Ginger, I wo n't forget.</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. UPPER LEVEL OF THE BUILDING'S PARKING GARAGE</stage_direction>
<scene_description>LATER . Mini walks to her car , giddy with excitement .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I literally could n't feel the ground under my feet. A first to top all firsts. I knew I'd tell him one day, but I wanted to savor it for a while.</dialogue>
<scene_description>She reaches her car and looks for her keys in her purse . Her eyebrows furrow as she has trouble finding them . Suddenly , she realizes they are n't there . She freezes .</scene_description>
<character>MARTIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Ginger! You forgot your.</dialogue>
<scene_description>Startled , her head whips around to see Martin walking towards her , carrying her jacket . He stops , the realization setting in .</scene_description>
<character>MARTIN</character>
<dialogue>Jacket.</dialogue>
<scene_description>Seconds go by as Mini allows a pathologically triumphant smile to spread across her mouth .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Here's to immediate gratification.</dialogue>
<scene_description>Martin starts to look nauseous , as Mini walks slowly over and gives him a deep , wet kiss right on the mouth .</scene_description>
<character>MINI</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>You were great.</dialogue>
<scene_description>Martin just stares straight ahead , numb . After another moment he walks to the railing of the garage , staring down at the street below . MARTIN 'S POV : A few cars rush by on the street below . It appears to be about a three or four story drop . He looks back at Mini . He starts to lift a leg over the railing .</scene_description>
<character>MINI</character>
<dialogue>Uh, that fall probably wo n't kill you, and considering what a caring nurturer your wife is, I do n't think that's a risk you can afford to take.</dialogue>
<scene_description>Martin looks down at the street for another moment .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God, what a drama queen. Do n't let this little act fool you. He'd never let mom get all his money.</dialogue>
<scene_description>He glances back at her , looking tortured .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This is just his twisted public relations brain working overtime to figure what the appropriate response should be to fucking your stepdaughter. ah ha! Contemplate suicide!</dialogue>
<scene_description>Martin backs away from the railing .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now that's thinking outside the box.</dialogue>
</scene>
<scene>
<stage_direction>INT. AN ALL NIGHT COFFEE SHOP - LATER.</stage_direction>
<scene_description>Martin and Mini sit at a booth . Martin stirs his coffee looking shell shocked . Mini devours a plate of Belgian waffles covered with whipped cream .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We spent the next few hours just sitting there. I do n't think we said three words. I think he was trying to find a way to justify the whole thing, but it was actually one of the sweetest nights I ever spent with a guy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VENTURA BLVD- JUST BEFORE DAWN.</stage_direction>
<scene_description>Mini drives home with the top down .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He told me it was a monumental mistake and that we should both never mention it again. I told him that was fine.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR KITCHEN - MORNING</stage_direction>
<scene_description>Mini sits at the table eating cereal . Martin enters , looking a little guilty as they exchange an awkward glance .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Suddenly, he started coming home every night and even started really asking me about my homework.</dialogue>
<character>MARTIN</character>
<dialogue>Morning, Kiddo, you finish those math problems?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Kiddo?</dialogue>
<scene_description>Mini looks up at him , raising her eyebrows .</scene_description>
<character>MARTIN</character>
<dialogue>I'd be happy to help you with it, if you need.</dialogue>
<character>MINI</character>
<dialogue>Actually, I'm thinking about starting a 401K plan at work, could you help me pick a good mutual fund?</dialogue>
<scene_description>Martin looks down uncomfortably .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - NIGHT</stage_direction>
<scene_description>Martin watches television next to Diane , who 's passed out with an empty bottle of vodka sitting on the coffee table . A BOTTLE OF PRESCRIPTION MEDICATION is open as well . Martin looks over at Diane , pokes her to make sure she 's truly blitzed , checks his watch and stands up .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM - NIGHT</stage_direction>
<scene_description>Mini lies in bed under the covers , reading . The door to her room opens . She looks at the clock . It reads : 12:15 am . Martin enters .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It took exactly one week.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM - NIGHT</stage_direction>
<scene_description>The lights are off , and the two of them are going at it under the covers .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>In the beginning, I was concerned this would violate my rule as he technically was a repeat customer, but then I realized this was my first affair, and with my stepfather no less. To be perfectly honest. I loved it. Talk about electric, knowing at any moment she could walk in was better than any drug. It reminded me of when I was young and brought guys home after school.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BATHROOM - NIGHT</stage_direction>
<scene_description>Mini and Martin are locked in an embrace behind a steamed - over glass shower door .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At first, we were very discreet, only doing it when Joan Crawford was n't home or was completely comatose.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM - NIGHT</stage_direction>
<scene_description>Mini and Martin post coital , catching their breath , as they both stare at the ceiling . Martin looks over at her and they share a conspiratorial smile .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Then we got bolder, doing it before she would pass out. I think we were seeing exactly how far we could push the envelope.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - EVENING</stage_direction>
<scene_description>Mini and Martin poke their heads out from the hallway that leads to Mini 's bedroom . Diane is watching TV with a martini glass in her hand .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>One night we did it before `` Entertainment Tonight'' ended.</dialogue>
<scene_description>Them under the covers , but this time the lights in her room are on . M</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We even almost got caught.</dialogue>
<character>DIANE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mini?</dialogue>
<scene_description>Mini and Martin stop at the sound of her voice , they look at each other , realizing Diane 's right outside .</scene_description>
<character>MINI</character>
<parenthetical>( startled . )</parenthetical>
<dialogue>Yeah?</dialogue>
<scene_description>Suddenly , the door flies open , as Martin ducks under the covers . Diane stands there with a drink in her hand and what appears to be cocaine residue under her nostrils . She appears truly wired and incoherent , it 's unclear whether she 's even noticed someone else in the bed .</scene_description>
<character>MINI</character>
<dialogue>God, I've told you a thousand times to knock.</dialogue>
<character>DIANE</character>
<dialogue>Have you seen Martin? I think he was in his study a half hour ago.</dialogue>
<character>MINI</character>
<dialogue>Uh. ca n't say that I have.</dialogue>
<character>DIANE</character>
<dialogue>Well, I assume he's gone out, so I've invited Ricardo over for a. cocktail. You know how children make him uneasy, so I'd appreciate if you and.</dialogue>
<parenthetical>( pointing to Martin under the sheet . )</parenthetical>
<dialogue>. your friend could either stay in here or use the back door when he arrives.</dialogue>
<scene_description>For a moment , Mini ca n't believe her mother appears to have no problem with there being a man in her bed .</scene_description>
<character>MINI</character>
<dialogue>Oh. sure, no problem.</dialogue>
<scene_description>Diane shuts the door .</scene_description>
<character>MINI</character>
<dialogue>Okay, she's gone.</dialogue>
<scene_description>Martin pokes his head out of the covers . The two of them share a smile , not believing their luck . They start to laugh and then after a moment she kisses him deeply and they resume where they left off .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Looking back, that may have been the moment we fell in love.</dialogue>
</scene>
<scene>
<stage_direction>INT. A WOMEN'S CLOTHING STORE IN A SHOPPING MALL - DAY</stage_direction>
<scene_description>Mini tries on a cocktail dress , as Martin looks on , giving his approval .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We became inseparable.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE TANNEN'S POOL - DAY</stage_direction>
<scene_description>Mini sits at the pool side table , as Martin helps her with her homework . M</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Mom thought it was cute how we had suddenly grown so close, and thought it was wonderful how Martin had taken an interest in my education.</dialogue>
<scene_description>From inside the house , Diane is seen lighting a cigarette , looking out at them and smiling . CLOSE ON HER HOMEWORK : Mini has drawn a dirty cartoon which indicates how well endowed he is . She jots down an arrow next to the words `` actual size '' . Martin blushes , averting his eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OUTDOOR PATIO AT IL CIELO RESTAURANT - NIGHT</stage_direction>
<scene_description>The two of them sit at a romantic table in the candlelight , as A WAITER refreshes their wine .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now that we were spending time together, I actually started to find out what Martin was like for the first time.</dialogue>
<scene_description>Martin tells her something and they both crack up .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He was n't the drip I thought he was.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VENICE BEACH - SUNSET</stage_direction>
<scene_description>The two walk hand in hand , stopping to watch the drum rhythm circle filled with LOCAL PERCUSSIONISTS and ON LOOKERS moving to the throbbing beat .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He was funny, charming, sweet and even a little shy.</dialogue>
<scene_description>Mini jumps into the circle , dancing along with the other revelers . Martin is content to watch , until she runs to the edge of the circle and pulls him in . Reluctantly , he begins to move with her and slowly start to enjoy himself .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN AVENUE- SANTA MONICA- EARLY EVENING.</stage_direction>
<scene_description>Mini and Martin walk close together , but not the way couples do .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Being seen in public was no sweat, as long as we did n't act like a couple.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MULHOLLAND DRIVE - NIGHT</stage_direction>
<scene_description>Martin 's Mercedes snakes through an `` s '' curve , as the lights of the city twinkle in the background .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This went on for two months, before we had the talk we both knew was coming.</dialogue>
<scene_description>The car pulls off the road at one of the tourist overlook areas with a view of the city .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MERCEDES - CONTINUOUS</stage_direction>
<scene_description>Martin pulls up the parking break and turns to her .</scene_description>
<character>MARTIN</character>
<dialogue>So.</dialogue>
<character>MINI</character>
<dialogue>So.</dialogue>
<character>MARTIN</character>
<dialogue>I do n't want to have to sneak around in my own house.</dialogue>
<character>MINI</character>
<dialogue>Well, I do n't think telling her is such a hot idea.</dialogue>
<character>MARTIN</character>
<dialogue>I mean, I do n't want to live under the same roof with her.</dialogue>
<scene_description>A FEW RAIN DROPS HITTING THE ROOF OF THE CAR .</scene_description>
<character>MINI</character>
<dialogue>You ca n't leave, she'll get half.</dialogue>
<scene_description>Martin exhales , knowing she 's right .</scene_description>
<character>MINI</character>
<dialogue>Can I ask how the hell you married her without a pre - nup? Her?</dialogue>
<character>MARTIN</character>
<parenthetical>( sighing . )</parenthetical>
<dialogue>She was n't as bad an actress as you think.</dialogue>
<character>MINI</character>
<dialogue>Well, there is another option.</dialogue>
<scene_description>THE RAIN PICKS UP , PLINK , PLUNKING ON THE ROOF .</scene_description>
<character>MARTIN</character>
<dialogue>There is?</dialogue>
<scene_description>Her eyes harden as she looks out at the city .</scene_description>
<character>MINI</character>
<dialogue>But it will take some planning. and some resolve.</dialogue>
<scene_description>Martin 's eyes suddenly widen .</scene_description>
<character>MARTIN</character>
<dialogue>Wait, you do n't mean -</dialogue>
<character>MINI</character>
<dialogue>Kill her?</dialogue>
<scene_description>She lets the word linger , as the rain beats down steadily .</scene_description>
<character>MINI</character>
<dialogue>No, of course not, she is my mother.</dialogue>
<character>MARTIN</character>
<dialogue>Good.</dialogue>
<character>MINI</character>
<dialogue>But I've been thinking, if she suddenly got ill -</dialogue>
<character>MARTIN</character>
<dialogue>Ill?</dialogue>
<character>MINI</character>
<dialogue>Unstable, unpredictable, irrational. dangerous to the safety of her husband. her child. She would have to be sent someplace where they could give her the care she needs.</dialogue>
<scene_description>Martin searches her eyes , almost unsure he 's heard her right . Her gaze is unwavering and after a few seconds he realizes she 's serious . He ca n't help but let the hint of a grin cross his lips . M</scene_description>
<character>ARTIN</character>
<dialogue>It would be for her own good.</dialogue>
<character>MINI</character>
<dialogue>The only truly caring action we could take.</dialogue>
<character>MARTIN</character>
<dialogue>As painful as it would be for me to be without my loving wife.</dialogue>
<character>MINI</character>
<dialogue>You did it for the well being of your daughter. The selfless act of a devoted parent.</dialogue>
<scene_description>The sexual tension arises between them , as he starts moving closer to her lips .</scene_description>
<character>MARTIN</character>
<dialogue>Of course, we'll have to make sure her episodes are well documented.</dialogue>
<scene_description>She responds in kind , tilting her head .</scene_description>
<character>MINI</character>
<dialogue>And corroborated by friends and people outside the family.</dialogue>
<character>MARTIN</character>
<dialogue>A public complaint by a neighbor would n't hurt.</dialogue>
<character>MINI</character>
<dialogue>No, that would be useful.</dialogue>
<scene_description>Their lips are now almost touching .</scene_description>
<character>MARTIN</character>
<dialogue>And we'll find her a very comfortable place out in the country.</dialogue>
<character>MINI</character>
<dialogue>With lots of fresh air.</dialogue>
<character>MARTIN</character>
<dialogue>It will be a much better life for her.</dialogue>
<character>MINI</character>
<dialogue>Much.</dialogue>
<scene_description>Unable to stand it , their lips meet and they start to hungrily tear at each other 's clothes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CAR - CONTINUOUS</stage_direction>
<scene_description>The car rocks gently back and forth in the rain , as another car whizzes by , spray flying up behind it as it disappears around a curve .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM - MORNING</stage_direction>
<scene_description>Mini wakes up with a look of pure joy , ready to face the world .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I awoke the next morning, as excited as I could remember. Unlike most firsts which are over too quickly, this would take determination.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THEIR BACKYARD- MOMENTS LATER.</stage_direction>
<scene_description>Mini swims on her back in the pool , a lit cigarette dangling between her lips .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Stamina.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR KITCHEN - MORNING</stage_direction>
<scene_description>Mini and Martin sit together , eating breakfast .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And imagination.</dialogue>
<scene_description>Diane storms through the living room in the background , passing out of sight , behind the door frame .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I decided to start simply.</dialogue>
<character>DIANE</character>
<dialogue>Goddamn it! Goddamn it! Goddamn it!</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Part one, violent mood swings - slash - uncontrollable rages.</dialogue>
<scene_description>Cushions from the living room couch fly past the door frame .</scene_description>
<character>DIANE</character>
<dialogue>Fucking shit! Where are they?</dialogue>
<scene_description>Mini stirs her coffee innocently . Diane again can be seen through the door , this time throwing magazines and papers off the coffee table .</scene_description>
<character>DIANE</character>
<dialogue>I'm gon na be late! It took me three weeks to get an appointment with Anton.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Anton Michelle, masseuse to the stars and reported possessor of one of the biggest schlongs in town. Rumor has it, he's pouring the pork to every rich wife between Malibu and Pasadena. He must be incredible if Mary Magdalene dragged her ass out of bed this early.</dialogue>
<character>DIANE</character>
<dialogue>and now I'm gon na miss it because I ca n't find my fucking car keys?!</dialogue>
<scene_description>Martin and Mini exchange a smirk . She turns towards them , eyes ablaze .</scene_description>
<character>DIANE</character>
<dialogue>I could use a little help in here!</dialogue>
<scene_description>Martin looks up from his morning paper as cheerful as can be .</scene_description>
<character>MARTIN</character>
<dialogue>Coming, honey.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Mini and Martin walk in to see Diane on all fours , looking under one of the sofas . Her panties are blatantly visible from under her mini - skirt . Mini and Martin exchange a smirk .</scene_description>
<character>MARTIN</character>
<dialogue>Diane, sugar, do you remember where you put them when you came home last night?</dialogue>
<character>DIANE</character>
<dialogue>Yeah, in the fucking bowl by the fucking door where I always fucking put them!</dialogue>
<character>MINI</character>
<dialogue>Well, uh, you were kinda out of it last night.</dialogue>
<character>DIANE</character>
<dialogue>No, I was n't! I had one drink with Marie, one!</dialogue>
<character>MARTIN</character>
<dialogue>Uh, are you sure? You did seem a bit tipsy.</dialogue>
<character>DIANE</character>
<dialogue>Yes, I'm sure, you dickless wonder.</dialogue>
<scene_description>Diane starts rummaging through the drawers of a desk near the front door .</scene_description>
<character>MINI</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Now do n't you listen to her, you are not a dickless wonder.</dialogue>
<scene_description>Martin tries not to let on how much he 's enjoying this . Completely frustrated , Diane stops looking and heads for the `` key '' bowl by the door .</scene_description>
<character>DIANE</character>
<dialogue>Mini, I'm taking your car. Martin, take her to school.</dialogue>
<scene_description>Diane grabs a set of keys .</scene_description>
<character>MARTIN</character>
<dialogue>Diane, I have a meeting with Chapman, he's our biggest client -</dialogue>
<character>DIANE</character>
<parenthetical>( opening the door . )</parenthetical>
<dialogue>Tell him it's an emergency.</dialogue>
<scene_description>She slams the door behind her . Mini looks at Martin with a sly grin then removes a cell phone from her pocket and dials a number . As she waits for an answer , she twirls DIANE 'S KEY RING around her finger .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now, here comes the really fun part. I realized a year ago that by lowering my voice a bit I could do a passable job imitating.</dialogue>
<character>MINI</character>
<parenthetical>( mimicking Diane . )</parenthetical>
<dialogue>Hello, Anton? It's Diane Tannen, I know it's late notice, but I'm going to have to cancel our appointment. What? No, of course, I realize I'll still have to pay. yes, something came up.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE "OFFICE" OF ANTON MICHELLE - LATER.</stage_direction>
<scene_description>ANTON MICHELLE , 30 , the very muscular `` it boy '' masseuse is furiously fucking JEANETTE LANG , a similarly hyper - aerobicized wife , on his massage table . He 's bent her over the table and is taking her from behind when , suddenly , the door flies open . They both look up to see . DIANE with a stunned expression .</scene_description>
<character>DIANE</character>
<dialogue>Anton? But. Jeanette?</dialogue>
<character>JEANETTE</character>
<dialogue>Uh. hi, Diane?</dialogue>
<character>ANTON</character>
<parenthetical>( french accent . )</parenthetical>
<dialogue>But, Mrs. Tannen, you call and cancel zee session thirty meenutes ago? D</dialogue>
<character>IANE</character>
<dialogue>What? No, I did n't!</dialogue>
<character>ANTON</character>
<dialogue>Yes, I spoke to you myself, you say sometheeng come up.</dialogue>
<scene_description>Diane looks at Jeanette , her eyes narrowing .</scene_description>
<character>DIANE</character>
<dialogue>Jeanette, you knew I had an appointment today, did you pretend -</dialogue>
<character>JEANETTE</character>
<parenthetical>( flustered . )</parenthetical>
<dialogue>No, I, I. Anton called me and told me he had a cancellation.</dialogue>
<character>ANTON</character>
<dialogue>Yes, I call her after you call me.</dialogue>
<scene_description>Jeanette nervously tries to wrap the massage towel around herself .</scene_description>
<character>DIANE</character>
<dialogue>Why, you sneaky little bitch!</dialogue>
<scene_description>Suddenly , Diane LUNGES for Jeanette , grabbing her by the hair and pulling her off the table . Jeannette shrieks as Anton struggles to pull up his pants and pry them apart .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S DINING ROOM - EVENING</stage_direction>
<scene_description>Diane sits at the table with her arm in a sling . Martin cuts her meat for her , as Mini pours her some red wine .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Needless to say, word of the L'incidént de Anton spread quickly through the community.</dialogue>
<character>MINI</character>
<dialogue>Do you think she'll press charges?</dialogue>
<character>DIANE</character>
<dialogue>Are you kidding? She should get twenty to life! When I told Margo and Penny about her little stunt, they both said they'd have ripped her eyes out. She'll be lucky if anyone speaks to her again.</dialogue>
<scene_description>Martin holds up a forkful of food .</scene_description>
<character>MARTIN</character>
<dialogue>Here comes the choo - choo.</dialogue>
<scene_description>Diane grabs the fork with her good hand .</scene_description>
<character>DIANE</character>
<dialogue>For god's sake, I did n't break both hands.</dialogue>
<character>MINI</character>
<dialogue>Jeez, I still ca n't believe you broke your hand on her face? It's so Linda Hamilton.</dialogue>
<character>DIANE</character>
<parenthetical>( slugging some wine . )</parenthetical>
<dialogue>I hope she enjoys shitting out the teeth she swallowed.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE ROSA ANGELICA FLOWER SHOP - CONTINUOUS</stage_direction>
<scene_description>CLOSE ON : The store 's owner , CARLOS , 50 , picking up the RINGING PHONE .</scene_description>
<character>CARLOS</character>
<dialogue>Rosa Angelica, this is Carlos.</dialogue>
<scene_description>MINI IMPERSONATING DIANE -LRB- O.S. -RRB- Hello , Carlos , it 's Diane Tannen calling .</scene_description>
<character>CARLOS</character>
<dialogue>Ah, sí, Senora Tannen, como esta?</dialogue>
<character>MINI IMPERSONATING DIANE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Uh, Carlos. english, comprende?</dialogue>
<character>CARLOS</character>
<parenthetical>( taken aback . )</parenthetical>
<dialogue>Okay.</dialogue>
<character>MINI IMPERSONATING DIANE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm going to need a delivery to the house.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE TANNEN'S HOUSE - DAY</stage_direction>
<scene_description>A `` MOONWALK '' INFLATABLE CARNIVAL RIDE is being inflated on the front lawn by a WORKER , as TWO JUGGLERS warm up next to it , tossing clubs between them .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Phase two : wild shopping sprees carried out in a euphoric state.</dialogue>
<scene_description>FIVE DELIVERY VANS from Rosa Angelica are parked outside as FIVE DELIVERY BOYS unload their cargo . It appears that they have brought the entire inventory of Rosa Angelica . DOZENS OF BOUQUETS and ARRANGEMENTS line the driveway . Mini stands outside next to Carlos , sucking on a lollipop .</scene_description>
<character>MINI</character>
<dialogue>Gosh, look at all the pretty flowers.</dialogue>
<character>CARLOS</character>
<dialogue>Your mother said you are having a big party!</dialogue>
<character>MINI</character>
<parenthetical>( innocently . )</parenthetical>
<dialogue>I know, can you believe all this?</dialogue>
<scene_description>Just then , Diane 's Jaguar pulls into the driveway . She looks at the trucks , her expression souring . She stops the car and flies out .</scene_description>
<character>DIANE</character>
<dialogue>Carlos, what the hell is going on?</dialogue>
<character>CARLOS</character>
<dialogue>Senora Tannen, the delivery you ordered yesterday for the party?</dialogue>
<character>DIANE</character>
<dialogue>Ordered, I did n't order anything?! Who told you to bring these here?</dialogue>
<character>CARLOS</character>
<parenthetical>( flustered . )</parenthetical>
<dialogue>But, but, Senora, you did, you called me, I talked to you.</dialogue>
<character>DIANE</character>
<dialogue>No, you did n't!</dialogue>
<character>CARLOS</character>
<dialogue>Sí, you said you were having a party, do n't you remember? You were very excited, saying you were going to have the most wonderful party and invite everyone you knew and it had to be just perfect. Perfect, that's what you said. M</dialogue>
<character>INI</character>
<dialogue>Mom, is that what you were talking about yesterday?</dialogue>
<character>DIANE</character>
<dialogue>What?!</dialogue>
<character>MINI</character>
<dialogue>Well, it was after lunch and you had washed your pain killers down with some wine. You mumbled something about a party before you took a nap.</dialogue>
<character>DIANE</character>
<dialogue>No, I did not!</dialogue>
<character>MINI</character>
<parenthetical>( wincing . )</parenthetical>
<dialogue>Mom, you did. The doctor said no more mixing pain killers and alcohol.</dialogue>
<character>DIANE</character>
<dialogue>But, but. I only slept for -</dialogue>
<character>MINI</character>
<parenthetical>( to Carlos . )</parenthetical>
<dialogue>I am so sorry. Listen, we'll pay, do n't worry.</dialogue>
<scene_description>Mini leads Carlos back to his vans , just Martin 's Mercedes pulls up . Diane turns around to see his car and a look of dread strikes her .</scene_description>
<character>DIANE</character>
<dialogue>Oh, god.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Right on cue. Let's see how convincing he is.</dialogue>
<scene_description>Martin gets out of the car , surveying the damage . A look of pure indignant outrage overcomes him and it 's impossible to tell this is an act .</scene_description>
<character>MARTIN</character>
<dialogue>What is going on?! Carlos, what the fuck are all these flowers doing here?!</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oooh, now I see why he makes the big bucks.</dialogue>
<character>CARLOS</character>
<dialogue>Señor Tannen, we -</dialogue>
<character>DIANE</character>
<dialogue>Uh, Martin, I, I.</dialogue>
<character>MARTIN</character>
<dialogue>Diane, did you order all this?!</dialogue>
<character>MINI</character>
<dialogue>Mom, go inside, just go, I'll handle him.</dialogue>
<parenthetical>( trying to calm him . )</parenthetical>
<dialogue>It's under control, Dad. Please, let's not make a scene.</dialogue>
<scene_description>- Mini opens the front door to find A DELIVERY VAN from WATERFORD CRYSTAL pull up .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Over the next few days, whenever Mom had passed out from too much drinky - drinky.</dialogue>
<scene_description>- The door opens again as A FURRIER holding a full length mink coat stands before her with a big smile on his face .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'd pull out her wallet.</dialogue>
<scene_description>- A SALESMAN dangling the keys to a FORD MUSTANG CONVERTIBLE which is parked behind him in the driveway .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>and reach out and touch someone.</dialogue>
<scene_description>- A FLATBED TRUCK hauling a 30 FOOT SAILBOAT behind it pulls up in front of the house .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's really remarkable what you can order with a Platinum card these days.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>A strung out Diane sits on the couch , smoking and nursing a Vodka tonic . THE DOORBELL rings and Diane reacts like a dog in a thunderstorm , a jolt of fear coursing through her body .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Talk about easy. After a week of my version of the home shopping network, the doorbell might as well have been a canon.</dialogue>
<scene_description>Diane gets up and walks unsteadily towards the front door .</scene_description>
</scene>
<scene>
<stage_direction>INT. A CLASS ROOM AT MINI'S HIGH SCHOOL - DAY</stage_direction>
<scene_description>Mini and Kayla sit in a history class , looking dreamily at their teacher , WARREN BISHOP , 25 , an earnest young preppy in the middle of a lecture .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At this point, dear old mummy was so spooked, I was actually afraid she might stop drinking. So I needed a back up plan, to keep her. off - balance.</dialogue>
<character>BISHOP</character>
<dialogue>As we see from a closer examination of the facts, Abraham Lincoln's decision to.</dialogue>
<scene_description>Bishop 's voice fades out as he continues to speak .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now, here's someone I'd like to make sit, roll over and then toss me his snausage. But today. priorities are priorities.</dialogue>
<scene_description>Mini raises her hand .</scene_description>
<character>MINI</character>
<dialogue>Mr. Bishop, can I go to the little girls room?</dialogue>
<character>BISHOP</character>
<dialogue>Of course, Mini.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Mini walks down the empty corridor .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GIRL'S BATHROOM- MOMENTS LATER.</stage_direction>
<scene_description>The SCHOOL NURSE , HELGA HAUPTFÜHRER , 55 and very Aryan , enters the empty bathroom and walks into a stall .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The school nurse, a regimented Kraut lush named Helga Hauptführer, or `` der Führer'' as she was affectionately known, starts jonesing for her afternoon nip.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE STALL - CONTINUOUS</stage_direction>
<scene_description>Hauptführer sits down and takes a bottle of vodka out of her nurses coat .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>exactly 45 minutes after lunch each day.</dialogue>
<scene_description>She takes a long slug .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE NURSE'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Mini quickly picks the flimsy lock on the medicine cabinet with a paper clip . She quickly looks through the bottles .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Which leaves me free to help myself to the candy store.</dialogue>
<scene_description>Mini finds what she needs and holds it up to read the label . CLOSE ON : THE LABEL indicating `` RITALIN '' and the dosage . Mini quickly closes the cabinet , walks out and stuffs the bottle in her pocket , just before Hauptführer enters .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Thank god for the quack who invented ADD and the lazy parents willing to let `` Der Führer'' keep their kids comfortably numb on what basically amounts to legalized speed.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S KITCHEN - EVENING</stage_direction>
<scene_description>Mini stands at the counter , making her mom A MARGARITA . She 's cutting up all kinds of tropical fruits and putting them into a blender .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My fears of mom giving up the sauce were unfounded. Actually, she started drinking more.</dialogue>
<scene_description>She then takes a few tablets of Ritalin and grinds them up with their coffee grinder . She pours that into the blender and puts the lid on .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Which gave me the perfect opportunity to prescribe her a little pick - me - up.</dialogue>
<scene_description>She turns on the blender .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIANE'S DRESSING ROOM- MOMENTS LATER.</stage_direction>
<scene_description>Diane 's getting dressed for a party , trying to gracefully camouflage her cast with jewelry .</scene_description>
<character>DIANE</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Mini! I asked you for that drink ten minutes ago!</dialogue>
<scene_description>Mini walks in , carrying the margarita .</scene_description>
<character>DIANE</character>
<dialogue>Put it on the counter.</dialogue>
<character>MINI</character>
<dialogue>You're welcome.</dialogue>
<scene_description>Diane takes a pain killer and washes it down with the margarita .</scene_description>
<character>DIANE</character>
<dialogue>Mmm. this is really good. What's in it, Sweetie?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The first time in my life she calls me `` sweetie'' and I've just slipped her the mother of all Mickeys.</dialogue>
<character>MINI</character>
<dialogue>Oh, this and that.</dialogue>
</scene>
<scene>
<stage_direction>INT. A POSH PARTY IN THE HILLS - NIGHT</stage_direction>
<scene_description>The party is chock full of TROPHY WIVES and their decidedly less attractive HUSBANDS . Diane is in a full blown booze and Ritalin induced monologue , having cornered TWO WOMEN .</scene_description>
<character>DIANE</character>
<dialogue>My god, let me tell you, breaking my hand on that bitch's face.</dialogue>
<scene_description>The two women recoil .</scene_description>
<character>DIANE</character>
<dialogue>was the best thing that ever happened to me.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Phase three : rambling incoherent monologues in public.</dialogue>
<character>DIANE</character>
<dialogue>I feel fantastic, just fabulous. I mean, I feel like I could run a marathon like that Bruce Jenner guy. He did that, right? Boy, I'll tell you before he had that face lift that made him look like a drag queen, I would've let him stick his javelin in me any day.</dialogue>
<scene_description>Suddenly , her ears unconsciously pick up the strands of a conversation going on behind them between TWO HUSBANDS .</scene_description>
<character>HUSBAND #1</character>
<dialogue>So I looked each and every juror in the eye -</dialogue>
<character>DIANE</character>
<parenthetical>( spinning around . )</parenthetical>
<dialogue>I want to talk to you about juries, will you come and talk to me about juries?</dialogue>
<character>HUSBAND #1</character>
<dialogue>Uh.</dialogue>
<character>DIANE</character>
<dialogue>I'd like to be on a jury and say `` guilty!'' or `` sidebar!'' What do you think goes on in all the sequestered situations? Do you think any of the jurors have sex with each other? I was once on an episode of Love Boat, playing the role of `` Bikini Girl'' and my line was `` I'll have another,'' it was with `` Isaac'' at the pool bar. I had to suck one of the associate producers off to get the line, but it got me my SAG card, so I guess it was worth it.</dialogue>
<scene_description>The men shoot each other an uncomfortable glance .</scene_description>
<character>HUSBAND #2</character>
<dialogue>Uh, I think I could use a refill.</dialogue>
<character>HUSBAND #1</character>
<dialogue>Me too.</dialogue>
<parenthetical>( to Diane . )</parenthetical>
<dialogue>please, excuse us.</dialogue>
<scene_description>They head towards the bar and Diane follows . The two women she turned away from shake their heads at the spectacle .</scene_description>
<character>DIANE</character>
<dialogue>But, but we were talking about juries and Isaac and, and that drag queen I broke my face on and.</dialogue>
<scene_description>The two men try to ignore her , but she keeps following them . She finally realizes they are n't stopping . She grabs the first man by the shoulder , pissed .</scene_description>
<character>DIANE</character>
<dialogue>Hey! COCKBREATH!</dialogue>
<scene_description>The party stops . Everyone is staring at Diane as the music continues to play . She looks around the room at the disapproving eyes , panic setting in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUSE OF THE PARTY - LATER.</stage_direction>
<scene_description>Diane is led away by Martin and Mini , as other partygoers watch the sad scene . They both struggle to keep Diane from stumbling .</scene_description>
<character>DIANE</character>
<parenthetical>( slurring . )</parenthetical>
<dialogue>. And then I told him that I had been an extra on Hello Larry and Mike Farrell had tried to -</dialogue>
<character>MINI</character>
<dialogue>MacLean Stevenson.</dialogue>
<character>DIANE</character>
<dialogue>What?</dialogue>
<character>MINI</character>
<dialogue>MacLean Stevenson played `` Larry.''</dialogue>
<character>DIANE</character>
<dialogue>Right, that's what I said. and then MacKenzie Phillips tried to slip me the tongue!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE MASTER BEDROOM - LATER.</stage_direction>
<scene_description>Diane lies passed out on the bed as Mini and Martin watch her sleep .</scene_description>
<character>MARTIN</character>
<dialogue>Listen, great job, but you need to give me more warning. I was at dinner with Chapman, and it's the second time I've had to re - schedule.</dialogue>
<character>MINI</character>
<dialogue>I'm sorry, but it was a golden opportunity. You always said you ca n't pay enough for good publicity.</dialogue>
</scene>
<scene>
<stage_direction>INT. A HARDWARE STORE - DAY</stage_direction>
<scene_description>Mini and Martin peruse the aisles .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At this point, with all those witnesses, Martin thought we could get a shrink to have her sent away.</dialogue>
<scene_description>They stop in front of a wall of tools : hand axes , hammers and saws . Mini selects a large hand axe .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My feeling was that until they were ready to weld the door to her padded cell shut.</dialogue>
<scene_description>Mini picking out two black ski masks , two pairs of black goggles and two black sweatsuits .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>there was more work to be done.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SHERMAN OAKS GALLERIA - DAY</stage_direction>
<scene_description>Diane walks through the mall aimlessly . She wears a wrinkled , mis - buttoned pink blouse . Her eyes are hollow , her cheeks sunken . A few SHOPPERS throw her a concerned glance as they pass .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Final phase : Complete psychotic breakdown.</dialogue>
<scene_description>MINI , disguised in a hat and sunglasses , leans on the railing from the next level up , watching her mother .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FOOD COURT OF THE MALL - CONTINUOUS</stage_direction>
<scene_description>Mini slides into a table next to TWO SKATEPUNKS .</scene_description>
<character>MINI</character>
<dialogue>Hey, boys.</dialogue>
<scene_description>The two guys exchange a glance . Cute girls like Mini clearly do n't `` hey , boys '' them .</scene_description>
<character>MINI</character>
<dialogue>Wan na have a little fun?</dialogue>
</scene>
<scene>
<stage_direction>INT. THE DISPLAY WINDOW OF A STORE - CONTINUOUS</stage_direction>
<scene_description>Diane looks at some clothes . RING ! Her cell phone goes off and she answers it .</scene_description>
<character>DIANE</character>
<dialogue>Hello?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( breathy , threatening . )</parenthetical>
<dialogue>Diane?</dialogue>
<character>DIANE</character>
<dialogue>Yes?</dialogue>
<scene_description>The breathing increases , getting deeper and more menacing .</scene_description>
<character>DIANE</character>
<dialogue>Hello? What do you want?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I can see you? Can you see me?</dialogue>
<character>DIANE</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>Who is this?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Do you feel safe?</dialogue>
<character>DIANE</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Who is this?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You did n't answer the question.</dialogue>
<scene_description>Mini and the two skatepunks giggle with glee at the terror they 're inflicting . She looks around , scanning THE MALL . Nothing seems out of the ordinary . D</scene_description>
<character>IANE</character>
<dialogue>This is n't funny. I'm hanging up.</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I would n't do that.</dialogue>
<character>DIANE</character>
<dialogue>If this is some kind of joke.</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I assure you, I'm no joke. May I say that pink blouse is very fetching.</dialogue>
<scene_description>Panicked , she heads for an exit . A FEW SHOPPERS look at her with concern .</scene_description>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Diane, your car is the other way.</dialogue>
<parenthetical>( menacing . )</parenthetical>
<dialogue>Now answer my question. Do you feel safe?</dialogue>
<scene_description>A whimper escapes from her throat as she looks around .</scene_description>
<character>DIANE</character>
<dialogue>I'm hanging up.</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( very calm . )</parenthetical>
<dialogue>Hang up and you're dead.</dialogue>
<character>DIANE</character>
<parenthetical>( falling apart . )</parenthetical>
<dialogue>Why are you doing this?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Can you see me?</dialogue>
<scene_description>She scans the crowd frantically , then starts walking towards a VICTORIA 'S SECRET STORE for help .</scene_description>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Pick me out something sexy.</dialogue>
<character>DIANE</character>
<dialogue>Leave me alone!</dialogue>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( very calm . )</parenthetical>
<dialogue>But I'm so close to you.</dialogue>
<scene_description>She stops , frozen in fear . Just then , the second SKATEPUNK comes up behind her , brushing into her . She jerks away from him .</scene_description>
<character>DIANE</character>
<parenthetical>( screeching . )</parenthetical>
<dialogue>Get away!</dialogue>
<scene_description>EVERY SHOPPER within ear shot turns around , including TWO SECURITY GUARDS .</scene_description>
<character>SKATEPUNK #2</character>
<dialogue>Take it easy, lady, what the hell's your problem?</dialogue>
<scene_description>The skatepunk walks away . MINI and THE FIRST SKATEPUNK watch with amusement from an upper level as A SECURITY GUARD moves towards her .</scene_description>
<character>MALE VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Peek a boo. I'm coming for you. but that guard ca n't help you. Maybe you should make a run for that Gold Jag you drive home to Mira Loma Lane.</dialogue>
<character>DIANE</character>
<parenthetical>( whimpering . )</parenthetical>
<dialogue>How do you know where I live?</dialogue>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I know everything about you.</dialogue>
<character>DIANE</character>
<dialogue>No!</dialogue>
<scene_description>DIFFERENT MALE VOICE -LRB- O.S. -RRB- Maam ? Diane spins around to find TWO SECURITY GUARDS standing behind her .</scene_description>
<character>SECURITY GUARD #1</character>
<dialogue>I'm going to have to ask you to leave the mall. We'll walk you to your car.</dialogue>
<character>DIANE</character>
<dialogue>No! I ca n't leave, he knows where I live!</dialogue>
<character>SECURITY GUARD #1</character>
<dialogue>Maam, you're going to have to leave.</dialogue>
<character>DIANE</character>
<dialogue>Did you hear me?! He knows where I live!</dialogue>
<character>SECURITY GUARD #1</character>
<dialogue>Who knows?</dialogue>
<scene_description>She hands him the phone .</scene_description>
<character>DIANE</character>
<dialogue>Him!</dialogue>
<scene_description>The security guard puts the phone to his ear . The BEEPING sound of a hang up is heard . He nods to his partner , as he removes a walkie talkie .</scene_description>
<character>SECURITY GUARD #1</character>
<parenthetical>( into walkie talkie . )</parenthetical>
<dialogue>Yeah, this is Franklin, we've got a code 7, get an EMS unit over here.</dialogue>
<scene_description>The two guards grab her . She drops the phone and starts scratching at one guard 's face . The other pepper sprays her , as she falls down , howling .</scene_description>
<character>DIANE</character>
<dialogue>What are you doing?!</dialogue>
<character>SECURITY GUARD #1</character>
<dialogue>Sorry, Maam, this is for your own protection.</dialogue>
<scene_description>RING ! The phone is like a jolt of electricity through her body . Diane kicks and punches at the guards .</scene_description>
<character>DIANE</character>
<dialogue>It's him! Answer it! Answer it! He said he was gon na kill me!</dialogue>
<scene_description>The guards finally tackle her , getting handcuffs on .</scene_description>
<character>DIANE</character>
<dialogue>He, he knows where I live!</dialogue>
<scene_description>THE OTHER SHOPPERS watch for a moment and lose interest , writing her off as just another LA kook . MINI watches from the upper level , quite satisfied .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTIN AND DIANE'S BEDROOM - LATER.</stage_direction>
<scene_description>Diane lies in bed , half awake , watching TV . A scotch and soda rests in her hand .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After her performance at the mall, I'm sure she would have qualified as `` committable''. But that was n't enough, I wanted her to beg the boys in the white coats to take her away.</dialogue>
<scene_description>Mini pokes her head in the door of the room .</scene_description>
<character>MINI</character>
<dialogue>Mom, we're going to get some dinner. Do you want us to bring you back something?</dialogue>
<character>DIANE</character>
<dialogue>You're leaving? Both of you?</dialogue>
<character>MINI</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>For the last three days she has n't left the house.</dialogue>
<character>DIANE</character>
<dialogue>Why do n't we just order in?</dialogue>
<character>MINI</character>
<dialogue>Mom, we ca n't stay in here forever. Do you want to come with us?</dialogue>
<scene_description>Diane considers the question by looking at her face in the bed side mirror . It 's still puffy and blotchy from the pepper spray .</scene_description>
<character>MINI</character>
<dialogue>Mom?</dialogue>
<scene_description>She looks up at Mini .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ah. vanity, the most predictable of sins.</dialogue>
<character>DIANE</character>
<dialogue>I. ca n't. You two go.</dialogue>
<character>MINI</character>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BACKYARD - LATER.</stage_direction>
<scene_description>It is dark and quiet , as the evening dew rises on the lawn .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTIN AND DIANE'S BEDROOM - LATER.</stage_direction>
<scene_description>Diane is almost asleep when the phone next to the bed RINGS , waking her up . She stares at it for a moment , trying to decide if she should answer it . On the forth ring , she answers .</scene_description>
<character>DIANE</character>
<dialogue>Hello?</dialogue>
<scene_description>A DIAL TONE rings in her ear . She hangs up the phone . A second later it RINGS again . She waits two rings and then answers . Again a DIAL TONE . Now a bit freaked , Diane is fully awake and staring at the phone , waiting . PLINK ! Something small hits the window across the room . Startled , she turns her head towards it . DIANE 'S POV : Through the window , in the distance by the hedges a BLACK CLAD FIGURE is visible , wearing a ski mask and goggles . In the figure 's right hand there is a gleaming , sharp kitchen knife . She ca n't believe her eyes . HER POV : The figure stands silently , bringing the knife up , indicating that he 's going to cut her throat . Eyes wild with panic , Diane picks up the phone and dials 911 . The phone dials and she waits .</scene_description>
<character>DIANE</character>
<dialogue>Please, please, oh god.</dialogue>
<scene_description>She looks back out the window : THE HOODED FIGURE walks out of the bushes and heads towards the house .</scene_description>
<character>RECORDED VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You have reached 911, if this is an emergency, please remain on the line.</dialogue>
<character>DIANE</character>
<dialogue>Oh god, oh god!</dialogue>
<scene_description>Diane realizes she does n't have time to wait and runs out of the room , leaving the phone off the hook .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Diane stumbles down the hallway , almost tripping on the steps down to the living room . She goes straight for the phone on the end table next to the couch . She picks it up .</scene_description>
<character>RECORDED VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Please continue to hold, your call will be answered.</dialogue>
<scene_description>She hangs up the phone and looks back at the hallway , but as she does , she sees reflected in a wall mirror : ANOTHER BLACK CLAD FIGURE outside the living room window , but this one holds a HAND AXE . She turns around to look out the window . THE FIGURE raises the axe slowly .</scene_description>
<character>DIANE</character>
<dialogue>No. no. help! Help!</dialogue>
<scene_description>She heads towards the front door to scream for help , but the axe wielding figure moves swiftly towards the door , making it unsafe for her to even try . Her face dissolves into utter despair , as she stumbles out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FAMILY DEN - CONTINUOUS</stage_direction>
<scene_description>Diane runs in to check that the sliding doors are locked . She clicks the lock shut , just as THE FIRST FIGURE with the knife appears in the door frame .</scene_description>
<character>DIANE</character>
<dialogue>Oh, God! Help! Someone!</dialogue>
<scene_description>Diane is transfixed by her own eyes reflected in the lenses of the goggles .</scene_description>
<character>DIANE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>No, please, no.</dialogue>
<scene_description>She slowly backs away from the door , as the figure tries to open it . The door frame rattles on its track , as the figure violently tugs at the handle .</scene_description>
<character>DIANE</character>
<dialogue>Help! Someone please, help me!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>She runs back in , checking THE WINDOW . It 's clear . She decides to check the front door . She runs over and looks out the peep hole . PEEP HOLE POV : It appears clear . She starts to undo the lock and then slowly peeks through the slit in the door , leaving the chain on . THROUGH THE SLIT : everything looks good . She opens the door and looks towards the front gate , which is open . She looks as if she 's thinking of making a dash for the gates . Just then , from behind the gate , steps the AXE WIELDING FIGURE . It shakes a finger `` no '' at her , as it walks towards the house . Terrified , she slams the door , locking it behind her . She instinctively pushes her back against the door , hyper - ventilating . She looks up at the ceiling , her eyes filling with tears .</scene_description>
<character>DIANE</character>
<dialogue>Please God, please God. please!</dialogue>
<scene_description>She looks around the room , searching for options . Suddenly , her eyes bulge as she sees THE KNIFE WIELDING FIGURE standing not ten feet away in the door to the kitchen . Diane screams and runs back down the hallway , towards the bedroom . The knife wielding figure follows behind her . She looks back , as it runs after her , grabbing her by the shoulder . She shrieks and struggles out of it 's grasp before running in the bathroom and slamming the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Diane throws her weight against the door , struggling to keep the intruder out . She looks for anything to help her , and then sees in the window to the bathroom . THE AXE WIELDING FIGURE standing silently , staring back at her . Diane collapses to the floor in a pool of tears . She looks up again at THE WINDOW : It 's empty . The pushing on the door suddenly stops , but Diane is so disturbed , she does n't notice through her sobs . A PAIR OF BLACK GLOVED HANDS puts the bedroom phone back on its cradle .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Our work finished.</dialogue>
</scene>
<scene>
<stage_direction>INT. DOCTOR HOGGLY WOGGLY'S TYLER TEXAS BARBECUE - LATER.</stage_direction>
<scene_description>Mini and Martin laugh and giggle at the enormous slabs of beef put in front of them .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We rewarded ourselves on a job well done.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY OF THE TANNEN'S HOUSE - LATER.</stage_direction>
<scene_description>Mini and Martin walk down the hallway towards the master bedroom .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And we returned home expecting to find her blabbering like a three year old.</dialogue>
<character>MINI</character>
<dialogue>Mom, we're home!</dialogue>
<character>MARTIN</character>
<dialogue>Diane, honey, we brought you a pulled pork plate!</dialogue>
<scene_description>They reach the door to the bathroom . It 's still closed . Martin and Mini exchange a look , not believing that Diane could still be in there .</scene_description>
<character>MARTIN</character>
<dialogue>Honey? You okay? Honey?</dialogue>
<character>MINI</character>
<dialogue>Mom?</dialogue>
<scene_description>Martin tries the door . Diane still appears to be leaning against it . He pushes hard on the door , opening it a few inches . Mini reaches in and shoves Diane over so they can can open the door . She appears drugged . They lay her flat and try to wake her up .</scene_description>
<character>MARTIN</character>
<dialogue>Diane, it's us, wake up.</dialogue>
<scene_description>Mini slaps her hard across the face .</scene_description>
<character>MINI</character>
<parenthetical>( feigning concern . )</parenthetical>
<dialogue>Wake up, Mommy.</dialogue>
<character>MARTIN</character>
<dialogue>Mini.</dialogue>
<character>MINI</character>
<dialogue>Killjoy.</dialogue>
<scene_description>Martin lightly taps Diane 's cheeks .</scene_description>
<character>MARTIN</character>
<dialogue>Diane, come on, come on.</dialogue>
<scene_description>Mini looks up at the counter . AN EMPTY BOTTLE OF PRESCRIPTION SLEEPING PILLS lies open next to the sink .</scene_description>
<character>MINI</character>
<dialogue>Martin.</dialogue>
<scene_description>He looks up and immediately sees the bottle .</scene_description>
<character>MINI</character>
<dialogue>I picked that prescription up three days ago. It was probably more than half full.</dialogue>
<scene_description>The two of them look at each other , studying each other 's reaction . Seconds go by as both wait for the other to make the first move .</scene_description>
<character>MINI</character>
<parenthetical>( eerily calm . )</parenthetical>
<dialogue>I suppose we should call an ambulance?</dialogue>
<scene_description>The suggestion hangs in the air , as Martin feels Diane 's wrist again .</scene_description>
<character>MARTIN</character>
<dialogue>Her pulse is almost gone.</dialogue>
<character>MINI</character>
<dialogue>Do you really think they can save her?</dialogue>
<character>MARTIN</character>
<dialogue>I. I do n't know.</dialogue>
<character>MINI</character>
<dialogue>She'll only try it again. You know she will.</dialogue>
<character>MARTIN</character>
<dialogue>She will if we keep this torture up.</dialogue>
<scene_description>Martin looks down at Diane .</scene_description>
<character>MARTIN</character>
<parenthetical>( suddenly with resolve . )</parenthetical>
<dialogue>This is wrong, call an ambulance.</dialogue>
<character>MINI</character>
<dialogue>Hold on, who are we to say her choice was wrong? She put those pills in her mouth.</dialogue>
<character>MARTIN</character>
<dialogue>Mini -</dialogue>
<character>MINI</character>
<dialogue>Do n't `` Mini'' me, you've been bankrolling my little project from day one.</dialogue>
<character>MARTIN</character>
<dialogue>We both agreed murder was out.</dialogue>
<character>MINI</character>
<dialogue>I'd hardly call it murder, if anything, we're just helping to fulfill her last wish.</dialogue>
<character>MARTIN</character>
<dialogue>She would n't have taken the pills if we had n't -.</dialogue>
<parenthetical>( urgently . )</parenthetical>
<dialogue>Mini, for gods sake, she still has a pulse.</dialogue>
<character>MINI</character>
<dialogue>So do people in comas. It's just a matter of time -</dialogue>
<character>MARTIN</character>
<dialogue>Mini, we -</dialogue>
<character>MINI</character>
<dialogue>Look, you can drop the indignant outrage, because if you really cared, you'd have already grabbed the phone and dialed 911 by now.</dialogue>
<scene_description>She 's got him and he knows it .</scene_description>
<character>MINI</character>
<parenthetical>( softening . )</parenthetical>
<dialogue>Ca n't we just admit how lucky we are? It's the perfect alibi, she put the drugs in her system.</dialogue>
<character>MARTIN</character>
<dialogue>What? Just leave her here?</dialogue>
<character>MINI</character>
<dialogue>Exactly.</dialogue>
<character>MARTIN</character>
<dialogue>I do n't know.</dialogue>
<character>MINI</character>
<dialogue>Can you think of one person she knows who would say she's sane at this point? This is just the natural, sad and inevitable conclusion to a tragic life.</dialogue>
<scene_description>Martin ponders the choice .</scene_description>
<character>MINI</character>
<dialogue>We're this close from being free. let's just let nature take its course.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - LATER.</stage_direction>
<scene_description>Mini and Martin sit watching a game show called Absolutely Positive .</scene_description>
<character>MINI</character>
<dialogue>And so we passed the time watching my favorite show.</dialogue>
<scene_description>A YOUNG MALE GAME SHOW HOST comes out on stage to the applause of the audience .</scene_description>
<character>HOST</character>
<dialogue>Welcome to `` Absolutely Positive!'' The show where we give couples about to get married a last chance to make sure they're.</dialogue>
<scene_description>He puts a hand to his ear , encouraging the studio audience .</scene_description>
<character>STUDIO AUDIENCE</character>
<dialogue>Absolutely Positive!</dialogue>
<character>HOST</character>
<dialogue>That's right! We send them out on one last date with someone other than their fiance, so they can be sure they're really ready to make that lifelong commitment.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Our neighbor, Mike Rudell, the scumbag at my birthday, produces it and it's so twisted, I'm surprised I did n't think of it.</dialogue>
<scene_description>On the screen , the host introduces THE COUPLE , who nervously walk out to the studio applause .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Take happy couples about to marry and try to break them up. The catch is the couples are always sent on dates with people just a little better looking than their fiancés.</dialogue>
<scene_description>Then the TWO DATES are brought out to sit on either side of the couple . Both dates are , indeed , slightly better looking than the engaged couple .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BATHROOM - LATER.</stage_direction>
<scene_description>Mini checks Diane 's pulse .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And we waited some more.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - LATER.</stage_direction>
<scene_description>Martin sits on the couch . He looks up as Mini comes in from the bathroom , shaking her head `` no '' , indicating she 's not dead yet .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BATHROOM - LATER.</stage_direction>
<scene_description>Mini checks Diane 's pulse again .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Typical mom, she managed to fuck up her last act of free will.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>The 11 O'clock news is starting , as Mini impatiently looks towards the hallway leading to the bathroom .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Finally, it was time to do the only humane thing.</dialogue>
<scene_description>Mini stands up .</scene_description>
<character>MINI</character>
<dialogue>Come on, let's go.</dialogue>
<character>MARTIN</character>
<dialogue>What?</dialogue>
<character>MINI</character>
<dialogue>It's time to speed this up.</dialogue>
<character>MARTIN</character>
<dialogue>Speed this up?</dialogue>
<character>MINI</character>
<dialogue>We ca n't wait anymore, our alibi is only believable for maybe another hour. We can say that after dinner we went to a movie, but if she has n't croaked by midnight, you can forget about this.</dialogue>
<scene_description>Martin looks at her for a long moment , clearly realizing the implications of `` speed this up '' .</scene_description>
<character>MARTIN</character>
<dialogue>No, I'm sorry, this is going somewhere I'm not prepared to go.</dialogue>
<character>MINI</character>
<dialogue>Oh, but you were prepared to sit here until the pills did her in? I hate to break it to you, but wherever you `` were n't prepared to go''. the hypocrite express just rolled into the station.</dialogue>
<scene_description>Martin stares straight ahead , coming to grips with the truth of his actions .</scene_description>
<character>MARTIN</character>
<dialogue>What are you suggesting?</dialogue>
<character>MINI</character>
<dialogue>Well, I thought we'd disembowel her and leave her for the raccoons.</dialogue>
<scene_description>Martin recoils .</scene_description>
<character>MINI</character>
<dialogue>Kidding. God, you've lost your sense of humor. Do n't worry, it'll be painless.</dialogue>
<scene_description>Martin takes a deep breath , considering his options .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIANE'S WALK IN CLOSET- MOMENTS LATER.</stage_direction>
<scene_description>Mini goes through her mother 's clothes , as Diane lies crumpled in a heap on the floor . Martin looks on impatiently .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>To be honest, I think we both knew in our hearts it would come to this. And as my first assisted suicide, I was going to make it flawless. M</dialogue>
<character>ARTIN</character>
<dialogue>Come on, we do n't have time.</dialogue>
<character>MINI</character>
<dialogue>Look, if we're going to screw up the details we might as well call San Quentin and tell them to fire up the dutch oven.</dialogue>
<parenthetical>( off his confusion . )</parenthetical>
<dialogue>The gas chamber?</dialogue>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>Martin, please, I ca n't explain everything.</dialogue>
<scene_description>Mini holds a chic black Chanel suit up to the full length mirror . Mini applying make - up and lipstick to Diane 's face in front of her vanity mirror . Martin holds Diane 's head still .</scene_description>
<character>MARTIN</character>
<dialogue>I do n't think this is a good idea.</dialogue>
<character>MINI</character>
<dialogue>Have you lost your mind, `` Mr. Public Relations''? What's the one thing all her friends are going to be talking about when they find out?</dialogue>
<parenthetical>( waits for his answer . )</parenthetical>
<dialogue>`` How did she look''? Do you think anyone will think twice if the answer is `` fabulous''?</dialogue>
</scene>
<scene>
<stage_direction>INT. THE GARAGE - CONTINUOUS</stage_direction>
<scene_description>The door to the dark garage opens and Mini turns on a light . Martin , carrying Diane -LRB- now dressed in the suit -RRB- over his shoulder , struggles through the doorway .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIANE'S JAGUAR- MOMENTS LATER.</stage_direction>
<scene_description>Mini props Diane up in the driver 's seat and begins touching up the make - up . She ties a silk scarf around Diane 's neck , ever so elegantly . Satisfied , she turns the ignition key and lowers all the power windows in the car . She looks up at Martin .</scene_description>
<character>MINI</character>
<dialogue>Well, if you've got anything to say to her, now would be the time.</dialogue>
<character>MARTIN</character>
<dialogue>Could you just pretend to have a little remorse?</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Mini and Martin walk through the door to the garage and close it behind them . The hum of the car engine can he heard through the wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GARAGE - CONTINUOUS</stage_direction>
<scene_description>Diane sits in the driver 's seat , as THE EXHAUST PIPE spews fumes into the sealed garage .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOUSE - LATER.</stage_direction>
<scene_description>The garage door is open and Diane 's body is visible on the garage floor as Martin and Mini kneel beside her . The wail of an ambulance siren is heard as it pulls up in front , cutting the engine . Mini comes running outside in tears .</scene_description>
<character>MINI</character>
<dialogue>Help us, please! My mom, I think she's dead!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE GARAGE- MOMENTS LATER.</stage_direction>
<scene_description>TWO PARAMEDICS try to revive Diane , having laid her out on the floor of the garage . Mini sobs hysterically , as Martin hugs her .</scene_description>
<character>MINI</character>
<dialogue>Mommy, wake up!</dialogue>
<character>MARTIN</character>
<dialogue>It's okay, sweetheart, everything's going to be okay.</dialogue>
<character>FIRST PARAMEDIC</character>
<dialogue>Mr. Tannen, I think you should take your daughter in the house.</dialogue>
<character>MINI</character>
<dialogue>Oh, please, do n't let her die!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE HOUSE - LATER.</stage_direction>
<scene_description>Two POLICE CRUISERS are parked outside as Diane 's body , now wrapped in a body bag , is being wheeled into the ambulance . A FEW `` LOOKY LOOS '' are standing at the gates to the house , interested to see what 's happened .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - LATER.</stage_direction>
<scene_description>One of the paramedics fills out a report on a clipboard in the background , as Martin continues to comfort Mini . A MAN , 30 , with a slightly weary look , walks in the front door wearing an off - the - rack grey suit and barber shop haircut .</scene_description>
<character>GARSON</character>
<dialogue>Mr. Tannen?</dialogue>
<scene_description>Martin looks up .</scene_description>
<character>MARTIN</character>
<dialogue>Yes?</dialogue>
<character>MAN</character>
<dialogue>I'm Detective Bill Garson, LAPD.</dialogue>
<character>MARTIN</character>
<dialogue>Yes?</dialogue>
<character>GARSON</character>
<dialogue>I'm sorry to be here right now, but whenever there's an apparent suicide we are required to do an investigation to rule out homicide.</dialogue>
<character>MARTIN</character>
<parenthetical>( clearly surprised . )</parenthetical>
<dialogue>Oh. uh. right.</dialogue>
<character>GARSON</character>
<dialogue>It's really just a formality.</dialogue>
<character>MINI</character>
<parenthetical>( exploding . )</parenthetical>
<dialogue>My mother just killed herself! They have n't even taken her away yet! What's wrong with you?</dialogue>
<character>MARTIN</character>
<dialogue>Mini, please! He's just doing his job.</dialogue>
<character>MINI</character>
<dialogue>Tell him to leave! This is outrageous!</dialogue>
<character>MARTIN</character>
<parenthetical>( to Garson . )</parenthetical>
<dialogue>Could we do this another time?</dialogue>
<character>GARSON</character>
<dialogue>Of course we -</dialogue>
<character>MARTIN</character>
<dialogue>Thank you.</dialogue>
<scene_description>Mini looks at Martin , relieved .</scene_description>
<character>GARSON</character>
<dialogue>But I do need to ask just a few simple questions before I go.</dialogue>
<character>MINI</character>
<dialogue>Did n't you hear him?! He said -</dialogue>
<character>MARTIN</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>Mini, it's okay. just go lie down for a moment.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE GARAGE- MOMENTS LATER.</stage_direction>
<scene_description>Martin stands in the garage with Garson , going over what happened .</scene_description>
<character>MARTIN</character>
<dialogue>So after dinner and the movie, we came home at around 11:30 and found her in the garage. I turned off the car and opened the garage door to let out the exhaust.</dialogue>
<character>GARSON</character>
<dialogue>What about trying to revive your wife?</dialogue>
<scene_description>Martin seems a bit taken aback by the question .</scene_description>
<character>MARTIN</character>
<dialogue>Of course, we did that too, but I could n't feel a pulse. Mini took a course at school in CPR and tried that, but.</dialogue>
<parenthetical>( taking a breath . )</parenthetical>
<dialogue>it did n't work.</dialogue>
<character>GARSON</character>
<dialogue>So your wife did this sometime between 8:00 and 11:33 when you placed the 911 call?</dialogue>
<character>MARTIN</character>
<dialogue>Yes.</dialogue>
<character>GARSON</character>
<dialogue>May I ask why you left your wife alone when she had been acting in such an unstable state?</dialogue>
<character>MARTIN</character>
<dialogue>We never thought she'd do anything like. this. After the episode in the mall, Diane had n't left the house for three days and my daughter and I just needed a break. It's been a very stressful time.</dialogue>
<character>GARSON</character>
<dialogue>Of course. So this was your wife's car?</dialogue>
<character>MARTIN</character>
<dialogue>Yes.</dialogue>
<character>GARSON</character>
<dialogue>Was it in the garage when you left for dinner or did she drive it in?</dialogue>
<character>MARTIN</character>
<dialogue>What?</dialogue>
<character>GARSON</character>
<dialogue>Was it in the garage when you left?</dialogue>
<character>MARTIN</character>
<parenthetical>( a little flustered . )</parenthetical>
<dialogue>Is, is that important?</dialogue>
<character>GARSON</character>
<dialogue>Just trying to reconstruct what happened.</dialogue>
<character>MARTIN</character>
<dialogue>Oh, well. after she was brought home from the mall, the car was towed here and we put it in the garage.</dialogue>
<character>GARSON</character>
<dialogue>And no one drove it during those three days?</dialogue>
<character>MARTIN</character>
<dialogue>No, Mini and I have our own cars.</dialogue>
<character>GARSON</character>
<dialogue>We are going to have to impound it for a few days to take it to the crime lab.</dialogue>
<character>MARTIN</character>
<dialogue>Crime lab? Oh, okay.</dialogue>
<character>GARSON</character>
<dialogue>Again, purely routine.</dialogue>
<character>MARTIN</character>
<dialogue>Sure.</dialogue>
<character>GARSON</character>
<dialogue>Have you found a note yet?</dialogue>
<character>MARTIN</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>I'm sorry?</dialogue>
<scene_description>Garson 's eyes flicker for a split second .</scene_description>
<character>GARSON</character>
<dialogue>A suicide note? The deceased usually leaves one.</dialogue>
<character>MARTIN</character>
<dialogue>Oh. right, no. not yet. But we have n't really looked.</dialogue>
<character>GARSON</character>
<dialogue>Mind if I take a look around?</dialogue>
<scene_description>Martin hesitates for just a split second .</scene_description>
<character>MARTIN</character>
<dialogue>No. of course not.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI'S BEDROOM- MOMENTS LATER.</stage_direction>
<scene_description>Mini and Martin whisper together .</scene_description>
<character>MINI</character>
<dialogue>Who cares if we did n't leave a note? Just relax.</dialogue>
<character>MARTIN</character>
<dialogue>But they said it's -</dialogue>
<character>MINI</character>
<dialogue>So what? He'll do his little dance and chalk it up to another failed actress who realized after forty she might as well be dead.</dialogue>
<character>MARTIN</character>
<parenthetical>( remembering something . )</parenthetical>
<dialogue>Oh, shit!</dialogue>
<character>MINI</character>
<dialogue>What?</dialogue>
<character>MARTIN</character>
<dialogue>The sweatsuits and goggles.</dialogue>
<character>MINI</character>
<dialogue>I already snuck out the back and threw them in Mike Rudell's garbage cans.</dialogue>
<character>MARTIN</character>
<parenthetical>( exhaling . )</parenthetical>
<dialogue>Good.</dialogue>
<character>MINI</character>
<dialogue>Angelpie, just relax, we did it, we're free.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE LAS HADAS RESORT- MANZANILLO MEXICO - DAY</stage_direction>
<scene_description>Martin and Mini arrive in a shuttle bus in front of the lush resort .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After the funeral, I felt it would be good idea if we took a vacation and went somewhere where we could act like a real couple for the first time.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR HOTEL ROOM - LATER.</stage_direction>
<scene_description>Martin tips the BELL HOP on the way out and the moment the door closes , Mini jumps into his arms .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Martin agreed and let me pick the place. I chose Las Hadas in Mexico, because that's where Dudley Moore and Bo Derek did it in Ten.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - DAY</stage_direction>
<scene_description>Martin spreads sun tan lotion on Mini 's back .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I figured sugar daddy/younger woman would be old news down there.</dialogue>
<scene_description>A few other OLDER MAN/YOUNGER WOMAN couples lounge near them , mixed among more traditional pairings .</scene_description>
</scene>
<scene>
<stage_direction>INT. AN OUTDOOR TIKI BAR/DANCE FLOOR - NIGHT</stage_direction>
<scene_description>MARIACHIS play a sexy Mexican ballad as Mini , wearing a thin sundress , dances very close with Martin .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I could feel that Martin had let the whole thing with the cops go. It had been two weeks since Mom's death and it already felt like it happened a year ago.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - NIGHT</stage_direction>
<scene_description>Mini lies on top of Martin on a lounge chair . They both stare up at the stars . The gentle breaking of waves further adds to the tranquility of the evening .</scene_description>
<character>MINI</character>
<dialogue>You know, I've been thinking that I might enjoy working in your office this summer.</dialogue>
<character>MARTIN</character>
<dialogue>Really? Sure, if you want.</dialogue>
<character>MINI</character>
<dialogue>I want.</dialogue>
<scene_description>She moves to kiss him .</scene_description>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Martin, Mini? Is that you?</dialogue>
<scene_description>Martin and Mini look up to see MIKE RUDELL , their producer neighbor , peering at them in the dark . He has an arm wrapped around the waist of A YOUNG BLONDE who is clearly Playmate material .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I swear I thought Martin was going to wet himself.</dialogue>
<scene_description>Mini quickly sits up , trying to make it look like innocent father/daughter closeness .</scene_description>
<character>MARTIN</character>
<parenthetical>( extremely tense . )</parenthetical>
<dialogue>Oh. hi, Mike, what, what are you doing here?</dialogue>
<scene_description>Rudell comes over , clearly aware of how un - father/daughter they were lying .</scene_description>
<character>RUDELL</character>
<dialogue>Last week Mini mentioned you two were coming here for a little R&R, and I suddenly realized I had n't taken a vacation in god knows when. Jennifer, this is my neighbor Martin Tannen and his daughter, Mini.</dialogue>
<scene_description>Martin barely looks at Jennifer as he shakes her hand . She looks equally uncomfortable .</scene_description>
<character>MINI</character>
<dialogue>I'm sorry, but, Jennifer, have we met? You look so familiar.</dialogue>
<scene_description>Jennifer looks quite uneasy , as she forces a smile .</scene_description>
<character>JENNIFER</character>
<dialogue>I do n't think so.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And the icing is that Jennifer works for the same escort service that I did. Now this is rich.</dialogue>
<character>MIKE</character>
<dialogue>I wanted you both to know how sorry I am for your loss.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Our loss? He just lost six or seven freebies a year.</dialogue>
<character>MIKE</character>
<dialogue>If there's anything I can do.</dialogue>
<parenthetical>( to Mini . )</parenthetical>
<dialogue>for either of you.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yikes, now that Mom's out of the way, I guess I'm fair game.</dialogue>
<character>MIKE</character>
<dialogue>do n't hesitate to ask. Remember I'm just right across the fence.</dialogue>
<scene_description>The meaning is not lost on Martin .</scene_description>
<character>MARTIN</character>
<parenthetical>( measured . )</parenthetical>
<dialogue>Thanks, Mike, we appreciate it.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR HOTEL ROOM - LATER.</stage_direction>
<scene_description>Martin paces back and forth as Mini sits on the bed . His neck muscles bulge with frustration .</scene_description>
<character>MARTIN</character>
<dialogue>Why did you tell him?!</dialogue>
<character>MINI</character>
<dialogue>I was just being friendly, I had no idea he'd decide to come here.</dialogue>
<character>MARTIN</character>
<dialogue>He knows. He found the clothes and goggles and he fucking knows!</dialogue>
<character>MINI</character>
<dialogue>I doubt he even knows where his trash cans are. You're overreacting. It's just coincidence.</dialogue>
<character>MARTIN</character>
<dialogue>Yeah, well coincidence or not, he saw us together.</dialogue>
<character>MINI</character>
<dialogue>It was dark, I sat up before he saw anything. M</dialogue>
<character>ARTIN</character>
<dialogue>No, he knows. It was like he was toying with us.</dialogue>
<character>MINI</character>
<dialogue>Just relax, what is he going to do? Go home and tell everyone we're a couple? We'll just laugh it off and tell everyone he vacations with hookers.</dialogue>
<scene_description>Martin stops and looks at her , surprised .</scene_description>
<character>MINI</character>
<dialogue>Oh, come on, could that little moment between you and Jennifer have been any more awkward?</dialogue>
<scene_description>His face turns a little red .</scene_description>
<character>MINI</character>
<dialogue>I'm not jealous or anything, I just think it's funny. Talk about six degrees of penetration.</dialogue>
<scene_description>Martin rubs his temples , clearly overwhelmed .</scene_description>
<character>MARTIN</character>
<dialogue>You realize he could blackmail us? If the police found out about us, that suicide would n't look so routine.</dialogue>
<character>MINI</character>
<dialogue>Martin, please, calm down. Trust me, nothing is going to happen.</dialogue>
<scene_description>Her words do n't appear to have calmed him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE POOL - DAY</stage_direction>
<scene_description>Martin sits on a lounger , reading a book and looking very unhappy . From the pool , Mini emerges , soaking wet in a bikini .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The next few days were a laugh riot.</dialogue>
<scene_description>Martin looks up from the book , looking around suspiciously . Suddenly , Mini appears behind him and gives him a kiss on the mouth . He instinctively pulls back .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Suddenly, Martin was acting like he really was my father.</dialogue>
<scene_description>Just then , Rudell and his bimbo enter the pool area , waving at them . Mini 's head is not close enough for the scene to look incriminating , but Martin is too spooked to know the difference .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S LIVING ROOM - NIGHT</stage_direction>
<scene_description>Mini and Martin sit watching TV . Mini flips channels , stopping at Absolutely , Positive ! Martin snatches the remote and grumpily changes channels . Mini looks very annoyed .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We returned home and things did n't get much better.</dialogue>
<scene_description>Mini trying on various sexy outfits in front of her mirror : - Catholic School girl .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What little sex we were having was getting dull.</dialogue>
<scene_description>- Cheerleader .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Quite frankly, with my little project successfully completed.</dialogue>
<scene_description>- Naughty Nurse .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I was bored. I became concerned that in my world of firsts I had achieved my greatest first.</dialogue>
<scene_description>- French Maid .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>at too young an age.</dialogue>
<scene_description>- Marilyn Monroe in the sequined dress she sang to JFK in .</scene_description>
<character>MINI</character>
<parenthetical>( singing breathily . )</parenthetical>
<dialogue>`` Happy birthday, Mr. President''</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As for school, well, I was just in no state to return to my studies after the trauma of my mother's death.</dialogue>
<scene_description>THE DOOR BELL RINGS . Mini looks towards the hallway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FRONT DOOR TO THE HOUSE- MOMENTS LATER.</stage_direction>
<scene_description>Mini answers it , having removed her Marilyn wig , but still in the sequined dress . Detective Garson stands at the door , looking her up and down . Mini hides her surprise well .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Uh oh.</dialogue>
<character>MINI</character>
<dialogue>Yes?</dialogue>
<character>GARSON</character>
<dialogue>Minerva Tannen, Detective Garson, I do n't know if you remember me?</dialogue>
<character>MINI</character>
<dialogue>Drogues, my last name is Drogues. And `` yes'', I remember you, you were the big hearted lug who wanted your questions answered while my mother was still warm.</dialogue>
<character>GARSON</character>
<parenthetical>( ignoring her dig . )</parenthetical>
<dialogue>So, Mr. Tannen is your stepfather?</dialogue>
<character>MINI</character>
<dialogue>Nice work, McGruff.</dialogue>
<character>GARSON</character>
<dialogue>Again, I am sorry about that night, but it is policy that we get the preliminary facts as soon as possible.</dialogue>
<character>MINI</character>
<dialogue>What do you want?</dialogue>
<character>GARSON</character>
<dialogue>I need to ask you a few more questions about your mother's death. M</dialogue>
<character>INI</character>
<dialogue>Sure, come on in.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Mini leads him in .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I know, it's stupid as hell to talk to a cop without a lawyer, but I did n't want to look jumpy and my first real interrogation? I could feel something tingle deep inside.</dialogue>
<scene_description>Mini and Garson take a seat . Mini lights a cigarette . Garson looks over her outfit again .</scene_description>
<character>GARSON</character>
<dialogue>It's a little early for the prom, is n't it?</dialogue>
<character>MINI</character>
<dialogue>A girl can dream, ca n't she?</dialogue>
<character>GARSON</character>
<dialogue>Perfectly legal. So, anyway, we got the preliminary coroner's report. Although the pills knocked her out, she died of the carbon monoxide poisoning from the exhaust.</dialogue>
<character>MINI</character>
<dialogue>Is it that important?</dialogue>
<character>GARSON</character>
<dialogue>Well, it's just a little unusual for a suicide victim to use two methods. Her choices seemed, I do n't know how to put it. improvisational.</dialogue>
<character>MINI</character>
<dialogue>Well, maybe she wanted to drift off before the fumes got her? She clearly put some thought into that outfit.</dialogue>
<character>GARSON</character>
<dialogue>Clearly. But dying from carbon monoxide poisoning is actually pretty painless, you just basically pass out.</dialogue>
<character>MINI</character>
<dialogue>I doubt she would have had an intimate knowledge of how car fumes feel when you choke on them.</dialogue>
<character>GARSON</character>
<dialogue>I suppose you're right. Also we checked the phone records and there was a 911 call placed at 8:12. It was a hang up and when the 911 dispatcher called back a few minutes later, there was no answer.</dialogue>
<character>MINI</character>
<dialogue>Really?</dialogue>
<character>GARSON</character>
<dialogue>Any idea why she'd call 911?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Okie fine, this may be the most exciting thing I've done in a while, but even I know when the rush is n't worth the risk.</dialogue>
<character>MINI</character>
<dialogue>Look, I think you should come back when my father's around. He'll be upset I let a stranger in the house. G</dialogue>
<character>ARSON</character>
<dialogue>I think you're safe with me.</dialogue>
<character>MINI</character>
<dialogue>Even so, he wo n't be happy.</dialogue>
<character>GARSON</character>
<dialogue>Not a problem, will he be home tonight?</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTIN'S OFFICE - DAY</stage_direction>
<scene_description>Martin is on the phone .</scene_description>
<character>MARTIN</character>
<dialogue>And you let him in?!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE POOL - CONTINUOUS</stage_direction>
<scene_description>Mini lounges in a bikini , talking on the cordless phone , while sucking on a red popsicle .</scene_description>
<character>MINI</character>
<dialogue>I played it cool, it would've looked worse to be defensive.</dialogue>
<scene_description>Mini looks across the yard to see . MIKE RUDELL looking down at her from the upstairs balcony of his home . He 's dressed in a plush terry cloth robe and is smoking a pipe , which he raises in greeting . His eyes are locked on hers .</scene_description>
<character>MARTIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, when's he coming over?</dialogue>
<character>MINI</character>
<dialogue>Tonight?</dialogue>
<character>MARTIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Tonight!? I've got a dinner with Chapman. I've already cancelled -.</dialogue>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>Damn it! Why did n't you call me?!</dialogue>
<scene_description>RUDELL allows the folds of his robe to open in the breeze , revealing his chest and pair of silk boxers . He 's in good shape for a man his age .</scene_description>
<character>MINI</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Hey, I did n't know you had plans!</dialogue>
<scene_description>Mini responds to Rudell 's challenge , lowering a strap on her bikini top .</scene_description>
<character>MARTIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Listen, I'll be home early so we can get the story straight.</dialogue>
<character>MINI</character>
<dialogue>Okay.</dialogue>
<scene_description>Mini hangs up the phone , removing the popsicle slowly from her mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM - EVENING</stage_direction>
<scene_description>Martin and Mini sit across from Garson . Martin appears cool and relaxed , a scotch in his hand .</scene_description>
<character>GARSON</character>
<dialogue>I really appreciate you taking the time to help us out. There's just a few loose ends we want to tie up.</dialogue>
<character>MARTIN</character>
<dialogue>Absolutely. What would you like to know?</dialogue>
<scene_description>Garson opens his briefcase and removes a report . He starts leafing through papers .</scene_description>
<character>GARSON</character>
<dialogue>There appears to be some question as to the time of death. You said you went to dinner and a movie -</dialogue>
<character>MARTIN</character>
<dialogue>Detective, not to be overly sensitive, but do I need my lawyer here? Because these sound like the questions one asks when there's a homicide investigation.</dialogue>
<character>GARSON</character>
<dialogue>Mr. Tannen, I'd really like to just finish this up, I've got real homicides that need attention. How about if I just ask you some questions and the one's you do n't want to answer, we'll just skip?</dialogue>
<character>MINI</character>
<dialogue>That sounds good, does n't it, Dad? I mean, let's just get this over with.</dialogue>
<scene_description>Martin looks at Mini , trying hard not to allow his anger to escape for a second .</scene_description>
<character>MARTIN</character>
<dialogue>Fair enough.</dialogue>
<character>GARSON</character>
<dialogue>Terrific. now, the preliminary blood report indicated she had ritalin in her system.</dialogue>
<scene_description>Mini 's eyes shift between Garson and his note pad .</scene_description>
<character>MARTIN</character>
<dialogue>I was n't aware my wife was taking ritalin.</dialogue>
<character>GARSON</character>
<dialogue>Neither was her physician, he had never prescribed it.</dialogue>
<character>MARTIN</character>
<dialogue>Well, as you may have discovered by now, my wife had substance abuse problems, I'm sure there were many drugs she took without a prescription.</dialogue>
<character>GARSON</character>
<dialogue>I know, but it's an odd drug to be taking. It's mostly given to adults and children with Attention Deficit Disorder to calm them. But in people who do n't need it, it has the reverse effect, making them incredibly hyper and agitated.</dialogue>
<character>MARTIN</character>
<dialogue>Again, Detective, I really ca n't say why she was taking these drugs.</dialogue>
<character>GARSON</character>
<dialogue>Fair enough. Mr. Tannen, were you and your wife close?</dialogue>
<character>MARTIN</character>
<dialogue>No. we led, for the most part, separate lives. We had decided to stay together for Mini.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ooh. sacrifice personal happiness for the benefit of the child. Excellent.</dialogue>
<character>GARSON</character>
<dialogue>I see.</dialogue>
<character>MARTIN</character>
<dialogue>Listen, Detective Garson, I must admit I do n't see the relevance of these questions. Diane was an extremely disturbed person. Have n't you interviewed enough people who saw her at her worst?</dialogue>
<character>GARSON</character>
<dialogue>Yes, but what I'm still unclear about is her time of death.</dialogue>
<character>MARTIN</character>
<dialogue>Well, that makes two of us. Again, detective, we were out for the whole evening.</dialogue>
<character>GARSON</character>
<parenthetical>( looking at his notes . )</parenthetical>
<dialogue>After dinner you saw a movie that night?</dialogue>
<character>MARTIN</character>
<dialogue>That's right.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Start time 9 o'clock.</dialogue>
<character>GARSON</character>
<dialogue>What did you see?</dialogue>
<character>MARTIN</character>
<dialogue>That new Jackie Chan movie where the terrorists try to blow up Mount Rushmore.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Running time 115 minutes.</dialogue>
<character>GARSON</character>
<dialogue>Ahh. My buddy told me the end is crazy.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>For god sakes, does he think we would n't actually see it?</dialogue>
<character>MARTIN</character>
<dialogue>Yeah, he slides down Washington's nose with the bomb strapped to him.</dialogue>
<character>MINI</character>
<dialogue>Dad. Do n't give it away, he has n't seen it yet.</dialogue>
<scene_description>Martin turns to Mini , giving her a fatherly smile .</scene_description>
<character>MARTIN</character>
<dialogue>Another demerit.</dialogue>
<scene_description>Mini rolls her eyes at Garson .</scene_description>
<character>GARSON</character>
<dialogue>That's okay. Where did you see it?</dialogue>
<character>MARTIN</character>
<dialogue>The Galleria.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Drive time 17 minutes.</dialogue>
<character>GARSON</character>
<dialogue>And you got home at?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Precisely.</dialogue>
<character>MARTIN</character>
<dialogue>11:30.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>With 12 minutes of previews. You did n't think we'd forget the previews?</dialogue>
<character>MARTIN</character>
<dialogue>Now, if there are n't any more questions, it is a school night.</dialogue>
<character>GARSON</character>
<dialogue>No, that about wraps it up for now.</dialogue>
<character>MARTIN</character>
<dialogue>For now? Detective we are trying very hard to put our lives back together, but every time you come by, it just dredges everything back up. We've told you everything we know. G</dialogue>
<character>ARSON</character>
<dialogue>I wish I could be more definitive.</dialogue>
<character>MARTIN</character>
<dialogue>Well, I'm telling you the next time you have a question, it had better be because you're charging us -</dialogue>
<character>GARSON</character>
<dialogue>Us?</dialogue>
<scene_description>Martin momentarily freezes .</scene_description>
<character>MARTIN</character>
<dialogue>I'm just asking you to please let us deal with our grief and get on with our lives.</dialogue>
<character>GARSON</character>
<parenthetical>( standing . )</parenthetical>
<dialogue>Thanks again for your time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE POOL - LATER.</stage_direction>
<scene_description>Mini sits in a chair as Martin paces .</scene_description>
<character>MARTIN</character>
<dialogue>What the hell was I thinking, letting you talk me into this?</dialogue>
<character>MINI</character>
<dialogue>It's probably just routine stuff.</dialogue>
<character>MARTIN</character>
<dialogue>That was not routine, my dear.</dialogue>
<character>MINI</character>
<dialogue>Nice use of the word `` us'', by the way.</dialogue>
<character>MARTIN</character>
<dialogue>Sorry, it just slipped out.</dialogue>
<character>MINI</character>
<dialogue>If I had a nickel for every time I heard that -</dialogue>
<character>MARTIN</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>Okay.</dialogue>
<character>MINI</character>
<dialogue>Look, just chill, I'm sure this will blow over in a few days.</dialogue>
<character>MARTIN</character>
<dialogue>Chill?! Believe me, we'll be chilling in a pine box if he figures everything out. You do understand they could go for the death penalty?</dialogue>
<character>MINI</character>
<dialogue>He's probably just trying to spook us.</dialogue>
<character>MARTIN</character>
<dialogue>Hello?! They do n't try and spook you unless they think you did it!</dialogue>
<character>MINI</character>
<dialogue>It was a great plan, no one can prove we stuck those sleeping pills in her mouth, because we did n't.</dialogue>
<character>MARTIN</character>
<parenthetical>( seething . )</parenthetical>
<dialogue>Well, if it was such a great plan, why am I cancelling business dinners to accommodate a detective who appears convinced it was n't a suicide?</dialogue>
<scene_description>Mini glares at him and then stands up , heading inside .</scene_description>
<character>MINI</character>
<dialogue>I'll see you later.</dialogue>
<character>MARTIN</character>
<dialogue>Where are you going?</dialogue>
<character>MINI</character>
<dialogue>Out.</dialogue>
</scene>
<scene>
<stage_direction>INT. A DANCE CLUB IN EAGLE ROCK - NIGHT</stage_direction>
<scene_description>The club is packed with YOUNG LATINO CLUBHOPPERS gyrating to the pulsating beat . Mini , in a tight crimson dress , has attracted quite a crowd , as she dances very provocatively with a MUSCULAR YOUNG LATINO .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Would he follow?</dialogue>
<scene_description>His face and shoulders glisten with sweat , as she lifts one leg around his waist and then the other . As she straddles him , their hips rocking together , she puts her arms around his neck and leans all the way back , her hair hanging down in ecstasy . As she pulls herself back up , her eyes scan the room . MARTIN stands in the back , watching her , his eyes sullen .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Was there any question?</dialogue>
<scene_description>Mini 's eyes move quickly enough past him that it 's ambiguous to him whether she spotted him or not . Martin watches as Mini leans in and in SLOW MOTION gives her partner a deep , long kiss . MARTIN looks ill .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE TANNEN'S HOUSE - DAWN</stage_direction>
<scene_description>Mini 's car pulls into the driveway . She gets out , looking rumpled .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN- MOMENTS LATER.</stage_direction>
<scene_description>Mini walks in to find Martin , sitting at the table in a bathrobe . He 's reading the paper , with a cup of coffee . Mini opens the fridge and removes a carton of orange juice , taking a big slug .</scene_description>
<character>MARTIN</character>
<dialogue>A phone call would have been appreciated at some point. I was worried.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Worried that refugee from a J.Lo video rode me ` til the tires fell off?</dialogue>
<character>MINI</character>
<dialogue>Uh. Martin, I'm not sure you're aware, but at this point you ca n't be my dad and my lover. Where I go and how late I stay out is my business.</dialogue>
<character>MARTIN</character>
<dialogue>I was n't saying that as a dad.</dialogue>
<parenthetical>( very sincere . )</parenthetical>
<dialogue>Before your mother and I. grew apart, I would worry if she was out late.</dialogue>
<character>MINI</character>
<dialogue>Well, that's sweet, but I'm not her and I can assure you I wo n't end up passed out in some greaseball's fuck pad with my panties around my ankles.</dialogue>
<parenthetical>( cold , smooth . )</parenthetical>
<dialogue>unless I choose to.</dialogue>
<character>MARTIN</character>
<dialogue>What the hell's gotten into you? I just expressed concern for you and you turn around and threaten me? Mini, in a relationship, it's okay to worry about someone else.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I kind of have to admire this. He really is one of the world's premiere bullshit artists.</dialogue>
<character>MARTIN</character>
<dialogue>Have n't you ever been in a relationship?</dialogue>
<scene_description>The questions hangs in the air . Mini looks down , almost ashamed .</scene_description>
<character>MARTIN</character>
<dialogue>My god, you have n't.</dialogue>
<scene_description>She tries to hold back the tears as she looks up .</scene_description>
<character>MINI</character>
<dialogue>Congratulations.</dialogue>
<parenthetical>( sniffling . )</parenthetical>
<dialogue>you're my first.</dialogue>
<scene_description>He comes over and gives her a very sweet hug .</scene_description>
<character>MARTIN</character>
<dialogue>Oh, angel.</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And I'd like to thank the academy and god and, oh yeah, `` Free Tibet''.</dialogue>
</scene>
<scene>
<stage_direction>INT. AN ELEVATOR - MORNING</stage_direction>
<scene_description>Martin rides up in the elevator with other OFFICE WORKERS . His eyes look tired from staying up all night .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Fake tears aside. he actually was my first relationship. Which, in itself, was significant, because I had always felt that by living my life by the rule of firsts, I would never be able to find someone who could accept me on those terms.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTIN'S OFFICE - MORNING</stage_direction>
<scene_description>He strides off the elevator sending `` hellos '' and nods to his employees , as he passes the large corporate logo : `` BOYD , MATHER , TANNEN & ASSOCIATES '' .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And I was willing to give him the chance to be that person.</dialogue>
<scene_description>He reaches his desk , where his YOUNG SECRETARY , LOIS , is waiting with an envelope .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>if he could just hold it together.</dialogue>
<character>MARTIN</character>
<dialogue>Morning, Lois.</dialogue>
<character>LOIS</character>
<dialogue>Mr. Tannen, this just arrived for you.</dialogue>
<scene_description>She hands him a manila envelope marked `` MARTIN TANNEN - VIA MESSENGER '' . He takes it from her and walks into his office , sitting down . He opens the package to find an 8x10 glossy photo of : MINI SITTING WITH HIM AT THE POOL IN MEXICO . The caption reads : `` THANK HEAVEN FOR LITTLE GIRLS '' .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That's when things started to get interesting.</dialogue>
<scene_description>Martin looks up , the empty look in his eyes revealing a terrified mind already calculating the potential outcomes . He examines THE ENVELOPE . There is a SPEEDWAY COURIER STICKER , but no return address .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTIN'S CAR - LATER.</stage_direction>
<scene_description>Martin angrily honks his horn in slow traffic as he talks on his cell .</scene_description>
<character>MARTIN</character>
<dialogue>Lois, I need you to re - schedule the Chapman meeting.</dialogue>
<parenthetical>( listening . )</parenthetical>
<dialogue>I know. Tell him. tell him it's an unavoidable emergency.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPEEDWAY COURIER - DAY</stage_direction>
<scene_description>Martin stands at the front desk , talking to A CLERK .</scene_description>
<character>MARTIN</character>
<dialogue>What do you mean you do n't keep records on who your senders are?</dialogue>
<character>CLERK</character>
<dialogue>When it's paid cash, we only keep records on packages, not envelopes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE SPEEDWAY BRANCH - CONTINUOUS</stage_direction>
<scene_description>Martin walks outside , frustrated . His cell goes off and he answers it .</scene_description>
<character>MARTIN</character>
<dialogue>Yeah?</dialogue>
<character>LOIS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mr. Tannen, I just spoke to Mr. Chapman. he told me to tell you that he's going to be seeking a new firm to handle his company's needs.</dialogue>
<scene_description>Martin 's jaw tightens .</scene_description>
<character>MARTIN</character>
<dialogue>Thank you, Lois.</dialogue>
<scene_description>Martin hangs up the phone , as he looks up , he sees across the street a large sign on a modern office building : RUDELL WORLDWIDE ENTERTAINMENT . Martin closes his eyes , trying to remain in control .</scene_description>
</scene>
<scene>
<stage_direction>INT. A CONFERENCE ROOM AT MARTIN'S FIRM - LATER.</stage_direction>
<scene_description>Martin walks into the office to find his partners , STEVE BOYD and CHARLES MATHER waiting for him . Martin looks surprised and concerned .</scene_description>
<character>MARTIN</character>
<dialogue>Steve? Charlie? What, what are you doing in town? Why did n't you tell me you were coming -</dialogue>
<character>MATHER</character>
<dialogue>We just heard about Chapman. not that it matters.</dialogue>
<character>BOYD</character>
<dialogue>We ca n't afford to lose any more clients.</dialogue>
<scene_description>The color drains from Martin 's face .</scene_description>
<character>MARTIN</character>
<dialogue>Jesus, guys, my wife just committed suicide.</dialogue>
<character>MATHER</character>
<dialogue>No one's saying this is n't a difficult time for you, but whatever's been distracting you started long before that.</dialogue>
<character>BOYD</character>
<dialogue>There's just no way to sugarcoat this. you're a liability we ca n't afford anymore.</dialogue>
<scene_description>Martin sits very still , his world crumbling around him .</scene_description>
<character>MARTIN</character>
<dialogue>Fifteen years. we've been -</dialogue>
<character>MATHER</character>
<parenthetical>( curtly . )</parenthetical>
<dialogue>We'll be asking all our clients who they would prefer to stay with, and of course, you'll have an equal shot to make your case with them.</dialogue>
<scene_description>Martin continues to stare off into space , reeling .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTIN'S CAR - LATER.</stage_direction>
<scene_description>Martin sits in the traffic on Beverly Glen . The veins in his neck are starting to bulge as he stares straight ahead . Suddenly , he starts pounding on the steering wheel .</scene_description>
<character>MARTIN</character>
<dialogue>Fucking shit! Fucking shit! Fucking shit!</dialogue>
<scene_description>Just then , he looks over to the next car . A three year old GIRL in the back seat holds up her `` PO '' TELETUBBY DOLL to show him . CLOSE ON : AN UPSTAIRS WINDOW OF MIKE RUDELL 'S HOUSE - NIGHT . Through a BINOCULAR 'S VIEWFINDER : Rudell is seen through the window talking on the phone , unaware he 's being watched .</scene_description>
<character>MARTIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Look at that smug prick. He's fucking with me and I will not be fucked with.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN OF THE TANNEN'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Martin and Mini stand in the dark kitchen , as Martin peers out the window through binoculars at RUDELL across the yard .</scene_description>
<character>MINI</character>
<dialogue>What are you gon na do?</dialogue>
<scene_description>Martin goes to a drawer and removes the LARGE KNIFE they bought at Williams Sonoma .</scene_description>
<character>MARTIN</character>
<dialogue>I'm gon na go over there and tell him to back off or he's gon na get hurt.</dialogue>
<character>MINI</character>
<dialogue>Are you crazy? We're not even positive it's him!</dialogue>
<character>MARTIN</character>
<dialogue>My god, the picture was dropped off at a messenger service right across the street from his office! He was the only person at the resort who knew who we were!</dialogue>
<character>MINI</character>
<dialogue>He could go to the cops and tell them you threatened him, then they'd really start investigating us. It's just one photo and you ca n't even really tell if it's me.</dialogue>
<character>MARTIN</character>
<dialogue>That son of bitch just cost me the firm I worked fifteen years to build.</dialogue>
<character>MINI</character>
<dialogue>Well, if you start waving that thing around, he's gon na cost you a lot more than that.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR BEDROOM - LATER.</stage_direction>
<scene_description>Mini lies awake , looking annoyed as Martin keeps turning and shifting in bed .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Martin did n't sleep at all that night and made damn well sure I did n't either.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE FRONT DOOR OF MIKE RUDELL'S HOUSE - MORNING</stage_direction>
<scene_description>Mini walks up the long driveway .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>With Mommy Dearest out of the way, I decided to take the matter of Rudell into my own hands. I knew Martin would n't approve, but at this point. action had to be taken.</dialogue>
<scene_description>She arrives at the front door and rings the bell .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I would catch him off guard, disorient him and then kill him.</dialogue>
<scene_description>The door opens and Rudell stands before her in the same plush bathrobe .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>with kindness.</dialogue>
<character>MINI</character>
<dialogue>Hi, Mr. Rudell, I'm sorry to bother you.</dialogue>
<character>RUDELL</character>
<dialogue>Not at all, as I said down in Mexico.</dialogue>
<parenthetical>( slightly lascivious . )</parenthetical>
<dialogue>anything for a neighbor.</dialogue>
<character>MINI</character>
<dialogue>May I come in?</dialogue>
</scene>
<scene>
<stage_direction>INT. RUDELL'S IMPRESSIVE LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Eighteen foot ceilings frame the room , garishly decorated with very modern , modular furniture . Rudell leads Mini in .</scene_description>
<character>MINI</character>
<dialogue>Wow, I have n't been here since you redecorated.</dialogue>
<character>RUDELL</character>
<dialogue>It was just finished. I'm sorry your mother never got to see it completed.</dialogue>
<character>MINI</character>
<dialogue>I know she'd approve.</dialogue>
<character>RUDELL</character>
<dialogue>If you do n't mind me asking,. how are you doing?</dialogue>
<character>MINI</character>
<dialogue>It's been hard, but I guess I've just been telling myself that she's probably much happier where she is now.</dialogue>
<character>RUDELL</character>
<dialogue>You're absolutely -</dialogue>
<character>MINI</character>
<dialogue>Positive!?</dialogue>
<scene_description>Mini giggles , almost embarrassed .</scene_description>
<character>RUDELL</character>
<parenthetical>( chuckling . )</parenthetical>
<dialogue>Well, that too, but `` correct'' was the word I was thinking of. Do you like the show?</dialogue>
<character>MINI</character>
<dialogue>Oh, god, it's my favorite. I love how you never know if the couples will decide to stay together.</dialogue>
<character>RUDELL</character>
<dialogue>I could arrange for you to go to the set one day if you'd like, or even be a contestant?</dialogue>
<character>MINI</character>
<dialogue>A contestant? Really?</dialogue>
<character>RUDELL</character>
<dialogue>Sure, those dates are really quite harmless. You just spend an evening with the person. We prep you on what to say before the show.</dialogue>
<character>MINI</character>
<dialogue>It sounds like fun.</dialogue>
<scene_description>Rudell lets his eyes take a walk all over her . Mini , keenly aware , blushes .</scene_description>
<character>RUDELL</character>
<dialogue>Anyway, what's on your mind?</dialogue>
<character>MINI</character>
<dialogue>Well, um. this may sound strange, but you have n't seen any suspicious looking people around our house lately?</dialogue>
<character>RUDELL</character>
<dialogue>No, is everything okay?</dialogue>
<character>MINI</character>
<dialogue>Yes, it's just that since mom's death, someone sent us a photo of Martin and I together.</dialogue>
<character>RUDELL</character>
<dialogue>Together?</dialogue>
<character>MINI</character>
<dialogue>It indicated that we were. I know this sounds crazy, but. a couple.</dialogue>
<character>RUDELL</character>
<dialogue>A couple? You and Martin? Hmmm. I mean, certainly older men and younger women are an.</dialogue>
<parenthetical>( searching again . )</parenthetical>
<dialogue>. accepted part of society, but for someone to do that, well. it's just tasteless.</dialogue>
<character>MINI</character>
<dialogue>Exactly, so we're just trying to figure who Rit could be.</dialogue>
<character>UDELL</character>
<dialogue>Hmm, I have n't noticed anyone at all. Out of curiosity, what kind of a picture could they send you to indicate that you and Martin were together?</dialogue>
<character>MINI</character>
<dialogue>Oh, it was n't like we were naked or anything. I mean, of course, he's seen me naked, he is my step - father.</dialogue>
<character>RUDELL</character>
<dialogue>Of course.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S POOL - LATER.</stage_direction>
<scene_description>Mini and Rudell sit at a table , enjoying iced teas , as Mini flirts shamelessly with him .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Much to my surprise, I was invited to stay for a refreshing beverage.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S HOT HOUSE - LATER.</stage_direction>
<scene_description>Rudell shows Mini around his collection of rare tropical flowers . He plucks a tiger lily off a stem and puts it in her hair .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I knew he had had no shortage of young women in his bed, but he had been paying for it in one form or another for a long time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S PUTTING GREEN - LATER.</stage_direction>
<scene_description>Rudell shows Mini how to use a pitching wedge on the small putting green off his back patio . He stands behind her , wrapping his arms around her , guiding her arms through the swing .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And the one undeniable fact I had learned from Martin is that there is no greater thrill or triumph in a man's life.</dialogue>
</scene>
<scene>
<stage_direction>INT. RUDELL'S KITCHEN - LATER.</stage_direction>
<scene_description>Rudell makes her a giant banana split , covering it with whip cream .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>than getting a ripe young woman to open the gates to heaven for no other reason than she wanted to.</dialogue>
<scene_description>He accidently gets some whip cream on his nose . Mini reaches over and wipes it off , licking her finger clean . Rudell tries to hide the wonderment in his eyes .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Frankly, I'm surprised the anticipation of pulling off a mother - daughter double dip did n't give him a stroke right there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S FRONT GATE - LATER.</stage_direction>
<scene_description>Mini walks out , skipping down the path , singing `` The Candy Man '' to herself .</scene_description>
<character>MINI</character>
<dialogue>`` Who can take tomorrow? Dip it in a dream, separate the sorrow and collect up all the cream, the candy man, oh, the candy man can''</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I left that day, exhilarated in the knowledge that in one afternoon, I had turned Rudell into a trout on a line. and he'd follow me anywhere I tugged the pole.</dialogue>
<character>MINI</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>`` The candy man can'cause he mixes it with love and makes the world taste good.''</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY OF MINI'S HIGH SCHOOL - DAY</stage_direction>
<scene_description>Mini walks down the corridor with Kayla .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The photos stopped coming and although Martin was freaking out about his business, things were returning to normal. I even decided to return to school.</dialogue>
<scene_description>They approach TROY , the football player she humiliated earlier . Mini raises two fingers to her mouth in a `` V '' , simulating cunnilingus , taunting Troy . His friends laugh and he wilts , pretending he did n't see her .</scene_description>
</scene>
<scene>
<stage_direction>INT. A CLASSROOM- MOMENTS LATER.</stage_direction>
<scene_description>Mini and Kayla walk in with other students . Her teacher , Warren Bishop , comes over to her immediately .</scene_description>
<character>BISHOP</character>
<dialogue>Mini, I've got a message for you to go to the principal's office right away.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE PRINCIPAL'S OFFICE - LATER.</stage_direction>
<scene_description>Mini is led in by A SECRETARY , as Detective Garson sits in a chair next to PRINCIPAL PATTY ANDREWS , 50 .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Then things got interesting again.</dialogue>
<scene_description>Mini immediately sizes up the situation and takes on the appropriate concerned tone .</scene_description>
<character>MINI</character>
<dialogue>Detective Garson, is everything all right?</dialogue>
<scene_description>CLOSE ON : A VIDEO MONITOR . A black and white surveillance tape of one of the school 's hallways is seen .</scene_description>
<character>GARSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mini, this tape was shot a week before your mother's death.</dialogue>
<scene_description>The door to the nurses office is seen opening and Nurse Hauptführer walks out .</scene_description>
<character>GARSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>The next day, the school nurse reported two bottles of Ritalin missing from the medicine cabinet.</dialogue>
<scene_description>A few seconds later , Mini is seen entering the nurse 's office , checking over her shoulder to make sure no one saw her . THE TAPE FREEZES , then fast forwards . Mini is seen leaving the office , stuffing something in her pocket .</scene_description>
</scene>
<scene>
<stage_direction>INT. AN EMPTY CLASSROOM - CONTINUOUS</stage_direction>
<scene_description>A TV and VCR sit on a rolling cabinet in the corner , as Garson puts down the remote and looks at Mini . Principal Andrews is not pleased .</scene_description>
<character>GARSON</character>
<dialogue>We've lifted two prints from the door and the inside of the medicine cabinet. They do n't match the nurse.</dialogue>
<character>PRINCIPAL ANDREWS</character>
<dialogue>Mini, is there something you'd like to say to Detective Garson?</dialogue>
<scene_description>Mini eyes remain calm .</scene_description>
<character>MINI</character>
<dialogue>Can we see the tape of the Der Führer sucking down her afternoon fix of Smirnoff, or do n't you have cameras in the bathroom stalls?</dialogue>
<character>PRINCIPAL ANDREWS</character>
<dialogue>Young lady, stealing anything, especially prescription drugs is a serious matter.</dialogue>
<scene_description>Mini looks at Andrews , her eyes suddenly starting to tear up .</scene_description>
<character>MINI</character>
<dialogue>You got me, okay? But what was I supposed to do?</dialogue>
<character>PRINCIPAL ANDREWS</character>
<dialogue>What do you mean?</dialogue>
<character>MINI</character>
<parenthetical>( suddenly hysterical . )</parenthetical>
<dialogue>She. She said if I did n't, she was. was gon na -</dialogue>
<character>PRINCIPAL ANDREWS</character>
<dialogue>Who? Another student?</dialogue>
<character>MINI</character>
<dialogue>My mother! She made me steal them for her! I did n't want to, but she said she was going to send me to boarding school in Canada if I did n't! P</dialogue>
<character>RINCIPAL ANDREWS</character>
<dialogue>Canada?</dialogue>
<character>MINI</character>
<parenthetical>( sobbing . )</parenthetical>
<dialogue>The Yukon territories! Are you happy, now? You got me!</dialogue>
<character>PRINCIPAL ANDREWS</character>
<dialogue>Oh my lord, I had know idea, she was -</dialogue>
<character>MINI</character>
<dialogue>An addict? Detective Garson knew! We told him, and now what? The whole school's gon na know!?</dialogue>
<scene_description>Mini hides her face in her hands .</scene_description>
<character>MINI</character>
<dialogue>She's dead, my mommy's dead. Ca n't we just leave her be?</dialogue>
<scene_description>Andrews casts a harsh glance at a frustrated Garson .</scene_description>
<character>PRINCIPAL ANDREWS</character>
<dialogue>Detective Garson, I assume, there wo n't be a need to press charges against Ms. Drogues?</dialogue>
<scene_description>Mini holds out her wrists to Garson .</scene_description>
<character>MINI</character>
<parenthetical>( sniffling . )</parenthetical>
<dialogue>You gon na cuff me, Copper!?</dialogue>
<scene_description>Garson looks at Mini , clearly not convinced of her innocence .</scene_description>
<character>GARSON</character>
<dialogue>She's free to go.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LOBBY OF MARTIN'S OFFICE BUILDING - DAY</stage_direction>
<scene_description>Martin gets off the elevator and heads across the lobby . GARSON and A UNIFORMED OFFICER approach him . Martin looks a little unnerved to see them .</scene_description>
<character>GARSON</character>
<dialogue>Ah, Mr. Tannen, we were just coming up to see you. Have you got a minute?</dialogue>
<character>MARTIN</character>
<dialogue>Detective, I told you no more questions without my lawyer.</dialogue>
<character>GARSON</character>
<dialogue>I think you'd better call him.</dialogue>
</scene>
<scene>
<stage_direction>INT. AN INTERROGATION ROOM - LATER.</stage_direction>
<scene_description>Martin sits at a table , conferring with his lawyer , NED VOLANT , an impeccably dressed operator with a mane of thick , heavily gelled hair . Garson sits across from them .</scene_description>
<character>GARSON</character>
<dialogue>There's a small discrepancy that I ca n't quite figure out and I was hoping you might be able to explain it.</dialogue>
<character>MARTIN</character>
<dialogue>I suppose I can try.</dialogue>
<character>GARSON</character>
<dialogue>The final toxicology report came back and your wife definitely did n't die from the pills. She was n't conscious past 9:30, but it was the fumes that killed her.</dialogue>
<character>MARTIN</character>
<dialogue>Well, hallelujah, thanks for the update -</dialogue>
<character>VOLANT</character>
<dialogue>Martin, easy.</dialogue>
<character>MARTIN</character>
<dialogue>I'm sorry, but this is harassment.</dialogue>
<character>GARSON</character>
<dialogue>See, here's what I needed to ask you. The gas tank in the Jag was almost full, just a gallon had been used.</dialogue>
<character>MARTIN</character>
<dialogue>And?</dialogue>
<character>GARSON</character>
<dialogue>Well, if she was unconscious by 9:30, that means the car must have been running for at least two hours when you found her. An unconscious person ca n't turn on a car, right?</dialogue>
<character>VOLANT</character>
<dialogue>Detective, with all due respect, could you get to the point?</dialogue>
<character>GARSON</character>
<dialogue>Well, here's where I get confused, see, that particular model idling for two hours will burn at least four gallons of gas.</dialogue>
<scene_description>Martin tries to remain calm , as the panic starts to settle in for a long stay .</scene_description>
<character>GARSON</character>
<dialogue>So, there's really no way the tank could be almost full if it was running for two hours. Is there?</dialogue>
<scene_description>He looks at Martin , waiting for an answer .</scene_description>
<character>GARSON</character>
<dialogue>So, I guess what I'm asking is, whose idea was it to put her in the car?</dialogue>
<character>VOLANT</character>
<dialogue>Martin, do n't say anything.</dialogue>
<character>GARSON</character>
<dialogue>Now, Mr. Tannen, you clearly had the most to gain from her death, but I've learned from a number of your wife's friends that she and Mini had a strained relationship.</dialogue>
<character>VOLANT</character>
<dialogue>Again, Detective, my client wo n't be answering anything, so let's just cut the cat and mouse.</dialogue>
<character>GARSON</character>
<dialogue>I'd like Mr. Tannen to know that if he's trying to be a protective father by covering up something Mini did, I'd be careful. The district attorney is viewing this case as an opportunity to show the public that the rich do n't get away with murder in this town.</dialogue>
<scene_description>Martin whispers something in Volant 's ear and he in turn , whispers back .</scene_description>
<character>VOLANT</character>
<dialogue>Does this mean he's offering Mr. Tannen immunity if he says he was protecting his daughter?</dialogue>
<scene_description>Garson takes a sip of water , as Martin anxiously waits for his answer .</scene_description>
<character>GARSON</character>
<dialogue>It's a strong possibility. But he wants Mr. Tannen to know he will go for the maximum sentence if he does n't. No manslaughter, no plea bargains, nothing.</dialogue>
<scene_description>Martin 's eyes shift slightly .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER INTERROGATION ROOM - CONTINUOUS</stage_direction>
<scene_description>Garson , now finished with Martin , sits across from Mini and her lawyer , HERB PELHAM , who does n't look nearly as confident as Martin 's lawyer .</scene_description>
<character>MINI</character>
<dialogue>It was Colonel Mustard in the library with the candlestick.</dialogue>
<scene_description>Garson smiles at Mini , admiring her resolve .</scene_description>
<character>PELHAM</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>Uh. Miss Drogues, as your lawyer -</dialogue>
<character>MINI</character>
<dialogue>Do n't wet your pants, I know when to shut up and swallow.</dialogue>
<scene_description>Mini takes out a sip a water , letting a trickle of liquid roll down her chin .</scene_description>
<character>MINI</character>
<dialogue>my tongue.</dialogue>
<scene_description>Even Garson appears a little intimidated by the overt flirtation .</scene_description>
<character>GARSON</character>
<dialogue>Look, the fact that the marriage was unhappy and there was no pre - nup gives all the motive to Martin.</dialogue>
<character>MINI</character>
<dialogue>So you want me to say it was his idea?</dialogue>
<character>GARSON</character>
<dialogue>If it was his idea, give me one reason you should take the fall?</dialogue>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At that moment I knew we had him. If he was trying to get me to rat on Martin, he did n't have enough to charge either one of us.</dialogue>
<character>MINI</character>
<dialogue>So if I tell the jury it was his idea and I was scared for my life, because he said he'd kill me if I ever told anyone, then I walk?</dialogue>
<scene_description>Garson instinctively leans forward in his chair , just a bit . Mini stares into Garson 's eyes , unflinching . She looks around the room , weighing her options . Pelham attempts to whisper something in her ear . She waves him off .</scene_description>
<character>MINI</character>
<dialogue>Sorry, sport, but I'll take my chances.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTIN'S CAR - LATER.</stage_direction>
<scene_description>Mini and Martin drive home together . There is an icy chill between them , as Martin looks over at Mini .</scene_description>
<character>MARTIN</character>
<dialogue>I never doubted for a minute you were going to hold firm. Not a second. I hope you know that?</dialogue>
<character>MINI</character>
<dialogue>Oh, I knew. I knew.</dialogue>
<character>MARTIN</character>
<dialogue>Good. You realize, we've got to rely on each other?</dialogue>
<character>MINI</character>
<dialogue>Who else do we have?</dialogue>
<character>MARTIN</character>
<dialogue>Exactly. We're almost home free. My lawyer says that gas gauge theory is circumstantial as hell. I've only got one concern now.</dialogue>
<character>MINI</character>
<dialogue>What?</dialogue>
<character>MARTIN</character>
<dialogue>Rudell. If a jury knew we were a couple, we've both got a motive and that changes everything.</dialogue>
<scene_description>Mini puts her hand on Martin 's , reassuringly .</scene_description>
<character>MINI</character>
<dialogue>Baby, do n't worry about him, he's just jealous'cause you've still got rockin' abs and a better hairline.</dialogue>
<scene_description>Martin looks over at her , softening .</scene_description>
<character>MINI</character>
<dialogue>Even if he did send that picture, what does it prove? Nothing.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SHERMAN OAKS GALLERIA - DAY</stage_direction>
<scene_description>Mini walks through the mall .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>For all of Martin's talk of relying on each other.</dialogue>
<scene_description>MARTIN follows about a hundred yards behind .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Garson had succeeded in planting the seeds of distrust.</dialogue>
<scene_description>MINI turns around and Martin ducks into a boutique .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A MOVIE THEATER - NIGHT</stage_direction>
<scene_description>Mini walks out of a movie theater , with Kayla and TWO BOYS .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Our relationship had turned into what some might call.</dialogue>
<scene_description>A few seconds later , Martin walks out of the theater , wearing dark glasses and a hat . He follows them .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>unhealthy.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEIR LIVING ROOM - NIGHT</stage_direction>
<scene_description>Mini sits in front of the TV , watching a commercial . She is wearing the same `` Fuct '' T - shirt she wore when we first met her . Her eyes are filled with anticipation .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Something had to give, and ironically enough, it was the night I was making my television debut. I had asked Martin to be home by eight for a big surprise.</dialogue>
<scene_description>Martin walks in the front door with his briefcase .</scene_description>
<character>MINI</character>
<dialogue>Oh, hey, come and watch. You're missing me, I'm on TV!</dialogue>
<character>MARTIN</character>
<dialogue>What? Why?</dialogue>
<character>MINI</character>
<dialogue>Hurry up, the commercial's almost over!</dialogue>
<scene_description>Martin walks over . CLOSE ON : THE TV . Absolutely Positive ! Comes back on and we see that MINI and A MALE CONTESTANT are sitting on either side of this show 's BLONDE HAIRED ENGAGED COUPLE . Mini and her male counterpart are just a bit better looking than the engaged couple , both of whom have a midwestern wholesomeness . MARTIN 'S FACE turns white . THE HOST turns to the camera .</scene_description>
<character>HOST</character>
<dialogue>Welcome back to Absolutely Positive. Now it's time to hear how the date between Jason and Mini ended.</dialogue>
<character>MARTIN</character>
<dialogue>You? You went on -</dialogue>
<character>MINI</character>
<dialogue>Yeah, I thought it'd be a gas. now shhh.</dialogue>
<scene_description>CLOSE ON THE</scene_description>
<character>HOST</character>
<dialogue>Jason, you said that the reason you wanted to come on the show was to test your ability to resist temptation.</dialogue>
<character>JASON</character>
<parenthetical>( a bit nervous . )</parenthetical>
<dialogue>Well, since Becky and I have dated since high school and decided to remain virgins until marriage, I just wanted to go on a date with another girl just to see how I would react. You know, whether there'd be any feelings of doubt about my decision?</dialogue>
<character>HOST</character>
<dialogue>So, after dinner, what happened?</dialogue>
<character>JASON</character>
<dialogue>Oh, gosh, well she suggested we go to a dance club she knew. I'm not really a good dancer, but I said `` yes.''</dialogue>
<character>BECKY</character>
<parenthetical>( hurt . )</parenthetical>
<dialogue>We never go dancing.</dialogue>
<scene_description>Jason smiles at her uncomfortably .</scene_description>
<character>HOST</character>
<dialogue>So, Mini, is Jason a good dancer?</dialogue>
<character>MINI</character>
<dialogue>Well, he's a damn quick learner, and not just at dancing.</dialogue>
<scene_description>MARTIN shoots a look at Mini</scene_description>
<character>MINI</character>
<dialogue>Martin, for god's sake, that was their line. You think I talk like that?</dialogue>
<scene_description>CLOSE ON THE</scene_description>
<character>HOST</character>
<dialogue>Oh, really? So there was some other teacher - student stuff going on?</dialogue>
<character>JASON</character>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>Uh, no, not really -</dialogue>
<character>MINI</character>
<dialogue>Oh, come on, what about when we went back to your place?</dialogue>
<character>BECKY</character>
<dialogue>You what?!</dialogue>
<character>JASON</character>
<dialogue>I, I do n't know what she's talking about.</dialogue>
<character>MINI</character>
<dialogue>Come on, do n't be bashful. He put on some soft music and -</dialogue>
<character>JASON</character>
<dialogue>No! This is n't true, why are you -</dialogue>
<character>MINI</character>
<dialogue>We started kissing and -</dialogue>
<character>BECKY</character>
<dialogue>Jason!</dialogue>
<character>JASON</character>
<parenthetical>( to Mini . )</parenthetical>
<dialogue>Shut up!</dialogue>
<character>STUDIO AUDIENCE</character>
<dialogue>OOOOHHHHH!</dialogue>
<character>MINI</character>
<dialogue>But, Jay - Jay, it was really special.</dialogue>
<parenthetical>( to the host . )</parenthetical>
<dialogue>He loves to be called `` Jay - Jay''.</dialogue>
<character>BECKY</character>
<dialogue>You, you.</dialogue>
<character>MINI</character>
<dialogue>Let me tell you, Becky, you're in for a wild ride from this Bronco.</dialogue>
<character>STUDIO AUDIENCE</character>
<dialogue>WHOOOOOOAAAA!</dialogue>
<scene_description>MARTIN staring at Mini .</scene_description>
<character>MARTIN</character>
<dialogue>Did, did you.</dialogue>
<character>BECKY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You slept with her?!</dialogue>
<character>MINI</character>
<dialogue>God, Martin, it was a one time thing. He was a virgin, how could I say `` no''? Believe me, she'll thank me after their wedding night.</dialogue>
<character>MARTIN</character>
<dialogue>You had me come home early to -</dialogue>
<character>MINI</character>
<dialogue>Do n't be jealous. It wo n't happen again. It was just a goof.</dialogue>
<scene_description>Martin stands there , speechless , while ON THE SCREEN : BECKY dissolves into a puddle of tears as Jason tries to console her . Suddenly , she runs off stage . MARTIN picks up the remote and hits `` mute '' .</scene_description>
<character>MARTIN</character>
<dialogue>Rudell? He let you go on?</dialogue>
<character>MINI</character>
<dialogue>Yeah, I thought it would be fun. I was n't really supposed to, you know, `` go all the way'' but -</dialogue>
<character>MARTIN</character>
<dialogue>I ca n't believe you. th - that couple, you ruined their relationship.</dialogue>
<character>MINI</character>
<dialogue>Excuse me, but the show is called Absolutely Positive for a reason. Clearly, the only thing Jason was positive about was -</dialogue>
<character>MARTIN</character>
<dialogue>You're a sick little twist, you know that?</dialogue>
<character>MINI</character>
<dialogue>Well, what does that make you?</dialogue>
<character>MARTIN</character>
<parenthetical>( heading outside . )</parenthetical>
<dialogue>I need some air.</dialogue>
<character>MINI</character>
<dialogue>Oh, by the way, some intern from your office stopped by earlier today with something. It's on the desk.</dialogue>
<scene_description>Martin walks over to the desk and picks up an envelope marked `` MARTIN TANNEN '' . He opens it to find . AN 8x11 PHOTO of him and Mini kissing passionately on the beach in Mexico . This time there is no question as to the nature of their relationship . Scrawled across the bottom in black marker is : `` REMEMBER , I 'M JUST ACROSS THE FENCE '' . Martin 's eyes scan the photo , a look of resignation setting in .</scene_description>
<character>MINI</character>
<dialogue>What is it?</dialogue>
<scene_description>Martin slowly holds it up for her to see .</scene_description>
<character>MINI</character>
<dialogue>Oh, my god.</dialogue>
<character>MARTIN</character>
<parenthetical>( very evenly . )</parenthetical>
<dialogue>I think it's time I had a little chat with our neighbor</dialogue>
<character>MINI</character>
<dialogue>No, this is exactly what he wants! What if he's working with Garson?</dialogue>
<character>MARTIN</character>
<dialogue>Then he ca n't blackmail me. Wait here, I'll be right back.</dialogue>
<scene_description>Martin heads for the back door .</scene_description>
<character>MINI</character>
<dialogue>No, please, do n't do this! Let me go with you!</dialogue>
<character>MARTIN</character>
<dialogue>I said wait here.</dialogue>
<scene_description>Mini jumps up and runs over to him , grabbing his wrist .</scene_description>
<character>MINI</character>
<dialogue>Do n't do this, we can leave tonight! We'll drive to Mexico!</dialogue>
<scene_description>Martin looks up at her .</scene_description>
<character>MARTIN</character>
<dialogue>He'll never leave us alone, you realize that?</dialogue>
<character>MINI</character>
<dialogue>No! Let me talk to him, he promised me he would n't hurt us!</dialogue>
<character>MARTIN</character>
<dialogue>He did? When?</dialogue>
<character>MINI</character>
<dialogue>A few days ago!</dialogue>
<character>MARTIN</character>
<dialogue>You saw him?</dialogue>
<character>MINI</character>
<dialogue>I went to try and find out what he knew! I spent the afternoon with him - M</dialogue>
<character>ARTIN</character>
<dialogue>You. spen -</dialogue>
<character>MINI</character>
<dialogue>I was doing it for us! I figured he would n't turn us in if I.</dialogue>
<character>MARTIN</character>
<dialogue>If you?</dialogue>
<character>MINI</character>
<dialogue>If I made him think I was. interested.</dialogue>
<scene_description>A wave of nausea washes over Martin 's face .</scene_description>
<character>MARTIN</character>
<dialogue>And was he?</dialogue>
<scene_description>Mini nods .</scene_description>
<character>MARTIN</character>
<dialogue>Please tell me you did n't.</dialogue>
<scene_description>Mini hesitates .</scene_description>
<character>MINI</character>
<dialogue>No.</dialogue>
<scene_description>Martin looks unconvinced .</scene_description>
<character>MINI</character>
<dialogue>I just made him think I would, so he would n't turn us in.</dialogue>
<scene_description>When Animals Attack comes on the TV in the background .</scene_description>
<character>MARTIN</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Thank you, I appreciate your restraint.</dialogue>
<character>MINI</character>
<dialogue>Fuck you. I'd think you'd be a little more appreciative.</dialogue>
<character>MARTIN</character>
<dialogue>Who were you doing it for when you did it with that kid? Huh? Who was that selfless act for!?</dialogue>
<character>MINI</character>
<dialogue>Oh, like you're such a martyr for being faithful? It shows amazing restraint to limit yourself to just one stepdaughter!</dialogue>
<character>MARTIN</character>
<dialogue>Do n't lecture me about fidelity! Your mother was cheating within six months of the `` I do's''!</dialogue>
<scene_description>He heads for the door again .</scene_description>
<character>MARTIN</character>
<dialogue>Now, if you'll excuse me.</dialogue>
<scene_description>Mini grabs him again , desperate .</scene_description>
<character>MINI</character>
<dialogue>Please - Look, I'm sorry, I really am, but this is n't the answer!</dialogue>
<scene_description>Martin grabs her wrist , forcefully .</scene_description>
<character>MINI</character>
<dialogue>You're hurting me!</dialogue>
<character>MARTIN</character>
<parenthetical>( through his teeth . )</parenthetical>
<dialogue>Calm down or I'll snap it in two, do you hear me?</dialogue>
<scene_description>Mini nods her head .</scene_description>
<character>MARTIN</character>
<dialogue>Now, I want you to wait here for me. Do you understand?</dialogue>
<scene_description>Mini nods again .</scene_description>
<character>MINI</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Please do n't do this.</dialogue>
<scene_description>He lets go and calmly walks towards the sliding doors to the back yard . Mini watches him go .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S FRONT DOOR- MOMENTS LATER.</stage_direction>
<scene_description>Martin stands outside and rings the bell . The door opens and Rudell stands there in a smoking jacket and pajamas . He looks Martin up and down with a self - satisfied smile , as Sinatra 's `` Nice and Easy '' is playing on his stereo in the background .</scene_description>
<character>RUDELL</character>
<dialogue>Martin, what a surprise, how are you?</dialogue>
<character>MARTIN</character>
<dialogue>Just watched Mini on your show.</dialogue>
<character>RUDELL</character>
<dialogue>Ahh. was tonight the night? We taped that two weeks ago. Let me tell you, I have girls audition all the time for me and.</dialogue>
<parenthetical>( enjoying this . )</parenthetical>
<dialogue>She was fucking incredible.</dialogue>
<scene_description>Rudell watches Martin 's eyes for a reaction .</scene_description>
<character>MARTIN</character>
<dialogue>A natural, huh?</dialogue>
<character>RUDELL</character>
<dialogue>Like a duck to water. and totally willing to take direction.</dialogue>
<scene_description>Martin 's jaw tightens , as Rudell is loving twisting the knife in him .</scene_description>
<character>RUDELL</character>
<dialogue>I wish all the girls I worked with had her. how can I put this? Need to please.</dialogue>
<character>MARTIN</character>
<dialogue>You son of a bitch.</dialogue>
<scene_description>Martin explodes , punching Rudell in the mouth , sending him staggering backwards inside .</scene_description>
<character>SINATRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` Let's take it nice and easy.''</dialogue>
</scene>
<scene>
<stage_direction>INT. THE TANNEN'S LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Mini stands at the window , nervously waiting on the phone . She looks out THE WINDOW at the fight beginning in Rudell 's house .</scene_description>
<character>MINI</character>
<parenthetical>( frantic . )</parenthetical>
<dialogue>Yes, hello, you've got to send a police car to 2376 Mira Loma Lane right away! My father's gone crazy, I think he's going to hurt our neighbor. yes 2376 Mira Loma, oh god, hurry!</dialogue>
</scene>
<scene>
<stage_direction>INT. RUDELL'S LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Rudell struggles to his feet and charges Martin , shoving him against his wet bar . Rudell grabs a glass and smashes it over Martin 's face , grinding the glass into his face .</scene_description>
<character>SINATRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` Hey, baby, what's your hurry? Relax, do n't you worry.''</dialogue>
<scene_description>Martin screams in agony and throws Rudell off him . Rudell crashes into a glass coffee table , smashing it to pieces . Martin tries to pick the glass out of his eyes , as Rudell gets to his feet and grabs one of metal legs of the shattered coffee table . He rushes Martin , clubbing him in the head with it . Martin crumples to the floor and Rudell starts kicking him . Martin grabs Rudell by the ankles and flips him . The two men grapple on the floor .</scene_description>
<character>MARTIN</character>
<dialogue>Where are they?! Huh?</dialogue>
<character>RUDELL</character>
<dialogue>What are you talk -</dialogue>
<character>MARTIN</character>
<dialogue>Do n't fuck with me! The negatives!</dialogue>
<character>RUDELL</character>
<dialogue>What?!</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUDELL'S PATIO AND POOL - CONTINUOUS</stage_direction>
<scene_description>Rudell and Martin crash through the plate glass window on to the brick patio . Martin gets to his feet first and grabs a golf club propped up on a chair next to the putting green .</scene_description>
<character>SINATRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` The problem now of course is, to simply hold your horses.''</dialogue>
<scene_description>Rudell struggles to his feet , just in time to see the pitching wedge heading straight for his ribs . THWACK ! Martin catches him square and he goes down like a sack of potatoes . Martin starts hitting him with one swing after another .</scene_description>
<character>SINATRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` To rush would be a crime.''</dialogue>
<scene_description>Rudell cries out in agony , as the blows smash one rib after another .</scene_description>
<character>MARTIN</character>
<dialogue>You son of a bitch! How's that feel?! You like that?! You thought you could have my wife and my daughter too?!</dialogue>
<character>SINATRA</character>
<parenthetical>( V.O . ) ''</parenthetical>
<dialogue>` Cause nice and easy does it, nice and easy does it.''</dialogue>
<scene_description>Martin bends down and grabs Rudell 's hair , twisting his head around so he can look him in the eye . In the distance a SIREN is heard getting closer .</scene_description>
<character>MARTIN</character>
<dialogue>Sorry, pal, she's mine! Diane may have taken pity on you between vodkas, but not her! Not her!</dialogue>
<scene_description>Martin smashes his face into the patio . Rudell lets out a moan , grasping at the ground , trying to get up , but his legs do n't obey him . Martin stands up and grabs the club , raising it with both hands above his head for a final swing .</scene_description>
<character>MARTIN</character>
<dialogue>Now tell me where they are or I swear to god, I'll crack your head open!</dialogue>
<character>MINI</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Martin, do n't!</dialogue>
<scene_description>He turns around to see Mini , tears coming down her cheeks , standing ten feet away . The SIRENS suddenly stop .</scene_description>
<character>MARTIN</character>
<dialogue>Go look for the negatives!</dialogue>
<character>MINI</character>
<dialogue>No! This is insane!</dialogue>
<character>MARTIN</character>
<dialogue>We need the negatives!</dialogue>
<scene_description>He raises the club again . Mini runs for him , grabbing his arm before it comes down .</scene_description>
<character>MINI</character>
<dialogue>You're gon na kill him!</dialogue>
<scene_description>He tries to pull the club away .</scene_description>
<character>MARTIN</character>
<dialogue>What are you doing! He'll tell everyone!</dialogue>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Freeze, police!</dialogue>
<scene_description>Martin turns around to see TWO UNIFORMED OFFICERS with their guns drawn . Martin looks down at Rudell , gasping for air , his face covered in blood . He looks at his own blood - soaked clothes , the reality hitting him .</scene_description>
<character>OFFICER</character>
<dialogue>Drop the club and put your hands up!</dialogue>
<scene_description>Martin obeys and Mini runs into the arms of the second officer . The first one moves quickly to Martin and shoves him on the ground .</scene_description>
<character>MINI</character>
<dialogue>Thank God! Thank God, you came!</dialogue>
<character>MARTIN</character>
<dialogue>Mini, you called them?! How could you call them?!</dialogue>
<scene_description>Mini buries her face in the officer 's chest .</scene_description>
<character>MINI</character>
<dialogue>He's. he's crazy, I told him not to! I told him to stop!</dialogue>
<character>SINATRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>`` Nice and easy does it. every time.''</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE FRONT OF A POLICE STATION - DAY</stage_direction>
<scene_description>Mini emerges from the station with her lawyer as a throng of REPORTERS jostle for a photo .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Needless to say, my appearance on Absolutely Positive was the most sought after clip in every newsroom in town.</dialogue>
<scene_description>TV VIDEO FOOTAGE OF : Mini at Martin 's trial sitting in the front row .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The trial was quick. Once Mom's affair with Rudell came out, the D.A. realized he had a motive and a slam dunk.</dialogue>
<scene_description>THE FOREWOMAN , an elderly hispanic woman , casts a harsh eye towards Martin and then reads the verdict .</scene_description>
<character>FOREWOMAN</character>
<dialogue>Guilty.</dialogue>
<scene_description>Martin stares straight ahead , showing no emotion as Mini sobs behind him .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Since, Rudell was in a coma, the issue of my relationship with Martin was moot. Martin realized trying to pin anything on me would probably get him the chair.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE COURTHOUSE - DAY</stage_direction>
<scene_description>Martin , wearing an ORANGE PRISON UNIFORM , is led into a van by a DEPUTY .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At his sentencing I begged for leniency. He got off with ten for the attempted murder of Rudell and twenty to life for mom's death.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE TANNEN'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Mini opens the door to find reporters camped on the lawn , snapping photos . Dozens of bouquets and wreaths are piled up next to the front door .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The outpouring of support was amazing.</dialogue>
<scene_description>A MAILMAN hauls a bag of sympathy cards to the front door . She leads him inside where he dumps them next to three other bags full .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A DUSTY TWO LANE ROAD IN THE CENTRAL VALLEY - DAY</stage_direction>
<scene_description>The sun is blistering hot as Mini drives Martin 's Mercedes convertible with the top down .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Martin's assets were put in a trust for me and since I was eighteen, I was allowed to live by myself.</dialogue>
<scene_description>She turns down another road at a sign reading `` LOMPOC STATE PRISON , 5 MILES '' .</scene_description>
</scene>
<scene>
<stage_direction>INT. A VISITING ROOM AT LOMPOC - DAY</stage_direction>
<scene_description>Mini and Martin sit facing each other behind a plexiglas barrier . There are dividers between each phone to provide the prisoners with a little privacy .</scene_description>
<character>MINI</character>
<dialogue>I'm sorry I forgot to bring that book you wanted.</dialogue>
<character>MARTIN</character>
<dialogue>It's okay, Myou can mail it.</dialogue>
<character>INI</character>
<dialogue>Are you okay? You look like you have n't showered in days.</dialogue>
<character>MARTIN</character>
<parenthetical>( disturbed . )</parenthetical>
<dialogue>Well. uh. you have to be careful about sh -. So how's school?</dialogue>
<character>MINI</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>You'll never guess what happened.</dialogue>
<character>MARTIN</character>
<dialogue>What?</dialogue>
<character>MINI</character>
<dialogue>I was voted valedictorian!</dialogue>
<character>MARTIN</character>
<dialogue>But do n't you have to be -</dialogue>
<character>MINI</character>
<dialogue>The best student? I know! But the students took a vote and they said they wanted me to have it for demonstrating remarkable courage in the face of unspeakable loss.</dialogue>
<character>MARTIN</character>
<parenthetical>( smiling sadly . )</parenthetical>
<dialogue>I wonder how the real valedictorian feels?</dialogue>
<character>MINI</character>
<dialogue>Like slitting his wrists with the sharp end of a protractor.</dialogue>
<character>MARTIN</character>
<dialogue>Is Rudell out of his coma yet?</dialogue>
<character>MINI</character>
<dialogue>I do n't know, why?</dialogue>
<character>MARTIN</character>
<dialogue>Why?</dialogue>
<parenthetical>( taken aback . )</parenthetical>
<dialogue>Mini, if he recovers, he may try to blackmail you with those pictures.</dialogue>
<character>MINI</character>
<parenthetical>( nonchalant . )</parenthetical>
<dialogue>Oh. I would n't worry about that.</dialogue>
<character>MARTIN</character>
<dialogue>But if the D.A. got those pictures, you could -</dialogue>
<character>MINI</character>
<dialogue>I'm pretty sure he wo n't be doing anything with them.</dialogue>
<scene_description>He looks suddenly very worried .</scene_description>
<character>MARTIN</character>
<dialogue>Mini, you're not thinking of sleeping with him to keep him quiet? Because I've met people in here who could help us with him, if it comes to that.</dialogue>
<character>MINI</character>
<dialogue>Help us?</dialogue>
<character>MARTIN</character>
<dialogue>They know people on the outside we could. pay to make sure he does n't try to take advantage of you.</dialogue>
<character>MINI</character>
<dialogue>Oh, gosh, that's so romantic. It's like you're a real life criminal with connections and everything, but I'm a little surprised you have n't figured it out yet.</dialogue>
<character>MARTIN</character>
<dialogue>What?</dialogue>
<scene_description>Mini 's eyes glint ever so slightly , as she examines Martin 's face , almost as if he 's an animal at the zoo .</scene_description>
<character>MINI</character>
<dialogue>Oh. wow, like I thought you were just playing along ` cause I'm your only link to the outside world, but you really do n't know?</dialogue>
<scene_description>Martin furrows his brow , confused .</scene_description>
<character>MINI</character>
<dialogue>Rudell did n't send those pictures.</dialogue>
<scene_description>He suddenly becomes very still , as Mini 's lips curl in a thin smile .</scene_description>
<character>MINI</character>
<dialogue>You remember, Aurelio?</dialogue>
<scene_description>Martin looks at her blankly .</scene_description>
<character>MARTIN</character>
<dialogue>Our cabana boy from Mexico?</dialogue>
<scene_description>Suddenly , it hits him . He looks almost nauseous .</scene_description>
<character>MINI</character>
<dialogue>What a sweetie, I thought I might have to fuck him, but just giving him the camera was enough.</dialogue>
<scene_description>His knuckles tighten around the phone .</scene_description>
<character>MARTIN</character>
<dialogue>You. you.</dialogue>
<character>MINI</character>
<dialogue>It was pretty clear Garson was n't gon na give up, and sooner or later he'd find enough to charge us. It just seemed ridiculous that we'd both end up suffering.</dialogue>
<scene_description>Martins jaw tightens as his pupils go black .</scene_description>
<character>MINI</character>
<dialogue>Oh, come on, you would've done it if you thought of it first. you know I'm right.</dialogue>
<scene_description>The veins start to bulge in his arm holding the phone .</scene_description>
<character>MINI</character>
<parenthetical>( suddenly switching gears . )</parenthetical>
<dialogue>Hey, listen, since conjugal visits are pretty much out of the question, I thought it would be cool if we tried a little prison phone sex.</dialogue>
<scene_description>Martin stares at her , taking deep steady breaths .</scene_description>
<character>MINI</character>
<dialogue>They do n't tap these lines, do they?</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>I think I might even be able to open my blouse without anyone seeing. you ready?</dialogue>
<character>MARTIN</character>
<dialogue>Guard!</dialogue>
<character>MINI</character>
<dialogue>No? Are you sure? I wo n't be able to come back for a few weeks.</dialogue>
<parenthetical>( mock jealous . )</parenthetical>
<dialogue>Wait, have you met someone in here?!</dialogue>
<character>MARTIN</character>
<dialogue>Guard!</dialogue>
<character>MINI</character>
<dialogue>Why, you old dog! I knew you would n't be single in here for long.</dialogue>
<scene_description>A PRISON GUARD appears behind Martin 's stall .</scene_description>
<character>MARTIN</character>
<dialogue>Guard! She did it! She just admitted it! It was her idea!</dialogue>
<character>MINI</character>
<dialogue>I guess this means I could start dating around too?</dialogue>
<character>MARTIN</character>
<dialogue>Do n't let her leave! She's guilty! Get the warden!</dialogue>
<character>GUARD</character>
<dialogue>Okay, that's enough!</dialogue>
<scene_description>The guard moves to take the phone from him . Martin clutches it to his head .</scene_description>
<character>MARTIN</character>
<dialogue>You bitch! You little whore!</dialogue>
<character>MINI</character>
<parenthetical>( starting to cry . )</parenthetical>
<dialogue>Daddy, why are you saying those things!</dialogue>
<scene_description>The guard struggles to rip the phone away , but Martin holds on for dear life .</scene_description>
<character>MARTIN</character>
<dialogue>I'm gon na kill you! Do you hear me, you little bitch!</dialogue>
<character>MINI</character>
<parenthetical>( sobbing . )</parenthetical>
<dialogue>Daddy, stop! I love you! Do n't say that! I love you!</dialogue>
<scene_description>Finally , the guard smashes Martin with a billy club , sending him sprawling on the floor . Martin screams behind the glass , but can not be heard , as the guard hog ties him and drags him away by his feet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A HIGH SCHOOL GRADUATION CEREMONY - DAY</stage_direction>
<scene_description>SENIORS in gowns sit awaiting their diplomas , as PARENTS sit in the audience , fanning themselves with programs . Mini stands at the dais , addressing the class .</scene_description>
<character>MINI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As many of you know, the past few months of my life have been very difficult. I do n't know how I would have gotten through it without all of you. I really think it is a testament to the love in this institution, that I stand before you today, as the first straight `` C'' student in school history voted Valedictorian.</dialogue>
<scene_description>A FEW CHEERS go up from the rowdier students .</scene_description>
<character>MINI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Again, to Marvin Tepperman, the real valedictorian, he deserved this and I want to wish him a speedy recovery. I spoke to his doctors today and they say, with medication and therapy, Marvin should be able to attend Harvard this fall.</dialogue>
<scene_description>A polite smattering of applause is heard .</scene_description>
<character>MINI</character>
<dialogue>While I may not have excelled in the classroom, I think my recent experiences in that bigger schoolhouse we call `` life'', have taught me a few lessons that I'd like to share with my fellow graduates.</dialogue>
<scene_description>Her classmates instinctively lean forward a little to listen .</scene_description>
<character>MINI</character>
<dialogue>Follow your heart and do n't question it, now matter where it tells you to go. Trust me, it'll open up a world of new experiences you ca n't even imagine.</dialogue>
<scene_description>Principal Andrews nods in approval .</scene_description>
<character>MINI</character>
<dialogue>But as you listen to it, do n't forget your family, your parents. Do n't forget they're people too, and while we may not always agree with them, remember to love them when they need love.</dialogue>
<scene_description>A few PARENTS look almost surprised to hear positive things said about them .</scene_description>
<character>MINI</character>
<parenthetical>( voice breaking . )</parenthetical>
<dialogue>And I mean really love them, do n't just pay them lip service. Really do it. Whenever you can.</dialogue>
<parenthetical>( holding back tears . )</parenthetical>
<dialogue>I know I did, and I just wish my dad could be here today, so after this speech I could just walk down into the audience and give him my love right here. in front of all of you. Thank you and good luck.</dialogue>
<scene_description>Mini puts her speech down , gently sobbing , as THE AUDIENCE ERUPTS . PRINCIPAL ANDREWS moves quickly to console her .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Like I promised, no prom night highjinks, no nerds becoming popular, no Shakespeare shoved up your ass.</dialogue>
<scene_description>MINI 'S FELLOW GRADUATES give her a standing ovation . A few PARENTS become misty - eyed .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And in case you're feeling guilty about having no one to identify with but me, relax.</dialogue>
<scene_description>MINI looks out across the crowd and a huge smile ripples across her face , as she waves to everyone in the golden sunlight .</scene_description>
<character>MINI</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>There's a first time for everything.</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | Mini Drogues (Nikki Reed) is a clever and adventurous high school senior who is bored with her life. Mini prizes her "unique experiences" (she calls them "firsts"). For excitement, and to add to her list of firsts, Mini decides to try being a call girl. Her first client, however, has a guilty conscience and can't carry through with the act, which disappoints Mini. Her second client is decidedly more exciting — it's her stepfather Martin (Alec Baldwin). Martin is initially shocked when he learns of her identity (he initially blindfolded himself during intercourse as per Mini's request), but soon a torrid love affair blossoms between the two. In order to be together, Mini and Martin team up against Mini's mother Diane (Carrie-Anne Moss) to have her declared insane. When their plan fails, Mini convinces Martin to murder Diane despite his initial resistance to the idea and to try their best to make it look like Diane committed suicide; they soon attract the attention of a detective (Luke Wilson) who believes Mini and Martin killed Diane and a nosy neighbor (Jeff Goldblum) who is sexually obsessed with Mini. When Martin finds out about the day when Mini went over to their neighbor's house and received sexual pictures that he believes came from the neighbor, he and the neighbor get into a fight. Mini arrives to find Martin standing over the neighbor, ready to beat him into unconsciousness, when the police show up and arrest Martin. Mini visits Martin in jail and admits that the sexual pictures sent were actually from her in order to get Martin to think that the neighbor sent them. She also reveals that she assumed the police would eventually believe he killed Diane (since he was the more likely perpetrator). Mini, therefore, ends up getting away with murder, and inherits her mother's fortune. The film ends as Mini giving a valedictorian speech due to her mother's death, even though she had straight C's throughout the year, providing advice to the graduating class about how to live a good life that perversely alludes to her crimes without making her look too suspicious. The detective is present at the speech, clearly still suspicious of Mini, but knowing he will probably never be able to prove she is guilty of murder. |
The Crow: Salvation_2000 | tt0132910 | <script>
<scene>
<stage_direction>The Crow : SALVATION</stage_direction>
<scene_description>OVER BLACKNESS . Silence . Broken by the faint clink of precision tools . Accurately , patiently wielded .</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - DIMNESS</stage_direction>
<scene_description>X - CLOSE . A SCALPEL returned to its place in a neat array of TAXIDERMY TOOLS . Long surgical TWEEZERS taken . A steady HAND grasps a CLAY BIRD FORM . Then sets the second eye . Unhurried . Meticulous . A MYSTERY MAN , features obscured , sets the tweezers aside , reaches for a black lump on the table , revealed to be shiny feathers as he wraps it around the form . Adjusts it so the glass eyes peer out through holes in the skin of this large CROW . A taxidermy specimen . WIDE , the man works across the room under the pooled light of a draftsman 's lamp , the Crow on the table in front of him . His identity yet to discover . SLOW FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - WITNESS ENTRANCE - NIGHT</stage_direction>
<scene_description>X - WIDE . `` THE WALLS '' like a medieval castle above a throng of PROTESTERS and GAWKERS . A POSTCARD at first , then signs of movement - handheld placards and flickering candles telegraph an imminent execution . The group shifts amoeba like as . A LARGE MERCEDES approaches , slowly works its way into the edge of the crowd . INSIDE THE BENZ NATHAN RANDALL , father of the victim comforts ERIN RANDALL , seventeen year old sister , as she looks up in terror at the bodies pressed against the car , the throng between the car and the prison entrance . The car stops .</scene_description>
<character>ERIN</character>
<dialogue>Why are there so many?</dialogue>
<character>RANDALL</character>
<dialogue>Just hold on to me.</dialogue>
<scene_description>THROUGH THE WINDSHIELD - a Protestor 's poster visible . `` Remember the Victim . '' With a picture of LAUREN RANDALL , the deceased , who bears a striking resemblance to surviving sister Erin . And another sign - `` Happy Birthday Alex. ''</scene_description>
<character>ERIN</character>
<dialogue>It's because they're doing this on his birthday.</dialogue>
<scene_description>She takes a deep breath , they get out of the car and . WITH THE RANDALLS as they make their way through the throng toward a special entrance marked `` WITNESSES , '' nearly within reach when WHOMP . Erin shields her face as a BRIGHT LIGHT comes on . OVER TV REPORTER BARBARA GONZALEZ Action Newsteam addressing the Nathans . Speaking into a mic .</scene_description>
<character>GONZALEZ</character>
<dialogue>Mr. Randall. Sir. Do you think this execution will bring you a sense of closure?</dialogue>
<scene_description>Nathan pushes past Gonzalez , taking Erin 's hand .</scene_description>
<character>GONZALEZ</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Erin. Your sister.</dialogue>
<character>RANDALL</character>
<dialogue>Leave us alone!</dialogue>
<scene_description>The Reporter TURNS to the camera , not missing a beat .</scene_description>
<character>GONZALEZ</character>
<dialogue>A difficult time for everyone involved.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Interesting fact. It will take about twenty - one cents of electricity to execute Alex Corvis tonight on this, his twenty - first birthday.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - DEATHROW - NIGHT</stage_direction>
<scene_description>CLOSE on a BIRTHDAY CAKE , twenty one candles flickering as it makes its way past deathrow cells , held waiter style on one hand by MERCER , a MUSTACHED prison GUARD .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - ALEX'S CELL - NIGHT</stage_direction>
<scene_description>CLANG . The barred door opens and the cake swoops in , landing on a small table next to a CHESS GAME in progress and an untouched last meal . ADJUST to find . ALEX CORVIS . Twenty - One today . Disarmingly appealing . Peaceful . Simple clothes . He looks up from the game , at . PETER WALSH , Alex 's pro - bono attorney and only friend , trying not to explode at this shit - eating stunt .</scene_description>
<character>WALSH</character>
<dialogue>He did n't order that.</dialogue>
<character>MERCER</character>
<dialogue>We found the man with the scar.</dialogue>
<scene_description>Despite himself , Alex looks up . Mercer gestures at . THE CAKE in the middle of the candles , an arm made of frosting with a large ZIGZAG marking on the forearm , also frosting . FAVORING ALEX looking from the cake up to Mercer , who nods at the candles .</scene_description>
<character>MERCER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go ahead. Make a wish.</dialogue>
<character>WALSH</character>
<parenthetical>( intense whisper . )</parenthetical>
<dialogue>Get it out of here.</dialogue>
<scene_description>Alex focusses on the chess board . Tries to anyway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - NIGHT</stage_direction>
<scene_description>FLASH . The harsh Newsteam video light WHUMPS on , illuminating a WRINKLED OLD WOMAN .</scene_description>
<character>OLD WOMAN</character>
<dialogue>Yes, I've come to a lot of these over the years, but this one has many unique aspects. Youth of the condemned. That's unusual. Fifty three stab wounds. Kind of a record.</dialogue>
<character>GONZALEZ'S VOICE</character>
<dialogue>And Corvis still maintaining his innocence.</dialogue>
<character>OLD WOMAN</character>
<dialogue>Oh, they all say that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - WITNESS ENTRANCE - NIGHT</stage_direction>
<scene_description>FLASH . A nervous , not to say shifty looking THOMAS `` TOMMY '' LEONARD , thirty five year old key witness in the trial , talks to Gonzalez under the hot video light .</scene_description>
<character>TOMMY</character>
<dialogue>I do n't fault him saying I lied on the stand. Facing the chair, you do what you got ta do. But I saw those two fighting that night.</dialogue>
<scene_description>Tommy shifts uncomfortably , silent as we HOLD a long beat .</scene_description>
<character>TOMMY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I did n't lie.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - ALEX'S CELL - NIGHT</stage_direction>
<scene_description>CLOSE . A Chess piece , a CASTLE , shoved at CAMERA . ADJUST to INCLUDE ALEX. He breathes deliberately , trying to hold it together . His hand shakes as he removes it from the piece .</scene_description>
<character>WALSH</character>
<dialogue>You ok?</dialogue>
<scene_description>Alex gets up , crosses to a small ledge on the other side of the cell that holds a few books and pictures . He finds . A PICTURE OF LAUREN AND ALEX In a grove of tall trees . A self - portrait by autotimer . Arms around each other . Her head on his shoulder . Happy . RESUME Alex staring at the photo , taped to the wall .</scene_description>
<character>ALEX</character>
<dialogue>What's been holding me together is the hope that maybe you do go someplace. And I'll be seeing her again soon. Only what will I say? That I was too stupid to find the guy who killed her? That he's down here laughing?</dialogue>
<character>WALSH</character>
<dialogue>Tell her. we'll get him.</dialogue>
<character>ALEX</character>
<dialogue>We wo n't.</dialogue>
<character>WALSH</character>
<dialogue>Someday he'll surface and I'll get him for both of you. I promise. I'll find the guy with the scar.</dialogue>
</scene>
<scene>
<stage_direction>EXT GARRISON PRISON - WITNESS ENTRANCE - NIGHT</stage_direction>
<scene_description>FLASH . Four UNIFORMED COPS - DUTTON , ERLICH , LARKIN and TOOMEY - in the harsh news light . Erlich holds a CANE in one hand . Larkin and Toomey are twosie monkeys , smoking cigarettes with eerie simultaneity .</scene_description>
<character>ERLICH</character>
<dialogue>This mystery man with the scar.</dialogue>
<parenthetical>( indicates forearm . )</parenthetical>
<dialogue>. the zigzag, whatever.</dialogue>
<scene_description>Erlich gives a long - suffering look . Like it 's preposterous . But he 's too gentlemanly to say it .</scene_description>
<character>ERLICH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We could n't find him. And, obviously, the jury did n't buy it.</dialogue>
<character>GONZALEZ</character>
<dialogue>Some people here seem to.</dialogue>
<character>DUTTON</character>
<dialogue>People here are protesting the execution of a kid just turning twenty - one. A kid who had a tough life. No parents, no dough. Always had to fight for everything. It's a tragedy, it really is. But I do n't see a single sign telling me Alex Corvis is innocent.</dialogue>
<scene_description>Look around . He 's right .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - ALEX'S CELL - NIGHT</stage_direction>
<scene_description>Alex still gazing at the picture of Lauren . At the board , Walsh moves a piece .</scene_description>
<character>MERCER</character>
<dialogue>I was facing the hot seat, I'd want my attorney banging down the door of the Supreme Court, not playing board games. But maybe that's just me.</dialogue>
<scene_description>They look up as Mercer appears outside the barred door to the cell , starts to unlock it .</scene_description>
<character>WALSH</character>
<dialogue>Your move.</dialogue>
<character>MERCER</character>
<dialogue>No. It's time.</dialogue>
<scene_description>It really is . Other prison personnel arrive outside the cell in various uniforms : A MINISTER with clerical collar , the WARDEN , two GUARDS . Waiting . Walsh crosses , very emotional how . Gives Alex a huge hug .</scene_description>
<character>ALEX</character>
<dialogue>I do n't want you to watch. I do n't want to give them the pleasure.</dialogue>
<scene_description>The two friends exchange a long last look .</scene_description>
<character>MERCER</character>
<dialogue>Ok. C'mon now.</dialogue>
<scene_description>As Alex exits past Mercer , Walsh sits down on the cot . He 's hard to read a second until he lashes out , flips . THE CAKE against the wall where it hits , slides down , still semi - intact as it hits the floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - DEATHROW</stage_direction>
<scene_description>Dead Man Walking . A mini parade past the cells of the condemned . One guard flanks Alex , another follows . The Warden and Minister out in front . HANDS extend from the other cells as Alex passes . Unable to touch , but he reaches for them , a gesture of solidarity . Mercer catches up with the group , flanking Alex cell - side . Alex drops his hand , cut off even from that .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - DEATHROW #2 - NIGHT</stage_direction>
<scene_description>The parade continues down another hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - DEATH CHAMBER - NIGHT</stage_direction>
<scene_description>The CHAIR , an atavism , sits alone a moment before the entourage enters and begins a surprisingly well choreographed last dance . The Warden gestures , and Alex is escorted to his place in the chair . The Guards move in , death attendants now .</scene_description>
<character>MINISTER</character>
<dialogue>The Lord is my shepherd, I shall not want.</dialogue>
<scene_description>THE MINISTER CONTINUES as . CLOSE . Handstraps tightened . WHOP . WHOP . Alex squirms despite his resolve . Through an act of will , calms himself . Looks up at . THE PHONE . On the wall . A last possibility of reprise . CLOSE . Trouser legs slit . Footstraps tightened around bare ankles . Electrodes checked . CLOSE . Chest strap tightened . Yanked again for good measure . ALEX gasps . It 's hard to breathe now with the strap tight across his chest . CLOSE . Copper mesh . Pieces of sponge jerry - sewn onto it , the irregular stitching giving it an unsettling natural appearance . ADJUST to REVEAL this is the electrode in the odd leather HELMET tightened now on Alex 's head . THE EXECUTIONER . Pulls a hood over his own obscured face . Moves behind a half curtain at the side of the room .</scene_description>
<character>MINISTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( concluding . )</parenthetical>
<dialogue>. and I will dwell in the house of the Lord. Forever.</dialogue>
<scene_description>SLAP . The Minister shuts his bible . WIDER . Some weird sin . Alex strapped into the chair , unable to move . The guards exit , jobs done . The Warden nots and . ALEX 'S POV - THROUGH PLEXI - THE OBSERVATION ROOM REVEALED as the CURTAINS OPEN . Two dozen observers crammed into a space the width of a singlewide trailer . Erin . Her father . The Cops . Tommy Leonard . Gonzalez and other media types . Prison personnel . Every seat occupied . Sweaty and surreal . All looking at him . IN THE DEATH CHAMBER The Warden steps forward .</scene_description>
<character>WARDEN</character>
<dialogue>Alexander Frederick Corvis. Do you have any last words?</dialogue>
<scene_description>A thick silence . Alex looks unprepared , uneasy as he scans a sea of hostile faces , settling on Erin and her dad .</scene_description>
<character>ALEX</character>
<dialogue>I loved Lauren. I still do. I'm innocent.</dialogue>
<scene_description>Erin shakes her head , disgusted . Looks away . ALEX 'S POV - THE LAST SECONDS OF HIS LIFE SLOWING in his inner perception , movement ramping down as Alex scans the disbelieving faces . The Phone . Silent . No reprise . The Observation Room witness door opens . A Guard in the back row deferentially offers his seat to the NEW ARRIVAL , a man in dark clothes , his face obscured by REFLECTIONS in the plexiglass . As he UNBUTTONS his shirt cuff . The warden steps to the side of the room , nods to the executioner who lifts a COVER off a large switch . The New Arrival pulls his shirtsleeve back over his forearm , exposing a scar for Alex , THE SCAR , an odd zigzag pattern of raised welts , a pattern deliberately formed of skin . The Executioner throws the switch . ON ALEX SHAKING violently as he fights to stay alive , time extremely subjective now as he chokes out .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( indistinct , filtered . )</parenthetical>
<dialogue>Murderer!</dialogue>
<scene_description>The word bubbles up as if from underwater , audible only to Alex. Alex wrenches his head , a superhuman act of will trying to ID the Scar Man through the reflections . THE HELMET starts to smoke . Then a burst of FLAME at Alex 's head . A BOTCHED EXECUTION made worse by Alex 's struggle to see , to stay alive . IN THE OBSERVATION ROOM The observers panic , horrified . Only the Scar Man calm as he covers his arm , rebuttons his shirt . Face always obscured . IN THE DEATH CHAMBER Alex in electro - spasm , smoke filling the room , the warden in real time now as he runs to pull the curtain closed . It JAMS partway across . ALEX expires in the char , grotesquely burned , EYES OPEN as the Warden finally yanks the curtain closed . IN THE OBSERVATION ROOM The Scar Man slips out , but the rest remain , transfixed , horrified . Erin and others in tears . HOLD a long beat , their GASPS faintly audible . Then .</scene_description>
<character>MERCER</character>
<dialogue>Cruel, who's to say, but it sure was unusual.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE HALLWAY - NIGHT</stage_direction>
<scene_description>Two guards push a gurney down a reverberant hallway far from the in - your - face security of deathrow .</scene_description>
<character>GUARD ONE</character>
<dialogue>Look at this. Goddamn helmet melted down.</dialogue>
<character>MERCER</character>
<dialogue>That, my friend, is a deterrent.</dialogue>
<scene_description>They WIPE past , Alex 's charred remains visible a moment , parts of the helmet fused on his face and head , his body convulsed in a pugilistic attitude .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE - NIGHT</stage_direction>
<scene_description>The guards swing the gurney to a stop by a steel locker , one of several . Mercer opens the locker door . The unceremoniously slide the body into the locker and . BANG . The body hits the open door . Convulsed as it is , the body wo n't really fit through the door .</scene_description>
<character>MERCER</character>
<dialogue>Whoops.</dialogue>
<scene_description>CRUNCH . The sound of something breaking as the SHOVE Alex into the cubby hole .</scene_description>
<character>GUARD ONE</character>
<dialogue>Why do they even autopsy these guys? Cause of death is pretty fucking obvious.</dialogue>
<scene_description>FROM INSIDE THE LOCKER . The door slams shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - ALEX'S CELL - NIGHT</stage_direction>
<scene_description>CLOSE on the PICTURE of Alex and Lauren . ADJUST to include Walsh , looking at it . Pained . Still trying to understand . He secures it to the lid of the case already containing the neatly packed chess set . Closes it . Bows his head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - NIGHT</stage_direction>
<scene_description>The protestors are gone , as is the Newsteam , but the four Cops are still there , Larkin and Toomey synchro - smoking . They look up as the Randalls emerge shaken from the Witness entrance . FAVORING NATHAN RANDALL He speaks softly to Erin , who 's leaning against him .</scene_description>
<character>RANDALL</character>
<parenthetical>( to Erin . )</parenthetical>
<dialogue>I'll meet you atthe car, honey.</dialogue>
<scene_description>She continues on and Randall crosses to the cops , who wait patiently to see what he 'll say . Finally .</scene_description>
<character>DUTTON</character>
<dialogue>We all wish this had ended better. Sir.</dialogue>
<scene_description>Randall nods . Like that 's all anyone could say . As he walks off the Cops fall into easy chatter . CUT TO :</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - DIMNESS</stage_direction>
<scene_description>CLOSE . A face slides into frame in PROFILE , too tight to be recognizable . Just an eye , peering . EYE 'S POV - THROUGH A MAGNIFYING GLASS A coarse ZIGZAG stitch shaped like the Scar runs the length of the Crow 's underbelly . The end stitch now tied with a tiny knot . Tightened just so . THE MYSTERY MAN features obscured still , grabs a bent surgical SCISSORS , snips the excess thread . Smoothes black feathers into place , hiding the stitching on . THE CROW Finished . The Man gets up , leaves . CAMERA PUSHING on the Bird 's head as we HEAR a door shut , still PUSHING on the glass eye that BLINKS now .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE - NIGHT</stage_direction>
<scene_description>INSIDE THE LOCKER . A human EYE BLINKS . Barely visible in the darkness . Alex KICKS with a YELL and . IN THE MORGUE . The locker door flies open and Alex spills onto the floor . Gropes a few seconds on hands and knees before a SHADOW passes over him evoking a primitive response . He cowers , looks up at . A LARGE CROW flutters through the bars of a high window , lands near him on the floor . It looks at him , then flaps its way up to the autopsy countertop , cocks its head . Follow me . ALEX strains to pull himself up on the gurney that brought him here . HIS POV as he slowly rises above the gurney - the Crow in front of a mirror over the splash sink . It flies off , revealing Alex 's reflection . Charred . Hideous . ALEX drops back to the floor with a SCREAM . Turns , sees himself in a stainless door and SMASHES it with his fist . THE BASHED STAINLESS DOOR the word `` MORGUE , '' painted on the wall behind Alex , brought into focus at the center of the concavity . ALEX thrashes , trying to avoid his reflection , but the dim mirrors have him surrounded . THE CROW flaps down , crazed too , as if in empathy . CAWING loudly , finally getting Alex 's attention . ALEX settles , hazards another look at his reflection in stainless steel . His body looks less misshapen now . He looks at his arms , hands , no longer burned . Pulls himself up on the gurney again , cautiously . OVER ALEX as he slowly rises above the gurney a second time , looks in the mirror . His body miraculously HEALED , covered by shredded clothing . His face obscured by the meltdown helmet . He slowly approaches the mirror on unsteady feet .</scene_description>
<character>ALEX</character>
<parenthetical>( to his own reflection . )</parenthetical>
<dialogue>What happened?</dialogue>
<scene_description>Alex starts to tear away the helmet and gets a first frightening FLASH as his fingers touch it . ALEX 'S INTERNAL POV - FLASHBACK A blitz return to his own execution . The copper screen , the helmet lowered into place . Electro - spasm . The faintest glimpse of a jagged scar seen darkly . RESUME - ALEX clutching the helmet on his head , ripping it off in one painful OVERCRANKED movement and . OVER ALEX , IN THE MIRROR It 's Alex , and yet not . His face marked with the Crow MASK , jagged WARPAINT where the melted helmet ran down his face . An indelible reminder of the botched execution . he stares at himself for a couple of deep breaths . Then WHAM ! Shatters the mirror with a martial punch . THE FRACTURED MIRROR Alex 's mask reflected in shards as his busy hands remove certain pieces of broken glass . His purpose unclear .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE HALLWAY - NIGHT</stage_direction>
<scene_description>The Crow hops out into the hallway , flies toward us , lands with a CAW as Alex enters the hallway , framed against hight walls . His tentative movements growing more assured .</scene_description>
<character>ALEX</character>
<dialogue>Follow the leader.</dialogue>
<scene_description>The Crow flies off and Alex follows , to . A DOOR marked `` No Unauthorized Entry . '' As they pass through .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - SECURITY BOOTH - NIGHT</stage_direction>
<scene_description>CLOSE on a MONITOR , a SCHEMATIC MAP of the prison . A small red light FLASHES . The GUARD keys a communications radio .</scene_description>
<character>RADIO GUARD</character>
<dialogue>We've got unauthorized movement in `` B five.''</dialogue>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE HALLWAY - NIGHT</stage_direction>
<scene_description>WITH the LEGS of a Guard walking quickly . REVEAL Mercer . His RADIO crackling .</scene_description>
<character>MERCER</character>
<parenthetical>( into radio . )</parenthetical>
<dialogue>Mercer. I'm on it.</dialogue>
<scene_description>He passes through the `` No Unauthorized Entry '' door into .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - "B-5" HALLWAY - NIGHT</stage_direction>
<scene_description>Empty . Bars at the far end spell seriously secure territory . Mercer moves cautiously up the empty hallway , stops as . The Crow hops out from a side hallway . Drawing him on .</scene_description>
<character>MERCER</character>
<parenthetical>( into radio . )</parenthetical>
<dialogue>Found our intruder. It's got a beak and a death wish.</dialogue>
<scene_description>Mercer pulls out his NIGHTSTICK , loses the bird as it hops back THROUGH BARS into .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - ALEX'S CELL - NIGHT</stage_direction>
<scene_description>Alex looks around his now empty cell . On the wall is a rectangle , clearer than the wall around it , where the photograph of Alex and Lauren had been before Walsh removed it . Alex goes up to thewall and touches the spot . FLASH ! ALEX 'S INTERNAL POV FLASH of LAUREN , laughing as she beckons to someone , Alex , who joins her in frame as we hear the whir of the camera auto - timer . A click , as the picture is taken . Alex and Lauren are frozen in the pose of Alex 's photograph . RESUME The picture is gone . Alex , perplexed , stands looking at the blank spot on the wall for a moment . He turns and exits the cell .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - DEATHROW - NIGHT</stage_direction>
<scene_description>Mercer is peering through the double - barred gate at the end of the row as Alex emerges from his former cell .</scene_description>
<character>MERCER</character>
<parenthetical>( still into radio . )</parenthetical>
<dialogue>Get me some backup. We got one loose on the row.</dialogue>
<parenthetical>( through the bars to Alex. ) Now who the fuck are you ?</parenthetical>
<dialogue />
<scene_description>Alex looks up , sees Mercer and FLASH . ALEX 'S INTERNAL POV A pop of Mercer bringing the birthday cake . A wash of flame , twenty one candles . A blip of Walsh . Of a White King . RESUME Alex perplexed , looking at the cake still littering the floor of his ex - cell , candles melted down . Mercer works his way through the double - barred doors onto the row .</scene_description>
<character>MERCER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And what have you done to your face there beauty queen?</dialogue>
<scene_description>The INMATE occupying the cell next to Alex 's peers out through the bars , vanishes again as Mercer WHOPS the bars once with his nightstick .</scene_description>
<character>ALEX</character>
<dialogue>It's my birthday.</dialogue>
<character>MERCER</character>
<dialogue>Yeah, well. here's a present for you.</dialogue>
<scene_description>WHOOSH . Mercer swings his NIGHTSTICK at Alex 's head . Alex catches it , instinctively in one hand . Mercer reaches for . A RED PANIC BUTTON hanging off his guard belt . Mercer slams it . FAVORING ALEX lets go of the stick , looks at his own hand , surprised . WHAM ! Mercer broadsides Alex 's head with the stick . Alex goes down shocked , not from pain , from the fact that someone would attack him . WHAM WHAM WHAM . Mercer brutalizes Alex , collapsed at his feet as . TWO GUARDS enter the far end of the Row , race toward Alex 's cell , one holding a TASER . Its LASER SIGHT finds Alex , crumpled in front of Mercer .</scene_description>
<character>MERCER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's ok. Man. Had me going there.</dialogue>
<scene_description>Looks like it 's over . The guards relax . ALEX suddenly looks up at Mercer . Zero damage from the blows .</scene_description>
<character>ALEX</character>
<dialogue>Go ahead. Make a wish.</dialogue>
<character>MERCER</character>
<dialogue>Taser!</dialogue>
<scene_description>Alex wheels around as Guard One squeezes the trigger . CROWVISION The Taser Darts speed toward Camera . RESUME Alex shunts himself to the side and the TASER DARTS impale themselves in Mercer 's thighs . He drops fibrillating . A CHEER goes up from the men in their cells , who become progressively rowdier as the guards BOLT and Alex follows , strength in his stride , nightstick in hand . Pieces of FLAMING TOILETPAPER flung now from the cells of Deathrow . AT THE FAR ENTRANCE the two Guards scramble to get the door closed behind them before Alex catches up . They 'd make it except Alex hurls . THE NIGHTSTICK flying end over end like a throwing knife , catching the trailing guard in the back of the head , dropping him in the door , propping it open . ALEX enters the cage entrance to Deathrow , sharing the space with the Guard still standing .</scene_description>
<character>ALEX</character>
<parenthetical>( pats pockets , then . )</parenthetical>
<dialogue>Keys?</dialogue>
<scene_description>The frightened Guard opens the door into the next hallway and bolts . Leaving the keys . The Crow hopping , screaming .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - SECURITY BOOTH - NIGHT</stage_direction>
<scene_description>CLOSE on a SCHEMATIC MAP of the prison . Lit up like a Christmas tree now with flashing red lights . The Guard keys a communications radio .</scene_description>
<character>RADIO GUARD</character>
<dialogue>Unauthorized movement in B five, B six, C three, four, five.</dialogue>
<scene_description>Another LIGHT goes on . They 're starting to make a line . Buzzers going off now . A general ALARM sounded .</scene_description>
<character>RADIO GUARD</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Escape in progress. Heading for the roof.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - STAIRWELL - NIGHT</stage_direction>
<scene_description>The Crow flaps up the stairwell . Alex on its heels , taking steps three at a time . AT THE TOP OF THE STAIRWELL The Crow waits on a LANDING with a door marked `` Emergency Use Only . '' Plus a dozen lines of assorted instructions . Guards ' feet THUNDER below , approaching .</scene_description>
<character>ALEX</character>
<dialogue>I hear the pitter patter of little feet.</dialogue>
<scene_description>He opens the door . The ALARM is LOUD .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - ROOFTOP - NIGHT</stage_direction>
<scene_description>Dark a moment . Then a HUGE SPOTLIGHT hits Alex , casting long shadows . He looks up at a GUARD TOWER , the source of the light . And of a BULLHORN VOICE .</scene_description>
<character>BULLHORN VOICE</character>
<dialogue>Do not proceed. Back slowly away from the fence.</dialogue>
<scene_description>As if in defiance , the Crow hops toward the fence , old chain link topped with razorwire along the perimeter of the roof . BULLHORN VOICE CONTINUES as Alex follows . ALEX 'S POV through the fence , down fifty feet to the pavement .</scene_description>
<character>ALEX</character>
<dialogue>Damn.</dialogue>
<scene_description>Alex turns , sees . A HALF DOZEN GUARDS emerge from the stairwell to the top of the roof , level weapons at Alex. ON THE FENCE - ALEX climbs quickly to the top , where he grabs two painful handfuls of razorwire that cut deeply into this hand . He extricates himself , balancing atop the fence . And looks . ALEX 'S HANDS The jagged bloodlines disappear , miraculously heal . FAVORING ALEX as he holds up his hands to show the guards , a kid - like smile on his face . They respond by raising their weapons and BAM BAM BAM . Alex hurls himself off the edge in a hail of Gunfire that Dopplers down to silence as he falls , falls .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - BASE OF THE WALLS - NIGHT</stage_direction>
<scene_description>AT THE BASE OF `` THE WALLS '' Alex hits , flushing PIGEONS , that fill frame with manic wings . As the SPOTLIGHT sweeps toward Alex he rolls off , over the sidewalk , between two parked cars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - ROOFTOP - NIGHT</stage_direction>
<scene_description>ON THE ROOFTOP Mercer and the others stand there dumbstruck , looking down as the SPOTLIGHT finds nothing . A RADIO CRACKLES . Mercer keys it a beat later .</scene_description>
<character>RADIO GUARD VOICE</character>
<dialogue>Physical head count shows all inmates present.</dialogue>
<scene_description>Mercer moves the radio away from his head .</scene_description>
<character>MERCER</character>
<dialogue>Then who was the fucking Houdini?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - BASE OF THE WALLS - NIGHT</stage_direction>
<scene_description>AT THE BASE OF `` THE WALLS '' Illuminated by spill from the Spotlight , Alex crouches between two cars . He leans forward , checking his reflection in a CHROME HUBCAP . A huge smile spreads over his face .</scene_description>
<character>ALEX</character>
<dialogue>Happy birthday.</dialogue>
<scene_description>He laughs . Life - or whatever this is - is good . So far .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY - AIRBORNE - NIGHT</stage_direction>
<scene_description>The CROW flies past tall buildings downtown .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - NIGHT</stage_direction>
<scene_description>The crow flies past letters P - O - L - I - C - E on the side of an older building taking us to .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - EVIDENCE ROOM - NIGHT</stage_direction>
<scene_description>SMASH . A hand punches through a sash window , right through the imbedded security wires , roughly rips off the latch inside . Retracts , bleeding . The window opens . It 's Alex , on the fire escape , checking out his arm as the BLEEDING STOPS . Alex follows the Crow into the dark room packed with file cabinets and evidence bins , wire lockers . And a desk , strewn with POLICE FORMS . Plus a vertical SPIKE with processed evidence request FORMS impaled on it .</scene_description>
<character>ALEX</character>
<parenthetical>( checking out desk . )</parenthetical>
<dialogue>Police? Evidence?</dialogue>
<parenthetical>( then , to Crow . )</parenthetical>
<dialogue>Look. I like what we've got going here. But I can think of lots better to do with it than fighting crime. Know what I mean?</dialogue>
<scene_description>The Crow makes its way to a file cabinet , the top drawer marked `` Cl - Cr . '' Alex lingers a moment at the desk , eye on the spike . WHOP . Alex drives his hand onto the SPIKE . Looks up , delighted . CAW . The Crow gives Alex an admonishing look . Alex pulls the spike from his hand . Instant healing .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ok, ok. what?</dialogue>
<scene_description>Alex opens the top drawer . Looking for . he 's not sure what . Glibly goes through folders .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nothing under `` Crow.''</dialogue>
<scene_description>He stops . Pulls out the first FILE out in a thick section marked `` CORVIS , ALEXANDER F. '' Having caught a glimpse of . IN THE FILE - ALEX 'S MUG SHOT And rap sheet . X - CLOSE . We see `` Murder 1st degree , '' `` Penalty Phase : Find for Execution . ''</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Execution?</dialogue>
<scene_description>But even this has little interest for him as the finds the words `` Lauren Randall '' on the page .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( remembering . )</parenthetical>
<dialogue>Lauren.</dialogue>
<scene_description>ALEX rips the drawer out of the file cabinet , dumps it CRASHING on the ground . He drops to the floor with a growing sense of dread , feeling with both hands , finding . A SPLAY OF PHTOGRAPHS encased in plastic - the prosecutions ' background presentation on Alex and Lauren . The first photo shows LAUREN Posing jauntily , her arm around a Snowman . She and the Snowman wear matching Boston Red Sox caps . ALEX 'S INTERNAL POV On Alex , anticipating . WHAP ! A snowball nails him square in the face . WIDE to reveal LAUREN running for cover as Young Alex scoops up snow for ammo . He lobs a snowball at Lauren , just as she slips to the ground . she does n't get up right away . Alex is just a shade concernec as he runs over to her . He reaches the spot to find LAUREN in the snow , waving her arms and legs to make a snow angel . She looks up at him and beckons him to lie on top of her .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you, an Angel?</dialogue>
<character>LAUREN</character>
<dialogue>I'm your Angel. Come here.</dialogue>
<scene_description>RESUME Alex 's pained smile at the memory , until he finds : THE MURDER WEAPON A rough looking hunting knife bagged and tagged as `` AC - 005 : Murder Weapon . '' ALEX frantic now , spreading out the file contents , finding . CRIME SCENE PHOTOS In a Grove of tall trees , Lauren Randall 's stabbed and mutilated body , her neck slashed , head lolling sideways , melds with .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OLD GROWTH GROVE</stage_direction>
<scene_description>ALEX 'S INTERNAL POV Brief glimpses of Lauren with Alex in the Grove , happy , like the still photo Alex kept in his cell .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - EVIDENCE ROOM - NIGHT</stage_direction>
<scene_description>RESUME Alex full - blown tortured now , throwing things .</scene_description>
<character>ALEX</character>
<dialogue>No! I did n't!</dialogue>
<scene_description>Alex SMASHES his own head against the metal file cabinets , wounding himself on the handles , droplets of blood flying now , spattering the evidence on the floor . He reaches for the KNIFE , the murder weapon , to end the pain and FLASH .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>ALEX 'S INTERNAL POV A tunnelvision pop of Tommy Leonard on the witness stand . The knife held up for him by an unseen lawyer .</scene_description>
<character>TOMMY</character>
<dialogue>His knife. Corvis.</dialogue>
<character>ALEX'S VOICE</character>
<dialogue>You lie!</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - EVIDENCE ROOM - NIGHT</stage_direction>
<scene_description>RESUME Alex shakes his head `` no . '' Incredulous , horrified . The fury abating with a growing sense of mission .</scene_description>
<character>ALEX</character>
<dialogue>You lie, you lie, you lie.</dialogue>
<scene_description>Alex fishing through the detritus around him , finding . `` THE LIST '' A list of witnesses by category with contact numbers , addresses . Alex 's finger finds Eyewitness Thomas Leonard .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thomas Leonard.</dialogue>
<scene_description>THE DOOR TO THE EVIDENCE ROOM opens . A YOUNG COP enters , walks slowly past rows of file cabinets , looking down empty aisles until finding the file drawerful Alex dumped . But Alex is gone . The Young Cop looks up as the Crow departs through the window and two other cops arrive . One of them Dutton .</scene_description>
<character>DUTTON</character>
<dialogue>What the hell was that?</dialogue>
<parenthetical>( then seeing mess . )</parenthetical>
<dialogue>Shit.</dialogue>
<scene_description>Dutton walks to the mess on the floor , curious . He squats . Picks up a tag marked `` Murder Weapon AC - 005 '' staples ripped out , nothing attached to it . Takes in the crime scene photos of Lauren . Off the PIX .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - NIGHT</stage_direction>
<scene_description>CAMERA DRIFTS down through dark trees FINDING Alex at a grave beneath a sheltering tree .</scene_description>
<character>ALEX</character>
<dialogue>I thought I'd be with you now.</dialogue>
<scene_description>He 's kneeling in front of a HEADSTONE . `` Lauren Randall 1982 - 2000 . Always With Us . '' The Crow perched nearby . Camera circles Alex who looks up as the headstone WIPES through frame and . ALEX 'S INTERNAL POV LAUREN NATHAN , a compelling sixteen year old , circles making an oddly sexy version of the `` Oooo '' Bruce Lee sound . A goof , a game she 's playing with Alex , who circles opposite .</scene_description>
<character>LAUREN</character>
<parenthetical>( `` Chinese '' pseudo dub . )</parenthetical>
<dialogue>Your Shaolin style is no match for my kung fu.</dialogue>
<scene_description>As Alex wipes by . RESUME Camera continues to circle Alex at the grave .</scene_description>
<character>ALEX</character>
<dialogue>I'm not dead. And I'm not alive. And I'm remembering. And it hurts.</dialogue>
<scene_description>ALEX 'S INTERNAL POV More goof kung fu , the circle closing . Lauren laughing more , searching for words .</scene_description>
<character>LAUREN</character>
<dialogue>Your. flying crane style is no match for my. drunken tiger kick.</dialogue>
<scene_description>RESUME Resolve strengthening .</scene_description>
<character>ALEX</character>
<dialogue>I ca n't be alive. Not without you.</dialogue>
<scene_description>ALEX 'S INTERNAL POV Lauren 's starting to crack up , trying to think of what comes next .</scene_description>
<character>LAUREN</character>
<dialogue>Your. mad monkey. love. is no match for.</dialogue>
<scene_description>They look at each other a long moment . As they kiss . RESUME</scene_description>
<character>ALEX</character>
<dialogue>I want to be with you forever.</dialogue>
<scene_description>ALEX 'S INTERNAL POV Lauren in his arms as the kiss ends , and she answers a question we never heard .</scene_description>
<character>LAUREN</character>
<dialogue>Only forever?</dialogue>
<scene_description>RESUME OVER THE CROW . Camera stops circling . Alex looks up at the headstone , silent tears in his eyes as .</scene_description>
<character>ALEX</character>
<dialogue>What happened to us?</dialogue>
<scene_description>A SINGLE BLOOD RED TEAR rolls down the cheek of the angel atop the headstone . Alex stops it with his finter . WIDER , the supplicant at the grave . And the Crow nearby .</scene_description>
</scene>
<scene>
<stage_direction>INT. MERCEDES - TRAVELLING - NIGHT - RAIN</stage_direction>
<scene_description>A GIRL 'S HAND clutches a HEART SHAPED LOCKET . TILT UP , it 's Erin , wearing an identical LOCKET around her neck . School uniform , pleated skirt and school books . The splish splash of the wipers the only sound until .</scene_description>
<character>ERIN</character>
<dialogue>Dad.</dialogue>
<scene_description>Nathan looks over . Sees she 's holding the Locket .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want to take this to Lauren. She'd want it.</dialogue>
<character>RANDALL</character>
<dialogue>Honey. I just ca n't.</dialogue>
<character>ERIN</character>
<dialogue>Stay in the car. I'll only take a second.</dialogue>
<character>RANDALL</character>
<dialogue>Erin. I know you think she's been talking to you.</dialogue>
<character>ERIN</character>
<dialogue>It's not that. Really. It's just. now that he's gone, I think it's time.</dialogue>
<scene_description>Off her dad .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - NIGHT - RAIN</stage_direction>
<scene_description>The Benz stops on the roadway beneath Lauren 's grave . The door opens . ERIN gets out in the pouring rain pulling her jacket HOOD up over her head . Locket in hand she runs to . LAUREN 'S GRAVE The tree a shelter from the downpour . Erin 's approaching the headstone when Alex emerges from behind the trunk . Drenched . She YELPS .</scene_description>
<character>ALEX</character>
<dialogue>It's ok. I'm not going to hurt you.</dialogue>
<character>ERIN</character>
<dialogue>Do n't come near me!</dialogue>
<scene_description>He holds his hands up , compliant . She does n't bolt . But she 's ultra - cautious . Like with a snarling dog .</scene_description>
<character>ALEX</character>
<dialogue>I was a friend of your sister's.</dialogue>
<character>ERIN</character>
<dialogue>I know her friends.</dialogue>
<character>ALEX</character>
<dialogue>That locket you're holding. You have one just like it.</dialogue>
<scene_description>She lifts the Locket around her neck . Visible to anyone .</scene_description>
<character>ERIN</character>
<dialogue>Yeah, no kidding.</dialogue>
<character>ALEX</character>
<dialogue>Your father gave them to both of you.</dialogue>
<character>ERIN</character>
<dialogue>And he's right over there by the way.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>What did you do to your face?</dialogue>
<character>ALEX</character>
<dialogue>Someone else did it.</dialogue>
<character>ERIN</character>
<dialogue>You're a friend of the guy who killed her, are n't you? You almost sound like him.</dialogue>
<character>ALEX</character>
<dialogue>He did n't kill her.</dialogue>
<character>ERIN</character>
<dialogue>How do you know?</dialogue>
<character>ALEX</character>
<dialogue>I know everything about your sister. I'll prove it to you.</dialogue>
<character>ERIN</character>
<parenthetical>( loud now . )</parenthetical>
<dialogue>Stay away from me! Dad! Dad!</dialogue>
<scene_description>OS , the car door opens . Then SLAMS shut . Nathan approaches .</scene_description>
<character>RANDALL</character>
<dialogue>Erin!</dialogue>
<character>ERIN</character>
<dialogue>Watch out!</dialogue>
<scene_description>She whips around , points at . Alex is gone .</scene_description>
<character>RANDALL</character>
<dialogue>What were you yelling about?</dialogue>
<character>ERIN</character>
<dialogue>This guy said he was a friend of Lauren's. He had like paint all over his face.</dialogue>
<character>RANDALL</character>
<dialogue>Are you ok?</dialogue>
<character>ERIN</character>
<dialogue>What's that supposed to mean? He was right here. He was!</dialogue>
<scene_description>She shakes her head , confused , then , looking around spots . THE HEADSTONE . The track from the RED TEAR indelible even in the downpour . Off Erin , as she touches the angel 's stained cheek . And her dad , soggy in the rain .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TENEMENT BUILDING - RAIN - NIGHT</stage_direction>
<scene_description>A street LIGHT flickers on . Maybe because night has fallen or maybe its just a rainy day . Thomas Leonard hikes up his collar , trying to stay dry , as he pauses a clutch of hookers huddled in a doorway .</scene_description>
<character>HOOKER</character>
<dialogue>Yo, Tommy. Red light special.</dialogue>
<parenthetical>( hikes her skirt . )</parenthetical>
<dialogue>Even you can afford it.</dialogue>
<scene_description>He shakes his head - do n't need that grief - continues on to the next building and CAMERA FINDS . ALEX watching , holding `` The List . '' He crosses off the name for Eyewitness `` Thomas Leonard . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. TENEMENT HALLWAY - NIGHT</stage_direction>
<scene_description>Tommy clears the stairs , heads for his door . Unlocking the second lock , he looks around , alert , like he heard something . Then opens the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. TENEMENT - TOMMY'S APARTMENT - NIGHT</stage_direction>
<scene_description>Alex waits for Tommy , crouched by an OPEN WINDOW that looks out onto an alley , a four story drop .</scene_description>
<character>TOMMY</character>
<parenthetical>( sees Alex , then . )</parenthetical>
<dialogue>March?!</dialogue>
<character>ALEX</character>
<dialogue>Sssshhh. She's resting.</dialogue>
<character>TOMMY</character>
<dialogue>Where the fuck did you come from?</dialogue>
<character>ALEX</character>
<dialogue>Big bang, primordial ooze, divine hand of a benevolent creator? All possibilities. Although recent events have given me doubts about the benevolent creator.</dialogue>
<scene_description>Tommy starts toward Alex , who pulls the KNIFE from the Evidence Room .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You lied at my trial.</dialogue>
<character>TOMMY</character>
<dialogue>I do n't know you, man.</dialogue>
<character>ALEX</character>
<dialogue>Capital case nine nine dash C one one five. Alex Corvis.</dialogue>
<parenthetical>( flashes knife . )</parenthetical>
<dialogue>Exhibit A.</dialogue>
<scene_description>WHAM . Alex pins what looks like Tommy 's arm . It 's just his jacket , but it immobilizes Tommy .</scene_description>
<character>TOMMY</character>
<dialogue>Hey. I said what I saw. Two kids arguing. A guy and a girl.</dialogue>
<character>ALEX</character>
<dialogue>You said you saw me with this. I never held it until today.</dialogue>
<character>TOMMY</character>
<dialogue>What's your damage, man? Corvis hacked up that girl like a motherfucker.</dialogue>
<scene_description>Alex HEAVES Tommy crashing into the window , smashing the glass and cheap aluminum frame . Tommy hanging halfway in , halfway out . Four floors above the alley . Alex rips Tommy 's shirt where the knife already cut it . JACKS the sleeve down . No scar there .</scene_description>
<character>ALEX</character>
<dialogue>One chance to tell the truth, Tommy. Who is the man with the scar? He planted this in my car.</dialogue>
<character>TOMMY</character>
<dialogue>There's no scar. Corvis made it up.</dialogue>
<character>ALEX</character>
<dialogue>Wrong. Answer.</dialogue>
<character>TOMMY</character>
<dialogue>Who are you?</dialogue>
<character>TOMMY'S WIFE</character>
<dialogue>Tommy!</dialogue>
<scene_description>TOMMY 'S WIFE enters from the bedroom , SCREAMING . Heavy eye makeup , looking like she just woke up . OS , a TODDLER CRIES as she throws herself on Alex and they spill back inside .</scene_description>
<character>TOMMY'S WIFE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let him go! Let him go!</dialogue>
<character>TOMMY</character>
<dialogue>Honey. Take the baby. Get out of here now!</dialogue>
<scene_description>But she does n't leave . She pleads in wrenching SOBS that seem to affect Alex. The Crow lands in the window .</scene_description>
<character>TOMMY'S WIFE</character>
<dialogue>He's all I got. Tommy and the baby. Do n't take him. The baby needs a father.</dialogue>
<scene_description>Her MASCARA runs down her cheeks , a facsimile of Alex 's mask . They share a long look , connected by pain . The Crow cawing a warning , hopping in the window as .</scene_description>
<character>ALEX</character>
<dialogue>Your baby is crying. Go.</dialogue>
<scene_description>Tommy nods at his wife , who heads off to the bedroom . The Crow gives Alex an admonishing CAW , then takes flight .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What did they give you?</dialogue>
<character>TOMMY</character>
<dialogue>They showed me pictures, what he did to her. Evidence. Said all I had to do was stand up there and not my head `` yes.''</dialogue>
<character>ALEX</character>
<parenthetical>( repeats , insistent . )</parenthetical>
<dialogue>What did they give you?</dialogue>
<character>TOMMY</character>
<dialogue>A job. Construction. Twelve an hour.</dialogue>
<scene_description>Tommy 's wife returns , holding a fifteen month old BOY . Alex unfolds `` The List , '' passes it to Tommy , blank side up .</scene_description>
<character>ALEX</character>
<dialogue>Write down their names. All of them.</dialogue>
<scene_description>But Tommy takes a look at `` The List '' and flips it over . `` THE LIST '' Tommy points to the Police Witness list . Dutton , Erlich , Larkin , Toomey .</scene_description>
<character>TOMMY</character>
<dialogue>You already got'em. Right here. These cops said the needed an eyewitness, or Corvis would walk.</dialogue>
<scene_description>ALEX drops his head . All clear now . He laughes gently at the sound of SIRENS approaching , still blocks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - DIMNESS</stage_direction>
<scene_description>CAMERA CREEPS toward the by now familiar Mystery Man , bent over his work at the table across the room . CLOSE . A lineup of short -LRB- 2 '' -RRB- rods . One selected with a pair of surgical forceps , INSERTED through a hole in human flesh , raising a considerable welt . Some bleeding . As the man reaches for a cotton ball , he notices an empty STAND among the taxidermy specimens . Marked `` Corvus brachyrhynchos . '' He scans the table , searching , then throws up his hands , shielding his face as a Crow flies out of the darkness , right at him . The man turns toward Camera but we never see his face as the Crow wheels mid - air , flying past him a second time . As the Crow flies up and out a SMALL WINDOW , the man stands , hands on the desk . SLOW PUSH on the man , on . A ZIGZAG PATTERN of raised welts on the underside of his forearm , in high relief under the Draftsman 's lamp . The `` Scar . '' A drop of blood zigzags , running downward . SLOW FADE OUT . OVER BLACK , the CRACKLE of a Police Radio . We 're .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #1 - NIGHT</stage_direction>
<scene_description>HIGH ANGLE . A police CRUISER has stopped a late model CADILLAC SEVILLE on a deserted street . IN THE POLICE CAR CLOSE . COP I.D. `` Dutton , Philip '' with a picture of the same face CAMERA FINDS working a bad comb - over in the rearview mirror . IN THE SEVILLE TRACY , almost sixteen , dressed for nightlife , sees Dutton primping in her rearview mirror . He 's getting out now .</scene_description>
<character>TRACY</character>
<dialogue>Oh no.</dialogue>
<scene_description>She jostles her friend JANNIE , passed out in the front passenger seat , trying to rouse her . No luck . DUTTON motions and Tracy buzzes down the window .</scene_description>
<character>TRACY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Anything wrong?</dialogue>
<character>DUTTON</character>
<dialogue>Let's hope not. License and registration please.</dialogue>
<scene_description>Tracy tries hard to keep her smile going as she looks through her purse . Not finding anything .</scene_description>
<character>DUTTON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's with your friend there?</dialogue>
<character>TRACY</character>
<dialogue>She's. sick.</dialogue>
<parenthetical>( off Dutton . )</parenthetical>
<dialogue>Actually she never had Mai Tais before.</dialogue>
<character>DUTTON</character>
<dialogue>But you, you've had them.</dialogue>
<character>TRACY</character>
<dialogue>Not tonight. Honest.</dialogue>
<scene_description>Tracy paws through her purse some more . Vamping .</scene_description>
<character>DUTTON</character>
<dialogue>If you had a license, I bet I'd have seen it by now. How old are you? Fifteen?</dialogue>
<character>TRACY</character>
<dialogue>Look, I'll tell you the truth. Jannie drove us and was supposed to drive us back, she has a license, but I mean. look at her.</dialogue>
<scene_description>Dutton leaves that dangling . Circles around to the passenger side .</scene_description>
<character>TRACY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( whisper to Jannie . )</parenthetical>
<dialogue>Get up, get up!</dialogue>
<scene_description>Dutton opens Jannie 's door , leans in , slides a hand between her slightly parted legs . Dutton smiles at Tracy .</scene_description>
<character>DUTTON</character>
<dialogue>Why do n't you get out.</dialogue>
<scene_description>CROWVISION High overhead . Tracy steps out of the car . Dutton shuts the passenger door , points . Tracy moves behind the Seville . RESUME Dutton closes in . She 's getting very nervous .</scene_description>
<character>TRACY</character>
<dialogue>You want me to walk a straight line?</dialogue>
<character>DUTTON</character>
<dialogue>I want you. to bend over.</dialogue>
<character>TRACY</character>
<dialogue>Look, can I just call a cab?</dialogue>
<character>DUTTON</character>
<dialogue>What did I say?</dialogue>
<scene_description>Tracy bends over the car trunk . Dutton eases her feet apart with the tip of his boot then pulls out his NIGHTSTICK , uses it to lift her tiny skirt slowly up over her butt . As he does , she stands back up , shakes her head `` no . ''</scene_description>
<character>DUTTON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Maybe I'll ask your friend.</dialogue>
<scene_description>Tracy 's frantic , about to call out as Dutton moves to the passenger door , opens it and . OVER DUTTON - ALEX sits in the passenger seat now . Jannie shunted inward .</scene_description>
<character>ALEX</character>
<parenthetical>( mimicking Dutton . )</parenthetical>
<dialogue>I want you. to bend over. Officer Dutton.</dialogue>
<scene_description>Dutton pulls his 9MM BARETTA on Alex.</scene_description>
<character>DUTTON</character>
<dialogue>Where'd you come from? Out of the car. Now!</dialogue>
<scene_description>With insolent slowness , Alex finishes writing . `` THE LIST '' a red line drawn through Dutton 's name . ALEX gets out of the car . Dutton SLAMS the door and Janie stirs , coming to . At least a bit .</scene_description>
<character>DUTTON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hands on the car.</dialogue>
<character>ALEX</character>
<dialogue>Question. These hands?</dialogue>
<scene_description>Alex advances on Dutton .</scene_description>
<character>DUTTON</character>
<dialogue>You're dead, ditch weed.</dialogue>
<scene_description>CLOSE . Dutton 's finger squeezes the trigger . BAM ! The shot blows Alex back at the Seville passenger window . Slumped face against the car .</scene_description>
<character>TRACY</character>
<dialogue>Omigod, omigod.</dialogue>
<scene_description>Jannie 's head pops up inside the car . She SCREAMS at . JANNIE 'S POV Alex right in her face , nice and dead . Dutton lowers his gun BG . Tracy in a panic . Suddenly , Alex opens his eyes , smiles . Face distorted against the glass . She screams again .</scene_description>
<character>ALEX</character>
<dialogue>You're up.</dialogue>
<scene_description>ALEX wheels around , wrenches Dutton 's wrist , vise gripped . Dutton 's gun falls to the ground .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ladies. Drive carefully.</dialogue>
<scene_description>Tracy rushes to the driver side .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You might want to call 911. Report an officer down.</dialogue>
<scene_description>Tracy SCREECHES off leaving Dutton in shock .</scene_description>
<character>DUTTON</character>
<dialogue>That was a fucking hollow point!</dialogue>
<character>ALEX</character>
<dialogue>I guess it's true. Guns do n't kill people.</dialogue>
<scene_description>Alex draws the KNIFE - the murder weapon - from his costume .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Think maybe knives do?</dialogue>
<character>DUTTON</character>
<dialogue>Keep that thing away from me.</dialogue>
<character>ALEX</character>
<dialogue>This is not just some `` thing.'' It's A C zero zero five.</dialogue>
<character>DUTTON</character>
<dialogue>You're the skel broke into the evidence room.</dialogue>
<scene_description>FLASH . The knife moves and RIP ! Alex yanks the sleeve off Dutton 's uniform , revealing a SCARLESS FOREARM .</scene_description>
<character>DUTTON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Fuck! What do you want?</dialogue>
<character>ALEX</character>
<dialogue>A scar. On the arm. Of the man who planted this in Alex Corvis's car.</dialogue>
<character>DUTTON</character>
<dialogue>There's no scar, you freak. The Corvis kid made it up.</dialogue>
<scene_description>Alex glitches , hearing this a second time , then RAMS Dutton into a wall with a great CLATTER of trash cans . Alex all over him , holding Dutton 's head firmly in his two hands , like he could crush it in an instant .</scene_description>
<character>ALEX</character>
<dialogue>He was innocent. You framed him. You. And Erlich. And Larkin. And Toomey. What do you think, Officer Dutton? An eye for an eye?</dialogue>
<scene_description>Alex 's thumbs inch toward Dutton 's eyes , grazing Dutton 's eyelids now and a wild thing happens . FLASH ! ALEX 'S INTERNAL POV Dutton 's Nightstick lifts Lauren 's skirt . Then flashs of a bloodsoaked struggle , Lauren 's death . And the surprise BAM ! of a shot fired . RESUME Alex thrown by this . Relaxes his grip on Dutton .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You were there. All four of you.</dialogue>
<scene_description>Dutton kicks him off , smashes a garbage can over Alex 's back then pulls a SMALL SEMI - AUTO from an ankle holster .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You killed her. I saw it.</dialogue>
<character>DUTTON</character>
<dialogue>Bitch killed herself when she shot a cop in the leg. If she' just acted like a girl nothing would have happened.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>So you're right, spooky. Happy?</dialogue>
<scene_description>BAM ! Alex barely slowed by the shot , advancing , Dutton starting to panic . BAM ! Alex keeps coming , right up to the gun . Pointed right at his face , then . WHOOSH . Alex flips it around , RAMS the gun in Dutton 's mouth . He could n't talk if he wanted to .</scene_description>
<character>ALEX</character>
<dialogue>I'm working on it.</dialogue>
<scene_description>BAM ! We HEAR the blast as we . CUT TO :</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - NIGHT</stage_direction>
<scene_description>BAM BAM continues , but these are TOY GUNS , fired in synch with POUNDING MUSIC . In the hands of TWO STRIPPERS . Topless , leather G 's and chokers , black stockings , POLICE HATS on their heads , law enforcement stars for earrings . The CAPACITY CROWD responds as they pout , wield their weapons . AT THE ENTRANCE - MADDEN a straightfaced plainclothes detective , more upscale than the clientele , flashes a BADGE at a BOUNCER who scowls , lets him pass . WITH MADDEN circumnavigating the mainstage , where the cop - strippers are waving handcuffs now . At the edge of the room , LAP - DANCERS pull one - on - one 's for twenties . Madden exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACKSTAGE - NIGHT</stage_direction>
<scene_description>BACKSTAGE Madden moves past girls in various stages of undress . Smoking , yapping , waiting to go onstage . One looks up , interested , but he does n't look back , exits into .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - INTERNET PORN FACILITY</stage_direction>
<scene_description>AN INTERNET PORN FACILITY Where `` live '' sex workers man tiny fantasy sets - a Dungeon , a Shower , a desk and blackboard meant to suggest a Schoolroom . Crudely built , but good enough for 500x800 pixel resolution . Madden stops a second , looking . OVER A MONITOR - THE DUNGEON SET UPDATES every six seconds , the slowly changing low - rez version of the action on the set - a woman tied to a chair with bright surgical tubing . The picture refreshes and BG , the woman sneaks an expertly timed sip of Diet Coke , puts the can away before the picture updates again . A COUNTER shows 132,768 hits and climbing . Madden gives a look , like people are really fucked up , continues past a curtain with a `` No Admittance '' sign into .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACK HALL - NIGHT</stage_direction>
<scene_description>A BACK HALL dark , the furthest recesses of the building . Madden continues cautiously toward . A DOOR</scene_description>
</scene>
<scene>
<stage_direction>INT. THE HOLE - BACK ROOM - NIGHT</stage_direction>
<scene_description>The door is cracked open . Madden moving very quietly now , scowling as he peers through the slight opening . Three guys and whirring machines counting stacks of money . Guns on the tabletops , in holsters , out of reach . The door flies open .</scene_description>
<character>MADDEN</character>
<dialogue>Police!</dialogue>
<scene_description>A moment of panic as the guys bent over the machines freeze . Raise their hands , slowly turn . Then lower their hands .</scene_description>
<character>ERLICH</character>
<dialogue>You fuck. Do n't do that.</dialogue>
<scene_description>It 's Erlich , Larkin and Toomey . Three cops we met at the execution . Erlich 's cane nearby .</scene_description>
<character>MADDEN</character>
<dialogue>How's the month end?</dialogue>
<character>ERLICH</character>
<dialogue>Oh yes. Never been better.</dialogue>
<character>MADDEN</character>
<dialogue>Where's Dutton?</dialogue>
<character>ERLICH</character>
<dialogue>Probably parked near some high school with a hardon. Fuck never showed.</dialogue>
<character>MADDEN</character>
<dialogue>Anyone at all curious why?</dialogue>
<scene_description>Erlich , Larkin and Toomey exchange a look . Madden goes to one of the money counters and grabs . A STACK OF TWENTIES tossed violently at the ceiling . Larkin and Toomey scramble as the bills flutter down like leaves , picking them up .</scene_description>
<character>MADDEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You leave the door open with two hundred strangers out there! What's it take for you guys to learn a goddamn lesson?</dialogue>
<character>TOOMEY</character>
<dialogue>No one saw anything, Mad.</dialogue>
<character>MADDEN</character>
<dialogue>You know why Dutton's not here? Rigor mortis! He's dead.</dialogue>
<scene_description>The Three exchange looks .</scene_description>
<character>MADDEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>One shot to the head, then fifty three stab wounds with a six inch blade. Any deja vu here? Think Corvus knife, missing from the evidence room.</dialogue>
<character>TOOMEY</character>
<dialogue>Since when?</dialogue>
<character>MADDEN</character>
<dialogue>Since last night. As usual, you're right on top of things.</dialogue>
<character>LARKIN</character>
<dialogue>It was supposed to end when Corvis died. Remember? The kid no one would miss?</dialogue>
<character>ERLICH</character>
<dialogue>Do n't look at me, asshole.</dialogue>
<character>LARKIN</character>
<dialogue>Hey, I did n't kill anybody.</dialogue>
<character>ERLICH</character>
<dialogue>Back off. I mean it.</dialogue>
<character>MADDEN</character>
<dialogue>Shut up! Erlich and Larkin settle down.</dialogue>
<character>MADDEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Crime scene's a goddamn clusterfuck. Every reporter in town's trying to get a look at Dutton's body. I suggest we get a line on this before someone else does.</dialogue>
<character>LARKIN</character>
<dialogue>Who'd give a shit about Corvis at this point? Kid did n't have a friend in the world even when he was alive.</dialogue>
<character>ERLICH</character>
<dialogue>I can think of one.</dialogue>
<scene_description>Erlich and Madden share a look . On the same wavelength . Erlich picks up his weapon off the table .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #1 - NIGHT</stage_direction>
<scene_description>A large CRIME SCENE marked off by tape , Dutton 's cruiser where he left it . Several other cruisers nearby , lights flashing . An ambulance , stretcher being unloaded now . AN ACTION NEWSTEAM the one we 've seen before , Barbara Gonzalez frontman , speaking into a mic , too far away for us to hear .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - ERIN'S BEDROOM - NIGHT</stage_direction>
<scene_description>CLOSE on a TV . Gonzalez audible now .</scene_description>
<character>GONZALEZ</character>
<dialogue>rumors multiply as officials refuse to confirm or deny reports of multiple, multiple stab wounds.</dialogue>
<scene_description>Gonzalez CONTINUES UNDER as .</scene_description>
<character>ERIN</character>
<dialogue>Dad! Come in here!</dialogue>
<scene_description>The SOUND of footsteps racing down the hall .</scene_description>
<character>RANDALL</character>
<dialogue>What is it?</dialogue>
<character>ERIN</character>
<dialogue>The cop who found the knife in Corvis's car.</dialogue>
<scene_description>Randall riveted by the TV now .</scene_description>
<character>GONZALEZ</character>
<dialogue>They're moving him now, body covered. It would appear that thirty seven year old Phillip Dutton is dead in the line of duty.</dialogue>
<scene_description>ON THE TV the Newsteam and Gonzalez SHOVED back by COPS running defense for the stretcher . Gonzalez grabs for the sheet covering the body and . NEWSCAM TIGHT on Dutton , as the sheet pulls down , partially uncovering . DUTTON 'S HEAD : Comb - over hanging to the side . Blood dripping from crude letters carved in his bald pate - the word `` DAISY . '' Quickly covered by a COP who yells at Gonzalez .</scene_description>
<character>COP</character>
<dialogue>Out of here! Now!</dialogue>
<scene_description>but through a digital miracle the `` Daisy '' frame has been grabbed , and appears as a still now behind Gonzalez . RESUME - FAVORING ERIN struck dumb by this .</scene_description>
<character>GONZALEZ</character>
<dialogue>Shocking even for these mean streets, the word `` Daisy'' apparently cut into his head by the perpetrator, still at large. A name. Perhaps a message.</dialogue>
<scene_description>Gonzalez FADES UNDER as Erin backs away from the TV .</scene_description>
<character>RANDALL</character>
<dialogue>What? What is it?</dialogue>
<character>ERIN</character>
<dialogue>Lauren called me that when we were little. Daisy. No one knew but us.</dialogue>
<character>RANDALL</character>
<dialogue>Honey. It's does n't mean anything. It's not a message.</dialogue>
<character>ERIN</character>
<dialogue>That guy in the cemetery today said he knew everything about Lauren.</dialogue>
<character>RANDALL</character>
<dialogue>It still does n't mean.</dialogue>
<character>ERIN</character>
<dialogue>He said he'd prove it.</dialogue>
<scene_description>Off Randall , as he sits on the bed , thoughtful .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #1 - NIGHT</stage_direction>
<scene_description>WIDE . The ambulance drives off , lights flashing , and we BOOM UP over the crime scene , over the Newsteam , revealing the top of Dutton 's cruiser , marked with a BLOODRED CROW . Continuing upward , FINDING . The Crow , perched high on a building . It takes flight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY - AIRBORNE - NIGHT</stage_direction>
<scene_description>The Crow soaring through this lousy part of town .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOW-RENT OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>The Crow swoops in , lands on the roof of a low end brick building , peers down over the edge . Camera DRIFTS DOWN the side of he building finding a light , someone burning the midnight oil . FINDING a CHESS SET mid - game near the open window as .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>WAM ! Erlich 's CANE knocks a pile of papers to the floor off a desk piled high with briefs .</scene_description>
<character>WALSH</character>
<dialogue>I do n't know about any knife. I'm trying to forget that case.</dialogue>
<character>ERLICH</character>
<dialogue>Well someone is n't. They killed Dutton.</dialogue>
<character>WALSH</character>
<dialogue>It was n't me.</dialogue>
<character>ERLICH</character>
<dialogue>No shit. You could n't get close to him. But I'm betting you know who did. Who's into Corvis? Huh?</dialogue>
<scene_description>Erlich flips through a Rolodex , knocks it to the floor , then picks up a PHONE LOG off the desk .</scene_description>
<character>ERLICH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Not a lot of calls. Business slow?</dialogue>
<scene_description>He tosses the phone log out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOW-RENT OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>HIGH ANGLE . Watching the phone log fluttering down . INCLUDE ALEX , sitting where the Crow was perched , wearing Dutton 's badge on his evolving costume . Alex winces at the voices faint but audible from below .</scene_description>
<character>ERLICH'S VOICE</character>
<dialogue>You're the only one gave a flying fuck about him when he was alive.</dialogue>
<character>WALSH'S VOICE</character>
<dialogue>Lauren Randall did.</dialogue>
<character>ERLICH'S VOICE</character>
<dialogue>Hey. Bitches are crazy. Richer they are, crazier they get.</dialogue>
<scene_description>`` THE LIST '' The name `` Erlich , Vincent '' crossed off now by Alex.</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>Erlich limps through frame toward Walsh , grabs him roughly by the collar .</scene_description>
<character>WALSH</character>
<dialogue>Maybe if you had n't fried an innocent kid.</dialogue>
<character>ERLICH</character>
<dialogue>Who is it?</dialogue>
<character>WALSH</character>
<dialogue>How about the real killer. You think of that?</dialogue>
<scene_description>Erlich violently tosses Walsh crashing back toward the window , falling by the chess board .</scene_description>
<character>ERLICH</character>
<dialogue>If you're covering for someone, that's jail time. I got my eye on you.</dialogue>
<scene_description>Erlich exits , slamming the door behind him . Walsh starts to get up , stops . Looking at his own eye level . ALEX 'S CHESS BOARD set up identically to the game in Alex 's cell , a piece of FOLDED PAPER protruding from under the board . Walsh pulls it out . It says `` Q - > B5 '' WALSH makes the move , Queen to Bishop Five . Smiles . Looks at . THE PAPER UNFOLDED says `` Check . '' Walsh sets it down in the Chess Box next to . THE PICTURE OF ALEX AND LAUREN arms around each other in the woods , smiling . WALSH sensing something , a presence .</scene_description>
<character>WALSH</character>
<dialogue>Alex?</dialogue>
<scene_description>Walsh moves cautiously to the curtains , draws them back . Nothing . He leans out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOW-RENT OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>CROWVISION : Starting on Walsh , popping his head out the window two stories down , INCLUDING Erlich as he exits the building , gets in a SILVER PORSCHE . Picture bending wildly as the Porsche takes off and the Crow takes flight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #2 - INTERSECTION - NIGHT</stage_direction>
<scene_description>A RED TRAFFIC LIGHT . The Porsche pulling to a stop . IN THE PORSCHE Erlich looks down , presses a button on the stereo . Elvis from his baroque period `` If I can Dream . '' Erlich looks up , waves his arms .</scene_description>
<character>ERLICH</character>
<dialogue>No, no.</dialogue>
<scene_description>ERLICH 'S POV - THROUGH THE WINDSHIELD A BUM starts to `` clean '' the windshield with an OILY rag , leaving opaque smears on the once clean glass . THUD . A handful of gravelly MUD lands on the windshield , starts to get smeared around . ERLICH pounding the window from inside .</scene_description>
<character>ERLICH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No! Shit!</dialogue>
<scene_description>The bum is giving the driver side window the same treatment . Hard to see anything now . Erlich throws up his hands in disgust , reaches for the door handle just as . SMASH ! The driver side window SHATTERS as something enters at high speed KICKING Erlich across the car . Erlich 's head bounces off the passenger window , leaving a BLOODY SMEAR . Alex in the driver seat now .</scene_description>
<character>ALEX</character>
<dialogue>The Germans really know how to make a car, do n't they?</dialogue>
<scene_description>LOW ANGLE ON THE PORSCHE wheels spinning as it peels out .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORVETTE - TRAVELLING - NIGHT</stage_direction>
<scene_description>WINDSHIELD WASHERS and WIPERS clear away the grime Alex smeared on the windshield , revealing that we 're rocketing through a bad part of town . MUSIC CONTINUES as Alex pulls the KNIFE out of his costume with his LEFT HAND . It looks huge in the cramped sports car .</scene_description>
<character>ALEX</character>
<parenthetical>( re : Lauren knife . )</parenthetical>
<dialogue>I heard you were looking for this.</dialogue>
<character>ERLICH</character>
<dialogue>You're the guy killed Dutton.</dialogue>
<character>ALEX</character>
<dialogue>I want you to think of me as the guy who killed you.</dialogue>
<scene_description>Erlich pulls a .380 SEMI - AUTO stashed between the two seats . Points it at Alex.</scene_description>
<character>ERLICH</character>
<dialogue>Stop the car.</dialogue>
<scene_description>Alex FLOORS it and . BAM . Erlich blows a hole through Alex 's LEFT ARM , a yawning aperture through which Erlich watches the passing scenery a few improbably seconds .</scene_description>
<character>ALEX</character>
<dialogue>Ow.</dialogue>
<scene_description>The WOUND closes . Knife still in Alex 's hand .</scene_description>
<character>ERLICH</character>
<dialogue>Fuck. Me.</dialogue>
<character>ALEX</character>
<dialogue>What happened to your leg there Officer? Hunting accident?</dialogue>
<scene_description>WHOP . In one swift move Alex impales the knife THROUGH ERLICH 'S WRIST , into his thigh . Erlich SCREAMS , tries to remove the knife , but Alex keeps a firm grip on the handle .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Lauren Randall shot you trying to get free. The fifty three stab wounds she died of came from you. Am I right? Ballpark?</dialogue>
<scene_description>Erlich tries to stay steely , yells louder as .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #2 - NIGHT</stage_direction>
<scene_description>The Corvette bumps over a sidewalk , runs a red light . A POLICE CRUISER going the other way pulls a stunt U , flips on its lights . In hot pursuit .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORVETTE - TRAVELLING - NIGHT</stage_direction>
<scene_description>Bumpier now as Alex 's driving gets more and more erratic .</scene_description>
<character>ALEX</character>
<dialogue>In Saudi Arabia they cut off the hands of petty thieves. What price for a life? Two lives?</dialogue>
<scene_description>FLASH . Alex yanks the Knife out and FLASH , slices through the left arm of Erlich 's jacket , sawing into the FLESH . Erlich 's arm bleeding .</scene_description>
<character>ERLICH</character>
<dialogue>Not my arm! What you fucking want?</dialogue>
<character>ALEX</character>
<dialogue>I want Lauren. I want my life back. I want. to know why.</dialogue>
<character>ERLICH</character>
<dialogue>Why? Why's anything happen? It's all money, man. Money. The girl just got in the way.</dialogue>
<scene_description>Alex grimaces , then RIP , he yanks the sleeves off Erlich 's arm . Erlich looks down , surprised to see his arm intact .</scene_description>
<character>ALEX</character>
<dialogue>The scar. Which of you has it?</dialogue>
<character>ERLICH</character>
<dialogue>Nobody.</dialogue>
<scene_description>Alex poises the knife for another descent .</scene_description>
<character>ERLICH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I swear. It's a bullshit fucking story the loser boyfriend made up.</dialogue>
<scene_description>This gives Alex pause . He shakes his head , clearing the reality glitch , looks up . IN THE REARVIEW MIRROR Cop cars , lights flashing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #4 - NIGHT</stage_direction>
<scene_description>The Corvette slides around a corner , screams into a final straightaway that dead ends into the sloping concrete side of an overpass . The cops not far behind . The Porsche bottoming out on a bump now ant .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORVETTE - TRAVELLING - NIGHT</stage_direction>
<scene_description>Alex 's sun visor falls partway down from the jolt . He reaches to push it back into position and notices . ON THE BACK OF THE VISOR The CAR REGISTRATION . Alex takes it out of the holder . RESUME Alex suddenly calm . He reaches down for . THE CIGARETTE LIGHTER pushed in . The volume on the Elvis song pumped up . ALEX relaxes back in his seat as they scream toward the abutment .</scene_description>
<character>ERLICH</character>
<dialogue>Are you out of your fucking mind? We're going to die.</dialogue>
<character>ALEX</character>
<dialogue>How can you die if you're already dead?</dialogue>
<character>ERLICH</character>
<dialogue>You're him. Corvis.</dialogue>
<character>ALEX</character>
<dialogue>I was talking about you.</dialogue>
<scene_description>Alex smiles as the CIGARETTE LIGHTER pops out . He grabs it and the GLOW vanishes as he closes his fist around it . Erlich turns front in horror . The microsecond of terror realized as Elvis climaxes , the retaining wall zoomes in .</scene_description>
<character>ELVIS</character>
<dialogue>My dream. comes true. right now!</dialogue>
</scene>
<scene>
<stage_direction>EXT. OVERPASS / ABUTMENT - NIGHT</stage_direction>
<scene_description>WHAM ! The Corvette hits at a million mph . Crumpling , disintegrating , and hurling two bodies bouncing off the abutment . THE CAVALRY - CRUISERS AND PLAINWRAPS Too late . A half dozen cars bearing down all lights and sirens . Screeching to a halt by what used to be a silver Porsche . The ruptured gas tank spurting GASOLINE . A CRUISER screeches to a halt . Both doors fly open . Toomey and Larkin step out . Toomey on his radio as Larkin looks up the embankment , catches a glimpse of . ALEX battered but alive , jerkily unclenches his fist , still holding the Lighter , glow fading . He tosses . THE CIGARETTE LIGHTER arcs down onto the ex - Corvette . WIDER - BOOM ! Cops shield themselves as the Crash scene explodes in a huge FIREBALL that engulfs a cruiser stopped too close by . IN THE TOO - CLOSE COP CAR the DRIVER rams the car into REVERSE . Tires squeal as the fireball hits and . THE TOO - CLOSE CRUISER Engine compartment ignites , a second fireball racing backward into another Cruiser . BOOM ! Total chaos now . LARKIN focussed on Alex , seen vaguely through the flames . Moving toward him . WITH LARKIN as he arrives at the top of the enbankment , draws his weapon . Hyperalert . Alex is gone , but he finds . ERLICH 'S BODY two hundred broken boned bagged by bruises . Larkin pulls something out of Erlich 's shattered fist . It 's . `` THE LIST '' Dutton and Erlich crossed off . Larkin and Toomey yet to go , but the first letters of their names are all contained in a VERTICAL OVAL , `` DELT '' circled in red . LARKIN , AS TOOMEY JOINS HIM They give each other an oh - shit look . Then Larkin checkes his fingertips , smeared red from . `` THE LIST '' - FLIP SIDE the CROW CIPHER , rendered thick in coagulating blood . Illuminated by the flickering light of the fire below .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - ERIN'S BEDROOM - NIGHT</stage_direction>
<scene_description>CLOSE . A heart shaped Locket swung gently back and forth , then closed in Erin 's hand as CAW ! Erin turns , sees the Crow perched on the window ledge . As she moves to the open window , the Crow flies off . ERIN 'S POV - OUT THE WINDOW - THE CRASH SCENE far away , the flashing lights and sirens of fire trucks arriving to bring the fire under control . ERIN looks , wondering , then spots something closer to hom . She moves off , WIPING through frame REVEALING . ON THE FRONT LAWY Alex. He looks down now , at the front door where .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RANDALL HOUSE - FRONT YARD - NIGHT</stage_direction>
<scene_description>Erin exits the front door and we see her framed against the huge house , a rich - man 's castle built in the twenties of quarried stone , quarter sawn oak and leaded glass . Erin , like her sister , a child of privilege . She approaches Alex.</scene_description>
<character>ERIN</character>
<dialogue>Daisy. How did you know?</dialogue>
<character>ALEX</character>
<dialogue>I told you, I knew your sister.</dialogue>
<character>ERIN</character>
<dialogue>You killed that cop Dutton.</dialogue>
<character>ALEX</character>
<dialogue>And another one. There. Erlich. Took a wrong turn.</dialogue>
<scene_description>Alex points at the distant crash site , the vague flashing lights .</scene_description>
<character>ERIN</character>
<dialogue>I know who you are.</dialogue>
<parenthetical>( no response . )</parenthetical>
<dialogue>That's why you paint your face. To hide.</dialogue>
<character>ALEX</character>
<dialogue>I'm not hiding. I'm right here.</dialogue>
<character>ERIN</character>
<dialogue>You killed Lauren! You killed her!</dialogue>
<scene_description>Erin shakes her head , trying to absorb what 's going on , then RUSHES ALEX , screaming , beating on him , fists of fury .</scene_description>
<character>ALEX</character>
<dialogue>Not me. Dirty cops killed her. Dutton, Erlich.</dialogue>
<scene_description>Alex tries to handle her flailing arms but she 's too manic . He 's getting hit in the face , the chest , and it 's hurting . He grabs her roughly , gets her to stop .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I've been shot, and stabbed and thrown from a car and none of it hurt. But what you're doing now, does. I do n't know why.</dialogue>
<character>ERIN</character>
<dialogue>My dad was right! He said you'd ruin her life.</dialogue>
<character>ALEX</character>
<dialogue>No. Listen to me. Lauren found out something they did n't want her to know.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>This.</dialogue>
<scene_description>He holds up a Card , the Registration from the Corvette .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>From the bonfire over there. Look at it.</dialogue>
<character>ERIN</character>
<dialogue>No! Why are you haunting me?</dialogue>
<character>ALEX</character>
<dialogue>Because you need to understand. And you need. to be careful.</dialogue>
<scene_description>He tries to give it to her one more time , then flips the card through the air . She turns , watching its flight all the way to the landing by the front door .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm sorry. Your father was n't right.</dialogue>
<scene_description>She turns back and . He 's gone . Erin walks to the door . Despite herself reaches for the Card on the landing . It 's . THE CORVETTE REGISTRATION which we see clearly for the first time . Owned by a company called DELT . The address is 4201 Forestview Drive . ERIN spins around horrified , holds up the Registration . THE ADDRESS ON THE REGISTRATION - 4201 FORESTVIEW matches the numbers two feet away from her - the address plaque on her own house .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - ROLL CALL BULLPEN - DAY</stage_direction>
<scene_description>The buzz of nervous COP WALLA settles out as a stocky SERGEANT # 2 , clueless but honest , raises his voice , trying to command attention .</scene_description>
<character>SERGEANT#2</character>
<dialogue>Listen up! Yo! We got a cop killer out there.</dialogue>
<scene_description>Walla responds `` no shit '' - and CAMERA BOOMS UP , moving to the back of the room over a nervous sea of blue uniforms .</scene_description>
<character>SERGEANT#2</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Til we get an I.D. treat everyone like a suspect. Patrol assignments are posted by the door. Read them. No singles, it's the buddy system til we catch this asshole.</dialogue>
<scene_description>Sergeant # 2 CONTINUES UNDER as CAMERA FINDS . FAVORING LARKIN , TOOMEY AND MADDEN huddling together at the back . Urgent whispers . Larkin and Toomey try to contain their panic .</scene_description>
<character>LARKIN</character>
<dialogue>He knows. I saw him. Fucking zombie mask.</dialogue>
<character>MADDEN</character>
<dialogue>Calm down.</dialogue>
<character>LARKIN</character>
<dialogue>You calm down.</dialogue>
<scene_description>Larkin takes out `` The List '' from the crash site .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Whose name's fucking next? Not yours.</dialogue>
<character>TOOMEY</character>
<dialogue>You did n't testify. You're not on the list.</dialogue>
<character>MADDEN</character>
<parenthetical>( flips it over . )</parenthetical>
<dialogue>Scary guy. Not only survives that crash, but takes time out for art.</dialogue>
<scene_description>He pockets `` The List . '' Then looks up as .</scene_description>
<character>SERGEANT#2</character>
<dialogue>Madden! Hey!</dialogue>
<scene_description>The entire room looking back at the three renegades .</scene_description>
<character>SERGEANT#2</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The old man's requested the pleasure of your company.</dialogue>
<scene_description>Madden shakes his head like this is bad news , rises and leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - HALLWAY - DAY</stage_direction>
<scene_description>A SECRETARY mans a LOW COUNTER guarding a large door at the end of the huge empty hall . She 's got a heavy mascara trailer park vibe , looks up from her eyelash curler at the sound of approaching FOOTSTEPS . HER POV - THROUGH THE EYELASH CURLER Madden approaches . Stops . THE SECRETARY smiles , hits a BUTTON under the counter . The door to the Captain 's office swings open .</scene_description>
<character>SECRETARY</character>
<dialogue>Glad I'm not you.</dialogue>
<character>MADDEN</character>
<dialogue>Right back at ya.</dialogue>
<scene_description>She checks out Madden as he moves past her , then puts the eyelash curler away in a NAILIT containing a couple of razor sharp SCALPELS .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - CAPTAIN'S OFFICE - DAY</stage_direction>
<scene_description>No sunlight in this cavernous , wood - panelled office . The Captain obscure in skifts of shadow at the edge of the room .</scene_description>
<character>CAPTAIN</character>
<dialogue>Sit down.</dialogue>
<scene_description>Madden sits .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I thought we had an understanding. I thought we understood that discretion is paramount.</dialogue>
<character>MADDEN</character>
<dialogue>Yeah, we do.</dialogue>
<character>CAPTAIN</character>
<dialogue>Shut up.</dialogue>
<scene_description>Madden does . The Captain begins and intense slow burn .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Erlich gimping around in his goddamn hot rod is not discreet. I've got reporters asking me how much he made. I've got the entire force looking at this case now.</dialogue>
<character>MADDEN</character>
<dialogue>I know.</dialogue>
<character>CAPTAIN</character>
<dialogue>You know.</dialogue>
<character>MADDEN</character>
<dialogue>I know the guy leaves a sign.</dialogue>
<scene_description>Madden produces `` The List , '' flips it over to show the Crow doodle in blood .</scene_description>
<character>CAPTAIN</character>
<dialogue>No shit he leaves a sign. He's a goddamn Picasso.</dialogue>
<scene_description>The Captain slaps down a crime scene photo - the Crow emblazoned huge on the top of Dutton 's cruiser .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What else do you know? Do you know this?</dialogue>
<scene_description>The Captain SLAMS a file down in front of Madden , who lets things cool out a moment before looking at it .</scene_description>
<character>MADDEN</character>
<parenthetical>( reads cover . )</parenthetical>
<dialogue>Tommy Leonard. The eyewitness in the Corvis case.</dialogue>
<character>CAPTAIN</character>
<dialogue>Some hooker phoned it in. There was a riot at his apartment yesterday.</dialogue>
<character>MADDEN</character>
<dialogue>Guy dressed for Halloween?</dialogue>
<character>CAPTAIN</character>
<dialogue>Good for you. You do know something.</dialogue>
<scene_description>They look up as the Secretary enters , holding the door open , like it 's time to leave . Madden starts to speak and .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't say. Just do. Before it all comes tumbling down.</dialogue>
<scene_description>The Secretary gives Madden a look as he exits , then joins the captain who 's standing . BY AN AWARDS CASE holding glass bowls and trophies presented to the Captain over the years for Civic Service . The Secretary wraps her arms around him from behind as he looks at his loot .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Idiots.</dialogue>
<character>SECRETARY</character>
<dialogue>Sssshhhh.</dialogue>
<character>CAPTAIN</character>
<dialogue>You're the only one who makes it go away.</dialogue>
<scene_description>As he turns toward her embrace , CAMERA ADJUSTS to point up something we may have noticed . IN THE CASE - A STUFFED BIRD , on one of the glass shelves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RANDALL HOUSE - NIGHT</stage_direction>
<scene_description>CAMERA CREEPS toward the large stone house . A light comes on at one end of the lower floor , shining through the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - NATHAN'S OFFICE - NIGHT</stage_direction>
<scene_description>Erin works at her father 's desk under the light of an antique floor lamp . Using a LETTER OPENER to PRY open . A DESK DRAWER full of files . She flips through , finds a manila file marked - DELT . Takes it out . ERIN lays the file open on the desktop . EMPTY . She checks . A SMALL PAPER SHREDDER under the desk . Judging from the paper spaghetti in the basket underneath , recently used . ERIN scoops up the shreds of paper . No way to reassemble this .</scene_description>
<character>RANDALL</character>
<parenthetical>( trying to be casual . )</parenthetical>
<dialogue>What are you doing there?</dialogue>
<scene_description>Erin 's a terrible liar , spooked as he approaches .</scene_description>
<character>ERIN</character>
<dialogue>I think I dropped an earring.</dialogue>
<character>RANDALL</character>
<dialogue>Looks like you have them both on.</dialogue>
<scene_description>She jumps up as her father reaches the desk , keeps her distance . He spots the empty DELT folder , closes it .</scene_description>
<character>ERIN</character>
<dialogue>Alex Corvis did n't kill Lauren. Cops did. Did n't they?</dialogue>
<scene_description>No response .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're in with them.</dialogue>
<character>RANDALL</character>
<dialogue>It's not what you think.</dialogue>
<character>ERIN</character>
<dialogue>You killed her!</dialogue>
<character>RANDALL</character>
<dialogue>No.</dialogue>
<character>ERIN</character>
<dialogue>Stay away from me! Stay away!</dialogue>
<character>RANDALL</character>
<dialogue>Erin. It was n't supposed to happen.</dialogue>
<scene_description>Erin SCREAMS , runs out the door with her hands over her ears . He misses a beat , then RUNS after her .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - FRONT FOYER - NIGHT</stage_direction>
<scene_description>Nathan catches up with her as she frantically grabs CAR KEYS out of a dish by the front door . He grabs hold of her arm , she struggles , CLAWS at his face to get loose . Squeaks out the door onto .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RANDALL HOUSE - FRONT YARD - NIGHT</stage_direction>
<scene_description>Erin runs to the far side of the big Benz , parked in the driveway . Tries the door . The ALARM goes off .</scene_description>
<character>RANDALL</character>
<dialogue>They killed her because she found out.</dialogue>
<character>ERIN</character>
<dialogue>About you.</dialogue>
<character>RANDALL</character>
<dialogue>About them. You've got to leave it alone.</dialogue>
<scene_description>ACROSS THE STREET , A PORCH LIGHT comes on . Erin hits a button on the key ring , CHIRP CHIRP . It stops .</scene_description>
<character>RANDALL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sweetheart.</dialogue>
<character>ERIN</character>
<dialogue>Do n't call me that! Do n't call me anything!</dialogue>
<scene_description>A NEIGHBOR opens the door , peers at them from across the street . Inquisitive .</scene_description>
<character>RANDALL</character>
<dialogue>I would never hurt you or Lauren. Never. Believe me.</dialogue>
<character>ERIN</character>
<dialogue>I do n't believe you.</dialogue>
<character>RANDALL</character>
<dialogue>Please. Come inside.</dialogue>
<character>ERIN</character>
<dialogue>I'm never going back in that house again. Get away.</dialogue>
<scene_description>He edges away from the car , reluctantly . She starts to get in , anger giving way to extreme sadness .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( crying now . )</parenthetical>
<dialogue>They killed Alex for something you did, daddy. You killed both of them.</dialogue>
<scene_description>She gets in the car . Starts it . ERRRKKKK ! She peels out backward down the driveway . SLAMS the car into Drive and tears off down the street . The Neighbor shakes her head at Nathan , goes back inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. TENEMENT - THOMAS LEONARD'S APARTMENT - NIGHT</stage_direction>
<scene_description>WHAM ! Thomas Leonard bounces off the wall , drops to the floor . A FEMALE FIGURE wipes through frame , throws herself on Larkin , who 's roughing up Tommy .</scene_description>
<character>TOMMY'S WIFE</character>
<dialogue>Please! Leave him alone!</dialogue>
<scene_description>Larkin backhands her sprawling to the floor , where she crawls to the WAILING BABY , takes him in sheltering arms .</scene_description>
<character>TOMMY</character>
<dialogue>I'm not making this up. He had a crow with him.</dialogue>
<character>LARKIN</character>
<dialogue>Caw, caw, that's what you're telling me.</dialogue>
<character>TOMMY</character>
<dialogue>He said I lied at his trial. It's Alex Corvis.</dialogue>
<character>LARKIN</character>
<dialogue>So we're talking. a ghost. With a pet bird.</dialogue>
<scene_description>Tommy nods .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Turn down that fucking baby!</dialogue>
<scene_description>The baby 's gets quieter as the mom rocks it .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get up, Tommy. I want to show you something.</dialogue>
<scene_description>Larkin helps Tommy to his feet . Places `` The List '' on the table . Then RAMS Tommy 's face down on top of it .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You see that? My name's next on his list. It's fucking next.</dialogue>
<scene_description>Larkin hauls Tommy back upright . Dazed .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So who is the guy, Tommy?</dialogue>
<character>TOMMY</character>
<dialogue>Corvis. It's.</dialogue>
<character>LARKIN</character>
<parenthetical>( cutting him off . )</parenthetical>
<dialogue>Take your time. Think before you speak. Cause at this point I got to hear something besides the crap you're been spewing.</dialogue>
<scene_description>KA - CHUNK . Toomey cycles his 9mm . Everything dead silent .</scene_description>
<character>TOMMY</character>
<dialogue>He said the whole trial was a setup. That I caused an innocent kid to die. Is that true?</dialogue>
<scene_description>Larkin grimaces . The only question is how to end this .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TENEMENT - ALLEY - NIGHT</stage_direction>
<scene_description>Madden stands by a plainwrap , calmly SMOKING . A SCREAM above . He looks up to see CRASH ! Tommy 's BODY breaks through a window four floors up and falls with broken glass , landing by Madden who rubs his temple a second , then calmly grinds out the butt .</scene_description>
</scene>
<scene>
<stage_direction>INT. TENEMENT - THOMAS LEONARD'S APARTMENT - NIGHT</stage_direction>
<scene_description>Tommy 's wife horrified , pleading , as Toomey raises his weapon .</scene_description>
<character>TOMMY'S WIFE</character>
<dialogue>No, please.</dialogue>
<scene_description>Her voice stops mid - sentence as BAM . The baby still crying as Toomey takes aim again , then lowers his weapon , starts to leave the room with Larkin . At the door , Toomey turns and BAM ! The crying stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>CLOSE . A diminished field of Chess Pieces . ADJUST to include Walsh , scrutinizing the board .</scene_description>
<character>WALSH</character>
<dialogue>Alex?</dialogue>
<scene_description>He looks out the window a second . Then scans the room again .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>C'mon. I'm talking to my myself here. It's humiliating.</dialogue>
<scene_description>Walsh goes back to the board , makes a move .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Check and mate.</dialogue>
<character>ALEX</character>
<dialogue>Dream on.</dialogue>
<scene_description>Walsh looks up . Nothing . Then Alex steps from the shadows . Walsh looks at him a long moment , sees through the makeup .</scene_description>
<character>WALSH</character>
<dialogue>My God. It's really you under there.</dialogue>
<scene_description>The two guys look at each other a long moment , cross the few steps to hug . Walsh blown away .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'd like to say you're looking good, but.</dialogue>
<scene_description>Walsh leans in , examines Dutton 's BADGE on Alex 's costume .</scene_description>
<character>ALEX</character>
<dialogue>Two down. Two to go.</dialogue>
<character>WALSH</character>
<dialogue>`` Down?'' Wait, do n't tell me.</dialogue>
<character>ALEX</character>
<dialogue>The cops from my trial. They killed Lauren. The whole thing was fixed.</dialogue>
<parenthetical>( off Walsh . )</parenthetical>
<dialogue>You think I'm crazy.</dialogue>
<character>WALSH</character>
<dialogue>I'm thinking. that explains a lot.</dialogue>
<scene_description>Walsh sits down . Disturbed .</scene_description>
<character>ALEX</character>
<dialogue>Lauren's father's involved. He bought the cops fancy cars, I do n't know what else. It's a company called D - E - L - T. I think Lauren found out.</dialogue>
<character>WALSH</character>
<dialogue>What do they do that they had to kill her?</dialogue>
<character>ALEX</character>
<dialogue>I was hoping you'd find out.</dialogue>
<character>WALSH</character>
<dialogue>Yeah. I sure will.</dialogue>
<scene_description>They both turn as the Crow lands in the window , CAWS .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( at the bird . )</parenthetical>
<dialogue>Boo!</dialogue>
<scene_description>The Crow flies off . Walsh goes to the window and looks out .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's the deal with this bird. It's been hanging around. Alex?</dialogue>
<scene_description>He turns toward Alex , who 's gone . A double take as Walsh gets it , whips around , looks out the window again . CUT TO :</scene_description>
</scene>
<scene>
<stage_direction>EXT. REMOTE ROAD - FOREST - NIGHT</stage_direction>
<scene_description>Far above a solitary car winding through an old - growth forest , its headlights stabbing the darkness . The Crow soars into frame , watching .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD GROWTH GROVE - NIGHT</stage_direction>
<scene_description>A simple WOODEN CROSS illuminated by the headlights of the Big Benz as it pulls off the road into the grove of huge trees dripping with moss . IN THE BENZ Erin blank as she turns off the car , leaving the headlights on . Silence . WITH ERIN as she steps from the car , walks toward the cross . Partway there . CAW ! Erin looks up , finds the Crow fluttering in to perch high overhead . Alex emerges from behind a tree , near the cross .</scene_description>
<character>ALEX</character>
<dialogue>This is where it happened. Right over here.</dialogue>
<character>ERIN</character>
<dialogue>Yeah, I know.</dialogue>
<scene_description>She stays where she is . Alex quiet , affected by the place . Erin 's about to lose it .</scene_description>
<character>ALEX</character>
<dialogue>Are you ok?</dialogue>
<character>ERIN</character>
<dialogue>When Lauren was missing the police came to our house. They said they were looking for her, right?</dialogue>
<parenthetical>( breaking down . )</parenthetical>
<dialogue>But I know now they had her, and the reason they brought her here and knew the could blame it on you.</dialogue>
<character>ALEX</character>
<dialogue>No.</dialogue>
<character>ERIN</character>
<dialogue>is that I sent them here. I told them she came here sometimes. With her dirtball boyfriend. That's exactly what I said.</dialogue>
<scene_description>She 's crying softly . He draws nearer .</scene_description>
<character>ALEX</character>
<dialogue>Erin. It's not your fault.</dialogue>
<character>ERIN</character>
<parenthetical>( losing it now . )</parenthetical>
<dialogue>It's all my fault. Oh God. I wish I were dead.</dialogue>
<character>ALEX</character>
<dialogue>No. You do n't.</dialogue>
<character>ERIN</character>
<dialogue>Yes I do, I really do.</dialogue>
<scene_description>Seeming to lose patience , Alex lunges at her , like an attack .</scene_description>
<character>ALEX</character>
<dialogue>There were four of them.</dialogue>
<character>ERIN</character>
<dialogue>No.</dialogue>
<scene_description>He 's holding his hands over her eyes , transferring IMAGES that shake them both . ALEX/ERIN 'S INTERNAL POV Jolting FLASHES . A Plainwrap stops where the Mercedes is now . A hand slams the car into Park . Doors open . Four men get out , seen dimly , but they 're Dutton , Erlich , Larkin , Toomey . Erlich reaches back in to drag Lauren out of the back seat , her hands cuffed in front of her . Dutton flips up her skirt with his nightstick .</scene_description>
<character>ALEX'S VOICE</character>
<dialogue>Four large men. And still.</dialogue>
<scene_description>Lauren stumbles into Erlich , grabs and BAM ! FLASH ! He takes a shot in the leg from his own , still holstered weapon .</scene_description>
<character>ALEX'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She grabbed one of their guns. Got off a shot, then ran, ran for her life.</dialogue>
<scene_description>RESUME - PRESENT Erin 's covering her face , like trying to avoid seeing some horrible thing .</scene_description>
<character>ERIN</character>
<dialogue>I do n't want to know.</dialogue>
<scene_description>Alex grabs Erin , forces her to run with him , awkwardly , like a three legged race . Tracing the path Lauren covered .</scene_description>
<character>ALEX</character>
<dialogue>She ran. Them breathing down her neck.</dialogue>
<scene_description>Erin stumbling as Alex pushes , cajoles her , the two of them running toward a large tree , MATCHING to . ALEX/ERIN 'S INTERNAL POV Lauren stumbling , her cuffed hands hindering , tree limbs hitting her face . Her own panting subsumed in the panting of the cops on her heels .</scene_description>
<character>ALEX'S VOICE</character>
<dialogue>all the way from the road to this tree.</dialogue>
<scene_description>RESUME - PRESENT Erin still trying not to see . Alex forcing her .</scene_description>
<character>ALEX</character>
<dialogue>This tree. Here's where it happened.</dialogue>
<character>ERIN</character>
<dialogue>I do n't want to see!</dialogue>
<scene_description>Alex spins her up against the tree and we MATCH to . ALEX/ERIN 'S INTERNAL POV Lauren an adrenaline crazed fighter destined to lose . Her movements UNDERCRANKED , strobed . Discontinuous and jarring .</scene_description>
<character>ALEX'S VOICE</character>
<dialogue>She turned and faced them and went down kicking and punching and fighting them, fighting death as they stabbed her and stabbed her. Fifty three times.</dialogue>
<scene_description>The brutal cops overwhelm Lauren . She drops to the ground as . RESUME Erin drops to the forest floor , convulsed in sobs .</scene_description>
<character>ALEX</character>
<dialogue>She fought for her life because life is worth living.</dialogue>
<scene_description>Alex panting . Fierce .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Think about that. And then tell me how much you wish you were dead.</dialogue>
<scene_description>Off Erin , sobbing , heartbroken . Alex 's fury waning as he looks at her , wonders if he did the right thing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - ROOFTOP - NIGHT</stage_direction>
<scene_description>Armed men and barbed wire . The Spotlight FLARES and we 're .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE HALLWAY - NIGHT</stage_direction>
<scene_description>An odd foursome approaches from the far end of the hall . Mercer escorts Madden , the Captain , and the Secretary who hangs on her bosses arm , gawking like a tourist .</scene_description>
<character>CAPTAIN</character>
<dialogue>Why was n't the incident reported?</dialogue>
<character>MERCER</character>
<dialogue>Nothing to report. All inmates were present and accounted for.</dialogue>
<character>CAPTAIN</character>
<dialogue>So you pretended nothing happened.</dialogue>
<character>MERCER</character>
<dialogue>Hey, Corvis fried. I do n't really see how it could be him.</dialogue>
<character>CAPTAIN</character>
<dialogue>No. I would n't expect you to.</dialogue>
<scene_description>They all enter .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON PRISON - MORGUE - NIGHT</stage_direction>
<scene_description>Mercer goes to the locker where he left Alex.</scene_description>
<character>MERCER</character>
<dialogue>Be forewarned. Nature takes its toll.</dialogue>
<parenthetical>( opens locker . )</parenthetical>
<dialogue>Bon appetit.</dialogue>
<scene_description>The all look inside . The locker is empty . Mercer 's the only one shocked . He noisily opens and shuts the other lockers looking for Alex.</scene_description>
<character>CAPTAIN</character>
<dialogue>You lost him! Now lay off the fucking doors!</dialogue>
<scene_description>Mercer stops , backs off , gives the power trio some space .</scene_description>
<character>MADDEN</character>
<dialogue>They botched the execution.</dialogue>
<character>CAPTAIN</character>
<dialogue>Could say that.</dialogue>
<character>MADDEN</character>
<dialogue>Christ. It was Corvis. Tommy Leonard was right.</dialogue>
<character>SECRETARY</character>
<dialogue>Maybe you were a little harsh on him.</dialogue>
<scene_description>They watch now as the Secretary moves , drawn to the mirror .</scene_description>
<character>SECRETARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Babe?</dialogue>
<scene_description>She 's looking at . T HE FRACTURED MIRROR . Shards of glass selectively removed forming , we see now , a CROW .</scene_description>
<character>MADDEN</character>
<dialogue>Fucking crow.</dialogue>
<character>CAPTAIN</character>
<dialogue>Sign of the dead come back to life.</dialogue>
<scene_description>Madden turns , not comfortable with the concept .</scene_description>
<character>MADDEN</character>
<dialogue>How about sign of a big black bird?</dialogue>
<character>CAPTAIN</character>
<dialogue>The dead can return, given sufficient motivation. And Corvis has that.</dialogue>
<character>SECRETARY</character>
<dialogue>This guy David Jenkins came back as a ghost because my uncle owed him four dollars. Followed him everywhere. Ruined his life.</dialogue>
<character>MADDEN</character>
<dialogue>Time out. You really saying he's back from beyond?</dialogue>
<scene_description>The Secretary nestles into the Captain , who whispers in her ear . He nods .</scene_description>
<character>MADDEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Cause if you're losing your mind, I got a right to know.</dialogue>
<character>CAPTAIN</character>
<dialogue>He's looking for something. Wo n't stop until he finds it.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Sometimes the best way to get rid of someone is to let them have what they want.</dialogue>
<character>SECRETARY</character>
<dialogue>The man.</dialogue>
<character>ALEX</character>
<dialogue>with the scar.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OLD GROWTH GROVE - NIGHT</stage_direction>
<scene_description>WIDE . Erin sits cross - legged in the HEADLIGHTS of the Benz . Alex perches Crow - like on the hood .</scene_description>
<character>ALEX</character>
<dialogue>took everything I ever cared about. Left me with nothing.</dialogue>
<character>ERIN</character>
<dialogue>So you're going to kill him?</dialogue>
<character>ALEX</character>
<dialogue>Have to find him first.</dialogue>
<scene_description>He closes his eyes . Pained at a memory .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You know what Lauren and I were fighting about that night? She had a secret, would n't tell me.</dialogue>
<character>ERIN</character>
<dialogue>My father.</dialogue>
<character>ALEX</character>
<dialogue>All I knew, she was pulling away. It made me crazy.</dialogue>
<character>ERIN</character>
<dialogue>I used to be so proud of him. My big deal daddy. And now, he's just a crook. Worse even. And the weird thing is.</dialogue>
<scene_description>She fights back tears . Gains strength .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I wish I could hate him but I ca n't. He said he'd never hurt either of us, and I know it's true and. I'm going back.</dialogue>
<character>ALEX</character>
<dialogue>It's what Lauren would do.</dialogue>
<scene_description>Erin nods , takes the Locket off her neck .</scene_description>
<character>ERIN</character>
<dialogue>I want to forget. Forget what I know. Forget myself. Forget everything.</dialogue>
<scene_description>She winds up to toss the Locket away and Alex hops down off the hood . Stops her . Takes the Locket . ALEX</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( re : Locket . )</parenthetical>
<dialogue>Keep it. Because it connects you to Lauren. And it connects you to me.</dialogue>
<scene_description>He fastens the Locket back around her neck . A covenant .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No matter what happens I'll make sure everyone knows. That you're innocent. That you loved her. I promise.</dialogue>
<scene_description>CLOSE . Erin pulls some makeup out of her jacket pocket . Dumps it on the ground . Finds a pot of dark eyeshadow among the containers .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't want to be me anymore. Make me like you.</dialogue>
<scene_description>Erin 's face blasted WHITE by HEADLIGHTS . She closes her eyes as Alex begins the first bold lines around her eyes and for a moment in the gauzy white light , she could be . LAUREN opens her eyes a second , smiles , shuts them again . WIDER . Alex paints Erin 's face in the Benz headlights , the two of them kneeling in the forest - cathedral . Camera creeps BACKWARD , leaving the two of them connected by ritual . And touch . And a promise to each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL'S HOUSE - NATHAN'S OFFICE - NIGHT</stage_direction>
<scene_description>CLOSE . A mess of documents . Nathan nervously writing , assembling a tell - all at his desk .</scene_description>
<character>CAPTAIN</character>
<dialogue>You know it does n't work this way.</dialogue>
<scene_description>Nathan gets up . Tries to subtly herd the Captain off .</scene_description>
<character>NATHAN</character>
<dialogue>I'm out of this.</dialogue>
<character>CAPTAIN</character>
<dialogue>Partnerships do n't end like that. Friendships do n't.</dialogue>
<character>NATHAN</character>
<dialogue>Our friendship ended when Lauren died.</dialogue>
<scene_description>The Captain circles to the desk now , past Nathan .</scene_description>
<character>CAPTAIN</character>
<dialogue>Do you believe in ghosts, Nathan? Because there's a ghost threatening us.</dialogue>
<character>RANDALL</character>
<dialogue>You mean Alex.</dialogue>
<character>CAPTAIN</character>
<dialogue>I mean Lauren.</dialogue>
<scene_description>The Captain flips through some of the papers on the desk . Frowns . He closes a file folder .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Because you never accepted that what happened to her was an accident.</dialogue>
<character>RANDALL</character>
<dialogue>You killed my daughter.</dialogue>
<character>CAPTAIN</character>
<dialogue>An accident, Nathan.</dialogue>
<character>RANDALL</character>
<parenthetical>( exploding now . )</parenthetical>
<dialogue>She was eighteen years old! There were four of them. They stabbed her fifty three times! Where's the fucking accident?! Huh?! Where is it?!</dialogue>
<scene_description>Nathan furious . The Captain keeps a preternatural calm .</scene_description>
<character>CAPTAIN</character>
<dialogue>I watched her grow up. Just like you. I know how her mind worked. She kept snooping around because she was worried about you. What you'd gotten yourself into. So stop blaming me. And blame yourself.</dialogue>
<character>RANDALL</character>
<parenthetical>( beat , quietly . )</parenthetical>
<dialogue>I do. Every day.</dialogue>
<character>CAPTAIN</character>
<dialogue>Erin knows, does n't she?</dialogue>
<scene_description>This catches Nathan off guard . He starts to say something .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't even bother. You never were a good liar.</dialogue>
<scene_description>The Captain flips through the papers on the desk again .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look at this. Everything we worked for. You tell me. what are we going to do?</dialogue>
</scene>
<scene>
<stage_direction>EXT. RANDALL HOUSE - FRONT YARD - NIGHT</stage_direction>
<scene_description>HEADLIGHTS approach from down the street . The Big Benz pulls into the empty driveway . Erin alone in the car , her mood tough to judge in the Crow mask .</scene_description>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - FRONT FOYER - NIGHT</stage_direction>
<scene_description>Erin enters , steels herself . Then she calls out .</scene_description>
<character>ERIN</character>
<dialogue>Dad?! You home?</dialogue>
</scene>
<scene>
<stage_direction>INT. RANDALL HOUSE - BATHROOM - NIGHT</stage_direction>
<scene_description>UNDERWATER . Erin plunges her masked face into the wash basin in this white - tiled bathroom . ANGLE - ERIN A few SLO - MO DROPLETS cascade off her face into basin as she scrutinizes herself in the mirror , wipes off the mask . CAMERA INCHING forward . She listens up . Grabs a Towel to blot the water on her face . We begin to hear with her . DRIP . DRIP . DRIP . She tightens the sink faucets . The sound continues DRIP DRIP as she moves to . THE CLAWFOOT BATHTUB Faucet not dripping , but the sound is louder . DRIP DRIP . Erin grabs the shower curtain , whips it back REVEALING . NATHAN RANDALL behind the tub , face a mask of gore , blown off point blank by the BLOODY HANDGUN on the tile next to him . ERIN screams .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>CLOSE . The Chess set . A few pieces moved off the board now . Alex not looking at it . He 's looking at the picture of himself and Lauren taped in the lid of the Chess box .</scene_description>
<character>WALSH</character>
<dialogue>It's like a bowl of spaghetti. D - E - L - T is owned by Westwind Builders, Nathan Randall's company. But DELT in turn owns a dozen other corporations. A big mess to wade through, so I checked out Tommy Leonard.</dialogue>
<scene_description>Alex picks up the BLACK KING .</scene_description>
<character>ALEX</character>
<dialogue>Leonard, Dutton, Erlich. They do n't matter. I want the King.</dialogue>
<character>WALSH</character>
<dialogue>We're getting there. Because in his so - called construction job, Tommy makes a daily delivery to a place called `` The Hole.''</dialogue>
<character>ALEX</character>
<dialogue>The strip joint?</dialogue>
<character>WALSH</character>
<dialogue>I believe they call it a connoisseur's club. Owned by DELT.</dialogue>
<scene_description>Alex places the picture of himself with Lauren back in the box of chess pieces , against the open lid .</scene_description>
<character>WALSH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Places like that, they're about unreported cash, processing money from drugs, prostitution.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>I took a chance, called asking for Larkin and Toomey, the two other cops. Whoever answered said `` they're not here.</dialogue>
<parenthetical>( meaningfully . )</parenthetical>
<dialogue>. this is the front office.''</dialogue>
<scene_description>BAM BAM BAM . They look up . A shadow banging on the door . Leaving BLOODY SMEARS on the outside of the frosted glass .</scene_description>
<character>ERIN</character>
<dialogue>Alex!</dialogue>
<scene_description>Walsh opens the door and Erin enters , wild and blood smeared , remnants of the Crow mask around her eyes .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They killed my dad.</dialogue>
<scene_description>It all catches up with her now , the flight , the exhaustion . She throws herself into his arms .</scene_description>
<character>ALEX</character>
<dialogue>It's ok, it's ok.</dialogue>
<character>ERIN</character>
<dialogue>It's not. I ca n't take it.</dialogue>
<character>ALEX</character>
<dialogue>Erin. Who?</dialogue>
<character>ERIN</character>
<dialogue>I do n't know. I found him lying there.</dialogue>
<scene_description>Alex immobilized by this . He turns to Walsh .</scene_description>
<character>ALEX</character>
<dialogue>Where is it? This place?</dialogue>
<character>WALSH</character>
<dialogue>I think we should get some support?</dialogue>
<character>ALEX</character>
<dialogue>What? Call the police?</dialogue>
<character>ERIN</character>
<dialogue>What is this? Where are you going?</dialogue>
<scene_description>Alex waiting for an address . Finally .</scene_description>
<character>WALSH</character>
<dialogue>1315 Berkeley Street.</dialogue>
<character>ERIN</character>
<dialogue>Do n't leave me. Please.</dialogue>
<scene_description>Alex turns to her , comforting . Holds her face in his hands .</scene_description>
<character>ALEX</character>
<dialogue>It will be over soon.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>Watch out for each other.</dialogue>
<scene_description>He heads off and we PRE - LAP sexbomb death metal POUNDING .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - NIGHT</stage_direction>
<scene_description>More debauched than our previous visit . Darker , more crowded . Patrons propositioned in front of our eyes by girls barely eighteen . The room writhing . ON THE MAINSTAGE the `` Cop '' strippers we saw before , but dangerous seeming , as they pantomime an interrogation , a handcuffed `` perp '' manhandled between them . AT THE ENTRANCE Alex blows past people waiting to get in , creating enough disturbance that TWO BOUNCERS greet him .</scene_description>
<character>ALEX</character>
<dialogue>Toomey and Larkin. They're expecting me.</dialogue>
<scene_description>The Two Bouncers give each other a look . One points to a SIGN on the wall : `` You must be 21 . ''</scene_description>
<character>BOUNCER</character>
<dialogue>I need to see some I.D., pal. Circus in town?</dialogue>
<scene_description>The Other Bouncer grabs Alex as he pushes past . Alex heaves him into the line of WAITING PATRONS . As they go down like dominoes . the First Bouncer pulls a GUN .</scene_description>
<character>ALEX</character>
<dialogue>I do n't think you want to do that. Lot of innocent people here.</dialogue>
<parenthetical>( looks around . )</parenthetical>
<dialogue>A lot of people, anyway.</dialogue>
<scene_description>As Alex starts off . BAM ! He 's blown back by a shot half lost in the noisy club . No panic yet . ONSTAGE the strippers break character , looking . The audience turns as . NEAR THE ENTRANCE The First Bouncer goes flying above the heads of the crowd , getting off a dramatic SHOT while airborne , inducing . PANDEMONIUM Patrons stampeding as BAM BAM ! Alex taking bullets , the miracle lost in the chaotic exit . The Bouncers out of sight underfoot . ON ALEX visible again , back on his feet . Buffeted , stationary as everyone flees . With the exodus still at flood stage .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>ON WALSH , in motion as he puts on a jacket , throws some papers into a briefcase . He 's nervous , ill - suited for this cloak and dagger stuff , chattering .</scene_description>
<character>WALSH</character>
<dialogue>We'll be safe in my car. Nobody will recognize it. Let's move yours in back, no, down the block. Hope it's nothing fancy. There's a chop shop around the corner.</dialogue>
<scene_description>She 's looking elsewhere , at the door that has quietly opened . The Captain stands there . Somber reptile . Holding a sheaf of papers in one hand .</scene_description>
<character>ERIN</character>
<dialogue>You followed me here.</dialogue>
<character>CAPTAIN</character>
<dialogue>No. Erin, I put out a bulletin on your car because. there's bad news. And I thought you should hear it from me.</dialogue>
<scene_description>She stares at him expressionless .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your father got involved with some bad cops. On my force, so I take responsibility.</dialogue>
<parenthetical>( beat , then . )</parenthetical>
<dialogue>He killed himself.</dialogue>
<scene_description>She talks with great difficulty .</scene_description>
<character>ERIN</character>
<dialogue>How?</dialogue>
<character>CAPTAIN</character>
<dialogue>How did he kill himself?</dialogue>
<scene_description>She nods .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>With a gun. Is that what you mean?</dialogue>
<character>ERIN</character>
<dialogue>No. I mean. how did he kill himself How do you figure he killed himself - with a gun, right - when it was n't anywhere near where you found him?</dialogue>
<scene_description>He takes a step toward her . She pulls out the Blood Pistol . Seems crazy enough to use it .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You killed him.</dialogue>
<character>WALSH</character>
<dialogue>Erin. Do n't.</dialogue>
<character>ERIN</character>
<dialogue>Back the fuck off! Now!</dialogue>
<scene_description>The Captain stops , gently tosses the sheaf of papers toward her , onto Walsh 's desk . The papers Nathan was preparing . Walsh looks at them while .</scene_description>
<character>CAPTAIN</character>
<dialogue>He left this. Names, addresses, a note to you. These people he was involved with killed Lauren. He could n't bear it anymore.</dialogue>
<character>WALSH</character>
<dialogue>My God. He's right, it's all here.</dialogue>
<character>ERIN</character>
<dialogue>The note. Show it to me.</dialogue>
<scene_description>Erin has one eye on the papers now , recognizes her dad 's hand . The Captain inches forward .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Captain . )</parenthetical>
<dialogue>Not you!</dialogue>
<parenthetical>( to Walsh . )</parenthetical>
<dialogue>Show it to me.</dialogue>
<scene_description>The Captain steps forward , right to the desk . Erin backed into a corner now .</scene_description>
<character>CAPTAIN</character>
<dialogue>It's right there, under that paper.</dialogue>
<parenthetical>( grabs a note . )</parenthetical>
<dialogue>Here. Look.</dialogue>
<scene_description>She holds a hand out for the note , taking her eye off the situation for one second as she reads . THE NOTE A bunch of numbers added together in her father 's hand . Not a suicide note . THE CAPTAIN grabs Erin 's wrist and BAM ! A chunk of the ceiling falls as the weapon discharges . The Captain throws her in a chokehold , her finger still on the trigger .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You were always the stupid one.</dialogue>
<scene_description>She fights as the Captain wraps his own hand over hers , wrestles her arm toward Walsh , in the sights now . BAM ! WALSH blown backward , collapsing by the Chess Board . Trying to pull himself up . Erin struggling . As . MADDEN enters from the hall , in a hurry , gun drawn .</scene_description>
<character>MADDEN</character>
<dialogue>You need help?</dialogue>
<scene_description>He nods toward Walsh , who is moving , barely .</scene_description>
<character>CAPTAIN</character>
<dialogue>Hurry. We do n't have much time.</dialogue>
<scene_description>BAM . A shot from Madden drops Walsh for god . As Madden drags Walsh toward the door , the Captain grabs . THE PICTURE OF ALEX AND LAUREN pulled off the lid of the Chess box , one of the pieces of tape left behind . The Captain exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - NIGHT</stage_direction>
<scene_description>MUSIC STILL POUNDS , lights swirl . But the club has cleared out , leaving human detritus , a handful of casualties from the stampede . WITH ALEX as he steps over the Two Bouncers , expired on the floor . A soft WHIMPERING marks the silence . The girl cuffed onstage . Alex goes up to the terrified girl . Close up , she looks way underage . He gathers her clothes , spots a key on the floor .</scene_description>
<character>ALEX</character>
<dialogue>How old are you?</dialogue>
<scene_description>She listens as he unlocks the cuffs .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have one chance to value your life. Take it.</dialogue>
<scene_description>He watches as she hightails it out the front door , still half naked . As she leaves . THE CROW appears in the doorway near the broken bodies . Alex takes a deep breath , as if it hurts . The casualties . CAW . The Crow flies on , disappearing into the back rooms . Alex turns , follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACKSTAGE - NIGHT</stage_direction>
<scene_description>Alex moves past the empty makeup table . A lipstick cigarette smolders in an ashtray . People left in a hurry . MUSIC LOUD , as if inside our heads now . Alex continues .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - INTERNET PORN FACILITY</stage_direction>
<scene_description>Nobody home . Empty images refreshed every six seconds . Number of hits static now . Alex drawn now by the `` No Admittance '' Curtain which he approaches slowly , touching it and FLASH ! ALEX 'S INTERNAL POV - LAUREN looking over her shoulder , pulling back the `` No Admittance '' Curtain , going where she should n't go .</scene_description>
<character>ALEX</character>
<dialogue>Lauren? You were here?</dialogue>
<scene_description>Lauren makes her stealthy way into .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACK HALL - NIGHT</stage_direction>
<scene_description>revealed as Alex slips past the Curtain , retracing Lauren 's footsteps . CAMERA FOLLOWS Alex CREEPING down the hall to . ALEX 'S INTERNAL POV - LAUREN down the hall , peering inside the partially open Back Room door , then turning back startled TOWARD CAMERA as if suddenly overtaken . AT THE DOOR Alex turns back , like Lauren , looks behind him . The hallway is empty . He enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACK ROOM - NIGHT</stage_direction>
<scene_description>Darkness . As Alex gropes for a lightswitch , a LIGHTER FLARES . Toomey and Larkin lean in , light up in synch . Alex takes in the dark fringes , dim reflections off lots of eyes . Not taxidermy specimens . BAM BAM BAM BAM . A dozen police officers lining the walls empty cartridges into Alex in an angry , STROBING fusillade . In the silence that follows .</scene_description>
<character>LARKIN</character>
<parenthetical>( after the fact . )</parenthetical>
<dialogue>Do n't move.</dialogue>
<scene_description>The gang LAUGHS . Larkin makes his way to a light switch by the door .</scene_description>
<character>LARKIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Drinks are on me.</dialogue>
<scene_description>Larkin flips on the low - watt BARE BULBS hanging down past industrial pipes and conduit , casting a dim light on the cinderblock space . NO ALEX.</scene_description>
<character>ALEX</character>
<dialogue>Cheers.</dialogue>
<scene_description>They look up and . BAM ! Alex DROPS LARKIN with a shot to the forehead . BAM ! He MISSES TOOMEY as bullets from below EXPLODE all around him . Alex scampers across framing as . The BARE BULBS burst , all but one , plunging us back in to near darkness as Alex drops to the ground near Larkin 's fallen body . Jacks up the sleeve . No scar . Alex spots Toomey , rolls out as . THREE COPS pump rounds into Alex. BAM ! Alex takes the middle Cop out , a TOONEY - LIKE GUY who falls onto Toomey , behind him . ALEX turns , forced to defend himself as FULL AUTO FIRE breaks open , the other flank , more advancing cops . While . TOOMEY crawls out from under the fallen copy , then backs out the door on hands and knees while . A FINAL EXPLOSIVE FUSILLADE leaves only Alex standing . As the echoes dissolve . Alex Alex moves to where Toomey was , bends down to check the body . THE NAMEPLATE - `` TOOMEY '' But the pin is n't fastened properly . The badge askew . RESUME - ALEX rolls the body over , finds another nameplate underneath . `` Hauser . '' Heads off in search of .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Toomey!</dialogue>
</scene>
<scene>
<stage_direction>INT - "THE HOLE" - INTERNET PORN FACILITY - NIGHT</stage_direction>
<scene_description>Toomey is clearing the `` No Admittance '' curtain when .</scene_description>
<character>ALEX</character>
<dialogue>You dripped something!</dialogue>
<scene_description>Toomey panics as he approaches . INTERNET FANTASY SETS Monitors still updating every six seconds . Toomey hears Alex coming , slips through the `` Dungeon . '' BEHIND THE SHOWER FANTASY SET Toomey takes refuge out of sight , next to a GAS HOT WATER HEATER , quiet as a mouse . ALEX tears the `` No Admittance '' curtain completely off its rod , arriving at the fantasy sets just in time to see . THE DUNGEON MONITOR Toomey -LRB- frozen -RRB- scurrying through . Gone now as the monitor updates . Then Alex appears , following him through the set . WITH ALEX moving to the rear of the `` dungeon , '' on Toomey 's heels . WAM . Toomey hits him full force with A PIPE , sending Alex sprawling backward , COLLAPSING the flimsy Shower set . WAM . Toomey swings again , misses Alex , but connects with . THE GAS LINE to the water heater ripped out by the blow . HISS . The sound of gas , loud , as the line breaks . RESUME Alex straddles Toomey , just as Toomey manages to get his gun pointed in Alex 's face . Hissing gas nearby . CLICK . Toomey cocks the gun .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Spark, gas. bad combination. And it's not this leak here, that's the least of your worries.</dialogue>
<scene_description>WAM ! Alex swings Toomey 's pipe HARD at a much bigger GAS LINE right behind the gas heater , leaving it badly cracked . The hiss magnified 100 % nos .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We're going to play a little game called `` Who's got the Scar.''</dialogue>
<character>TOOMEY</character>
<dialogue>What Scar? What fucking scar?</dialogue>
<character>ALEX</character>
<parenthetical>( buzzer sound . )</parenthetical>
<dialogue>AAAANK. That's not how we play the game.</dialogue>
<scene_description>Alex jacks Toomey 's sleeve down . No Scar . Alex pissed as Toomey locks eyes with him . Really seeing him now .</scene_description>
<character>TOOMEY</character>
<dialogue>You're him! You're Corvis! We fried your ass. You're dead, man!</dialogue>
<character>ALEX</character>
<dialogue>Good thing in a situation like this.</dialogue>
<scene_description>We pick up .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - BACK ROOM - NIGHT</stage_direction>
<scene_description>Some light filters in as a door opens to the outside . A FIGURE enters , squats among the bodies . He leans in , closes larkin 's eyes , and we see . It 's Madden . Blood on his hands . He hears Alex 's VOICE faintly , then Toomey cries out in pain . Madden moves toward .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE HOLE" - INTERNET PORN FACILITY - NIGHT</stage_direction>
<scene_description>Madden creeps down the hallway to the back room . VOICES growing louder .</scene_description>
<character>TOOMEY</character>
<dialogue>Fucking Zombie.</dialogue>
<character>ALEX</character>
<dialogue>The scar.</dialogue>
<character>TOOMEY</character>
<dialogue>There is no scar. I'm telling you.</dialogue>
<scene_description>As Madden moves toward the conversation , his face registers the slightest of smiles . MADDEN 'S CREEPING POV MONITORS obliquely visible as he reaches the end of the hall by the Fantasy sets . The `` Shower '' monitor shows Alex and Toomey , visible through the trashed set , updated every six seconds . MADDEN SNIFFS gas . The HISS now audible along with Alex 's voice . Madden smiles . Pulls out his 9mm . And BACKS UP , away from the Fantasy Sets toward the back room . Madden takes aim at . THE FIRST MONITOR The images is Alex threatening Toomey . Updating now - LOSING ALEX on the Monitor as he steps into frame in person , looks up and BAM ! CROWVISION a speeding bullet passes narrowly by and . ANGLE - GROUND ZERO as the bullet hits the monitor in a shower of sparks , followed by . BOOM ! A ROILING FIREBALL Seems to vaporize Alex before flying down the hallway right at CAMERA . Madden manages a couple steps in retreat before it blows him into the back room with a deafening roar .</scene_description>
</scene>
<scene>
<stage_direction>EXT. "THE HOLE" - INFERNO - NIGHT</stage_direction>
<scene_description>BOOM ! Windows blow out in a gas fired inferno . A body flung out the rear door . BOOM !</scene_description>
</scene>
<scene>
<stage_direction>EXT. "THE HOLE" - NIGHT</stage_direction>
<scene_description>Interior/exterior being less meaningful than seconds ago . Walls crumbled , roof blown off . BRIGHT FIRE consumes the frame , consumes the bodies of downed cops , consumes every last bit of oxygen and life . Distant SIRENS draw closer . A SLOW SCAN , someone 's OBSTRUCTED POV of Hell . INCLUDE ALEX watching from under a collapsed cinderblock wall that offers some protection from the flames , if not the heat . He looks , intent now , spotting . THE ARM WITH THE ZIGZAG SCARIFICATION sticking out of the rubble , murky through the flames , growing clearer as camera PUSHES , flames licking at it . ALEX tries to move toward the arm . Forced back by too - intense flame as another beam falls , the rubble shifts and . THE ARM WITH THE ZIGZAG SCARIFICATION skeletal now , baked down to bones . A dozen short metal rods on the ground under it . He picks a few up . THE CAPTAIN drawn now to . UNDER THE RUBBLE - WHERE ALEX WAS water dripping off the concrete , collecting in the place where Alex hid . But he 's long gone . The Captain drops the rods . Satisfied it 's over .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET #5 - NIGHT</stage_direction>
<scene_description>Alex staggers along in bad shape . Up ahead . A GIRL in her twenties exits a building down a flight of stairs , waits at the bottom for her BOYFRIEND , who 's locking the door . She sees Alex , gives him an empathetic look . Alex walks slowly closer . ALEX 'S INTERNAL POV Lauren appearing to him , playing their game . But the words are wrong , distorted .</scene_description>
<character>LAUREN</character>
<dialogue>Your witness list is no match for my kung fu.</dialogue>
<scene_description>Her Bruce Lee `` Oooo '' a siren call . RESUME Alex moving slowly forward on the street , drawn toward the girl who watches with horrified fascination .</scene_description>
<character>ALEX</character>
<dialogue>I'm losing you.</dialogue>
<scene_description>ALEX 'S INTERNAL POV</scene_description>
<character>LAUREN</character>
<dialogue>Your zigzag love scar is no match for.</dialogue>
<scene_description>Lauren and Alex drawing very close now when . RESUME WAM . A FIST clocks Alex in the face , dropping him hard onto the pavement .</scene_description>
<character>GIRL</character>
<dialogue>Did you have to do that?</dialogue>
<character>BOYFRIEND</character>
<dialogue>How about `` thank you.''</dialogue>
<character>GIRL</character>
<dialogue>He's bleeding.</dialogue>
<character>ALEX</character>
<dialogue>I do n't bleed.</dialogue>
<character>BOYFRIEND</character>
<dialogue>And delirious. Better steer clear.</dialogue>
<scene_description>ALEX 'S POV The Guy wraps his arm protectively around the girl , walks her off . Running into a COP at the next intersection . They POINT at . ALEX takes off , ducking into an alley . Confused . CAMERA CREEPS BACKWARD as he gathers his thoughts .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S OFFICE - NIGHT</stage_direction>
<scene_description>RATTLE RATTLE . Alex 's shadow visible through the frosted glass , jostling the locked door .</scene_description>
<character>ALEX</character>
<dialogue>Erin!</dialogue>
<scene_description>SMASH . His arm PUNCHES through the glass , turn the knob . Alex enters , arm bleeding badly . He yanks a large piece of glass from his flesh . Painful . Alex registers that the rules have changed . He finds a necktie of Walsh 's , uses it to bind the wound , staunch the flow . He scans the room again looking for . Something . But everything seems ok . He passes . The Chess Box , the picture of Lauren and Alex gone . Just a piece of TAPE left , sticking to the top of the open lid . OVER THE CHESS BOARD - ALEX the missing pic lost on him , drawn to the chess board where Walsh collapsed . Something wrong with the game . He finds . THE BLACK KING Off the board . On top of a stack of news clippings lying on the floor . Alex picks it up , LEAVING a RING OF BLOOD under . CAMERA PUSHES on the clipping underneath , the headline `` City Leaders Vow Crackdown in Wake of Randall Murder . '' PUSHING , finding among the City Leaders .</scene_description>
<character>ALEX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The King.</dialogue>
<scene_description>THE CAPTAIN 'S FACE circled in blood . Camera continues to PUSH on the grainy newsprint , through it , until all we see are halftone pixels and the picture loses meaning .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY - AIRBORNE - NIGHT</stage_direction>
<scene_description>The Police Station in sinister CROWVISION as we approach , swoop in and .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - HALLWAY</stage_direction>
<scene_description>Alex walks the long approach to the Captain 's office , past the empty Secretary 's desk . KICKING the door open CRASH ! into .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - CAPTAIN'S OFFICE</stage_direction>
<scene_description>The Captain works alone at his desk under a standing lamp . Looks up unconcerned as Alex enters , walks to the desk , and SLAPS down the ring - of - blood clipping .</scene_description>
<character>CAPTAIN</character>
<dialogue>I hate that picture.</dialogue>
<character>ALEX</character>
<dialogue>Where are they?</dialogue>
<character>CAPTAIN</character>
<dialogue>Can I get you something? A glass of water? A transfusion?</dialogue>
<character>ALEX</character>
<dialogue>Where are they? Last chance.</dialogue>
<character>CAPTAIN</character>
<dialogue>Or what? You'll bleed all over my carpet?</dialogue>
<scene_description>The Captain rises .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You know crime was actually down until you showed up, or stuck around, or whatever the hell you're doing here.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>What are you doing here?</dialogue>
<character>ALEX</character>
<dialogue>I'm looking for my friends.</dialogue>
<character>CAPTAIN</character>
<dialogue>See, I heard you were looking for some guy with a scar. How's that going? You find him? Yes? No?</dialogue>
<scene_description>Alex tenses as the Captain starts toward him .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You are like the guest who would not leave, you know that? And judging from your condition, maybe you've overstayed your welcome. That's not a criticism. Just an observation.</dialogue>
<scene_description>Alex draws the knife from his clothes .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't think you're going to use it. That's Lauren's knife.</dialogue>
<scene_description>Enraged , Alex SWIPES the knife . The Captain grabs his arm right at the blood soaked necktie , squeezes hard . Alex writhes in pain . In each other 's faces now .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You come in here al lfull of righteous indignation, but what have you got to be righteous about?</dialogue>
<scene_description>THE KNIFE starting to fall from Alex 's hand as the Captain continues to clamp down on his wound .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How many innocent people did you leave dead back there?</dialogue>
<character>ALEX</character>
<dialogue>You sent them. I had no choice.</dialogue>
<character>CAPTAIN</character>
<dialogue>Bullshit. You're a killer, that's all you are. A clown with a bird and a rising death toll. You think the world did you wrong?! You did the world wrong.</dialogue>
<scene_description>The Captain snatches the knife , RAMS it into Alex 's midriff .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You and Lauren had a fight. You could n't let it go.</dialogue>
<scene_description>FLASH</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD GROWTH GROVE - DAY</stage_direction>
<scene_description>ALEX 'S INTERNAL POV Lauren in tears in Alex 's car .</scene_description>
<character>LAUREN</character>
<dialogue>I ca n't say.</dialogue>
<character>ALEX</character>
<dialogue>He grabs for her. She pulls violently away.</dialogue>
<character>LAUREN</character>
<dialogue>Do n't touch me!</dialogue>
<scene_description>RESUME</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - CAPTAIN'S OFFICE - NIGHT</stage_direction>
<scene_description>WHOOMP . Another stab into Alex. There will be fifty three .</scene_description>
<character>CAPTAIN</character>
<dialogue>It was one thing her dad rejected you. But when she did you lost it.</dialogue>
<character>ALEX</character>
<dialogue>You're wrong.</dialogue>
<character>CAPTAIN</character>
<dialogue>Yeah? I see doubt oozing out your arm. Where do people go when they kill their girlfriends?</dialogue>
<scene_description>FLASH ALEX 'S INTERNAL POV Alex back at the inferno , cowering from flames . RESUME The Captain full of righteous conviction .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Screwed up kid stabs her fifty three times. Where would he end up?</dialogue>
<scene_description>The Captain bent over Alex , stabbing him . ALEX 'S INTERNAL POV -LRB- INTERCUT WITH PREVIOUS -RRB- FLASHES move us backward along the path we 've taken so far , a tour of hell on earth , the blast of infernal winds and the ever - present voice of the Captain , condemning .</scene_description>
<character>CAPTAIN'S VOICE</character>
<dialogue>Take a look!</dialogue>
<scene_description>Strippers writhe at `` The Hole . ''</scene_description>
<character>CAPTAIN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's who you are!</dialogue>
<scene_description>The Porsche explodes .</scene_description>
<character>CAPTAIN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You sick fuck! Look at it!</dialogue>
<scene_description>Alex blasts Dutton . BAM !</scene_description>
<character>CAPTAIN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Every loser name anyone ever called you was true!</dialogue>
<scene_description>Alex escapes the taser . Mercer drops .</scene_description>
<character>CAPTAIN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you looking? Answer me!</dialogue>
<scene_description>Time SCREECHING to a halt , all the movement converging on a single , quiet image . One we 've seen before . Alex in the chair . But his last words are different .</scene_description>
<character>ALEX</character>
<dialogue>I loved Lauren. I never meant to hurt her.</dialogue>
<scene_description>ZAP . Electro - spasm as the switch is thrown . No scar , no meltdown , just violent fibrillations that moderate , finally as we MATCH TO . RESUME - THE CAPTAIN 'S OFFICE The Captain shaking Alex , holding something in front of Alex 's face .</scene_description>
<character>CAPTAIN</character>
<dialogue>You see it? Huh? Did you see it?</dialogue>
<scene_description>Alex 's eye 's gone dead , no longer seeing . THE PHOTO - LAUREN AND ALEX IN THE WOODS arms around each other . Familiar , but on second take , it 's like the crime scene photos . Lauren 's NECK is SLASHED , her body riddled with stab wounds . Alex has a big smile on his face , his arm around her , her head on his shoulder . 100 % sociopath . RESUME</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yeah. I think you fucking saw it.</dialogue>
<scene_description>The Captain drops Alex lifeless and bloody to the floor . Only the sound of the Captain panting now , then . The sound of slow clapping . Madden walks into the room from behind perimeter curtains . CLAP CLAP CLAP .</scene_description>
<character>MADDEN</character>
<dialogue>You were right. Picture's worth a thousand words.</dialogue>
<scene_description>Madden kicks Alex lightly , nudging him . No life signes . The Captain rips the picture in two . Tosses it in the trash .</scene_description>
<character>CAPTAIN</character>
<dialogue>Just do n't believe everything you see.</dialogue>
<character>MADDEN</character>
<dialogue>Doubt is a motherfucker.</dialogue>
<character>CAPTAIN</character>
<dialogue>Give me a hand with this sack of shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - NIGHT</stage_direction>
<scene_description>NEW ANGLE - THROUGH A WINDOW DARKLY Madden and the Captain grab Alex , one at each end .</scene_description>
<character>SECRETARY</character>
<dialogue>He's cute. Was cute.</dialogue>
<scene_description>REVEAL , this is the Secretary 's POV through the window . She 's bent over someone 's toes , painting them BLUE . WIDE . The Mystery Room revealed . Taxidermy specimens line the wall and the table . Erin stands in PROFILE in the middle of the room , strangely silent , hands tied overhead by a rope that runs to the ceiling . The Secretary brushing polish on Erin 's toes .</scene_description>
<character>SECRETARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But the face, well, makeup can work for you or against you. Right?</dialogue>
<scene_description>The Secretary applies a last flourish of polish , then stands , kisses Erin gently .</scene_description>
<character>SECRETARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>All done. Very nice.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>You're a good listener.</dialogue>
<scene_description>The Secretary moves off REVEALING . ERIN 'S FACE MOUTH SEWN shut in a rough zigzag stitch , like the scar . Her eyes dart as . THE DOOR opens . The Captain and Madden carry Alex in . Madden sweeps the TAXIDERMY SPECIMENS back with his hand , clearing a space for Alex on the table . Among them . THE CROW on its Corvus Brachyrhynchos stand takes a small hop backward , this sign of life unnoticed as . RESUME WHUMP . Alex heaved onto the table .</scene_description>
<character>MADDEN</character>
<dialogue>So was he dead? Or alive?</dialogue>
<scene_description>The Secretary puts her ear to Alex 's lifeless lips .</scene_description>
<character>CAPTAIN</character>
<dialogue>I've seen birds stuffed and mounted so lifelike you'd swear you saw them breathing.</dialogue>
<scene_description>This reminds him . he looks at the Crow on the stand . Lifeless , stuffed . As it should be .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Maybe we had a case of that here.</dialogue>
<parenthetical>( to Secretary . )</parenthetical>
<dialogue>Get me my kit.</dialogue>
<character>MADDEN</character>
<dialogue>You two are majorly demented. Anyone ever tell you that?</dialogue>
<scene_description>The Secretary steps off to grab thekit , leaving Alex 's lifeless open eyes pointing toward Erin , reflected in his eyeballs first before . ANGLE - ERIN looking up at her own hands , bound above her as she eases them apart and . The HEART SHAPED LOCKET slips from between her palms and she closes them again in time to catch the chain , the locket swinging . ON THE TABLE X - CLOSE . The locket reflected in Alex 's lifeless open eyes a second before . The Secretary returns , blocking the sightline . Lays out the Kit , nasty looking tools left over from the Inquisition . Then unbuttons Alex 's tattered shirt , undressing him for the procedure . Stab wounds everywhere .</scene_description>
<character>SECRETARY</character>
<dialogue>Fifty three?</dialogue>
<character>CAPTAIN</character>
<dialogue>In all the excitement I kind of lost count.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>I think I'll mount him with his head up his ass.</dialogue>
<scene_description>A large KNIFE , the Lauren murder weapon , angles in at the base of Alex ` sneck where the Secretary 's head was . THE CROW - OVERCRANKED moves on the table . Takes flight . THE TRIO turn toward the commotion .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Grab it!</dialogue>
<scene_description>THE LOCKET - OVERCRANKED Snatched in midair by the Crow from Erin 's praying hands . FLASH ! ALEX/CROW 'S INTERNAL POV HIGH ANGLE CROWVISION . Dim memories from the woods . Anamorphic and dark . Two figures - Alex and Erin - kneeling . RESUME - THE LOCKET released from the Crow 's beak , passing through the TRIO 'S HANDS uncaught , bouncing off Alex onto the table , in front of his open eyes . ALEX/CROW 'S INTERNAL POV FLASH . AT GROUND LEVEL . Alex fastens the LOCKET around her neck . The distortion lessening , becoming Alex 's POV .</scene_description>
<character>ALEX</character>
<dialogue>it connects you to me.</dialogue>
<scene_description>FLASH .</scene_description>
<character>ERIN</character>
<dialogue>No matter what happens. you're innocent. I promise.</dialogue>
<scene_description>FLASH . Alex painting her face . RESUME Alex BLINKS . The Captain reacts - oh shit - starts to bring the knife down , a hurried strike at Alex 's chest . WAM ! Alex grabs the Captain 's arm in his hand , stopping the movement on a dime .</scene_description>
<character>ALEX</character>
<dialogue>All lies. Everything you ever showed me.</dialogue>
<scene_description>MADDEN pulls a gun , points it at Erin . ALEX jumps up , flying INTO the gun as it goes off . CRASH ! They tumble THROUGH THE WINDOW into the Captain 's office while . THE CAPTAIN cuts down the rope holding Erin . She collapses . ON THE TABLE strewn with blades , secreting one between her hands , in the second before . THE CAPTAIN drags Erin off . The Secretary flails at the Crow with a metal ROD , while . IN THE CAPTAIN 'S OFFICE Madden has the gun on Alex now . BAM ! No effect . BAM ! Madden sweating it now , continuing to shoot with no effect as . THE MYSTERY ROOM The Secretary finally connects with the Crow , batting it against the wall , noticing this coincides with . Alex goes flying against the desk , winged himself . Madden c Onfused , not understanding .</scene_description>
<character>SECRETARY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's the bird! Kill it!</dialogue>
<scene_description>Madden wheels , points the gun through the busted - out picture window into . The SECRETARY dives for cover as bullets explode around her . The Crow dancing , sprayed with debris .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - ELEVATOR - NIGHT</stage_direction>
<scene_description>CLOSE . Floor lights sequence above the door , heading for underground parking . `` 5 - 4 - 3 . '' The Captain watches the lights . Erin is slumped face first against the side of the elevator opposite him .</scene_description>
<character>CAPTAIN</character>
<dialogue>You brought him back. Good. He owes you. We'll stick together, you and I.</dialogue>
<scene_description>ON ERIN face pressed against the elevator wall , intent .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Seen but not heard. They ought to make it a law.</dialogue>
<scene_description>Erin winces , looks down . THE BLADE emerging from her sleeve as she tries to hold it with her two bound hands . DING . The elevator jerks to a stop . THE CAPTAIN grabs her off the floor and she RAMS the blade into his abdomen with the force of the entire body . Twists it . The elevator doors open . ERIN pulls out the blade , claws her way out the door , the Captain hanging on to her , finally getting free as she swipes at him again , drawing fresh blood . Running now , into .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - PARKING GARAGE - NIGHT</stage_direction>
<scene_description>Erin stumbles between cars in the dark underground garage , cutting the cord off her hands , leaving it behind as . Behind her , the Captain unsteady on his feet , a wounded animal . He pulls out a GLOCK 9MM and KA - CHUNK . Cycles it . Erin dives between cars , scrambling on hands and knees . Looks around . HER POV - SCANNING a small garage with a few police cruisers by a SERVICE AREA and no people . A barred GATE over the exit . No way out . ERIN winces . Then stifles a cry as she cuts the stitches off her mouth with the knife . Drops the threads on the floor and moves off .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - CAPTAIN'S OFFICE - NIGHT</stage_direction>
<scene_description>Alex runs past the glass AWARDS CASE , takes a flying leap behind the desk , seeking cover as Madden empties a clip at him . The slide ratchets back . Madden SLAMS another clip in , advances on Alex , hidden behind the shredded desk as . THE SECRETARY clears stuffed birds off the table trying to expose the wounded crow cowering back against the wall .</scene_description>
<character>SECRETARY</character>
<dialogue>Here pretty bird. Here birdy.</dialogue>
<scene_description>WHOP ! She grabs it , the Crow flapping desperately as . IN THE CAPTAIN 'S OFFICE Madden creeps up on the desk , peers over it . Nothing . Out of nowhere . WAM ! Alex rushes Madden , bulldozing him across the room with a pained cry of brute force toward . THE AWARDS CASE CRASH ! Glass shatters as Alex hurls Madden , who swivels around in time to get off a last shot BAM ! That collapses Alex to the floor . IN THE MYSTERY ROOM The Crow squeezes out of the Secretary 's grasp , leaving her holding a couple feathers . AT THE AWARD 'S CASE Alex hauls himself off the floor as the Crow joins him . Seeing . MADDEN 'S HEAD has taken its place among glass bowls and trophies , half decapitated by the glass shelf it now rests on . Down the shelf from the stuffed bird . ALEX rushes through the blown out window into . Seeing for the first time that Erin is gone , the rope hanging from the ceiling , finding . THE SECRETARY</scene_description>
<character>SECRETARY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>sitting on the floor, painting her own toenails BLUE, leaning up against the wall.</dialogue>
<character>ALEX</character>
<dialogue>Where'd they go?</dialogue>
<scene_description>Alex eases the Secretary to her feet with a hand around her neck , her back to the wall . She looks UP , smiling at . WALSH - RIGHT ARM MISSING hangs high overhead from some kind of hook . His arm has been crudely removed . Underneath him , on the table , a BOX of 2 '' surgical stainless steel rods sits by a pool of blood . ALEX yells , reeling , as . The door flies open . A half dozen cops in , all targeting Alex as . THE SECRETARY plunges the Lauren KNIFE in Alex 's back . He spins violently THROWING her HARD against the wall . WAM ! Surprise ! - she sticks . REVEAL , she 's impaled on ANTELOPE ANTLERS , hanging off the wall . Her head drops , looking down as a stream of blood flows down her legs , drips off her toes .</scene_description>
<character>SECRETARY</character>
<parenthetical>( dying words . )</parenthetical>
<dialogue>My nails.</dialogue>
<scene_description>BAM BAM BAM . The new arrivals open fire . Alex reaches over his shoulder , yanks out the knife with an odd slurping sound as .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - PARKING GARAGE</stage_direction>
<scene_description>The sound of GUNFIRE filters down from above as the Captain hunts his hidden prey . He stops , studies . ERIN 'S POV - LOW ANGLE LOOKING UNDER A CAR The Captain 's feet , joined by his hand as he picks up the thread she left on the ground . INCLUDE ERIN</scene_description>
<character>SECRETARY</character>
<dialogue>reproving herself as she turns toward camera. She looks back under the car, but.</dialogue>
<scene_description>The Captain 's feet have moved off . Where ? She listens , hears nothing . Slips off . NEW ANGLE - ERIN takes refuge in the service area , crouching behind stacks of TIRES . Knife at the ready . The Captain 's FOOTSTEPS audible . HER OBSTRUCTED POV between stacks of tires , the Captain , Glock at ready , PASSES BY , moving out of sight . Footsteps RECEDING . Then silent . ERIN Listening , neurons firing . Cranes her neck to see . Nothing . WIDER the Captain appears BEHIND ERIN , over the stacks of tires . She 's oblivious , then . Erin wheels , slashes across his wrist . The Glock falls , Erin grabs it , levels it at the Captain . Her finger tense on the trigger .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( re : gun . )</parenthetical>
<dialogue>I know you too well. You wo n't do it.</dialogue>
<character>ERIN</character>
<dialogue>You do n't know me at all.</dialogue>
<scene_description>BAM ! She pulls the trigger , simultaneously wrenching the gun , aiming just enough off that . THE CAPTAIN yells in pain , rushes his hand to his ear , a bloody mess . He starts advancing again toward her and Erin pulls . THE TRIGGER again , again , again . No click , no blast . NOTHING . RESUME the Captain takes the gun from her . Shows her the CLIP he 's carrying in his hand . Slams it into the gun .</scene_description>
<character>CAPTAIN</character>
<dialogue>One in the chamber. That's all you get.</dialogue>
<scene_description>Erin SCREAMS as he drags her off now and .</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - NIGHT</stage_direction>
<scene_description>THE CROW flies UP toward the small entry window . Alex follows , bullets exploding around him as he hauls himself up toward the windowledge .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - ROOFTOP</stage_direction>
<scene_description>ERRRKKK . The SOUND of a car in a hurry audible as Alex hauls himself out the small window . Runs to the edge , spotting . FAR BELOW a dark sedan leaving in a rush , wrapping around the corner of the police station now .</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK SEDAN - TRAVELLING FAST - NIGHT</stage_direction>
<scene_description>The Captain nervous at the wheel . He looks over his shoulder . Erin 's in the back seat , cuffed to the door handle .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - MYSTERY ROOM</stage_direction>
<scene_description>The Sergeant and crew utterly speechless taking in the carnage .</scene_description>
<character>SERGEANT</character>
<parenthetical>( crossing himself . )</parenthetical>
<dialogue>Holy mother of God. The devil himself.</dialogue>
<scene_description>He looks up , where Alex vanished . Starts to climb .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - ROOFTOP - NIGHT</stage_direction>
<scene_description>Alex dashes over the articulated roof , trying to keep in sight . HIS MOVING POV partially obstructed , of the sedan below . Speeding around another corner now . ALEX alters course to cut the sedan off , jumping up onto a PARAPET where he totters over the vertical face as the sedan turning onto the street below . THE SERGEANT AND CREW emerge on the roof . Acquire target Alex Corvis .</scene_description>
<character>SERGEANT</character>
<dialogue>Stop or! Do n't jump!</dialogue>
<scene_description>WITH ALEX as he takes a flying dive off the building , intercepting .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - STREET #</stage_direction>
<scene_description>The Dark Sedan careening up the street leaving the city . WAM !</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK SEDAN - TRAVELLING - NIGHT</stage_direction>
<scene_description>WAM ! ERRRK ! The Captain nearly jumps out of his skin , barely keeping control .</scene_description>
<character>CAPTAIN</character>
<dialogue>What the fuck?</dialogue>
<scene_description>Erin perks up in the back seat . Battered . Ever hopeful .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREETS #6 - DARK SEDAN</stage_direction>
<scene_description>WIDE . As the speeding car passes under a streetlight , we see a HUMAN FIGURE standing on top of it , legs spread , arms upstretched . PUNCH IN . CLOSE . The Figure , Alex , strikes downward , right THROUGH the glass moonroof . CRASH ! IN THE SEDAN the Captain horrified as Alex 's hand yanks his own right off the wheel and up , through the moonroof . ON THE ROOF OF THE SEDAN Alex kneels now , holding the Captain 's arm up as he jacks the sleeve down exposing . THE ZIGZAG PATTERN , THE MORTIFIED FLESH held in Alex 's hand like the trophy it is . FADE TO BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARRISON'S PRISON - EXECUTION CHAMBER - NIGHT</stage_direction>
<scene_description>Alex 's voice appears . Calm . Unhurried .</scene_description>
<character>ALEX'S VOICE</character>
<dialogue>The Jolt, eight amps at two to three thousand volts. It lasts a few seconds. The current surges and is turned off.</dialogue>
<scene_description>FIND ALEX 'S FACE in the darkness . Moving as he performs some unseen task . Intent , focussed .</scene_description>
<character>ALEX'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They wait for the body to cool, then check to see if the heart is still beating.</dialogue>
<scene_description>FIND ERIN , in the darkness , listening to Alex 's voice . She touches her mouth , little drops of dried blood where the wounds are already healing .</scene_description>
<character>ALEX'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>If it is. ba - boom, ba - boom. another jolt is applied.</dialogue>
<scene_description>SLOW FADE IN as our eyes adjust to the dim light .</scene_description>
<character>ALEX'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Experts say unconsciousness occcurs before pain has time to register. They agree electrocution does not `` hurt,'' could not hurt. But it does. Unimaginably. Believe me.</dialogue>
<scene_description>We 're in the death chamber . Dark . Claustrophobic . The only light a few panel indicators and spill from the door open from the adjacent observation room to the outside . Alex looks at the phone on the wall . Silent .</scene_description>
<character>ALEX</character>
<dialogue>I do n't expect a call from the Governor. Any last words? Captain, my Captain?</dialogue>
<scene_description>REVEAL the Captain in the chair . A private execution . Erin slumped along a side wall . Totally inscrutable . Intense .</scene_description>
<character>CAPTAIN</character>
<dialogue>Yeah. Fuck you.</dialogue>
<scene_description>A long beat of silence .</scene_description>
<character>ALEX</character>
<dialogue>Was that it? Well, ok.</dialogue>
<character>CAPTAIN</character>
<dialogue>I'm not dying for your goddamn illusions. You got that? You think you and your girlfriend had some rosy future ahead of you? Bullshit. She was already bored, why do you think she was looking around? You're nothing, Corvis! Less than nothing.</dialogue>
<scene_description>A Figure wipes through frame moving toward the switch . The Captain 's voice rising as he senses time running out .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You ca n't do this to me you little fucks! I'll come back, just like you, a big fucking shit spewing bird and three guesses what little bitch I'm taking out first.</dialogue>
<scene_description>CLOSE . The switch thrown . ZZZZZTTT . PAN UP off the switch to .</scene_description>
<character>ERIN</character>
<dialogue>You are so dead.</dialogue>
<scene_description>She glances at the Captain , fibrillating in the chair , starts to move off . Then stops , near Alex , looking with him at . THEIR POV - THE ZIGZAG SCAR fibrillating , as we PUSH into seething detail . Writhing bodies , human suffering , a hellish miasma that draws us in until we turn our heads away , released .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARRISON PRISON - WITNESS ENTRANCE - DAWN</stage_direction>
<scene_description>Alex and Erin exit the visitor 's entrance , met by the Crow and the first rays of morning light . He puts his arm around her and she places her hand over his .</scene_description>
<character>ERIN</character>
<dialogue>You want to get some breakfast?</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>What I mean is. I do n't know how this works, but.</dialogue>
<scene_description>He stops , face to face now .</scene_description>
<character>ERIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>In the woods you said you had nothing. But you would n't, and I would n't if there's some way you do n't have to go. Please. At least not right away.</dialogue>
<character>ALEX</character>
<dialogue>Erin. I'll always be with you.</dialogue>
<scene_description>For a split second , she 's . LAUREN Smiling . Sublime . She kisses him . As the break off , it 's . ERIN AGAIN She hangs on a long moment before letting go . Then she spots something . ON THE GROUND - A SIGN carried by one of the protestors . `` Remember the Victim . '' With a picture of Lauren . Someone has written a bold `` s '' after it . `` Remember the Victims . '' ERIN picks up the sign .</scene_description>
<character>ERIN</character>
<dialogue>Alex. Look at this.</dialogue>
<scene_description>She turns to Alex. But he 's gone . She tries to keep it together as . CAMERA BOOMS up leaving her alone outside the prison walls , with her memories , and her conscience , and her hopes , which is alot . As a DUSTDEVIL whips up in the parking lot , she drops the sign , and starts to CRY .</scene_description>
<character>ERIN'S VOICE</character>
<dialogue>In that moment when Alex went. wherever he went. when he made that choice, I knew I was making a choice too. To be alive. In the world. And it made me cry.</dialogue>
</scene>
<scene>
<stage_direction>INT. MYSTERY ROOM - DAWN</stage_direction>
<scene_description>CAMERA FINDS Walsh , laid out on the table now , missing arm mercifully away from us . The CROW alights nearby , something in its beak .</scene_description>
<character>ERIN'S VOICE</character>
<dialogue>Maybe the world is a bad place but the Captain gone has to be some improvement. And that hope, that tomorrow will be better, is enough to keep me going.</dialogue>
<scene_description>The Crow flaps off , REVEALING the WHITE KING , laid by Walsh 's head . CAMERA keeps MOVING , FINDING . The Crow , on the stand marked Corvis Brachyrhynchos , stuffed and mute . Its eyes blink a last time , then are motionless .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETARY - LAUREN AND ALEX'S GRAVES</stage_direction>
<scene_description>X - CLOSE . JOURNAL . A not - too - loopy feminine hand , writing the words we are hearing .</scene_description>
<character>ERIN'S VOICE</character>
<dialogue>When I think of Lauren fighting and dying, it tears me apart, but it also reassures me. That Lauren and Alex were meant for each other.</dialogue>
<scene_description>REVEAL . Erin is writing the journal , but she 's a radically transformed wild child . A shock of vividly colored dreadlocks , some of the holes that stitched her mouth shut kept permanently open by studs .</scene_description>
<character>ERIN'S VOICE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That they're together now. Fighters. United by love. And anger. That they've given also to me.</dialogue>
<scene_description>She 's leaning up against a new headstone . `` Alex Corvis 1981 - 1999 Always With Us . ''</scene_description>
<character>ERIN</character>
<dialogue>I love Alex. As my sister always hoped I would. And I love Lauren. And I know, because of this, that love does not die. I'm alive. Thinking of them. Hoping that, sometimes, they're thinking of me.</dialogue>
<scene_description>Erin stops writing , closes the journal , stands . She takes the Locket off her neck , drapes it over Alex 's headstone , like the one already over Lauren 's . She stares at the two a moment , then puts her index finger to her lips , transfers kisses to the two stones . And leaves . THE END</scene_description>
</scene>
</script> | In Salt Lake City, Alexander "Alex" Frederick Corvis is framed for the murder of his girlfriend, Lauren Randall and sentenced to death. Three years later he is executed in the electric chair suffering a painful death due to lighting overriding the energy of the chair. The Crow that was mysteriously resurrected after the events of City of Angels, resurrects Alex and gives him supernatural abilities that would allow him to avenge Lauren´s death. Alex follows the crow and finds evidences that Lauren was killed by a group of corrupt cops, including one that has a scar on his arm that match the one he saw just before his execution. Later he encounters Erin, Lauren´s sister, who believes that he is guilty, but he tells her that he will prove his innocence. Later Alex finds a witness in the trial who was bribed to give perjured testimony and forces him to confess that five members of the police forces, Detective Madden, Martin Toomey, Vincent Erlich, Stan Roberts and Phillip Dutton killed Lauren. Alex begin his road to vengeance killing Dutton while saving two young girls from being raped by him, then he provokes Erlich to die in a car crash, but he drops the list of the cops he is after, being found by Roberts and Toomey. With evidences found in Erlich´s car, Alex and Erin find out that, Nathan Randall, Erin and Lauren's father, is in business with the corrupt cops and is indirectly responsible for her death when Lauren uncovered the truth. Erin runs in horror from Nathan when he is confronted with the truth. Erin confesses to Alex that she felts guilty for Lauren´s murder because she told the cops where they can find Lauren, thinking that they would only arrest Alex. With his powers, Alex shows that Lauren fought off her attackers and how Erin should forgive herself. When she comes back home she finds her father killed himself out of remorse. Later, Alex finds out from his lawyer, Peter Walsh, that one of Nathan's businesses was revealed as a front for a drug smuggling operation and Lauren had witnessed Roberts killing a man in the Key Club, leading to her death. Madden kills Walsh and Book kidnaps Erin. Alex starts a shootout at the Key Club in which he impales Roberts with a pipe he breaks off the ceiling, and kills the remaining police. Madden shows up and tries to kill Alex, but his shot accidentally shoots a broken gas pipe; the explosion kills Toomey. Alex walks out of the fire and sees an arm hanging out of the rubble with the scar on it and The Crow leaves him after he feels he "fulfilled his duty". However, Alex finds out that the man with the scarred arm had faked his death and heads to the police station to kill Book, but, without his powers he is stabbed by Book and dies from his wounds. In his agony, Alex begins to believe he caused Lauren´s death accepting his demise. Book brings Alex body to a room where Erin is tied with her mouth stitched shut and the body of Walsh is shown hanged and without an arm (that was used to make Alex believe his vengeance was fulfilled). Erin manages to drop Lauren´s locket and the Crow drops it next to Alex, being a promise a love and truth it makes Alex to revives, allowing him to set Erin Free and kill both Madden and the secretary while Book runs after Erin, Alex is able to catches up with them and exposes Book´s arm, showing the actual scar Alex saw during his execution. Alex and Erin take Book to the electric chair and execute him to the point to cremating him in the chair. Alex´s soul is finally released to reunite with Lauren and Erin keeps Lauren´s necklace with her. |
The Fly II_1989 | tt0097368 | <script>
<scene>
<character>THE FLY I I</character>
<dialogue>• Revised Draft by</dialogue>
<scene_description>Frank Darabont Original Screenplay by Jim & Ken Wheat Third Revised Draft March 4, 1988 • 1 OPENING CREDITS ROLL and end in BLACKNESS Slowly, a sound fades in. Low and indistinct at first, until it becomes the buzzing of an insect. As the sound grows louder, a vague image takes shape in the distance: a FLY appears weaving its way to the foreground. l</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>As it gets closer, it moves out of frame, only to re-enter, \* CLOSER and LOUDER each time. Other less distinct sounds \* become audible as the fly approaches. These sounds become \* recognizable as MUFFLED VOICES and BREATHING, still \* unclear, due to the LOUD BUZZING of the fly, now quite \* large in the frame. The buzzing is blaringly loud as \* the FLY abruptly exits again, leaving the frame BLACK \* and SILENT. A moment later, the huge, monstrous face of \* the fly SMASHES into frame filling it entirely. \*</scene_description>
<character>2,3</character>
<dialogue>4</dialogue>
<character>OMITTED</character>
<dialogue>OMITTED</dialogue>
<character>5</character>
<dialogue>CLOSE ON RONNIE QUAIFE as her feverish eyes pop open.</dialogue>
<character>INT. HOSPITAL O.R. ROOM - DAY</character>
<dialogue>She screams at the top of her lungs in reaction to the dream. Suddenly, she becomes aware of another reality. \*</dialogue>
<scene_description>• The voices of doctors and nurses in the operating room.</scene_description>
<character>CUT TO:</character>
<dialogue>Ronnie's POV - a ceiling. Surgical lights. The PERINATOLOGIST leans close, peering into the camera</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>lens. \*</scene_description>
<character>PERINATOLOGIST</character>
<dialogue>Just keep breathing, Ronnie.</dialogue>
<scene_description>Ronnie starts gasping and choking for air, tearing out \* her wires and I.V. tubes. Her ECG monitor goes crazy. \* She throws back the covers and gazes down in horror at \* her swollen, pregnant belly which undulates wildly. \* Ronnie screams again as the doctors try to restrain her. \*</scene_description>
<character>6</character>
<dialogue>EXT. HOSPITAL - DAY</dialogue>
<scene_description>THE GLARE OF THE PENLIGHT sweeps from our eyes to reveal a helicopter descending in a violent storm, lashed by rain and high winds. This is insane weather for flying. • The pilot attempts to set down twice, and both times his craft is buffeted off its mark by the wind. He manages to land on the third try and cuts the engine fast.</scene_description>
<character>CONTINUED:</character>
<dialogue>3•</dialogue>
<scene_description>• INT - HOSPITAL ROOM - DAY TIGHT ON RONNIE ash!£ feverish eyes E!2,2 open and ,!h! wakes f~om the dream. Aterri-fied whisper:</scene_description>
<character>RONNIE</character>
<dialogue>The baby •••</dialogue>
<scene_description>Ronnie starts gasping and choking for air, tearing out her wires and I.V. tubes. Her ECG monitor goes crazy. She throws back the covers and gazes down in horror at her swollen, pregnant belly, which undulates wildly. 4 OMITTED 4 \*\* • 5 INT - C.R. - RONNIE'S POV s A ceiling. Surgical lights. Frenzied technical jargon:</scene_description>
<character>VOICES (O.S.)</character>
<dialogue>She's a bleederl ••• Get another I.V. goingl ••• I want those clotting studies filr!, not tomorrowl</dialogue>
<scene_description>The PERINATOLOGIST leans close, peering into the camera lens.</scene_description>
<character>PERINATOLOGIST</character>
<dialogue>Just keep breathing, Ronnie.</dialogue>
<scene_description>He shines a penlight into our eyes and the screen fills with</scene_description>
<character>--.,.</character>
<dialogue>SUDDEN GLARE as we</dialogue>
<scene_description>EXT - HOSPITAL - DAY The GLARE OF THE PENLIGHT sweeps from our eyes to reveal a \*\* helicopterdescending in a violent storm, lashed by rain and \*\* high winds. This is insane weather for flying. \*\* The pilot attempts to set down twice, and both times his craft is buffeted off its mark by the wind. He manages to land on the third try and cuts the engine fast.</scene_description>
<character>CONTINUED:</character>
<dialogue>4.</dialogue>
<scene_description>• The passenger door opens and ANTON BARTOK emerges. A man of power, as elemental as the storm itself. He heads for the building at an unbreakable stride as DOCTOR SHEPARD runs out onto the helipad to meet him.</scene_description>
<character>SHEPARD</character>
<dialogue>It's happening!</dialogue>
<character>BARTOK</character>
<dialogue>Why wasn't I notified sooner?</dialogue>
<character>SHEPARD</character>
<dialogue>I'm sorry, Mr. Bartok! We called as soon as the labor began!</dialogue>
<character>BARTOK</character>
<dialogue>I better not miss this, Shepard. . It would cause you untold regret.</dialogue>
<scene_description>They exit frame. A SUDDEN FLASH OF LIGHTNING illuminates the building -- an imposing glass and stone edifice topped by huge letters that read: "BARTOK SCIENCE INDUSTRIES". \*\* • INT - OPERATING ROOM - DAY The O.R. is absolute, high-decibel chaos -- we catch Ronnie in MIO-SCREAM, neck muscles corded and distended, blowing air like a bellows. The medical team works furiously, people rushing about and shouting at one another. RONNIE:</scene_description>
<character>OH GOD! THERE'S SOMETHING</character>
<dialogue>WRONG! I CAN FEEL IT!</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>We seem to have a uterine atony here. Never seen so</dialogue>
<scene_description>NURSE much fluid. You're doing fine. We're almost there. PERINATOLOGIST (to a nurse) RONNIE•·• Let's have twenty units of GET IT OUT OF ME! JUST GET pitocin standing by. IT OUT OF ME! CAMERA CRANES UP to reveal the gallery -- a glass-enclosed observation bay situated above the chaos. The lighting within the gallery is dim, but SCIENTISTS in white lab coats can be glimpsed monitoring the activity below.</scene_description>
</scene>
<scene>
<stage_direction>INT. O.R. GALLERY - DAY</stage_direction>
<scene_description>DR. JAINWAY, a stern middle-aged woman, is the senior scientist in charge, overseeing the others as they work. She glances at Bartok as he bursts in, trailed nervously by Shepard. CONTINUED: s. • JAINWAY You're just in time. I was afraid you weren't going to make it. Bartek joins her at the window and gazes down.</scene_description>
</scene>
<scene>
<stage_direction>INT. OPERATING ROO~ - DAY 9 \*</stage_direction>
<scene_description>Ronnie sees Bartek. She tries to sit up as a nurse restrains her.</scene_description>
<character>RONNIE</character>
<dialogue>YOU TOLD ME IT WOULDN'T BE LIKE</dialogue>
<character>THIS! YOU PROMISED!</character>
<dialogue>She falls back, screaming as another wave of pain jolts her.</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>It's coming, Ronnie! Help me out here! Big push nowl</dialogue>
<scene_description>He gazes down in horror as Ronnie gives birth.</scene_description>
<character>OBSTETRICIAN</character>
<dialogue>Oh Jesus •</dialogue>
<scene_description>• For a brief moment everything comes to a standstill ••• and the obstetrician raises~ sguirming LARVAL~ i n t o ~ . Ronnie catches sight of what she's given birth to and starts to go into convulsions.</scene_description>
<character>\*</character>
<dialogue>OBSTETRICIAN</dialogue>
<scene_description>She's hemorrhaging! Start fundal massage! Get that pitocin going, \*\* and draw up .2 milligrams methergyn! We're suddenly back to utter chaos as the obstetric team tries to save Ronnie's life. The obstetrician, still holding the larval sac as the umbilical cord is clamped, turns to scream</scene_description>
<character>.. .</character>
<dialogue>at the neonatologist:.</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>I thought you said that goddamn ultrasound read normal!</dialogue>
<character>NEONATOLOGIST</character>
<dialogue>It did!</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>Then what the hell am I holding?</dialogue>
<scene_description>The umbilical cord is cut. The obstetrician hurries to an incubation pad and lays the larval sac down. • ON RONNIE as the obstetric team tries desperately to save her ••• \*</scene_description>
<character>PERINATOLOGIST</character>
<dialogue>We're into C.I.C.1 We're losing her! We're losing her!</dialogue>
<scene_description>••• but despite their efforts, Ronnie dies. The perinatologist \* raises a fist and pounds the operating table in frustration. THE LARVAL SAC sits on the incubation pad, flexing and pulsing. The obstetrician. prods the surface gently with a probe •••</scene_description>
<character>NEONATOLOGIST</character>
<dialogue>Is that some sort of amnion?</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>I think so •</dialogue>
<scene_description>••• and the larval~ splits open. Something inside ll struggling to emerge. A gasp rises up. People back off. The sac continues to split and rupture. The obstetrician grabs • it and tears it even further, trying to help whatever's inside. \*</scene_description>
<character>10 & 11 OMITTED</character>
<dialogue>12 BARTOK - INT. O.R. GALLERY - DAY</dialogue>
<character>10 & 11</character>
<dialogue>12</dialogue>
<scene_description>presses against the window, breath fogging the glass, eyes riveted to the event below.</scene_description>
<character>13</character>
<dialogue>gazes down, eyes widening in amazement. Suddenly, we hear a</dialogue>
<character>THE OBSTETRICIAN</character>
<dialogue>BABY CRY OUT. The obstetrician looks up at Bartok ••• ~ brings a perfectly-formed human baby boy into view. He holds the \* child up for Bartok to see, almost as if making an offering.</dialogue>
<character>14</character>
<dialogue>'</dialogue>
<character>BARTOK - INT. O.R. GALLERY - DAY</character>
<dialogue>A MAN in a dark suit appears at his side and whispers:</dialogue>
<character>MAN \*</character>
<dialogue>Mr. Bartek, I have those adoption \* papers ready for your signature.</dialogue>
<scene_description>Without even looking at the man, Bartek scribbles his \* signature with a platinum Cross pen. The man discreetly \* • disappears. Bartek gazes down at the infant ••• and smiles • \*</scene_description>
<character>BARTOK</character>
<dialogue>Kootchy kootchy koo.</dialogue>
<scene_description>(\_CONTINUED):</scene_description>
<character>CONTINUED:</character>
<dialogue>7•</dialogue>
<scene_description>•</scene_description>
<character>IN A MONTAGE SEQUENCE:</character>
<dialogue>MARTIN BRUNDLE - INT. CATSCAN TUNNERL - DAY</dialogue>
<dialogue>is a terrified newborn infant screaming his little lungs out</dialogue>
<scene_description>as a huge CAT SCAN tunnel swallows him and ROARS •••</scene_description>
</scene>
<scene>
<stage_direction>MARTIN - INT. EXAMINATION ROOM - DAY</stage_direction>
<scene_description>is now an older baby with a thick patch of dark hair. He's crying as he undergoes a painful spinal tap,,, 17 OMITTED 17 \*</scene_description>
</scene>
<scene>
<stage_direction>A COMPUTER SCREEN - INT. EXAMI~ATION ROOM - NIGHT</stage_direction>
<scene_description>shows a computer-graphic recreation of Martin side-by-side with the much smaller image of a three month old. Jainway taps the screen with her pen, indicating the smaller child.</scene_description>
<character>JAINWAY</character>
<dialogue>Here we have an average three month old child •••</dialogue>
<scene_description>She now indicates Martin's image. • JAINWAY • •• and here we have our three month old child. As you cansee, his life cycle is dramatically accelerated. He's growing at four to fives times the normal rate for</scene_description>
<character>\*</character>
<dialogue>a human being.</dialogue>
<scene_description>ANGLE WIDENS to reveal Bartok being briefed by Jainway and her \* team. Jainway nods to Shepard, who turns to a large \* transparency glowing on a lightbox -- a photographic blow-up of DNA molecules. He indicates various chromosomes, circling them with a grease pencil.</scene_description>
<character>SHEPARD</character>
<dialogue>We've narrowed it down to these mutant chromosomes in his DNA chain. They're curiously unformed, \* almost like a blank slate. They're \* nothing we've ever seen before.</dialogue>
<character>JAINWAY \*</character>
<dialogue>Whatever they are, they're not \* human. \*</dialogue>
<scene_description>•</scene_description>
<character>BARTOK</character>
<dialogue>Do these unformed chromosomes bear any hint of ••• insect characteristics?</dialogue>
<scene_description>Jainway hesitates, exchanging a glance with Shepard. It's hard to accept, but the evidence is conclusive: a. • CONTINUED:</scene_description>
<character>JAINWAY \*</character>
<dialogue>There are distinct similarities. \*</dialogue>
<character>BARTOK \*</character>
<dialogue>(faint smile) \*</dialogue>
<scene_description>Of course there are. He's got more \* than just his father's eyes. \* Bartok turns to address the entire team:</scene_description>
<character>BARTOK</character>
<dialogue>I'm sure I needn't point out how important this project is to our \* genetic research. The long term \* potential is staggering. This \* little boy could put us ahead of \* the competition by decades ••• not to \* mention billions of dollars. \*</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Dr. Jainway will continue to head the project. You will all answer to her. She, in turn, will answer to me. I, in turn, answer to nobody</dialogue>
<scene_description>• but God. From God's mouth to your ears, that is the chain of command. Respond accordingly. Bartok turns his gaze back to the blow-ups. A faint smile.</scene_description>
<character>BARTOK</character>
<dialogue>Not human •••</dialogue>
<character>THE</character>
<dialogue>are yanked away with a motorized CLANG, revealing the surface</dialogue>
<character>TRANSPARENCIES</character>
<dialogue>of the lightbox -- a WHITE GLOW floods the screen as we</dialogue>
<scene_description>19 & 20 OMITTED 19 & 20</scene_description>
<character>21</character>
<dialogue>I</dialogue>
<character>A WHITE GLOW - INT. ,OBSERVATION ROOM/MARTIN'S ROOM - DAY</character>
<dialogue>which proves to be a sterile white wall. TILT DOWN to reveal Martin, now a seemingly normal four year old. He's charging around his spartan living quarters with a toy airplane, screaming at the top of his lungs, having a grand old time. He's being pursued by the hapless and harried Dr. Shepard, who is trying to get the boy to sit still for testing. ANGLE WIDENS OUT -- we are watching the scene through a huge</dialogue>
<scene_description>• two-way mirror. On this side of the glass is a dimly lit observation bay, where TECHNICIANS are monitoring Martin's progress. Bartok is at the glass with Jainway.</scene_description>
<character>BARTOK</character>
<dialogue>What about his sleeping habits?</dialogue>
<character>CONTINUED:</character>
<dialogue>9.</dialogue>
<scene_description>• JAINWAY They've remained pretty constant. Some nights it's forty five minutes. Never more than an hour. As they watch, Martin grabs Dr. Shepard by the tie and gleefully drags him around in circles. Bartek suppresses a smile, but Jainway sees no humor in it.</scene_description>
<character>JAINWAY</character>
<dialogue>You can see how he is. He never slows down. He's virtually unmanageable.</dialogue>
<character>BARTOK</character>
<dialogue>Nonsense. He's just spirited</dialogue>
<scene_description>(gazes out at the child) \*\* If I didn't know any better, I'd say that was a four year old boy. • A boy who just happens to have been born eleven months ago. (beat) I'd say it's time our young guest and I got acquainted. INT - MARTIN'S ROOM - DAY Martin is still dragging Shepard around by the tie as Bartok enters, trailed by his entourage. Shepard, at his wit's end, finally manages to get his tie out of Martin's grasp.</scene_description>
<character>BARTOJC</character>
<dialogue>tsmiling, expansive)</dialogue>
<scene_description>We're not interrupting, are we? I� I:</scene_description>
<character>SHEPARD</character>
<parenthetical>(flustered, fixing his tie)</parenthetical>
<dialogue>Not at all, Mr. Bartok.</dialogue>
<scene_description>Martin gazes up at Bartek with frank curiosity. Bartek puts on a big grin. •</scene_description>
<character>BARTOK</character>
<dialogue>Well, well. What a handsome young man you are. Do you know who I am?</dialogue>
<character>MARTIN</character>
<dialogue>You're one of the people who live behind the mirror.</dialogue>
<character>CONTINUED:</character>
<dialogue>1 O·</dialogue>
<scene_description>• The adults give an "isn't that cute" chuckle. Bartek squats to Martin's level, hiking his trousers to preserve the crease.</scene_description>
<character>BARTOK</character>
<dialogue>My name is Mr. Bartek, and I know \*\* you and I are going to be very, very good friends. Don't you think?</dialogue>
<parenthetical>(Martin shrugs)</parenthetical>
<dialogue>I know we will. In fact, I hope you'll think of me as more than just a friend. I hope you'll think of me as your dad.</dialogue>
<character>MARTIN</character>
<dialogue>What's that?</dialogue>
<character>BARTOK</character>
<dialogue>Legal definitions aside, a dad 1s \* someone who takes care of you. Gives you what you need. Signs the checks. I'm "dad." Understand?</dialogue>
<parenthetical>(Martin nods)</parenthetical>
<dialogue>Good. I want you to be happy here. I want us to be very close, you and I.</dialogue>
<character>MARTIN</character>
<dialogue>'kay.</dialogue>
<scene_description>But Martin doesn't sound very convinced. Bartok's mind races for a way to win the child over. It finally comes to him:</scene_description>
<character>BARTOK</character>
<dialogue>Martin, before I go •••</dialogue>
<scene_description>Bartok pulls the oldest, corniest sleig~t-of-hand trick in the book -- he snatches a quarter from behintl Martin's ear.</scene_description>
<character>,,� BARTOK</character>
<dialogue>••• what's this in your ear?</dialogue>
<scene_description>Martin's face lights up. He's stunned, amazed. Bartek grins. He's got the kid where he wants him. He starts rolling the coin across his knuckles with lightning speed, back and forth, back and forth.</scene_description>
<character>BARTOK</character>
<dialogue>It's magic •</dialogue>
<scene_description>• Bartek abruptly palms the coin and holds up his clenched hand.</scene_description>
<character>BARTOK</character>
<dialogue>Do you think it's in there? Maybe yes, maybe no?</dialogue>
<scene_description>·•</scene_description>
<character>CONTINUED:</character>
<dialogue>11.</dialogue>
<scene_description>He flings his hand open -- the coin's gone.</scene_description>
<character>BARTOK</character>
<dialogue>Abracadabra.</dialogue>
<character>MARTIN</character>
<dialogue>Where'd it go?</dialogue>
<character>BARTOK</character>
<dialogue>Could it be ••• in your other ear?</dialogue>
<scene_description>With his other hand, Bartek pulls the same coin-from-the-ear trick. Martin gasps.</scene_description>
<character>BARTOK</character>
<dialogue>The secret is knowing the magic word. Not "abracadabra," that's just something you say for the benefit of the audience. I'm talking about a £!!l, magic word, a secret word that you keep locked away in your heart and never tell anybody. That's</dialogue>
<scene_description>• the word that makes the magic happen • (gives Martin the coin) That's for you. Maybe someday, if you're a good boy, and if you think of the right magic word, you can do magic too. The kid gives him an adoring smile -- Bartok is becoming godlike in his eyes. Bartek rises and ruffles the boy's hair.</scene_description>
<character>BARTOK</character>
<dialogue>Goodbye, Martin.</dialogue>
<scene_description>Bartok sweeps from the room accompanied by his entourage. Now alone, Martin clenches the quarter tightly in his hand. When he opens his fingers, the quarter's still there. He stares at it, puzzled. He puts the quarter on his knuckles and tries to roll it as Bartok did, but the quarter falls to the ground and rolls away. Martin chases after it as we 23 & 24 OMITTED 23 & 24</scene_description>
<character>25</character>
<dialogue>INT - MARTIN· 1 S ROOM - NIGHT</dialogue>
<scene_description>• TIGHT ANGLE ON a young boy's hand rolling a quarter across his knuckles at lightning speed. TILT UP to reveal Martin, now age ten, working at his mainframe computer. CAMERA DOLLIES IN A SLOW 360 AROUND MARTIN as he literally does five things at once: rolls the quarter across his knuckles,</scene_description>
<character>CONTINUED:</character>
<dialogue>12.</dialogue>
<scene_description>operates the computer, list8'1s to music, and watches two separate video monitors playing two separate programs: one is a Tom & Jerry cartoon, the other a college-level science show.</scene_description>
<character>26</character>
<dialogue>ANGLE ON MARTIN - INT. OBSERVATION ROOM/MARTIN'S ROOM-SAME NIGHT</dialogue>
<scene_description>through the two-way mirror. A bleary-eyed technician named BARNES is struggling to stay awake in the dimly lit observation bay. He nods off, his paperback falling to the floor. His head snaps up and he checks the digital clock -- 2:47 a.m. He sighs wearily and rubs his face. Night shift is hell.</scene_description>
<character>CUT</character>
<dialogue>27</dialogue>
<character>TO:</character>
<dialogue>EXT - BARTOK INDUSTRIES - ESTABLISHING - DAY</dialogue>
<scene_description>A sprawling complex of buildings and tasteful landscaping.</scene_description>
<character>28</character>
<dialogue>INT - MARTIN'S ROOM - DAY</dialogue>
<scene_description>Martin undergoes his routine morning medical. Jainway is strapping a blood pressure sleeve around his arm while Shepard • does the eye-ear-nose-and-throat routine. Martin keeps pestering Shepard by pulling the end of Shepard's tie out of his pants. Shepard, fastidious, keeps tucking it back in.</scene_description>
<character>JAINWAY</character>
<dialogue>Keep still, Martin. Stop fidgeting.</dialogue>
<character>MARTIN</character>
<dialogue>Is Mr. Bartok gonna visit today?</dialogue>
<scene_description>Jainway converses with Martin absently, never even taking her eyes off her instruments to look at him. She deals with him as clinically as she deals with his blood pressure.</scene_description>
<character>JAINWAY</character>
<dialogue>You know how busy he is. He's got that groject up in Zone Four.</dialogue>
<character>MARTIN</character>
<dialogue>Oh yeah.</dialogue>
<parenthetical>(brightening)</parenthetical>
<dialogue>Can I go visit h!!!!,?</dialogue>
<character>JAINWAY</character>
<parenthetical>(pwnping up the sleeve)</parenthetical>
<dialogue>Of course not. You're not allowed</dialogue>
<scene_description>• in Zone Four • Why?</scene_description>
<character>MARTIN</character>
<dialogue>I ,..,....• .,..,....,.••-rT'P'IP'\. \</dialogue>
<character>CONTINUED:</character>
<dialogue>13.</dialogue>
<scene_description>• JAINWAY Because you don't have Zone Four clearance. (to unseen technician) Blood pressure 140 over 80. I'll take it again for safety.</scene_description>
<character>MARTIN</character>
<dialogue>How come I don't have Zone Four clearance?</dialogue>
<character>JAINWAY</character>
<dialogue>You're only a Zo~e Three project.</dialogue>
<scene_description>(pumping up the sleeve) - \* You're fidgeting again. \*</scene_description>
<character>MARTIN</character>
<dialogue>It's normal behavior. I read it in \* a book for mommies. Wanna see? \*</dialogue>
<character>JAINWAY</character>
<parenthetical>(icy)</parenthetical>
<dialogue>No thank you. Now sit still or \*</dialogue>
<scene_description>• you'll affect the reading • Martin sits still. God forbid he should affect the reading.</scene_description>
<character>29</character>
<dialogue>Martin stands alone in his room, doing a card trick in front</dialogue>
<character>INT - MARTIN'S ROOM - DAY</character>
<dialogue>of his wall-length mirror. At first it seems he's practicing •••</dialogue>
<character>MARTIN</character>
<dialogue>After I shuffle the cards, I say the magic word ••• abracadabra! And the card has risen magically to the top of the deck!</dialogue>
<character>�</character>
<dialogue>He flips the top card off the top of the deck and holds it up to the mirror. He smiles triumpha~tly.</dialogue>
<character>MARTIN</character>
<dialogue>That's the card, isn't it?</dialogue>
<scene_description>No answer. We realize he wasn't practicing -- he was actually performing the trick for whoever's on the other side of the two-way mirror • • Hello?</scene_description>
<character>MARTIN</character>
<dialogue>Beat. Shepard's VOICE issues softly from the ceiling speakers:</dialogue>
<character>CONTINUED:</character>
<dialogue>1 4.</dialogue>
<scene_description>•· What, Martin? SHEPARD (filtered)</scene_description>
<character>MARTIN</character>
<dialogue>This is the card, right?</dialogue>
<scene_description>SHEPARD (filtered) Uh ••• right.</scene_description>
<character>30</character>
<dialogue>Shepard doesn't even look up from the report he's filling out.</dialogue>
<character>INT - OBSERVATION ROOM/MARTIN'S ROOM -DAY</character>
<dialogue>SHEPARD (cont.)</dialogue>
<scene_description>Great trick, Martin. The smile fades from Martin's face -- he realizes the man wasn't paying any attention. He reshuffles his deck sadly.</scene_description>
<character>31</character>
<dialogue>32</dialogue>
<character>OMITTED</character>
<dialogue>INT - MARTIN'S ROOM - NIGHT</dialogue>
<scene_description>• Martin working at his computer. On the screen are the words:</scene_description>
<character>> PERSONNEL: CODE FILE, INTERNAL</character>
<dialogue>SECURITY ACCESS ONLY</dialogue>
<scene_description>Martin ke~ps working patiently at it, his brow knitted in deep concentration. He's finally rewarded with:</scene_description>
<character>> FILE ACCESS</character>
<dialogue>Martin has broken into the file. He glances guiltily over his shoulder at the two-way mirror, then presses on. The computer ticks down an endless list of names, numbers, and clearances, finally coming to:</dialogue>
<character>> BRUNDLE, MARTIN/DSY553-5135-99L/ZONE THREE</character>
<dialogue>With a few simple Strokes of the keys, Martin upgrades his classification to "Zone Four."</dialogue>
<character>33</character>
<dialogue>Barnes has pulled night duty again, and he's fallen asleep in</dialogue>
<character>INT - OBSERVATION ROOM - NIGHT</character>
<dialogue>his chair. The observation bay is dark and quiet, as is</dialogue>
<scene_description>•• Martin's room on the other side of the mirror • Suddenly, a beam of light shines through the glass and sweeps around until it finds Barnes. The technician doesn't stir. Rev. 3/6/88</scene_description>
<character>CONTINUED:</character>
<dialogue>15 .</dialogue>
<character>INT - MARTIN'S ROOM - NIGHT</character>
<dialogue>Martin is holding a flashlight flush against the mirror,</dialogue>
<character>34</character>
<dialogue>peering into the observation bay. When he backs away, the light reflects off the mirror and illuminates his face. He's grinning mischievously.</dialogue>
<scene_description>34A INT - HALLWAY/GUARD OPERATIONS DESK - NIGHT 34A Martin comes up the dimly-lit hallway and peers around the corner at the Guard Operations desk. A guard named WILEY is manning a bank of video surveillance monitors. JOE SCORBY, Chief Guard of Bartok Industries' security force, is having coffee nearby. Martin sneaks past them.</scene_description>
</scene>
<scene>
<stage_direction>INT. ZONE 3/4 HALLWAY - NIGHT</stage_direction>
<scene_description>Martin comes to a door marked "ZONE FOUR" and almost reconsiders, but "almost" doesn't count. He checks to make sure the coast is clear, then places his plastic I.D. tag against the scanner. A light above the scanner glows green, and the door automatically opens. INT - ZONE FOUR HALLWAY - NIGHT 36 Martin enters and looks around, deeply disappointed.</scene_description>
<character>MARTIN</character>
<dialogue>This looks just like Zone Three.</dialogue>
<scene_description>He wanders deeper into the place, wondering what all the damn tuss was about. Soon he begins to hear FAINT SOUNDS -- animal sounds? 3 6A INT - INSECTORIOM ( ENTRYWAY TO KENNEL)- NIGHT 36A \* Martin, drawn by the animal sounds, finds himself in the "insectorium" a ~orridor of simple observation windows through which we c~n see into the various insect hatcheries. Martin pauses, peering through a window into the fly hatchery. He presses his hands against the glass, watching the flies buzzing in the air. On the other side of the glass, a single fly moves toward his hand. Soon, a second fly lands ••• and then a third ••• and a fourth ••• • MARTIN hears somebody coming. He turns and hurries down the hall, disappearing around the corner. • CONTINUED: lSA. A JANITOR enters, rolling a large plastic dumpster. He starts \*\* emptying the waste receptacles lined up outside the hatchery \*\* doors -- but pauses, staring in slow amazement at: \*\* THE FLY HATCHERY WINDOW \*\* Dozens of flies are positioned on the glass, forming the shape \*\* of Martin's hands. • • •• 37</scene_description>
<character>CONTINUED:</character>
<dialogue>INT - KENNEL - NIGHT</dialogue>
<dialogue>Martin enters and comes to a dead stop, gazing around in</dialogue>
<character>16 �</character>
<dialogue>wonder. ANGLE WIDENS SLOWLY to reveal a huge noisy room filled with countless varieties of caged lab animals. Martin wanders down the rows of screeching monkeys and meowing cats. He comes upon a particular cage and stops. Inside the cage sits a large black dog. A long, extended moment. Martin gazes at the dog. The dog gazes back. Let's face it, this is love at first sight.</dialogue>
<character>38</character>
<dialogue>INT - KENNEL - SAME NIGHT</dialogue>
<scene_description>The dog sits at Martin's feet, tail wagging furiously, gazing up with endless fascination as the boy performs his umpteenth magic trick of the night.</scene_description>
<character>MARTIN</character>
<dialogue>After I shuffle the cards, I say</dialogue>
<scene_description>• the magic word ••• abracadabra! And the card has risen magically to the top of the deck! Ta-daaa! For my next trick, I will magically pull a kibble from a dog's ear! Are there any volunteers in the audience? The dog starts barking, barely able to contain his excitement.</scene_description>
<character>39</character>
<dialogue>.</dialogue>
<character>INT - KENNEL - SAME NIGHT</character>
<dialogue>Martin and the dog are curled up together in a blanket under a desk. The kennel is quiet, Martin is speaking softly, and the dog is listening w~th sad, attentive eyes.</dialogue>
<character>MARTIN</character>
<dialogue>I've got this disease. It's so rare I'm the only one who's got it. They even named it after me. It's called "Brundle Accelerated Growth Syndrome." The doctors say it means \* I'm growing up a lot faster than I'm supposed to, which isn't so bad, I guess. But I think it also means I'm gonna die a lot sooner too, which isn't so great. I don't know for sure, 'cause the doctors \* don't talk about that part much. \*</dialogue>
<scene_description>He pauses, mulling his fate. \*</scene_description>
<character>CONTINUED:</character>
<dialogue>17 •</dialogue>
<scene_description>• MARTIN It's not so bad. Some people are worse off. I once saw this show. There was this little kid and he was dying too, only of leukemia, and he only had a couple of weeks to live, so I guess I'm a lot luckier than him. (long pause) He got to go.to a world series \* game, though. \*</scene_description>
<character>40</character>
<dialogue>An ORDERLY brings lunch in on a rolling cart, then exits.</dialogue>
<character>INT -</character>
<dialogue>Martin sits down to eat. Shepard's VOICE issues softly from the ceiling speakers: \*</dialogue>
<scene_description>SHEPARD (filtered) \* Looks like you're in luck today, \* Martin. Lamb chops and french \* fries. Your favorite, isn't it? \* • Yes sir.</scene_description>
<character>MARTIN</character>
<dialogue>As Martin starts to eat, he hides his lunch from the mirror's view with his arm ••• then sneaks a lamb chop and some fries off</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>his plate, concealing them in a plastic bag in his lap. \*</scene_description>
<character>41</character>
<dialogue>INT - OBSERVATION ROOM - NIGHT</dialogue>
<scene_description>Again, we find Barnes dozing in the darkness. The flashlight beam shines through the two-way mirror and finds him, then shuts off abruptly.</scene_description>
<character>42</character>
<dialogue>43</dialogue>
<character>OMITTED</character>
<dialogue>INT - KENNEL - NIGHT</dialogue>
<scene_description>Martin enters with the bag of food scraps and hurries down the rows of cages until he gets to -- .!!l empty slot. He stops cold. Where'd they put his dog? He notices a yellow tag hanging from a hook. THE YELLOW TAG • has a handwritten notation: "Transfer to Bay 17."</scene_description>
<character>CONTINUED:</character>
<dialogue>18.</dialogue>
<character>INT - HALLWAY</character>
<dialogue>ZONE</dialogue>
<scene_description>Martin wanders the empty hallways in search of Bay 17. He comes to a color-coded lucite guide map on the wall and tries to get his bearings.</scene_description>
<character>45</character>
<dialogue>46</dialogue>
<character>OMITTED</character>
<dialogue>INT - OBSERVATION BAY - NIGHT</dialogue>
<scene_description>TIGHT ON Martin as he enters a dimly lit place.</scene_description>
<character>BARTOK (O.S.)</character>
<dialogue>Dr. Trimble, my mood is wearing thin. \*</dialogue>
<character>TRIMBLE (O.S.)</character>
<parenthetical>(filtered through intercom)</parenthetical>
<dialogue>I'm sorry for the delays, Mr. Bartok. \* I think we're all set now. \*</dialogue>
<character>BARTOK (O.S.)</character>
<dialogue>Then let's proceed. \*</dialogue>
<scene_description>• CAMERA DOLLIES AROUND MARTIN to reveal the setting: he's in an observation/control booth with raked amphitheater seats and a huge window that affords a dramatic view of an enormous, brightly-lit lab below. Standing at the window in silhouette is Bartek. Jainway is at \* his side. They are surrounded by a dozen or so TECHNICIANS \*· operating various monitoring equipment. Everybody has their backs turned to Martin, their attention riveted to whatever's happening below. Martin just stands there, taking it all in. Suddenly, he hears the SOUND OF A DOG BARKING filtered through the intercom. VOICE (O.S. filtered) C'mere boy, c'mon. That's a good boy ••• Martin moves forwatd, coming down the incline toward the observation window.</scene_description>
<character>47</character>
<dialogue>MARTIN I S POV - INT. OBSERVATION BAY - TELEPOD ROOM - NIGHT</dialogue>
<scene_description>DOLLYING SLOWLY FORWARD, the lab below coming into view. The lab is enormous, crammed with computers, high-tech equipment, and TECHNICAL PERSONNEL. •· ~ intriguing of all, Seth Brundle's telepods ~ the focal point of the entire setting, standing~ weird~ centerpieces 2n, ~raised~- SIMMS, a technician, succeeds in coaxing Martin's dog into Telepod 11. He ruffles the dog's fur and slips him a Milkbone.</scene_description>
<character>CONTINUED:</character>
<dialogue>19 .</dialogue>
<scene_description>• Good boy. Stay.</scene_description>
<character>SIMMS</character>
<dialogue>The telepod door swings shut, closing with a solid THUNK. The lock engages and spins closed. DR. TRIMBLE, the head tech, nods to an ASSISTANT seated at a computer control board.</dialogue>
<character>TRIMBLE</character>
<dialogue>Thank you. We'll begin the encoding sequence now.</dialogue>
<scene_description>The assistant punches the command into the computer, which begins to click and hum, analyzing the subject to be teleported. The countdown begins.</scene_description>
</scene>
<scene>
<stage_direction>MARTIN - INT. OBSERVATION BAY - NIGHT</stage_direction>
<scene_description>gazes down, not knowing what the hell he's looking at. BARTOK AND THE OTHERS are mesmerized by the drama unfolding below.</scene_description>
</scene>
<scene>
<stage_direction>49 IN THE LAB- INT. TELEPOD ROOM - NIGHT 49 .</stage_direction>
<scene_description>• Everybody holds their breath as the computer counts down. CAMERA MOVES IN SLOWLY on the dog sitting patiently in the telepod. THE LOW HUM of the equipment builds in intensity to a SHRILL WHINE -- ,!mi the dog pulls the ultimate disappearing act, vanishing ,!!l A BORST OF BRIGHT CRACKLING LIGHT!</scene_description>
</scene>
<scene>
<stage_direction>MARTIN- INT. OBSERVATION BAY/TELEPOD ROOM - NIGHT</stage_direction>
<scene_description>is stunned. There's another FLASH OF CRACKLING LIGHT and he looks over at the other telepod.</scene_description>
</scene>
<scene>
<stage_direction>TELEPOD #2 - INT. TELEPOD ROOM - NIGHT</stage_direction>
<scene_description>is filled with thick bright mist. The door lock cycles, and \* the door swings slowly open. The technicians gather around, tense and expectant; peering into the mist. \* Simms reaches into the telepod. He looks up at Bartok, \*\* grinning with excite~ent. A happy shout: \*\*</scene_description>
<character>SIMMS</character>
<dialogue>It worked! He's moving around! He's \*\* still alive! \*\*</dialogue>
<scene_description>• Suddenly, the thing inside the pod lunges out in a furious blur of motion and teeth, chomping Simms's hand. SCREAMING, Simms yanks his hand up to his face -- minus three fingers.</scene_description>
<character>CONTINUED:</character>
<dialogue>20 •</dialogue>
<scene_description>• THE CREATURE spills out onto the floor into the midst of the technicians, causing pandemonium, snarling and lashing out, howling\_vith rage and pain. It used to be a dog -- but now it's a living nightmare thrashing about the floor in a tangle of twisted, useless limbs and horribly distorted features. It drags itself across the floor in agony, wearing its intestines on the outside, leaving a smear of blood in its wake.</scene_description>
<character>52</character>
<dialogue>MARTIN - INT. OBSERVATION BAY - NIGHT</dialogue>
<scene_description>is riveted with horror. He opens his mouth and lets loose an ear-splitting SCREAM! Bartok and the others whirl about, stunned to see Martin.</scene_description>
<character>JAINWAY \*</character>
<dialogue>How the hell did he get in here? \*</dialogue>
<scene_description>Martin keeps SCREAMING as if he may never stop. He runs to Bartek and buries his face, trailing off into heaving sobs. Bartek holds the boy, comforting him as best he can. •</scene_description>
<character>SARTOR</character>
<dialogue>There there, Martin. There there. I'm with you now. Sshhh ••• \*</dialogue>
<character>53</character>
<dialogue>INT - MARTIN'S ROOM - CAY</dialogue>
<scene_description>MARTIN'S POV - A gathering of TECHNICIANS and DOCTORS wearing paper party hats and holding plastic glasses of champagne, belting out an off-key rendition of "Happy Birthday To You." Bartek is at the forefront, leading the chorus. A scattering of applause as the song ends. Shepard steps forward and sets a cake down in front of us. The icing reads: "Happy 5th Birthday." There are five candles.</scene_description>
<character>SHEPARD</character>
<dialogue>Happy birthday, Martin.</dialogue>
<character>\*</character>
<dialogue>ANGLE ON MARTIN</dialogue>
<dialogue>reveals him to be~ young !!!!!l in his early twenties. He smiles shyly, a bit embarrassed by the whole thing.</dialogue>
<scene_description>• Thanks, everybody •</scene_description>
<character>BARTOK</character>
<dialogue>Blow out the candles, Martin. Don't forget to make a wish.</dialogue>
<scene_description>(CONTINUED}:</scene_description>
<character>CONTINUED:</character>
<dialogue>21 •</dialogue>
<scene_description>• Martin feels foolish, but he blows out the candles. More applause. Jainway raises her glass and clears her throat.</scene_description>
<character>JAINWAY</character>
<dialogue>The whole team wants you to know how happy we are to share your fifth birthday. We're very proud.</dialogue>
<scene_description>Martin stares down at his champagne but doesn't touch it. He speaks without self-pity, but the absurdity does anger him:</scene_description>
<character>MARTIN</character>
<dialogue>Why? Because I'm still alive? \*</dialogue>
<scene_description>His words bring things to a standstill. People glance at one another, not knowing what to say. Bartok breaks the silence:</scene_description>
<character>BARTOK</character>
<dialogue>Martin, what do you think birthdays are for? To give us an excuse to parade about with these absurd hats perched atop our heads? No. We celebrate because we've managed to snatch another year of life. And</dialogue>
<scene_description>• each year we snatch is a precious year. Now don't you think that's something worth celebrating?</scene_description>
<character>MARTIN</character>
<parenthetical>(contrite)</parenthetical>
<dialogue>Sorry. Hope I didn't spoil the party.</dialogue>
<character>BARTOK</character>
<dialogue>Not at all. To another year of life.</dialogue>
<scene_description>Bartok tosses his champagne back, draining his glass in one huge gulp. Seeing this, Martin emulates him and drains his glass in one gulp. His features contort into a fierce grimace.</scene_description>
<character>, BARTOK</character>
<dialogue>It's ctn acquired taste.</dialogue>
<parenthetical>(confidential tone)</parenthetical>
<dialogue>So. What did you wish for?</dialogue>
<character>MARTIN</character>
<dialogue>If I tell you, it won't come true.</dialogue>
<character>BARTOK</character>
<dialogue>Quite right. Secrets are important.</dialogue>
<scene_description>• But I bet I can guess • (beckons to Martin) This is going to be a good year, Martin. A special year. And to start it off right, I'm going to give you the best present ever. •</scene_description>
<character>CONTINUED:</character>
<dialogue>22</dialogue>
<character>MARTIN</character>
<dialogue>What is it?</dialogue>
<character>BARTOK</character>
<dialogue>Your privacy.</dialogue>
<scene_description>Martin pauses, not certain he heard right. Bartok meaningfully hands him the empty champagne bottle, then cocks his head conspiratorially at the huge two-way mirror. ·</scene_description>
<character>BARTOK</character>
<dialogue>Say the magic word and make the mirror disappear.</dialogue>
<scene_description>Martin hefts the bottle, stunned. A slow grin spreads.</scene_description>
<character>MARTIN</character>
<dialogue>Will abracadabra do?</dialogue>
<character>BARTOK</character>
<dialogue>Of course. But don't forget the real magic word, the secret word you have locked away in your heart •</dialogue>
<scene_description>• Martin closes his eyes and thinks of his magic word. He opens his eyes and grins like a maniac. He draws his arm back ••• ANGLE ON MIRROR - SLOW MOTION ••• and lets the bottle fly, spinning end over end, impacting dead center. The reflected image of Martin, Bartok, and the others shatters into a million spinning fragments as we</scene_description>
<character>54</character>
<dialogue>Bartok leads Martin toward a newly-installed bungalow. Workmen</dialogue>
<character>EXT - BARTOK GROUNDS - DAY</character>
<dialogue>are still putting finishing touches on the building's exterior.</dialogue>
<character>MARTIN</character>
<dialogue>(grinning like a kid) \*</dialogue>
<scene_description>Why are we coming here? \*</scene_description>
<character>BARTOK</character>
<dialogue>That would be telling.</dialogue>
<character>55</character>
<dialogue>56</dialogue>
<character>OMITTED</character>
<dialogue>INT - BUNGALOW - DAY</dialogue>
<scene_description>Bartok and Martin enter. ANGLE WIDENS to reveal a huge, \* ·sprawling apartment of raw brick and exposed beams. Tasteful, expensive furnishings abound. A long row of arched windows provide a sunlit view of trees and landscaping.</scene_description>
<character>CONTINUED:</character>
<dialogue>23·</dialogue>
<scene_description>• BARTOK It's not much to look at from the outside,\_ but it's not the outside that counts, is it? I hope you find</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>it to your liking.</dialogue>
<character>MARTIN</character>
<dialogue>You mean this is mine? This i s ~ place?</dialogue>
<character>BARTOK</character>
<dialogue>Your place. Your private place. No more mirrors. No more prying eyes.</dialogue>
<parenthetical>(urging him on)</parenthetical>
<dialogue>Go ahead. Take a look around.</dialogue>
<scene_description>Martin does just that, ranging around the apartment like a kid in a candy store, touching things, marveling at the sheer wonder of it all. He opens a window and gazes out at the view.</scene_description>
<character>BARTOK</character>
<dialogue>You like it?</dialogue>
<scene_description>Martin turns back to Bartok, tears glittering in his eyes. • He's incredibly moved, doesn't know what to say •</scene_description>
<character>BARTOK</character>
<dialogue>I know it hasn't been easy for you, growing up in such a clinical environment; Given your unique affliction, I'm afraid it's been largely unavoidable.</dialogue>
<character>MARTIN</character>
<dialogue>You've been very good to me. I don't know how to thank you.</dialogue>
<character>BARTOK</character>
<dialogue>Perhaps I can think of something.</dialogue>
<character>I</character>
<dialogue>He turns to a larg" gift basket of fruit and grabs an apple.</dialogue>
<character>BARTOK</character>
<dialogue>I'd like you to consider taking a position with Bartek Industries.</dialogue>
<character>MARTI:N</character>
<dialogue>A position?</dialogue>
<scene_description>• Bartek tosses the apple. Martin catches it •</scene_description>
<character>BARTOK</character>
<dialogue>I'm talking about a job.</dialogue>
<character>CUT TO;</character>
<dialogue>CONTINUED:</dialogue>
<character>24�</character>
<dialogue>·•57 IN'l' - TELEPOD ROOM - DAY</dialogue>
<scene_description>Quiet, dark, deserted. The telepods are concealed under large dropcloths. The overhead fluorescents come to life. Bartok and \* Martin enter, trailed by Dr. Trimble. \* Trimble crosses to the computer as Bartek pulls the dropcloth \* off Telepod 11. Martin touches the cold metallic surface.</scene_description>
<character>MARTIN</character>
<parenthetical>(almost to himself)</parenthetical>
<dialogue>I remember them being a lot bigger.</dialogue>
<scene_description>Bartek unveils Telepod #2 as well, then tosses the dropcloths aside. At his signal, Trimble activates the computer. Martin \* is startled as the door to Telepod #1 HISSES open.</scene_description>
<character>BARTOK</character>
<dialogue>Put the apple inside.</dialogue>
<scene_description>Martin does. Trimble punches in a command. The door swings \* shut, the lock engages, and the countdown begins. Martin backs away, apprehensive. • There is a FLASH OF CRACXLING LIGHT and the apple is gone • A brief moment later, another FLASH OF LIGHT from Telepod 12. The lock spins and the door swings open. Bartek approaches.</scene_description>
<character>BARTOK</character>
<dialogue>For five years I've had people working round the clock on this project. Five years and millions of dollars later •••</dialogue>
<scene_description>He reaches into Telepod #2 and comes out with a handful of dripping apple pulp.</scene_description>
<character>BARTOK</character>
<dialogue>••• what we have is the world's most expens.ive juicer.</dialogue>
<character>I</character>
<dialogue>Bartok tosses the remains of the apple in the trash. He pulls out an immaculately-pressed handkerchief and proceeds to wipe his hand.</dialogue>
<character>BARTOK</character>
<dialogue>The greatest invention in the history of mankind, and we can't figure out how to use the damn thing. Some fundamental principal</dialogue>
<scene_description>• seems to be eluding us. We're like a bunch of chimpanzees trying to figure out how to operate a car. He pau~es, tucking the handkerchief back into his pocket. \*</scene_description>
<character>CONTINUED:</character>
<dialogue>25.</dialogue>
<scene_description>• BARTOK Your father was a brilliant man. Brilliant, but erratic. When he died, some of his secrets died with him. Whatever the magic word was, t h e ~ magic word, he kept it to himself. You could finish your father's work. You're as brilliant as he was, perhaps more so.</scene_description>
<character>MARTIN</character>
<dialogue>I don't like these things.</dialogue>
<scene_description>BAR'l'OK Why?</scene_description>
<character>MARTIN</character>
<parenthetical>(eyes flashing)</parenthetical>
<dialogue>I just don't like 'em, that's all.</dialogue>
<scene_description>But Bartek can read Martin like a book: • BAR'l'OK It's because of the dog, isn't it? How many times can I apologize for that? How long are you going to hold that against me?</scene_description>
<character>MARTIN</character>
<parenthetical>(flustered, upset)</parenthetical>
<dialogue>I don't.</dialogue>
<scene_description>BAR'l'OK Martin, if I'd only known you wanted the dog, he'd have been yours. I've never denied you anything, have I?</scene_description>
<character>MARTIN</character>
<parenthetical>(stares at the ground)</parenthetical>
<dialogue>How many animals did you kill with these things?</dialogue>
<character>BARTOIC</character>
<dialogue>That dog was the only live subject we ever tried to teleport. It was a tragic mistake, but it's in the past. You must concentrate on the</dialogue>
<scene_description>• future, and the future is right here in this very room. He now directs Martin's attention to the telepods. ICONTTNUF.Dl</scene_description>
<character>CONTINUED:</character>
<dialogue>26 ·</dialogue>
<scene_description>• BARTOK We could solve the world's transportation problems at a stroke, but that's just for starters. The medical implications are overwhelming. Imagine a new era of su~gery without incision. cutting people open would be primitive, a thing of the past. Poor old Aunt Hattie riddled with cancer? No problem, chum. We stick her in pod one, the computer disassembles and analyzes her, then zaps her into pod two ••• minus ~ cancer cells. The wretched old crone pops out good as new and ready to party. Martin can't help smiling at this.</scene_description>
<character>BARTOIC</character>
<dialogue>Imagine all the things that would \* become obsolete overnight. All the \* wasteful technology and stale thinking \*\*</dialogue>
<scene_description>• would become things of the past. That's what these machines represent ••• a new age. (beat) Your father would have won the Nobel Prize had he lived. I'd like to see you accept on his behalf.</scene_description>
<character>\*\*</character>
<dialogue>\*\*</dialogue>
<scene_description>Now wouldn't~ be something? Martin gazes up at the tel~pods, drawn in by Bartok's words.</scene_description>
<character>MARTIN</character>
<dialogue>Would I have to work with a bunch of people?</dialogue>
<scene_description>Bartok grins inwardly -- he's got the kid hooked.</scene_description>
<character>�'' BARTOK</character>
<dialogue>If you want personnel, Dr. Trimble \* and his people are at your disposal. \* If you want to work alone, fine, \* that's your choice. You're the boss now, Martin. This is your project. You call the shots.</dialogue>
<scene_description>He places a fatherly hand on Martin's shoulder. \* • BARTOIC And Martin, we did everything we could for your dog, but the end came very quickly. Take comfort in knowing he didn't suffer long.</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>Rev. 3/6/88 •</scene_description>
<character>CONTINUED:</character>
<dialogue>Bartek turns and exits the room with Trimble at his heels. \* Martin is left alone, gazing at the telepods. INT. - HALLWAY (OUTSIDE THE TELEPOD ROOM) - NIGHT 57A \*</dialogue>
<scene_description>57A Bartek strides down the hall with Trimble do~ging his steps</scene_description>
<character>TRIMBLE</character>
<dialogue>Mr. Bartek, I beg you to reconsider \* this. I feel that given just a \* little more time .•• \*</dialogue>
<character>BARTOK \*</character>
<dialogue>(interrupting) \*</dialogue>
<scene_description>Five years wasn't enough for you? \* Shall I tell you what those five \* years have cost me? Would you like \* an itemized list? \* Bartek pauses, daring Trimble to answer him. Trimble doesn't. \*\*</scene_description>
<character>BARTOK \*</character>
<dialogue>When I spoke of making things \* obsolete, I was referring to the</dialogue>
<scene_description>• oil industry, the automobile industry, the medical industry, airlines, shipping, space exploration .•. ! could bury them all. I'm talking power and wealth •that defies the imagination. But only if I get those telepods working.</scene_description>
<character>\*</character>
<dialogue>H• gaze• back in th• direction of Martin in the Telepod Room.</dialogue>
<scene_description>BAaTOK \* I only w11h I hadn't waited thi1 \* long to involve hill. He might not \* have much time left ••• \* •. ' D?SSOt.VE TO: 58 INT - TZt.ZPOO ROOM - NIGHT 001'..LYING SI,OWI.Y THROUGH the empty, deserted lab as "t,e Nozze di Figaro" BLARES from a pair of \ln•••n •peakera. Martin comes ■ lowly into view, •••ted at th• eOD1puter eonaole, th• only sign of life in th• place. H•'• deeply en9roaaed, finger• tlyinq over the keyboard, muttering and humainq to himself. ••t• \* • 11artok enter• and a box of videotape• on Martin'• eonaole •</scene_description>
<character>BARTOX \*</character>
<dialogue>I pulled selected tapes from th• \* Archives. I thought you might like \* to 1ee them.</dialogue>
<scene_description>OISSOt.VZ TO: •</scene_description>
<character>CON11'INU!:O:</character>
<dialogue>28.</dialogue>
<scene_description>58A %NT• TELEPOD ROOM• N~GHT</scene_description>
<character>58A \*</character>
<dialogue>Martin is alone, intently watching a videotape of his father. Seth Brundle 1s on the monitor screen, agitated and angry. \*</dialogue>
<character>\*</character>
<dialogue>llONNIZ (on tape, o.s.)</dialogue>
<scene_description>We've got to do this, Seth. Talk to \* the tape, get in th• habit. 'l'he \* wcrld will want to know what you're \* thinking. \*</scene_description>
<character>\*</character>
<dialogue>SZTH (on tape)</dialogue>
<scene_description>ruck is what I'm thinking! \*</scene_description>
<character>\*</character>
<dialogue>llONND: (on tape, o.s.)</dialogue>
<scene_description>Good. The world will want to know \* that. What else? Why didn't it work? \* •</scene_description>
<character>\*</character>
<dialogue>SITH (on tape)</dialogue>
<scene_description>I think it turned the baboon inside out ••• \*</scene_description>
<character>\*</character>
<scene_description>59 INT - GOARD OPERATIONS CENTER - NIGH~ Wiley is manning the video surveillance board. Seorby i• \* leaning over· his shoulder, peering intently at the monitors \* that show various empty hallways and security zones. \* A lone WOMAN appears on· one ot the screens, walking down a hallway, studying a aheaf of computer printouts. Grinning, Scorby switches from screen to screen, tracking the woman's progress through th• building.</scene_description>
<character>SCORBY</character>
<dialogue>Target sighted and locked in. \*</dialogue>
<character>\*</character>
<dialogue>W?Lrl</dialogue>
<scene_description>(grins) \* Fire at will, Chief. \*</scene_description>
<character>\*</character>
<dialogue>Scorby hurries away from the •tation.</dialogue>
<character>\*</character>
<dialogue>INT - HALLWAY - ZONE 2 - NIGHT</dialogue>
<scene_description>BETH LOGAN, the woman on the video screen, is a computer programmer on the night shift. She's in her 20' ■, feiaty and intelligent, very cute under her glasses. She rounds a corner and bumps right into Scorby, who was lurking there, being nonchalant. The big man grins. •</scene_description>
<character>CONTINUED</character>
<dialogue>She tries to get past hiu1. He blocks her way.</dialogue>
<character>\*</character>
<dialogue>SCORBY</dialogue>
<scene_description>What's your rush?</scene_description>
<character>BSTH</character>
<dialogue>I'm buay. Okay?</dialogue>
<character>SCOR.BY</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Just trying to be friendly.</dialogue>
<scene_description>BftB \* I've got friends. \* Again she tries to get past him, but Scorby doesn't yield.</scene_description>
<character>SCOUY</character>
<dialogue>You know, every night I see you come by here, I c:011• out: and try to be nice. What's it take to thaw you \* out, anyway? \*</dialogue>
<scene_description>• (leans closer) \* You oughtta wise up. Having the right friends around here couldn't \* hurt. Think about it. He lets her go. She continues on her way. 61 INT - CAFETERIA - NIGHT Empty and deserted. Beth enters and slams her printouts down on a table. Now that she's alone, she allows herself the luxury of being upset. She crosses to the coffee vending machine, digs a quarter from the pocket of her lab coat, and drops the coin in. She presses th• button and -- nothing happens. She presses the button a few more times. S~ill nothing. She starts pounding the machine \* to get her quarter back, her frustrations boiling to the surface. Martin enters and treezes in his tracks, watching Beth pound the machine. She suddenly becomes aware of his presence and stops, tremendously self-conscious and embarrassed.</scene_description>
<character>BBTH</character>
<dialogue>It swallowed my quarter.</dialogue>
<scene_description>• MARTIN Oh. (awkward silence) Why don't you try another one?</scene_description>
<character>BETH</character>
<dialogue>It was the only quarter I had.</dialogue>
<scene_description>• CONTINUED: MAJtT:tN t don't think so.</scene_description>
<character>30·</character>
<dialogue>BETH</dialogue>
<scene_description>I beg your pardon?</scene_description>
<character>MARTIN</character>
<dialogue>1 don't think that was your last quarter.</dialogue>
<character>BB'?H</character>
<parenthetical>(controlled exasperation)</parenthetical>
<dialogue>It was. Take my word for it.</dialogue>
<scene_description>He steps up and does the old quarter-from-her-ear routine. R• displays it to her, his face lit up with a big smile.</scene_description>
<character>MAR'?IN</character>
<dialogue>See? You had one in your ur all eh• tima.</dialogue>
<scene_description>Beat. She gives him a level gaze • • 62</scene_description>
<character>SETH</character>
<dialogue>Ara you for real?</dialogue>
<scene_description>CU'1' '1'0:</scene_description>
<character>INT - CAFETERIA - NIGKT</character>
<dialogue>Beth is sipping coffee, Martin is having cookies and soda pop.</dialogue>
<character>62</character>
<dialogue>BrrB</dialogue>
<scene_description>I beard Bartok was a good company for advancament, but I've been hara \* aix months now and they've atill got me in computer filing. Graveyard ahi~t, no less. I'm up all night till three in the morning, c:unching numbers in an empty lab.</scene_description>
<character>MARTIN</character>
<dialogue>What do you want to do?</dialogue>
<character>BETH</character>
<dialogue>Research. I didn't get a degree from MIT just ao I coul~ spend the rest of my life doing SOfflebody •l••'• busywork. t turned down a \* good job offer to come here, I \*1t thought it would mean something.</dialogue>
<scene_description>(shrugs, dismissing it) \* You don't want to hear my problems. \* What about you? Youn•~ around here? • CONTINUED:</scene_description>
<character>MARTIN</character>
<parenthetical>(vaguely)</parenthetical>
<dialogue>I've been here about five years.</dialogue>
<scene_description>arrH Five years and they've still got you working nights? This place is \* worse than I thought. \*</scene_description>
<character>MARTIN</character>
<dialogue>Oh, I work days, too.</dialogue>
<scene_description>BB'l'H When do you sleep? MAR'l'IN I don't.</scene_description>
<character>BBTH</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Yeah, right. so what are you working on?</dialogue>
<character>MARTIN</character>
<dialogue>Something that'll change the world and human life as we knew it.</dialogue>
<scene_description>BB'l'B No more ring around the collar? That sort of thing? Mll'l'?N No, I mean really change it. Like th• jump from atone age to space age. \* It'a goMa alter all our concepts of physical reality forever. Wanna come up to my lab and see?</scene_description>
<character>BBTH</character>
<parenthetical>(pause)</parenthetical>
<dialogue>Well, I do have to give you points for originality.</dialogue>
<parenthetical>(Martin gives her a blank look)</parenthetical>
<dialogue>No, really. That's the most creative come-on I've heard in a long time.</dialogue>
<character>\*</character>
<dialogue>MARTIN</dialogue>
<scene_description>(stunned) \* • You mean you don't believe me?</scene_description>
<character>BETH</character>
<dialogue>Don't take it personally, but no.</dialogue>
<character>CUT TO:</character>
<dialogue>CONTINtJEO: 32·</dialogue>
<character>INT. HALLWAY OUTSIDE TELEPOD ROOM - NIGHT</character>
<dialogue>63</dialogue>
<character>63</character>
<dialogue>Martin hurries Seth along, carrying a small & OT computer monitor under his arm. Beth is looking around nervously as they come to the Telepod Room doors. \*</dialogue>
<scene_description>BB'l'H took, I'm not even suppo•ed to be here. I don't have clearance for this sector. Martin presses his badge against th• scanner. The doors open \* betore them, revealing the telepod room -- an impressive \* sight. He grins and waggle• his fingers at her. MAR'l'IN ~oot1 You have clearance, CU'1' TOi 64 INT• TELBPOO ROOM - NIGHT • A BRIGHT ~LASH OF LIGHT. A mcment later, ANO'l'HD FLASH. Martin lead• Beth over to Telepod 12 as the door swings open. She's stunned, eyes wide and bright. MAR'l'IN What do you think? \*</scene_description>
<character>BETH</character>
<dialogue>l'his is fantastic, \*</dialogue>
<scene_description>unbelievable • •• (scnaewnat giddy) % heard about this when I tirat came to work here. 1 thought it was just another one of tho•• weird :"WDOr■ about this place, you know?</scene_description>
<character>\*</character>
<dialogue>MARTIN \*</dialogue>
<scene_description>Rumors? \* IB'l'H sure, you know the ones: ~Bizarre \*\* genetic experiments, weira mu~ants \*\* in the basement .•• all that science \*\* fiction crap. I even heard one \* about a five year old kid they \* supposedly have tucked away here \* • who looks like an adult. Crazy, huh? Crazy.</scene_description>
<character>MARTIN</character>
<parenthetical>(weak smile)</parenthetical>
<character>\*\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>• CONTINUEO: Beth raaehes out, brushing her tinqertipa aeross the cold metal surface of the pod -- a tentative, ••n•ual caress.</scene_description>
<character>SETH</character>
<dialogue>But this is real. \*\*</dialogue>
<scene_description>Martin reaches into the telepod and pulls out the CRT monitor, \*\* which now has the distorted look of a Salvador Dali painting. \*\*</scene_description>
<character>BETH \*</character>
<dialogue>(indicates O'I') \*</dialogue>
<character>\*".</character>
<dialogue>You think they miiht mi•• that down in accounting? \*</dialogue>
<character>MARTIN</character>
<parenthetical>(grins)</parenthetical>
<dialogue>Why should they? I'll put it right \* baek where I found it. \*</dialogue>
<parenthetical>(examine• the CRT)</parenthetical>
<dialogue>• The flaw is in the reintegration</dialogue>
<scene_description>proc:e••• It doe1n't put things back together the way it should. I'll figure it out sooner or later. It'• gotta be something simple.</scene_description>
<character>BETH</character>
<dialogue>My Gcd, I just saw solid matter broken down into a 1tream of atom• and transmitted through thin air like a radio eignal, and you call it atmpl•?</dialogue>
<scene_description>NAR'l'IN (ehruga) It d041•n't have to be complicated. Maybe' it's usimple as thia ••• Martin puts the CRT down. He snatch•• a tiny rubber dinosaur off his eomputar taminal, eneloaea it in his right hand, and holds up both fists.</scene_description>
<character>MARTIN</character>
<dialogue>We place our volunteer from the audience in pod one. We 1ay the</dialogue>
<scene_description>• magic word ••• abra~adabra1 He opens his right hand. The dinosaur is gone.</scene_description>
<character>MARTIN</character>
<dialogue>Our volunteer has vanished from pod one ••• only to magically reappear a moment later in pod twol</dialogue>
<scene_description>• CONTINUED: He opens his lett hand•- the dinoaaur is new thera. Re grins.</scene_description>
<character>MARTIN</character>
<dialogue>See? That wasn't so hard, was it?</dialogue>
<scene_description>Beth laughs, and shakes her head.</scene_description>
<character>BETH</character>
<dialogue>You are for real! CUT TO:</dialogue>
<scene_description>65 INT - HALLWAY OUTSIDE TELEPOD ROOM - NIGHT Martin is wal~ing Beth back down t0 her security zone.</scene_description>
<character>MARTIN</character>
<dialogue>Beth? Would you like to com• up and visit me again some time?</dialogue>
<character>BBTH</character>
<dialogue>I don't want to disturb your work.</dialogue>
<character>MARTIN</character>
<dialogue>• (shy, awkward)</dialogue>
<scene_description>Oh, you wouldn't disturb••• See, I don't have a lot of trienda here, and ••• uh, maybe we could b• friends. Oo you think? Beth pauaas. For the first time, she realizes that Martin's ingenuousness isn't an act. She tinda it oddly compelling.</scene_description>
<character>BBTH \*\*</character>
<dialogue>I'd like that. I get a dinner break every night at ten, if y~u feel</dialogue>
<character>\*\*</character>
<dialogue>like coming down and saying hello. \*\*</dialogue>
<character>\*</character>
<dialogue>(shake• his hand) \*</dialogue>
<scene_description>Bye, Ma~tin. 'l'hanks for 1howin9 ma \* your project. \* MAR'l'IN Bye. Beth walks away, disappearing down an intersecting corridor. Martin peers after her, •till tingling trom her touch. When he turns around, he sees Scorby watching him. •</scene_description>
<character>SCORBY</character>
<dialogue>What's the word, Martin? Got yourself a girlfriend now?</dialogue>
<character>MART?N</character>
<parenthetical>(incredibly flu•tered)</parenthetical>
<dialogue>She's not my girlfriendl</dialogue>
<scene_description>• CONTINUEC:</scene_description>
<character>SCORBY</character>
<dialogue>Too bad.</dialogue>
<parenthetical>(nasty grin)</parenthetical>
<dialogue>Nice a•••</dialogue>
<scene_description>Martin 1s appalled. He rush•• away, fluahed and angry, hurrying back to the haven ot the talepod room. Seorby just c:huckles softly. 5,67,68 OMITTED 66,67,68</scene_description>
<character>69</character>
<dialogue>INT - MARTIN'S BUNGALOW</dialogue>
<scene_description>PANNING ALONG a trail of discarded clothing•- the closets have been emptied, cloth•• strewn everywhere. We !ind Martin at the dressing mirror, carefully knotting a tie. His hair, normally an unmanaged tangle, 11 now 9roomad beyond reason. We get th• 1mpre•sion he 1 1 been working at this tor houra. •</scene_description>
<character>6 9A</character>
<dialogue>Beh enters, hoping to••• Martin there, but th• place 1•</dialogue>
<character>INT - C.\PETERIA - NIGKT</character>
<dialogue>empty. She sits down with her brown-bag and starts to unwrap a sandwich. Martin rusnes in. \*</dialogue>
<scene_description>MAR'l'IN \* , (nervous, mile-a-minute) \* r..ook, you want to do research, \* right? Well, I could use some help, \* ao I wa ■ thinking tMt instead of \* spending an hour every night with ••• \* (lifts top alic• of bread) \* •.• a peanut butter sandwich, you \* could •pend an ho\ir every night \* with me. Doing, uh, research. \*\* • He runs out ot worda. Beth ga:e• up at him -- th1• is the best \* offer sh•'• had in a while. She holds up her sandwich. \*</scene_description>
<character>BETH \*</character>
<dialogue>You want half of this? \*</dialogue>
<character>CUT TO:</character>
<dialogue>CON'I'INtmD: 36.</dialogue>
<character>%NA MONTAGE SBQUENC~ (WXTH MUS%C): INT. TELEPOD ROOM \*</character>
<dialogue>69B Martin and Beth work in the Telepod Room, getting to know each 69B \*</dialogue>
<scene_description>other over a span ot days or weeks ••• \* 69C Martin tutors Beth in the use ot the telepod computer ••• 69C \* 690 Martin and Seth have dinner, talking animatedly about some 69D \* theory or other, the talepods serving as backdrop ••• \* 69E Martin and Beth laugh and race around the vast lab as she 69E \* teaches him the finer points of Frisbee throwing ••• \* 69F Martin and Beth ara bathed in a BRIGHT ;rt,ASB OP LIGH'l'l 'l'he 69F \* door to ~elepod 12 swings open. Martin reach•• in and pulls \* out her Frisbee, which isn't really a P:isbee any more. \* Disappointment on both their faces ••• \* arr m:</scene_description>
<character>69G</character>
<dialogue>INT - HALLWAY - NIGHT</dialogue>
<scene_description>• Martin wal~ing Beth back to her :one • \* BftK \* Listen, a girlfriend of mine up in \* Specimens Oivision invited me up \* there on my break tomorrow night. \* There's some kind ot office get- \* together. Would you like to eome? \*</scene_description>
<character>MARTIN</character>
<dialogue>Ara there going to be people there?</dialogue>
<character>BBTS \*</character>
<dialogue>There usually are at get-togethers. \*</dialogue>
<scene_description>Martin wrestles with this. She can see his discomfort. \*</scene_description>
<character>BB'?H \*</character>
<dialogue>They're niee people. You'd be \* surpriaed. \*</dialogue>
<scene_description>CtJ'l' 'l'O• 70,71,72 OMITTED 70,71,72 \* 73 INT - SPECIMENS OXvIS:tO& - NIGHT 73 Martin and Seth are in the midst ot an 1nfomal office • get-together of night shift PERSONNEL. Martin 1• nervous and jumpy around all these people.</scene_description>
<character>BETH</character>
<dialogue>Martin, we don't have to stay if you don't want to.</dialogue>
<scene_description>• CONTINUED:</scene_description>
<character>MART%M</character>
<dialogue>Oh, no. I'm enjoying this. Aren't</dialogue>
<scene_description>you enjoying this? She knows he's lying, but doesn't press it.</scene_description>
<character>UTH</character>
<dialogue>Would you like something to drink?</dialogue>
<character>MARTIN</character>
<dialogue>That'd be great. Maybe a soda.</dialogue>
<character>BBTH</character>
<dialogue>I'll be right back. Why don't you mingle a little7</dialogue>
<scene_description>Beth walks away. Martin tries to mingle, but 1• moatly ignored. BBTH comes to a small buffet and sets about pouring two sodaa. Her friend MARLA grabs a pretzel, eyeing Mal:tin across the room • • MARLA So that's your genius. He PAVORING MARTIN !4 cute.</scene_description>
<character>\*</character>
<dialogue>as a group ot people emerge from a darkened observation bay and rejoin the party. LINDER, the head tech, is playing host.</dialogue>
<character>MAN 11</character>
<dialogue>I've never seen anything like that in my life. What the hell !lit?</dialogue>
<character>LINDER</character>
<dialogue>Ask Genetics. Rey, we don't make 'em, we just keep 'em alive.</dialogue>
<scene_description>A cute GIRL clings to Linder'• arm ancf shudders. He grins. It's s o ~ . \*</scene_description>
<character>\*</character>
<dialogue>I.INDD</dialogue>
<scene_description>H•'• our pride and joy up hare in Specimens. our longest running • engagement, so to speak. Two years •</scene_description>
<character>MAN</character>
<dialogue>It's been alive two years?</dialogue>
<character>12</character>
<dialogue>t.INCD</dialogue>
<scene_description>We eall him Timex. Takes a lickin' and keeps on tiekin'. • CON'1'INU3D: Laughter all around. ~ntri9ued, Mar~1n vand•i:-s into ehe obeervation bay.</scene_description>
<character>BLACKNESS - INT. OBSERVATION BAY - NIGHT</character>
<dialogue>74</dialogue>
<character>74</character>
<dialogue>we hold in darkness tor an extended beat ••• and then lights ecme on in a glass-enclosed obaervation bay above. Martin moves up to the window, a solitary silhouette. 74A \*</dialogue>
<character>74A</character>
<dialogue>CAMERA BOOMS DOWN -- we are in a round concrete pit, shadowy</dialogue>
<character>INT. SPECIMEN PIT - NIGHT</character>
<dialogue>and dark. The walls are stained and damp, the floor covered with sawdust and straw. A massive iron door, streaked with rust, rattles open. A TECHNICIAN enters slowly, holding a large plastic bowl. Th• tech lays the bowl carefully on the ground. It contains a thin, white gruel. Suddenly, 1cmethinq unseen lunges trom the shadows, snarling in utter mindless rage -- but the beast is reatrained by a thicJc chain.</dialogue>
<character>OBSERVATION BAY - NIGHT</character>
<dialogue>Martin watches in puzzled fascination. Behind him,.we ean see the party in the other rocm.</dialogue>
<character>76</character>
<dialogue>The teeh grabs a long pole off the wall and pushes the bowl of</dialogue>
<character>IN</character>
<dialogue>gruel within the creature's reach. He puts the pol• back on tha wall and exits the room, slamming the iron door. THE CREATURE stirs in the shadows, making low SNU!TI,ING SOUNDS. It drags itself slowly, painfully out into th• light, revealing itself fully for the first.• time ••• It'• Martin's~ the one that "fE""erawls pathetically tci""""~bow</dialogue>
<scene_description>gitand mangled~ the telepods. atart• lapping up the thin gruel. TIGHT ON MARTIN- OBSERVATION BAY - NIGHT 77 gazing down at his old friend, riveted in abject horror. Beth enters the observation bay and joins hill at the window, gazing \* down. She sees the dog and turn• away, incredibly repulsed. \* -• 78 & 79 OMITTED ---~--nr---- --~Ma~r~t:::.:i~n:!........!t:.::•~a~r:.:s~h~i~m~s!.!:e!.:!l~t=---!!a!l!wt.5!auY:........f..::..i.owmL...J,t..ibi.sae~9.,.1,...a.as"'a-a~a~d~ru,2•!!h~•~•~ou~t.1.,</scene_description>
<character>18,19</character>
<dialogue>80 IN"t - HALLWA1 - ZONE 3/ 4 - NIGHT 80</dialogue>
<scene_description>DOLLYING with Martin -- he's blinking back tears, so upset he's having trouble breathing. He claws at his tie, struggling to get it off. Beth appears in the background. • CON'?INOED: BB'l'H MAR'l'IN Leave me alone! Just stay away from mel BB'l'H Martin, what's wrong? H• comes to a security door and tumbles to get his t.D. card out of his pocket. Beth catches up to him. BE'rH Please talk to me. I thought we were friends.</scene_description>
<character>MARTIN</character>
<dialogue>t don't want friends. l don't need friends.</dialogue>
<scene_description>He get• his I.D. card out and jams it against the scanner. 'l'he • doors slide open and he steps through. She tries to follow him • BS'rH Martin, I'm sorry. I didn't know they had that poor freak up there.</scene_description>
<character>MARTIN</character>
<parenthetical>(whirls on her)</parenthetical>
<dialogue>I'm that five year old kid you heard about1 Some of my chromosomes are bad and I'm gonna die soonl That makes.!!!!. a freak tool So why don't you and 10ur friends toes•• in a pit and have a party and laugh at mel</dialogue>
<parenthetical>(punchaa the door button)</parenthetical>
<dialogue>And stay out of my 1ectorl You don't have clearance anymorel</dialogue>
<scene_description>The doors slide shut. Beth turns away, stunned and devastated.</scene_description>
<character>81</character>
<dialogue>82</dialogue>
<character>OMITTED</character>
<dialogue>INT - SPECIMEN PIT - NIGHT</dialogue>
<scene_description>Blackn•••· The Freak Pit. 'l'h• heavy iron door rattles open • •• Martin enters slowly. A low GROWLING in th• darkness draws his attention. He peers into the thick gloom, trying to see. 'l'HE MUTANT DOG lunges into view, snarling and snapping, a nightmare of rage and teeth straining at the end of a chain. ·• CON'l'INUEO:</scene_description>
<character>MAR'1'%N</character>
<dialogue>approaches slowly. Aa he does, a strange thing happens •••</dialogue>
<character>THE DOG</character>
<dialogue>starts to quiet down, blinking up at Martin in dim recognition through a haze of pain. MARTIN gets closer still. He kneels siow1y, reaching o~t to stroke the animal's hide gently.</dialogue>
<scene_description>MAR'l'IM You know ma? You remember me? The dog WHINES SOFTLY and tri•• to crawl into Martin's lap, but it• twisted limb• refuse to function -- the beaat·i• finally content to juat preaa againat him, panting. Martin's tears finally come, streaming down his tac:e. MAR'l'IN • Too much pain. Too muc:h pain • Martin pulls out a medicinal-looking bottle and uncorks it. H• pours the liquid into a handkerchief, away from his face. Martin lowers the handkerchief and presses it firraly against</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>the dog's no••• Th• animal squirms, frightened at first, but \* Martin strokes its head, comforting it. \*</dialogue>
<scene_description>MAR'l'IN \* It'• okay. It'• okay. I'm here. \* Sahhh ••• \*</scene_description>
<character>TBB DOG \*</character>
<dialogue>quiets down, reassured. It looks up at Martin with loving, \* contented eyea ••• heaves a final breath ••• and dies peacefully. \* ANGLE WIJ:>ENS SLOWLY OUT as Martin, weeping, cradles his poor dead dog in his arms.</dialogue>
<character>83</character>
<dialogue>INT - TELEPOO ROOM• CAY</dialogue>
<scene_description>Martin is working at his computer, a solitary figure in a huge sterile lab. A Requiem Mass 1• playing • • In the observation bay above him, Bartok and Jainway appear at the glass, staring down. Ba.rtok activates the intercom. Martin? BAR'l'OK (filtered)</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>• CONTINUED: Martin switches the music ott -- abrupt silence.</scene_description>
<character>\*</character>
<dialogue>BARTOX (filtered)</dialogue>
<scene_description>There was an unfortunate incident up in Specimens Division laat night. It seems somebody broke in and.-•• caused scme damage. You wouldn't know anything aDcut that, would you? Martin just gaz<1s up at Bartok for a lon9 mcment, then speaks \* with an eerie, clear-eyed calm: \* MAR'l'?N No. H• switches the music back on and continues working, \* dismissing Bartok completely. 84 INT - OBSERVATION SAY - DAY •</scene_description>
<character>\*</character>
<dialogue>Bartok turns oft the intercom •</dialogue>
<character>JAINWAY</character>
<dialogue>Ha's ly-ing.</dialogue>
<character>BAR'!OK</character>
<parenthetical>(taint smile)</parenthetical>
<dialogue>Of course he's lying. It seems our little Martin might be growing up.</dialogue>
<parenthetical>(smile fades)</parenthetical>
<dialogue>Let's just hope he gets those talepods \* working before that happens. \*</dialogue>
<scene_description>D?SSOLVB TO: 8 4A IN A MONTAGE SEQUENC! :, , TELEPOD ROOM - DAY Martin continues his work in solitude, mu•ic his only companion, intense and moody. He paces. He talks to himself. ae hollers angrily at his computer ••• 84B MARTIN - TELEPOD ROOM - DAY peers intently at Talepod 12. A PUSH OF LIGHT. The door swings open. Another failure •••</scene_description>
</scene>
<scene>
<stage_direction>,5MARTIN / TELEPOD ROOM - NIGHT</stage_direction>
<scene_description>is slumped over his computer keyboard, sound asleep. He wakes up and gazes up in groggy bewilderment at the clock. CUT TO: • 86</scene_description>
<character>CONTINUED:</character>
<dialogue>lN'l' - ZXNUNA~XON ROOM - DAY</dialogue>
<dialogue>Martin taces Jainway and Shepard as they prepare to draw a</dialogue>
<scene_description>blood sample.</scene_description>
<character>MARTIN</character>
<dialogue>Last night it was two whole hoursl I've never slept that long, ever!</dialogue>
<character>JAINWAY</character>
<dialogue>I'm not sure t'm willing to attach any aignificanca to it.</dialogue>
<scene_description>MAR'l'IN But normal people sleep! It must mean I'm slowing down, stabilizing.</scene_description>
<character>SHDARD</character>
<dialogue>It doesn't nece•••rily follow. You've just been working too hard.</dialogue>
<character>JAINWAY</character>
<dialogue>1</dialogue>
<scene_description>• Martin, if you were undergoing soma metabolic change, we would have found it by now. Jainway swabs the crook of his elbow and tries to insert the \* syringe, but she's having trouble getting it through his \* !lesh. Martin grimaces in pain. \* MAR'n?f That's wrongt You're misain9 th• veinl \* Instead of backing off, Jainway cruelly redoubles her efforts, forcing the needle until it breaks oft in his flesh. Martin cries out. Jainway angrily extracts the broken needle -- it's bent and twisted. Martin rubs hia arm.</scene_description>
<character>�� JAINWAY</character>
<dialogue>That'• what you get tor not sitting ■till.</dialogue>
<parenthetical>(picks up a new syrin9e)</parenthetical>
<dialogue>Let'• try it again.</dialogue>
<scene_description>87,88,891 90 OMITTED 87,88,89,90 91 .N'l' - '1·2LZPOD ROOM - NIGHT 91 Martin sits in a sea ot computer printouts and reports. He pick• up his tiny rubber dinosaur and performs his sleight-of- hand, magically transferring the dinosaur from one hand to the other. He holds the dinosaur up, pondering it •••</scene_description>
<character>DISSOLVE TO:</character>
<dialogue>• 92 INT - 'l'EI,BPOO ROOM - Nic.Jff</dialogue>
<scene_description>Martin stand• cy th• ccmput■r. He pre•••• a large rad button</scene_description>
<character>92 \*</character>
<dialogue>and is bathed in '1'W0 BRIGH'? n.ASBZS OJ' Ll:GH'l'. Be approach••</dialogue>
<character>\*</character>
<dialogue>Talapod 12. 'l'h• door nin9• open. H• ■teps clcaer, peering \* inside ••• \*</dialogue>
<character>\*</character>
<dialogue>on TO:</dialogue>
<scene_description>93 IN'?• C0MPU1?D J'tI.l:NC: llOOK - NIGJrl' 93 Beth enter• her work area, 1chlepping an armload o! computer printouta. Sha pauaaa, Sffin9 & aingla ~•• on har desk. Thar•'• a IDl&ll •nvalope nut to it. She picks up th• roae and holc1s it under her no••• inhaling th• !rag:-ance. She 1milas, knowing who it's from. She pick• up the envalope and cpana it. INSERT .. NOif!: All th• handwritten note ■•Y• is: "Al)racadabra. 11 Al.ao in the envelope 1• a sacurity clearance card • • 94 IN'? - HALLWAY • ZONE 3/4 - NIGHT Ct11' 'rat Bet.h, now wearing street clothes, ruahes up to a sacurity door and presses th• I.D. card against th• scanner. It glow• (Jl:'een and the doors open.</scene_description>
<character>95</character>
<dialogue>Martin is 1tandin9 at his computer conacle as Bath bursts in.</dialogue>
<character>INT - HLUOD ROOM - NIGHT</character>
<dialogue>He looks up and CJrina. She opens her mouth to ■peak, but he ~old• a finger to hi• lips far ■ ilence, then motion• h•r over. \* Sh• joins him at the computer. \*</dialogue>
<scene_description>,' MAR'l'l:N You get to do the honors. lveryth.i.ng' ■1till tha amaa, but I'va eliminated th• countdown. \* (indieat•• rad button) \* 'rhi ■ ia th• tri~•r button. Once</scene_description>
<character>\*</character>
<dialogue>the program i• in place, juat pr••• \* this and th• teleportaticn sequence \* tire• manually. \*</dialogue>
<scene_description>Beth noda. Sh• nervously punches up th• program•• Martin crosses to Telepod. ,,. She locks up ,ust •• he reach•• into a \* large eard~card ~0x ••• m, pull• 0qt ~ kitten. \*</scene_description>
<character>U'1'H</character>
<parenthetical>(sudden c!read)</parenthetical>
<dialogue>Mart.in •••</dialogue>
<scene_description>·• CON'l'INUEO: Martin places the kitten in the telepod and closes the door. The lock spins shut. Martin turn• to Beth. Beth stares down at th• button, her hand hovering near it. She can't bring herself to do it. She looks up at him.</scene_description>
<character>MARTIN</character>
<dialogue>Oo you. trust me?</dialogue>
<character>BE"1'H</character>
<parenthetical>(pause)</parenthetical>
<dialogue>I trust you.</dialogue>
<scene_description>Martin holcls out his index tinger and mim•• pressing a button. MAR'l'IN Then do it. Beth casts asicle all doubts and puts her faith completely in Martin. She reaches out with a trembling !inqer ••• and presses the button • • The kitten disappears in a rt.ASH OF LIGHT. A m0111ent later, ANO'l'HD FLASH or LIGHT erupts from Telepcd ,2. Martin and Beth approach slowly. 'l'he door HISSES open, ·revealing bright mist within ••• and something moving around. Martin reaches in, pulls out the perfectly healthy kitten, and holds the animal up for Beth to see.</scene_description>
<character>MARTIN</character>
<dialogue>That'• her ninth trip. Nine livea, ancl not a single one used up.</dialogue>
<scene_description>Ha hands her the kitten. Awestruck, Beth cradles the animal in her arms and listens to it PURR •</scene_description>
<character>�</character>
<dialogue>MARTIN</dialogue>
<scene_description>And that rose I aent you. It went through a dozen times. t couldn't get a dozen roses, so I figured ••• (beat) Beth, it was even simpler than t thought.</scene_description>
<character>BBTH</character>
<parenthetical>(riveted)</parenthetical>
<dialogue>Tell me.</dialogue>
<character>MARTIN</character>
<dialogue>These people were too close to the problem to see it clearly. 'l'hey spent five years asking the wrong</dialogue>
<scene_description>• qu••~~ons. 1'!\ey viewed the prob1am only in ~e~m• o~ ph~•ias, o! methodology, but those require absolute•, they don't allow you to open your eyes and admire the elegance o! the procass.</scene_description>
<character>BETH</character>
<parenthetical>(laugha)</parenthetical>
<dialogue>Blegance?</dialogue>
<scene_description>MAK'l'IN !legance, yes. Matter has elegance, it has poetry, You can't ignore it or nature becomes offended. Thay failad because all they brought were their slide rules, their computers, their cold analytical preconceptions ••• but they forgot their c:Olllpassion, their empathy, their sen•• of wonder, their ••• • He's g:-asping tor the right word •</scene_description>
<character>BBTB</character>
<dialogue>'!'heir magic?</dialogue>
<scene_description>Mll'l'IN Their magic, yesl (sweeps his arm at th• telepods) I mean, if this isn't the best 11&9ic trick ever, what!!? \* Martin pauses, suddenly aware of hov clo•• they've drawn during his happy tirade. JWl'l'IN Th• kitten's a present for you. I'm aorry a.bout what happened. BB'l'H (aoftly) Is there a kias too, or do I just have to settle for the kitten? Martin is stunned by this. Fighting his panic, he leans toward her, his movements jerky and tentative. He has trouble getting his nose out of the way, but finally manages the kisa • • He suddenly presses against her, losing control. Se gropes ber, mashing his 1nouth on hers. She draws back. Slow down.</scene_description>
<character>BBTH</character>
<scene_description>• CONTINUED:</scene_description>
<character>MAR'1'%N</character>
<parenthetical>(deathly e111barrasaed)</parenthetical>
<dialogue>I'm sorry. I didn't mean to do that. I'm sorry.</dialogue>
<scene_description>BZ'rH No, that's the idea. You just have to give me a chanca to breathe new and then. (draws closer) Besides, you were aqua•hin9 th• cat. She shews him how it's done, 9ivin9 him the kind of kiss that makes your toe• curl up in your shoes. Soon aha ha• him pressed back against one of the computer consoles.</scene_description>
<character>96</character>
<dialogue>INT - MARTIN'S BUNGALOW</dialogue>
<scene_description>Darkness. Moonlight spills through the arched windows. Martin and Beth are in bed, naked and entwined. We don't ... much in the • dark, but there's a lot of awkward, passionate fumbling going on •</scene_description>
<character>BETH</character>
<dialogue>Martin. Just lie back and relax. Let me show you.</dialogue>
<scene_description>He li9s back and she maneuvers on top of him. A gasp, a sigh. BlffH There. Doesn't that feel good?</scene_description>
<character>MARTIN</character>
<dialogue>. Yea.</dialogue>
<character>BBTH</character>
<dialogue>Just l~t me do the work.</dialogue>
<scene_description>She begins to ride nim slowly. THE KITTEN is watching them. Unimpressed.</scene_description>
<character>NIGHT</character>
<dialogue>97</dialogue>
<scene_description>• 97 INT - MAR'l'IN' S BUNGALOW • Darkness. Martin and Beth are lying in bed.</scene_description>
<character>MARTIN</character>
<dialogue>t've decid•d not to tell them yet.</dialogue>
<scene_description>• CONTINUED: BB'l'H But it's done. It works.</scene_description>
<character>MARTIN</character>
<dialogue>Yes. It vorka. But they don't get \* it till I'm done with it. \*</dialogue>
<character>BETH</character>
<dialogue>~ don't understand. \*</dialogue>
<character>MARTIN</character>
<dialogue>Bartok once said something about sending a cancer patient through and having the computer extract the cancer cells. %t got•• to thinking.</dialogue>
<parenthetical>(sits up and face• her)</parenthetical>
<dialogue>Beth, I'm going to figure out a way \* to cw:• myself with tho•• telepoda. \*</dialogue>
<scene_description>BftH •</scene_description>
<character>MARTIN</character>
<dialogue>My whole life •o far ha• been a race toward death, I've been helpless. But I'm in control now. Por the first time I feel like% can turn it all around,% can =oo•e lits.</dialogue>
<parenthetical>(but)</parenthetical>
<dialogue>You've given me a taate. I want more.</dialogue>
<character>U1'B</character>
<dialogue>Then do it, Martin. Maka it happen.</dialogue>
<scene_description>He draws her cloae, holding her tightly, desperately.</scene_description>
<character>�' MAR.TIN</character>
<dialogue>I will. I'll find a way. \*</dialogue>
<parenthetical>(softly)</parenthetical>
<dialogue>Attar I cure myself, maybe we can go away acmevhere.</dialogue>
<scene_description>BB'l'B Where?</scene_description>
<character>\*</character>
<dialogue>IWt'l'Ilf</dialogue>
<scene_description>• Doe• it:. matter? \* Beth laughs sottly. Pause. MAR'l'?N Would you make love to ma again? • CONTINUED: Brrff No. Thia t1~•, you max• love to me.</scene_description>
<character>48 �</character>
<dialogue>Sh• pulls him on top of her and they- sink into a passionate rhythm. 'l'HJ: ICI'rl'!N</dialogue>
<dialogue>is now sprawled flat on its back, snoozing soundly.</dialogue>
<scene_description>DtSSOLVZ 'l'Oi</scene_description>
<character>INT - MARTIN'S BUNGALOW</character>
<dialogue>98</dialogue>
<character>- PU-DAWN</character>
<dialogue>Pre-morning light tilters through the windows. We can dimly make out Martin and Beth asleep in a tangle ot aheets. Beth roll• over and opens her eyes drowsily, watching Martin as he sleep ■• She pulls t:h• sheet down a bit, kisain9 hi• smooth chest, seeing it she can wake hill. He stirs, but doesn't wake up.</dialogue>
<scene_description>• She smile• miachievoualy and pulls the aheet down even further, sprinkling him with aoft kiss••• Ra moans, but still doesn't waka up. She pulls the sheet down even further, revealing his stomach. She suddenly stops, ataring at the band-aid on the inside of his elbow~- an ugly bruise is spreading. She gently runs a finger over th• bruise. Martin abruptly jerks awake. MAR'l'IN That hurts! U'l'H I'm sorry. Let me make it better.</scene_description>
<character>I</character>
<dialogue>She kisses his bruise. Martin grimaces a bit, but is touched by the gesture. He'• not used to this kind of int.iJll&cy. Beth removes the band-aid -- oddly, it pulls a trail ot white, aticky thread-like strands with it. She examines the puncture wound it5elf -- a strange testering sore surrounded by bruised tissue. Martin regards his wound with growing interest.</dialogue>
<scene_description>• What happened? MAR'l':CN Th4t'a where they took blood th• oth•~ day. The needle broke. • COtffINtrat>: BB'l'H Looks pretty naaty. 'You bettar have 1t looked at, it'• getting infectad. She roll• out of bed &%\d start• 9etting ch-•••ed. MUT'Xlf Where are you iOing? um t hav. to leav• while it's still dark. He g:-ab• her, tzying to pull her back into bed.</scene_description>
<character>MARTIN</character>
<dialogue>Ho. Stay,</dialogue>
<scene_description>Bftl Martin,% can't be••• ua1psing out of h•r• in b1:oad dayliiht with my pantie• in my purse. • (pointedly) Besidaa, y<N'v• gat work to do, raaber? \* H• falls back, i;roaning. She ease• cnto th• bad, giving him a final tender ki•• and a •ly mile. U'l'K SO what are ycu doinq tomorrcw night a!ter· my shift? 99 IN'l' - 'l'ILDOC ROOJI - DAY · 99 TIGHT ON VIDBO MCHI'l'OR -- 'rh• phot09raphic blow-up of Martin's DNA -is on the 1c:..-n. Computerized highlights appear along the molecular chain, marking the mutant chr0110scmes. ANGLZ WIDENS to reveal Martin absently ac~atching hi• arm•• h• star•• at hia genetic pattern. He types on th• computer: > PUSJ:m.ll '1'0 UMOW MOTAN'l' CHROMOSOMBS 0UJl%NG "rm.BPORTA'nON SBQOB?tCZ? Th• com~utar repliea: • > NEGATIVE. UMOVAL OJ' OEROMOSOMBS WOULD UStJI.'l' IN MOI.Zc:t1Lll/GBNntC DISSOLtJ'l'ION. Ma:tin 1• still scratching his arm. He continu• ■ > IF MUTANT Cl!llOMOSOMBS CANN0'1' B3 typing:</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>UMOVKD, ON 'rDY BB UPLAC3D? • CONTINUED: 50 · Th• computer consider• this briefly, then replie1: > l'BASIBI.E -re RBPUCZ MOTA!ff CBROMCSCNBS tN Stra.raer A WI'l'H DAL'l'BY c:DOMOSONBS l'll0M DONOR SUBJZC'r B. Martin frown■, pu1sled. He typeat</scene_description>
<character>. > RUM PROGRAM</character>
<dialogue>TU COMPtrrn SCUD 'rh•computer monitor ac:cm•• ■plit- ■creeft. on human figure appears, marJcad: &l,l;IC; l.L BRP!PJel.</dialogue>
<scene_description>en• a1de, a on the other aide of th• acreen, a aeeond hwaan figure ai,pui-s: stnsJECT !J. DOKO!l. A c011put•r-9raphica ~HA chain ii drawn frca ..ch hwaan figure. Martin'• mutant t:hromo•cm•• ar• then auacted and awapped for • th• corre•pcndinCJ c!u'cmoacaee fi'CII the donor •</scene_description>
<character>~ SUBJECT A: BRUNDLE -- NOW VIABLE \*\*</character>
<dialogue>> SUBJECT B: DONOR -- NO LONGER VIABLE \*\*</dialogue>
<scene_description>The computer clicks and hums, then finishes with: \*\*</scene_description>
<character>7</character>
<dialogue>GENE-SWAPPING PROGRAM NOW IN PLACE.</dialogue>
<character>MARTIN</character>
<dialogue>shakes his head and sighs. \*\*</dialogue>
<scene_description>He ■uddenly ruliz•• h•'• been acratchinq hi• an all thia time. The itch i i 9ettin9 uneorafort&ble. tussled, he roll ■ up hi• aleeve and fr•••• in ahoc:.k. Th• bruiaa ha• now ■pread over hi• entire ara like a funqu•, radiatin9 outvazd in hue;• mottled layer• of diac:oloration. '1'h• outer edges of th• m:u1a• are purple, wt th• inner ai-ea i ■ a aicJcly, 9rayiah yellow.</scene_description>
<character>,</character>
<dialogue>Mart1n gint•~ly r.cna hi• fin9ara over the bru1••• but h•'• no l0n9er f••lin9 any pain. He'• shocked to d1aocY9r that th• soft, aponff akin around the tiny puncture wouZMS can 1,a</dialogue>
<scene_description>• ■ t:etchad, and th• opaninq itaelf .nla:ged • With grov1n; fascination and dread, Martin probe• the ~•sulting cavity with hia finger. Ha pr••••• the finqer down, watching with amazament •• it disappear• an inch or two into hi• an. Rev. 3/6/88 •</scene_description>
<character>CONTINUED:</character>
<dialogue>S0A.</dialogue>
<scene_description>When he pulls his finger out, a long, sticky, silk-like thread comes with it. The whj.te stringer stretches out, hardening as it makes contact with the open air. Softly:</scene_description>
<character>MARTIN</character>
<dialogue>Oh my God. What is this? \*</dialogue>
<scene_description>• • • CON'?INUED I 51 • 100 I?ff - EXAMINATION ROOM - DAY 100 Martini• frantic:, craalinc; his bruised and bloated arm. Shepard tries to calm him.</scene_description>
<character>SUPAR0 ~</character>
<dialogue>It:'• nothinq. Just cal.II dcvn. \*</dialogue>
<scene_description>JWl'l'IM Calm down? Look at my uml \* SHUAlm t told ycu, it'a juat a bad \* infec:ti01\. We'll pt you on \* antibiotic• ri9ht away. \* MUffll All I gonna lose it7 Am I gonna lo•• my um? • Of course not. You're juat going ta have to trust me. 101 %NT - BAR'rOK' S OPP?C!! - DAY 101 B&rtok, Jainway, and her team are vat:chin9 Martin on a live video teed. Martin's and Shepard'• VOICES isaue ti-om a monit.o: in the for9CJ1"ound: MAR'l'l:N (O.S.) % want to 1ee Mr. ~olc. SDPAlU) (0.S.) He'a not here today. Bartok reaches to the monitor and turn• off the 1ound.</scene_description>
<character>I</character>
<dialogue>I</dialogue>
<character>�</character>
<dialogue>DR'l'OX</dialogue>
<scene_description>'rh•r•'• no doubt?</scene_description>
<character>JURAY</character>
<dialogue>Non• at all. !he early sta9es of genetic metamorphoaia have baen shovinc; up on every teat. Bis mutant c:hrcmoaomea are no longer dormant. Nov that he's reachad full</dialogue>
<scene_description>• matu=ity, they've ■tartec! 9rowinq, chan9inq, bec0111in9 more detined, more ••• !ly-lika. • CON'l'INU!O:</scene_description>
<character>BARTO!':</character>
<dialogue>JAINWAY</dialogue>
<scene_description>Like wildfire. Bartok pauses, then turns to face the entire team.</scene_description>
<character>BARTOIC</character>
<dialogue>All right. You all know what to do, what preparation• to make. Get on with it.</dialogue>
<character>CLOSBUP - BARTOK</character>
<dialogue>turns back to the monitor, riveting hia qaze on Martin.</dialogue>
<scene_description>BAR'?Olt (eye ■ gleaming) I've been waiting for this for five \*\* years. It's payday. .· \*\* • 102 INT• COMPUTER FILING ROOM• MIGHT</scene_description>
<character>CUT '1'0:</character>
<dialogue>Seth enters, arriving for work. Sh• ■ top• short -- Scorby and Wiley are waiting for her. Scorby is toying with the ro••</dialogue>
<scene_description>Martin gave her, smelling it. All her personal belongings have been packed up in a box.</scene_description>
<character>\*</character>
<dialogue>Scorby wordlaealy hands her an official-looking pink docwnent. She looks at it.</dialogue>
<character>BSTH</character>
<dialogue>"Notice of termination?"</dialogue>
<character>,·· SCOUY</character>
<dialogue>Bffective immediately. You're gonna take your personal effects and get ••carted off th• premi•••• Orders of Mr. Bartek.</dialogue>
<character>11TH</character>
<dialogue>Why?</dialogue>
<character>SCORBY</character>
<dialogue>• (ahruc;a)</dialogue>
<scene_description>I gue•• that'• vhat you get for tucking hi• pet freak. Now~• (to••e• rose into bcx)</scene_description>
</scene>
<scene>
<stage_direction>• CONTINUED: SJ.</stage_direction>
<scene_description>10 3 IN'l' - MAlt'?'::CN • s BUN GALOW .. !fXC::HT 103 Martin is keyed-up and scared, pacing like an animal in a cage. He's cradling his arm, which i i now bandaged from shoulder to wrist in white surgical gauze. Part of the gauze is discolored and stained fr011 fluid •••ping through. Re goea to the ~irror, studying his face intently. Does he look different or is it hi• iJU9in.t1on7 Ia nia face getting gaunt and hollow? Is his akin getting rough and splotchy? H• runs his fingers down his cheek and is aurpria.ed to find that it hurta. Ct1'l' '1'0: 104 INT - COMPUTER FILING ROOM - NIGHT 104 \*\* Martin enters the computer filin9 \*\* rocm. He's deaperate to see Beth, but her 1tat1on 11 dark and empty. Ke turn ■ to the clock on the wall. She 1hould have been here long ago • • He 1its down at her COlllputer and calls up the peraonnel files. H• types in her name, and the computer responds with her address and phone nwuber. Ke pieka up the phone and dial• the switchboard operator. OPERATOR (tiltered) May I help you? MAR'l'IH I'd like an outside line. OPDATOll (filtered) I'm aorry1 Mr. Brundle. All our oataide lin•• are buay. Pl•••• try again later. CUT TO: 105 OMITTED 105 \* %MT - HOUSEBOAT - MAIN ROOM - NIGHT Beth paces with a cigarette, the phone to her ear. Th• kitten 1a skittering aero•• th• floor, playing with• tu~zy toy. OPDATOR (filtered) Bartok Induatrie1, may% help you? • Blffl! I'd like to speak to Martin Brundle. OPERA'l'OR (tiltered) I'm aorry. There 1• no Martin \* Brundle working here. \* • azu Bullshitl Now listen to me •••</scene_description>
<character>\*</character>
<dialogue>A CLICX -- the line disconnects. Beth acreams into the receiver:</dialogue>
<scene_description>Bln'H YOU BITCHl She slams the phone into its cradle and continues pacing in frustration. The PHONE RINGS. She snatches it up.</scene_description>
<character>BBTK</character>
<dialogue>Hello?</dialogue>
<scene_description>MAltTIN (filtered) Beth? Bl'l'H Martin? I've ~•n trying to call you all nightl Ar• you all right? IN'? - CAFE'l'DIA - NIGHT 107</scene_description>
</scene>
<scene>
<stage_direction>107</stage_direction>
<scene_description>Martin is huddled in the corner, using the pay phone. MAlt'l'Ilf I'm scared, Beth. Something's \* happening to me. Something bad. \* 'l'hay won't tell me what it ia. \* Why aren't you here? Bftff (filtered) I got fired. Bartek found out about us. Did you tell him?</scene_description>
<character>MARTIN</character>
<dialogue>Nol I'd never aay anything! Not to anybodx'.1</dialogue>
<scene_description>BBTH (filtered) Than how did ha Jcncv, Martin? How did he know? CAMERA MOVES IN TIGHT on Martin as something horrible slowly dawns on him ••• CU'l' TO: .i.08 IN'l' - MARTIN'S BUNGALOW - NIGH'r 108 Martin enters, his breathing labored, his tace gaunt. CAMERA MOVES IN TIGHT as he looks around, eyes taverish with paranoia ••• or 1s it sudden understanding? • COlffINUED:</scene_description>
<character>HOW DID YOU KNOW?</character>
<dialogue>MAR'nN</dialogue>
<scene_description>Ke punctuates this by putting his tist right through the wall and yanking it out in an explosion of plaster. He goes berserk, a paranoid frenzy ot ripping out walls, demolishing closets, tearing tixture• from tho ceiling.</scene_description>
<character>109</character>
<dialogue>MARTIN ON VIDBO MONITORS/ INT. ARCHIVES - NIGHT</dialogue>
<scene_description>Martin is tearing his place apart. ANGLZ WIDENS to reveal a pair of dispassionate OBSBRVDS •witching their attention from screen to acreen, watching Martin storm around the apartment. Suddenly, Martin's !ace appears on a acraen, unnaturally large, staring up into th• lans of a camera in the ceiling.</scene_description>
<character>OBSDVBR 11</character>
<dialogue>Okay, that's it. H• found it.</dialogue>
<scene_description>Martin reach•• up, grabs tho lena, and rip• it out of the • ceiling. All the video screen• go blanlc •</scene_description>
<character>OBSDVD 12</character>
<dialogue>Better call Bartok. Tell him the kid'• pissed.</dialogue>
<scene_description>etrr TO: 110 IN'l' - BAR'l'OlC'S On'ICB - NIGHT 110 Bartok is on the phone. BU'1'0lC I•••• And where is he now? 111 IN'l' - ARCHIV!S - N~GHT 111</scene_description>
<character>�</character>
<dialogue>OBSDVD 11</dialogue>
<parenthetical>(on th• phone)</parenthetical>
<dialogue>I don't knew.•• lo•t video completely, he could be anywhere.</dialogue>
<scene_description>Suddenly, the door bursts in, kicked right oft its hinges. Th• two stunned obaervers jump to their feet•• Martin enters. •</scene_description>
<character>OBSDVBR 12</character>
<parenthetical>(steps in his path)</parenthetical>
<dialogue>You're not allowed in here.</dialogue>
<scene_description>MAR'l'IN (low, dangerous) You're gonna get hurt. • CONTINUED: Th• observers caxchan9• • territied glance 4ftd rapidly reconsider the1r position. They both scw:ry from the room. Martin moves further into the place, gazing around. CAMBRA CRANES UP to reveal the Archives in its entirety -- a high- tech video libra:y where hundreds ot videotapes are stored in individual slots in tha walla. Martin comes to a main viewing console aurrounded by a bank of video monitors. Re eases into & chair and switches on the system. A list of names and date• come• up on a computer screen. Martin presses a button. One of t.h• many videotapes sink• into the wall and starts to play. Ronnie appears on a screen, scared and crying. She'• wearing a hospital g0Wt1. A video time-code ia clic:Jcing at th• bottom of the screen next to a caption: "Veronica Quaita -- Deceaaed." RONHJ:3 (on tape) % can't: have thia baby.? just can't. It could start out noz:mal and then turn into acme thipg ••• • She trails off, sobbing. Martin starts pressing other buttons. More tapes are activated, sinking into the wall•• Stathis Borans appears, his name also captioned. He's·rec::uperating in a hospital bed, but he'• not what you'd call a graciou• patient -- in fact, he's screaming and hollering: STA'l'BIS (on tape) You idiots don't know what you're talking about! I was there! % knew S.th Brundlel He wa• trying to S!1£!. himself, can't you••• that? Other tapes start playing. Martin is now viewing the entire bank of monitors at once, each screen shoving something different. It'• a vei.rd multi-media glimpse into the past, image~ and voices ov.-lapping: Ronnie dying,!:! childbirth: PD%NA1'0LOGIS'l' (on tape) we're into c.x.c.1 We're losing herl We're loaing herl Martiny A! year-old, meeting Bartok for the (irst ti=4t,: • BARi'OX (on tape) In fact, I hope you'll think of me as more than just a friend. I hope you'll thinlt of me as your dad ••• Martin !n, ~ telepod room, holding~ ~aleported kitten§ ill Beth s.g see: • CONTINUED: MARTIN (on tape) That's her ninth trip. Nine lives, and not a single one usod up. Bartek showing Martin h!,! llm!. &R!,rtmant:: MARTIN (on tape) You mean thi• is mine? Thi• is~ place? BAa'l'OK (on tape) Your place. Your private place. So more mirrors. Ro more pryin9 •Y••• Go ahead, take a look around ••• Martin'• attention goe• to another 1110J1itor •• an image pops up on the screen: Martin~ Beth vreatling paaaionatelx !n l2!g: BB'l'B (on tape) Martin. Just: 11• back and relax. ?.et me show you. There. Doe■n't • that feel good? MARTIN (on tape) Yes. BE'1'H (on tape) Just let me do tha work. Martin looks on, eye• brimming with horrified tears as the most private and vulnerable moment of his life plays out on t.he screen like some sleazy porno flick. Being cha last tape, the sequencer automatically cycle• it onto all the monitors. Martin is now aurrounded by countless images of Beth riding hiJI, raoaninc; aa 1he work• toward her climax. Martin haa to stop tlie video or riak loain9 his mind -- he slams his fist onto the button and th• screens go dark. A long beat of thick silence. Softly: BAR'l'OK (o.s.) You missed tha moat important one. Bartok leans into tram• behind Martin, reach•• across the board, and presses a button. A single monitor wink• to lite. Seth Brundle is on the screen. He look• bad, akin decaying • • SftH (on tape) A fly ••• 90t into the tranamitter pod with me that first time, when I was alone. 'l'h• computer got contused, there weren't supposed to be two separate genetic patterns, and it ·CONTINUED: 58. • decided to, uh, splice us together • It mated us, me and the fly. We hadn't even been properly introduced. My teleporter turned into a gene splicer, and a very good one. Now I'm not Seth Brundle anymore .•. I'm the offspring of Brundle and housefly. Martin gazes at the screen, mind blown. Bartok scans ahead. A new image pops up: we catch jarring glimpses of Seth Brundle in his advanced stage of deterioriation, his flesh puffed and warped, his features barely human. He's close to the lens, moving in and out of frame, contorted with pain as he desperately tries to get his thoughts on videotape. SETH (on tape) Getting so hard to think. I'm slipping away. Insect ••• insect wants it all. Body, mind, everything. He comes to an abrupt stop and peers directly into the lens. A cunning grin, a conspiratorial whisper: SETH (on tape) We'll see. We'll see. I have a cure. \* • He sudenly SCREAMS as a violent pain wracks his body. Bartok \* stops the tape. The scream goes dark. Martin is dazed. \*</scene_description>
<character>BARTOK</character>
<dialogue>You see, this is why I sent the girl away. Not cruelty. More out of kindness, really. You must realize that any hopes you may have had for a normal life were ••• unfounded. Now we can drop the pretense.</dialogue>
<character>MARTIN</character>
<dialogue>You know. You know all along. \*</dialogue>
<scene_description>(Bartek nods) \* All this time I thought I was just \* dying ••• and you let me think that.</scene_description>
<character>I \*</character>
<dialogue>BARTOK</dialogue>
<scene_description>I couldn't risk telling you the \* truth. Death might have seemd \* preferable. You might have done \* something foolish. I couldn't allow that. You're too valuable an investment.</scene_description>
<character>MARTIN</character>
<parenthetical>(softly)</parenthetical>
<scene_description>• Investment?</scene_description>
<character>· BARTOK</character>
<dialogue>Of course. Why else do you think I kept you here? Because I wanted to play dad?</dialogue>
<scene_description>••</scene_description>
</scene>
<scene>
<stage_direction>.....</stage_direction>
<scene_description>CONTINUZO: BARTEK CIRCLES· SLOWLY IN TRONT OF MARTIN �: BAR'l'OX Martin, you'v• done amazing work with t:he telepoda. You succeeded where all others failed, and I 1:haalc you. But new n hav• new buain••• to addr•••• You have a new job ahead of you. Ycu have a nav 1il!, ahead of you. JW\'???f Aa what? Scale ■ort of thinq? IAR'l'OI %t 1 1 been planned ainc• th• day you \* were born. We're pr•~rad to h•lp \* you throu9h thia. Well talc• car• \* of ycu ••• every step of the way. \* IWlff?f Ko. I want ta leave.% want what.var time I hav• left ••• - • BAll'l'OX I!: griav•• me to ■N you think ■o amall, tnly it dce1. You'r• about to und•:qo million• of yea:-• of qen•tic evolution in a matter of w•elca, p•rh&pa even day■• You'r• 9oin9 to 1how ua how it'• done, how natur• wcrxa her craft. You'r• a role model, Martin, a livin9 laboratory. And what we learn from ycu will halp ua pion..r a new aqe of g•n•tic en9in••rinq. (■oftly) tma9ine that. Martin ■hale•• hi• •head, 1ncreduloua • BAR'l'Olt Don't f19ht it, Martin. Acc:ept it. Accept who you are and what you're c;oinq to \]:)eo No. BAR'l'OK You must. You hav• no choice. You•v• n•ver had any choice. - Martin ~i•••, fury irowing. Bartok 1tand• hi• ground, unruffled. ( CO?rl'INUZD ) •</scene_description>
<character>CONTINUED:</character>
<dialogue>60 •</dialogue>
<scene_description>MAR'l':CN You used me. You lied to•• About \* my fath•J:', abcut hia work, about \* g l You've been lying to me since \* th• day twas bornl \* IAR'l'OK 'l'hi• ia 1ening no p11rp0■•· MAl'l'IN I've alway• been juat a •f•cimen to you, an inveatment, haven t t7 Hav•n'1i 1?</scene_description>
<character>IARTOK</character>
<dialogue>What of it?</dialogue>
<scene_description>Martin grab• Bartek and 1lama him acx &CJ&in1t th• wall of tap•• with bone-rattling tcrce. MAllfl!f I loved you& S&rtok crwnpl•• to the tlocr. Mai-tin grab•• chai~ and lift• it h1c;h, letting out an &ni\Jiahed ICNU. IAR'l'CX Martini No1 IWl'l'l?f t loyt4 you! Martin heav•• the chair with all hi• might -- it 1ails pa■ t Sartok and ■ma•h•• into the bank of video monitor■• A 1parkin9 detonation ot picture tube•• Martin tl••• th• room.</scene_description>
<character>112</character>
<dialogue>Martin careens th%ouCJh the hallway ■ ot Bartek Indu1tri•• lika</dialogue>
<character>INT - HALLWAYS - VARIOUS MGI.31 - NIGHT</character>
<dialogue>a hot-wired rat in a mase, twisting and tuminCJ, rwming trom hi• paat ••• hi• tut'CLZ'e ••• himaelf ••• Bartek'• VO?C3 isauea omnipctantly f:ona the P.A. ■ystems \*</dialogue>
<character>BAR'!OK'S VOXCZ \*</character>
<dialogue>Martin, don't be a tool. 'l'h•r•'• no \* plac:e to run. \*</dialogue>
<scene_description>Martin !inda a computer terminal. Re frantically punch•• 1cmethin9 up on the 1creen, retrievigq ,m un•••n ~ 2f.</scene_description>
<character>�</character>
<dialogue>1nfo;mat1;; • A pair of guard• (HARGIS and MAc:DNZIZ) appear. \*</dialogue>
</scene>
<scene>
<stage_direction>...,</stage_direction>
<character>HARGIS</character>
<dialogue>Hold 1t ~i~ht the~e1</dialogue>
<scene_description>• CON'l'INUED: Martin keeps going, the guards hot on his heels. Martin careens blindly through a doorway marked: "CllYO S'l'ORAG~." 112A IN'I' • CllYO S'l'ORAGll - NIGHT 112A Martin tinds himselt bein9 pursued th~ou9h a vast freezer lined wall-to-wall with dead animala. Th• frozen beast• are twisted and diatorted, th• reault of c:ountle•• eeleportatien experiment• with live anim&la. Ev•n ,=rtin'• dos 1!. there, s.,zi;g i.t him th:ouqh dead, f ;:9it-g9v\_J:';d !DI.• The gua:da jump on Martin and t:y to wrestle him to th• floor. \* A violent atruggl•. Shelve• lined with tro1en animal corp••• \* topple. Martin break• tr•• and c:ra ■h•• throuih the exit doer. \* Th• guard• are not fa: !Mhind. \*</scene_description>
<character>113</character>
<dialogue>Martin c:om•• around the corner and •kJ.d• to a ■ top. Scorby</dialogue>
<character>INT � BAI.LWAY - NIGHT</character>
<dialogue>. atanda b•fore h!Ja, blockin9 him tram the main exit. Hargi• and</dialogue>
<scene_description>Mackenzie c:me around th• corner, cuttinq off Martin from behind. Sc:orby gives them an "I'll handle thi•" 9eatm:a, • pointedly locks the plate gla•• doors, then turn■ hia attention to Martin. SCOllBY You want out, you have to go through m•. Martin tri•• to do juat that. Searby •enda him back with a brutal blow to the face. Martin •hale•• l'lia head, amaaed at th• blood at:eamin9 trom hi• no•• -- nclx,c!y'• evar hit him before. Searby •••wn••a mock-deadly •tance, puttin9 on a 1how for th• other guarda. H• ~ina.</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>SC:OUY</character>
<dialogue>? enjpyed that tap• of you and your 9irlf:iend. Camn, lilt• a j ackhammu.</dialogue>
<scene_description>•h• :.. lly 90•• Martin l•t• lee•• a primal howl ot ra9e. H:faba Scorby ~</scene_description>
<character>\*</character>
<dialogue>~ th~oat m 11:;1 ~ e111n 2" ~ u~~ -- s22f~; 11 \* stunned .t2 ~ hi;••l! choking s'""c!ingl nq !a Martn■ s;:a12. \*</dialogue>
<scene_description>114 EXT - MAIN EN'l'RANC:Z - NIGHT 114 Seorby is hurled bcdily thrcugh the door• and hits th• ground •-· in an explosion of brolcan gla••• Ma~tin em•rCJ•• and race■ off into th• night. H&rgi• and Mac:kanzi• ru■ h to the door, gaping at the carnag•. Scorby roll• over and t;roana. ct1'l' '1'0 I -•--~-co\_wr\_I\_mn:\_c\_:\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_6\_2\_.~-=-- 11s OMITTED 115 116 IN'r - HALLWAY - MIGHT 116 Bartok ■trid•• dew the hallway, furi0u1. Searby 1• at his sid•, dabbing at facial lac•raticn• with a handkerchief. Trailin9 th.mar• varioua SECURITY PDSONHIL. IARTOlt % doc't want excuaeal % want him ~ 1 I• that wideratood?</scene_description>
<character>SCOUT</character>
<parenthetical>(cowed)</parenthetical>
<dialogue>Yea •i:.</dialogue>
<scene_description>l&rtok break• off from the pack and ent•r• -- 11 7 -?HI 'l'm.DOD ROOM- NIGHT 117 -- where Dr. ftimble •= hia taam are await.i.A9 him ne:voualy.</scene_description>
<character>BARTOK</character>
<dialogue>Are you ready tor•• Trimble?</dialogue>
<scene_description>•</scene_description>
</scene>
<scene>
<stage_direction>.\_.,</stage_direction>
<scene_description>Yea, Mr. Bartolc.</scene_description>
<character>TJU:NILI</character>
<dialogue>BU'l'OIC</dialogue>
<scene_description>Then let's get on with it. X want to••• these thing• work for a change. 1'rimble nod• to a technician autlld at the computer. 'l'he \* tachnician awitch•• th• computer on and boots it up. After a \* few momenta, four 1imple word• appear on the screen: \* > WBAT'S '1'D JIAGtC W01U>?</scene_description>
<character>TICHHICUH</character>
<dialogue>What the hall ia thia?</dialogue>
<scene_description>,' 'l'Jl?MIL! Juat l:)ypa•• th• damn thin9. 'l'h• t•chnician type• in a bnJ••• ccmmand. 'l'h• oomputer repli• ■: > BYPASS NO'r ACO:Pl'Bn. WHAT'S -ra MAGIC WORI)? And then, almoat •• an afterthought: WARNI?f9i INC:ORUCl' DfPOMS! ~ AC'?IVAT!: 'l'APBWQ!M • •</scene_description>
<character>></character>
<dialogue>DCSH%CllN</dialogue>
<scene_description>Son of a bitch. \* Bll'l'OX My patience 1• traying, Dr. Trimble.</scene_description>
<character>CONTINU!C:</character>
<dialogue>63 .</dialogue>
<scene_description>• TRIMBLI (■mirkin9, i~onic) Sir, it •••m• the head of thi• project has •••n !it to inatall a paaavord. \* IAJl'l'OJt Martin installad a pas ■word? \* 'l'RlMBLZ Ye• 11:. We can't ace••• th• ■yatam \* without it. \* IU'1'0Jt Let 1 1 start fe4k1in9 word• in at rand011. TJl:CJIILI He booby-trapped it. Th• firat \* wron9 P••• we IIIAlce would \* automatically •r••• all th• \* internal prOCJranaain9. \* Bartek approaches the computer and reads the words on the screen: . \*\*</scene_description>
<character>\*\*</character>
<dialogue>\*\*</dialogue>
<scene_description>BAll1'0X ''What'• the ma9ic word?" TZCD:CCUll tt' • 9ot to be "abracadabra.•• 'l'hat • 1 th• ma9ic wol:d, everybody know• that. Bartok has th• pain.S, ainkin9 axpr•••ion of a man vho just: tall on his own 1vord. Be hear• hillaelf 1oftly repeatin9 hi• own words: • •' BAa'l'OK No. That'• juat 1caethin9 you ■ay for th• benefit of the audience. 'l'h•r•'•a rul ma9ic word,• 1ec::et 1'0rd you keep loaked away in rour heart and never tall anybody. -rhat'• th• word that make• the ma9ic happen. (beat, softly) \*\* Clever, clever boy •.• \*\* • Bartek suddenly sweeps all of Martin's personal items off the \*\* computer console and onto the floor. He throws his head back, screaming in rage:</scene_description>
<character>BARTOK</character>
<dialogue>GOD DANN YOU, MARTIN!</dialogue>
<character>CONTINOBCI</character>
<dialogue>-</dialogue>
<character>64.</character>
<dialogue>• -T1I'1asro~M"I~T~T~EDn-------------------------~---,--</dialogue>
<scene_description>ll8A IXT - Wlffilt!'RONT • MI1ad'! fi~A: A nei9hbo:h00d of hou•eboats bordering a warehouse district. Th• boat• are low rent, nothing fancy. Ma%tin move• along th• \* tangl• of creaking docks, ••arching for an addr•••• (NOTS: \* Martin should be an unlit, ahadowy figure throughout th• \* sequence. Let'• not reveal hi• appearanc•.) \*</scene_description>
<character>\*</character>
<dialogue>!• come• to a mailbox atencilec!: BBTH LOCAR. He look• aero•• th• vateJ:' at hei:i boat. Th• gangplank is 1toved awayJ no way to g•t to t:h• boat. ae calla out aoftly:</dialogue>
<scene_description>MRTlH Beth 7 ••• Beth 7 A light go•• on in a neighborin9 boat. Martin crouch•• down•• • Bmu.Y MAN appe&rs cm the deck. MAIi Solleody out hue? Silence. 'rhe man finally CJC•• back below deck. Martin looks arowid, t:ying to !i;ure out a way to pt: to Beth's boat. It'• • too ~•r to jump, but that••- to be hi• only option • H• back■ up to give ~imaelf acme rcoa, then talc•• a running jump off th• end of th• dock. Ke hw:tl•• throu9h th• air and lands on Beth'• houaeboat, r0llin9 into a c:at-lik• crouch. An incredible leap. 118B IN'? - HOUSDOA'l' • UCR00M - NIGHT 118B 8eth 1• jerked from• sound •l••P at th• %,OW) TKtnCP on th• deck abcve. She aita up, liatanin9 fearfully. Scmebcd1'• movinq around-up there •</scene_description>
<character>118C</character>
<dialogue>.</dialogue>
<scene_description>%%fl' • HOUSIBOA'r - KUK llOOM - NIGHT 118C '?he kitten ia dosin9 en a vindow9ill. A ahadow talls aero•• her•• Martin'• !on appMra outside 1:he window. Th• kitt•n \* lccKa up and no lcn9er • - • to r•cogn1z• him -- ■h• arches \*\* her back and hi••••, t:hen run• off. \* Martin tore•• th• window and drop• in, etill juat a ahadowy \* dark tig-ur•. H• move• th:ou9h th• plac•, cautioualy glancing \* into open doorways. So!tlyt \* MAJt'l'X?f Bet:h'Z }\_.,120,121,122,123 OMITTED 119,120,121,122,123 • 124 IN'r - B!0RO0M - NIGHT 124 Darkness. Th• door opens and Martin venture• elcwly inside. Beth pivo~s trom behind th• door, ■winging a baseball bat right at Martin'• head. !hough it'• too dark for him to even</scene_description>
<character>CONTINUEC&</character>
<dialogue>65 •</dialogue>
<scene_description>••• it comin9,· aia hand shocts up lightning•ta1t, purely on ,,, instinct, and stop• th• bat cold. MAR'l'IM Beth. BB'l'H Martin? Damn 1tl You 1cared th• hell out of mes (drop• th• bat) ? thought l'd ~•v•r ••• you again. Sh• tri•• to embrace him, but h• 1hrug1 out of her gra1p. MAllfllf Ho. Don't. He mov•• away from her, keepin9 to the ■ hadowa. 11ft Martin, what'• wrong? Martin 9oe• into the bathrocm and twabl•• around the sink. Re</scene_description>
<character>�</character>
<dialogue>get• the cold water ruMin9 and spl••h•• hi• taca. Beth t0llov1 him and turn• on the 119ht••</dialogue>
<scene_description>,,. R•fl1cted in~ bathroom mir;or, B .US ~;~in'• !I£! ;l•a;ly !2£ ~ firpt ~ fiA91 ill ·•rP• -- ~ . ideou1, lli 9&11-9;1o;at1on a99elaratin9. Bet at~!lea a gaap.</scene_description>
<character>U'1'B</character>
<dialogue>Oh dear God.</dialogue>
<scene_description>Martin twist ■ away, t.ryin9 to hid• hi• face. Uft?ll Don't look at ••• Pl••··· Not like thia. (1oftly) I's eor:f• l didn't knew where al•• to 90• % 11 1•••• if you want• to. Beth ia r ..11n9, torn between ampaaaion and deep revulsion. aov could her world have turned up1ide down like thi ■ ? BftB No. Martin turn• to har, •Y•• gli1tenin9 with gratitude • • to you. IWl'l'tll Then help ma. Pl••••• Br.t'H You have to tall me what's happening \*\* •</scene_description>
<character>CONTINUED:</character>
<dialogue>66.</dialogue>
<scene_description>MAR'l'IN Th•~••• som•thing 9:cwin9 in•ide me. som•thini tainted, hideoua. All ~ecau•• of a littl• !ly •••</scene_description>
<character>CUT TO:</character>
<dialogue>124A EXT • WA1'ElU'ltONT • MIGH'l' 124A</dialogue>
<scene_description>A car with the woi:da ·"Bartek Science Industries" screeches to \*\* a stop. Searby emerges and leads a contingent of security men down the dock to Beth's houseboat. 124B IN'l' • HOUSDOAT - MAIN ROOM - NIGHT 124B scorby and the other• bw:at 1n. Th• plac• 1• empty. Beth and Martin are gone. Ctn '1"01 125,126,127,128 OMITTED 125,126,127,128 129 IN'l' • SAR~K'S OPPICZ - INT •. HOUSEBOAT - NIGHT 129 sartok :t.• on th• phone. He look• haq9a:d from lack of •l••P• • ju■ t milled hill. And the qirl.7</scene_description>
<character>SC0DY</character>
<dialogue>He wa• her• all ~iiht. •• muat have</dialogue>
<scene_description>IAl'l'OX</scene_description>
<character>SCOUY</character>
<dialogue>Lookalike 1he took o!f with him.</dialogue>
<scene_description>BU'l'OK Get back here as soon as you can. \*\*</scene_description>
<character>\*</character>
<dialogue>SC:OUY</dialogue>
<scene_description>Oo~ \.t worry, •1r. ••' 11 CJ•~ him. tt'• ,uat a matter of time. B&rtok 11gha, •iDkinq into a deep, lffthing melancholy. BAJt'l'OK '?hat, ■ adly, is a luxury we don't have. \*\* ctn TOI</scene_description>
</scene>
<scene>
<stage_direction>130 INT• BBTH'S CM - DAWN 130</stage_direction>
<scene_description>Martin 1• asleep in the paasenqer seat, ■hrouded 1n a blanket. Seth 1• at the ~heel, •Y•• red and bleary !rota driving all night. On th• radio, & ft8WIC&lt baqina1 fCONT!NUEO) • CON'rINUZO: 67.</scene_description>
<character>RAD:CO ANNOUNCD</character>
<dialogue>Kicking off the loc:al new• thia morninf, a etate-wide •••rch 1• underway for an emploY•• of Bartok Indu■tri••• A Bartek apokeaman ••Y• that Martin Brundl• 1• in ■ever• need ot medioal attention for injuri•• ■utained in a laboratory ■pill at th• Perri• Down• fac~lity 1••t•rday. 'l'h• puolic ia urged not to approach Brunc!le due to th• dan941r of contamination, but to :epo:t hia wh•r-bouta immadiatelr to authoriti•••-Bnndle is be physically deteriorating,••</dialogue>
<scene_description>••idto well•• 19,otally confused ••• Beth glancea over at Martin. Still a•l••P•</scene_description>
<character>131</character>
<dialogue>hurtl•• down th• highway toward the ooming dawn.</dialogue>
<character>TH! CAR/ EXT. HIGHWAY - DAWN</character>
<dialogue>•</dialogue>
<scene_description>CJ'! TOa 131A IN't' • BBTB' S CAR - DAY</scene_description>
<character>131A</character>
<dialogue>Th• e&l:' is parked. Martin 1• 1leepin9 in the passenger ••at, an un~••n tom huddled in a blanket. Beth emer9•• from a fa•t f00d restaurant, carryin9 a b&9. Sh• get• 1n th• car.</dialogue>
<scene_description>an (■hak•• him gently) Martin, wake up. You've got to oat. Maztin stirs. Aa h• reach•• for th• bq, th• blanket fall• away, revealin9 hi• tace. Beth 1tifl•• a i&Sp -- he look•</scene_description>
<character>.</character>
<dialogue>worse than b•fore, hia ■kin •=ually decayin, •</dialogue>
<character>�</character>
<dialogue>JQR'l'Ilf</dialogue>
<scene_description>~•n't you ••t1A9? BZ'rJI (tonel•••ly) ?'a not vary hUDCJ2:"Y, She •tart• the c:ar and hit• the qaa. • etn TOt 131B BX'l' - HIGHWAY - DAY 131B '-" Beth'• car 1• pulled over to th• side of the road. Beth is clutch~n9 the etHrin9 wheel, knuckle• turning white, teeling (CONTtNUZD) CON'l'INU!:O: 68° • uttuly helpl•••• Martin 11 leaning o~t the passenger door and wretchinq violently. He leans back in his seat, gaaping. MAR'l'IN I qu••• X waan't ve,:y hunqry either. Beth puts th• car in gear and 9ata back on the highway. 0%8801.VB 'rot 132 u, - ROllAL ROAD - DAY 132 Beth'• car appears, traveling- along- a wooded road. 133 IN'l' - CAR /EXT. STATHIS' HOUSE - DAY 133 Martin ia al•aping again, hia face p~••ec! a9ainat the pa•••nqer window. Bath J.a at the wheel, exhausted, ti-ying desperately not to ncd off. Sh• atra19htena ~P, •-ing: HTS'S POV (PROM MOVING CAa) An impaaing •ton• house can be glimpsed through the tr•••• • BETH slows down, checking the addr•••• than tw:n• onto a meandering dirt driveway. Sha pull• up to t:ha hou.e and atop• th• car. Sha shakes Martin to wak• him. BBft Ruh? Bft!I We're hara •</scene_description>
<character>�</character>
<dialogue>Martin •it• up-~ but whc he pulls hi• face away trom the window, ll.l l11Yfl an .21 ha ch••k •tuqk .t2 ~ qla••. He looks at Beth with sad •Je••</dialogue>
<scene_description>Reither ••Y• a word. They both open th•ir doora, but Manin•••• to ba havin9 troubl• getting out th• car. Jeth circle• around to help him. IIAll'l':nl (wavea her off) No, no. I'm fine. t'm ju■ t a little • atiff, that'• all • Ke clambers painfully from th• ear, a bit unateady on hi• teee. The two of them p~oeeed toward th• hou••• (CON'l'INUED) • CON'l'INUZD: BZ'l'B Ara you 11.U"e t:hi• ia the place?</scene_description>
<character>MARTIN</character>
<dialogue>got t:he</dialogue>
<scene_description>:.t addr••• out of the computer tile• when% eacapad. 1r</scene_description>
<character>134</character>
<dialogue>1'hey procaad to the front door. Bet:h knocks. '?hick ailanca.</dialogue>
<character>EXT. STATHIS' HOUSE - DAY</character>
<dialogue>1r</dialogue>
<character>DD</character>
<dialogue>Maybe nobody'• h=••</dialogue>
<scene_description>She lmoc::k• again, lcudar. We hear a MtJFPt.m> THUMP -- somebody movin9 around inside. A MALB VOIC:Z ccm•• through th• door: voicm co.s., Go avayl Bft& •• have to ta1~ to ,oul vo1c:s co.a., I'll •ay it agaiA tor th• h&J:'d of bearing -- WI offl You want it in writing? MAa!XlC t need your halpl Seth Brundl• waa my tatharl A long beat:. 'l'he CLICX of a loc:x. Th• door op•n• just & crack, revealing th• au■picioua, ruddy tac• of a man with a perpetual hangover•- S~A'l'HIS BORANS peer ■ out at Martin and g:-imac••• STA'rl%S I can the r••amblanoe. ■e• (beat) What are you now, five? Little biq</scene_description>
<character>.</character>
<dialogue>tor yow: age, aren't you?</dialogue>
<character>�</character>
<dialogue>NU'?XN</dialogue>
<scene_description>It'• a ch:omo■omal mi ■function. Rapidly accelerate lif• cycle. S'?Aft%S Ko ahit. That'• fascinating. (beat) Well liatmi, it'• been qrMt. Stop by again aomeeiJN. • Be slams the door in their face•.</scene_description>
<character>135</character>
<dialogue>Stathis shoot• the deadbolt home and atart• to turn away,</dialogue>
<character>INT -</character>
<scene_description>• COtrrINUJ:D: 70 Suddenly, the door bur1ta inwa:d, deadbolt ripping from th• doorjum. Stathis reel• back in terrified aw:prise a• Ma:tin entera. Be whip• hi• cane through th• a.ir, but Martin oatohes it. A brief tug of war eneuea, with Stathis t:yin9 to keep hi• balance on hia p:oathetic toot. \* Martin leta the can• go. stathi• find his balance. 'l'hey 91ar• at each other, breathin9 heavily. Beeh atanda in the doorway.</scene_description>
<character>STA1'HXS</character>
<dialogue>Perhap• t ■hculd invite you in.</dialogue>
<character>COT '1'01</character>
<dialogue>136 IN'l' - STA'l'Hl:S' S'rtJDY • 0AY 136</dialogue>
<scene_description>Stathis is at th• bar, pouring his Wllpt:Nnth 1cot:oh of th• \* day. Martin, lNninCJ on Beth, moves toward a c:hai:. \*</scene_description>
<character>STATHIS</character>
<dialogue>Ba:tok told me you died at birth, &101\9 with you mother. 1 abould hav.e Jcnown he••• lyinCJ, tha son ot</dialogue>
<scene_description>• a bitch. Don't 1it there. It'• \* Louis the 14th. \* He indicate• a much cheaper chair. Martin ••ttl•• in painfully. \* S'l'ATH?S So. Here•• are. fll• question 1• why? MAR'l'tN I came to you for help. \* ffA'l'!IIS What kind of help? \* MU'l'IM I NW you cm the videotape. You aaid you nre a triend ot my father'•• S'rA'l'llll X Nid % l5D.B him. B19 difference. IWl'nR lut you were thore th• ci;ht he died. Ycu said h• waa workini on• cure. • That'• why yo~ dragged youraelf ha-lfvay acro•a th• stat:a7 'l'o aak me \* about hia ~ ? \*</scene_description>
</scene>
<scene>
<stage_direction>.....,.</stage_direction>
<scene_description>MAR'l'tN You're my only hope. ·CON'r%Ntn:Cz ,,. • Shaken, Stathis ere•••• back to the bu and treahen• hi• drink, sloppin9 half the •cotch onto th• floor in th• proce•••</scene_description>
<character>STATHIS</character>
<dialogue>Kid, the 1aat thin9 tam ia 10X!2qd£• hopa. You don• t want to \* hear ut thi•• \*</dialogue>
<scene_description>MAll'!Ilf I have to know. Stathis paus••• tteatlin9 briefly with an urge to be humane and k••P hie mouth abut. H• caat• that urt1• aside and tu:na on Martin with a dark, bitter grin. STA'1'Kl:S All right. I'll tell l'()U about your father. Ke atola my CJirl, got her precJft4nt, got her-~••• (diaplaya proathtltic hand) ••• 1! that'• not enou9h, he dieaolved my hand and f11 fooe with fly pulce. Let'• be hone•t• I d.t.dn't much care tor th• man. ?n fact, ha really ~Hts:!c,· Oh, but you wanted to know about that gr-t ~ha••• workinCJ on. 1'ow ~ waa 1caaethiZ1CJl He dra9CJ9d your poor mother kicking and acre&n1in9 into a talepod ac that they could b9 fuaad together into=• body& The pathetic baatard thOUCJht it would make him more human& (ti;ht) Your R10ther blew hi• brain• out with a ahotgun. ':hat vaa the nal \* cure. Ind of 1tory. How CJO away. \* Stathi•' diatriba.•h•• left Martin weak and ahakinq. H• alutcm•• Beth'• arm, ■-kinq ■trenqth from her. S'!A'l'BlS I.ook, 1t rou'r• 9onna to•• your cookiea, do it out ■ ide. I ,u■ t had the tloor• waxed. D'rB (turiou■) B&atard. Wb•r•'• youi- ccmpa••1on? • much. An S'l'A1'HIS I had to give it up. It cost me too arm and a leg, in fact. (CON'l'INO!:Il) CON'l'IMUZD: Martin 1tng9l•• to hi• feet, helped by Beth. He tac•• Stat:hi•.</scene_description>
<character>MARTIR</character>
<dialogue>%t co•t you more than that. I don't Jcnow which of us 1• more pathetic.</dialogue>
<scene_description>Stathi• give• him an icy glare of an9er. The PHONB RINGS and he an&tch•• it up.</scene_description>
<character>STATHIS</character>
<dialogue>Hello?</dialogue>
<parenthetical>(b. .t)</parenthetical>
<dialogue>Mr. Bartok. Pwmy rou should pick thi• mcmant to call •••</dialogue>
<parenthetical>(loolcs ominously at Martin)</parenthetical>
<dialogue>...I•• juat thinkinCJ about you.</dialogue>
<parenthetical>(liatenin9)</parenthetical>
<dialogue>A duancyed employee11'hinka he'1 S•th lrundle • .!9!1? That•a pretty wild.</dialogue>
<scene_description>Cbeat) Rope, haven't aeen anybody like that u-ound here. I'll be am-a to call you, thou9h, if l do. • (beat) Yea,% Jcnow yo\1 1 d male• it worth my While. Bye now. \* (hangs up) Scumba9. R• look• up, •••in9 Martin'• au:;,r1•• and gratitude. \* S'l'ATB?S Don't get all miaty-eyed. I didn't do that for you. '1'hat waa tor Ronnie. 1Wt'1'%M Juat th• aame ••• thank•• S'!A'l'Hl:S a bit) (■oftenin9 \* Look, your fathu w•• confu•ed towa.rd the end, h• waa loain9 hie \* \* judcJement. lut maybe he wa■ ri9ht \* about on• thin9. I'• no acientiat, \* but it•-• to me that if there 11 a cure, it ha• aomethin9 to c!o wit:h</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>thoH telepoda. \* Martin recoil• fr011 thi•. Pluatered, he IIOY•• to the window. \* • Stathis P••rs at him MAR'l'?lf % already tried. lt'I a c!ead end. ■u•piciously.</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>•</scene_description>
<character>CONTINUEO:</character>
<dialogue>13 •</dialogue>
<scene_description>STA'l'H%S You're a bad liar, kid. It'• a good thing you don't play poker.</scene_description>
<character>UTB \*</character>
<dialogue>Martin? ,eJa you find ■om•thinCJ? \*</dialogue>
<scene_description>MAJl'l'XN It's not something I can use, so just forget about it. STA'tB?S \* S=•• Anyi:hini you ••Y• But before \* you go, tell m• ••• i• it any wor•• \* than what•• happeninCJ to you now? \* (silenc•) ?t'• none of my busin•••• but if you found an an ■wer, you ought to uae it.</scene_description>
<character>\*</character>
<dialogue>You're right. \*</dialogue>
<scene_description>(beat) \* • It'• non• of your buain•••• \* Martin 1talka trom th• room. Beth just ■tanda there, tom. Sh• \* look• helple ■ aly &t Stathia. H• ahruq•. \* STA'l'K?S \* You should talk 1cme ••n•• to your \* tr1end. \* (to•••• her a They'll ba lockincJ for your ••t of keys) car. My jeep'• in the garav•• Beth ■ tarts to thanlc him. He••~ her off.</scene_description>
<character>...</character>
<dialogue>Just get out •</dialogue>
<scene_description>Beth leav••• Stathia, now alone, lean• heavily on th• bar and \* n1D ■ hi• torturtld face. \* D?SSOI,VII 'l'0: 13 6A !XT - HIGHWAY • NIGJl'l' 136A Th• jeep com•• into v1n, headliqhta piercinq the night. •</scene_description>
<character>137 INT � JBZP - NIGHT</character>
<dialogue>137</dialogue>
<scene_description>S•th is driving, near tura. Martin i1 in th• pasaeng•r ■ eat, wracked with spa ■ma.</scene_description>
<character>'~ ........... .\_,</character>
<scene_description>• U'l'B Let m• ju■ t call Bartok and talk to \* him. \* IWt'l'l?f \* Nol % wcn't go baclc th•re1 \* BftK \* Maybe? can get him to help rcu. \* ? can tall him about the talapods. \* IWlT?R \* ? told ycu, that'• a dud end. \*</scene_description>
<character>HD \*</character>
<dialogue>You haven't told Me \]!bXl \*</dialogue>
<scene_description>Martin, tight-lipped, just •hale•• hie head. \* BBTJl \* Martin, what do you have to lo••? If \* the•'• a chance, any hope at all ••• -• NU'1'%?f There ia no hope.</scene_description>
<character>D'1'K</character>
<dialogue>'l'hen ~ ? Martin, I'm so tired I c:an't-sI'nJc any morel I don't know what to do! I don't ev.n know wh•r• we're goinq!</dialogue>
<scene_description>UJl'l'lN (flat, hopelaea) It do••n't matt•=••• Ctl'1' 'l'Oa 138 !X': M0'1'BL ... NlGB'f</scene_description>
<character>�'</character>
<dialogue>Oeaeri~inq the place•• cheap and nndovn wauld be too kind. 'rhe bunqalcw■, ~cupe4 around a ;ravel ccn:u:tyard/pa:iJcinq lot, haven't had a new coat ct paint ainc• 11aanhcver was preaidant. 'rh• neon aign al)ova th• office 1:N21aa and blinx• erratically. Beth pull• in otf th• interstate and cuu her anqine. She get ■ out ot the~= and antara the office.</dialogue>
<scene_description>139 Dff ... MOT!Ii OP7IC3 - NIGHT 139 • Th• MANAGD, a seabrou• old man in a tattered bathrobe, leaves hi• '!!'I set and ccmes to the counter. I AA•----•-- a CON'l'INUE.0: 75 • \ • The manaq•r glance• over her ■houlder at the j••P, •••ing th• huddled form in the P••••nger ■aat. He l••r• at h•r.</scene_description>
<character>MANAGD</character>
<dialogue>Separate bad•?</dialogue>
<parenthetical>(icy)</parenthetical>
<character>Y���</character>
<dialogue>MAHAGD</dialogue>
<scene_description>Ca•h in advanc:e. On the '1:V in the b&c:kqround, a newacaat ia in prOCJl"e••: ANQIORKMf Meanwhile, the ■urah tor contamiAatecl Bartek employ•• Martin Brundl• inten•ifiea ••• \* Bartolc •uddenly appears on the ■area, apa&Jcinq into a \* reporter'• micrcphon•. \* •</scene_description>
<character>IARTCK \*</character>
<dialogue>Martin, it you'r• watchin9 thia, if \* you can hqr m.r voice, liat,n to \* me. I knew you re aiclc and confua41d \* and friqhtaned, but you n•ed our \* help. All n want, c!eaparat•ly, i i \* to g1v• ycu that h•lp. \*</dialogue>
<scene_description>Th• image now goe• baclc to the anchorman. \* Alfc:acmwt \* Brundl• vaniehed late laat n19ht in th• company of c:o-worlcer Beth t.aqan. There ha• !Ma apeculation that Mi••t.09an may b8 eh• victim of ld,c!Dappin9, but thi ■ ha■ yet to be ccnf1rmed ••• PhotCCJZ'&pha of Martin and Beth appear on the ■creen •• the anchorman ram!,l•• on. Beth realise• the motel manager 1• waitinq tor her to eign th• lad9er. Sh• nervously acribblea a name and pay• him. He hold• out• key.</scene_description>
<character>MANAQD</character>
<dialogue>Nwaber 18, down at the end •••</dialogue>
<parenthetical>(glance• at ledge:)</parenthetical>
<dialogue>••• Ma. Smith.</dialogue>
<scene_description>Beth talc•• th• k•Y and exit•. Th• manag•r peers after her. ( CON'l'INUED )</scene_description>
<character>CONTINUED:</character>
<dialogue>76 .</dialogue>
<scene_description>• 139A EXT - MOTEL Beth walks across the gravel parking lot to the jeep. She comes to an abrupt stop as she realizes that the vehicle</scene_description>
<character>139A</character>
<dialogue>is empty ••• Martin 1! gone.</dialogue>
<character>BETH</character>
<dialogue>Martin?</dialogue>
<scene_description>She looks around with growing unease. Suddenly, her attention is drawn by a LOUD AIR HORN ••• A big eighteen-wheel truck rages past on the interstate, HORN BLOWING wildly. As it sweeps out of frame, we catch a glimpse of a blanket-shrouded figure disappearing into the fields on the far side of the road, vanishing into darkness.</scene_description>
<character>BETH</character>
<dialogue>MARTIN!</dialogue>
<scene_description>She takes off after him, dashing across the highway and stumbling down the incline. MARTIN/BETH - VARIOUS ANGLES Martin flees across the field with surprising speed, hobbling and deformed, tearing through the wild brush. Beth pursues him desperately, pushing herself to the limit.</scene_description>
<character>BETH</character>
<dialogue>MARTIN1 STOPl</dialogue>
<scene_description>The chase is relentless, grueling. She finally catches up to him and they both collapse to the ground, gasping for breath.</scene_description>
<character>BETH</character>
<dialogue>How could you just run off like \*\* that? How could you do that me? \*\*</dialogue>
<character>MARTIN</character>
<dialogue>I thought it would be better this way. Better for both of us.</dialogue>
<character>BETH</character>
<parenthetical>(furious, near tears)</parenthetical>
<dialogue>How dare you make decisions that \*\* affect me? How~ you? \*\*</dialogue>
<scene_description>• I'm sorry. I'm sorry •</scene_description>
<character>\*\*</character>
<dialogue>BETH \*\*</dialogue>
<scene_description>What were you thinking? Were you \*\* just going to crawl off somewhere \*\* to die? \*\* • CONTINUED:</scene_description>
<character>MARTIN</character>
<dialogue>(anguish) \*\* I</dialogue>
<scene_description>I'm not dying! Oh God, I wish I werel I wish it were that simple! \*\* (tight, clenched) \*\* I'm turning into something else. \*\*</scene_description>
<character>BETH</character>
<dialogue>You're still Martin. \*\*</dialogue>
<character>MARTIN \*\*</character>
<dialogue>For now. \*\*</dialogue>
<scene_description>(pause) \*w Beth, I'm scared for you. You heard what Stathis said ••• what my father \*\* tried to do to my mother, what she \*\* had to do to protect herself. \*\*</scene_description>
<character>BETH</character>
<dialogue>I also heard him say you could use \*\* the telepods to save yourself. .\* \*</dialogue>
<scene_description>• MARTl:N (measured) The method is too extreme. \*\*</scene_description>
<character>BETH</character>
<dialogue>Is that another decision you're \*\* . making all by yourself? \* \*</dialogue>
<character>MARTIN</character>
<dialogue>\* \*</dialogue>
<scene_description>Pause. Martin bows his head. Softly: \* \*</scene_description>
<character>MARTIN</character>
<dialogue>It hurts to look at you, Beth. It hurts to see what I'm losing.</dialogue>
<character>I</character>
<dialogue>Beth starts to cry. She takes Martin in a desperate embrace. \*\* Martin tries to push her away. \*\*</dialogue>
<character>MARTIN \*\*</character>
<dialogue>Don't •••</dialogue>
<scene_description>But she doesn't let go of him. His tears also come, and he finally gives in to the embrace. •</scene_description>
<character>BETH</character>
<dialogue>I'm not leaving you, Martin. I'm not. \*\*</dialogue>
<scene_description>Martin and Beth hold each other, seeking strength, rocking gently back and forth in the middle of the vast field. SLOW DISSOLVE TO: CONTINUED: (OMIT 77A.):</scene_description>
<character>INT -</character>
<dialogue>140</dialogue>
<character>MOTEL</character>
<dialogue>A bungalow eabin. Darkness. Two vague light sources spill in through the dirty flyspecked window: the dim light of the moon, and the intermittent flash of an unseen neon sign. Beth is sprawled on one of the beds, still wearing her street clothes, passed out from utter exhaustion.</dialogue>
<scene_description>Martin is sitting on the other bed, huddled by the window in the darkness. He calls to her softly:</scene_description>
<character>MARTIN</character>
<dialogue>Beth? Are you awake?</dialogue>
<scene_description>No answer. Martin feels profoundly alone. He turns and gazes out the window at the night ••• WE DISSOLVE INTO ••• A SLOW DOLLY ACROSS THE ROOM, POLLING IN TIGHT on Martin at • the window ••• We realize that he's gazing at an outdoor high-intensity bug zapper in the courtyard outside, becoming mesmerized by the soft purplish glow. Dozens of flies are swarming around. Every so often, a tiny pinpoint FLASH OF LIGHT heralds the death of another bug. FROM TIGHT ON MARTIN'S FACE, WE DISSOLVE INTO ••• 14 l MACRO SHOT ••• THE BULBOUS, MONSTROUS FACE OF A FLY in flight. Glistening, multifaceted eyes reflect a rainbow of liquid colors. Insect wings, transparent as crystal, flex up and down in EXTREME SLOW MOTION. MACRO SHOTS - SLOW.MOTION In a virtual reprise of the opening shots of the film, the fly glides through the air, whirling and spinning, performing an effortless aerial ballet. As repulsive as the creature is, its travel is dreamlike and beautiful • • • CONTINUED: MACRO SHO'l' - SLOW NO'l'IOH The fly awoop• toward a gorgeous purple glov ••• ~ ••ttl••</scene_description>
<character>78 �</character>
<dialogue>2!1t,Q .w</dialogue>
<scene_description>,m zapper filament. Th• insect starts jerking and twitching aa • masaiv• charge of electricity courses through it, making it glow from within, a tiny aun growing within the fly, bursting out through it• flesh, consuming it with 1udden brilliant fir•. Its death is the death of king•, a ccmet blaze of glory ••• MACRO SHOT The fly hits the ground, a chured and amoking husk. No longer gl0ri0u1, no longer brilliant ••• nov j\Ult a ~ buq. 142 TIGB'r ON MARTIN/ INT. MOTEL BUNGALOW - NIGHT 142 a ■ ha aita by himself in the dark, gazing out th• window at the dead fly with a n•r reliqiou• look cm his face. B• ••••• baelc \* into th• 1hadov• a• we \*</scene_description>
<character>\*</character>
<dialogue>J'ACB TO BI.ACX</dialogue>
<scene_description>• 14 3 IN'r • MODI, ROOM • NIGHT 143 Darkn•••• Beth stirs from her sleep and loclca around, disoriented at first, not quite knowing where ■h• ia. 'rhim;a are too quiet. '1'00 dark. ta sh• alone? BB'm (tentative) Martin? No answer at firat ••• then a voice fx-om th• darlm••• mak•• her jump; MAR'l'lN Hare •.</scene_description>
<character>��</character>
<dialogue>Sh• finally mak••him 0ut - a dark shape on the bed, still</dialogue>
<scene_description>huddled ·against the wall by th• window. We can't see much of him, but he has something cradled in th• palm of his hand. Sh• rises and gropes toward th• liqht■vitch on th• wall.</scene_description>
<character>MU'?IH</character>
<dialogue>No. Don't turn on th• lighea.</dialogue>
<scene_description>• B2ffll It 1 1 dark. I can't••• you. He shifts forward, exposing only nalf hi• face to the moonlight.</scene_description>
<character>MARTIN</character>
<dialogue>Better?</dialogue>
<scene_description>·• CONTINUED: Beth stifl•• a gaap --:1t's apparent h•'• gotten worse in th• last few hours.,.nm,sm worse. His one visible •Y• swivel• toward her, appraiaing h•r horrified reaction.</scene_description>
<character>MARTIN</character>
<dialogue>I thought not.</dialogue>
<scene_description>His attention go•• back tc the un1een object in hi• hand, conaidering it with deep fascination. B• toy• with it, prodding it oceaaionally with his finger. BftK What are you doing? MAa'l'l:N Thinking. \* About what?</scene_description>
<character>MU-:111</character>
<dialogue>Obeolescence. 'l'h&t'• what Bartek \* said it vaa all about. l didn't \* knew how right he•••• \*</dialogue>
<scene_description>B!ml" What are you talkinv about?</scene_description>
<character>MARTIN</character>
<dialogue>My father, M y ~ tather. That's \* what he set cut to do, don't you</dialogue>
<scene_description>•••?Malt• thing■ ob■olete. Cars, train•, plan••••• o,.af') Kia thinking was 1mall •• ,limited. But he stumbled onto the greate~ truth, th• gr•atar meaning of th• word ••" obaolet•. " He learned, oh Y••• And now I, too, am learning. \* Beth sits on the edge of the bed and rea~h•• for him. H• ■hrink• back into th• shadow•.</scene_description>
<character>MARTIN</character>
<dialogue>No, no, don't touch me.</dialogue>
<scene_description>on I want to hold you. M.AR'l'IN (hi1ainq) I ■aid don't touch ~1 She drawa away. Martin edge• di ■ truatfully back into view, his one v1s1Dl• •Y• judging her with su ■ picion. • CONTINUED: Just leave me alone. MAR'l'?N</scene_description>
<character>80 �</character>
<dialogue>Bl'l'H</dialogue>
<parenthetical>(fi9htin9 b&clc tears)</parenthetical>
<dialogue>I want to ce here for you. Don't shut me out. Pl•a•••</dialogue>
<scene_description>Martin ignores her, hwnming a little nu:aery rhyme sing-aong under his breath, his attention ncv fully on the unseen object 1n his hand. Beth pauses, filling up with slow-dread. It'• finally occurred to her to aax: BftB What are you holding in your hand? For a ~rief mcment h• curls his fingers up and draw• his hand to hi• chest, lik• a auspicious little boy afraid his toy is going to be taken away. But th•n he decide• it'• probably all right and slowly extends his fiat tcvard her ••• • •••.!DS. h!l human eyebal smfu;ls his fingers, revealinq ! half-collapsed sitting My •Y•• a !a.I hand. !Wl'l'I?f Beth tries eo scream, but all sh• manage• i• a low, strangled m.;,•11.. Ho ~.lu■ •'-.&.'-'kJ..u':f Ui• •y•u•ll. l.J.k• ca t.J.uy pwt.. MAR'l'Ilf ?t came out. Like a bad tooth. He lean• further into the spill of moonlight, revealing the previously-unseen half of hi ■ fac•. Bi ■ •Y• socket i• empty, a gaping hole. MAR'l'IB But I don't mind. Really? don't •••</scene_description>
<character>CLOSEUP - MARTIN</character>
<dialogue>Another eye, an insect eye, presses up from inside the aockat and pears tentatively out of th• hol• a• if to explore th•</dialogue>
<scene_description>. outside world. Martin cp:-ins softly. • 1Wl'r%N • •• %can••• ao much better now.</scene_description>
<character>BETB</character>
<dialogue>ri••• and backs away in h0rr0r, pressing herself into the corner of the room.</dialogue>
<scene_description>CON'l'INOBD: 81. MAll'l'IM performs his aleight-cf•hand, palming the eyeball in on• hand •••</scene_description>
<character>MAR'1'%K</character>
<dialogue>Obscleta. Martin'• becomin9 obaoleta. Perhaps he always was •</dialogue>
<scene_description>••• and making it magically appear in th• other. He holds th• eyeball up, peering at it with hia new insect •Y•• H• turns hia 9aa• to Bath. MR'l'IK Maybe Y9u'r9 obeol•t•, too. Have you aver considered that? arm No. I haven't. MU1'I?f (ominoualy) Maybe you ahculd • • I don't: want to. Am I ■caring BnB 1Wl1'IN you? BftK Ye•• u.&'1'%H ?'m sorry. I don't mean to, it 1 1 just that ••• maybe people uen't what Gcd intanded at all. Maybe Be acr--S up, and I'm his way o! con--=tinq th• mistake. Maybe Itm what God had in mind from th• atart ••• \* He trail ■ ott, pathetically graspinq tor a thought•• a 1eri•• of spasmodic insect-twitch•• wrack hi• body. H• gaze• out the window at the nearby bug-zapper, hia insect •Y• probing. MAR'l'IN (cont.) %t' ■funny how pretty that li;ht ia. How collll)•llin9 • • Beth can't taJce another moment -- whatever ■h•'• been tal~ing to here in th• dark isn't Martin anymore. Sh• crashes across th• r00111 in the dark and hita th• 11;htawitch. MARTIN tlinches away from th• sudden tl0od ot dingy yellow light. but • CONTINUED: he can't mcve very far·-- hi.! !DI. a.re now tmcaa5 i!l !. nightmarish, half-formed cocoon sil resin-i'ike secretions. U'l'JI screams, because it's either ,cream or ;o crazy. Sh• traila off into hitching, heaving soba. BB'l'H Martin?</scene_description>
<character>MAR'1'%M</character>
<dialogue>Martin'• 9oin9 a.war· Baclc to th• wcmb. Wh•r• it• warm.</dialogue>
<scene_description>B•th can't take any mare, she has to get out. She moves unsteadily to the front c!aor. IWl'l'::CM Beth? H• givea her a hug•, 1n•an• 9rin. Softlyi • MARnN I! you 1tay a whil•, I'll 1how you • ma9ic trick you'll never fo=get.</scene_description>
<character>144 EXT - MOTEL ROOM - NIGHT</character>
<dialogue>144</dialogue>
<scene_description>Beth rush•• out into the cold night air, aero ■• the gravel parking lot. Sh•'• trying not to coma apart at the ••am•, but her grasp is tenuous at beat. She mcv•• in aimless direction ■, crying her heart out, compl•t•ly helpless. cm Tea 14 5 IN'1' • BAR'l'OX' S 0Pl"IC3 /EXT. MOTEL - NIGHT 145</scene_description>
<character>I</character>
<dialogue>I</dialogue>
<scene_description>Searby ~usta in. ·</scene_description>
<character>SCCDY</character>
<dialogue>It'• th• girl. Lin• two.</dialogue>
<scene_description>BAa'l'OK (■natch•• up the phcne) Nia• Lo9an7 (Bath 1• at th• payphone outside th• motel office, bathed in • necn, c=ying. An 0ccaai0nal truck rag•• by cm the interstate.)</scene_description>
<character>U"1'B</character>
<dialogue>I don't know what to do any mere.</dialogue>
<character>BARTOK</character>
<dialogue>It'• good that you called. It waa</dialogue>
<scene_description>• . CONTINUED: the right thinq to do. BftB I think Martin can use the tel•poda to save himself. You have to l•t him try. Yau have to help him. BAll'l'OK Of course we'll help him. That's all we •vef wantad.</scene_description>
<character>I</character>
<dialogue>Prami•• =••</dialogue>
<scene_description>Da'l'OK I prcm1••• Rew :,uat tell 11• where yau are. 146 tft/EXT. MOTEL - DAWN 146 \* • 1'h• horizon is 1tart1nq to tun rosy with th• cominq day • Martin is alone at th• windav, ■ taring out at the purplish 9lov cf the buq zapper-· whieh aeon bec;ins to incr•••• in intensity, brightening and diatend1nq, t'Ufflinq into lon9 shafts of blinding liqht. same vaird hallucination? ?t's a helicoptar spotlight. Two helicopters app~•r: Bart0k 1 a \* private chopper and a big white medical Huey. 'l'hey sweep down \* from abave, ROTORS '1'Ht1NDDING, liihta probing. \* 14 6A UT • MO'r3?. - DAWN 146A \* 'l'ha helicopter• land aide by aide, drivin9 Beth back aero■■ the gravel with a hurricane of wind, tuning th• motel courtyard into a maelstrcm of dust and debri1. I.awn fu:niture, cheap and tattered,' go•• flying. Lights c0flle on in the bun~alowe and triqntened pecpla peer out. Th• manager appears at th• door of the office, gaping, his bath:obe whippinq around hia scrawny ankl••• Bartek, Jainway, and Sh•pard emerge from Dartok's copter. \* Searby and other personnel po1n" out of th• Huey. Eve:ybody's wearing protective clothing. Someone thrcva a blanket over Beth'• ahoulder•• • 147 ??ff - MOTEL ROOM - DAY 147 Bartek and the other ■ entar. '?hey 1tare in amazamant at Martin \* cocooned on the bed. \*</scene_description>
<character>JAIHWAY</character>
<parenthetical>(atunn-4 whisper)</parenthetical>
<dialogue>Magnific•nt.</dialogue>
<scene_description>• CONTINUED: Bartok motion ■ for evarybody to atay put. He approach•• Martin and crouches down, pee%1ng clo••• Martin'• insect eye peer■ back, pressing up from inside th• empty •Y• aock•t. Martin tuma to look at Beth. She can't meet his 9a1a. \*</scene_description>
<character>BARTOK</character>
<dialogue>Don't blame her tor calling, Martin. I mean you really should ••• y0ur1elt. You're a sight.</dialogue>
<scene_description>Martin'• voice ia low and 1pa1modic, alt09ether otherworldly: 1Wl'l'I1' (wry, 1,1tter> \* I'm becoming the sen you alvay1 wanted m• to be. IAR'l'OK That you are, Martin. That you are. MAl'?IN • I only wiah ••• I could 1hcw you ••• Show me what? BAR'l'OX MAllTI1' Everything that % see. You've \*\* hungered so long for knowledge of the flesh. You deserve to know. I will show you •.. if I can ..• IAK'l'Olt I'm 1ure you will. I'm aur• it'll bring ua clcaer t~ther. That'• what n've both alway• wanted • .. • (beat) Martin, &!)out the talepcda. You must \* tell me what th• ma91c word ia. \* MAl'?%N The magic wcrd ia ••• Bartek leans forward axpectantly •• Martin grapple• to complete hie thouqht. • MU'l'lN •••• ■ ecret word. It malt•• th• mac;ic work. Martin dritta out. Martin? Rev. 3/6 /88 COMTINtJEC: es · No r•aponae. Bartolc ri••• and motion• tor his team to proceed. L\ll'l'OI Careful. Don't d&ma9e hill.</scene_description>
<character>\*</character>
<scene_description>OMITTED 149 INf - OP!KXTXNG ROON• DAY 149 \* Th• same operatin~ rocm where Ronnie 9av• birth to Martin some ~iv• year• a;o. Th• door• burat open and Bartok enters, preceding Martin'• cocoon as it ia wheeled in. ?Wl'l'OK Raeaber this rem, Martin? Thi• 1• where ycu were bon t h • ~ time. A e1ttin9 plaoe for your~rth, don't you think7 . But Martin can't answer· -- the cccccn has n!2l! enveloped him ccmpletalyf 11!! 123:!! i• b&ri'IY v1ifSI9w1thin th! qlazad, • ••mi-trans UfCent, reiI'n-likt ,&••</scene_description>
<character>BARTOK</character>
<dialogue>You're growing quickly, my boy.</dialogue>
<parenthetical>(to Jainway)</parenthetical>
<dialogue>Any way to predict how soon?</dialogue>
<character>\*\*</character>
<dialogue>\*\*</dialogue>
<character>\*\*</character>
<dialogue>\*\*</dialogue>
<character>JAINWAY \*\*</character>
<dialogue>I'd say at least a week. \*\*</dialogue>
<scene_description>The team transfers the cocoon to the operating table. Preparations for the rebirth are begun, all very cool and professional. Video cameras and medical scanners are positioned, sensor wires are attached. Jainway and Shepard go to work with huge syringes, forcing them through the tough layers of the cocoon. They finally get through and draw samples of the murky, brackish fluid within.</scene_description>
<character>\*\*</character>
<dialogue>Bartek leans over the cocoon, trying to see Martin's face beneath the surface. He actually spits on the shell and wipes it vigorously with his sleeve. He peers close •</dialogue>
<scene_description>• Rev. 3/6 /88 • CONTINUED: BrlRTOK Martin, if you can hear me, I just wanted you to know how thrilled I am to have you back. It was naughty</scene_description>
<character>85A.</character>
<dialogue>of you to run away, but never mind that •••</dialogue>
<scene_description>He pats the cocoon lovingly, ominously. \*\*</scene_description>
<character>BARTOK</character>
<dialogue>You're home now. Son.</dialogue>
<scene_description>• • • CONTI?rulO:</scene_description>
<character>INT - DECONTAMINATION ROOM -</character>
<dialogue>DAY</dialogue>
<scene_description>Beth is naked, beinq viqoroualy 1c::u):)bed down by two bubbl•-</scene_description>
<character>150 \*</character>
<dialogue>suited ATTENOANTS. Sh• cries out in pain and humiliation, but the attendant• ar• cold, impaaaive.</dialogue>
<character>BBTB</character>
<dialogue>Th•r•'• nothing wronq with m•l Wh•r•'• Martin? What did Bartek do with him?% want to talk to Ba:tok1</dialogue>
<scene_description>OMITTED 152 INT - 'tELEPOO ROOM - DAY 152 \* Bartek stand• with Trimble at the c011puter, staring m•d1tat1vely at th• que ■ tion ■ till posed on the screen: > WHAT'S TD MAC.IC lfORl)? • Thoy look up as Beth 1• brought in ~y Seer~.</scene_description>
<character>IARTOK</character>
<dialogue>You'll be happy to know you 1how no sic;n• of biological contamination.</dialogue>
<character>\*</character>
<dialogue>11TB</dialogue>
<parenthetical>(toneleaaly)</parenthetical>
<dialogue>Hooray.</dialogue>
<scene_description>BAR'l'Olt Co hav. • aeat. ll'l'B Not W?,til you tell ae what you've don• with Martin, you aon o! a bitch. BAa'1'01t Plea••• You ahouldn't near. It'• unladylilca. scorby forces aer into a chair. Bartek noda and Scorby exits. !WtTOK • Martini• reating comfortably. Of \* more immediate concern at this \* moment, however, ia th• maqiq word. \* BftB Cqivea him a ~lank looxJ What ara you talkinq &l:)out? ,..............: • 153</scene_description>
<character>CONT!NOED:</character>
<dialogue>IN'l' - OPERATING ROOM - DAY</dialogue>
<character>87�</character>
<dialogue>153 \*</dialogue>
<scene_description>'l'hick ailenc•. 'l'h• cocoon sit• on the table tieneath a hanging ■ urc;ical light. Otherwise, th• room ia dillly lit. Ja1nway ia in attendance. Sh•'• engroaaed in h•r work, peering into a microacope and making notation• in• log, A nearby aa monitor DDS SOrrt.Y. Sh• looks up at th• monit0r, waiting to••• i! it'll happ•n again. lh•'• rawaJ:ded vith another sorr BOP, acc011panied by a wavy line on the scraen. Jainway cro•••• to th• coeocn. Sha run• a atethoacop• over th• shell, li ■tening intently. She tu:na up the volume on a n•arby audio recorder -- macabre, otherwcrldly MOANING SOtmt)S are being picked up. 'rh• MOANS uail off into complete silence. Jainway pre•••• a penlight into tho cocoon'• hide, trying to ••• in. '!'her• i ■ a sudden twitch, a jelly-like fluttering within the cocoon. Sh• thumb• a t099l• en an intarcom. • ycu down her•. ?'m on my way.</scene_description>
<character>JAIPAY</character>
<dialogue>?'m getting •om• movement. I need</dialogue>
<scene_description>SDPARO (filtered) She cliek1 the intercom off and prod ■ th• cocoon again, prompting another tluttering, flexing motion. Suddenly, th• cocoon begins to split•· a tiny oozing rupture. Jainway activate• th• video cameraa. 'l'h• rupture ■ grows, 1pl1ttinq down th• length of the tlain9 cocoon. Jainway back• av•Yc torn between curiosity and apprehenaion, groping for the phcne. She picks up the reeeiv•r and pau•••• ~ immense dark, fgm rittl .!!!, ~ f9r•gr09nd, looming .2!!.£ h!.£ as li emerg•• t;cm th• gccoon. Jainway gaze• up, ■tunned. tt starta to dawn on her that maybe •h• should be terr1~ied •• well.</scene_description>
<character>JAINWAY</character>
<dialogue>Martin •••</dialogue>
<scene_description>• 15 3A INT - HALLWAY - DAY on '1'0: Shepard ru•h•• up the hallway to the cocoon rocm. The door stand• wide open. Oarkneas within. Shapard pau■aa. •</scene_description>
<character>CONTINUED:</character>
<dialogue>88·</dialogue>
<character>SKUAR.0</character>
<dialogue>Dr. 3a1nway?</dialogue>
<scene_description>154,155 OMITTED 154,155</scene_description>
<character>156 INT - OPERATING ROOM - DAY</character>
<dialogue>156</dialogue>
<scene_description>Shepard enters slowly, lockinq around, absolutely numb. Th• place is an ab•olute shambles, as if a tornado had ripped through eh• r0011. SHEPARD 'S POV •• CCU.YING SLOWLY PORWAlU) '1'h• cocoon aita on the tabla, split wide open. Empty. A slimey trail l•ads across th• floor, up th• wall, and vani•h•• into an air duct. Th• metal vent is bent l,ac:k, twisted. · SHUARt> has seen enou9h. H• turn• to hurry fram tha\_room -- but alip• h~\_. o~d41• u~ .i~-- on s0methin9 vet and go•• down. H• find■ himselt ■ ittinq in a w• ~•1••• n1• ~&JUI• ~a "~•,ua~, OAM~n9 the alim• off his ~1ngua. Shepard frae1aa in 1hcclc, 1tuing at the floor around him. • Ke realizes that h•'• aittin9 in the halt-d1ssolv9d remain• of Dr. Jainway. Shet)&rd begins to scraam. CtJ'l' '1'01 156A INT - MAIN'l'ENANCZ AREA·- DAY 156A\* Th• place ia filled with huge air c0nditicnin9 units. Seor~y, \* Hargia, and Maeltanzie are h•adin9 to the ccccon room at a dead \* run. 'l'hay come around a corner and see Shepard scurryinq \* tovard tha, hi• ani• filled with !il••• Shepard cocks hia \* head over hia shoulder, ind1catin9i \*</scene_description>
<character>.</character>
<dialogue>•• SHZPU!)</dialogue>
<scene_description>B&c:k in the O.R. l Th• guard■ race pa ■t him. Shepard hurri•• on, glancinc; around uneasily at th• ma■ aiv• air conditionin9 units that ■urround him -- the dim work lights serve only to heighten the shadow• and hi• anxiety. PAIN'l' SOUNDS are echoing around him. He qaap ■ , tul:'ning this way and that•- is he alone? I• he hearinq th• echo•• of hi• • cvn tcct ■ tepa? H• starts tc run, choking on hi• own fear . Suddenly, there!!,.!.~ !!9!!. Shapard 1ereama and whirls around, all rea ■on nowToat, th• t1l•• flying from his arms and scattering aero•• th• floor. He stop■ screaming, abruptly realizins ~ sh! ROARING 1! • nothing rn ~ the air conditioning units. He tak•• deep breatha, trying to calmdown -- nope, no monsters hara. He dropa to his knees and starts gathering up the 1cattered fil•••</scene_description>
<character>89 �</character>
<dialogue>A massive clawed toot descend■ into frame, coming to rest \* right cetor• Shepard. Sh•pa.rd looks up in slow dread at the \* enormoua unseen thing looming cvu him. \* A monstrcua hand now enters frame and pluclca the end of \* Sheoard'• ti• nnt. ~~ ~i• ~ant•. 'l'h• ha1141 colcoa ~h• ~ie i n • \* fi:m grip ••• and pull• Shepard gently to hi• feet. \*</dialogue>
<character>SJIIPARD</character>
<dialogue>Martin, plaaae ••• it'• not my fault ••• \*</dialogue>
<scene_description>ctrr '1'0: 15 7 INT • Tm,BPOD ROOM - DAY 157 \* Bartok interr09at•e Beth. '?rimble i• nearby, looking 011. lWl'l'OX • You were alone with him all that time, ju■t ycu and h• together. H• muat have ■aid acmething to you1 BftH H• ■aid a lot of crazy thing■, ~ut a magic word wasn't one of them! !Wl-I'Olt Think harder. You were tired, confused ••• un % already told you! \* I BAll'l'OK \*</scene_description>
<character>I</character>
<dialogue>Mi•• Logan, without that paaawoi'd, \*</dialogue>
<scene_description>T ~•n•~ g'eC ~ooo ••lepodo wc.u;A!u~. \* And without the telepcd•, I can't \* very well help Martin, nov can I? \* Bft1I \* (icy) \* Yau have no 1nt•nt1on of helping \* him. You nev.r did. \* • You're wrong. If I'm Wl:'ODCJ, BU'l'CK :SB'l'H then where 11 he?</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>Pause. Bartok juat 1hak•• his head and give ■ her a ateely</dialogue>
<scene_description>• CONTINUED: go. smile. Sudd•nly, an AI.ARM BEGINS 'l'0 somm thrcuc;hcut: the \* Collll)lex. Searby, Ba~qis, and Mackanzie race into th• rocm. \* SCOlUlY Cover th• door•& BU'l'OK What'• thia all about? seoiusY '?hat thine; qct cut of it• cocoon. It'• cut there soaewhere. !Wt-.r0K Cid anybcdy get a look at it7</scene_description>
<character>SCOUY</character>
<dialogue>Dr. Jainway. Sh•'• c!aad. It tore h•r apart.</dialogue>
<scene_description>Bartok is shaltan hy t-l,i ■• butt he'a 'too buay taking 1.hca.,;9e t:o dwell on it tor lone; -- he grab• Scorl,y'a walkie talkie • • DAR'l'OX Control, this ia lutok. I.i•ten carefully. I do not undar any circumatanc•• want Martin injured or killed. He i• to be located and cona.ined, that 1• !!!• Anyone</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>responsible tor damaqe to th• bey \* will anner to=•• ?a that clear? \*</dialogue>
<scene_description>158 IN'l' • GOARD OPERATIONS - DAY</scene_description>
<character>158 \*</character>
<dialogue>Wiley i• at the l)oard, wearing a headset, overseeing th• search. Ha'• c;ot the video monitors on automatic scan, sequancinCJ from one area to another. Guards can be glimpsed</dialogue>
<character>.</character>
<dialogue>••arching various ~pty hallways and rooms •</dialogue>
<scene_description>WlU! Yae sir. Clear as a bell. \* BAR'?Olt (filtered) \* Ba• anyone found him yet? \* wn.n \* Not yet. W•'r• not quit• sure what \* h• look• like ••• \* • Wiley catches~:?!.£%~ ahadow on on• of the monitors just a moment before tha •cr••n click■ Hold on. Hold on.</scene_description>
<character>WI?.3Y</character>
<dialogue>to another ■hot.</dialogue>
<scene_description>• CONTINUID: He baektracka the sequencer, ••arching. He 1uddenly tind1 himself 1tarin9 in dumb amazement at• 2teatur1 movin9 down a hallway. Th• small black I white monitor otf•r• very little</scene_description>
<character>91 ·</character>
<dialogue>detail, ao th• bea•t ia ilimpaad in only the va9ue•t terms, but it's !Us -- and seems to b• drag9in9 a body.</dialogue>
<scene_description>Wil,ff (aoftly) Oh mother. 159 I?n. HALLWAY. ZONE 4 HALLWAY - DAY 159 A pair of monat:ous clawed t••t pad silently up the carpeted hallway. Th• creatur• has Sheperd by the tie, d:a99in9 th• daad scientist like a 1ack of laundry. 16 0 IN'l' - GUUO OPDA'rIOHS - DAY 160 \* Wl:LBY Sir, you wouldn't believe vhat l'm looking at. Whatever it ia, it'• dra99in9 a body • • . 61 INT - TSLDOD ROOM - DAY 161 \*</scene_description>
<character>\*\*</character>
<dialogue>IWl'l'OX</dialogue>
<scene_description>Can you pinpoint it? What direction 1• it headed? 1fll.ff (filtered) W•ll, lb:. Bartck ••• I'd hav. to aay 1t'• headed in ?SE direction. Colling ri9ht to your doer, in fact. INHOJCAH BOWL drift• up the hallway. Bv•rybody f:eez••• An</scene_description>
<character>,</character>
<dialogue>•</dialogue>
<character>..</character>
<dialogue>smr</dialogue>
<scene_description>H•'• coming for you, Ba:1:ok. Bartok shoots her a naaty lock, then turn ■ to hi• men: IAR'l'OJ: Seal th• door•. Th• men don't have to be told twioe -- they seal th• door ■ • • her• now.•• BAK'l'OJ: (into walkie talkia) Control, get r•inforcaenta down can trap it in th• hallway. I want th• creature alive. That's mean• no ■hooting. Under ■ tood? • CONTI?W!t): 92 •</scene_description>
<character>162</character>
<dialogue>1fXUY</dialogue>
<character>INT - GUARD OPDA!IONS -</character>
<parenthetical>(into headset)</parenthetical>
<dialogue>All unit• to zone Pour, corridor twelve, on the dcw:,lel 'l'hia 1• to be• live capture, repeat, a live captu:e. 0■• ll2 lethal force.</dialogue>
<scene_description>He switch•• from screen to sc~••n, tracking th• creature's every move. 163 & 164 OMITTED 163 & 164 l65 INT • BlLLWAY - ZONE 4 TIGHT ANGLES - DAY 165 \* ~ catch only ~ vagueat s,\_limps•• gt Sh! creature, ~ angles !n!i closeup•~ only hint n.at. appearance: 'rh•cr•atur• effortles ■ly lift• Shepard into the air by his tie. Shepard dangles like a hanged man, feet not tcuching th• ground. 'l'he b•••t continues down th• hallway toward th• security doors with Shepard held before it -- CAJIDA MOVJS ,m TIGB"? ~ • 16 6 emphaaig• ~ ,L.a.s. baqge e\*ipp41d ~ Shepard's ch•ft • %NT • GUllO OPDA1'IOHS - DAY Wiley's eyes wid•n with audden r••li:ation and horror.</scene_description>
<character>166 \*</character>
<dialogue>wn.n</dialogue>
<parenthetical>(into headset)</parenthetical>
<dialogue>l:'1'' S GOT A SBCUI.I'n CUI) l</dialogue>
<character>167</character>
<dialogue>Instant pandemonium. Bartok, icy calm, tu.ma to Trimble:</dialogue>
<character>INT - TZLEJOD ROOM - DAY</character>
<dialogue>, IARi:r0K</dialogue>
<scene_description>Prees• th• cod••• \* ('l'rimbl• dce■n't ~ove) \* 12:.,.. 'r;imbl,1- \* Trimbl• 0verc011•• his paralysis and stumble■ to the door \* control m•~hania on the wall. He frantically punches in a \* command. A glowing rad LED lights upl "r.,oC:XoU11'.n \* 16 8 IN'l' - HALI.WA'? ZONE 4 - DAY 168 \* • The creature move• up to the ••c:urity doors and pr••••• . Shepard'• body, I.D. ~adge tirat, a9ainat the scanner. Nothing happens. Th• monater ROARS with rage and tlings Shepard aaid• like a raq doll. Rev. 3/6/88 ·•169 CONTINUtD: !N'l' ... TEI.IPOD ROOM - DAY Trim.bl• back• away from the door. lverybcdy else i i frozen in</scene_description>
<character>93 �</character>
<dialogue>169 \*</dialogue>
<scene_description>place as tn• mon•ter ■ tart ■ P0UNDINa. Th• door cuckl•• 1li9htly.</scene_description>
<character>SC01UIY</character>
<dialogue>It can't 9et in ••• can it?</dialogue>
<character>\*\*</character>
<dialogue>\*\*</dialogue>
<character>170 \*</character>
<dialogue>170 INT ... llALI,WAYS ZONE 4 - DAY</dialogue>
<scene_description>Guards ar• now converging on th• scene. They piv0t around the corner ...... 170A REVERSE ANGLE -- and aee nothin9. 'l'h• hallway ia empty except tor Shapard'• body. A guard rai••• a walkie talki•. • It'• not out hare • !WlTOJC (filtered) What do you mean it'• not out there! Control? W?l.EY (filterad) It t00k oft •o taat I couldn't track! Th• hallway gua~• are auddanly real n•rvou■ and jumpy. They fan out in teama, movinq cautioualy through the corridors, exP9cting an attack from an¥Yb,ve, Searching... i7i,i71,t7 3 71,172,173 OMITTED 174 \* 174 INT - TEI.l!POD ROOM - DAY B&rtok and hi1 iro~p wait in ailenc•, tension thick ... \*\*</scene_description>
<character>� \*\*</character>
<dialogue>175 \*</dialogue>
<scene_description>l 7S !N'l' - <roARD OPDA'l'IOHS - DAY Wiley hi• ha ■ •1•• riv•ted to th• video monitors, 0linkinq sweat from his •Y•••••</scene_description>
<character>176 \*</character>
<dialogue>176 IN'l' - HALLWAY ZONE 4 - DAY</dialogue>
<scene_description>TWO GUARDS•••• into view at the mouth of a eorridor. One man • has a hu9• German ■ hepa1"d attac:lc d09 on a 1-•h• The dcq b•~in• qrowlinq, hackl•• raiaed. THEI~ POV - THE CORRIDOR Oebri• i• ■ trewn about. Oovn at the end, a door ha• been torn off ita hinqea. O&rkn••• within. O&rkne•a and SOFT RUSTLING, • ' . CONTINU!O: 'l'm: GtJAlmS ease back. Guard 11 rai ■ e• a walkie to his lips and whiapers:</scene_description>
<character>GUUD 11</character>
<dialogue>Control? There's a :r:ocm at the north and of conido:r: eight. Something'• moving around clown thue.</dialogue>
<scene_description>Wn.at (filte:r:ad) That'• a maintenanoe atora~ room. No cellar exit.. You've got it t:apped. GtWm ,, (mutters to his partner) Crut. T■rrifie. Suddenly, an mBtJMAN ROAR ia haa:d, along with a LOUD CRASH and a SCRB!CI OP .MZ'?AL. Gaarc! 12 1lip• his dog off th• l•••h· GmlU) fl Sic 'al • 'l'he dcq hurtle■ down the oonidor. 177 l:N'l' - MAIN'l'ZNANO ROOM - DAY 177 \* 'rhe dog c\_harges into th• dark rcom, barking and 1narling. The Fly 1• a nightmariah presenca i:.r•ly glimpaed in th■ 1hadowa. 'I'he dog meets the Fly' ■ gaze. Scm• unapoken communication pasaee between them and t:ha do9 fall• silent. 'l'h• fly reachaa out of th• 1hadova, maaaive claw■ flexin9 ominou•ly ••• ••• but inat ■ad ot ripping the dog in half, the Ply ■ imply atrok•• th• dog'• head. A gentle care•••</scene_description>
<character>177A</character>
<dialogue>••</dialogue>
<character>?NT � !IAI.LWA? ZONE .4 - DAY</character>
<dialogue>The two 911&:d• hur only ■ ilanee. Rein!orcemants arrive, and th• men advance dawn t1';1e corridc:'.</dialogue>
<character>177B \*</character>
<dialogue>177B IN'l' - MAI?ffDAHC:Z ROOM - DAY</dialogue>
<scene_description>The guards b,u-1t in, weapon■ trained in all clirectiona. In the play 0t tlaahliqhta, they••• the 409 eieting aar•n•ly, staring at th• wall. • 'l'hey tollaw the animal' ■ qa•• with their fla■hlight beam• and find a heavy atHl air vent oover 1yin9 tviated on th• tloor. GUARl) (raise, wal~i• talkie) It'• not here. It tor• out a vent ancl got up into th• air duct. • 178 CON'l'INU!X):</scene_description>
<character>INT � TEIJ:POD ROOM - DAY</character>
<dialogue>178</dialogue>
<scene_description>BA!l1'0K (into walkie talkie) Control,? want to lcncw where that air duct leada, 179 IN'l' • GtrAlW OPBRAT?ONS - DAY 179 \* Wiley punch•• up the ccmmand on his computer -- blueprint• of \* the ccmplax begin flashing acre•• hia 1creen •• the ccmputer \* narrows it down. 1ao IN'? nLZPOD ·aoox - DAY 180 \*</scene_description>
<character>. DIXBLI \*</character>
<dialogue>-:Uat t:ell them to kill itl \*</dialogue>
<scene_description>UllTOK \* Don't be an idiot. we ne.S • live \* subject for ■tudy. Man.in' • no good \* = 11•dead. \*</scene_description>
<character>SCCRBY \*</character>
<dialogue>Sir, maybe he's right. It'• already \* murdered brc people ••• \*</dialogue>
<character>UR1'01 \*</character>
<dialogue>'l'hat's tragic and sad, bat I \* haven't come thia tu to lo•• \* everythinCJ now •••</dialogue>
<scene_description>S)lddenly• ~ ~ !J\_ ,;ut darkn••·· All tli• talepod• and the t• ep</scene_description>
<character>1:�</character>
<dialogue>:ic:hMeryco •• ~</dialogue>
<character>�</character>
<dialogue>;com ,ll ~lWlqad .l.!!Jis</dialogue>
<scene_description>-- al exgept ~</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>'l'he emer9enc:y light• c011e on automatically, filling th• ro0tll \* with a dim, unearthly glow. Beth ehoota Bartek a look. \*</scene_description>
<character>DTB \*</character>
<dialogue>You were •ayinq? \*</dialogue>
<scene_description>Bartek moves to the center of th• rocm, qa3inq up, looking around. Softly: BAR'l'OK • Claver, clever boy • He raiaea th• walkie talkie to hi• lipa. \*</scene_description>
<character>BAR'1'0K</character>
<dialogue>Control, what about that air duct?</dialogue>
<scene_description>. Rev. 3/6/88</scene_description>
<character>CONTINUED:</character>
<dialogue>96</dialogue>
<character>180A</character>
<dialogue>aoA ?H'r - GOARD OPDA'l'IONS - DAY</dialogue>
<scene_description>A final diagram popl up on Wil•y'• 1craen. WILn \*</scene_description>
<character>\*\*</character>
<dialogue>Bold on. I' rn getting it.</dialogue>
<scene_description>18 OB INT - TEtEPOD ROOM - DAY</scene_description>
<character>180B \*</character>
<dialogue>Well? Where do••BU'l'OK</dialogue>
<scene_description>it lead? 1fILZY (!iltered) <•uddenlr nwu> The obaervation bay. Stunned silence. All •Y•• go up•• -- \* TD OBSDVATIOH W?RDOW EXPLOCIS and The Ply hurtles through in all 1ta six•limbed glory, landin9 in a cat-like crouch in a aton of broken glass • • SCOltBY ANt> H?S MD open !ir• on reflex. Otter ■ creaming chaoa. Bartok &nd Beth hurl themselves to the floor. '!rim.bl• 4iv•• b•hind a deak, UR'1'0Jt</scene_description>
<character>\*</character>
<dialogue>BOLD YOOll PlltB1</dialogue>
<character>TD PLY</character>
<dialogue>ii nimble-quick, dartin9 in and out of view a• it run■ behind row• of equipmen.t and comput■:a. BARTOK AND TD <>tKDd Every.body crouch••· 'where they are, not moving, not l,rea thing. Beth ia atunnad -- th&t mon■troua thing ia Kirt.in? \* 'l'llIMBLE</dialogue>
<character>\*</character>
<dialogue>run• to the door and frantically tries ta open it, but the \* door control mechaniam dce•n't re ■pond. \*</dialogue>
<scene_description>'r.1%MBL3 \* The power'• cut1 •• cian't get out, \* • SCORBY ANO HIS MEN emerge from c0ver, turning thia way and that, ready to shoot anything that mov••• Bartok call ■ out: • CON'l'IMTJm>: (no BU1'01 Where 1• it? Do you ••• it? an-r> co.s.> 97. I want it alive, Alive, SCOltBY <•oftly ta hi• men) Bullahit. Onlea ■ it ccm•• out waving• whit• fla9, blow the damn thing away. Harg1a and Mackenzie nod in aq:semaiit. Th• men split up and move ■ lowly ~cu9h th• .as• of aparkil'lg lab machinery, jwnpinCJ at th• shifting ■hadon. Are they 1talkinq the Ply? Or is the 71y atalk1n9 tham? 181 %?fl' - HALLWAY (OC'l'SID! 1'BB 'r!:LDOD IOOJI) - DAY 181 \* Guarda are swarming over the c!oor, frantically t::y1li9 to get in. 1'hay pry th• pan•l off the acam\i.nCJ devic:•. • Wiley and another man arrive on the acena, ~•CJCJing an acetylene blowtorch.</scene_description>
<character>182</character>
<dialogue>Mackenzie move• cautiously th:'cu9h th• lab. CAMERA TILTS OP with him as he pasaea by, reVffling.</dialogue>
<character>?NT - '1'2LUOD ROOM - DAY</character>
<dialogue>S!ll ahape pt;ched atop</dialogue>
<scene_description>!. ~ gt ccmputaa. MACDNIU continu•• movin; through th• darkneae, oblivious ••• anticipation builda ••• the audience ■hould ba ■areamin9 by now ••• ••• and~ PlX drop• into~ ai1le behind him. Re spins around to ahoot, ~ut the craatur• opens 1ta huge mandibl• jaws and nail• him with a projectile-ve11it ■pray of acid. Maclcanzi• 1taqgua a=ound, ■creaming and dis ■olvin9 ash• \* refI•x•tire• a BORST into the air. BAll'l'OK ( 0. S • ) Who' ■ ahootin9? Who'• ■hootinq? Mackenzie finally collapses to th• floor in a twitching, \* •• 1m0kin9 h. .p • SCORBY ANO HARGIS arrive on th• scene, horrified at th• dia ■olvad remain•. 'l'h•y spln in var10ua direction•, tense a• at••l ■priniS, tin;•rs on \* the trigger ■• \* Rev. 3/6/88</scene_description>
<character>CONTINUED:</character>
<dialogue>98 .</dialogue>
<scene_description>• A sorr ROS'l'LING SOUND catchea their attention, some vaqu• rncv•ment in the d&:Jm•••• !oth men c:ut l00ae, weapon■ BLAZINQ, emptying their clip• into the ■hadcws. Something CRIZS OU'r and hita the flocr.</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>Sccrby and Hargi• ru ■ h to the ■pot and click on their \* flaahlights. \* ANO'l'JID ANGl.Z r•v••l• Trimble ■pravled dead at their feet, riddled with \* ~~ll•~•• \* SCOUY AND HARGIS \* gaze in horrcr at the dead 1cientiat. Softly: \* seouY Puck. \* Harqi1 gasps and spins around, realisinq: IWlCi%8 • IT'S UBIND US1 They fumble with their weapon•, deaperately tryinq to reload, but it's far too late becau•• •· 'rD PI.Y 1a charqinq at tha lixe an expr••• train, ROAJUNG into their midat. It alua bodily into Scor~y and ■ end• him aprawlinq. Harqi1, screaain9, ninga hi• rifle around to ■boot•- but th• Ply <1raba him by the face and ram• hi• head a9a1n•t the wall, killing hi~ inatantly. Searby l1.1nq•• to hia.faet and pull• a combat Jcnife, but the Fly alapa the Jcnik•away, 1endin9 it tlyinq throuqh the air. Th• creature'• lcvar ••t of an• laah out, 9rabbin9 Scorby around th• waist in an iron grip. Screuin9, Scorby 1• 11fted off the ground. · 'l'h• Ply's upper by the ahoulder ■• ••tScorby of arm• now unfold, ~•kin9 Secr~y look■ u~, h1a tac•• pleadinq maak of</scene_description>
<character>\*\*</character>
<dialogue>ter%'or •••</dialogue>
<scene_description>., .,.and ~h• with A PS!• •~tly orr; £11 bend• ScotbX act, ;gldinq hia in hi!! • BETH AND BAa1'0X ar• riv•ted, gaz1ni into the darkn•••• Th•r• 1• nc movement. No sound. Only silence. •</scene_description>
<character>CONTINUED:</character>
<dialogue>98A.</dialogue>
<character>BARTOK</character>
<dialogue>Scorby? Are you there?</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>Anybody?</dialogue>
<scene_description>Scorby's body is thrown from the darkness it arcs through \*\* the air and lands with a horrible THUD before them. \*\* • • Rev. 3/6/88 • CONTINUED: 99.</scene_description>
<character>THE FLY</character>
<dialogue>lumbers l 1 into the light, revealing itself fully -- a ~!~~~l~ai~~;tri~g~i~~t;;-~~!i~~ ~~~~~!~:e~~ :;!s ~wf~~~!n:~d</dialogue>
<scene_description>Bartek rushes to scorby's body, bends down, and smoothinly pulls \*\* the automatic pistol from the dead guard's holster. \*\*</scene_description>
<character>BARTOK</character>
<parenthetical>(raises Scorby's pistol)</parenthetical>
<dialogue>Now let's be reasonable about this. You can still reason, can't you?</dialogue>
<scene_description>the Ply "4uaea, tull of fury &ad apec:,alation. Uft reacta. tt can ■till reaaon. Sottly: • Nartin7</scene_description>
<character>U':21</character>
<dialogue>'l'he Ply ■wivela ita ma■11ve bead in her direction. ?ta eyes are incomparably ■ad and tra9ic.</dialogue>
<scene_description>Ull1'0X You could ■till be of incrodU,l• value to ae. % do hope YoU won't aka ae do anythinCJ ra&h. 'l'h• Ply ■nula &Ad •tu-t• to advance. BAnOK Manin, don't be tooliab. :r•11 willin9•to OVUlOOk thia little tant~ cf yow:-•, but Mlua no nu.a,:axa ••• (thwaba the huller back) ••• %'11 kill you in a have to. ••c:ond if I But the creatura juat Jceepa ccain9. DJl'fOX • (tig-ht) You•~• not.liatenin9 to me. Martin, no, Bartok FillSl 'l'he bullet drive• t:he Ply baclc like a hammerbl011r. Beth lungea at Bartok and they grapple violently.</scene_description>
<character>CONTINUED:</character>
<dialogue>100,</dialogue>
<scene_description>• r.eave BBff him alone, you ba•tard1 Bartclc brutally piatol~vhipa her one• aeroaa the bridge of her \* noae, then again ac:-csa the forehead. Beth reels back and \* falls to the ground, gaaping anc! blinlcing in dull atunnac:l \* amazement•• blood pour• down her tac•. \* '1'D n.r 90•• to Beth and lets out a lov anquiahed MOAN, t:y1ng to ••Y her name. Sh• locJc• up, etrealcec! with bleed and going into \* ahock. 'rh• c:ziuture touches her lace tenderly. - \* an U•• the pcda. Don't let him hurt \* you mysar•. Th• C:%'H,:ure 4:awa it• hand away, moaning at th• aight of Bath'• bleed on its fingertip■• 'l'h• monster new swivels its gaze tova= BartaJc, an~i•h giving- vay to demonic r&CJ•• • Dlffl)X She 9ot in my way. Don't make th• .... mi•~au. 'l'he Ply throw■ its head back and lats loo•• and earth ■h&kinq ROAR. It-leap• up and charg•• toward Bartek. Ba:itok stop• th• mcnatar with th:'e• GtJNSHOTS, each bullet driving the creature furth•r to it■ im..a. DAR1'0K apprcac:hea slowly, gaaing down at th• wounded beaat. B• shale•• hi• head and give• it a pitil••• ■mil•. ••• BAa~X You've beacme 10 difficult. He rai••• th• gun and pre•••• it right between M&~tin'• eyes. ID'l'OX I'm afraid it's tilae fo~ •• to teminat• thi• ;~oj•ct. He atarta to aqueea• the t%i99ar ••• • • •• b u t ~ Pl:z laahe ■ ~ w i t h ~ ~ ~ A striking c0:br1 e\_g yraba Bartok I I ggn, h a ~vre.n~hie ,!!a towe~d th9 ce.1.l nq. moneter ■qu••z•• until we hear son CRACXING. Bartek 'l'h• SCR!AMS as the gun diacha:t;•• harral•••ly into the air. •• CON?INOED: Bartok gaaea down at th• craatura, hi1 face incredible horror. regi ■ ter1n9 The Ply grin• up at Bartok ••• JE begin• iS!. ri•t• 183 INT - HALI.WAY/OUTSIDE TELEPOD ROOM - DAY 18 3 \* Wiley and tha other guards work feverishly, cutting through th• deor mechanism with a blowtorch. Thick ■make and 1-;,ark• fill the air. 184 IN'.l' • '?3I.D00 ROOX - DAY 184 \* '?ha Ply carries Bartek throuqh th• !lic:kerinq, ■puttering light of th• lab. Bartek ia en■nared in the craatur•'• faur arms, 1cr•amin9 aa ha dangle• helplee ■ ly, c:u■had in the monster'• grip. '?hey enaw• ~e ~A• ~•lopocl ooapuc•-• 'l'h• r1y cocxa 1~• maaa1ve head, mandible■ clicking, pu1sling ov.r the aoreu. Th• four ■ imple wards are atill 9l011int there: •</scene_description>
<character>> WBAT'S '1'BB JW:IC 110ID?</character>
<dialogue>The Fly wrap• a massive tiat around BartoJc'• hand. Ueing Bartok'a tin9er, th• Ply pain1eakin9ly type•~••</dialogue>
<scene_description>letters on the lceyboard. Bartek c;az•• on in ponderou■ horror•• th• magic vord i ■ revealad to him:</scene_description>
<character>-</character>
<dialogue>> DAD.</dialogue>
<scene_description>?N'l' - w.LWA% /OUTSIDE TELEPOD ROOM - DAY 185 \* 'l'h• quard■ cut t:hrou9h the door mechanisa with th• blowtorch. wn.n Lft•s G0I LB'l''S C301 18 6 IN'l' - '!'m,UOD ROO>c-' ·.:. DAY 186 \* 1'he guard■ toi:c:• the door and pour into the room like \* ■ tormtroopar■, w. .pona l•••led ••• ~ ~ plac• ••SI empty, dt••rted. 'l'h•r• 1• no acund except'"!'ortha son CLICKING ANC HUMMING ot a computer. 'l'h• men approach cautioualy. OOLLY%NQ '?OWAJU> 'l'U COMPU'l'D '?h• worda on th• 1creen reads • > READY FOR ENCODING SEQUENCE diacovar B•th en th• tloor, covered with blood, 1taring tixedly ahead at •cm•thin9. Thay follow her i&Ze to: • CON'l'INUBD: 102• TILIPOD 11 Bar'tok ia inside th• telepoc!, fath ccmtorted ~ unutterable horror, clawing tnd pcw;dinq !.s • 9l&f•c 1creaminq aoundleaaly .s9. be l e t ~ 'rh• tlY 11 in there !drffi him holdincz on g hii, Bart§kt!iiia ••. h•lif••llY, 1D. --9.~ • 1 \* unbraai&e grasp. He ■till has s90rbn• e.a. £9! hit AB .ll \* pipp"7, ,ta hi!. l!'hea-t: ei{ !!!! a.■ii""t uae • \* '?BBMD are riveted in horror •• Wiley lune;•• fonud and •tart• \* pounding the butt of hi ■ rill• against the tale~ window, \* but the qla•• aem■ unbrealcabte. \* TD FI,? peers out at Beth. Th• creature unfold• ita indu finqer, almost aa if pointing at her -- and mimg p;•••inq !. button. DU g•~• \* • A taint glimmer ol und•rstandin9. Sh• tuns her to: '1'D COJGlll'rD \* ia hwmain9 ••• vaiting ••• \* BS'rB start ■ d:aqqing herael! painfully acre•• th• floor tavard the \* computer. \* Bll'l'OX aeea Bath. B• pound• on the telepcd glass, t:yin9 to point her \* out to the CJUUd•• \* 'l'BB GUllDS •' keep b&ttar1n9 away at the tale~ window. A craclc finally \* beqins to tom. \* Bl'l'JI 1• almoat blackin9 out a• ah• dra9a h•r••lf into th• chair and \* start• punching up th• encodin9 aequerice • \* • 'rJIZ COJIPtmm SCUD 'l'wo comput•r•~raphia take ahape. On• figur• ia huqa, hulking, tly-lika: StraJECT !J. BRUJ!DLB. The othar fiCJUr8 1• quite human: Stn3JEC1 !L COHOR.</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>> GDZ•SWAPPING PitOCDAM ACTIVA'l'lm • CQN'!INUBO: , 03. um 2!'eaat:• 1:0 ~ • in~o=mat.lu,, on th• ■creen. Horror. Amazement. \* Can she })ring huaelf to do it? \* TD GUARDS are batterinq the telepcd window with rifle butts. '?he glaas finally begins to =ack ••• and cra2e ••• and huc:kle ••• IAll~K ia clawin9 at th• telepcd 9laa ■, acnuainq for th• guards to \* tUl'D around and••• Beth. \*</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>tu:n• and•••• Beth, hia •ye• videning. A DOrtion of the \* • c:o1u.paea ana wa can now h•r Bartolc: ~o1•pQ4 ••w.iuw \* BAlllf'OK Shoot herl Shcocct herl \* Wiley awin9• hi• rifl• up ••• but hesitat••• \* llftH'SBU!) ia strain1n9 for the button, mere inch•• away ••• \* CJ•t• hie am fr .. and ■maah•• th• gun through a weakened \* corner of the telepcd window. Ke PIRSSl \*</scene_description>
<character>��'</character>
<dialogue>BftB ~ • the bullet 1D the ahouldtlr, blown out of th• c:hai.r in a \* apray of blood. She hit• th• floor, disappearing trcm vi••• \* VAR%0TJS ANGUS - TD c:D'UDS/Ult'l'OX/'r!DI P!.Y</dialogue>
<dialogue>Several l0n9 ~t• of •tunned ailenca. Nobody can quit• \* 1'•lieve that 3&:tok just ahot a wcman in cold blood • \*</dialogue>
<scene_description>• And U'l'H than ••• thn•t• up t!'ca below the c~t•r conacl• and slam• button down• w,~ a ~ ,,.,...\_ •.- r~c. 1 th• red \* ·• "' CON'l'INO!D: BAR'l'OX Mm 'I'D 1?.Y •~n~ah 4" an ·-~~•ft£fty mraa~ OP ~xozrr, ~11• gu&Z'da are blown off their fHt •• the remain• of the telepod window BXPLODB</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>aero•• th• room. \* '1'BZ COMPU'rD SCRBD A ncn-•top flood of infcl'lllllticn flow• aero•• th• monitor as th• c011putez- analyaes, aorta out, raetnctm:•••··</scene_description>
<character>\*</character>
<dialogue>are frozen in place, vaitinlJ tor the other shoe to drop. All \* eye• go to Telepcd #Z aa another BLl1'0IlfG P?.ASH OP L?QBT occurs. TD COMPOU1t SaDH</dialogue>
<scene_description>> ,e!! J.!H SUCCIS§m irm.uor, 12 Th• leek spin• and the doer IWing• 1lowly o;on, rffe&ling • bright miat within. Scmething 1• movin9 around in there. Th• men approach alcwly, peering into the miat, t:yinq to see. With a KOU, a monsuoaif! lunqea !rcca the talepod cnto the floor in a writ:hinq, flarinq heap cl d1storted fleah. ?t ha• twisted, uaeleaa 11:nba ••• horribly ai••h•i-n tea~ur•••••ia-•z-n•l or9au• d:'a9g~n9 l:)eh1nd 1t in large watery sac•••• ••• !!14 !!2G boqihl• ~ JlL. ~ ~ 11;:tolc'• t!sa· Scorby 1 1 gun, no lcn9u- rNlly a CJU!l, is fuaed to one of the \* anu1, now an extenaicn of 1t. \* 'l'h• hrtok-be&at th:ashe• wildly about, a quivering, howling image from• lunatio'• warst nightmare. '1'h• monat•r'• aide k>e9in• to ~and li.,\_ an . .aonMNa p"'9t~l•, • 11v1n9 ~umor grow1nq right cefora the Sl)aetat.ors' hoffifiad eye■• It' ■ a• if 1omethin9 wer• 1na1d• the =•tw:a, t.ryinq to 9•t out ••• •••.la. then!. hweB l!!,!!!l bur•t• ~ ~ s,.,rtqk-b:!••t'• ~ - In an cl:)acane parody o! birth,, hll• aa~~ok-beaat: rupture•, reieaa1nq an erupt1on of zmr~y um.ionic fluid th•~ tlocd• ae:-o•• the flocr c~ins • hrm ~ ~ ~. Th• Bart0Jc-bea•t "motharthra'ihe■ iAd7ioiLS'"""Iiaa9ony • • Uft i• v~•~tn9 vi'\ul ahock. W~Ui tna 14 ■~ o~ h•r atrength, ah• dJ:a9s hu■ elt to the human figure on the tloor. 'l'he figure 1• unrecognizable, ccvered with dark brackish muck, ~◄ ~~h~a9 vte1•nt:1r in i:h• •-''-•rm&U 0% hia ''birth." Softly: COlfrINtJID: 105. Martin? PAID 'l'0 BI.ACX 187</scene_description>
<character>187</character>
<dialogue>n</dialogue>
<character>INT. SPECIMEN ROOM - NIGHT</character>
<dialogue>BCIJ> IN BLAONZSS</dialogue>
<scene_description>••• and then light• come on in a 9la••-•acloaed obs.nation window aboVe. Linder, the haad t•c:h of Specimens Divi•ion, 1• at th• gla••• Othu paopl• b-ic:lcle in, linin9 up at th• window in ailhouatta. CANB:RA BOOMS D0WR -- we ue in a rounc! ooncrete pit:, shadowy and dark. The walls ue ■ taina4 an4 damp, the flocr covarad with aawduat and •b:aw. The l'r•ak Pit. ':ha iron dOOZo rattle• open. A MU enters, but ve don't ... his \* face. K•'•curyinv a larp pl.aatio 1:aOWl of ,n•l~ LDmD (filt:■red f:ca above) \* 'fhat: 1 1 clo•• CloarJb. \* • The an com•• to a •tot). Bcllething ■tin 1A the ahadow■, \* maJcin9 LOW SW!'PLDIG somma. 'l'h• aartoJc-beaat draq■ it••lf slowly, pciniully out into the light. Peeding time. Th• man bend• clown and lay■ the bowl of tnal on th• floor. 'rD Dll'l'OK-BDS'! coclt■ it• cU.•tortad had and peer■ up at t:ha man with desperate, pleadin9 ay••• It opens its twiated mouth and manage• to croak out a tn ghaatly whiapered wo:d•: . BU1'0K-BDS'r Kill ..... pleaae ••• kill •••• MAR'nH</scene_description>
<character>�</character>
<dialogue>••..o• the••r~cx-t1eaat. A tau form• in Martin's eye \*</dialogue>
<scene_description>4own -~ and rclla down hia with sorrow and r9CJreta</scene_description>
<character>=���</character>
<dialogue>lie •peaka •oftly, hi• voice choltad \*</dialogue>
<character>\*</character>
<dialogue>%'m •orry ••• llad.</dialogue>
<scene_description>Dl'nll</scene_description>
<character>\* -</character>
<dialogue>B• tum■ and exit• th• pit. Beth 1• waitin; for him outaide \* the doer. She lays. CQll!CRiq hand cm bi• arra. An ORDDLY \* ■lid•• the ••••ive i.rc:m door abut, wip.ln9 N&rtin frca view. \* TD SAa'l'Olt-BBAS'l'</dialogue>
<dialogue>watch•• th• door ct.ANG shut with infinite It crawl• to the bowl. and ■tArta lapping up the thin qnel •• ••</dialogue>
<scene_description>sad.ft•••• \* ,\ · il!ADB 00'1'</scene_description>
</scene>
</script> | Several months after the events of The Fly, Veronica Quaife gives birth to a larval sac and dies. The sac splits open to reveal a seemingly normal baby boy. Anton Bartok, the owner of the company that financed Seth Brundle's teleportation experiments, adopts the child and names him Martin. Martin grows up in a clinical environment. His physical and mental maturity is highly accelerated, and he possesses a genius-level intellect, incredible reflexes, and no need for sleep. He knows he is aging faster than a normal human, but is unaware of the true cause, having been told his father died from the same rapid aging disease. At age three, Martin has the physique of a 10-year-old and frequently sneaks around to explore the Bartok complex. He finds a room containing laboratory animals and befriends a dog. The next night, he brings it food but finds it missing. He enters an observation booth overlooking Bay 17. There, scientists have reassembled Brundle's Telepods, but have been unable to duplicate the programming that enabled them to teleport living subjects. An attempt to teleport the dog fails, leaving it horribly deformed. It maims one of the scientists, horrifying Martin. Two years later, Martin's body has matured to that of a 25-year-old. On his fifth birthday, Bartok presents Martin with a bungalow on the Bartok facility's property and offers Martin the job of repairing his father's Telepods. When Martin is uneasy about the proposition, Bartok shows him Veronica Quaife's videotapes, which documented Seth Brundle's progress with the Telepods. Seeing his father describe how the Telepods ostensibly improved and energized his body, Martin accepts Bartok's proposal. As he works on the Telepods, Martin befriends an employee, Beth Logan. Beth invites Martin to a party at the specimens division, where he learns that the mutated dog is still kept alive and studied. Thinking Beth is aware of the dog's imprisonment, Martin argues with her, leaves the party, and goes to the animal's holding pen. The deformed dog, in terrible pain, still remembers Martin, and he tearfully euthanizes it with chloroform. Martin reconciles with Beth and arrives at his father's revelation and realizes the Telepods' computer needs to analyze living flesh. Martin shows Beth his perfected Telepods by teleporting a kitten without harm. They become lovers, but Martin shows signs of his eventual mutation into a human-fly hybrid. Martin devises a potential cure for his condition, which involves swapping out his mutated genes for healthy human genes. Martin shelves this idea when he realizes the other person would be subject to a grotesque genetic disfigurement. Eventually, Martin learns that Bartok has hidden cameras in his bungalow. Martin breaks into Bartok's records room, where he learns of his father's true fate. Bartok confronts Martin and explains that he is aware of and has been waiting for his inevitable mutation. Bartok reveals his plan to use Martin's body and the Telepods' potential for genetic manipulation for profit. Martin's insect genes fully awaken and his transformation into a human-insect hybrid begins, and he escapes from Bartok Industries. Bartok is unable to use the Telepods, as they are locked by a password. Martin also installed a computer virus which will erase the Telepods' programming if the wrong password is entered. Bartok orders a search for Martin. Martin goes to Beth and explains the situation, and the two flee. They visit Veronica Quaife's old confidant, Stathis Borans, who confirms for Martin that the Telepods are his only chance for a cure. They keep running, but Martin's physical and emotional changes become too much for Beth to handle, and she eventually surrenders them both to Bartok. Without revealing the password, Martin becomes enveloped in a cocoon. Bartok interrogates Beth for the password. Shortly after, the fully transformed Martin emerges from his cocoon and breaks into Bay 17. He grabs Bartok, forces him to type in the password, "Dad", and drags Bartok and himself into a Telepod. Martin gestures Beth to activate the gene-swapping sequence and she complies. Martin is restored to a fully human form, and Bartok is transformed into a deformed monstrosity. Inside the dog's former enclosure, the Bartok creature crawls towards a food bowl filled with slops, and sees a single housefly sitting on its edge. |
Bright Star_2009 | tt0810784 | <script>
<scene>
<character>BRIGHT STAR</character>
<dialogue>By</dialogue>
<scene_description>Jane Campion</scene_description>
<character>SHOOTING SCRIPT</character>
<dialogue>4th April 2008</dialogue>
<parenthetical>(includes all Amendments)</parenthetical>
<dialogue>Producer JAN CHAPMAN</dialogue>
<dialogue>Jan Chapman Productions Pty Ltd PO Box 476 Woollahra NSW 2025 Australia</dialogue>
<dialogue>Producer CAROLINE HEWITT Brightstar films Limited 18 Antrobus Road London W4 5HY United Kingdom</dialogue>
<scene_description>© Pathé Productions Limited, Screen Australia, British Broadcasting Corporation, UK Film Council, New South Wales Film and Television Office and Jan Chapman Productions Pty Ltd 2009</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAWN</stage_direction>
<scene_description>Morning light, lemon and faint through the trees of HAMPSTEAD HEATH. A SQUIRREL runs along the BRANCH of a tree. OCTOBER 1818.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM ELM COTTAGE - EARLY MORNING</stage_direction>
<scene_description>A THREAD of COTTON noses it's way through the eye of the needle. FANNY BRAWNE aged 18 is SEWING by FIRST LIGHT while her 9- year old sister MARGARET sleeps. Her stitches are confident, intricate and fast. The WHITE MUSLIN she is sewing is delicate and fine. The glint of the STEEL NEEDLE as it weaves then pulls, weaves then pulls a trail of perfect stitches.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN ELM COTTAGE - MORNING</stage_direction>
<scene_description>MRS BRAWNE 40 enters the KITCHEN dressed to go out. Fanny, the MAID CHARLOTTE and little Margaret are all sewing different parts of Fanny's white muslin dress. Samuel, her 14-year old brother, sits apart munching toast.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Have you forgot we are going to Mr and Mrs Dilke for tea? We are to meet Mr Brown's poet friend Mr Keats.</dialogue>
<character>FANNY</character>
<dialogue>No I have not forgot. Can you help Margaret, the stitches must be small and exactly even.</dialogue>
<scene_description>Mrs Brawne takes over from her youngest daughter.</scene_description>
<character>FANNY</character>
<dialogue>What if Mr Brown has already poisoned Mr Keats against me? I shall not be afraid to take them on in wit. If I am in the mood I could lash them both.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Why not ignore Mr Brown?</dialogue>
<character>FANNY</character>
<dialogue>He provokes me! Mama it is his game. I must defend myself.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM ELM COTTAGE - MORNING</stage_direction>
<scene_description>Fanny finishes some intricate hair arrangement, with the help of little Margaret, who passes the pins to her mother who is securing them.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN ELM COTTAGE - MORNING</stage_direction>
<scene_description>The maid finished pressing the dress. She carries it upstairs over her arms like a baby.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHING LINES AT THE BACK OF ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny, a vision in white, walks elegantly between her family out onto Hampstead Heath, past the WASHER WOMEN and a maze of WASHING LINES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH FIELD - DAY</stage_direction>
<scene_description>Fanny and her family walk down the Heath between CLOTHES spread out on BUSHES with a distant London beyond. They pass a FAMILY evicted from their house with their possessions, BED, WARDROBE and TABLE for sale. The air is SMOKE FILLED from the burning of AUTUMN LEAVES.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>The Brawne family group turn into the gate of WENTWORTH HOUSE. Fanny dauntless, her head high, her cheeks pink and ready for battle. MARIA DILKE greets them at the door, adoring Fanny's new dress and it's petal embroidery. Fanny greets everyone warmly, MR DILKE and little CHARLES their son. MR BROWN joins the group. Fanny frowns and looks away.</scene_description>
<character>MR BROWN</character>
<dialogue>Ah, the very well stitched little Miss Brawne in all her detail.</dialogue>
<character>MRS BRAWNE (TO MARIA DILKE)</character>
<dialogue>Where is Mr Keats?</dialogue>
<character>MARIA DILKE</character>
<dialogue>I'm afraid he is not joining us. He is next door in Mr Brown's half of the house.</dialogue>
<scene_description>Mr Brown puts out his hand to Fanny who moves past, ignoring him.</scene_description>
<character>MR BROWN</character>
<dialogue>What is this? What have I done? How have I offended?</dialogue>
<character>FANNY</character>
<dialogue>I don't shake hands with an enemy.</dialogue>
<character>MR BROWN</character>
<dialogue>An enemy? What have I done to you?</dialogue>
<character>FANNY</character>
<dialogue>You do nothing to me, or for me and that is how I prefer to keep it.</dialogue>
<scene_description>Mr Brown holds up his arms in mock wonder, enjoying teasing Fanny as he might a lap dog.</scene_description>
<character>MR BROWN</character>
<dialogue>What!?</dialogue>
<character>FANNY</character>
<dialogue>All right, your offence is to my fashion to which I am "so helpless slavish!"</dialogue>
<character>MR BROWN</character>
<dialogue>I didn't say that, Mrs Dilke? I never would say such nonsense. I have been ill quoted.</dialogue>
<scene_description>The gathering moves into the DRAWING ROOM where tea is served. Maria is bowing her head guiltily.</scene_description>
<character>MR DILKE (TO MR BROWN)</character>
<dialogue>Baiting...baiting...</dialogue>
<character>FANNY</character>
<dialogue>..."her obsession with flounce and cross stitch?"</dialogue>
<character>MR BROWN</character>
<dialogue>Cross stitch? Miss Brawne I don't even know what it means, I have been wrongly used.</dialogue>
<character>FANNY</character>
<dialogue>I feel the same about your poems Mr Brown, I know nothing of what they mean. In fact, they have the quality of your cigar, they puff, smoke and dissolve leaving nothing but irritation...</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Fanny why not talk to one of us you hold in higher favour?</dialogue>
<character>FANNY</character>
<dialogue>Mr Brown sets out to irritate and he is successful, now I set out to demolish and I am only begun.</dialogue>
<character>MR BROWN</character>
<dialogue>Ohhh...</dialogue>
<character>MARIA DILKE</character>
<dialogue>Fanny take this tea to poor Mr Keats, he is in very poor spirits.</dialogue>
<character>FANNY (LOOKING CONCERNED)</character>
<dialogue>Oh. Will he have sugar?</dialogue>
<character>MR BROWN</character>
<dialogue>He is composing and does not want disturbing.</dialogue>
<character>FANNY</character>
<dialogue>It is my finding in the business of disturbing you are the expert.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Fanny that is too far.</dialogue>
<character>FANNY</character>
<dialogue>I am praising him!</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Fanny...</dialogue>
<character>FANNY</character>
<dialogue>What now I am restrained because I compliment him too much? I withdraw. Let someone else take Mr Keats's tea, I want to be left alone to examine the length of my stitches.</dialogue>
<character>MARIA DILKE (POURING KEATS'S TEA)</character>
<dialogue>Please Fanny I want you to go, I am wanting to know what you shall say about Mr Keats. I have been waiting two weeks that I may enjoy your opinion. I cannot look upon him without smiling and he is quick with his thoughts though now they are mostly sad.</dialogue>
<character>MR DILKE</character>
<dialogue>His brother Tom is not at all better, very diminished.</dialogue>
<scene_description>Fanny's sympathy is engaged.</scene_description>
<character>MARIA DILKE</character>
<dialogue>Mr Keats nurses him alone. It is difficult work.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Are there no other family members?</dialogue>
<character>MARIA DILKE</character>
<dialogue>No. The parents are both dead. There is only a much younger sister and a brother who emigrated to America.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>How old is Tom?</dialogue>
<character>MR DILKE</character>
<dialogue>Only 19, very painful and Keats is not much older.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>I am so sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. MR BROWN'S HOUSE - AFTERNOON</stage_direction>
<scene_description>Fanny stops mid corridor to check her hair and self in the hall glass. She is possessed, neither pleased or displeased with her appearance and dispassionate in her attention. Outside Mr Brown's DOOR Fanny stops to knock and then to turn the handle but KEATS surprises her by pulling the door suddenly open (expecting Mr Brown). Keats and Fanny are eye to eye, each other's petite equal. They laugh. The tea sloshes.</scene_description>
<character>FANNY</character>
<dialogue>You like jokes Mr Keats? I like jokes. I hope we shall play some on each other. Mr Brown I warn you, does not like my jokes, he complains I care for nothing but fashion. Should you like cake?</dialogue>
<scene_description>Fanny turns to leave.</scene_description>
<character>KEATS</character>
<dialogue>And what shall be said of me? You have come to spy.</dialogue>
<character>FANNY</character>
<dialogue>I came to bring you tea.</dialogue>
<character>KEATS</character>
<dialogue>How will you describe me? My character?</dialogue>
<character>FANNY</character>
<dialogue>I am not the least interested in your character.</dialogue>
<character>KEATS</character>
<dialogue>My jacket then or my pantaloon?</dialogue>
<character>FANNY</character>
<dialogue>You need a new jacket that is what I would say.</dialogue>
<character>KEATS</character>
<dialogue>That is all?</dialogue>
<character>FANNY</character>
<dialogue>That it should be of velvet.</dialogue>
<character>KEATS</character>
<dialogue>Tell me Miss Brawne, how are you so sure?</dialogue>
<character>FANNY</character>
<dialogue>All that I wear I have designed and sewn myself. Is it not well done?</dialogue>
<character>FANNY</character>
<dialogue>I am often told I am clever to exception about design, I have originated the pleated edge upon the ribbon. It is charming and it has been copied...</dialogue>
<scene_description>Mr Brown enters the room and sits at his spot at the WRITING DESK opposite Keats, pushing his chair back to look at Fanny.</scene_description>
<character>MR BROWN</character>
<dialogue>Has she annoyed you sufficiently? She has done brilliant well with me. Men's room, men's room, OUT, thank you. Poets writing.</dialogue>
<scene_description>Mr Brown picks up his PEN and acts writing. Fanny leaves calmly as if Mr Brown was not scuttling her.</scene_description>
<character>KEATS</character>
<dialogue>Goodbye minxstress.</dialogue>
<character>FANNY</character>
<dialogue>My stitching has more merit and admirers than your two scribbling's put together.</dialogue>
<character>KEATS AND MR BROWN</character>
<dialogue>Ohhhh. Ohhhh.</dialogue>
<character>FANNY</character>
<dialogue>And I can make money from it.</dialogue>
<character>KEATS</character>
<dialogue>Ouch!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Margaret and Samuel make their way to the BOOKSHOP, careful not to catch the eye of the HUNGRY and HOMELESS.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOOKSHOP - DAY</stage_direction>
<scene_description>The BELL on the BOOKSHOP DOOR rings. Margaret and Samuel enter. Their boots clunk on the boards of the quiet shop, they walk to the counter. There is no-one there, they stand in front of it. A VOICE speaks from a shelf behind.</scene_description>
<character>SHOPKEEPER</character>
<dialogue>Yes?</dialogue>
<scene_description>Samuel moves to the counter.</scene_description>
<character>SAMUEL</character>
<dialogue>Have you got John Keats's poem book Endy...</dialogue>
<character>SHOPKEEPER</character>
<dialogue>Endymion? I've not heard much good about it. I've not sold one and took twenty.</dialogue>
<scene_description>The SHOPKEEPER takes a copy from a tallish pile.</scene_description>
<character>MARGARET</character>
<dialogue>My sister has met the author. She wants to read it for herself and decide if he is an idiot or not.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny at home in her room sews the tiny pleats of a TRIPLE MUSHROOM PLEATED COLLAR. Her needle weaving in and out, then drawing the thread through. Her eyelashes caught in the PALE WHITE SUN. Standing in her PETTICOAT, she holds the almost complete collar to her neck and checks it's effect in the glass. She gently tilts her head to the side and points her toe.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Margaret and Samuel come upstairs and enter Fanny's bedroom. Margaret takes off her COAT and sits. Fanny's steel needle pauses.</scene_description>
<character>FANNY</character>
<dialogue>Unwrap it.</dialogue>
<scene_description>Margaret takes the BROWN PAPER from the book. Fanny watches. She takes the book in her own hands, turns it over, opens it to the title page. Then passes it back to Margaret.</scene_description>
<character>FANNY</character>
<dialogue>Read it.</dialogue>
<scene_description>Her needle weaves in and out of the pleats, drawing it's pale thread behind it. ENDYMION BOOK 1 "A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. Therefore, on every morrow, are we wreathing A flowery band to bind us to the earth" Fanny's eyes stop and go deeply inside, she is listening. Her needle again weaves in and out of the fine pleat. She is sewing faster.</scene_description>
<character>MARGARET</character>
<dialogue>"Spite of despondence, of the inhuman dearth"</dialogue>
<character>FANNY</character>
<dialogue>Stop.</dialogue>
<scene_description>Margaret stops and looks to Fanny. Fanny stops sewing.</scene_description>
<character>FANNY</character>
<dialogue>I am completely lost...</dialogue>
<scene_description>Fanny takes the book from Margaret.</scene_description>
<character>FANNY</character>
<dialogue>"...yes, in spite of all, Some shape of beauty moves away the pall From our dark spirits."</dialogue>
</scene>
<scene>
<stage_direction>INT. THE ROYAL ARTILLERY MESS - EVENING</stage_direction>
<scene_description>The ROYAL ARTILLERY MESS at WOOLWICH, a DANCE and Fanny in the centre of it in her new gown. She dances with a studied grace. The effect is elegant yet mannered. In the interval she sights an under dressed Keats sitting back, ignoring the dancers absorbed in his thoughts. Near him Mr Brown and their friend REYNOLDS and his SISTERS talk loudly. Fanny whispers to her younger brother Samuel. Samuel slouches over to Keats.</scene_description>
<character>SAMUEL</character>
<dialogue>My sister Miss Brawne wishes to greet you Mr Keats.</dialogue>
<character>KEATS</character>
<dialogue>And where is she?</dialogue>
<scene_description>Fanny is all alone waiting for him strategically posed by a large ORNATE MIRROR near the dining hall.</scene_description>
<character>FANNY</character>
<dialogue>"A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness;"</dialogue>
<scene_description>Keats looks surprised.</scene_description>
<character>KEATS</character>
<dialogue>You have read Endymion?</dialogue>
<character>FANNY</character>
<dialogue>I wanted to adore it.</dialogue>
<character>KEATS</character>
<dialogue>But you hate it?</dialogue>
<character>FANNY</character>
<dialogue>I cannot say.</dialogue>
<character>KEATS</character>
<dialogue>Are you afraid to speak truthfully?</dialogue>
<character>FANNY</character>
<dialogue>Never.</dialogue>
<character>KEATS</character>
<dialogue>Well tell me then.</dialogue>
<character>FANNY</character>
<dialogue>No. I am not at all clever with poetry.</dialogue>
<character>KEATS</character>
<dialogue>Neither it seems am I. Still I have hope for myself. What do you make of my hope Miss Brawne?</dialogue>
<character>FANNY</character>
<dialogue>I think hope very useful.</dialogue>
<character>KEATS</character>
<dialogue>But...</dialogue>
<character>FANNY</character>
<dialogue>But hope and results are very different. One does not create the other.</dialogue>
<character>KEATS</character>
<dialogue>Could practice help?</dialogue>
<character>FANNY</character>
<dialogue>Yes it might. I was not always able to stitch so well.</dialogue>
<character>KEATS</character>
<dialogue>Ah ha, I must practice my stitches.</dialogue>
<scene_description>Fanny looks at Keats.</scene_description>
<character>FANNY</character>
<dialogue>Let me do the sewing, I have such a start. This is the first frock in Woolwich or Hampstead to have a triple-pleated-mushroom collar.</dialogue>
<scene_description>Keats looks about to realise there is only Fanny, himself and their reflection.</scene_description>
<character>KEATS (INTIMATELY)</character>
<dialogue>Behind you I see one I fear to be identical.</dialogue>
<scene_description>Fanny disconcerted, turns to see her own reflection, she laughs very pleased with the joke. She sees a GROUP of MILITARY MEN, dance partners searching for her. She puts her back to them so she may finish talking.</scene_description>
<character>FANNY</character>
<dialogue>My card is completely full; three I have met before and are suitors. Mr Tarrant is scaring me with his talk of estates and his dogs, he has eleven. Maman says it is possible to love almost anybody and I will come to understand that.</dialogue>
<character>KEATS (GESTURES)</character>
<dialogue>Even Mr---?</dialogue>
<character>FANNY</character>
<dialogue>Tarrant? Yes, isn't that a miracle? But you don't dance Mr Keats. I love to dance.</dialogue>
<character>KEATS</character>
<dialogue>I don't feel like dancing..</dialogue>
<character>FANNY</character>
<dialogue>Your brother is still ill?</dialogue>
<character>KEATS</character>
<dialogue>He is no better.</dialogue>
<character>FANNY</character>
<dialogue>I have thought of him often and wish to make him something. Would lemon wafers be agreeable?</dialogue>
<character>KEATS</character>
<dialogue>He would like so much that you had thought of him.</dialogue>
<character>FANNY</character>
<dialogue>My Papa was ill for as long as I can remember. He died when I was still a child.</dialogue>
<scene_description>Fanny tears up. She takes out a small WHITE EMBROIDERED HANDKERCHIEF and pats her eyes. The TWO MILITARY MEN spot Fanny and come over. Keats bows and departs while Fanny is led out on to the dance floor. She has recovered herself and is dancing with quaintly exaggerated hand movements aimed at affecting a personal stylishness. The Reynolds sisters notice and comically impersonate. Apparently for Keats's benefit. He is not amused by them or by Fanny but is alone and alienated</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN ELM COTTAGE - DAY</stage_direction>
<scene_description>On the kitchen table Fanny and the maid are grating LEMON RIND. Dabbing WAFER MIX onto an OVEN TRAY. Stoking the FIRE. From the cooked wafers Fanny tosses all but the most perfect onto a rubbish heap. She lines a BASKET with LINEN. Then pausing, she turns from the table. Quickly she swoops on Margaret's frock where she snips a LEMON RIBBON off her neckline and begins to tie it decoratively on the basket.</scene_description>
<character>MARGARET</character>
<dialogue>Mother! Fanny has taken my ribbon and she never asked. Mama!</dialogue>
<scene_description>Margaret goes in search of her mother who she finds in the hall way.</scene_description>
<character>MARGARET</character>
<dialogue>She has cut my ribbon.</dialogue>
<scene_description>Mrs Brawne enters the kitchen to see a mess of SHATTERED and DISCARDED wafers and Fanny tying the ribbon on her basket of 20 PERFECT wafers.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>What are you doing Fanny?</dialogue>
<character>FANNY</character>
<dialogue>I am trying to bring some comfort to a dying man.</dialogue>
<scene_description>Mrs Brawne picks up one of the discarded wafers from a huge stack.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>What dying man? Where are you taking them?</dialogue>
<character>FANNY</character>
<dialogue>I cannot offer poor Mr Keats's brother anything that is not perfect.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>But so many of them look quite well.</dialogue>
<character>FANNY</character>
<dialogue>Mama, quite well! He may die. I cannot offer him anything but our most beautiful and our best.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny carries the BASKET of wafers as the THREE young Brawne's walk up the path to Wentworth House.</scene_description>
</scene>
<scene>
<stage_direction>INT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Inside the house they walk down the corridor to Mr Brown's apartment. Fanny knocks.</scene_description>
<character>MR BROWN</character>
<dialogue>No thank you, poets at work.</dialogue>
<character>FANNY</character>
<dialogue>It is me, Miss Brawne. I have something to deliver to Mr Keats.</dialogue>
<character>MR BROWN</character>
<dialogue>Leave it at the door.</dialogue>
<character>FANNY</character>
<dialogue>Is Mr Keats not there?</dialogue>
<character>KEATS</character>
<dialogue>I am here.</dialogue>
<character>MR BROWN</character>
<dialogue>We are working Miss Brawne.</dialogue>
<character>FANNY</character>
<dialogue>I have something for Mr Keats's brother.</dialogue>
<scene_description>Heavy footsteps. Mr Brown opens the door. Fanny holds out a basket with a LACE NAPKIN laid over the top. Mr Brown whips off the LACE COVER and pinches a wafer.</scene_description>
<character>MR BROWN</character>
<dialogue>Mmmm...delicious...</dialogue>
<character>FANNY</character>
<dialogue>You vile, disgusting, ape!</dialogue>
<scene_description>A sad Keats turns his head towards Fanny at the door and watches listlessly.</scene_description>
<character>KEATS</character>
<dialogue>Invite Miss Brawne inside. Let them all come in.</dialogue>
<scene_description>Mr Brown stands aside, gobbling his wafer.</scene_description>
<character>MR BROWN</character>
<dialogue>Be careful you enter the apes cage, (mimicking a monkey) Hoo, hoo, hoo.</dialogue>
<character>FANNY</character>
<dialogue>You are invisible to me, you idiot, you...</dialogue>
<character>KEATS</character>
<dialogue>Come and sit here, next to me Miss Brawne. My prospects in the world feel very faint.</dialogue>
<character>FANNY</character>
<dialogue>This room is so poorly cared for. It is half night in here for want of pulling your drapes back.</dialogue>
<scene_description>She passes over the wafers.</scene_description>
<character>FANNY</character>
<dialogue>Please try one. I am anxious they will cause him to choke.</dialogue>
<scene_description>Keats takes one. Mr Brown puts his hand into the basket Fanny whips it away.</scene_description>
<character>FANNY</character>
<dialogue>No! They are baked for someone very ill. Try another and I swear I shall bite you.</dialogue>
<character>MR BROWN</character>
<dialogue>Ohhh, I'm very scared.</dialogue>
<character>KEATS</character>
<dialogue>Take care, she has sharp teeth. She has sunk her fangs into my poor poem and shook it apart.</dialogue>
<character>FANNY</character>
<dialogue>I am very sorry I could not love your Endymion completely Mr Keats. Perhaps I did not say but I thought the beginning of your poem something very perfect.</dialogue>
<scene_description>Fanny turns to go.</scene_description>
<character>KEATS</character>
<dialogue>No, don't leave us. You can see for yourself, nothing is happening. All day we lie about the room begging for inspiration. Tell me what I must do.</dialogue>
<character>FANNY</character>
<dialogue>There is something sordid and menacing that I don't at all enjoy in the atmosphere. I am in a hurry to get myself away. I feel I am inside a cage with two monkeys.</dialogue>
<character>KEATS</character>
<dialogue>We monkeys just want a little company.</dialogue>
<scene_description>Mr Brown steals another wafer. Fanny spins away.</scene_description>
<character>FANNY</character>
<dialogue>How dare you!</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny, Margaret and Samuel walk back fast through the Heath. A great GUST of WIND sends the AUTUMN LEAVES spiralling upwards. Keats, flush faced is jogging after them but somewhat behind them. He has Fanny's basket in his hand.</scene_description>
<character>KEATS</character>
<dialogue>If we've finished tiffing, come and say "hello" to Tom, it might cheer him.</dialogue>
<character>MARGARET</character>
<dialogue>We will have to ask Mama.</dialogue>
<character>FANNY</character>
<dialogue>No we don't Toots.</dialogue>
<character>MARGARET</character>
<dialogue>Yes we do, isn't that so Samuel? We have to stay together.</dialogue>
<scene_description>Samuel shrugs. Fanny walks off.</scene_description>
<character>FANNY</character>
<dialogue>Well then, I am going and you will have to come with me.</dialogue>
<scene_description>Keats stands at the junction of many tracks.</scene_description>
<character>KEATS</character>
<dialogue>Should you like to go by the pond or through the wood? I have explored all these paths which are more in number than your eyelashes.</dialogue>
<character>FANNY</character>
<dialogue>My eyelashes?</dialogue>
<scene_description>Fanny bats her eyelashes and laughs. She walks beside Keats.</scene_description>
<character>FANNY</character>
<dialogue>It amazes me that you can sit opposite Mr Brown all day. I have never heard him say one thing of wit. Not one!</dialogue>
<character>KEATS</character>
<dialogue>You favour wit?</dialogue>
<character>FANNY</character>
<dialogue>I rate it the highest.</dialogue>
<character>KEATS</character>
<dialogue>You like the fashionables?</dialogue>
<character>FANNY</character>
<dialogue>Yes, I do.</dialogue>
<character>KEATS</character>
<dialogue>Men who say things that make you start without making you feel?</dialogue>
<character>FANNY</character>
<dialogue>No, things that are amusing.</dialogue>
<character>KEATS</character>
<dialogue>I know these dandy's, they have a mannerism in their very eating and drinking, in their handling of a decanter.</dialogue>
<character>FANNY</character>
<dialogue>You are making an attack on me.</dialogue>
<character>KEATS</character>
<dialogue>No, I am defending Mr Brown's generous good heart.</dialogue>
<character>FANNY</character>
<dialogue>By attacking myself?</dialogue>
<character>KEATS</character>
<dialogue>Forgive me. I have been too long at my brother's sick bed.</dialogue>
<character>FANNY</character>
<dialogue>Can we not still appreciate clever humour?</dialogue>
<character>KEATS</character>
<dialogue>What witty thing can be said of a nineteen year old drowning in his own blood?</dialogue>
<scene_description>Fanny suddenly realises the seriousness of Tom's illness.</scene_description>
<character>FANNY</character>
<dialogue>Nothing, nothing at all.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KEATS'S APARTMENT WELL WALK - DAY</stage_direction>
<scene_description>The three Brawne's led by Keats, arrive in the COURTYARD of his rented apartment in WELL WALK. Keats leads them in.</scene_description>
<character>MRS BENTLEY</character>
<dialogue>Oh thank God! He's been calling out for you.</dialogue>
<character>KEATS</character>
<dialogue>Excuse me.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOM'S ROOM WELL WALK - DAY</stage_direction>
<scene_description>He enters TOM'S ROOM In the other room Fanny glimpses Keats holding his pale, groaning brother who struggles to breathe. It looks grim, hopeless.</scene_description>
<character>MARGARET</character>
<dialogue>I want to go. I want to leave. It smells.</dialogue>
<character>FANNY</character>
<dialogue>Shush, or I'll cut your hair in the night.</dialogue>
<scene_description>Keats comes back out looking pale and saddened.</scene_description>
<character>KEATS</character>
<dialogue>He is feverish and cannot speak.</dialogue>
<character>FANNY</character>
<dialogue>Should I call a nurse?</dialogue>
<character>KEATS</character>
<dialogue>I trained for 5 years as a doctor, there is nothing to be done.</dialogue>
<scene_description>Tears spring to Fanny's eyes, she gives Keats the LEMON WAFERS.</scene_description>
<character>FANNY</character>
<dialogue>The wafers.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Wentworth House in the evening. Both sides of the house are LIT UP for an evenings entertainment. PEOPLE are arriving, walking up the path to the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Inside Fanny and her family are removing their PELISSES and OVERCOATS with the Dilke's help when Keats arrives. There are lots of "Good Evenings" and jollities.</scene_description>
<character>MR DILKE (TO KEATS)</character>
<dialogue>I don't see your bassoon, I hope you have not forgotten it.</dialogue>
<character>KEATS</character>
<dialogue>Not at all, it's in my waistcoat pocket.</dialogue>
<scene_description>Fanny watches Keats arrival keenly.</scene_description>
<character>FANNY</character>
<dialogue>Mr Keats.</dialogue>
<character>KEATS</character>
<dialogue>Hello Minx.</dialogue>
<character>FANNY</character>
<dialogue>How is Tom?</dialogue>
<scene_description>Keats looks away from Fanny suddenly anxious.</scene_description>
<character>MR BROWN</character>
<dialogue>Gentlemen of the orchestra to the left, Ladies to the right.</dialogue>
<character>FANNY</character>
<dialogue>Mr Keats how is...</dialogue>
<character>KEATS (TO FANNY)</character>
<dialogue>Don't ask me of Tom, Minx. The only good I can do is say how I love him.</dialogue>
<character>MR BROWN</character>
<dialogue>Rehearsal has begun. Hurry on gentlemen.</dialogue>
<character>KEATS</character>
<dialogue>Let us start with some claret to tune the instruments.</dialogue>
<scene_description>Mr Dilke walks after Keats playing an invisible violin. Fanny watches them disappear.</scene_description>
</scene>
<scene>
<stage_direction>INT. DILKE'S DRAWING ROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>The ladies, Mrs Brawne, Mrs Dilke, the Reynolds sisters, Fanny and the children sit quietly together in the Dilke's drawing room. The Reynolds sisters play CARDS with the older women while Fanny sews a flower pattern onto a piece of lawn. From their room they can hear the loud voices of the MEN in the opposite wing. Fanny's needle picks out the outline of the leaf.</scene_description>
</scene>
<scene>
<stage_direction>INT. DILKE'S KITCHEN WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>In the kitchen Mrs Dilke, her COOK and Fanny carry PLATES of PICKLES, CHEESE and MEAT through into the men's room. Fanny seeks out Keats who is drowning his sorrows in play, he and another friend, MR SEVERN the artist, are having a duel using CELERY STICKS. Fanny puts the plates down on the TABLE and leaves with the others unnoticed.</scene_description>
</scene>
<scene>
<stage_direction>INT. DILKE'S DRAWING ROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny and Mrs Dilke come back into the insular world of ladies.</scene_description>
<character>REYNOLDS SISTER 1 (TO MARIA DILKE)</character>
<dialogue>We were just telling Mrs Brawne of John Keats's review in Blackwoods.</dialogue>
<character>REYNOLDS SISTER 2</character>
<dialogue>We did not know there were people left who had not read it.</dialogue>
<character>REYNOLDS SISTER 1</character>
<dialogue>You have not seen it?</dialogue>
<character>MARIA DILKE</character>
<dialogue>In this house we do not acknowledge it.</dialogue>
<character>FANNY</character>
<dialogue>Was it so very bad?</dialogue>
<character>MARIA DILKE</character>
<dialogue>I can't bring myself to remember...</dialogue>
<character>REYNOLDS SISTER 2</character>
<dialogue>It has stuck in my mind. "...no man, whose mind has ever been imbued with the smallest knowledge or feeling of classical poetry or classical history, could have..."</dialogue>
<character>REYNOLDS SISTER 1 (JOINS IN)</character>
<dialogue>"...profaned and vulgarised every association in the manner which has been adopted by this "son of promise"..."</dialogue>
<character>FANNY</character>
<dialogue>Did they not admire the opening? The opening was perfect even I could know that.</dialogue>
<character>REYNOLDS SISTER 1</character>
<dialogue>Do you like poetry Miss Brawne?</dialogue>
<character>FANNY</character>
<dialogue>No. Poems are a strain to work out - and I never can tell if I have worked them well.</dialogue>
<scene_description>The Reynolds sisters titter. JOHN REYNOLDS enters the room. He is a lawyer poet friend of Keats</scene_description>
<character>REYNOLDS SISTER 1</character>
<dialogue>John we are talking or about to talk of your defence of Mr Keats's poem Endymion.</dialogue>
<character>JOHN REYNOLDS</character>
<dialogue>Yes... "I have clung to nothing, loved a nothing, nothing seen or felt but a great dream! O I have been presumptuous against love against the sky, Against all elements, against the tie of mortals each to each." The rhythm is beautiful and unique. There are rhymes but not on the beat, they are quiet but binding and the repetitions set you up to fly. "I have clung to nothing, loved a nothing, nothing seen."</dialogue>
<scene_description>Reynolds indicates the expanse of flight.</scene_description>
<character>JOHN REYNOLDS</character>
<dialogue>Here you come out "Or felt but a great dream..."</dialogue>
<character>FANNY</character>
<dialogue>It's beautiful.</dialogue>
<character>JOHN REYNOLDS</character>
<dialogue>There are immaturities but also immensities and that is what they didn't say.</dialogue>
<character>REYNOLDS SISTER 1</character>
<dialogue>It was said, you said it brother.</dialogue>
<character>JOHN REYNOLDS</character>
<dialogue>Thank you.</dialogue>
<character>REYNOLDS SISTER 1</character>
<dialogue>Indeed you said it beautifully.</dialogue>
<character>REYNOLDS SISTER 2</character>
<dialogue>Very bravely.</dialogue>
<scene_description>Mr Severn walks into the room.</scene_description>
<character>MR SEVERN</character>
<dialogue>Ladies the Hampstead Heathens are about to begin. Reynolds?</dialogue>
<character>JOHN REYNOLDS</character>
<dialogue>Not me, I'm expelled.</dialogue>
</scene>
<scene>
<stage_direction>INT. MR BROWN'S ROOMS WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>The AUDIENCE of lady folk squeeze into Mr Brown's CANDLE LIT rooms. The fifteen gentlemen are formally assembled. Keats, Mr Brown and their friends perform a well known MOZART PIECE with their human orchestra. Fanny watches quietly focusing on Keats. The Reynolds sisters enter confidently into the festivities, "ohhhing" and "ahhhing", laughing affectedly.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny and her brother and sister are having dance instruction from their very effeminate FRENCH DANCE MASTER. They use a BOX MIRROR to correct their posture. Through the window, Fanny notices a teary faced Maria Dilke gesturing to Mrs Brawne who leaves. The class continues with Fanny dancing in the formal style of the time but her feelings overwhelm her. Tears fill her eyes.</scene_description>
<character>DANCE MASTER</character>
<dialogue>Fanny, tempo. Un deux trois, un, deux, trois.</dialogue>
<scene_description>Fanny has stopped still. Tears roll down her cheeks. She leaves the room.</scene_description>
<character>DANCE MASTER</character>
<dialogue>Mademoiselle...</dialogue>
<scene_description>She walks down the hall to the kitchen where Maria Dilke is being comforted by Mrs Brawne and a CUP of TEA.</scene_description>
<character>FANNY</character>
<dialogue>Is it Tom? Has he died?</dialogue>
<scene_description>Maria Dilke turns and nods her head. Fanny leaves, pushing past Toots.</scene_description>
<character>MARGARET</character>
<dialogue>Fanny vient de quitter la classe de danse. (Fanny just left the class.)</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Laisse-la. (Leave her.)</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny pulls out a piece of IVORY SILK. She slices through the material with SCISSORS. Mrs Brawne enters the room. She watches Fanny sobbing loudly as she works, then bends to help Fanny pin TWO rectangles of the silk together. Fanny's needle is thread with a light GREEN COTTON. Her needle flies in and out making a line of grass. Out of the grass she sews stems and wild flowers.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE'S PARLOUR/HALL/FRONT DOOR ELM COTTAGE - DAY</stage_direction>
<scene_description>John Keats, Charles Brown and the Brawne's sit in the Brawne's PARLOUR. Fanny is silent. Mr Brown talks to Mrs Brawne who is all solicitude.</scene_description>
<character>MR BROWN</character>
<dialogue>I woke with the strange sensation of someone holding my hand. I opened my eyes and there was John. I knew immediately what had happened and then he said "Tom died at 8 o'clock quietly and without pain." Of course Mr Keats can't go on living there, so I have invited him to stay with me.</dialogue>
<scene_description>Mr Brown stands, sighing, looking towards a numb Keats.</scene_description>
<character>MR BROWN</character>
<dialogue>Aghuh, we have a long schedule of visits.</dialogue>
<scene_description>Fanny sits with her eyes downcast. Keats is watching her sensing her disappointment that they are leaving so soon.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>I don't want to interfere with your city plans but you are most welcome to have dinner with us. We have provided and set the table...</dialogue>
<character>KEATS (QUIETLY TO FANNY)</character>
<dialogue>Minx? Are you unwell? I have never seen you so quiet.</dialogue>
<character>FANNY</character>
<dialogue>I am sad for your brother Mr Keats. Fanny hands him the silk embroidered PILLOW SLIP wrapped in</dialogue>
<scene_description>BLACK CLOTH.</scene_description>
<character>MARGARET</character>
<dialogue>She has been sewing it all through the night.</dialogue>
<scene_description>Keats begins to unwrap it, enough to see the beautiful stitching and the simple pattern of wild flowers on the edge.</scene_description>
<character>KEATS</character>
<dialogue>I am afraid I will break down. Tell me what it is?</dialogue>
<character>FANNY</character>
<dialogue>It is a pillow slip.</dialogue>
<character>KEATS</character>
<dialogue>Then I shall rest Tom's head upon it.</dialogue>
<character>MR BROWN</character>
<dialogue>Keats, the Reynolds are expecting us.</dialogue>
<character>KEATS</character>
<dialogue>I will catch you up. Thank you.</dialogue>
<scene_description>Keats kisses the pillow slip. Mr Brown has come across and is whispering in Keats ear.</scene_description>
<character>MR BROWN</character>
<dialogue>Let us get out of here.</dialogue>
<scene_description>It is a loud whisper, loud enough so that Fanny and Keats both hear. Fanny, shamed, watches as the two men continue discussing, she catches phrases, "would like to stay", "we are expected by HAYDEN and LAMB". Keats puts on his COAT.</scene_description>
<character>KEATS</character>
<dialogue>Invite me again, alone.</dialogue>
<character>FANNY</character>
<dialogue>Come for Christmas.</dialogue>
<character>KEATS</character>
<dialogue>Shouldn't you ask your mother?</dialogue>
<character>FANNY</character>
<dialogue>No, what one of us wants we all wish for, that is how we are.</dialogue>
<scene_description>Keats looks unconvinced.</scene_description>
<character>FANNY (IN FRENCH)</character>
<dialogue>Maman I have invited Mr Keats for Christmas dinner.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Yes, Mr Keats, please do join us.</dialogue>
<scene_description>Margaret and Samuel loudly enthuse.</scene_description>
<character>MARGARET AND SAMUEL</character>
<dialogue>Yes. Hurrah. Please do, please!</dialogue>
<character>MR BROWN</character>
<dialogue>But Marianne Reynolds invited us for Christmas. You were there when she said it, remember they are having musicians?</dialogue>
<scene_description>The Brawne children are crestfallen. Fanny defiant.</scene_description>
<character>MR BROWN</character>
<dialogue>I am sorry to spoil things.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Not at all. Wherever Mr Keats is happy we are happy for him.</dialogue>
<character>MARGARET</character>
<dialogue>Why can't he be happy with us?</dialogue>
<character>FANNY</character>
<dialogue>Because Mr Brown wants Mr Keats all to himself.</dialogue>
<character>MR BROWN</character>
<dialogue>I am merely remembering to Mr Keats a previous engagement.</dialogue>
<scene_description>Fanny turns and walks back inside Elm Cottage.</scene_description>
<character>MR BROWN</character>
<dialogue>You are walking away Miss Brawne! I thought we were conversing...</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny and her sister sew in silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN ELM COTTAGE - DAY</stage_direction>
<scene_description>Mrs Brawne and Charlotte the maid work quietly together making MINCE PIES. A LETTER is delivered to the kitchen door. Charlotte gives the letter to Mrs Brawne.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Mrs Brawne comes into the drawing room with the open letter. Margaret and Fanny look up but Fanny does not pause in her neat small stitches</scene_description>
<character>MRS BRAWNE (READS)</character>
<dialogue>"Dear Mrs Brawne, May I yet join you for Christmas? I have not the health or the heart to be anywhere but with a family such as your own." John Keats.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN ELM COTTAGE - EVENING</stage_direction>
<scene_description>Fanny, the maid, Mrs Brawne and Margaret prepare the Christmas dinner. POTATOES are peeled, PROFITEROLES are filled with cream, PEAS are shelled, a GOOSE is baking in the oven. Margaret is counting CUTLERY at the window.</scene_description>
<character>MARGARET</character>
<dialogue>Mr Keats has come!</dialogue>
<scene_description>Margaret runs out the kitchen back door. Fanny's hands are covered in flour. She turns her back to her mother who unties her APRON. Fanny rinses her hands and dries them. Carefully she adjusts her hair and smooths her frock.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET ELM COTTAGE - EVENING</stage_direction>
<scene_description>Margaret flies down the street and throws herself into Keats's arms who carries her.</scene_description>
<character>KEATS</character>
<dialogue>Do you know the difference between a caterpillar and a cheese?</dialogue>
<character>MARGARET</character>
<dialogue>A caterpillar and a cheese?</dialogue>
<character>KEATS</character>
<dialogue>Yes.</dialogue>
<character>MARGARET</character>
<dialogue>Of course.</dialogue>
<character>KEATS (DROPPING HER TO HER FEET)</character>
<dialogue>Then you are too old for me to carry you.</dialogue>
<scene_description>Keats looks up the garden path to see Fanny, a perfect doll, framed at the open front door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM ELM COTTAGE - EVENING</stage_direction>
<scene_description>Keats is crouched on the sitting room floor stroking the Brawne's CAT. Fanny comes in with a TRAY of GLASSES, she is shy of looking at Keats but acutely aware of him. She polishes each glass with a cloth and places it on the table.</scene_description>
<character>FANNY</character>
<dialogue>I wondered this morning if you are sleeping in my bed.</dialogue>
<character>KEATS</character>
<dialogue>Pardon?</dialogue>
<character>FANNY</character>
<dialogue>Are you sleeping in my bed?</dialogue>
<scene_description>Keats is confused and amazed.</scene_description>
<character>KEATS</character>
<dialogue>No...</dialogue>
<character>FANNY</character>
<dialogue>You see I believe you are. Have you forgot that we rented Mr Brown's half of the house this summer while you were journeying in Scotland? Which room did you sleep in?</dialogue>
<character>KEATS</character>
<dialogue>The one overlooking the back garden.</dialogue>
<character>FANNY</character>
<dialogue>That was my bed. For proof, pull it out from the wall and by the pillow you will find a figure I drew with pin holes.</dialogue>
<character>KEATS</character>
<dialogue>Is the figure you?</dialogue>
<character>FANNY</character>
<dialogue>No. It was a fairy princess.</dialogue>
<character>KEATS</character>
<dialogue>Should I be feeding her?</dialogue>
<character>FANNY</character>
<dialogue>No, she refuses to eat. But what she might like is a good night poem. Mr Keats will you teach me poetry? I want to understand, but I don't know how to begin.</dialogue>
<scene_description>Margaret comes in putting a BREAD ROLL on each persons plate. Keats strokes the CAT watching Fanny, the movement of her hands as she folds the NAPKINS and the angle of her head as she examines the arrangement of the table.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM ELM COTTAGE - EVENING</stage_direction>
<scene_description>The Brawne's sit about the DINING TABLE including the maid. The meal is finished and Keats has invented a skit that compares the English and the Scottish. There are THREE CUPS OF TEA on the table and the maid, Toots and Fanny are being instructed to stir their teas in different and complimentary rhythms, clanging the edges of their cups with their SPOONS at the end of each cycle.</scene_description>
<character>KEATS</character>
<dialogue>The English drawing room, now the Scottish.</dialogue>
<scene_description>Keats nods to Samuel who begins to play an impression of a highland tune on his VIOLIN. With PLEATED NAPKINS tucked into his pantaloons kilt-like, Keats does a wild impression of a highland fling.</scene_description>
<character>KEATS (SCOTTISH ACCENT)</character>
<dialogue>Theeey Kick and jump it and toe and go it and twirl it and wheel it, stamp and sweat and tattoo the floor!</dialogue>
<scene_description>The family clap and laugh. Keats bows and removes his napkins.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Formidable, very good.</dialogue>
<character>MARGARET</character>
<dialogue>A poem!</dialogue>
<character>OTHERS</character>
<dialogue>Oh yes, a poem.</dialogue>
<character>MARGARET</character>
<dialogue>A short one.</dialogue>
<scene_description>The others laugh. Fanny is quiet, watching, scared to betray her growing affection for Keats, her head bowed. Keats sits opposite and as he sits he begins to speak so naturally they are only gradually aware he is reciting.</scene_description>
<character>KEATS</character>
<dialogue>"When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance."</dialogue>
<scene_description>Fanny looks up, she and Keats are looking into each other's eyes. Keats is suddenly speechless. The family look at Keats, there is an awkward pause.</scene_description>
<character>KEATS</character>
<dialogue>I do apologise, I have gone blank.</dialogue>
<scene_description>But Keats seems tranced.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>You must be tired. Should you like coffee and cakes, we have not had cake.</dialogue>
<scene_description>Mrs Brawne is getting up, clearing the table. Fanny sits opposite Keats. Neither move. Finally with what seems an enormous effort Fanny rises and moves around the table to take Keats's plate. As Fanny leans forward, Keats leans in towards her. As they touch, there is a suspension of time, of breath in the room that makes even Samuel puzzle a moment as he loosens his bow. Keats looks up at Fanny, at her irresistible closeness. He runs a finger across Fanny's wrist, both confirming and breaking the spell.</scene_description>
<character>KEATS</character>
<dialogue>"Two witches eyes above a cherub's mouth."</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. FRONT DOOR SELM COTTAGE - NIGHT</stage_direction>
<scene_description>At the door everyone is saying goodbye and waving. Fanny walks out into the street with Keats.</scene_description>
<character>FANNY</character>
<dialogue>Mr Keats have you remembered the poem?</dialogue>
<character>KEATS (HE NODS AND CLEARS HIS THROAT)</character>
<dialogue>"...Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance: And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of an unreflecting love; - then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink."</dialogue>
<scene_description>Fanny and Keats look at each other. Keats is bewitched, so is Fanny. Keats makes an awkward bow and coughing, walks into the frosty night.</scene_description>
</scene>
<scene>
<stage_direction>INT. WENTWORTH HOUSE HALL - DAY</stage_direction>
<scene_description>In the dark hallway Fanny knocks on Keats and Mr Brown's door. Behind her Maria Dilke takes Samuel into her half of the house. Mr Brown opens the door.</scene_description>
<character>FANNY</character>
<dialogue>I have come for my poetry class.</dialogue>
<scene_description>Fanny slips under his arm.</scene_description>
<character>MR BROWN</character>
<dialogue>Poetry classes!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN'S DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny and Keats sit together. Fanny listening intently. Keats seems a little flat.</scene_description>
<character>KEATS</character>
<dialogue>A poet is not at all poetical, he is the most un-poetical of anything in existence, he has no identity - he is continually filling some other body, the sun, the moon...</dialogue>
<scene_description>Mr Brown watches disturbed.</scene_description>
<character>MR BROWN</character>
<dialogue>I cannot restrain my credibility longer. Miss Brawne may I ask you a question?</dialogue>
<character>FANNY</character>
<dialogue>You may.</dialogue>
<character>MR BROWN</character>
<dialogue>Is this really you? Or are you acting?</dialogue>
<character>FANNY</character>
<dialogue>It is really me.</dialogue>
<scene_description>Keats is looking irritated.</scene_description>
<character>KEATS</character>
<dialogue>Charles I have a pupil, desist or depart.</dialogue>
<scene_description>Mr Brown gets up, takes some BOOKS and his TEA CUP with him.</scene_description>
<character>MR BROWN (UNDER HIS VOICE)</character>
<dialogue>My modest hope is the cost of the lessons will not be the poet.</dialogue>
<character>FANNY (STANDING)</character>
<dialogue>The cost Mr Brown is that Mr Keats will forthwith discuss poetry with me not you as I shall study.</dialogue>
<character>MR BROWN</character>
<dialogue>You don't mean to read the poems?</dialogue>
<character>FANNY</character>
<dialogue>I do until I know all the poets and poems in the world. I have an excellent brain and nothing to do as you have so many times noted.</dialogue>
<character>MR BROWN</character>
<dialogue>Let me bow to your ambition. Mr Brown exits.</dialogue>
<character>FANNY</character>
<dialogue>Now Mr Brown has gone I shall find it easier to talk, he is forever scrutinising.</dialogue>
<scene_description>Fanny looks at Keats. She is unsettled by his darkening mood.</scene_description>
<character>FANNY</character>
<dialogue>...can you say something of the craft of poetry?</dialogue>
<scene_description>Keats's face darkens.</scene_description>
<character>KEATS</character>
<dialogue>Poetic craft is a carcass, a sham. If poetry does not come as naturally as leaves to a tree it had better not come at all.</dialogue>
<scene_description>Fanny is writing NOTES as Keats speaks.</scene_description>
<character>KEATS</character>
<dialogue>I am mistaken I am not sure I can teach you.</dialogue>
<character>FANNY</character>
<dialogue>Am I so extremely hopeless? Is it Mr Brown? I was too rude? I can apologise.</dialogue>
<character>KEATS</character>
<dialogue>I don't think I have the right feeling towards women. I'm suspicious of my feelings.</dialogue>
<character>FANNY</character>
<dialogue>I don't understand you.</dialogue>
<character>KEATS</character>
<dialogue>If you knew what a slave to my affections I fear myself to be, and the fury it brings about in me, you might understand.</dialogue>
<character>FANNY</character>
<dialogue>Do you not like me?</dialogue>
<character>KEATS</character>
<dialogue>I am attracted without knowing why, all women confuse me, even my mother. I yearn to be ruined by shrews and saved by angels and in reality, I have only ever loved my sister.</dialogue>
<scene_description>Fanny begins to put on her BONNET.</scene_description>
<character>FANNY</character>
<dialogue>I am annoyed by my sister as often as I love her. And I still do not know how to work a poem out well.</dialogue>
<character>KEATS</character>
<dialogue>You do not work out a poem. That would undo it's magic. Poems need understanding through the senses, they develop your negative capability not rational capability.</dialogue>
<character>FANNY</character>
<dialogue>And what is negative capability?</dialogue>
<character>KEATS</character>
<dialogue>Your capacity for being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.</dialogue>
<scene_description>Fanny listens, not understanding.</scene_description>
<character>KEATS</character>
<dialogue>The point of diving in a lake isn't immediately to swim to the shore but to be in the lake, to luxuriate in the sensation of water. You do not work the lake out, it is an experience beyond thought. Poetry soothes and emboldens the soul to accept mystery.</dialogue>
<character>FANNY</character>
<dialogue>I love mystery.</dialogue>
<character>KEATS</character>
<dialogue>I found your little princess, on the wall by my bed.</dialogue>
<character>FANNY</character>
<dialogue>You could make her out?</dialogue>
<character>KEATS</character>
<dialogue>I joined the pin pricks with my pen, she wears a butterfly frock. Shall we continue with Spencer?</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM ELM COTTAGE - MORNING</stage_direction>
<scene_description>Fanny and her family are having breakfast. BOWLS of PORRIDGE. Fanny is pouring over her POETRY BOOKS, making notes.</scene_description>
<character>FANNY</character>
<dialogue>Maman, Mr Keats is really very brilliant, but he doesn't like me. He prefers Toots and Samuel and even our cat who he is always petting to death.</dialogue>
<scene_description>Mrs Brawne watches Fanny who has gone back to eating, with a little wonderment and concern.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Mr Keats knows he cannot like you. He has no living and no income.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD STREET - DAY</stage_direction>
<scene_description>Fanny and Samuel walk through the SNOW CLAD streets in their WELLINGTONS.</scene_description>
</scene>
<scene>
<stage_direction>INT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny is let in at Wentworth House by Mr Brown. She is carrying a LARGE PILE of POETRY BOOKS.</scene_description>
<character>MR BROWN</character>
<dialogue>Mr Keats is not here. He said to tell you he had a sore throat and thought it better to stay on in Chichester.</dialogue>
<scene_description>Fanny looks very unbelieving.</scene_description>
<character>MR BROWN</character>
<dialogue>You do not believe me, come in.</dialogue>
<scene_description>Fanny walks into their parlour.</scene_description>
<character>MR BROWN</character>
<dialogue>There, no Mr Keats.</dialogue>
<character>FANNY</character>
<dialogue>May I return these books to his room? I know where it is.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEATS'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny makes her way to Keats's bedroom on her own. She puts the books on his BEDSIDE TABLE. Then sits on the BED and removes the PILLOW to see the tiny PRINCESS just as Keats had said, outlined in pen. Fanny trots down the STAIRS. Mr Brown waits at the bottom.</scene_description>
<character>MR BROWN</character>
<dialogue>I have ordered tea for us both. If you tell me what you have read, maybe I can catch up.</dialogue>
<scene_description>Fanny hesitates.</scene_description>
<character>MR BROWN</character>
<dialogue>I'm interested...</dialogue>
</scene>
<scene>
<stage_direction>INT. DILKE SITTING ROOM - DAY</stage_direction>
<scene_description>NOTE - This scene now includes SAMUEL Warm and pretty Maria Dilke pours tea into ELEGANT LITTLE CUPS. Her son lays his head in her lap.</scene_description>
<character>MR BROWN</character>
<dialogue>What Chaucer did you read?</dialogue>
<character>FANNY</character>
<dialogue>All of it...also Mr Spencer, Mr Milton, and The Odyssey...</dialogue>
<character>MR BROWN</character>
<dialogue>That is a lot to read in one week. What did you think of The Odyssey?</dialogue>
<character>FANNY</character>
<dialogue>I am yet part way through but I have read all Mr Keats has written twice and learnt some by heart. THE EVE OF ST. AGNES "Out went the taper as she hurried in; Its little smoke, in pallid moonshine, died: She closed the door, she panted, all akin To spirits of the air, and visions wide: No utter'd syllable, or, woe betide! But to her heart, her heart was voluble, Paining with eloquence her balmy side; As though a tongueless nightingale should swell Her throat in vain, and die, heart-stifled, in her dell."</dialogue>
<scene_description>Mr Brown listens, impressed, a little smitten and also dubious of her claims.</scene_description>
<character>MR BROWN</character>
<dialogue>And what Miss Brawne, did you make of Paradise Lost?</dialogue>
<character>FANNY</character>
<dialogue>I liked it.</dialogue>
<character>MR BROWN</character>
<dialogue>You didn't find Milton's rhymes a little pouncing?</dialogue>
<scene_description>Fanny looks back wide-eyed at Mr Brown. Mrs Dilke looks up, puzzled.</scene_description>
<character>FANNY</character>
<dialogue>No, not very.</dialogue>
<scene_description>Mr Brown regards Fanny and her wide eyes.</scene_description>
<character>MR BROWN</character>
<dialogue>Is it the material of her dress that makes Miss Brawne's eyes so violet like?</dialogue>
<scene_description>Mrs Dilke sits forward to look into Fanny's eyes. Fanny, quite pleased, opens them towards Mrs Dilke.</scene_description>
<character>MARIA DILKE</character>
<dialogue>Oh, yes they are blue.</dialogue>
<character>MR BROWN</character>
<dialogue>Violet almost.</dialogue>
<character>MARIA DILKE</character>
<dialogue>Yes, yes. What colour are yours Mr Brown.</dialogue>
<scene_description>Mr Brown BIG EYES Mrs Dilke and then Fanny.</scene_description>
<character>FANNY</character>
<dialogue>Suitcase brown.</dialogue>
<scene_description>45 EXT STREET HAMPSTEAD HEATH - DAY 45 \* Samuel and Fanny walk home through the Hampstead streets. \*</scene_description>
<character>FANNY \*</character>
<dialogue>Did you see Mr Brown? He was amazed, he was \* gaping. \*</dialogue>
<character>SAMUEL \*</character>
<dialogue>So many authors in one week is a bit \* incredible \*</dialogue>
<character>FANNY \*</character>
<dialogue>I know, he sees I am serious, and I will read \* them when I have the time. \*</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELM HOUSE - DAY</stage_direction>
<scene_description>A MESSENGER BOY approaches Elm House with a LETTER. VALENTINES DAY 1819</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE HOUSE STAIRS ELM COTTAGE - DAY</stage_direction>
<scene_description>Margaret climbs the steps to their bedroom.</scene_description>
<character>MARGARET</character>
<dialogue>Fanny! You have a letter.</dialogue>
<scene_description>Margaret looks hard at the ENVELOPE against the light.</scene_description>
<character>MARGARET</character>
<dialogue>I think it is a valentine card.</dialogue>
<scene_description>Fanny comes to the door. Margaret hands her the envelope. Fanny promptly shuts the door before Margaret can walk in and join her. Fanny sits neatly on the end of her bed. At her feet a PATTERN is pinned out.</scene_description>
<character>FANNY</character>
<dialogue>"The suitcase?" Oh it is from Mr Brown.</dialogue>
<scene_description>Fanny is clearly disappointed and confused.</scene_description>
<character>FANNY</character>
<dialogue>"Darling Valentine I am not sure if you should have a kiss for your violet enchantress eyes or a whipping! Yours, the suitcase."</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE ELM COTTAGE KITCHEN - DAY</stage_direction>
<scene_description>Keats is pacing in the rain amidst the clothes lines outside Elm Cottage. Inside Mrs Brawne and the maid watch him from the kitchen window. Keats appears very agitated.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Fanny, Mr Keats is behaving very oddly, should I invite him inside?</dialogue>
<scene_description>Fanny joins the women at the window where Keats continues his vigil.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELM COTTAGE - DAY</stage_direction>
<scene_description>Fanny puts on her COAT and joins Keats outside. Keats looks at Fanny who is pleased to see him.</scene_description>
<character>KEATS</character>
<dialogue>Mr Brown sent you a Valentine?</dialogue>
<character>FANNY</character>
<dialogue>I think it is a joke.</dialogue>
<scene_description>Mr Brown is walking up the road towards them. Keats sees him and backs off, walking towards the Heath.</scene_description>
<character>MR BROWN</character>
<dialogue>Keats! John, wait.</dialogue>
<scene_description>Keats strides up the road, Fanny and Mr Brown follow him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny and Mr Brown cross the road onto the Heath, where Keats leads them down an AVENUE OF TREES, then across a FROST SCORCHED MEADOW to a COPSE of WINTER ELMS. No one speaks. There is gravity to Keats's mood and an anger. Keats takes sidelong glances at Fanny.</scene_description>
<character>KEATS</character>
<dialogue>I was away but 10 days Brown, with you encouraging me to stay on and get well. Now you send Miss Brawne a valentine card. Are you lovers, is that the truth?</dialogue>
<scene_description>Keats walks off again unable to stand still. Keats walks past Mr Brown.</scene_description>
<character>MR BROWN</character>
<dialogue>No John...</dialogue>
<character>KEATS</character>
<dialogue>You sent a card Charles, you have the income to marry, where I cannot. Did you accept him Miss Brawne? Am I to congratulate you?</dialogue>
<scene_description>Mr Brown moves to Keats and by putting his back to Fanny talks privately.</scene_description>
<character>MR BROWN</character>
<dialogue>John, easy, it was a jest.</dialogue>
<character>KEATS</character>
<dialogue>For whom? I do not laugh, Miss Brawne does not laugh.</dialogue>
<character>MR BROWN</character>
<dialogue>I wrote the valentine to amuse Fanny who makes a religion of flirting. I am simply smoking her so you may see who she is.</dialogue>
<scene_description>Mr Brown puts his arm about Keats. Keats pulls away.</scene_description>
<character>KEATS</character>
<dialogue>You disgust me.</dialogue>
<character>MR BROWN</character>
<dialogue>John she is a poetry scholar one week and what, a military expert the next? It is a game, she collects suitors.</dialogue>
<character>KEATS</character>
<dialogue>You astound me...both of you. There is a holiness to the heart's affections, know you nothing of that? Believe me it's not pride, it hurts my heart.</dialogue>
<scene_description>Keats walks up to Fanny and stands in front of her.</scene_description>
<character>KEATS</character>
<dialogue>Are you in love with Mr Brown? Why don't you speak?</dialogue>
<character>MR BROWN</character>
<dialogue>She can't speak because she only knows how to flirt and sew.</dialogue>
<scene_description>Fanny walks away, humiliated.</scene_description>
<character>MR BROWN (CALLING AFTER HER)</character>
<dialogue>And read all Milton whose rhymes do not pounce because Miss Brawne there are none! There are one or two of her kind in every fashionable drawing room of this city "aheming" over skirt lengths.</dialogue>
<scene_description>A troubled Keats takes a moment or two to decide then runs after Fanny. Together they walk across the Heath.</scene_description>
<character>KEATS</character>
<dialogue>I'm sorry. We could have a poetry lesson tomorrow.</dialogue>
<scene_description>Fanny turns to him, tears streaking her face.</scene_description>
<character>FANNY (AN IMPRESSIVE RAGE)</character>
<dialogue>NO! NO! I want to dance and flirt and talk of flounces and ribbons and beading until I find my old happiness and humour.</dialogue>
<scene_description>Keats is impressed by her passion. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>SPRING. A SILHOUETTE of BLOSSOMS on the Heath's trees.</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM ELM COTTAGE - DAY</stage_direction>
<scene_description>Mrs Brawne, Margaret and Fanny sit together on Mrs Brawne's bed in their NIGHTGOWNS sipping TEA and NIBBLING TOAST from a shared plate. TREE FILTERED SUNLIGHT plays on the bed covers. Fanny is attaching the last SLEEVE to a DUSTY PINK JACKET.</scene_description>
<character>MARGARET</character>
<dialogue>I was dancing, but my dress was not properly on and no matter how I hauled it up it slipped until it was around my ankles.</dialogue>
<character>FANNY</character>
<dialogue>Did you have on a petticoat?</dialogue>
<character>MARGARET</character>
<dialogue>No, nothing.</dialogue>
<character>FANNY</character>
<dialogue>Naked?</dialogue>
<scene_description>Margaret nods and they laugh.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Did you dream Fanny?</dialogue>
<scene_description>Fanny is remembering her dream but she is not telling. The others know better than to press her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny walks along the street then up the path to Wentworth House with a WHITE BLOSSOM TWIG. She is wearing a FROCK of snowy whiteness over which she has DUSTY PINK EMPIRE LENGTH JACKET. She looks adorable. Behind her Samuel follows kicking a WOODEN BALL. Fanny sees Keats inside his room and taps at the WINDOW.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEATS'S ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Keats leaves Mr Brown at the table and throws open the window. Fanny gives Keats the BLOSSOM SPRIG from behind her back.</scene_description>
<character>FANNY</character>
<dialogue>I dreamed of your eyes, it is a sign I think that I do like you.</dialogue>
<character>KEATS</character>
<dialogue>Even though I don't dance?</dialogue>
<scene_description>From behind Keats Mr Brown watches edgily.</scene_description>
<character>MR BROWN(LOUDLY)</character>
<dialogue>Have we broken for the day? Keats?</dialogue>
<scene_description>But Keats appears not even to hear. Samuel comes over to the window excited.</scene_description>
<character>SAMUEL (TO KEATS)</character>
<dialogue>We are going to live next door, Mr and Mrs Dilke are moving to Westminster and we can have six months half rent!</dialogue>
<character>FANNY</character>
<dialogue>It is a great economy for Maman. But if you like, only if you like.</dialogue>
<scene_description>Keats climbs out the window. Mr Brown closes his books moodily.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>NOTE - BRAWNE cat in basket for move to Wentworth House While the Dilke's, Maria, Charles and their son move out of their side of the house, the Brawne's move in. Mr Brown and Keats are talking intensely in the GARDEN, hands behind their backs.</scene_description>
<character>MR BROWN</character>
<dialogue>If the princess has already abandoned the dwarf, we cannot keep his love speech...</dialogue>
<scene_description>Samuel's BALL passes in front of them and Keats splits off to kick it back. Samuel and Keats begin a game together. Keats playfully kicks at Mr Brown twice but the ball simply bounces off his legs and then Samuel and Keats pass and tackle leaving Mr Brown alone. He walks fast into the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE LIVING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>The Brawne's goods are part unpacked. Mr Brown has the family gathered in the Dilke's old living room. Mr Brown stands at the fireplace while they sit and stand about their unsettled furniture.</scene_description>
<character>MR BROWN</character>
<dialogue>If Mr Keats and myself are strolling in the garden, lounging on a sofa, staring into a wall, do not presume we are not working. Doing nothing is the musing of the poet.</dialogue>
<character>FANNY (TEASING)</character>
<dialogue>Are these musings what we common people may know as thoughts?</dialogue>
<character>MR BROWN</character>
<dialogue>Thoughts yes, but of weightier nature.</dialogue>
<character>FANNY</character>
<dialogue>Sinking thoughts?</dialogue>
<character>MR BROWN</character>
<dialogue>Not really Miss Brawne, musing, making one's mind available to inspiration.</dialogue>
<character>FANNY</character>
<dialogue>As in amusing?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Our thoughts are all very simple so you never need worry about interrupting us. We are always glad of company and should be happy if you joined us for dinner on any day.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEATS'S ROOM/STAIRS/FANNY'S ROOM W'WORTH HOUSE - DAY</stage_direction>
<scene_description>Keats walks upstairs to his room. His hands behind his back, distracted with thought, the words of Mr Brown can be heard faintly from the living room. Keats walks into his room and stares at the wall. Fanny and Margaret climb up their stairs and enter their bedroom where they resume unpacking and tidying away their CLOTHES and EFFECTS. Keats moves towards the wall and knocks. Fanny and Margaret stop still.</scene_description>
<character>MARGARET</character>
<dialogue>Mr Keats?</dialogue>
<scene_description>Fanny moves towards the wall. Keats on his side again knocks a little rhythm. Fanny replies with the same rhythm from her side. Keats moves his BED against the wall. Fanny and Margaret listen to the sound of the bed scraping and thudding against the wall.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. GARDEN/KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>A SPRING morning. The FLOWERS are opening their petals to early DAPPLED SUN and the BEES are busy visiting each and every bloom. Amongst the flowers are Keats, Fanny and Margaret. They are moving between the blossoms sniffing them. Inside Wentworth House kitchen, Mrs Brawne is helping their maid with TOAST and TEA.</scene_description>
<character>MR BROWN</character>
<dialogue>Good morning, good morning.</dialogue>
<scene_description>Mr Brown's fine good spirits fade when he notices Keats and Fanny amongst the flowers. Mrs Brawne joins him at the window. They watch as Fanny and Keats sniff from flower to flower. Samuel sits eating his toast.</scene_description>
<character>SAMUEL</character>
<dialogue>They are sniffing every flower in the garden to find the best scent.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Mr Keats is being a bee.</dialogue>
<scene_description>Mr Brown can bear it no more. He takes his tea and leaves. Now Fanny and Keats are nose down in the same flower.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Fanny! I need your help.</dialogue>
<scene_description>Fanny appears not to hear. Mrs Brawne goes outside but is immediately drawn into judging between TWO blooms OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNS ROOM & BRAWNE DRAWING ROOM/TERRACE WENTWORTH</stage_direction>
<scene_description>HOUSE - DAY Mr Brown observes the dance class through the open door, before he returns to the table where he scans Keats' writing. Mrs Brawne matches Keats with Margaret but the Dance Master changes them so Keats becomes Fanny's partner.</scene_description>
<character>MR BROWN(READING ALOUD EVE OF ST</character>
<dialogue>AGNES)</dialogue>
<scene_description>"Soon trembling in her soft and chilly nest, In sort of wakeful swoon, perplex'd she lay, Until the poppied warmth of sleep oppress'd Her soothed limbs, and soul fatigued away; Flown, like a thought, until the morrow-day; Blinded alike from sunshine and from rain, As though a rose should shut, and be a bud again." Mr Brown is blinking, touched and impressed Fanny and Keats dance together, small and delicate faery people.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Upstairs Mrs Brawne helps Fanny dress in a NEW BALL GOWN, as ever it is cleverly conceived and original. A COACH arrives and a young woman friend MARY ROBINSON walks up the path to Wentworth House. Inside Keats can hear Fanny coming down the stairs. Keats meets her in the hallway just as Fanny is greeting her friend.</scene_description>
<character>KEATS</character>
<dialogue>Where are you going, are you keeping secrets? You said nothing of this on our walk.</dialogue>
<character>FANNY</character>
<dialogue>It is not a secret. I am going with Mary to a dance at the Mess.</dialogue>
<character>KEATS</character>
<dialogue>Not to dance?</dialogue>
<character>FANNY</character>
<dialogue>Yes. Of course I will dance - why don't you come too?</dialogue>
<character>KEATS (LOW TO FANNY)</character>
<dialogue>To watch as soldiers put their arms about you?</dialogue>
<scene_description>Mrs Brawne comes down the stairs.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Hello Mary, you've not left yet?</dialogue>
<character>FANNY</character>
<dialogue>I was just asking Mr Keats to join us but he is not persuaded.</dialogue>
<scene_description>Keats bows and full of jealousy retreats. ADD SOME DANCING.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. FANNY'S ROOM/GARDEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny puts her dance sore feet on the floor of her room. She opens her CURTAINS to let the morning light in and sees Keats lying beneath her window. Keats is looking up at Fanny.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HEATH - DAY</stage_direction>
<scene_description>It is a beautiful day. The HEATHER on the Heath is sprinkled with WILD FLOWERS. CHILDREN sail their PAPER BOATS on the POND. Keats and Fanny wait while Margaret buys an ICE CREAM.</scene_description>
<character>KEATS</character>
<dialogue>Lie to me tell me you did not dance last night.</dialogue>
<character>FANNY</character>
<dialogue>I did not sit down a single tune. You can see the truth in my slippers they are completely scuffed. I don't think they can be wiped clean even with methylated spirits. Mama is annoyed as they are expensive but I do not know how I could have prevented it.</dialogue>
<scene_description>Margaret returns with a VANILLA ICE CREAM.</scene_description>
<character>MARGARET</character>
<dialogue>May I watch the boats? I don't want to wait again under the trees while you talk.</dialogue>
<scene_description>Fanny and Keats walk together up the HILL to their favourite spot shaded from the sun and prying eyes by long limbed OAK TREES.</scene_description>
<character>KEATS (ON THE WAY TO THE TREES)</character>
<dialogue>I had such a dream last night.</dialogue>
<character>FANNY</character>
<dialogue>Ohhh?</dialogue>
<character>KEATS</character>
<dialogue>I think one of the greatest enjoyments I have ever had in my life.</dialogue>
<character>FANNY</character>
<dialogue>Well tell me.</dialogue>
<character>KEATS</character>
<dialogue>I was floating above the trees with my lips connected to those of a beautiful figure for what seemed an age. Flowery tree tops sprang up beneath us and we rested on them with the lightness of a cloud.</dialogue>
<scene_description>Keats sits back into the long grass. Fanny is rattled, jealous.</scene_description>
<character>FANNY</character>
<dialogue>Who was the figure?</dialogue>
<character>KEATS</character>
<dialogue>I must have had my eyes closed for I am not sure.</dialogue>
<character>FANNY</character>
<dialogue>Yet you remember the tree tops.</dialogue>
<character>KEATS</character>
<dialogue>Not so well as the lips.</dialogue>
<scene_description>Fanny looks at Keats.</scene_description>
<character>FANNY</character>
<dialogue>Whose lips? Were they my lips?</dialogue>
<scene_description>Keats touches Fanny's lips with his finger</scene_description>
<character>KEATS</character>
<dialogue>They may have been yours.</dialogue>
<scene_description>Keats closes his eyes and presents his lips for Fanny to kiss. Fanny gently places her lips on his. Keats waits and Fanny kisses him again. Keats pulls Fanny on top of him and kisses her and she him and he her. They lie down together lip to lip.</scene_description>
<character>KEATS</character>
<dialogue>"Pale were the lips I kiss'd."</dialogue>
<scene_description>Keats kisses her again.</scene_description>
<character>KEATS</character>
<dialogue>"- and fair the form. I floated with about that melancholy storm."</dialogue>
<scene_description>Margaret comes calling up the hill. Keats makes sound effects of wild flowers squealing as Margaret stops.</scene_description>
<character>KEATS</character>
<dialogue>"Help." "Ahhh."</dialogue>
<scene_description>Keats slows her to a halt. To her chagrin she cannot step without crushing something.</scene_description>
<character>MARGARET</character>
<dialogue>Stop it!</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - EVENING</stage_direction>
<scene_description>The three make their way across the Heath home. Keats and Fanny follow behind Margaret who plays a game of catching them touching, kissing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRACE BACK OF WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny, Keats and Margaret return. A glowing Keats walks backwards looking at Fanny. Keats lets Fanny pass and watches her from behind. Fanny smiles and slyly touches hands. In the garden Samuel has climbed onto the HEDGE. Mr Brown stands underneath, disconcerted by Keats's attention to Fanny. Fanny walks in a cloud up to her room.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny lies stretched on her bed listening to her body tingling with new and beautiful sensations.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN/PLUM TREE WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Samuel is high in the tree branches.</scene_description>
<character>SAMUEL</character>
<dialogue>Mr Brown bet I couldn't find the nightingale's nest.</dialogue>
<character>MR BROWN</character>
<dialogue>There is no nest and no bet.</dialogue>
<scene_description>Keats makes nightingale trills. Mr Brown puffs his PIPE while Keats joins Samuel in the tree, SILHOUETTED against the last of the SUN WINKING THROUGH THE LEAVES.</scene_description>
</scene>
<scene>
<stage_direction>INT. MR BROWN'S DRAWING ROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Late at night Keats sits in the drawing room writing a LETTER to his brother George and sister-in-law Georgina when Mr Brown enters in a DRESSING GOWN with a PLATE of MIDNIGHT SNACKS. Mr Brown sits beside Keats and eats without pause.</scene_description>
<character>KEATS</character>
<dialogue>You are making a liar of me - I had just writ - "Brown is gone to bed - and I am tired of rhyming - there is a north wind blowing, playing gooseberry with the trees."</dialogue>
<character>MR BROWN</character>
<dialogue>I read your Eve of St Agnes today it does not trip, not once, it is perfect, extraordinarily good. "Her rich attire creeps rustling to her knees:"</dialogue>
<character>KEATS</character>
<dialogue>"Soon, trembling in her soft and chilly nest, In sort of wakeful swoon, perplex'd she lay, Until the poppied warmth of sleep oppress'd Her soothed limbs, and soul fatigued away;"</dialogue>
<character>MR BROWN</character>
<dialogue>"Her soothed limbs,..." I spent the afternoon sorting through your sins and think Ode to Psyche very keen, beautiful and clear. "And there shall be for thee all soft delight That shadowy thought can win, A bright torch, and a casement ope at night, To let the warm Love in!" See here there are tears, you are so far ahead of me and above me.</dialogue>
<character>KEATS</character>
<dialogue>Brown, I am amazed.</dialogue>
<character>MR BROWN</character>
<dialogue>Your writing is the finest thing in my life. A greater miracle than to see new life born. That sort of miracle is in compare common place.</dialogue>
<scene_description>Mr Brown holds out his hand to Keats who takes it. Mr Brown pats Keats hand.</scene_description>
<character>MR BROWN (TO KEATS'S HAND)</character>
<dialogue>You wrote this little hand.</dialogue>
<character>KEATS (PLAYFULLY)</character>
<dialogue>Yes, while he was dreaming I wrote it all, see this is where the pen pressed.</dialogue>
<scene_description>Mr Brown clasps the hand.</scene_description>
<character>MR BROWN</character>
<dialogue>As one who truly loves you I must warn you kindly of a trap you are walking into.</dialogue>
<character>KEATS</character>
<dialogue>If you are going to speak of Miss Brawne we have never agreed and cannot agree.</dialogue>
<character>MR BROWN</character>
<dialogue>No that is not true, we both agree she is an exquisite dressed creature.</dialogue>
<character>KEATS</character>
<dialogue>Is it a sin to look well?</dialogue>
<character>MR BROWN</character>
<dialogue>For one or two of your "slippery blisses" you will lose your freedom permanently. You will be slaving at medicine 15 hours a day - for what? To keep Mrs Keats in French ribbon?</dialogue>
<scene_description>Keats looks dismayed, sick.</scene_description>
<character>MR BROWN</character>
<dialogue>I cherish your talent, I truly do.</dialogue>
<character>KEATS</character>
<dialogue>Then allow me my happiness for I am writing again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLUM TREE WENTWORTH HOUSE - MORNING</stage_direction>
<scene_description>Keats looks up into the PLUM TREE. He whistles. The NIGHTINGALE sings.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. WENTWORTH HOUSE - MORNING</stage_direction>
<scene_description>Fanny watches Keats from her bedroom window.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. WENTWORTH HOUSE AND GARDEN - MORNING</stage_direction>
<scene_description>Keats picks up a CHAIR from the living room table. As he takes it outside Fanny comes down the stairs and goes to the Brawne sitting room where she sees Keats place the chair under the plum tree in the DAPPLED SHADE. Out of Keats's pocket he takes a FOLDED PIECE OF PAPER and a LEAD PENCIL. He does not write but becomes perfectly still, his body relaxed, his focus inward.</scene_description>
<character>KEATS (V.O.)</character>
<dialogue>ODE to a NIGHTINGALE "My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of their happy lot, But being too happy in thy happiness, -"</dialogue>
<scene_description>Fanny watches Keats move his chair to the shade and his pen make its steady journey across the paper. Mr Brown enters his living room, he notices the chair gone, then Keats under the tree one leg crossed over the other completely still except for the pen flying.</scene_description>
<character>KEATS (V.O.)</character>
<dialogue>"That thou, light-winged Dryad of the trees, In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease."</dialogue>
<scene_description>THE NIGHTINGALE SINGS AGAIN THEN FLIES OUT THROUGH THE BRANCHES LIKE AN ARROW. \[CGI SHOT\] Keats watches the bird's flight then continues writing. Fanny rises and walks to the window her SEWING in hand. Keats has gone. The chair is empty.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN'S DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Keats stuffs his NOTES into a gap in the BOOKSHELF of the drawing room. Mr Brown looks up and watches as Keats walks out of the room. Mr Brown retrieves the notes. Carefully Mr Brown lays the PAGES out on the table.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Keats is playing with the Brawne CAT. Toots stands ready in a BONNET for a walk. Samuel has a BALL and CRICKET BAT. Fanny joins them, BONNET, GLOVES and PARASOL ready. Keats looks across and smiles. Mr Brown enters the drawing room unannounced, he looks very intense.</scene_description>
<character>MR BROWN</character>
<dialogue>John, can you come?</dialogue>
<character>KEATS</character>
<dialogue>I was about to accompany the Miss Brawnes to the Heath.</dialogue>
<scene_description>Mr Brown looks urgent, intent.</scene_description>
<character>MR BROWN</character>
<dialogue>Now. Please.</dialogue>
<scene_description>Fanny glumly undoes the BOW on her bonnet and Keats follows Mr Brown out of the room. As Fanny goes to the stairs bonnet in hand, she pauses. She can hear the sound of Keats's voice and sometimes Mr Brown reading with him.</scene_description>
<character>KEATS (AND MR BROWN)</character>
<dialogue>"Darkling I listen: and for many a time I have been half in love with easeful Death, Called him soft names in many a mused rhyme, To take into the air my quiet breath."</dialogue>
<scene_description>Fanny opens the door softly despite Mr Brown's sign KEEP OUT POETS AT WORK. Keats turns and sees her. Mr Brown is at the table trying to make out Keats's handwriting as he makes a fair copy.</scene_description>
<character>MR BROWN</character>
<dialogue>"Now more than ever seems it rich to die."</dialogue>
<character>KEATS</character>
<dialogue>"To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy!"</dialogue>
<scene_description>Fanny sits on a chair against the wall listening, thrilled. Mr Brown stops work and scrapes back his chair looking at Keats exasperated.</scene_description>
<character>KEATS</character>
<dialogue>What?</dialogue>
<character>MR BROWN</character>
<dialogue>Did you tell Miss Brawne of our summer holiday, or shall I?</dialogue>
<scene_description>Fanny looks at Keats.</scene_description>
<character>KEATS</character>
<dialogue>Not as yet. Brown is doing his summer rental and we both have to leave.</dialogue>
<character>MR BROWN</character>
<dialogue>We are meeting up on the Isle of Wight for some undisturbed writing and carousing.</dialogue>
<scene_description>Fanny is burning with humiliation. Head bowed she rises from the chair and leaves.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>In the DARK HALL Fanny leans against the wall and sobs. The door opens, it is Keats.</scene_description>
<character>KEATS</character>
<dialogue>Fanny I was going to tell you.</dialogue>
<character>FANNY</character>
<dialogue>When? When were you going to tell me? You play with me like a cat. I won't be PICKED UP AND PUT DOWN!</dialogue>
<scene_description>Fanny shrieks at Keats stalking back to her side of the house. Slamming the door. Mr Brown opens the door. Samuel comes downstairs to look. Keats knocks on the Brawne sitting room door. He lets himself in. Fanny is sobbing onto her mother's lap.</scene_description>
<character>KEATS</character>
<dialogue>May I speak to Fanny Mrs Brawne?</dialogue>
<character>FANNY</character>
<dialogue>NO, NO, I will not speak to him. (Shrieking at Keats) YOU HAVE HUMILIATED ME! YOU COULD NOT HAVE DONE BETTER IF YOU HAD STRIPPED ME BARE!</dialogue>
<scene_description>Keats is white with fright.</scene_description>
<character>KEATS</character>
<dialogue>I have no money Fanny in fact I am in debt. I must earn, I must write and make a living. If I fail though I hate to think on it, I must make way so another may marry and adore you as I wish to.</dialogue>
<character>FANNY</character>
<dialogue>I will not be adored ever again by you or anyone! I hate you! I hate you! I HATE YOU!</dialogue>
<scene_description>Keats sits, alarmed and helpless watching the sobbing Fanny in Mrs Brawne's lap. Mrs Brawne resumes her EMBROIDERY, raising her eyebrows at Keats. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. BRAWNE HALF OF WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>The Brawne half of the house in it's summer suit. DAPPLED LIGHT, YELLOW LAWN, ROSES BOBBING. The Heath beyond full of MERRYMAKERS. Samuel wanders out the FRONT DOOR. Mrs Brawne is cleaning TEASPOONS in the dining room. Margaret in the drawing room is sewing a SAMPLER. Fanny watches Samuel waiting at the gate. The POST MESSENGER passes but does not pause. Samuel turns and walks back.</scene_description>
<character>SAMUEL (CALLING TO FANNY)</character>
<dialogue>Nothing.</dialogue>
<scene_description>A disappointed Fanny is sitting on an UPRIGHT CHAIR with the CAT on her lap. Mrs Brawne counts the SPOONS and places them one by one in a VELVET LINED BOX.</scene_description>
<character>FANNY</character>
<dialogue>My life is no more than a cats. I sleep. I clean myself. I prowl around the rooms and barely ever leave this house or this neighbourhood.</dialogue>
<scene_description>TEARS begin to well in Fanny's eyes. Mrs Brawne repairs to the kitchen for more SILVER. MUSIC can be heard distantly on the Heath and the SHOUTS and LAUGHTER of the SUMMER CROWD. Margaret carries a little SAMPLE WORK across to Fanny.</scene_description>
<character>MARGARET (TOOTS)</character>
<dialogue>Will you check my stitch Fanny it is an open work seam.</dialogue>
<character>FANNY</character>
<dialogue>Oh God no Toots, go away. I don't care a dam for stitches. Mama, please get rid of her.</dialogue>
<scene_description>The CAT is sent flying and Margaret's STITCHING is tossed aside.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. FANNY'S ROOM WENTWORTH HOUSE - CLEAR SUMMER'S DAY</stage_direction>
<scene_description>Fanny is lying in bed. Margaret kneels beside the bed, a set up of her TOY WORLD with ALL ITS ACCOUTREMENTS lined up on the floor. Mrs Brawne enters with a TRAY OF TEA. Fanny looks up.</scene_description>
<character>FANNY</character>
<dialogue>No letter?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Not today.</dialogue>
<scene_description>Fanny falls back softly CRYING.</scene_description>
<character>FANNY</character>
<dialogue>Am I in love? Is this love? It really is a very bad thing. I shall never tease about it again. It is very hard, so sore I believe one could die of it.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny sitting in the drawing room POURING TEA for Mrs Dilke, her mother, Margaret and Samuel. Fanny hears the STEPS of a MESSENGER outside the GATE. Her whole concentration shifts, she puts down the pot and moves to the window willing the messenger to stop at their gate. He does. The messenger opens the gate and walks up the path carrying a letter. Fanny is drawn to the door like one possessed. The messenger hands the LETTER IN KEATS'S HAND to Fanny. She PAYS the messenger 1/6d and without further explanation takes the letter held to her bosom upstairs to her bed. She pulls the covers up over her head and in her tent like privacy opens the letter. SHANKLIN, ISLE OF WIGHT, THURSDAY My dearest Lady, "I am now at a very pleasant Cottage window, looking onto a beautifully hilly country, with a glimpse of the sea; the morning is very fine. I do not know how elastic my spirit might be, what pleasure I might have in living here if the remembrance of you did not weigh so upon me. --- ask yourself my love whether you are not very cruel to have so entrammelled me, so destroyed my freedom."</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny leaves the house trailed by Margaret and Samuel. As she walks out upon the Heath away from other strangers and far ahead of her brother and sister, she takes out Keats's LETTER. Keats's letter continued. "Will you confess this in a letter? You must write immediately and do all you can to console me in it --- make it rich as a drought of poppies to intoxicate me --- write the softest words and kiss them that I may at least touch my lips where yours have been." Fanny gulps for breath, she kneels unaware of herself in the LONG GRASS studying the words. Pressing her lips against the letter. Keats's letter continued. "For myself I know not how to express my devotion to so fair a form: I want a brighter word than bright; a fairer word than fair." Margaret and Samuel catch up with Fanny and collapse in the grass near her, watching her strange possession with the letter but knowing better than to interrupt. Keats's letter continued. "I almost wish we were butterflies and liv'd but three summer days --- three such days with you I could fill with more delight than fifty common years could ever contain." Fanny beams at Margaret. She pulls her towards her and kisses her.</scene_description>
<character>FANNY</character>
<dialogue>If I have ever been mean and I know I might have been, please forgive me my darling Toots.</dialogue>
<scene_description>Margaret blinks with each kiss.</scene_description>
<character>FANNY</character>
<dialogue>Sorry, sorry, sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny prepares the paper by kissing it. My Dear Mr Keats, "Thank you for your letter. I have lately felt so nervous and ill that I had to stay five days in bed. But having received your letter yesterday, I am up and again walking our paths on the Heath. I have begun a butterfly farm in my bedroom in honour of us. Sammy and Toots are catching them for me. Samuel has made a science of it and is collecting both caterpillars and chrysalises so we may have them fluttering about us a week or more." The children and Fanny in the business of BUTTERFLY and CATERPILLAR collecting. JAR TOPS are covered in GREASE PROOF PAPER and tied around the top with STRING. The paper is PRICKED with a FORK for air holes. The jars are lined up around Fanny's bedroom. Fanny's PEN DIPS into the INK, a BUTTERFLY in a GLASS COVERED JAR slowly CLOSES it's wings as she writes her letter.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny talks to her mother in the kitchen. She is dressed for an outing, all in WHITE, STRAW BONNET and WHITE PARASOL. Mrs Brawne is rolling out a PIE while the maid is IRONING.</scene_description>
<character>FANNY</character>
<dialogue>If a letter...</dialogue>
<character>MRS BRAWNE</character>
<dialogue>I promise I shall come and find you.</dialogue>
<character>FANNY</character>
<dialogue>But be ready. Have your hat and parasol ready.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Perhaps I'll send Abigail. Can you run?</dialogue>
<character>ABIGAIL</character>
<dialogue>Oh yes I can, if I lift my skirts go as fast as any boy or even a man.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny and Margaret are strolling near the POND where CHILDREN wade and coax their TOY BOATS along with a STICK. Samuel is guiding his along from the edge. Fanny's eyes scan any sign of movement, a CHILD chasing a BALL, a MAN bowling a CRICKET BALL, A MOTHER rushing after a TODDLER. Fanny lies on the GRASS face-down, dead-like. Most of the Heath's revellers have left. Margaret sits near Fanny not knowing what to do. Samuel fiddles with his boat's RIGGING.</scene_description>
<character>MARGARET (SPEAKING TO FANNY ON THE</character>
<dialogue>GROUND)</dialogue>
<scene_description>Shall we go home? Fanny? I have collected some leaves for the caterpillars.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>On the staircase as Fanny enters lies a LETTER from Keats addressed to her. Fanny snatches up the letter and storms into the drawing room. Charles and Maria Dilke stand to greet her but she is in mid fury.</scene_description>
<character>FANNY</character>
<dialogue>Why didn't you send for me? Mr Keats has written and you did not send Abigail as you had said.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Please greet our friends.</dialogue>
<character>FANNY</character>
<dialogue>I'm sorry but I cannot be polite when I have been so betrayed. Why are you against me Mama?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Fanny the letter could wait an hour. I needed Abigail.</dialogue>
<character>FANNY</character>
<dialogue>Three hours!!!</dialogue>
<scene_description>Fanny storms out of the drawing room and upstairs to her room. The party downstairs re-seats themselves, the air fatally electrified around them.</scene_description>
<character>MARIA DILKE</character>
<dialogue>When did this happen?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Under my nose - I am praying to God it will blow over.</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>In the privacy of her room Fanny by CANDLELIGHT reads her new letter. Keats's letter. "I have two luxuries to brood over in my walks, your loveliness and the hour of my death. O that I could have possession of them both in the same minute. I am miserable that you are not with me: or rather breathe in the dull sort of patience that cannot be called life. I never knew before, what such a love as you have made me feel, was; I did not believe in it; my Fancy was afraid of it, lest it should burn me up. But if you will fully love me, though there may be some fire it will not be more than we can bear when moistened and bedewed with Pleasures."</scene_description>
<character>FANNY</character>
<dialogue>"Bedewed with Pleasures..."</dialogue>
<scene_description>Fanny kisses the letter.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - AFTERNOON</stage_direction>
<scene_description>Mrs Brawne enters Fanny's bedroom concerned by the romantic chaos, BUTTERFLIES in the air, CLOTHES scattered about. Attempted LETTERS littering the bed and all about Fanny, KEATS'S LETTERS. Fanny looks up smiling.</scene_description>
<character>FANNY</character>
<dialogue>I forgive you Maman.</dialogue>
<scene_description>Mrs Brawne OPENS a window.</scene_description>
<character>MARGARET</character>
<dialogue>No Maman we will lose them.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>There is no air.</dialogue>
<character>MARGARET</character>
<dialogue>They love the heat.</dialogue>
<character>FANNY (READING)</character>
<dialogue>Listen, "I love you more in that I believe you have liked me for my own sake - I have met with women who I really think would like to be married to a poem and to be given away by a Novel." "Married to a poem."</dialogue>
<scene_description>Fanny laughs amused. Mrs Brawne does not. Butterflies flutter past Mrs Brawne.</scene_description>
<character>FANNY</character>
<dialogue>Maman do not be cross.</dialogue>
<scene_description>Fanny takes her mother's hand.</scene_description>
<character>FANNY</character>
<dialogue>When I do not hear from him it is as if I have died, as if the air is sucked out of my lungs and I am left desolate, but when I receive a letter I know our world is real and it is the only one I care for.</dialogue>
<scene_description>Mrs Brawne backs out of the door. Fanny gets up and follows Mrs Brawne to her own neat, clean bedroom.</scene_description>
<character>FANNY</character>
<dialogue>Was Mrs Dilke speaking against us?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>She is your friend too. And she cares for and loves Mr Keats as I do.</dialogue>
<character>FANNY</character>
<dialogue>But not as I do. What did she say?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>That he should not come back here and live is what Mrs Dilke said. What Mr Dilke is saying too.</dialogue>
<character>FANNY</character>
<dialogue>And you agree?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Yes.</dialogue>
<character>FANNY</character>
<dialogue>Let me marry him Mama, if he comes back let us be.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>You ambush me Fanny.</dialogue>
<character>FANNY</character>
<dialogue>I will organise my life. Take all the letters, you keep them, and once a day, no better, once a week you may give them to me for one hour. The rest of the week I shall work. I shall sew 4 hours, and study, and take up my dance classes, we can all walk upon the Heath. I will make you laugh again Mama but let us be engaged.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>No man wants to live off his wife's family who are barely managing.</dialogue>
<character>FANNY</character>
<dialogue>You insult him and you insult me. Why must you do this? His great worth is in the future. What can we not afford, another chop? Then I shan't eat and when I die the family can prosper, is this your logic?</dialogue>
<scene_description>Mrs Brawne looks at Fanny hopelessly.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Do your programme. Give me the letters, let us try.</dialogue>
<character>FANNY</character>
<dialogue>I may keep only the latest? Mama to have something of his.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny, Margaret and Samuel are practising their dance steps. Mrs Brawne passes through the room cautiously pleased.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Margaret and SIX OTHER CHILDREN receive instructions from Fanny on how to work a SWISS EMBROIDERY FRAME clamped to the table.</scene_description>
<character>FANNY (TO MARGARET)</character>
<dialogue>Fill the inside with as many padding stitches as you can, then use a wide slanted satin stitch.</dialogue>
<scene_description>Mrs Brawne watches, cautiously pleased.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Margaret runs into the kitchen looking frightened. Mrs Brawne and Abigail are ROLLING PASTRY.</scene_description>
<character>MARGARET</character>
<dialogue>Fanny wants a knife.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>What for? What has happened?</dialogue>
<scene_description>Margaret's lip begins to quiver. Mrs Brawne runs up the kitchen stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny lies sobbing on the floor, clutching her latest letter, a TINY pair of SEWING SCISSORS lie nearby. The family cat sniffs curiously at her cheek, while only one live dazed BUTTERFLY flutters around the room. The CORPSES of many others lie about the floor and surfaces.</scene_description>
<character>FANNY</character>
<dialogue>It is all over. I have such a short letter, after all this time, saying he was in London, in London but couldn't bring himself to visit for fear it would burn him up!</dialogue>
<character>MRS BRAWNE</character>
<dialogue>He wrote that, "burn him up?"</dialogue>
<character>FANNY</character>
<dialogue>He has made no fortune and he is ashamed of it. If only he knew how little I, or even you, care for that now. I don't know how I will live.</dialogue>
<scene_description>Fanny breaks down, a small scratch on her wrist.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE STAIRS WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Abigail and Margaret carry an armful of EMPTY butterfly JARS full of DEAD LEAVES downstairs to the kitchen.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny sweeps BUTTERFLY CORPSES into a dustpan. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Margaret and Samuel are playing cricket in the garden, they stop and stare as Mr Brown appears on the path.</scene_description>
<character>MR BROWN</character>
<dialogue>Hello.</dialogue>
<scene_description>Margaret turns and leaves immediately. Behind Mr Brown a THIN YOUNG MAN pulls a cart piled with Mr Brown's holiday LUGGAGE. A crushed Fanny and Mrs Brawne are quietly sewing; Fanny a DRESS, while Mrs Brawne DARNS. Margaret appears at the window.</scene_description>
<character>MARGARET</character>
<dialogue>Mr Brown has returned but no Mr Keats with my rocks he promised.</dialogue>
<scene_description>Mrs Brawne looks across at Fanny anxiously.</scene_description>
<character>FANNY</character>
<dialogue>What can he do to me? Hurt my pride? It has slipped so low I have stepped out of it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MR BROWN'S HALF WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mr Brown is surrounded by his LUGGAGE in piles in his drawing room. He is PAYING the CARTER who puts the last of the bags down. There is a KNOCK at the door. Fanny enters followed by ABIGAIL their RED HEADED MAID, her head bowed.</scene_description>
<character>FANNY</character>
<dialogue>Mama asked me to welcome you home and to introduce you to Miss O'Donaghue who is our maid but may also do for you.</dialogue>
<scene_description>The young IRISH maid BLUSHES and CURTSEYS.</scene_description>
<character>ABIGAIL</character>
<dialogue>Please sir call me Abigail or Abby.</dialogue>
<character>MR BROWN</character>
<dialogue>Very well. Be sure you do not enter when the door is closed.</dialogue>
<scene_description>Abigail nods.</scene_description>
<character>ABIGAIL</character>
<dialogue>Yes sir.</dialogue>
<scene_description>Abigail leaves. Mr Brown watches, his interest mildly aroused. Fanny remains awkwardly.</scene_description>
<character>MR BROWN</character>
<dialogue>Mr Keats is not coming back. He is going to live in London.</dialogue>
<character>FANNY</character>
<dialogue>Please tell Mr Keats that we Brawne's have kept safe all his things.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE BASEMENT WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny takes the KEY from Keats's chest stacked high with books. She threads it onto a RIBBON.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny is KNITTING a fine wool SOCK in the DIMLY LIT kitchen. Abigail is kneading and making BREAD.</scene_description>
<character>ABIGAIL</character>
<dialogue>Mr Brown has said that I could learn to read yet and I said "what will I read?" And he said "even the Bible is not so dull as you might believe." He has said that the "Songs of Solomon" are juicy enough to make a churchman blush and as I learn to read I will see he does not tell a lie!</dialogue>
<scene_description>Fanny's FOUR slim NEEDLES work steadily, systematically. Around her neck is the RIBBON reaching into her bodice.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Keats walks up the path to Wentworth House.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Margaret runs into the room.</scene_description>
<character>MARGARET</character>
<dialogue>Mr Keats has come, aren't you coming down? He needs the key to his chest.</dialogue>
<scene_description>Fanny is startled. She puts down her NEEDLEWORK.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE CELLAR WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny follows Margaret into the cellar where Keats and Samuel are struggling with the LOCK.</scene_description>
<character>SAMUEL</character>
<dialogue>Do you have the key Fanny?</dialogue>
<character>FANNY</character>
<dialogue>Hello Mr Keats.</dialogue>
<character>KEATS</character>
<dialogue>Hello Miss Brawne.</dialogue>
<scene_description>The two stare at each other a long moment before Fanny removes the RIBBON from around her neck and gently pulls the KEY clear from her bodice where it had been nestling in her bust. Fanny drops it into Keats's hand. Keats is transfixed by the warm KEY lying in his palm, burning it. Samuel leaves, his voice FADING off.</scene_description>
<character>SAMUEL</character>
<dialogue>Mama we have found it, Fanny had it like I thought.</dialogue>
<scene_description>Ignoring everything but each other, Fanny gently takes the key from Keats and kneeling unlocks his CHEST. She opens the lid.</scene_description>
<character>FANNY</character>
<dialogue>What do you need?</dialogue>
<scene_description>Keats kneels beside her. He is unable to take his eyes from her. He watches as Fanny pulls out items of clothing.</scene_description>
<character>FANNY</character>
<dialogue>Your coat?</dialogue>
<scene_description>Fanny shakes it out holding it up.</scene_description>
<character>FANNY</character>
<dialogue>But it is not warm enough, there is no lining. These brown breeches are warm.</dialogue>
<scene_description>Their eyes connect as Fanny turns slowly towards Keats the FOLDED PANTS in her hands. She turns back to the trunk.</scene_description>
<character>FANNY</character>
<dialogue>And your black vest, Ohhh it has a small hole. I could mend it so well you will not see it.</dialogue>
<scene_description>Wordlessly Keats and Fanny continue bonding through the domestic chores simple and deep - all his resolve dissolving.</scene_description>
</scene>
<scene>
<stage_direction>INT. 25 COLLEGE STREET - DAY</stage_direction>
<scene_description>The Dilke family DINING ROOM where the Dilke's SON and a FRIEND play. Charles Dilke writes at one end of the TABLE Keats at the other while Maria Dilke is POURING TEA. Keats's PEN dips in his DARK BROWN INK. 11 & 13 October 1819 My Sweet Girl, "I am living today in yesterday: I was in a complete fascination all day. I feel myself at your mercy. Write me ever so few lines and tell me you will never for ever be less kind to me than yesterday - you dazzled me - there is nothing in the world so bright and delicate. You have abosrbed me I have a sensation at the present moment as if I was dissolving ---"</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny and Keats walk slowly together through the AUTUMN LEAVES on the Heath. Samuel and Toots run ahead. The lovers lean together on the trunk of a huge ELM. Keats gives Fanny a RING. Keats kisses Fanny deeply on the lips. Toots and Samuel shocked, stop in their tracks.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mrs Brawne and Maria Dilke are talking gravely and taking TEA in the Brawne's dining room. Fanny passes through with her sewing.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Fanny.</dialogue>
<character>FANNY</character>
<dialogue>What is wrong, you are looking so grave?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Maria says Mr Keats is now proposing to live next door again. She wants to know if I have any objections.</dialogue>
<character>FANNY</character>
<dialogue>Of course you don't. No she doesn't. Mr Brown is Mr Keats's best friend, how can we object.</dialogue>
<scene_description>Maria Dilke is quiet, she looks at Mrs Brawne.</scene_description>
<character>MARIA DILKE</character>
<dialogue>Fanny, Mr Dilke and I are worried that such close connection may prove restrictive for you.</dialogue>
<character>FANNY</character>
<dialogue>No.</dialogue>
<character>MARIA DILKE</character>
<dialogue>I don't think you fully understand. Mr Keats can't afford to marry, his circumstances are really quite hopeless and if he is next door how will you meet anyone else? How will you go to dances?</dialogue>
<scene_description>Mrs Dilke notices Fanny's ring, shocked.</scene_description>
<character>MARIA DILKE</character>
<dialogue>Ohh but you are engaged?</dialogue>
<character>FANNY</character>
<dialogue>It was Mr Keat's mothers ring, not an engagement ring.</dialogue>
<character>MRS BRAWNE (OVERLAPPING)</character>
<dialogue>You were not to wear it</dialogue>
<character>FANNY</character>
<dialogue>See I wear it on the finger next door</dialogue>
<character>MARIA DILKE</character>
<dialogue>What a pretty ring.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Do not even discuss it. She is in no way bound to him.</dialogue>
<scene_description>Mrs Brawne is SHAKING her head exhausted by Fanny's powers of persuasion.</scene_description>
<character>FANNY</character>
<dialogue>You taught me to love, you never said only the rich, only a thimbleful. Mr Keats is a genius. His poems will sell, and until then I could make money sewing.</dialogue>
<character>MARIA DILKE</character>
<dialogue>Attachment is such a difficult thing to undo</dialogue>
</scene>
<scene>
<stage_direction>INT. HALL WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny is walking towards Keats and Mr Brown's door. She slips her GARNET RING off her middle finger and across to her engagement finger.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Fanny!</dialogue>
<scene_description>Fanny hides her left hand behind her back.</scene_description>
<character>FANNY</character>
<dialogue>I am going to say good morning.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>How will he write his poems if you are with him? Come.</dialogue>
<character>FANNY</character>
<dialogue>It is alright he is simply fair copying the poems for a new book and in this I give him calm.</dialogue>
<scene_description>Fanny enters the poets rooms almost invisibly. Quietly she takes a CHAIR and places it next to Keats at the table. She begins to sew. Mr Brown, at the other end of the table, finally notices and leaves perturbed. As the door closes Fanny and Keats immediately begin to kiss. Keats rests his head on Fanny's chest.</scene_description>
<character>KEATS</character>
<dialogue>"Pillow'd upon my fair love's ripening breast, To feel forever it's soft swell and fall, Awake forever in a sweet unrest Still, still to hear her tender taken breath."</dialogue>
<character>FANNY</character>
<dialogue>It's new, from which poem?</dialogue>
<character>KEATS</character>
<dialogue>Yours - "Bright Star would I were stedfast as thou art- Not in lone splendour hung aloft the night."</dialogue>
<character>FANNY</character>
<dialogue>Why do you say Not? Not in lone splendour?</dialogue>
<character>KEATS</character>
<dialogue>Because I want to be close enough to you, (kiss), to hear your every breath, (kiss), yet I wish for the eternal faithfulness of a star.</dialogue>
<character>FANNY (PUSHING HIM BACK)</character>
<dialogue>You fear I am not steadfast because I oblige Maman by going to a dance?</dialogue>
<character>KEATS</character>
<dialogue>Don't tease Fanny.</dialogue>
<character>FANNY</character>
<dialogue>I will tell Maman I am unwell.</dialogue>
<scene_description>Fanny kisses Keats.</scene_description>
<character>KEATS</character>
<dialogue>No, go, go.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mr Brown scoffs FRESH SCONES in the kitchen. Abigail BUTTERS them for him full of admiration. Fanny is working on her SCRAPBOOK of fashion ideas.</scene_description>
<character>MR BROWN</character>
<dialogue>Good Irish Abigail Who never did fail To make a scone As good as a swan...</dialogue>
<scene_description>Abigail puts a hand over her rotted teeth as she giggles. Suddenly Fanny rises, she is looking out the window as the SNOW begins to fall. Fanny leaves the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mrs Brawne sees Fanny walking out into the snow. She moves to the window.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Fanny come in, it has turned very cold.</dialogue>
<character>FANNY</character>
<dialogue>Mr Keats has gone into London with no coat.</dialogue>
<scene_description>FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>The SNOW has turned to SLEET. The Brawne's make their way by CANDLE up to their rooms.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny watches from her window. RAIN is reflected across her face. She is relieved to finally see the small chilled figure of Keats making his way unsteadily to the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. MR BROWN'S HALL WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Mr Brown comes out from his study as he hears the front door CLOSE. Keats is WET and staggering, finding it hard to stand.</scene_description>
<character>MR BROWN</character>
<dialogue>Have you had wine?</dialogue>
<scene_description>Keats shakes his head.</scene_description>
<character>MR BROWN</character>
<dialogue>What is the matter, are you fevered?</dialogue>
<character>KEATS</character>
<dialogue>Yes, yes. I was severely chilled. I was on the outside of the coach - but now I don't feel it.</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>It is PITCH BLACK only the SOUND of Mr Brown's VOICE SHOUTING, BANGING and FOOTSTEPS.</scene_description>
<character>MR BROWN (VOICE OFF)</character>
<dialogue>Abigail! Abigail! Get up, dress yourself we need a doctor.</dialogue>
<scene_description>Fanny sits up terrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny in her DRESSING GOWN and with a CANDLE. Abigail is carrying SHEETS through to the laundry. Fanny follows her.</scene_description>
<character>FANNY</character>
<dialogue>What has happened?</dialogue>
<character>ABIGAIL</character>
<dialogue>I don't know Ma'am.</dialogue>
<character>FANNY</character>
<dialogue>Has a doctor arrived?</dialogue>
<character>ABIGAIL</character>
<dialogue>Yes Ma'am. Mr Brown told me to take these sheets off as they are bloodied.</dialogue>
<scene_description>Abigail places them in the LAUNDRY TUB and turns on the WATER.</scene_description>
<character>FANNY</character>
<dialogue>Is it Mr Keats?</dialogue>
<scene_description>Abigail makes her way back to the STOVE with its BOILING KETTLE.</scene_description>
<character>ABIGAIL</character>
<dialogue>I don't know Ma'am.</dialogue>
<character>FANNY</character>
<dialogue>Let me help.</dialogue>
<scene_description>Fanny puts CHINA CUPS on a TRAY. Her hands are shaking. Mr Brown comes through. Fanny moves towards him about to speak.</scene_description>
<character>MR BROWN ECHOING (INTERRUPTING)</character>
<dialogue>Not now Fanny, I can't talk.</dialogue>
<character>FANNY</character>
<dialogue>If he's ill I want to help. He would want me there.</dialogue>
<character>MR BROWN</character>
<dialogue>Move away, this is an emergency. A basin, I need a basin and a towel, glasses.</dialogue>
<character>FANNY</character>
<dialogue>I can bring them.</dialogue>
<character>NO!</character>
<dialogue>STAND BACK!</dialogue>
<scene_description>Fanny stands back offering no resentment. The SOUND of WATER filling the wash tub sends her to the laundry. She turns off the TAP, Keats's BLOODIED SHEETS blooming in the dark tub.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mr Brown is standing by the kitchen HEARTH, towels are folded on the table. Abigail crosses past with a barely touched TRAY of BROTH and TOAST from Keats's room. DR BREE is finishing up a plate of bacon and eggs. The Brawnes (including Samuel and Margaret) are sitting at the table listening anxiously.</scene_description>
<character>MR BROWN</character>
<dialogue>Doctor Bree was particular in saying that Mr Keats should avoid all sources of excitement. It is a disease peculiarly vulnerable to romantic anxiety.</dialogue>
<scene_description>Brown looks towards the Doctor who confirms Brown's explanation with a nod.</scene_description>
<character>DR BREE</character>
<dialogue>A lot of rest.</dialogue>
<scene_description>He leaves, head down, signalling them to remain.</scene_description>
<character>MR BROWN</character>
<dialogue>Keats has already asked to see Miss Brawne but I have managed him and said she had gone into town...</dialogue>
<character>FANNY</character>
<dialogue>But I have not. How could I go into town when Mr Keats is so ill?</dialogue>
<character>MR BROWN</character>
<dialogue>I am speaking of keeping Mr Keats calm.</dialogue>
<character>FANNY</character>
<dialogue>What must he be thinking? This is a deception I cannot join.</dialogue>
<character>MR BROWN</character>
<dialogue>It is not a deception, I am simply determined to preserve the life of my friend.</dialogue>
<character>FANNY</character>
<dialogue>He will be unquiet until he sees me...</dialogue>
<character>MR BROWN</character>
<dialogue>He has been profoundly unquiet since you have decided to love him Miss Brawne.</dialogue>
<character>FANNY</character>
<dialogue>He would be more unquiet if I decided not to.</dialogue>
<character>MRS BRAWNE (SHARPLY)</character>
<dialogue>Fanny!</dialogue>
<character>FANNY</character>
<dialogue>Mr Brown would have it that I kill Mr Keats with affection.</dialogue>
<character>MR BROWN</character>
<dialogue>Perhaps you will. Perhaps there is nothing I can do to protect him from your insistence of loving him into an early grave. But I shall try, Miss Brawne, I shall try! All visits will follow my regime or they will not happen at all.</dialogue>
<scene_description>Fanny sits back shocked.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Please, we Brawne's will do whatever we can to restore Mr Keats to health.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEATS'S ROOM/PASSAGE WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny waits outside Keats's room. She puts her GARNET RING onto her engagement finger. The DOOR opens, Mr Brown stands aside to allow Fanny through.</scene_description>
<character>KEATS</character>
<dialogue>Darling girl. I have been wondering where you were.</dialogue>
<character>FANNY</character>
<dialogue>I never did go to town, I have been waiting to be with you the whole day.</dialogue>
<character>KEATS</character>
<dialogue>Last night there was a great rush of blood, such that I thought I cannot survive, that I would suffocate. I said to Mr Brown very calmly "this is unfortunate" and my thoughts were of you.</dialogue>
<scene_description>Keats strokes her hand.</scene_description>
<character>KEATS</character>
<dialogue>Knowing you are next door makes a pleasant prison of my house.</dialogue>
<scene_description>Mr Brown enters the room and Fanny immediately lets go of Keats's hand and rises.</scene_description>
<character>KEATS</character>
<dialogue>Come as frequently as they allow. And write me when you cannot.</dialogue>
</scene>
<scene>
<stage_direction>INT. STAIRS/MRS BRAWNE'S ROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny runs upstairs into her mother's room. Mrs Brawne takes her in her arms, Fanny SOBS onto her lap.</scene_description>
<character>FANNY</character>
<dialogue>He has a new greatcoat, why didn't he wear it? Oh God, Oh God he spat so much blood. Why must this happen to us? I am so afraid.</dialogue>
<scene_description>Fanny abruptly sits up wiping her face.</scene_description>
<character>FANNY</character>
<dialogue>Wait, I have to write him a note so he has something of me tomorrow morning.</dialogue>
<scene_description>OMITTED OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT KEATS/BROWNS ROOM/GARDEN - DAY</stage_direction>
<character>KEATS (V.O.)</character>
<dialogue>"My sweet creature when I look back upon the ecstasies in which I have pass'd some days and the miseries in their turn, I wonder the more at the Beauty which has kept up the spell so fervently. When I send this round I shall be in the front parlour watching to see you show yourself for a minute in the garden. How horrid was the chance of slipping into the ground instead of into your arms - the difference is amazing Love. Do not take the trouble of writing much: merely send me my "good night," to put under my pillow." J. Keats</dialogue>
<scene_description>Keats is resting in a MAKESHIFT BED made from chairs. Fanny appears in the garden, Keats's NOTE in her hand. She walks towards Keats's window. Mr Brown looks up from his desk. He gets up and walks towards the windows.</scene_description>
<character>MR BROWN (SHOOING FANNY)</character>
<dialogue>Go! Go on!</dialogue>
<scene_description>Keats turns to see Fanny.</scene_description>
<character>KEATS</character>
<dialogue>No Brown I need to see her.</dialogue>
<scene_description>Fanny KISSES her NOTE and holds it to her heart. Keats smiles at her.</scene_description>
<character>KEATS</character>
<dialogue>I feel anxious if I miss a day.</dialogue>
<character>MR BROWN</character>
<dialogue>Why not bed her, she would do whatever you wished. It might relieve your condition.</dialogue>
<scene_description>Keats is writing a LETTER. On his SIDEBOARD is a row of JARS and JELLIES, GIFTS from friends' larders.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM - DAY</stage_direction>
<scene_description>Fanny sits on the edge of her bed and writes on a SMALL PIECE OF PAPER the words "good night".</scene_description>
</scene>
<scene>
<stage_direction>INT. DOORWAY TO MR BROWN'S APARTMENT - DAY</stage_direction>
<scene_description>The FOLDED PAPER with "Mr Keats" written in tiny handwriting is slipped under Mr Brown and Keats's door. Both men turn to look.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEATS'S BEDROOM - EVENING</stage_direction>
<scene_description>A BARE CHESTED Keats takes the NOTE from his trouser pocket, unfolds it, puts it to his lips then places it under his PILLOW. He RAPS on the wall.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM - EVENING</stage_direction>
<scene_description>The "rap" is faint on Fanny's side but she hears it and puts her hand against her side of the wall. Toots already in bed, watches the ritual. Fanny's SHADOW FLICKERS large against the wall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>Fanny sits upon a STONE WALL on Hampstead Heath reading her note while Samuel and Margaret play with a CRICKET BALL. Fanny walks, still reading through some desolate SKELETONS of TREES, NO LEAVES above and MUD below. "Let me no longer detain you from going to Town - there may be no end to this emprisoning of you. Perhaps you had better not come before tomorrow evening: send me however without fail a good night. You know our situation - I am recommended not even to read poetry much less write it. I wish I had even a little hope. I cannot say forget me - but I would mention that there are impossibilities in the world." Your affectionate J.K. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL/MR BROWN'S DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny walks quickly to Mr Brown's half of the house where Keats is propped up on a DAY BED. She draws a chair next to him. Fanny sews and talks quietly.</scene_description>
<character>FANNY</character>
<dialogue>Why do you say impossibilities?</dialogue>
<character>KEATS</character>
<dialogue>I have coughed blood again. I fear the disease has the upper hand and I cannot recover.</dialogue>
<character>FANNY</character>
<dialogue>I cannot leave you. It is an impossibility. I have such clear hope about your new book of poems. When you are well enough you can finish the fair copying. They are more beautiful than any I have read of Mr Coleridge or Mr Wordsworth or even Lord Byron.</dialogue>
<character>FANNY</character>
<dialogue>"Oh What can ail thee knight at arms, Alone and palely loitering? The sedge has withered from the lake And no birds sing!"</dialogue>
<character>FANNY</character>
<dialogue>"I met a lady in the Meads Full beautiful, a faery's child; Her hair was long, her foot was light And her eyes were wild -"</dialogue>
<character>KEATS</character>
<dialogue>"I set her on my pacing steed And nothing else saw all day long, For sidelong would she bend, and sing A faery's song -"</dialogue>
<character>FANNY</character>
<dialogue>"She found me roots of relish sweet And honey wild and manna dew, And sure in language strange she said I love thee true -"</dialogue>
<character>KEATS</character>
<dialogue>"She took me to her elfin grot And there she wept and sigh'd full sore, And there I shut her wild wild eyes With kisses four."</dialogue>
<character>FANNY</character>
<dialogue>"And there she lulled me asleep And there I dream'd - Ah! Woe betide! The latest dream I ever dreamt On the cold hill side."</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny comes into the kitchen where Abigail is making an incredible RACKET, BANGING POTS, and STOMPING to and fro. On the TABLE is a LETTER.</scene_description>
<character>FANNY</character>
<dialogue>Is it mine?</dialogue>
<character>ABIGAIL</character>
<dialogue>Aye it is. Mr Brown has said to give it to you tomorrow, but I shall not wait. He is every bit as cruel as any gaoler of any prison in this foul world. Let him do his own dirty work.</dialogue>
<scene_description>Fanny takes up the LETTER. She looks at Abigail and sees her eyes are red from crying.</scene_description>
<character>ABIGAIL</character>
<dialogue>If you have a note for poor Mr Keats I will take it as soon as you will.</dialogue>
<scene_description>Abigail bursts into TEARS. Fanny moves to comfort her.</scene_description>
<character>ABIGAIL</character>
<dialogue>I wish I were dead. Oh my God! Ohhh! Ohhh!</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny writes at her PORTMANTEAUX. Dearest Love, "I hope you rested well last night. I am turning circles for joy that you have finished the fair copy of your book. Did you hear from your side the banging of pots? Abigail has been sobbing without stop and believes you are the only one she can confess her troubles to. I shall send you later your "good night" with Abigail. She has quite changed and will help me whenever I ask!" Yours ever and with love Fanny "P.S. Tell me as soon as you are able when Dr Bree has come and what he says."</scene_description>
</scene>
<scene>
<stage_direction>INT. KEATS'S PARLOUR WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Keats turns as Mr Brown enters.</scene_description>
<character>KEATS</character>
<dialogue>I am boiling with fury.</dialogue>
<character>MR BROWN</character>
<dialogue>What is it? This is not good, be calm. You must not convulse again.</dialogue>
<character>KEATS</character>
<dialogue>Abigail is with child, but to whom out of shame or fear she would not say. We Brown must find out and when we have his name, butcher or baker, he shall face up to his indecency. Call her, let us get it done..</dialogue>
<character>MR BROWN</character>
<dialogue>It's not necessary. She has me believe I am the father.</dialogue>
<character>KEATS</character>
<dialogue>My God, I had no notion of a love affair.</dialogue>
<character>MR BROWN</character>
<dialogue>There was none or I must have slept through it. I woke up after some claret to find the girl in my bed snoring like a fireman.</dialogue>
<character>KEATS</character>
<dialogue>With what ease you help yourself.</dialogue>
<character>MR BROWN</character>
<dialogue>It was an accident. Now she is starting a sobbing campaign to marry me. I shan't of course.</dialogue>
<character>KEATS</character>
<dialogue>And the child?</dialogue>
<character>MR BROWN</character>
<dialogue>I have agreed to pay expenses. The worst thing is I can't keep this place, I have to start my summer rental early. I feel wretched turning you out while you are unwell, but I haven't anything left, only debt.</dialogue>
<character>KEATS</character>
<dialogue>Don't be concerned, I shall manage. In what stumbling ways a new soul is begun.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN'S DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny quietly pours tea and moves softly amongst Keats's LITERARY SUPPORTERS and Dr Bree. She is invisible to all but Keats who constantly watches her.</scene_description>
<character>MR HUNT \*</character>
<dialogue>Gentleman I think we should hear Dr. Bree on \* the issue of climate for Keats health. \* Does he want to go to Rome? \*</dialogue>
<character>DR BREE</character>
<dialogue>He has to go. He won't live through another winter in England.</dialogue>
<character>MR HUNT \*</character>
<dialogue>How do you feel about Italy John? \*</dialogue>
<scene_description>Keats doesn't reply \*</scene_description>
<character>MR BROWN</character>
<dialogue>I think it's an issue of finance. \*</dialogue>
<character>MR HUNT</character>
<dialogue>Could we between us not start a fund or a \* collection? Where are we up to with the poems? \*</dialogue>
<character>MR HASLAM</character>
<dialogue>We have them in the Galley now. \*</dialogue>
<character>JOHN REYNOLDS \*</character>
<dialogue>Could they not generate income? \*</dialogue>
<character>MR HASLAM \*</character>
<dialogue>It is very hard to predict sales \*</dialogue>
<character>MR HUNT</character>
<dialogue>Of course he'll need a traveling companion. \* Brown, you'll go? \*</dialogue>
<character>MR BROWN</character>
<dialogue>Yes, absolutely someone must go, but I'm not \* sure I'll be able to. \*</dialogue>
<character>MR HUNT \*</character>
<dialogue>Is that a 'No'? \*</dialogue>
<character>DR BREE</character>
<dialogue>There is an excellent English doctor in Rome, a Dr Clark, who could also find rooms for you</dialogue>
<dialogue>Mr Keats. \*</dialogue>
<character>KEATS (TURNING FROM FANNY)</character>
<dialogue>Pardon?</dialogue>
<character>DR BREE</character>
<dialogue>I am talking of a Dr Clark who attends the English colony in Rome.</dialogue>
<character>KEATS</character>
<dialogue>Ah. \*</dialogue>
<character>MR HUNT \*</character>
<dialogue>I can help find a room for the summer John if \* you want. \*</dialogue>
<scene_description>At that moment a pregnant Abigail makes her way into the room \* with a tray of hot tea. \* (OVERLAPPING) \*</scene_description>
<character>ABIGAIL (HISSING)</character>
<dialogue>Miss, Miss.</dialogue>
<scene_description>But it is Mr Brown who strides irritated to the door and swiftly takes the hot pot. Abigail doesn't move, she stays \* still like a stunned rabbit. The men look then look away \* discretely. \*</scene_description>
<character>MR BROWN \*</character>
<dialogue>Which poem goes first? Is it to be Lamia or Eve of St Agnes?</dialogue>
<character>MR HASLAM</character>
<dialogue>It is Lamia I believe.</dialogue>
<scene_description>Keats nods once again watching Fanny.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET KENTISH TOWN - DAY</stage_direction>
<scene_description>All along the street are signs of the precarious life of the poor, STREET URCHINS begging, a DRUNK collapsed in the pavement. Fanny and Samuel support Keats along the road, pausing as a cough racks his body. Samuel walks a few steps behind, next to a BOY carting Keats's TRUNK.</scene_description>
<character>FANNY</character>
<dialogue>I want to come to Italy with you. We can marry and I'll go with you. Sammy walk behind.</dialogue>
<scene_description>Keats laughs.</scene_description>
<character>KEATS</character>
<dialogue>My friends talk of Italy but I have no money and must yet make it through the summer in London. Besides, I don't believe it possible I could ever leave you.</dialogue>
<scene_description>Samuel is slinking up alongside Fanny and Keats.</scene_description>
<character>FANNY (EXASPERATED)</character>
<dialogue>Get back behind.</dialogue>
<character>KEATS</character>
<dialogue>Poor Sammy, he's not a dog.</dialogue>
<character>FANNY</character>
<dialogue>But he will tell!</dialogue>
<character>SAMUEL</character>
<dialogue>I won't tell.</dialogue>
<character>FANNY</character>
<dialogue>You see, he listens.</dialogue>
<scene_description>Keats stops.</scene_description>
<character>KEATS (EVASIVE)</character>
<dialogue>Farewell me here.</dialogue>
<character>FANNY</character>
<dialogue>Why?</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR/BASEMENT KENTISH TOWN HOUSE - DAY</stage_direction>
<scene_description>Fanny and Keats follow the LANDLADY down a DAMP corridor into a BASEMENT SUITE of TWO WATER STAINED ROOMS. There is a TABLE DIMLY LIT by the basement's WINDOW. A SHRIEK followed by another somewhere higher in the building.</scene_description>
<character>LANDLADY</character>
<dialogue>We don't do linen.</dialogue>
<scene_description>She leaves, SHOUTING back up the stairs. Keats sits at the DESK. He pretends to write. He turns to see Fanny's look of horror. Keats looks away, shamed, steely.</scene_description>
<character>FANNY</character>
<dialogue>Mr Hunt cannot have meant these rooms.</dialogue>
<scene_description>Keats is going darkly into himself. He shakes his head.</scene_description>
<character>KEATS</character>
<dialogue>I told you not to come. Tell me how will you fill your days when we are apart? Who will you find to smile with?</dialogue>
<character>FANNY</character>
<dialogue>No one, I will wait.</dialogue>
<character>KEATS</character>
<dialogue>Wait?</dialogue>
<scene_description>Fanny nods, confused.</scene_description>
<character>KEATS</character>
<dialogue>Yes you can wait, you can probably find amusements. I am not the same as you. The very air I breathe empty of you is unhealthy. You are to me an object intensely desirable. But that's all right because you can wait! You don't know what it is to love. It is making me glad there is such a thing as the grave!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny, her mother, Samuel and Margaret and the Dilke's are sitting at their FORMALLY SET TABLE. All are very subdued. Fanny is deeply depressed. Out of nowhere she starts to sob. The children and Mrs Brawne watch her anxiously. All decorum is swept aside as Fanny's sobs become convulsive. Mrs Brawne waves the children away. She takes Fanny's head in her arms, stroking her tears away but they do not stop. Mrs Dilke also strokes her.</scene_description>
<character>FANNY</character>
<dialogue>He wrote that I don't love him. He was told I have been flirting...but I haven't.</dialogue>
<character>MARIA DILKE</character>
<dialogue>How long has Mr Keats been gone?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Five weeks.</dialogue>
<character>MARIA DILKE</character>
<dialogue>Perhaps it is for the best.</dialogue>
<character>FANNY</character>
<dialogue>Whose best?</dialogue>
<character>MARIA DILKE</character>
<dialogue>I thought it might be a relief to be separated when the circumstances are so difficult.</dialogue>
<character>FANNY</character>
<dialogue>Everyone wishes I would give up, but I cannot, even if I wanted to I cannot. There is no one in this world so beautiful or so brilliant.</dialogue>
<scene_description>Mrs Dilke and Mrs Brawne exchange looks of anxiety. Toots's face appears at the window.</scene_description>
<character>FANNY</character>
<dialogue>Get rid of her!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE GARDENS - EVENING</stage_direction>
<scene_description>Margaret is outside in the garden PICKING FLOWERS when she notices something strange under the HEDGE. A LEG, then as she cautiously circles, ANOTHER LEG and a BUNDLE beside it. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE GARDENS - DAY</stage_direction>
<scene_description>Fanny approaches the tree slowly like a cat until a very ill Keats, barely recognisable, turns, his eyes accusing and frightened on Fanny. Keats puts an arm out to fend Fanny off.</scene_description>
<character>KEATS</character>
<dialogue>Keep away if you do not love me, if you have not a crystal conscience this past month.</dialogue>
<character>FANNY</character>
<dialogue>John...?</dialogue>
<scene_description>Fanny does not hesitate, she kisses Keats. He is sheet white and sweating.</scene_description>
<character>KEATS</character>
<dialogue>I thought my heart was breaking.</dialogue>
<character>FANNY</character>
<dialogue>You are shivering. What is this, blood? Maman! Toots, call Maman.</dialogue>
<character>KEATS</character>
<dialogue>Hunt's son opened your letter and hid it for two days...I've walked out, I've left them... (KEATS IS BARELY ABLE TO SPEAK)</dialogue>
<scene_description>Keats falls to one side unconscious as Mrs Brawne arrives outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. GARDENS/HALL WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>The Brawnes assist Keats towards the house The Brawne's roll Keats gently onto a SHEET and together lift him upstairs and onto Mrs Brawne's BED.</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Doctor Bree is applying SUCTION GLASSES to Keats's back. Fanny sits beside him stroking his forehead. Mrs Brawne picks up Keats's SOILED CLOTHES from the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE LAUNDRY WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Mrs Brawne is putting Keats's clothes into the TUB. Fanny joins her helping to scrub the stains.</scene_description>
<character>FANNY</character>
<dialogue>Maman may Mr Keats stay?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Yes all right, tonight.</dialogue>
<character>FANNY</character>
<dialogue>And tomorrow? Until he leaves for Italy?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>But you are not even officially engaged.</dialogue>
<character>FANNY</character>
<dialogue>Can't we be?</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Please do not begin, there is no end to this, next you will want to marry and after that travel to Rome. It is all my doing. I should never have moved to this house. I have let this happen.</dialogue>
<character>FANNY</character>
<dialogue>Let him stay just until Italy. I promise I shall never ever ask anything more. You will not regret it.</dialogue>
<scene_description>Mrs Brawne continues to scrub.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>You are already the source of so much gossip.</dialogue>
<character>FANNY</character>
<dialogue>Well let us be engaged. He is too ill to be a threat!</dialogue>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny sits beside her feverish fiance, cooling his head with a WET CLOTH. She moves her ENGAGEMENT RING across to the fourth finger on her left hand. Her RING SPARKLES in the night. Bright Star.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>VEGETABLES are being peeled and chopped. A CHICKEN BROTH is strained. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Inside Keats is dressed, lying dreaming on a DAY BED by the window. Fanny takes the tray and puts it carefully on Keats's lap. Margaret steps shyly towards Keats smiling.</scene_description>
<character>KEATS</character>
<dialogue>Toots have you been eating rosebuds?</dialogue>
<character>TOOTS</character>
<dialogue>No, I never have.</dialogue>
<character>KEATS</character>
<dialogue>So where do your cheeks get their blush?</dialogue>
<scene_description>Fanny pulls her chair close, signalling Margaret to leave.</scene_description>
<character>FANNY</character>
<dialogue>Bye, bye.</dialogue>
<scene_description>Keats begins to sip the SOUP. There is a WILD ROSE on Keats's tray. Fanny takes a PETAL and winds it around her finger.</scene_description>
<character>KEATS</character>
<dialogue>"fold a rose leaf around thy finger's taperdness, And soothe thy lips."</dialogue>
<scene_description>Fanny rubs the PETAL across her lips.</scene_description>
<character>KEATS</character>
<dialogue>...sometimes remember that I did not only dote on roses but climbed mountains and cut up bodies.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE LIVING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>There is a small gathering of Keats's inner circle in the Brawne living room. MR TAYLOR and MR HASLAM Keats's publishers, Mr Severn a young and very nervous painter friend and MR HUNT a loyal supporter. The tea has mostly been drunk and people are preparing to leave. Fanny is quietly sewing a silk lining onto a CAP. An improving Keats sits next to her. They are very much a couple.</scene_description>
<character>MR TAYLOR</character>
<dialogue>I confirmed your ship, the Maria Crowther sailing to Naples.</dialogue>
<character>MR SEVERN</character>
<dialogue>When does she leave?</dialogue>
<character>MR HASLAM</character>
<dialogue>In ten days.</dialogue>
<scene_description>Keats winces, he looks at Fanny stops sewing, stops breathing.</scene_description>
<character>MR TAYLOR</character>
<dialogue>Autumn is coming, it's getting colder, I'm afraid if you delay there will be less and less reason to hope.</dialogue>
<character>KEATS</character>
<dialogue>So there is no putting it off I must march against the battery.</dialogue>
<scene_description>Mr Severn has SPILT his TEA onto his SAUCER and is neurotically dallying about what to do.</scene_description>
<character>FANNY</character>
<dialogue>Let me pour you another.</dialogue>
<character>MR SEVERN</character>
<dialogue>Really, well perhaps I might just tip it back, no well perhaps not. Did I take sugar?</dialogue>
<character>FANNY</character>
<dialogue>Yes I think you did.</dialogue>
<character>MR SEVERN</character>
<dialogue>Well then I did not stir it.</dialogue>
<character>FANNY</character>
<dialogue>Mr Keats tells me you are planning to paint in Rome...</dialogue>
<character>MR SEVERN (DISTRACTED)</character>
<dialogue>We shall be in need of an Italian dictionary Mr Keats. Sorry, yes indeed I shall definitely paint.</dialogue>
<scene_description>Shaking hands with Keats Mr Severn leaves. Mr Haslam says his farewell to Keats.</scene_description>
<character>MR HASLAM (DISCREETLY)</character>
<dialogue>Mr Brown could not go?</dialogue>
<character>KEATS</character>
<dialogue>Sadly not! I am waiting to hear but I think it not likely.</dialogue>
<scene_description>Mr Haslam nods a moment thinking.</scene_description>
<character>MR HASLAM</character>
<dialogue>Well there is no alternative, we must put all our hope and faith in Mr Severn.</dialogue>
<scene_description>A distressed Fanny continues the TINY, PERFECT STITCHES around Keats's CAP.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE KITCHEN WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny is putting a TRAY together for her and Keats's supper. Mrs Brawne is SHELLING PEAS.</scene_description>
<character>FANNY</character>
<dialogue>My God what I would do to accompany him. He is still so weak.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>No. No! I have looked into it, we can't afford the fare and if anything should happen to Mr Keats or even you in a foreign country, how could you survive?</dialogue>
<character>FANNY</character>
<dialogue>But it should not be Mr Severn he barely knows him. Where is that fool Mr Brown when he is needed? Why doesn't he write?</dialogue>
<scene_description>Fanny picks up the tray.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>I have found a goose for Mr Keats's last dinner.</dialogue>
<character>FANNY (SUDDENLY TERRIFIED)</character>
<dialogue>Do not say "last".</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARDEN WENTWORTH HOUSE - LATE AFTERNOON</stage_direction>
<scene_description>Fanny puts Keats's arm in the correct position about her waist for a waltz. She is giggling, shaking her head happily. Beside her Margaret and Samuel stand ready except Margaret is laughing at Keats who is clowning in his efforts. The dance class is happening on the lawn in the BACK GARDEN. It's late afternoon and the trees are casting beautiful SHADOWS across the GRASS, while the ROSES bob in the breeze. Mrs Brawne is at the open windows.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Ready?</dialogue>
<character>FANNY</character>
<dialogue>Yes, please.</dialogue>
<scene_description>Mrs Brawne sits back at the PIANO and begins.</scene_description>
<character>FANNY</character>
<dialogue>One, two, three, turn...</dialogue>
<character>KEATS</character>
<dialogue>Two or three Posies With two or three simples - Two or three Noses With two or three pimples -</dialogue>
<scene_description>Margaret and Samuel are laughing too much to keep dancing. Keats is making up his own mad steps. Fanny is nimbly keeping up.</scene_description>
<character>KEATS</character>
<dialogue>What? Two of three Wiggles With two or three Giggles.</dialogue>
<scene_description>Keats stops beside an AUTUMN LEAF.</scene_description>
<character>KEATS</character>
<dialogue>What's that?</dialogue>
<scene_description>Fanny playfully stands on it.</scene_description>
<character>FANNY</character>
<dialogue>Nothing whatsoever. There is no autumn in this house only summer. Please remove it.</dialogue>
<scene_description>Margaret takes the LEAF by the stork like a mouse by the tail and drops it over the fence.</scene_description>
<character>MARGARET</character>
<dialogue>And don't come back.</dialogue>
<scene_description>Keats and Fanny dance on in their own gay way until Keats stops and lies in the grass catching his breath. He looks up and sees the AUTUMN TREE TOPS.</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny is arranging Keats's CLOTHES in his TRUNK. Keats is at the LITTLE DESK writing in the front piece of his RED BOUND POETRY BOOKS. Fanny sits back and watches him, drinking up the last moments of his presence as if he were the sun setting. Fanny moves across and gently strokes Keats's head and he, like a cat plays up to the stroking, moving his head under her palm.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>The family are eating a roast goose together. The plates are still full, but no-one except Samuel is eating. Fanny starts to gather the plates up. Keats brings from the SIDEBOARD his RED BOUND POETRY BOOKS and puts one beside each family member. Mrs Brawne is looking at hers.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Oh my mad boy, it is so beautiful. Was it a success?</dialogue>
<character>KEATS</character>
<dialogue>There are two highly positive reviews, by friends, six mainly positive and four hostile. I don't know, is that successful?</dialogue>
<character>FANNY</character>
<dialogue>Yes! Extremely so...</dialogue>
<character>MRS BRAWNE</character>
<dialogue>So they are selling well?</dialogue>
<character>FANNY</character>
<dialogue>Why must you harp on about selling when the poems themselves are the point and they are so beautiful!</dialogue>
<scene_description>Margaret and Samuel each give Keats a GIFT, Margaret a HANDKERCHIEF she has sewn.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Yes of course they are, come back and live with us, marry our Fanny, I will miss you as a son.</dialogue>
<character>MARGARET (HUGGING KEATS)</character>
<dialogue>I love you.</dialogue>
<scene_description>She gives Keats a tearful, clinging hug. Fanny puts the HAT she has been sewing on Keats's head.</scene_description>
<character>FANNY</character>
<dialogue>It's your old travel cap. I have sewn a silk lining to keep you warm.</dialogue>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - NIGHT</stage_direction>
<scene_description>Fanny clips a LOCK of Keats's hair and carefully folds it into a piece of TISSUE PAPER. Keats picks up the SCISSORS.</scene_description>
<character>FANNY</character>
<dialogue>Is this really happening? Are we really to separate?</dialogue>
<scene_description>Keats selects a DARK CURL from Fanny and cuts it. He puts it between the pages of his POETRY BOOK.</scene_description>
<character>KEATS</character>
<dialogue>I sha'nt be able to speak tomorrow, I suspect I will break down. Let us say our goodbyes now.</dialogue>
<character>FANNY</character>
<dialogue>I want to come to Italy with you.</dialogue>
<character>KEATS</character>
<dialogue>And then...?</dialogue>
<character>FANNY</character>
<dialogue>Be together.</dialogue>
<character>KEATS</character>
<dialogue>For how long?</dialogue>
<character>FANNY</character>
<dialogue>As long as we have.</dialogue>
<scene_description>Keats sighs. Fanny begins to cry.</scene_description>
<character>FANNY</character>
<dialogue>Shall we awake and find all this is a dream? Is there another life? There must be, we cannot be created for this kind of suffering.</dialogue>
<scene_description>Keats puts his arms around Fanny's neck and draws her head to him. Keats soothes her while he talks.</scene_description>
<character>KEATS</character>
<dialogue>I doubt we shall see each other again on this earth.</dialogue>
<character>FANNY</character>
<dialogue>Then why are you leaving? Why must you go?</dialogue>
<character>KEATS</character>
<dialogue>Because my friends insist on torturing me with a hope they can ill afford but have already financed. It is a hopeless hope, but how do I refuse?</dialogue>
<character>FANNY</character>
<dialogue>Say you are too ill.</dialogue>
<character>KEATS</character>
<dialogue>"More happy love! More happy, happy love! For ever warm and still to be enjoyed, For ever panting and for ever young." We have woven a web you and I, attached to the world but a new world of our own invention. We must cut the threads Fanny.</dialogue>
<scene_description>Fanny shakes her head.</scene_description>
<character>FANNY</character>
<dialogue>No. I can't, I never will.</dialogue>
<scene_description>Keats moves away, hitting his head with his palm.</scene_description>
<character>KEATS</character>
<dialogue>Who do I fool? Do I wish you free? NO! NO! My still unravished bride, I should have bed you while I was well enough, why not? It could have been us with child not Brown with his bastard.</dialogue>
<character>FANNY</character>
<dialogue>You know I would do anything...</dialogue>
<character>KEATS (BITTERLY)</character>
<dialogue>I have a conscience!</dialogue>
<scene_description>Keats is walking to calm himself in his agony.</scene_description>
<character>KEATS</character>
<dialogue>Then let us pretend I am returning in Spring?</dialogue>
<scene_description>Fanny looks up slowly.</scene_description>
<character>FANNY</character>
<dialogue>You will return, I know it.</dialogue>
<character>KEATS</character>
<dialogue>Will we live in the country?</dialogue>
<character>FANNY</character>
<dialogue>Yes, close to Maman.</dialogue>
<character>KEATS</character>
<dialogue>Our bedroom will look out on an apple orchard and beyond that a mountain. I am most partial to a mountain in a mist.</dialogue>
<character>FANNY</character>
<dialogue>I will make a garden where every sort of wild flower grows. We can take our breakfast there on a little table.</dialogue>
<character>KEATS</character>
<dialogue>We will go to bed while the sun is still high.</dialogue>
<character>FANNY</character>
<dialogue>Then it will get dark and the moon will shine through the shutters.</dialogue>
<character>KEATS</character>
<dialogue>And I will hold you close and kiss your breasts, your waist, your arms.</dialogue>
<character>FANNY</character>
<dialogue>Everywhere.</dialogue>
<scene_description>Keats kisses Fanny's breasts, waist and her arms, then runs his hands along her hands until their fingers touch.</scene_description>
<character>KEATS</character>
<dialogue>Touch has a memory.</dialogue>
<character>FANNY</character>
<dialogue>I know it...</dialogue>
<scene_description>Outside is the sound of FOOTSTEPS.</scene_description>
<character>KEATS</character>
<dialogue>Your mother?</dialogue>
<character>FANNY</character>
<dialogue>She won't come in.</dialogue>
<character>MRS BRAWNE</character>
<dialogue>Fanny. I am going to bed.</dialogue>
<character>FANNY</character>
<dialogue>I am just joining you.</dialogue>
<character>KEATS</character>
<dialogue>And we will never separate.</dialogue>
<character>FANNY</character>
<dialogue>Never. Not for one night.</dialogue>
<scene_description>Fanny and Keats hold tightly on to each other.</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS BRAWNE'S BEDROOM WENTWORTH HOUSE - MORNING</stage_direction>
<scene_description>Keats stands dressed, ready to leave. The trunk has gone. But still he stays, looking for the last time at the room in which he has enjoyed some happiness. The will to go seems impossible to summon, but finally a rattling cough breaks his reverie. Fanny comes to fetch him.</scene_description>
<character>KEATS</character>
<dialogue>Not a word.</dialogue>
<scene_description>Fanny nods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WENTWORTH HOUSE/LANE - MORNING</stage_direction>
<scene_description>Fanny and Keats leave the house silently. Margaret runs after them. Fanny turns and desperately shakes her head dissuading her from coming further. Margaret falls back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS AND LANES OF HAMPSTEAD - DAY</stage_direction>
<scene_description>Fanny and Keats arm in arm keep stride down the narrow lanes towards the Pond Street Coach Depot. Fanny looks towards Keats but does not speak. Mr Hunt walks a little apart anxiously aware of the young couples ordeal.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POND ST COACH DEPOT - DAY</stage_direction>
<scene_description>Amidst the SMALL CROWD at the COACH DEPOT, STABLE HANDS, CLEANERS, OTHER TRAVELLERS arriving and PARCELS and PRODUCE being unpacked and stacked, Keats and Fanny remain poised. Finally without speaking Keats disengages his arm and squeezes Fanny's hand. He swiftly boards the COACH. Fanny watches as he is seated then turns and leaves. Keats looks out at the last of Fanny's figure walking away. Mr Hunt climbs in beside Keats.</scene_description>
</scene>
<scene>
<stage_direction>INT. WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny bursts through the door of Wentworth House. She runs up the stairs into her room. Fanny opens the LITERARY POCKET BOOK Keats gave her and writes, "MR KEATS LEFT HAMPSTEAD."</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAY</stage_direction>
<scene_description>The TREES on the Heath are almost bare and the sky is a DARK GREY. PILES OF AUTUMN LEAVES are BURNING, smoking the trees.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. BRAWNE DINING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>A SINGLE BLACK THREAD noses it's way through the eye of a NEEDLE. The needle threads in and out of the BLACK MATERIAL Fanny is sewing. Mrs Brawne sits nearby mending. Margaret is running across the drawing room windows as Mr Brown followed by Abigail their BABY and their LUGGAGE arrive back at Wentworth House.</scene_description>
<character>MARGARET</character>
<dialogue>The baby! Abigail's baby! Oh God it has red hair!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING/LIVING ROOMS WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Abigail now Mrs Brown, is taking tea in the dining room and happily showing off her baby boy to Mrs Brawne and Margaret. In the connecting sitting room Mr Brown stands at the window, shuffling through his LETTERS from Keats, making an effort to engage with Fanny who is clearly resistant. Fanny is sewing a length of BLACK RIBBON onto the black material, one neat small black stitch after another.</scene_description>
<character>MR BROWN</character>
<dialogue>You saw the baby? Looks like Abigail...John's reached Naples. They quarantined his ship. He wrote that he made more puns in two weeks out of desperation than he had in any other year of his life. I should have liked to have heard them.</dialogue>
<character>FANNY</character>
<dialogue>You could have, had you gone - I was certain you would.</dialogue>
<character>MR BROWN</character>
<dialogue>I'm planning daily but I fear I have left it too late.</dialogue>
<character>FANNY</character>
<dialogue>Why not leave now, travel overland?</dialogue>
<scene_description>Abigail walks smilingly into the room holding out the crying baby to show Fanny. Mr Brown waves Abigail and the baby away.</scene_description>
<character>MR BROWN</character>
<dialogue>It's not simple with the baby and my funds reduced, then there's the snows...</dialogue>
<character>FANNY (SAYS IT OR SILENTLY GIVES THIS</character>
<dialogue>IMPRESSION)</dialogue>
<scene_description>And lack of will.</scene_description>
<character>MR BROWN</character>
<dialogue>Should I say it aloud? Will that satisfy you? I have failed John Keats - I have failed him. And I pay a price daily - I did not know till now how tightly he had wound himself about my heart.</dialogue>
<character>FANNY</character>
<dialogue>What heart? You abandon your ill friend, never replying or enquiring.</dialogue>
<character>MR BROWN</character>
<dialogue>Fortunately in my absence he was not short of care, his letter was full of your family's kindness...</dialogue>
<character>FANNY</character>
<dialogue>And my love.</dialogue>
<scene_description>Mr Brown is a little stunned, moved despite himself by her open confession.</scene_description>
<character>MR BROWN (LEAVING)</character>
<dialogue>He asked me to offer whatever comfort can be given to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRAWNE DINING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny sews a seam in BLACK THREAD. Outside it is SNOWING. The DOOR BELL RINGS. Margaret answers. It is a LETTER. She puts it on the other end of the table.</scene_description>
<character>MARGARET</character>
<dialogue>For you Maman, it's from Italy.</dialogue>
<scene_description>Fanny stops sewing, alarmed. Mrs Brawne slowly rises and walks to the letter. She glances at Fanny who is waiting fearfully. Mrs Brawne opens the letter.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>It's from Keats in Naples. He says it looks like a dream.</dialogue>
<scene_description>Mrs Brawne stops reading and looks at Fanny who shakes her head with relief and disappointment.</scene_description>
<character>FANNY</character>
<dialogue>Why doesn't he write to me?</dialogue>
<scene_description>Fanny looks out into the garden where a bowed Brown reads a letter.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. BROWN'S LIVING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Mr Brown stands at his window, looking out onto a dreary BARE WINTER GARDEN. He watches as Margaret and Samuel kick a BALL between them and beyond them the gaunt, upright figure of Fanny slowly comes into view. A mirror match in mood to himself, she paces ghostlike in the snow. Fanny and Brown lock eyes then each look away.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN'S DRAWING ROOM WENTWORTH HOUSE - DAY</stage_direction>
<scene_description>Fanny knocks at Mr Brown's garden door. Mr Brown is surprised to see her, he stands.</scene_description>
<character>FANNY</character>
<dialogue>You once said you would offer what comfort you could.</dialogue>
<character>MR BROWN</character>
<dialogue>Yes, of course, come in.</dialogue>
<character>FANNY</character>
<dialogue>Is there something, anything at all you can read me from his letters? I am disappointed to have none of my own. Any sort of news, even the painful, brings me closer.</dialogue>
<character>MR BROWN</character>
<dialogue>The latest letters are all from Severn. Keats I'm afraid, is in a deplorable state.</dialogue>
<scene_description>Mr Brown sorts through his correspondence.</scene_description>
<character>MR BROWN</character>
<dialogue>I have some older ones from Keats.</dialogue>
<character>FANNY</character>
<dialogue>Please.</dialogue>
<character>MR BROWN</character>
<dialogue>"I can bear to die - I cannot bear to leave her. Oh, God! God! God! Every thing I have in my trunks that reminds me of her goes through me like a spear."</dialogue>
<scene_description>Mr Brown looks up to judge Fanny's reaction. She is not shocked but transported.</scene_description>
<character>MR BROWN</character>
<dialogue>"The silk lining she put in my travelling cap scalds my head. My imagination is horribly vivid about her - I see her - I hear her. O that I could be buried near where she lives! I am afraid to write to her - to receive a letter from her - to see her hand writing would break my heart. My dear Brown, what am I to do? Where can I look for consolation or ease? I have coals of fire in my breast. It surprised me that the human heart is capable of containing and bearing so much misery.</dialogue>
<character>MR BROWN</character>
<dialogue>Was I born for this end? God bless her, and her mother." The letter is to me but it is all about you - keep it.</dialogue>
<scene_description>Fanny shakes her head. They look at each other with something like peace, like compassion, for what they both had and for what they must soon bear. Fanny turns and Mr Brown watches as Fanny's ghostlike figure disappears down the hall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APPROACH TO WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>In the last of the light, Brown walks through the MUD SPLATTERED SNOW towards home.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. BRAWNE DRAWING ROOM WENTWORTH HOUSE - EVENING</stage_direction>
<scene_description>Fanny and her mother sew while Samuel practices his VIOLIN and Margaret plays happily with the CAT on the couch. The FRONT DOOR OPENING and CLOSING, then FOOTSTEPS in the hall outside attracts Fanny's attention. She turns towards the door, poised. Mrs Brawne notices and watches the door anxiously. Samuel stops playing as a sombre Mr Brown enters the room. Fanny observes Mr Brown sinkingly, her breath suspended.</scene_description>
<character>MR BROWN</character>
<dialogue>It is cold out. How are you all?</dialogue>
<scene_description>Fanny notices a letter from Mr Severn in Mr Brown's hand.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>We are all quite well enough. But how is Mr Keats?</dialogue>
<character>MR BROWN</character>
<dialogue>It is as unbearable to me as I know it is to you. Mr Keats has died at only 25 years. Mr Severn sent me an account, I have copied it for you Miss Brawne - shall I read it?</dialogue>
<scene_description>Fanny nods.</scene_description>
<character>MR BROWN</character>
<dialogue>Friday 23rd February. "At four in the afternoon, Keats called me "Severn - Severn - lift me up for I am dying - I shall die easy - don't be frightened, thank God it has come." At one point a cold, heavy sweat broke out over his whole body and he whispered "Don't breathe on me it comes like ice." Keats died imperceptibly...</dialogue>
<character>FANNY</character>
<dialogue>No more.</dialogue>
<scene_description>Mr Brown stops reading. Fanny makes her way shakily from the room. Mrs Brawne follows. Fanny collapses on the staircase.</scene_description>
<character>FANNY</character>
<dialogue>I should have been with him. I should have held him - it should have been me with him. Oh my God I am finished. He is gone. Oh Maman help me, please help me.</dialogue>
<scene_description>Mr Brown and Samuel listen stricken. Margaret sits on the couch, tears dropping onto her frock. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPANISH STEPS ROME - DAWN</stage_direction>
<scene_description>A small funeral procession of TWO COACHES waits by the PIETRO BERNINI FOUNTAIN at the bottom of the SPANISH STEPS. Keats's COFFIN is loaded into a BLACK FUNERAL COACH. The small procession clatters through Rome's still sleeping streets.</scene_description>
<character>KEATS (V.O.)</character>
<dialogue>"'Lamia!' he cried - and no soft-toned reply. The many heard, and the loud revelry Grew hush; the stately music no more breathes; The myrtle sicken'd in a thousand wreaths. By faint degrees, voice, lute, and pleasure ceased; A deadly silence step by step increased Until it seem'd a horrid presence there, And not a man but felt the terror in his hair."</dialogue>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - DAWN</stage_direction>
<scene_description>In the DIM FIRST LIGHT an exhausted Fanny is sewing her BLACK FROCK. She makes a KNOT and CUTS the thread. Across the bed are strewn KEATS'S POETRY BOOKS and his LETTERS. In the next bed sleeps Margaret, her arms about her mother's neck who sleeps fully dressed. Fanny pulls the BLACK FROCK over her head, one sleeve yet unmade and the hem unfinished.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANNY'S BEDROOM WENTWORTH HOUSE - DAWN</stage_direction>
<scene_description>With three chops of her big PINKING SHEARS Fanny cuts her hair short. Her BLACK HAIR falls in a circle about her feet. She takes her RED BOUND BOOK of Keats's poems 1820, her copy of ENDYMION and quietly leaves the room with her BONNET and BLACK BOOTS in her hand. Mrs Brawne rises as she leaves.</scene_description>
<character>MRS BRAWNE</character>
<dialogue>Samuel! Sammy!</dialogue>
</scene>
<scene>
<stage_direction>INT/EXT. BRAWNE FRONT DOOR WENTWORTH HOUSE - DAWN</stage_direction>
<scene_description>Fanny draws on her COAT and BLACK GLOVES. She opens the front door and steps into the chilled and misty air.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAMPSTEAD HEATH - DAWN</stage_direction>
<scene_description>Out on the Heath Fanny walks briskly through the winter MIST followed at a respectful distance by a hurriedly dressed Samuel. Fanny, the landscape, the trees, Samuel APPEARING and VANISHING in the FOG. Clutching her precious KEATS BOOKS against her chest, Fanny makes her way up the side of the HILL where she and the landscape completely disappear, only her VOICE continues steadily reciting, learning by heart the poem BRIGHT STAR dedicated to her.</scene_description>
<character>FANNY (V.O.)</character>
<dialogue>"Bright Star, would I were stedfast as thou art - Not in lone splendour hung aloft the night And watching, with eternal lids apart, Like nature's patient, sleepless Eremite, (devotee) The moving waters at their priest like task Of pure ablution round earth's human shores, Or gazing on the new soft-fallen masque Of snow upon the mountains and the moors. No - yet still stedfast, still unchangeable, Pillow'd upon my fair love's ripening breast, To feel forever its soft swell and fall, Awake forever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever - or else swoon to death."</dialogue>
<scene_description>Fanny now alone, walks on the Heath until in the dark she pauses beside the POND. Overhead the STARS GLITTER and are REFLECTED again at her feet. FADE TO BLACK.: WHITE LETTERS ON BLACK For three years Fanny Brawne continued to walk Hampstead Heath, often far into the night. Keats died imagining himself forgotten. Yet generation after generation of poets have been inspired by him, and his fame continues to grow. CREDITS</scene_description>
</scene>
</script> | In 1818 Hampstead, the fashionable Fanny Brawne is introduced to poet John Keats through the Dilke family. The Dilkes occupy one half of a double house, with Charles Brown occupying the other half. Brown is Keats' friend, housemate, and associate in writing. Fanny's flirtatious personality contrasts with Keats' notably more aloof nature. She begins to pursue him after her siblings Samuel and Toots obtain his book of poetry, "Endymion". Her efforts to interact with the poet are fruitless until he witnesses her grief for the loss of his brother, Tom. Keats begins to open up to her advances while spending Christmas with the Brawne family. He begins giving her poetry lessons, and it becomes apparent that their attraction is mutual. Fanny is nevertheless troubled by his reluctance to pursue her, as to which her mother surmises, "Mr. Keats knows he cannot like you, he has no living and no income." It is only after Fanny receives a valentine card from Brown that Keats passionately confronts them and asks if they are lovers. Brown sent the valentine in jest, but warns Keats that Fanny is a mere flirt playing a game. Fanny is hurt by Brown's accusations and Keats' lack of faith in her; she ends their lessons and leaves. The Dilkes move to Westminster in the spring, leaving the Brawne family their half of the house and six months rent. Fanny and Keats then resume their interaction and fall deeply in love. The relationship comes to an abrupt end when Brown departs with Keats for his summer holiday, where Keats may earn some money. Fanny is heartbroken, though she is comforted by Keats' love letters. When the men return in the autumn, Fanny's mother voices her concern that Fanny's attachment to the poet will hinder her from being courted by a more obviously eligible suitor. Fanny and Keats secretly become engaged. Keats contracts tuberculosis the following winter. He spends several weeks recovering until spring. His friends collect funds so that he may spend the following winter in Italy, where the climate is warmer. After Brown impregnates a maid and is unable to accompany him, Keats finds accommodation in London for the summer, and is later taken in by the Brawne family following an attack of his illness. When his book sells with moderate success, Fanny's mother gives him her blessing to marry Fanny once he returns from Italy. The night before he leaves, he and Fanny say their tearful goodbyes in privacy. Keats dies in Italy the following February of complications from his illness, as his brother Tom did. In the last moments of the film, Fanny cuts her hair in an act of mourning, dons black attire, and walks the snowy paths that Keats had walked many times. It is there that she recites the love sonnet that he had written for her, called "Bright Star", as she grieves the death of her lover. |
Booty Call_1997 | tt0118750 | <script>
<scene>
<scene_description>Booty Call /\n American Saaga, &tsL-d on a Tn.ie Story written by takashi bufford and bootsic</scene_description>
</scene>
<scene>
<stage_direction>..-.</stage_direction>
<scene_description>Sec:ond Draft Feb. 4, 1996 Third Draft l'eb 2 I, 1996 SUPERIMPOSE IN WHITE LETTERS AGAINST BLACK SCREEN:</scene_description>
</scene>
<scene>
<stage_direction>INT. HARLEM SUBWAY STATION - NIGHT</stage_direction>
<scene_description>Two dudes are talking as they wait for the downtown "A" train. RUSHON and his best pal, BUNS, are 25, Black with a hip-hop flair except that Buns' hair is dyed blond and he"s wearing green contact lenses.</scene_description>
<character>BUNS</character>
<dialogue>Yo, yo, yo, Rushon, man I'm not down with this blind date stuff.</dialogue>
<character>RUSHON</character>
<dialogue>Buns, man, I said the girl is fine. All that ••• and a bucket of grits. Fine.</dialogue>
<scene_description>A woman, who is obviously a PROSTITUTE walks by. Buns disengages fr0111 Rushon and turns to the prostitute.</scene_description>
<character>BUNS</character>
<parenthetical>(to Rushon)</parenthetical>
<dialogue>Hold that thought •••</dialogue>
<parenthetical>(then, to prostitute)</parenthetical>
<dialogue>Hey, babe.. You just what I been looking for.</dialogue>
<character>PROSTITUTE</character>
<dialogue>You got $100?</dialogue>
<character>BUNS</character>
<dialogue>I got $200 if I can get it like I want it.</dialogue>
<character>PROSTITUTE</character>
<dialogue>How you wanna do it ••• ?</dialogue>
<character>BUNS</character>
<parenthetical>(furtive whisper)</parenthetical>
<dialogue>On credit •••</dialogue>
<scene_description>The woman slaps the shit out of Buns. Buns puts his hand on his cheek and turns back to Rushon. Rushon is laugtiing his butt off.</scene_description>
<character>BUNS</character>
<parenthetical>(continuing, without missing a beat)</parenthetical>
<dialogue>Define "fine", you understand what I 'm saying, what this 'WO!llan</dialogue>
<character>BUNS</character>
<dialogue>be lookin' like? I don't wanna be stuck up in a restaurant with no hamhock eatin •, wildebeest. 'I got standards to uphold. I got to regulate.</dialogue>
<character>RUSHON</character>
<dialogue>What about that bottom dweller you left the party with last week?</dialogue>
<character>BUNS</character>
<dialogue>That woman musta put something in my drink, man, I usually wouldn"t mess with no catfish loo.kin' girlie.</dialogue>
<character>RUSHON</character>
<dialogue>Yeah, right Buns. Batman's got Cat Woman, you got Catfish woman. The girl had whiskers, Buns.</dialogue>
<character>BUNS</character>
<dialogue>Magic Shave don't work on everybody. Plus it was three in the mornin' •</dialogue>
<character>RUSHON</character>
<dialogue>What's time got to do with it? This girl was ugly all around the clock, 24-7-365.</dialogue>
<character>BUNS .</character>
<dialogue>After three in the mornin' all my s.tandards go out the window. I make my booty calls at two AM. If I can't get a booty call, come three AM you liable to see me with anything. Blind, crippled, ugly ••• infected. But, gettin• back to the matter at hand, is this girl fine? I don't wanna be eatin• my shrimp fried rice across the table from Shabba Ranks.</dialogue>
<character>RUSHON</character>
<dialogue>This girl looks a lot better than Shabba Ranks •</dialogue>
<character>BUNS</character>
<dialogue>You making me nervous, Rushon.</dialogue>
<character>RUSHON</character>
<dialogue>When the last time you looked in the mirror? You ain"t no Denzel Washington - Rico suave lookin" brother, yo'damn-self. I'm sure you scared a few women and a whole lotta babies in your life.</dialogue>
<scene_description>SFX: a baby starts to cry, his mother distances herself from Buns.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBWAY CAR (MOVING) - NIGHT</stage_direction>
<character>BUNS</character>
<dialogue>Just tell me what this girl looks like. How fine is she?</dialogue>
<character>RUSHON</character>
<dialogue>She's so fine I'd give her six quarters for a dollar. Girl"s so fine I'd drink a whole tub of her dirty bathwater. She's probably finer than any girlie you been with.</dialogue>
<character>BUNS</character>
<dialogue>Speed bag titties?</dialogue>
<character>RUSHON</character>
<dialogue>What are speed bag titties?</dialogue>
<character>BUNS</character>
<dialogue>You know •••</dialogue>
<scene_description>Buns makes like he"s punching a speed bag.</scene_description>
<character>RUSHON</character>
<dialogue>You want to get to know this woman or punch her breasts.</dialogue>
<character>BUNS</character>
<dialogue>Gonna try to do both •••</dialogue>
<character>RUSHON</character>
<dialogue>Muthafuckers just don't come more ignorant than you, "uns.</dialogue>
<character>BUNS</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>My mom said the same thing to me this morning.</dialogue>
<parenthetical>(Beats)</parenthetical>
<dialogue>I got serious problems going out with a girl named "Listerine". I'm thinking muthafuckin' mouthwash. How come our people come up with all these whack names for they kids, man? This girl got to go thru life named after a mouthwash.</dialogue>
<character>RUSBON</character>
<dialogue>It's Lysterine with a "y".</dialogue>
<character>BUNS</character>
<parenthetical>(facetious)</parenthetical>
<dialogue>Oh, a "y", well that makes all the difference in the world, don"t it?</dialogue>
<character>RUSHON</character>
<dialogue>Come on, man, "i", "Y", that ain't the point. The point is you're doing this for ma, your boy. I've been dating Nikki for seven weeks and --</dialogue>
<character>BUNS</character>
<dialogue>(interrupting} Seven weeks! And you ain't terrorized that ass yet? Damn! (singing) "They call me Mr. Pitiful ••• " RUSHON</dialogue>
<scene_description>I like her, so I"ve been taking it easy.</scene_description>
<character>BUNS</character>
<dialogue>Looka here, this is how I peep the sit'ation: You too sensitive, man. Ain't got enough player in your ass. If it was me, I would</dialogue>
<scene_description>·not -let the sun rise over the East River without bouncing that ass, TO-NIGHT, my nigga, TONIGHT. If she says you can get some tomorrow ••• say Noll Nah. Tonight this is a one time offer, TONIGHT, BABY. Tomorrow is too late.</scene_description>
<character>RUSHON</character>
<dialogue>I'ma bust it tonight, I know it and she knows it. That"s why she's bringing Lysterine.along, to run interference. That"s why I need you to short-stop Lysterine before she can short- stop me. You do that and I swear to the Goddess of Booty I'll be kickin' it before the sun rises.</dialogue>
<scene_description>They slap hands.</scene_description>
<character>RUSHON</character>
<parenthetical>(West Side Story)</parenthetical>
<dialogue>Tonight, tonight, gonna bust that ass tonight •••</dialogue>
<character>BUNS</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You better take that bite tonight not tomorrow •••</dialogue>
<scene_description>They laugh.</scene_description>
<character>BUNS/RUSHON</character>
<parenthetical>(their anthem)</parenthetical>
<dialogue>Booty Calli</dialogue>
<scene_description>They slap a dap. CUT 'l'O:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>NIKKI AND LYSTBRINE 24, are applying makeup. Both are very attractive women, much more refined than Buns and Rushon.</scene_description>
<character>LYSTERINE</character>
<dialogue>so Rushon"s friend is cute, right?</dialogue>
<character>NIKKI</character>
<parenthetical>(evasively)</parenthetical>
<dialogue>Cute enough.</dialogue>
<character>LYSTERINB</character>
<dialogue>No, girl. You said he was cute.</dialogue>
<character>NIKKI</character>
<dialogue>- .. Look, girl, I'm not asking you to</dialogue>
<scene_description>have the man's baby, just run some interference for me.</scene_description>
<character>LYSTERINE</character>
<dialogue>He does have blond hair and green eyes, though?</dialogue>
<character>NIKKI</character>
<dialogue>I said it, didn't I? Blonde hair and green eyes. Now hurry up, we"re late already.</dialogue>
<character>LYSTERINE</character>
<dialogue>Make "em wait. Rushon's waited seven weeks ••• seven more minutes isn"t gonna make a difference.</dialogue>
<parenthetical>(applying eye liner)</parenthetical>
<dialogue>Actually, you should give him some, boy put up with your crap for seven weeks, he deserves pu- na-ni.</dialogue>
<scene_description>They laugh.</scene_description>
<character>NIKKI</character>
<parenthetical>(brushing her hair)</parenthetical>
<dialogue>If I didn't like him so much I would have given him some three weeks ago. I just don't want to sleep with him and then have the relationship fizzle.</dialogue>
<character>LYSTERINE</character>
<dialogue>I heard that.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHINATOWN - NIGHT</stage_direction>
<scene_description>Buns and Rushon are walking.</scene_description>
<character>BUNS</character>
<dialogue>Just keep your eyes on the prize. You don't want to suffer the same fate as Floyd.</dialogue>
<character>RUSHON</character>
<dialogue>Floyd? Harold's retarded brother2</dialogue>
<character>BUNS</character>
<dialogue>Yeah, big old waterhead .boy ••• Floyd.</dialogue>
<character>RUSHON</character>
<dialogue>What happened to Floyd?</dialogue>
<character>BUNS</character>
<dialogue>Well you know Floyd is damn near thirty-eight years old now.</dialogue>
<character>RUSSON</character>
<dialogue>Damn, and he"s still retarded?</dialogue>
<character>BUNS</character>
<dialogue>Mental retardation is not something you grow out of.</dialogue>
<character>RIJSHON</character>
<dialogue>A-duh, I was joking, Buns.</dialogue>
<character>BUNS</character>
<dialogue>ANYWAY. Floyd started having bad stomach problems all of last year so Harold took Floyd"s big hydroencephalitic waterhead ass to the doctor. The doctor said ain't nothing wrong with this man a little pussy wouldn't cure. You understand, since Floyd is retarded he ain"t never learned how to masturbate, so all deeze nuts started backing up on Floyd• s ass.</dialogue>
<character>RUSHON</character>
<parenthetical>(grabbing his stomach, feigning pain and discomfort)</parenthetical>
<dialogue>Deeze nutz.</dialogue>
<character>BUNS</character>
<dialogue>That's right. The doctor told Harold to get that waterhead boy soma pu-na-ni before the nigga busted a gasket. He got Floyd laid, his first piece, the boy came in six seconds •••</dialogue>
<parenthetical>(demonstrates)</parenthetical>
<dialogue>••• but he kept coming for the next forty-five minutes, bouncing that big waterhead off the walls, the floors, the ceilings.</dialogue>
<scene_description>Hushon gives Buns an incredulous look.</scene_description>
<character>BUNS</character>
<dialogue>If I'm lyin' I'm dyin'. Just remember, tonight.</dialogue>
<character>RUSHON</character>
<dialogue>Tonight.</dialogue>
<character>RUSBON/BUNS</character>
<dialogue>Tonight •••</dialogue>
<parenthetical>(starting to sing)</parenthetical>
<dialogue>gonna bust that ass tonight, gonna take that bite tonight not tomorrow •••</dialogue>
<scene_description>Song continues with more improvised lyrics. CUT-TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - NIGHT</stage_direction>
<scene_description>Nikki and Lysterine dressed and ready to leave.</scene_description>
<character>NIKKI</character>
<dialogue>No matter what, you can't leave me alone with Rushon, okay?</dialogue>
<parenthetical>(sexy smile)</parenthetical>
<dialogue>He"s not the only one suffering with the seven wee~ itch.</dialogue>
<character>LYSTERINE</character>
<parenthetical>(Re: Nikki's smile)</parenthetical>
<dialogue>Rushon sees you with that look, your suffering will be over.</dialogue>
<scene_description>Nikki immediately changes her expression as they exit. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HO GARDENS CHINESE RESTAURANT - NIGHT</stage_direction>
<scene_description>Rushon and Buns enter the restaurant. The maitre"d escorts them to their table.</scene_description>
<character>RUSHON</character>
<dialogue>••• then we;re straight? After dinner you break off to Lysterine's apartment and Nikki and I catch up on some lost time.</dialogue>
<character>BUNS</character>
<dialogue>••• if Lysterine's fine I go to her apartment, bitch look like Allnt Esther ••• I •m- back OD the A train moving uptown.</dialogue>
<scene_description>CHAN, an effeminate Chinese waiter approaches. Hands on hips.</scene_description>
<character>CHAN</character>
<parenthetical>(stutters miidly)</parenthetical>
<dialogue>My name is Chan. I-I w-will be serving you th-th-this evening. A-A Y-You ready to order?</dialogue>
<character>BUNS</character>
<dialogue>I'm ready to wash your saliva out my face •••</dialogue>
<character>RUSHON</character>
<dialogue>We're waiting for our dinner guests.</dialogue>
<character>B~S</character>
<dialogue>Bring me one of those nasty-ass Chinese beers.</dialogue>
<character>CHAN</character>
<parenthetical>(to Buns, off the blond hair)</parenthetical>
<dialogue>I th-think y-your hair is three things: f-f-fab-bu-lous.</dialogue>
<character>BUNS</character>
<parenthetical>(mimicking the waiter's lispy stutter)</parenthetical>
<dialogue>Y-y-y-ou j-j-just bring me some noodles and sweet'n sour sauce.</dialogue>
<character>CRAN</character>
<dialogue>Oh, ni-nigga p-p-pleazze.</dialogue>
<scene_description>Chan walks away - Rushon and Buns look at one another then explode into laughter.</scene_description>
<character>RUSBON</character>
<dialogue>Oh, no, that muthafucker didn't say that.</dialogue>
<character>BUNS</character>
<dialogue>Chan must be hanging with the Black gay boyz.</dialogue>
<character>RUSHON</character>
<parenthetical>(feigned come-on)</parenthetical>
<dialogue>••• yeah, boy that blond hair makes you look like a mocha-mix Madonna, even I been thinking about tapping that Dennis Rodman looking ass.</dialogue>
<character>BUNS.</character>
<dialogue>Stop mouthing that dumb shit.</dialogue>
<scene_description>Buns notices two women NIR!CI and LYSTERINE walking across the street. Buns eyes them as they approach the restaurant.</scene_description>
<character>RUSHON</character>
<dialogue>There they are ••• Now, Buns act like you have some sense, like you had a mother. Like you were born, not mixed up in a test tube. These girls got alotta- class.</dialogue>
<character>BUNS</character>
<dialogue>I'll be cool. Just remember •••</dialogue>
<character>RUSHON</character>
<dialogue>••. Tonight I</dialogue>
<scene_description>They slap hands then snap their fingers.</scene_description>
<character>BUNS</character>
<dialogue>Rushon, yo man, let's move over to a table with better light.</dialogue>
<character>RUSHON</character>
<dialogue>There"s nothing wrong with the light.</dialogue>
<character>BUNS</character>
<dialogue>I need better light. I'm ti.red of hooking up with these women in muted light, I need to get a good look at this biddie. Anybody can look good in dim light. How many times have you met a girlie at a ~l\lb and under those disco lights girlfriend is lookin •·- good-1.ike- a-rnotofucker. The next day you happy n"shit, go to pick up the girl at high noon and a pure D booger bear climbs into your car.</dialogue>
<scene_description>Buns shivers at the thought.</scene_description>
<character>RUSHON</character>
<dialogue>The girl is fine, Buns.</dialogue>
<character>BUNS</character>
<dialogue>Yes, walking across that street she looks presentable, but it's dark out there and dim in here. I believe in a nigga"s right to · know what he's feeding.</dialogue>
<scene_description>Lysterine and Nikki enter the restaurant and approach the booth. Rushon rises, kisses both women. Buns tilts the lamp shade to get a better look at Lysterine.</scene_description>
<character>NIKKI</character>
<dialogue>Lysterille, this is Rushon's friend ••• Buns.</dialogue>
<scene_description>Lysterine gets a glimpse of Buns. Checks out the dyed blond hair, the lizard-looking contact lenses. Rushen kicks Buns under the table to prompt him to stand. Lysterine has this numbing, angst-ridden expression on her face. She begins to walk away.</scene_description>
<character>NIKKI</character>
<parenthetical>(to Rushon)</parenthetical>
<dialogue>Excuse us •• ,</dialogue>
<scene_description>{catches up to Lysterine) What are you doing?</scene_description>
<character>LYSTERINE</character>
<dialogue>Did you see that amphibious nigga? Looked like The Creature from the Black Lagoon.</dialogue>
<character>NIKKI</character>
<dialogue>It's just dinner, some egg rolls, moo shoo pork and we outta here. DO this for me.</dialogue>
<scene_description>CLOSE ON .BUNS</scene_description>
<character>BUNS</character>
<parenthetical>(whispering to Rushon)</parenthetical>
<dialogue>Bitch ain't with my shit, Rushon.</dialogue>
<character>RUSHON</character>
<dialogue>No, man. She's on you. She"s just nervous, blind date, y'understand.</dialogue>
<character>BUNS</character>
<dialogue>Honey looked at me like I was the creature from the black lagoon. I don't love these hoes, I'm doing this for you, nigga.</dialogue>
<scene_description>Buns defiantly rises to exit but Rushon pushes him back into his seat.</scene_description>
<character>RUSHON</character>
<dialogue>Take that chill pill, Buns. You doing this for me, word is bond.</dialogue>
<parenthetical>(whispers, pulls Buns in close)</parenthetical>
<dialogue>Listen to me Buns, Lysterine is a freak tor a dark skin'd brother.</dialogue>
<character>BUNS</character>
<dialogue>For real though?</dialogue>
<character>RUSHON</character>
<dialogue>You could probably take the boots tonight.</dialogue>
<parenthetical>(points to the wall clock)</parenthetical>
<dialogue>By midnight you"ll be knocking them boots, Buns.</dialogue>
<scene_description>Buns hugs himself as if he were making love to a wom.an ••• starts making the sound of singing bed springs. CLOSE ON NIKKI AND LYSTERINE</scene_description>
<character>LYSTERINE</character>
<dialogue>I thought you said he had blond hair and green eyes.</dialogue>
<character>NIKKI</character>
<parenthetical>(pointing to Buns)</parenthetical>
<dialogue>That's not blond enough for you?</dialogue>
<scene_description>INSERT~ Buns• blond head, bobbing and weaving as he and Rushon continue to plot.</scene_description>
<character>LYSTERINE</character>
<dialogue>You know what I mean: natural blond hair of northern European persuasion.</dialogue>
<character>NIKRI</character>
<dialogue>Lysterine, you know you like those dark complexioned brothers, you got a weakness-, girl.,</dialogue>
<character>LYSTBRINE</character>
<dialogue>Dark niggaz give me the blues.</dialogue>
<character>NIKKI</character>
<dialogue>Everybody's got a weak spot. Who knows ••• you and Buns may hit it off.</dialogue>
<character>LYSTBRINE</character>
<dialogue>Buns ••• you blind date me with a conunon street hood, a loaked-out G, named Buns. Have you lost your mind, girl. I can't get with a nigga named Buns. I can't have babies by a man named Buns. I can't take a common breakfast pastry to my office Christmas party. "This is my husband ••• Buns."</dialogue>
<character>NIKKI</character>
<parenthetical>(pulling her ba~k to the table)</parenthetical>
<dialogue>You just need to chill and get</dialogue>
<scene_description>.your butt in that booth. Besides if you had a baby by Buns, you could rightfully say "I got a little Bun in the oven" •</scene_description>
<character>LYSTBRINE</character>
<parenthetical>(cold sneer)</parenthetical>
<dialogue>Thanks for bringing that oversight to my attention. Buns is starting to look better already.</dialogue>
<character>NIKKI</character>
<dialogue>Do this for me.</dialogue>
<character>CUT TO;</character>
<dialogue>Lysterine sliding into the booth next to Buns. She goes out of her way not to make any eye contact with Buns.</dialogue>
<character>BUNS</character>
<dialogue>so what•zupl</dialogue>
<scene_description>Lysterine slowly, painfully turns to the glowing Buns.</scene_description>
<character>LYSTERINE</character>
<dialogue>Nothing.</dialogue>
<scene_description>Rushon puts his arm around Nikki. Lysterine moves away from Buns. Buns cuts an angry glare at Rushon. An awkward silence befalls the foursome for several beats until: Chan the waiter returns. He seems jealously perturbed now that Buns is in the company of a woman.</scene_description>
<character>CHAN</character>
<dialogue>Are we ready t-t-to order?</dialogue>
<character>BUNS</character>
<dialogue>Let me have some shrimp fried rice.</dialogue>
<character>RUSBON</character>
<dialogue>Make it two.</dialogue>
<character>LYSTERINE</character>
<parenthetical>(sotto voce, to Nikki)</parenthetical>
<dialogue>can"t black people order something other than shrimp fried rice?</dialogue>
<character>NIKKI</character>
<dialogue>Prawns in garlic sauce •••</dialogue>
<character>CHAN</character>
<dialogue>And y-y-you Ms. Thang?</dialogue>
<character>LYSTERINE</character>
<dialogue>MS. Thang???</dialogue>
<character>CHAN</character>
<dialogue>D-don't s-s-start no s-s-shit, won't n-none.</dialogue>
<scene_description>Lysteri.ne and Nikki laugh.</scene_description>
<character>CHAN</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Now y-y-you eating or just looking?</dialogue>
<character>LYSTERINB</character>
<dialogue>Okay, boyfriend, I want a lobster tail in butter wine sauce and we girls want a bottle of Moet.</dialogue>
<character>BUNS</character>
<dialogue>Damn, girl. Why you gotta order the most expensive thing on the menu?</dialogue>
<character>LYSTERINE</character>
<dialogue>Rushon, would you regulate your boy before I have to handle him.</dialogue>
<character>BUNS</character>
<dialogue>The lobster don't even have a price, it says "Seasonal." You know what that means? "Seasonal" means a nigga pays 28 dollars and Rushen, I don"t even like this b- b-bit •••• woman.</dialogue>
<parenthetical>(to Lysterine)</parenthetical>
<dialogue>You order lobster and Moet on old Buns. You know what that means?</dialogue>
<character>LYSTBRINE</character>
<dialogue>What does that mean?</dialogue>
<character>BUNS</character>
<dialogue>come midnight I'm taking the</dialogue>
<scene_description>--. boot. Buns slaps a BABY BOOT key chain on the table. Lysterine arrogantly places her AMEX platinum card on the table next to it.</scene_description>
<character>LYSTBRINE</character>
<dialogue>This is an American Express Platinum Card ••• Buns, I could buy and sell your ashy black, impoverished, blue collar ass.</dialogue>
<character>BUNS</character>
<parenthetical>(out done)</parenthetical>
<dialogue>Aw"ight, then. Long as you can hold your own.</dialogue>
<character>LYSTERINE</character>
<dialogue>I can hold my own.</dialogue>
<scene_description>Chan exiting.</scene_description>
<character>CHAN</character>
<dialogue>N-now, w-we got drama •••</dialogue>
<scene_description>Buns removes his wallet and throws a gold card on the table.</scene_description>
<character>NIKKI</character>
<dialogue>What's that?</dialogue>
<character>LYSTERINE</character>
<parenthetical>(examines the card)</parenthetical>
<dialogue>It's a gold Texaco card.</dialogue>
<character>BUNS</character>
<dialogue>That's right and I can buy all the gas I want, in all fifty states. Eleven foreign countries. You ain"t the only one with Platinum privileges.</dialogue>
<character>RUSHON</character>
<dialogue>What you need a gas card for ••• nigga don't even own a car ••</dialogue>
<scene_description>The girls laugh.</scene_description>
<character>BUNS</character>
<dialogue>Why you sweating me Rushen. For your information I laid away a</dialogue>
<scene_description>'68 Chevy Super Sport, 427 cubic inches, twin cam•••</scene_description>
<character>LYSTERINE</character>
<dialogue>Sounds like a man who has some doubts about his manhood, those souped up cars a.re just extensions of your penis or ••• lack thereof •••</dialogue>
<character>BUNS</character>
<dialogue>Babydoll, I'm packing more meat than Local 105 of the meat cutters union.</dialogue>
<scene_description>Lyst looks coldly to Nikki.</scene_description>
<character>LYSTERINE</character>
<dialogue>Are we having fun yet?</dialogue>
<character>RUSHON</character>
<parenthetical>(breaking the ice)</parenthetical>
<dialogue>Lysterine, where'd you go to school at?</dialogue>
<character>LYSTERINE</character>
<dialogue>Smith.</dialogue>
<character>BUNS</character>
<dialogue>Your old bourgsie ass went to Smith High? You don"t seem like you went to Smith-. ~at• s a Project high school.</dialogue>
<character>LYSTERINE</character>
<dialogue>smith qollege. It's one of the seven sisters. I attended prep school in Switzerland.</dialogue>
<character>BUNS</character>
<dialogue>Well, go the fuck on with yo" bad self.</dialogue>
<character>LYSTERINE</character>
<dialogue>Listen, this is turning into the blind date from hell. This man is ignorant and just plain ghetto, Red Hook, deep in the projects ••• illlm.ature.</dialogue>
<character>BUNS</character>
<dialogue>You callin' me .iJllm.ature?</dialogue>
<character>LYSTERINE</character>
<dialogue>That's right.</dialogue>
<character>BUNS</character>
<dialogue>Hey, ain't but one thing I can say to that.</dialogue>
<character>LYSTERINE</character>
<dialogue>And what"s that?</dialogue>
<scene_description>Buns blows a big wet immature raspberry at Lysterine.</scene_description>
<character>BUNS</character>
<dialogue>Rushon, I never wanted to meet this bitch,</dialogue>
<scene_description>Lysterine grabs a knife and stabs it right between Bun's middle and ring fingers. Buns, calmly moves his hand clear of the knife and counts his fingers. Buns suddenly finds Lysterine more appealing and smiles at her. Lysterine glares back.</scene_description>
<character>RUSHON</character>
<dialogue>Girl's got some shit with her, Buns.</dialogue>
<scene_description>Nikki breaks in.</scene_description>
<character>NIKKI</character>
<dialogue>How about if we start over? Act like this never happened.</dialogue>
<character>BUNS</character>
<parenthetical>(too sincere)</parenthetical>
<dialogue>I think that's a good idea.</dialogue>
<scene_description>Buns turns toward Lysterine and extends his hand.</scene_description>
<character>BUNS</character>
<dialogue>Buns is my name.</dialogue>
<scene_description>LYSTERlNB (playing along) Hi, I 'm Lysterine ·•</scene_description>
<character>BUNS</character>
<dialogue>Mint or the regular·nasty mouthwash.</dialogue>
<scene_description>Lysterine takes a swing at him but he ducks. Rushon holds her from swinging again.</scene_description>
<character>RUSHON</character>
<dialogue>Buns!</dialogue>
<character>BUNS</character>
<dialogue>Okay, for real.</dialogue>
<parenthetical>(extra nice)</parenthetical>
<dialogue>What do you do for a living, wsterine?</dialogue>
<scene_description>Nikki encourages Lysterine with a look to please play along.</scene_description>
<character>LYSTBRINE</character>
<parenthetical>(to Nikki)</parenthetical>
<dialogue>Fine.</dialogue>
<parenthetical>(to Buns)</parenthetical>
<dialogue>I'm in arbitrage at a London- based investment banking firm on Wall Street, Baker Ramsloyds ••• Buns.</dialogue>
<character>BUNS</character>
<dialogue>well, go the fuck on.</dialogue>
<scene_description>Off Rushon and Nikki's look. DISSOLVE TO: INT, RESTAURANT - A LITTLE LATER Chan brings the food. The lobster is very colorful, garnished with pastel flower petals, a real delight. Rushon and Buns looks down at their sorrowful fried rice delivered in carry- out cartons.</scene_description>
<character>RUSHON</character>
<dialogue>Why our food gotta come in a carry-out carton? We order to-go?</dialogue>
<character>CHAN</character>
<dialogue>We don't m-m-ake no money on fried rice.</dialogue>
<scene_description>Buns takes the champagne bottle and twists the cork off with the greatest savior faire, until the cork pops him in the eye. Buns pats the table like a blind man, he"s seeing big blue dots in his blurred vision. Lysterine laughs.</scene_description>
<character>NIKKI</character>
<dialogue>Are you okay, Buns?</dialogue>
<character>BUNS</character>
<dialogue>I'm fine, I usually drink wine</dialogue>
<scene_description>with an aluminum cap. This cork shit is old school, they need to .come into the 90" s. Get hi-tech.</scene_description>
<character>NIKKI</character>
<dialogue>What kind of work do you do, Buns?</dialogue>
<scene_description>Buns and Rushon watch the women feast on their respective lobster and prawns.</scene_description>
<character>BUNS</character>
<dialogue>I go to community college full time and I work full time mixing paint at the hardware section in Sears.</dialogue>
<scene_description>Lysterine laughs, chokes on her lobster.</scene_description>
<character>LYSTERINE</character>
<dialogue>Oh, I• m sorry. ~'ihat are you majoring in at community college?</dialogue>
<character>BUNS</character>
<dialogue>Paint mixing.</dialogue>
<scene_description>Lysterine laughs, again chokes on her lobster. Nikki kicks her under the table. Buns calls Chan, the waiter, back.</scene_description>
<character>BUNS</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Look, man, we ordered "shrimp" fried rice. I don't see any shrimp up in here.</dialogue>
<character>CHAN</character>
<parenthetical>(looks closely)</parenthetical>
<dialogue>••• there is one shrimp ••• and there is another.</dialogue>
<character>BUNS</character>
<dialogue>{holds up a parsley)</dialogue>
<scene_description>And what's this green leafy ••• flowery stuff?</scene_description>
<character>CHAN</character>
<dialogue>That's p-par-pars--paarsley ••• it "s garnishment ••• makes your food look good.</dialogue>
<character>BUNS</character>
<dialogue>Nah, five more shrimp would make my food look good.</dialogue>
<scene_description>Buns notices an aged, white haired Chinese gentleman dining at the next booth. He is chain-smoking Chesterfields. Rushon smells the cigarette smoke. Lysterine notices it too.</scene_description>
<character>LYSTERINE</character>
<dialogue>Cigarette smoke can really spoil the dining experience.</dialogue>
<character>RUSHON</character>
<dialogue>Not when all you got is fried rice ...</dialogue>
<character>BUNS</character>
<dialogue>••• served in cartons •••</dialogue>
<scene_description>Lysterine pushes the smoke away with her hand.</scene_description>
<character>BUNS</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You want me to say something?</dialogue>
<scene_description>,·· --. NIKKI He probably doesn't speak English. Buns rises to approach when Lysterine grabs him. She looks at the Chinese man. Becomes alarmed.</scene_description>
<character>LYSTERINE</character>
<dialogue>Buns, sit back down.</dialogue>
<character>BUNS</character>
<dialogue>I"m just going to--</dialogue>
<character>LYSTERINE</character>
<dialogue>Sit ·down!</dialogue>
<parenthetical>(whispers)</parenthetical>
<dialogue>You ever hear of John Gotti. well that's the godfather of the Leuang Triad, the Chinese Mafia.</dialogue>
<character>RUSBON</character>
<dialogue>That old geezer?</dialogue>
<character>NIKKI</character>
<dialogue>Look, we live in Chinatown, we know what we're talking about. That's the notorious ug Li.</dialogue>
<character>LYSTERINE</character>
<dialogue>He runs Chinatown.</dialogue>
<character>BUNS</character>
<dialogue>Well I"m the notorious Sam Sneed and Ug Li gotta put his Chesterfield out.</dialogue>
<scene_description>Buns approaches the Chinese godfather. Chan hurriedly comes to Buns• side, pulls him aside by the arm.</scene_description>
<character>CHAN</character>
<dialogue>Y--ou y-you n-n-no want to fuck with Ug Li, Chinese god-d-d-f-f- father.</dialogue>
<scene_description>Buns breaks Chan"s grasp, wipes the spit out of his eye, and moves forward. He bows reverently to the aged mobster. Buns begins to speak in impeccable Mandarin. Rushon, Nikki and Lysterine look on in amazement. Buns is actually having a conversation in Mandarin, with the godfather. Ug Li sounds just ~ike Brando in the Godfather but in Chinese. Politely ug Li puts out his cigarette and bows in deference to Nikki and Lysterine. Buns slides back into the booth, starts sucking up his fried rice like nothing happened. ae then looks at Lysterine and smiles cockily.</scene_description>
<character>BUNS</character>
<dialogue>I know you're .impressed ••• Thought I was just a co11D110n street G, huh:.></dialogue>
<character>LYSTBRINE</character>
<parenthetical>(in Chinese with subtitles)</parenthetical>
<dialogue>Oh, I still do •••</dialogue>
<scene_description>Buns smiles. Lysterine smiles back. For the first time they are smiling at the same time.</scene_description>
<character>RUSHON</character>
<dialogue>I didn"t know you spoke that yang talk. Buns.</dialogue>
<character>BUNS</character>
<parenthetical>(mouthful of fried rice)</parenthetical>
<dialogue>I couldn't talk it to your monolingual ass.</dialogue>
<character>NIKKI</character>
<dialogue>Where'd you learn Chinese?</dialogue>
<character>BUNS</character>
<dialogue>Kung Fu movies. My dad used to watch Kung Fu movies on TV.</dialogue>
<character>RUSHON</character>
<dialogue>But they got subtitles •••</dialogue>
<character>BUNS</character>
<dialogue>Yeah, but our TV didn"t have no vertical hold. So, I got in the habit of just listening to those Kung Fu videos, and little by little I began to understand those muthafuckers. One day I went to pick up some shirts at the Chinese laundry and all that fucked up shit that use to sound like ching, chow, ping, wing, was making sense to me.</dialogue>
<character>LYSTERINE</character>
<dialogue>Why didn't you just buy a new TV?</dialogue>
<character>BUNS</character>
<dialogue>Ain't everybody got an American Express card. Theys some po' peoples out here ••• We put a new TV on lay-away once, but when my pops missed some of them six dollar payments they took the TV out of lay-a-way and sold it.</dialogue>
<character>RUSHON</character>
<dialogue>Probably to somebody with an American Express card.</dialogue>
<character>BUNS</character>
<dialogue>This situation exemplifies the evils of the capitalist system, little po' niggaz with no TV ••</dialogue>
<scene_description>Rushon takes a bite of food,</scene_description>
<character>NIKKI</character>
<parenthetical>(to Rushon)</parenthetical>
<dialogue>How's the shrimp?</dialogue>
<character>BUNS</character>
<dialogue>Boy ain't found a shrimp, yet.</dialogue>
<scene_description>Rushon looks around in his fried rice for a beat.</scene_description>
<character>RUSRON</character>
<dialogue>There 's one •••</dialogue>
<parenthetical>(to Nikki)</parenthetical>
<dialogue>I want you to have this •••</dialogue>
<scene_description>Rushen gingerly lifts the shrimp to Nikki's lips with his chopstix. Buns rolls his eyes at this gesture.</scene_description>
<character>BUNS</character>
<dialogue>Damnl Boy is pitiful •••</dialogue>
<character>NIKKI</character>
<dialogue>You need to pay attention and learn, maybe one day you'll do something gallant and romantic •••</dialogue>
<parenthetical>(looks at Rushen lovingly)</parenthetical>
<dialogue>,,.like Rushen •••</dialogue>
</scene>
<scene>
<stage_direction> -- BUNS</stage_direction>
<scene_description>Pleeze ••• Nigga give up one nasty old, crusty-ass shrimp and all of sudden he's Billy D. Hell, Billy D ain"t even Billy D anymore.</scene_description>
<character>LYSTERINE</character>
<dialogue>There"s that common street G. again •••</dialogue>
<character>BUNS</character>
<parenthetical>(in Chinese)</parenthetical>
<dialogue>Was anyone talking to you?</dialogue>
<scene_description>Lysterine shoots back in Chinese. Buns retorts in Chinese. They escalate into an argument in Chinese. The Chinese patrons in the restaurant are aghast. Chan hurries to the table.</scene_description>
<character>CHAN</character>
<dialogue>No f-f-fighting in restaurant. cost extra to f-f-fight in restaurant.</dialogue>
<scene_description>Buns and Lysterine say the equivalent to "tuck you" in Chinese. Chan responds in kind - now all three a.re arguing in ChiJlQse. Rushon looks at Nikki</scene_description>
<character>RUSBON</character>
<dialogue>Well ••• I guess dinner is over •••</dialogue>
<scene_description>CUT TO:</scene_description>
<character>EXT. CHINATOWN STREET - NIGHT</character>
<dialogue>Rushon and Nikki walk holding hands. Buns and Lysterine are on either side of the couple. They approach an apartment building.</dialogue>
<character>RUSHON</character>
<parenthetical>(to Nikki)</parenthetical>
<dialogue>Ain"t that yours and Lysterine"s building?</dialogue>
<scene_description>Nikki doesn"t answer. She just looks at Lysterine as if to say "here it comes. •• They walk a few 1110re steps until Rushon stops.</scene_description>
<character>RUSHON</character>
<parenthetical>(excited as if coming .- -. upon a great idea)</parenthetical>
<dialogue>Hey, I got an ideal Let"s go in.</dialogue>
<character>NIKKI</character>
<dialogue>NO.</dialogue>
<character>RUSBON-</character>
<dialogue>But -</dialogue>
<character>NIKKI</character>
<dialogue>Keep walking.</dialogue>
<character>RUSBON</character>
<dialogue>Wait, that wasn"t the whole idea.</dialogue>
<character>NIKKI</character>
<dialogue>Fine, what else?</dialogue>
<scene_description>Rushen is on the spot. He quickly looks to Buns for help but all he gets back is a smile sayin "you' re on your own. "</scene_description>
<character>RUSHON</character>
<parenthetical>(uncomfortable laugh then quietly suggestive)</parenthetical>
<dialogue>Baby, I can't, we amongst company.</dialogue>
<character>NIKKI</character>
<dialogue>Keep moving!</dialogue>
<character>BUNS</character>
<parenthetical>(sotto singing)</parenthetical>
<dialogue>. "They call me Mr. Pitiful"</dialogue>
<scene_description>Rushen shoots Buns a look. They start walking again. CUT T01:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHINESE MOVIE TREATER - NIGHT</stage_direction>
<scene_description>They walk toward the theatre. A sign in front of the theater reads "10 HOUR KUNG FU-ATHON". Buns wants to go in.</scene_description>
<character>BUNS</character>
<dialogue>••• what's wrong wit"chall? This is greatl</dialogue>
<parenthetical>(to Nikki)</parenthetical>
<dialogue>Nikki, you want to see these movies, don't you?</dialogue>
<character>RUSHON</character>
<parenthetical>(to the girls)</parenthetical>
<dialogue>Excuse us •••</dialogue>
<scene_description>Rushon grabs Buns by the arm and walks him away from the girls. .. -- RUSHON(CON'T) What the fuck you doing, man? We're supposed to be knocking boots, not watching some damn Kung Fu movies.</scene_description>
<character>BUNS</character>
<dialogue>But this is history, Rushon!</dialogue>
<parenthetical>(points to posters)</parenthetical>
<dialogue>Look at this line up ••• Johnnie Chan, Johnnie Chow••• Johnnie Chin ••• Johnnie Chu ••• The Lone Wolf ••• Bruce Lee •••</dialogue>
<parenthetical>(trying to appeal to Rushon"s negritude)</parenthetical>
<dialogue>Man, they even got Black Belt Jones ••• C'mon, man.</dialogue>
<character>RUSHON</character>
<dialogue>Remember, tonight?</dialogue>
<scene_description>Buns is torn. He looks at Rushon, back to the Johnnies, then back to Rushen.</scene_description>
<character>BUNS</character>
<dialogue>This is a pain that will not quickly heal.</dialogue>
<scene_description>Buns takes one last look over his shoulder as they walk on. CUT TO:</scene_description>
<character>INT, POOL HALL - NIGHT</character>
<dialogue>Rushon and Buns look on as Lysterine expertly runs the last few striped balls off the table. Lysterine looks to Nikki and winks as she sinks the eight ball and wins. Rushon gives Buns some illOney. Buns adds Rushon"s to his and hands it to Lysterine, who splits it with Nikki.</dialogue>
<character>BUNS</character>
<dialogue>I was hoping to win my fried rice money back.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
<character>INT. POOL HALL - A LITT.LE LATER</character>
<dialogue>Lysterine moves effortlessly around the table. She plants her crotch on the corner and stretches to make a combination.</dialogue>
<character>LYSTERINE</character>
<dialogue>Learning anything Buns?</dialogue>
<scene_description>Lysterine spreads across the-table, stretching to make a difficult shot. Buns ogles over her thigh muscles flexing, her taunt stomach balancing her toned alignment of the shot.</scene_description>
<character>LYSTERINE</character>
<dialogue>Nine off the eight, in the corner.</dialogue>
<character>BUNS</character>
<parenthetical>(Sotto)</parenthetical>
<dialogue>You go girl.</dialogue>
<character>LYSTERINE</character>
<dialogue>Can you hand me a bridge.</dialogue>
<scene_description>Buns grabs the bridge and breaks it in two.</scene_description>
<character>BUNS</character>
<dialogue>It" s broke.</dialogue>
<scene_description>Buns smiles and Lysterine smiles back as she sexually stretches out again.</scene_description>
<character>BUNS</character>
<dialogue>I love this game.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANCE CLUB - CHINATOWN - NIGHT</stage_direction>
<scene_description>Rushon, Nikki, Buns and Lysterine are dancing. Rushon and Buns make eye contact. Rushon points to his watch then adds a pelvic thrust to his dance step. Buns shrugs his shoulders. Rushon is frustrated then realizes Nikki has watched the whole thing. Rushon forces a smile. DISSOLVE TO;:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANCE CLUB - A LITTLE LATER</stage_direction>
<scene_description>Everyone looks on as different guys get out on the dance floor and do fancy steps - showing off - challenging one another. Buns pushes everyone out of the way and jumps out on the floor. He does a few fancy impressive steps, slides, spins, then does a flip that ends on the floor in a split. It"s quite impressive - only problem is ••• Buns lands on the family jewels much much harder than he intended to. SPLATlll Everyone in the crowd GASPS in sympathy, especially the men - imagining the pain in Buns' loins ••• Buns• eyes cross in pain as he sucks in a deep breath. He looks at Rushon, Nikki and Lysterine.</scene_description>
<character>BUNS</character>
<parenthetical>(high voice)</parenthetical>
<dialogue>Help •••</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rushon, Buns, Nikki and Lysterine are standing in front of apartments 4-A and 4-B which are across to one another. Nikki takes out her key as she moves towards apartment 4-A. Rushon gives her a quick kiss on the back of the neck.</scene_description>
<character>NIKKI</character>
<dialogue>Rushon, we"re not up here to fool around.</dialogue>
<character>RUSHON</character>
<dialogue>You're right. Let's just get Buns off his feet, A quick rest, then we"re out of here.</dialogue>
<character>BUNS</character>
<parenthetical>(to Lysterine1 pointing at her door)</parenthetical>
<dialogue>That's your crib.</dialogue>
<parenthetical>(suggestively)</parenthetical>
<dialogue>Have I told you 4-B is my favorite number?</dialogue>
<character>NIKKI</character>
<dialogue>He sounds fine.</dialogue>
<scene_description>Buns "GROANS."</scene_description>
<character>RUSHON</character>
<parenthetical>(feigning concern)</parenthetical>
<dialogue>He needs to get off his feet.</dialogue>
<scene_description>Nikki hesitates. Buns "GROANS" even louder. Nikki relents and turns her key. We hear the loud CLICK of the door unlocking. Rushon and Buns covertly exchange smiles. CUT TO:</scene_description>
<character>INT. NIKKI'S APARTMBNT - LIVING ROOM - NIGHT</character>
<dialogue>Very cute apartment tastefully designed. KILLA, Nikki's little Charpei pup starts sniffing around Buns. Rushon steps up his amorous assault on Nikki's defenses by nibbling softly at her ear. Nikki weakens. Part of her wants Rushon to stop nibbling, part of her wants Rushon to nibble on.</dialogue>
<character>NIKKI</character>
<dialogue>come on, Rushon, you promised •••</dialogue>
<scene_description>Rilla continues to sniff Buns.</scene_description>
<character>BUNS</character>
<dialogue>Could you get this dog to stop sniffing me? Put him in a closet or something •••</dialogue>
<character>NIKKI</character>
<dialogue>Killa lives here, you visiting, Buns.</dialogue>
<scene_description>Rushen puts on a Barry White CD that he pulls out of his .···--. jacket pocket. They all sit at the table •</scene_description>
<character>NIKKI</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Put something slamming on. Why you playing Barry White?</dialogue>
<character>RUSHON</character>
<dialogue>Barry White's the man, the Icon of Love.</dialogue>
<character>LYSTERINE</character>
<dialogue>More like the walrus of love •••</dialogue>
<character>NIKKI</character>
<dialogue>It ain"t that kind of party, Rushen. suns needed to sit so we"re gonna play some cards and then your ass is going home.</dialogue>
<scene_description>Buns laughs. Rushon eyes Buns.</scene_description>
<character>RUSHON</character>
<dialogue>What"s so funny, G?</dialogue>
<scene_description>Buns wipes the big grin off his face.</scene_description>
<character>BUNS</character>
<dialogue>Yo, nuthing, man. I'm just Coolin'.</dialogue>
<scene_description>Buns laughs again. Rushon fro~ms then motions Buns surreptitiously towards Lysterine's apartment with his head. Buns doesn"t react so Rushon kicks him on the shin and foot.</scene_description>
<character>BUNS</character>
<dialogue>Nigga, please! Stop kicking me on my feets. I got corns, and bunions ••• why you think they call me, Buns. Buns is short for bunions.</dialogue>
<character>NIKKI</character>
<dialogue>Buns and Lyst want to play cards, Rushon.</dialogue>
<character>RUSHON</character>
<dialogue>Buns don't want to play no cards.</dialogue>
<parenthetical>(pointedly)</parenthetical>
<dialogue>Do you, Buns?</dialogue>
<character>BUNS</character>
<dialogue>Naw, man. Just chill, the girl made it pe~fectly clear, Rushon. You ain"t taking that nookie ride, not tonight. so stop kicking my feet under the table.</dialogue>
<scene_description>Rushon looks at Buns like the traitor that he is.</scene_description>
<character>BUNS</character>
<parenthetical>(singing to Rushon)</parenthetical>
<dialogue>"They call me, Mr. Pitiful ••• "</dialogue>
<scene_description>DISSOLVE TO: INT. NIKKI'S APARTMENT - A LI'lTLE LA'l'BR Everybody"s shoes are oft. All but Nikki look bored. Buns is feeding Killa, snacks under the table. Killa licks Buns" fingers. Nikki lays down her last card. Everyone else throws their last card on the table.</scene_description>
<character>NIKKI</character>
<dialogue>I made my bid again! This is fun, huh? Rushon, you"re not concentrating, your mind's a million miles away, ••</dialogue>
<character>BUNS</character>
<parenthetical>(Sotto)</parenthetical>
<dialogue>••• In COotchieville, USA.</dialogue>
<character>LYSTERINE</character>
<dialogue>What are you thinking about, Rushon'2</dialogue>
<character>RUSHON</character>
<dialogue>I'm thinking, why can"t a guy and a girl who have been dating for seven weeks start making love, enjoying intimacy.</dialogue>
<character>NIKKI</character>
<dialogue>Maybe the girl wants a more profound relationship ••• maybe the girl is not interested in casual sex.</dialogue>
<character>LYSTERINE</character>
<dialogue>Maybe the girl wants a deeper commitment ••• ma.ybe the girl wants a soulmate.</dialogue>
<character>NIKKI</character>
<dialogue>Maybe the girl's got some soul searching to do •••</dialogue>
<character>BUNS</character>
<dialogue>Maybe the girl's got a nigga uptown packing ten inches, all night long.</dialogue>
<character>LYSTERINE, RUSSON,</character>
<dialogue>NIKKI</dialogue>
<scene_description>Buns, shut the fuck up.</scene_description>
<character>BUNS</character>
<dialogue>I'm talking about Shaft •••</dialogue>
<character>LYSTERINE, RUSRON,</character>
<dialogue>NIKKI</dialogue>
<scene_description>••• just shut yo' mouth.</scene_description>
<character>BUNS</character>
<dialogue>Well, I think it's a legitimate question. Any honey going out with me for seven weeks is gonna be hiding salami, waxing the cucumber, backstroking •cause Buns don't play that.</dialogue>
<dialogue>Nikki quickly gathers up the cards and quickly begins to deal them out again. Rushon gives Buns a look, another cue. Buns does a fake yawn. Really hams it up with another lazy, fake, protracted yawn.</dialogue>
<character>BUNS</character>
<dialogue>Whoa, boy ••• It's getting late.</dialogue>
<character>LYSTERINE</character>
<dialogue>That"s the truth.</dialogue>
<scene_description>Nikki shoots Lysterine a look "traitor."</scene_description>
<character>LYSTERINE</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>It is.</dialogue>
<character>RUSHON</character>
<dialogue>Lysterine, you ever make a brother wait seven weeks to get up on that thang?</dialogue>
<character>NIKKI</character>
<dialogue>Why you asking her? Lysterine ain"t made a man wait 45 minutes ••• the girl"s a bono fide ho.</dialogue>
<character>BUNS</character>
<parenthetical>(craning his neck like a periscope)</parenthetical>
<dialogue>Hol There's hoes in this howlse? Mercyl</dialogue>
<character>LYSTERINE</character>
<parenthetical>(heated)</parenthetical>
<dialogue>No, I have full confidence in my sexuality. If I want to get busy I just do it. I don"t toil over it like some prudes I know •••</dialogue>
<character>BUNS</character>
<dialogue>Shall I suit up?</dialogue>
<character>NIKKI</character>
<dialogue>I"m not a prude. I just don't wanna·rush into sex.</dialogue>
<scene_description>Nikki and Lysterine shoot each other looks.</scene_description>
<character>RUSHON</character>
<parenthetical>(breaking the tension)</parenthetical>
<dialogue>Who's deal?</dialogue>
<scene_description>UNDER THE TABLE Trapped in Nikki's apartment when they'd rather be home·alone ••• Buns and Lysterine begin to play ''footsie." Rushen picks up on this and starts rubbing his foot gently against Nikki"s. She smiles and reciprocates. EVERYONE ~retends to be looking at their cards while getting deeper into the footsies.</scene_description>
<character>NIKKI</character>
<dialogue>I bid a five no trump •••</dialogue>
<character>RUSHON</character>
<dialogue>You got it •••</dialogue>
<scene_description>UNDER THE TABLE Buns" foot is gently caressing Lysterine's foot. She likes this, she sm.iles shyly at Buns. Buns winks at Lysterine as only Nikki continues to aggressively play out her cards. Nikki withdraws her foot - gives Lysterine a look. Lysterine also withdraws her foot. CLOSE ON BUNS' foot moving searchingly for Lysterine•s foot like a blind man patting in the dark. Everywhere he puts his foot there is no Lysterine.</scene_description>
<character>NIKKI</character>
<dialogue>Your play Buns.</dialogue>
<character>BUNS</character>
<parenthetical>(distracted)</parenthetical>
<dialogue>Uh-huh ••.</dialogue>
<scene_description>Buns absently throws a card out as he continues to search for Lysterines foot. Finally he locates the foot and begins to caress her foot against his. He smiles and winks at her. UNDER THE TABLE and unbeknownst to Buns, he is caressing Rushon"s foot. Rushon thinks that Nikki is caressing his foot. Rushon smiles at Nikki, Nikki doesn't read why he would be smiling. Nikki taking Rushon"s hand which in turn cause Rushon to caress Buns·• foot more lovingly.</scene_description>
<character>LYSTERINE</character>
<parenthetical>(chiding, reminding Buns to play)</parenthetical>
<dialogue>Buns .•.</dialogue>
<character>BUNS</character>
<parenthetical>(as he plays a card)</parenthetical>
<dialogue>Oh, yeah, right, right •••</dialogue>
<scene_description>Rushon contiues rubbing the foot. He smoothly passes his foot over Buns' big, ashy, nasty looking foot with big ass yellow toenails. Suddenly the foot doesn't feel so good to RUSBON, the skin is rough and coarse. WE READ the state of mild confusion on Rushon's face. Be rubs his big toe against Buns' big toe. He watches Buns swoon, smile and wink at Lysterine - big toothy smile.</scene_description>
<character>BUNS</character>
<dialogue>Damn, baby. Yo' foot feels good.</dialogue>
<scene_description>At this instant Rushon begins to figure out what might be happening. He thinks the unthinkable. The mere thought of Buns" foot touching his own makes Rushon sick to his stomach. Rusnon peers hesitantly under the table the way one might identify a loved one"s body at the morgue: CLOSE ON Buns• big ass, ugly, CRUSTY, alligator foot caressing his own. Rushon SCREAMS. Jumps up from the table. This scaras Buns and causes hilll to drop his cards. Some of them go under the table.</scene_description>
<character>RUSHON</character>
<dialogue>Get yo" ashy, jungle rot- alligator foot off of mine, fool. Big, nasty, ugly-ass feet, with toenails the size of fifty-cent pieces. Yo" feet look .like they belong to a demon, the undead, Nosferato, muthafucker. They ain"t human feet, Buns. You ever hear of Dr. Scholl's2</dialogue>
<character>BUNS</character>
<dialogue>You got a lot a nerve, nigga ••• You need to trim your big-ass toe nails 'fore you cut a hole in your girl's carpet.</dialogue>
<character>NIKKI</character>
<dialogue>c•mon ••• Get your cards so we can play, Buns ••</dialogue>
<scene_description>Buns gives Rushon a look then goes under the table - on his hands and knees. AS Buns picks up his cards, Killa comes under the table begins to lick Lyeterine"s toes. LYSTERINB gets a big smile on her face, the toe licking is making her very amorous. She of course thinks Buns is licking her toes.</scene_description>
<character>-</character>
<dialogue>UNDER THE TABLE Killa continues to lick away. CU: LYS'l'ERINE as she sucks in a deep breath.</dialogue>
<scene_description>LYS'l'ERINE (to herself) Hmmmmmm ••• 000000. UNDER TK8 TABLE, Buns, still on his hands and knees, turns around to pick up the last of the cards. Killa sticks his nose in Buns' ass, BUNS eyes widen as he smiles with delight.</scene_description>
<character>BUNS</character>
<parenthetical>(to himself, sotto)</parenthetical>
<dialogue>It's all good.</dialogue>
<scene_description>Killa sticks her nose in Buns' ass again, then runs from under the table, Buns turns and sees Lysterine"s foot near his ass. cu: BUNS</scene_description>
<character>BUNS</character>
<parenthetical>(continuing; sotto)</parenthetical>
<dialogue>I knew it .•. someone call the police, we got a Love Gangster and she's all the way live.</dialogue>
<scene_description>Buns comes back up to the table but not before bwuping his head. Lysterine and Buns smile at one another .knowingly.</scene_description>
<character>LYSTERINB</character>
<dialogue>Nikki, I think I left some Pop Tarts in my oven, I need to run over to my place. You know Buns, my kitchen is antique white and I can"t seem to match any paint samples that fit rtrt antique white kitchen walls. D"you think you could take a look at it?</dialogue>
<character>BUNS</character>
<parenthetical>(throws his cards down)</parenthetical>
<dialogue>I sure as fuck could.</dialogue>
<scene_description>Buns and Lysterine get up from t\_he table.</scene_description>
<character>NIKKI</character>
<dialogue>Wait a minute! Play your hand.</dialogue>
<character>BUNS/LYSTERINE</character>
<dialogue>We just did. We out.</dialogue>
<character>NIKKI</character>
<dialogue>Wait!</dialogue>
<parenthetical>(terse whisper)</parenthetical>
<dialogue>I can"t be alone with Rushon.</dialogue>
<character>LYSTERINE</character>
<dialogue>He really likes you. Be with him.</dialogue>
<parenthetical>(Mike Myers/Richman)</parenthetical>
<dialogue>Go, talk amongst yourselves.</dialogue>
<scene_description>Buns and Lysterine pick up their shoes and quickly exit the apartment. Rushon I:11bs his hands together in anticipation as he moves from the table to the couch. Nikki realizes that what she has been avoiding all evening ·has finally happened - she and Rushon are alone •• , Nikki sits .beside Rushen as she turns on the TV with a remote. A National Geographic special on sex in the animal kingdom flickers on the TV screen. WE SEE a series of animals mating. Antelopes, elephants, lions etc ••• Rushon sits up suddenly very attentive - as is Killa, who perks up his ear, and watchGs with a cocked head like the RCA dog. A muted, droll, British BBC VOICE drones on antiseptically about the relative mat~ng habits of the animals.</scene_description>
<character>BRITISH VOICE(VO)</character>
<dialogue>The lion mates up to twenty ti.mes a day in mating season. The Hippo, though not as prolific, is none the less as enthusiastic ••• watch carefully as the four thousand pound hippo knocks those boots •••</dialogue>
<scene_description>The image of Hippos making love comes on the TV screen.</scene_description>
<character>RUSHON</character>
<dialogue>Wax that four thousand pound ass,</dialogue>
<scene_description>Killa, who has gotten excited from watching the Hippo~s, begins to hump Rushon"s leg.</scene_description>
<character>NIKKI</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Killal Stop thatl</dialogue>
</scene>
<scene>
<stage_direction>, --.</stage_direction>
<scene_description>Nikki pushes Killa away from Rushon.</scene_description>
<character>RUSHON</character>
<dialogue>That's alright •••</dialogue>
<scene_description>(glances at animals continuing to mate on TV} he's only human ••• Rushon pets Killa who wags his tail. Nikki likes this. She softens.</scene_description>
<character>NIKKI</character>
<dialogue>How come you didn"t pet Killa when Buns was here? I think he"s a bad influence on you.</dialogue>
<character>RUSRON</character>
<dialogue>Don't come down on Buns, he"s had a hard life. You know he was a crack baby, raised by wolves in Central Park</dialogue>
<character>NIKKI</character>
<dialogue>Boy's been on the paint fumes too long.</dialogue>
<scene_description>Rushen takes her hand.</scene_description>
<character>RUSHON</character>
<dialogue>Nikki, we been going out for seven weeks. We've eaten Italian, Thai Ethiopian, Greek,· Jamaican, Pygmy. We've read poetry to one another ••• Taken moonlit walks together, midnight swims by starlight together ••• Fought off carjackers ••• together, even survived your sister"s cooking ••• together.</dialogue>
<scene_description>Rushon humbly kneels at her side.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Like a vision of love ••• You came from above ••• delivered on the wings of a dove ••• like an oracle ••• serene, across the hall from the fair Lysterine ••• you"ve made l1l'/ life a dream ••• you are my everything ••• you are my all ••• your love makes me stand</dialogue>
<character>RUSHON</character>
<dialogue>tall ••• but baby, it's time for that booty call.</dialogue>
<scene_description>Nikki smiles that sexy smile we saw before.</scene_description>
<character>RUSHON</character>
<dialogue>Al.right!</dialogue>
<scene_description>Rushon takes the cue and they begin to make-out·.</scene_description>
<character>BRITISH VOICB(VO)</character>
<dialogue>••• but like most in the animal kingdom, once the mating is complete the male goes on his way looking for his next conquest while the female is left alone to bare and raise their offspring.</dialogue>
<scene_description>Nikki breaks free of the embrace. Rushon quickly changes channels but it"s too late the mood is broken.</scene_description>
<character>RUSHON</character>
<dialogue>Aw, man •••</dialogue>
<parenthetical>(sotto)</parenthetical>
<dialogue>I hope Buns is having better luck than I am.</dialogue>
<scene_description>JACK CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LYSTERINE'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>TOOTSIEROLL. The music is pumping, thumping, funky ••• Buns and Lysterine are furiously groping one another. Clothes start RIPPING OFF.</scene_description>
<character>BUNS</character>
<dialogue>Baby, tell me what You like?</dialogue>
<character>LYSTERINE</character>
<parenthetical>(hesitant)</parenthetical>
<dialogue>No, you might think I'm a freak.</dialogue>
<character>BUNS</character>
<parenthetical>(kissing her)</parenthetical>
<dialogue>I"m already thinking freak, so let's do what you like •••</dialogue>
<character>LYSTERINE</character>
<dialogue>It really turns me on when a man can ..• can •.. do imitations ••• impressions.</dialogue>
<character>BUNS</character>
<dialogue>Imitations?</dialogue>
<character>LYSTERINE .</character>
<dialogue>Yeah, like, ah, eh, you know powerful men, men of authority •••</dialogue>
<character>BUNS</character>
<parenthetical>(imitating a flawless Jesse Jackson)</parenthetical>
<dialogue>The hands that once picked cotton, can now pick the president.</dialogue>
<scene_description>This turns Lysterine on, she becomes palpably more excited. Buns senses he' s found her weak spot.</scene_description>
<character>BUNS</character>
<parenthetical>(more Jesse Jackson)</parenthetical>
<dialogue>Yes, peoples, we was in the out house, now we can take the White House.</dialogue>
<scene_description>INT, LYSTERINE'S KITCHEN - CONTINUOUS - NIGHT Buns and Lysterine are knocking pots and pans out of the way as they make love on the kitchen counter with reckl.ess abandon.</scene_description>
<character>LYSTERINE</character>
<dialogue>Do more Jesse Jackson •••</dialogue>
<character>BUNS</character>
<parenthetical>(imitating Jackson)</parenthetical>
<dialogue>.,.I'm going to wax this ass all the way to Hymietown.</dialogue>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Rushon can HEAR pots and pans falling over in Lysterine"s apartment. He knows Buns is getting it on.</scene_description>
<character>RUSHON</character>
<dialogue>Buns is popping that cootchie and I'm sitting here watching simple- ass Latoya Jackson on Your Friendly Psychic ••• maybe I should call the psychic to· find out when we gonna kick it.</dialogue>
<character>NIKKI</character>
<dialogue>Yo, you don't have to be here, you can leave.</dialogue>
<character>RUSRON</character>
<dialogue>I enjoy sitting here with you ••• I enjoy Killa, humping my ank1e.</dialogue>
<scene_description>He tries to kiss her. She resists. CUT TO: INT. LYSTBRINB'S APAR!l'MENT - KITCHEN - NIGHT Buns and Lyst continue to knock over pots and pans as they escalate.</scene_description>
<character>BUNS</character>
<parenthetical>(as ELMER FUDD)</parenthetical>
<dialogue>0000000, this is weally, weally good. I just wish that cwazy, wascally wabbit could see me now</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>Oh, Mr, Bunny Wabbit ••• Now you know, "What's up" I</dialogue>
<character>LYSTERINE</character>
<dialogue>Ohh, oooh, Buns your "Mike Tyson" turns me the fuck on.</dialogue>
<character>BUNS</character>
<dialogue>Baby, that's Blmer Fudd, Tyson is an octave higher.</dialogue>
<parenthetical>(imitating Tyson but it sounds just like El.mer Fudd)</parenthetical>
<dialogue>Now w-robin this wrooty is \,iwreally, wreally good but you ain't getting the house or the Bentley,</dialogue>
<parenthetical>(back to himself)</parenthetical>
<dialogue>Now, that"s Mike Tyson.</dialogue>
<scene_description>Lysterine attacks him. - · CUT TO:</scene_description>
<character>INT. NIKKI'S APARTMENT - LIVING ROOM - NIGHT</character>
<dialogue>Rushen looks dejected, Nikki looks at Rushon then kisses him•</dialogue>
</scene>
<scene>
<stage_direction> - ..</stage_direction>
<character>RUSHON</character>
<dialogue>Yeah ••• This is more like it.</dialogue>
<scene_description>Rushon pulls Nikki onto the couch. Nikki and Rushon get more and more excited as they continue to kiss. -Nikki breaks away.</scene_description>
<character>NIKKI</character>
<dialogue>Rushen I need to ask you something.</dialogue>
<character>RUSHON</character>
<dialogue>can't it wait?</dialogue>
<character>NIKKI</character>
<dialogue>NO.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>If I No, if WB do this. What happens then?</dialogue>
<character>RUSHON</character>
<parenthetical>(kissing her neck)</parenthetical>
<dialogue>The earth will move. Satisfaction guaranteed or your money back •••</dialogue>
<character>NIKKI</character>
<dialogue>No. I mean what happens to our relationship?</dialogue>
<character>RUSHON</character>
<dialogue>- (kissing her ears)</dialogue>
<scene_description>You'll be my woman ••• we'll be married in a small chapel ••• we'll have two point five kids, a house with a white picket fence and live happily until one day ••• you' 11 catch me in bed with a bow-legged midget, at the Motel 6 ••• and cut my ass.</scene_description>
<character>NIKKI</character>
<dialogue>••• you know I own a gun •••</dialogue>
<character>RUSHON</character>
<dialogue>You'll be my one and only love,</dialogue>
<scene_description>Nikki's defenses are all gone. She wants this now as much as Rushon does. Nikki embraces Rushon and they begin to kiss and grope. Nikki stops. Rushon is about to burst.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing; excited)</parenthetical>
<dialogue>What? What? What now, goddamnit?</dialogue>
<character>NIKKI</character>
<dialogue>Do you have a condom? I love se..~, but I don't want to die for it. Don't wanna expire from desire.</dialogue>
<scene_description>Rushen quickly pulls his wallet out of his pocket.</scene_description>
<character>RUSHON</character>
<dialogue>I got a condom. I got a condom.</dialogue>
<parenthetical>(takes a condom out of his wallet and holds it up)</parenthetical>
<dialogue>See. It"s right here. Just let me get it out.</dialogue>
<scene_description>Rushon rips open the condom package. The slippery condom slips from his hand to the floor where Killa snaps it up. Rushen chases Killa under the table and across the floor. He catches Killa and tries to take the condom out of his 1110uth. Killa growls and won't let go. Re pulls the condom up. Killa is lifted off the floor. Killa finally lets go of the condom. It snaps back up and slaps Rushen on the hand - stinging him - "OW". Rushen proudly displays the condom now wet with Killa"s saliva.</scene_description>
<character>RUSBON</character>
<dialogue>I got it!</dialogue>
<character>NIKKI</character>
<dialogue>Don"t even think it •••</dialogue>
<character>RUSBON</character>
<parenthetical>(off her look)</parenthetical>
<dialogue>Right.</dialogue>
<parenthetical>(selling)</parenthetical>
<dialogue>Listen, I think we can get by just this once without one.</dialogue>
<character>NIKKI</character>
<dialogue>Your eyes may shine, your teeth may grit, but none of this prize will you get - until you have a brand new, non-lubricated, electronically tested, individually rolled and sealed ••• condom.</dialogue>
<scene_description>. -. His last try •</scene_description>
<character>RUSBON</character>
<parenthetical>(Re: condom)</parenthetical>
<dialogue>You know they say a dog's mouth is cleaner than a human"s.</dialogue>
<scene_description>She just looks at him.</scene_description>
<character>RUSBON</character>
<parenthetical>(continued)</parenthetical>
<dialogue>Okay ••• Give me a minute.</dialogue>
<scene_description>COT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LYSTERINB'S APARTMENT - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Buns and Lysterine are working it while Lysterine sits on the TV'.</scene_description>
<character>BUNS</character>
<dialogue>{as RICHARD PRYOR)</dialogue>
<scene_description>Damn, baby ••• Your pussy got a name? 'Cause I'd like to thank it formally. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rushon tiptoes into the hallway. He hears noises of passion emanating from Lysterine's apartment. He puts his ear to the door. on the other side of the door he can BEAR Buns and Lysterine making passionate love. Buns and Lysterine are screwing against the other side of the door. This time Buns is imitating perfectly - Homer Simpson.</scene_description>
<character>BUNS</character>
<dialogue>Oh, Marge, dackl Marge you got some good ass cartoon pussy, girlfriend.</dialogue>
<character>LYSTERINB</character>
<parenthetical>(imitating Marge Simpson)</parenthetical>
<dialogue>•.• oh, Homie, eomie.</dialogue>
<scene_description>FROM THE CAMERA ANGLE WB SBB both sides of the door. Rushon is confused, dumbfounded by this Bomer and Marge imitation he is hearing.</scene_description>
<character>BUNS</character>
<parenthetical>(from the other side of the door)</parenthetical>
<dialogue>Marge, grab my butt cheeks •••</dialogue>
<parenthetical>(suddenly Buns' voice)</parenthetical>
<dialogue>Damn ' , not so hard.</dialogue>
<character>LYSTERINE</character>
<parenthetical>(a la Marge Simpson)</parenthetical>
<dialogue>Like this Romie?</dialogue>
<character>BUNS</character>
<parenthetical>(as Homer)</parenthetical>
<dialogue>Ah, Dack ••• suki, suki, now Marge. You doing it, you doing, you doing it wel.1.</dialogue>
<character>RUSHON</character>
<parenthetical>(as he knocks)</parenthetical>
<dialogue>What the fuck are ya'll doingt Bunst Buns!</dialogue>
<scene_description>Buns\Lysterine freeze in silence. Buns crosses his lips with his index finger. Silence.</scene_description>
<character>RUSBON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I know you"re there, I heard you ••• Homer.</dialogue>
<scene_description>More silence. Rushon goes back to Nikki's apartment.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing; pissed off)</parenthetical>
<dialogue>Buns you ain't shit!</dialogue>
<character>BUNS</character>
<parenthetical>(again, as Homer Simpson)</parenthetical>
<dialogue>Oh, yes I am •••</dialogue>
<scene_description>CUT TO:</scene_description>
<character>INT. NIKKI'S APARTMENT - LIVING ROOM - NIGHT</character>
<dialogue>Nikki and Rushon.</dialogue>
<character>NIKKI</character>
<dialogue>They were making love?</dialogue>
</scene>
<scene>
<stage_direction>. --</stage_direction>
<character>RUSHON</character>
<dialogue>They were doing the nasty as Marge and Homer Simpson.</dialogue>
<character>NIKRI</character>
<dialogue>Lysterine is a little kinky.</dialogue>
<scene_description>Nikki picks up the phone and dials. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LYSTERINE'S APARTMENT - NIGHT</stage_direction>
<scene_description>She and Buns are in the throes. She reaches for the ringing phone, knocks it over.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - NIGHT</stage_direction>
<scene_description>NIKKI - over the phone WE HEAR; TOotsieroll ••• Rushon and Nikki listen perplexed. They hear more imitations.</scene_description>
<character>LYSTERINE(VO}</character>
<dialogue>DO Martin Luther King.</dialogue>
<character>BUNS(VO)</character>
<dialogue>Bitch, is nothing sacred?</dialogue>
<character>LYSTBRINB(VO)</character>
<dialogue>Just do hi.ml</dialogue>
<character>BUNS(VO)</character>
<parenthetical>(perfect MLK imitation)</parenthetical>
<dialogue>••• like any man I would like to live a long life ••• longevity has it's place. I may not get to the mountain top with you, but I do have a dream ••• I"ma be dead in the romp shaker.</dialogue>
<character>NIKKI</character>
<dialogue>Lysterine, what are you doing?</dialogue>
<scene_description>Lysterine picks up the phone. INTERCUT:</scene_description>
<character>LYSTERINB</character>
<parenthetical>(breathlessly aroused)</parenthetical>
<dialogue>Nothing •••</dialogue>
<character>NIKKI</character>
<parenthetical>(maternally)</parenthetical>
<dialogue>I know you're not having unprotected sex with Martin Luther King. The surgeon General advises all of us that unsafe sex can be deadly.</dialogue>
<character>LYSTERINE</character>
<dialogue>Dr. King's about to rock my world.</dialogue>
<character>NIKKI</character>
<dialogue>Have you gone and lost your mind? You don"t know where Buns ca.me from, you don't know that nigga from a can a paint, you better get a condom.</dialogue>
<scene_description>LYS'l'ERINE Aw, Nikki.,,</scene_description>
<character>NIKKI</character>
<dialogue>Take a good hard look at Buns and tell me you don't need a condom•••</dialogue>
<scene_description>Lysterine looks at Buns. Reptilian eyes, blonde hair. A beat.</scene_description>
<character>LYSTERINE</character>
<dialogue>Buns, do you have a condom?</dialogue>
<character>BUNS</character>
<parenthetical>(as Tony Montana)</parenthetical>
<dialogue>condom!?!, I don"t got no condom! I don"t got to show you no stinkin' condom!</dialogue>
<scene_description>CUT TO: BLACK SCREEN - SUPERIMPOSE - "GOT A CONDOM?" CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Rushen is waiting on the sidewalk outside the building. Beats later a rather irate Buns bursts thru the door. Slamming it. An angry tenant yells out the window - "Stop slamming the door"</scene_description>
<character>BUNS</character>
<parenthetical>(to Rushon)</parenthetical>
<dialogue>This wouldn"t happen if you'd be a man and start re.gulating yo• shit.</dialogue>
<scene_description>They begin to walk the half a block to a mom and pop store. CUT TO: INT, NIKKI'S BEDROOM - NIGHT SPLIT SCREEN - Nikki and Lysterine are on the phone.</scene_description>
<character>LYSTERINE</character>
<dialogue>so you"re going to do it?</dialogue>
<character>NIKKI</character>
<dialogue>I"m ready.</dialogue>
<character>LYSTERINE</character>
<dialogue>Damn, make him buy you something first.</dialogue>
<character>NIKKI</character>
<dialogue>In the middle of the night?</dialogue>
<character>LYSTERINE</character>
<dialogue>I know a jeweler who'll make housecalls.</dialogue>
<character>NIKKI</character>
<dialogue>What's Buns buying you ••• besides a condom?</dialogue>
<character>LYSTBRINB</character>
<dialogue>All I'm saying is before you can be sure Rushon's the "one" you've got to make him prove himself •••</dialogue>
<scene_description>Nikki thinks about this •••</scene_description>
<character>LYSTERINE</character>
<parenthetical>(continues)</parenthetical>
<dialogue>So you want me to call that jeweler or what?</dialogue>
<scene_description>CUT TO: INT. MR. W0O'S S'l'(J'RE - NIGHT An old Chinese man has just hung the "CLOSED" sign on the door. Rushon opens the door.</scene_description>
<character>CHINESE MAN</character>
<dialogue>We closed.</dialogue>
<character>RUSHON</character>
<dialogue>Yo, yo, c•mon man I just want to buy some condoms.</dialogue>
<character>CHINESE MAN</character>
<dialogue>No, condoms for Yo. Who are you?</dialogue>
<scene_description>The man calls back into the store.</scene_description>
<character>CHINESE MAN</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Yo, Yo, come here,</dialogue>
<scene_description>A beautiful young Chinese girl appears. Ber name is YO.</scene_description>
<character>CHINESE MAN</character>
<parenthetical>(angry in Chinese with subtitles)</parenthetical>
<dialogue>Yo, where do you know these men from?</dialogue>
<character>BUNS</character>
<parenthetical>(in Chinese with subtitles)</parenthetical>
<dialogue>Hey, yo, man. We don't know her, we just want some condoms,</dialogue>
<character>YO</character>
<dialogue>lie"s saying "yo, like yo man, he"s not calling my name.</dialogue>
<character>CHINESE MAN</character>
<dialogue>Oh, I understand,</dialogue>
<character>BUNS</character>
<dialogue>I got to knock them boots, Yo.</dialogue>
<scene_description>Buns and Yo exchange sexy looks. Chinese Man shoot Buns a look.</scene_description>
<character>BUNS</character>
<dialogue>It's just an expression,</dialogue>
<character>RUSHON</character>
<dialogue>We need soma condoms ••• the best you got.</dialogue>
<character>CHINESE MAN</character>
<dialogue>Lamb skin, very sensitive, twelve pack. Leaves some feeling for your Jimmy. Just thirty eight dollars.</dialogue>
<character>RUSBON</character>
<dialogue>$38.00111</dialogue>
<character>BUNS</character>
<dialogue>I don't need twelve, just one or two ••..</dialogue>
<character>CHINESE MAN</character>
<dialogue>No, can't break the box, only have twelve pack. Twelve condoms not much, you look like an all night man.</dialogue>
<character>RUSHON</character>
<dialogue>Damn, you gonna take all a nigga"s money, G.</dialogue>
<character>CHINESE MAN</character>
<dialogue>I'm Woo, Gi is my cousin. You want them boots or what?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>Buns and Rushon at their respective apartments. They look at their watches.</scene_description>
<character>BUNS/RUSHON</character>
<dialogue>TONIGHT!</dialogue>
<scene_description>Slap a high five and go in.</scene_description>
<character>CU'X</character>
<dialogue>TO:</dialogue>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Rushon enters. Romantic music is playing-. Lights are down. Candles flicker. Nikki approaches in a negligee. They begin to kiss passionately. He opens her rObe. They fall back onto the sofa, things start heating up. Heavy petting and breathing. Rushon stops.</scene_description>
<character>NIKKI</character>
<dialogue>What's wrong?</dialogue>
<scene_description>Rushon pulls the open box of condoms out of his front pocket and puts them on the table.</scene_description>
<character>RUSHON</character>
<dialogue>The cardboard was sticking me.</dialogue>
<scene_description>Rushon and Nikki start again. Nikki. looks over at the box on the table. She stops and reaches for one.</scene_description>
<character>RUSHON</character>
<dialogue>Let the party begin.</dialogue>
<character>NIKKI</character>
<dialogue>What kind of condom is this?</dialogue>
<scene_description>{reading) Oh, no. NO way I This is lamb skin. Don't you listen to the Surgeon General? Lamb skin condoms don't protect you.against transmission of the HIV virus.</scene_description>
<character>RUSHON</character>
<parenthetical>(hot, bothered, horny desperate.)</parenthetical>
<dialogue>Baby, baby please, I'm down on my knees. A condom is a condom.</dialogue>
<character>NIKKI</character>
<dialogue>wanna get AIDSII Baby, just go back to Mr. woo"s and get latex.</dialogue>
<scene_description>Rushon gets up as does Nikki, who begins slipping on her jeans over her negligee, this alarms Rushon.</scene_description>
<character>RUSHON</character>
<dialogue>What are you doing?</dialogue>
<character>NIKKI</character>
<parenthetical>(watching Rushon closely)</parenthetical>
<dialogue>While you're out, I'll walk Killa •••</dialogue>
<character>RUSHON</character>
<parenthetical>(grabs the leash)</parenthetical>
<dialogue>I'll do it.</dialogue>
<character>NIKKI</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>You"re so sweet. Take care of my baby.</dialogue>
<character>RUSHON</character>
<dialogue>I thought I was your baby?</dialogue>
<character>NIKKI</character>
<dialogue>Okay ••• take care of my baby ••• BABY.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY -·NIGHT</stage_direction>
<scene_description>Rushon knocks on Lysterine's door as he holds Killa by the leash.</scene_description>
<character>RUSHON</character>
<dialogue>Buns. C'mon, G, I need those condoms, gonna take them back to .Mr. woo•s.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LYSTERINE 'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>Buns and Lyst are throwing down, lots of bed springs. Short stroking. They hear Rushon's urgent KNOCKING.</scene_description>
<character>RUSHON</character>
<parenthetical>(from the hallway)</parenthetical>
<dialogue>Buns, man. I need your share of the condoms. These are lambskin condoms! From lambs •••</dialogue>
<character>BUNS</character>
<parenthetical>(imitating a lamb)</parenthetical>
<dialogue>Baaaahh.</dialogue>
<scene_description>Phone RINGS.</scene_description>
<character>BUNS(CON'T)</character>
<dialogue>Don't answer.</dialogue>
<scene_description>Lysterine answers the phone.</scene_description>
<character>LYSTERINE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Uh, huh,.. uh, huh.\_.. Okay.</dialogue>
<scene_description>Lysterine hangs up. Buns can see by Lysterine's changing expression that the party is again on hold.</scene_description>
<character>BUNS</character>
<dialogue>I spent ~38 on condoms. Girl, call your sister, your secreta:r:y, if you got a stuffed animal get it, because I'm busting something up in this muthafucker tonight •.</dialogue>
<character>LYSTERINE</character>
<dialogue>Buns, chill, baby. We"re going to do this ••• I'm going to turn you every which way but loose ••• After you get a LATEX CONDOM.</dialogue>
<character>BUNS</character>
<parenthetical>(composed)</parenthetical>
<dialogue>••• aw"ight!</dialogue>
<character>LYSTERINB</character>
<dialogue>And bring your lunch, we gonna be here awhile.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rushon is waiting, Buns comes out, slams the door, and Killa barks •• Chinese tenant yells out in Cantonese.</scene_description>
<character>BUNS</character>
<dialogue>You a chump, lame-ass, soft punkass •••</dialogue>
<scene_description>Buns starts rattling off Mandarin vitriol he"s so ang:r:y.</scene_description>
<character>BUNS</character>
<parenthetical>(continuing, in English)</parenthetical>
<dialogue>Nikki says jump and you say how high. You that girl's organ grinding porch monkey. Even walking her wrinkled-ass dog. You a chump •••</dialogue>
<character>RUSHON</character>
<dialogue>Au contraire, .I •m walking her dog to keep her from putting her clothes back on. I'm regulating, playing her.</dialogue>
<character>BUNS</character>
<dialogue>Oh, now you a rocket scientist, huh ••• ?</dialogue>
<scene_description>They come to Mr. Woe"s store but it's closed, dark as night.</scene_description>
<character>RUSHON/BUNS</character>
<dialogue>Damn!</dialogue>
<scene_description>Buns looks down and Killa is again sniffing him.</scene_description>
<character>BUNS</character>
<dialogue>Dog, you better stop that. I'm so past my point even you're beginning to look good to me.</dialogue>
<scene_description>Killa "yelps" and backs away.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. GOOD-TO-GO MIDNIGHT</stage_direction>
<scene_description>Rushen and Buns enter the 7-ELEVEN-type convenience store. Rushen recognizes one of two Pakistani clerks. SINGH.</scene_description>
<character>SINGH</character>
<parenthetical>(heavy Pakistani accent)</parenthetical>
<dialogue>Rushonl</dialogue>
<character>RUSHON</character>
<dialogue>Yo, Singh, my nigga. Why ain't you at the Good-to-Go on 125th Street?</dialogue>
<character>SINGH</character>
<dialogue>I"m a floater, I work Harlem, coney Island, Bed-Stuy, Chinatown, Runt"s Point, Hell's Kitchen, Red Hook, I don"t care. I"m a floater •••</dialogue>
<character>AKMBD</character>
<dialogue>My friend, no dogs allowed.</dialogue>
<scene_description>Buns takes the leash and starts bumping into shelves as if he were blind.</scene_description>
<character>BUNS</character>
<dialogue>This a seeing-eye dog, man.</dialogue>
<character>AKMBD</character>
<dialogue>See-his-wrinkled-ass outside to the curb.</dialogue>
<scene_description>Rushon takes Killa outside, ties him to a parking meter then comes back into the store.</scene_description>
<character>RUSHON</character>
<dialogue>I want some latex condoms. Make sure they"re latex.</dialogue>
<character>SINGH</character>
<parenthetical>(rapidly)</parenthetical>
<dialogue>I got Trojans, Life-style, Ginza, Booty Call, Back-door Man, Kiss of Mint, RamRod, LubeJob, InDeep, JoyTrail, Buckwild and Goodyear Eagles.</dialogue>
<character>BUNS</character>
<dialogue>Goodyear makes condoms, now?</dialogue>
<character>AKMED</character>
<dialogue>Non skid, all weather, positive tract maxi-tread •</dialogue>
</scene>
<scene>
<stage_direction>---.</stage_direction>
<character>RUSHON</character>
<dialogue>Give me a pack of the Goodyears •••</dialogue>
<character>BUNS</character>
<dialogue>, •• and a pack of the BackDoor</dialogue>
<scene_description>Man.</scene_description>
<character>AKMED</character>
<parenthetical>(even thicker accent; to Buns)</parenthetical>
<dialogue>I think that one is for gay men, my friend,</dialogue>
<parenthetical>(off the blond hair)</parenthetical>
<dialogue>But I don"t know, you could be a doodoo chaser. A sodomite. Blond hair and all.</dialogue>
<character>BUNS</character>
<dialogue>Nah, man, I ain't no rump ranger. c•mon, give me a pack of the ••• the Booty Calls. The blond hair is a statement of my fashion liberation.</dialogue>
<character>AKMED</character>
<dialogue>Like I said, a Sodomite •••</dialogue>
<scene_description>.CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Rushon and Buns are headed back to the apartment.</scene_description>
<character>BUNS</character>
<dialogue>Yo, Rushon ••• yo, what's a Sodomite?</dialogue>
<character>RUSHON</character>
<dialogue>It's like a termite ••• only bigger.</dialogue>
<character>BUNS</character>
<dialogue>Oh. Oh. I thought it was Dolemite's cousin.</dialogue>
<scene_description>Buns and Rushen continue down the street. Rushon stops.</scene_description>
<character>RUSHON</character>
<dialogue>Oh, Damn! We forgot Killa.</dialogue>
<scene_description>Rushon and Buns turn around and look back towards the front of the Good to Go, WE SEB the parking meter and the chewed leash ••• Killa freed himself. CUT TO: INT. NIKKI'S APARTMEN'l' - BEDROOM - NIGHT SPLIT SCREEN - Nikki is on the phone with Lysterine.</scene_description>
<character>NIKKI</character>
<dialogue>••• that"s right, he's out there, right now, taking care of Killa.</dialogue>
<character>LYSTERINE</character>
<dialogue>Looks like old Rushen has "wonned" his way right in.</dialogue>
<character>NIKKI</character>
<dialogue>My man earned what I'm gonna give him.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Rushon looking concerned. Buns kisses his hand, smacks his lips.</scene_description>
<character>BUNS</character>
<dialogue>Boy, you can KISS that pussy good-bye.</dialogue>
<scene_description>No Killa anywhere - then a loud HONK.of a truck airhorn. At the end of the bloc, Killa has jetted out into the street. ANGLE ON Buns and Rushon, flabbergasted. The truck passes right over Killa. They breath a sigh of relief then run after Killa. Killa runs into an alley. They"ve lost him again. BEATS then they hear another glaring HORN. The car screeches to a halt and a frightened Killa runs, They frantically chase the streets after him until they arrive at THE HOLLAND TUNNEL Buns and Rushon get and "Oh shit!" looks on their faces then rush into the tunnel after Killa, In the tunnel Buns and Rllshon leap and·dive over trunks and hoods, dodging trucks and taxi cabs as they run after Killa, who is scampering dangerously under the tires of the vehicles in the tunnel. Rushen dives for Killa and ••• just misses him, Rushon is pulled out of the path of an on-coning truck by Buns. HONK! They continue to chase Killa, They run pass the border line be~ween New Jersey and New York. Buns stops in his tracks on the New York side. Rushon looks puzzled,</scene_description>
<character>BUNS</character>
<dialogue>I got warrants in New Jersey, can't do it.</dialogue>
<scene_description>Killa appears - running back the other way into New York,</scene_description>
<character>RUSHON</character>
<dialogue>Guess Killa got Jersey warrants too.</dialogue>
<scene_description>Buns dives to tackle Killa, the dog puts a vicious move on Buns, who hits his head against a stalled car. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLLAND TUNNEL - NIGHT</stage_direction>
<scene_description>LONG SHOT of Killa running out the tunnel chased by Buns and Rushon.</scene_description>
<character>CUT</character>
<dialogue>EXT. CANAL STREET - NIGHT</dialogue>
<character>TO:</character>
<dialogue>Buns and Rushon are TIRED, all run out. They are looking around for Killa. They pass a Chinese restaurant with hanging Peking ducks. Buns goes to the window.</dialogue>
<character>RUSBON</character>
<parenthetical>(looking at hanging ducks)</parenthetical>
<dialogue>Damn, that looks like Killa,</dialogue>
<character>BUNS</character>
<dialogue>You think Nikki wants takeout?</dialogue>
<scene_description>They hear the ROAR of a garbage dumpster truck. They turn, see Killa, tired, panting, but right under where the truck is about to drop the dumpster, "Oh, no1 I" The DUMPSTER DROPS NOISILY. Buns and Rushon walk sadly to the dumpster, lower their heads. Beats of funereal silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NIKKI'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rushon and Buns, looking dejected, approach the building.</scene_description>
<character>RUSHON</character>
<dialogue>This is what we do •• ·• we teJ.l Nikki Killa is with you and Lyst ••• until I knock.them boots.</dialogue>
<character>BUNS</character>
<dialogue>My name's Bennet and I ain't in it.</dialogue>
<character>RUSHON</character>
<dialogue>You are in it. If Nikki's crying over her dead dog, she's gonna be crying on Lysterine's shoulder, which means ••• you ain"t getting nothing •••</dialogue>
<character>BUNS</character>
<dialogue>And you a dead man ~alking.</dialogue>
<scene_description>A few beats of silence. They get to the door. Rushon looks as if he doesn't want to go in. Buns takes him by the arm and is about to lead him in when they hear: barking. "yip", yip". They look down. Sitting by the door is Killa. He is almost black with di.rt from the dumpster. Rushon snatches Killa up, shakes some of the dirt off, and enters the apartment with a big smile on his face. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Rushon enters and collapses on the couch. Killa collapses in the comer. Nikki enters from the bedroom.</scene_description>
<character>NIKKI</character>
<dialogue>What took so long?</dialogue>
<scene_description>Taking in how disheveled both Rushon and Killa are. NIKltI (continued) What happened?</scene_description>
<character>RUSRON</character>
<dialogue>We started to play and lost track the time. Killa is one frisky. pup.</dialogue>
<scene_description>Killa lifts his head and barks.</scene_description>
<character>KILLA</character>
<parenthetical>(subtitles)</parenthetical>
<dialogue>Nigga, break yourself •••</dialogue>
<scene_description>Nikki crosses to Rushon.</scene_description>
<character>NIKKI</character>
<dialogue>You still in the mood?</dialogue>
<character>RUSHON</character>
<dialogue>Hell, yesl</dialogue>
<scene_description>Rushon takes her: in his arms and kisses her. Passion-builds. Rushon caresses her breasts, siides down her abdomen, kissing every inch as he goes. He kisses her between the legs.</scene_description>
<character>NIKKI</character>
<dialogue>Ah, ah ••• excuse me ••• Ah, eh ••• what are you doing?</dialogue>
<character>RUSBON</character>
<parenthetical>(sultr.y whisper)</parenthetical>
<dialogue>Baby, I'm going downtown on the "A" train, if you get my drift. I've been wanting to do this for seven ••• long ••• weeks •••</dialogue>
<scene_description>Rushon resumes kissing her stomach, he sinks lower, then lower.</scene_description>
<character>NIKKI</character>
<dialogue>waitl Stop! You can"t do that without protection ••• you need a dental dam. We have to prot.ect against the exchange of fluids.</dialogue>
<character>RUSHON</character>
<dialogue>Where the hell am I gonna find a dental dam?</dialogue>
<character>NIKKI</character>
<dialogue>Safe sex, Rushon. Check in my kitchen, get some Saran wrap.</dialogue>
<scene_description>Rushon anxiously moves to the kitchen, rips thru several drawers before laying hand to the Saran wrap. He opens the box, smiles until he sees that the box is empty.</scene_description>
<character>RUSHON</character>
<dialogue>It's empty.</dialogue>
<character>NIKKI</character>
<dialogue>We need to be safe</dialogue>
<character>RUSHON</character>
<dialogue>I ain't got to go downtown, you know?</dialogue>
<character>NIKKI</character>
<dialogue>OB, YBS YOU DO •• ,</dialogue>
<scene_description>She kisses his neck, his chest, his shoulders ••• he melts in her embrace.</scene_description>
<character>RUSHON</character>
<parenthetical>(weakly, high voice)</parenthetical>
<dialogue>Okay •••</dialogue>
<scene_description>He gets up toward the door. Nikki picks up the phone.</scene_description>
<character>RUSHON</character>
<dialogue>Who are you calling?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Rushon and Buns exit the building. Buns is so mad he can't speak. He utters a few harsh syllables. Slams the door. The same irate Chinese tenant yells out again. They're. on their way back to the Good-to--GO,</scene_description>
</scene>
<scene>
<stage_direction>INT. GOOD-TO-GO - 2 AM</stage_direction>
<scene_description>Rushon and Buns enter. Singh greets them on their second visit of the night.</scene_description>
<character>RUSHON</character>
<dialogue>Singh, where's your Saran wrap.</dialogue>
<character>SINGH</character>
<dialogue>In the back, to the right, beyond the hardware section.</dialogue>
<scene_description>Rushon and Buns go to the section, can't find Saran Wrap.</scene_description>
<character>RUSHON</character>
<parenthetical>(yelling out, stressed)</parenthetical>
<dialogue>Singh, you out of saran wrap •••</dialogue>
<character>SINGH</character>
<dialogue>Get the Glad Cling Wrap, same thing.</dialogue>
<character>BUNS</character>
<dialogue>Are you sure?</dialogue>
<character>SINGH</character>
<dialogue>Yes.</dialogue>
<parenthetical>(Sotto)</parenthetical>
<dialogue>You goddamn butt-plugs.</dialogue>
<scene_description>Hushon returns to the counter. Singh and Alalled study the Glad wrap. They smile, say something in their native tongue. Rushon and Buns can tell they are the brunt of their Pakistani joke.</scene_description>
<character>SINGH AND ADIED</character>
<parenthetical>(singing)</parenthetical>
<dialogue>You got to lick it ••• before we kick i t ..• yeah, you gotta lick it, before we kick it •••</dialogue>
<character>RUSBON</character>
<dialogue>Hey, hey, hey! It ain"t about that, fellas.</dialogue>
<character>·SINGH</character>
<dialogue>Why would you be purchasing Glad wrap at two in the morning if you didn"t have to ••••</dialogue>
<character>SINGH AND ADIED</character>
<parenthetical>(singing)</parenthetical>
<dialogue>••• lick it, •• before we kick it ... gotta to make it nice wet so we can kick it. Bada, da, da, da ••• bada, da, da, da ••• got to</dialogue>
<parenthetical>(they snap their fingers)</parenthetical>
<dialogue>work it •••• gotta get it nice and wet so we can kick it.</dialogue>
<character>BUNS</character>
<dialogue>You see, this is why I favor immigration reform ••• you fresh off the boat, can hardly speak the language, and here you"re fucking with people already •••</dialogue>
<character>AKMED</character>
<dialogue>My friend, my friend, we only pulling your arm •••</dialogue>
<scene_description>RBVBREND PEABODY, enters, age 48, conservative stern preacher man. Rushen recognizes him and tries to duck out of sight. Too late. Reverend Peabody spots Rushon.</scene_description>
<character>REVEREND PEABODY</character>
<dialogue>Rushon? Is that you, Rllshon?</dialogue>
<character>RUSHON</character>
<dialogue>Oh, Hi, Rev. Peabody •••</dialogue>
<character>REVEREND PEABODY</character>
<dialogue>Boy, what you doin• out this late? Ain't nothin' up this late but the devil •••</dialogue>
<parenthetical>(looks at Buns)</parenthetical>
<dialogue>••• and the devil"s helper.</dialogue>
<character>BUNS</character>
<dialogue>Hey, you up, Rev •••</dialogue>
</scene>
<scene>
<stage_direction>--· ..</stage_direction>
<character>REVEREND PEABODY</character>
<dialogue>DOn"t blaspheme, boy. There's a special place in hell for Blasphemers.</dialogue>
<character>SINGH</character>
<parenthetical>(to Reverend Peabody)</parenthetical>
<dialogue>I'll be right with you, sir. soon as I ring up this Glad t7rap for Rushon,</dialogue>
<scene_description>Rushen tries to signal Singh to be cool. Too late.</scene_description>
<character>REVEREND P.BABODY</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>Glad wrap? At two in the morning?</dialogue>
<character>SINGH AND AKMBD</character>
<dialogue>{singing)</dialogue>
<scene_description>You got to lick it, before we kick it ...</scene_description>
<character>REVEREND PEABODY</character>
<dialogue>I think you plannin' on eatin" more than a sandwich, boy.</dialogue>
<character>RUSHON</character>
<dialogue>No, really, Reverend, I •••</dialogue>
<character>.REVEREND PEABODY</character>
<dialogue>It's bad enough that you're planning to fornicate, don"t compound the sin by lying, Lies are the oil that grease that one way track to hell.</dialogue>
<parenthetical>(preaching)</parenthetical>
<dialogue>Condoms and Glad Wrap have their place in the pantheon of safe sex, but there's only one sure way to be totally safe. Abstinence and purity •••</dialogue>
<character>ARMED</character>
<dialogue>.,.and sexual frustration.</dialogue>
<character>REVEREND PEABODY</character>
<dialogue>Iknow sometimes i t seems li.ke</dialogue>
<scene_description>that little furry devil is calling your name. "COme get me, come get ma. Bite me Rushon. I"m . . Juicy... I' m h o t •.• I' m read y ••• "</scene_description>
<character>BUNS</character>
<parenthetical>(like a parishioner)</parenthetical>
<dialogue>Well •••</dialogue>
<scene_description>Rushon shoots Buns a look. Rev grabs a newspaper rack, puts it in front of-him like a pulpit.</scene_description>
<character>REVEREND PEABODY</character>
<parenthetical>(still preaching)</parenthetical>
<dialogue>That"s when you've got to be strong, that"s when you"ve got to show some resolve, that's when you--</dialogue>
<scene_description>A WOMAN in a ti:ght dress, who is obviously not Mrs. Peabody, steps into the store which her hand on her hip.</scene_description>
<character>WOMAN</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>say, Rev, we gon• do this, or what?</dialogue>
<character>REVEREND PEABODY</character>
<parenthetical>(busted)</parenthetical>
<dialogue>Ah, heh, heh, heh ••• be right with you, darlin" •••</dialogue>
<parenthetical>(to Singh)</parenthetical>
<dialogue>Let me have a pack of breath mints ••• the strongest you have.</dialogue>
<scene_description>Singh gives the Reverend the breath mints. The Reverend pays for them.</scene_description>
<character>.REVEREND PEABODY</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>You gentlemens have a good evening.</dialogue>
<scene_description>(to woman as he exits)· You ready for some absolution, girl? Reverend Peabody exits the Good To Go with the Woman. Rushon can only shake his head as he pushes the Glad wrap towards Alaned</scene_description>
<character>SINGH</character>
<dialogue>Listen, my friend, go back to the shelf and get the 12-inch Glad wrap, you don't need the 18-inch width ••• save the money ••• unless of course this is a.big wide- bodied jumbo-bitch. In that case, 18-inches is the was to go.</dialogue>
<scene_description>Makes sense to Rushon and buns. They take back the 18 inch box, locate a 12 inch box. Rushon and Buns return toward the counter. To find a robbecy in progress. A hold up man has a small 22 pointed at Singh and Akmed~</scene_description>
<character>ROLD UP HAN</character>
<dialogue>••• you curried-breath Pakistani piece of Tandoori crap, empty all that money into the bag •••</dialogue>
<character>AKMED</character>
<dialogue>I'm Punjabi ••• not Pakistani</dialogue>
<character>HOLD UP MAN</character>
<dialogue>Like I give a damn.</dialogue>
<scene_description>Rushon and Buns quietly back track. They look around in the hardware section, looking for something to use as a weapon. Rushon picks up a plunger. Buns shakes his head "no." They both spot the display of forty ounce bottles of beer at the same time. They look at one another and shake their heads "yes." They both pick up a forty ounce and hold it by the neck. Rllshon and Buns stealthily move toward the counter, forty ounces in hand, eyes peeled to the robber. The robber sees Rushon and suns approach on the CLOSED CIRCUIT TV. He spins around.</scene_description>
<character>ROBBER</character>
<dialogue>Thirsty?</dialogue>
<scene_description>Rushen and Buns, caught, drop th~ir bottles at the same time - SPLAT. Their eyes suddenly grow wide with terror. Not because of the robber, but because Singh and Akmed have reached under the counter and picked up wicked looking automatic weapons. Rushon and Buns, who are in the line of fire, wave their aDllS tcying to signal to Singh and Akmed not to shoot. The robber gets an "Oh,oh ••• " look on his face. Too late Singh and Akmed seize this moment to blast at the robber. POW! .l:'OW! 1:'0WI Singh and Akmed :fire random snots in every direction. Buns dives to the floor. Bullets are flying everywhere. POWl POW! POWi POWl POW! POW! POW! POWl POW! POWl POW! POW! POWl POWI POW! A rack of condoms is hit. It spins around, spewing condoms all over the store.· Some of them fall on Buns' head. Shelves and merchandise explode as the bullets shatter everything in their path. POWI POWI POW! POW! POW! POW! All through the shoot-out Rushon is ducking and screaming as the bullets whiz past him. The robber stands there with his shoulder hunched up around his neck. Frozen in place. We see the shoot-out from EVERY ANGLE including on the CLOSED CIRCUIT BLACK AND WHITE TV. POW! POWl CLICK! CLICK! NO one was hit in the fuselage of gunfire. Singh and Akmed are out of bullets. They stand there for a beat amidst the gunsmoke like a Punjabi John Travolta and Samuel L. Jackson. Then they quickly load more banana clips into their weapons and cock them - ready to fire again. The robber, who has been frozen stiff with fear throughout the gunfire, turns and fires at Singh and Akmed with his small 22 - papl The bullet misses them, and ricochets around the store - ZING, PING, TING, BING, then ZIP, nicks Rushon•s leg before lodging in the counter ••</scene_description>
<character>RUSHON</character>
<dialogue>Ow!</dialogue>
<scene_description>Rushon touches his leg and sees a little blood.</scene_description>
<character>RUSRON</character>
<parenthetical>(continued)</parenthetical>
<dialogue>Muthafuk.ah!</dialogue>
<scene_description>Rushen hauls off and punches the robber WRAP! Be knocks the robber out. Akmed turns to Singh ala Samuel Jackson and John Travolta.</scene_description>
<character>ADIED</character>
<parenthetical>(accent)</parenthetical>
<dialogue>I think I must get out the convenience store business ••• I'm tired of shooting muthafuckers every Saturday night.</dialogue>
<character>SINGH</character>
<parenthetical>(accent)</parenthetical>
<dialogue>What are you going to do, Akmed?</dialogue>
<character>AKMBD</character>
<dialogue>I don't know. Just walk the earth ••• contemplate shit ••• like Caine in Kung Fu •</dialogue>
<scene_description>•</scene_description>
<character>SINGH</character>
<dialogue>You need some nachos and a 32 oz. Big Boy. We're Punjabi, Alaned ••• this convenience store shit is in our DNA. The contemplative life would bore you.</dialogue>
<character>1\KMED</character>
<dialogue>Perhaps you are right. A shoot- out every now and then is quite exhilarating.</dialogue>
<scene_description>Rushon looks around for Buns.</scene_description>
<character>RUSHON</character>
<dialogue>Buns! Bunsl Where are you, man?</dialogue>
<scene_description>We SEE movement under the stuff from the soap counter.</scene_description>
<character>BUNS</character>
<dialogue>I'm over here crying like a bitch with a Brillo Pad stuck up my ass ...</dialogue>
<scene_description>Singh rings it up.</scene_description>
<character>SINGH</character>
<dialogue>Brillo Pads are $2.99 ••• anything else?</dialogue>
<scene_description>Rushon grabs up the Glad wrap. Akmed CLEARS his throat. Rushon looks back at him with an inquiring glare. Akmed CLEARS his throat again as Rushon pushes the door open.</scene_description>
<character>AKHED</character>
<parenthetical>(accent)</parenthetical>
<dialogue>The Glad wrap is $3.99.</dialogue>
<character>RUSHON</character>
<dialogue>I saved your lives and you gonna hit me for $3.99 for the Glad wrap.</dialogue>
<character>AKMED</character>
<parenthetical>(accent)</parenthetical>
<dialogue>If it were up to me you would have it free, I would give you the 18-inch size. But Good-to-Go corporate headquarters •••• they run a tight ship - we got to account for every penny, G.</dialogue>
<character>SINGH</character>
<parenthetical>(accent)</parenthetical>
<dialogue>Take it, free ••• we'll BAT the loss.</dialogue>
<character>ARMED</character>
<dialogue>(high fives} Singh, you matucka, that was a good Punjabi pun, nigga. Rushon and Buns walk out of the store as Singh and Akmed sing.</dialogue>
<scene_description>SINGS AND AJQ.tBO (singing) You gotta lick it, before we kick it. CUT TOz</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING - ELEVATOR - NIGHT</stage_direction>
<scene_description>Buns and Rushon each have a roll of Glad wrap under their arms. INT, LYSTERINE'S APT. - NIGHT Buns enters Lysterine's apt.</scene_description>
<character>BUNS</character>
<dialogue>Aw'ight, I got the Glad wrap. You know how to use this stuff?</dialogue>
<character>LYSTERINE</character>
<dialogue>Nope.</dialogue>
<character>BUNS</character>
<dialogue>What you make me go get this foolishness for?</dialogue>
<character>LYSTERINB</character>
<dialogue>Nikki's the queen of safe sex,. I ' 11 call her •••</dialogue>
<scene_description>Buns rips the phone out of the wall.</scene_description>
<character>BUNS</character>
<parenthetical>(as he rips phone out)</parenthetical>
<dialogue>Not on this phone!</dialogue>
</scene>
<scene>
<stage_direction>INT. NIKKI'S APARTMENT - BEDROOM - NIGHT</stage_direction>
<scene_description>Rushon falls out on the bed as he triumphantly holds up the Glad Wrap.</scene_description>
<character>RUSHON</character>
<dialogue>I got itl We can do this thing. Come sit next to me.</dialogue>
<scene_description>Nikki, who is dressed in a dainty camisole sits next to Rushon on the bed.</scene_description>
<character>NIKKI</character>
<dialogue>You're right. We've both waited long enough. TOO long.</dialogue>
<scene_description>Nikki gives Rushon a passionate kiss.</scene_description>
<character>RUSHON</character>
<dialogue>Bring it on.</dialogue>
<scene_description>Nikki kisses Rushon again.</scene_description>
<character>NIKKI</character>
<dialogue>I'm going to get ready.</dialogue>
<scene_description>Nikki bounces into the bathroom with the raw sexual energy of a horny 24 year old. RUshon rubs his hands together.</scene_description>
<character>RUSHON</character>
<dialogue>Yes! Here it isl can't keep a good man down. I'ma Turtle Wax that ass! Mop and Glo.</dialogue>
<scene_description>Rushon opens the Glad wrap.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>All I got to do is get this Glad wrap on.</dialogue>
<parenthetical>(singing, bobbing his head, happy)</parenthetical>
<dialogue>"You"ve got to lick it, before we kick .it ••• "</dialogue>
<scene_description>Rushon, unfamiliar with the ways of safe sex wraps ·the Glad Wrap around his head a few times until he is virtually llnll1llnified. He continues to wrap until his entire head is wrapped, eyes, ears, chin - except for a little opening in front that allows him to flick his tongue in and out - like a snake. The wrap begins to cling, very tightly. Rushon tries to cut the Glad wrap on the side of the box. he drops the box. The roll comes out of the box and wheels across the floor. R.ushon tries to pull the roll back by reeling in the wrap. He only succeeds in wrapping the Glad Wrap around his hands until he looks like he"s wearing Glad Wrap boxing gloves. Rushon brings the Glad Wrap up to his mouth and tries to bite it. It won't break.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Uqhhhhl Uqhhhhl Ughhhhl</dialogue>
<scene_description>Rushon tries to bite the wrap again.</scene_description>
<character>RUSRON</character>
<dialogue>{continuing)</dialogue>
<scene_description>Ughhhh! The wrap on his hands adheres tothe wrap on his face pulling it down over his mouth, and cutting off his air supply.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Mfffft! Mfffftl Mfffftl</dialogue>
<scene_description>Rushon tries to pull the Glad Wrap off his head, but his ha~ds, which are also covered with Glad wrap, can"t get a grip. Rushon stumbles around the room trying to get a breath.</scene_description>
<character>RUSBON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Mffftl Mffftl Mffft!</dialogue>
<scene_description>Rushon stumbles into a dresser and sees his reflection in the dresser mirror - it scares the shit out of him.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>MFFFFFPFFFFFFFFF'l'l!!</dialogue>
<scene_description>Rushon falls back on the bed. He is out of air - he can only moan softly.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>mft ••• mft ....</dialogue>
<scene_description>Nikki opens the door to the bathroom and stands there dramatically. She has on a sheer shorty night gown - and we can see every contour of her nubile young body as she stands there in silhouette. Then she notices Rushon lying on the bed wrapped in the Glad wrap and barely moving - like some insect that's been cocooned by some giant Glad Wrap spider. Rushon is slowly suffocating.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>mft •••</dialogue>
<character>NIKKI</character>
<dialogue>Rushon!</dialogue>
<scene_description>Nikki rushes over to Rushen and sticks her fingernail in the indentation made by Rushon"s desperately sucking mouth. When her finger breaks through the Glad wrap it's sucked into Rushon"s mouth. Nikki has to struggle to pull her finger out of Rushon's mouth. Finally it comes out with a loud wet POP! WHOOSH! Rushon sucks in a huge amount of air. Sits up violently, gasps for air. Nikki unravels the Glad Wrap from Rushon's face and hands.</scene_description>
<character>NIKKI</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>You"re supposed to wrap it around my pelvic area, not around your head, ya big dummy! You scared me to death. ·</dialogue>
<character>RUSHON</character>
<parenthetical>(eyes crossed, stupid expression on his face)</parenthetical>
<dialogue>I waxed that ass didn't I? Was it good for you?</dialogue>
<character>NIKKI</character>
<dialogue>We haven't done anything yet. You almost died. You"re the only man in the world dumb enough to do something like this.</dialogue>
<scene_description>Buns BURSTS thru the door - covered with Glad Wrap and, suffocating. He"s knocking over furniture, acms flailing. Nikki runs to his rescue, tackles the panicked Buns like a drowning swimmer, pushes him on the bed next to Rushon, who rips the asphyxiating plastic from his face.</scene_description>
<character>NIKKI</character>
<parenthetical>(continuing~ turns to Rushon)</parenthetical>
<dialogue>I stand corrected.</dialogue>
<scene_description>Buns heaves for air. Lysterine enters. She looks at Buns.</scene_description>
<character>LYSTBRINE</character>
<dialogue>waiting to exhale, Buns?</dialogue>
<parenthetical>(Sotto to Nikki)</parenthetical>
<dialogue>Two dumb mutha"s •••</dialogue>
<scene_description>Buns pulls the remaining Glad wrap off.</scene_description>
<character>LYSTERINE</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>••• now this is a Kodak moment.</dialogue>
<scene_description>Nikki and Lysterine look at Rushon and Buns - laying on the bed still partially wrapped in Glad wrap and out of breath. The two women laugh. This pisses Rushon and Buns off.</scene_description>
<character>BUNS</character>
<dialogue>Oh, now ya'll gon' laugh at us? Ain't that a bitch, Ain't no girl in the world worth being laughed at.</dialogue>
<character>LYSTERINE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Come on, Buns, you guys look funny.</dialogue>
<scene_description>Lysterine and Nikki giggle, Buns and Rushon stand as they remove the last of the Glad wrap.</scene_description>
<character>RUSHON</character>
<dialogue>No. • • Buns is right. we ain ' t gonna stand here and be laughed at after all we've been through for ya'll ••• collling all the way down from uptown •••</dialogue>
<character>BUNS</character>
<dialogue>(chiming in} ••• ate fried rice while ya'll dined on lobster and prawns RUSBON ••• Buns damn near lost his famil.y jewels •••</dialogue>
<character>BUNS</character>
<dialogue>••• spent thirty eight dollars on condoms we couldn't use •••</dialogue>
<character>RUSHON</character>
<dialogue>••• damn near had heart attacks chasing Killa through the Holland Tunnel •••</dialogue>
<scene_description>Nikki looks at Rilla who buries his head ashamed.</scene_description>
<character>RUSHON</character>
<dialogue>and get caught in a damn</dialogue>
<scene_description>robbery •••</scene_description>
<character>BUNS</character>
<dialogue>••• bullets flying everywhere •••</dialogue>
<character>RUSHON</character>
<parenthetical>(indicates thigh)</parenthetical>
<dialogue>.,. I even got shot in the leg trying to please you, shit •••</dialogue>
<scene_description>Nikki and Lysterine are shocked, They look at Rushon"s pant leg.</scene_description>
<character>NIKKI</character>
<parenthetical>(very concerned)</parenthetical>
<dialogue>You've been shot!</dialogue>
<character>RUSHON</character>
<dialogue>It's okay ••• just a scratch,</dialogue>
<scene_description>Shows it to Nikki,</scene_description>
<character>NIKKI</character>
<dialogue>we've got to get you to a hospital •••</dialogue>
<character>RUSHON</character>
<dialogue>Tomorrow. Tonight, we got some business to take care of up in here.</dialogue>
<scene_description>COT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - 3100 AM</stage_direction>
<scene_description>Nikki and Lysterine attempt to hail a taxi, Buns is sleepy, rawns, lies his head on the hood of an old Buick. Rushon is Just pisssed.</scene_description>
<character>LYSTERINE</character>
<dialogue>Black folk can"t get a taxi after midnight.</dialogue>
<character>BUNS</character>
<dialogue>Why I got to be here?</dialogue>
<character>NIKKI</character>
<dialogue>Your friend is bleeding.</dialogue>
<character>BUNS</character>
<dialogue>Nigga gonna bleed whether I'm here or not. At least one of us could be sleeping.</dialogue>
<character>LYSTBRINE</character>
<dialogue>Rushon is your friend.</dialogue>
<character>BUNS</character>
<dialogue>A real friend would've waited 'till daybreak to get shot.</dialogue>
<scene_description>Rushon puts too much weight on his leg,~gets a shot of pain.</scene_description>
<character>NIKKI</character>
<dialogue>Baby, you alright?</dialogue>
<character>RUSHON</character>
<dialogue>I'll be alright when we finish what we started. Lets go back upstairs.</dialogue>
<scene_description>Another two cabs pass them by.</scene_description>
<character>BUNS</character>
<dialogue>Yo' leg hurt, boy?</dialogue>
<character>RUSSON</character>
<dialogue>Yeah, but I'm cool.</dialogue>
<scene_description>Another cab pulls to the curb until he sees the fares are black, then he takes off.</scene_description>
<character>BUNS</character>
<dialogue>Back in the day you could shoot an old-school nigga five, six times before he"d even think of going to the hospital. They don"t make 'em like they use to, Rock Hard.</dialogue>
<scene_description>More cabs pass by.</scene_description>
<character>NIKKI</character>
<dialogue>.- -... This is ridiculous. We"re not</dialogue>
<scene_description>going to get a taxi.</scene_description>
<character>RUSHON</character>
<dialogue>They won't stop for a black ma·n.</dialogue>
<character>BUNS</character>
<dialogue>Would you stop for a bleeding nigga? I wouldn"t ••• better get on that Number 42 bus.</dialogue>
<character>LYSTBRINE</character>
<dialogue>Look, Buns, you and Rushon go hide behind those garbage cans.</dialogue>
<character>BUNS</character>
<dialogue>Why a bro'man got to hide behind a garbage can to hail a taxi? I got dignity.</dialogue>
<character>NIRKI</character>
<dialogue>It"s the politics baby. Take your dignity and yo• black ass behind that garbage can.</dialogue>
<scene_description>Rushon and Buns crouch behind a set of garbage cans. Nikki steps back into the street, hails a ta.xi which pulls to the corner in three seconds flat. Nikki and Lysterine get in the cab. Lysterine in front, Nikki in back. They hold the doors open and gesture for RUshon and Buns, who dash into the street. Through his rear view mirror the Russian cabbie see Rushon antl Buns ruMing towards the cab. He is alarmed by the two black men rushing the cab. Thinks he's going to be robbed. IN A PANIC the Russian grabs his .44 Magnum and jumps from his cab. Screaming in Russian and backpadeling from his car, he fumbles with the gun, POW! A shot goes wild. Rushon dives into the backseat as Buns ducks into the driver"s seat - stO!llach down.He leans over and mashes on the accelerator with his left hand as he steers blindly with his right. The cab zigzags away as the Russian fires. POWI CLICK! The gun jams. The cabbie chases the cab for a beat then throws the jammed gun at it, The gun hit the ground and goes off. POWI Just missing the cabbie, who jumps out of the way. PINGI He screams something in Russian. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. 7TH AVE SOUTH - MINUTES LATER - NIGHT</stage_direction>
<scene_description>Buns is driving, Lysterine is riding shotgun.</scene_description>
<character>BUNS</character>
<dialogue>I'm moving back to Africa, 'shit is ridiculous,</dialogue>
<scene_description>In the BACKSEAT Rushon has his headnudged in Nikki's lap.</scene_description>
<character>NIKKI</character>
<dialogue>Baby, I'm sorry about tonight.</dialogue>
<character>RUSHON</character>
<dialogue>Me too. I wanted this to be our special night: the beginning ••• our sexual awakening. Cold champagne, sultry candlelight, Johnny Gill •••</dialogue>
<parenthetical>(singing)</parenthetical>
<dialogue>Put on that red dress ••.• I'm gonna make love to you ••• my .•• my ••• my, you sure look good tonight.</dialogue>
<character>BUNS</character>
<dialogue>Rushen, are you delirious or what? Regulate yourself man.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI (MOVING) - NIGHT</stage_direction>
<scene_description>Buns sees a white couple hailing a taxi. He can't resist this opportunity to make some money. Be pulls to the curb.</scene_description>
<character>LYSTERINB</character>
<dialogue>What are you doing?</dialogue>
<character>BUNS</character>
<dialogue>What's i t look like?</dialogue>
<character>NIKKI</character>
<dialogue>Get us to the hospital.</dialogue>
<character>BUNS</character>
<dialogue>Nikki, chill, boys been bleeding all night, ten 11\0re minutes ain't gonna make a difference. He done coagulated by now.</dialogue>
<scene_description>The white couple climb in. Buµs takes off.</scene_description>
<character>WHITE MAN</character>
<dialogue>Whew ••• rough getting a taxi tonight.</dialogue>
<character>BUNS</character>
<dialogue>You too, huh •••</dialogue>
<character>WOMAN</character>
<dialogue>Sherry Netherlands •••</dialogue>
<character>BUNS</character>
<parenthetical>(turning to the backseat)</parenthetical>
<dialogue>••• am I supposed to 1-..now where this bitch lives? This is New York, this is a big city, folks. If you don't know, you better ask some-body •••</dialogue>
<character>WHITE MAN</character>
<parenthetical>(arrogantly)</parenthetical>
<dialogue>••• Sherry Netherlands is not a bitch •••</dialogue>
<character>BUNS</character>
<dialogue>Well, I don't personally know the ho. She could be •••</dialogue>
<character>WOMAN</character>
<dialogue>Sherry Netherlands is next to the Pierre.</dialogue>
<character>BUNS</character>
<dialogue>I don't know where-the-fuck Pierre lives ••• this is. a big city. Is he related to The Donald? Does the nigga have a last name?</dialogue>
<character>LYSTBRINE</character>
<dialogue>Buns, the Pierre is -a. hotel, so is the Sherry Netherlands, 59th and 5th.</dialogue>
<character>BUNS</character>
<dialogue>Wall nowww we cooking ••• wit gas ••• that•s all ya'll had to say.</dialogue>
<scene_description>Buns is driving along humming. Everyone else is silent. The white couple look over at Rushon"s wounded leg. Rushon holds up a strip of four condoms. ·</scene_description>
<character>RUSHON</character>
<dialogue>Condom? They latex, surgeon general approved.</dialogue>
<scene_description>Nikki elbows Rushon in the ribs.</scene_description>
<character>WHITE MAN</character>
<parenthetical>(to Lysterine)</parenthetical>
<dialogue>Aren't you Lysteri.ne ••• ? You sell securities for Baker Ramsloyd •••</dialogue>
<character>LYSTERINE</character>
<parenthetical>(hiding her face)</parenthetical>
<dialogue>That's another Lysterine.</dialogue>
<character>RUSHON</character>
<dialogue>That's the fresh, minty, plague removing kind ••• this is the cock-blocking Lysteri.ne •••</dialogue>
</scene>
<scene>
<stage_direction>EXT. 57TH STREET - 5:30 AM,</stage_direction>
<scene_description>Buns pulls to the corner, cranks his meter.</scene_description>
<character>LYSTERINE</character>
<dialogue>Buns, the hotel is two blocks north of here.</dialogue>
<character>BUNS</character>
<dialogue>I know this ••• but to come down 5th Avenue I got to go up Central Park West and cut thru the park and I ain"t doing this. Plus Herbie, here looks like he could take a couple pounds off that ass.</dialogue>
<character>WHITE MAN</character>
<dialogue>It"s fine, it's fine. How much do I owe you?</dialogue>
<character>BUNS</character>
<dialogue>Fiddy dollars •••</dialogue>
<character>WHITE MAN</character>
<dialogue>wnat? I've never paid tnat much to taxi up from Chinatown.</dialogue>
<character>BUNS</character>
<dialogue>You ain"t never had an English speaking cabbie, with verve, style and flair, either •••</dialogue>
<character>WOMAN</character>
<dialogue>Just pay the man, Richard.</dialogue>
<scene_description>The man pays Buns as the couple exits the cab. Two transvestites approach the cab. one of them NYQUILLA comes to the window.</scene_description>
<character>NYQUILLA</character>
<dialogue>Chelsea Botel ••• and make it quick.</dialogue>
<character>BUNS</character>
<dialogue>Hey, Nyquilla.</dialogue>
<character>NYQUILLA</character>
<dialogue>Buns, is that you? What you doing driving a cab, boy?</dialogue>
<character>LYSTBRINE·</character>
<dialogue>It's long story, listen we got to go.</dialogue>
<character>BUNS</character>
<dialogue>Nyquilla, this is Lysterine. Ya"ll funny-name folk could open up a drug store. Lysterine aisle five, Nyguilla aisle six.</dialogue>
<parenthetical>(turns to backseat)</parenthetical>
<dialogue>Rushon, look who here, manl</dialogue>
<scene_description>Buns gestures to Nyquilla, big ugly transvestite.</scene_description>
<character>RUSBON</character>
<dialogue>Buns, how do you know this ••• him-it?. I always suspected you was a punk, Buns.</dialogue>
<character>BUNS</character>
<dialogue>You know him too, that's Gary Bullock, we went to Boys High together.</dialogue>
<character>NYQUILLA</character>
<dialogue>Who you calling a Him-It?</dialogue>
<character>RUSHON</character>
<dialogue>Damn, that's Gary Bullock, he use to go both ways ••• middle linebacker and center.</dialogue>
<character>BUNS</character>
<parenthetical>(to Rushon)</parenthetical>
<dialogue>Yeah and you use to have your hands all up his butt, when you was quarterbacking.</dialogue>
<character>NYQUILLA</character>
<parenthetical>(sultry)</parenthetical>
<dialogue>And you had real nice hands, Rushon. Soft, bet you used Noxema, huh?</dialogue>
<character>NIKKI</character>
<dialogue>He does have nice hands. doesn"t he.</dialogue>
<character>OTHER TRANSVESTITE</character>
<parenthetical>(appearing at Rushon"s window)</parenthetical>
<dialogue>For real though,</dialogue>
<character>NYQUILLA</character>
<dialogue>My football days are behind me but Rushon you still looking good, maybe we can get .together and run some of those wideouts.</dialogue>
<character>OTHER TRANSVESTITE</character>
<dialogue>For real though •• ,</dialogue>
<character>RUSHON</character>
<dialogue>Man, Gary, what happened to you ••• you was a helluva linebacker ••• busted much ass. Now YOU ••• YOU •••</dialogue>
<character>NYQUILLA</character>
<dialogue>I was just a cheerleader stuck in a linebacker"s jock strap, Rushen, but now I know WHO I .l\M - and I can still bust some ass, honey.</dialogue>
<character>OTHER TRANSVESTITE</character>
<dialogue>For real though,</dialogue>
<scene_description>Lysterine picks a lead pipe up from beneath the drivers seat and menacingly shows it to Buns.</scene_description>
<character>BUNS</character>
<dialogue>Gotta go, gotta go ••• step back from the vehicle,</dialogue>
<scene_description>Nyquilla drops her purse, bends over revealing a little butt crack over her spandex pants. Buns, Lysterine and Rnshon all go ••• A'WWWWW1</scene_description>
<character>BUNS</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Nyquilla, get yo"nasty ass out the street and stop showing butt- crack, girl.</dialogue>
<character>NYQUILLA</character>
<dialogue>Crack kills but not this crack, honey. You go on with yo'deep- dish chocolate ass, looking all good n'shit wit that blond hair. Buns I could suck you up with ·a straw.</dialogue>
<scene_description>Nyquilla kisses the windshield leaving a big ass lipstick stain on the window.</scene_description>
<character>BUNS</character>
<dialogue>See you when I see you.</dialogue>
<scene_description>Without looking Buns begins to pull out. A recklessly - .. speeding car swerves and screeches to avoid them. we hear a loud CRASH. A lone bent hub cap rolls back in front of the cab,</scene_description>
<character>BUNS</character>
<dialogue>One man"s tragedy is another man"s opportunity.</dialogue>
<scene_description>Buh"s heads toward the sound of the crash CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL EMBRGBNCY ROOM ENTRANCE 5:45 AM</stage_direction>
<scene_description>Bun"s cab pulls up; like clowns in a circus, eight people climb out of the cab, most of them wounded. Lysterine gives Bun a "Have you no shame" look. The people head straight for the ER. Buns catches up with them.</scene_description>
<character>BUNS</character>
<parenthetical>(stopping hurt people)</parenthetical>
<dialogue>Naw, my Nubian brothers and sisters, this ain't no ambulance! You gots to pay me.</dialogue>
<scene_description>The wounded, the bloodied, the broken of bone, all go into their pockets to pay Buns for· the ride.</scene_description>
<character>HEAD WOUND</character>
<parenthetical>(points to his friend)</parenthetical>
<dialogue>He got my back, man.</dialogue>
<character>BUNS</character>
<dialogue>Naw, man, he ain"t got you ••• pay me, cuz.</dialogue>
<scene_description>A man rushes out of the ER, frantic •••</scene_description>
<character>ANXIOUS HUSBAND</character>
<dialogue>I need a wife, my taxi is having our baby and I'm at the wrong goddamn hospital.</dialogue>
<character>BUNS</character>
<dialogue>I'm off duty ••• dude.</dialogue>
<character>ANXIOUS HUSBAND</character>
<dialogue>Please bro•man.</dialogue>
<character>BUNS</character>
<dialogue>I'm off duty, but I'll sell this old Checker to Ya.</dialogue>
<character>ANXIOUS HUSBAND</character>
<dialogue>How much?</dialogue>
<character>BUNS</character>
<dialogue>Two fiddy.</dialogue>
<scene_description>ANXIOUS HUSBAlID One fifty •••</scene_description>
<character>BUNS</character>
<dialogue>You don"t want to see your baby being born ••• do you •••</dialogue>
<character>ANXIOUS HUSBAND</character>
<dialogue>Okay, okay, two hundred •••</dialogue>
<character>BUNS</character>
<dialogue>Let's get it on.</dialogue>
<character>CUT TO:</character>
<dialogue>INT • .BOSPIT.I\L BMBRGENCY ROOM - 5i45 AM It"s a busy NYC emergency room attending to the usual types of emergency maladies - cut fingers, stab wounds, gunshot wounds, delusional psychos etc ••• Everyone there is in some kind of pain and wants service NOW!</dialogue>
<dialogue>The jaded ADMITTING NURSE, who has lived through exactly seven thousand, three hundred and forty-six such nights, has seen far too much pain to ever again be bothered by it in this life time.</dialogue>
<dialogue>Her philosophy is simple: If you have insurance you are a good person who deserves immediate attention. No insurance, sit your ass down and wait. ·</dialogue>
<dialogue>Rushon, Nikki, Lysterine and Buns approach the admitting counter,</dialogue>
<character>ADMITTING NURSE</character>
<dialogue>Got insurance?</dialogue>
<scene_description>A beat as Rushon looks at the others. Rushon swallows hard. Buns surreptitiously slips Rushon his medical insurance card. Rushon hands the card to the nurse. The nurse looks at the card.</scene_description>
<character>ADMITTING NURSE</character>
<parenthetical>(reading card)</parenthetical>
<dialogue>Sears .••</dialogue>
<parenthetical>(in awe)</parenthetical>
<dialogue>Now we can party •••</dialogue>
<parenthetical>(sticks her pencil in the hole in Rushon"s pant leg)</parenthetical>
<dialogue>••• honey, we gonna fix that thigh, and a fine thigh it is.</dialogue>
<character>NIKKI</character>
<dialogue>we need to see a doctor.</dialogue>
<character>ADMITTING NURSE</character>
<dialogue>So be itl</dialogue>
<scene_description>The nurse picks up a mic.</scene_description>
<character>ADMITTING NURSE</character>
<parenthetical>(continuing~ into mic)</parenthetical>
<dialogue>I need service at the admitting counter STAT1</dialogue>
<scene_description>Two mal.e nurses appear, as if out of nowhere. One helps Rushon into a. whee1 chair. They push Rushon away. Nikki waves good-bye. The mal.e nurses quickly pushes Rushon into an observation room marked "PRIVATE" CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - HOSPITAL ROOM - NIGHT</stage_direction>
<scene_description>The male nurses lift Rushon onto an observation table. A beat later, an absolutely beautiful DOCTOR enters, stethoscope, neatly pressed, tightly fitting white physicians' jacket, big brown eyes, cleavage. This is DOCTOR RENEE MOORE. Rushon is impressed, Doctor Moore sits down at a computer and pulls up Buns' file. Looks at computer then at Rushon, her eyes dart back and forth between the computer screen and Rushon.</scene_description>
<character>RUSHON</character>
<dialogue>Are you my doctor?</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>Yes, Dr. Moore,</dialogue>
<character>RUSHON</character>
<parenthetical>(to himself off her build)</parenthetical>
<dialogue>You got that right.</dialogue>
<character>DOCTOR MOORE</character>
<parenthetical>(reading the file)</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>Rushon busted.</scene_description>
<character>DOCTOR MOORE</character>
<parenthetical>(continues)</parenthetical>
<dialogue>Mr. Buns, what's your first name?</dialogue>
<character>RUSHON</character>
<dialogue>Isn't it in there?</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>Yes, but I can't believe a hwnan being would have this first name. Come on~ what is it?</dialogue>
<character>RUSBON</character>
<parenthetical>(hopelessly guessing)</parenthetical>
<dialogue>Ah ••• Honey Buns ••• ?</dialogue>
<scene_description>Doctor Moore looks at him suspiciously.</scene_description>
<character>DOCTOR MOORE</character>
<dialogue>It says "Butter Buns" here. Your mother"s name is Honey Buns.</dialogue>
<character>RUSHON</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Damn! I can't believe that nigga•s named Butter-Buns~ ••</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>What is your father•s·narne?</dialogue>
<character>ROSHON</character>
<parenthetical>(tentative)</parenthetical>
<dialogue>Sticky?</dialogue>
<character>DOCTOR MOORE</character>
<parenthetical>(shooting back)</parenthetical>
<dialogue>Wrong, Hott You're not really Mr. Butter Buns, are you ••• ?</dialogue>
<scene_description>· (looks at Rushon) You know it's a federal crime to use someone else"s insurance •• ,</scene_description>
<character>RUSHON</character>
<dialogue>You know, my leg is feeling much better.</dialogue>
<scene_description>Rushon quickly exits the room. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - HALLWAY - NIGHT</stage_direction>
<scene_description>Rushon, limping, approaches Buns, Lysterine and Nikki.</scene_description>
<character>RUSHON</character>
<dialogue>Let's go.</dialogue>
<character>NIKKI</character>
<dialogue>What happened?</dialogue>
<character>RUSHON</character>
<dialogue>They could tell from the file that I wasn"t Mr. BUTTER Buns.</dialogue>
<parenthetical>(to Buns)</parenthetical>
<dialogue>Butter?</dialogue>
<character>NIKKI</character>
<parenthetical>(Re: leg)</parenthetical>
<dialogue>You're still bleeding.</dialogue>
<character>RUSHON</character>
<dialogue>I came here like you let"s get back to your P</dialogue>
<scene_description>wagfi8~ f§?le --. I want.</scene_description>
<character>LYSTERINE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Did he say Butter?</dialogue>
<character>BUNS</character>
<dialogue>Oh, I don"t think you want to play the name game.</dialogue>
<character>NIKKI</character>
<dialogue>We"re not going anywhere 'til you get that.leg fixed.</dialogue>
<character>BUNS</character>
<dialogue>Y"all got more rules than Sunday school. Wait here.</dialogue>
<scene_description>Buns exits heading toward the supply closets. DISSOLVE TO: INT. HOSPITAL - MINU'l'.BS LATER Bun"s returns pushing a wheel chair, having put on a doctor"s white jacket, stethoscope, some latex gloves and what other paraphernalia he can lay hands on. Buns looks like a doctor. Re pushes Rushon into the wheel chair, grabs a floating orderly and commands him to bring Rushen into the triage.</scene_description>
<character>LYSTERINE</character>
<dialogue>Damn Buns, you look good in that white jacket,</dialogue>
<character>BUNS</character>
<parenthetical>(terminator II)</parenthetical>
<dialogue>I'll be back •••</dialogue>
<scene_description>The orderly rolls Rushen down the hurried corridor of medical emergencies. Rushen slaps Buns a congratulatory low five for getting him admitted, albeit, by questionable means.</scene_description>
<character>BUNS</character>
<parenthetical>(continuing; to an BR nurse.)</parenthetical>
<dialogue>Nurse, take this patient, I have a code blue in berth four.</dialogue>
<character>NURSE</character>
<parenthetical>(reading Buns' name tag)</parenthetical>
<dialogue>Yes Dr. Zevroloswki •••</dialogue>
<scene_description>Buns g1an\_ces at the name tag he's wearing. The nurse begins to treat Rushon's wound. Buns eases back thru the corridor until he's grabbed by a uniformed security officer. Beats. Buns senses trouble.</scene_description>
<character>GUARD</character>
<dialogue>DOctor. • • Dr. Moore needs some help in number two.</dialogue>
<character>BUNS</character>
<dialogue>Let's get it on •••</dialogue>
<scene_description>Buns moves down the hall with the aplomb of Ben Casey and Marcus Welby. He turns into the wrong triage berth.</scene_description>
<character>GUARD</character>
<dialogue>Berth Two, not three.</dialogue>
<scene_description>Buns enters the right berth. A pregnant woman is on her back, in pain. Doctor.Moore is there. Buns eyes her with a devilish glint in his eyes. His eyes seem to fixate on Dr. Moore's cleavage ••• and nice cleavage it is as we remember from Rushon"s experience.</scene_description>
<character>BUNS</character>
<dialogue>Okay, doctor, what do we have here?</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>My residency is in emergency peds ••• I have no training in obstetrics ••• this patient is multi-gravida experiencing aggravated lateral distension with strong likelihood of an oblique inguinal hernia impacting the peritoneum. and the epigastric artery•••</dialogue>
<character>BUNS</character>
<parenthetical>(eyes peeled to her cleavage)</parenthetical>
<dialogue>You ever hang out at Nell's on ladies night?</dialogue>
<scene_description>·- - CUT TOz From across the ha11 Rushen sees Buns attempting to treat the pregnant woman. BACK TO: Buns observes the patient - makes his diagnosis.</scene_description>
<character>BUNS</character>
<dialogue>Watch and learn •••</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>r'd learn a great deal more if your eyes weren't fixed to my cleavage.</dialogue>
<character>BUNS</character>
<dialogue>Doctor, I wasn"t looking at your cleavage.</dialogue>
<character>DOCTOR MOORE</character>
<dialogue>You most certainly were.</dialogue>
<character>BUNS</character>
<dialogue>No, I was looking at that nasty- ass spider crawling up your jacket. ·</dialogue>
<scene_description>Dr. Moore screams as the spider crawls his eight spindly legs up her neck. She knocks the spider into a nurse"s lap, the nurse, in turn, knocks the spider onto the pregnant woman's cheek. Buns calmly removes the spider. Rushon rolls his wheelchair up to Buns.</scene_description>
<character>RUSSON</character>
<parenthetical>(terse whisper)</parenthetical>
<dialogue>Buns, what in God's name are you doing?</dialogue>
<character>BUNS</character>
<parenthetical>(Sotto)</parenthetical>
<dialogue>I ain't missed an episode of ER yet, I can do this, Rushon.</dialogue>
<scene_description>( spreads the woman's legs open in a cold, doctorly manner} It's all right here, I know all this shit. The pregnant woman cries out in pain.</scene_description>
<character>NURSE</character>
<dialogue>Who is this patient, Doctor?</dialogue>
<character>BUNS</character>
<dialogue>I don't know, nurse, but he"s pulling on my jacket.</dialogue>
<parenthetical>(furtive whisperJ schizophrenic ticks)</parenthetical>
<character>BUNS</character>
<dialogue>I think he"s from the •••</dialogue>
<parenthetical>(more cockeyed ticks)</parenthetical>
<dialogue>••• psycho ward. Straight jacket• 11 keep him.. in che~k.</dialogue>
<scene_description>The nurse summons the guard who pulls Rushon away. lllJSHON No, you don"t understand. Buns is a lunatic ••• he isn't a doctor •••</scene_description>
<character>NURSE</character>
<parenthetical>(patronizingly)</parenthetical>
<dialogue>"Buns is a lunatic." What do you mean? What type of bun? Hamburger, hot dog bun. Sticky bun?</dialogue>
<character>GUARD</character>
<dialogue>Sir, you just calm down, everything•s gonna be alright.</dialogue>
<character>RUSHON</character>
<parenthetical>(manic)</parenthetical>
<dialogue>Listen to mel The boy mixes paint for a living. Nigga works at Sears. DOn't let him operate on that poor woman.</dialogue>
<character>NURSE</character>
<dialogue>Sir, we're going to calm you down.</dialogue>
<parenthetical>(to another intern)</parenthetical>
<dialogue>Ten cc"s of Thorozine.</dialogue>
<scene_description>INTERCUT: Rushon on a gurney, they're holding him down as the intern injects lOcc's into his vein. Rushon is zoned, dazed ••• BACK TO: BUNS is holding the pregnant woman"s hand.</scene_description>
<character>BUNS</character>
<dialogue>I"m just waiting for the contractions to come at ten second intervals. Everything looks good. • • What are you doing next week? Ever been to Nell's</dialogue>
</scene>
<scene>
<stage_direction>.- ·.</stage_direction>
<scene_description>on Ladies night? Call me. It's gonna be aw'ight. Buns steps back to the end of the bed. Looks at his team.</scene_description>
<character>BUNS</character>
<dialogue>(continuing} Okay peoples, I'm going in ••• FADE OUT: SUPERIMPOSE: DEEZE NUTZ FADE IN:</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT</stage_direction>
<scene_description>Rushon is asleep on his stretcher. Nurses and doctors scurry by. An orderly pushes another patient into the corridor to the right of Rushon. A beat later another stretcher is wheeled out and left on the other side of Rushon. on the stretcher is an Older Man, 50ish. Rushon looks at the Older Man in his blurred vision. The Older Man looks at Rushon.</scene_description>
<character>OLDBR MAN</character>
<dialogue>What you in for, boy?</dialogue>
<scene_description>Rushon is in a drug induced stupor.</scene_description>
<character>RUSHON</character>
<dialogue>(drug stupor, gibberish} Ueio,e:ke aioo eioi. OLDER MAN You lucky. Just crazy. I got Blue balls, •• testicular cancer •</dialogue>
<character>.!WOTBER PATIENT</character>
<dialogue>wow, what are they going to do?</dialogue>
<character>OLDER HAN</character>
<parenthetical>(sighs)</parenthetical>
<dialogue>Cut •em off •••</dialogue>
<scene_description>Rushon and four other patients on stretchers all gingerly reach for their testicles as if they were synchronized swimmers.</scene_description>
<character>OLDER HAN</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>They going to cut off my Jimmy. Too much sex, not enough condoms •••</dialogue>
<scene_description>A male nurse comes up, takes Rushon's chart and the Older Man"s chart and makes lab entries on the charts. Doctor Moore glides by. All the men raise up off their stretchers to look at her. As he watches Doctor Moore, the male nurse switches Rushon"s chart with the Older Man's then puts the charts back on the wrong beds. The male nurse walks away. A beat later a FEMALE nurse comes into the corridor and looks at the Older man's chart, attached to Rushon•s stretcher. She pushes Rushon away. Rushon is still groggy, he lays back and doses off as the nurse pushes him thru the corridor. She pushes him thru double doors. Rushon had a dope-induced smile on his face until he sees the words OPERATING ROOM on the door. Be leans forward to read the chart, he has the old man's name and vital statistics. Then Rushon reads: Testicular surgery. As Rushon is pushed into the operating room he grabs anything he can - other beds, people, bed pans, furniture, he even pulls an intravenous tube out of someone's arm.</scene_description>
<character>FEMALE NURSE</character>
<dialogue>What is wrong with you, relax.</dialogue>
<character>RUSHON</character>
<dialogue>This is a mistake.</dialogue>
<character>FEMALE NURSE</character>
<dialogue>Everyone gets a little nervous about this procedure but it"s going to be alright. There is life after castration.</dialogue>
<character>RUSHON</character>
<dialogue>You don't understand •••</dialogue>
<scene_description>To no avail. Rushon is wheeled into the operating room.</scene_description>
<character>CUT TO:</character>
<dialogue>Lysterine, looking for the guys, passes the berth just as BUNS pulls the new baby from his mother"s womb. Lyst"s mouth falls open, in total astonishlllent, she is speechless.· The medical team lets a collective sigh of relief at Buns· brilliant treatment. They did have their doubts.</dialogue>
<character>MOTHER</character>
<dialogue>Is it a boy or a girl?</dialogue>
<scene_description>A male nurse comes up, takes Rushon"s chart and the Older Man"s chart and makes lab entries on the charts. Doctor Moore glides by, All the men raise up off their stretchers to look at her. As he watches Doctor Moore, the male nurse switches Rushon"s chart with the Older Man"s then puts the charts back on the wrong beds. The male nurse walks away. A beat later a FEMALE nurse comes into the corridor and looks at the Older man's chart, attached to Rushon•s stretcher, She pushes·Rushon away. Rushon is still groggy, he lays back and doses otf as the nurse pushes him thru the corridor. She pushes him thru double doors. Rushon had a dope-induced smile. on his face until he sees the words OPERATING ROOM on the door. He leans forward to read the chart, he has the old man"s name and vital statistics. Then Rushon reads: Testicular surgery. As Rushon is pushed into the operating room he grabs anything he can - other beds, people, bed pans, furniture, he even pulls an intravenous tube out of someone"s arm.</scene_description>
<character>FEMALE NURSE</character>
<dialogue>What is wrong with you, relax.</dialogue>
<character>RUSBON</character>
<dialogue>This is a mistake.</dialogue>
<character>FBMALB NURSE</character>
<dialogue>Everyone gets a little nervous about this procedure but it's going to be alright. There is life after castration.</dialogue>
<character>RUSHON</character>
<dialogue>You don"t understand •••</dialogue>
<scene_description>To no avail. Rushen is wheeled into the operating room. CUT TOi Lysterine, looking for the guys, passes the berth just as BUNS pulls the new baby from his mother's womb. Lyst"s mouth falls open, in total astonishment, she is speechless.· The medical team iets a collective sigh ot relief at Buns· brilliant treatment. They did have their doubts.</scene_description>
<character>MOTHER</character>
<dialogue>Is it a boy or a girl?</dialogue>
<scene_description>Buns lifts the baby up; the baby pees in Buns' face. Buns is pissed. Be balls his fist and snarls at the baby ala Muhammed Ali.</scene_description>
<character>BUNS</character>
<dialogue>I pity the fool. that pees in my face. Test tube babyl!I</dialogue>
<scene_description>The nurse takes the baby and places it in the mot~er"s arms. Buns sees Lysterine and exits the room.</scene_description>
<character>NURSE</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Dr. Zevroloski is brilliant but· so arrogant.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - CORRIDOR - NIGHT</stage_direction>
<scene_description>Buns and Lysterine approach Nikki who is chatting up a tall, handsome doctor, BRIO LASALLE from ER. Eriq is flirting and definitely on the make. Buns interrupts and throws Nikki a look.</scene_description>
<character>BUNS</character>
<dialogue>Yo, man, I got a complication in berth 3, can you cover me?</dialogue>
<character>ERIO LASALLE</character>
<parenthetical>(to Buns)</parenthetical>
<dialogue>••• I'm not actuall.y a doctor I just play one on TV.</dialogue>
<parenthetical>(back to Nikki flirtatiously)</parenthetical>
<dialogue>But you can see me as the saviour, in "Jesus Does My Hair."</dialogue>
<scene_description>{then) It's a combination of "Beauty Shop" and "Your Arms Are to Short to Box With God."</scene_description>
<character>LYSTERINE</character>
<dialogue>Why would you waste your time doing a chitling circuit play?</dialogue>
<character>BUNS</character>
<dialogue>I heard about that, it's supposed to be good. It's about Jesus coming back as a hairdresser. Peoning, weaving••• corn rolling ••• evangelizing,</dialogue>
<character>NIKKI</character>
<dialogue>Buns, you got blood all over you.</dialogue>
<character>BUNS</character>
<dialogue>I just delivered a baby ••• Ya'll want to help me find Rushon ••• or what?</dialogue>
<parenthetical>(suspicious look at Eriq)</parenthetical>
<dialogue>Be's either in triage or the psycho ward.</dialogue>
<character>NIKKI</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>Psycho ward?</dialogue>
<character>BUNS</character>
<dialogue>I had to have him straight jacketed.</dialogue>
<scene_description>They head off.</scene_description>
<character>ERIQ LASALLE</character>
<parenthetical>(snaps fingers, disappointed)</parenthetical>
<dialogue>Damn ••• 1</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - OPERATING ROOM TWO - NIGHT</stage_direction>
<scene_description>Rushon, who is almost under, is on the operating table being prepped by a couple of nurses. Dr. CUTTER comes to Rushon.</scene_description>
<character>DR. CUTTER</character>
<dialogue>Just relax,</dialogue>
<parenthetical>(looking at the chart)</parenthetical>
<dialogue>Hr. Markowitz, we've already started the anesthesia. You haven't eaten in the last twelve hours, right? Just relax, count backwards from one hundred.</dialogue>
<scene_description>The second anesthesia is taking effect on Rushon. Even though he's groggy Rushen tries to get off the table.</scene_description>
<character>RUSHON</character>
<parenthetical>(blurred speech, slo- mo)</parenthetical>
<dialogue>Don't ... take ... my ••• Jimmy.</dialogue>
<scene_description>A male nurse comes up and reaas Rushon•s chart.</scene_description>
<character>MALE NURSE #3</character>
<dialogue>Lets see •• , Ohl Testicular oncology. Bwlll And he"s so young, but we gotta take deeze nutz.</dialogue>
<scene_description>DR, CUTl'ER Okay, people, he's out cold ••• let"s rock and roll ••• Scalpel, The O.R. nurse places a sharp, shiny, menacing scalpel in the doctor"s open hand. He rears back and gets ready to slice. Rushon is taped to the bed, IVs and oxygen tubes spill out from his body but he still musters the energy to whisper.</scene_description>
<character>RUSHON</character>
<dialogue>(West Side Story} ••• gonna tap that ass tonight. DR. CUTTER Hey, this guy is still conscious ••• hit him with another dose ••• he's trying to say</dialogue>
<scene_description>something.</scene_description>
<character>MALE NURSE #1</character>
<dialogue>(heterosexually challenged} I love that, it's from west Side Story. DR, CUTTER Shoot him up again because when I</dialogue>
<scene_description>take "deeze nutz" he's gonna feel it and boy is it going to hurt. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL - CORRIDOR - NIGHT</stage_direction>
<scene_description>Nikki walks down the corridor past the OR, from the corner of her eye she sees the shiny reflection off the surgeons s<:alpel. Nikki peers into the OR, sees they're about to operate on Rushon. N:l.kk1. da,;,11..,. i,;,to Oft, gral:)b:l.ng the surgeon::; wrists just before the incision.</scene_description>
<character>NIKKI</character>
<dialogue>This is my boyfriend, what are you doing?%</dialogue>
<character>DR. CUTTER</character>
<dialogue>His chart indicates an amasticized testicular tumor. Now if you'll excuse us -</dialogue>
<scene_description>Two male nurse grab Nikki and move her toward the door.</scene_description>
<character>DR. CUTTER</character>
<parenthetical>(to his staff)</parenthetical>
<dialogue>Wives and girlfriends always take this operation the hardest.</dialogue>
<scene_description>Cutter moves in with a scalpel. Nikki yelling for him to stop. Finally, just before the door closes, she blurts out.</scene_description>
<character>NIKKI</character>
<dialogue>He doesn"t have insurance.</dialogue>
<scene_description>CUTTER FREEZES. Before the sound of Nikki's words have left the room Cutter and his nurses are gone. Nikki smiles toward Rushon who smiles back. CUT TOl</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAWN</stage_direction>
<scene_description>Rushon is resting peacefully in his hospital bed. Nikki is curled up in a chair sleeping. There is another PATIENT in the other bed who is wrapped in bandages from head to toe, like a rownmy, suspended in orthopedic traction. Even his penis is wrapped like a llllllll!nY"S. Rushon slowly awakens. Groggy from the anesthesia ••• Rushon puts his hand beneath his blanket - gingerly pats himself· until he finds his private parts intact - BIG SMILE.</scene_description>
<character>RUSBON</character>
<dialogue>Deeze nutz! They're still here.</dialogue>
<scene_description>This awakens Nikki. She goes to Rushon"s bedside.</scene_description>
<character>NIKKI</character>
<dialogue>Hi, baby.</dialogue>
<character>RUSHON</character>
<dialogue>Nikki. Baby, am I glad to see you. A guy could go his wnole lifetime lookin' for a good woman and come up with dust. Look at me. I just want to say •••</dialogue>
<scene_description>RUSHON ( cont 'd) (remembering) Has the sun rose yet?</scene_description>
<character>NIKKI</character>
<parenthetical>(looks at him curiously then goes to the window)</parenthetical>
<dialogue>It's just coming up.</dialogue>
<character>RUSBON</character>
<parenthetical>(Sotto)</parenthetical>
<dialogue>I got to do this NOW,</dialogue>
<parenthetical>(continuing)</parenthetical>
<dialogue>Come here.</dialogue>
<scene_description>Nikki leans over. Rushon kisses her. Nikki kisses back. Soon, Rushon has pulled Nikki•up on the bed with him. The passion grows in intensity - then Nikki stops.</scene_description>
<character>RIJSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>What? Why you stoppin'?</dialogue>
<scene_description>Nikki nods towards the mwmnified man in the other bed.</scene_description>
<character>NIKKI</character>
<dialogue>We're not alone, Rushon.</dialogue>
<character>RUSHON</character>
<dialogue>Baby, that dude is out. That jackleg nigga's dead to the world. Look at him.</dialogue>
<character>NIKKI</character>
<dialogue>Wait a minute.</dialogue>
<scene_description>Nikki tiptoes over to the mullllllified man's bed and looks at him. She pokes him gently - no response. The mummified man's eyes are closed. Nikki locks the door then goes back to Rushon • s bed. As soon as Nikki walks away the mummified man's eyes OPEN. Nikki sits on Rushon's .bed.</scene_description>
<character>RUSBON</character>
<dialogue>Told you.</dialogue>
<scene_description>Rushon pulls back the covers on the bed.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>Come on under here.</dialogue>
<character>NIKKI</character>
<dialogue>You got a condom?</dialogue>
<character>RUSHON</character>
<dialogue>I'm laid up in the hospital, nearly got my Jimmy cut off, where Ima get a condom from. Baby, please, please don"t do this to me.</dialogue>
<character>NIKKI</character>
<dialogue>Noth~ng's changed, Rushon. No glove ••• no love •••</dialogue>
<scene_description>Rushon grabs a latex rubber glove, secrets it beneath the covers.</scene_description>
<character>RUSBON</character>
<dialogue>I got a glove ••• you want Saran wrap?</dialogue>
<scene_description>Rushon grabs another glove, pulls it over his head. With the glove stretched tightly over his face, pulling his eyes into narrow slants Rushon looks like a bank robber with five fingers growing out of the top of his head. With a pair of scissors Nikki cuts a slit for his mouth.</scene_description>
<character>RUSHON</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I got Saran Wrap. We good to go.</dialogue>
<character>NIKKI</character>
<dialogue>I don't think so.</dialogue>
<character>RUSHON</character>
<dialogue>Baby, I've been trying to get a condom and saran Wrap for you for the last 8 hrs. You got to come correct now. Please. Let me use my glove.</dialogue>
<scene_description>Nikki looks back at the mummy. Thinks about Rushon"s proposition, a devilish look seeps in her face.</scene_description>
<character>NIKKI</character>
<dialogue>What if the nurse bursts in?</dialogue>
<character>RUSHON</character>
<parenthetical>(off the glove)</parenthetical>
<dialogue>I got a finger for her too.</dialogue>
<scene_description>Nikki slaps the taste out of Rushon"s mouth.</scene_description>
<character>RUSHON</character>
<dialogue>( continuing I Damn! Don"t forget Ima patient up in here, can't be pimp-slapping me. Nikki opens her dress sexily. The ti.me is NOW. She begins</dialogue>
<scene_description>to straddle her legs over Rushon. Suddenly he stops her.</scene_description>
<character>RUSHON</character>
<parenthetical>(very sincere)</parenthetical>
<dialogue>Wait ••• You know Nikki, as much as I want this and I DO want this ••• if any part of you still wants to wait ••• ! just want you to know •••</dialogue>
<scene_description>Nikki gives Rushon her "I want it NOW" sexy smile we saw before.</scene_description>
<character>RUSBON</character>
<dialogue>Baby, don't say another word.</dialogue>
<scene_description>Rushon takes her too him. Nikki straddling. Ber pelvis, begins to grind.</scene_description>
<character>RUSHON</character>
<dialogue>Oh, oooh, ahhhh, ugh, ahhh, ooooh, psssss ••• oh, baby, roll i t ..••</dialogue>
<character>NIKKI</character>
<dialogue>{whispering)</dialogue>
<scene_description>Be quiet! Another couple of seconds then -</scene_description>
<character>ROSHON</character>
<dialogue>Ooooh, eeeeh, aaaaah, youuuuu. Shit!</dialogue>
<scene_description>cu of mummified man shaking his head.</scene_description>
<character>NIKKI</character>
<dialogue>You didn't ejaculate did you?</dialogue>
<character>RUSHON</character>
<dialogue>Eh, well, ugh, yeah.</dialogue>
<scene_description>{defensively) But I was holding that one since last night. Besides it ain"t the quantity it"s the quality.</scene_description>
<character>NIKKI</character>
<parenthetical>(lovingly)</parenthetical>
<dialogue>I understand.</dialogue>
<character>MUMMIFIED MAN</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Damn! My crippled ass could've rolled in that cootchie longer than that. I heard of premature ejaculation but, nigga, goddamn.</dialogue>
<scene_description>Back to Rushon and Nikki. NI!UtI · (doesn' t want to believe this.has happened) Rushen, he was watching us the entire tillle, •• the whole three seconds.</scene_description>
<character>MUMMIFIED</character>
<dialogue>(singing)</dialogue>
<character>MAN</character>
<dialogue>You batter lick it now that you done kicked it.</dialogue>
<scene_description>Nikki and Rushen look at one another, laugh.</scene_description>
<character>MUMMIFIED MAN</character>
<parenthetical>(continuing)</parenthetical>
<dialogue>I'm in traction but girl, I can suit up if speedy ain't doing his job.</dialogue>
<scene_description>Rushen tosses a box of Kleenex at the mummy man.</scene_description>
<character>RUSSON</character>
<dialogue>Let"s go find us some privacy.</dialogue>
<scene_description>CUT '1'01:</scene_description>
</scene>
<scene>
<stage_direction>INT. PSYCHO WARD - HORNING</stage_direction>
<scene_description>A guy who walks with a '"l'horozine. Shuffle" approaches an orderly.</scene_description>
<character>'.I:AKASHI</character>
<dialogue>••• I need another Thorazine. shot ••• I'm hearing voices again •••</dialogue>
<character>BOOTSIB</character>
<dialogue>Is it the Devil again?</dialogue>
<character>TAKASBI</character>
<dialogue>No. This time it's Marge and HO!ller silllpson and they·re doing the nasty,,,</dialogue>
<character>BOOTSIE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Yeah, right •••</dialogue>
<scene_description>ANGLE ON CLOSBT DOOR</scene_description>
<character>LYSTERINE</character>
<dialogue>{as Marge Simpson)</dialogue>
<scene_description>Oh, Homey ••• bounce it, bounce itt</scene_description>
<character>BUNS</character>
<dialogue>(as Bomer Silllpson} Doh! Oh, Marge, I'll bounce it, you better bounce it back. LYSTERINE (as Marge Simpson) Rock my cartoon TliOrld •••</dialogue>
<scene_description>COT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - JUST PAST DAWN</stage_direction>
<scene_description>Nikki and Rushon in bed kissing, their passion building toward a crescendo ••• seven weeks of pent up lust, overflows like a breaking dam. CUT TO: BXT. TWO BLOCKS AWAY 7TH AVE - MORNING A demolition crew is about to dynamite an old hotel building. over a bull horn we hear the construction supervisor.</scene_description>
<character>VOICE</character>
<dialogue>••• clear the street ••• five ••• four ...</dialogue>
<scene_description>INTER CUT: INT, HOSPIT.I\L ROOM Nikki and Rushen are screwing like two jack rabbits on methamphetam.ines, panting, breathing very hard, whispering nasty sighs of passion to one another.</scene_description>
</scene>
<scene>
<stage_direction>-·· BACK TO:</stage_direction>
<scene_description>Demolition crew:</scene_description>
<character>VOICE</character>
<dialogue>••• three ••• two ••• one ••• okay Pete, let her blow •••</dialogue>
<scene_description>INTER CUT: Nikki and Rushon reaching climax. The bed shakes, a sonorous, earthquake-like shattering. The glass panes tremble and clank.</scene_description>
<character>RUSBON</character>
<dialogue>••• oh, baby, •• I love you.</dialogue>
<character>NIKKI</character>
<dialogue>Don"t stop, doing, •• it doing ••• it and doing it well.</dialogue>
<character>RUSHON</character>
<dialogue>I'm representing Queens, she was raised up in Brooklyn.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEMOLISHED BUILDING - MORNINING</stage_direction>
<scene_description>Comes apart, caves in trom tloor to floor until the shell is only a big heap of dust and gravel. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PSYCHO WARD - MORNING</stage_direction>
<scene_description>From behind the closet.</scene_description>
<character>BUNS(VO)</character>
<dialogue>••• Rushon done tapped that assl</dialogue>
<character>LYSTERINE(VO)</character>
<dialogue>Excuse me, who said you could stop?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - LATER</stage_direction>
<scene_description>Rushon is lying with Nikki comfortably in his embrace. He still has the latex glove on his face as he gingerly goes to smoke a post-coital cigarette.</scene_description>
<character>NIKKI</character>
<dialogue>You know the surgeon general warns that everyday 500 Americans die from smoking-related illnesses.</dialogue>
<scene_description>Rushon deadpans to the CAMERA AS WE ••• FADE OUT;:</scene_description>
<character>THE END</character>
</scene>
</script> | Rushon Askins, a tender-hearted, upwardly-mobile man, has been dating his self-righteous-to-a-fault girlfriend Nikki for seven weeks. They really like each other, but their relationship has not yet been consummated; Nikki is unsure if their relationship is ready for the next stage. Rushon asks Nikki out to dinner, but Nikki wants it to be a double date. She brings her opinionated friend and neighbor Lysterine "Lysti", and Rushon comes with his "bad boy" buddy Bunz. Lysti and Bunz soon end up bonding as both are sexually adventurous and completely uninhibited, despite some initial bickering and resentment towards one another as each of them overplayed their roles by trying to come off as a player (Bunz) or overly high-maintenance (Lysti). Meanwhile, the more conservative and prudish Nikki decides it is time for her and Rushon to take their relationship to the next level, much to Rushon's surprise and excitement. However, they have one small problem: this is the 1990s, and Nikki wants to practice safe sex. Rushon produces a condom and just as he removes the wrapper, Nikki's mischievous, poorly trained, small terrier dog named "Killer" snatches and destroys Rushon's only condom, forcing him to have to go out and buy more condoms. Nikki then calls Lysterine and urges her to make Bunz (also condomless) use a condom as well. Therefore, Rushon (who has to take Killer along for his walk) and Bunz go on wild, late night adventures from store to store trying to find "protection" before everyone's mood evaporates. The two friends run across a wild assortment of characters which includes a Chinese medicine store owner, wacky Punjabi convenience store owners, a would-be armed robber, a hypocritical judge (Bernie Mac) and his female clerk/secret lover, and last but not least, a disobedient Killer who escapes his leash while Rushon and Bunz are in a store and leads them on a blocks-long chase. Things soon lead to all four friends being at the hospital when Bunz accidentally shoots Rushon in the leg with a gun he took from a paranoid cabbie moments earlier. The group initially encounters a rude, unsympathetic admissions nurse who denies Rushon entry into the hospital because he has no insurance until Bunz runs across a doctor's credentials and impersonates the doctor to get his buddy admitted into the facility. However, "Doctor" Bunz is soon called in to help deliver a baby, which takes priority over a flesh wound, and he loses track of Rushon who is mistaken for a patient who is scheduled to be castrated (that patient shrewdly switched charts with Rushon upon finding out about his operation). The real doctor whom Bunz is impersonating eventually surfaces which leads the admissions nurse and security to search the hospital for the group. Bunz, Lysterine, and Nikki frantically search for Rushon who is soon anesthetized and prepared for castration. Nikki finds him right before the surgery begins and abruptly stops it by yelling that Rushon has no insurance. As both couples leave the hospital, everyone make up as both women take their men home for some long-delayed, kinky but safe sex. |
Atonement_2007 | tt0783233 | <script>
<scene>
<scene_description>ATONEMENT Written by Evan Gillespie FIRST DRAFT 18 December 2005 Copyright 2005 FADE IN : INDIANAPOLIS, INDIANA</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM OF MATTHEW CROSS - NIGHT</stage_direction>
<scene_description>MATTHEW CROSS, a handsome man in his early 20's, is relaxing on a sofa lounger in his bedroom, talking on the phone to his best friend DANIEL IRONS. Matthew is the average young adult, caught in the transition between a teenager and an adult.</scene_description>
<character>MATTHEW</character>
<dialogue>I don't see why I'm catching so much hell for this. I told Natalee me and you were chillin tonight like 3 days ago.</dialogue>
<character>DANIEL (V.O.)</character>
<dialogue>It's like she expects you to spend all your free time with her and your friends get what's left over... as long as she approves...and you're not having a good time.</dialogue>
<character>MATTHEW</character>
<dialogue>I know, it's bullshit! She can't understand that you were my best friend like five years before I even met her. She's so frustrating sometimes. Ugh... I swear women will be the destruction of mankind.</dialogue>
<character>DANIEL (V.O.)</character>
<dialogue>Ha Ha, I hear yah. That's why I just keep six girls on the side, then just rotate them for each day of the week.</dialogue>
<character>MATTHEW</character>
<dialogue>What about the seventh day?</dialogue>
<character>DANIEL (V.O.)</character>
<dialogue>Even a pimp needs a day of rest!</dialogue>
<character>MATTHEW</character>
<dialogue>Yea ok, let's get serious. Well, let me call her and see what the deal is. I'll call you in a hot minute. I gotta eat first though.</dialogue>
<character>DANIEL (V.O.)</character>
<dialogue>Aight, late.</dialogue>
<character>MATTHEW</character>
<dialogue>Late.</dialogue>
<scene_description>Matthew Flips through a few channels before turning off the TV and getting up. He exits his room and heads downstairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CROSS'S HOME - DOWNSTAIRS - NIGHT</stage_direction>
<scene_description>Matthew descends the stairs looking towards the dining room. Already seated and the table are his mother DEBORAH, father THOMAS, and 16 year old sister DIANE.</scene_description>
<character>DEBORAH</character>
<parenthetical>(jokingly)</parenthetical>
<dialogue>So nice of you to grace us with your presence Matthew. Fix a plate and come sit down. We're going to have dinner as a family.</dialogue>
<scene_description>Matthew rolls his eyes, but grins slightly. He walks into the kitchen and begins fixing a plate with his back to his family.</scene_description>
<character>MATTHEW</character>
<dialogue>I don't have a lot of time mom, me and Daniel are supposed to meet up and talk about the apartment.</dialogue>
<character>DIANE (O.S.)</character>
<parenthetical>(Giggling)</parenthetical>
<dialogue>Bout time.</dialogue>
<scene_description>MATTHEW stares down at his food trying to think of a comeback. He lifts his head slowing as he notices an absolute silence. MATTHEW turns as the camera stays focused on him. His mouth drops in shock. His plate falls, shattering on the floor. The camera swings behind him to show what he sees. DEBORAH, THOMAS and DIANE are all floating several feet off the ground in the same spots they were eating moments earlier. Their heads are tilted back with an almost dumbfounded look frozen on their faces. Their arms and legs hang limp at their side. MATTHEW is frozen in place with is mouth open and a terrified look on his face. His families' skin has an eerie white glow to it that begins to intensify. Soon only white silhouettes can be seen. Suddenly their bodies disappear out of their clothing which fall to the ground landing on the table, chairs, and the floor. MATTHEW, looking absolutely horrified, staggers back, taking in short gasps of air. He slips on the fallen food and slams his head into the refrigerator door, cracking the panelling. He falls to the floor landing on his butt, his back rests against the refrigerator. MATTHEW wears a blank expression on his face as if the blow knocked his emotions right out of him. He slides sideways and falls to his side. CLOSEUP ON MATTHEWS FACE A tear rolls out of MATT'S eye and down his face. As MATT loses consciousness, we are left with Matt's point of view looking underneath the table where his families clothing lies. The screen goes black, the main credits roll to:</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW CROSS'S BEDROOM - DAY</stage_direction>
<scene_description>MATTHEW stands at his dresser cleaning a six shot revolver. There is a mirror on the wall above the dresser. MATTHEW watches himself while he cleans.</scene_description>
<character>MATTHEW (V.O.)</character>
<dialogue>Within a few days of the disappearances it seemed as if the entire world had gone crazy. Planes crashed, boats ran ashore, car pileups on every major highway. I'd say the insurance companies have their work cut out for them. It was estimated anywhere from 15 to 35 million people had vanished worldwide over night. Vanished without a trace. The majority of those taken were children. There were riots in the streets. Looting got so bad that eventually the police only responded if someone got seriously injured or killed. A few men tried to break into my dad's car last night. I fired off a few shots at them from the porch. I think I might have gotten one of them. No cops came this time. I'm sure they're busy. I wonder how long a million missing person</dialogue>
<dialogue>reports takes to sort through. I wonder when they'll get to my family.</dialogue>
<scene_description>As MATTHEW finishes talking he also finishes cleaning the gun. He loads the revolver, cocks the gun and put the barrel under his chin. He looks into the mirror and squeezes the trigger. The hammer clicks but nothing happens. He cocks the gun again and pulls the trigger. The gun does not fire. MATTHEW yells in frustration and takes a step back. He aims the gun at the mirror and pulls the trigger. The gun goes off shattering the glass. MATTHEW walks slowly over to his lounger and sits down. TIGHT SHOT OF MATTHEW MATTHEW looks at the gun, then the shattered mirror and back at the gun again. He cocks the gun again and puts it to his temple. He closes his eyes and breathes out of his nose three times as he counts to himself. On the third breathe he opens his eyes and puts the gun in his pocket. He walks down the stairs and out the front door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MATTHEW'S HOUSE - DAY</stage_direction>
<scene_description>Matthew sits down on his front steps and looks up into the clear blue sky then down to the overgrown lawn. Matt looks straight ahead of him. Across the street is a large apartment complex. It looks slightly run down. Matt faintly hears a muffled scream coming from one of the apartments.</scene_description>
<character>YOUNG WOMAN (O.S.)</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Somebody help me!</dialogue>
<scene_description>Matt stares at the three story apartment complex towards the second floor. He stands up and listens, but there's only silence. He turns back towards his house and starts to walk back inside. The camera looks over his shoulder while he's facing his house. A door quickly opens on one of the second floor apartments. A young woman gets halfway out the door, when two sets of hands reach out and grab her. They pull her back in. Matt pauses as he reaches for his doornob. He turns around and looks back at the apartments, but cannot see anyone. Right before he turns again a hand grabs the doorway and the woman manages to get her head outside the door. She looks directly at Matt.</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Please God help me!</dialogue>
<scene_description>The woman's head disappears back inside and the door slams shut. Looking like his adrenaline has just kick in, eyes wide, Matt takes out the revolver,and bolts across the street and up the first flight of stairs to the apartment's second level. He stops outside the closed door and pauses for a moment.</scene_description>
<character>MATTHEW</character>
<dialogue>What am I doin?</dialogue>
<scene_description>He hears another muffled scream and movement from inside the apartment. He kicks the door in and thrusts the revolver forward. Ahead of him he sees a vile looking middle aged man with his shirt off standing over a beautiful young woman, CALLISTA DAVENPORT, on a beat-up couch. CALLISTA looks half Middle Eastern half American. She has long dark hair and gorgeous eyes. The vile man has one hand tightly gripping her shirt and the other hand raised to strike her. The MAN quickly turns his head to look at the doorway. MATT cocks the gun.</scene_description>
<character>MATTHEW</character>
<dialogue>Don't.</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>As MATT steps into the room the MAN'S eyes dart to the other side of the door MATT just kicked in. Before MATT can turn to see what the MAN was looking at a second man, younger, but still like a dirty thug, rushes MATT and punches him in the face. MATT falls to the ground dropping the gun. The SECOND MAN gets on top of MATT and begins raining down punches on him. MATT is doing a semi-decent job at blocking. The first man standing over CALLISTA watches the fight and smiles. CALLISTA uses this opportunity to grab a nearby glass ashtray and smashes it with tremendous force into the mans face. He falls to the ground clutching his bloody face. CALLISTA gets up, kicks the man in the groin and stomps on his head. The man stops moving. CALLISTA rushes to where MATT and the SECOND MAN are fighting. She picks up the revolver. The SECOND MAN is still on top of MATT unaware of what has just happened to his friend. MATT'S POINT OF VIEW - ATTACKER The SECOND MAN has MATT by the throat with one hand and has the other raised to strike. Suddenly a portion of the SECOND MAN'S right shoulder erupts and little bits of skin and blood spray forward hitting Matt in the face as a bullet tears through and goes into the floor right next to Matt's head. CALLISTA'S POINT OF VIEW - ATTACKER CALLISTA removes the barrel of the gun from the entry point on the SECOND MAN'S right shoulder. He falls on top of Matthew. Callista stands shaking, looking down at the man. Suddenly he raises and turns grabbing towards Callista's waist. She pistol whips him upside his head. He falls off MATT onto the floor unconscious. Matt stares wide eyed at Callista from the floor. CALLISTA bends down and offers a trembling hand to MATT. Matt stands up and takes a look around the room.</scene_description>
<character>MATTHEW</character>
<dialogue>Come on, we gotta get out of here.</dialogue>
<character>CALLISTA</character>
<parenthetical>(in a daze)</parenthetical>
<dialogue>What?</dialogue>
<character>MATTHEW</character>
<dialogue>Let's go!</dialogue>
<scene_description>Matt leads the way outside and across the street and into his house. When they get inside, CALLISTA turns to Matt looking puzzled.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW CROSS'S LIVING ROOM</stage_direction>
<character>CALLISTA</character>
<dialogue>You just happened to be across the street with a loaded gun waiting to save me?</dialogue>
<character>MATTHEW</character>
<dialogue>Ugh.. Not exactly. I was just..cleaning my gun...then I walked outside and I heard you screaming.</dialogue>
<character>CALLISTA</character>
<dialogue>Lucky for me huh?</dialogue>
<character>MATTHEW</character>
<dialogue>Yeah, I suppose.</dialogue>
<scene_description>Matt looks down at the floor embarrassed. He walks into the living room and put the gun in his coffee table drawer, then walks into the bathroom to clean himself off. Callista looks at pictures on the wall. Matt Walks back in.</scene_description>
<character>MATTHEW</character>
<dialogue>So, anyway, my names Matt.</dialogue>
<character>CALLISTA</character>
<dialogue>Callista. Thanks for what you did back there Matt, I mean it. If you hadn't come over there I really might be dead right now.</dialogue>
<character>MATTHEW</character>
<dialogue>Maybe it wasn't your time.</dialogue>
<character>CALLISTA</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Maybe not. I think we should call the cops and let them know we're over here. Let them know what happened.</dialogue>
<character>MATTHEW</character>
<dialogue>It doesn't matter they won't show up...they never do anymore. Hey, I gotta make a call real quick then we can get out of here, ok?</dialogue>
<scene_description>MATTHEW picks up the phone and dials in a number. While the phone rings he looks over at CALLISTA.</scene_description>
<character>MATTHEW</character>
<dialogue>Make yourself at home.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOME OF DANIEL IRONS</stage_direction>
<scene_description>DANIEL sits in a dimly lit den at a cluttered desk immersed in research of some type. DANIEL is in his early 20's. He has dark hair and is clean shaven. He has a a small scar etched into the corner of his eyebrow. He has a tattoo of a cross on his left forearm. He's well dressed and has his hair gelled even though he has nowhere important to be. DANIEL just likes to look nice. On top of the desk is an expensive computer, an old bible, a small TV turned to a news station and stacks of newspapers. DANIELS leans back in his chair and looks over his shoulder and hollers to his mother NANCY.</scene_description>
<character>DANIEL</character>
<dialogue>MOM! Call Matt again. He's gotta be there.</dialogue>
<character>NANCY</character>
<dialogue>Daniel I'm worried about Matthew. Maybe you should just go over there. He doesn't need to be alone so soon after losing...</dialogue>
<scene_description>NANCY bursts into tears and walks out of the room to fetch the phone. DANIEL listens to the TV as he clicks at a link on the computer.</scene_description>
<character>TV REPORTER (O.S.)</character>
<dialogue>...has the secret service refusing to make an official statement at this time.</dialogue>
<character>DANIEL</character>
<parenthetical>(impersonating a SS agent)</parenthetical>
<dialogue>We seem to have lost the President along with a couple million of our citizens. Don't worry they'll turn up. Fucking morons.</dialogue>
<scene_description>DANIEL turns to watch the TV ON TV SCREEN</scene_description>
<character>TV REPORTER</character>
<dialogue>Current poles are still leaning strongly to terrorist involvement yet religious groups still maintain we are seeing biblical prophecy playing out as we speak. In the studio today we have terrorist expert and author of Terror Today, Tyrants Tomorrow, Dr. Gregory Manning. Dr. Manning, your thoughts on the disappearances?</dialogue>
<character>MANNING</character>
<dialogue>Thanks Erin. I, along with many of my respected colleagues believe that what we're dealing with is the actions of a Unified World Terrorist Organization. We need to forget everything we thought we knew about our countries supposed war on terror. The terrorists have brought the war to us in a way we didn't even know was possible.</dialogue>
<scene_description>NANCY walks back in the room, eyes still red, but looking hopeful.</scene_description>
<character>NANCY</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>It's Matthew.</dialogue>
<scene_description>DANIEL mutes the TV and grabs the phone.</scene_description>
<character>DANIEL</character>
<dialogue>Where the hell have you been? You have any damn idea how worried we've been?</dialogue>
<character>MATTHEW (V.O.)</character>
<dialogue>You're not going to believe what happened to me today.</dialogue>
<character>DANIEL</character>
<dialogue>You're right I'm not. When are you coming over? You're still eating dinner here tonight right?</dialogue>
<character>MATTHEW (V.O.)</character>
<dialogue>Yeah, I'm coming, but I have someone with me. I'll tell you the whole story when I get there. We're leaving now.</dialogue>
<character>DANIEL</character>
<dialogue>Alright good, hurry up. I have some things to show you. I think I'm starting to get an idea of what's going on.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW'S FATHER'S CAR - NIGHT</stage_direction>
<scene_description>Matt and Cal are pulling out of Matt's driveway, headed towards Daniel's house.</scene_description>
<character>MATTHEW</character>
<dialogue>Can I ask you something?</dialogue>
<character>CALLISTA</character>
<dialogue>Sure.</dialogue>
<character>MATTHEW</character>
<dialogue>What were you doing in that apartment anyway?</dialogue>
<scene_description>Callista grows silent and stares out the window.</scene_description>
<character>MATTHEW</character>
<dialogue>We just met in the craziest way possible and now I get the silent treatment? Not cool.</dialogue>
<scene_description>Callista sighs. She turns to face Matt.</scene_description>
<character>CALLISTA</character>
<dialogue>I was there to get pills.</dialogue>
<character>MATTHEW</character>
<dialogue>What kind of pills.</dialogue>
<character>CALLISTA</character>
<dialogue>Xanax, Vikatan, Percocet... Whatever.</dialogue>
<character>MATTHEW</character>
<dialogue>Look Callista, I don't blame you...</dialogue>
<character>CALLISTA</character>
<dialogue>Call me Cal.</dialogue>
<character>MATTHEW</character>
<parenthetical>(with a slight smile)</parenthetical>
<dialogue>Ok, Cal. I mean this shit is hard on everyone. Sometimes we need help dealing with pain and loss.</dialogue>
<character>CALLISTA</character>
<dialogue>Matt, I didn't lose anybody. I just like to take pills.</dialogue>
<character>MATTHEW</character>
<dialogue>Oh...well that's cool too I guess. You didn't lose anyone?</dialogue>
<character>CALLISTA</character>
<dialogue>All my family lives in Israel. I haven't spoken to them in years. We had a pretty rough parting. I moved here to go to school and make a better life for myself.</dialogue>
<scene_description>Callista grows silent again. Wanting to avoid an awkward silence Matt keeps the conversation going.</scene_description>
<character>MATTHEW</character>
<dialogue>So what was the deal with those guys today.</dialogue>
<character>CALLISTA</character>
<dialogue>It was the first time I had dealt with them. They were really messed up when I got there. I guess they weren't used to being in a room alone with a girl that had all her teeth.</dialogue>
<character>MATTHEW</character>
<dialogue>Ha ha yeah. And you weren't related to them so that had to be pretty confusing too.</dialogue>
<character>CALLISTA</character>
<dialogue>Hahaha exactly.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOME OF DANIEL IRONS - NIGHT</stage_direction>
<scene_description>Daniel sits on a couch by the door waiting for Matt. In addition to Daniel and his mother, there are several people all in their early to mid twenties, both male and female, walking around, eating, watching tv, etc. The doorbell rings. Daniel bolts up and answers the door.</scene_description>
<character>DANIEL</character>
<dialogue>Hey man you alright?</dialogue>
<character>MATTHEW</character>
<dialogue>Yeah, I'm ok.</dialogue>
<scene_description>Daniel pauses when he sees Callista</scene_description>
<character>DANIEL</character>
<dialogue>Uhh is this your guest?</dialogue>
<character>MATTHEW</character>
<dialogue>Yeah, this is Callista, Callista this is Daniel. Can we come in or what?</dialogue>
<character>DANIEL</character>
<parenthetical>(blushing)</parenthetical>
<dialogue>Yeah, come on.</dialogue>
<scene_description>Daniel leads them into the living room. Matt looks around the house at the different people.</scene_description>
<character>MATTHEW</character>
<dialogue>Daniel who are all these people?</dialogue>
<character>DANIEL</character>
<dialogue>Mom's been letting people that lost their parents come stay with us until they can get back on their feet. It's a little crowded but I think it's a good thing she's doing.</dialogue>
<scene_description>Daniel turns to Callista and smiles.</scene_description>
<character>DANIEL</character>
<dialogue>There should be some sleeping space left in the bathtub.</dialogue>
<character>CALLISTA</character>
<dialogue>I can't wait.</dialogue>
<character>DANIEL</character>
<dialogue>The shower alarm's a little annoying though. It doesn't matter if you hit snooze cause you're already wet.</dialogue>
<scene_description>Callista giggles. Nancy enters the living room. Her hair is tied back but partially fallen down. She's mixing something in a bowl while she talks on a phone held between her cheek and shoulder.</scene_description>
<character>NANCY</character>
<dialogue>Matty, it's good to see you. You stay as long as you need honey ok?</dialogue>
<character>MATTHEW</character>
<parenthetical>(blushing velvet)</parenthetical>
<dialogue>Thanks Nancy. By the way, I'm no longer 10.</dialogue>
<character>NANCY</character>
<dialogue>What's that Matty?</dialogue>
<character>MATTHEW</character>
<dialogue>Nothing Nancy thank you.</dialogue>
<scene_description>Nancy hurries back into the kitchen.</scene_description>
<character>CALLISTA</character>
<dialogue>Why does she call you Matty?</dialogue>
<character>MATTHEW</character>
<dialogue>When we were little, she used to call me Matty and Daniel Danny. Guess old habits die hard.</dialogue>
<scene_description>Daniel fights hard to hold back laughter.</scene_description>
<character>DANIEL</character>
<dialogue>Don't let him fool you. He specifically requests that she calls him that.</dialogue>
<scene_description>Callista giggle.</scene_description>
<character>CALLISTA</character>
<dialogue>Is that right?</dialogue>
<character>DANIEL</character>
<dialogue>It sure is.</dialogue>
<scene_description>Daniel leads them into his living room.</scene_description>
<character>DANIEL</character>
<dialogue>Ok, Matty, let's hear about your day.</dialogue>
<character>MATTHEW</character>
<parenthetical>(under breath)</parenthetical>
<dialogue>Douchebag.</dialogue>
<scene_description>Matt and Cal sit on a couch against the wall, while Dan sits in a sofa couch across from them. As they recount their story several of the new guests come and sit down wherever they can find space and listen. There are two brothers NICK and ADAM SYKES. A young woman, SARAH MILLER and another young man, RYAN TURNER. As Matt finishes his story he turns to Daniel.</scene_description>
<character>MATTHEW</character>
<dialogue>...So here we are, ready to hear what you think is going on.</dialogue>
<scene_description>Daniel slowly nods his head while biting his lip. The newfound company has made him slightly reluctant to speak but he continues anyway.</scene_description>
<character>DANIEL</character>
<parenthetical>(addressing everyone)</parenthetical>
<dialogue>I've been doing a lot of research and digging and from what I've gathered the disappearances are not terrorist attacks or alien abduction. The missing people were taken in the rapture. God did this and we are all the people left behind.</dialogue>
<scene_description>Immediately everyone begins talking at once some disagreeing some supporting.</scene_description>
<character>RYAN</character>
<dialogue>Yeah, bullshit.</dialogue>
<character>SARAH</character>
<dialogue>It's not bullshit look it up in the Bible.</dialogue>
<character>RYAN</character>
<dialogue>Yeah, just go to biblebullshit.com. It's all there.</dialogue>
<character>SARAH</character>
<dialogue>You're an ass.</dialogue>
<character>DANIEL</character>
<dialogue>Whoa geez. Everybody slow it down. Listen, the UN leaders are calling for global peace and cooperation.</dialogue>
<character>MATTHEW</character>
<dialogue>So what?</dialogue>
<character>DANIEL</character>
<dialogue>Think about it. Global unity...global currency...global religion...open your eyes this is the Tribulation. It's all in the Bible</dialogue>
<character>CALLISTA</character>
<dialogue>They haven't asked for a global currency or religion.</dialogue>
<character>DANIEL</character>
<dialogue>No, but they will.</dialogue>
<character>MATTHEW</character>
<dialogue>I think it's terrorists. I was listening to the news earlier today. They're talking about a world terrorist organization that could have been in existence for centuries.</dialogue>
<character>DANIEL</character>
<dialogue>Man, fuck that!</dialogue>
<character>MATTHEW</character>
<dialogue>Daniel, if this is the tribulation then why is your mom still here? Why are there a lot of people here that shouldn't be?</dialogue>
<character>DANIEL</character>
<dialogue>I don't know. Maybe she should be. Maybe all those left behind should have been. The only relationship with God I can criticize is my own.</dialogue>
<character>CALLISTA</character>
<dialogue>What if some people were left behind to help; to show people the way. I mean there were a lot of religious figures left behind.</dialogue>
<character>RYAN</character>
<dialogue>They definitely deserved to stay.</dialogue>
<character>SARAH</character>
<parenthetical>(rudely)</parenthetical>
<dialogue>So what do you think happened then Ryan?</dialogue>
<character>RYAN</character>
<dialogue>I don't know. I guess either terrorists... or aliens...something I don't know.</dialogue>
<scene_description>Sarah rolls her eyes.</scene_description>
<character>SARAH</character>
<dialogue>You just want it to be aliens so you can get an anal probe.</dialogue>
<scene_description>Several people chuckle.</scene_description>
<character>RYAN</character>
<dialogue>You'll have to help me ease it in though. I know that's your specialty and all. Do you have any lube left or have you used it all?</dialogue>
<character>DANIEL</character>
<dialogue>Ok children let's try to get along. I think we can at least agree on something. Ryan, you're kind of an asshole.</dialogue>
<character>RYAN</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Fair enough.</dialogue>
<character>DANIEL</character>
<dialogue>Also, we could all use some rest. Everybody just help yourself to a sleeping bag in the hallway closet. If you can't find one I'm sure my mom would be happy to sow one for you.</dialogue>
<scene_description>Everyone makes preparations to sleep, laying out bags on the floor, brushing teeth, etc. Matt picks a spot on a couch by a window. The moon is barely visible behind thick clouds. Cal climbs into a sleeping back on the floor beside the couch.</scene_description>
<character>MATTHEW</character>
<dialogue>Cal, you sure you don't want the couch?</dialogue>
<character>CALLISTA</character>
<dialogue>No, I'm fine. When the sun starts shining through early in the morning you'll wish you were down here with me.</dialogue>
<character>MATTHEW</character>
<dialogue>Hmmm.</dialogue>
<character>CALLISTA</character>
<dialogue>What?</dialogue>
<character>MATTHEW</character>
<dialogue>I was just imaging. Haha.</dialogue>
<character>CALLISTA</character>
<dialogue>You know what I meant. Goodnite Matty!</dialogue>
<scene_description>Matt pauses for a second. He tries to respond with a sarcastic tone, but it ends up coming out sweetly.</scene_description>
<character>MATTHEW</character>
<dialogue>Goodnight Cally.</dialogue>
<scene_description>Matt stares at the sealing. Neither sees the other blushing.</scene_description>
<character>CALLISTA</character>
<dialogue>Goodnight.</dialogue>
<scene_description>Matt's eyes soon grow heavy and close. CUT TO: SUPERIMPOSED MANY MILES AWAY</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS OF AN EXPENSIVE TWO STORY HOME - NIGHT</stage_direction>
<scene_description>An older man in his 60's lays in a recliner in his den watching the weather channel. The man has grey hair but is still in great shape. The man watches the screen, but doesn't pay much attention.</scene_description>
<character>WEATHERMAN (O.S.)</character>
<dialogue>...series Of earthquakes have many Carolinians scared and confused. The recent quakes have been part of what appears to be a statewide trend that has seismologists scratching their heads. So far the damage has been minimal but...</dialogue>
<scene_description>The old man rises from his chair. Hanging from the wall are many old looking photos of people shaking hands as well as dusty looking awards. Tucked away in the corner of the den is a large desk littered with dusty looking books and blueprints. Above the desk is an old NASA poster. The man rubs his belly and grunts. He looks towards his kitchen and begins the shuffle towards it. KITCHEN In the kitchen is a kind looking older woman who is the man's wife. She's misting several hanging plants with a spray bottle while humming softly.</scene_description>
<character>OLD MAN</character>
<dialogue>Think I'll have a sandwich</dialogue>
<scene_description>The woman smiles and continues to hum and tend to the plants. The old man makes his way to the fridge. The camera angle is a side view of the man walking up to the refrigerator. The fridge door swings open towards the screen. The man has a sudden surprised look on his face. The look quickly changes to happiness as the man reaches in the fridge and pulls out some delicious looking turkey meat.</scene_description>
<character>OLD MAN</character>
<dialogue>I see you got the good stuff this time.</dialogue>
<character>OLD WOMAN</character>
<dialogue>You made such a fuss last time, how could I forget?</dialogue>
<scene_description>The man continues to smile as he pulls out a head of lettuce, fresh tomato and condiments. He reaches on the top of the fridge and pulls down some wheat bread. He lays out all the items in a neat row on the counter. He reaches toward a knife rack and pulls out a long, very sharp looking knife. He begins to slice the tomato and shred the lettuce, working quickly and almost without attention. There are several instances where it seems he will cut himself but he does not. He finishes putting the sandwich together and closes his eyes as he puts the sandwich to his lips.</scene_description>
<character>OLD WOMAN (O.S.) (CONT'D) \*</character>
<dialogue>AHHHHHHHHHHHH!!!!!!!</dialogue>
<scene_description>The man's eyes bolt open and he turns to see what the cause of the scream is. He looks to his wife who points towards the entreway leading into the living room.</scene_description>
<character>OLD WOMAN</character>
<dialogue>Snake!!!</dialogue>
<scene_description>The man looks at the floor just in time to see a large snake's tail moving out of view into the next room. The camera stays in a 3rd person view behind the old man. The man picks up the knife in his right hand and darts into the living room searching wildly for the large snake. He looks towards the staircase against the wall. He catches a brief glimpse of the tail moving into the upstairs floor.</scene_description>
<character>OLD MAN</character>
<dialogue>Jesus, he's fast!</dialogue>
<character>OLD WOMAN (O.S.)</character>
<dialogue>I'm calling animal control!</dialogue>
<character>OLD MAN</character>
<dialogue>Don't worry, I got em.</dialogue>
<scene_description>The old man runs up the stairs, taking them two at a time. As he reaches the top he looks left then right, seeing the tail disappear into his bedroom. The door is slightly open and the lights are off.</scene_description>
<character>OLD MAN</character>
<dialogue>Son of a bitch!</dialogue>
<scene_description>The man charges forward, knocking the door open with his right shoulder and flicking the light on with his left hand. As the man flicks the light on, the bulb blows lighting the room up momentarily with bright light. In that brief flash the man sees the snake's tail disappear into his darkened closet on the opposite side of the room. The man doesn't slow down for a minute as he charges towards the closet. As soon as the man enters the room the camera stays fixed right outside in the hallway looking in. When the man reaches the closet he flicks the light on which blows out immediately as well. In the brief moment of light we see the man scream and stumble backwards. With the light from the outside hall we see the man get suddenly jerked forward into the dark closet. His legs hang out into the dimly lit room. They thrash for a moment until we hear a soft crunch and snap come from inside the closet. The man's legs go limp. The camera cuts to the bottom of the stares looking at the old man's wife. She stands at the bottom of the stairs looking horrified and frightened. She's holding the phone at her side.</scene_description>
<character>OPERATOR (V.O.)</character>
<dialogue>Maam...maam, can you describe the snake for me?</dialogue>
<scene_description>The camera remains on the woman as she looks up the stairs. She lets out a terrifying scream and drops the phone. She turns and runs for the front door. CUT TO: OUTSIDE THE FRONT DOOR - NIGHT The downstairs lights are on but the curtains are drawn. The woman's silhouette can be seen running toward the front door. Her screams can be heard from out front. The handle turns and the door opens slightly outward when it suddenly slams shut and the woman's silhouette is ripped out of view. The camera begins to pan back from the house as the woman's screams are abruptly stopped. CUT TO: DANIELS HOUSE - MORNING Matt wakes up to intense sunlight shining into his face.</scene_description>
<character>MATTHEW</character>
<dialogue>Ughh...damn you Callista.</dialogue>
<scene_description>Matt buries his face into his pillow. He can hear voices and laughter coming from the kitchen. Matt takes the pillow off his face and looks around the living room. There are a few people still asleep on the floor. Matt groggily gets up and slowly makes his way towards the kitchen. Nick and Ryan are both asleep on the floor between Matt and the kitchen. Matt does a quick hop over Nick but lands on the corner of his sleeping bag and slips then stumbles, stepping on Ryan's face.</scene_description>
<character>MATTHEW</character>
<dialogue>Oops...sorry man.</dialogue>
<scene_description>Ryan grunts and makes a few whiny noises in a very sleepy tone then rolls over and falls back asleep. As Matt enters the kitchen he sees Nancy cooking along with a young boy just old enough to see over the counter helping. His name is Timothy. He's around 12 years old. He's skinny and has messy dark hair and freckles on his face and arms. Cal, Sarah and Daniel are sitting at the kitchen table talking and laughing. The girls laugh loudly as Daniel finishes telling a funny story. As Matt enters the kitchen he gets a look from the girls making it seem he was somehow involved.</scene_description>
<character>DANIEL</character>
<dialogue>How'd you sleep there big guy?</dialogue>
<character>MATTHEW</character>
<dialogue>Pretty good there little guy. I had a fantastic sunshine wake-up call.</dialogue>
<scene_description>Matt looks at Cal and smiles. She gives him the "I told you so" look. He gives her the "yeah, yeah" look. Daniel gets up and walks over to Matt.</scene_description>
<character>DANIEL</character>
<parenthetical>(talking quietly)</parenthetical>
<dialogue>I never got to finish talking about my disappearance theories last night. After we eat, meet me on the back porch. I want to show you the research I've been collecting.</dialogue>
<character>MATTHEW</character>
<dialogue>Ok.</dialogue>
<scene_description>Matt sits down on a bench that has been pulled up to the table to make room for the new company. Daniel runs and hops on the bench sliding down into Matt and almost knocking Matt over. Nancy swings around.</scene_description>
<character>NANCY</character>
<parenthetical>(in a stern tone)</parenthetical>
<dialogue>Boys!</dialogue>
<scene_description>Nancy's tone sounds like one she used on a regular basis when Matt and Daniel were younger.</scene_description>
<character>NANCY</character>
<dialogue>Sorry Matthew, you two aren't boys anymore.</dialogue>
<character>DANIEL</character>
<dialogue>Just at heart mom!</dialogue>
<character>MATTHEW</character>
<dialogue>It's ok Nancy, I miss the old times... I miss that cooking too, what's going on with those eggs over there.</dialogue>
<character>NANCY</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>You mean these scrambled cheese eggs with toast covered in butter and jelly? Ohh I don't think you'd enjoy these at all.</dialogue>
<character>TIMOTHY</character>
<dialogue>I helped!</dialogue>
<scene_description>Daniel stares down at his food, making a grossed out face.</scene_description>
<character>DANIEL</character>
<dialogue>Whoa geez. What part did you help make?</dialogue>
<scene_description>Timothy glares at Daniel.</scene_description>
<character>TIMOTHY</character>
<dialogue>I added some floor spice to your eggs.</dialogue>
<character>DANIEL</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Floor spice, huh? I like your style.</dialogue>
<scene_description>Everyone in the kitchen laughs. They finish up their breakfast and the girls begin to help with dishes as Matt and Daniel make their way to the back porch. Behind Daniels house is a beautiful wooded area. Matt sits down on the steps and takes in some deep breaths through his nose. Daniel sits beside Matt and pulls some folded pieces of paper out of his pocket. The pieces of paper are covered in notes and Bible verses. Daniel gets right to business.</scene_description>
<character>DANIEL</character>
<dialogue>Alright first of all in second Timothy, chapter 3, verse 1-7 it says "But realize this, that in the last days difficult times will come. For men will be lovers of self, lovers of money, disobedient to their parents, ungrateful, unholy, unforgiving, conceited, lovers of pleasure rather than lovers of God; always learning and never able to come to the knowledge of the truth."</dialogue>
<character>MATTHEW</character>
<dialogue>That first part sounds like every teenager in the world.</dialogue>
<character>DANIEL</character>
<parenthetical>(ignoring Matthew's sarcasm)</parenthetical>
<dialogue>Well, listen to this. In Matthew chapter 24, verse 3, Jesus's disciples ask him what the signs of his coming and the end of times will be. So in verse five through eight Jesus says there will be wars and rumors of wars, nations and kingdoms will rise against each other and there will be famines, pestilences and earthquakes in various places. So I mean all that war shit has been happening, especially in Iraq and the terrorist attacks in the US and overseas. And I'm sure you've seen everything about the earthquakes on the news. But it says these are just the "beginning of sorrows."</dialogue>
<character>MATTHEW</character>
<dialogue>What about the disappearances?</dialogue>
<character>DANIEL</character>
<dialogue>Oh, shit, yeah hold on.</dialogue>
<scene_description>Daniel flips back to the beginning of his notes</scene_description>
<character>DANIEL</character>
<dialogue>Ok, in first Thessalonians, chapters 16 through 17 it says "For the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God: and the dead in Christ shall rise first: Then we which are alive and remain shall be caught up together with them in the clouds, to meet the Lord in the air: and so shall we ever be with the Lord."</dialogue>
<character>MATTHEW</character>
<dialogue>I don't know man, this is all so crazy. I feel like I just need to see something more before I can buy into this...like Angels on TV or something.</dialogue>
<character>DANIEL</character>
<dialogue>Well, I'll tell you what, there's a lot of crazy shit that goes down during the tribulation, so let's just wait and see what happens. The first sign of end of the world and I'll explain everything, cool?</dialogue>
<character>MATTHEW</character>
<dialogue>I can handle that.</dialogue>
<scene_description>Callista and Sarah can be heard from inside. Matt looks over his shoulder towards the girls. He get's a sad, thoughtful look on his face.</scene_description>
<character>DANIEL</character>
<dialogue>You miss her don't you?</dialogue>
<character>MATTHEW</character>
<dialogue>Who? My mom?</dialogue>
<character>DANIEL</character>
<dialogue>No, Natalee. She would've been gone before you could have called. It's not your fault.</dialogue>
<character>MATTHEW</character>
<dialogue>I just wish I could have told her I loved her one last time. I wish I could have told all of them.</dialogue>
<scene_description>Daniel hugs Matt around the shoulder.</scene_description>
<character>DANIEL</character>
<dialogue>Come on, don't stress so much about it. I'm sure the answers will come soon.</dialogue>
<scene_description>Matt smiles weakly as the two get up and go back inside. The screen fades to: 3 NIGHTS LATER Matt lays down on the couch to go to bed. Everyone is already asleep in their usual spots on the floor. Matt closes his eyes and rolls over to face into the couch. He soon drifts off to sleep. FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>MATT'S DREAM SEQUENCE - INT. DANIEL'S HOUSE - NIGHT</stage_direction>
<scene_description>Matt wakes suddenly and looks around the room. To his horror everyone is gone. All that remains is their clothes, in the exact spot where they went to sleep. Matt jumps up from the couch and begins to look around frantically. He runs his hands harshly through his hair.</scene_description>
<character>MATTHEW</character>
<dialogue>No...please.</dialogue>
<scene_description>Matt's attention is drawn towards the front door. The walls seem to vibrate slowly and rhythmically while the door stays still. The front door is outlined in an intense white light. Matt slowly creeps towards the door, his breathing is shallow and his body shakes slightly. He places a hand on the door and inches towards the peephole. He closes his left eye tightly and puts his right eye to the hole. It's daytime outside. There's nothing to be seen out of the hole but a calm looking orchard and a single magnificent looking tree in the center. Matt breathes a sigh of relief. He turns around and suddenly is face to face with a deadly viper snake, it's fangs bared. Matt yells and stumbles back into the door. MATT'S POV - THE SNAKE Callista is scantily dressed with the viper wrapped up around her waist and right arm. The snake almost looks like and extension of her arm. Both Callista's finger and the snake's head point at the door towards the outside.</scene_description>
<character>CALLISTA</character>
<parenthetical>(in an eerie snakelike voice)</parenthetical>
<dialogue>Look again.</dialogue>
<scene_description>Matt turns quickly and looks out the peephole again. His mom, dad and sister are floating in a circle around the tree, bodies limp, skin glowing a dim white. Matt jerks the door open and rushes outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ORCHARD - DAY</stage_direction>
<scene_description>Daniel's house stands out in the middle of an apple orchard. The orchard is deserted except for Matt and the single giant apple tree. Callista descends the front porch steps gracefully. When she gets to the last step she bends down and puts her arm to the ground. The snakes slithers off and moves towards Matt and the tree. The branches of the tree are too far up for Matt to reach except for a single branch. A large apple weighs the branch down to where its only 5 or 6 feet off the ground. Matt looks over his shoulder at Callista. She nods towards the apple. The snake begins to slide up the trunk into a now visible large hole in the tree. The hole is eye level with Matt. He has a very curious look on his face as the snake disappears inside the tree trunk. He pulls the apple down and the branch shoots into the air like an enormous weight has just been freed from it. Matt holds the apple to his mouth but does not bite into it yet. He begins to walk towards the hole in the tree. He stops several inches in front of the opening. It's pitch black inside. The moment he sinks his teeth into the apple a gruesome face shoots out of the hole almost touching noses with Matt. Matt cries out and jumps back. The face looks like a human skull covered in snake skin, with a enlarged frontal lobe and massive black eyes. We only see the face for a moment as Matt quickly spins away towards the house. As he turns a large man's hand grips his shoulder and the blade of a sword is plunged into his chest. Matt cries out in shock and pain. He looks up to see the face of a breathtaking angel. The angel looks handsome and fierce. The angel is dressed in shimmering armor and has outstretched dazzling white wings. The angel puts his cheek against Matt's.</scene_description>
<character>DREAM ANGEL</character>
<dialogue>Be watchful, and strengthen the things which remain, that are ready to die: for I have not found thy works perfect before God.</dialogue>
<scene_description>Matthew stares ahead, mouth open, unable the move. The angel grips Matt's shoulder tightly and extracts the blade as swiftly as he bore it moments before. TIGHT SHOT OF MATT'S FACE Matt's eyes burst open and his mouth drops. The camera zooms on his eyes. A full moon is reflected in his pupils. As his retinas contract they form rings around the image of the moon inside his eyes. CUT TO SHOT OF NIGHT SKY A vibrant full moon can be seen with a massive cloud ring around it. As the camera pans back Matt is now sitting upright on the couch but still holds the same face from the dream. Sweat is pouring down the sides of his face. His shirt is soaked. He pants heavily, trying to catch his breath. He looks around to find everyone still sleeping soundly. He collapses back onto the couch.</scene_description>
<character>MATTHEW</character>
<parenthetical>(still panting)</parenthetical>
<dialogue>Holy shit!</dialogue>
<scene_description>The screen begins to fade</scene_description>
<character>MATTHEW (V.O.)</character>
<dialogue>Oh my God.</dialogue>
<scene_description>The screen begins to fade out just becoming black, when it suddenly cuts back to an overhead shot of Matt asleep on the couch. It's morning and he's being shaken awake by Daniel.</scene_description>
<character>DANIEL</character>
<parenthetical>(excited and a little scared)</parenthetical>
<dialogue>Come on! Outside! It's happening!</dialogue>
<scene_description>Daniel practically drags Matt off the couch and takes him outside. OUTSIDE DANIELS HOUSE - DAY The streets are filled with people looking up. CUT TO: SHOT OF THE SKY A brilliant meteor shower can be seen even though it's daytime. Tiny little fire trails shine all over the sky. The color of the sky seems slightly off. The camera pans over to the sun revealing the beginning of a solar eclipse. Sarah, Nick and Adam are in the middle of the yard. Sarah looks over her shoulder at Matt and Daniel.</scene_description>
<character>SARAH</character>
<dialogue>Isn't this amazing?</dialogue>
<scene_description>Ryan, Callista, Nancy, Timothy and the rest of the house guests walk around from the back of the house. Sarah looks at Ryan.</scene_description>
<character>SARAH</character>
<dialogue>Terrorists my ass.</dialogue>
<scene_description>Ryan smirks and gives her the "up yours" look. Nancy pops him upside the head. Matt stares up into the sky.</scene_description>
<character>MATTHEW</character>
<dialogue>This is amazing. How long has this been going on?</dialogue>
<character>DANIEL</character>
<dialogue>It started about 45 minutes ago.</dialogue>
<character>MATTHEW</character>
<dialogue>And you're just now waking me up? Thanks buddy.</dialogue>
<character>DANIEL</character>
<dialogue>Sorry there guy. Mom saw it first, then everyone just kind of jumped up and came outside. Better late than never right?</dialogue>
<scene_description>Matt continues to watch the sky.</scene_description>
<character>MATTHEW</character>
<parenthetical>(absentmindedly)</parenthetical>
<dialogue>Yeah I guess.</dialogue>
<scene_description>Daniel turns to face Matthew. He puts one hand on his shoulder and leans in close. An image flashes of the angel from Matt's dream putting his hand on his shoulder and leaning in close to speak. Matt shudders and steps back.</scene_description>
<character>DANIEL</character>
<dialogue>What? Don't get any ideas there stud, I just want to tell you something...shit.</dialogue>
<character>MATTHEW</character>
<dialogue>Sorry go ahead.</dialogue>
<character>DANIEL</character>
<dialogue>I think some crazy stuff is about to start happening. Right before I woke you up this morning I checked the news. The meteor showing is happening everywhere, all over the world...at the same time. Half way through the report the satellite feed cut out, so I turned to another station. They lost their satellite feed too. Then the TV satellite cut out altogether. That got me thinking so I checked my satellite radio and got nick to try to get online with his wireless laptop.</dialogue>
<character>MATTHEW</character>
<dialogue>And?</dialogue>
<character>DANIEL</character>
<dialogue>None of that shit works. But the house phone still works. I think things running through cable lines are all working for now. Just the satellites are a big negative.</dialogue>
<character>MATTHEW</character>
<dialogue>You did all that before waking me up? Dickhead.</dialogue>
<character>DANIEL</character>
<dialogue>It's your fuckin' fault for not waking up. That doesn't matter anyway. You're seeing it now aren't you? Before the disappearances there was news about the signing of a treaty between Israel and the Egyptians and</dialogue>
<dialogue>Syrians. It says in the bible that after the rapture, Israel will sign a treaty with her enemies. If that treaty was signed, pretty soon the Antichrist is going to come to power.</dialogue>
<character>MATTHEW</character>
<dialogue>And then?</dialogue>
<character>DANIEL</character>
<dialogue>We're all fucked...oh yeah and one more thing...</dialogue>
<scene_description>A massive earthquake starts. Glass everywhere shatters. Everyone falls to the ground. People are screaming and shouting. Loud thunder begin to sound. Matt looks up to see thick clouds everywhere in the sky. The thunder gets so loud many people have to hold their ears. The earthquake abruptly stops.</scene_description>
<character>CALLISTA</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>I hear the thunder, but where's the ligh...?</dialogue>
<scene_description>A single massive lightning bolt strikes a tall oak tree about 30 yards away from Daniel's house. The tree splits into two halves which fall to the ground, burnt and smoking. There's a brief pause where nobody says anything, they all just stare at the tree. Suddenly another bolt fires from the sky striking the exact same spot. Several people cry out. The second bolt is intensely bright and stays visible for several seconds creating a semi-blinding effect. The camera cuts to Matt's first person view. A blurry figure is standing right between the two halves of the tree where the lightning just struck. His vision slowly comes into focus, until things are finally clear. The figure is the angel from Matt's dream. He's wearing engraved angelic armor and has long golden hair. Two large white wings spread out from behind his back. Nancy and Sarah both faint. Daniel falls to his knees.</scene_description>
<character>MATTHEW</character>
<dialogue>This can't be happening.</dialogue>
<scene_description>The angel begins to speak. His voice can be heard clearly by everyone regardless of their distance from him.</scene_description>
<character>MICHAEL</character>
<dialogue>I am Michael. You both know me, and you know whence I am: and I am not come of myself, but he that sent me is true, whom you know not. But I know him for I am from him, and he has sent me.</dialogue>
<scene_description>Both Matthew and Daniel have dumbfounded looks on their faces.</scene_description>
<character>MICHAEL</character>
<dialogue>Nothing is secret that will not be revealed, nor anything hidden that will not be known and come to light. Therefore take heed how you hear. For whoever hears, more will be given, and whoever does not, even what he seems to have will be taken from him.</dialogue>
<scene_description>Thunder booms as a third lightning bolt strikes right where the angel stands. In a flash he is gone. The crowd stares silently, jaws dropped. FADE TO: SUPERIMPOSED - LATER THAT NIGHT</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIELS HOUSE - NIGHT</stage_direction>
<scene_description>TV SCREEN</scene_description>
<character>TV REPORTER</character>
<dialogue>An official state of emergency has been declared by the Vice President minutes ago. He's expected to...Ok, I'm being told the Vice President is preparing to speak. We now go live to the White House.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OVAL OFFICE</stage_direction>
<character>VICE PRESIDENT</character>
<dialogue>My fellow Americans. As many of you are already aware, a state of emergency has been declared. Many of us have had to deal with the recent tragic loss of our loved one, including this administration's President. In addition we have experienced mass hallucinations and the disruption of all our satellite technology. The events can all be directly linked to terrorist activity. A Unified World Terrorist Organization does exist, and we must band together not only in the</dialogue>
<scene_description>United States, but all over the world if we hope to make it through these dark times. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S HOUSE - NIGHT</stage_direction>
<scene_description>Everyone is huddled around the TV, hanging onto every word.</scene_description>
<character>DANIEL</character>
<dialogue>This is unbelievable horsesh...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OVAL OFFICE</stage_direction>
<character>VICE PRESIDENT</character>
<dialogue>The first step is unification. I have agreed to give my full cooperation to the United Nations. Some immediate changes can be expected. One of the hardest challenges we've faced in the past is cutting the massive funds these terrorist groups has been receiving. There is a man within the UN, who I cannot name at this time, who has found a solution to this financial dilemma. A single world currency. This currency will be known as the United Nations Mark. It will be a completely digital currency only accepted by countries within the UN. The terrorist's hard currency will become useless and any digital funds they currently possess will devalue so much, it will be virtually worthless. In addition, all media outlets will now operate under the jurisdiction of the UN. We will not have terrorists using our satellites, news, or the internet to their advantage.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S HOUSE</stage_direction>
<character>MATTHEW AND DANIEL</character>
<parenthetical>(simultaneously)</parenthetical>
<dialogue>Oh my God.</dialogue>
<character>DANIEL</character>
<dialogue>I think I'm gonna be sick, seriously.</dialogue>
<scene_description>Daniel jumps up and rushes to the bathroom. Everyone else continues to watch the TV.</scene_description>
<character>RYAN</character>
<dialogue>Can't the damn terrorists just accept the mark?</dialogue>
<scene_description>ON SCREEN</scene_description>
<character>VICE PRESIDENT</character>
<dialogue>There is much work to be done. I know a lot is not clear right now, but over the next several days further details and instructions will be given. We must be vigilante. God bless you all. Goodnight.</dialogue>
<scene_description>There is a long silence in the living room.</scene_description>
<character>CALLISTA</character>
<dialogue>Mass hallucinations? He calls angel sightings mass hallucinations? Unbelievable.</dialogue>
<scene_description>Daniel can be heard mumbling from the bathroom.</scene_description>
<character>DANIEL (O.S.)</character>
<dialogue>UN Mark? Mark? Mark of the beast? Mark of the...666..hmmm..no..shit..</dialogue>
<scene_description>Daniel sticks his out into the hall. He looks at everyone.</scene_description>
<character>DANIEL</character>
<dialogue>I told you this would happen you sons of bitches.</dialogue>
<character>NANCY</character>
<dialogue>Daniel!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OVAL OFFICE</stage_direction>
<scene_description>The vice president sits at the presidential desk looking down while he unloosens his tie. He looks up towards the doorway.</scene_description>
<character>VICE PRESIDENT</character>
<dialogue>How was that?</dialogue>
<scene_description>The camera cuts to Sebastian Jareb, a very handsome and devilish looking man in the doorway. His eyes have an unnatural brightness to them. His hair and skin are both dark. He has a very powerful presence to him. He is the newly appointed leader of the U.N.</scene_description>
<character>SEBASTIAN</character>
<dialogue>You did fine Allen. You are doing exactly what must be done to ensure the safety and well being of the American people. I'm confident when this is all over, you will be remembered as one of the greatest presidents in your American history. I am very proud to induct you as the tenth member of the UN world security council. But I fear there is still much work to be done and hardships to endure before we can see the end of these hard times. There is constant resistance to our cause.</dialogue>
<character>VICE PRESIDENT</character>
<dialogue>Like those two in Israel?</dialogue>
<character>SEBASTIAN</character>
<dialogue>Yes. If we are to move forward, people like that must be dealt with swiftly and without hesitation.</dialogue>
<character>VICE PRESIDENT</character>
<dialogue>So what are you going to do?</dialogue>
<character>SEBASTIAN</character>
<dialogue>That problem is being handled as we speak.</dialogue>
<scene_description>FADE TO: SUPERIMPOSED SOMEWHERE IN ISRAEL</scene_description>
</scene>
<scene>
<stage_direction>INT. HASHAN'S HOME - DAY</stage_direction>
<scene_description>Hashan, a middle eastern looking man in his mid-50's, walks hurriedly down the hallway of his home towards the front door. He is wearing a djellaba and has a prayer matt tucked under his arm. He hurries past some photos on the wall. The camera zooms in on the first photo. The picture shows a family portrait of a beautiful American woman, a younger looking Hashan, a teenage boy and two cute little girls. The camera begins to pan to the right, revealing the other pictures one at a time. The next photo shows Hashan throwing a baseball with the teenage boy. The next picture shows the two little girls wearing excessive makeup and singing into hair brushes. The camera stops on the fourth picture. It shows Hashan sitting on the couch with a younger looking Callista. Hashan is Callista's father. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HASHAN'S HOME - DAY</stage_direction>
<scene_description>Hashan exits the front door. There are thousands of people in the streets, bowed down in prayer. The camera stays focused on Hashan, not showing any of the skyline. Hashan walks forward several feet then unravels his prayer matt and gets down on his knees. He puts his face to the ground and stretches out his arms in front of him. A chant sounds throughout the masses. They all raise up in unison. The camera stays focused on Hashan's hands as they raise into the air. The sky becomes visible in the background then comes into focus. Thousands of tiny meteorites blaze through the sky. All the hands go down simultaneously while the camera stays focused on the sky. The camera begins to focus closer on the meteorites. It moves to one in particular. The meteorite begins to break up as it enters the atmosphere. It's reduced to the size of a softball when it stops breaking up. The camera begins to swing around the meteorite so that it's facing the surface below. The camera locks on a 3rd person view behind the meteorite as is plummets to the ground. Below a massive crowd can be seen formed around a circle of bare earth, 40 feet wide. In the center of the circle are two raggedly dressed men. The men are named Elikai and Uriah. They look dirty and underfed. As the meteorite speeds closer to the crowd, Elikai can be seen raising an arm. A third man can be seen just inside the circle, holding a large knife. The meteorite gets closer and closer until finally Elikai lowers his hand just as the meteorite slams into the back of the man holding the knife, killing him instantly. The camera cuts to Elikai and Uriah's POV. A fourth man runs forward holding a handgun. Uriah raises his hand as the attacker pulls the trigger. The hammer clicks but the gun does not fire. Uriah lowers his hand as a tennis ball- sized meteorite slams into the attackers head. He falls dead next to the other attacker. Several people in the crowd fall to their knees and begin to pray.</scene_description>
<character>ELIKAI</character>
<parenthetical>(loud booming voice)</parenthetical>
<dialogue>Let all who may hear listen to these things that will come to pass.</dialogue>
<scene_description>Elikai's voice can be heard for many miles. As he continues to speak many others fall to their knees as well.</scene_description>
<character>URIAH</character>
<parenthetical>(loud booming voice)</parenthetical>
<dialogue>The great deceiver will come to power and he will deceive many He will bring with him the mark, which no man should dare take!</dialogue>
<character>ELIKAI</character>
<dialogue>Repent!</dialogue>
<character>URIAH</character>
<dialogue>Repent. For soon you will witness the abomination of desolation!</dialogue>
<character>ELIKAI</character>
<dialogue>Then there shall be great tribulation, such as was not since the beginning of the world to this time, no, nor shall ever be again!</dialogue>
<character>URIAH</character>
<dialogue>There shall arise false Christs, and false prophets, and they will show great signs and wonders, and if possible, they will deceive even the very elect.</dialogue>
<character>ELIKAI</character>
<dialogue>Behold, I have told you before.</dialogue>
<character>URIAH</character>
<dialogue>Amen.</dialogue>
<scene_description>Cut to Callista's father.</scene_description>
<character>HASHAN</character>
<parenthetical>(whispered)</parenthetical>
<dialogue>Amen.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIELS HOUSE - DAY</stage_direction>
<scene_description>Nancy stands by the door going over a list. The majority of the guests staying at the house are all gathered near the door as well getting ready to go outside.</scene_description>
<character>NANCY</character>
<dialogue>Ok, Daniel, you Callista and Matthew are going to watch over the house while we all go down to the market right?</dialogue>
<character>DANIEL</character>
<dialogue>Yeah.</dialogue>
<scene_description>The young boy, Timothy, pokes his head out through the crowd.</scene_description>
<character>TIMOTHY</character>
<dialogue>Why do we have to go with so many people?</dialogue>
<character>NANCY</character>
<dialogue>Because it's safer to travel as a group. And we have enough people to carry everything so we don't have to take cars. Gas is not very affordable right now. Ok crew, if we hurry we should get back before dark. Danny are you sure you guys will be ok? You all should come too, come on let's all go together.</dialogue>
<character>DANIEL</character>
<dialogue>Mom, we'll be ok. We need someone to watch the house so it doesn't get broken into while you're gone. You have dad's gun just in case though right?</dialogue>
<character>NICK</character>
<dialogue>Yeah, I got it. Don't worry, my dad was a cop, I know how to use it if I have to.</dialogue>
<character>DANIEL</character>
<dialogue>Alright well, I love you mom be careful and hurry back.</dialogue>
<character>NANCY</character>
<dialogue>I love you too. I love you too Matty. We'll be back soon. Watch after these boys Cal.</dialogue>
<character>CALLISTA</character>
<dialogue>I'll try!</dialogue>
<character>MATTHEW</character>
<dialogue>Love you Nancy. Bye.</dialogue>
<scene_description>Nancy leads the group outside. Daniel shuts the door behind them. Matthew walks into the living room and sits down in a chair next to a window overlooking the front lawn. Daniel and Callista can be heard rummaging around in the kitchen. Matt watches the group make their way down the street. He suddenly gets a very serious and thoughtful look on his face. Matt stares out into the cloudy sky looking sad. Gradually a loud chopping of air sound can be heard. It continues to get louder. In the distance Matt can see a fleet of helicopters approaching. There's at least 25 of them. Matt makes no movements, he just sits and stares out into the sky. Daniel and Callista poke their heads in the doorway.</scene_description>
<character>DANIEL</character>
<dialogue>Yo man come check this shit out!</dialogue>
<scene_description>Matt pays Daniel no attention. He just continues to stare out the window, deep in thought.</scene_description>
<character>MATTHEW</character>
<parenthetical>(inaudible to Callista and Daniel)</parenthetical>
<dialogue>I think I'm gonna stop by my house. I wanna get some things.</dialogue>
<scene_description>Daniel and Callista crouch low to see out the window.</scene_description>
<character>DANIEL</character>
<dialogue>Sweet ass. We'll be outside.</dialogue>
<scene_description>Taking Cal's hand, Daniel leads the way outside. Matt stands up and walks to the back door. He goes outside and sets off through some tails in the woods towards his own house. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DANIELS HOUSE - DAY</stage_direction>
<scene_description>Daniel and Callista stand out in the front yard looking up. The helicopters continue overheard and soon disapear out of sight.</scene_description>
<character>CALLISTA</character>
<dialogue>I wonder where they're all going...and why?</dialogue>
<scene_description>Daniel walks over in front of the window that Matthew was looking out minutes before.</scene_description>
<character>DANIEL</character>
<dialogue>Hey man ...uhh, hey Cal, did Matt come outside?</dialogue>
<character>CALLISTA</character>
<dialogue>I don't think so, why?</dialogue>
<character>DANIEL</character>
<dialogue>He said he was doin' something. I couldn't hear with those damn helicopters.</dialogue>
<scene_description>Daniel runs inside and begins checking every room in the house. Callista stands in the doorway, watching him.</scene_description>
<character>CALLISTA</character>
<dialogue>Is something wrong?</dialogue>
<character>DANIEL</character>
<dialogue>Yeah, what happens to my ass when mom get's back and Matt's nowhere to be found.</dialogue>
<scene_description>Callista looks at Daniel sceptically.</scene_description>
<character>DANIEL</character>
<dialogue>You don't know this woman like I do. With all this crazy shit happening...Matt's like a second son to her. I'm gonna go look for him.</dialogue>
<character>CALLISTA</character>
<dialogue>I'll stay here in case he shows up.</dialogue>
<scene_description>Daniel grabs a flashlight from inside then makes off through the trails as the sun begins to set. FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MATTHEW HOUSE - EARLY EVENING</stage_direction>
<scene_description>Matthew stands outside his front steps looking up into his second story window. He looks from side to side for any signs of a break-in. Everything seems normal and quiet. Matt walks up to the front door and unlocks the dead bolt. It makes a soft thud as it slides into the door. Matt steps inside and looks around. Shadows are cast all over the inside of his house. He makes his way up the steps, silently, in the dark. The camera cuts to the darkened kitchen area. Matt's broken plate and food still lie on the floor. The camera cuts to the dining room. The table is still set with 3 plates, now containing moldy food on them. The clothing of Matt's family is still strewn about the table and floor. The camera then cuts back to Matt walking into his room and flicking on the lights. MATT'S POV - MIRROR The mirror is still shattered. Cracked fragments still hang along the border. The camera pans down to the floor. The glass remains of the mirror lie in a neatly stacked pile. Matt looks towards his closet. The door is slightly ajar. Without hesitating, Matt turns and walks out of his room, downstairs and into his living room. He opens the coffee table drawer where he stashed his revolver the day he met Callista. He takes out the gun and marches back up the steps and into his room. Not pausing, he continues over to his closet and jerks the door open quickly, holding the revolver close to his body pointing forward. The closet is empty. He reaches in and grabs a bookbag. He walks over to his dresser and begins to fill the bookbag with clothes. He finishes and grabs a family photo off his dresser. He exits his room then walks across the hall into his parent's room. Matt opens his dad's top dresser drawer and removes a box of bullets. He empties out the bullets already in the gun onto the top of the dresser. He loads in six new bullets and puts the box into his bookbag. He casually turns towards the doorway then stops suddenly in his tracks. A horrifying serpent creature is in the doorway. It's concealed in shadows but enough can be seen to tell it's like the serpent from Matt's dream. Matt yells out in shock pointing the gun at the serpent. He fires off a shot as he turns to run. The serpent advances on Matt with incredible speed. Right as it reaches Matt, it passes through beams of light cast by a streetlight outside. The serpent reaches out a large scaley hand and grabs Matt by the shoulder. He cries out in pain and drops the gun. CUT TO: WOODS BEHIND DANIELS HOUSE - NIGHT Daniel makes his way through the trails behind his house. He turns on the flashlight. The trails have a very ominous feel to them. The paths seems to narrow and the branches seem to stick out to catch him in the face.</scene_description>
<character>DANIEL</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>This is so fuckin' stupid. Where the hell are you.</dialogue>
<scene_description>Movement can be heard in the woods behind Daniel. He starts to quicken his pace. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW'S HOUSE - NIGHT</stage_direction>
<scene_description>The camera faces toward the wall that Matt's parent's bed rests against. Above the bed is a painting of an old dog asleep on an antique bed. The picture has a piece of glass covering it. Suddenly Matt flies through air smashing into the picture. Glass shatters as Matt falls onto the bed. Matt rolls onto his back, very dazed. OVERHEAD SHOT - MATT ON THE BED The serpents hand reaches into the shot and grabs Matthew by the ankle. Matt quickly disappears from view as the creature pulls him off the bed. A thud can be heard as Matt hits the floor. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BEHIND DANIELS HOUSE</stage_direction>
<scene_description>Daniel continues to hurriedly make his way through the woods. Off in the distance he can see a faint light coming from Matt's house. Suddenly two sets of hands reach out from behind Daniel, grabbing him by the back of his shirt. He spins around holding the flashlight like a club. It's Nick and Adam.</scene_description>
<character>DANIEL</character>
<dialogue>What the hell are you guys doin'? You scared the shit out of me.</dialogue>
<character>NICK</character>
<dialogue>Nancy sent us to look for you. We all just got back and she's freakin the fuck out man. What are you doin out here by yourself? Where's Matt?</dialogue>
<character>DANIEL</character>
<dialogue>I don't know. I'm tryin to find him.</dialogue>
<scene_description>Daniel looks towards Matt's house.</scene_description>
<character>DANIEL</character>
<dialogue>There's a light on at his house. He's probably there.</dialogue>
<character>NICK</character>
<dialogue>Alright, I'll go with you. Adam, run back and tell Nancy everyone's ok. We're gonna go get Matt and bring him back.</dialogue>
<scene_description>Adam nods his head then turns and jogs off back towards Daniel's. Daniel and Nick set off at a quick pace towards Matt's house. All of a sudden several gunshots ring out accompanied by several flashes of light coming from the inside of Matt's house.</scene_description>
<character>DANIEL</character>
<dialogue>Fuck! Come on!</dialogue>
<scene_description>Daniel and Nick break out into a full sprint. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW'S PARENT'S ROOM</stage_direction>
<scene_description>Matt thrashes wildly on the floor. The serpent creature is grabbing at his face and arms. Matt manages to get the gun aimed at the creatures torso. He squeezes the trigger, firing a single shot into it's chest. The creature grabs Matt by the wrist and slings him across the room. He hits the wall above his dad's dresser and falls down on top of it. He continues to roll off onto the floor, right next to his bookbag. Very disoriented, Matt fires off the remaining shots wildly, missing the creature completely. The creature hunches over and spits up blood onto the floor. Matt fumbles through the bookbag trying to find the box of bullets. He finds the box and snatches it out quickly, but the box is partially open and bullets sling out all over the bedroom floor. The serpent looks up and begins to awkwardly slide across the floor towards Matt. Matt manages to grab a single bullet off the floor and load it before the creature is upon him. Matt extends his arm out pointing the gun right at it's head. With lightning speed the serpent snatches Matt's wrist out of the air. It lifts him up off the ground by his hand. Matt has a look of total bewilderment on his face. Without warning the creature snaps Matt's wrist. As it breaks he cries out in pain and drops the gun to the floor. The creature grabs Matt by the neck with it's free hand. Without pausing it snaps his neck causing his arms and legs to go limp. It drops him to the floor. He lays in a pathetic pile, his eyes staring off into nothing. The creature falls backwards onto the floor. It begins to gasp for air. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MATTHEW'S HOUSE</stage_direction>
<scene_description>Daniel and Nick are right out front. Suddenly there is another flash of light, like that created when the gun went off, except there is no loud bang to accompany it. The two barrel through the front door.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATTHEW'S HOUSE</stage_direction>
<character>DANIEL</character>
<parenthetical>(frantically)</parenthetical>
<dialogue>Check downstairs!</dialogue>
<scene_description>Nick runs back through the downstairs as Daniel scurries up the steps to the second floor.</scene_description>
<character>DANIEL</character>
<dialogue>Matt! Matt!!</dialogue>
<character>NICK (O.S.)</character>
<dialogue>Matt!</dialogue>
<scene_description>Daniel checks Matt's room first. He see's the broken mirror and the glass on the floor. The dresser drawers are open and clothes are strewn about. He runs out of the room and down the hall towards Matt's parent's bedroom.</scene_description>
<character>DANIEL</character>
<dialogue>Matt!</dialogue>
<scene_description>He rushes forward kicking the door open. He stops in his tracks and scans the room. There's blood and bullets all over the floor. There's also broken glass on the bed. Daniel gasps and steps back. Tears start to run down his cheeks.</scene_description>
<character>DANIEL</character>
<dialogue>Nick! Nick, come here, now!</dialogue>
<scene_description>The camera pans to the floor. Matt's clothes lay in a pile on the floor next to a large pool of blood. Nick runs into the room stopping behind Daniel. He surveys the room.</scene_description>
<character>NICK</character>
<dialogue>Holy shit, what happened?</dialogue>
<character>DANIEL</character>
<parenthetical>(crying)</parenthetical>
<dialogue>I don't know, but Matt's gone.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HASHAN'S HOME - DAY</stage_direction>
<scene_description>Hashan rises from his prayer matt. He begins to walk towards sound of the two booming voices. As he gets closer, the crowds of people become more tightly packed. The crowd is surging forward. Hashan pauses and stares at the moving bodies. It's as if he is about to plunge into human rapids. He braces himself then rushes into the flow of people. He's knocked back and forth and he forces his way through the crowd. People ahead of him are jumping and shouting frantically. Hashan suddenly gets shoved from behind, falling to his knees. The crowd continues to surge forward, knocking him down on his stomach. The crowd begins to walk over him, stepping on his back and hands and head. He desperately tries to get up, but he keeps getting stepped on and forced back down to the ground. Hashan begins to army crawl forward along the ground. The shouting and commotion increase the further he goes. He continues to get trampled as one man kicks him in the face. It seems he's going to be trampled to death. He weakly picks up his head enough to see along the ground ahead of him. He sees bright flames rolling across the ground. The people ahead of him suddenly switch directions and start to rush backwards, tripping over him. The camera rises off the ground above the crowd. Hashan is around 15 feet from the edge of the crowd surrounding the two prophets. Brilliant flames shoot from Elikai's mouth into the edge of the crowd. There are 3 men with weapons hat burst into flames. The surrounding crowd is frightened but unharmed by the flames. The attacker's smoldering bodies collapse back onto people trying to move away. Several people behind the witnesses break through the crowd running towards the two ragged men. Elikai spins around and shoots flames from his mouth onto the attacking men. The flames shoot up their bodies engulfing them in colorful flames. The men writhe on the ground for several seconds before going still. Uriah turns towards the spot in the crowd where Hashan lies. He walks forward followed by Elikai. The camera goes to an overhead shot. The crowd forms a ring around the two men. As they walk forward the ring moves with them as the people ahead move back to give the men room and the ones behind get the courage to get a little closer. The ring of live people is eclipsed by the ring of dead people burnt to death on the ground. Uriah walks right up to a pile of chard bodies. He reaches down through the ashes and grabs Hashan by the wrist. He easily drags him from under the pile and out into the center of the circle. Elikai walks the perimeter of the circle keeping the crowd at bay. Uriah kneels down beside Hashan.</scene_description>
<character>HASHAN</character>
<dialogue>Lord. Give me the strength to serve you! Please, tell me what to do, I'll do it!</dialogue>
<scene_description>Hashan turns his head to the side and spits up a little blood. His breathing is shallow and he acts on the verge of losing consciousness. Uriah places a hand of Hashan's chest. He immediately starts breathing normally. His eye's open wider and he becomes more alert.</scene_description>
<character>URIAH</character>
<dialogue>Do not despair, you have been chosen to serve the Lord. I will speak plainly so that you may understand what is asked of you. The deceiver will strike soon. Everything God loves he hates. He would choose to kill all the children of God, all plants, all creatures, all things. He is known to you now. He is the new leader of the ten nations.</dialogue>
<character>HASHAN</character>
<dialogue>Sebastian Jareb? He's in all the papers and on TV. He speaks of peace and unity.</dialogue>
<character>URIAH</character>
<dialogue>He speaks lies. He will only bring death and darkness.</dialogue>
<character>HASHAN</character>
<dialogue>What do you want me to do?</dialogue>
<character>URIAH</character>
<dialogue>I am a beggar and servant of God. I want nothing of you. It is God's will that has brought you here. He holds the keys and knows the paths. Listen carefully to my words, for this is the plan of the Lord.</dialogue>
<scene_description>Uriah grabs Hashan by the shoulders and pulls him into a sitting position. He leans forward and begins to speak softly into Hashan's ear. Hashan closes his eyes and listens carefully. In the background, flames can be seen pouring out of Elikai's mouth into a group of men. Uriah leans back and looks into Hashan's eyes.</scene_description>
<character>URIAH</character>
<dialogue>Do not be afraid of what is to come. Only believe. Have faith without doubt. You can accomplish all things through Him. Now go prepare, the time is close.</dialogue>
<scene_description>Hashan stands to his feet and faces towards the direction of his house. Elikai walks up and stands beside Uriah. The two prophets raise a hand toward Hashan's home. The crowd is suddenly forced apart making a path, like Moses parting the sea. Hashan takes off running through the path. The crowd begins to close back together behind Hashan. The two witnesses lower their hands and walk back to the center of the circle and begin to resume prophesying in their loud booming voices. FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DANIEL'S HOUSE - NIGHT</stage_direction>
<scene_description>Daniel sits on his back porch starting out into the darkness towards Matt's house. His eyes are red and puffy. Several tears drip down his cheeks. Inside he can hear Nancy crying uncontrollably. Daniel puts his face into his hands.</scene_description>
<character>DANIEL</character>
<dialogue>I'm so scared, I don't think we're going to make it through these times. Please God, give me the strength to protect the people I love and care about. Give me courage and hope. I don't know if Matt ever accepted you but I pray</dialogue>
<dialogue>his souls in heaven with his family...I just...</dialogue>
<scene_description>Daniel pauses as he hears movement coming from the woods ahead of him. He raises his head from his hands and wipes his eyes. A gentle breeze begins to blow, cooling his face and drying his eyes. He hears a whispering sound. It's as if the wind were whispering to him.</scene_description>
<character>WIND-LIKE WHISPER</character>
<dialogue>Daniel...Daniel...</dialogue>
<scene_description>Daniel stands up, looking around. The sound continues, fading out into the woods. Daniel descends down the steps and walks into the entrance of the woods. His figure disappears into the shadows. Daniel feels his way awkwardly through the woods. The moon provides his only light. The breeze continues to blow and his name continues to be whispered on the wind. The breeze whirlwinds around him, dragging leaves with it. He turns with the breeze as if to catch someone running around behind him. As he's almost facing forward again, a bright light suddenly appears and a loud voice sounds.</scene_description>
<character>MICHAEL</character>
<dialogue>Daniel!</dialogue>
<scene_description>Daniel yells in surprise and falls back to the ground. The camera pans up revealing the glowing body and face of the angel Michael. Daniel shield his eyes with his arm.</scene_description>
<character>DANIEL</character>
<dialogue>Why are you here? What do you want from me?</dialogue>
<character>MICHAEL</character>
<dialogue>I have come as a light into the world, and whoever believes in Him should not abide in the darkness. I do not come to judge the world, but to save it.</dialogue>
<character>DANIEL</character>
<dialogue>Save it from what? What's going to happen?</dialogue>
<character>MICHAEL</character>
<dialogue>Now is the judgement of this world. Now the ruler of this world will be cast out. A little while longer the light is with you. Walk while you have the light, lest the darkness overtake you; he who walks in the darkness does not know where he is going. While you have the light, believe in it, that you may become the sons of light.</dialogue>
<character>DANIEL</character>
<dialogue>I don't understand!</dialogue>
<character>MICHAEL</character>
<dialogue>I still have many things to say to you, but you cannot bear them now.</dialogue>
<scene_description>Michael reaches out a hand and places it right above Daniels head.</scene_description>
<character>MICHAEL</character>
<dialogue>Remember always, the things which are impossible with men are possible with God.</dialogue>
<scene_description>Daniel collapses to the ground unconscious. As he falls the screen fades to black. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. UNITED NATIONS HEADCOURTERS</stage_direction>
<scene_description>Sebastian sits at a large marble desk looking livid. There is a speaker phone in the middle of his desk.</scene_description>
<character>SEBASTIAN</character>
<dialogue>I don't want to hear your excuses. It's two men. Two fucking men! I want them dead!</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>We're trying sir. All attempts have been unsuccessful. We can only attack on foot in small groups due to the crowds. They seem to have concealed flame throwers of some kind.</dialogue>
<character>SEBASTIAN</character>
<dialogue>Then clear the fucking crowds you idiot!</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>We're trying sir. They're refusing to leave. There's too many to remove individually and the tear gas isn't having any effect.</dialogue>
<character>SEBASTIAN</character>
<dialogue>Why do they refuse to leave? You said the men were using flame throwers. Aren't they killing people?</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>Actually, only our men, or, men with weapons have been killed. Somehow the fire has been missing everyone else.</dialogue>
<character>SEBASTIAN</character>
<dialogue>That's impossible.</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>I can't explain it sir. There's also reports of them healing the sick, but we haven't witnessed anything like that yet.</dialogue>
<character>SEBASTIAN</character>
<dialogue>Yet? You listen to me. Use a Goddamn sniper, and put them down.</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>Uhh...We tried that too sir. For some reason the snipers aren't able to see the two men through their scopes.</dialogue>
<character>SEBASTIAN</character>
<dialogue>What do you mean?</dialogue>
<character>MAN'S VOICE</character>
<dialogue>Well they can see everyone else...it's just that nobody can be seen in the middle of the crowd. There's nothing for them to shoot.</dialogue>
<character>SEBASTIAN</character>
<dialogue>This is fucking unbelievable. Here's what you're going to do. I want snipers on a helicopter right above their heads. They won't need a fucking scope to see then will they? Call me when it's done. No more excuses.</dialogue>
<scene_description>Sebastian hangs up the phone. He seems calmer and slightly proud of himself for coming up with the idea. He pushes an intercom button on his desk.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Haley, send in Alek.</dialogue>
<scene_description>Moments later, Alek enters the room. Alek is a short man with short dirty blonde hair and blue eyes. He is very plain looking and walks with a slight limp.</scene_description>
<character>ALEK</character>
<dialogue>You're looking well Sebastian. How are things coming along with our two troublemakers.</dialogue>
<character>SEBASTIAN</character>
<dialogue>They spend all day shouting how I'm the Antichrist. They say I'm going to bring about the end of the world and I'm an enemy of God. At least they aren't getting any media coverage...thanks to you. I'll tell you Alek, it's hard trying to be the leader of the world with people like that running free.</dialogue>
<character>ALEK</character>
<dialogue>Do you want me to handle it?</dialogue>
<character>SEBASTIAN</character>
<dialogue>No, I think I have it under control now. So... how are things on your end?</dialogue>
<scene_description>Alek limps over to a chair in front of Sebastian's desk and sits down. He let's out a sigh as if even the walk to the desk took a lot out of him.</scene_description>
<character>ALEK</character>
<dialogue>They are going well, very well actually. The banks are preparing funds to be transferred to the mark. All participating countries are preparing their people for the switch.</dialogue>
<character>SEBASTIAN</character>
<dialogue>What about the people refusing to use the mark.</dialogue>
<character>ALEK</character>
<dialogue>I've already taken care of that. Facilities will be set up where lesser quality foods and goods will be offered to those not accepting the mark. The prices will be through the roof and the taxes will go straight to us. It's only a matter of time before they realize it's pointless to fight the change.</dialogue>
<character>SEBASTIAN</character>
<dialogue>Excellent. I couldn't have gotten this far without you Alek. You are a good friend.</dialogue>
<character>ALEK</character>
<dialogue>I am no one, just a man behind the scenes. You deserve the credit. You deserve the rewards.</dialogue>
<character>SEBASTIAN</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Still humble as ever. Make no mistake, whether you like it or not, I'm going to make you a rich man.</dialogue>
<character>ALEK</character>
<parenthetical>(smiling softly)</parenthetical>
<dialogue>If you insist.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BEHIND DANIELS HOUSE - NIGHT</stage_direction>
<scene_description>DANIEL'S POV - WOODS Daniel wakes up to a dark and blurry image of the woods. He turns towards his house. The image of his house is fuzzy and moving back and forth. The screen looks down to the ground, then zooms in on it suddenly as Daniel falls back down. The camera pulls back to show him struggling to get back up. He starts crawling along the ground towards his house.</scene_description>
<character>CALLISTA (O.S.)</character>
<dialogue>Oh my God, Daniel!</dialogue>
<scene_description>Callista runs down the steps and over to Daniel. He collapses and rolls onto his back. Callista kneels down beside him.</scene_description>
<character>CALLISTA</character>
<dialogue>What happened? What's wrong?</dialogue>
<scene_description>Daniel wraps his arms around her neck and pulls himself into a sitting position. He starts to fall backwards but Callista catches him and holds him in her arms.</scene_description>
<character>DANIEL</character>
<dialogue>Michael...he spoke to me!</dialogue>
<character>CALLISTA</character>
<dialogue>What are you talking about?</dialogue>
<character>DANIEL</character>
<dialogue>The angel Michael spoke to me. He talked about the judgement of the world...and the darkness and the light...you believe me right?</dialogue>
<character>CALLISTA</character>
<dialogue>Of course I do, but let's talk about this inside. You need to lie down.</dialogue>
<scene_description>Callista helps Daniel to his feet. They make their way back into the house and into the Daniel's room. Callista helps him into his bed.</scene_description>
<character>CALLISTA</character>
<dialogue>Get some rest, we can talk about things in the morning, ok?</dialogue>
<character>DANIEL</character>
<dialogue>No, listen. Something's going on. Things aren't adding up. This isn't God. Can't you feel it? I see the angels, I feel the awe, I can sense some kind of power, but nothing about this feels holy. Seeing Michael didn't bring tears to my eyes. I always thought seeing an angel would bring tears to my eyes. I just...I need to think.</dialogue>
<character>CALLISTA</character>
<dialogue>You need to sleep.</dialogue>
<character>DANIEL</character>
<dialogue>I can't sleep, my face hurts. I think I fell on a rock.</dialogue>
<scene_description>Laughing, Callista leans over and kisses Daniel on the cheek.</scene_description>
<character>CALLISTA</character>
<dialogue>There all better. Goodnigt.</dialogue>
<character>DANIEL</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>I got bit on the lip by a squirrel too I think...</dialogue>
<character>CALLISTA</character>
<dialogue>I don't know if i can fix squirrel bites. That's not really my specialty. I guess it wouldn't hurt to try.</dialogue>
<character>DANIEL</character>
<dialogue>I like your style.</dialogue>
<scene_description>Callista leans down and kisses Daniel softly on the lips then leans back.</scene_description>
<character>DANIEL</character>
<dialogue>How about I take two and call you in the morning?</dialogue>
<scene_description>Callista giggles and gives Daniel another kiss. She gets up and walks to the doorway. She shuts off the light and walks into the living room where everyone else is already asleep. She quietly climbs into her sleeping bag. She rolls onto her side and looks at the empty couch that Matt used to sleep on. She gets a sad look on her face like she's about to cry. She rolls over onto her other side. FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED FLOWER SHOP - DAY</stage_direction>
<scene_description>Hashan knocks on the door of an abandoned flower shop. The windows are boarded up and condemned signs hang on he door and outside walls. There is a peephole in the center of the door. Hashan hears movement from behind the door followed by the sound of several dead bolts clicking and a doorbar being removed. A very large Arab man with a thick unibrow and a sub-machine gun answer the door. He points the gun at Hashan's head.</scene_description>
<character>HASHAN</character>
<dialogue>Wait! My names Hashan. I was sent by the two prophets. Your name's Orestes. They said you wouldn't kill me.</dialogue>
<scene_description>Orestes lowers his gun.</scene_description>
<character>ORESTES</character>
<dialogue>What do you want?</dialogue>
<character>HASHAN</character>
<dialogue>I need to speak to a man named Zimri. He has a mission for me.</dialogue>
<scene_description>Orestes moves back and invites Hashan inside. The inside of the shop is full of dead, dried up flowers. It looks as if an entire beautiful garden died all at once and was brought here for safe keeping. Orestes points towards a closed door behind him.</scene_description>
<character>ORESTES</character>
<dialogue>Zimri's through there.</dialogue>
<scene_description>Hashan walks to the door and looks over his shoulder at Orestes before turning the door handle and walking through. Zimri sits at an old dirt stained wooden desk. Zimri is an elderly looking Arab. He has deep lines in his face, but still has a full head of gray and black hair. He also has a full beard. He looks up from his lap as Hashan enters. There are holes all in the ceiling and floor. Hashan stands in front of the desk looking down at Zimri. There are no chairs for him to sit in.</scene_description>
<character>HASHAN</character>
<dialogue>My name is Hashan. Uriah and Elikai sent me here to see you.</dialogue>
<character>ZIMRI</character>
<dialogue>Yes, I know. Uriah told me you would come. There isn't much time, so let me get right to the point.</dialogue>
<scene_description>Zimri picks up a brief case from beside his chair and sets it on top of the desk. There is a thumb scan where the combination lock usually would be. He places his thumb on the scan and several seconds later the case pops open. Zimri pulls out several documents. They are watermarked and have government stamping in the center. There is a shiny hologram sticker in the corner of the documents containing the holy trinity symbol enclosed in a triangle. Zimri looks Hashan directly in the eyes and holds his gaze for a moment.</scene_description>
<character>ZIMRI</character>
<dialogue>A lot of people died for these so I want you to pay close attention. These credentials will get you into Sebastian's complex and within killing distance of the target.</dialogue>
<character>HASHAN</character>
<dialogue>You want me to kill Sebastian?</dialogue>
<character>ZIMRI</character>
<dialogue>This task has been graciously given to you by God himself! Would you be like Jonah and run from your destiny?</dialogue>
<character>HASHAN</character>
<dialogue>No, I will not run. I will do anything the Lord asks of me. How will I even get close enough to Sebastian?</dialogue>
<character>ZIMRI</character>
<dialogue>Sebastian believes that tomorrow at 3 in the afternoon he has an appointment with a reporter to discuss the new details on the digital currency known as the mark. While this interview will take place, the man conducting the interview has recently changed.</dialogue>
<character>HASHAN</character>
<dialogue>Poor bastard.</dialogue>
<character>ZIMRI</character>
<dialogue>Orestes made it quick. You will begin the interview tomorrow and continue until Sebastian is relaxed and off guard. Then you will kill him.</dialogue>
<character>HASHAN</character>
<dialogue>With what? The microphone?</dialogue>
<character>ZIMRI</character>
<dialogue>With this.</dialogue>
<scene_description>Zimri pulls out a black 7 inch blade from the brief case. Hashan looks at it and raises an eyebrow.</scene_description>
<character>ZIMRI</character>
<dialogue>To avoid metal detection, it has been made entirely of plastic. It is also coated with a highly flammable substance. After killing Sebastian, you will set the knife on fire and make your way to the exit. A car will be waiting for you. You are guaranteed a 10 minute window to escape, starting from the time you light the blade.</dialogue>
<character>HASHAN</character>
<dialogue>Guaranteed by whom?</dialogue>
<character>ZIMRI</character>
<dialogue>A man within Sebastian's organization. He's the only reason any of this is possible. You can meet him when this is all over. Now go home and get some rest. Orestes will pick you up tomorrow at 1 from your home.</dialogue>
<scene_description>Zimri places the blade and the documents back into the brief case and closes it. He take a device resembling a palm pilot from his pocket and hands it to Hashan.</scene_description>
<character>ZIMRI</character>
<dialogue>Place your thumb in the center.</dialogue>
<scene_description>Hashan does as he is told. The screen lights up as he presses his thumb into the center. A few seconds later the screen goes dim and Hashan removes his thumb. There is a digital thumbprint left on the screen. He hands the device back to Zimri.</scene_description>
<character>ZIMRI</character>
<dialogue>By tomorrow this case will only open for you.</dialogue>
<scene_description>Hashan opens his mouth to speak but can't find the words. He turns and exits the room. Orestes is standing by the front door waiting for him. He opens the door and ushers Hashan outside.</scene_description>
<character>ORESTES</character>
<dialogue>Go with God Hashan. You will need him tomorrow. Oh, and wear a suit</dialogue>
<dialogue>tomorrow. You'll need to look like a reporter.</dialogue>
<scene_description>Hashan nods and starts to walk away from the shop. Orestes closes the door and walks back into Zimri's office.</scene_description>
<character>ORESTES</character>
<dialogue>Do you think we can trust him?</dialogue>
<character>ZIMRI</character>
<dialogue>Hashan was sent by the prophets. He is driven by his faith. He will do what has been asked.</dialogue>
<character>ORESTES</character>
<dialogue>I meant the other one. The man on the inside. Are you sure we can trust him?</dialogue>
<character>ZIMRI</character>
<dialogue>I asked Uriah that very question.</dialogue>
<character>ORESTES</character>
<dialogue>What did he say?</dialogue>
<character>ZIMRI</character>
<dialogue>He told me it was not for me to know the times or the seasons, which the Father has put in His own power. He said "Let your heart not be troubled, neither let it be afraid." Then he said the way has already been prepared, that all I needed now was faith.</dialogue>
<character>ORESTES</character>
<dialogue>Faith is a powerful thing.</dialogue>
<character>ZIMRI</character>
<dialogue>When our path is covered in darkness, faith will light the way.</dialogue>
<scene_description>FADE TO: HASHAN'S HOME - DAY Hashan stands in front of his bedroom mirror. He's wearing a dark grey business suit with a light blue collared shirt underneath and adjusting a navy blue tie. His hair is slicked over to the side like a little boys combover. He stands up straight and holds his head high. He looks dignified, but there is a great sadness in his eyes. He glances to the left at a clock on the wall. The time reads 12:52. He exits his room and walks down his hall towards his front door. He stops at the row of pictures and turns to look at the family portrait. He touches a hand to the picture and a tear runs down his cheek. Outside he hears a car horn sound. Hashan stares at the photo for a few moments.</scene_description>
<character>HASHAN</character>
<dialogue>This is for you my babies.</dialogue>
<scene_description>Hashan wipes the tear from his face and walks to the front door . He opens it and exits into the front yard. The sky is full of meteorites, burning brightly overhead. Orestes is parked in a blue trailblazer. Hashan gets in on the passenger side. INT ORESTES'S CAR Before Hashan's door is fully shut Orestes takes off down the road kicking up dust.</scene_description>
<character>ORESTES</character>
<dialogue>Sorry, running a little behind. Did you sleep well?</dialogue>
<character>HASHAN</character>
<dialogue>No, not really.</dialogue>
<character>ORESTES</character>
<dialogue>Good. Good. Now listen.</dialogue>
<scene_description>Orestes reaches into the back seat and pulls out the brief case. He hands it to Hashan.</scene_description>
<character>ORESTES</character>
<dialogue>The case has been adjusted to your thumbprint. Only you can open it now. Go ahead and take out the knife.</dialogue>
<scene_description>Hashan places his thumb on the scanner and several seconds later the case pops open. He pulls out the knife then holds it out in front of him staring at it.</scene_description>
<character>ORESTES</character>
<dialogue>Place the knife in your inside jacket pocket.</dialogue>
<character>HASHAN</character>
<dialogue>Won't they search me? Why don't I just keep it in the case?</dialogue>
<character>ORESTES</character>
<dialogue>You have an appointment and government credentials. Unless the metal detectors go off, you will not be searched. And besides the knife can still be seen through an x-ray machine. There is an ID pass</dialogue>
<scene_description>in the top of the case to wear on the outside of your coat. Hashan places the blade inside his jacket then takes out the press pass from the case and clips it to the outside of his coat. Hashan stares out the window, watching the trees go by. They continue making their way into the center of the city. They soon arrive at a large 10 story building.</scene_description>
<character>HASHAN</character>
<dialogue>Where are we?</dialogue>
<character>ORESTES</character>
<dialogue>This is where Sebastian's people wanted to conduct the interview. Security reasons, I suppose. Are you having doubts?</dialogue>
<character>HASHAN</character>
<dialogue>No, I'm fine. Where will I meet you when it's done?</dialogue>
<scene_description>Orestes points across the street in the parking lot of a bakery. Orestes pulls up in front of the entrance ramp to the building. He puts the car in park then pops the trunk.</scene_description>
<character>ORESTES</character>
<dialogue>Your interview equipment is in the back. Take a few moments to familiarize yourself with it before entering the building. You don't want to seem incompetent to Sebastian.</dialogue>
<character>HASHAN</character>
<dialogue>I'll be fine.</dialogue>
<character>ORESTES</character>
<dialogue>Ok, good luck.</dialogue>
<scene_description>Hashan gets out with the briefcase in hand. He walks to the back of the trailblazer and pulls out a black dufflebag. He takes a deep breath and walks up the ramp and into the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. 10 STORY BUILDING</stage_direction>
<scene_description>The first floor is a long hallway with a security checkpoint in the center and several elevators behind it. Hashan looks down at his ID tag. It says the name Jacob Bale and has his photo at the bottom as well as the holy trinity hologram below it. He boldly walks straight up to the check point and lays his brief case and dufflebag on the x-ray conveyor belt. He turns to the closest guard.</scene_description>
<character>HASHAN</character>
<dialogue>Jacob Bale, here to see Mr. Jareb for a 3 o'clock interview. My papers are in the brief case.</dialogue>
<character>GUARD</character>
<dialogue>Step through the metal detector please.</dialogue>
<scene_description>Hashan takes a quick breathe and holds it while he walks through the detectors. No alarms sounds. He breathes out through his nose and strides over to his brief case confidently and opens it with the thumbscan. He hands the stack of documents to the guard. While the guard checks them over Hashan stares around taking in his surroundings. He looks up noticing a surveillance camera pointed right at him. He smiles weakly then looks down at the floor. The camera cuts to the inside of a small security room. There is enough room for one man to sit comfortably at a desk. On top of the desk are a dozen surveillance monitors and keyboard with a joystick built into it. There is a black, polished barreta beside the keyboard. The back of the man's head is turned to the screen, hiding his face. On all the TV monitors are a closeup view of Hashan's face. The man has an open folder in his lap and is flipping through several pages. He pulls back on the joystick and the camera zooms out, showing Hashan and the guards. The camera cuts back to Hashan. He looks over at the guard.</scene_description>
<character>HASHAN</character>
<dialogue>I hate to sound rude, but I don't want to be late for this interview. Is it ok for me to go up?</dialogue>
<character>GUARD</character>
<dialogue>Yeah, go ahead.</dialogue>
<scene_description>The camera cuts back inside the security office. The man picks up a phone on the far end of the desk and presses a button on the side. On the security monitor, we see a phone ring on the wall beside the guard. He answers the phone.</scene_description>
<character>GUARD (V.O.)</character>
<dialogue>Yes sir?</dialogue>
<scene_description>The camera swings around to the front of the man, revealing him to be Sebastian's right hand man, Alek.</scene_description>
<character>ALEK</character>
<dialogue>Hold him.</dialogue>
<scene_description>Alek hangs up the phone and tosses the papers in his lap onto the desk. He then stands up and picks the gun up off the desk and puts it in a holster under his arm. Alek quickly leaves the room. The camera stays in the room looking at the desk. It zooms in on the stack of papers. The top paper contains a photo of a young clean shaven white man. Under the photo is the name "Jacob Bale." The camera cuts back to the security check point. The guard hangs up the phone and grabs Hashan by the arm.</scene_description>
<character>GUARD</character>
<dialogue>Wait here a moment.</dialogue>
<character>HASHAN</character>
<dialogue>Is something wrong?</dialogue>
<character>GUARD</character>
<dialogue>Just wait please.</dialogue>
<scene_description>Hashan stares down the hallways towards the elevators at the far end. A sign above the elevator door against the far wall flashes, indicating an incoming elevator.</scene_description>
<character>HASHAN</character>
<parenthetical>(sounding frustrate)</parenthetical>
<dialogue>I don't understand the holdup. Is something wrong?</dialogue>
<scene_description>The guard puts his hand on his sidearm.</scene_description>
<character>GUARD</character>
<dialogue>Remain calm. My supervisor would simply like to have a word with you.</dialogue>
<scene_description>The elevator door opens. Alek steps out and stares suspiciously at Hashan. He shuffles down the hall never taking his eyes off him.</scene_description>
<character>ALEK</character>
<parenthetical>(smirking)</parenthetical>
<dialogue>Mr. Bale, how are you today?</dialogue>
<character>HASHAN</character>
<dialogue>I'm fine, what's the problem?</dialogue>
<character>ALEK</character>
<dialogue>Nothing, I hope.</dialogue>
<scene_description>Alek walks right up to Hashan and starts to pat him down. He starts at his arms and then moves down his legs, then moves back up to his ribs then chest. He pauses as he pats over Hashan's breast pocket. He pats the knife several times.</scene_description>
<character>ALEK</character>
<dialogue>Hmmm... What's this?</dialogue>
<scene_description>Alek reaches into Hashan's left pocket instead and pulls out a cheap plastic lighter.</scene_description>
<character>ALEK</character>
<dialogue>I hope you don't plan on lighting a cigarette for Mr. Jareb with this.</dialogue>
<scene_description>Alek pulls out a beautifully engraved zippo lighter encrusted with three small diamonds. He also takes out a pack of cigarettes. Hashan stares at the lighter.</scene_description>
<character>ALEK</character>
<dialogue>Use this. Lights every time.</dialogue>
<scene_description>Alek places the lighter and cigarettes into Hashan's left pocket.</scene_description>
<character>ALEK</character>
<dialogue>Don't forget to return that on your way out. Good luck with your interview.</dialogue>
<scene_description>Alek smiles then turns and walks back towards the elevators. Hashan puts the documents back in his case then grabs the dufflebag and hurries after Alek. When they reach the elevators Alek points a hand towards an elevator to his right.</scene_description>
<character>ALEK</character>
<dialogue>This is you. Seventh floor. Room 313.</dialogue>
<scene_description>Both elevators open simultaneously. Both men step into their corresponding elevators. Both doors close in unison. CUT TO: 7TH FLOOR. Hashan exits the elevator and makes his way down a winding hallway until he gets to room 313. He closes his eyes and mumbles a quick prayer. He opens his eyes and knocks firmly on the door.</scene_description>
<character>SEBASTIAN (O.S.)</character>
<dialogue>Come in.</dialogue>
<scene_description>Hashan enters the room. It is plainly decorated with a large conference table on the left. Sebastian stands to the right of the room staring out a large glass window. He turns towards Hashan.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Hello Jacob, are you ready to begin?</dialogue>
<character>HASHAN</character>
<dialogue>Of course. Please have a seat while I set up. It will just take a moment.</dialogue>
<scene_description>Hashan sets down the dufflebag on the table as Sebastian takes two chairs and sets them in the middle of the room around three feet apart. Hashan sets up the camera by the table and presses a few buttons to make it look like he's turning it on. He takes out a portable microphone and hands it to Sebastian to clip onto his tie. The two men sit down in the chairs. Sebastian stares at Hashan smiling for a moment then raises an eyebrow curiously.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Are you ready?</dialogue>
<character>HASHAN</character>
<dialogue>Oh yes, let's begin. First question. Ummm, ok, the UN Mark. If this is a completely digital currency, does that mean everyone will be given a special credit card, or...how will you do that?</dialogue>
<character>SEBASTIAN</character>
<dialogue>That's a good question and I'm glad you asked it. We have devised a permanent electronic stamp of sorts that will be placed on the top of the right hand, or, for people who don't have a right hand, the most convenient location.</dialogue>
<scene_description>Sebastian's eyes dart quickly to the camera, then back to Hashan.</scene_description>
<character>HASHAN</character>
<parenthetical>(curiously)</parenthetical>
<dialogue>And what will this stamp look like?</dialogue>
<character>SEBASTIAN</character>
<dialogue>Like this.</dialogue>
<scene_description>Sebastian holds up his right hand with the top facing Hashan. There is a blue shimmering set of three connected rings inside a triangle.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Pretty cool, huh? The best part is people can pick whatever color they want. Now the three rings represent the joining of countries together. Kind of like the symbol of the Olympics. The triangle is used to symbolize the joined countries forming a single connected society. People will simply swipe their hand across a</dialogue>
<dialogue>special scanner and a purchase or transaction will be made.</dialogue>
<scene_description>Sebastian's eyes dart toward the camera again, then back to Hashan. Hashan notices this time and looks towards the camera then back to Sebastian.</scene_description>
<character>HASHAN</character>
<dialogue>Something wrong?</dialogue>
<character>SEBASTIAN</character>
<dialogue>I don't seem to sound rude or embarrass you, but I don't think your camera is turned on. Isn't there supposed to be some kind of light turned on?</dialogue>
<scene_description>Hashan freezes for a moment and stares at the camera. He quickly becomes alert again and starts to laugh. He stands up and walks over to the camera.</scene_description>
<character>HASHAN</character>
<dialogue>It's on. This old thing. The light sometimes cuts off. I really should look into a new one.</dialogue>
<scene_description>Hashan turns his back to Sebastian. He scans the camera and finally finds the power switch. He discretely turns the camera on without Sebastian noticing. He taps the side of the video camera a couple times then moves out of the way so Sebastian can see the light.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Ah, there she goes.</dialogue>
<scene_description>Hashan turns back towards the video camera. He reaches inside his jacket and pulls out the knife. He stashes it up his right sleeve. He turns and walks back over to his chair and sits down. He offers a weak smile to Sebastian who smiles warmly back.</scene_description>
<character>HASHAN</character>
<dialogue>Can I offer you a cigarette?</dialogue>
<character>SEBASTIAN</character>
<dialogue>Of course, thank you.</dialogue>
<scene_description>Hashan reaches into his left pocket with his left hand and pulls out the pack of cigarettes. He flicks his wrist forwards causing one to stick out of the top. Sebastian takes the cigarette and places it between his lips. With his right arm down by his side, Hashan slowly lets the blade drop down into his right hand. Hashan returns the pack and takes out the lighter.</scene_description>
<character>SEBASTIAN</character>
<dialogue>That's a beautiful lighter. Where did you get it?</dialogue>
<character>HASHAN</character>
<dialogue>From a friend.</dialogue>
<scene_description>Sebastian leans forward so Hashan can light his cigarette. Hashan lights the zippo and holds it out towards Sebastian. Sebastian closes his eyes while he leans forward a little more to light the cigarette. Hashan stares at his exposed neck. He shakes slightly in anticipation. He closes his eyes and tries to mentally prepare himself. A closeup image of Matthew with his eyes closed flashes momentarily on the screen. The camera INTERCUTS between Hashan and Matthew both slowly opening their eyes. The camera cuts back to Matthew's face. His mouth is open slightly and his face seems frozen in place. His eyes dart madly all around. The camera zooms out just enough to reveal Matthew lying on his back on a dark metal floor. The bones at Matt's wrist and neck press out slightly stretching the skin giving the appearance they are still very much broken. The camera cuts back to Hashan and Sebastian. They both lean back in their chairs. Hashan looks down shamefully at the floor as Sebastian takes a long drag off his cigarette. The camera cuts back to Matthew. His body remains motionless and his eyes frantically scan the room. Suddenly a bright light flashes at the bottom of the screen below Matt's feet. The camera pans up his body until it reaches his upper half showing his torso, outstretched arms and head. The light goes away and moments later an arm comes into the screen with it's hand directly above Matt's chest. The hand glows faintly as Matt's body raises up off the ground into the air until it reaches the outstretched hand. Matthew's body hangs limp in the air. The camera cuts back to Hashan and Sebastian.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Jacob, are you all right?</dialogue>
<character>HASHAN</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I can't do it.</dialogue>
<scene_description>Sebastian turns his head to exhale.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Can't do what?</dialogue>
<scene_description>INTERCUTTING Suddenly Hashan lunges at Sebastian and drives the blade into the side of his throat, the hand glows bright white as Matt's body tenses up. His arms, legs and head contract. And the broken places on his neck and wrist glow slightly brighter. Sebastian tumbles over the side of his chair onto the floor. A look of pain, shock and fear are painted on his face. He clutches the side of his throat as he gasps for air. INTERCUTTING Blood flows freely from Sebastian's mouth and throat, a bright white liquid flows freely from Matt's mouth and eyes. Hashan stumbles backwards and trips on his chair, falling to the floor. He looks toward Sebastian. Sebastian's body is hidden behind the chair, but his legs can be seen thrashing about. Hashan's eyes go wide as Sebastian places a bloody hand on the side of his chair and starts to force himself to his feet. Sebastian stares directly into Hashan's eyes then turns towards the door. He takes a few steps forward then collapses to the ground. Hashan stays frozen in place. A heavy dragging sound can be heard as Sebastian tries to drag himself to the door. Sebastian paws at the handle, but can't get a grip due to the blood all over his hands. He finally gets a grip and slowly starts to turn the handle, when his body finally shuts down and his arm falls to the floor with a thump. Hashan slowly gets up and walks over to Sebastian's body. His eyes are still open, but he's clearly dead. There is a large pool of blood underneath him, as well as blood all down the front of his body. Hashan bends down and taks a hold of the blad of the knife.</scene_description>
<character>HASHAN</character>
<dialogue>God, forgive me.</dialogue>
<scene_description>Hashan closes his eyes and pulls the blade out. He holds it in his hand, watching the blood drip off onto the floor below. He walks over to the conference table and sets the knife down. He pulls the lighter from his pocket and flicks the top open. He pauses and turns towards the camera. The power light seems to shine brightly, showing that it's still running and captured the entire event. Hashan shudders and turns the power off. He takes out the tape and sets it on top of the knife. He lights the lighter. The flame burns brightly. He slowly guides his hand toward the knife. The flame is only inches away from the tip of the blade when a blinding light suddenly flashes from across the room. The flame of the lighter is instantly extinguished. Hashan staggers back and raises his arm to shield his eyes. The light begins to fade and he slowly lowers his arm. INTERCUTTING Three ominous and menacing angels stand together, hovering several inches off the ground facing Hashan, an angel stands with it's back turned to the screen, it's hand pressed to Matt's chest. Matt's body has become a silhouette of white light. Hashan cries out and falls to his knees. The angels look down at Sebastian's body then back toward Hashan.</scene_description>
<character>HASHAN</character>
<parenthetical>(yelling loudly)</parenthetical>
<dialogue>I've done what's been asked of me!</dialogue>
<character>MIDDLE ANGEL</character>
<dialogue>And you have done it well. Therefore, we will show unto you, the truth and the light, so, in your final moments you might understand.</dialogue>
<scene_description>Time slows down as the three angels glide slowly and effortlessly across the floor towards Hashan. They simultaneously place a hand in the center of their chest and press something. All three of the angel's faces begin to dissolve away followed by their entire bodies. Their image seems to flow into their chest. The camera cuts to the screaming face of Hashan.</scene_description>
<character>HASHAN</character>
<parenthetical>(screaming hysterically)</parenthetical>
<dialogue>No! No! God no!</dialogue>
<scene_description>The camera cuts back towards the oncoming angels. Where the angels once stood, there are now three terrifying and hideous serpent creatures. They all have harness-like electronic bands all over their bodies, as if it were some type of suit. The two aliens on the left and right each ball up their right fist. A brilliant blue flame springs up out of their right hands. The middle angel stands still. The handle of a massive sword on his back can be seen sticking out beside his head. Hashan turns and bolts for the door. From offscreen two balls of blue flame fly past Hashan's head and slam into the door. It's immediately engulfed in the unnatural blue fire. Hashan turns towards the serpents and drops to his knees. He holds his arms out and bows his head signaling his surrender. From offscreen a vertical blue line around 5 feet tall flies through the air cutting off Hashan's left hand and slicing a line into the wall behind him. Hashan clutches his bloody stump and falls to the floor on his side. The camera cuts back to the serpents. The alien in the middle is holding the gigantic blade. It glows a fluorescent blue that fades until the sword is the color of steel again. Suddenly the sword glows brightly again as the serpent raises it over his head and brings it swiftly down again. A blue vertical shockwave shoots out from the blade going offscreen towards where Hashan lays. The camera cuts to Hashan, only showing him from the chest up. His eyes bulge and his body contracts briefly, then his face and arm fall limply to the floor. The middle alien turns toward Sebastian. He takes a small orb-like device out of the middle of his chest. He holds the sword in one hand and points the orb with the other at Sebastian's body. A bright white light shoots out of the orb and scans up and down Sebastian's body. After a moment the light goes off and the alien puts the orb back into his chest. He presses a button on the orb and it begins to glow brightly. Different colored liquid-like substances pour out of the orb and begin to cover the serpents body. He glows momentarily white then the light fades revealing the body of Sebastian. He turns towards the other aliens.</scene_description>
<character>ALIEN-SEBASTIAN</character>
<dialogue>Get the blade and the tape. There's much to be done.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK ROOM</stage_direction>
<scene_description>The camera cuts back to Matt's floating body and the concealed angel leaning over him. The light fades from Matt's body and he starts to lower gently to the ground. As he lowers the camera swings around to reveal the angel to be Michael. As Matt's body reaches the ground, he suddenly goes into convulsions then goes rigid. As quickly as it started, it stops and his body becomes still. Just then lights come on revealing Matt is lying in a large pool of blood. Matt's eyes slowly open and he rolls onto his side, seeing the blood. He quickly sits upright and sees Michael. He yells in shock and scoots back against the wall. Out of the corner of his eye, he notices a huddled mass to his left. He turns and looks. It's the dead body of the serpent that had attacked him in his parent's bedroom. Matt cries out again and jumps up looking wildly around. There are strange electronic devices, screens, and sounds. The ceiling is made of a vibrant blue, glass-like material. The walls seem almost alive as they vibrate slowly, like the walls in Matt's dream.</scene_description>
<character>MATTHEW</character>
<dialogue>What's going on? What are you? I thought I was...</dialogue>
<scene_description>Matthew feels his neck and wrist. They are completely healed.</scene_description>
<character>MATTHEW</character>
<dialogue>You're... Who are you? I've seen you before. At Daniel's...Michael?</dialogue>
<character>MICHAEL</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>I know you are scared and confused. Things are not as they have appeared to be. Well, some things are. There is so much to tell you. Let me start with why we are here.</dialogue>
<scene_description>FADE TO: TV SCREEN</scene_description>
<character>TV REPORTER</character>
<dialogue>Tragedy strikes the world today. The assassination of Sebastian Jareb has just been confirmed. Authorities are stating an anti- mark extremist by the name of Hashan Zebah was able to impersonate a news reporter by the name of Jacob Bale and gain entry to the building where Mr. Jareb was staying. Zebah brutally stabbed Jareb in the neck, then turned the knife on himself, taking his own life. The body of the real Jacob Bale has not been found.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S BEDROOM</stage_direction>
<scene_description>Daniel and Callista sit on Daniel's bed watching the news on his TV. At hearing the name "Hashan Zebah", Callista bursts into tears.</scene_description>
<character>CALLISTA</character>
<parenthetical>(sobbing)</parenthetical>
<dialogue>Oh my God! Oh my God!</dialogue>
<character>DANIEL</character>
<parenthetical>(panicked and confused)</parenthetical>
<dialogue>What?! What happened?! What's wrong?!</dialogue>
<character>CALLISTA</character>
<dialogue>Hashan's my father!</dialogue>
<character>DANIEL</character>
<dialogue>What the fuck?! Are you fucking kidding me?</dialogue>
<character>CALLISTA</character>
<dialogue>No! Oh my God, what's he done?!</dialogue>
<character>DANIEL</character>
<dialogue>I can't believe this shit. Wait, I thought your last name was Davenport?</dialogue>
<character>CALLISTA</character>
<dialogue>I took my mother's last name when I came to the US...</dialogue>
<scene_description>Callista breaks down into tears again</scene_description>
<character>CALLISTA</character>
<dialogue>He's dead! I can't believe he's dead. Why would he do something like this?</dialogue>
<character>DANIEL</character>
<dialogue>Uhh, I don't know. Just try to relax, there has to be an explanation. Hold on, there's more.</dialogue>
<scene_description>Daniel turns up the TV volume with his remote. TV SCREEN</scene_description>
<character>TV REPORTER</character>
<dialogue>In a strange twist, Hashan not only taped the horrible murder, but also left the tape as evidence before killing himself. While many questions remain unanswered, Sebastian's chief of staff and personal aid, Alek Bardo had this statement to make.</dialogue>
<scene_description>The screen cuts to a red-eyed trembling Alek. He begins reading a prepared statement.</scene_description>
<character>ALEK</character>
<dialogue>Sebastian was the most important leader and political figure of our time. I don't know why anyone would want to kill him. I have personally reviewed the tape, and while after the murder takes place the quality of the tape rapidly diminishes, it's still all the proof we need. This administration has agreed that the tape will be publicly broadcast one time tonight and one time only. We do this in hopes that the world may</dialogue>
<scene_description>know the truth and not get half- truths other sources. In addition we have several guards in custody for questioning. Hashan had to have had someone on the inside helping him. Alek breaks down into tears.</scene_description>
<character>ALEK</character>
<parenthetical>(sobbing)</parenthetical>
<dialogue>Sebastian was a great man and a true friend. He spoke of peace and unity. I only pray I can pick up where he left off. I have no further statements at this time. Thank you.</dialogue>
<scene_description>The screen goes blank as Callista turns the TV off.</scene_description>
<character>CALLISTA</character>
<dialogue>What the hell is going on?</dialogue>
<scene_description>Suddenly a massive earthquake starts. The bed shakes violently and Callista and Daniel are thrown to the floor. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<scene_description>Matt stands pressed against the wall staring at Michael.</scene_description>
<character>MATTHEW</character>
<dialogue>What are you?</dialogue>
<character>MICHAEL</character>
<dialogue>I am many things.</dialogue>
<character>MATTHEW</character>
<dialogue>But you're not from earth.</dialogue>
<character>MICHAEL</character>
<dialogue>No, I am not. But I am still a servant of God.</dialogue>
<character>MATTHEW</character>
<parenthetical>(suddenly turning violent)</parenthetical>
<dialogue>What did you do with all those people. Did you kill them? Did you kill my family? Are they alive?</dialogue>
<character>MICHAEL</character>
<dialogue>All your questions will be answered in time, but first you must listen.</dialogue>
<dialogue>I want you to know the reason why we are here. Maybe then you will not look at me the way you do. There are many of us that would seek to destroy your planet...for revenge.</dialogue>
<character>MATTHEW</character>
<dialogue>Revenge for what?</dialogue>
<character>MICHAEL</character>
<dialogue>The murders of my people. The murder of a planet.</dialogue>
<character>MATTHEW</character>
<dialogue>What are you talking about?</dialogue>
<scene_description>CUT TO: ISRAEL - DAY Uriah and Elikai stand in the middle of a massive crowd. Elikai holds a young girl in his arms. Both of the girl's legs are shriveled and twisted up. Uriah places a hand on each of the girls legs. Uriah's hands begin to glow with white light. The light in his hands spreads into the young girl's legs. She cries out as her legs are soon covered in the intense white light. An older woman stands at the edge of the crowd, holding a hand over her mouth, trying to suppress her own sobbing. Moments later, the light fades from the girl's legs and Uriah's hands. The crowd gasps. The camera cuts to a shot of the girl's legs. They look normal and healthy. A loud cheer echoes through the mass of people. Elikai walks over to the woman and hands her the child. As the woman clutches the girl in her arms, Elikai glances up to see two helicopters in the distance approaching fast. The sky is full of cumulus clouds. Elikai takes several steps back toward the center of the crowd.</scene_description>
<character>ELIKAI</character>
<dialogue>Uriah, it is time.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>It all started with a lie. In the early 1940's, your people began producing nuclear energy on a massive scale. While you government admitted there was nuclear waste being produced, they failed to mention that once it is</dialogue>
<dialogue>created it cannot be destroyed or contained. Sealed barrels containing nuclear waste were buried miles underground, only to rupture and spread through the soil, killing entire communities.</dialogue>
<scene_description>CUT TO: ISRAEL The land between the prophets and the helicopter is bare ground with a few shrubs along the way. The nearest town or city is several miles away. Elikai and Uriah both look to the sky. Two giant wings spread out from both Elikai's and Uriah's back. Their hair begins to shimmer, looking almost golden. Their ragged robes dissolve away, revealing beautifully engraved angelic armor. A brightness intensifies in their eyes. Elikai throws out his hand toward the crowd in the direction of the helicopters. The crowd forces apart, clearing a path straight through. He and Uriah take off running down the dirt road. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HELICOPTER</stage_direction>
<scene_description>PILOT'S POV - CROWD There is a massive crowd of several hundred people bunched together in a clearing. A path suddenly splits through the crowd. Two winged figures can be seen running toward the helicopters with incredible speed. The camera moves back to the fuselage. There are two men dressed in tactical gear loading large sniper rifles. Both sides of the helicopter are opened up. The camera continues to move back exiting the helicopter. It moves into the second chopper, and into the fuselage. There are two men in this one as well. The first man is also a sniper. The second man is the alien disguised as Sebastian. He stares out the open side of the Helicopter at the two prophets. He clutches the hilt of the sword he used to kill Hashan. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>In 1958 your government created NASA for the sole purpose of developing rockets to launch the nuclear waste into space. All other early missions mentioned to the public were lies. And so it</dialogue>
<dialogue>went, mission after mission, rocket after rocket. They fired the waste into space, never to be seen again.</dialogue>
<scene_description>CUT TO: ISRAEL The camera cuts back to Uriah and Elikai. There is now only a 30 yard gap between the men and the helicopters. Uriah balls up his right fist. Blue flames spring up out of his hand. Suddenly he leaps into the air, level with the helicopters. He opens his fist, shooting out a large blue fireball, 5 feet in diameter. It flies through the air with a shimmering vapor trail behind it. Moments before it connects with the lead helicopter, both aircraft bank hard to the left. Sebastian's helicopter pulls up as the other drops dangerously close to the ground. The fireball misses, but the lead chopper ends up almost level on the ground with the open side facing Elikai. Elikai doesn't hesitate as he opens his mouth and spews a stream of fire into the fuselage of the chopper, lighting both of the snipers on fire and well as the aircraft itself. Sebastian's chopper swings around behind the two prophets. The sniper leans out the side, takes aim and fires. Uriah spins around to face the sniper just as a bullet rips through his left shoulder. As Uriah falls to the ground, the image of his left wing and arm dissolve away to show a bloody serpent arm underneath. The flaming chopper begins to pull up, but suddenly explodes and crashes into the ground 40 feet from the two prophets. Shrapnel flies through the air barely missing the two men. Sebastian's chopper hovers 30 feet in the air with it's side facing Elikai and Uriah. Uriah clutches his left arm to his body as he balls his right fist tightly. He has a look of extreme anger on his face. Tall blue flames flicker wildly about his hand and arm as he gets to his feet. The sniper takes aim at Elikai's head. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>My ancestors were explorers, always looking for a new species, new cultures and new ideas. Like yourselves, we searched for a meaning to our existence. We were sure the key was out there somewhere, waiting to be found. We never thought the answer could be in our own hearts. In our very souls. One day my people thought they had found an answer. There was rumored to be a newly discovered planet and species to</dialogue>
<dialogue>investigate. They were known as Humans and they had something my people had never heard of. They had God. A holy creator that controlled the heavens and the earth. The creator of the universe and everything in it. Including us.</dialogue>
<scene_description>CUT TO: ISRAEL Uriah opens his hand releasing another fireball, this time 7 feet in diameter. It flies with great speed toward the opening in the side of the helicopter. Seconds before it connects, Sebastian, still holding the sword, rolls out the other side of the chopper and begins to free-fall through the air. The massive fireball explodes inside the helicopter, ripping it into several pieces. As Sebastian falls toward the ground, two wings dramatically spring out of his back and he slows immediately, floating gently to the ground about 20 feet from the two prophets. His clothes dissolve away revealing similar angelic armor. The pieces of the chopper crash into the ground sending more debris flying. Uriah and Elikai stare at Sebastian with almost unbelieving looks on their faces. Sebastian's sword begins to glow brightly. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>My people went looking for a new planet, for a new hope... It was shortly after entering your solar system that they found the fated rocket. In their ignorance they believed it to be some kind of gift, welcoming them to the place where the soul lives forever. So they brought the rocket on board their ship and opened it up. Immediately the crew became infected, their bodies reacting terribly to the radiation. It was in that moment the virus was created. It spread through the ship like a plague of locusts, devouring anyone it touched then moving on, always moving on. The virus could kill in hours or even take up to days at a time.</dialogue>
<scene_description>CUT TO: ISRAEL Without warning, Sebastian swings the blade vertically at Elikai. A vertical beam shoots out, tearing through the earth. Elikai dives out of the way just in time to avoid it. Elikai rolls into a crouching position and opens his mouth bearing his teeth and spewing flames at Sebastian. Sebastian jumps high into the air avoiding the fire. Behind him, there are dark storm clouds. Sebastian swings the sword back and forth diagonally raining down deadly beams at Uriah and Elikai. They both dive through the air. The beams slam and cut into the earth kicking up a giant cloud of dust. The camera cuts to behind Sebastian looking down into the cloud of dust. Sebastian begins to float his way slowly back towards the ground. Suddenly a massive blue flame ball shoots up through the dust cloud at Sebastian. He quickly reacts bringing the sword down and sending a thin beam into the fire. The ball erupts 6 feet before reaching Sebastian. A small shock wave slams into him sending him tumbling through the air into the thick cloud of smoke. Faint outlines of blue flames dance through the smoke. Finally Sebastian is thrown out the side of the cloud landing on his back and dropping the sword. Sebastian rolls onto his side and spits out blood into the dirt. He grits his bloody teeth together as he tries to get up. He reaches for the sword. Elikai appears out of the dust cloud already breathing flames from his mouth. A concentrated column flows from his mouth and rolls up the side of Sebastian's arm. The image of Sebastian's human arm dissolves away and he screams out in pain clutching his burnt arm to his chest. Uriah appears behind Elikai, his fist is balled up and a blue flame is growing in his hand.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Why do you fight me? The fleet approaches regardless. You will die for your treachery.</dialogue>
<character>ELIKAI</character>
<dialogue>This world is not for you. It is special and unique. There is soul in this place. There is a holy secret locked in every living thing. We must embrace the soul of the Earth.</dialogue>
<character>SEBASTIAN</character>
<dialogue>I will rip out the soul of this world and devour it whole. I will kill them all. Every man, woman and child. Even their God himself. I am the beginning and the end. I am the avenger of blood!</dialogue>
<character>URIAH</character>
<dialogue>Avenger of ashes, your bones will burn.</dialogue>
<scene_description>Uriah steps in front of Elikai. He raises his hand toward Sebastian. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>And then the ship's leader did something even more foolish than when he brought the rocket on board. He set a return course to our home planet. Then he died. There was no warning for those back home. No time to prepare. When the ship entered the atmosphere it broke apart, scattering the virus to the wind. It did not take long after that. We used to inhabit two planets. They were almost identical in environment. The names of the planets would translate into your words as Brother and Sister. Brother held our main population which is where the ship crashed. They were able to evacuate millions from Brother, but compared to three billion deaths, the evacuation was a failure. But the sorrow does not end there.</dialogue>
<scene_description>CUT TO: ISRAEL Suddenly, before Uriah can fire, the dark clouds overhead open up and heavy rain begins to pour down. The fire in Uriah's hand goes out. Thick white smoke pours out of his fist. Elikai pulls Uriah back and opens his mouth to spit flames onto Sebastian. Only white smoke pours out of his mouth. He chokes and gasps for air, falling to his knees. Sebastian lays on his back for a moment letting the rain hit his face. He begins to laugh maliciously. He picks up his sword and rises to his feet. Because their appearances are holograms, all three men remain dry, except for Uriah's and Sebastian's exposed arm.</scene_description>
<character>SEBASTIAN</character>
<dialogue>How does it go? The Lord works in mysterious ways? Fools.</dialogue>
<scene_description>Sebastian swings the sword horizontally at the two prophets. Uriah manages to duck in time, but Elikai remains standing still. As Uriah ducks the camera ducks down with him, showing only the lower half of Elikai. As Uriah stands back up, he cries out and staggers back. Elikai's body is still that of an angel, but his head is reverted back to a serpents. A Mechanical device covers his mouth. Small amounts of white smokes still leak out of it. Seconds later, Elikai's head falls to the ground and his body collapses. Uriah is only a few feet from Sebastian. He lunges forward. Sebastian swings the massive down towards Uriah's collar bone. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>Several of the evacuees had been infected so all of the ships were forced to remain in orbit around Sister until a solution could be found. Three years and several thousand deaths later, a group of scientists created a vaccine that could completely block all deadly effects of the radiation to our bodies.</dialogue>
<scene_description>Michael takes several steps closer to Matthew. Matt remains silent and pressed against the wall.</scene_description>
<character>MICHAEL</character>
<dialogue>Even to this day, Brother is useless. All plant and animal life were destroyed. We have spent years pumping the vaccine into the atmosphere with hopes we can someday return and live. Brother and Sister together again. It is like a fairy tale to our young.</dialogue>
<scene_description>Michael pauses with a faint smile on his face as if remembering the story when he was young. His smile soon fades and he stares coldly at Matt.</scene_description>
<character>MICHAEL</character>
<dialogue>After the cure was found, we immediately began to plan a counterattack. For all we knew, the rockets were just the beginning. A way to soften us up. If this were true, then a full attack might kill our entire race. We gave your people too much credit and acted with caution. If we had</dialogue>
<scene_description>not been so careful, then you would all be dead by now. CUT TO: ISRAEL Uriah raises his left arm up in time to block the sword. The blade sinks deep into his skin, all the way to the bone. With his free hand, Uriah punches Sebastian in the center of the chest with a fierce desperation. The sword dislodges from Uriah's arm as Sebastian flies back through the air several feet. He lands hard on his back. Blood is now pooling on the ground beneath Uriah. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>It was decided we would send a research team to study your planet, while an invasion fleet was being built on Sister. I am one of the leaders of that research team. I was given my position because my father played a key role in the development of the cure for the virus. He even cured my mother of the virus while she was pregnant with me. I have never told anyone, but because of the virus, I was born with a gift. I have had dreams and visions my entire life. I hear voices when no one is around. I used to think I was sick until I came here and discovered the truth. God has been talking to me, using me and those like me to accomplish his will.</dialogue>
<scene_description>CUT TO: ISRAEL The camera fixes on Uriah as he sways and staggers around. He looks up to the sky and closes his eyes.</scene_description>
<character>URIAH</character>
<dialogue>Lord, look past the flesh and see that my soul is yours. Take me to paradise.</dialogue>
<scene_description>Uriah's head drops forward and his body begins to fall. Before his knees are even fully bent, Sebastian's sword plunges deep into the center of his chest. Uriah makes no additional movement and hangs limply on the sword. The Image of the prophet slowly dissolves away, leaving a dead, rain-soaked, bloody serpents body. Sebastian lays Uriah down, then slowly removes the blade from his chest. The rain begins to die out and light starts to shine through the clouds. Sebastian looks up and smirks. A bright light suddenly shines from behind him. He turns quickly, his sword raised to strike. Alek stands grinning.</scene_description>
<character>SEBASTIAN</character>
<parenthetical>(sternly)</parenthetical>
<dialogue>I told you I could handle things. I did not need your help.</dialogue>
<character>ALEK</character>
<dialogue>I know. I merely took away their advantage. You did the rest my king.</dialogue>
<scene_description>Alek walks over to look at the two dead prophets. He turns back towards Sebastian still grinning.</scene_description>
<character>ALEK</character>
<dialogue>It's time the world learned of Sebastian's resurrection. I will stay here and clean things up.</dialogue>
<scene_description>Sebastian nods. His body begins to glow with an intense light then disappears. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MICHAEL</character>
<dialogue>We began to study everything about you. As we expected, your people had a large capacity for violence and war, but nothing to explain the attempt to destroy our species. We even began to see your people showing love and compassion for one another. I began to study your religions. That is when my visions began to intensify. God would visit me at night, showing me the way to save your people from destruction. Not only from my people, but from yourselves as well.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FLOWER SHOP - NIGHT</stage_direction>
<scene_description>Zimri sits behind his desk with his face buried in his hands. There is a heavy knocking at the door to his office.</scene_description>
<character>ZIMRI</character>
<dialogue>You don't have to knock every time, come in!</dialogue>
<scene_description>Orestes pokes his large head through the opening in the doorway. He stares at Zimri for a moment, then walks into the room. He has an overall look of depression about him. He has dark circles under his eyes and his shoulders are hunched forward as if he's almost lost the will to stand. He remains in front of Zimri's desk with his head drooped down and his eyes fixed on the floor.</scene_description>
<character>ZIMRI</character>
<dialogue>Orestes, why are you so troubled? Have we not been over this several times already? Hashan's death was not your fault. He died doing God's work. He died honorably.</dialogue>
<scene_description>Orestes begins to rub his eyes slowly. His body trembles slightly. He looks up, suddenly appearing very upset.</scene_description>
<character>ORESTES</character>
<dialogue>It's the prophets, they're dead! Their bodies are missing. There are even rumors that Sebastian walks as an angel. You know what this means.</dialogue>
<character>ZIMRI</character>
<dialogue>Calm yourself, we knew this day would come. We must do the things that have been asked of us. We must honor our word to the prophets and God above all else. Go now and gather the men and the weapons. We're leaving for the United States.</dialogue>
<character>ORESTES</character>
<dialogue>How will be pay for the journey? Only the UN Mark is accepted now.</dialogue>
<character>ZIMRI</character>
<dialogue>I will take the mark if that becomes necessary. Many sacrifices have already been made, and I fear there are many more still to come. But we will continue to do whatever it takes. That's what faith is all about.</dialogue>
<scene_description>FADE TO: SUPERIMPOSED - THREE DAYS LATER</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARGO SHIP - DAY</stage_direction>
<scene_description>A massive cargo ship cuts through the ocean towards the US. The camera zooms in on the bow of the ship. Zimri stands, staring out into the endless sea. He looks down and stares coldly at his right hand. The UN Mark shines bright red in the sunlight. Zimri fights back tears. He pulls out a set of black gloves from his pocket and quickly puts them on.</scene_description>
<character>ZIMRI</character>
<dialogue>Forgive me Lord.</dialogue>
<scene_description>He turns and walks towards the main cargo area. The camera follows him down a flight of stairs, around several turns and finally into a dimly lit holding area. There are dozens of cargo containers in this holding area. Several dark figures can be seen moving through the shadows around the room.</scene_description>
<character>ZIMRI</character>
<dialogue>It's me.</dialogue>
<scene_description>Orestes and three men armed with uzi's step out into the light.</scene_description>
<character>ZIMRI</character>
<dialogue>I want to see them.</dialogue>
<character>ORESTES</character>
<dialogue>Again?</dialogue>
<character>ZIMRI</character>
<dialogue>Yes, again. Open it.</dialogue>
<scene_description>Orestes turns to a container behind him. There is a digital keypad on the door. He punches in a series of combinations. A green light flashes on the keypad and the door begins to automatically open. Several fluorescent lights click on. There are hundreds of guns lining both walls and even the ceiling of the container. Crates of ammo line the perimeter of the floor, stacked three cases high. There is a narrow walkway leading to the back of the container. In the back, pressed against the wall, is a large metal crate, with a large blue cross painted on the front. Orestes looks at Zimri's right hand as Zimri enters the container.</scene_description>
<character>ORESTES</character>
<dialogue>How does your hand feel?</dialogue>
<character>ZIMRI (O.S.)</character>
<dialogue>Unclean.</dialogue>
<scene_description>Orestes follows Zimri into the container as the three armed guards stand watch by the door. Zimri walks right up to the crate while Orestes stands behind him looking over his shoulder.</scene_description>
<character>ZIMRI</character>
<dialogue>I want you to make me a promise.</dialogue>
<scene_description>Orestes stares at the back of Zimri's head, waiting for him to continue.</scene_description>
<character>ZIMRI</character>
<dialogue>I want you to promise that when the time comes, you will help me remove this mark from my hand...one way or another.</dialogue>
<scene_description>Orestes puts a hand on Zimri's shoulder.</scene_description>
<character>ORESTES</character>
<dialogue>I promise.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEMBLEY STADIUM - UNITED KINGDOM - DAY</stage_direction>
<scene_description>A crowd of around eighty thousand pack Wembley Stadium. They all bear the UN Mark on their hands. Sebastian stands on a raised platform surrounded by camera and microphones. Sebastian appears to look like a normal man. There are two massive TV screens behind him, displaying his image as he speaks. To the right of Sebastian there is a lower platform. On that platform there is an eight foot high wall covered with a red velvet curtain. Alek stands beside the curtain holding a rope attached to the curtain. He stares affectionately up at Sebastian.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Behold! As many of you have seen I was murdered in cold blood, but now I stand before you, resurrected by God himself!</dialogue>
<scene_description>A large cheer sounds throughout the crowd.</scene_description>
<character>SEBASTIAN</character>
<dialogue>God has breathed his holy breath into me and created something new, a union of man and angel, a messenger of truth!</dialogue>
<scene_description>As the crowd begins to cheer again, Sebastian's wings dramatically spread out, causing many to gasp and several to bow down and pray. A few in the crowd even faint.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Do no fear me! I only wish to bring peace, love and light, during</dialogue>
<dialogue>these dark times. I know there are many of you with questions. There are countless crimes committed daily, rampant natural disasters, strange murders and even people vanishing before our very eyes! These are all signs that we need to change. We need to unify as a single people under one God!</dialogue>
<scene_description>As the crowd cheers, the camera pans up slightly. The constant meteor shower in the sky seems to increase, the fire trails burning even brighter. The camera pans back down to Sebastian.</scene_description>
<character>SEBASTIAN</character>
<dialogue>God has showed me the way. The mark will help bring us all together. One governing body, one monetary system, one holy symbol, taken by all to show their faith in God, and one another!</dialogue>
<scene_description>Alek claps his hands with exaggerated enthusiasm and smiles out on the crowd.</scene_description>
<character>ALEK</character>
<parenthetical>(clapping excitedly)</parenthetical>
<dialogue>Yes!...Yes!</dialogue>
<scene_description>Sebastian suddenly throws his hands out, silencing the crowd. As he speaks, the loudness of his voice intensifies.</scene_description>
<character>SEBASTIAN</character>
<dialogue>But make no mistake! This is a holy war now. There are those for God...and those against him!</dialogue>
<scene_description>Sebastian points down towards the covered wall. Alek pulls the long cord and the curtain parts. Screams and gasps echo through the crowd. The two dead serpent bodies of Elikai and Uriah hang from the wall by chains. Elikai's head has been reattached, held in place with surgical staples.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Do not fear. They are dead, slain by my own hands. Hell has opened up and Satan has let these serpents loose upon our world. I see your frightened faces, but there is still hope. Take the mark of God and you will be protected. No one with the mark can come to harm from these creatures. Deny the mark, and God will deny you his holy protection. The choice is yours, but a decision must be made. This</dialogue>
<dialogue>very hour, you must choose your side.</dialogue>
<scene_description>As Sebastian says the last words of his speech, the camera pans up to one of the large viewing screens behind him. The camera zooms in on the viewing screen until it takes up the camera screen. The camera then zooms out to reveal the view screen to now be the screen of Daniel's TV in his living room.</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S HOUSE</stage_direction>
<scene_description>The camera cuts to the faces of Daniel and all of his house guests gathered around the TV. Their jaws are literally dropped. Nobody makes a sound, they just stare in shock at the TV.</scene_description>
<character>DANIEL</character>
<dialogue>What the fuck?!</dialogue>
<character>NICK</character>
<dialogue>Did that really just happen?</dialogue>
<character>RYAN</character>
<dialogue>This is really some end of times shit, isn't it?</dialogue>
<character>DANIEL</character>
<dialogue>What the fuck?</dialogue>
<character>RYAN</character>
<dialogue>So he's saying if we don't get that mark, Satan is going to kill us?</dialogue>
<character>SARAH</character>
<dialogue>This is too much.</dialogue>
<scene_description>Everyone sits silently for a moment thinking to themselves. Suddenly there is a loud knocking at the door. Everyone turns to look at the door. Daniel stands up.</scene_description>
<character>DANIEL</character>
<dialogue>I'll get it.</dialogue>
<scene_description>Daniel get's up and heads for the front door. He looks nervous as he reaches for the doornob. He checks the peephole, but can only see a large shirt and tie taking up the entire viewing area. The person's head is too high up to be seen. He hears somebody walking up behind him and turns to see Nick and Adam. They don't say anything, but nod towards the door to show their support. Daniel nods and turns back to the door. As Daniel opens the door, he immediately takes a step back. Orestes stands in a business suit and tie and a full thick beard. He takes up the entire doorway.</scene_description>
<character>DANIEL</character>
<dialogue>Who the hell are you?</dialogue>
<character>ORESTES</character>
<dialogue>Orestes. Can we come in?</dialogue>
<character>DANIEL</character>
<dialogue>We?</dialogue>
<scene_description>Orestes takes a step backwards and turns sideways. Zimri can be seen walking up the steps looking professional and cool. Daniel glances past Zimri out into the street in front of his house. There is a flatbed trailer parked in the road. On top of the flatbed is the cargo container carrying the weapons. There is a black Suburban parked behind the trailer. The windows are tinted but the two men up front look very similar to Orestes. By the time Daniel has taken all of these sights in, Zimri reaches the top of the stairs.</scene_description>
<character>ZIMRI</character>
<dialogue>May we come in? We've traveled a very long way to meet with you Daniel. I believe Orestes would like to use the restroom as well.</dialogue>
<scene_description>Daniel, Nick and Adam all look at Orestes with raises eyebrows.</scene_description>
<character>ORESTES</character>
<dialogue>I only wish to pee.</dialogue>
<character>DANIEL</character>
<dialogue>In that case, come on in.</dialogue>
<scene_description>Zimri chuckles and steps through the doorway.</scene_description>
<character>ORESTES</character>
<dialogue>Why is that funny?</dialogue>
<scene_description>Zimri walks into the living room and sits on the couch. Everyone in the house gathers around him.</scene_description>
<character>ZIMRI</character>
<dialogue>As we speak, hospitals and heath centers, even banks are being outfitted with machines used to implant the mark. While we don't know the full purpose of the mark, we do know that it is definitely going to be more than an implanted credit card.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL - NIGHT</stage_direction>
<scene_description>There is a long line of people coming out of the front doors, wrapping around the parking lot.</scene_description>
<character>CALLISTA (V.O.)</character>
<dialogue>And you think people will really accept the mark so easily?</dialogue>
<character>ZIMRI (V.O.)</character>
<dialogue>Of course they will, especially in America. When people are scared they need others to make their decisions for them.</dialogue>
<scene_description>The camera cuts to inside the hospital. The camera moves around and through the massive line of people, making its way to a long hallway with many rooms. The line branches off into smaller lines, each leading into a different room along the hallway. The camera flies by the first room only giving a brief look inside. A woman sits in a chair, holding her right hand underneath a machine that resembles a large high tech microscope. A blue laser is shooting out of where the microscope lens would be onto the woman's right hand. The camera continues to the next room where a man sits in a chair with his right hand underneath an identical machine. There is another man in the room standing on the other side of the machine, dressed like a doctor.</scene_description>
<character>DOCTOR</character>
<dialogue>What color?</dialogue>
<character>FOOLISH MAN</character>
<dialogue>Red, please.</dialogue>
<scene_description>The doctor presses several buttons on the side of the machine, causing it to power up. A red laser shoots out of the machine's lens and begins to trace out the symbol of the mark onto the man's right hand.</scene_description>
<character>DANIEL (V.O.)</character>
<dialogue>What about the angels? How do you explain them? They're real. We've all seen them. I even spoke to one.</dialogue>
<character>ZIMRI (V.O.)</character>
<dialogue>They are not angels! You have all been deceived. The angels and the serpents are one in the same. They are not from this planet.</dialogue>
<scene_description>The camera pulls back to show the next man in line to receive the mark. He's sweating profusely and looks randomly all around him. Suddenly he breaks off from the line and starts to run through the halls towards the exit. The man receives many stares as he bumps into others in line, becoming more frantic to escape.</scene_description>
<character>SCARED MAN</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>This isn't right! We shouldn't do this!</dialogue>
<scene_description>The scared man finally makes it out the front door and into the parking lot. There are two police officers standing by the door, helping direct the flow of people. The policemen have a very strange look to them. They both have golden blonde hair that shimmers even in the dark. The whites of their eyes are intensely bright.</scene_description>
<character>OFFICER 1</character>
<dialogue>I see you did not get the mark sir. I suggest you go back inside, it really is for your own good.</dialogue>
<character>SCARED MAN</character>
<dialogue>I won't! It's my right not to!</dialogue>
<character>OFFICER 2</character>
<dialogue>If you don't get it, then we cannot protect you!</dialogue>
<scene_description>The second officers face quickly turns into a serpents for a moment then returns to normal. The Scared Man shouts in panic then takes off running down a darkened alley beside the hospital. The camera cuts to the two officers looking at each other.</scene_description>
<character>OFFICER 2</character>
<dialogue>Is it my turn?</dialogue>
<character>OFFICER 1</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>No, mine.</dialogue>
<scene_description>The camera cuts back to the Scared Man running down the dark alley. Several shadowy figures lay strewn about the ground, covered in darkness. The man looks over his shoulder as he continues to run. He suddenly trips over something in front of him. He falls hard to the ground, busting his lip on the cement. He looks down to his feet. A dead woman lays facing him with open eyes. A look of fear is frozen on her face. The Scared Man cries out and scrambles across the ground, hiding behind an open dumpster. His eyes begin to adjust and he cries out again in horror as he looks around. There are four other dead bodies he can see laying all around him. Suddenly a bright light flashes near the alley entrance. The light momentarily illuminates the entire alley. There are dozens of dead bodies piled up further down the alley. The Scared Man screams and turns to run back towards the hospital. As he turns he comes face to face with one of the alien serpents. It grabs him by the throat, lifting him off the ground. It slams him into the wall.</scene_description>
<character>SCARED MAN</character>
<parenthetical>(sputtering)</parenthetical>
<dialogue>Pl...plea...se...</dialogue>
<character>SERPENT</character>
<parenthetical>(sounding like Officer 1)</parenthetical>
<dialogue>You should have taken the mark.</dialogue>
<scene_description>The serpent snaps his neck with one hand then tosses him into a nearby pile of bodies. The serpent turns and slithers offscreen. There is another flash of light. The alley is temporarily illuminated again, showing the piles of dead bodies. As the light fades the screen transitions back to Daniel's living room.</scene_description>
<character>ZIMRI</character>
<dialogue>Sebastian will soon come to your country, promoting the precious mark and performing cheap tricks to amaze and deceive. There are those of their kind that wish to help us. Before the prophets died, they told me of a terrible battle to come. They told me to reach you by any means necessary. To give you their holy weapons to use in the battle. Not only weapons, but the alien's disguises as well.</dialogue>
<character>DANIEL</character>
<dialogue>Why us? What can we do?</dialogue>
<character>ZIMRI</character>
<dialogue>God has a purpose for all of us, weather we understand it or not.</dialogue>
<character>RYAN</character>
<dialogue>God? What are you talking about? You said these things are aliens!</dialogue>
<character>ZIMRI</character>
<dialogue>Even though these creatures are not from your planet, they are still a part of God's plan. Otherwise, there would not be those that wished to help us. Or maybe you would believe it to all be a coincidence?</dialogue>
<scene_description>Zimri turns to Orestes.</scene_description>
<character>ZIMRI</character>
<dialogue>Orestes, please have the men bring in the crate. There is much to explain. We cannot stay long though, there are many preparations left before the battle.</dialogue>
<character>DANIEL</character>
<dialogue>When is this battle supposed to take place?</dialogue>
<character>ZIMRI</character>
<dialogue>In three days.</dialogue>
<scene_description>The camera cuts to out front. Zimri's men unload the crate and bring it in through the garage. The camera stays focused on a wide shot of the house as time begins to elapse. As the sun begins to rise time returns to normal and Zimri and his men get in their vehicles and leave.</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S BEDROOM - MORNING</stage_direction>
<scene_description>Daniel and Callista sit on Daniel's bed messing with the alien's holosuits. Daniel looks at a clock on the wall.</scene_description>
<character>DANIEL</character>
<dialogue>Damn it's 6 in the morning. We should get some sleep.</dialogue>
<scene_description>Callista ignores him and puts on the head section of the suit. It fits snugly around her neck and head. She switches it on. A beautiful angel face seems to flow out of the device, covering her face. Her hair becomes long and golden, flowing down her shoulders.</scene_description>
<character>DANIEL</character>
<dialogue>Whoa geez.</dialogue>
<character>CALLISTA</character>
<parenthetical>(in a haunting angelic voice)</parenthetical>
<dialogue>What? Ha-ha. Listen to the way my voice sounds! This is crazy! So how do I look?</dialogue>
<character>DANIEL</character>
<dialogue>Like an angel?</dialogue>
<character>CALLISTA</character>
<dialogue>Smooth... I like how you didn't go for the obvious answer.</dialogue>
<character>DANIEL</character>
<dialogue>Yeah, well, you know how I do.</dialogue>
<scene_description>Callista leans close to Daniel.</scene_description>
<character>CALLISTA</character>
<parenthetical>(playfully)</parenthetical>
<dialogue>So tell me, have you ever kissed an angel?</dialogue>
<character>DANIEL</character>
<dialogue>Well there was one other time, but we were both really drunk and the next day at church it was really awkward and I was like...</dialogue>
<scene_description>Callista leans forward and quickly kisses Daniel on the lips cutting him off. As they break apart, Daniel looks deep into the angel eyes and starts to laugh.</scene_description>
<character>DANIEL</character>
<dialogue>This is a little strange.</dialogue>
<scene_description>Daniel leans in and turns off the suit. The angel face dissolves away.</scene_description>
<character>DANIEL</character>
<dialogue>Much better.</dialogue>
<scene_description>Daniel puts his hand behind Callista's neck and starts to kiss her passionately. She suddenly tackles him backwards onto his bed. She kisses him up and down the right side of his neck. He closes his eyes and takes in a deep breath through his nose. Callista raises up into a straddling position and takes off the head portion of the holosuit. She makes a face as if she just had an idea. She leans over the bed and grabs the shoulder and back section of the suit. It fits on similar to a bookbag. She switches on the suit and two large white wings spread out delicately.</scene_description>
<character>DANIEL</character>
<dialogue>You look so fuckin hot.</dialogue>
<character>CALLISTA</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Watch your language.</dialogue>
<scene_description>They begin to kiss again. The wings move and flex in rhythm with Callista's body. The wings slightly wrap around the sides of the bed. Daniel suddenly wraps his arms around Callista's waist and rolls, putting himself on top of her. He kisses her underneath her chin and down her neck. He lifts his lips barely off her skin and starts to make his way toward her stomach.</scene_description>
<character>CALLISTA</character>
<dialogue>What do you think you're doing?</dialogue>
<character>DANIEL</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Just kissing.</dialogue>
<scene_description>Daniel lifts her shirt up to right underneath her bra. He stares at her flat, tan stomach for a moment, then begins to softly kiss and nibble at it. Callista giggles slightly then lets out a hushed moan. Daniel kisses his way to the side of her stomach then works his way down towards her hip indentions. He pauses and looks at Callista's face to see if she has any objections. Her head is tilted back and to the side and her eyes are closed. Daniel takes his pointer finger and pulls the waistband of Callista's pants down a couple inches exposing the soft skin of her hips. Very slowly and gently, he licks along the indention in her left hip. Callista's ass bucks slightly into the air.</scene_description>
<character>CALLISTA</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Daniel...I don't think I can take much more of that.</dialogue>
<scene_description>Daniel ignores her and licks along the other indention on the right hip. The angel wings go stiff as Callista bucks her hips again. As she lowers back to the bed, the wings relax.</scene_description>
<character>CALLISTA</character>
<dialogue>What are you trying to do to me? Drive me crazy?</dialogue>
<character>DANIEL</character>
<dialogue>Is it working?</dialogue>
<character>CALLISTA</character>
<parenthetical>(making a pout face)</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Daniel smiles then looks at Callista seriously.</scene_description>
<character>DANIEL</character>
<dialogue>Cal, I think I'm falling in love with you. I know the timing is garbage and I'm being selfish...</dialogue>
<scene_description>Callista grabs Daniel by the shoulders and pulls him top of her. She kisses him strongly on the lips. When they break apart she has tears in her eyes.</scene_description>
<character>CALLISTA</character>
<dialogue>I want to be in love with you too, I'm just so scared. I don't know what's going to happen. I don't want to lose you.</dialogue>
<character>DANIEL</character>
<dialogue>You're not going to lose me, I promise. You're one of the few things I'm sure about anymore. I really am in love with you.</dialogue>
<character>CALLISTA</character>
<dialogue>Even though I'm crying and I look bad?</dialogue>
<character>DANIEL</character>
<dialogue>It makes me want you even more. You really haven't looked bad one time since I met you.</dialogue>
<character>CALLISTA</character>
<dialogue>Yeah right, I'm...</dialogue>
<scene_description>Daniel kisses her again cutting her off.</scene_description>
<character>DANIEL</character>
<dialogue>Let's not talk about that sad stuff right now.</dialogue>
<scene_description>Daniel leans off the bed and grabs a glove-like portion of the suit. He slips it on and looks at Callista.</scene_description>
<character>DANIEL</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>We gotta stay positive if we're gonna save the world.</dialogue>
<scene_description>Daniel switches on the suit. His hand changes skin tones and gets slightly larger. He stares at his new hand in disbelief wiggling his fingers.</scene_description>
<character>DANIEL</character>
<dialogue>Holy shit!</dialogue>
<character>CALLISTA</character>
<dialogue>Be careful with that! Zimri told you what it can do.</dialogue>
<character>DANIEL</character>
<dialogue>He said the strength of their weapons is controlled by emotional response. And here you are trying to get me all hot and bothered.</dialogue>
<character>CALLISTA</character>
<dialogue>Excuse me?</dialogue>
<character>DANIEL</character>
<dialogue>Don't worry, I'm turning you on too remember?</dialogue>
<character>CALLISTA</character>
<dialogue>I'm gonna kick your ass!</dialogue>
<character>DANIEL</character>
<dialogue>Let's get serious.</dialogue>
<scene_description>Callista starts to tickle Daniel's ribs.</scene_description>
<character>DANIEL</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>No, wait, stop. Let me take it off first.</dialogue>
<scene_description>Callista ignores him and continues to tickle him relentlessly. Laughing hard, Daniel balls up his fist not thinking. His fingers press a button in the middle of the glove, making a clicking noise. The blue flames shoot up from his hand. Daniel and Callista freeze, staring at the glove.</scene_description>
<character>CALLISTA</character>
<dialogue>What'd you do?</dialogue>
<character>DANIEL</character>
<dialogue>I hear yah, ticklemania.com. I'll just turn it off then take my finger off the button, it'll be ok.</dialogue>
<character>CALLISTA</character>
<dialogue>Just go outside and let it go in the air.</dialogue>
<character>DANIEL</character>
<dialogue>We can't risk letting anyone know we have this stuff, especially Sebastian's people. It'll be fine, watch.</dialogue>
<scene_description>Daniel shuts the glove off. The flames die down but don't disappear completely.</scene_description>
<character>DANIEL</character>
<dialogue>Whoa geez, hang on.</dialogue>
<scene_description>Daniel opens his hand. A small blue fire ball shoots from the glove and flies into the wall. As the ball connects it explodes, taking out a large 5 foot portion of the wall with it. Callista screams followed by Ryan and Sarah who were on the other side of the wall in the bathroom. Ryan falls back into the open toilet and Sarah dives into the running shower wearing a bra and panties. Ryan has his shirt off but is still wearing jeans and boxers, which are now soaked with toilet water.</scene_description>
<character>RYAN</character>
<dialogue>What the fuck was that?!</dialogue>
<scene_description>Daniel bolts off the bed and steps through the new opening.</scene_description>
<character>DANIEL</character>
<dialogue>Oh my God, are you guys ok? I didn't know anyone would be in here this early.</dialogue>
<character>RYAN</character>
<dialogue>No, we're not fucking ok! We both almost got blown to pieces, scared shitless and now I have my pants full of fucking toilet water, and I</dialogue>
<dialogue>don't know if it had been flushed or not...fucker.</dialogue>
<scene_description>Callista appears through the hole in the wall.</scene_description>
<character>CALLISTA</character>
<dialogue>Holy shit! Smooth Daniel, very smooth.</dialogue>
<character>DANIEL</character>
<dialogue>That's just bad weapon design.</dialogue>
<scene_description>Daniel looks back and forth between Ryan and Sarah.</scene_description>
<character>DANIEL</character>
<dialogue>What the hell were you two even doing?</dialogue>
<character>RYAN</character>
<dialogue>Nothing.</dialogue>
<character>DANIEL</character>
<dialogue>You two look on the verge of being butt ass naked, and the shower's running. I thought you two hated each other.</dialogue>
<scene_description>Nancy and all the other house guests come tearing into the bathroom.</scene_description>
<character>NANCY</character>
<dialogue>Oh my God, what happened?</dialogue>
<character>RYAN</character>
<dialogue>That's nice, everyone in. Gather around. Well, isn't this embarrassing. Thank you Daniel.</dialogue>
<scene_description>Sarah has her face buried in her hands.</scene_description>
<character>DANIEL</character>
<dialogue>Listen, everyone into the living room. I'll explain everything. Ryan go in my room, you can borrow some clothes.</dialogue>
<character>RYAN</character>
<dialogue>Oh no, I'm taking a shower first. If you didn't notice I'm sitting inside your toilet...not feeling so fresh.</dialogue>
<character>DANIEL</character>
<dialogue>Do what you gotta do. Sarah, you can get some clothes out of my moms closet until you get yours dry.</dialogue>
<scene_description>Sarah nods her head, which is still buried in her hands. As everyone files out of the room, Nick sticks his head back in the doorway.</scene_description>
<character>NICK</character>
<dialogue>Hey man, don't forget to flush.</dialogue>
<character>RYAN</character>
<parenthetical>(smirking)</parenthetical>
<dialogue>Get the fuck outta here.</dialogue>
<scene_description>Nick laughs and disappears down the hall. He catches up with Daniel.</scene_description>
<character>NICK</character>
<dialogue>Hey man, where were their clothes?</dialogue>
<character>DANIEL</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Don't ask.</dialogue>
<scene_description>FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<character>MATTHEW</character>
<dialogue>I need to know what happened to my family.</dialogue>
<character>MICHAEL</character>
<dialogue>Matthew, they are alive. Everyone taken is alive. They are on a ship, larger than any ever made. It is called the Blessed Arc.</dialogue>
<character>MATTHEW</character>
<dialogue>Why would your people agree to build a ship for us?</dialogue>
<character>MICHAEL</character>
<dialogue>The ship was not built by my people. There are others. Their planet circles a sun in the constellation Ursa Major. They are the only ones with the wisdom, compassion and resources to accomplish such a task. You will see your family when this is over, but only if Sebastian can be defeated.</dialogue>
<character>MATTHEW</character>
<dialogue>Why don't you just kill him?</dialogue>
<character>MICHAEL</character>
<dialogue>I will act when the time is right.</dialogue>
<character>MATTHEW</character>
<dialogue>When the hell is that?</dialogue>
<character>MICHAEL</character>
<dialogue>When the Lord whispers in my ear to strike.</dialogue>
<scene_description>Michael walks over to the far wall in the room and waves his hand over a long panel. A compartment opens. Michael reaches in and takes out a holosuit. He throws it by Matt's feet.</scene_description>
<character>MICHAEL</character>
<dialogue>Put this on. I have modified it, allowing me to assist your movements for a short time. If you are to kill Sebastian, you must be quick. He will not have his guard down for long, and the fleet has almost arrived.</dialogue>
<character>MATTHEW</character>
<dialogue>How do you know?</dialogue>
<character>MICHAEL</character>
<dialogue>Because we are inside it.</dialogue>
<scene_description>The camera cuts to outer space. An asteroid, around a fourth of the size of Earth's moon, barrels past the planet Saturn. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DANIEL'S HOUSE - MORNING</stage_direction>
<scene_description>Daniel runs around his house frantically trying to wake up Callista, Ryan, Sarah, Nick and Adam.</scene_description>
<character>DANIEL</character>
<dialogue>Get up, they'll be here any minute! Get your shit together. Don't forget the suits, dammit!</dialogue>
<scene_description>Nancy enters the room wearing a bathrobe, looking extremely concerned.</scene_description>
<character>NANCY</character>
<dialogue>Where are you going, and why is it just the six of you? We should all go together.</dialogue>
<character>DANIEL</character>
<dialogue>Mom, we already talked about this. There's only six suits. People need to stay and look after the house. Besides, Zimri said it</dialogue>
<dialogue>won't be dangerous. We just gotta do some little task, and his people will handle the rest. We're gonna be fine, I promise.</dialogue>
<scene_description>A car horn sounds outside. Daniel opens the front door and sticks his head out. There are four black suburbans parked in the street. Orestes sits in the driver's seat of the lead suburban. He rolls down the window and leans out.</scene_description>
<character>ORESTES</character>
<parenthetical>(shouting to Daniel)</parenthetical>
<dialogue>It's time.</dialogue>
<scene_description>Daniel looks back inside at everyone running around trying to get dressed. He leans back outside and gives Orestes the wait finger. Orestes does not look pleased. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORT ROOM</stage_direction>
<scene_description>Matthew finishes putting on the suit. Metallic straps run across his chest, arms, legs and back. He finises putting on the head portion of the suit. He closes his eyes and switches it on. He slowly and dramatically begins to change. His clothes are replaced with the angelic armor and his face changes into a handsome angel. The camera cuts to a close-up of the angel face. Matt's eyes suddenly open. Michael reaches back into the compartment on the wall and removes an angelic sword. He carefully hands it to Matt.</scene_description>
<character>MICHAEL</character>
<dialogue>You will need this.</dialogue>
<scene_description>Michael wealds the blade with ease, but when he hands it to Matthew, Matt staggers forward and the tips of the blade falls heavily to the ground. Matt looks at Michael with raised eyebrows.</scene_description>
<character>MICHAEL</character>
<dialogue>It takes a little getting used to.</dialogue>
<scene_description>Michael's right hand begins to glow. He makes a slight gesture with his hand. Matt stands up straight, lifting the blade several inches off the ground. The light leaves Michael's hand and the blade drops back to the floor. Matt has a concerned look on his face.</scene_description>
<character>MICHAEL</character>
<dialogue>Like I said before, we must make it quick.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - DAY</stage_direction>
<scene_description>The four suburbans race down an open stretch of highway. The camera cuts to inside the lead suburban. Orestes drives while Zimri sits in the passenger seat. Daniel, Callista, Ryan, Sarah, Nick and Adam sit in the back seats.</scene_description>
<character>NICK</character>
<parenthetical>(towards Zimri)</parenthetical>
<dialogue>Who's that behind us?</dialogue>
<character>ZIMRI</character>
<dialogue>They are known as The Guard. Orestes used to command them in battle many years ago. They are still very loyal.</dialogue>
<character>NICK</character>
<dialogue>How many guys is it?</dialogue>
<character>ZIMRI</character>
<dialogue>Twenty-five. I wish there were more but believe me, they will make their presence felt.</dialogue>
<character>CALLISTA</character>
<dialogue>Where exactly are we going?</dialogue>
<character>ZIMRI</character>
<dialogue>Ann Arbor, Michigan.</dialogue>
<character>DANIEL</character>
<parenthetical>(towards Orestes)</parenthetical>
<dialogue>So how long until we get there?</dialogue>
<scene_description>Orestes turns and gives Daniel the wait finger.</scene_description>
<character>DANIEL</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Real cute.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MICHIGAN STADIUM - DAY</stage_direction>
<scene_description>The Michigan Stadium stands enormous, seating around 100,000. There are two raised platforms and two large TV screens at one end of the field, similar to those at the Wembley Stadium. Outside the stadium there are hundreds of rows of cars parked with thousands of people filing into the stadium. Almost all of their hands bear the UN Mark. The few people without it look around nervously and receive harsh stares from the others. The camera cuts to the four black suburbans entering the parking area. People jump out of the way as Orestes whips the vehicle around the turns looking for a spot to park. Once they find a spot, The Guard step out of the other suburbans looking fierce and ready for battle. They all brandish duffle bags stuffed full of the weapons from the cargo container. Orestes and two other men have additional, longer duffle bags slung over their shoulders. Daniel and his friends all carry the holosuits in bookbags given to them by Zimri. Everyone begins to make their way to the stadium entrance.</scene_description>
<character>DANIEL</character>
<parenthetical>(towards Zimri)</parenthetical>
<dialogue>Shouldn't there be guards, or military or something?</dialogue>
<character>ZIMRI</character>
<dialogue>Sebastian proclaims he has been resurrected from the dead. It would not seem right to have guards or show he might fear for his life.</dialogue>
<character>ORESTES</character>
<dialogue>I'm sure he will have plenty of protection, only we will not be able to see it until he is in need.</dialogue>
<scene_description>Orestes leads the way into the entrance. The crowd lines the entire stadium and two thirds of the field area. Sebastian and Alek stand on their corresponding platforms. Sebastian smiles with his arms outstretched. He wears his sword on his back. Alek stands by the wall holding the rope attached to the velvet curtains. He holds out his other arm, smiling like Sebastian. Orestes stops in the middle of the field and stares coldly at the two platforms.</scene_description>
<character>ORESTES</character>
<dialogue>Get ready.</dialogue>
<scene_description>The Guard begin to push people out of the way, forming a ring around Zimri, Orestes, Daniel and his friends.</scene_description>
<character>ZIMRI</character>
<parenthetical>(looking and Daniel and the others)</parenthetical>
<dialogue>You too.</dialogue>
<scene_description>Daniel and his friends crouch down and unzip their bookbags. They take out the holosuits and start to put them on. Orestes and two of his men unzip the three larger duffle bags. Orestes looks around at The Guard.</scene_description>
<character>ORESTES</character>
<dialogue>Once we launch, fire at will.</dialogue>
<character>NICK</character>
<dialogue>Launch what?</dialogue>
<scene_description>Orestes and the two other men pull out stinger missile launchers and raise them to their shoulders. The surrounding crowd gasps. CUT TO: TRANSPORT ROOM Michael walks over to a control panel and presses a button bringing up a screen that shows an overhead view of the stadium. If the audience looks close enough they can see a tiny circle in the crowd, where The Guard have formed a ring.</scene_description>
<character>MICHAEL</character>
<dialogue>It is time.</dialogue>
<character>MATTHEW</character>
<dialogue>But what do I do?</dialogue>
<character>MICHAEL</character>
<dialogue>Kill Sebastian. I will guide you.</dialogue>
<character>MATTHEW</character>
<dialogue>Come with me.</dialogue>
<character>MICHAEL</character>
<dialogue>I must stay and reprogram the fleet. Otherwise, they will kill all life on your planet.</dialogue>
<character>MATTHEW</character>
<dialogue>Oh.</dialogue>
<character>MICHAEL</character>
<dialogue>Remember, God has an invisible host, standing near your elbow, ready to intervene on your behalf. Now Go!</dialogue>
<scene_description>Michael presses another button on the console. Matt raises several inches off the ground and glows white. Seconds later the light fades and he's gone. CUT TO: OUTDOOR STADIUM Orestes signals to the two men with rocket launchers then points at Sebastian. He points his own launcher towards Alek.</scene_description>
<character>SEBASTIAN</character>
<dialogue>...behold, The creatures Satan has let loose upon this world.</dialogue>
<scene_description>The camera cuts to Alek pulling the rope. The curtains part, showing the wall to be bare. Elikai and Uriah's bodies are gone. Alek stares in shock at the wall then turns to look at Sebastian. Sebastian has a similar look of shock but he is staring out into the crowd. The camera cuts to Orestes.</scene_description>
<character>ORESTES</character>
<dialogue>This is for Hashan.</dialogue>
<scene_description>Callista looks at Orestes in surprise. Orestes and his men fire their rocket launchers. The camera cuts to Alek looking at Sebastian, still surprised. Suddenly, Sebastian crouches then jumps high into the air as the rockets connect with the platforms, creating massive explosions and sending debris flying into the crowd. The people in the stadium begin to flee. The camera cuts to Orestes' POV. Three exhaust trails lead from the rocket launchers towards the platforms. As the smoke clears, Sebastian can be seen hovering in the air. His wings are outstretched and he holds his sword in his right hand. His left fist is balled up and blue flames are rolling out of it. Suddenly dozens of angels begin to appear with flashes of light, surrounding Sebastian. The also have on armor, and fire rises up from their right hands. Several people in the crowd stop to bow, while the rest of the rushing crowd trips over them. Orestes and his men pull out machines guns and open fire. Daniel, Callista, Ryan, Sarah, Nick and Adam switch on their suits. Their bodies dramatically transform into angels, clad in armor. Sebastian's angels continue appearing until they number around 70. While The Guard continues to fire, the angels begin to rain down fireballs at them. Everyone in the circle breaks off into smaller groups. As The Guards spray a nearby angel with bullets. His body twitches in midair then reverts back to a serpent as it collapses on the ground. Seven members of The Guard get hit in the chest and face with the blue fireballs. They fly back several feet through the air. Their bodies land hard on the ground, bloody and on fire. Daniel and his friends split off into groups of two. He and Callista, Ryan and Sarah, and Nick and Adam. Sebastian's angels continue to rain down fireballs into the crowd. Many innocent people are killed trying to flee. Daniel and his friends return fire, catching several angels off guard. Sebastian lands on the ground at the back of the field and begins to walk casually forward, with the same malicious smile on his face. His sword begins to intensify with blue light. The camera cuts to near the entrance to the stadium. There is a bright flash of light. Matt appears wearing his angelic armor and holding the warrior blade. He stares out on the exchange of bullets and fire. Matt's blade also begins to intensify with blue light. He takes off running toward the fighting. He half carries, half drags the sword along with him, but never slows in pace. The camera cuts back to The Guard and Daniel and his friends being pushed back by the advancing angels. Nick and Adam are pinned down but putting up a good fight. Adam fires a large flame ball that explodes into the face of an oncoming angel. It's headless body falls smoking to the ground. Ryan and Sarah are also pinned down but doing more dodging than firing. Between the two groups are Daniel and Callista. The Guard, Zimri and Orestes are peppered throughout the line. The camera cuts back to Matt charging towards the line. As he gets closer, the sword begins to intensify in color but also weighs down more, dragging and cutting into the ground. Matt breaks through the line of his friends and continues towards the main concentration of angels. Zimri, Orestes and several others stare in amazement. CUT TO: TRANSPORT ROOM Michael watches the fighting on the console screen. He closes his eyes and holds up his glowing hands towards the screen. He mutters incoherently to himself. CUT TO: OUTDOOR STADIUM As Matt gets closer to Sebastian, several angels leap at him with their arms outstretched, ready to crush his bones. Matt groans and strains as he swings the heavy sword out in front of him, throwing dirt through the air. A seven foot long, blue energy wave shoots out from the blade. The wave slices through the legs of the closest angel, the chest of an angel to the left, and decapitating an angel further back to the left of him. As the wave slices through their bodies, the holosuits shut down, reverting the falling pieces into their serpent like form. Matt crouches and leaps over another small group of angels. As he takes a second, higher leap, dozens of angels jump at the same time. 30 or so angels hang in the air like a flock of menacing birds. Matt slings the sword horizontally, a long energy wave begins to spread out through the air. The camera cuts to a shot of the ground underneath Matt. He lands on the ground taking a knee. Serpent body parts begin to rain down in front of him. Matt notices the sword beginning to feel lighter. He stares into the mass of remaining angels. The slightest grin forms on his face. The camera cuts to Daniel.</scene_description>
<character>DANIEL</character>
<dialogue>Come on!</dialogue>
<scene_description>Daniel and his friends and The Guard begin to push forward, sending out blue fireballs and spraying bullets. As an angel reaches for Zimri, Orestes grabs it by the arms, tugs as hard as he can, dislocating them from their sockets. He drops the limp arms and grabs it by its head, twisting it violently to the side. The camera cuts to Matthew swinging wildly into the crowd of angels. Shock waves tear through the serpents and rip up the surrounding stadium. Sebastian finally starts to run then leaps, landing close to The Guard. He throws out a large blue energy ball into a group of four men, that explodes sending their dead bodies flying through the air. He slings his blade cutting two more of The Guard along with several fleeing people in half. Sebastian turns towards Nick and Adam and sends out another energy ball. Adam jumps in front of Nick and tries to send out his own energy ball to intercept it. The energy shots connect but too close and the resulting explosion that sends Adam flying backwards into the stadium seats and knocks Nick and many other nearby humans to the ground. Callista, Daniel, Ryan and Sarah fire out energy blasts at Sebastian. They miss but Sebastian jumps back into a thicket of people, allowing Nick some time to get to his brother. Matt continues to dodging fireballs and slicing his way closer to Sebastian. Nick kneels over his brother, holding his head in his lap and weeping bitterly. After a moment he collects himself. He leans over Adam and removes the energy glove from his hand. He places it on his own left hand and turns towards the approaching angels with Sebastian in the center. Nick balls both his hands into tight fists and begins to charge the gloves. The flames shoot up to the normal size but continue to grow, becoming massive. Nick's arms are both completely engulfed in the blue flames. He raises his arms and puts his fists together, aiming them right into the crowd of angels. He screams in rage. The camera cuts to Matt. As he nears Sebastian, everything in his line of vision lights up a fiery blue, then a deafening explosion goes off, sending dozens of the serpents bodies sailing through the air. As Matt's disorientation wears off he notices Sebastian lying in the midst of many dead aliens. Their bodies have certain parts looking angelic and others like a serpent. Bruised and bloody with a broken arm, Sebastian picks up his sword with his other hand and turns preparing to fire a shockwave at Nick. Matt raises his sword high over his head then brings it crashing down into the ground. A think precise vertical wave rockets across the ground tearing through a few angels then slicing through Sebastian's arm holding the sword, and the tip of his slithering tail. He screams out in shock and pain. He falls to the ground bleeding and looking up into the sky. As he stares he suddenly begins to laugh. He raises his broken hand to the sky and says something in his alien language. The camera cuts to Matt looking up at the sky. He notices the constant meteor shower is gone. Suddenly what looks like the tip of a mountain breaks through the thick clouds. It's around the size of the entire stadium. The camera cuts to a panoramic view of the sky. What looks like an entire upsidedown mountain emerges through the clouds. Everyone in the stadium looks to the sky. The humans gasp.</scene_description>
<character>DANIEL</character>
<dialogue>What?!</dialogue>
<scene_description>Matt looks back at Sebastian and hurriedly sends out another shockwave to finish him off. Right before the shockwave reaches Sebastian, a massive cylinder of light fires from the "mountain" shooting towards Sebastian and slamming into the ground around him. His body floats a foot off the ground then glows white. Seconds later he disappears along with the light beam.</scene_description>
<character>MATTHEW</character>
<dialogue>No! Goddamn you! Michael, why?!</dialogue>
<scene_description>Right then, a massive explosion goes off behind Matt, knocking him to the ground. Matt rolls on his side to see a large pile of dead alien bodies, with Nick laying in the middle. A single alien in the pile stirs. He looks up and makes eye contact with Matt. It raises a flame glove and fires out a single energy ball before collapsing. The camera follows the ball as it speeds along the ground toward Matt. At the last second, he raises his sword out in front of him. The sword glows brightly as the ball slams into it. The sword absorbs the majority of the blast, but a small explosion results, knocking the sword from Matt's hand and throwing his body across the ground and sliding to a stop. The angel face and part of the chest and left leg armor dissolve away, revealing Matt's bloody face and chest. The wings twitch slightly. CUT TO: TRANSPORT ROOM Sebastian lays on the transport pad in a pool of his own blood. His face is still that of an angel, but the majority of his body has reverted back to a serpents. He looks around in a daze. Michael stands over him.</scene_description>
<character>MICHAEL</character>
<dialogue>Let me help you.</dialogue>
<scene_description>Sebastian has a grateful look on his face and lets Michael help him up. He slithers awkwardly over to the view screen observing the stadium on Earth. He presses a button.</scene_description>
<character>SEBASTIAN</character>
<parenthetical>(shouting loudly)</parenthetical>
<dialogue>Kill them all!</dialogue>
<scene_description>VIEW SCREEN The remaining aliens advance on the remaining humans. The camera moves through the screen and transitions into an overhead view of the real battle. The camera zooms to Matt laying on his back. Two sets of hands grab him by the shoulders, followed by two more. Daniel, Callista, Ryan and Sarah drag Matt away from the angels toward the stadium entrance.</scene_description>
<character>DANIEL</character>
<dialogue>Oh my God, Matt!</dialogue>
<scene_description>Daniel and Callista's eyes water as they try to shake Matt awake. He doesn't seem to be responding. The camera cuts to a bloody Orestes with Zimri slung over his shoulder, unconscious. He is closer to the entrance than the others and continues out to the parking lot. CUT TO: TRANSPORT ROOM Michael stands behind Sebastian looking at the back of his angelic head.</scene_description>
<character>SEBASTIAN</character>
<dialogue>Soon this world will be mine. I will be king. For your loyalty you will be made prince of the Earth. Your riches will know no bounds.</dialogue>
<scene_description>The camera cuts to Michael's solemn face.</scene_description>
<character>MICHAEL</character>
<dialogue>I serve the King Most High.</dialogue>
<scene_description>Michael draws a sword from his back. He takes a step forward. Sebastian nods slightly, thinking Michael is referring to him.</scene_description>
<character>MICHAEL</character>
<dialogue>The riches of Earth will turn to dust...and Whosoever shall exalt himself will be abased; and he that humbles himself shall be exalted.</dialogue>
<scene_description>Looking puzzled, Sebastian turns towards Michael. His eyes widen. The camera cuts to Michael. He looks very ominous and holy. It's as if he even has a divine aura around him. The sword glows vibrantly in his hands.</scene_description>
<character>SEBASTIAN</character>
<dialogue>What are you doing?</dialogue>
<character>MICHAEL</character>
<dialogue>No one can serve two masters.</dialogue>
<scene_description>Michael swings the sword, chopping Sebastian's head off. As the head falls, it turns back into the serpent form. Michael sets down the sword and steps over Sebastian's body, looking at the viewscreen. CUT TO: OUTDOOR STADIUM Daniel and Ryan continue dragging Matthew away from the fighting. Callista and Sarah try to give them cover fire while avoiding attacks themselves. The camera cuts back to a view of the sky. The mountainous asteroid blocks out the sun as it slowly moves closer. The battlefield seems to turn from day to night. Deep cracks and fissures begin to tear through the asteroid. All the remaining angels stop fighting and look up to the sky. Lightning shoots through the clouds and the rock. The angels all glow white and disappear. There is a total silence. Suddenly the asteroid surface begins to shake violently, even the air seems to vibrate. The humans to fall to the ground. Matt finally wakes up staring up at the asteroid. MATT'S POV - THE ASTEROID A deafening explosion sounds. The outer surface of the mountain shatters into millions of rocky chunks. The pieces stay suspended in midair around the concealed alien fleet. Hundreds of thousands of small ships begin to file out from inside the broken up mountain of rock. The design of the ships resembles a locust. From below it seems as if a massive black river is flowing out through the air. The camera cuts to an overheard view of the fleet. The sun strikes the shiny metallic surface of the ships from the top making it look like a river of light. The camera cuts back to the ground. As the ships continue to pour out and spread out, all the rocky chunks that made up the asteroid shell begin to fall to the ground. The center of the asteroid is an enormous ship. Enough of the smaller black ships surrounding it are gone, showing it to be red and having two winglike structure coming out the sides. The ship resembles a dragon. The camera cuts to Matthew and his friends huddled together. They will not be able to make it out of the stadium before being crushed to death by the falling rock. Moments before the falling chunks smash their bodies, another white cylinder of light fires from the front of the red ship. It seems to tear through the air as it makes its way to Matt and his friends. The beam is around 8 feet in diameter. It slams into the ground around them, encasing them. Their bodies float several feet off the ground then disappear. The clothes they had on underneath the holosuits fall to the ground as the beam disappears. The camera cuts to the sea of ships spreading out across the horizon. CUT TO: TRANSPORT ROOM Matthew lays on the transport pad in a pool of Sebastian's blood. Matt is conscious but very disoriented. Matt's body still appears as an angel but his face is his own. He can see a blurry outline of an angel in front of him. He picks up the bloody sword laid down by Michael and swings it in a wide arc at his head. Michael easily catches his arm. Matt spits blood onto the side of his face. Michael turns his other cheek toward Matt.</scene_description>
<character>MATTHEW</character>
<dialogue>We didn't do anything! We didn't know!</dialogue>
<character>MICHAEL</character>
<dialogue>The sins of the father shall be visited upon the sons to the third and fourth generation.</dialogue>
<scene_description>At the sounds of Michael's voice, Matt's vision comes into focus.</scene_description>
<character>MATTHEW</character>
<dialogue>Michael? Where are they?</dialogue>
<character>MICHAEL</character>
<dialogue>They're fine.</dialogue>
<character>MATTHEW</character>
<dialogue>So leave now! Return the people you took!</dialogue>
<character>MICHAEL</character>
<dialogue>No, that is not God's plan.</dialogue>
<character>MATTHEW</character>
<dialogue>God doesn't want this!</dialogue>
<character>MICHAEL</character>
<dialogue>Do no pretend you know the will of God.</dialogue>
<character>MATTHEW</character>
<dialogue>And you do?</dialogue>
<character>MICHAEL</character>
<dialogue>I have bathed in his presence and love. He has spoken to my soul and acts through me to accomplish his will.</dialogue>
<character>MATTHEW</character>
<dialogue>I don't understand. What's the fucking plan then? What was the point of the Mark?</dialogue>
<character>MICHAEL</character>
<dialogue>Sebastian used your religion to get your people to accept the Mark. It would serve as a means to track your people once the fleet arrived. After the cities were destroyed, it would take no time at all to activate the Marks and locate the survivors.</dialogue>
<scene_description>Michael pauses then begins to smile softly.</scene_description>
<character>MICHAEL</character>
<dialogue>There is a new world that has been prepared for you. The world of those that build the Blessed Arc. They have learned to live in harmony with their planet. They have agreed to show you the way. We will stay here and fix the damage you have done to your planet. Those not on the arc will stay and help.</dialogue>
<character>MATTHEW</character>
<dialogue>As slaves?</dialogue>
<character>MICHAEL</character>
<dialogue>You are already slaves to yourselves. One day when you people are ready, they can return and try to take back the Earth.</dialogue>
<character>MATTHEW</character>
<dialogue>What do you mean, try?</dialogue>
<character>MICHAEL</character>
<dialogue>You have lost the right to live here. Through the grace of God you have been given a second chance. But you must earn the right to reclaim Earth. You must fight for it. Maybe then you can truly appreciate it.</dialogue>
<scene_description>CUT TO: OUTER SPACE There is a gigantic beautiful ship, resembling a cruise ship made of glass. Stars and planets can be seen reflected off the glass-like sides of the ship. Millions of Humans in white robes can be seen through the sides looking out in amazement. The camera cuts to a wide shot of the Earth. The remains of the giant asteroid can be seen breaking up as thick black lines of ships spread throughout the Earth's atmosphere. SERIES OF SHOTS The ships spreading out and positioning over cities and superhighways all over the world. People standing outside their cars and homes, staring up into the sky. Nancy sitting by a window in her house, holding Timothy in her arms crying. CUT TO: TRANSPORT ROOM</scene_description>
<character>MATTHEW</character>
<dialogue>You don't have to do this. It's our fucking planet, not yours!</dialogue>
<character>MICHAEL</character>
<dialogue>You are all the children of God. You have grown too far from your Father. Your people are drowning in sin. Drugs, sex and violence have become your holy trinity. You have appointed yourselves your own creators, answering to no one. You worry only for yourselves, while disease, starvation and senseless death are ignored.</dialogue>
<scene_description>The camera cuts to a closeup on one the small black ships. Two panels open up on the sides and two cannon like pieces extend.</scene_description>
<character>MICHAEL (V.O.)</character>
<dialogue>It is ironic, that when faced with impending death even an atheist will call on God for help. Know your Father in the beginning, not the end.</dialogue>
<scene_description>CUT TO: THE INVASION FLEET The ships cannons glow blue, then open fire.</scene_description>
<character>MICHAEL (V.O.)</character>
<dialogue>Do you see these great buildings? Not one stone will be left upon another, that will not be thrown down.</dialogue>
<scene_description>SERIES OF SHOTS Sky scrapers fall. Highways are ripped into pieces. Moments crumble to the ground. All the natural environment is left unharmed. The camera cuts to the stream of fighters closing in on Daniels house. Nancy clutches Timothy. Her eyes are closed and tears run down her face. The camera cuts to a view of the ships firing. Seconds before the blasts hits the house, a white column of light fires from the red ship through the roof of Daniel's house. As the light fades the house is blown to pieces. CUT TO: TRANSPORT ROOM Michael stands looking at the remains of Daniel's house of the viewscreen. He turns to Matthew.</scene_description>
<character>MATTHEW</character>
<dialogue>Thank you...Michael...</dialogue>
<scene_description>Matthew stares at the walls silently, trying to process everything he has heard. He turns towards Michael and looks at him curiously.</scene_description>
<character>MATTHEW</character>
<dialogue>Take off your suit. I want to see the real you.</dialogue>
<scene_description>Michael smiles and takes a step closer to Matt.</scene_description>
<character>MICHAEL</character>
<dialogue>Cast away your worries and doubts. Trust in God and let forever be.</dialogue>
<scene_description>Michael puts a glowing white hand to Matt's forehead.</scene_description>
<character>MICHAEL</character>
<dialogue>Amen.</dialogue>
<scene_description>Matthew's eyes roll back in his head. He begins to collapse to the ground. Right before he hits the ground, his body freezes in air, a few inches off the floor. He body glows white then disappears. Still smiling, Michael turns back to the viewscreen. He presses several buttons on the console causing an image of the UN Mark to come up on the screen. He places his right hand over the symbol on the screen. The symbols lights up brightly. CUT TO: OUTDOOR STADIUM Orestes and Zimri, along with thousands of people travel away from the demolished stadium. The roads are destroyed so they walk along the dirt path next to the chunks of overturned cement. Suddenly people begin to cry out as the Mark on their hand begins to glow brightly. The Mark begins to project a holographic image of itself, inches above the peoples hands. The three rings and three lines begin to rearrange themselves turning the symbol into something closely resembling the numbers 666. Zimri cries out removing his glove and staring in horror at his hand. In the distance more alien ships can be seen entering the atmosphere and landing. Zimri holds his hand out towards Orestes.</scene_description>
<character>ZIMRI</character>
<dialogue>You know what to do.</dialogue>
<scene_description>Orestes nods and removes a very large blade from his boot. He grips Zimri by the wrist with one hand and raises the knife high in the air with his other hand. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BLESSED ARC</stage_direction>
<scene_description>Matt wakes up on his back looking up. His eyes begin to dart all around. The camera pans back to reveal hundreds of people standing around him. There are many children's faces from many different races smiling at him. Everyone is dressed in white robes. They help Matt to his feet. He takes a moment to look around. The inside of the ship is awe inspiring. It seems to go on forever in every direction. Everywhere, intricate glass like artwork can be seen. There are literally millions of people as far as Matt can see.</scene_description>
<character>DANIEL (O.S.)</character>
<dialogue>It's like another world in here.</dialogue>
<scene_description>Matt turns to see Daniel. He looks very happy. Matt looks over Daniel's shoulder. He can see Nancy, Timothy, Callista and Daniel's father approaching.</scene_description>
<character>DEBORAH (O.S.)</character>
<dialogue>Matty!</dialogue>
<scene_description>Matt is suddenly tackled from behind. He looks over his shoulder to see his mom and sister. Standing behind them is Matt's father. Tears of joy are pouring out of both families's eyes. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTDOOR STADIUM</stage_direction>
<scene_description>The dragon like ship hovers above the destroyed stadium. Michael stands down below looking out on a massive army of the serpent-like aliens. Giant ships enter the atmosphere and land to the right and left of the army, unloading even more aliens. In the distance, the serpents can be seen rounding up and detaining the fleeing humans. Overhead a massive fleet of ships, resembling oil tankers fly by. As they fly over the remains of destroyed highways and building they spray out a chemical that looks like regular rainwater. It coats the broken up cement and metal. CLOSEUP - HIGHWAY REMAINS The cement and steel and other makings of the highway begin to dissolve. They continue until it reaches the bare earth. The chemicals then soak into the soil and turn it to a rich earthy color. The camera cuts to Michael. As he looks out smiling, he presses a button in the center of his holosuit. Before the suit can melt away, Michael begins to glow an intense white so by the time the suit dissolves away, only a white silhouette can be seen. Michael does not disappear but instead stands where he is. The white silhouette walks towards the screen. The camera zooms on his face. Lines resembling facial features can be seen. FADE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLESSED ARC</stage_direction>
<scene_description>The Blessed Arc drifts through the depths of space. In the distance there is a beautiful planet, full of color and much larger than Earth. The camera zooms on the side of the Arc and onto the face of Matthew and his family and friends looking out.</scene_description>
<character>MATTHEW (V.O.)</character>
<dialogue>You know it's true what they say...you don't know what you've got until it's gone. I never thought I could say that about my fucking planet. Maybe Michael was right all along. Maybe we had taken everything for granted. We'd become so focused on ourselves that the rest of the universe had become one big blur. One day things came into focus and we tried to look up, but it was too late, judgement was already here. Daniel says we tried to used things like drugs, sex and material possessions to fill the void left by our rejection of God. Had God finally rejected us? As I stare out into the infinite depths of space, my heart warms slightly. Maybe this Arc is God's proof of continued mercy. We were sent away to start over, and we will. Michael told me if we wanted Earth back, we'd have to fight for it, and we'll do that too. There's no doubt about that. I only hope that when that battle takes place, those bastards can grasp the full force of the human spirit and appreciate it...I don't know what the future holds, but I know who holds it.</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | In 1935 England, 13-year-old Briony Tallis, the youngest daughter of the wealthy Tallis family spies on her older sister, Cecilia, and the housekeeper's son, Robbie Turner (with whom Briony is infatuated), from her bedroom window. During Cecilia's and Robbie's argument by the garden fountain, Robbie accidentally breaks a vase and yells at Cecilia to stay where she is to avoid cutting her feet. Still angered, Cecilia strips off her outer clothing and climbs into the fountain to retrieve one of the glass pieces. Briony observes from the window and misinterprets the relationship between Cecilia and Robbie. Robbie drafts a note to Cecilia to apologise for the incident. In one draft, he pens his unfiltered feelings of attraction for her in explicit language. Although he never intends for anyone to see this version of the note, he mistakenly places it (instead of the second more formal note he drafts) in an envelope which he asks Briony to deliver to Cecilia. Briony reads the letter before giving it to her sister. Later, she describes the note to her 15-year-old cousin, Lola, who calls Robbie a "sex maniac". Paul Marshall, a visiting friend of Briony's older brother Leon, introduces himself to the visiting cousins and appears to be attracted to Lola. Before dinner, Robbie and Cecilia are alone in the library, at which time he apologises for the obscene letter, but she confesses her love for him. They make love against the wall in the library as Briony walks in unseen, sees them, and mistakenly thinks her sister is being raped. During dinner, Lola's twin brothers go missing, and the household organises into search parties. While participating in the search, Briony comes across Lola being raped by a man who flees. Despite never seeing the man clearly, Briony is convinced that it was Robbie; a confused Lola who did not see his face does not dissent. Later, Robbie — who finds the twins unharmed — returns to the house. He is arrested despite Cecilia's pleas of his innocence. Lola and Briony's testimony, along with her turning over the explicit letter, convinces everyone but Cecilia of his guilt. Four years later, during the Second World War, Robbie is released from prison on the condition that he joins the army and fights in the Battle of France. Separated from his unit, he makes his way on foot to Dunkirk. He thinks back to six months earlier when he met Cecilia, now a nurse. Briony, now 18, joined Cecilia's old nursing unit at St Thomas' Hospital in London rather than go to the University of Cambridge. She writes to her sister, but Cecilia cannot forgive her for her part in Robbie's arrest and conviction. Robbie, who is gravely ill from an infected wound and hallucinating, arrives at the beaches of Dunkirk, where he awaits evacuation. Later, Briony, who regrets implicating Robbie, learns that Paul Marshall is about to marry Lola. As Briony attends the wedding, it sinks in that Paul assaulted Lola during the search for the twins years ago. Briony visits Cecilia to apologise and suggests correcting her testimony, to which Cecilia says she would be an "unreliable witness". Briony is surprised to find Robbie there living with her sister while in London on leave. Briony apologises for her deceit, but Robbie is enraged that she has not accepted responsibility for her actions. Cecilia calms him down, and Robbie instructs Briony how to set the record straight and get his conviction overturned. Briony agrees. Cecilia adds that Briony include what she remembers of Danny Hardman, but Briony points out that Paul Marshall was the rapist and Cecilia adds he has just married Lola and now Lola will not be able to testify against her husband. Decades later, when Briony is an elderly and successful novelist, she gives an interview about her latest and last book, an autobiographical novel titled Atonement, and explains that she is dying from vascular dementia. The audience learns that the portion of the book where Robbie and Cecilia are living together and Briony attempts to apologize to them is fictitious. The reality is that she could never atone for her mistake, and Cecilia and Robbie never reunited; Robbie died of septicaemia from his infected wound at Dunkirk, and Cecilia drowned months later during an underground flood due to the Balham tube station bombing during the Blitz. Briony admits that she wrote her novel with its fictitious ending to give the two, in fiction, the happiness they never had because she was responsible for mistakenly identifying Robbie as Lola's rapist. The last scene shows an imagined and happily reunited Cecilia and Robbie staying in the house by the sea which they had intended to visit once they were reunited. |
Bram Stoker's Dracula_1992 | tt0103874 | <script>
<scene>
<scene_description>SECOND DRAFT April Hi, 1991 Dracula. Our aidolon, •. Ha is huge and we admire his size, Strong and we admire his strength. Ha moves with confidence of a creature that has energy, power and will • .•• we need only to look a little to sea how tempting is the choice ha makes: available i111.111ortality, He has collected on the Devil's.bargain: the infinitely stopped moment ••••• OR, LEdNARDWOLF-- Author and friend-- A Preu of Pr1eul1 & Thi AnnotatedPIDQUll i )</scene_description>
<character>4/16/91</character>
<dialogue>1.</dialogue>
<character>1</character>
<dialogue>BATTLEGROUND</dialogue>
<character>EXT, TRANSYLVANIA</character>
<dialogue>- FULL MOON- NIGHT 1</dialogue>
<scene_description>NARR: JUNE, 1462: Moslem Turks, led by Sultan Mohammed, have dr.iven the Christians from Constantinople and invaded Rumania with a superior force, threatening all of Christendom. A Rumanian Prince from the region of Transylvania, VLADISLAUS DRACUIA --military genius notorious throughout Eastern Europe for his blood- thirsty ways--leads 7,000 of his countrymen in a bold pre-dawn sneak attack against 30,ooo TUrks as a last heroic attempt to save his homeland ••• A jagged rock foI"lllation. WEHEARTHE SOUNDSOF BATTLE: thundering horses; clash of steel; men yelling ••• dying ••• TURKISHLANCERSCHARGEamidst smoke and flames. A LONE ( WARRIORPRINCE wlelds his sword against them; his face hidden in a helmet fashioned from a great wolf's head; The Prince UPENDSA TURKISHLANCER with a slash. He ducks another 1erking the lance from the rider's grasp.· He wheels--impaling the man, tossing him like hay. smoke swirls away behind the warrior revealing a horrifying sight: TUrks, hundreds, impaled on spikes into the distance. Turkish attackers falter dead in their tracks, reviled by the sight of their dead comrades. They retreat. STEFAN, a Moldavian Prince, rides up with 2 WARRIORS.</scene_description>
<character>STEFAN</character>
<dialogue>Prince Dracula! The Turks are falling back! They retreat! Sultan Mohammed is defeated!</dialogue>
<scene_description>PRINCE DRActlIA removes his wolf helmet. Stallion black hair falls about his shoulders. Young, handsome. Oeee piercing blue eyes of an angel capture us. He kneels kissing his crucifix.</scene_description>
<character>PRINCE DRACULA</character>
<dialogue>God be praised. I am victorious. Let this be a message to all enemies of the Cross of Christ.</dialogue>
<scene_description>He viciously skewers the wounded Lancer begging for his life and hoists him before the field of impaled TUrks.</scene_description>
<character>4/16/91</character>
<dialogue>2,</dialogue>
<character>STEPAN</character>
<dialogue>I beq you, my Prince••haven•t enough died thia day? ·</dialogue>
<scene_description>Anguished cries echo around them. WOLVESHOWLin the distance, on the scent. Dracula stares at the fresh blood on his hands. A horrible premonition seizes him--</scene_description>
<character>PRINCE DRACULA</character>
<parenthetical>(desperate, dreading)</parenthetical>
<dialogue>Elizabeth •••</dialogue>
<scene_description>He leaps astride a riderl••• black stallion rearing away.</scene_description>
<character>EXT,</character>
<dialogue>A mountain fortress in the Carpathian Alps overlooking</dialogue>
<character>CASTLE DRACULA �</character>
<dialogue>the Arges River. A sei:-pentin• road is lined with impaled corpses. Dracula thunders ay in the f,9.</dialogue>
<character>3</character>
<dialogue>- CONTINUING</dialogue>
<character>INT, CASTLECOURTYARD</character>
<dialogue>ACTION</dialogue>
<dialogue>PRAYINGMOHISfall back as Prince Dracula dismounts racing</dialogue>
<character>3</character>
<dialogue>- 4</dialogue>
<scene_description>into the chapel, by the door, A final grotesque VICTIM hangs impaled</scene_description>
<character>INT, CASTLECHAPEL� TIGHT ON ELIZABETH</character>
<dialogue>4</dialogue>
<scene_description>Her regal lifeless body twisted and bent beneath a great stone Dragon arch before a shrine of the crucifixion, Note: reference golden coin ritual par rrc PRINCE DRACULA crumbles prostrate over her, Th• Warrior in him fails, kissing, caressing, willing her baok to life. CHESARE, an elder Monk, tries to comfort him.</scene_description>
<character>CHESAM</character>
<dialogue>A messa9e came--on the shaft of a TUrk1sh arrov--reporting you,., among th• dead. We could not consol• her. Sh• threw hereelf fro• th• parapet ••• H•r last words.</dialogue>
<scene_description>Chesare hand• Dracula a bloodstained parchment,</scene_description>
<character>VOIC! OF ELIZABETH</character>
<dialogue>"MYPrince ia feared dead. All is lost without him ••• I would rather my body rot and be consumed by the fi•h of the Argos</dialogue>
<scene_description>- than fall capture by th• Turk•. •.• May God unit• u• in heaven ••. •</scene_description>
<character>4/16/91</character>
<dialogue>J•</dialogue>
<scene_description>He kisses her bloodstained mouth, convulsing in his pain.</scene_description>
<character>CHESARE</character>
<dialogue>She has taken her own life, my son. Her soul cannot be saved. It is God's law •••</dialogue>
<scene_description>Dracula cries out--a dying animal, lashing the crucifixion with his sword. He dumps the font of holy water washing Elizabeth's blood across the floor.</scene_description>
<character>CHESARE</character>
<parenthetical>(raising his crucifix)</parenthetical>
<dialogue>Sacrilege! Do not turn your back on Christ.</dialogue>
<scene_description>Dracula bends Chesare•s wrist in his powerful grip snapping bones--the crucifix falls to the bloody floor.</scene_description>
<character>DRACULA</character>
<dialogue>I Dracula, Voivode of Transylvania turn my back on God! And all you hypocrites who feed off himl If my beloved burns in hell--so shall II--I will arise from my own death to avenge hers with all the powers of darkness!</dialogue>
<scene_description>He rakes the colll.lllunion goblet through the bloody-holy water--raising it high--</scene_description>
<character>CHESARE/MONKS</character>
<dialogue>Devil I Vrolokl Berserker!</dialogue>
<character>DRACULA</character>
<dialogue>"The blood is the life," And it shall be mine.</dialogue>
<scene_description>Cradling Elizabeth, he drinks the rush of fresh life. FADE OUT:</scene_description>
</scene>
<scene>
<stage_direction>FADE IN: EXT. BILLINGHAMESTATE - ABOUT 1898</stage_direction>
<scene_description>Overlooking London and the Thames. A stone bench and family cemetery mark the highest point. We begin a diary entry typed on an early typewriter. SUPER: MINA MURRAY'SDIARY - 9, MAY, HILLINGHAMMANOR</scene_description>
<character>MINA (V,O,)</character>
<dialogue>"9 May, I arrived todar at Hillingham, where I sha 1 be staring with Lucy for some weeks unt 1 Jonathan and I are married,</dialogue>
<scene_description>4/16/91 4. MINA (V.o. I have longed to be with her, where we can talk together freely, and build our castles in the air. The life of an assistant schoolmistress is sometimes trying, and I have been working very hard lately, I shall keep a diary, a sort of journal which I can write in whenever I feel inclined as I see lady journalists do, I do not suppose .there will be much of interest to other people, but it is not intended for them," 6 EXT, HILLIHGHAH HOUSE- LUCY'S BALCONY</scene_description>
<character>- DAY 6</character>
<dialogue>MINA</dialogue>
<scene_description>Oh••• how disgustingly awful ••• The tyfing keys jam. Mina's eyes drift to Sir Richard Burton s ARABIANNIGHTS open beside her.</scene_description>
<character>LUCY (O.C.)</character>
<dialogue>Mina ..• ?</dialogue>
<scene_description>Mina turns. WESEE HER FACE FOR THE FIRST TIME•. Age 20. She evokes the very image of Eliza.beth. Her schoolmistress attire designed to prevent any sensuality from escaping. LUCYWESTENRA opens the balcony doors--as if making a grand entrance into a ballroom filled with Royalty. 19, rich, spoiled, coquettish, and blonde--everything Mina is not.</scene_description>
<character>LUCY</character>
<dialogue>Oh you prude--Is your ambitious Jon Harker forcing you to learn that ridiculous machine? When he could be forcing you to perform unspeakable acts of desperate passion on the parlor floor--</dialogue>
<character>MINA</character>
<dialogue>Lucy, really--you shouldn't talk about my fiance in such a way-- --there•s more to marriage than carnal pleasures--</dialogue>
<scene_description>Mina stands--the concealed book falls to the floor opening wide to an erotic etching.</scene_description>
<character>LUCY</character>
<dialogue>So I see ••• Much much more.</dialogue>
<character>4/16/91</character>
<dialogue>5.</dialogue>
<scene_description>They burst into titillating laughter. Lucy picks up the book, both breathlessly fanning pages to another etching.</scene_description>
<character>MINA</character>
<dialogue>He's so appallingly huge--</dialogue>
<scene_description>WC'i They come much bigger. She indicates 10 inches-with her hands. Mina is aghast.</scene_description>
<character>KINA</character>
<dialogue>Can a man and woman really do such •• ,such ••• things?</dialogue>
<scene_description>WC'i I did--only last night-- Lucy poses the sex position in the etching. Kina flushes. WC'i (adding) --in my dreams. (savoring giddy) I almost forgot. I am bursting with news. 7 INT, PARUIR - POV THROUGH KE'iHOLE 7 A handsome young MAN turns a wide brimmed hat nervously in his hands, Western boots. A beaded American Indian vest flashes under his waist-coat. MINA (o.c.) What is that? 8 INT, HALLWAY</scene_description>
<character>- LUCYANDMIN.A- CONTINUINGACTION 8</character>
<dialogue>LUCY</dialogue>
<scene_description>A Texan. Mina gawks through the keyhole. Lucy langors.</scene_description>
<character>LUCY</character>
<dialogue>Quincey Morriss. He's so young and fresh. Oh Mina--he's like a wild stallion between my legs--</dialogue>
<character>MIN.A</character>
<parenthetical>(stifling a laugh)</parenthetical>
<dialogue>You're positively immoral---</dialogue>
<character>WCY</character>
<dialogue>Mm:mhmmm--He just proposed.</dialogue>
<scene_description>4/16/91 6.</scene_description>
<character>MINA</character>
<dialogue>Should I dare ask what.</dialogue>
<character>UJCY</character>
<dialogue>Marriage! That makes 2 proposals in one day. I'm hoping for 3. I am so happy I don't know what to do with myself. Oh, Mina I hope there is enough of me to share.</dialogue>
<scene_description>She giggles the coquette, primpin9 in the hall mirror. Mina tends Lucy's hair, burning with jealousy.</scene_description>
<character>MINA</character>
<dialogue>Who was number one? That tall curly-haired man at the concert?</dialogue>
<character>UJCY</character>
<dialogue>That gentleman is secret number three.· Dr. John Seward is number one. He would just do for you if you were not already engaged.· He has an immense lunatic asyllllll all under his own care.</dialogue>
<character>MINA</character>
<dialogue>Lunatics. And you thought of me.</dialogue>
<parenthetical>(the urge to kill)</parenthetical>
<dialogue>Well, you can't marry all 3.</dialogue>
<character>UJCY</character>
<parenthetical>(posing in mirror)</parenthetical>
<dialogue>Why not. Why can't a girl marry three men--or as many as want her--It's so uncivilized.</dialogue>
<character>MINA</character>
<dialogue>Lucy Westenra you are a horrid flirt.</dialogue>
<character>UJCY</character>
<dialogue>I just know what men desire •••</dialogue>
<parenthetical>(baring her cleavage)</parenthetical>
<dialogue>They're just little boys. They'll do anythin9 for a sweet candy kiss and a ride on your merry-go-round. Watch--</dialogue>
<scene_description>Lucy enters to her Texan. Mina studies. the mirror.</scene_description>
<character>MINA</character>
<dialogue>If I were a man, I know what I would do to make a girl love me.</dialogue>
<scene_description>The allure of the keyhole is too great. She steals a peek. 4/16/91 7. MINA'S POV - THROUGH KEYHOLE - WC'l ANO QUINCEY</scene_description>
<character>LUCY</character>
<dialogue>Please, let me touch it. It's so big.</dialogue>
<scene_description>Giddy, she reaches for his crotch and pulls out his big Bowie knife. She fondles it seductively.</scene_description>
<character>LUCY</character>
<dialogue>Quincey, you are so ver:y sweet and dear, but there is someone else I love.</dialogue>
<scene_description>Acce~ting defeat, he extends his hand, Lucy kisses it tugging him to her neck, her breast. He drops his hat.</scene_description>
<character>SERVANT(O,C.)</character>
<dialogue>Miss Murray?</dialogue>
<scene_description>RESUME:HALLWAY</scene_description>
<character>- A SERVANT</character>
<dialogue>APPROACHES,</dialogue>
<character>SERVANT</character>
<parenthetical>(non-plussed)</parenthetical>
<dialogue>Mr. Jonathan Harker is calling to see you.</dialogue>
<scene_description>Mina rises, el'lll:)arrassed1 she hurries away. The Servant waits, then sneaks a peek through the keyhole.</scene_description>
</scene>
<scene>
<stage_direction>9 .EXT. HILLINGHAM</stage_direction>
<scene_description>GROUNDS</scene_description>
<character>- DAY 9</character>
<dialogue>Peacocks roam, screeching mating cries. JONATHAN HARKER greets Mina at a stone bench overlooking the Thames. 24, wildlr ambitious, upwardly mobile-•a Victorian yuppie·. He wh rls her scattering peacocks. They kiss.</dialogue>
<character>MINA</character>
<dialogue>Jonathan? I didn't expect you here. Are you drunk in the middle of the day?</dialogue>
<scene_description>HARlCEJt (full of himself) And why not? I'll bur you an estate just like Hill ngham someday. Perhaps you'd fancy a castle. Why should you be the poor schoolmistress that just visits her aristocratic friends. You can forget typing and teaching and all that forever.</scene_description>
<character>MINA</character>
<dialogue>You are drunk!--</dialogue>
<scene_description>4/16/91 s.</scene_description>
<character>HARKER</character>
<dialogue>With success! Mina! I've done it! You happen to be engaged to a future partner in the fi:rm of Hawkins and Thompkins.</dialogue>
<scene_description>Mina flings herself in his arms. She swells, caressing his neck with a long peacock feather, down his chest to his thigh, mimicking Lucy•s teasing ways. Aroused, Harker controls himself. ·</scene_description>
<character>HARKER</character>
<dialogue>our fortune is made. Renfield is too ill to work. He finally lost his greedy mind, I'm being upped to his position. His accounts are mine. It won't be official until I return, I'm off to exotic eastern Europe--</dialogue>
<character>MINA</character>
<dialogue>Leaving? Now?</dialogue>
<character>HARICER</character>
<dialogue>I'll only be gone a few weeks. This wealthy Count is acquiring ten estates around London, And money is no object. Extraordi- nary. can you imagine the power that sort of wealth co-ands? "Yours truly" is being sent to close the transactions. Royalty, Mina, think of it--</dialogue>
<scene_description>Harker swells at the idea of rubbing shoulders with royalty. Mina strokes him competing for his affections.</scene_description>
<character>MINA</character>
<dialogue>I'm thinking about our wedding, Jon.</dialogue>
<character>HARICER</character>
<dialogue>Oh, Mina, this is the opportunity that comes once in life. "Carpe deum." seize the day, Kina. We can be married when I return--a grand expensive one that will be the talk of London.</dialogue>
<character>MINA</character>
<dialogue>Of course, We've waited this long ••• haven't we .•. ?</dialogue>
<scene_description>He takes her in his arms, bracing her up.</scene_description>
<character>4/16/91</character>
<dialogue>9.</dialogue>
<scene_description>I</scene_description>
<character>HARKER</character>
<dialogue>There is not another woman on earth can hold a wick to you. I do so want to give you the finer things like Lucy and her fancy friends, That is what you want?</dialogue>
<character>MINA</character>
<dialogue>I just want us to be ••• happy.</dialogue>
<character>HARKER</character>
<dialogue>We will be. I know what's best, Mina, for both of us.</dialogue>
<parenthetical>(checking his watch)</parenthetical>
<dialogue>Don't worry those sapphire eyes of yours. I'll write.</dialogue>
<scene_description>Mina kisses him like never before aroused--desperate--</scene_description>
<character>MINA</character>
<dialogue>••• Jonathan .•• ! love you •••</dialogue>
<scene_description>Mina watches him hurry to his eoaeh. There is a finality to this moment. As if nothing will ever be the same.</scene_description>
<character>10</character>
<dialogue>A light</dialogue>
<character>INT. TUNNEL- PITCH DARK (STOCK FOOTAGE)</character>
<dialogue>at the</dialogue>
<scene_description>ll EXT. ORIENT EXPRESS - AT A COACHWINDOW</scene_description>
<character>- HARKER 11</character>
<dialogue>SUPER: JONATHANHARKER'</dialogue>
<character>S JOURNAL</character>
<dialogue>HARKER (V.O.)</dialogue>
<scene_description>"3, MAY, BUDA-PESTH. Left Buda-Pesth early this morning, train was an hour late. The impression I had was that we were leaving the West and entering the Easti the most splendid of bridges over the Danube, took us among the traditions of Turkish rule.</scene_description>
<character>12</character>
<dialogue>EXT. ORIENT EXPRESS - DAY (STOCK FOOTAGE)</dialogue>
<scene_description>Steaming over the Danube across Szencheynyi•s Great Bridge.</scene_description>
<character>HAR.KER(V.O.</character>
<dialogue>The district I am to enter is in the extreme east of the country, just on the borders of three states, Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains, one of the wildest and least known portions of Europe ••• "</dialogue>
<scene_description>4/16/91 10.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRANSYLVANIA</stage_direction>
<character>FRONTIER- DAY.</character>
<dialogue>Harker travels in a coach taking Carpathian mountains as he reads</dialogue>
<character>13</character>
<dialogue>in the magnificent a letter.</dialogue>
<character>DRACULA (V. O.)</character>
<dialogue>"MY FRIEND, Welcome to the Carpathians. I trust your journey from London has been a happy one and that you will enjoy your staf in my beautiful land,,. I am anxiously expecting you. At the Borgo Pass, my carriage will await you and will bring you to me. Your friend, Dracula.".</dialogue>
</scene>
<scene>
<stage_direction>INT. COACH- DAY</stage_direction>
<scene_description>Harker folds the letter from Dracula into his 1ournal. 2 GYPSYPEASANTWOMEN and a RUSSIANMERCHANT st opposite him, staring. Harker stares back. HARltER (slow and deliberate) Do you speak English? Silence. EXT. 'l'HR!ATENINGSKIES - LATE AFTERNOON Thunder rolls over jagged mountains. EXT, THE CARPATHIANS- BORGOROAD- NIGHT Thunder cracks. The SLOVAKDRIVERwhips the horses.</scene_description>
</scene>
<scene>
<stage_direction>INT. COACH- TRAVELING- NIGHT</stage_direction>
<scene_description>The passengers sleep, uneasily. TIGHT ON MINA - PHOTOPLATE A travel frame. Harker, exhausted, studies her smile as he strokes himself with the peacock feather she gave him, alone with erotic thoughts of her. He looks up, caught. The women and Merchant are awake. One of the women jabs a strange two-fingered sign at him,</scene_description>
<character>HARKER</character>
<dialogue>Vas es los? What is this?</dialogue>
<scene_description>4/16/91 11.</scene_description>
<character>MERCHANT</character>
<dialogue>nervously)</dialogue>
<scene_description>l "Mona F ca"--A charm against evil. THUNDER</scene_description>
<character>CRACKS!</character>
<dialogue>The coach suddenly stops. The Merchant checks his watch, anxious.</dialogue>
<character>MERCHANT</character>
<dialogue>Why do we stop here?</dialogue>
<scene_description>EXT, BORGOROAD- NIGHT The Slovak Driver answers in Romany as he lights the coach lamps. The passengers are at once fearful, spattering in different languages--The peasant woman makes the strange sign again at Harker. HARKERCLIMBSOUT. It is snowing. He stretches, studying a roadside shrine; Christ nailed to the cross; but the head is a great wolf.</scene_description>
<character>SLOVAK</character>
<parenthetical>(urging Harker inside)</parenthetical>
<dialogue>There is no carriage here. Englaise is not expected.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIDGE - NIGHT</stage_direction>
<scene_description>PAWSRACEalong the ridge above. WOLVESGATHERwatching Harker on the road below. Silent. Eyes gleaming.</scene_description>
<character>EXT. BORGOROAD- NIGHT</character>
<dialogue>20</dialogue>
<scene_description>The Horses SPOOKwildly--backpedaling. The Slovak tries to control them. Harker leaps in. INSIDE - PASSENGERS SIAM into each other, crying out, screaming.</scene_description>
<character>GYPSY</character>
<dialogue>Vrolokl stregoical Nosferatu!</dialogue>
<scene_description>4 BLACKSTALLIONSAPPEAR from the mist pulling a Caleche coach so black it's purple--A vision from Dante's nightmares. Lantern rays fall across the DARKDRIVERreining in the Stallions--a tall man with a thin brown beard--his face shadowed by a great black hat (DRACULAin disguise)-- 4/16/91 12.</scene_description>
</scene>
<scene>
<stage_direction>INT. COACH- CONTINUINGACTION</stage_direction>
<scene_description>HARKER SITS BACK, suddenly feeling very conspicuous. The peasant woman folds a crucifix into his hand. PEASANTWOMAN {Romany) For the dead travel fast, The Dark Driver faces the passengers, evidently hearing her. He smiles. His eyes FLASHa deep familiar blue. The woman hides her face, crossing herself. Harker tenses watching the Slovak hand over his bag, 22 THE COACHES- SIDE BY SIDE 22 Harker steps out. Before he touches ground, the Dark Driver leans down and LIFTS HIM EASILY INTO THE CALECHE WITHONE HAND, The Stallions wheel and sweep Harker away into the snowy mist. The Slovak speeds his relieved Passengers in the opposite direction. INT, CALECHE- TRAVELING- NIGHT The partition snaps back startling Harker. The Dark Driver hands him a heavy cloak and a flask of brandy.</scene_description>
<character>HARKER</character>
<dialogue>Is it far to the castle--</dialogue>
<scene_description>The Driver closes the partition abruptly. The coach sways, lulling Harker hypnotically. A DOGHOWLSin the distance-- Another joins it--echoing on the wind.</scene_description>
<character>HARKER</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Brace up. This is business, Jon.</dialogue>
<scene_description>WOLVES HOWLback, More of them. Closer. Harker freezes. The coach lurches up a steep grade. Harker looks out-- EXT, CALECHE- HIS POV - BLACKNESS- SWIRLING SNOW The 4 Black Stallions. Heads churning. Steam rising. HOWLING surrounds them. Harker is terrified. HIGH ANGLE- THE BORGOROAD Wolves gather in silhouette lining both sides of the pass howling Harker's progress up the road. 4/16/91 l'.l. 26 RESUME: COACH suddenly a strange BLUE FLAMEfloats in the darkness ahead silhouetting the Oriver--Horses spook and whinny.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLEA.RING</stage_direction>
<scene_description>(BATTLEGROUND SC.l) - HIGH ANGLE- NIGHT 27 The Driver stops the Caleche in front of the jagged rock formation. The unseen HOWLING WOLVES are circling. The Dark Driver strides toward the blue flame--having no fear. All howling ceases. HARKERPEERS from beneath the cloak. 28 - A RING OF EYES SURROUND</scene_description>
<character>IN THE DARKNESS</character>
<dialogue>Clouds break. Moonlight pours through REVEALING:</dialogue>
<character>THE COACH</character>
<dialogue>A RING OF WOLVES. More terrifying in their grim silence. HARJCER SCREAMS,pounding on the side of the coach--hoping to scare the beasts away-- The Dark Driver appears from the·blue flame facing the wolves. His voice metallic, Not of the living,</dialogue>
<character>DARXDRIVER</character>
<dialogue>Strygiel Muronyl</dialogue>
<scene_description>With a gesture of his long arms 1 the wolves depart howling into the distance. The Dark Driver leaps aboard. STALLIONSPLUNGEAHEAO--THROUGH HEAVYCASTLEGATESCLOSE BEHIND!</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLECOURTYARD</stage_direction>
<character>- NIGHT - CONTINUINGACTION 29</character>
<dialogue>The Coach stops. The Dark Driver removes Harker•s luggage then sets the frightened man down in front of a great door as if routine. Resuming the rein, he wheels the nightmare coach down a dark passage. Harker is completely distraught. The Castle appears a vast ruin. The GREATDOOROPENS behind him. He faces:</dialogue>
<scene_description>A TALL OLD KANin a dark Oriental style suit bearing an emerald green cross over the breast: white mustache of Oriental fashion like Attila or Ghenghis Khan. Hands long and hairy. Face riveting, handsome like a Tartar--and horrible at the same time. His eyes a cold vivid blue.</scene_description>
<character>HARKER</character>
<dialogue>Count ••• Dracula?</dialogue>
<scene_description>4/16/91 14. Dracula smiles, bowing with a courtly gesture, speaking perfect English.</scene_description>
<character>DRACULA .</character>
<dialogue>Welcome to my house, Mr. Harker! I am Dracula--</dialogue>
<parenthetical>( laughing full)</parenthetical>
<dialogue>Enter freely of your own will-- and leave some of the happiness you bring.</dialogue>
<scene_description>The Count carries his luggage with astounding vitality. Harker enters •freely.H The door closes with a boom.</scene_description>
</scene>
<scene>
<stage_direction>JO INT. CASTLE- THE GREATHALL- NIGHT JO</stage_direction>
<scene_description>A brightly lit room. Byzantine treasures abound. Tapestries hang, centuries old: but all in pristine condition! A ruin of a battlement protrudes in the center of the mosaic floor sui::-rounded by a scaffolding; a phallic remnant. The castle is in trans1tion. Crated artworks and sculptures stand everywhere. Dracula reads a letter by the massive walk-in fireplace that warms the room. He watches Harker devour a sumptuous meal.</scene_description>
<character>HARJCER</character>
<parenthetical>(rested, at ease)</parenthetical>
<dialogue>You are a most gracious host at such an ungodly hour. You•ve no idea how happy I am to be here.</dialogue>
<character>DRACULA</character>
<dialogue>You will excuse me that I do not join you, but I have dined already, and I do not sup.</dialogue>
<scene_description>Feminine laugbter echoes, startling Harker. Dracula doesn't react. Harker looks quickly about.</scene_description>
<character>HARJCER</character>
<dialogue>An ancestor? I see the resemblance.</dialogue>
<scene_description>He's facing a huge TAPESTRY:A WINGEDDRAGON prostrate.on the cross biting its own tail encircles the young Warr1or Dracula mounted on his horse: his shield a GREENCROSS. A Latin inscription:</scene_description>
<character>DRACULA (O.C.)</character>
<dialogue>"O quam misericors est Deus, justus et plus. Societas Draconis•</dialogue>
<scene_description>Dracula is suddenly beside Harker, startling him. With a mocking smile, he pours more wine into Harker•s golden chalice. Dracula's skin is shockingly pallid. His flashing blue eyes burn into Harker to the point of discomfort-- 4/16/91 15.</scene_description>
<character>DRACULA</character>
<parenthetical>(referring to the tapestry)</parenthetical>
<dialogue>The Order of the Dragon. An ancient society pledging my forefathers to defend the church against all enemies of Christ.</dialogue>
<parenthetical>(mirthful smile)</parenthetical>
<dialogue>The relationship was not entirely ••• successful •••</dialogue>
<scene_description>Dracula laughs like a child carried away with his own first joke, Harker laughs uneasy, trying to be polite.</scene_description>
<character>DRACULA</character>
<dialogue>It is no laughing matter! We Draculas have a right to be proud! His (the painting) glory is my glory! Is it a wonder we are a conquering race!? What devil or witch was ever so great as Attila, whose blood flows in these veins!</dialogue>
<scene_description>As he speaks, he draws a curved Turkish sword from a rack, slashing it about--sending Harker backpedaling. Dracula sags, drained--saddened--facing the painting ••• of himself .•.</scene_description>
<character>DRACULA</character>
<dialogue>Blood is too precious a thing in these times. The warlike days are over. The glories of my great race is but a tale to be told, •• I am the last of my kind.</dialogue>
<character>HAR.KER</character>
<dialogue>I have offended you with my ignorance, Count. Forgive me.</dialogue>
<character>DRACULA</character>
<dialogue>Forgive ma, my young friend. I am not accustomed to ••• quests. And I am weary with many years of mourning over the dead. But soon my exile will be over. In you my new lite in London will begin.</dialogue>
<scene_description>He bows in apology. Harker bows in return, unnerved.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY- TIGHT ON DRACULA'S</stage_direction>
<scene_description>WHITEHANO- NIGHT Jl Long nails filed to claw like points--oriental fashion. He pens his ornate signature to a "DEED OF PURCHASE".</scene_description>
<character>"VLADISLAUSORAKWYLA</character>
<dialogue>SZEKLYS"</dialogue>
<scene_description>Harker places the hot waxen seal on the deed. 4/16/91 16.</scene_description>
<character>HARKER</character>
<dialogue>There. You, count, are the owner of carfax Abbey at Purfleet.</dialogue>
<scene_description>Harker extends his hand to shake. Not knowing the custom, Dracula opens both hands and bows. SILKENHAIR lines his palms. Harker masks his reaction.</scene_description>
<character>DRACULA</character>
<dialogue>Your employer, Hawkins, writes you are a man of good, •• taste.</dialogue>
<parenthetical>(enjoying private joke)</parenthetical>
<dialogue>He says you are a "worthy substitute" to your predecessor, Mr. Renfield •••</dialogue>
<character>HARKER</character>
<parenthetical>(seizing the praise)</parenthetical>
<dialogue>You may rely on me, Count. I shall be privileged to serve as your personal solicitor and tend to all your investment needs-- I've brought photoplates of carfax and other properties around London--per your request--</dialogue>
<scene_description>Harker spreads glass photoplates on the great table. Dracula is amazed as he surveys the views of the old estates, as if he'd never seen a photo-plate. Ever.</scene_description>
<character>DRACULA</character>
<dialogue>I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity ••• to share its life, its changes ••• its death ••• Here I am "boyar"; I am master. But in London, I am stranger. And a stranger in a strange land--he is no one.</dialogue>
<scene_description>Harker admires the impressive array of English magazines, newspapers, Whitaker's Almanac--He turns the Atlas to oracula--doing his sales job--</scene_description>
<character>HARKER</character>
<dialogue>I see from your volumes you will not be a stranger. Look, Sir, Carfax is here in Purfleet--just west of London. My home is ln Exeter.</dialogue>
<scene_description>Dracula's Atlas has already been marked with red circles in every location he mentioned. Purfleet, Exeter, Hillingham, the docks at London, the 10 properties, including a foundry--Harker hesitates, puzzled. 4/16/91 17.</scene_description>
<character>HARKER</character>
<dialogue>Forgive my curiosity--count--but why 10 houses in such ~recise locations around the city? Is it to raise the market value? Is this your strategy?</dialogue>
<scene_description>Dracula: riveted to a photoplate--so still he looks dead.</scene_description>
<character>DRACULA</character>
<parenthetical>(passionate whisper)</parenthetical>
<dialogue>Very wise, my young friend. Do you believe in destiny?</dialogue>
<scene_description>REVEAL: THE PHOTOPLATE - MINA - Her secret smile reaching across the centuries to Dracula. DRACULA (contd.) --that even the powers ot time can be altered for a single purpose-- Dracula rubs his palm over Mina's likeness mating with her aura. He turns away hiding his orgasmic reaction.</scene_description>
<character>DRACULA</character>
<dialogue>The luckiest man who walks on this earth is one who finds-- --true love.</dialogue>
<scene_description>Dracula shows Mina's photo to Harker.</scene_description>
<character>NARI<ER</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Ah--you tound--Mina. I thought she was lost. We're to be married as soon as I return.</dialogue>
<character>DRACULA</character>
<dialogue>She will no doubt make a devoted wife, And you a "faithful" husband.</dialogue>
<scene_description>A RUSTLEof feminine garments blurs behind Harker. He looks. Nothing. Maddening. Dracula doesn't react.</scene_description>
<character>HARKER</character>
<dialogue>You're most kind. You must meet her. Are you married? count--sir--are you married?</dialogue>
<character>DRACULA</character>
<dialogue>••• once ••. a long time ago. There has been no other like her •••</dialogue>
<scene_description>He returns the photoplate. 4/16/91 18.</scene_description>
<character>DRACULA</character>
<dialogue>Write now, my friend, to our friend, Peter Hawkins, and to any other, and say, it it will please you 1 that you shall stay with me, until a month from now.</dialogue>
<scene_description>Dracula abruptly exits, leaving Harker alone. Harker surveys the opulence. He leans back propping his feet on the massive desk, imagining it's all his ••• and begins to write.</scene_description>
</scene>
<scene>
<stage_direction>INT. GUEST QUARTERS- NIGHT</stage_direction>
<scene_description>Elegant appointments. Roaring friendly tire. Food. Cognac. Harker hwns at his shaving mirror, pleased with his "coup."</scene_description>
<character>HARKER (V.O.)</character>
<dialogue>5, May. Journal entry. I am in a sea of wonders. The Count has requested I remain tor a month to tend his business. His wealth is extraordinary in spite of certain deficiencies in his house and his eccentric ways. Table service of gold and of immense value. The hangings of my bed are of the costliest and most beautiful fabrics. Centuries old, though in excellent condition. Note: Inquire his dinner recipe for Mina.</dialogue>
<scene_description>He eyes the CRUCIFIX about his neck. The gift from the Peasant Woman. DRACULA'SSLENDERHANDappears, gliding to him--flexing in anticipation--landing gently on his shoulder. Harker startles--the mirror shows no reflection except his own--he wheels to see-- DRACULA:Way across the room! Turning back his bed--</scene_description>
<character>HARKER</character>
<dialogue>Count? I didn't hear you come in.</dialogue>
<character>DRACULA</character>
<parenthetical>(charming, witty)</parenthetical>
<dialogue>The hour is late, my servants are all retired. My apologies for the lack of indoor plumbing</dialogue>
<parenthetical>(approaching)</parenthetical>
<dialogue>Take care how you cut yourself-- It is more dangerous than you think.</dialogue>
<scene_description>4/16/91 19. With blurring speed, he wipes blood from a razor cut on Harker's jaw. Harker turns to his mirror. Dracula pitches it out the window. It SMASHESfar b~low.</scene_description>
<character>DRACULA</character>
<dialogue>--A foul bauble of man's vanity. Perhaps you--should grow a beard.</dialogue>
<parenthetical>(sardonic smile)</parenthetical>
<dialogue>The letter I requested--Have you written them?</dialogue>
<scene_description>Harker turns over 3 sealed envelopes. Dracula eyes them in the candlelight and tucks them in his jacket, satisfied.</scene_description>
<character>DRACULA</character>
<dialogue>You may go anywhere you wish in the castle, except where the doors are locked. It is old and has many bad memories. There are bad dreams for those who sleep ••• unwisely. Be warned.</dialogue>
<character>KAR.KER</character>
<parenthetical>(nagging fear builds)</parenthetical>
<dialogue>I'm sure I understand.</dialogue>
<scene_description>HOWLING</scene_description>
<character>WOLVES</character>
<dialogue>echo o.c. in the distance--</dialogue>
<character>DRACULA</character>
<dialogue>Listen to them--the children of the night. What music they make. You dwellers in the city cannot enter the feelings of the hunter,</dialogue>
<scene_description>Harker shudders--MUsic--Those animals? Dracula's eyes flash fixing on Harker•s crucifix.</scene_description>
<character>DRACULA</character>
<dialogue>Do not put faith in such trinkets of deceit. we are in the land beyond the forest. our ways are not your ways and there shall be to you many strange things. From your experiences already, you know something of what I speak.</dialogue>
<character>HAR.KER</character>
<dialogue>Indeed, I have seen many stran9e things this night--Wolves chasing me--I was almost consumed in some blue inferno--and that driver •••</dialogue>
<character>DRACULA</character>
<dialogue>He is a lout who can scarcely find his own shadow in the day.</dialogue>
<scene_description>4/16/91 20. DRACULA(cont'd). (laughing full) so my young friend, you've seen the blue flame. Peasants commonly believe that on this night once in a year, such a flame may be seen over any ~lace where treasure has been burled. Harker rushes to the window, peering out.</scene_description>
<character>HAR.KER</character>
<dialogue>It was just outside your gates. we could retrieve it in the morning. I'll dig it up myself.</dialogue>
<character>DRACULA</character>
<dialogue>Do not envy another man's wealth, Mr. Harker--For what is its true worth--without love •••</dialogue>
<scene_description>The Wolves HOWLCLOSER. Harker turns to the sound. His doorlock clanks in place. Dracula is gone! Harker sinks at the window in nagging fear. Soft RUSTLING outside startles him, Harker leans out to investigate.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLEWALL- NIGHT - HAR.KER'SPOV</stage_direction>
<scene_description>A dark figure slowly emerges from a window, FACE DOWN. Its cloak spreading around it like great wings. It hesitates, then scurries lizard-like through patches of moonlight down the sheer castle wall over the abyss. RESUMEHARKER: He ducks back, unable to trust his eyes. He looks again. No figure. Tbe wall impossible to climb, His door handle RATTLES. LOWFEMININE LAUGHTER</scene_description>
<character>RIPPLES</character>
<dialogue>on the other side.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREATHALL- NIGHT - CONTINUINGACTION</stage_direction>
<scene_description>Empty hall. Torches flicker. The TINKLING LAUGHTER ripples again--through the castle. Harker crosses with a torch.</scene_description>
<character>HARKER</character>
<dialogue>count? Sir--hello?</dialogue>
<scene_description>His voice echoes. No response. SHADOWS scurry up the high walls behind him. Titters. He wheels. Nothing. 4/16/91 21, 36 INT, SPIRAL STAIRS - CONTINUING</scene_description>
<character>ACTION</character>
<dialogue>36</dialogue>
<scene_description>Harker tries door after door. Locked. At the top of the stairs, flanked by oriental erotic statues, a lone door opens as if expecting him--</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER</stage_direction>
<character>BEDCHAMBER</character>
<character>ACTION</character>
<dialogue>37</dialogue>
<scene_description>Octagonal. Byzantine, Adorned in feminine frills. Mirrors abound. Harker laughs aloud.</scene_description>
<character>HARKER</character>
<parenthetical>(mimics the count)</parenthetical>
<dialogue>"Do not go where the doors are locked •• ,bad dreams ••• " Here some fair lady surely received the count•s pleasure.</dialogue>
<scene_description>He sits on a yreat couch in front of tall windows taking in the moonlit v ew. Finally relaxing, he drifts asleep. Oust begins to swirl in the moonbeams. Footprints appear on the dusty marble floor beside Harker•s. Petite. Female. Harker blinks in dreamy state. A smile of pleasure crosses his face--A languorous FEMININEHANDtraces his loin, caressing, arousing him. He reaches down to join the stroking--MOR.E HANDSsmooth up his thighs, his chest to his throat--his cheek-- DRACULA'S 3 EXQUISITEBRIDEShover like adoring angels, Half spiritual, half erotic. Brilliant white teeth behind ruby voluptuous lips. Their laughter "intolerable, tingling sweetness of water glasses when played by a cunning hand",·</scene_description>
<character>OLDESTBRIDE</character>
<dialogue>Go on! You are first and we shall follow. Yours ls the right to begin,</dialogue>
<scene_description>The Youngest hesitates, no more than 17, as fair as Mina, "with masses ot golden wavy hair, eyes like pale sapphires."</scene_description>
<character>MIDDLEBRIDE</character>
<dialogue>He is young and strong. There are kisses for us all.</dialogue>
<scene_description>The Youngest drops to her knees bending over Harker. She arches her neck wetting her scarlet lips. She rips his shirt down to his waist, tracing his stomach--his nipples with a hungry tongue--Harker swells, unable to resist-- She flicks her tongue up his throat to his crucifix. She shrinks back--swelling with hate to the delight ot the older Brides, She clasps the crucifix chain in her luscious mouth and bites it in two. The crucifix clinks to the floor. 4/16/91 22. IN THE MIRRORS,WE SEE: only Harker's reflection. He exalts. His passion freed! There is no reflection of the Brides--Who pin his ar111swith surprising strength. The youngest straddles him like a horse. She cups her young breasts lowering them maddeningly to suckle him. She trails her mane down his bare chest, down his stomach licking him down to his loins. He cries out in ecstasy. The older Brides kiss each other across him fondling them- selves to a frenzy--nipping his breasts and ar111swith·love bites. Harker stiffens in orgasm as they feed on his wrists. The youngest jabs her nails into his pants and slits them down to his lcnee--nibbling his bare thigh--Harker jerks with electric spasms of passion. Older Brides smother his cries with their bodies as they slither down his face and torso, their mouths finding each other in a torrid J way kiss-- WINDOWS BLOWOPEN with a rush of energy. DRACULA GRABSthe young Bride's neck--his fingers encircling her throat like tentacles. He yanks her into the air--</scene_description>
<character>DRACULA</character>
<dialogue>How dare you touch him. Any of you. How dare you cast eyes on him when I have forbidden it--</dialogue>
<scene_description>--hurling the young bride away like a rag doll. -She SLAMS INTO THE WALLAND STICKS TO IT --like a fly!</scene_description>
<character>DRACULA</character>
<dialogue>This man belongs to mel</dialogue>
<scene_description>Youngest scurries across the ceilin~ taunting Dracula, laughing cruel--soulless. Older Brides laugh with her.</scene_description>
<character>YOUNGEST BRIDE</character>
<dialogue>You yourself never loved; you never love!</dialogue>
<scene_description>Dracula recoils. His voice a soft tender whisper •••</scene_description>
<character>DRACULA</character>
<dialogue>Yes--I too can love. You yourselves can tell it from the past. Is it not so? ••. And I shall love again.</dialogue>
<scene_description>Youngest crawls seductively down the wall to him. Brides fold themselves into him like a big furry animal. DRACULA(contd.) I promise you, when I am gone on my journey, you shall "kiss" him at your will. 4/16/91 23.</scene_description>
<character>YOUNGEST</character>
<dialogue>BRIDE</dialogue>
<parenthetical>(pouting)</parenthetical>
<dialogue>Are we to have nothing tonight?</dialogue>
<scene_description>He gestures to a bag. sitting on the Cloor by the window-- THE BAGMOVES--as if something alive is in it-- Youngest leaps and opens it. A LOWWAILof a baby emits. She swoons. Older Brides join her--flushed with hunger-- the desire. They vanish in a flood of moonbeams. Harker chokes back his repulsion. Dracula faces him--eyes blazing red. And with that elegant imperious gesture--he taints Harker dead way. DISSOLVETO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLEDRACULA</stage_direction>
<character>- THE COURTYARD</character>
<dialogue>- RAINYDAY: 38</dialogue>
<scene_description>SZGANY: GYPSIES load heavy coffin-like crates onto 2 horsedrawn wagons. OTHERSbring more boxes up from a vault entrance. A crate topples breaking open-- The Szgany back away, terrified. Horses frenzy, THE BROKENCOFFIN BOX--moldy dirt spilling out. JUST DIRT! Quickly turning to mud in the pouring rain--</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDES TOWERBEDCHAMBER</stage_direction>
<character>- RAINY:DAY:CONT'D . 39</character>
<dialogue>HARKER;curled in fetal position at the window--nude. Eyes sunken. A husk ravaged by fear--hunger--and the Brides entangled on and about him. Older Brides untwine, kissing his liml:is, his throat--their hunger sated--</dialogue>
<scene_description>The youngest strokes him--wiping her lips with her golden hair--kissing him passionately--She slowly leaves letting him feast on her perfect body with his eyes--His arrogance gone--his nightmare not over. HA1UCE1l(V. 0. ) These may be the last words I write in this journal. I a.a alone in the castle with those women. No--Kina is a woman. These are devils of the pit!--Dracula--this being I am helping transfer to London< where, for centuries, he m1ght amongst its teeming millions satiate his lust for blood and create a new and ever widening circle of his demons ••• He looks out the window. Szgany load boxes quickly. 4/16/91 24.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLEWALLAND PRECIPICE - LATER</stage_direction>
<scene_description>The Arges River roars 200 feet below. Harker descends the stone wall; slipping, clinging, cut~ing himself.</scene_description>
<character>HARKER(V.O.</character>
<dialogue>I have not yet seen the Count in daylight. Can it be he sleeps when others wake? If I could but find him .. . I will kill him and find a way from this dreadful place ••• where the devil and his children still walk with earthly feet.· God's mercy is better than that of these monsters. Goodbye, Mina it I tail; goodbye alll--</dialogue>
<scene_description>His bloody fingers give way. He skids down the face--</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLECHAPEL- CONTINUING</stage_direction>
<character>ACI'ION(DOUBLEAS CARFAX) 41</character>
<dialogue>Dim light streams down from the crumbling vaulted ceiling. The ground excavated. Coffin-crates stand in rows. Exhausted, in painl Harker crawls from a tunnel to a PILE OF GOLD COINS sitt ng on the ruins of the vecy 14th centucy altar where young Prince Dracula cradled Elizabeth. Harker plows his hands into the coins, feeling a surge of energy. He stuffs his pockets, looking around--crazed. He marvels at the dragon arch with one word carved in it--</dialogue>
<character>"DRAKWYLA"</character>
<dialogue>Harker inspects the carvings. A BERSERKER WOLF, in full armor, repels an army of Turks. Hundreds of bodies impaled on stakes. The dragon's tail rings the rendering. Stakes still protrude in the chapel ground. Skeletons, centuries old, grotesquely skewered on them. SZGAHYGYPSIES ENTERcarcying out more crates. Harker ducks behind an open crate. He shrinks back in horror. DRACULA lays in his "day coma" packed in the moldy earth: eyes wide open and stony. No sign of life. Harker summons courage, grabs a shovel and raises it to strike. DRACULA'SINERT BODYRISES STRAIGHTUP FACINGHARXER Harker stumbles back, gagging, entangling himself in the impaled skeletons. He flails madly--trapped!</dialogue>
<scene_description>4/16/91 25. SILVERYLAUGHTER echoes through the chapel. OUSTBEGINS TO OANCE--THEJ BRIDES MATERIALIZE wearing flowing burial gowns. They surround Harker--more voluptuous than before.</scene_description>
<character>YOUNGEST</character>
<dialogue>Don't leave ussss. You want ussss. You want ussss •••</dialogue>
<scene_description>He grabs an impaling pike. She rubs her porcelain skin against him, Harker weakens, his laugh building--maniacal. He grabs her golden hair--guiding her luscious mouth to his erogenous zones--The Brides engulf him-- HARKEREXALTSLIKE A MAOMAN--ECHOING</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD</stage_direction>
<scene_description>- CONTINUINGACTION 42 Szganr reverently fix Dracula's coffin atop the load. 50 in al; each consigned to: S.F. BILLINGTON& SON, GOSEWELL ROAD, LONDON,E.C. l, ENGLAND. The wagons clatter from the courtyard. HARKER'SMADLAUGHCONTINUESOVER; INT, CASTLE- THE PAINTING OF THE WARRIORPRINCE Young, mocking smile. Crystal-blue eyes watching us. DISSOLVETO: THE BLUE FLAME DISSOLVETO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN- NIGHT</stage_direction>
<scene_description>A schooner crashes down through stormy seas, as if emerging from the blue flame. SUPER: LOG or THE DEMETER- VARNATO LONDON CAPTAIN (V.o.) "Entry 18 July, things so strange happening, that I shall keep accurate note henceforth till we land. Yesterday, Olargen confided to me a strange man was aboard. Informed crew. First Mate angry. Boatswain Petrofsky missing this morning. Could not account for it. Men all in a panic of fear, asking to have double watch, as they fear to be alone.•</scene_description>
</scene>
<scene>
<stage_direction>EXT. DECK- CONTINUING</stage_direction>
<character>ACTION</character>
<dialogue>Waves crash over her gunwales AnAGONIZEDSCREAMis muffled</dialogue>
<character>46</character>
<dialogue>flooding the empty deck. by the·storm.</dialogue>
<scene_description>A BODY surfaces on deck and floats by in a rush of water. INT, SHIP'S HOLD- CONTINUINGACTION Water streams down spattering like drums on the stacks of COFFIN CRATES. One has no lid. A puddle of water rapidly fills an impression in its moldy dirt. THE SHAPEOF A MAN! 48 EXT, QUARTERDECK - CONTINUINGACTION 48 A HORRIDFACEappears from the spume. It's the First Mate. He gaffs the dead body and turns it over. The Man's throat has been torn away. The CAPTAINappears. The First Mate grabs him--wild eyed.</scene_description>
<character>FIRST MATE</character>
<dialogue>I saw it--an old man, tall'n thin'n ghastly, •e is. I crept up behind it•n give it me knife: It went thro'it empty as air!</dialogue>
<scene_description>The mad sailor slashes his knife through the air,</scene_description>
<character>FJ:RST MATE</character>
<dialogue>His face--it changed. E's a young · lad! E' changed agin--A beasty!</dialogue>
<scene_description>A chilling sound never heard at sea spirals above the din stopping both men. The lone agonized HOWLOF A WOLF,</scene_description>
<character>CAPTAIN</character>
<dialogue>Lord help usl</dialogue>
<character>FIRST MATE</character>
<dialogue>It's the devil J: tell you!</dialogue>
<scene_description>The First Mate runs crazed leaping overboard into the stormy sea. The Captain lashes himself to the wheel. The HOWL resounds again; the hunter hunting •••</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHA.M</stage_direction>
<scene_description>GROUNDS- PANORAMA</scene_description>
<character>- DAY 49</character>
<dialogue>A magnificent sunset over the cemetery and the Thames. SUPER: 24, JULY, MINA MURRAY'SDIARY</dialogue>
<scene_description>4/16/91 27.</scene_description>
<character>MINA (V.O.)</character>
<dialogue>This is so beautiful. Lucy and I took hands as we sat; and she told me about her coming marriage. That made me just a little heartsick, for I haven't heard from Jonathan for a whole month ..•</dialogue>
<scene_description>Mina sits on the stone bench, aloof, removed. Lucy, beautiful in a white lawn frock; full of excitement, balances on a grave monument laughing mischievously.</scene_description>
<character>WCY</character>
<dialogue>This is my favorite spot in the entire world ••• Mina--we•ve always told each other our deepest most inner secrets--I have one •••</dialogue>
<character>MINA</character>
<dialogue>I should hope you're not sleepwalking again--</dialogue>
<character>WCY</character>
<dialogue>No, goose. I'm getting married.</dialogue>
<scene_description>Mina is elated and jealous, which she tries to hide.</scene_description>
<character>MINA</character>
<dialogue>Oh, Lucy--finally. How wonderful. To the lunatic Doctor--I Jcnow--the Texan with the big knife?--</dialogue>
<character>WCY</character>
<dialogue>No--number 31--Arthur Holmwood. Lord Arthur Holmwood. Lord Art and "Lady• Lucy--Arthur is such a dear to be so disgustingly rich just for me. You are to be my Maid of Honor. Oh, say "yes.•</dialogue>
<character>MINA</character>
<dialogue>Of course, Luce, I'm honored; but I thought you loved that Texas creature.</dialogue>
<character>LUCY</character>
<dialogue>Oh I do--whenever and wherever he wants me to.</dialogue>
<scene_description>Mina is annoyed. Major scowl.</scene_description>
<character>LUCY</character>
<dialogue>Don't look at me that way, Mina. I'm not marrying for love. Who can afford to these days? So ••• de classe.</dialogue>
<scene_description>4/16/91 28. Mina regards Lucy in complete disbelief.</scene_description>
<character>LUCY</character>
<dialogue>Honestly. You can bes~ naive. You've been an absolute bore since Jonathan went abroad .••</dialogue>
<scene_description>Silence. Mina is uneasy.</scene_description>
<character>·-, MINA</character>
<dialogue>Mr. Hawkins sent me a note from him. One brief line in over a month. That is not like Jonathan.</dialogue>
<character>LUCY</character>
<dialogue>--It could be you're in love with the wrong man--</dialogue>
<scene_description>The truth? Mina is shocked. The skies suddenly darken. THUNDER CRACKSune~ectedly. A cloudburst unloads drenching them. Lucy revels in the downpour, standing on the bench.</scene_description>
<character>LUCY</character>
<dialogue>Oh Mina--look at us. What if Arthur and Jonathan should see us like this.</dialogue>
<scene_description>Lucy twirls, pulling her drenched white frock down over her body--transparent--titillating. She tickles -Mina.</scene_description>
<character>MINA</character>
<parenthetical>(embarrassed laughter)</parenthetical>
<dialogue>Lucy! Behave yourself.</dialogue>
<character>LUCY</character>
<dialogue>Fine talk for an assistant schoolmistress. Look at you--</dialogue>
<scene_description>Mina's white linen dress is diaphanous in the downpour. She laughs with utter delight. Lucy chases Mina around . the bench, both squealing like schoolgirls. They wrestie. Lucy runs into the cemetery--daring Mina to follow. Mina gives chase, dodging and weaving through the tombstones. Suddenly she stops.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THAMES- MINA I S POV DOWNRIVER</stage_direction>
<scene_description>An ominous, iridescent fog bank obscures the sunset: brightened by flashes of lightning, it rolls toward them. Something powerful is coming. GREATSTREAKINGHOLLOWsounds boom overhead like modern jets. RESUMEMINA: Strangely unafraid: her destiny rides the storm. 4/16/91 29.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ZOO - STORMCONTINUINGACTION</stage_direction>
<scene_description>BERSERKERthe Wolf wakes to the sounds; howling snarling at the bars. MORECAGES: (2nd unit/practical location) Lions and tigers and bears suddenly rise yowling and roaring at the stor111. Monkeys chatter and race around their cage. Baboons suddenly fight and tear at each other.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEWARD'SASYWM- STORMCONTINUINGACTION</stage_direction>
<scene_description>Literally a madhouse. INMATEStear at each other and their barred windows; slathering like animals at the zoo.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASYWMCORRIDOR- NIGHT - CONTINUING</stage_direction>
<character>ACTION</character>
<dialogue>INMATESscream from their cells.</dialogue>
<character>53</character>
<dialogue>MOREINMATESrush down</dialogue>
<scene_description>the corridor like a crashing wave. outnumbered KEEPERS beat and lash trying to drive them back.</scene_description>
</scene>
<scene>
<stage_direction>INT. RENFIELD'S CELL - NIGHT - CONTINUINGACTION</stage_direction>
<scene_description>RENFIELD wakes from comatose sleep. Like Berserker 1 he senses the presence of a mighty force. He mashes his face between his window bars convinced he can fit through. He exalts at the great streaking sounds, summoning them like a conductor summons his orchestra. He opens a box of spiders. Big ones. He shepherds scores of flies swarming onto a plate of sugar.</scene_description>
<character>RENFIELD</character>
<dialogue>Gather round, my pets. The Master of all life is at hand--</dialogue>
<scene_description>He dumps the flies on the spiders watching the feeding frenzy with childish delight. He writes numbers in a note book--counting flies like an accountant running totals.</scene_description>
<character>SEWARD(V.O.)</character>
<dialogue>The case of Renfield grows more interesting since taking him in 5 months ago due to mental distress.</dialogue>
</scene>
<scene>
<stage_direction>INT. SEWARD'S OFFICE - NIGHT</stage_direction>
<scene_description>DR. JACK SEWARD,an intense "workaholic" in his JO's, dictates into an Edison wire recorder. As he speaks, he prepares an injection. 4/16/91 JO.</scene_description>
<character>SE'WARP</character>
<parenthetical>(dictating)</parenthetical>
<dialogue>He has certain qualities.highly developed; selfishness, secrecy and purpose. There is method in his madness with his flies and spiders and now even sparrows. Had I the sec.rat of even one such brilliant mind--tbe key to the fancy ot one lunatic--</dialogue>
<parenthetical>(a rush of sorrow)</parenthetical>
<dialogue>Lucy ••• cannot eat, cannot be angry with you nor my friend, Arthur, whom you bring happiness. Since my reJ:i.utt, nothing seems of sufficient importance, Work is my cure. It only I had a strong cause as my poor mad friend, Renfield •••</dialogue>
<scene_description>Seward ties off his an1. The injection is tor hims</scene_description>
</scene>
<scene>
<stage_direction>INT. ASYLUM CORRIDORS - STORM CONTINUING ACTION</stage_direction>
<scene_description>Seward glides calm and resolute through his LOoneysi · hissing--grovling--claving at him like hungry animals; He motions to the BIG KEEPERat Ren.field's cell. 57 INT, RENFIELD'S CELL - SEWARD</scene_description>
<character>ENTERS</character>
<dialogue>Covering his face with a handkerchief. The floor covered</dialogue>
<character>51</character>
<dialogue>with dung. Renfield offers a large spider in his palm,</dialogue>
<character>R.ENFIELD</character>
<dialogue>Hors d'oeuvres, Dr, Seward? Canapes?</dialogue>
<character>SEWARD</character>
<parenthetical>(checking charts, nonplused)</parenthetical>
<dialogue>No thank you Kr Renfield--Hov are you teel 1ng tonight?</dialogue>
<character>R.ENFIELD</character>
<dialogue>Far better than you, my lovesick Doctor.</dialogue>
<character>SEWARD</character>
<dialogue>Is my personal life of interest to you?</dialogue>
<character>RENFIELO</character>
<dialogue>All lite interests me.</dialogue>
<scene_description>Renfield pops a handful of flies in his mouth, savoring the taste, licking his fingers in mannerly fashion. 4/16/91 31.</scene_description>
<character>SEWARD</character>
<dialogue>Your eating habits are disgusting.</dialogue>
<character>RENFIELD</character>
<dialogue>Lies. All perfectly wholesome nutritious ~life". Each life I ingest--gives life back to me.</dialogue>
<scene_description>He picks out a large blowfly and eats it. Seward is impressed by his logic only,</scene_description>
<character>SEWARD</character>
<dialogue>I shall have to invent a new classification of lunatic for you.</dialogue>
<character>RENFIELD</character>
<dialogue>I prefer the classification of Professor. Abraham Van Helsing, "zooaphagous arachnophobe• ••• "Spider Man.•</dialogue>
<parenthetical>(engulfing a spider)</parenthetical>
<dialogue>I want him to be my doctor.</dialogue>
<scene_description>Renfield wipes a slew of roaches off a medical journal pointing to an article, "DISEASES OF THE BRAIN," BY A. VAN HELSING,</scene_description>
<character>SEWARD</character>
<dialogue>Don't flatter yourself. You are U lunatic. I only call in my mentor and friend as a last resort.</dialogue>
<scene_description>Renfield loses composure begging on Seward like a dog--</scene_description>
<character>REHFIELD</character>
<dialogue>How about a kitten then, a nice little, sleek, playful kitten, that I can teach and feed and feed--No one would refuse a kitten. I implore you--</dialogue>
<character>SEWARD</character>
<parenthetical>(baiting him)</parenthetical>
<dialogue>Wouldn't you rather have a cat? Why not feast on an elephant?</dialogue>
<scene_description>Seward leaves him gnawing his fingers on the floor.</scene_description>
<character>REHFIELD</character>
<dialogue>A cat will .do. My salvation depends upon it. The master comes. Livest I need lives for the master. Here kitty, kitty---</dialogue>
<scene_description>Lightning flashes through the skylight. THUNDERCRASHES! 4/16/91 32.</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<character>- NIGHT - STORMCONT. ACTION 58</character>
<dialogue>Lucy and Mina hide under the covers and giggling like schoolgirls at the sounds of the storm.</dialogue>
<character>MINA</character>
<dialogue>It says in "New Woman" girls who are faint-hearted cannot survive in the modern world. C'mon, it's just a storm--</dialogue>
<scene_description>She pulls Lucy from under the covers forcing her to look out the balcony windows. THUNDERBOOMS! LIGHTNINGFLASHES, blinding them both. They dive, shrieking, under the covers.</scene_description>
<character>LUCY</character>
<dialogue>We'll see how brave you are. I have a wonderfully wicked plan.</dialogue>
<scene_description>Lucy hurries to her vanity and begins brushing on bright red lip paint. Mina follows, piqued.</scene_description>
<character>LUCY</character>
<dialogue>We'll dress as whores and surprise Art at his bachelor do. You will make a ravishing tart. All the men will undress you with their eyes--lusting for you •••</dialogue>
<scene_description>She begins to paint Mina's lips, playfully caressing her neck, her breast--Mina backs away, surprised at her arousal.</scene_description>
<character>MINA</character>
<dialogue>Lucy! I promised Art to keep you from mischief tonight. So ••• so ••• go to bed. No more nonsense.</dialogue>
<scene_description>Mina is imperious, almost regal in her command. Lucy ba~ks away like a scolded puppy, then laughs like Dracula's brides and dances into the bed seductively. Mina is surprised at her own strong behavior. THUNDERBOOMS! The both SCREAM!</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KOREA- STORMCONTINUINGACTION</stage_direction>
<scene_description>A rowdy pub on a London street.</scene_description>
<character>QUINCEY (V.O.)</character>
<dialogue>Drink up, -another health--</dialogue>
</scene>
<scene>
<stage_direction>INT. THE KOREA- CONTINUINGACTION</stage_direction>
<scene_description>QUINCEYMORRISS is roaring drunk in a sea of HOOKERS. 4/16/91 JJ.</scene_description>
<character>QUINCEY</character>
<dialogue>--Another toast--with all our hearts to the happiest man in all the world--who's won the noblest woman God made--"Good Lord Art".</dialogue>
<scene_description>He spins sloshing RIGHTON LORDHOLHWOOD~-Luc •s fiance. Late 2o•s1 a rich, and wealth are his .. major attractions. stiff imperious English tw t. His title He is drunk as well, but disdainful of Quincey's behavior.</scene_description>
<character>HOLMWOOD</character>
<dialogue>Bloody savage. We're not in Bolivia--This is civiliz.ation--</dialogue>
<character>QUINCEY</character>
<dialogue>Yes, "MyLord." Nobody here but</dialogue>
<scene_description>us flesheaters, "My Lord." May I ·say for mad Doc Seward and myself--with all respect "My Lord", Kiss Lucy is hotter•n a June Bride riding bareback in the middle of the Sahara buck nekkidl</scene_description>
<character>HOLMWOOD</character>
<dialogue>I• 11 remind you, Lucy is to be my wife, so watch your heathen tongue it you wish to keep it.</dialogue>
<scene_description>Holmwood trips Quinceyr angrily. He staggers back into a BIG IRISHMAN--embrac1ng the man's HOOKER. The IRISHMAN smashes Quincey against a row of kegs. Kegs topple sending a wave of ale crashing like the sea over Quincey sprawled on the floor with several Hookers. THUNDER BOOMS! Pub windows blow open. Rain blows in. Quincey greets it with a Cowboy yell. Hookers roll back from the wind·and rain. A human wave of flesh writhing past Holmwood seeking refuge. EXT,/IH'l'. DEMETER- NIGHT - STORMCONTINUINGACTION The CAPTAIN; lashed firm to the wheel--dead. His head pitches to and fro. His throat torn completely away. BELOW: Waves crash down an open hatch, Ha111111ocks sway. Arms and legs dangle. A HEAD, throat torn away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAM- STORMCONTINUINGACTION</stage_direction>
<scene_description>Shutters blow off. Terrace windows blow open. 4/16/91 34.</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<character>- STORMCONTINUINGACTION 63</character>
<dialogue>Rain and wind lash her as she forces the terrace doors closed, locking them.</dialogue>
<character>MINA</character>
<dialogue>Lucy--are you all right--</dialogue>
<scene_description>She can't see in the darkness. She feels the bed. Empty. covers tossed on the floor;- Fearing the worst, she peers out a small window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAK- MINA'S POV - STORMCONTINUINGACTION</stage_direction>
<scene_description>Ascending the steps to the cemetery, a WHITE GOWNED FIGURE--</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETERY</stage_direction>
<character>STEPS - FOLLOWWCY SLEEPWALKING</character>
<dialogue>Serene</dialogue>
<character>65</character>
<dialogue>smile.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER - STORMCONTINUINGACTION</stage_direction>
<scene_description>Fog; lightning. Suddenly the Demeter plunges in the lighthouse beams out of control.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDON</stage_direction>
<character>DOCKS- NIGHT</character>
<dialogue>67</dialogue>
<scene_description>COASTGUARDSMEN race about securing small craft. The bank of fog rolls in blinding the view. The great streaking hollow sounds boom overhead, as lightning flashes. The fog suddenly clears, REVEALINGTHE DEMETERmotionless in the water at the docks. Its anchor drops. The guardsmen stand awestruck at the impossible sight. An IMMENSEWOLFDOG SUDDENLYLEAPS from the bow into the water, swi111111ing away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEMETER- ON DECK</stage_direction>
<scene_description>The guardsmen hurry on deck, findini hideous cadaverous dead bodies washing about. Lamps d scover the dead Captain lashed to the wheel. His throat has been torn away. A LONGTRIUMPHANTHOWLmomentarily silences the tempest. 4/16/91 35.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAM</stage_direction>
<scene_description>CEMETERY</scene_description>
<character>ACTION</character>
<dialogue>MINAEMERGES fighting the wind and spray--She</dialogue>
<character>69</character>
<dialogue>from the fog wrapped in a heavy shawl, stops dead as the</dialogue>
<scene_description>HOWLING reaches her--sending deeper chills through her. She disappears into the fog.</scene_description>
<character>MINA</character>
<dialogue>Lucy! Lucyyyy!</dialogue>
<character>MINA'S POV-</character>
<dialogue>Lucy's seat. A DARK Mina appears The</dialogue>
<character>THE</character>
<dialogue>white-gowned figure is splayed wanton in the stone Her arms pinned back, her hips undulating wildly. FIGURE, erect like a man or beast·bends over her-- from the mist. DARK</dialogue>
<scene_description>DRACULA'SPOV- NIGHTVISION(A VAMPIRE'SVIEW) Mina moves in slow fluid movements. Blood glowing in her veins like lava. Churning with life. Her breathing and heartbeats amplified. The view jumps closer--right up to Mina's face. FLASH TO: THE FACE OF ELIZABETH: THENBACK TO MINA DRACULA(V.o.) No••• do not see me-- WITH MINA She finds Lucy alone, breathing in heavy orgasmic gasps; gown spread revealing her breasts--her thighs. Mina wraps her shawl about Lucy pinning it at her neck. Lucy shudders. Mina takes her shoes off and slips them on Lucy's bare feet. She shakes Lucy hard, waking her in a half-dreamy state. Lucy gasps for air--Mina stands her up and guides her away.</scene_description>
<character>LUCY</character>
<dialogue>His eyes ••• eyes •••</dialogue>
<character>MINA</character>
<dialogue>It's all right. You were dreaming--walking in your sleep--</dialogue>
<character>LUCY</character>
<dialogue>Please don't tell anyone, Mina.</dialogue>
<character>MINA</character>
<dialogue>Shush up. Let's get you home.</dialogue>
<scene_description>They pass beneath a massive stone monument of the cross. 4/16/91 J6.</scene_description>
<character>LIGHTNINGCRACKLES: REVEALINGDRACULA</character>
<dialogue>CROSS! The handsome Warrior Prince young again. black hair falling about his shoulders. eyes watch Mina go. Filled with a hunger--to live--to Thunder;</dialogue>
<character>IN THE SHADOW</character>
<dialogue>Stallion Those piercing love. lightning.</dialogue>
<character>CUT TO:</character>
<dialogue>71</dialogue>
<character>BLACK</character>
<dialogue>FADEIN:</dialogue>
<scene_description>SUPER: Letter, Samuel F. Billington, Son, Solicitor, to Messrs. Carter, Patterson, co., London, 17 August. "HEREWITHPLEASE RECEIVEINVOICE OF GOODSTO BE DELIVERED AT CARPAXNEARPURFLEETIMMEDIATELY UPONRECEIPT. ENCLOSED FIND KEYS. YOUWILL PLEASEDEPOSIT THE CONSIGNEDBOXES01" EXPERIMENTALEARTH, 50 IN NUMBER,IN THE PARTIALLYRUINED BUILDINGMARXED A ON THE DIAGRAMENCLOSED. WEARE, DEAR SIRS, FAITHFULLYYOURS,SAMUELF. BILLINGTON& SON." High stone walls surround the house which has been abandoned tor years. A pond spreads in front ot an old chapel. At the chapel entrance, LORRYMENunload the Cottin crates from 2 delivery wagons marked CARTER, PATTERSON & SON.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL- CONTINUING</stage_direction>
<character>ACTION</character>
<dialogue>72</dialogue>
<scene_description>The cottin crates make an eerie sight lined up in the ruins ot the medieval chapel. Dracula is ••• home.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASYLUM- DAY</stage_direction>
<scene_description>Rentield holds vigil at his window, nosing the wind.</scene_description>
<character>REHFIELD</character>
<dialogue>The master has come. The blood is the lite--BLOOD IS THE LIFE!</dialogue>
<scene_description>He politely gorges himself on spiders and flies-- INT, SEWARD'SOFFICE - DAYCONTINUINGACTION Seward tips a MESSENGERand signs for a telegram. The Messenger exits. Seward checks the "sender".</scene_description>
<character>SEWARD</character>
<parenthetical>(sardonic to himself)</parenthetical>
<dialogue>What the devil does "Lord Arthur" want? Blood? salt my wounds? Ahh--Best man at his wedding?</dialogue>
<scene_description>He reads. He sits, gravely disturbed by the telegram. 4/16/91 J7.</scene_description>
<character>SEWARD</character>
<dialogue>"Lucy is ill--no special disease but she looks awful--worse everyday. I am filled with anxiety. I must not hesitate to ask you to see her, old friend, It is for her sake, Holmwood"•••</dialogue>
<scene_description>Seward is chilled by the plea. Lucy ••• A STOUTKEEPER suddenly bursts in--</scene_description>
<character>STOUTKEEPER</character>
<dialogue>Dr. Seward--it•s Renfield--</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASYLOM</stage_direction>
<scene_description>- RENFIELD'S WINDOW:</scene_description>
<character>ACTION</character>
<dialogue>Renfield smashes his bed through superhuman thrusts.</dialogue>
<character>75</character>
<dialogue>the barred</dialogue>
<character>RENFIELD</character>
<dialogue>My Master is at hand, Collllllandme.</dialogue>
<scene_description>He crawls out, face down--spreading his arms and legs like a spider--AND FALLS 2 FLOORSsmacking the ground. Impossibly, he staggers to his feet and runs toward carfax.</scene_description>
</scene>
<scene>
<stage_direction>INT. RENFIELD1 S CELL - SEWARD</stage_direction>
<character>ENTERS</character>
<dialogue>The cell Renfield</dialogue>
<character>76</character>
<dialogue>is crawling with bugs and spiders. out the window going over the wall to carfax.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARFAX- CAY - MINUTESLATER</stage_direction>
<scene_description>Renfield beats against the old iron-bound oak chapel door.</scene_description>
<character>RENFIELD</character>
<dialogue>I am here to do Your bidding, Master,</dialogue>
<scene_description>Seward drops over the wall and approaches slowly. Keepers follow. The Stout Keeper carries a strait waistcoat.</scene_description>
<character>REHFIELD</character>
<parenthetical>(pounding, begging)</parenthetical>
<dialogue>I have worshiped you long and far off. Now that you are near--I am your slave--I await your commands.</dialogue>
<scene_description>Renfield turns facing s·eward and the Keepers.</scene_description>
<character>SEWARD</character>
<dialogue>KMaster?" Renfield, have you taken up religion? Come along now. Your flock needs tending.</dialogue>
<scene_description>4/16/91 38.</scene_description>
<character>RENFIELO</character>
<dialogue>What do bugs and birdies matter when I have been promised etP.rnal life! I'll fight for my Lord and Master.</dialogue>
<scene_description>He grabs Seward by the throat. Keepers wrestle him to the ground. Renfield bites one keeper's nose off. He snaps another's arm as if a chicken bone: cracking like a pistol shot. The man screeches agony.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPELBELFRY- DRACULA'SPOV (UPSIDE DOWN) ·</stage_direction>
<scene_description>The vampire view of human auras in battle below. Heartlights pounding--breathing amplified. Keepers beat the lunatic with clubs. Renfield fights on. WE HEAR: Dracula's metallic animal growl of approval. WE SEE: The red eyes of the predator watching.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAMESTATE - AFTERNOON</stage_direction>
<scene_description>Seward exits a hansom.</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<character>- AFTERNOON</character>
<dialogue>- HER DOOROPENS 80</dialogue>
<scene_description>Lucy turns in her wedding dress, bubbling delight •••</scene_description>
<character>LUCY</character>
<dialogue>Jack--brilliant Jack. Oceans of love--millions of kisses--</dialogue>
<scene_description>She opens her arms to him. Seward, unflappable, is shocked at her appearance. He takes her hand instead of her kiss.</scene_description>
<character>LUCY</character>
<dialogue>Do you like it? Mina does, I</dialogue>
<scene_description>wanted you to be the first man to see lt ... She spins for his approval; her skin a chalky bloodless white. Weight loss frightening. Gaunt, cheeks sunken in. Receding gums. The early stages of vampire transformation.</scene_description>
<character>LUCY</character>
<dialogue>Arthur put you up to this. Tell me? or do you want me in my bedroom alone before I'm an old married nag?</dialogue>
<scene_description>Ever the ,tease, she toys with a black velvet choker around her neck. Seward forces a laugh, hiding his reaction. 4/16/91 39.</scene_description>
<character>SEWARO</character>
<dialogue>Now, LU.cy--you•re embarrassing me--and your ooctor--</dialogue>
<scene_description>Lucy drops her "bubble" mask. She reclines on a chaise, hiding her eyes in her hands.</scene_description>
<character>WCY</character>
<dialogue>I cannot tell you how I loathe talking about myself.</dialogue>
<character>SEWARD</character>
<dialogue>Your fiance is very worried about you, Lucy, I assure you, a Doctor's confidence is sacred. I must have your complete trust.</dialogue>
<scene_description>She fondles the choker, c~ling in gasping sobs.</scene_description>
<character>WCY</character>
<dialogue>Help me--Jack. Please, I dqn•t know what's happening to me--I can't sleep. I see things in the dark elain as day--and I'm-- starv1ng--but I cannot bear the sight of food--Help me--</dialogue>
<scene_description>She gasps, unable to breathe, clutching Seward, terrified.</scene_description>
<character>SEWARD</character>
<dialogue>Lucy--Lucy--this will calm you--</dialogue>
<scene_description>He ~abs an injection in her arm, rocking her like a baby, trying to comfort the one he loves but has lost. Lucy moans--the drug taking effect. Her hand drifts to the choker riding it up, revealing two red marks. Seward is too distraught to notice. WCY'S THROAT:at her external ·jugular--two surgical wounds. EXT, LONDONSTREET - MOVINGPOV (DRACULA'S)- EVENING Scanning the rush of humanity. WOMENin great cartwheel hats parade by with and without GENTLEMEN.Each Woman steals a glance at us. Some smile. Others look away embarrassed--only to look again. And again--- REVERSETO: YOUNGDRACULA The most dashing, handsome man on the street cuts a swathe like some legendary adventurer back from the wilds. An unusual wide brimmed hat shades his sculpted face. Thin dark beard perfectly trillll!led. White kid gloves--a silver headed walking stick, which he thoroughly enjoys swinging. 4/16/91 40. His eres hidden behind the newest fashion--tinted glasses. He sm les perfect white teeth--tipping his hat to each woman who catches his eye. The count is cruising.</scene_description>
<character>DRACULA</character>
<dialogue>Good evening, Ladies. I do find London has an abundance of the most beautiful women in the world.</dialogue>
<scene_description>WOMEN titter quite improperly as he opens a horsedrawn hansom for them. Their GENTLEMAN CHAPERON frowns--</scene_description>
<character>CHAPERON</character>
<dialogue>Have you Italians no manners?</dialogue>
<character>DRACULA</character>
<parenthetical>(bowing in apoloqyt Chi pecora si fa lupo la mangia. He rises, sweeping his hand. The horse spooks and bolts away with the man clinging to the hansom. DRACULA (to himself)</parenthetical>
<dialogue>He who behaves like a sheep gets eaten by the wolf. In bocca al lupo.</dialogue>
<scene_description>SCHOOLBOYS dodge around Dracula in pursuit of a PLUMP SCHOOLGIRL playing tag with their book.bags. He delights in their vigor; appraising their size and shape •. The little plump girl would do for a tasty snack. One boy shoves the girl hard to the cobblestones· and runs. She sits on the curb holding her knee sobbing. A shadow passes over her. She looks up. Dracula looms.</scene_description>
<character>DRACULA</character>
<dialogue>Might a gentleman be of assistance to a young lady in distress?</dialogue>
<scene_description>Dracula bends, offering his handkerchief.</scene_description>
<character>PLUMP GIRL</character>
<dialogue>Kind of you, Sir, but it is just a scratch.</dialogue>
<scene_description>She removes her hands revealing her freshly skinned knee, Blood drools down her leg, The girl wipes the blood with her fingers, licking them clean. Dracula turns away, dizzied by the smell of fresh blood. His hunger is powerful.</scene_description>
<character>DRACULA</character>
<parenthetical>(self-mocking)</parenthetical>
<dialogue>I cannot stand the sight of blood.</dialogue>
<parenthetical>(he beckons)</parenthetical>
<dialogue>Come. We must find you a physician.</dialogue>
<scene_description>He's lying. He takes the girl's pudgy hand in his glove. DRACULA'SPOV - THE FACE OF MINAAPPROACHES Tense as she hurries through the crowd. Her eyes meet his. She looks ilDlllediately away. something compels her to look again. HE HEARS HER HEARTBEAT FASTER. She smiles heading right at Dracula! As if she knows him! He panics, tipping his hat clumsily. Mina marches right past him--</scene_description>
<character>MINA</character>
<dialogue>Flo! You gave me a fright.</dialogue>
<scene_description>--to FLORENCEthe pudgy girl. She tends the knee, trying to make her presentable.</scene_description>
<character>MINA</character>
<dialogue>Young ladies in my tutorials do not chase about with boys on the streets. Are you hurt?</dialogue>
<character>FLO</character>
<dialogue>No, Miss Murray. This man helped me.</dialogue>
<scene_description>Flo hands Dracula his bloodstained hanky. Mina rises taking him all in. He bows in a courtly gesture.</scene_description>
<character>DRACULA</character>
<dialogue>My priviledge to be of service, ladies. Children are the breath of life in my country.</dialogue>
<scene_description>Mina is enchanted by his manner and voice but wary.</scene_description>
<character>MINA</character>
<dialogue>I thank you, Sir. Good day.</dialogue>
<scene_description>Mina gives Flo her book bag and takes her hand to go.</scene_description>
<character>DRACULA</character>
<dialogue>Forgive my ignorance--! am recently arrived from abroad and do not know your city. Is a beautiful lady permitted to give a "lost soul" directions?</dialogue>
<scene_description>Dracula is THE "lost soul." Mina flounces by with Flo, properly reticent to engage the strange man. 4/16/91 42.</scene_description>
<character>MINA</character>
<dialogue>You may purchase a street atlas for six pence. Good day.</dialogue>
<parenthetical>(steering Flo)</parenthetical>
<dialogue>Hurry now. Your Nurse is waiting.</dialogue>
<scene_description>Flo waves to Dracula. He waves, desperate not to let Mina out of his sight. He HEARSevery word--</scene_description>
<character>FLO</character>
<dialogue>Are we not going to the zoo?</dialogue>
<character>MINA</character>
<dialogue>Your lessons are more important.</dialogue>
<scene_description>At the corner, Mina delivers Flo to her NURSEand goes her own way.</scene_description>
</scene>
<scene>
<stage_direction>INT. APOTHECARY</stage_direction>
<scene_description>- EVENING 82 Mina pays tor a bottle of LAUDANUM, rounds a corner and bumps right into Dracula. She startles backward •. The bottle drops. He catches it with blurring swiftness.</scene_description>
<character>MINA</character>
<dialogue>0h--I see you are still ••• lost.</dialogue>
<character>DRACULA</character>
<dialogue>My humblest apology. We meet again ••• fate perhaps.</dialogue>
<scene_description>Destiny. 400 years. She eyes him--unexplainably drawn--</scene_description>
<character>MINA</character>
<dialogue>I should think not.</dialogue>
<scene_description>She holds out her hand. He almost grasps with his trembling hand, then realizes he has her medicine.</scene_description>
<character>DRACULA</character>
<dialogue>To "see a sick friend" no doubt?</dialogue>
<character>MINA</character>
<dialogue>That is hardly your business.</dialogue>
<character>DRACULA</character>
<dialogue>I have offended you. I only wish to find the zoological gardens. The child spoke ot it. I understand the collection of animals is the greatest in all of the civilized world.</dialogue>
<scene_description>4/16/91 43.</scene_description>
<character>MINA</character>
<parenthetical>(intrigued)</parenthetical>
<dialogue>If one fancies animals.</dialogue>
<character>. DRACUI.A</character>
<dialogue>There is much to be learned from beasts.</dialogue>
<character>MINA</character>
<dialogue>I must go. If you will excuse me?</dialogue>
</scene>
<scene>
<stage_direction>EXT. APOTHECARY</stage_direction>
<scene_description>- MINAEXITS ALONE 83 Dracula is suddenly in front of her, waiting. Mina is shocked, How?</scene_description>
<character>DRACULA</character>
<dialogue>Then allow me escort you. A woman so lovely should not be walking the streets of London without her Gentleman ••• who is perhaps •away on business."</dialogue>
<character>MINA</character>
<parenthetical>(so angry she's aroused)</parenthetical>
<dialogue>I will most certainlr not be escorted by any gent eman who has not been properly introduced. And who--comes and goes in a--a ghostly way--</dialogue>
<character>DRACULA</character>
<dialogue>Such impertinence. How refreshing. A quality that would cost you your life in my homeland,</dialogue>
<character>MINA</character>
<dialogue>Then I should hope never to visit. Do I know you, sir? Are you acquainted with my husband? Shall I call the police?</dialogue>
<character>DRACULA</character>
<dialogue>Husband? Forgive my manner of , rudeness. I am but a stranger in a strange land. I shall bother you no more •••</dialogue>
<scene_description>He bows, defeated and turns to leave. Mina is confused, fighting against every rule of decorum--</scene_description>
<character>MINA</character>
<dialogue>Sir--I am the one who has been rude. The zoo is through Regent Park. It closes at sunset.</dialogue>
<scene_description>4/16/91 4 4, Dracula turns back trying to control himself, He removes his tinted glasses. His sparkling blue eyes hypnotic --enchanting--taking Mina all in with loving grace.</scene_description>
<character>DRACULA</character>
<dialogue>Then we must hurry.</dialogue>
<parenthetical>(gently, reassuring)</parenthetical>
<dialogue>Do not tear me•••</dialogue>
<scene_description>--A subconscious command. Mina is completely transfixed.</scene_description>
<character>NINA</character>
<dialogue>It's just on my way, I can show you it you like.</dialogue>
<scene_description>Mina flushes red--beside herself with elllbarrassment.</scene_description>
<character>MINA</character>
<dialogue>Oh dear, how positively silly ot me. I cannot believe myself.</dialogue>
<scene_description>Dracula can. He grins like a lovesick schoolboy--</scene_description>
<character>DRACULA</character>
<dialogue>Permit me to introduce myself, I am Prince Vladislaus of Szeklys. Thus serve proper introduction?</dialogue>
<character>MINA</character>
<parenthetical>(impressed and numbed)</parenthetical>
<dialogue>What an unusual name. And a •Prince" no less.</dialogue>
<character>DRACULA</character>
<parenthetical>(swashbuckling bow)</parenthetical>
<dialogue>A meaningless title. ?our servant.</dialogue>
<character>NINA</character>
<dialogue>Wilhelmina Hurray--</dialogue>
<scene_description>Flustered, she starts to curtsy--Dracula stops her.</scene_description>
<character>DRACULA</character>
<dialogue>It is I who am honored, Madam Nina.</dialogue>
<scene_description>She allows a tentative smile 1 charmed and disarmed. PRINCE DRACULA,barelr containing hls pure joy, escorts Nina into the swirl ot l fe on the streets ot London. Streetla~ps are being lit. People rush home from work. Couples stroll catching the sunset. Big Ben chimes. 4/16/91 45.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ZOO - EVENING</stage_direction>
<scene_description>A GREATGRAYWOLFleaps at us snarling--lips curled back over its canines--gnashing at the bars of its cage-- WOLF'S POV - THROUGHTHE BARS Dracula leans on his cane. Sly smile. Ruddy lips. White teeth. Enjoring the chaos he is causing, unflinching as the beast hurls its body against the bars-- Mina pulls at Dracula, distressed. She flinches back as if suffering an electrical shock. For a flash she sees those eyes--not vivid blue--but burning red like lasers.</scene_description>
<character>DRACULA</character>
<parenthetical>(gentle warm smile)</parenthetical>
<dialogue>-It's best not to let the beast sense your fear. He will take all advantage if you allow him.</dialogue>
<scene_description>Mina regards this strange man who dropped in on her life. The ZOOKEEPER,MR. BILDER, hurries up and smacks the wolf through the bars with a wooden staff--</scene_description>
<character>BILDER</character>
<dialogue>'ere now! Git back •ere--Tyke care. Ole Bersicker 'es quick, •e is. Whot er y'doin' here, guvnor? zoo's closed, i' is.</dialogue>
<scene_description>BERSERKERrushes the bars, frightening Mina back. Dracula counters with a sweeping gesture speaking his mother tongue.</scene_description>
<character>DRACULA</character>
<dialogue>Strygie! Muronyl</dialogue>
<scene_description>The Words the Dark Driver spoke to control the wolves on Marker's journey to Castle Dracula. The Wolf cowers-- understanding~-and retreats to the corner. Mina and Bilder watch dumbfounded.</scene_description>
<character>BILDER</character>
<dialogue>Are ye in the bidness yerself?</dialogue>
<character>DRACULA</character>
<parenthetical>(slim smile)</parenthetical>
<dialogue>No. I have made pets of several.</dialogue>
<scene_description>Dracula beckons. Gentle. The Great Wolf comes, head down, obedient. Dracula reaches through the bars and cradles Berserker's head in his white gloves, rubbing his ears, stroking his great back. 4/16/91 46.</scene_description>
<character>DRACULA</character>
<dialogue>Come here, Mina •.• Have no fear •••</dialogue>
<scene_description>Mina resists. Dracula draws her hand into the cage. She struggles--then her hand touches the soft fur. Sensual. Berserker moans like a playful puppy. She strokes its great neck, getting into it. She smiles to Dracula--the verr image of Elizabeth, laughing free and completely trusting as she pets the Wolf. Dracula removes his glasses. Man and Beast face to face. His eyes again crystal blue--the same color as the wolf.</scene_description>
<character>DRACULA</character>
<parenthetical>(softly savoring)</parenthetical>
<dialogue>Berserker.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAM- SUNSET</stage_direction>
<scene_description>An elegant BLACKTOURINGCAR stops outside the gates. Dracula helps Mina down; last rays ot sun glowing about her.</scene_description>
<character>MINA</character>
<dialogue>Thank you tor a most unusual afternoon, Prince. I am not accustomed to such ••• adventures.</dialogue>
<character>DRACULA</character>
<dialogue>It does not have to end here.</dialogue>
<scene_description>Mina lingers, reluctant to end it at all.</scene_description>
<character>DRACULA</character>
<dialogue>For me the day is just beginning.</dialogue>
<parenthetical>(silence)</parenthetical>
<dialogue>Join me, Madam Mina •••</dialogue>
<scene_description>Her emotions ripple. She cannot deceive this man.</scene_description>
<character>KINA</character>
<dialogue>Please, I--I am not "Madam" •••</dialogue>
<parenthetical>(compelled to truth)</parenthetical>
<dialogue>I ••• am engaged to be married. Hy tiance is away on business. I cannot see you ••• again.</dialogue>
<scene_description>Silence. Both fixed on each other. Unable to move. He bends kissing her hand. Mina reaches to stroke his long hair--like the wolt--then catches herself pulling back.</scene_description>
<character>DRACULA</character>
<parenthetical>(profound melancholy)</parenthetical>
<dialogue>Hy sympathies to your "sick" friend.</dialogue>
<scene_description>Mina takes a last look at those angel eyes and hurries up the carriage road to Hillingham. FOLLOWMINA A rush of sexual adrenalin. Her face flushed, unable to contain her excitement. She turns to back-- Nothing. Dracula is gone! Even the touring car!</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<character>- EVENING 86</character>
<dialogue>Lucy sleeps peacefully. Mina peeks in and covers her. Mina is radiant. Bursting with news she cannot share. SUPER: SAMEDAY, ll PM, MINAMUlraAY'SDIARY</dialogue>
<character>MINA (V.O.)</character>
<dialogue>I am so happy tonight ••. because again feel life and hope. I dare not say why ••• Dear Lucy is sleeping softly and looks, oh, so sweet. I hope she has turned the corner with her condition. If Lord Holmwood fell in love with her seeing her only in the drawing room, I wonder what he would say if ha saw her now? Some of the New Women writers will some day start an idea that men and women should be allowed to sleep with each other before proposing or accepting.</dialogue>
<parenthetical>(self-conscious laugh dissolves to guilt)</parenthetical>
<dialogue>... If only I knew if Jonathan ••• God bless him and keep him, ••</dialogue>
<scene_description>EXT, SNOWYWOODS- NIGHT Harker runs, dream motion, fighting the snow. TINGLING LAUGHTERof Dracula's Brides builds to the REVERBERATING HOWLINGof Wolves. The HOWLINGcloses in-- He falls--tumbling, sliding down--down--landing on railroad tracks--BLINDING LIGHTS APPEAR! A SlmILL WHISTLE. Harker looks up--unable to move! The BRIDES MATERIALIZE, surrounding him, pressing him back into the snow. The train ROARSby o.c. He struggles to free himself, but their erotic power over him is too great. FADE OUT: FADE I~: TIGHT ON MICROSCOPICVIEWOF BLOOD PUlsing. Cells churning. Corpuscles battle attacking a foreign cell.</scene_description>
<character>VANHELSING (V.O.)</character>
<dialogue>Ah--you see--witness the struggle. The great mystery of life and death--continues--</dialogue>
<scene_description>REVEAL:ABRAHAM VANHELSING lecturing a handful of STUDENTS around his microscope. "The poise of his head indicates thought and power ••• sculpted in mystery and kindness ••• dark blue. eyes quick and tender or stern with the man's moods."</scene_description>
<character>STUDENT</character>
<dialogue>But Dr. Van Helsing, you have yet to explain your theory.</dialogue>
<character>VAN HELSING</character>
<dialogue>Ah, it is the fault of science that wants to explain it all. But when science cannot--science simply says there is nothing to explain.</dialogue>
<scene_description>Van Helsing raises the limp arm of a cadaver on a table and lets it drop punctuating his point. His students laugh.</scene_description>
<character>VAN HELSING</character>
<dialogue>There are many mysteries in our universe. But the key to all life and death lies here •••</dialogue>
<scene_description>He slits his thumb with a lancet squeezing his own blood onto a glass slide,</scene_description>
<character>VAN HELSING</character>
<dialogue>Blood is life and gives life. Page and Burdon have proved the heart emanates an electrical charge with each beat, carrying the blood which animates the body and feeds it--</dialogue>
<scene_description>van Helsing moves to the head of the cadaver pushing electrical wires into lobes of the exposed brain and open heart cavity.</scene_description>
<character>VAN HELSING</character>
<dialogue>The Americans have an electrical chair used to stop the hearts of criminals. Pity the Americans. Barbarians. But consider a drop--a trickle of electricity to the heart, pumping blood through a body that has ceased to live? can man play God--bestow life?</dialogue>
<scene_description>Van Helsing turns a hand generator slowly watching the amps on a gauge--students shrink back in exclamation. The cadaver's hands quake with the electricity. The dead heart beats erratically. students sfiout and applaud. TIGHT ON VANHELSING: cranking faster •.. playing God. SUPER: 6, SEPT. TELEGRAM,LONDON</scene_description>
<character>TO VANHELSING, AMSTERDAM</character>
<dialogue>"Dear Professor, come at once: do not lose an hour. A dear friend near death; disease unknown. I am in desperate need. Jack Seward."</dialogue>
<scene_description>EXT, HILLINGHAM- DRACULA'SFLYINGPOV The VIEW lands silently and moves through the garden toward Lucy's balcony. The POV LIFTS effortlessly into the air and glides to Lucy's French doors. RESUME: DRACULAPOV - NIGHTVISION Lucy senses the presence and turns over. Her eyes brighten. She smiles wanton and opens herself •. Blood rushes through her glowing like molten lava. Pulsing life. ON THE BALCONY- DRACULAWATCHES Tracing his own hand up his leg to his pelvis--toying with her like a trained animal-- LUCYmirrors him, arousing herself with her own caress. Her hands glide up her body finding her breasts--to her neck. She removes her choker--stroking her neck slowly with her hands--then faster--ejaculatory--sexual powers awakened. This is what she has hungered for. Dracula enters. No love or tenderness in him. He hungers. He hurls her back on the bed--rips away her gown--and takes her-- EXT HILLINGHAM- NIGHT - SAMETIME Dense fog has set in. A motorcar stops in front of the house. PROF. VAN HELSING steps out carrying a single valise. A 9rand silhouette. The car leaves. Van Helsing remains motionless, sensing, listening. Urgency sweeps over him. He ascends the steps hurriedly with a marked limp.</scene_description>
</scene>
<scene>
<stage_direction>INT. HILLINGHAM- CONTINUINGACTION</stage_direction>
<scene_description>A SERVANTtakes Van Helsing's coat. He refuses to let go his bag. Seward, haggard, hurries to meet him.</scene_description>
<character>SEWARD</character>
<dialogue>Professor Van Helsing. How good of you to come.</dialogue>
<scene_description>Van Helsing, set in his eccentric ways, doesn't shake hands, but rather places his gloves and hat in Seward's care and immediately surveys the house with his 6th sense. Already fearful of the power he is up against--</scene_description>
<character>VAN HELSING</character>
<parenthetical>(thick outch accent)</parenthetical>
<dialogue>I come to my friend when he call me to aid those he holds dear--Jack--tell me everything about your case.</dialogue>
<character>SEWARD</character>
<dialogue>She has all the usual physical anemic signs--her blood analyzes normal--and yet--it is not. She manifests continued blood loss--I cannot trace the cause--She complains of dreams that frighten her--but cannot remel!iber them. I have concluded it must be something mental.</dialogue>
<character>VAN HELSING</character>
<dialogue>"Mental?"</dialogue>
<parenthetical>(fearing it's not)</parenthetical>
<character>SEWARD</character>
<dialogue>I'm losing her,</dialogue>
<character>VAN HELSING</character>
<parenthetical>(reading sevard)</parenthetical>
<dialogue>Your dear Miss. She means much to you--You love her?</dialogue>
<scene_description>Seward nods: near collapse. Suddenly, Lucy's ORGASMICWAIL echoes down the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<character>- CONTINUINGACTION 93</character>
<dialogue>LUCY'S WANTON MOANSrepeat again building to a passionate female climax--seward falters topping the stairs, confused by her cries of ecstasy.</dialogue>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<scene_description>- VAJ:lHELSING ENTERS 94 Balcony doors stand open. Curtains flap. Lucy lies s~rawled on her bed. A small pool of blood caking on a pillow. Her gown torn open to her waist. Van Helsing covers her. Her chest heaves struggling to breathe. He checks her pulse--her jugular. The black choker hinders him. He slides it down--revealing the t~o .. small punctures. Fresh. Larger. Worn with repeated use-- Van Helsing's expression tells all. He knows. He knows!</scene_description>
<character>SEWARD</character>
<dialogue>••. My • • ~ God • •• Lucy • ••</dialogue>
<character>VAN HEL'3ING</character>
<dialogue>There is no time to be lost. She will die for sheer want of blood. There must be transfusion at once.</dialogue>
<scene_description>Seward opens the bag pulling out implements--</scene_description>
<character>SEWARD</character>
<dialogue>You've perfected the procedure?</dialogue>
<character>VAN HELSING</character>
<dialogue>I"ve e)C\)erimented with Landsteiner's method. If hemolysis occurs in the donor serum, the red blood cells will burst--Dear Miss could die.,.</dialogue>
<character>SEWARD</character>
<parenthetical>(rolling up his sleeve)</parenthetical>
<dialogue>She will die if we don't try.</dialogue>
<scene_description>Holmwood rushes in his hat and topcoat as Van Helsing ties off Lucy's arm in her state of undress,</scene_description>
<character>HOLMWOOD</character>
<dialogue>--What the bloody hell?!</dialogue>
<scene_description>He grabs at Van Helsing. Seward pulls him back.</scene_description>
<character>SEWARD</character>
<dialogue>Art--It's Professor van Helsing. My old friend and teacher from Amsterdam. He knows more about obscure diseases than any man in the world!</dialogue>
<character>HOLMWOOD</character>
<dialogue>I don't give a damn who he is. What's he doing to my Lucy!?</dialogue>
<scene_description>Van Helsing looks at Seward, then at Holmwood. He "sees" everything.</scene_description>
<character>SEW.ARO</character>
<dialogue>He's trying to save her, Art.</dialogue>
<character>VANHELSING</character>
<parenthetical>(calm, in charge)</parenthetical>
<dialogue>The young miss is very bad. We make a transfusion.</dialogue>
<scene_description>" HOI.MWooo· My life is hers. I would give my last drop of blood to save her.</scene_description>
<character>VANHELSING</character>
<parenthetical>(sadistic chuckle)</parenthetical>
<dialogue>I do not ask as much as that, yet.</dialogue>
<scene_description>Van Helsing holds up two ghastly needles in each hand connected by tubini and a bulb plllllp. Holmwood grows faint. Seward is irritated by his lack of will.</scene_description>
<character>VAN HELSING</character>
<parenthetical>(knowing Lucy•s fate)</parenthetical>
<dialogue>You will be happy in the not-so- far-off (future) you have done all for her you love--Now kiss her once--we. begin--</dialogue>
<scene_description>self-conscious and overwhelmed, Holmwood kisses Lucy tentatively on her bluing lips. Seward sits him down like a child, ties off his arm with a jealous jerk and thumps up a vein. Experience. He jabs Holmwood with the large needle, inwardly enjoyi·g the pain he's inflicted in Holmwood's face. Van Helsing inserts the large needle into Lucy's arm. She quivers in brief pain--still unconscious. He pumps. RED BLOODrhythmically travels the tube from his arm to hers~ feeding life into her. WE HEARthe force like a raging torrent of water crashing down. DISSOLVE TO: THE FACE OF DRACULA In his "coma." His lips red with life. His hunger sated. DISSOLVE TO: THE FACE OF MINA - RIDING IN A CARRIAGE</scene_description>
<character>SUPER:</character>
<dialogue>4/16,91</dialogue>
<character>6, SEPTEMBER</character>
<dialogue>5J •</dialogue>
<character>MINA (V. 0.)</character>
<dialogue>Diary again. Lucy has had another setback. I loathe to see her pain ••• I have had such ·an adventure, such an experience. I confess I can no longer hide mr feelings. I •.. must see the Prince again. Forgive me my Jonathan, I cannot bear ••. not to ...</dialogue>
</scene>
<scene>
<stage_direction>INT. RULE'S CAFE - LATE NIGHT</stage_direction>
<scene_description>CHORUSGIRLS and ACTRESSES dine discreetly with their GENTLEMEN ADMIRERS; GERMANDUKES, AUSTRIANCOUNTS, ENGLISH ROYALTY,the like in this famous Bohemian supper club. Absinthe abounds, the "Green Fairy" liquid drug of choice. OSCARWILDEexpounds a romantic poem to all the ladies present •.• and of course, the men••• especially .•• DRACULA,in classic tuxedo with a dash of red silk, riveted to Wilde. Dracula's handsome pallor and tinted glasses draws women's glances like a rock star.</scene_description>
<character>WILDE</character>
<dialogue>And her sweet red lips of mine Burned like ruby fire set ••• In the swinging lamp of a crimson shrine, Or the bleeding wounds of the pomegranate, Or the heart of the Lotus drenched and wet, With the spilt-out blood of the rose red wine.</dialogue>
<scene_description>Wilde ends kneeling BEFORE MINA, sitting radiantly sim~le beside Dracula; who stands in rousing applause rewarding Wilde with a magnificent golden ring.</scene_description>
<character>WILDE</character>
<dialogue>Should you not bestow such treasure to your lady most fair, Oh Prince?</dialogue>
<scene_description>Mina flushes red watching Dracula adoringly.</scene_description>
<character>DRACULA</character>
<dialogue>Should you not bestow such treasure to your landlady most needy, Oh Poet?</dialogue>
<scene_description>Wilde leads the crowd, applauding Dracula's wit. Dracula greets the adulation as if a great actor long absent returning to his stage.</scene_description>
<character>MINA (V.O.)</character>
<dialogue>He has such passion for life. For everything around him--like a child discovering the world ••.</dialogue>
<scene_description>5 4.:</scene_description>
</scene>
<scene>
<stage_direction>( 98 INT. FRIVATE DINING ROOM- LATER 98</stage_direction>
<scene_description>Where lovers meet for an undisturbed "tete-a-tete." Dracula talks animated. He presses green absinthe to her lips.</scene_description>
<character>DRACULA</character>
<dialogue>Drink. Absinthe is the aphrodisiac of the self.</dialogue>
<scene_description>They drink deep. Mina weakens at his proximity, giving in.</scene_description>
<character>MINA</character>
<dialogue>What does an assistant school- mistress know about such things. I've never been in such a ••• swirl.</dialogue>
<scene_description>She swirls the green absinthe in the candlelight. Dracula covers her lips.</scene_description>
<character>DRACULA</character>
<dialogue>I had no teachers like you in my youth. Only monks ••• large, obese, ugly smelly monks ••• God cursed them.</dialogue>
<character>MINA {V.O.</character>
<dialogue>Yet I am drawn to something in him that frightens me. He has many secrets to unlock. I want to know them all •••</dialogue>
<character>DRACULA</character>
<dialogue>The land of my ancient fathers is rich in culture and fable and lore and Kings and Queens just as your England.</dialogue>
<character>MINA</character>
<dialogue>{hallucinating)</dialogue>
<scene_description>A land beyond a great vast forest ••• surrounded by majestic mountains •••</scene_description>
<character>DRACULA</character>
<dialogue>{unnerved by her accuracy)</dialogue>
<scene_description>••• the most beautiful place in creation.</scene_description>
<character>MINA</character>
<parenthetical>(painting in the air)</parenthetical>
<dialogue>Yes ••• it must be. I can see it. Majestic mountains. Lush vineyards ••. with flowers of such frailty and beauty as to be found nowhere else •••</dialogue>
<character>DRACULA</character>
<parenthetical>(sl?ellbound)</parenthetical>
<dialogue>You describe my home as if you ... had seen it firsthand ...</dialogue>
<character>MINA</character>
<dialogue>It is your voice perhaps. It is so ••. familiar ••• like a voice in a dream you cannot place .•• It comforts me .•• when I am alone.</dialogue>
<scene_description>Their eyes meet, both lingering too long.</scene_description>
<character>MINA</character>
<dialogue>And what of the Princess?</dialogue>
<character>DRACULA</character>
<dialogue>Princess?</dialogue>
<character>MINA</character>
<dialogue>In your land. There is always a Princess. Does she have flowing hair the color of autumn, the haunting eyes of a lustful cat, with gowns flowing white, her face a ••• her face .•• and</dialogue>
<parenthetical>(lost in some hallucination)</parenthetical>
<dialogue>.•. a river. the Princess is a river filled with tears of sadness and heartbreak •••</dialogue>
<scene_description>Mina awakens to her deep inner self.</scene_description>
<character>DRACUIA</character>
<dialogue>Madam Mina ••. it is you who have become the poet •••</dialogue>
<scene_description>Mina smiles aloof, lost in the absinthe dream trying to decipher sensations surging through her.</scene_description>
<character>DRACUIA</character>
<dialogue>There was a Princess, Elizabeth.</dialogue>
<scene_description>--speaking "Elizabeth" to Mina as if it were her given name.</scene_description>
<character>DRACUIA</character>
<dialogue>The most radiant woman in all the empires of the world •.• Man's deceit took her from her ancient Prince. She leaped to her death into the river you s~oke of ••• in mr mother tongue it 1.s called "the river princess."</dialogue>
<scene_description>4/ 16/9 l 56. Silence. Mina takes his hands in hers, rubbing them comforting •.• DISSOLVETO: THE CAFE - LATER - MINA AND DRACULA</scene_description>
<character>DANCING</character>
<dialogue>A waltz. Hundreds of candles flicker. With each turn, Dracula becomes more fluid and comfortable in Mina's arms and she in his. she is awakening his dead soul.</dialogue>
<character>DRACULA</character>
<dialogue>I never thought to dance again. or to laugh •••</dialogue>
<character>MINA (V.O.)</character>
<dialogue>There is a loneliness in him that cries out for love ••• and something else frightening ••• a•lmost ••• evil •••</dialogue>
<scene_description>He lifts her eyes to his--They kiss--gently, tenderly-- Mina's desire awakened by ••• a monster.</scene_description>
<character>MINA (V.O.)</character>
<dialogue>I find this irresistible. He is unlike any man •••</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<scene_description>- DAY 99: LUCY'S ANGELIC FACE Sleeping peacefullf, Cheeks and color healthy. Breath short: her face thin and drawn. An orgasmic st.udder ripples through her. A tiny garland of white flowers has replaced her black choker. THE FACE OF VANHELSING hovers over her; his eyebrows converge deep in thought. He checks her receding gums, hiding his reaction to her slightly changed teeth. He has seen this condition before! Mustn't panic. Mustn't panic. Van Helsing gently reveals the punctures on her throat. Seward inspects them.</scene_description>
<character>SEWARD</character>
<dialogue>No sign of disease. No trituration. Could her blood loss have occurred here?</dialogue>
<scene_description>Van Helsing scoffs, disappointed in his student. ~/16/91 57.</scene_description>
<character>SEWARD</character>
<parenthetical>(self-critical)</parenthetical>
<dialogue>Of course not. The bedclothes would be covered in blood.</dialogue>
<character>LUCY</character>
<parenthetical>(half dreaming)</parenthetical>
<dialogue>... red eyes ... come ...</dialogue>
<scene_description>She wakes. Van Helsing disarms her with his jovial bedside manner. -::-•·</scene_description>
<character>VAN HEI.5ING</character>
<dialogue>My dear young Miss--they told me you were down in spirit. I say "pouf"!</dialogue>
<parenthetical>(sna~ping his fingers)</parenthetical>
<dialogue>You and I will show them how wrong they are.</dialogue>
<scene_description>Lucy rallies with her coy laugh--taking his hand. Seward appears at Van Helsing's side.</scene_description>
<character>LUCY</character>
<parenthetical>(surmising who he is)</parenthetical>
<dialogue>Dr. van Helsing •.• ? Jack--how good you are all to me.</dialogue>
<character>VAN HEI.5ING</character>
<parenthetical>(upbeat, jovial)</parenthetical>
<dialogue>What does he know of young ladies? He has his "madmans" to play with.</dialogue>
<scene_description>Lucy enjoys Seward's.embarrassment. Her hands glide to her throat. She freezes--feeling flowers instead of her choker. She wrinkles her·nose ..at the disgusting smell.</scene_description>
<character>VAN HEI.5ING</character>
<dialogue>How can one so beautiful snub such a charming nose? This (garland) is medicinal--so that you may sleep well--and dream pleasant--</dialogue>
<scene_description>He points to a large bouquet of beautiful white flowers in a vase by the French doors.</scene_description>
<character>VAN HEI.5ING</character>
<dialogue>--like the Lotus flower--make all your trouble forgotten--</dialogue>
<scene_description>Lucy tears the flower necklace off laughing derisively.</scene_description>
<character>LUCY</character>
<dialogue>You're putting up a joke on me. These flowers are only common garlic.</dialogue>
<scene_description>~/16/91 58. Van Helsing stands menacing over Lucy. She recoils--</scene_description>
<character>VAN HELSING</character>
<dialogue>I never jest. I warn you that you do not thwart me.</dialogue>
<parenthetical>(transforming--t'atherly a9ain)</parenthetical>
<dialogue>Oh, my little miss, do not fear me. I only do for your good.</dialogue>
<scene_description>QUINCEYENTERS, having been outside waiting. He's shocked by her appearance, but puts on his big grin.</scene_description>
<character>QUINCEY</character>
<dialogue>You just rest easy now, Lucy. Art asked me to look after you while he's out being lordly, whatever that is •••</dialogue>
<character>LUCY</character>
<dialogue>Oh my love, I am so glad you have come. Kiss me---kiss me once more--</dialogue>
<scene_description>Her voice is soft, voluptuous, reeking with desire. Seward is shocked, then jealous. Quincey bends to her eager-- VAN HELSING EXPLODES, catching Quincey with a fur/ yanking him back across the room--</scene_description>
<character>VAN HELSING</character>
<dialogue>Not for your life! Not for your living soul--or hers!</dialogue>
<scene_description>Quincey grabs Van Helsing--Seward intervenes--</scene_description>
<character>QUINCEY</character>
<dialogue>C'mon Y' damn ole coot--let's step outside and settle this--</dialogue>
<character>SEWARD</character>
<dialogue>Quin! We agreed to do everything he says!</dialogue>
<scene_description>Lucy's weak hand rests on Van Helsing•s. She kisses it. Her voice faint and filled with "untellable pathos".</scene_description>
<character>LUCY</character>
<dialogue>You are my true friend .•• Guard my dearest friends and my Arthur and give me peace •••</dialogue>
<scene_description>Van Helsing eyes the young men. No one challenges his authority now. He kneels, taking Lucy's hand in oath.</scene_description>
<character>VANHELSING</character>
<dialogue>She charm me. I swear to this, not because of disease, but because of you--dearest Miss ••.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS - RAINY DAY</stage_direction>
<scene_description>Harker crawls through a rush of mud and rain, as if trying to swim up a waterfall, drowning, sinking, dying.</scene_description>
<character>HARKER (V.O,)</character>
<dialogue>No man knows till he has suffered from the night how sweet and dear to his heart and eye the morning can be ••• the letters I wrote, each one part of his plan, to blot out the very traces of my existence.,,Mina, I live ••• you must know I live •••</dialogue>
</scene>
<scene>
<stage_direction>INT. CHURCH ENTRANCE- NIGHT</stage_direction>
<scene_description>Someone pounds like a madman on the door. Outside, wolves howl. A NUNrushes to the door, sliding open a small'hatch. Lightning flashes, revealing the tormented face of Harker. He tries to speak. His voice is gone, He offers handfuls of ancient golden coins, pushing them through the small hatch. More nuns rush up. Thar open the door.· Harker collapses into their arins. He is saved.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAMGROUNDS- DAY</stage_direction>
<scene_description>A wedding rehearsal. Mina fills in for Lucy. Holmwood, Quincey and Seward greet her at the altar. The mood is soml:ler. Holmwood puts on a brave face. Mina shores him up as they face the PRIEST. SUPER: 7, SEPTEMBER, MINAMURRAY'S DIARY</scene_description>
<character>MINA (V,O,)</character>
<dialogue>I am anxious and it soothes me to express myself here. Today we rehearsed Lucy's wedding, She was too ill to attend. Poor Arthur ••• I have much to talk over with Jonathan about our own marriage ••• only one letter from him in a month--a brief line, saying he was leaving Castle Dracula, This is so unlike· Jonathan. I do not understand this and it makes me uneasy. If only I knew the future •••</dialogue>
<scene_description>4/15.191 '50.</scene_description>
</scene>
<scene>
<stage_direction>INT. HILLINGHAM</stage_direction>
<character>PARLOR- DAY</character>
<dialogue>Mina finishes enters.</dialogue>
<character>103</character>
<dialogue>her diary</dialogue>
<character>SERVANT</character>
<dialogue>The gentleman to see you--</dialogue>
<scene_description>Mina panics to herself. . . r</scene_description>
<character>MINA</character>
<dialogue>Vladislaus? Not here--</dialogue>
<scene_description>Van Helsing enters, all charm masking his agenda.</scene_description>
<character>VAN HELSING</character>
<dialogue>Ah--you are Madam Mina, dear friend to our Lucy. Forgive me, I have startle you ••• ?</dialogue>
<character>MINA</character>
<parenthetical>(taking his hand)</parenthetical>
<dialogue>Dr. Van Helsing ••• ! thought you ••. might be someone else.</dialogue>
<character>VAN HELSING</character>
<dialogue>Ah, yes yes. Lucy told me about your Mr. Harker's business trip and your worry for him. I worry too ••. for all young lovers. I should like to meet him someday.</dialogue>
<scene_description>Mina wasn't expecting this. Van Helsing takes her hand comforting.</scene_description>
<character>VAN HELSING</character>
<dialogue>Lucy tell me much about her dear friend, Mina ••• I know of her sleepwalking and how you save her ••• I come to you to ask you to tell me all you can remember. It is for her good I ask--</dialogue>
<character>MINA</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>I wrote it all down, here in my diary--</dialogue>
<scene_description>She finds the page. van Helsing politely finesses it from her, moving to the window to read. Mina starts to protest--</scene_description>
<character>VAN HELSING</character>
<parenthetical>(scanning the page)</parenthetical>
<dialogue>I shall be discreet, Madam. I do not wish to know your secrets ..•</dialogue>
<character>MINA</character>
<dialogue>Professor ... what is wrong with Lucy? Is she ..• dying.</dialogue>
<character>VANHELSING</character>
<parenthetical>(reading, face ablaze)</parenthetical>
<dialogue>Things are not always as they seem.</dialogue>
<scene_description>He shuts the diary in a rush of energy, taking Mina's hands .</scene_description>
<character>. VANHELSING</character>
<dialogue>Madam Mina, how can I say what I owe you? This paper is as sunshine. I am dazzle. It will be a pleasure to serve you as friend. I trust you but ask.</dialogue>
<character>MINA</character>
<dialogue>You praise me too much and you do not ••• know me•••</dialogue>
<character>VANHELSING</character>
<dialogue>There are darknesses in life, and there are lights. You are one of the lights--</dialogue>
<scene_description>He kisses her hand and turns to go. He stops, slapping his hands to his great noble head--</scene_description>
<character>VAN HELSING</character>
<dialogue>Mein Gott--the devil has fevered my brain. A letter for you--from Buda-Pesth--</dialogue>
<scene_description>He fishes a letter from his pocket and presents it--</scene_description>
<character>VAN HELSING</character>
<dialogue>Your "husband" will be blessed in you •••</dialogue>
<scene_description>He dashes off. Mina stares at the opened letter. Jonathan? She reads, breathless, the weeks of waiting over--</scene_description>
<character>MINA</character>
<dialogue>overcome witn joy)</dialogue>
<scene_description>He's 1 al ve1 Jonathan's alive!</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN - TIGHT ON MINA - DAY</stage_direction>
<scene_description>Mina reads a letter for the hundredth time, still barely comprehending its truth: SUPER: 12 AUGUST, LETTER, SISTER AGATHA,HOSPITAL OF ST. JOSEPH ANOST. MARY.: 4/16/91 62.</scene_description>
<character>SISTER AGATHA(V.O.)</character>
<dialogue>"Dear Madam, I write by desire of Mr, Jonathan Harker who is himself not strong enough to write, though progressing well thanks to God and St. Joseph and St, Mary. He has been under our care suffering from a violent brain fever. In his delirium, his ravings have been dreadful: of wolves and poison and blood; of ghosts and demons; and I fear to say of what. Be assured that he is well cared for. He has told me all about you and that you are shortly to be his wife .•. All blessings to you both.•</dialogue>
<scene_description>Mina's joy becomes remorse ••• crumbling in tears.</scene_description>
</scene>
<scene>
<stage_direction>INT. RULE'S CAFE TIGHT ON A LETTER - NIGHT</stage_direction>
<character>MINA (V.O.)</character>
<dialogue>My dearest Prince--forgive me.</dialogue>
<scene_description>Dracula reads the letter in the private dining room set with an elegant meal. He is alone. Pain sharpens: with each word wrenching him like a wild animal caught in a trap.</scene_description>
<character>MINA (V,O.)</character>
<dialogue>I cannot be with you this ni9ht-- nor ever again. I ·have received word from my fiance in Europe. I am en route to join him. We are to be married. Forever your love, Mina •••</dialogue>
<scene_description>Tears drop blurring the ink, They are Dracula's!</scene_description>
<character>DRACUIA</character>
<parenthetical>(desperate whisper)</parenthetical>
<dialogue>Mina ••• My love •••</dialogue>
<scene_description>FLASH TO: MINA - ON A BOAT - NIGHT Her joy melts to anguish and heartbreak. She finds her diary. Methodically, she tears 3 pages from it and throws them overboard, watching each memory drift away.</scene_description>
<character>MINA</character>
<dialogue>My sweet Prince ••• Jonathan must never know of us--</dialogue>
<scene_description>4/15191 63. She starts to throw a single white kid glove, touching it to her face, savorin9, remembering. Tears finally come. Her inner strength failing, she sobs, closing the door on Oracula .•. forever ••• RESUME: DRACULA Heads in hands, fighting his grief, hiding his tears. Kid gloves stained with blood! He removes them revealing the hideous face of a corpse. Skin cracking, rupturing, transforming into the ~00 year old demon that rules him!</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAM- NIGHT</stage_direction>
<scene_description>Van Helsing climbs in a motorcar with his inexpendable bag. Seward follows with Quincey--cradling a Winchester.</scene_description>
<character>QUINCEY</character>
<parenthetical>(holding Seward back)</parenthetical>
<dialogue>Jack--You know I love that girl. Wanted to marry her same as you.</dialogue>
<scene_description>Seward, exhausted--strung out--faces Quincey man to man.</scene_description>
<character>QUINCEY</character>
<dialogue>That ole Dutchman know what he's doin•? How much blood 1 ve we give her and where's it all goin 1 ? A.nd what the hell's with those flowers? smell worse•n a dog on a gut wagon. Is he working some kind of "spell"?</dialogue>
<character>SEWARD</character>
<dialogue>I have learned not to question Van Helsing•s methods ••• Frankly, I'm at my wit's end.</dialogue>
<scene_description>Van Helsing leans from the car--impatient.</scene_description>
<character>VANHELSING</character>
<dialogue>Guard her well, Mr, Morriss, do not fail here tonight. We're fighting an enormous power here. Greater than any disease I have ever encountered. To live, IT feeds on Lucy's precious blood.</dialogue>
<scene_description>Quincey, disgusted, ready to punch van Helsing out.</scene_description>
<character>QUINCEY</character>
<dialogue>You•re a sick old buzzard--</dialogue>
<character>VAN HELSING</character>
<dialogue>And you are a sane man. Both of you. Hear me out. Lucy is not a random victim attacked by mere accident. No--she is a willing recruit, a follower, I daresay--a devoted disciple. She transform because she suckles the beast's own diseased blood to become what it is. A monster •••</dialogue>
<scene_description>Quincey looks to Seward for explanation of this nonsense.</scene_description>
<character>VAN HELSING</character>
<dialogue>We may still yet save her precious soul •••</dialogue>
<parenthetical>(laughs maniacally)</parenthetical>
<dialogue>But not on an empty stomach. Jack! I starve!</dialogue>
<scene_description>Seward climbs in--Van Helsing barks to the driver. They speed away leaving Quincey behind. He surveys the vast grounds. He checks his knife and rifle ••• spooked.</scene_description>
</scene>
<scene>
<stage_direction>INT. RENFIELD'S CELL - NIGHT</stage_direction>
<scene_description>Renfield lies comatose on the floor strapped in his strait-jacket. Face bruised and beaten. His eyes open wide--as if suJDJDoned. Something is there in the darkness. DRACULASTRIDES from the shadows as if he walked through the wall. His face still the 400-year-old demon. Renfield rises, controlled by invisible strings. With superhuman strength, he pulls himself free of the straitjacket.</scene_description>
<character>RENFIELD</character>
<dialogue>Yes Master •.. thy will be done.</dialogue>
<scene_description>Renfield is talking to an empty room.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEWARD'S OFFICE - ASYLUM- NIGHT</stage_direction>
<scene_description>Seward ties off his arm, his body quaking as he prepares an injection.</scene_description>
<character>SEWARD(V.O.)</character>
<dialogue>Lucy is dying. I fear our watch is almost over. van Helsing has resorted to spells and witchcraft. We are all becoming God's mad men.</dialogue>
<scene_description>RENFIELD CRASHES IN THE DOOR armed with a lancet. ..;./~6i91 55.</scene_description>
<character>SEWARD</character>
<dialogue>Good God--</dialogue>
<character>RENFIELD</character>
<dialogue>Good guess. I am merely his servant.</dialogue>
<scene_description>Renfield lunges at Seward slashing his arm spewing blood. The men gra~ple to the floor. Seward stabs Renfield in the neck with his syringe. The men sag ••• lifeless. Blood trickles in a puddle. Madness. lll EXT. HILLINGHAMGROUNDS- NIGHT lll Quincey patrols watching the same full moon. HOWLINGdraws closer. Dogs? No. A wolf? He cocks his rifle. PREDATOR'S POV: A vampire's view of Quincey--way across the lawn. The VIEW jwnps to his rifle and gleaming knife. Quincey turns, sensing the presence--VIEW RUSHESCLOSER. He raises his Winchester--he weakens. VIEW rushes over him--</scene_description>
</scene>
<scene>
<stage_direction>INT. LUCY'S BEDROOM</stage_direction>
<character>- CONTINUINGACTION 112</character>
<dialogue>Lucy tosses unable to sleep. Her nocturnal powers alive.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HILLINGHAM- PREDATOR'SPOV - CONTINUINGACTION</stage_direction>
<scene_description>The 4 legged kind. Moving through the garden to Lucy's balcony. IT RISES--flying to the balcony doors.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONYPREDATORPOV - LUCY</stage_direction>
<scene_description>She wakes--on command--her eyes filled with wanton lust-- facing Dracula through the glass doors. Not the handsome creature of desire, but a hungry demon. INTERCUT: A CATHEDRAL- BUDAPEST- DAY A NUN'S CHOIR chants God's praises in Latin. A tall GOLDCRUCIFIX fills the view. RESUME114: DRACULA& LUCY</scene_description>
<character>DRACULA</character>
<dialogue>Your impotent men with their foolish spells cannot protect you from my power--</dialogue>
<scene_description>Lucy clutches the garland of flowers around her neck-- \ RESUME115: CATHEDRAL</scene_description>
<character>WEDDING</character>
<dialogue>A PRIEST carries the crucifiK leading a wedding procession. MINA, the Bride. Her dress simple, her veil sparse, but she is beautiful all in white.</dialogue>
<character>RESUME114:</character>
<dialogue>DRACULA</dialogue>
<character>DRACULA& LUCY</character>
<dialogue>I condemn you to livin9 death--to eternal hunger for living blood--YOU BITCH OF THE DEVILLL!</dialogue>
<scene_description>He raises his arms c~lling forth a tempest. BERSERl<ER LEAPS RIGHT THROUGH HIM {OPTICAL FX)--as if she were a ghost--</scene_description>
<character>RESUME115:</character>
<dialogue>AT THE ALTAR, the GROOMslowly turns to face his bride.</dialogue>
<character>CATHEDRALWEDDING</character>
<dialogue>JONATHANHARKER, ashen, unsmiling, gaunt, eyes deepset.</dialogue>
<character>116</character>
<dialogue>The Great Grey Wolf--CRASHES THROUGH THE GLASS into the room--knocking Lucy back onto the bed. BERSERKERpants over Lucy. looks into the eyes of the beast ••• Dracula's eyes. hand glides to the garland around her neck--and</dialogue>
<character>INT. LUCY'S BEDROOM- CONTINUINGACTION</character>
<dialogue>WINDS ROAR! The hunger. Her rips</dialogue>
<scene_description>away revealing her neck and throat--</scene_description>
<character>RESUME115:</character>
<dialogue>The shadow of the cross passes over them. his eyes, he kisses the crucifix. Peace fills</dialogue>
<character>MINA AND HAIU<ER</character>
<dialogue>Panic wells in his face.</dialogue>
<scene_description>He is clean.</scene_description>
<character>RESUME116:</character>
<dialogue>Gazing down at Lucy. Slowly and lovingly, she takes his fur</dialogue>
<character>DRACULAAND LUCY - WOLFPOV</character>
<dialogue>in both her hands and pulls his great head to her-- LUCY'S ORGASMICWAIL BUILDS AND BUILDS CONTINUINGOVER: RESUME115: MINA AND HARKER They kiss in holy matrimony. There is no life in Harker•s face ••• There is no passion in Mina's. LUCY'S WAIL CRESCENDOS!</dialogue>
</scene>
<scene>
<stage_direction>FADE IN: INT. PARLOR- TIGHT ON LUCY - DAY</stage_direction>
<scene_description>Lovelier than ever. Surrounded by white satin. The same room at Hillingham where she made Quincey show her his knife is "a wilderness of beautiful white flowers" and "tall wax candles" giving her an angelic glow. MINA (V.o.) "Lucy dear, it was my privilege to be your friend and guide when you came from the schoolroom to prepare for the world of life. Please, Almighty God, your life may be all it promises: a long day of sunshine, with no harsh wind, no distrust and no pain. I do hope you will be always as happy as I am now. Goodbye, my dear. I shall post this at once. I must stop, for my Jonathan is waking. I must attend to my husband! Your ever loving, WILHELMINAHARKER." VANHELSING'S HANDSplace a tiny gold crucifix gently over Lucy's lips--a wreath of white flowers on her head--</scene_description>
<character>SEWARD</character>
<dialogue>There is peace for her at last. It is the end.</dialogue>
<scene_description>Van Helsing comforts his former student with tears in his wise aging eyes.</scene_description>
<character>VAN HELSING</character>
<dialogue>Friend Jack, I pity your poor bleeding heart the more because it does so. It is not over. It is only the beginning ••• ! want you to bring me a set of post mortem knives ••••</dialogue>
<character>SEWARD</character>
<parenthetical>(sickened at the thought)</parenthetical>
<dialogue>An autopsy--Lucy? •••</dialogue>
<character>VAN HELSING</character>
<parenthetical>(matter of fact)</parenthetical>
<dialogue>Not exactly. I want to cut off her head and take out her heart.</dialogue>
<scene_description>Seward backs away repulsed--stunned into silence. The VIEW MOVESSLOWLYTO LUCY'S FACE. SUPER: CABLEGRAM</scene_description>
<character>TO MR. & MRS. JONATHAN</character>
<dialogue>HARKER</dialogue>
<character>VANHELSING (V.O.)</character>
<dialogue>Mr. and Mrs. Jonathan Harker. You will be grieved to hear that Lucy Westenra died and was buried 5 days ago. A. Van Helsing, attending physician.</dialogue>
<scene_description>Porters load their bags onto a "motorbus.•• Harker recoils from .the crush of peopl,e on\_the street, paranoid, fearful.</scene_description>
<character>MINA (V.O.)</character>
<dialogue>A sad homecoming in every way. It seems only yesterday my last entry was made ••• and yet how much between then and Hillingham and all the world before me? Poor Lucy is gone. Never to return to us. To have lost such sweetness out of our lives ••• And.Jonathan, my husband, with another attack that may harm him. I may nev.er</dialogue>
<scene_description>· know what he suffered. I dare not open the subject to him for I keep m own secrets ••• How different our 1 1 ves were a few months ago. has happened to us? Wbat DRACULA'SPOV - STALKINGTHEM Watching. Hearing. The VIEWJUMPS CLOSER to Harker.</scene_description>
<character>DRACULA</character>
<parenthetical>(angry animal whisper)</parenthetical>
<dialogue>Harker---</dialogue>
<scene_description>Harker buckles. His legs giving way. Mina struggles to hold him up. His eyes wild in terror and amazement--</scene_description>
<character>MINA</character>
<dialogue>Jonathan? What is it?--</dialogue>
<scene_description>He sees DRACULA! Younger! Restored! Looking right at Harker from inside the dark touring car. lWU<ER (pointing feverish) It is the man himself. The Count ••• He has grown young. My God!-- Dracula is gone in the crush of people. Mina looks back to harker trying to comfort him. The motorbus rings its daparture.</scene_description>
<character>MINA</character>
<dialogue>Jonathan--calm yourself. Let's go to our home. You've had a shock--</dialogue>
<scene_description>He is suddenly animated, lucid with purpose.</scene_description>
<character>HARI<ER</character>
<dialogue>You go on to Exeter without me. I must know if this is true and that I am sane--If he is here, My journal, Mina--unspeakable horrors--You will understand ••• I pray you will •••</dialogue>
<scene_description>He hands her the tattered journal, and kisses her passionately. She boards the motorbus unable to look back. Harker watches her go with grim resolve.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLINGH.AM</stage_direction>
<character>CEMETERY- FOGGYNIGHT</character>
<dialogue>Lamps flash across the iron gate leading to the family crypt.</dialogue>
<character>119</character>
<dialogue>Quincey SWINGSa sledge breaking the lock.</dialogue>
<scene_description>Helsing leads Holmwood reluctantly in. Seward follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. VAULT- CONTINUINGACTION</stage_direction>
<scene_description>The Leaden Coffin sits on a stone altar, Seward and Quincey inspect it with their lamps. Sealed tight.</scene_description>
<character>VANHELSING</character>
<parenthetical>(a class lecture)</parenthetical>
<dialogue>If--Hiss Lucy is dead--there can be no wrong done to her. But if she is not--</dialogue>
<character>HOLMWOOD</character>
<dialogue>My God--has she been buried alive?</dialogue>
<character>VANHELSING</character>
<dialogue>I go no further to say she is "un-dead".</dialogue>
<scene_description>Van Helsing produces screwdrivers from his bag. Quincey and Seward go to work on it. Holmwood is an emotional mess.</scene_description>
<character>HOLMWOOD</character>
<dialogue>"On-dead?" This is insanity, I have a duty to protect her from outrage--</dialogue>
<scene_description>4/15/91</scene_description>
<character>VANHELSING</character>
<parenthetical>(grim sweet pride)</parenthetical>
<dialogue>I gave what you gave--the blood of my veins--I gave it freely. I gave to her my nights and days-- If my death can do her good, even now, she shall have it freely.</dialogue>
<scene_description>Holmwood backs off, helpless. Van Helsing pries the lead flange back. Quincey and Seward remove the lid. Empty!</scene_description>
<character>VANHELSING</character>
<dialogue>She is "nosferatu." "Un-dead". Nosferatu is immortal. Surviving age after age feeding on the blood of the living; adding new victims. We do not fight one monster--Lucy is but one of an entire army that grows among us.</dialogue>
<scene_description>Quincey is loudly skeptical. Holmwood lashes out--</scene_description>
<character>HOLMWOOD</character>
<dialogue>Lies! You cannot prove this--old man! Why cast dishonor on her--</dialogue>
<scene_description>SOFT FEMININE SINGING drifts into the vault. Holmwood recognizes the voice. He shrinks back--Van Helsing signals.· Seward shuts off the lantern. A GOLDENHAIRED WOMANdescends the stairs draped in white. She.holds a young child at her breast, singing and swaying-- Holmwood openly gasps. It is Lucy--in her bridal gown. Van Helsing steps out, flanked by the others in a line blocking the crypt. He shines his lantern in her face. Lucy--her lips and gown fresh with a tiny stream of blood. She drops the child carelessly to the 9round. It moans crying. Seward picks it up--checking its condition.</scene_description>
<character>SEWARD</character>
<dialogue>We're in time. The child will live.</dialogue>
<scene_description>HOLMWOOD BUCKLES. Quincey is horrified and aroused at the same time but ready with his knife-- Lucy approaches Holmwood with a voluptuous grace.</scene_description>
<character>LUCY</character>
<dialogue>Come to me Arthur. Leave these others and come to me. My arms are hungry for you. Come and we can rest together. Come, my husband, come---</dialogue>
<scene_description>•/16/91 71. Holmwood opens his arms in a trance--she leaps into them-- VAN HELSING SHOVESHER BACKslashing the air with a curved Kukri knife. He flashes a crucifix--</scene_description>
<character>VANHELSING</character>
<dialogue>Answer me now, my friend! Am I to proceed with my work?</dialogue>
<scene_description>Holmwood falls to his knees--his face buried in his hands .</scene_description>
<character>-</character>
<dialogue>.</dialogue>
<character>HOLMWOOD</character>
<dialogue>Do as you will. Oh••• dear .•• God.</dialogue>
<scene_description>Lucy's eyes burn unholy light. She pushes past Van Helsing and disappears into the darkness of the crypt.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE- NIGHT</stage_direction>
<scene_description>A train roars from the darkness.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN - NIGHT - CONTINUINGACTION</stage_direction>
<scene_description>Mina sits in a compartment alone. She finishes Jonathan's tattered journal. Her breath short. Completely distraught. She sets the journal down and backs away from it as if it might come to life--</scene_description>
<character>MINA (V.O.)</character>
<dialogue>Jonathan, how he must have suffered. Whether it be true, or only imagination ••• he believes it all himself. That fearful count, coming to London •••</dialogue>
<scene_description>The CONDUCTOR sticks his head in--</scene_description>
<character>CONDUCTOR</character>
<dialogue>Exeter Station, 11 minutes, Mum.</dialogue>
<scene_description>Mina acknowledges. The conductor continues his rounds. Mina looks out at the night sliding past into dawn. The compartment door opens and closes behind her. Someone sits op~osite her. She properly avoids eye contact. She sees the white kid gloves. A chill runs through her-- In the dim light his blue eyes flash. DRACULA--young and handsome as she has always seen him. She wants to cry out--</scene_description>
<character>DRACULA</character>
<dialogue>No--I beg you. I had to see you. I am a madman without you--</dialogue>
<scene_description>He glides his hand to hers. She fights his gentle touch--</scene_description>
<character>MINA</character>
<dialogue>Please--We mustn't--my husband--</dialogue>
<scene_description>She raises the journal as if in defense. He bats it from her hand.</scene_description>
<character>DRACULA</character>
<dialogue>He does not deserve you.</dialogue>
<character>MINA</character>
<dialogue>". Who are you? Where are you from?</dialogue>
<scene_description>What do you know of him?</scene_description>
<character>DRACULA .</character>
<dialogue>I BEG YOU. This is as it was meant to be. Mortal love has no hold on you. ours will last all eternity.</dialogue>
<character>MINA</character>
<parenthetical>(strong, defiant)</parenthetical>
<dialogue>I am a married woman. You must u.nderstand ••• leave me...</dialogue>
<scene_description>The train roars into a tunnel. Cab lamps flick out.</scene_description>
<character>DRACULA</character>
<dialogue>Can you conceive of my loneli• ness? Constant--never ending until I found you ••• I cannot go on in my curse6 life of exile without you. I lost you once before--I'll not lose you again,</dialogue>
<scene_description>She weakens--smoothing her hand to his face. She recoils, refusing to succumb.</scene_description>
<character>MINA</character>
<dialogue>I cannot think ••• or reason ••• you ••• I know I am only alive when I am with you •••</dialogue>
<scene_description>A passionate kiss--He opens her bodice. Her flesh pale, shimmering. He reclines her back on the bench. She pulls him down to her, He kisses her arms, her fingers. She arches herself to him, willing, wanting--his hands lift her neck to him. Her entire body shudders-- INTERCUT: VAN HELSING IN THE CRYPl' Lucy lies in the coffin in state. Van Helsing holds a cruel meter-long stake charring the tip in the lamp flame. A surgeon preparing his instruments.</scene_description>
<character>VANHELSING</character>
<dialogue>A moment's courage and it is done. Take the stake in your left hand, place the point over her heart--</dialogue>
<scene_description>Holmwood whimpers taking the stake and the coal hammer in his trembling hands. Trying to maintain control, Seward covers Lucy's face with a shroud, pressing hard. Van He\_lsing begins to read th.e Latin death mass--Holmwood, weeping, raises the hammer--HE STRilCESl Lucy writhes twisting in wild contortions. Seward holds her down smothering any cries, swallowing his own. RESUME1221 DRACULAANDMINA He jerks back suddenly in the darkness--clutching his chest-- writhing around--yowling like a wounded animal-- INTERCUT: HOLMWOOD Van Helsing reads louder. Holmwood strikes again--Blood sprays the wall--trickling in delicate rivulets. RESUME122: DRACULA& MINA He slams against the compartment door, hurling Mina back.</scene_description>
<character>DRACULA</character>
<dialogue>No! They--deny--us--sahhhh!</dialogue>
<scene_description>The train roars from the tunnel. Dawn's light flares in. Dracula is gone! She curls in shock, oblivious to her state of undress. She frantically closes up her bodice.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRYPT - CONTINUINGACTION</stage_direction>
<scene_description>The men gaze in shame and wonder "as they had seen Lucy in life, with her face of unequaled sweetness and purity."</scene_description>
<character>VANHELSING</character>
<dialogue>And now, my child, you may kiss her. For she is no longer a foul thing for all eternitf, No longer is she the Devil's "un-dead" ••. She is God's true dead. Her soul is with him •••</dialogue>
<scene_description>Van Helsing guides Holmwood down to Lucy. Their lips meet. Seward can't take it. Quincey shrinks back, sickened--</scene_description>
<character>VANHELSING</character>
<dialogue>Now leave us. I am not finished.</dialogue>
<scene_description>Quincey leads Holmwood from the crypt, ~eeping. Silence. Seward· opens a case of autopsy knives. Van Helsing chooses and places the large knife to Lucy's throat--He sags for a moment--his will finally giving out. Seward looks away--he weeps at the slicing sound. FADE TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. CARFAXCHAPEL - DAWN·</stage_direction>
<scene_description>Dracula, tonnented, sharpens the point of a makeshift staff ... feverish ... desperate. He staggers to the center of .the chapel, STANDINGFULL IN. THE RAYS OF MORNINGSUN begging to die. With the anguished cry of an animal, he raises the lance to his own chest to kill himself.</scene_description>
<character>DRACULA</character>
<dialogue>Elizabeth •.. she lives in you •••</dialogue>
<scene_description>Suddenly he jerks the lance away--</scene_description>
<character>DRACULA</character>
<dialogue>No! I cannot lose you again! I cannot let them take you from me!</dialogue>
<scene_description>He hurls the lance in anger--burying it deep in the wooden image of Christ on the cross, hanging above the altar.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONDONDOCKS - DAY</stage_direction>
<scene_description>Harker shakes hands with the CUSTOMSCLERX, places a sheaf of documents in his satchel and strides away barely using his cane. SUPER: SEPT. 25, JONATHANHARKER'S JOURNAL</scene_description>
<character>HARKER (V .O.)</character>
<dialogue>I thought never to write in this journal again, but the time has come. I felt impotent, and in the dark and distrustful of the reality of my own events. But now I know ••. ! am not afraid, even of the count. He has succeeded in his design in getting to London to create more demons. He must be stopped. How did he grow young? Van Helsing is the man to ask. He will unmask the Count and hunt him out •.••</dialogue>
<scene_description>4/16/91 75,</scene_description>
</scene>
<scene>
<stage_direction>INT. HILLINGHAM PARLOR - JOURNAL CONT'D - DAY</stage_direction>
<scene_description>van Helsing reads Harker's journal like a child reading a comic.</scene_description>
<character>HARKER(V.O.</character>
<dialogue>.•. If the Professor is anything like what Mina says ••.</dialogue>
<character>�</character>
<dialogue>He finishes the journal in silence. He inspects several of the gold coins Harker hands him. Harker waits nervously.</dialogue>
<character>VAN HELSING</character>
<dialogue>Madam Mina asked that I read your so wonderful journal for fear you were suffering and in great need ••• She gives me hope there are good women still left to make life happy •••</dialogue>
<scene_description>THE COIN: The Warrior Prince on one side and the order of the Dragon on the other.</scene_description>
<character>VAN HELSING</character>
<dialogue>The ancient Dracul himself ••• You may sleep without doubt, Mr. Harker. Strange and terrible as it is, it is true. I will pledge my life on it.</dialogue>
<character>HARKER</character>
<dialogue>You have just made a new man of me. Do you know what it is to doubt your sanity, to doubt everything, even yourself, Professor?</dialogue>
<scene_description>van Helsing arches his large eyebrows, scoffing.</scene_description>
<character>HARKER</character>
<parenthetical>(finding his wit)</parenthetical>
<dialogue>No, you don't. Who could doubt themselves with eyebrows like yours--</dialogue>
<scene_description>van Helsing roars with laughter then scowls turning Harker's face to his checking him over like a man buying a horse.</scene_description>
<character>VAN HELSING</character>
<dialogue>Jon Harker--you have suffered much from what I have read. You are a nobleman. Your brain and heart are well. You did not taste the blood of those ••. of your infidelity. You are safe from the fate that took dear Lucy and will heal. Have no fear.</dialogue>
<scene_description>Harker is a new man at this news. They shake earnestly.</scene_description>
<character>VAN HELSING</character>
<dialogue>I am with you heart and soul. We must find the author of all our sorrow and stamp him·out, your bloodthirsty count. Have you a plan?</dialogue>
<character>HARKER</character>
<dialogue>I know where the bastard sleeps.</dialogue>
<scene_description>Harker opens his brief ah-cf lays the docwnents on the table. Van Helsing inspects them in shocked amazement.</scene_description>
<character>VAN HELSING</character>
<dialogue>Son of the Devil. We must hurry!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASYLUMGROUNDS- CARFAXIN VIEW - MORNING</stage_direction>
<character>SUPER:</character>
<dialogue>MINA (V,O.)</dialogue>
<character>SEPT. 25,</character>
<dialogue>Jonathan left early this morning to meet with Professor Van Helsing, but I slept late, sick with apprehension. It is my haunting fear that this terrible affair I am involved in will destroy Jonathan. He was never so resolute, never so strong as I saw him this day .•. I am afraid to tell him, but I must.</dialogue>
<scene_description>Mina approaches the iron gates eying carfax in the b.g. tentative--nervous. Seward hurries to let her in. He is completely exhausted.</scene_description>
<character>SEWARD</character>
<dialogue>Mrs. Harker ... Mina •.•.</dialogue>
<scene_description>Their hands meet in awkward silence.</scene_description>
<character>MINA</character>
<dialogue>Dr. Seward--I know you cared much for Lucy •.. Let me hear how she died. I must know. Was she in great pain?</dialogue>
<character>SEWARD</character>
<dialogue>Tell you ••. not for the wide world ••. horrible story ... She is •.. at peace .••</dialogue>
<scene_description>Silence. Mina can't ease his pain. ' •,, (foreboding) Has Jonathan arrived yet?</scene_description>
<character>SEWARD</character>
<dialogue>He's en route with Van Helsing with some news of the Count. The Professor has been "blowing your trumpet," Mrs. Harker. I too admire your courage.</dialogue>
<character>MINA</character>
<dialogue>Professor Van Helsing is a shrewd man. Do you trust him?</dialogue>
<character>SEWARD</character>
<dialogue>With my life. There is even a patient here in my care who Van Helsing is convinced is connected somehow to Jonathan's mysterious Count---and Lucy. Mr. Renfield.</dialogue>
<character>MINA</character>
<parenthetical>(instantly drawn)</parenthetical>
<dialogue>Renfield? He was an associate of Jonathan's. Jonathan took over his dealings •••</dialogue>
<parenthetical>(the connection is clear)</parenthetical>
<dialogue>Do let me see him. You must.</dialogue>
<character>SEWARD</character>
<dialogue>The man has made 2 attempts on my life--</dialogue>
<scene_description>--showing her his wrist bandages. Mina insists.</scene_description>
<character>MINA</character>
<dialogue>Then you must risk a third.</dialogue>
<character>129</character>
<dialogue>His room is quite spotless bugs. Renfield meditates</dialogue>
<character>INT.</character>
<dialogue>save placidly</dialogue>
<character>SEWARD</character>
<dialogue>Hr. Renfield--a lady would like to see you.</dialogue>
<scene_description>Renfield opens one eye at SEWARD.</scene_description>
<character>RENFIELD</character>
<dialogue>Oh very well; but just wait a minute till I tidy up.</dialogue>
<scene_description>4/16/91 78. Renfield moves to his menagerie and simply swallows the insects present--stands at attention and slicks his hair. Mina enters approaching him gracefully extending her hand--</scene_description>
<character>MINA</character>
<dialogue>Good-day, Mr. Renfield--</dialogue>
<scene_description>Renfield properly bows and shakes her hand 1 eying her all over with keen intent. He looks her deep in the eye. (He smells Dracula on her). His eyes grow fearful.</scene_description>
<character>REHFIELD</character>
<dialogue>You're not the girl the doctor wanted to marry. You can't be--she's dead.</dialogue>
<scene_description>Seward is shocked by his knowledge.</scene_description>
<character>MINA</character>
<dialogue>I am Mrs. Harker. Do you-- remember me?</dialogue>
<character>REHFIELD</character>
<dialogue>(reacting to 0 Harker•J Yes--Your thieving husband took you my sweet--then my life. He will pay. My master will punish him-- Mina remains steadfast. Seward steps between them.</dialogue>
<character>SEWARD</character>
<dialogue>That's quite enough. How did you know I wanted to marry anyone?</dialogue>
<character>REHFIELD</character>
<dialogue>What an asinine question. My Master informed me. He tells me everything.</dialogue>
<scene_description>Grave sadness softens the lunatic's face. He takes her Mina's hand gently. She holds his gaze.</scene_description>
<character>RENFIELD</character>
<dialogue>He tells me about you as well--</dialogue>
<scene_description>Renfield winds her scent like an animal. Mina doesn't flinch, motioning to Seward to let him be.</scene_description>
<character>MINA</character>
<dialogue>He does. Tell me about your Master?</dialogue>
<scene_description>4/16/91 79.</scene_description>
<character>RENFIELD</character>
<dialogue>You ask me when I smell him on you. You are in danger--do not stay--I pray I may never see your face again.</dialogue>
<scene_description>He kisses her hand then hides trembling in a corner.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR.~ CONTINUINGACTION</stage_direction>
<scene_description>Mina exits, disturbed and fascinated by Renfield.</scene_description>
<character>RENFIELD</character>
<dialogue>May he bless you and keep you!</dialogue>
<scene_description>Seward closes the cell door. Renfield grabs at him through the view port--</scene_description>
<character>RENFIELD</character>
<dialogue>Let me yo! Let me go! I am no lunatic. I'm a·sane man fighting for his soul! He feeds on her. I smell him--He wants her soul!</dialogue>
<character>SEWARD</character>
<dialogue>Get to your bed and behave.</dialogue>
<character>RENFIELO</character>
<parenthetical>(quiet, well-bred voice)</parenthetical>
<dialogue>You will, do me the justice to bear in mind, that I did what I could do to convince you •••</dialogue>
<scene_description>Seward shuts the view port. Renfield broods in silence gazing through the bars at Carfax, rejected.</scene_description>
<character>RENFIELO</character>
<dialogue>Master--you favor the ~retty bride more than I. You promised me•••</dialogue>
</scene>
<scene>
<stage_direction>INT. SEWARD'S GUEST QUARTERS- DAY</stage_direction>
<scene_description>Harker•s journal sits open on a table. Van Helsing, Harker Holmwood and Quincey plot over a map. Battle plans. Van Helsing's vampire killing tools are spread by his bag. Seward and Mina enter.</scene_description>
<character>VAN HELSING</character>
<dialogue>Ah--wonderful Madam Mina. She has a brain a man should have were he much gifted with a woman's heart.</dialogue>
<scene_description>Mina flushes as the wily Dutchlllan kisses her hand. 4/16/91 ao.</scene_description>
<character>HOLMWOOD</character>
<dialogue>Mina--How good of you to join us--</dialogue>
<scene_description>In an instant he is overwhelmed with grief--Mina comforts him like a mother. He sits down, head in his hands.</scene_description>
<character>QUINCEY</character>
<dialogue>Mam, a woman's the only ·thing can help a man when his heart's broke.</dialogue>
<character>MINA</character>
<dialogue>Quincey. Lucy called you her Texan with the big knife.</dialogue>
<parenthetical>(whispers)</parenthetical>
<dialogue>I know what she was to you •••</dialogue>
<scene_description>They share a warm laugh: his handshake rough but sincere.</scene_description>
<character>SEWARD</character>
<dialogue>Sorry we're late. Mrs. Harker wanted to see Renfield.</dialogue>
<scene_description>Van Helsin~•s eyebrows go up. Harker takes Mina in his arms, pulling her aside.</scene_description>
<character>HARXER</character>
<dialogue>I brought you here to keep safe, Mina--stay away from that man. He's mad •••</dialogue>
<character>MINA</character>
<dialogue>He won't harm me. Jonathan--! must speak with you--alone --Please •••</dialogue>
<character>HARXER</character>
<dialogue>Are you ill? Is something else wrong? ...•</dialogue>
<scene_description>She looks at her husband to be: strong again, renewed. She is com~letely torn--Harker extends his hand to her. She takes 1t tightly to her in love and respect.</scene_description>
<character>MINA</character>
<dialogue>I am with you. Do what you must for Lucy's sake ••• for everyone.</dialogue>
<scene_description>She places her hand in his, gesture of love and respect.</scene_description>
<character>HARKER</character>
<parenthetical>(proud to the men)</parenthetical>
<dialogue>You may count on Mina and myself, Professor.</dialogue>
<scene_description>Huch approval around the room. Mina acknowledges each man. 4/16/91 81.</scene_description>
<character>VAN HELSING</character>
<dialogue>Then we are all agreed. A fortnight ago you would laugh in ridicule if I said there are such things as vampires. our own e~erience with Lucy gave us evidence they exist .•. We were too late to save her •••</dialogue>
<scene_description>Holmwood breaks down. Mina is shocked. Lucy? A vampire? Van Helsing beckons to Harker who presents a file.</scene_description>
<character>HARKER</character>
<dialogue>50 boxes of earth were salvaged from the wreck ot the Demeter at Hillingham and were, as stated fact, delivered to Cartax Abbey. I have traced others to 9 locations in a circle around the city. They are the property of Count Dracula.</dialogue>
<scene_description>Seward shakes his head in grim wonder--van Helsing exalts!</scene_description>
<character>VAN HELSING</character>
<dialogue>Hal--Part ot his battle strategy to concpier us. Jack--the Black Devil is your neighbor!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASYLUMCOURTYARD</stage_direction>
<character>- NIGHT 132</character>
<dialogue>The "VAMPIREKILLERS" assemble. Holmwood tends 2 HUNTING TERRIERS tugging and yowling. Quincey, Harker, Seward bear revolvers and rifles--ltnives in their belts--van Helsing totes only his bag like a doctor making a call.</dialogue>
<character>VAN HELSING (V.O.)</character>
<dialogue>The foe we face has the strength of 20 men as Jonathan can bear witness. He must indeed have been that Voivode Dracula who won his name against the Tllrk. He is king of all Nosferatu. He can direct the elements: the storm, the fog, thunder ••• He collllllands the meaner things: the bat, rodent, wolf. But his powers are weak in daylight, as are most evil things ••• He must rest in sacred earth ot his homeland ••• and that earth is where we shall destroy him.</dialogue>
<scene_description>Seward sheaths his military saber. Quincey loads his Navy Colt snapping it shut.</scene_description>
<character>4/16/91</character>
<dialogue>\.</dialogue>
<character>82.</character>
<dialogue>VANHELSING</dialogue>
<scene_description>Kr. Morriss--your bullets will not harll! hi~--he must be dismem- bered. His head decapitated to insure death. I suggest you use your big knife.</scene_description>
<character>QUINCEY</character>
<dialogue>I wasn't planning on gettin' that close to him, Doc.</dialogue>
<scene_description>Van Helsing roars with laughter until .tears come to his eyes. Quincey wasn't trying to be funny. 133 EXT. SEWARD'SQUARTERS- CONTINUINGACTION l'.l'.l Harker says farewell to Mina by Seward's quarters.</scene_description>
<character>MINA</character>
<dialogue>--I almost feel pity for anything so hunted as is this count--</dialogue>
<character>HARKER</character>
<dialogue>Oh Mina, you are perfection. Your sweet pity makes my hate for this monster seem despicable. I aided bringing him here--and now I must send him back to hell ••• or die in the jaws of it ••• When this task is done, I shall never leave you again.</dialogue>
<scene_description>Jonathan kisses her full, then pulls away. She watches him join the Vampire Killers heading toward Carfax •••</scene_description>
<character>MINA</character>
<dialogue>God keep you all--</dialogue>
<scene_description>Renfield screeches at the night from his cell window--</scene_description>
<character>RENFIELD</character>
<dialogue>FORGIVETHEM, MASTER! THEY KNOW</dialogue>
<character>13 4</character>
<dialogue>S POV</dialogue>
<character>INT. CA.RFAX BELFRY - DRACUIA'</character>
<dialogue>134</dialogue>
<scene_description>Nightvision. Watching the Vampire Killers approach. The VIEWJUMPS CLOSER--CU,SER--right up to: RENFIELDscreeching at his window-- THENTO MINA; watching from Seward's quarters. 4/16/91 83.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARFAXCHAPELENTRANCE- NIGHT</stage_direction>
<scene_description>The Vampire Killers survey the eerie sight. Electric light lamps fall on the Coffin crates sitting like pods of some alien life form waiting to be opened.</scene_description>
<character>HARKER</character>
<parenthetical>(total recall)</parenthetical>
<dialogue>I have seen these very boxes at the Count's castle--He was ••• resting in one ••• I should have killed him then and there.</dialogue>
<character>SEWARD</character>
<dialogue>My God. I found Renfield here--</dialogue>
<character>VAN HELSING</character>
<parenthetical>(scanning his 6th sense)</parenthetical>
<dialogue>Another of his disciples. We must destror every box. If we fail here, tis not mere life or death. It is we become like him--</dialogue>
<scene_description>Van Helsing removes a flask of holy water from his bag hanging it about his neck. Then his rainments.</scene_description>
<character>VAN HELSING</character>
<parenthetical>(sprinkling holy water)</parenthetical>
<dialogue>In manus tuas, Domine •••</dialogue>
<scene_description>Harker takes the lead, fireaxe in hand. He surges driving the axe through the lid with a cry of rage--He chops again --moving to the next--smashing it-- The Vampire Killers follow methodically breaking open and boxes and dumping the white moldy earth-- Van Helsing sprinkles the earth with holr water and crumbles holy wafers in crates while reciting the communion sacrament--all as if out on a Sunday stroll. DRACULA'SPOV - LOOKINGDOWN The men doing their dirty business. The view LEAPS AND GLIDES toward the asylum. No effort. No sound.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEWARD'SQUARTERS- NIGHT</stage_direction>
<scene_description>Mina in her bed gown is at the window, unable to sleep. Renfield's painful cries continue o.c. She covers her ears--wanting him to stop. 4/16/91 84. HER POV - THE GROUNDS In the distance, Carfax is dark. No movement. A thin streak of WHITE MIST snakes across the grass toward the asylum, almost invisible. RESUMEMINA Suddenly feeling lethargic, Mina climbs in bed. Renfield SCREAMSLOUDERo.c. She buries her head in the pillow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEWARD'SQUARTERS- CONTINUINGACTION</stage_direction>
<scene_description>The streak of mist climbs the wall of the asylu:m.</scene_description>
<character>REHFIELD (O. C.)</character>
<dialogue>He mocks you! You cannot destroy him! He comes to her! Foolsssl</dialogue>
</scene>
<scene>
<stage_direction>INT. RENFIELD'S CELL - CONTINUINGACTION</stage_direction>
<scene_description>The tendril mist pours in his window. Renfield watches, coiled in a corner to spring--</scene_description>
<character>REHFIELD</character>
<dialogue>MI Master promised me eternal l fe--but he lies. He wants to give it to the woman. I tried to warn her. She would not listen. I will spare her, master--You cannot have her--Dieeel</dialogue>
<scene_description>Renfield leaps grabbing at the mist--A powerful force hurls him head first repeatedly against the bars. or is it just a lunatic purging his personal demons.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARFAXCHAPEL - CONTINUINGACTION</stage_direction>
<scene_description>Harker chops. The others stack the boxes high.Seward methodically spreads coal oil on the pile-- HIGH PITCHED SQUEALINGechoes around them. A SPARKLING SWIRL OF MIST FORMS rolling across the floor. RATS APPEAR from it! Quincey empties his Colt at them. Holmwood and Seward slash and chop at them with saber and axe. Harker pulls rats from Van Helsing•s neck and shoulders fighting them off as he lights a torch--</scene_description>
<character>VANHELSING</character>
<dialogue>This is his doing! Burn it!</dialogue>
<scene_description>4/16/91 85. Harker fights through the swarm tossing the torch onto the pile of crates. It erupts in a ball of flames--</scene_description>
</scene>
<scene>
<stage_direction>INT. SEWARD'SQUARTERS- MINA'S ROOM- NIGHT</stage_direction>
<scene_description>The stream of mist billows across the floor and up under Mina's sheets coiling toward her like a serpent-- Mina, in near stupor. watches the bulge slide up toward her. Suddenly it feels warm--the fear leaves her face--ecstasy returns--DRACULA SLIDES from underneath the sheet handsome-- sensual-~intoxicating--kissing her passionately. She responds--wanting him--hungering him!</scene_description>
<character>MINA</character>
<dialogue>My love--this can't be true I am dreaming •• ,! must ••••</dialogue>
<character>DRACULA</character>
<dialogue>Hina .•• my most precious life--</dialogue>
<character>MINA</character>
<dialogue>I want to be with you--always--</dialogue>
<character>DRACULA</character>
<dialogue>You can't know what you are saying.</dialogue>
<scene_description>Hundreds of years of resistance melt in him as she touches his face--tracing his lips--his eyes--</scene_description>
<character>MINA</character>
<dialogue>Yes ••• something inside me has always known •••</dialogue>
<scene_description>She kisses him. She opens her legs and buries his face in her neck--sliding him down to her breasts. Her gown slips down her pale shoulders--His mouth meets her flesh. Her legs wrap around his waist. She arches against him-- Dracula stops at her throat--her pulse pounding in his brain--He grabs her hand-~placing her palm over his bare chest--over his heart--She stiffens--the realization--</scene_description>
<character>DRACULA</character>
<dialogue>There is no life in this body •••</dialogue>
<scene_description>She shrinks back reviled--horrified--</scene_description>
<character>MINA</character>
<dialogue>But you live. What are you? I must know? You must tell me?</dialogue>
<scene_description>Dracula turns away covering his face in shame. He is suddenly the wicked evil hideous 4OO-year-old creature. 4/16/91 86.</scene_description>
<character>DRACULA</character>
<dialogue>I am nothing. Hated--feared--Many have suffered because of what I am. I have committed unspeakable acts to find you. Without you-- the life--the love you give me-- I am dead to all the world--</dialogue>
<scene_description>Mina, tears of compassion, gently strokes his hair---</scene_description>
<character>MINA</character>
<dialogue>Then I must love you to keep you.</dialogue>
<scene_description>His entire being swells with the power--the hunger--he turns slowly to face her--HIS FACEONCEAGAINYOUNGfilled with eternal tender love,</scene_description>
</scene>
<scene>
<stage_direction>INT. RENFIELD'S CELL - CONTINUING</stage_direction>
<character>ACTION</character>
<dialogue>Renfield is a twisted Van Helsing--both diagnosis. lancet.</dialogue>
<character>143</character>
<dialogue>mass. Seward enters followed by smoke burned. Seward makes a cursory Renfield moans. Seward pokes his leg with his Nothing.</dialogue>
<character>SEWARD</character>
<dialogue>Back broken. cranial endemas. He couldn't do this to himself--</dialogue>
<character>VANHELSING</character>
<dialogue>Poor devil--Trephination. Release the cranial pressure. It is his only hope--</dialogue>
<scene_description>Seward pulls a round trephine bore from Van Helsing bag.</scene_description>
<character>RENFIELD</character>
<parenthetical>(gagging, dying)</parenthetical>
<dialogue>He promised me--eternal life-- But the pretty woman won him from me. Always some••• woman.</dialogue>
<scene_description>Van Helsing holds Renfield--seward bores a hole in his head.</scene_description>
<character>VANHELSING</character>
<dialogue>What woman! Talk to me man--What woman? Renfield!</dialogue>
<character>RENFIELD</character>
<dialogue>Ah--Van Helsing. I must be dying. I smelled him on her--I warned or. Jack. The Master is here--He feeds on Harker•s mare--She is his bride •••• I ••• am••. free •.•</dialogue>
<scene_description>He spasms and dies. 4/16/91 87. RESUME: MINA AND DRACULA Dracula rises above her, holding her gently in his hands, in a vampire wedding.</scene_description>
<character>DRACULA</character>
<dialogue>Command me and I will leave you. But let no man come between our love.</dialogue>
<character>MINA</character>
<dialogue>I want to be what you are, see what you see--love what you love---</dialogue>
<character>DRACULA</character>
<dialogue>Mina--to walk with me you must die to your breathing life and be reborn to mine.</dialogue>
<character>MINA</character>
<dialogue>You are my love--and my life,</dialogue>
<character>DRACULA</character>
<dialogue>Then I give you life eternal. E'Verlasting love. The power of the ston\l, And the beasts of the earth. Walk with me--to be my loving wife .•• forever--</dialogue>
<character>MINA</character>
<dialogue>Yes--I--will--Yes--forever.</dialogue>
<scene_description>Dracula caresses her face as tenderly as a child. He gently turns her, exposing her neck, kissing her softly--She moans --a tiny grimace of pain as he enters her veins-- With his long thwn.bnail, he opens a vein over his heart.</scene_description>
<character>DRACULA</character>
<dialogue>--flesh of my flesh--blood of my blood---</dialogue>
<scene_description>He pulls her submissivelr to his chest. She drinks. She swoons as his life runs into her---</scene_description>
<character>DRACOLA</character>
<parenthetical>(in orgasm)</parenthetical>
<dialogue>Drink and join me in eternal life--</dialogue>
<scene_description>He falters--welling up--suddenly fighting his desire--He shoves her back in anguish--</scene_description>
<character>DRACULA</character>
<dialogue>I cannot let this be! You will be cursed--as I am. To walk in the shadow of death for all eternity. I love you too much--to condemn you!</dialogue>
<scene_description>She shudders--pleading--holding him--caressing him--</scene_description>
<character>DRACULA</character>
<dialogue>Hear me--I am the monster the breathing men would kill! I am Dracula •••</dialogue>
<scene_description>Mina breaks down--all her faculties collapsing--pounding him futilely--her own guilt fueling her--</scene_description>
<character>MINA</character>
<dialogue>God forgive me I love you--I do love you--</dialogue>
<scene_description>She forces her lips to his chest--</scene_description>
<character>DRACULA</character>
<parenthetical>(desperate whisper)</parenthetical>
<dialogue>I too ... love ... you ...</dialogue>
<scene_description>THE DOORBURSTS OPEN! Van Helsing and the men rush in. They freeze at Dracula ••• Mina at his breast. Mina!--- Dracula--his eyes red with rage. Mina wails in guilt and horror. Dracula springs at them--catlike--protecting her-- Harker fires a pistol point blank. Dracula reels from the impact. He hurls Harker beside Mina--She holds him back-- Quincey slashes at him with his gleaming Bowie knife. Seward cuts with his saber. Dracula stops the blade with his bare hand, smiling cruel. He wrenches the saber away-- Van Helsing advances raising a large pointed crucifix.</scene_description>
<character>VAN HELSING</character>
<dialogue>In manus tuas, Domine!</dialogue>
<character>DRACULA</character>
<dialogue>Old fool. You would destroy He with your idols--me who served the cross--me who commanded nations hundreds of years before you were born!</dialogue>
<scene_description>4/16/91 89,</scene_description>
<character>DRACUIA</character>
<dialogue>My revenge has just begun. I spread it over centuries. I will live long after rour bones are dust. Time is mine. And she that you all love is mine! More will follow. My armies to do my bidding--</dialogue>
<character>VANHELSING</character>
<dialogue>Your armies were defeated. You murdered thousands with unspeakable tortures. Now you must pay for your crimes.</dialogue>
<scene_description>Van Helsin9 stabs the cross at him. Dracula blocks it. It bursts into flames. Dracula flings it to the floor, wailing in pain like a wild beast caught in a trap-- --then taking a final longing look at Mina--he bows-- --and LEAPS OUT THE WINDOW--vanishing into a vapor-- Quincey rushes to the window peering out. Nothing. Gone. Silence. The Vampire Killers regard each other--numbed-- Harker tears himself from Mina and storms out reviled by her appearance--her actions.</scene_description>
<character>MINA</character>
<dialogue>. (breaking down)</dialogue>
<scene_description>Unclean--unclean--unclean--- --staring at her bloody hands and sheets. Van Helsing cradles her in that fatherly manner. She sobs like a child. FADE OUT:</scene_description>
</scene>
<scene>
<stage_direction>FADE IN: EXT. CARFAX- DAY</stage_direction>
<scene_description>A burned out ruin.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL- CONTINUINGACTION</stage_direction>
<scene_description>The mound of crates and earth now a scorched monument. INT, CHAMBER- CONTINUINGACTION Dracula's silver brushes and combs lay next to an elegant porcelain basin filled now with dank water. In the burned debris a face stares out--the photoplate of Mina, charred and broken. The remnants of Dracula's lonely existence.</scene_description>
<character>MINA (V,O.)</character>
<dialogue>••. He is gone ..•</dialogue>
<scene_description>4/16/91 90.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEWARD'SQUARTERS- DAY</stage_direction>
<scene_description>Van Helsing leans into view. He is worn. Aged with the stress and rigor. As old as Dracula first at his castle.</scene_description>
<character>VANHELSING</character>
<dialogue>How do you know, child?</dialogue>
<scene_description>Mina stares into space. Gaunt. Pale, Her gums receding back. She is changing. Transforming.</scene_description>
<character>MINA</character>
<dialogue>He ••• speaks to me.</dialogue>
<character>VAN HELSING</character>
<parenthetical>(computing)</parenthetical>
<dialogue>He still has a strong mind connection to you. He was, in life, a most wonderful man. Soldier and statesman. His heart was strong enough to survive the grave. Had we not crossed his path, he might be the father of a new order of beings--whose road must lead through Death-- not life •••</dialogue>
<character>MINA</character>
<parenthetical>(searching his eyes)</parenthetical>
<dialogue>You ••• admire him •..</dialogue>
<character>VAN HELSING</character>
<dialogue>Much so. His mind is great. But greater is the necessity to utterly stamp him out. That is why .I want to hypnotize you, Mina. Hel~ me to find him-- before it 1s too late.</dialogue>
<scene_description>Mina wrestles with the powers ripping her insides--</scene_description>
<character>MINA</character>
<dialogue>MUst you fight--must you destroy him--even as you did Lucy--</dialogue>
<scene_description>Van Helsing shudders remembering what they did to Lucy.</scene_description>
<character>MINA</character>
<dialogue>But not in hate. The poor lost soul who has wrought all this misery is the saddest of all of us. You must pity him too--as you must me.</dialogue>
<scene_description>Van Helsing sighs in grief--knowing Mina's inevitable end. 4/16/91 91.</scene_description>
<character>MINA</character>
<dialogue>I know I am becoming as him. My mind is made up. When I find in myself a sign of harm to anyone I love, I shall die.</dialogue>
<character>VANHELSING</character>
<dialogue>You would take your own life?</dialogue>
<scene_description>Mina nods with firm conviction.</scene_description>
<character>VANHELSING</character>
<dialogue>You must not die--until this •other" who fouled your sweet life is "true dead". His destruction is your salvation. Help me find him. Help me•••</dialogue>
<scene_description>Van Helsing hypnotically caresses her hand, moving his free hand slowly before her--she fixes on it--weak--fatigued--</scene_description>
<character>MINA</character>
<parenthetical>(drifting)</parenthetical>
<dialogue>Yes. I must go to him. He calls.</dialogue>
<scene_description>She nods--staring glassy eyed. Van Helsing checks her vitals--knowing what he must do, He puts her deep in an hypnotic trance.</scene_description>
<character>VANHELSING</character>
<dialogue>Tell this dry old man or science what you see with those so bright eyes.</dialogue>
<scene_description>DISSOLVETO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH SEA - DAY (LIBRARY FOOTAGE)</stage_direction>
<scene_description>A clipper ship heads east under ·full sail. SUPER: THE CZARINACATHERINE,LONDON</scene_description>
<character>TO VARNA,RUMANIA</character>
<dialogue>MINA (V.O,)</dialogue>
<parenthetical>( in a trance)</parenthetical>
<dialogue>Sleep has no ilace to call its own. I am dr1fting--floating--</dialogue>
<character>VANHELSING (V.O.J</character>
<dialogue>What do you hear?</dialogue>
<scene_description>The Czarina crashes through waves, speeding with the wind.</scene_description>
<character>MINA (V,O,)</character>
<dialogue>Mother ocean •••</dialogue>
<scene_description>DISSOLVE TO: 4/16/91 92. NT. CZARINA- THE HOLD The view glides over boxes and crates to one last coffin crate resting in the shadows.</scene_description>
<character>MINA (V.O.)</character>
<dialogue>We sail .•. he is beside me...</dialogue>
<scene_description>A :RAIN WHISTLE BLOWS!</scene_description>
</scene>
<scene>
<stage_direction>EXT. EUROPEANFRONTIER - NIGHT</stage_direction>
<scene_description>The Orient Express speeds east through blinding snows.</scene_description>
<character>VANHELSING (V.O.)</character>
<dialogue>Where are you going?</dialogue>
</scene>
<scene>
<stage_direction>INT. PRIVATE R.R. CAR - TIGHT ON MINA</stage_direction>
<scene_description>Deep in hypnotic trance.</scene_description>
<character>KINA</character>
<parenthetical>(calm serene smile)</parenthetical>
<dialogue>Homa... Homa...</dialogue>
<scene_description>Van Helsing gently closes Mina's eyes. She sleeps. Van Helsing sponges her head. Seward unpacks transfusion tubes. Van Helsing stops him.</scene_description>
<character>VANHELSING</character>
<dialogue>The vampire has baptized her with his own blood. Her blood is dying, my friend.</dialogue>
<scene_description>van Helsing raises her lips. Her gums have receded. Mina suddenly grabs Van Helsing barely able to breathe--</scene_description>
<character>KINA</character>
<dialogue>He calls me to him ••• Promise me --promise me on your honor as men in the sight of God--you'll not tell me your plans against him.</dialogue>
<scene_description>Harker takes her hand, fighting his tears.</scene_description>
<character>VAN HELSING</character>
<dialogue>She is wise. As he wills her to him, she could betray us. Oh, Jonathan She is one of God's women, fashioned by his own hand to show use men that there is a heaven.</dialogue>
<scene_description>4/16/91 93. At the other end of the car, Hol.::·Jood sleeps in his bush gear. Quincey whets the edge of his Bowie knife--in his rough rider gear. Harker arrives with a map and two whiskeys--sharing his natural sense of co1111Dand.He shows Quincey their progress against Dracula's.</scene_description>
<character>HARKER</character>
<dialogue>I know one truth for sure, Quin. If I find out that Mina must be a vampire in the end, I'm not letting her go into the unknown alone.</dialogue>
<scene_description>Quincey clinks his glass pledging his loyalty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN- NIGHT \[STOCK FOOTAGE\]</stage_direction>
<scene_description>A full moon. Land is visible in the distance. The Czarina sails on. That haunting lonely HOWLECHOES,•.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VARNA,ROMANIA- RAILROADSIDING - DAWN</stage_direction>
<scene_description>( REDRESSLONDONDOCKS)</scene_description>
<character>SUPER:</character>
<dialogue>HARKER (V.O.)</dialogue>
<character>15,</character>
<dialogue>I must keep this journal or go mad. We have beaten the czarina Catherine to Varna ••• Thank God this is a country where bribery can do anything. We are well supplied with monef, I will kill the Count myself with the first blow. Mina is in his mind. She brings him to us. He is weak at dawn •••</dialogue>
<scene_description>Harker paces a dock outside the private railwar car like a caged animal fighting the cold, Quincey busies himself sharpening long wooden stakes.</scene_description>
<character>QUINCEY</character>
<dialogue>While we're waitin' for the count to show, why don't you ask the Doc to put Mina wife in one of those trances 'n tell us where we can find some decent food--</dialogue>
<scene_description>Harker appreciates Quincey's levity, but he's too intense to laugh. Holmwood hurries up with a cablegram--distraught.</scene_description>
<character>HOUIWOOD</character>
<dialogue>We've been had on--This wire just came from my clerk at Lloyds.</dialogue>
<scene_description>4/16/91 94.</scene_description>
<character>HARKER</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"Czarina Catherine reported entering Galatz at one o'clock today."</dialogue>
<scene_description>The men look at each\_other in shock.</scene_description>
<character>QUINCEY</character>
<dialogue>I'll be damned. She sailed right past us in the night--She's headed upriver.</dialogue>
<character>HOLMWOOD</character>
<dialogue>That black devil is reading our minds.</dialogue>
<scene_description>Harker explodes, Quincey's stakes about.</scene_description>
<character>HARXER</character>
<dialogue>No ••• he's reading hers.</dialogue>
<scene_description>WITH MINA: Approaching in a horse coach with Van Helsing. Seward drives. She is even paler. There is a gleam of triumph in her vacant smile. DOORSSLIDE BACKON THE PRIVATE CAR Quincey, Holmwood and Jonathan ride exquisite English mounts down a ramp. They rein up beside Van Helsing's coach.</scene_description>
<character>HARXER</character>
<dialogue>We'll follow the bastard upriver. Try to head him off. You head for the Castle. Whoever gets to the Bergo first will have to do the job.</dialogue>
<scene_description>Quincey hands Van Helsing a sealskin rifle scabbard holding a well-oiled Winchester. He hands his Navy Colt to Mina. Respect and grim understanding passes between the cowboy and the lady. Seward mounts the horse Holmwood leads for him. He doffs his fur hat to Mina--then to Van Helsing who gives him a warm clasped hand farewell--like the Pope blessing the flock. Quincey and Seward wheel and ride away after Holmwood. Mina and Harker face each other. He leans to kiss her. She reaches to him, his horse rears skittish at her--</scene_description>
<character>HARKER</character>
<dialogue>Mina--stay behind, I beg you.</dialogue>
<scene_description>4/16/91 95.</scene_description>
<character>MINA</character>
<dialogue>My powers will help, Jon. If I stay he will find me and follow. I ... am••.. his ....</dialogue>
<scene_description>Harker shouts in anger.</scene_description>
<character>KAR.KER</character>
<dialogue>Nol Do you know the place you take her, Professor? Every speck of dust that whirls ia a devouring monster embryo! Have you felt the vampire's lips on your throat, old manl</dialogue>
<character>VAN HELSING</character>
<dialogue>Be not afraid for Madam Mina. It is she who will protect me. We are all in God's hands.</dialogue>
<character>HARKER</character>
<dialogue>May God give "him" into my hands just long enough to send his soul to burning hell--</dialogue>
<scene_description>He gallops after the others. Mina watches him go. A final silent "goodl:lye 11 • Van Helsing wheels their coach in the other direction. 155 EXT, GALATZDOCKS- DAWN (REDRESSLONDON</scene_description>
<character>DOCKS)</character>
<dialogue>Dracula's 12 SZGANYGYPSIES guard</dialogue>
<character>155</character>
<dialogue>coffin the crate with guns and blades.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRACULA'SCOFFIN - TRAVELING</stage_direction>
<scene_description>His handsome face aging rapidly. Hair graying. He whispers.</scene_description>
<character>DRACULA</character>
<dialogue>Mina ••• you are near.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE CARPATHIANS- SUNSET</stage_direction>
<scene_description>Dracula's beloved snowc·apped peaks stretch before us.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORGOROAD- CONTINUINGACTION</stage_direction>
<scene_description>Van Helsing and Mina approach. Both wearing bulky fur. The horses are fatigued, The old man even more so. 4/16/91 96. Mina reclines in a near comatose state. Suddenly, she wakes, animated, excited like a child--</scene_description>
<character>MINA</character>
<dialogue>This is the way---</dialogue>
<scene_description>They crest the to~ of a steep rising hill--the Castle appears in full view on its precipice. A timeless sentinel.</scene_description>
<character>MINA</character>
<dialogue>Exactly as Jonathan described it in his journal--</dialogue>
<character>VAN HELSING</character>
<dialogue>The end of the world •••</dialogue>
<scene_description>Van Helsing studies Mina's exuberant reaction, troubled--</scene_description>
<character>MINA</character>
<dialogue>Why are we stopping? we must go on.</dialogue>
<character>VAN HELSING</character>
<dialogue>It is late, child. We rest here.</dialogue>
<scene_description>FUll of new energy, Mina jllll!ps down and starts walking.</scene_description>
<character>MINA</character>
<dialogue>No--I must see it now---</dialogue>
<scene_description>Van Helsing takes her arm gently. She flares, struggling against him--</scene_description>
<character>MINA</character>
<dialogue>Let me go--I want to go to him!</dialogue>
<scene_description>She fights harder--he grabs her dragging her back--</scene_description>
<character>MINA</character>
<dialogue>I must see him! Can't you understand? Just let me go! I know what I am! He needs me. I can take care of him. Be with him. Leave mel--</dialogue>
<character>VAN HELSING</character>
<parenthetical>(wrestling her down)</parenthetical>
<dialogue>--I am vowed to protect you. I have lost Lucy. I will not lose you to him. This will comfort you and bless you--</dialogue>
<scene_description>He pulls a tin from his coat--and produces a holy wafer--- 4/16/91 97.</scene_description>
<character>VANHELSING</character>
<dialogue>Domine, Christos, bless this child--deliver her from evil--</dialogue>
<scene_description>He presses the wafer to her forehead. Her skin sears at the touch. Mina screams falling back. A scarlet red mark branded on her forehead--</scene_description>
<character>MIKA</character>
<dialogue>I am his--1 If I cannot be with him then I pray you cut off my · head.and drive a stake through me as you did Lucy. Promise met</dialogue>
<scene_description>She convulses in gasping sobs prostrate on the cold ground. Van Helsing Jcneels beside her. His tired body giving out. The winds rise around them mixed with a TINGLINGIAUGHTER-- Van Helsing listens, sensing a presence. The sun has set.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPSITE- EVENING</stage_direction>
<scene_description>Van Helsing throws more wood on a roaring fire. Mina sits upright on a couch of furs, wide awake and energized by the night. Van Helsing brings her a bowl of food.</scene_description>
<character>VANHELSING</character>
<dialogue>You must eat something, child--</dialogue>
<character>MINA</character>
<parenthetical>(spacey drifting)</parenthetical>
<dialogue>I am not hungry •••</dialogue>
<character>VANHELSING</character>
<parenthetical>(testing her)</parenthetical>
<dialogue>Come. Come over to the fire--</dialogue>
<scene_description>He leads her. She stops--tugging away. Sitting where she stands, on her haunches, watching,</scene_description>
<character>MIKA</character>
<dialogue>Leave me alone--</dialogue>
<scene_description>Her eyes gleam. van Helsing watches her. HORS~ NEIGH ANO WHINNYin fright--The TINGLING LAUGHTER echoes in the darkness. Mina hears it. She stands, excited. THE BRIDES OF DRACULA materialize, beckoning to Mina---</scene_description>
<character>THE YOUNGEST</character>
<dialogue>come--come, Sister, come to us.</dialogue>
<scene_description>She is the image of Lucy! 4/15/91 98. Mina raises her arms to greet them--Van Helsing pulls her back--He grabs a stick from the fire and quickly draws a crude ring around Mina---</scene_description>
<character>VANHELSING</character>
<dialogue>Mina! Mina! You are safe here! Do not move outside the ring--</dialogue>
<character>MINA</character>
<parenthetical>(laughing at him)</parenthetical>
<dialogue>Why fear for me? None is safer in all the world fr0111them than me. I am their kind--</dialogue>
<character>VANHELSING</character>
<dialogue>Not while I live. Nol</dialogue>
<scene_description>He crumbles a holy wafer around the circle, waving the flaming stick at the Brides--</scene_description>
<character>VANHELSING</character>
<dialogue>Leave usl This is holy ground!</dialogue>
<scene_description>The YOUNGEST laughs cruelly hissing at his antics-- He stands before Mina--his flaming stick in one hand, his holy book in the other--The Brides swirl past him-- The horses neigh in fright--One beast is yanked down by the Brides--leaping and tearing at its great neck • .Van Helsing covers Mina's eyes. He gags at the horrible sight as the horses cry and neigh in death.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRACULA'SCOFFIN - TR.AVELING</stage_direction>
<scene_description>A smile of triu:mph spreads on his aging face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPSITE- DAWN</stage_direction>
<scene_description>The red dawn appears. The fire smolders. Mina sleeps soundly covered with furs inside the circle. Fresh two-legged tracks lead away from the camp past the two dead horses--heading for the Castle in the distance. 162 EXT, CASTLEENTRANCE- CONTINUING AC'l'ION 162 The tracks go through the same gates Harker entered. 4/ 16/91 99. INT. CASrLE CHAPEL- AFTERNOON The ground covered in a blanket of white. Follov the tracks to: Van Helsin9. His face and hands bitten with the cold, limping in his great fur coat up to the stone altar, He gazes reverently at the dragon arch--"DRAKWYLA." THE 3 BRIDES lay in their tombs. More beautiful and more voluptuous than ever. Their hunger sated-- Then he opens his bag, as a Doctor making a house call, laying out his instruments of dismemberment--his post-mortum knives, 3 long wooden stakes, his ma.llet--with ritual care. He kneels before the youngest, overwhelmed by her beauty. He straightens her hair lovingly. Her robe lays open revealing her perfect breast ••• aroused and weakening, Van Helsing bends ••• kissing her exposed nipple. Her eyes open glowing hot--she presses his mouth harder to her breast waking his desires-- A Second Bride wakes pulling him down to her loins archin9 against him. He recoils, chastising himself. In one fluid motion, he places a stake on her chest--AND STRIKES! 164 EX'?. VALLl!!Y</scene_description>
<character>- CASTLEIN VIEW - AFTERNOON 164</character>
<dialogue>A SCREAMechoes through the valley--</dialogue>
<scene_description>EX'?. CAMPSITE - CONTINUING ACTION The scream is Mina•s--struggling awake beneath the furs. EX'?. THE BORGO ROM! - CONTINUING ACTION 12 MOUNTED SZGANYGYPSIES escort the wagon bearing Dracula along the river toward the Castle. · R.EStJKB: CAMPSITE - CONTINUING ACTION van Helsing staggers through the snow: his furs covered in vampire blood.</scene_description>
<character>VAN HELSING</character>
<dialogue>Mina! Madam Mina!</dialogue>
<scene_description>Mina rises in her fur--He embraces her--exhausted--barely able to stand.</scene_description>
<character>VAN HELSING</character>
<dialogue>He comes!</dialogue>
<scene_description>4/16/91 100. He grabs the sealskin of rifles and a rucksack and drags her down the hill after him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORGOROAD- CONTINUINGACTION</stage_direction>
<scene_description>The Szgany approach. The coffin crate drawing closer to the Castle in the distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRANSYLVANIA</stage_direction>
<character>BATTLEGROUND</character>
<dialogue>- CONTINUINGACTION 169</dialogue>
<scene_description>Van Helsing and Mina take up positions in the jagged rock fortress overlooking the road.</scene_description>
<character>VAN HELSING</character>
<dialogue>They race the sunset--We may be too late--God help us--</dialogue>
<scene_description>WOLVESBEGIN TO HOWLo.c. IN THE HILLS. Van Helsing climbs up on the rock with his field glasses--</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORGO·ROAD</stage_direction>
<scene_description>- HIS POV - FIELD GLASSES 170 The caravan makes the turn heading right at their position. Further back TWORIDERS are closing fast-- RESUME: VAN HELSING & MINA</scene_description>
<character>VAN HELSING</character>
<dialogue>LOok, MadamMina! 'l'Wo horsemen follow fast! Hahl</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD- TWORIDERS EMERGE</stage_direction>
<scene_description>From the snowy gloom. Quincey's unforgettable REBEL YELL flanked by Jack Seward, his saber drawn! Quincey FIRES his Winchester rapidly--Indian style-- One szgany drops. The Riders clash. SEWARDSLASHES one across the chest, dropping him to the ground.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAGGED ROCICS- CONTINUINGACTION</stage_direction>
<scene_description>van Helsing yells. Mina is riveted.</scene_description>
</scene>
<scene>
<stage_direction>17J EXT. BORGOPASS ROAD 173</stage_direction>
<scene_description>HARKERAND HOI)iWOODAPPEAR leaping their horses into the road. Both steady their mounts and level their weapons. 4/16/91 101. Halt! The LEADGYPSYbears down--fearsome blade in his hand. Holmwood calmly drops him with an expert shot. RAlUCtR SPURS up and LEAPS ABOARD--TheGypsy Driver turns to strike. Quincey drops him. Harker slashes the bonds holding the box--It breaks free-- THE BOX BURIES itself in snow still shut tight. MINAWATCHESIN HORROR Harker fights to the box. Seward rides up leaping over the box chopping a gyp•?· One Gypsy slashes Quincey. He fights hand to hand--bleeding profusely-- Van Helsing yells pointing to the sun.</scene_description>
<character>VANHELSING</character>
<dialogue>Strike now! Hurry Mannnl</dialogue>
<scene_description>IH'l'. COFFIN - DRACULA Roaring with all the powers left in him!</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORGOPASS ROAD</stage_direction>
<scene_description>HARKERSTRUGGLESWITH THE LID, The coffin quakes--the lid EXPLODESsmashing over Harker, Harker raises to strike-- ORACUIAANOHAR.KER- FACE TO FACE Dracula rises--grabbing Harker by the throat, roaring the beast-- QUINCEYDIVES Driving his Bowie knife deep in Dracula's heart, He screeches--flinging Quincey into the snow. Dracula writhes clawing at the knife deep in his chest. A grept beast is dying-- HARKERSWINGSHIS KUKRI Severing his neck, Crimson blood spatters white snow. DRACUI.A STANDS Erect--facing his assailants. Blood streaming from his severed throat--Bowie knife stuck deep in his heart. His body shudders. His skin slowly oozing away-- MINA</scene_description>
<character>MINA</character>
<dialogue>GOD NOOO!--</dialogue>
<scene_description>Harker raises to strike again--A GtTNREPORTS--the bullet kicking the blade from Harker's hand. He wheels--stunned-- Mina rushes to Dracula--aiming a rifle wildly at Harker-- then seward--Holmwood--all shocked by her action.</scene_description>
<character>HARKER</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>Mina--</dialogue>
<scene_description>Dracula turns to her. His face horribly transformed. Almost a skull. Bulging cheekbones. Teeth bared--</scene_description>
<character>ORAC:UIA</character>
<parenthetical>(tender, loving)</parenthetical>
<dialogue>Mina ... ?</dialogue>
<scene_description>His voice rasps--cracking like broken glass. Mina holds his dying gaze. Fighting her repulsion as he putrifies: returning to a 400-year-old corpse before them. His sunken eyes find the setting sun. A moment of triwnph flashes across his face. He staggers back:Wards, snarling in pain--wrenching himself through the snow toward the castle gate, refusing to die like an animal-- Mina backs slowly after him, her gun trained on the men.</scene_description>
<character>MINA</character>
<dialogue>You must pity him ••. When my time comes--will you do the same to me? WILL YOU?</dialogue>
<scene_description>van Helsing holds Harker back, using all his strength to restrain him.</scene_description>
<character>VANHELSING</character>
<dialogue>She'll shoot, Man. Lat me reason with her. our deed is not finished until Dracula is dust--!</dialogue>
<scene_description>Harker knocks Van Helsing down and rushes at her--</scene_description>
<character>HARKER</character>
<dialogue>Kill me if you must--I love you.</dialogue>
<scene_description>Mina squeezes point blank at Harker. She trembles, lowering the rifle unable to shoot. Harker reaches for the barrel-- Dracula reaches the gates. He sees Harker and Mina--with all the power left in him, he sum.mo~sthe powers of hell-- A powerful force SWIRLS THE SNOWblinding Harker. A PILLAR OF THE BLUEFLAMESERUPTS swirling around Harker, obscuring Mina from view. van Helsing is blown to the ground in a shower of golden coins. 176 PANORAMA - BATTLEGROUND:</scene_description>
<character>- THE SUN SETS BEHINDTHE CASTLE176</character>
<dialogue>Harker kneels on the mound of treasure obsessed with the sea of wealth, calling to Mina. Holmwood sits motionless on his mount. Head bowed. End of the trail. Seward cradles Quincey. He dies ••• van Helsing\_cli:ml)s a mound--facing the castle.</dialogue>
<character>VAN HELSING (V.O.)</character>
<dialogue>Madness •.. Madness •.• God rest him. Let him sleep in peace.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASTLECHAPEL- SUNSET</stage_direction>
<scene_description>Last rays strike the magnificent dragon arch-- PAN DOWN TO: DRACULA;collapsing, sprawled on the marble altar. The same position he discovered Elizabeth in centuries earlier. How a husk of his body is all that remains as he oozes away. Deep in the caverns of his eyes, fierce life still bUrns. DRACULA'SCADAVEROUS HAND: framed in the crimson snow-- reaches--u~--up--to his precious night visible through the vaulted ceiling-- MINA'S HANDSAPPEARtaking his withering bony fingers, kissing th-, caressing th-. She kneels beside him, fighting her revulsion. Dracula cracks a hideous painful smile, coughing up blood in· a rasping gasp.</scene_description>
<character>DRACULA</character>
<dialogue>Where is my God. He forsakes me.</dialogue>
<character>MINA</character>
<dialogue>I here--I'm with you always---</dialogue>
<scene_description>4/16/91 104. He reaches feebly to the blade. Mina grips the handl•! and pulls with all her strength. His fingers, nearly bone, creep up the shaft resting around hers, stopping her.</scene_description>
<character>DRACULA</character>
<dialogue>You must ••• let me die •••</dialogue>
<character>MINA</character>
<dialogue>Please ••• I •.• love ••• you--</dialogue>
<scene_description>She kisses his horrid lips, smoothing what's left of his once strong face.</scene_description>
<character>DRACULA</character>
<dialogue>You are my bride for all eternity ••• I live in you--</dialogue>
<character>MINA</character>
<dialogue>No ••• no •••</dialogue>
<scene_description>Sha clutches him to her throat to feed but he cannot. She tears open her cloak clutching him to her bare breast to suckle her blood ••• he cannot.</scene_description>
<character>DRACULA</character>
<dialogue>You ••• must release -1 Give me paace ••• I 1 m begging you--</dialogue>
<scene_description>Pleading, begging, crumbling in her arms. His voice a rasp--</scene_description>
<character>DRACULA</character>
<dialogue>I ••. love ... you •••</dialogue>
<scene_description>She quakes, knowing what she must do--</scene_description>
<character>DRACULA</character>
<dialogue>Never forget my••• glory ••• 1·</dialogue>
<scene_description>He cries out--Mina closes her eyes, prays for strength and falls on him with all her weight driving the knife clear throughhis flimsy chest---Arching, reaching up to the altar--cradled in Mina's arms--Dracula crumbles to dust. Mina sinks in a dreamy silent motion across him ••• the mark on her forehead vanishes. She is free ••• The ruins echo with Mina's tender weeping. · Moonlight streams upon her cradling his remains. Beams strike the magnificent altar--the dragon arch--illuminating his name--</scene_description>
<character>"DRAKWYLA�</character>
<dialogue>The warrior Prince is at peace •••</dialogue>
<scene_description>FADE SLOWLYOUT.:</scene_description>
</scene>
</script> | In 1462, Vlad Dracula returns from a victory in his campaign against the Ottoman Empire to find his beloved wife Elisabeta has committed suicide after his enemies falsely reported his death. A priest of the Romanian Orthodox Church tells him that his wife's soul is damned to Hell for committing suicide. Enraged, Vlad desecrates the chapel and renounces the Christian God, declaring he will rise from the grave to avenge Elisabeta with all the powers of darkness. He then drives his sword into the chapel's stone cross and drinks the blood that pours from it, becoming a vampire. In 1897, solicitor Jonathan Harker takes the Transylvanian Count Dracula as a client from his colleague R. M. Renfield, who has gone insane and is now an inmate in Dr. Jack Seward's asylum. Jonathan travels to Dracula's castle in Transylvania to arrange Dracula's real estate acquisitions in London. Jonathan meets Dracula, who finds a picture of his fiancée Mina Murray and believes she is the reincarnation of Elisabeta. Dracula leaves Jonathan to be fed upon by his brides, while he sails to England with Transylvanian soil, taking up residence at Carfax Abbey. In London, Dracula hypnotically seduces and bites Mina's best friend Lucy Westenra, with whom Mina is staying while Jonathan is in Transylvania. Lucy's deteriorating health and behavioral changes prompt former suitors Quincey Morris and Dr. Seward, along with her fiancé Arthur Holmwood to summon Dr. Abraham Van Helsing, Seward's mentor, who recognizes Lucy as being the victim of a vampire. Dracula, appearing young and handsome during daylight, meets and charms Mina. Mina develops feelings for Dracula, accompanying him on several outings. When Mina receives word from Jonathan—who has escaped the castle and recovered at a convent—she travels to Romania to marry him. A heartbroken Dracula transforms Lucy into a vampire. Van Helsing, Holmwood, Seward, and Morris kill the undead Lucy the following night. After he and Mina return to London, Jonathan and Van Helsing lead the others to Carfax Abbey, where they destroy the Count's boxes of soil. Dracula enters the asylum and kills Renfield for warning Mina of his presence. He visits Mina, who is staying in Seward's quarters, and confesses that he murdered Lucy and has been terrorizing Mina's friends. Though furious at first, Mina admits that she still loves him and remembers Elisabeta's previous life; at her insistence, Dracula begins transforming her into a vampire. The hunters burst into the bedroom, and Dracula claims Mina as his bride before escaping. As Mina changes, Van Helsing hypnotizes her and learns via her connection with Dracula that he is sailing home in his last remaining box. The hunters depart for Varna to intercept him, but Dracula reads Mina's mind and evades them. The hunters split up; Van Helsing and Mina travel to the Borgo Pass and the castle, while the others try to stop the Romani transporting Dracula. At night, Van Helsing and Mina are approached by Dracula's brides. Mina succumbs to their chanting and attempts to seduce Van Helsing. Before Mina can feed on his blood, Van Helsing places a communion wafer on her forehead, leaving a mark that slows her transformation. He surrounds them with a ring of fire to protect them from the brides, then kills the brides the following morning. Dracula's carriage arrives at the castle, pursued by the hunters. A fight between the hunters and Romani ensues. Morris is fatally stabbed in the back and Dracula bursts from his coffin at sunset. Jonathan slits his throat with a kukri knife while Morris stabs him in the heart. Van Helsing and Jonathan allow Mina to retreat with the Count while Morris dies in the arms of Holmwood, comforted by his friends. In the chapel where he renounced God, Dracula lies dying. He and Mina share a kiss as the candles adorning the chapel light up and the cross repairs itself. Dracula reverts to his younger self and asks Mina to give him peace. Mina thrusts the knife through his heart and as he dies, the mark on her forehead disappears freeing her from his curse. She then decapitates him and gazes up at a fresco of Vlad and Elisabeta ascending to heaven together, finally reunited. |
Jules_2023 | tt15428940 | <script>
<scene>
<character>JULES</character>
<dialogue>Written by</dialogue>
<scene_description>Gavin Steckler</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - LATE DAY</stage_direction>
<scene_description>A small old man, MILTON, ambles along the streets of a rural Western Pennsylvania town. He is frail of mind and body. Clothes disheveled, face messily shaven, eyes shielded by thick glasses. Content to comprehend what he does of the world, though still capable of being roused. He clutches a notebook in his hands.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - CONTINUOUS</stage_direction>
<scene_description>He heads up to the door of the town's stately City Hall building.</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL - CONTINUOUS</stage_direction>
<scene_description>Milton walks up the aisle and takes a seat across the way from SANDY. She was your favorite arts teacher. She's earnest, supportive, less sharp than in her prime but still trucking. Sandy nods in welcome. Milton nods quickly before turning away. About ten feet down the near-empty bench is JOYCE -- has a serious oddball streak that's probably grown with age. She greets the world with perpetual grumpy suspicion. Hair for the most part untended, posture unsteady. Milton makes perfunctory eye contact with Joyce who turns somewhat rigidly away. These three sit near each other but not with each other. They recognize each other as the same species but it's a solitary species. Just then, the man at the center of the curved dais (MAYOR MARTINEZ) smacks the gavel to bring the attendees to \* attention. \*</scene_description>
<character>MAYOR MARTINEZ \*</character>
<dialogue>Alright, alright let's begin. \*</dialogue>
<scene_description>People stall in reacting and he bangs again. To either side \* of him are the six other council members and various \* functionaries (town clerk, town attorney, etc.) casually \* coming and going in the familiarity of a weekly routine. The audience is sparse, and all are cast in the soul-sucking glow of civic fluorescents.</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>I call this meeting of the Boonton, Pennsylvania City Council to order.</dialogue>
<character>MAYOR MARTINEZ</character>
<dialogue>We are simulcast on Public Television 5. Please stand. \* He stands up for the Pledge and everybody follows suit.</dialogue>
<character>MAYOR MARTINEZ</character>
<dialogue>Alright, first item on the agenda. An update to the construction of the baseball field on Juniper Street. With us is Steve Gorham, general contractor.</dialogue>
<scene_description>A man in a polo arranges himself at the podium before the council. Notably unpolished in his speaking, notably going through the motions. Lots of eye contact reserved for his notes.</scene_description>
<character>STEVE GORHAM</character>
<dialogue>Thank you Mayor Martinez, esteemed council, as promised we will not be needing an extension on construction, we will finish by November one, within the period furnished by our previous extension. Principal construction is complete and what lies ahead is electrical, plumbing, not including the exterior bathrooms which were completed in line with council's --</dialogue>
<scene_description>We jump forward to the end of Steve Gorham's presentation, where cardboard drawing plans now sit on an easel and COUNCILMAN NATE BOUCHARD is wrapping up a question.</scene_description>
<character>COUNCILMAN BOUCHARD</character>
<dialogue>-- and the bleacher padding is included in the budget, is that right?</dialogue>
<character>STEVE GORHAM</character>
<dialogue>That's right.</dialogue>
<character>COUNCILMAN BOUCHARD</character>
<dialogue>Thank you Mr. Gorham.</dialogue>
<character>MAYOR MARTINEZ</character>
<dialogue>Any more comments from Council?</dialogue>
<scene_description>The Council is silent after some looks between each other.</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>Item number two, planned improvements to our power grid. Lead engineer Rudy Jonansen...</dialogue>
<scene_description>BEGIN MONTAGE. Snippets of different speakers speed us through the meeting.</scene_description>
<character>ENGINEER</character>
<dialogue>... we will divide it into four subsections...</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>COUNCILWOMAN WU</character>
<dialogue>Does the wattage, relate to the capacity, I'm unclear --</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>... so that is the proposal for the Fourth of July Festival, I'd like to open it up to debate...</dialogue>
<scene_description>Milton, Sandy and Joyce wait patiently -- the further they get into the meeting, the more a tad of restlessness creeps into their posture.</scene_description>
<character>COUNCILMAN DANIELS</character>
<dialogue>... there's always gonna be some congestion leaving...</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>COUNCILWOMAN STRAUSS</character>
<dialogue>It is a delightful show and I am looking forward to it.</dialogue>
<scene_description>END MONTAGE Finally, we arrive at this:</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>That is the end of agenda items. We now move on to the next part of the meeting, which is open public comments. The Council will hear comments but is not expected to respond, please remember to limit your comments to one and a half minutes.</dialogue>
<scene_description>Quite rehearsed, the three citizens take up their posts in line. During the following, there is a notable amount of not paying attention -- councilmembers passing notes, doing errands, sharing photos on their phones as local democracy gets its purest moment. Sandy is up first. She refers to notes in her spiral.</scene_description>
<character>SANDY</character>
<dialogue>Mayor Martinez, esteemed council. First I'd like to say to Councilwoman Wu, it is good to see you back on your feet after your operation.</dialogue>
<scene_description>Councilwoman Wu smiles in gratefulness.</scene_description>
<character>SANDY</character>
<dialogue>I would also like to say what wonderful new flowers there are outside the police station as of this weekend! That is what charges the spirit of this town. Things like that. Kudos. I return to a familiar theme. We "old people" may look all wrinkled and feeble, but we are the suppository of great lessons. And out there, you have a generation of young people who are getting nothing but garble all day in their... internet and their phones, now their phones. I'll tell you, what a revelation it would be to bring us together! A senior-youth program to allow the individuals on either end of the life spectrum to enrich each other's lives and share quality time together. I think it would be a wonderful thing for this town.</dialogue>
<scene_description>The famous dinging bell starts to sound, a chime every two seconds, signaling her time is up.</scene_description>
<character>SANDY</character>
<dialogue>Please consider it. We have much to share. Thank you.</dialogue>
<scene_description>Sandy takes a seat. Joyce takes the lectern. As usual she looks unstable. She refers to a scrap of paper for her topics.</scene_description>
<character>JOYCE</character>
<parenthetical>(re: what Sandy just said)</parenthetical>
<dialogue>Young people talkin' to old people. Sounds like a waste a time. Young people just listen to young people these days, it's what they're known for.</dialogue>
<character>SANDY</character>
<parenthetical>(lightly, from pew)</parenthetical>
<dialogue>It's worth a chance.</dialogue>
<character>JOYCE</character>
<dialogue>This is my time, Sandy, zip it.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You removed the animal show at midnight from public access. I have a twenty-two-year-old cat --</dialogue>
<scene_description>She holds up a video on a tablet computer for each council member to see, of a cat in really bad shape watching an animal show on television.</scene_description>
<character>JOYCE</character>
<dialogue>-- who can no longer hear, can barely see, hardly eats, who used to fall asleep to that show every night. Now he doesn't get a wink of sleep. You don't know whose lives you're affecting.</dialogue>
<character>COUNCILWOMAN WU</character>
<dialogue>Joyce, I remind you that Council has no controlling stake over the public access --</dialogue>
<character>JOYCE</character>
<dialogue>It's my time!</dialogue>
<parenthetical>(Wu shuts up)</parenthetical>
<dialogue>Our town deserves a candy store. A candy store lifts the spirits. There is nothing like walking into a candy store. I feel something missing in this town all the time. It's a candy store.</dialogue>
<parenthetical>(onward)</parenthetical>
<dialogue>There has to be clemency for books that are overdue too long, I didn't know it was behind the credenza.</dialogue>
<scene_description>The bell sounds.</scene_description>
<character>JOYCE</character>
<dialogue>I've told them that a million times. Lastly the public access travel show does too many stories in America.</dialogue>
<character>MAYOR MARTINEZ</character>
<dialogue>Joyce, your time is up.</dialogue>
<character>JOYCE</character>
<dialogue>Raise the budget, so they can fly across an ocean for once.</dialogue>
<character>MAYOR MARTINEZ</character>
<dialogue>Joyce, your time is up.</dialogue>
<character>JOYCE</character>
<dialogue>Planes exist.</dialogue>
<scene_description>Joyce takes her seat. Finally it's Milton's turn. He shuffles to the mike, orders his notebook. When he talks there isn't much enunciation between ideas nor eye contact with the board.</scene_description>
<character>MILTON</character>
<dialogue>I think that we ought to change our town slogan. "A Great Place To Call Home" is confusing because when somebody hears it, it can mean that it's a great place to call your home on the telephone. I suggest a clearer motto like "A Great Place to Refer to as Home", though it doesn't have to be that.</dialogue>
<scene_description>Milton vaguely notices he's not being paid much attention to. He seems used to it. He marches on.</scene_description>
<character>MILTON</character>
<dialogue>We need a crosswalk on Trent Avenue between Frost and Allegheny. It's a very long distance to walk when you're in the middle and you need to cross and you either need to go to Frost or Allegheny. It encourages jaywalking and jaywalking is an expensive ticket, I know I've gotten three, not to mention a great way to get you killed. There's nowhere in the post office to address letters. All the counter space has been removed to fit more merchandise, so people are standing in all sorts of awkward positions to write on their envelopes. Thank you.</dialogue>
<scene_description>Mayor Martinez takes note of the absence of sound and looks up from what he was doing.</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>Alright, thank you all for those comments, I hereby proclaim this meeting adjourned.</dialogue>
<scene_description>He knocks the gavel.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - NIGHT</stage_direction>
<scene_description>Milton once again walks along the road. He stops in the middle of a long block (presumably Trent Ave). He looks down the road -- sees that a car is coming. Looks behind it, sees a car is following not far behind that one -- gives up and keeps walking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction>
<scene_description>Now farther out of town. He stops, takes out a flashlight, and illuminates it. Then continues on his way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>He walks up the driveway of his place -- a two-story house in the country. Neighbors a hundred yards off. He extinguishes the flashlight.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>Milton turns the light on. It's a small house whose coziness is mixed with mess. A kitchen which opens on to a living room, a couch and a flatscreen TV. Milton tosses his keys on the counter. LATER. He sits at the dinner table and saws into a pizza which he has burnt. LATER. He washes the plate. It lands in the dish rack, still carrying evidence of the pizza.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>Milton sits on the lounge portion of his couch watching a police drama. The cordless phone rings. He answers.</scene_description>
<character>MILTON</character>
<dialogue>Hello?</dialogue>
<parenthetical>(listening)</parenthetical>
<dialogue>Uh-huh. Uh-huh. Uh-huh. Off- shore drilling?</dialogue>
<character>MILTON</character>
<dialogue>Well it's just, I'm in the middle of a program. Sure. Anytime but this hour. This hour I'm pretty busy. Okay.</dialogue>
<scene_description>He hangs up. Goes back to his police drama. \*</scene_description>
</scene>
<scene>
<stage_direction>A9 EXT. MILTON'S HOUSE - BACKYARD - MORNING A9</stage_direction>
<scene_description>Milton stands in the grass watering his flowers. A simple bird bath stands nearby.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MORNING</stage_direction>
<scene_description>Milton sits again watching TV while DENISE sifts through some papers at his dining room table. She is late 30s, caring, agreeable, a softy. Understatedly pretty and resolutely upbeat. She wears scrubs.</scene_description>
<character>DENISE</character>
<dialogue>Alright Dad, I'm ready for you.</dialogue>
<scene_description>He comes over to her slowly. She lays out three checks that have already been made out.</scene_description>
<character>DENISE</character>
<dialogue>Here, here and here.</dialogue>
<scene_description>He signs the checks.</scene_description>
<character>DENISE</character>
<dialogue>Your gas bill, your phone bill and your medicare supplement, in case you're interested.</dialogue>
<scene_description>His silence suggests that he's really not. She starts slipping the checks into their envelopes and squaring the papers away. She motions to a new shirt draped over a nearby chair.</scene_description>
<character>DENISE</character>
<dialogue>Lemme know if the shirt's the right size. I think the colors will look good on you.</dialogue>
<character>MILTON</character>
<dialogue>Okay.</dialogue>
<scene_description>As though casual --</scene_description>
<character>DENISE</character>
<dialogue>Have you heard from Tim?</dialogue>
<character>MILTON</character>
<dialogue>No.</dialogue>
<parenthetical>(off her sigh)</parenthetical>
<dialogue>It costs a lot to make a long distance call. So I understand.</dialogue>
<scene_description>Choosing not to go into it, she grimaces --</scene_description>
<character>DENISE</character>
<dialogue>I've gotta use the girl's room before I go.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - MOMENTS LATER</stage_direction>
<scene_description>Denise is peeing when something on the linen shelf catches her eye. She gets up, flushes. Approaches it - A can of green beans is wedged next to the towels.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Milton has already taken his place back at the sofa. Denise holds up the can.</scene_description>
<character>DENISE</character>
<dialogue>I found this in the bathroom cabinet.</dialogue>
<character>MILTON</character>
<dialogue>Oh.</dialogue>
<character>DENISE</character>
<dialogue>Any idea why you put it there?</dialogue>
<character>MILTON</character>
<dialogue>I musta just gotten confused. Maybe the kitchen cabinets were full.</dialogue>
<character>DENISE</character>
<dialogue>There's plenty of space in 'em.</dialogue>
<scene_description>He squirms in discomfort.</scene_description>
<character>MILTON</character>
<dialogue>I must have been distracted.</dialogue>
<character>DENISE</character>
<dialogue>Are you feeling okay, Dad?</dialogue>
<character>MILTON</character>
<dialogue>Yeah.</dialogue>
<character>DENISE</character>
<dialogue>Maybe you should get a checkup. Just to see how you're doing.</dialogue>
<character>MILTON</character>
<dialogue>I don't need a checkup.</dialogue>
<character>DENISE \*</character>
<parenthetical>(trying to sound casual)</parenthetical>
<dialogue>It can't hurt though, can it?</dialogue>
<character>MILTON</character>
<parenthetical>(stubborn)</parenthetical>
<dialogue>I don't need it.</dialogue>
<scene_description>She sighs, drops it. She glances at her cell phone.</scene_description>
<character>DENISE</character>
<dialogue>I'm late for work. Let me know if you need anything else.</dialogue>
<scene_description>She puts the can on the table, kisses his forehead.</scene_description>
<character>MILTON</character>
<dialogue>Alright.</dialogue>
<scene_description>He watches after her blankly for a moment, then turns back to the TV.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - LATE DAY</stage_direction>
<character>MAYOR MARTINEZ (O.S.)</character>
<dialogue>I call this meeting of the Boonton City Council to order.</dialogue>
</scene>
<scene>
<stage_direction>INT. CITY HALL - LATE DAY</stage_direction>
<scene_description>MONTAGE. Quick bursts of dialogue whiz us through the meeting.</scene_description>
<character>COUNCILMAN BOUCHARD</character>
<parenthetical>(looking down to attorney)</parenthetical>
<dialogue>Have we run this by legal?</dialogue>
<character>CITY ATTORNEY</character>
<parenthetical>(nodding)</parenthetical>
<dialogue>We've reviewed it.</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>COUNCILMAN DANIELS</character>
<dialogue>... that restriction against trash burning has been on the books for a few years...</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>COUNCILWOMAN STRAUSS</character>
<dialogue>I didn't know we had a shortage of snowblowers but I suppose another one won't hurt.</dialogue>
<scene_description>FORWARD TO:</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>We now move on to open public comments. Please remember to limit your comments to a minute and a half.</dialogue>
<scene_description>We land on Joyce staring uncertainly at the Board, and them staring uncertainly back. She suddenly holds up a used toothbrush.</scene_description>
<character>JOYCE</character>
<dialogue>A toothbrush! Do I recycle it? I don't know. Twist-ties!</dialogue>
<parenthetical>(rifling some out of her pocket)</parenthetical>
<dialogue>Do I recycle them? I don't know. A spent lightbulb. What in God's name do I do with this? I'll tell you one thing, the answer's not in here.</dialogue>
<scene_description>She waves the city recycling pamphlet in the air.</scene_description>
<character>JOYCE</character>
<dialogue>Review your recycling guidelines, they're not clear enough. There's still a cell hole on Route 42 out past Sanger Landing. You can build a baseball stadium but you can't plug a gosh-darn cell reception hole. I've been telling you about Pickle Ball for four years and you haven't done nothing. I think it's a fantastic game for those of us whose knees are not agile enough to cover a tennis court. Who's filibustering Pickle Ball. Is that you, Wu?</dialogue>
<scene_description>The bell dings in the silence.</scene_description>
<character>COUNCILWOMAN WU</character>
<dialogue>No it is not.</dialogue>
<scene_description>Joyce walks away from the podium. Sandy is up next.</scene_description>
<character>SANDY</character>
<dialogue>Good evening, council. The new cold storage facility near the highway is going to give our businesses a marvellous way to store their perishable goods. But \* it also gives us another thing -- a giant wall facing the highway, to express a little about who we are to passersby. I wonder if this council would consider commissioning a muralist to add a little magic to what will already be a valuable building. Thank you and blessings to you all.</dialogue>
<scene_description>Milton moves up to the podium with his same notebook. He's wearing the new shirt from Denise. It's the right size.</scene_description>
<character>MILTON</character>
<parenthetical>(yes, the very same speech)</parenthetical>
<dialogue>I think that we ought to change our town slogan. "A Great Place To Call Home" is confusing because when somebody hears it, it can mean that it's a great place to call your home on the telephone. I suggest a clearer motto like "A Great Place to Refer to as Home", though it doesn't have to be that. We need a crosswalk on Trent Avenue between Frost and Allegheny. It's a very long distance to walk when you're in the middle and you need to cross and you either need to go to Frost or Allegheny. It encourages jaywalking and jaywalking is an expensive ticket, I know I've gotten three, not to mention a great way to get you killed. There's nowhere in the post office to address letters. All the counter space has been removed to fit more merchandise, so people are standing in all sorts of awkward positions to write on their envelopes. Thank you.</dialogue>
<scene_description>He ambles away from the lectern.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction>
<scene_description>Milton is again walking with the flashlight.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>He's at home watching TV. The phone rings.</scene_description>
<character>MILTON (ON PHONE)</character>
<dialogue>Hello?</dialogue>
<parenthetical>(listening)</parenthetical>
<dialogue>Uh-huh. Uh-huh. Uh-huh. I don't have an above-ground pool. Okay. Bye.</dialogue>
<scene_description>He hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - BEDROOM - NIGHT</stage_direction>
<scene_description>Milton is in bed asleep. Suddenly a LOUD CRASH. Milton immediately perks up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - HALLWAY - NIGHT</stage_direction>
<scene_description>He walks switching lights on toward the backdoor of the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>He steps into the back porch and turns on the light. In his small fenced in back yard, a space ship has crashed and driven itself halfway into the ground. It is round, traditionally space ship-like, and steaming at the moment. Milton seems moderately distressed.</scene_description>
<character>MILTON</character>
<dialogue>Oh, my.</dialogue>
<scene_description>He walks around and inspects the plants crushed by the space ship.</scene_description>
<character>MILTON</character>
<dialogue>Oh, my.</dialogue>
<scene_description>He notices the mangled bird bath sticking out from below the craft. Even more concerned --</scene_description>
<character>MILTON</character>
<dialogue>Oh, my.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DINING ROOM - CONTINUOUS</stage_direction>
<scene_description>Milton is on the phone in the dining room.</scene_description>
<character>911 OPERATOR (ON PHONE)</character>
<dialogue>911 operator, what is your \* emergency?</dialogue>
<character>MILTON</character>
<dialogue>There is a space ship that has crashed in my back yard. And it has crushed my azaleas.</dialogue>
<character>911 OPERATOR</character>
<dialogue>A space ship?</dialogue>
<character>MILTON</character>
<dialogue>Yes.</dialogue>
<character>911 OPERATOR</character>
<dialogue>Sir, we remind you that placing prank calls to 911 emergency service is considered a felony.</dialogue>
<character>MILTON</character>
<dialogue>It's not a prank. A space ship has crashed in my back yard and it has crushed my azaleas.</dialogue>
<character>911 OPERATOR</character>
<dialogue>Sir, please try lying down and going back to sleep.</dialogue>
<scene_description>There is a click. The operator is gone. Milton doesn't notice.</scene_description>
<character>MILTON</character>
<dialogue>I'm wide awake.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Hello? Hello?</dialogue>
<scene_description>He puts the phone down. Pauses. Then dials again. The call goes straight to voicemail.</scene_description>
<character>OPERATOR</character>
<dialogue>You've reached the voicemail of</dialogue>
<parenthetical>(her voice, peppy)</parenthetical>
<dialogue>Denise.</dialogue>
<parenthetical>(operator)</parenthetical>
<character>OPERATOR</character>
<dialogue>Please leave a message after the tone.</dialogue>
<scene_description>He hangs up. Stares off to the side, worried. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK PATIO - MOMENTS LATER</stage_direction>
<scene_description>Milton looks at the space ship again. Sighs deeply. With a shrug, he goes back inside and shuts off the light. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL - LATE DAY</stage_direction>
<scene_description>Milton and Sandy are walking down the aisle toward their seats.</scene_description>
<character>SANDY</character>
<dialogue>How are you, Milton?</dialogue>
<character>MILTON</character>
<dialogue>Well I'll tell you, I've got a real situation --</dialogue>
<scene_description>Just then, Mayor Martinez knocks the gavel. Milton shuts up as they both sit down.</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>I call this meeting of the Boonton City Council to order.</dialogue>
<scene_description>CUT HARD TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL - LATER</stage_direction>
<character>MAYOR MARTINEZ</character>
<dialogue>We now move on to public comment. The Council will hear comments but is not expected to respond. Speakers, please remember to limit your comments to one and a half minutes.</dialogue>
<scene_description>Sandy takes the podium first. As usual, the councilmembers and assistants occupy themselves with their own matters and pay fleeting attention.</scene_description>
<character>SANDY</character>
<dialogue>Esteemed Council members, I am delighted to speak tonight about elderly-youth connections. This idea, in my opinion, is the first step in healing the many deep rifts that exist in our society nowadays. I hope to eventually collaborate with this board on this project, but in the meantime I am launching a pilot project.</dialogue>
<scene_description>Sandy holds up a poster that reads "OLDER FOR YOUNGER" and has a phone number.</scene_description>
<character>SANDY</character>
<dialogue>I will be placing these posters around town in order to connect with a young person who would like to learn from me, and I from them. I will keep you updated on this exciting venture. Thank you.</dialogue>
<scene_description>Sandy walks several grateful strides to her seat. Milton is up next. He opens his customary notebook.</scene_description>
<character>MILTON</character>
<dialogue>We should change the town motto to something clearer because "A Great Place to Call Home" can mean you're calling home. I feel there needs to be a crosswalk on Trent Avenue between Frost and Allegheny. I feel it is too far between Frost and Allegheny and it encourages people to jaywalk and they can die. The post office no longer has counter space to write and address letters and it's a problem because people need counter space and it is very uncomfortable without it. Also a UFO has crashed in my backyard and has taken out my azaleas and has destroyed my bird bath.</dialogue>
<scene_description>Mayor Martinez perks up. A couple other council members do too.</scene_description>
<character>MAYOR MARTINEZ</character>
<dialogue>Did you say UFO?</dialogue>
<character>MILTON</character>
<dialogue>Yes it has crashed in my backyard and taken out my azaleas and destroyed my bird bath.</dialogue>
<scene_description>A momentary beat before all of the council members including Mayor Martinez go back to their business. The bell sounds. Milton, confused by their reaction, shuffles to his seat. Joyce looks at him while she takes the podium. She begins, a little thrown off.</scene_description>
<character>JOYCE</character>
<dialogue>The cooking show on public access is always showing salads. You'd think salads were the only food that exists.</dialogue>
<scene_description>Sandy looks concerned at Milton down the way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - NIGHT</stage_direction>
<scene_description>Milton leaves the building. Joyce catches up with him, angry. Sandy's not far behind.</scene_description>
<character>JOYCE</character>
<dialogue>You shouldn't talk like that! When you talk like that, you make them take all of us less seriously.</dialogue>
<character>MILTON</character>
<dialogue>But it's true. A space ship crashed in my back yard, and it crushed my azaleas.</dialogue>
<character>JOYCE</character>
<dialogue>I'm dead serious! You shouldn't talk like that. It's not good.</dialogue>
<character>MILTON</character>
<dialogue>What should I do, not tell anybody?</dialogue>
<scene_description>Joyce walks off in a huff.</scene_description>
<character>SANDY</character>
<dialogue>Goodbye, Joyce. See you next week.</dialogue>
<scene_description>Sandy continues on for a moment with Milton.</scene_description>
<character>SANDY</character>
<dialogue>Milton, you wanna a ride?</dialogue>
<scene_description>He looks at her, confused by the suggestion.</scene_description>
<character>MILTON</character>
<dialogue>I can walk.</dialogue>
<character>SANDY</character>
<dialogue>I can give you a lift. No problem at all.</dialogue>
<scene_description>In the corner of the parking lot, Joyce notices the exchange. She looks a little piqued, for whatever reason.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S CAR - NIGHT</stage_direction>
<scene_description>Sandy drives. She's nervously concerned.</scene_description>
<character>SANDY</character>
<dialogue>I tell you, life gets so stressful sometimes, it's hard to think straight.</dialogue>
<character>MILTON</character>
<dialogue>That's true.</dialogue>
<scene_description>Sandy pulls up in front of his house. There's a silence that's filled with her worry.</scene_description>
<character>SANDY</character>
<dialogue>Is everything okay, Milt?</dialogue>
<character>MILTON</character>
<dialogue>Yeah.</dialogue>
<scene_description>Beat.</scene_description>
<character>SANDY</character>
<dialogue>You feeling well? Are you sure everything's okay?</dialogue>
<character>MILTON</character>
<dialogue>Except for this situation with the space ship.</dialogue>
<scene_description>She sighs.</scene_description>
<character>SANDY</character>
<dialogue>If there's anything I can do, you let me know.</dialogue>
<character>MILTON</character>
<dialogue>I suppose.</dialogue>
<scene_description>He gets out.</scene_description>
<character>MILTON</character>
<dialogue>See you later, Sandy.</dialogue>
<scene_description>Pained --</scene_description>
<character>SANDY</character>
<dialogue>You take care, Milt.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DINING ROOM - NIGHT 26 \*</stage_direction>
<scene_description>Milton stands in the dining room. Through the window he sees half the space craft, plunged sideways into the ground. He sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATER</stage_direction>
<scene_description>Milton is asleep. He wakes up to a noise from outside. Something fell over? He slips out of bed. Heads to the back of the house, where the sound came from. Turns on the light -- opens the door -- and to his bafflement, sees a thin gray creature splayed out on the patio. Its head broad, its eyes grand. A hand outstretched toward the door, its body resting sideways on the ground. By its appearance, quite classically a visitor from another planet. Milton quickly shuts the door, retreats to his dining room. Sits on the chair, fidgety.</scene_description>
<character>MILTON</character>
<dialogue>Oh, my.</dialogue>
<scene_description>After a few moments, he grabs the phone. His eyes wide as it rings.</scene_description>
<character>911 OPERATOR</character>
<dialogue>911 emergency service, what is your emergency?</dialogue>
<character>MILTON</character>
<dialogue>The other day I called about a space ship that crashed in my back yard. Well a space man has emerged from the ship and is lying on my back porch --</dialogue>
<character>911 OPERATOR</character>
<dialogue>Sir if you call again we will press charges. This is your final warning.</dialogue>
<scene_description>The line goes dead. Milton is all the more stirred up. He ventures to dial again. The call goes straight to voicemail.</scene_description>
<character>OPERATOR</character>
<dialogue>You've reached the voicemail of</dialogue>
<parenthetical>(Denise)</parenthetical>
<dialogue>Denise.</dialogue>
<parenthetical>(operator)</parenthetical>
<dialogue>Please leave a message after the tone. Mailbox full. Please try back later.</dialogue>
<scene_description>There is a slight disconnecting sound which Milton does not take note of.</scene_description>
<character>MILTON</character>
<dialogue>Yeah hi Denise. I called you a few nights ago because a space ship had crashed in my backyard. Well now a space man has come out of the ship and he's lying on my back porch.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm scared.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I don't know what to do.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Anyway, call me.</dialogue>
<scene_description>He hangs up -- probably long after the call has hung up. Sighs nervously. He returns to the back door. Gingerly opens it. The creature is still there. This time, it creaks its head up, raises an outstretched hand at him. Looking to be in very bad shape. Milton closes the door again. He sits down on the porch. Eyes darting about. Not sure what to do. He once again approaches the door, opens it. The alien is still there, arm outstretched. Milton retreats inside, breathing heavily.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Milton's hands fill a glass with water. Then grab a blanket off the couch.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE/EXT. PATIO - LATER</stage_direction>
<scene_description>Milton treads onto the patio. Gingerly steps around the alien, who lies there face down, chest heaving. He places the cup down next to him. Then spreads the blanket over his scratched-up body. He carefully steps back around him into the house. This time the alien doesn't even raise its head. In the background, Milt sees a hatch is open on the space craft. With one more look at the alien, he closes and locks the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Sitting on the edge of the bed. For a moment, Milton looks preoccupied into the air. Then he shuts the light off. We see him in the dark, frightened.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MORNING</stage_direction>
<scene_description>Milton wakes up with his alarm. He goes to the kitchen, puts on a kettle of water. Is sitting there waiting for it when -- BAM -- his eyes go wide. He remembers last night. He walks cautiously toward the back door. Unlocks it slowly. Opens the door. The alien is gone. He opens it wider... and finds that no, indeed the alien is still there... bunched up against the house, his knees pulled toward his chest in the blanket. The water glass is empty. The alien looks up at Milton with a miserable weak expression.</scene_description>
<character>MILTON</character>
<dialogue>Oh, my.</dialogue>
<scene_description>Milton steps back inside, closes the door to a crack, drops his back against the wall... thinking. Then, screwing up the courage, he opens the door wide. The alien is still looking his way. Milton steps aside to make way.</scene_description>
<character>MILTON</character>
<dialogue>It's warmer inside. Do you wanna come inside?</dialogue>
<scene_description>He gestures into the house. The alien just looks at him.</scene_description>
<character>MILTON</character>
<dialogue>Do you wanna come inside? 'Cause it's warmer in here.</dialogue>
<scene_description>With another flourish of the arm. The alien warily looks into the house. Then he begins to crawl on his hands and knees into the doorway. Milton studies his translucent gray skin as he passes underneath him, dragging the blanket. Once in, the alien huddles against the couch and pulls the blanket around him. He seems to let out a weary sigh. Milton stands there confused. \*</scene_description>
<character>MILTON</character>
<dialogue>I'm not sure what to do. This hasn't happened to me before.</dialogue>
<scene_description>Suddenly there's a strident WHISTLE -- the teapot howls in the kitchen. The alien cowers in terror.</scene_description>
<character>MILTON</character>
<dialogue>Oh. Shoot.</dialogue>
<scene_description>Milton goes away for a moment. The kettle stops. Finally Milton comes back, carrying a glass of water.</scene_description>
<character>MILTON</character>
<dialogue>That was just the kettle. Sorry.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I saw you'd finished your water. So maybe you want more.</dialogue>
<scene_description>He extends the glass. A skinny smooth-fingered hand reaches out from beneath the blanket and takes it. The alien drinks the water quietly.</scene_description>
<character>MILTON</character>
<dialogue>Looks like I was right.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>So.</dialogue>
<scene_description>Milton stands there, not sure what to do next. Then, getting an inspiration -- KITCHEN -- With slow, unsteady hands, Milton digs through various cabinets, drawers. Uses an apple slicer to chop an apple into eight in one firm press. Spreads out bread for a sandwich. Heats something in the microwave. He returns to the alien with a tray full of plates. There's the apples, a ham sandwich, and a steaming cup of pasta with tomato sauce. He rests the tray on the floor.</scene_description>
<character>MILTON</character>
<dialogue>I brought you a bunch of different things 'cause I wasn't sure what you'd eat.</dialogue>
<scene_description>The alien casts its eyes down at the options.</scene_description>
<character>MILTON</character>
<dialogue>You don't look good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NATIONAL SECURITY CENTER - MORNING</stage_direction>
<scene_description>A wide shot of a modest office building, a few stories tall and half a football field in length, waving the American flag and surrounded by a decent-sized parking lot. We PLUMMET INTO THE GROUND \*</scene_description>
</scene>
<scene>
<stage_direction>INT. NATIONAL SECURITY CENTER - CONTINUOUS</stage_direction>
<scene_description>- and pass floor after floor of subterranean structure, first two floors of parking and then offices displaying giant screens, server farms, conference rooms, high-security employees busily executing their roles in a giant hive of clandestine activity. We STOP on a long hallway with employees passing in and out. We track down the hall and at the end pass by a security guard and through a door -- INTO a long room with low light and dozens of computers in lengthy rows. Anonymous officials with headphones listen to audio clips queued up on their systems. We quickly realize, as we scan past the shoulders of these workers, that the clips are plucked from normal telephone calls, and that all in some way make reference to UFOs, space ships, aliens, crashes. The officials snap at keys to input a degree of plausibility (in almost every case "Low") then advance to the next surveilled snippet. A young woman speaks to a companion --</scene_description>
<character>WOMAN (ON HEADPHONES)</character>
<dialogue>He's been staring at the space ship all week. I can't find him, I look outside, and there he is next to it. I don't think he's gonna wanna let go of it, to be honest with you.</dialogue>
<scene_description>The agent marks "High" and proceeds to the next clip. Their faces illuminated by their computer screens, they continue to listen.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MORNING</stage_direction>
<scene_description>Milton returns to the alien. The apples are gone, but everything else remains untouched. The alien is still kaput against the couch.</scene_description>
<character>MILTON</character>
<dialogue>You liked the apples.</dialogue>
<scene_description>Realizing something, he sighs.</scene_description>
<character>MILTON</character>
<dialogue>I just ate the last one.</dialogue>
<scene_description>Milton looks toward the door. Then the alien. Then back and forth again -- seems conflicted.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - MORNING</stage_direction>
<scene_description>Milton marches on down the country road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORRADO'S SUPERMARKET - DAY</stage_direction>
<scene_description>Milton walks up to Corrado's, the town supermarket.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRADO'S SUPERMARKET - CONTINUOUS</stage_direction>
<scene_description>Milton fills a produce bag nearly to bursting with apples. Puts it next to another bag in his cart similarly packed. He wheels his cart into an available check-out stand where DAVE (30s, congenial) waits on register.</scene_description>
<character>DAVE</character>
<dialogue>Hey Clarence!</dialogue>
<character>MILTON</character>
<dialogue>I'm Milt.</dialogue>
<character>DAVE</character>
<dialogue>Okay.</dialogue>
<scene_description>Dave sees the apples.</scene_description>
<character>DAVE</character>
<dialogue>That's a lot of apples!</dialogue>
<character>MILTON</character>
<dialogue>They're for the alien that's back in my house.</dialogue>
<character>DAVE</character>
<dialogue>You mean an illegal alien?</dialogue>
<character>MILTON</character>
<dialogue>No, like an alien from outer space. A ship crashed in my backyard a couple nights ago. And an alien came crawling out of it. And so far the only thing he eats is apples.</dialogue>
<scene_description>The cashier stares at Milton slack-jawed. He rings the rest of the transaction up in silence.</scene_description>
<character>DAVE</character>
<dialogue>That'll be seventeen-sixty. \*</dialogue>
<scene_description>Milton rifles through his wallet.</scene_description>
<character>MILTON</character>
<dialogue>I've got a load of pennies.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORRADO'S SUPERMARKET - DAY</stage_direction>
<scene_description>As Milton waits, a white Prius taxi pulls up, with the company name "Mr. Taxi" and a cartoon character of a chipper driver on the side. Milton gets in the back with the bags. The driver (ENID, a woman of about 50) is engaged in a phone conversation and pays little attention to Milton.</scene_description>
<character>ENID</character>
<dialogue>Really? Seriously? Seriously?</dialogue>
<character>MILTON</character>
<dialogue>I'd like to go to my house please.</dialogue>
<scene_description>The driver gives a perfunctory wave to Milton, knowing full well where he's going, and pulls out, still in the conversation.</scene_description>
<character>ENID</character>
<dialogue>Well for Pete's sake. Yeah. No.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>The taxi drops Milton off in front of his house. As the door opens we hear the driver carrying on in the same conversation as before. Milton shuts the door on the conversation.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>Milton enters cautiously. He creeps slowly to the back of the room -- nervously approaching the couch -- and finds -- the alien is exactly where he left him. Leaning up against the couch, looking a little more alert.</scene_description>
<character>MILTON</character>
<dialogue>I have apples.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRADO'S SUPERMARKET - DAY</stage_direction>
<scene_description>Denise, in her scrubs, carries her hand basket up to Dave's station.</scene_description>
<character>DAVE</character>
<dialogue>Hey Denise!</dialogue>
<character>DENISE</character>
<dialogue>Hey Dave!</dialogue>
<character>DAVE</character>
<dialogue>How's the clinic going?</dialogue>
<character>DENISE</character>
<dialogue>So far I've had three neuters and two spays and the day's only half over.</dialogue>
<character>DAVE</character>
<dialogue>Busy!</dialogue>
<scene_description>As he continues to scan her items --</scene_description>
<character>DAVE</character>
<dialogue>Your dad was in here earlier. Martin?</dialogue>
<character>DENISE</character>
<dialogue>Milton?</dialogue>
<character>DAVE</character>
<dialogue>Right.</dialogue>
<scene_description>He's quiet for a moment.</scene_description>
<character>DAVE</character>
<dialogue>He said some stuff which struck me as a little strange.</dialogue>
<character>DENISE</character>
<dialogue>Oh?</dialogue>
<character>DAVE</character>
<dialogue>Yeah. I don't mean to make a mountain out of it, but he said he was buying apples for an alien staying with him.</dialogue>
<character>DENISE</character>
<dialogue>Like an illegal alien?</dialogue>
<character>DAVE</character>
<dialogue>No, like an alien from outer space.</dialogue>
<scene_description>Denise grimaces.</scene_description>
<character>DENISE</character>
<dialogue>You don't think maybe he was joking?</dialogue>
<character>DAVE</character>
<dialogue>He didn't seem to be joking.</dialogue>
<scene_description>She sighs deeply.</scene_description>
<character>DAVE</character>
<dialogue>I just thought you should know.</dialogue>
<character>DENISE</character>
<dialogue>Thank you for telling me.</dialogue>
<character>DAVE</character>
<dialogue>Do you want a spork for your cole slaw?</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>Milton is lying on the couch flipping through channels. He lands on local news for a moment.</scene_description>
<character>ANCHORMAN AARON CAMPBELL</character>
<dialogue>The government is searching for pieces of a weather satellite that they say disintegrated over Western Pennsylvania. They ask anyone who \* comes across parts of the fallen device to not touch it and to contact the authorities as soon --</dialogue>
<scene_description>He flips past it. He looks to the corner of the room, sees the alien standing, and jumps/screams. The alien flinches. Milton immediately feels bad.</scene_description>
<character>MILTON</character>
<dialogue>I'm sorry. I'm just... used to living alone. You're walking. That's a good sign.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Maybe I show you around?</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - BATHROOM - MOMENTS LATER</stage_direction>
<scene_description>They're standing in the bathroom. The alien (about four feet tall) listens attentively, though who knows if he understands.</scene_description>
<character>MILTON</character>
<dialogue>This is the bathroom.</dialogue>
<parenthetical>(showing sink)</parenthetical>
<dialogue>You've got hot water, cold. If the hot doesn't come out right away, just give it a minute.</dialogue>
<parenthetical>(showing toilet)</parenthetical>
<dialogue>Here's where you do your business.</dialogue>
<parenthetical>(indicating a couple books on the tank)</parenthetical>
<dialogue>There's things to read, if it takes awhile.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - SPARE BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>They're standing just outside in the hall.</scene_description>
<character>MILTON</character>
<dialogue>This is the guest bedroom. If you need to stay the night, then this is where you'll sleep.</dialogue>
<scene_description>The alien looks at the room, including a bedside lamp made out of a cowboy boot.</scene_description>
<character>MILTON</character>
<dialogue>It was a gift.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>Passing the backyard, Milton points without looking.</scene_description>
<character>MILTON</character>
<dialogue>The backyard you already know. That's where you crashed into my azaleas. We'll have a word about that later.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - KITCHEN - MOMENTS LATER</stage_direction>
<scene_description>They arrive in the kitchen.</scene_description>
<character>MILTON</character>
<dialogue>The kitchen.</dialogue>
<parenthetical>(points to fridge door)</parenthetical>
<dialogue>Here's where I leave myself reminders.</dialogue>
<scene_description>The only notes on the fridge door are "CLOSE THE FRIDGE DOOR" and "IS THE FRIDGE DOOR CLOSED?" Milton grabs a glass.</scene_description>
<character>MILTON</character>
<dialogue>If you want water, you can fill it here. Right hand is cold.</dialogue>
<scene_description>He demonstrates, filling up the glass. Hands it to the alien, who drinks it. Milton takes notice of a Keurig machine.</scene_description>
<character>MILTON</character>
<dialogue>This was also a gift. People start thinking you're losing your mind, they get you all sorts of things to make stuff easier. I still use the older one though. It works fine for me. Are you a coffee drinker?</dialogue>
<scene_description>No answer.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LIVING ROOM - MOMENTS LATER</stage_direction>
<scene_description>They stand near the sofa.</scene_description>
<character>MILTON</character>
<dialogue>And this is the living room. I mainly use it to watch TV.</dialogue>
<parenthetical>(re: remote)</parenthetical>
<dialogue>You use this one to control everything.</dialogue>
<parenthetical>(re: other remote)</parenthetical>
<dialogue>The only thing you use this one for is to change the volume. If you change anything else, then I have to call Denise over and she gets irritated with me.</dialogue>
<scene_description>He turns it up.</scene_description>
<character>MILTON</character>
<dialogue>This channel shows the news that's happening.</dialogue>
<parenthetical>(switches)</parenthetical>
<dialogue>This channel's the same but the people are a little angrier.</dialogue>
<parenthetical>(switches again)</parenthetical>
<dialogue>This channel shows CSI three times a day. I like CSI because it always surprises me, you think it's going this way but suddenly it's this way instead. And those are the only channels I really watch.</dialogue>
<scene_description>He turns to the bookshelf, where there's a 30+ year-old family photo. His wife with their son and daughter.</scene_description>
<character>MILTON</character>
<dialogue>And this is my family.</dialogue>
<parenthetical>(re: wife)</parenthetical>
<dialogue>She unfortunately has passed away. She lives in town. He lives in California. He moved there about ten years ago, for a job. I don't hear from him much. That's okay. Young people are busy. I was busy at his age.</dialogue>
<scene_description>He looks at the clock.</scene_description>
<character>MILTON</character>
<dialogue>Ooh, it's seven o'clock. I forgot to tell you about the dance show.</dialogue>
<scene_description>Milton sits down on the couch with the remote. The alien just watches, not sure what to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANIMAL CLINIC - LATE DAY</stage_direction>
<scene_description>A colorful private clinic. Denise sits in her back office waiting for a call to answer. Surrounded by paperwork, a half-eaten brownie, and mostly-eaten take-out Chinese. \* Everybody else is gone. TIM (early 40s, sarcastic, guarded) picks up.</scene_description>
<character>TIM (ON PHONE)</character>
<dialogue>Hey.</dialogue>
<character>DENISE</character>
<dialogue>How are you?</dialogue>
<scene_description>INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. TIM'S OFFICE - DAY</stage_direction>
<scene_description>Tim sits in a cold, upscale lawyer's office, making notes on a contract as he speaks. He has a laidback air that dodges anything too serious. California daylight shines in from outside.</scene_description>
<character>TIM</character>
<dialogue>I'm good. What's up?</dialogue>
<character>DENISE</character>
<dialogue>It's about Dad. He's not doing well. He's acting strange lately.</dialogue>
<character>TIM</character>
<dialogue>He's been acting strange for years.</dialogue>
<character>DENISE</character>
<dialogue>It's getting worse. He leaves things in the wrong place. He told the check-out guy at Corrado's he was buying apples for an alien living in his house.</dialogue>
<scene_description>Tim considers this.</scene_description>
<character>TIM</character>
<dialogue>Was it an illegal alien?</dialogue>
<character>DENISE</character>
<dialogue>He said it was an alien from outer space, he was very clear on that.</dialogue>
<scene_description>Tim chews on this.</scene_description>
<character>TIM</character>
<dialogue>Well, I suppose you should take him to a doctor.</dialogue>
<character>DENISE</character>
<dialogue>He doesn't want to go.</dialogue>
<character>TIM</character>
<dialogue>Then maybe you should insist.</dialogue>
<character>DENISE</character>
<dialogue>Can you help? Can you call him and back me up?</dialogue>
<character>TIM</character>
<dialogue>You and him have a better relationship than he and I do. I doubt it'll make an impact.</dialogue>
<character>DENISE</character>
<dialogue>Maybe, because he doesn't hear from you much, it'll make a bigger impact than you think.</dialogue>
<character>TIM</character>
<dialogue>I think it's better if you do it.</dialogue>
<scene_description>Denise suppresses her frustration.</scene_description>
<character>DENISE</character>
<dialogue>He's old. If you're gonna reconcile, you ought to do it soon.</dialogue>
<character>TIM</character>
<dialogue>He and I have an agreement. I don't bother him, he doesn't bother me.</dialogue>
<scene_description>The usual disappointment.</scene_description>
<character>TIM</character>
<dialogue>Keep me posted.</dialogue>
<character>DENISE</character>
<parenthetical>(perfunctory)</parenthetical>
<dialogue>Yeah, okay. Take care.</dialogue>
<scene_description>END INTERCUT. She takes a long, irritated breath.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>Milton is conked out asleep. The alien is sitting quietly next to him. The audio tells us the dance show is reaching its climactic conclusion. Milton lets fly a whistling snore. The alien looks at him, then gets up and heads to the backyard.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK YARD - CONTINUOUS</stage_direction>
<scene_description>He walks up the lowered gangway.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - CONTINUOUS</stage_direction>
<scene_description>He surveys the damage inside. Taking his position at the controls, he pushes a series of buttons on a translucent board to try to get the ship started. The ship hums and whirs to life, a window opens to the side, a murmur of energy builds... and then shuts down. He tries a different series of buttons. Again the machine purs into motion, lights illuminating, a growing vibration... and then it quits again. To his right, there is a flashing red button surrounded by an illuminated white ring. He slides over to it. Considers it intensely. He runs a single finger clockwise through the ring. The red light turns to solid -- we get the sense he's initiating some sort of protocol. His finger hovers over the red button. It seems he's considering something quite drastic -- rescue invasion? giant self-destruct explosion? We don't understand him so we don't understand it. But we do sense he's hesitating. He looks through the window toward the house. Then finally he looks back at the board and runs his finger in the opposite direction through the white ring, reversing the protocol he started. He's changed his mind. The red button is once again flashing. He sighs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK YARD - MOMENTS LATER</stage_direction>
<scene_description>The alien returns seemingly preoccupied to the house. Behind him, the hatch goes up and the window closes.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LIVING ROOM - MORNING</stage_direction>
<scene_description>Milton stirs awake on the couch. It takes him a minute to get his bearings. On the couch beside him, he finds a piece of paper with a small sketch. He looks at it. It appears to show a cat face, drawn with a simple child's stroke. He hears an odd sizzling sound in the backyard.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK YARD - CONTINUOUS</stage_direction>
<scene_description>Milton finds the alien standing by the beat-up craft working on the ship with a set of odd-looking tools. It appears progress is being made.</scene_description>
<character>MILTON</character>
<dialogue>Good morning.</dialogue>
<scene_description>The alien looks up. Peers at him politely.</scene_description>
<character>MILTON</character>
<dialogue>Repairs have begun. That's good. I hope you can fix it. Must not be easy, to be stuck on a different planet.</dialogue>
<character>MILTON</character>
<parenthetical>(holds up picture)</parenthetical>
<dialogue>Thank you for the picture. It's very beautiful. I'm gonna put some coffee on.</dialogue>
<scene_description>He heads for the house. The alien stares after him.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>As Milton is trekking through the house there's a knock on the door. He opens it and Denise is standing there, revved up for a fight.</scene_description>
<character>MILTON</character>
<dialogue>Hi Denise.</dialogue>
<character>DENISE</character>
<dialogue>Listen Dad, I don't want to argue. You're seventy-eight and you haven't seen the doctor in three years. Please let me schedule you a check-up. I'll take you, they'll \* check you out, and that'll be that.</dialogue>
<character>MILTON</character>
<dialogue>But I'm fine, Denise. I don't need a doctor.</dialogue>
<character>DENISE</character>
<dialogue>If you're fine, then they'll tell \* you you're fine, and that'll be that. And I'm not taking no for an answer.</dialogue>
<scene_description>It must be the most confrontational she's been in ages. Milton grumbles --</scene_description>
<character>MILTON</character>
<dialogue>Well I'd rather say no but in that case I guess yes.</dialogue>
<character>DENISE</character>
<dialogue>Thank you.</dialogue>
<scene_description>She lets down a bit of her guard.</scene_description>
<character>MILTON</character>
<dialogue>Did you get my message last night?</dialogue>
<character>DENISE</character>
<dialogue>No. Did it say my mailbox was full? Remember, when my mailbox is full I'm not gonna get the message.</dialogue>
<scene_description>The phone rings.</scene_description>
<character>DENISE</character>
<dialogue>You should get that, and I'm late for work.</dialogue>
<parenthetical>(kisses his cheek)</parenthetical>
<dialogue>Talk to you soon.</dialogue>
<character>MILTON</character>
<dialogue>Okay.</dialogue>
<scene_description>She's off. After a beat, Milton shuffles to the phone.</scene_description>
<character>MILTON</character>
<dialogue>Hello?</dialogue>
<character>SANDY (ON PHONE)</character>
<dialogue>Hi Milt it's Sandy.</dialogue>
<character>MILTON</character>
<dialogue>Hi Sandy.</dialogue>
<character>SANDY</character>
<dialogue>I found your number in the phone book. I hope you don't mind I'm calling.</dialogue>
<character>MILTON</character>
<parenthetical>(a bit odd, but...)</parenthetical>
<dialogue>No.</dialogue>
<character>SANDY</character>
<dialogue>Milton, do you happen to have a printer?</dialogue>
<character>MILTON</character>
<dialogue>A printer?</dialogue>
<character>SANDY</character>
<dialogue>For printing things.</dialogue>
<character>MILTON</character>
<dialogue>Lemme see. Denise set me up with a lot of things when she stopped using them.</dialogue>
<scene_description>He scans the desk with the computer stuff.</scene_description>
<character>MILTON</character>
<dialogue>Yeah I have a printer.</dialogue>
<character>SANDY</character>
<parenthetical>(with glee)</parenthetical>
<dialogue>Ahhh.</dialogue>
<character>SANDY</character>
<dialogue>Mine stopped working long ago. Computer stopped recognizing it. Happened after one of those automatic updates. I wish they'd ask before they did those things.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Anyway, do you think I could use yours? It's the poster for the program.</dialogue>
<scene_description>Milton hesitates.</scene_description>
<character>SANDY</character>
<dialogue>If it's a problem --</dialogue>
<character>MILTON</character>
<dialogue>It isn't a problem, I guess.</dialogue>
<character>SANDY</character>
<dialogue>It'll just be like twenty pages.</dialogue>
<character>MILTON</character>
<dialogue>That's fine.</dialogue>
<character>SANDY</character>
<dialogue>Is now okay?</dialogue>
<character>MILTON</character>
<dialogue>Yep, that's fine. I'll be here.</dialogue>
<scene_description>He hangs up the phone. Heads toward the kitchen. PRE-LAP SFX: DOORBELL:</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MORNING</stage_direction>
<scene_description>Milton opens the door. Sandy is waiting behind the screen.</scene_description>
<character>SANDY</character>
<dialogue>Hey Milt.</dialogue>
<character>MILTON</character>
<dialogue>Hi Sandy.</dialogue>
<scene_description>He opens the screen door and she follows him in.</scene_description>
<character>SANDY</character>
<dialogue>I sure wish the machines would warn you before they screw themselves up like that. Thanks for lettin' me.</dialogue>
<character>MILTON</character>
<dialogue>No problem.</dialogue>
<character>SANDY</character>
<dialogue>I'll probably print about twenty- two. On my way through town I thought of a couple more places to- Good Christ what the fuck is that!</dialogue>
<scene_description>Sandy has spotted the alien sitting on the couch in front of the TV eating apple slices. The alien has spotted her and just looks at her blankly. Sandy is frozen, recoiling, unsure what to do.</scene_description>
<character>MILTON</character>
<dialogue>You remember the space ship that crashed in my yard? This is the little man who came out of it.</dialogue>
<parenthetical>(to alien)</parenthetical>
<dialogue>This is Sandy. She's an acquaintance of mine.</dialogue>
<character>SANDY</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Milton, what is this?</dialogue>
<character>MILTON</character>
<dialogue>This is an alien from space, I suppose.</dialogue>
<character>SANDY</character>
<dialogue>How long has he been here?</dialogue>
<character>MILTON</character>
<dialogue>For a few days. Though for the first couple days he was inside the space ship.</dialogue>
<character>SANDY</character>
<dialogue>And he's just sitting on your couch?</dialogue>
<character>MILTON</character>
<dialogue>Yeah. He's very friendly. He watches whatever I watch. He's undemanding.</dialogue>
<character>SANDY</character>
<dialogue>How do you know he's not dangerous?</dialogue>
<character>MILTON</character>
<dialogue>I guess I don't. But he hasn't done anything dangerous yet. He just sits there. And eats apples. I suppose I just assumed he wasn't dangerous because he wasn't doing anything dangerous.</dialogue>
<character>SANDY</character>
<dialogue>Oh my Lord I need to sit down.</dialogue>
<scene_description>Sandy finds a spot on the chaise part of the couch, uncomfortably close to the alien.</scene_description>
<character>SANDY</character>
<dialogue>I thought you were hallucinating about the space ship business.</dialogue>
<character>MILTON</character>
<dialogue>Hallucinating?</dialogue>
<character>SANDY</character>
<dialogue>Seeing things.</dialogue>
<character>MILTON</character>
<dialogue>Why would I hallucinate?</dialogue>
<scene_description>It's a good question. She doesn't have an answer.</scene_description>
<character>SANDY</character>
<dialogue>My God, Milton. This is a very big thing.</dialogue>
<character>MILTON</character>
<dialogue>I suppose it is.</dialogue>
<character>SANDY</character>
<dialogue>This is a being from another galaxy. This has never happened before.</dialogue>
<character>MILTON</character>
<dialogue>I guess that's true.</dialogue>
<character>SANDY</character>
<dialogue>And there's a ship?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK PATIO - MOMENTS LATER</stage_direction>
<scene_description>Milton and Sandy are looking at the space ship from the back door.</scene_description>
<character>SANDY</character>
<dialogue>Oh dear God.</dialogue>
<character>MILTON</character>
<dialogue>Yep. I think it'll be a couple seasons before they grow back.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>They're back on the couch. Sandy can't help but look fascinated at the creature, who looks back at her.</scene_description>
<character>MILTON</character>
<dialogue>When he arrived he wasn't doing nearly so well. He was really banged up from the crash landing. But he's been eating apples ever since and I guess they've helped him.</dialogue>
<character>SANDY</character>
<dialogue>Apples?</dialogue>
<character>MILTON</character>
<dialogue>Yeah.</dialogue>
<character>SANDY</character>
<dialogue>And you wanna keep him here?</dialogue>
<character>MILTON</character>
<dialogue>As long as he wants to.</dialogue>
<character>SANDY</character>
<dialogue>I don't know about that. Maybe he's a threat -- we don't know it.</dialogue>
<character>MILTON</character>
<dialogue>I really doubt it.</dialogue>
<scene_description>She seems to drop that idea too. She turns to him.</scene_description>
<character>SANDY</character>
<dialogue>Listen, Milton. If you want to keep him, then you have to stop telling people about him. You can't just let people come over like you did with me. I've seen what people do with them kinds of guys.</dialogue>
<character>MILTON</character>
<dialogue>This has happened to you before?</dialogue>
<character>SANDY</character>
<dialogue>No. From the movies. And the movies are based on something. This has to be a secret. No more telling anyone. You know, and I know, and I won't tell anybody.</dialogue>
<scene_description>The way she says it, it sounds like she means it.</scene_description>
<character>MILTON \*</character>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATER</stage_direction>
<scene_description>Sandy sits at the desk in the dining room printing pages out while sending a nervous sideways glance at the alien. The alien is watching TV and every once in awhile looks over at Sandy as though self-conscious she's looking.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MILTON'S HOUSE - STILL LATER</stage_direction>
<scene_description>Sandy gathers her things with her printouts in a manila envelope.</scene_description>
<character>SANDY</character>
<dialogue>Thanks for letting me print.</dialogue>
<character>MILTON</character>
<dialogue>Not a problem.</dialogue>
<scene_description>She stops in front of the alien. Hesitates. Then extends her hand out.</scene_description>
<character>SANDY</character>
<dialogue>Nice to meet you.</dialogue>
<scene_description>The alien is confused. Gently, Milton takes its hand and draws it out forward toward Sandy's. Sandy shakes it. As she walks away.</scene_description>
<character>SANDY</character>
<dialogue>Alright that was weird.</dialogue>
<scene_description>Milton accompanies her out. On the front door step, Sandy turns to him.</scene_description>
<character>SANDY</character>
<parenthetical>(just checking)</parenthetical>
<dialogue>You sure it's safe?</dialogue>
<character>MILTON</character>
<dialogue>Far as I can tell.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It's really far from home. Seems like it would be the scared one.</dialogue>
<scene_description>Sandy nods, for the most part satisfied.</scene_description>
<character>SANDY</character>
<dialogue>See you soon, Milt. And remember: don't tell anybody.</dialogue>
<character>MILTON</character>
<dialogue>I won't.</dialogue>
<scene_description>He watches her go for a sec. He crosses back into the house where the alien is watching TV. He looks at Milton like a dependent child as Milton re- enters the room. We get a snippet of the news broadcast...</scene_description>
<character>ANCHORMAN AARON CAMPBELL</character>
<dialogue>The government now says it was a security satellite, and not a weather satellite, that crashed somewhere in Western Pennsylvania. \* They are offering a reward of ten thousand dollars for anyone with information about the crashed apparatus...</dialogue>
<character>MILTON</character>
<dialogue>So that was Sandy. I think you'll like her.</dialogue>
</scene>
<scene>
<stage_direction>INT. NATIONAL SECURITY CENTER - HOUR UNKNOWN</stage_direction>
<scene_description>The technicians continue to listen to the clips. Among the scatter of different voices, we suddenly hear a familiar one -</scene_description>
<character>DENISE (ON HEADPHONES)</character>
<dialogue>He told the check-out guy at Corrado's he was buying apples for an alien living in his house.</dialogue>
<character>TIM (ON HEADPHONES)</character>
<dialogue>Was it an illegal alien?</dialogue>
<character>DENISE (ON HEADPHONES)</character>
<dialogue>He said it was an alien from outer space, he was very clear on that.</dialogue>
<scene_description>The technician marks the likelihood "High", then quickly moves on to the next.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - BEDROOM - NIGHT</stage_direction>
<scene_description>A tidy, proud, but lonely bedroom. Sandy gets into bed wearing her nightgown. A photo of her deceased husband is on the nightstand. She stares out into the air with a look that says "Gracious!".</scene_description>
</scene>
<scene>
<stage_direction>EXT. OFFICE BUILDING - MORNING</stage_direction>
<scene_description>CLOSE ON a shingle that reads "DR. A. NORTH Neurology".</scene_description>
</scene>
<scene>
<stage_direction>INT. DOCTORS WAITING ROOM - MORNING</stage_direction>
<scene_description>Denise sits reading a magazine, across the way from a middle- aged woman and an older man. She glances worriedly toward the innards of the office.</scene_description>
</scene>
<scene>
<stage_direction>INT. DOCTORS OFFICE - CONTINUOUS</stage_direction>
<scene_description>Milton sits alongside DR. NORTH (40s) in a wood-paneled room.</scene_description>
<character>DR. NORTH</character>
<dialogue>I'm gonna show you four objects.</dialogue>
<scene_description>She shows him a piece of paper with four simple pictures.</scene_description>
<character>DR. NORTH</character>
<dialogue>Do me a favor Milton and remember those objects.</dialogue>
<scene_description>She withdraws the paper.</scene_description>
<character>DR.</character>
<dialogue>Now I'm gonna with three of tell me which</dialogue>
<character>NORTH</character>
<dialogue>show you a new paper the objects. You is missing.</dialogue>
<scene_description>We cut forward to a new task. Milton looks back and forth between two similar pictures.</scene_description>
<character>DR. NORTH</character>
<dialogue>This time we're looking for differences.</dialogue>
<scene_description>He's circled one. In another task:</scene_description>
<character>DR. NORTH</character>
<dialogue>The word is jumprope. Jumprope. You have that?</dialogue>
<scene_description>Milton, looking belittled:</scene_description>
<character>MILTON</character>
<dialogue>Yes.</dialogue>
<character>DR. NORTH</character>
<dialogue>I'm going to tell you a short story. A young girl went to the store to buy grapes. When she got there, she didn't have enough money so she bought milk instead. At home, her mother asked what happened and she explained. Milton, what was the word I asked you to remember?</dialogue>
<scene_description>Another task: Milton stares at a page with three drawings of school supplies along with a frog. He circles the frog, goes to the next page which shows three drawings of furniture and the fourth a house. Milton just stares at the page.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>Sandy sits on the couch with the alien. She seems a bit uncomfortable.</scene_description>
<character>SANDY</character>
<dialogue>I'm sure it's quite strange to have me here and Milton gone. But he'll be back shortly. He just had an appointment he had to go to.</dialogue>
<scene_description>The alien looks at her.</scene_description>
<character>SANDY</character>
<dialogue>Do you understand me? I wonder if you understand me. With those eyes it seems that you do.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Anyway since you can't talk I guess I will. I'm not from here. Well, not like you're not from here, but I'm from Oregon. I ended up here because of my husband's line of work. I was a teacher for awhile.</dialogue>
<scene_description>The alien looks at her.</scene_description>
<character>SANDY</character>
<dialogue>Been a few years since then. I retired with a small pension. And what with what my husband saved up, it's been enough. I know Milton from the council. I mean, I knew his face before then, the town's only got a few thousand people, you come to recognize most anybody.</dialogue>
<character>SANDY</character>
<dialogue>But we go to give our two cents about how they should run things and they listen. And sometimes they make changes, you bet, it makes a difference. That senior fitness trail in the park wouldn't be there, wadn't for us. The way I see it, it's just good to stay connected, you know?</dialogue>
<scene_description>The alien just looks at her.</scene_description>
<character>SANDY</character>
<dialogue>I have a daughter. We get along pretty well, but I don't see her much. She lives out on the West Coast. I have pictures.</dialogue>
<scene_description>She opens her phone, swipes to a series in her camera roll.</scene_description>
<character>SANDY</character>
<dialogue>Monica. That's her partner Lisa. And my grandson Philip.</dialogue>
<scene_description>She beams at the picture. The alien seems to see them.</scene_description>
<character>SANDY</character>
<dialogue>She and her are actually together, like together together. I don't know if on your planet you have that too, where two people of the same sex end up loving each other, but anyway it's been happening a lot here the last few years. I'm fine with it. Earl wasn't so much at first, but I let her know from the beginning that didn't make a hair's difference to me.</dialogue>
<parenthetical>(thinking)</parenthetical>
<dialogue>And wouldn'tcha know they spend all their time sucking up to her mom, who's never accepted them? Always going to her instead of coming out here to visit me? It's like people always want the uphill battle. I haven't seen them in person in three years.</dialogue>
<scene_description>She suddenly finds herself amused. Taps the alien's leg.</scene_description>
<character>SANDY</character>
<dialogue>I swear to God I don't usually talk this much!</dialogue>
</scene>
<scene>
<stage_direction>INT. DOCTORS OFFICE - DR. NORTH'S OFFICE - DAY</stage_direction>
<scene_description>Dr. North meets with Milton and Denise in the same room where Milton took his tests.</scene_description>
<character>DR. NORTH</character>
<dialogue>I conducted a series of tests to assess various aspects of cognition. Based on these tests, I unfortunately believe Milton is in the early stages of age-related dementia.</dialogue>
<scene_description>Denise tears up, rubs Milton's back to comfort him.</scene_description>
<character>DR. NORTH</character>
<dialogue>It doesn't seem too advanced right now, but I would recommend an MRI to determine if there are any additional structurally-based causes, plaques, that kind of thing.</dialogue>
<character>MILTON</character>
<dialogue>Dementia? I don't have dementia.</dialogue>
<scene_description>Denise is emotional and can't quite speak. She smears tears out of her eyes.</scene_description>
<character>DR. NORTH</character>
<dialogue>Milton, do you find yourself having trouble recalling information about yourself you've known all your life? Your birthday, your middle name? Do you leave objects in places where they normally don't go, and not realize til later?</dialogue>
<scene_description>Beat.</scene_description>
<character>MILTON</character>
<dialogue>No.</dialogue>
<scene_description>Denise looks at him crossly.</scene_description>
<character>DENISE</character>
<dialogue>Dad.</dialogue>
<character>MILTON</character>
<dialogue>I don't.</dialogue>
<scene_description>He doesn't look at her.</scene_description>
<character>DENISE</character>
<dialogue>He left a can of green beans in the bathroom cabinet.</dialogue>
<character>MILTON</character>
<dialogue>That was just once. I was probably just confused.</dialogue>
<character>DENISE</character>
<dialogue>I found the newspaper in the freezer.</dialogue>
<scene_description>There's a pause.</scene_description>
<character>MILTON</character>
<dialogue>That was also just once.</dialogue>
<character>DENISE</character>
<dialogue>But Dad! That's not the point! The point is, together they're happening kinda often. He --</dialogue>
<parenthetical>(she hesitates)</parenthetical>
<dialogue>He told the cashier at Corrado's that there was an alien living in his house.</dialogue>
<scene_description>Milton is stunned.</scene_description>
<character>DR. NORTH</character>
<dialogue>Milton, do you remember saying that?</dialogue>
<scene_description>Beat.</scene_description>
<character>MILTON</character>
<dialogue>Yes.</dialogue>
<character>DR. NORTH</character>
<dialogue>Do you remember why you said that?</dialogue>
<scene_description>Longer beat.</scene_description>
<character>MILTON</character>
<dialogue>It was a joke.</dialogue>
<character>DENISE</character>
<dialogue>I don't think it was a joke when he said it, I think he meant it. I think he believed there was an alien living in his house.</dialogue>
<scene_description>The doctor takes a deep breath.</scene_description>
<character>DR. NORTH</character>
<dialogue>Milton, this is a sensitive subject to bring up, but at your age, and with these deficits in your thinking -- it may be time to consider options for assisted living. Such as an in-home care- giver. Or moving to an assisted living facility.</dialogue>
<character>MILTON</character>
<dialogue>Nope.</dialogue>
<scene_description>He gets up quickly from his chair.</scene_description>
<character>DENISE</character>
<dialogue>Dad, just listen to what she has to say.</dialogue>
<character>MILTON</character>
<dialogue>No. I'm sorry, I need to go, I've got a -- Anderson Cooper is on.</dialogue>
<scene_description>He rushes out of the room. Distressed, she follows. The doctor sits back awkwardly.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<scene_description>Milton marches out in front of Denise through the office.</scene_description>
<character>DENISE</character>
<dialogue>Dad -- wait --</dialogue>
<character>MILTON</character>
<dialogue>You set me up! God dammit you set me up!</dialogue>
<character>DENISE</character>
<dialogue>I did it because I'm worried about you.</dialogue>
<character>MILTON</character>
<dialogue>You brought me here, and had her spring that test on me, without even giving me a chance to study...</dialogue>
<character>DENISE</character>
<dialogue>Dad, I'm trying to help.</dialogue>
<character>MILTON</character>
<dialogue>I don't need your help!</dialogue>
<character>DENISE</character>
<dialogue>How are you gonna get home?</dialogue>
<scene_description>Without turning around --</scene_description>
<character>MILTON</character>
<dialogue>Mr. Taxi!</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction>
<scene_description>Milton strides resolutely down the road, stern-faced. It appears he's changed his mind about Mr. Taxi.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Sandy is reading the alien a children's story on the couch.</scene_description>
<character>SANDY</character>
<dialogue>"The trees swayed as though dancing to music, and the air smelled lovely and sweet."</dialogue>
<scene_description>Milton barges in.</scene_description>
<character>SANDY</character>
<dialogue>Hi Milt. I'm reading him a book I found in Monica's baby things.</dialogue>
<scene_description>Milton walks by without answering. He storms upstairs into his room and slams the door. Tentatively, Sandy walks to the base of the stairs.</scene_description>
<character>SANDY</character>
<parenthetical>(calling up)</parenthetical>
<dialogue>Milton? Is everything ok?</dialogue>
<character>MILTON</character>
<dialogue>I'm fine!</dialogue>
<scene_description>She pauses, concerned.</scene_description>
<character>SANDY</character>
<dialogue>Are you sure you're fine?</dialogue>
<scene_description>Beat.</scene_description>
<character>MILTON</character>
<dialogue>Yes!</dialogue>
<character>SANDY</character>
<parenthetical>(resigned)</parenthetical>
<dialogue>Alright. I'll talk to you later. He's had lunch.</dialogue>
<scene_description>She returns to the living room. The alien seems worried. She shrugs her shoulders, "I don't know what to tell you".</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>The alien is making repairs on the ship. Milton wanders out and sits down next to him. The alien stops and pays attention blankly.</scene_description>
<character>MILTON</character>
<dialogue>Denise thinks I'm losing it. She wants to put me in a home. I think I called her too many times to fix the TV system.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I don't talk to my son. He doesn't like me very much. I understand it. I wasn't good at being a dad. And so I stopped. No sense in keeping going with something you're not good at. Anyway, good night.</dialogue>
<scene_description>He gets up and goes back inside. Leaving the alien perplexed for a moment before he goes back to his work. PRELAP: There's a loud KNOCK.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. HOUSE - DAY</stage_direction>
<scene_description>We widen to show a simple suburban house with a thoughtfully tended front lawn. Two men in suits stand at the door. A pretty, hippie-ish woman (late 20s) answers. She's concerned.</scene_description>
<character>WOMAN</character>
<dialogue>Yes?</dialogue>
<character>AGENT MANN</character>
<dialogue>We're from the Department of National Security. Do you mind if we have a look at the premises?</dialogue>
<scene_description>The woman clocks the gun in his holster. Worried --</scene_description>
<character>WOMAN</character>
<dialogue>Sure.</dialogue>
<scene_description>She opens the door. They stalk through the house, taking notice of things, but with their aim set on the back yard -- They stop at a sliding glass door. Through the frame they see a man sanding down an edge on a beautiful and elaborate wooden sculpture of a UFO, about twenty feet wide. Decorated with all kinds of stones and dashes of color. He turns to look at them after a second.</scene_description>
<character>WOMAN</character>
<dialogue>It's only gonna be back there for a couple more weeks. Then we bring it to a festival and set it on fire. Is it a code violation?</dialogue>
<scene_description>Silent beat. Then they turn abruptly and leave.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOYCE'S HOUSE - LATE DAY</stage_direction>
<scene_description>Joyce sits in a sofa chair in her cluttered living room. On her lap is the blind and deaf cat, a frail, just-holding-on creature that she strokes while watching the television.</scene_description>
<character>ANCHORMAN AARON CAMPBELL (O.S.)</character>
<dialogue>The government continues to ask the public for help in its search for parts of a satellite they say fell out of the sky near the Pennsylvania-Ohio border recently. \*</dialogue>
<scene_description>Joyce straightens up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>Sandy, Milton and the alien sit in the dining room. Nearby the TV plays low with the same news report.</scene_description>
<character>SANDY</character>
<dialogue>I dug all through Monica's old boxes and this is the only thing I found.</dialogue>
<scene_description>She plucks a t-shirt out of her bag.</scene_description>
<character>SANDY</character>
<parenthetical>(turning to the alien)</parenthetical>
<dialogue>Alright. Arms in the air.</dialogue>
<scene_description>The alien stares at her.</scene_description>
<character>SANDY</character>
<parenthetical>(gently)</parenthetical>
<dialogue>May I?</dialogue>
<scene_description>She reaches for his hands and very slowly raises his arms in the air. Then she drops the shirt on top of him.</scene_description>
<character>SANDY</character>
<dialogue>You can put your arms down now.</dialogue>
<scene_description>She helps him with that. They both inspect him with the shirt on. It reads: "I'm not a lesbian but my girlfriend is."</scene_description>
<character>SANDY</character>
<dialogue>It's from back in the day when she couldn't shut up about it. It's not the best but it's something.</dialogue>
<character>MILTON</character>
<dialogue>I thought she was a lesbian.</dialogue>
<character>SANDY</character>
<dialogue>She is. It's some sort of joke.</dialogue>
<character>MILTON</character>
<dialogue>Oh.</dialogue>
<scene_description>They look at him for a moment.</scene_description>
<character>SANDY</character>
<dialogue>Well at least he's not naked anymore.</dialogue>
<character>MILTON</character>
<dialogue>I'm not sure myself if he was.</dialogue>
<character>SANDY</character>
<dialogue>Oh. I also thought it might be nice to give him a name. 'Stead of callng him "him" all the time.</dialogue>
<character>MILTON</character>
<dialogue>Do you think that's necessary? He's just here. I don't see a need to call him anything.</dialogue>
<character>SANDY</character>
<dialogue>For instance, for when you and I talk about him.</dialogue>
<character>MILTON</character>
<parenthetical>(reluctant)</parenthetical>
<dialogue>Well. What do you suggest?</dialogue>
<character>SANDY</character>
<dialogue>I have an idea. And it just feels right. Can we call him Jules?</dialogue>
<character>MILTON</character>
<dialogue>Sure. Good as anything else. But I'm not gonna call him anything if he's just here, because then I don't have to call him anything.</dialogue>
<character>SANDY</character>
<dialogue>I suppose we can't even be sure he's a he.</dialogue>
<character>MILTON</character>
<dialogue>He's a he.</dialogue>
<character>SANDY</character>
<dialogue>I mean I kinda see him as a he too but that might be for my own built- in suppositions.</dialogue>
<scene_description>Beat -- Milton turns to her.</scene_description>
<character>MILTON</character>
<dialogue>Huh?</dialogue>
<character>SANDY</character>
<dialogue>Nevermind. Agreed. He's a he.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. JOYCE'S CAR - DUSK</stage_direction>
<scene_description>Joyce drives slowly by the house as though casing it. She sees Sandy's car.</scene_description>
<character>JOYCE</character>
<parenthetical>(confirming suspicions)</parenthetical>
<dialogue>Mm.</dialogue>
<scene_description>She pulls off a little ways down the road.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>They're having dinner. Jules has a plate of apples slices that he is eating slowly. They're eating pasta. It's a weirdly normal scene.</scene_description>
<character>SANDY</character>
<dialogue>Most of the responses have been quite profane and joking. Well, all of them. But I'm sure I'm gonna get some real calls.</dialogue>
<character>MILTON</character>
<dialogue>I'm sure you will.</dialogue>
<character>SANDY</character>
<dialogue>I just have faith that the young people out there will wanna connect with someone who's lived a little. I think I'll find one.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Joyce manages a few bushes near the window, peers inside... gets unsteady glimpses as hushed tones of their conversation are heard... and then she sees it. Jules. She starts.</scene_description>
<character>JOYCE</character>
<dialogue>Whoa.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>The doorbell rings. They perk up, suddenly on edge.</scene_description>
<character>MILTON</character>
<dialogue>Who is it?</dialogue>
<scene_description>Sandy peeks around the corner and sees Joyce waiting impatiently outside. She scoots back to the table. All in whisper-voices.</scene_description>
<character>SANDY</character>
<dialogue>It's Joyce!</dialogue>
<character>MILTON</character>
<dialogue>What do we do?</dialogue>
<character>SANDY</character>
<dialogue>Take Jules upstairs!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Sandy opens the door. She greets Joyce a bit too enthusiastically.</scene_description>
<character>SANDY</character>
<dialogue>Joyce! How are you? Milt and I were just having a little dinner. Would you like to join?</dialogue>
<character>JOYCE</character>
<dialogue>I seen the alien.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DINING ROOM - NIGHT</stage_direction>
<scene_description>Joyce is seated at the table and Jules is back. She stares mystified. Milton is unnerved.</scene_description>
<character>JOYCE</character>
<dialogue>My goodness it's a God damn extraterrestrial. I had a feeling you weren't lying. You're slipping but not that fast. \*</dialogue>
<character>MILTON</character>
<dialogue>Why were you spying on us?</dialogue>
<character>JOYCE</character>
<parenthetical>(without taking her eyes off him)</parenthetical>
<dialogue>I thought something was odd. You two hanging out together.</dialogue>
<scene_description>Partial translation: I felt left out?</scene_description>
<character>MILTON</character>
<dialogue>You shouldn'ta spied on us.</dialogue>
<character>JOYCE</character>
<dialogue>His eyes are very understanding.</dialogue>
<parenthetical>(reaching out)</parenthetical>
<dialogue>May I touch him.</dialogue>
<scene_description>Milton slaps her hand away.</scene_description>
<character>JOYCE</character>
<parenthetical>(stung)</parenthetical>
<dialogue>Hey!</dialogue>
<character>MILTON</character>
<dialogue>She shouldn't know! This is a secret. She shouldn't know!</dialogue>
<character>SANDY</character>
<dialogue>Guys, just calm down. Everybody calm down. You're scaring Jules.</dialogue>
<character>JOYCE</character>
<dialogue>He's no Jules, he's more of a Gary. Or a Naomi.</dialogue>
<character>SANDY</character>
<dialogue>His name is Jules, and listen Milton, she's in on it now, okay? So we gotta trust her. There's nothing else we can do.</dialogue>
<character>MILTON</character>
<dialogue>We could kill her.</dialogue>
<character>JOYCE</character>
<parenthetical>(offended)</parenthetical>
<dialogue>Kill me? You can't kill me. I'll kill you, is what I'll do!</dialogue>
<character>SANDY</character>
<dialogue>Guys, stop! Now listen, Joyce, I wanna make this real clear. Jules has come to mean quite a bit to us. And he's gotta be a secret. You've seen the movies too. You know they don't treat these things well when they fall to earth.</dialogue>
<character>JOYCE</character>
<dialogue>How do we know he's not dangerous?</dialogue>
<character>SANDY</character>
<dialogue>We just know!</dialogue>
<character>MILTON</character>
<dialogue>We know!</dialogue>
<scene_description>Joyce considers this.</scene_description>
<character>JOYCE</character>
<dialogue>'Course I'm not gonna tell anybody. But no keeping any more secrets from me. I'm in on this, like Sandy says.</dialogue>
<character>MILTON</character>
<dialogue>I think we shoulda killed her.</dialogue>
<character>SANDY</character>
<dialogue>Milton, hush.</dialogue>
<scene_description>Just then, Jules extends a piece of paper to Milton. Milton inspects it. It's a drawing, of what now look like a row of cat faces. Seven of them.</scene_description>
<character>JOYCE</character>
<dialogue>What's that?</dialogue>
<character>MILTON</character>
<dialogue>It's just pictures. He hands them to me all the time.</dialogue>
<scene_description>CUT TO KITCHEN -- a mass of the same drawings are stuck onto the refrigerator with magnets. CUT BACK.</scene_description>
<character>JOYCE</character>
<dialogue>Maybe he's trying to tell you something.</dialogue>
<character>MILTON</character>
<parenthetical>(cranky)</parenthetical>
<dialogue>He's not trying to tell me something!</dialogue>
<parenthetical>(to Sandy)</parenthetical>
<dialogue>This isn't gonna be fun with her.</dialogue>
<scene_description>MONTAGE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACKYARD - DAY</stage_direction>
<scene_description>The alien works on his space ship. He is deeply focused but somehow we get the sense his awareness also encompasses...</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - BATHROOM - DAY 83 \*</stage_direction>
<scene_description>Milton lathers his face with shaving cream as he looks in the \* mirror. \* Confused, he wets a washcloth and wipes the shaving cream off \* and leaves. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. JOYCE'S HOUSE - DAY</stage_direction>
<scene_description>Joyce, feeding a specially prepared, peanut butter-covered nugget to her ailing cat.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - PANTRY - DAY</stage_direction>
<scene_description>Sandy, watering plants by the window of her home. Her phone rings. She walks over to it. END MONTAGE:</scene_description>
<character>SANDY</character>
<dialogue>Hello?</dialogue>
<character>CALLER (ON PHONE)</character>
<dialogue>Hi. I saw your poster at the library. About the senior mentoring program?</dialogue>
<character>SANDY</character>
<dialogue>Yes?</dialogue>
<character>CALLER (ON PHONE)</character>
<dialogue>I'm not super-young, I'm late- twenties, but I wouldn't mind a chat like that.</dialogue>
<scene_description>Running eagerly for a pen --</scene_description>
<character>SANDY</character>
<dialogue>Oh. Well, fantastic! To whom am I speaking?</dialogue>
<scene_description>PRE-LAP: A doorbell rings.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>Milton answers the door. Joyce is there.</scene_description>
<character>MILTON</character>
<dialogue>Hey Joyce.</dialogue>
<character>JOYCE</character>
<dialogue>Gary here?</dialogue>
<character>MILTON</character>
<dialogue>You mean the alien? Yeah. Where else would he be?</dialogue>
<character>JOYCE</character>
<dialogue>Came to spend some time with him.</dialogue>
<scene_description>He doesn't invite her in. She decides to do it herself, passing him for the backyard.</scene_description>
<character>MILTON</character>
<dialogue>He's busy. He's fixing his space ship.</dialogue>
<character>JOYCE</character>
<dialogue>I'm sure he can take a break.</dialogue>
<parenthetical>(holding up a tupperware)</parenthetical>
<dialogue>I brought apple slices.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACK PATIO - CONTINUOUS</stage_direction>
<scene_description>Jules is crouched next to the ship working inside an open panel. Joyce walks up to him a bit unsure.</scene_description>
<character>JOYCE</character>
<dialogue>Hey Gary. Joyce. We met the other day. I live... well it doesn't matter where I live, I guess.</dialogue>
<scene_description>Jules stops working, just looks at her. She digs through her bag, retrieves a folded t-shirt.</scene_description>
<character>JOYCE</character>
<dialogue>I brought you a new shirt. That one you're wearing is just hardly appropriate. You'd have to speak English to know what I mean.</dialogue>
<scene_description>She shakes the tupperware container.</scene_description>
<character>JOYCE</character>
<dialogue>Brought you apple slices.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. SANDY'S HOUSE - DAY</stage_direction>
<scene_description>Sandy opens the door to find her "young person", DANNY. Late 20s, handsome, friendly.</scene_description>
<character>SANDY</character>
<dialogue>Danny?</dialogue>
<character>DANNY</character>
<dialogue>In the flesh.</dialogue>
<character>SANDY</character>
<dialogue>Come on in.</dialogue>
<scene_description>As they disappear into the house --</scene_description>
<character>SANDY</character>
<dialogue>Would you like some tea?</dialogue>
<character>DANNY</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>Joyce and the alien sit on the couch. The alien is now wearing a Spuds MacKenzie t-shirt, frozen in time from the 80s. Milton's there too.</scene_description>
<character>JOYCE</character>
<dialogue>Boonton is fine but it's nothing like the Big City. I made a splash in the Big City. Back in my day. Maybe you don't know it looking at me like I am now but I was an item. In the Big City you can find all types of danger or pleasure that you're looking for. That's why you gotta exercise self control. Otherwise the city'll eat you alive. I mean alive. I was lucky. I had my... my problems.</dialogue>
<character>JOYCE</character>
<dialogue>My moments. But at least I got out in one piece. No more Pittsburgh for me.</dialogue>
<scene_description>The alien just looks at her.</scene_description>
<character>JOYCE</character>
<parenthetical>(looking at alien, but talking to Milton)</parenthetical>
<dialogue>He's so svelte. Like a dancer. You think he's a dancer?</dialogue>
<character>MILTON</character>
<dialogue>I don't think he's a dancer.</dialogue>
<character>JOYCE</character>
<dialogue>I wouldn't rule it out. You don't get that kinda body sitting on your ass all day.</dialogue>
<character>MILTON</character>
<parenthetical>(a bit impatient)</parenthetical>
<dialogue>I think this is what they're like.</dialogue>
<character>JOYCE</character>
<dialogue>What they're like? You don't think they're fat ones and small ones? Tall ones and short ones? That's pretty silly if ya ask me. You see one of 'em and you think they all look this way.</dialogue>
<character>MILTON</character>
<dialogue>Joyce, I think he wants to fix his space ship.</dialogue>
<scene_description>And it does look like it. It looks like the alien is a reluctant host. Joyce ignores it.</scene_description>
<character>JOYCE</character>
<parenthetical>(wistful)</parenthetical>
<dialogue>Yeah I really blossomed in the city. Came into my own. Had my share of lovers. Never really settled down with one.</dialogue>
<parenthetical>(it occurs to her)</parenthetical>
<dialogue>For awhile I sang. Can you believe it? I was a singer. Yeah I can sing. You bet I can sing! And I still got it. Wait a minute.</dialogue>
<scene_description>She mutes the television, checks out the stereo.</scene_description>
<character>JOYCE</character>
<dialogue>This thing have Bluetooth?</dialogue>
<character>MILTON</character>
<dialogue>Joyce -- \*</dialogue>
<character>JOYCE</character>
<parenthetical>(ignoring him)</parenthetical>
<dialogue>Yeah it has Bluetooth.</dialogue>
<scene_description>She connects her phone, then pulls up something on the internet. Takes an odd performing pose. After a moment, the song "Will You Still Love Me Tomorrow" (Carole King version) starts playing karaoke-style through the speakers. Joyce starts singing with the verse, a bit clunky.</scene_description>
<character>JOYCE</character>
<dialogue>Tonight you're mine completely You give your love so sweetly Tonight the light of love is in your eyes But will you love me tomorrow?</dialogue>
<scene_description>The alien just stares.</scene_description>
<character>JOYCE</character>
<dialogue>Is this a lasting treasure Or just a moment's pleasure? Can I believe the magic of your sighs? Will you still love me tomorrow?</dialogue>
<scene_description>An old choreography comes back to her, but she has to adjust it for being hemmed in by the furniture.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - DINING ROOM - DAY</stage_direction>
<scene_description>They sit across from each other at the dining room table. They each have a steaming mug of tea.</scene_description>
<character>SANDY</character>
<dialogue>So how old are you, Danny?</dialogue>
<character>DANNY</character>
<dialogue>Twenty-seven. And you?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Sorry. Rude to ask.</dialogue>
<character>SANDY</character>
<dialogue>Oh, I don't mind. I'm 72. Some people, they get real sensitive about their age. They do everything they can to look younger.</dialogue>
<character>SANDY</character>
<dialogue>But that's one thing I wanted to tell you, Danny. Aging is natural. Physical beauty is here for a moment and then it's gone. What causes pain, is getting too attached to it. That's what you gotta watch out for.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Look at me. I'm already starting to spout off.</dialogue>
<character>DANNY</character>
<dialogue>That's fine with me. I figure I could learn something from somebody who's lived a little longer.</dialogue>
<character>SANDY</character>
<parenthetical>(excited)</parenthetical>
<dialogue>That was my idea for organizing this! I've learned a lot over the years, and I figured why not share?</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>We return to Joyce mid act. This time it's "Wild Thing". Milton seems a bit weary. The alien listens politely.</scene_description>
<character>JOYCE</character>
<dialogue>Wild thing, I think you move me But I wanna know for sure So come on and hold me tight You move me.</dialogue>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - LATER</stage_direction>
<scene_description>Danny continues to listen.</scene_description>
<character>SANDY</character>
<dialogue>And don't buy into this idea that you do one thing your entire life and that's that. My generation, that's how we were taught. But you guys can go from one thing to the other. You can explore. You don't have to have your identity all tied up in one thing. I think it's marvellous. That way, you don't get all worried if you're not sure what you're doing is right.</dialogue>
<character>DANNY</character>
<dialogue>True.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You mind if I use the restroom? This tea's gone right through me.</dialogue>
<character>SANDY</character>
<dialogue>Of course. Top of the stairs on your left.</dialogue>
<scene_description>He heads down the hall.</scene_description>
<character>SANDY</character>
<dialogue>Danny?</dialogue>
<parenthetical>(he looks back)</parenthetical>
<dialogue>The shells may look like shells but they're actually soaps.</dialogue>
<scene_description>He flashes a thumbs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATER</stage_direction>
<scene_description>Joyce brings "Wild Thing" to a glorious finish, ending in a dramatic pose. She immediately starts looking through her smartphone music.</scene_description>
<character>MILTON</character>
<dialogue>He really needs to fix his space ship.</dialogue>
<character>JOYCE</character>
<dialogue>Just one more.</dialogue>
<character>MILTON</character>
<dialogue>Okay, just one more.</dialogue>
<character>JOYCE</character>
<dialogue>Alright, this'll be my best one. This was my trademark. We'll see if I remember it.</dialogue>
<scene_description>She pulls something up on the phone. Loosens her shoulders.</scene_description>
<character>JOYCE</character>
<dialogue>Alright. Here we go.</dialogue>
<scene_description>She poses awkwardly. From the speakers come the opening karaoke notes to "Free Bird" (Wynona Judd version). She gets loose to these guitar chords. Then the lyrics kick in and she begins to croon gently, vulnerably, pouring her heart out in front of a suddenly attentive Milton and Jules. This is an extraordinary performance that blows them, and us, away.</scene_description>
<character>JOYCE</character>
<dialogue>If I leave here tomorrow Would you still remember me? For I must be traveling on now 'Cause there's too many places I've got to see. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - DINING ROOM - CONTINUOUS</stage_direction>
<scene_description>As music continues over scene, Sandy enters the dining room carrying two slices of fresh-baked pie. She conscientiously sets the table.</scene_description>
<character>JOYCE (V.O.)</character>
<dialogue>But if I stay here with you, boy Things just couldn't be the same 'Cause I'm as free as a bird now</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Milton and the alien are transfixed. It's as though the song has aged her back forty years, to a time when she had them eating out of her hand.</scene_description>
<character>JOYCE</character>
<dialogue>And this bird you cannot change And this bird you cannot change And this bird you cannot change Lord knows I can't change.</dialogue>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - DINING ROOM - LATER</stage_direction>
<scene_description>Sandy is sitting at the table with the slices laid out. She looks at her watch, noting it's taking awhile. She creeps slowly down the hall -- and when she arrives at the door of her bedroom -- she finds Danny rifling through the jewelry box on her credenza.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The alien perks up, looks slightly to the side. Joyce passes by and gently turns his head back to the show.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - CONTINUOUS</stage_direction>
<character>SANDY</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Danny looks up only for a moment at Sandy.</scene_description>
<character>DANNY</character>
<dialogue>I'm taking some of your jewelry.</dialogue>
<scene_description>Sandy sinks -- she realizes what this has all been about.</scene_description>
<character>SANDY</character>
<dialogue>You don't have to do that.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Come back into the kitchen, we'll talk some more about life.</dialogue>
<character>DANNY</character>
<dialogue>No, I think I'd rather take some of your jewelry.</dialogue>
<scene_description>Sandy hardens.</scene_description>
<character>SANDY</character>
<dialogue>I'm gonna call the police.</dialogue>
<character>DANNY</character>
<dialogue>It's probably better if you don't.</dialogue>
<scene_description>On Sandy, hesitant.</scene_description>
<character>DANNY</character>
<dialogue>This woulda been better if you stayed in the kitchen, but now that you're here, I'd say the best thing is if you sit on the bed and not say anything.</dialogue>
<scene_description>There's a tense beat. She doesn't move. He looks up at her.</scene_description>
<character>DANNY</character>
<dialogue>Sandy?</dialogue>
<scene_description>Suddenly she darts for the other room. He races after. As she reaches for the phone in the living room, he yanks her back and throws her on the floor. She screams. He straddles her and slaps her hard across the face.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The alien flinches. Looking off into the distance. Joyce is too immersed now to notice it. Milton is absorbed in the show.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Danny has got his hands around her throat. He's squeezing the life out of her. His panic has overtaken him. Sandy is batting his arms frantically, but to little effect. He's leaning all of his weight on her throat.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>We zoom in on alien's big eyes...</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Sandy's face is beet red. Her swats are more and more lifeless. Her body becoming limp. Danny's expression is angry, aggressive, when suddenly -- his head explodes. It goes all over. (This will be shot tastefully.) His body collapses against Sandy's chest. Sandy begins gasping for air.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The alien calmly turns back to the show.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Sandy, covered in blood, shoves the body off of her in one stored-up burst and begins crawling for the phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The music fades out. Milton claps at the end.</scene_description>
<character>JOYCE</character>
<dialogue>Thank you, thank you.</dialogue>
<scene_description>She takes the alien's hands and claps them together.</scene_description>
<character>JOYCE</character>
<dialogue>Here's what we do if we like it. Like this, like this, perfectly.</dialogue>
<parenthetical>(as she's doing it)</parenthetical>
<dialogue>Thank you.</dialogue>
<parenthetical>(sighs)</parenthetical>
<dialogue>Oof, I'm tired. That is definitely my last.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SANDY'S HOUSE - LATER</stage_direction>
<scene_description>The house is surrounded by police cars.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S HOUSE - DAY</stage_direction>
<scene_description>Sandy is being interviewed by two skeptical cops in the living room. She's newly showered and visibly shaken.</scene_description>
<character>COP 1</character>
<dialogue>You're saying his head just exploded?</dialogue>
<character>SANDY</character>
<dialogue>That's right.</dialogue>
<character>COP 2</character>
<dialogue>Out of nowhere?</dialogue>
<character>SANDY</character>
<dialogue>Out of nowhere!</dialogue>
<scene_description>The cops exchange a look.</scene_description>
<character>COP 1</character>
<dialogue>Heads don't tend to just</dialogue>
<parenthetical>(glancing at floor)</parenthetical>
<dialogue>explode like that.</dialogue>
<scene_description>Sandy gets indignant.</scene_description>
<character>SANDY</character>
<dialogue>Are you suggesting I made a man's head explode off his shoulders? And how exactly would I do that?</dialogue>
<character>COP 1</character>
<dialogue>You tell us. How would something that extraordinary happen in your house?</dialogue>
<scene_description>And suddenly she does know -- but she quickly papers over the realization.</scene_description>
<character>SANDY</character>
<dialogue>A man tried to kill me and you're fousing on who killed him? You oughta be looking into who this lowlife was who took advantage of an old woman in her home. Enough of these questions! I don't know anything.</dialogue>
</scene>
<scene>
<stage_direction>INT. SANDY'S CAR - LATE DAY</stage_direction>
<scene_description>She drives determined down a country road. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>Milton and Joyce are both watching TV when the doorbell rings. Milton gets it. It's Sandy.</scene_description>
<character>SANDY</character>
<dialogue>Where is he?</dialogue>
<character>MILTON</character>
<dialogue>In the back, working on the ship.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACKYARD - MOMENTS LATER</stage_direction>
<scene_description>Sandy finds him beside the ship repairing something. For a moment they just stare at each other. Then she goes to him and hugs him deeply.</scene_description>
<character>SANDY</character>
<dialogue>Thank you.</dialogue>
<scene_description>His skinny arms hang by his side.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - PORCH - LATE DAY</stage_direction>
<scene_description>The three of them are gathered on the porch, talking in low voices. The alien is by his ship, fixing something, trying to act like they're not talking about him. There are bruises on Sandy's throat.</scene_description>
<character>JOYCE</character>
<dialogue>I knew he had powers! These guys usually have powers.</dialogue>
<character>MILTON</character>
<dialogue>Does this mean he's dangerous?</dialogue>
<character>SANDY</character>
<dialogue>Well. Only when someone's being dangerous toward us.</dialogue>
<character>JOYCE</character>
<dialogue>Yeah. Only when someone's being dangerous toward us.</dialogue>
<character>MILTON</character>
<dialogue>That's true.</dialogue>
<character>SANDY</character>
<dialogue>I mean. He saved me. Can you imagine what woulda happened if he didn't get involved? I wouldn't be here.</dialogue>
<scene_description>Her eyes get glassy. Joyce pats her back comfortingly.</scene_description>
<character>MILTON</character>
<dialogue>Well. Is it possible he could do it to someone who wasn't bad?</dialogue>
<character>SANDY</character>
<dialogue>He hasn't done it yet. I don't see why we should prejudice him with our fearful thoughts.</dialogue>
<character>JOYCE</character>
<dialogue>Yeah. What she said.</dialogue>
<character>MILTON</character>
<dialogue>Alright. Just asking.</dialogue>
<character>SANDY</character>
<dialogue>Far as I'm concerned, Jules is on our side, and we oughta be on his.</dialogue>
<character>JOYCE</character>
<dialogue>I agree.</dialogue>
<character>MILTON</character>
<dialogue>I agree too.</dialogue>
<scene_description>There's a beat as this sinks in.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>Sandy and Joyce walk to their cars. Then Sandy stops.</scene_description>
<character>SANDY</character>
<dialogue>Joyce?</dialogue>
<scene_description>Joyce turns.</scene_description>
<character>SANDY</character>
<dialogue>Can I stay over your place? I'm scared to be alone, to be honest. And I'm not looking forward to going home to that mess.</dialogue>
<character>JOYCE</character>
<dialogue>Of course.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - NIGHT</stage_direction>
<scene_description>Milton is passing the shelf when he takes notice of the photo of his family. He stops and regards it.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - LATER</stage_direction>
<scene_description>He sits at the edge of the couch. Holding the phone in his lap. Finally he turns it on, dials from a list on a small piece of paper. Waits nervously. Voicemail answers.</scene_description>
<character>TIM (ON PHONE)</character>
<dialogue>Hi this is Tim, I am unavailable at the moment, please leave a message.</dialogue>
<scene_description>The tone.</scene_description>
<character>MILTON</character>
<dialogue>Hey Tim. It's Dad. Hope things are good there. Fall's starting to \* show up here. Denise's clinic has \* moved next to that new car wash on \* Lincoln. Was that here when you \* were here? I don't know. We'll \* see how she deals with the noise. \* Maybe the dogs'll get riled up. I know I wasn't there for you in ways I shoulda been. You deserved better.</dialogue>
<parenthetical>(hesitantly)</parenthetical>
<dialogue>But enough's enough, don'tcha think?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Looks like I got your machine.</dialogue>
<scene_description>He hangs up. He lies down on his usual spot on the couch, turns on the TV, and with a shiver of emotion, immerses himself in his programs.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - MORNING</stage_direction>
<scene_description>Officers check in with their CHIEF. Boy-faced, but seasoned.</scene_description>
<character>CHIEF</character>
<dialogue>There was no weapon found at the scene? No explosive material?</dialogue>
<character>COP 1</character>
<dialogue>Nothing.</dialogue>
<character>CHIEF</character>
<dialogue>Heads do not just blow off people's bodies.</dialogue>
<character>COP 2</character>
<dialogue>No they do not.</dialogue>
<character>CHIEF</character>
<dialogue>Forensics has no explanation?</dialogue>
<character>COP 1</character>
<dialogue>Not a one.</dialogue>
<scene_description>He sighs, baffled.</scene_description>
<character>CHIEF</character>
<dialogue>Maybe Sandy's protecting someone. She has a big heart.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Let's put a tail on her. See if she gets up to anything unusual.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORRADO'S SUPERMARKET - DAY</stage_direction>
<scene_description>Milton exits the store with Sandy carrying bags of apples. \*</scene_description>
<character>DENISE (O.S.)</character>
<dialogue>Dad.</dialogue>
<scene_description>Denise trots up to them from the side. Milton starts walking \* faster.</scene_description>
<character>DENISE</character>
<dialogue>Dad. \*</dialogue>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Since when have you been... hanging out with Sandy? \*</dialogue>
<scene_description>He keeps walking. Sandy, surprised by his speed, tries to \* keep up. \*</scene_description>
<character>DENISE</character>
<dialogue>Dad. Please. \*</dialogue>
<scene_description>Finally Denise manages to get in front of him and block his \* path. \*</scene_description>
<character>DENISE</character>
<dialogue>Just for a moment. \*</dialogue>
<character>\*</character>
<dialogue>Sandy and Milton look at each other. Sandy steps away to \* give them space.</dialogue>
<dialogue>Denise looks in the bag. \*</dialogue>
<character>DENISE</character>
<dialogue>More apples for the alien?</dialogue>
<scene_description>He starts walking again. \*</scene_description>
<character>DENISE</character>
<dialogue>No, wait, wait. I'm sorry. I'm sorry for surprising you the other day.</dialogue>
<parenthetical>(as he listens)</parenthetical>
<dialogue>I'm just worried, okay? What you've said, has not been normal. And I know you value your independence. But there comes a time, Dad. There comes a time. And maybe that time is now.</dialogue>
<character>MILTON</character>
<dialogue>Denise. I swear to you. I'm okay.</dialogue>
<character>DENISE</character>
<dialogue>How can you say that when you're buying apples for an alien?</dialogue>
<character>MILTON</character>
<dialogue>The apples aren't for an alien. They're for me.</dialogue>
<character>DENISE</character>
<dialogue>Twenty of them.</dialogue>
<scene_description>He's stumped.</scene_description>
<character>MILTON</character>
<dialogue>I can't talk right now.</dialogue>
<scene_description>He starts walking. \*</scene_description>
<character>DENISE</character>
<dialogue>Dad!</dialogue>
<character>MILTON</character>
<dialogue>Good to see you. Try not to worry.</dialogue>
<character>DENISE</character>
<dialogue>Dad, that's impossible!</dialogue>
<scene_description>She follows him to the car, where Sandy's waiting.</scene_description>
<character>DENISE</character>
<dialogue>Why are you encouraging him? Why are you letting him do this?? \*</dialogue>
<scene_description>They get quickly into the car and rush off. From the corner of the parking lot, a cop car pulls out.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>The four of them are having lunch. The humans eating a roast and Jules with his customary dish.</scene_description>
<character>SANDY</character>
<dialogue>So I said to the doctor, I think this medicine is giving me sexual feelings.</dialogue>
<character>JOYCE</character>
<dialogue>And what'd he say?</dialogue>
<character>SANDY</character>
<dialogue>First he said nothing. The he went and researched it and he said -- you're darn right. That happens to be one of the side effects. A rare one but it's one of 'em. He switched me to another medication.</dialogue>
<character>MILTON</character>
<dialogue>Do you have any of the old pills left?</dialogue>
<scene_description>Pause -- then she slaps his arm.</scene_description>
<character>SANDY</character>
<dialogue>Milton!</dialogue>
<scene_description>He smiles -- a naughty smile we haven't seen from him before. Sandy sniffs the air.</scene_description>
<character>SANDY</character>
<dialogue>Do you guys smell that?</dialogue>
<character>MILTON</character>
<dialogue>What?</dialogue>
<character>SANDY</character>
<dialogue>It's sort of a... rotting smell.</dialogue>
<character>JOYCE</character>
<dialogue>I didn't want to say anything. I thought it was maybe how your house usually smelled.</dialogue>
<scene_description>Sandy gets up, goes to the window, smelling... heads toward the porch.</scene_description>
</scene>
<scene>
<stage_direction>117A EXT. MILTON'S HOUSE - BACKYARD - CONTINUOUS 117A</stage_direction>
<scene_description>She steps into the backyard, still sniffing... and suddenly she jolts back in surprise.</scene_description>
<character>SANDY</character>
<dialogue>Oh my. \*</dialogue>
<scene_description>She picks up a rake and manipulates a thing on the ground as the others look on (including Jules, who is a few steps back). We see it is a comically flattened and partially decomposed cat.</scene_description>
<character>SANDY</character>
<dialogue>It's a... cat.</dialogue>
<character>MILTON</character>
<dialogue>He killed a cat and brought it here?</dialogue>
<character>SANDY</character>
<parenthetical>(pointing to carcass)</parenthetical>
<dialogue>That is a tire mark. Unless he stole a car too, he didn't kill this animal.</dialogue>
<parenthetical>(turning to them)</parenthetical>
<dialogue>He found it.</dialogue>
<character>JOYCE</character>
<dialogue>He needs cats. I told you! He was sending us a message. You guys oughta listen to me more.</dialogue>
<scene_description>At that very moment, Jules hands Milton another piece of paper. On it are six cat faces. And a new figure which looks, well... like the outline of his ship.</scene_description>
<character>JOYCE</character>
<dialogue>Lemme see that.</dialogue>
<scene_description>Joyce takes it and looks at it.</scene_description>
<character>JOYCE</character>
<dialogue>That's his ship.</dialogue>
<scene_description>She heads for the house.</scene_description>
</scene>
<scene>
<stage_direction>117B INT. MILTON'S HOUSE - KITCHEN - CONTINUOUS 117B</stage_direction>
<scene_description>In front of the fridge, Joyce holds the paper up next to the previous drawings. The others are there.</scene_description>
<character>JOYCE</character>
<dialogue>I think he needs six more cats to get his ship working! Before he needed seven.</dialogue>
<parenthetical>(pointing to previous drawing)</parenthetical>
<dialogue>Now, with that one, he just needs six. I get this guy, I'm telling you. I get him more than you do.</dialogue>
<character>SANDY</character>
<dialogue>I think she might be right.</dialogue>
<character>MILTON</character>
<dialogue>Seven cats? What makes his ship run is seven cats?</dialogue>
<character>SANDY</character>
<dialogue>The only thing he eats is apples. You kinda got to take him on his own terms, you know?</dialogue>
<character>MILTON</character>
<dialogue>So what are we supposed to do, kill six cats?</dialogue>
<character>SANDY</character>
<dialogue>Well he didn't kill anything.</dialogue>
<scene_description>There's a beat, then:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - LATER</stage_direction>
<scene_description>Sandy pulls out of the driveway with Milton riding shotgun. The police officers pull out at a cautious distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. SANDY'S CAR - DAY</stage_direction>
<scene_description>They drive with the windows down. Quite slowly. Not much talking. Very, very long stretches between their words.</scene_description>
<character>MILTON</character>
<dialogue>Raccoon.</dialogue>
<scene_description>They keep driving.</scene_description>
<character>MILTON</character>
<dialogue>Possum.</dialogue>
<scene_description>Driving for awhile.</scene_description>
<character>SANDY</character>
<dialogue>Another possum.</dialogue>
<scene_description>A car holds down its horn and then swings around impatiently.</scene_description>
<character>DRIVER</character>
<dialogue>Wake up, grandma!</dialogue>
<scene_description>The car speeds off. There's silence. Then:</scene_description>
<character>SANDY</character>
<dialogue>Squirrel.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - CONTINUOUS</stage_direction>
<scene_description>Officer follows from a huge distance, speaking on CB.</scene_description>
<character>COP 1</character>
<dialogue>Car is going extremely slow out on 22. Makes following them undetected almost impossible.</dialogue>
<character>CHIEF</character>
<dialogue>Any idea what they're doing?</dialogue>
<character>COP 1</character>
<dialogue>Seems like they're looking for something.</dialogue>
</scene>
<scene>
<stage_direction>INT. SANDY'S CAR - CONTINUOUS</stage_direction>
<scene_description>They both scan quietly out their windows.</scene_description>
<character>SANDY</character>
<dialogue>Cats. I wonder what it is about cats.</dialogue>
<character>MILTON</character>
<dialogue>You know.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>There's things we don't understand.</dialogue>
<character>SANDY</character>
<dialogue>Lots of them.</dialogue>
<character>MILTON</character>
<dialogue>Slow down.</dialogue>
<scene_description>She pulls alongside something.</scene_description>
<character>MILTON</character>
<dialogue>I believe that's a beagle.</dialogue>
<scene_description>With a sigh, she picks up speed again.</scene_description>
<character>SANDY</character>
<dialogue>Might be the Turner's beagle. Carter. He's been missing a couple weeks. I suppose someone'll have to tell them.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - DAY</stage_direction>
<scene_description>Joyce is sitting on the sofa scatting freestyle, jazz-like, to a patient Jules sitting beside her.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDY'S CAR - DAY</stage_direction>
<scene_description>Milton and Sandy scan. They speak even less.</scene_description>
<character>MILTON</character>
<dialogue>Possum.</dialogue>
<scene_description>A long stretch.</scene_description>
<character>SANDY</character>
<dialogue>Possum.</dialogue>
<scene_description>There's silence. Then:</scene_description>
<character>MILTON</character>
<dialogue>Sandy. How'd it start?</dialogue>
<character>SANDY</character>
<dialogue>What?</dialogue>
<character>MILTON</character>
<dialogue>With Earl. How'd it start out?</dialogue>
<scene_description>Sandy turns forward. Does a deep sigh.</scene_description>
<character>SANDY</character>
<dialogue>He was generally forgetful at first. Not as quick as he used to be. Then he started leaving things in weird places. I'd find silverware in the bedroom.</dialogue>
<character>SANDY</character>
<dialogue>One time he pooped in the bidet. He was very embarrassed about that.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Why? Did the doctor say something that worried you?</dialogue>
<scene_description>Milton doesn't answer.</scene_description>
<character>SANDY</character>
<dialogue>Do you forget things, sometimes?</dialogue>
<scene_description>He still doesn't answer.</scene_description>
<character>SANDY</character>
<dialogue>Do you forget things sometimes, Milton?</dialogue>
<scene_description>After a beat --</scene_description>
<character>MILTON</character>
<dialogue>I don't mean to.</dialogue>
<character>SANDY</character>
<dialogue>That's what the doctor's appointment was about?</dialogue>
<scene_description>Milton's silence kinda answers that. Sandy exhales again.</scene_description>
<character>SANDY</character>
<dialogue>I don't wanna worry you, Milton. I promise you, it was years before it got bad.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Don't go down that rabbit hole. You gotta enjoy life, not worry it away.</dialogue>
<character>MILTON</character>
<dialogue>Stop!</dialogue>
<character>SANDY</character>
<dialogue>Okay, I won't say another thing.</dialogue>
<character>MILTON</character>
<parenthetical>(looking in the car's wake)</parenthetical>
<dialogue>No, I mean stop!</dialogue>
<scene_description>The car skids to a stop.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - CONTINUOUS</stage_direction>
<scene_description>From the cops' perspective, the two of them inspect something on the shoulder and then break out in cheers and hug each other. Then they take a shovel out of the car and scrape it off the ground and into a trash bag.</scene_description>
<character>COP 2</character>
<dialogue>The fuck...</dialogue>
<scene_description>They high-five.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. MILTON'S HOUSE - LATE DAY</stage_direction>
<scene_description>They arrive home carrying the bags. Joyce greets them eagerly at the door.</scene_description>
<character>JOYCE</character>
<dialogue>How many'd you get?</dialogue>
<scene_description>As Milton heads for the porch --</scene_description>
<character>SANDY</character>
<dialogue>We got two.</dialogue>
<scene_description>CUT TO: Milton places the bags in the backyard. CUT BACK.</scene_description>
<character>SANDY</character>
<dialogue>Well... one and three quarters.</dialogue>
<character>MILTON</character>
<parenthetical>(coming back in)</parenthetical>
<dialogue>It's not easy. What's out there is mostly possums.</dialogue>
<scene_description>CUT TO KITCHEN -- Sandy crosses out two of the six cat faces in the drawing. The others are there too.</scene_description>
<character>SANDY</character>
<dialogue>We need four more. Well -- three and... four and... aw, heck. I was never good at fractions.</dialogue>
<character>JOYCE</character>
<dialogue>I'll find 'em.</dialogue>
<character>SANDY</character>
<dialogue>How will you find 'em?</dialogue>
<character>JOYCE</character>
<dialogue>I don't care if I have to spend all night scouring the streets of this town. I'll find 'em.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOYCE'S CAR - NIGHT</stage_direction>
<scene_description>Joyce drives down a dark road perched above her steering wheel like a hawk, scanning the ground on both sides. She points a flashlight out of the driver's window. A huge thermos of coffee is stationed on the console. On her iPhone she's cued a playlist "Roadkill Search 2022".</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - UPSTAIRS HALLWAY/BEDROOM - NIGHT 127 \*</stage_direction>
<scene_description>Milton walks out of his bedroom, fully dressed for the day. \* As he steps into the hallway he realizes it's the middle of \* the night. He goes back into the bedroom and takes off his \* clothes. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - MORNING</stage_direction>
<scene_description>Milton, Sandy and the alien are having breakfast when Joyce gets home carrying a big bag. Jules is now wearing a shirt with a pink triangle and the message "silence=death".</scene_description>
<character>JOYCE</character>
<dialogue>I got three. Well, three and a third.</dialogue>
<scene_description>She passes out the back door, comes back a moment later.</scene_description>
<character>JOYCE</character>
<dialogue>That'll more than make up for your missing quarter.</dialogue>
<scene_description>She heads to the kitchen with the others in tow. Crosses three more cat faces off the picture. One remains.</scene_description>
<character>JOYCE</character>
<dialogue>I've always been decent with fractions.</dialogue>
<character>SANDY</character>
<dialogue>We'll circle later today.</dialogue>
<scene_description>Joyce heads to the dining room as the others again follow.</scene_description>
<character>JOYCE</character>
<dialogue>I tried every God damn road in the county. Ain't no more out there, unless they got hit after I passed.</dialogue>
<character>SANDY</character>
<dialogue>We could take a pass, though.</dialogue>
<character>JOYCE</character>
<dialogue>Ain't no more out there. They sit down, think a moment.</dialogue>
<character>SANDY</character>
<dialogue>How about Denise?! She's a vet. Maybe she knows where to get one?</dialogue>
<character>MILTON</character>
<dialogue>Denise?</dialogue>
<character>SANDY</character>
<dialogue>Yeah. Maybe she knows what happens to the ones they put down.</dialogue>
<parenthetical>(off Milton's hesitation)</parenthetical>
<dialogue>You can ask.</dialogue>
<character>MILTON</character>
<dialogue>Don't you think she might think it's a weird question?</dialogue>
<character>SANDY</character>
<dialogue>What else are we gonna do?</dialogue>
<character>JOYCE</character>
<dialogue>Yeah, what else are we gonna do?</dialogue>
<scene_description>Milton pauses for a moment. Then, not entirely at peace with this idea, he picks up the phone and calls.</scene_description>
<character>RECEPTIONIST (ON PHONE)</character>
<dialogue>Green Turtle Veterinary Clinic.</dialogue>
<character>MILTON</character>
<dialogue>Hi is Doctor Robinson there? This is her father.</dialogue>
<character>RECEPTIONIST (ON PHONE)</character>
<dialogue>Hang on a sec.</dialogue>
<scene_description>There's a pause. Milton looks apprehensive.</scene_description>
<character>DENISE</character>
<dialogue>Hi Dad. What's up?</dialogue>
<character>MILTON</character>
<dialogue>Not much. How are you doing?</dialogue>
<character>DENISE</character>
<dialogue>I'm fine.</dialogue>
<scene_description>Milton looks at Sandy and Joyce.</scene_description>
<character>MILTON</character>
<dialogue>What happens to the cats that die in your office?</dialogue>
<character>DENISE</character>
<dialogue>What?</dialogue>
<character>MILTON</character>
<dialogue>What happens to the cats that die in your office?</dialogue>
<scene_description>INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANIMAL CLINIC - EXAM ROOM - CONTINUOUS</stage_direction>
<scene_description>Denise stands off to the side on the phone as her assistant keeps tabs on a schnauzer on the exam table.</scene_description>
<character>DENISE</character>
<parenthetical>(disturbed)</parenthetical>
<dialogue>Why do you ask?</dialogue>
<scene_description>Beat.</scene_description>
<character>MILTON</character>
<dialogue>Just trying to make conversation.</dialogue>
<character>DENISE</character>
<parenthetical>(fed up)</parenthetical>
<dialogue>Dad, what is going on?</dialogue>
<character>MILTON</character>
<dialogue>Nothing.</dialogue>
<character>DENISE</character>
<dialogue>Then why are you asking me that?</dialogue>
<scene_description>Beat.</scene_description>
<character>MILTON</character>
<dialogue>Do they incinerate them or do they just throw them in a dumpster out back?</dialogue>
<character>DENISE</character>
<dialogue>I'm not saying another word until you tell me why you're asking. Do you even know why you're asking? And you wonder why I'm worried.</dialogue>
<character>MILTON</character>
<dialogue>You know what, forget it.</dialogue>
<scene_description>Sandy and Joyce are gesturing "abort mission, abort mission".</scene_description>
<character>DENISE</character>
<dialogue>Forget it? How am I supposed to forget it?</dialogue>
<character>MILTON</character>
<dialogue>I was just curious, that was it.</dialogue>
<character>DENISE</character>
<dialogue>You don't even have a cat.</dialogue>
<character>MILTON</character>
<dialogue>I've got to go. Love you.</dialogue>
<scene_description>He hangs up. END INTERCUT.</scene_description>
<character>MILTON</character>
<dialogue>She didn't give me a straight answer.</dialogue>
<scene_description>Suddenly the doorbell rings. All their heads pivot in that direction. Joyce peers around the corner. She sees the agents waiting patiently on the doorstep.</scene_description>
<character>JOYCE</character>
<dialogue>It looks like agents.</dialogue>
<character>SANDY</character>
<dialogue>Like government agents?</dialogue>
<character>JOYCE</character>
<dialogue>Yeah, like from the movies.</dialogue>
<character>MILTON</character>
<dialogue>Act like nothing's wrong.</dialogue>
<character>JOYCE</character>
<dialogue>You guys suck at that.</dialogue>
<character>SANDY</character>
<dialogue>I'll take Jules upstairs.</dialogue>
<scene_description>They look around. He's nowhere to be seen.</scene_description>
<character>SANDY</character>
<dialogue>Where is he?</dialogue>
<scene_description>There's another knock. They look at each other.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - CONTINUOUS</stage_direction>
<scene_description>One cop is on the radio as they watch the agents at the door.</scene_description>
<character>COP 1</character>
<dialogue>Chief, they've got visitors.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Milton greets the men at the door.</scene_description>
<character>MILTON</character>
<dialogue>Hello.</dialogue>
<character>AGENT MANN</character>
<dialogue>Milton Robinson?</dialogue>
<character>MILTON</character>
<dialogue>Yes.</dialogue>
<character>AGENT MANN</character>
<dialogue>We're from the Department of National Security. We have reason to believe there may be material on these premises related to a federal investigation. We'd like to take a quick look.</dialogue>
<character>MILTON</character>
<dialogue>I'm sorry, now is not a good time.</dialogue>
<character>AGENT MANN</character>
<dialogue>I'm sorry, sir. We do need to search the premises.</dialogue>
<character>MILTON</character>
<dialogue>We're in the middle of breakfast.</dialogue>
<scene_description>He looks toward the table where all the plates are empty.</scene_description>
<character>AGENT MANN</character>
<dialogue>This will only take a few minutes.</dialogue>
<scene_description>Joyce steps up in front of them, and says emphatically, inexplicably --</scene_description>
<character>JOYCE</character>
<dialogue>We've got everything under control here.</dialogue>
<character>AGENT MANN</character>
<dialogue>I'm sure you do, but we still need to take a look around.</dialogue>
<character>JOYCE</character>
<dialogue>We've got everything -- under control here.</dialogue>
<character>AGENT MANN</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Ma'am, I'm gonna have to ask you to step aside.</dialogue>
<scene_description>The agent starts heading forward, but Sandy now sidles in the way.</scene_description>
<character>SANDY</character>
<dialogue>I am a former teacher and have been a polling place volunteer seventeen times. I can promise you that everything is good here. I mean A- okay. This place is lawful.</dialogue>
<scene_description>The agent looks back at his partner.</scene_description>
<character>AGENT SHU</character>
<parenthetical>(taking control)</parenthetical>
<dialogue>You all need to stay right where you are.</dialogue>
<scene_description>Agent Mann tries to move forward but Sandy and Joyce attempt to block his path and all shout at once. Milton trails and Agent Shu grabs him by the arms.</scene_description>
<character>SANDY</character>
<dialogue>You're not allowed in here without a search warrant! Show us a search warrant or get outta here!</dialogue>
<character>JOYCE</character>
<dialogue>I swear I will lose it, I will lose it on you, don't go back there, I am starting to lose it, I am this close to losing it!</dialogue>
<scene_description>And at the same time Milton:</scene_description>
<character>MILTON</character>
<dialogue>Don't go back there. You can't go back there without my permission. That's not right.</dialogue>
<scene_description>Amid the chaos, Agent Mann disappears through the back door. A moment later he comes filing back.</scene_description>
<character>AGENT MANN</character>
<dialogue>Let's go.</dialogue>
<scene_description>His partner releases Milton and follows.</scene_description>
<character>AGENT SHU</character>
<dialogue>Nothing?</dialogue>
<character>AGENT MANN</character>
<dialogue>Nothing.</dialogue>
<character>AGENT SHU</character>
<dialogue>These people are crazy.</dialogue>
<scene_description>The trio look at each other, confused.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>The three of them shuffle curiously to the backyard. There, they stare in astonishment at -- nothing. No space ship, no hole in the ground, no alien. Everything looks as it did before. There's a slight disturbance in the image, a ripple, and then it evaporates into small points, and there once again is the ship, plunged into the ground at its usual angle. The gangway drops and the alien walks out.</scene_description>
<character>JOYCE</character>
<dialogue>Whoa.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - CONTINUOUS</stage_direction>
<scene_description>The agents back out of the driveway and race away.</scene_description>
<character>COP 1</character>
<dialogue>Should we pursue?</dialogue>
<character>CHIEF (ON RADIO)</character>
<dialogue>Come back to the station, we'll run the plates. Let's not tip them off we're watching.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<character>JOYCE</character>
<dialogue>We need to act. Quick. Every moment we wait is a moment they can discover him.</dialogue>
<character>SANDY</character>
<dialogue>We can both go out driving.</dialogue>
<character>JOYCE</character>
<dialogue>It'll take too long, and I told you I looked everywhere.</dialogue>
<character>SANDY</character>
<dialogue>Well short of killing a cat, I'm not sure how we're gonna do it. \*</dialogue>
<character>MILTON</character>
<parenthetical>(to Joyce)</parenthetical>
<dialogue>Well what about yours?</dialogue>
<character>JOYCE</character>
<dialogue>Henry? The hell are you talking about.</dialogue>
<character>MILTON</character>
<dialogue>You said, he doesn't hear, he doesn't see. He can't walk. He's pretty much dead.</dialogue>
<scene_description>Her eyes well up with tears.</scene_description>
<character>JOYCE</character>
<dialogue>He's not dead. He's like my child.</dialogue>
<parenthetical>(off his continued look)</parenthetical>
<dialogue>You can go fuck yourself!</dialogue>
<scene_description>She marches out the front door. Sandy turns to Milton.</scene_description>
<character>SANDY</character>
<parenthetical>(admonishing)</parenthetical>
<dialogue>Milton. You can't ask her to give up her companion. That's not fair.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE/INT. JOYCE'S CAR - LATER</stage_direction>
<scene_description>Joyce sits in her car with her arms crossed. It seems she's been thinking for awhile. In the background we hear the front door open, close. After a moment Sandy appears at the passenger window. Knocks gently. Joyce unlocks. Sandy gets in.</scene_description>
<character>SANDY</character>
<dialogue>We thought you'd taken off. Then we didn't hear your engine start.</dialogue>
<scene_description>Joyce stares forward. Seems she's in another world. Sandy turns toward her, heartfelt.</scene_description>
<character>SANDY</character>
<dialogue>I'm sorry about what Milton said. He spoke out of turn.</dialogue>
<scene_description>Joyce takes a moment. Then:</scene_description>
<character>JOYCE</character>
<dialogue>Henry's been there every time I got home. No one else has.</dialogue>
<character>SANDY</character>
<dialogue>Of course. Pets may just be pets but they're part of the family.</dialogue>
<character>JOYCE</character>
<dialogue>And I've watched him get worse but I haven't done anything because I'm too afraid of what it'll be like when he's gone.</dialogue>
<character>SANDY</character>
<dialogue>Oh, I'm sure that's scary --</dialogue>
<character>JOYCE</character>
<dialogue>Quiet Sandy, I'm being real here.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>He's... all I have. But you know it's been a year since he was able to walk up to me on his own.</dialogue>
<scene_description>Joyce looks up at Sandy.</scene_description>
<character>JOYCE</character>
<dialogue>Milton's right. Henry's not all I have. He's all I had.</dialogue>
<scene_description>Sandy's face transforms into a look of moved pity.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOYCE'S HOUSE - DAY</stage_direction>
<scene_description>Joyce sits on the couch cradling Henry. Her face is sticky with tears. Surrounding her are Milton and Sandy.</scene_description>
<character>JOYCE</character>
<parenthetical>(whispering to cat)</parenthetical>
<dialogue>I am so so grateful to you. You're my sweetheart, and you'll always be. But it's time for you to rest.</dialogue>
<scene_description>Joyce holds him, crying. Jules stands on the other side of the coffee table, witnessing it. Joyce regains her composure.</scene_description>
<character>JOYCE</character>
<dialogue>Alright, let's do this. Go ahead and explode his head.</dialogue>
<character>SANDY</character>
<dialogue>Wait.</dialogue>
<scene_description>She places a large plastic mixing bowl over Henry's head.</scene_description>
<character>SANDY</character>
<dialogue>Better to cut down on the mess.</dialogue>
<scene_description>Joyce kisses Henry's back.</scene_description>
<character>JOYCE</character>
<dialogue>Goodbye, sweetpea.</dialogue>
<scene_description>Jules taking this all in, seeing Joyce, seeing Henry's sleepy eyes. He focuses on the head -- it is reminiscent of his look when he helped Sandy. There is an intensity. The cat seems tired. He yawns. Jules concentrates more. The cat lays its head down. Joyce is crying. Then suddenly she realizes something. The cat is still. She takes the bowl off and confirms he's already passed. Not all is heads exploding; this time Jules eased death in. Joyce sobs, rocking the cat back and forth. Both Milton and Sandy have a hand on her shoulder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACKYARD - DAY</stage_direction>
<scene_description>All three stand with their arms around each other as Jules places his device on the ground, and with a few strokes expands it to the size of a bath towel. We vaguely get the idea he's placing the cats on top of it. He turns to Joyce, who walks over and places Henry in the spot Jules has left open. She walks back to the others. Jules places a thin metallic film over them and takes a few steps back. The device begins to emit a calming hazel light. The film on top begins to bubble, and the bubbles flow toward the middle. There, they amalgamate one by one into a single smooth hemisphere. The bubbles stream inward, faster, turning darker colors, and as they do the rest of the film seems to sink toward the device and stiffen... until it crumbles into many tiny flakes. Jules approaches. As he watches, the central bubble crumbles too. He reaches in and removes a glowing mass almost the color of amber. He blows on it. Dust sheers off. As the three of them watch holding their breaths, Jules opens a panel on the side of the ship and, apprehensively, drops the ball in. He closes it. \* He steps back. Waiting. At first nothing. And then an imperceptible vibration, which touches each one through the ground. The ship gently rises out of its hole. Its exterior glimmers with a visible light, especially from below. They instinctively step back, but Jules doesn't move. The ship hovers in the air. For once we see it for the triumph of technology that it is, a grace beyond anything man's created. Joyce, moved by what Henry's contributed to, cries as she beholds it. It traverses to a flat spot in the backyard and makes a more proper, gentle landing. And turns off.</scene_description>
<character>MILTON</character>
<parenthetical>(who'd a thought)</parenthetical>
<dialogue>Cats.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - DAY</stage_direction>
<scene_description>The second officer is on the phone at her desk, leaning over her legal pad. A male voice, mundane, matter-of-fact, answers.</scene_description>
<character>FBI OFFICER (ON PHONE)</character>
<dialogue>Federal Bureau of Investigation.</dialogue>
<character>COP 2</character>
<dialogue>Yeah hi this is Officer Hester, Boonton PA police department. We're trying to track a federal plate that showed up in one of our homicide investigations.</dialogue>
<character>FBI OFFICER (ON PHONE)</character>
<dialogue>What's the plate number?</dialogue>
<character>COP 2</character>
<dialogue>DU5901.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Looks like a government issue but I don't recognize the department.</dialogue>
<character>FBI OFFICER (ON PHONE)</character>
<dialogue>Lemme take a look at that.</dialogue>
</scene>
<scene>
<stage_direction>INT. NATIONAL SECURITY CENTER - CONTINUOUS</stage_direction>
<scene_description>In the same underground space as before, the bank of officials work busily on their computers. A monitor on the wall suddenly lights up with a message: "HIGH PRIORITY. IMMEDIATE ACTION REQUIRED." Several of the workers notice.</scene_description>
</scene>
<scene>
<stage_direction>INT. AGENTS' CAR - MOMENTS LATER 140 \*</stage_direction>
<scene_description>The agents are parked at a fast food restaurant eating. A \* call comes through. Agent Mann answers. \*</scene_description>
<character>AGENT MANN \*</character>
<dialogue>Yes? \*</dialogue>
<character>NSC AGENT (O.S.) \*</character>
<dialogue>(shouting) \*</dialogue>
<scene_description>Go back! Go back to 870 Elmore! \*</scene_description>
</scene>
<scene>
<stage_direction>140A EXT. AGENTS' CAR - CONTINUOUS 140A \*</stage_direction>
<scene_description>Their car roars to life and swerves out. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. MILTON'S HOUSE - BACKYARD - CONTINUOUS FROM BEFORE</stage_direction>
<scene_description>Jules turns toward them. The gangway comes down.</scene_description>
<character>SANDY</character>
<dialogue>Congratulations, Jules. I'm very happy for you.</dialogue>
<scene_description>There's an awkwardness as they all kinda realize what this means. Joyce digs into her jacket pocket and retrieves something. She approaches the alien.</scene_description>
<character>JOYCE</character>
<dialogue>I brought you something.</dialogue>
<scene_description>She extends a snowglobe with the skyline of Pittsburgh.</scene_description>
<character>JOYCE</character>
<dialogue>It's a snow globe. Of the city. This is a, kinda typical gift for when you visit a place. But it means a lot to me, reminds me of my time in the City, so I wanted you to have it.</dialogue>
<scene_description>Jules looks at the gift, not quite sure, then holds it close to him, indicating he'll take it.</scene_description>
<character>SANDY</character>
<dialogue>I, uh, brought something too.</dialogue>
<scene_description>Sandy ducks into the house, comes out with a used shopping bag from which she withdraws a grandma-type sweater.</scene_description>
<character>SANDY</character>
<dialogue>I knitted it for you. I'm not sure if it's cold where you're from, but maybe you can get some use out of it.</dialogue>
<scene_description>He raises his arms automatically.</scene_description>
<character>SANDY</character>
<dialogue>Oh, you don't have to put it on now. Later.</dialogue>
<scene_description>He puts his arms down.</scene_description>
<character>MILTON</character>
<dialogue>I didn't know we were giving gifts.</dialogue>
<scene_description>Milton fumbles through his wallet, pulls out his drivers license (with a hole punch through it to cancel it out). Hands it to Jules.</scene_description>
<character>MILTON</character>
<dialogue>So you don't forget what I look like.</dialogue>
<scene_description>Milton's eyes go glassy. Sandy pats his back. The alien walks to the gangway. Then, looking at them, he does a gesture.</scene_description>
<character>SANDY</character>
<dialogue>What was that?</dialogue>
<character>JOYCE</character>
<dialogue>Did he do something?</dialogue>
<character>MILTON</character>
<dialogue>I think he did something.</dialogue>
<scene_description>Jules does it again. It's the very same gesture Milton did at the threshold of the back door a week before. Milton recognizes it. He fills with emotion.</scene_description>
<character>MILTON</character>
<dialogue>I... I think he's inviting us.</dialogue>
<scene_description>They look at each other. They're floored. Sandy is the first one to find her voice. She steps forward to the alien, kneels to his level.</scene_description>
<character>SANDY</character>
<dialogue>Jules -- that is -- so kind. But I can't. I've got a daughter here and a grandson and they may not pay that much attention to me, but I'm not ready to throw in the towel. But I so appreciate it.</dialogue>
<scene_description>She hugs him again. He again doesn't quite know what to do.</scene_description>
<character>JOYCE</character>
<dialogue>I got the Council, and my message boards. I couldn't possibly just up and leave.</dialogue>
<character>MILTON</character>
<dialogue>I'll go.</dialogue>
<scene_description>They're shocked.</scene_description>
<character>MILTON</character>
<dialogue>I'd like to go with you.</dialogue>
<character>SANDY</character>
<dialogue>Milton. You can't. You've got Denise.</dialogue>
<character>MILTON</character>
<dialogue>I, I'm ready to go.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Jules has been nice company to me here.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And I prefer not to have her see me get worse and worse every year.</dialogue>
<scene_description>Sandy shifts.</scene_description>
<character>SANDY</character>
<dialogue>Milton. It's a part of life. People get sick, and their loved ones --</dialogue>
<character>MILTON</character>
<dialogue>I said I'll go! It's my choice, and I've made it! I don't want the last years of my life to be spent falling apart. I'd rather go now, and spare them that.</dialogue>
<scene_description>Milton moves toward the ship. Sandy steps in his way.</scene_description>
<character>SANDY</character>
<dialogue>Don't do this, Milton. You have people here who love you. \*</dialogue>
<scene_description>He makes for the gangway again and Sandy grabs his shoulders.</scene_description>
<character>SANDY</character>
<dialogue>I'm not gonna let you go.</dialogue>
<character>MILTON</character>
<dialogue>Let me go!</dialogue>
<scene_description>She pulls him back. He begins grappling with her. They spin in slow circles for a moment, until somebody trips and they land on the ground. As they roll around on the ground, tossing each other over and getting dirty:</scene_description>
<character>SANDY</character>
<dialogue>You have connections, Milton! Don't just disappear because it gets hard!</dialogue>
<character>MILTON</character>
<dialogue>Let me go! I wanna go!</dialogue>
<character>SANDY</character>
<dialogue>Don't leave us, Milton! Don't just leave!</dialogue>
<character>MILTON</character>
<dialogue>It's my life. I can do what I want.</dialogue>
<scene_description>Joyce and the alien exchange a look as Sandy and Milton plop around in a pathetic wrestling match. Eventually they get tired and sit up, their clothes soiled by the dirt and the grass. Milton coughs, Sandy catches her breath. Milton glances at Sandy -- this is because she wanted him around. He looks down. Suddenly the phone rings inside. After a couple rings, Milton gets up.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILTON'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Milton answers the land line.</scene_description>
<character>MILTON</character>
<dialogue>Hello?</dialogue>
<scene_description>INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>142A EXT. ANIMAL CLINIC - CONTINUOUS 142A \*</stage_direction>
<scene_description>Denise is standing outside of her veterinary practice. Leaning against the wall. She's calm. She wants peace.</scene_description>
<character>DENISE</character>
<dialogue>Dad. I'm not calling about the alien. I'm not calling about any of that. It's time for your hair \* cut. I could come by Saturday, we \* could have lunch, and I could take care of it. And I'll bring apples. No I'm kidding. Maybe I shouldn'ta said that. But we've been fighting and I just wanna hang out. Will you be around Saturday?</dialogue>
<scene_description>Milton is frozen.</scene_description>
<character>MILTON</character>
<dialogue>Don't you work Saturdays?</dialogue>
<character>DENISE</character>
<dialogue>I'll get Heather to cover for me. Will you be around?</dialogue>
<scene_description>Silence.</scene_description>
<character>DENISE</character>
<dialogue>Dad?</dialogue>
<scene_description>He still doesn't answer. His eyes get glassy. His lip quivers.</scene_description>
<character>DENISE</character>
<dialogue>Dad, are you there?</dialogue>
<character>MILTON</character>
<dialogue>Yeah.</dialogue>
<scene_description>His voice is breaking a bit.</scene_description>
<character>MILTON</character>
<dialogue>I have to check my schedule.</dialogue>
<character>DENISE</character>
<dialogue>Your schedule? I can't imagine you'd have a busy schedule. The thing about the apples was a joke.</dialogue>
<character>MILTON</character>
<dialogue>I'll check and I'll get back to you.</dialogue>
<character>DENISE</character>
<dialogue>Is everything okay?</dialogue>
<scene_description>More silence. He tries to pull it together.</scene_description>
<character>MILTON</character>
<dialogue>Yes. It is.</dialogue>
<scene_description>She takes a deep breath, for the umpteenth time dropping it.</scene_description>
<character>DENISE</character>
<parenthetical>(at a loss)</parenthetical>
<dialogue>Alright. Well, I'll wait to hear. I love you, Dad.</dialogue>
<character>MILTON</character>
<dialogue>Yeah you too. Bye.</dialogue>
<scene_description>He hangs up. Just stands there. Staring into space. His stupor is broken by a knock at the front door. He looks toward it. Confused. There's another knock. He looks toward the backyard. A hand jiggers the doorknob from the other side. Then a flat-footed kick jolts the door on its hinges. Milton rushes for the yard -- Joyce helps Sandy off the ground. More kicks rain down on the door outside. Feeling exposed, they see the alien on the gangway and impulsively follow him into the ship. A last kick bursts the front door open as the gangway closes up. The ship's resources begin charging, that growing hum which quit in the earlier attempt but this time builds into a potent, hair-raising reverberation as the agents burst into the backyard with their guns drawn. But to no avail. Because quite suddenly -- the ship rockets into the air in a remarkably silent launch. The take-off is so astounding that it leaves the agents staring up in wonder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKY PLAIN - DAY</stage_direction>
<scene_description>A barren gray landscape, rimmed by mountains. Some dirt is whipped up on the ground, along with a deep thrumming sound, and then the ship's invisibility drops and the ship appears on the ground. The gangway drops. The three of them stumble down apprehensively and in wonder.</scene_description>
<character>JOYCE</character>
<dialogue>Whoa. Whoa!</dialogue>
<parenthetical>(getting her bearings)</parenthetical>
<dialogue>That. Was. Awesome.</dialogue>
<character>MILTON</character>
<dialogue>Are we on his planet already? That didn't feel like very long.</dialogue>
<character>JOYCE</character>
<dialogue>Couldn'ta been more than a few seconds.</dialogue>
<scene_description>Sandy looks at her phone.</scene_description>
<character>SANDY</character>
<dialogue>I've got four bars and a text message welcoming me to sign up for Bell Canada. I think we're still on earth. I think he just stopped to drop us off.</dialogue>
<scene_description>Jules is there with them. Joyce spots a dirt road going by. And some litter next to it. It's a Slim Jim wrapper.</scene_description>
<character>JOYCE</character>
<dialogue>Yeah, I think we're on our planet.</dialogue>
<scene_description>They look up. Sandy and Joyce stand next to each other, facing Milton and Jules. The arrangement is poignant. Sandy and Milton still have the marks of their fight. The wind whips gently between them.</scene_description>
<character>JOYCE</character>
<dialogue>Well Jules... I guess it's time for your intergalactic journey. If they didn't need me to keep this town on the rails, I'd go with you.</dialogue>
<scene_description>She wouldn't.</scene_description>
<character>SANDY</character>
<dialogue>And Milton... ?</dialogue>
<scene_description>Milton stands there, thinking. He hesitates. Then he kneels in front of Jules. \*</scene_description>
<character>MILTON</character>
<dialogue>I am so thankful for your invitation to join you. And I know I would have enjoyed very much journeying with you through the heavens and seeing your home. But I've lived on this planet all my life. It's my home.</dialogue>
<scene_description>A smile alights on Sandy's face.</scene_description>
<character>MILTON</character>
<dialogue>Doesn't stop being that just 'cause I'm getting ready to... leave it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What's coming probably won't be fun. But I ought to do it here.</dialogue>
<scene_description>Now he leans into Jules so the women can't hear --</scene_description>
<character>MILTON</character>
<parenthetical>(whispering slowly)</parenthetical>
<dialogue>I'll be okay.</dialogue>
<scene_description>He shakes the alien's hand in both of his hands, tears in his eyes. He stands up. Joyce pats his shoulder. Sandy kneels by Jules.</scene_description>
<character>SANDY</character>
<dialogue>What an honor it was to have you here. I wish you a safe journey back.</dialogue>
<scene_description>She hugs him. His arms still hang by his sides. Joyce shuffles to him and bends down.</scene_description>
<character>JOYCE</character>
<dialogue>I'm not so good with goodbyes. But anyway. Thanks for listening.</dialogue>
<scene_description>She hugs him too. She stands next to the others. They watch Jules go up the ramp. He turns back one more time at the top. They wave at him. Then he goes in his ship and the gangway goes up. They back away, giving room for the ship as its charging sounds crank up. They put their arms around each other. The ship rises and hovers about twenty feet off the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - CONTINUOUS</stage_direction>
<scene_description>Through the window, Jules sees the three of them looking up at him.</scene_description>
</scene>
<scene>
<stage_direction>144A EXT. ROCKY PLAIN - DAY 144A</stage_direction>
<scene_description>We rejoin them, their arms linked, the ship revving in front of them, and then suddenly it shoots off -- a quick, gentle whistle. They stare up to follow its path. FADE TO BLACK.: FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>A145 INT. ASSISTED LIVING FACILITY - DAY A145</stage_direction>
<scene_description>A homey, attractive common room of an assisted living facility. Various residents hang alone or with relatives. A worker is putting away serving trays from lunch. Sandy walks \* in with a plate of cookies. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. ASSISTED LIVING - APARTMENT - DAY</stage_direction>
<scene_description>Milton sits in a warmly decorated one bedroom apartment within the facility. This is his new home. Surrounding him are the familiar items of his life before, but condensed into a cozy, simple living space. His expression and slumping posture suggests he's... different. Not as aware. Not as engaged. Sandy and Joyce are seated by him. Denise is leaning against the kitchen counter nearby.</scene_description>
<character>DENISE</character>
<dialogue>His name's Brant. He's forty- seven. Sells Hondas in Carterville.</dialogue>
<character>SANDY</character>
<parenthetical>(cautious)</parenthetical>
<dialogue>A car salesman?</dialogue>
<character>DENISE</character>
<dialogue>He tries to be real straight- forward. That's why people go back to him, they feel he's different.</dialogue>
<character>SANDY</character>
<dialogue>Well that's good.</dialogue>
<character>JOYCE</character>
<dialogue>Yeah that's good.</dialogue>
<character>DENISE</character>
<dialogue>I'm taking it day by day. But this is the most optimistic I've been about this sort of thing in awhile. He's real kind to Dad.</dialogue>
<scene_description>There's a beat.</scene_description>
<character>DENISE</character>
<parenthetical>(re: dad)</parenthetical>
<dialogue>I think he's been comfortable here. They treat him real well.</dialogue>
<character>SANDY</character>
<dialogue>Earl liked it too. It's a good place.</dialogue>
<character>DENISE</character>
<dialogue>Thank you guys for visiting him so often.</dialogue>
<character>SANDY</character>
<dialogue>Of course.</dialogue>
<character>JOYCE</character>
<dialogue>That's what friends are for.</dialogue>
<scene_description>Denise checks her watch.</scene_description>
<character>DENISE</character>
<dialogue>I gotta get back to work. The cookies are amazing.</dialogue>
<character>SANDY</character>
<dialogue>Take some.</dialogue>
<character>DENISE</character>
<dialogue>The problem is, I'll eat them.</dialogue>
<character>SANDY</character>
<dialogue>For the office.</dialogue>
<character>DENISE</character>
<dialogue>Okay. See you guys soon.</dialogue>
<parenthetical>(kisses Milton)</parenthetical>
<dialogue>Dad, I'm going. I'll see you soon.</dialogue>
<scene_description>Milton seems a little confused, but accepts the kiss.</scene_description>
<character>MILTON</character>
<dialogue>See you.</dialogue>
<scene_description>Denise leaves. There's a long pause, full of reflection.</scene_description>
<character>JOYCE</character>
<parenthetical>(sighing)</parenthetical>
<dialogue>I wonder if he remembers us.</dialogue>
<character>SANDY</character>
<dialogue>Who?</dialogue>
<character>JOYCE</character>
<dialogue>Gary.</dialogue>
<character>SANDY</character>
<dialogue>'Course he remembers us.</dialogue>
<character>JOYCE</character>
<dialogue>Maybe he visits a lot of planets. Maybe he meets a lot of life forms. Three years is a long time.</dialogue>
<character>SANDY</character>
<dialogue>He remembers us. I'm sure of it.</dialogue>
<character>JOYCE</character>
<dialogue>Milt, you think Gary remembers us?</dialogue>
<scene_description>Milton looks up.</scene_description>
<character>MILTON</character>
<dialogue>Gary? Who's Gary?</dialogue>
<character>SANDY</character>
<dialogue>Jules.</dialogue>
<character>JOYCE</character>
<dialogue>The alien.</dialogue>
<character>MILTON</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Alien?</dialogue>
<character>SANDY</character>
<dialogue>Don't worry about it, Milt. I think he does. I really think he does.</dialogue>
<scene_description>Fade to black. Fade up. Milton is still in the same spot. The door opens. A man enters. It's Tim. Wearing a long overcoat. As the door closes he beholds Milton for a few moments. Seeming surprised. Taking it in. He eventually sits down a few feet from Milton.</scene_description>
<character>TIM</character>
<dialogue>Hi Dad. Denise told me I'd waited too long. Guess she was right.</dialogue>
<parenthetical>(pausing)</parenthetical>
<dialogue>Tracey says hi. The boys don't. They don't really remember you.</dialogue>
<parenthetical>(more pauses)</parenthetical>
<dialogue>I saw Denise's office. I'm proud of her. She's done well for herself. I guess she always had the potential but I didn't see it coming.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Impressive new baseball stadium.</dialogue>
<scene_description>Tim lets out a long, shaky sigh.</scene_description>
<character>TIM</character>
<parenthetical>(bluntly)</parenthetical>
<dialogue>I don't really know what else to say.</dialogue>
<scene_description>A long pause. Then, Tim stands, approaches Milton, and gives him a hug from above. Kisses the top of his head, looks at him a second more, then walks out of the room. On Milton, sitting alone throughout the rest of the day. The light changes, passing shades of evening over his face. At once, there's a humming sound from outside the window. Much like the space ship landing on the plain. After a few moments... Milton's neck goes limp. He tilts over slightly to the side. LATER. Sandy enters with a polite knock. The only lights in the room are now the lamp lights.</scene_description>
<character>SANDY</character>
<dialogue>Hi Milton. I brought you some --</dialogue>
<scene_description>She sees.</scene_description>
<character>SANDY</character>
<dialogue>Awww, Milton.</dialogue>
<scene_description>She rights him up, sits next to him, and hugs him, sobbing quietly.</scene_description>
<character>SANDY</character>
<dialogue>Aww, Milton. Thanks for staying.</dialogue>
<scene_description>Outside the window, we hear the humming sound again. Then a whistle -- much like the space ship taking off. As Sandy turns toward the window, the first hints of a smile on her face, we... CUT TO BLACK.:</scene_description>
<character>THE END</character>
</scene>
</script> | Milton Robinson is a 79-year-old widower living on his own. He frequently attends city council meetings and receives help from his daughter. One day, a UFO lands in his backyard and a small humanoid alien crawls out. Milton attempts to get help, calling the police and his daughter, and bringing it up at the city council meeting but is brushed off as senile. Milton brings the alien, who is nonverbal, inside and treats him as a guest, providing the alien with a tray of assorted food but discovering that his guest only drinks water and eats apples. Sandy, an acquaintance, stops by and discovers the alien, telling Milton that they should keep it a secret for its own safety. Joyce, another elderly woman, also discovers the alien. The alien begins repairing his ship but does not appear to be making quick progress. Milton's daughter hears about her father's antics and schedules him for a mental evaluation where they are told that his faculties are quickly diminishing and that they should consider assisted living. This upsets him, and he storms out. Sandy, who is attempting to start a program to connect with the youth, is robbed by a young man she invites in. After she states that she will call the police, the man tackles and attempts to strangle her; however, the alien (whom they have named Jules) receives a vision of the events and telepathically causes the man's head to explode. This raises the suspicion of the NSA, since they are conducting an ongoing search for the crashed spaceship. Milton, Sandy, and Joyce realize that Jules needs dead cats to power his ship, so Milton and Sandy go out to find some, but Milton continues to be troubled by thoughts of his declining faculties. Meanwhile, they are unknowingly followed by police who observe their strange activities. With the addition of Joyce's deaf and blind cat, they are able to repair the ship, and Jules invites them to join him. Milton considers accepting. He reconsiders after a phone call with his daughter, but when the NSA kicks down his door, he, Sandy, and Joyce hurriedly escape in the UFO. Jules drops them off at another location on Earth and they part ways. Some time later, Milton is again visited by Jules. |
The Fabelmans_2022 | tt14208870 | <script>
<scene>
<character>THE FABELMANS</character>
<dialogue>Written by</dialogue>
<scene_description>Steven Spielberg</scene_description>
<character>&</character>
<dialogue>Tony Kushner</dialogue>
<scene_description>2022 Storyteller Distribution Co, LLC</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FOX THEATER, PHILADELPHIA - NIGHT</stage_direction>
<scene_description>It's winter. A line of people wraps around the red brick walls of the theater, thick clouds of breath (like horses') in the freezing air. SCREEN TITLE: JANUARY 10, 1952 SCREEN TITLE: NEW JERSEY</scene_description>
<character>BURT'S VOICE (O.S.)</character>
<dialogue>Mommy and Daddy will be right next to you. The lights will go down. There may be some organ music as the curtain opens --</dialogue>
<scene_description>The camera goes down the line till, near the rear, it reaches SAMMY FABELMAN, 6 years old. His eyes are wide, his mouth is drawn downwards, he looks very scared, on the verge of tears. A man's voice says:</scene_description>
<character>BURT'S VOICE</character>
<dialogue>Don't be scared.</dialogue>
<character>SAMMY</character>
<dialogue>It'll be dark in there! You said!</dialogue>
<scene_description>BURT FABELMAN, 37, an engineer, bespectacled, sport jacket and tie, looks down at Sammy.</scene_description>
<character>SAMMY</character>
<dialogue>I don't wanna go in!</dialogue>
<character>BURT</character>
<dialogue>But it's fun. All week you've been so excited - your first-ever movie!</dialogue>
<character>SAMMY</character>
<dialogue>And the people are gigantic!</dialogue>
<character>BURT</character>
<dialogue>What people?</dialogue>
<character>SAMMY</character>
<dialogue>You said the people in the movie are gigantic.</dialogue>
<character>BURT</character>
<dialogue>No, because of the big screen they're on. But they're not real.</dialogue>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>Right?</dialogue>
<scene_description>Sammy looks up at his mom.</scene_description>
<character>MITZI'S VOICE (O.S.)</character>
<dialogue>They're like dreams.</dialogue>
<character>SAMMY</character>
<dialogue>Dreams are scary!</dialogue>
<scene_description>His mother's gloved hand gently caresses his cheek.</scene_description>
<character>MITZI</character>
<dialogue>Some dreams are, but this is gonna be a nice dream, about a circus, and clowns and acrobats and, um -</dialogue>
<character>BURT</character>
<dialogue>You wanna know how it works? There's a big machine called a projector, inside there's a big bright light and it projects photographs of, of clowns and acrobats -</dialogue>
<character>MITZI</character>
<dialogue>And elephants and, um... happy things!</dialogue>
<character>BURT (CONT'D)</character>
<dialogue>Projecting means it sends them out - Happy things... - like light from a huge flashlight.</dialogue>
<character>BURT (CONT'D)</character>
<dialogue>These photographs move past the light really fast - 24 photos in every second! - Now in your brain each photograph stays for about a fifteenth of a second.</dialogue>
<scene_description>Sammy listens, but he still looks scared.</scene_description>
<character>BURT</character>
<dialogue>That's called persistence of vision. The photographs move past faster than your brain can let go of them. And that's how the movie projector tricks us into believing that motionless pictures are moving - a motion picture!</dialogue>
<scene_description>Sammy, baffled, is gently turned by the gloved hand to face - MITZI FABELMAN, 33, short blonde hair, her own inventive, quirky sense of style. She crouches down to his level and turns the full force of her charm on him.</scene_description>
<character>MITZI</character>
<dialogue>Movies are dreams, dolly, that you never forget. You just wait and see, when it's over, you're gonna have the biggest sloppiest smile on your face.</dialogue>
<scene_description>Sammy's anxiety starts to give way. Burt's moved by this, Mitzi's way with Sammy, Sammy's complete trust in her. The line starts moving.</scene_description>
<character>BURT</character>
<dialogue>They're letting us in.</dialogue>
<scene_description>Mitzi looks up at Burt; he winks at her. Mitzi looks at Sammy, raising an eyebrow: "Are we going in?" Sammy nods, giving her his permission. Mitzi stands, holding Sammy's hand. As the line moves and the Fabelmans approach the entrance, the camera lifts up to the marquee - Cecil B. DeMille's The Greatest Show On Earth.</scene_description>
</scene>
<scene>
<stage_direction>INT. PROJECTION BOOTH, FOX THEATER - NIGHT</stage_direction>
<scene_description>The projector's an aggressive monster, huge reels spinning, film running through gears, passing through the gate, image by image, past the brilliant bulb, out through the lens and into...</scene_description>
</scene>
<scene>
<stage_direction>INT. FOX THEATER AUDITORIUM - NIGHT</stage_direction>
<scene_description>The movie palace's opulent auditorium is filled to its 1200- seat capacity. On the screen, the robbery in the train, Cornell Wilde and Betty Hutton.</scene_description>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>Wait'll the engines pass!</dialogue>
<scene_description>ON SCREEN TWO ROBBERS leap from a car parked next to the railroad tracks and clamber aboard a circus train as it grinds to a stop. Robber 1 dons a bandanna mask and smashes a window with his pistol.</scene_description>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>Open up the door!</dialogue>
<scene_description>An ENGINEER emerges to investigate and gets cold cocked by Robber 2. IN THE THEATER The audience GASPS. Mitzi checks on Sammy with a quick glance. Sammy, eyes wide, is completely entranced, consumed, absorbed watching as... ON SCREEN</scene_description>
</scene>
<scene>
<stage_direction>.. The car is pulled up to straddle the train tracks.</stage_direction>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>What's that?</dialogue>
<scene_description>ANOTHER TRAIN speeds towards them on the same tracks.</scene_description>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>Second section!</dialogue>
<scene_description>Robber 2 pales. His sweetheart's on the stalled train behind the car, the train they've just robbed.</scene_description>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>Get goin! We gotta burn rubber!</dialogue>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>Angel! She's on that train!</dialogue>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>So what? We got the dough, let's get outta here.</dialogue>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>Lights! I must turn the lights down the track!</dialogue>
<scene_description>He starts to pull the car onto the tracks towards the oncoming train.</scene_description>
<character>ROBBER 1 (ON SCREEN)</character>
<dialogue>You crazy lug, gimme that wheel -</dialogue>
<scene_description>He lunges towards the steering wheel and Robber 2 punches him, then clubs him. The theater crowd GASPS again.</scene_description>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>Stop the train! STOP THE TRAIN!!!</dialogue>
<scene_description>He drives the car down the tracks right at the oncoming train, flashing the headlights.</scene_description>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>STOP! CAN'T YOU SEE THE LIGHTS?!?!</dialogue>
<scene_description>IN THE THEATER Sammy's eyes go wide! ON SCREEN The Engineer in the second train tries to slow down.</scene_description>
<character>ENGINEER (ON SCREEN)</character>
<parenthetical>(to his BRAKEMAN)</parenthetical>
<dialogue>Hang on!</dialogue>
<character>ROBBER 2 (ON SCREEN)</character>
<dialogue>Angel! ANGEL!!!</dialogue>
<scene_description>But it's too late. The train hits the car and flips it over! IN THE THEATER Sammy's whole body goes rigid, pushing back into his seat, staring in shock at the catastrophe on the screen. Cut between the crash as the moving train ploughs into the stalled train and Sammy's reactions, frozen stills of his sheer, visceral terror (cf 2001's star gate sequence). For Sammy this is real, not a movie. His eyes are huge, taking in danger on the screen: lions and tigers are escaping from the demolished train! Above and behind him, the projector's beam's colors cross, dance in the thick, cigarette-smoke-filled air. The beam's colors blend and merge into...</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - THE FABELMAN CAR DRIVING THROUGH HADDON HEIGHTS,</stage_direction>
<scene_description>NEW JERSEY</scene_description>
</scene>
<scene>
<stage_direction>.. the colors of Christmas lights festooning every house on the street. Sammy's in the car's front seat between his parents, visibly stricken with fear.</stage_direction>
<character>MITZI</character>
<dialogue>What was your favorite part?</dialogue>
<scene_description>Sammy's too scared to talk.</scene_description>
<character>MITZI</character>
<dialogue>Sammy! What do you want for Hanukkah?</dialogue>
<scene_description>Sammy doesn't answer. Mitzi looks at Burt.</scene_description>
<character>BURT</character>
<dialogue>I told you this wasn't a good idea, what with all his a-n-x-i-e-t-i-e- s.</dialogue>
<character>MITZI</character>
<dialogue>Kids his age have big i-m-a-g-i-n-a- t-i-o-n-s.</dialogue>
<character>SAMMY</character>
<dialogue>No fair spelling out the long words!</dialogue>
<scene_description>Burt turns onto Crystal Terrace Avenue, resplendent with Christmas lights. He squints.</scene_description>
<character>BURT</character>
<dialogue>The lights change how everything looks. It's hard to find our house.</dialogue>
<character>SAMMY</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Ours is the dark house with no lights.</dialogue>
<scene_description>Mitzi laughs.</scene_description>
<character>SAMMY</character>
<dialogue>That's what I want for Hanukkah.</dialogue>
<character>MITZI</character>
<dialogue>What?</dialogue>
<character>SAMMY</character>
<dialogue>Christmas Lights.</dialogue>
<scene_description>Mitzi laughs again. Burt shakes his head.</scene_description>
<character>MITZI</character>
<dialogue>Sorry Dolly, Jews don't get Christmas lights.</dialogue>
<character>BURT</character>
<dialogue>Eight nights of candlelight.</dialogue>
<parenthetical>(singing the penultimate line, setting her up:)</parenthetical>
<dialogue>"Who could ask for anything more..."</dialogue>
<scene_description>As the car pulls into the driveway of the neighborhood's only dark house.</scene_description>
<character>MITZI</character>
<parenthetical>(big finish:)</parenthetical>
<dialogue>"Who could ask for anything more!!"</dialogue>
<scene_description>Burt leans over Sammy and gives Mitzi a big romantic kiss. Sammy watches, delighted and horrified. Then:</scene_description>
<character>SAMMY</character>
<dialogue>Can I sleep with the oscilloscope?</dialogue>
<scene_description>CUT TO: CU on Burt's oscilloscope, its sign wave waving, filling Sammy's darkened bedroom with an eerie a pulsating green glow that's having a narcotizing effect on Sammy, in bed, fighting but succumbing to sleep. His eyes flutter and close. CUT BACK TO: CU on the oscilloscope's round screen. Superimposed over its fluctuating green sign wave: A wild jumble of sounds from The Greatest Show On Earth. The tempo of the oscilloscope's wave fluctuations increase, getting frantic at the sound of the car being driven onto the train tracks, the driver shouting frantically. Suddenly flashing to the image as the train flips the car and collides with the other train:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FABLEMAN HOUSE, HADDON HEIGHTS - HALL - NIGHT</stage_direction>
<character>SAMMY (O.S.)</character>
<dialogue>MOOOOOOMMMMMMMYYY!! MOMMMMYYYY!</dialogue>
<scene_description>Mitzi in her nightgown rushes to Sammy's room, still half asleep.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM - NIGHT</stage_direction>
<scene_description>She swings open the door to find Sammy jumping on his bed.</scene_description>
<character>SAMMY</character>
<dialogue>I know what I want for Hanukkah! I know what I want for Hanukkah!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN HOUSE, HADDON HEIGHTS - NIGHT</stage_direction>
<scene_description>A Hanukkiach with one candle; the shamos candle, held by REGGIE, Sammy's 4 year old sister, is brought slowly, carefully to light it.</scene_description>
<character>FABELMAN FAMILY</character>
<dialogue>\[Hebrew prayer TBD\]</dialogue>
<scene_description>The entire family shares in the prayer, including both of Sammy's younger sisters and both grandmothers: maternal grandmother TINA SCHILDKRAUT, 63, beaming with joy and love; and paternal grandmother HADASSAH FABELMAN, 66, a tall, formidable Ukranian. They finish with a collective joyous "HANNUKAH!" as the sisters excitedly grab their presents and tear into them.</scene_description>
<character>REGGIE</character>
<dialogue>Thank you!</dialogue>
<scene_description>Burt quietly hands Sammy his own gift.</scene_description>
<character>BURT</character>
<dialogue>Sammy...</dialogue>
<scene_description>Sammy's fingers tear open his gift: Lionel electric train tracks!</scene_description>
</scene>
<scene>
<stage_direction>INT. FABELMAN HOUSE - LIVING ROOM - LATER</stage_direction>
<scene_description>A big piano fanfare, with Mitzi at the keys as the family sings together. Hadassah is knitting small squares, which she'll stitch together someday to make an afghan. Burt films with a wind-up Kodak Brownie 8mm camera; bright lights on a stand overexpose the room, all around which are TV sets Burt's repairing. Burt closes in on Mitzi as she sings:</scene_description>
<character>MITZI</character>
<dialogue>Down by the station, early in the morning, See the little pufferbellies all in a row, See the station master pull the little handle!</dialogue>
<character>EVERYONE</character>
<dialogue>PUFF PUFF TOOT TOOT OFF THEY GO!</dialogue>
<scene_description>Mitzi's playing continues through: CUT TO: On each Hanukkah night, another candle, and Sammy opens another present. On the second night, a caboose; on the third night, a passenger car; night 4) a boxcar; 5) another passenger car; 6) a crossing gate; 7) a transformer; and finally, 8), the coal car and engine!</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN GARAGE - NIGHT</stage_direction>
<scene_description>The garage is Burt's work-station: TV sets undergoing repairs; on a workbench, tools and ham radio equipment. Burt hunkers down next to Sammy and places the locomotive in front of the other cars on the completed tracks, mounted on a green-painted plywood board.</scene_description>
<character>BURT</character>
<dialogue>...so the outside grounds, the middle conducts the power, and these two metal wheels under the engine complete the circuit.</dialogue>
<scene_description>The two grandmothers and Mitzi enter as Burt carefully connects the engine to the train.</scene_description>
<character>HADASSAH</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>So nu, Mr. Engineer, RCA gave you a raise? That is one expensive trolley car.</dialogue>
<character>SAMMY</character>
<dialogue>(indignant!)</dialogue>
<character>BURT</character>
<dialogue>No raises for the computer</dialogue>
<scene_description>It's not a trolley car it's a guys this year. Next year Lionel train! maybe.</scene_description>
<character>MITZI</character>
<dialogue>Your moonlighting son is paying for it by filling up my house with broken TVs. Repair work. That's how.</dialogue>
<scene_description>Sammy moves to the transformer, sending Hadassah lunging for Burt.</scene_description>
<character>HADASSAH</character>
<dialogue>Oy! Careful he doesn't electrocute himself.</dialogue>
<scene_description>Sammy looks at Burt, momentary alarmed. Tina gets down on the floor with Sammy as Burt says to Hadassah:</scene_description>
<character>BURT</character>
<dialogue>Ne pugay mal'chika. (Don't scare the boy.)</dialogue>
<character>TINA</character>
<dialogue>Hold on, you're not taking that fancy train to Florida</dialogue>
<scene_description>(to Sammy) \* without me!! You're okay. \*</scene_description>
<character>HADASSAH</character>
<dialogue>She's down on the floor. Who's gonna help her up?</dialogue>
<character>TINA</character>
<dialogue>Who says I'm getting up! I'm going to Miami on the Sammy Limited!!</dialogue>
<parenthetical>(to Sammy)</parenthetical>
<dialogue>Go 'head.</dialogue>
<scene_description>Reassured, Sammy turns the transformer knob. The train moves. Everyone claps, oohs and aahs. Reggie and Natalie rush in, thrilled by the spectacle. Sammy kneels to bring himself eye level to the tracks. From his new perspective, the approaching train looks life-size, getting bigger as it races towards him. In his mind, the clickety-clack of a toy train is replaced by the deafening roar of a steam locomotive. When the train reaches him, Sammy flinches, breaking the illusion - which fascinates him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FABELMAN HOUSE - NIGHT</stage_direction>
<scene_description>Surrounded by houses ablaze with Christmas lights, the Fabelman house is the black hole of Crystal Terrace Avenue.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GARAGE - NIGHT</stage_direction>
<scene_description>Sammy's hand places a toy convertible car on the tracks, facing the train. He wedges a small wooden figure of Noah in the driver's seat. Flashlight in hand, Sammy's turns the transformer dial. The train starts to move towards the car, which Sammy's hand is moving towards the train; then we see Sammy's face, level with the plywood, trying to get the correct perspective. The locomotive picks up speed. CU of smokestack pumping smoke. The toy car barrels toward the train. CU of Noah's face, caught in the train's headlight. Sammy holds his breath, watching the train and car heading at one another; the sound is again in Sammy's head, VERY LOUD AND REAL! Then... CRASH!!!! The car hits the train! In SLOW MOTION, it does exactly what it's supposed to do: It flips up and over the train, just like in the movie! Noah flies out of the car! Sammy in the background traces with his eyes Noah's arc through the air, and then... At normal speed, Sammy snaps his gaze to the train, rushing straight at Noah's model Ark, placed on the tracks, tilted to make sure it'll be derailed when... CRASH AGAIN!!! In SLOW MOTION, the train slams into the ark! The cars accordion into V-shaped towers as the ark topples heavily onto its side, its roof popping off and its animals, dozens of pairs, tumble and scatter across the floor. Sammy, startled, pulls away from the tracks, jarring Burt's work table, causing a shelf of tools near the edge of the table to fall to the cement floor, making a mighty racket.</scene_description>
</scene>
<scene>
<stage_direction>INT. BURT AND MITZI'S BEDROOM - NIGHT</stage_direction>
<scene_description>The sound of the falling tools startle Burt and Mitzi out of deep sleep. They sit up in bed.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Sammy is in bed, Mitzi tucking him in. He's watching Burt, who sits on the edge of the bed, carefully straightening a bent coupler on one of the train's cars with a needle-nose pliers.</scene_description>
<character>BURT</character>
<dialogue>They're precisely engineered toys. You can play with them when you've learned to treat them with respect.</dialogue>
<character>SAMMY</character>
<dialogue>I do respect them! I love them!</dialogue>
<character>BURT</character>
<dialogue>I know you do, but you can't just love something, you also have to take care of it, right?</dialogue>
<scene_description>He rises, but pauses in the doorway.</scene_description>
<character>BURT</character>
<dialogue>Maybe we can play together with them this weekend.</dialogue>
<scene_description>He leaves with the mended train car.</scene_description>
<character>SAMMY</character>
<parenthetical>(turning to his mom:)</parenthetical>
<dialogue>But I need to see them crash.</dialogue>
<scene_description>Mitzi looks at him, understanding something.</scene_description>
</scene>
<scene>
<stage_direction>14A INT. AND BURT'S BEDROOM - NIGHT 14A</stage_direction>
<scene_description>Mitzi and Burt are back in bed. Burt is still working on the train's coupling. Mitzi is reading and marking the piano score for the Goldberg Variations.</scene_description>
<character>BURT</character>
<dialogue>I don't understand. Why does he need to see them crash?</dialogue>
<scene_description>He looks at Mitzi. She shrugs, studying her score. Burt goes back to the train, then he shows Mitzi: The two train cars couple. She cheers quietly. Burt puts the cars on the nightstand. He's about to take off his glasses and settle down to sleep when he stops because she's still reading her score.</scene_description>
<character>BURT</character>
<dialogue>It's late. You don't wanna shut your light?</dialogue>
<character>MITZI</character>
<dialogue>In a minute, I'm still wide awake.</dialogue>
<parenthetical>(showing him the score, open to Variation #21:)</parenthetical>
<dialogue>See these descending notes? That's called a lament bass.</dialogue>
<parenthetical>(singing the opening notes, tapping each with her blue pencil:)</parenthetical>
<dialogue>Ya da da dee dah dah dah dah...</dialogue>
<character>BURT</character>
<dialogue>You should play it on the radio. On that arts program, they keep asking you to come back.</dialogue>
<character>MITZI</character>
<dialogue>I don't have the time for that.</dialogue>
<character>BURT</character>
<dialogue>We can hire a sitter.</dialogue>
<character>MITZI</character>
<dialogue>Who can afford that? Forget it. That was another life, that was two kids ago.</dialogue>
<scene_description>Burt switches off his light. She looks up from the score.</scene_description>
<character>MITZI</character>
<dialogue>Know what I miss most about the piano? Surrendering to the score, knowing Bach is gonna tell you how:</dialogue>
<scene_description>First this note then this chord then you open your hand, you stretch down an octave, and... (she sings the notes of the lament bass, playing them with her fingers) Making a little world you can be safe and happy in. Burt kisses Mitzi's hand and lies back. She takes off his glasses and he smiles with his eyes closed.</scene_description>
<character>BURT</character>
<dialogue>Thank you...</dialogue>
<scene_description>Mitzi places them on the nightstand, next to the train cars. Mitzi stares at the glasses and the trains.</scene_description>
<character>MITZI</character>
<dialogue>That's why he needs to watch them crash. He's trying to get some kind of...control over it.</dialogue>
<scene_description>Mitzi's eyes stay on the train cars. An idea is forming.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GARAGE OF THE FABELMAN HOUSE - AFTERNOON</stage_direction>
<scene_description>Reflected in the broken TV screens, Sammy sets up his shot, placing the train, the toy car driven by Noah and the tilted ark on the tracks. Mitzi enters with Burt's movie camera. She smiles at him, his complete absorption in the task.</scene_description>
<character>MITZI</character>
<dialogue>Sammy? We're going to use Daddy's camera to film it. Only crash the train once, OK? Then after we get the film developed, you can watch it crash over and over till it's not so scary anymore. And your real train won't ever get broken.</dialogue>
<scene_description>Sammy rises eagerly to take the camera, but Mitzi holds onto it as she kneels before him.</scene_description>
<character>MITZI</character>
<dialogue>One other thing, Dolly... Let's not tell your father. It'll be our secret movie, just yours and mine.</dialogue>
<parenthetical>(with a wink:)</parenthetical>
<dialogue>Okay?</dialogue>
<character>SAMMY</character>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN HOUSE - EVENING</stage_direction>
<scene_description>Burt bursts through the front door carrying a TV set. As he heads to the kitchen:</scene_description>
<character>BURT</character>
<dialogue>Sorry I'm late! I picked up Mrs. Moynahan's Motorola. There's no room left in the workshop. Where should I put it?</dialogue>
<character>MITZI</character>
<dialogue>The living room, I guess.</dialogue>
<scene_description>Burt staggers away with the TV set. Right behind him, Hadassah, struggling to get free, clutching her huge knitting bag, is being carried in by BENNIE LOEWY, 35, Burt's work associate and friend, working-class, balding, heavyset, cherubic face, sweet smile, mischievous twinkle.</scene_description>
<character>BENNIE</character>
<parenthetical>(calling into the kitchen:)</parenthetical>
<dialogue>Hey, sorry I'm late, I picked up Mrs. Fabelman. Where should I put her?</dialogue>
<character>HADASSAH</character>
<dialogue>Otpusti menya, kayzol, tebe shto, nyeh stiidno?!</dialogue>
<parenthetical>(Put me down you big goatish lump, you should be ashamed!)</parenthetical>
<dialogue>Hadassah grabs Bennie's ear and twists, HARD, forcing him to put her down.</dialogue>
<character>BENNIE</character>
<dialogue>OWWWW!!!! OW OW OW!</dialogue>
<scene_description>Sammy rushes through the door, past the pair, and straight to the kitchen, where Mitzi's got a huge meal going: pots on the stove, a brisket and a casserole in the oven. She's turning the crank of a large metal grinder, making chopped chicken liver.</scene_description>
<character>SAMMY</character>
<dialogue>Did the mail come?!?</dialogue>
<character>MITZI</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>It's on the table.</dialogue>
<scene_description>Sammy runs to the dining table and rifles through the mail. Hadassah finally extricates herself from Bennie.</scene_description>
<character>HADASSAH</character>
<dialogue>Cossack.</dialogue>
<scene_description>She enters the kitchen with a bag of knitting supplies. After a brief, silent stare down with Mitzi, she crosses to open the oven.</scene_description>
<character>HADASSAH</character>
<dialogue>This is brisket?</dialogue>
<scene_description>In the dining room, Sammy happily snatches a box of processed Kodak film from Bennie.</scene_description>
<character>SAMMY</character>
<dialogue>MY MOVIE!</dialogue>
<character>MITZI</character>
<dialogue>Ah ah ah! After supper.</dialogue>
<scene_description>She plucks the film from his hands and puts the film box in her apron pocket. CUT TO: Burt, Bennie, Mitzi, Reggie, Sammy, Natalie and Hadassah, still visiting, are eating Mitzi's superabundant shabbos meal. The plates, the tablecloth, the napkins are paper; the flatware and cups are plastic. Bennie is seated between Natalie and Burt. Two candles are burning and there's a challah:</scene_description>
<character>BURT</character>
<dialogue>The amount of magnetism is increased by how magnetically permeable the core material is. The tricky thing is how permeable -</dialogue>
<character>BENNIE</character>
<dialogue>Right, though eddy currents can cause energy loss, it's -</dialogue>
<character>MITZI</character>
<dialogue>Am I supposed to be following any of this?</dialogue>
<character>BURT</character>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>You know what a magnetic field is, right?</dialogue>
<character>MITZI</character>
<dialogue>Well, sure, I mean - Sammy, do you know what a magnetic field is?</dialogue>
<character>SAMMY</character>
<dialogue>Can I be excused?</dialogue>
<character>BURT</character>
<dialogue>Nope.</dialogue>
<character>SAMMY</character>
<dialogue>But I need to, just for a minute?!</dialogue>
<character>BURT</character>
<dialogue>What's so urgent?</dialogue>
<character>HADASSAH</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Honey. This tastes funny, Burt. It tastes funny on a plastic fork.</dialogue>
<character>BURT</character>
<dialogue>Mom...</dialogue>
<character>HADASSAH</character>
<dialogue>Is she saving the silverware for when the Eisenhowers drop by?</dialogue>
<character>BURT</character>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>The problem is we're using vacuum tubes, not transistors, and magnetic cores to access -</dialogue>
<character>BENNIE</character>
<dialogue>35,000 magnetic cores!</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Hey, Sam, you know how on your father's camera, when the film runs out?</dialogue>
<scene_description>Sammy is instantly interested.</scene_description>
<character>BENNIE</character>
<dialogue>When that happens what do you do?</dialogue>
<character>SAMMY</character>
<parenthetical>(With authority, even a little condescension because it's so obvious:)</parenthetical>
<dialogue>Load more film?</dialogue>
<character>BENNIE</character>
<dialogue>The same with computers, you have to load more tape, and that slows everything down.</dialogue>
<character>BENNIE (CONT'D) \*</character>
<dialogue>But we've figured out how to \* take a whole bunch of tapes loaded with data -</dialogue>
<character>BURT</character>
<dialogue>Mitts, the chopped liver was beyond belief.</dialogue>
<scene_description>Mitzi shushes Burt with a gesture, focused on Bennie.</scene_description>
<character>BENNIE</character>
<dialogue>- and instead of changing tapes every ten seconds, this new machine he's engineering -</dialogue>
<scene_description>He points to Reggie, who eagerly leaps up for her cue.</scene_description>
<character>REGGIE</character>
<dialogue>The BIZMAC!</dialogue>
<character>BENNIE</character>
<dialogue>The Bizmac! It can search for information through all these tapes at once. You never need to change any of 'em! It'll be ten times faster!</dialogue>
<scene_description>Mitzi takes Burt's hand and says to Bennie:</scene_description>
<character>MITZI</character>
<dialogue>I love Burt's brain, especially when you're around to explain what's in it.</dialogue>
<scene_description>Hadassah looks up from her plate, fixing Mitzi, then Bennie with a look.</scene_description>
<character>SAMMY</character>
<dialogue>Mom!! I have to go upstairs now!</dialogue>
<character>BURT</character>
<dialogue>Not until you've finish eating.</dialogue>
<character>MITZI</character>
<dialogue>He cleaned his plate.</dialogue>
<character>NATALIE</character>
<dialogue>No he didn't!</dialogue>
<scene_description>Natalie picks up Sammy's plate, revealing that he's hidden almost all his food in a semi-circle under the rim.</scene_description>
<character>BURT</character>
<dialogue>Sammy.</dialogue>
<scene_description>Burt's about to scold Sammy, who's staring daggers at Natalie, when Bennie jumps in.</scene_description>
<character>BENNIE</character>
<dialogue>Hey Natalie, I think there's something under your plate!</dialogue>
<character>NATALIE</character>
<dialogue>No there isn't!</dialogue>
<scene_description>Mitzi quietly crooks a finger to summon her son.</scene_description>
<character>MITZI</character>
<dialogue>Sammy.</dialogue>
<character>BENNIE</character>
<parenthetical>(to Natalie)</parenthetical>
<dialogue>Lift it up and check! I saw it moving.</dialogue>
<scene_description>Natalie lifts her plate. There's a big black spider underneath. She screams!! Bennie snatches the spider and pops it in his mouth and chews. Natalie screams again, and Reggie joins her. While the girls scream at Bennie's anties, Mitzi takes the film from her apron pocket and slips it to Sammy, who runs out. Bennie chews; grinning, mouth full, he says, a la Spencer Tracy in Adam's Rib:</scene_description>
<character>BENNIE</character>
<dialogue>Licorice! If there's anything I'm a sucker for it's licorice.</dialogue>
<scene_description>Everyone bursts out laughing.</scene_description>
<character>NATALIE</character>
<dialogue>Uncle Bennie, that was sooooo disgusting!! So gross!</dialogue>
<character>HADASSAH</character>
<dialogue>Natalie! He is not your uncle.</dialogue>
<parenthetical>(to Mitzi, pointedly:)</parenthetical>
<dialogue>Also he is not that funny.</dialogue>
<character>MITZI</character>
<parenthetical>(as she tries to get control of her laughing:)</parenthetical>
<dialogue>Uncle is a term of affection.</dialogue>
<scene_description>Hadassah grunts, then resumes eating. Mitzi, still giggling, starts clearing the food, leaving the paper- and plastic-ware on the table.</scene_description>
<character>HADASSAH</character>
<dialogue>Natalie, he's not related. He's only always here because he works for my son.</dialogue>
<character>BURT</character>
<dialogue>He's only always here because he's my best friend.</dialogue>
<character>BENNIE</character>
<dialogue>And deep down inside you, Mrs. Fabelman, admit it: I'm your friend too.</dialogue>
<character>HADASSAH</character>
<dialogue>Deep down inside of me is none of your business.</dialogue>
<scene_description>Hadassah goes back to eating.</scene_description>
<character>MITZI</character>
<dialogue>Sid Caesar's on at 8!</dialogue>
<parenthetical>(to Reggie and Natalie:)</parenthetical>
<dialogue>Help me.</dialogue>
<scene_description>Hadassah knows what's coming; she lifts up her plate and keeps eating. Meanwhile the girls jump up and grab two ends of the paper tablecloth, while Mitzi grabs an end, then gestures to Bennie to do likewise. He does.</scene_description>
<character>BURT</character>
<dialogue>Natalie, get that corner.</dialogue>
<character>BENNIE</character>
<dialogue>Get the corner! Get the corner!!</dialogue>
<character>REGGIE</character>
<dialogue>Can I help you take it out?</dialogue>
<scene_description>The girls, Mitzi and Bennie bring the four ends of the tablecloth together, enfolding the plates, cups, plasticware within.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM CLOSET, HADDON HEIGHTS - EVENING</stage_direction>
<scene_description>CU the Kodak film spooling through the projector, light streaming through the lens, and played out on the "screen" of Sammy's palms, the footage of the Lionel train wreck. Sammy watches wide-eyed.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM, HADDON HEIGHTS - SAME</stage_direction>
<scene_description>Mitzi enters. The room's dark. Sammy is nowhere in sight. She hears a whirring noise, sees the closet, the door of which is closed. From under the closet door, a bluish flickering light. Mitzi knocks gently.</scene_description>
<character>MITZI</character>
<dialogue>Sammy?</dialogue>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM CLOSET, HADDON HEIGHTS - EVENING</stage_direction>
<scene_description>The door opens. Without a word, Sammy reaches up and takes Mitzi's hand, pulling her in. She smiles, confused.</scene_description>
<character>MITZI</character>
<dialogue>What?</dialogue>
<scene_description>Moments later, ensconced in darkness, Sammy, seated on the floor by Mitzi, turns on the projector. On the closet wall ahead of them, an 8"X10" rectangle of light appears, and Sammy's train crash movie starts to play. First the train, rounding the bend and passing the camera. Then there's a flash of light. Then we see the Ark on the tracks with the car in front of it. Sammy's fingers make Noah climb into the car. Another flash. The train is coming right at the lens, its light getting brighter and brighter. Then another flash. Mitzi is unable to take her eyes off the film. The car, driven by Noah, is coming right at the lens of the camera. Another flash of light, then a side angle as the train smashes into the car. The car flips up and Noah goes flying! Another flash, then the camera itself is speeding towards the ark! Another flash, and the train is heading straight at the lens! It collides into the camera! Mitzi gasps! Sammy takes her arm and watches her closely, seeking her approval. Another flash of light, then Mitzi, spellbound, watches the train crash into the ark, the trains accordion and uncouple; another flash and the ark falls over and the animals inside fly out towards the camera. Mitzi gasps again.</scene_description>
<character>SAMMY</character>
<dialogue>I had to crash it a whole lot of times but the train never got hurt.</dialogue>
<scene_description>The end of the film flaps past the gate. The projector lights up the whole closet. Mitzi stares at Sammy.</scene_description>
<character>MITZI</character>
<dialogue>Oh Dolly! That was the greatest show on earth!</dialogue>
<scene_description>Sammy looks back at her, an oddly serious expression on his face.</scene_description>
<character>MITZI</character>
<dialogue>More! More! More! More! More!</dialogue>
<scene_description>Sammy grins hugely.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM - AFTERNOON</stage_direction>
<scene_description>Reggie steps into frame in a dentist smock made of one of Burt's shirts on backwards, Mitzi's makeup mirror taped to her forehead, in Groucho glasses, a fat bubblegum cigar in her teeth. Natalie is her patient in a folding chair, feet up on a stack of Encyclopedias, a napkin tucked into her collar. Sammy grabs her chin and adjusts her position.</scene_description>
<character>SAMMY</character>
<dialogue>Head back. Open. Candy corn in.</dialogue>
<character>NATALIE</character>
<dialogue>Ahhhhh.</dialogue>
<scene_description>Reggie shoves a spoonful of candy corn into Natalie's mouth. Sammy loads another spoon with ketchup. Reggie hops in giddy anticipation, a piece of candy corn already loaded in her pliers.</scene_description>
<character>SAMMY</character>
<parenthetical>(to Natalie:)</parenthetical>
<dialogue>Say "ah". Head back. Ketchup. 'Kay... Scream like it hurts.</dialogue>
<scene_description>He grabs the camera and starts filming as Reggie shoves a pair of pliers in Natalie's open mouth to yank her "tooth".</scene_description>
<character>SAMMY</character>
<dialogue>Pull it!</dialogue>
</scene>
<scene>
<stage_direction>A20 INT. THE LIVING ROOM - AFTERNOON A20</stage_direction>
<scene_description>Mitzi, seated at the upright piano, opens a book of The Goldberg Variations. She finds the one she's looking for, positions her hands above the keys, readies herself and, just as she's about to play: she's nearly knocked off the bench by Natalie SCREAMING A BLOOD-CURDLING SCREAM upstairs!!</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM - AFTERNOON</stage_direction>
<scene_description>The door flies and Mitzi charges in, agog with terror, just as Natalie spews a gory spray of candy corn teeth and ketchup- blood all over Reggie's dentist's smock. All while Sammy films. Mitzi is equally shocked and amused.</scene_description>
<character>MITZI</character>
<dialogue>Sammy!</dialogue>
</scene>
<scene>
<stage_direction>INT. NATALIE AND REGGIE'S BEDROOM - NIGHT</stage_direction>
<scene_description>A giggling Reggie lies on the floor, wrapped in strips of torn-up bedsheet from the neck down. Sammy wraps her face and hands in toilet paper, which Natalie feeds to him from an immense pile of unspooled toilet paper. Sammy soaks Reggie's tissue-wrapped face and hands with a squirt gun, producing the effect of hideously wrinkled flesh that, to Sammy' s evident satisfaction, resembles Boris Karloff's in The Mummy! Reggie opens her eyes, raises her arms, stiff and perpendicular, and growls, teeth bared:</scene_description>
<character>REGGIE</character>
<dialogue>GRRRRRRR!!!</dialogue>
<scene_description>Standing on the bed, an already "mummified" Natalie howls with her sister. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MITZI AND BURT'S BATHROOM - AFTERNOON</stage_direction>
<scene_description>Mitzi reaches to get some toilet paper. The roll is empty. She reaches behind her head for the spare and finds another empty roll. CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>22A INT. FABELMAN KITCHEN - SAME 22A</stage_direction>
<scene_description>Dramatically backlit by a big flashlight, Mummified Reggie and Natalie, arms raised and growling ferociously, lurch towards Sammy's camera. He moves backwards, several steps ahead of them, moving his camera side-to-side to augment The Mummies' lurching.</scene_description>
</scene>
<scene>
<stage_direction>INT. MITZI AND BURT'S BATHROOM - AFTERNOON</stage_direction>
<scene_description>Mitzi looks to the shelf above the toilet and finds a multitude of empty cardboard toilet-paper tubes.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM - AFTERNOON</stage_direction>
<scene_description>Reggie and Natalie are blindfolded with handkerchiefs as Sammy guides them into his room, darkened by drapes. He stands them before his open closet. Inside, a bright light shines out from a spinning color wheel, seated next to Sammy's camera. He gets into the closet, grabbing the camera and a rope.</scene_description>
<character>SAMMY</character>
<dialogue>Take off the blindfolds.</dialogue>
<scene_description>As the girls remove the handkerchiefs, Sammy pulls the rope, causing a ghoulish model skeleton to come lunging out from between the hanging clothes. Reggie and Natalie SCREAM!</scene_description>
</scene>
<scene>
<stage_direction>INT. FABELMAN HOUSE - AFTERNOON</stage_direction>
<scene_description>Mitzi comes to the bottom of the stairs, one hand holding a baby bottle, the other supporting new baby LISA, 5 months old, on her hip. She calls upstairs. SCREEN TITLE: THE FOLLOWING YEAR</scene_description>
<character>MITZI</character>
<dialogue>SAMMMMMY!!!</dialogue>
<parenthetical>(a beat, then:)</parenthetical>
<character>REGGIE!!! NATALIE!!! COME</character>
<dialogue>DOWNSTAIRS PRONTO!! YOUR FATHER HAS</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FABELMAN LIVING ROOM - SAME</stage_direction>
<scene_description>The kids are seated on the sofa in the living room. Mitzi sits with them, feeding baby LISA, 5 months old, from a bottle. Burt stands, a nervous grin on his face. Behind him, TV sets waiting to be repaired.</scene_description>
<character>BURT</character>
<dialogue>General Electric wants to hire me, because of what I did on Bizmac.</dialogue>
<scene_description>The kids - Sammy, now 8, Natalie, now 5, and Reggie, now 6 - listen raptly.</scene_description>
<character>BURT</character>
<dialogue>They want to use my electronic library system to - I don't think they have any notion what I can do with it! And I'll make more money!</dialogue>
<character>REGGIE</character>
<dialogue>Is uncle Bennie coming too?</dialogue>
<character>MITZI</character>
<dialogue>Well, Daddy and me hadn't had a chance to -</dialogue>
<character>BURT</character>
<dialogue>(surprised, bemused:) Bennie? No, he lives here -</dialogue>
<character>MITZI</character>
<dialogue>Burt?</dialogue>
<scene_description>Taken by surprise, maybe even a little nettled, Burt looks at Mitzi, waiting for an answer. Realizing he needs to address the issue:</scene_description>
<character>BURT</character>
<dialogue>Uh... I'll miss your Uncle Bennie, too.</dialogue>
<scene_description>Then, as if nothing's happened, he resumes with the kids:</scene_description>
<character>BURT</character>
<dialogue>But Phoenix is a real neat city. It's on the rise!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN HOUSE - AFTERNOON</stage_direction>
<scene_description>BANG! The door of Mitzi and Burt's bedroom flies open and Mitzi storms out. As Mitzi descends the stairs, Burt follows her, arguing:</scene_description>
<character>BURT</character>
<dialogue>They only just hired me, I've got no pull there yet. I can't ask General Electric to hire somebody else on my say-so, that's not how it works.</dialogue>
<character>MITZI</character>
<dialogue>Don't ask them, do it yourself. They're hiring you to manage. Managers hire. Hire Bennie.</dialogue>
<scene_description>Mitzi reaches the first floor. She sees baby Lisa neglected in her bassinet. Sammy and his sisters are gathered at the front window.</scene_description>
<character>MITZI</character>
<dialogue>Who's watching --? Sammy!</dialogue>
<scene_description>Mitzi pulls the now-crying Lisa into her arms as Burt continues to plead his case.</scene_description>
<character>BURT</character>
<dialogue>He's gotta make a name for himself at RCA, that's what I did. He'll stay in New Jersey, get out from under my shadow, and then he can -</dialogue>
<character>MITZI</character>
<dialogue>He needs you, Burt. He's -</dialogue>
<character>SAMMY (O.S.)</character>
<dialogue>There's a tornado outside!!</dialogue>
<character>MITZI</character>
<dialogue>Yeah? Well, there's a bigger one in here!</dialogue>
<parenthetical>(turning on Burt:)</parenthetical>
<dialogue>Honestly, honestly Burt sometimes I wanna shake you. You - You're gonna leave him behind with just a, a shrug?</dialogue>
<scene_description>Reggie grabs Mitzi's arm to pull her towards the window.</scene_description>
<character>MITZI</character>
<dialogue>See you later?! Once we're gone, who'll he have left in New Jersey? You have an opportunity to help your best friend! Honestly!! Wake up.</dialogue>
<character>KIDS</character>
<dialogue>Mommy! Mommy, look! Mom! Mommy! Look!</dialogue>
<scene_description>The kids' insistent cries finally snap Mitzi around to them. WHAT?</scene_description>
<character>NATALIE</character>
<dialogue>Look! There's a tornado outside! I'm scared!</dialogue>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE THE FABELMAN HOUSE - AFTERNOON</stage_direction>
<scene_description>Mitzi opens the front door and emerges with Lisa in her arms. It's wildly windy and very dark.</scene_description>
<character>MITZI</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Wow... Oh...</dialogue>
<scene_description>Mitzi, holding Lisa, stands in the street, looking at a funnel cloud forming, several miles away. The kids and Burt come out onto the front porch.</scene_description>
<character>MITZI</character>
<dialogue>You weren't kidding!</dialogue>
<character>REGGIE</character>
<dialogue>How close is it? Why does the sky look -</dialogue>
<scene_description>Mitzi, a little wild, hands Lisa to Burt. As the baby starts to fuss, she gathers the other kids.</scene_description>
<character>MITZI</character>
<dialogue>Come on! Come on, let's go see!</dialogue>
<scene_description>She hustles the kids into the car. Burt trails her across the yard, still holding Lisa, puzzled.</scene_description>
<character>BURT</character>
<dialogue>Mitts? Where are you going?! MITTS! Where are... Hey?!</dialogue>
<scene_description>Burt watches as the car starts, then begins to back up, faster than it should. Inside are the three kids, and Mitzi at the wheel. Burt walks towards the car.</scene_description>
<character>BURT</character>
<dialogue>WHERE ARE YOU GOING?!</dialogue>
<scene_description>The car tears off, leaving Burt and Lisa behind in the cul de sac.</scene_description>
<character>BURT</character>
</scene>
<scene>
<stage_direction>INT./EXT. THE STREETS OF HADDON HEIGHTS - AFTERNOON</stage_direction>
<scene_description>Sammy, Reggie, and Natalie lean forward from the back seat, craning to see through the front window. Outside, high winds, small branches from trees littering the street, and rain. Some cars pull over and Mitzi swerves around them, causing other drivers to honk.</scene_description>
<character>REGGIE</character>
<dialogue>Where is it, I can't see it anymore-</dialogue>
<character>MITZI</character>
<dialogue>Up ahead somewhere, we'll find it.</dialogue>
<character>SAMMY</character>
<parenthetical>(pointing)</parenthetical>
<dialogue>Mom, it's there! It's there!!</dialogue>
<scene_description>Up ahead, the funnel cloud reappears, moving from left to right. Cars have begun to pull to the right and left sides of the street. Mitzi accelerates and drives straight up the middle of the street, now empty of traffic. Sammy sees that the traffic lights are swinging wildly from side to side. A couple of telephone poles begin to rock back and forth.</scene_description>
<character>SAMMY</character>
<dialogue>Is this s-safe?</dialogue>
<character>MITZI</character>
<parenthetical>(laughing:)</parenthetical>
<dialogue>Of course it's safe! I'm your mother!</dialogue>
<scene_description>A transformer box on one of the poles blows with a bang and a shower of sparks. The children SCREAM.</scene_description>
<character>STOP!</character>
<dialogue>STOP!!</dialogue>
<scene_description>Mitzi slams on the brakes, pulling up short at an intersection. Rain pours down and the rising wind drives a fleet of abandoned shopping carts down the cross street. It's a sobering sight for Mitzi. The kids slump back, relieved. Mitzi seems to realize how irrational she is being. She puts her head on the wheel, calming herself.</scene_description>
<character>MITZI</character>
<parenthetical>(softly, hesitantly)</parenthetical>
<dialogue>Everything happens for a reason. Everything happens for a reason. Everything happens for a reason.</dialogue>
<parenthetical>(terrified, asking the kids for support:)</parenthetical>
<dialogue>Say it with me! Everything happens for a reason!</dialogue>
<character>SAMMY, REGGIE, NATALIE AND MITZI</character>
<dialogue>Everything happens for a reason!</dialogue>
<scene_description>As Mitzi and the girls repeat this, Sammy falls silent; he stares out the window, puzzled and apprehensive.</scene_description>
<character>REGGIE, NATALIE AND MITZI</character>
<dialogue>Everything happens for a reason!</dialogue>
<scene_description>Over this: The Sons Of The Pioneers recording of Tim Spencer's "By A Campfire On The Trail."</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ARIZONA DESERT - DAY</stage_direction>
<scene_description>The song continues over a Plymouth Electra station wagon driving past cactuses and tumbleweeds. SCREEN TITLE: ARIZONA In the rear window, Sammy is anxiously watching the desert, alert for signs of danger; in his hands, the 8MM camera.</scene_description>
<character>REGGIE (O.S.)</character>
<dialogue>I think there's something dead in the road.</dialogue>
<scene_description>Sammy snaps to attention as the car passes, on the side of the road, a dead armadillo, hugely swollen, flies buzzing around it. With grim satisfaction that his worst expectations of this hellish place have been confirmed, he raises the camera and films the roadkill. Then he films his fellow passengers.</scene_description>
<character>SAMMY</character>
<dialogue>Reggie, wave to the camera.</dialogue>
<scene_description>CUT TO: 8MM FILM, grainy, jumpy, overexposed. Reggie looks out the right rear passenger window; she turns to make a horrible face at the camera. Natalie pops up next to her, facing the camera; she brings her mouth right up to the camera's lens and breathes, fogging it up. Sammy's hand grabs her by the shirt, pulls her up to the lens and uses her shirt to wipe it clean. There's no sound, but Sammy's called to Burt, who waves, eyes on the road. Mitzi turns from the front passenger seat, and waves. The camera moves to the right-side seat behind Mitzi, occupied by: BENNIE! He waves, mouthing "Hi, Sammy", then raises his tiny Minox camera and takes a photograph of Sammy filming him. (END OF 8MM) CUT TO: Frankie's still singing. Camelback Mountain looms over sprawling suburb, which a "For Sale" sign on the lawn identifies as ORANGE BLOSSOM ESTATES. The station wagon starts to pull into the driveway of a one-story house.</scene_description>
<character>MITZI (O.S.)</character>
<dialogue>Ooo, look! There it is!</dialogue>
<character>BENNIE (O.S.)</character>
<dialogue>It is!</dialogue>
<scene_description>The kids CHEER.</scene_description>
<character>SAMMY (O.S.)</character>
<dialogue>Lemme out, I want to take a shot of you pulling in!</dialogue>
<character>NATALIE (O.S.)</character>
<dialogue>NO!! I HAVE TO PEE!! NO NO!!</dialogue>
<character>REGGIE (O.S.)</character>
<dialogue>Me too!</dialogue>
<scene_description>The car stops. Sammy jumps out, runs ahead. Reggie and Natalie stick their heads out the window.</scene_description>
<character>NATALIE AND REGGIE</character>
<dialogue>NO. I. HAVE. TO. PEE.</dialogue>
<scene_description>Sammy ignores them, frames his shot then gives Burt the go- ahead.</scene_description>
<character>SAMMY</character>
<dialogue>Keep coming... Keep coming, Dad. You're doing great.</dialogue>
<scene_description>Burt obediently pulls into the driveway. Sammy slowly raises his hand, ready to halt the car.</scene_description>
<character>SAMMY</character>
<dialogue>Aaaaaaaaaannnnndd...</dialogue>
<scene_description>When the lens of Sammy's camera completely fills the frame: TIME CUT TO: CU of SAMMY, NOW 14, yelling:</scene_description>
<character>STOP!!</character>
<dialogue>36</dialogue>
<character>FREEZE!!</character>
<dialogue>EXT. THE DESERT OUTSIDE PHOENIX - AFTERNOON</dialogue>
<scene_description>Three Boy Scouts freeze amid boulders: DEAN; TURKEY (real name Fred); and HARK, (real name Harold). All hold fine-mesh kitchen sieves, and Hark has a lunch box. Sammy, also in uniform, reaches behind a rock to find an angry scorpion that's backing up, its tail coiled. Sammy expertly lifts the scorpion by its tail.</scene_description>
<character>SAMMY</character>
<dialogue>Where's the lunchbox? Where's the lunchbox?! Hurry!</dialogue>
<character>DEAN</character>
<parenthetical>(calling to the others:)</parenthetical>
<character>WOW! GUYS, LOOK AT THE MONSTER</character>
<character>SAL (O.S.)</character>
<dialogue>I got some babies!!</dialogue>
<character>ROGER (O.S.)</character>
<dialogue>Sal found babies!! Sammy, Dean, c'mon!</dialogue>
<scene_description>Sammy and Dean race around some boulders to join their fellow Scouts. SAL (short for Salvador), shifts a massive rock as they arrive:</scene_description>
<character>SAL</character>
<dialogue>There's a huge nest right there! That's a big one, Sammy!</dialogue>
<scene_description>They join Sal on his knees. Everyone scoops up tiny scorpions in their sieves. Hark runs over so the scorpions can be dropped in the lunchbox, which Hark shakes to prevent them crawling up the sides.</scene_description>
<character>ROGER</character>
<dialogue>SCORPIONS COME IN NESTS!</dialogue>
<character>SAMMY</character>
<dialogue>ACTUALLY IT'S A BED OF SCORPIONS -</dialogue>
<scene_description>ROGER, a bespectacled Scout, pontificates from atop a nearby boulder.</scene_description>
<character>ROGER</character>
<dialogue>The baby scorpions are called scorplings. They're twice as venomous. That's - that's why the lab pays more.</dialogue>
<character>SAMMY</character>
<parenthetical>(shaking the box:)</parenthetical>
<dialogue>There's got to be like fifty of 'em!</dialogue>
<character>HARK</character>
<dialogue>Well how much is the laboratory gonna pay?</dialogue>
<character>SAMMY</character>
<dialogue>Fifty cents per baby!</dialogue>
<character>HARK</character>
<dialogue>That's twenty-five bucks!</dialogue>
<character>DEAN</character>
<dialogue>For real?</dialogue>
<character>ROGER</character>
<dialogue>Well, what're we gonna buy?</dialogue>
</scene>
<scene>
<stage_direction>INT. CAMERA STORE, PHOENIX - AFTERNOON</stage_direction>
<scene_description>CU on three boxes of Kodachrome II 8MM film being plunked down on the glass countertop.</scene_description>
<character>CLERK (O.C.)</character>
<dialogue>Twelve dollars even.</dialogue>
<scene_description>Sammy counts out the money and puts it on the counter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A STREET IN ORANGE GROVE ESTATES - AFTERNOON</stage_direction>
<scene_description>Sammy and his gang are on their bikes, riding down tree-lined streets and green lawns. Sammy has the bag with the film.</scene_description>
<character>HARK</character>
<dialogue>Well it's the Merit Badge for photography, not movies. Manual says you gotta tell a story with still pictures!</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, but all a movie is is still pictures. You just put a bunch of them together and they move.</dialogue>
<character>ROGER</character>
<dialogue>Yeah, but what kind of a movie are we making?</dialogue>
<scene_description>They see a group of GIRLS their age coming down the street.</scene_description>
<character>SAL</character>
<dialogue>Ooooh, Sammy, look, it's Janet Benedict!</dialogue>
<scene_description>Sammy stares at one of the girls, very pretty.</scene_description>
<character>TURKEY</character>
<dialogue>Hey, go on and talk to her, I dare you!</dialogue>
<character>HARK</character>
<dialogue>He already talked to her.</dialogue>
<character>TURKEY</character>
<dialogue>No way!</dialogue>
<character>DEAN</character>
<dialogue>Like hell.</dialogue>
<scene_description>Sammy pedals harder, head down, passing by the girls.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. A MOVIE THEATER IN PHOENIX - LATE AFTERNOON</stage_direction>
<scene_description>The boys jog up to the box office. In display cases on either side of the box office, the marquee one-sheets read: Together for the first time James Stewart John Wayne in the masterpiece of four time Academy Award winner John Ford: The Man Who Shot Liberty Valance</scene_description>
<character>HARK</character>
<dialogue>He did! He did! He walked right up to her and -</dialogue>
<character>SAL</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>You went up to Janet Benedict?!</dialogue>
<character>TURKEY</character>
<dialogue>What'd you say to her?</dialogue>
<character>SAMMY</character>
<dialogue>Nothing!</dialogue>
<character>HARK</character>
<dialogue>Oh come on, tell 'em what happened, Sammy!</dialogue>
<character>SAMMY</character>
<dialogue>Nothing happened.</dialogue>
<scene_description>Sammy heads into the theater. Hark turns to the others.</scene_description>
<character>HARK</character>
<dialogue>Something happened.</dialogue>
<scene_description>They follow Sammy inside. CUT TO: They boys are taking their seats in the already-darkened, semi-full theater of OLD PEOPLE watching the afternoon showing, already in progress. ON SCREEN STODDARD (Jimmy Stewart) dusts off an old stagecoach while a REPORTER observes.</scene_description>
<character>STODDARD (ON SCREEN)</character>
<dialogue>- the same one.</dialogue>
<parenthetical>(reading the coach sign)</parenthetical>
<dialogue>"Overland" - Hey, I think it is the same one.</dialogue>
<scene_description>IN THE THEATER The boys quickly find some seats. Hark plops down next to Sammy, still holding court.</scene_description>
<character>HARK</character>
<dialogue>So Sammy kinda side-winds his way in her direction -</dialogue>
<scene_description>Frustrated, Sammy huffs and climbs over the seats to the row in front of Hark to escape the story.</scene_description>
<character>HARK</character>
<dialogue>And he's trying, um - he's trying to work up the nerve to say something slick and smooth like "Hey Jan baby" but -</dialogue>
<character>SAMMY</character>
<dialogue>No I wasn't! You're making this up!</dialogue>
<character>HARK</character>
<dialogue>- but, but he sees that Janet's</dialogue>
<scene_description>got something on her nose, so now he's thinking "Cool! Here's my excuse to go up and talk to her!" so he goes and he says "Hey, uhhhhhhh, sorry, Janet? It looks like you have a little smudge on your nose?"</scene_description>
<character>SAMMY</character>
<dialogue>Shut up, Hark!</dialogue>
<character>HARK</character>
<dialogue>But it wasn't a smudge!</dialogue>
<character>SAMMY</character>
<dialogue>It looked like a smudge!</dialogue>
<character>HARK</character>
<dialogue>And it wasn't little!</dialogue>
<character>SAMMY</character>
<dialogue>SHUT UP!</dialogue>
<character>HARK</character>
<dialogue>It was a BOOGER!! A BIG FAT JANET BENEDICT BOOGER!</dialogue>
<scene_description>The boys crack up, except for Sammy, mortified. An OLD LADY hisses at them to be quiet. Sammy climbs over another seat to distance himself from the others, putting all his attention on the screen. ON SCREEN LIBERTY VALANCE'S (Lee Marvin) masked gang is holding up the stagecoach. Liberty fires his pistol to stop the horses. IN THE THEATER The other boys are still giggling about the booger; but Sammy is immediately riveted, swept up and away. Roger leans over the chair, whispers to Sammy.</scene_description>
<character>ROGER</character>
<dialogue>Hey, Sammy?</dialogue>
<scene_description>ON SCREEN A huge close-up of Liberty Valance, in his black cowboy hat and mask.</scene_description>
<character>LIBERTY (ON SCREEN)</character>
<dialogue>Stand and deliver!</dialogue>
<scene_description>IN THE THEATER</scene_description>
<character>ROGER</character>
<dialogue>What kind of movie are we gonna make?</dialogue>
<scene_description>MATCH CUT TO...</scene_description>
</scene>
<scene>
<stage_direction>INT. A STAGECOACH - NOON</stage_direction>
<scene_description>... Hark, black-hatted and masked like Liberty Valance, leaning in through the window of a stagecoach that shakes violently as if jouncing at high speed over a rutted road.</scene_description>
<character>HARK</character>
<dialogue>Stand and deliver!</dialogue>
<scene_description>Wisps of dust drifts in. REGGIE, now 13, in a homemade 19th century dress and bonnet, clutching a metal strongbox, and NATALIE, now 11, similarly attired, lean in from opposite sides of the frame facing camera; both girls scream! Suddenly another masked bandit (Turkey) thrusts his head into the window nearest the girls. The girls scream again! The bandits laugh maniacally.</scene_description>
<character>SAMMY (O.S.)</character>
<dialogue>No, keep screaming, keep screaming!</dialogue>
<scene_description>Natalie screams again, but Reggie starts coughing as another wisp of dust floats in.</scene_description>
<character>SAMMY (O.S.)</character>
<dialogue>I NEED MORE DUST!! DAD, CAN YOU</dialogue>
</scene>
<scene>
<stage_direction>EXT. PINNACLE PEAK PATIO RESTAURANT, OUTSIDE SCOTTSDALE -</stage_direction>
<scene_description>NOON Sammy sits on the hood of Burt's car, filming through the coach's window. Sal, dressed as a bandit, and Dean, in a white sheriff's costume, are on either side of the coach, shaking it violently.</scene_description>
<character>REGGIE</character>
<dialogue>NO!! NO, NO, NO MORE DUST!!</dialogue>
<character>SAMMY</character>
<dialogue>REGGIE STOP COUGHING!!</dialogue>
<scene_description>Burt drops the tray he was using and grabs a tall PARKING FOR CUSTOMERS ONLY sandwich board. He begins to wave it as best he can to blow the dust into the coach's window.</scene_description>
<character>REGGIE</character>
<dialogue>I'M COUGHING BECAUSE THERE'S</dialogue>
<character>BURT</character>
<dialogue>More dust, fellas!</dialogue>
<scene_description>DUST! NATALIE, SAY "PLEASE DON'T KILL ME!" REGGIE, STOP COUGHING, YOU'RE BEING DRAMATIC. IT'S BAD. The boys are scooping up dust from a trashcan and flinging as much as they can at the coach. The RESTAURANT OWNER, a heavyset Greek-American, walks up to Burt:</scene_description>
<character>REGGIE</character>
<dialogue>DON'T YOU WANT ME TO BE DRAMATIC?</dialogue>
<character>THE OWNER</character>
<dialogue>Mr. Fabelman! You're getting dirt inside my stagecoach!!</dialogue>
<character>SAMMY</character>
<dialogue>DON'T LOOK INTO THE CAMERA! GUYS, STOP LOOKING INTO THE CAMERA. I CAN'T USE ANY OF THIS.</dialogue>
<character>BURT</character>
<dialogue>Well, we'll clean it out.</dialogue>
<scene_description>DAD!</scene_description>
</scene>
<scene>
<stage_direction>INT. FABELMAN HOUSE - EVENING</stage_direction>
<scene_description>CU on the bare bulb of an unshaded lamp. Sammy slowly spools film from an 8mm reel, using the back light and a magnifying glass to examine the frames. He goes through the process of editing, cutting the film in a block, abrading the edge, applying cement and pressing the shots together in the block. The finished element is taped to a table alongside several other labeled cuts. OVER THIS: Mitzi's playing Friedrich Kuhlau's Piano Sonatina in A Minor, Op 88, No. 3: "Allegro burlesco," which syncs with the movie. Her piano playing continues through this.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM CLOSET, FABELMAN HOUSE - EVENING</stage_direction>
<scene_description>In the darkened closet, Sammy projects the film against the wall. 8MM FOOTAGE: The sheriff (Dean) and the bandits (Hark, Sal, and Turkey), shoot at each other from behind rocks, making "pow" sounds when they fire. Sammy stops the projector, then runs the film in reverse. Back and forth, over and over, fixating on the action of the gun barrels as they "fire". He pauses the projector and stares at the freeze frame of Dean, disgruntled, disgusted.</scene_description>
<character>SAMMY</character>
<dialogue>Fake. Totally fake.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM, THE FABELMAN HOUSE - NIGHT</stage_direction>
<scene_description>The whole family and Bennie sit in an arc of chairs, listening to Mitzi, in a beautiful flowing dress, make-up and high heels, playing expertly through the first movement, the Allegro of Beethoven's Piano Sonata No.1 in F Minor, Op. 2. Burt is rapt, deep inside the music, enormously proud of Mitzi's artistry. Bennie looks disgruntled. He whispers to Burt:</scene_description>
<character>BENNIE</character>
<dialogue>You hear it?</dialogue>
<scene_description>Burt, not wanting to be distracted, makes a discrete gesture: "Be quiet, I want to listen!" Bennie settles down then, after a few seconds, he whispers again:</scene_description>
<character>BENNIE</character>
<parenthetical>(whispering:)</parenthetical>
<dialogue>She has gotta cut those goddamn fingernails before she goes on live television.</dialogue>
<scene_description>Mitzi stops playing and turns to them, annoyed.</scene_description>
<character>MITZI</character>
<dialogue>I have to perform this tomorrow. It's a difficult piece. It's a very big deal for me. All I asked is for you to keep your big traps shut and listen to my dress rehearsal.</dialogue>
<character>BURT</character>
<dialogue>Sorry Mitts! It's wonderful!</dialogue>
<parenthetical>(to the kids:)</parenthetical>
<dialogue>You hear how the rising arpeggios lift up the sad notes? It's in F Minor but your mom makes it sound so alive.</dialogue>
<character>BENNIE</character>
<dialogue>She makes it sound like she's playing a typewriter.</dialogue>
<scene_description>Everyone laughs, even Mitzi.</scene_description>
<character>MITZI</character>
<dialogue>Oh not this again!</dialogue>
<character>BENNIE</character>
<parenthetical>(imitating a combo piano/typewriter:)</parenthetical>
<dialogue>Bah-dah-dee-dah-dee-dah-clickety- clack clickety clack!</dialogue>
<scene_description>The kids laugh. Burt smiles despite himself.</scene_description>
<character>MITZI</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Do you hear it? Am I clicking?</dialogue>
<character>BURT</character>
<dialogue>I concentrate on your playing, but -</dialogue>
<character>MITZI</character>
<dialogue>Oh great. But what?</dialogue>
<character>BENNIE</character>
<dialogue>But people can hear it in Tucson!</dialogue>
<character>BURT</character>
<dialogue>\* Maybe I've gotten used to it?</dialogue>
<character>REGGIE</character>
<dialogue>Maybe GE should make rubber tips for fingernails.</dialogue>
<scene_description>Bennie pulls a pair of nail clippers from his pocket!</scene_description>
<character>BENNIE</character>
<dialogue>Alright, Mitzi Fabelman. Time to face the music.</dialogue>
<character>BURT</character>
<dialogue>Oh boy...</dialogue>
<character>MITZI</character>
<dialogue>You stay away from me with those things! No, no, no! Stop, stop, stop it!</dialogue>
<character>BENNIE</character>
<dialogue>(advancing towards her:) It's Beethoven, dammit, it is not Morse Code! Come on!</dialogue>
<character>MITZI</character>
<parenthetical>(standing up, to Burt:)</parenthetical>
<dialogue>Stop him!</dialogue>
<character>BURT</character>
<dialogue>He has a point, though, especially with the polydirectional ribbon microphones they have at television stations -</dialogue>
<scene_description>Mitzi springs up, sweeping the sheet music to the floor as she makes a break for it. Bennie lunges and wraps his arms around her waist. She screams, laughing but also annoyed. The more she struggles, the tighter he holds her. Reggie's appalled, Natalie's delighted, Lisa is fascinated and a little scared. Sammy's thrilled and appalled in equal measure. Bennie, holding on to Mitzi, tosses the clippers at Burt. They land on the floor near him.</scene_description>
<character>BENNIE</character>
<dialogue>C'mon! You married her!</dialogue>
<character>REGGIE</character>
<dialogue>Daddy, don't!</dialogue>
<character>MITZI</character>
<dialogue>I will scratch you! Don't think I won't!</dialogue>
<scene_description>NATALIE Do it! Do it! Do it! DO IT! Burt grabs Mitzi's ankles and together Burt and Bennie carry her, kicking, laughing, yelling to the sofa.</scene_description>
<character>BENNIE</character>
<dialogue>You think Arthur Rubinstein had fingernails? Horowitz? Schnabel? Kempff?</dialogue>
<character>NATALIE</character>
<dialogue>Do it!</dialogue>
<character>MITZI</character>
<dialogue>No! No no no no!</dialogue>
<character>BENNIE AND BURT</character>
<dialogue>Liberace??!?!</dialogue>
<scene_description>Burt picks up the clippers and tries them out on his thumbnail.</scene_description>
<character>BENNIE</character>
<dialogue>C'mon, Fabelman, show her who's General Electric's product design manager!</dialogue>
<character>MITZI</character>
<dialogue>NOT MY NAILS MY BEAUTIFUL -</dialogue>
<scene_description>With Bennie holding Mitzi, Burt takes her thumb and moves in with the clippers. I PAID A BUCK FIFTY AT THE BEAUTY PARLOR FOR THEM NO NO NO NO!</scene_description>
<character>BURT AND BENNIE</character>
<dialogue>One. Two. THREE!</dialogue>
<character>MITZI</character>
<dialogue>(imitating Lucy Ricardo:)</dialogue>
<character>WAAAAAAAHHHHH!</character>
<dialogue>Mitzi stops struggling and, leaning in very closely, Burt clips one nail. After a quiet beat.</dialogue>
<character>MITZI</character>
<dialogue>Get offa me, Delilah.</dialogue>
<scene_description>Bennie releases her. All three are breathing hard, laughing.</scene_description>
<character>BURT</character>
<dialogue>Delilah?</dialogue>
<scene_description>Mitzi swipes the clippers and stands.</scene_description>
<character>MITZI</character>
<dialogue>Okay, the fun's over. I'll do the rest myself.</dialogue>
<scene_description>Natalie claps enthusiastically and Mitzi answers with a deep curtsey. She notices her sheet music speared on her heel.</scene_description>
<character>MITZI</character>
<dialogue>Oh! Oh great, just great.</dialogue>
<parenthetical>(she pulls the page off her heel and tosses it:)</parenthetical>
<dialogue>Well that decides it: I'm gonna play the program from memory tomorrow, no sheet music. Short nails. Like a real performing artist.</dialogue>
<scene_description>Sammy looks down at the perforated sheet music. The carpet shows through the hole. He picks up the paper and holds the hole up to the chandelier's light. He smiles; an idea is forming. PRE-LAP: the percussion of Bernstein's score for The Magnificent Seven. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LOCAL ARIZONA JAYCEE MEETING HALL - EVENING</stage_direction>
<scene_description>Pulling back from a running projector to reveal Sammy's Boy Scout Troop 275 is having its bi-monthly Friday evening assembly. There are about 120 SCOUTS watching the movie, mostly white, a few Black, Latinx and Native American Scouts; behind the Scouts, the SCOUTMASTER and a number of DADS, Burt among them. A record player plays the Magnificent Seven soundtrack. While the rest of the audience chuckles along with the movie, Burt sits rapt. ON THE SCREEN The 8mm footage of Reggie and Natalie having their stagecoach robbed. The bandits grab a strongbox from the coach and race off. Turkey fumbles his pistol in the dirt. IN THE MEETING HALL Hark mocks Turkey.</scene_description>
<character>HARK</character>
<dialogue>You dropped your gun?!</dialogue>
<scene_description>ON THE SCREEN Reggie and Natalie in the sheriff's office, gesticulate wildly, pointing, tearing their hair, showing empty purses, describing the robbery to the sheriff (Dean). Looking heroic. IN THE MEETING HALL Dean smiles proudly.</scene_description>
<character>DEAN</character>
<dialogue>That's me.</dialogue>
<scene_description>ON THE SCREEN Dean takes his gunbelt from a coatrack, fastens it and puts on his 10-gallon white hat. Someone calls out from the crowd.</scene_description>
<character>AUDIENCE MEMBER (O.S.)</character>
<dialogue>Scary sheriff!</dialogue>
<scene_description>IN THE MEETING HALL People chuckle as Dean covers his face, embarrassed. His friends clap him on the shoulder, a silent "attaboy". ON THE SCREEN the three bandits (Hark, Sal and Turkey) sit behind a rock, the strong box open, costume jewelry spread out on the rock. The bandits exult over their stolen booty! The sheriff appears, on a boulder above them. IN THE MEETING HALL The crowd spontaneously applauds their hero. ON THE SCREEN The bad guys draw their guns and break for cover! The sheriff opens fire! It's the scene Sammy had found unsatisfying and fake - but now when the actors fire, SHARP BRIGHT LIGHTS flash from the barrels of their toy cap guns! Intercut: The audience GASPS in awe! Burt is openly impressed. Roger stares at Sammy like he's a sorcerer.</scene_description>
<character>ROGER</character>
<dialogue>How - How'd you do that?</dialogue>
<scene_description>Two of the bandits are shot. The lead bandit (Hark) realizes his guns are empty and flees up the rocks. The sheriff in close-up points his gun at the camera; he fires. There's a blinding white flash from the end of the gun's barrel! A makeshift dummy bandit topples floppily over a cliff and falls many feet to his death on the desert rocks!</scene_description>
<character>AUDIENCE</character>
<dialogue>WHOA!</dialogue>
<scene_description>A close up of Hark's bandit, dead on the rocks. Above him, Dean holsters his pistol, collects the loot, and walks off. Then, over black, a title in white: GUNSMOG. The Scouts erupt in cheers and applause!</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. INSIDE THE FABELMAN'S STATION WAGON/A ROAD IN</stage_direction>
<scene_description>PHOENIX - EVENING CU of Sammy's new Merit badge in Photography. Sammy is looking at it, aglow from his triumph. Burt's driving.</scene_description>
<character>BURT</character>
<dialogue>It's kind of like what I do, isn't it? What a movie director does?</dialogue>
<character>SAMMY</character>
<dialogue>It is?</dialogue>
<character>BURT</character>
<dialogue>I figure out what my division needs to accomplish, then I work out how my guys are gonna get it done.</dialogue>
<character>SAMMY</character>
<parenthetical>(smiling, pleased:)</parenthetical>
<dialogue>Yeah, it is! Yeah! Sorta.</dialogue>
<character>BURT</character>
<dialogue>How'd you make it look like the guns were really firing?</dialogue>
<character>SAMMY</character>
<dialogue>I did it with pins.</dialogue>
<character>BURT</character>
<parenthetical>(appreciative)</parenthetical>
<dialogue>Pins...</dialogue>
<character>SAMMY</character>
<dialogue>Yeah! I poke holes in the film with pins.</dialogue>
<scene_description>Burt laughs, looking at his son with surprise and delight. He reaches over and tousles Sammy's hair.</scene_description>
<character>BURT</character>
<dialogue>Sammy! Thinking like an engineer!</dialogue>
<character>SAMMY</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Watch the road, Dad.</dialogue>
<scene_description>53A CUT TO: 53A</scene_description>
</scene>
<scene>
<stage_direction>A54 EXT./INT. ANOTHER STREET IN PHOENIX/THE FABELMANS' NEW CAR -A54</stage_direction>
<scene_description>LATE AFTERNOON The Fabelmans' shiny new station wagon drives along a street from right to left. CUT TO: Inside the car, Sammy, 16, is at the wheel, driving his dad. Burt watches the road like a hawk, nervous.</scene_description>
<character>BURT</character>
<dialogue>Sammy. Watch the road.</dialogue>
<character>SAMMY</character>
<dialogue>I can't edit without an editing machine, I have to be able to cut and splice, and I -</dialogue>
<character>BURT</character>
<dialogue>Let's revisit it after the camping trip.</dialogue>
<scene_description>Sammy sulks.</scene_description>
<character>BURT</character>
<dialogue>It's three hours to the National Forest. If you get your license you could help with the driving.</dialogue>
<character>SAMMY</character>
<parenthetical>(distractedly:)</parenthetical>
<dialogue>Okay.</dialogue>
<scene_description>Burt turns back to a driver's ed manual to quiz Sammy.</scene_description>
<character>BURT</character>
<dialogue>You are approaching a railroad crossing with no warning devices and limited visibility the speed limit is -</dialogue>
<character>SAMMY</character>
<parenthetical>(then with excitement:)</parenthetical>
<dialogue>See the thing is though, about my new movie, is that it's just... It's about World War II, your war, it's gonna be like outa this world. I'm shooting on a Bolex H-8!! Finally I can use double-run film. You know that's six minutes without having to change the reel?</dialogue>
<character>BURT</character>
<dialogue>How much did you spend to rent this camera?</dialogue>
<scene_description>Sammy hesitates, smelling a trap; then:</scene_description>
<character>SAMMY</character>
<dialogue>Twenty bucks.</dialogue>
<scene_description>Burt whistles at the price.</scene_description>
<character>SAMMY</character>
<dialogue>But I used my own money, you don't have to -</dialogue>
<character>BURT</character>
<dialogue>And this movie editor gizmo costs -</dialogue>
<character>SAMMY</character>
<dialogue>It's a Mansfield Eight Millimeter Movie Editor.</dialogue>
<character>BURT</character>
<dialogue>How much?</dialogue>
<character>SAMMY</character>
<dialogue>Eighty bucks.</dialogue>
<character>BURT</character>
<dialogue>Doggone it, Sammy! A hundred dollars! For a hobby?</dialogue>
<character>SAMMY</character>
<parenthetical>(offended, mad:)</parenthetical>
<dialogue>It's not a hobby, dad.</dialogue>
<scene_description>Sammy comes to a stop at an intersection.</scene_description>
<character>BURT</character>
<dialogue>If you spent half the time on algebra that you spend on these -</dialogue>
<character>SAMMY</character>
<dialogue>Algebra? I hate algebra. Why are you...? It's completely pointless.</dialogue>
<character>BURT</character>
<dialogue>Not if you want to make something, it's not pointless. Geez, Sammy, when I was a boy, I always used to think "somebody figured out how to make this, this car, that rearview mirror, that directional signal -"</dialogue>
<character>SAMMY</character>
<dialogue>I want to make movies, though!</dialogue>
<character>BURT</character>
<dialogue>I mean something real. Not imaginary. Something someone can actually use. Like a driver's license.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE FABELMANS' CAR, A HIGHWAY TO THE COCONINO NATIONAL</stage_direction>
<scene_description>FOREST - DAY Pulling a rented luggage trailer packed with camping equipment, the car heads into the mountains.</scene_description>
<character>LISA (O.S.)</character>
<dialogue>I'M GONNA VOMIT, SAMMY!! I'M GONNA</dialogue>
<character>VOMIT!!</character>
<dialogue>REGGIE (O.S.)</dialogue>
<character>SAMMY, PLEASE PULL OVER! SHE'S</character>
</scene>
<scene>
<stage_direction>A56 INT. THE FABELMANS' CAR ON A ROAD IN THE COCONINO NATIONAL A56</stage_direction>
<scene_description>FOREST - DAY Natalie, Reggie and Lisa are in the backseat, next to Bennie, bouncing violently over huge ruts in the road.</scene_description>
<character>NATALIE</character>
<dialogue>GO SLOWER! You are the WORST driver. You're gonna break the car.</dialogue>
<character>SAMMY</character>
<dialogue>We're on a back road going three miles per hour. Calm down.</dialogue>
<scene_description>Mitzi, seated between Burt and Sammy, pats his arm.</scene_description>
<character>MITZI</character>
<dialogue>You're doing great, dolly, you're doing great.</dialogue>
<scene_description>Bennie pats Sammy on the shoulder from the back seat.</scene_description>
<character>BURT</character>
<dialogue>Watch out, puddle up ahead.</dialogue>
<scene_description>The car plunges into a deep puddle in the road, plowing through to dry land, but a big bump jars the back of the trailer loose and some of the camping equipment falls out of the trailer and into the muddy water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A CAMPGROUND IN THE RED ROCK-SECRET MOUNTAIN WILDERNESS</stage_direction>
<scene_description>-: DAY Burt demonstrates how to make a branch-and-bark tripod over the fire for cooking, explaining his process to Reggie, 14, Natalie, 13, and Lisa, 8. Sammy films this with his Bolex P1 camera with a zoom lens attached.</scene_description>
<character>BURT</character>
<dialogue>So we've got three that are strong and still green inside so they don't burn. Right? Green means that they're still alive and that they carry moisture. And the reason that we use the shape of the triangle is that when these three points connect, if we find the center of gravitational force it creates almost perfect balance.</dialogue>
<scene_description>Behind them, Mitzi and Bennie laugh as they gather wood. Bennie grabs the top of a small sapling to bend it, inviting Mitzi to climb onto the springy trunk.</scene_description>
<character>BENNIE</character>
<dialogue>- because, I'm Tutti and you're Frutti. So who else are you gonna listen to? A wop bop a lula -</dialogue>
<scene_description>Mitzi struggles to haul herself onto the narrow trunk.</scene_description>
<character>BENNIE AND MITZIE</character>
<dialogue>- a wop bam boom!</dialogue>
<scene_description>She's finally on and -</scene_description>
<character>BENNIE</character>
<dialogue>Okay!</dialogue>
<scene_description>Bennie releases the tree and it spring back upright, carrying a whooping Mitzi with it. Burt drones on obliviously...</scene_description>
<character>BURT</character>
<dialogue>- the pyramids, right? I mean the history behind this shape.</dialogue>
<scene_description>But Reggie has already sprung up to run over to where the fun is happening.</scene_description>
<character>BURT</character>
<dialogue>It's pretty... It's pretty incredible.</dialogue>
<scene_description>And Natalie takes Lisa by the hand to race after Reggie. Sammy jogs over to film them as Mitzi reverses her position on the trunk to go for another ride.</scene_description>
<character>BURT</character>
<dialogue>Girls? I'm gonna start the fire!</dialogue>
<character>BENNIE</character>
<dialogue>Three, two, one!</dialogue>
<scene_description>He releases the trunk and Mitzi shouts with joy as she's launched again. Burt diligently strikes flint at the kindling until -</scene_description>
<character>BURT</character>
<dialogue>Oh! It's - it's happening! Wooo!</dialogue>
<scene_description>But everyone else is too busy laughing with Mitzi. CUT TO: It's the last night. Sammy isn't filming. Everyone's around the campfire. Burt and Mitzi sing the verse of the Russian folk song, "Kalinka."</scene_description>
<character>MITZI AND BURT</character>
<dialogue>Kra-ah-sa-vava-vitsa, doo-oo-shah- vava-d'yeh-vitsa, Pah-loo-oo-bee-ee zheh-eh tee meh- eh-enya.</dialogue>
<scene_description>Sammy, Reggie, Natalie and Lisa join in with the chorus:</scene_description>
<character>THE FABELMANS</character>
<parenthetical>(a moderate lively tempo:)</parenthetical>
<dialogue>Kaleenika, kaleenika, kaleenika moya! Zhadoo YAH-goda maleenika, maleenika moya!</dialogue>
<character>(FASTER!)</character>
<dialogue>Kaleenika, kaleenika, kaleenika moya! Zhadoo YAH-goda maleenika, maleenika moya!</dialogue>
<scene_description>The Fabelmans launch into another chorus. Bennie joins in, making up words.</scene_description>
<character>THE FABELMANS</character>
<dialogue>(EVEN FASTER!)</dialogue>
<character>BENNIE</character>
<dialogue>Kleenex-ica, Windex-ica,</dialogue>
<scene_description>Kaleenika, kaleenika, She's sexy-ca oh boy! kaleenika moya! Pneumonia, dyspepsia, Zhadoo YAH-goda maleenika, leukemi-oy-yoy-yoy! maleenika moya! The Fabelmans begin the fourth, super-fast chorus, but Mitzi and the kids start to drop out (NOT ALL AT ONCE) as they listen to Bennie's improvising. Burt continues singing alone, then gives up.</scene_description>
<character>THE FABLEMANS</character>
<dialogue>Kaleenika, kaleenika, kaleenika moya! Zhadoo YAH-goda maleenika, maleenika moya...</dialogue>
<character>BENNIE</character>
<dialogue>Oh Leningrad and Petrograd I'm sorry Dad, I lied! I snatched the keys and stole the car And took it for a ride!</dialogue>
<scene_description>Bennie heads immediately into the next verse. Mitzi claps in time: The kids join her. Burt sits it out. Bennie sings:</scene_description>
<character>BENNIE</character>
<dialogue>You take it back, paskudniak! You're giving me a -</dialogue>
<scene_description>He gestures to Mitzi: "Take it!" She sings:</scene_description>
<character>MITZI</character>
<dialogue>- heart attack!</dialogue>
<character>BENNIE</character>
<dialogue>I'll take a zitz and have a -</dialogue>
<character>MITZI</character>
<dialogue>Schvitz!</dialogue>
<character>BENNIE</character>
<dialogue>- schvitz! And eat some gribbenitz!</dialogue>
<character>MITZI</character>
<dialogue>And schnitzel-bits!</dialogue>
<character>BENNIE</character>
<dialogue>Drink slivovitz! And we'll get the shits!</dialogue>
<character>REGGIE</character>
<dialogue>And eat some grits, And throw some fits -</dialogue>
<character>NATALIE</character>
<dialogue>(reacting to "shits":) Eeeeewww!</dialogue>
<scene_description>Mitzi falls off her log, laughing. Bennie pulls the camera away from Sammy's eye and pulls him into a dance as the sisters join in. Burt sits quietly.</scene_description>
<character>BENNIE</character>
<dialogue>We live in Arizonia! Where nothing can be grown-ia The land is dry and stony-a!</dialogue>
<character>NATALIE</character>
<dialogue>But we can eat bologni-a!</dialogue>
<character>BENNIE</character>
<dialogue>EXACTLY!</dialogue>
<scene_description>Everyone cheers. The game deteriorates into a cacophony of "ah" rhymes shouted out by Bennie, Mitzi and the kids: Etcetera, blah blah blah, lah-dee-dah, umbrell-ah, Hanukkah, oom-pah-pah, grampapa, grandmama, cha-cha-cha, hip-hip- hoorah, Canada, America. CUT TO: Sammy and Reggie listen and watch as Burt pours Bennie a stiff tin cup of Jim Beam; Burt's relaxed, Bennie's arguing passionately, worried.</scene_description>
<character>BENNIE</character>
<dialogue>They're gonna know that kind of FPU is not for industrial process control and it will raise every red flag there is. How many bits?</dialogue>
<character>BURT</character>
<dialogue>Float 64!</dialogue>
<character>BENNIE</character>
<dialogue>64 bits?! 64 - ?! You are nuts! And time-sharing for eleven operators! They're gonna know this is a business machine we're building, and we're all gonna get fired.</dialogue>
<character>BURT</character>
<dialogue>Naw.</dialogue>
<character>BENNIE</character>
<dialogue>YES!! GE doesn't build business computers, we do heavy industry processing - you got that straight from the CEO. Ralph Cordiner's gonna skin you alive.</dialogue>
<character>BURT</character>
<dialogue>Once Bank of America buys in, this'll be profitable, and that's Mr. Cordiner's job - making money. My job's getting Raytheon to deliver 10,000 germanium transistors that meet our tolerance standards. And your job is to get the cabling diagrams to Pitney- Bowes so when the time comes we have a sorter to hook up to the mainframe.</dialogue>
<character>BENNIE</character>
<dialogue>Well maybe Pitney-Bowes'll hire me after you get us both canned from GE.</dialogue>
<character>BURT</character>
<dialogue>Isn't it worth getting canned for the chance to build a machine that can do all that?!</dialogue>
<character>BENNIE</character>
<dialogue>It's worth it to you, maybe: Sure as the Lord made little green apples, California here you come! IBM is waiting!</dialogue>
<scene_description>Mitzi lies in her tent listening. The kids chime in from the picnic table.</scene_description>
<character>REGGIE</character>
<dialogue>Are we moving to California?!</dialogue>
<character>BURT</character>
<dialogue>Naw.</dialogue>
<character>BENNIE</character>
<dialogue>Any day now!</dialogue>
<character>SAMMY</character>
<dialogue>What?</dialogue>
<character>BURT</character>
<dialogue>IBM's asking, and that's... flattering, but -</dialogue>
<character>BENNIE</character>
<dialogue>Flattering?! Flattering?! Every guy in computer would give his matzoh balls to get an offer - You'll be in California building double- precision auxiliary units with an FP 64, and I'm gonna be left schvitzing in Arizona, making, making forty-watt lightbulbs.</dialogue>
<scene_description>Mitzi drains a cup of Jim Beam beside her cot</scene_description>
<character>BURT</character>
<parenthetical>(to Sammy and Reggie:)</parenthetical>
<dialogue>Hold your horses!</dialogue>
<character>BENNIE</character>
<parenthetical>(awestruck:)</parenthetical>
<dialogue>Congruence modulo -? Oh my God-</dialogue>
<character>BURT</character>
<dialogue>I told your mom it'll be up to her. I'm not uprooting us again unless she says yes.</dialogue>
<scene_description>Mitzi emerges from her tent in a thin nightgown, a bit tipsy. Reggie and Sammy look at Mitzi. Bennie looks down.</scene_description>
<character>MITZI</character>
<dialogue>Why would momma ever leave all of this:</dialogue>
<parenthetical>(the campsite, the mountains, the stars)</parenthetical>
<dialogue>- for California?! We have the Grand Canyon!! They have the San Andreas Fault!!</dialogue>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Mammalah says: I will never leave Arizona! And Arizona will never leave me!!</dialogue>
<scene_description>Mitzi embraces Burt and, to his surprise and even to hers, gives him a big passionate smooch! Bennie says, with forced amusement:</scene_description>
<character>BENNIE</character>
<dialogue>Kids! Avert your eyes!</dialogue>
<scene_description>Mitzi pulls away from Burt and begins to dance: She's good, a natural performer and she's a little drunk.</scene_description>
<character>BENNIE</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Hey, man?</dialogue>
<character>SAMMY</character>
<dialogue>Hmm?</dialogue>
<character>BENNIE</character>
<dialogue>Shouldn't you be filming this?</dialogue>
<character>SAMMY</character>
<dialogue>Not enough light.</dialogue>
<scene_description>Bennie snorts, then jumps up and runs to the car. GE!! LIVING BETTER ELECTRICALLY!! He turns on the headlights. Mitzi dances around the bonfire, spinning in and out of the headlights. Sammy starts to film. In the headlights, Mitzi's nightgown becomes transparent. Reggie, embarrassed, rushes over from the picnic table.</scene_description>
<character>REGGIE</character>
<dialogue>Mom. Mom, everyone can see through your dress. Um - ?</dialogue>
<scene_description>Mitzi ignores her. Reggie half-heartedly dances in front of Mitzi to block the view.</scene_description>
<character>SAMMY</character>
<parenthetical>(still filming)</parenthetical>
<dialogue>Reggie, get out of the way.</dialogue>
<scene_description>Reggie rushes to her father sitting placidly.</scene_description>
<character>REGGIE</character>
<dialogue>Dad, can you please stop this?!</dialogue>
<scene_description>He just pats the log next to him.</scene_description>
<character>BURT</character>
<dialogue>Come sit.</dialogue>
<character>REGGIE</character>
<dialogue>No.</dialogue>
<scene_description>Frustrated, she rushes over to cover Bennie's face.</scene_description>
<character>REGGIE</character>
<dialogue>Bennie, don't look!</dialogue>
<scene_description>He deftly removes her hand and kisses it. Reggie flings him off and storms away.</scene_description>
<character>REGGIE</character>
<dialogue>Oh! You're all nuts!</dialogue>
<scene_description>Mitzi swoops, pirouettes, leaps. Burt watches her with love and hunger, overcast with sorrow. Bennie with longing. Reggie watches from her tent, feeling sadness and empathy for her mother. Mitzi gracefully lowers herself to the ground, ending the performance with a soft smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. - A ROOM IN A NURSING HOME IN CINCINATTI - DAY</stage_direction>
<scene_description>A few weeks later. Burt sits quietly, focused on a beeping scope. Not an oscilloscope this time, but a heart monitor. He looks scared. In a nearby hospital bed, Sammy's maternal grandmother Tina, skeleton-thin, her hair transparent, is dying. Mitzi lies on the bed next to her mother, holding Tina's hand, stroking her hair, whispering to her. Mitzi's eyes are red and scrappy. Sammy sits in a corner. His sisters sit opposite him.</scene_description>
<character>MITZI</character>
<dialogue>I'm right here. I'm right here with you. I'm holding your hand. Can you</dialogue>
<dialogue>feel that, Mama? Just give me a squeeze.</dialogue>
<scene_description>Sammy focuses on an artery in Tina's thin neck, weakly pulsing. Then... It stops. Sammy blinks, expecting it to start again. But it doesn't. Tina's eyes blink open.</scene_description>
<character>MITZI</character>
<dialogue>Mom... Mommy?</dialogue>
<scene_description>She turns to the NURSE at the back of the room, excited.</scene_description>
<character>MITZI</character>
<dialogue>She opened her eyes. Nurse. Mommy, I'm here. I'm right here, Mama. Mommy, look at me. Mommy, please.</dialogue>
<scene_description>The nurse moves to the bed, passing the girls, all on the brink of tears. She quietly takes Tina's pulse, then turns to Burt. But he already knows. The monitor has flatlined. Frightened, Sammy looks at his father. Burt is still staring at the heart monitor. He seems helpless and afraid. Mitzi realizes Tina is gone. She starts sobbing. Burt goes to her. He puts his hands on her shoulders but she reaches back to brush him off. Over this: Satie's "3 Gymnopediés: No. 2" begins to play. With great gentleness, Burt closes Tina's eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN HOUSE, PHOENIX - NIGHT</stage_direction>
<scene_description>CU on Mitzi playing Satie's "3 Gymnopediés: No. 2". Her eyes are closed; she's somewhere else. CUT TO: CU on Burt's hands opening a cardboard box. Inside, a new Mansfield Eight Millimeter Movie Editor.</scene_description>
<character>BURT</character>
<dialogue>It's a Mansfield Eight Millimeter Movie Editor. That's what you wanted, right?</dialogue>
<scene_description>Sammy and Burt are in Sammy's bedroom. Mitzi's practicing drifts in from the living room. Sammy stares dumbfounded at the machine. All around him, on the bed, the floor, the walls, his storyboards, gadgetry, model tanks and planes - preparations for Escape To Nowhere. Sammy sits down at his new gear in awe.</scene_description>
<character>SAMMY</character>
<dialogue>Oh my god.</dialogue>
<character>BURT</character>
<dialogue>Now I need a favor in return -</dialogue>
<scene_description>Sammy lunges across the box and hugs his dad tight. Burt is very pleased, though a little awkward. He pats Sammy's back.</scene_description>
<character>BURT</character>
<dialogue>OK, OK. Here's the favor.</dialogue>
<character>SAMMY</character>
<dialogue>Wow, yeah...</dialogue>
<scene_description>Sammy lets go, sits back and waits. Burt listens to Mitzi's playing for a moment, then:</scene_description>
<character>BURT</character>
<dialogue>I want you to make a camping trip movie. You can learn how the editing machine works while you do this. It'll make your mom feel better.</dialogue>
<scene_description>Sammy nods.</scene_description>
<character>SAMMY</character>
<dialogue>Yeah.</dialogue>
<character>BURT</character>
<dialogue>That last night, when she danced in the headlights. That'd be great.</dialogue>
<parenthetical>(he stops, listening to Mitzi's music; then:)</parenthetical>
<dialogue>Get to it tomorrow, okay?</dialogue>
<character>SAMMY</character>
<dialogue>Um - Tomorrow's when we start shooting.</dialogue>
<scene_description>Burt looks confused. Sammy laughs nervously.</scene_description>
<character>SAMMY</character>
<dialogue>Escape to Nowhere! We're shooting all weekend, I can't -</dialogue>
<character>BURT</character>
<dialogue>Shoot it next weekend.</dialogue>
<character>SAMMY</character>
<dialogue>We've got like forty guys coming to be in the movie! I'll work on all the camping trip stuff on Monday.</dialogue>
<character>BURT</character>
<dialogue>I'm asking you to do this now, for your mom, she's -</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, and I said that I will, just not tomorrow!!</dialogue>
<character>BURT</character>
<dialogue>Don't be selfish. She just lost her mother. That's more important than your hobby.</dialogue>
<character>SAMMY</character>
<dialogue>Dad, can you stop calling it a hobby?</dialogue>
<character>BURT</character>
<dialogue>It'll cheer her up, watching this, it's something we can do to-</dialogue>
<character>SAMMY</character>
<dialogue>Her mom just died! How is that gonna cheer her up?!</dialogue>
<character>BURT</character>
<dialogue>Because you made it for her.</dialogue>
<scene_description>Burt looks down. Mitzi's playing fills the silence. Burt says, almost to himself:</scene_description>
<character>BURT</character>
<dialogue>Something's... not right. I don't know what else to do.</dialogue>
<parenthetical>(a beat:)</parenthetical>
<dialogue>Can you help me?</dialogue>
<scene_description>Bewildered, Sammy looks at the editing machine.</scene_description>
</scene>
<scene>
<stage_direction>INT. BURT AND MITZI'S BEDROOM - LATE NIGHT</stage_direction>
<scene_description>It's dark. The telephone rings, waking Mitzi from a deep sleep. She fumbles, picks up the receiver.</scene_description>
<character>MITZI</character>
<dialogue>Hello?</dialogue>
<scene_description>There's buzzing and crackling, then a voice, sounding like it's coming from far away:</scene_description>
<character>TINA (ON THE PHONE:)</character>
<dialogue>Mitzi? Mitzi!!</dialogue>
<character>MITZI</character>
<dialogue>Mama...?</dialogue>
<character>TINA (ON THE PHONE:)</character>
<dialogue>Somebody's coming!</dialogue>
<character>MITZI</character>
<dialogue>Mama? Mama, what...?</dialogue>
<character>TINA (ON THE PHONE:)</character>
<dialogue>You mustn't let him in.</dialogue>
<character>MITZI</character>
<dialogue>Mama? I can't hear you!</dialogue>
<scene_description>On the other side of the bed, Burt is awake.</scene_description>
<character>TINA (ON THE PHONE:)</character>
<dialogue>Dolly I'm scared, you mustn't let him in the house!</dialogue>
<character>MITZI</character>
<dialogue>Mama, Please, I don't - No, I can't. Who - who's coming? Mama!</dialogue>
<character>TINA</character>
<dialogue>Do not let him in! Do not open the door! Don't open the door.</dialogue>
<character>MITZI</character>
<dialogue>Mommy, don't go. Don't go yet.</dialogue>
<scene_description>Burt reaches for the receiver and listens. He hears a dial tone. He returns the receiver to the cradle, then he takes Mitzi in his arms.</scene_description>
<character>BURT</character>
<dialogue>You're having a bad dream.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN, FABELMAN HOUSE - EVENING</stage_direction>
<scene_description>Burt and the kids are at the table, already crowded with a stunning assortment of dishes, and Mitzi is bringing more from the stove. Again, the table is set with paper and plastic. Mitzi hauls a roast chicken from the oven and awkwardly slides it onto a platter.</scene_description>
<character>NATALIE</character>
<dialogue>This is a lot of food, mom.</dialogue>
<character>MITZI</character>
<dialogue>Well, I'm upset.</dialogue>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>That crazy dream. I can't get it out of my head.</dialogue>
<parenthetical>(to the kids:)</parenthetical>
<dialogue>Last night I dreamed I got a call from my mama, and she wanted to warn me.</dialogue>
<character>LISA</character>
<dialogue>That's silly, grandma died!</dialogue>
<character>NATALIE</character>
<dialogue>About what?</dialogue>
<character>MITZI</character>
<dialogue>Well, something's coming, she wants me to batten down the hatches.</dialogue>
<character>NATALIE</character>
<dialogue>We're never gonna be able to eat all of this.</dialogue>
<scene_description>Mitzi starts to speak, but she stops at the sound of a car pulling into the driveway. Reggie peeks out the living room window.</scene_description>
<character>REGGIE</character>
<dialogue>Who is that?</dialogue>
<scene_description>Mitzi parts the curtains above her. A large man in his 80s wrestles his bag from a taxi - dark, worn suit, bushy hair and eyebrows and wild eyes. Mitzi's eyes go wide.</scene_description>
<character>MITZI</character>
<dialogue>It's uncle Boris!</dialogue>
<character>SAMMY</character>
<dialogue>Hmm?</dialogue>
<character>REGGIE</character>
<dialogue>Uncle Who? Mom?</dialogue>
<character>MITZI</character>
<dialogue>That's who she meant! My - That's my momma's brother.</dialogue>
<parenthetical>(back to Burt:)</parenthetical>
<dialogue>Oh! He scared the crap out of her when they were kids!</dialogue>
<scene_description>They rush to the kitchen doorway to see Boris' silhouette approach the front door. Mitzi whirls on her family.</scene_description>
<character>MITZI</character>
<parenthetical>(hissing fiercely:)</parenthetical>
<dialogue>Don't let him in!!!!!</dialogue>
<scene_description>CUT TO: Uncle Boris has joined them at the kitchen table. His eyes bloodshot from crying, He eats, ravenously. The kids are aghast at his lack of table manners.</scene_description>
<character>REGGIE</character>
<dialogue>You were in the circus?!</dialogue>
<character>MITZI</character>
<parenthetical>(to Boris:)</parenthetical>
<dialogue>Mama said you were the lion tamer.</dialogue>
<scene_description>The kids are goggle-eyed.</scene_description>
<character>BORIS</character>
<dialogue>Nah. Not at first, at first it was "Podgorny, pound in the tent pegs, Podgorny muck out the pachyderms!" And then one night, the big cat act, he comes down with a flu bug, so it was "Boris Podgorny! In with the lions."</dialogue>
<character>NATALIE</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>He's lying, right?!</dialogue>
<character>BURT</character>
<dialogue>No, he's telling you a story.</dialogue>
<character>BORIS</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>You know what it's like, huh? Pain in the ass, sisters.</dialogue>
<character>NATALIE</character>
<dialogue>That's rude!!</dialogue>
<character>LISA</character>
<dialogue>(delighted:)</dialogue>
<scene_description>He said ass!!</scene_description>
<character>SAMMY</character>
<dialogue>But... When did you start working in the movies?</dialogue>
<scene_description>Boris blows his nose loudly, vividly into his napkin.</scene_description>
<character>SAMMY</character>
<dialogue>1927 that was The Jazz Singer! That was the year the talkies started!</dialogue>
<scene_description>Mitzi, Natalie and Reggie remove the food.</scene_description>
<character>BORIS</character>
<dialogue>Yeah sure, talkies, but me, no, I started with Uncle Tom's Cabin, not a talkie, it was Harry Pollard, he acted for Selig Polyscope, he</dialogue>
<dialogue>married Maggie Whatsername, he directed Uncle Tom.</dialogue>
<character>MITZI</character>
<parenthetical>(to Boris:)</parenthetical>
<dialogue>Lift up your plate.</dialogue>
<scene_description>Boris does as he's told, continuing to talk as Natalie, Reggie, Mitzi and Sammy lift the ends of the tablecloth.</scene_description>
<character>BORIS</character>
<dialogue>So Pollard needed help with the bloodhounds, so my pal Fleischaker who was a big name in dog acts, poodles mainly.</dialogue>
<scene_description>The kids and Mitzi bring the ends of the tablecloth together, Mitzi ties them in a bundle, then carries the bundle to the trashcan.</scene_description>
<character>BORIS</character>
<dialogue>But "Sure," Fleischaker says to Pollard, "bloodhounds, poodles, what's the difference?" So he went. But by this time, Fleischaker he had it up to here with the Jew- haters - there was a lot of that kind in the circuses, not many Jews, lots of Jew-haters.</dialogue>
<character>SAMMY</character>
<dialogue>Right.</dialogue>
<character>BORIS</character>
<dialogue>But the movies! Oy vaVOY, Fleischaker writes to me, "Boris," he writes. "Boris," he writes, "Hollywood is haymish, imagine I'm in a minyan with Douglas Fairbanks and Ricardo Cortez?! Come to Hollywood!" So! I went.</dialogue>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Your wife, she don't like doing the dishes?</dialogue>
<character>BURT</character>
<dialogue>Ah... Piano hands.</dialogue>
<character>BORIS</character>
<parenthetical>(tapping the side of his nose:)</parenthetical>
<dialogue>Ah, farshtaynen.</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>So you like the movies, huh, Mr. Pizzelshass?</dialogue>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM - NIGHT</stage_direction>
<scene_description>The room's even more consumed by Escape To Nowhere preparations. The editing machine is on Sammy's desk with footage from the camping trip waiting to be edited. Sammy's in his PJs, sitting on the floor with Boris, who's in an old undershirt and boxers, his little suitcase open nearby. Also close at hand, a bottle of scotch and a glass. Sammy is showing him his storyboard notebook.</scene_description>
<character>SAMMY</character>
<dialogue>Okay, so then the sergeant he comes over the hill, here, and I'm gonna go below him so we see him and the sky, and so we don't see what he sees, but we do see that he's really, um - okay so he's like almost losing his mind, right, cause what he is seeing is totally terrible! And then I'm gonna turn the camera so that we see it.</dialogue>
<scene_description>He jumps up.</scene_description>
<character>SAMMY</character>
<dialogue>It's just in another notebook, hang on -</dialogue>
<character>BORIS</character>
<parenthetical>(indicating the editing machine:)</parenthetical>
<dialogue>That's the movie? You could show me instead of describing me to death.</dialogue>
<character>SAMMY</character>
<dialogue>Nah, that's just our stupid camping trip, my dad's...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>He wants me to put this camping film together so it'll cheer up mom.</dialogue>
<character>BORIS</character>
<dialogue>Because her heart is broken because her mama iz toyt.</dialogue>
<scene_description>Sammy nods, thinking.</scene_description>
<character>BORIS</character>
<dialogue>But you, Mr. Director, you don't wanna do this, what your daddy tells you, because you wanna make your war picture, ah?</dialogue>
<scene_description>Sammy's embarrassed, startled to be understood so exactly.</scene_description>
<character>BORIS</character>
<dialogue>Yeah, yeah... Believe me, Sammy Boy, I get it. Family, art:</dialogue>
<parenthetical>(he makes a fierce gesture meaning: "Pulled apart")</parenthetical>
<dialogue>It'll tear you in two.</dialogue>
<scene_description>Down the hall, Mitzi softly plays Muzio Clementi's Sonatina in C Major, Op. 36. No. 3: I. "Spiritoso".</scene_description>
<character>BORIS</character>
<parenthetical>(lifting his head, as if scenting something:)</parenthetical>
<dialogue>You hear that?</dialogue>
<character>SAMMY</character>
<dialogue>Oh yeah, my mom's practicing, she's always -</dialogue>
<character>BORIS</character>
<dialogue>Shah!!!! You talk too much!! Listen!!</dialogue>
<scene_description>Boris opens the door to hear better. Mitzi's playing is tender, soulful, soft.</scene_description>
<character>BORIS</character>
<dialogue>When she was a kid, already she played like that, she shoulda been a concert piano player, a little Rubenstein she was, she coulda played... you name it, she coulda played there, and she, once I visited her and Teenee and Menashe in Cincinatti, and she says to me she wants to be a great piano artist, but... She didn't do it.</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, she's really good! You know she played on TV!</dialogue>
<character>BORIS</character>
<dialogue>TV!! Feh!! She coulda played the Musikverein in Vienna!</dialogue>
<parenthetical>(he leans towards Sammy:)</parenthetical>
<dialogue>You see what she got in her heart is what you got, what I got - ART. Like me, like you I think, we're junkies and art is our drug. Family we love, but art, we're meshugah for art. You think I wanted to leave my sisters, my mama and papa and go stick my stupid head in the mouth of lions?!?!</dialogue>
<character>SAMMY</character>
<dialogue>Putting your head in a lion's mouth is art?</dialogue>
<character>BORIS</character>
<parenthetical>(roaring with laughter, then with ferocious seriousness:)</parenthetical>
<dialogue>NO!! Sticking your head in the mouth of lions was balls!! Making sure that lion don't eat my head?? That is art!!</dialogue>
<parenthetical>(he takes a drink:)</parenthetical>
<dialogue>You see Teenee, she didn't say to Mitzi "go do what you gotta!" I mean she was a good person, my sister, but she was scared. Scared for your mother, she should have safety and family. So Mitzi, she gave it all up.</dialogue>
<scene_description>He gives Sammy's cheek a horrible hard squeeze. Sammy yowls. Boris hangs on, examining Sammy's head, one side then the other; after one last painful shake, he lets Sammy go. OW! Sammy grabs his cheeks, rubbing them, his eyes watering.</scene_description>
<character>BORIS</character>
<dialogue>I want you should remember how that hurt. Because when they say all this -</dialogue>
<parenthetical>(gesturing to the film preparations all over)</parenthetical>
<dialogue>- when they say what you do, it's cute, it's a hobby, it's like stamps or butterfly collecting, you feel your face how it feels now!</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, you almost pulled it off!</dialogue>
<character>BORIS</character>
<dialogue>So you remember your Onkl Boris and what he's telling you: Because you're gonna join the circus, I can tell. You can't hardly wait, you wanna be in the big top, you'll shovel elephant shit until they say "OK, Sammy, now ride the goddamn elephant!" Oh you love those people, ah?</dialogue>
<parenthetical>(gesturing to the rest of the house)</parenthetical>
<dialogue>Your sisters, your mama, your papa, except -</dialogue>
<parenthetical>(whispering, gesturing to the editing machine:)</parenthetical>
<dialogue>- except this, this I think you love a little more.</dialogue>
<character>SAMMY</character>
<dialogue>No I don't!</dialogue>
<scene_description>Boris, laughing, reaches for Sammy's cheeks. Sammy jumps up and steps out of reach! Boris howls at him:</scene_description>
<character>BORIS</character>
<dialogue>Run all you want, boychick, but you know I ain't whistlin' Dixie here!! You will make your movies, and you will do your art, and you remember how it hurt so you know what I'm saying: Art will give you crowns in heaven and laurels on earth. BUT!! It'll tear your heart out and leave you lonely. You'll be a shonde for your loved ones, an exile in the desert, a gypsy. Art is NO GAME!! Art is dangerous as a lion's mouth, it'll bite your head off!! LOOK AT ME!! LOOK AT ME!! IS IT A WONDER THAT TEENEE, SHE WANTED NOTHING TO DO WITH ME?! WITH - WITH M-</dialogue>
<parenthetical>(crying brokenheartedly:)</parenthetical>
<scene_description>TEENEE!!! OH, TEENEE!!! He tears his undershirt and pulls at his hair. Sammy's horrified.</scene_description>
<character>SAMMY</character>
<dialogue>Stop! Stop! Stop it!!</dialogue>
<scene_description>Boris stops.</scene_description>
<character>BORIS</character>
<dialogue>What, you never saw nobody grieving before? Pfft!</dialogue>
<parenthetical>(lying down on the floor:)</parenthetical>
<dialogue>Let's go to sleep, buballah.</dialogue>
<character>SAMMY</character>
<dialogue>Um, you can sleep in the bed. I have my sleeping bag.</dialogue>
<character>BORIS</character>
<dialogue>I'm sitting shiva for my sister. I sleep on the floor. You wanna sleep on the floor too?</dialogue>
<parenthetical>(shrugs:)</parenthetical>
<dialogue>She was your grandma. Tear your clothes. Sleep on the floor. Goodnight.</dialogue>
<scene_description>Sammy carefully tears a corner of the pocket on his PJ shirt and stands pensively before his editing machine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE THE FABELMAN HOUSE - MORNING</stage_direction>
<scene_description>A cab waits as the family gathers to send off Boris.</scene_description>
<character>MITZI</character>
<parenthetical>(to Lisa)</parenthetical>
<dialogue>Say bye bye.</dialogue>
<character>LISA</character>
<dialogue>Bye bye.</dialogue>
<character>BORIS</character>
<dialogue>Bye bye.</dialogue>
<scene_description>As he heads for the taxi, the CABBIE tries to help with his bag. Boris hangs on until the driver relents. He tosses the suitcase in the cab then turns back, pointing at Sammy, who seems pinned by his intensity. The family all turn to Sammy, puzzled. Boris repeats the torn-in-two gesture. He gets in the cab and it drives away. Burt puts his arm around Mitzi.</scene_description>
<character>MITZI</character>
<parenthetical>(wiping her eyes:)</parenthetical>
<dialogue>I don't know what momma was so worried about. It was a nice visit.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM/THE LIVING ROOM - 2AM</stage_direction>
<scene_description>Mitzi in her nightgown in the living room, playing the Adagio from Bach's Concerto in D Minor, BMV 974. Burt is on the sofa, papers all about him, scribbling work-related notes as he listens to her play. CUT BACK TO: The editing machine's loaded. Sammy turns the handle, feeding footage through the viewer: Mitzi eats some stew from the campfire. She turns to Sammy's camera and opens her mouth wide, exhibiting the masticated contents. Then she feigns theatrically choking and dying. Reggie steps in to haul her to her feet, laughing. Sammy transfers the film to the editing block and cuts out the shot to add to the series of trims taped to his table. Everyone walks up a steep path, smiling, waving at the camera. Sammy at the editing machine scowls and cranks faster, racing through till he gets to: Mitzi rides up and down on the sapling while Burt teaches the girls tripod-building. Sammy at the editor slows down at a possible jump from the tree lifting Mitzi to a close-up of her face, laughing, lit-up, a little scared. He enjoys speeding it up, reversing it. Sammy searches through a new reel, now enjoying the work. He cranks ahead till he gets to: Burt gutting a fish, Lisa, Natalie and Reggie looking grossed out. Reggie pretends to eat the fish guts, grossing out Natalie. Sammy chuckles, then he cranks ahead, stops and reverses - his eye's been snagged by something. Cranking the film forward again, slowly, Sammy bends closer to the ground- glass screen. At a distance from Burt and the girls, in the frames' background, Mitzi and Bennie are seated on a log together, deep in conversation. Bennie playfully puts his hat on Mitzi's head. Sammy stares at this frame, then he slowly turns the crank, wanting to move past this but also reluctant to do so. Deciding to leave it, he zooms through a few more scenes. Everyone's walking across a stone bridge, pretending to be tightrope walkers, Mitzi and Bennie last in line. Bennie puts both his hands on Mitzi's shoulders and starts to draw her close to him. Sammy slows the film down as Mitzi allows Bennie to hold her before she spins and pulls Bennie's big hat down over his eyes. The reel ends and Sammy, yawning, changes it out. CUT TO: In the living room, Mitzi continues with the Bach. Burt listens as he works, making calculations with one hand, conducting with the other. CUT BACK TO: Sammy scrolls rapidly through a new roll, stopping at a sequence of Reggie and Natalie clowning around with some branches. In the background, Bennie and Mitzi walk along a trail into the woods. Something catches Sammy eye and he reverses the film to play it again slowly, intent on - Mitzi and Bennie in the woods, partly obscured by tree branches, but what's not hidden is Bennie putting his hand tenderly on the small of Mitzi's back; Mitzi moves his hand away, but as she does she looks back over her shoulder to make sure no one's watching. Then she leans over and kisses Bennie's ear. He playfully flicks at his ear as if brushing off a mosquito. They laugh and walk together into the darkness of the woods, Mitzi leaning her body against Bennie's as they disappear from view. Sammy throws the reel off the editor and reloads the earlier one of the stone bridge crossing. The intimacy between Mitzi and Bennie is even more clear as she gazes lovingly into his eyes when he steadies her balance. CUT TO: In the living room, Burt continues "conducting" with his pencil. CUT TO: Sammy has loaded a new reel: Mitzi, Burt and Bennie clowning around at the campsite. Burt and Bennie laugh as Mitzi gesticulates dramatically, doing silent movie Lillian-Gish- type schtick. She puts her hand to her forehead in a 19th Century stage swoon. Both Burt and Bennie move to catch her. Mitzi switches direction mid-swoon to make sure that when she's caught, it's by Bennie, not Burt. Bennie dips her as if about to go in for a passionate kiss. He scrolls slowly ahead to a frame of Bennie's and Mitzi's faces, almost about to kiss. The next frame, an instant so quick it barely registered, but there it is on frame: Mitzi has abandoned her stage-pucker and is looking up into Bennie's eyes meaningfully, sad, serious. Sammy shoves back from the movie editor and stands, overwhelmed, terrified; he's having a panic attack. CUT TO: In the living room, Mitzi is reaching a climax in the piece she's playing. Sammy seems pinned to the wall with the incriminating frame of Mitzi and Bennie frozen on the screen. He slumps to the floor. CUT TO: Mitzi finishes gently. Burt, still on the sofa but sitting up, watches her with love. Mitzi returns his gaze, unreadable. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE DINING ROOM - NIGHT</stage_direction>
<scene_description>Burt, Bennie, Reggie, Natalie and Lisa sit around the table in the dark, watching the camping film. On screen, Mitzi mugs for the camera with her mouth full of food. They all laugh.</scene_description>
<character>LISA</character>
<dialogue>Yuck!</dialogue>
<scene_description>On screen, Mitzi pretends to choke. Then it cuts to her riding the springy sapling.</scene_description>
<character>FAMILY</character>
<dialogue>Whoa!</dialogue>
<scene_description>On screen, Mitzi peeks out at the camera from her sleeping bag.</scene_description>
<character>FAMILY</character>
<dialogue>Aww...</dialogue>
<scene_description>As the on screen Mitzi sits up and speaks to the camera, real- life Mitzi does her best to dub herself.</scene_description>
<character>MITZI</character>
<dialogue>This. Is. The. Life!</dialogue>
<scene_description>Sammy watches, unsmiling. On screen, Mitzi's dance, edited by Sammy, dramatic and beautiful. Joy, sorrow, desire move across Mitzi's face as she vanishes into the darkness beyond the headlights, then, with her instinct for drama, Mitzi runs to the campfire, lifts out a flaming smoking branch, and begins to twirl around with it, whirling a trail of smoke and embers, caught in the headlights, until she's cloaked herself in her own nocturnal tornado.</scene_description>
<character>BENNIE</character>
<dialogue>Only you can prevent forest fires.</dialogue>
<character>MITZI</character>
<dialogue>Shhh...</dialogue>
<scene_description>Then everything goes brilliant white as the film spools out. Mitzi gets up and goes to him, enfolding him in her arms.</scene_description>
<character>MITZI</character>
<dialogue>It's so beautiful, what you made, Dolly. You really see me.</dialogue>
<scene_description>He allows it for a moment, but then steps aside to busy himself with the projector.</scene_description>
<character>BENNIE (O.S.)</character>
<dialogue>Hey, man, how 'bout that, huh?</dialogue>
<character>BURT (O.S.)</character>
<parenthetical>(quietly:)</parenthetical>
<dialogue>Hey Sammy. That was real neat.</dialogue>
<scene_description>Sammy can't speak. Mitzi is left with a quizzical look: "What's wrong."</scene_description>
</scene>
<scene>
<stage_direction>EXT. AN ABANDONED ADOBE PUEBLO, THE DESERT OUTSIDE PHOENIX -</stage_direction>
<scene_description>DAY A teen in a t-shirt and a makeshift Nazi helmet stands on a boulder, bringing his assault weapon to bear.</scene_description>
<character>"NAZI" SOLDIER</character>
<dialogue>DIE AMERIKANER!!!</dialogue>
<scene_description>As his comrades charge over the rocks, he jiggles his gun from fake "recoil" and makes machine gun sounds with his mouth. Other howling BOYS charge at the camera, in uniform: tan chinos, black t-shirts, black infantry caps, each with a cardboard badge of a Swastika-clutching German eagle. The kid playing their commander wears a genuine WWII German helmet. They're armed with toy rifles and BB guns; a few have real lugers which they wave as they hurl themselves forward, laying siege to an American stronghold inside the pueblo. They sweep past Sammy, who pans with them to catch all of the action on his camera. Sammy digs two shallow holes in the dirt, then sets a board on a rock as a pivot point to seesaw between the divots. He covers one end with dirt so that when he steps on the other side of the board, it launches a cloud of dirt into the air. Instant "explosion". The costumed actors are thrilled by the effect. In a series of fast, VIOLENT cuts: Hand-to-hand combat, American soldiers in white t-shirts and green infantry caps bayoneting Germans, Germans shooting Americans. The boys have sponges filled with red tempera paint; when they get shot, they press the sponges and squeeze; the blood oozes out. Sammy, crouching, moves in and around the fighting soldiers, filming. He uses an old baby carriage as a makeshift dolly to sweep across a line of charging soldiers. He comes in close as one soldier, shot in the face, mashes his hands against his eyes and screams as blood gushes between his fingers. Roger carefully lays a string of firecrackers in a shallow trench, then covers it with dirt. Later, as soldiers race through the area, the firecracker puffs mimic machine gun fire tearing through their ranks. They all fall. Then ANGELO, a tall, handsome, tough-looking 16 year old playing an American sergeant, enters with a surplus army machine gun. He fires at the Germans. Dozens of firecrackers, concealed in the wall against which the Germans have been forced, detonate! Despite the visible evidence of burning fuses, this sells the impression of bullets destroying the wall and the soldiers! Germans collapse like bloody, dusty rag dolls!</scene_description>
<character>SAMMY</character>
<dialogue>Turn...</dialogue>
<scene_description>Angelo turns so the camera can catch his face, looking heroic.</scene_description>
<character>SAMMY</character>
<dialogue>CUT! GREAT! Now...</dialogue>
<scene_description>Sammy hands Sal the camera and pulls Angelo aside to issue new directions. Hark, Turkey and Dean hand out Dixie cups of kool-aid to the dead soldiers, while Roger and Sal carefully wipe the dust from the lens.</scene_description>
<character>SAMMY</character>
<dialogue>You're standing here for a minute, looking down at what just happened -</dialogue>
<character>SAMMY</character>
<dialogue>I'll give you a signal when I want you to start to move, okay? - No, don't count to 60, you just gotta -</dialogue>
<character>ANGELO</character>
<dialogue>A whole minute? Like, you mean I should count to 60, like one-Missippi two- Mississippi? And then I move?</dialogue>
<character>SAMMY</character>
<parenthetical>(regrouping)</parenthetical>
<dialogue>So you're all like, Oh my God, like ALL my men, they're all, they're all dead! All my men, they're -</dialogue>
<character>ANGELO</character>
<dialogue>So you want me to like act and stuff.</dialogue>
<character>SAMMY</character>
<dialogue>Yeah! Right, um, that's the -</dialogue>
<character>ANGELO</character>
<dialogue>Like I'm sorta sad or something. Cuz my whole platoon -</dialogue>
<character>SAMMY</character>
<dialogue>Right right, your platoon. Your men. They've been wiped out. These guys they're your family, your family's being like, like murdered, and it's your fault, you did this to them, and -</dialogue>
<character>ANGELO</character>
<dialogue>I thought it was the Nazis that -</dialogue>
<character>SAMMY</character>
<dialogue>Okay, yeah but, but it was you gave the order to go down into the Valley of Death! Okay, you decided. Nobody else. You coulda, you coulda protected them, okay? 'Cause they trusted you, and they loved you. Now you're just looking at this, at this thing that you've done, and you can't save them anymore -</dialogue>
<character>ANGELO</character>
<dialogue>Because they're all dead.</dialogue>
<scene_description>Sammy nods, his eyes filled with tears, shaking.</scene_description>
<character>ANGELO</character>
<parenthetical>(seriousness sinking in:)</parenthetical>
<dialogue>Wow, that's... real gung-ho. Um, okay.</dialogue>
<parenthetical>(he's got it:)</parenthetical>
<dialogue>Okay.</dialogue>
<character>SAMMY</character>
<dialogue>You good?</dialogue>
<character>ANGELO</character>
<dialogue>Lock and load. Yeah, yeah. Lock and load. Alright.</dialogue>
<character>SAMMY</character>
<dialogue>Good.</dialogue>
<scene_description>LATER Angelo steps from behind a ruined wall, a mass of dead soldiers behind him. He looks down at the valley in front of him. Angelo has an instinctive understanding of how to do this acting thing. His face is hard, clenched tight, but something powerful is battering away beneath the surface, and as he walks slowly down among the bodies of his men, Sammy creeps along beside him, tracking him with the baby carriage dolly. As the camera moves with Angelo, the "dead men" behind him scramble to their feet and race around behind the camera to set up again in FRONT of Angelo. They hit the dirt just as Angelo reaches them and Sammy pans to take in the "new" carnage - twenty American soldiers, strewn across the desert in the positions and postures of their final agonies. Angelo walks through the bodies and out into empty desert. Sammy keeps filming, but Sammy takes his eye off the camera, leaving it running on the tripod. Angelo, overwhelmed, openly weeps with his back to the camera. Sammy stares at Angelo's retreating form, his thoughts elsewhere.</scene_description>
<character>SAL</character>
<dialogue>Uh, Sammy? How far you gonna let him walk?</dialogue>
<character>SAMMY</character>
<parenthetical>(snapping out of his reverie:)</parenthetical>
<character>CUT!!!</character>
<dialogue>Angelo doesn't hear him; he keeps walking. The dead soldiers start to stand and with Sammy's crew they yell at Angelo:</dialogue>
<character>DEAD SOLDIERS AND CREW</character>
<dialogue>ANGELO!!! HEY THAT'S A CUT,</dialogue>
<character>ANGELO!! STOP!!! CUT!! COME BACK!!!</character>
<dialogue>SAMMY</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JAYCEE HALL, PHOENIX - NIGHT</stage_direction>
<scene_description>Sammy, in his scout uniform, mans the projector once more. It's being watched by an audience of Boy Scouts and their parents, mostly dads, clearly swept up in the drama onscreen. In a middle row, Reggie, Natalie, Lisa, Burt, Mitzi and Bennie sit, as enthralled as everyone else. The sound of the projector starts to grow louder and louder. 8MM: The heat of the climactic battle by the adobe pueblo, Americans and Germans killing each other. Alfred Newman's "Buffalo Stampede" from How The West Was Won is playing on a phonograph record; underneath the music, the whirring of the projector. Behind the projector, Sammy's attention is angrily, exclusively fastened on the backs of the heads of Burt, Mitzi and Bennie. ON THE SCREEN The carnage continues. A blast to the chest of one soldier is accented by an exceptionally bloody makeshift squib. IN THE AUDIENCE Everyone GASPS and Natalie quickly covers both Lisa's eyes and her own. Lisa pushes her sister's hand aside. ON THE SCREEN Angelo mows down the last of the Germans, then steps out of the ruins and begins his solemn walk through the valley of his slain comrades and into the dessert. IN THE AUDIENCE The projector's whirr is turning into a loud roar in Sammy's ears, beginning to drown out Newman's score. Mitzi is deeply moved by the moment. Natalie and Reggie are rapt, but Sammy's focus remains on his parents and Bennie. Over the shot of Angelo walking away, a screen title announces: "ESCAPE TO NOWHERE". The audience applauds, but Sammy can't take his eyes off the three adults. They're applauding too - Mitzi ecstatically. Sammy watches Burt turning, smiling and excited, to Mitzi, just at the moment when Mitzi turns to Bennie to mouth silently: "OH MY GOD!" CU on Sammy, his face fierce, stricken, drawn tight, glaring at the three adults. They turn to face him, directing their applause to him.</scene_description>
<character>BURT</character>
<dialogue>Sammy!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE JAYCEE PARKING LOT - NIGHT</stage_direction>
<scene_description>The scouts and their families are leaving. Roger, Turkey, Sal, Dean and Hark help Sammy load equipment into the car. Mitzi, her hands on Sammy's shoulders, whispers:</scene_description>
<character>MITZI</character>
<dialogue>Oh Dolly. You're not a civilian anymore. That movie, my God it was -</dialogue>
<scene_description>Sammy, scowling, steps back, shrugging off her hands. Roger edges by to load some equipment.</scene_description>
<character>ROGER</character>
<dialogue>Hi, Mrs. Fabelman.</dialogue>
<scene_description>Sammy turns to Mitzi, but has nothing to say. He walks off, leaving her puzzled and slightly hurt. Bennie barrels up to Sammy.</scene_description>
<character>BENNIE</character>
<parenthetical>(moving in to hug Sammy:)</parenthetical>
<dialogue>Mister DeMille! C'mere!</dialogue>
<scene_description>Sammy silently sidesteps him to join his father, who stands with Angelo, SCOUTMASTER NEWHART, and one of the troop DADS.</scene_description>
<character>BURT</character>
<dialogue>Hey, there he is!</dialogue>
<scene_description>Sammy grins, embarrassed, as the dads slap him on the back and compliment him.</scene_description>
<character>ANGELO</character>
<dialogue>Hey!</dialogue>
<character>TROOP DAD</character>
<dialogue>Congratulations, young man! Congratulations!</dialogue>
<character>SCOUTMASTER NEWHART</character>
<dialogue>Guess you based it on your father's war stories, huh?</dialogue>
<character>SAMMY</character>
<dialogue>Sort of, you know. He doesn't really like to talk about it, so...</dialogue>
<character>SCOUTMASTER NEWHART</character>
<dialogue>I understand.</dialogue>
<scene_description>The girls walk up.</scene_description>
<character>REGGIE</character>
<dialogue>Dad, Mom's getting a ride with Bennie. She'll see us at home.</dialogue>
<scene_description>Burt and Sammy both look across the parking lot: Mitzi is getting into the passenger seat of Bennie's car; he's holding the door for her.</scene_description>
<character>REGGIE</character>
<parenthetical>(to Sammy)</parenthetical>
<dialogue>Hey, why do you like blood so much?</dialogue>
<character>NATALIE</character>
<dialogue>Are you ever gonna make a movie with parts for girls again?</dialogue>
<scene_description>Sammy looks at Burt to gauge his reaction; Burt looks surprised, a little crestfallen. Then, aware that Sammy's scrutinizing him, he gives Sammy a bemused, quizzical look. Sammy immediately looks away, turning to his sisters.</scene_description>
<character>SAMMY</character>
<parenthetical>(still distracted)</parenthetical>
<dialogue>What?</dialogue>
<character>NATALIE</character>
<dialogue>With GIRLS. You know, like, when all the men stare off into the distance all the time, maybe a girl can save the day.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN HOUSE - MORNING</stage_direction>
<scene_description>CU on the BSA pamphlet for Life-Saving, open to a section dealing with saving people who are drowning. Sammy, shirtless in swimming trunks, Reggie, Natalie and Lisa are at the breakfast table. Mitzi, upset, closed off, is making a huge batch of matzoh brei. Sammy is in his bathing suit. He's not eating. Natalie holds the BSA pamphlet and is quizzing Sammy.</scene_description>
<character>NATALIE</character>
<dialogue>OK what are the five steps to save a drowning person?</dialogue>
<character>SAMMY</character>
<dialogue>One is you swim behind the person so they don't grab you. Two you throw your arm across his chest.</dialogue>
<character>SAMMY</character>
<dialogue>Three -</dialogue>
<character>REGGIE</character>
<dialogue>Or her chest.</dialogue>
<scene_description>THREE you swim on your back, NATALIE with the victim on your Not Sammy, he's too scared of chest, using your free arm to girls' boobies. paddle yourself -</scene_description>
<character>SAMMY</character>
<parenthetical>(to Natalie)</parenthetical>
<dialogue>And speaking of boobies, if you ever get any we'll have a party.</dialogue>
<character>REGGIE</character>
<dialogue>And at the party we'll give her the booby-prize!</dialogue>
<character>NATALIE</character>
<dialogue>Ha-HAH! What's four?</dialogue>
<character>SAMMY</character>
<dialogue>Ummmm... Crap.</dialogue>
<character>NATALIE</character>
<dialogue>Bring the victim to land, dummy! And then five:</dialogue>
<scene_description>Sammy tries to remember.</scene_description>
<character>MITZI</character>
<dialogue>Call the undertaker.</dialogue>
<character>SAMMY</character>
<parenthetical>(to Mitzi, immediately angry:)</parenthetical>
<dialogue>This is serious business! I gotta know all of this to get the Lifesaving Merit Badge! More kids die in swimming accidents than in any other kind of accident!</dialogue>
<character>MITZI</character>
<dialogue>Sorry, I'm sorry.</dialogue>
<character>SAMMY</character>
<dialogue>Not everything is a big joke.</dialogue>
<character>MITZI</character>
<dialogue>Okay, okay, so what's step number five?</dialogue>
<character>SAMMY</character>
<dialogue>You laugh at everything, even when nothing's funny! You always have to be the center of attention!</dialogue>
<scene_description>Mitzi slams a plate of matzoh brei in front of him.</scene_description>
<character>MITZI</character>
<dialogue>Eat! And don't talk with your mouth full!</dialogue>
<scene_description>I'M NOT EATING THIS CRUD BEFORE A SWIMMING TEST!! YOU CAN GET CRAMPS IN THE WATER IF YOU EAT BEFORE AND YOU CAN DROWN FROM GETTING CRAMPS. Reggie springs from her chair to confront Sammy.</scene_description>
<character>REGGIE</character>
<dialogue>Stop shouting at her!</dialogue>
<character>MITZI</character>
<dialogue>Sammy Fabelman! Goddamn it, for weeks now it has been nothing but disrespect from you!</dialogue>
<character>SAMMY</character>
<parenthetical>(attempting a sneering laugh:)</parenthetical>
<dialogue>"Disrespect!"</dialogue>
<character>MITZI</character>
<dialogue>Why are you being such a little shit to me? Dammit to hell, I am your mother!!</dialogue>
<scene_description>Sammy jumps up and walks up to Mitzi and snarls: I WISH YOU WEREN'T!! He turns and starts to walk away. Mitzi, before she can catch herself, strikes out at him, slapping his bare back with her open hand so hard that he stumbles forward. The slap sounds like a gunshot. Sammy spins around; they're both shocked. The girls are shocked. Lisa starts crying. Sammy turns and runs to his room. Mitzi stands there, stunned at what she's done. CUT TO: Sammy slams the door of his bedroom, fighting to hold back tears. He throws open the closet door and looks at his back in the mirror. An angry red welt is rising in the exact shape of his mother's open hand. Mitzi enters the bedroom. Sammy starts to pull on a t-shirt. Mitzi goes to him and stops him, spinning him around. She sees the red hand-print on his back.</scene_description>
<character>MITZI</character>
<dialogue>Let me see... Oh my God, oh what have I done?</dialogue>
<scene_description>He spins on her. He looks as if he's going to attack her. She takes an involuntary step back. Sammy stands there, shaking, his fury being replaced by a plea for help he's not able to speak. She retreats, shocked, small.</scene_description>
<character>MITZI</character>
<dialogue>Talk to me.</dialogue>
<scene_description>Sammy turns to the door, but Mitzi grabs his shoulders, pleading.</scene_description>
<character>MITZI</character>
<dialogue>Sammy, please. Talk to me. Tell me what's happening. Do you have any idea how much I love you?</dialogue>
<scene_description>He nods. Then steps away.</scene_description>
<character>MITZI</character>
<parenthetical>(small)</parenthetical>
<dialogue>Don't go...</dialogue>
<scene_description>But instead of leaving, he closes the bedroom door. Mitzi watches as he goes to his desk, opens a drawer and takes out a small plastic reel of film. He looks at his mom for a moment, then decides. He plugs in the projector, goes into the closet, sits on the floor and starts loading the film. CU on Sammy's nimble fingers expertly threads the film through the sprocket holes, then through the gate, which he closes, then up to the take-up reel. Sammy opens the closet and extends a hand to Mitzi, who's smiling to cover her confusion. He takes her hand and gently pulls her into the closet. She sits on the floor of the closet next to the projector. Sammy looks at her. There's another flash of hesitation, then he reaches down and switches on the projector. He steps out of the closet, closing the door behind him. CUT TO: The dark closet lights up as the film starts to play on the opposite wall. Mitzi, her face uplit by the projector's light, watches, baffled, bemused when she recognizes that this is more footage from the camping trip. Then: 8MM: FULL SCREEN: Mitzi sitting by Bennie as he playfully puts his hat on her head. Mitzi watches, smiling at first. But her small slowly fades as the clips continue and she realizes what they mean. IN THE BEDROOM Sammy sits on his bed, waiting in anxious silence. IN THE CLOSET The film runs through the projector and flaps in the take-up reel. Mitzi opens the door and clumsily crawls out of the closet on all fours. Sammy's sitting there, paralyzed. Realizing that the projector is still running, Mitzi yanks its power cord from the wall socket; then she sits on the floor. She begins to cry, trying to stop herself, but the floodgates burst open: She sobs, loudly, devastated. Sammy doesn't know what to do. He sits down on the floor next to his mom.</scene_description>
<character>SAMMY</character>
<dialogue>Mom... Mom... I won't tell. I won't tell, I won't</dialogue>
<scene_description>She hides her face and can't speak. He leans into her, resting his head on her shoulder. She puts her arm around him. They sit, Mitzi crying, Sammy horrified at what he's done.</scene_description>
<character>SAMMY</character>
<dialogue>I won't tell. I won't.</dialogue>
<scene_description>FADE TO BLACK.</scene_description>
</scene>
<scene>
<stage_direction>INT. A CAMERA STORE, PHOENIX - DAY</stage_direction>
<scene_description>CU on Sammy's much-used Bolex P1 camera in Sammy's hands, putting it down on the glass counter top.</scene_description>
<character>THE FIRST CLERK (O.S.)</character>
<dialogue>You sure about this?</dialogue>
<character>SAMMY</character>
<dialogue>Uh huh.</dialogue>
<scene_description>A rapping at the other end of the counter makes Sammy look; Bennie's handing a receipt to a SECOND CLERK.</scene_description>
<character>BENNIE</character>
<dialogue>There ya go, bought and paid for.</dialogue>
<character>THE SECOND CLERK</character>
<parenthetical>(taking the receipt:)</parenthetical>
<dialogue>Oh, just a second, it's in the back.</dialogue>
<scene_description>Bennie notices Sammy, waves and makes is way down the counter.</scene_description>
<character>BENNIE</character>
<dialogue>Stocking up on Kodak before the big move?</dialogue>
<character>SAMMY</character>
<parenthetical>(confused, suspicious, hostile:)</parenthetical>
<dialogue>No, I'm -</dialogue>
<character>BENNIE</character>
<dialogue>Smart! Film's cheaper here than in California. I bet everything's more expensive there.</dialogue>
<parenthetical>(to the clerk:)</parenthetical>
<dialogue>You're losing your steadiest customer. Him and his whole family, they're moving west.</dialogue>
<character>THE FIRST CLERK</character>
<parenthetical>(nodding, then:)</parenthetical>
<dialogue>He just sold me his camera.</dialogue>
<character>BENNIE</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Oh yeah? How come?</dialogue>
<character>THE FIRST CLERK</character>
<dialogue>Says he's finished.</dialogue>
<scene_description>The second clerk returns, placing a large box on the counter.</scene_description>
<character>THE SECOND CLERK</character>
<dialogue>Sorry about the wait, Mr. Loewy, we had to order it special.</dialogue>
<character>SAMMY</character>
<dialogue>You bought a camera?</dialogue>
<scene_description>Making a drumroll, Bennie slides the box across the counter to Sammy. It's a new Bolex H-8 Reflex camera.</scene_description>
<character>BENNIE</character>
<dialogue>It's for you.</dialogue>
<scene_description>Sammy stares at Bennie.</scene_description>
<character>BENNIE</character>
<dialogue>I know how much you loved using it for your war picture, so I figured you oughta have one of your own. It's, um, a bon-voyage-see-ya-later- alligator-I-believe-in-you present from your uncle Bennie.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE PARKING LOT OF THE CAMERA STORE - DAY</stage_direction>
<scene_description>Sammy storms out of the shop and crosses the street. Bennie catches up with him, grabs him by the arm, turns him around and thrusts the camera at him. Sammy won't take it.</scene_description>
<character>BENNIE</character>
<dialogue>Because it's from me?</dialogue>
<scene_description>Sammy looks away. Bennie stares at the box he's holding; then:</scene_description>
<character>BENNIE</character>
<dialogue>This move, huh? This, this is your dad's Glory Hallelujah moment, and oy vavoy, Sammy, does that guy ever deserve it! All the way back when, back at RCA, he knew what computing was gonna be about, before practically anybody else knew it. And IBM, that's where guys like Burt are figuring out how to use what he's made to - they're gonna change the whole goddamn world. So this was the right decision, for all sortsa reasons.</dialogue>
<scene_description>He waits for Sammy to respond. Sammy just turns to walk the other way.</scene_description>
<character>BENNIE</character>
<dialogue>Yeah, so, I'm happy for you, you know I am... But I'm gonna miss you. All of you. A lot.</dialogue>
<scene_description>Sammy glares at Bennie, daring him to continue. Bennie nods, then again offers the camera to Sammy, who steps back.</scene_description>
<character>BENNIE</character>
<dialogue>Think whatever bad things you want about me, kiddo, but you stop making movies, it'll break your mother's heart. You will break her heart, I mean it.</dialogue>
<parenthetical>(he tears up:)</parenthetical>
<dialogue>And she doesn't deserve that, not from anybody. Least of all from you.</dialogue>
<scene_description>He holds out the box. Sammy goes to walk away, but then pauses and turns back, looks at the cash he's holding.</scene_description>
<character>SAMMY</character>
<dialogue>I'll give you 35 bucks for it.</dialogue>
<character>BENNIE</character>
<dialogue>You drive a hard bargain, kid.</dialogue>
<scene_description>He holds out the box. Sammy holds out the money. Bennie takes it and hands him the box. Suddenly Bennie hugs Sammy, fiercely. As he does, a sob escapes. Bennie lets Sammy go. He turns and walks towards his car.</scene_description>
<character>SAMMY</character>
<dialogue>I'm still done making movies though.</dialogue>
<character>BENNIE</character>
<dialogue>Everybody makes movies in California!</dialogue>
<scene_description>Bennie gets into his car. Sammy looks down: the cash is sticking out of his shirt pocket.</scene_description>
<character>SAMMY</character>
<dialogue>Hey!</dialogue>
<character>BENNIE</character>
<parenthetical>(already driving away)</parenthetical>
<dialogue>Keep the change.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. THE FABELMAN CAR, A HIGHWAY BRIDGE, ARIZONA-</stage_direction>
<scene_description>CALIFORNIA BORDER - NOON Over this, The Crystals sing "Da Doo Run Run," ushering the Fabelmans out of Arizona. The Fabelman car rounds a curve in the highway with a small sign: WELCOME TO CALIFORNIA! CUT TO: Inside the car, The Crystals still singing.</scene_description>
<character>LISA</character>
<dialogue>When will the new house be finished?</dialogue>
<character>BURT</character>
<dialogue>A few months. In the spring.</dialogue>
<character>LISA</character>
<dialogue>Can I have my own room?</dialogue>
<character>BURT</character>
<dialogue>Everybody gets their own room.</dialogue>
<character>LISA</character>
<dialogue>Yay!</dialogue>
<scene_description>In the backseat, Natalie and Reggie smile! Mitzi, withdrawn, sporting a new cowboy hat, stares out the window. Burt laughs. Everyone looks at him.</scene_description>
<character>BURT</character>
<dialogue>I just remembered last night I had a funny dream.</dialogue>
<character>REGGIE</character>
<dialogue>What was it?</dialogue>
<character>BURT</character>
<dialogue>I can't believe I dreamed this. Uh, Bennie and me were having an argument, and I hauled off and socked him right in the nose.</dialogue>
<scene_description>Mitzi stares at Burt, mouth agape. CUT TO: HIGH SHOT, CALIFORNIA VISTA: The car pulls onto the shoulder of the highway. A small figure emerges from the passenger side. Mitzi throws her hat in the dirt and makes her way up a hill covered with ice poppies. CUT TO: Inside the car, the kids watch their mom climb the hill. Burt, expressionless, turns off the engine.</scene_description>
<character>NATALIE</character>
<dialogue>What's wrong?</dialogue>
<character>LISA</character>
<dialogue>Is mommy carsick?</dialogue>
<scene_description>Everyone sits for a moment.</scene_description>
<character>BURT</character>
<dialogue>Let's just give her a little time.</dialogue>
<scene_description>Sammy shoots an angry look at the back of his father's head, then opens the door. He slams it shut, then climbs the hill. Mitzi sits against a split rail fence, sunglasses on to hide her tears. Sammy leans against the fence by her. She takes off her glasses to look up at him. Sammy goes up to her and sits down beside her. She takes his hand and squeezes it.</scene_description>
<character>MITZI</character>
<dialogue>Bennie and me, we never... we never d - we never let it get as far as I imagine you think.</dialogue>
<character>SAMMY</character>
<dialogue>Oh I never imagined any of that.</dialogue>
<character>MITZI</character>
<dialogue>Do you think dad knows? I don't mean did you tell him, I know you didn't. But - do you think he has an inkling?</dialogue>
<scene_description>Sammy has no answer.</scene_description>
<character>MITZI</character>
<dialogue>I've almost told him so many times. I'll say "Burt, there's something I've got to tell you," and, and he looks at me like he can't conceive that anything could be wrong between us. So instead I say "Burt, we got ants," or "Burt, could you climb on the roof and turn the antenna so I can watch Channel 5?" Which, of course, he does.</dialogue>
<parenthetical>(heartbreak threatens to overwhelm, then:)</parenthetical>
<dialogue>I can't fight with your father. He</dialogue>
<scene_description>kills with such kindness. I'm mean to him, he buys me a dress. From Saks.</scene_description>
<character>SAMMY</character>
<parenthetical>(a beat, then:)</parenthetical>
<dialogue>Mom, when I showed you what I filmed, I never meant for any of this to happen.</dialogue>
<character>MITZI</character>
<parenthetical>(she nods, considering this, then, firmly:)</parenthetical>
<dialogue>Guilt is a wasted emotion.</dialogue>
<scene_description>A little surprised at this, Sammy starts to respond, then doesn't. Then:</scene_description>
<character>SAMMY</character>
<dialogue>What's gonna happen now?</dialogue>
<character>MITZI</character>
<parenthetical>(a beat, then:)</parenthetical>
<dialogue>I'm gonna be your mom. I'm gonna be the girls' mom. Despite my countless faults, I'm not ruining everything for everyone. I'm gonna not be selfish. Burt Fabelman is the kindest, smartest, wisest, most patient, most decent, most understanding man there is. And I'm gonna stay married to him.</dialogue>
<scene_description>Sammy looks at her, wanting to believe her. Mitzi stands and offers a hand to help Sammy up, resolved, smiling reassuringly.</scene_description>
</scene>
<scene>
<stage_direction>A98 EXT. THE RENTAL HOUSE, LOS GATOS - SUNSET A98</stage_direction>
<scene_description>The Fabelmans' car is parked outside. SCREEN TITLE: NORTHERN CALIFORNIA</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RENTAL HOUSE, LOS GATOS - SUNSET</stage_direction>
<scene_description>The interior is gloomy, meager furniture covered in sheets; the piano stands among unopened moving boxes, mummified in moving blankets and tape. Mitzi and the kids, holding the things they've brought with them from the car, look around, appalled. Then:</scene_description>
<character>BURT</character>
<dialogue>It's only a rental. The new house'll be ready faster than you can say Jack Robinson.</dialogue>
<character>REGGIE</character>
<dialogue>Jack Robinson.</dialogue>
<character>MITZI</character>
<parenthetical>(despondent:)</parenthetical>
<dialogue>And... We're still here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A SIDEWALK IN SARATOGA, CA - MORNING</stage_direction>
<scene_description>Sammy, Reggie and Natalie are walking to school, Natalie teasing Sammy, who ignores her.</scene_description>
<character>NATALIE</character>
<dialogue>Just tell me if you're gonna mope for the rest of your life or is this something you plan to outgrow?</dialogue>
<character>SAMMY</character>
<dialogue>Bug off.</dialogue>
<character>NATALIE</character>
<dialogue>You're like going for the Misery Merit Badge. You and mom, with your long faces. She can't even get out of bed to make breakfast, and -</dialogue>
<character>REGGIE</character>
<parenthetical>(Turning on them:)</parenthetical>
<dialogue>Okay! New rule, guys! When we walk to school in the morning let's just leave all the Fabelman mishegas behind us in the Fabelmans' moldy old rental house! And for eight hours a day let's be normal ordinary kids in an ordinary normal school, okay?</dialogue>
<scene_description>The school is in sight. They watch the other students going in. Sammy looks even more anxious and unhappy.</scene_description>
<character>SAMMY</character>
<dialogue>It's like we got parachuted into the land of the giant sequoia people.</dialogue>
<character>REGGIE</character>
<dialogue>Alright.</dialogue>
<scene_description>She forcefully shoves aside the towering JOCKS blocking the walkway, clearing a path to the school.</scene_description>
<character>REGGIE</character>
<dialogue>'Scuse me. 'Scuse me.</dialogue>
<scene_description>They move aside, laughing. More amused than insulted. Natalie and Sammy follow Reggie into the school.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GYM, GRAND VIEW HIGH SCHOOL, SARATOGA - DAY</stage_direction>
<scene_description>A boys' PE class, 24 BOYS, ages 16-18, is engaged in a robust game of volleyball.</scene_description>
<character>COACH</character>
<dialogue>Up and over, nice dig, Adam Johnson!</dialogue>
<scene_description>Sammy is on one team, surrounded by boys who seem much taller, stronger, more aggressive, and it seems like all of them are blonds. Sammy tries to participate but the game mainly goes on above his head.</scene_description>
<character>PLAYERS</character>
<dialogue>Set set set! / Get up! / Okay! / I got it!</dialogue>
<scene_description>Sammy is aggressively bumped aside by a teammate.</scene_description>
<character>COACH</character>
<dialogue>Way to get up!</dialogue>
<scene_description>From the opposing team comes a powerful spike by LOGAN HALL, golden-haired, very handsome, tall, the school's star athlete.</scene_description>
<character>COACH</character>
<dialogue>Nice, Logan! Do it again, go again. Good work, guys. Keep the intensity, keep moving.</dialogue>
<parenthetical>(as the next point begins)</parenthetical>
<dialogue>Rotate! Nice dig! Good job!</dialogue>
<scene_description>CHAD THOMAS, a short, muscular boy near the net on the opposite team, leaps and deliberately spikes the volleyball as hard as he can straight at Sammy. Sammy involuntarily crouches, the ball painfully bouncing off his crossed arms.</scene_description>
<character>COACH</character>
<dialogue>Fabelman, it won't hurt ya. It's a volleyball not a cannon ball!!</dialogue>
<scene_description>His teammates look at Sammy with contempt. Chad smirks at him with cold, alarming eyes. Logan calls to his teammate.</scene_description>
<character>LOGAN</character>
<dialogue>Let's go, serve.</dialogue>
<character>COACH</character>
<dialogue>Good reactions! Let's move!</dialogue>
<scene_description>Determined to make up for his earlier disgrace, Sammy sees the ball coming in low over the net. He moves to the front, then crouches and leaps as high as he can, swinging wildly with all his might, missing the ball but whacking Logan, on the other side of the net, hard on the top of his head. Logan sways, grabbing his head in pain. OWW!!! Everyone rushes forward.</scene_description>
<character>SAMMY</character>
<dialogue>Oh my god, I'm so sorry!</dialogue>
<scene_description>Suddenly Chad lunges at Sammy, snarling. He grabs Sammy's shirt; it tears at the neck.</scene_description>
<character>CHAD</character>
<dialogue>I'm gonna murder you ya piece of shit!!</dialogue>
<scene_description>The coach pulls Chad back. He struggles in his arms until -</scene_description>
<character>LOGAN</character>
<dialogue>Hey Chad!</dialogue>
<scene_description>Chad stops immediately, looking at Logan.</scene_description>
<character>LOGAN</character>
<dialogue>Cool it.</dialogue>
<scene_description>Chad calms, shrugs off the coach, and stalks away. Sammy comes under the net to apologize to Logan.</scene_description>
<character>SAMMY</character>
<dialogue>I am - I did NOT mean to do that. Are you okay?</dialogue>
<character>LOGAN</character>
<parenthetical>(low, to Sammy:)</parenthetical>
<dialogue>That really hurt. Asshole.</dialogue>
<character>COACH</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Watch your mouth, Logan.</dialogue>
<character>LOGAN</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Go fetch the ball.</dialogue>
<scene_description>Sammy turns. The ball is several feet behind him.</scene_description>
<character>SAMMY</character>
<dialogue>Sure, yeah...</dialogue>
<character>COACH</character>
<dialogue>Let's go.</dialogue>
<scene_description>Sammy runs towards the ball, the other boys whispering and snickering. Sammy's foot gets to the ball before his hands do, and he accidentally kicks it twenty feet away. The other boys find this hilarious. Sammy chases the ball, cursing under his breath. CUT TO: The locker room. Sammy sits, alone, in front of his locker, humiliated and dejected. He hears Chad's wheedling voice:</scene_description>
<character>CHAD</character>
<dialogue>Hey. New kid! What's your name?</dialogue>
<scene_description>Sammy looks up. Chad arrives in front of him, Logan behind him in his letterman jacket.</scene_description>
<character>SAMMY</character>
<dialogue>Sam.</dialogue>
<character>CHAD</character>
<dialogue>Sam What?</dialogue>
<character>SAMMY</character>
<parenthetical>(a beat:)</parenthetical>
<dialogue>Fabelman.</dialogue>
<character>CHAD</character>
<parenthetical>(to Logan:)</parenthetical>
<dialogue>Told you he's a kike.</dialogue>
<character>LOGAN</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>He doesn't like Jews.</dialogue>
<character>CHAD</character>
<dialogue>Nobody likes Jews.</dialogue>
<character>LOGAN</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Except other Jews, right?</dialogue>
<character>CHAD</character>
<dialogue>So Bagel Man -</dialogue>
<character>SAMMY</character>
<dialogue>No, that's not my name. Don't call me that.</dialogue>
<character>CHAD</character>
<dialogue>So, you gave my best friend a concussion, Bagel Man.</dialogue>
<character>SAMMY</character>
<dialogue>No I didn't. Leave me alone -</dialogue>
<scene_description>Sammy starts to stand; Chad slams him back on the bench, then leans in, glaring crazily:</scene_description>
<character>CHAD</character>
<dialogue>Hey! Don't argue with me! A serious concussion. So how do we make you pay? How about this? You're drinking from the fountain. You never hear me come up from behind you... And BAM!</dialogue>
<parenthetical>(miming a blunt blow with his palm:)</parenthetical>
<dialogue>I shatter your front teeth all over the spigot.</dialogue>
<scene_description>Logan, laughing, revolted, pushes Chad away from Sammy; then Logan leans down to Sammy. Sammy flinches, eyes down.</scene_description>
<character>LOGAN</character>
<parenthetical>(indicating Chad:)</parenthetical>
<dialogue>Hey, look at me. He's demented. Like, medically. So watch out for yourself.</dialogue>
<scene_description>Sammy looks up at Logan, who grins - could be friendly, or malicious, certainly dazzling.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE RENTAL HOUSE - LATE AFTERNOON</stage_direction>
<scene_description>Sammy is about to open the front door when he stops, hearing his sisters screaming and glass breaking inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RENTAL HOUSE, LOS GATOS - LATE AFTERNOON</stage_direction>
<scene_description>Sammy opens the door to find Mitzi's on the floor, frantically trying to assemble a metal cage, the directions open amid bolts, nuts and washers. A lightbulb rockets past her and shatters against the front door that Sammy's holding open. He ducks to avoid the flying glass.</scene_description>
<character>REGGIE</character>
<dialogue>Close the door!!!</dialogue>
<scene_description>Lisa and Natalie cower behind the sofa, while Reggie stands atop a step ladder under the chandelier. Above her, a brown capuchin monkey is clinging to the living room chandelier, unscrewing light bulbs and flinging them at the girls. There are still packing boxes everywhere, and the piano remains mummified.</scene_description>
<character>LISA</character>
<dialogue>Mom got a monkey!</dialogue>
<character>SAMMY</character>
<dialogue>Why'd you get a MONKEY?</dialogue>
<character>MITZI</character>
<dialogue>'Cause I needed to laugh.</dialogue>
<scene_description>The monkey throws another lightbulb at Natalie, who catches it. The monkey leaps down to the couch and clambers onto Natalie's shoulders. She shrieks.</scene_description>
<character>MITZI</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Help me with this! The directions don't make any sense!!</dialogue>
<scene_description>The monkey leaps from Natalie to the window drapes! Reggie is off the ladder and at the drapes. She starts shaking them. The monkey holds on for dear life, screeching. Natalie races to the kitchen.</scene_description>
<character>NATALIE</character>
<dialogue>I'll get a banana!</dialogue>
<character>MITZI</character>
<dialogue>Don't tear the curtains, they're rented!</dialogue>
<scene_description>The cage falls apart in Mitzi's hands. Then the curtains come down on Reggie. The front door opens and Burt walks in. He's bemused by the sight of Mitzi on the floor with the half-built cage. The monkey leaps to Burt's shoulder. He wraps his long hairy arms around Burt's head, knocking off his hat.</scene_description>
<character>BURT</character>
<dialogue>Oh!</dialogue>
<scene_description>The monkey starts playing with Burt's hair.</scene_description>
<character>BURT</character>
<parenthetical>(feigning calm)</parenthetical>
<dialogue>Hello. Who are you?</dialogue>
<character>MITZI</character>
<dialogue>He's mine.</dialogue>
<scene_description>Burt's quizzical, Mitzi defiant.</scene_description>
<character>LISA</character>
<dialogue>What are we gonna call him?</dialogue>
<scene_description>Everyone looks at Mitzi.</scene_description>
<character>MITZI</character>
<dialogue>Bennie. His name's Bennie.</dialogue>
<scene_description>Burt stares hard at Mitzi. The monkey licks his cheek. CUT TO: Mitzi's and Burt's bedroom, crowded with unpacked boxes, unhappy-looking.</scene_description>
<character>MITZI</character>
<dialogue>I don't want to see a psychiatrist, Burt.</dialogue>
<character>BURT</character>
<dialogue>You're scaring the kids. You're sleeping all day -</dialogue>
<character>MITZI</character>
<dialogue>I miss the desert. I miss dry heat.</dialogue>
<character>BURT (O.S.)</character>
<dialogue>You haven't even unwrapped the piano. You aren't cooking, or shopping or unpacking.</dialogue>
<scene_description>CUT TO: In the dark kitchen, Sammy, on the floor, listens to Burt and Mitzi's argument, floating in through a heating vent.</scene_description>
<character>MITZI (O.S.)</character>
<dialogue>Psychiatrists help you know why you're feeling something. They can't help you feel something different.</dialogue>
<character>BURT (O.S.)</character>
<dialogue>You're behaving like when your mother died.</dialogue>
<scene_description>CUT BACK TO: Mitzi's and Burt's bedroom.</scene_description>
<character>BURT</character>
<dialogue>Like you're in mourning. But... Nobody's died.</dialogue>
<scene_description>Mitzi stares at him for a long moment, till he looks away.</scene_description>
<character>MITZI</character>
<dialogue>Okay... so we'll call the monkey some other name.</dialogue>
<character>BURT</character>
<parenthetical>(a beat, then, quietly, scared:)</parenthetical>
<dialogue>IBM's out of his league, Mitts. Bennie was - he is my best friend. But they don't need him. This is what I know. I don't need him either.</dialogue>
<scene_description>He waits for a response. She remains silent, looking at her hands.</scene_description>
<character>MITZI</character>
<dialogue>Bennie wasn't your friend.</dialogue>
<parenthetical>(she looks up at Burt:)</parenthetical>
<dialogue>But you knew he was mine.</dialogue>
<scene_description>Fighting to keep his face fixed and inexpressive, he takes in what she's just told him, then he nods. CUT BACK TO: Reggie has joined Sammy by the vent. She looks at him, shocked.</scene_description>
<character>REGGIE</character>
<dialogue>What does that mean?</dialogue>
<scene_description>Sammy shakes his head and says nothing. Just closes the vent.</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND VIEW HIGH SCHOOL - AFTERNOON</stage_direction>
<scene_description>CU on the locker door. Sammy's hand opens the locker. Inside there's a bagel dangling from a string. Written with a felt pen on the bagel: JEW-HOLE Sammy pulls at the bagel; it breaks in pieces in his hands, leaving the string dangling. A109 CUT TO: A109 A walkway. Sammy walks among them, warily, his eyes peeled for Logan and Chad and their gang. Parched, he stops at a long drinking fountain with three spigots. He hesitates before taking a drink, remembering Chad's threat. Since no one threatening is nearby, he decides to go for it. He bends down to take a drink; just as he does, another boy bends in to drink. This startles Sammy who jumps away. CUT TO: Sammy enters a stairwell. He passes a poster advertising SENIOR YEAR DITCH DAY!!! VOLUNTEERS WANTED!!! Among the activities for which volunteers are wanted: PHOTOGRAPHERS!! Sammy is studying this, thinking, when he hears sounds coming from below: A boy moans, a girl moans, then the sounds of French kissing. Sammy tiptoes down a few steps, then cautiously leans over the railing to see who's making these sounds. Unable to see, he descends further, treading very quietly. Finally he can see a couple making out: a red-haired GIRL and Logan, rubbing against her, kissing her, his hands all over her sweater.</scene_description>
<character>RED-HAIRED GIRL</character>
<dialogue>Logan, I'm really, really missing you.</dialogue>
<scene_description>Sammy's transfixed, prurient and horny, till it registers how dangerous this situation is. He starts to climb up again, but trips, one knee striking a stair tread.</scene_description>
<character>SAMMY</character>
<dialogue>OW!!!</dialogue>
<scene_description>The girl pushes Logan off, straightening her clothes.</scene_description>
<character>LOGAN</character>
<dialogue>HEY!! Who's there? Who's there?!?</dialogue>
<scene_description>But Sammy has already sprinted up and out of the stairwell.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEHIND GRAND VIEW HIGH SCHOOL - AFTERNOON</stage_direction>
<scene_description>Sammy exits out the back of the building, covered by an awning. Then he stops abruptly as Chad appears from behind the last of the awning's vertical supports.</scene_description>
<character>CHAD</character>
<dialogue>Bagel Man! Yo!!</dialogue>
<scene_description>Sammy turns to run back in the opposite direction, just as four track jocks come out the rear door, followed by Logan with his arm around a beautiful blonde girl, CLAUDIA. She's wearing his letter sweater.</scene_description>
<character>CHAD</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>I left you a little snack in your locker. Didja like it?</dialogue>
<scene_description>Sammy is torn between an intense desire to murder this creep and fear of being slaughtered.</scene_description>
<character>ONE OF THE JOCKS</character>
<dialogue>Guess he wasn't hungry.</dialogue>
<character>LOGAN</character>
<dialogue>He said - He said it was -</dialogue>
<parenthetical>(to Chad:)</parenthetical>
<dialogue>What'd you call it, Chad?</dialogue>
<character>CHAD</character>
<dialogue>Kosher!</dialogue>
<character>CLAUDIA</character>
<dialogue>Knock it off, moron.</dialogue>
<parenthetical>(to Logan:)</parenthetical>
<dialogue>We talked about this.</dialogue>
<character>LOGAN</character>
<parenthetical>(to the jocks:)</parenthetical>
<dialogue>Come on, we'll be late for practice.</dialogue>
<scene_description>Sammy moves to leave, but Claudia steps in front of him.</scene_description>
<character>CLAUDIA</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>So what is this, you're Jewish?</dialogue>
<scene_description>Sammy stares at Claudia, unable to talk - she's beautiful, he's humiliated and scared. Chad hoots in delight and says to Logan:</scene_description>
<character>SAMMY</character>
<dialogue>Well...</dialogue>
<character>CHAD</character>
<dialogue>Holy crap, he's got the hots so bad he can't even talk to her!</dialogue>
<scene_description>NO I DON'T!</scene_description>
<character>CHAD</character>
<parenthetical>(To Sammy:)</parenthetical>
<dialogue>Apologize to her.</dialogue>
<character>SAMMY</character>
<dialogue>For what?</dialogue>
<character>CHAD</character>
<dialogue>For making googoo eyes at her, for drooling at her!</dialogue>
<character>SAMMY</character>
<dialogue>I wasn't drooling at her.</dialogue>
<character>CHAD</character>
<dialogue>Then apologize to her for killing Christ!</dialogue>
<scene_description>Logan and the jocks find this funny.</scene_description>
<character>CLAUDIA</character>
<parenthetical>(to Logan, angry:)</parenthetical>
<dialogue>Why are you encouraging him?</dialogue>
<character>CHAD</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Go on! Apologize to her for killing Our Lord!</dialogue>
<scene_description>Claudia starts to leave. Logan grabs her hand.</scene_description>
<character>LOGAN</character>
<dialogue>Don't go. Come watch me run.</dialogue>
<character>CLAUDIA</character>
<dialogue>No thanks, I'm not in the mood now.</dialogue>
<character>LOGAN</character>
<dialogue>Aww, please? I run better when you are there.</dialogue>
<scene_description>APOLOGIZE TO HER YOU CHRIST-KILLING SONOFABITCH!!</scene_description>
<character>CLAUDIA</character>
<parenthetical>(to Logan:)</parenthetical>
<dialogue>I'm going home.</dialogue>
<scene_description>Logan steps in between Chad and Sammy. Grinning, he says to Sammy:</scene_description>
<character>LOGAN</character>
<dialogue>Go on and say sorry, you're getting me in trouble with my girl.</dialogue>
<scene_description>Sammy looks at Logan for a beat, nods, then turns to Claudia.</scene_description>
<character>SAMMY</character>
<dialogue>You know, obviously since I'm not two thousand years old and I've never been to Rome, I'm not apologizing.</dialogue>
<parenthetical>(turning to Claudia)</parenthetical>
<dialogue>But hey, you know maybe, uh, your boyfriend should apologize to you for making out in the stairwell half an hour ago with some red- head.</dialogue>
<scene_description>Everyone freezes. Logan turns immediately to Claudia who looks stricken. He flashes his signature smile.</scene_description>
<character>LOGAN</character>
<dialogue>He's lying. He's - I didn't do that. I swear.</dialogue>
<character>CLAUDIA</character>
<dialogue>You told me you were finished with her. Logan, you lied to me!</dialogue>
<scene_description>Again he tries to speak, but Claudia tears off his letter sweater, throws the sweater on the sodden ground with his books and runs. Logan starts to follow, then stops. He picks up the sweater and stands, holding it.</scene_description>
<character>LOGAN</character>
<dialogue>Claudia...</dialogue>
<scene_description>The others watch him. Then Logan turns towards Sammy.</scene_description>
<character>CHAD</character>
<dialogue>Ooooooooh...</dialogue>
<scene_description>Holding the sweater, Logan charges at Sammy and punches him hard in nose, knocking Sammy flat against the asphalt. Logan stands over Sammy, breathing hard, his face contorted. Sammy covers his nose, spurting blood, holding up the other hand protectively. Logan slaps Sammy's upheld hand away.</scene_description>
<character>LOGAN</character>
<dialogue>You made a mistake.</dialogue>
<scene_description>Sammy defensively raises his hand again; Logan slaps it away.</scene_description>
<character>LOGAN</character>
<dialogue>LISTEN. TO. ME. You made a mistake and you're gonna fix it. Tomorrow -</dialogue>
<character>CHAD</character>
<dialogue>Bash his head in!</dialogue>
<character>LOGAN</character>
<parenthetical>(savagely:)</parenthetical>
<character>SHUT UP, CHAD, GODDAMN IT.</character>
<parenthetical>(back to Sammy:)</parenthetical>
<dialogue>Tomorrow you're gonna find her, first thing, and you're gonna tell her you were lying. Say you were, um, scared. Say - say whatever you gotta say, but you tell her it wasn't true and you did not see me doing that, or I swear I will hurt you worse than you've ever been hurt.</dialogue>
<scene_description>Logan leans in.</scene_description>
<character>LOGAN</character>
<parenthetical>(hissing:)</parenthetical>
<dialogue>You get me? Nod to show you dig what I'm saying.</dialogue>
<scene_description>Sammy nods. Logan stands and walks away. The other jocks follow him. Sammy is left on the ground as the tears come.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RENTAL HOUSE - EARLY EVENING</stage_direction>
<scene_description>Mitzi opens the door for Burt. She's already on the war path. Sammy is slumped on the couch, his eyes and his bandaged nose swelling and purple, clothes stained with blood.</scene_description>
<character>MITZI</character>
<dialogue>He won't tell me who did this!! Ask him who did this!!</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Tell your father who did this and he will drive to that little shit's</dialogue>
<scene_description>house and he will beat the living crap out of him!</scene_description>
<character>BURT</character>
<dialogue>Is your nose broken?</dialogue>
<character>MITZI</character>
<dialogue>Of course it's not broken, you think I'd be sitting here if his nose was broken -</dialogue>
<character>BURT</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Who hit you?</dialogue>
<character>SAMMY</character>
<dialogue>What do you care who it was? It's not like you'll do anything about it.</dialogue>
<character>BURT</character>
<dialogue>Tell me what happened first.</dialogue>
<character>SAMMY</character>
<parenthetical>(he goes off:)</parenthetical>
<dialogue>What happened is I hate it here! And what happened is you brought us here, because -</dialogue>
<character>BURT</character>
<dialogue>Because I got a better job, so we moved.</dialogue>
<character>SAMMY</character>
<parenthetical>(jumping to his feet:)</parenthetical>
<dialogue>You don't even care where you are, you get to go to work and that could be in Iceland! You're working with your goddamn machines so you get to be happy while the rest of us are miser-</dialogue>
<scene_description>Mitzi tries to put the ice pack against Sammy's nose which has started to bleed again. Sammy bats it away.</scene_description>
<character>SAMMY</character>
<dialogue>Don't!!</dialogue>
<character>MITZI</character>
<dialogue>You're bleeding on the carpet!</dialogue>
<character>SAMMY</character>
<dialogue>It's a rental house!!</dialogue>
<scene_description>Sammy snatches the ice pack from her and, still furious, he turns back to Burt.</scene_description>
<character>SAMMY</character>
<dialogue>Do you even notice how much we hate it here where, where we're practically the only Jewish people for miles, and everything is awful?! Do you even care that this is your fault, everything that's happening now, just because you ran away from home and took all of us with you?!</dialogue>
<character>BURT</character>
<parenthetical>(getting angry:)</parenthetical>
<dialogue>I came here so I could work ten times harder with ten times the responsibility which seems to have escaped everybody's notice -</dialogue>
<character>MITZI</character>
<dialogue>Could everyone settle, I wanna say something.</dialogue>
<character>BURT</character>
<dialogue>- so I could build us a nice home and a -</dialogue>
<character>SAMMY</character>
<dialogue>You didn't come here to build houses. You didn't come here to work. You ran away!</dialogue>
<character>BURT</character>
<parenthetical>(snapping:)</parenthetical>
<dialogue>I think you have something to say to me, Sammy, and if I'm right about that, then get it off your chest and say it to my face!</dialogue>
<scene_description>Mitzy climbs onto the piano bench to seize focus.</scene_description>
<character>MITZI</character>
<parenthetical>(loud:)</parenthetical>
<dialogue>I started therapy!</dialogue>
<scene_description>Burt and Sammy stop and stare at her. She stares back. Sammy storms out. Burt slumps into a chair and Mitzi lays back on the piano, both drained. CUT TO: Sammy's in his bedroom, so filled with rage he doesn't know what to do with himself. Lying in bed, he stares at the shadows on the bedroom wall, created by a streetlight, of leaves on a tree outside, moved by a strong breeze. A light rain begins to fall; Sammy looks at the shadows of the raindrops streaming down the wall, intermingling with the leaves. He raises his hand and watches its shadow move among the shifting lines made by the light streaming through the rain-streaked window. Grief, anger and terror rise up in him; he's frightened at the size of his feelings. He breathes, starting to panic. He tries to calm himself by focusing on the shadows of the swirling leaves and streaming water. He sits up suddenly, then kneels on the floor and from underneath his bed he pulls the box containing the Bolex H-8 Reflex camera. He opens the box and lifts the brand-new camera for the first time, examines it. He puts it to his ear. He pushes the release button. Closing his eyes, listening to the whirr of the camera's motor.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAND VIEW HIGH SCHOOL LIBRARY - MORNING</stage_direction>
<scene_description>CU on Claudia, hurt, angry, listening unsympathetically. She sits next to her friend MONICA SHERWOOD, shorter, pretty, indignant, intrigued. Sammy sits across from them, two black eyes, swollen nose.</scene_description>
<character>SAMMY</character>
<dialogue>Anyways, what I really wanted to say is that - about yesterday - what I told you was... It wasn't true and I lied. And...I'm sorry.</dialogue>
<character>CLAUDIA</character>
<dialogue>But... Why? What did I ever do to you?</dialogue>
<character>SAMMY</character>
<dialogue>Oh no no, it wasn't about you. No I didn't mean to hurt you.</dialogue>
<character>CLAUDIA</character>
<dialogue>Because that like really, really wasn't cool, y'know?</dialogue>
<character>CLAUDIA</character>
<dialogue>Because I really love Logan.</dialogue>
<character>MONICA</character>
<dialogue>Yeah, she cried herself to sleep, thinking he cheated on her. You ought to be more considerate of other people's feelings.</dialogue>
<character>SAMMY</character>
<dialogue>Okay, but Logan told me to say I killed Christ.</dialogue>
<character>MONICA</character>
<dialogue>What?! Why would he do that?!</dialogue>
<character>CLAUDIA</character>
<dialogue>That wasn't Logan, that was Chad and -</dialogue>
<character>SAMMY</character>
<dialogue>Logan laughed! He thought it was hilarious!</dialogue>
<character>CLAUDIA</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>He's Jewish.</dialogue>
<character>MONICA</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>You don't say?</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, I - Since the day I was circumcised.</dialogue>
<scene_description>Claudia laughs; Monica blushes. Sammy smiles with them.</scene_description>
<character>CLAUDIA</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>So how'd you know she was a redhead?</dialogue>
<character>MONICA</character>
<dialogue>Oh. My. God. He was making out with RENEE REYNOLDS?!?!</dialogue>
<scene_description>Both girls lean over the table, resting their heads on their folded hands, staring down Sammy.</scene_description>
<character>CLAUDIA</character>
<dialogue>If you were lying, how'd you know her hair color?</dialogue>
<scene_description>Sammy looks at Claudia; he's been busted, he has no answer. Claudia takes his bruised face in her hand, inspecting it. He winces, but of course he loves it.</scene_description>
<character>CLAUDIA</character>
<dialogue>Does it hurt?</dialogue>
<character>MONICA</character>
<dialogue>So you don't believe in Jesus.</dialogue>
<scene_description>Claudia releases Sammy's face.</scene_description>
<character>CLAUDIA</character>
<dialogue>Monica's like totally high on Jesus.</dialogue>
<character>MONICA</character>
<dialogue>I can't imagine my life without Him!</dialogue>
<character>SAMMY</character>
<dialogue>Well, we've managed for like 5,000 years, so I guess it's possible.</dialogue>
<character>MONICA</character>
<dialogue>Maybe we could, I dunno, get together? And pray on it?</dialogue>
<character>SAMMY</character>
<parenthetical>(laughing nervously)</parenthetical>
<dialogue>What, like... You and me?</dialogue>
<scene_description>She smiles warmly at him. Sammy is speechless.</scene_description>
<character>MONICA</character>
<dialogue>We can ask Him to come into your heart. And, y'know, see what happens.</dialogue>
<character>SAMMY</character>
<dialogue>Uh, yeah! Yeah, yeah, yeah...</dialogue>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>Sure! That'd be like, when? Like today?!</dialogue>
</scene>
<scene>
<stage_direction>INT. MONICA'S BEDROOM, LOS GATOS - AFTERNOON</stage_direction>
<scene_description>CU on a big poster of Jesus delivering the Sermon on the Mount, beautiful face, long flowing hair. Jesus is surrounded by Paul McCartney, John Lennon, another Jesus poster, JFK photos, another Jesus, Troy Donahue, yet another Jesus, Tab Hunter, Eddie Kookie Burns, Pat Boone and a few more Jesuses. Sammy inspects the posters.</scene_description>
<character>MONICA</character>
<dialogue>It's a lot, huh?</dialogue>
<character>SAMMY</character>
<dialogue>It's... sort of a shrine, almost. A shrine to guys. Lots of guys.</dialogue>
<character>MONICA</character>
<dialogue>They're sexy.</dialogue>
<character>SAMMY</character>
<dialogue>I guess.</dialogue>
<scene_description>Sammy moves to take in Claudia's bed. Above it is a HUGE crucifix, encircled by a heart of red Christmas lights.</scene_description>
<character>SAMMY</character>
<dialogue>I mean, not Jesus.</dialogue>
<character>MONICA</character>
<dialogue>Jesus is sexy.</dialogue>
<character>SAMMY</character>
<parenthetical>(a little shocked:)</parenthetical>
<dialogue>Isn't that like a sin or something?</dialogue>
<character>MONICA</character>
<dialogue>I dunno. He came to us as a man. A handsome young man. He could've come as a girl, or an old man, or someone with leprosy. But...</dialogue>
<scene_description>She's standing directly in front of him.</scene_description>
<character>SAMMY</character>
<dialogue>Nobody knows what he really looked like.</dialogue>
<character>MONICA</character>
<dialogue>Probably he looked like you.</dialogue>
<character>SAMMY</character>
<parenthetical>(perplexed, then:)</parenthetical>
<dialogue>Oh, because, because he was -</dialogue>
<character>MONICA</character>
<dialogue>Jewish. A handsome Jewish boy. Just like you.</dialogue>
<scene_description>She suddenly steps away to close her bedroom door, then moves back to Sammy with a sly smile. Sammy makes a slight move forward, unsure but deciding to try for a kiss. Monica puts two fingers in sacerdotal position between their lips.</scene_description>
<character>MONICA</character>
<dialogue>Let's pray.</dialogue>
<scene_description>Monica kneels down in front of him. He has no idea what to do. She reaches up, takes his shoulders, and pulls him to his knees. She presses her palms together in front of her.</scene_description>
<character>MONICA</character>
<dialogue>Close your eyes.</dialogue>
<scene_description>Sammy obeys. Monica takes a deep breath.</scene_description>
<character>MONICA</character>
<dialogue>Lord, I'm here with my friend Sammy-</dialogue>
<character>SAMMY</character>
<dialogue>Sam.</dialogue>
<character>MONICA</character>
<dialogue>I'm here with my good friend Sam, who's Jewish and he's a nice boy, Lord Jesus, he's good and brave and he's funny, Lord, and, and I like him.</dialogue>
<scene_description>She opens her eyes and takes Sammy's hand. He resists, puzzled, and she tries to shake him loose.</scene_description>
<character>MONICA</character>
<dialogue>Relax.</dialogue>
<scene_description>Monica quickly moves Sammy's hand to make the sign of the cross.</scene_description>
<character>MONICA</character>
<dialogue>Ask.</dialogue>
<scene_description>Sammy looks confused.</scene_description>
<character>MONICA</character>
<dialogue>Ask Him to come unto you, ask him to enter you.</dialogue>
<character>SAMMY</character>
<parenthetical>(at the ceiling, clearing his throat:)</parenthetical>
<dialogue>Um... Hi there, Jesus, it's me, Sam Fabelman. If you're real, show me a sign or something and -</dialogue>
<character>MONICA</character>
<dialogue>You can't ask Jesus to do tricks to impress you. You have to be humble, you have to beg him to - I'll do it.</dialogue>
<parenthetical>(inching closer to Sammy:)</parenthetical>
<dialogue>I'm going to beg the Holy Spirit to come into me, I'm going to draw the Spirit in with my breath.</dialogue>
<parenthetical>(a beat:)</parenthetical>
<scene_description>SPIRIT! COME INTO ME! PLEASE, HOLY SPIRIT, I'M BEGGING YOU, SWEET HOLY FATHER, FOR THE SAKE OF MY FRIEND SAMMY -</scene_description>
<character>SAMMY</character>
<dialogue>Sam.</dialogue>
<character>MONICA</character>
<dialogue>- COME INTO US, JESUS!! HEAR</dialogue>
<character>OUR PRAYER!!</character>
<dialogue>She sucks in a huge volume of air, then, holding her breath:</dialogue>
<character>MONICA</character>
<dialogue>Open your mouth, open your mouth and take the spirit of Christ into you!</dialogue>
<scene_description>Sammy opens his mouth. Monica, her eyes closed, brings her face right up to his and exhales powerfully. Sammy drinks in her breath. As he's doing this he opens his eyes, and she opens hers. They look into each others' eyes, and they kiss. Monica pulls back and crosses herself. Sammy awkwardly tries to copy her. A moment later, Monica pushes Sammy down on the bedspread, gets on top and bends down to kiss him. Sammy looks up at Jesus, crucified, looming above.</scene_description>
<character>MONICA'S MOTHER (O.C.)</character>
<dialogue>Monica? Sammy?</dialogue>
<parenthetical>(singsong:)</parenthetical>
<dialogue>I made snaaaaacks!</dialogue>
<scene_description>Monica devours Sammy with kisses. Immediately there's a knock on the door. Monica leaps off Sammy and Sammy jumps up. Both straighten their clothes as:</scene_description>
<character>MONICA</character>
<dialogue>WE'RE COMING!</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Tomorrow after school, wanna meet out back behind the bleachers?</dialogue>
<character>SAMMY</character>
<dialogue>Yeah!</dialogue>
<character>MONICA</character>
<dialogue>Cool! We can pray some more.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE DINING ROOM IN THE RENTAL HOUSE - EVENING</stage_direction>
<scene_description>The Fabelmans sit around the dinner table with their guests: Hadassah, older but her dress is a little more modern; and Monica. Bennie the monkey sits by Burt's plate; Burt feeds him a cherry tomatoes from his salad, spearing them on his fork one by one. Hadassah stares at the monkey with horror; Monica stares at him with astonishment as she listens to Mitzi:</scene_description>
<character>MITZI</character>
<dialogue>When I was a girl and I felt sad, I'd go to the zoo and I'd watch the monkeys.</dialogue>
<character>MONICA</character>
<dialogue>They made you laugh?</dialogue>
<character>MITZI</character>
<dialogue>Yeah, the monkeyshines. But there was more to it than that, it was...</dialogue>
<scene_description>She looks at Bennie the monkey.</scene_description>
<character>MITZI</character>
<parenthetical>(To Monica:)</parenthetical>
<dialogue>They understand what we've done to them, with the cages and the people pointing. We share that with them, the truth of how cruel people are. But if you watch them for long enough, you can tell they know stuff we can't begin to imagine, important stuff. And they're not going to let us in on it. Because it belongs to them, it's their own monkey business, theirs. It's not ours. It's, oh I dunno...</dialogue>
<character>BURT</character>
<dialogue>Self-possession.</dialogue>
<scene_description>Mitzi looks at him, an instant of deep connection. She gives him a sad smile.</scene_description>
<character>MITZI</character>
<dialogue>Right. They belong to themselves.</dialogue>
<scene_description>She hears what she's saying, and she turns away from Burt. He stares at her, hurt by the abrupt severing.</scene_description>
<character>HADASSAH</character>
<dialogue>If it belongs to itself, let it go back to where it came from.</dialogue>
<character>MITZI</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>Anyway, that's how come I got a monkey.</dialogue>
<character>NATALIE</character>
<dialogue>And a therapist.</dialogue>
<character>LISA</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>He throws his poop.</dialogue>
<character>MONICA</character>
<dialogue>The therapist?</dialogue>
<character>LISA</character>
<dialogue>No the monkey.</dialogue>
<character>HADASSAH</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>That's why I'm staying in a hotel.</dialogue>
<character>BURT</character>
<dialogue>You don't have to. We have plenty of room -</dialogue>
<character>HADASSAH</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>My rabbi in New Jersey says a monkey in the house isn't Kosher.</dialogue>
<character>MITZI</character>
<dialogue>That's why we're not going to eat him.</dialogue>
<character>BURT</character>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>Did you schedule him for his polio vaccine?</dialogue>
<character>MONICA</character>
<dialogue>They can get polio?</dialogue>
<character>MITZI</character>
<dialogue>(to Natalie:)</dialogue>
<scene_description>Pass the peas. (to Monica:) He hates going to the vet.</scene_description>
<character>BURT</character>
<dialogue>Well, they're susceptible to pretty much everything humans are, so yes.</dialogue>
<character>MITZI</character>
<dialogue>You see, Monica, in this family, it's the scientists versus the artists. Sammy's on my team, he takes after me, except he's got real talent.</dialogue>
<character>SAMMY</character>
<dialogue>Mom.</dialogue>
<scene_description>Natalie And he's completely terrible at science.</scene_description>
<character>REGGIE</character>
<dialogue>And algebra.</dialogue>
<character>NATALIE</character>
<dialogue>And sports.</dialogue>
<character>SAMMY</character>
<dialogue>Will you please stop!</dialogue>
<character>MONICA</character>
<dialogue>He showed me his camera.</dialogue>
<character>NATALIE</character>
<dialogue>Is he good at kissing?</dialogue>
<character>MONICA</character>
<dialogue>I'll tell you later.</dialogue>
<scene_description>Reggie and Natalie crack up. SHUT. UP.</scene_description>
<character>MITZI</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>He sleeps with a camera under his pillow -</dialogue>
<character>SAMMY</character>
<dialogue>No I don't!</dialogue>
<character>MITZI</character>
<dialogue>- but he refuses to actually shoot anything.</dialogue>
<character>MONICA</character>
<parenthetical>(a gasp, a GREAT idea!)</parenthetical>
<dialogue>He should shoot Ditch Day!</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>They still don't have a photographer. You could volunteer!</dialogue>
<character>MITZI</character>
<dialogue>What's Ditch Day?</dialogue>
<character>SAMMY</character>
<dialogue>It doesn't matter, I'm not going.</dialogue>
<character>REGGIE</character>
<dialogue>(to Mitzi:) It's a thing the Seniors get</dialogue>
<scene_description>to do at the end of the year.</scene_description>
<character>MONICA</character>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>They let us pretend like we're ditching school and we all take buses to Santa Cruz Main Beach.</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>You have to go, everyone goes! My dad'll lend you his camera, it's super-fancy, costs like a thousand dollars. It's called like a... an Air something? I forget.</dialogue>
<character>SAMMY</character>
<parenthetical>(a beat, then:)</parenthetical>
<dialogue>Wait. Not an Arriflex.</dialogue>
<character>MONICA</character>
<dialogue>Right!</dialogue>
<character>SAMMY</character>
<dialogue>Your dad owns a 16 millimeter Arriflex?!? Wow, wow, okay...</dialogue>
<character>MONICA</character>
<dialogue>(to Mitzi:)</dialogue>
<character>SAMMY</character>
<dialogue>But 16MM raw stock, two</dialogue>
<scene_description>Usually it's a teacher who minutes forty-five seconds a shoots the Ditch Day movie roll at ten bucks a roll, for and it's a big joke, but - a whole day, that'd be like (to Sammy:) insanely expensive - My dad'll get the school to pay for it.</scene_description>
<character>HADASSAH</character>
<dialogue>I owe you a graduation check.</dialogue>
<character>SAMMY</character>
<dialogue>- And I'd need to rent a 16MM editing machine, I have no idea how much that costs, so -</dialogue>
<character>MONICA</character>
<dialogue>My dad will rent one for you.</dialogue>
<character>MITZI</character>
<dialogue>We can rent it. Whatever it costs.</dialogue>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>Right? Burt?</dialogue>
<character>BURT</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Uh, what's wrong with your Bolex?</dialogue>
<character>MITZI</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>You could afford to be a little encouraging.</dialogue>
<character>BURT</character>
<dialogue>About what?</dialogue>
<character>MITZI</character>
<dialogue>About him making movies again.</dialogue>
<character>BURT</character>
<dialogue>Maybe he's moved on.</dialogue>
<character>SAMMY</character>
<dialogue>Well, I didn't say that! I just -</dialogue>
<character>MITZI</character>
<dialogue>On from what?</dialogue>
<character>BURT</character>
<dialogue>He hasn't picked up his camera once since we got here. He'll be going to college in September, maybe his feelings about it have changed. He's growing up. I'm enthusiastic about that.</dialogue>
<character>MITZI</character>
<dialogue>Filming is what he loves, and</dialogue>
<character>SAMMY</character>
<dialogue>Oh Jesus Christ!</dialogue>
<scene_description>I don't think him abandoning (to Monica:) what he truly loves is I'm sorry. something we should (to Mitzi:) celebrate. Do you? I'd think Guys, can we please stop that you more than anyone talking about me? would have some understanding (to Monica:) of what a, a vocation, a Let's go to your place or calling is! something, maybe your dad can show me the camera -</scene_description>
<character>BURT</character>
<parenthetical>(trying to make light of it, but underneath he's angry:)</parenthetical>
<dialogue>Alright, alright, we'll rent him the equipment!</dialogue>
<character>REGGIE</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>He hates the beach, that's why he doesn't want to go to Ditch Day.</dialogue>
<character>MITZI</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>But it's not your calling. Is that why you can't, um, respect it?</dialogue>
<character>BURT</character>
<dialogue>I have respect for everything he works hard doing!</dialogue>
<character>REGGIE</character>
<dialogue>He's afraid.</dialogue>
<character>NATALIE</character>
<parenthetical>(to Monica:)</parenthetical>
<dialogue>He's scared if he does those guys will beat him up again.</dialogue>
<scene_description>As the argument continues, the monkey moves from Burt to Mitzi, and Hadassah asks Sammy, who ignores her:</scene_description>
<character>SAMMY</character>
<dialogue>What? No I'm not! I never said that I was scared of them!</dialogue>
<character>HADASSAH</character>
<dialogue>You got beat up?!</dialogue>
<character>MITZI</character>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>You always dismiss what he does, what anyone does that's playful or imaginative as a pastime or a hobby-</dialogue>
<character>BURT</character>
<dialogue>You already won, Mitts. I surrendered. I'm not taking the bait.</dialogue>
<character>MITZI</character>
<dialogue>(to Burt:)</dialogue>
<character>SAMMY</character>
<dialogue>(to his parents:)</dialogue>
<scene_description>Who's baiting who? I said I'd Can you guys please cut it take him for his polio shot out! You're embarrassing me! the first five times you asked me. Didn't I?</scene_description>
<character>BURT</character>
<dialogue>Well, you say you will but I guess you don't mean it. So I ask again, and again, and -</dialogue>
<character>MITZI</character>
<dialogue>He's scared of shots! He's scared of the doctor -</dialogue>
<scene_description>Bennie the monkey, scared by the anger, jumps into Hadassah's lap Sammy stands up abruptly and slams the table!</scene_description>
<character>SAMMY</character>
<dialogue>I am taking the goddamned monkey to the vet! Okay?!</dialogue>
<scene_description>Hadassah scratches Bennie's head.</scene_description>
<character>HADASSAH</character>
<dialogue>He probably needs a tranquilizer with all this yelling.</dialogue>
<scene_description>Sammy looks at his family, then smiles; an idea is forming. He says to Monica:</scene_description>
<character>SAMMY</character>
<dialogue>Can you ask your dad about borrowing the camera?</dialogue>
<character>MONICA</character>
<dialogue>He'll say yes.</dialogue>
<character>SAMMY</character>
<dialogue>Thank you! I'm filming Ditch Day. I think it's a great idea.</dialogue>
<scene_description>Over this: the calliope intro to James Darren's "Goodbye Cruel World."</scene_description>
</scene>
<scene>
<stage_direction>EXT. SANTA CRUZ MAIN BEACH - DAY</stage_direction>
<scene_description>"Goodbye Cruel World" plays as Sammy, wielding Monica's dad's Arriflex 16-S, arrives at the beach, where a massive banner welcomes "GRAND VIEW HIGH CLASS OF '64". Monica rushes to join him, carrying a shoulder rig for the camera. The students have fanned out across the beach. They're swimming, sunning, chasing each other, building sand castles and burying each other in the sand. Sammy, Monica assisting, films all of this. Students use beach blankets to playfully toss a girl back and forth while Sammy films and Monica cheers. Sammy notices Logan, in a lively game of beach volleyball, leaping high in the air and spiking a ball. At a long table, Sammy films several students having a hot dog-eating contest. Monica and some sunbathers stage a gag for Sammy. Monica stands directly above one of the sunbathers, then drops a small glob of vanilla ice cream onto his forehead. Late afternoon, golden light. In the parking lot an improvised circular track of traffic cones and trash cans, the perimeter surrounded by students, cheering as the strongest athletes in the class race each other. Logan, naturally, is winning. Sammy kneels and pans to follow Logan with his camera. Sammy films Claudia and Monica passing under a limbo bar together. Logan watches from the crowd and catches Claudia's eye, but she turns her back on him. But when Logan goes under the bar next, Claudia can't help but watch. She walks off and Monica goes to drape herself on Sammy as he keeps filming. She nuzzles into his cheek until he gets the hint and lets her peer through the viewfinder. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. 8MM FOOTAGE: THE NEW HOUSE IN SARATOGA - DAY</stage_direction>
<scene_description>It's cloudy and silent, with only the whirr of the camera heard under the footage. Sammy, behind the lens, heads up the walkway to the front door. Burt, Reggie, Natalie and Lisa are excited. Mitzi glances at the house's unfinished exterior, promising to become a handsome, generously-proportioned A-Frame. She looks away, out at the view. The girls rush inside, followed by Burt and the camera. It follows the girls, exploring - the boxed appliances in the kitchen, the hall leading to their new rooms. Then the camera pans to the front window, where Mitzi stands looking in. Burt knocks and waves to her and gestures to Sammy to shoot her. Burt plants a big kiss on Mitzi then runs into the expansive, sun-soaked living room, miming where her grand piano will live. The girls run back in and Burt lines them up in the living room and has Sammy frame the front door. He rushes outside and sweeps Mitzi in his arms like a bride, silhouetted by the strong sun behind them. As Burt carries Mitzi over the threshold, towards the camera, their faces growing distinct, the film slows down till it advances one frame at a time; then finally it freezes on a frame of Burt, happy and proud, and Mitzi, staring at the camera with a sad, lost smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RENTAL HOUSE, LOS GATOS - MORNING</stage_direction>
<scene_description>Burt steps into frame with a sad, gentle look.</scene_description>
<character>BURT</character>
<dialogue>Don't be scared.</dialogue>
<scene_description>The kids are seated on the sofa. Lisa is holding Bennie the monkey. She's crying, as is Reggie. Natalie scowls fiercely.</scene_description>
<character>BURT</character>
<dialogue>Your mom misses Phoenix too much -</dialogue>
<scene_description>Mitzi sits on the piano bench, tears in her eyes:</scene_description>
<character>MITZI</character>
<dialogue>(softly, not looking at anyone, to Burt:)</dialogue>
<character>BURT</character>
<dialogue>- and I can't leave, this is where my work is, I have to -</dialogue>
<scene_description>Tell them the truth.</scene_description>
<character>NATALIE</character>
<dialogue>That's crazy! You don't, you can't ruin everything because -</dialogue>
<parenthetical>(to Mitzi:)</parenthetical>
<dialogue>- you miss one place and -</dialogue>
<parenthetical>(to Burt:)</parenthetical>
<dialogue>- you're stuck someplace else!</dialogue>
<character>MITZI</character>
<dialogue>I miss Bennie too much.</dialogue>
<character>NATALIE</character>
<parenthetical>(a beat, shocked; then:)</parenthetical>
<dialogue>So? We all miss him.</dialogue>
<scene_description>Sammy sits alone on the stairs, watching Mitzi.</scene_description>
<character>MITZI</character>
<dialogue>This is a different kind of missing.</dialogue>
<character>NATALIE</character>
<dialogue>Because what? You love Bennie?</dialogue>
<scene_description>No one answers her.</scene_description>
<character>LISA</character>
<dialogue>Don't you love daddy?</dialogue>
<character>MITZI</character>
<dialogue>Of course I love daddy.</dialogue>
<character>BURT</character>
<dialogue>Sure she does, and I love mom, that's not -</dialogue>
<scene_description>WHY IS THIS ALL OF A SUDDEN HAPPENING??</scene_description>
<character>REGGIE</character>
<dialogue>Stay together. You love each other and you love us, and we don't want this, we don't want to have to move back and forth and not live with both of you, we can't! Dad, we can't -</dialogue>
<scene_description>Natalie leaps from the sofa to confront Mitzi.</scene_description>
<character>NATALIE</character>
<parenthetical>(to Mitzi, red with rage:)</parenthetical>
<character>YOU'RE ALWAYS SO MEAN TO HIM!!</character>
<dialogue>THAT'S WHY YOU'RE GETTING DIVORCED!</dialogue>
<character>BURT</character>
<dialogue>Don't blame your mom. This</dialogue>
<character>MITZI</character>
<dialogue>No, don't say that, that's -</dialogue>
<scene_description>wasn't her idea, it was mine.</scene_description>
<character>NATALIE</character>
<parenthetical>(to Burt:)</parenthetical>
<character>NO IT WASN'T YOUR IDEA!! SHE JUST</character>
<dialogue>SAID IT WAS BECAUSE OF BENNIE! SO</dialogue>
<character>STOP LYING!! BOTH OF YOU STOP</character>
<dialogue>LYING!!</dialogue>
<character>BURT</character>
<dialogue>I'm giving your mom a chance to go back to Phoenix to live...</dialogue>
<scene_description>Sammy takes it all in, numbed and disconnected. He sees the drama playing out in the mirror over the mantle. In the reflection, he sees HIMSELF filming everything, moving through his family like they're actors.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAMMY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Sammy is working at a rented 16MM editor, surrounded by film, a tape recorder, tapes, a record player, 45s rpms. Labeled film strips are taped to the walls. Sammy has Jimmy Soul's "If You Wanna Be Happy" playing for inspiration. Reggie comes in. Sammy looks up at her, stop the music, then goes back to his editing.</scene_description>
<character>REGGIE</character>
<dialogue>I don't understand how you can go back to your beach blanket movie after that.</dialogue>
<character>SAMMY</character>
<dialogue>We're different, I guess.</dialogue>
<scene_description>He works. Reggie goes to sit on his bed, then:</scene_description>
<character>REGGIE</character>
<dialogue>Is she gonna marry Bennie?</dialogue>
<character>SAMMY</character>
<dialogue>If she wants to, she will, she's the most selfish person on earth.</dialogue>
<character>REGGIE</character>
<dialogue>It must've been hard for her, married to a... a genius.</dialogue>
<character>SAMMY</character>
<dialogue>Dad worships Mom.</dialogue>
<character>REGGIE</character>
<dialogue>OK - But maybe it's hard, being worshipped by someone you know you'll never be as good as, or ever do anything as good as. She laughs at Bennie's jokes, but...</dialogue>
<parenthetical>(she shakes her head:)</parenthetical>
<dialogue>Dad's always been her best audience.</dialogue>
<scene_description>Reggie starts to cry.</scene_description>
<character>SAMMY</character>
<dialogue>Come on. She'll be fine, she'll tell herself everything happens for a reason, she'll make excuses like she always -</dialogue>
<character>REGGIE</character>
<dialogue>You're way more selfish than her.</dialogue>
<scene_description>Sammy, confused, tries to laugh it off.</scene_description>
<character>REGGIE</character>
<dialogue>That's why you're angry at her. It's because she's scared. Just like you, Sammy. Out of everyone in this outta-control falling-apart family, the one who's most like Mitzi is you.</dialogue>
<scene_description>Reggie waits for Sammy to respond. He looks down and doesn't say anything. So Reggie stands and starts to leave the room.</scene_description>
<character>SAMMY</character>
<dialogue>Wait.</dialogue>
<scene_description>Reggie stops and turns to him.</scene_description>
<character>SAMMY</character>
<dialogue>Before I show this to the whole school, could you please watch it with me?</dialogue>
<scene_description>Reggie nods yes. She goes to Sammy, puts her hands on his shoulders and leans in. He pushes the button and the film starts to play.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE GRAND VIEW HIGH SCHOOL PARKING LOT - NIGHT</stage_direction>
<scene_description>Sammy pulls up in the family car, Monica beside him. All around them, students are exiting their cars in prom dresses and tuxes. Colorful lights from the prom illuminate the big gym window. CUT TO: Inside the car, Sammy in a suit and tie reaches behind to get something on the back seat. Monica, in a big baby-blue prom dress, beehive hair, lifts a can of hair spray.</scene_description>
<character>MONICA</character>
<dialogue>Hold your breath!</dialogue>
<scene_description>She sprays her hair, blasting Sammy, blinding him. He frantically rolls down the window to get some air. Coughing, but smiling, he reaches into the back seat for a box containing a corsage.</scene_description>
<character>SAMMY</character>
<parenthetical>(blindly holding the box out to Monica:)</parenthetical>
<dialogue>Here!</dialogue>
<character>MONICA</character>
<parenthetical>(taking it:)</parenthetical>
<dialogue>Oh wow!!!</dialogue>
<scene_description>She opens the box and lifts out the corsage. A gold chain is pinned to the base of the corsage; Monica, confused, surprised, lifts the flower until, at the end of chain, a small gold crucifix swings free of the box. Monica looks at it, not knowing how to react. She looks at Sammy.</scene_description>
<character>MONICA</character>
<parenthetical>(a beat, then, shyly:)</parenthetical>
<dialogue>Did you find Jesus?</dialogue>
<character>SAMMY</character>
<parenthetical>(deadpanning:)</parenthetical>
<dialogue>In a jewelry store.</dialogue>
<scene_description>She stares at him, then she laughs and throws her arms around his neck and kisses him.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE GYM, GRAND VIEW HIGH - NIGHT</stage_direction>
<scene_description>All the Senior Prom glitz and glamor the student organizing committee could muster. On a raised platform at one end of the gym, Claudia in a sparkly prom dress, is singing "Walk On By," accompanied by ten student MUSICIANS, including the nearsighted accompanist at the keyboards and a TRUMPET PLAYER, struggling with his exposed six-note solo. Behind the band, a banner announces the theme - "Reaching for the Stars" - in glitter letters. Passing by the stage, Logan stares up at Claudia, his look of hopeless yearning making it clear they're not back together. She sings out, ignoring him. Sammy and Monica are slow dancing, her head on his shoulder. She's wearing the corsage and the crucifix. She looks very happy. Sammy looks burdened.</scene_description>
<character>SAMMY</character>
<dialogue>So in September when I move to LA. I'm gonna try to get work in a movie studio.</dialogue>
<character>MONICA</character>
<dialogue>I thought you were going to college?</dialogue>
<character>SAMMY</character>
<dialogue>Could you - Would you ever consider coming with me?</dialogue>
<scene_description>Monica raises her head and looks at him.</scene_description>
<character>MONICA</character>
<dialogue>I'm going to Texas A&M. You know that.</dialogue>
<character>SAMMY</character>
<dialogue>Yes, I do. But I thought maybe you should change your mind. Because...</dialogue>
<character>MONICA</character>
<dialogue>Because what?</dialogue>
<character>SAMMY</character>
<dialogue>Because I love you?</dialogue>
<character>MONICA</character>
<dialogue>OW! SAMMY!</dialogue>
<scene_description>He's just stepped on her foot.</scene_description>
<character>SAMMY</character>
<dialogue>I'm sorry! Sorry sorry sorry!</dialogue>
<character>MONICA</character>
<dialogue>That's not...possible!</dialogue>
<character>SAMMY</character>
<dialogue>What? No, it is! Monica, I love you!</dialogue>
<character>MONICA</character>
<dialogue>That's impossible! Sammy -</dialogue>
<character>SAMMY</character>
<dialogue>Sam.</dialogue>
<character>MONICA</character>
<dialogue>We only started dating like -</dialogue>
<scene_description>Monica pulls a little away from him.</scene_description>
<character>MONICA</character>
<dialogue>Everything was so normal before! Why're you acting so -</dialogue>
<character>SAMMY</character>
<dialogue>No, because nothing is normal now. They're getting a divorce.</dialogue>
<character>MONICA</character>
<dialogue>What are you talking about?!</dialogue>
<character>SAMMY</character>
<dialogue>My mom and dad, they're splitting up.</dialogue>
<character>MONICA</character>
<dialogue>Jesus Christ!! This is Prom! You can't just blurt something out like that at Prom!</dialogue>
<scene_description>Monica walks off the dance floor. Sammy follows.</scene_description>
<character>SAMMY</character>
<dialogue>Wait -</dialogue>
<scene_description>Claudia's THREE BACKGROUND SINGERS punctuate the moment with a staccato -</scene_description>
<character>BACKUP SINGERS</character>
<dialogue>Don't! Stop!</dialogue>
<scene_description>Sammy catches up to Monica.</scene_description>
<character>SAMMY</character>
<dialogue>Monica! Look, that's - That's got nothing to do with us, okay! That's not why I said that I love you, I don't know why -</dialogue>
<scene_description>She stops and turns on him.</scene_description>
<character>MONICA</character>
<dialogue>I'm not gonna like change my whole life and move to Hollywood because your parents are having marital difficulties!</dialogue>
<scene_description>Claudia's song continues in the background. Sammy steps away, trying to figure out how to salvage the situation. He returns to find that Monica has taken off the necklace.</scene_description>
<character>MONICA</character>
<dialogue>You can get a refund. I hardly wore it at all.</dialogue>
<scene_description>She holds it out to him.</scene_description>
<character>SAMMY</character>
<dialogue>Are you breaking up with me?</dialogue>
<character>MONICA</character>
<dialogue>Not at Prom, but of course eventually.</dialogue>
<scene_description>Monica wraps his hand around the crucifix.</scene_description>
<character>MONICA</character>
<dialogue>I'm gonna pray on it, and I'm gonna pray really really hard for you, because you are such a fun boy to kiss, but -</dialogue>
<scene_description>Claudia has finished her song and the dancers are applauding her. Monica stops when the Principal taps the microphone.</scene_description>
<character>PRINCIPAL</character>
<dialogue>Thank you, thank you, wonderful, wonderful! Let's thank our band for that great music!</dialogue>
<character>MONICA</character>
<dialogue>Sometimes we just can't fix things, Sam, and all we can do is suffer.</dialogue>
<character>PRINCIPAL</character>
<dialogue>Now we're going to take a little break from the dancing for a very special moment for the Class of 1964 -</dialogue>
<scene_description>Everyone cheers at the mention of the Class of 1964. As the Principal begins to scan the crowd:</scene_description>
<character>PRINCIPAL</character>
<dialogue>Mr. Samuel Fabelman, where are you?!</dialogue>
<scene_description>A follow-spot manned by a kid in the bleachers searches till it finds Sammy: Ashen and blinking. Blinded, he turns to where Monica had been standing: She's gone. He looks around for her, then he looks down at his hand. He's holding the golden cross as it winks, spinning in the spotlight. BAGEL MAN! BAGEL MAN! The JOCKS and other kids start to pick up the chant.</scene_description>
<character>PRINCIPAL</character>
<dialogue>There you are!! Okay! Okay. Face this way. Grab a chair. Let's all get close to the screen. Right up front. Very good. Mr. Fabelman, this is your big moment!! We're ready to watch your Technicolor masterpiece: DITCH DAY 1964!</dialogue>
<scene_description>The students cheer. Sammy startles, then, still in a trance, he heads towards the projector at the rear of the auditorium.</scene_description>
<character>PRINCIPAL</character>
<dialogue>And as they say way down south in Hollywoodland: LIGHTS!!!</dialogue>
<scene_description>He pantomimes rolling a camera, then catches and corrects himself. LIGHTS!!! CAMERA!!! ACTION!!!! The auditorium grows dark. Sammy turns on the reel, which starts to spin. Then he puts one hand on the projector's light switch and another on the tape recorder. He flicks both switches simultaneously. The tape recorder starts playing music - the score for the film, an amalgam of pop songs and movie scores as the projector's beam flares up and whites out the whole screen. First up, once more it's Jimmy Soul's "If You Wanna Be Happy". 16MM FILM: Title card: GRAND VIEW HIGH "DITCH DAY" Dozens of students running into the ocean, diving into waves. A montage: Swimming; chasing; the hot-dog mouth stuffing contest; dancing; sunbathing; making out - which elicits hoots and cheers from the audience. The audience hoots and cheers at every fun moment. At the projector, Sammy closes the housing and puts his head in his hands. But slowly, he looks up to watch the movie. ON THE SCREEN Two lines square off in a water balloon skirmish. Logan's red- headed stairwell tryst partner (Renee) takes a ballon full in the face. A quick pan catches her assailant (Claudia) mouthing an insincere "Sorry". IN THE AUDITORIUM Claudia enjoys the moment all over again, looking past Monica at her side to smirk at Renee. ON THE SCREEN Chad sneaks up to an OBLIVIOUS COUPLE and steals their unattended beers. IN THE AUDITORIUM Chad smiles proudly among his pals, feeling cool. ON THE SCREEN Zooming in on a volleyball game. The ball arcs high in the air. Logan, on the other side of the net, crouches down, and then leaps up. As Logan reaches his apogee, his arm starting to swing upwards, the film goes into slow motion; he seems to be floating in space, the sun over his shoulder flaring in the lens, his eyes wide open, his hair windblown. The audience in the gym has gotten completely quiet. Logan's hand, fingers spread wide, meets the ball and grasps it, causing sand stuck to the ball to explode outwards. As he hurls the ball downwards with enormous force, the film speeds up. The ball strikes the beach, scattering players who duck to avoid it, and all the students, those watching the game in the film and those watching the film in the gym, go crazy! IN THE AUDITORIUM Chad and the other jocks slap Logan on the back, congratulating him. But Logan finds he can't enjoy the moment. Something feels off. On the other side of the projector, Sammy watches Logan through the turning reels. ON THE SCREEN Chad, beer in hand, starts to sit down on a towel next to a girl. She pulls the towel out from under him, gets up and relocates. IN THE AUDITORIUM Even more laughter from the crowd as Chad starts to squirm with embarrassment. ON THE SCREEN A seagull, hovering. And a new music cue - Chubby Checker's "Limbo Rock". The camera does a vertical swish-pan down from the bird to some sunbathers; a glob of white goo (vanilla ice cream) smacks the boy on his forehead! Screams and laughter and applause from the audience. Now there are two gulls; the camera pans down to the girl, looking up in horror as a blob of white shit hits her right in the eye. IN THE AUDITORIUM Groans and laughs mix together. One grossed out girl cries out - OH NO! ON THE SCREEN A veritable flock of gulls. The camera pans down to the other boy, stretching and yawning wide. There's a swell of anticipation in the crowd before the biggest blob of birdshit yet goes right into his mouth. IN THE AUDITORIUM The audience's delights verges over into ecstatic chaos. The last "victim" gleefully pantomimes gobbling up the "birdshit", then stands on his chair to soak up the crowd's adulation. At the projector, Sammy takes it all in. ON THE SCREEN Students limbo under the pole, lower and lower. Those who succeed earn applause, those who fail get applause and laughs. Claudia and Monica pass under, Claudia turning away from Logan as he watches from the crowd. Then Logan, doing the impossible, limboing under the pole when it's only a couple of feet above the sand. Sammy's camera angles emphasize the athleticism involved, making this something heroic. The kids in the gym start clapping along with the kids on screen. Sammy locates and films Chad, walking drunkenly alone at surf's edge, unaware that he's being observed, a pathetic image. IN THE AUDITORIUM Chad angrily pushes his way past his crew and out of the room while Logan keeps watching the footage, inscrutable. The students rise from their chairs, cheering, as the screen shows late afternoon at the improvised track. To the score from The Captain From Castille, the track jocks are racing each other, sunlit sand flying up from their feet like sparks. Sammy's filmed this from many angles, and the assemblage is thrilling. Logan's in the lead. He flies past the camera, glistening with sweat, hair streaming, his expression transcendent. The final lap. Four students stretch a tall barrier of butcher paper across the track's finish line. On the paper, "CLASS OF 1964." They've just pulled the sign taut when Logan explodes through it, ripping it right down the center, arms raised in victory. Wild cheers from the audience on screen and in the gym. Claudia's eyes are shining. Logan seems confused and overwhelmed, unable to enjoy the cheers of the students around him. The film cuts immediately to: The entire class gathered in front of a gorgeous sunset for a group photo. A single title appears above them: THE END CUT TO: The gym's lights come on abruptly. The students all around Sammy are cheering, applauding, hooping and hollering; Sammy looks down, hoping not to be noticed. He becomes aware that the crowd is moving. At first it seems to be moving towards him; he looks up and sees that the students are pushing past him, oblivious to him; they're surging towards Logan. Sammy looks around: All the applause and excitement is for Logan, not for him. He looks at Logan, disoriented and unhappy at the center of the attention. Logan's JOCK PALS hoist him on their shoulders. But he squirms in protest.</scene_description>
<character>LOGAN</character>
<dialogue>No! No no...</dialogue>
<scene_description>They put him back on his feet. The crowd parts as Renee walks up to Logan. He looks lost as she approaches him.</scene_description>
<character>RENEE</character>
<dialogue>Logan, you looked so incredible up there. It was amazing.</dialogue>
<scene_description>But Renee is forced to step aside as Claudia confidently approaches. Claudia stares into Logan's eyes, serious and sad, then she kisses him. They embrace. The other kids cheer as... ... Monica pushes through the crowd towards the projector, excitedly looking around for Sammy. But she finds only the projector and the tape recorder running; Sammy is gone. Unable to locate him anywhere, Monica switches off the tape recorder. CUT TO: A hallway, somewhere in the school. Sammy is sitting on the floor, back to a wall of lockers, knees drawn up, head down, the crucifix still dangling from his clenched hand. He keeps his head down as he hears footsteps coming down the hall, then stopping in front of him. Sammy doesn't look up.</scene_description>
<character>LOGAN (O.S.)</character>
<dialogue>Why'd you do that?!</dialogue>
<scene_description>Sammy looks up. Logan is there, agitated, perplexed, angry, suspicious, maybe even afraid. He glares at Sammy, not knowing what to say next. Sammy waits, then:</scene_description>
<character>SAMMY</character>
<dialogue>What?</dialogue>
<character>LOGAN</character>
<dialogue>Why'd you make me look like that?!</dialogue>
<character>SAMMY</character>
<dialogue>In the film?</dialogue>
<scene_description>YES IN THE FILM!! He slams his fist, hard, right into the locker above Sammy's head. Sammy cringes. The loud BOOM!! and the rattling adjoining lockers echo down the hall. Logan grabs his hand, dancing around in pain. OOWWWWWWWWWW SHIT SHIT!!! (to Sammy:) What's the matter with you?! I've been a, a total asshole to you! I broke your nose! And, and then -</scene_description>
<character>SAMMY</character>
<dialogue>You didn't break my nose, you almost did but you didn't break it-</dialogue>
<character>LOGAN</character>
<dialogue>- then you go and make me look like like that!? What's wrong with you?!</dialogue>
<character>SAMMY</character>
<dialogue>Logan. All I did was hold the camera and it saw what it saw -</dialogue>
<character>LOGAN</character>
<dialogue>BULLSHIT, Fabelman, you made me look like, like this golden kind of... THING!</dialogue>
<character>SAMMY</character>
<dialogue>Yeah?</dialogue>
<character>LOGAN</character>
<dialogue>And Claudia!? She just kissed me!</dialogue>
<character>SAMMY</character>
<parenthetical>(grim, almost to himself:)</parenthetical>
<dialogue>Mazeltov.</dialogue>
<character>LOGAN</character>
<dialogue>In front of the whole school - I treat her shittier than I treat you, and now -</dialogue>
<character>SAMMY</character>
<dialogue>(he's had enough of this!) OK great! You're welcome,</dialogue>
<scene_description>man! Jesus Ch - He gets up and starts to walk away. Logan blocks him.</scene_description>
<character>LOGAN</character>
<dialogue>Hey wait, don't go. Don't go.</dialogue>
<scene_description>Sammy stops.</scene_description>
<character>LOGAN</character>
<dialogue>I wanna know why you did that.</dialogue>
<character>SAMMY</character>
<dialogue>I don't know, I oughta have my head examined.</dialogue>
<character>LOGAN</character>
<dialogue>Am I supposed to feel bad now about all that shit we did to you?</dialogue>
<character>SAMMY</character>
<dialogue>DO you feel bad about it -?</dialogue>
<character>LOGAN</character>
<dialogue>That's none of your goddamn business!</dialogue>
<character>SAMMY</character>
<dialogue>Because you should feel bad about it!</dialogue>
<character>LOGAN</character>
<dialogue>Alright! That's why you did it!! You want me to feel like crap -</dialogue>
<character>SAMMY</character>
<dialogue>I wanted you to be nice to me for five minutes, or - I did it to make my movie better! I don't know why. You are the biggest jerk I have ever met in my entire life, I HAVE A MONKEY AT HOME THAT'S SMARTER THAN YOU, you dumb anti-Semitic ASSHOLE. I made you look like you can fly!!</dialogue>
<scene_description>BUT I CAN'T FLY!! I CAN OUTRUN ANY GUY IN SANTA CLARA COUNTY, AND I WORKED REAL HARD TO DO THAT! But you, you make me feel like I'm some kinda failure or a phony or, or like I'm supposed to be some guy I'm never gonna be, not even in my dreams - YOU TOOK THAT GUY WHOEVER HE IS WHEREVER YOU GOT HIM FROM AND YOU PUT HIM UP THERE ON THAT SCREEN AND TOLD EVERYONE, EVERYONE THAT THAT'S ME!! AND THAT'S NOT ME!! THAT'S - IT'S - Logan stops, shaking, trying to control himself, but a loud sob rises up from deep inside him, and to his and Sammy's horror, he starts to cry.</scene_description>
<character>LOGAN</character>
<dialogue>Goddamn it, goddamn...</dialogue>
<scene_description>Logan sits on the floor, his back against the lockers, cradling his head, crying. Sammy stares at him, flummoxed.</scene_description>
<character>SAMMY</character>
<dialogue>Jesus, it wasn't supposed to make you... upset. I didn't mean to freak you out, I didn't mean to -</dialogue>
<character>LOGAN</character>
<dialogue>Who cares what you meant?</dialogue>
<scene_description>FABELMAN!! Sammy and Logan turn to see Chad charging towards them. Logan hurriedly wipes his eyes and starts to stand.</scene_description>
<character>SAMMY</character>
<dialogue>Oh shit.</dialogue>
<scene_description>YOU LIAR, YOU BACKSTABBING LIAR!! I'M GONNA BEAT YOUR GOD -!! Chad lunges at Sammy; he's stopped, mid-lunge, by Logan, who grabs his jacket, violently pulls him back, then punches Chad in the face, slamming him into the lockers and down to the floor. Chad lies there, blinking, nose and mouth bleeding, unable to move; Logan stands over him, fists at the ready. Chad pushes himself into a sitting position and spits a big gob of red in Sammy's direction.</scene_description>
<character>CHAD</character>
<parenthetical>(to Logan:)</parenthetical>
<dialogue>You totally bought it. His whole snow job, you ate it up. You moron.</dialogue>
<scene_description>Logan hauls him to his feet by his jacket.</scene_description>
<character>CHAD</character>
<dialogue>Logan, you are so conceited and dumb.</dialogue>
<scene_description>Logan spins Chad 180 degrees and kicks him, hard, sending him to his knees. Chad crawls away on all fours till he's a safe distance from Logan. Then he scrambles to his feet and staggers, fast he can, down the hall; he rounds the corner and he's gone. Logan turns around, breathing hard, still in a fighting mood. Sammy, alarmed, asks, very very nervously:</scene_description>
<character>SAMMY</character>
<dialogue>Is something about to happen?</dialogue>
<character>LOGAN</character>
<dialogue>You like living dangerously, Fabelman.</dialogue>
<character>SAMMY</character>
<dialogue>No I don't, I really, really don't-</dialogue>
<character>LOGAN</character>
<dialogue>Yes you do. But you tell anybody about me getting, um, upset? That would be a mistake.</dialogue>
<scene_description>Sammy nods.</scene_description>
<character>LOGAN</character>
<dialogue>Our secret, OK?</dialogue>
<character>SAMMY</character>
<dialogue>Definitely.</dialogue>
<scene_description>Logan starts away and Sammy, smiling, can't resist -</scene_description>
<character>SAMMY</character>
<dialogue>Unless I make a movie about it.</dialogue>
<scene_description>Logan's face hardens and he turns back, scary.</scene_description>
<character>SAMMY</character>
<dialogue>Which I'm never ever gonna do.</dialogue>
<scene_description>A beat, then Logan grins and takes a joint and a cigarette lighter out of his jacket pocket. He lights up, takes a toke, then holds the joint out to Sammy. Sammy hesitates, then takes it. He looks at it suspiciously. Logan laughs.</scene_description>
<character>LOGAN</character>
<dialogue>You never...?</dialogue>
<character>SAMMY</character>
<dialogue>What's it like?</dialogue>
<character>LOGAN</character>
<dialogue>It kinda shows you how outta control everything is, and how you're not in charge of anything, and how it doesn't matter.</dialogue>
<scene_description>Sammy waits a second, looking at Logan.</scene_description>
<character>SAMMY</character>
<dialogue>I better not.</dialogue>
<parenthetical>(shrugging:)</parenthetical>
<dialogue>In my head everything's already out of control.</dialogue>
<scene_description>Logan gives Sammy an appraising look.</scene_description>
<character>LOGAN</character>
<dialogue>You're fulla shit.</dialogue>
<scene_description>Sam snorts a laugh. Logan takes back the joint.</scene_description>
<character>LOGAN</character>
<dialogue>I gotta split. Claudia's waiting for me.</dialogue>
<scene_description>Smoking, Logan walks down the hall. Then he turns:</scene_description>
<character>LOGAN</character>
<dialogue>Life's nothing like the movies, Fabelman.</dialogue>
<character>SAMMY</character>
<dialogue>Maybe not. But, hey, in the end? You got the girl.</dialogue>
<scene_description>Logan gives Sammy the finger. Sammy returns the gesture. Logan turns and, rounding the corner, disappears. Sammy's alone. He sits on the floor heavily, baffled, excited, sad, overwhelmed.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE FABELMAN KITCHEN - DAWN</stage_direction>
<scene_description>Sammy enters the kitchen, still in his prom clothes. Mitzi is at the stove, cooking breakfast.</scene_description>
<character>MITZI</character>
<dialogue>Must've been some night.</dialogue>
<scene_description>Sammy shrugs.</scene_description>
<character>MITZI</character>
<dialogue>Did Monica like the corsage?</dialogue>
<character>SAMMY</character>
<dialogue>Yup.</dialogue>
<character>MITZI</character>
<dialogue>Yeah, I told you she would.</dialogue>
<scene_description>Mitzi goes back to the stove to resume cooking, but before she does she turns and says to him:</scene_description>
<character>MITZI</character>
<dialogue>That time when I hit you.</dialogue>
<scene_description>Sammy looks confused.</scene_description>
<character>MITZI</character>
<dialogue>In Phoenix, when I - oh God, you remember.</dialogue>
<character>SAMMY</character>
<parenthetical>(pretending not to remember:)</parenthetical>
<dialogue>Not really -</dialogue>
<character>MITZI</character>
<dialogue>Oh for the love of God, it's not like I spent my whole life hitting you! Once I hit you! Once!! It shoulda been memorable!</dialogue>
<character>SAMMY</character>
<dialogue>Before the swimming test.</dialogue>
<character>MITZI</character>
<dialogue>Yes! Before the swimming test. Yes! I, I slapped you on your back, as hard as I could, I screwed up your tryout and you couldn't get your merit badge and then you couldn't make Eagle Scout and -</dialogue>
<character>SAMMY</character>
<dialogue>Mom, I made Eagle Scout, it wasn't a big deal -</dialogue>
<character>MITZI</character>
<dialogue>It left a goddamn mark on your skin in the shape of my hand!!</dialogue>
<character>MITZI</character>
<dialogue>And I need you to say you forgive me for doing that.</dialogue>
<character>SAMMY</character>
<dialogue>Oh, okay, I forgive you-</dialogue>
<character>MITZI</character>
<dialogue>Because, because you're my kid -</dialogue>
<character>SAMMY</character>
<dialogue>Mom, I forgive you.</dialogue>
<character>MITZI</character>
<dialogue>- and, and my kids mean more</dialogue>
<scene_description>(embarrassed, then to me than anything else on gentle, sincere) the earth to me, because - I forgive you. I forgive you.</scene_description>
<character>MITZI</character>
<dialogue>- please, because -</dialogue>
<parenthetical>(she starts to cry:)</parenthetical>
<dialogue>Because how am I ever gonna forgive myself? I can't.</dialogue>
<scene_description>Sammy puts his arms around her and hugs her tightly.</scene_description>
<character>SAMMY</character>
<dialogue>Mom, I, I... I forgive you.</dialogue>
<scene_description>She wraps her arms around him, crying. They hold each other. Behind them, the salami and eggs start to burn.</scene_description>
<character>SAMMY</character>
<dialogue>The eggs are burning.</dialogue>
<scene_description>Mitzi goes to the stove and turns the burner off. She faces Sammy, leaning against the oven.</scene_description>
<character>MITZI</character>
<dialogue>I'm doing this thing, and I don't know if it's the right thing, but it's a life-and-death thing for me. And I'm sorry but everybody else is gonna have to hang on for dear life, and somehow we will survive this, all of us, even your father who I adore with all my heart, he deserves so much better than what I'm doing - But Bennie needs me, Dolly, and I need him, so much so that without him I'm turning into someone I don't know, and none of you will know me anymore, I'll just be that hateful person who did that terrible thing to your back. And yes, this is the most selfish thing I have ever done, but I've gotta do this now because, Sammy - You do what your heart says you have to. Because you don't owe anyone your life - not even me.</dialogue>
<scene_description>After a quiet moment, she turns away. Focuses on the eggs.</scene_description>
<character>MITZI</character>
<dialogue>Oh, are they ruined? I can make some more.</dialogue>
<character>SAMMY</character>
<dialogue>Oh, no no no. I like 'em burnt.</dialogue>
<parenthetical>(he goes to the drawer for a fork:)</parenthetical>
<dialogue>So Monica dumped me.</dialogue>
<character>MITZI</character>
<dialogue>She did?</dialogue>
<character>SAMMY</character>
<dialogue>Yeah, after I told her about the divorce.</dialogue>
<character>MITZI</character>
<dialogue>Huh?</dialogue>
<character>SAMMY</character>
<dialogue>Probably shouldn't've asked her to marry me.</dialogue>
<character>MITZI</character>
<dialogue>You did not.</dialogue>
<character>SAMMY</character>
<dialogue>All but.</dialogue>
<character>MITZI</character>
<dialogue>Oh, you did!?!?!</dialogue>
<scene_description>Sammy can't help but laugh as Mitzi slices more salami.</scene_description>
<character>SAMMY</character>
<dialogue>In so many words.</dialogue>
<character>MITZI</character>
<dialogue>Poor girl!</dialogue>
<scene_description>OVER WHITE SCREEN TITLE: ONE YEAR LATER SCREEN TITLE: LOS ANGELES</scene_description>
</scene>
<scene>
<stage_direction>EXT. BURT'S APARTMENT BUILDING, BRENTWOOD, CA - AFTERNOON</stage_direction>
<scene_description>The sun's molten hot. The street's lined with palm trees. Sammy's beat-up Le Mans pulls up to an apartment building. Sammy, now 18, gets out, burdened, harried. His hair's longer. He wears a loose necktie and sports jacket. Under his arm he's carrying the trades. He marches grimly into the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. BURT'S APARTMENT, BRENTWOOD - LATE AFTERNOON</stage_direction>
<scene_description>It's a small two bedroom apartment, sparsely decorated but neat. Sammy comes in the front door. He's breathing hard, in shallow gasps. He's having a panic attack.</scene_description>
<character>SAMMY</character>
<dialogue>Dad?</dialogue>
<parenthetical>(gasping:)</parenthetical>
<dialogue>Hey dad, I'm....</dialogue>
<parenthetical>(gasping:)</parenthetical>
<dialogue>... home.</dialogue>
<scene_description>He throws the trade papers on the floor, tears off the jacket and the necktie, then runs to the kitchen sink, turns on the cold water and sticks his whole head in the sink. This doesn't help his breathing. Gasping, coughing.</scene_description>
<character>BURT (O.S.)</character>
<dialogue>Sammy?</dialogue>
<scene_description>Burt walks in, carrying the mail and a small white bag.</scene_description>
<character>SAMMY</character>
<dialogue>I think I'm having a heart attack.</dialogue>
<scene_description>Burt puts down the mail and the bag immediately and joins Sammy in the kitchen. He shuts off the faucet, puts his head to Sammy's chest and listens, then:</scene_description>
<character>BURT</character>
<dialogue>It's a panic attack. Your mom gets them.</dialogue>
<character>SAMMY</character>
<dialogue>What did you do when she...?</dialogue>
<character>BURT</character>
<dialogue>I made her tea.</dialogue>
<character>SAMMY</character>
<dialogue>Okay...</dialogue>
<scene_description>He goes to the little gallery kitchen. Sammy slumps in the kitchen doorway. As Burt lights the burner under the kettle:</scene_description>
<character>BURT</character>
<dialogue>Plus you're exhausted. You don't sleep, I hear you walking around all night, or typing those letters. And the three hours drive to the college every day and back -</dialogue>
<character>SAMMY</character>
<dialogue>Oh no, no. I can't go back to that dorm.</dialogue>
<character>BURT</character>
<dialogue>Maybe your roommate's settled down?</dialogue>
<character>SAMMY</character>
<dialogue>He voted for Goldwater! I can't go back.</dialogue>
<parenthetical>(collecting himself)</parenthetical>
<dialogue>Dad. I don't know...what to do anymore. I don't want to disappoint you and I promised that I'd stick it out, but two years is like forever, and I hate school, like, a lot, and...I want to get work!</dialogue>
<scene_description>The kettle starts whistling. As Burt fixes a cup of tea:</scene_description>
<character>SAMMY</character>
<dialogue>On a movie or a TV show, so I send out all those letters but nobody ever writes back and, my life, is just going by so fast, but it's not getting anywhere!</dialogue>
<scene_description>Sammy's starting to panic again. Burt puts the tea on the table. As Sammy gets up off the floor:</scene_description>
<character>BURT</character>
<dialogue>Concentrate on sipping. It'll calm you down.</dialogue>
<scene_description>Sammy sips. Burt drapes his discarded jacket on the chair back.</scene_description>
<character>BURT</character>
<dialogue>Here, uh, you can go through the mail while I get the soup on.</dialogue>
<scene_description>Burt picks up the bag and the mail; he hands the mail to Sammy, then goes into the kitchen. Sammy starts sorting through the mail, then stops and tears open an envelope. Inside, folded in stationery, are several photographs. Sammy looks at them.</scene_description>
<character>SAMMY</character>
<dialogue>It's from mom, it's just a bunch of goofy photos from some kinda block party.</dialogue>
<scene_description>Burt comes over. Sammy hands him the photos. Burt, smiling, looks at the photos, stopping on one which he scrutinizes for several beats. Sammy watches as Burt's features collapse, pulled down by weighty sadness; he ages visibly. Burt stares just over the top of the photo for a long moment, then he hands the photos back to Sammy. As Sammy takes them he sees Burt's hand is shaking slightly. Burt picks up the rest of the mail and goes into the kitchen. Sammy looks at the photograph Burt was scrutinizing, then he looks back up at Burt, whose back is turned to Sammy.</scene_description>
<character>SAMMY</character>
<dialogue>Dad? Dad, what's - ?</dialogue>
<scene_description>Sammy doesn't know what to do. He looks again at the photograph: Reggie, Natalie and Lisa are smiling for the camera. But in the background, Bennie is at a grill, in an oversized chef's toque; Mitzi stands next to him, handing him a lobster for grilling. They're looking at each other, very happy.</scene_description>
<character>SAMMY</character>
<dialogue>Ah, Dad, I didn't mean to -</dialogue>
<scene_description>Sammy looks up at his dad, who is now sorting through the rest of the mail. Then, without turning to face Sammy, Burt clears his throat and says, in a hoarse voice:</scene_description>
<character>BURT</character>
<dialogue>If you hate school so much, don't go.</dialogue>
<character>SAMMY</character>
<dialogue>But... Dad, we -</dialogue>
<character>BURT</character>
<dialogue>I don't know, I would like you to, because this film thing, I don't know. Maybe I should've put my foot down about it, years ago. But...</dialogue>
<scene_description>Burt picks up the mail and turns to face Sammy. Burt walks towards the table.</scene_description>
<character>BURT</character>
<dialogue>I know you're going to work like the dickens on whatever you wind up doing, because you're a chip off</dialogue>
<scene_description>the old block. (Love and grief rise up, he can't speak. Then:) We're never not going to know each other, Sammy.</scene_description>
<character>SAMMY</character>
<dialogue>How do you know that? You and mom don't anymore.</dialogue>
<character>BURT</character>
<dialogue>Yes we do. We always will. I know it because...</dialogue>
<parenthetical>(shrugs)</parenthetical>
<dialogue>We've gone too far in our story to actually say the end.</dialogue>
<scene_description>Burt takes an envelope from the pack of mail, holds it out to Sammy.</scene_description>
<character>BURT</character>
<dialogue>You missed something in the mail.</dialogue>
<scene_description>Sammy hesitates, looking at his dad. Burt grins slightly. Sammy takes the envelope. On the front: SAM FABELMAN, 4900 BARRINGTON AVE #304, BRENTWOOD, CA 90049. Sammy turns the envelope over. On the back, a letterhead: ALFRAN PRODUCTIONS. Above the letterhead, the CBS EYE LOGO. Sammy tears the envelope open, yanks out the letter and reads voraciously, his eyes widening.</scene_description>
<character>BURT</character>
<dialogue>Good news?</dialogue>
<scene_description>Sammy looks up at Burt.</scene_description>
<character>BERNIE FEIN (V.O.)</character>
<dialogue>They've ordered thirty-two half hours.</dialogue>
</scene>
<scene>
<stage_direction>INT. BERNIE FEIN'S OFFICE - AFTERNOON</stage_direction>
<scene_description>Crawling over a bulletin board where several headshots are pinned above hand-written labels for various roles: "LEBEAU" "HOGAN". Widening out reveals several other head shots, labels, location photos, etc...</scene_description>
<character>BERNIE FEIN (O.S.)</character>
<dialogue>Fridays at 8:30 pm on CBS starting September 17th. We already have six shows in the can.</dialogue>
<scene_description>BERNIE FEIN, a round, balding, bustling actor/producer shows Sammy, in a jacket and tie, set designs and storyboards for a show he's making featuring American POWs and German soldiers.</scene_description>
<character>BERNIE FEIN</character>
<dialogue>It's like Stalag 17 or The Great Escape, except it's funnier.</dialogue>
<character>SAMMY</character>
<dialogue>Hmm.</dialogue>
<character>BERNIE FEIN</character>
<dialogue>And it's for television. And it's funny.</dialogue>
<character>SAMMY</character>
<dialogue>Yeah.</dialogue>
<character>BERNIE FEIN</character>
<dialogue>Or at least I pray to God that it's funny.</dialogue>
<parenthetical>(showing off a mock-up sketch)</parenthetical>
<dialogue>Hogan's Heroes. That's the title? What do ya think? Pretty catchy, right?</dialogue>
<character>SAMMY</character>
<dialogue>Catchy... Yeah...</dialogue>
<character>BERNIE FEIN</character>
<dialogue>And if all goes well, I might be able to offer you something next season.</dialogue>
<parenthetical>(gesturing, have a seat)</parenthetical>
<dialogue>Maybe assisting an assistant to an assistant.</dialogue>
<scene_description>Sammy sits, nods, crestfallen.</scene_description>
<character>BERNIE FEIN</character>
<dialogue>You don't want to be in TV anyway. Your letter said as much.</dialogue>
<parenthetical>(he picks it up from his desk to peruse)</parenthetical>
<dialogue>By the way, I love this letter. I used to write a whole bunch of these letters when I was your age. You wanna make movies. Am I right?</dialogue>
<character>SAMMY</character>
<dialogue>Yeah. Yes, I do! Look, I'm just happy to start, anywhere, and that doesn't -</dialogue>
<character>BERNIE FEIN</character>
<parenthetical>(snapping his fingers!)</parenthetical>
<dialogue>You know who you need to meet?! I mean not for a job, 'cause...he doesn't do that. How would you like to meet the greatest film director who ever lived and he's right across the hall?!</dialogue>
</scene>
<scene>
<stage_direction>INT. A CORRIDOR AND AN OFFICE, LOS ANGELES - DAY</stage_direction>
<scene_description>Bernie Fein leads Sammy out of his office to an office directly across the hall. As he's opening the door:</scene_description>
<character>BERNIE FEIN</character>
<dialogue>C'mon. Wait here a minute.</dialogue>
<scene_description>Bernie goes in. Sammy looks at the office door's plastic sign: "SUITE 3B." Bernie's voice can be heard from within. Bernie comes out and leads Sammy in. Sammy nervously enters an old, shabby waiting room. NONA, a secretary, 50ish, dressed in 1940s style, sits behind a desk.</scene_description>
<character>BERNIE FEIN</character>
<dialogue>Uh, this is Nona. Nona's gonna look after you. Um, he's not here. He's -</dialogue>
<character>NONA</character>
<dialogue>He's at lunch.</dialogue>
<character>BERNIE FEIN</character>
<dialogue>Right.</dialogue>
<character>NONA</character>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>You want to wait?</dialogue>
<character>BERNIE FEIN</character>
<dialogue>Yeah, he'll wait.</dialogue>
<parenthetical>(to Sammy:)</parenthetical>
<dialogue>Sit.</dialogue>
<scene_description>Bernie guides Sammy to a chair and slaps him on the shoulder.</scene_description>
<character>BERNIE FEIN</character>
<dialogue>Good luck.</dialogue>
<scene_description>Bernie leaves.</scene_description>
<character>NONA</character>
<dialogue>Could be hours.</dialogue>
<scene_description>Sammy nods. Nona goes back to work. Sammy looks at the old posters on the walls (the strumming guitar of The Searchers score commences in his head): STAGECOACH, HOW GREEN WAS MY VALLEY, THE INFORMER, THE SEARCHERS, 3 GODFATHERS, SHE WORE A YELLOW RIBBON, THE GRAPES OF WRATH, THE QUIET MAN, and a newer poster for LIBERTY VALENCE. The door of the office flies open, The Searchers score ends with the sound of a needle scraped off a record, and JOHN FORD enters. He's 71 but he looks older, tall, gaunt, an eyepatch over one eye, covering his glasses on that side. He's wearing beat-up safari clothes and a cloth safari hat. He's holding a partly burned, unlit cigar, the mouth-end badly masticated. As he walks past Sammy, oblivious, Sammy sees that there are perfectly-shaped lipstick kisses on Ford's cheeks and in the middle of his forehead. He goes past Nona, enters his office and slams the door. Nona picks up a box of Kleenex and runs in after him. Sammy waits. Nona emerges with a wad of pink-stained wet Kleenex. She dumps it in her desk trashcan and says, indicating the partially-opened inner office door:</scene_description>
<character>NONA</character>
<dialogue>Alright kid, you got five minutes. Probably one. Stand up.</dialogue>
<scene_description>Sammy stands.</scene_description>
<character>NONA</character>
<dialogue>Lose the tie. You'll stand a better chance.</dialogue>
<scene_description>Sammy nervously removes his tie. CUT TO: John Ford is at his desk, snipping the end from a fresh cigar with a tarnished silver clipper. Sammy enters and stands before the great man, awestruck. Ford reaches retrieves a match from a small brass holder shaped like a cowboy boot, strikes it on his desk blotter, lights the cigar and puffs again and again. It goes on and on, but Sammy drinks this in, not moving a muscle. Ford takes the cigar out and licks his lips, his tongue weirdly distended, like a cat's. Then:</scene_description>
<character>JOHN FORD</character>
<dialogue>They tell me you want to be a picture maker.</dialogue>
<character>SAMMY</character>
<dialogue>Um, yes sir. I do.</dialogue>
<character>JOHN FORD</character>
<dialogue>Why?! This business -</dialogue>
<parenthetical>(he shreds the air!)</parenthetical>
<dialogue>- it'll rip you apart!</dialogue>
<character>SAMMY</character>
<dialogue>Well, Mr. Ford, I -</dialogue>
<character>JOHN FORD</character>
<dialogue>So whatta ya know about art, kid?</dialogue>
<character>SAMMY</character>
<dialogue>I just- I love your movies so much -</dialogue>
<scene_description>NO! ART!! Ford suddenly points to a big Remington painting, two men on horseback looking off into the distance with a large butte in the background.</scene_description>
<character>JOHN FORD</character>
<dialogue>See that painting over there?!</dialogue>
<character>SAMMY</character>
<dialogue>Uh, yeah, I mean yes! Yes, I do see it.</dialogue>
<character>JOHN FORD</character>
<dialogue>Walk over to it!</dialogue>
<scene_description>Sammy walks to the painting. He looks at it, unsure about what he's supposed to do.</scene_description>
<character>JOHN FORD</character>
<dialogue>Well?! What's in it?! Describe it!!</dialogue>
<character>SAMMY</character>
<dialogue>Oh okay, um - so there are...two guys, and they're...on horseback and they're looking for something, so maybe they're scouting - ?</dialogue>
<character>JOHN FORD</character>
<dialogue>NO!! NO!! Where's the horizon?!</dialogue>
<character>SAMMY</character>
<dialogue>The - the horizon?</dialogue>
<character>JOHN FORD</character>
<dialogue>Where is it?!</dialogue>
<character>SAMMY</character>
<parenthetical>(pointing:)</parenthetical>
<dialogue>Oh, it's, um, it's at the bottom.</dialogue>
<character>JOHN FORD</character>
<dialogue>That's RIGHT! Walk over to this painting!</dialogue>
<scene_description>He points at another painting, a Western scene by Charles Russell. Sammy examines it: five cowboys in a large, crater- like ditch. Their horses are tethered by a small pool of water at the center of the depression while the men are all hunkered around the ridge, rifles ready, forming an armed perimeter.</scene_description>
<character>JOHN FORD</character>
<dialogue>Well?!</dialogue>
<character>SAMMY</character>
<dialogue>Right, okay, so there are five cowboys, you know, they -</dialogue>
<character>JOHN FORD</character>
<parenthetical>(in a RAGE:)</parenthetical>
<scene_description>NO NO NO NO NO!!! WHERE'S THE GODDAMNED HORIZON!!!!!????</scene_description>
<character>SAMMY</character>
<parenthetical>(flustered, pointing to the top of the painting:)</parenthetical>
<dialogue>Um, it's there!</dialogue>
<scene_description>WHERE?!?! AT THE TOP OF THE PAINTING! ALRIGHT GET OVER HERE! Sammy obeys, walking to Ford's desk.</scene_description>
<character>JOHN FORD</character>
<dialogue>Now remember this! When the horizon's at the bottom, it's interesting. When the horizon's at the top, it's interesting. When the horizon's in the middle, it's boring as shit!! Now good luck to you -</dialogue>
<scene_description>Sammy smiles.</scene_description>
<character>JOHN FORD</character>
<dialogue>- and GET THE FUCK OUT OF MY OFFICE!!</dialogue>
<scene_description>Sammy rushes out the open door. After a moment, he peeks his head back in.</scene_description>
<character>SAMMY</character>
<dialogue>Thank you!</dialogue>
<character>JOHN FORD</character>
<dialogue>My pleasure.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARAMOUNT PICTURES STUDIOS - AFTERNOON</stage_direction>
<scene_description>Sammy emerges onto an empty studio street, bordered on each side by the huge semicircles of the soundstages. Sammy is stunned, happy, taking in what's happened. He looks back up to the third floor of the small office building, then ahead. Sammy walks down the street, happy with the world. He keeps walking, getting smaller and smaller. The camera adjusts to move the horizon from the middle to the bottom of the frame. END OF FILM ROLL CREDITS</scene_description>
</scene>
</script> | On a January night in 1952, in Haddon Township, New Jersey, Jewish couple Mitzi and Burt Fabelman take their young son Sammy to see his first film: The Greatest Show on Earth. Dazzled by a train scene, Sammy asks for a model set for Hanukkah, which he crashes late one night. Mitzi, understanding Sammy's intentions, allows him to shoot another crash scene using Burt's 8mm camera. Sammy begins filming regularly, sometimes involving his sisters. Burt is offered a new job in Phoenix, Arizona, where he and the family move in early 1957. At Mitzi's insistence, Burt's best friend and business partner Bennie Loewy goes, too. Years later, teenaged Sammy makes films with his friends in the Boy Scouts, begins utilizing post-production effects and earns a badge in photography. Later, the Fabelmans, including Bennie, take a camping trip with Sammy capturing footage of their vacation. Shortly afterwards, Mitzi's mother dies, leaving her distraught. Providing him with film editing equipment, Burt suggests Sammy turn the vacation footage into a film to cheer Mitzi up. Sammy objects over the scheduling of his next film, but Burt, who sees his passion for film as simply a hobby, argues that the home movie is more important. The next morning, the Fabelmans receive a surprise visit from Mitzi's uncle Boris, a former lion tamer and film worker. That night, he speaks with Sammy about compromising his family with art, telling him that both aspects will continue to be at odds with one another. Boris leaves, and Sammy begins editing the vacation footage, during which he finds evidence of Mitzi and Bennie having an affair. Sammy and Mitzi get into an argument after weeks of him treating her and Bennie harshly. In a fit of rage, she slaps him across the back after he shouts that he wishes she wasn't his mother. Distraught, Sammy shows her the compiled footage and promises to keep their secret. The following week, Burt receives another promotion, requiring another move to Saratoga, California. Bennie stays in Phoenix, but not before gifting Sammy a new camera. Sammy refuses it until Bennie lets him pay $35 for it. Despite purchasing the camera, Sammy decides to never use it. Soon after arriving in his new neighborhood and school, Sammy becomes targeted by students Logan and Chad, who levy antisemitic abuse toward him. He also begins dating the devoutly Christian Monica. While having dinner with the Fabelmans, she suggests that Sammy film their Ditch Day at the beach, something he eventually accepts after Monica tells him her father owns a 16mm Arriflex camera that he would let him use. After moving from a rental to their newly purchased home, Mitzi and Burt announce their divorce due to her extreme depression and his discovery of the affair. This leaves the family heartbroken. At prom, Sammy declares his love for Monica and asks her to come with him to Hollywood after high school. Unwilling to throw away her own life's plans to attend Texas A&M University, she breaks up with him. The Ditch Day film is played in front of Sammy's peers to a rapturous response. It glorifies Logan and vilifies Chad. When Logan confronts Sammy, confused over his positive portrayal, they reach an understanding, cemented when Logan fights Chad off when he tries to attack Sammy. The next morning, Mitzi and Sammy talk about their future together; just as she cannot give up her love for Bennie, she tells Sammy not to give up his love for filmmaking. The following year, Sammy is living with his father in Hollywood. He wants to drop out of college but is unable to find work in filmmaking. Burt grudgingly accepts his son's passion and tells Sammy to keep on his path if it makes him happy. Sammy receives an offer to work on Hogan's Heroes. Knowing he is more interested in filmmaking, show co-creator Bernard Fein invites Sammy to meet director John Ford, one of his greatest influences. During their brief meeting, Ford offers Sammy some pointers on framing such as never framing the horizon in the center of the frame. Newly invigorated, Sammy walks through the sunlit studio backlot. The camera first frames the horizon in the center, then suddenly tilts up to place it near the bottom of the frame, following Ford's advice. |
Mr. Right_2015 | tt2091935 | <script>
<scene>
<character>MR. RIGHT</character>
<dialogue>by</dialogue>
<scene_description>Max Landis Circle of Confusion LTD Circle of Confusion LLC 107-23 71st Road, Suite 300 8548 Washington Blvd. Forest Hills, NY 11375 Culver City, CA 90232 (718) 275-1012 (310) 253-7777</scene_description>
</scene>
<scene>
<stage_direction>INT. PSYCHOLOGIST'S OFFICE - DAY</stage_direction>
<scene_description>It's an upscale psychologist's office, well appointed and brightly lit from floor to ceiling windows. MARTHA McKay, 29, lays on the couch. She's very pretty but without make-up save somewhat heavy eyeliner, lacking any kind of fashion sense, and also minus the poise and self- assured mannerisms that make beautiful women seem unreachable. She seems terminally awkward in her own body. She's talking to DOCTOR Lisa KENNER, 31, very sexy, with long, slender legs, who sits across from her.</scene_description>
<character>DOCTOR KENNER</character>
<dialogue>It's nice to have you back, Martha.</dialogue>
<character>MARTHA</character>
<dialogue>Thanks Doctor Kenner, I spent like, the last fifteen days in bed crying, out of bed crying, back in bed, so, here I am, here is me.</dialogue>
<scene_description>Kenner nods and smiles.</scene_description>
<character>DOCTOR KENNER</character>
<dialogue>And, how would you say you're feeling now?</dialogue>
<character>MARTHA</character>
<dialogue>I guess I just feel...I don't know. I'd want to say I feel betrayed, but is that, is that cliche?</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>No, it's not cliche if it's what you feel.</dialogue>
<character>MARTHA</character>
<dialogue>I just don't want to hide behind pre- established ideas, I mean, I've been cheated on before.</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>I know, Daniel.</dialogue>
<character>MARTHA</character>
<dialogue>That's right, but this is different.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DOCTOR KENNER</character>
<dialogue>Do you feel Robert did something different? You were with him for just under a year.</dialogue>
<character>MARTHA</character>
<dialogue>It's not that he did something different, I just...It was like he had another life. One woman, I could handle, it'd be fucked up, but I could handle it.</dialogue>
<parenthetical>(slowly sits up as she talks)</parenthetical>
<dialogue>But I mean...I have no idea, it's scary, but I have no idea how many women he was sleeping with. And I mean, they weren't, I've seen them. They weren't like, better than me.</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>Did you want them to be?</dialogue>
<character>MARTHA</character>
<dialogue>Well no, I just...I don't know.</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>Do you feel like it's your fault?</dialogue>
<character>MARTHA</character>
<dialogue>My fault?</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>Think about it.</dialogue>
<scene_description>Martha sits thinking.</scene_description>
<character>MARTHA</character>
<parenthetical>(shaking her head)</parenthetical>
<dialogue>No, NO, okay, no, I don't feel that way. Why should I, I gave him everything, I trusted him, and then to go through his phone and find text messages about having anal sex in a hot tub? That's what eleven months earned me? My fucking fault? Fuck that.</dialogue>
<scene_description>Doctor Kenner looks uncomfortable.</scene_description>
<character>MARTHA</character>
<dialogue>But you know, maybe it is. It's my fault for ever thinking this guy, this sycophantic, smarmy pretentious piece of self-involved dogshit could ever-</dialogue>
<character>DOCTOR KENNER</character>
<dialogue>I think you're being unfair, here.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<parenthetical>(beat)</parenthetical>
<dialogue>What? Unfair to him? What? This awful unbelievable fucking asshole who acts like he wants to marry me and then every second we're apart is balls deep in some harem of washed out sluts-</dialogue>
<character>DOCTOR KENNER</character>
<parenthetical>(adjusting her glasses)</parenthetical>
<dialogue>Sluts is a very strong term. I think you need to be a little understanding; Robbie is a very high pressure, intense individual and...</dialogue>
<scene_description>Doctor Kenner trails off as she realizes that Martha is staring at her very, very intensely.</scene_description>
<character>DOCTOR KENNER</character>
<dialogue>I...</dialogue>
<scene_description>Martha leaps to her feet, grabbing a vase off the table next to the couch and hurling it at the wall next to Doctor Kenner.</scene_description>
<character>MARTHA</character>
<parenthetical>(screaming)</parenthetical>
<scene_description>TRANSITION FROM THE EXPLODING: VASE INTO AN EXPLODING CAR.: TITLE: MR. RIGHT. The opening credits are juxtaposed with two different processes: the factory production of bullets and prescription antidepressants/antipsychotics.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - NIGHT</stage_direction>
<scene_description>It's a lot on the edge of the city, barely lit. The burning car sits in the center, and two other men stand a couple dozen feet away, by another car. VON Cartigan, late 30s, well dressed and handsome, with a spry, boyish look about him and cowboy boots, stands counting money in a briefcase on the trunk of the car. JOHNNY HOWL, stocky, 40s, with an eerie jack-o-lantern face, stands watching the car burn. Von looks at the money and tips his head to the side, thinking. CONTINUED:</scene_description>
<character>VON</character>
<dialogue>You think that was too much?</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>It's never too much, Von.</dialogue>
<character>VON</character>
<dialogue>Seemed a mite excessive, with his kid in the car.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>He shouldn't have brought his kid.</dialogue>
<character>VON</character>
<dialogue>So it's acceptable losses?</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>Von closes the briefcase.</scene_description>
<character>VON</character>
<dialogue>You're a sick fuck, Johnny Howl.</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>Von pops the trunk, and starts to put in the briefcase.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Hey Von.</dialogue>
<scene_description>Von looks up, and Johnny nods at a badly burnt man, who's crawling away from the car. Von laughs, and closes the trunk, then heads over to the crawling man.</scene_description>
<character>VON</character>
<dialogue>Hello down there, Buddy. Rough night?</dialogue>
<scene_description>The man lets out a hissing sound. Von stomps repeatedly on the back of the man's knees with harsh cracking sounds. Von stops, and takes a breath.</scene_description>
<character>VON</character>
<dialogue>Don't crawl, Buddy, it's undignified.</dialogue>
<parenthetical>(beat, then takes a moment, and smiles at Johnny)</parenthetical>
<dialogue>Johnny, help me put him back in the car.</dialogue>
<scene_description>The man lets out a horrified groan as Johnny Howl approaches, smiling. CONTINUED: TRANSITION THE GROANING INTO: THE BEEPING OF AN ALARM CLOCK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BEDROOM</stage_direction>
<scene_description>Martha's alarm is going off, but her bed is empty. The room is a mess, clothes everywhere, dirty glasses strewn here and there. There is a diorama of the primeval world, old and tattered, spread across the wall, and a single wooden sculpture of a pterodactyl hanging from the ceiling. ELAINE Schiff, early 30s, tall and wiry, peeks in.</scene_description>
<character>ELAINE</character>
<dialogue>Martha, are you...</dialogue>
<scene_description>Elaine comes into the room, looking around. There's a loud thump from inside the closed closet.</scene_description>
<character>MARTHA (O.S.)</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Shut up!</dialogue>
<scene_description>Elaine looks concerned.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - HALLWAY - LATER</stage_direction>
<scene_description>Elaine walks along, leading TATIANA Ruiz, early 30s, Cuban, stout but pretty.</scene_description>
<character>ELAINE</character>
<dialogue>It's as bad as I've seen her, Tati.</dialogue>
<character>TATIANA</character>
<dialogue>Where is she now?</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Elaine and Tatiana come in.</scene_description>
<character>ELAINE</character>
<dialogue>She's drunk in the closet again.</dialogue>
<scene_description>There's a crashing sound from the closet. Tatiana sighs, and goes over to the door.</scene_description>
<character>TATIANA</character>
<dialogue>Martha? Are you okay in there?</dialogue>
<character>MARTHA (O.S.)</character>
<dialogue>Amflegblamersh! JIHHHH!</dialogue>
<scene_description>Tatiana looks to Elaine, who makes a "yikes" face. CONTINUED:</scene_description>
<character>TATIANA</character>
<dialogue>I want to come in. Can I come in?</dialogue>
<character>MARTHA</character>
<parenthetical>(inhuman demonic screaming)</parenthetical>
<dialogue>NoOoooOOOOOooooOoooo!</dialogue>
<scene_description>Tatiana opens the door, revealing Martha laying in a pile of fallen jackets, shirts and dresses. The closet is a wreck.</scene_description>
<character>TATIANA</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>Oh Martha...What is this?</dialogue>
<character>MARTHA</character>
<dialogue>I've only been drinking for three...Days, but I haven't missed work. I have missed work.</dialogue>
<scene_description>Tatiana kneels down next to Martha.</scene_description>
<character>TATIANA</character>
<dialogue>Come on, honey, let's-</dialogue>
<character>MARTHA</character>
<dialogue>I think you don't know anything about this situation, you don't know anything about the world...I'm gonna PUNCH YOU IN THE FACE...yourself...You better check yourself...</dialogue>
<scene_description>Tatiana helps Martha up, near to against her will.</scene_description>
<character>TATIANA</character>
<dialogue>Elaine give me a hand.</dialogue>
<character>MARTHA</character>
<parenthetical>(muttering)</parenthetical>
<dialogue>Checkyoself into a hospital...emergency room...after I mega...</dialogue>
<character>ELAINE</character>
<dialogue>I'm not touching her, she's all...sticky.</dialogue>
<character>MARTHA</character>
<parenthetical>(muttering)</parenthetical>
<dialogue>...mega-punch...</dialogue>
<scene_description>Martha collapses onto the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BATHROOM - SHORTLY THEREAFTER</stage_direction>
<scene_description>Martha's bathroom is strictly whites and purples. She stands staring at herself in the mirror, squinting her eyes very hard, then staring again. She's rocking in place a little.</scene_description>
<character>MARTHA</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Goddamn it.</dialogue>
<scene_description>Martha brushes back her hair, and then stops, holding it back. She brushes the other side back, and then holds it up. She cocks her head, looking at herself. She opens a drawer, revealing a pair of electric clippers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. METROPOLITAN STREET - LATE AFTERNOON</stage_direction>
<scene_description>Mr. RIGHT, 30, handsome with wavy, messy brown hair, walks up the street. He has a lighter-than-air, poppy, bubbly air about him, as though he just walked out of a musical comedy. He is constantly looking around, smiling blissfully and blankly at everything. Right stops in front of a tall building, checks the address, grins and goes in. We stay there on the lobby, and then shoot up the side of the building around twenty stories, and stop at a window into a nice apartment. A well dressed woman answers the door; it's Right. He smiles, and they exchange words as he goes in. She looks very serious. Mr. Right looks hesitant. He seems to repeatedly, incredulous but friendly, ask the same question. The woman fervently nods. Mr. Right shrugs, pulls a red foam clown nose out of his pocket, puts it on, draws out a pistol and shoots her in the heart. She falls down against the wall, startled. Right takes a contemplative bite of out a Rice-Krispie treat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT - BEDROOM</stage_direction>
<scene_description>Elaine is cleaning, while Tatianna talks on the phone. It's getting dark outside. Martha abruptly bursts out of the bathroom; we see Elaine and Tatianna react sharply. Martha has cut off a good 85% of her hair. Martha tosses Elaine a pair of car keys.</scene_description>
<character>MARTHA</character>
<dialogue>Heads up.</dialogue>
<scene_description>CONTINUED: The keys smack Elaine in the face, and she gasps, holding her eye.</scene_description>
<character>TATIANA</character>
<dialogue>Martha, jesus christ.</dialogue>
<character>MARTHA</character>
<dialogue>I thought she would catch it with her mad skills.</dialogue>
<parenthetical>(beat, leans back)</parenthetical>
<dialogue>But, I guess she just kinda sucks. We're going out, right? We're going out.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAR - NIGHT</stage_direction>
<scene_description>The place is a little crowded; Elaine and Tatianna are at the bar, they look nervous. Martha comes up, holding drinks; one of the cups is empty, which she hands to Tatiana.</scene_description>
<character>MARTHA</character>
<dialogue>Hellloooo laaaadddiieeesss.</dialogue>
<character>TATIANA</character>
<parenthetical>(to her empty cup)</parenthetical>
<dialogue>What the hell is this?</dialogue>
<character>MARTHA</character>
<dialogue>Well, it was supposed to be a sex on the beach but I drank it, so now it's just a cup.</dialogue>
<character>TATIANA</character>
<dialogue>Jesus christ, Martha.</dialogue>
<character>MARTHA</character>
<parenthetical>(excited, looking around)</parenthetical>
<dialogue>Oh, is he here?</dialogue>
<scene_description>Martha separates from her friends, and goes off to dance. Out on the dance floor, Martha appears to be having a good time dancing alone, when SOME GUY, mid-20s, reasonably attractive, approaches.</scene_description>
<character>SOME GUY</character>
<dialogue>Hey!</dialogue>
<character>MARTHA</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Hey!</dialogue>
<character>SOME GUY</character>
<dialogue>Who are you here with?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>My friends.</dialogue>
<character>SOME GUY</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>No boyfriend?</dialogue>
<scene_description>Martha abruptly stops dancing.</scene_description>
<character>MARTHA</character>
<dialogue>My boyfriend was killed by velociraptors.</dialogue>
<character>SOME GUY</character>
<dialogue>What?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Was that a joke?</dialogue>
<scene_description>Martha looks very sad.</scene_description>
<character>SOME GUY</character>
<dialogue>No, come on, it's joke.</dialogue>
<scene_description>Martha has started to cry.</scene_description>
<character>SOME GUY</character>
<dialogue>Don't do that...It was a joke...Don't...</dialogue>
<scene_description>Some Guy awkwardly moves back into the crowd, and Martha snickers, wiping her eyes. CUT TO: THE GIRLS HEADING UP: THE STREET:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - NIGHT - LATER</stage_direction>
<scene_description>Martha, Tatianna and Elaine walk up the road.</scene_description>
<character>MARTHA</character>
<dialogue>That was incredible!</dialogue>
<character>ELAINE</character>
<dialogue>How was that incredible?</dialogue>
<character>MARTHA</character>
<dialogue>It's been forever since I've just been, you know, out like that, not trying to get laid.</dialogue>
<character>ELAINE</character>
<dialogue>You're lucky we love you, Martie.</dialogue>
<character>MARTHA</character>
<dialogue>Yes I am! Hey, hoes before bros, right?</dialogue>
<scene_description>CONTINUED: Martha offers out a fist.</scene_description>
<character>MARTHA</character>
<dialogue>Right? Am I right?</dialogue>
<character>TATIANA</character>
<dialogue>You're out of control, girl. You are out of control.</dialogue>
<scene_description>A car blurs by and we SWISH PAN TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY ZOO - NIGHT</stage_direction>
<scene_description>In the near empty parking lot of a city zoo, a single expensive towncar sits alone, lights off, with heavily tinted windows. A dozen feet or so away from the car stands SHOTGUN STEVE Gage, late 20s, with a sly, wiry look about him, almost like a human coyote. He lights a cigarette. Directly outside the car is BRUCE Cooper, 30s, black, lean and well dressed. He's trying to calm down CHARLIE Cartigan, who looks incensed.</scene_description>
<character>CHARLIE</character>
<dialogue>Dead!? What the fuck do you mean, dead?</dialogue>
<character>BRUCE</character>
<dialogue>If you'd just get in the car, Mr. Cartigan, we could-</dialogue>
<character>CHARLIE</character>
<dialogue>Fuck you, I'm not getting in the car, this ain't a fuckin' meet. If you want to wake a man up at three in the fuck AM you best have some kind of explanation, better than "Minkin is dead," I don't care who the fuck my nephews think they are-</dialogue>
<scene_description>The driver's side window rolls down, revealing RICHARD Cartigan, 42, bearing a distinct resemblance his brother Von, and clearly trying to look dignified.</scene_description>
<character>RICHARD</character>
<dialogue>Charlie, get in the car.</dialogue>
<character>CHARLIE</character>
<dialogue>What're we doing here, Richard-</dialogue>
<character>RICHARD</character>
<dialogue>Get in the car.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHARLIE</character>
<dialogue>Yeah, okay.</dialogue>
<scene_description>The back door opens, and Richard gets in. Richard looks to Bruce, who rolls his eyes. Richard smiles, and rolls up the window.</scene_description>
<character>INSIDE THE CAR:</character>
<dialogue>Charlie gets in the back, looking around. Von sits in the passenger's side, and Johnny Howl sits in the back, playing with a Rubik's cube. They all look nervous. There's a charged silence.</dialogue>
<character>CHARLIE</character>
<dialogue>What is this?</dialogue>
<parenthetical>(referencing Johnny Howl)</parenthetical>
<dialogue>What's this ghoul doing here?</dialogue>
<character>VON</character>
<dialogue>We have a problem.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah, so I've fuckin' heard, but it can't wait till morning-</dialogue>
<character>VON</character>
<dialogue>It might be my fault.</dialogue>
<character>CHARLIE</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Are the Picolos involved in this? I thought they were all dead-</dialogue>
<character>VON</character>
<dialogue>No, but it's very, very serious.</dialogue>
<character>RICHARD</character>
<dialogue>So serious that we all might be in danger.</dialogue>
<scene_description>Everyone's quiet for a moment. Johnny Howl grins.</scene_description>
<character>CHARLIE</character>
<dialogue>What did you do, Von?</dialogue>
<scene_description>Von's silent.</scene_description>
<character>CHARLIE</character>
<parenthetical>(disgusted)</parenthetical>
<dialogue>You fuckin' kids, playing at being gangsters-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RICHARD</character>
<dialogue>Von took someone out, one of Yatsuda's guys, and it looks like Yatsuda isn't taking it well.</dialogue>
<character>CHARLIE</character>
<dialogue>Why the fuck would you start shit with Bobby Yatsuda, are you fuckin' suicidal?</dialogue>
<character>VON</character>
<dialogue>He shitted us out on cash, Uncle Charlie. The dumbfuck shitted us out, big time, we couldn't just let it stand.</dialogue>
<character>CHARLIE</character>
<dialogue>Fuckin' drugs? This was over fuckin' drugs again?</dialogue>
<character>VON</character>
<dialogue>Well-</dialogue>
<character>RICHARD</character>
<dialogue>It doesn't matter what it was over.</dialogue>
<character>CHARLIE</character>
<dialogue>No, I suppose it wouldn't to you, would it. You know, Rich, I woulda seen this dumb shit coming from Von, I really would have. But you? Is this where you're going too, with this garbage-</dialogue>
<character>RICHARD</character>
<dialogue>It doesn't matter, Charlie, what matters is that we're targets now. Von says he's got some guys who can take care of this for us.</dialogue>
<character>CHARLIE</character>
<dialogue>"Take care" of Bobby Yatsuda? Are you both out of your fucking minds?</dialogue>
<character>VON</character>
<dialogue>Show him the list, Johnny.</dialogue>
<scene_description>Johnny takes out a rumpled list of phone numbers, handing it over to Charlie.</scene_description>
<character>CHARLIE</character>
<dialogue>What's this?</dialogue>
<character>VON</character>
<dialogue>It's a list I made up; those are the numbers of the best trigger guys in the city.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHARLIE</character>
<dialogue>What, we're going to get some Slovakian douchebag to take down Bobby Yatsuda-</dialogue>
<character>VON</character>
<dialogue>No, no, these aren't thugs, man. These are the real deal, hitmen.</dialogue>
<character>CHARLIE</character>
<dialogue>Hitmen? Shit, you guys are...Man, I ain't heard someone talking about hiring a real gun since the seventies.</dialogue>
<character>VON</character>
<dialogue>Some of the numbers might not work, but if you can get a guy, then-</dialogue>
<character>CHARLIE</character>
<dialogue>Why me?</dialogue>
<character>RICHARD</character>
<dialogue>The way Von figures it we've got a better chance of getting quality if we use you. No one gives a shit about Dickie and Von Cartigan, but Charles Cartigan, the Hammer, you're a name.</dialogue>
<scene_description>Charlie stares at the list.</scene_description>
<character>CHARLIE</character>
<dialogue>You kids are really for real about this.</dialogue>
<scene_description>Von looks nervously at Richard.</scene_description>
<character>RICHARD</character>
<dialogue>The way I see it, Von hasn't left us much of a choice.</dialogue>
<scene_description>Charlie stares at the list.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PETACULAR! - MORNING</stage_direction>
<scene_description>It's a petshop in a strip mall. There's a loud shattering sound. SNARLING FACE.:</scene_description>
</scene>
<scene>
<stage_direction>INT. PETACULAR! - KENNEL - CONTINUOUS</stage_direction>
<scene_description>In the kennel in the back of the store, a single longhair cat, deranged with fear and anger, has escaped from its carrier and knocked over a glass-fronted cabinet. CONTINUED: It sits in the center of the room, roaring furiously at Martha and Elaine, now dressed in work clothes, who stand facing it.</scene_description>
<character>ELAINE</character>
<dialogue>Isn't it supposed to find a corner?</dialogue>
<character>MARTHA</character>
<dialogue>No, he wants to throwdown.</dialogue>
<character>ELAINE</character>
<dialogue>Cats aren't supposed to throw down!</dialogue>
<scene_description>The cat screams.</scene_description>
<character>MARTHA</character>
<dialogue>He wants to throw down pound for pound like we were clowns that tried to mess around.</dialogue>
<character>ELAINE</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>Gimme the net.</dialogue>
<scene_description>Elaine gets a short-handled net from off a counter, and tosses it to Martha.</scene_description>
<character>ELAINE</character>
<dialogue>He'll just run.</dialogue>
<character>MARTHA</character>
<dialogue>He wants to take me on, you want to take me on, come on ese I'll cut you up!</dialogue>
<scene_description>The cat screams with the fury of hell.</scene_description>
<character>MARTHA</character>
<dialogue>Oh you talk a big game now but not so big when I make you my bitch.</dialogue>
<parenthetical>(to Elaine)</parenthetical>
<dialogue>Go around back of him, startle him towards me.</dialogue>
<scene_description>Elaine nods, and goes around back of the cat. Martha and the cat lock eyes, and then Elaine jumps towards the cat.</scene_description>
<character>ELAINE</character>
<dialogue>Boo!</dialogue>
<scene_description>The cat turns and pounces onto her face. CONTINUED:</scene_description>
<character>ELAINE</character>
<dialogue>EYAAARGHHH!</dialogue>
<character>MARTHA</character>
<parenthetical>(rushing to help her)</parenthetical>
<dialogue>Oh shit!</dialogue>
<character>CUT TO: MARTHA AND ELAINE</character>
</scene>
<scene>
<stage_direction>EXT. PETACULAR! - SHORTLY THEREAFTER</stage_direction>
<scene_description>Both women are sitting, covered in little bloody scratches and liquid cat diarrhea. Elaine is smoking a cigarette.</scene_description>
<character>ELAINE</character>
<parenthetical>(continuing her thought)</parenthetical>
<dialogue>It just exploded.</dialogue>
<character>MARTHA</character>
<dialogue>Like a burst fire hydrant of cat shit, that was unreal.</dialogue>
<character>ELAINE</character>
<dialogue>Do you think that's a defense mechanism, or-</dialogue>
<character>MARTHA</character>
<dialogue>I think he was just that scared of us. We're really hardcore.</dialogue>
<character>ELAINE</character>
<dialogue>How bad is the one on my elbow?</dialogue>
<character>MARTHA</character>
<dialogue>Oof. Bad. See this is why I'm never gonna be a lesbian.</dialogue>
<scene_description>Elaine looks at her, confused.</scene_description>
<character>MARTHA</character>
<dialogue>Pussy is crazy dangerous.</dialogue>
<scene_description>Elaine sits in silence, and then starts laughing.</scene_description>
<character>ELAINE</character>
<dialogue>You are, I think, actually retarded-</dialogue>
<character>MARTHA</character>
<parenthetical>(standing up)</parenthetical>
<dialogue>Yeah yeah, I'ma hit the drugstore.</dialogue>
<scene_description>Martha heads off. CONTINUED:</scene_description>
<character>ELAINE</character>
<dialogue>It isn't lunch yet!</dialogue>
<character>MARTHA</character>
<parenthetical>(calling back)</parenthetical>
<dialogue>I know.</dialogue>
<character>ELAINE</character>
<dialogue>You're covered in blood and cat shit!</dialogue>
<character>MARTHA</character>
<parenthetical>(from further yet away)</parenthetical>
<dialogue>I know.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRUG STORE</stage_direction>
<scene_description>Martha is waiting in line at the pharmacy, staring at a big "The Bahamas: Rediscover Love! Rediscover Life!" banner up on the wall. Mr. Right sits off to the side in the waiting area. He's staring intently at his hands. People are kind of shying away from Martha, due to the smell and appearance, causing Right to notice her as she approaches the counter.</scene_description>
<character>PHARMACIST</character>
<dialogue>Name please?</dialogue>
<character>MARTHA</character>
<dialogue>Martha McKay.</dialogue>
<character>PHARMACIST</character>
<dialogue>Meflem?</dialogue>
<character>MARTHA</character>
<dialogue>Mick-AY.</dialogue>
<character>PHARMACIST</character>
<dialogue>Oh, yes.</dialogue>
<scene_description>The pharmacist goes back to the medications. Martha glances around, noticing Mr. Right STARING at her. Martha picks up her birth control, and turns, heading away from the pharmacy. She glances back to Right, but he's gone. She looks down, a little glum, and walks directly into a display of cough-drops; boxes scatter and fall in all directions. We see Martha's POV, slow motion; as one of the boxes falls, we see a dotted line draw out, predicting where it's headed. Martha begins to reach out towards it. FREEZE.: CONTINUED: Suddenly, every single falling box grows a prediction line.</scene_description>
<character>UNFREEZE.</character>
<dialogue>Martha catches the single box, but no other boxes fall. She looks up to see Mr. Right, holding all of the boxes. He looks earnestly cautious, as though he may have just violated a boundary.</dialogue>
<character>MARTHA</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>How did you do that.</dialogue>
<character>RIGHT</character>
<parenthetical>(nods at the single box she holds)</parenthetical>
<dialogue>How did you do that?</dialogue>
<scene_description>Martha stands silently for a moment. Right casually takes the box from her, and replaces them all on the display. She notices Right staring at her again.</scene_description>
<character>MARTHA</character>
<dialogue>It was a cat.</dialogue>
<character>RIGHT</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>A cat, did this.</dialogue>
<character>RIGHT</character>
<dialogue>Did what?</dialogue>
<scene_description>Martha blinks, staring at him.</scene_description>
<character>RIGHT</character>
<dialogue>You want a lifesaver?</dialogue>
<scene_description>Martha looks at him quizzically.</scene_description>
<character>RIGHT</character>
<parenthetical>(reflective)</parenthetical>
<dialogue>I like lifesavers very much.</dialogue>
<character>MARTHA</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Do those work?</dialogue>
<scene_description>Right just looks bewildered. CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>"Ooh, I'm nice lifesaver guy, you're clumsy and vulnerable, look how handsome I am." Do you have a secret stock of lifesaver based jokes? Do you buy them in bulk?</dialogue>
<scene_description>Right stares at her emptily.</scene_description>
<character>RIGHT</character>
<parenthetical>(blankly, as though by rote)</parenthetical>
<dialogue>I like lifesavers very much.</dialogue>
<scene_description>Martha tries to move past him, and he blocks her way. Martha takes a step back, reevaluating the situation.</scene_description>
<character>RIGHT</character>
<dialogue>Is that creepy? Sometimes I don't know when I'm being creepy.</dialogue>
<scene_description>Right moves aside.</scene_description>
<character>RIGHT</character>
<dialogue>I get too forward, and then-</dialogue>
<character>MARTHA</character>
<dialogue>Who...are you?</dialogue>
<character>RIGHT</character>
<dialogue>Should I give you a fake name or my real one?</dialogue>
<scene_description>Martha stares at him.</scene_description>
<character>MARTHA</character>
<dialogue>Fake name.</dialogue>
<character>RIGHT</character>
<dialogue>Hubert Cumberbund.</dialogue>
<character>MARTHA</character>
<dialogue>"Hubert Cumberbund."</dialogue>
<character>RIGHT</character>
<dialogue>My friends call me Huey.</dialogue>
<scene_description>Martha stares at him for a moment more and then laughs.</scene_description>
<character>MARTHA</character>
<dialogue>I can't believe I'm talking to you, Huey.</dialogue>
<character>RIGHT</character>
<parenthetical>(genuinely confused)</parenthetical>
<dialogue>But...it's happening.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you wanna go get coffee? Like, hang out and stuff?</dialogue>
<character>MARTHA</character>
<parenthetical>(laughs again)</parenthetical>
<dialogue>You are just...Why are you here?</dialogue>
<character>RIGHT</character>
<parenthetical>(chipper)</parenthetical>
<dialogue>I need my prescriptions so I don't feel angry all the time.</dialogue>
<character>MARTHA</character>
<dialogue>I don't think any one's ever used that as pick-up line before.</dialogue>
<character>RIGHT</character>
<parenthetical>(looks around, then whispers confidentially)</parenthetical>
<dialogue>Is it working?</dialogue>
<character>MARTHA</character>
<parenthetical>(laughing and vehemently shaking her head)</parenthetical>
<dialogue>No, no it isn't.</dialogue>
<character>RIGHT</character>
<dialogue>I'm sorry, it's the best I've got. I'm not very suave.</dialogue>
<character>MARTHA</character>
<dialogue>Oh really?</dialogue>
<character>RIGHT</character>
<dialogue>No, not really, actually I am very suave.</dialogue>
<character>MARTHA</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Okay, explain why I should "hang out" with you in two words.</dialogue>
<character>RIGHT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>"Or else?"</dialogue>
<scene_description>Martha stares at him, and then Right winks at her, and she starts laughing. Right notices the circular box Martha is holding.</scene_description>
<character>RIGHT</character>
<dialogue>Oh, are those birth control?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Awesome.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FAST FOOD RESTAURANT - LATER</stage_direction>
<scene_description>Martha and Right sit together on the ground against the side of the restaurant. Both of them have kids' meals in colorful cardboard containers, which they are opening.</scene_description>
<character>RIGHT</character>
<dialogue>What'd you get, what'd you get?</dialogue>
<character>MARTHA</character>
<dialogue>Hold on, hold on...</dialogue>
<parenthetical>(takes out her toy)</parenthetical>
<dialogue>Green Parrot. What'd you get?</dialogue>
<character>RIGHT</character>
<dialogue>Dog with Spot. Dog With Spot beats Green Parrot.</dialogue>
<character>MARTHA</character>
<dialogue>What? No way. Green Parrot can fly.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Plus, he had this really bad childhood, so now he carries a knife with him everywhere.</dialogue>
<scene_description>Right laughs.</scene_description>
<character>MARTHA</character>
<dialogue>His parole officer tries to send him in the right direction, but Green Parrot is just too...</dialogue>
<parenthetical>(laughs)</parenthetical>
<dialogue>What about Dog with Spot?</dialogue>
<character>RIGHT</character>
<parenthetical>(shakes his head sadly)</parenthetical>
<dialogue>He had so much promise, but dropped out of college, lives with his girlfriend, she supports him...Not a pretty story, really.</dialogue>
<character>MARTHA</character>
<dialogue>Is this story indicative of you, or-</dialogue>
<character>RIGHT</character>
<dialogue>No, nah. So you were telling me about the museum?</dialogue>
<character>MARTHA</character>
<dialogue>Right, worked there for two years, and now, back to the petstore.</dialogue>
<character>RIGHT</character>
<dialogue>Wait, back to Petacular with Elaine?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>Thus the cat shit, yes.</dialogue>
<character>RIGHT</character>
<dialogue>But I thought you said you were going to end up managing the Egyptian thing-</dialogue>
<character>MARTHA</character>
<dialogue>Right, I was, but I'm...People have trouble working with me.</dialogue>
<character>RIGHT</character>
<dialogue>Yeah? You're a troublemaker?</dialogue>
<character>MARTHA</character>
<parenthetical>(grins)</parenthetical>
<dialogue>No, I just...I have some "restraint issues." I'm kind of impulsive.</dialogue>
<character>RIGHT</character>
<dialogue>I find that really attractive.</dialogue>
<character>MARTHA</character>
<dialogue>Oh, you wouldn't if you knew me.</dialogue>
<character>RIGHT</character>
<dialogue>I'm impulsive too.</dialogue>
<character>MARTHA</character>
<parenthetical>(beat)</parenthetical>
<dialogue>What do you do, exactly?</dialogue>
<character>RIGHT</character>
<dialogue>I sell cars, and I kill people.</dialogue>
<character>MARTHA</character>
<dialogue>Oh, you split the time?</dialogue>
<character>RIGHT</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Seventy-thirty, sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. PETACULAR!</stage_direction>
<scene_description>Elaine stands alone behind the counter. She looks around, and then looks at the clock on the wall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE SIDE PARK - TWILIGHT</stage_direction>
<scene_description>Martha and Right walk along the edge of an urban lake, laughing.</scene_description>
<character>RIGHT</character>
<dialogue>Dragons?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>Yeah dragons. Humans put names on everything to make them safe, but when you come down to it, a whale is just a sea monster, right? I mean, what's a dinosaur other than a dragon?</dialogue>
<scene_description>As Martha talks, an errant frisbee nearly hits Right; seemingly without even looking, he catches it and throws it back.</scene_description>
<character>MARTHA</character>
<dialogue>People see things and they put labels on them, and it takes the...The whatever, the wonder out. It allows people to just glance at stuff instead of really looking.</dialogue>
<character>RIGHT</character>
<dialogue>People prefer that, I think. Most people live in little contained worlds; they like a T-Rex better as a big bunch of bones than as something that actually lived.</dialogue>
<character>MARTHA</character>
<dialogue>Yeah, maybe. That's why I got into paleontology in the first place, because I wanted to show the past to people in a new way. I thought by now I'd be working in the Smithsonian, but I can't...</dialogue>
<character>RIGHT</character>
<dialogue>Impulsive, right.</dialogue>
<character>MARTHA</character>
<dialogue>Right.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We haven't really, yknow, talked about you much.</dialogue>
<character>RIGHT</character>
<dialogue>Well that's a shame, because I'm very, very interesting.</dialogue>
<scene_description>Martha laughs, but then they're interrupted by a CHONGA, early twenties, latina, sexy, who stands with her friends around a picnic table in the park.</scene_description>
<character>CHONGA</character>
<dialogue>Hey, hey wifey!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>Yeah, can I help you?</dialogue>
<character>CHONGA</character>
<dialogue>Ain't you know Robbie Hewitt?</dialogue>
<character>MARTHA</character>
<parenthetical>(slowly)</parenthetical>
<dialogue>Yeah...</dialogue>
<scene_description>The chonga says something to her friends, and they all laugh.</scene_description>
<character>CHONGA</character>
<dialogue>Well you tell him he need to call me back, because-</dialogue>
<scene_description>The chonga notices that Martha is charging at her, screaming and looking crazy.</scene_description>
<character>CHONGA</character>
<dialogue>OH SHIT BITCH-</dialogue>
<character>CUT TO: OUTSIDE CHARLIE</character>
<scene_description>APARTMENT:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLIE CARTIGAN'S PLACE - LIVING ROOM</stage_direction>
<scene_description>Charlie Cartigan sits alone in his living room, staring at the crumpled list Von gave him. He sighs, and dials one of the numbers. It's disconnected. He tries another, and it's again disconnected.</scene_description>
<character>CUT TO: SAME, LATER.</character>
<dialogue>Charlie's on the phone with Von. We intercut back and forth to Von, who's in an ARCADE playing a stand-up video game while Johnny Howl sits on a pinball machine behind him.</dialogue>
<character>CHARLIE</character>
<dialogue>The numbers don't work.</dialogue>
<character>VON</character>
<dialogue>How many did you try?</dialogue>
<character>CHARLIE</character>
<dialogue>I tried six, they're all disconnected-</dialogue>
<character>VON</character>
<dialogue>Well I told you some of them wouldn't work, Uncle Charlie, you've just gotta go till you get one. These are the best around, they don't stay in the same place for long, right?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHARLIE</character>
<dialogue>Right, I guess, but I'm supposed to go through every number here?</dialogue>
<character>VON</character>
<dialogue>Well what was I supposed to do, call and then hang up if they answer? That's a good way to get myself shot-</dialogue>
<scene_description>Von dies in the game, causing Johnny Howl to chuckle.</scene_description>
<character>VON</character>
<dialogue>Agh, goddamnit!</dialogue>
<character>CHARLIE</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>You okay?</dialogue>
<character>VON</character>
<dialogue>Look, I'm fine, Charlie, and I'm sorry about the numbers, but just please, do your best, okay?</dialogue>
<scene_description>Von hangs up as a big, bulky ARCADE EMPLOYEE comes up to Johnny Howl.</scene_description>
<character>ARCADE EMPLOYEE</character>
<dialogue>Hey, man, please don't sit on the machines.</dialogue>
<scene_description>Johnny Howl looks to Von.</scene_description>
<character>VON</character>
<dialogue>Yeah, I'm done anyway.</dialogue>
<scene_description>Johnny Howl abruptly spins around behind the bulky guy, and instantly slits his throat with a straight razor. Blood splatters onto the pinball machine, and the man falls behind it. It all happened so fast, no one in the arcade even noticed. Von chuckles.</scene_description>
<character>VON</character>
<dialogue>Let's go.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>No, I wanted to-</dialogue>
<character>VON</character>
<dialogue>Let's go.</dialogue>
<scene_description>BACK TO: CHARLIE CARTIGAN'S: APARTMENT - LATER: CONTINUED: Charlie hangs up his phone, crossing off another number, frustrated. He sighs, and dials again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE SIDE PARK - DOWN BY THE WATER - CONTINUOUS</stage_direction>
<scene_description>Mr. Right and Martha are posted out down by the water, relaxing. Night has fallen, and the park is lit by street lamps. Martha is even further mussed. Right's cell phone rings, and he flips it open.</scene_description>
<character>MARTHA</character>
<dialogue>Anyone interesting?</dialogue>
<character>RIGHT</character>
<dialogue>Probably not.</dialogue>
<scene_description>Right flips the cell phone closed again.</scene_description>
<character>RIGHT</character>
<dialogue>I've never, I don't think I've ever seen a woman throw punches like that before.</dialogue>
<character>MARTHA</character>
<dialogue>Yeah, well, she escaped, so mission failure, I think.</dialogue>
<character>RIGHT</character>
<dialogue>She was one of the girls sleeping with...</dialogue>
<character>MARTHA</character>
<dialogue>Yeah.</dialogue>
<character>RIGHT</character>
<dialogue>I don't get that. I mean, if you're in a relationship, you've got to be locked down. I don't even know how someone starts into something, why they would start into something if they didn't know right then and there they wanted to commit.</dialogue>
<scene_description>Martha smiles, and looks down. CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>See, I think my problem has always been that if you want someone, really want them, you've got to know immediately and stick by it. Recently, I don't want to throw myself out there for anyone to pick up. I've just been trying to take life more seriously, you know?</dialogue>
<scene_description>Martha looks up, and gasps, then laughs; Mr. Right has put on the red foam clown nose. He takes it off, pocketing it.</scene_description>
<character>MARTHA</character>
<dialogue>The corniest guy alive.</dialogue>
<character>RIGHT</character>
<dialogue>It's possible.</dialogue>
<character>MARTHA</character>
<dialogue>So, are you against casual sex, then?</dialogue>
<character>RIGHT</character>
<dialogue>I don't think I've ever had sex that wasn't casual; I mean, I usually do it naked, so what's more casual than that.</dialogue>
<scene_description>Martha laughs.</scene_description>
<character>RIGHT</character>
<dialogue>I was dating a girl, for a while, and we were having formal sex; I had to wear a tuxedo. It was really sweaty-</dialogue>
<scene_description>Martha keeps laughing.</scene_description>
<character>RIGHT</character>
<dialogue>And I dated a girl where we had, like, semi-formal sex; I had to wear a button up. Condom.</dialogue>
<scene_description>Martha grabs Right and kisses him.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - HALLWAY - SOON AFTER</stage_direction>
<scene_description>Right and Martha crash into the apartment hallway, still making out. Elaine peeks her head out from her room. CONTINUED:</scene_description>
<character>ELAINE</character>
<dialogue>Oh, uh, hello.</dialogue>
<scene_description>Martha ducks off into her room.</scene_description>
<character>MARTHA</character>
<parenthetical>(muttering, embarrassed)</parenthetical>
<dialogue>Oh, uh, my hair...</dialogue>
<character>RIGHT</character>
<parenthetical>(to Elaine)</parenthetical>
<dialogue>Hello Elaine!</dialogue>
<character>ELAINE</character>
<dialogue>Have we...met?</dialogue>
<character>RIGHT</character>
<parenthetical>(cheery)</parenthetical>
<dialogue>No!</dialogue>
<scene_description>Elaine stares at him.</scene_description>
<character>RIGHT</character>
<dialogue>I'm in love with Martha. You and me are going to be friends!</dialogue>
<scene_description>Elaine quietly goes back into her room, shutting the door. She opens the door again for a moment, staring at him. Mr. Right sort of shrugs. CUT TO: A TV SCREEN, FLIPPING:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BEDROOM</stage_direction>
<scene_description>The lights are off. Mr. Right lays on the bed, shoes and socks off, flipping through the channels. He stops, staring at the diorama on the wall. Martha comes out of the bathroom in a towel, with a towel around her hair. She notices Right staring at the diorama, and looks at him questioningly.</scene_description>
<character>RIGHT</character>
<parenthetical>(by way of clarification)</parenthetical>
<dialogue>Dragons.</dialogue>
<scene_description>Martha has to stop a frighteningly big smile, and then covers her face, slightly embarrassed.</scene_description>
<character>RIGHT</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>It's cool.</dialogue>
<scene_description>CONTINUED: She and Mr. Right stare at each other for a moment, and then she crawls out onto the bed, and lays down next to him.</scene_description>
<character>MARTHA</character>
<dialogue>If we don't...</dialogue>
<scene_description>Mr. Right just looks at her, and shrugs.</scene_description>
<character>MARTHA</character>
<dialogue>I mean, will you still stay?</dialogue>
<scene_description>Mr. Right smiles, and then nods. She kisses him gently on the lips. THE DISTANCE SIGHTS OF A BINOCULARS COME UP, AND WE SEE MR. RIGHT AND MARTHA LAUGHING TOGETHER.</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING ROOF - CONTINUOUS</stage_direction>
<scene_description>Across the street on the roof of a building, Agent Bart HOPPER, 54, with a widows peak, looks down at Martha's window through binoculars. Next to him, Agent WALLY Kinokis, 30, gruff looking, pops open a pack of nicotine gum. Both of them, from their clothes to their posture, read as FBI.</scene_description>
<character>WALLY</character>
<dialogue>They fucking?</dialogue>
<character>HOPPER</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Nope.</dialogue>
<character>WALLY</character>
<dialogue>You think he's gonna kill her?</dialogue>
<character>HOPPER</character>
<dialogue>I don't know.</dialogue>
<character>WALLY</character>
<dialogue>Yeah, but you must have a theory-</dialogue>
<character>HOPPER</character>
<dialogue>Does chewing that gum help you at all?</dialogue>
<character>WALLY</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Yeah.</dialogue>
<character>HOPPER</character>
<dialogue>Then chew the damn gum.</dialogue>
<scene_description>Wally shrugs.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BEDROOM - MORNING</stage_direction>
<scene_description>Martha lays asleep, alone, in bed; her towel has come mostly unwrapped, and we can see her bare back and a little bit of her butt. She blinks, awaking and realizing she's alone, and then notices a note on her bed. Drawn on it is a simple, childlike image of Martha fighting a cat like a lion tamer, with stiff block letters under it. "I HAVE TO GO TO WORK. I WILL SEE YOU TONIGHT." She stares at it for a moment, and then slowly allows herself to smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR DEALERSHIP - RIGHT'S OFFICE</stage_direction>
<scene_description>Right sits at his desk, talking on the phone, looking out the window. The nameplate reads "Clark Speck." There's a wind up toy on his desk, wandering along.</scene_description>
<character>RIGHT</character>
<dialogue>No, I see the convertibles.</dialogue>
<parenthetical>(listens)</parenthetical>
<dialogue>I see them, I do, but you have to understand, when I say we can't move convertibles I mean we can't move convertibles, I'm not going to make up a sales problem, here.</dialogue>
<scene_description>Someone walks by, and he covers the phone, calling out to them.</scene_description>
<character>RIGHT</character>
<dialogue>Mitch, hey Mitch!</dialogue>
<scene_description>The man stops and looks into the office.</scene_description>
<character>RIGHT</character>
<dialogue>I'm in love!</dialogue>
<scene_description>Mitch shrugs, and keeps walking. Right goes back to the phone.</scene_description>
<character>RIGHT</character>
<dialogue>Look, I'll get back to you about this on Tuesday, okay? Okay. Right. Okay.</dialogue>
<scene_description>Mr. Right hangs up, and sits for a moment, and then takes out his cell phone. It reads "ONE NEW VOICEMAIL." Right, making the strange, dead face, presses send.</scene_description>
</scene>
<scene>
<stage_direction>INT. PETACULAR!</stage_direction>
<scene_description>Elaine and Martha are loading crates of Kitty Litter up onto the shelves.</scene_description>
<character>MARTHA</character>
<dialogue>Can't you hire someone to do this?</dialogue>
<character>ELAINE</character>
<dialogue>I did, I hired you.</dialogue>
<character>MARTHA</character>
<dialogue>Yeah, but someone to do it for us, while we watched.</dialogue>
<scene_description>Elaine just shakes her head.</scene_description>
<character>ELAINE</character>
<dialogue>Why did Busta sleep in my room last night?</dialogue>
<character>MARTHA</character>
<dialogue>It was weird, he wouldn't come in while...</dialogue>
<parenthetical>(laughs)</parenthetical>
<dialogue>I just realized I don't know his real name.</dialogue>
<character>ELAINE</character>
<dialogue>Who, Mr. Right?</dialogue>
<character>MARTHA</character>
<dialogue>Mm, I like that.</dialogue>
<character>ELAINE</character>
<dialogue>You slept with him and you don't even know his-</dialogue>
<character>MARTHA</character>
<dialogue>I slept with him, I didn't screw him-</dialogue>
<character>ELAINE</character>
<dialogue>You don't even know his name?</dialogue>
<scene_description>Martha's quiet.</scene_description>
<character>ELAINE</character>
<dialogue>And Busta wouldn't come in...You know, they say animals can sense evil.</dialogue>
<scene_description>Martha glares at her. CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>He's not "evil." Ooh, actually, what if he is? I hope he is.</dialogue>
<scene_description>Martha lifts a big crate of cat litter up onto the shelf.</scene_description>
<character>MARTHA</character>
<dialogue>When I was little I always had this fantasy of dating Lex Luthor.</dialogue>
<character>ELAINE</character>
<dialogue>Lex Luthor was a genius. Your guy...he's like, like some kinda hot Rain Man or something.</dialogue>
<scene_description>Martha laughs.</scene_description>
<character>MARTHA</character>
<dialogue>I think I'm in love with him. Is that stupid?</dialogue>
<character>ELAINE</character>
<dialogue>...Yes.</dialogue>
<scene_description>Martha rolls her eyes.</scene_description>
<character>MARTHA</character>
<dialogue>Don't roll your eyes!</dialogue>
<character>ELAINE</character>
<dialogue>You're in love with a man you met yesterday.</dialogue>
<character>MARTHA</character>
<dialogue>I don't know, I think so.</dialogue>
<scene_description>Elaine's quiet for a moment, then sighs.</scene_description>
<character>ELAINE</character>
<dialogue>That's how my mother and father met. Love at first sight.</dialogue>
<character>MARTHA</character>
<dialogue>Yeah?</dialogue>
<character>ELAINE</character>
<dialogue>Don't start smiling, you're not them.</dialogue>
<scene_description>Martha keeps smiling.</scene_description>
<character>ELAINE</character>
<dialogue>You're not them! And this guy is weird, okay? And he makes you weird.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>I'm already weird.</dialogue>
<character>ELAINE</character>
<dialogue>When a dude cheats on you, you're supposed to reject men, not just go gaga over the next one you bump into in a drugstore.</dialogue>
<character>MARTHA</character>
<dialogue>Hey, like you said. "Mr. Right."</dialogue>
<scene_description>Elaine sighs dramatically, and then laughs. CUT TO: CLOSE UP OF A CLIP OF: AMMUNITION BEING SLAPPED INTO: A PISTOL.:</scene_description>
</scene>
<scene>
<stage_direction>INT. MR. RIGHT'S STORAGE CONTAINER - CONTINUOUS</stage_direction>
<scene_description>Mr. Right sits in a storage container, wearing only an undershirt and underwear. On a crate in front of him he's laid out a dozen different types of pistols, and he's looking over them, thinking. His face is dead and emotionless. We pan to reveal that the wall behind him is covered with guns; it is not, however, simply an armory. There is only one gun of each type; one sniper rifle, one combat rifle, one submachine gun, etc. What we're looking at isn't an arsenal; it's a toolbox. His cell phone rings, and he takes it out. It reads "Martha Monster."</scene_description>
<character>MARTHA (V.O.)</character>
<dialogue>Monster?</dialogue>
<scene_description>CUT TO: MR. RIGHT AND MARTHA:</scene_description>
</scene>
<scene>
<stage_direction>INT. FANCY RESTAURANT - NIGHT</stage_direction>
<scene_description>Right and Martha are both slightly dressed up. They're waiting for their food.</scene_description>
<character>MARTHA</character>
<dialogue>You want to call me "Monster?"</dialogue>
<character>RIGHT</character>
<dialogue>It's a nickname, you know, monster, marth, marthster, that sort of-</dialogue>
<character>MARTHA</character>
<dialogue>No, I get it, I just...I like it. Monster.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Monsta.</dialogue>
<character>MARTHA</character>
<dialogue>Better than Agatha.</dialogue>
<character>RIGHT</character>
<dialogue>I think Agatha is an excellent middle name, Martha, I don't know why you don't like it.</dialogue>
<character>MARTHA</character>
<dialogue>Martha Agatha, I sound like I was born an old lady.</dialogue>
<character>RIGHT</character>
<dialogue>I like old ladies. The way they smell, the way their skin feels. You know, when I kiss you, I just, I feel like I'm making out with my grandma, and it just turns me on so much I can't even stand it-</dialogue>
<character>MARTHA</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Oh my god, stop it, stop it.</dialogue>
<scene_description>Right smiles.</scene_description>
<character>RIGHT</character>
<dialogue>You're so...hot.</dialogue>
<scene_description>Martha blinks.</scene_description>
<character>RIGHT</character>
<dialogue>I want to come around the table and sit next to you, can I do that?</dialogue>
<character>MARTHA</character>
<dialogue>What?</dialogue>
<character>RIGHT</character>
<dialogue>I want to come around-</dialogue>
<character>MARTHA</character>
<dialogue>No, I...I think you should definitely do that. Break the face to face code of table dining.</dialogue>
<scene_description>Right laughs, and moves his chair around the table so he sits next to her. The food arrives, and the confused waiter puts the plates down in front of them. CONTINUED: Right looks up, and catches Martha staring at him. She coughs, and looks down at her food.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIGHT'S APARTMENT - LATER</stage_direction>
<scene_description>Right's apartment is primarily decorated in greens, tasteful, very organized, minimalist. Martha sits on his couch, looking around. Right is in the kitchen, making hot chocolate.</scene_description>
<character>MARTHA</character>
<parenthetical>(calling to him)</parenthetical>
<dialogue>What's your name?</dialogue>
<character>RIGHT</character>
<parenthetical>(spraying whipcream onto the hot chocolate)</parenthetical>
<dialogue>My name?</dialogue>
<character>MARTHA</character>
<dialogue>Yeah, I was, I was enjoying the whole not knowing thing, but I mean, I feel like it's done now.</dialogue>
<scene_description>Right comes over to her, and hands her her mug of hot chocolate.</scene_description>
<character>RIGHT</character>
<dialogue>The truth is, I don't really like my name. I kind of hate it. Even hearing it makes me kind of angry, I...I have a lot of anger about a lot of things. I'm kind of messed up in a lot of ways. I've been completely honest with you about everything, it's only two days in so I know that's not a big accomplishment or something, but I just...I really don't like my name. I don't want to tell you it, because I don't want to hear you say it.</dialogue>
<scene_description>Martha stares at him.</scene_description>
<character>MARTHA</character>
<dialogue>How did you do that thing in the store.</dialogue>
<character>RIGHT</character>
<dialogue>What thing?</dialogue>
<character>MARTHA</character>
<dialogue>You moved...the way you move sometimes. Like you already know how things are going to-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(a little self-conscious)</parenthetical>
<dialogue>Oh, right. That.</dialogue>
<character>MARTHA</character>
<dialogue>Is this a thing?</dialogue>
<character>RIGHT</character>
<dialogue>No, it's...</dialogue>
<scene_description>Martha waits. Right seems to think for a moment. CLATTERING DOWN:</scene_description>
<character>ON A TABLE</character>
<dialogue>It's a little later, and Martha and Right now stand next to his table. Martha looks a little apprehensive.</dialogue>
<character>RIGHT</character>
<parenthetical>(straightening out the knives)</parenthetical>
<dialogue>I've always found it easier to show, rather than just try to explain-</dialogue>
<character>MARTHA</character>
<dialogue>Is this going to get, like, scary?</dialogue>
<character>RIGHT</character>
<dialogue>No scarier than usual, I don't think.</dialogue>
<character>MARTHA</character>
<dialogue>There aren't usually knives.</dialogue>
<character>RIGHT</character>
<dialogue>You never play with knives?</dialogue>
<scene_description>CUT TO: A quick montage of Martha playing with knives in various locations; frightening Tatianna, twirling them clumsily in front of a mirror, running one up her arm and getting the shivers, violently and theatrically slicing an onion "HIYA! HIYA!" and finally 80s home video footage of Little Martha running holding a bunch of knives yelling "I GOT KNIFES FO FINGAHZ!" with her frantic father chasing after her, stopping for a moment to turn to the camera and shout "Christy put the camera down!" BACK TO: MARTHA'S: CONTINUED:</scene_description>
<character>CONTEMPLATIVE</character>
<dialogue>FACE</dialogue>
<character>MARTHA</character>
<dialogue>Not really.</dialogue>
<character>RIGHT</character>
<dialogue>First time for everything.</dialogue>
<scene_description>Martha smiles nervously. CUT TO: It's slightly later; Right and Martha are nearer to the center of the room. Right stands behind their bodies pressed together, limbs moving slowly, synchronized, just an easy, gradual dance. As they move, Right talks.</scene_description>
<character>RIGHT</character>
<dialogue>Ever since I was a little boy, I've had an idea. It's a theory.</dialogue>
<parenthetical>(he leans back, forcing her to lay back on him, and runs her own hands up her body)</parenthetical>
<dialogue>Keep up.</dialogue>
<character>MARTHA</character>
<parenthetical>(trying to keep her balance)</parenthetical>
<dialogue>I'm trying.</dialogue>
<character>RIGHT</character>
<dialogue>Everything we see, like physical things, it's all just islands. And under it, carrying it, is this sweeping current.</dialogue>
<scene_description>He brings their right hands up in front of Martha's face, and moves it fluidly back and forth.</scene_description>
<character>RIGHT</character>
<dialogue>And if you pay attention, you can start to feel it. Here, you see how your hand moves with mine? You can feel it. You can feel it through me. Do you feel it?</dialogue>
<scene_description>Martha's quiet as they move, trying to figure out if this is just foreplay, or if that strange sensation she's feeling counts at what Right is talking about. He subtly grabs a knife off the table with his left hand, and then continues moving, bringing the knife dangerously close to her throat. CONTINUED:</scene_description>
<character>MARTHA</character>
<parenthetical>(a little afraid, staring at the knife)</parenthetical>
<dialogue>I...uh...</dialogue>
<character>RIGHT</character>
<dialogue>It's okay, just concentrate on the knife.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Now if we can feel the current, we can feel other things in the current, other moving things, people...watch the knife...And we can feel how the current will move them, and we can see where they'll go. It's all in the movement, see, it pushes itself; it's easier to move with it than against it.</dialogue>
<scene_description>Martha's gaze moves from knife to Right's arm, and, very faintly, we see the dotted trace lines from his shoulder, his elbow, his wrist and the tip of the knife. Right, staring at Martha, watching her face, abruptly drops the knife, bringing his and her other hands directly under it. Martha yelps and jumps away, and Right easily catches knife.</scene_description>
<character>MARTHA</character>
<dialogue>Jesus christ!</dialogue>
<character>RIGHT</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>Why the fuck would you-</dialogue>
<character>RIGHT</character>
<dialogue>I thought you would catch it.</dialogue>
<character>MARTHA</character>
<dialogue>Catch it, jesus-</dialogue>
<character>RIGHT</character>
<parenthetical>(suddenly concerned and apologetic)</parenthetical>
<dialogue>Did it not work? Did you not see where it was going to go?</dialogue>
<scene_description>Martha's quiet for a moment.</scene_description>
<character>MARTHA</character>
<dialogue>You could've cut me-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Then why didn't you catch it?</dialogue>
<character>MARTHA</character>
<dialogue>I can't catch a knife-</dialogue>
<character>RIGHT</character>
<dialogue>Yes you can.</dialogue>
<character>MARTHA</character>
<dialogue>No I can't.</dialogue>
<character>RIGHT</character>
<dialogue>Yes you can.</dialogue>
<scene_description>Martha shakes her head, as though waking up from a dream.</scene_description>
<character>MARTHA</character>
<dialogue>I don't even know your name, and you just, attacked me-</dialogue>
<character>RIGHT</character>
<dialogue>I didn't attack you, I just-</dialogue>
<character>MARTHA</character>
<parenthetical>(straightening herself)</parenthetical>
<dialogue>Look, um, I had a really nice night, but I have to-</dialogue>
<character>RIGHT</character>
<dialogue>I could tell you can feel it. You don't know how yet, but I can keep showing you, I-</dialogue>
<character>MARTHA</character>
<dialogue>No, really-</dialogue>
<parenthetical>(picking up her purse)</parenthetical>
<dialogue>That's great, but I need to leave, now, and I-</dialogue>
<scene_description>-she heads towards the door-</scene_description>
<character>MARTHA</character>
<dialogue>-think it would be better off if we just took a day or-</dialogue>
<character>RIGHT</character>
<dialogue>But you felt it!</dialogue>
<character>MARTHA</character>
<dialogue>It doesn't matter what I-</dialogue>
<character>RIGHT</character>
<dialogue>Martha.</dialogue>
<scene_description>CONTINUED: Martha turns, just in time to see Right toss the knife at her. Time stops for a second, Martha's eyes wide, staring at the knife as it spins towards her. Martha's hand shoots up and plucks the knife out of the air, holding it by the blade. There's absolute stillness, with Right realizing he just went way over the line to prove his point. Luckily, Martha is sprinting past that line as well. She lets out short, deep, throaty "hur-hur-hur" laugh, staring at the knife.</scene_description>
<character>MARTHA</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>That's so gnarly-</dialogue>
<scene_description>Mr. Right tosses another knife at her, and Martha catches it almost without looking.</scene_description>
<character>MARTHA</character>
<dialogue>No, no more, okay, it...I get it.</dialogue>
<character>RIGHT</character>
<dialogue>Gimme one of those back.</dialogue>
<scene_description>Martha throws a knife to Right, which he easily catches, spins, and whips back at her, along with a second knife. She throws the first knife at Right, and then catches both new knives, and then has to catch the first knife as Right tosses it back at her. She stares at the three knives in her hands as Right approaches.</scene_description>
<character>MARTHA</character>
<dialogue>It's like a...Like a pulse?</dialogue>
<character>RIGHT</character>
<dialogue>Yeah.</dialogue>
<character>MARTHA</character>
<parenthetical>(thinking)</parenthetical>
<dialogue>Like everything is on strings, or...God, it's like trying to describe doing acid, I can't...</dialogue>
<parenthetical>(thinks)</parenthetical>
<dialogue>It's like everything is moving together at once, and I just-</dialogue>
<character>RIGHT</character>
<dialogue>I was worried.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>Why?</dialogue>
<character>RIGHT</character>
<dialogue>I've never tried to explain it to anyone before, and I thought it would sound stupid, or that-</dialogue>
<character>MARTHA</character>
<dialogue>No, no it just...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You've never talked about this to anyone?</dialogue>
<character>RIGHT</character>
<dialogue>No.</dialogue>
<character>MARTHA</character>
<dialogue>Why me?</dialogue>
<character>RIGHT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Because I wanted you to know. I needed you to know. You have this grace about you, I can't even describe it, and I knew...I just knew you'd understand.</dialogue>
<character>MARTHA</character>
<dialogue>Is that how you knew I'd catch the knife?</dialogue>
<character>RIGHT</character>
<dialogue>I didn't know you'd catch the knife.</dialogue>
<scene_description>Martha stares at him, not questioning, just listening.</scene_description>
<character>RIGHT</character>
<dialogue>I believed you could catch the knife. I wanted you to catch the knife. But there was no way I could know. You're the one that did it. You're the one who knew.</dialogue>
<scene_description>Martha looks down, thinking very hard.</scene_description>
<character>RIGHT</character>
<dialogue>So, are you mad, or-</dialogue>
<scene_description>Martha looks back up to him, and wipes her eye. CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>I'm not mad.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I want you. I really, really do.</dialogue>
<scene_description>Right makes a wide-eyed face of surprise.</scene_description>
<character>RIGHT</character>
<dialogue>I think that's...that's doable.</dialogue>
<character>MARTHA</character>
<dialogue>No, I mean, like, immediately.</dialogue>
<scene_description>They stand there staring at each other.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIGHT'S APARTMENT - BEDROOM - MORNING</stage_direction>
<scene_description>Martha and Right lay in bed together, naked. Mr. Right is asleep. Martha is awake, staring straight ahead, a blank, happy smile on her face.</scene_description>
<character>CUT TO: THE BATHROOM</character>
<dialogue>Martha stands in Mr. Right's bathroom, naked, looking at ten prescription medication bottles. None of them have labels. She gives them a cursory examination, and then looks at his toothbrush, his deodorant, and then his shaving razor.</dialogue>
<dialogue>She is quietly, serenely happy.</dialogue>
<character>CUT TO: THE SHOWER</character>
<dialogue>Martha is in the shower, washing her hair, when Mr. Right gets in, also naked, and immediately starts kissing her, pushing her up against the wall of the shower.</dialogue>
</scene>
<scene>
<stage_direction>INT. MR. RIGHT'S CAR - SHORTLY THEREAFTER</stage_direction>
<scene_description>Mr. Right is driving, with Martha next to him. They're both quiet and happy. They come to a red light, and Mr. Right notices the car's clock; 9:43 AM.</scene_description>
<character>RIGHT</character>
<dialogue>Ooh, damnit.</dialogue>
<character>MARTHA</character>
<dialogue>What?</dialogue>
<character>RIGHT</character>
<dialogue>I'm a dumb ass, I forgot something. Do you mind if we make a stop? It'll only take a second.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>No, uh, whatever, it's alllll gooood.</dialogue>
<parenthetical>(beat, looks out the window)</parenthetical>
<dialogue>That... Last night was the first time anyone's called me hot.</dialogue>
<character>RIGHT</character>
<dialogue>What? No way.</dialogue>
<character>MARTHA</character>
<dialogue>No, it's true. I mean, guys say shit like that like right before or during sex, and I always assumed it was just because I looked better in dim lighting-</dialogue>
<parenthetical>(Right laughs) )</parenthetical>
<dialogue>But I've never had anyone just say it like that.</dialogue>
<character>RIGHT</character>
<dialogue>I hope that's not why you love me.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you love me?</dialogue>
<scene_description>Right smiles. Martha smiles. The light turns green.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PUBLIC PARK - SHORTLY THEREAFTER</stage_direction>
<scene_description>Right pulls up, and parks. Out on a park bench sits Charlie Cartigan, but otherwise, the park is entirely empty. Charlie fidgets nervously, waiting, holding a plastic bag.</scene_description>
<character>RIGHT</character>
<dialogue>There's my guy. I'll be right back, okay?</dialogue>
<character>MARTHA</character>
<dialogue>Okay.</dialogue>
<scene_description>Mr. Right leans over and kisses her. He then gets out, and heads off towards Charlie. Martha sits in silence for a moment, and then turns on the radio; it's a pop love song. She changes, it, country. Changes it again, and comes onto heavy, bass-thumping, hardcore rap. Martha smiles and calmly lip-syncs the words. OVER BY THE BENCH... Charlie stands up as Right approaches.</scene_description>
<character>CHARLIE</character>
<dialogue>Are you the guy?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>I'm a guy, sure.</dialogue>
<scene_description>They both sit down.</scene_description>
<character>RIGHT</character>
<dialogue>How'd you get my number?</dialogue>
<character>CHARLIE</character>
<dialogue>Doesn't matter.</dialogue>
<character>RIGHT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>No, I guess it doesn't. So what do you need?</dialogue>
<character>CHARLIE</character>
<dialogue>Hah. What do I "need."</dialogue>
<scene_description>We see, from Martha's vantage point, Charlie hand Right an envelope from the plastic bag.</scene_description>
<character>CHARLIE</character>
<dialogue>Everything's in there.</dialogue>
<character>RIGHT</character>
<parenthetical>(cordial)</parenthetical>
<dialogue>You're sure about this.</dialogue>
<character>CHARLIE</character>
<dialogue>Sure about what?</dialogue>
<character>RIGHT</character>
<dialogue>You're sure that you want me to kill whoever it is that's identified in this envelope.</dialogue>
<scene_description>Charlie blinks, shocked.</scene_description>
<character>CHARLIE</character>
<dialogue>Well, I don't...What're you-</dialogue>
<scene_description>Right sighs and impatiently tears open the envelope. Inside is picture of BOBBY YATSUDA, a vicious looking Asian American man in his 50s, along with some documents.</scene_description>
<character>RIGHT</character>
<dialogue>Him?</dialogue>
<character>CHARLIE</character>
<dialogue>Hey, hey, don't do that-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>This Bobby Yatusda, you want me to kill Bobby Yatsuda?</dialogue>
<character>CHARLIE</character>
<dialogue>Well, jesus, I don't...</dialogue>
<parenthetical>(looks around, baffled)</parenthetical>
<dialogue>Uh...Is this a-</dialogue>
<character>RIGHT</character>
<dialogue>It's not a trick. It's not a game. You want me to kill this man.</dialogue>
<character>CHARLIE</character>
<dialogue>...Yes?</dialogue>
<scene_description>Mr. Right gives a somewhat sad smile.</scene_description>
<character>RIGHT</character>
<dialogue>Okay.</dialogue>
<scene_description>Martha watches from the car as Right and Charlie stand up and shake hands. Mr. Right then puts on the clown nose. Charlie looks confused. Mr. Right suddenly drops a gun out of his sleeve and shoots Charlie through the side of the face. Martha gasps, her eyes wide. Right catches Charlie as he falls forward, and we can see him saying "Oh, shit, sorry." Right apologetically gives the horrified Martha a "one second" finger, shrugs and mouths the word "sorry." Charlie tries to draw his gun, and Right abruptly shoots him in the forehead, then turns and briskly starts walking back to the car. Charlie's body falls dead. Martha sits frozen in the car. Mr. Right walks to the car and gets in, giving her a quick smile.</scene_description>
<character>RIGHT</character>
<dialogue>I told you it'd only take a second.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Is something wrong?</dialogue>
<character>MARTHA</character>
<parenthetical>(quietly, staring down)</parenthetical>
<dialogue>Take me home.</dialogue>
<character>RIGHT</character>
<dialogue>I...Well, I was going to do that anyway...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Are you mad because I shot that guy?</dialogue>
<scene_description>Martha is silent, and then raises her eyes to make contact with his.</scene_description>
<character>RIGHT</character>
<dialogue>Martha, how I felt about that guy has nothing to do with how I feel about you.</dialogue>
<scene_description>Martha drops eye contact. Right sighs, and puts the car in gear. They drive out of the parking lot, and we hold on the empty park. We pan to reveal Johnny Howl, sitting in a innocuous sedan. He stares at the body of Charlie Cartigan in silence; his reaction is unreadable. He sighs, blowing out smoke and then tosses out his cigarette, and starts the car.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT - STREET LEVEL</stage_direction>
<scene_description>Right pulls up, letting Martha out. She immediately goes up the stairs, but he gets out.</scene_description>
<character>RIGHT</character>
<dialogue>Martha, wait.</dialogue>
<scene_description>Martha stops on the stoop, and turns around.</scene_description>
<character>RIGHT</character>
<dialogue>I don't...I'm not a bad person. I don't think before I act sometimes, but...I love you, and I'm not a bad person.</dialogue>
<scene_description>Martha slowly nods, and goes inside. Right sighs, and kicks the car, and then gets in and drives away. Across the street, in an alley, Johnny Howl watches the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Martha comes in, closes the door, leans and then slumps against it, staring straight ahead. We see her view of the apartment, empty and hostile. Busta, her cat, meows, approaching. She slowly pets the cat, staring blankly at anything and everything. She walks over to the window, and closes the shades.</scene_description>
<character>CUT TO: JOHNNY HOWL</character>
<dialogue>ON THE STREET.</dialogue>
<scene_description>CONTINUED: Johnny smiles, looking at Martha in her window.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICHARD'S OFFICE</stage_direction>
<scene_description>It's a plush office, in an office building. Johnny Howl stands across a desk from Richard, who's seated, on the edge of either tears or an explosive outburst. Von leans against the wall; he looks shocked and horrified. Bruce stands behind Richard, listening.</scene_description>
<character>RICHARD</character>
<dialogue>I don't...understand.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>The guy just walked up and shot him, like that. Nothing to it. I don't see what the big fuss is, we just-</dialogue>
<character>RICHARD</character>
<dialogue>Von you shut him up or I swear to god-</dialogue>
<character>VON</character>
<dialogue>Howl, shut your mouth.</dialogue>
<scene_description>Johnny makes a big show of being quiet.</scene_description>
<character>VON</character>
<dialogue>It's Yatsuda, it must be.</dialogue>
<character>RICHARD</character>
<dialogue>How did he know?</dialogue>
<character>VON</character>
<dialogue>He's Bobby fucking Yatsuda-</dialogue>
<character>RICHARD</character>
<dialogue>And I'm Richard Fucking Cartigan, who the fuck are you, Von? This is on your head; you've been trouble ever since you came back to us from the Picolos.</dialogue>
<scene_description>Von looks hurt.</scene_description>
<character>BRUCE</character>
<dialogue>Why would Yatsuda hire a contractor?</dialogue>
<character>VON</character>
<dialogue>What?</dialogue>
<character>BRUCE</character>
<dialogue>I mean, we haven't felt any backlash from Yatsuda himself, why would he hire some random gun to take out-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<dialogue>Who gives a shit, Bruce? We go get this guy, eye for an eye, yeah?</dialogue>
<scene_description>Bruce looks annoyed, and Richard sits, thinking.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>I got two addresses.</dialogue>
<parenthetical>(puts them out on the table)</parenthetical>
<dialogue>That's his job, that's his girlfriend.</dialogue>
<character>BRUCE</character>
<parenthetical>(confused)</parenthetical>
<dialogue>His girlfriend?</dialogue>
<character>RICHARD</character>
<parenthetical>(emotional)</parenthetical>
<dialogue>Get some guys. Take him out. Tonight. Do it.</dialogue>
<scene_description>Von and Johnny briefly make eye contact, and then Johnny nods.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - BATHROOM - LATER</stage_direction>
<scene_description>Martha sits on her toilet, not moving. There's a knock at the door, which she ignores. Another knock, harder.</scene_description>
<character>OUT IN THE HALLWAY.</character>
<dialogue>Elaine hurries up, eating yogurt, and answers the door. Agent Hopper and Agent Kinokis stand waiting. Hopper raises his badge.</dialogue>
<character>HOPPER</character>
<dialogue>I'm Agent Hopper, this is Wally-</dialogue>
<character>WALLY</character>
<parenthetical>(hurriedly)</parenthetical>
<dialogue>-Agent Kinokis-</dialogue>
<character>HOPPER</character>
<dialogue>Yeah, we're here to talk to Martha McKay.</dialogue>
<character>ELAINE</character>
<parenthetical>(frozen in place)</parenthetical>
<dialogue>Is there a problem, or...</dialogue>
<character>WALLY</character>
<dialogue>Well, her new boyfriend's killed eighty nine people, so if you consider that a problem, yeah.</dialogue>
<scene_description>CONTINUED: Elaine drops her yogurt spoon on the floor.</scene_description>
<character>CUT TO: SHOTGUN STEVE'S</character>
</scene>
<scene>
<stage_direction>INT. GARAGE</stage_direction>
<scene_description>Johnny Howl is handing out guns and ammunition to three guys, SAW, who holds a massive Madsen machine gun, UZI, who holds an Uzi, and Shotgun Steve, who's been given an ancient Parker shotgun. ZEKE, late 20s, with spiked hair, a collared shirt and a better than you attitude, stands by in the background.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>What the fuck am I supposed to do with this?</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Shoot him.</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>This thing is from like world war fucking one, you said this guy was some kinda super sonic psycho killer and I'm going to go out fucking duck hunting-</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Look, we're hitting him at his straight job, at closing. The guy has no idea what's coming. Walk up on him and shoot him in the face, how much of a fuckin' retard would you have to be to screw that up?</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>S'just-</dialogue>
<character>ZEKE</character>
<dialogue>Shut the fuck up, Steve.</dialogue>
<character>SHOTGUN STEVE</character>
<parenthetical>(ignoring him)</parenthetical>
<dialogue>And why isn't Zeke coming?</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>I need Zeke here with me. Just shut your mouth, do your job, or I'll cut your fucking cheeks out, yeah?</dialogue>
<scene_description>Steve is reluctantly quiet.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - LIVING ROOM</stage_direction>
<scene_description>Martha sits motionless at a eaves-table; Elaine is pacing behind her, looking shaky. Hopper is seated across from her, and Wally stands behind him; Hopper's open briefcase sits on a chair next to him.</scene_description>
<character>MARTHA</character>
<dialogue>He's...he's not a bad person.</dialogue>
<scene_description>Hopper laughs.</scene_description>
<character>ELAINE</character>
<dialogue>You don't even know what he is, who he is-</dialogue>
<character>HOPPER</character>
<parenthetical>(interrupting her)</parenthetical>
<dialogue>His name is Francis Minch. He's a psychopath.</dialogue>
<scene_description>Hopper spreads some photos out on the table, mugshots, news photographs of assassinations.</scene_description>
<character>HOPPER</character>
<dialogue>He was formerly one of the world's most notorious professional killers. He had been ever since he was a teenager, just a kind of meat-grinder of a man. But then, about a year ago, he had a nervous breakdown and quit.</dialogue>
<character>ELAINE</character>
<dialogue>Why?</dialogue>
<character>WALLY</character>
<parenthetical>(cutting off Hopper)</parenthetical>
<dialogue>He's a psychopath, not a sociopath. The guy has emotions. He has guilt. They're just operating on a real low level, and his "feelings" just finally caught up with him.</dialogue>
<parenthetical>(beat, a look from Hopper)</parenthetical>
<dialogue>That's the theory, anyway.</dialogue>
<character>MARTHA</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Then what was today?</dialogue>
<character>HOPPER</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>If he's not a hitman anymore, why did he kill that man in the park?</dialogue>
<scene_description>CONTINUED: After a beat, Hopper smiles an odd smile.</scene_description>
<character>HOPPER</character>
<dialogue>After the breakdown, Minch developed a kind of moral code. He's still notorious. People still try to hire him. But now, he kills them.</dialogue>
<character>ELAINE</character>
<dialogue>He kills the people who hire him?</dialogue>
<character>HOPPER</character>
<dialogue>That's right.</dialogue>
<character>WALLY</character>
<dialogue>Because "murder" is wrong.</dialogue>
<character>ELAINE</character>
<dialogue>That's insane.</dialogue>
<character>HOPPER</character>
<dialogue>So is Francis Minch.</dialogue>
<scene_description>Martha and Elaine are silent.</scene_description>
<character>ELAINE</character>
<dialogue>Just how dangerous is he?</dialogue>
<character>HOPPER</character>
<dialogue>Oh, there's no kind of chart. Minch isn't some kind of superhero, he's as human as you and me, he's just...He's just frighteningly efficient. He dances in, kills everyone, and dances out.</dialogue>
<parenthetical>(to himself, ponderous)</parenthetical>
<dialogue>It's kind of beautiful, really.</dialogue>
<scene_description>A long beat. Martha and Hopper have made eye contact, and there's an odd kind of understanding. Elaine and Wally look distinctly non-plussed.</scene_description>
<character>MARTHA</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>So what now.</dialogue>
<character>HOPPER</character>
<parenthetical>(standing)</parenthetical>
<dialogue>The man you witnessed him killing today was heavily involved in organized crime. We should expect retribution. We're arranging a safe-house for you; until then, we're putting this apartment under protection.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>WALLY</character>
<dialogue>If he makes any attempt to contact you, you talk to us immediately, right?</dialogue>
<scene_description>Martha just sits there, still shell-shocked.</scene_description>
<character>HOPPER</character>
<dialogue>Right. She's got it.</dialogue>
<scene_description>Martha stares at nothing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR DEALERSHIP - NIGHT</stage_direction>
<scene_description>Mr. Right is locking up, and waving goodbye to coworkers as they leave. He begins to walk alone through the lot, and then takes out his cell phone, dialing Martha.</scene_description>
<character>CUT TO: MARTHA STARING NUMBLY</character>
<dialogue>AT HER PHONE.</dialogue>
<scene_description>It reads MR.RIGHT. She lets it ring, near tears.</scene_description>
<character>BACK TO: RIGHT IN THE LOT</character>
<dialogue>Right sighs, pocketing his phone, and then stops. We see the way he views the world; everything in the lot seems to vanish piece by piece, leaving the Shotgun Steve, Uzi and SAW headed across the lot towards him, moving in a void.</dialogue>
<dialogue>Everything comes back, and Right stares at them, not moving.</dialogue>
<dialogue>Uzi opens fire, blasting the car Right stands next to, and keeps shooting. The windows shatter and the car's alarm goes off.</dialogue>
<dialogue>Right, either knowing that he's beyond Uzi's ability to aim with any kind of accuracy or simply not caring, continues to look vacantly at the trio of men; "Oh?". He puts on the clown nose.</dialogue>
<dialogue>Steve shoves down Uzi's gun by the barrel, burning his hand.</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>Agh, shit, STOP FUCKING SHOOTING!</dialogue>
<scene_description>Right crouches down, and slowly, carefully starts squat- walking through the row of cars. He looks agitated, but not scared or nervous. Out in the circle, Shotgun Steve, Uzi and SAW look around very quietly. The car alarm screams in the night. CONTINUED:</scene_description>
<character>SAW</character>
<dialogue>Where'd he go?</dialogue>
<character>SHOTGUN STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>God fucking damn it, why did you start shooting-</dialogue>
<character>UZI</character>
<dialogue>Shut up, pussy, I didn't see you doing jack shit and-</dialogue>
<scene_description>Shotgun Steve abruptly raises his hand.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>Shh-sh-shh.</dialogue>
<scene_description>The car alarm keeps going off into the night. SAW sees something move, and turns, raising the machine gun, unloading BRAKABRAKABRAKABRAKA into the side of three sedans; all of their alarms go off, beginning the overture of a crazed, dysphoric symphony. Shotgun slaps SAW on the back of the head.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>What the fuck, Jimmy?</dialogue>
<character>SAW</character>
<dialogue>He mighta been back there. Maybe I already got him.</dialogue>
<scene_description>The trio stands there waiting, and then there's a thump, and a car alarm starts going off behind them. The three turn, and SAW raises his gun, but Shotgun slaps it down. They stand there listening to the car alarms. There's a thump from the other side of circle, and another alarm joins the chorus. Then another, and another.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>Ah man; all right, let's get out of here.</dialogue>
<scene_description>There are two more thumps, and two more sirens start as the men slowly begin to back out of the maze of cars. ALONG THE ASPHALT UNDER THE CARS.: BOOM! A car on the other side of the lot EXPLODES into flames. All three men turn, looking at the explosion, not noticing that Mr. Right now stands between SAW and UZI. Mr. Right leans over Saw's shoulder, talking into his ear. CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(gleeful whisper)</parenthetical>
<dialogue>I'm gonna shoot you.</dialogue>
<scene_description>It is here for the first time that we see Mr. Right in a combat situation. When he moves, it is in strictly sweeps, glides and snaps; it could be compared to the dancing of Gene Kelly and Fred Astaire, in that everything looks effortless and smooth. The effect is visually beautiful, blindingly fast, and absolutely lethal. Saw turns around, firing the massive machine gun at random, whereupon Mr. Right grape-vines his arm and quickly shoots him the in the side of the head, then gracefully turns, slaps Uzi's gun aside, kicks him in the nuts and then shoots him in the forehead as he falls forward. Right looks around, confused; where's Shotgun Steve gone? Right turns directly into Shotgun Steve FIRING THE SHOTGUN OFF INTO HIS FACE FROM FOUR FEET AWAY, having ducked behind the front of a car. Right stumbles back, and blood pours from a dozen or so small holes in his face and neck; he also has a bunch of holes in his upper chest and shoulders, which spot red with blood. He looks stunned. Shotgun Steve, equally stunned, tries to cock the shotgun; Mr. Right raises his pistol, holding it on Shotgun Steve.</scene_description>
<character>RIGHT</character>
<parenthetical>(pained)</parenthetical>
<dialogue>Drop that.</dialogue>
<scene_description>Steve drops the shotgun. Mr. Right slightly lowers his pistol.</scene_description>
<character>RIGHT</character>
<parenthetical>(genuinely baffled)</parenthetical>
<dialogue>Birdshot? They gave you birdshot?</dialogue>
<scene_description>Shotgun Steve goes for his pistol, but Mr. Right immediately brings his gun up into Steve's face.</scene_description>
<character>RIGHT</character>
<dialogue>Don't reach for your gun, that'd be a stupid way to die.</dialogue>
<scene_description>Steve stares at him. CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(piercing shriek)</parenthetical>
<dialogue>FUCKING HURTS, homie! AAGGGHHH!</dialogue>
<parenthetical>(immediately calm and friendly)</parenthetical>
<dialogue>That was, that was great. I totally didn't see that coming. I'd be dead right now, you totally got me.</dialogue>
<scene_description>Steve stares at him.</scene_description>
<character>RIGHT</character>
<dialogue>I hate that feeling, what's your name?</dialogue>
<character>SHOTGUN STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Steve.</dialogue>
<character>RIGHT</character>
<dialogue>I hate that feeling Steve, but there's no denying it, man, you got me. Shotgun Steve. You are damn good. Why the fuck would they give you birdshot?</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>S..isamistake...Iunno...</dialogue>
<scene_description>Mr. Right laughs, and shakes his head. Steve just stares at him.</scene_description>
<character>RIGHT</character>
<parenthetical>(sighs)</parenthetical>
<dialogue>You should get out of here.</dialogue>
<scene_description>Steve nods fervently.</scene_description>
<character>RIGHT</character>
<dialogue>Run, dude!</dialogue>
<scene_description>Shotgun Steve takes off running. The friendliness seems to drain from Mr. Right's face, and he looks alarmingly emotionally vacant, thinking. FLASH TO MR. RIGHT'S VIEW OF: THE PARK EARLIER THAT DAY.: Mr. Right sits on the bench with Charlie, and one by one, the elements off the world crash away, finally leaving Charlie and Mr. Right hanging in a void, and Martha sitting in Right's car in the lot. Forty or so yards away stands Johnny Howl. CONTINUED: Johnny Howl smiles and looks at Martha. Mr. Right looks horrified, and Charlie Cartigan drops away, dead.</scene_description>
<character>BACK TO RIGHT IN THE LOT.</character>
<dialogue>RIGHT</dialogue>
<parenthetical>(whispers)</parenthetical>
<dialogue>Martha.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT BUILDING - HALLWAY</stage_direction>
<scene_description>Hopper stands outside of Martha's apartment door, not moving. The door creaks open, and Martha peers out. He looks at her.</scene_description>
<character>MARTHA</character>
<dialogue>Hi.</dialogue>
<character>HOPPER</character>
<dialogue>Hi.</dialogue>
<character>MARTHA</character>
<dialogue>Where's the other guy?</dialogue>
<character>HOPPER</character>
<dialogue>Wally's out in the car.</dialogue>
<character>MARTHA</character>
<dialogue>Is everything...</dialogue>
<character>HOPPER</character>
<dialogue>Everything's fine.</dialogue>
<character>MARTHA</character>
<dialogue>How long have you been following him?</dialogue>
<character>HOPPER</character>
<dialogue>Minch...three years. Wally came in later, after the change-over happened.</dialogue>
<parenthetical>(to Martha's reaction)</parenthetical>
<dialogue>When he started killing his clients.</dialogue>
<character>MARTHA</character>
<dialogue>Oh.</dialogue>
<parenthetical>(long beat)</parenthetical>
<dialogue>Do you think I'm in danger?</dialogue>
<character>HOPPER</character>
<dialogue>You want the honest answer or the Federal answer?</dialogue>
<character>MARTHA</character>
<dialogue>Honest.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HOPPER</character>
<dialogue>I have no idea. We think he's in danger; the man he killed has a lot of dangerous people backing him up.</dialogue>
<parenthetical>(beat, musing)</parenthetical>
<dialogue>Of course, so did the Picolos, and that didn't help them.</dialogue>
<character>MARTHA</character>
<dialogue>The who?</dialogue>
<character>HOPPER</character>
<dialogue>A little syndicate up north; drugs, heroin mainly, thought they were really tough guys. Tried to hire Minch, bing bang boom, their guys are dead. They try to come after him for revenge, and the backlash destroys them.</dialogue>
<parenthetical>(holds up two fingers)</parenthetical>
<dialogue>One survivor. Of four leaders, and fifteen underlings, one guy lived. Everyone thought it was a rival gang, but-</dialogue>
<character>MARTHA</character>
<dialogue>You misunderstood, I meant...I meant am I in any danger from him?</dialogue>
<character>HOPPER</character>
<dialogue>I...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Minch has no friends. He barely ever talks to anyone. He spends hours in his apartment, sitting and not moving, staring at nothing, goes to work, sells cars, comes home. Around you, his behavior is...unique. He expresses himself; emotions other than that blank, happy thing he's got going on. You're the one person in my entire time tracking him that he's had any kind of meaningful interaction with that didn't end in a bullet...or a new car.</dialogue>
<scene_description>Martha smiles a tiny bit, and Hopper, though he doesn't smile, acknowledges it.</scene_description>
<character>HOPPER</character>
<dialogue>Maybe that doesn't answer your question, but that's all I've got.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Personally, I'd say he hasn't killed anybody that didn't have it coming since the change-over.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HOPPER</character>
<dialogue>So I think the real question is, do you believe that evil has an expiration date?</dialogue>
<scene_description>Martha nods, and slowly closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. RICHARD'S OFFICE - SHORTLY THEREAFTER</stage_direction>
<scene_description>Richard looks absolutely furious, yelling at Von and Shotgun Steve. Bruce stands by, watching, uncomfortable.</scene_description>
<character>RICHARD</character>
<dialogue>And then he let you run away.</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>That idiot Howl gave me a shotgun with fucking birdshot-</dialogue>
<character>VON</character>
<dialogue>Why didn't you check the cartridge?</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>Why the fuck would I, why would you guys even have birdshot shotguns laying around!? Why the fuck would you only send three fucking guys-</dialogue>
<character>VON</character>
<dialogue>Because we thought they'd be competent enough to kill one jack off by surprise, clearly, our mistake.</dialogue>
<parenthetical>(to Richard)</parenthetical>
<dialogue>This is bad, Richie, now he knows we're gunning for him. I think we've just gotta lock it down, stay where we are, and-</dialogue>
<character>RICHARD</character>
<dialogue>And wait for him to come here and kill us? No fuckin' thank you, Von. Where's Howl?</dialogue>
<character>VON</character>
<dialogue>He's-</dialogue>
<character>RICHARD</character>
<dialogue>Doesn't matter. Get him, get him and fifteen guys and go pick up the girlfriend.</dialogue>
<character>VON</character>
<dialogue>What? Fifteen guys?</dialogue>
<character>RICHARD</character>
<dialogue>Not including yourself and Howl, yeah.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<dialogue>What? Why should I-</dialogue>
<character>RICHARD</character>
<dialogue>Don't you fuckin' test me, Clevon.</dialogue>
<character>VON</character>
<dialogue>Well what if he doesn't come for the girl-</dialogue>
<character>RICHARD</character>
<dialogue>I swear to god, don't test me.</dialogue>
<scene_description>Von laughs and shakes his head, and Richard stands immediately, coming around the desk; Von suddenly looks afraid.</scene_description>
<character>VON</character>
<dialogue>Richie, wait, Richie-</dialogue>
<scene_description>Richard slaps Von across the face, nearly knocking him down.</scene_description>
<character>RICHARD</character>
<dialogue>Our uncle is dead. Two of our guys are dead. It is your fucking fault, you piece of shit worm cocksucker, and I have defended your worthless cokehead ass for years, FOR FUCKING YEARS, and now I realize, in full and vivid color, that it was a mistake.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Don't fuck me anymore than you already have. Go.</dialogue>
<scene_description>Von hurries out the door, not making eye contact with Richard. Steve stands up.</scene_description>
<character>RICHARD</character>
<dialogue>Weissman.</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>Yeah?</dialogue>
<character>RICHARD</character>
<dialogue>Just...Make sure Von doesn't get hurt, right?</dialogue>
<character>SHOTGUN STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT BUILDING</stage_direction>
<scene_description>Wally sits in the government car out front, humming along to an oldie. CONTINUED: We shoot up the side of the neighboring building to the roof, where we see Mr. Right perched. He takes out a small pair of binoculars, and looks through them at Wally. He lowers them, processes, then calmly makes the jump fifteen feet over down onto the fire-escape on Martha's building.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT BUILDING - HALLWAY</stage_direction>
<scene_description>Hopper stands outside the door. At the far end of the hall to his right, a grenade rolls out and bumps into the wall. Hopper, knowing Right's tricks too well, spins and draws his gun, kneeling, aiming down the hall to his left. He waits, bracing himself for the explosion of the grenade behind him, focusing, keeping his aim straight. Mr. Right casually strolls up behind him, pocketing the grenade. Right yanks down the back of Hopper's collar and-</scene_description>
<character>HOPPER</character>
<dialogue>-shit-</dialogue>
<scene_description>-tazers him in the shoulder.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - HALLWAY</stage_direction>
<scene_description>There's a knock, and Martha comes to the door, looks through the peep hole, stands very still for a moment and then opens the door. Right enters, dragging Hopper in with him.</scene_description>
<character>RIGHT</character>
<dialogue>Hey Monsta, can you get the door?</dialogue>
<scene_description>Martha, still seeming emotionally blank, shuts the door. Right and Martha stare at each other, and then abruptly begin passionately kissing, with Right roughly tossing Hopper's limp body aside.</scene_description>
<character>MARTHA</character>
<parenthetical>(abruptly shoving him off)</parenthetical>
<dialogue>Wait, stop, wait.</dialogue>
<character>RIGHT</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>Your face, what happened?</dialogue>
<character>RIGHT</character>
<dialogue>All the blood, yeah, I came straight here when I realized they knew your face. I didn't have time to clean up.</dialogue>
<parenthetical>(beat)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Someone shot me in the face with a shotgun.</dialogue>
<character>MARTHA</character>
<dialogue>Did you...</dialogue>
<character>RIGHT</character>
<dialogue>Kill him? No, no, he was a good guy.</dialogue>
<scene_description>Martha stares at him.</scene_description>
<character>MARTHA</character>
<dialogue>Okay whatever.</dialogue>
<scene_description>They start kissing again, and then Martha stops again.</scene_description>
<character>MARTHA</character>
<dialogue>The whole reverse hitman thing, it's-</dialogue>
<character>RIGHT</character>
<dialogue>It's weird, yeah, I know.</dialogue>
<character>MARTHA</character>
<dialogue>Awkward.</dialogue>
<character>RIGHT</character>
<dialogue>Yeah, I kill a whole bunch of people.</dialogue>
<character>MARTHA</character>
<dialogue>Yeah but they suck anyway.</dialogue>
<character>RIGHT</character>
<dialogue>Yeah.</dialogue>
<character>MARTHA</character>
<dialogue>Okay. I am totally panic-rationalizing this to myself.</dialogue>
<character>RIGHT</character>
<dialogue>Okay. Good. I'm going to keep kissing you.</dialogue>
<character>MARTHA</character>
<dialogue>Yes.</dialogue>
<scene_description>They grab each other and start kissing again.</scene_description>
<character>ELAINE</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>Martha.</dialogue>
<scene_description>They turn to see Elaine, standing stalk still.</scene_description>
<character>WHAT.</character>
<dialogue>THE. FUCK.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Oh, hi Elaine!</dialogue>
<scene_description>CONTINUED:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT BUILDING</stage_direction>
<scene_description>Wally is sitting, zoning out, and then three cars roll up. Men start unloading; Johnny Howl, Zeke, Shotgun Steve and Von are among them.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(points at a window)</parenthetical>
<dialogue>She's up there. Fifth floor, second from the right.</dialogue>
<character>VON</character>
<dialogue>Are you sure?</dialogue>
<scene_description>Johnny Howl just looks at him, and Von grins. Wally looks up, snapping out of his haze.</scene_description>
<character>WALLY</character>
<parenthetical>(seeing Johnny Howl)</parenthetical>
<dialogue>Oh shit.</dialogue>
<parenthetical>(fumbling out his cell phone)</parenthetical>
<dialogue>Oh shit, oh shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - CONTINUOUS</stage_direction>
<scene_description>Hopper's walkie-talkie bleeps, and Mr. Right, Elaine and Martha all turn to look at it.</scene_description>
<character>WALLY (ON WT)</character>
<dialogue>Hopper, we've got problems, twelve uglies headed into the building.</dialogue>
<character>RIGHT</character>
<parenthetical>(grabbing Martha's wrist)</parenthetical>
<dialogue>Come on, we've got to go.</dialogue>
<character>MARTHA</character>
<dialogue>Do you think they're here to-</dialogue>
<character>RIGHT</character>
<dialogue>They're here to get you to get me. They already tried to take me out straight up, and I don't think it went down how they planned.</dialogue>
<character>MARTHA</character>
<dialogue>You shot some people.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Well, yeah. We've gotta go, really, look, we can talk about this in the car.</dialogue>
<character>MARTHA</character>
<dialogue>Francis-</dialogue>
<character>RIGHT</character>
<parenthetical>(suddenly flustered)</parenthetical>
<dialogue>They told you my name, okay, they told you my name, that's great, YOU FUCKING BASTARD!</dialogue>
<scene_description>He turns and violently kicks the unconscious Hopper in the ribs.</scene_description>
<character>MARTHA</character>
<dialogue>Francis don't-</dialogue>
<character>RIGHT</character>
<dialogue>That was unnecessary, I'm sorry, unnecessary.</dialogue>
<character>MARTHA</character>
<dialogue>I can't just leave with you.</dialogue>
<character>RIGHT</character>
<dialogue>Why not?</dialogue>
<character>MARTHA</character>
<dialogue>I can't, you're a criminal, I-</dialogue>
<character>RIGHT</character>
<dialogue>But I love you.</dialogue>
<scene_description>Martha stands frozen, locking eyes with Right. Elaine breaks the silence.</scene_description>
<character>ELAINE</character>
<dialogue>You're fucking crazy!</dialogue>
<scene_description>Right spins on her.</scene_description>
<character>RIGHT</character>
<dialogue>Shut up! I will shoot you from the side in your eye!</dialogue>
<parenthetical>(to Martha)</parenthetical>
<dialogue>I won't do that.</dialogue>
<parenthetical>(to Elaine)</parenthetical>
<dialogue>You will lay on the ground screaming for hours! No one will help you!</dialogue>
<parenthetical>(to Martha)</parenthetical>
<dialogue>I would never do that, I'm not going to do that.</dialogue>
<scene_description>CONTINUED: Right turns and gives a Elaine a cold, psychotic glare.</scene_description>
<character>MARTHA</character>
<dialogue>Where would we go?</dialogue>
<character>RIGHT</character>
<dialogue>Does it matter? Look, we have absolutely no time to discuss this.</dialogue>
<character>MARTHA</character>
<dialogue>What about Elaine?</dialogue>
<character>RIGHT</character>
<dialogue>What about Elaine, she's being a jerk!</dialogue>
<character>MARTHA</character>
<dialogue>Hey!</dialogue>
<character>RIGHT</character>
<dialogue>No, you're right, you're right.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Elaine, go in the bathroom, lock the door.</dialogue>
<character>ELAINE</character>
<dialogue>You can't tell me to-</dialogue>
<scene_description>There's a loud knock on the door, and Elaine immediately rushes to the bathroom and slams the door. Right steps out of the way of the door, pulling Martha with him, and putting on the clown nose.</scene_description>
<character>MARTHA</character>
<dialogue>What're we going to do?</dialogue>
<character>RIGHT</character>
<dialogue>Oh, we're just going to plow straight through these guys and go to the stairs.</dialogue>
<character>MARTHA</character>
<dialogue>Can you-</dialogue>
<character>RIGHT</character>
<dialogue>Just stay low, and you'll-</dialogue>
<scene_description>Zeke KICKS OPEN THE DOOR, and Mr. Right uses Zeke's stumbling forward momentum to punch him directly in the face, knocking him down and nearly out. Right immediately steps out into the hallway, Martha right behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT BUILDING - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Four GOONS, A, B, C and D, stand just near the door, crowded in the hallway. CONTINUED: Mr. Right rushes directly into them as they try to raise their guns. Again, we bare witness to the impossibly smooth, dance-like brutality. He snatches away A's gun, slaps B and C, kicks A in the balls, shoots D with A's gun, snatches away C's gun, shoots A with C's gun, pokes B in the eye as he raises his gun, snatches away the knife C has drawn, slaps C and stabs B in the neck with it, and then shoots C in the head with A's gun. Martha blinks.</scene_description>
<character>RIGHT</character>
<parenthetical>(grabbing her hand)</parenthetical>
<dialogue>Come on.</dialogue>
<scene_description>He pulls her past the downed goons, taking a moment to turn and casually shoot B in the head as he tries to stand up.</scene_description>
<character>MARTHA</character>
<dialogue>How do you do it so fast?</dialogue>
<character>RIGHT</character>
<dialogue>A lot of people-</dialogue>
<scene_description>Right glances around the corner to the elevator, where Johnny Howl is getting out with two men, E and F, guns raised.</scene_description>
<character>RIGHT</character>
<dialogue>-waste a bunch of time with "fighting." I try to skip that and go straight to "winning."</dialogue>
<scene_description>Right pops out as the guys try to turn the corner, grabs E by the back of the head and shoots him in the face, then knocks the gun out of F's hand and shoots him in the eye. Right smashes into Johnny Howl, knocking him into the wall, but Howl shoves him off and brutally punches him straight in the face, knocking off the clown nose. Right staggers back, and Howl punches him again; he staggers again, and Howl pulls out a big revolver, which Right promptly bashes away with his own guns, knocking it onto the floor. Howl grabs Right's wrists, pinning them together, and twists around and slams his hands into the wall, causing him to drop the guns. CONTINUED: Zeke comes out of Martha's apartment, wiping his bloody nose. He sees Mr. Right and Johnny Howl struggling, and all the dead bodies, and immediately turns tail and runs down the hallway.</scene_description>
<character>BACK WITH THE FIGHT...</character>
<dialogue>Right stomps on Johnny's foot, then headbutts him in the face, breaking free of his grip. He reaches into his coat and tries to pull out the taser, but Howl hooks his elbow and pulls him into a punch, knocking him down.</dialogue>
<dialogue>He turns, standing over Right, takes a step and then punts him in the head, nearly knocking him out.</dialogue>
<dialogue>The punches have torn open all of the birdshot wounds, and Mr. Right is covered in blood. Howl smiles, turning and picking up the clown nose.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>A clown nose, huh? Cute gimmick. You know, for a while, I was gonna wear bow ties, so I could be known as "the guy with the bow tie?" I thought about it, and I decided, you know, I'd rather just be known as "the guy who killed all your friends."</dialogue>
<scene_description>He grins, picking up his gun. Martha appears behind him.</scene_description>
<character>MARTHA</character>
<dialogue>Panties.</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(confused, turning)</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Martha shrugs. The clown nose is casually picked out of Johnny Howl's hand, and he turns back to see Right, covered in blood, wearing the nose again, on his feet, smiling.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT BUILDING - STREET LEVEL</stage_direction>
<scene_description>Zeke comes rushing out to Shotgun Steve, Von and seven other guys, who wait by the cars.</scene_description>
<character>ZEKE</character>
<dialogue>He's up there, man, he's-</dialogue>
<scene_description>Johnny Howl comes crashing through a fifth floor window, landing roughly on a fire escape terrace. Von gasps; up on the terrace, Johnny Howl, starts to shakily get up. CONTINUED:</scene_description>
<character>ZEKE</character>
<dialogue>Now what the what the fuck do we do?</dialogue>
<scene_description>PAN OVER TO THE ALLEY BETWEEN:</scene_description>
<character>BUILDINGS, WHERE...</character>
<dialogue>Mr. Right pops out of the emergency stairwell, Martha pulled along behind him. They go to the edge of the alley, and Mr. Right peeks out at the men.</dialogue>
<character>MARTHA</character>
<dialogue>What next?</dialogue>
<character>RIGHT</character>
<dialogue>I don't know, I've never shot this many guys at once before.</dialogue>
<character>MARTHA</character>
<dialogue>Where's your car?</dialogue>
<scene_description>Right nods at the ramp to an underground garage...Across the street.</scene_description>
<character>MARTHA</character>
<dialogue>Well, that sucks.</dialogue>
<character>RIGHT</character>
<dialogue>Yeah.</dialogue>
<scene_description>Mr. Right draws a revolver out of his coat, handing it to Martha.</scene_description>
<character>RIGHT</character>
<dialogue>Here, take this. Just point and click.</dialogue>
<character>MARTHA</character>
<dialogue>I don't want to shoot anyone-</dialogue>
<character>RIGHT</character>
<dialogue>You won't have to if you don't want to, it would just, it would help a lot. You really should.</dialogue>
<character>MARTHA</character>
<parenthetical>(laughs nervously)</parenthetical>
<dialogue>Yeah?</dialogue>
<character>RIGHT</character>
<dialogue>Yeah.</dialogue>
<scene_description>Mr. Right glances at a dumpster at the edge of the alley. CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Do you trust me?</dialogue>
<scene_description>Martha stares at him.</scene_description>
<character>RIGHT</character>
<dialogue>Do you trust me?</dialogue>
<character>MARTHA</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>You never lied to me.</dialogue>
<character>RIGHT</character>
<dialogue>Do you trust me?</dialogue>
<scene_description>Martha smile, exhilarated.</scene_description>
<character>BACK TO THE STREET...</character>
<dialogue>The dumpster comes rolling out of the alley to the middle of the street, and Steve, Zeke, Von and all four goons open fire on it.</dialogue>
<dialogue>Right, Martha behind him, strolls out of the alley, a gun in each hand. As he walks, he shoots two of the goons, one in the shoulder and one in the head; he continues firing randomly until the thugs back off a little, then yanks Martha and spins her around, waltz-dipping her behind the dumpster and kissing her on the mouth as dozens of bullets ricochet and spark off the steel.</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>Stop shooting, damnit, wait until we have a clear shot!</dialogue>
<character>ZEKE</character>
<dialogue>Fuck that, kill'em, kill'em!</dialogue>
<scene_description>Back behind the dumpster, Right and Martha are sitting side by side as Right checks the ammunition on his "borrowed" guns. He pushes back his coat to reveal that he has two pistol holsters on his hips, each with a small red button.</scene_description>
<character>RIGHT</character>
<parenthetical>(singing under his breath)</parenthetical>
<dialogue>How'dya do, mighty pleasant greetin', fine how are you, good to be repeatin',</dialogue>
<character>MARTHA</character>
<dialogue>Is that...Splash Mountain?</dialogue>
<character>RIGHT</character>
<dialogue>Yeah, it's a good ride.</dialogue>
<scene_description>CONTINUED: Right presses the red buttons on his dual holsters, and the guns, apparently springloaded, launch straight up into the air. All the guys, excluding Shotgun Steve, follow the guns with their eyes. Steve grabs Von and ducks down, as Mr. Right pops up onto his feet. In less than two seconds, Mr. Right has casually shot and killed four of the seven men, all, all direct hits to the head; he tosses away the "borrowed" guns and catches his own guns as they fall back down, doing a balletic twirl and then continuing to shoot, catching the last three unnamed men, including the already injured goons, each with perfect center of the forehead shots. Zeke pops up, holding an AK-47, and starts firing at random at Mr. Right, who grabs Martha and begins a mad dash towards the ramp down into the garage. Johnny Howl, clearly furious, bursts out of front door of Martha's apartment building, pulling a sawed off Shotgun out of his thigh holster, and repeatedly firing as he walks further out into the street. Mr. Right and Martha disappear down the ramp, and Johnny Howl stops, turning and going to his car.</scene_description>
<character>VON</character>
<dialogue>Johnny what do we-</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>I got it.</dialogue>
<character>VON</character>
<dialogue>Remember Johnny, we can't-</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>I got it.</dialogue>
<scene_description>Johnny starts his car and slams on the gas, motoring down the ramp. Zeke starts to slowly advance with his AK-47. Von looks absolutely helpless, gun raised impotently.</scene_description>
<character>SHOTGUN STEVE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Fuck this shit.</dialogue>
<scene_description>Steve goes to the truck of one of the cars, and takes out a roll of flashbang grenades. We pan to reveal Wally, slumped super low in his seat, frantically talking into an FBI phone.</scene_description>
<character>WALLY</character>
<dialogue>No, all units are not fucking occupied; we have open gunfire in the fucking streets, multiple casualties-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>WALLY</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Look, do the initials FBI even, do you even understand that? Yeah? FUCK! Well how about AK-47, does that ring a fucking bell!?</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND PARKING GARAGE - CONTINUOUS</stage_direction>
<scene_description>Johnny Howl drives slowly through the parking structure, eyes wide, searching; he has a certain animal countenance to him, his pupils bouncing around like an angry wolf on the prowl. His car passes Mr. Right and Martha, who hide behind a concrete pillar. Mr. Right hands Martha his keys, and silently points at the car, then makes a "go-around" motion with his hand. She takes a moment to understand, then nods, and Right dives out from behind the pillar while Martha runs off towards Mr. Right's car. Mr. Right runs up the back of Howl's car, firing repeatedly into the roof, and Howl slams on the gas and dives out the driver's side. The sudden acceleration drops Mr. Right painfully onto the ground, but he manages to hold onto his guns, firing dazedly at Johnny, who ducks behind a car. Johnny's car gently crashes into the wall, and Johnny pops out like a jack-in-the- box, advancing on Right and firing the shotgun as Right scrambles out of the way. Right flings one of his empty guns, and it clips Howl on the side of the head, causing him to stumble back and be HIT BY MARTHA DRIVING RIGHT'S CAR! Howl rolls off the hood; the impact wasn't too bad, but it was certainly enough to throw him into shock.</scene_description>
<character>MARTHA</character>
<parenthetical>(rolls down the window)</parenthetical>
<character>LOOK BOTH WAYS!</character>
<dialogue>Right laughs.</dialogue>
<character>MARTHA</character>
<dialogue>BITCH, YOU HAVE TO LOOK BOTH WAYS!</dialogue>
<scene_description>Right looks deliriously happy as he scrambles into the car. She slams on the gas.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT BUILDING - CONTINUOUS</stage_direction>
<scene_description>Right and Martha start to come up the ramp, when something comes rolling down towards them.</scene_description>
<character>RIGHT</character>
<parenthetical>(eyes wide)</parenthetical>
<dialogue>Martha cover your-</dialogue>
<scene_description>There's a blinding flash of light and sound as the flash-bang grenade explodes, and they go crashing into a parking meter on the other side of the street, sending coins everywhere. There's a moment of silence, and then Mr. Right drops out of the car, pained and dazed, rubbing his eyes; Martha's been nearly knocked out by the impact from the airbag.</scene_description>
<character>RIGHT</character>
<dialogue>Martha...Martha...</dialogue>
<scene_description>A flashbang rolls up next to him.</scene_description>
<character>RIGHT</character>
<dialogue>Aw, dang.</dialogue>
<scene_description>The flashbang EXPLODES in a flash of light and sound, and Mr. Right stumbles back, crawling desperately. Shotgun Steve comes out of NOWHERE, smashing Mr. Right with a baseball bat, knocking him down. Right, in extreme pain, turns and swats the bat out of Steve's hands, grabs him by the arm and slams him against the car. Zeke bull-tackles the dazed Right, but Right shrugs him off, slamming his body into the side of the car; as Zeke raises his gun, Right snatches it away from him, headbutts him in the face, and turns to try to shoot Steve, but Steve bashes his hand with the baseball bat, bashes him in the arm, and then raises the bat in the air to smash Right's skull as Right flips out a switchblade when- BANG! ENOUGH. Von stands, holding the dazed Martha to him tightly with one hand, his smoking pistol raised in the other.</scene_description>
<character>RIGHT</character>
<parenthetical>(squinting)</parenthetical>
<dialogue>Steve?</dialogue>
<scene_description>Steve stands very still, confused. CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Steve, is that you? Did you get me again? And then he stopped you, or...</dialogue>
<parenthetical>(to Von)</parenthetical>
<dialogue>Jesus christ, man, what're you doing to this poor guy?</dialogue>
<scene_description>Right kicks Steve, in the chest, leaps to his feet, rolls across the trunk, and takes cover behind the car. Steve and Zeke grab up their guns and fire repeatedly into the car, while Von backs up, dragging Martha with him. Mr. Right smiles, and Von jostles Martha and she gasps. Right's smile vanishes, and he tosses away the switchblade. Johnny Howl comes limping up from the underground garage, as Zeke and Steve frantically reload.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(tilting his ear)</parenthetical>
<dialogue>Cops.</dialogue>
<character>STEVE</character>
<dialogue>I don't hear anything-</dialogue>
<character>VON</character>
<dialogue>Zeke, Steve, go start the car, the cops'll be here any minute.</dialogue>
<scene_description>Zeke runs off to start the car.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>Why are we taking the girl? We've got him right here-</dialogue>
<character>VON</character>
<dialogue>Just do it, Steve.</dialogue>
<scene_description>Johnny nods at the car, and Von and Johnny start backing up. Right calls out to them.</scene_description>
<character>RIGHT</character>
<dialogue>You're a bad guy, aren't you?</dialogue>
<scene_description>Von stops, shouting back at the car.</scene_description>
<character>VON</character>
<dialogue>What? Me? You're a fuckin' hitman, scum of the earth murderer piece of shit, and I'm a bad guy.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>I am a murderer. But I'm a good guy. You...You're one of the bad guys. You're just a rotten, rotten person.</dialogue>
<scene_description>Von shakes his head and smiles.</scene_description>
<character>VON</character>
<dialogue>I'dve thought you'd be a little more tender with me, partner.</dialogue>
<character>MARTHA</character>
<parenthetical>(waking up a little)</parenthetical>
<dialogue>He'll be tender when he's fucking you in the-</dialogue>
<scene_description>Von viciously slaps Martha. Right winces behind the car. Police sirens are approaching. Johnny grabs up one of the flashbangs and bowls it towards the car right hides behind.</scene_description>
<character>RIGHT</character>
<dialogue>I'm going to get you.</dialogue>
<character>VON</character>
<dialogue>Yeah, give it your best shot, psycho.</dialogue>
<scene_description>Right pops up from behind the car, motioning as though he's going to throw the switchblade, and then the flashbang comes to rest at his feet. SLAM TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CARTIGAN LODGE - NIGHT - LATER</stage_direction>
<scene_description>It's a massive house just outside of the city, in a wooded area. The three cars approach, and stop at a gate. Von leans out the window to shout back to Steve.</scene_description>
<character>VON</character>
<dialogue>Steve?</dialogue>
<character>SHOTGUN STEVE</character>
<parenthetical>(annoyed)</parenthetical>
<dialogue>Yeah?</dialogue>
<character>VON</character>
<dialogue>Wait out here, okay?</dialogue>
<character>SHOTGUN STEVE</character>
<dialogue>What? Why?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<dialogue>Just wait the fuck out here!</dialogue>
<scene_description>Shotgun Steve seems conflicted, but then sighs and pulls over his car next to the gatehouse as the others drive in. He lights a cigarette, and then shakes his head, frustrated, thinking.</scene_description>
<character>CUT TO BLACK.</character>
<dialogue>There's faint, somewhat chaotic music. It's pretty; as though composed from ambient sounds, woven together to form one flowing song. It gradually falls apart, separating into individual sounds, which leads to...</dialogue>
<scene_description>FADE IN: MR. RIGHT DAZEDLY:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTHA'S APARTMENT BUILDING - LATER</stage_direction>
<scene_description>Mr. Right blinks, he's face down on the asphalt. He sees his clown nose sitting only a couple feet away, and reaches for it; we hear dozens of guns cock. He looks around; there are eight police cars parked on the road, some with lights on, and a mess of police officers, Wally and Hopper stand behind the cars, pistols and shotguns raised, trained on Mr. Right; he's covered in laser sights.</scene_description>
<character>RIGHT</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Think...think you brought enough guns, fellahs?</dialogue>
<character>HOPPER</character>
<parenthetical>(to a cop)</parenthetical>
<dialogue>Where's the SWAT team? We called a damn SWAT team, where are they-</dialogue>
<character>COP</character>
<dialogue>Calm down, we've got him covered.</dialogue>
<scene_description>Hopper looks to Wally, who pops a piece of Nicotine Gum into his mouth and chews it furiously.</scene_description>
<character>HOPPER</character>
<dialogue>We can't expect-</dialogue>
<character>RIGHT</character>
<dialogue>Hey! Hello, hey everyone!</dialogue>
<scene_description>Mr. Right is standing, arms raised. CONTINUED:</scene_description>
<character>COP WITH A MEGAPHONE</character>
<dialogue>Put your hands above your head.</dialogue>
<character>RIGHT</character>
<dialogue>They're up, yeah-</dialogue>
<character>COP WITH A MEGAPHONE</character>
<dialogue>You are under arrest in connection with multiple homicides-</dialogue>
<character>RIGHT</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Oh yeah, I did a whole bunch of those.</dialogue>
<character>COP WITH A MEGAPHONE</character>
<dialogue>You have the right to remain silent. Anything you say can and will be used against you in a court of law. You have the right to a-</dialogue>
<character>RIGHT</character>
<dialogue>I don't, I don't need these.</dialogue>
<scene_description>There's a silence.</scene_description>
<character>RIGHT</character>
<dialogue>You guys aren't going to be able to arrest me, you don't need to read me these.</dialogue>
<scene_description>Mr. Right puts on his clown nose. Hopper blinks and flinches a little.</scene_description>
<character>HOPPER</character>
<dialogue>This is bad, this is bad.</dialogue>
<character>COP SERGEANT</character>
<dialogue>Hit him with the gas.</dialogue>
<character>HOPPER</character>
<dialogue>NO WAIT-</dialogue>
<scene_description>Two tear gas canisters are fired out at Mr. Right from grenade launchers; he spins, catching them in his coat and then using it as a sling to fling the canisters BACK AT THE POLICE CARS, IMMEDIATELY ROLLING RUNNING FORWARD INTO THE SMOKE. All of the cops open fire at once, but he's already too close, and a majority of the shots seem to hit their own cars as he speeds between them. The laser sights dance crazily in the fog of teargas, and we hear gunshots and sounds of violence. CONTINUED: Wally and Hopper stumble away from the cars, frantically trying to wave the tear gas away, when Mr. Right abruptly rises in front of them. He wears a bizarre, vaguelly insectoid gas-mask. Wally goes for his gun, and Right shoots Wally in the thigh and grabs Hopper by the shoulder.</scene_description>
<character>RIGHT</character>
<parenthetical>(overjoyed)</parenthetical>
<character>AGENT HOPPER!</character>
<scene_description>HELICOPTER VIEW OF THE STREET:</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - RICHARD'S OFFICE - SHORTLY THEREAFTER</stage_direction>
<scene_description>The plush home office of Richard Cartigan. Richard is staring at Martha, who's taped to a chair, bound and gagged. He then looks back to the TV, which shows injured police officers being taken out of the dissipating cloud of tear gas by paramedics. Von stands in the corner, looking fidgety. Bruce and Johnny Howl are nearby as always, waiting, watching.</scene_description>
<character>RICHARD</character>
<parenthetical>(regarding Martha)</parenthetical>
<dialogue>Explain to me again how this happened.</dialogue>
<character>VON</character>
<dialogue>We had him pinned down in his car, and she came out the driver's side. Zeke grabbed her, and me and Johnny tried to chase him, but by then the cops were already showing up and we skated the fuck out of there.</dialogue>
<character>RICHARD</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Von, could you come out on the porch with me for a moment?</dialogue>
<character>VON</character>
<parenthetical>(a little afraid)</parenthetical>
<dialogue>Yeah, sure.</dialogue>
<scene_description>They go out onto the porch. Martha watches them, then looks to Bruce and Johnny, who are staring intensely at each other. Johnny Howl smiles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARTIGAN LODGE - CONTINUOUS</stage_direction>
<scene_description>Richie is SCREAMING at Von. -AND NOW HE COULD COME HERE!</scene_description>
<character>VON</character>
<dialogue>Well that's the plan man, if he comes here we finish him off. He was hurt, we saw-</dialogue>
<scene_description>THIS MAN JUST KILLED FIFTEEN OF OUR GUYS! LISTEN. Richard stares at Von, surprised by his brother's assertiveness.</scene_description>
<character>VON</character>
<dialogue>Johnny and I have a plan. We'll go out there, get the word out, throw up a hundred grand reward-</dialogue>
<character>RICHARD</character>
<dialogue>-A hundred grand!-</dialogue>
<character>VON</character>
<dialogue>Of my own money, yeah, we'll go out, beat the bushes and get people armed. Maybe drive up to Sasatchee and get the Drews in on this. You stay here, hold down the fort and I'll take care of this. I promise this time. If I can't, then damn, I'll take whatever you got for me. You can give me whatever you've got.</dialogue>
<scene_description>Richard stares at Von, thinking.</scene_description>
<character>RICHARD</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Okay. Okay, whatever, do what you-</dialogue>
<character>BRUCE (O.S.)</character>
<dialogue>No.</dialogue>
<character>VON</character>
<dialogue>What the fuck-</dialogue>
<scene_description>Von turns to find that Bruce stands on the porch behind them.</scene_description>
<character>VON</character>
<dialogue>You better shut your fucking coon yap or-</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RICHARD</character>
<parenthetical>(to Von)</parenthetical>
<dialogue>Shut up.</dialogue>
<character>BRUCE</character>
<dialogue>It doesn't make sense to-</dialogue>
<character>VON</character>
<dialogue>I SAID-</dialogue>
<scene_description>Richard slaps Von.</scene_description>
<character>BRUCE</character>
<dialogue>Mr. Cartigan, if we don't know where this guy is, we can't afford to leave this house.</dialogue>
<character>VON</character>
<dialogue>How do you figure that?</dialogue>
<character>BRUCE</character>
<dialogue>Because this man is clearly more than we can handle.</dialogue>
<character>VON</character>
<dialogue>I told you, we hurt him-</dialogue>
<character>BRUCE</character>
<dialogue>But he got away. He was still up and running.</dialogue>
<scene_description>Richard raises a hand, silencing Von before he can start.</scene_description>
<character>BRUCE</character>
<dialogue>It's an impossible situation. He wants that woman in there, yes? Does he know where we are now?</dialogue>
<scene_description>Richard looks to Von.</scene_description>
<character>VON</character>
<dialogue>...No.</dialogue>
<character>BRUCE</character>
<dialogue>Then why leave? Why not just take some time, find out where we stand. Get on our feet before we get back in the ring.</dialogue>
<character>VON</character>
<dialogue>Well, at least let us go out to-</dialogue>
<character>RICHARD</character>
<dialogue>No, Bruce is right.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<dialogue>Richard, for fucksakes, you're gonna let this jack-off tell you what to do now or...</dialogue>
<scene_description>Von trails off as Bruce and Richard stare at him; he seems deeply shaken by something, and he flinches a little bit.</scene_description>
<character>VON</character>
<dialogue>Okay. Okay, fine. Okay. Okay.</dialogue>
<character>RICHARD</character>
<dialogue>Up the guard on the house. I want every single guy we can get in here tonight. And be sure you're quiet about it; I don't want this nutcase following the ants back to the queen, you know?</dialogue>
<scene_description>Bruce nods. As they talk, Von looks through the window, making very intense eye contact with Johnny Howl inside. He does not look pleased, and slightly shakes his head. Martha watches this silent exchange, and then stares at Johnny Howl.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Looks like we're going to be up past bedtime.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STORAGE FACILITY - NIGHT</stage_direction>
<scene_description>Hopper flips his FBI badge to the guy at the check-booth at the edge of the storage facilities parking lot, and the guy lets him pass. We pan to reveal Mr. Right laying along the bottom of the backseats, two guns pressed to Hopper's chair.</scene_description>
<character>CUT TO: MR. RIGHT OUTSIDE HIS</character>
<dialogue>STORAGE CONTAINER.</dialogue>
<scene_description>Right is unlocking the storage container, holding Hopper at gunpoint.</scene_description>
<character>RIGHT</character>
<dialogue>I really am sorry about this. I'm probably going to have to shoot you, too.</dialogue>
<character>HOPPER</character>
<parenthetical>(more frustrated than scared)</parenthetical>
<dialogue>Shoot me, jesus christ.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Yeah, well, that's the way the cookie crumbles. Open the door.</dialogue>
<scene_description>Hopper pulls open the door, and the fluorescent click on, revealing all of the guns.</scene_description>
<character>HOPPER</character>
<dialogue>My god.</dialogue>
<scene_description>Right goes in, keeping Hopper at gunpoint.</scene_description>
<character>HOPPER</character>
<dialogue>What are you going to do?</dialogue>
<scene_description>Mr. Right smiles. AS HOPPER TALKS: Mr. Right goes through the container, keeping him at gunpoint, picking up a sniper rifle, an M-16, a string of grenades, and two miniature bouncing betty land mines.</scene_description>
<character>HOPPER</character>
<dialogue>They took her, didn't they?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>They took her. And you're, what, you're going to go after them? Or, no, you're going to leave, like you did in Bosnia, just disappear, or...</dialogue>
<parenthetical>(as Right picks up the M-16)</parenthetical>
<dialogue>You're going after them. Of course. "Love," right. Francis, we can help you. We can. I mean, we can even grant you amnesty, we can use you, even put you in Witness Protection, not that you need it. We don't like the Cartigans any more than you, and we certainly don't want any harm to come to Martha. We can fix this, Francis, and I'm not lying. We can turn this around. Minch, damn it, listen, these aren't the Piccolos you're dealing with, these are dangerous men.</dialogue>
<scene_description>Mr. Right approaches Hopper, flipping off the light and putting on the clown nose in one motion.</scene_description>
<character>HOPPER</character>
<dialogue>ohchrist.</dialogue>
<character>RIGHT</character>
<dialogue>I like to wear this nose. The nose helps me think.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>It doesn't mean I'm going to kill you, and I know you're not as afraid as you're acting, because I know that you know that I only kill total assholes. Now, are you a total asshole?</dialogue>
<character>HOPPER</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>No.</dialogue>
<character>RIGHT</character>
<dialogue>Then what the fuck are you so scared of, Bart?</dialogue>
<scene_description>Hopper stays still.</scene_description>
<character>HOPPER</character>
<dialogue>You know who I am.</dialogue>
<character>RIGHT</character>
<dialogue>Yes.</dialogue>
<character>HOPPER</character>
<dialogue>You know I've been following you, you know-</dialogue>
<character>RIGHT</character>
<dialogue>Yeah. I mean, I didn't mind, I felt like we were friends, you know, hanging out. Like you guys liked me and wanted to just chill with me and stuff. You and Wally, sure.</dialogue>
<parenthetical>(bites his lip)</parenthetical>
<dialogue>Shit, I shouldn't have shot him, SHIT!</dialogue>
<scene_description>Right punches the side container, which bangs LOUDLY, causing Hopper to flinch.</scene_description>
<character>RIGHT</character>
<dialogue>He's just really quick on the draw, and I couldn't take risks. I have to get to Martha.</dialogue>
<scene_description>Hopper stays still, thinking.</scene_description>
<character>RIGHT</character>
<dialogue>Something's wrong.</dialogue>
<character>HOPPER</character>
<dialogue>What do you mean?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>The douchebags let me go after practically screaming at me that they'd be in Bonnville.</dialogue>
<character>HOPPER</character>
<dialogue>At the Cartigan Estate, sure.</dialogue>
<scene_description>Hopper freezes. Right smiles.</scene_description>
<character>RIGHT</character>
<dialogue>Oh, come on, I know you let that slide on purpose. You did, didn't you? Didn't you? Well, regardless, I'm gonna pretend like you did, because it makes me want to shoot you less, and you have to understand that I love shooting people.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>So...You up for a drive?</dialogue>
<scene_description>Hopper looks terrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - DRAWING ROOM</stage_direction>
<scene_description>It's an intimate, lavish drawing room on the second story of the Cartigan estate. Von comes in, looking pissed off and nervous, and Johnny wheels in Martha, still tied to the chair. Martha watches both of them intently as they frantically talk back and forth.</scene_description>
<character>VON</character>
<dialogue>Fuck, we're fucked</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>We're not fucked</dialogue>
<character>VON</character>
<dialogue>Fucked, we're totally fucked</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Nothing's even happened,</dialogue>
<character>VON</character>
<dialogue>Shut your fuckin' mouth, Johnny, don't tell me</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>You're gonna tell me to shut my fuckin</dialogue>
<character>MARTHA</character>
<parenthetical>(muffled laughing)</parenthetical>
<dialogue>Mrmmafmrm.</dialogue>
<scene_description>Von turns his head sharply to Martha.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Von, you-</dialogue>
<character>VON</character>
<dialogue>Sh, sh. What'd you say?</dialogue>
<scene_description>CONTINUED: Martha rolls her eyes at him.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Ah, see, here, we can have some fun.</dialogue>
<scene_description>Von tears the tape of Martha's mouth.</scene_description>
<character>MARTHA</character>
<dialogue>AGHGGGHHH...Exhilirating. Von, right? Your name is Von? And Johnny Quest?</dialogue>
<character>VON</character>
<dialogue>Johnny Ho-</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>She knows, Von, she's just bein' cute.</dialogue>
<character>VON</character>
<dialogue>Oh, you wanna be cute?</dialogue>
<scene_description>Von slaps Martha. Martha gasps, and sits still, thinking.</scene_description>
<character>VON</character>
<dialogue>What's it like?</dialogue>
<character>MARTHA</character>
<dialogue>Having balls?</dialogue>
<scene_description>Von slaps her.</scene_description>
<character>VON</character>
<dialogue>I mean dating a psycho-piece of shit.</dialogue>
<character>MARTHA</character>
<dialogue>Ooooh, that, yeah. You know, I think we have a beautiful friendship, and I wouldn't want to ruin it-</dialogue>
<scene_description>Von punches her in the mouth, but Johnny Howl chuckles. Von glares at him.</scene_description>
<character>MARTHA</character>
<dialogue>I'm not afraid of you guys. Something's up. You're trying to run something here and it's, it's not working and watching you two sweat is so-</dialogue>
<scene_description>Von slaps her again. She sits still, a little blood trickling from her mouth. After a moment, she speaks.</scene_description>
<character>MARTHA</character>
<dialogue>Nothing you could do would make me afraid.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MARTHA</character>
<dialogue>Love is the emotion under all the other emotions.</dialogue>
<parenthetical>(beat, makes eye contact with Von)</parenthetical>
<dialogue>When the person I love arrives here, you better hope you are long, long gone. Because he's going to kill you. And if he doesn't...I will.</dialogue>
<scene_description>Von stares at her, and then looks at Johnny Howl.</scene_description>
<character>VON</character>
<dialogue>You wanna kill me?</dialogue>
<character>MARTHA</character>
<dialogue>Well, they tell me successful people always set achievable goals.</dialogue>
<scene_description>Johnny laughs. Von stands staring at her for a moment, very intense.</scene_description>
<character>MARTHA</character>
<parenthetical>(mocking him)</parenthetical>
<dialogue>Ooooo.</dialogue>
<scene_description>Von smiles, and Martha laughs.</scene_description>
<character>MARTHA</character>
<dialogue>Don't smile, man, it's not funny in a way we can both laugh at.</dialogue>
<scene_description>Von abruptly kicks Martha, hard in the stomach, knocking back the chair onto the floor. She coughs and splutters while Von straightens himself, and then stands, looking down at her.</scene_description>
<character>VON</character>
<parenthetical>(once she's quieted down)</parenthetical>
<dialogue>So tell me, not so funny now, right? RIGHT? How you feel now?</dialogue>
<scene_description>Martha looks up, pale, looking somewhat frighteningly insane.</scene_description>
<character>MARTHA</character>
<dialogue>I feel...alive.</dialogue>
<scene_description>Von and Johnny are silent.</scene_description>
<character>MARTHA</character>
<dialogue>Don't you idiots get it...Kill me, I don't care, I don't care, I don't care. I'd been waiting for something to happen...I'd been waiting for you.</dialogue>
<scene_description>She looks evenly at Von, tears streaming down her face. She CONTINUED: smiles, blood on her teeth. Von tries to contain his horror.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARTIGAN LODGE - COUNTRY ROAD - LATER - NEARING DAWN</stage_direction>
<scene_description>A long string of cars is headed towards the lodge. The front gates open, and the cars pull into the gravel lot at the front of the house. We pan over on the road to reveal Mr. Right and Agent Hopper, sitting in the government car. Mr. Right is staring at the cars as they start to park.</scene_description>
<character>HOPPER</character>
<dialogue>There must be twenty men in the cars, more inside, all heavily armed. What can you do, Francis? What are you going to do?</dialogue>
<character>RIGHT</character>
<parenthetical>(casually)</parenthetical>
<dialogue>Stick your arm through the steering wheel.</dialogue>
<scene_description>Hopper stares at him. Right stairs back. Hopper snakes his left arm up through the steering wheel.</scene_description>
<character>RIGHT</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>I'm terribly sorry about this.</dialogue>
<scene_description>Right turns, and kicks the side of the steering wheel, cracking it off and wrenching Hopper's arm, trapping him. Hopper screams in pain, and Right gets out, walking swiftly towards the closing gates.</scene_description>
<character>HOPPER</character>
<dialogue>Fucking hell, fuck!</dialogue>
<scene_description>Steve, still in his car just outside the gate, blinks as Right walks casually past.</scene_description>
<character>RIGHT</character>
<parenthetical>(putting on the clown nose)</parenthetical>
<dialogue>Hey Steve.</dialogue>
<scene_description>Right pulls his bizarre gas-mask down over his face, pops three tear gas/smoke grenades, one yellow, one blue and one purple, and hurls them towards the cars. Right hits the group of men like a tornado as they start to get out of the cars, dancing and skipping and having a lovely time: CONTINUED: A man tries to draw his gun, but Right snatches it away, shoots two people, throws it back to the first guy, snatches another gun and shoots him, shoots that gun's owner, and then slams his head in a door as he falls. Right grabs a man in Waltz position, aims this way with his "dance partner's" gun, shoots three more men, then shoots his dance partner and slides across and over the hood of a car. He lands, pokes the driver of the car in the eye, ducks under a wave of machine gun fire, shoots the machine gunner, and drops two grenades into the driver's lap. Smoke has started to clog up, blurring everything into swirls of color. Right grabs a man in a half nelson, takes his gun, throws him into two other guys, shoots all three, rolls, headbutts a man in the stomach and catches his dropped gun out of midair. Shoots a man behind him, shoots the headbutted man, and then THE GRENADES GO OFF, knocking several men down. Right doesn't flinch. He turns, shoots two more men, dance dodges a volley of gunfire, and shoots the last four of the thugs as the smoke completely envelopes the driveway. It is a beautiful, beautiful thing.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - DRAWING ROOM - CONTINUOUS</stage_direction>
<scene_description>The gag is back on, and Martha has begun poking it with her tongue, pushing it off little by little. Her skin has started to pale. Von is standing at the window, staring out at the smoke. He's badly chewing his thumb nail. Johnny appears in the doorway.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>He's here.</dialogue>
<character>VON</character>
<dialogue>Yeah, I see that.</dialogue>
<scene_description>Martha giggles through her gag. Johnny pulls Von aside into an alcove as Martha watches.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Front yard is a fuckin' warzone.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<dialogue>We sit on the dog, and we get bit on the ass. I knew this would happen.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Are you scared?</dialogue>
<character>VON</character>
<dialogue>I'm not scared, I'm just vibrantly aware of the fact that we need to get the fuck out of here, yesterday.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Why don't we just kill him?</dialogue>
<character>VON</character>
<dialogue>Kill who?</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Both of them. Burn it all.</dialogue>
<scene_description>Von thinks for a moment.</scene_description>
<character>VON</character>
<dialogue>You think you can handle the clown?</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I mean, it'll be interesting, anyway.</dialogue>
<character>VON</character>
<dialogue>So I should...</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Yeah.</dialogue>
<scene_description>There are more gunshots from downstairs, and Von grimaces.</scene_description>
<character>VON</character>
<dialogue>I gotta get the gas. Fuck this house.</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>You'll have to go past him.</dialogue>
<scene_description>Zeke runs up to the door.</scene_description>
<character>ZEKE</character>
<dialogue>He's inside.</dialogue>
<scene_description>Von stares at Johnny, who nods.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Stay sharp.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VON</character>
<parenthetical>(grins)</parenthetical>
<dialogue>Zeke, get Bruce. We're takin' this guy down.</dialogue>
<scene_description>Von exits the room, out into the HALLWAY, and we track with him as he's joined by several goons, then Zeke and Bruce join with several men, all armed, and they start to head downstairs. Johnny looks over at Martha. Martha winks at him. For once, he's not smiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - DEN - CONTINUOUS</stage_direction>
<scene_description>The men walk down into the huge den, complete with a fancy wet bar. It's connected to the foyer, and they see that yellow, blue and purple smoke has begun to flood in from the foyer. There's the sound of nearby machine gun fire.</scene_description>
<character>ZEKE</character>
<dialogue>What is that? Where is he, in the garage?</dialogue>
<character>BRUCE</character>
<dialogue>We have to get Richard out of the house.</dialogue>
<character>VON</character>
<dialogue>Fuck that, we end this nonsense here and now.</dialogue>
<scene_description>There's an explosion at the front of the house, and everyone is jolted.</scene_description>
<character>VON</character>
<dialogue>Fucking christ-</dialogue>
<scene_description>Two bouncing betties slide in across the marble, coming to rest at the feet of the group.</scene_description>
<character>BRUCE</character>
<dialogue>SHIT GET DOWN-</dialogue>
<scene_description>Everyone tries to duck, but several men are still caught in the shrapnel as the bouncing betties LAUNCH UP AND EXPLODE, shredding them to pieces. Everyone slowly gets to their feet, aiming their guns into the roiling, twisting smoke. CONTINUED:</scene_description>
<character>ZEKE</character>
<dialogue>Where is he? Where is he?</dialogue>
<scene_description>Von starts quietly backing up to the back of the group.</scene_description>
<character>BRUCE</character>
<dialogue>Shh. Wait.</dialogue>
<character>CLOSE ON:</character>
<dialogue>Mr. Right's eye peering through the scope of a sniper rifle.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARTIGAN LODGE - FRONT OF THE HOUSE - CONTINUOUS</stage_direction>
<scene_description>Shotgun Steve, out of the car, his eyes on the house, is going through the injured, frantically organizing people who are still mobile.</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>Come on! Come on! We've got to get into the house!</dialogue>
<character>BACK TO: THE DEN</character>
<dialogue>A large window to the right of everyone shatters, and everyone turns and shoots into the woods outside.</dialogue>
<dialogue>Von quietly ducks away, exiting the room, and then Bruce, annoyed by all the irrational shooting, turns and sees that there's a tiny bullet hole in the wall to everyone's left, just above a window.</dialogue>
<dialogue>Up on the balcony over the staircase, a quietly observing Johnny Howl notices too. He smiles, but says nothing. Bruce realizes what's happened, but he's much too late.</dialogue>
<character>BRUCE</character>
<dialogue>No, he's-</dialogue>
<scene_description>Mr. Right comes crashing through the tiny window behind everyone, smashing into Bruce and pistol whipping Zeke across the face as he stands. Everyone turns, but he's already standing at the center of the crowd. The coward turns and runs; upstairs, Johnny backs into the shadows. It all happens blindingly fast: CONTINUED: Right turns and grabs a thug with two pistols in chest holsters, flips them upside-down and shoots them up into his armpits, ducks allowing two thugs to shoot each other, yanks the pistols out of the chest holsters, kicks the body into the two men behind him, shoots them both, ducks under a shotgun blast, kicks the shotgun wielder in the knee, then grabs his shotgun and yanks it away, CUT TO: MARTHA SITTING IN: THE CHAIR.: Martha listens to the chaos downstairs in the empty room, giggling gleefully through the gag. EVERYONE.: Right launches one of his spring-loaded pistols into a man's face, catches it as it bounces off, trips a man behind him, shoots him, shoots the guy whose face got bounced, blasts the man behind him in the chest with the shotgun, and then holds the shotgun out, butt first, to the gunless thug who originally had the shotgun. They stand there like that. Mr. Right takes off his gas mask, and grins.</scene_description>
<character>RIGHT</character>
<dialogue>Do you want your gun back?</dialogue>
<character>GUNLESS THUG</character>
<dialogue>...Yeah?</dialogue>
<character>RIGHT</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Psh, psych.</dialogue>
<scene_description>He flips the shotgun around and blasts the gunless thug in the face. Zeke abruptly stands behind Right, trying to raise his gun. Right grabs him by the wrist, twirls him, takes the gun, twirls him again, tears open his button up shirt, places the barrel of the pistol sideways against his chest and FIRES. The bullet fires off into the ceiling. Zeke screams as the gun's slide closes on his flesh; Right shoves him down, leaving the smoking gun hanging from Zeke's chest as he shrieks in pain. Bruce rushes Mr. Right, but Right knocks him away, and raises his gun at Bruce, who, presumably out of instinct, assumes a karate pose. CONTINUED: They stand there like that amidst all the bodies.</scene_description>
<character>RIGHT</character>
<parenthetical>(annoyed)</parenthetical>
<character>HEY!</character>
<dialogue>Bruce looks confused.</dialogue>
<character>BRUCE</character>
<dialogue>What?</dialogue>
<character>RIGHT</character>
<dialogue>This isn't fair. I don't know karate.</dialogue>
<character>BRUCE</character>
<dialogue>You've got a fuckin' gun, man!</dialogue>
<character>RIGHT</character>
<dialogue>Well...If I put down my gun, will you promise not to use karate?</dialogue>
<character>BRUCE</character>
<dialogue>...Okay.</dialogue>
<scene_description>Right tosses away his gun, and Bruce immediately jump kicks Right in the chest, knocking him over.</scene_description>
<character>RIGHT</character>
<parenthetical>(pained, angry)</parenthetical>
<character>THAT WAS KARATE, YOU ARE TOTALLY USING</character>
<dialogue>KARATE-</dialogue>
<scene_description>Right tries to get up, but Bruce catches him with several strikes to the body. Right abruptly headbutts Bruce, knocking him back, and then Bruce roundhouse kicks Right in the face. Right rolls, wiping the blood from his nose and drawing his dual pistols, as Bruce turns and grabs a grenade, pulling out the pin. Bruce spins, ready to throw the grenade, only to find that Right has both guns pointed directly at him, point blank. Bruce freezes. Right smiles, and then notices the grenade in his hand. Bruce notices it too. They stand there frozen.</scene_description>
<character>RIGHT</character>
<dialogue>GET RID OF THE GRENADE!</dialogue>
<scene_description>Bruce, startled into action, quickly tosses the grenade away, and it explodes behind the bar, shattering all the bottles and blowing the counter apart. Bruce stands staring at the destruction; Right looks CONTINUED: concerned.</scene_description>
<character>RIGHT</character>
<dialogue>Wow.</dialogue>
<character>BRUCE</character>
<parenthetical>(in shock)</parenthetical>
<dialogue>ohgahd.</dialogue>
<character>RIGHT</character>
<dialogue>You almost blew yourself up!</dialogue>
<scene_description>Bruce nods numbly, and starts to fall forward, but Right catches him.</scene_description>
<character>RIGHT</character>
<dialogue>Here, sit down.</dialogue>
<scene_description>They sit down together.</scene_description>
<character>RIGHT</character>
<dialogue>Just take long, deep breaths, in through the mouth, out through the nose.</dialogue>
<scene_description>Bruce nods and tries to regain control over his breathing.</scene_description>
<character>RIGHT</character>
<dialogue>Man, that was really scary. What's your name?</dialogue>
<character>BRUCE</character>
<dialogue>B...Bruce.</dialogue>
<character>RIGHT</character>
<dialogue>Damn, Bruce, I thought you were a goner.</dialogue>
<character>BRUCE</character>
<parenthetical>(weakly)</parenthetical>
<dialogue>I thought...You were gonna shoot me...</dialogue>
<character>RIGHT</character>
<dialogue>I was going to shoot you, but then you pulled out that grenade and I was like, look at the size of the balls on this gu-</dialogue>
<scene_description>The doors of the room burst open, and eight men wielding different varieties of assault rifles burst in; Steve's reenforcements. Time seems to freeze. CONTINUED: We see through Mr. Right's POV as what looks like permanent marker draws a "game-plan" on the men, numbering them and crossing them off, drawing curved lines to represent when and how they will raise their guns. It quickly draws a smiley face, and then- Time unfreezes. Before they can even fire a shot Right stands and fires seemingly without aiming, bang bang bang bang bang bang bang, going through the men like a shooting gallery, leaving only one man standing as Right runs out of ammunition; he was ducked down when they came in, and ran behind his compatriots. It's Shotgun Steve; he rolls and raises his rifle, the laser sight resting on Right's forehead.</scene_description>
<character>RIGHT</character>
<dialogue>Steve!</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>I thought that was you!</dialogue>
<scene_description>Steve stares at him; Right looks up at the laser sight on his face.</scene_description>
<character>RIGHT</character>
<dialogue>Oh hey, you got me again!</dialogue>
<scene_description>Right gracefully lurches left, and Steve fires, but Right has already lightning quick drawn a Deringer and fires a shot that plinks off Steve's rifle, knocking it out of his hands. Right straightens up as though nothing happened.</scene_description>
<character>RIGHT</character>
<dialogue>You shouldn't have hesitated.</dialogue>
<parenthetical>(thinks)</parenthetical>
<dialogue>Steve, man, get over here.</dialogue>
<scene_description>Steve doesn't move, frozen to the spot.</scene_description>
<character>RIGHT</character>
<parenthetical>(less friendly)</parenthetical>
<dialogue>Get over here.</dialogue>
<scene_description>Steve quickly gets up and goes over to Bruce and Right, whereupon Right starts smiling again.</scene_description>
<character>RIGHT</character>
<dialogue>Bruce, do you know Steve?</dialogue>
<scene_description>Bruce nods. Right sits Steve down next to Bruce. CONTINUED:</scene_description>
<character>RIGHT</character>
<parenthetical>(to Steve, quietly)</parenthetical>
<dialogue>Bruce has just had a really rough experience, so I'd appreciate it if you could sit and keep him company till I get back. Um, if I get back.</dialogue>
<character>STEVE</character>
<dialogue>Uh...yeah.</dialogue>
<character>RIGHT</character>
<dialogue>Radical, thanks dude.</dialogue>
<scene_description>Right smiles, and then races off through the doors and out of sight. Steve and Bruce sit in silence, and then Steve turns and looks at the bodies of the other goons. He let's out a muffled nervous chuckle, and then Bruce starts laughing. They sit there laughing together.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CARTIGAN LODGE - DRAWING ROOM - CONTINUOUS</stage_direction>
<scene_description>Martha, sitting alone, hears movement outside. She continues pushing the tape with her tongue as Richard enters from a side door, holding a revolver and a duffle bag.</scene_description>
<character>RICHARD</character>
<dialogue>Stupid motherfuckers trying to-</dialogue>
<scene_description>The door bursts open, revealing Mr. Right. Richard stares at Right; Right stares at Richard. Martha finally spits off her tape gag.</scene_description>
<character>MARTHA</character>
<dialogue>IT'S A SET-UP, THEY ONLY KIDNAPPED</dialogue>
<character>ME TO GET YOU TO KILL HIM!</character>
<dialogue>Right stops, frozen, listening.</dialogue>
<character>RICHARD</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>It's Johnny Howl and your brother, they, they used me as bait to-</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>That's enough of that.</dialogue>
<scene_description>CONTINUED: Everyone turns to see Johnny Howl holding an MP5, but he's too close to Right to get a shot off. Right smashes the MP5 away and Howl ends up blasting the entire room with gunfire. Richard rushes out, and Right turns, spinning Johnny Howl, and throws him violently over the banister out in the hallway, and down the stairs. Right hurries back in, rushes to Martha and kisses her. Though clearly in pain and physically and emotionally exhausted, Martha laughs.</scene_description>
<character>RIGHT</character>
<parenthetical>(aghast)</parenthetical>
<dialogue>Jesus, what'd they do to you?</dialogue>
<character>MARTHA</character>
<dialogue>Just hit me a couple times-</dialogue>
<scene_description>Right looks crazy intense.</scene_description>
<character>MARTHA</character>
<dialogue>What, you're going to kill them more than you were already going to? Come on.</dialogue>
<character>RIGHT</character>
<parenthetical>(sighs, laughs)</parenthetical>
<dialogue>Yeah that's silly.</dialogue>
<character>MARTHA</character>
<dialogue>I'd really like to leave.</dialogue>
<character>RIGHT</character>
<dialogue>No, yeah, definitely.</dialogue>
<scene_description>Right stares at her; he's overwhelmed to be back with her again.</scene_description>
<character>MARTHA</character>
<dialogue>You just like me tied up.</dialogue>
<scene_description>Right shrugs, smiling, and then starts cutting her free.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CARTIGAN LODGE - RICHARD'S OFFICE</stage_direction>
<scene_description>Richard comes in, only to find Von pouring gasoline out of a can onto everything in the office.</scene_description>
<character>RICHARD</character>
<dialogue>Clevon, what're you-</dialogue>
<scene_description>Von Cartigan tosses the can at Richard Cartigan, knocking him back a little, then draws out his pistol and shoots Richard three times in the chest. CONTINUED: There's a silence, and Richard slumps back against the wall, staring at him.</scene_description>
<character>VON</character>
<dialogue>You fucking idiot.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You are a FUCKING IDIOT, you know that Richie? Smart Richie Cartigan protecting his brother, smart Richie Cartigan gonna be head of the family, smart Richie Cartigan always in control, and I fucked up. Even now, I fucked up.</dialogue>
<scene_description>Richard stares at Von.</scene_description>
<character>VON</character>
<dialogue>See, you're too smart. I thought I was smarter than you, that was my mistake. I was there when he killed the Piccolos, and I thought, here, I can use this, I can USE this.</dialogue>
<character>RICHARD</character>
<dialogue>I don't...I don't...</dialogue>
<character>VON</character>
<dialogue>Don't you get it yet? Bobby Yatsuda didn't kill Minkin, me and Johnny did! Yatsuda probably doesn't even know it happened, it was all a part of the plan to bring in the Grim Reaper out there, to bring him gift wrapped to you. But no, you're too fucking smart; even when we readjust, we use the girl, we try to bring him here, you corner us, trap us in the fucking house with him, and now look what you made me do! Look what you made me do!</dialogue>
<character>RICHARD</character>
<dialogue>You...are so...fucking...stupid.</dialogue>
<character>VON</character>
<dialogue>Yeah, I get that a lot.</dialogue>
<scene_description>Von shoots Richie in the head.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Right slowly leads Martha as they creep down the hallway and down the stairs, talking as they go.</scene_description>
<character>MARTHA</character>
<dialogue>Why are we going so slow?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Less guys, now. In all the chaos it's easy to just pass through people, because no one's sure what they're aiming at. But once you're a target, alone, you've got to be careful; if someone pops out it can really screw you up. That big guy scares the crap out of me.</dialogue>
<character>MARTHA</character>
<dialogue>Johnny Howl.</dialogue>
<character>RIGHT</character>
<dialogue>What?</dialogue>
<character>MARTHA</character>
<dialogue>His name is Johnny Howl.</dialogue>
<character>RIGHT</character>
<dialogue>That's a stupid name.</dialogue>
<character>MARTHA</character>
<dialogue>I know, right?</dialogue>
<character>RIGHT</character>
<dialogue>And he made fun of my nose.</dialogue>
<character>MARTHA</character>
<dialogue>I think the nose looks good.</dialogue>
<character>RIGHT</character>
<parenthetical>(delighted)</parenthetical>
<dialogue>Really?</dialogue>
<scene_description>They reach the bottom of the steps.</scene_description>
<character>MARTHA</character>
<dialogue>Yeah, I like it because it kind of makes it feel like everyone's having a good time.</dialogue>
<character>RIGHT</character>
<dialogue>Well, ideally they are, it's just-</dialogue>
<scene_description>WHAM! Right is hit FULL IN THE FACE WITH A BASEBALL BAT, and he crashes to the floor. Johnny tries to hit Right again, but Martha stomps on his foot, snatches away the bat and bunts him in the neck. Johnny sputters, coughing, and then Von cinches Martha in a headlock from behind, choking her and holding a gun to her head. CONTINUED:</scene_description>
<character>VON</character>
<dialogue>Kill him, kill-</dialogue>
<scene_description>Von and Johnny realize that Right is gone, a trail of blood leading off into the darkened library.</scene_description>
<character>VON</character>
<dialogue>Johnny, I'll get a car, you-</dialogue>
<character>JOHNNY HOWL</character>
<parenthetical>(half-calm, half-furious)</parenthetical>
<dialogue>I've got it.</dialogue>
<scene_description>Von drags Martha off, and we walk with Johnny as he goes to the door...</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - LIBRARY</stage_direction>
<scene_description>The room is dark, lit only by the deep blue early morning light coming in from the big floor to ceiling windows. The room is cluttered with furniture; the place is being used for storage, with almost no books on the shelves. Mr. Right could be anywhere. Johnny Howl pops some gum into his mouth, and walks slowly through the room, MP5 against his hip. It's near to completely silent; the only sound is his gum smacking as he chews. He slowly surveys the room, and his laser sight comes to rest on a mirror. He bounces the aimer back onto his forehead, looking at his bloody reflection.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Ooh, you're a bad man Johnny Howl.</dialogue>
<scene_description>Johnny fires a single shot into his reflection, shattering the mirror. There's a silence, but Johnny detects a tiny bit of sound.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(smiles, surveying the room)</parenthetical>
<dialogue>Alone at last.</dialogue>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - GARAGE - CONTINUOUS</stage_direction>
<scene_description>Von drags in Martha, and stares at the cars; Rolls Royces, Ferraris, Bentleys, all machine gunned to pieces. Mr. Right's M-16 lays discarded on the ground.</scene_description>
<character>VON</character>
<dialogue>You motherfucker, you motherfucker-</dialogue>
<scene_description>Martha laughs, and Von slaps her in the face. CONTINUED:</scene_description>
<character>VON</character>
<dialogue>Out front, the cars out front, right, right.</dialogue>
<scene_description>Von yanks her along as they head out.</scene_description>
</scene>
<scene>
<stage_direction>INT. CARTIGAN LODGE - LIBRARY - CONTINUOUS</stage_direction>
<scene_description>Johnny looks around, thinking.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(loudly)</parenthetical>
<dialogue>How's your head?</dialogue>
<character>RIGHT (O.S.)</character>
<parenthetical>(from somewhere in the room)</parenthetical>
<dialogue>I don't know, how's your neck?</dialogue>
<scene_description>Johnny chews for a moment and then smiles.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>Well, better now.</dialogue>
<scene_description>Johnny turns and starts unloading into a big oaken table, which abruptly flips up and knocks him off balance. Right dives out as Johnny continues to fire at him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARTIGAN LODGE - SLOPE - CONTINUOUS</stage_direction>
<scene_description>It's a slope into the woods behind the house. There's silence, and then Johnny and Right come crashing through the big windows at the side of the game room. They plummet ten feet down to the ground, thud, with Right having the worse landing. They lay there motionless several feet apart, surrounded by broken glass. Johnny Howl slooooowly stands up as Mr. Right forces himself to his knees. Howl grabs Right by the back of the head and knees him in the face, breaking his nose.</scene_description>
<character>RIGHT</character>
<dialogue>Agh!</dialogue>
<character>JOHNNY HOWL</character>
<dialogue>Bingo, baby!</dialogue>
<scene_description>Johnny Howl, clearly in pain but masking it well, yodels out into the woods and listens to the echo.</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>That's bodacious, brother, let me tellya.</dialogue>
<scene_description>CONTINUED: Howl turns and brutally decks Mr. Right in the already broken nose, flooring him again. Howl takes a few steps back, gets a running start and PUNTS RIGHT IN HIS INJURED LEG.</scene_description>
<character>RIGHT</character>
<dialogue>Aaaaaaghhhhhh you...you butthole!</dialogue>
<scene_description>Mr. Right snatches up a particularly nasty shard of glass; Howl swings to punch him, and Right grabs him by the wrist and slashes the tendons on the inside of his right elbow. Howl yowls in pain, and Right ballet-twirls around him and slashes the tendons behind his knees. As he falls, Howl turns and punches Right in face, knocking out one of his teeth. Mr. Right falls, laying still, and Johnny Howl breathes heavily and swears, unable to get up. Mr. Right rolls over and smiles at him.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(furious, in agony)</parenthetical>
<dialogue>Fucking...faggot...I'm gonna fucking kill you...Fucking rip your face off and watch you bleed...shoot that stupid whore of yours and-</dialogue>
<character>RIGHT</character>
<dialogue>Well, that's enough of you, I think.</dialogue>
<scene_description>Right slowly stands up, looks up at the climb back to the window, then back down at Johnny Howl, who continues swearing and</scene_description>
<character>JOHNNY HOWL</character>
<dialogue>I swear to god, you are dead, you a dead man-</dialogue>
<character>RIGHT</character>
<dialogue>Shush.</dialogue>
<scene_description>Right swings a kick in towards Johnny Howl's head, and we- FLASH TO: Von, dragging Martha along, out front of the house. Over in the FBI car, Hopper sees what's happening, and frantically reaches down to his ankle, where a small revolver is holstered. He can't quite reach.</scene_description>
<character>VON</character>
<dialogue>Hurry the FUCK UP.</dialogue>
<scene_description>CONTINUED: Von wrenches her arm again. Martha shrieks, and yanks her arm away; Von turns, raising his pistol.</scene_description>
<character>VON</character>
<dialogue>I said HURRY THE FUCK UP!</dialogue>
<character>MARTHA</character>
<dialogue>...my fucking arm...</dialogue>
<scene_description>Von shoves the gun in her face and yanks her arm again, causing her to cry out in pain. In the car, Hopper continues to frantically reach for his pistol.</scene_description>
<character>VON</character>
<dialogue>Oh I'm sorry did that hurt?</dialogue>
<scene_description>In the FBI car, Hopper finally manages to draw his gun when-</scene_description>
<character>MARTHA</character>
<parenthetical>(crying, eyes wide, horrified, looking down the driveway)</parenthetical>
<dialogue>What the fuck is that!?</dialogue>
<scene_description>Von turns to look, and Martha abruptly snatches his gun away in the style of Mr. Right. Horrified, Von throws up his hands and she shoots him through the left hand, the bullet then hitting him in the shoulder.</scene_description>
<character>VON</character>
<parenthetical>(stumbling back)</parenthetical>
<dialogue>Agh, fuck!</dialogue>
<character>MARTHA</character>
<parenthetical>(psychotic)</parenthetical>
<dialogue>Oh I'm sorry does that hurt?</dialogue>
<scene_description>Martha raises the gun and shoots him point blank three times in the chest. Von staggers and collapses against his car, sliding down onto his side. He lays there, pained, struggling to breathe. Martha starts to walk away, then stops and turns around.</scene_description>
<character>MARTHA</character>
<parenthetical>(furious)</parenthetical>
<dialogue>I told you this would happen, didn't I? I told you but you didn't take me seriously, nobody takes me seriously, so now you fucking die for it.</dialogue>
<scene_description>Von stares after her as she gets closer to the house; he starts crying. CONTINUED:</scene_description>
<character>MARTHA</character>
<parenthetical>(calling back to him over her shoulder)</parenthetical>
<dialogue>Asshole!</dialogue>
<scene_description>Over in the FBI car, Hopper stares, lowering the gun.</scene_description>
<character>HOPPER</character>
<parenthetical>(quietly, in pain)</parenthetical>
<dialogue>Well, I'll be damned.</dialogue>
<scene_description>Von slumps forward. CUT TO: MR. RIGHT'S HAND ON:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CARTIGAN LODGE - LIBRARY - CONTINUOUS</stage_direction>
<scene_description>Right is gradually pulling himself back up into the window into the now empty, corpse-covered room. He makes it, and then lays there on the floor, panting. He hears a gun cock. Zeke stands over Mr. Right, smiling down at him, gun drawn. He keeps one hand over bloody burn/clip wound on his chest.</scene_description>
<character>ZEKE</character>
<dialogue>See, man? That's why you gotta follow through. No mercy.</dialogue>
<scene_description>He presses the gun against Mr. Right's head, and Mr. Right cringes.</scene_description>
<character>RIGHT</character>
<dialogue>Oh...Martha...</dialogue>
<character>ZEKE</character>
<dialogue>Fuck her. This is your fault. You leave people alive, and it'll always come back to bite you in the ass.</dialogue>
<scene_description>CUT TO: MARTHA RUNNING DOWN:</scene_description>
<character>THE DRIVEWAY TOWARDS THE HOUSE</character>
<dialogue>There's a gunshot, and then another, and Martha lets out a little scream as she rushes back towards the house, holding Von's gun. She gets to the front door; it's locked, and she screams again.</dialogue>
<scene_description>CONTINUED: Zeke stands over Mr. Right, his gun smoking. We pan to reveal a smoking hole in the floor, under his gun, next to Right's face. There's also a hole in Zeke's back, which we notice as he slowly turns around; he has a dazed look on his face as he fires the gun off into the ground several more times. We pan to reveal Bruce and Shotgun Steve. Shotgun Steve lowers his smoking pistol, Zeke collapses to the floor, dead. Steve looks to Bruce, who half nods.</scene_description>
<character>BRUCE</character>
<dialogue>Hey killer, you okay?</dialogue>
<character>RIGHT</character>
<parenthetical>(groaning)</parenthetical>
<dialogue>No...</dialogue>
<scene_description>Steve smiles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARTIGAN LODGE - MOMENTS LATER</stage_direction>
<scene_description>Martha is banging on the door, crying uncontrollably, looking psychotic. The door unlocks, and she steps back, raising the gun. There's a tense moment as the door slowly opens, revealing Mr. Right, carried between Bruce and Shotgun Steve. Martha is holding the gun directly into Right's face.</scene_description>
<character>RIGHT</character>
<parenthetical>(dazed, wounded)</parenthetical>
<dialogue>Oh...Hey Martha.</dialogue>
<scene_description>Martha takes a nervous look at Steve and Bruce, then immediately one-armed embraces and kisses Right, smearing his blood all over her. Right laughs, and Martha snorts back tears.</scene_description>
<character>MARTHA</character>
<dialogue>I shot Von Cartigan.</dialogue>
<character>RIGHT</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Whoa, look at you.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I have to go to the hospital real, real bad.</dialogue>
<character>MARTHA</character>
<dialogue>Oh yeah?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RIGHT</character>
<dialogue>Yeah.</dialogue>
<scene_description>They kiss again. Bruce looks to Shotgun Steve, and mouths "These people are fucking crazy." Steve smiles.</scene_description>
<character>FADE TO: LATER</character>
<dialogue>Hopper sits in the car, half asleep, and then wakes up as a seemingly endless stream of police cars pour by, sirens on. A couple of SWAT officers tap on the window, and Hopper just looks at them, and then sort of shrugs.</dialogue>
<scene_description>OF THE HOUSE.: Several officers, guns drawn, approach Johnny Howl's motionless body. He's all covered in grey-white-black ash from the house. When he opens his eyes, they're bloodshot; he looks monstrous.</scene_description>
<character>JOHNNY HOWL</character>
<parenthetical>(weakly, hoarse)</parenthetical>
<dialogue>...The fuck are you looking at?</dialogue>
<scene_description>FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTHA'S APARTMENT - LIVING ROOM</stage_direction>
<scene_description>Elaine sits staring at something on the table, nervously tapping her fingers on the side of her chair. There's a knock, and she rushes to let in Tatiana.</scene_description>
<character>TATIANA</character>
<dialogue>What's going on?</dialogue>
<character>ELAINE</character>
<dialogue>You have to see-</dialogue>
<character>TATIANA</character>
<dialogue>On the phone you sounded so-</dialogue>
<character>ELAINE</character>
<dialogue>Just look, look, here.</dialogue>
<scene_description>Elaine snatches up the thing off the table, and holds it out to Tatiana. It's a picture of an old style gothic cathedral; she flips it over. "HO'S BEFORE BROS. LOVE, THE FUGITIVE." CONTINUED: Tatianna smiles, and looks up to Elaine, who is nervously smiling as well. PROJECTED PHOTOGRAPH OF:</scene_description>
<character>SHOTGUN STEVE</character>
<dialogue>Steve looks good; he's had a haircut and a shave, and wears a tailored jacket.</dialogue>
<character>HOPPER (O.S.)</character>
<dialogue>Steven Bradley Gage.</dialogue>
<scene_description>The projector clicks, and now displays an equally well- dressed/groomed picture of Bruce.</scene_description>
<character>HOPPER (CONT'D) (O.S.)</character>
<dialogue>Bruce Christopher Cooper.</dialogue>
</scene>
<scene>
<stage_direction>INT. FBI BRIEFING ROOM - CONTINUOUS</stage_direction>
<scene_description>Hopper, his arm in a sling, stands in front of a large projection screen in a room full of agents. Wally stands at the back, chewing his gum, leaning on a crutch. The slides change according to what Hopper discusses.</scene_description>
<character>HOPPER</character>
<dialogue>These two men, within the last month, have settled into controlling positions of what was formerly the Cartigan Crime Syndicate. Now, their rise to these positions was of course facilitated by the massacre at the Cartigan estate in Bonville, where Francis Minch and Martha McKay evaded capture after killing all remaining members of the Cartigan family. Now, as you know, the immediate capture of Minch and McKay is the priority of this task force, and over the next couple of weeks we're going to learn everything we can about them.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>As most of you know, I've been demoted to advisory status on this case, so for a more complete briefing on the situation, and our pursuit strategy, I'm going to direct you upstairs to Agent Hirschfeld.</dialogue>
<scene_description>All the agents nod and start putting away their things. Hopper looks sad.</scene_description>
</scene>
<scene>
<stage_direction>INT. MUSEUM IN PRAGUE - CONCURRENT</stage_direction>
<scene_description>It's the main entrance hall of a new museum; the exhibits are still being constructed. Martha, her hair grown out a little and dyed black, is sitting up on a scaffold, directing Czechoslovakians as they assemble a Tyrannosaurus.</scene_description>
<character>MARTHA (SUBTITLE)</character>
<dialogue>The jaw! His jaw is too high.</dialogue>
<character>CZECH WORKER (SUBTITLE)</character>
<dialogue>Miss Cumberbund, how do we-</dialogue>
<character>MARTHA (SUBTITLE)</character>
<dialogue>Just turn the screw on the side. There, you got it; yeah. Do you recognize the shape of a head, sort of? You know where the mouth would go on a head?</dialogue>
<character>CZECH WORKER (SUBTITLE)</character>
<dialogue>...On the bottom?</dialogue>
<character>MARTHA (SUBTITLE)</character>
<dialogue>Oy...okay, just move the jaw into the crater sockets and you should be-</dialogue>
<character>RIGHT</character>
<dialogue>Martha.</dialogue>
<scene_description>Martha looks down and grins. Mr. Right waits for her by the front desk. Martha rushes down off the scaffold, and embraces him.</scene_description>
<character>MARTHA</character>
<dialogue>Hey babe, I thought you were at work-</dialogue>
<character>RIGHT</character>
<dialogue>Lunch break. I wanted to give you this.</dialogue>
<parenthetical>(quickly, quietly)</parenthetical>
<dialogue>I drew you this picture of a dinosaur.</dialogue>
<scene_description>He hands her a picture of a dinosaur he drew her; it shows her leading a tyrannosaurus by a leash.</scene_description>
<character>MARTHA</character>
<parenthetical>(sincere)</parenthetical>
<dialogue>Oh, this is so gnarly.</dialogue>
<character>RIGHT</character>
<dialogue>Okay, I'll see you at five, yeah?</dialogue>
<character>MARTHA</character>
<dialogue>Yeah.</dialogue>
<scene_description>CONTINUED: There's a crash from behind them, and Right quietly bows out.</scene_description>
<character>CZECH WORKER (SUBTITLE)</character>
<dialogue>I'm sorry Miss Cumberbund!</dialogue>
<character>CZECH WORKER 2 (SUBTITLE)</character>
<dialogue>It's Rowley's fault! He dropped the jaw, and we've been putting it together for hours without-</dialogue>
<character>MARTHA (SUBTITLE)</character>
<dialogue>You guys, you guys...</dialogue>
<parenthetical>(beat, composes herself)</parenthetical>
<dialogue>T-Rex's are totally awesome. Can we please try to remember how totally unbelievably cool it is that we get to build a T-Rex?</dialogue>
<character>CZECH WORKER 2 (SUBTITLE)</character>
<parenthetical>(quietly, looking at the skeleton)</parenthetical>
<dialogue>This is pretty cool.</dialogue>
<character>MARTHA (SUBTITLE)</character>
<dialogue>Yeah.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Now pick up the jaw.</dialogue>
<scene_description>CUT TO: BRIEFING:</scene_description>
<character>ROOM</character>
<dialogue>Hopper is cleaning up his presentation area, when a young agent approaches him.</dialogue>
<character>FBI AGENT</character>
<dialogue>Hey, Agent Hopper-</dialogue>
<character>HOPPER</character>
<dialogue>Yes, Weitz, what's up?</dialogue>
<character>FBI AGENT</character>
<dialogue>I was wondering if you'd be willing to give me your own thoughts on the Francis Minch situation.</dialogue>
<character>HOPPER</character>
<dialogue>Well-</dialogue>
<character>FBI AGENT</character>
<dialogue>Off the record.</dialogue>
<character>HOPPER</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Off the record. Right.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HOPPER</character>
<dialogue>Well, I think we've got it all backwards. I don't think he's on the run.</dialogue>
<scene_description>CUT TO: STREET IN PRAGUE -:</scene_description>
<character>DUSK</character>
<dialogue>Right wanders down the road, much as we first saw him, looking serenely happy.</dialogue>
<character>HOPPER (V.O.)</character>
<dialogue>I think he probably just took McKay, flew somewhere he wanted to be and they've set up shop like nothing's wrong. I think he's in love, and he's done with organized crime for now; he's probably selling cars, a travel agent, I don't know.</dialogue>
<scene_description>Right walks past an alley, where a group of Serbian thugs are mercilessly beating on two men. Right stops, casually eyeing the men.</scene_description>
<character>SERBIAN THUG #1 (SUBTITLE)</character>
<parenthetical>(noticing Right)</parenthetical>
<dialogue>The fuck are you looking at? You want to get it like these two faggots? Keep walking!</dialogue>
<scene_description>BACK TO: FBI BRIEFING ROOM:</scene_description>
<character>FBI AGENT</character>
<dialogue>Would you say he's still dangerous?</dialogue>
<scene_description>Hopper just stares at him, very serious. His eyes say it all.</scene_description>
<character>BACK TO: THE ALLEY IN PRAGUE</character>
<dialogue>The thugs are still beating on the man, when they notice that Right still stands at the mouth of the alley.</dialogue>
<character>SERBIAN THUG #1 (SUBTITLE)</character>
<dialogue>Hey, I thought I told you to...what the fuck is that?</dialogue>
<scene_description>We go back to Mr. Right. He's put on the clown nose. He smiles. SLAM TO BLACK.: END.:</scene_description>
</scene>
</script> | Ex-CIA agent and ex-mercenary Francis Munch kills those who try to hire him. On his way from such a kill, a team including Espinoza tries to kill him; his ex-partner and trainer Ed Hopper, reconsiders his involvement immediately beforehand, and remains only to listen and confirm his assessment of the situation. Martha McKay is asked out by Munch and they are smitten. Munch dodges an assassination attempt by Espinoza, and they spend the night chastely. The next evening, they meet for dinner, where Munch reluctantly kills Espinoza when attacked. Over hot chocolate, he shows Martha his belief that underlying all physical objects lies a current that can be precognitively anticipated, and both of them have it. Munch throws a kitchen knife high in the air and catches it safely as it falls between them. Martha freaks out until he throws a knife at her, which she catches by the blade without being cut. They then have an intimate night. "Von" Cartigan is the sole survivor of a prior spree in which Munch killed the Pirrello heroin syndicate, and, as Munch shoots those who hire him, with his partner Johnny Moon tries to set up his brother Richard to be killed. Instead, a middleman is sent who Munch kills in front of Martha, frightening her enough to ask him to give her some space. Richard sends Moon, Von, and 10 other hitmen to Martha's, including a gunman named Steve. Hopper meets Martha at her apartment, but is subdued by Francis, his former partner. Steve gets Munch with buckshot. From cover, Munch shoots one of Von's hired men dead, talks another into leaving, and kneecaps the remainder. Having previously shown Von mercy at the Pirrello job, and, getting ready to kill Von, he's again hit by Steve (whom he respects for his skills) with a bat while Moon grabs Martha. Hopper arrives and shoots the kneecapped men dead, but while his back is turned, Francis escapes. Richard enlists Von and Johnny to stay and defend their house, defeating their plans to rule the family as sole survivors; in frustration, they abuse Martha in response to her mockery. After kicking her against a wall, she says she will kill them if Munch doesn't, as she now feels "motivated." Outside, Munch takes Steve by surprise; chatting, Steve tells him how many are inside, and they share gummy bears. Munch distracts Von and Richard's bodyguards and shoots them when threatened, but declines to shoot either Von or Richard themselves. In frustration, Von begins monologuing about his desire to kill his brother. When Munch leaves, both leap for the gun, but Von successfully kills Richard. In another room, Richard's consigliere Bruce confronts Munch but is disarmed. Bruce mistakenly arms a grenade, and Munch helps him disarm it without them both dying. Munch rescues and begins to escape with Martha, but is shot with beanbag ammunition by Hopper. Moon grabs Martha and tells her he puts more dangerous people off their game by killing their weaker loved ones. Her precognitive combat abilities awaken, and she dodges Moon's attacks, then strikes him with his own knife and kills him with a statue. While escaping, she disarms and shoots Von with his own gun. Hopper and Munch confront each other, Hopper handcuffs himself to Munch, intending to "re-program" Munch into a killer. Munch shoots the handcuffs off. Before Hopper can shoot him in the back, Steve shoots him dead, and is ecstatic to learn of Hopper's $5 million bounty. Munch meets Martha at the entrance, notes her dilated pupils, and asks Steve to help him get them to the hospital. Two months later, two military-style teams are pursuing Munch and Martha as they visit different countries for Martha's paleontological interests; Munch shows a sign to a sniper asking "where's the girl?" as the scene cuts to Martha, who has snuck up to shoot the sniper. |
Autumn in New York_2000 | tt0174480 | <script>
<scene>
<stage_direction>EXT. CENTRAL PARK -- SEPTEMBER AFTERNOON</stage_direction>
<scene_description>A COUPLE moves down a walkway , deep in subdued conversation . All around them trees explode with autumn color . Birds sing . Their path is dappled with leafy shadow . To their left , on the sunny meadow , TEENAGERS throw saucers and footballs , smoke cigarettes and joints , drink beer and soda , savoring the waning hours of summer . CLOSER ON THE COUPLE He is WILLS KEANE , late 40 's to early 50 's , strikingly handsome , impeccably dressed , and supremely poised . At first glance he has the proud glow of a hedonist who in the war against time has been the undisputed victor . Only a closer look hints at the toll of battle . His shoulders strain under the weight of so much repetition . His eyes are touched by regret . The lines in his face reveal an emerging disenchantment not so much with the world as with himself . Walking at his side is a WOMAN , 30 , attractive and bright . Her name is unimportant because so many have come before her and , if the past prevails , so many will come after . She listens intently , as Wills finishes speaking -</scene_description>
<character>WILLS</character>
<dialogue>- and I could have waited to tell you, but I wanted to leave no room for misunderstanding.</dialogue>
<character>WOMAN</character>
<dialogue>Well, you certainly did n't.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER CENTRAL PARK WALKWAY -- LATER</stage_direction>
<scene_description>Still talking quietly , they pass into a more secluded area of the park -</scene_description>
<character>WOMAN</character>
<dialogue>No, I see how you could feel this way. Of course I do. It's human. But what I do n't get is why you'd want to announce it so quickly. I mean, we just met. Feelings change. You do n't even know me.</dialogue>
<character>WILLS</character>
<dialogue>Yes, I do.</dialogue>
<scene_description>She is amused by his confidence -</scene_description>
<character>WOMAN</character>
<dialogue>Oh, really?</dialogue>
<character>WILLS</character>
<dialogue>The minute I laid eyes on you. It's the saddest thing about getting older. You know people so quickly. I even knew you'd end up hating me.</dialogue>
<character>WOMAN</character>
<dialogue>Well, you're wrong. I do n't.</dialogue>
<character>WILLS</character>
<parenthetical>( with a weary smile . )</parenthetical>
<dialogue>Give it time.</dialogue>
<scene_description>She laughs . Then he stops . He hears something . She stops . She hears it , too . It 's a GIRL 'S VOICE . He casually turns and looks , squinting into the sun . He takes a few steps and there , between trees , he sees TWO DOZEN PEOPLE sitting on the grass and on folding chairs - most are middle - aged or older with a distinctly intellectual - bohemian look to them . Standing and addressing them is CHARLOTTE FIELDING , 19 , fair , willowy , pale , lovely in an unconventional way . She wears an eccentric hat and a vintage dress . Her bearing is upright , her gaze warm and intelligent , her voice rich with emotion -</scene_description>
<character>CHARLOTTE</character>
<dialogue>- and for weeks I sat by her bed and cried. I told her I loved her and I begged her not to leave me. All I could think about was what I'd lose if she died. And then one night. she was in really bad pain. I stopped thinking about myself for a second and I thought about her.</dialogue>
<parenthetical>( fighting tears . )</parenthetical>
<dialogue>I stopped crying. I said goodbye. And in less than an hour Ella was gone.</dialogue>
<scene_description>The woman whispers in Wills ' ear -</scene_description>
<character>WOMAN</character>
<dialogue>It's so sad.</dialogue>
<scene_description>But Wills ignores her . He watches Charlotte with keen interest , touched by the depth and sincerity of her emotion .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I really think it's possible to hold a person back. cry them back. from dying. That's what I did to Ella and I'll never do it to anyone else again.</dialogue>
<parenthetical>( softly . )</parenthetical>
<dialogue>I hope no one ever does it to me.</dialogue>
<scene_description>She looks out at the group , many of whom are crying . A tear runs down her cheek . She smiles and wipes it away . The woman , seeing Wills ' interest in the girl , whispers -</scene_description>
<character>WOMAN</character>
<dialogue>So what do you know about her?</dialogue>
<scene_description>He knows a great deal . Or at least he thinks he does . But his answer is nonchalant -</scene_description>
<character>WILLS</character>
<dialogue>That she's just a kid.</dialogue>
<scene_description>He takes the woman gently by the elbow and guides her away . He steals one last look back . Charlotte , returning to where she was sitting , notices Wills . Their eyes meet and a charge passes between them . Meanwhile an OLD MAN has risen from his chair -</scene_description>
<character>OLD MAN</character>
<dialogue>I met Ella at City College in 1938.</dialogue>
<scene_description>Wills slowly turns and walks away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN SUBWAY STOP -- AUTUMN DUSK</stage_direction>
<scene_description>A SWARM OF PEDESTRIANS ascends the steps to the bustling street . FIND CHARLOTTE amid the swarm , struggling with a load of BOXES and SHOPPING BAGS , carrying an antique , wood - and - wire DRESSMAKER 'S MANNEQUIN . She wears a peasant dress with a cycle jacket , a backpack , and another eccentric hat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON SQUARE PARK -- DUSK</stage_direction>
<scene_description>Charlotte makes her way down the leaf - strewn pathway . Wheeling the mannequin by the neck , she passes NYU STUDENTS smoking , laughing , and chatting on their way to class .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEST VILLAGE AVENUE -- DUSK</stage_direction>
<scene_description>Charlotte hauls the mannequin down the block . A YOUNG MAN offers her assistance , but she politely and firmly refuses .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEST VILLAGE STREET -- DUSK</stage_direction>
<scene_description>Charlotte wearily hauls the mannequin across the cobblestone street , over the curb , and up to the stoop of a charming but slightly dilapidated BROWNSTONE .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE FOYER -- DUSK</stage_direction>
<scene_description>Charlotte opens the door into the darkness . She hits a light switch and nothing happens . She flips it back and forth -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Shit.</dialogue>
<scene_description>She dumps her boxes and bags , then wheels in the mannequin .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Dolly! The bulb burned out!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- SAME</stage_direction>
<scene_description>EIGHT SILHOUETTES are crouched in the dark room . The mantel is draped with a HAPPY BIRTHDAY BANNER . The coffee table is stacked with WRAPPED GIFTS .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER -- SAME</stage_direction>
<scene_description>Charlotte looks suspiciously at the living room door -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Dolly?</dialogue>
<scene_description>She tiptoes through the darkness and lays her ear against it .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM -- SAME</stage_direction>
<scene_description>We hear chuckles and whispers of anticipation . An older woman 's raspy , boozy voice growls -</scene_description>
<character>RASPY VOICE</character>
<dialogue>My ass hurts.</dialogue>
<scene_description>A few people chuckle , but they 're quickly hushed . The DOOR KNOB TURNS and the DOOR OPENS . Everyone leaps up in a blaze of light -</scene_description>
<character>ALL</character>
<dialogue>SURPRISE!</dialogue>
<scene_description>The MANNEQUIN bursts into the room , teetering crazily , wearing CHARLOTTE 'S JACKET , BACKPACK , and HAT . Everyone FLINCHES and SCREAMS . Amid a chorus of laughter , Charlotte enters . Grinning , she wags a facetious finger -</scene_description>
<character>CHARLOTTE</character>
<dialogue>See? Surprises suck!</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>An antique clock ticks crisply on the dresser . Wills stands before a mahogany mirror , buttoning a freshly laundered white shirt . Lying on the cradle bed , half - wrapped in a sheet , naked but for a string of pearls , is TANYA , 35 , raven - haired , much too thin . She smokes a cigarette .</scene_description>
<character>TANYA</character>
<dialogue>Oh, Wills, please, not again. It's our third date and we're already in a rut.</dialogue>
<character>WILLS</character>
<dialogue>But I thought you loved it.</dialogue>
<scene_description>She stretches with her cigarette but before she can make it to the ashtray , her ASH FALLS on a New York magazine . On the cover is a PHOTOGRAPH OF WILLS standing next to a YOUNG CHEF in a fashionable restaurant . The caption reads : `` The Prodigal Son Returns . ''</scene_description>
<character>TANYA</character>
<dialogue>Oh, I do - except for the fact that there is n't a single thing on the menu I can eat.</dialogue>
<character>WILLS</character>
<parenthetical>( with a chuckle . )</parenthetical>
<dialogue>Sure, there is ; there's just very little you're willing to digest.</dialogue>
<scene_description>He slips in a cuff link . She affects a breezy indifference -</scene_description>
<character>TANYA</character>
<dialogue>Fine then. We'll go, I'll get big, fat, and horrible, and it'll serve you right.</dialogue>
<scene_description>Wills slips on a silk tie -</scene_description>
<character>WILLS</character>
<dialogue>No, it wo n't. Because it takes at least a few weeks to get fat and by then you wo n't even be speaking to me.</dialogue>
<character>TANYA</character>
<parenthetical>( curiously . )</parenthetical>
<dialogue>Why do you say that?</dialogue>
<scene_description>He stops tying his tie and stares at her in the mirror -</scene_description>
<character>WILLS</character>
<dialogue>Because we have no future. All I can offer you is this. what we have right now. nothing more meaningful. until it ends.</dialogue>
<scene_description>He goes back to tying his tie , then adds softly -</scene_description>
<character>WILLS</character>
<dialogue>I could have waited to tell you, but I wanted to leave no room for misunderstanding.</dialogue>
<scene_description>She stares at him , speechless .</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURANT -- THAT NIGHT</stage_direction>
<scene_description>Its decor is exquisitely tasteful , its ambiance warm and convivial . The night is in full swing . Most of the tables are taken and the bar is packed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE -- SAME</stage_direction>
<scene_description>From amid the RUSH OF TRAFFIC , a TAXI breaks free and glides to the curb in front of the RESTAURANT . Its facade is windowless . Only a small brass plaque on the grey marble reveals that this is ELYSIUM . Wills and ERIKO , 30 's , Japanese , aloof and stunning , emerge from the taxi , elegantly dressed , and move to the front door .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM -- CONTINUOUS</stage_direction>
<scene_description>TWO TIPSY DEBUTANTES pass Wills and Eriko as they enter . One recognizes Wills and smiles flirtatiously . Wills stops and helps Eriko off with her jacket . JESUS , 30 , the dashing Cuban - American maitre d' , superbly discreet , approaches -</scene_description>
<character>JESUS</character>
<dialogue>Good evening, Mr. Keane. Will you be dining with us tonight?</dialogue>
<character>WILLS</character>
<dialogue>We certainly will. Table seven, Jesus, if it's available.</dialogue>
<character>JESUS</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Wills hands Eriko 's jacket to MELISSA , 20 , the hat check girl -</scene_description>
<character>WILLS</character>
<dialogue>How are you, Melissa?</dialogue>
<character>MELISSA</character>
<parenthetical>( blushing . )</parenthetical>
<dialogue>Fine, Mr. Keane.</dialogue>
<scene_description>CELIA , mid - 20 's , the chipper , blonde Midwestern hostess , arrives , wearing a stunned , glassy smile .</scene_description>
<character>WILLS</character>
<dialogue>Good evening, Celia. And how -</dialogue>
<character>CELIA</character>
<parenthetical>( with forced cheeriness . )</parenthetical>
<dialogue>Just dandy, sir, thanks!</dialogue>
<character>JESUS</character>
<dialogue>Table seven.</dialogue>
<character>CELIA</character>
<dialogue>This way, please.</dialogue>
<scene_description>Celia , barely making eye contact with Eriko , walks quickly away . Wills is amused and a little confused by Celia 's behavior . He lays a hand on Eriko 's back -</scene_description>
<character>WILLS</character>
<dialogue>I'll be right with you.</dialogue>
<scene_description>Eriko nods and follows Celia . Wills moves to the reservation stand where his best friend and the restaurant 's manager , JOHN VOLPE , 40 , a brilliant , dapper , tough as nails Brooklynite stands , listening to someone on the telephone . Wills lays a hand on his shoulder and mutters into his ear -</scene_description>
<character>WILLS</character>
<dialogue>How's it going?</dialogue>
<character>JOHN</character>
<parenthetical>( covering the phone . )</parenthetical>
<dialogue>Chaos.</dialogue>
<character>WILLS</character>
<dialogue>The house specialty.</dialogue>
<character>JOHN</character>
<dialogue>Easy for you to say, ya prick. Waltzin' in here like you own the joint.</dialogue>
<scene_description>Wills laughs and takes a look into the bar . John gestures with his head in Eriko 's direction -</scene_description>
<character>JOHN</character>
<dialogue>So who's the new potential ex - wife? I thought you were still wastin' time with Tanya - von - What's - her - name.</dialogue>
<character>WILLS</character>
<dialogue>We wisely agreed to cut our losses.</dialogue>
<scene_description>Wills exits into the bar . John smiles and shakes his head . FOLLOW WILLS , as he glides along the bar . CUSTOMERS and STAFF greet him warmly . As he enters the main dining room , DINERS spot him - sprinkled among them are CELEBRITIES from every walk of city life . Wills greets them , stopping to shake their hands and kiss their cheeks . Suddenly , Celia , the hostess , red - faced , blocks his path -</scene_description>
<character>CELIA</character>
<dialogue>Look, I have no right to say this, okay? And you can fire me if you want, but in the six weeks we've been open you've brought in six different women - tonight makes seven - and it's really starting to get to me.</dialogue>
<character>WILLS</character>
<dialogue>In what way?</dialogue>
<character>CELIA</character>
<dialogue>I have to greet them! It's like working at a dog shelter! I'm afraid to learn their names or even smile at them because I know any minute they could be put down!</dialogue>
<character>WILLS</character>
<dialogue>I assure you it's an absolutely painless procedure.</dialogue>
<scene_description>Shocked , she ca n't help but sputter a laugh -</scene_description>
<character>CELIA</character>
<dialogue>It is?</dialogue>
<character>WILLS</character>
<dialogue>Sure.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Especially for me.</dialogue>
<scene_description>They both laugh . He moves closer , lowers his voice , and speaks with warm sincerity -</scene_description>
<character>WILLS</character>
<dialogue>Actually, I appreciate your concern, Celia. The truth is I'm a little worried myself.</dialogue>
<character>CELIA</character>
<dialogue>Seriously?</dialogue>
<character>WILLS</character>
<dialogue>Seriously. I've been trying to do better.</dialogue>
<parenthetical>( uneasily . )</parenthetical>
<dialogue>But. you know how it is. old habits die hard.</dialogue>
<character>CELIA</character>
<dialogue>So I'm not fired?</dialogue>
<character>WILLS</character>
<dialogue>Nope. In fact, John's been looking for an assistant. Tell him you've just been promoted.</dialogue>
<scene_description>Wills smiles , pats her in the shoulder , and moves on . She ca n't believe it . A WAITER carrying a BIRTHDAY CAKE - blazing with candles and decorated with a WOMAN 'S HAT made of MERINGUE LATTICEWORK - passes by on his way to the REAR DINING ROOM . From inside , VOICES begin to sing HAPPY BIRTHDAY . Wills , his curiosity piqued , follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. REAR DINING ROOM -- CONTINUOUS</stage_direction>
<scene_description>The waiter sets down the cake at the center of a round table . There 's a CHEER and APPLAUSE as the song ends . Wills can not see whose birthday it is because the waiter blocks his view . Just as Wills is about to exit the room , the waiter steps away . Wills glances over and sees the birthday girl . At first he ca n't place her , but then he does , and his face softens and brightens . It 's Charlotte . She wears a black velvet dress and a wonderfully eccentric hat . Her eyes glow in the candlelight . Through the chorus of voices , urging her to make a wish , she cries out -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You guys! Let me think!</dialogue>
<parenthetical>( concentrating . )</parenthetical>
<dialogue>Okay. Okay.</dialogue>
<scene_description>Charlotte blows hard , and , with a little more effort than you might expect , extinguishes the candles . Everyone APPLAUDS and CHEERS . To Charlotte 's right sits SIMON LORING , late 20 's , English , sardonic , adoring . He gestures at her CHEST and says -</scene_description>
<character>SIMON</character>
<dialogue>Watch carefully, everyone - they ought to begin emerging any moment now.</dialogue>
<scene_description>Everyone laughs . Charlotte playfully slaps him -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Very funny! Actually, any moment now you're gon na turn straight and fall at my feet.</dialogue>
<character>SIMON</character>
<dialogue>Oh, darling, you know I would if I could.</dialogue>
<scene_description>Charlotte 's best friend , SHANNON HARRIS , 19 , a spoiled but big - hearted redhead , drowning in curls , mutters -</scene_description>
<character>SHANNON</character>
<dialogue>The only time he falls at your feet now is when he wants to borrow your Prada loafers.</dialogue>
<scene_description>More laughter . BACK TO WILLS . He considers approaching Charlotte , but then he looks back and sees Eriko sitting alone at their table , idly stabbing at her drink with a straw . Regretting his rudeness , he takes a step toward her , but then hears -</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>Is that Wills Keane?</dialogue>
<scene_description>He turns and sees DOLORES TALBOT , 70 , blonde wig , spindly frame , weathered skin , large , sad eyes . She holds a mixed drink -</scene_description>
<character>WOMAN</character>
<dialogue>It sure as hell is and he has n't changed a bit!</dialogue>
<character>WILLS</character>
<dialogue>I'm sorry, do I -</dialogue>
<character>WOMAN</character>
<dialogue>You little fool, it's Dolores Talbot. Dolly!</dialogue>
<scene_description>His smile shows uneasy surprise -</scene_description>
<character>WILLS</character>
<dialogue>My God, it is.</dialogue>
<character>DOLLY</character>
<dialogue>Yeah, I know, time's kicked my ass but good. Come on, Romeo, let's bury the hatchet. Give me a hug. Careful of the cocktail.</dialogue>
<scene_description>As he hugs Dolores , he ca n't help but look over at Charlotte again .</scene_description>
<character>DOLLY</character>
<dialogue>So what the hell're you doin' around here? Last I heard you were out in earthquake country blowin' the family fortune.</dialogue>
<character>WILLS</character>
<dialogue>Actually, I doubled it.</dialogue>
<character>DOLLY</character>
<dialogue>Good for you!</dialogue>
<scene_description>ON CHARLOTTE . She looks over . Her view is such that she sees Wills but not Dolores . A faint blush creeps into Charlotte 's cheeks . She pretends to listen as Shannon tells a story -</scene_description>
<character>SHANNON</character>
<dialogue>- and you know how bouncer's get. He's like, `` That's the worst fake I.D. I've ever seen.'' And I'm like, `` Yeah? Well, you have the worst dread - extensions!'' And then just when -</dialogue>
<scene_description>Noticing Charlotte 's distraction , Simon whispers calmly to her -</scene_description>
<character>SIMON</character>
<dialogue>Are you feeling all right? You look positively green.</dialogue>
<scene_description>Charlotte speaks under her breath without moving her lips -</scene_description>
<character>CHARLOTTE</character>
<dialogue>He's here. And he's staring at me again.</dialogue>
<character>SHANNON</character>
<dialogue>No way!</dialogue>
<scene_description>Both Shannon and Simon turn to look , but like lightning Charlotte grabs them both -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Do n't!</dialogue>
<parenthetical>( to Simon . )</parenthetical>
<dialogue>Wait a few seconds, then go to the bathroom.</dialogue>
<character>SIMON</character>
<dialogue>How will I know him?</dialogue>
<character>CHARLOTTE</character>
<dialogue>He's beautiful. And much older.</dialogue>
<character>SIMON</character>
<dialogue>Really?</dialogue>
<parenthetical>( getting up . )</parenthetical>
<dialogue>If he's rich you might have a fight on your hands.</dialogue>
<scene_description>Charlotte watches furtively as Simon rises from his chair and walks over . As he passes Wills , he flashes him a seductive smile . Wills is confused by it .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Okay, look.</dialogue>
<scene_description>Shannon swivels her head and throws an aloof , vacant stare in Wills ' direction . Then she looks back at Charlotte , mouth agape -</scene_description>
<character>SHANNON</character>
<dialogue>He's as old as my dad!</dialogue>
<scene_description>Charlotte laughs . BACK ON WILLS . He does his best to be attentive as Dolores exhales a plume of smoke into his face -</scene_description>
<character>DOLLY</character>
<dialogue>Sure, L.A.'s okay if you're a cactus or a lizard, but if you're a New Englander, your soul dries up and blows away like a god damn leaf.</dialogue>
<character>WILLS</character>
<dialogue>It only took me twenty years to come to my senses.</dialogue>
<character>DOLLY</character>
<dialogue>So what're you doin' now? You owned some restaurants out there, did n't you?</dialogue>
<scene_description>ON CHARLOTTE . She sits listening to Shannon -</scene_description>
<character>SHANNON</character>
<dialogue>And so, after all that, we pay our cover, we get in, and it's totally heinous! Nothing but losers and -</dialogue>
<scene_description>Charlotte looks over and pales , her eyes widening -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Oh, shit.</dialogue>
<character>SHANNON</character>
<dialogue>What?</dialogue>
<scene_description>Dolores walks up , hauling Wills by the arm -</scene_description>
<character>DOLLY</character>
<dialogue>Kids! I want you to meet an old chum of mine, the owner of this fine establishment - Wills Keane!</dialogue>
<scene_description>The table greets him . Wills , slightly self - conscious , looks at everyone but Charlotte .</scene_description>
<character>DOLLY</character>
<dialogue>And that over there's the birthday girl - my granddaughter, Charlotte.</dialogue>
<scene_description>The news hits Wills hard . But he does his best to hide it . He musters a casual smile -</scene_description>
<character>WILLS</character>
<dialogue>Not Katie and Jay's daughter?</dialogue>
<character>DOLLY</character>
<dialogue>You bet. She got her height from her dad. But her talent's all Katie's.</dialogue>
<scene_description>Dolores indicates the hat that Charlotte 's wearing -</scene_description>
<character>DOLLY</character>
<dialogue>Made it herself from scratch. That one, too.</dialogue>
<parenthetical>( to Shannon . )</parenthetical>
<dialogue>Honey, show ` im.</dialogue>
<scene_description>Shannon makes an elaborate comic show of modeling the hat she 's wearing . The table laughs . Wills levels his gaze at Charlotte -</scene_description>
<character>WILLS</character>
<dialogue>Impressive.</dialogue>
<scene_description>Try as she might to accept the compliment with grace , Charlotte ca n't help but grin .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Thanks.</dialogue>
<scene_description>The WINE STEWARD stands at a station on which sit TWO BOTTLES OF CHAMPAGNE on ice . He reaches for one . Wills stops him -</scene_description>
<character>WILLS</character>
<dialogue>I think we can do better than that.</dialogue>
<scene_description>The steward , understanding , nods and departs , taking the champagne with him .</scene_description>
<character>WILLS</character>
<dialogue>Happy birthday, Charlotte.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Thanks.</dialogue>
<character>SHANNON</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Twenty years old and never been.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Shut up!</dialogue>
<scene_description>Amused , he flashes Charlotte his most dazzling smile .</scene_description>
<character>WILLS</character>
<dialogue>I'll let you get back to your celebration.</dialogue>
<parenthetical>( kissing Dolly 's cheek . )</parenthetical>
<dialogue>A pleasure to see you again.</dialogue>
<character>DOLLY</character>
<dialogue>Same here.</dialogue>
<scene_description>Wills turns to exit . Simon , returning to his seat , murmurs seductively to Wills as he passes by -</scene_description>
<character>SIMON</character>
<dialogue>Leaving so soon?</dialogue>
<scene_description>Wills looks at him , confused again , then continues on . As Simon sits , he mutters to Charlotte -</scene_description>
<character>SIMON</character>
<dialogue>Be still my beating heart.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Or is that your heart?</dialogue>
<character>SHANNON</character>
<parenthetical>( whisper to Charlotte . )</parenthetical>
<dialogue>You're not really into him, are you?</dialogue>
<scene_description>Charlotte turns to Dolores who has just sat down .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey, Dolly, how do you know him?</dialogue>
<character>DOLLY</character>
<parenthetical>( uneasily . )</parenthetical>
<dialogue>From Newport. Old friend of your mom's.</dialogue>
<scene_description>Dolores eats a sloppy forkful of birthday cake .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WINDOW -- ESTABLISHING -- MORNING</stage_direction>
<scene_description>A gentle breeze tickles a white lace curtain . A PHONE RINGS .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE KITCHEN -- SAME</stage_direction>
<scene_description>Charlotte , standing in the small antiquated kitchen , wearing flannel pajamas , tenses when she hears the PHONE RINGING UPSTAIRS . She snatches an apple from a bowl and dashes out of the room . FOLLOW CHARLOTTE running through the DINING ROOM . into the LIVING ROOM . into the FOYER . and up a DARK STAIRCASE .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLOTTE'S BEDROOM -- MORNING</stage_direction>
<scene_description>A startling clash of childhood , adolescence , and womanhood . Everything from stuffed animals to posters of pop icons to volumes of great literature . THE PHONE RINGS AGAIN Charlotte bangs in , flings herself on the bed , and grabs the phone -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Okay, bitch, I'm ready!</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' ROOFTOP TERRACE -- MORNING</stage_direction>
<scene_description>Wills sits in his woolen robe , holding a portable phone . Amused , he smiles into the morning sun -</scene_description>
<character>WILLS</character>
<dialogue>For what?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Oh my God, I'm so sorry! Wait. Who is this?</dialogue>
<character>WILLS</character>
<dialogue>Wills Keane.</dialogue>
<scene_description>Her heart stops . She sits up slowly , her body tensed .</scene_description>
<character>WILLS</character>
<dialogue>Who did you think it was?</dialogue>
<character>CHARLOTTE</character>
<dialogue>My friend Simon, actually. He always calls me the morning after to sort of. you know. sum everything up.</dialogue>
<character>WILLS</character>
<dialogue>And how would you sum it up, Charlotte? Turning twenty.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Kinda cool, kinda creepy. Anyway, you wan na speak to my grandmother?</dialogue>
<character>WILLS</character>
<parenthetical>( with a chuckle . )</parenthetical>
<dialogue>I do n't think so.</dialogue>
<scene_description>OLIVIA , 30 's , Wills ' Jamaican cook and housekeeper , enters . Plump , handsome , and perpetually amused , she carries a tray laden with continental breakfast and a New York Times . Wills mouths a greeting . She smiles back and sets the tray on a table .</scene_description>
<character>WILLS</character>
<dialogue>I called because I'm going to be attending a benefit. a black - and - white ball. and I'd like you to design a hat. for my date.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Really? Wow. Sounds fun. Okay.</dialogue>
<character>WILLS</character>
<dialogue>It's a gift. I do n't have her measurements, but she's about your size. What're you, a six?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh.</dialogue>
<character>WILLS</character>
<dialogue>Good - then let's assume your hat size is also the same.</dialogue>
<character>CHARLOTTE</character>
<dialogue>But that does n't necessarily -</dialogue>
<character>WILLS</character>
<dialogue>It's a risk we'll just have to take.</dialogue>
<scene_description>Charlotte runs over to her sewing table , looking for a pen and paper . She finds paper , but no pen -</scene_description>
<character>WILLS</character>
<dialogue>Her dress is a sheath. sleeveless, black. The hat must, of course, be black or white or both.</dialogue>
<scene_description>She finds a pen but it does n't work . She grabs an eyeliner and uses that -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Any particular style?</dialogue>
<character>WILLS</character>
<parenthetical>( sipping his coffee . )</parenthetical>
<dialogue>No, just plenty of it. How long will it take?</dialogue>
<character>CHARLOTTE</character>
<dialogue>A week or two.</dialogue>
<character>WILLS</character>
<dialogue>You have till Thursday. I'll need it here by seven o'clock. I'm at the Pembroke on Central Park West and 76th.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Oh. Wow. Okay.</dialogue>
<character>WILLS</character>
<dialogue>What's your fee?</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( faltering . )</parenthetical>
<dialogue>I do n't really have one. I usually just make them for friends.</dialogue>
<character>WILLS</character>
<dialogue>How's five hundred dollars?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Really? Wow.</dialogue>
<character>WILLS</character>
<dialogue>Charlotte?</dialogue>
<scene_description>His tone has abruptly shifted ; it 's intimately hushed . It both daunts and excites her -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Yeah?</dialogue>
<character>WILLS</character>
<dialogue>You say `` wow'' a lot.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know.</dialogue>
<character>WILLS</character>
<dialogue>It has to stop. You're a woman now.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know.</dialogue>
<character>WILLS</character>
<dialogue>Bye.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Bye.</dialogue>
<scene_description>She clicks off the phone , wilts into a swoon on the bed , and breaks out laughing . Wills , still holding the receiver , stares dreamily into the middle distance . He snaps to when Olivia enters . Her accent is as much Queens as it is Caribbean -</scene_description>
<character>OLIVIA</character>
<dialogue>See, now you got me worried.</dialogue>
<character>WILLS</character>
<dialogue>What do you mean?</dialogue>
<character>OLIVIA</character>
<dialogue>You slept alone last night. You must be sick or somethin'. You want me to call a doctor?</dialogue>
<character>WILLS</character>
<dialogue>Thank you, no, I'm fine.</dialogue>
<scene_description>She throws him a sly , sidelong glance , then exits . Wills laughs and contentedly sips his coffee . FROM THE NEXT SCENE , we hear the sound of SQUEALING , LAUGHING , SHOUTING CHILDREN .</scene_description>
</scene>
<scene>
<stage_direction>INT. FAO SCHWARZ -- NIGHT</stage_direction>
<scene_description>Surrounded by swarming PARENTS and KIDS , Wills stands with John , the manager of Elysium , and his wife , SARAH VOLPE , 30 , who , gazing out of frame , keeps a watchful eye on their kids -</scene_description>
<character>JOHN</character>
<dialogue>Save it, pal! Do n't even bother! I may not have gone to a fancy school like Bendover -</dialogue>
<character>WILLS</character>
<parenthetical>( to Sarah . )</parenthetical>
<dialogue>That would be Andover.</dialogue>
<character>SARAH</character>
<dialogue>Sure, if his folks could have afforded it.</dialogue>
<character>JOHN</character>
<dialogue>- but when Wills Keane comps three bottles of Dom to a twenty - year - old girl, then tells me he did it'cause he likes the kid's grandma, I smell a rat!</dialogue>
<character>SARAH</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Oh, is that what that is? I figured there was a dirty diaper somewhere.</dialogue>
<character>WILLS</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Okay, I admit it, she interests me.</dialogue>
<character>JOHN</character>
<parenthetical>( turning to Sarah . )</parenthetical>
<dialogue>He's gon na do it! I do n't believe it! He moved us back here for nothing!</dialogue>
<character>SARAH</character>
<dialogue>So much for that turned leaf.</dialogue>
<character>WILLS</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>Come on, you're overreacting.</dialogue>
<character>JOHN</character>
<dialogue>Is that what you think? Buddy, since we hit town, I have done nothin' but cut you slack! Every week a new woman on your arm and I did n't say a word. Why?'Cause I figured at least they're in the right demographic. Maybe by accident you'll trip over something substantial. But this little girl? Best she could be is Miss Right's daughter!</dialogue>
<character>WILLS</character>
<parenthetical>( uneasily . )</parenthetical>
<dialogue>I know. It's just that there's something about her. She's special. and I just thought -</dialogue>
<character>SARAH</character>
<dialogue>`` She's young. She's hot. I'm on the verge of menopause. Why not go for it?''</dialogue>
<scene_description>Wills and Sarah meet eyes .</scene_description>
<character>WILLS</character>
<dialogue>There would n't be much point in lying to you, would there?</dialogue>
<scene_description>Sarah shakes her head .</scene_description>
<character>KIDS' VOICES</character>
<dialogue>Mommy, Daddy, look, look!</dialogue>
<scene_description>MOLLY and CARLA , the Volpes ' five - year - old TWIN DAUGHTERS run up , beaming , each carrying a huge stuffed animal .</scene_description>
<character>JOHN</character>
<dialogue>Hey, they're bigger than you are!</dialogue>
<scene_description>John scoops both his daughters up in his arms and kisses them repeatedly . Wills watches , his eyes filling with a vague , wistful envy . He sees Sarah staring at him . She smiles sympathetically .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- AFTERNOON</stage_direction>
<scene_description>The furniture is antique and dark . The white walls are tinged with yellow from years of cigarettes . In one corner , the paint has chipped off the ceiling in a jagged plate . Dolores sits on a worn - out leather arm chair , smoking , sipping a cocktail , watching a DAYTIME TALK SHOW . In the background , we see Charlotte working in the ADJOINING DINING ROOM which she has turned into a lovely sewing room . CLOSER ON CHARLOTTE . She builds her hat on a HAT BLOCK - a wooden mannequin head . Strewn all around her are the materials of her hatmaking - bolts of cloth , hat blocks , a sewing table . Shannon , wearing sweats and a T - shirt , lies on the floor , eating M+M 's and drinking diet soda , while heavily marking up a text book with a YELLOW HIGHLIGHTER . Charlotte stops and rubs her eyes , then she glances down at Shannon and smiles -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Why do n't you mark what is n't important? That way you'll save ink.</dialogue>
<character>SHANNON</character>
<dialogue>Why do n't you sew your mouth to my butt? That way you'll stop annoying me.</dialogue>
<scene_description>They both laugh . Overhearing , Dolores croaks facetiously -</scene_description>
<character>DOLLY</character>
<dialogue>Now, now, if you two kids ca n't play nice -</dialogue>
<scene_description>Shannon rolls over onto her back -</scene_description>
<character>SHANNON</character>
<dialogue>God, I hate school.</dialogue>
<scene_description>Charlotte pins a strip of black lace to the hat -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Oh, come on, just last week, you said you were on a roll. You loved it!</dialogue>
<character>SHANNON</character>
<dialogue>Well, now I'm on the rag and I hate it.</dialogue>
<scene_description>Charlotte chuckles and sets the half - finished hat on her head . Still seated , she wheels her work chair over to a mirror -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I think you're incredibly lucky. I'd love to be going to college.</dialogue>
<scene_description>Shannon rolls over and looks at her . Suddenly her expression is inexplicably solemn -</scene_description>
<character>SHANNON</character>
<dialogue>Am I the most spoiled brat in the world or what?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Spoiled brats do n't even ask questions like that.</dialogue>
<parenthetical>( re : the hat . )</parenthetical>
<dialogue>What do you think?</dialogue>
<scene_description>She models the hat . Tears well in Shannon 's eyes and she says without even a hint of irony or sentimentality -</scene_description>
<character>SHANNON</character>
<dialogue>That you're the most beautiful person in the entire world.</dialogue>
<scene_description>Charlotte smiles , looks away , and , trying not to cry , fusses with the hat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK WEST -- NIGHT</stage_direction>
<scene_description>A cold autumn rain falls . The Irish doorman , MICHAEL , 60 's , melancholy , stoop - shouldered , smokes a cigarette , looking up at the unburdening sky . A LIMOUSINE pulls up . The passenger window glides down -</scene_description>
<character>DRIVER</character>
<dialogue>Mikey! How ya doin'?</dialogue>
<character>DOORMAN</character>
<dialogue>A bit early, are n't you?</dialogue>
<character>DRIVER</character>
<dialogue>Hey, in this soup, better safe than sorry, you know what I mean?</dialogue>
<scene_description>RUNNING FOOTSTEPS approach . Michael looks . The driver looks , too . It 's Charlotte , dressed in tattered jeans , a light rain coat , and sneakers , dashing at breakneck speed down the street , carrying something in a GARBAGE BAG .</scene_description>
<character>CHARLOTTE</character>
<dialogue>KEANE!</dialogue>
<scene_description>She runs right past Michael -</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR -- NIGHT</stage_direction>
<scene_description>Michael works the shiny brass controls . Charlotte , winded , hair dripping wet , watches the numbers tick by overhead . Michael smiles at her with paternal fondness -</scene_description>
<character>MICHAEL</character>
<dialogue>He's goin' to a fancy party tonight.</dialogue>
<scene_description>Charlotte , nonplused by his lack of discretion , smiles politely -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Oh, really?</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' PENTHOUSE -- MOMENTS LATER</stage_direction>
<scene_description>The elevator doors open .</scene_description>
<character>MICHAEL</character>
<dialogue>Watch your step, Miss..</dialogue>
<character>CHARLOTTE</character>
<dialogue>Thank you.</dialogue>
<scene_description>She emerges , moves to Wills ' door , and waits for the elevator to close . When it does , she hurries back to a table over which hangs a GILDED MIRROR . She takes a LOVELY OLD HAT BOX out of the garbage bag and ditches the bag under the table . Then she quickly checks herself in the glass . She does n't like what she sees . She pokes at her sopping hair and squeezes it , but it 's hopeless . Remembering the time , she hurries back to the door , takes a deep breath , and rings the bell . She waits . And waits . Then she hears footsteps approaching . She realizes she 's left the hat box on the table . She rushes over and grabs it , just in time to get back to the door when it OPENS . Olivia , the housekeeper , steps out , wearing her coat and carrying her purse . Her voice is low and gentle -</scene_description>
<character>OLIVIA</character>
<dialogue>He's waitin' for you, Miss Fieldin'.</dialogue>
<scene_description>They exchange cordial smiles . Charlotte enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' APARTMENT -- CONTINUOUS</stage_direction>
<scene_description>Charlotte steps into a dim hallway lined with oil paintings , carpeted with a Persian runner , and lighted by three antique sconces . She walks slowly , terribly self - conscious .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- CONTINUOUS</stage_direction>
<scene_description>The room is vast , furnished with antiques , decorated with the same masculine good taste . Charlotte enters timidly , then hears -</scene_description>
<character>WILLS</character>
<dialogue>What happened?</dialogue>
<scene_description>She looks and sees Wills standing , back turned , before a broad set of high windows . City lights glimmer in the distance ; beneath them lies the vast gloom of Central Park .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I could n't get a cab, so I took the subway. only it was an express and it did n't stop at -</dialogue>
<character>WILLS</character>
<dialogue>You realize, do n't you, that you're a full eighteen minutes late?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know. I'm so sorry. I -</dialogue>
<scene_description>Wills turns around . A magnificent figure - expertly tailored tux , every hair in place , freshly manicured . And then he offers her an amused , reassuring smile -</scene_description>
<character>WILLS</character>
<dialogue>Charlotte, relax. What's the point of being a beautiful young woman if it is n't to keep your admirers waiting? In fact, you disappoint me : I was looking forward to at least another half hour of suspense.</dialogue>
<scene_description>Flattered , her face brightens -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I could leave and come back.</dialogue>
<character>WILLS</character>
<dialogue>Nope, too late. Anyway, I want to see the hat.</dialogue>
<scene_description>He walks over to her . Smiling , she sets down the box , unties the ribbon , and gingerly removes the hat . It 's sublimely simple and elegant . She looks at him with hope . His face betrays nothing -</scene_description>
<character>WILLS</character>
<dialogue>Try it on.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I ca n't. I'm soaked.</dialogue>
<character>WILLS</character>
<dialogue>It's all right.</dialogue>
<scene_description>Charlotte , a little confused , carefully sets the hat on her head . She steps to a wall mirror , pulls the veil down , and sets it at the correct angle . Wills appears behind her and shares the reflection . She feels his presence , hears his breathing . They speak in hushed tones -</scene_description>
<character>WILLS</character>
<dialogue>It's perfect. It's like a tiny sculpture.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I wanted it to be a tiny poem.</dialogue>
<scene_description>She smiles . Their eyes meet in the glass .</scene_description>
<character>WILLS</character>
<dialogue>If only I had some use for it.</dialogue>
<parenthetical>( off her look . )</parenthetical>
<dialogue>My date canceled a few hours ago.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Why?</dialogue>
<character>WILLS</character>
<dialogue>I do n't know. She was vague. Would you. like to come in her place?</dialogue>
<scene_description>Charlotte ca n't believe it . She smiles at his reflection .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Like this?</dialogue>
<character>WILLS</character>
<dialogue>The outfit I bought her is hanging in the guest room closet.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( anxiously . )</parenthetical>
<dialogue>It's okay? Are you sure?</dialogue>
<character>WILLS</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>Of course.</dialogue>
<scene_description>He gestures toward the half - open door on other side of the room . Charlotte turns and , biting her lip , looks at the door , then back at Wills , then back at the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND BALLROOM, PLAZA HOTEL -- NIGHT</stage_direction>
<scene_description>A spectacular affair is in full swing , a benefit for the METROPOLITAN MUSEUM OF ART attended by FIVE HUNDRED GUESTS from HIGH SOCIETY dressed only in black and white . A LARGE BAND plays - everything from waltzes to jazz to swing . Chandeliers glisten . Guests , sitting in ornate boxes , look down on the marble dance floor where a WALTZ is in progress . FIND WILLS AND CHARLOTTE , dancing together . Charlotte looks sophisticated and beautiful beyond measure , wearing a sleeveless black sheath with a fake fur wrap , and , of course , her hat .</scene_description>
<character>WILLS</character>
<dialogue>Nonsense. You're very good. Where did you learn?</dialogue>
<character>CHARLOTTE</character>
<dialogue>From Ella. The woman whose memorial you crashed.</dialogue>
<character>WILLS</character>
<dialogue>So you did see me there.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh. And the next time I saw you, you were on the cover of New York magazine. And I had to pick a place for my birthday. So.</dialogue>
<scene_description>It takes a few beats for Wills to put it together . He smiles , realizing that her presence at Elysium was n't a coincidence . She smiles back , sweetly , coyly . ON THE PERIMETER , FIND TWO RICH WOMEN , 40 's , too thin , too lifted , watching Wills and Charlotte waltz . They stand with LISA , 23 , unassuming , fair - haired , simply dressed .</scene_description>
<character>RICH WOMAN #1</character>
<dialogue>Of course he moved back. I mean, he'd already seduced every A - and B - list actress in town. What was left for him?</dialogue>
<scene_description>Pause . Lisa looks at her , feigning naivety .</scene_description>
<character>LISA</character>
<dialogue>The C - list?</dialogue>
<character>RICH WOMAN #2</character>
<dialogue>Exactly.</dialogue>
<character>RICH WOMAN #1</character>
<dialogue>But if what I hear is true and he's shopping for a bride, I can tell you one thing - he's barking up the wrong tree there.</dialogue>
<character>LISA</character>
<dialogue>Why do you say that?</dialogue>
<character>RICH WOMAN #1</character>
<parenthetical>( with an icy smile . )</parenthetical>
<dialogue>Good wives are rarely found up cherry trees.</dialogue>
<scene_description>The women share a laugh . Lisa , slightly discomposed , looks back at Wills and Charlotte .</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND BALLROOM -- LATER</stage_direction>
<scene_description>Wills and Charlotte slow dance to a romantic ballad . Wills seems entranced by her easy manner of expression -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I met Ella in the fourth grade. She was my teacher at the Little Red School House. We stayed friends after she retired. She taught me how to cook and sew. speak Italian. basically enjoy life, have fun - that's what she was best at. even when she knew she was dying.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>The most important thing she did was introduce me to poetry. She believed it was the highest form of art and that everything we say and do should aspire to it.</dialogue>
<scene_description>Wills is uncomfortable for a moment , then ventures quietly -</scene_description>
<character>WILLS</character>
<dialogue>It sounds as though, in a way, she took your mom's place.</dialogue>
<character>CHARLOTTE</character>
<dialogue>My mom and my dad's. After they died, Dolly was so devastated she pretty much gave up on everything. It was like if something that tragic could happen, there was no way she was ever gon na care about anyone else ever again. Including herself. She was n't a horrible parent. she did n't abuse me or anything. she just ignored me. She was more like a weird landlady than a grandmother.</dialogue>
<scene_description>Charlotte smiles sadly . Her eyes glisten in the light .</scene_description>
<character>WILLS</character>
<dialogue>I'm sure she did the best she could.</dialogue>
<character>CHARLOTTE</character>
<dialogue>For a long time I kinda thought that, too, and I made excuses for her, but now I do n't. I was seven years old and I needed her and she was n't there.</dialogue>
<scene_description>Silence as Wills somberly reflects . Finally , he speaks -</scene_description>
<character>WILLS</character>
<dialogue>I remember when I heard the news about your parents. You know how after a crash they print a long list of names in the newspaper? Well, I grew up outside Boston, so I naturally started to scan the list. But casually, not expecting to -</dialogue>
<scene_description>Suddenly , a SWING SONG starts . Wills smiles at the ironic change of mood , then turns to escort Charlotte away -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Oh, no, come on! I love this stuff! Do n't you? Did n't you grow up on it?</dialogue>
<character>WILLS</character>
<dialogue>How old do you think I am?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Ancient!</dialogue>
<scene_description>Holding his hand , she starts moving to the music . Wills laughs -</scene_description>
<character>WILLS</character>
<dialogue>I have no idea what to do!</dialogue>
<character>CHARLOTTE</character>
<dialogue>Have fun!</dialogue>
<scene_description>She flings her wrap onto a chair and keeps dancing . Wills , charmed senseless , finally surrenders . A SEQUENCE BEGINS during which we see WILLS and CHARLOTTE having an inordinately good time . Wills maintains a modicum of reserve ; Charlotte is joyful and entirely unembarrassed . CERTAIN GUESTS NOTICE THEM . The reactions to their pairing runs from confusion to disgust to amusement . But no one watches them more carefully than Lisa . Finally , in the middle of a song , Wills and Charlotte make their way off the floor , winded and laughing . Wills heads off to the bar . Charlotte turns around and watches the other dancers . Then we notice Lisa standing next to her . They smile at each other . Lisa offers her a cocktail napkin . Charlotte takes it and wipes off her brow . They speak above the music -</scene_description>
<character>LISA</character>
<dialogue>I had to come. I work at the Met. What's your excuse?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Sort of a date.</dialogue>
<character>LISA</character>
<dialogue>With Wills Keane, right?</dialogue>
<character>CHARLOTTE</character>
<dialogue>You know him?</dialogue>
<character>LISA</character>
<dialogue>Just by reputation.</dialogue>
<character>CHARLOTTE</character>
<dialogue>A major womanizer, right?</dialogue>
<character>LISA</character>
<dialogue>That's what they say.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm Lisa.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Charlotte Fielding.</dialogue>
<scene_description>They shake hands . Lisa looks away and sees Wills making his way toward them with two glasses of punch . Coolly covering , Lisa beats a hasty retreat -</scene_description>
<character>LISA</character>
<dialogue>Anyway, I should keep mingling. But it was nice to meet you.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Same here.</dialogue>
<scene_description>Lisa smiles politely and walks away . Wills walks up , watching Lisa melt into the crowd . His brow is furrowed . He 's wondering if his eyes have deceived him . He hands Charlotte a punch -</scene_description>
<character>WILLS</character>
<dialogue>Who was that?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Lisa something.</dialogue>
<scene_description>The name hits home . Wills is flustered , but then he covers as best he can and lifts his glass -</scene_description>
<character>WILLS</character>
<parenthetical>( lifting his glass . )</parenthetical>
<dialogue>Here's to -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Us.</dialogue>
<scene_description>Wills smiles slowly and they toast .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- NIGHT</stage_direction>
<scene_description>The room is empty . There 's laughter in the distance . The front door opens and shuts . We hear Wills and Charlotte , both a little tipsy , advancing down the hall toward us -</scene_description>
<character>CHARLOTTE</character>
<dialogue>God, you talk like you're a hundred and sixteen!</dialogue>
<character>WILLS</character>
<dialogue>That's usually how I feel. But not tonight. Tonight I feel sixteen. just sixteen. and three - quarters.</dialogue>
<scene_description>Wills crosses to the bar and from a small refrigerator pulls out a BOTTLE OF CHAMPAGNE already sitting in an ice bucket .</scene_description>
<character>WILLS</character>
<dialogue>Champagne?</dialogue>
<character>CHARLOTTE</character>
<dialogue>He asked nonchalantly.</dialogue>
<scene_description>Wills laughs , then opens the bottle as he picks up his previous train of thought -</scene_description>
<character>WILLS</character>
<dialogue>You see, Charlotte, the way you know you're getting older is that you start to notice patterns. People start falling into types. Pretty soon you know a person before you've even been introduced. And if it's a woman, before the romance even starts, a whisper in your head tells you exactly what it is and how long it's going to last. And the saddest, the most tedious, part of all is that that little voice is almost always right.</dialogue>
<parenthetical>( popping the cork . )</parenthetical>
<dialogue>Now, what I like about you - and I think that's actually what inspired this little lecture - is that I find you completely unprecedented. and, therefore, wholly unpredictable.</dialogue>
<character>CHARLOTTE</character>
<dialogue>God, it must be a relief.</dialogue>
<character>WILLS</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>What?</dialogue>
<character>CHARLOTTE</character>
<dialogue>To finally deliver that speech to a woman and actually have it apply to her.</dialogue>
<character>WILLS</character>
<dialogue>Now wait a minute.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, because coincidentally I am all those things you just said. And more.</dialogue>
<scene_description>Wills chuckles , shaking his head , charmed but a little unsettled .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I'm a `` unique''. At least that's what my yoga teacher says. He says there are very few uniques in the world and I'm one of them.</dialogue>
<character>WILLS</character>
<dialogue>Well, he's a wise man.</dialogue>
<scene_description>He hands her a glass of champagne .</scene_description>
<character>CHARLOTTE</character>
<dialogue>You, on the other hand, are what he'd call a `` typical.''</dialogue>
<character>WILLS</character>
<dialogue>Oh, really?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh. And I can prove it. Want me to? Come here.</dialogue>
<scene_description>Wills moves a few steps closer .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Closer.</dialogue>
<scene_description>Wills walks even closer , until they are just a few feet apart .</scene_description>
<character>CHARLOTTE</character>
<dialogue>No, come on, really close.</dialogue>
<scene_description>Wills ca n't believe his good luck . He nears her until their faces are almost touching .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Perfect. Now watch very carefully.</dialogue>
<scene_description>She rises on tiptoe and puts her mouth just inches from his . Their breathing mingles . Wills seems almost dizzied by it . And then , very slowly , he kisses her . She does not kiss back . Finally , he pulls away , staring blankly , breathing hard , not sure what to say . Charlotte whispers -</scene_description>
<character>CHARLOTTE</character>
<dialogue>See? You're a typical.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>And for what you just did, most girls my age would slap your face. Or ask to be put in a cab.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Lucky for you, I'm a unique.</dialogue>
<scene_description>She smiles , then kisses him deeply on the mouth . Her arms wrap around his neck .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>Cloaked in deep shadow , set off against a rainy window pane , we see Wills , his shirt off , on top of Charlotte whose blouse is open . He passionately kisses her neck and mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- MORNING</stage_direction>
<scene_description>The room is bathed in golden light . Charlotte lies naked under the covers asleep on her stomach . Her brow is tense and one of her hands is slightly clenched . ANGLE ON WILLS , standing in the doorway , watching her , his face a portrait of conflicted thoughts . Finally , she stirs . Smiling and squinting into the sun , she gets up on one arm and looks at him , standing there in the doorway -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Boy, do you look guilty.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILLS' TERRACE -- LATER</stage_direction>
<scene_description>Charlotte happily wolfs down her continental breakfast . Wills sits across from her , watching and worrying .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Did n't anyone ever teach you that it's bad manners to stare at a girl when she's eating like a pig?</dialogue>
<scene_description>Wills chuckles , then his smile fades and he clears his throat .</scene_description>
<character>WILLS</character>
<dialogue>Listen -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - oh. Here it comes.</dialogue>
<character>WILLS</character>
<dialogue>That's right, because, look, I could put this off, but I genuinely like you. So I want to be clear. right now. from the start, so there's no chance for misunderstanding later.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Okay.</dialogue>
<character>WILLS</character>
<dialogue>What I want to say you is. well. that all I can offer you is this. what we have right now. nothing more substantial. just this. until it ends.</dialogue>
<scene_description>She looks at him . Lowers her fork . He adds almost reluctantly -</scene_description>
<character>WILLS</character>
<dialogue>The truth is, we have no future together.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know. I'm dying.</dialogue>
<scene_description>Wills ' face reddens slightly . He shifts uneasily in his chair . A suggestion of a smile plays along his features -</scene_description>
<character>WILLS</character>
<dialogue>What. what do you mean?</dialogue>
<character>CHARLOTTE</character>
<dialogue>What I said. Nobody thought I'd even last this long.</dialogue>
<scene_description>Wills stares at her blankly , not knowing what to think or say .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I could have put off telling you, but I genuinely like you, so I wanted to be clear. you know, right from the start.</dialogue>
<scene_description>Olivia enters , takes her orange juice glass and leaves a full one .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Thanks, Olivia!</dialogue>
<scene_description>Charlotte gulps down the juice . Wills watches , his mind reeling .</scene_description>
</scene>
<scene>
<stage_direction>INT. DOCTOR'S OFFICE -- DAY</stage_direction>
<scene_description>Wills sits across from a large desk , beneath a wall of framed certificates and diplomas . The door opens and DR. PAUL SIBLEY , 60 , African - American , dour and forbidding , enters -</scene_description>
<character>SIBLEY</character>
<dialogue>Mr. Keane? Dr. Sibley.</dialogue>
<scene_description>Wills jerks to his feet and they shake hands -</scene_description>
<character>WILLS</character>
<dialogue>Thank you so much for taking the time.</dialogue>
<character>SIBLEY</character>
<dialogue>It's my job, sir. Please, sit down.</dialogue>
<scene_description>He walks around the desk . Sibley is all business , but his brusqueness masks genuine regret -</scene_description>
<character>SIBLEY</character>
<dialogue>Now, Mr. Keane, on the phone you referred to Charlotte's condition as cancer. That is n't strictly accurate. Neuroblastoma is a soft tissue malignancy, but it is n't cancer - although it sometimes can be just as aggressive.</dialogue>
<parenthetical>( sitting . )</parenthetical>
<dialogue>It's most common in children. In young adults, the condition is extremely rare. In Charlotte's case, the tumor is located in her chest. It's growing rapidly and has proved resistant to both irradiation and chemotherapy. And because of its proximity to her aorta, surgery is out of the question.</dialogue>
<character>WILLS</character>
<dialogue>So then what treatment is she getting?</dialogue>
<character>SIBLEY</character>
<dialogue>At present? Nothing.</dialogue>
<scene_description>Wills shifts uneasily in his chair .</scene_description>
<character>SIBLEY</character>
<dialogue>Eventually she'll be treated for pain. In the end, surgery could become an option, but her chances of survival would be slim. Right now Charlotte's against it. She's signed a directive forbidding any sort of heroic intervention.</dialogue>
<scene_description>A silence settles between them . Sibley opens a folder on his desk .</scene_description>
<character>SIBLEY</character>
<dialogue>There's more here if you're interested, but it wo n't mean much to you.</dialogue>
<scene_description>Wills shakes his head and rises from his chair . He turns to the door , then turns back to the doctor -</scene_description>
<character>WILLS</character>
<dialogue>How long?</dialogue>
<character>SIBLEY</character>
<dialogue>Optimistically? A year.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ST. VINCENT'S HOSPITAL WAITING ROOM -- LATER</stage_direction>
<scene_description>Wearing her tattered jeans from the night before , Charlotte sits on the couch doing the New York Times crossword . Wills emerges , walking slowly , pensively , as though in a trance . Charlotte looks up and masks her anxiety with a grin -</scene_description>
<character>CHARLOTTE</character>
<dialogue>A real charmer, is n't he?</dialogue>
<scene_description>Wills does n't react . He keeps walking toward her . Unsettled , she holds up the puzzle .</scene_description>
<character>CHARLOTTE</character>
<dialogue>How are you on Cambodian money units?</dialogue>
<scene_description>Wills keeps advancing .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Are you okay, old man? You look kinda woozy.</dialogue>
<parenthetical>( jokingly calling out . )</parenthetical>
<dialogue>Is there a doctor in the house?</dialogue>
<scene_description>Ignoring her , Wills sits down , takes her in his arms , and embraces her . At first she resists , but slowly she surrenders and hugs him back .</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI -- AFTERNOON</stage_direction>
<scene_description>As the cab bounces down a cobblestone Village street , Wills and Charlotte stare straight ahead , each following the tortuous path of his own thoughts . Slowly , Charlotte steals a sidelong look at him . His face is tense , ashen , and unreadable -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey.</dialogue>
<scene_description>Wills slowly turns his head . She smiles sweetly -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Look on the bright side : if I were n't sick, there's no way we could hang out together.</dialogue>
<parenthetical>( off his look . )</parenthetical>
<dialogue>I'm serious. You'd be scared of hurting me and I'd be scared you were just using me for my perfect young body.</dialogue>
<scene_description>He ca n't help but smile . Encouraged , she moves closer -</scene_description>
<character>CHARLOTTE</character>
<dialogue>And then our friends would say we were just into each other for weird psychological reasons. You know, because I'm looking for a daddy substitute and you're looking for someone you can feel superior to so you wo n't have to confront how scared you are of real intimacy - and, of course, they'd be right and eventually we'd break up.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But since I'm so sick it does n't really matter what deep - seated weirdness has brought us together because there's no way we can possibly screw each other over. or up. because that takes time. And I do n't have much left.</dialogue>
<scene_description>The cab comes to a stop in front of her brownstone . She smiles archly , savoring the irony -</scene_description>
<character>CHARLOTTE</character>
<dialogue>So considering everything, do n't you think we should just sort of chill out, forget I'm sick, and enjoy what we have. right now. no strings. just this. until it ends?'Cause that's really all I have to offer.</dialogue>
<scene_description>Wills grimly appreciates the irony .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Think about it, okay? But not too hard.</dialogue>
<scene_description>She kisses his cheek and jumps out of the cab . She skips up the steps of the brownstone , then immediately turns around and runs back down to the open window . She leans in and mutters sexily -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Last night was so incredibly hot.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>By the way - it was my first time. And I picked you for the job. I hope you're flattered.</dialogue>
<scene_description>Wills is shocked . She turns and runs back upstairs . She sticks in the key , then turns and waves at Wills before banging open the door with her hip .</scene_description>
<character>DRIVER</character>
<dialogue>Okay, pal, where to?</dialogue>
<scene_description>Wills has n't moved a muscle . FROM THE NEXT SCENE , we hear the pop of FLASHBULBS and the whirr of SHUTTERS -</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNTOWN LOFT -- NIGHT</stage_direction>
<scene_description>YOUNG FASHION MODELS OF EVERY RACE strut down a runway , modeling a new line of WOMEN 'S URBAN CASUAL WEAR . FIND CHARLOTTE , ignoring the show , pushing through the crowd , hurrying toward the side of the stage . She speaks to a GUARD at the entrance and he lets her pass .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE -- MOMENTS LATER</stage_direction>
<scene_description>Charlotte searches amid the chaos of models dressing and undressing . Finally , she spots them . FIND SIMON AND SHANNON styling a BLACK FEMALE MODEL in a tank top and fatigues . He applies a finishing touch , adjusting the tilt of the model 's baseball cap . Shannon , lacing the girl 's boots , works as Simon 's assistant .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOHO STREET -- NIGHT</stage_direction>
<scene_description>The threesome , in high spirits , bangs open a fire door . Shannon is beside herself , frantically half - screaming -</scene_description>
<character>SHANNON</character>
<dialogue>I do n't believe it! I do n't believe it!</dialogue>
<character>SIMON</character>
<dialogue>I think what Miss Harris is trying to say, is that you've strained her credulity.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Really? Better put some ice on that.</dialogue>
<scene_description>Shannon lifts a hand to high - five her -</scene_description>
<character>SHANNON</character>
<dialogue>Girlfriend, you are so incredibly cool!</dialogue>
<character>SIMON</character>
<dialogue>So I've been told.</dialogue>
<scene_description>Simon high - fives her instead . The girls laugh .</scene_description>
<character>SHANNON</character>
<dialogue>Okay, now tell us everything! Do n't leave anything out!</dialogue>
<scene_description>FROM THE NEXT SCENE , we hear -</scene_description>
<character>JOHN'S VOICE</character>
<dialogue>Okay, then what happened?</dialogue>
</scene>
<scene>
<stage_direction>INT. ELYSIUM -- LATE AFTERNOON</stage_direction>
<scene_description>The restaurant is empty . John stands behind the bar , taking an inventory of the liquor . In the background , TWO BUSSERS mop up . Wills sits on a bar stool , nursing a mineral water -</scene_description>
<character>WILLS</character>
<dialogue>Not much. I took her home and she pointed out an irony - that fate was now offering us the very same thing that just this morning I'd told her was all I could offer her : a relationship with no future.</dialogue>
<character>JOHN</character>
<parenthetical>( chuckling . )</parenthetical>
<dialogue>A kid figured that out?</dialogue>
<character>WILLS</character>
<dialogue>She's not a kid! That's what I've been trying to tell you. Nothing's lost on her. I'm the kid. She. I do n't know what the hell she is.</dialogue>
<parenthetical>( muttering . )</parenthetical>
<dialogue>But I do know what she was.</dialogue>
<scene_description>John looks at him curiously . Wills glances over his shoulder at the bussers , then leans in close -</scene_description>
<character>WILLS</character>
<dialogue>A virgin.</dialogue>
<character>JOHN</character>
<dialogue>What?</dialogue>
<scene_description>The busboys turn their heads .</scene_description>
<character>WILLS</character>
<dialogue>I had no idea. That's the only reason she had her party here, so she could lure me into doing the honors.</dialogue>
<character>JOHN</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>She used you, pal.</dialogue>
<character>WILLS</character>
<dialogue>I know.</dialogue>
<character>JOHN</character>
<dialogue>The hangman got hanged. How's it feel?</dialogue>
<character>WILLS</character>
<dialogue>Embarrassing.</dialogue>
<scene_description>John laughs . Wills settles into a brooding silence . John goes back to work -</scene_description>
<character>JOHN</character>
<dialogue>So what now?</dialogue>
<character>WILLS</character>
<dialogue>I end it.</dialogue>
<character>JOHN</character>
<dialogue>How come?</dialogue>
<character>WILLS</character>
<dialogue>What, you're endorsing this now?</dialogue>
<scene_description>John , continuing his work , smiles sweetly -</scene_description>
<character>JOHN</character>
<dialogue>I do n't know, when you talk about her, you're not such an arrogant son of a bitch. You get all whiny and stupid. I like that.</dialogue>
<character>WILLS</character>
<dialogue>Thanks.</dialogue>
<character>JOHN</character>
<dialogue>And since I do n't see you gettin' serious with any of your other victims, I figure why not spend a little time together?</dialogue>
<scene_description>Pause .</scene_description>
<character>WILLS</character>
<dialogue>Because she's dying.</dialogue>
<character>JOHN</character>
<dialogue>I got bad news for you, brother, so are you.</dialogue>
<scene_description>Wills stares at him thoughtfully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROWNSTONE STOOP -- DAY</stage_direction>
<scene_description>Wills stands stiffly at the door , holding a bouquet of flowers . He stares at his own reflection in the porthole window . He straightens his hair , tugs at the collar of his cashmere jacket . Footsteps approach . The door opens and there 's Dolores , bleary - eyed and disheveled . She smiles sourly -</scene_description>
<character>DOLLY</character>
<dialogue>Well, well.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE FOYER -- CONTINUOUS</stage_direction>
<scene_description>Through the dark prism of Dolores ' inhospitable wariness , we catch glimpses of the high - society hostess she once was -</scene_description>
<character>DOLLY</character>
<dialogue>She'll be right down. She's upstairs, gildin' the lily.</dialogue>
<parenthetical>( shouting up the stairs . )</parenthetical>
<dialogue>HE'S HERE!</dialogue>
<parenthetical>( wryly . )</parenthetical>
<dialogue>Do come in.</dialogue>
<scene_description>They move through a doorway -</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- CONTINUOUS</stage_direction>
<scene_description>Wills is surprised by the room 's run - down state .</scene_description>
<character>DOLLY</character>
<dialogue>Excuse the mess. My maid died fourteen years ago and it's been simply impossible to replace her. She did windows and spoke English.</dialogue>
<scene_description>She chuckles to herself . Wills hands her the flowers .</scene_description>
<character>WILLS</character>
<dialogue>For you.</dialogue>
<character>DOLLY</character>
<dialogue>Well, are n't they loverly.</dialogue>
<scene_description>She casually drops them into an EMPTY BLENDER at the bar .</scene_description>
<character>DOLLY</character>
<dialogue>Care for a cocktail?</dialogue>
<character>WILLS</character>
<dialogue>No, thanks.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLOTTE'S BEDROOM -- SAME</stage_direction>
<scene_description>Simon lounges on the bed . Charlotte stands before a full - length mirror , trying on a dress .</scene_description>
<character>SIMON</character>
<dialogue>It really is uncanny. I tell you, in that dress you're the spitting image of Michel Simon.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( flattered . )</parenthetical>
<dialogue>Who's she?</dialogue>
<character>SIMON</character>
<dialogue>A French character actor, long dead, who was not only hideous and fat, but quite male.</dialogue>
<character>CHARLOTTE</character>
<dialogue>So that would be a `` no.''</dialogue>
<scene_description>Simon nods . Charlotte takes off the dress .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- SAME</stage_direction>
<scene_description>Wills looks around the room . Dolores splashes her drink with vodka -</scene_description>
<character>DOLLY</character>
<dialogue>What can I say? Time's a thief. One day you're rich as an Arab, the next you're lucky if you can afford a god damn can of pistachio nuts.</dialogue>
<scene_description>Wills wanders over to the mantel where FAMILY PHOTOS sit in tarnished antique silver frames . He picks up a photograph of a YOUNG GIRL in TENNIS WHITES - it 's Charlotte 's mother , Katie . Wills ' face is suffused with tenderness as he studies it . Dolores walks over and looks -</scene_description>
<character>DOLLY</character>
<dialogue>How about that, huh? That was the summer you two -</dialogue>
<character>WILLS</character>
<dialogue>I know.</dialogue>
<character>DOLLY</character>
<dialogue>Who'd have guessed what time had in store for her, huh? Look at that smile.</dialogue>
<scene_description>Eyes moistening , Dolores crosses to her armchair . Her tone is slightly bitter -</scene_description>
<character>DOLLY</character>
<dialogue>Then again, time loves some people. Like you, for instance. Oh, time's just wild about you.</dialogue>
<scene_description>She plops down unsteadily and reaches for her cigarettes -</scene_description>
<character>DOLLY</character>
<dialogue>Just as handsome and charming as ever. And still up to the same old tricks.</dialogue>
<scene_description>Wills sets the photo back on the mantel -</scene_description>
<character>WILLS</character>
<dialogue>What do you mean?</dialogue>
<character>DOLLY</character>
<dialogue>First time you came to pick up Katie, you brought me flowers. Just like those.</dialogue>
<parenthetical>( to herself . )</parenthetical>
<dialogue>Flower the mother ; then deflower the daughter. But Katie was too smart for you.</dialogue>
<character>WILLS</character>
<dialogue>Dolly, look -</dialogue>
<character>DOLLY</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>Aw, why the hell do n't you leave her alone? Christ, she's sick!</dialogue>
<scene_description>But before Wills can answer , they hear footsteps on the stairs . Neither moves . Charlotte enters , wearing a peasant dress and felt hat , looking pretty , pale , and excited . Wills and Dolores slowly turn . They smile at her , then exchange a quick glance . Charlotte catches it and becomes self - conscious -</scene_description>
<character>CHARLOTTE</character>
<dialogue>What? What's wrong?</dialogue>
<character>DOLLY</character>
<dialogue>You look like your mom is all.</dialogue>
<scene_description>Charlotte looks to Wills to see if that 's , indeed , what he was thinking . He nods his agreement . She is pleased .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GREENWICH VILLAGE STREET -- MINUTES LATER</stage_direction>
<scene_description>Charlotte , full of energy , hauls Wills down the block by the hand .</scene_description>
<character>WILLS</character>
<dialogue>What do you mean, you knew?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I did! I just did n't think it would take so long!</dialogue>
<character>WILLS</character>
<dialogue>Two days is long?</dialogue>
<character>CHARLOTTE</character>
<dialogue>It is when you're sitting by the phone. You wan na know how I knew?</dialogue>
<character>WILLS</character>
<dialogue>You're psychic?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I am, but no - it's because of my birthday wish.</dialogue>
<character>WILLS</character>
<dialogue>But we had n't even been introduced yet.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know, but I wished that whatever happened. you know, with my illness. I'd go out with a bang. Nothing heavy. No violins. No melodrama. Just fun. A total adventure!</dialogue>
<scene_description>Charlotte jumps off the curb .</scene_description>
<character>WILLS</character>
<dialogue>CAREFUL!</dialogue>
<scene_description>He yanks her back just as a TAXI , horn blaring , SPEEDS PAST , nearly hitting her . For a moment , they both stand there , hearts pounding , breathing hard . Then Charlotte looks back at him and grins -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Wow, it's getting exciting already.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON SQUARE PARK -- AFTERNOON</stage_direction>
<scene_description>Under a perfect blue sky , the park swarms with autumn celebrants . Charlotte and Wills move together down a walkway . Half - joyously and half comically , Charlotte addresses the heavens with grand theatricality -</scene_description>
<character>CHARLOTTE</character>
<dialogue>`` Lord, I do fear Thou ` st made the world too beautiful this year! My soul is all but out of me, - let fall No burning leaf ; prithee, let no bird call!''</dialogue>
<character>WILLS</character>
<dialogue>We could go to a museum.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, that would be a thing! I do n't want to do any thing today. I want to do no thing all day.</dialogue>
<character>WILLS</character>
<dialogue>Nothing at all?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh. No thing at all.</dialogue>
<character>WILLS</character>
<dialogue>So a movie is out.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Way out!</dialogue>
<character>WILLS</character>
<dialogue>Ice cream at the Plaza? High tea at the Palace?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Both out.</dialogue>
<character>WILLS</character>
<dialogue>What about shopping?</dialogue>
<scene_description>She considers for a few moments -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Possible.</dialogue>
<character>WILLS</character>
<dialogue>It's not a thing?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Only when I have money.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIFTH AVENUE IN THE 50'S -- AFTERNOON</stage_direction>
<scene_description>The sidewalk swarms with pedestrians . Wills and Charlotte emerge empty - handed from the revolving door of a department store -</scene_description>
<character>WILLS</character>
<dialogue>But all I gave you was champagne. That's not a proper birthday present.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I agree, and I promise I'll let you give me something else, but not today.</dialogue>
<character>WILLS</character>
<dialogue>When?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Soon. But I'm warning you, it's not going to be anything material.</dialogue>
<character>WILLS</character>
<dialogue>Why not?</dialogue>
<parenthetical>( then solemnly . )</parenthetical>
<dialogue>Oh, I see. because you're sick. Because -</dialogue>
<character>CHARLOTTE</character>
<dialogue>That's right, but we're not gon na talk about that.</dialogue>
<character>WILLS</character>
<dialogue>How come?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Because it's my rule.</dialogue>
<character>WILLS</character>
<dialogue>Any particular reason?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Yeah, because everybody always wants to talk about miracles, or about some genius quack - doctor, or their friend's friend who went into remission eating nothing but sunflower seeds. It's boring and pointless.</dialogue>
<character>WILLS</character>
<dialogue>Are you sure? I mean, there are specialists who -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Do n't start, okay?</dialogue>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>Now what I would enjoy is taking you shopping. For clothes. I'm serious. It's quality not quantity, you know.</dialogue>
</scene>
<scene>
<stage_direction>INT. BARNEY'S MEN'S DEPARTMENT -- AFTERNOON</stage_direction>
<scene_description>Wills sits in a chair while Charlotte looks through silk scarves -</scene_description>
<character>CHARLOTTE</character>
<dialogue>At work you should look perfect, but in everyday life you need to delight in disorder more. Do n't you know? `` A sweet disorder in the dress kindles in clothes a wantonness.''</dialogue>
<character>WILLS</character>
<dialogue>I think that goes without saying.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It was true when that poem was written three hundred years ago and it's true today. Would n't it be fun to look wanton occasionally?</dialogue>
<character>WILLS</character>
<dialogue>It's been a lifelong dream of mine. But will a scarf do it?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Totally. Accessories rule. But we have to be careful. I do n't want you looking too young. Nothing's worse than an old guy trying to look young.</dialogue>
<character>WILLS</character>
<dialogue>Good advice. I'll remember that for when I get old.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You know what I meant.</dialogue>
<character>WILLS</character>
<dialogue>That I'm old.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh.</dialogue>
</scene>
<scene>
<stage_direction>INT. BARNEY'S LOBBY -- LATER</stage_direction>
<scene_description>Wills walks a little self - consciously . He wears around his shoulders a sloppily draped wrinkly silk scarf . He walks past OTHER SHOPPERS . Among a GROUP OF WOMEN walking past him FIND CHARLOTTE who subtly checks him out as though he were a stranger . As she passes by , she gives him a sexy look , then , not very subtly , she spins around to look at his ass . Finally , she breaks character , runs after him , and throws her arms around his neck from behind .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Perfectly imperfect!</dialogue>
<scene_description>Laughing , he holds her hands and hauls her on his back to the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. ITALIAN RESTAURANT -- NIGHT</stage_direction>
<scene_description>Wills and Charlotte are in the middle of a candlelight dinner . Wills refills her wine glass -</scene_description>
<character>WILLS</character>
<dialogue>I do n't know why, but for some odd reason, I feel absolutely compelled to tell you the truth about this. even at the risk of -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Hey, you're giving me the creeps. Just spit it out.</dialogue>
<scene_description>Wills holds his breath for a moment , then exhales and says it -</scene_description>
<character>WILLS</character>
<dialogue>I never had a date for the benefit. My plan from the beginning was for you to come with me.</dialogue>
<scene_description>Charlotte sets down her wine glass as she pieces it together -</scene_description>
<character>CHARLOTTE</character>
<dialogue>So I made the hat for myself?</dialogue>
<parenthetical>( He nods . )</parenthetical>
<dialogue>And you bought that dress for me?</dialogue>
<parenthetical>( He nods . )</parenthetical>
<dialogue>And you did all this just so you could sleep with me?</dialogue>
<parenthetical>( He nods . )</parenthetical>
<dialogue>Why? I mean, why me?</dialogue>
<scene_description>Wills settles himself , then , meeting her eyes , speaks softly -</scene_description>
<character>WILLS</character>
<dialogue>The eulogy you gave at Ella's service was so. impressive. You spoke about her death. about loss. in a way that I could never have done. You understood life emotionally in a way that I did n't. Whatever that understanding was, I wanted to get close to it.</dialogue>
<character>CHARLOTTE</character>
<dialogue>And sex seemed like the best way to do it.</dialogue>
<character>WILLS</character>
<dialogue>And the most enjoyable, yeah.</dialogue>
<scene_description>Charlotte sips her wine and considers . Then she sets down her glass -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Well, first of all, let me say, you have great taste because that little Dolce & Gabbana was to die for.</dialogue>
<character>WILLS</character>
<dialogue>Thanks.</dialogue>
<character>CHARLOTTE</character>
<dialogue>And, second, do n't ever lie to me again.</dialogue>
<character>WILLS</character>
<dialogue>All right.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Seriously. There is n't a lie in the whole world I'd rather hear than the truth.</dialogue>
<scene_description>Wills stares at her solemnly . Her expression just as somber , she lifts a hand and points to her lips . He leans forward to kiss her .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>Wills and Charlotte , kissing deeply , tumble fully clothed onto the bed . As their passion builds , Wills reaches for the bedside lamp . Charlotte watches curiously , thoughtfully , as he pulls the cord , plunging the room into UTTER DARKNESS . MUSIC UP : A SEQUENCE BEGINS - Savoring the last sunny days of autumn , Wills and Charlotte walk across the green of Central Park , which swarms with happy , healthy teenagers . - At night , Wills and John and his wife Sarah sit in box seats at Yankee Stadium watching the play - offs . Bernie Williams hits a colossal shot . The crowd jumps to its feet . As the ball flies over the right field wall , we see that Charlotte sits next to Wills , munching a hotdog , her nose buried in a book , utterly uninterested . - In Elysium 's kitchen , Wills watches on as Charlotte , wearing an apron over her clothes , prepares bisque under the approving eye of the CHEF . She quickly and expertly pours a cup of cream and a cup of broth into a large blender . Then she dumps in lobster meat and adds some saffron . Just when she , with a dramatic flourish , is about to hit the start button , Wills INTERRUPTS and puts the lid on the blender . - One morning , Charlotte sits up in bed doing the Sunday New York Times crossword puzzle . Olivia sits on the chair next to the bed , chatting and laughing with her . Wills enters , carrying a silver tray laden with breakfast . Olivia looks up and gestures haughtily for him to set it down , as though he were the housekeeper . - At the Metropolitan Museum of Art , Wills and Charlotte wander amid the shadows of Egyptian ruins . MUSIC OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. METROPOLITAN MUSEUM LOBBY -- LATER</stage_direction>
<scene_description>Flipping through a stack of postcards he has just purchased , Wills waits for Charlotte to come out of the ladies room . He idly glances up as a STREAM OF TOURISTS moves past . He is about to look away when his eye catches someone . It is Lisa , the young woman who spoke to Charlotte at the benefit . Around her neck she wears a chain bearing a Met employee photograph I.D. . She carries a take - out coffee . Wills FOLLOWS HER , agitated and curious . He sees her pass through a set of glass doors into the Watson Research Library . He hurries over to the doors just in time to see her disappear behind a bank of card catalogues . Wills notices a sign at the door that forbids entry to the public . He hesitates , then enters . He speaks to the first person he sees - a ROTUND FEMALE LIBRARIAN IN HER 60 'S . He stops and asks a question about Lisa . She nods . Wills is shaken by the answer . He stares into the middle distance , wondering what to do , his mind racing . The librarian , a little nervous now , reminds him that he is not allowed in the library . He snaps to , thanks her , and moves away . But then he stops , takes out a BUSINESS CARD , and returns to the librarian . He is about to hand it to her , but then he thinks better of it . Flustered , he thanks her again and exits . The librarian looks after him , confused and a little apprehensive .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY OUTSIDE THE LIBRARY -- SAME</stage_direction>
<scene_description>Wills sees Charlotte at the end of the hall looking around for him . When she spots him , her face brightens . She calls out facetiously as she walks to him -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I thought I told you to wait right there!</dialogue>
<character>WILLS</character>
<dialogue>I got restless.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Well, I hope you did n't talk to anybody!</dialogue>
<character>WILLS</character>
<dialogue>Not a soul.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>Wills and Charlotte stand , disrobing in the near - total darkness . They converse in whispers , between kisses -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You know what would scare me right now?</dialogue>
<character>WILLS</character>
<dialogue>What?</dialogue>
<scene_description>Charlotte moves slowly through the darkness .</scene_description>
<character>CHARLOTTE</character>
<dialogue>This.</dialogue>
<scene_description>She yanks a cord by the window . The BLIND OPENS and the room is flooded with MOONLIGHT . The room is still dark , but she is far more clearly visible . Her dress is unbuttoned down the front . She walks back to him and stops about five feet away . She releases the last buttons on her dress , then slides it off her shoulders to the floor . She wears only her underwear . She crosses her arms over her breasts , and smiles -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Have I told you my latest motto?</dialogue>
<character>WILLS</character>
<dialogue>No.</dialogue>
<character>CHARLOTTE</character>
<dialogue>If it's scary, do it.</dialogue>
<character>WILLS</character>
<dialogue>I'm not sure I like that motto.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'm not sure that matters.</dialogue>
<scene_description>She closes her eyes , takes a deep breath , then slips off her underwear . She drops her arms to her side . She stands before him entirely naked . Her self - consciousness is excruciating but she is determined to endure it . Finally , she opens her eyes and smiles with a hint of pride . Wills ' eyes widen as he takes her in . He crosses to her and lays his hands on her hips . He kisses her neck . As their breathing quickens , she begins to unbutton his shirt and pull it free of his pants . He takes hold of her hands , stopping her , and starts to ease her toward the bed . She resists . Wills falters and she realizes something .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Oh my God.</dialogue>
<character>WILLS</character>
<dialogue>What?</dialogue>
<character>CHARLOTTE</character>
<dialogue>You're scared, too.</dialogue>
<scene_description>From his expression , she knows she is right .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Your turn.</dialogue>
<scene_description>For the first time since we 've met him , Wills is utterly at a loss . But he sees that Charlotte has no intention of backing down . He begins to undress . His hands are uncertain as he untucks his shirt and unbuckles his belt . When he is finished undressing , he turns to face her , his arms at his side . Although we can not see him in the moonlight and shadows , Charlotte can . She looks down at his naked body and studies it . He stares back with shy wariness . Then she breaks into a crooked grin -</scene_description>
<character>CHARLOTTE</character>
<dialogue>What's the matter, old man? Ca n't afford a gym?</dialogue>
<character>WILLS</character>
<dialogue>That's it!</dialogue>
<scene_description>Laughing , he grabs her wrists and throws her on the bed . She dissolves into paroxysms of laughter .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS BEDROOM -- LATER</stage_direction>
<scene_description>Wills and Charlotte make love . As their passion builds , Charlotte is suddenly stabbed with a pain in her chest . She grabs his back , her face twists . She holds her breath , not wanting to reveal the incident to Wills . She closes her eyes and exhales as the pain subsides .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- LATER</stage_direction>
<scene_description>Wills and Charlotte lie in bed with the blinds open and the city glimmering in the distance . Charlotte 's head rests on his chest . Eyes closed , he brushes his hand along her face as though he were a blind man committing every detail to memory . Charlotte 's voice , almost inaudible , drifts up through the dark -</scene_description>
<character>CHARLOTTE</character>
<dialogue>`` Counting the beats, Counting the slow heart beats, The bleeding to death of time In slow heart beats, Wakeful they lie.''</dialogue>
<scene_description>Wills , half - asleep , murmurs deeply -</scene_description>
<character>WILLS</character>
<dialogue>So many words in that wonderful head of yours.</dialogue>
<character>CHARLOTTE</character>
<dialogue>If I could give you anything in the whole world, that's what it would be.</dialogue>
<character>WILLS</character>
<dialogue>Words?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Poetry.</dialogue>
<scene_description>They lie in silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK WEST -- LATE AFTERNOON</stage_direction>
<scene_description>Dusk falls on the park . Charlotte , red - cheeked and happy , carrying shopping bags , walks into a brisk autumn breeze . She smiles at a BUNCH OF SCHOOL KIDS , dressed in HALLOWEEN COSTUMES , being led on their trick or treating .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM REAR OFFICE -- AFTERNOON</stage_direction>
<scene_description>Wills sits at a desk , reading the newspaper . John , inspecting a KING HENRY VIII COSTUME on a hanger , shouts into the telephone -</scene_description>
<character>JOHN</character>
<dialogue>Oh no, your boy made it! At ten minutes before close! All night I got a card announcing a halibut special, only I got no halibut! Now it's Sunday and I got three dozen cats lickin' their chops in the alley! Tony, I do n't wan na hear it! I do n't wan na hear it! I do n't wan na - MAN, GO TO HELL!</dialogue>
<scene_description>He slams down the phone . His face is beet red . Wills looks up calmly from his paper -</scene_description>
<character>WILLS</character>
<dialogue>Are you familiar with the phrase, `` You can catch more flies with honey than with vinegar?''</dialogue>
<character>JOHN</character>
<dialogue>Are you familiar with the phrase, `` Mind your own god damn business?''</dialogue>
<character>WILLS</character>
<dialogue>Sure, it's from Poor Richard's Almanac. But the last time I checked -</dialogue>
<character>JOHN</character>
<dialogue>No, your business is to smile, make friends, and get rich! My business is the business.</dialogue>
<scene_description>John heads out , then stops abruptly and looks back . His tone is suddenly calm and curious -</scene_description>
<character>JOHN</character>
<dialogue>What're you doin' here, anyway? You got a girl. Go home. Carve a pumpkin.</dialogue>
<character>WILLS</character>
<dialogue>We ca n't spend every waking moment together.</dialogue>
<scene_description>John looks at him strangely , with a hint of suspicion -</scene_description>
<character>JOHN</character>
<dialogue>Why not?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>No, seriously. Why not?</dialogue>
<scene_description>Wills has no answer . John moves closer when Celia , his new assistant , enters cheerily -</scene_description>
<character>CELIA</character>
<dialogue>Special delivery!</dialogue>
<scene_description>She tosses him a paper bag ; he catches it .</scene_description>
<character>WILLS</character>
<dialogue>No trouble?</dialogue>
<character>CELIA</character>
<dialogue>None.</dialogue>
<scene_description>Wills removes a PAIR OF RED PLASTIC HORNS . John shakes his head with disbelief .</scene_description>
<character>JOHN</character>
<dialogue>Every year. You got no imagination.</dialogue>
<character>WILLS</character>
<dialogue>It's a classic. A little spirit gum and voila!</dialogue>
<scene_description>He holds the horns up to his forehead .</scene_description>
<character>WILLS</character>
<dialogue>- young women are rendered helpless.</dialogue>
<character>CELIA</character>
<dialogue>It's true. I see a guy with horns growing out of his head and my knees go weak.</dialogue>
<character>WILLS</character>
<dialogue>Of course - it's biological.</dialogue>
<scene_description>They share a laugh . A flirtatious charge passes between them . She blushes slightly and exits . John looks suspiciously at Wills .</scene_description>
<character>JOHN</character>
<dialogue>What's goin' on?</dialogue>
<character>WILLS</character>
<dialogue>What do you mean?</dialogue>
<character>JOHN</character>
<dialogue>At home.</dialogue>
<scene_description>Wills smiles at him as though he were insane -</scene_description>
<character>WILLS</character>
<dialogue>Nothing. Honestly. We're having a lot of fun. We're very happy.</dialogue>
<scene_description>From the next scene , we hear Charlotte laughing -</scene_description>
<character>CHARLOTTE'S VOICE</character>
<dialogue>Do n't come in! Do n't!</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- AFTERNOON</stage_direction>
<scene_description>A fire burns in the fireplace . Still wearing his coat , wills stands by the mantel , sorting through a stack of mail -</scene_description>
<character>WILLS</character>
<dialogue>I'm not even tempted!</dialogue>
<character>CHARLOTTE'S VOICE</character>
<parenthetical>( from another room . )</parenthetical>
<dialogue>I'll be right out!</dialogue>
<scene_description>Olivia enters with a steamy mug -</scene_description>
<character>OLIVIA</character>
<dialogue>You like hot cider?</dialogue>
<character>WILLS</character>
<dialogue>Sure, thanks.</dialogue>
<scene_description>She carefully takes his coat off him as he sips the cider -</scene_description>
<character>WILLS</character>
<dialogue>Mmmm.</dialogue>
<character>OLIVIA</character>
<dialogue>Charlotte made it. I just poured it in the cup.</dialogue>
<scene_description>She exits . As Wills sips the drink , he sits on the leather sofa and continues to glance through his mail . Suddenly , shocked , he stops on a letter . He sets his mug down . He hears Charlotte making noise in the next room . He opens the letter and begins to read . His eyes dart down the page , but he quickly sees that the letter is not friendly . His face shows disappointment . He hears footsteps in the hall . He folds the letter up , slips it back into its envelope , and jams it in his back pocket . Charlotte enters and throws her hands out to her side -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Ta - da!</dialogue>
<scene_description>She stands before him , dressed in a WHITE SPINSTERLY VICTORIAN OUTFIT with braids coiled at her ears . Wills smiles with appreciation -</scene_description>
<character>WILLS</character>
<dialogue>Incredible.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Do n't I look just like her?</dialogue>
<character>WILLS</character>
<dialogue>Absolutely incredible.</dialogue>
<scene_description>Pause .</scene_description>
<character>CHARLOTTE</character>
<dialogue>You have no idea who I am.</dialogue>
<character>WILLS</character>
<dialogue>Give me a hint.</dialogue>
<character>CHARLOTTE</character>
<dialogue>`` Hope is the thing with feathers that perches in the soul.''</dialogue>
<character>WILLS</character>
<dialogue>Was that the hint?</dialogue>
<character>CHARLOTTE</character>
<dialogue>You dummy! Emily Dickinson! Only the greatest American female poet ever!</dialogue>
<scene_description>She hugs and kisses him -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Uncultured swine.</dialogue>
<character>WILLS</character>
<dialogue>The truth is out. I've lost you forever.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Wan na bet?</dialogue>
<scene_description>She lays her head on his chest , smiling contentedly . A subtle shadow of apprehension passes over Wills ' features . Eyes closed , she asks -</scene_description>
<character>CHARLOTTE</character>
<dialogue>When do I get to see your costume?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROOKLYN BROWNSTONE -- ESTABLISHING -- NIGHT</stage_direction>
<scene_description>A cardboard ghost hangs on the door . A Jack - o ' - lantern grins in the window . A HALLOWEEN PARTY is in full swing .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN LIVING ROOM -- SAME</stage_direction>
<scene_description>John 's wife , Sarah , dressed as QUEEN ELIZABETH , walks through the crowd , picking up empty glasses and bottles . As she moves among COSTUMED GUESTS and their CHILDREN , we notice a few of Elysium 's customers and staff , including Celia , dressed as GLINDA , talking to the maitre d' , Jesus , dressed as a COWBOY -</scene_description>
<character>JESUS</character>
<dialogue>No, I think we make a great couple. A good witch and a bad hombre. That could make for some very interesting sex.</dialogue>
<scene_description>Celia laughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN KITCHEN -- CONTINUOUS</stage_direction>
<scene_description>Wills stands off to the side , wearing his devil 's horns , sipping a drink , watching an EIGHT - YEAR - OLD BOY bob for apples , while other BOYS and GIRLS cheer him on . John , wearing his king costume , supervises , as the boy , wildly sputtering , struggles to bite into a renegade Granny Smith .</scene_description>
<character>JOHN</character>
<dialogue>O, Ricky, chill out! You're gon na get snot in the water!</dialogue>
<scene_description>The boy laughs even harder . John facetiously grabs his collar -</scene_description>
<character>JOHN</character>
<dialogue>That's it - outta the pool!</dialogue>
<scene_description>The boy , choking with laughter , plunges his face into the water again . Sarah enters and calls out over the din -</scene_description>
<character>SARAH</character>
<dialogue>Where're the girls? I thought you were tucking them in!</dialogue>
<character>JOHN</character>
<dialogue>We got a volunteer!</dialogue>
<scene_description>Sarah , smiling curiously , heads to the back stairwell . She sees Wills standing there . Watching the kids , his eyes are filled with the same sort of wistful yearning that she noticed at the toy store - She gives him an affectionate poke in the stomach as she passes by and disappears upstairs . Finally , the boy grabs the apple in his teeth and lifts his soaked head to the cheers of his friends . Then he grabs it out of his mouth and begins taking big bites out of it until he uncovers a SILVER DOLLAR . Wills laughs at the kids ' excitement . A moment later a WOMAN 'S GLOVED HANDS cover his eyes .</scene_description>
<character>WOMAN</character>
<dialogue>Guess who?</dialogue>
<scene_description>Wills feels her LONG GLOVES .</scene_description>
<character>WILLS</character>
<dialogue>Wonder Woman?</dialogue>
<character>WOMAN</character>
<dialogue>No.</dialogue>
<character>WILLS</character>
<dialogue>Batgirl?</dialogue>
<character>WOMAN</character>
<dialogue>I'll give you a hint. You dumped me.</dialogue>
<character>WILLS</character>
<dialogue>Princess Di?</dialogue>
<scene_description>She laughs and playfully strangles him .</scene_description>
<character>WILLS</character>
<dialogue>Wendy?</dialogue>
<scene_description>He turns and sees that it 's the woman from the film 's opening , dressed as HOLLY GOLIGHTLY .</scene_description>
<character>WILLS</character>
<dialogue>Yup, I'd know that throttle anywhere!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROOKLYN SECOND-FLOOR HALLWAY -- SAME</stage_direction>
<scene_description>Sarah stops silently at an AJAR DOOR and looks inside . Charlotte sits on a bed between the twin girls who are nestled up against her -</scene_description>
<character>MOLLY</character>
<dialogue>Just one more.</dialogue>
<character>CARLA</character>
<dialogue>Please?</dialogue>
<character>CHARLOTTE</character>
<dialogue>All right, but this is the last last one!</dialogue>
<scene_description>She clears her throat and settles herself . The twins listen with rapt attention as she recites from memory , slowly as though it were a suspenseful bedtime story -</scene_description>
<character>CHARLOTTE</character>
<dialogue>`` Because I could not stop for Death, He kindly stopped for me ; The carriage held but just ourselves And Immortality. We slowly drove, he knew no haste, And I had put away My labor, and my leisure too, For his civility.''</dialogue>
<scene_description>Charlotte looks up and sees Sarah , who face is beaming with affection . They share a smile and Charlotte keeps reciting -</scene_description>
<character>CHARLOTTE</character>
<dialogue>`` We passed the school where children played At wrestling in a ring ; We passed the fields of grazing grain, We passed the setting sun.''</dialogue>
<scene_description>Sarah eases the door shut and steps away .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN LIVING ROOM -- HOUR LATER</stage_direction>
<scene_description>THE CAMERA makes a CIRCUIT of the THINNING CROWD . Sarah blows out candles , dumps ash trays , and collects empties . Charlotte , rubbing a knuckle into her sleepy eye , descends the stairs . She sees Celia talking to Jesus , and walks over to them -</scene_description>
<character>CELIA</character>
<dialogue>Sweet dreams?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I had no idea I was so tired.</dialogue>
<character>SARAH</character>
<parenthetical>( from across the room . )</parenthetical>
<dialogue>They're down?</dialogue>
<character>CHARLOTTE</character>
<dialogue>And out.</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Where's Lucifer?</dialogue>
<character>JESUS</character>
<parenthetical>( jokingly . )</parenthetical>
<dialogue>Last time I saw him, he was in the kitchen going pretty heavily with Holly Golightly.</dialogue>
<character>CELIA</character>
<dialogue>Hey, no gossip! Holly's a valued customer.</dialogue>
<scene_description>Charlotte pretends to be fighting mad -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Lem me at ` er!</dialogue>
<character>JESUS</character>
<dialogue>Hell hath no fury like a recluse scorned.</dialogue>
<scene_description>Charlotte laughs and heads to the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN KITCHEN -- SAME</stage_direction>
<scene_description>John wipes down the table which is littered with bits of apple .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey, should n't one of your minions be doing that?</dialogue>
<character>JOHN</character>
<dialogue>You know, in my day, you bobbed for the apple, and, sure, maybe there was a nickel inside it and that was sweet - but you ate the god damn apple! These little animals grab the coin and they're out the door!</dialogue>
<character>CHARLOTTE</character>
<dialogue>- off to buy crack!</dialogue>
<character>JOHN</character>
<dialogue>Exactly my point.</dialogue>
<scene_description>They share a laugh .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Seen Beelzebub around?</dialogue>
<character>JOHN</character>
<dialogue>The Prince of Darkness?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, he went upstairs.</dialogue>
<scene_description>Charlotte is puzzled .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN SECOND-FLOOR HALLWAY -- LATER</stage_direction>
<scene_description>Charlotte walks down the hall , opening doors and glancing inside . She opens a bathroom and THREE CATS dash out .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Shit.</dialogue>
<scene_description>She gets to the end of the hall and is about to give up . When she hears FOOTSTEPS . She walks around the corner and sees a NARROW STAIRCASE leading to the third floor . At the dark at the top of the stairs Wills and Wendy appear . Charlotte smiles -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You lost your horns.</dialogue>
<character>WILLS</character>
<dialogue>Hey, looking for me?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - huh.</dialogue>
<character>WILLS</character>
<dialogue>We were checking out the roof. John's got quite a set - up.</dialogue>
<scene_description>They arrive at the bottom of the stairs .</scene_description>
<character>WILLS</character>
<dialogue>Wendy, this is Charlotte Fielding. Charlotte - my friend Wendy Lister.</dialogue>
<scene_description>They smile and shake hands . Charlotte looks at them both carefully for any sign of uneasiness . There is none .</scene_description>
<character>WENDY</character>
<dialogue>Actually, I saw you at that memorial service in Connecticut. Your eulogy was beautiful.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Thank you.</dialogue>
<character>WENDY</character>
<parenthetical>( re : her outfit . )</parenthetical>
<dialogue>Betsy Ross, right?</dialogue>
<character>CHARLOTTE</character>
<dialogue>You guessed it.</dialogue>
<scene_description>Wills smiles and rubs his hands together -</scene_description>
<character>WILLS</character>
<dialogue>Is the party over?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROOKLYN BRIDGE -- NIGHT</stage_direction>
<scene_description>A TOWN CAR speeds toward Manhattan .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWN CAR -- SAME</stage_direction>
<scene_description>Wills and Charlotte stare straight ahead , each lost in thought . The lights of the city illuminate their faces in eerie flashes . Finally , Wills glances over and smiles -</scene_description>
<character>WILLS</character>
<dialogue>I have a strange feeling that you're upset with me.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, I was just wondering if you had sex with that woman.</dialogue>
<character>WILLS</character>
<dialogue>Ever?</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, the answer to that's pretty obvious. I meant tonight. On the roof.</dialogue>
<scene_description>Wills breaks into a grin -</scene_description>
<character>WILLS</character>
<dialogue>You're not serious.</dialogue>
<scene_description>Wills laughs to himself , then glances up and sees the reflection of the driver 's amused eyes in the rearview mirror . Wills smiles back at Charlotte -</scene_description>
<character>WILLS</character>
<dialogue>Of course not. Why would I want to do something like that?</dialogue>
<character>CHARLOTTE</character>
<dialogue>That's what I was wondering. I thought, `` We're so happy he'd have no reason to do it. And if he did do it, he'd at least look guilty, would n't he? But he does n't. He looks more relaxed than before the party started.''</dialogue>
<character>WILLS</character>
<dialogue>Well, there you have it.</dialogue>
<character>CHARLOTTE</character>
<dialogue>But then I thought, `` He's a womanizer - that's what they say.'' Funny word, huh? Sounds like some sorta machine. `` And how do you get to be a womanizer? Obviously by sleeping with lots of different women for no good reason and being really good at lying about it.''</dialogue>
<character>WILLS</character>
<dialogue>Sure, except that -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Let me finish.</dialogue>
<scene_description>Again , Wills looks up at the driver 's eyes in the mirror . They seem more serious now .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Anyway, there's something about being sick right here -</dialogue>
<scene_description>She touches her own chest . Her voice trembles slightly -</scene_description>
<character>CHARLOTTE</character>
<dialogue>- that has made me acutely aware of my heart. Nothing corny - I mean, literally. I feel every beat. I know how sensitive it is. It reacts to everything.</dialogue>
<scene_description>She turns in her seat and lifts an OPEN PALM .</scene_description>
<character>CHARLOTTE</character>
<dialogue>If you're lying to me, I'll know it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Did you have sex with Wendy on the roof?</dialogue>
<scene_description>He smiles at her as though he were indulging a child . She looks him deeply in the eye and opens a button of his shirt . She slips her palm inside , over his heart . Still smiling , he does n't move a muscle . Their eyes are locked . Ever so slowly , her face crumples and tears appear in her eyes . She shakes her head -</scene_description>
<character>CHARLOTTE</character>
<dialogue>My God. oh my God.</dialogue>
<scene_description>She slides away from him , drops her face into her hands , and begins to cry . Wills looks down , then glances up at the rearview mirror . Illuminated in flashes , the driver 's eyes have taken on an ominous , unblinking quality as though they were the outward embodiment of his own conscience . Wills looks out the window . When he finally speaks , his voice is calm and a little cold -</scene_description>
<character>WILLS</character>
<dialogue>Look, I never pretended to be anything other than -</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( a piteous cry . )</parenthetical>
<dialogue>You hate yourself so much!</dialogue>
<scene_description>Wills is stunned . He looks out the window , speechless , his eyes small and frightened .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLOTTE'S BROWNSTONE -- NIGHT</stage_direction>
<scene_description>The town car is stopped at the curb , motor running , lights on .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWN CAR -- SAME</stage_direction>
<scene_description>Charlotte and Wills sit in silence -</scene_description>
<character>WILLS</character>
<dialogue>This was all a mistake. Right from the start. All of it. I'm a grown man and you're a child.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Anyway, you have better things to do with your last - With your time than spend it with me.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( distantly . )</parenthetical>
<dialogue>What about you? Do you have anything better?</dialogue>
<scene_description>Wills has no answer . Charlotte slowly gets out of the car . She leans back in , her eyes narrow with disdain -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You know, maybe you're right. Maybe this is the best time to end it. Because I was actually starting to love you, Wills, and that's the last thing I ever wanted.</dialogue>
<scene_description>She shuts the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE FOYER -- NIGHT</stage_direction>
<scene_description>As Charlotte enters , we hear Wills ' cab pull away . She moves to the stairs and sees a LIGHT shining beneath the living room door .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- SAME</stage_direction>
<scene_description>Dolores sits watching an old movie , her eyes dulled by a cataract of boozy fatigue . The door opens . She looks up and sees Charlotte in costume .</scene_description>
<character>DOLLY</character>
<dialogue>Well, if it ai n't the Belle of Amherst.</dialogue>
<scene_description>Charlotte smiles feebly and plops down on the cracked leather ottoman . She looks blankly at the TV . She sniffles and wipes a hand across her nose . Dolores glances over , then back at the set .</scene_description>
<character>DOLLY</character>
<dialogue>Seen that face before.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You have?</dialogue>
<character>DOLLY</character>
<dialogue>And for the same god damn reason.</dialogue>
<scene_description>Charlotte is confused , but then puts it together -</scene_description>
<character>CHARLOTTE</character>
<dialogue>But you said Wills and my Mom were just friends.</dialogue>
<character>DOLLY</character>
<dialogue>Sure, but she was nuts about him. The only reason she did n't sleep with him is'cause she was sentimental. And smart. She wanted a ring first.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Why did n't he give her one?</dialogue>
<character>DOLLY</character>
<dialogue>'Cause he knocked up little Millie Tyler instead. In Newport. At Bailey's Beach. During the Labor Day clam bake.</dialogue>
<scene_description>She chuckles grimly , coughs , and sips her drink .</scene_description>
<character>DOLLY</character>
<dialogue>Millie was your mom's best friend from Nightingale. You had to hand it to him. He sure knew how to make a point.</dialogue>
<scene_description>She coughs again . Charlotte struggles to make sense of it all .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Why did he do that?</dialogue>
<character>DOLLY</character>
<dialogue>Aw, who the hell knows?'Cause the moon was full.'Cause life's short.'Cause he's Wills Keane. I'll tell you a little secret - after that, your Mom hated his guts, but your dad never made her smile like he did.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>` Course your dad never made her cry like that either.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Why did n't you tell me any of this before?</dialogue>
<character>DOLLY</character>
<dialogue>Oh, I dunno.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You never talk to me! You never try to help me!</dialogue>
<scene_description>Dolores ' eyes grow nervous . She swallows hard .</scene_description>
<character>DOLLY</character>
<dialogue>Christ, look at me. I'm gon na tell you what to do?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Yes! You're my family. You're supposed to take care of me.</dialogue>
<character>DOLLY</character>
<dialogue>Aw, you would n't listen. That's the thing about people - they just do what they want from the day they're born till the day they die.</dialogue>
<scene_description>She realizes her poor choice of words . She looks over and their eyes collide . Charlotte begins to cry -</scene_description>
<character>CHARLOTTE</character>
<dialogue>No, that's you, Dolly! People who have given up do n't listen to other people! People who want to die close off! That's not me! I wanted your help! I wanted to learn!</dialogue>
<scene_description>Charlotte drops her head dejectedly .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Anything. anything you would ever have told me, I would have listened to! I promise.</dialogue>
<character>DOLLY</character>
<parenthetical>( fighting tears . )</parenthetical>
<dialogue>Aw, come on, honey. I can throw a party and I can mix a gimlet. After that, what the fuck do I know?</dialogue>
<scene_description>She rises , gives Charlotte a nervous , awkward pat on the shoulder , then crosses over to the bar .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Wills stands in the center of the room , looking around blankly . He disappears into the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- CONTINUOUS</stage_direction>
<scene_description>Wills enters and sees some of Charlotte 's clothes folded neatly on the bed . A LITERARY ANTHOLOGY lies open , showing a DRAWING OF EMILY DICKINSON . He grabs the clothes and the book and puts them in a SHOPPING BAG that she has left on the floor . Then he walks into the bathroom . We see him gathering BEAUTY PRODUCTS off the sink . He walks back in and sets them into the shopping bag . He looks around and spots a nearly completed crossword puzzle sitting folded on the dresser . He drops that in the shopping bag , too , then sets it by the door . He feels a draft and spots an OPEN WINDOW . As he crosses to it , he notices something on his pillow . A blank ENVELOPE . He picks it up and rips it open . It 's a HALLOWEEN CARD of a grinning JACK - O - LANTERN . He opens it and inside is handwritten : The scariest night of the year and only one thing haunts me : that we might never have met . All my love , XXX Charlotte . Wills lowers the card and heaves a deep breath . His jaw tight , he walks over and drops the card into the shopping bag .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE FOYER -- SAME</stage_direction>
<scene_description>Charlotte emerges from the living room and shuts the door behind her . She climbs the stairs to her solitary bedroom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE -- NIGHT</stage_direction>
<scene_description>From amid the RUSH OF TRAFFIC , a TAXI CAB breaks free and glides to the curb in front of Elysium . Wills emerges with PATTY , 35 , bosomy , bright - eyed , pitched a little too loudly . Wills seems stiff and tentative , a shadow of his former self .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM -- CONTINUOUS</stage_direction>
<scene_description>AN ELDERLY COUPLE passes them as they enter . Wills stops at the coat check and helps Patty with her coat . She admires the decor -</scene_description>
<character>PATTY</character>
<dialogue>Oh, Wills, it's beautiful!</dialogue>
<scene_description>Although his spirits are low , he is effortlessly cordial -</scene_description>
<character>WILLS</character>
<dialogue>Thank you. It was designed by a team from -</dialogue>
<character>PATTY</character>
<dialogue>So functional! Is that stainless steel?</dialogue>
<character>WILLS</character>
<dialogue>Actually, no, it's velvet.</dialogue>
<scene_description>She furrows her brow , squints , then laughs .</scene_description>
<character>PATTY</character>
<dialogue>Oh, my God, it is!</dialogue>
<scene_description>Wills hands Patty 's coat to Melissa , the hat check girl , and asks under his breath -</scene_description>
<character>WILLS</character>
<dialogue>How are you?</dialogue>
<scene_description>Looking at Patty , Melissa asks with deep sympathy -</scene_description>
<character>MELISSA</character>
<dialogue>How are you, sir?</dialogue>
<scene_description>Before Wills can respond , Patty takes his arm -</scene_description>
<character>PATTY</character>
<dialogue>Well, if the food's even half as good as the moldings I'm in for a very special treat.</dialogue>
<scene_description>Jesus is surprised to see that Wills is not with Charlotte -</scene_description>
<character>JESUS</character>
<dialogue>Uhhh, good evening, Mr. Keane. Will you be dining with us?</dialogue>
<character>WILLS</character>
<dialogue>Yes, Jesus. Table seven, if it's available.</dialogue>
<character>JESUS</character>
<dialogue>Certainly, sir.</dialogue>
<scene_description>Celia approaches , equally surprised not to see Charlotte -</scene_description>
<character>WILLS</character>
<dialogue>Hello, Celia.</dialogue>
<character>CELIA</character>
<parenthetical>( sincerely . )</parenthetical>
<dialogue>How are you this evening, sir?</dialogue>
<character>WILLS</character>
<dialogue>I've been worse.</dialogue>
<character>CELIA</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Are you sure?</dialogue>
<scene_description>The NEW HOSTESS , Celia 's replacement , arrives .</scene_description>
<character>JESUS</character>
<dialogue>Table Seven.</dialogue>
<character>NEW HOSTESS</character>
<dialogue>This way, please.</dialogue>
<character>WILLS</character>
<parenthetical>( to Patty . )</parenthetical>
<dialogue>Order a drink. I'll be right with you.</dialogue>
<scene_description>Patty follows Celia . Wills moves to the reservation stand where John stands , stone - faced , flipping through the reservation book -</scene_description>
<character>JOHN</character>
<dialogue>Where the hell you been?</dialogue>
<character>WILLS</character>
<dialogue>Splendid, how are you?</dialogue>
<character>JOHN</character>
<dialogue>Where's Charlotte?</dialogue>
<character>WILLS</character>
<dialogue>Deliveries on time?</dialogue>
<character>JOHN</character>
<dialogue>Who's the broad? She looks like a Holiday - Inn hooker from Ohio.</dialogue>
<character>WILLS</character>
<dialogue>Keep up the good work!</dialogue>
<scene_description>Wills walks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNTOWN BAR -- NIGHT</stage_direction>
<scene_description>Dark , smoky , and boisterous . FIND CHARLOTTE , standing with Simon . She looks around disgustedly and shouts above the roar -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Okay, I'm chugging Scotch, gagging on smoke, and losing my hearing! Now why is this so good for me again?!</dialogue>
<character>SIMON</character>
<dialogue>That's just it! The great spiritual benefit in leaving one's room is that it reminds one of how odious it is to leave one's room!</dialogue>
<scene_description>ACROSS THE ROOM FOLLOW SHANNON , coming out of the ladies ' room . She makes her way through the crowd -</scene_description>
<character>SHANNON</character>
<dialogue>Excuse me! Excuse me! Sorry! Excuse me!</dialogue>
<character>BOY'S VOICE</character>
<dialogue>No problem!</dialogue>
<scene_description>She looks up and ca n't believe her eyes . BACK TO CHARLOTTE AND SIMON Simon , shouting above the music , speaks with difficulty -</scene_description>
<character>SIMON</character>
<dialogue>There's one thing you do n't know about Mr. Keane and his adultery and as painful as it is I feel that I should tell you!</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>What? What is it!</dialogue>
<character>SIMON</character>
<dialogue>That woman on the roof? That was no ex - girlfriend! In fact, no woman at all. It was I, Simon Loring, master of disguise! Willsy and I have moved in together!</dialogue>
<scene_description>Charlotte laughs and slaps him . Shannon approaches hauling by the hand ERIC BALES , 24 , small , beautiful , long - haired , glasses .</scene_description>
<character>SHANNON</character>
<dialogue>Look what I found!</dialogue>
<scene_description>Charlotte ca n't believe it either -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Eric! Wow!</dialogue>
<character>ERIC</character>
<dialogue>Hey, Char!</dialogue>
<scene_description>They hug and kiss with some slight awkwardness , then shout above the music -</scene_description>
<character>CHARLOTTE</character>
<dialogue>God, long time no see! One night we show up to rent Eraserhead and you're just gone!</dialogue>
<character>ERIC</character>
<dialogue>Sorry about that!</dialogue>
<character>SHANNON</character>
<dialogue>It was such a drag! You know, having to actually start paying to rent movies!</dialogue>
<character>ERIC</character>
<dialogue>I bet!</dialogue>
<character>CHARLOTTE</character>
<dialogue>What's up? Ralph said you moved to Rockland County!</dialogue>
<character>ERIC</character>
<dialogue>Yeah, I got a job working for my mom's new boyfriend!</dialogue>
<character>CHARLOTTE</character>
<dialogue>What does he do?</dialogue>
<character>ERIC</character>
<dialogue>He sells pot!</dialogue>
<character>SHANNON</character>
<dialogue>Cool!</dialogue>
<character>ERIC</character>
<dialogue>Not really. I was a driver! I got laid off when he got busted. He's awaiting trial!</dialogue>
<character>CHARLOTTE</character>
<dialogue>So what're you doing now?</dialogue>
<character>ERIC</character>
<dialogue>Same thing pretty much. Only for Domino's!</dialogue>
<scene_description>Charlotte laughs .</scene_description>
<character>SHANNON</character>
<dialogue>Whoa, I do n't believe it!</dialogue>
<parenthetical>( to Eric . )</parenthetical>
<dialogue>She has n't laughed in like a week!</dialogue>
<scene_description>Eric smiles quizzically at Charlotte , wondering why .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM -- NIGHT</stage_direction>
<scene_description>Wills sits listening to Patty talk -</scene_description>
<character>PATTY</character>
<dialogue>- so everybody on the conference call starts introducing themselves. Ned Lewey, Paris Office. Takashi Matsuo, Tokyo Office. Whoever, the London Office. And then someone says, `` Will the architect from the New York office please identify himself.'' And I pipe up and say, `` Well, guys, I'm not a him or an architect. I'm Patty Strauss and I'm head of East Coast marketing.'' And there's like total silence. It was hysterical!</dialogue>
<scene_description>Wills smiles feebly . He looks away and sees John holding the TELEPHONE , urgently signaling to him . Alarmed , Wills jumps up -</scene_description>
<character>WILLS</character>
<dialogue>I'm sorry, would you excuse me?</dialogue>
<character>PATTY</character>
<dialogue>Of course.</dialogue>
<scene_description>AT THE RESERVATION STAND Wills , fearing the worst , hurries to John -</scene_description>
<character>WILLS</character>
<dialogue>Who is it?</dialogue>
<character>JOHN</character>
<dialogue>Nobody!</dialogue>
<scene_description>John slams down the phone , grabs him by the arm , hauls him through the reception area and out the door . Patty watches , confused .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELYSIUM -- CONTINUOUS</stage_direction>
<scene_description>John walks quickly down the block , still hauling Wills -</scene_description>
<character>JOHN</character>
<dialogue>Last time I checked I was your best friend!</dialogue>
<character>WILLS</character>
<dialogue>So?</dialogue>
<character>JOHN</character>
<dialogue>So after the party, no thank you! I call you three times - no call back! And for six days you do n't even eat at your own god damn restaurant! What am I supposed to think? Huh?! I was ready to call the morgue!</dialogue>
<character>WILLS</character>
<dialogue>Relax, I'm alive.</dialogue>
<character>JOHN</character>
<dialogue>Well, you sure do n't look it!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER BLOCK -- MINUTE LATER</stage_direction>
<scene_description>John walks as quickly as he can with Wills struggling to keep up -</scene_description>
<character>JOHN</character>
<dialogue>I'll tell you why it's my concern! Because I had a god damn swimming pool! An ocean view! A fabulous lemon tree hangin' right over my Jacuzzi! And I gave it up for you, brother! Back to a life of concrete and dirt and sirens just so you could get your shit together!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER BLOCK -- MINUTES LATER</stage_direction>
<scene_description>John , walking a little more slowly now , can not believe his ears -</scene_description>
<character>JOHN</character>
<dialogue>On my roof? You got ta be kiddin'! Not on my green chair! Tell me it was n't on the green chair.</dialogue>
<scene_description>Wills winces .</scene_description>
<character>JOHN</character>
<dialogue>Oh, great. Now how am I gon na clean that?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER BLOCK -- MINUTE LATER</stage_direction>
<scene_description>John walks slowly now , backward , listening to an anxious Wills -</scene_description>
<character>WILLS</character>
<dialogue>Look, it does n't matter that she's sick - she's still a kid and there's no way we should be together. It's unhealthy. it's. it's inappropriate.</dialogue>
<character>JOHN</character>
<parenthetical>( with disgust . )</parenthetical>
<dialogue>What the hell is that? Some sorta shrink talk?</dialogue>
<character>WILLS</character>
<dialogue>Look, if she were just fun. just some sort of diversion. maybe I could justify it. But the worst part is that it's becoming more. Much more. It's embarrassing how much I like her. She gets to me. She affects me.</dialogue>
<scene_description>He stops and leans back against a building . He looks around , avoiding eye contact with John , as tears rise into his eyes .</scene_description>
<character>WILLS</character>
<dialogue>And she's gon na be gone and. I'm not sure I can. I mean. I already think about her all the time.</dialogue>
<parenthetical>( fighting tears . )</parenthetical>
<dialogue>Her smile kills me. and the thought. that it'll be gone. forever. that I'll never see her again. I do n't know. I ca n't - I do n't think I'm that strong, Johnny. It's too much. I'd rather have it be over. over now. I'll start missing her now.</dialogue>
<scene_description>Wills is still unable to look at him . John speaks softly -</scene_description>
<character>JOHN</character>
<dialogue>Buddy, I hate to break it to you, but in the real world. where I live. there're only two kindsa love stories. Boy loses girl and girl loses boy. That's all there is. Somebody always gets left behind. You try to avoid that, you'll end up an old man toastin' yourself with egg nog in the mirror on Christmas Eve. You'll end up dying in your own arms.</dialogue>
<scene_description>Wills lifts his frightened eyes . John pats him on the cheek .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH-RISE APARTMENT BUILDING -- NIGHT</stage_direction>
<scene_description>Wills stands with Patty in the driveway in front of the glass lobby . He is distracted and terribly anxious . She looks as though she expects , at the very least , a kiss -</scene_description>
<character>PATTY</character>
<dialogue>Thank you so much. I had such a great time.</dialogue>
<character>WILLS</character>
<dialogue>Good. I'm. I'm glad.</dialogue>
<character>PATTY</character>
<dialogue>Did n't you?</dialogue>
<character>WILLS</character>
<dialogue>Patty, I. I want to be honest with you. right now, from the start. so there's no room for misunderstanding. I did n't have a good time, but it's nothing personal. I just split up with someone and rather than admit to myself how much I miss her, I asked you out instead. And it's unfair. If I feel sad I should just feel sad and not try to use you. and your body. as some sort of painkiller, right?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Anyway, I think you're a warm and engaging woman and I wish you all the best.</dialogue>
<scene_description>Relieved to have unburdened himself of the truth , he shakes her hand . Patty , utterly baffled , does n't know what hit her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLS' BUILDING -- LATER</stage_direction>
<scene_description>The doorman Michael , smoking a cigarette , sees Wills walk up , his expression pensive .</scene_description>
<character>MICHAEL</character>
<dialogue>Mr. Keane -</dialogue>
<character>WILLS</character>
<dialogue>Good night, Michael.</dialogue>
<character>MICHAEL</character>
<dialogue>You've got a visitor.</dialogue>
<scene_description>Wills stops and turns -</scene_description>
<character>WILLS</character>
<dialogue>Who?</dialogue>
<character>MICHAEL</character>
<dialogue>She's been waitin' almost an hour. In the lobby.</dialogue>
<parenthetical>( off Wills ' look . )</parenthetical>
<dialogue>A little surprise for ya.</dialogue>
<scene_description>He winks . Wills realizes that it 's Charlotte . It must be . He smiles and hurries inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LOBBY -- CONTINUOUS</stage_direction>
<scene_description>Wills bursts in and freezes . A WOMAN stands across the way , studying an oil painting . She turns quickly . It 's LISA . She sees his excited expression fall . Beneath her rather composed facade , Lisa is a chaos of conflicting emotions -</scene_description>
<character>LISA</character>
<dialogue>Sorry to disappoint you.</dialogue>
<character>WILLS</character>
<dialogue>No, no. Not at all. You surprised me, that's all. I did n't expect to see you. not here. not after your letter.</dialogue>
<character>LISA</character>
<dialogue>Well, I did n't expect you to show up at my job.</dialogue>
<character>WILLS</character>
<dialogue>I followed you in. I was n't even sure it was you. All I have is an old snapshot.</dialogue>
<character>LISA</character>
<dialogue>My boss thought you were a stalker.</dialogue>
<character>WILLS</character>
<dialogue>I did n't mean to run off like that.</dialogue>
<character>LISA</character>
<dialogue>But you did.</dialogue>
<scene_description>An awkward silence .</scene_description>
<character>LISA</character>
<dialogue>So you got my letter. What'd you do? Freak out? Burn it?</dialogue>
<character>WILLS</character>
<dialogue>I saved it.</dialogue>
<character>LISA</character>
<dialogue>I was just blowing off some steam, okay? I think I have the right.</dialogue>
<character>WILLS</character>
<dialogue>So do I. Look, why do n't we go upstairs.</dialogue>
<character>LISA</character>
<parenthetical>( uneasily . )</parenthetical>
<dialogue>No. I did n't plan to come. Peter. my husband. he agrees. He thinks it's a futile exercise. But it turns out I'm pregnant. Just a few months, but -</dialogue>
<character>WILLS</character>
<dialogue>Lisa - Congratulations. That's wonderful.</dialogue>
<scene_description>His sincerity stops her . She softens slightly , mustering a tiny smile -</scene_description>
<character>LISA</character>
<dialogue>Thanks. Anyway, I guess it made me want to meet you. I've been a little sentimental about parent - hood.</dialogue>
<character>WILLS</character>
<dialogue>Is that what you consider me?</dialogue>
<character>LISA</character>
<dialogue>In a lousy absentee sorta way, sure.</dialogue>
<scene_description>Pause .</scene_description>
<character>WILLS</character>
<dialogue>How's your mom?</dialogue>
<character>LISA</character>
<dialogue>Great. Nuts. She moved to Costa Rica last summer.</dialogue>
<character>WILLS</character>
<dialogue>Why?</dialogue>
<character>LISA</character>
<dialogue>A guy, what else? He owns a charter airline and wears sunglasses indoors. I think he might be a gunrunner.</dialogue>
<scene_description>Wills chuckles . For the first time , Lisa relaxes enough to take him in .</scene_description>
<character>LISA</character>
<dialogue>You know, you're much better looking in person than in photographs. I always assumed Mom was exaggerating, but she was n't.</dialogue>
<character>WILLS</character>
<dialogue>Thanks. You're not bad looking yourself.</dialogue>
<scene_description>Lisa smiles , and , much to her embarrassment , tears come to her eyes . She shakes her head at how absurd she is , treasuring kind words from a father she does n't know .</scene_description>
<character>LISA</character>
<dialogue>Anyway. I should go.</dialogue>
<character>WILLS</character>
<dialogue>Already?</dialogue>
<character>LISA</character>
<dialogue>I really just wanted to meet you and. maybe. I do n't know.</dialogue>
<character>WILLS</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>What is it? Tell me.</dialogue>
<scene_description>She sniffles and looks away -</scene_description>
<character>LISA</character>
<dialogue>Nothing earth - shattering. Maybe just to hear you say you were sorry.</dialogue>
<scene_description>Silence .</scene_description>
<character>WILLS</character>
<dialogue>I am. I'm very sorry.</dialogue>
<scene_description>She stares at him long and hard , waiting for some more palpable sign of remorse . It is n't forthcoming . Finally , she nods .</scene_description>
<character>LISA</character>
<dialogue>Okay. Thanks.</dialogue>
<scene_description>She turns and walks away . His voice stops her -</scene_description>
<character>WILLS</character>
<dialogue>Can I call you?</dialogue>
<scene_description>She turns around , hesitates for a moment , then nods . She continues to the door . But then she stops and turns -</scene_description>
<character>LISA</character>
<dialogue>Before. when you came in. who did you think I was?</dialogue>
<character>WILLS</character>
<dialogue>A friend.</dialogue>
<character>LISA</character>
<dialogue>You must like her an awful lot.</dialogue>
<scene_description>She smiles simply and heads for the door . When she is gone , Wells slowly walks back toward the elevators , but then abruptly stops in his tracks , deliberating .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VILLAGE -- DAWN</stage_direction>
<scene_description>THE CAMERA CRANES DOWN SLOWLY from a view of the sun rising in the EASTERN SKY to a TAXI gliding over to the curb in front of . CHARLOTTE 'S BROWNSTONE - DAWN Charlotte , looking tired and a little pale , pays the driver and emerges from the taxi . She makes her way up the steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE -- CONTINUOUS</stage_direction>
<scene_description>Looking down from the second - floor landing , we see Charlotte enter and walk up the stairs toward us . As she reaches the landing , she feels a STABBING PAIN IN HER CHEST and stops walking . Wincing , she waits for the pain to subside .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLOTTE'S BEDROOM -- CONTINUOUS</stage_direction>
<scene_description>Charlotte enters wearily , drops her purse on the floor , then turns and GASPS . Wills lies sprawled in an armchair fully dressed , sound asleep . Charlotte is offended by the intrusion . She hurries over to awaken him . But then she stops . Her face softens slightly . She studies his face . touches his cheek with the back of her hand . traces the lines at his eyes with a fingertip . smooths back a wisp of hair . Finally , snapping to , steeling herself , she jostles him -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey.</dialogue>
<scene_description>Wills wakes with a violent start . When he sees her , he drops his head back . He closes his eyes again and murmurs sleepily -</scene_description>
<character>WILLS</character>
<dialogue>Where were you? I was worried.</dialogue>
<character>CHARLOTTE</character>
<dialogue>So worried you fell asleep. What're you doing here?</dialogue>
<character>WILLS</character>
<dialogue>I've missed you. You have no idea how much.</dialogue>
<scene_description>She crosses coldly to her closet and , half - shutting the door , blocking his view , starts to undress .</scene_description>
<character>CHARLOTTE</character>
<dialogue>How'd you get in?</dialogue>
<scene_description>He sits up , rubbing his eyes in the morning light .</scene_description>
<character>WILLS</character>
<dialogue>Dolly. We watched TV. She fell asleep. What time is it?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I did n't know I had a curfew.</dialogue>
<character>WILLS</character>
<dialogue>Where were you?</dialogue>
<character>CHARLOTTE</character>
<dialogue>None of your business. So what is it? What do you want?</dialogue>
<scene_description>Wills sits forward , more alert now . He exhales heavily and begins :</scene_description>
<character>WILLS</character>
<dialogue>To tell you that you were right. I do hate myself. But not so much that I ca n't see how stupid and despicable and -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Cowardly.</dialogue>
<character>WILLS</character>
<dialogue>And cowardly what I did was. And even though there's no excuse for it, I want you to forgive me.</dialogue>
<scene_description>She turns and looks at him . She feels herself relenting . She turns away and continues undressing -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Why should I?</dialogue>
<character>WILLS</character>
<dialogue>Because, for better or worse, I'm falling in love with you, and the thought of our not being together is unbearable to me.</dialogue>
<scene_description>She stops , then glances at him with a flash of pain and longing . Determined not to surrender to her feelings , she crosses to the bed and throws open the covers .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Let's sleep.</dialogue>
<scene_description>She crawls into bed .</scene_description>
<character>CHARLOTTE</character>
<dialogue>In the morning, we'll talk about what a gigantic asshole you are.</dialogue>
<scene_description>Wills , relieved , crosses to the bed and begins to undress . He asks casually -</scene_description>
<character>WILLS</character>
<dialogue>So where were you?</dialogue>
<character>CHARLOTTE</character>
<dialogue>With Shannon and Simon and Eric.</dialogue>
<character>WILLS</character>
<dialogue>Who's Eric?</dialogue>
<character>CHARLOTTE</character>
<dialogue>An old friend who used to work at Blockbuster.</dialogue>
<character>WILLS</character>
<dialogue>What'd you guys do?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Talked and drank. Simon and Shannon finally went home. Eric and I hung out.</dialogue>
<scene_description>Thinking nothing of it , Wills nods . He slips into bed . Her back is to him . He drapes an arm around her and pulls her a little closer . He smiles contentedly and closes his eyes . But then something occurs to him . He opens his eyes -</scene_description>
<character>WILLS</character>
<dialogue>Hung out where?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Stop. We'll talk about it tomorrow.</dialogue>
<character>WILLS</character>
<dialogue>Fine.</dialogue>
<scene_description>He closes his eyes again . A few beats later , they open .</scene_description>
<character>WILLS</character>
<dialogue>Talk about what? Is there something to talk about? What happened?</dialogue>
<scene_description>Charlotte , eyes still closed , breaks into a sly , amused smile .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK WEST -- DAY</stage_direction>
<scene_description>Wills and Charlotte , collars turned up against the brisk wind , walk together . Charlotte wears a backpack . Wills tries desperately to appear casual -</scene_description>
<character>WILLS</character>
<dialogue>No, honestly, I think I have a right to know.</dialogue>
<character>CHARLOTTE</character>
<dialogue>And I honestly think I have a right not to tell you.</dialogue>
<character>WILLS</character>
<dialogue>You're being unreasonable.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You're being nosy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK -- DAY</stage_direction>
<scene_description>They move down a winding walkway beneath barren trees -</scene_description>
<character>WILLS</character>
<dialogue>You know, in this day and age it's not so outrageous a request. I mean, I do n't know this kid. I do n't know where he's been.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( laughing incredulously . )</parenthetical>
<dialogue>You're worried about where he's been? Give me a break!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOLLMAN RINK -- DAY</stage_direction>
<scene_description>Wills watches as Charlotte laces up her figure skates -</scene_description>
<character>WILLS</character>
<dialogue>It requires balance and I have lousy balance, okay?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Oh, come on, what's the worst that can happen?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Well, I guess you could break a hip.</dialogue>
<character>WILLS</character>
<dialogue>Look, I'm not in a sporting mood!</dialogue>
<character>CHARLOTTE</character>
<dialogue>How come?</dialogue>
<character>WILLS</character>
<dialogue>I'm jealous, okay?! Is that what you want to hear? Are you satisfied now?</dialogue>
<scene_description>She burst out laughing -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Not even close!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOLLMAN RINK -- DAY</stage_direction>
<scene_description>Wills paces the bleachers , furious , while Charlotte skates nearby -</scene_description>
<character>WILLS</character>
<dialogue>All I want is a simple answer and you're torturing me! And I resent it! It's cruel and juvenile! And I -</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( exploding . )</parenthetical>
<dialogue>HEY!</dialogue>
<scene_description>Her anger startles him . She skates over quickly and skids to an abrupt stop -</scene_description>
<character>CHARLOTTE</character>
<dialogue>It's not! It's adult! It's revenge! And if you think it's bad not knowing what I did - well, it's even worse knowing exactly what you did!</dialogue>
<scene_description>She turns and skates away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOLLMAN RINK -- AFTERNOON</stage_direction>
<scene_description>Wills sits on the bleachers , miserably brooding , while Charlotte gracefully glides by , laughing and chatting with THREE YOUNG MALE SKATERS whom she 's just met .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK -- NIGHTFALL</stage_direction>
<scene_description>They walk together in silence . Wills is sullen . Finally , Charlotte takes his hand and speaks gently but firmly -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Do me a favor, okay? Never ask me again what happened with Eric. Just accept the fact that you'll never, ever know. And if that hurts, then think about it next time you want to cheat on somebody.</dialogue>
<scene_description>Wills reflects .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>Charlotte and Wills are little more than silhouettes , lying entwined in the rich darkness , conversing in whispers :</scene_description>
<character>WILLS</character>
<dialogue>I wish I were exaggerating, but I'm not. I slept with every one of them. Really. Look through Dolly's old photo albums. or any movie magazine. visit Aspen at Christmas. I was on a mission. And until recently I really did n't think I had a problem. Or if I did, it was definitely the most pleasurable one I could imagine.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What changed?</dialogue>
<character>WILLS</character>
<dialogue>My house in Malibu burned to the ground.</dialogue>
<scene_description>Charlotte laughs . Wills smiles with sad irony .</scene_description>
<character>WILLS</character>
<dialogue>I know, it sounds funny. But it must have triggered something because the next thing I knew I could n't sleep. I'd lie awake at night absolutely terrified. Like a kid left alone in the dark.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What were you scared of?</dialogue>
<character>WILLS</character>
<dialogue>How quickly time was passing and how adolescent I still felt. How meaningless all my choices seemed. How lonely I was. So I liquidated my portfolio, sold my businesses, and moved back here. To start over, settle down, start acting my age.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You were supposed to be my one last dalliance with youth.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Well, for your sake, I hope I am.</dialogue>
<scene_description>He thinks for a moment , then smiles , and kisses her brow .</scene_description>
</scene>
<scene>
<stage_direction>INT. MACDONALD'S -- DAY</stage_direction>
<scene_description>Wills sits with John , Sarah , and the twins at a plastic table overrun with food , wrappers , and squashed condiment tubes . Sarah speaks to Wills -</scene_description>
<character>SARAH</character>
<dialogue>Judge you? Why would I? Screw the age difference - I like the new you! Before Charlotte came along, do you have any idea how hard it was to get you to sit down for a Happy Meal?</dialogue>
<scene_description>Wills and John laugh . Molly , one of the twins , chimes in -</scene_description>
<character>MOLLY</character>
<dialogue>Uncle Wills, how come you do n't get married?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, how come, Uncle Wills?</dialogue>
<character>WILLS</character>
<dialogue>I want to, Carla, but -</dialogue>
<character>MOLLY</character>
<dialogue>I'm not Carla! I'm Molly!</dialogue>
<character>WILLS</character>
<dialogue>Well, Molly, I just have n't met the right woman yet.</dialogue>
<character>CARLA</character>
<dialogue>What about Charlotte? She's funny - pretty.</dialogue>
<character>SARAH</character>
<parenthetical>( aside to Wills . )</parenthetical>
<dialogue>It means funny and pretty. It's their highest compliment.</dialogue>
<character>WILLS</character>
<dialogue>I agree.</dialogue>
<parenthetical>( rising from the table . )</parenthetical>
<dialogue>She's also demanding.</dialogue>
<character>JOHN</character>
<dialogue>Where're you goin'?</dialogue>
<character>WILLS</character>
<dialogue>She's decided she wants her birthday present today.</dialogue>
<scene_description>Wills gives both of the little girls hugs and kisses .</scene_description>
<character>JOHN</character>
<dialogue>But that was last month.</dialogue>
<character>WILLS</character>
<dialogue>The Dom did n't count. This is her real present. She chose it herself and it's not material.</dialogue>
<character>JOHN</character>
<dialogue>Now you got me curious.</dialogue>
<character>SARAH</character>
<dialogue>Yeah, what is it?</dialogue>
<scene_description>Wills shakes his head and smiles , reluctant to answer . From the next scene we hear the sound of TWO DOZEN PEOPLE BREATHING FURIOUSLY .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO -- AFTERNOON</stage_direction>
<scene_description>On a slightly elevated stage , HARI SINGH , 35 , an American Sikh wearing a white robe and turban , sits in the lotus position before a lighted candle , softly instructing the crowded class -</scene_description>
<character>HARI</character>
<dialogue>Okay. breath of fire. now inhale deeply. hold the breath. let your heart lotus blossom. feel the energy rise. and exhale. Good. Now peacock pose.</dialogue>
<scene_description>Hari rolls forward , digs his elbows into his midsection , and pops up so that he is parallel to the floor with his legs still crossed . ANGLE ON THE CLASS , all moving into the pose . In the center of the class are Wills and Charlotte , wearing sweats . His arms shaking , Wills is clearly in pain . He mutters -</scene_description>
<character>WILLS</character>
<dialogue>When does the enlightenment start?</dialogue>
<character>CHARLOTTE</character>
<dialogue>When you realize that I'm God.</dialogue>
<scene_description>Wills laughs . A moment later , Charlotte winces and falls out of the pose onto the mat . Hari looks over , confused -</scene_description>
<character>HARI</character>
<dialogue>Are you all right?</dialogue>
<scene_description>Charlotte sits up quickly , smiling -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Yeah. No big deal. Cramp in the old fifth shakra!</dialogue>
<scene_description>She glances over at Wills . He sees that she 's scared to death . He helps her to her feet , speaking softly in her ear -</scene_description>
<character>WILLS</character>
<dialogue>Do n't worry. You're gon na be okay.</dialogue>
<scene_description>She nods . They move toward the door . But after a few steps , her eyes flutter , her body goes limp , and she slams down on the mat , UNCONSCIOUS .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPEEDING AMBULANCE -- AFTERNOON</stage_direction>
<scene_description>Charlotte lies on a stretcher near Wills and a PARAMEDIC -</scene_description>
<character>CHARLOTTE</character>
<dialogue>It's no big deal. I just hyperventilated. Really.</dialogue>
<scene_description>But then she gasps as she 's hit by a stab of pain . Wills throws a grave look at the medic and squeezes her hand more tightly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ST. VINCENT'S HOSPITAL -- ESTABLISHING -- NIGHT</stage_direction>
<scene_description>The building is brightly illuminated against the night sky .</scene_description>
</scene>
<scene>
<stage_direction>INT. ST. VINCENT'S WAITING ROOM -- NIGHT</stage_direction>
<scene_description>Wills sits , anxiously struggling with a half - finished crossword puzzle . He hears the click of a lighter . A GRUBBY LITTLE MAN standing by the coffee machine lights a generic cigarette .</scene_description>
<character>WILLS</character>
<dialogue>Excuse me. do you have an extra one of those?</dialogue>
<character>LITTLE MAN</character>
<parenthetical>( eyes narrowing . )</parenthetical>
<dialogue>You a smoker?</dialogue>
<character>WILLS</character>
<dialogue>Not for years.</dialogue>
<character>LITTLE MAN</character>
<dialogue>Well, hell, if I'm gon na be the one to get you goin' again.</dialogue>
<scene_description>Pause .</scene_description>
<character>WILLS</character>
<dialogue>Thanks.</dialogue>
<character>LITTLE MAN</character>
<dialogue>Do n't mention it.</dialogue>
<scene_description>Wills looks up and sees Dr. Sibley standing in the doorway .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEMETRY FLOOR CORRIDOR -- NIGHT</stage_direction>
<scene_description>Sibley walks Wills down the hallway -</scene_description>
<character>SIBLEY</character>
<dialogue>The repeat MRI and CAT scan do show interval progression.</dialogue>
<character>WILLS</character>
<parenthetical>( uncertainly . )</parenthetical>
<dialogue>Which means the tumor's grown?</dialogue>
<character>SIBLEY</character>
<dialogue>Yes. Yes, it has. Considerably. As for her loss of consciousness, one explanation is a disturbance in her heart's electrical function. We'll be monitoring her overnight for any arrhythmias. If we find something, we'll treat it. Unfortunately, the more likely explanation is that the tumor has begun to obstruct the outflow of her heart. If that's the case, there's little we can do. We could be speaking in terms of weeks not months.</dialogue>
<scene_description>They arrive at Charlotte 's room .</scene_description>
<character>SIBLEY</character>
<dialogue>When she returns home, we'll want her to stay active, but do n't let her overexert herself.</dialogue>
<parenthetical>( off Wills ' nod . )</parenthetical>
<dialogue>Do n't stay long. She's been sedated.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLOTTE'S HOSPITAL ROOM -- SAME</stage_direction>
<scene_description>Charlotte lies in the bed with her eyes closed . An EKG monitor bleeps steadily in the corner . An IV drip hangs by her bed . Wills enters and sits down at her bedside . He touches her hand . She opens her eyes and smiles drowsily -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey.</dialogue>
<scene_description>Wills is terribly anxious . His speech is accelerated</scene_description>
<character>WILLS</character>
<dialogue>Are you all right? You're okay? How do you feel?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Stoned.</dialogue>
<character>WILLS</character>
<dialogue>I'll let you rest. I should. You'll sleep and then -</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( touching his hand . )</parenthetical>
<dialogue>Shhh.</dialogue>
<scene_description>He nods and inhales deeply . His heart is racing . She murmurs -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You still owe me a birthday present.</dialogue>
<character>WILLS</character>
<dialogue>I do not.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Just'cause I fainted is no excuse for you to bail on your peacock pose.</dialogue>
<scene_description>She smiles sleepily . Wills lifts a hand to her mouth and whispers :</scene_description>
<character>WILLS</character>
<dialogue>It ought to be illegal.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What?</dialogue>
<character>WILLS</character>
<dialogue>Your smile. It's too pretty.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I've ruined you for other women.</dialogue>
<character>WILLS</character>
<dialogue>You have.</dialogue>
<character>CHARLOTTE</character>
<dialogue>All part of my master plan.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Do you wan na hear a story. a bedtime story?</dialogue>
<character>WILLS</character>
<dialogue>Should n't I be telling you one?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Once upon a time, there was a woman on a ship crossing the Atlantic and her little boy got sick. Very sick. And she said whoever saves my boy's life. I'll name my next baby after them. Well, they got into port and they rushed her son to St. Vincent's hospital. to here. and they saved his life. And so the mother named her next baby Edna St. Vincent Millay.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And Edna grew up to be, as I am sure you know, the second greatest female poet in American history.</dialogue>
<character>WILLS</character>
<dialogue>The first would be Emily Dickinson.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You're a quick learner - I like that about you.</dialogue>
<parenthetical>( half to herself . )</parenthetical>
<dialogue>`` It may be, when my heart is dull, Having attained its girth, I shall not find so beautiful The meagre shapes of earth, Nor linger in the rain to mark The small of tansy through the dark.''</dialogue>
<scene_description>Her eyes drift shut -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I am so pretentious.</dialogue>
<scene_description>Wills laughs , then clears his throat , and looks suddenly serious -</scene_description>
<character>WILLS</character>
<dialogue>Charlotte, listen, I -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Uh - oh. Heavy, heavy.</dialogue>
<character>WILLS</character>
<dialogue>I just think -</dialogue>
<character>CHARLOTTE</character>
<dialogue>No. No violins. I'm fine. Go home. sleep.</dialogue>
<scene_description>He considers for a moment , then , tears welling in his eyes , he lifts her hand to his mouth and kisses it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNSTONE LIVING ROOM -- AFTERNOON</stage_direction>
<scene_description>Wills sits across from Simon who strokes Shannon 's back as she weeps -</scene_description>
<character>SHANNON</character>
<dialogue>It just did n't seem real and now that it is, I hate it! It's so unfair!</dialogue>
<scene_description>Dolores , sitting in her armchair , mutters as though by rote -</scene_description>
<character>DOLLY</character>
<dialogue>Fare is what you pay on the train to Jersey. Fair is the place that smells like manure where, if you're real lucky, you win a blue ribbon for your home - made pickles. Fair is a sky without a cloud and a face with a mark. Fare is food. What fair is n't is everything else.</dialogue>
<character>SIMON</character>
<dialogue>Well, I think I speak for all of us when I say that we've heard quite enough from Dolores.</dialogue>
<scene_description>Dolores chuckles . Simon continues to Wills -</scene_description>
<character>SIMON</character>
<dialogue>Now, correct me if I'm wrong, but I believe what you're saying is that while the end may be in sight, it has not yet arrived.</dialogue>
<character>WILLS</character>
<dialogue>That's right. The tumor's begun to interfere with the function of her heart, but she -</dialogue>
<character>SIMON</character>
<dialogue>Then why exactly have you called us here?</dialogue>
<scene_description>Wills falters , looking at him incredulously .</scene_description>
<character>SIMON</character>
<dialogue>I cut short a lunch date, Shannon's missing her low - impact aerobics class, and Dolores has delayed the start of her happy hour - surely you must have had good reason.</dialogue>
<character>WILLS</character>
<dialogue>I thought Charlotte's health might be of some interest you.</dialogue>
<character>SIMON</character>
<dialogue>It is. You could have told me all about it on the telephone.</dialogue>
<character>WILLS</character>
<dialogue>I also thought it might be a good idea if we discussed ways to make her as comfortable as possible for the -</dialogue>
<character>SIMON</character>
<dialogue>Charlotte loathes comfortable. I never sought to bore her with comfort while she was well, why should I start now that she's sick?</dialogue>
<scene_description>Wills stares at Simon , his face ashen and full of contempt -</scene_description>
<character>WILLS</character>
<dialogue>Tell me, are you really so cold? Or is it just a pose that you've cultivated?</dialogue>
<character>SIMON</character>
<dialogue>It's a pose that I've cultivated.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I chose it, as a sort of smoke screen, some time after attending my twentieth funeral in as many months.</dialogue>
<scene_description>Pause .</scene_description>
<character>WILLS</character>
<dialogue>I'm sorry.</dialogue>
<character>SIMON</character>
<dialogue>It's quite all right. But, honestly, it shocks me how often you people forget. Our phone books have as many numbers crossed out as written in. So that while death is certainly as painful to us as it is to you, we do not find it nearly so. extraordinary.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Do n't misunderstand me. I adore Charlotte and when she dies, I would. were it not already in that state. cry my heart dry.</dialogue>
<scene_description>Shannon looks at Simon and burst into tears again . Simon holds her even closer , rubbing her back .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREET -- NIGHTFALL</stage_direction>
<scene_description>Wills emerges from Charlotte 's brownstone , hails a cab , then decides against it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREETS -- NIGHTFALL</stage_direction>
<scene_description>Head down , eyes desolate , Wills walks uptown . The roaring traffic , dense crowds , blaring music , flashing neon - the great welter of urban life is entirely lost on him . He can think only of Charlotte .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HELL'S KITCHEN -- NIGHT</stage_direction>
<scene_description>Wills walks down a dark block , his jacket open to the cold night wind , his cheeks and ears burned red .</scene_description>
</scene>
<scene>
<stage_direction>INT. HELL'S KITCHEN WALK-UP FOYER -- NIGHT</stage_direction>
<scene_description>Wills enters , checks the tenant list , then presses a buzzer . He speaks into the intercom and a moment later is buzzed up .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALK-UP STAIRWELL -- NIGHT</stage_direction>
<scene_description>FOLLOW WILLS , running up the stairs . He arrives at a door , cold and gasping for breath . He hears footsteps . THE DOOR OPENS , but we do not see who is there .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALK-UP LIVING ROOM -- LATER</stage_direction>
<scene_description>Wills paces , speaking desperately to someone . He seems on the verge of a total nervous collapse -</scene_description>
<character>WILLS</character>
<dialogue>She's in the hospital now. She does n't have long. Weeks maybe and - She. Anyway, I have something to ask you. A favor. I have no right to ask. I know. I'd do it myself, but I ca n't. I'm too. I'm.</dialogue>
<scene_description>He takes a deep breath to keep himself from crying . ANGLE ON LISA , his daughter , sitting on the couch , listening , her face unreadable -</scene_description>
<character>LISA</character>
<dialogue>What is it?</dialogue>
<character>WILLS</character>
<dialogue>I want you to find a surgeon. Dr. Sibley told me. Charlotte's doctor told me. he said at some point, when it's hopeless, surgery could be an option. Heroic surgery, he called it. I want to make sure that when the time comes a hero is performing that heroic surgery. Do you understand? You'll have to make calls. I'll get names. Sibley will give me names.</dialogue>
<parenthetical>( fighting tears . )</parenthetical>
<dialogue>I'm sorry to ask you. I have no right. But, you see, she does n't want it. this surgery. I'll have to convince her. So no one can know. for now. And I trust you. You're my only family and I.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You have every right to refuse me. After what I did. You were a child. and you needed me. and I was nowhere to be found. There's no excuse for that. I'm so terribly sorry!</dialogue>
<scene_description>Silence .</scene_description>
<character>LISA</character>
<dialogue>I'd be happy to do it.</dialogue>
<scene_description>Wills , stunned , deeply grateful , allows himself a breath .</scene_description>
<character>LISA</character>
<dialogue>Dad, I'm really sorry she's sick.</dialogue>
<character>WILLS</character>
<parenthetical>( almost inaudible . )</parenthetical>
<dialogue>I am, too. So sorry. I should be the one. It should be me.</dialogue>
<scene_description>Lisa , flooded with compassion , wants to go to him , comfort him , but she stays where she is .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARL SCHURZ PARK -- LATE AFTERNOON</stage_direction>
<scene_description>The darkening sky is swept with a brisk wintry breeze . Shadows descend from the trees and towering rocks . AN OLD MAN sits on a bench , reading a newspaper . A NANNY pushes a baby carriage past . Wills and Charlotte walk together , bundled up again the cold . Charlotte walks backward , her breath shooting out into the cold air like smoke -</scene_description>
<character>CHARLOTTE</character>
<dialogue>You never talk about my mother.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Talk about her.</dialogue>
<character>WILLS</character>
<dialogue>What do you want to know?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Everything. All I remember is that she smelled like vanilla, loved to read to me, and was really good at cutting up fruit. I could n't believe she did n't cut her fingers off.</dialogue>
<character>WILLS</character>
<dialogue>Well, I remember a little more than that. Let's see. she was blonde. about your height -</dialogue>
<character>CHARLOTTE</character>
<dialogue>I've seen pictures, dummy.</dialogue>
<character>WILLS</character>
<dialogue>Oh, okay. She. always ate her ice cream with a fork - how's that?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Much better.</dialogue>
<character>WILLS</character>
<dialogue>And she wrote great letters, but could n't spell at all.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Neither can I.</dialogue>
<character>WILLS</character>
<dialogue>She was a McGovern Democrat but also an incredible snob. She loved blueberries. She had the world's worst backhand. Her favorite singer was Stephen Stills.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Who?</dialogue>
<character>WILLS</character>
<dialogue>Never mind. She was afraid of sharks. And, considering the times, she was pretty square. She only tried drugs once - a lifeguard gave her a hash brownie and she threw it up all over him.</dialogue>
<scene_description>Charlotte laughs .</scene_description>
<character>WILLS</character>
<dialogue>And she laughed just like that. And she bit her fingernails. And she could n't tell a joke.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>In short, she was a unique.</dialogue>
<scene_description>Charlotte smiles happily .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EAST RIVER ESPLANADE -- MINUTES LATER</stage_direction>
<scene_description>Wills and Charlotte lean down on the railing , watching the water purl and eddy around Randall 's Island .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Did you know she was in love with you?</dialogue>
<character>WILLS</character>
<dialogue>She told me.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Were you in love with her?</dialogue>
<character>WILLS</character>
<dialogue>Yes.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Why? Because she was the only girl in Rhode Island who would n't sleep with you?</dialogue>
<character>WILLS</character>
<dialogue>That's how she got my attention ; it's not why I fell in love with her.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I fell in love with her because she charmed me senseless day and night for an entire summer.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Then why did you screw her best friend on Labor Day?</dialogue>
<scene_description>Wills looks at her darkly . She smiles and shrugs -</scene_description>
<character>CHARLOTTE</character>
<dialogue>It's just a question.</dialogue>
<scene_description>Wills sighs and looks away , reflecting -</scene_description>
<character>WILLS</character>
<dialogue>I have no idea. The summer was over. Your mom was going back to Smith. I was moving down here to work on Wall Street. It was our last day together. She was crying. She told me, for the first time, that she loved me. I said I loved her, too. I promised to call and visit. A few hours later I was in a cabana with Millie.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>When Millie told me she was pregnant and that she wanted to marry me, I escaped to L.A. and I never saw her or your mom again.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( wryly . )</parenthetical>
<dialogue>Well done.</dialogue>
<character>WILLS</character>
<dialogue>I think it's part of the reason I never came back.</dialogue>
<character>CHARLOTTE</character>
<dialogue>But why're you like that? What is it? I mean, you were n't born that way.</dialogue>
<character>WILLS</character>
<dialogue>I might as well have been. For as long as I can remember, I've always run off at the first sign of a woman wanting anything from me. relying on me in any way.</dialogue>
<scene_description>She considers for a moment -</scene_description>
<character>CHARLOTTE</character>
<dialogue>But I want everything from you, Wills. I rely on you in every way.</dialogue>
<character>WILLS</character>
<dialogue>I know.</dialogue>
<character>CHARLOTTE</character>
<dialogue>So the only reason you do n't dump me is because I'm sick? Because you know that it's all going to be over, anyway?</dialogue>
<character>WILLS</character>
<dialogue>Maybe. But it does n't feel that way.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It feels as though I'm not afraid anymore.</dialogue>
<scene_description>She looks at him and smiles . He puts an arm around her and draws her close .</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI -- AFTERNOON</stage_direction>
<scene_description>Wills looks out the window , his arm draped around Charlotte who lies nestled against him , eyes closed . He suddenly sees something . He thinks . Checks his watch . His eyes ignite and he calls out excitedly to the driver -</scene_description>
<character>WILLS</character>
<dialogue>Driver! Quick! Pull over here! Right here!</dialogue>
<scene_description>Charlotte , a little sleepy , comes to . She looks out the window and her face softens with happiness .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BRICK CHURCH, 92ND AND PARK -- SAME</stage_direction>
<scene_description>On the steps of the old church a CHOIR sings Christmas carols . All around them , a LARGE CROWD sings along . Wills and Charlotte get out of the cab . His arm around her , Wills pulls her into the crowd . They join the carol . Wills sings well . Charlotte is tone deaf . In between lines of the song , she calls out -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I did n't know you could sing!</dialogue>
<character>WILLS</character>
<dialogue>I did n't know you could n't!</dialogue>
<scene_description>She laughs and continues to sing . THE CAROLS ENDS to cheers and applause . THE CHOIRMASTER steps forward to a microphone -</scene_description>
<character>CHOIRMASTER</character>
<dialogue>Well, you all know what time it is!</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( confused to Wills . )</parenthetical>
<dialogue>No, I do n't. Do you?</dialogue>
<scene_description>He grins . The choirmaster nods at someone in the distance . Then holds up a hand , fingers spread , and begins to count down . The crowd joins in -</scene_description>
<character>CHOIRMASTER AND CROWD</character>
<dialogue>TEN, NINE, EIGHT, SEVEN, SIX, FIVE, FOUR, THREE, TWO, ONE!</dialogue>
<scene_description>At that instant , ALL THE WHITE CHRISTMAS LIGHTS on the trees of the median from 96th Street to 44th Street POP ON SIMULTANEOUSLY - an enchanted fairy - tale spectacle . The crowd and the choir cheer and clap , cars honk their horns . Charlotte 's eyes are filled with happy wonder .</scene_description>
<character>CHOIRMASTER</character>
<dialogue>HAPPY HOLIDAYS!</dialogue>
<scene_description>As another carol begins , Wills wraps his arms around Charlotte and kisses her . He pulls away , looks deeply into her eyes , and whispers with passionate sincerity -</scene_description>
<character>WILLS</character>
<dialogue>I love you, Charlotte.</dialogue>
<scene_description>For an instant , her eyes flare as though she were surprised . Then her eyes fill with tears . She tries to speak but she is choked by a sob . She buries her face in his chest and cries . Wills smiles with warm , almost paternal , indulgence . He strokes her hair . She hugs him as though she 'll never let go .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM -- NIGHT</stage_direction>
<scene_description>The restaurant is packed . John , overwhelmed by the crowd waiting for tables , glances angrily away when he hears the phone ringing and no one answering it .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELYSIUM KITCHEN -- SAME</stage_direction>
<scene_description>Amid the Pandemonium , Wills watches as Charlotte teases HENRY , 30 , the young chef , as he lays the beet garnishes on a fish entree .</scene_description>
<character>CHARLOTTE</character>
<dialogue>You call that a rose? It looks more like a hand grenade!</dialogue>
<character>HENRY</character>
<dialogue>Mr. Keane, you get her outta here or, I swear to God, I'm gon na butterfly and stuff her!</dialogue>
<character>WILLS</character>
<dialogue>I'll add it to the specials list.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>No way! I'm too pricey!</dialogue>
<scene_description>The door bangs open . John enters , looking angry -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hello, Sunshine!</dialogue>
<character>JOHN</character>
<dialogue>You seen Celia?</dialogue>
<character>WILLS</character>
<dialogue>What's the matter?</dialogue>
<character>JOHN</character>
<dialogue>The matter is I got a half - hour wait and no help up front! You got a call on Two!</dialogue>
</scene>
<scene>
<stage_direction>INT. ELYSIUM OFFICE -- SAME</stage_direction>
<scene_description>Wills enters , picks up the phone , and hits a flashing button -</scene_description>
<character>WILLS</character>
<dialogue>Wills Keane.</dialogue>
</scene>
<scene>
<stage_direction>INT. LISA'S LIVING ROOM -- EVENING</stage_direction>
<scene_description>Lisa 's face is flushed with excitement -</scene_description>
<character>LISA</character>
<dialogue>I've got him!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILLS' BUILDING -- MORNING</stage_direction>
<scene_description>A TOWN CAR is parked out front . Michael , the doorman , chats with the driver .</scene_description>
<character>LISA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>His name's Tom Grandy. Harvard undergrad. Columbia Medical School. He's at the Cleveland Clinic. I know, I know. But do n't laugh. It's one of the best in the world.</dialogue>
<scene_description>Wills exits the building and gets into the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. QUEENS -- MORNING</stage_direction>
<scene_description>The town car speeds down the expressway .</scene_description>
<character>LISA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He did his residency at the Brigham in Boston. his cardiac surgery training at Cleveland.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LA GUARDIA AIRPORT -- MORNING</stage_direction>
<scene_description>Wills walks quickly through the terminal .</scene_description>
<character>LISA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He was so good they kept him on and within three years he was chief of the program.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLEVELAND CLINIC -- DAY</stage_direction>
<scene_description>Wills gets out of a taxi and heads inside -</scene_description>
<character>LISA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He travels a lot. Spends lots of time lecturing. I got you an appointment tomorrow at twelve - thirty. Do n't be late. He only has fifteen minutes.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLEVELAND CLINIC CORRIDOR -- DAY</stage_direction>
<scene_description>TOM GRANDY , 35 , long - hair , small beard , loose - limbed , wearing scrubs , saunters down the hall , wearing a vaguely goofy smile . Wills watches him approach with some apprehension .</scene_description>
<character>LISA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The surgeon that recommended him said, and these are his words not mine, `` Do n't let his appearance fool you. He's brilliant and has balls the size of your head.''</dialogue>
</scene>
<scene>
<stage_direction>INT. GRANDY'S OFFICE -- SAME</stage_direction>
<scene_description>Wills listens to Dr. Grandy who speaks casually , more like a benign hippie than a renowned surgeon . Charlotte 's X - rays hang between them in an illuminated view box -</scene_description>
<character>GRANDY</character>
<dialogue>Listen, I'm not gon na bullshit you. If she were a baby, she'd have a decent chance,'cause these sorts of tumors can regress like crazy, but she's twenty and. I do n't know, man. I've never seen anything like it.</dialogue>
<parenthetical>( pointing at the X - ray . )</parenthetical>
<dialogue>I mean, look! It's wrapped around her vital structures like an octopus!</dialogue>
<parenthetical>( sitting . )</parenthetical>
<dialogue>You know, just once I'd like to get sent something simple. A `` cabbage,'' a valve replacement. Even a good old - fashioned transplant. But it does n't happen anymore. It's the downside of being good at my job.</dialogue>
<character>WILLS</character>
<dialogue>Good? They say there's no one better.</dialogue>
<character>GRANDY</character>
<dialogue>I do n't know. I'm like most people. I do the best I can.</dialogue>
<character>WILLS</character>
<dialogue>Can your best save her?</dialogue>
<character>GRANDY</character>
<dialogue>Probably not.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLEVELAND CLINIC CORRIDOR -- LATER</stage_direction>
<scene_description>Grandy and Wills walk together -</scene_description>
<character>GRANDY</character>
<dialogue>In these sorts of cases, it's best if she signs a consent.</dialogue>
<character>WILLS</character>
<parenthetical>( covering . )</parenthetical>
<dialogue>No problem.</dialogue>
<character>GRANDY</character>
<dialogue>Good.</dialogue>
<parenthetical>( stopping at the main entrance . )</parenthetical>
<dialogue>The last time Charlotte passed out, she regained consciousness almost immediately. The next time or the time after, she wo n't. When that happens, call me.</dialogue>
<parenthetical>( handing him a card . )</parenthetical>
<dialogue>Here's my service. They'll reach me no matter where I am. In the meantime, I'll coordinate with Dr. Sibley.</dialogue>
<character>WILLS</character>
<dialogue>I ca n't thank you enough.</dialogue>
<scene_description>Grandy smiles and pats him on the shoulder .</scene_description>
<character>GRANDY</character>
<dialogue>I have n't done anything yet.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- NIGHT</stage_direction>
<scene_description>Wills sits up , wearing glasses , reading a book . Charlotte enters from the bathroom wearing a flannel night shirt -</scene_description>
<character>CHARLOTTE</character>
<dialogue>By the way - where were you today?</dialogue>
<character>WILLS</character>
<dialogue>What do you mean?</dialogue>
<character>CHARLOTTE</character>
<dialogue>When you called I assumed you were at the restaurant, but when I called back later, Jesus said you had n't been in all day.</dialogue>
<character>WILLS</character>
<dialogue>I was in Montclair, New Jersey.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Why?</dialogue>
<character>WILLS</character>
<parenthetical>( playfully vague . )</parenthetical>
<dialogue>An opportunity.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Oh, really? Sexual or professional?</dialogue>
<character>WILLS</character>
<dialogue>I was considering opening a restaurant. But the rents are too high.</dialogue>
<scene_description>He smiles at her . And she smiles back .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- MORNING</stage_direction>
<scene_description>Charlotte lies asleep with her head on his chest . She opens her eyes . The room seems strange . It 's the light . She rises up and turns around . Her eyes narrow with curiosity . She crawls out of bed and runs to the window and looks out . She ca n't believe her eyes . Central Park is blanketed by deep snow and more is falling . She calls out gaily -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hey! How do you feel about Christmas?</dialogue>
<character>WILLS</character>
<parenthetical>( sleepily . )</parenthetical>
<dialogue>Bah humbug.</dialogue>
<scene_description>She runs back , laughing , and jumps on the bed , rousting him . A SEQUENCE BEGINS showing Charlotte and Wills during a day of holiday shopping . The deep snow has slowed the city to a crawl but filled everyone with good spirits . Charlotte and Wills move from store to store ; they buy wreaths , garlands , ornaments , candles , and , finally , a CHRISTMAS TREE and STAND . Wills starts to lug the tree , but when it 's obvious that it 's too much for him , Charlotte spots a GROUP OF KIDS spilling out of a record store . The next thing we know the kids are lined up , carrying the tree over their heads like a battalion of ants . Wills and the kids load the tree into the freight elevator and squeeze in . There 's no room for Charlotte . She 'll take the lobby elevator .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY ELEVATOR -- AFTERNOON</stage_direction>
<scene_description>Charlotte , carrying shopping bags , ascends in silence with Michael . She has no interest in chatting . He , as ever , does .</scene_description>
<character>MICHAEL</character>
<dialogue>Will you and Mister Keane be goin' away for the holidays?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I doubt it.</dialogue>
<character>MICHAEL</character>
<dialogue>I've seen so little of America. I do n't care for airplanes, you see, and I have so little time to travel.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Did Mister Keane enjoy his trip then?</dialogue>
<character>CHARLOTTE</character>
<dialogue>What trip?</dialogue>
<character>MICHAEL</character>
<dialogue>Why, just yesterday.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I would n't really call that a trip.</dialogue>
<character>MICHAEL</character>
<dialogue>Perhaps not. But I've never been to Ohio myself. They say parts of it are quite lovely.</dialogue>
<scene_description>Charlotte goes pale . The elevator stops and he opens the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' FOYER -- CONTINUOUS</stage_direction>
<scene_description>Charlotte steps out right into the kids who are roughhousing and laughing . Each holds a five - dollar bill -</scene_description>
<character>MICHAEL</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>All right, you little hellions! Get in here!</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- MOMENTS LATER</stage_direction>
<scene_description>Charlotte wanders in . The tree stands erect . Wills , on all fours , tightens the screws on the stand . He crawls to his feet and studies it .</scene_description>
<character>WILLS</character>
<dialogue>Straight?</dialogue>
<scene_description>Then he sees her grave expression and freezes .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I thought we had a deal.</dialogue>
<character>WILLS</character>
<dialogue>I'm sure we do. About what?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Lying.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You were in Ohio yesterday.</dialogue>
<scene_description>Wills stares at her for a moment , then explains without apology -</scene_description>
<character>WILLS</character>
<dialogue>I met with a heart specialist. He's willing to operate.</dialogue>
<scene_description>For an instant she is surprised , but then her indignation takes over -</scene_description>
<character>CHARLOTTE</character>
<dialogue>But you know I do n't want that! You know I've signed papers that -</dialogue>
<character>WILLS</character>
<dialogue>Well, maybe I want it.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It is n't your decision!</dialogue>
<character>WILLS</character>
<dialogue>Of course not, but if you'll hear me out -</dialogue>
<character>CHARLOTTE</character>
<dialogue>No! I told you right from the start how I felt and you went behind my back! You lied and -</dialogue>
<character>WILLS</character>
<parenthetical>( exploding . )</parenthetical>
<dialogue>Oh, Christ, knock it off! You're such a god damn saint, so above it all, but you're scared to death! You do want to live! And if you were as honest as you say you are you'd let the doctors do whatever they can to help you!</dialogue>
<scene_description>Her face shuts like a trap . She walks toward the bedroom door -</scene_description>
<character>CHARLOTTE</character>
<dialogue>I wo n't give people hope when there is n't any.</dialogue>
<character>WILLS</character>
<dialogue>Why not?! Maybe we want hope! Or maybe we just need to know that we did everything we could! Maybe I need to know that. if I'm going to be able to live. to go on without. without -</dialogue>
<scene_description>Suddenly , a sob catches in his throat . Charlotte , on her way to the bedroom , stops and slowly turns around . She speaks matter - of - factly , without judgment or feeling .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Now I know why you hurt so many women. Because you always knew if you held on to one of them, you'd never let go.</dialogue>
<scene_description>She turns and exits coldly to the bedroom . Wills sinks into an armchair .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- LATER</stage_direction>
<scene_description>In grey afternoon shadows , Charlotte lies on her side , fully clothed under the covers , with her eyes open , thinking . She hears something and looks back . Wills stands in the lighted doorway . She gestures for him to come . He walks over and lies down next to her . She turns her back to him , so that he 's spooning her , but she takes hold of his hand , pressing it against her chest and squeezing it like a doll . For a long time , they lie in silence . Finally , she murmurs almost inaudibly -</scene_description>
<character>CHARLOTTE</character>
<dialogue>When we met, I was so lonely. But I did n't even know it. I'd been alone so long. almost forever.</dialogue>
<character>WILLS</character>
<dialogue>So had I.</dialogue>
<character>CHARLOTTE</character>
<dialogue>But now we have each other.</dialogue>
<parenthetical>( beginning to cry . )</parenthetical>
<dialogue>Oh, what would I do, Wills? What would I do if you were n't here? Where would I be?</dialogue>
<scene_description>Fighting his emotions , determined to stay strong for her , he holds her close .</scene_description>
<character>WILLS</character>
<dialogue>You do n't ever have to worry about that.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'll do whatever I have to! I'll tear up the papers! Whatever you want! Tell the doctor! Because. I really do want. I do n't want to leave you!</dialogue>
<scene_description>The dam breaks and she is wracked by sobs . Wills closes his eyes , holds her even tighter , and rocks her in his arms .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' BEDROOM -- THAT EVENING</stage_direction>
<scene_description>Charlotte , still fully clothed , lies sound asleep . She slowly awakens and sees that Wills is gone . She gets up on one elbow -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Wills?!</dialogue>
<scene_description>She waits , hears hurried steps , then Wills sticks his head in -</scene_description>
<character>WILLS</character>
<dialogue>Yeah?</dialogue>
<character>CHARLOTTE</character>
<dialogue>How long was I asleep?</dialogue>
<character>WILLS</character>
<dialogue>A couple of hours.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Wow. And I'm still tired.</dialogue>
<character>WILLS</character>
<dialogue>That's all right. Relax.</dialogue>
<scene_description>Charlotte senses something odd in his tone . Her eyes narrow with suspicion .</scene_description>
<character>CHARLOTTE</character>
<dialogue>What're you doing in there?</dialogue>
<character>WILLS</character>
<dialogue>Nothing.</dialogue>
<scene_description>She laughs and starts to get up -</scene_description>
<character>CHARLOTTE</character>
<dialogue>Liar!</dialogue>
<character>WILLS</character>
<dialogue>Do n't! Do n't move! Just one more minute!</dialogue>
<scene_description>He closes the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- SAME</stage_direction>
<scene_description>Wills runs back into the room . The tree is fully decorated now . He dashes back and adjust some lights along the base .</scene_description>
<character>CHARLOTTE'S VOICE</character>
<parenthetical>( from the bedroom . )</parenthetical>
<dialogue>What're you doing?!</dialogue>
<scene_description>He runs over , inserts the plug and the TREE LIGHTS UP with LITTLE WHITE LIGHTS , but for the STAR AT THE TOP .</scene_description>
<character>CHARLOTTE'S VOICE</character>
<dialogue>Oh no! You did n't!</dialogue>
<character>WILLS</character>
<dialogue>You were just going to tire yourself out!</dialogue>
<scene_description>He grabs a chair and fiddles with the bulb inside the star .</scene_description>
<character>CHARLOTTE'S VOICE</character>
<dialogue>This I've got ta see!</dialogue>
<character>WILLS</character>
<dialogue>Just hold on!</dialogue>
<scene_description>THE STAR LIGHTS UP . He jumps down and puts the chair away . Then he runs over and dims the lights -</scene_description>
<character>WILLS</character>
<dialogue>Finishing touches!</dialogue>
<scene_description>He runs over and adjusts a garland . He runs back to the dimmer and adjusts it again -</scene_description>
<character>WILLS</character>
<dialogue>Almost!</dialogue>
<scene_description>He runs back to the bedroom door and flings it open .</scene_description>
<character>WILLS</character>
<dialogue>Voila!</dialogue>
<scene_description>He looks into the room and freezes in the doorway . He backs up a step , then , crying out , lunges into the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLS' BUILDING -- NIGHT</stage_direction>
<scene_description>Charlotte , lying unconscious on a stretcher , wearing an oxygen mask , is rushed into a waiting ambulance . Wills , beside himself with panic , is gently barred by a MEDIC from jumping in with her .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW HAVEN HOSPITAL LECTURE HALL -- NIGHT</stage_direction>
<scene_description>In the reflection of a projected slide , a hand offers a CELLULAR PHONE to Dr. Grandy , standing at a lectern in front of a group of doctors . He stops his lecture and takes the call .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREET -- NIGHT</stage_direction>
<scene_description>The ambulance rushes , light flashing , sirens wailing , downtown .</scene_description>
</scene>
<scene>
<stage_direction>INT. ST. VINCENT'S HOSPITAL -- NIGHT</stage_direction>
<scene_description>Charlotte 's stretcher is rushed into the emergency room at the same time that Wills ' cab pulls up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW HAVEN HOSPITAL HELIPORT -- NIGHT</stage_direction>
<scene_description>Grandy is rushed into a MEDICAL HELICOPTER .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT WAITING ROOM -- NIGHT</stage_direction>
<scene_description>Wills looks up and sees Dolores and Shannon arrive .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY -- NIGHT</stage_direction>
<scene_description>Grandy 's helicopter speeds toward the City .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT WAITING ROOM -- NIGHT</stage_direction>
<scene_description>Wills comforts Shannon . Dolores looks up and sees Simon standing in the doorway . Then a CORONARY CARE NURSE appears . She asks to speak to Wills .</scene_description>
</scene>
<scene>
<stage_direction>INT. MEDICAL HELICOPTER -- NIGHT</stage_direction>
<scene_description>Grandy looks out the window as the helicopter swoops down toward the lights of lower Manhattan .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT PRE-OP -- NIGHT</stage_direction>
<scene_description>Charlotte lies , semi - conscious , on a gurney . Wills appears in the doorway with the nurse .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ST. VINCENT'S HOSPITAL HELIPORT -- NIGHT</stage_direction>
<scene_description>The helicopter lands and Grandy jumps out .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT PRE-OP -- NIGHT</stage_direction>
<scene_description>Wills sits down next to Charlotte 's bed . He touches her hand . Her eyes open then close again . Her breathing is heavy and labored . Wills pushes a lock of hair off her brow , then whispers , half to himself -</scene_description>
<character>WILLS</character>
<dialogue>Time can not break the bird's wing from the bird. Bird and wing together Go down, one feather. No thing that ever flew, not the lark, not you, Can die as others do.</dialogue>
<scene_description>Charlotte 's eyes open dreamily . She shows a faint smile at the poem and murmurs almost inaudibly -</scene_description>
<character>CHARLOTTE</character>
<dialogue>What have I done to you?</dialogue>
<character>WILLS</character>
<dialogue>Ruined me for other women.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No. I saved you for them.</dialogue>
<scene_description>Her eyes close . Wills takes her hand and presses it to his cheek .</scene_description>
<character>MALE VOICE</character>
<dialogue>Is she type'n' cross for six units?!</dialogue>
<character>NURSE'S VOICE</character>
<dialogue>Yes, Doctor.</dialogue>
<scene_description>Wills turns around and sees Grandy standing in the doorway .</scene_description>
<character>GRANDY</character>
<dialogue>What're we waiting for?</dialogue>
<character>PRE-OP NURSE</character>
<dialogue>Just you, Doctor!</dialogue>
<character>GRANDY</character>
<dialogue>Then let's move!</dialogue>
<scene_description>The NURSE rushes over to the gurney and in an instant Charlotte is gone - wheeled with a bang through SWINGING DOORS into the operating room corridor .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT WAITING ROOM -- NIGHT</stage_direction>
<scene_description>Everyone is there now - John , Sarah , Celia , Simon , Dolores , and Shannon . Wills enters silently . He walks to the new arrivals and greets each one with an embrace .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE OPERATING ROOM -- NIGHT</stage_direction>
<scene_description>Charlotte lies on the table . Grandy 's eyes , visible above his mask , are fiercely focused on his work .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORONARY CARE UNIT WAITING ROOM -- NIGHT</stage_direction>
<scene_description>Shannon lies with her head in Sarah 's lap . Dolores , ignoring the sign , smokes a cigarette . John and Celia sit side - by - side in silence . Wills stands at the window . He looks over and see Simon standing close by . Simon looks at him , his eyes sad but eerily calm . Wills shakes his head -</scene_description>
<character>WILLS</character>
<dialogue>It happened so quickly. We'd just talked about the surgery. She agreed to it. But I thought there'd be time.</dialogue>
<character>SIMON</character>
<dialogue>I've had friends who were n't expected to last till morning who lived another seven years. Another ran a marathon and died the next weekend. It's all so terribly random the way life actually works. I take nothing for granted.</dialogue>
<scene_description>A light enters Wills ' eye . He smiles as he remembers -</scene_description>
<character>WILLS</character>
<dialogue>You know, it's funny, the first time I saw her, I -</dialogue>
<scene_description>But then Wills hears something . He turns and there 's Grandy at the end of the long hall , walking toward the waiting room . Simon looks and sees him , too . Wills looks at Simon with alarm . It 's impossible . How could Grandy be finished so soon ? Wills looks back at Grandy . SLOW - MOTION Grandy moves with long strides down the corridor . One by one , as they notice , Charlotte 's loved ones react to the sight of Grandy . Shannon rises from Sarah 's lap , looks at the doctor , then covers her face with her fists , holding her breath . Dolores crushes out her cigarette , her expression falling . Celia touches John 's back as he rises and walks over to Wills . Simon 's face turns to stone . John reaches for Wills , but Wills advances a few steps toward the corridor , almost defiantly , his eyes riveted to Grandy . Grandy 's head is down . Then , ever so slowly , Grandy lifts his head and in one decisive move YANKS OFF HIS SURGICAL MASK and THROWS IT AGAINST THE WALL . CLOSE ON WILLS ' FACE as he realizes . His mouth opens wide as though to cry out , but no sound comes .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLS' LIVING ROOM -- DAWN</stage_direction>
<scene_description>Wills stands in the center of the room wearing his overcoat . He is pale , exhausted , his face expressionless . John stands , also wearing his coat , in the hall archway , unsure whether he should stay or leave . Wills looks at the Christmas tree , whose lights still burn . He slowly walks over and pulls the cord from the wall . The lights go out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK -- SPRING AFTERNOON</stage_direction>
<scene_description>A COUPLE walks down the same walkway . They are deep in subdued conversation . All around them spring is in full glory . Melted snow . Trees exploding with green . Birds singing . The man is Wills Keane , but he has markedly changed . His dress is not so impeccable , his hair has gone grey at the temples . His face , though still beautiful , has gracefully turned the corner into middle age . Walking at his side is his daughter , Lisa , now well along in her pregnancy -</scene_description>
<character>LISA</character>
<dialogue>Actually, to be honest, Peter's more than a little freaked. I mean, how could he not be? He's twenty - six. His first child. A baby girl, no less. Nothing really prepares you for it.</dialogue>
<character>WILLS</character>
<dialogue>I guess not.</dialogue>
<character>LISA</character>
<dialogue>He said it's the first time since we got married that he's actually realized what marriage is. That it's forever. That he ca n't just pick up and run away to Nepal or something if we have a fight. That he's part of the cycle of things now. That he's gon na die some day. That it's the next generation's turn to take the stage.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER CENTRAL PARK WALKWAY -- LATER</stage_direction>
<scene_description>Wills and Lisa walk together in silence , enjoying the perfect afternoon . Then Lisa smiles crookedly and slaps his shoulder -</scene_description>
<character>LISA</character>
<dialogue>So what about you, Mr. Keane? You ready to be a grandpa?</dialogue>
<scene_description>Wills looks over at the spot where he first saw Charlotte . He smiles with wistful confidence then , a little awkwardly , puts his arm around his daughter . She is surprised at first . But then slowly , trustingly , she rests her head on his shoulder . And they walk . THE END</scene_description>
</scene>
</script> | Will Keane (Richard Gere) is a successful 48-year-old restaurateur and womanizer who is the subject of a recent New York magazine cover story. Charlotte Fielding (Winona Ryder) is a free-spirited, 22-year-old woman brought to Will's upscale restaurant by her grandmother and friends to celebrate her birthday. Will notices her immediately and her grandmother, an old friend of his, introduces them. Will admires the hats she made for the occasion and is surprised to learn that Charlotte is the daughter of one of his old girlfriends, Katy, who died in a car accident. The next day, Will calls and asks Charlotte to make a hat for his date to an upcoming benefit dinner. A few days later, she delivers the hat to his apartment. Stood up by his date, he invites her to accompany him to the formal benefit. There they dance, get to know each other and later end up back at his apartment where they have sex. The next morning, while having breakfast on his terrace, Will explains that their relationship has no future. She acknowledges this, revealing she is dying from a heart condition. Later, Will tells his friend, John Volpe (Anthony LaPaglia), about his interest in Charlotte. The next day, Will calls on Charlotte and they go out together. They talk about their age difference and her illness. As they walk through the beautiful fall foliage in Central Park, Charlotte recites lines from the poem "God's World" by Edna St. Vincent Millay. As they talk, she notices him checking his watch, and she takes it from his wrist, saying she'll return it when he forgets that she has it. At his restaurant, they continue to get to know each other while preparing a meal for his staff. Watching her among his friends, he begins to fall in love. Back at his apartment, Charlotte experiences severe heart pain. At the hospital, Will learns from the doctor that she is suffering from neuroblastoma, a rare illness in adults, which in her case produced a tumor near her heart. She has perhaps a year to live. In the coming days, their relationship grows and she learns more about him. When she asks why he is so interested in food, Will responds, "Food is the only beautiful thing that truly nourishes." At a Halloween party, Charlotte, dressed as Emily Dickinson, entertains children by reciting lines from one of Dickinson's poems and bringing the words to life with butterflies on her fingers: "Two butterflies went out at noon and waltzed above a stream, then stepped straight through the firmament and rested on a beam; and then together bore away upon a shining sea – though never yet, in any port, their coming mentioned be." Meanwhile, in another room, Will meets a former girlfriend and the two end up on the roof having sex. Later, Charlotte suspects that he was unfaithful, and after denying it, he acknowledges his actions. Charlotte breaks off their relationship. They are both deeply affected by the breakup. Meanwhile, Will receives a letter from Lisa Tyler (Vera Farmiga), the illegitimate daughter he's never met. He goes to the museum where she works and recognizes her from an old photo, but he is unable to approach her. A few nights later he arrives home and Lisa is waiting for him in the lobby; they talk for the first time. She is pregnant and has become sentimental about parenthood, wanting just to meet her own father. She tells him about a dream she's had, that he's been trying to find her all these years in order to say he was sorry for abandoning her. Will says quietly, "Yes I am." The next day, Will is walking through Central Park and steps over a fence onto a path, leaving behind some children playing beneath a tree. That night, Charlotte returns to her apartment and finds Will asleep in her chair. Angry at first, she tells him to leave, but he apologizes and pleads to be given another chance – to let him love her again. She cries as he holds her in his arms, and later that night they make love. In the morning, Charlotte recites to him lines from a poem: "The stars are soft as flowers, and as near; the hills are webs of shadow, slowly spun; no separate leaf or single blade is here – all blend to one." Later, while skating at Rockefeller Center, Charlotte suddenly collapses on the ice. At the hospital, Will learns that the tumor has progressed and that she may only have a few weeks to live. In the coming days, Will searches for a specialist who can perform the necessary heroic surgery to save her life. He turns to his daughter for help, and she finds a specialist who agrees to perform the surgery when the time comes. On Christmas morning, Charlotte wakes up and hears Will decorating the house and terrace. As she prepares to bring him his Christmas gift, Charlotte collapses. She is rushed to the hospital and the specialist is called. At the hospital, Will comes to her side and whispers to her lines from a poem: "Time cannot break the bird's wing from the bird. Bird and wing together go down, one feather. No thing that ever flew, not the lark, not you, can die as others do." Their hands separate as Charlotte is taken to the operating room. Will, his friends, Lisa, and Charlotte's grandmother wait during the long hours of surgery. Outside the hospital, seagulls fly off into the snowy skies over the city. Finally, the specialist emerges from surgery, and as he approaches it is clear from his expression that he could not save her. Back at his apartment, Will finds Charlotte's Christmas gift lying on the floor – a small box with the hat stem she designed for him. Opening the box, he finds the watch she took from him on their first date. He stands at his window weeping, holding the box closely to his chest. The following summer on a small boat on Central Park Lake, Will is holding his newborn grandson in his arms as his daughter Lisa looks on with a loving smile. Will notices a swan, and then a reflection in the water of a young woman walking over the Bow Bridge. Father, daughter, and grandson drift peacefully on the lake. |
Big Eyes_2014 | tt1126590 | <script>
<scene>
<character>BIG EYES</character>
<dialogue>Written by</dialogue>
<scene_description>Scott Alexander & Larry Karaszewski</scene_description>
<character>FADE IN:</character>
<dialogue>TITLE SEQUENCE:</dialogue>
<scene_description>TIGHT on TWO PAINTED EYES. The pupils are impossibly wide. Imploring. The watery rims spill a single tear. We PULL OUT... revealing the eyes belong to a child. A young girl, fingers clasped pitifully. She's forlorn, alone in a dirty gray alley. We feel shame. Compassion. Sorrow... Then -- an IDENTICAL girl SLAPS in front of the first one. Then another! It's a PRINTING PRESS, the creation of a BLUR of sad children. A KINETIC montage! HORDES of gazing WAIFS get lithographed, bundled: Huddling in worry. Floating in space. POSTERS. POSTCARDS. BOOKS. We ZOOM into a MAGAZINE AD: A 1960's era come-on -- "IT'S KEANE! MUSEUM-QUALITY ART, MAILED DIRECTLY TO YOUR HOME!" A blizzard of NEWSPAPER ARTICLES: "Meet America's Million- Dollar Painter!" "Keane Masterpiece at World's Fair" Painted EYES float by. Haunting... questioning... Old POLAROIDS: A family Christmas, a Keane print over the mantel. Kids play bumper pool, a Keane print in the b.g. A blurry black-and-white TV: A talk show HOST holds up a Keane</scene_description>
<character>PAINTING --</character>
<dialogue>MUSIC BUILDS. FASTER. Keane brochures. Catalogs. A flyer: "Now Open! Keane Gallery"</dialogue>
<dialogue>MORE orphan's faces. Hungry, unblinking, beseeching. A CRESCENDO -- then -- SILENCE.</dialogue>
<dialogue>A single CARD on black: "I think what Keane has done is just terrific. It has to be good. If it were bad, so many people wouldn't like it."</dialogue>
<scene_description>-- ANDY WARHOL</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBIA - 1958</stage_direction>
<scene_description>A nice, orderly tract of post-World War II housing. Identical rows of little yards. Young MOMS. Scampering KIDS. Then, a SUBTITLE: "TEN YEARS EARLIER"</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - DAY</stage_direction>
<scene_description>CU on two concerned eyes. The same eyes as the paintings. We REVEAL they belong to a real girl: JANE, 8. She sits in her small house -- a typical young family's, spare and underfurnished. Suddenly -- Jane's mother MARGARET ULBRICH, 28, rushes through frame. Margaret is blonde, yearning, fragile. Terribly upset, she is hurriedly packing. Margaret throws her clothes in a suitcase. She shoves Jane's clothes and toys into another. Margaret barrels through the breakfast nook, which is a mini art studio -- easel, canvases, paints. She scoops up her supplies. Margaret runs to the door -- then turns. The hallway is lined with her PAINTINGS. Oils and inks of wide-eyed Jane, who grows from baby to toddler to child. Hastily, Margaret takes them down, each frame leaving an empty mark on the flowered wallpaper. Finally she reaches the last spot -- a WEDDING PHOTO: Margaret and her HUSBAND, smiling, happy. Margaret peers -- then leaves it hanging. The door SLAMS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - DAY</stage_direction>
<scene_description>Cars roar down an interstate.</scene_description>
</scene>
<scene>
<stage_direction>INT. PACKARD - DRIVING - DAY</stage_direction>
<scene_description>Margaret grips the wheel, uncertain. Jane stares. The car is all loaded up. REFLECTIONS of passing BILLBOARDS drift across the windshield. Images of perky, happy-fake Americans. Margaret bites her lip. Has she made the right decision...? EST. SAN FRANCISCO - DAY San Francisco, 1958! A mix of SKYLINES and STOCK FOOTAGE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FURNITURE FACTORY - DAY</stage_direction>
<scene_description>A weathered building: "G & B FURNITURE SUPPLY." Margaret sits in the Packard, fixing her lipstick. Jane holds the "WANT ADS," a few circled. Margaret gets out and straightens her skirt. Jane smiles.</scene_description>
<character>JANE</character>
<dialogue>Good luck.</dialogue>
</scene>
<scene>
<stage_direction>INT. FURNITURE FACTORY - DAY</stage_direction>
<scene_description>A beaten industrial office. Margaret sits anxiously, watching the BOSS, a tired guy in a cheap suit. He glowers unsurely at her JOB APPLICATION. Scratching his face. Hmmmm...</scene_description>
<character>BOSS</character>
<dialogue>We don't get many ladies in here. So your husband approves of you working?</dialogue>
<character>MARGARET</character>
<parenthetical>(quiet; a soft Southern lilt)</parenthetical>
<dialogue>My husband and I are separated.</dialogue>
<character>BOSS</character>
<parenthetical>(SHOCKED)</parenthetical>
<dialogue>"Separated"?</dialogue>
<scene_description>A deadly silence. He squirms uncomfortably. She presses on.</scene_description>
<character>MARGARET</character>
<dialogue>Sir, I realize I have no employment experience... but I sure need this job. I have a daughter to support.</dialogue>
<character>(PAUSE)</character>
<dialogue>I'm not very good at tooting my own horn... but I love to paint, and if I could just show you my portfolio...</dialogue>
<scene_description>He is baffled. Margaret pulls out a large ARTIST'S PORTFOLIO. She opens it, riffling through the pictures...</scene_description>
<character>MARGARET</character>
<dialogue>I studied at the Watkins Art Institute in Nashville, then took Illustration classes in New York. Here's a pastel I did... here's some fashion design... a portrait in charcoal... though I enjoy mixing mediums, preferably oil and ink...</dialogue>
<scene_description>She's alive, enthused. The guy shakes his head.</scene_description>
<character>BOSS</character>
<dialogue>You do understand this is a furniture company?</dialogue>
<scene_description>CLOSEUP - MARGARET A strained smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. FACTORY FLOOR - LATER</stage_direction>
<scene_description>Margaret works on an enamel baby crib. Under stenciled "Humpty Dumpty," she quickly paints on a cartoonish egg man. We WIDEN, revealing ten identical, completed cribs behind her. We WIDEN again -- revealing a DOZEN PAINTERS. All surrounded by identical cribs. All painting identical Humpty Dumpty's.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO NORTH BEACH - 1958 - DAY</stage_direction>
<scene_description>NORTH BEACH! An exotica of Beatniks, palm readers, interracial couples and coffeehouses. Ground zero for the Avant Garde. Margaret waits on a busy corner, a bit dazed, peering at the parade of fun-loving Hipsters. Primly, she fixes herself. Margaret turns -- and suddenly grins. Running up is DEE-ANN, 30, a Beat girl in a black leotard and sandals. Dee-Ann excitedly grabs her, and they laugh and hug girlishly.</scene_description>
<character>DEE-ANN</character>
<dialogue>Sugar, you made it! You're in North Beach!</dialogue>
<character>MARGARET</character>
<dialogue>Deirdre, look at you!</dialogue>
<character>DEE-ANN</character>
<parenthetical>(CORRECTING)</parenthetical>
<dialogue>"Dee-Ann."</dialogue>
<character>MARGARET</character>
<dialogue>"Dee-Ann"?!</dialogue>
<character>DEE-ANN</character>
<dialogue>Yeah, I know. But I hit this scene... and "Deirdre" just sounded like something my mother would call me.</dialogue>
<scene_description>Margaret giggles.</scene_description>
<character>DEE-ANN</character>
<dialogue>So are you flipping for all this?! Are you settled? How's Jane?</dialogue>
<character>MARGARET</character>
<dialogue>Jane -- is swell. She's started in a sweet little school.</dialogue>
<character>(PAUSE)</character>
<dialogue>Though... it's hard without her father.</dialogue>
<dialogue>I'm not sure we can do this...</dialogue>
<scene_description>The thought hangs, and Margaret gets emotional. Teary-eyed.</scene_description>
<character>DEE-ANN</character>
<dialogue>Oh stop that. You're better off. Between us, I never liked Frank.</dialogue>
<character>MARGARET</character>
<parenthetical>(SHOCKED)</parenthetical>
<dialogue>You were a bridesmaid!</dialogue>
<character>DEE-ANN</character>
<dialogue>Exactly. That's why I couldn't speak up. But if I ever see you wrong off again, I will tell you.</dialogue>
<character>(LONG BEAT)</character>
<dialogue>Now come on. Let's have some fun.</dialogue>
<scene_description>WIDE - They start WALKING. Dee-Ann gestures.</scene_description>
<character>DEE-ANN</character>
<dialogue>Toss off your middle-class preconceptions! This is Pompeii! We're livin' in the volcano!! For jazz, check up the hungry i. For Italian, Vanessi's. For salvation, try the Buddhist temple. For art, the Six Gallery --</dialogue>
<scene_description>They pass a GALLERY. The displays are stark, Calder-like MOBILES and found-object SCULPTURES. Margaret stares, unsure.</scene_description>
<character>MARGARET</character>
<dialogue>Do they only show Modern?</dialogue>
<character>DEE-ANN</character>
<dialogue>Everyone only shows Modern!</dialogue>
<character>(SHE POINTS)</character>
<dialogue>In the basement, they've got espresso.</dialogue>
<character>MARGARET</character>
<dialogue>What's espresso?</dialogue>
<character>(WORRIED)</character>
<dialogue>Is that like reefer?</dialogue>
<scene_description>Dee-Ann LAUGHS, astounded.</scene_description>
<character>DEE-ANN</character>
<dialogue>You've got a lot to learn!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ART SHOW - DAY</stage_direction>
<scene_description>A Sunday ART SHOW. It's picturesque, amateur ARTISTS displaying their paintings, jewelry, sculpture... The modern stalls are crowded with trendy BOHEMIANS. Abstract lines, speckles of color. We drift away... and find Margaret, alone in her stall with Jane. Margaret sits patiently, surrounded by Big Eye paintings and charcoal portraits. In contrast with the neighbors, her work seems... quaint. A pink, chubby TOURIST FAMILY ambles over. Margaret brightens hopefully.</scene_description>
<character>TOURIST GUY</character>
<dialogue>Your stuff is cute. How much?</dialogue>
<character>MARGARET</character>
<dialogue>Today's a special: Two dollars.</dialogue>
<character>TOURIST GUY</character>
<dialogue>I'll give you one.</dialogue>
<scene_description>Beat -- then she nods, agreeing. She gestures. The little BOY sits. Margaret clips a fresh sheet of paper, sharpens her charcoal... and... goes motionless. Studying the boy's face. He gazes back. Then -- inspired, she begins sketching his EYES. Large and exaggerated. Then she fills in the shape of his head. His ears. His jaw. In a rush, his likeness appears. The parents come over to peek -- then gasp. Margaret is good. She sketches faster. Focused. Until a LOUD, PLUMMY VOICE drifts in...</scene_description>
<character>MAN'S VOICE</character>
<dialogue>Monet? "Monet"?! Whew -- that's a hell of a compliment. Though, if I may respectfully disagree, I'm more in the tradition of Pissarro.</dialogue>
<scene_description>Margaret looks up, distracted. She resumes her work.</scene_description>
<character>MAN'S VOICE</character>
<dialogue>C'mon, get closer. Closer! Look at that sunlight coming through the mottled leaves. That's a bold yellow!</dialogue>
<scene_description>Curious, Margaret casually peers over...</scene_description>
<character>HER POV</character>
<dialogue>Holding court in another booth is WALTER KEANE, 40. Walter is astonishing: Hugely confident. Charming. Waggishly</dialogue>
<dialogue>handsome. And dressed like an "Artist" -- striped turtleneck, with hands full of brushes.</dialogue>
<dialogue>Walter's stall is filled with oils of Paris street scenes. He casually flirts with TWO YOUNG COEDS. They admire a painting.</dialogue>
<character>WALTER</character>
<dialogue>You wanna touch it? Do it! I lay it on thick -- you're not gonna break it!</dialogue>
<character>(UNWAVERING)</character>
<dialogue>I poured myself into that painting. It's thirty-five dollars.</dialogue>
<scene_description>Walter glances over -- and notices Margaret watching him. Shy, she quickly turns away, back to her portrait. Walter smiles rakishly. He's found a new interest.</scene_description>
<character>WALTER</character>
<dialogue>Excuse me, Ladies.</dialogue>
<character>WIDE</character>
<dialogue>Walter strides up to Margaret. She peers nervously... trying to ignore him. She sketches faster. Shading...</dialogue>
<dialogue>Walter watches. Admiring... and discreetly smelling her hair. Margaret pays no attention. Done, she blows into a can of Fix- It. Poosh! A fine mist sprays, setting the portrait. Without fanfare, she humbly turns the picture.</dialogue>
<character>MARGARET</character>
<dialogue>All finished.</dialogue>
<scene_description>Her customers gape, impressed. She smiles. The guy counts out four quarters, then happily leaves. MARGARET AND WALTER are left together. An unspoken frisson, until --</scene_description>
<character>WALTER</character>
<dialogue>You're better than spare change. You shouldn't sell yourself so cheap.</dialogue>
<character>MARGARET</character>
<dialogue>I'm just glad they liked it.</dialogue>
<character>WALTER</character>
<dialogue>Ahhh! You're past that point! Your heart is in your work...</dialogue>
<scene_description>He leans in, too close. Margaret shivers. Breathing faster.</scene_description>
<character>WALTER</character>
<dialogue>What's your name?</dialogue>
<character>MARGARET</character>
<dialogue>M-Margaret...</dialogue>
<scene_description>Mmm. He grins, checking her out... her loose sexy blouse and tight black capris. She flushes.</scene_description>
<character>MARGARET</character>
<dialogue>Wouldn't you rather flirt with those dolls over there?</dialogue>
<character>WALTER</character>
<dialogue>Mm, no.</dialogue>
<character>(BEAT)</character>
<dialogue>I like you, Margaret...</dialogue>
<scene_description>He zeroes in on the artworks' signature: "M. Ulbrich"</scene_description>
<character>WALTER</character>
<dialogue>"...Ulbrich."</dialogue>
<character>(IMPASSIONED)</character>
<dialogue>You know, Margaret Ulbrich, you're undervaluing yourself. Lemme show you how it's done.</dialogue>
<scene_description>Walter spins to Jane. He SHOUTS out, like a carnival barker.</scene_description>
<character>WALTER</character>
<dialogue>Little Girl! How would you like your portrait sketched by the World- Renowned Margaret Ulbrich?! Queen of the Bay! In mere minutes, she will capture your soul!</dialogue>
<scene_description>Hm. Jane shrugs, unimpressed.</scene_description>
<character>JANE</character>
<dialogue>Nah.</dialogue>
<character>WALTER</character>
<dialogue>"Nah"?! (he grabs a PAINTING) Don't you wish this were you in this beautiful painting??</dialogue>
<character>JANE</character>
<dialogue>But that IS me! And that's me... (she POINTS all over) And that one started as me, but then Mother turned it into a Chinese boy.</dialogue>
<scene_description>Huh? Walter peers at Jane... then at Margaret. And then -- it hits him. He grimaces, embarrassed.</scene_description>
<character>WALTER</character>
<dialogue>Oh, you're Mommy! My apologies, Honey. I misconstrued the situation.</dialogue>
<character>(SHEEPISH)</character>
<dialogue>Well I'll just mosey along, before Mr. Ulbrich comes back and socks me in the eye.</dialogue>
<character>ON MARGARET</character>
<dialogue>A gut decision. She stares at Walter, then smiles slyly.</dialogue>
<character>MARGARET</character>
<dialogue>Mr. Ulbrich is out of the picture...!</dialogue>
<character>ON WALTER</character>
<dialogue>His face slowly lights up. Ah! Sun breaking through clouds.</dialogue>
<scene_description>EST. FRENCH BISTRO - NIGHT</scene_description>
</scene>
<scene>
<stage_direction>INT. BISTRO - NIGHT</stage_direction>
<scene_description>An enchanting bistro. Wine barrels, laughing, twinkly tivoli lights. Perfection. Walter flamboyantly enters, escorting Margaret. Instantly, the STAFF ERUPTS in excitement: "Monsieur Keane! Ah, Monsieur Keane is here! Bonsoir!"</scene_description>
<character>WALTER</character>
<dialogue>Bonsoir, gang! Henri! Sorry I didn't call first. Est-ce que tout va bien?</dialogue>
<character>MAITRE'D</character>
<dialogue>Je vais bien, merci! Comment allez- vous?</dialogue>
<character>WALTER</character>
<dialogue>Je vais bien! I'm with a beautiful woman! Could life be any grander??</dialogue>
<scene_description>They get led in. Margaret is dazzled. Walter whispers.</scene_description>
<character>WALTER</character>
<dialogue>And I don't even have to pay! I'm set because I gave the chef a painting. You know what he said? "Nobody paints Montmartre like Walter Keane!"</dialogue>
<character>LATER</character>
<dialogue>Margaret and Walter enjoy an intimate dinner. The wine flows.</dialogue>
<character>MARGARET</character>
<dialogue>I can't believe you lived in Paris.</dialogue>
<character>WALTER</character>
<dialogue>Best time of my life...</dialogue>
<character>MARGARET</character>
<dialogue>I've never even been on an airplane.</dialogue>
<character>WALTER</character>
<dialogue>Well you have to experience these things! Grab 'em!!</dialogue>
<character>(JOCUND)</character>
<dialogue>I wanted to be an artist, so I just went! Studied painting at the Beaux-</dialogue>
<dialogue>Arts. Lived in a Left Bank studio. I survived on bread and wine...</dialogue>
<character>MARGARET</character>
<dialogue>You're a romantic.</dialogue>
<character>WALTER</character>
<dialogue>Damn right!</dialogue>
<scene_description>A wistful shrug. He chugs his glass.</scene_description>
<character>WALTER</character>
<dialogue>Of course, walkin' away from the bourgeois scene wasn't a snap. I had to quit my job. Leave my wife. These choices aren't easy...</dialogue>
<scene_description>She stares at her wine.</scene_description>
<character>MARGARET</character>
<dialogue>I've never acted freely. I was the daughter. The wife. The mother...</dialogue>
<character>(SHE SIGHS)</character>
<dialogue>All my paintings are of Jane, because she's all I know.</dialogue>
<character>WALTER</character>
<dialogue>You shouldn't knock your work. I'd give an eyetooth to have your talent.</dialogue>
<scene_description>Margaret is taken aback. He's absolutely sincere.</scene_description>
<character>WALTER</character>
<dialogue>You can look into someone and capture them on canvas! You paint people! (he gestures sadly) I can only paint -- things. My street scenes are charming... but at the end of the day, it's just a collection of sidewalks and buildings.</dialogue>
<scene_description>Walter goes silent. He has revealed his fears. ANGLE - MARGARET She doesn't know what to say. Gently, she takes his hand.</scene_description>
<character>MARGARET</character>
<dialogue>Walter, I'd bet you could paint anything.</dialogue>
<character>WALTER</character>
<parenthetical>(INTENSE)</parenthetical>
<dialogue>Whew... Baby, when you look at me like that, I could fall hard.</dialogue>
<scene_description>Margaret gulps. Afraid to talk.</scene_description>
<character>MARGARET</character>
<dialogue>This is moving fast. You're my first date in a long time...</dialogue>
<scene_description>Neither of them speaks. The tension builds -- There is a spark between them...</scene_description>
</scene>
<scene>
<stage_direction>EXT. PALACE OF FINE ARTS - DAY</stage_direction>
<scene_description>A lush green knoll, overlooking the park. Margaret and Walter have set-up TWO EASELS. They both smoke cigarettes. Margaret is spattered with paint, stirring colors. Walter paces about, framing the scene with his fingers. Jane sits in front of them, playing paddleball. Bonk! Bonk!</scene_description>
<character>MARGARET</character>
<dialogue>Sweetie, could you stop fidgeting?</dialogue>
<character>JANE</character>
<dialogue>Mother, after all this time, you MUST know what my face looks like.</dialogue>
<scene_description>Margaret winces. Walter laughs. She gets busy, penciling in LARGE OVAL EYES. Then -- quick marks for the mouth and nose. Impatient, Jane spies on Walter's canvas.</scene_description>
<character>JANE</character>
<dialogue>Hey! Your canvas is blank!</dialogue>
<character>WALTER</character>
<dialogue>Er, you can't rush inspiration --</dialogue>
<character>MARGARET</character>
<dialogue>Jane! Don't bother Mr. Keane. You know creativity has to well up from the inside...</dialogue>
<character>WALTER</character>
<dialogue>Don't worry. She's not bothering me...!</dialogue>
<scene_description>Walter leaves Jane. He points at Margaret's canvas.</scene_description>
<character>WALTER</character>
<dialogue>There's something I gotta ask you. What's with the big crazy eyes...?</dialogue>
<character>MARGARET</character>
<dialogue>I believe things can be seen in eyes. They're the windows of the soul --</dialogue>
<character>WALTER</character>
<dialogue>Yeah, but, c'mon! You draw 'em like pancakes! I mean, they're WAY out of proportion!</dialogue>
<scene_description>He's having fun, but she remains serious.</scene_description>
<character>MARGARET</character>
<dialogue>Eyes are how I express my emotions. That's how I've always drawn them.</dialogue>
<character>(EARNEST)</character>
<dialogue>When I was little, I had surgery that left me deaf for a period. I couldn't hear, so I found myself staring... Relying on people's eyes...</dialogue>
<scene_description>She smiles shyly. Understanding, he smiles back. Then --</scene_description>
<character>VOICE</character>
<dialogue>Walter? Hey -- Walt!</dialogue>
<scene_description>Walter spins, startled. A FRIENDLY GUY in a suit strolls up.</scene_description>
<character>FRIENDLY GUY</character>
<dialogue>I thought that was you!</dialogue>
<character>WALTER</character>
<parenthetical>(EMBARRASSED)</parenthetical>
<dialogue>Oh! Uh... er, hi, Don.</dialogue>
<character>FRIENDLY GUY</character>
<dialogue>Boy, I'm glad to see you! Have we heard back from the city, on that setback? My guys really need the variance, for the first floor retail.</dialogue>
<scene_description>Walter is mortified. He turns away from Margaret.</scene_description>
<character>WALTER</character>
<dialogue>Um... we should hear from Permits by Thursday.</dialogue>
<character>FRIENDLY GUY</character>
<dialogue>Yeah? Well that's terrif'! I'll tell the architects!</dialogue>
<scene_description>Pleased, the guy cheerily strides away. ON WALTER AND MARGARET He is stricken. Something ominous just happened.</scene_description>
<character>MARGARET</character>
<dialogue>What was that??</dialogue>
<character>WALTER</character>
<parenthetical>(ASHAMED)</parenthetical>
<dialogue>I -- I didn't want you to know...</dialogue>
<scene_description>A long, horrible pause. Walter's face turns gray. We SLOWLY PUSH IN. This revelation is churning. Agony.</scene_description>
<character>WALTER</character>
<dialogue>I'm in commercial real estate.</dialogue>
<scene_description>A stunned beat.</scene_description>
<character>MARGARET</character>
<dialogue>You're a -- Realtor?</dialogue>
<character>WALTER</character>
<parenthetical>(CONTRITE)</parenthetical>
<dialogue>YES! A hugely successful Realtor! Top earner in the Downtown office three years running!</dialogue>
<character>MARGARET</character>
<dialogue>And you're... ashamed?</dialogue>
<character>WALTER</character>
<dialogue>Of course! Any blockhead can arrange a sublet!</dialogue>
<character>(HEARTFELT)</character>
<dialogue>All I ever wanted was to support myself as an artist...</dialogue>
<character>(SAD; BEAT)</character>
<dialogue>I tried to make a clean break, but couldn't cut it. I'm just a goddam Sunday painter. An amateur.</dialogue>
<scene_description>Margaret looks at him, touched by his vulnerability.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARGARET'S APARTMENT - DUSK</stage_direction>
<scene_description>End of the day. Golden light slants in through the windows of this small tidy apartment. The door opens. Margaret holds it for Walter, who chivalrously staggers in, carrying all her supplies: Easel, paints, cans. He carefully puts it all down -- then turns. Beat. Walter stares at Margaret, their faces caught in the warm light. Then, enchanted, he kisses her. Silence. Margaret smiles, captivated. Caught in his glow. The moment could last forever... IN THE DOORWAY Jane stares unhappily. Threatened.</scene_description>
<character>JANE</character>
<dialogue>A-hem!</dialogue>
<character>ON MARGARET</character>
<dialogue>She turns, startled. Feeling guilty, Margaret rushes from Walter. Busying herself, she skims through the MAIL. Jane shakes her head and marches out.</dialogue>
<dialogue>Margaret flips through envelopes -- until one stops her. On edge, she slowly removes an official DOCUMENT. She scans it... and her face drops. Crushed. Something terrible... Walter is worried.</dialogue>
<character>WALTER</character>
<dialogue>What's wrong...?</dialogue>
<character>MARGARET</character>
<parenthetical>(SOFT)</parenthetical>
<dialogue>Frank wants to take away Jane. He says I'm an unfit mother...</dialogue>
<scene_description>Walter is taken aback.</scene_description>
<character>WALTER</character>
<dialogue>You're a perfect mother.</dialogue>
<character>MARGARET</character>
<dialogue>He told the court Jane doesn't have a proper home. It's beyond my abilities as a single woman...</dialogue>
<scene_description>Margaret trails off, shaken. Walter gulps unsurely. Then, he takes her in his arms. We SLOWLY PUSH IN.</scene_description>
<character>WALTER</character>
<dialogue>Marry me.</dialogue>
<character>MARGARET</character>
<parenthetical>(SHE GASPS)</parenthetical>
<dialogue>Walter! I --</dialogue>
<character>WALTER</character>
<parenthetical>(he puts a finger to her lips)</parenthetical>
<dialogue>Shh. Don't think of a reason to say no. 'Cause I've got a million reasons to say yes. (he gives a winning smile) I know it makes no sense!</dialogue>
<character>WALTER</character>
<dialogue>But just think of the fun we'll have..! And I'll take care of you girls.</dialogue>
<scene_description>Margaret stammers, speechless. She doesn't know what to say. Walter pulls out his ace. In a debonair move, he creakily drops to his knee. He exudes a hammy, wonderful romance:</scene_description>
<character>WALTER</character>
<dialogue>Margaret, I'm on my knee! C'mon, whatdya say? Let's get married! We can be in Hawaii by the weekend.</dialogue>
<character>MARGARET</character>
<dialogue>"Hawaii"? M-marriage?</dialogue>
<character>(EMOTIONAL)</character>
<dialogue>Walter, I'm crazy about you... but I'm overwhelmed. Why would we go to Hawaii?!</dialogue>
<character>WALTER</character>
<parenthetical>(BEGUILING)</parenthetical>
<dialogue>Because you're a princess... and you deserve to get married in paradise.</dialogue>
<scene_description>CLOSEUP - MARGARET Margaret shudders, tears in her eyes. Hawaiian MUSIC begins... STOCK FOOTAGE - DAY A propeller-driven PAN AM airplane soars through the sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAWAII - DAY</stage_direction>
<scene_description>Hawaii, 1958. Heaven on earth. Blossoming flowers, rare birds, lush greenery. Margaret is experiencing total bliss. We widen. She and Walter stand in front of a waterfall, getting married. Jane is Maid-of-Honor. A PRIEST smiles, and Walter places a ring on Margaret's finger. They kiss.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - SUNSET</stage_direction>
<scene_description>Margaret and Walter lie on the sand, making out. Cuddling, running their fingers along each other's bodies. She stares up, endlessly happy.</scene_description>
<character>MARGARET</character>
<dialogue>You're right... this is paradise. Only God could make those colors.</dialogue>
<character>WALTER</character>
<dialogue>I knew you'd love it.</dialogue>
<character>MARGARET</character>
<dialogue>Oh, can't we stay here forever??</dialogue>
<character>WALTER</character>
<dialogue>Well, I don't know about forever. But maybe... I can arrange another week.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL GROUNDS - DAY</stage_direction>
<scene_description>Thatched umbrellas, Polynesian fun. Margaret is set-up, drawing PORTRAITS of the GUESTS. Walter regales them as they wait. Joking, gregariously handing out Mai-Tais. Margaret finishes a picture. She beams at Walter... then signs the picture "KEANE." Walter gapes, astonished at this gesture. Margaret lock eyes with him. She smiles girlishly, radiating happiness.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHINESE RESTAURANT - DAY</stage_direction>
<scene_description>Old school Cantonese: Dragons and red lacquer. Margaret eats lunch with Dee-Ann, showing off SNAPSHOTS from the trip.</scene_description>
<character>MARGARET</character>
<dialogue>This is a waterfall... the air was so fresh you could taste it. Here's an ancient altar... that statue is Kane, the god of creation. I said a prayer to him. Oh! Here's Walter and Janie, building a sandcastle --</dialogue>
<scene_description>Dee-Ann raises an eyebrow.</scene_description>
<character>DEE-ANN</character>
<dialogue>This is all happening mighty quick. In the time you moved here, I've had two dates. You're already married.</dialogue>
<character>MARGARET</character>
<parenthetical>(SHE GIGGLES)</parenthetical>
<dialogue>I thought there was a void in my life. Well... Walter's filled it.</dialogue>
<character>DEE-ANN</character>
<dialogue>Walter's filled a lot of things. He's diddled every skirt on the art circuit.</dialogue>
<character>MARGARET</character>
<dialogue>You're talking about my husband!</dialogue>
<character>DEE-ANN</character>
<dialogue>I know! That's why I brought it up.</dialogue>
<scene_description>Margaret frowns, insulted.</scene_description>
<character>MARGARET</character>
<dialogue>I'm not naive. (beat; she laughs) Well, I am naive. But I know the man I'm marrying. Walter can act rash... but he's a good provider. And he's wonderful with Jane.</dialogue>
<character>(CLEAR-EYED)</character>
<dialogue>Look -- we're both looking for a fresh start. I'm a divorcee with a child. Walter is a blessing.</dialogue>
<scene_description>Dee-Ann bites her tongue. The WAITER brings over the check. Sitting on it are TWO FORTUNE COOKIES. Hm. Margaret stares, utterly serious. She reaches for one... then impulsively grabs the other. She cracks the cookie. Dee- Ann waits, curious. Margaret reads... then slowly smiles.</scene_description>
<character>MARGARET</character>
<dialogue>"You are on the threshold of untold success."</dialogue>
</scene>
<scene>
<stage_direction>INT. ART GALLERY - DAY</stage_direction>
<scene_description>A Modish, happening gallery. The white walls are hung with ABSTRACT EXPRESSIONISM: Slashing angles of color, painted over rags and glued bolts. On the floor is SCULPTURE made from wood and wire. In charge is RUBEN, a fussy man in a goatee. He's schmoozing a FANCY LADY. They look at a spattered, distorted painting.</scene_description>
<character>RUBEN</character>
<dialogue>What's brilliant about the composition is its spontaneity. The image has no visual center of attention.</dialogue>
<character>FANCY LADY</character>
<dialogue>It's quite gestural.</dialogue>
<character>RUBEN</character>
<dialogue>Oh definitely! Strongly influenced by the tachistes.</dialogue>
<character>FANCY LADY</character>
<dialogue>I heard Tab Hunter was in here, looking at one.</dialogue>
<character>RUBEN</character>
<dialogue>Well... I'm not allowed to say...</dialogue>
<scene_description>He NODS HIS HEAD up-and-down: Yes, you're right.</scene_description>
<character>OUTSIDE</character>
<dialogue>A car backfires. Ruben turns -- and winces.</dialogue>
<scene_description>Through the windows is Walter, climbing out of his massive white Cadillac. He's all done up, in beret and scarf. He opens the giant trunk and removes a pile of paintings. Ruben cringes knowingly. He whispers:</scene_description>
<character>RUBEN</character>
<dialogue>Oh Christ, don't come in here. Please don't come in here...</dialogue>
<scene_description>The door SLAMS. Walter loudly barges in.</scene_description>
<character>WALTER</character>
<dialogue>Ruben, good day! Do you got a minute?</dialogue>
<character>RUBEN</character>
<dialogue>Walter. In polite society, the word is "appointment."</dialogue>
<character>FANCY LADY</character>
<parenthetical>(glancing back and forth)</parenthetical>
<dialogue>Uh, I could come back later...</dialogue>
<scene_description>She anxiously hurries for the door. Ruben fumes. Walter ignores it all and starts laying out his wares. First, the Parisian street scenes, one after another...</scene_description>
<character>WALTER</character>
<dialogue>You're gonna love my stuff today.</dialogue>
<character>RUBEN</character>
<dialogue>Haven't I seen that one before?</dialogue>
<character>WALTER</character>
<dialogue>Nah! That was painted in the Fifth Arrondissement. This is the Sixth Arrondissement!</dialogue>
<character>RUBEN</character>
<parenthetical>(SKEPTICAL)</parenthetical>
<dialogue>I don't understand. You lived in Paris for a week. How can you still be cranking out paintings?</dialogue>
<scene_description>Walter laughs. He points to his head.</scene_description>
<character>WALTER</character>
<dialogue>It's all up here. (beat; a sentimental</dialogue>
<character>FLOURISH)</character>
<dialogue>And here.</dialogue>
<scene_description>He points to his heart. Ruben frowns and points to the wall.</scene_description>
<character>RUBEN</character>
<dialogue>Well, it's not going up here.</dialogue>
<character>(CRUEL)</character>
<dialogue>Walter, you know we don't go for that representational jazz! You're too literal.</dialogue>
<character>WALTER</character>
<parenthetical>(HURT)</parenthetical>
<dialogue>Hey, Art isn't fashion!</dialogue>
<character>RUBEN</character>
<dialogue>Yes it IS!</dialogue>
<character>(CUTTING)</character>
<dialogue>People want Kandinsky, or Rothko! They don't want goopy street scenes.</dialogue>
<scene_description>CLOSEUP - WALTER Ouch! This stings terribly. Walter glares at the man, then softly slides aside his works. Quietly, he pulls out Margaret's Big Eye paintings.</scene_description>
<character>WALTER</character>
<dialogue>Would they want... this?</dialogue>
<character>RUBEN</character>
<parenthetical>(HE SHUDDERS)</parenthetical>
<dialogue>Good God! You've entered a new period.</dialogue>
<character>WALTER</character>
<dialogue>No... they're my wife's.</dialogue>
<scene_description>Fascinated, Ruben glances through Margaret's oils. Canvas after canvas of sad kiddies against gray, bleak backgrounds.</scene_description>
<character>RUBEN</character>
<dialogue>Why are their eyes so big?! They're like big stale jellybeans.</dialogue>
<character>WALTER</character>
<parenthetical>(SNIDE)</parenthetical>
<dialogue>It's Expressionism. Surely you recognize it.</dialogue>
<character>RUBEN</character>
<parenthetical>(LONG BEAT)</parenthetical>
<dialogue>Well -- I'm just glad you two found each other.</dialogue>
<character>WALTER</character>
<dialogue>So... what do you say?</dialogue>
<scene_description>Ruben looks up, amazed. Walter seems oblivious.</scene_description>
<character>RUBEN</character>
<dialogue>I say, NO! It's not art.</dialogue>
<character>WALTER</character>
<parenthetical>(HORRIFIED)</parenthetical>
<dialogue>Not -- "art"??</dialogue>
<character>RUBEN</character>
<dialogue>It's like the back of a magazine! "Draw the turtle! Send in a nickel and win the Big Contest!"</dialogue>
<character>WALTER</character>
<dialogue>How dare you! Lots of people would like this.</dialogue>
<character>RUBEN</character>
<dialogue>Well, nobody who's walking through the door of this gallery!</dialogue>
<character>(BEAT)</character>
<dialogue>Now please! Clear out this clutter, before the taste police arrives.</dialogue>
<scene_description>Walter's jaw drops.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUNGRY I MARQUEE - NIGHT</stage_direction>
<scene_description>"The hungry i" -- the hottest nightclub around, so hip it's in a basement. The marquee says "Cal Tjader, TONIGHT!"</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I SHOWROOM - NIGHT</stage_direction>
<scene_description>A swinging mob of BEAUTIFUL PEOPLE -- suits, gowns and pearls. CAL TJADER'S BAND is crazed: Vibes and bongo-driven JAZZ. Margaret and Walter are squeezed at a table. She nurses a Grasshopper. Walter's in a foul mood, CHUGGING cocktails.</scene_description>
<character>WALTER</character>
<dialogue>We'll never break in...! Because there's a CABAL. A secret society of gallery owners and critics, who get together for Sunday brunch in Sausalito, deciding what's "cool."</dialogue>
<character>(BROODING)</character>
<dialogue>They're like Freemasons. No, worse! McCarthy, in his hearings: "That painter, I anoint. That painter, I banish to nowheresville!"</dialogue>
<scene_description>Heartfelt, Margaret disagrees.</scene_description>
<character>MARGARET</character>
<dialogue>I think people buy art because it touches them --</dialogue>
<character>WALTER</character>
<dialogue>Heh! You're livin' in fairy land! People don't get to discover a thing. They buy art, because it's in the right place at the right time.</dialogue>
<scene_description>O.s., MUSIC BUILDS. Muddled, Walter turns. He looks -- and then -- his eyes light up. He is getting an idea...</scene_description>
<character>ONSTAGE</character>
<dialogue>The band speeds to a climax, the percussion throbbing. Then, a final, crazed note. BAM!!</dialogue>
<dialogue>The crowd APPLAUDS. The club's owner, ENRICO BANDUCCI, bounds on stage. Banducci is a theatrical, natty Italian guy with a skinny moustache and loud personality. He grabs a mike.</dialogue>
<character>BANDUCCI</character>
<dialogue>Give it up for Cal Tjader! That set was HUMMIN'! Al-aright, be sure to stick around for the one a.m. show!</dialogue>
<scene_description>The house lights come up. Banducci hops down, greeting guests, making his way out -- when Walter glides up.</scene_description>
<character>WALTER</character>
<dialogue>Hey, Banducci. I love the music tonight. It's a gas.</dialogue>
<character>BANDUCCI</character>
<dialogue>Oh. Thanks, thanks.</dialogue>
<character>WALTER</character>
<dialogue>I'm Walter Keane. I'm a painter.</dialogue>
<character>(KNOWING)</character>
<dialogue>I was looking at your walls, and they're pretty plain.</dialogue>
<character>BANDUCCI</character>
<dialogue>Really? Hm...! Maybe you're right. What color were you thinking?</dialogue>
<scene_description>Huh? Walter holds his composure.</scene_description>
<character>WALTER</character>
<dialogue>No -- I'm an artist. I used to be</dialogue>
<dialogue>based on the Left Bank. But now I've relocated to the "States," and I'm looking for an... exhibition venue.</dialogue>
<scene_description>Beat. Banducci frowns.</scene_description>
<character>BANDUCCI</character>
<dialogue>I like my club the way it is. Your stuff's so hot, go put it in a museum.</dialogue>
<character>WALTER</character>
<dialogue>Okay! I respect that. You're a businessman, not a charity! So how 'bout if I, uh... rented your walls?</dialogue>
<scene_description>Hm?! Banducci raises an eyebrow.</scene_description>
</scene>
<scene>
<stage_direction>INT. BERKELEY APARTMENT - DAY</stage_direction>
<scene_description>Walter's swanky pad is CHAOS, filled with cameras and lights. A PHOTOGRAPHER runs around, tweaking equipment. Walter's at an easel, putting the final touches on a PAINTING of a French street scene. He gabs on the PHONE.</scene_description>
<character>WALTER</character>
<dialogue>Yes! The paintings are available for public viewing daily, from 7 to 3! (an awkward beat) Er, no. 3 a.m. It's in a nightclub. (he hangs up) Maggie! It's promotion time! We gotta lay the racket!</dialogue>
<scene_description>Margaret puts on a smock, a bit dumbfounded. Walter spatters some paint on his shirt. He grins, then holds up his brush and SIGNS the painting: "W. KEANE" Margaret forces a "cheese" smile, with her Waif. FLASH! The camera pops.</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - NIGHT</stage_direction>
<scene_description>CU - A cheery BROCHURE, "Meet the Keanes!" There's a staged PHOTO: Walter at his street scene, Margaret at her Waif. Then -- a SHOE steps on it. We WIDEN... revealing the brochure on the sticky floor of... THE CLUB! It throbs with frolicking CUSTOMERS. We move through the pack. To a rear concrete hallway... to a sign with an arrow: "TOILETS." We go down the hall... into... A DINGY CORRIDOR The Keane paintings hang here. The only human in sight is Walter, forlorn at a card table. Brochures are stacked, and he wears a sailor coat with a dandyish ascot. The image is grim. Walter listens to the raucous mob. Until, THUMP! -- a sloshed MAN stumbles in. Walter brightens and stands.</scene_description>
<character>WALTER</character>
<dialogue>Ah, beautiful! An art lover! Yes sir, how may I help you?</dialogue>
<character>MAN</character>
<parenthetical>(UNCLEAR)</parenthetical>
<dialogue>I'm, uh, just looking for the john.</dialogue>
<scene_description>A terrible pause. Walter swallows his outrage... then points. The guy smiles and tosses Walter a BUCK, as a tip. Walter is stunned. The guy toddles away. Beat. The Ladies Room opens, and TWO GOSSIPY WOMEN rush out, oblivious to Walter. He glowers. ANOTHER MAN bounds in, right up to one of Walter's paintings! He stops at it. Walter gathers a moment of hope. Does he like it? Then the man leans down and opens a CLOSET. He removes a tray of bar glasses, kicks the door shut, and scoots away. ANGLE - WALTER He grimaces... beaten. Walter drops his head on the table. Not noticing a DRUNK COUPLE stagger in. They pass a Waif, then halt -- taken. They lean in. Enthralled... concerned...</scene_description>
<character>TIPSY LADY</character>
<dialogue>Look at that child. She's so sad.</dialogue>
<character>TIPSY MAN</character>
<dialogue>Is she poor..?</dialogue>
<character>TIPSY LADY</character>
<dialogue>She's forgotten! It just makes me want to cry. (she peers at the signature, then turns) Are you "Keane"?</dialogue>
<scene_description>Walter lifts his head from the table.</scene_description>
<character>WALTER</character>
<dialogue>Yeah.</dialogue>
<character>TIPSY LADY</character>
<dialogue>Well you're a hell of a painter.</dialogue>
<scene_description>Walter squints, confused, then beams. Joy! Happiness bursting like a little child.</scene_description>
<character>WALTER</character>
<dialogue>Why, thank you...! Thank you so much!</dialogue>
<character>TIPSY LADY</character>
<dialogue>Your work is very powerful. There's so much emotion in those eyes.</dialogue>
<scene_description>OUCH! Walter's smile collapses.</scene_description>
<character>TIPSY LADY</character>
<dialogue>Is something wrong?</dialogue>
<character>WALTER</character>
<parenthetical>(REELING)</parenthetical>
<dialogue>Huh? Uh... no. No. I just didn't realize you meant... the waif.</dialogue>
<character>TIPSY MAN</character>
<parenthetical>(beat; he CHUCKLES)</parenthetical>
<dialogue>Oh, I get it...! The artist doesn't wanna part with his favorite piece...</dialogue>
<scene_description>The man winks, then pulls out a WAD OF BILLS. Walter stares morosely.</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - LATER</stage_direction>
<scene_description>Walter sits at the bar, toasted, drinking. In a dark place. His misery is interrupted by happy Banducci, groping two GALS.</scene_description>
<character>BANDUCCI</character>
<dialogue>Hello, Picasso! Nice crowd, eh?</dialogue>
<character>WALTER</character>
<parenthetical>(SOUR)</parenthetical>
<dialogue>You wouldn't know it from that broom closet you parked me in.</dialogue>
<character>BANDUCCI</character>
<dialogue>Hey, it's prime thoroughfare! People drink, they gotta relieve themselves.</dialogue>
<character>WALTER</character>
<parenthetical>(MUTTERING)</parenthetical>
<dialogue>"Location, location, location..."</dialogue>
<scene_description>Walter wallows in self-loathing. Suddenly, he explodes.</scene_description>
<character>WALTER</character>
<dialogue>It's INSULTING! When people see art, they shouldn't think of SHIT!</dialogue>
<character>BANDUCCI</character>
<parenthetical>(SHOCKED)</parenthetical>
<dialogue>Whoah! Watch it with the purple</dialogue>
<dialogue>language. We got ladies present --!</dialogue>
<scene_description>Banducci PUSHES Walter away. In reaction, Walter sloppily SMACKS him. Riled, Banducci suddenly takes a SWING! Walter stumbles, and Banducci's punch accidently HITS the GIRL. Ow! She topples. Walter gasps. He SWATS Banducci -- then RUNS! Cameras FLASH. Wild whoops. Walter barrels down the hall, Banducci chasing. The brawl's gone nuts. Walter grabs a Waif and SMASHES it over Banducci's head. CRASH! Banducci drops. INSERT - SAN FRANCISCO EXAMINER The front page! A small headline says "BISTRO BRAWL: BANDUCCI AND ARTIST SLUGFEST." Below are two PHOTOS: Walter mid-punch, and Banducci unconscious, sticking out of the Big Eye.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - DAWN</stage_direction>
<scene_description>A neighborhood precinct, quiet at 6 a.m. Doors open, and Margaret leads Walter out. She's seething. He's bruised, with a mortified drunk-tank, slept-in-my-clothes swagger.</scene_description>
<character>MARGARET</character>
<dialogue>I've never posted bail before.</dialogue>
<scene_description>Silence. He has no idea what to say. His aplomb crumbles.</scene_description>
<character>WALTER</character>
<dialogue>I'm -- I'm sorry. Banducci... laughed at our work. ...So I socked him.</dialogue>
<character>MARGARET</character>
<dialogue>Since when are you thin-skinned? Artists have to handle criticism.</dialogue>
<character>WALTER</character>
<dialogue>You're right! I know. But... I was already in a bad place. I'd had a couple... and earlier...</dialogue>
<character>(PAUSE)</character>
<dialogue>I let some guy think I painted your Big Eye.</dialogue>
<scene_description>Beat. Margaret is stupefied.</scene_description>
<character>MARGARET</character>
<dialogue>I don't understand. Why would you do such a thing?!</dialogue>
<character>WALTER</character>
<dialogue>It was a misunderstanding. And then, I didn't want to jinx the sale.</dialogue>
<scene_description>He shrugs feebly. She frowns.</scene_description>
<character>MARGARET</character>
<dialogue>Don't ever do it again.</dialogue>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - NIGHT</stage_direction>
<scene_description>The club is a ZOO. PARTYERS swarm the door, trying to enter. Suddenly, Walter pushes his way down the outside stairs. The DOORMAN starts to protest, but Walter somberly waves him off.</scene_description>
<character>WALTER</character>
<dialogue>Don't give me a hard time. I'm just grabbing my stuff...</dialogue>
<scene_description>Across the packed room, he spots Banducci with a black eye. Walter halts, uncertain. A bristling tension... Until -- Banducci suddenly rushes and GRABS him! Walter flails, freaked. Banducci DRAGS him into a back kitchen --</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB KITCHEN</stage_direction>
<scene_description>Banducci shuts the door, looks around... then suddenly LAUGHS! He grins manically and pulls Walter into a hearty HUG.</scene_description>
<character>BANDUCCI</character>
<dialogue>Can you believe this? We're sold out, and I don't even have a headliner!!</dialogue>
<character>(GLEEFUL)</character>
<dialogue>Hell, it's a Monday!</dialogue>
<scene_description>Walter blinks, lost. Banducci explains.</scene_description>
<character>BANDUCCI</character>
<dialogue>Dope, we made the front page!! People are here, cause they wanna see the sappy paintings that made grown men fight!!</dialogue>
<scene_description>A moment of discombobulation... until -- Walter slowly grins.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB - SECONDS LATER</stage_direction>
<scene_description>The two men suddenly tumble into view, SCREAMING.</scene_description>
<character>WALTER</character>
<dialogue>I'll see you in COURT, you son of a bitch! I'm suing you for assault! Slander! False arrest!!</dialogue>
<scene_description>Banducci storms away. Walter shudders, "upset." CUSTOMERS peer at him... then at the paintings. Curious, they migrate that way... Walter glances sideways. Gauging their reactions... Until -- a swinging middle-aged guy in horn rims and a suit lopes up. DICK NOLAN: A man who hides his bored emptiness under a veneer of booze and broads. Dick leans in.</scene_description>
<character>DICK</character>
<dialogue>Yes sir! Whew. That was quite a load of horseshit you gents were layin' out there.</dialogue>
<character>(LONG BEAT)</character>
<dialogue>Dick Nolan. The Examiner.</dialogue>
<scene_description>Walter freezes up. Until -- Dick grins conspiratorially.</scene_description>
<character>DICK</character>
<dialogue>Hey pal, don't lose any sleep. I eat this stuff with a spoon! It gives me something to type about, in my column.</dialogue>
<character>WALTER</character>
<parenthetical>(he laughs, relieved)</parenthetical>
<dialogue>I thought you only did celebrities.</dialogue>
<character>DICK</character>
<dialogue>Well, Banducci's famous -- and you hit him! So you're a celebrity, once- removed.</dialogue>
<character>(HE CHUCKLES)</character>
<dialogue>Buy me a drink?</dialogue>
<character>WALTER</character>
<dialogue>Huh? Uh, sure --</dialogue>
<scene_description>Dick smoothly drags him to the bar. Dick waves the bartender.</scene_description>
<character>DICK</character>
<dialogue>Gary! I'll have a Ward Eight, in a frosted high boy. My friend'll have the same. (he beams, then turns) So! Walter, tell me about your work --</dialogue>
<character>WALTER</character>
<dialogue>Well, when I was in Paris...</dialogue>
<character>DICK</character>
<dialogue>Jesus, not those! I mean the little hobo kids.</dialogue>
<scene_description>What?! Walter frowns, peeved. He considers this indignity... then decides to stomach it. He smiles fakely, effusively.</scene_description>
<character>WALTER</character>
<dialogue>What do you wanna know...?!</dialogue>
</scene>
<scene>
<stage_direction>INT. BERKELEY APARTMENT - LATE NIGHT</stage_direction>
<scene_description>Margaret is asleep. Suddenly Walter bursts in, drunk and jocular. He FLIPS on the lights.</scene_description>
<character>WALTER</character>
<dialogue>Ding-a-ling! Wake up, we're a HIT!</dialogue>
<scene_description>Margaret rolls over, groggy. Walter jumps on the bed, grinning. He tosses her a HANDFUL OF MONEY.</scene_description>
<character>WALTER</character>
<dialogue>What a night! I sold out all your Big Eyes!!</dialogue>
<scene_description>She rubs her eyes, amazed.</scene_description>
<character>MARGARET</character>
<dialogue>There must be two-hundred dollars...</dialogue>
<character>WALTER</character>
<dialogue>They adore you! Cause of that article, the joint was PACKED. And then, a famous journalist showed up, and -- I need more paintings! Now!</dialogue>
<scene_description>He hungrily KISSES her. She laughs.</scene_description>
<character>MARGARET</character>
<dialogue>Walter, they take at least a week. There's layering, shading --</dialogue>
<character>WALTER</character>
<dialogue>Of course! But, this is opportunity! Ah, we're gonna make a crackerjack team: Me schmoozing up the club, while you're back here, doing what you love!</dialogue>
<scene_description>She stares at him -- then smiles. MUSIC...</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - NIGHT</stage_direction>
<scene_description>Margaret happily paints away. At peace, lost in her art...</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - NIGHT</stage_direction>
<scene_description>Walter sells Big Eyes. Shoving cash into a cigar box.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>Margaret works, HUMMING serenely. On the easel is a half- finished blonde girl in a blue dress.</scene_description>
</scene>
<scene>
<stage_direction>INT. TAILOR'S - DAY</stage_direction>
<scene_description>Walter buys a new suit. A TAILOR measures him.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - LATE NIGHT</stage_direction>
<scene_description>Margaret finishes painting a sad boy, using a fine brush to add a watery rim to his eyes. Magically, this detail brings the picture to life. She's pleased. Margaret signs "KEANE." There are two finished canvases, the sad little girl and boy. Margaret smiles, her heart swelling. She loves them. Then, she looks about. Nobody is there to share the moment. Hm. She thinks -- then picks up the PHONE. She dials.</scene_description>
<character>MARGARET</character>
<dialogue>Mrs. Cava, I'm sorry to bother you so late... but would you mind watching Jane?</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI - NIGHT</stage_direction>
<scene_description>Margaret rides in the back seat, smiling, her gaze faraway. She proudly hugs the bundled paintings to her chest.</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - NIGHT</stage_direction>
<scene_description>The club is pounding. Margaret enters the throng, carrying her work. She looks up -- and has her breath taken away. The ENTIRE CLUB, EVERY WALL, IS NOW HUNG WITH KEANE PAINTINGS! Whoa...! Pure joy envelops her. Then -- she gets jostled. Margaret notices Walter holding court with some GROUPIES. She approaches, unnoticed:</scene_description>
<character>WALTER</character>
<dialogue>...yeah, eyes are powerful. A poet said they're the windows of the soul.</dialogue>
<scene_description>Margaret smiles, touched. She comes closer....</scene_description>
<character>GROUPIE</character>
<dialogue>They hold so much feeling.</dialogue>
<character>WALTER</character>
<dialogue>You got it! That's why I paint 'em so big.</dialogue>
<character>(BEAT)</character>
<dialogue>I've always done it that way.</dialogue>
<scene_description>CLOSEUP - MARGARET She GASPS, stunned. The room starts spinning.</scene_description>
<character>HER POV</character>
<dialogue>WALTER</dialogue>
<scene_description>If you like this style, I'm working on a few new pieces. I've got a little blonde girl in a blue dress that'll tear your heart out. ANGLE - MARGARET Her face goes ashen. Dizzy, she clutches for support. What to do?? Overcome, she shrinks away... disappearing... ending up alone in a corner. She cowers, childlike. ACROSS THE ROOM Walter LAUGHS at a joke, then backslaps the group. He jovially strides away... passing by Margaret... when --</scene_description>
<character>MARGARET</character>
<dialogue>Walter...?</dialogue>
<scene_description>He spins -- shocked at her presence.</scene_description>
<character>WALTER</character>
<dialogue>Baby!</dialogue>
<character>(DISCOMBOBULATED)</character>
<dialogue>Hey, uh, what are you doing here? I</dialogue>
<character>UM --</character>
<dialogue>MARGARET</dialogue>
<scene_description>Why are you lying? For once, Walter has no answer. She bores in, emotions racing. Confused. Hurt.</scene_description>
<character>MARGARET</character>
<dialogue>You're taking credit for something that isn't yours.</dialogue>
<scene_description>He looks ill. Wheels spinning, looking for an out --</scene_description>
<character>WALTER</character>
<dialogue>I was... trying to close the deal --</dialogue>
<character>MARGARET</character>
<dialogue>Those children are part of my being!</dialogue>
<character>WALTER</character>
<dialogue>I'm just a salesman! You know, buyers pay more if they meet the painter --</dialogue>
<character>MARGARET</character>
<dialogue>They couldn't meet me, because you told me to stay home!!</dialogue>
<character>WALTER</character>
<dialogue>Shh, QUIET!</dialogue>
<scene_description>He grabs her, pulling her behind a curtain. He's desperate.</scene_description>
<character>WALTER</character>
<dialogue>Don't blow this! Look, we're makin' money! Your pocket, my pocket? What's the difference?!</dialogue>
<character>MARGARET</character>
<parenthetical>(TREMBLING)</parenthetical>
<dialogue>You take this so lightly --</dialogue>
<character>WALTER</character>
<dialogue>Not all all! But it's not about ego! You wanna say you did the street scenes? Fine! I don't care! Say a monkey painted it!</dialogue>
<scene_description>She breaks into tears, sobbing.</scene_description>
<character>MARGARET</character>
<dialogue>I'm glad you can dash off your pieces without any emotional connection...!</dialogue>
<character>WALTER</character>
<dialogue>Ah, honey! I just wanna share them with the world!</dialogue>
<character>(BEAT)</character>
<dialogue>Would you rather have your children piled in a closet... or hanging in someone's living room?</dialogue>
<scene_description>Silence. Then -- FLASH! FLASH! FLASH! Walter turns. And -- his eyes pop, astonished. AT THE DOOR Is an incredible sight. Like a moment from "La Dolce Vita," a fabulously dressed ITALIAN MAN with THREE BLONDES floats down the stairs, into the club. Cameras FLASH. Walter gapes, transfixed. He grabs Banducci.</scene_description>
<character>WALTER</character>
<dialogue>Hey. Who is that remarkably handsome and confident man?</dialogue>
<character>BANDUCCI</character>
<dialogue>That's Dino Olivetti -- as in Olivetti typewriters.</dialogue>
<character>(HE SMIRKS)</character>
<dialogue>BANDUCCI</dialogue>
<scene_description>Don't even try, Walter. He doesn't speak a lick of English. Walter stares hungrily. ANGLE - OLIVETTI glides into the club -- a vision of perfection with his slick hair and sunglasses. He approaches closer, closer... when he gets distracted. By one of Margaret's Big Eye PAINTINGS. Walter gasps. He nudges Margaret. Olivetti peers at the artwork. Intrigued. Then -- excited. He starts gesturing and yapping in ITALIAN. The Blondes shout back. Everyone is getting worked-up. The big-bosomed Blonde turns to Walter.</scene_description>
<character>EUROPEAN BLONDE</character>
<dialogue>Mr. Olivetti is enchanted with the painting. He would like to know... who is the artist?</dialogue>
<scene_description>ANGLE - MARGARET AND WALTER The moment of truth. Margaret opens her mouth... and no sound comes out. She clenches up. Stomach tight. Mute. Walter gives her a second -- tick tock tick tock. Then -- he leaps into Opportunity. He SMACKS his hands.</scene_description>
<character>WALTER</character>
<dialogue>I am!</dialogue>
<scene_description>Walter swoops over and grabs Olivetti in a hearty clasp.</scene_description>
<character>WALTER</character>
<dialogue>It's a delight to meet you, Signore! Buon giorno! Have you been an art lover for long..?</dialogue>
<scene_description>We move in tight on MARGARET, as the SOUND DIALS DOWN.</scene_description>
<character>WALTER'S VOICE</character>
<dialogue>I call that piece "The Waif." Isn't it striking? With its juxtaposition of girl, cat, and stairs... and its almost Flemish use of underpigment...</dialogue>
<scene_description>The SOUND dims... then goes SILENT. Margaret stares in shock, unmoving. Time seems to stop. She is frozen in grief. Until --</scene_description>
<character>WALTER'S VOICE</character>
<dialogue>Baby! Baby! Can you believe it?!!</dialogue>
<character>CUT TO:</character>
<dialogue>MINUTES LATER</dialogue>
<scene_description>Time has passed. Walter happily clutches Margaret.</scene_description>
<character>WALTER</character>
<dialogue>We made five grand!! Five THOUSAND dollars...!!!</dialogue>
<character>(GIDDY)</character>
<dialogue>And that wasn't even one of your good ones!</dialogue>
<scene_description>Margaret blinks, lost. In the b.g., Olivetti holds the painting, now wrapped-up in newspaper and twine. A pleased customer. Margaret's face darkens.</scene_description>
<character>MARGARET</character>
<dialogue>Don't you mean... one of your good ones?</dialogue>
<character>WALTER</character>
<dialogue>No. No no! One of -- OUR good ones. (the spirit of generosity, he hands her a CHECK) Look at those zeroes! We've hit the big time! We are now hanging in the collection of Italian industrialist Dino Olivetti! With his patronage comes credibility! And with credibility comes RESPECT!</dialogue>
<scene_description>Margaret stares at the check in her hands. At all the zeroes.</scene_description>
<character>MARGARET</character>
<dialogue>What about... honesty?</dialogue>
<character>WALTER</character>
<dialogue>Aw c'mon! The paintings say "Keane"! I'm Keane, you're Keane. From now on, we are one and the same.</dialogue>
<scene_description>Walter pulls her tight. She doesn't resist. SERIES OF SHOTS:</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>Upbeat MUSIC. Walter frantically tosses all the BROCHURES of him and Margaret into a FIREPLACE. They burn to ash. INSERT - NEWSPAPER We ZOOM into Dick Nolan's SOCIETY COLUMN. Under a caricature of Dick is a highlighted ITEM. We hear TYPING: DICK'S HUSHED VOICE "What exactly is local painter Walter Keane up to? My spies tell me a big announcement is forthcoming...!"</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - DAY</stage_direction>
<scene_description>Walter proudly hands a painting to the confused-looking MAYOR.</scene_description>
<character>WALTER</character>
<dialogue>On behalf of the children of the world, we present this painting to Mayor Christopher!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PUBLIC BUILDING - DAY</stage_direction>
<scene_description>Walter thrusts a painted Ballerina at a SOVIET DIPLOMAT.</scene_description>
<character>WALTER</character>
<dialogue>In the interest of peace through culture, we donate this painting to the people of Russia!</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONEBOOTH - NIGHT</stage_direction>
<scene_description>Dick whispers into a phone.</scene_description>
<character>DICK</character>
<dialogue>The Purple Onion. 9:30. Joan Crawford has a dinner reservation.</dialogue>
</scene>
<scene>
<stage_direction>INT. PURPLE ONION - NIGHT</stage_direction>
<scene_description>JOAN CRAWFORD is eating with friends. Suddenly Walter lunges into view, startling her. He lugs a painting.</scene_description>
<character>WALTER</character>
<dialogue>Miss Crawford! In recognition of your cinematic craft, we bestow this painting, "The Lion and the Child"!</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>Margaret paints. Walter beams.</scene_description>
<character>WALTER</character>
<dialogue>Joan said "Marvelous"! MARVELOUS! That's worth more than 1000 critics! (he CLAPS his hands) Hey, maybe she'll come to our opening.</dialogue>
<character>MARGARET</character>
<dialogue>But... isn't it strange? Artists get shown. They don't build their own</dialogue>
<dialogue>galleries.</dialogue>
<character>WALTER</character>
<dialogue>Says who?! Like John Q. Public cares? He's FED UP with abstract neoformalism!</dialogue>
<scene_description>She responds -- but he sexily puts his finger to her mouth.</scene_description>
<character>WALTER</character>
<dialogue>He digs real art. Your art! It's beautiful. You're beautiful...</dialogue>
<scene_description>Walter starts rubbing against her, dancing sensually. She laughs, embarrassed, her wet paint brushes smearing his chest. She relents and relaxes. They dance around...</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREETS - EARLY MORNING</stage_direction>
<scene_description>In the shadows, POSTERS of "The Waif" get glued up. Under her woeful face, it says "KEANE GALLERY 494 Broadway." We WIDEN, as Walter, Margaret and Jane hastily slap up the posters. They carry glue buckets and a ladder.</scene_description>
<character>WALTER</character>
<dialogue>Ruben's gonna choke when he sees this!</dialogue>
<scene_description>Little Jane tiredly glues another poster. She yawns.</scene_description>
<character>JANE</character>
<dialogue>I remember when Momma painted that.</dialogue>
<scene_description>Huh? Suddenly, Margaret freezes. She hadn't anticipated this. Margaret looks to Walter. He stares back, waiting.</scene_description>
<character>MARGARET</character>
<dialogue>Are you -- sure? That was a long time ago.</dialogue>
<character>JANE</character>
<dialogue>Sure I'm sure! It was in our old apartment, and you had me sit on a stool in the kitchen --</dialogue>
<character>WALTER</character>
<parenthetical>(CUTTING IN)</parenthetical>
<dialogue>No, dear, I'm afraid you're confused. I painted that one --</dialogue>
<character>JANE</character>
<dialogue>No, Mother did! Look! I'm wearing my blue dress.</dialogue>
<character>MARGARET</character>
<dialogue>L-lots of girls have that dress...</dialogue>
<scene_description>Margaret trails off, sickened. Not knowing how to lie. Walter takes charge. He kneels, then smiles gently at Jane.</scene_description>
<character>WALTER</character>
<dialogue>You have a good eye, sweetie. I painted it, but I was trying to mimic your mother's style. You know, the style she USED to paint in.</dialogue>
<scene_description>CLOSEUP - JANE A loooooong pause. She examines the print. Then... she nods.</scene_description>
<character>JANE</character>
<dialogue>Well you did a really good job.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO NORTH BEACH - DAY</stage_direction>
<scene_description>CU on the Waif. We widen, revealing the ENTIRE WORLD has been hijacked, blanketed by THE POSTERS. People gape -- astonished and captivated. Disconnected from it all, strolling alone, is Margaret. She is burdened by her own thoughts. Regretful... Across the street, she sees a GOTHIC CHURCH. She stares up, awed by the beauty. It's Catholic imagery in all its glory: Saints... Jesus... Mary... Suddenly -- the bells RING. Hm. Margaret takes a step...</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH CONFESSION BOOTH - DAY</stage_direction>
<scene_description>Margaret tentatively enters and kneels. Beat -- then the grille OPENS. She reacts, discomposed.</scene_description>
<character>MARGARET</character>
<dialogue>Hello. I've -- never really done this before. I'm not sure how you...</dialogue>
<character>(WORRIED)</character>
<dialogue>I was raised Methodist. If it's a problem, I can go --</dialogue>
<scene_description>She starts to stand. The Priest blurts out.</scene_description>
<character>PRIEST'S VOICE</character>
<dialogue>No, no! Please. We don't chase people away.</dialogue>
<character>(BEAT)</character>
<dialogue>What is troubling you?</dialogue>
<scene_description>Margaret takes a breath.</scene_description>
<character>THEN --</character>
<dialogue>MARGARET</dialogue>
<scene_description>I lied to my child. Pause.</scene_description>
<character>PRIEST'S VOICE</character>
<dialogue>Why would you do that?</dialogue>
<character>MARGARET</character>
<dialogue>My husband... he pressured me into doing it.</dialogue>
<character>(PAUSE)</character>
<dialogue>I've never lied to her before. I'm not that kind of person.</dialogue>
<scene_description>Beat.</scene_description>
<character>PRIEST'S VOICE</character>
<dialogue>Is your husband that kind of person?</dialogue>
<character>MARGARET</character>
<dialogue>Ummm, no. I don't think of him that way. I mean, he likes to tell stories... maybe he exaggerates a little... but he's a good man.</dialogue>
<character>(SHE THINKS)</character>
<dialogue>He takes care of us. He wants to make enough money to buy our family a house...</dialogue>
<character>PRIEST'S VOICE</character>
<dialogue>But what of the child? Will this lie bring harm to her?</dialogue>
<character>MARGARET</character>
<dialogue>"Harm"?? Oh! Not at all.</dialogue>
<character>(BEAT)</character>
<dialogue>I'm just looking for answers...</dialogue>
<scene_description>The Priest considers this.</scene_description>
<character>PRIEST'S VOICE</character>
<dialogue>Well, the modern world is a complicated place.</dialogue>
<scene_description>PRIEST'S VOICE Occasionally, children need to be sheltered from certain truths.</scene_description>
<character>MARGARET</character>
<dialogue>N-no. That's not what --</dialogue>
<character>PRIEST'S VOICE</character>
<dialogue>It sounds like your husband is trying to make the best of an imperfect situation.</dialogue>
<character>(BEAT)</character>
<dialogue>You were raised Christian, so you know what we are taught: The man is head of the household.</dialogue>
<character>(BEAT)</character>
<dialogue>Perhaps you should trust his judgment.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEANE GALLERY - NIGHT</stage_direction>
<scene_description>Opening night! The gallery is packed with the IN CROWD: Rich and drinking. The space is cool -- the walls bright white, the art hanging under spotlights. JAZZ plays on the stereo. At one painting, a HIPSTER COUPLE stares at the image of a sorrowful girl holding an armful of poodle puppies.</scene_description>
<character>HIPSTER LADY</character>
<dialogue>I think it's creepy, maudlin and amateurish.</dialogue>
<character>HIPSTER MAN</character>
<dialogue>Exactly. I love it.</dialogue>
<scene_description>We move in tight on the painting. Underneath is a tag: "BEDTIME, by WALTER KEANE. Oil on canvas." We drift along, to another painting: "CALICO CAT, by WALTER KEANE." Then, another: "IN THE GARDEN, by WALTER KEANE." Every painting is now by Walter Keane. We move along... finding the Tipsy Man chatting up Dick.</scene_description>
<character>TIPSY MAN</character>
<dialogue>We got in early. We own three.</dialogue>
<character>(HE TURNS)</character>
<dialogue>Thanks, doll.</dialogue>
<scene_description>He tosses his empty to a PASSING LADY. We reveal the waitress is... Margaret. She carries a tray of pigs-in-a-blanket. Margaret looks shell-shocked -- faking a happy party face. A burst of LAUGHTER. Margaret turns. Walter and a group ROAR at a joke. A SEXY GIRL hands Walter one of the promo posters. He beams and lays it across her back... hugging her waist to "steady" himself as he signs. BACK ON MARGARET She frowns. Dee-Ann slides into view, slurping champagne.</scene_description>
<character>DEE-ANN</character>
<dialogue>Hey, baby! Killer party! It's a hap- pen-ing...! So, where's your stuff?</dialogue>
<character>MARGARET</character>
<parenthetical>(NERVOUS)</parenthetical>
<dialogue>Oh. Um, we decided that this would be Walter's show --</dialogue>
<character>DEE-ANN</character>
<parenthetical>(SUSPICIOUS)</parenthetical>
<dialogue>Oh "we" did?? And why would "we" do that??</dialogue>
<character>MARGARET</character>
<dialogue>Well... he's more established.</dialogue>
<character>DEE-ANN</character>
<dialogue>Please! Is that you talking, or did you just turn into a little felt puppet with someone's hand up your ass?</dialogue>
<scene_description>Margaret is befuddled. Dee-Ann scopes out the artwork.</scene_description>
<character>DEE-ANN</character>
<dialogue>It's strange... Walter doesn't strike me as the cute hungry kitten type...</dialogue>
<scene_description>Margaret grimaces.</scene_description>
<character>MARGARET</character>
<dialogue>Thanks for coming.</dialogue>
<scene_description>Margaret grabs a drink and hurries away. Dee-Ann stands there, irked. Margaret cuts over to Walter. We MOVE IN TIGHT ON THE COUPLE. He grins and grabs her.</scene_description>
<character>WALTER</character>
<dialogue>Ah, my sweet! Are you enjoying the scene? (he gives her a kiss)</dialogue>
<scene_description>EVERYONE!</scene_description>
<character>WALTER</character>
<dialogue>Give a hand to my beautiful wife. Without her, none of tonight would be possible!</dialogue>
<scene_description>The crowd APPLAUDS politely, condescendingly. Margaret smiles strangely. The Tipsy Man leans in.</scene_description>
<character>TIPSY MAN</character>
<dialogue>Your husband's quite a talent.</dialogue>
<character>(PLEASANT)</character>
<dialogue>Do you paint, too?</dialogue>
<scene_description>Margaret freezes up, terribly awkward.</scene_description>
<character>MARGARET</character>
<dialogue>I don't... know.</dialogue>
<character>AT WALTER</character>
<dialogue>A NOSY GUY corners him in front of a painted child.</dialogue>
<character>NOSY GUY</character>
<dialogue>I'm curious about your technique. How long did that piece take to execute?</dialogue>
<character>WALTER</character>
<dialogue>That? Oh, wow. Probably... months. First the thinking, the sketching, and then time with just me and the oils.</dialogue>
<character>NOSY GUY</character>
<dialogue>"Oils"? But isn't that acrylic...?</dialogue>
<scene_description>Huh? Walter glances at the painting, startled.</scene_description>
<character>WALTER</character>
<dialogue>Oh --! You mean that painting! Uhh, sorry! It's like a jumble of ideas, rattling around in my brain!</dialogue>
<scene_description>Beat.</scene_description>
<character>NOSY GUY</character>
<dialogue>So where do you get your ideas?</dialogue>
<character>WALTER</character>
<dialogue>What do you mean?</dialogue>
<character>NOSY GUY</character>
<dialogue>I mean -- (confused at this confusion) Why are they... images of children?</dialogue>
<scene_description>Yikes. Walter starts to sweat. He didn't think this through.</scene_description>
<character>WALTER</character>
<dialogue>Well, er, I've just always loved kids. Though mostly I was influenced by my darling daughter...</dialogue>
<scene_description>An odd beat.</scene_description>
<character>WALTER</character>
<dialogue>I remember when she was a baby...</dialogue>
<scene_description>Walter gets a far-off look.</scene_description>
<character>WALTER</character>
<dialogue>Yeah. Cute little thing. I'd stare into those big orbs. Sometimes I'd get out my Brownie and snap a photo... but... that's not subjective. You know? It doesn't capture your feelings. So that's when I started painting her...</dialogue>
<scene_description>We hold on Walter, unsure where reality begins and ends...</scene_description>
</scene>
<scene>
<stage_direction>INT. BERKELEY APARTMENT - DAY</stage_direction>
<scene_description>CU on a fuzzy TV SCREEN: A PRIGGISH MAN is griping. The screen is captioned "JOHN CANADAY, NY TIMES ART CRITIC" CANADAY (ON TV) Keane's work is completely without distinction. He is not a member of the Society of Western Artists. He has won no awards. He's only noteworthy for his appearances in a certain newspaper's gossip column!</scene_description>
<character>(EXASPERATED)</character>
<dialogue>Mr. Keane is why society NEEDS critics! To protect them from such atrocities!</dialogue>
<scene_description>Walter gapes at the TV, outraged. He suddenly grabs a PHONE. IN THE LIVING ROOM Jane is BANGING on a closed door.</scene_description>
<character>JANE</character>
<dialogue>Mom! I wanna come in.</dialogue>
<scene_description>MARGARET (O.S.) Uhh, you can't. Mommy's busy.</scene_description>
<character>JANE</character>
<parenthetical>(she BANGS again)</parenthetical>
<dialogue>Let me in! What are you doing in there? Why's the door always locked?</dialogue>
<scene_description>Walter enters -- and reacts. He glides over to the girl.</scene_description>
<character>WALTER</character>
<dialogue>Janie, sweetie, you need to respect your mother's privacy. Sometimes grownups need alone time.</dialogue>
<character>(HE WINKS)</character>
<dialogue>Is that the ice cream truck? Why don't you go get yourself a fudgesicle?</dialogue>
<scene_description>Walter tosses her a dime. She peers warily, then leaves. He waits a beat -- then pulls out a KEY. Walter discreetly unlocks the painting room.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT PAINTING ROOM - SAME TIME</stage_direction>
<scene_description>It's a factory. Big Eyes are everywhere. Margaret frenziedly works, surrounded by half-done canvases, solvents, easels. She's in a bathrobe -- a cigarette hanging from her lips. Startled, she looks up to see Walter. He gazes at all the art. At the bulbous faces, eyes watery and submissive, trapped in muddy yellows and dire browns. And then... Walter grins broadly.</scene_description>
<character>WALTER</character>
<dialogue>Whew! Out of this world...!</dialogue>
<character>MARGARET</character>
<parenthetical>(BOTHERED)</parenthetical>
<dialogue>I dunno. I'm not really comfortable with this. Jane and I used to be so close... but -- now...</dialogue>
<character>WALTER</character>
<dialogue>Ah, Jane's grand! She's eating ice cream! She has new shoes. She has a college fund.</dialogue>
<scene_description>Beat.</scene_description>
<character>MARGARET</character>
<dialogue>Maybe I'm lightheaded from the turpentine. I've been in here all day.</dialogue>
<character>WALTER</character>
<dialogue>Well I don't want you feeling like a prisoner. Take a break!</dialogue>
<scene_description>Walter glances at one PAINTING -- then does a take. ANGLE - PAINTING It's a child in a rusty alley, staring, aching for compassion. And, starting to cry. A single tear streams down her cheek.</scene_description>
<character>WALTER</character>
<dialogue>Is that a tear...? You've gone deep!</dialogue>
<scene_description>Margaret bites her fingers, worried.</scene_description>
<character>MARGARET</character>
<dialogue>Do you -- like it?</dialogue>
<character>WALTER</character>
<dialogue>I love it! ...How'd you get the eyes so lifelike? Is it the highlights?</dialogue>
<character>MARGARET</character>
<parenthetical>(PROUD)</parenthetical>
<dialogue>No. The secret is the shadow. I shadowed the eyelid.</dialogue>
<scene_description>Margaret smiles shyly. Walter smiles back, full of warmth. He takes her face in his hands.</scene_description>
<character>WALTER</character>
<dialogue>I owe you an apology. I was initially dismissive of your kids, those emotion- wrenching blobs of humanity... but they have a real strength.</dialogue>
<character>MARGARET</character>
<parenthetical>(SHE LAUGHS)</parenthetical>
<dialogue>Is that your best version of sincerity?</dialogue>
<character>WALTER</character>
<dialogue>I'm trying! Ah, you know me. See -- this is why I need your help! I want to go on tv, to defend our art.</dialogue>
<character>MARGARET</character>
<dialogue>You're going to be on television?!</dialogue>
<character>WALTER</character>
<dialogue>Yes! But... what will I say??</dialogue>
<character>(BEAT)</character>
<dialogue>Meaning -- what compels me... to paint... these paintings??</dialogue>
<scene_description>A bizarre pause. The two of them look around the room. At all the Big Eyes peering down at them.</scene_description>
<character>MARGARET</character>
<dialogue>Maybe you have an unhealthy obsession with little girls.</dialogue>
<character>WALTER</character>
<dialogue>Cute.</dialogue>
<character>MARGARET</character>
<parenthetical>(SHE SNICKERS)</parenthetical>
<dialogue>I guess you've painted yourself into a corner.</dialogue>
<character>WALTER</character>
<dialogue>Funny! Keep 'em coming! You're a</dialogue>
<dialogue>regular Steve Allen. You want heat this winter? Help me out!</dialogue>
<character>MARGARET</character>
<dialogue>Walter... art is personal.</dialogue>
<scene_description>Walter picks up a picture of TWO LITTLE GIRLS IN TUTUS. He stares, perplexed.</scene_description>
<character>WALTER</character>
<dialogue>What would make a grown man paint a picture like this?!</dialogue>
<scene_description>No answer. He thinks of stories, wheels spinning.</scene_description>
<character>WALTER</character>
<dialogue>I grew up, surrounded by six sisters.</dialogue>
<character>(NO GOOD)</character>
<dialogue>I grew up in an orphanage?</dialogue>
<character>(STRUGGLING)</character>
<dialogue>I grew up... in a world where adults had vanished, and children and kittens ran wild over the desolate landscape!</dialogue>
<scene_description>Margaret smiles.</scene_description>
<character>MARGARET</character>
<dialogue>What about your Paris street scenes? Why do you paint those?</dialogue>
<character>WALTER</character>
<dialogue>Well, because... I lived it! I experienced it!</dialogue>
<character>MARGARET</character>
<parenthetical>(calling his bluff)</parenthetical>
<dialogue>And was it really all sun-dappled streets and flower vendors?</dialogue>
<scene_description>Huh? Walter stares off at the Waifs. They peer out from broken windows... chain-link fences... And then -- he gets it.</scene_description>
<character>WALTER</character>
<dialogue>Well -- NO! Of course not. It was after the War. There was destruction everywhere...</dialogue>
<character>(PAUSE)</character>
<dialogue>WALTER</dialogue>
<scene_description>I traveled the Continent. The ravages were horrifying... INSERT - FULL FRAME TV SCREEN Walter is on TV, on a LOCAL PUBLIC AFFAIRS SHOW. He's coated with makeup, sitting rigidly, fingers gripping his chair. WALTER (ON TV) My psyche was scarred in my art student days. Nothing in my life has ever made such an impact as the sight of the children: War-wracked innocents, without homes, without parents, fighting over garbage... He sits in a half-circle of PROPER WOMEN, who are spellbound. WALTER (ON TV) Goaded by a frantic despair, I sketched these dirty, ragged little victims... with their bruised minds and bodies, their matted hair and runny noses. There my life as a painter began in earnest. Walter sadly looks up to the HOST. The man is shellshocked. Mute. Walter waits, then sighs. WALTER (ON TV) The insane, inhuman cruelty inflicted upon these children cut deeply into my being. From that moment on, I painted the lost children with the eyes. Those eyes that forever retained their haunting quality. The ladies are stricken. A few dab their eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO - DAY</stage_direction>
<scene_description>Keane posters get RIPPED off a wall. RIPPED off a mailbox. PULLED off a construction site!</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEANE GALLERY - NEXT DAY</stage_direction>
<scene_description>Walter strides along, a bounce to his step. He reaches the gallery -- then stops, dumbfounded. It's PACKED with PEOPLE! Not rich, but regular folks, gawking at the art. Wow. A sweet moment... then some TOURISTS see Walter and happily accost him: "Walter Keane!" "Mr. Keane!" They thrust papers and POSTERS at him to autograph. Walter grins and scribbles his signature. Glancing over their shoulders, he sees Ruben down the block, standing outside his own gallery. Gaping in disbelief. Walter chuckles... then flips him off. Ruben's face falls.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEANE GALLERY - SAME TIME</stage_direction>
<scene_description>Walter pushes through, shaking hands, greeting the CUSTOMERS:</scene_description>
<character>WALTER</character>
<dialogue>Good afternoon! Delighted! (he reaches the SEXY BLONDE CLERK and pinches her ass) How many sales today?</dialogue>
<character>BLONDE CLERK</character>
<dialogue>"Sales?" None with this crowd.</dialogue>
<scene_description>Walter's smile drops, surprised.</scene_description>
<character>BLONDE CLERK</character>
<dialogue>These people are looky-loos! They can't afford the paintings. But we gave away a heap of posters!</dialogue>
<scene_description>Huh? Walter peers, baffled. Suddenly -- a loud FRWWIPPPP! Walter whirls, startled. Outside, two GIRLS tear a big poster off the front window. Walter's eyes widen. Slowly, he turns back. At the counter, FOLKS and KIDS are grabbing free posters from a box. Walter stares. Processing this. And then... being struck by an idea of absolute genius...</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE ROOM - SECONDS LATER</stage_direction>
<scene_description>Walter is on the telephone, peering through the doorway. Hiding from the customers. Spying. WHISPERING. WALTER (ON THE PHONE) It's the craziest thing. I started charging for the posters! First a nickel... then a dime. (struggling to whisper) YES, Maggie! It's cuckoo! So it got me thinkin': Would you rather sell a $500 painting, or a million cheaply- reproduced posters?! (he LAUGHS, exultant) WALTER (ON THE PHONE) See, folks don't care if it's a copy. They just want art that touches them!</scene_description>
<character>CUT TO:</character>
<dialogue>ANIMATION</dialogue>
<character>WALTER'S VOICE</character>
<dialogue>And then... we could sell it anywhere!! EVERYWHERE!</dialogue>
<scene_description>60's-style MADISON AVENUE GRAPHICS: A still of a HARDWARE STORE. Mops, light bulbs, then -- BING! -- framed KEANES. A PHARMACY. Aspirin, candy bars -- BING! -- framed KEANES. A GAS STATION. Tires, motor oil, and -- BING! -- KEANES.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUPERMARKET - DAY</stage_direction>
<scene_description>An aisle of Sundries: Plastic toys, beach balls... Waifs. A sign says "WE HAVE KEANE!" Around the corner, Margaret shuffles along, listlessly buying banalities: Cereal. Soap. She turns the cart... and runs into her wall of teary-eyed kids. Margaret peers, muddled. Then she turns away -- to a RACK OF PAPERBACKS. They offer fast hope, inspiration. Margaret seems disconnected. She runs her hand down the options... a book of Numerology... a book on Judaism... an Edgar Cayce prophecies manual... AT THE REGISTER - Margaret gazes up. The CASHIER is a sad Beatnik Girl. In a haze, Margaret notices the whole market is full of LONELY WOMEN: One LADY is her doppelganger -- same age, blonde, gripping a cart. Next aisle over, a MIDDLE-AGED WOMAN stares into space. Nearby, a YOUNG MOM wrangles her children. We shift to Margaret. Face gaunt. Eyes empty. Troubled...</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT PAINTING ROOM - DAY</stage_direction>
<scene_description>Curtains drawn, Margaret frantically SKETCHES. She's cabin feverish. In her robe. Hair dirty. And -- up to something. These sketches aren't squat children with round eyes. They're different: Figures with long lines. Margaret frowns and rips the paper. She tries again! Another angular figure -- straight fingers... no! Again! A woman... reclining. Then an indication of a face: A slash... and then -- two small almond shapes for eyes. Hmm. Margaret's face brightens. She likes it.</scene_description>
<character>LATER</character>
<dialogue>Margaret rabidly paints. Spurting globs of color. The woman is blonde, almond eyes cool, lips curled with mystery... Margaret glances in a mirror. It's a self-portrait. It's Margaret, aloof. Alone at a table.</dialogue>
<dialogue>Suddenly the door opens. Margaret GASPS, startled, and spins the canvas away. Walter barges in, dressed like a million. He HALTS -- making a sour face.</dialogue>
<character>WALTER</character>
<dialogue>Whew! Something smells in here. You should open a window.</dialogue>
<scene_description>Margaret blinks, a bit dazed.</scene_description>
<character>MARGARET</character>
<dialogue>What time is it?</dialogue>
<character>WALTER</character>
<dialogue>I dunno. 6:30, 7? ...Didn't Janie get dinner?</dialogue>
<scene_description>Margaret shrugs. Walter leans in.</scene_description>
<character>WALTER</character>
<dialogue>When's the last time you washed your hair?</dialogue>
<character>MARGARET</character>
<dialogue>I've been... busy.</dialogue>
<character>WALTER</character>
<parenthetical>(he notices the turned canvas; he's intrigued)</parenthetical>
<dialogue>What do you got back there? Lemme see.</dialogue>
<character>MARGARET</character>
<dialogue>No --! It's just... something I'm working on. It's not for the world.</dialogue>
<scene_description>Walter gives her a funny look.</scene_description>
<character>WALTER</character>
<dialogue>"The world"? Baby, it's me! (stepping forward, a bit</dialogue>
<character>MALEVOLENT)</character>
<dialogue>I'm your number one fan.</dialogue>
<character>MARGARET</character>
<dialogue>No, please! Walter, it's -- personal.</dialogue>
<character>WALTER</character>
<parenthetical>(GETTING CLOSER)</parenthetical>
<dialogue>But we're husband and wife. We shouldn't have secrets...</dialogue>
<scene_description>Margaret gulps, fretting. Finally, without options -- she flips over the canvas of the lonely blonde. And -- Walter is taken aback. His eyebrows raise, shocked. Margaret bites her lip. Will he go ballistic? ANGLE - WALTER He leans right up to the painting. His expression is inscrutable. Studying the technique. We have no idea what his emotion is.</scene_description>
<character>WALTER</character>
<dialogue>It's a completely different style.</dialogue>
<character>MARGARET</character>
<dialogue>Yes it is.</dialogue>
<character>WALTER</character>
<parenthetical>(BEAT)</parenthetical>
<dialogue>It looks like you.</dialogue>
<character>MARGARET</character>
<dialogue>It's a self-portrait.</dialogue>
<scene_description>Beat.</scene_description>
<character>WALTER</character>
<dialogue>How am I gonna explain that?</dialogue>
<scene_description>She shifts about.</scene_description>
<character>MARGARET</character>
<dialogue>I thought... maybe... I could sign it myself.</dialogue>
<scene_description>Hmm. Walter's eyes narrow.</scene_description>
<character>WALTER</character>
<dialogue>That seems a bit confusing. "Keane" means me.</dialogue>
<character>MARGARET</character>
<dialogue>Yes, I know... but... when people ask me if I paint, I don't know what to answer! I just want the pride of being able to say -- that's mine.</dialogue>
<scene_description>Walter's wheels are ratcheting.</scene_description>
<character>WALTER</character>
<dialogue>Who'd you tell about the Big Eyes?</dialogue>
<character>MARGARET</character>
<dialogue>Nobody!</dialogue>
<character>WALTER</character>
<parenthetical>(PARANOID)</parenthetical>
<dialogue>Was Dee-Ann here?! Did Dee-Ann see this painting?!</dialogue>
<character>MARGARET</character>
<dialogue>No! NOBODY saw it!</dialogue>
<character>WALTER</character>
<dialogue>You tell anybody, the empire COLLAPSES! Do you wanna give back the money? We've committed FRAUD!</dialogue>
<character>MARGARET</character>
<dialogue>I KNOW! My God! I live with this</dialogue>
<dialogue>every minute of my life!</dialogue>
<character>(IMPASSIONED)</character>
<dialogue>Janie used to have a mother who painted. Now what's she think?! I lock myself in this room ten hours a day... and then you walk out with finished paintings!</dialogue>
<scene_description>He scowls, offended.</scene_description>
<character>WALTER</character>
<dialogue>Janie thinks I'm in here, painting.</dialogue>
<character>MARGARET</character>
<dialogue>C'mon! You haven't picked up a brush in months! (starting to sob) We used to paint together! Easels next to each other, side-by-side --</dialogue>
<character>WALTER</character>
<dialogue>That was the honeymoon period!</dialogue>
<scene_description>Margaret breaks into tears. Walter tenses.</scene_description>
<character>WALTER</character>
<dialogue>Jesus, you're so fragile.</dialogue>
<character>MARGARET</character>
<dialogue>I've kept my end of the bargain! I've never told! (she SOBS harder) Please! Just let me have this!</dialogue>
<scene_description>Walter recoils, unable to take this. He relents.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT LIVING ROOM - ANOTHER DAY</stage_direction>
<scene_description>Another PHOTO OP, but big: A CAMERA CREW rushes about. Lights get set-up. Walter, Margaret, and Jane work at easels. Walter dabs at a Big Eye. Margaret works on a sad, long-neck blonde. Jane paints a goofy flower, like any child. Dick Nolan takes notes.</scene_description>
<character>DICK</character>
<dialogue>So you're now called "The Painting Keanes"?</dialogue>
<character>WALTER</character>
<dialogue>Yep! Walter and his girls! With galleries in three cities!</dialogue>
<character>DICK</character>
<dialogue>I had no idea Margaret painted.</dialogue>
<character>WALTER</character>
<dialogue>Yeah, we don't talk about it. Sadly, people don't buy lady art.</dialogue>
<character>MARGARET</character>
<parenthetical>(INTERJECTING)</parenthetical>
<dialogue>What about Georgia O'Keefe?</dialogue>
<scene_description>Dick shakes his EMPTY GLASS, distracted. Walter points.</scene_description>
<character>WALTER</character>
<dialogue>The bar's over there.</dialogue>
<scene_description>Dick goes to get a refill. Walter shoots Margaret a look.</scene_description>
<character>WALTER</character>
<dialogue>Yeah, Margaret's a superb artist, in her own way. I even steal a few tips from her, now and then!</dialogue>
<character>(HE CHUCKLES)</character>
<dialogue>Behind every great man is a great woman.</dialogue>
<character>DICK</character>
<dialogue>True true. So Margaret, where do you get your ideas?</dialogue>
<character>MARGARET</character>
<parenthetical>(a bit tentative)</parenthetical>
<dialogue>Oh... from the world around me. And I love Modigliani's use of line.</dialogue>
<character>DICK</character>
<dialogue>ModiWHAT? The Italian joint?</dialogue>
<character>WALTER</character>
<dialogue>Oh, for Christ's sake, Margaret! Dick writes a gossip column --</dialogue>
<character>(BEAT)</character>
<dialogue>Let's stick to the family angle. Get a gander at little Janie over there!</dialogue>
<scene_description>Walter steers Dick to Jane, cute at her little child's easel.</scene_description>
<character>WALTER</character>
<dialogue>What a talent! Look at these Keanes! If you cut open our veins, we bleed oil! Er -- turpentine.</dialogue>
<character>(AWKWARD)</character>
<dialogue>Uh, Dick, you know what I'm goin' for. Make it sound good.</dialogue>
<scene_description>DING-DONG! It's the doorbell. Everyone turns.</scene_description>
<character>JANE</character>
<dialogue>Who's that?</dialogue>
<character>WALTER</character>
<dialogue>Ah! A little treat! The fourth member of the Painting Keanes!</dialogue>
<scene_description>Margaret and Jane turn, confused. Walter whips open THE FRONT DOOR Revealing LILY, 10, a quiet girl in bobbed hair. She holds a little overnight bag. A Buick HONKS, and Walter waves as it drives away. Walter stares at the girl, then puts on big hammy airs.</scene_description>
<character>WALTER</character>
<dialogue>Lily, honey, how are you?!</dialogue>
<scene_description>He gives her a giant hug. She responds stiffly -- a girl who doesn't see her father too often.</scene_description>
<character>LILY</character>
<dialogue>I'm fine, Dad. I lost a tooth.</dialogue>
<character>WALTER</character>
<dialogue>Really? Did you get in a fight?</dialogue>
<character>LILY</character>
<parenthetical>(SHE LAUGHS)</parenthetical>
<dialogue>No. It fell out!</dialogue>
<scene_description>ANGLE - MARGARET AND JANE They gape in bewilderment. Who the hell is this girl??! BACK ON WALTER AND LILY Walter admires Lily's mouth.</scene_description>
<character>WALTER</character>
<dialogue>Well is the tooth fairy somethin' I gotta deal with, or did your mother already handle it?</dialogue>
<character>LILY</character>
<parenthetical>(DRY)</parenthetical>
<dialogue>She handled it.</dialogue>
<character>WALTER</character>
<dialogue>Good! Good good! Well, just go throw your stuff in the kids' room, then you can come join the fun!</dialogue>
<scene_description>Lily toddles out. ON THE GROUP Margaret and Jane are speechless. Walter acts like nothing bizarre has happened. Dick eyeballs all this with major curiosity.</scene_description>
<character>DICK</character>
<dialogue>Walter... you never told me you had another daughter.</dialogue>
<character>WALTER</character>
<dialogue>Didn't I? Sure. Lil's from my first marriage.</dialogue>
<scene_description>Margaret struggles to hold her rage. Disoriented...</scene_description>
<character>MARGARET</character>
<dialogue>Walter?</dialogue>
<character>(URGENT)</character>
<dialogue>Walter! We need to speak.</dialogue>
<scene_description>Margaret gestures: Get in the kitchen! He nods and follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Margaret shuts the door, then spins on him.</scene_description>
<character>MARGARET</character>
<dialogue>What is going on here??!</dialogue>
<character>WALTER</character>
<dialogue>That's Lily. I'm sure I mentioned her --</dialogue>
<character>MARGARET</character>
<dialogue>No you didn't.</dialogue>
<scene_description>Margaret peers at him. How much can she trust?</scene_description>
<character>MARGARET</character>
<dialogue>Did she just move in??</dialogue>
<character>WALTER</character>
<dialogue>No! Her mom's just going to Vegas for the weekend.</dialogue>
<character>(BEAT)</character>
<dialogue>I'm supposed to have her once a month, but I don't make her mom enforce it.</dialogue>
<scene_description>TIGHT - MARGARET Her head is spinning.</scene_description>
<character>MARGARET</character>
<dialogue>How can you keep something so big a secret???</dialogue>
<scene_description>TIGHT - WALTER He starts to answer... then gives her a look: You are kidding? Walter squirms defensively.</scene_description>
<character>WALTER</character>
<dialogue>She's a sweet girl.</dialogue>
<character>MARGARET</character>
<parenthetical>(HISSING)</parenthetical>
<dialogue>I'm sure she is.</dialogue>
<character>WALTER</character>
<dialogue>I put up with your daughter. I never said a peep.</dialogue>
<scene_description>Margaret's jaw drops.</scene_description>
<character>MARGARET</character>
<dialogue>I'm gonna pretend you didn't say that.</dialogue>
<character>WALTER</character>
<dialogue>I'm sorry. Sorry! Please... let's just try to get through this.</dialogue>
</scene>
<scene>
<stage_direction>INT. JANE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Jane's room, cute with stuffed animals and troll dolls. Lily is in the corner, awkwardly unpacking her bag. Trying not to impose on Jane's space. The girls peer at each other.</scene_description>
<character>LILY</character>
<dialogue>Dad told me you had a bunk bed.</dialogue>
<scene_description>Jane shakes her head. She feels bad.</scene_description>
<character>JANE</character>
<dialogue>Take the bed. I can sleep on the</dialogue>
<character>FLOOR --</character>
<dialogue>LILY</dialogue>
<scene_description>No, that's not fair! The floor's fine for me. Jane smiles nervously. She stares at this new girl.</scene_description>
<character>JANE</character>
<dialogue>Do you live far away?</dialogue>
<character>LILY</character>
<dialogue>I guess... about a twenty minute drive.</dialogue>
<character>JANE</character>
<parenthetical>(STARTLED)</parenthetical>
<dialogue>"Twenty minutes"?! That's close!</dialogue>
<scene_description>Jane blinks, confused.</scene_description>
<character>JANE</character>
<dialogue>But you never see Walter?</dialogue>
<character>LILY</character>
<dialogue>No, I see him all the time! He comes up and visits every week.</dialogue>
<scene_description>Jane is taken aback. Lily sees this.</scene_description>
<character>LILY</character>
<dialogue>Doesn't he talk about me?</dialogue>
<character>JANE</character>
<parenthetical>(LYING)</parenthetical>
<dialogue>Huh? Uh... sure. I guess a little.</dialogue>
<scene_description>Jane thinks, fretting.</scene_description>
<character>JANE</character>
<dialogue>Does he talk about me?</dialogue>
<character>LILY</character>
<parenthetical>(LYING)</parenthetical>
<dialogue>Uh... yeah. Sometimes.</dialogue>
<character>JANE</character>
<parenthetical>(PLEASED)</parenthetical>
<dialogue>So what's your mom like?</dialogue>
<character>LILY</character>
<dialogue>She's pretty. She drives a Buick. She cries a lot.</dialogue>
<character>JANE</character>
<dialogue>Yeah, mine's the same.</dialogue>
<character>(BEAT)</character>
<dialogue>Except she drives a Packard.</dialogue>
<scene_description>Lily nods. Jane lowers her voice naughtily.</scene_description>
<character>JANE</character>
<dialogue>I have some peanut butter hidden in my sock drawer. Do you wanna eat it?</dialogue>
<scene_description>Lily smiles: Sure. Jane opens a drawer and removes a jar of Skippy. The two girls sit on the floor, happily eating the peanut butter with their fingers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KEANE GALLERY - NIGHT</stage_direction>
<scene_description>Klieg lights streak the sky! A crazed CROWD is packed INSIDE. A big sign announces: "NOW APPEARING: AMERICA'S FIRST FAMILY OF ART - 'We paint truth and emotion.'"</scene_description>
</scene>
<scene>
<stage_direction>INT. KEANE GALLERY - NIGHT</stage_direction>
<scene_description>The place is filled with Big Eyes. Waifs waifs waifs! Cash registers RING. Money changes hands. "Sold" stickers go up. Walter works the room.</scene_description>
<character>WALTER</character>
<dialogue>Yeah, Walter Keane and Gauguin have a lot in common. They both walked away from successful careers to travel the globe, live on a boat...</dialogue>
<scene_description>We move... finding Margaret alone in a small ANNEX. It displays a few of her sad blondes, alongside Jane and Lily's paintings of flowers and Mr. Potato-Head. Margaret sits, seeming like an adult at the children's table. An urbane RICH MAN glides by... and is taken with one of Margaret's nubile blondes. He gazes at the lounging figure. Margaret sits up. Alert, pleased with his interest. She tingles. Then, happily excited, unable to hold it in:</scene_description>
<character>MARGARET</character>
<dialogue>I painted it!</dialogue>
<character>RICH MAN</character>
<dialogue>Really?</dialogue>
<character>(IMPRESSED)</character>
<dialogue>It's very evocative. ...Sensual...</dialogue>
<scene_description>He smiles flirtatiously. She smiles shyly and shrugs. He steps forward -- then peers closer at the painting. The SIGNATURE is a feminine scroll: "MDH Keane"</scene_description>
<character>RICH MAN</character>
<dialogue>"MDH"? You're so... mysterioso.</dialogue>
<character>MARGARET</character>
<dialogue>Yes, we don't use my name, since people don't take women's art seriously.</dialogue>
<character>(BEAT)</character>
<dialogue>"MDH" are my initials. And more! I'm interested in numerology... and as you know, seven is a very good number.</dialogue>
<character>RICH MAN</character>
<parenthetical>(PUZZLED)</parenthetical>
<dialogue>Er... seven?</dialogue>
<character>MARGARET</character>
<dialogue>Luckily, my maiden name is Margaret Doris Hawkins! "M" is the 13th letter of the alphabet, "D" is 4, "H" 8! If you add up 1 and 3 in 13, that gives you 4, making 4 plus 4 plus 8 equals 16, then 1 plus 6 equals seven!</dialogue>
<scene_description>The man's head is spinning. He's lost all interest. Across the room, Walter sees this debacle. He marches over.</scene_description>
<character>WALTER</character>
<dialogue>Psst! Maggie! Can I have a second? (he PULLS HER ASIDE) Good grief! What the hell are you babbling about?! Long division?? Could you please help the world and shut your mouth? You want just one number in his head: The sales price!</dialogue>
<scene_description>Her face drops, hurt. Acquiescing.</scene_description>
<character>WATCHING THIS</character>
<dialogue>Two SNOBBY ARTISTS smirk and GROAN at this scene.</dialogue>
<character>SNOBBY ARTIST #1</character>
<dialogue>Two nuts that fell from the same tree! It's insufferable. Why are we starving, while they print money?</dialogue>
<character>SNOBBY ARTIST #2</character>
<dialogue>Because that nut's a genius! He sells paintings! Then he sells pictures of the paintings! Then he sells postcards of pictures of the paintings.</dialogue>
<scene_description>They stare bitterly. Then, a terrible, shameful idea forms:</scene_description>
<character>SNOBBY ARTIST #1</character>
<dialogue>I'll bet I could bang one out in ten minutes.</dialogue>
<character>SNOBBY ARTIST #2</character>
<dialogue>It wouldn't have the dopey sincerity.</dialogue>
<character>SNOBBY ARTIST #1</character>
<dialogue>The customers won't notice...</dialogue>
<scene_description>They peer sheepishly at each other...</scene_description>
</scene>
<scene>
<stage_direction>EXT. STORE WINDOW - DAY</stage_direction>
<scene_description>Ruben is walking past -- then stops, pained. A window display of Keane Big Eyes shares space with paintings of CUTESY KITTENS lapping up milk. We WIDEN, revealing a whole wall of rip-offs! All with odd anonymous signatures: "Gig." "Eve." "Igor." A cavalcade of WIDE-EYED ANIMALS AND KIDS... DANCING WITH GUITARS... DRESSED AS HOBOS... PLAYING IN PAJAMAS. But these children aren't sad. They're just... blank. Ruben gasps at the dead-eyed pictures.</scene_description>
<character>RUBEN</character>
<dialogue>Christ. It's a movement.</dialogue>
<scene_description>INSERT - TELEVISION - FULL FRAME "The Tonight Show" opening CREDITS: ANNOUNCER (V.O.) It's "The Tonight Show!" With guests Jerry Lewis, the Everly Brothers, artists Walter and Margaret Keane -- The CHANNEL CHANGES: A children's toy commercial (STOCK). A tear-streaked, crying plastic DOLL, a flagrant Waif rip-off: FEMALE ANNOUNCER (V.O.) She's "Little Miss No Name," the doll with the tear. From Hasbro. The CHANNEL CHANGES: Spanish TELEVISION. A Keane painting gets hung in Madrid's National Museum of Contemporary Art.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - DAY</stage_direction>
<scene_description>The Margaret sweatshop is going full-blast. Canvases are everywhere: Melancholy MDH ladies. Woeful Keane kids. Even a portrait of Natalie Wood, copied from a photo. Margaret dips a tiny brush, quickly detailing the tear on a child's cheek... when the doorbell CHIMES. Hm? Margaret puts down her brush, wipes her hands, then hurries out. She opens the door... REVEALING THAT WE'RE IN A DIFFERENT HOUSE. A GIANT, PHENOMENAL 1960s EXTRAVAGANZA.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODSIDE HOUSE - SAME TIME</stage_direction>
<scene_description>Margaret runs across the marble floors, past the swooping, Modern lines of a California ranch... all-white furniture... a kidney-shaped pool glistening blue outside the glass... a cute TOY POODLE barking at the door.</scene_description>
<character>MARGARET</character>
<dialogue>Rembrandt, shush!</dialogue>
<scene_description>In the foyer, Margaret opens the front door. And standing there is Dee-Ann. Dazzled. She laughs with surprise.</scene_description>
<character>DEE-ANN</character>
<dialogue>My God! I thought I misread the address.</dialogue>
<character>MARGARET</character>
<dialogue>Yeah. That driveway is long. (she giggles, embarrassed) Honestly, I can't believe I live here.</dialogue>
<scene_description>Dee-Ann glides in -- then freezes, agape.</scene_description>
<character>DEE-ANN</character>
<dialogue>Whoa.</dialogue>
<character>MARGARET</character>
<dialogue>I know! Two acres, a pool, five</dialogue>
<character>BEDROOMS --</character>
<parenthetical>(PAUSE)</parenthetical>
<dialogue>Though I thought that was excessive, since there's only three of us here.</dialogue>
<character>DEE-ANN</character>
<dialogue>Three? I thought there were four.</dialogue>
<character>MARGARET</character>
<dialogue>What?</dialogue>
<character>(CONFUSED; BEAT)</character>
<dialogue>Oh -- you mean Lily! No, she doesn't really live with us. That was just in the articles.</dialogue>
<character>DEE-ANN</character>
<dialogue>Crazy. A fake daughter...</dialogue>
<scene_description>Dee-Ann's eyes take it all in. Astonished.</scene_description>
<character>DEE-ANN</character>
<dialogue>It's been so long since I've seen you.</dialogue>
<character>MARGARET</character>
<dialogue>I know. North Beach is 30 miles, but it might as well be 300...</dialogue>
<character>DEE-ANN</character>
<dialogue>You're probably busy, hanging out with your new rich buddies.</dialogue>
<character>(BARBED)</character>
<dialogue>"Kim Novak."</dialogue>
<character>MARGARET</character>
<dialogue>Oh, please! She's Walter's friend. (a quiet shrug) He brings people by... the Beach Boys were here. But, it's pretty isolated.</dialogue>
<scene_description>Dee-Ann goes silent. Margaret seems dwarfed by the house.</scene_description>
<character>MARGARET</character>
<dialogue>Jane has nice friends. Sometimes I pick them up at the junior high, and we all get pizza.</dialogue>
<character>(AWKWARD)</character>
<dialogue>But she's busy... Are you hungry?</dialogue>
<character>DEE-ANN</character>
<dialogue>I'm thirsty.</dialogue>
<character>MARGARET</character>
<dialogue>Good! I'll whip us up two gin fizzes.</dialogue>
<scene_description>Margaret forces a smile and scurries behind a giant curved wet bar. She pulls out ingredients: Gin, lemon juice, soda...</scene_description>
<character>MARGARET</character>
<dialogue>When we moved in, I thought a wet bar was extravagant... but it's surprising how much use you can get out of it.</dialogue>
<scene_description>Dee-Ann watches the drinkmaking.</scene_description>
<character>DEE-ANN</character>
<dialogue>How's Walter?</dialogue>
<character>MARGARET</character>
<dialogue>He couldn't be happier. He has everything he ever dreamed of.</dialogue>
<character>DEE-ANN</character>
<dialogue>And so do you! Fabulous.</dialogue>
<scene_description>Dee-Ann smiles archly. She glances away -- and notices Margaret's STUDIO, the door half-open.</scene_description>
<character>DEE-ANN</character>
<dialogue>Oh, is that your studio?</dialogue>
<scene_description>Margaret turns -- and gasps.</scene_description>
<character>MARGARET</character>
<dialogue>No --! You can't go in --</dialogue>
<character>DEE-ANN</character>
<dialogue>I just want a peek. See what the workspace of a wildly successful artist looks like --</dialogue>
<character>MARGARET</character>
<dialogue>Dee-Ann, please! STOP --</dialogue>
<scene_description>Margaret rushes to block her -- but Dee-Ann pushes open the door, revealing...</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM</stage_direction>
<scene_description>A room full of MDHs and Keanes. Dee-Ann stops, puzzled. She glances at Margaret -- who has turned white as a ghost. Immensely curious, Dee-Ann slowly enters. She peers around at the two styles of paintings... A strained silence. Finally, Margaret whispers.</scene_description>
<character>MARGARET</character>
<dialogue>W-Walter paints in here too.</dialogue>
<scene_description>Hmm. Dee-Ann walks about, examining the canvases. Then, her gaze settles on the Big Eye that Margaret was working on. Below the easel is the wet brush on the open jar of paint. Margaret sucks in her breath. Dee-Ann sees this.</scene_description>
<character>DEE-ANN</character>
<dialogue>Is Walter home??</dialogue>
<scene_description>Margaret has no answer. The two friends look at each other... Dee-Ann waiting... wondering if Margaret is going to lie to her... When..... SLAM!</scene_description>
<character>WIDE</character>
<dialogue>Both women startle. FOOTSTEPS. Then... Walter strides in! Margaret's eyes pop.</dialogue>
<dialogue>Walter's pop even bigger. He glares at the ladies.</dialogue>
<character>WALTER</character>
<dialogue>What the hell's going on here?!!</dialogue>
<character>MARGARET</character>
<parenthetical>(TIMID)</parenthetical>
<dialogue>Uh... Dee-Ann was just... she...</dialogue>
<scene_description>Margaret trails off. Walter thinks, then SNAPS.</scene_description>
<character>WALTER</character>
<dialogue>You KNOW I don't like anyone seeing my work before it's done!</dialogue>
<scene_description>Walter rushes to the Waif, then for show grabs up the wet brush and quickly starts to "finish" the painting. Suddenly -- an odd expression crosses his face. He eyeballs the canvas, realizing he doesn't know what to do. A furtive glance. Then, unbowed, he hastily dips the brush and slaps a little black onto the shaded background. Walter spins, victorious.</scene_description>
<character>WALTER</character>
<dialogue>There!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - LATER</stage_direction>
<scene_description>The three sit silently, tension thick, sipping gin fizzes. Nobody speaks. Walter finishes his drink and pours a fresh one.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - NIGHT</stage_direction>
<scene_description>They are drunk and SCREAMING. Walter pushes Dee-Ann out the door.</scene_description>
<character>WALTER</character>
<dialogue>You and your whole non-representational crowd are FRAUDS!!</dialogue>
<character>DEE-ANN</character>
<dialogue>SHUT UP! You're so full of shit, Walter!</dialogue>
<character>WALTER</character>
<dialogue>Get outta my house! My big house!</dialogue>
<character>(LIVID)</character>
<dialogue>Go back to sellin' your coat hanger sculptures on Fisherman's Wharf!</dialogue>
<character>DEE-ANN</character>
<dialogue>Fuck you!</dialogue>
<scene_description>Dee-Ann staggers outside, then hops in her car.</scene_description>
<character>OUTSIDE</character>
<dialogue>Dee-Ann GUNS the engine and squeals away. The car peels down the very long driveway.</dialogue>
<dialogue>Margaret and Walter watch the car disappear into the distance. Without looking over, Walter speaks.</dialogue>
<character>WALTER</character>
<dialogue>I don't want her ever invited here again.</dialogue>
<scene_description>Margaret nods, terribly sad.</scene_description>
<character>MARGARET</character>
<dialogue>I won't.</dialogue>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - LATE NIGHT</stage_direction>
<scene_description>Margaret and Walter lie in bed, awake. Arms crossed. Unspeaking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODSIDE HOUSE - ANOTHER DAY</stage_direction>
<scene_description>Margaret and 13-YEAR-OLD JANE play on the lawn with the poodle. Jane laughs as the dog chases in circles.</scene_description>
<character>JANE</character>
<dialogue>Go, Rembrandt! Get the ball!</dialogue>
<scene_description>She tumbles, and Rembrandt licks her ear. She giggles.</scene_description>
<character>MARGARET</character>
<dialogue>Okay, honey. I have to go work.</dialogue>
<character>JANE</character>
<dialogue>Can I come? (an awkward silence) No. I can never come. No! I shouldn't even ask.</dialogue>
<scene_description>Jane glares glumly. Margaret peers hopelessly at her daughter... then goes inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODSIDE HOUSE</stage_direction>
<scene_description>Margaret strolls to her studio. WE SEE the poodle scampering behind her on its cute little legs. She enters the</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM</stage_direction>
<scene_description>Margaret doesn't notice the tiny dog follow her in. She LOCKS the door, then turns -- surprised.</scene_description>
<character>MARGARET</character>
<dialogue>Where did you appear from? Didn't you hear? No visitors!</dialogue>
<scene_description>Rembrandt wags his tail, his little eyes bright. Margaret peers.</scene_description>
<character>MARGARET</character>
<dialogue>Is this what it's come to? You're the only living soul I can tell my secret? (she lowers her voice) Well -- I painted them all! (she shudders with release) It's TRUE! I did every single one --</dialogue>
<scene_description>She gestures, then catches sight of a Walter street scene.</scene_description>
<character>MARGARET</character>
<dialogue>Well, every one except that street scene.</dialogue>
<character>(BEAT)</character>
<dialogue>But I did the rest. Every Big Eye! And nobody will ever know. But YOU.</dialogue>
<scene_description>Rembrandt pants and BARKS. Margaret chuckles, then goes to work. She pulls a CURTAIN across the sliding glass door. At her easel, she squirts a tube into a well and starts mixing colors. Rembrandt jumps on the couch.</scene_description>
<character>MARGARET</character>
<dialogue>No you don't! It's nice to have company, but that sofa is new. (she pushes him off) Let's find you some carpet to lay on.</dialogue>
<scene_description>Margaret goes over to a CLOSET. Rembrandt follows, curious. IN THE CLOSET Margaret turns on the bare bulb inside. It's filled with old easels... cans... junk...</scene_description>
<character>MARGARET</character>
<dialogue>I think there's a scrap back here...</dialogue>
<scene_description>She rummages, sliding the junk aside. In back is a TATTERED WOODEN CRATE. Hm?</scene_description>
<character>MARGARET</character>
<dialogue>Well what's this?</dialogue>
<scene_description>Margaret swings the bulb closer. The crate is covered with SHIPPING INSTRUCTIONS and international markings. Margaret's interest is piqued. She tugs at the lid, pulling it off. Revealing inside a STACK OF STREET SCENE PAINTINGS. Ten or fifteen of Walter's canvases. Or so it seems. TIGHT - MARGARET She peers closer. TIGHT - THE PAINTINGS The top painting is a typical Parisian street scene: Cobble stones, a man carrying baguettes, an old lady selling roses... But down in the bottom corner is the signature: "S. CENIC" TIGHT - MARGARET She sucks in her breath, shocked. She examines the painting. Then, she hurriedly grabs the next canvas. It's another sunlit scene: A quaint Parisian cafe, a man playing accordian, and in the bottom right corner... the signature: "S. CENIC" WHAT?! Margaret grabs the next canvas. "S. CENIC" The next canvas. The next canvas! They all are signed "S. CENIC" Margaret starts hyperventilating. She thinks, then suddenly bolts from the closet.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM</stage_direction>
<scene_description>Margaret races, rushing up to Walter's painted street scene, hung on the wall. We PUSH IN TIGHT, as she shoves her face up to the canvas, so close we can see the brushstrokes -- As we MOVE IN TO THE SIGNATURE. Simply, "W. KEANE" Margaret's face is flushed. She gazes at the name... then rushes back to her work area. She manically hunts: Brushes, tubes, rags -- and an EXACTO KNIFE. Ah! She runs back to Walter's painting. Heart pounding, she grazes the knife up against the signature, then DIGS. And -- the "W. KEANE" flecks off. Revealing... underneath... the name "S. CENIC" CLOSEUP - MARGARET She trembles, overcome. Music SWELLS. Her eyes spin back -- SERIES OF QUICK FLASHBACKS: Walter painting at the Palace of Fine Arts. His canvas is blank. Walter in the apartment, signing his name to a finished piece. Walter spattering paint on his clothes. Walter the day we met him. He shows off a rack of finished paintings at the Sunday Art Show. BACK ON MARGARET She collapses.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODSIDE HOUSE - THAT EVENING</stage_direction>
<scene_description>A grandfather clock says 10:15. Margaret sits gloomily, staring at the clock. Clutching a drink.</scene_description>
<character>LATER</character>
<dialogue>2:30 a.m. Margaret still stares at the clock. She's stewing. Suddenly, keys in the door. Walter swings in, tanked and full of life. He skids across the marble, humming to himself -- when -- he's startled by his wife. He jerks.</dialogue>
<character>WALTER</character>
<dialogue>M-Maggie! What're you doin' up?</dialogue>
<scene_description>Margaret glares. Not speaking. He shrugs.</scene_description>
<character>WALTER</character>
<dialogue>I had a helluva night. Worked three or four clubs. (he winks, loosey-goosey) Stumbled onto some hot gossip: Madame Chiang Kai-shek is coming to town! Straight from Taipei! I think we should present her with a painting -- get Dick to flack it...</dialogue>
<character>(HE THINKS)</character>
<dialogue>Or the heck with Dick. I met a new guy at UPI...</dialogue>
<character>MARGARET</character>
<dialogue>Maybe you should give her one of your street scenes.</dialogue>
<character>WALTER</character>
<parenthetical>(HAZY)</parenthetical>
<dialogue>You think? I dunno -- I thought you could whip off a doodle of Chinatown. With a cute little kid, sort of a big- eyed slanty-eyed thing...</dialogue>
<scene_description>Margaret's anger is raging. She glares, steely.</scene_description>
<character>MARGARET</character>
<dialogue>No, Walter. She's a dignitary. Doesn't she deserve a piece that comes straight from you?</dialogue>
<character>(SHARP)</character>
<dialogue>From your experience???</dialogue>
<character>WALTER</character>
<dialogue>Yeah? Maybe you're right. She probably doesn't have a Parisian street scene hanging in her palace.</dialogue>
<scene_description>Margaret nods, as if they've settled something. She turns to walk away -- then suddenly SPINS.</scene_description>
<character>MARGARET</character>
<dialogue>Unless Madame Chiang Kai-shek already has a Cenic.</dialogue>
<character>ON WALTER</character>
<dialogue>He freezes up. Suddenly sober, smacked to reality.</dialogue>
<character>WALTER</character>
<dialogue>"Cenic"...? Uh, what's that?</dialogue>
<scene_description>Margaret stares, eyes sharp.</scene_description>
<character>MARGARET</character>
<dialogue>Cenic is the name of the artist who did all your early paintings.</dialogue>
<character>WALTER</character>
<dialogue>Huhhh? (spinning his lie) Urgh... oh! CENIC! (he laughs crazily) Cenic was my nickname in Paris! All my art school pals loved my scenic views, so they called me "Scenic"! But since those Frogs can't pronounce a hard "e," I became "Cenic."</dialogue>
<scene_description>He looks up at her hopefully. But she shakes her head.</scene_description>
<character>MARGARET</character>
<dialogue>The more you lie, the smaller you seem.</dialogue>
<character>WALTER</character>
<parenthetical>(unyielding, scrambling)</parenthetical>
<dialogue>How DARE you accuse me of lying! I'm proud of my early Cenics!</dialogue>
<character>MARGARET</character>
<dialogue>Then why do you paint over the name?</dialogue>
<scene_description>Walter gasps, floored. Margaret bores in.</scene_description>
<character>MARGARET</character>
<dialogue>A bit of advice: Don't use a water- base over an oil. It flecks off.</dialogue>
<scene_description>Walter cowers.</scene_description>
<character>WALTER</character>
<dialogue>You sound crazy! For God's sake. You've... you've SEEN me paint!!!!</dialogue>
<character>MARGARET</character>
<dialogue>No, I haven't.</dialogue>
<character>(QUIET; STRONG)</character>
<dialogue>I always thought I had... but it's some kind of... mirage. From a distance you look like a painter, but up close... there's nothing there.</dialogue>
<scene_description>CLOSEUP - WALTER All life drains from his face. His eyes go glazed. He speaks mechanically. Tiredly...</scene_description>
<character>WALTER</character>
<dialogue>I studied art in Paris. I went to school at the Beaux-Arts. The Grand Chaumiere. I spent hours in the Louvre, gazing at the greatness of the Masters...</dialogue>
<character>MARGARET</character>
<dialogue>Walter?</dialogue>
<scene_description>He turns. She winces, pained.</scene_description>
<character>MARGARET</character>
<dialogue>Have you even been to Paris?</dialogue>
<scene_description>Walter blanches. He shakes, broken up. He looks away, then staggers to a chair. He falls into it. Trembling. Not able to look her in the eye...</scene_description>
<character>WALTER</character>
<dialogue>I wanted... I so wanted to be an artist. But -- it just never turned out good.</dialogue>
<scene_description>Margaret stares, seething. Then, without comment, she storms away. She SLAMS the door shut. BANG! Walter doesn't move.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NEXT MORNING</stage_direction>
<scene_description>Margaret makes Jane breakfast, scrambling up eggs. Jane glances over her shoulder -- and notices Walter in the living room, asleep on the couch. An awkward pause. Jane says nothing.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - LATER</stage_direction>
<scene_description>Margaret is making the bed. Straightening the pillows. In the b.g., Walter silently creeps into view. Shamefully standing in the doorway. Not speaking... Margaret knows he's there, but doesn't acknowledge his presence. Finally, without making eye contact --</scene_description>
<character>MARGARET</character>
<dialogue>I don't want you sleeping in this room any longer. I -- I can't keep living these lies.</dialogue>
<character>(SHARP)</character>
<dialogue>There's three extra bedrooms. Go pick one.</dialogue>
<scene_description>He nods.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - LATER</stage_direction>
<scene_description>Margaret sits, unmoving, trapped in the big house. Outside, a JAPANESE GARDENER trims the hedges. Margaret stares at the walls, a smothering Walter Hall of Fame: Framed magazine articles on Walter, smugly posed with the Waifs. She swallows, then gently opens a dresser drawer. Inside is an ORIGINAL WAIF from long ago. A small oil of Jane, when she was a toddler. Margaret stares... and then her face slowly crumbles.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - DAY</stage_direction>
<scene_description>Margaret huddles with a SKETCHPAD. Rembrandt is at her feet. She's drawing. She looks up, as Walter anxiously enters. He's holding a drink. He clears his throat.</scene_description>
<character>WALTER</character>
<dialogue>What are you working on?</dialogue>
<character>MARGARET</character>
<dialogue>A new MDH. Something for me. It's about a woman trapped in an uncaring world. I call it, "Escape."</dialogue>
<scene_description>Walter bites his lip, afraid to talk.</scene_description>
<character>WALTER</character>
<dialogue>I figured out a solution to our problems.</dialogue>
<character>MARGARET</character>
<dialogue>What?</dialogue>
<character>WALTER</character>
<dialogue>Teach me.</dialogue>
<character>(BEAT)</character>
<dialogue>Show me your tricks. Then you can pass off the Waifs, and we won't be lying anymore.</dialogue>
<scene_description>She looks up in disbelief.</scene_description>
<character>MARGARET</character>
<dialogue>And then -- YOU'LL paint them?</dialogue>
<character>WALTER</character>
<dialogue>Sure! Why not?</dialogue>
<character>MARGARET</character>
<parenthetical>(OFFENDED)</parenthetical>
<dialogue>Walter, this isn't paint-by-numbers! You think it's easy?! It took me years to learn --</dialogue>
<character>WALTER</character>
<dialogue>Y-you're right!</dialogue>
<character>(SHEEPISH)</character>
<dialogue>But you know me! I'm a quick study. And I've got the basics...</dialogue>
<scene_description>He trails off, unsure where this is going. Trying to rouse her, Walter rushes to an easel and throws up a blank canvas. She eyeballs him.</scene_description>
<character>MARGARET</character>
<dialogue>If you knew the basics, you wouldn't be at the easel. You have to sketch it first!</dialogue>
<scene_description>Walter tightens, feeling stupid. He lets go of the canvas. Margaret stares, deciding. Then, she tosses him a PAD. Walter catches it. Slowly, he crosses over... ANGLE - MARGARET AND WALTER They peer at each other, like a Mexican standoff. Then, he nervously picks up a pencil.</scene_description>
<character>WALTER</character>
<dialogue>So...? What's first?</dialogue>
<character>MARGARET</character>
<dialogue>I dunno. You tell me. You're the creator.</dialogue>
<scene_description>He frowns.</scene_description>
<character>WALTER</character>
<dialogue>It's a -- Keane.</dialogue>
<character>MARGARET</character>
<dialogue>Oh, a Keane! How witty.</dialogue>
<character>(SARCASTIC)</character>
<dialogue>You know, when we met all those years ago, I never would've imagined in my wildest dreams that one day --</dialogue>
<character>WALTER</character>
<dialogue>YEAH YEAH! Point taken. I'm standing here naked and humiliated in front of you. Look... can we just do a crying</dialogue>
<dialogue>child?</dialogue>
<scene_description>She gazes at him. Fingering her pencil... Trying to jump-start things, he starts to draw a circle --</scene_description>
<character>MARGARET</character>
<dialogue>How old is the subject?</dialogue>
<character>WALTER</character>
<dialogue>Huh? C'mon, it's a head --</dialogue>
<character>MARGARET</character>
<dialogue>It matters! A young child's head is round. An older child's head is oval!</dialogue>
<scene_description>He feels pressured. Hand shaking, he draws a crooked circle.</scene_description>
<character>WALTER</character>
<dialogue>The child is this old!</dialogue>
<character>(ANGRY)</character>
<dialogue>You're trying to make this difficult --</dialogue>
<character>MARGARET</character>
<dialogue>NO I'M NOT! Every line is a decision!</dialogue>
<character>(IMPASSIONED)</character>
<dialogue>It's easy to talk about art, but it's not easy to MAKE art!!</dialogue>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - MONTAGE:</stage_direction>
<scene_description>Margaret easily outlines a head, then two circles for eyes. Walter tries copying, but his eyes are misshapen. Again, Walter copies, but he's wobbly. Angry, he scratches it out. Margaret tries to help, guiding his hand. Insulted, he pushes her off. He CRUMPLES the page. NEW TACTIC: Walter grabs her sketch. He puts it on a LIGHT- TABLE. Despairing, he starts to trace it..</scene_description>
<character>LATER</character>
<dialogue>Walter finally paints. We can't see the canvas, but he's very meticulous. His expression quite earnest. He adds a final flourish... and then... a flicker of pride crosses his face. He smiles.</dialogue>
<scene_description>We slowly MOVE AROUND... to REVEAL HIS PAINTING. And... it's... absolutely dreadful. Kindergarten quality. Walter stares. Then, he furtively glances at Margaret's work. Comparing... The realization slowly sinks in. He has no ability. A sadness swells into fury... and suddenly Walter GRABS HIS CANVAS and SMASHES IT AGAINST THE EASEL. CRASH!! The canvas SHREDS. The frame blasts into pieces! Walter spins. He glares at one of Margaret's finished Waifs... then explodes, even more enraged. HE PICKS UP MARGARET'S PAINTING AND STARTS TO SWING IT AT THE WALL -- MARGARET (O.S.) Walter!! Huh? He lurches, startled. ACROSS THE ROOM Margaret stares him down. Sweaty, chest heaving, Walter staggers towards her. His face scowls, untamed. He clenches his fist, like he might attack</scene_description>
<character>MARGARET --</character>
<dialogue>Then -- he SCREAMS and smashes her CANVAS. BAM!!! The painting RIPS apart. Walter KICKS his foot through the remains, then spins and charges from the room.</dialogue>
</scene>
<scene>
<stage_direction>INT. KEANE GALLERY - DAY</stage_direction>
<scene_description>TOURIST FAMILIES mill about. Suddenly the door SLAMS open. Walter bolts in, wild-eyed. A bit deranged. The families gawk -- glancing from Walter to his photograph all over: "WALTER KEANE! THE WORLD'S TOP-SELLING ARTIST!" Walter ignores them. He rushes a buxom REDHEADED CLERK.</scene_description>
<character>WALTER</character>
<dialogue>How's SALES?</dialogue>
<character>REDHEAD CLERK</character>
<dialogue>Oh, you know. Mondays --</dialogue>
<scene_description>Walter MUTTERS strangely. He snatches some paper and starts scribbling. Then he runs into the</scene_description>
<character>STORAGE ROOM</character>
<dialogue>Walter agitatedly paces, circling the stacks of PRINTS.</dialogue>
<character>WALTER</character>
<dialogue>How many posters are back here?</dialogue>
<character>REDHEAD CLERK</character>
<dialogue>Exactly? I dunno, 3,000 or --</dialogue>
<character>WALTER</character>
<dialogue>Does the printer owe us more? Do we owe him??</dialogue>
<character>REDHEAD CLERK</character>
<dialogue>Uh, let me --</dialogue>
<character>WALTER</character>
<dialogue>What about the OILS?! Are there more at the warehouse?</dialogue>
<character>REDHEAD CLERK</character>
<dialogue>Mr. Keane, I'd have to make a --</dialogue>
<character>WALTER</character>
<dialogue>For the LOVE OF MUD! What am I PAYING you for?</dialogue>
<scene_description>The girl freezes, rattled. Walter spins, flipping out.</scene_description>
<character>WALTER</character>
<dialogue>Hypothetical question: If you were a man, would you marry Kim Novak or my wife?</dialogue>
<scene_description>What?</scene_description>
<character>WALTER</character>
<dialogue>Okay! Different question! If I got crippled and had to stop painting, how long before the gallery ran out of inventory and went belly up??</dialogue>
<character>REDHEAD CLERK</character>
<parenthetical>(RATTLED)</parenthetical>
<dialogue>Do you want a glass of water, Mr. Keane?</dialogue>
<scene_description>Walter sighs. His thoughts drift away...</scene_description>
<character>WALTER</character>
<dialogue>What's it all mean? Why are we put on this earth? A 100 years from now, will people even know we existed...?</dialogue>
<character>REDHEAD CLERK</character>
<parenthetical>(UNCOMFORTABLE)</parenthetical>
<dialogue>I -- I don't understand. You'll always be famous. You were on the Jack Paar Show... (she glances away) Er, excuse me, sir.</dialogue>
<scene_description>The girl hurries away, to ring up some customers. Walter silently watches. At the register, the Tourists buy a print. A "Madonna and Child," MDH-style. BAMMM! Walter's eyes bulge, like he's been stung.</scene_description>
<character>WALTER</character>
<dialogue>It's not even mine! It's one of hers.</dialogue>
<scene_description>Aching, he staggers off. Sweating, woozy, he sits at a table. Distracted, he glances down at a newspaper... INSERT - NEWSPAPER There's an article on the 1964 NEW YORK WORLD'S FAIR. A headline says "CONSTRUCTION RACES TOWARD APRIL OPENING" TIGHT - WALTER His eyes narrow, piqued. World's Fair??? He leans in...</scene_description>
</scene>
<scene>
<stage_direction>INT. BISTRO - NIGHT</stage_direction>
<scene_description>A return to the charming bistro Margaret and Walter went to all those years ago, on their first date. The Maitre'd BEAMS.</scene_description>
<character>MAITRE'D</character>
<dialogue>Ah! Monsieur and Madame Keane! Delighted! Always such an honor!</dialogue>
<scene_description>ANGLE on the Keanes. They are sullen. At wit's end. AT THE TABLE - LATER They stiffly sit at their old table. He snarls, eyes black.</scene_description>
<character>WALTER</character>
<dialogue>This doesn't change anything.</dialogue>
<character>MARGARET</character>
<parenthetical>(trying to hold her ground)</parenthetical>
<dialogue>I know the truth.</dialogue>
<character>WALTER</character>
<dialogue>Who cares?! This is all your fault! Maybe it's time to shake things up. Start puttin' my name on the MDH's.</dialogue>
<scene_description>Margaret is astonished. A fury crosses her face.</scene_description>
<character>MARGARET</character>
<dialogue>NO! Absolutely NOT!! I still hate myself for giving you the Waifs!</dialogue>
<character>WALTER</character>
<dialogue>Quiet! Lower your voice --</dialogue>
<character>MARGARET</character>
<dialogue>Oh, I'll talk as LOUD AS I WANT --</dialogue>
<character>WALTER</character>
<dialogue>NO YOU WON'T! Or --</dialogue>
<character>(FLAILING)</character>
<dialogue>I'll have you whacked!</dialogue>
<scene_description>She jerks, flabbergasted.</scene_description>
<character>MARGARET</character>
<dialogue>What??!</dialogue>
<character>WALTER</character>
<dialogue>If you tell ANYONE, if you squeal, I'll take you out! I -- I know people. Remember Banducci's cousin? The liquor wholesaler?</dialogue>
<scene_description>Pause. Margaret breaks into tears.</scene_description>
<character>MARGARET</character>
<dialogue>You're threatening me...?! Fine, kill me! My God, I've kept our secret for years! I've never once --</dialogue>
<character>(CRYING)</character>
<dialogue>Do you know what it's been like for me? I don't have any friends. I've lied to my own child...</dialogue>
<scene_description>Margaret shudders, distraught. Mascara runs down her cheeks. Walter squirms, uneasy with this.</scene_description>
<character>WALTER</character>
<dialogue>Christ, wipe your face! You look a mess.</dialogue>
<character>(BEAT)</character>
<dialogue>It's life imitating art! A crying Keane!</dialogue>
<scene_description>He hands her his handkerchief. She dabs at her eyes. A looming quiet.</scene_description>
<character>MARGARET</character>
<dialogue>What do you want, Walter? Everything with you is calculated. We're back where we had our first date...</dialogue>
<scene_description>Walter's eyes widen. We MOVE IN TIGHT on them. He drops his voice. Dead serious.</scene_description>
<character>WALTER</character>
<dialogue>Look, I don't deny I need you. You're the one with the gift.</dialogue>
<character>(BEAT; HUSHED)</character>
<dialogue>Right now there's a shot... God, I'm shaking I'm so excited. The New York World's Fair. 70 million visitors. Opening day, I unveil my MASTERPIECE!</dialogue>
<scene_description>She is flummoxed.</scene_description>
<character>MARGARET</character>
<dialogue>What masterpiece?</dialogue>
<character>WALTER</character>
<dialogue>Exactly! What have I been missing all this time?! Da Vinci has his Mona Lisa... Renoir has his Boatmen's Lunch... but where's my defining statement?</dialogue>
<character>MARGARET</character>
<dialogue>You sound insane. Artists don't announce a masterpiece --</dialogue>
<character>WALTER</character>
<dialogue>Why not?! Didn't Michelangelo know he was hittin' a homer, when he was on his back painting the Sistine Chapel?</dialogue>
<character>MARGARET</character>
<dialogue>He worked on that for FOUR YEARS!</dialogue>
<character>WALTER</character>
<dialogue>Posterity, baby...!!</dialogue>
<scene_description>She empties her drink.</scene_description>
<character>WALTER</character>
<dialogue>And here's the best part. It's for Unicef! Unicef is sponsoring the Hall of Education. Aw, we can finally give back to the children of the world!!</dialogue>
<scene_description>Margaret stares, wavering... STOCK FOOTAGE: The 1964 WORLD'S FAIR READIES TO OPEN. Men on 109 cranes hammer away. Fantastic, futuristic pavilions rise. The Hall of Education gets erected...</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - DAY</stage_direction>
<scene_description>ANGLE - An INSANELY BIG, BLANK CANVAS. It's 8 feet across, filling half the room. Margaret is in the throes of hastily creating the MASTERPIECE. Sketches are tacked everywhere. Margaret is chain smoking, sleep-deprived. The DESIGN is a staggering multiracial CROWD of children, mournful, extending to the horizon. Walter enters, silently scrutinizing.</scene_description>
<character>MARGARET</character>
<dialogue>It's too big. Why'd you promise them Cinerama size?</dialogue>
<character>WALTER</character>
<dialogue>Because it has to encompass all children. All races! One hundred</dialogue>
<dialogue>stricken faces! Marching to infinity! The ultimate Walter Keane!</dialogue>
<character>(BEAT)</character>
<dialogue>At least that's what I told Life Magazine.</dialogue>
<scene_description>Margaret ignores this. Walter does a rehearsed turn.</scene_description>
<character>WALTER</character>
<dialogue>Oh, a publisher says it's good timing to put out a coffee table book. You know, classy: "Tomorrow's Masters."</dialogue>
<character>(AWKWARDLY "CASUAL")</character>
<dialogue>So they need my... uh, early portfolio. My artistic evolution...</dialogue>
<scene_description>Margaret's eyes pop. That's it. We PUSH IN... as she struggles to contain her frustration. Suddenly -- she SNAPS.</scene_description>
<character>MARGARET</character>
<dialogue>You're right! Where are your preliminary sketches?? All that time in art school, and somehow we waylaid your youthful experiments! The half- finished charcoals, the struggles...</dialogue>
<character>WALTER</character>
<parenthetical>(a bit off-balance)</parenthetical>
<dialogue>I know you're being sarcastic, but these are all good ideas. Berlin war orphans... early self-portraits...</dialogue>
<scene_description>Her eyes narrow.</scene_description>
<character>MARGARET</character>
<dialogue>Get out of here. I'm trying to work.</dialogue>
<scene_description>She brusquely spins away, back to the canvas. He shoots her an uncertain, dirty look. What just happened?</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - NIGHT</stage_direction>
<scene_description>Teenage Jane wanders through the house. Shouting.</scene_description>
<character>JANE</character>
<dialogue>Mom, what's for dinner?</dialogue>
<character>(NO RESPONSE)</character>
<dialogue>Mom! Are you home...?</dialogue>
<scene_description>Nothing. No sign of Margaret. Jane tries the door of the PAINTING ROOM. As always, it's locked. Hm... Jane sneakily glances around. Opportunity. Quickly, she stands on a chair and reaches above the door sill. She feels around... and finds a KEY. Ah! Hurriedly, Jane UNLOCKS the door and lets herself in.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - SAME TIME</stage_direction>
<scene_description>The room is a madhouse of WAIFS. Jane takes it all in. Her face darkens. Then, heavy breathing. She turns. Margaret is asleep, curled up under the almost-finished Masterpiece. Jane leans in. Slowly, Margaret rouses -- then suddenly:</scene_description>
<character>MARGARET</character>
<dialogue>W-what are you doing in here --?</dialogue>
<character>(BLINKING; HALF-AWAKE)</character>
<dialogue>This is -- Walter's studio!</dialogue>
<character>(DISCOMBOBULATED)</character>
<dialogue>You have to leave!</dialogue>
<scene_description>Jane peers sadly at her mother.</scene_description>
<character>JANE</character>
<dialogue>Mom... I know.</dialogue>
<character>MARGARET</character>
<dialogue>Jane, you don't know anything!!</dialogue>
<scene_description>Jane's face tightens. Insulted.</scene_description>
<character>JANE</character>
<dialogue>I'm not a child anymore.</dialogue>
<scene_description>Angry, Jane runs out. Margaret stares after her -- completely remorseful. She knows she did the wrong thing. Suddenly, she runs after Jane and grabs her tightly. Overcome, Margaret starts weeping. Jane starts crying too. INSERT - LIFE MAGAZINE A gargantuan spread. The LIFE ARTICLE is titled "The Man Who Paints Those Big Eyes." We PULL OUT...</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK TIMES - DAY</stage_direction>
<scene_description>Starchy John Canaday reads the article, gaping in utter disbelief. His desk says "JOHN CANADAY, SENIOR ART CRITIC." He also has Walter's BOOK, "Tomorrow's Masters Series." We WIDEN, revealing he's in the busy New York Times NEWSROOM.</scene_description>
<character>CANADAY</character>
<dialogue>Four... five... SIX pages! Is there something here I'm missing?</dialogue>
<character>(UPSET)</character>
<dialogue>He's like -- the Hula-Hoop! He just won't go away...!</dialogue>
<scene_description>He flips a page -- then his jaw drops.</scene_description>
<character>CANADAY</character>
<dialogue>"Will be unveiled in the Grand Pavilion of the Hall of Education... internationally celebrated artist has been selected... will represent the aspirations of children worldwide --"</dialogue>
<character>(HE GASPS)</character>
<dialogue>Oh this is ABSURD!</dialogue>
<scene_description>He GRABS for his phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORLD'S FAIR HALL OF EDUCATION - DAY</stage_direction>
<scene_description>A panel flicks, and the huge empty space lights up. It's overwhelmingly cavernous, a bright, freshly-painted Space Age spectacular. Up high hangs The Masterpiece and its 100 kids. A sign says "TOMORROW FOREVER." Below, two tiny figures walk in: Canaday and an obtuse CIVIC LEADER. Canaday stares up in horror. Utterly stupefied.</scene_description>
<character>CANADAY</character>
<dialogue>And WHO was on the selection committee?</dialogue>
<character>CIVIC LEADER</character>
<dialogue>Oh! Well there wasn't a "committee," per se. We just had a luncheon with me, Ed, Jerome, Jerome's wife...</dialogue>
<scene_description>CIVIC LEADER</scene_description>
<character>(HE THINKS)</character>
<dialogue>Though technically, we didn't invite submissions. Mr. Keane just contacted us directly!</dialogue>
<scene_description>Canaday reacts, smoldering.</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK MANSION - DAY</stage_direction>
<scene_description>A STRING QUARTET PLAYS at a GRAND PARTY. It's completely fabulous -- an old-money mansion filled with stuffy BLUE BLOODS, all tuxes and gowns. In the doorway appear Walter and Margaret. They're dressed to kill. Walter's radiant -- but Margaret looks like she's about to emotionally disintegrate. Suddenly, he WHISPERS.</scene_description>
<character>WALTER</character>
<dialogue>Stop. Let us appreciate this moment. This is what we've worked toward our</dialogue>
<dialogue>whole lives: Rarified air. Inside this house are the movers and shakers. Kennedys. Rockefellers.</dialogue>
<character>(MISTY-EYED)</character>
<dialogue>Until today, we've always been on the outside, looking in. But when we enter... we will belong.</dialogue>
<character>MARGARET</character>
<dialogue>I was happier selling paintings in the park.</dialogue>
<scene_description>He gapes, appalled.</scene_description>
<character>WALTER</character>
<dialogue>You are one crazy bitch.</dialogue>
<scene_description>Walter spins and grandly enters. He grabs two CHAMPAGNES from a server.</scene_description>
<character>WALTER</character>
<dialogue>So maybe you have problems with the choices we made... but -- c'mon! Wednesday, the World's Fair opens. Thursday, our book goes on sale!</dialogue>
<character>MARGARET</character>
<dialogue>Friday, I file for divorce.</dialogue>
<character>WALTER</character>
<dialogue>Aw, why are you always so miserable?</dialogue>
<character>(IRRITATED)</character>
<dialogue>Well, I'm gonna enjoy my afternoon!</dialogue>
<scene_description>The HOSTESS is a bejeweled dowager. Walter makes a beeline.</scene_description>
<character>WALTER</character>
<dialogue>Mrs. Teasdale! Walter Keane. I just want to thank you for hosting this absolutely enchanting soiree.</dialogue>
<scene_description>Walter takes the woman's hand. She smiles stiffly, silently horrified. She glances around for help. She catches a SOCIETY MAN's eye, and he hurries over.</scene_description>
<character>SOCIETY MAN</character>
<dialogue>Hey, Keane. Have you seen the Times?</dialogue>
<character>WALTER</character>
<dialogue>Er, no. Honestly, I've been so busy all day preparing for this lovely --</dialogue>
<character>SOCIETY MAN</character>
<dialogue>I think you should read the Times.</dialogue>
<scene_description>The Man gestures. Perplexed, the Keanes follow him into a</scene_description>
</scene>
<scene>
<stage_direction>INT. DEN - SAME TIME</stage_direction>
<scene_description>The room looks like a hunting lodge. On the desk are all the DAILY PAPERS. Walter grabs the NEW YORK TIMES -- then gasps. INSERT - NEW YORK TIMES It's open to a reproduction of "Tomorrow Forever," above a scathing REVIEW.</scene_description>
<character>THE KEANES</character>
<dialogue>stare, then turn pale.</dialogue>
<scene_description>INSERT - REVIEW A BLIZZARD of WORDS assaults us:</scene_description>
<character>"GROTESQUE" "APPALLING"</character>
<dialogue>"TASTELESS"</dialogue>
<scene_description>"Lowest common denominator" MARGARET AND WALTER'S faces drop, terribly hurt.</scene_description>
<character>MARGARET</character>
<dialogue>How could anyone... say something so cruel?</dialogue>
<character>WALTER</character>
<parenthetical>(a seething fury)</parenthetical>
<dialogue>What do YOU care?! That's MY name being dragged through the mud!</dialogue>
<scene_description>Walter CRUSHES the newspaper. He spins on the guy.</scene_description>
<character>WALTER</character>
<dialogue>Is he here?</dialogue>
<character>SOCIETY MAN</character>
<dialogue>Er... yes. Which is perhaps why it would be best for everybody if you --</dialogue>
<scene_description>Walter STORMS out. The guy futilely chases --</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SAME TIME</stage_direction>
<scene_description>Walter barrels in. The ROOMFUL OF GUESTS are all staring. WHO WROTE THIS SHIT? People cower. Walter scans the crowd... and spots a cluster. Ah-hah! There is Canaday. Possessed, Walter strides over. Canaday stares, defiant. It's tense -- until he clears his throat.</scene_description>
<character>CANADAY</character>
<dialogue>Mr. Keane, this is not the venue. Perhaps you'd like to write a letter to the editor.</dialogue>
<scene_description>Walter's throat tightens. He steps right into the guy's face. Women GASP. Tension bristles -- like a fight's about to erupt.</scene_description>
<character>WALTER</character>
<dialogue>What are you afraid of??</dialogue>
<character>(MALEVOLENT)</character>
<dialogue>Just because people like my work, that means it's automatically bad??</dialogue>
<character>CANADAY</character>
<dialogue>No. But that doesn't make it art either.</dialogue>
<scene_description>Walter shudders. Canaday asserts himself.</scene_description>
<character>CANADAY</character>
<dialogue>Art should elevate -- not pander! Particularly in a Hall of Education!</dialogue>
<character>WALTER</character>
<parenthetical>(OFFENDED)</parenthetical>
<dialogue>You have no idea!</dialogue>
<character>WALTER</character>
<dialogue>Why does a man become a critic --?? Because he can't create! You don't --</dialogue>
<character>CANADAY</character>
<dialogue>Ugh! That moldy chestnut --</dialogue>
<character>WALTER</character>
<dialogue>Don't interrupt! You don't know what it's like! To put your emotions out there, naked, for the world to see.</dialogue>
<character>CANADAY</character>
<dialogue>What emotions?! It's synthetic hack work! (he loses it) Your "masterpiece" has an infinity of Keanes -- which just makes it an infinity of kitsch!</dialogue>
<scene_description>Crazed, Walter grabs a FORK off the buffet. He lunges, like he's about to STAB Canaday!</scene_description>
<character>WIDE</character>
<dialogue>Women SCREAM. A few MUSCULAR MEN start to break through, to help.</dialogue>
<character>WALTER</character>
<dialogue>looks around -- then quivers, realizing he's out of control. Shamed, he slowly drops the fork. People breathe a sigh of relief.</dialogue>
<character>MARGARET</character>
<dialogue>is mortified. This is all too awful. Silent, she watches Walter back out of the party...</dialogue>
</scene>
<scene>
<stage_direction>INT. WORLD'S FAIR HALL OF EDUCATION - DAY</stage_direction>
<scene_description>"Tomorrow Forever" gets TAKEN DOWN. Burly WORKMEN slide the painting into a huge WOODEN BOX.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEANE HOUSE - NIGHT</stage_direction>
<scene_description>The house is dark. Walter is raging, in an alcoholic fury.</scene_description>
<character>WALTER</character>
<dialogue>What's wrong with lowest common denominators?! That's what this country was built on!!</dialogue>
<scene_description>He KNOCKS over a lamp. Crash!</scene_description>
<character>WALTER</character>
<dialogue>I'm gonna sue EVERYBODY! I'll sue that pansy critic! And the World's Fair! And -- Unicef!</dialogue>
<character>(CRAZED)</character>
<dialogue>Yeah! I'll take down Unicef, and all their precious little boxes of dimes!</dialogue>
<scene_description>Walter RUSHES BY. In a dim alcove, we make out Margaret and Jane, huddled in the shadows. Jane looks up at her mother with wide, frightened eyes. Suddenly -- Walter LUNGES at them! They SCREAM, startled.</scene_description>
<character>WALTER</character>
<dialogue>But I can't sue you, can I? (in Margaret's face) You were the ultimate betrayal! You FAILED me with that painting!</dialogue>
<scene_description>Suddenly, he pulls out a BOOK OF MATCHES. He lights a MATCH and waves it sinisterly --</scene_description>
<character>WALTER</character>
<dialogue>You crossed over from sentimentality to KITSCH!</dialogue>
<scene_description>He THROWS the match at them.</scene_description>
<character>JANE</character>
<dialogue>Ow!</dialogue>
<scene_description>STOP IT! He lights ANOTHER MATCH.</scene_description>
<character>WALTER</character>
<dialogue>You like making me look bad?? You enjoy people laughing at me??!</dialogue>
<scene_description>He PUNCHES the wall, then tosses the match. Fwoosh!</scene_description>
<character>MARGARET</character>
<dialogue>Walter!</dialogue>
<scene_description>He throws ANOTHER MATCH.</scene_description>
<character>WIDE</character>
<dialogue>Margaret grabs Jane and starts running. They rush into the blackness.</dialogue>
<dialogue>Walter squints woozily, then starts to CHASE --</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>The ladies run for their lives. Violent THUDS behind them! Something SMASHES. Margaret reaches the Painting Room. She YANKS Jane inside, then SLAMS the door! Walter staggers up. LET ME IN! INSIDE THE PAINTING ROOM Margaret LOCKS the door. She backs away.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Walter tugs the door. He POUNDS it, crazed.</scene_description>
<character>WALTER</character>
<dialogue>Lemme in, you BITCHES!!</dialogue>
<scene_description>INSIDE THE PAINTING ROOM Margaret and Jane shudder. All around them, Big Eyes stare down from above.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>In his haze, Walter remembers the hidden key. Raging, he drunkenly pulls over the chair, then stands on it. But he's too wobbly -- and falls. Bam!</scene_description>
<character>WALTER</character>
<dialogue>Ow!</dialogue>
<scene_description>INSIDE THE PAINTING ROOM Margaret hugs Jane.</scene_description>
<character>JANE</character>
<dialogue>Mom, what are we gonna do??!</dialogue>
<scene_description>Margaret thinks.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Walter laughs crazily and lights another MATCH. It flickers.</scene_description>
<character>WALTER</character>
<dialogue>You got all that paint and turpentine in there? Well I'm gonna burn you up!</dialogue>
<scene_description>He pushes the lit match through the KEYHOLE.</scene_description>
<character>WALTER</character>
<dialogue>You're gonna blow like an atom bomb!</dialogue>
<scene_description>INSIDE THE PAINTING ROOM The match drops on the floor -- then goes out, harmless. That's it. Margaret makes a decision.</scene_description>
<character>MARGARET</character>
<dialogue>We're leaving.</dialogue>
<scene_description>Determined, Margaret runs to the curtained wall. She whips it aside -- revealing the sliding glass doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - MINUTES LATER</stage_direction>
<scene_description>Walter is lighting another match -- when he spins. Through rheumy eyes, HEADLIGHTS orbit across the front window. He peers, confused...</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - DRIVING - NIGHT</stage_direction>
<scene_description>Margaret and Jane drive fast. Adrenaline pumping. Lights of the city flash across their faces.</scene_description>
<character>MARGARET</character>
<dialogue>I'm sorry I wasn't the mother I could have been. I -- I should have done this years ago...</dialogue>
<character>JANE</character>
<dialogue>But where are we going?</dialogue>
<character>(FLUMMOXED)</character>
<dialogue>We don't even have any clothes!</dialogue>
<character>MARGARET</character>
<dialogue>Where we're going, we won't need much.</dialogue>
<character>(LONG PAUSE)</character>
<dialogue>Hawaii.</dialogue>
<scene_description>Jane freezes, not sure whether to believe.</scene_description>
<character>JANE</character>
<dialogue>Really...?</dialogue>
<scene_description>Margaret smiles softly. We slowly PUSH IN to her.</scene_description>
<character>MARGARET</character>
<dialogue>Yes, Hawaii. Because it's paradise. There's flowers, and birds, and beautiful colors.</dialogue>
<character>(GENTLE)</character>
<dialogue>And... we're going to make a new life for ourselves.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAWAIIAN HOUSE - DAY</stage_direction>
<scene_description>Hawaii, paradise indeed. A dense, tropical forest of deep greens and giant blooming flowers. Margaret stands on the porch of her small, lovely house, breathing in the clean air. She looks lightened. In a clearing, Jane plays with some LOCAL TEENS.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN HOUSE - SAME TIME</stage_direction>
<scene_description>The house is simple. In one light-filled corner is an EASEL. Margaret is painting Nature: Splaying ferns. Wild succulents. In the window, a BIRD flies by, its plumage a dazzling red. Margaret thinks -- then takes out a tube of RED PAINT. She starts to apply the vivid color onto her canvas... When -- a RINGING PHONE. Margaret reacts, startled. This is unexpected. And unsettling. It RINGS. RINGS. RINGS. Finally, she hurries to her one telephone, mounted on the kitchen wall. She slowly answers it.</scene_description>
<character>MARGARET</character>
<dialogue>Hello?</dialogue>
<scene_description>WALTER (O.S.) Maggie --? She freezes. WALTER ON THE PHONE - WOODSIDE He is strangely controlled and forboding.</scene_description>
<character>WALTER</character>
<dialogue>Boy, you were sure hard to track down. Thought I might never find you... (a menacing chuckle) I'm a little agitated. I got the strangest papers in the mail today.</dialogue>
<scene_description>Margaret tries to stay cool.</scene_description>
<character>MARGARET</character>
<dialogue>It's a decree of legal separation. I would appreciate if you signed it.</dialogue>
<character>WALTER</character>
<dialogue>Aren't you acting too rash?</dialogue>
<character>MARGARET</character>
<dialogue>Walter, our marriage is over.</dialogue>
<character>WALTER</character>
<dialogue>Granted, our romance may have seen its better days. The bloom is off the rose.</dialogue>
<character>(BEAT)</character>
<dialogue>But I'm looking out for both of us. What about Keane Incorporated?! We're a professional couple. Like Roy Rogers and Dale Evans.</dialogue>
<character>MARGARET</character>
<dialogue>Walter, I want a divorce.</dialogue>
<character>WALTER</character>
<dialogue>Whew. It hurts to hear you say those words.</dialogue>
<scene_description>Silence. He is feigning "hurt feelings." Struggling for a response. Finally, his thoughts sharpen up, smart and shrewd.</scene_description>
<character>WALTER</character>
<dialogue>I sure hate that it's come to this.</dialogue>
<character>(BEAT)</character>
<dialogue>Well... I SUPPOSE I can agree to a split -- as long... as you assign me all rights to every painting ever produced.</dialogue>
<character>MARGARET</character>
<dialogue>If that's the price.</dialogue>
<character>WALTER</character>
<dialogue>Really?!</dialogue>
<scene_description>Walter is surprised. Greedy, calculating, he wonders if he can push her further...</scene_description>
<character>WALTER</character>
<dialogue>Uh -- okay. And... then, we have to consider future revenue stream.</dialogue>
<character>MARGARET</character>
<dialogue>My God, Walter! How much more money do you need?</dialogue>
<character>WALTER</character>
<dialogue>It's -- the marketplace! I gotta stay fresh. Surely you understand?</dialogue>
<character>(DEADLY)</character>
<dialogue>You want me out of your life, here's my term: You'll have to paint me 100 more waifs. 100 more Walter Keanes!</dialogue>
<scene_description>Margaret's face drops, pained. But she doesn't object.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAWAIIAN HOUSE - DAY</stage_direction>
<scene_description>Margaret loads BUNDLED, WRAPPED PAINTINGS into a dusty pickup truck. Jane comes running by, barefoot.</scene_description>
<character>MARGARET</character>
<dialogue>Would you like to go into town? I'm stopping by the post office.</dialogue>
<character>JANE</character>
<dialogue>No, I'm gonna surf with the gang.</dialogue>
<scene_description>Margaret tightens up.</scene_description>
<character>MARGARET</character>
<dialogue>Your friends are a bit... wild.</dialogue>
<character>JANE</character>
<parenthetical>(SHE SNAPS)</parenthetical>
<dialogue>Loosen up, Mom! You're impossible! You move me all the way to Hawaii. Then I actually make some friends, and all you do is complain about them.</dialogue>
<character>(CUTTING)</character>
<dialogue>Maybe you need to make some.</dialogue>
<character>MARGARET</character>
<dialogue>Y-you know I can't have people over to the house.</dialogue>
<character>JANE</character>
<dialogue>That's right! Or they'd see the precious paintings!!</dialogue>
<scene_description>Margaret has no response. Jane runs off.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN HOUSE - DAY</stage_direction>
<scene_description>Margaret is alone, pouring a drink. She mixes in some ice -- then sees something odd. OUTSIDE THE WINDOW Coming down the long driveway are two FIGURES. Two small WOMEN, patiently walking toward the isolated house. Margaret stares, puzzled. The women come closer. They are Asian, dressed in formal dresses. Curious, Margaret creeps over, spying on them... They walk up and ring the bell. DING-DONG! An unsure beat... then Margaret opens the door. The ladies smile politely.</scene_description>
<character>ASIAN LADY #1</character>
<dialogue>Hello. We're visiting everyone in this neighborhood with an important message. No doubt you're busy, so we'll be brief.</dialogue>
<scene_description>Huh? Margaret stares at them deadpan, highball in her hand.</scene_description>
<character>ASIAN LADY #2</character>
<dialogue>We have something to share with you about the wonderful things that God's Kingdom will do for mankind.</dialogue>
<scene_description>Margaret's face darkens.</scene_description>
<character>MARGARET</character>
<dialogue>I'm not interested.</dialogue>
<scene_description>She starts to close the door... but they continue.</scene_description>
<character>ASIAN LADY #1</character>
<dialogue>Do you mean that you are not interested in the Bible, or in religion in general?</dialogue>
<character>MARGARET</character>
<dialogue>I'm not interested in whatever you're selling.</dialogue>
<scene_description>The lady glances at Margaret's glass. She smiles gently.</scene_description>
<character>ASIAN LADY #2</character>
<dialogue>But we're not selling anything. We're just here to share the good news.</dialogue>
<character>MARGARET</character>
<parenthetical>(DOUR)</parenthetical>
<dialogue>From where I'm standing, I don't see much good anywhere. Just a lot of pride, and thievery, and people treating each other poorly.</dialogue>
<character>ASIAN LADY #2</character>
<dialogue>Yes! Exactly! That is the good news!</dialogue>
<scene_description>What? Margaret is lost. The ladies grab the opening.</scene_description>
<character>ASIAN LADY #1</character>
<dialogue>Bad things in the world are a sign. They show us that earthly Paradise is at hand.</dialogue>
<character>ASIAN LADY #2</character>
<dialogue>Do you know what it says in Timothy</dialogue>
<scene_description>3:1-5? (she pulls out a BIBLE and quickly thumbs to a page) "In the last days, critical times hard to deal with will be here. For men will be lovers of themselves. Lovers of money. Self-assuming, haughty, blasphemers, disobedient --"</scene_description>
<character>MARGARET</character>
<dialogue>Sounds like my ex-husband.</dialogue>
<scene_description>Margaret laughs. Surprised, the women laugh, too. Margaret peers at them. At their Bible.</scene_description>
<character>MARGARET</character>
<dialogue>Would you like to come in?</dialogue>
<character>CUT TO:</character>
<dialogue>LATER</dialogue>
<scene_description>The three women sit. Margaret gazes...</scene_description>
<character>MARGARET</character>
<dialogue>It's been so long since I've been happy. But, I don't even know why I'm telling you... two complete strangers.</dialogue>
<character>ASIAN LADY #1</character>
<dialogue>It's our mission to comfort those in mourning. Jehovah wants us to help the brokenhearted.</dialogue>
<character>MARGARET</character>
<dialogue>So you're -- Jehovah's Witnesses?</dialogue>
<scene_description>The ladies nod. Margaret thinks.</scene_description>
<character>MARGARET</character>
<dialogue>I've explored so many religions. But they all had their flaws...</dialogue>
<character>ASIAN LADY #2</character>
<dialogue>Then they're wrong for you. Read your Bible -- you might be surprised by the answers it gives.</dialogue>
<character>(GENTLE)</character>
<dialogue>Margaret, you can't go down a path unless you know, in your heart, it's the right one.</dialogue>
<character>MARGARET</character>
<dialogue>And how do you know...?</dialogue>
<character>ASIAN LADY #2</character>
<parenthetical>(SHE SMILES)</parenthetical>
<dialogue>Because our beliefs are supported by the Scriptures. Jehovah is the God of truth.</dialogue>
<scene_description>Beat. Margaret glances over at a half-completed "Keane" on the easel. A strange pause.</scene_description>
<character>MARGARET</character>
<dialogue>What does that mean, exactly?</dialogue>
<character>ASIAN LADY #2</character>
<parenthetical>(EMPHATIC)</parenthetical>
<dialogue>Honesty leads to self-respect. A feeling of well-being.</dialogue>
<scene_description>Margaret is piqued. Her eyes widen. Like a Keane.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN HOUSE - NIGHT</stage_direction>
<scene_description>Margaret is enthralled, avidly perusing a happy-looking booklet, "The Truth That Leads to Eternal Life."</scene_description>
<character>MARGARET</character>
<dialogue>It says here a worshiper of Jehovah must be honest in all things.</dialogue>
<scene_description>Jane snorts.</scene_description>
<character>JANE</character>
<dialogue>I just can't believe you let people in the house.</dialogue>
<character>MARGARET</character>
<dialogue>I have nothing to hide!</dialogue>
<character>(TORRID)</character>
<dialogue>It also says no lies. "Speak truth. Let the stealer steal no more."</dialogue>
<scene_description>Margaret and Jane lock eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODSIDE HOUSE - DAY</stage_direction>
<scene_description>Loud JAZZ plays. Back home, Walter is living a Man's, Man's World. He's partying, drinking and dancing with two cute HIPPIE CHICKS in bikinis. The place is like a WAREHOUSE, Keane PRINTS stacked everywhere.</scene_description>
<character>HIPPIE CHICK</character>
<dialogue>Shit, this is crazy! All these copies... you're like Warhol!</dialogue>
<character>WALTER</character>
<dialogue>Nah, Warhol's like me. That fruitfly stole my act! "The Factory"? I had a factory before he had a soup can!</dialogue>
<scene_description>The girls scrunch their faces, lost. Then -- DING-DONG! Walter peeks out the window, then grins.</scene_description>
<character>WALTER</character>
<dialogue>Ah! It's my art supplies.</dialogue>
</scene>
<scene>
<stage_direction>INT. PAINTING ROOM - SECONDS LATER</stage_direction>
<scene_description>Alone, Walter eagerly pries open a GIANT CRATE. He pulls out padding. Wadded Honolulu newspapers. Then... a PAINTING. Ah! A new WAIF, surrounded by colorful tropical plants. Walter smiles triumphantly -- until -- his happiness melts into confusion. Then horror. We ZOOM INTO the painting's SIGNATURE. It says "MDH Keane." Walter freaks. AAAGGGGHH!</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN KINGDOM HALL - DAY</stage_direction>
<scene_description>The JEHOVAH'S WITNESSES sing a joyous, high-spirited PSALM:</scene_description>
<character>JEHOVAH'S WITNESSES</character>
<dialogue>"Tremble not before your foe, Let all lovers of truth know! That my reigning Son, Christ Jesus, From the heav'ns has cast the foe. Soon will bind the Devil, Satan, Letting all his victims go!"</dialogue>
<scene_description>Margaret and Jane are singing happily.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN HOUSE - DAY</stage_direction>
<scene_description>Margaret pours her liquor down the sink. Margaret tosses her cigarettes in the trash. Margaret swells, feeling a burst of power. Then a VOICE: D.J. (O.S.) Oh yeah! We got a special guest today. A world-famous celebrity who just called up and asked to come in..!</scene_description>
</scene>
<scene>
<stage_direction>INT. RADIO BOOTH - DAY</stage_direction>
<scene_description>Angle on BIG LOLO, a gregarious Hawaiian D.J. in headphones. D.J. She's malihini! Moved to the islands a couple months ago... so let's give a big aloha to Margaret Keane! He pops in a cart. Canned APPLAUSE plays. We reveal across from him... Margaret. He grins. D.J. So is it true your husband Walter is the top-selling painter in the world? We SLOWLY PUSH IN to her. Tentative, she speaks.</scene_description>
<character>MARGARET</character>
<dialogue>No... Big Lolo. Everything you just said is false.</dialogue>
<scene_description>Margaret takes a deep breath. Working up her courage.</scene_description>
<character>MARGARET</character>
<dialogue>One: Walter is no longer my husband. (a long pause) And Two: He's not... a painter.</dialogue>
<scene_description>Margaret exhales. The D.J. is confused. He checks his notes. D.J. But, am I... mixed-up? Ain't he the guy who does the crazy eyes?</scene_description>
<character>MARGARET</character>
<dialogue>No. Though he's been taking credit for ten years.</dialogue>
<character>(STRONG)</character>
<dialogue>I'm the only painter in the family.</dialogue>
<scene_description>Margaret slowly smiles. And then... a calmness comes over her. Like a cloud has lifted.</scene_description>
</scene>
<scene>
<stage_direction>INT. RADIO STATION HALLWAY - DAY</stage_direction>
<scene_description>Margaret and Jane walk away. Jane beams proudly, then gives her mother a warm hug. Then -- LOUD CLICKING:</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK TIMES - DAY</stage_direction>
<scene_description>John Canaday stands over a WIRE SERVICE TELETYPE MACHINE. He stares at a printout, incredulous.</scene_description>
<character>CANADAY</character>
<dialogue>You have got to be kidding!</dialogue>
</scene>
<scene>
<stage_direction>INT. CHINESE RESTAURANT - DAY</stage_direction>
<scene_description>TIGHT - The San Francisco Examiner. A small headline says "EYE DID IT! CLAIMS WIFE" We PULL OUT, revealing Dee-Ann. She grins in disbelief.</scene_description>
<character>DEE-ANN</character>
<dialogue>I knew it!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. SAN FRANCISCO EXAMINER - DICK'S CUBICLE - DAY</stage_direction>
<scene_description>Dick Nolan reads the article -- and SPITS UP his martini.</scene_description>
</scene>
<scene>
<stage_direction>INT. HUNGRY I - DAY</stage_direction>
<scene_description>Banducci CACKLES, terribly amused.</scene_description>
</scene>
<scene>
<stage_direction>INT. ART GALLERY - DAY</stage_direction>
<scene_description>Ruben SHRIEKS at the article.</scene_description>
<character>RUBEN</character>
<dialogue>Who would WANT credit?!</dialogue>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - DAY</stage_direction>
<scene_description>Walter sits in his favorite haunt, eating lunch and reading a NEWSPAPER. Suddenly -- he GASPS.</scene_description>
<character>WALTER</character>
<dialogue>Holy mother of GOD!</dialogue>
<scene_description>Walter JERKS UP -- feral -- like an animal sensing danger. He whirls and looks around. Paranoia ratcheting. Is everybody staring at him? Walter starts shaking in horror. Then -- he jumps and BOLTS OUT.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAR - NIGHT</stage_direction>
<scene_description>Walter sits with Dick. Walter's desperate, sweaty.</scene_description>
<character>WALTER</character>
<dialogue>Margaret's gone berserk! You gotta help me! I need a story, a wire story -- national! -- to calm things down.</dialogue>
<scene_description>Dick peers shrewdly.</scene_description>
<character>DICK</character>
<dialogue>I don't know... Walter. What she has said is pretty inflammatory.</dialogue>
<character>WALTER</character>
<dialogue>But it's nuts! It doesn't even make sense. When I was studying art at the Beaux Arts in Paris, she was still a kid in Tennessee!</dialogue>
<scene_description>Dick reacts. Walter whips out the "Tomorrow's Master's" BOOK.</scene_description>
<character>WALTER</character>
<dialogue>Look! These are my early sketches. (he flips pages, like a</dialogue>
<character>MAGICIAN)</character>
<dialogue>See?! Berlin orphans, 1946!</dialogue>
<character>DICK</character>
<parenthetical>(PIQUED)</parenthetical>
<dialogue>But... how could she...</dialogue>
<character>WALTER</character>
<dialogue>Exactly! It's impossible! We didn't meet for another nine years! After she busted her first marriage.</dialogue>
<character>(HE SHRUGS)</character>
<dialogue>Hell, she busted OUR marriage! Sleeping around with whatever trash she could find!!</dialogue>
<scene_description>Dick's head is spinning.</scene_description>
<character>DICK</character>
<dialogue>I-I, but... why would Maggie do this?</dialogue>
<character>WALTER</character>
<dialogue>She's unhinged! She left me and moved into the jungle. She fell in with a bunch of religious zealots:</dialogue>
<character>(WHISPERING)</character>
<dialogue>Jehovah's Witnesses.</dialogue>
<character>DICK</character>
<dialogue>I really don't know much about them...</dialogue>
<character>WALTER</character>
<dialogue>Oh! These people are gone! Solid gone! They don't celebrate Christmas, they can't salute the flag... they won't even let Janie go to the prom!</dialogue>
<scene_description>Dick is startled.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAWAIIAN HOUSE - DAY</stage_direction>
<scene_description>Margaret sits with a GROUP of her Witness friends. She is sorrowful. Confused. Clutching ASSORTED NEWSPAPERS.</scene_description>
<character>MARGARET</character>
<dialogue>He made me sound crazy!!</dialogue>
<character>ASIAN LADY #2</character>
<dialogue>Just rise above it.</dialogue>
<character>MARGARET</character>
<dialogue>But how can I?! He claims I copied HIM! That he taught ME how to paint! (reading the NEWSPAPER) "She used a slide projector to trace my work and fill in the colors."</dialogue>
<character>ASIAN LADY #1</character>
<dialogue>And which part of that is untrue?</dialogue>
<scene_description>ALL OF IT!</scene_description>
<character>(IMPASSIONED)</character>
<dialogue>When I finally told the truth, I felt good about myself for the first time in years!! I'm not going to let him take that away.</dialogue>
<scene_description>Nobody is sure what to say. Until -- Jane pipes up:</scene_description>
<character>JANE</character>
<dialogue>Hey. Is Jehovah okay with suing??</dialogue>
</scene>
<scene>
<stage_direction>EXT. HONOLULU FEDERAL COURTHOUSE - DAY</stage_direction>
<scene_description>The mighty courtroom steps are SWARMING WITH PEOPLE. It's a circus. LOCAL TV NEWS CREWS do standups:</scene_description>
<character>REPORTER #1</character>
<dialogue>Seventeen million dollars!</dialogue>
<character>(BEAT)</character>
<dialogue>The art world is abuzz! Is it possible that the decade's top-selling painter can't even paint??!</dialogue>
<character>REPORTER #2</character>
<dialogue>Or is Mrs. Keane simply a bitter ex- wife, trying to steal her husband's fame and fortune?</dialogue>
<character>(BEAT)</character>
<dialogue>Today in Federal Court, lawyers present their opening arguments in the case of Margaret Keane vs. Walter Keane and Gannett Newspapers. A trial that could produce the largest libel and slander award in Hawaiian history.</dialogue>
<scene_description>Margaret, Jane, Margaret's LAWYER, and her FRIENDS walk up. Margaret glances over -- and spots FEMINIST SUPPORTERS smiling at her. They hold up signs: "Stand Up and Be Counted!" Margaret is bewildered. She hurries in. AT THE CURB Walter and a POSSE OF LAWYERS exit a towncar. The REPORTERS charge over, as Walter puts on a confident face.</scene_description>
<character>REPORTER #1</character>
<dialogue>Mr. Keane! Are you at all concerned</dialogue>
<dialogue>about the charges?</dialogue>
<character>WALTER</character>
<dialogue>I'm angry as hell! But I'm lucky to have the mighty Gannett News Company watching my back. I expect to have this whole trial dismissed by noon.</dialogue>
<character>(BEAT)</character>
<dialogue>Truthfully, my only concern is that somebody get this woman some psychiatric care. She needs it!</dialogue>
</scene>
<scene>
<stage_direction>INT. FEDERAL COURTROOM - LATER</stage_direction>
<scene_description>The EIGHT JURORS watch attentively. Walter sits with the table of slick Gannett lawyers. The lead lawyer stands in front of the irritable Chinese JUDGE.</scene_description>
<character>GANNETT LAWYER</character>
<dialogue>Margaret Keane is a public figure. And as such, she has to prove that our newspapers published statements, aware of probable falsity.</dialogue>
<character>(BEAT)</character>
<dialogue>But there is no evidence that our editors could have known that the assertions were untrue.</dialogue>
<character>(BEAT)</character>
<dialogue>We would like to submit 692 articles and interviews in which Mrs. Keane credits Mr. Keane as the painter of the so-called "big eye" children.</dialogue>
<scene_description>His Associate hands two massive bound PILES OF NEWSPAPERS AND MAGAZINES to the BAILIFF. Margaret winces. Walter grins, eating it up. The Judge stares sourly at the piles.</scene_description>
<character>JUDGE</character>
<dialogue>How many years back do these go?</dialogue>
<character>GANNETT LAWYER</character>
<dialogue>Mrs. Keane has been making these statements since 1958.</dialogue>
<scene_description>Beat.</scene_description>
<character>JUDGE</character>
<dialogue>This is a very strange case. These</dialogue>
<dialogue>paintings hang in museums all over the world, attributed to Mr. Keane. And regardless of the truth, Mrs. Keane has contributed immeasurably to the confusion...</dialogue>
<scene_description>The Judge stares off... then makes a decision.</scene_description>
<character>JUDGE</character>
<dialogue>It seems impossible that Gannett's actions would ever meet the legal standard for libel. So -- the charge against them is dismissed.</dialogue>
<character>WIDE</character>
<dialogue>The Lawyer smiles, relieved.</dialogue>
<character>GANNETT LAWYER</character>
<dialogue>Thank you, Your Honor!</dialogue>
<scene_description>Walter peers, comprehending... and then, a realization slowly kicks in. His face turns to horror. The Lawyer nods humbly, then spins away. He smirks at Walter.</scene_description>
<character>GANNETT LAWYER</character>
<dialogue>Good luck, Keane.</dialogue>
<scene_description>AT THE DEFENSE TABLE The ENTIRE LEGAL TEAM jumps up and begins packing their briefcases. Walter sputters in astonishment.</scene_description>
<character>WALTER</character>
<dialogue>"Good luck"? W-where the hell are you going?!</dialogue>
<character>GANNETT LAWYER</character>
<dialogue>We were charged with libel. You're charged with slander.</dialogue>
<character>(BLASE)</character>
<dialogue>Just dance your way out of it.</dialogue>
<scene_description>The Lawyers file out, leaving Walter alone at the table. He looks very small and pale. The Judge peers quizzically.</scene_description>
<character>JUDGE</character>
<dialogue>Mr. Keane, you appear to be without counsel. Would you like a postponement, in order to get your affairs in order?</dialogue>
<scene_description>Walter glances over at Margaret. She stifles a laugh. He glares daggers. Then, cocksure, foolhardy, he jumps to his feet.</scene_description>
<character>WALTER</character>
<dialogue>I've always taken care of myself, Your Honor. And I don't need a bunch of rent-a-suits to defend my good name!</dialogue>
<character>(BEAT)</character>
<dialogue>Let's PROCEED!</dialogue>
<scene_description>INSERT - WIRE SERVICE TELETYPE MACHINE Words type out: "AP - HONOLULU - KEANE TRIAL TAKES STARTLING INSERT - ANOTHER WIRE SERVICE MACHINE More words type out: "UPI - HONOLULU - HE'S A PAINTER... AND A LAWYER?"</scene_description>
</scene>
<scene>
<stage_direction>INT. DICK NOLAN'S OFFICE - DAY</stage_direction>
<scene_description>Dick frantically types at his typewriter. DICK (V.O.) I'm concerned about my old pal Walter Keane. The Hawaiian heat may have cooked his brain! The only thing he knows about courtrooms and lawyers comes from watching Perry Mason on television!</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>Walter stands down front. Like a Broadway star, center-stage.</scene_description>
<character>WALTER</character>
<dialogue>I'm the sole creator of my art. This is my total life. My contribution to the world --</dialogue>
<character>JUDGE</character>
<dialogue>Mr. KEANE! I've told you, you must ask the witness questions! If you're acting as your own attorney, you cannot make statements at this time.</dialogue>
<character>WALTER</character>
<dialogue>Oh. Right! Ah, sorry, Your Honor.</dialogue>
<character>(BEAT)</character>
<dialogue>It's hard to keep this all straight...</dialogue>
<scene_description>Walter gathers his thoughts -- then turns to the WITNESS STAND. Sitting in it... is Margaret.</scene_description>
<character>WALTER</character>
<dialogue>Mrs. Keane. It seems impossible that you'd expect anybody to swallow your fantastic story --</dialogue>
<scene_description>MR. KEANE!! Walter grimaces. He tries again, choosing his words.</scene_description>
<character>WALTER</character>
<dialogue>Mrs. Keane. You seem like a lucid woman. Reasonably intelligent... So how could you possibly have gone along with such a far-out scheme?</dialogue>
<scene_description>We slowly MOVE IN ON MARGARET. This is her moment. And then -- quietly, she speaks.</scene_description>
<character>MARGARET</character>
<dialogue>I was forced into it. You had --</dialogue>
<scene_description>She stops, bothered by this awkwardness. She looks away from Walter, to the Jury instead.</scene_description>
<character>MARGARET</character>
<dialogue>He had me dominated. He would rant and rave if I didn't do what he wanted. I was afraid. I didn't see any option, so I went along. I felt very bad...</dialogue>
<character>WALTER</character>
<parenthetical>(like a TV lawyer)</parenthetical>
<dialogue>I want to remind you you are under oath.</dialogue>
<scene_description>The Judge SLAMS his fists down, enraged. Walter jumps.</scene_description>
<character>WALTER</character>
<dialogue>S-sorry.</dialogue>
<scene_description>Margaret turns back to the Jury.</scene_description>
<character>MARGARET</character>
<dialogue>I just gave in. I allowed him to take credit for the big eyes. They reflected all my feelings... and... it was like losing a child...</dialogue>
<character>(SHE SIGHS)</character>
<dialogue>I was weak. I didn't feel I could leave and support myself and my daughter. He said nobody would buy</dialogue>
<dialogue>the paintings without his personality.</dialogue>
<character>(SOFT)</character>
<dialogue>Maybe he was right...</dialogue>
<character>(TO WALTER)</character>
<dialogue>You were very talented at being charming. You were a genius at salesmanship and promotion.</dialogue>
<character>WALTER</character>
<dialogue>Hm! It sounds like you've described two different men. One a sadistic ogre... and the other a delightful bon vivant.</dialogue>
<scene_description>Margaret stares him in the eyes.</scene_description>
<character>MARGARET</character>
<dialogue>That's you, Walter. Jekyll and Hyde.</dialogue>
<character>WALTER</character>
<dialogue>What an outrageous statement! I demand we strike that from the record!</dialogue>
<character>JUDGE</character>
<parenthetical>(he SLAMS his fist)</parenthetical>
<dialogue>Overruled!!</dialogue>
<character>MARGARET</character>
<parenthetical>(she loses her temper)</parenthetical>
<dialogue>No! You're outrageous! Constantly criticizing! Wearing me down! Saying I'd be "knocked off" if I ever told the truth!!</dialogue>
<scene_description>The Jury GASPS. Walter throws out his hands.</scene_description>
<character>WALTER</character>
<dialogue>Your HONOR! I ask for a mistrial!</dialogue>
<scene_description>Both Keanes starts QUARRELING. The Judge STANDS.</scene_description>
<character>JUDGE</character>
<dialogue>HEY! This is not a domestic squabble! Or -- maybe it is. But the rest of us have no interest in watching you two go at it.</dialogue>
<scene_description>Walter calms himself, contrite.</scene_description>
<character>WALTER</character>
<dialogue>I'm sorry for the emotions. I'm an artist.</dialogue>
<scene_description>The Judge stares harshly.</scene_description>
<character>JUDGE</character>
<dialogue>Maybe.</dialogue>
<scene_description>IN THE BACK OF THE COURTROOM Two SKETCH ARTISTS are busy, drawing the trial. One guy pokes the other one, to show off his work. His SKETCH is a typical courtroom drawing, except everyone is drawn with big ridiculous Keane eyes. The second guy GIGGLES. His buddy grins, then quickly erases the silly eyes before anyone sees it.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>Margaret is back at the litigant's table, with her lawyer. Walter stands, at his table. He shouts out.</scene_description>
<character>WALTER</character>
<dialogue>I call as my witness... Mr. Walter Stanley Keane!</dialogue>
<scene_description>A strange beat. The Jurors glance at each other. Walter reacts, like he just heard his name. He strides jauntily over to the witness stand. The BAILIFF gives the Judge a weird look. Then, he pulls out a Bible. Walter slaps down his hand.</scene_description>
<character>BAILIFF</character>
<dialogue>Do you swear to the tell the truth, the whole truth, and nothing but the truth, so help you God?</dialogue>
<scene_description>YESSS! Walter bounces out, a bit manic. He runs back to his lawyer table, then spins to address the empty witness stand.</scene_description>
<character>WALTER</character>
<dialogue>Mr. Keane. There has been a lot of innuendo and contradictory testimony about the genesis of the "big-eyed waifs." Would you mind clarifying to this court, once and for all, who spawned these paintings?</dialogue>
<scene_description>Walter sprints back into the witness stand. He sits, then reacts coyly, as if he's surprised.</scene_description>
<character>WALTER</character>
<dialogue>Why -- I created the children.</dialogue>
<scene_description>Walter starts to stand again -- but the Judge SLAMS his bench.</scene_description>
<character>JUDGE</character>
<dialogue>The choreography is not necessary. Just sit down and testify.</dialogue>
<scene_description>Oh. Walter sits, then gathers his thoughts... We slowly PUSH IN. He smiles, wistfully...</scene_description>
<character>WALTER</character>
<dialogue>I've had a wonderful life. I've been an artist, a world traveler, a friend of untold celebrities... (he gets misty-eyed) But when I look back at it all, when I peer into my heart and define what mattered...</dialogue>
<character>WALTER</character>
<dialogue>it is that I was dedicated to the hungry children of the world.</dialogue>
<character>(GENUINE)</character>
<dialogue>It all began in Berlin. After World War II...</dialogue>
<character>DISSOLVE TO:</character>
<dialogue>LATER</dialogue>
<character>WALTER</character>
<dialogue>...the orphans were clutching the barbed wire. Their bodies lacerated, their fingers scrawny, their eyes big and helpless. Imploring me, begging me... "Do something!"</dialogue>
<character>(HUSHED)</character>
<dialogue>"Do something."</dialogue>
<character>DISSOLVE TO:</character>
<dialogue>LATER</dialogue>
<character>WALTER</character>
<dialogue>...and then Miss Joan Crawford walked up to me...</dialogue>
<character>LATER</character>
<dialogue>WALTER</dialogue>
<scene_description>...Kim Novak...</scene_description>
<character>LATER</character>
<dialogue>WALTER</dialogue>
<scene_description>...Liberace...</scene_description>
<character>LATER</character>
<dialogue>WALTER</dialogue>
<scene_description>...Wayne Newton...</scene_description>
<character>LATER</character>
<dialogue>WALTER</dialogue>
<scene_description>Miss Natalie Wood walked up and said, "That is the greatest single painting I have ever seen in my entire life." The Judge is bored out of his mind.</scene_description>
<character>LATER</character>
<dialogue>WALTER</dialogue>
<scene_description>I was born in a small town. My father made upholstery for the automobile</scene_description>
<character>JUDGE</character>
<dialogue>You're done.</dialogue>
<scene_description>Walter stops, surprised.</scene_description>
<character>WALTER</character>
<dialogue>B-but, I'm not finished --</dialogue>
<character>JUDGE</character>
<dialogue>Actually, you are! (he blows his stack) I cannot stomach one more wild tangent or shaggy dog tale. You're not testifying -- you're filibustering! The Federal Courts are overburdened enough, without your docket-clogging nonsense.</dialogue>
<character>(BEAT)</character>
<dialogue>We can stay here until we grow old and die... but it's obvious that this case boils down to your word versus Mrs. Keane's word.</dialogue>
<character>WALTER</character>
<parenthetical>(HOPEFUL)</parenthetical>
<dialogue>So... mistrial?</dialogue>
<character>JUDGE</character>
<dialogue>NO! It's not a mistrial!! In my opinion, there's only one way to clear</dialogue>
<dialogue>up this thicket. You are both going to paint.</dialogue>
<scene_description>Walter gasps, stunned. All color drains from his face. ANGLE - MARGARET Her face lights up. She slowly breaks into a satisfied smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>The doors SLAM open. The Bailiff leads in a crew of COURT DEPUTIES, all carrying ART SUPPLIES: Easels, brushes, paint...</scene_description>
<character>BAILIFF</character>
<dialogue>Awright, bring those easels down. Careful, don't bump anything... watch it with those paint cans, I got some newspaper on the floor down front...</dialogue>
<scene_description>The Jury is fascinated. Margaret watches, quite eager. In the gallery, Jane grins. But Walter is horrified. Trying not to tremble.</scene_description>
<character>DOWN FRONT</character>
<dialogue>The Bailiff directs the deputies, setting up TWO EASELS, back to back. On each easel is placed a small square canvas. The Judge addresses the room.</dialogue>
<character>JUDGE</character>
<dialogue>Now, I'm not looking for a masterpiece. I don't know much about these things -- I'm a jurist, not an art critic -- but, is one hour enough?</dialogue>
<scene_description>Margaret nods: Sure. Shaking, Walter barely moves his head.</scene_description>
<character>JUDGE</character>
<dialogue>Okay then. You've both been provided with identical supplies... so -- without any further business... Mrs. Keane, Mr. Keane, the court is yours.</dialogue>
<character>WIDE</character>
<dialogue>Margaret glances at Walter. What will he do? Walter's face is grimly blank.</dialogue>
<dialogue>Margaret proceeds. Slowly, she pushes her chair from the table and rises. Walter doesn't move.</dialogue>
<dialogue>Margaret walks over to the closest EASEL, then sits. She ties on a smock over her checkered dress.</dialogue>
<character>THE JURORS</character>
<dialogue>crane their necks, intently curious.</dialogue>
<character>MARGARET</character>
<dialogue>takes a pencil. She peeks over at Walter -- who's still glued to his seat. His face tight, his expression queasy. Staring off to some faraway place.</dialogue>
<dialogue>Margaret looks up at the CLOCK. 3:20. Okay then. Totally calm, in a motion she's done so many times, she focuses on the canvas and starts outlining a Waif. Everybody watches. Effortlessly, she pencils the EYES. They are enormous. The largest orbs she has ever done.</dialogue>
<character>WALTER</character>
<dialogue>looks ill. Wracked with uncertainty. The Judge turns to him.</dialogue>
<character>JUDGE</character>
<dialogue>Mr. Keane?</dialogue>
<character>WALTER</character>
<parenthetical>(FAINT)</parenthetical>
<dialogue>I'm... setting the mood.</dialogue>
<character>(WHISPERING)</character>
<dialogue>Getting the... muse to strike...</dialogue>
<character>JUDGE</character>
<parenthetical>(BEAT)</parenthetical>
<dialogue>Well, your muse has 58 minutes.</dialogue>
<character>MARGARET</character>
<dialogue>fills in more detail. Ears... nose... then, little fingers clutching a fence. The child is peeking over it, staring right at us...</dialogue>
<character>WALTER</character>
<dialogue>is melting down. In total crisis...</dialogue>
<character>THE CLOCK'S</character>
<dialogue>second hand sweeps around. It's 3:34...</dialogue>
<character>THE JURORS</character>
<dialogue>look from Margaret to Walter. Why isn't he moving??</dialogue>
<character>MARGARET</character>
<dialogue>finishes penciling. She leans back, satisfied with the</dialogue>
<dialogue>composition. Then, she reaches for... the PAINT. She unscrews a tube and squirts it on the palette. She rests it on her lap and starts mixing a flesh tone...</dialogue>
<character>THE JUDGE</character>
<dialogue>gapes at Walter, befuddled.</dialogue>
<character>WALTER</character>
<dialogue>feels all eyes on him. He has to do something. Hesitantly, visibly shaking, he rises from the table. Margaret notices this.</dialogue>
<scene_description>Walter braces himself, trying to look confident, then takes a step. Suddenly -- he SQUEALS. OW! Walter contorts his face in AGONY. He grabs his shoulder.</scene_description>
<character>JUDGE</character>
<dialogue>Mr. Keane! Are you all right?</dialogue>
<character>WALTER</character>
<dialogue>No -- it's --</dialogue>
<character>(GRIMACING)</character>
<dialogue>Ah shoot! My old shoulder injury just flared up. I've got a bad muscle -- I've been taking medication for the inflammation...</dialogue>
<scene_description>Walter shrugs pathetically --</scene_description>
<character>WALTER</character>
<dialogue>I -- I don't think I'll be able to paint today.</dialogue>
<character>THE JUDGE</character>
<dialogue>is astonished.</dialogue>
<character>WIDE</character>
<dialogue>The courtroom reacts.</dialogue>
<character>MARGARET</character>
<dialogue>peers at Walter, knowingly. She's not surprised. This was his only way out.</dialogue>
<dialogue>A look between them -- and then she cocks a half-smile and turns back to the canvas. She squirts out some white oil paint, then begins painting the eyes.</dialogue>
<character>WALTER</character>
<dialogue>sinks down in his chair, beaten. All life gone. He stares at the emerging canvas, eyes wide, and we PUSH INTO WALTER'S FACE. He is witnessing the end of his empire... the destruction of everything that makes him who he is.</dialogue>
<dialogue>We push in TIGHTER... TIGHTER... until the screen fills with his two eyes.</dialogue>
<scene_description>Big. Sad. And filling with tears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FEDERAL COURTHOUSE - DAY</stage_direction>
<scene_description>The doors open, and Margaret comes tumbling out, victorious. She has WON! She's surrounded by Jane, her friends, and a MOB OF REPORTERS. They all SHOUT: "Mrs. Keane! Margaret! Congratulations!!"</scene_description>
<character>MARGARET</character>
<dialogue>Thank you! Thank you so much.</dialogue>
<character>REPORTER #2</character>
<dialogue>What are you going to call the painting?</dialogue>
<scene_description>She smiles, clutching the finished Waif.</scene_description>
<character>MARGARET</character>
<dialogue>"Exhibit 224."</dialogue>
<scene_description>They all ROAR with laughter. A Reporter does a stand-up:</scene_description>
<character>REPORTER #1</character>
<dialogue>The jury found in favor of Margaret Keane on all points. She won on charges of defamation, emotional distress, damaged reputation --</dialogue>
<scene_description>IN THE BACKGROUND Walter drifts out, disheveled and lost. He stares hazily... angrily at the crowd.</scene_description>
<character>WALTER</character>
<dialogue>What a group of idiots... a quagmire of incompetence...</dialogue>
<character>(RAMBLING)</character>
<dialogue>This doesn't change a thing!</dialogue>
<scene_description>We slowly PULL AWAY, leaving him tiny in the shot. Forgotten. BACK AT MARGARET She hugs Jane. The Reporter jumps in.</scene_description>
<character>REPORTER #2</character>
<dialogue>Margaret! Do you feel vindicated by the high award?</dialogue>
<character>MARGARET</character>
<dialogue>Oh... it was never about the money. And honestly -- I doubt Walter will even pay.</dialogue>
<scene_description>The Reporter chuckles. Margaret turns serious.</scene_description>
<character>MARGARET</character>
<dialogue>I just wanted credit for what I had done. The justice is... I got my art back.</dialogue>
<character>(SOFT)</character>
<dialogue>My prayers have been answered.</dialogue>
<scene_description>Margaret takes Jane's hand and starts to walk away. Among the eager fans, a PORTLY LADY steps out, holding a BOOK. She smiles nervously.</scene_description>
<character>PORTLY LADY</character>
<dialogue>Margaret! Could I possibly have your autograph?</dialogue>
<scene_description>Margaret looks down -- and realizes the book is Walter's volume of "TOMORROW'S MASTERS" Margaret stares at it in wonder, then quickly signs the cover. CLOSEUP - MARGARET We hold. She slowly smiles in pride.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARGARET KEANE GALLERY - DAY</stage_direction>
<scene_description>A brand-new gallery of Margaret's art. The walls are covered with NEWLY-PAINTED Waifs and MDH's. We GLIDE through the gallery... down the corridors of children and women... These paintings of big-eyed children are different. They're in magnificent colorful gardens, surrounded by joyful splashes of red, orange, green...</scene_description>
<character>CLOSING CARDS:</character>
<dialogue>"Walter never accepted defeat, insisting he was the true artist for the rest of his life. He died in 2000, bitter and penniless. He never produced another painting." "Margaret found personal happiness and remarried. After many years in Hawaii, she moved back to San Francisco and opened a new gallery. She still paints everyday."</dialogue>
<dialogue>We move CLOSER to one child, into the face, until the eyes fill the frame. And then... finally, we tilt down. Revealing that the child is smiling.</dialogue>
<scene_description>FADE OUT.</scene_description>
<character>THE END</character>
</scene>
</script> | In 1958, Margaret Ulbrich leaves her then-husband and takes her young daughter Jane to North Beach, San Francisco, where she gets a job painting illustrations at a furniture factory. While doing portraits at an outdoor art show, she meets Walter Keane, who sells paintings of Parisian street scenes but makes his money in real estate. They soon become close friends. Margaret is distraught when her husband asks for custody of Jane as part of the divorce settlement. Walter proposes, and they marry and honeymoon in Hawaii. She retains custody of Jane. Unable to get his or Margaret's paintings into a fine art gallery, Walter convinces Enrico Banducci, the owner of a popular jazz club, to rent him some wall space to exhibit their work. He is frustrated when the designated space is in the back by the bathrooms. He fights with Banducci and puts the man's head through one of Margaret's canvases. This becomes a front-page story in a local newspaper, which packs the club with people curious to see the art that made grown men fight. Dick Nolan, a celebrity gossip columnist, wants to know more about the artwork, but proceeds to ask about Margaret's paintings of young girls with big eyes. Walter goes along with the misunderstanding, failing to clarify that they are Margaret's creation. Afterward, he shows Margaret how much money he made selling her work and suggests they team up, with her staying at home painting and him taking credit and handling publicity and sales. Walter opens his own gallery selling Margaret's art, and eventually hits on the idea of making cheap reproductions of Margaret's works, which sell in huge numbers. The family moves into a mansion. Walter spends his time hobnobbing with celebrities while Margaret is stuck at home, feeling increasingly isolated. He even makes Margaret lie to Jane about who is doing the paintings. One day, she finds a crate full of paintings of Parisian street scenes, all signed "S. CENIC". She realizes that she has never actually seen Walter paint, and discovers that he has been painting over the name of the original artist and claiming these paintings as his own. When confronted, he says he always wanted to be an artist but never had the talent. Disillusioned, Margaret indicates that she is losing her interest in continuing the ruse, so Walter threatens to have her killed. Later, he tells her of his plan to get a painting displayed at the upcoming New York World's Fair and demands Margaret paint her "masterpiece". Jane sneaks into the studio when Margaret is working on the huge painting, Tomorrow Forever, and says she already knew Margaret was really the artist. At a party, Walter becomes angry after reading John Canaday's scathing review of Tomorrow Forever, which leads the Fair not to exhibit the painting, and confronts the critic. At home, he drunkenly blames Margaret for the failure of the painting and becomes violent. Along with her daughter, she runs and locks them both in the studio, in an attempt to stay away from harm. He then starts throwing lit matches through the studio's keyhole, at her and Jane. As he continues to throw lit matches and nearly sets the house on fire, both Margaret and Jane manage to escape, take the car, and drive away from home. One year later, Margaret and Jane have settled in Honolulu, Hawaii. Walter says he will only grant Margaret a divorce if she signs over the rights to every painting and produces 100 more. Initially, Margaret agrees, but her growing interest in the Jehovah's Witnesses convinces her of the importance of honesty. She finally signs a batch of paintings with her own name. Later, on a Hawaiian radio show, she reveals that she is the real artist behind the "big eyes" paintings, which makes national news. Nolan publishes Walter's claims that Margaret is delusional. On Jane's suggestion, Margaret sues both Walter and Nolan's newspaper for slander and libel. At the trial, the judge immediately dismisses the libel suit against the newspaper, and Walter is left to defend himself against slander. He botches his defence, even mimicking in court what he has gathered from watching Perry Mason episodes on TV. When he proceeds to cross-examine himself as a witness, the judge becomes fed up and directs both Margaret and Walter to create a painting in court to prove who the real artist is. Whereas Margaret paints steadily, Walter stalls before claiming his arm hurts too much to hold a paintbrush. Margaret wins the lawsuit and a fan asks her to sign a copy of Walter's coffee table book. The film ends with text stating that Walter continued to insist he was the true artist until his death, though he never painted again, and that he died in poverty. Margaret eventually moved back to San Francisco, where she opened a new gallery, and still paints every day. |
An American Werewolf in Paris_1997 | tt0118604 | <script>
<scene>
<stage_direction>BLACKNESS.</stage_direction>
<scene_description>Pink Floyd 's `` Dark Side of the Moon -LRB- Brain Damage -RRB- '' plays as WHITE TITLES appear over black . As the song crescendos at the first chorus , SUNLIGHT flares over the lunar horizon and a crescent sliver of THE MOON is illuminated - huge , filling the screen from top to bottom . We 're in space , circling around from the dark side until a HUGE FULL MOON fills the screen with whiteness - TITLES continue as we pull back from the moon , into the earth 's atmosphere , through CLOUDS , until we reveal PARIS AT NIGHT We come to rest on an ancient , vaguely wolf - like GARGOYLE high atop a gothic cathedral in the Latin Quarter - a maze of narrow , twisting streets - desolate at this late hour . Clouds move over the moon . End TITLES . The song fades . A THUNDER CRACK . Rain drops spatter on the church 's metal roof . Water trickles out of the gargoyle 's mouth . We follow the STREAM OF WATER down to street level where it falls onto A YOUNG COUPLE wobbling down the street , sharing a bottle of wine . They open an umbrella and stand underneath it , smooching and giggling . We follow the STREAM OF WATER from their umbrella to the street , where it swirls into drain holes in the MANHOLE COVER that they 're standing on . Suddenly . CLANG ! The manhole cover pushes up under their feet . He flinches - bites down on her lip , drawing blood . She yelps . CLANG ! The cover thrusts up again . They lose their balance , fall to the ground - the wine bottle smashes . The manhole cover flips off it 's hole . Horrified , they scramble from it . Then , out of it comes . TERRENCE MCDERMOTT a fiftyish college professor in a turtleneck and old tweed jacket , clutching a well worn leather shoulder bag and gasping for breath . He 's balding , with longish gray hair and intense eyes . He climbs out of the hole , replaces the cover and dashes off desperately through the rain , looking back over his shoulder as he disappears into a narrow alley . The couple watch him go , befuddled . She touches her hand to her lip and looks at the blood . She slaps her boyfriend upside the head .</scene_description>
<character>GIRL</character>
<dialogue>Idiot!</dialogue>
<scene_description>The guy shrugs . Then . BAM ! The manhole cover explodes off the hole , sails twenty feet into the air and clatters to the ground some distance away . We cut to the couple 's horrified reactions as they watch something emerge from the hole . ON A NEARBY STREET Terrence , running , hears the couple 's horrible SCREAMS echo through the twisting streets . He comes to A STONE STAIRWAY and hurries down it , four steps at a time . At the bottom he turns right and arrives at a star shaped five way intersection . A low , muffled growl stops him in his tracks . He stands in the rain , panting , looking around at the dark maze of streets , trying to pinpoint the source of the sound .</scene_description>
<character>TERRENCE</character>
<parenthetical>( American accent - to himself . )</parenthetical>
<dialogue>Where are you, you sick bastard.</dialogue>
<scene_description>A TAXI appears a block away . He waves his arms and calls out in a very good French accent .</scene_description>
<character>TERRENCE</character>
<dialogue>Taxi! Ici, s ` il vous plait!</dialogue>
<scene_description>It turns and drives towards him . He starts off towards it . He glances over his shoulder - sees nothing . He 's twenty feet from the taxi . He smiles . Then - He 's jerked violently downward into A STORM DRAIN . He screams . Some monstrous force pulls him down , his bones crushing as his body is forced through the too - small drain . The CABBY gets out and runs up to the drain , where Terrence 's thrashing upper body is quickly disappearing into the hole . Horrible growls and sounds of ripping flesh emanate from the sewer . BLOOD spurts through the grate . Terrence reaches up to the cabby , SCREAMING for help .</scene_description>
<character>TERRENCE</character>
<dialogue>My God! Help! Au securs!</dialogue>
<scene_description>The terror stricken cabby shakes his head and starts backing up . Terrence lunges forth and grabs the cabby 's leg . The cabby screams and tries to get loose . He falls to the ground and is dragged towards the hole . He grabs the bumper of his cab and strains to pull himself away , kicking at Terrence 's hand with his free foot . LIGHTS come on in an adjacent building . A MAN in pajamas runs out into the rain . The cabby loses his grip on the bumper and he and Terrence are jerked closer to the sewer but the man grabs the cabby 's hand and pulls . Some OTHER RESIDENTS gather on the sidewalks . A police car SIREN approaches . Something gives and the man in pajamas falls backwards into a puddle . The small crowd looks down and sees TERRENCE , pulled free from the hole , moaning semi - consciously . We move down his body , past the bleeding stumps where his legs used to be , and follow the BLOOD as it swirls into EDDIES of rain water and flows into the BLACKNESS of the storm drain . A FIERCE BULL charges through the matador 's red muletta , snorting blood . The CROWD goes wild . We 're in a bull fight arena , under the blazing Spanish sun . The camera dollies past cheering SPANIARDS and finds a small group of AMERICAN STUDENTS , early twenties .</scene_description>
<character>GORD</character>
<dialogue>Man. I ca n't believe I paid good money to watch a guy in tight pants kill a cow.</dialogue>
<character>SHERRY</character>
<dialogue>Disgusting. This makes American Gladiators look highbrow.</dialogue>
<scene_description>The camera settles on ANDY MCDERMOTT , 22 , as he joins the crowd in a rousing cheer , waving a bottle of wine with native gusto . He 's good looking in a scrappy sort of way , with shoulder length brown hair , grungy plaid shirt , khakis , and glasses .</scene_description>
<character>ANDY</character>
<dialogue>Whoo! Ole!</dialogue>
<parenthetical>( to his friends . )</parenthetical>
<dialogue>Man, you guys are losers! This is poetry! Death in the afternoon, a tragic dance of man and beast, just like Hemingway said. God, Spain is it! These people know how to live.</dialogue>
<character>SHERRY</character>
<dialogue>I still say we should've gone to Paris.</dialogue>
<character>ANDY</character>
<dialogue>Paris!? Ug! If I wanted to be in an overpriced, overrated city full of obnoxious assholes I would've stayed in New York! Please!</dialogue>
<scene_description>Another friend , MIKE , joins them .</scene_description>
<character>GORD</character>
<dialogue>Where've you been? Beatin' off in your sombrero again?</dialogue>
<scene_description>Mike swats Steve in the head playfully and grabs the wine from Andy . He hands him a crumpled telegram .</scene_description>
<character>MIKE</character>
<dialogue>McDermott, your dad sent this to the pensione. Supposed to be urgent.</dialogue>
<character>ANDY</character>
<parenthetical>( concerned . )</parenthetical>
<dialogue>What's it about?</dialogue>
<character>MIKE</character>
<parenthetical>( defensive . )</parenthetical>
<dialogue>I did n't read it.</dialogue>
<scene_description>Andy takes the telegram . Mike leans in close to Sherrie and whispers the gossip .</scene_description>
<character>MIKE</character>
<dialogue>His uncle is in the hospital.</dialogue>
<scene_description>Andy reads the message . His face falls . For a second , he 's silent . His friends see something 's wrong .</scene_description>
<character>GORD</character>
<dialogue>Hey, man. You okay? What is it?</dialogue>
<scene_description>Andy grabs the wine away from Mike and takes a long swig . IN THE BULLRING - the matador plunges his sword between the bull 's shoulder blades and makes the kill .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARIS HOSPITAL EMERGENCY WARD - EARLY EVENING</stage_direction>
<scene_description>BLOOD splatters on white paper . Pull back to see a CHEF with a cut finger standing at the admitting counter , dripping blood on a form . The uptight Parisian NURSE scolds him and pulls out a new form . ANDY , lugging his back pack , trudges through the sliding glass doors marked `` St. Severin Hospital '' . Bleary eyed , hung over , burdened by a heavy backpack and carrying the crumpled telegram , he approaches ANOTHER NURSE at the counter .</scene_description>
<character>ANDY</character>
<dialogue>Um, excuse me. hello.</dialogue>
<scene_description>A STOUT WOMAN with a POODLE charges in front of Andy and launches into a loud French argument with the nurse over the hospital 's `` human 's only '' admission policy .</scene_description>
<character>WOMAN</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Pitou needs a real doctor! He's melancholy!</dialogue>
<character>ANDY</character>
<dialogue>Hey, wait a minute.</dialogue>
<scene_description>Andy tries to push his way back in , but the shrill little dog yaps at him . Andy grabs his aching `` hangover head '' in agony . The bleeding chef walks away , dripping , leaving the other nurse free . Andy approaches her . She has her head down in some paperwork .</scene_description>
<character>ANDY</character>
<dialogue>Pardon. Excusez moi. ` Allo.</dialogue>
<scene_description>Without looking up , she holds up a `` please wait '' finger . Andy sighs . The poodle yaps at him again . He winces and tries to get the nurse 's attention .</scene_description>
<character>ANDY</character>
<parenthetical>( to Nurse . )</parenthetical>
<dialogue>Umm.</dialogue>
<scene_description>She raises her finger sharply and glares at him . She goes back to her paperwork . Andy starts chatting politely with her , pretending she 's responding .</scene_description>
<character>ANDY</character>
<dialogue>So, you ever been to Spain? You'd love it. It's friendly, sunny, cheap. And you'd be the only raving bitch there instead of just one in the crowd up here.</dialogue>
<scene_description>MARCEL BOULARD , a short middle aged cop in a rumpled coat approaches . He taps Andy on the shoulder .</scene_description>
<character>MARCEL</character>
<dialogue>Andrew Mc - dair - mo?</dialogue>
<character>ANDY</character>
<dialogue>That's McDermott, but yeah.</dialogue>
<scene_description>Marcel flashes his badge .</scene_description>
<character>MARCEL</character>
<dialogue>Detective Boulard. We've been expecting you. This is Inspector Leduc.</dialogue>
<scene_description>LEDUC , in his fifties , taller , heavy set , droopy mustache , nods gruffly and starts towards the elevator , motioning for them to follow .</scene_description>
<character>MARCEL</character>
<dialogue>He's in charge but, uh, between you and me, my English is better.</dialogue>
<parenthetical>( they hurry to catch up with LeDuc . )</parenthetical>
<dialogue>This way. So you're from New York eh? I love those Hill Street Blues.</dialogue>
<character>ANDY</character>
<dialogue>Right. Listen, my uncle, it's not serious is it? Did he eat some bad snails? Slip on the bidet? What?</dialogue>
<scene_description>They step into the elevator as LeDuc holds the door open . Marcel and LeDuc trade uneasy glances . LeDuc sighs .</scene_description>
<character>LEDUC</character>
<dialogue>Merde.</dialogue>
<character>MARCEL</character>
<dialogue>He says -</dialogue>
<character>ANDY</character>
<dialogue>Yeah okay. My French is n't that bad.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>TERRENCE lies comatose under a clear plastic oxygen tent . An ORDERLY changes the dressing on his bloody stumps . A NURSE fiddles with the vast array of bleeping , burbling , sucking , life support machinery . Andy , dumb struck , watches from a few paces away . Marcel , pad in hand , asks him questions . LeDuc stays in the background , listening and studying Andy intently .</scene_description>
<character>ANDY</character>
<dialogue>Jesus.</dialogue>
<character>MARCEL</character>
<dialogue>How well did, er, do you know him?</dialogue>
<character>ANDY</character>
<dialogue>Not too well. He taught at the Sorbonne, right? Dad always calls him his `` hippie brother''. Did some work with Timothy Leary I think, and - Is he. is he going to die?</dialogue>
<character>MARCEL</character>
<dialogue>No. The doctors say the machines should keep him going a long time. But basically he is, how you say, a legume.</dialogue>
<character>ANDY</character>
<dialogue>Legume? You mean, a vegetable?</dialogue>
<character>MARCEL</character>
<dialogue>Vegetable, right. My mistake. It seems he was attacked by a maniac, maybe two or three maniacs, just after midnight. yesterday. They fled into the tunnels beneath Paris, that's all we know.</dialogue>
<character>ANDY</character>
<dialogue>What do you mean, maniacs?</dialogue>
<character>MARCEL</character>
<dialogue>Well, here's what I think happened. A chemistry professor goes to a bad part of town late at night. Why? Perhaps he's making a few francs on the side. The psychedelic drug market is big these days. He gets mixed up with a bad crowd and, like they say, if you lie with dogs, you get fleas.</dialogue>
<character>ANDY</character>
<dialogue>Yeah, well, these fleas must have teeth like fuckin' chain saws.</dialogue>
<scene_description>BEEP BEEP ! Something 's wrong with uncle Terrence 's machinery . The IV bottle is sputtering and bubbling , the EKG monitor is flashing . The orderlies snap into action and pull the curtain shut , waving `` no problem '' to Andy and Marcel . Marcel leads Andy away , trying to calm him down .</scene_description>
<character>MARCEL</character>
<dialogue>Maybe we should go now. You must be very tired. We'll call if any new -</dialogue>
<character>ANDY</character>
<dialogue>I ca n't believe this. Why do n't you go down in the tunnels and find the goddamn. animals that attacked my uncle?</dialogue>
<character>MARCEL</character>
<dialogue>Andy, it's not so easy. There are hundreds of kilometers of tunnels under Paris. It's a whole other city, crawling with drug addicts, lunatics, skinheads. It's no man's land.</dialogue>
<scene_description>Andy 's about to protest when LeDuc steps in and hands him uncle Terrence 's leather bag .</scene_description>
<character>LEDUC</character>
<dialogue>Here.</dialogue>
<character>MARCEL</character>
<dialogue>Your uncle was carrying this. The keys to his apartment are in there. I talked to his assistant, Madame Flocquet. You'll be staying there a while?</dialogue>
<character>ANDY</character>
<dialogue>Yeah. I guess so.</dialogue>
<parenthetical>( they walk him to the elevator . )</parenthetical>
<dialogue>Did he say anything? Before the coma?</dialogue>
<character>MARCEL</character>
<dialogue>Just the name of this hospital, St. Severin. He repeated it a few times then he lost consciousness.</dialogue>
<character>ANDY</character>
<dialogue>Why would he pick this one?</dialogue>
<character>MARCEL</character>
<dialogue>I do n't know. There were others much closer. He was religious?</dialogue>
<character>ANDY</character>
<dialogue>Not that I know.</dialogue>
<character>MARCEL</character>
<dialogue>Well, when you're about to pop off, what have you got to lose? Thanks for your help.</dialogue>
<scene_description>Andy 's dumfounded at Marcel 's lack of tact . The elevator doors start to close . LeDuc nods `` good - bye '' . Marcel leans in and sneaks in one last comment .</scene_description>
<character>MARCEL</character>
<dialogue>And remember Andy, let's be careful out there. Heh - heh. Ouch!</dialogue>
<scene_description>The elevator doors knock him on the head as they close . Andy shakes his head .</scene_description>
<character>ANDY</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Inspector Clouseau, on the case. Great.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TERRENCE'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Andy opens the gate of this beautiful 19th century building and walks through THE COURTYARD to the main entrance . A POODLE yaps at him . The dog is in the open doorway of the Concierge 's apartment , which opens into the courtyard . The nosy concierge , MADAME CHRETIEN calls the dog , LULU , back in and shuts the door . Andy enters the dark LOBBY , finds the timed auto shut - off light switch and turns it on . He boards the old fashioned wire cage elevator and presses the button for # 4 . McDermott . The elevator ascends painstakingly slowly . Andy resigns himself to waiting , thumbs through his uncle 's date book . Andy turns to the day Uncle Terrence was attacked . A circled , cryptic entry at the bottom of the page reads `` Meet Claude , Medusa - 11:00 '' . Andy wrinkles his brow . At this second , the light goes out . Andy ascends the rest of the way in darkness . The doors open on the fourth floor . He gets out and finds his way to the apartment . He tries a key in the lock . It wo n't turn . He jiggles it . No luck . He goes through this with two more keys , grumbling under his breath . Finally he finds the right one . He pushes the door open and gasps . He 's face to face with a scary TRIBAL MASK hanging in the entrance way . It startles him for a second .</scene_description>
<character>ANDY</character>
<dialogue>This must be the place.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APARTMENT</stage_direction>
<scene_description>Andy walks in and sets down his bags . A gun COCKS . A young woman 's voice screams at him in French .</scene_description>
<character>YOUNG WOMAN</character>
<parenthetical>( in French . )</parenthetical>
<dialogue>Who are you!? What do you want!?</dialogue>
<scene_description>He turns to see SERAFINE , a beautiful young woman , around 22 , casually dressed and aiming a pistol at his head . He drops the shoulder bag and reaches for the ceiling .</scene_description>
<character>ANDY</character>
<dialogue>Do n't shoot! Jesus. uh. Je m ` appelle Andy. McDermott. Je suis le. um, shit.</dialogue>
<scene_description>It dawns on her . She drops the gun to her side , embarrassed .</scene_description>
<character>SERAFINE</character>
<parenthetical>( in English . )</parenthetical>
<dialogue>Oh fuck, you are his nephew.</dialogue>
<character>ANDY</character>
<dialogue>Yeah, that's the word. And you are?</dialogue>
<character>SERAFINE</character>
<dialogue>Serafine Flocquet. I work for your uncle.</dialogue>
<character>ANDY</character>
<dialogue>You? You're Madame Flocquet? I pictured a fat lady with an apron, not - I do n't know - La Femme Nikita.</dialogue>
<scene_description>Serafine puts the gun away in a drawer .</scene_description>
<character>SERAFINE</character>
<dialogue>It sounded like someone picking the lock. After what happened, I guess I am a little nervous.</dialogue>
<scene_description>She lights a cigarette .</scene_description>
<character>ANDY</character>
<dialogue>Sure. I can follow that.</dialogue>
<character>SERAFINE</character>
<dialogue>It's a fucking nightmare, is n't it?</dialogue>
<character>ANDY</character>
<dialogue>Yeah. True. The cops were n't much help either. Their theory is he was moonlighting as a drug dealer or something. Make sense to you?</dialogue>
<character>SERAFINE</character>
<dialogue>Police. They have their head in their asshole and they still ca n't find shit.</dialogue>
<character>ANDY</character>
<dialogue>Well put. So, what exactly has uncle Terrence been up to lately?</dialogue>
<scene_description>As he speaks , he scans the apartment . It 's cluttered with an overwhelming assortment of anthropological oddities from around the globe , medieval illustrations , molecular models , and an artsy periodic table that 's been used as a dart board .</scene_description>
<character>SERAFINE</character>
<dialogue>He's doing a book with Professor Roussel, about medieval chemistry. I was just transcribing his notes onto the computer and - oh shit!</dialogue>
<scene_description>She races out of the room . Andy follows after her .</scene_description>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S STUDY</stage_direction>
<scene_description>She runs in and finds the computer locked up . She smacks it a few times , clicks the mouse , taps the keyboard . No response .</scene_description>
<character>SERAFINE</character>
<dialogue>Salots! Shitfucker!</dialogue>
<character>ANDY</character>
<parenthetical>( reacts to her loose grasp of American slang . )</parenthetical>
<dialogue>What?</dialogue>
<character>SERAFINE</character>
<dialogue>If you leave it for more than a few minutes it locks up. Now I must reboot and type a dozen fucking passwords. He was security crazy.</dialogue>
<scene_description>She flicks a switch on the back of the computer , rebooting it . Andy pauses to look at some nearby photos of his uncle .</scene_description>
<character>ANDY</character>
<dialogue>I still ca n't get over it. The cops said it was a `` maniac'', but he looked like, I do n't know, like he'd gone through a combine harvester or. something.</dialogue>
<scene_description>Serafine gets kind of emotional at the thought .</scene_description>
<character>SERAFINE</character>
<dialogue>They would n't let me see him. Family only. I told them, Terry was almost like a father to me, you know?</dialogue>
<scene_description>Andy reacts to her use of the informal `` Terry '' .</scene_description>
<character>ANDY</character>
<dialogue>Depends. Was `` Terry'' a father like Ward Cleaver or a father like Woody Allen?</dialogue>
<scene_description>A beat . She grasps his meaning . She 's offended . She starts typing on the computer , giving him the cold shoulder .</scene_description>
<character>SERAFINE</character>
<dialogue>You must not have known him very well. He's not like that.</dialogue>
<character>ANDY</character>
<dialogue>Hey, Sorry if I was out of line.</dialogue>
<character>SERAFINE</character>
<dialogue>You were. I have work to do. The publisher wants the transcripts by Monday. Go. Make yourself at home.</dialogue>
<character>ANDY</character>
<dialogue>Fine. My mistake. You know, I'm gon na be a writer myself some day.</dialogue>
<character>SERAFINE</character>
<dialogue>Uh - huh. Good for you.</dialogue>
<scene_description>Andy sees he 's sunk . He heads for the door , but something on the wall catches his eye . A small flyer on the bulletin board with a big drawing of Medusa . He takes it down .</scene_description>
<character>ANDY</character>
<dialogue>Medusa. What's this? some kind of club?</dialogue>
<character>SERAFINE</character>
<dialogue>It's nothing. A stupid party. Not really a night club, it's, uh.</dialogue>
<character>ANDY</character>
<dialogue>Like an underground club?</dialogue>
<character>SERAFINE</character>
<dialogue>Yes. It's a bad place. Weird people. Strange things go on.</dialogue>
<character>ANDY</character>
<dialogue>And who's Claude?</dialogue>
<scene_description>Serafine looks at him hard , questioning .</scene_description>
<character>ANDY</character>
<dialogue>I looked through my uncle's date book. Writer's curiosity.</dialogue>
<scene_description>She points to a paperback on the desk . It 's French , with a psychedelic cover depicting a man , half King Louis XIV , half witch doctor . The title , -LRB- in French -RRB- `` History Inside Out - Psychic Illumination Through the Ages '' by Dr. Claude Roussel . A picture on the back shows an academic looking Claude in a tweed jacket , with gray hair .</scene_description>
<character>SERAFINE</character>
<dialogue>Professor Claude Rousel. The one your uncle was working with. He teaches cultural history.</dialogue>
<character>ANDY</character>
<dialogue>In an underground club? I'd like to see that.</dialogue>
<scene_description>He shoves the book in his back pocket . Serafine 's emphatic .</scene_description>
<character>SERAFINE</character>
<dialogue>I'm serious. There's nothing for you down there. It's dangerous.</dialogue>
<character>ANDY</character>
<dialogue>Come on. I'm from New York - the `` shoot me'' state. Do n't wait up.</dialogue>
<scene_description>He starts for the door , She spins him around by the sleeve .</scene_description>
<character>SERAFINE</character>
<parenthetical>( suddenly quite angry . )</parenthetical>
<dialogue>What good can you do? Why are you being so fucking stupid?</dialogue>
<character>ANDY</character>
<parenthetical>( getting fired up . )</parenthetical>
<dialogue>Maybe I did n't know him like you did. But he's my uncle. And I owe it to him to get some answers. It's a quest like, uh, Hemingway, the Old Man and The Sea. Except instead of an old man I'm a young man, and instead of the sea, it's a bunch of tunnels under Paris. And instead of a big fish it's. who knows? That's what I'm going to find out. Au revoir.</dialogue>
<scene_description>He walks out of the office . She calls after him .</scene_description>
<character>SERAFINE</character>
<dialogue>You're a fucking lunatic!</dialogue>
<scene_description>The front door slams . She looks after him , incredulous .</scene_description>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>God damned Americans.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUE D'ENFER - NIGHT</stage_direction>
<scene_description>A MEDUSA HEAD is carved in the stone above the doorway of a crumbling old facade in a rundown Parisian neighborhood . Andy tries the front door . It 's locked . There 's no sounds or signs of life .</scene_description>
<character>ANDY</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Some party.</dialogue>
<scene_description>Andy starts off , then pauses as three PARTY GOERS approach the door . They 're `` modern - primitives '' - tribal tattoos , pierced noses , and weird beaded hair . One fishes a key from the Medusa 's mouth , opens the door , and lets the group in . Andy slips in behind them . One GUY in the group looks Andy over and mutters something in French to his friends . They snigger amongst themselves and walk to a door across the foyer . Andy follows , a few paces behind , through the door , down some stairs , into A DILAPIDATED BASEMENT Lit with a few candles . They walk past an old boiler , through another door , into A NARROW STONE SPIRAL STAIRCASE They proceed down the ancient stairway , also lit only by the occasional candle placed on the steps . They reach the bottom of the steps and enter a dark , drippy stone tunnel , still lit by candles . Some rats scurry away through the puddles under Andy 's feet . Candles lead the way through the maze of intersecting tunnels . Some graffiti scratched in the wall catches Andy 's eye : `` Jean Philippe 1803 '' . He pauses to look at it for and loses the group ahead of him . He follows the candles on his own , turning right , left , and left again . A loud , muffled bass beat gets louder . He rounds the corner into THE WILD UNDERGROUND PARTY SPACE In an open cavern , lit with torches and strobe lights . Two hundred people are gyrating to eerie techno - tribal dance music . It 's a weird crowd , mostly young modern primitive pierced and grungy RAVERS , many wearing day - glo tribal face paint . Clusters of sullen , militant SKINHEADS hang around the periphery . An attractive , blissed - out WAIF approaches Andy with a paintbrush and a jar of day - glo face paint and a brush . She goes to paint Andy 's face . He stops her .</scene_description>
<character>ANDY</character>
<dialogue>That's alright. I'll be a cowboy.</dialogue>
<scene_description>She smiles and pushes his hand down . He shrugs and lets her paint two day - glow red stripes on his cheeks .</scene_description>
<character>ANDY</character>
<dialogue>Alright. Fine.</dialogue>
<parenthetical>( with mock enthusiasm . )</parenthetical>
<dialogue>Ooh. I can feel it tingling.</dialogue>
<scene_description>Andy sniffs and makes a face - the paint has a weird smell .</scene_description>
<character>ANDY</character>
<dialogue>Phew. What's in this stuff, liquid plumber?</dialogue>
<parenthetical>( he pulls the book out of his pocket and shows her Claude 's picture . )</parenthetical>
<dialogue>Do you know this guy? Claude?</dialogue>
<character>WAIF</character>
<dialogue>Ah oui, le professeur. La bas.</dialogue>
<scene_description>She points to a dark alcove off the main cavern . Andy nods and starts off . We move in on a leather clad young man leaning against the wall , watching Andy go . This is GASTON DUFAUX , a self - styled Parisian thug , who seems to be cultivating a sort of `` Mickey Rourke '' look . He takes a drag from his cigarette and we see he 's missing two fingers . Andy makes his way through the crowd . People are dancing with wild abandon , and many carry torches . A SKINNY GUY IN A DIAPER and a paper mache skull mask runs through the crowd , ranting and spraying fluorescent silly string . He does a weird dance around Andy and jabbers at him in French .</scene_description>
<character>ANDY</character>
<dialogue>Uh, lem me get back to ya on that.</dialogue>
<scene_description>Andy approaches the side room and peers in . A small group of young people are listening intently to CLAUDE , whose back is to us . He 's expounding about something in a solemn tone .</scene_description>
<character>CLAUDE</character>
<parenthetical>( French , to group . )</parenthetical>
<dialogue>. How ironic. A man who dedicated his life to opening the doors of the mind now lies trapped behind them. Locked behind a door without a key.</dialogue>
<scene_description>We follow Andy as he steps around the crowd and sees Claude 's face . He looks older than in the photo - he 's in his late fifties , with white hair and intense eyes .</scene_description>
<character>ANDY</character>
<dialogue>Excusez moi, I.</dialogue>
<scene_description>Claude notices the book in Andy 's hand . He speaks fluent English .</scene_description>
<character>CLAUDE</character>
<dialogue>I'm sorry my friend, I'm not signing books right now. There's been a tragedy.</dialogue>
<character>ANDY</character>
<dialogue>I know. I'm Andy McDermott. Terrence's nephew.</dialogue>
<scene_description>Claude is taken by surprise .</scene_description>
<character>CLAUDE</character>
<dialogue>My God, I'm sorry. But how did you find your way down here? Wait, let's go talk.</dialogue>
<scene_description>He excuses himself from his `` flock '' and leads Andy to a quiet corner of the room . The kids disperse , several looking sympathetically at Andy .</scene_description>
<character>CLAUDE</character>
<dialogue>It's horrible. Terrence was one of the most brilliant men I've known.</dialogue>
<character>ANDY</character>
<dialogue>Yeah, well, why did he hang out here? The cops said it's dangerous -</dialogue>
<character>CLAUDE</character>
<dialogue>The cops. It's their backward laws that force all this underground in the first place, endangering people whose only crime is pushing the limits of perception, exploring new states of psychic awareness.</dialogue>
<scene_description>They 're suddenly doused with day - glo silly string as the gibbering idiot in the diaper pops in to deliver a rant at them .</scene_description>
<character>GUY IN DIAPER</character>
<parenthetical>( French . )</parenthetical>
<dialogue>The moon is bleeding! Prepare for the downpour!</dialogue>
<scene_description>He ducks back out . Andy picks the silly string out of his hair .</scene_description>
<character>ANDY</character>
<dialogue>Psychic awareness. Right.</dialogue>
<character>CLAUDE</character>
<dialogue>You think it's silly. But do you realize that young man is actually in a deep sleep?</dialogue>
<character>ANDY</character>
<dialogue>What?</dialogue>
<character>CLAUDE</character>
<dialogue>He's on a new drug called ZBH, or `` Daydream''. It allows the user to be fully alert and mobile while he's dreaming. He is literally conscious and unconscious at the same time.</dialogue>
<character>ANDY</character>
<dialogue>Yeah well, that's like really groovy and everything, but who hacked my uncle's legs off?</dialogue>
<scene_description>Claude frowns . He looks grave .</scene_description>
<character>CLAUDE</character>
<dialogue>Andy.</dialogue>
<character>ANDY</character>
<dialogue>Yeah?</dialogue>
<character>CLAUDE</character>
<dialogue>Terrence and I came down here to do serious work. For centuries these tunnels have been home to subcultures mainstream society would not tolerate.</dialogue>
<scene_description>He gestures to the main cavern , where people are far gone into various states . some in a trance , some gyrating lustily to the eerily hypnotic music . We intercut with these images as Claude speaks .</scene_description>
<character>CLAUDE</character>
<dialogue>These people carry on traditions dating back to pagan times - the ancient quest for expanded consciousness. At the same time they're pioneering a chemical revolution, powerful state - of - the - art compounds. But you know what I mean.</dialogue>
<parenthetical>( he gestures to Andy 's face paint . )</parenthetical>
<dialogue>A year ago who would have dreamed of topically applied hallucinogens like TMD? Except Terry of course.</dialogue>
<scene_description>Andy 's eyes widen with comprehension . He touches his face .</scene_description>
<character>ANDY</character>
<dialogue>What!? Hallucinogen? Oh shit.</dialogue>
<scene_description>He rubs the face paint off with his shirt sleeve .</scene_description>
<character>CLAUDE</character>
<dialogue>You did n't know? But then why did you. well, do n't worry. It's relatively mild.</dialogue>
<character>ANDY</character>
<dialogue>Yeah, well if I claw my face off, just pack it in ice, okay? Jesus. the cops were probably right. My uncle was messed up with a bunch of fry brains and they went berserk on him.</dialogue>
<scene_description>Claude lowers his voice . He looks grim .</scene_description>
<character>CLAUDE</character>
<dialogue>No. We stumbled on something else down here Andy. Something horrible, almost unbelievable. But very real. It's been going on for centuries, though most people would n't believe it, or would n't want to.</dialogue>
<scene_description>Andy 's somewhere between spooked and incredulous . He glances at the book in his hand .</scene_description>
<character>ANDY</character>
<dialogue>Wait a second, are you like the Steven King of France or something.</dialogue>
<character>SERAFINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Andy!</dialogue>
<scene_description>Andy turns and sees Serafine run up to him . She looks worried .</scene_description>
<character>ANDY</character>
<dialogue>So you came after all. Just in time, it's getting interesting.</dialogue>
<character>SERAFINE</character>
<dialogue>You must get out of here. It's not safe.</dialogue>
<scene_description>She grabs him by the arm . He resists .</scene_description>
<character>ANDY</character>
<dialogue>Not you too -</dialogue>
<character>CLAUDE</character>
<parenthetical>( checks his watch . )</parenthetical>
<dialogue>My God! Serafine's right. It's time to go. We'll talk soon.</dialogue>
<character>SERAFINE</character>
<dialogue>Bon nuit Claude.</dialogue>
<parenthetical>( to Andy . )</parenthetical>
<dialogue>Come on.</dialogue>
<scene_description>Claude dashes off . Serafine drags Andy into the main cavern .</scene_description>
<character>ANDY</character>
<dialogue>Hey, chill out a second!</dialogue>
<scene_description>She leads him across the cavern towards the entrance . Andy stops short and pulls away from her . It 's not easy - she has a strong grip .</scene_description>
<character>ANDY</character>
<dialogue>Alright, hold on. I'm not gon na get dragged around like some kid in a shopping mall. I want you to answer some questions.</dialogue>
<scene_description>Serafine sees something over Andy 's shoulder .</scene_description>
<character>SERAFINE</character>
<dialogue>Merde. I knew I should n't have come here.</dialogue>
<scene_description>Andy turns to see Gaston approaching . He leers at Serafine .</scene_description>
<character>GASTON</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Serafine, mon cher. I hear your boss looks great in cut - offs.</dialogue>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Get the fuck away from me, Gaston.</dialogue>
<character>GASTON</character>
<parenthetical>( French . )</parenthetical>
<dialogue>First you tell me where the ADM is, eh?</dialogue>
<scene_description>He puts his hand on her shoulder . Andy notices the missing fingers .</scene_description>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Fuck you.</dialogue>
<scene_description>She shoves his hand away and pulls Andy past him . Gaston grabs her and spins her around . This time Andy grabs Gaston 's hand and pulls it off her . He holds up Gaston 's three fingered hand and glares at him .</scene_description>
<character>ANDY</character>
<dialogue>Well, this explains the two fingers they found in Liberace's asshole.</dialogue>
<scene_description>Gaston jerks his hand away . He stabs his finger in Andy 's chest .</scene_description>
<character>GASTON</character>
<dialogue>In Paris we have an expression for people like you : Enculé d'Americain.</dialogue>
<character>ANDY</character>
<dialogue>Yeah? In New York we got an expression too. Goes like this.</dialogue>
<scene_description>CRACK ! Andy hauls off and belts Gaston in the jaw as hard as he can . But Gaston does n't even lose his footing . He sneers with rage and hits Andy with a vicious combination . His glasses fly off as he reels into the crowd , knocking a few people into a group of nearby SKINHEADS . The skinheads erupt into randomly directed violence - a full fledged BRAWL breaks out . It 's chaos . On the floor , Andy squirms away from the skinheads and retrieves his glasses . He hears Serafine call his name . He gets up amidst the mayhem and sees Serafine being carried away by the crowd .</scene_description>
<character>ANDY</character>
<dialogue>Serafine!</dialogue>
<scene_description>Someone knocks into Andy and he falls to the ground . He gets back on his feet - Serafine 's nowhere in sight . He pushes his way through the crowd , looking for her . He catches sight of her white dress in a distant corner . It 's there for a second and then gone again - apparently into a tunnel . He runs over to it . Andy peers into THE TUNNEL , which houses some old pipes . It fades quickly into darkness . He grabs a kerosene torch from the wall and runs into the tunnel . About a hundred yards in he passes an ALCOVE . He leans in with his torch and peers around . The cave like room is empty but something catches Andy 's eye . Scratched into the stone wall , amidst various graffiti , is A PENTAGRAM . It looks to be centuries old . Andy 's transfixed by it . The sound of his own breathing suddenly becomes deafening and his vision begins to distort : the textures of the stone wall begin to churn and crawl , and the flames from his torch melt into different hues . The pentagram glows and seems to grow out of the wall . The hallucinatory flash is over as fast as it began . Panting , stunned , Andy shakes it off . He wipes his face , checking for traces of paint . He tries to reassure himself .</scene_description>
<character>ANDY</character>
<dialogue>Whoa. C'mon.</dialogue>
<scene_description>A woman 's SCREAM echoes through the tunnels . He runs towards it .</scene_description>
<character>ANDY</character>
<dialogue>Serafine!?</dialogue>
<scene_description>Another scream - anguished , tortured . Andy runs faster . He arrives at an intersection with another tunnel , turns the corner and finds . A decrepit old WINO hogging a bottle from his warty HAG companion , provoking her to scream like she just lost her only son . They look up at Andy . The hag shuts up . They fix Andy with an odd stare .</scene_description>
<character>ANDY</character>
<dialogue>Sorry. I, uh, did you see a girl, la femme, um, avec, la dress blanc?</dialogue>
<scene_description>They just stare at him . Spooked , he walks past them . They follow him with their creepy stare as he continues into the tunnel , which slopes downhill . He comes to an old stairway leading down into darkness . WATER pours out of a hole in the ceiling . The steps are severely eroded and slick with flowing water and moss . Andy sees something . It 's SERAFINE 'S SHOE , laying on a landing a few yards down the stairs . He leans in further , loses his footing and slips .</scene_description>
<character>ANDY</character>
<dialogue>Ahh! Son of a bitch!</dialogue>
<scene_description>He shoots down the stairs on his back , past the shoe which lies at the mouth of an intersecting tunnel . His glasses come off . The torch goes out . He stops at the bottom of the stairs on a gravel surface . He winces a bit as he sits up . It 's too dark to make much out . He feels around the gravel , finds his GLASSES - they 're shattered . He scowls . He stands up and walks ahead , feeling his way along the slick wall , peering into the darkness .</scene_description>
<character>ANDY</character>
<dialogue>SERAFINE!?</dialogue>
<scene_description>The echo sounds different - like he 's in a larger space . The echo decays into a familiar low RUMBLE . A reflection of light appears in a puddle on the floor . The light gets brighter until Andy sees the subway tracks at his feet . The rumble gets suddenly louder as METRO TRAIN barrels around the corner , flooding the tunnel with light and closing on Andy fast .</scene_description>
<character>ANDY</character>
<dialogue>Oh shit!</dialogue>
<scene_description>He turns and runs for THE STAIRWAY . He skids on the gravel and overshoots it . He scrambles back and up into it just as THE TRAIN whooshes past . Andy scurries a few feet up the slick steps , using a rusty pipe for a handhold . As he looks back at the SPARKING , RUSHING TRAIN WHEELS , his heart pounding in his head , he has another HALLUCINATORY - FLASH : the sparks explode into streaking patterns of color and light . It passes quickly . The train goes by and its rumble fades . Andy squeezes his temples and takes a deep breath . Before he finishes exhaling , an UNEARTHLY HOWL echoes through the tunnels . The howl literally takes his breath away - he 's frozen there , eyes wide , not breathing for a long moment . Quietly , carefully , he makes his way back up the dark , wet stairs . He comes to the landing , picks up Serafine 's shoe , and steps into the INTERSECTING TUNNEL . He squints into the darkness . Without his glasses , ANDY 'S POV is a bit blurry . He walks into the tunnel . Another HOWL . Andy swallows hard .</scene_description>
<character>ANDY</character>
<dialogue>Jesus Christ.</dialogue>
<scene_description>He hurries along . WATER DRIPS from the tunnel ceiling , down the walls , onto the cobblestone floor , flowing into rivulets around Andy 's feet and joining a stream that flows ahead of him , disappearing into the blackness ahead . He approaches another intersection . He stumbles over something . He looks down and makes out a GIRL 'S BARE LEG lying in a puddle in the dark intersecting tunnel . He follows the leg up with his eyes - it 's messily severed above the knee . He gasps . He looks further into the tunnel and sees A PAIR OF GLOWING YELLOW EYES staring back at him out of the darkness . Andy turns and runs . With a horrible ROAR , the eyes lunge after him and turn the corner . As it gains on Andy , we see the dim outline of the massive wolf - like beast . Andy dives for a SMALL CONDUIT , barely big enough for his body , and wriggles into it . Behind him the yellow eyes appear at the mouth of the conduit - the beast SNARLS but ca n't fit in . Andy can see a dim light at the end of the conduit . He crawls along . He emerges into ANOTHER TUNNEL . Some thirty yards away , light and street noise come through a GRATE on the ceiling of an antechamber beyond an iron gate . Relieved , Andy starts off towards it . A SNARL stops him in his tracks . THE BEAST comes tearing around a corner fifty yards behind him . Andy breaks into a sprint towards the antechamber . He slips on the wet floor and lands in a puddle , drenching himself . The beast closes in . Andy gets up , runs into the antechamber and slams the iron gate shut . There 's a rusty DEADBOLT lock on the gate , but no key . The beast is twenty five yards away and closing fast - it 's massive silhouette filling the diameter of the tunnel . Andy whips out his SWISS ARMY KNIFE , opens the screw driver and tries it in the old - fashioned keyhole - it does n't work . The beast is twenty feet away . Andy tries the can opener - no luck . Ten feet . Andy jams the corkscrew into the hole . The beast leaps . The corkscrew turns . The DEADBOLT SLIDES . SLAM ! The beast rams the gate , shaking the anteroom . But it holds . Flashes of CLAWS and TEETH thrash through the bars , but it 's still too dark to make the beast out clearly . Andy runs across the anteroom , grabs the steel sewer grate on the ceiling , and hoists himself up . Through the bars , he sees a BUSY BOULEVARD in the Pigalle -LRB- the `` Times Square '' of Paris -RRB- . There 's a COP a few paces away . Andy screams to him .</scene_description>
<character>ANDY</character>
<dialogue>HELP! OFFICER!</dialogue>
<scene_description>ON THE BOULEVARD - Over the roar of traffic and midnight revelers , the cop can barely pinpoint Andy 's screams . He looks around , confused . He sees Andy and angrily shakes his baton at him .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Hey! You should n't be down there!</dialogue>
<character>ANDY</character>
<dialogue>FOR GOD'S SAKES, LET ME OUT!</dialogue>
<scene_description>THE BEAST slams the gate , wrenching one of the iron bars loose - two more bars and it 'll fit through . Andy jumps down , picks up the loose bar . It 's got a STAR SHAPED SPEAR TIP . He rushes at the gate and jams the spear through the gate , aiming for the thrashing teeth and eyes in the darkness . The beast ducks and the spear sinks a couple of inches into the BACK OF IT 'S NECK and stops , apparently on bone . It recoils and ROARS with pain , shaking the spear free . ON THE STREET - The cop raps the bars with his nightstick and peers into the dark anteroom .</scene_description>
<character>COP</character>
<parenthetical>( in French . )</parenthetical>
<dialogue>You are not allowed down there!</dialogue>
<scene_description>IN THE ANTEROOM - The beast rams the gate - it 's rage redoubled . Andy jumps up and grabs the grate .</scene_description>
<character>ANDY</character>
<dialogue>GET ME THE FUCK OUT OF HERE!</dialogue>
<scene_description>ON THE STREET</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>`` Fuck''? You think I do n't know this word `` fuck''? Is that how you talk to policemen in America?</dialogue>
<scene_description>Enraged , the cop runs to his car , muttering to himself . He opens the trunk and rummages around for something . IN THE ANTEROOM - The beast knocks another bar off the gate . Andy watches in horror as it rams even harder , loosening the NEXT BAR .</scene_description>
<character>ANDY</character>
<parenthetical>( to the cop . )</parenthetical>
<dialogue>FUCK! FUCK! FUCK! FUCK! FUCK!</dialogue>
<scene_description>ON THE STREET - The cop looks over at Andy , incensed . He takes a crowbar from the trunk , runs back cussing in French , and struggles with the grate . IN THE ANTEROOM - The NEXT BAR on the gate gives . The beast sticks its head through the gap and focuses it 's searing yellow eyes on Andy . It rears back , ready to pounce . THE GRATE - comes up . The cop grabs Andy and pulls . IN THE ANTEROOM - Andy 's legs dangle like bait . The beast lunges , teeth and claws bared . ON THE STREET - Andy screams as a bus roars by . The cop pulls him up and out . Andy 's right pants leg is torn open and he 's bleeding from a GOUGE in his ankle .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Okay, what the hell are you up to?</dialogue>
<character>ANDY</character>
<dialogue>It bit me! My leg! Jesus, it's down there, shoot it! Shoot it for Christ's sakes!</dialogue>
<scene_description>He points frantically at the open hole . The cop aims his flashlight in the hole . It 's empty . He looks Andy up and down .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Your passport.</dialogue>
<scene_description>Shaking , Andy takes his passport out of his pocket . The cop takes it and copies some information . Andy raves at him - a blur of English and broken French .</scene_description>
<character>ANDY</character>
<dialogue>There's something down there! A bear or something! A god damn monster! Beau coup teeth! Huge, Grande, with yellow eyes, all this hair, it killed Serafine! My God.</dialogue>
<character>COP</character>
<dialogue>You on drugs? Huh?</dialogue>
<character>ANDY</character>
<parenthetical>( he falters . )</parenthetical>
<dialogue>No. I.</dialogue>
<scene_description>He looks disoriented , half - crazed . He definitely seems like he 's on drugs . The cop shines his flashlight in Andy 's eyes - his PUPILS are like saucers . ANDY 'S POV The cop 's flashlight sparks another HALLUCINATORY FLASH . The cops face melts like liquid , sounds swirl together , the garish neon signs of The Pigalle explode into streaking colors and we BURN INTO WHITE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRENCE'S APARTMENT BUILDING</stage_direction>
<scene_description>The cop car pulls to a stop . The cop gets out , opens the back door , and pulls Andy out . He pushes Andy towards the building .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Stay off the street.</dialogue>
<scene_description>The cop gets in the car and drives away . Andy staggers to the gate in a daze and fumbles with the keys .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING</stage_direction>
<scene_description>Andy walks up to the apartment door . Disoriented and shaking , he manages to open the door and walk in . He locks the door , and switches on the lights . He looks out the small PEEPHOLE . No sign of anyone or anything . He leans back against the door and rubs his hands across his face .</scene_description>
<character>ANDY</character>
<dialogue>Oh god. Je suis seriously messed up.</dialogue>
<scene_description>There 's a DRIPPING sound coming from the kitchen . Andy looks across the living room into the dark kitchen . The DRIP continues . He steps forward cautiously . Suddenly he feels something and looks down sharply . UNCLE TERRENCE , bloody stumps and all , is clutching Andy 's legs and looking up at him desperately . He 's trying to speak but ca n't seem to make a sound . Blood from his wounds soaks the WHITE BEAR RUG beneath them . Andy 's terror struck , he tries to jump away but falls backwards to the floor . Terrence crawls up and gets close to Andy 's face . He croaks out two words in a rasp -</scene_description>
<character>TERRENCE</character>
<dialogue>Saint Severin.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S HOSPITAL ROOM - SAME TIME</stage_direction>
<scene_description>The EKG monitor shows a FLATLINE . Alarms are BEEPING . Terrence 's body lies motionless under the oxygen tent . A DOCTOR and a NURSE rush to the bed . The nurse rips the oxygen tent away and the doctor SLAMS his fists down on Terrence 's chest . The EKG show s a tentative blip . The doctor SLAMS again . An erratic heart beat starts back up on the EKG .</scene_description>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APARTMENT - SAME TIME</stage_direction>
<scene_description>Andy lies passed out on the floor . Terrence is gone , and the rug is free from blood .</scene_description>
</scene>
<scene>
<stage_direction>INT. LEDUC'S OFFICE - DAY</stage_direction>
<scene_description>Marcel sits next to the patrol cop , PEROTIN , who rescued Andy . They 're hysterical with laughter . Even LeDuc , sitting behind his desk , is chuckling .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>What else did he say?</dialogue>
<character>PEROTIN</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Yellow eyes. big teeth.</dialogue>
<parenthetical>( he can barely choke out the words between laughs . )</parenthetical>
<dialogue>Covered with hair! Ha - ha - ha!</dialogue>
<scene_description>Perotin playfully growls at Marcel . They laugh even harder .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Okay Perotin. You can go.</dialogue>
<scene_description>Perotin nods , still laughing . Marcel walks him to the door . Before he steps out , Perotin bares his teeth , growls again , and cracks up some more . Marcel , laughing , claps him on the back and shuts the door - then he and LeDuc go instantly stone faced . They look at each other gravely .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Well?</dialogue>
<character>MARCEL</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>Okay. So maybe you were right.</dialogue>
<character>LEDUC</character>
<dialogue>Hmmph. At least now there's one person around here who does n't think I'm crazy.</dialogue>
<scene_description>LeDuc walks to a map of Paris on the wall covered with colored push pins . He sticks a blue pin in it . He points to a green pin on another part of the map .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Twelve thirty - six a.m. here. Twelve forty a.m. here. There's two of them. At least.</dialogue>
<character>MARCEL</character>
<dialogue>Merde.</dialogue>
<scene_description>LeDuc looks at his calendar . Four days are circled in red ink .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Two more nights in this lunar cycle.</dialogue>
<character>MARCEL</character>
<dialogue>Double merde.</dialogue>
<scene_description>LeDuc opens a tall cabinet , revealing a bookshelf stuffed with dusty tomes . He browses past dozens of titles about black magic and demonology .</scene_description>
<character>LEDUC</character>
<dialogue>You better follow that McDermott kid. He's going to wind up like his uncle if he's not careful.</dialogue>
<character>MARCEL</character>
<dialogue>Right. Little twerp thinks he's Colombo.</dialogue>
<scene_description>LeDuc selects an old book and hands it to Marcel .</scene_description>
<character>LEDUC</character>
<dialogue>And do some research, will you?</dialogue>
<scene_description>Marcel takes the book . He inspects the cover -LRB- it 's in French -RRB- - `` Werewolves through the Ages : from St. Severin to the present '' .</scene_description>
<character>MARCEL</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Saint Severin.</dialogue>
<character>LEDUC</character>
<dialogue>You never heard the story of Saint Severin driving the werewolves from Paris?</dialogue>
<character>MARCEL</character>
<dialogue>You think that's what McDermott was raving about in the ambulance?</dialogue>
<character>LEDUC</character>
<dialogue>What, you think everyone's as ignorant as you?</dialogue>
<scene_description>Marcel considers this .</scene_description>
<character>MARCEL</character>
<dialogue>Pretty much.</dialogue>
<scene_description>LeDuc grunts , exasperated .</scene_description>
<character>MARCEL</character>
<dialogue>Inspector, you're not exactly typical. I mean c'mon.</dialogue>
<parenthetical>( holds up book . )</parenthetical>
<dialogue>This thing is n't sitting on a lot of coffee tables.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APT. - LATE MORNING</stage_direction>
<scene_description>THE SAME OLD BOOK , sitting on the coffee table . The pages are stuffed with notepaper place markers , many covered with scribbling , and CHEMICAL NOTATION . In the background , on the floor , is Andy - fast asleep and snoring where he collapsed the night before . We hear a key in the lock . The door opens , smacking Andy in the head once , twice .</scene_description>
<character>ANDY</character>
<dialogue>Aoww! Hey! What the hell?</dialogue>
<scene_description>He grabs the door so it ca n't hit him again . Serafine pokes her head around and sees him . She 's surprised , relieved , elated . Andy 's reaction is more disoriented , stunned .</scene_description>
<character>SERAFINE</character>
<dialogue>Andy! Holy shit!</dialogue>
<character>ANDY</character>
<dialogue>Serafine?</dialogue>
<scene_description>She kneels beside him and helps him sit up .</scene_description>
<character>SERAFINE</character>
<dialogue>Thank God! What a relief! I thought. After you disappeared. I could n't find you. I thought all sorts of horrible things.</dialogue>
<character>ANDY</character>
<dialogue>Yeah. Ditto. I saw, er, I thought I saw you get munched. like Uncle Terrence.</dialogue>
<scene_description>He looks over at the clean bear rug . Andy rises to his feet groggily . He looks down at the rip in his pant leg . He feels the torn fabric , trying to remember .</scene_description>
<character>SERAFINE</character>
<dialogue>What happened? Did you cut yourself?</dialogue>
<character>ANDY</character>
<dialogue>Um. sort of. Maybe. It's all kind of blurry. We met at the club, then. Damn, that was some weird shit.</dialogue>
<scene_description>He goes over to the window and parts the curtains . It 's a brilliant sunny day .</scene_description>
<character>SERAFINE</character>
<dialogue>That was fucking stupid, going down there. You could have been killed. I tried to warn you, But you do n't listen. Just like your uncle.</dialogue>
<scene_description>Andy 's only half listening . He opens the window , and inhales deeply . Across the court yard , a MATRONLY WOMAN leans out a window , hanging her laundry . In the courtyard , Lulu the obnoxious poodle YAPS at another resident , and Madame Chretien calls her back . Andy 's head is clearing . His mood lifting .</scene_description>
<character>SERAFINE</character>
<dialogue>You have to be a hero. All Americans think they are cowboys.</dialogue>
<character>ANDY</character>
<parenthetical>( leaning out window . )</parenthetical>
<dialogue>I was an Indian, actually. Man, that damn psycho paint! If that's supposed to be mild, I do n't want to know about medium.</dialogue>
<parenthetical>( he looks at the woman and smiles , the sun on his face .</parenthetical>
<parenthetical>To himself : . )</parenthetical>
<dialogue>The planet earth. It's good to be back.</dialogue>
<character>SERAFINE</character>
<dialogue>So. you feel okay now?</dialogue>
<scene_description>He turns around and smiles at her .</scene_description>
<character>ANDY</character>
<dialogue>Yeah. Actually, I feel fan - fucking - tastic.</dialogue>
<scene_description>Serafine laughs . She has n't heard this expression before . He approaches her .</scene_description>
<character>SERAFINE</character>
<dialogue>Fan - fucking - tastic?</dialogue>
<character>ANDY</character>
<dialogue>Hey, what more could I want? I survived my first and last hallucinogenic hellride, and neither of us is dead. I'd say I feel almost as great as you look.</dialogue>
<scene_description>He makes a grab for her , and she pushes him away .</scene_description>
<character>SERAFINE</character>
<dialogue>Hey! Calm down.</dialogue>
<scene_description>He jumps up on the sofa , unable to contain his energy .</scene_description>
<character>ANDY</character>
<dialogue>Come on Serafine. Let's go out. Show me the real Paris, the part that is n't overpriced and overrun with German tourists.</dialogue>
<character>SERAFINE</character>
<dialogue>Go to Jim Morrison's grave at Pere Lachaise. It's overrun with American tourists. I have to work.</dialogue>
<character>ANDY</character>
<dialogue>I know! Let's go hock loogies off the Eiffel Tower!</dialogue>
<scene_description>She digs in her pockets and hands him some coins .</scene_description>
<character>SERAFINE</character>
<dialogue>Here. You go. `` Hock some loogies'' for me.</dialogue>
<scene_description>She turns and heads off to the office . He runs in front of her and blocks her path .</scene_description>
<character>ANDY</character>
<dialogue>What about food? Even beautiful women have to eat. It's true. I read it. Please? A half an hour?</dialogue>
<parenthetical>( pause .</parenthetical>
<parenthetical>He sees she 's tempted . )</parenthetical>
<dialogue>My treat?</dialogue>
<parenthetical>( she 's smiling .</parenthetical>
<parenthetical>He resorts to begging . )</parenthetical>
<dialogue>Pleez! Do n't make go out there alone again! I'm begging you!</dialogue>
<character>SERAFINE</character>
<dialogue>Okay. But I'm back in half an hour.</dialogue>
<scene_description>Andy claps his hands together in triumph and scrambles to hold open the door for her .</scene_description>
<character>SERAFINE</character>
<dialogue>What about your glasses?</dialogue>
<character>ANDY</character>
<dialogue>It's okay. I can see fine.</dialogue>
<scene_description>She gestures to his filthy clothes .</scene_description>
<character>SERAFINE</character>
<dialogue>Do n't you want to change?</dialogue>
<character>ANDY</character>
<dialogue>Man! Our first date and already you're trying to get me to change! You French women work quick!</dialogue>
<scene_description>She smiles and pushes him back in the apartment .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARIS BOULEVARD - DAY</stage_direction>
<scene_description>JERRY LEWIS on a TV screen , dubbed with a zany French voice , undergoes a radical physical transformation in `` The Nutty Professor '' . Pull back to reveal Andy and Serafine watching this scene on a dozen or so TV 's in a store window display . Several PARISIAN PEDESTRIANS watch Jerry with reverence .</scene_description>
<character>ANDY</character>
<dialogue>Now this is Paris!</dialogue>
<scene_description>On screen , the Nutty Professor 's alter ego , `` Buddy Love '' launches into his swinging version of `` That Old Black Magic '' . To this accompaniment , we cut the following - AT A BRASSERIE : Andy is about to escort Serafine into the trendy eatery , but she stops him at the door and points to the menu , or more specifically the prices . He makes a horrified face , and they move on . - IN A BOULANGERIE : Serafine buys cheese , Andy buys meats - the counterman shows Andy how big a slice off the pate loaf he 's about to cut . Andy nods `` yes '' . The counterman cuts it and offers the slice . Andy shakes his head `` no '' and points to the much larger remainder of the loaf . - AT AN OUTDOOR MARKET : Detective Marcel , wearing a lame `` disguise '' -LRB- new wave sunglasses ala `` Diva '' -RRB- , watches Andy and Serafine shop from a distance . - IN A PATISSERIE : Andy points to a large baguette , says something suggestive and winks boastfully at Serafine . She gives him a `` yeah , right '' look and points at a small breadstick . - IN A WINE STORE : Andy looks at each bottle closely , then `` tests '' it by shaking vigorously . Serafine 's amused . The owner 's baffled . - ON THE RIGHT BANK : Arms full of groceries , Andy and Serafine pass the row of outdoor pet stores near the river . Andy looks longingly at the live ducks in their cages . Serafine pulls him along . MUSIC fades out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ILE SAINT LOUIS - SUNSET</stage_direction>
<scene_description>Andy and Serafine sit on the river bank facing a magnificent Paris vista . Serafine unpacks the food .</scene_description>
<character>SERAFINE</character>
<dialogue>Shit! You bought enough pate for a fucking army!</dialogue>
<character>ANDY</character>
<dialogue>So tell me, exactly which truck driver did you study English with?</dialogue>
<scene_description>She laughs and pushes him playfully .</scene_description>
<character>ANDY</character>
<dialogue>Like I should talk. Monsieur foot - in - the - mouth. I'm really sorry about that whole Woody Allen thing.</dialogue>
<character>SERAFINE</character>
<dialogue>So's Woody Allen.</dialogue>
<parenthetical>( Andy laughs .</parenthetical>
<parenthetical>She starts uncorking the wine . )</parenthetical>
<dialogue>No, your uncle really helped me. I was sort of messed up for a while. Wasting my time just partying and. just stupid shit. He kind of woke me up, gave me a job, got me taking classes.</dialogue>
<parenthetical>( she uncorks the wine and fills their plastic cups . )</parenthetical>
<dialogue>You know, he and Claude, their work is controversial, but they're serious about it. Totally dedicated.</dialogue>
<character>ANDY</character>
<dialogue>That's what counts. If you're not passionate about it, do n't waste your time. That's why I quit college. Plus I'm a lazy bastard.</dialogue>
<parenthetical>( They raise their cups .</parenthetical>
<parenthetical>Andy taps his forehead . )</parenthetical>
<dialogue>Wait, I know this. A votre sante.</dialogue>
<character>SERAFINE</character>
<dialogue>A la votre.</dialogue>
<scene_description>They `` clink '' and drink . He notices her KEYCHAIN lying on the ground . It 's a miniature replica of Rodin 's famous sculpture , `` The Kiss '' . He picks it up .</scene_description>
<character>ANDY</character>
<dialogue>This looks familiar.</dialogue>
<character>SERAFINE</character>
<dialogue>Ahh, Rodin. Mmm! He's the fuc -.</dialogue>
<parenthetical>( she catches herself and laughs . )</parenthetical>
<dialogue>I mean, he's the best. You must go to the Rodin sculpture garden, in the huitieme, it's so beautiful.</dialogue>
<scene_description>She gestures across the river . Andy looks at the gorgeous panorama .</scene_description>
<character>ANDY</character>
<dialogue>Yeah, I got ta admit, you French are pretty good at beautiful.</dialogue>
<scene_description>He looks at Serafine . She looks back at him . He holds up `` The Kiss '' .</scene_description>
<character>ANDY</character>
<dialogue>I bet you're pretty good at this too.</dialogue>
<scene_description>She smiles playfully .</scene_description>
<character>SERAFINE</character>
<dialogue>What, sculpting?</dialogue>
<scene_description>He shakes his head `` no '' and moves towards her . They kiss tenderly . They separate and share a deep , passionate look . They kiss again , hungrily , falling into a passionate embrace . They 're really going for it . Her NAILS dig into his back . He pulls her body into his until they look like one form - just like Rodin 's sculpture . APPLAUSE and CHEERS break the moment . A TOURIST BOAT is gliding by on the Seine , it 's ELDERLY PASSENGERS applauding the young couple . Serafine pulls away , blushing a little , and turns to the boat . ANDY does n't even notice the boat . He 's staring at Sera fine with a scary kind of intensity . She starts to say something but he starts kissing her again , cutting her off . Suddenly he 's out of control , pawing at her . It takes an effort for her to pull back from him .</scene_description>
<character>SERAFINE</character>
<dialogue>Hey, calm down a second.</dialogue>
<scene_description>She looks into his eyes and freezes with fear . HIS STARE is terrifying , totally predatory , inhuman . Something 's ignited in him . She pushes him away and shakes him .</scene_description>
<character>SERAFINE</character>
<dialogue>What's wrong with you!?</dialogue>
<scene_description>Andy blinks and seems to come a couple of steps back to normality .</scene_description>
<character>ANDY</character>
<dialogue>What? Are n't I a good kisser? What's the matter?</dialogue>
<scene_description>She fixes him with a heavy , suspicious stare . She glances down at his ankle , where the bottom of HIS WOUND is visible . She seems to understand something . She fumbles in her purse , takes out a compact mirror , and checks her face .</scene_description>
<character>SERAFINE</character>
<dialogue>God, look at my lipstick. Look, I'm going to run into the bathroom at that cafe. Stay here and watch the stuff, okay?</dialogue>
<scene_description>She gets up and starts off . He looks after her .</scene_description>
<character>ANDY</character>
<dialogue>Serafine.</dialogue>
<character>SERAFINE</character>
<dialogue>I'll be right back. Stay put.</dialogue>
<scene_description>She runs up the steps to street level . Andy watches her go . He turns back to his glass of wine and chugs it . He puts the bottle to his lips and takes a long belt . He picks up the big block of pate and bites into it like a piece of cake . He likes it . He takes another huge bite . He looks after Serafine . He gets up .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFE</stage_direction>
<scene_description>Serafine puts her `` telecarte '' into the pay phone and dials . She looks anxious , upset . We hear the phone ringing at the other end . Behind her , Andy comes into the cafe . He walks up to her , pissed off .</scene_description>
<character>ANDY</character>
<dialogue>Fixing your makeup with a phone, huh? Who the fuck are you calling?</dialogue>
<character>SERAFINE</character>
<dialogue>Professor Roussel. There's something wrong with you. I know it.</dialogue>
<character>ANDY</character>
<dialogue>Roussel? You mean Claude? You're calling Dr. Demento so he can come paint my face again? Fuck that.</dialogue>
<scene_description>Andy starts backing away .</scene_description>
<character>SERAFINE</character>
<dialogue>Andy, stop! I think he can help you -.</dialogue>
<parenthetical>( Claude picks up . )</parenthetical>
<dialogue />
<character>CLAUDE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Allo?</dialogue>
<character>ANDY</character>
<dialogue>What, you think you're gon na catch fucking leprosy from me? Fuck that shit! If I'm not good enough for you I'll find someone else!</dialogue>
<scene_description>He turns and storms out of the cafe . Serafine 's flustered .</scene_description>
<character>SERAFINE</character>
<dialogue>Andy!</dialogue>
<character>CLAUDE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( French . )</parenthetical>
<dialogue>Serafine? Is that you? What's going on?</dialogue>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Claude, it's Andy, he's acting really weird, I think something happened last night.</dialogue>
<character>CLAUDE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God, well do n't let him go! Catch him!</dialogue>
<scene_description>She drops the phone and runs out of the cafe . On the sidewalk , she looks in all directions . Nothing . Andy 's gone .</scene_description>
<character>SERAFINE</character>
<dialogue>Fuck!</dialogue>
</scene>
<scene>
<stage_direction>INT. CLAUDE'S OFFICE - SAME TIME</stage_direction>
<scene_description>Claude 's sitting at his desk , phone to his ear . The room is stuffed with books .</scene_description>
<character>CLAUDE</character>
<dialogue>Serafine? Allo?</dialogue>
<scene_description>He hangs up . He strokes his chin and furrows his brow , sinking deep into thought .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OF PARIS - NIGHT</stage_direction>
<scene_description>Music cue : `` Wolf Call '' by Elvis Presley . Andy pays for a crepe at one of the roadside stands , and eats it as he walks along the narrow sidewalk , still brooding about Serafine . He stops to gawk at the PRETTY GIRLS that pass by , and bumps into a young FRENCH TOUGH with a ROTTWEILER .</scene_description>
<character>FRENCH TOUGH</character>
<dialogue>Idiot!</dialogue>
<character>ANDY</character>
<dialogue>Ah, bite me!</dialogue>
<scene_description>He glares at the tough and his growling dog . The dog suddenly shrinks back in fear and decides it 's time to leave . He pulls his owner along . Andy continues on his way . He ditches the half finished crepe . That 's not what he 's hungry for . Andy comes upon a trendy little CAFE with several tables of diners eating in the open air . Andy notices an attractive young blond sitting alone , thumbing through a `` Let 's Go '' guide . This is AMY SINGLETON . Andy approaches confidently .</scene_description>
<character>ANDY</character>
<dialogue>Ahem. Did you know that, according to the `` Let's Go'' code of conduct, whenever two Americans meet in Paris, the one with the sexiest smile has to buy dinner?</dialogue>
<scene_description>Amy smiles . She is indeed sexy , with remarkable , sparkling BLUE EYES .</scene_description>
<character>ANDY</character>
<dialogue>Damn! You win! Waiter! Garcon!</dialogue>
<scene_description>He jumps into the seat across from her .</scene_description>
<character>AMY</character>
<dialogue>Actually, I'm waiting for someone.</dialogue>
<character>ANDY</character>
<dialogue>What a coincidence, I am someone!</dialogue>
<parenthetical>( sniffs . )</parenthetical>
<dialogue>Mmm. Calvin Klein's Obsession. Now it's mine too.</dialogue>
<scene_description>She laughs . The waiter arrives to take their order . Andy hands him the empty half bottle of wine from Amy 's table .</scene_description>
<character>ANDY</character>
<dialogue>Hi. Another, bigger bottle for this ravishing blue eyed Goddess and myself. And, avez vous le Steak Tartar?</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APARTMENT BUILDING HALLWAY - SAME TIME</stage_direction>
<scene_description>Serafine unlocks the door and enters the apartment . She 's stopped cold by what she sees . The place has been totally ransacked - drawers opened , shelves cleared , furniture overturned , the works . The window is open .</scene_description>
<character>SERAFINE</character>
<dialogue>Merde! Salots!</dialogue>
<scene_description>She walks across the room , kicking at the debris in her path . She stands in the middle of the mess , absolutely furious .</scene_description>
<character>SERAFINE</character>
<dialogue>Aaaaah!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - CONTINUOUS</stage_direction>
<scene_description>Across the street from the apartment building , GASTON pauses to light a cigarette . He hears Serafine 's distant scream , looks towards the building , and walks away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAFE - NIGHT</stage_direction>
<scene_description>Three successive tables of upscale PARISIAN DINERS are gawking at something . At one table , Inspector Marcel hides behind his menu , and shakes his head in disdain . We follow their glances to Andy , greedily licking the last bits of Steak Tartar off his plate . Amy giggles in amazement as she pours the last from the bottle of wine . She 's a bit drunk - enough to be amused by Andy 's antics .</scene_description>
<character>AMY</character>
<dialogue>God. How can you eat like that?</dialogue>
<character>ANDY</character>
<dialogue>It's all in the tongue. Another bottle?</dialogue>
<scene_description>Amy laughs and nods `` yes '' . JEAN - LUC , 25 , a well dressed , powerfully built Frenchman enters . He kisses Amy on both cheeks , all the while watching Andy uneasily .</scene_description>
<character>AMY</character>
<dialogue>Jean - Luc. You're kinda late sweetie.</dialogue>
<character>JEAN-LUC</character>
<dialogue>I was busy. Is this a friend of yours?</dialogue>
<character>AMY</character>
<dialogue>Well, yeah, kinda', but -</dialogue>
<character>ANDY</character>
<dialogue>We're so much more than friends. We're soul mates, sex slaves, pen pals, the whole nine yards. Well, nine yards is a slight exaggeration, but believe me, for a white boy, I got nothing to be ashamed of.</dialogue>
<scene_description>Amy laughs in mid gulp and wine comes through her nose . Andy looks at Jean - Luc , who is - of course - pretty steamed .</scene_description>
<character>ANDY</character>
<dialogue>Hey, I'm kidding. It's a joke! Here, maybe if I say it in metric.</dialogue>
<scene_description>Jean - Luc grabs Andy by the collar and pulls him to his feet .</scene_description>
<character>JEAN-LUC</character>
<dialogue>Think you're smart, huh?</dialogue>
<scene_description>Amy tries to intervene .</scene_description>
<character>AMY</character>
<dialogue>Jean - Luc, do n't be a jerk.</dialogue>
<scene_description>She tries to pull his hands off Andy , but Jean - Luc sends her reeling back with a firm shove .</scene_description>
<character>ANDY</character>
<dialogue>Hey, look man, she -</dialogue>
<scene_description>Jean - Luc brings his hand back and slaps Andy in the mouth .</scene_description>
<character>JEAN-LUC</character>
<dialogue>Shut up. Why are you Americans always so loud?</dialogue>
<character>ANDY</character>
<dialogue>I do n't know. Maybe it's so we can drown out the sound of your mother fucking the navy?</dialogue>
<scene_description>Jean - Luc takes a swing at Andy . With amazing reflexes , he dodges it deftly . Jean - Luc jabs - again Andy avoids it easily . He smiles , impressed with himself . Jean - Luc is incensed . He goes for Andy 's throat , but Andy catches him by the arm and , with superhuman strength , FLIPS him head over heels , through the air and - SMASH ! - onto a nearby table . Andy casually leans past the semi - conscious Jean - Luc and plucks a CHAMPAGNE BOTTLE out of its ice bucket . The WAITER is about to object , but thinks better of it . Andy takes Amy by the arm , she grabs the RED WINE BOTTLE , and they start off away from the cafe .</scene_description>
<character>AMY</character>
<dialogue>Wow. You know Kung Fu or something?</dialogue>
<character>ANDY</character>
<parenthetical>( amazed at himself . )</parenthetical>
<dialogue>Yeah. Apparently.</dialogue>
<scene_description>In the background , Marcel hurries to pay his tab and follow them . He slips on some of the broken glassware spilled by Jean - Luc 's fall , and almost goes for a tumble himself . FURTHER DOWN THE STREET Amy and Andy walk together . She 's still giddy .</scene_description>
<character>AMY</character>
<dialogue>Ha ha. You were probably right about his mom.</dialogue>
<character>ANDY</character>
<dialogue>Hope I did n't hurt him too bad.</dialogue>
<character>AMY</character>
<dialogue>Who gives a shit? I've had it up to here with arrogant Frenchmen.</dialogue>
<character>ANDY</character>
<dialogue>Up to there? Really? I bet I could beat that.</dialogue>
<character>AMY</character>
<dialogue>Ha ha! Yeah right, white boy! Ha Ha ha.</dialogue>
<parenthetical>( she hiccups . )</parenthetical>
<dialogue>I think maybe I drank too much.</dialogue>
<character>ANDY</character>
<dialogue>Ah. The mating call of the blonde. The night is young, the moon is bright, whataya feel like doing tonight?</dialogue>
<character>AMY</character>
<dialogue>I do n't know. Surprise me.</dialogue>
<scene_description>He thinks a moment , then puts his arm around her and whispers in her ear . She squeals with delight .</scene_description>
<character>AMY</character>
<dialogue>Are you kidding?! I LOVE Jim Morrison!</dialogue>
<scene_description>Inspector Marcel , who 's eavesdropping from around a nearby corner , rolls his eyes to heaven . Oh brother . The Doors ' `` Backdoor Man '' kicks loud as we</scene_description>
</scene>
<scene>
<stage_direction>EXT. PERE LACHAISE - NIGHT</stage_direction>
<scene_description>Marcel is hiding behind a grave , spying . His passion for police work has been reborn , judging from his rapt , totally absorbed stare . He 's watching . ANDY AND AMY having extremely hot and primal sex on Jim Morrison 's grave , lit by dozens of flickering candles people have `` left for Jim '' . He pours red wine into their mouths . Sweat and wine drip off their naked bodies . The sex heats up to an intense , screaming climax . Amy squeals with ecstasy .</scene_description>
<character>AMY</character>
<dialogue>My God! You're an animal!</dialogue>
<scene_description>But Andy 's still accelerating - transported to another plane . Sweat pours from his brow . His face contorts with each groan , but now it 's hard to tell if it 's from pleasure or pain . His body jerks violently and his skin suddenly blushes bright red . Amy winces .</scene_description>
<character>AMY</character>
<dialogue>Ahh! Jesus! You're burning hot! What the hell -</dialogue>
<character>ANDY</character>
<dialogue>AHHHHHHH!</dialogue>
<scene_description>Marcel is a little disconcerted .</scene_description>
<character>MARCEL</character>
<parenthetical>( French , to himself . )</parenthetical>
<dialogue>Alright already, you passed the audition for God's sakes.</dialogue>
<scene_description>Andy 's skin literally glows red , turning his sweat to steam . He leaps off Amy and disappears into the sprawling cemetery , screaming in agony . Amy watches him go .</scene_description>
<character>AMY</character>
<dialogue>Hey, where are you going!?</dialogue>
<scene_description>Marcel starts off after Andy , taking the wide route around Amy . Andy 's scream echoes through the cemetery . Amy pulls her dress on .</scene_description>
<character>AMY</character>
<dialogue>Creep.</dialogue>
<scene_description>ANDY red hot -LRB- literally -RRB- , weaves through the tombs , screaming . He comes to a small courtyard with an ORNATE FOUNTAIN . He dives into the brackish water . Clouds of steam rise off the water as he thrashes about under the marble goddess in the center of the fountain . AMY searches through the graveyard . She 's got Andy 's clothes .</scene_description>
<character>AMY</character>
<dialogue>I do n't know what's wrong with you, man, but I got your pants, so we better talk.</dialogue>
<scene_description>THE FOUNTAIN Andy 's gurgling screams are changing , becoming less human . We catch glimpses of body parts as they surface from the churning froth - GROTESQUE , FLAILING LIMBS somewhere in mid - transformation between human and beast . MARCEL steps cautiously through the ancient , ornate tombs and mausoleums , listening to the distant splashing and sporadic inhuman screams . He draws his gun and loads a cartridge . Suddenly a horrible grunt and loud SMASH pierce the air . Marcel wheels around and smacks nose first into a gravestone .</scene_description>
<character>MARCEL</character>
<dialogue>Merde!</dialogue>
<scene_description>AMY in another part of the graveyard , stops in her tracks , listening . Another SMASH followed by crumbling , and rushing water .</scene_description>
<character>AMY</character>
<parenthetical>( to herself . )</parenthetical>
<dialogue>He's gone psycho ballistic. This is bad.</dialogue>
<scene_description>Amy feels something and looks down . There 's a stream of water flowing around her feet . She follows it towards its source and steps into THE COURTYARD The fountain has been smashed - the stone rim cracked into bits and the center statue fallen to the ground . There 's no sign of Andy . Amy walks up to the fountain .</scene_description>
<character>AMY</character>
<dialogue>Oh my God.</dialogue>
<scene_description>She notices something on the ground . It 's the STONE GODDESS , smashed into several pieces . We hear a low growl . Amy looks up , terrified . She scans the GRAVES around the perimeter of the courtyard . She takes a few tentative steps backward . Suddenly a MASSIVE TOMBSTONE is wrenched off its base -LRB- most of the ancient stone markers are eroded and crumbling - many already fallen over -RRB- . It falls like a tree , revealing the familiar pair of piercing yellow eyes behind it , framed by the dim outline of a massive beast . Amy emits an odd , primitive whine .</scene_description>
<character>AMY</character>
<dialogue>Unnnhh.</dialogue>
<scene_description>She runs away from the beast , across the courtyard and disappears into the graves . In the DENSE FOREST OF TALL TOMBSTONES , Amy zigs and zags through narrow spaces , barely wide enough for her slender body to fit through . The camera CRANES UP . HIGH ANGLE Thirty paces behind Amy , pairs of tombstones split apart like jungle vegetation , crashing thunderously to the ground . The unseen beast 's path is slowed by the monuments , but still follows Amy . Amy looks back as she runs . She sees the tops of tombstones fall behind her . She comes to a railing at the top of a fifteen foot wall separating a LOWER LEVEL of the cemetery . She hangs over the edge and quietly drops . She runs down a path comes to an intersection where six paths converge . She looks down each of them , but ca n't see the outer walls of the cemetery - just an endless landscape of graves . She sprints down a path and ducks behind A LARGE CRYPT . Up on the higher level , the beast howls . She looks up and sees its silhouette sniffing the air , the full moon looming behind it . She looks up at the iron door on the crypt . Then she reaches into her purse . THE BEAST 'S POV Its HEAVY BREATH dominates the soundtrack . It scans the sprawl of graves from its perch on the hill , sniffing . It locks it 's stare on the large crypt . It sniffs again . With a growl , it leaps over the railing -LRB- we stay with its POV -RRB- and hits the ground running . It runs up a twisting path , closing in on THE CRYPT . It arrives at the back of the crypt and circles it , sniffing . It stops in front of the door . THE BEAST 'S EYES Narrow and glow with intense predatory focus . INSIDE THE CRYPT We 're looking at the door . CRASH ! It flies open , revealing the snarling beast , backlit by the moon . It lunges in and stops . THE BEAST 'S POV Scans back and forth - the crypt is empty . The beast sniffs again and growls with rage . AMY somewhere else in the graveyard , sprays a long blast of perfume into another crypt , and sneaks into the endless maze of tombs . We hear the enraged beast smash into another crypt a hundred yards away . Amy comes to ANOTHER FOUNTAIN and slips into the water , quietly rinsing herself . THE BEAST 'S POV smashes into another crypt . Nothing 's inside . It backs up and runs to another crypt . SMASH ! Nothing . The growls grow more furious . It crashes down another door . Nothing . Amy , dripping wet , pads down a row of ancient family mausoleums . She pauses as the beast lets loose a horrible howl and topples a monument some distance away . She tries the heavy iron door on a SMALL GOTHIC MAUSOLEUM . It opens . She slips inside . IN THE MAUSOLEUM Amy crouches under the small portal and STAINED GLASS WINDOW , which depicts the Virgin Mary . She struggles to quiet her breathing , and listens . She hears only the trickling water from the nearby fountain . Then . some crackling twigs . then a SNIFF . another SNIFF , closer . Trembling , Amy quietly raises herself , peers out the portal and sees MARCEL Standing a few paces away , SNIFFING and trying to stem the flow from his bloody nose .</scene_description>
<character>MARCEL</character>
<dialogue>Merde.</dialogue>
<scene_description>Amy breaths a sigh of relief . Then - THE BEAST springs out of the darkness behind Marcel - a blur of eyes , claws , and teeth - and tackles him to the ground . IN THE MAUSOLEUM Amy drops down to the floor , huddled in terror . A GUN SHOT hits the STAINED GLASS above Amy 's head , shattering the Holy Virgin . Another GUN SHOT followed by a ROAR OF PAIN from the beast . But the pained roar quickly becomes VICIOUS SNARLING again . There are no more shots , just horrible snarls , screams , and ripping flesh . BLOOD splatters through the portal and drips down Amy 's face . She hunkers down . Then , the sound of steps going away , and at last . silence . Amy waits . We hear only the fountain and another , closer DRIPPING . It 's Amy 's wet clothes , still dripping into A PUDDLE on the floor , which is dripping UNDER THE IRON DOOR , into a small STREAM flowing on the otherwise dry STONE WALKWAY , away from the mausoleum . In the mausoleum , Amy listens a bit more . Satisfied the coast is clear , she quietly turns to the iron door , grasps the handle and slowly turns it . But before it clicks open - RRRIIP ! The iron door is wrenched out of Amy 's hand and off it 's hinges , revealing THE BEAST , up close and in clear view for the first time - it 's truly awesome - a huge leering mouth full of razor sharp teeth , a hulking body built like a wolf but as massive as a bear , and vaguely humanoid paws with big hook claws . There 's a bloody FLESH WOUND in its right shoulder . It snarls savagely at Amy . She chokes out a little cry . The beast lunges . OUTSIDE THE MAUSOLEUM - HIGH ANGLE The beast 's powerful hind section sticks out of the mausoleum , kicking a bit as it rips into its prey . The graveyard sprawls endlessly under the big moon , which hangs low in the sky .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRENCE'S APT. BUILDING COURTYARD - MORNING</stage_direction>
<scene_description>We hear Lulu the poodle 's bell jingling behind a bush . Madame Chretein pokes her head out her door and whistles for Lulu . The bell keeps jingling , but Lulu does n't come . She calls its name . It still wo n't come . She steps out into the courtyard in her bathrobe and walks towards the bush , calling for the dog , annoyed as its disobedience . She looks behind the bush and sees - A CROW picking at the scant remains of Lulu , ringing the collar bell with its beak . She SCREAMS .</scene_description>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APT. - SAME TIME</stage_direction>
<scene_description>Andy wakes up in a cold sweat , naked on his Uncle 's couch . The phone is ringing . He looks disoriented , confused . We hear Madame Chretien screaming in the background .</scene_description>
<character>ANDY</character>
<dialogue>Jesus.</dialogue>
<scene_description>He sits up to get the phone and becomes dizzy - he grabs his head . He reaches for the phone and winces - there 's a crusted over FLESH WOUND on his right shoulder . He picks up the phone .</scene_description>
<character>ANDY</character>
<dialogue>Hello?</dialogue>
<character>SERAFINE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( anxious , concerned . )</parenthetical>
<dialogue>Are you okay?</dialogue>
<character>ANDY</character>
<dialogue>No, I do n't think so. I was having a nightmare. Wait a second.</dialogue>
<character>SERAFINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Where did you go last night? What did you do?</dialogue>
<character>ANDY</character>
<dialogue>I do n't. I. I ca n't remember.</dialogue>
<character>SERAFINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Listen, I'm coming over. Do n't go anywhere. Stay right there.</dialogue>
<scene_description>She hangs up . Andy is very confused . He sees the front door - it 's ajar and the door frame has been splintered where the deadbolt sits . Stunned , he stands up , only to double over with a wave of nausea . He covers his mouth and runs stooped over to the bathroom . He leans over the toilet and vomits . After a few heaves his body relaxes and he catches his breath . He opens his eyes and looks down in the bowl - horror and disbelief sweep over his face as he focuses on : A HUMAN EYEBALL staring back at him from the bloody water . The iris is a familiar shade of sparkling blue .</scene_description>
<character>ANDY</character>
<dialogue>Oh no. no.</dialogue>
<scene_description>The doorbell rings . He leaps up , flushes the toilet and runs out of the bathroom , still naked , to find himself in full view of LeDuc and two UNIFORMED COPS standing in the open door . One of the cops is examining the splintered door frame . LeDuc looks to be in an even worse mood than usual . His English is rough , but firm .</scene_description>
<character>LEDUC</character>
<dialogue>Get dressed.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE MORGUE - MORNING</stage_direction>
<scene_description>We 're close on a metal body drawer . A TECHNICIAN pulls it open , revealing a severed human foot , nothing else . LeDuc , Andy , and the technician stand by the drawer in this dreary room . LeDuc never takes his eyes off Andy 's face .</scene_description>
<character>LEDUC</character>
<dialogue>You recognize her?</dialogue>
<character>ANDY</character>
<dialogue>What?!</dialogue>
<scene_description>Leduc looks down , sees the foot , and barks at the technician .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>That's the wrong one!</dialogue>
<scene_description>The technician checks his clipboard and tries another drawer . It contains a rotting ARM . LeDuc curses under his breath . He and the technician start opening drawers at random , peeking in , then slamming them shut .</scene_description>
<character>ANDY</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>You, uh, you want to tell me what this is about?</dialogue>
<scene_description>LeDuc ignores him , continuing to open drawers . The technician appears to have found the right one at the far end .</scene_description>
<character>TECHINICAN</character>
<dialogue>Inspector! C'est le voici.</dialogue>
<scene_description>A little exasperated , LeDuc and Andy go over to see what the technician has found . Once again , LeDuc gives him the nod . He opens the drawer to reveal AMY 'S MANGLED CORPSE It 's badly lacerated . Parts of her throat and midriff are missing , and she has only one eye . Andy gasps in horror .</scene_description>
<character>LEDUC</character>
<dialogue>We know you were with her.</dialogue>
<character>ANDY</character>
<dialogue>Oh shit. No.</dialogue>
<character>LEDUC</character>
<dialogue>That's not all.</dialogue>
<parenthetical>( he reaches for another drawer above Amy 's . )</parenthetical>
<dialogue>Marcel - Officer Boulard was following you.</dialogue>
<character>ANDY</character>
<dialogue>Oh no. no.</dialogue>
<scene_description>He pulls open the drawer to reveal MARCEL 'S MANGLED CORPSE . There 's a gaping hole in his midsection .</scene_description>
<character>LEDUC</character>
<dialogue>He was a good man. Now his wife is a widow.</dialogue>
<character>ANDY</character>
<parenthetical>( overcome . )</parenthetical>
<dialogue>This is. it's like a sick joke, I -</dialogue>
<scene_description>LeDuc grabs Andy by the collar and slams him against the wall</scene_description>
<character>LEDUC</character>
<dialogue>This is not a joke! Not a dream! These people are dead and -</dialogue>
<scene_description>TAP TAP . Through the small window in the door he sees CHIEF PICARD , his superior , trying to get his attention .</scene_description>
<character>LEDUC</character>
<dialogue>Merde. Wait here. When I return you tell me about last night, huh?</dialogue>
<character>ANDY</character>
<dialogue>But. I do n't remember anything, I swear.</dialogue>
<character>LEDUC</character>
<parenthetical>( sternly . )</parenthetical>
<dialogue>I leave these open. Maybe something comes back to you.</dialogue>
<scene_description>He leaves the room . The technician leaves too . Andy 's alone , staring at the corpses . Through the window , he can see LeDuc arguing loudly with his superior . Andy tries to breath deeply , calm down . He turns back to look at Amy 's corpse . Suddenly , her eyes - well , her eye - snaps open and looks straight at him !</scene_description>
<character>AMY</character>
<dialogue>Thanks for the lovely evening, shithead!</dialogue>
<character>ANDY</character>
<dialogue>Aaaaa! Jesus! This is n't happening. I'm still hallucinating. Shit!</dialogue>
<scene_description>Andy storms around in a fit of disbelief .</scene_description>
<character>AMY</character>
<dialogue>You really know how to show a girl a good time, do n't you?</dialogue>
<scene_description>OUTSIDE THE ROOM LeDuc and the Chief have stopped their argument briefly to watch Andy stomping around , gesturing wildly . They resume their argument .</scene_description>
<character>CHIEF</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Okay. So he's weird. Maybe on drugs. Still, that's not -</dialogue>
<character>LEDUC</character>
<dialogue>I'm telling you. It's not drugs. It's something more. Someth -</dialogue>
<character>CHIEF</character>
<dialogue>Do n't give me your black magic bullshit! Seven mutilations in forty eight hours and all you find is a scrawny American boy? Do you have a motive?</dialogue>
<parenthetical>( LeDuc hesitates . )</parenthetical>
<dialogue>Do you have a weapon? Or do you want me to believe he did it with his own two hands?</dialogue>
<character>LEDUC</character>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>I told you. These murders are not normal.</dialogue>
<scene_description>The Chief rolls his eyes , `` here we go again '' style . Meanwhile , INSIDE THE ROOM Andy is still pacing the room madly .</scene_description>
<character>AMY</character>
<dialogue>Face it boyfriend. This is really happening.</dialogue>
<character>ANDY</character>
<dialogue>No it is n't! You're dead!</dialogue>
<scene_description>Marcel comes to life and peeks over the top of his drawer .</scene_description>
<character>MARCEL</character>
<dialogue>I'm afraid she's not so lucky. She's undead. And so am I.</dialogue>
<character>ANDY</character>
<dialogue>Aaaaa! Get the fuck away from me!</dialogue>
<character>MARCEL</character>
<dialogue>What are you so damn angry about? Did somebody turn into a wild beast and rip your intestines out? Huh?</dialogue>
<character>AMY</character>
<dialogue>I spent four years on StairMaster for this bod and you rip through it like a pork chop. Thanks.</dialogue>
<scene_description>Andy blinks hard . Every time he opens his eyes , Marcel and Amy are still there , hideous as ever , staring at him .</scene_description>
<character>ANDY</character>
<dialogue>Okay. dead or undead. what do you want from me?</dialogue>
<character>AMY</character>
<dialogue>A - duh. You're a werewolf. And we, as your victims, have to walk the earth until your curse is lifted.</dialogue>
<character>ANDY</character>
<dialogue>Uh huh. And, supposing I believed that, what could I do about it?</dialogue>
<character>AMY/MARCEL</character>
<parenthetical>( together . )</parenthetical>
<dialogue>Kill yourself.</dialogue>
<character>AMY</character>
<dialogue>It's the only way.</dialogue>
<character>MARCEL</character>
<dialogue>It's not so hard. I used to think about it all the time. Maybe you should meet my wife.</dialogue>
<scene_description>Andy buries his head in his hands . OUTSIDE THE ROOM</scene_description>
<character>CHIEF</character>
<dialogue>Enough. Cut him loose.</dialogue>
<character>LEDUC</character>
<dialogue>I ca n't! At midnight tonight, he will kill again. It's crazy!</dialogue>
<character>CHIEF</character>
<dialogue>Are you crazy? We have nothing. Let him go, then watch him. If you're right, you can pick him up at midnight. Or maybe he'll lead you to the others. Just let him go.</dialogue>
<scene_description>The chief leaves . LeDuc scowls . He looks in at Andy , still gesticulating wildly and talking to thin air . LeDuc reenters the room and looks at Andy bitterly .</scene_description>
<character>LEDUC</character>
<dialogue>You're free to go.</dialogue>
<scene_description>Andy looks from LeDuc to the drawers and back again .</scene_description>
<character>ANDY</character>
<dialogue>Me?</dialogue>
<scene_description>LeDuc gives him an angry stare .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ILE DE LA CITE - DAY</stage_direction>
<scene_description>Andy walks past Notre Dame , flanked by Marcel and Amy .</scene_description>
<character>MARCEL</character>
<dialogue>Hanging is nice. Never goes out of style. What about hare - kare - a taste of the Orient? But no! You're in Paris! Try the Guillotine! There's one in the Louvre!</dialogue>
<character>AMY</character>
<dialogue>I'd use pills. They're painless.</dialogue>
<character>MARCEL</character>
<dialogue>Oh give me a break! He could use pills back in America! Why not get a little culture?</dialogue>
<scene_description>Andy stops in his tracks - overwhelmed , desperate .</scene_description>
<character>ANDY</character>
<dialogue>Look, I did n't mean to hurt anybody. God, I did n't mean to. to.</dialogue>
<character>AMY</character>
<dialogue>Rip my face off? Hey, we all make mistakes. Hell, I did n't mean to sleep with you on the first night, especially without a condom. But I did, and now I'm paying the price.</dialogue>
<scene_description>Andy slumps over , beaten . Amy puts her arm around him . Marcel pats him on the back . They start him walking along .</scene_description>
<character>MARCEL</character>
<dialogue>Let's face it. It's a, how do you say. mother - fucker. But we're all in it together. That's why we're trying to help you.</dialogue>
<character>AMY</character>
<dialogue>Exactly.</dialogue>
<scene_description>HOOOOONNNNK ! Andy looks up to see a speeding bus about to flatten him . Amy and Marcel have lead him into traffic . He jumps back and the bus just grazes him . Of course , it passes right through Amy and Marcel . They 're still standing there when it 's gone .</scene_description>
<character>MARCEL</character>
<dialogue>Merde! Just missed!</dialogue>
<character>AMY</character>
<parenthetical>( to Andy . )</parenthetical>
<dialogue>Uhh! Would you die already!</dialogue>
<scene_description>Andy 's adrenaline is pumping . There 's still some fight in him .</scene_description>
<character>ANDY</character>
<dialogue>Fuck you! If I'm gon na kill myself I'll do it when I'm good and ready! You can go to hell!</dialogue>
<character>MARCEL</character>
<dialogue>No we ca n't. That's the problem. God knows it would beat hanging around with you!</dialogue>
<scene_description>Andy socks Marcel and breaks his jaw - off . It skitters off into the street . He punches him in the gut - SKLURCH ! His fist gets stuck in the tangle of Marcel 's abdominal organs . While Andy tries to pull his hand free , Amy rears back and kicks him in the balls . He wrenches his hand loose and staggers back , clutching his groin .</scene_description>
<character>ANDY</character>
<dialogue>Hey, you ca n't kick me! You're an apparition!</dialogue>
<character>AMY</character>
<dialogue>What, all of a sudden you got a degree in supernatural law?</dialogue>
<scene_description>Marcel fits his jaw back into place .</scene_description>
<character>MARCEL</character>
<dialogue>Call it the power of suggestion.</dialogue>
<scene_description>He socks Andy in the mouth . Andy shakes it off , rips Marcel 's arm off , bashes him in the face with it , then turns around and uses it to beat Amy over the head . Meanwhile . IN AN UNMARKED POLICE CAR PARKED A HALF BLOCK AWAY RENE and FRANCOIS , the two cops who accompanied LeDuc to Andy 's apartment , watch Andy whirl around the sidewalk , swinging wildly at the air , reacting to invisible blows , and cursing unseen enemies .</scene_description>
<character>RENE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>You know, in his own way, he's probably happier than any of us.</dialogue>
<scene_description>Francois nods philosophically . Meanwhile , back in Andy 's reality . Marcel has got him in a full Nelson and Amy is punching him in the stomach . He bucks forward , wrenching both of Marcel 's arms off and slams them together onto Amy 's head , knocking her down . Andy waves Marcel 's arms in triumph .</scene_description>
<character>ANDY</character>
<dialogue>Ha - ha!</dialogue>
<character>AMY</character>
<dialogue>Oh, big man. You can beat up a couple of cadavers. Well let me make something real clear, asshole. If you do n't kill yourself, at midnight tonight you're gon na transform and murder innocent people!</dialogue>
<character>MARCEL</character>
<dialogue>What are you going to be, McDermott? A coward and a murderer? Or a man, with guts enough to do the right thing?</dialogue>
<scene_description>The truth of this question hits home with Andy . A heavy expression falls over his face , one of grave sadness , but also inner dignity . He breathes deeply and exhales .</scene_description>
<character>ANDY</character>
<dialogue>Alright. Let me write a letter.</dialogue>
<character>MARCEL</character>
<dialogue>Good man. Now can I have my arms back?</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEWS STAND - DAY</stage_direction>
<scene_description>Music cue : Thelonius Monk 's `` Round Midnight '' . The NEWS STAND MAN hands Andy some stamps . Andy sticks them on a letter addressed to Mr. and Mrs. William McDermott . He starts walking away but a postcard in the display rack catches his eye - it 's Rodin 's '' The Kiss '' . He looks at it sadly . A MAILBOX Andy drops the letter in the box . He walks to a pay phone on the sidewalk . Amy and Marcel lean on a nearby building , watching Andy dial . Terrence 's answering machine picks up .</scene_description>
<character>TERRENCE'S MACHINE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( French . )</parenthetical>
<dialogue>Hey. This is Terrence. Please leave a message at the beep.</dialogue>
<parenthetical>( English . )</parenthetical>
<dialogue>In other words, this is Terrence McDermott. Please leave a message.</dialogue>
<parenthetical>( it BEEPS . )</parenthetical>
<dialogue />
<character>ANDY</character>
<dialogue>Hey, Serafine, I hope you're checking these. It's Andy. So I guess you knew what was wrong with me yesterday. Unfortunately it took me until today to realize it, and because of that two people are dead. If you did n't know, well, shit, it's irrelevant now. I know what I have to do, but before I do it I just wanted to say. I do n't know what would've happened with us, but I'm really glad I had the chance to know you even if it was only a couple of days and. I do n't know. I probably would n't have the nerve to say this if I was gon na see you again, but I think if I had the chance to kiss you one more time I would've fallen totally in love with you.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APT. - SAME TIME</stage_direction>
<scene_description>The door opens , Serafine enters and runs to the machine .</scene_description>
<character>ANDY</character>
<parenthetical>( ON MACHINE . )</parenthetical>
<dialogue>Oh well. Bye Serafine.</dialogue>
<scene_description>Serafine snatches the phone off the receiver just as Andy hangs up . She gets a dial tone . She 's very upset .</scene_description>
<character>SERAFINE</character>
<dialogue>Merde!</dialogue>
<scene_description>ON THE SIDEWALK Amy and Marcel watch Andy hang up in the phone booth . The emotion of the moment is getting to Amy .</scene_description>
<character>AMY</character>
<dialogue>Geez, I feel bad for him. Maybe we should've told him abou -</dialogue>
<character>MARCEL</character>
<dialogue>Are you crazy!? You know that's totally impractical. Besides, like the Bible says.</dialogue>
<parenthetical>( he sticks his finger in her empty eye socket . )</parenthetical>
<dialogue>An eye for an eye.</dialogue>
<scene_description>Amy nods . Andy exits the phone booth and approaches them . `` Round Midnight '' fades out .</scene_description>
<character>ANDY</character>
<dialogue>Let's do it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ESPLANADE - DAY</stage_direction>
<scene_description>Andy drains the last of a bottle of Jack Daniel 's and wobbles along , totally smashed and a bit wistful , with Amy and Marcel in tow .</scene_description>
<character>ANDY</character>
<dialogue>What the hell, lots of my heroes killed themselves. Hemingway, Van Gogh. um. Herve Villachaise.</dialogue>
<character>MARCEL</character>
<dialogue>But this is class kid, all the way. What a way to go.</dialogue>
<character>AMY</character>
<dialogue>You got style, babe. That's why I went for you in the first place.</dialogue>
<scene_description>WIDE SHOT They 're approaching the Eiffel tower .</scene_description>
<character>ANDY</character>
<dialogue>When they ask how I died, just tell'em. Ei - ffel.</dialogue>
<scene_description>THE COPS sit in their car , watching Andy buy his ticket and get into the elevator .</scene_description>
<character>FRANCOIS</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Should we follow him up?</dialogue>
<character>RENE</character>
<dialogue>Well, he's got ta come down some time. Fuck it, let's grab a bite.</dialogue>
<character>FRANCOIS</character>
<dialogue>Good thinking.</dialogue>
</scene>
<scene>
<stage_direction>INT. PATISSERIE - DAY</stage_direction>
<scene_description>It 's a typical Parisian bakery , stuffed to the ceiling with an unbelievable array of the finest , most delectable pastries . Rene steps to the counter .</scene_description>
<character>RENE</character>
<dialogue>Vous avez les doughnuts?</dialogue>
</scene>
<scene>
<stage_direction>EXT. EIFFEL TOWER OBSERVATION DECK - DAY</stage_direction>
<scene_description>We 're looking at the elevator doors . They open . Andy strides out onto the deck , through the milling TOURISTS , flanked by Marcel and Amy .</scene_description>
<character>ANDY</character>
<dialogue>There's only one thing certain in life - each of us owes God a death.</dialogue>
<scene_description>Proud , determined , Andy arrives at the six foot wire mesh fence and quickly scales it . Amy and Marcel follow . Nearby tourists are alarmed and a clamor of concern rises up . Those with camcorders jockey for position .</scene_description>
<character>ANDY</character>
<dialogue>All we can do is make sure it's a good one.</dialogue>
<scene_description>Andy gets over the fence and stands on the small ledge . Amy and Marcel join him . The tourists gasp . Andy glances down at THE PRECIPITOUS DROP . He turns suddenly pale .</scene_description>
<character>ANDY</character>
<dialogue>Shit. I feel sick.</dialogue>
<character>MARCEL</character>
<dialogue>Do n't worry. In a few seconds you wo n't feel a thing.</dialogue>
<character>ANDY</character>
<dialogue>Puking on yourself in midair is not a good death.</dialogue>
<character>AMY</character>
<dialogue>Look, the more you think about it, the harder it is.</dialogue>
<character>MARCEL</character>
<dialogue>Just like sex with my wife.</dialogue>
<character>AMY</character>
<dialogue>The key is do n't look down.</dialogue>
<character>MARCEL</character>
<dialogue>Also like sex with my wife.</dialogue>
<character>AMY</character>
<parenthetical>( to Marcel . )</parenthetical>
<dialogue>Would you shut up?</dialogue>
<scene_description>Andy looks woozy . Tourists are trying to dissuade him in Italian , Japanese , Icelandic , etc. . Marcel tries a new tack .</scene_description>
<character>MARCEL</character>
<dialogue>Tell you what, we'll jump together.</dialogue>
<character>AMY</character>
<parenthetical>( picking up Marcel 's lead . )</parenthetical>
<dialogue>Sure. We would n't ask you to do anything we would n't do. Now give me your hand. that's it.</dialogue>
<scene_description>Amy coaxes Andy 's hand off the fence . The crowd gasps . Andy grits his teeth and focuses again .</scene_description>
<character>AMY/MARCEL</character>
<dialogue>One. two. three. JUMP!</dialogue>
<scene_description>They jump , but Andy stops short - GASTON is leaning over the fence and has Andy by his shirt .</scene_description>
<character>GASTON</character>
<dialogue>You're not getting off so easy.</dialogue>
<scene_description>AMY AND MARCEL Plummet through the air . They look back at Andy , annoyed .</scene_description>
<character>MARCEL</character>
<dialogue>Merde! I ca n't believe this!</dialogue>
<character>AMY</character>
<dialogue>You try to be a good sport, and look what happens.</dialogue>
<scene_description>SPLAT ! Their bodies split into several pieces and squirt out on the pavement into two radial patterns , each about ten feet in diameter . Repair will take a while this time .</scene_description>
<character>MARCEL'S HEAD</character>
<dialogue>Huh. Galileo was right.</dialogue>
<character>AMY'S HEAD</character>
<dialogue>Who?</dialogue>
<scene_description>GASTON has Andy by the arm and is trying to pull up to `` safety '' . The tourists cheer him on . Andy is resisting .</scene_description>
<character>GASTON</character>
<dialogue>Where's the ADM? Where did your uncle put it?</dialogue>
<character>ANDY</character>
<dialogue>Man, I do n't know what the fuck you're talking about.</dialogue>
<character>GASTON</character>
<dialogue>Bullshit! Your uncle told you!</dialogue>
<character>ANDY</character>
<dialogue>My uncle's in a coma you moron!</dialogue>
<character>GASTON</character>
<dialogue>Before the coma!</dialogue>
<character>ANDY</character>
<dialogue>He did n't tell me anything. All he said was Saint Severin.</dialogue>
<scene_description>Andy swallows the word `` Severin '' , remembering something as he speaks . Suddenly wheels are turning in his head .</scene_description>
<character>GASTON</character>
<dialogue>Saint Severin? The church? So you know all about the ADM!</dialogue>
<parenthetical>( Andy reacts to the word `` church ? ''</parenthetical>
<parenthetical>. )</parenthetical>
<dialogue>Where is it! Tell me! Tell me or else!</dialogue>
<character>ANDY</character>
<dialogue>Or else what? You'll kill me?</dialogue>
<character>GASTON</character>
<dialogue>No. But I'll kill your fucking girlfriend!</dialogue>
<character>ANDY</character>
<dialogue>You'll never get the chance.</dialogue>
<scene_description>Andy pulls backward as hard as he can , jerking Gaston off balance . He 's trying to pull them both to their deaths , but Gaston grabs a STEEL POST with his free hand . Andy hangs below the ledge , pulling Gaston 's arm down with all his new superhuman strength . But Gaston pulls back just as hard . Andy sees The STEEL POST start to bend . He looks into Gaston 's FERAL STARE and understands .</scene_description>
<character>ANDY</character>
<dialogue>It was you! You son - of - a - bitch! You got my uncle!</dialogue>
<scene_description>The POST keeps bending - its welds wo n't hold long .</scene_description>
<character>GASTON</character>
<dialogue>Do n't be an idiot! I'm not the only one. If I die, Serafine dies!</dialogue>
<character>ANDY</character>
<dialogue>Bullshit! You're bluffing!</dialogue>
<character>GASTON</character>
<dialogue>What, you think Claude hangs out underground cause he likes to dance?</dialogue>
<scene_description>This gives Andy pause .</scene_description>
<character>ANDY</character>
<dialogue>Claude?</dialogue>
<character>GASTON</character>
<dialogue>And you call me a moron.</dialogue>
<scene_description>Andy stops pulling . He looks uncertain - maybe Gaston is right . But then - SNAP ! The post , which has bent all the way over into a `` J '' shape , snaps its weld . Gaston and Andy plummet towards the ground nine hundred feet below . The tourists gasp . Using the bent pole as a hook , Gaston snares a HORIZONTAL ANTENNA which sticks out of the tower about fifty feet under the observation deck . He stops short and dangles there , still gripping Andy by the arm . The tourists CHEER . Meanwhile , nine hundred feet below . RENE AND FRANCOIS lean on their car , munching doughnuts . The tower looms behind them , and we can just make out the dangling figures at the top . Rene reaches into the paper doughnut bag and comes up short .</scene_description>
<character>RENE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Oh! You ate the last jelly!</dialogue>
<scene_description>UP ON THE ANTENNA Gaston 's grip is firm . They 'll have to climb up the iron cross beams to the observation deck .</scene_description>
<character>GASTON</character>
<dialogue>The ADM. Let's go.</dialogue>
<character>ANDY</character>
<dialogue>Yeah, okay. Just gim me a minute to freshen up.</dialogue>
<scene_description>ON THE OBSERVATION DECK Andy and Gaston climb up onto the deck . The tourists applaud and cheer for Gaston - the `` hero '' .</scene_description>
<character>TOURISTS</character>
<dialogue>Bravo! Magnifique! Wunderbah!</dialogue>
<scene_description>Gaston ca n't resist posing as the cameras flash - he sucks in his cheeks , purses his lips and does his best `` Mickey Rourke '' . Andy looks at him , incredulous .</scene_description>
<character>ANDY</character>
<dialogue>I must be in Paris. Even the werewolves are poseurs.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APT. BUILDING</stage_direction>
<scene_description>Gaston and Andy endure the elevator ride together .</scene_description>
<character>ANDY</character>
<dialogue>So, if you and the nutty professor are both werewolves, what do you want with drugs? You like seeing lots of pretty colors when you're tearing people's throats out?</dialogue>
<character>GASTON</character>
<dialogue>If you know about the church, why ask such stupid questions?</dialogue>
<scene_description>They step out of the elevator and up to the apartment door . Andy takes his key ring out and tries the lock . The key wo n't turn . Andy jiggles it .</scene_description>
<character>ANDY</character>
<dialogue>Damn.</dialogue>
<scene_description>He tries another key . It does n't work . He jiggles it , rattling the door on its hinges .</scene_description>
<character>GASTON</character>
<dialogue>What's the problem?</dialogue>
<character>ANDY</character>
<dialogue>Hey, I'm new here, what do you want?</dialogue>
<scene_description>Andy tries a third key . No good . More jiggling .</scene_description>
<character>GASTON</character>
<dialogue>Fucking cretin.</dialogue>
<scene_description>The fourth key works . Andy pushes the door open . Gaston shoves him in roughly and steps in after him .</scene_description>
</scene>
<scene>
<stage_direction>INT. TERRENCE'S APARTMENT</stage_direction>
<scene_description>Gaston shuts the door behind him and walks over to Andy , who scans the room nervously , unsure of his next move .</scene_description>
<character>GASTON</character>
<dialogue>Where is it? Hurry up!</dialogue>
<scene_description>Andy 's eyes come to rest on the end table drawer , where Serafine had put the gun before . He advances toward it .</scene_description>
<character>ANDY</character>
<parenthetical>( patronizing . )</parenthetical>
<dialogue>Okay, okay. I got your magic medicine right here, dogboy. Just -</dialogue>
<scene_description>Gaston grabs Andy 's hand before he opens the drawer .</scene_description>
<character>GASTON</character>
<dialogue>Do you think I'm an idiot?</dialogue>
<character>ANDY</character>
<parenthetical>( beat .</parenthetical>
<parenthetical>incredulous . )</parenthetical>
<dialogue>Sure. Do n't you?</dialogue>
<scene_description>He shoves Andy away and opens the drawer . no gun . They hear a pistol COCK behind them .</scene_description>
<character>SERAFINE</character>
<dialogue>Looking for this?</dialogue>
<scene_description>Gaston turns and sees Serafine aiming the gun at him . With incredible speed he leaps for the window as Serafine fires . BANG ! The bullet catches him in the arm as he dives through the glass . BANG ! She fires again and misses . Gaston lands in the courtyard , three stories below , and runs off with a slight limp . BANG ! BANG ! Serafine fires blindly into the courtyard after him , overwrought with anger . Andy puts a hand to her arm , and she lowers the gun . They embrace tightly , desperately . Serafine ca n't keep from crying . Andy comforts her .</scene_description>
<character>ANDY</character>
<dialogue>Hey, hey. shhh. It's okay now. La Femme Nikita strikes again.</dialogue>
<scene_description>He wipes away her tears and she smiles at his joke .</scene_description>
<character>SERAFINE</character>
<dialogue>Andy, I thought. I heard your message and. thank God you're alright.</dialogue>
<scene_description>She embraces him again , but Andy gently frees himself .</scene_description>
<character>ANDY</character>
<dialogue>I'm not alright. We both know that. The only reason I'm here now is to warn you. You're still in danger. Gaston told me that Claude has got the curse too. He's a werewolf.</dialogue>
<character>SERAFINE</character>
<dialogue>I know. He told me.</dialogue>
<character>ANDY</character>
<dialogue>What?! He told you? When?</dialogue>
<scene_description>Andy hears a familiar voice behind him .</scene_description>
<character>CLAUDE</character>
<dialogue>Two weeks ago.</dialogue>
<scene_description>Andy spins around to see Claude standing by the hallway to Terrence 's office . Andy reaches for the gun and points it at him .</scene_description>
<character>ANDY</character>
<dialogue>You two faced bastard. I knew you were full of shit.</dialogue>
<character>SERAFINE</character>
<dialogue>Andy! No!</dialogue>
<scene_description>She puts herself between Claude and the gun barrel . Andy pushes her out of the way .</scene_description>
<character>ANDY</character>
<dialogue>Serafine! Move! Do n't you see, he's just after the drug, that ADM stuff. He's using you to get to it, just like he used Uncle Terrence.</dialogue>
<scene_description>Claude approaches Andy , speaking calmly .</scene_description>
<character>CLAUDE</character>
<dialogue>You're exactly right, Andy. I enlisted both Serafine and your uncle to obtain ADM. And now I'm counting on your assistance too.</dialogue>
<character>ANDY</character>
<dialogue>Why the fuck would I do that?</dialogue>
<character>SERAFINE</character>
<dialogue>Because, Andy. It's a cure.</dialogue>
<character>ANDY</character>
<dialogue>A cure?</dialogue>
<character>CLAUDE</character>
<dialogue>A cure. With ADM we can wipe out lycanthropy, the curse of the werewolf, forever.</dialogue>
<scene_description>Andy is shocked , stunned , skeptical . He bluffs with the only card he 's got .</scene_description>
<character>ANDY</character>
<dialogue>Is that so? Maybe we should go to Saint Severin church and make sure, huh?</dialogue>
<scene_description>Claude 's face changes . He 's surprised .</scene_description>
<character>CLAUDE</character>
<dialogue>Ah, you've done your homework. Excellent. Get your coat. Leave the gun with Serafine. She can keep searching. We do n't have much time.</dialogue>
<scene_description>Andy and Serafine share a heavy look . He hands her the gun .</scene_description>
<character>SERAFINE</character>
<dialogue>Andy. I should never have let you go underground. I'm sorry.</dialogue>
<character>ANDY</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>I had to be a damn Hemingway hero. Well I'll tell ya, the old man and the sea did n't go through half this shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SAINT SEVERIN CHURCH - EVENING</stage_direction>
<scene_description>Sheets of rain crash down over this ancient gothic church . Sharing an umbrella , Andy and Claude walk inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNMARKED POLICE CAR</stage_direction>
<scene_description>Parked across the street , Rene and Francois watch them enter the church . Rene talks into a cellular phone .</scene_description>
<character>RENE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>He's going into Saint Severin church with Professor Claude Roussel.</dialogue>
</scene>
<scene>
<stage_direction>INT. LEDUC'S OFFICE - SAME TIME</stage_direction>
<character>LEDUC</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Really. Okay, keep checking in.</dialogue>
<scene_description>LeDuc hangs up and thinks a moment . He turns the page of the old book on his desk , revealing an old woodcut illustration of a policeman being attacked by a werewolf . He frowns .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAINT SEVERIN CHURCH - EVENING</stage_direction>
<scene_description>An evening mass is in progress . The boy 's choir fills the church with a solemn hymn . Andy follows Claude to a narrow staircase . An OLD WOMAN gives them the evil eye and crosses herself as they pass . Claude and Andy go up the stairs and arrive at a balcony under a magnificent wall of ancient STAINED GLASS . One of the panels catches Andy 's eye .</scene_description>
<character>ANDY</character>
<dialogue>Whoa.</dialogue>
<scene_description>THE PANEL shows a weird medieval ritual - a man draining blood from another man 's neck into a goblet . ANOTHER PANEL features a pentagram . ANOTHER PANEL shows a huge werewolf eating a monk under a frowning sun . All the transcriptions are in Latin . Claude signals Andy to follow him .</scene_description>
<character>CLAUDE</character>
<dialogue>The panels that concern us are over here.</dialogue>
<parenthetical>( he directs Andy to a group of panels . )</parenthetical>
<dialogue>I'll translate the Latin.</dialogue>
<scene_description>A PANEL shows a different werewolf , tied down , being stabbed in the heart by a knight under a frowning moon .</scene_description>
<character>CLAUDE</character>
<dialogue>`` Then Simon did slay the demon spirit, the same as had made him unclean,''</dialogue>
<scene_description>THE NEXT PANEL - the knight now holds the beast 's heart aloft , impaled on his dagger . Where the beast was , a man lies bleeding in the background .</scene_description>
<character>CLAUDE</character>
<dialogue>`` and Simon did cut out the heart of the beast which once dead, regained the shape of a man''</dialogue>
<scene_description>THE NEXT PANEL shows the beast 's heart on a platter . The Hero is sitting at a table , cutting into the heart with a knife , as if he 's about to eat it .</scene_description>
<character>CLAUDE</character>
<dialogue>`` Simon ate of the heart of the beast and his soul was cleansed.''</dialogue>
<parenthetical>( he turns to Andy . )</parenthetical>
<dialogue>These pictures are not just myth, Andy. The scholars of the day used them to record facts and enlighten the public. This is the medieval version of a newspaper.</dialogue>
<character>ANDY</character>
<parenthetical>( skeptical . )</parenthetical>
<dialogue>Yeah, well what if it's the Weekly World News.</dialogue>
<character>AMY</character>
<dialogue>No. It's all true, Andy.</dialogue>
<scene_description>Startled , Andy turns to see Amy and Marcel , a little worse for wear , standing behind them .</scene_description>
<character>AMY</character>
<dialogue>I mean, if by some miracle you can find the werewolf that bit you, and then manage to eat it's heart, the curse is lifted. I was gon na tell you but Marcel would n't let me.</dialogue>
<character>MARCEL</character>
<dialogue>Oh sure, it was all mean old Marcel's idea. Give me a break! We did n't tell you because it's a wild goose chase! Not to mention disgusting. Look.</dialogue>
<scene_description>Marcel reaches into his own chest cavity , rips out his own slimy purple heart , and thrusts it in Andy 's face .</scene_description>
<character>MARCEL</character>
<dialogue>A little Grey Poupon and then Bon appetite, eh?</dialogue>
<scene_description>Andy grimaces and turns back to Claude .</scene_description>
<character>CLAUDE</character>
<parenthetical>( to Amy . )</parenthetical>
<dialogue>I do n't believe we've been introduced.</dialogue>
<character>ANDY</character>
<dialogue>What? Oh, right, you can see these guys too. Jesus.</dialogue>
<parenthetical>( he rolls his eyes . )</parenthetical>
<dialogue />
<character>AMY</character>
<parenthetical>( smiles and extends her hand . )</parenthetical>
<dialogue>Amy. Nice to meet you.</dialogue>
<scene_description>Claude shakes her hand - SQUISH . Some sort of body fluid oozes out of Amy 's hand . Claude frowns and discreetly wipes his hand with a handkerchief . Marcel smiles and extends his hand .</scene_description>
<character>MARCEL</character>
<dialogue>Marcel.</dialogue>
<parenthetical>( Claude smiles politely , declining Marcel 's rotting hand . )</parenthetical>
<dialogue>My wife has all your books.</dialogue>
<scene_description>Claude nods `` thank you '' . Andy 's had enough .</scene_description>
<character>ANDY</character>
<dialogue>Great. Later on we'll have to get together for cocktails. Right now I kinda have to hurry before I grow a lot of hair and eat people.</dialogue>
<parenthetical>( to Claude . )</parenthetical>
<dialogue>Say this heart thing works. What's it got to do with ADM?</dialogue>
<character>CLAUDE</character>
<dialogue>It's chemistry, Andy. Nothing more. Mutated antigens concentrated in the heart of the infector unlock a vaccine - like chain reaction in the infectee. There were not many bio - chemists working in the twelfth century, but with today's technology it's possible to synthesize any chemical imaginable. When I discovered this ancient cure I knew who to go to.</dialogue>
<character>ANDY</character>
<dialogue>Uncle Terrence.</dialogue>
<character>CLAUDE</character>
<dialogue>Yes. I was able to decode the old texts and give Terrence the specifications. It took a lot of trial and error, but finally he got it : Adenine Di - Methyloxide. ADM. I call it ADAM. But just before he was attacked, he hid it.</dialogue>
<character>ANDY</character>
<dialogue>Because Gaston was after it.</dialogue>
<character>CLAUDE</character>
<dialogue>Yes, that sociopath. He's given himself over to the evil of lycanthropy. To him, ADAM is just a threat to the terror he holds over others. To us, it's salvation.</dialogue>
<character>MARCEL</character>
<dialogue>Yeah, well I do n't know much about chemistry, but even if this stuff works, you better find it by midnight. Otherwise it's -</dialogue>
<character>ANDY</character>
<dialogue>Yeah, I know. Back to the Eiffel Tower.</dialogue>
<parenthetical>( to Claude . )</parenthetical>
<dialogue>And what about you?</dialogue>
<character>CLAUDE</character>
<dialogue>Believe me, I wo n't go through another night of that hell. I have my contingency plan right here.</dialogue>
<scene_description>He removes a WHITE PILL from his coat pocket and holds it up .</scene_description>
<character>CLAUDE</character>
<dialogue>Sodium cyanide.</dialogue>
<scene_description>The CHURCH BELLS ring . The group listens tensely as the solemn bells sound eight times .</scene_description>
<character>ANDY</character>
<dialogue>Eight o'clock. Shit. You'd think my uncle would have left a clue, a note, something.</dialogue>
<character>CLAUDE</character>
<dialogue>That's what Serafine is searching for. Without much luck, I'm afraid. If only we could speak with him. But alas, he's off in another realm, close to death.</dialogue>
<scene_description>The wheels in Andy 's head are turning . He looks over at Amy and Marcel . He smiles . He 's got an idea .</scene_description>
<character>MARCEL</character>
<dialogue>Andy, please. Do n't smile like that. You're scaring me.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - NIGHT</stage_direction>
<scene_description>Andy and Serafine walk down the corridor of the Terminal Ward . Andy looks determined . Serafine looks upset .</scene_description>
<character>SERAFINE</character>
<dialogue>What makes you so sure this will work?</dialogue>
<character>ANDY</character>
<dialogue>I told you. He already tried to contact me once. If you saw his face. He was desperate to tell me something. I owe him this.</dialogue>
<character>SERAFINE</character>
<dialogue>I do n't know.</dialogue>
<character>ANDY</character>
<dialogue>Listen, either he wastes away as a pathetic vegetable or he can give what's left of his life to save hundreds of potential victims. He's a McDermott. I know what his choice would be.</dialogue>
<character>SERAFINE</character>
<dialogue>I suppose you're right. But I still do n't like it.</dialogue>
<scene_description>They stop at the door to Terrence 's room .</scene_description>
<character>ANDY</character>
<dialogue>Fine. You do n't have to watch. Stay out here and stand guard.</dialogue>
<scene_description>She nods . Andy goes into TERRENCE 'S HOSPITAL ROOM The lights are off . Andy approaches Terrence 's oxygen tent . In the dim light , he can barely make out Terrence through the plastic , lying motionless , barely making an impression under the sheets . He looks at the body wistfully and surveys the array of machinery that 's keeping him `` alive '' . Most of the machines are plugged into a TRANSFORMER BOX on the floor .</scene_description>
<character>ANDY</character>
<dialogue>Hey. We meet again. Look, I know you understand what I'm about to do here. I think. But I hope you forgive me anyway.</dialogue>
<scene_description>Andy takes a deep breath . He leans down to the transformer and opens the safety cover , and flips the power switch . All the machines power down . Suddenly the old man in the bed sits up , gasping , and clawing at the walls of the oxygen tent . Oh my God ! It 's NOT Terrence ! Andy nearly soils himself , diving down to fumble with the transformer , suddenly all thumbs . He switches the power on again . THE NURSE STATION The fat , sour looking duty nurse sees the alarm from the failed life support system . She 's about to call for help when the indicator stops flashing . She watches it intently for a few seconds , nothing . She decides to dismiss it . TERRENCE 'S ROOM The old man is lying back down , asleep . He seems to be okay . His support machinery is functioning normally again . With a sigh of relief , Andy turns and pulls back the curtain behind him . There 's Terrence , sans oxygen tent , hooked up to another extensive support system .</scene_description>
<character>ANDY</character>
<dialogue>So. You moved.</dialogue>
<scene_description>He pulls the curtain closed behind him , and moves in close to his uncle . Terrence 's expression looks unmistakably morose .</scene_description>
<character>ANDY</character>
<dialogue>You do n't look happy. Um, I do n't usually go in for this stuff, but.</dialogue>
<parenthetical>( He crosses himself , and says a silent prayer . )</parenthetical>
<dialogue>Amen.</dialogue>
<scene_description>Andy leans down , opens the transformer box , and flips the power switch . The machines power down - all except the EKG monitor , which shows a flat line and emits the familiar steady tone . Andy switches off the monitor . Silence . Terrence 's body is completely still , peaceful . He leans down over its face and speaks in a soft voice .</scene_description>
<character>ANDY</character>
<dialogue>Uncle Terrence? Can you hear me?</dialogue>
<scene_description>Terrence 's body remains motionless . AT THE NURSE 'S STATION This time the nurse does n't wait to respond . Seeing the indicators from Terrence 's room , she presses the intercom .</scene_description>
<character>NURSE</character>
<dialogue>Chambre 411. Code bleu! Code bleu!</dialogue>
<scene_description>IN TERRENCE 'S ROOM Silence . Andy 's worried . He takes his uncle by the shoulders .</scene_description>
<character>ANDY</character>
<dialogue>Come on. Skip the undead orientation and get down here.</dialogue>
<scene_description>Nothing . He looks at the door nervously . OUTSIDE THE DOOR Serafine sees a squad of doctors and nurses pushing trolleys of emergency equipment her way from the far end of the hall . She leans her head in the door to warn Andy .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>Andy is beside himself with stress . He shakes Terrence 's bed a little to rouse him . Nothing . He tries a little harder shake . The door opens . It 's Serafine , also in a panic .</scene_description>
<character>SERAFINE</character>
<dialogue>They're coming!</dialogue>
<character>ANDY</character>
<dialogue>Shit. What have I done?</dialogue>
<parenthetical>( to Serafine . )</parenthetical>
<dialogue>Stall them! I'll meet you out back.</dialogue>
<scene_description>She shuts the door , just in time . The emergency team are right there .</scene_description>
<character>SERAFINE</character>
<parenthetical>( feigning hysterics . )</parenthetical>
<dialogue>Stay away from him! You butchers! Have n't you done enough already!</dialogue>
<scene_description>They struggle to get past her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>Andy can hear Serafine arguing outside the door . He looks out the window to the three story drop into the alley below . OUTSIDE THE DOOR Serafine is finally shoved aside . They push the door open . INSIDE Andy rushes to the door and pushes it shut . He cranks the DOORKNOB all the over and bends it down , jamming it in the locked position . He steps away . The door holds , but for how long ? He looks at the old man in the oxygen tent . Hmm . He pushes the old man 's bed up against the door . Andy forces the window open and steps out onto the ledge . He looks back at his uncle , and the old guy . He shrugs apologetically , then takes a deep breath , closes his eyes , and jumps . OUTSIDE THE HOSPITAL ROOM DOOR The fat nurse is getting impatient with the doctors , who are attempting to pick the lock `` surgically '' . She pushes them aside and heaves her considerable heft against into the door . It opens a crack . She backs up and slams it again . INSIDE THE ROOM The nurse 's jolts shake the old guy 's bed , sliding it forward . He dozes happily like a baby rocking in the cradle .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BACK ALLEY BEHIND THE HOSPITAL</stage_direction>
<scene_description>Andy runs behind a nearby dumpster to avoid being seen from the window above . He kicks the wall in frustration .</scene_description>
<character>ANDY</character>
<dialogue>Damn it!</dialogue>
<scene_description>A voice calls out from behind Andy .</scene_description>
<character>TERRENCE'S VOICE</character>
<dialogue>Whoa! What an outrageous nightmare!</dialogue>
<scene_description>Andy spins around and sees Terrence , the undead version , perched atop some trash bags , scratching himself .</scene_description>
<character>ANDY</character>
<dialogue>Uncle Terrence?</dialogue>
<character>TERRENCE</character>
<dialogue>Andy? Andy is that you?</dialogue>
<character>ANDY</character>
<dialogue>Yeah. Look, uncle Terrence -</dialogue>
<scene_description>Terrence mutters distractedly , excitedly , and quickly .</scene_description>
<character>TERRENCE</character>
<dialogue>Andy, I have to tell you about the dream I had - or that I'm still having - it feels like a systemic, physio - tropic reaction to some drug, maybe a triptamine or phenethylamine derivative. But it is hyper - real. I'd swear my legs had been cut off or. wait a second. I'm getting a strange meta - physical buzz. Shit. I'm, uh, dead, are n't I?</dialogue>
<character>ANDY</character>
<dialogue>Sort of.</dialogue>
<scene_description>BACK IN THE HOSPITAL ROOM The doctors have clustered around Terrence 's corpse . The nurse is lubricating the electro - shock paddles for the doctor . Serafine slips out the door into the hallway . SOMEONE 'S POV , spying from behind a supply cart in the hallway -LRB- we see a hand on the cart -RRB- , watches Serafine walk away , unnoticed by the doctors . BACK IN THE ALLEY</scene_description>
<character>TERRENCE</character>
<dialogue>Undead. Right. Sort of an ectocosmic manifestation. What a pisser. Tell you one thing though, Timothy Leary will be jealous as hell.</dialogue>
<character>ANDY</character>
<dialogue>Great, but listen, I need to know where you hid the ADM?</dialogue>
<character>TERRENCE</character>
<dialogue>The ADM! Be careful, Andy. It's very powerful. How do you know about it?</dialogue>
<character>ANDY</character>
<dialogue>I went to St. Severin church.</dialogue>
<parenthetical>( Terrence reacts `` I see . ''</parenthetical>
<parenthetical>. )</parenthetical>
<dialogue>Now look -</dialogue>
<scene_description>IN TERRENCE 'S ROOM ZAP ! The doctor jolts Terrence 's chest with the paddles . IN THE ALLEY Terrence 's zombie jerks with sudden pain .</scene_description>
<character>TERRENCE</character>
<dialogue>Oh shit! No! Andy, do n't let them take me back there!</dialogue>
<character>ANDY</character>
<dialogue>The ADM! Quickly! Where is it?!</dialogue>
<scene_description>TERRENCE 'S ROOM ZZT ! They zap him again . IN THE BACK ALLEY</scene_description>
<character>ANDY</character>
<dialogue>Where is it! Please!</dialogue>
<character>TERRENCE</character>
<dialogue>AHHH! The wine cellar! In a bottle of Chateau Margaux. A metal cylinder. Do n't. Do n't - AAAAH!</dialogue>
<scene_description>Another zap . The undead Terrence twists his face in pain . In the background , Serafine appears at the mouth of the alley . Terrence croaks out a few last words .</scene_description>
<character>TERRENCE</character>
<dialogue>Lies! All lies! Ahhhh!</dialogue>
<scene_description>Andy turns towards Serafine , then back to his uncle , but Terrence is gone .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>Terrence 's face is contorted with pain . The EKG monitor shows a weak but regular heartbeat . The doctor pulls off his mask and wipes his brow . The other technicians congratulate him . IN THE ALLEY Serafine approaches . Andy runs up to join her .</scene_description>
<character>ANDY</character>
<dialogue>I saw him. Just before those bastards zapped him back. The ADM is in the wine cellar, in a bottle of Chateau Margaux.</dialogue>
<character>SERAFINE</character>
<dialogue>I did n't know he had a wine cellar.</dialogue>
<character>ANDY</character>
<dialogue>Guess that's why he hid it there. Let's go.</dialogue>
<scene_description>They run out of the alley and see GASTON jump on his hopped - up Kawasaki enduro .</scene_description>
<character>SERAFINE</character>
<dialogue>Oh shit! He must have heard us.</dialogue>
<scene_description>Gaston sees them , gives them the finger and tears off down the street .</scene_description>
<character>ANDY</character>
<dialogue>Dammit! C'mon!</dialogue>
<scene_description>They run to Serafine 's Vespa - the tires are slashed . Enraged , she kicks it over .</scene_description>
<character>SERAFINE</character>
<dialogue>That bastard! Fuck!</dialogue>
<scene_description>Andy looks around desperately . A GUY pulls his motorcycle out of its parking spot and starts up the street towards Andy . Andy jumps out in front of the accelerating bike and grabs the handlebars , stopping it short , sending the rider tumbling forward , over Andy . He lands on his butt in the street and starts yelling at Andy , who climbs on the bike .</scene_description>
<character>ANDY</character>
<dialogue>Sorry. I'll bring it back.</dialogue>
<scene_description>Serafine hops on the back and they burn rubber down the street after Gaston . Music cue : CCR 's `` Bad Moon on the Rise '' . They screech around the corner onto SAINT GERMAIN BOULEVARD It 's red lights as far as the eye can see . Andy grits his teeth and accelerates towards the cluster of traffic stopped at the first light .</scene_description>
<character>SERAFINE</character>
<dialogue>Oh merde!</dialogue>
<scene_description>She shuts her eyes as Andy zooms between the rows of stopped cars and roars through the red light . SCREECH ! Crossing cars slam on their brakes and swerve to avoid the speeding bike . Andy bears down on the next red light .</scene_description>
<character>SERAFINE</character>
<dialogue>Are you crazy!?</dialogue>
<character>ANDY</character>
<dialogue>Before Hemingway, there was Starsky and Hutch.</dialogue>
<scene_description>Andy speeds through more stopped cars and runs the next red light . SCREECH ! More swerving cars . Andy has to swerve himself to avoid one . He bears down on the next light . Meanwhile . GASTON is stopped on his bike , casually talking on a cellular phone , two red lights ahead of Andy and Serafine . He hears their bike and turns to see them zoom through the intersection in back of him . Gaston curses , puts the phone in his pocket and twists his throttle , accelerating through the red light . ANDY AND SERAFINE gain on Gaston . They 're seventy five yards behind him . GASTON pulls a pistol and aims over his shoulder . BANG ! He fires back at them . SERAFINE pulls her pistol out . Both bikes roar through another red light . A POLICE CAR pulls out onto the boulevard and turns on its flashing lights and siren and pursues the bikes . The traffic lights turn green . Gaston leads by fifty yards . The cop car pulls alongside Andy and Serafine . She discreetly pockets her gun . The COP in the passenger seat aims his gun at Andy .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Pull over! Now!</dialogue>
<character>ANDY</character>
<dialogue>Shit!</dialogue>
<scene_description>There 's no choice . They pull over . GASTON speeds safely away , looking back at them and laughing . The cop car stops ahead of them and the COPS get out , guns drawn .</scene_description>
<character>FIRST COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Hands in the air! Now!</dialogue>
<scene_description>Andy and Serafine put up their hands . The first cop goes back to check the police radio , which is beeping . The second cop keeps his gun aimed at Andy 's head . He 's furious .</scene_description>
<character>SECOND COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Hot shot huh? You know how many officers die in high speed chases?</dialogue>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Moron! The guy ahead of us has a gun! He's the one you should stop!</dialogue>
<character>SECOND COP</character>
<dialogue>Shut up! I do n't need you to tell me my job. It's always `` the other guy''!</dialogue>
<character>SERAFINE</character>
<dialogue>He's going to kill people you ignorant shithead!</dialogue>
<character>SECOND COP</character>
<dialogue>Okay! That's it! You're under arrest! Maybe you'll learn some respect in jail!</dialogue>
<scene_description>Serafine curses again . Andy tries to calm her down . The arguing escalates . In the car , the first cop is talking on the radio .</scene_description>
<character>FIRST COP</character>
<dialogue>Really?</dialogue>
<scene_description>He turns , looks out his window and sees RENE AND FRANCOIS parked in their unmarked car . Rene is talking with him on the radio . Francois waves . THE SECOND COP is trying to put handcuffs on Serafine . She 's still screaming at him . He 's incensed . The first cop gets out of the car and walks up to them .</scene_description>
<character>FIRST COP</character>
<parenthetical>( to Andy and Serafine . )</parenthetical>
<dialogue>You can go.</dialogue>
<scene_description>His partner looks at him , incredulous , red - faced .</scene_description>
<character>SECOND COP</character>
<parenthetical>( French - to first cop . )</parenthetical>
<dialogue>WHAT!?</dialogue>
<character>FIRST COP</character>
<parenthetical>( ignores 2nd cop . )</parenthetical>
<dialogue>Drive safely.</dialogue>
<character>ANDY</character>
<dialogue>Merci.</dialogue>
<scene_description>Serafine smiles at the second cop . Andy peels out , races through the red light and disappears down the boulevard . The cops watch them go , then turn to each other . The second cop is apoplectic - about to explode .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNMARKED CAR</stage_direction>
<scene_description>Rene and Francois speed off to keep pace with Andy . Rene is dialing his cellular phone . As they pass the other police car , we glimpse the two cops in an angry shoving match against the car . Rene 's call goes through .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAINT SEVERIN CHURCH</stage_direction>
<scene_description>LeDuc is on the balcony , studying the stained glass panels and consulting an old book . The cellular phone in his coat pocket rings . An OLD PRIEST nearby frowns at him .</scene_description>
<character>LEDUC</character>
<parenthetical>( French - into phone . )</parenthetical>
<dialogue>Hello.</dialogue>
<parenthetical>( Pause . )</parenthetical>
<dialogue>I'll meet you there in ten minutes.</dialogue>
<scene_description>He hangs up . The priest is still frowning at him . LeDuc shrugs gruffly - `` what do you want from me ? '' and turns back to the stained glass . As the church bells sound ten o'clock we cut to different panels : Several scenes of werewolves terrorizing people . A scene where some people mix potions and dump a strange flower into a cauldron . Another shows an evil looking man shaking his arm defiantly at a frowning sun - though he is human his raised arm is the enlarged , hairy limb of a werewolf . Another shows a saint throwing the strange flower into a fire in the town square .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Thank God for Saint Severin.</dialogue>
<scene_description>The bells strike ten . LeDuc checks his watch , closes his book and hurries off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERRENCE'S APT. BUILDING</stage_direction>
<scene_description>Music cue : `` Evil '' by Howlin ' Wolf . Gaston stops , jumps off his bike , and runs into the court yard . ANDY AND SERAFINE speed along on the bike , weaving through narrow side streets . GASTON riding the wire cage elevator in the apartment building down to the basement . He gets out and walks down the dank hallway , past several padlocked doors . He stops at one with a MCDERMOTT nameplate . He 's about to shoot it off , then looking around , thinks again . He grabs the lock and , grimacing with the effort , twists it off with his bare hands . ANDY AND SERAFINE stuck behind a garbage truck on a narrow street . Andy hops the curb and races down the sidewalk , scattering pedestrians . GASTON flicks on the light switch in the wine cellar . There are six large racks of wine bottles . He walks past them , scanning the bottles . He stops at the third rack and removes a bottle . The label reads `` Chateau Margaux '' . He tries to peer inside , but it 's too hard to see . Instead , he hurls it at the wall - SMASH ! Wine sprays everywhere , but no metal cylinder . He grabs another bottle . SMASH ! Just wine . He grabs another . ANDY AND SERAFINE arrive in front of the apartment and hop off their bike . Serafine eyes GASTON 'S BIKE hatefully . Andy pulls her along .</scene_description>
<character>SERAFINE</character>
<dialogue>Wait a second.</dialogue>
<scene_description>She pulls out her gun . BLAM ! BLAM ! She blasts the gas tank - WOOF ! The bike goes up in a fireball . Serafine nods , satisfied . Andy looks at her like she 's nuts . They rush into the courtyard . GASTON throws another bottle . SMASH ! Just wine . The floor is awash in the pricey Burgundy . He throws another bottle . SMASH ! Nothing . He licks his fingers . He 's enjoying this . SERAFINE AND ANDY In the elevator , going down , maddeningly slowly . Through the window they can see the full moon in the sky . Andy checks his watch . They look at each other nervously . GASTON Throws another - SMASH ! A small METAL CYLINDER clinks as it bounces on the floor . Gaston picks it up and smiles . BANG ! A gunshot hits Gaston in the arm - he drops the cylinder . Serafine and Andy stand in the doorway .</scene_description>
<character>SERAFINE</character>
<dialogue>Dirty bastard.</dialogue>
<scene_description>Serafine fires again - BANG ! The shot misses as Gaston hits the deck and draws his gun in one very fast motion , taking aim at Andy who 's rushing towards him .</scene_description>
<character>GASTON</character>
<dialogue>That's far enough!</dialogue>
<scene_description>Andy stops , Gaston 's gun aimed at his chest . Serafine steps slowly towards Gaston , her gun aimed at him .</scene_description>
<character>GASTON</character>
<parenthetical>( to Serafine . )</parenthetical>
<dialogue>Another step and he's dead!</dialogue>
<character>ANDY</character>
<dialogue>Go ahead Serafine. Blow him away.</dialogue>
<scene_description>Serafine stops . The three of them stand there in a close triangle , the metal cylinder on the floor between them . It 's a Mexican standoff . in Paris . Then .</scene_description>
<character>CLAUDE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Drop the gun!</dialogue>
<scene_description>Claude is in the doorway holding a pistol . Serafine sees him and turns back to Gaston , smiling .</scene_description>
<character>SERAFINE</character>
<parenthetical>( to Gaston . )</parenthetical>
<dialogue>You heard him. Do it!</dialogue>
<scene_description>Gaston just smiles back at her . Claude steps forwards and cocks his gun against Serafine 's head .</scene_description>
<character>CLAUDE</character>
<dialogue>I said drop the gun.</dialogue>
<scene_description>Serafine 's expression turns confused , horrified . Andy is shocked . She drops the gun . Claude picks it up and pockets it , keeping his gun on Serafine , who stares at him , aghast .</scene_description>
<character>ANDY</character>
<dialogue>You bastard! God! I should've known. You wanted the cure all for yourself!</dialogue>
<character>GASTON</character>
<dialogue>Cure!? Ha - ha - ha!</dialogue>
<scene_description>Andy and Serafine react with confusion to Gaston 's outburst . Claude picks up the metal cylinder and unscrews its cap with his free hand . He slides out a vial filled with amber fluid and holds it to up to the light . He smiles .</scene_description>
<character>CLAUDE</character>
<dialogue>No, it's no cure. It's something much more interesting.</dialogue>
<character>SERAFINE</character>
<dialogue>You fucking liar!</dialogue>
<character>CLAUDE</character>
<parenthetical>( with mock alarm . )</parenthetical>
<dialogue>Oh, did I hurt the little girl's feelings? Well excusez moi. I confess my desire for ADM is quite `` intense''. So I deceived you and our poor friend Terry - a competent technician, but let's face it, a bit naive. `` The great cure for lycanthropy!'' Hmph. He did n't have the vision to grasp the potential of ADAM, until it was too late. And even then, he came rushing down to tell me, as if I would be just as shocked! Ha.</dialogue>
<scene_description>He pockets the vial , pulls out the white `` cyanide '' tablet and pops it in his mouth . Andy reacts with shock .</scene_description>
<character>CLAUDE</character>
<parenthetical>( off Andy 's look , crunching up tablet in his mouth . )</parenthetical>
<dialogue>Oh this? Rolaids. I had a midnight snack that. disagreed with me.</dialogue>
<scene_description>Serafine 's been doing a slow burn . She explodes and lunges at Claude , knocking his gun out of his hand .</scene_description>
<character>SERAFINE</character>
<dialogue>Fucking traitor!</dialogue>
<scene_description>She picks Claude up and hurls him across the room . CRASH ! Claude smashes into a rack of wine bottles . Serafine jumps after him and dives on top of him pummeling him in a blind rage . Andy looks at her , agog .</scene_description>
<character>ANDY</character>
<dialogue>Wait a second.</dialogue>
<scene_description>He and Gaston notice Claude 's gun at the same time . They both dive for it . Andy grabs it but Gaston steps on his hand and aims his gun down at him .</scene_description>
<character>GASTON</character>
<dialogue>You want to be cured?</dialogue>
<scene_description>He cocks the gun . Andy lets go of Claude 's gun . Gaston picks it up and aims one gun at Andy and the other at Serafine , who 's wrestling with Claude . Claude throws her off and she lands on her butt next to Andy . Andy looks at Serafine .</scene_description>
<character>ANDY</character>
<dialogue>What the fuck!? You too!?</dialogue>
<character>SERAFINE</character>
<parenthetical>( stammering . )</parenthetical>
<dialogue>I. I did n't think you would. I'm sorry. I believed that son - of - a - bitch.</dialogue>
<scene_description>Claude gets to his feet , drenched with wine and smarting from Serafine 's punches . He walks over to Serafine and kicks her in the face .</scene_description>
<character>CLAUDE</character>
<dialogue>Shut up, you foul mouthed little cunt. I do n't have time for your histrionics.</dialogue>
<character>GASTON</character>
<dialogue>Give me the ADM old man.</dialogue>
<scene_description>Gaston is aiming one of his guns at Claude .</scene_description>
<character>CLAUDE</character>
<dialogue>Oh for Christ's sakes Gaston. Ca n't you rise above the level of common thug just this once?</dialogue>
<character>GASTON</character>
<dialogue>Give it to me!</dialogue>
<character>CLAUDE</character>
<dialogue>Do n't be an idiot. There are certain procedures one must -</dialogue>
<character>GASTON</character>
<dialogue>NOW!</dialogue>
<scene_description>Claude sighs . He takes the vial from his pocket and walks over to Gaston .</scene_description>
<character>CLAUDE</character>
<dialogue>Very well then.</dialogue>
<scene_description>Gaston grabs the vial , uncaps it and drinks it down greedily . He stands there , waiting . Nothing happens .</scene_description>
<character>ANDY</character>
<dialogue>Ha. Some wonder drug.</dialogue>
<character>GASTON</character>
<dialogue>Why is n't it doing anything!?</dialogue>
<character>CLAUDE</character>
<dialogue>I told you. It's not ready.</dialogue>
<scene_description>Claude turns to the noise of footsteps and a walkie - talkie in the hallway . Four uniformed officers plus Rene and Francois storm into the room , guns drawn .</scene_description>
<character>COPS</character>
<parenthetical>( French/English . )</parenthetical>
<dialogue>Freeze! Drop your weapons! Hands up!</dialogue>
<scene_description>Andy and Serafine put up their hands . Gaston brandishes his guns at the cops , then sees the six guns aimed at him and drops it . LeDuc walks in .</scene_description>
<character>CLAUDE</character>
<parenthetical>( French - to LeDuc . )</parenthetical>
<dialogue>Thank God! These hoodlums tried to rob me!</dialogue>
<character>LEDUC</character>
<parenthetical>( French - to Claude . )</parenthetical>
<dialogue>Put up your hands.</dialogue>
<character>CLAUDE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>But surely -</dialogue>
<scene_description>LeDuc cocks his pistol and aims it at Claude .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Now!</dialogue>
<scene_description>Claude puts his hands up .</scene_description>
<character>CLAUDE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>What's the charge?</dialogue>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>There is no charge.</dialogue>
<parenthetical>( English . )</parenthetical>
<dialogue>Everybody comes in for a few questions. Everything checks out, you will go free. After midnight.</dialogue>
<scene_description>Claude frowns . Gaston swears . Andy looks at Serafine , shocked and confused . She looks back at him , angry and sad .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>The cops are herding the handcuffed `` questionees '' into the back of a reinforced paddy wagon . LeDuc talks to the DRIVER , and another COP in the passenger seat .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Godard is waiting for you at Rocherout jail. Hurry. And do n't stop for anything. Good luck.</dialogue>
<scene_description>The driver nods . It roars off , lights flashing and siren wailing . LeDuc and the other cops head for their respective cars . LeDuc barks orders to an AID who 's at the ready with the car radio .</scene_description>
<character>LEDUC</character>
<dialogue>I want four separate maximum security cells ready. Get video cameras, photographers, and doctors.</dialogue>
<scene_description>The aid nods and gets on the radio . LeDuc checks his watch . It 's 10:47 .</scene_description>
</scene>
<scene>
<stage_direction>INT. PADDY WAGON</stage_direction>
<scene_description>Serafine hangs her head sullenly , in a quiet rage . She wo n't meet Andy 's gaze . He looks over at Claude and Gaston . Gaston is restless , edgy . He grabs Claude by the collar and shakes him .</scene_description>
<character>GASTON</character>
<dialogue>Nothing's happening!</dialogue>
<character>ANDY</character>
<dialogue>Looks like he lied to you too.</dialogue>
<scene_description>Claude breaks Gaston 's grip and shoves him back in his seat .</scene_description>
<character>CLAUDE</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Relax my friend. It's still not ready.</dialogue>
<scene_description>Andy looks back at Serafine . He shakes his head in disbelief .</scene_description>
<character>ANDY</character>
<dialogue>Now I remember why I did n't want to come to Paris. Everyone you meet is a goddam werewolf!</dialogue>
<scene_description>Serafine stares bitterly at her feet .</scene_description>
<character>SERAFINE</character>
<dialogue>I hope they fucking fry us all.</dialogue>
<character>ANDY</character>
<dialogue>Yeah. French fries.</dialogue>
<scene_description>SLAM ! He 's interrupted by the sound of Gaston 's head snapping back against the wall . His eyes bulge wide . He grins and starts to laugh . First a little . Then a lot .</scene_description>
<character>GASTON</character>
<dialogue>Yes! Yes! Ha! Haha hahaha.</dialogue>
<scene_description>He stands up , laughing , power - mad . Suddenly his body is jerked by a spasm and he falls to the floor . He 's not laughing anymore . He flails about wildly , croaking out strangled cries , gripped with a terrible seizure . IN THE FRONT CAB The TWO GUARDS , the driver and his partner , hear the commotion . The guard looks over to his partner , and chuckles .</scene_description>
<character>PARTNER</character>
<dialogue>Aaooooo! Heh heh heh.</dialogue>
<scene_description>They both laugh . The driver takes a sharp turn at high speed . IN THE BACK COMPARTMENT Gaston flops around on the floor like a fish , grabbed by a flurry of convulsions . He bites off his tongue , spitting blood everywhere . Finally , he goes rigid with one last seizure , then falls totally limp . Andy studies the very dead corpse .</scene_description>
<character>ANDY</character>
<dialogue>It killed him. You coulda just used Draino. It's cheaper.</dialogue>
<character>CLAUDE</character>
<dialogue>I told him it was n't ready.</dialogue>
<scene_description>Claude takes a folded PAPER CUP from his jacket pocket . He blows into the cup to bring it back into shape . He then takes a SHARPENED STEEL TUBE from his pocket , plunges it into Gaston 's neck , and fills the cup with the blood that pours forth . Andy and Serafine are horrified . Claude puts the cup of blood to his lips and pauses .</scene_description>
<character>CLAUDE</character>
<dialogue>Now it's ready.</dialogue>
<scene_description>He swallows the cup of blood down in one gulp , and sits back to wait for the effects , smiling dreamily .</scene_description>
<character>CLAUDE</character>
<dialogue>What is the curse of the werewolf? I'll tell you. The curse is to possess such awesome power and yet be completely unconscious of it. It may as well belong to someone else. But it was n't always that way. A thousand years ago the Gauls had a drug powerful enough to unlock the door to lycanthropic consciousness, to full control. It came from moonsbreath. A small white flower once found in the hills of this region, until the thick headed crusade by our famous Saint Severin eradicated it for all eternity. But now, thanks to ADAM, the `` curse'' is over.</dialogue>
<scene_description>As he says this , he holds up his RIGHT ARM . It begins to mutate and grow , reshaping his arm into the grotesque , powerful forelimb of the beast . PLINK ! His swelling wrist pops the handcuff easily .</scene_description>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Holy mother of God.</dialogue>
<character>ANDY</character>
<dialogue>Fuck me.</dialogue>
<scene_description>Claude rises to his feet , triumphant . He advances towards Andy and Serafine , backing them up against the rear doors of the van . He gently traces the outline of Serafine 's face with his werewolf hand . She bristles at his touch .</scene_description>
<character>CLAUDE</character>
<dialogue>All my life I've worked to unlock the power of the unconscious mind. Well this is it. This is power!</dialogue>
<character>ANDY</character>
<dialogue>You sure it's not just ` coz you jerk off too much?</dialogue>
<scene_description>Claude cocks his werewolf fist and SLAMS it into the back doors , inches from Andy 's head . He leaves a deep dent , and opens the doors just a crack . It 's a gesture that seems calculated to frighten them . It works . Claude holds up his LEFT ARM and transforms it to match his right . It takes some effort and a little pain , but he keeps a smile on his face throughout the process .</scene_description>
<character>CLAUDE</character>
<dialogue>Do n't you see what this means? I've broken through! I'm in total control! Not the moon! I can do whatever the fuck I want!</dialogue>
<scene_description>SMASH ! Claude drives his left arm into the back doors , making another huge dent , and opening the crack even wider . IN THE FRONT CAB The cops exchange worried looks . The one on the passenger side slides open the viewing panel . Claude has his back to him .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Hey! What's going on in -</dialogue>
<scene_description>He stops short as Claude turns around , revealing his monstrous arms . Mortified , the cop reaches for the SHOT GUN under the dash . Claude races up towards the view window . As the guard pokes the muzzle through the window , Claude grabs hold of it . BLAM ! The guard 's shot hits the side wall . Claude rips the gun from the guard angrily , and smashes it to pieces against the wall , grinning like the devil himself . Meanwhile ANDY throws himself at the doors , kicking them , trying in vain to break them open . He spots the SHOTGUN BARREL on the floor and grabs it . CLAUDE reaches through the window and grabs the guard by the head . He repeatedly smashes the guard 's head against the back wall of the cab .</scene_description>
<character>CLAUDE</character>
<parenthetical>( as he smashes the guard . )</parenthetical>
<dialogue>Do n't you know. the wolf. is a protected. species!?</dialogue>
<scene_description>The driver freaks out , seeing his partner get his head crushed . THE PADDY WAGON swerves all over the road . ANDY uses the shotgun barrel to twist open the lock on the van doors . As the vehicle swerves , he drops the barrel out the door , and falls over . He calls to Serafine .</scene_description>
<character>ANDY</character>
<dialogue>I need your help. Come on.</dialogue>
<scene_description>She joins him and together they take a run at the back doors . The doors open a little , but the lock still holds . Finished with the guard , Claude turns and sees what Andy and Serafine are up to .</scene_description>
<character>CLAUDE</character>
<dialogue>Wait!</dialogue>
<scene_description>Andy and Serafine take another run - it works . THE DOORS bust open , and Andy and Serafine , still handcuffed , go tumbling out into THE STREET , rolling on the pavement . SCREECH ! HONK ! Cars swerve to avoid them , just barely . CRASH ! A minivan plows into a parked car . Claude watches from the back of the van . He rears his head to the moon and smiles . IN THE CAB of the paddy wagon , the driver hears an unearthly howl . It 's hellish . Without looking away from the road , he points his pistol through the hole in the compartment . He adjusts THE MIRROR to see into the rear compartment - The back doors are hanging open . He steals a look over his shoulder - Other than Gaston 's corpse , it 's empty . He breathes a sigh of relief and turns back to the road as - A HUGE WEREWOLF - Claude fully transformed - bursts through the windshield and rips into him . THE PADDY WAGON is traveling over the Pont Neuf bridge . A GASOLINE TRUCK approaches from the other direction . The werewolf leaps off of the hood just as the paddy wagon , swerving all over the road , hits the gasoline truck head on . KA - BOOM ! Both vehicles explode in a fireball , smash through the side wall of the bridge , and plunge into THE RIVER .</scene_description>
</scene>
<scene>
<stage_direction>INT. SQUAD CAR</stage_direction>
<scene_description>LeDuc , following at a distance , is trying in vain to get the paddy wagon driver on the radio .</scene_description>
<character>LEDUC</character>
<dialogue>Allo! Jean - Louis! Respond! Allo!</dialogue>
<scene_description>His partner slows the car . Traffic ahead is snarled . It 's chaos . He taps LeDuc on the arm and points .</scene_description>
<character>PARTNER</character>
<dialogue>Inspector.</dialogue>
<scene_description>Leduc sees the column of black smoke in the distance .</scene_description>
<character>LEDUC</character>
<dialogue>Merde. merde, merde, merde.</dialogue>
<scene_description>He slams his fist against the dash angrily .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARIS STREET, NIGHT</stage_direction>
<scene_description>Andy lies by the roadside , dazed , bruised , handcuffed , but conscious . He sits up unsteadily , and looks for Serafine .</scene_description>
<character>ANDY</character>
<dialogue>Serafine?</dialogue>
<scene_description>He sees a small crowd of people a little further up the road , outside a small bistro . He staggers up to them and pushes his way through . Serafine is there on the ground by the curb , eyes closed . Kneeling beside her , he turns angrily on the onlookers .</scene_description>
<character>ANDY</character>
<dialogue>Get out of here! Go on! Move it!</dialogue>
<scene_description>He shoos them away . Of course , they just back up a bit , still gawking at the handcuffed couple .</scene_description>
<character>ANDY</character>
<dialogue>Serafine. Get up, come on.</dialogue>
<scene_description>Andy brushes away the hair from Serafine 's face . He feels her neck for a pulse - she has one . But as he takes his hand away , he notices a smudge of BASE MAKE - UP has rubbed off on his fingers . He looks at the back of Serafine 's neck and sees that the makeup had been covering A SCAR . It bears the unmistakable star shape of the wound Andy inflicted on the werewolf that bit him . Horrified , he stands and backs away a few feet . Serafine opens her eyes , sees him .</scene_description>
<character>SERAFINE</character>
<parenthetical>( groggy . )</parenthetical>
<dialogue>Andy? What? What is it?</dialogue>
<parenthetical>( she sits up , her head clearing . )</parenthetical>
<dialogue>Andy. are you okay?</dialogue>
<character>ANDY</character>
<dialogue>It was you. That night in the tunnels. You. You did this to me.</dialogue>
<character>SERAFINE</character>
<dialogue>No I. Andy, you ca n't be sure.</dialogue>
<character>ANDY</character>
<dialogue>That's the scar where I stabbed you! Oh God. You deliberately took me down there so you could. God, I ca n't believe it!</dialogue>
<scene_description>Serafine gets to her feet , a little unsteadily at first .</scene_description>
<character>SERAFINE</character>
<dialogue>You made me go there. I tried to stop you! You would n't listen!</dialogue>
<character>ANDY</character>
<dialogue>What was I? Your idea of a fuckin' hors d'oeuvre? Huh?</dialogue>
<character>SERAFINE</character>
<dialogue>Shut up! You fucking shut up! What do you want? Huh? What the hell do you want?</dialogue>
<scene_description>She walks over , grabs a steak knife from one of the outside tables at the bistro , and charges at Andy , pulling open her shirt . She offers him the knife , and pounds at her heart .</scene_description>
<character>SERAFINE</character>
<dialogue>Here! Come on! Do it! Go ahead.</dialogue>
<character>ANDY</character>
<dialogue>What?</dialogue>
<character>SERAFINE</character>
<dialogue>You know what. Kill me. Cut out my fucking heart. Go on! Do it!</dialogue>
<scene_description>Enraged , Andy takes the knife . He and Serafine lock eyes . For a second he 's tempted , his blood boiling , heart pounding .</scene_description>
<character>ANDY</character>
<dialogue>You're crazy.</dialogue>
<scene_description>He throws the knife aside , turns and walks away .</scene_description>
<character>ANDY</character>
<dialogue>This is all crazy!</dialogue>
<scene_description>Serafine retrieves the knife and chases after him . She gets in front of him and blocks his path . She holds the knife point to her own chest .</scene_description>
<character>SERAFINE</character>
<dialogue>The drug was a lie, but the legend in the church is true. Ask the undead.</dialogue>
<scene_description>Andy just stares back at her , not knowing what to say . It 's all too much to believe . He shakes his head . He tries to go , but she moves in front of him . She 's determined .</scene_description>
<character>SERAFINE</character>
<dialogue>We do n't both have to die.</dialogue>
<character>ANDY</character>
<parenthetical>( softening . )</parenthetical>
<dialogue>I could n't do it. Not to you.</dialogue>
<scene_description>He sees her looking up . He follows her gaze to the FULL MOON . It 's getting late . Andy shudders , wipes the sweat from his brow . He 's already starting to feel the heat in his blood .</scene_description>
<character>SERAFINE</character>
<dialogue>I ca n't go through another night. I wo n't.</dialogue>
<scene_description>Andy takes her hand and guides the knife away from her chest .</scene_description>
<character>ANDY</character>
<dialogue>I know. I'm already burning up. Look, I'm not going to go through this another night either. But we still have some time to get Claude. He'll just kill more people, and spread the curse.</dialogue>
<scene_description>She 's desperate , tears welling up in her eyes .</scene_description>
<character>SERAFINE</character>
<dialogue>We ca n't stop him. Not now. Handcuffed, with no kind of weapons. Please Andy.</dialogue>
<character>ANDY</character>
<dialogue>No. We have to try. We'll figure something out. And if midnight comes before we can get to him, well, then we go together. Deal?</dialogue>
<parenthetical>( he extends a cuffed hand . )</parenthetical>
<dialogue>Shake a paw?</dialogue>
<scene_description>She laughs despite her tears , puts her cuffed hands over his head and hugs him tightly .</scene_description>
<character>SERAFINE</character>
<dialogue>I know where he'll go.</dialogue>
<character>ANDY</character>
<dialogue>Where?</dialogue>
<character>SERAFINE</character>
<dialogue>Somewhere where there are no police, and plenty to eat.</dialogue>
<scene_description>Andy looks at her . He knows what she 's driving at .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PETIT PONT - NIGHT</stage_direction>
<scene_description>LeDuc and Napier stand on the bridge , which has been blocked off , watching the tow truck drag the charred wreck of the paddy wagon from the river . Ambulances wait nearby . Firemen are still putting out small piles of flaming debris .</scene_description>
<character>NAPIER</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Poor Bazin and Racine. At least they brought those monsters down with them.</dialogue>
<scene_description>LeDuc is n't listening - he sees something that makes his face go slack : The paddy wagon emerges from the murky water revealing the open , banged - up back door with several large FIST PRINTS in it . He checks his watch - it 's 11:32 .</scene_description>
<character>LEDUC</character>
<parenthetical>( French - to himself . )</parenthetical>
<dialogue>Impossible.</dialogue>
<parenthetical>( to Napier - urgent . )</parenthetical>
<dialogue>Get headquarters on the radio.</dialogue>
<scene_description>Napier is n't paid to ask questions . He hops to it .</scene_description>
<character>NAPIER</character>
<dialogue>Right away sir.</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND PARTY - NIGHT</stage_direction>
<scene_description>Andy and Serafine emerge from the tunnel , wearing grim , determined expressions . The party is in full swing - throbbing beats and sweaty dancing bodies . They walk straight across the dance floor , pushing their way through the crowd . Amongst the variety of freaky types here , no one raises an eyebrow at two people in handcuffs . Serafine , who 's scanning the room , is approached by a leather clad HIPSTER GUY .</scene_description>
<character>HIPSTER GUY</character>
<dialogue>Serafine, mon belle! Ca va?</dialogue>
<scene_description>He goes to kiss her on both cheeks . Without breaking stride , she puts her handcuffed hands on his face and shoves , sending him reeling . Serafine points out a gang of four militant skinheads off in a corner . Andy nods and smiles .</scene_description>
<character>ANDY</character>
<dialogue>This could be fun.</dialogue>
<scene_description>They make their way to the skinheads . Andy walks up to the SKINHEAD LEADER , who 's got a swastika tattoo , a bad disposition , and a fifty pound advantage on Andy .</scene_description>
<character>ANDY</character>
<dialogue>I got something you want. Follow me.</dialogue>
<scene_description>Andy and Serafine walk into A SMALL CHAMBER off the main space . The skinhead signals his mates to come along , slips on some BRASS KNUCKLES , and follows Andy into THE CHAMBER The skinheads surround Andy and Serafine . There 's no one else in the room . The skinhead leader looks at Andy 's handcuffs and sniggers .</scene_description>
<character>SKINHEAD</character>
<dialogue>What do you got, pervert?</dialogue>
<character>ANDY</character>
<dialogue>I got Hitler's dick in a jar. And the funny thing is it's still in Goerring's mouth.</dialogue>
<scene_description>The skinhead turns red with rage and throws a punch at Andy 's head . With lightning speed , Andy grabs the skinhead 's fist , twists his arm around his back and hurls him across the room . He slams face first into the stone wall and collapses on the floor with a THUD . Simultaneously , the other three skinheads attack . Serafine BASHES one across the face with both fists , sending him to the floor . The other gets her in a headlock from behind . She runs backwards and - SLAM ! - crushes him against the wall . The third skinhead tries to kick Andy in the groin . Andy grabs his boot and flips him over backwards - he actually does a full back flip and lands on his face . The leader groggily pulls a pistol and aims it at Andy . Andy snatches it out of his hand .</scene_description>
<character>ANDY</character>
<dialogue>Did n't even have to ask.</dialogue>
<character>SERAFINE</character>
<parenthetical>( French . )</parenthetical>
<dialogue>All your weapons, on the floor! Now!</dialogue>
<scene_description>The skinheads slide out some LEAD PIPES , a SWITCHBLADE , another PISTOL , and an army surplus GRENADE . Andy and Serafine scoop them up , except the lead pipes .</scene_description>
<character>ANDY</character>
<dialogue>Neo - Nazis. Ya got ta love'em.</dialogue>
<parenthetical>( to the Skinheads . )</parenthetical>
<dialogue>Merci beau coup, monsieurs.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - NIGHT</stage_direction>
<scene_description>Music cue : `` After Midnight -LRB- we 're gon na let it all hang out -RRB- '' . Andy 's gun is pressed against the chain on Serafine 's handcuffs - BANG ! The chain is broken . BANG ! She returns the favor and his chain is broken . They walk into the DRIPPING , dank tunnel , away from the party , which fades away in the background . Each carries a pistol and a flashlight . BEADS OF SWEAT appear on their foreheads . The tunnel tilts downhill . Heavier DRIPPING . They turn a corner and . SLAM ! Something barrels into them - it 's a HYSTERICAL GIRL . She 's about nineteen and splattered with blood . She SCREAMS uncontrollably . Serafine holds her by the shoulders , trying to calm her .</scene_description>
<character>GIRL</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Ahhhhhhhh! A monster! My God! It got my boyfriend! Noooooo!</dialogue>
<character>SERAFINE</character>
<dialogue>Ou!? Ou est le monstre!?</dialogue>
<character>GIRL</character>
<dialogue>Ahhhh! Let me go! Let me gooooo!</dialogue>
<scene_description>She 's off the deep end , flailing at Serafine , who keeps trying to calm her down . There 's no time for this . Andy presses his gun to her temple . She shuts up and stares at him with wide , terror stricken eyes .</scene_description>
<character>ANDY</character>
<parenthetical>( calm , firm . )</parenthetical>
<dialogue>Ou est le monstre?</dialogue>
<scene_description>She points back down the tunnel she came out of .</scene_description>
<character>GIRL</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Down the stairs.</dialogue>
<character>ANDY</character>
<dialogue>Merci.</dialogue>
<scene_description>He lets her go . She starts SCREAMING again and continues on , disappearing into darkness . Andy winces and holds his ears .</scene_description>
<character>SERAFINE</character>
<dialogue>No wonder he let her go.</dialogue>
<character>ANDY</character>
<dialogue>Really.</dialogue>
<scene_description>They run in the direction she pointed . They arrive at the intersection with A STAIRWAY to the right . They start down it . They see something up ahead - SOMEONE 'S HAND is sticking out on the ground from a passage at a landing on the staircase .</scene_description>
<character>SERAFINE</character>
<dialogue>Her boyfriend.</dialogue>
<scene_description>The hand moves a bit , pulls back and disappears into the crossing passage .</scene_description>
<character>ANDY</character>
<dialogue>He's alive. C'mon.</dialogue>
<scene_description>They hurry down to the landing , shine their light into the passage . The hand is severed , and A BIG RAT is dragging it along with some difficulty . A dozen or other rats munch on scraps of flesh scattered over a grisly mess of blood and body parts . Andy and Serafine stare at it for a moment . Suddenly Andy looks away .</scene_description>
<character>ANDY</character>
<dialogue>God. I ca n't believe it.</dialogue>
<character>SERAFINE</character>
<dialogue>What?</dialogue>
<character>ANDY</character>
<parenthetical>( disturbed . )</parenthetical>
<dialogue>It's making me hungry.</dialogue>
<scene_description>A beast HOWL echoes through the tunnels . Serafine shines he flashlight on some bloody beast foot/paw prints leading down the stairs . They follow the bloody prints down the stairs and come to an ancient ARCHED DOORWAY with a skull set in the arch and a chiseled inscription . Andy points to the inscription .</scene_description>
<character>ANDY</character>
<dialogue>What does it say?</dialogue>
<character>SERAFINE</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` Stop! Beyond this passage lie the catacombs of Paris : the exclusive domain of the dead.''</dialogue>
<scene_description>Andy gestures back to the bloody remains .</scene_description>
<character>ANDY</character>
<dialogue>We'll say we're with him.</dialogue>
<scene_description>They walk through the gate and enter THE CATACOMBS Andy shines his flashlight around , illuminating two large tunnels which lead into a twisting , intestinal maze , lined from floor to ceiling with HUMAN SKULLS and FEMURS . The bones form the building blocks of the tunnel walls and are arranged in various patterns - from crucifixes to Masonic pyramids and even pentagrams . Ground water seeps from the ceilings and walls , DRIPPING over the eroded , crumbling bones . Despite the situation , Andy ca n't help but be dumb struck by the spectacular necropolis .</scene_description>
<character>ANDY</character>
<dialogue>Whoa.</dialogue>
<character>SERAFINE</character>
<dialogue>After the revolution, the Paris cemeteries overflowed. They dug up all the old bodies and brought them here. Seven million people. Mostly very poor.</dialogue>
<character>ANDY</character>
<dialogue>Pretty stylish digs for a bunch of paupers.</dialogue>
<character>SERAFINE</character>
<dialogue>Well, they are French.</dialogue>
<character>ANDY</character>
<dialogue>Right.</dialogue>
<scene_description>Another eerie HOWL echoes through the maze . Andy looks down both main tunnels - the howl seems to come from each of them .</scene_description>
<character>ANDY</character>
<dialogue>These tunnels must loop around and connect.</dialogue>
<character>SERAFINE</character>
<dialogue>Let's go from both ends. We'll cut him off.</dialogue>
<scene_description>Andy considers this .</scene_description>
<character>ANDY</character>
<dialogue>Okay. Be careful.</dialogue>
<character>SERAFINE</character>
<dialogue>You too.</dialogue>
<scene_description>She kisses him . They 're both sweating heavily now . She starts off to the right . He watches her go for a moment and then walks down the other skull lined tunnel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PETIT PONT - NIGHT</stage_direction>
<scene_description>The CHARRED BODIES of Gaston and the two cops lie on the river bank , near the wreck . LeDuc surveys them with a few other cops . Napier leans out of a nearby car with a radio handset . The bells of nearby Notre Dame begin to ring .</scene_description>
<character>NAPIER</character>
<parenthetical>( French . )</parenthetical>
<dialogue>It's headquarters sir. They got a report.</dialogue>
<scene_description>LeDuc rushes over and grabs the handset .</scene_description>
<character>LEDUC</character>
<parenthetical>( French - into radio . )</parenthetical>
<dialogue>What've you got?</dialogue>
<character>DESK OFFICER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Just a crazy call from a girl, probably fucked up on drugs. I would n't bother you but you said call with anything unusual.</dialogue>
<character>LEDUC</character>
<dialogue>What did she say?</dialogue>
<character>DESK OFFICER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Something about a monster, underground, in the catacombs under Place Denfert.</dialogue>
<character>LEDUC</character>
<dialogue>I need two tactical assault squads at Place Denfert immediately. You can tell the commissioner it's a code red.</dialogue>
<character>DESK OFFICER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But Inspector, this girl, I would n't call her reliable.</dialogue>
<character>LEDUC</character>
<dialogue>Now!</dialogue>
<character>DESK OFFICER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yes sir.</dialogue>
<scene_description>LeDuc throws the handset back at Napier . The church bells strike twelve .</scene_description>
</scene>
<scene>
<stage_direction>INT. CATACOMBS</stage_direction>
<scene_description>Andy walks along carefully , shining the flashlight ahead of him , his gun at the ready . His breathing gets heavier . His face gets redder . More sweat . His heart pounds in his ears . The tunnel follows a serpentine path , with many smaller passages and anterooms off to the sides . Andy sees some flickering light reflecting off the wet skulls up ahead . He approaches it . It 's coming out of AN ANTECHAMBER . He holds his gun out in front of him and steps quietly . He peers into the antechamber and finds TWO HALF EATEN BODIES It 's the old hag and the wino he saw in the tunnels at the first party . They 've been killed very recently - blood still drips from their gaping wounds . He kneels over the wino 's body . There 's a big chunk missing from his neck . Andy stares at the BLOODY FLESH , transfixed . He shudders with a sudden spasm . His breathing gets quicker . More sweat . He reaches towards the wound , his hand shaking , and touches the flesh . Blood runs down his fingers . He slowly brings his hand back towards his mouth .</scene_description>
<character>TERRENCE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Do n't do it, Andy. Fight it with everything you've got.</dialogue>
<scene_description>Andy looks up to see UNCLE TERRENCE , stumps and all , sitting across from him .</scene_description>
<character>ANDY</character>
<dialogue>Uncle Terrence, you're.</dialogue>
<character>TERRENCE</character>
<dialogue>Yeah, I finally `` checked out'', thank God. But there's a bit of unfinished business.</dialogue>
<character>ANDY</character>
<dialogue>Claude.</dialogue>
<character>TERRENCE</character>
<dialogue>I never thought I'd ask this of anyone, Andy, but do me a favor and kill the evil son - of - a - bitch, will you?</dialogue>
<scene_description>A SNARL cuts him off . Andy jumps up , steps out into the main tunnel and shines his light . THE BEAST rounds a curve and comes into view about thirty yards away . It 's running straight at Andy and closing fast . Andy aims the gun . BANG ! A miss - the bullet shatters a skull on the wall . BANG ! Another miss . BANG ! The bullet hits the beast in the shoulder . It stumbles but keeps coming . BANG ! A miss . Andy aims carefully .</scene_description>
<character>ANDY</character>
<dialogue>C'mon you mother.</dialogue>
<scene_description>BANG ! A direct hit in the chest . The beast falls . Snarling in pain . BANG ! Andy blasts again , but the beast drags itself to the safety of a recessed area off the tunnel , out of Andy 's line of fire . Andy walks forward , listening to the horrible wails of the beast , thrashing around in a puddle on the floor . Andy aims his gun and his flashlight as he nears the corner of the recess . The wailing and thrashing settles down . Andy proceeds cautiously . He rounds the corner , and shines the light on SERAFINE naked , bleeding from bullet wounds in the chest , shoulder , and neck . She lies still . Andy sighs with anguish . He drops to his knees .</scene_description>
<character>ANDY</character>
<dialogue>No! Oh God!</dialogue>
<scene_description>He puts down his gun and cradles her head in his hands . She 's breathing - just barely . She looks into his eyes . Her voice is weak .</scene_description>
<character>ANDY</character>
<dialogue>Oh God. Shit.</dialogue>
<character>SERAFINE</character>
<dialogue>Andy.</dialogue>
<scene_description>She reaches up feebly and manages to grab the SWITCHBLADE from his back pocket . She clicks it open and hands it to Andy .</scene_description>
<character>SERAFINE</character>
<dialogue>Do it.</dialogue>
<scene_description>Andy 's shaking , shuddering - his breathing erratic .</scene_description>
<character>ANDY</character>
<dialogue>No. It's over.</dialogue>
<scene_description>He shakily presses the gun to his own head .</scene_description>
<character>TERRENCE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Do n't, Andy. Stop Claude.</dialogue>
<scene_description>Andy looks up . Terrence , Marcel , Amy , and a dozen other mutilated , rotting undead , presumably Serafine 's victims , stand in the tunnel , looking on solemnly .</scene_description>
<character>MARCEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Either way works for us.</dialogue>
<character>AMY</character>
<dialogue>But you better hurry.</dialogue>
<scene_description>Claude 's stentorian voice echo 's from beyond a curve in the tunnel .</scene_description>
<character>CLAUDE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You ca n't turn back Andy.</dialogue>
<scene_description>CLAUDE in human form , walks towards the glow from Andy 's flashlight around the bend . His naked body is taut and muscular - it looks thirty years younger than it should . His face is younger too - he looks the picture of a powerful young warrior .</scene_description>
<character>CLAUDE</character>
<dialogue>`` Man is something to be surpassed! A rope, stretched over the abyss between the animal and the Superman''. Neitzche was right, Andy. And now, I have crossed that abyss. I am no longer man OR beast, but man AND beast. ADAM has lived up to its name. I am the first new man, and my God it is FUCKING MAGNIFICENT! You're already half way there Andy. Feel the power in your veins. With ADAM, you could harness it. Master it. Let it transform you into something more glorious than your wildest dreams!</dialogue>
<scene_description>ANDY is shaking violently - on the brink of transforming . Serafine raises the blade to him again . She 's fading fast .</scene_description>
<character>SERAFINE</character>
<dialogue>Do n't let me die for nothing.</dialogue>
<scene_description>Andy winces with pain - his brow bulges , his teeth enlarge , the transformation is starting . Uncle Terrence is worried .</scene_description>
<character>TERRENCE</character>
<dialogue>Andy!</dialogue>
<scene_description>CLAUDE still walking . The light is getting brighter - he 's almost around the bend . He 's buzzing with a scary kind of euphoria .</scene_description>
<character>CLAUDE</character>
<dialogue>The choice is yours Andy : deny your own blood, die an unfulfilled child, or face the challenge of mind and body united at last. Which will it be?</dialogue>
<scene_description>He rounds the corner and sees Andy hunched over Serafine 's body . He keeps walking .</scene_description>
<character>CLAUDE</character>
<dialogue>Do n't be confused by old beliefs. This is beyond mere words like good or evil. You have to feel it!</dialogue>
<scene_description>ANDY whips around , BLOOD streaming from his mouth , gun aimed , grip rock solid , his features back to normal , eyes locked on the beast with determined , controlled rage .</scene_description>
<character>ANDY</character>
<dialogue>Feel this.</dialogue>
<scene_description>BLAM ! BLAM ! He pumps out two shots . One hits Claude in the upper left part of his CHEST . The other hits his CHEEK , exits at the back of his jaw and shatters the cheekbone of A SKULL on the wall behind him . He screams in pain and dives for cover into a SMALL INTERSECTING TUNNEL . Andy gets up , pausing for a second to look back at Serafine 's face . It looks peaceful . The undead are gone . He starts after Claude . CLAUDE sits leaning against a wall of skulls . The face wound is bleeding but not mortal .</scene_description>
<character>CLAUDE</character>
<dialogue>Stupid boy.</dialogue>
<scene_description>With an awesome rage he grimaces and starts to TRANSFORM HIS LEFT SIDE - his muscles swell around the chest wound and THE BULLET actually squeezes out of the hole and falls to the ground . The wound closes up as the flesh keeps morphing and growing hair . ANDY creeps around the corner , gun and flashlight aimed , towards the small tunnel . When the flashlight beam falls on Claude , he 's in mid pounce - rocketing at Andy with bad intent . BANG ! Andy gets off a shot - it hits Claude in his THIGH as he tackles Andy . They wrestle , Claude in mid - transformation , his left side further along , hairier , his facial bones shifting . His thigh swells and ripples and THE BULLET SQUIRTS OUT of its wound . His left arm , mostly transformed , grips Andy 's gun hand . BANG ! Andy squeezes off a shot , blowing off the tip of Claude 's transforming THUMB . CRUNCH ! Claude clamps his vice like grip and crushes the gun . Andy wrenches his hand away as Claude hurls him off like a rag doll . Andy flies through the air and SMASHES into the tunnel wall . The wall of ancient SKULLS and BONES shatters and collapses around Andy - burying him in ossified fragments . Andy lifts himself out of the pile and looks at Claude , who lies on the floor finishing his transformation . His right side is catching up with his left and his head is now more beast than human . All the while he glares at Andy and does n't appear vulner able . Andy takes advantage of the moment to get the hell away - he runs into the tunnel , leaving Claude behind to finish transforming . Andy makes a few quick turns through the maze - it seems he has evaded Claude for the moment . He pulls the GRENADE from his pocket , turns off his flashlight and pads along softly , listening for the beast . Suddenly a sharp sound from behind him makes Andy jump .</scene_description>
<character>VOICE</character>
<parenthetical>( French - screaming . )</parenthetical>
<dialogue>STOP WHERE YOU ARE! HANDS UP!</dialogue>
<scene_description>Andy turns around . A scared COP is aiming his gun at him , shining a flashlight in his face . Andy puts his hands up .</scene_description>
<character>COP</character>
<parenthetical>( English . )</parenthetical>
<dialogue>It's you. You should be dead in that wreck with Bazin and Racine!</dialogue>
<character>ANDY</character>
<dialogue>Shhh! Be quiet, man! We're not alone -</dialogue>
<character>COP</character>
<dialogue>Shut up! Save your stories. The only thing I want to hear is you begging for your life. I want to see you suffer, like they did.</dialogue>
<parenthetical>( he sees Andy 's look of terror . )</parenthetical>
<dialogue>Haha! You're scared now, eh? Come on. Where's the scary monster now huh? Ha ha. We'll see who -</dialogue>
<scene_description>A ROAR cuts him off . The cop spins around - the beam from his flashlight flooding THE BEAST with light as it springs through the air at him . Andy runs .</scene_description>
<character>COP</character>
<parenthetical>( French . )</parenthetical>
<dialogue>My God!</dialogue>
<scene_description>He gets off one shot - it hits the beast in the arm , but it 's too late . The beast clamps it 's massive jaw onto the cop 's neck and bites his head clean off . THE HEAD rolls across the floor and comes to rest in a pile of skulls . SERAFINE 'S BODY In the tunnel . Two queasy cops stand over it . LeDuc approaches them .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>What have you got?</dialogue>
<character>COP</character>
<parenthetical>( French - disturbed . )</parenthetical>
<dialogue>It's the girl. Someone cut out her heart.</dialogue>
<character>LEDUC</character>
<parenthetical>( Matter of factly . )</parenthetical>
<dialogue>Good.</dialogue>
<scene_description>The cops look at him like he 's nuts . ANDY is crouched at a corner of two catacomb tunnels , grenade clutched in his hand . He hears something and carefully peers around the corner . ANDY 'S POV At the end of the long tunnel of bones , the beast lurks at another intersection , sniffing the air and growling , some forty yards away . Andy ducks back around the corner . He holds up the grenade , pulls the pin , and whispers a quick prayer .</scene_description>
<character>ANDY</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Just throw a strike.</dialogue>
<scene_description>With a determined grunt , he pitches the grenade around the corner and then ducks back . Suddenly the beast 's growling stops . Andy grits his teeth and closes his eyes , awaiting the explosion . Just silence . Then a small skittering sound close by . He opens his eyes . THE GRENADE skitters to a stop , a couple of feet from him .</scene_description>
<character>ANDY</character>
<dialogue>Shit!</dialogue>
<scene_description>He bolts and gets five steps from it when KA - BOOM ! It explodes behind him , launching him through the air along with a spray of bones and rubble . He lands twenty feet away and clutches his left leg , wincing in pain .</scene_description>
<character>ANDY</character>
<dialogue>Ahh! Son of a bitch!</dialogue>
<scene_description>LEDUC and the cops turn towards the sound of the blast .</scene_description>
<character>LEDUC</character>
<parenthetical>( French . )</parenthetical>
<dialogue>Let's go.</dialogue>
<scene_description>ANDY struggles to his feet . He clicks on his flashlight and sees the blast has caved in the tunnel - a wall of rubble seals Andy off from the beast . Andy breaths a sigh of relief . At least he 's got time . He starts limping away from the wall of rubble . SMASH ! The rubble explodes again as the beast crashes through it like a freight train , sending rocks and bones flying . Andy runs as fast as he can with his bad leg . The beast closes in on him quickly . Andy jumps up for a NARROW OPENING in the tunnel ceiling . He grabs the metal rung inside and pulls himself up into the vertical shaft as the beast pounces . The beast catches Andy 's foot with its claw . Andy pulls out of his sneaker and just barely eludes the beast 's grasp . Andy climbs up the metal rungs in this old service shaft - barely wide enough for his body . The beast claws and gnashes his teeth at the opening but ca n't fit in - for now . Andy reaches an iron grate , pushes it up and crawls out into ANOTHER DRIPPY TUNNEL Like the ones near the party - no skulls . There 's a lot of water in this one . It looks familiar . CLAUDE is transforming back into human shape . His face is now more human than beast . He screams into the vertical passage in a growling , not quite human voice .</scene_description>
<character>CLAUDE</character>
<dialogue>You have no advantage, Andy! My body has no limits!</dialogue>
<scene_description>ANDY looks around in the tunnel . He sees something -LRB- we do n't -RRB- . He limps off towards it . CLAUDE in his human shape , crawls into the vertical service passage and climbs up the rungs . Claude emerges from the shaft into the dark tunnel . Andy 's no where in sight . We hear only dripping water .</scene_description>
<character>CLAUDE</character>
<dialogue>So this is how you choose to die. Hiding like a scared rabbit. Just praying I do n't find you.</dialogue>
<scene_description>ANDY crouches under a concrete ledge in a very dark space . Claude 's voice sounds distant , echoey , and competes with the closer sound of trickling water .</scene_description>
<character>CLAUDE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well I assure you, your nervous sweat glands will give you away soon enough my trembling little rabbit.</dialogue>
<scene_description>CLAUDE begins transforming . He falls to the ground and groans with joyous pain as his body noisily transforms .</scene_description>
<character>CLAUDE</character>
<dialogue>AHHHH! IT'S FUCKING GLORIOUS! AAAARRGGGHHH!</dialogue>
<scene_description>ANDY huddles in his hiding place , looking out into the darkness .</scene_description>
<character>ANDY</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>C'mon already.</dialogue>
<scene_description>A glint of light appears in a puddle on the ground . Andy 's eyes widen . CLAUDE His head is transforming - his exaltations become more animalistic .</scene_description>
<character>CLAUDE/BEAST</character>
<dialogue>RRAAAAAARRRRRRGGG!</dialogue>
<scene_description>LEDUC still in the catacombs , hears Claude 's yell echo through the tunnels . He thinks it came from above . He runs towards a stairway . THE BEAST Claude is fully transformed . He sniffs the air , locks in on a scent and sets off through the tunnel . ANDY watches intently as the light in the puddle gets brighter . It starts reflecting on the wet concrete walls of this tunnel .</scene_description>
<character>ANDY</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Now.</dialogue>
<scene_description>Andy clicks on the flashlight , shines it at himself , and yells for all he 's worth .</scene_description>
<character>ANDY</character>
<dialogue>HEY YOU DIRTY EVIL FUCK! C'MON AND GET ME! I DARE YOUR UGLY ASS!</dialogue>
<parenthetical>( etc . )</parenthetical>
<dialogue />
<scene_description>THE BEAST cocks its head towards Andy 's taunts . The sound of flowing water is close by . The beast pounces towards Andy 's voice , into THE WET , SLIPPERY STAIRWAY that Andy slid down that first night in the tunnels . The beast loses it 's footing and slips helplessly down the slick , eroded stone , GROWLING furiously . LEDUC runs down a tunnel , towards Andy 's screaming voice . The beam of his flashlight illuminates the landing ahead of him , halfway down the stairwell . He sees THE BEAST slide by , clawing in vain for a grip . A METRO TRAIN screams around the bend , lighting up the whole metro tunnel . Andy is still SCREAMING from his refuge under a ledge . THE BEAST shoots out of the stairwell and lands on the tracks . It looks up , frozen for a split second - it 's horrible snarling face is caught in the speeding train 's harsh glare . SMASH ! Impact . The beast is sucked under the wheels and ground to bits between track and wheels . LEDUC at the landing , looks down the stairwell as the train rushes past . ANDY huddled next to the passing train , clenches his fist in victory .</scene_description>
<character>ANDY</character>
<dialogue>Yes!</dialogue>
<scene_description>The train passes . Andy gets up and shines his flashlight around the ground . The beasts body lies in chunks , smears , and puddles . The parts begin morphing back into Claude 's human forms - A THIGH here , A PIECE OF SPINE there . LEDUC inches his way down the last few feet of the stairway , using the rusty pipe for a handhold . He walks up with his flashlight and aims it at the BEAST 'S HEAD , which finishes turning back into Claude 's head . LeDuc glances at Andy . He takes a small envelope from his pocket and shakes out a single SILVER BULLET . He loads it into his gun and FIRES straight into Claude 's lifeless head .</scene_description>
<character>LEDUC</character>
<parenthetical>( to Andy . )</parenthetical>
<dialogue>I always wanted to do that. I saw it in a movie.</dialogue>
<character>ANDY</character>
<dialogue>What about me?</dialogue>
<character>LEDUC</character>
<dialogue>My men think you died and floated away in the Seine. If I wanted to, I could let them believe that.</dialogue>
<parenthetical>( a long pause . )</parenthetical>
<dialogue>But that would be illegal.</dialogue>
<scene_description>Andy looks at him carefully , trying to read him . LeDuc 's face is impassive .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM, NIGHT</stage_direction>
<scene_description>The prosecutor , who speaks English with a thick French accent , has an extremely sarcastic look on his face . He wheels around dramatically , and confronts Andy , who sits uneasily on the stand , wiping the sweat from his brow .</scene_description>
<character>PROSECUTOR</character>
<dialogue>You intend us to believe that you committed these murders because the moon was full and you were somehow magically transformed into a huge powerful beast with an insatiable appetite for human flesh, is that right?</dialogue>
<character>ANDY</character>
<dialogue>You do n't understand!</dialogue>
<scene_description>The prosecutor turns away towards the jury to mock Andy .</scene_description>
<character>PROSECUTOR</character>
<dialogue>Oh? So I do n't understand? You think it's me who has a hard time coming to grips with reality?</dialogue>
<scene_description>The JURORS snigger at Andy 's expense . But wait , suddenly they look concerned - something 's wrong . The prosecutor continues , his back to Andy .</scene_description>
<character>PROSECUTOR</character>
<dialogue>You think I'm the one who needs my head examined? I do n't understand? Well, Mr. McDermott, enlighten me.</dialogue>
<scene_description>He wheels around to Andy and comes face to face with THE BEAST huge and ravenous . It goes for his throat .</scene_description>
<character>PROSECUTOR</character>
<dialogue>Good God! Aaaaaaaa!</dialogue>
<scene_description>The beast tears the prosecutor apart , spraying blood everywhere . The jury - oddly enough - break into polite applause . One less lawyer .</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE - NIGHT</stage_direction>
<scene_description>Andy wakes up with a start - a concerned STEWARDESS is leaning over him . Disturbed PASSENGERS crane their necks , peering at him like he 's nuts .</scene_description>
<character>STEWARDESS</character>
<dialogue>You were screaming in your sleep, sir. Are you okay?</dialogue>
<scene_description>Andy looks around , getting his bearings . He takes a deep breath and shakes it off .</scene_description>
<character>ANDY</character>
<dialogue>Yeah. It was just, um. something I ate.</dialogue>
<scene_description>The stewardess nods and smiles , a little uneasily . He picks up the Bloody Mary from his table and gulps some down . A little bit of tomato juice dribbles down his chin . He looks out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRPLANE</stage_direction>
<scene_description>It flies along over a blanket of clouds , past the huge , silver moon . The song is Cat Stevens ' `` Moonshadow '' , sardonically covered by Nirvana , with the oh so appropriate lyrics : `` If I ever lose my legs . '' ROLL CREDITS</scene_description>
</scene>
</script> | Andy McDermott is a tourist seeing the sights of Paris with his friends Brad and Chris. When Serafine Pigot leaps off the Eiffel Tower just before Andy is about to bungee jump, he executes a mid-air rescue. She vanishes into the night, leaving Andy intrigued – unaware that she is the daughter of David Kessler and Alex Price, the couple seen 16 years earlier in the first film. That night, Andy, Chris, and Brad attend a night club called "Club de la Lune". The club's owner, Claude, is actually the leader of a werewolf society that uses the club as a way to lure in people (preferably tourists) to be killed. Serafine arrives, tells Andy to run away and transforms into a werewolf. The club owners transform into werewolves as well, and butcher all the guests. Chris escapes and goes back to Serafine's house. Brad is killed by a werewolf, and Andy is bitten by another werewolf when he tries to escape. The next day, Andy wakes up at Serafine's house. Serafine blends organs in the blender, and he is still in shock, but Serafine allows him to feel her breasts to calm him down. She tells him he's transforming into a werewolf. This is interrupted by the sudden appearance of the ghost of Serafine's mother Alex. Andy jumps out the window in sheer panic and begins running away. Chris tries to get his attention, but Claude grabs him and holds his hand over his mouth and takes him to the basement. Soon, Brad's ghost appears to Andy and explains Andy's werewolf condition. For Andy to become normal again, he must eat the heart of the werewolf that bit him; and, for Brad's ghost to be at rest, the werewolf that killed him must be killed, too. After developing an appetite for raw meat, Andy hooks up with an American tourist named Amy (Julie Bowen), but he transforms and kills her. Andy also kills a cop who had been tailing him, suspecting Andy was involved in the Club de la Lune massacre. Andy is arrested but escapes. He begins to see Amy's ghost as well, and she begins trying to kill him. Claude and his henchmen ask Andy to join their society but to prove his loyalty, Andy must kill Chris. Serafine rescues Andy, explaining that her stepfather prepared a drug to control werewolf transformations. However, the drug forces werewolves to immediately transform into their beast form. As a result, she killed her mother and savaged her stepfather. Claude and the other werewolves raid Serafine's stepfather's lab and kill him, taking the drug to transform immediately. Serafine and Andy learn of a Fourth of July party Claude has planned and infiltrate it. They help the partygoers escape, and Andy manages to kill the werewolf that ate Brad's heart, thus setting Brad free. The cops arrive, and a fight ensues. Andy and Serafine manage to kill many werewolves, with Serafine shifting to her beast form to fight when she runs out of ammunition. During a fight between Serafine and another lycanthrope, Andy shoots one of the wolves, but it turns out that he has shot Serafine. As she reverts to her human form she begs him to kill her but he is unable to and authorities who arrive on the scene assume that he is trying to kill her before escaping. Claude makes his way onto a subway train, but he slips onto the tracks. A train slams into him, causing him to transform back to a human. He tries to take another dose of the drug, but Andy stops him. As they fight, Andy discovers that Claude is the werewolf that bit him (due to a scar on his left shoulder caused when Andy stabbed the werewolf with a spear). Claude tries to inject himself with the drug but accidentally injects Andy instead. Andy transforms into a werewolf, kills Claude and eats his heart and howls, breaking the werewolf curse. Serafine is taken in an ambulance, but she begins to show signs of transforming. The EMT, thinking she is going into shock, administers adrenaline, which stops the transformation. The sedative, which was thought to be the "cure", actually triggered the change and adrenaline has the opposite effect. The final scene depicts Serafine and Andy celebrating their wedding atop the Statue of Liberty with Andy's pal Chris, who survived. The couple seem to be controlling the curse with a steady application of adrenaline-fueled activities. They bungee jump off the statue as the credits roll. In an alternate ending, after Andy eats Claude's heart, Serafine has a vision of her stepfather in the back of an ambulance, explaining how he found a cure before his death. The new closing scene shows Serafine and Andy having a child, whose eyes shift to look like the werewolves'. |
Bad Moon_1996 | tt0115610 | <script>
<scene>
<scene_description>BAD MOON</scene_description>
<character>"THOR"</character>
<dialogue>Screenplay by</dialogue>
<scene_description>Eric Red Based upon the novel"'by Wayne Smith</scene_description>
<character>DIRECTOR:</character>
<dialogue>ERIC RED</dialogue>
<scene_description>Shooting script 21/03/96 Rev. Blue 17/04/96 Rev.Pink 19/04/96 Rev. Yellow 19/04/96 Rev. Green 22/04/96 Rev. Goldenrod 23/04/96 FADE ·IN:</scene_description>
<character>1</character>
<dialogue>EXT.</dialogue>
<scene_description>The vast, primordial jungle. Exotic, mist-shrouded mountainscapes loom in the gathering dusk.</scene_description>
<character>2</character>
<dialogue>EXT.</dialogue>
<scene_description>The remote primeval landscape is bathed in strange, sweltering twilight. The setting sun is a weird fireball behind the palm trees. The moon is a ghost on the horizon.</scene_description>
<character>3</character>
<dialogue>•</dialogue>
<character>EXT.</character>
<dialogue>t"</dialogue>
<scene_description>A few tents pitched in the clearing ••• A campfire burns ••.</scene_description>
</scene>
<scene>
<stage_direction>- 4 EXT. CAMP - NEPAL - NIGHT</stage_direction>
<scene_description>A JUNGLE EXPEDITION has pitched camp. 6 NATIVES are stoking the campfire and cooking food. 3 PACK HORSES are tethered to a post. THE PHOTOGRAPHER, is a ruggedly handsome American man in khaki jungle gear, several cameras slung around his neck. He is reviewing a map with THE NATURALIST, a stunning and outdoorsy Australian woman. She is labeling numerous rolls of 35mm film with a magic marker.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>We're thirty miles northeast of the upper plateau. There's an outpost and an airstrip ten miles due north here •••</dialogue>
<scene_description>He pointa to a mark on the map.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>We can have the film flown out to Delphi from there. They can pouch it to the \* field office in Calcutta. Old Jones \* should be happy ••• we're only two weeks past deadline.</dialogue>
<scene_description>She kisses him lovingly. t C.ON'l'TNtTFO \ \ ---·---·---,</scene_description>
<character>NATURALIST</character>
<dialogue>This has been a wonderful adventure.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>You made it wonderful.</dialogue>
<scene_description>He kisses her. They gaze into each other's eyes fondly.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>Put it in your book. This September, The Amazon. January, Egypt.</dialogue>
<character>NATURALIST</character>
<dialogue>But in the next five minutes, bed.</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>We're out here a thousand miles from civilization, a blanket stars above us, and she wants to sleep.</dialogue>
<character>NATURALIST</character>
<dialogue>I didn't say sleep, my love. Coming along?</dialogue>
<character>PHOTOGRAPHER ;</character>
<dialogue>Hold it. In the last two months we've gotten pictures of every last living creature in this jungle paradise except you and I.</dialogue>
<character>NATURALIST</character>
<dialogue>And?</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>I want one to show our grandkids.</dialogue>
<scene_description>The Photographer sets a camera on a tripod, Sets it to autotimer. Goes over and poses with his girlfriend. VIEWFINDER P.o.v.:· The two attractive people in a warm and loving embrace. CLICK. The shutter snaps The flashbulb flare white's them out. The flash refracts off the eyes of a strange creature watching them in the jungle. It GROWLS, a scary WOLFLIKE SOUND. The Photographer kisses The Naturalist fondly. She kisses him back. She puts her arms around him and they nuzzle in the remote reaches of the Indian jungle. Across the clearing, their Native Guides are stoking the campfire •</scene_description>
</scene>
<scene>
<stage_direction>-.</stage_direction>
<character>5</character>
<dialogue>INT.</dialogue>
<scene_description>The Photographer and the Naturalist enter the tent. She sits down and begins brushing her hair. He lifts his camera and SNAPS a few shots of his lovely girlfriend.</scene_description>
<character>NATURALIST</character>
<dialogue>Stop it.</dialogue>
<scene_description>He lowers his camera.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>Okay.</dialogue>
<scene_description>He takes her in his arms and they kiss in a passionate embrace.</scene_description>
<character>6</character>
<dialogue>(</dialogue>
<character>EXT.</character>
<dialogue>The full moon now visible in the darkened sky.</dialogue>
<character>7</character>
<dialogue>EXT.</dialogue>
<scene_description>The Native Guides stoke the coals of the fire with sticks. They listen to the SOUNDS of the MONKEYS, BIRDS, and INSECTS in the dense trees lining the perimeter of the clearing. They hear the SOFT SIGHS coming from tne one tent. The Natives exchange grins and shake their heads as they tend the fire. Then all SOUNDS of WILDLIFE abruptly cease. Silence. The Native Guides lift their heads, alert. The jungle is totally, preternaturally quiet. One man rises to his feet uneasily. He nervously looks around him at the darkened clearing. It is pitch black on all sides beyond the dim glow of the campfire. The horses in the stalls begin to snort and paw the earth with their hoofs. The horses suddenly rear and yank at their tethers. Their wild eyes stare into the dark, silent jungle. Three Natives begin babbling anxiously to one another. Suddenly, a LOW GROWL emanates from the brush. Like a wolf • .- But not. The horses rip loose of their posts and gallop off in panic into the jungle.</scene_description>
</scene>
<scene>
<stage_direction>INT. TENT - CAMP NIGHT</stage_direction>
<scene_description>The Photographer and The Naturalist make passionate love in a sleeping bag ••• Their erotic sighs and exclamations drown out all noises outside the tent.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMP - NIGHT</stage_direction>
<scene_description>Fear explodes across the Guides' faces. They are frozen in place, paralyzed with terror. One looks over to see his rifle resting against his tent twenty yards away. Three Natives scream and bolt into the jungle. Two more of the Natives run off in the~other direction. GROWL. With a cry of terror, the remaining Native Guide runs for his rifle. A WEREWOLF drops out of the trees and goes for the man's throat! Bloodshot, insane eyes ••• Salivating fangs ••• Hairy half-man, half-wolf features ••• Huge claws. The creature is half-seen, a psychopathic-eyed apparition of fangs, claws, and fur in the firelight. The Native Guide's screams are cut short as he is torn to shreds by the Werewolf.</scene_description>
</scene>
<scene>
<stage_direction>INT. TENT - CAMP - NIGHT</stage_direction>
<scene_description>The Photographer and the Naturalist are still making love in the sleeping bag. over their passionate sighs, he hears something outside the tent. He lifts his head.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>Did you hear something?</dialogue>
<scene_description>She nibbles his lip.</scene_description>
<character>NATURALIST</character>
<dialogue>um-hmmmm.</dialogue>
<scene_description>They kiss and continue what they were doing.</scene_description>
</scene>
<scene>
<stage_direction>-, 11 EXT. CAMP - NEPAL - NIGHT</stage_direction>
<scene_description>The werewolf heaves the Native Guide's corpse into the trees. The creature rears in the firelight, its talons and jaws dripping with gore. Its crazed, bloodshot eyes focus on the tent across the clearing. WEREWOLF P.O.V.: B&W. ITS HEART POUNDING IN IT'S CHEST. ITS BLOOD ROARING IN ITS EARS. THE SOFT HUMAN SIGHS FROM THE TENT. THE TENT. MAKING ITS WAY SWIFTLY ACROSS THE CLEARING ••• TOWARDS THE TENT.</scene_description>
<character>12</character>
<dialogue>The Photographer rolls on top of the Naturalist in the</dialogue>
<character>INT. TENT - CAMP - NIGHT</character>
<dialogue>sleeping bag. Her eyes widen as she sees the hideously unnatural silhouette of the Werewolf rear up outside the tent. She screams hysterically. The Photographer whirls just as the huge, razor-clawed paw shears through the tent canvas. She tries to crawl away, but t~e creature gets a fistful of her hair. It drags her right off her feet outside the tent. The Werewolf buries it's jaws into her. The girl screams and flails hysterically as she is held off the ground and ripped apart by the Werewolf. The man sees only flashes of claws and snapping fangs amid the flying fur.</dialogue>
<character>NATURALIST</character>
<dialogue>TEDOHMYGOOOOOO--HELPHELP!!!</dialogue>
<character>PHOTOGRAPHER</character>
<dialogue>NOOOOO! ! !</dialogue>
<scene_description>The Photographer leaps at the Werewolf. It whirls on him, slashing its razor fangs across his torso. His shoulder is torn open, and he is tossed fifteen feet. The man lands on the ground by the backpacks, his shoulder mauled. His vision is BLURRY, semi-conscious. He sees the thing toss the girl's dead body away like a rag doll. And it comes for him. The Photographer sees a shotgun. By the packs. He grabs up the shotgun and PUMPS a CARTRIDGE into the BREECH. He aims it at the Werewolf. The creature dives for him with a psychopathic SCREECH, talons extended. The man aims blindly, pulling the trigger. BABOOOOOOOOOOOOOOOMMMHMMMM I I I He blows the Werewolf's head clean off. It drops decapitated in the dirt, killed instantly. The Photographer slumps out cold on the ground, his eyes rolled up in their sockets •••</scene_description>
<character>13</character>
<dialogue>"FOREST</dialogue>
<character>EXT.</character>
<dialogue>13</dialogue>
<character>THE CREDITS ARE SUPERIMPOSED OVER A HELICOPTER SHOT SWEEPING</character>
<dialogue>HIGH above the green, lush pine forest. Rugged, untamed</dialogue>
<scene_description>,-. natural scenery for miles and miles. Then, down below, at the edge of the woods, is nestled a comfortable, middle-class neighborhood of tract houses and safe, clean streets. The trees part and the quiet suburban town of "Forest Edge" spreads out before us. The HELICOPTER .SHOT travels over the town to FRAME a house situated a bit secluded at the edge of the woods. The SOUND of a DOG BARRING. THOR, a big, healthy, friendly German Shepherd leaps up and grabs a baseball.</scene_description>
<character>BRETT HARRISON</character>
<dialogue>Good dog! Bring it back, Thor.</dialogue>
<scene_description>The canine scampers onto--</scene_description>
<character>14</character>
<dialogue>EXT.</dialogue>
<scene_description>Thor takes the baseball onto the front lawn and drops it at the feet of BRETT HARRISON, 10. The little boy roughhouses with his pet on the freshly cut lawn of their all-American home. Thor jumps and prances, dodging back into the street to play catch again. I ,..n..nnT-..TTT'C'"' \ Brett heaves the ball. ZOOM IN on Thor's eyes ••• THOR P.O.V.: BLACK AND WHITE. HIS VISION IS HEIGHTENED, ULTRA-AWARE. THE SOUNDS OF THE BIRDS AND WILDLIFE IN THE FOREST AT THE EDGE OF THE NEIGHBORHOOD ARE DENSE AND DETAILED IN THE STEREOPHONIC DUB. DISTANT CARS AND TRUCKS AND VOICES OF NEIGHBORS IN THEIR HOUSES ARE CLEARLY HEARD. NOW, HIS VISION FOCUSES ON THE BASEBALL HISSING THROUGH THE AIR AT HIM. HE LEAPS AND ••• Thor snatches the baseball. He pads back onto the lawn and drops it by Brett's feet.</scene_description>
<character>BRETT</character>
<dialogue>Gimmie five.</dialogue>
<character>..</character>
<dialogue>Thor enthusiastically puts his paw in ~rett's hand.</dialogue>
<character>BRETT</character>
<dialogue>Good boy. ,.</dialogue>
<scene_description>Brett leans down and affectionately hug~ Thor. The dog licks the kid's face. Then his head lifts. In the distance, up the block ••. A man approaches. The FLOPSY wears a dark suit and sunglasses, carrying an attache case. He is making good time up the sidewalk. Thor pays full attention. The Flopsy seems to be coming directly towards their house, ignoring the other houses on the way. The dog's hackles rise. He wills them down. Flopsy canes up to the front yard. Near the boy. Behaving nonchalantly, Thor saunters across the lawn and places himself between Brett and Flopsy. The German Shepherd takes pains not to appear intimidating. Thor watches Flopsy. The man adjusts his dark glasses. Thor's hackles rise. He wills them down. He casts a glance to Brett playing with the Frisbee. Then he returns his gaze to Flopsy. The man doesn't seem to fear Thor, huge German Shepherd that he is.</scene_description>
<character>FLOPSY</character>
<dialogue>Nice dogqie.</dialogue>
<scene_description>Thor just eyes him. THOR P.O.V.: BLACK AND WHITE. SOMETHING TENSE AND HARD ABOUT THE FLOPSY. THOR DOESN'T HEAR SPECIFIC WORDS, JUST TONE OF VOICE, AND THE MAN'S TONE IS ONE OF PHONY FAMILIARITY.</scene_description>
<character>FLOP SY</character>
<dialogue>NICE DOGGIE.</dialogue>
<scene_description>Thor doesn't blink.</scene_description>
<character>FLOP SY</character>
<dialogue>You're a big one, aren't you? Are you a dog or a horse?</dialogue>
<scene_description>Thor emits a low RUMBLE from deep in his throat. Flopsy actually grins. -,:</scene_description>
<character>BRETT</character>
<dialogue>He's not a horse! He' s a German Shepherd!</dialogue>
<scene_description>...-.. Thor sees Brett has come up from behind. The German Shepherd easily positions himself between the disturbing man and the little boy. Flopsy wipes sweat from his brow.</scene_description>
<character>FLOP SY :</character>
<dialogue>Well, he's a helluva big German Shepherd. Are your Mom and Dad home?</dialogue>
<scene_description>Thor squints. THOR P.O. V.: BLACK AND WHITE. PANNING FROM THE MAN'S ANKLES, TO HIS GROIN, TO HIS EXPOSED THROAT. Flopsy inches back a little. The screen door on the porch opens. JANET HARRISON, Mom, attractive, in her late 30's, hurries across the lawn.</scene_description>
<character>JANET</character>
<dialogue>Can I help you?</dialogue>
<character>FLOP SY</character>
<dialogue>Ah, you must be the lady of the house.</dialogue>
<scene_description>Mom faces Flopsy.</scene_description>
<character>THOR P.O.V.: B&W. EYEING THE MAN'S HANDS AND FEET, AS THEY</character>
<dialogue>TWITCH WITH ILL-CONCEALED NERVOUSNESS. THE MAN'S WORDS ARE</dialogue>
<character>INCOMPREHENSIBLE, BUT THE TONE IS SMUG, EASY, TOTALLY</character>
<dialogue>DISHONEST.</dialogue>
<dialogue>Thor's hackles rise.</dialogue>
<character>JANET</character>
<dialogue>Yes, I am.</dialogue>
<character>FLOP SY</character>
<dialogue>Well, Ma'am, I see you have a young boy. Are you helping him to get the best education possible? I represent The Pacific Northwest Magna Reading Project, and we have a series of books which studies have proved are a major benefit towards advanced learning in phonetics and word comprehension. If I could have five minutes of your time to show you--</dialogue>
<character>JANET</character>
<dialogue>"'</dialogue>
<scene_description>Thank you, but we really aren't interested in buying--</scene_description>
</scene>
<scene>
<stage_direction>-. FLOP SY</stage_direction>
<scene_description>Please let me show you these books my company has developed-- He opens his attache case. Thor lets out a low, threatening GROWLt</scene_description>
<character>FLOP SY</character>
<dialogue>I have them right here.</dialogue>
<scene_description>Flopsy reaches his hand into his case. He eyes Thor with a strange glint of opportunism in his eyes. Thor gives the man a single, vicious, snapping BARK.</scene_description>
<character>FLOP SY</character>
<dialogue>HEY, LOOK, LADY! YOU EVER HEARD OF A</dialogue>
<character>LEASH LAW?! YOU BETTER CONTROL YOUR DOG \*</character>
<dialogue>BEFORE HE BITES SOMEBODY! \*</dialogue>
<scene_description>Mom looks upset.</scene_description>
<character>JANET</character>
<dialogue>Thor.</dialogue>
<scene_description>- She reaches down to slip her finger into the metal ring of Thor's collar. As she does so, she takes her eyes off Flopsy for a moment. Flopsy makes deliberate eye contact with Thor. Thor sees Flopsy make a quick, flailing movement with his free hand over Mom's neck. Like he is about to punch her.</scene_description>
<character>BRETT</character>
<dialogue>HEY!</dialogue>
<scene_description>That does it. With a violent growl, Thor leaps. He hits Flopsy full in the chest with front and hind legs, dropping him like a bowling pin. The ninety pound German Shepherd pins him to the pavement, police dog style. Flopsy looks in terror at the bared fangs of the dog at his throat. ~</scene_description>
<character>HELP!</character>
<dialogue>JANET</dialogue>
<character>GET HIM OFF ME!</character>
<dialogue>THOR!</dialogue>
<dialogue>Thor looks up at Mom, and obediently gets off the man.</dialogue>
<character>GET OFF HIM!</character>
<dialogue>Flopsy sits up, angrily brushing himself off.</dialogue>
<character>FLOPSY</character>
<dialogue>HE BIT ME! I'M SUING! YOU GOT A</dialogue>
<character>DANGEROUS ANIMAL THERE, LADY, AND YOU'RE</character>
<dialogue>GOING TO PAY FOR IT! YOU BETTER GET A</dialogue>
<character>LAWYER, LADY! 'CAUSE YOU'RE GONNA HEAR</character>
<dialogue>FROM MINE, TOOT SWEET!</dialogue>
<scene_description>Janet stands over him, nonplussed.</scene_description>
<character>JANET</character>
<dialogue>You-can talk to me.</dialogue>
<scene_description>Mom pulls a small white card out of her wallet and tosses it contemptuously to Flopsy.</scene_description>
<character>JANET</character>
<dialogue>I'm a lawyer.</dialogue>
<scene_description>Before Flopsy can react, Janet reaches down and jerks the jacket from the man's shoulder. There is no wound. - JANET I don't see what you're going to sue for, except maybe the price of a new suit at K-Mart. f CON'l'TNtJF.n \ \ - --·---· --- I</scene_description>
<character>FLOP SY</character>
<dialogue>Hey, listen, lady. I don't care if you are a lawyer. Your dog attacked me, and if you don't want to settle, fine. I won't sue you. I'll go to the humane society and show them what he did. I'll get a court order and have him destroyed.</dialogue>
<scene_description>Baffled, Thor looks back and forth between Mom and Flopsy. He lets out a low GROWL.</scene_description>
<character>JANET</character>
<dialogue>Get in the house, Thorl</dialogue>
<scene_description>Mom points the dog towards the house. If possible, the German Shepherd is on the verge of tears of confusion and shame. He has no choice. He does what he is told. Thor slinks away, tail between his legs. He slumps on the porch and watches the heated interchange between his master and the stranger who apparently threatened Mom. Mom faces Flopsy furiously as the man lles on the ground.</scene_description>
<character>JANET</character>
<dialogue>Did he bite you?</dialogue>
<scene_description>Flopsy hesitates.</scene_description>
<character>JANET</character>
<dialogue>Because if he bit you, you'll have to see a doctor right now. Since you're on foot, I'll give you a lift to the nearest hospital emergency room right now.</dialogue>
<scene_description>Janet holds out her hand to help the man up.</scene_description>
<character>JANET</character>
<dialogue>I'll take you to our family doctor.</dialogue>
<character>FLOP SY</character>
<dialogue>I got my own doctor!</dialogue>
<character>JANET</character>
<dialogue>All right. I think I've heard about enough, Flopsy.</dialogue>
<character>BRETT</character>
<dialogue>Who's Flopsy, Mom?</dialogue>
<scene_description>- Janet stares down Flopsy. - A</scene_description>
<character>JANET</character>
<dialogue>flopsy, Brett, is a con man who does</dialogue>
<scene_description>things like walk in front of cars and pretend to get hit. Or intentionally provoke people's dogs and pretend to get</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>bitten. He threatens to sue people or \* have their pets destroyed unless they pay \* him money. I've prosecuted plenty of \* these guys. \*</dialogue>
<character>FLOPSY</character>
<dialogue>I'll--I'll see you in court.</dialogue>
<scene_description>The con man fidgets like a pinned bug. Thor watches Mom's demeanor from the sidelines, and his German Shepherd jowls break into a loose grin as he sees whatever it is going on, Mom is winning.</scene_description>
<character>JANET</character>
<dialogue>Brett, call Sheriff Jenson. Tell him you're my son, he'll take tfie call. Tell him we have a problem and to send a 1</dialogue>
<scene_description>-deputy right away. Janet turns to Flopsy with a grin.</scene_description>
<character>JANET</character>
<dialogue>It was nice knowing you, Flopsy. I'll visit you in the slammer. \*</dialogue>
<character>FLOP SY</character>
<dialogue>YOU F--! \*</dialogue>
<scene_description>The man explodes in anger. Thor leaps up on his haunches and BARKS violently. Mom whirls on Thor and roars ferociously. \*</scene_description>
<character>JANET \*</character>
<dialogue>STAY! \*</dialogue>
<scene_description>With a dismal. WHINE of dismay, Thor miserably hangs back on \* the stoop. His eyes still remain protectively fixed on \* Flopsy. \*</scene_description>
<character>JANET \*</character>
<dialogue>Now, my advice to you is to turn around, \* and walk away without saying another word \* and without looking back. \*</dialogue>
<scene_description>The humiliated con man stumbles away up the sidewalk. He wags his finger at ~anet.</scene_description>
<character>{CONTINUED)</character>
<dialogue>FLOP SY</dialogue>
<scene_description>You ftin't heard the last of this!</scene_description>
<character>JANET</character>
<dialogue>I think I have. But don't think of this as a total loss--you learned a valuable lesson: Don't mess with a lawyer on her own turf!</dialogue>
<scene_description>Mom turns her back on Flopsy and ushers Brett back towards the house. Thor, the big German Shepherd, sits small and fearful on the porch, his tail helplessly thumping. Janet walks up to him. Thor looks up expectantly. Mom stares down at Thor with hard eyes •</scene_description>
<character>...</character>
<dialogue>JANET</dialogue>
<scene_description>Get in. Janet opens the door and pushes the dog 1 inside with the rest of the family. ,--. 15 OMIT. 15\*</scene_description>
<character>16</character>
<dialogue>INT.</dialogue>
<character>OMIT.</character>
<dialogue>FOYER - HARRISON HOUSE - DAY</dialogue>
<scene_description>·-- 17 Mom walks Thor to the middle of the room.</scene_description>
<character>JANET</character>
<dialogue>Sit down.</dialogue>
<scene_description>Thor sits. Registering her stern tone, he looks up at her with his most baleful eyes, and lays down on his stomach, tail thumping repentantly.</scene_description>
<character>JANET</character>
<dialogue>Quit groveling.</dialogue>
<scene_description>More tail thumps.</scene_description>
<character>JANET</character>
<dialogue>This is serious Thor. Sit up.</dialogue>
<scene_description>Thor sits up. ,.</scene_description>
<character>JANET</character>
<dialogue>Pay attention.</dialogue>
<scene_description>Mom kneels down beside Thor, grabbing him not untenderly by the jowls. She looks him affectionately in the face.</scene_description>
<character>JANET</character>
<dialogue>Listen to me, numbskull. I know you were just doing your job and trying to protect us. But we could have lost you today. If you bite somebody they can take you away from us and take you to the pound and there wouldn't be anything we could do. You're the man of the house, Thor. What would we do without the man of the house, huh?</dialogue>
<character>BRETT</character>
<dialogue>Mom, go easy on him. He was just trying to protect us. He's our dog, and he was looking out for us.</dialogue>
<character>JANET</character>
<dialogue>JANET</dialogue>
<scene_description>That's not the point. Thor can't meet Mom's eyes. Janet takes the dog's face and forces him to look at her.</scene_description>
<character>JANET</character>
<dialogue>You listen to me, Thor. You are NEVER. NEVER. To bite a human being. No matter what. You are NEVER to BITE ANYONE. BAD</dialogue>
<character>JANET</character>
<dialogue>DOGS bite people. BAD DOGS get put away. You aren't a BAD DOG, are you? Thor, are you listening to me?</dialogue>
<scene_description>Thor looks up at Mom with wet eyes. THOR P.o.v.: B&W. MOM'S FIERCE, FIRM, LOVING FACE IN HIS.</scene_description>
<character>JANET</character>
<scene_description>A MEMORY FLASHBACK PLAYS IN FRONT OF THE DOG'S EYES ••• A POUND. THROUGH THE BARS OF A WHITE CAGE, OTHER WHITE CELLS BEYOND. IT IS AS STERILE, ANTISEPTIC, AND COLD AS A CONCENTRATION CAMP. MANY PATHETIC ANIMALS HOWLING AND BARKING AND MEOWING. THOR IS INSIDE THE CAGE, LOOKING OUT, AS MEN IN WHITE SUITS PASS LIKE ANGELS OF DEATH. ~</scene_description>
<character>POUND ATTENDANTS.</character>
<dialogue>BAD DOGl BAD DOGl</dialogue>
<scene_description>Thor is off in space. Mom shakes him gently.</scene_description>
<character>JANET</character>
<dialogue>You listening to me, Thor? You're not a bad dog. You're a GOOD DOG. Hear me? GOOD DOG.</dialogue>
<scene_description>Thor gazes dreamily at Mom. THOR P. 0. V. : B&W. STILL IN THE POUND, BEHIND BARS. PEOPLE ARE MOVING PAST THE BARS. IT IS MOM AND BRETT! THEY PEER THROUGH THE THE BARS AT THOR.</scene_description>
<character>BRETT</character>
<dialogue>OH, MOMMY, LOO~ AT THIS PUPPY!</dialogue>
<scene_description>MOM POKES HER FACE OVER AND LOOKS IN THE BARS AT THE CAMERA.</scene_description>
<character>JANET</character>
<scene_description>THE GATE IS OPENED. THE BOY PATS THE CAMERA.</scene_description>
<character>GOOD DOG.</character>
<dialogue>GOOD DOG.</dialogue>
<character>GOOD DOG.</character>
<dialogue>· Thor-'-s eyes are wet. Mom and Brett are on the carpet with him. They scratch and pat him.</dialogue>
<character>JANET</character>
<dialogue>Good dog.</dialogue>
<scene_description>Thor gratefully licks their faces, relieved. Janet picks up the phone. Dials a number.</scene_description>
<character>JANET</character>
<dialogue>Hi, Sheriff Jenson. This is Janet \* Harrison out at 43 Oak Creek Lane. \* Listen, I want to report an incident ••• \*</dialogue>
</scene>
<scene>
<stage_direction>INT. SHERIFF JENSON'S OFFICE - POLICEI" HEADQUARTERS - DAY 18\*</stage_direction>
<scene_description>SHERIFF JENSON on the phone. The cop is taking notes.</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>••• Uh-huh ••• Uh-huh. Got it.; Okay, \* Janet. I'll run a make on this guy from \* the description you gave me. And don't \* worry about ol' Thor. You know those \* German Shepherds. They're an \* overprotective breed. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. FOYER - HARRISON HOUSE - NIGHT 19\*</stage_direction>
<scene_description>Janet watches Brett roughhousing with Thor on the floor, the dog affectionately licking his face.</scene_description>
<character>JANET</character>
<dialogue>Don-'t I know it. Thanks.</dialogue>
<scene_description>She hangs up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>The lights shut off, one by one.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRS - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor pads up the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR HALLWAY - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor pads down the hall to Brett's bedroom. He pokes his nose in. The boy is sound asleep under his covers.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRETT'S BEDROOM - HARRISON HOUSE.. - NIGHT</stage_direction>
<character>. ~</character>
<dialogue>Thor watches protectively from the doorway. Brett is tossing and turning, moaning from a bad dream. Thor's face etches with concern. He quietly pads in and gently licks Brett's.face. That seems ~o calm him. Thor \* tugs the covers up over the boy. \* Brett is now soundly asleep. Thor leaves the room, nudging the door closed.</dialogue>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR HALLWAY - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor quietly pads to Mom's bedroom. Inside, all quiet. He pokes open the door with his snout. Peers in. Janet is in bed, working on legal briefs scattered around the sheets. Sha adjusts her spectacles on her nose, and looks up at the dog with great warmth. She blows him a kiss. This pleases the dog, and he emits a satisfied "gruff." His sentry duty completed for the night, Thor heads downstairs.</scene_description>
<character>25</character>
<dialogue>,,-..,..</dialogue>
<character>INT.</character>
<dialogue>Thor pads down the stairs. He curls up on an easy chair. With a long yawn after his busy day, he puts his head on his paws and drops to sleep.</dialogue>
<character>26</character>
<dialogue>EXT.</dialogue>
<scene_description>A rugged, mountainous expanse of pine forest. A flashlight cuts through the trees. A HIKER with a backpack treks along the moonlit pine forest path. He stops and checks his watch. He takes a map out of his jacket and checks his coardinates. He takes out his compass. Clearly lost, he puts his gear back in his jacket. And hikes on into the dark forest.</scene_description>
<character>27</character>
<dialogue>EXT.</dialogue>
<scene_description>The moon hovers over the vast timber country.</scene_description>
<character>28</character>
<dialogue>EXT.</dialogue>
<scene_description>A flashlight beam glints through the pine branches. The Hiker comes down the trail, small and alone. He is dwarfed by the huge pine trees, using his flashlight to make his way. The SOUNDS of the FOREST WILDLIFE fill the SOUNDTRACK. BIRDS. INSECTS. OWLS. A STEADY, OUTDOORSY DIN. The Hiker stops to get his bearings, shining his flashlight on the trees. Silvery moonlight filters through the branches in misty shafts. The man adjusts his backpack and moves on. The SOUND of his BOOTS CRUNCHING TWIGS. Then suddenly ••• all the ANIMAL NOISES in the forest stop. Silence. The Hiker stops and listens-.to the uncanny, preternatural quiet. Apprehension registers on his features. It's as if all the wildlife in the woods have been scared silent. From far off, a TERRIFYING WOLFLIKE HOWL rips the air. The Hiker is petrified by the half-wolf, half-human cry. He turns pale, hurrying on at a brisk pace down the path, flitting his flashlight beam ahead. The WOLFLIKE ROAR reverberates through the forest again. - This time, much closer. The Hiker looks over his shoulder, but sees only walls of trees. The circle of his flashlight beam begins to dim. Then it darkens and goes out. The Hiker swears below his breath, barely able to see in the moonlit forest~ Beaded with sweat, he fumbles in his backpack for a battery. He frantically inserts it into his flashlight. The beam of light blinks back on. The SOUND of a HUGE ANIMAL SMASHING THROUGH THE TREES AND BRANCHES of the FOREST. The Hiker cries out in fear and runs for his life. He heaves off his backpack and bolts up the trail. Looking.over his shoulder, he sees something shattering through the branches fifty feet behind him. The huge shape~is covered with fur, its claws glinting in the moonlight. The Hiker runs panic- stricken through the forest. The ROARS of the thing fill his ears. The Hiker scrambles up a tree, shimmying ten feet up to the first branches. He tries to clitnb higher. Suddenly, the tree is shaken powerfully, heaving him sideways. He shines his flashlight down at the creat~re shaking the tree. A Werewolf!</scene_description>
</scene>
<scene>
<stage_direction>-,</stage_direction>
<scene_description>The Hiker screams in raw terror and heaves the flashlight between the Werewolf's eyes. It bounces off the creature's skull. The Werewolf flies into a psychopathic rage, chewing and scratching at the tree. Bark and wood pulp fly like from a chain saw. The Hiker holds on for dear life as the tree is violently shaken back and forth. He tries to climb higher but can't. The Werewolt is swiftly gnawing through the trunk of the tree, trying to break it in half. A CRACK of SPLINTERING WOOD. The Hiker screams helplessly as the tree he hangs onto starts to topple. The Werewolf waits for him with fangs bared and claws outstretched as the tree breaks. The Hiker falls head over heels into the clutches of the Werewolf. And is torn to pieces.</scene_description>
<character>29</character>
<dialogue>The vast, moonlit stretch of pine forest. The HIKER'S</dialogue>
<character>EXT.</character>
<dialogue>..-.. HIDEOUS SCREAMS are .CUT SHORT. The THROATY WOLFLIKE ROAR</dialogue>
<scene_description>reverberates through the windless, mountainous expanse of -. timber in the moonlight.</scene_description>
<character>30</character>
<dialogue>EXT.</dialogue>
<scene_description>Morning breaks on the peaceful tract housing community by the huge forest. A NEWSBOY on a bike throws a paper on the doorstep of the Harrison house.</scene_description>
<character>31</character>
<dialogue>INT.</dialogue>
<scene_description>Thor eats his breakfast from a bowl of Alpo. Janet is cooking breakfast. Brett is seated at the table, grimly doing his homework. He slaps down his~pencil.</scene_description>
<character>BRETT</character>
<dialogue>C'mon Mom, it's Satu+day.</dialogue>
<scene_description>Janet smiles, flipping a pancake.</scene_description>
<character>JANET</character>
<dialogue>You're going to sit there until you finish your definitions. You told me that you turned them in Friday when you were supposed to. Surprise.</dialogue>
<character>BRETT</character>
<dialogue>Aww, Ma.</dialogue>
<character>JANET</character>
<dialogue>Don't aww Ma me. Or I'll add a couple of words to the list for not telling me the truth. Look up "Indictment."</dialogue>
<scene_description>The PHONE RINGS. Mom picks up. Thor looks at Mom. THOR P .0. V.: BLACK AND WHITE. MOM CHATTING AWAY. WARM. HAPPY.</scene_description>
<character>JANET</character>
<dialogue>HELLO TED, HOW ARE YOU? WHERE ARE</dialogue>
</scene>
<scene>
<stage_direction>- YOU HAVEN'T CALLED SINCE THEN?</stage_direction>
<scene_description>\*:</scene_description>
<character>JANET</character>
<dialogue>CREEP. I STILL THOUGHT YOU WERE OUT OF</dialogue>
<character>THE COUNTRY</character>
<dialogue>Thor's ears perk.</dialogue>
<character>JANET</character>
<dialogue>WELL OF COURSE WE'D LOVE TO SEE YOU, TED.</dialogue>
<scene_description>The dog sits up, his chops grinning, happy. ZOOM IN ON HIS EARS.</scene_description>
<character>JANET</character>
<dialogue>WE'LL SEE YOU AT THE CABIN IN A FEW \*</dialogue>
<character>HOURS ��� YOU'VE MOVED? SURE I KNOW THE</character>
<dialogue>TIMBERLINE LAKE. HOLD ON, LET ME GET</dialogue>
<character>THESE DIRECTIONS DOWN.</character>
<dialogue>Janet scribbles down directions.</dialogue>
<character>JANET ..</character>
<dialogue>YEAH YEAH, I GOT IT. BOY YOU'RE OUT IN \*</dialogue>
<character>THE BOONIES THERE. BE THERE IN A FEW \*</character>
<dialogue>HOURS. BYE. \*</dialogue>
<scene_description>Mom hangs up. Thor jumps to his feet. Dances around. Brett looks at his Mom.</scene_description>
<character>BRETT</character>
<dialogue>I thought Uncle Ted was in another country.</dialogue>
<scene_description>Mom gives her kid a smile.</scene_description>
<character>JANET</character>
<dialogue>He's been back a few months. I didn't \* even know. We're going to drive up and \* see him today. How does that sit with you guys?</dialogue>
<scene_description>It sits good.</scene_description>
<character>BRETT</character>
<dialogue>AW-WRIGHT! We can go hiking in the woods \* like we did the last time, and maybe he'll let us shoot his rifle again and--</dialogue>
<character>JANET</character>
<dialogue>Gosh, I didn't even know he'd got back. That flaky brother of mine •••</dialogue>
<character>JANET</character>
<dialogue>Gosh, I didn't even know he'd got back. ... That flaky brother of mine ••. \*</dialogue>
<scene_description>Thor puts his paws up on the kitchen counter and BARKS \* enthusiastically. \*</scene_description>
<character>BRETT \*</character>
<dialogue>I know somebody who'll be glad to see \* him. Woncha, big boy? \*</dialogue>
<scene_description>Mom kneels down and ruffles Thor's jowls. Brett starts to jump up from the table. Janet shoots him a wry glance.</scene_description>
<character>JANET</character>
<dialogue>Of course •..</dialogue>
<scene_description>Brett stops.</scene_description>
<character>JANET</character>
<dialogue>We'll leave just as soon as you've finished your homework.</dialogue>
<character>BRETT \*</character>
<dialogue>Mom! \*</dialogue>
<scene_description>Brett rolla his eyes. And sits back down.</scene_description>
<character>32</character>
<dialogue>EXT.</dialogue>
<scene_description>,.-..\_, The family and the dog pile into their station wagon.</scene_description>
<character>33</character>
<dialogue>I</dialogue>
<character>EXT.</character>
<dialogue>The station wagon traipses through the winding highway past massive expanses of pine trees. The woods are dense and mountainous. Uncivilized.</dialogue>
<character>34</character>
<dialogue>INT.</dialogue>
<scene_description>Janet drives. Brett is in the back seat, playing pocket Nintendo. Thor has his head stuck out the open window, in his glory. THOR P.O.V.: B&W. THE WOODS RUSHING BY IN A SWEEP OF NATURE. THE PRIMEVAL SOUNDS OF A MILLION ANIMALS AND INSECTS FILL THE STEREO SURROUNDS OF THE THEATRE IN A SYMPHONIC DIN. Thor squints his eyes, wind blasting his face, grinning - wildly.</scene_description>
<character>35</character>
<dialogue>A spectacular range of forest mountains rises over a glassy, quiet lake.</dialogue>
<character>EXT.</character>
<dialogue>The station wagon turns onto a small dirt road</dialogue>
<scene_description>past a rusted sign that reads, "No Trespassing." On a lonely beach by the isolated lake sits a metallic silver Airstream trailer. The car pulls up. The door to the Airstream opens •••</scene_description>
<character>36</character>
<dialogue>INT.</dialogue>
<scene_description>Mom smacks Thor on the butt. "'</scene_description>
<character>JANET</character>
<dialogue>Sick I im, boy.</dialogue>
<scene_description>Thor leaps out the window. - '</scene_description>
<character>37</character>
<dialogue>EXT.</dialogue>
<scene_description>THOR P.O.V.: B&W. SHOVING THROUGH THE WINDOW OF THE: CAR ��� BOUNDING ONTO THE FOREST FLOOR �� ;.RUNNING FULL TILT: TOWARDS THE FAMILIAR FIGURE STEPPING THROUGH THE AIRSTREAM: DOOR ��� UNCLE TED STEPPING OUT WITH A BIG GRIN AND OPENING HIS: ARMS ��� THOR LEAPING ONTO HIM AND LICKING HIS FACE.:</scene_description>
<character>UNCLE TED</character>
<dialogue>HI, THOR.</dialogue>
<scene_description>Thor drops back. Hackles up. THE SOUND OF UNCLE TED'S VOICE HAS AN ANIMAL-LIKE CADENCE, A LOW WOLFLIKE GROWL BENEATH THE WORDS. NOT ••• QUITE ••• RIGHT. (WE RECOGNIZE UNCLE TED AS THE PHOTOGRAPHER WHO WAS ATTACKED BY THE WEREWOLF IN THE OPENING SCENE IN NEPAL.) Uncle Ted misses a beat. A flash of caution. Then he catches himself and kneels down to rub the scruff of the dog's neck. --</scene_description>
<character>UNCLE TEO</character>
<dialogue>Easy, Thor. It's just your old buddy Ted.</dialogue>
<scene_description>Thor cocks his head. He regards Ted with a quizzical look, then wholeheartedly licks the man's face.</scene_description>
<character>UNCLE TED</character>
<dialogue>'At a boy.</dialogue>
<scene_description>Mom and her kid pile out of the car. Janet and her brother bear hug.</scene_description>
<character>UNCLE TED</character>
<dialogue>How are ya, sis?</dialogue>
<character>JANET</character>
<dialogue>How are you?</dialogue>
<scene_description>She strokes his distinctive facial stupble with sisterly disapproval.</scene_description>
<character>JANET</character>
<dialogue>Ever occur to you to use that razor I bought you.for Christmas?</dialogue>
<character>UNCLE TED .</character>
<dialogue>Just for cutting my throat.</dialogue>
<scene_description>He laughs. She rolls her eyes. He holds her gaze warmly.</scene_description>
<character>UNCLE TEO \*</character>
<dialogue>Gosh, it's good to see you, Janet. You \* don't know hor.r good. \*</dialogue>
<character>JANET \*</character>
<dialogue>Yeah right, that's why you're back a \* month and don't call me, don't tell me \* where you are, don't--What's with you, \* you-putz. \*</dialogue>
<scene_description>She socks.him one in the arm. Then kisses him.</scene_description>
<character>JANET \*</character>
<dialogue>It's good to see you too. \*</dialogue>
<scene_description>Thor jumps around Uncle Ted, his concerns for the moment out of mind. He BARKS. Ted crouches down and hugs his nephew.</scene_description>
<character>UNCLE TED</character>
<dialogue>Brett, you've shot up like a weed.</dialogue>
<scene_description>I ~ON'T'TNtn:'n \ '---·---·---,</scene_description>
<character>BRETT</character>
<dialogue>Uncle Ted, can I shoot the rifle?</dialogue>
<character>UNCLE TED</character>
<dialogue>We'll see, we'll see. First, let's go inside and visit.</dialogue>
<scene_description>He puts his arm around Brett.</scene_description>
<character>UNCLE TED</character>
<dialogue>I have quite a story to tell you, young \* man. When I was over Nepal a few months \* ago I had an actual encounter with a \* Saskwatch. \*</dialogue>
<character>BRETT</character>
<dialogue>I've never heard of a Saskwatch.</dialogue>
<scene_description>They all head cheerfully towards the Airstream.</scene_description>
<character>UNCLE TED</character>
<dialogue>It's like an Abominable Snowman, but worse.</dialogue>
<character>BRETT</character>
<dialogue>Yeah, right. There's no such thing.</dialogue>
<scene_description>,.-.</scene_description>
<character>UNCLE TED</character>
<dialogue>Scout's honor. I was camped down for the \* night when the ferocious beast attacked \* me and my crew. Didn't have any warning.</dialogue>
<scene_description>I \*:</scene_description>
<character>BRETT</character>
<dialogue>Yeah, right. What did you do?</dialogue>
<character>UNCLE TED</character>
<dialogue>Wrastled it.</dialogue>
<character>BRETT</character>
<dialogue>Sure •••</dialogue>
<character>UNCLE TED</character>
<dialogue>Got the battle scar to show for it.</dialogue>
<scene_description>Uncle Ted rolls down his collar to reveal a now-healed, but once horrific, mauling on his shoulder and neck. The kid gasps. Uncle Ted chuckles. Janet is shocked.</scene_description>
<character>JANET</character>
<dialogue>Ted! My God!</dialogue>
<character>UNCLE TED</character>
<dialogue>See what a macho guy your uncle is, Brett?</dialogue>
<character>JANET</character>
<dialogue>Ted oh my--that looks awful!</dialogue>
<scene_description>Ted closes his shirt from Janet's deeply concerned gaze.</scene_description>
<character>UNCLE TED</character>
<dialogue>Truth is I did get attacked by so~e kind of animal while I was in my tent in Nepal. But I don't know what it was. I \* was asleep and I never knew what hit me. \* All things considered, I would have \* preferred a sharp stick in the eye~ But \* don't worry about me. You guys both look \* great, Janet. Come on inside.. •</dialogue>
<scene_description>,-</scene_description>
<character>UNCLE TED \*</character>
<dialogue>Hey, Thor, the party's over here. \*</dialogue>
<scene_description>Thor is busy romping around the area, sniffing all sorts of strange animal scents.</scene_description>
<character>JANET \*</character>
<dialogue>Leave him be. He's out in the woods and \* he's happier than a pig in-- \*</dialogue>
<character>UNCLE TED \*</character>
<dialogue>Janet. \*</dialogue>
<character>JANET \*</character>
<dialogue>Mud. Speaking of mud. Let's go have a \* cup of that famous coffee of yours. \*</dialogue>
<scene_description>They go inside. Uncle Ted casts a cautious eye to the dog as \* do. \* Thor remains outside, nosing around. ~ Sniffing,he wanders around to a small adjacent section of the beach.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - LAKE - DAY</stage_direction>
<scene_description>A pickup truck parked by the water. Heaps of dirty clothes stuffed in trash bags.</scene_description>
<character>'</character>
<dialogue>The German Shepherd checks out the area. He doesn't pay any attention to the tall stacks of framed black and white nature photographs that are piled there. Their glass frames have been smashed and shattered. Thor walks to the pile ot soiled, dirt-stained laundry on the ground. He sniffs. Recoils. Sniffs. Growls. Thor puts his nose to the ground and sniffs. The scent has a trail. He follows it, nose first, up a hill.</dialogue>
</scene>
<scene>
<stage_direction>INT. UNCLE TED'S AIRSTREAM - DAY</stage_direction>
<scene_description>A kitchenette attached to a spare bedroom. Tidy and neat, with few things around. Color naturalist photographs cover the walls. Photographic equipment is scattered around. Color photographs are everywhere. Uncle Ted takes steaks from the fridge. Janet helps him carry out sodas, a salad, and a coffee thermos. Brett plays with an unloaded rifle on the bed. Janet regards the color phQtographs quizzicaly.</scene_description>
<character>JANET</character>
<dialogue>So what's with the Airstream? Last time I saw you you were getting your house all remodeled. Next thing I know you're living out here in the boonies in a trailer.</dialogue>
<character>UNCLE TED</character>
<dialogue>I'm renting the house, Jane~. I got a good deal on the Airstream, ~nd ••• well ••• it seemed like the right thing for me now. I wanted some time by myself. Away from people. Think.things out.</dialogue>
<scene_description>Janet watches her brother closely, emathetically.</scene_description>
<character>JANET</character>
<dialogue>Weve got some catching up to do. Big time.</dialogue>
<character>UNCLE TED</character>
<dialogue>Yeah but mostly I want to hear about you, and how your move from Chicago is going.</dialogue>
<scene_description>Uncle Ted winks at Brett.</scene_description>
<character>UNCLE TED</character>
<dialogue>You stay outta trouble while your Mom and me get the barbecue goin'. Chow's in fifteen minutes.</dialogue>
<character>BRETT</character>
<dialogue>Cool.</dialogue>
<character>UNCLE TED</character>
<dialogue>Good deal. How you like your steak?</dialogue>
<character>BRETT</character>
<dialogue>Bloody.</dialogue>
<character>UNCLE TED</character>
<dialogue>Child after my own heart.</dialogue>
</scene>
<scene>
<stage_direction>39A EXT. UNCLE TED'S AIRSTREAM - DAY 39A</stage_direction>
<scene_description>Janet pulls up a folding table and sets down the food. Uncle Ted dumps coals then pours kerosine in a Weber barbecue. He strokes the coals as they talk.</scene_description>
<character>UNCLE TED</character>
<dialogue>How's the new firm working working out. Janeway and Samuels, right?</dialogue>
<character>JANET</character>
<dialogue>So far so good. My caseload is lighter than it was at the D.A.'s office in Chicago. And the pace is easier. I'm frankly glad to be out of criminal litigation.</dialogue>
<character>UNCLE TED</character>
<dialogue>How you guys adjusting to small town life? ~</dialogue>
<character>JANET</character>
<dialogue>Me. Like that.</dialogue>
<scene_description>She snaps her fingers.</scene_description>
<character>JANET</character>
<dialogue>Brett ••• well, it frankly hasn't been an easy adjustment for him. He hasn't made any friends in the neighborhood yet. Thor is his best friend. I think he talks more to the dog than he does to me. But Chicago is no place to raise kids-- \*</dialogue>
<character>UNCLE TED</character>
<dialogue>And his Dad he's keepin' in good touch with Brett? Last you told me he was over Germany workin' on the novel.</dialogue>
<scene_description>Janet noticies an anxious edge to Ted's usual warm and close rapport with her.</scene_description>
<character>UNCLE TED</character>
<dialogue>Sorry. You said that here it's safe and peaceful and •••</dialogue>
<scene_description>Uncle Ted walks over to Janet and takes her by the shoulders \* warmly. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>You know, I'm really proud of ya, sis. I \* gotta take my hat off to you the way you \* keep it together. You're a full time Mom \*</dialogue>
<scene_description>.-. UNCLE TED (cont ' d) to Brett, and still manage working at the \* firm full-time. \* Janet looks hard into her brother's eyes.</scene_description>
<character>JANET</character>
<dialogue>You're not telling me something.</dialogue>
<scene_description>Uncle Ted breaks her gaze. He walks to the edge of the lake and stares off distantly.</scene_description>
<character>UNCLE TED</character>
<dialogue>Things haven't gone all that great since I got back from Nepal, sis. Marjorie's gone.</dialogue>
<character>JANET</character>
<dialogue>I'm sorry, Ted.</dialogue>
<character>UNCLE TED</character>
<dialogue>Now it's just me and ••• \*</dialogue>
<scene_description>He laughs. Strangely.</scene_description>
<character>UNCLE TED</character>
<dialogue>My shadow.</dialogue>
<scene_description>Janet reaches out and touches her brother's arm sympathetically.</scene_description>
<character>JANET</character>
<dialogue>I'm sorry about Marjorie. Looks like we're both on our own these days, huh?</dialogue>
<scene_description>Janet brightens.</scene_description>
<character>JANET</character>
<dialogue>Hey, how 'bout if I talk to Marjorie? She and I always got along. Maybe if I called her and I could help get you to back together--</dialogue>
<scene_description>Uncle Ted darkens~ Shivers at the memory.</scene_description>
<character>UNCLE TED</character>
<dialogue>She's gone.</dialogue>
<scene_description>,- Uncl&-Ted darkens. It's over. Shivers at the memory. UNCLE TED</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<character>\*</character>
<dialogue>JANET</dialogue>
<scene_description>So what are you going to do?</scene_description>
<character>UNCLE TED</character>
<dialogue>I haven't made up my mind yet. I have a lot of things going on in my life now that I have to work out by myself out here and--</dialogue>
<character>JANET</character>
<dialogue>You know I'm always there for you. If you need help, all you have to do is ask.</dialogue>
<character>UNCLE TED</character>
<dialogue>I don't know what I need. Actually, I do know what I need. Only I don't have the guts to do it.</dialogue>
<character>JANET</character>
<dialogue>Ted, you need to put your life back together. You shouldn't be out here living all alone in a trailer. You could stay with us. It's riot healthy for you to be by yourself--</dialogue>
<scene_description>Uncle Ted faces Janet firmly.</scene_description>
<character>UNCLE TED</character>
<dialogue>Janet. There are things yo~ don't know about ••• There are things going on in my life I ••• I just can't talk about right now. I'm sorry. But I just can't say any more than that. Not now. Okay?</dialogue>
<scene_description>Janet backs off.</scene_description>
<character>JANET</character>
<dialogue>Okay.</dialogue>
<scene_description>They embrace on the lonely beachhead. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRSTREAM - LAKE - DAY</stage_direction>
<scene_description>Thor follows the scent across the clearing, away from the trailer. The smell leads him onto a hikers path that goes deep into the huge pine forest. Like a bloodhound, Thor sniffs out the trail, padding into the woods.</scene_description>
</scene>
<scene>
<stage_direction>INT. PINE WOODS - DAY</stage_direction>
<scene_description>Giant branches brush past the dog as he wanders down the small trail, taking him far from the nouse. He sniffs and sniffs, his senses alert. ~ THOR P.o.v. . : B&W. LOW TO THE GROUND. NOSING THROUGH THE UNDERBRUSH. THE SOUND OF SNIFFING FILLING THE SOUNDTRACK ALONG WITH THE CACOPHONOUS DIN OF BIRDS AND ANIMALS. THEN SOMETHING ODD. SILENCE. THE SOUNDS OF THE ANIMALS QUIET. THERE IS JUST THE SOUND OF THOR'S SNIFFING. Thor lifts his head, alert. His hackles rise. He puts down his nose and sniffs the ground, following the scent off the hiker's path, and into a deep, brush-strewn gully.</scene_description>
</scene>
<scene>
<stage_direction>INT. GULLY - PINE WOODS - DAY</stage_direction>
<scene_description>The dog makes his way past branches and brush that have clearly been trampled and torn asunder, as if by a wild animal. A piece of denim jacket, stained with blood, is stuck on a branch. The SOUND of FLIES. Thor sniffs and sniffs, padding into the gully. He sniffs a thick group of bushes. Suddenly something leaps out of a bush! Thor leaps back with an startled bark. It is only a school of sparrows. They wing off into the sky. Thor relaxes. Just as a severed human arm out falls out of tree and lands on his back! The dog barks in alarm as he spots the corpse. A pile of savaged, mutilated meat strewn on the ground and all the way up into the trees. A blood-splashed hiking boot dangles from a branch, twenty feet up. Thor stares at the slaughter. And a· WHIMPER of fear escapes his throat. '!": 43 INT• AIRSTREAM - LAKE - DAY, 43\* Brett explores the Airstream. He persues the exotic, spooky tribal masks and ceremonial ornaments that are piled around. He sees a closet, and opens it. Inside, a large cabinet filled with a qomplex medical apparatus. Beakers and Bunsen burners,' hypodermics, chemicals in test tubes and jars. A microscope. Piles of medical books open and scattered around the closet. Notes and complex chemistry equations are scribbled on notepads and all over the walls. The area has the atmosphere of feverish, frantic research. The little boy looks around the closet eyeing the medical setup in astonishment. Something catches Brett's eye. An ancient, antique book on the floor. The little boy opens it. He gasps, reading on in awe and terror ••• The book has page after page of medieval woodcuts of Werewolves. Crude plates of huge, half-man, half-wolf monsters eating children and terrorizing villages. Behind Brett ••• SOMETHING FURRY WITH A SNOUT AND FANGS APPEARS! The little boy whirls, startled. ·- It's just Thor: Brett exhales.</scene_description>
<character>BRETT</character>
<dialogue>Don't DO that, boy.</dialogue>
<scene_description>The German Shepherd holds the little boy's gaze with a troubled MEWL. Janet and uncle Ted walk in. Uncle Ted looks at the dog. He \* cracks a grin. \*</scene_description>
<character>UNCLE TED</character>
<dialogue>Hey, boy.</dialogue>
<scene_description>Thor looks around. \*</scene_description>
<character>UNCLE TED</character>
<dialogue>C'mere, boy.</dialogue>
<scene_description>Thor is distracted, concerned. He ignores Uncle Ted for the moment and hunts around. He WHIMPERS in concern. Thor peers \* around and sees Brett playing happily with some exotic rock artifacts on the floor of the Airstream. The German Shepherd seems to relax now he has located the child. He sits on his haunches on the doorway, where he can keep one eye on the kid, one eye on Uncle Ted. The adults chuckle.</scene_description>
<character>JANET</character>
<dialogue>That's our Thor. overprotective. Maybe if he saw you more.</dialogue>
<character>UNCLE TED</character>
<dialogue>C'mon, Thor. Say hi to your old Uncle.</dialogue>
<scene_description>Thor hesitates.</scene_description>
<character>JANET</character>
<dialogue>Thor, mind your manners. Come here, boy.</dialogue>
<scene_description>-· -- Thor casts a glance to Brett, seems to decide he's okay for the moment, ang reluctantly wanders over to Uncle Ted. Ted reaches down and scratches his head.</scene_description>
<character>44</character>
<dialogue>AND ANIMAL GLINTS IN THE MAN'S EYES.</dialogue>
<character>THOR P. 0. V. : B&W. CLOSE UP OF UNCLE TED.</character>
<dialogue>Thor seems very, very confused. He gazes oddly at Mom, then back to Uncle Ted. Ted scratches him.\_</dialogue>
<character>UNCLE TED</character>
<dialogue>We're two of a kind, ain't we, pal?</dialogue>
<scene_description>Ted regards Thor with a strange uncomfortable kinship. Thor moves away from the uncle, and heads protectively back to the boy, keeping an eye both on Uncle Ted and on the child.</scene_description>
<character>JANET</character>
<dialogue>What did you do, spit in his~Alpo?</dialogue>
<character>,..</character>
<dialogue>Uncle Ted laughs quietly under his breath.</dialogue>
<character>UNCLE TED .</character>
<dialogue>He knows an old dog when he sees one.</dialogue>
<scene_description>He winks at Thor.</scene_description>
<character>44</character>
<dialogue>OMITTED</dialogue>
<character>45</character>
<dialogue>OMITTED</dialogue>
<character>46</character>
<dialogue>OMITTED</dialogue>
<character>47</character>
<dialogue>OMITTED</dialogue>
<character>48</character>
<dialogue>EXT.</dialogue>
<scene_description>Gathering dusk settles on the lake, the forest and the silver bullet of an Airstream. Janet, Brett, and Uncle Ted finish their dinner outside by the barbecue.</scene_description>
<character>49</character>
<dialogue>EXT. AIRSTREAM - LAKE - DUSK</dialogue>
<scene_description>They finish their food. The shadows are lengthening. Uncle Ted notes this with concern. He looks at his watch, then at Janet.</scene_description>
<character>UNCLE TED</character>
<dialogue>You.better head out if you're going to get theOkid back by bedtime. You got a long drive ahead. I'd invite you to stay, but this place is a mess, and I don't think you'd find it too comfortable.</dialogue>
<scene_description>Janet looks her brother in the eye.</scene_description>
<character>JANET</character>
<dialogue>I want you to stay with us for awhile, Ted.</dialogue>
<scene_description>Ted looks nervously at the twilight past the tree perimeter.</scene_description>
<character>UNCLE TED</character>
<dialogue>I didn't realize how late it w--C'mon, I'll walk you to the car.</dialogue>
<scene_description>Janet, very worried about her brother, crosses her arms and stands her ground.</scene_description>
<character>JANET</character>
<dialogue>I mean it. I'm worried about you. \*</dialogue>
<character>UNCLE TED</character>
<dialogue>You don't need to worry. C'mon--</dialogue>
<character>JANET</character>
<dialogue>Just say yes. \*</dialogue>
<scene_description>Ted\_sees he's not getting her out of th~re. He looks at his \* watch urgently. \*</scene_description>
<character>UNCLE TED</character>
<dialogue>Yes.</dialogue>
<scene_description>He starts to shepherd her and Brett towards the car. Thor watches cautiously. Janet doesn't budge.</scene_description>
<character>JANET</character>
<dialogue>So you're coming with us?</dialogue>
<character>UNCLE TED</character>
<dialogue>No, but I'll come by soon.</dialogue>
<character>JANET</character>
<dialogue>When?</dialogue>
<character>UNCLE TED</character>
<dialogue>I'll give you a call.</dialogue>
<character>JANET</character>
<dialogue>This week.</dialogue>
<scene_description>Uncle Ted looks at his sister. He kisses her. She smiles fondly.</scene_description>
<character>UNCLE TED</character>
<dialogue>.-- This week.</dialogue>
<scene_description>She eyes him.</scene_description>
<character>JANET</character>
<dialogue>Good.</dialogue>
<scene_description>And goes to the car.</scene_description>
<character>BRETT</character>
<dialogue>C'mon, Thor.</dialogue>
<scene_description>The boy gets up with a reluctant whine. Thor jumps to his feet and excitedly runs to the door, glad to get out of there. Gathering dusk. Twilight etches the pines. The family gets in the car. Uncle Ted stands by the shadows by the Airstream, his face with a hea\ry five o'clock shadow in the lowering dusk •• Janet eyes him hard from behind the wheel.</scene_description>
<character>JANET</character>
<dialogue>Hey. I love you, you know.</dialogue>
<scene_description>Uncle Ted sort of smiles. He raises his hand and waves at her. She starts the car and drives off up the road. Uncle Ted heads off towards his trailer, with a quick glance at the setting sun. i</scene_description>
<character>50</character>
<dialogue>INT.</dialogue>
<scene_description>Janet drives off down the dirt road.</scene_description>
<character>BRETT</character>
<dialogue>Is Uncle Ted gonna stay with us, Mom?</dialogue>
<character>JANET</character>
<dialogue>I don't know. \*</dialogue>
<scene_description>Thor sits in the back seat of the station wagon. He stares at the receding Airstream and the shrinking figure of Uncle Ted swallowed up by the shadows as the car turns onto the highway.</scene_description>
<character>51</character>
<dialogue>A cheerful sunny street, filled with kids on bikes and</dialogue>
<character>EXT.</character>
<dialogue>playing street hockey.</dialogue>
<character>52</character>
<dialogue>Brett plays frisbee on the lawn.</dialogue>
<character>EXT.</character>
<dialogue>No Thor.</dialogue>
<character>53</character>
<dialogue>INT.</dialogue>
<scene_description>The German Shepherd sits on the sofa staring out the picture window at the empty street leading out~of town. Storm clouds loom in the distance. Thor has what soldiers call "the forty-yard\_ stare." Outside, Brett beckons him out. Thor doesn't budge. ,..-., Janet working on legal briefs. The PHONE RINGS. \* Mom jumps. Picks up.</scene_description>
<character>JANET</character>
<dialogue>Ted!</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - LAKE - DAY</stage_direction>
<scene_description>Ted is on the phone. Unshaven. Shaky. Disheveled. His almost inhuman blue eyes bloodshot.</scene_description>
<character>UNCLE TED</character>
<dialogue>Sis.</dialogue>
<character>JANET V.O.</character>
<dialogue>Hi. You okay?</dialogue>
<character>UNCLE TED</character>
<dialogue>Yeah, you know, it was really great having you up here, and it really picked up my spirits a lot ••• Family, sis, it's everything. Everything. I just wanted to tell you hc:M much I appreciated you guys trip up here and ••• and ••• Family. It's all we got, y'know.</dialogue>
<scene_description>He wipes his lips.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - HARRISON HOUSE - DAY</stage_direction>
<character>\"</character>
<dialogue>Janet realizes instinctively something is not right with her brother. ?he plops down on .the sofa and fumbles a cigarette.</dialogue>
<character>JANET</character>
<dialogue>Ted, you sound terrible.</dialogue>
<scene_description>Thor turns his head in alarm. THOR P.O.V.: B&W.</scene_description>
<character>JANET</character>
<dialogue>YOU REALLY DO, TED.</dialogue>
<scene_description>Thor WHIMPERS, in real fear. Janet lights her cigarette.</scene_description>
<character>JANET</character>
<dialogue>Ted, is there a problem up there?</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - LAKE - DAY</stage_direction>
<scene_description>Uncle Ted cracks a sickening, nihilistic smile.</scene_description>
<character>UNCLE TED</character>
<dialogue>Problem up here? No problems at all.</dialogue>
<scene_description>THE CAMERA PULLS BACK FROM UNCLE TED, OUT THE WINDOW ONTO--</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRSTREAM - LAKE - DAY</stage_direction>
<character>-</character>
<dialogue>The area is crawling with STATE TROOPERS. Cops with rifles and HUNTERS with 30.06 rifles with telescopic sights are stalking the woods and the grounds nearby. Packs of bloodhounds are sniffing the area. The forest is infested with local police teams with heavy firepower and flashlights, probing the woods, fear and apprehension on their faces. Constabulary Jeep Cherokee vehicles with insignias and flashing cherrytops line the perimeter of the area. Police officers are hammering up police quarantine-notices on nearby trees. The Troopers talk on walkie-talkies and are sticking up yellow police tape around the area. It is a war zone. Dusty sunlight seeps through the dense, tall pines.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - DAY</stage_direction>
<scene_description>Uncle Ted draws the shutters and light~ a cigarette. He is close to tears of desperation.</scene_description>
<character>UNCLE TED</character>
<dialogue>When you came up here, like I said, it really picked up my spirits. : And I reckon that mebbe you're right. Mebbe what I need right now is family. Kin. Some good 'al familial bonding. Might be just what I need. So if it isn't an imposition, mebbe I could come stay with you a few days.</dialogue>
<scene_description>Uncle Ted picks a piece of something from his teeth.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - HARRISON HOUSE - DAY</stage_direction>
<scene_description>Janet cracks a big grin.</scene_description>
<character>JANET</character>
<dialogue>Oh, TED, you're ALWAYS welcome to stay with us.</dialogue>
<scene_description>Thor leaps to attention. He YELPS in fear. 60 OMITTED. 60\* 61 OMITI'ED. 61\*</scene_description>
</scene>
<scene>
<stage_direction>61A EXT. BACKYARD - HARRISON HOUSE - DAY 61A</stage_direction>
<scene_description>The airstream is parked like a big silver bullet behind the Harrison house at the edge of the woods.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - DAY</stage_direction>
<scene_description>Uncle Ted cracks a beer and hands one to Janet. He lifts his bottle with a satisfied sigh. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>Here's to family. \*</dialogue>
<character>JANET \*</character>
<dialogue>And you being right next doOIC' to me, like \* when we were kids. \*</dialogue>
<scene_description>They toast. And exchange happy, fraternal smiles. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>It's just perfect. It's so go?d to be \* outta the woods, all the memories. \* Change of scenery'll do me wonders. \*</dialogue>
<scene_description>Thor pads right beside Uncle Ted. Keeping an eye on him. \*</scene_description>
<character>JANET</character>
<dialogue>I'm always right, little brother. \*</dialogue>
<character>UNCLE TED</character>
<dialogue>Yeah. And it's really annoying. Always has been.</dialogue>
<scene_description>Sister and brother face each other in warm familial affection.</scene_description>
<character>JANET</character>
<dialogue>I'm glad you're here.</dialogue>
<character>UNCLE TED</character>
<dialogue>Me too.</dialogue>
<scene_description>back at the laundry room of Uncle Ted's house. The German Shepherd noses through the clothes. Until he finds something metallic. A set of handcuffs.</scene_description>
<character>UNCLE TED</character>
<dialogue>Hey, Thor, get outta there!</dialogue>
<scene_description>Too late. Mom has seen the handcuffs , She bursts out in uncontrollable chuckles.</scene_description>
<character>JANET</character>
<dialogue>Handcuffs, Ted?</dialogue>
<scene_description>Uncle Ted stares at Janet a long moment. Then he laughs.</scene_description>
<character>UNCLE TED</character>
<dialogue>It's not what you think.</dialogue>
<scene_description>His sister scrutinizes them. She reads the engraving on the side with -a mischievous grin.· ~· -</scene_description>
</scene>
<scene>
<stage_direction />
<scene_description>"Maximum security high tempered steel". OOoh baby •</scene_description>
<character>UNCLE TED</character>
<dialogue>Don't knock it until you've tried it.</dialogue>
<scene_description>Janet rolls her eyes.</scene_description>
<character>JANET</character>
<dialogue>I think I better keep an eye on you. Ted, I got a feeling it's gonna be real interesting having you here. C'mon, I'm making dinner.</dialogue>
<scene_description>Uncle Ted looks uncomfortably out the window at the beginnings of dusk.</scene_description>
<character>UNCLE TED</character>
<dialogue>Sis, if it's all the same to you, what I'd really like to do is throw on my sweats and go for a run. Just kind of keep a low profile tonight. That okay?</dialogue>
<character>JANET</character>
<dialogue>You're free to come and go as you please.</dialogue>
<character>JANET</character>
<dialogue>You're free to come and go as you please.</dialogue>
<scene_description>She grins. \*</scene_description>
<character>JANET \*</character>
<dialogue>As long as you follow my rules. \*</dialogue>
<character>UNCLE TED</character>
<dialogue>Thanks, sis.</dialogue>
<scene_description>Janet takes Thor, and they leave the Airstream. Uncle Ted is alone. He fingers the handcuffs.</scene_description>
<character>63</character>
<dialogue>EXT.</dialogue>
<scene_description>Bloody streaks of twilight shoot across the big sky. Shadows lengthen from the pine forest behind the tract house. ·o The sun goes down.</scene_description>
<character>64</character>
<dialogue>INT.</dialogue>
<scene_description>Thor sits by the door, looking out the window at the Airstream. Not blinking. Mom pours a glass of ice water from the fridge. Watches Thor a moment. Notices he is staring at the Airstream.</scene_description>
<character>JANET</character>
<dialogue>Goodnight, Thor.</dialogue>
<scene_description>The dog looks up at her, worry on his face. She goes upstairs. Thor returns his sentry gaze to the trailer. The dog sits sentry-like by the kitchen door, watching the Airstream in the moonlight. Thor looks out the window to see the trailer door open. Uncle Ted walks out in his jogging suit, beaded in sweat. He casts an anxious glance up at the moon, then hurries off across the back lawn, vaults a little creek, and runs into the woods. The CLINKING of something METALLIC. ,-.. Thor leaps to his feet.</scene_description>
<character>THOR AUDIO P.O.V.:</character>
<dialogue>WOLF-LIKE SNARLS.</dialogue>
<character>FROM DEEP IN THE WOODS, LOW, HORRIFIC</character>
<dialogue>,-.</dialogue>
<character>65</character>
<dialogue>INT.</dialogue>
<scene_description>Janet sits up in bed, glasses perched on her nose, reviewing a pile of legal documents. THOR starts BARKING FURIOUSLY downstairs. Janet throws down the papers.</scene_description>
<character>JANET</character>
<dialogue>What the HELL--?</dialogue>
<scene_description>Janet leaps out of bed, pissed off, and leaves the room.</scene_description>
<character>66</character>
<dialogue>INT.</dialogue>
<scene_description>Janet bursts downstairs. Thor is up on his hind legs, pawing at the door. He BARKS and BARKS URGENTLY.</scene_description>
<character>JANET</character>
<dialogue>THOR!</dialogue>
<scene_description>Thor refuses to stop barking. He puts his paws up on the window of the back door, as if to show Mom what's out there. '- JANET</scene_description>
<character>ALRIGHT ALREADY!</character>
<dialogue>The dog recoils, then BARKS in true alarm to Mom. Janet goes for Thor's choker collar, but the Germ~n Shepherd backs away, BARKING and BARKING. Baffled, Janet looks out the window but sees only woods and hears, of course, nothing.</dialogue>
<character>JANET</character>
<dialogue>I don't see anything out there, Thor!</dialogue>
<scene_description>On the second floor landing, Brett starts down the stairs.</scene_description>
<character>JANET</character>
<dialogue>Brett, go back to bed! \*</dialogue>
<scene_description>Excited, Brett keeps going downstairs anyway. Janet befuddledly looks at her BARKING dog, and her alarmed family, and simply doesn't know what to do.</scene_description>
<character>JANET</character>
<dialogue>What do you think is out there, Thor?</dialogue>
<scene_description>Thor BARKS and BARKS protectively, stubbornly standing his ground. He leaps up, putting his paws on the back door window, BARKING war~ings to the thing in the woods, then looking over his shoulder at the family and BARKING to alert them. Janet gives up.</scene_description>
<character>JANET.</character>
<dialogue>OKAY OKAY! ! !</dialogue>
<scene_description>She throws open the back door.</scene_description>
<character>JANET</character>
<dialogue>Go on, get out!</dialogue>
<scene_description>Thor bolts out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor charges across the silvery, moon~it grass, leaps the little creek that separates the yard f~om the woods, and vanishes into the trees.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODS - NIGHT</stage_direction>
<scene_description>The German Shepherd puts his nose to the trail, sniffing. He slows to a trot, picking up Uncle Ted's scent. The woods are dark, much darker than the yard. The moon is low in the sky and very little moonlight penetrates the tall, dense pine trees. Thor stops. Lifts his head. Perks his ears. THOR P.O.V.: B&W. HIS NIGHT VISION IS GOOD, AND HE SEES THE THICK BRANCHES AND ENDLESS WALLS OF TREES WITH DIM, IF PRISTINE CLARITY. THE FOREST IS PRETERNATURALLY QUIET, AS IF THE ANIMALS INHABITING IT ARE FRIGHTENED TO TENSE, ANTICIPATORY SILENCE ••. THEN HE HEARS, FROM WAY IN THE FOREST, THE THROATY WOLFISH RUMBLING OF THE BAD THING ••. A..'flID THE METALLIC CLINKING. Thor sniffs the trail. And follows it. He stops. Tenses. Hackles up. Expecting an ambush. None is forthcoming. THOR P.O.V.: B&W. A THICK, BRUSHY CLEARING DEAD AHEAD. WITHIN, THE LOW, SNARLING WOLF-LIKE GROWLING ••• AND THE CLINKING. - Thor braces for combat. And pushes into the clearing.</scene_description>
<character>69</character>
<dialogue>The branches part •••</dialogue>
<character>INT.</character>
<dialogue>And Thor is face to face with A WEREWoLF. It is handcuffed to a big tree.</dialogue>
<scene_description>Though it is manlike in size and build, it is hideously unnatural. The Werewolf's face and body are completely covered with thick patches of black pubic-like hair. Covered with fur, it stands upright, on its hind legs, with its front legs wrapped around the tree trunk, held together by Uncle Ted's handcuffs. It wears Uncle Ted'a sweatpants and the ragged remains of his sweatshirt, and ~ small metal object dangles from a chain around its neck. The key to the handcuffs. Its face distends in a wolf-like snout. Two ,grotesquely long fangs protrude from its exposed gums. Its fangs are sharp and very dangerous-looking. It has been trying to cut through the tree trunk w~th them, and has gnawed a big hunk out of the tree before giving up on the idea. The Werewolf hasn't seen Thor yet. The German Shepherd backs slowly, silently, into the surrounding bushes, then edges in for a closer look. The Werewolf is chained to the lone tree in the clearing, and the moon, now high in the sky, beams down on it like a spotlight. The creature's attention is torn between the moon and the handcuffs that bind it. It struggles awhile, tires, then gazes upward. It glowers at the moon, its face a picture of hate. The only sound that comes from the Werewolf is the same constant LOW GROWL Thor had heard in the distance. The German Shepherd watches the creature with a mixture of apprehension and befuddlement. Thor sniffs the ground and locates one of Uncle Ted's sneakers. He sniffs it, looks at the Werewolf, and a WHINE of confusion escapes his throat. The Werewolf hears him and snaps his head around to see the interloper. At the sight of Thor, the Werewolf flies into a mad rage. Thor tenses and bares his teeth, ready to fight, but the handcuffs restraining the creature hold. The Werewolf can't attack. Instead, it twists itself around the tree to face Thor, snarling, growling, pulling at the handcuffs, and snapping at the air the whole time. The Werewolf's fury makes it foam at the mouth, and despite its helpless state, it shows no fear, only rage. Even helpless, locked to the tree, it urges Thor closer, wanting any opportunity to try to kill him. It is utterly mad. Their eyes meet. Thor freezes. The werewolf's eyes are neither canine nor human, but resembling both. Its psychotic, anarchic gaze seems to beckon to Thor, inviting him to join the Werewolf in ~ts wildness, in its freedom, in its madness ••• its power t9 kill. Thor stares as if hypnotized, struggling against the primal seduction of raw animal bloodlust.</scene_description>
<character><·</character>
<dialogue>The German Shepherd shakes to his very bones, unable to break the creature's gaze. THE HIGH, SHRILL SOUND OF A DOG WHISTLE' PIERCES ~HOM'S t:A.K~.</dialogue>
<dialogue>And snaps the hold the Werewolf has over him. Regaining his senses, Thor BARKS SAVAGELY, FURIOUSLY at the shackled creature •</dialogue>
<scene_description>• THOR 1:</scene_description>
<character>JANET O.S.</character>
<dialogue>HERE , THOR 1</dialogue>
<scene_description>The Werewolf hears Mom. It turns to look in the direction of a flickering flashlight beam. Its eyes gleam with an insane lust that sends a ripple of terror through Thor.</scene_description>
<character>THOR I</character>
<dialogue>Thor throws a glance in Mom's direction. Janet is getting</dialogue>
<character>HERE, THOR! THOR!</character>
<dialogue>closer. The doq turns one last ti.me to the Werewolf, and bares his teeth in warning. Then he hurries off through the clearing to stop Mom. When the Werewolf sees that Thor is leaving, it explodes. It opens its mouth wide, issuing a loud, voiceless, hateful hiss. It thrashes its head and shoulders from side to side in mindless fury, frantically trying to break the handcuffs or the tree itself. .The handcuffs cut into its wrists. It</dialogue>
<scene_description>bites the tree trunk with its teeth again. It takes as much of the trunk into its jaws as it can, then lifts its hind legs and kicks against the tree like a cat. Bark, spit, and blood fly.</scene_description>
<character>THOR 1</character>
<dialogue>A flashlight beam flickers through the tree branches.</dialogue>
<character>GET OVER HERE, THOR 1</character>
<dialogue>Thor stops and looks over his shoulder at the Werewolf. Seeing it will not escape, he abandons the clearing and heads for the flashlight and the sound of Mom's voice.</dialogue>
<character>70</character>
<dialogue>INT.</dialogue>
<scene_description>Thor trots briskly through the trees towards the flickering flashlight beam. \":</scene_description>
<character>JANET</character>
<dialogue>THOR!</dialogue>
<scene_description>Mom is ahead on the path. -- Thor approaches her deferentially, head, ears, and body low, tail wagging apologetically between his legs. Janet stands waiting for him in her bathrobe and slippers, hands on her hips. A leash dangling from her wrist. Thor ducks his head, deferring to her. Mom puts the leash on Thor's choker collar, and with a tug, pulls him back with her through the woods towards the house.</scene_description>
<character>71</character>
<dialogue>INT.</dialogue>
<scene_description>Janet brings the dog in the house and unhooks the leash. She holds the pooch's head in both hands, forcing the dog to look at her.</scene_description>
<character>JANET</character>
<dialogue>There. Is. Nothing. OUt. There.</dialogue>
<scene_description>Thor looks up at Mom with wet eyes, so confused, so frustrated, by his inability to communicate. He WHIMPERS dismally. Janet squeezes the sides of his face fondly, comically scrunching the dog's features.</scene_description>
<character>JANET</character>
<dialogue>Stop. Being. So. over. Protective.</dialogue>
<scene_description>Thor trembles violently. Janet stomps up the stairs. The German Shepherd remains alone in the kitchen. He stares unblinking out the kitchen window at the dark wall of pine forest. · THOR AUDIO P.o.v.: THE LONG, LOW GROWL OF THE WEREWOLF, A SOUND STRAIGHT OUT OF THE BOWELS OF HELL. THEN IT IS CARRIED AWAY IN THE WINO. Thor WHIMPERS. And sits alert, for a long, sleepless night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - DAWN</stage_direction>
<scene_description>The sky above the woods and the tract house turns bright. \'":</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - DAWN</stage_direction>
<scene_description>Thor sits-by the door. '. His ears perk. He looks out the window to spot Uncle Ted staggering out of the forest, wearing only his running pants. He carries the handcuffs in his fist. Seeing the coast is clear, he hurries across the lawn. As he reaches the Airstream, he turns to see Thor watching him through the kit~hen window.</scene_description>
<character>'</character>
<dialogue>They lock eyes. And uncle Ted slips into his trailer, locking the door.</dialogue>
<dialogue>The dog watches, baffled. Mom's footsteps behind him.</dialogue>
<character>JANET</character>
<dialogue>Well, if it isn't Canine Non Gratis.</dialogue>
<scene_description>Mom is obviously tired from lack of sleep, as she leans down and scratches the German Shepherd's head. Thor is exhausted from his all night vigil. Janet leans down and berates him sarcastically.</scene_description>
<character>JANET</character>
<dialogue>Good MORNING Thor. How are you TODAY? Rise and SHINE there, big guy. What's the matter? Aren't you a MORNING PERSON?</dialogue>
<scene_description>The tired dog gruffs miserably as Janet prods him awake. THOR P.O.V.: B&W. MOM.</scene_description>
<character>JANET</character>
<scene_description>WORDS UNCLEAR, BUT HER TONE AFFECTIONATE. Janet pats the dog.</scene_description>
<character>JANET</character>
<dialogue>Oh, I'll stop pickin' on you. I know you were just looking out for us, and it's better safe than sorry, Thor.</dialogue>
<scene_description>Janet starts throwing some bacon on a skillet. Thor looks at her tentatively, his tail thumping nervously. He looks at the floor near Janet's feet. Brett, dressed in p.j.'s, comes downstairs. He smiles at the dog, who behaves like he is in, well, the doghouse.</scene_description>
<character>JANET</character>
<dialogue>Did he keep you up, too?</dialogue>
<scene_description>Thor puts his head dismally on his paws.</scene_description>
<character>BRETT</character>
<dialogue>Oh, leave him alone, Mom. He can't help it. He heard something outside. \*</dialogue>
<character>JANET</character>
<dialogue>I know. I know. I just wish he wouldn't wake us up every time a raccoon comes within a mile of the house.</dialogue>
<character>BRETT</character>
<dialogue>Look, Ma, one day you're gonna want him \* around. \*</dialogue>
<scene_description>Thor watches the interchange closely. It seems to be going in his favor.- Janet stands in front of the little boy, who is perusing the comic section of the Sunday paper. Janet stares comic daggers down at Thor, who still nervously anticipates the verdict from the Spanish Inquisition.</scene_description>
<character>JANET</character>
<dialogue>You got a friend, knucklehead •. \*</dialogue>
<scene_description>She laughs ruefully, in spite of herself.</scene_description>
<character>JANET</character>
<dialogue>C'mere, stupid.</dialogue>
<character>THOR P.O.V.:</character>
<dialogue>JANET</dialogue>
<character>MOM.</character>
<scene_description>TONE OF VOICE ••• FORGIVEN. Thor leaps up and plants a wet kiss on Janet's palm. Mom grabs a hunk of loose skin and pulls the dog closer. Thor basks in relief to feel Mom's hand loving him again. His tail pounds against Janet's chair as she pats his chest. He rolls over and offers his underside to Janet, who strokes his chest and stomach deliciously. Thor is back in the fold. Janet goes back to the stove, switchin9 on ~he television as she makes breakfast. A local news program is on. Footage of the hunters, bloodhounds, and police helicopters patrolling the wooded-area up near Uncle Ted's Ai~stream lake location. A KBDL Channel 6 REPORTER speaks to the camera.</scene_description>
<character>REPORTER</character>
<dialogue>••• Teams of hunters and police are \* patroling a fifty mile square area of \* Timberline as the curfew enters its third \* day. Police revealed today the shocking \* discovery of a fifth dead hiker in the \* woods near Timberline. \*</dialogue>
<scene_description>Janet's attention is drawn to the television. She sips her coffee.</scene_description>
<character>REPORTER</character>
<dialogue>The five men and women were mutilated by what authorities believe is a wild animal, possibly a grizzly bear. Teams of hunters and bloodhounds are patrolling a fifty mile square area and a curfew is now in effect on Timberline ••• \*</dialogue>
<scene_description>Janet sees Uncle Ted's lake on TV. And gasps.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - HARRISON HOUSE - DAY</stage_direction>
<scene_description>It is a bright, sunny Sunday. Thor is sitting at the foot of the steps of the Airstream, his attention on the door. Brett holds a baseball, trying in vain to entice his pet to a game of catch.</scene_description>
<character>BRETT</character>
<dialogue>Hey, c'mon, Thor. Catch.</dialogue>
<scene_description>Thor throws a regretful glance over his shoulder to Brett. Then dutifully returns to his sentry at Uncle Ted's door.</scene_description>
<character>BRETT</character>
<dialogue>Since when don't you want to play ball?</dialogue>
<scene_description>Brett walks over to Thor and kneels beside him. The little boy notices the dog is staking out Uncle Ted's room. Thor gets up and walks to the tire of the Airstream. He \* lifts his leg and urinates on it. Brett guffaws. \*</scene_description>
<character>BRETT \*</character>
<dialogue>Thor! Don't do that! \*</dialogue>
<scene_description>The dog returns to the boy. \* 't Janet walks out.</scene_description>
<character>JANET</character>
<dialogue>Brett, have you seen your</dialogue>
<scene_description>THOR P.O.V.: B&W. MOM.</scene_description>
<character>JANET</character>
<dialogue>UNCLE TED THIS MORNING?</dialogue>
<scene_description>Thor tenses. Mom pats his head, then looks at the Airstream.</scene_description>
<character>I</character>
<dialogue>The trailer door unlocks. Thor's ears perk.</dialogue>
<dialogue>Uncle Ted steps out onto the landing, looking like hell. Looking like, well, a Bad Dog. Ted sniffs the ~ir, \* displeased. He looks at the tire of his trailer that Thor \* peed on. He looks down at Thor. \*</dialogue>
<character>UNCLE TED</character>
<dialogue>Hi, Thor.</dialogue>
<scene_description>Thor eyes him, cautious, confused, alert. Janet beams up at her brother. He comes down the steps, mindful of Thor, who simply watches him precautiously on the grass. Janet walks up warmly to her brother and ruffles his unkempt \* hair. \*</scene_description>
<character>JANET</character>
<dialogue>.--, Ever hear of a comb?</dialogue>
<scene_description>too Last night, too? Thor kept you up \*:</scene_description>
<character>UNCLE TED</character>
<dialogue>Mernin', sis.</dialogue>
<scene_description>Janet gets serious.</scene_description>
<character>JANET</character>
<dialogue>Ted, why didn't you tell me about the curfew up in Skyline? Those hikers that were killed. The animal that's loose up \* there. I saw it on television today. There were police everywhere.</dialogue>
<scene_description>Uncle Ted looks at his sister. His face is blank.</scene_description>
<character>JANET</character>
<dialogue>I'm talking about that curfew up where you live. Your Airstream was on \* television. Didn't you hear about it?</dialogue>
<character>UNCLE TED</character>
<dialogue>Oh, that. I was gonna tell Y?U about that today.</dialogue>
<scene_description>,,\_\_ Janet finds this odd.</scene_description>
<character>JANET</character>
<dialogue>So this means you'll have to stay with us until they lift the curfew.</dialogue>
<scene_description>Uncle Ted eyes his sister a long beat.</scene_description>
<character>UNCLE TED</character>
<dialogue>I guess.</dialogue>
<character>JANET</character>
<dialogue>Want\_ some breakfast?</dialogue>
<character>UNCLE TED</character>
<dialogue>Great.</dialogue>
<scene_description>Janet heads back to the kitchen. Uncle Ted watches her go, looking like forty miles of bad road. He looks down. Thor is right at his side, sniffing him.</scene_description>
<character>UNCLE</character>
<dialogue>Hi, boy.</dialogue>
<character>TED</character>
<dialogue>He leans down and pats Thor's head. Thor issues a low GROWL.</dialogue>
<character>\'"</character>
<dialogue>Uncle Ted cautiously removes his hand, with a slow grin.</dialogue>
<character>UNCLE TED</character>
<dialogue>In good time, boy, in good time.</dialogue>
<scene_description>Janet stands in ·the doorway. Uncle Ted and seems anxious about whether she noticed the interchange between him and the dog. Thor just watches him coldly as Uncle Ted heads for the kitchen. Thor follows him into--</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - DAY</stage_direction>
<scene_description>Janet cooks. Uncle Ted sits down. Thor takes a protective position between them. Brett is watching "Werewolf of \* London" on the VCR. Uncle Ted casts a jaundiced eye at the \* television showing Henry Hull as he stares nervously at the \* full moon hovering in the sky. He stares in horror at the bad special effects on his hand, growing hairy. Uncle Ted guffaws.</scene_description>
<character>BRETT</character>
<dialogue>It's not funny. He's turning into The Wolfman.</dialogue>
<character>UNCLE TED</character>
<dialogue>Sorry, Brett, it's the full moon part. In the movies, the guy only turns into a Werewolf when there's a full moon.</dialogue>
<character>BRETT</character>
<dialogue>That's the way it works. When there's a full moon, he turns into the Werewolf. Everybody knows that.</dialogue>
<scene_description>uncle Ted scratches his jaw thoughtfully.</scene_description>
<character>UNCLE TED</character>
<dialogue>But why only when there's a full moon? Why not any moon?</dialogue>
<character>BRETT</character>
<dialogue>Because that's how werewolves work. And you have to shoot them with a silver bullet.</dialogue>
<character>UNCLE TED</character>
<dialogue>I bet if you blew one's head off with a shotgun, that would do quite nicely.</dialogue>
<character>BRETT</character>
<dialogue>Don't you know anything about werewolves?</dialogue>
<character>UNCLE TED ..</character>
<dialogue>I know that you turn into one if you get bit by one. I know you get hairy. But that part about the full moon ••• Maybe ~here's different kinds of werewolves, but it's been my experience that any old moon will do the trick, Were~olf-wise.</dialogue>
<scene_description>Brett looks at Uncle Ted.</scene_description>
<character>BRETT</character>
<dialogue>Have you ever met a Werewolf?</dialogue>
<character>UNCLE TED</character>
<dialogue>Oh, I've been acquainted with a few in my time. Have you? \*</dialogue>
<character>BRETT</character>
<dialogue>C'mon, everybody knows there's no such thing as werewolves.</dialogue>
<character>UNCLE TED</character>
<dialogue>There you go.</dialogue>
<scene_description>He ruffles the boy's hair. Smiles at Janet. Thor watches him closely.</scene_description>
<character>JANET</character>
<dialogue>Brett, I want you to take out the trash. Before breakfast.</dialogue>
<character>BRETT</character>
<dialogue>Awww, Mom.</dialogue>
<character>JANET</character>
<dialogue>Don't "awww Mom" me. Go.</dialogue>
<scene_description>Brett gets up, grabs the trash cans, and takes them outside.</scene_description>
<character>UNCLE TED</character>
<dialogue>So what-all happened last night? \*</dialogue>
<character>JANET</character>
<dialogue>I don't know, really.</dialogue>
<scene_description>Mom pours her brother some coffee.</scene_description>
<character>JANET</character>
<dialogue>Thor thought he heard something in the woods, ~nd he just about threw a fit. Woke the whole house up. You're lucky you were in the Airstream. You'd think World War Three started. Anyway, I</dialogue>
<scene_description>finally let him out, and he~ran into the woods and didn't come back. I tried calling him with the dog whistle, but he - just barked. Uncle Ted turns his back casually, so his sister doesn't see his face is white with fear.</scene_description>
<character>UNCLE TED</character>
<dialogue>So ••• what did he find?</dialogue>
<character>JANET</character>
<dialogue>Nothing.</dialogue>
<scene_description>Uncle Ted tries to keep his tone nonchalant.</scene_description>
<character>UNCLE TED</character>
<dialogue>So what do you think it was all about?</dialogue>
<character>JANET</character>
<dialogue>I have no idea, but I'm not too worried. Thor barks at practically anything.</dialogue>
<scene_description>Uncle Ted seems be be undergoing an inner struggle.</scene_description>
<character>UNCLE TED</character>
<dialogue>Well, I don't know, sis. Big predators can travel awfully long distances if their habitat runs dry. Just because the woods here haven't had anything dangerous recently doesn't mean they'll always be safe. If I were you, I wouldn't let the boy play out there for awhile until--</dialogue>
<scene_description>I ("nll.T'l'Tl\TTT-i;"T"\ \ \ V V & . • • .\_ .... ....,, . . ...,I Janet looks at him, concerned.</scene_description>
<character>JANET</character>
<dialogue>Until what?</dialogue>
<character>UNCLE TED</character>
<dialogue>I don't know. There aren't supposed to be any wolves where I live, and look what happened to those people •.</dialogue>
<scene_description>Janet looks up.</scene_description>
<character>JANET</character>
<dialogue>I thought they said it was a grizzly bear.</dialogue>
<character>UNCLE TED</character>
<dialogue>Wolves, bears, it's the same difference. I just think you should be more cautious, and take the dog more seriously. And don't let him go out there either.</dialogue>
<character>JANET</character>
<dialogue>Ted, don't you think you're overdoing it a little? Thor isn't exactly;helpless, you know.</dialogue>
<character>UNCLE TED</character>
<dialogue>How big is he in pounds?</dialogue>
<character>JANET</character>
<dialogue>Are you ready for this? One :hundred and five pounds!</dialogue>
<character>UNCLE TED</character>
<dialogue>You knor.i how big grey wolves get? Up to two hundred!</dialogue>
<character>JANET</character>
<dialogue>Ted, give me a break! The dog starts barking in the night, and now you've got a two hundred pound wolf at the door! Are you feeling okay? \*</dialogue>
<scene_description>She puts down the pan and looks at her brother. Uncle Ted gets up and walks to the sink, his back to his sister.</scene_description>
<character>UNCLE TED</character>
<dialogue>Oh, Janet. I shouldn't be here. I really should not be ••• anywhere near here.</dialogue>
<scene_description>f CON'rTNUF.n \ \---·---·---I ,- He takes a deep breath, fighting an urge he can't resist.</scene_description>
<character>UNCLE TED</character>
<dialogue>I'm leaving. Today.</dialogue>
<scene_description>- ,- Mom looks up, startled.</scene_description>
<character>JANET</character>
<dialogue>You just got here.</dialogue>
<scene_description>He takes a deep breath. \*</scene_description>
<character>UNCLE TED</character>
<dialogue>I have to go.</dialogue>
<scene_description>Janet gets up and tentatively puts a hand on Uncle Ted's back to massage the muscles between his shoulders. Uncle Ted doesn't respond. She leans against his back and runs her hands down his arms to take hold of his wrists. He flinches and gasps. She immediately lets go.</scene_description>
<character>JANET ""</character>
<dialogue>What's wrong with your wrists?</dialogue>
<scene_description>Shock hits-her. She doesn't want to know the answer.</scene_description>
<character>JANET</character>
<dialogue>I said, what's wrong with your WRISTS, Ted?</dialogue>
<scene_description>Janet pulls the sleeves up. She sees the wrists have been bandaged. She looks at her brother in alarm.</scene_description>
<character>JANET</character>
<dialogue>Ted, you look me in the eye. \*</dialogue>
<scene_description>Ted doesn't look up.</scene_description>
<character>JANET</character>
<dialogue>Look me in the eye and you tell me that you-didn't cut your wrists.</dialogue>
<scene_description>Uncle Ted looks Janet in the eye.</scene_description>
<character>UNCLE TED</character>
<dialogue>I didn't cut my wrists.</dialogue>
<scene_description>Uncle Ted cracks a nihilistic grin. \*</scene_description>
<character>UNCLE TED</character>
<dialogue>Believe me when I tell you you wouldn't believe me if I told you.</dialogue>
<scene_description>Janet stares through her brother's head. She touches her \* brother's shoulder and massages it in sisterly fashion.</scene_description>
<character>JANET</character>
<dialogue>Promise me, promise me, you'll stay here until ••• until you work things out. Please.</dialogue>
<scene_description>Thor watches the proceedings with mort;..al dread, a low WHIMPER escaping him as he realizes the depth of Mom's attachment to her brother. Uncle Ted turns. He puts his face in his hands. He doesn't cry. He just stands that way for what;seems like an eternity, thinking. Then he draws his fingers slowly down and off his face.</scene_description>
<character>UNCLE TED</character>
<dialogue>I'll try.</dialogue>
<scene_description>They hug again. Uncle Ted shoots Thor a spooky glance. FREEZE FRAME on the man's eye •••</scene_description>
</scene>
<scene>
<stage_direction>-.</stage_direction>
</scene>
<scene>
<stage_direction>EXT. "FOREST EDGE" - DUSK</stage_direction>
<scene_description>The sky is shot with twilight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRSTREAM - DUSK</stage_direction>
<scene_description>The sky is darkening fast. The dog walks to the foot of the Airstream. Sees Uncle Ted's silhouette behind the drapes. Thor sits on the grass and waits as the sky darkens over the pines. Ted opens the door and steps out on the landing in his brand new sweatsuit. He takes one step, sees Thor, and stops short. A worried look on his face, he goes back inside the Airstream and closes the door. A beat.</scene_description>
<character>\"</character>
<dialogue>Uncle Ted pulls a drape away from the window. Sees Thor still on the grass. Closes the drape. Thor makes himself comfortable on the grass. Uncle Ted looks out the window again. Finally, he comes out on the landing. He stands looking down at Thor for a moment, then looks over his shoulder at the blackening eastern horizon. With a look of resignation on his face, he tentatively starts down the stairs, pausing briefly on each step to gauge Thor's reaction. Thor sits in place, watching him. Uncle Ted sets foot on the pavement, less than three feet from Thor, who sits motionless the whole time. Slightly emboldened and growing more desperate by the second, Uncle Ted cautiously beqins walking towards the woods. Thor immediately gets up and follows him, maintaining a constant distance of about ten feet between them. Uncle Ted turns on the Germ~n Shepherd angrily with his arm held out straight, pointing towards the house.</dialogue>
<character>UNCLE TED</character>
<dialogue>Piss off! \*</dialogue>
<scene_description>Thor ignores him. Uncle Ted is beginning to look as nervous as a cornered animal. He steps towards Thor and slowly, tentatively, reaches for his choker collar. Thor's lip curls, showing his fangs, a low GROWL rumbling from his throat. Uncle Ted wisely withdraws his hand. He is running out of time. The sky is completely dark, and the moon is peeking over the horizon.</scene_description>
<character>UNCLE TED</character>
<dialogue>Hey, sis! Would ya take the dog in? I'm \* goin' for a run. \*</dialogue>
<scene_description>He takes a nervous step towards the house. Thor blocks his way and quietly snarls at him. No way is he going into the house. Rubbing his chin nervously, uncle Ted heads back towards the Airstream. Thor follows him to the Airstream steps and lets Uncle Ted go back inside himself.</scene_description>
<character>JANET</character>
<dialogue>Thor! C'mon in! Bedtime!</dialogue>
<scene_description>Thor looks.at Mom standing in the kitchen doorway, then at Uncle Ted. He is torn between obedience and instinct.</scene_description>
<character>JANET</character>
<dialogue>THOR!</dialogue>
<scene_description>Thor walks up to Janet, looks her straight in the eye, and BARKS a few times in an attempt to convey the seriousness of the mission. Mom doesn't get it. Obviously concerned about \* the dog's strange behavior, Janet takes a deep breath and speaks patiently.</scene_description>
<character>JANET</character>
<dialogue>Get in here.</dialogue>
<scene_description>Thor climbs the steps into the kitchen and sits down with a disgusted GRUNT.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Mom closes the kitchen door. Behind her back, through the window, Uncle Ted runs for the woods as if the Devil himself were on his tail. Janet doesn't see him. She kneels down by Thor.</scene_description>
<character>JANET</character>
<dialogue>,-. What's with you?</dialogue>
<scene_description>She scratches the dog. Thor looks up at her with pleading eyes.</scene_description>
<character>JANET</character>
<dialogue>You be a Good Dog, alright?</dialogue>
<scene_description>Mom pets Thor gently. Thor WHINES for a second, then gives up. Mom goes upstairs to bed. Thor gets up and looks through the window. THOR AUDIO P.O.V.: THE LOW HORRIFIC GROWL OF THE WEREWOLF. DIST~.NT, BUT .•• COMING CLOSER. Thor WHINES, but swallows his bark. He hears s?mething in the house. Thor whirls, bracing in alarm. It's Brett. ,-..</scene_description>
<character>BRETT</character>
<dialogue>What's wrong; boy?</dialogue>
<scene_description>Thor jumps his paws up on the kitchen door, scratching the glass. Thor seems torn with trying toiwarn Brett back from \* the approaching danger, and trying to get out.</scene_description>
<character>BFETT</character>
<dialogue>You wanna go OUT?</dialogue>
<scene_description>Thor leaps off the kitchen door, WHINING and fidgeting uncontrollably while he waits for Brett to open it.</scene_description>
<character>BFETT</character>
<dialogue>Sure, boy.</dialogue>
<scene_description>Brett's hand turns the knob. As soon as an inch of space appears, Thor wedges in his snout and shoves his body through the door. Before Brett can regain his balance, Thor has crossed the yard and disappeared into the woods.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODS - NIGHT</stage_direction>
<scene_description>THOR P.O.V.: B&W. MOVING THROUGH THE TALL PINE TREES, SNIFFING ON THE SOUNDTRACK, NOSE TO THE TRAIL ••• Thor sees Uncle Ted's running clothes, torn to shreds. Trotting further, he sees the sneakers, also ripped up. Thor stops. On the ground glints something metallic ••• The handcuffs. Thor bolts upright with a YELP of alarm, his head swiveling back towards the house. He takes off in a dead, desperate run back for the house like the ground was on fire. The forest flies past him in a dark blur. ~ The German Shepherd bursts out of the woods, bounding across the stream onto--</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>The Werewolf is at the edge of the yard. Thor BARKS savagely. He leaps straight for the Werewolf's throat. The creature's foot sweeps up and kicks Thor in the ribs, slamming him sideways into a tree. The dog hits the ground. The Werewolf kicks its half-canine, half-human leg up into Thor's jaw, smashing him against another tree and bouncing him off the ground. THOR P.O.V.: B&W. BLURRY. OUT OF FOCUS WITH PAIN. THE WEREWOLF COMING AT HIM WITH TALONS EXTENDED. Thor staggers to his feet. The Werewolf picks him up by the throat and bares its dangerous rows of razor fangs, ready to rip the German Shepherd's head off.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND FLOOR HALLWAY - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Janet bursts out of the bedroom, hearing the cODDDotion outside. She runs to the wall and throws a security system switch.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>A special set of security system floodlamps pop on in a bright flare of light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>With a howl of agony, the Werewolf slams its sensitive eyes shut from the piercing glare of the floodlights. The monster recoils from the sudden flood of light. Its face is bathed in the glare. Saliva smear~ the creature's mouth. Startled by the house lights, the Werewolf drops Thor and dashes for the creek and the shelterin~ shadows of the forest. Thor shakes his head clear. THOR P. 0. V. : B&W. PICTURE COMING INTO FOCUS. THE WEREWOLF STAGGERING FOR THE FOREST. Thor charges, targeting the Werewolf's trailing ankle.</scene_description>
<character>I</character>
<dialogue>The Werewolf gets to the creek. Thor's head shoots out, his jaws viciously snapping at the retreating ankle. His teeth clamp shut on flesh and he tears some off. Blood spurts. The Werewolf lets out a subdued yelp as Thor falls back on the other side of the creek. The creature twists and swings a clawed hand at Thor's nose, nicking it. It glances hatefully at Thor for the b~iefest instant before dashing across the creek into the deep shadows of the forest. Thor gasps for breath.</dialogue>
<scene_description>INT. BATHROOM - BRE"rl''S BEDROOM - HARRISON HOUSE - NIGHT Brett slowly closes the curtain, retreating in horror from the scene he has secretly witnessed.</scene_description>
<character>BRETT</character>
<dialogue>M-Mommy •••</dialogue>
<scene_description>The little boy is pale as a sheet. Thor's URGENT BARKING reverberates from outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor stands by the fence, BARKING and BARKING in warning. The Harrison house lights are turning on. The back door opens and Mom steps out holding a flashlight, still half asleep.</scene_description>
<character>JANET</character>
<dialogue>Who ' s out here ! \*</dialogue>
<scene_description>Thor runs over to block her way, BARKING URGENTLY, trying to back Janet into the house. She walks outside, shining the flashlight around. Thor BARKS FURIOU~LY, and tries to block \* Mom's way, keeping one eye out for the~werewolf. Janet doesn't even slow down, merely acts annoyed. Janet keeps scouting tpe back of the house with.the flashlight. Thor's shepherding instincts are in full command. He runs in front ···of Mom and BARKS to warn her off. It only annoys Janet further. Janet shines the flashlight on Thor. She gasps as she sees the speckles of blood on his snout. She kneels down and touches the cut on his nose.</scene_description>
<character>JANET</character>
<dialogue>What happened, Thor?</dialogue>
<scene_description>Janet is terribly concerned as she shihes the flashlight on Thor's coat and sees the multitude of scratches and cuts.</scene_description>
<character>JANET</character>
<dialogue>Hey, boy, what did this to you? How did you get cut?</dialogue>
<scene_description>The dog locks straight ahead, haunted. Thor WHI~.PERS.</scene_description>
<character>JANET</character>
<dialogue>Was it another dog? No, it wasn't that. Was it a rat, or a raccoon? A person?</dialogue>
<scene_description>The dog doesn't react.</scene_description>
<character>JANET</character>
<dialogue>I wish you could talk.</dialogue>
<scene_description>Thor turns to look Janet square in the eye. The woman is taken aback by the clear intelligence of the stare.</scene_description>
<character>JANET</character>
<dialogue>Thor •..</dialogue>
<scene_description>Thor WHIMPERS, gazing sentry-like around them.</scene_description>
<character>BRETT</character>
<dialogue>MOMMY!</dialogue>
<scene_description>Janet looks up to see Brett, pale as a ghost, standing at his bedroom window.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Janet rushes in, grabs the phone, and dials 911.</scene_description>
<character>JANET ~</character>
<dialogue>This is Janet Harrison at 43 Oak Creek Lane. I need Sheriff Jenson, please. -Right now.</dialogue>
<scene_description>Brett comes to the top of the stairs.</scene_description>
<character>BRETT</character>
<dialogue>Mommy, I saw something!</dialogue>
<scene_description>Janet shoots him a glance.</scene_description>
<character>JANET</character>
<dialogue>BRETT, STAY UPSTAIRS! Hello, Sheriff?</dialogue>
<scene_description>Thor patrols the perimeter of the kitchen. Fear is in his eyes as he stares out at the darkened forest. Through the kitchen window, Janet hangs up the phone and goes upstairs. \* 87 DELETE. 87\*</scene_description>
</scene>
<scene>
<stage_direction>INT. BRETT'S ROOM - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Janet sits on Brett's bed. Brett has the covers pulled up to his nose, absolutely terrified. Mom strokes Brett's hair softly.</scene_description>
<character>JANET</character>
<dialogue>There's no such thing as werewolves, Brett.</dialogue>
<scene_description>Brett is barely able to hold back tears.</scene_description>
<character>BRETT</character>
<dialogue>I saw it, and ••• I think it saw me!</dialogue>
<scene_description>The little boy pulls the covers up around his chin, his breathing rapid and shallow.</scene_description>
<character>JANET</character>
<dialogue>Whatever it was, it wasn't a Werewolf.</dialogue>
<character>BRETT</character>
<dialogue>It ••• it was hairy all over, and it had long teeth. But ••• it looked like a man.</dialogue>
<scene_description>Janet sees the Werewolf model kit on Brett's dresser. She picks it up and shows it to him.</scene_description>
<character>JANET</character>
<dialogue>Did it look like this one?</dialogue>
<character>BRETT</character>
<dialogue>-Kind of. But the ears were,~onger. And</dialogue>
<scene_description>it had a longer snout. And it ••• I think it had more hair. That one':s just from a movie. Janet smiles lovingly. She puts down the model.</scene_description>
<character>JANET</character>
<dialogue>I see. You sure you weren't having a bad dream?</dialogue>
<character>BRETT</character>
<dialogue>NO! I went to the bathroom, and I heard something, and I looked out the window, and the Werewolf came toward the house. Then Thor came and fought with him and chased him away.</dialogue>
<scene_description>Janet suppresses a smile. She looks at her boy and rubs her tired eyes.</scene_description>
<character>JANET</character>
<dialogue>Are you sure this"werewolf wasn't Thor?</dialogue>
<character>BRETT</character>
<dialogue>No, Mom! Thor was in the woods l He came back after the Werewolf tried to get in the housel He chased him through the neighbor's fence!</dialogue>
<scene_description>Janet sighs, thinks a long beat. She can't believe Brett saw what he said and isn't sure what to say to him.</scene_description>
<character>JANET</character>
<dialogue>Well, look. As long as Thor chased him away, we're safe, right? And Thor is in the house now, so I'm sure if there is a Werewolf out there, he won't try anything. We can figure this out tomorrow, okay?</dialogue>
<scene_description>Janet tousles the boy's hair and gets off the bed. She goes to the door. Dog tired.</scene_description>
<character>BRETT</character>
<dialogue>Mom?</dialogue>
<character>JANET</character>
<dialogue>Yeah, sweetheart?</dialogue>
<character>BRETT</character>
<dialogue>Could you leave the door open a crack?</dialogue>
<character>JANET</character>
<dialogue>Sure. Go to sleep, Brett.</dialogue>
<scene_description>..-... Janet departs, leaving the door open a few inches • The boy lies in bed. In a moment, the familiar protective pad of paws on the carpet, and Thor peers through the crack in the door. The big German Shepherd wedges open the door with his nose. He crosses the room and stands by Brett's bed. The little boy pets him.</scene_description>
<character>BRETT</character>
<dialogue>We know, don't we, Thor?</dialogue>
<scene_description>Thor climbs onto the bed and lies down beside Brett, putting his body between the boy and the door. Reassured by Thor's presence, Brett drops to sleep.</scene_description>
<character>89</character>
<dialogue>EXT.</dialogue>
<scene_description>Janet walks out into the darkened back yard. She knocks on the door of the Airstream.</scene_description>
<character>JANET</character>
<dialogue>Ted?</dialogue>
</scene>
<scene>
<stage_direction>-...</stage_direction>
<scene_description>She knocks again.</scene_description>
<character>JANET</character>
<dialogue>Ted, you in there?</dialogue>
<scene_description>Janet turns towards the woods. Did she hear something out there? She ignores it, and knocks again. The door slides open. Unlocked. Janet almost doesn't go in. Then she does.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - NIGHT</stage_direction>
<scene_description>Janet stands inside the dark and apparently empty trailer.</scene_description>
<character>JANET</character>
<dialogue>Ted?</dialogue>
<scene_description>Janet switches on the desktop light. The place is neat. Janet looks in the bathroom.</scene_description>
<character>JANET</character>
<dialogue>Ted?</dialogue>
<character>....</character>
<dialogue>Then she sees something on the desk. An open folder. A pile of snapshots. Marjorie. Janet picks up one of the snapshots. And sees the others ••• The self-timed photo of Uncle Ted and Marjorie they shot in Nepal. Janet cannot resist flipping through them. Marjorie was a looker.</dialogue>
<character>JANET</character>
<dialogue>Nice.</dialogue>
<scene_description>Then she sees the next picture ••• And chokes back vomit. Marjorie's savaged, mutilated remains, shot during daylight hours in the Nepal forest.</scene_description>
<character>J.ANET</character>
<dialogue>Ohhhhh, my God.</dialogue>
<scene_description>There's more. A mauled dead Native Guide. Janet stares at Marjorie's corpse in horrified fascination.</scene_description>
<character>JANET</character>
<dialogue>Marjorie ••• What •.• ?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>SOMETHING IS MOVING THROUGH THE WOODS ••• PEERING THROUGH THE BRANCHES OF THE TREES TO THE ISOLATED, UNPROTECTED HARRISON HOUSE. THE P.O.V. MOVES THROUGH THE TREES AND STEPS OUT INTO THE YARD. THE SOUND OF HARSH BREATHING ON THE SOUNDTRACK. IT APPROACHES THE HARRISON HOUSE •••</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRSTREAM - NIGHT</stage_direction>
<scene_description>Janet puts down the pictures, swallowing to stop from puking. And sees the open journal. She has to read it. She flips through the pages, noting the steady deterioration of Uncle Ted's handwriting into a savage, desperate scrawl. She reads in the lamplight.</scene_description>
<character>UNCLE TED V.O.</character>
<dialogue>"December 23rd, 1995. Marjorie's body will be buried in Nepal. Saw the local police here. Got the wound taken care of. Maybe my limited understanding of the language, but the doctor didn't seem ~o want to discuss the type of animal that attacked me and Marjorie. I could see fear written all over on his face ••• "</dialogue>
<scene_description>Janet flips on.</scene_description>
<character>UNCLE TED V.O.</character>
<dialogue>"December 28th, 1995. Stateside. Saw doctor here. Had blood test. Doctor couldn't identify strain. Some infection that isn't on the books. Had another blackout last night. Woke up in the woods. Bad dreams still in black and white ••• "</dialogue>
<scene_description>Janet flips forwards.</scene_description>
<character>UNCLE TED V.O.</character>
<dialogue>"December 29th, 1995. Blacked out again. \* Woke in the woods. Blood on me. Not mine ••• December 30th, 1995. Bought \* handcuffs."</dialogue>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>THE THING CROSSES THE CREEK. IT STANDS IN THE BACKYARD. THE P.O.V. FOCUSES ON THE LIGHT IN THE WINDOW OF THE AIRSTREAM. ITS BREATHING IS HEAVY AND EXCITED AS IT STALKS ACROSS THE - LAWN TOWARDS THE OPEN DOOR OF THE AIRSTREAM. THE THING'S</scene_description>
<character>SHADOW IS HUGE AND DISTORTED AGAINST THE WALL OF THE SILVER</character>
<dialogue>TRAILER. HIDING IN THE DARKNESS, THE P.O.V. SHOWS JANET</dialogue>
<character>UNPROTECTED THROUGH THE DOORWAY, TEARFULLY READING THE</character>
<character>93A</character>
<dialogue>Janet reads aloud in horrible fascination.</dialogue>
<character>INT.</character>
<dialogue>JANET</dialogue>
<scene_description>"January 4th, 1996. Tonight I remain myself. Lucid. Human. I realize that \* my condition was caused by the bite of the creature. The disease is transfered through the saliva into the bloodstream. \*</scene_description>
<character>93B</character>
<dialogue>THE THING STARES AT JANET THROUGH THE WINDOW.</dialogue>
<character>EXT.</character>
<dialogue>IT MOVES TO</dialogue>
<character>94</character>
<dialogue>INT.</dialogue>
<scene_description>PUSH IN on Janet's face as she flips forwards to the last entry.</scene_description>
<character>UNCLE TED V.O.</character>
<dialogue>"January 10th, 1996. I hav~ tried all medical solutions, to no effect. There is no known cure in medicine. But maybe ••• just maybe ••• there is hope for me. Janet and Brett came up to the house today. To see her again did my heart good. It rejuvenated me. I felt normal, human again. She has invited me to stay with her, and perhaps if I spend time with her, with my family, this disease will go into remission. Medicine will not stave off this disease. But perhaps love, the restorative power of love, family love •.• will save me. It is my last chance."</dialogue>
<scene_description>Janet puts down the journal. Puts her face in her hands.</scene_description>
<character>JANET</character>
<dialogue>Oh, Ted.</dialogue>
<scene_description>She stands in the Airstream, holding the journal. Through the open door, something darts outside in the dark.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>THE THING MOVES AWAY FROM THE AIRSTREAM TOWARDS THE BACK DOOR OF THE HARRISON HOUSE. THE P.O.V. REACHES THE BACK DOOR. IT GRABS AHOLD OF THE KNOB. And we see it's Flopsy! The sleazy con man Janet ran off at the outset tightens the stocking over his face and peers through the back-door. He mutters beneath his breath.</scene_description>
<character>FLOP SY</character>
<dialogue>Nobody makes a fuckin' fool outta me, \* lady. \*</dialogue>
<scene_description>He has a thick sirloin steak in one fist. A meat cleaver in the other.</scene_description>
<character>FLOP SY</character>
<dialogue>Here, Poochie, Poochie •••</dialogue>
<scene_description>His face breaks into a sleazeball grin as he opens the lock. Flopsy pushes open the door.</scene_description>
<character>FLOP SY</character>
<dialogue>Here, doggie. C'mere ya stupid friggin' dog-•••</dialogue>
<scene_description>He stops cold. A monstrous shadow rears over his own on.the wall. The Werewolf GROWLS behind his back •••</scene_description>
<character>FLOP SY</character>
<dialogue>N-nice d-doggie •••</dialogue>
<scene_description>Flopsy freezes, slowly turning as the monster rises to its full height behind him. His eyes widen in speechless terror as he sees the Werewolf face to face, its jagged fangs spilling saliva, its hot, fetid breath condensing in air. Flopsy regards the Werewolf blankly.</scene_description>
<character>FLOP SY</character>
<dialogue>Bullfuckingshit.</dialogue>
<scene_description>He raises the cleaver. With a powerful swipe of its razor talon, the Werewolf rips off Flopsy's knife hand at the wrist. The man's eyes bug out as he sees his blood-gouting severed stump. He is about to scream. A second swipe of the Werewolf's talon detaches his larynx with the better part of his throat. The creep tries to run for it. He get~ two feet. The Werewolf swipes it's talon, tearing a gaping cavity in the man's torso and heaving him through the air.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Flopsy flies like a tossed rag doll through the branches and lands on the ground. Physically unable to scream, he clambers to his feet. His throat jets blood as he scrambles in agony and terror through the trees.</scene_description>
<character>MILLS</character>
<dialogue>Ggggggggggggg .•.</dialogue>
<scene_description>He runs for his life, looking over his shoulder to see the huge, bloodthirsty shape of the Werewolf smashing headlong through the undergrowth after him.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Thor stands protectively by the door, on full alert. The dog watches the woods. PUSH IN ON his ears. THOR AUDIO P.O.V.: DEEP IN THE WIND-SWEPT PINE FOREST ••• FLOPSY'S FRANTIC FOOTFALLS ••• THE SPLASHING BLOOD ••• THE WEREWOLF CRASHES THROUGH THE UNDERGROWTH AFTER HIM ••• THE MONSTER'S BLOODTHIRSTY BREATHING ••• THEN A SIREN •••</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Flopsy staggers bloodlessly onto a--</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>And stands stuperously on the two-lane blacktop. He turns, his face blinded by headlights ••• As the POLICE CAR comes speeding around the corner, SIREN WAILING, SLAMMING on its BRAKES too late. F~opsy is hit by the car at 50 MPH. His shattered body is flung twenty feet into the air, and lands on top of the police car, shattering the cherrytops in showers of sparks and blood. Sheriff Jenson climbs out of the patrol car. He regards the twisted pile of meat adorning his squad car that is all that remains of.. the con man. 100 DELETE. 100\* 101 DELETE. 101\* 102 DELETE. 102\*</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - DAWN</stage_direction>
<scene_description>The sky is lightening over the rugged woods and tract houses.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - DAWN</stage_direction>
<scene_description>Janet stands by the window with Thor. She looks up to see a POLICE HELICOPTER soar overhead, its searchlight beacon passing across the massive expanse of woods. She pats Thor.</scene_description>
<character>JANET</character>
<dialogue>Easy, boy.</dialogue>
<scene_description>The DOORBELL RINGS. Janet jumps. Goes into--</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - HARRISON HOUSE - DAWN</stage_direction>
<scene_description>Janet opens the door. Sheriff Jenson stands there, his face ~rim. He is backlit by the flashes of a squad car in the driveway.</scene_description>
<character>JANET</character>
<dialogue>Sheriff... \*</dialogue>
<scene_description>Sheriff Jenson walks in, his hat in his hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - DAWN</stage_direction>
<scene_description>Thor sits by the kitchen door, staring.sentry-like out the window at the Airstream and the backyard in the morning light. He doesn't have to wait long. Through the window, he sees Uncle Ted step from the woods. He walks hunched over, clutching his bloodied ankle with one hand. Thor GROWLS quietly to himself. He watches Uncle Ted with growing hostility as the man hops up the stairs to his trailer. The door closes. Thor lies down on the floor, knowing the "pack" is safe for awhile.</scene_description>
</scene>
<scene>
<stage_direction>- 107 INT. LIVING ROOM - HARRISON HOUSE - DAWN</stage_direction>
<scene_description>Janet faces Sheriff Jenson. He shows her Flopsy's driver's</scene_description>
<character>\*</character>
<dialogue>license. \*</dialogue>
<character>SHERIFF JENSON \*</character>
<dialogue>Is this the man who approached your place \* last month? \*</dialogue>
<character>JANET</character>
<dialogue>Yes. \*</dialogue>
<character>SHERIFF JENSON \*</character>
<dialogue>He's dead. \*</dialogue>
<scene_description>Janet gasps. \*</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>His name was Walter Mills. ~I hit him in \* my patrol car tonight, responding to your</dialogue>
<scene_description>call. He ran out into the middle of the road, and I didn't have time to stop. But the thing of it is, the car isn't what killed him. He bore the marks of an animal attack. He had been torn open. By a big animal. Like a wolf. Or •.• Janet holds the Sheriff's gaze.</scene_description>
<character>JANET</character>
<dialogue>Or a dog, is that it?</dialogue>
<character>SHERIFF JENSON</character>
<dialogue>Yes, Ma'am. I do recall you told me that Thor almost took a bite out of Mills the other day. Now maybe tonight, when Mills came back, Thor went at him again.</dialogue>
<scene_description>The woman rubs her eyes.</scene_description>
<character>JANET</character>
<dialogue>Thor got into a fight. Tonight, with someone, or something. He has cuts.</dialogue>
<character>SHERIFF JENSON</character>
<dialogue>I see.</dialogue>
<scene_description>Janet picks up Uncle Ted's journal and fingers it. She looks at Sheriff Jenson, deeply disturbed.</scene_description>
<character>JANET</character>
<dialogue>You know about these slayings up in the Skyline area? Those hikers that were mutilated?</dialogue>
<character>SHERIFF JENSON</character>
<dialogue>Yes, Janet. I'm in daily contact with the Skyline Law Enforcement people. We're keeping a watch on the paths of the killings. But that wouldn't be the same animal that killed Mills. It would have had to travel two hundred miles from Skyline to get here and--</dialogue>
<character>JANET</character>
<dialogue>No, that's not it. My question is ••• Is "there any possibility that the killings were committed by a ••• human being?</dialogue>
<scene_description>Sheriff Jenson shakes his head.</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>No chance at all, Janet. They were done by a big animal. No man could tear a person apart the way the beast that butchered those people did. ; Same with Mills tonight. Wolves are the probable culprits. Very, very big wolves. But not a man. Not humanly possible. Why do you ask?</dialogue>
<scene_description>Janet rubs her eyes, worried.</scene_description>
<character>JANET</character>
<dialogue>I don't know.</dialogue>
<scene_description>Janet ponders, most uneasy. Sheriff Jenson grabs his hat. Goes to the door.</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>I reckon that's all for now, Janet. We'll be in touch. Just one thing. I know you love Thor. And if he did tear up Mills, he was doin' so to protect you. But once a dog becomes a biter, gets a taste for human blood, he becomes dangerous. With all due respect, Ma'am,</dialogue>
<scene_description>I t""'fl"\..TfftT ..'l'TT'T!"T"'\ \</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>your little boy and all, I suggest you consider shoppin' fer another hound.</dialogue>
<scene_description>Janet shows no expression. She lets the Sheriff out and watches through the window as his car tools off down the street. She walks into the kitchen.</scene_description>
</scene>
<scene>
<stage_direction>1.08 INT. KITCHEN - HARRISON HOUSE - DAY 108</stage_direction>
<scene_description>Janet comes down to the kitchen. Thor notices nervously that Mom is quietly keeping an eye on him.</scene_description>
<character>JANET</character>
<dialogue>Hi, Thor.</dialogue>
<character>THOR P.O.V.:</character>
<dialogue>JANET</dialogue>
<character>B&W.</character>
<dialogue>HOW ARE YOU FEELIN' THIS MORNING, BIG</dialogue>
<character>- GUY? ,...</character>
<dialogue>NO WORDS UNDERSTANDABLE, BUT MOM'S TONE UNMISTAKABLY</dialogue>
<character>CAUTIOUS. MOM IS AFRAID OF HIM.</character>
<dialogue>Thor regards Janet with shock. Janet leans down to touch Thor, but it is with wariness.</dialogue>
<character>JANET</character>
<dialogue>Hey, Thor, how'd you like to go outside?</dialogue>
<scene_description>Thor watches Mom carefully, reactively. Janet opens the kitchen door. Thor obediently goes outside. Janet watches through the window as the German Shepherd goes like a magnet to Uncle Ted's Airstream to resume his watch.</scene_description>
<character>JANET</character>
<dialogue>Right to the Airstream.</dialogue>
<scene_description>Janet, preoccupied, keeps looking out the kitchen window. Thor is still lying at the foot of the Airstream, apparently asleep. Then, as Janet watches, the door to the trailer opens •••</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRSTREAM - DAY</stage_direction>
<scene_description>The CLICK of the LATCH on the trailer door snaps Thor to attention instantly. Uncle Ted steps onto the landing, fully dressed, his wound concealed. He looks at Thor and takes a deliberate step towards him. Thor shows no animosity. Janet \* walks out the kitchen door, not smiling, sensing trouble.</scene_description>
<character>JANET</character>
<dialogue>Hi, Ted.</dialogue>
<character>UNCLE TED</character>
<dialogue>Good morning.</dialogue>
<scene_description>uncle Ted continues forwards, trying not to be too obvious about watching Thor. Janet comes up quietly behind Thor and reaches down to pet him. Uncle Ted steps onto the cement walk.</scene_description>
<character>JANET '"</character>
<dialogue>Where were you last night, Ted?</dialogue>
<character>UNCLE TED</character>
<dialogue>Went out for a run. \*</dialogue>
<character>JANET</character>
<dialogue>All night?</dialogue>
<scene_description>Uncle Ted picks up on the testiness in his sister's voice. His eyes travel to the dog who glares at him with open danger. The man's eye glint manipulatively as he answers Janet cagily. I</scene_description>
<character>UNCLE TED</character>
<dialogue>Then I walked. \*</dialogue>
<character>JANET</character>
<dialogue>You didn't see anything? Hear anything?</dialogue>
<scene_description>Janet notices the dog's hackles rising as the animal stares at her brother. She slips a finger into the loop on Thor's choker.</scene_description>
<character>UNCLE TED</character>
<dialogue>Like what? \*</dialogue>
<character>JANET</character>
<dialogue>Jesus Ted, a guy got killed right outside here last night! There were police cars and a helicopter! \*</dialogue>
<scene_description>·- uncle Ted walks up to Mom and Thor, his face guilty as any Bad Dog. He comes into range. His eyes fix on Thor.</scene_description>
<character>UNCLE TED</character>
<dialogue>No kidding. \*</dialogue>
<scene_description>Janet stares evenly at her brother.</scene_description>
<character>JANET</character>
<dialogue>Where were you last night, Ted?</dialogue>
<scene_description>He leans deliberately down and scratches his ankle, where the dog bit the Werewolf.</scene_description>
<character>JANET</character>
<dialogue>Ted?</dialogue>
<scene_description>Thor nonchalantly sniffs the bottom of his pants leg. Thor looks up at Uncle Ted. Uncle Ted\_gives Thor a wink. THOR P.O.V.: UNCLE TED'S THROAT. Then he leaps. Janet manages to restrain Thor just as the dog's teeth snap savagely at Uncle Ted's neck. Thor misses. With a cry of alarm, Uncle Ted brings up an arm to shield his face. Thor sinks his fangs into the arm. Janet yanks him backwards before Thor can clamp down and do any 'real damage. Uncle Ted stumbles back, stunned, as Mom slips on the grass and falls backwards, pulling Thor with her. Thor finds his balance, digs his claws into the ground, and pulls violently to get at Uncle Ted, snapping his head from side to side and choking himself in the process. Uncle Ted stumbles back towards the Airstream as blood runs down his arm, soaking his torn shirt sleeve and coating his hands.</scene_description>
<character>UNCLE TED</character>
<dialogue>Get him away from mel \*</dialogue>
<scene_description>Thor lunges at him with jaws open and fangs bared. Janet holds onto the choker desperately with both hands. The collar closes around Thor's neck and he gags horribly, his teeth snapping uselessly on air.</scene_description>
<character>GET INSIDE!!! QUICK!!!</character>
<dialogue>LONG I CAN HOLD HIM!11</dialogue>
<character>I DON'T KNOW HOW</character>
<dialogue>l CON'rTNlTFn I \ -------·---.</dialogue>
<scene_description>Uncle Ted stumbles into hsi trailer in a daze, leaving bright splashes of blood in his wake. Janet struggles to her feet and pulls the choker with both hands. She drags Thor back into the house with both front feet off the ground, retching and gagging all the way.</scene_description>
<character>110</character>
<dialogue>Janet hustles Thor through the kitchen to the cellar door.</dialogue>
<character>INT.</character>
<dialogue>JANET</dialogue>
<scene_description>BAD DOG, THOR 1 ! 1 BAD BAD BAD DOG l 1 1 BAD DOG11 ! Thor goes limp, giving up. He offers no resistanc.e as Mom opens the cellar door and pushes him through.</scene_description>
<character>111</character>
<dialogue>Thor tumbles down a few steps before h~s feet find the</dialogue>
<character>INT. CELLAR - HARRISON HOUSE - DAY</character>
<dialogue>stairs. The German Shepherd slinks to the darkest corner of the cellar and lies on the dusty cement. floor, staring straight ahead. ·</dialogue>
<character>JANET</character>
<dialogue>BAD DOGl 11</dialogue>
<scene_description>The door slams shut. Is locked.</scene_description>
<character>JANET V.O.</character>
<dialogue>BAD DOGl 11</dialogue>
<scene_description>Thor puts his head on his paws, looking like he wants to die. He huddles in the corner. THOR P. 0. V. : B&W. A JUMBLE OF IMAGES. SNAPPING AT UNCLE TED.</scene_description>
<character>JANET V.O.</character>
<scene_description>THE WEREWOLF'S EYES STARING HIM DOWN WHEN IT WAS HANDCUFFED: TO THE TREE. UNCLE TED UP AT HIS HARRISON HOUSE STANDING: WITH HIS ARM AROUND JANET AND BRETT.:</scene_description>
<character>JANET V.O.</character>
<character>THE BUTCHERED BODY IN THE FOREST AT UNCLE TED'S.</character>
<dialogue>.-..</dialogue>
<character>RUNNING</character>
<dialogue>INTO UNCLE TED'S ARMS OUT OF THE CAR.</dialogue>
<character>UNCLE TED</character>
<scene_description>-·- SPOKEN IN A VOICE MORE ANIMAL THAN MAN. PAVEMENT.: PINNING MILLS TO THE:</scene_description>
<character>JANET V.O.</character>
<scene_description>MOM AND BRETT ROUGHHOUSING WITH HIM ON THE FLOOR. PLAYING: WITH "THE PACK" HAPPILY IN THE BACKYARD. BITING UNCLE TED'S: ARM. MOM TUGGING HIM DOWNSTAIRS TO THE CELLAR.:</scene_description>
<character>JANET</character>
<scene_description>MOM FADING ���: UNCLE TED.: UNCLE TED.: UNCLE TED.: THOR BLINKS. PUTS HIS HEAD ON HIS PAWS WITH A DISMAL WHIMPER. THE POOR DOG LIES IN THE DARKENED CELLAR. QUIET. THEN �.�:</scene_description>
<character>JANET</character>
<dialogue>Thor.</dialogue>
<scene_description>Thor doesn't lift his head, deeply des~ndent.</scene_description>
<character>JANET</character>
<dialogue>Thor.</dialogue>
<scene_description>Thor opens his eyes. The door has cracked open at the top of the stairs.</scene_description>
<character>JANET</character>
<dialogue>Come here, Thor. It's okay, boy. I said cane here. Thor. It's okay, boy.</dialogue>
<scene_description>Thor rises weakly to his feet.</scene_description>
<character>JANET</character>
<dialogue>Come on, Thor.</dialogue>
<scene_description>His tail between his legs, Thor takes a tentative step forward, his head lowered. He walks to the steps. Mom stands at the top of the steps, her face beckoning the dog softly. ~·.</scene_description>
<character>·~· ,, JANET</character>
<dialogue>That's right, boy. Come on.</dialogue>
<scene_description>,-. Thor starts up the steps, his expression indescribably sad and ashamed. Mom is closer now, waving his hand quietly.</scene_description>
<character>JANET</character>
<dialogue>Here, boy.</dialogue>
<scene_description>Thor gets to the top step. He doesn't see the white sneakers until too late.</scene_description>
<character>112</character>
<dialogue>INT.</dialogue>
<scene_description>POUND MAN #1 throws a choke chain around Thor's throat, attached to a long pole. POUND MAN #2 throws another choke chain over the dog's head. Thor regards the men in the white uniforms in bewilderment, then in horrific realization. Thor throws a terrified glance at Janet, who regards him with huge sadness.</scene_description>
<character>JANET</character>
<dialogue>I'm sorry, boy.</dialogue>
<character>POUND MAN #1</character>
<dialogue>Come on, big guy.</dialogue>
<scene_description>The men in the white uniforms start pulling Thor towards the front door. Thor weakly and submissively lets himself be' pulled by the demeaning choke chains. The Pound Men lead the big German Shepherd out the door.</scene_description>
<character>113</character>
<dialogue>A large unmarked white van is parked at the curb, its back</dialogue>
<character>EXT.</character>
<dialogue>doors open. Thor is pulled by the white uniformed men across the patio towards the van. The dog WHIMPERS and WHINES miserably. Thor looks over his shoulder as the house recedes behind him.</dialogue>
<scene_description>~ He sees Mom, and Brett. The little boy is crying.</scene_description>
<character>MOMMY I</character>
<dialogue>DON IT LET THEM TAKE THOR 1</dialogue>
<scene_description>Janet bites back tears, but she holds her boy firmly. -·:</scene_description>
<character>JANET</character>
<dialogue>Brett. They have to take him. I'm sorry. There's nothing we can do.</dialogue>
<character>BRETT</character>
<dialogue>He's MY DOG! THOR! COME BACK!</dialogue>
<scene_description>Thor tugs against the choke chain, his eyes welling as he sees the little boy reaching for him. Brett tries to go towards Thor, but Janet emotionally holds him back.</scene_description>
<character>JANET</character>
<dialogue>Brett! Stay here! They have to take Thor! He's dangerous!</dialogue>
<character>BRETT</character>
<dialogue>NO IT'S NOT TRUE IT'S NOT TRUE HE'S A</dialogue>
<character>GOOD DOG AND THEY'RE GOING TO KILL HIM</character>
<dialogue>THEY'RE GOING TO KILL HIM If THEY TAKE HIM MOMMY THOR THOR THOR111 \"</dialogue>
<scene_description>An anguished Janet holds her grief-stricken boy back. Thor tugs against the leash as the attendan~s hustle him towards the van. Thor BARKS. Then his eyes widen ••• Uncle Ted steps out of the front door. His eyes on fire. Something scary, strange, and inhuman flickers in his eyes. He flashes a sickening grin to the dog as he watches the animal taken towards the van to the pound. Uncle Ted comes up behind Mom and Brett and puts his arms around them possessively. He waves his fingers dismissively at the dog. Thor goes out of his mind. suddenly, he leaps and BARKS and BARKS and HOWLS, trying to warn the family. The chain gags him and cuts his air, but he thrashes against it. The Men In The White Uniforms struggle fiercely with the huge German Shepherd as they try to haul him in the van. Brett is screaming hysterically in his mother's grip.</scene_description>
<character>THORJ 11</character>
<dialogue>Thor BARKS and BARKS. Louder as he sees the "pack" walk</dialogue>
<character>THOR!!!</character>
<dialogue>dejectedly into the house. Uncle Ted lingers in the doorway. He waves "bye bye" at the dog. And closes the door.</dialogue>
<scene_description>Thor YELPS as a hypodermic is thrust in his hip. THOR P.O.V.: THE BLACK AND WHITE VIEW OF THE HARRISON HOUSE GOING BLURRY AND SOFT AS HE SEES THE MEN IN WHITE AS IF IN SLOW MOTION LUG HIM INTO THE BACK OF THE VAN AND CLOSE THE DOORS ON HIS VIEW OF THE HARRISON HOUSE AND THERE IS JUST BLACK •.••</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN - DAY</stage_direction>
<scene_description>The animal control van pulls away from the house down the town street and disappears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Uncle Ted walks alone to Thor's empty~doghouse. He stops and looks around the empty yard to see nobody is watching. THE CAMERA PUSHES IN to a CLOSE UP of UNCLE TED, his eyes cold with triumph. On the SOUNDTRACK, the SOUND of him URINATING on the ground ••• Marking his territory.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRETT'S ROOM - DAY</stage_direction>
<scene_description>Brett sits on the floor of his room, ~d his monster model kits. He stares at a framed photograph in his hands of he and Thor in the front yard. He dabs a tear. Absently he picks up the Wolfman model kit on his desk. And his gaze travels out the window to the backyard as Uncle Ted goes inside the Airstream. 11 7 I'NT. KITCHEN - DAY 117 Janet sits at the table. He troubled gaze travels from the Airstream out the window to the book she has open before her. A professional manual on Criminal Psychology. She leafs through it the chapter on schizophrenia and the paragraph on violent schizophrenics. She rubs her eyes and fumbles with a cigarette as she reads on. He gaze traveling once again to the quiet trailer •••</scene_description>
<character>118</character>
<dialogue>,,-.....</dialogue>
<character>EXT.</character>
<dialogue>The sunset is a bloody splash on the pines. The moon is faintly visible above the trees.</dialogue>
<character>119</character>
<dialogue>The family is finishing dinner. A tense silence hangs over</dialogue>
<character>INT.</character>
<dialogue>the table. Uncle Ted has his arm bandaged. Janet looks at him evenly, keeping a discreet but cool eye on him. She edgily gets up and clears the dishes.</dialogue>
<character>UNCLE TED</character>
<dialogue>It's probably genetic. It happens with German Shepherds sometimes. The way they're bred.</dialogue>
<scene_description>Brett, who has remained cold and expres~ionless, shoots his Uncle an icy glance.</scene_description>
<character>BRETT</character>
<dialogue>Thor's pedigreed. It doesn't happen with pedigreeds •</dialogue>
<scene_description>..-..... Janet shoots Brett a glance. He shuts up, but his mind is working behind his eyes. Uncle Ted looks uncomfortably around at the obviously despondent child. He looks more uncomfortably out the window at the gathering dusk.</scene_description>
<character>JANET</character>
<dialogue>You'll need to see a doctor.</dialogue>
<character>UNCLE TED</character>
<dialogue>No, I won't. It's just a flesh wound. No veins or tendons cut. Nothing I can't handle.</dialogue>
<character>JANET</character>
<dialogue>You're going to need a tetanus shot.</dialogue>
<character>UNCLE TED</character>
<dialogue>I'll give myself a tetanus shot. You think I can go into an Amazon rain forest for six months with a first-aid kit? \*</dialogue>
<scene_description>..--.. He pauses, ruefully.</scene_description>
<character>UNCLE TED</character>
<dialogue>Besides, I don't like doctors. \*</dialogue>
<scene_description>Janet finds her brother's tone most disturbing.</scene_description>
<character>JANET</character>
<dialogue>I'll be right back. \*</dialogue>
<scene_description>She leaves the room. Uncle Ted looks at Brett, as the boy picks absently with his food.</scene_description>
<character>UNCLE TED</character>
<dialogue>Listen, son. I'm really sorry about your dog.</dialogue>
<scene_description>The boy doesn't look at him.</scene_description>
<character>UNCLE TED</character>
<dialogue>Come here.</dialogue>
<scene_description>The boy looks up. Uncle Ted gestures with his hand.</scene_description>
<character>UNCLE TED</character>
<dialogue>Sit on my lap.</dialogue>
<scene_description>Brett hesitates. Then he sulkily goes over and sits on his the man's lap. Uncle Ted smiles and s~rokes the boy's hair. He speaks softly, something strange and spooky behind his eyes.</scene_description>
<character>UNCLE TED</character>
<dialogue>There'll be other animals in your life.</dialogue>
<scene_description>Brett looks up and locks eyes with Uncle Ted. Janet's hand removes Ted's hand from her boy's head. She lifts him off her brother's lap.</scene_description>
<character>JANET</character>
<dialogue>Okay, Brett, ti.m& for bed.</dialogue>
<scene_description>The little boy heads up the stairs with a sense of mission. Uncle Ted looks out the window at the darkening skyline and rises from the table.</scene_description>
<character>UNCLE TED</character>
<dialogue>Well, I think I'm going to turn in, too.</dialogue>
<scene_description>Janet stands at the sink, her back to him.</scene_description>
<character>JANET</character>
<dialogue>Ted.</dialogue>
<character>UNCLE TED</character>
<dialogue>Yeah, Janet? \*</dialogue>
<character>JANET</character>
<dialogue>If I ask you a question, will you tell me the truth?</dialogue>
<scene_description>A beat.</scene_description>
<character>UNCLE TED</character>
<dialogue>Yes.</dialogue>
<character>JANET</character>
<dialogue>Where is Marjorie?</dialogue>
<scene_description>Another beat. Ted eyes his sister blankly.</scene_description>
<character>UNCLE TED</character>
<dialogue>Seattle.</dialogue>
<scene_description>Janet shuts her eyes, grimly. Uncle Ted goes out the door. Janet watches him through the kitchen window as he heads for the garage, and goes inside. Never taking her eyes off the garage, she switches off the kitchen lights. Janet takes a seat at the table, sitting in the dark. Watching the garage.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Under the starry skies. Surrounded by woods. The upstairs lights shut off one by one.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Janet sits alone at the kitchen table. The lights are off. She sips a cup of coffee, watching the Airstream through the window. Her eyes are alert and precautious as she keeps a lookout on the silhouette of Uncle Ted moving behind the trailer window. Janet hears the lock turn ••• And she tightens her grip on the flashlight in her hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRETT'S ROOM - NIGHT</stage_direction>
<scene_description>The little boy shuts the door with clandestine urgency.</scene_description>
<character>BRETT</character>
<dialogue>Don't worry, Thor.</dialogue>
<scene_description>Brett moves quickly. He grabs his jacket. Out the window, down below, the garage door opens. Uncle Ted, in his sweatsuit, walks outside. The boy puts his jacket on. He quietly lifts open the window. And crawls out onto the roof.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Brett carefully climbs onto the big tree next to the house and shimmies his way to the ground. He tiptoes to his bike leaning against the porch. And rides it swiftly out into the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRSTREAM - NIGHT</stage_direction>
<scene_description>Uncle Ted closes the trailer door behind him. He stares up at the moon in the clear, starry sky with crawling dread. Perspiration glistens on his forehead. The handcuffs CLINK in his pocket. He looks nervously around the yard, up at the house. He doesn't see Janet watching him through the darkened kitchen window. uncle Ted hurries off over the creek into the heavy woods. INT. KITCHEN - HARRISON HOtJSE - NIGHT Janet rises from the table, grabs the flashlight. A thought strikes her, and she goes to the cabinet above the \* refrigerator. She takes down a box and opens it. Inside, a .38 revolver and a box of bullets. Janet considers taking the gun, then declines, putting it back. Janet goes out the kitchen door. She heads after Uncle Ted across the yard and into the tall pine trees. She switches on her flashlight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Janet trains the flashlight beams through the heavy, fog- laced branches of the big pines. Her face is eerily underlit by the torch. She moves cautiously through the trees, looking this way and that for Uncle Ted. No sign of him. Mom moves on. Deeper into the huge forest.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>The fleeting figure on his bicycle WHIZZES across the intersection. Brett rides in and out of traffic and wheels onto the sidewalk.</scene_description>
<character>BRETT</character>
<dialogue>Hold on, boy.</dialogue>
<scene_description>Brett rides towards an ugly concrete bunker of a building at the end of the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POUND - NIGHT</stage_direction>
<scene_description>Brett's bike whips by a sign that says "CITY POUND." He rides his bike to the locked gate. The little boy dismounts his bike, and tugs on the padlock.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>The thick rows of pines in the hovering mist. The dull glimmer of a flashlight against the ground. Janet steals quietly through the undergrowth, searching the shadowy tree trunks of the forest for Uncle Ted. Janet hears a RUSTLING. She brushes aside some branches.</scene_description>
</scene>
<scene>
<stage_direction>· INT. -- CLEARING - WOODS - NIGHT</stage_direction>
<scene_description>The moon shines over the silvery landscape. Janet looks through the branches to see a dimly lit human silhouette in the middle of the large clearing. uncle Ted is looking at the moon and examining the trunk of a lone tree. Mom's foot steps on a twig. It snaps loudly. Uncle Ted spins around. Spots Janet inunediately. A laugh and a deep grO'.\'l come from his throat.</scene_description>
<character>UNCLE TED</character>
<dialogue>Ahhhh, company! Company! Just what I came here to GET AWAY FROM! Who is it-- sis? Is that you?</dialogue>
<scene_description>Janet steps forwards and shines the llght in her own face. \"":</scene_description>
<character>JANET</character>
<dialogue>-Yeah, it's me ••• What's up, T~d?</dialogue>
<scene_description>Uncle Ted again emits- the strange, gr0¥1-like laugh as he turns to face Janet.</scene_description>
<character>UNCLE TED</character>
<dialogue>Sol Playing Nancy Drew, are we, sis?</dialogue>
<scene_description>Ted's voice is distorting gruffly.</scene_description>
<character>UNCLE TED</character>
<dialogue>Well, you've caught me at an awkward moment. I was just a.bout to •••</dialogue>
<character>GROWL.</character>
<dialogue>UNCLE TED</dialogue>
<scene_description>About to ••• RESTRAIN myself. uncle Ted looks down at the handcuffs he is holding and slO'.\'ly shake• his head. He dangles the handcuffs from his fingers.</scene_description>
<character>UNCLE TED</character>
<dialogue>But nO'.\' that you're here, that might be ••• somewhat pointless.</dialogue>
<character>JANET \*</character>
<dialogue>You're going to come clean with me right \* nO'.\'. \*</dialogue>
<scene_description>Ted sighs. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>I thought family love would save me. I \* was wrong. \*</dialogue>
<scene_description>He shrugs ironically. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>But hey, we all make mistakes. You sent \* Thor to the pound. \*</dialogue>
<scene_description>Janet shines the flashlight in her brother's darkening face. \*</scene_description>
<character>UNCLE TED \*</character>
<dialogue>I warned you, Janet. I told you I . shouldn't be here. I told you I should leave. But you wouldn't let me. You had to play big sister. You just had to be right. You always have to b~ right. This time you were WRONG. You should have listened to the dog, sis. He was tryin' to protect you.</dialogue>
<character>JANET</character>
<dialogue>What are you talking about?</dialogue>
</scene>
<scene>
<stage_direction>-.</stage_direction>
<scene_description>Janet unwisely takes a step closer and shines the flashlight on Uncle Ted's face ••• It is matted with a growth of beard.</scene_description>
<character>UNCLE TED</character>
<dialogue>I'm talking about ••.</dialogue>
<scene_description>Ted loses his train of thought. Thinks hard.</scene_description>
<character>UNCLE TED</character>
<dialogue>I'm talking about •••</dialogue>
<scene_description>His bloodshot eyes beam. He remembers.</scene_description>
<character>UNCLE TED</character>
<dialogue>LUST! Yes, yes, LUST, THAT'S what I'm talking about! "The Moon is a harsh · mistress." Ever heard that before, sis?</dialogue>
<character>JANET</character>
<dialogue>Yes.</dialogue>
<character>UNCLE TED</character>
<dialogue>Well, you don't know THE HALF: OF IT! You don't know what a harsh mistress is! You CAN'T KNOW, because YOU DON'T KNOW LUST! I know lust, Janet! I know the lust of the moon, and what it does, and what it demands! And I SERVE those lusts! I am the moon's servant! I'm her indentured servant, sis! Get it? InDENTured servant!</dialogue>
<scene_description>Uncle Ted laughs horribly. Janet watches in horrible fascination as the schizophrenic man seems to go through some kind of inner struggle. Becomes suddenly penitent.</scene_description>
<character>UNCLE TED</character>
<dialogue>I feel sorry afterward, you know, when the moon is gone and the sun is out ••• I really do, sis, and it's important to me that you believe that ••• But when the moon calls, as She's c~lling now, I ANSWER!</dialogue>
<character>JANET</character>
<dialogue>TED I'M TAKING YOU TO THE HOSPITAL! \*</dialogue>
<character>YOU'RE GOING WITH ME RIGHT NOW! \*</character>
<dialogue>Uncle Ted looks up at the moon.</dialogue>
<character>UNCLE TED</character>
<dialogue>Handcuffs •••</dialogue>
<scene_description>He holds the handcuffs up in the moonlight.</scene_description>
<character>UNCLE TED</character>
<dialogue>I was going to use these--on MYSELF! Can you believe that?</dialogue>
<scene_description>Uncle Ted's face reflects another inner struggle. His whole body convulses suddenly, like he is about to throw up. Then he straightens up and smiles horribly.</scene_description>
<character>UNCLE TED</character>
<dialogue>But not now. They were supposed to keep people from finding out about my ••• private affair with my mistress. But you already KNOW, don't you?</dialogue>
<scene_description>JANET t T-Ted. Let's go to the hospital. There's one close by, and we can get you to a doctor and--</scene_description>
<character>UNCLE TED</character>
<dialogue>Yes, you do. Handcuffs won't keep my little secret anymore.</dialogue>
<scene_description>Janet keeps her distance, transfixed to the spot.</scene_description>
<character>UNCLE TED</character>
<dialogue>Come closer, sis. Take a good look at my secret. You've come this far, come a little closer.</dialogue>
<scene_description>Janet stays put.</scene_description>
<character>UNCU: TED</character>
<dialogue>What's 'a matter? You don't wanna know my little secret after all? Got cold feet, you stupid bitch? \*</dialogue>
<scene_description>His speech is deteriorating with every sentence. Uncle Ted looks at the handcuffs in hjs hairy hands one last time, snorts, and tosses them contemptuously over his shoulder.</scene_description>
<character>UNCLE TED</character>
<dialogue>Handcuffs? WE DON' NEED NO STINKING HANDCUFFS ! ! !</dialogue>
<scene_description>Uncle Ted laughs maniacally at his own joke. Janet aims the flashlight in his face. The eerie underlighting reveals black, pubic-like hair bearding his cheeks and forehead. Janet recoils, like she's had an electric shock. She takes a ,.-...\_\_ frightened step back.</scene_description>
<character>UNCLE TED</character>
<dialogue>Oh, don' go 'way, sis. Things are just gettin' started. Look! Moon's not even up alla way yet!</dialogue>
<scene_description>Janet glances over his shoulder. The moon is three quarters over the pines.</scene_description>
<character>JANET</character>
<dialogue>You're out of your Goddamn mind. \*</dialogue>
<character>UNCLE TED</character>
<dialogue>That's just for starters.</dialogue>
<scene_description>The moon rises full into the sky.</scene_description>
<character>UNCLE TED</character>
<dialogue>JJJJJJJAAAAAANNNNNNNNEEGGGGGHHHHHRRRROOOO</dialogue>
<character>OOOOOOOORRRRRRRRRRR 1 ! ! !</character>
<dialogue>Uncle Ted throws his head back and SCREAMS. THE SCREAM TURNS INTO A TERRIFYING WOLFLIKE ROAR that splits the air as the bones in his face stretch, distend, restructure, a hideous snout smashing out his mouth and his teeth turning into slavering fangs. His skin sprouts a coat of fur as Uncle Ted TRANSFORMS into the Werewolf before Janet's· petrified eyes. Janet Harrison stands in the forest, face to face with the eight-foot tall Werewolf. She faces off with the hideous monster, her eyes luxurious with fear as she stares into its psychotic, bloodshot, saucer eyes. It takes a step towards her •••</dialogue>
<character>131</character>
<dialogue>Brett tugs vainly on the padlocked gate.</dialogue>
<character>EXT.</character>
<dialogue>Then he spots a screwdriver lying by a toolkit on a worksite nearby</dialogue>
</scene>
<scene>
<stage_direction>-.</stage_direction>
<scene_description>He grabs it up and tries to pry the rusted padlock loose.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - CAGES - POUND - NIGHT</stage_direction>
<scene_description>Long rows of industrial cages line the outside area behind the gate. The ugly glow of the security lamps reveal dozens of pathetic, underfed, unloved dogs waiting to die in their cages. THE CAMERA TRACKS to one cage ••• Thor lies listlessly, head on his paws.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POUND - NIGHT</stage_direction>
<scene_description>Outside the gate, Brett uses the screwdriver to pry the padlock. It starts to give. In the outside cages, the dogs hear him and react. The SOUND of MANY DOGS BARKING.</scene_description>
<character>BRETT</character>
<dialogue>C'mon.</dialogue>
<scene_description>He.breaks the padlock off.</scene_description>
<character>BRETT</character>
<dialogue>Yes!</dialogue>
<scene_description>Brett opens the gate. Suddenly emergency lights pop on. THE ALARM GOES OFF. The boy reacts in comic panic.</scene_description>
<character>OH-1</character>
<dialogue>Wincing against the RINGING ALARM, he urgently searches the</dialogue>
<character>SHIT! THOR!</character>
<dialogue>long row of cages for his pet.</dialogue>
<scene_description>INT/EXT. T'"dOR' S CAGE - POUND - HIGHT Thor lifts hia head, reacting to the alarm. Brett appears in front of hia cage, with the screwdriver. Thor just stares at him, then BARKS.</scene_description>
<character>BRETT</character>
<dialogue>Thor, I'm gonna get you out!</dialogue>
<scene_description>Brett jams the screwdriver into the lock, but isn't strong enough to crack it. Putting his feet against the cage, the boy breaks the small padlock. The door swings open. Brett peers into the cage. Thor sits up, confused. He BARKS.</scene_description>
<character>BRETT</character>
<dialogue>C'mon, Thor, you're free!</dialogue>
<scene_description>Thor tilts his head, confused. THOR P.O.V.: MOM.</scene_description>
<character>JANET</character>
<dialogue>BAD DOG!</dialogue>
<character>BRETT</character>
<dialogue>We're getting you outl Come on!</dialogue>
<scene_description>Thor won't budge. Brett grabs him by the collar. He still won't budge.</scene_description>
<character>BRETT</character>
<dialogue>Thor! We gotta get you out of here!</dialogue>
<scene_description>Thor blinks in befuddlement. THOR P. 0. V. : MEMORY. THE WEREWOLF ATTACKING THE HARRISON HOUSE. UNCLE TED WAVING "BYE BYE" AT ·\['HE DOOR. And he moves. Fast. Thor bolts out of the cage past Brett and BARKS URGENTLY at him. The ALARM WAILS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POUND - NIGHT</stage_direction>
<scene_description>The Gennan Shepherd grabs Brett's jacket cuffs and helps him out of the Pound. Thor waits just long enough for the kid to get on his bike. Then he bolts hell for leather out into the street. Brett cycles after him. Thor runs as fast as his paws will carry him. He is outpacing the boy on his bike as he charges down the street in the direction of the house. The ALARM WAILS.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF JENSON'S CAR - NIGHT</stage_direction>
<scene_description>Sheriff Jenson is having coffee when he gets a call on the radio.</scene_description>
<character>POLICE RADIO V.O.</character>
<dialogue>Sheriff we got a 344 in progress at the city pound.</dialogue>
<scene_description>I ,..r\.'TmT .. TTT'C"'T"'\ \ The cop picks up the radio •</scene_description>
</scene>
<scene>
<stage_direction>.-,</stage_direction>
<character>SHERIFF JENSON</character>
<dialogue>I'm on it.</dialogue>
<scene_description>He hits the party lights and stomps on the gas.</scene_description>
<character>137</character>
<dialogue>The squad car hangs a TIRE SQUEALING TURN around the corner.</dialogue>
<character>EXT.</character>
<dialogue>Thor bolts in front of the car. Sheriff Jenson hits the brakes. Just as Brett speed pedals past the car after Thor. The police car chases after the boy aqd the dog.</dialogue>
<character>138</character>
<dialogue>...</dialogue>
<character>EXT.</character>
<dialogue>Janet runs for her life, blindly smashing through the branches of the pine trees that block her way. Behind her, the SAVAGE ROARS of the Werewolf as it'plunges through the forest after her. Hot on her heels. Mom throws a terrified glance over her shoulder to see the huge, nightmarish creature through the trees fifty feet behind her. The WOLFLIKE ROARS fill the air. Janet flees through the forest. The Werewolf looks down at the sweatshirt and pants it wears as if noticing them for the first time. It flies into a fr~nzy, tearing the clothes off with its claws and teeth as it psychopathically pursues Janet. Mom is bathed in sweat as she scrambles through the undergrowth. Up ahead, she sees the lights of the house through the trees ••• WEREWOLF P.O. V.: B&W. SMASHING THROUGH THE TREES AND UNDERGROW'l'H, TEARING AND RIPPING APART ANYTHING IN IT'S PATH AS IT PLOWS THROUGH THE FOREST LIKE A SAVAGE MACHINE. THE HARSH GROWLING ON THE SOUND'l'RACK ••• THE LIGHTS OF THE HARRISON HOUSE STRAIGHT AHEAD.</dialogue>
<character>139</character>
<dialogue>Thor runs down the street with tremendous grace and speed.</dialogue>
<character>EXT.</character>
<dialogue>A</dialogue>
<scene_description>.--...... passing car has to dodge out of his way with a HONK. Thor moves with single-minded purpose, racing for the house. - Brett lags far behind on his bike. Sheriff Jenson pursues them in his police car, cherrytop flaring.</scene_description>
<character>140</character>
<dialogue>The cop gets on the speaker.</dialogue>
<character>INT. SHERIFF JENSON'S CAR - NIGHT</character>
<dialogue>He presses the mike to his</dialogue>
<scene_description>face.</scene_description>
<character>SHERIFF JENSON</character>
<dialogue>BRETT I WANT YOU AND THOR TO STOP</dialogue>
<character>IMMEDIATELY!</character>
<dialogue>Through the windshield, the boy pedals even faster after the sprinting dog.</dialogue>
<character>141</character>
<dialogue>The tract home at the edge of the big pine forest, alone and</dialogue>
<character>EXT.</character>
<dialogue>unprotected in the moonlight •. Janet dashes out of the forest and he~ves herself into--</dialogue>
</scene>
<scene>
<stage_direction>-..</stage_direction>
<character>142</character>
<dialogue>--locking the door.</dialogue>
<character>INT.</character>
<dialogue>JANET</dialogue>
<scene_description>BRETTl 11 RRRROOOOOOOOAAARRRRR l l l The Werewolf EXPLODES through the window, landing on the floor in a shower of glass. Janet leaps for the cabinet above the refrigerator. With a hysterical scream, Janet snags the .38 and box of bullets and leaps through the living room door into--</scene_description>
<character>143</character>
<dialogue>--SLAMMING IT SHUT on the Werewolf's talon as it snatches for</dialogue>
<character>INT.</character>
<dialogue>her. Blood squirts as the creature ROARS in pain. Janet throws her back against the door, but the monster is hugely powerful and its other claw SMASHES through the door panel in an explosion of splintered wood boards. The door is knocked off its hinges.</dialogue>
<scene_description>I rtr\,TmT,TTT"l"""' \ -- Janet goes sprawling. The pistol flies from her grasp. box of bullets spill on the floor. She snags the gun and grabs a handful of shells as the Werewolf hulks through the doorway and goes for her. The Janet scatters up the stairs, sobbing in horror. The Werewolf is hot on her heels.</scene_description>
<character>144</character>
<dialogue>INT.</dialogue>
<scene_description>The Werewolf charges after Janet up the stairs. Screaming her lungs out, she heaves a bookcase down the steps onto the monster. It ROARS in raging fury and shears the books to splinters and paper shavings as it hurries after her.</scene_description>
<character>JANET</character>
<dialogue>BRETT 1!1</dialogue>
<scene_description>Janet scrambles into her boy's room. ~</scene_description>
<character>145</character>
<dialogue>INT.</dialogue>
<scene_description>She slams the door closed and shoves a dresser in front of it just as the creature's talon shatters the doorpanel. It claws out great chunks of wood, its MONSTER ROAR reverberating through the house. Janet goes to the bed. The boy is not there. Janet screams in terror.</scene_description>
<character>JANET</character>
<dialogue>BRETT! 11</dialogue>
<scene_description>Ir;; The Werewolf CLAWS at the door.</scene_description>
<character>146</character>
<dialogue>Thor bolts around the corner, making another car swerve with</dialogue>
<character>EXT.</character>
<dialogue>a BLARE of HORNS. He hunkers down and runs for his house, way up the block. Mom' s SCREAMS can already be heard. A quarter mile behind Thor, Brett peddles fast. The cop car closes in on the boy and the dog.</dialogue>
<character>BRETT</character>
<dialogue>HURRY, THOR!</dialogue>
<scene_description>He peddles faster. Thor is bathed in sweat as he runs heel over foot for the house, now BARKING FURIOUSLY enough to the wake the neighborhood. They cross an intersection, going through a red light.</scene_description>
<character>"-2,</character>
<dialogue>A truck SLAMS on its BRAKES, steering to avoid them. The vehicle swerves right into th~ path of Sheriff Jenson's patrol car. The Sheriff steers frantically out of the way, jumping the curb. The squad car crashes into a drainage - ditch. Sheriff Jenson leaps out of the car and throws his hat in the dirt. Thor runs as fast as his paws will carry him up the cul-de- sac road towards the Harrison house, now only a hundred yards ahead. He can hears Mom's screams. He can hear the Werewolf's ROARS. The dog BAR.KS in warning. And scrambles onto the front lawn •••</dialogue>
</scene>
<scene>
<stage_direction>INT. BRETT'S BEDROOM - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Mom sits panic-stricken on the bed, desperately trying to load the pistol she doesn't really knpw how to work. The door is locked and barricaded with the dresser, but the Werewolf 'S BLOODTHIRSTY ROARS fill the house and it is smashing itself against the door. The.wood frame is beginning to crack. THOR P. 0. V. : HURTLING THROUGH THE SMASHED KITCHEN DOOR AND UP.THE STAIRS ONTO THE SECOND FLOOR LANDING WHERE THE WEREWOLF IS HEAVING ITSELF BODILY AGAINST BRETT'S BEDROOM DOOR. THE DOOR CAVES IN.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRETT'S BEDROOM - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>The door splinters and the Werewolf comes toppling into the room and onto the floor. It quickly leaps to its feet and rises to its full height above Janet cowering on the bed. Mom screams hysterically. The Werewolf steps towards her ••• Thor bounds into the room, leaping onto the Werewolf's back, his jaws snapping at the thing's neck. He bites a chunk out. Blood sprays the ceiling.</scene_description>
<character>JANET</character>
<dialogue>THOR!</dialogue>
<scene_description>Janet stares in astonishment, clutching the gun. A German Shepherd is a big and powerfully dangerous animal, and Thor shows it as he clings onto the Werewolf's back and rips his claws into the monster's body. The creature howls and hurls Thor off. Not for long. Thor dives with a SAVAGE SNARL for the stunned Werewolf's throat. The creature dives at him, sinking its fangs deep into Thor's thigh. Thor whips his head around and snaps at the werewolf's face, catching its nose in his fangs and tearing one nostril open. The Werewolf pulls away with its teeth still in Thor's flesh, opening a long gash in the dog's leg. Thor scrambles to his feet and leaps at the Werewolf's face, ready to bite any part of the beast that comes within reach. The Werewolf is tall and powerful, but not fast. It tries to swipe at Thor with its claws and gets a finger severed off. The creature backs into a corner and Thor lunges for its ankles. The Werewolf manages a wild kick in Thor's rib cage that sends him flying clear across the room and bouncing off a wall. Thor drops to the floor, stunned and hobbling. THOR P.O. V.: ROOM SWIMMING. WEREWOLF APPROACHING, LIPS SPILLING MUCUSY SALIVA. WEREWOLF P.O. V.: ADVANCING ON THOR, THEN</scene_description>
<character>\"</character>
<scene_description>TO SEE MOM. Instead of~closing in for the kill, th~ Werewolf turns and leaps at Mom, who has finished loading the pistol in her hand. She is face to face with the Werewolf, but she looks in its eyes and sees the eyes of her brother. Janet aims the gun point blank at the Werewolf's head but cannot bring herself to pull the trigger.</scene_description>
<character>JANET</character>
<dialogue>TEDDDY! 11</dialogue>
<scene_description>The creature SNARLS and flails its arm, sending the gun flying across the room. Thor gets to his feet as the pistol clatters to the floor and lunges at the monster. Going for its balls. The Werewolf swivels its hips and kicks its leg, hitting the German Shepherd a pile driver blow to the jaw. Thor crashes down on a bedstand, taking a lamp to the floor. The Werewolf makes a dash for the door, but Thor snags its ankle. The creature swings around and kicks him in the ribs, following with a sharp kick to Thor's head. The German Shepherd's front legs give out from under him. ·-· WEREWOLF BENDING OVER HIM, RAZOR TEETH BARED, MOM BEHIND IT,</scene_description>
<character>THINGS FADING OUT.</character>
<dialogue>WEREWOLF P. 0. V. : REARING OVER THOR, ITS TALONS REACHING FOR</dialogue>
<character>THE FALLEN DOG'S NECK.</character>
<dialogue>Brett bursts into the room. He freezes in paralyzed shock when he sees the real live Werewolf standing five feet in front of him. The creature scoops the little boy up in its talon. It stretches its jaws on its snout to bite half of Brett's head off. KA-POWl POWl POWl</dialogue>
<dialogue>The Werewolf suddenly rears up in anguish.</dialogue>
<character>\"</character>
<dialogue>Mom FIRES the .38 revolver into its back again and again.</dialogue>
<character>JANET ,\_·</character>
<dialogue>GET THE FUCK OFF MY KID l l !</dialogue>
<scene_description>The Werewolf drops Brett on the carpet. It swings around, to face Janet, squirming from the bullets in its back. The creature is standing by the bedroom window. Janet takes point blank aim between the Werewolf's eyes with the gun. And squeezes the trigger. The CLICK of an empty chamber. She's out of bullets. Her face falls as the creature lunges at her. She knows she's dead. Thor's eyes narrow ••• THOR P.O.V.: THE WEREWOLF IN FRONT OF THE WINDOW. The dog SNARLS. And leaps. Thor lands full body on the Werewolf, taking them both out the window in an explosion of glass and wood pane.</scene_description>
<character>149</character>
<dialogue>The doq and the Werewolf go flying out the window in a</dialogue>
<character>EXT.</character>
<dialogue>raining debris of qlass and wood. They fall two stories onto the grass with a heavy thud. They lie nearby each other, stunned and wounded. Thor's eyes blink open. The Werewolf, covered with blood and torn fur, stumbles to its feet, licking its many wounds. The German Shepherd growls. And rises. The Werewolf hisses weakly. Spitting, it staggers away from Thor across the back yard. It is retreating for the woods.</dialogue>
<scene_description>.: Thor, injured himself, limps after it. \" The creature makes it to the creek, picking up speed.</scene_description>
<character>'</character>
<dialogue>Thor charges with his remaining strength across his path, through the creek, and into the woods ~ter the Werewolf.</dialogue>
</scene>
<scene>
<stage_direction>--- 150 EXT. FOREST - NIGHT 150</stage_direction>
<scene_description>The mortally wounded Werewolf staggers aimlessly past the trees ••. Its dog-like haunches begin to transform back to human legs ••• Its extended spine begins;to return to human proportions ••• Its matted hair retracts into its skin ••• The wolf-like snout reforms into a human jaw •• Soon it is only the mauled, bullet-ridden Uncle Ted stumbling through the woods.</scene_description>
<character>151</character>
<dialogue>EXT.</dialogue>
<character>THOR P.O.V.:</character>
<dialogue>WEREWOLF CLOSE AT HAND.</dialogue>
<character>NOSE TO THE TRAIL.</character>
<dialogue>Thor stops. Lifts his head. Sniffs.</dialogue>
<scene_description>·THOR- .p. 0 •.Y. : THE WOODS WILD AND DENSE. ON THE SOUNDTRACK, THE LOW, PAINED GROWLING OF THE WEREWOLF CHANGES, BECOMING HEAVY I RAGGED I HUMAN BREATHING. THE THUNDEROUS HEARTBEAT OF THE WEREWOLF BECOMES WEAKER, SMALLER, HUMAN. NEAR. VERY NEAR. FOOTSTEPS CRACKING TWIGS. Thor turns his head. Uncle Ted steps out of the forest. His face and torso are covered with open, bleeding wounds. He looks ready to die on the spot. Uncle Ted leans against a tree for support. Thor creeps towards him slowly and silently, his eyes locked on the man's throat. Uncle Ted stares blearily into space. He is unaware of Thor's presence. The German Shepherd inches closer in the shadows. To fifteen feet away. Uncle Ted finally sees him. He chuckl~s nihilistically.</scene_description>
<character>UNCLE TED \*</character>
<dialogue>Thor! How ya doin', old buddy. \*</dialogue>
<scene_description>Thor stops and regards the shadowy forni. They face off for a --· final time.</scene_description>
<character>UNCLE TED \*</character>
<dialogue>Guess I've been a Bad Dog, huh? \*</dialogue>
<scene_description>Uncle Ted locks eyes with Thor.</scene_description>
<character>UNCLE TED</character>
<dialogue>Do it.</dialogue>
<scene_description>Thor goes for his throat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRISON HOUSE - DAY</stage_direction>
<scene_description>A bright, sunny day. WORKMEN on a scaffold repair Brett's bedroom window. PAINTERS are finishing the touchups by the replaced kitchen door. The Airstream is gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. CELLAR - HARRISON HOUSE - DAY</stage_direction>
<scene_description>Janet walks down the steps. Thor lies in the corner, bandaged. A steak, untouched, is in front of him.</scene_description>
<character>~</character>
<dialogue>He apparently hasn't eaten for days, ahd his bones stick out. His manner is weak and listless, as if his will to live is gone. Janet crouches down beside Thor. She tries to stroke the German Shepherd, but.the dog shrinks a~ay, like a leper.</dialogue>
<character>JANET</character>
<dialogue>You gotta eat, big guy. You're the man of the house, and we need you to be big and strong.</dialogue>
<scene_description>i Thor looks away, as if he feels he is not worth living. As if he wishes he was never born. Mom's eyes well up. She takes a piece of the steak and tries to put it to Thor's mouth, but the dog will not open his teeth.</scene_description>
<character>JANET</character>
<dialogue>You saved us, fella. You're our hero. I kn~ you think you're a Bad Dog because you bit a person and I always told you that that' s what Bad Dogs do-, but this waa different. Ted, he was different. He wasn't really a man, anymore. He was an animal, a sick animal, and he was going to hurt us. I think he knew you knew what he was and he ••• he wanted you to stop him •••</dialogue>
<scene_description>Janet tries to force feed Thor. Thor won't open his mouth. Mom physically pulls the dog into her arms. Janet starts to cry. On the upstairs landing, Brett is watching. Teary eyed. He comes down the stairs and hunkers down next to Mom, by Thor.</scene_description>
<character>JANET</character>
<dialogue>I'm sorry Thor. I didn't understand that you were doing your job and trying to protect us, because just like you don't understand things that people know, we don't understand things that ••• dogs know.</dialogue>
<scene_description>Mom and son huddle over their family pet.</scene_description>
<character>JANET</character>
<dialogue>You aren't a Bad Dog, Thor. You're a Good Dog. Do you hear me, you're a Good Dog. A Good Dog' Thor.</dialogue>
<scene_description>Thor shows a spark of life as he huddles in the shadows. He lets Janet pat him.</scene_description>
<character>JANET</character>
<dialogue>A Good Dog.</dialogue>
<scene_description>Janet lets the tears come.</scene_description>
<character>BRETT</character>
<dialogue>That's a boy. Good Dog.</dialogue>
<scene_description>Brett pats the dog, and Thor lets them~ A wave of happiness and relief sweeps across the family as they huddle protectively over their dog, who WHIMPERS as their hands stroke him with their tender, familiar touch.</scene_description>
<character>JANET</character>
<dialogue>Good Dog •••</dialogue>
<scene_description>Thor looks up. HIS FEATURES HAVE HORRIFICALLY RESHAPED INTO A MONSTROUS HALF-DOG WEREWOLF! HIS BLOODSHOT GAZE IS PSYCHOTIC, ANARCHIC! ROWS OF RAZOR FANGS JUT IN A SALIVA-DRIPPING SNOUT! Janet and Brett never have time to scream. As the Werewolf's gaping, salivating jaws LEAP AT THE CAMERA AND WE ••• SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - HARRISON HOUSE - NIGHT</stage_direction>
<scene_description>Janet wakes up screaming from her nightmare, on the couch.</scene_description>
<character>JANET</character>
<dialogue>NOOOOOOOOOOOOOOO 111</dialogue>
<scene_description>Brett runs into the room.</scene_description>
<character>BRETT</character>
<dialogue>MOMMY MOMMY WHAT I s WRONG? 1 1 !</dialogue>
<scene_description>Thor, perfectly normal, jumps on the couch. The doq is bandaged from his recent battles, as is Janet. The Workmen are repairing the kitchen door. Thor stands protectively over Janet and Brett, licking their faces. Janet relaxes, gratefully embracing her son, and her family doq.</scene_description>
<character>JANET .</character>
<dialogue>It's okay. It's okay. Eve;ything's</dialogue>
<character>\'"</character>
<dialogue>going to be okay •••</dialogue>
<character>FADE OUT.</character>
</scene>
</script> | During a work expedition in Nepal, photo-journalists Ted Harrison and his girlfriend Marjorie are attacked by a werewolf. The werewolf snatches Marjorie and Ted attempts to rescue her but gets bitten in the shoulder. He manages to kill the werewolf with his shotgun, but not before it kills Marjorie. Seeking isolation, Ted moves into a trailer in the woods. Eventually, he invites his sister, Janet, and his nephew, Brett, to a meal at his home by the lake. Upon seeing him, the family dog, Thor, runs into the woods. Picking up a scent, Thor is led to human remains hanging from a tree branch. Meanwhile, Ted lies to Janet, telling her that Marjorie left him and went back to Seattle. Janet invites him to stay with them but he declines and insists they leave before sunset. The next day, authorities investigate the remains of several missing hikers and a Forest Ranger, found in the woods near Ted’s trailer. Fearful of being found guilty, Ted calls Janet and accepts her offer. Upon arrival, Thor is again suspicious of Ted and acts hostile towards him. Later that evening, Thor follows Ted into the woods and finds him turned into a werewolf and handcuffed to a tree. Meanwhile, Janet goes into the woods looking for Thor. Aware of the danger, Thor leads her safely back to the house. The next morning, Janet sees a news report of the killings and confronts her brother about not telling her his motive for accepting her invitation and asks him to stay permanently. Ted tries to warn her by advising she pay attention to Thor’s sudden behavior changes. He also hints that the murders had been done by a wolf. She ignores him. Later, as the sun sets, he leaves his trailer in hopes of chaining himself up again. Thor, knowing what is happening, barks until Brett lets him out of the house. He runs to the woods to find that Ted was too late in handcuffing himself. Thor follows Ted’s trail back to the backyard and Ted attacks him but the dog fights back. Janet wakes up and turns on the deck lights, scaring Ted away. She sees an injured Thor and calls the Sheriff; however, when she goes to Ted's trailer to tell him, she finds a book about werewolves, with gruesome pictures of Marjorie's body and some of Ted's victims attached to it. She also finds a journal in which Ted details his turmoil with not finding a cure for his "disease” and his hopes of finding peace near his family. Later that night, the traveling salesman who had previously tried to frame Thor for an attack, returns to Janet’s yard with the intention of killing Thor, but is instead fatally wounded by Ted. The sheriff questions Janet about Thor and informs her of the salesman being attacked by a wild animal; his mutilated body was found near her property. She asks if it could have been a wolf, but the sheriff dismisses it and advises her to send Thor to the dog pound. Not believing Thor could be the killer, she confronts Ted, who provokes Thor to attack him. As a result, Thor is taken to the pound. Ted urinates on Thor's doghouse and is hostile towards Brett. That night, Janet confronts Ted in the woods. He accuses her of not listening to his warnings and knowing the truth all along. As he transforms, she flees back to the house and retrieves a revolver hidden in the kitchen. Meanwhile, Brett manages to sneak out and free Thor from the dog pound. Thor returns home just as Ted is about to attack Janet. A vicious fight ensues, ending with Ted throwing Thor across the room, seemingly killing him. Brett, having returned home, is nearly strangled by Ted, but Janet fires several rounds into him. Then, Thor throws himself at Ted, knocking them both through the window and into the yard. Ted, severely injured, retreats into the woods, but Thor tracks him until sunrise. Ted, now human, emerges from behind a tree and tells a reluctant Thor to "do it.” Thor kills Ted. After, Janet apologizes to Thor for taking him to the pound. Suddenly, Thor as a werewolf growls at her, but it just turns out to be a nightmare; Janet, Brett, and Thor are healing from their ordeal. |
Inception_2010 | tt1375666 | <script>
<scene>
<character>INCEPTION</character>
<dialogue>By</dialogue>
<scene_description>Christopher Nolan FADE IN: DAWN. CRASHING SURF. The waves TOSS a BEARDED MAN onto wet sand. He lies there. A CHILD'S SHOUT makes him LIFT his head to see: a LITTLE BLONDE BOY crouching, back towards us, watching the tide eat a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The Bearded Man tries to call them, but they RUN OFF, FACES UNSEEN. He COLLAPSES. The barrel of a rifle ROLLS the Bearded Man onto his back. A JAPANESE SECURITY GUARD looks down at him, then calls up the beach to a colleague leaning against a JEEP. Behind them is a cliff, and on top of that, a JAPANESE CASTLE.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEGANT DINING ROOM, JAPANESE CASTLE - LATER</stage_direction>
<scene_description>The Security Guard waits as an ATTENDANT speaks to an ELDERLY JAPANESE MAN sitting at the dining table, back to us.</scene_description>
<character>ATTENDANT</character>
<parenthetical>(in Japanese)</parenthetical>
<dialogue>He was delirious. But he asked for you by name. And...</dialogue>
<parenthetical>(to the Security Guard)</parenthetical>
<dialogue>Show him.</dialogue>
<character>SECURITY GUARD</character>
<parenthetical>(in Japanese)</parenthetical>
<dialogue>He was carrying nothing but this...</dialogue>
<scene_description>He puts a HANDGUN on the table. The Elderly Man keeps eating.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>...and this.</dialogue>
<scene_description>The Security Guard places a SMALL PEWTER CONE alongside the gun. The Elderly Man STOPS eating. Picks up the cone.</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<parenthetical>(in Japanese)</parenthetical>
<dialogue>Bring him here. And some food.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAME - MOMENTS LATER</stage_direction>
<scene_description>The Elderly Man watches the Bearded Man WOLF down his food. He SLIDES the handgun down the table towards him.</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Are you here to kill me?</dialogue>
<scene_description>The Bearded Man glances up at him, then back to his food. The Elderly Japanese Man picks up the cone between thumb and forefinger.</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<dialogue>I know what this is.</dialogue>
<scene_description>He SPINS it onto a table- it CIRCLES gracefully across the polished ebony... a SPINNING TOP.</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<dialogue>I've seen one before. Many, many years ago...</dialogue>
<scene_description>The Elderly Japanese Man STARES at the top mesmerized.</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<dialogue>It belonged to a man I met in a half-remembered dream...</dialogue>
<scene_description>MOVE IN on the GRACEFULLY SPINNING TOP...</scene_description>
<character>ELDERLY JAPANESE MAN</character>
<dialogue>A man possessed of some radical notions...</dialogue>
<scene_description>The Elderly Japanese Man STARES, remembering...</scene_description>
<character>COBB (V.O.)</character>
<dialogue>What's the most resilient parasite?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME ELEGANT DINING ROOM - NIGHT (YEARS EARLIER)</stage_direction>
<scene_description>The speaker, COBB, is 35, handsome, tailored. A young Japanese man, SAITO, eats as he listens.</scene_description>
<character>COBB</character>
<dialogue>A bacteria? A virus?</dialogue>
<scene_description>Cobb gestures at their feast with his wine glass-</scene_description>
<character>COBB</character>
<dialogue>An intestinal worm?</dialogue>
<scene_description>Saito's fork pauses, mid-air. Cobb GRINS. A third man is at the table- ARTHUR. He jumps in to save the pitch-</scene_description>
<character>ARTHUR</character>
<dialogue>What Mr. Cobb is trying to say-</dialogue>
<character>COBB</character>
<dialogue>An idea.</dialogue>
<scene_description>Saito looks at Cobb, curious.</scene_description>
<character>COBB</character>
<dialogue>Resilient, highly contagious. Once an idea's taken hold in the brain it's almost impossible to eradicate. A person can cover it up, ignore it- but it stays there.</dialogue>
<character>SAITO</character>
<dialogue>But surely-to forget...?</dialogue>
<character>COBB</character>
<dialogue>Information, yes. But an idea? Fully formed, understood? That sticks...</dialogue>
<parenthetical>(taps forehead)</parenthetical>
<dialogue>In there, somewhere.</dialogue>
<character>SAITO</character>
<dialogue>For someone like you to steal?</dialogue>
<character>ARTHUR</character>
<dialogue>Yes. In the dream state, conscious defenses are lowered and your thoughts become vulnerable to theft. It's called extraction.</dialogue>
<character>COBB</character>
<dialogue>But, Mr. Saito, we can train your subconscious to defend itself from even the most skilled extractor.</dialogue>
<character>SAITO</character>
<dialogue>How can you do that?</dialogue>
<character>COBB</character>
<dialogue>Because I am the most skilled extractor. I know how to search your mind and find your secrets. I know the tricks, and I can teach them to your subconscious so that even when you're asleep, your guard is never down.</dialogue>
<scene_description>Cobb leans forwards. Holding Saito's gaze.</scene_description>
<character>COBB</character>
<dialogue>But if I'm going to help you, you have to be completely open to me. I'll need to know my way around your thoughts better than your wife, your analyst, anyone.</dialogue>
<parenthetical>(gestures around)</parenthetical>
<dialogue>If this is a dream and you've got a safe full of secrets, I need to know what's in that safe. For this to work, you have to let me in.</dialogue>
<scene_description>Saito gives this a flicker of a smile. Rises. A BODYGUARD opens double doors which give onto a LAVISH PARTY.</scene_description>
<character>SAITO</character>
<dialogue>Gentlemen. Enjoy your evening as I consider your proposal.</dialogue>
<scene_description>They watch Saito leave. Arthur turns to Cobb, worried-</scene_description>
<character>ARTHUR</character>
<dialogue>He knows.</dialogue>
<scene_description>Cobb motions silence. A TREMOR starts, they steady their glasses, Cobb glances at his watch- THE SECOND HAND IS FROZEN.</scene_description>
<character>ARTHUR</character>
<dialogue>What's going on up there?</dialogue>
<scene_description>And we- CUT TO: FILTHY BATHROOM - DAY (FEELS LIKE DIFFERENT TIME) Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING BATH. The chair is up on a cabinet- the bottom of the legs level with the rim of the tub. A sweating man (40's) watches over Cobb. This is NASH. A distant EXPLOSION rumbles through the room. Nash moves to the window, parts the curtains. Outside: a CHAOTIC DEVELOPING-WORLD CITY- the street filled with RIOTERS- SMASHING, BURNING. Nash checks Cobb's left wrist: above his watch, tape holds TWO THIN YELLOW TUBES in place. Nash looks at Cobb's watch- THE SECOND HAND CRAWLS UNNATURALLY SLOWLY. Nash follows the tubes to a SILVER BRIEFCASE at Arthur's feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the briefcase to Arthur's wrist. Nash follows another set of tubes from the briefcase to where they pass under the door to the bedroom. Through the crack of the door, Nash sees SAITO ASLEEP on the bed, tubes running to his wrist. BOOM- a closer EXPLOSION, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY (FEELS LIKE DIFFERENT TIME)</stage_direction>
<scene_description>Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train BUMPS OVER A ROUGH PIECE OF TRACK. A Japanese Man, TODASHI (18) watches Nash nervously. He checks Nash's wrist: TWO YELLOW TUBES CONNECT NASH WITH THREE OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, SAITO. Todashi checks his watch: THE SECOND HAND TICKS IN REAL TIME. Another TRAIN PASSES in the opposite direction with a MIGHTY WHUMP- Todashi's eyes FLY to Nash's sleeping face- NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Another EXPLOSION- Nash CHECKS the sleeping Cobb and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP TERRACES, JAPANESE CASTLE - NIGHT</stage_direction>
<scene_description>A LOW TREMOR RUMBLES THROUGH THE CASTLE. Cobb and Arthur steady themselves against the wooden rail. Several TILES and pieces of MASONRY fall. Below them a BLACK SEA churns. Other GUESTS wander the massive terraces.</scene_description>
<character>ARTHUR</character>
<dialogue>Saito knows. He's playing with us.</dialogue>
<character>COBB</character>
<dialogue>I can get it here. The information's in the safe- he looked right at it when I mentioned secrets.</dialogue>
<scene_description>Arthur nods. Then spots someone over Cobb's shoulder.</scene_description>
<character>ARTHUR</character>
<dialogue>What's she doing here, Cobb?</dialogue>
<scene_description>Cobb turns to see a beautiful woman, elegantly dressed, staring out at the sea. This is MAL. Cobb watches her.</scene_description>
<character>COBB</character>
<dialogue>You just get to your room. I'll take care of the rest.</dialogue>
<character>ARTHUR</character>
<dialogue>See that you do. We're here to work.</dialogue>
<scene_description>Arthur brushes past Mal, shaking his head. She nears Cobb. Looks out at the DROP. The WIND WHIPS HER HAIR-</scene_description>
<character>MAL</character>
<dialogue>If I jumped, would I survive?</dialogue>
<character>COBB</character>
<dialogue>With a clean dive, perhaps. Mal, why are you here?</dialogue>
<scene_description>She turns to look at him. Amused.</scene_description>
<character>MAL</character>
<dialogue>I thought you might be missing me...</dialogue>
<scene_description>She smiles. He leans in, mesmerized.</scene_description>
<character>COBB</character>
<dialogue>I am. But I can't trust you anymore.</dialogue>
<scene_description>She stares up at him, inviting.</scene_description>
<character>MAL</character>
<dialogue>So what?</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM SUITE, JAPANESE CASTLE - MOMENTS LATER</stage_direction>
<scene_description>Mal sips champagne as she studies a painting by Francis Bacon.</scene_description>
<character>MAL</character>
<dialogue>Looks like Arthur's taste.</dialogue>
<scene_description>Cobb is looking down through the window at the GUARDS patrolling the castle at ground level.</scene_description>
<character>COBB</character>
<dialogue>Actually, Mr. Saito is partial to postwar British painters.</dialogue>
<scene_description>He turns to Mal, donning a pair of black leather gloves.</scene_description>
<character>COBB</character>
<dialogue>Would you sit down?</dialogue>
<scene_description>Mal lowers herself gracefully into a leather wingback chair. Cobb approaches, pulls out a length of BLACK ROPE and kneels at Mal's feet. She looks down at him.</scene_description>
<character>MAL</character>
<dialogue>Tell me...</dialogue>
<scene_description>Cobb TIES the rope around the CHAIR LEGS.</scene_description>
<character>MAL</character>
<dialogue>Do the children miss me?</dialogue>
<scene_description>Cobb pauses. He lets his gloved fingers lightly touch Mal's ankle. He looks up at her.</scene_description>
<character>COBB</character>
<dialogue>You can't imagine.</dialogue>
<scene_description>Mal looks away, uncomfortable. Cobb gets to his feet, letting out the rope as he moves back to the window.</scene_description>
<character>MAL</character>
<dialogue>What're you doing?</dialogue>
<scene_description>Cobb tosses the rope out-</scene_description>
<character>COBB</character>
<dialogue>Getting some air.</dialogue>
<scene_description>He tugs on the rope, testing. The weight of the chair, with Mal on it, holds.</scene_description>
<character>COBB</character>
<dialogue>Stay seated. Please.</dialogue>
<scene_description>And with that, he JUMPS. Mal considers the open window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAPANESE CASTLE WALL - CONTINUOUS</stage_direction>
<scene_description>Cobb RAPPELS down the wall, darting past windows. He stops at a particular one. Gets out a glass cutter- Suddenly he starts DROPPING-</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM SUITE, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>The EMPTY CHAIR SLIDES across the floor- WEDGES under the window-</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAPANESE CASTLE WALL - CONTINUOUS</stage_direction>
<scene_description>Cobb JOLTS to a stop 15 ft. lower. He looks up at the bedroom window. Shakes his head. Starts climbing back.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, JAPANESE CASTLE - MOMENTS LATER</stage_direction>
<scene_description>Cobb drops silently from the window into the darkened kitchen. He pulls a PISTOL from his belt, screwing a SILENCER onto the barrel as he GLIDES across the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL, JAPANESE CASTLE-CONTINUOUS</stage_direction>
<scene_description>Cobb SLIPS through the shadows towards a GUARD stationed at the head of a GRAND STAIRCASE... The Guard HEARS something- TURNS- PEERS into the shadows... Cobb FLASHES out of the shadows, silenced pistol up, AIMING- PHHT- head shot- the Guard starts to drop... but Cobb is already there to CATCH him, sliding on his knees and lowering the Guard SILENTLY to the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>Cobb moves to a PAINTING. With practiced hands he removes it from the wall, revealing a SAFE. Cobb spins the dial, pulls it OPEN, GRABS an envelope from within, stuffs it into his waistband, where there is already an IDENTICAL ENVELOPE. LIGHTS COME ON. Cobb freezes.</scene_description>
<character>SAITO (O.S.)</character>
<dialogue>Turn around.</dialogue>
<scene_description>Cobb turns. At the far end of the room: Saito. Next to him is Mal, gun in hand. She smiles at Cobb.</scene_description>
<character>MAL</character>
<dialogue>The gun, Dom.</dialogue>
<scene_description>Cobb doesn't move. Mal motions outside- two GUARDS drag Arthur into the room. Mal puts the gun to his head.</scene_description>
<character>MAL</character>
<dialogue>Please.</dialogue>
<scene_description>Cobb slowly places his gun at his end of the long table, then SLIDES it along the polished ebony. It comes to rest HALFWAY down the length or the table.</scene_description>
<character>SAITO</character>
<dialogue>Now the envelope, Mr. Cobb.</dialogue>
<scene_description>Cobb reaches into his waistband, removes ONE of the envelopes, SLIDES it along the table. Steps back, hands raised.</scene_description>
<character>COBB</character>
<dialogue>Did she tell you, or have you known all along?</dialogue>
<character>SAITO</character>
<dialogue>That you're here to steal from me?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Or that we're actually asleep?</dialogue>
<scene_description>Arthur gives Cobb an I-told-you-so look.</scene_description>
<character>SAITO</character>
<dialogue>I want to know who your employer is.</dialogue>
<scene_description>Mal COCKS the gun at Arthur's temple.</scene_description>
<character>COBB</character>
<dialogue>No point threatening him in a dream.</dialogue>
<character>MAL</character>
<dialogue>That depends on what you're threatening. Killing him would just wake him up... but pain? Pain is in the mind...</dialogue>
<scene_description>Mal LOWERS the gun and SHOOTS Arthur in the leg- Arthur drops, SCREAMING- Mal looks at Cobb, cold.</scene_description>
<character>MAL</character>
<dialogue>And, judging by the decor, we're in your mind, aren't we, Arthur?</dialogue>
<scene_description>Cobb watches Arthur's PAIN. Mal aims at Arthur's other leg... Cobb SPRINGS for the table, SKIDDING along its polished surface- he GRABS his gun- SHOOTS ARTHUR BETWEEN THE EYES- Arthur DROPS- the room starts to SHUDDER in a MASSIVE EARTHQUAKE- Cobb SPRINGS for the door- Arthur's eyes stare at the ceiling, DEAD, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - DAY</stage_direction>
<scene_description>Arthur's EYES OPEN as he WAKES IN THE ARMCHAIR- he GRABS at the tubes at his wrist, YANKING them free-</scene_description>
<character>NASH</character>
<dialogue>What're you doing?! It's too soon-</dialogue>
<scene_description>FLUID spurts from the tubes as Arthur STRUGGLES with the SILVER CASE on the bathroom floor.</scene_description>
<character>ARTHUR</character>
<dialogue>I know! We have to reconnect the loop before they wake up!</dialogue>
<scene_description>Arthur grabs the case and pushes through the door to the bedroom- following the tubes to where they meet Saito's wrist- SAITO LIES ON THE BED ASLEEP. Saito STIRS and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE CASTLE CORRIDOR - NIGHT</stage_direction>
<scene_description>Cobb LURCHES towards the stairs, as all around him the building BUCKS and HEAVES-</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>Saito and the Guards PANIC. Mal walks calmly through the destruction, picks up the envelope and turns to Saito.</scene_description>
<character>MAL</character>
<dialogue>He was close. Very close.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>Cobb runs up the stairs, pulling out the SECOND ENVELOPE-</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>Saito RIPS open the envelope, pulls out sheets of paper. He looks at Mal, PANICKED. He turns to the Guards-</scene_description>
<character>SAITO</character>
<dialogue>Stop him!</dialogue>
<scene_description>Mal, confused, looks at the sheets of paper: THEY ARE BLANK. Mal smiles, amused.</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS</stage_direction>
<scene_description>As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS from his envelope, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>Arthur OPENS the silver case: a COMPLEX MECHANISM of TUBES, SYRINGES, DOSAGE CONTROLLERS. Arthur's hands fly across the machine's controls as he glances at Saito's STIRRING face-</scene_description>
<character>ARTHUR</character>
<dialogue>I'm not going to make it! Wake Cobb!</dialogue>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Nash turns to Cobb. Raises his hand and SMACKS him across the face, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT</stage_direction>
<scene_description>Cobb is SMASHED sideways off his feet...</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, JAPANESE CASTLE - NIGHT</stage_direction>
<scene_description>The CEILING CRACKS above Saito- he looks up as a TON of STONE floods down, CRUSHING HIM and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>Saito's eyes FLICKER OPEN. AWAKE.</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Nash SMACKS Cobb again-</scene_description>
<character>NASH</character>
<dialogue>He won't wake!</dialogue>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM-CONTINUOUS</stage_direction>
<scene_description>Arthur crouched by Saito, connects the second tube.</scene_description>
<character>ARTHUR</character>
<dialogue>Dunk him!</dialogue>
<scene_description>A CLICK: Arthur looks up to find Saito with a gun to his head and a finger to his lips, gesturing silence...</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Nash puts his hand on Cobb's forehead and PUSHES HIM BACKWARDS- as Cobb starts to FALL BACKWARDS in the chair we are in SLOW MOTION, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT</stage_direction>
<scene_description>Cobb, full speed, picks himself up, scrambling to read the last sheet of paper. He stares at it PUZZLED- bullets hit around him as the Guards race up the stairs and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - DAY</stage_direction>
<scene_description>Cobb in SLOW MOTION, hits the WATER- head THRASHING as he goes under- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT</stage_direction>
<scene_description>Cobb glances up from the paper as WATER EXPLODES IN THROUGH ALL THE WINDOWS, FLOODING THE ENTIRE HALL- COBB IS SWAMPED BY WATER, SPUN IN ALL DIRECTIONS AT ONCE- HE PULLS DEEPER OR FOR THE SURFACE, WE CAN'T TELL... HE BREAKS THE SURFACE, GASPING FOR AIR IN THE BATHTUB IN THE-</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY BATHROOM - DAY</stage_direction>
<scene_description>Cobb's AWAKE, GULPING AIR, getting his bearings. Saito SMASHES into the room, KNOCKING Nash down- Cobb LAUNCHES himself out of the tub, FLYING dripping wet across the room to SLAM Saito against the door- the gun DROPS, Cobb's fist CONNECTS with Saito's jaw and the struggle is over.</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - MOMENTS LATER</stage_direction>
<scene_description>Cobb, wet but composed, sits, turning Saito's gun in his hand. Nash holds Saito's arms behind him. Outside, the sounds of RIOTING grow louder.</scene_description>
<character>COBB</character>
<dialogue>You came prepared.</dialogue>
<character>SAITO</character>
<dialogue>I bring the gun because not even my head of security knows this apartment. How did you find it?</dialogue>
<scene_description>Arthur, at the window, looks out at the WORSENING VIOLENCE.</scene_description>
<character>COBB</character>
<dialogue>Hard for a man in your position to keep a love nest totally secret... particularly when there's a married woman involved.</dialogue>
<character>SAITO</character>
<dialogue>She would never...</dialogue>
<character>COBB</character>
<dialogue>And yet, here we are.</dialogue>
<scene_description>Saito is silent.</scene_description>
<character>COBB</character>
<dialogue>With a dilemma.</dialogue>
<character>SAITO</character>
<dialogue>You got what you came for.</dialogue>
<character>COBB</character>
<dialogue>Not quite. The key piece of information wasn't there, was it, Mr. Saito?</dialogue>
<scene_description>Arthur looks over at Cobb, worried.</scene_description>
<character>ARTHUR</character>
<dialogue>They're getting closer, Cobb.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Todashi slips a pair of HEADPHONES over Nash's ears, then pulls out an MP3 player and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>Saito's eyes are on the floor.</scene_description>
<character>COBB</character>
<dialogue>You held something back because you knew what we were up to...</dialogue>
<scene_description>Cobb uses the barrel of the gun to raise Saito's chin.</scene_description>
<character>COBB</character>
<dialogue>So why let us in at all?</dialogue>
<scene_description>Saito smiles, defiant. VIOLENT NOISES echo up the stairway...</scene_description>
<character>SAITO</character>
<dialogue>An audition.</dialogue>
<character>COBB</character>
<dialogue>Audition for what?</dialogue>
<character>SAITO</character>
<dialogue>It doesn't matter. You failed.</dialogue>
<character>COBB</character>
<dialogue>I extracted all the information you had in there.</dialogue>
<character>SAITO</character>
<dialogue>But your deception was readily apparent.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Todashi opens the SILVER BRIEFCASE, revealing the complex mechanism of syringes and controllers- FOUR CONTROLLERS DISPLAY COUNTDOWNS. Todashi waits for the first countdown to hit "30," then HITS PLAY on the MP3 player- He watches Nash's sleeping face as he RAISES the volume... Through Nash's headphones: the opening bars of Edith Piaf's "Non, je ne regrette rien," and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>In the distant background, strange MASSIVE low-end MUSICAL start, sounding like DISTANT HORNS...</scene_description>
<character>SAITO</character>
<dialogue>So leave me and go.</dialogue>
<character>COBB</character>
<dialogue>You know the corporation who hired us won't accept failure. We won't last two days...</dialogue>
<scene_description>The DISTANT, SLOWED-DOWN MUSIC is becoming LOUDER, as are the SHOUTS coming up the stairs. Arthur looks at his watch, its SLOW SECOND TICKING MARKS TIME WITH THE MASSIVE MUSIC.</scene_description>
<character>ARTHUR</character>
<dialogue>Come on, Cobb.</dialogue>
<character>COBB</character>
<dialogue>So now I have to do this the old- fashioned way-</dialogue>
<scene_description>Cobb GRABS SAITO AND PUTS HIS HEAD TO THE FLOOR, gun pressed into his cheek. Saito looks into Cobb's eyes- sees he will pull the trigger. Saito BLINKS, looks away in shame- When he NOTICES SOMETHING. And starts LAUGHING.</scene_description>
<character>SAITO</character>
<dialogue>I've always hated this carpet.</dialogue>
<scene_description>Cobb's eyes flick to the carpet and back.</scene_description>
<character>SAITO</character>
<dialogue>It's stained and frayed in such distinctive ways...</dialogue>
<scene_description>Cobb looks up at Nash, who shrugs, at a loss.</scene_description>
<character>SAITO</character>
<dialogue>But very definitely made of wool. Right now I'm lying on polyester.</dialogue>
<scene_description>Cobb glares at Nash, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Todashi watches the first of the countdowns hit ZERO- He looks up at Arthur, STIRRING, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM-DAY</stage_direction>
<scene_description>Saito turns from the carpet to look up at Cobb.</scene_description>
<character>SAITO</character>
<dialogue>Which means I'm not lying on my carpet, in my apartment...</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>You've lived up to your reputation, Mr. Cobb... I'm still dreaming.</dialogue>
<scene_description>Cobb looks over to Arthur, but ARTHUR HAS VANISHED, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Arthur's eyes flicker open, AWAKE. He RIPS at his tubes.</scene_description>
<character>TODASHI</character>
<dialogue>How'd it go?</dialogue>
<character>ARTHUR</character>
<dialogue>Not good.</dialogue>
<scene_description>Arthur checks the remaining three countdowns, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>Saito gets to his feet, looking admiringly at Cobb.</scene_description>
<character>SAITO</character>
<dialogue>A dream within a dream-I'm impressed.</dialogue>
<scene_description>Cobb lowers the gun. Defeated. Glances at his watch. The music REVERBERATES, the RIOTERS BANG ON THE DOOR, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Arthur retracts the tubes into the case as he watches the next countdown hit ZERO, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DILAPIDATED HOTEL ROOM - DAY</stage_direction>
<scene_description>Another BANG on the door- Saito, confident now, approaches Cobb. Nash is behind Saito.</scene_description>
<character>SAITO</character>
<dialogue>But in my dream, we really ought to be playing by my rules...</dialogue>
<character>NASH</character>
<dialogue>Ah, yes, but you see, Mr. Saito-</dialogue>
<scene_description>Saito turns to Nash-</scene_description>
<character>COBB</character>
<dialogue>We're not in your dream-</dialogue>
<scene_description>Saito turns back to Cobb, BUT COBB HAS VANISHED-</scene_description>
<character>NASH</character>
<dialogue>We're in mine.</dialogue>
<scene_description>Saito SPINS back to Nash- the DOOR SMASHES OFF ITS HINGES AS RIOTERS POUR INTO THE ROOM, SWARMING OVER NASH... BUT NASH IS GONE. The music DIES. Saito and the rioters stand there in the SILENCE, the light DWINDLING... and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - DAY</stage_direction>
<scene_description>Nash' eyes open, AWAKE.</scene_description>
<character>ARTHUR (O.S.)</character>
<dialogue>Asshole!</dialogue>
<scene_description>Nash BLINKS. Arthur is in his face, furious.</scene_description>
<character>ARTHUR</character>
<dialogue>How could you get the carpet wrong?!</dialogue>
<character>NASH</character>
<dialogue>It wasn't my fault!</dialogue>
<character>ARTHUR</character>
<dialogue>You're the architect-</dialogue>
<character>NASH</character>
<dialogue>I didn't know he was going to rub his damn cheek on it!</dialogue>
<scene_description>Cobb pulls Arthur away from Nash.</scene_description>
<character>COBB</character>
<dialogue>Lets go.</dialogue>
<character>ARTHUR</character>
<dialogue>And you-what the hell was all that?</dialogue>
<character>COBB</character>
<dialogue>I had it under control.</dialogue>
<character>ARTHUR</character>
<dialogue>I'd hate to see out of control-</dialogue>
<character>COBB</character>
<dialogue>There's no time for this-I'm getting off at Kyoto.</dialogue>
<character>ARTHUR</character>
<dialogue>Why? He's not gonna search every compartment.</dialogue>
<character>COBB</character>
<dialogue>I can't stand trains.</dialogue>
<scene_description>Arthur moves to the briefcase. Turns a dial.</scene_description>
<character>ARTHUR</character>
<dialogue>I can keep him under for one minute-</dialogue>
<scene_description>Arthur hits a button- A PLUNGER DEPRESSES. Cobb RIPS the tape off Saito's wrist, ROLLS up his tubes. Arthur SLAMS the silver case shut. Todashi pulls open the door-</scene_description>
<character>COBB</character>
<dialogue>Every man for himself.</dialogue>
<scene_description>Arthur and Nash EXIT, heading in different directions down the corridor. Cobb hands Todashi a thick roll of CASH, looks at Saito, who stirs. Cobb moves off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAPANESE COUNTRYSIDE - CONTINUOUS</stage_direction>
<scene_description>The BULLET TRAIN speeds through the lush landscape.</scene_description>
</scene>
<scene>
<stage_direction>INT. BULLET TRAIN COMPARTMENT - CONTINUOUS</stage_direction>
<scene_description>Saito WAKES GENTLY. Looks around the compartment, empty but for Todashi, reading a comic. Saito looks down at his wrist. Sees a small mark. Rubs it. SMILES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOKYO - DUSK</stage_direction>
<scene_description>Moving over the vast city towards a high rise. A HELICOPTER thumps into frame, heading for a pad on the roof.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT, TOKYO - CONTINUOUS</stage_direction>
<scene_description>Cobb sits, waiting. Checks his watch, restless. He pulls a HANDGUN. Checks it is loaded. places it on the table in front of him. Pulls out a PEWTER SPINNING TOP, SPINS it on the table ... He INTENT STUDIES the top's spin... As he stares, the sound of a FREIGHT TRAIN builds and builds- the top WOBBLES, TIPS onto its side- the sound of the train STOPS. the PHONE RINGS- Cobb GRABS it- CHILDREN'S VOICES (over phone) Hi, Daddy! Hi, Dad.</scene_description>
<character>COBB</character>
<dialogue>Hey, guys. How are you?</dialogue>
<scene_description>CHILDREN'S VOICES (over phone) Good. Okay, I guess. Cobb closes his eyes, trying to picture his children: INSERT CUT: COBB's MEMORY- a LITTLE BLONDE BOY (3), back towards us, crouches IN A GARDEN, looks at something in the grass...</scene_description>
<character>COBB</character>
<dialogue>Who's just okay? Was that James?</dialogue>
<scene_description>JAMES (over phone) Yeah. When are you coming home?</scene_description>
<character>COBB</character>
<dialogue>I can't. Not for a while.</dialogue>
<scene_description>INSERT CUT: A LITTLE BLONDE GIRL (5), also FACE UNSEEN, joins JAMES, CROUCHING BESIDE HIM... JAMES (over phone) Why?</scene_description>
<character>COBB</character>
<dialogue>Well, James, like I've told you-I'm away because I'm working...</dialogue>
<scene_description>LITTLE GIRL (over phone) Grandma says you're never coming back. Cobb pauses. Takes a breath. INSERT CUT: James and Philippa, FACES UNSEEN, lift their heads from the grass, responding to someone's call- they RUN AWAY FROM US ACROSS THE GARDEN...</scene_description>
<character>COBB</character>
<dialogue>Philippa, can you ask Grandma to pick up the phone-</dialogue>
<scene_description>PHILIPPA (over phone) She's shaking her head. Cobb TENSES, as if about to SMASH the phone.</scene_description>
<character>COBB</character>
<dialogue>Well, we'll just have to hope Grandma's wrong about that won't we?</dialogue>
<character>JAMES</character>
<parenthetical>(over phone)</parenthetical>
<dialogue>Daddy?</dialogue>
<character>COBB</character>
<dialogue>Yes?</dialogue>
<scene_description>JAMES (over phone) Is Mommy with you? Cobb looks like he just got punched- INSERT CUT: COBB'S MEMORY- MAL, WIND BLOWING HER HAIR, SMILES CALMLY...</scene_description>
<character>COBB</character>
<dialogue>No. No, we talked about this, James. Mommy's gone.</dialogue>
<scene_description>JAMES (over phone) Where? GRANDMA'S VOICE (over phone) Time to go, kids. Say bye-bye-</scene_description>
<character>COBB</character>
<dialogue>I'll give some presents to Grandpa, okay? Just be good for-</dialogue>
<scene_description>Cobb STARES at the dead phone. Then DOWNS his drink- A KNOCK at the door. Cobb GRABS the top, the gun- MOVES to the door- cracks it: Arthur.</scene_description>
<character>ARTHUR</character>
<dialogue>Our ride's on the roof.</dialogue>
<scene_description>Cobb nods. Moves to pick up his bag. Arthur watches.</scene_description>
<character>ARTHUR</character>
<dialogue>Cobb... are you okay?</dialogue>
<scene_description>Cobb looks up.</scene_description>
<character>COBB</character>
<dialogue>Yeah, why?</dialogue>
<character>ARTHUR</character>
<dialogue>Down in the dream... Mal showing up like that ...</dialogue>
<character>COBB</character>
<dialogue>Yeah. I'm sorry about your leg.</dialogue>
<character>ARTHUR</character>
<dialogue>It's getting worse, isn't it?</dialogue>
<character>COBB</character>
<dialogue>One apology's all you're getting, Arthur. Now, where's Nash?</dialogue>
<character>ARTHUR</character>
<dialogue>Hasn't shown. Wanna wait?</dialogue>
<character>COBB</character>
<parenthetical>(shakes head)</parenthetical>
<dialogue>We were supposed to deliver Saito's expansion plans to Cobol Engineering two hours ago. By now they know we failed. Time to disappear.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Cobb and Arthur head towards the elevator.</scene_description>
<character>ARTHUR</character>
<dialogue>Where will you go?</dialogue>
<character>COBB</character>
<dialogue>Buenos Aires. I can lie low there. Maybe sniff out a job when things quiet down. You?</dialogue>
<character>ARTHUR</character>
<dialogue>Stateside.</dialogue>
<character>COBB</character>
<parenthetical>(wistful) )</parenthetical>
<dialogue>'Course. Send my regards.</dialogue>
<scene_description>Arthur looks at Cobb. Nods. Sympathetic.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP HELIPAD - NIGHT</stage_direction>
<scene_description>The HELICOPTER sits, ROTORS SPINNING. As Cobb and Arthur reach the door, it SLIDES OPEN. Cobb steps up into the leather-padded interior. He freezes.</scene_description>
</scene>
<scene>
<stage_direction>INT. HELICOPTER ON PAD - CONTINUOUS</stage_direction>
<scene_description>Nash, BEATEN BLOODY, sits on the far side, slumped against the wine. Beside him: SAITO. He nods politely at Cobb.</scene_description>
<character>SAITO</character>
<dialogue>He sold you out. Thought to come to me and bargain for his life...</dialogue>
<scene_description>Saito's BODYGUARD offers Cobb a GUN.</scene_description>
<character>SAITO</character>
<dialogue>So I offer you the satisfaction.</dialogue>
<character>COBB</character>
<dialogue>That's not how I deal with things.</dialogue>
<character>SAITO</character>
<dialogue>Would you work with him again?</dialogue>
<scene_description>Cobb shakes his head. Saito's BODYGUARDS PULL Nash from the chopper. Saito motions Cobb and Arthur to sit. The chopper RISES. Cobb watches Nash DRAGGED across the pad.</scene_description>
<character>COBB</character>
<dialogue>What will you do to him?</dialogue>
<character>SAITO</character>
<dialogue>Nothing. But I can't speak for your friends from Cobol Engineering.</dialogue>
<scene_description>Saito looks out at the city slipping by.</scene_description>
<character>COBB</character>
<dialogue>What do you want from us?</dialogue>
<character>SAITO</character>
<dialogue>Inception.</dialogue>
<scene_description>Arthur raises his eyebrows. Cobb is poker-faced.</scene_description>
<character>SAITO</character>
<dialogue>Is it possible?</dialogue>
<character>ARTHUR</character>
<dialogue>Of course not.</dialogue>
<character>SAITO</character>
<dialogue>If you can steal an idea from someone's mind, why can't you plant one there instead?</dialogue>
<character>ARTHUR</character>
<dialogue>Okay, here's planting an idea: I say to you, "Don't think about elephants."</dialogue>
<character>ARTHUR</character>
<parenthetical>(Saito nods)</parenthetical>
<dialogue>What are you thinking about?</dialogue>
<character>SAITO</character>
<dialogue>Elephants.</dialogue>
<character>ARTHUR</character>
<dialogue>Right. But it's not your idea because you know I gave it to you.</dialogue>
<character>SAITO</character>
<dialogue>You could plant it subconsciously-</dialogue>
<character>ARTHUR</character>
<dialogue>The subject's mind can always trace the genesis of the idea. True inspiration is impossible to fake.</dialogue>
<character>COBB</character>
<dialogue>No, it isn't.</dialogue>
<character>SAITO</character>
<dialogue>Can you do it?</dialogue>
<character>COBB</character>
<dialogue>I won't do it.</dialogue>
<character>SAITO</character>
<dialogue>In exchange, I'll give you the information you were paid to steal.</dialogue>
<character>COBB</character>
<dialogue>Are you giving me a choice? Because I can find my own way to square things with Cobol.</dialogue>
<character>SAITO</character>
<dialogue>Then you do have a choice.</dialogue>
<character>COBB</character>
<dialogue>And I choose to leave.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AIRFIELD - MOMENTS LATER</stage_direction>
<scene_description>The helicopter sets down next to a PRIVATE JET.</scene_description>
</scene>
<scene>
<stage_direction>INT. HELICOPTER - CONTINUOUS</stage_direction>
<scene_description>Saito indicates the plane.</scene_description>
<character>SAITO</character>
<dialogue>Tell the crew where you want to go, they'll file the plan en route.</dialogue>
<scene_description>Cobb and Arthur look at each other. Then move for the door.</scene_description>
<character>SAITO</character>
<dialogue>Mr. Cobb...? There is one other thing I could offer you.</dialogue>
<parenthetical>(Cobb stops)</parenthetical>
<dialogue>How would you like to go home? To America. To your children.</dialogue>
<scene_description>Cobb turns back to Saito.</scene_description>
<character>COBB</character>
<dialogue>You can't fix that. Nobody could.</dialogue>
<character>SAITO</character>
<dialogue>Just like inception.</dialogue>
<scene_description>Cobb considers this. Arthur touches his arm.</scene_description>
<character>ARTHUR</character>
<dialogue>Cobb, come on-</dialogue>
<character>COBB</character>
<dialogue>How complex is the idea?</dialogue>
<character>SAITO</character>
<dialogue>Simple enough.</dialogue>
<character>COBB</character>
<dialogue>No idea's simple when you have to plant it in someone else's mind.</dialogue>
<character>SAITO</character>
<dialogue>My main competitor is an old man in poor health. His son will soon inherit control of the corporation. I need him to decide to break up his father's empire. Against his own self-interest.</dialogue>
<character>ARTHUR</character>
<dialogue>Cobb, we should walk away from this.</dialogue>
<character>COBB</character>
<dialogue>If I were to do it. If I could do it... how do I know you can deliver?</dialogue>
<character>SAITO</character>
<dialogue>You don't. But I can. So do you want to take a leap of faith, or become an old man, filled with regret, waiting to die alone?</dialogue>
<scene_description>Cobb looks at Saito. Barely nods.</scene_description>
<character>SAITO</character>
<dialogue>Assemble your team, Mr. Cobb. And choose your people more wisely.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRIVATE JET - LATER</stage_direction>
<scene_description>Cobb reclines his seat. Arthur picks at a salad, angry.</scene_description>
<character>ARTHUR</character>
<dialogue>I know how much you want to go home-</dialogue>
<character>COBB</character>
<parenthetical>(sharp)</parenthetical>
<dialogue>No, you don't.</dialogue>
<character>ARTHUR</character>
<dialogue>But this can't be done.</dialogue>
<character>COBB</character>
<dialogue>It can. You just have to go deep enough.</dialogue>
<character>ARTHUR</character>
<dialogue>You don't know that!-</dialogue>
<character>COBB</character>
<dialogue>I've done it before.</dialogue>
<scene_description>Arthur is taken aback. Cobb turns to the window.</scene_description>
<character>ARTHUR</character>
<dialogue>Did it work?</dialogue>
<character>COBB</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>Yes.</dialogue>
<character>ARTHUR</character>
<dialogue>Who did you do it to?</dialogue>
<scene_description>Cobb looks at Arthur. Closed. Arthur shrugs.</scene_description>
<character>ARTHUR</character>
<dialogue>So why are we headed to Paris?</dialogue>
<character>COBB</character>
<dialogue>We're going to need a new architect.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, ÉCOLE D'ARCHITECTURE - MORNING</stage_direction>
<scene_description>Cobb, carrying a shopping bag, looks into a lecture hall: no students, just a RUMPLED PROFESSOR hunched over paperwork.</scene_description>
</scene>
<scene>
<stage_direction>INT. LECTURE HALL - CONTINUOUS</stage_direction>
<character>COBB (O.S.)</character>
<dialogue>You never did like your office.</dialogue>
<scene_description>PROFESSOR MILES looks up, squinting. Recognizes Cobb.</scene_description>
<character>MILES</character>
<dialogue>No space to think in that broom cupboard.</dialogue>
<scene_description>Cobb steps down past the empty wooden rows.</scene_description>
<character>MILES</character>
<dialogue>Is it safe for you to be here?</dialogue>
<character>COBB</character>
<dialogue>Extradition between France and the U.S. is a bureaucratic nightmare.</dialogue>
<character>MILES</character>
<dialogue>I think they'd find a way to make it work in your case.</dialogue>
<scene_description>Cobb hand Miles the shopping bag.</scene_description>
<character>COBB</character>
<dialogue>Can you take these back for the kids?</dialogue>
<character>MILES</character>
<dialogue>It'll take more than the occasional stuffed animal to convince those children they still have a father.</dialogue>
<character>COBB</character>
<dialogue>I know. I thought you could talk to Marie about bringing them on vacation. Somewhere I could meet-</dialogue>
<character>MILES</character>
<dialogue>Why would she listen to me?</dialogue>
<character>COBB</character>
<dialogue>You were married for twenty years.</dialogue>
<character>MILES</character>
<dialogue>She blames me as much as you.</dialogue>
<character>COBB</character>
<dialogue>Doesn't she understand that my kids need me?</dialogue>
<character>MILES</character>
<dialogue>Yes, she does. We all do. Go back and face the music, Dom. Explain what Mal did.</dialogue>
<character>COBB</character>
<dialogue>Be realistic, Stephen. They'd never understand- they'd lock me up and throwaway the key. Or worse.</dialogue>
<character>MILES</character>
<dialogue>You think what you're doing now is helping your case?</dialogue>
<character>COBB</character>
<dialogue>Lawyers don't pay for themselves. This is what I have. This is what you taught me.</dialogue>
<character>MILES</character>
<dialogue>I never taught you to be a thief.</dialogue>
<character>COBB</character>
<dialogue>No, you taught me to navigate other people's minds. But after what happened with Mal there weren't a whole lot of legitimate ways for me to use that skill.</dialogue>
<scene_description>Miles looks at Cobb.</scene_description>
<character>MILES</character>
<dialogue>Why did you come here, Dom?</dialogue>
<scene_description>Cobb shifts slightly.</scene_description>
<character>COBB</character>
<dialogue>I found a way home. A job. For powerful people. If I pull it off, I can get back to my family. But I need help.</dialogue>
<scene_description>Miles realizes something.</scene_description>
<character>MILES</character>
<dialogue>My God. You're here to corrupt one of my brightest and best.</dialogue>
<character>COBB</character>
<dialogue>If you have someone good enough, you have to let them decide for themselves. You know what I'm offering-</dialogue>
<character>MILES</character>
<dialogue>Money?</dialogue>
<character>COBB</character>
<dialogue>No, not just money: the chance to build cathedrals, entire cities- things that have never existed, things that couldn't exist in the real world...</dialogue>
<character>MILES</character>
<dialogue>Everybody dreams, Cobb. Architects are supposed to make those dreams real.</dialogue>
<character>COBB</character>
<dialogue>That's not what you used to say. You told me that in the real world I'd be building attic conversions and gas stations. You said that if I mastered the dream-share I'd have a whole new way of creating and showing people my creations. You told me it would free me.</dialogue>
<scene_description>Miles looks at Cobb, sad.</scene_description>
<character>MILES</character>
<dialogue>And I'm sorry. I was wrong.</dialogue>
<character>COBB</character>
<dialogue>No, you weren't. Your vision was a vision of pure creativity. It's where we took it that was wrong.</dialogue>
<character>MILES</character>
<dialogue>And now you want me to let someone else follow you into fantasy.</dialogue>
<character>COBB</character>
<dialogue>They won't actually come on the job, they'll just design the levels and teach them to the dreamers.</dialogue>
<character>MILES</character>
<dialogue>Design them yourself.</dialogue>
<character>COBB</character>
<dialogue>Mal won't let me.</dialogue>
<scene_description>Miles looks at Cobb. Appalled.</scene_description>
<character>MILES</character>
<dialogue>Come back to reality, Dom. Please.</dialogue>
<character>COBB</character>
<dialogue>You want to know what's real, Stephen? Your grandchildren waiting for their dad to come back.</dialogue>
<character>COBB</character>
<dialogue>This job-this last job-is how I get there.</dialogue>
<scene_description>Miles looks down, fiddles with his papers.</scene_description>
<character>COBB</character>
<dialogue>I wouldn't be standing here if there were any other way. I can get home. But I need an architect who's as good as I was.</dialogue>
<scene_description>Miles looks Cobb in the eye. Decides.</scene_description>
<character>MILES</character>
<dialogue>I've got someone better.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - LATER</stage_direction>
<scene_description>Miles and Cobb stand by as STUDENTS file out of a lecture.</scene_description>
<character>MILES</character>
<dialogue>Ariadne...</dialogue>
<scene_description>A young woman carrying books turns. This is ARIADNE.</scene_description>
<character>MILES</character>
<dialogue>I'd like you to meet Mr. Cobb.</dialogue>
<scene_description>She sizes him up with quick eyes. Offers her hand.</scene_description>
<character>ARIADNE</character>
<dialogue>Pleased to meet you.</dialogue>
<character>MILES</character>
<dialogue>If you have a few moments, Mr. Cobb has a job offer to discuss with you.</dialogue>
<character>ARIADNE</character>
<dialogue>A work placement?</dialogue>
<character>COBB</character>
<dialogue>(smiles Not exactly. EXT. ROOFTOP, ÉCOLE D'ARCHITECTURE - MOMENTS LATER Ariadne leans against the parapet, overlooking Paris. She</dialogue>
<scene_description>unwraps a sandwich, watching Cobb pull out a pad of GRAPH PAPER and a PEN. He offers them. She bites her sandwich.</scene_description>
<character>COBB</character>
<dialogue>A test.</dialogue>
<character>ARIADNE</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>Aren't you going to tell me anything?</dialogue>
<character>COBB</character>
<dialogue>Before I describe the job, I have to know you could do it.</dialogue>
<character>ARIADNE</character>
<dialogue>Why?</dialogue>
<character>COBB</character>
<dialogue>It's not, strictly speaking, legal.</dialogue>
<scene_description>Ariadne raises her eyebrows.</scene_description>
<character>COBB</character>
<dialogue>You have two minutes to draw a maze that takes me one minute to solve.</dialogue>
<scene_description>Ariadne takes the pad and pen. Cobb looks at his watch.</scene_description>
<character>COBB</character>
<dialogue>Go.</dialogue>
<scene_description>She starts DRAWING LINES on the grid, constructing a maze.</scene_description>
<character>COBB</character>
<dialogue>Stop.</dialogue>
<scene_description>Ariadne hands the pad and pen to Cobb. He glances at the pad, then, looking her in the eye, TRACES the solution. She is taken aback. Cobb RIPS off the sheet, hands the pad back.</scene_description>
<character>COBB</character>
<dialogue>Again.</dialogue>
<scene_description>She traces straight lines, CONCENTRATING...</scene_description>
<character>COBB</character>
<dialogue>Stop.</dialogue>
<scene_description>She hands Cobb the pad, a touch pleased. Cobb solves the puzzle instantly, as before. Her smile falls.</scene_description>
<character>COBB</character>
<dialogue>You'll have to-</dialogue>
<scene_description>She GRABS the pad, frustrated... but this time she FLIPS it over and starts drawing on the BLANK CARDBOARD of the back. Cobb watches, surprised. He smiles as he sees that she's drawing CIRCLES, creating a maze based on concentric rings. Ariadne hands back the pad, defiant. Cobb takes the pen, starts the maze. This time he gets stuck. Nods.</scene_description>
<character>COBB</character>
<parenthetical>(working the maze)</parenthetical>
<dialogue>More like it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NARROW STREET, PARIS - DAY</stage_direction>
<scene_description>Arthur stops at a warehouse door. Consults a piece of paper.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>A large, dusty warehouse. The SLIDING DOOR cracks open. Arthur enters. Looks around, approvingly.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME - LATER</stage_direction>
<scene_description>Arthur DRAGS LAWN CHAIRS into the middle of the room. He erects a table. Lays out several SILVER CASES, unpacking them, laying out lines of tubing, MECHANISMS...</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARISIAN CAFE - DAY</stage_direction>
<scene_description>Cobb and Ariadne sit at an outdoor table.</scene_description>
<character>COBB</character>
<dialogue>They say we only use a fraction of the true potential of our brains... but they're talking about when we're awake. While we dream, the mind performs wonders.</dialogue>
<character>ARIADNE</character>
<dialogue>Such as?</dialogue>
<character>COBB</character>
<dialogue>How do you imagine a building? You consciously create each aspect, puzzling over it in stages... But sometimes, when your imagination flies-</dialogue>
<character>ARIADNE</character>
<dialogue>I'm discovering it.</dialogue>
<character>COBB</character>
<dialogue>Exactly. Genuine inspiration.</dialogue>
<scene_description>Cobb leans forwards and draws on the paper table cloth.</scene_description>
<character>COBB</character>
<dialogue>In a dream your mind continuously does that...</dialogue>
<scene_description>Cobb has drawn a circle made of two arrows.</scene_description>
<character>COBB</character>
<dialogue>It creates and perceives a world simultaneously. So well that you don't feel your brain doing the creating. That's why we can short- circuit the process...</dialogue>
<character>ARIADNE</character>
<dialogue>How?</dialogue>
<character>COBB</character>
<dialogue>By taking over the creating part.</dialogue>
<scene_description>Cobb draws a straight line between the two arrows.</scene_description>
<character>COBB</character>
<dialogue>This is where you come in. You build the world of the dream. We take the subject into that dream, and let him £111 it with his subconscious</dialogue>
<character>ARIADNE</character>
<dialogue>But are you trying to fool him that the dream is actually real life?</dialogue>
<character>COBB</character>
<parenthetical>(nods)</parenthetical>
<dialogue>While we're in there, We don't want him to realize he's dreaming.</dialogue>
<character>ARIADNE</character>
<dialogue>How could I ever get enough detail to Convince him that it's real?</dialogue>
<character>COBB</character>
<dialogue>Our dreams reel real while we're in them. It's only when we wake up we realize things were strange,</dialogue>
<scene_description>Ariadne gestures around them-</scene_description>
<character>ARIADNE</character>
<dialogue>But all the textures of real life- the stone, the fabric. cars... people... your mind can't create all this.</dialogue>
<character>COBB</character>
<dialogue>It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what's going on.</dialogue>
<character>ARIADNE</character>
<dialogue>I guess.</dialogue>
<character>COBB</character>
<dialogue>So... how did we end up at this restaurant?</dialogue>
<character>ARIADNE</character>
<dialogue>We came here from...</dialogue>
<scene_description>Ariadne trails off, confused.</scene_description>
<character>COBB</character>
<dialogue>How did we get here? Where are we?</dialogue>
<scene_description>Ariadne THINKS, unable to remember. A FAINT RUMBLE begins.</scene_description>
<character>ARIADNE</character>
<dialogue>Oh my God. We're dreaming.</dialogue>
<scene_description>Cobb nods. The RUMBLE is BUILDING.</scene_description>
<character>COBB</character>
<dialogue>Stay calm. We're actually asleep in the workshop. This is your first lesson in shared dreaming, remember?</dialogue>
<scene_description>Ariadne looks around, mind REELING. Cobb BRACES- The restaurant VIOLENTLY FRAGMENTS, EXPLODING AND IMPLODING PARTICLES OF FURNITURE, WALLS, PEOPLE FLYING AROUND- Ariadne WONDERS at the MAYHEM WHIRLING around them- Cobb SHIELDS his head against the debris. She sees him-</scene_description>
<character>ARIADNE</character>
<parenthetical>(shouting over noise)</parenthetical>
<dialogue>If it's just a dream, why are you covering your-</dialogue>
<scene_description>Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Ariadne JOLTS awake.</scene_description>
<character>COBB (O.S.)</character>
<dialogue>Because it's never just a dream.</dialogue>
<scene_description>Ariadne turns to Cobb's voice. They are both sitting in the lawn chairs. Arthur watches over them.</scene_description>
<character>COBB</character>
<dialogue>And a face full of glass hurts like hell, doesn't it? While we're in it, it's real.</dialogue>
<character>ARTHUR</character>
<dialogue>That's why the military developed dream sharing-a training program where soldiers could strangle, stab and shoot each other, then wake up.</dialogue>
<character>ARIADNE</character>
<dialogue>How did architects get involved?</dialogue>
<character>COBB</character>
<dialogue>Someone had to design the dreams.</dialogue>
<parenthetical>(to Arthur)</parenthetical>
<dialogue>Let's go another five minutes-</dialogue>
<character>ARIADNE</character>
<dialogue>We were only asleep for five minutes? We talked for an hour at least...</dialogue>
<character>COBB</character>
<dialogue>When you dream, your mind functions more quickly, so time seems to pass more slowly.</dialogue>
<character>ARTHUR</character>
<dialogue>Five minutes in the real world gives you an hour in the dream.</dialogue>
<character>COBB</character>
<dialogue>Let's see how much trouble you can cause in five minutes.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAME PARISIAN STREET - DAY</stage_direction>
<scene_description>Ariadne walks down the crowded street with Cobb. Cobb looks around at the street, the cafe, approving.</scene_description>
<character>COBB</character>
<dialogue>It's good. You've got the cafe, the layout... you forgot the book shop but pretty much everything else is here.</dialogue>
<scene_description>Ariadne looks at the passers-by.</scene_description>
<character>ARIADNE</character>
<dialogue>Who are the people?</dialogue>
<character>COBB</character>
<dialogue>They're projections of my subconscious.</dialogue>
<character>ARIADNE</character>
<dialogue>Yours?</dialogue>
<character>COBB</character>
<dialogue>Sure-you are the dreamer, I am the subject. My subconscious populates your world. That's one way we get at a subject's thoughts-his mind creates the people, so we can literally talk to his subconscious.</dialogue>
<character>ARIADNE</character>
<dialogue>How else do you do it?</dialogue>
<character>COBB</character>
<dialogue>Architecture. Build a bank vault or a jail, something secure, and the subject's mind will fill it with information he's trying to protect.</dialogue>
<character>ARIADNE</character>
<dialogue>Then you break in and steal it.</dialogue>
<character>COBB</character>
<dialogue>Exactly.</dialogue>
<scene_description>Ariadne wonders at the detail of the street.</scene_description>
<character>ARIADNE</character>
<dialogue>I love the concrete sense of things-</dialogue>
<parenthetical>(stamps foot)</parenthetical>
<dialogue>Real weight, you know? I thought a dream space would be all about the visual, but it's the feel of things. Question is, what happens as you start to mess with physics...</dialogue>
<scene_description>She CONCENTRATES on the street. The street starts to BEND IN HALF- the buildings on either side FOLDING IN until they form the INSIDE OF A CUBE OF CITY, GRAVITY FUNCTIONING INDEPENDENTLY ON EACH PLANE. Ariadne looks up (or down) at the people on the opposite city surface. Cobb watches her excitement.</scene_description>
<character>ARIADNE</character>
<dialogue>It's something, isn't it?</dialogue>
<character>COBB</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>Yes. It is.</dialogue>
<scene_description>As they walk, Ariadne notices more and more of the projections STARING at her.</scene_description>
<character>ARIADNE</character>
<dialogue>Why are they looking at me?</dialogue>
<character>COBB</character>
<dialogue>Because you're changing things. My subconscious feels that someone else is creating the world. The more you change things, the quicker the projections converge on you.</dialogue>
<character>ARIADNE</character>
<dialogue>Converge?</dialogue>
<character>COBB</character>
<dialogue>They feel the foreign nature of the dreamer, and attack-like white blood cells fighting an infection.</dialogue>
<character>ARIADNE</character>
<dialogue>They're going to attack us?</dialogue>
<character>COBB</character>
<dialogue>Just you, actually.</dialogue>
<scene_description>They walk along the street to where it joins the next gravitational plane. They step up onto the different plane and walk down the street towards a river. As Ariadne approaches, steps emerge from the flagstone, and she leads Cobb up onto a small jetty. As she concentrates, pillars emerge and a BRIDGE starts to telescope out from the jetty. They step onto it as it grows. Cobb is impressed.</scene_description>
<character>COBB</character>
<dialogue>It's beautiful... but if you keep on changing things...</dialogue>
<scene_description>People crossing the bridge STARE at Ariadne. Several of them BUMP her shoulder as they pass.</scene_description>
<character>ARIADNE</character>
<dialogue>Mind telling your subconscious to take it easy?</dialogue>
<character>COBB</character>
<dialogue>That's why it's called subconscious. I don't control it.</dialogue>
<scene_description>The bridge now spans the Seine. Cobb marvels at it.</scene_description>
<character>COBB</character>
<dialogue>Arched stone, iron pillars... it's...</dialogue>
<scene_description>Cobb pauses, thinking. Remembering. INSERT CUT: Mal, hair blowing, turns to Cobb, smiling, laughing. He smiles back. They are on the same bridge.</scene_description>
<character>COBB</character>
<dialogue>I know this bridge. This place is real-</dialogue>
<parenthetical>(serious)</parenthetical>
<dialogue>You didn't imagine it, you remembered it...</dialogue>
<character>ARIADNE</character>
<parenthetical>(nods)</parenthetical>
<dialogue>I cross it every day on my way to the college.</dialogue>
<character>COBB</character>
<dialogue>Never recreate places from your memory. Always imagine new places.</dialogue>
<character>ARIADNE</character>
<dialogue>You have to draw from what you know-</dialogue>
<character>COBB</character>
<parenthetical>(tense)</parenthetical>
<dialogue>Use pieces-a streetlamp, phonebooths, a type of brick-not whole areas.</dialogue>
<scene_description>Several people around them ECHO Cobb's attitude...</scene_description>
<character>ARIADNE</character>
<dialogue>Why not?</dialogue>
<character>COBB</character>
<dialogue>Because building dreams out of your own memories is the surest way to lose your grip on what's real and what's a dream.</dialogue>
<character>ARIADNE</character>
<dialogue>Did that happen to you?</dialogue>
<scene_description>Cobb says nothing. He stands there, starinq at Ariadne. PEOPLE around her stop and look at her, hostile.</scene_description>
<character>COBB</character>
<dialogue>Look, this isn't about me-</dialogue>
<scene_description>Cobb reaches for Ariadne's arm, turns her to him-</scene_description>
<character>ARIADNE</character>
<dialogue>Is that why you need me to build your dreams?</dialogue>
<scene_description>A passerby GRABS Ariadne's shoulder-</scene_description>
<character>COBB</character>
<dialogue>Leave her alone-</dialogue>
<scene_description>More of the crowd join in, PULLING at Ariadne, holding her arms open- Cobb PULLS people off- the crowd PUSHES him away- Cobb sees someone WALKING PURPOSEFULLY through the crowd towards the helpless, Ariadne- it is Mal. She approaches with even strides- Ariadne stares at her, uneasy.</scene_description>
<character>ARIADNE</character>
<dialogue>Wake me up, Cobb.</dialogue>
<scene_description>As Mal walks, she pulls out a LARGE KNIFE-</scene_description>
<character>COBB</character>
<dialogue>Mal, no!</dialogue>
<character>ARIADNE</character>
<dialogue>Wake me up!</dialogue>
<scene_description>Ariadne SCREAMS as Mal LUNGES at her with the knife and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP-DAY</stage_direction>
<scene_description>Ariadne WAKES, BREATHING HARD. Arthur moves to her-</scene_description>
<character>ARTHUR</character>
<dialogue>It's okay.</dialogue>
<character>ARIADNE</character>
<dialogue>Why couldn't I wake?</dialogue>
<character>ARTHUR</character>
<dialogue>The only way to wake from inside the dream is to die.</dialogue>
<scene_description>Cobb, in the lawn chair opposite, PULLS his tubes out.</scene_description>
<character>COBB</character>
<dialogue>She'll need a totem.</dialogue>
<character>ARIADNE</character>
<dialogue>What?</dialogue>
<character>ARTHUR</character>
<dialogue>Some kind of personal icon. A small object that you can always have with you, and that no one else knows,</dialogue>
<scene_description>Cobb gets to his feet, Ariadne stares at him, furious. He heads to the bathroom.</scene_description>
<character>ARIADNE</character>
<dialogue>That's some subconscious you've got, Cobb.</dialogue>
<parenthetical>(calls after him)</parenthetical>
<dialogue>She's a real charmer!</dialogue>
<character>ARTHUR</character>
<dialogue>Sounds like you've met Mrs. Cobb.</dialogue>
<character>ARIADNE</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>She's his wife?</dialogue>
<scene_description>Arthur nods, pulling off Ariadne's tubes.</scene_description>
<character>ARTHUR</character>
<dialogue>So. A totem. You need something small, potentially heavy...</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Cobb takes out his PEWTER SPINNING TOP, SPINS it on the marble counter...</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Ariadne looks at Arthur, puzzled.</scene_description>
<character>ARIADNE</character>
<dialogue>Like a coin?</dialogue>
<character>ARTHUR</character>
<dialogue>Too common. You need something that has a weight or movement that only you know.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Cobb STUDIES the spin of the top as it decays, becoming more and more ECCENTRIC...</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<character>ARIADNE</character>
<dialogue>What's yours?</dialogue>
<scene_description>Arthur holds out a DIE.</scene_description>
<character>ARTHUR</character>
<dialogue>A loaded die.</dialogue>
<scene_description>Ariadne reaches for it- Arthur snatches sit away-</scene_description>
<character>ARTHUR</character>
<dialogue>I can't let you handle it. That's the point. No one else can know the weight or balance of it.</dialogue>
<character>ARIADNE</character>
<dialogue>Why?</dialogue>
<character>ARTHUR</character>
<dialogue>So when you examine your totem...</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Cobb's spinning top WOBBLES OVER.</scene_description>
<character>ARTHUR (O.S.)</character>
<dialogue>You know, beyond a doubt, that you're not in someone else's dream.</dialogue>
<scene_description>Cobb GRABS it like a drowning man reaching for a lifeline.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Ariadne thinks this over.</scene_description>
<character>ARIADNE</character>
<dialogue>That's not an issue for me.</dialogue>
<character>ARTHUR</character>
<dialogue>Why not?</dialogue>
<character>ARIADNE</character>
<dialogue>Arthur, maybe you can't see what's going on, maybe you don't want to. But Cobb's got problems he's tried to bury down there. I'm not going to open my mind to someone like that.</dialogue>
<scene_description>Ariadne gets to her feet. Walks away.</scene_description>
<character>COBB (O.S.)</character>
<dialogue>She'll be back.</dialogue>
<scene_description>Arthur turns. Cobb is standing in the bathroom doorway.</scene_description>
<character>COBB</character>
<dialogue>I've never seen anyone pick it up so fast. And one reality won't be enough for her now. When she comes back, get her building mazes.</dialogue>
<character>ARTHUR</character>
<dialogue>Where will you be?</dialogue>
<character>COBB</character>
<dialogue>I've got to talk to Eames.</dialogue>
<character>ARTHUR</character>
<dialogue>Eames? But he's in Mombasa. Cobol's backyard.</dialogue>
<character>COBB</character>
<dialogue>Necessary risk.</dialogue>
<character>ARTHUR</character>
<dialogue>There are plenty of other thieves.</dialogue>
<character>COBB</character>
<dialogue>We don't just need a thief. We need a forger.</dialogue>
</scene>
<scene>
<stage_direction>INT. GAMBLING DEN, MOMBASA - DAY</stage_direction>
<scene_description>Crowded, bustling, smoke-filled. a westerner (40's), shabby suit, is squeezed in at a dice game. This is EAMES. He FIDDLES with his last two chips.</scene_description>
<character>COBB (O.S.)</character>
<dialogue>Rub them against each other all you like, they're not going to breed.</dialogue>
<scene_description>Eames looks up to see Cobb.</scene_description>
<character>EAMES</character>
<dialogue>You never know.</dialogue>
<scene_description>Eames tosses down his last chips. The dice are rolled...</scene_description>
<character>COBB</character>
<dialogue>Drink?</dialogue>
<scene_description>Eames loses.</scene_description>
<character>EAMES</character>
<dialogue>You're buying.</dialogue>
<scene_description>Cobb follows Eames. Eames mysteriously produces two stacks of chips and puts them down in front of the cashier. Cobb pulls one off the top, squints at the embossed name.</scene_description>
<character>COBB</character>
<dialogue>You're spelling hasn't improved.</dialogue>
<scene_description>Eames GRABS the chip. Hands it to the cashier.</scene_description>
<character>EAMES</character>
<dialogue>Piss off.</dialogue>
<character>COBB</character>
<dialogue>How's your handwriting?</dialogue>
<scene_description>Eames takes his money. Smiles at Cobb.</scene_description>
<character>EAMES</character>
<dialogue>Versatile.</dialogue>
</scene>
<scene>
<stage_direction>INT. STREET, MOMBASA - CONTINUOUS</stage_direction>
<scene_description>Eames leads Cobb down the quiet street.</scene_description>
<character>EAMES</character>
<dialogue>Word is, you're not welcome in these parts.</dialogue>
<character>COBB</character>
<dialogue>Yeah?</dialogue>
<character>EAMES</character>
<dialogue>There's a price on your head from Cobol Engineering. Pretty big one, actually.</dialogue>
<character>COBB</character>
<dialogue>You wouldn't sell me out.</dialogue>
<scene_description>Eames looks at Cobb, offended.</scene_description>
<character>EAMES</character>
<dialogue>'Course I would.</dialogue>
<character>COBB</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Not when you hear what I'm selling.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALCONY OF A COFFEE HOUSE - LATER</stage_direction>
<scene_description>A ramshackle balcony overlooking a bust street. Eames pours.</scene_description>
<character>COBB</character>
<dialogue>Inception.</dialogue>
<scene_description>Eames's glass stops halfway to his mouth.</scene_description>
<character>COBB</character>
<dialogue>Don't bother telling me it's impossible.</dialogue>
<character>EAMES</character>
<dialogue>It's perfectly possible. Just bloody difficult.</dialogue>
<character>COBB</character>
<dialogue>That's what I keep saying to Arthur.</dialogue>
<character>EAMES</character>
<dialogue>Arthur? You're still working with that stick-in-the-mud?</dialogue>
<character>COBB</character>
<dialogue>He's a good point man.</dialogue>
<character>EAMES</character>
<dialogue>The best. But he has no imagination. If you're going to perform inception, you need imagination.</dialogue>
<character>COBB</character>
<dialogue>You've done it before?</dialogue>
<character>EAMES</character>
<dialogue>Yeas and no. We tried it. Got the idea in place, but it didn't take.</dialogue>
<character>COBB</character>
<dialogue>You didn't plant it deep enough?</dialogue>
<character>EAMES</character>
<dialogue>It's not just about depth. You need the simplest version of the idea- the one that will grow naturally in the subject's mind. Subtle art.</dialogue>
<character>COBB</character>
<dialogue>That's why I'm here.</dialogue>
<character>EAMES</character>
<dialogue>What's the idea you need to plant?</dialogue>
<character>COBB</character>
<dialogue>We want the heir to a major corporation to break up his father's empire.</dialogue>
<character>EAMES</character>
<dialogue>See, right there you've got various political motivations, anti- monopolistic sentiment and so forth. But all that stuff's at the mercy of the subject's prejudice- you have to go to the basic.</dialogue>
<character>COBB</character>
<dialogue>Which is?</dialogue>
<character>EAMES</character>
<dialogue>The relationship with the father.</dialogue>
<parenthetical>(downs drink)</parenthetical>
<dialogue>Do you have a chemist? Cobb shakes his head.</dialogue>
<character>EAMES</character>
<dialogue>There's a man here. Yusuf. He formulates his own versions of the compounds.</dialogue>
<character>COBB</character>
<dialogue>Let's go see him.</dialogue>
<character>EAMES</character>
<dialogue>Once you've lost your tail.</dialogue>
<parenthetical>(Cobb reacts)</parenthetical>
<dialogue>Back by the bar, blue tie. Came in about two minutes after we did.</dialogue>
<character>COBB</character>
<dialogue>Cobol Engineering?</dialogue>
<character>EAMES</character>
<dialogue>They pretty much own Mombasa.</dialogue>
<scene_description>Cobb glances over the balcony.</scene_description>
<character>COBB</character>
<dialogue>Run interference. We'll meet downstairs in half an hour.</dialogue>
<character>EAMES</character>
<dialogue>Back here?</dialogue>
<character>COBB</character>
<dialogue>Last place they'd expect.</dialogue>
<scene_description>Eames downs his drink. Rises. Walks over to the Businessman.</scene_description>
<character>EAMES</character>
<dialogue>Freddy!</dialogue>
<scene_description>The Businessman looks up, awkward.</scene_description>
<character>EAMES</character>
<dialogue>Freddy Simmonds, it is you!</dialogue>
<scene_description>Cobb nonchalantly SLIPS over the balcony DROPPING HARD into the midst of the crowd on the street below.</scene_description>
<character>EAMES</character>
<parenthetical>(looks harder)</parenthetical>
<dialogue>Oh. No, it isn't.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET, MOMBASA - CONTINUOUS</stage_direction>
<scene_description>Cobb stands up, PUSHES into the crowd- faces PEER at him- he moves, trying to blend- TURNS- a SECOND BUSINESS MAN is there.</scene_description>
<character>COBB</character>
<parenthetical>(disarming smile)</parenthetical>
<dialogue>Yes?</dialogue>
<character>SECOND BUSINESSMAN</character>
<dialogue>We need to-</dialogue>
<scene_description>Cobb HEAD BUTTS the Second Businessman, PUSHES past him- The First Businessman races out of the bar, sees Cobb's wake, DIVES after him- Cobb RACES headlong through tight passageways, WEAVING through or KNOCKING into the locals... He steps into a dark, crowded cafe, scanning the tables... the First Businessman enters, spots him. An AFRICAN MAN gets in Cobb's face, jabbering at him in Swahili- Cobb considers his options... the First Businessman DRAWS A GUN- Cobb bolts, steps up on a table and out an open window, SCRAMBLING into the alley outside... Cobb LOOKS left, right... CUTS LEFT into a narrow, CROWDED alley- the alley NARROWS TO A DEAD END. Faces in the CROWD start to watch Cobb- PEOPLE start to SURROUND him- Cobb looks back the way he came- the two Businessmen are there, GUNS DRAWN- Cobb sees a SMALL GAP between the buildings at the narrow end- he THROWS himself into it- gets STUCK HALFWAY... The crowd bears down, GRABBING for him as Cobb struggles to SQUEEZE HIMSELF through the gap... Cobb's moving INCHES as his pursuers gain YARDS... the Crowd is upon him... he BURSTS FREE. TUMBLING onto the next street, ROLLING out of sight. Cobb Jumps to his feet- in a market square. TWO MORE BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS UP, BLOCKS HIS PATH- the door opens- SAITO IS IN THE BACK.</scene_description>
<character>SAITO</character>
<dialogue>Care for a lift, Mr. Cobb?</dialogue>
<character>COBB</character>
<parenthetical>(jumping in)</parenthetical>
<dialogue>What brings you to Mombasa, Mr. Saito?</dialogue>
<character>SAITO</character>
<dialogue>I have to protect my investment.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COFFEE HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Eames stands on the pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb.</scene_description>
<character>EAMES</character>
<dialogue>This is your idea of losing a tail?</dialogue>
<character>COBB</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Different tail.</dialogue>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Arthur sits at the table, working on a mechanism. A small COUGH prompts him to look up: Ariadne is there.</scene_description>
<character>ARTHUR</character>
<dialogue>He said you'd be back.</dialogue>
<character>ARIADNE</character>
<dialogue>I tried not to come.</dialogue>
<character>ARTHUR</character>
<dialogue>But there's nothing else quite like it.</dialogue>
<character>ARIADNE</character>
<dialogue>No paper, no pens... nothing between you and raw, direct creation.</dialogue>
<scene_description>Arthur picks up his mechanism.</scene_description>
<character>ARTHUR</character>
<dialogue>Shall we take a look at paradoxical architecture?</dialogue>
<scene_description>Ariadne nods, takes off her coat and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PENROSE STEPS - LATER</stage_direction>
<scene_description>Arthur leads Ariadne down some busy steps in a large glass and steel ATRIUM in an office complex.</scene_description>
<character>ARTHUR</character>
<dialogue>You're going to have to master a few tricks if you're going to build three complete dream levels.</dialogue>
<scene_description>A SECRETARY DROPS some papers as they pass...</scene_description>
<character>ARIADNE</character>
<dialogue>What sort of tricks?</dialogue>
<scene_description>They take a tight turn and continue down the next flight.</scene_description>
<character>ARTHUR</character>
<dialogue>In a dream, you can cheat architecture into impossible shapes.</dialogue>
<character>ARTHUR</character>
<dialogue>That lets you create closed loops, like the Penrose Steps. The infinite staircase.</dialogue>
<scene_description>Ariadne FREEZES- THEY ARE IN THE EXACT SPOT THEY STARTED DESCENDING FROM, next to the Secretary gathering her papers. Ariadne puzzles at the impossible construction of the stairs.</scene_description>
<character>ARTHUR</character>
<dialogue>See...</dialogue>
<scene_description>Arthur stops her gently- they are on the highest step, with a LARGE DROP to the next step. Arthur gestures at the drop.</scene_description>
<character>ARTHUR</character>
<dialogue>Paradox. A closed loop like this helps you disguise the boundaries of the dream you've created.</dialogue>
<character>ARIADNE</character>
<dialogue>How big do the levels have to be?</dialogue>
<character>ARTHUR</character>
<dialogue>Anything from the floor of a building, to an entire city. But it has to be complicated enough for us to hide from the projections.</dialogue>
<character>ARIADNE</character>
<dialogue>A maze.</dialogue>
<character>ARTHUR</character>
<dialogue>And the better the maze-</dialogue>
<character>ARIADNE</character>
<dialogue>The longer we have before the projections catch us.</dialogue>
<scene_description>Ariadne looks around. Sees people LOOKING at Arthur.</scene_description>
<character>ARIADNE</character>
<dialogue>My subconscious seems polite enough.</dialogue>
<character>ARTHUR</character>
<dialogue>You wait, they'll turn ugly. No one likes to see someone else messing around in their mind.</dialogue>
<character>ARIADNE</character>
<dialogue>Cobb can't build anymore, can he?</dialogue>
<character>ARTHUR</character>
<dialogue>I don't know if he can't, but he won't. He thinks it's safer if he doesn't know the layouts.</dialogue>
<character>ARIADNE</character>
<dialogue>Why?</dialogue>
<character>ARTHUR</character>
<dialogue>He won't tell me. I think it's Mal. I think she's getting stronger.</dialogue>
<character>ARIADNE</character>
<dialogue>His ex-wife?</dialogue>
<character>ARTHUR</character>
<dialogue>She's not his ex.</dialogue>
<character>ARIADNE</character>
<dialogue>They're still together?</dialogue>
<scene_description>Arthur turns to Ariadne. Gentle.</scene_description>
<character>ARTHUR</character>
<dialogue>No. No, she's dead, Ariadne. What you see in there is just his projection of her.</dialogue>
<character>ARIADNE</character>
<dialogue>What was she like in real life?</dialogue>
<character>ARTHUR</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>She was lovely.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP, OLD TOWN, MOMBASA - DAY</stage_direction>
<scene_description>Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. As Cobb runs through them, he passes them to Eames.</scene_description>
<character>SAITO</character>
<dialogue>Robert Fischer, 32. Heir to the Fischer Morrow energy conglomerate. He's spent his whole life being groomed as successor-breaking up his father's empire will take a radical shift in his thinking.</dialogue>
<character>COBB</character>
<dialogue>What's your problem with Fischer?</dialogue>
<character>SAITO</character>
<dialogue>That's not your concern.</dialogue>
<character>COBB</character>
<dialogue>This isn't the usual corporate espionage, Mr. Saito. This is inception. The seed of the idea we plant will grow in this man's mind. It'll change him. It might even come to define him.</dialogue>
<scene_description>Saito looks at Cobb.</scene_description>
<character>SAITO</character>
<dialogue>My sources suggest you might not have always been so cautious.</dialogue>
<character>COBB</character>
<dialogue>Then you need new sources, Mr. Saito.</dialogue>
<scene_description>Saito considers Cobb. Shrugs.</scene_description>
<character>SAITO</character>
<dialogue>Fischer Morrow has the regulators in their pockets. We're the last company standing between them and total energy dominance and we can no longer compete. Soon they'll control the energy supply of half the world. They'll be able to blackmail governments, dictate policy. In effect, they become a new superpower. The world needs Robert Fischer to change his mind.</dialogue>
<character>EAMES</character>
<dialogue>That's where we come in. How's Robert Fischer's relationship to his father?</dialogue>
<character>SAITO</character>
<dialogue>Rumor is the relationship is complicated.</dialogue>
<character>COBB</character>
<dialogue>We'll need more than rumor, Mr. Saito.</dialogue>
<scene_description>Eames picks up a photo: a distinguished executive (68).</scene_description>
<character>EAMES</character>
<dialogue>Can you get me access to him? Browning. Fischer senior's right- hand man. Fischer junior's godfather.</dialogue>
<character>SAITO</character>
<dialogue>It should be possible. If you can get the right references.</dialogue>
<character>EAMES</character>
<dialogue>References are something of a specialty for me, Mr. Saito.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DECREPIT BUILDING, MOMBASA - LATER</stage_direction>
<scene_description>Eames leads Cobb and Saito down uneven steps to a doorway.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWELL - CONTINUOUS</stage_direction>
<scene_description>Peeling paint, buzzing flies. They ascend to a dusty, wire-reinforced glass door which Eames pushes open-</scene_description>
</scene>
<scene>
<stage_direction>INT. PHARMACY - CONTINUOUS</stage_direction>
<scene_description>Row upon row of wooden shelves holding hundreds of dusty glass bottles of all shapes and colors. At the far end, a portly 40-year-old man rises from behind his desk, beckoning. This is YUSUF.</scene_description>
<character>YUSUF</character>
<dialogue>Come, come.</dialogue>
<scene_description>Eames shakes Yusuf's hand. Yusuf stops at Cobb.</scene_description>
<character>YUSUF</character>
<dialogue>Ah, yes. Mr. Cobb. I've heard so very much about you.</dialogue>
<parenthetical>(indicates chairs)</parenthetical>
<dialogue>please.</dialogue>
<scene_description>Yusuf chases a CAT off Saito's chair.</scene_description>
<character>YUSUF</character>
<dialogue>Bloody cats.</dialogue>
<scene_description>Yusuf moves to a shelf and runs his fingers over the glass bottles. None of them has a label.</scene_description>
<character>YUSUF</character>
<dialogue>You work using Somnacin, I think, Mr. Cobb?</dialogue>
<character>COBB</character>
<dialogue>You're well informed, Mr. Yusuf.</dialogue>
<scene_description>Yusuf places a bottle on the desk in front of Cobb.</scene_description>
<character>COBB</character>
<parenthetical>(dubious)</parenthetical>
<dialogue>Somnacin?</dialogue>
<character>YUSUF</character>
<parenthetical>(proudly)</parenthetical>
<dialogue>Yusuf's Somnacin.</dialogue>
<scene_description>Yusuf pulls the stopper, holds it towards Cobb's nose.</scene_description>
<character>COBB</character>
<dialogue>As good as the real thing?</dialogue>
<scene_description>Yusuf WHIPS the bottle away from Cobb, offended.</scene_description>
<character>YUSUF</character>
<dialogue>Better.</dialogue>
<scene_description>Yusuf holds the bottle to the light, marveling.</scene_description>
<character>YUSUF</character>
<dialogue>Binds the dreamers tight. Let's them dream as one. Makes it real. Of course, if you'd prefer, you could use Somnacin brand. If you could explain to the international control council what you wanted it for.</dialogue>
<scene_description>Yusuf puts the bottle back onto the shelf. Sits.</scene_description>
<character>YUSUF</character>
<dialogue>You are seeking a chemist?</dialogue>
<parenthetical>(Cobb nods)</parenthetical>
<dialogue>To formulate compounds for a job?</dialogue>
<character>COBB</character>
<dialogue>And to come into the held with us.</dialogue>
<character>YUSUF</character>
<dialogue>I rarely go into the held, Mr. Cobb.</dialogue>
<character>COBB</character>
<dialogue>We need you there to tailor compounds to our particular requirements.</dialogue>
<character>YUSUF</character>
<dialogue>Which are?</dialogue>
<character>COBB</character>
<dialogue>Great depth.</dialogue>
<character>YUSUF</character>
<dialogue>A dream within a dream? Two levels?</dialogue>
<character>COBB</character>
<dialogue>Three.</dialogue>
<character>YUSUF</character>
<dialogue>Not possible. That many dreams within dreams would be too unstable.</dialogue>
<character>COBB</character>
<dialogue>I've done it before. You just have to add a sedative.</dialogue>
<character>YUSUF</character>
<dialogue>A powerful sedative. How many team members?</dialogue>
<character>COBB</character>
<dialogue>Five.</dialogue>
<character>SAITO</character>
<dialogue>Six.</dialogue>
<parenthetical>(to Cobb)</parenthetical>
<dialogue>The only way to know you've done the job is if I go in with you.</dialogue>
<character>COBB</character>
<dialogue>There's no room for tourists on these jobs, Mr. Saito.</dialogue>
<character>SAITO</character>
<dialogue>This time, it would seem there is.</dialogue>
<scene_description>Cobb looks at him, uneasy. Yusuf pulls out another bottle.</scene_description>
<character>YUSUF</character>
<dialogue>Of course. I use it every day.</dialogue>
<scene_description>Yusuf hands it to Cobb, who considers the white liquid inside.</scene_description>
<character>COBB</character>
<dialogue>For what?</dialogue>
<scene_description>Yusuf beckons them further into the pharmacy, to a METAL DOOR. He STOPS- second thoughts.</scene_description>
<character>YUSUF</character>
<dialogue>Perhaps... you will not want to see.</dialogue>
<scene_description>Cobb motions to continue. Yusuf pulls out a large key.</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK ROOM, PHARMACY - CONTINUOUS</stage_direction>
<scene_description>A dark room with ROWS of low COTS. Each with a sleeping occupant. Tubes connect their wrists. An ELDERLY BALD MAN watches over them.</scene_description>
<character>EAMES</character>
<parenthetical>(counting)</parenthetical>
<dialogue>Eighteen, twenty-all connected, bloody hell.</dialogue>
<character>YUSUF</character>
<dialogue>They come every day. To share the dream.</dialogue>
<scene_description>Yusuf nods at the Elderly Bald Man, who moves to the nearest bed. Reaches out to the OCCUPANT. Gives his face a FIRM SLAP. The sleeper does not even stir.</scene_description>
<character>YUSUF</character>
<dialogue>See? Very stable.</dialogue>
<character>COBB</character>
<dialogue>How long do they dream?</dialogue>
<character>YUSUF</character>
<dialogue>Three, four hours. Every day.</dialogue>
<character>COBB</character>
<dialogue>How long in dream time?</dialogue>
<character>YUSUF</character>
<dialogue>With this compound... about forty hours. Each and every day.</dialogue>
<scene_description>Saito surveys the room, appalled.</scene_description>
<character>SAITO</character>
<dialogue>Why do they do it?</dialogue>
<character>YUSUF</character>
<dialogue>Tell him, Mr. Cobb.</dialogue>
<character>COBB</character>
<dialogue>After a while...</dialogue>
<parenthetical>(looks at Saito)</parenthetical>
<dialogue>It becomes the only way you can dream.</dialogue>
<character>YUSUF</character>
<dialogue>Do you still dream, Mr. Cobb?</dialogue>
<scene_description>Cobb STARES at the sleepers. Uneasy.</scene_description>
<character>EAMES</character>
<dialogue>They come here every day to sleep?</dialogue>
<character>ELDERLY BALD MAN (O.S.)</character>
<dialogue>No.</dialogue>
<scene_description>Cobb turns to the Elderly Bald Man, who looks fondly at his dreamers.</scene_description>
<character>ELDERLY BALD MAN</character>
<dialogue>They come to be woken up... the dream has become their reality...</dialogue>
<scene_description>The Elderly Bald Man pokes a crooked finger at Cobb's chest.</scene_description>
<character>ELDERLY BALD MAN</character>
<dialogue>And who are you to say otherwise?</dialogue>
<scene_description>Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns to Yusuf. TOSSES him the bottle.</scene_description>
<character>COBB</character>
<dialogue>Let's see what you can do.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAME - MOMENTS LATER</stage_direction>
<scene_description>Cobb is lying on an empty cot, asleep. Yusuf stands over him. As we move in on Cobb's SLEEPING FACE we hear the sound of a FREIGHT TRAIN, BUILDING, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASTELAND - DAY</stage_direction>
<scene_description>CLOSE ON Cobb's face as he lies, EYES CLOSED, cheek pressed to a METAL RAIL- THE SOUND OF THE TRAIN IS DEAFENING- Cobb is BREATHING, BREATHING, BREATHING, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK ROOM, PHARMACY - DAY</stage_direction>
<scene_description>Cobb's eyes open. Yusuf is watching him.</scene_description>
<character>YUSUF</character>
<dialogue>Sharp, no?</dialogue>
<scene_description>Cobb nods. Gets to his feet, looking around-</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, PHARMACY - CONTINUOUS</stage_direction>
<scene_description>Cobb SPLASHES water on his face, breathing hard- INSERT CUT: A CURTAIN BILLOWS. MAL TURNS TO US, HAIR BLOWING, SMILING. Cobb fumbles in his pockets, pulls out his spinning top. He tries to set it spinning on the back edge of the sink, but it FALLS to the floor and rolls towards the door- Saito is there. WATCHING Cobb. He looks down at the spinning top.</scene_description>
<character>SAITO</character>
<dialogue>Everything alright, Mr. Cobb?</dialogue>
<scene_description>Cobb dries his face with a paper towel. Picks up his top.</scene_description>
<character>COBB</character>
<dialogue>Everything's fine.</dialogue>
</scene>
<scene>
<stage_direction>INT. BACK ROOM, WORKSHOP - NIGHT</stage_direction>
<scene_description>Close on a small BRASS CHESS PIECE. Ariadne tips it over. Frowning, she picks up a micro drill, peels back the felt on the bottom and widens a hole in one side of its base. Tests the TIPPING POINT again. A NOISE makes her look up.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<scene_description>Ariadne comes into the main space. Someone is there, unpacking one of the MECHANISMS. Cobb.</scene_description>
<character>ARIADNE</character>
<dialogue>You're back.</dialogue>
<scene_description>Cobb looks up with a start. Caught out.</scene_description>
<character>ARIADNE</character>
<dialogue>Are you going under on your own?</dialogue>
<character>COBB</character>
<dialogue>I just-I need to test some things. I didn't realize anyone was here.</dialogue>
<character>ARIADNE</character>
<dialogue>Just working on my totem.</dialogue>
<scene_description>Ariadne holds up the chess piece. Cobb reaches for it.</scene_description>
<character>COBB</character>
<dialogue>Let me see-</dialogue>
<scene_description>Ariadne SNAPS it out of his reach. Smiles. Cobb nods.</scene_description>
<character>COBB</character>
<dialogue>You're learning.</dialogue>
<character>ARIADNE</character>
<dialogue>It's an elegant solution to keeping track of reality. Your invention?</dialogue>
<character>COBB</character>
<dialogue>No. Mal's.</dialogue>
<scene_description>Cobb pulls out his spinning top. Looks at it.</scene_description>
<character>COBB</character>
<dialogue>This one was hers. She'd spin it in a dream and it would never topple. Just spin and spin...</dialogue>
<character>ARIADNE</character>
<dialogue>Arthur told me she died.</dialogue>
<character>COBB</character>
<dialogue>She did. How are the mazes coming?</dialogue>
<scene_description>Ariadne indicates three large ARCHITECTURAL MODELS.</scene_description>
<character>ARIADNE</character>
<dialogue>Good. Each level relates to the part of the subject's subconscious we're trying to access. I'm making the bottom level a hospital, so that Fischer will bring his father there-</dialogue>
<character>COBB</character>
<dialogue>Don't tell me. Remember, you only want the dreamer to know the layout.</dialogue>
<character>ARIADNE</character>
<dialogue>Why's that so important?</dialogue>
<character>COBB</character>
<dialogue>In case one of us brings in part of our subconscious. You wouldn't want any projections knowing the layout.</dialogue>
<character>ARIADNE</character>
<dialogue>In case you bring Mal in.</dialogue>
<scene_description>Cobb says nothing.</scene_description>
<character>ARIADNE</character>
<dialogue>You won't build yourself because if you know the maze, then she knows it. And she'd sabotage the operation. You can't keep her out, can you?</dialogue>
<scene_description>Cobb says nothing.</scene_description>
<character>ARIADNE</character>
<dialogue>Do the others know?</dialogue>
<character>COBB</character>
<dialogue>No.</dialogue>
<character>ARIADNE</character>
<dialogue>You have to warn them if it's getting worse-</dialogue>
<character>COBB</character>
<parenthetical>(gentle)</parenthetical>
<dialogue>I didn't say it's getting worse. Look, Ariadne, I need them for this job. I need you for this job. Without your help, I'll never get back to my children. And that's all I can care about right now.</dialogue>
<character>ARIADNE</character>
<dialogue>Why can't you go home, Cobb?</dialogue>
<scene_description>Cobb looks at her, deciding what to say.</scene_description>
<character>COBB</character>
<dialogue>They think I killed her.</dialogue>
<character>ARIADNE</character>
<dialogue>How did she die?</dialogue>
<scene_description>Cobb thinks. INSERT CUT: Mal, wind BLOWING her hair, smiles at Cobb. Now we see Cobb- SHAKING HIS HEAD, TEARS STREAMING, BEGGING-</scene_description>
<character>COBB</character>
<dialogue>Thank you.</dialogue>
<character>ARIADNE</character>
<dialogue>For what?</dialogue>
<character>COBB</character>
<dialogue>Not asking whether I did.</dialogue>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Ariadne, Arthur, Yusuf, Eames and Saito sit around the room, looking at FILES. Cobb presides.</scene_description>
<character>COBB</character>
<dialogue>The mark is Robert Fischer, heir to the Australian energy conglomerate, Fischer Morrow.</dialogue>
<scene_description>Cobb opens a large presentation pad. COBB (reads aloud)</scene_description>
<character>"I WILL SPLIT UP MY FATHER'S</character>
<dialogue>EMPIRE."</dialogue>
<scene_description>Cobb turns to the team.</scene_description>
<character>COBB</character>
<dialogue>An idea Robert Fischer's conscious mind would never accept. We have to plant it deep in his subconscious.</dialogue>
<character>ARTHUR</character>
<dialogue>How deep?</dialogue>
<character>COBB</character>
<dialogue>Three levels down.</dialogue>
<character>ARTHUR</character>
<dialogue>A dream within a dream within a dream? Is that even possible?</dialogue>
<character>COBB</character>
<dialogue>Yes. It is.</dialogue>
<character>COBB</character>
<dialogue>Now, the subconscious motivates through emotion, not reason, so we have to translate the idea into an emotional concept.</dialogue>
<character>ARTHUR</character>
<dialogue>How do you translate a business strategy into an emotion?</dialogue>
<character>COBB</character>
<dialogue>That's what we have to figure out. Robert and his father have a tense relationship. Worse, even, than the gossip columns have suggested...</dialogue>
<character>EAMES</character>
<dialogue>Do you play on that? Suggest breaking up his father's company as a 'screw you' to the old man?</dialogue>
<character>COBB</character>
<dialogue>No. Positive emotion trumps negative emotion every time. We yearn for people to be reconciled, for catharsis. We need positive emotional logic.</dialogue>
<scene_description>Eames thinks. Paces. Looking back at the board.</scene_description>
<character>EAMES</character>
<dialogue>Try this... "MY FATHER ACCEPTS THAT I WANT TO CREATE FOR MYSELF, NOT FOLLOW IN HIS FOOTSTEPS."</dialogue>
<character>COBB</character>
<dialogue>That might work.</dialogue>
<character>ARTHUR</character>
<dialogue>Might? We'll have to do better than that.</dialogue>
<character>EAMES</character>
<dialogue>Thanks for the contribution, Arthur.</dialogue>
<character>ARTHUR</character>
<dialogue>Forgive me for wanting a little specificity, Eames.</dialogue>
<character>COBB</character>
<dialogue>Inception's not about specificity. When we get inside his head, we're going to have to work with what we find.</dialogue>
<scene_description>Arthur shrugs, frustrated. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK STREETS - DAY</stage_direction>
<scene_description>The team are in the middle of a DESERTED intersection. Ariadne is showing Yusuf aspects of the geography.</scene_description>
<character>EAMES</character>
<dialogue>We could split the idea into emotional triggers, and use one on each level.</dialogue>
<character>COBB</character>
<dialogue>How do you mean?</dialogue>
<character>EAMES</character>
<dialogue>On the top level, we open up his relationship with his father.... Say: "I WILL NOT FOLLOW IN MY FATHER'S FOOTSTEPS." Next level down we've accessed his ambition and self-esteem. We feed him: "I WILL CREATE SOMETHING MYSELF." Then, the bottom level, we bring out the emotional big guns...</dialogue>
<character>COBB</character>
<dialogue>"MY FATHER DOESN'T WANT ME TO BE</dialogue>
<character>HIM."</character>
<dialogue>EAMES</dialogue>
<scene_description>That could do it.</scene_description>
<character>ARTHUR</character>
<dialogue>How do you produce these emotional triggers?</dialogue>
<character>EAMES</character>
<dialogue>I forge each emotional concept in the style and manner of Peter Browning, a key figure in Fischer's emotional life.</dialogue>
<scene_description>Two AFRICAN PEDESTRIANS wander into view.</scene_description>
<character>ARTHUR</character>
<dialogue>Are those yours?</dialogue>
<scene_description>Eames shakes his head. Cobb turns to Yusuf.</scene_description>
<character>ARTHUR</character>
<dialogue>Yusuf?</dialogue>
<character>YUSUF</character>
<dialogue>Yup. Sorry.</dialogue>
<character>COBB</character>
<dialogue>Suppress them. We don't bring our own projections into the dream-we let Fischer's subconscious supply the people.</dialogue>
<character>EAMES</character>
<dialogue>Saito, when do I get to see Browning?</dialogue>
<character>SAITO</character>
<dialogue>You fly out to Sydney on Tuesday. We've arranged for you to spend several days...</dialogue>
</scene>
<scene>
<stage_direction>INT. ANTEROOM, MAURICE FISCHER'S OFFICE - DAY</stage_direction>
<scene_description>Eames sits in the crowded room. Boxes and files are piled high. Browning stands by a pair of double doors.</scene_description>
<character>SAITO (V.O.)</character>
<dialogue>...as part of a consulting litigation team working for Browning.</dialogue>
<character>BROWNING</character>
<dialogue>I'm not smelling settlement here-we take them down.</dialogue>
<character>LAWYER</character>
<dialogue>Mr. Browning, Maurice Fischer's policy is always one of avoiding litigation-</dialogue>
<scene_description>Browning turns to the lawyer. Calm, but POWERFUL.</scene_description>
<character>BROWNING</character>
<dialogue>Shall we relay your concerns directly to Maurice?</dialogue>
<scene_description>Browning opens the doors to Maurice Fischer's inner office. Eames leans in to watch as Browning beckons the Lawyer into-</scene_description>
</scene>
<scene>
<stage_direction>INT. MAURICE FISCHER'S INNER OFFICE - CONTINUOUS</stage_direction>
<scene_description>The office is a MAKESHIFT HOSPITAL ROOM: a BED where the desk should be. Browning addresses a figure at the window. ROBERT FISCHER, 30'S, abstracted.</scene_description>
<character>BROWNING</character>
<dialogue>How is he?</dialogue>
<scene_description>Fischer turns to Browning. Motions silence, as he glances at his FATHER in the bed. Wheezing gently.</scene_description>
<character>BROWNING</character>
<dialogue>I don't want to bother him unnecessarily but I know he-</dialogue>
<character>FATHER</character>
<dialogue>Robert! I've told you to keep out the damn!-</dialogue>
<scene_description>MAURICE LASHES OUT, KNOCKING things from his bedside table. A NURSE calms Maurice as Fischer crouches to retrieve a FRAMED PHOTOGRAPH. He looks at the photo through the broken glass- a YOUNG BOY holds a PINWHEEL CLEARLY MADE BY A CHILD (each of the points is numbered in pen), his FATHER blows on it.</scene_description>
<character>BROWNING</character>
<dialogue>Must be a cherished memory of his-</dialogue>
<character>FISCHER</character>
<dialogue>I put it by his bed. He hasn't even noticed.</dialogue>
<character>BROWNING</character>
<dialogue>Robert, we have to talk about a power of attorney. I know this is hard for you, but it's important that we start to think about the future-</dialogue>
<character>FISCHER</character>
<dialogue>Not now, Uncle Peter.</dialogue>
<scene_description>Browning looks at Fischer, considering. Biding his time.</scene_description>
<character>EAMES (V.O.)</character>
<dialogue>The vultures are circling. The sicker Maurice Fischer becomes, the stronger Peter Browning becomes...</dialogue>
<scene_description>Eames WATCHES Browning, STUDYING his every move .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Eames gestures at a mirror, as if offering to shake hands...</scene_description>
<character>EAMES (V.O.)</character>
<dialogue>I've had time to learn Browning's physical presence and mannerisms...</dialogue>
<scene_description>In the mirror: BROWNING GESTURES BACK.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - CONTINUOUS</stage_direction>
<character>EAMES</character>
<dialogue>Now, in the dream, I can impersonate Browning and suggest the concepts to Fischer's conscious mind...</dialogue>
<parenthetical>(draws a diagram)</parenthetical>
<dialogue>Then we take Fischer down another level and his own subconscious feeds it right back to him.</dialogue>
<character>ARTHUR</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>So he gives himself the idea.</dialogue>
<character>EAMES</character>
<dialogue>Precisely. That's the only way to make it stick. It has to seem self-generated.</dialogue>
<character>ARTHUR</character>
<dialogue>Eames, I'm impressed.</dialogue>
<character>EAMES</character>
<dialogue>Your condescension, as always, is much appreciated, Arthur.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DESERTED HOTEL LOBBY - DAY</stage_direction>
<scene_description>The team sit on the steps of the large marble lobby, debating. Ariadne is showing Arthur the lobby.</scene_description>
<character>EAMES</character>
<dialogue>He's not scheduled for surgery, no dental, nothing.</dialogue>
<character>COBB</character>
<dialogue>I thought he had some knee thing?</dialogue>
<character>EAMES</character>
<dialogue>Nothing they'd put him under for. Besides, we need a good ten hours.</dialogue>
<character>SAITO</character>
<dialogue>Sydney to Los Angeles.</dialogue>
<scene_description>They turn to Saito.</scene_description>
<character>SAITO</character>
<dialogue>Twelve hours and forty-five minutes-one of the longest flights in the world. He makes it every two weeks...</dialogue>
</scene>
<scene>
<stage_direction>EXT. AIRFIELD - DAY</stage_direction>
<scene_description>Fischer steps out of a black town car and walks across the tarmac towards a GULF STREAM JET, accompanied by two aides.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>Surely he flies private?</dialogue>
<character>SAITO (V.O.)</character>
<dialogue>Not if there were unexpected maintenance with his plane.</dialogue>
<scene_description>Fischer is met at the steps by a DISTRAUGHT FLIGHT OFFICER.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - DAY</stage_direction>
<scene_description>Cobb chews this over. Arthur comes over.</scene_description>
<character>ARTHUR</character>
<dialogue>It'd have to be a 747.</dialogue>
<character>COBB</character>
<dialogue>Why?</dialogue>
<character>ARTHUR</character>
<dialogue>On a 747 the pilots are up above, first class is in the nose so nobody walks through the cabin. We'd have to buyout the whole cabin, and the first class flight attendant-</dialogue>
<character>SAITO</character>
<dialogue>We bought the airline.</dialogue>
<scene_description>Everyone turns to Saito.</scene_description>
<character>SAITO</character>
<dialogue>It seemed... neater.</dialogue>
<character>COBB</character>
<dialogue>Neater, huh?</dialogue>
<parenthetical>(gets to his feet)</parenthetical>
<dialogue>Well, now we have ten uninterrupted hours.</dialogue>
<character>COBB</character>
<parenthetical>(to Ariadne)</parenthetical>
<dialogue>Nice lobby, by the way.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>The group is back in the workshop, deep in discussion.</scene_description>
<character>ARTHUR</character>
<dialogue>My question is how we go down three layers with enough stability. Three layers down a little turbulence is gonna translate into an earthquake. The dreams are gonna collapse with the slightest disturbance.</dialogue>
<scene_description>Yusuf clears his throat.</scene_description>
<character>YUSUF</character>
<dialogue>Sedation. For sleep stable enough to create three layers of dreaming...</dialogue>
</scene>
<scene>
<stage_direction>INT. MAKESHIFT LAB - DAY</stage_direction>
<scene_description>Yusuf depresses a plunger. Arthur is SLEEPING in a chair.</scene_description>
<character>YUSUF (V.O.)</character>
<dialogue>We will have to combine it with an extremely powerful sedative....</dialogue>
<scene_description>Eames SLAPS Arthur, HARD. Arthur does not stir.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Arthur unconsciously rubs his cheek.</scene_description>
<character>YUSUF</character>
<dialogue>The compound we'll be using to share the dream is an advanced Somnacin derivative. It creates a very clear connection between dreamers, whilst actually accelerating brain function.</dialogue>
<scene_description>CUT TO:</scene_description>
<character>COBB</character>
<dialogue>Buying us more time in each level.</dialogue>
<character>YUSUF</character>
<dialogue>Brain function in the dream will be about twenty times normal.</dialogue>
<character>YUSUF</character>
<dialogue>And when you go into a dream within that dream the effect is compounded.</dialogue>
<character>ARIADNE</character>
<dialogue>How much time?</dialogue>
<character>YUSUF</character>
<dialogue>Three dreams... that's ten hours, times twenty, times twenty, times twenty...</dialogue>
<character>EAMES</character>
<dialogue>Math was never my strong suit.</dialogue>
<character>COBB</character>
<dialogue>It's basically a week one layer down, six months two layers down-</dialogue>
<character>ARIADNE</character>
<dialogue>And ten years in the third level. Who wants to spend ten years in a dream?</dialogue>
<character>YUSUF</character>
<dialogue>Depends on the dream.</dialogue>
<character>EAMES</character>
<dialogue>It's not going to take us long to crack Fischer open once we get going. We'll be out in a couple days, max.</dialogue>
<character>ARTHUR</character>
<dialogue>How do we get out once we've made the plant?</dialogue>
<parenthetical>(to Cobb)</parenthetical>
<dialogue>I hope you've got something a little more elegant in mind than shooting me in the head like last time.</dialogue>
<scene_description>Arthur tilts back in his chair. Yusuf turns to Cobb.</scene_description>
<character>COBB</character>
<dialogue>A kick.</dialogue>
<character>ARIADNE</character>
<dialogue>What's a kick?</dialogue>
<scene_description>Eames slips his foot under Arthur's chair leg. TIPS it- Arthur's legs SHOOT UP INSTINCTIVELY for balance-</scene_description>
<character>EAMES</character>
<dialogue>That, Ariadne, would be a kick.</dialogue>
<character>COBB</character>
<dialogue>That feeling of falling which snaps you awake. We use that to jolt ourselves awake once we're done.</dialogue>
<character>ARTHUR</character>
<dialogue>But how are we going to feel that through the sedation?</dialogue>
<character>YUSUF</character>
<dialogue>That's the clever part. I customize the sedative...</dialogue>
</scene>
<scene>
<stage_direction>INT. MAKESHIFT LAB - DAY</stage_direction>
<scene_description>Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair.</scene_description>
<character>YUSUF (O.S.)</character>
<dialogue>To leave inner ear function unimpaired...</dialogue>
<scene_description>Yusuf, with a wicked grin, slowly TIPS Arthur's chair backwards... as he falls, Arthur's body JERKS, EYES OPENING just before he HITS the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Arthur thinks, nodding slowly.</scene_description>
<character>YUSUF</character>
<dialogue>That way, however deep the sleep, the sleeper will still feel falling...</dialogue>
</scene>
<scene>
<stage_direction>INT. MAKESHIFT LAB - DAY</stage_direction>
<scene_description>Yusuf gleefully LEANS a SLEEPING ARTHUR to one side ...</scene_description>
<character>YUSUF (V.O.)</character>
<dialogue>Or tipping...</dialogue>
<scene_description>Arthur goes down with a CRASH, JERKING AWAKE-</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Arthur thinks this through.</scene_description>
<character>ARTHUR</character>
<dialogue>Even that won't cut through three layers of deep sleep.</dialogue>
<character>COBB</character>
<dialogue>The trick is to devise a kick for each level, then synchronize them to get a snap that penetrates all three layers.</dialogue>
<scene_description>Arthur looks at Cobb, getting it.</scene_description>
<character>ARTHUR</character>
<dialogue>We can use the musical countdown to synchronize the different kicks.</dialogue>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - NIGHT</stage_direction>
<scene_description>Ariadne comes into the darkened main space. Cobb is lying on one of the chairs, asleep. Plugged into the mechanism. Ariadne stands over him. Watching. She opens the case, PULLS one of the tubes, sits, checking the dials as she injects the needle cap into her arm, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAGE STYLE ELEVATOR - DAY</stage_direction>
<scene_description>Ariadne ascends. She looks at the buttons. Spots the "B." The elevator STOPS. She looks through the grill at-</scene_description>
</scene>
<scene>
<stage_direction>INT. YOUNG GIRL'S BEDROOM - DAY</stage_direction>
<scene_description>Ariadne pulls back the grill and walks across the room, considering the dusty furnishings. At the window is a doll's house, front slightly ajar. Ariadne opens it. Inside is a SAFE. She tries it. LOCKED. A NOISE STARTLES her- she turns, looking through a doorway into another room...</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Ariadne looks into the room to see Cobb and Mal talking, arguing. A private moment. Mal brushes at Cobb's hair, trying to convince him. We hear snatches of conversation-</scene_description>
<character>MAL</character>
<dialogue>You remember when you asked me to marry you?</dialogue>
<character>COBB</character>
<dialogue>Of course...</dialogue>
<character>MAL</character>
<dialogue>You said you had a dream...</dialogue>
<character>COBB</character>
<dialogue>That we'd grow old together.</dialogue>
<character>MAL</character>
<dialogue>And we can. You know how to find me... you know what you have to do.</dialogue>
<scene_description>Cobb is shaking his head, gently. Mal looks into Cobb's eyes- gentle, loving... Mal SPOTS Ariadne spying on them. FREEZES, staring, hostile. Cobb turns, sees Ariadne, moves towards her, leaving Mal.</scene_description>
<character>COBB</character>
<dialogue>You shouldn't be in here.</dialogue>
<scene_description>Cobb guides her back into the elevator.</scene_description>
<character>ARIADNE</character>
<dialogue>I wanted to know what "tests" you need to do on your own every night.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAGE STYLE ELEVATOR - DAY</stage_direction>
<scene_description>Cobb shuts the CAGE DOOR. Ariadne hits a button. The elevator RISES. Through the GRILL Ariadne can see a BEACH stretching off into the distance. The elevator stops. Mal sits on the sand. Beside her, the two children are crouched, away from us, building a SANDCASTLE.</scene_description>
<character>ARIADNE</character>
<dialogue>Why do you do this to yourself?</dialogue>
<character>COBB</character>
<dialogue>This is the only way I can still dream.</dialogue>
<character>ARIADNE</character>
<dialogue>Is it so important to dream?</dialogue>
<scene_description>Cobb stares at his family.</scene_description>
<character>COBB</character>
<dialogue>In my dreams... we're still together.</dialogue>
<scene_description>The kids, WITHOUT TURNING AROUND, jump up and RUN AWAY.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAGE STYLE ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>The elevator descends.</scene_description>
<character>ARIADNE</character>
<dialogue>But these aren't just dreams, are they? They're memories. You said never to use memories.</dialogue>
<character>COBB</character>
<dialogue>And I shouldn't.</dialogue>
<character>ARIADNE</character>
<dialogue>You're keeping her alive.</dialogue>
<character>COBB</character>
<dialogue>No.</dialogue>
<character>ARIADNE</character>
<dialogue>You can't let her go.</dialogue>
<character>COBB</character>
<dialogue>No. These are moments I regret. Moments I turned into dreams so I could change them.</dialogue>
<scene_description>Ariadne's fingers move across the buttons- stop at the "B."</scene_description>
<character>ARIADNE</character>
<dialogue>What've you got buried down there that you regret?</dialogue>
<scene_description>Cobb pushes her hand away. Hits the third floor button.</scene_description>
<character>COBB</character>
<dialogue>There's only one thing I need you to understand about me...</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN, COBB AND MAL'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Ariadne follows Cobb into the kitchen. A THIN MAN is there, standing by the table. He holds a FOLDED PIECE OF PAPER.</scene_description>
<character>ARIADNE</character>
<dialogue>This is your house?</dialogue>
<character>COBB</character>
<dialogue>Mine and Mal's.</dialogue>
<character>ARIADNE</character>
<dialogue>Where is she?</dialogue>
<character>COBB</character>
<dialogue>She'd already died.</dialogue>
<scene_description>The Thin Man offers Cobb the piece of paper. A CHILD'S SHOUT- Cobb TURNS. Ariadne follows his gaze to the garden. A small blonde boy faces away from them, crouched on his haunches to look at something on the ground.</scene_description>
<character>COBB</character>
<dialogue>It's James. My boy. He's found something. Maybe a worm.</dialogue>
<scene_description>A slightly older girl RUNS into view.</scene_description>
<character>COBB</character>
<dialogue>And there's Philippa.</dialogue>
<scene_description>She crouches beside the boy. Their FACES ARE AWAY FROM US. They point and discuss whatever is on the ground.</scene_description>
<character>COBB</character>
<dialogue>I thought about calling out, so they'd turn and smile those incredible smiles... but I'm out of time-</dialogue>
<scene_description>The Thin Man thrusts the paper into Cobb's hand.</scene_description>
<character>THIN MAN</character>
<dialogue>Right now. Or never, Cobb.</dialogue>
<scene_description>Cobb nods, turns from the window-</scene_description>
<character>COBB</character>
<dialogue>Then I panic that I'll always wish I'd seen them turn, that I can't waste this chance...</dialogue>
<scene_description>Cobb TURNS BACK to call out- but the children RACE OFF...</scene_description>
<character>COBB</character>
<dialogue>But the moment's passed. And whatever I do, the dream's always the same... When I'm about to call... they run.</dialogue>
<scene_description>Cobb watches them run off, calling for grandma, FACES UNSEEN.</scene_description>
<character>COBB</character>
<dialogue>If I'm going to see their faces again-I've got to get back here in the real world...</dialogue>
<scene_description>Behind him, Ariadne SLAMS the grill shut. Cobb TURNS.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAGE STYLE ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal's childhood bedroom, a thundering wall of freight train... The elevator STOPS. Through the grill Ariadne sees a HOTEL SUITE. She pulls open the grill, steps cautiously out into-</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEGANT HOTEL SUITE - CONTINUOUS (NOW NIGHT)</stage_direction>
<scene_description>DISHEVELED bedclothes, UPENDED room service table, STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps forwards- SMASH- she looks down to see that she has kicked over a CHAMPAGNE FLUTE. Ariadne feels a draught. The CURTAIN BILLOWS.</scene_description>
<character>MAL (O.S.)</character>
<dialogue>What are you doing here?</dialogue>
<scene_description>Ariadne TURNS. Mal is there.</scene_description>
<character>ARIADNE</character>
<dialogue>My name is-</dialogue>
<character>MAL</character>
<dialogue>I know who you are. What are you doing here?</dialogue>
<character>ARIADNE</character>
<dialogue>I don't know. Trying to understand.</dialogue>
<character>MAL</character>
<dialogue>How could you understand? Do you know what it is to be a lover? To be half of a whole?</dialogue>
<character>ARIADNE</character>
<dialogue>No.</dialogue>
<scene_description>Mal moves slowly towards Ariadne...</scene_description>
<character>MAL</character>
<dialogue>I'll tell you a riddle. You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don't know for sure...</dialogue>
<scene_description>Mal glides around Ariadne, looking her over.</scene_description>
<character>MAL</character>
<dialogue>But... it doesn't matter. How can it not matter to you where that train will take you?</dialogue>
<character>COBB (O.S.)</character>
<dialogue>Because you'll be together.</dialogue>
<scene_description>Cobb is standing in the elevator. Mal nods. Looks at him.</scene_description>
<character>MAL</character>
<dialogue>How could you bring her here, Dom?</dialogue>
<character>ARIADNE</character>
<dialogue>What is this place?</dialogue>
<character>COBB</character>
<dialogue>A hotel. We spent our anniversaries in this suite.</dialogue>
<character>ARIADNE</character>
<dialogue>What happened here?</dialogue>
<scene_description>Mal picks up the BROKEN STEM of a champagne flute...</scene_description>
</scene>
<scene>
<stage_direction>INT. CAGE STYLE ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Cobb PULLS Ariadne into the elevator- Mal THROWS herself towards Ariadne- Cobb SLAMS the GRILL- Mal SMASHES against it AGAIN and AGAIN like a WILD ANIMAL- Ariadne FLINCHES-</scene_description>
<character>MAL</character>
<dialogue>you PROMISED! YOU SAID WE'D BE TOGETHER!-</dialogue>
<character>COBB</character>
<dialogue>We can. We will. But I need you to stay here for now-</dialogue>
<character>MAL</character>
<dialogue>YOU SAID WE'D GROW OLD TOGETHER!-</dialogue>
<scene_description>Cobb pushes a button and the elevator starts to rise.</scene_description>
<character>COBB</character>
<dialogue>I'll come back. I need you to stay here on your own for now. Just while I do this job. Then we can be together-</dialogue>
<character>MAL</character>
<dialogue>WE'LL BE TOGETHER-YOU PROMISED!-</dialogue>
<scene_description>Mal THROWS herself against the grill, and. we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - NIGHT</stage_direction>
<scene_description>Ariadne watches Cobb sleeping. His eyes gradually flicker open. He sees her watching him.</scene_description>
<character>ARIADNE</character>
<dialogue>You think you can just build a prison of memories to lock her in? You think that's going to contain her?</dialogue>
<scene_description>The LIGHTS COME ON: Saito and Arthur stand in the doorway.</scene_description>
<character>SAITO</character>
<dialogue>Maurice Fischer just died in Sydney.</dialogue>
<character>COBB</character>
<dialogue>When's the funeral?</dialogue>
<character>SAITO</character>
<dialogue>Thursday. In Los Angeles.</dialogue>
<character>COBB</character>
<dialogue>Robert'll accompany the body Tuesday at the outside. We have to move.</dialogue>
<scene_description>Cobb gets up. Ariadne comes over to him.</scene_description>
<character>ARIADNE</character>
<parenthetical>(low)</parenthetical>
<dialogue>I'm coming with you.</dialogue>
<character>COBB</character>
<dialogue>No. I promised Miles.</dialogue>
<character>ARIADNE</character>
<dialogue>The team needs someone in there who understands what you're struggling with. If you don't want it to be me then you need to show Arthur what I just saw.</dialogue>
<scene_description>Cobb looks at Ariadne. Turns to Saito.</scene_description>
<character>COBB</character>
<dialogue>We need one more seat on the plane.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEPARTURE GATE, SYDNEY - DAY</stage_direction>
<scene_description>Saito stands looking out the window at a 747. Cobb arrives beside him. They watch a COFFIN being loaded.</scene_description>
<character>COBB</character>
<dialogue>If I get on this plane and you haven't taken care of things... when we land I go to jail for the rest of my life.</dialogue>
<character>SAITO</character>
<dialogue>Complete the job en route, I make one phone call from the plane... you will have no trouble clearing immigration.</dialogue>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS CABIN, 747 - CONTINUOUS</stage_direction>
<scene_description>The luxurious cabin has only ten seats. Cobb finds his- sees Ariadne in the seat behind his. They do not acknowledge each other. Behind her is Arthur, looking out the window. Eames enters, STUFFS his bag into the overhead bin, BLOCKING the passenger behind: ROBERT FISCHER, standing there, patient, bag in hand, wearing black.</scene_description>
<character>EAMES</character>
<dialogue>Oh, sorry.</dialogue>
<scene_description>Eames SQUEEZES up against his seat to let Fischer BRUSH PAST. Fischer moves to his seat, directly in front of Cobb. Eames TOSSES Cobb a PASSPORT. Cobb flips it open: Fischer's. Pockets it. Yusuf and Saito enter, take their seats.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNWAY - MOMENTS LATER</stage_direction>
<scene_description>The 747 HURTLES down the runway.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS CABIN, 747 - MOMENTS LATER</stage_direction>
<scene_description>Cobb looks down at his hand: a TINY VIAL taped to the center of his palm. He removes the cap. The seatbelt sign goes dark. Cobb unbuckles, stands.</scene_description>
<character>COBB</character>
<dialogue>Excuse me?</dialogue>
<scene_description>Fischer looks up.</scene_description>
<character>FISCHER</character>
<dialogue>Yes?</dialogue>
<character>COBB</character>
<dialogue>I think this is yours...</dialogue>
<scene_description>Cobb holds up the open passport, comparing the picture to Fischer. Fischer's hand goes to his pocket. Cobb hands Fischer the passport.</scene_description>
<character>FLIGHT ATTENDANT</character>
<dialogue>Would you gentlemen care for a drink?</dialogue>
<character>FISCHER</character>
<dialogue>Water.</dialogue>
<character>COBB</character>
<dialogue>Same.</dialogue>
<scene_description>Fischer gives Cobb a thin smile. Holds up his passport.</scene_description>
<character>FISCHER</character>
<dialogue>Well, thank you.</dialogue>
<character>COBB</character>
<dialogue>No problem. Look, I couldn't help noticing your name. You're not related to Maurice Fischer?</dialogue>
<scene_description>Fischer takes a beat. But Cobb seems harmless.</scene_description>
<character>FISCHER</character>
<dialogue>Actually, he was my father.</dialogue>
<character>COBB</character>
<dialogue>I'm very sorry for your loss. He was an inspiring figure.</dialogue>
<scene_description>The Flight Attendant brings their drinks- Cobb takes them.</scene_description>
<character>COBB</character>
<dialogue>Thanks.</dialogue>
<scene_description>As he turns to Fischer he LOWERS his right hand ... a CLEAR LIQUID DROPS into Fischer's water as Cobb hands it to him.</scene_description>
<character>COBB</character>
<dialogue>To Maurice Fischer.</dialogue>
<parenthetical>(they drink)</parenthetical>
<dialogue>I'll leave you in peace.</dialogue>
<scene_description>Fischer grants him a smile.</scene_description>
</scene>
<scene>
<stage_direction>EXT. 747 - LATER</stage_direction>
<scene_description>The great plane SOARS through a burning cloudscape.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS CABIN, 747 - MOMENTS LATER</stage_direction>
<scene_description>Cobb reaches into the overhead for a blanket- lets it fall onto Fischer's head- Fischer doesn't flinch. ASLEEP. Cobb SIGNALS the others. The First Flight Attendant unlocks a CUPBOARD in the galley, then leaves, closing the curtain. Arthur moves into the galley and pulls out a MECHANISM CASE. Cobb and Arthur open the mechanism- uncoil the tubes- feed them around the window side of each of the seats. Arthur rolls up Fischer's cuff- PUSHES the needle cap into Fischer's wrist. Arthur pulls Fischer's cuff down and hides the tubes behind the armrest of Fischer's seat. Arthur runs the next tube to Ariadne. Cobb puts the case on Yusuf's lap. Yusuf checks the TIMERS, tapping the syringes. The others recline their seats. Yusuf HITS A BUTTON- closes the case- places it at his feet. He settles back, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SEDAN - DAY</stage_direction>
<scene_description>Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS down. Cobb pulls over-</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK STREETS - CONTINUOUS</stage_direction>
<scene_description>Yusuf stands on the corner, silver briefcase in hand, collar turned up against the rain. He reaches for the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEDAN - CONTINUOUS</stage_direction>
<scene_description>Yusuf clambers into the back, brushing rain from his face.</scene_description>
<character>ARTHUR</character>
<parenthetical>(indicates rain)</parenthetical>
<dialogue>Couldn't you have peed before you went under?</dialogue>
<character>YUSUF</character>
<dialogue>Sorry.</dialogue>
<scene_description>The front door OPENS and Eames climbs in, soaked.</scene_description>
<character>EAMES</character>
<dialogue>Bit too much free champagne before takeoff, Yusuf?</dialogue>
<character>YUSUF</character>
<dialogue>Ha bloody ha.</dialogue>
<character>COBB</character>
<dialogue>At least we know he'll be looking for a cab in this.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. SEDAN ON RAINY NEW YORK STREETS - CONTINUOUS</stage_direction>
<scene_description>Cobb pulls out into the heavy traffic. He weaves around several cars before lining up behind a YELLOW CAB.</scene_description>
<character>COBB</character>
<dialogue>Brace yourselves.</dialogue>
<scene_description>Cobb hits the gas- REAR ENDS the cab with a CRUNCH. The CABDRIVER gets out, fuming. Heads to Cobb's window-</scene_description>
<character>CABDRIVER</character>
<dialogue>Hey, asshole! Why don't you try driving without your thumb up-</dialogue>
<scene_description>He sees the SILENCED PISTOL Cobb is holding at his belly.</scene_description>
<character>COBB</character>
<dialogue>Walk away.</dialogue>
<scene_description>The Cabdriver backs off. Arthur climbs into the cab. Both cars pull away.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. CAB ON RAINY NEW YORK STREETS - CONTINUOUS</stage_direction>
<scene_description>Arthur SLOWS in front of the TRAIN STATION, peering at the pedes pedestrians. He SPOTS Fischer, lights the cab's sign. Fischer FLAGS him down. Fischer JUMPS into the back, brushing rain from his shoulders.</scene_description>
<character>FISCHER</character>
<dialogue>Third and Market. Snappy.</dialogue>
<scene_description>Eames JUMPS in from the other side.</scene_description>
<character>FISCHER</character>
<dialogue>What're you doing?</dialogue>
<character>EAMES</character>
<dialogue>Sorry, I thought it was free. Maybe we could share.</dialogue>
<character>FISCHER</character>
<dialogue>Maybe not.</dialogue>
<scene_description>Saito gets into the front passenger seat. Pointing a gun.</scene_description>
<character>FISCHER</character>
<dialogue>Great.</dialogue>
<scene_description>Arthur pulls away. Fischer pulls out his wallet and tosses it at Eames.</scene_description>
<character>FISCHER</character>
<parenthetical>(contemptuous)</parenthetical>
<dialogue>There's 500 dollars in there. And the wallet's worth more than that. For that you ought to at least drop me at my stop.</dialogue>
<scene_description>Eames smiles at this.</scene_description>
<character>EAMES</character>
<dialogue>I'm afraid-</dialogue>
<scene_description>A SHOT SHATTERS the window by Eames's head- another SHOT IMPACTS by Saito-</scene_description>
<character>EAMES</character>
<dialogue>Get us out of here!</dialogue>
<scene_description>Arthur hits the gas, but a BLACK S.U.V. SKIDS sideways in front, BLOCKING the path- A BLOCK BEHIND- Cobb is at a light. ARIADNE is getting in the front. Cobb has HEARD the GUNFIRE-</scene_description>
<character>COBB</character>
<dialogue>Come on!-</dialogue>
<scene_description>Cobb looks ahead to the AMBUSH, hits the gas- the sedan ROCKETS forwards... but BAM- A FREIGHT TRAIN CLIPS THE FRONT OF THE SEDAN, SHOVING IT SIDEWAYS AS AN ENDLESS TRAIN BARRELS PAST, A WALL BETWEEN COBB AND THE AMBUSH- A SECOND S.U.V. is behind the cab- PLAIN CLOTHES SECURITY MEN advance through the traffic, weapons trained on the cab. Bullets RIP into the cab as Eames throws himself on top of Fischer, PULLING a SACK over his head- Inside the sedan, Ariadne watches the train passing-</scene_description>
<character>ARIADNE</character>
<dialogue>This wasn't in the design-</dialogue>
<scene_description>Cobb BACKS UP, SPINS around, heading for the tail of the train- A Security Man emerges from the front S.U.V. carrying an AUTOMATIC RIFLE- he steps towards the cab through the rain, raises his weapon and BLASTS THE CAB'S WINDSCREEN- Cobb clears the end of the train, and SKIDS across the tracks- Arthur CROUCHES down- PUSHES the accelerator with his HAND- YANKS the wheel- FLYING BLIND. The cab NAILS the Security Man, CRUNCHING into the front S.U.V.- Cobb SMASHES his car into the rear S.U.V., creating a GAP- Arthur YANKS the transmission and REVERSES- SCRAPING through the gap- Security Men DIVE out of the way- Arthur throws a ragged J-turn to head down a SIDE STREET- Cobb follows in the other car. Rain whips across Arthur's face as he BREATHES-</scene_description>
<character>ARTHUR</character>
<dialogue>Everybody okay? Saito?</dialogue>
<scene_description>Arthur looks at Saito. Saito's hand is at his belly. Covered in BLOOD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WAREHOUSE - MOMENTS LATER</stage_direction>
<scene_description>The sedan and cab pull into the side entrance- Eames jumps out- PULLS the shutter down behind them-</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Yusuf and Eames PULL Fischer from the cab, HUSTLING him through a doorway. Cobb JUMPS out of the sedan, furious.</scene_description>
<character>COBB</character>
<dialogue>Arthur! Arthur what the-</dialogue>
<scene_description>Arthur pulls the bloody Saito from the front seat.</scene_description>
<character>COBB</character>
<dialogue>Oh, Christ. Is he dying?</dialogue>
<character>ARTHUR</character>
<dialogue>I don't know. What happened back there? Where were you?</dialogue>
<character>COBB</character>
<dialogue>We were blocked by a freight train.</dialogue>
<character>ARTHUR</character>
<parenthetical>(to Ariadne)</parenthetical>
<dialogue>Why would you put a train crossing in a downtown intersection?</dialogue>
<character>ARIADNE</character>
<dialogue>I didn't.</dialogue>
<character>COBB</character>
<parenthetical>(snaps)</parenthetical>
<dialogue>Why were we all ambushed, Arthur?! Those weren't regular projections- they'd been trained!</dialogue>
<character>ARIADNE</character>
<dialogue>How could they be trained?</dialogue>
<character>ARTHUR</character>
<dialogue>Fischer's had an extractor teach his mind to defend itself. His subconscious is militarized. It should've shown on the research-</dialogue>
<character>COBB</character>
<dialogue>So why the hell didn't it?!</dialogue>
<character>ARTHUR</character>
<dialogue>Calm down.</dialogue>
<character>COBB</character>
<dialogue>Don't tell me to calm down-you were meant to check Fischer's background thoroughly. You can't make this kind of mistake-we're not prepared for this kind of violence-</dialogue>
<character>ARTHUR</character>
<dialogue>Cobb, we've dealt with sub-security before. We just have to be more-</dialogue>
<character>COBB</character>
<dialogue>This wasn't part of the plan, Arthur!</dialogue>
<parenthetical>(points at Saito)</parenthetical>
<dialogue>He's dying!</dialogue>
<character>EAMES</character>
<dialogue>So we put him out of his misery. Eames steps into the room, pulls his gun and moves over Saito.</dialogue>
<character>COBB</character>
<dialogue>No.</dialogue>
<character>EAMES</character>
<dialogue>He's in agony. Let's wake him up-</dialogue>
<scene_description>Cobb GRABS Eames's arm.</scene_description>
<character>COBB</character>
<dialogue>No!</dialogue>
<parenthetical>(they lock eyes)</parenthetical>
<dialogue>It won't wake him up.</dialogue>
<character>EAMES</character>
<dialogue>What do you mean, it won't wake him? When you die in a dream you wake up.</dialogue>
<character>YUSUF</character>
<dialogue>Not from this. We're too heavily sedated to wake up that way.</dialogue>
<scene_description>Eames looks at Yusuf, then to Cobb.</scene_description>
<character>EAMES</character>
<dialogue>So what happens if one of us dies?</dialogue>
<character>COBB</character>
<dialogue>That person doesn't wake up. Their mind drops into Limbo.</dialogue>
<character>ARIADNE</character>
<dialogue>Limbo?</dialogue>
<character>ARTHUR</character>
<dialogue>Unconstructed dream space.</dialogue>
<character>ARIADNE</character>
<dialogue>What's down there?</dialogue>
<character>ARTHUR</character>
<dialogue>Raw, infinite subconscious. Nothing there but what was left behind by anyone on the team who's been trapped there before. On this team... just Cobb.</dialogue>
<character>ARIADNE</character>
<dialogue>How long would we be stuck there?</dialogue>
<character>YUSUF</character>
<dialogue>You couldn't even think about trying to escape until the sedation eases-</dialogue>
<character>EAMES</character>
<dialogue>How long?</dialogue>
<character>YUSUF</character>
<dialogue>Decades-it could be infinite-I don't know! Ask him-he's the one who's been there before!</dialogue>
<scene_description>Eames moves to Cobb. Looks him in the eye.</scene_description>
<character>EAMES</character>
<dialogue>Great. So now we're stuck in Fischer's mind battling it out with his private army, and if we get hit we're stuck in Limbo 'til our brains dissolve into scrambled egg?</dialogue>
<scene_description>Cobb says nothing. Saito groans more loudly.</scene_description>
<character>ARTHUR</character>
<dialogue>Let's just get him upstairs.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - MOMENTS LATER</stage_direction>
<scene_description>Saito is laid out on an old desk. Arthur examines him. He motions to Ariadne. Eames watches Cobb.</scene_description>
<character>ARTHUR</character>
<dialogue>Hold this. Firm pressure.</dialogue>
<scene_description>Arthur turns to Cobb.</scene_description>
<character>ARTHUR</character>
<dialogue>You knew the risks and you didn't tell us.</dialogue>
<character>COBB</character>
<dialogue>There wasn't meant to be any risk. We weren't supposed to be dealing with a load of gunnre.</dialogue>
<character>ARTHUR</character>
<dialogue>You had no right.</dialogue>
<character>COBB</character>
<dialogue>It's the only way you can go three layers deep, Arthur.</dialogue>
<scene_description>Arthur turns to Yusuf, hostile.</scene_description>
<character>ARTHUR</character>
<dialogue>And you. You went along with this?</dialogue>
<character>YUSUF</character>
<dialogue>I trusted him.</dialogue>
<character>ARTHUR</character>
<dialogue>You trusted him? When? When he promised you half his share?</dialogue>
<character>YUSUF</character>
<parenthetical>(offended)</parenthetical>
<dialogue>No! His whole share. Plus, he told me he'd done it before.</dialogue>
<scene_description>Arthur turns to Cobb.</scene_description>
<character>ARTHUR</character>
<dialogue>Oh, yeah? With Mal? That worked out great, didn't it, Cobb?</dialogue>
<scene_description>Cobb grabs Arthur.</scene_description>
<character>COBB</character>
<dialogue>You don't know anything about that. This was the only way to do this job, Arthur. I did what I had to do to get back to my children.</dialogue>
<character>EAMES</character>
<dialogue>So you led us into a war zone with no way out.</dialogue>
<character>COBB</character>
<dialogue>We have a way out. The kick. We just have to push on, do the job as fast as possible and get out using the kick.</dialogue>
<character>EAMES</character>
<dialogue>Forget it. We go any deeper, we just raise the stakes. I'm sitting it out on this level.</dialogue>
<character>COBB</character>
<dialogue>You'll never make it, Eames. Fischer's security is surrounding this place as we speak. The ten hours of the flight is a week at this level-you'll never make it without getting killed. Downwards is the only way forwards. We have to carry on.</dialogue>
<scene_description>Saito groans. Cobb looks at him-</scene_description>
<character>COBB</character>
<dialogue>And we have to do it fast.</dialogue>
<scene_description>Eames and Arthur weigh this.</scene_description>
<character>COBB</character>
<dialogue>Eames, go get ready. Arthur, let's get in there and soften him up.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WAREHOUSE - LATER</stage_direction>
<scene_description>Cobb and Arthur, wearing BALACLAVAS, PULL the sack from Fischer's head. He is chained to the radiator.</scene_description>
<character>FISCHER</character>
<dialogue>I'm insured against kidnapping up to ten million-this'll be simple-</dialogue>
<character>COBB</character>
<dialogue>No, it won't.</dialogue>
<scene_description>Fischer looks at Cobb, unnerved.</scene_description>
<character>ARTHUR</character>
<dialogue>In. your lather's office, below the bookshelves, is his personal safe. We need the combination.</dialogue>
<character>FISCHER</character>
<dialogue>I never noticed a safe-</dialogue>
<character>COBB</character>
<dialogue>Doesn't mean you don't know the combination.</dialogue>
<character>FISCHER</character>
<dialogue>Well, I don't.</dialogue>
<character>ARTHUR</character>
<dialogue>We have it on good authority that you do.</dialogue>
<character>FISCHER</character>
<dialogue>Whose?</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Yusuf looks through Fischer's wallet. Eames is opening a HINGED, THREE-WING MIRROR.</scene_description>
<character>YUSUF</character>
<dialogue>Five hundred dollars, this cost?</dialogue>
<character>EAMES</character>
<dialogue>What's inside?</dialogue>
<character>YUSUF</character>
<dialogue>Cash, cards, ID... and this-</dialogue>
<scene_description>Yusuf holds up a SNAPSHOT: the photo from Maurice Fischer's office- YOUNG ROBERT holds his HOMEMADE PINWHEEL, his FATHER blows on it. Eames takes it from Yusuf. STUDIES it. Cobb enters. Eames hands him the snapshot.</scene_description>
<character>EAMES</character>
<dialogue>Useful?</dialogue>
<scene_description>Cobb studies the snapshot. Eames examines himself in the hinged mirror from multiple angles: ONE BY ONE the myriad Eames reflections BECOME BROWNINGS. Cobb pockets the photo.</scene_description>
<character>COBB</character>
<dialogue>You're on. You've got an hour.</dialogue>
<character>EAMES</character>
<dialogue>An hour? I was supposed to have all night to crack him.</dialogue>
<character>COBB</character>
<dialogue>And Saito was supposed to keep his guts on the inside. You've got an hour-get something we can use.</dialogue>
<scene_description>Eames turns from the mirror AS BROWNING. He glances at his watch, then SCREAMS, as if begging for mercy-</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Browning's CRY reverberates- Fischer looks up, concerned-</scene_description>
<character>FISCHER</character>
<dialogue>What's that?</dialogue>
<character>ARTHUR</character>
<dialogue>Good authority.</dialogue>
<scene_description>Another cry rings out. Fischer recognizes the voice.</scene_description>
<character>FISCHER</character>
<dialogue>Uncle Peter?! Make them stop-</dialogue>
<character>ARTHUR</character>
<dialogue>The combination.</dialogue>
<character>FISCHER</character>
<dialogue>I don't know it!</dialogue>
<character>ARTHUR</character>
<dialogue>Why would Browning tell us you did?</dialogue>
<character>FISCHER</character>
<dialogue>Let me talk to him-I'll find out.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WAREHOUSE - MOMENTS LATER</stage_direction>
<scene_description>Cobb pushes Browning (Eames), bloody and bruised, into the room and forces him down next to Fischer. Cobb handcuffs Browning's wrist to a metal bracket on the side of the sink.</scene_description>
<character>COBB</character>
<dialogue>You've got an hour. Get talking.</dialogue>
<scene_description>Cobb leaves.</scene_description>
<character>BROWNING (EAMES)</character>
<dialogue>They've had me for two days. They've got someone with access to your father's office and they're trying to open his safe-they thought I'd know the combination, but I don't-</dialogue>
<character>FISCHER</character>
<dialogue>Neither do I, Uncle Peter.</dialogue>
<character>BROWNING</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Maurice told me that after he passed only you would be able to open it.</dialogue>
<character>FISCHER</character>
<dialogue>He never gave me the combination.</dialogue>
<scene_description>Browning thinks for a minute. Realizes something.</scene_description>
<character>BROWNING</character>
<dialogue>He did, he just didn't tell you that it was a combination.</dialogue>
<character>FISCHER</character>
<dialogue>What, then?</dialogue>
<character>BROWNING</character>
<dialogue>Something only you would know. Some meaningful combination of numbers from your experiences with Maurice-</dialogue>
<character>FISCHER</character>
<dialogue>We didn't have a lot of meaningful experiences together.</dialogue>
<character>BROWNING</character>
<dialogue>Perhaps after your mother died...</dialogue>
<character>FISCHER</character>
<dialogue>After my mother died, I went to him in my grief.</dialogue>
<character>FISCHER</character>
<dialogue>You know what he told me? "There's really nothing to be said, Robert."</dialogue>
<character>BROWNING</character>
<dialogue>He always had a hard time with emotional-</dialogue>
<character>FISCHER</character>
<dialogue>I was eleven, Uncle Peter.</dialogue>
<scene_description>Browning (Eames) takes this in.</scene_description>
<character>BROWNING</character>
<dialogue>He loved you, Robert. In his way.</dialogue>
<character>FISCHER</character>
<dialogue>"In his way?" At the end he called me to his deathbed. He could barely speak, but he took the trouble to say one last thing to me. He pulled me close... I could make out only one word. "Disappointed."</dialogue>
<scene_description>Browning can say nothing.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Cobb pulls off his balaclava. Looks down at Saito, who is breathing fast, shallow.</scene_description>
<character>COBB</character>
<dialogue>How's he doing?</dialogue>
<character>ARIADNE</character>
<dialogue>He's in a lot of pain.</dialogue>
<scene_description>Cobb takes Saito's hand. Looks him in the eye.</scene_description>
<character>COBB</character>
<dialogue>When we get you down to the next level, the pain will be less intense.</dialogue>
<scene_description>Saito nods, breathing hard.</scene_description>
<character>ARIADNE</character>
<parenthetical>(low)</parenthetical>
<dialogue>And if he dies?</dialogue>
<character>COBB</character>
<dialogue>His conscious mind will drop out of the dream. He'll be trapped in Limbo for a lifetime...</dialogue>
<character>ARIADNE</character>
<dialogue>What will that do to him?</dialogue>
<scene_description>Cobb looks at her. Grave.</scene_description>
<character>COBB</character>
<dialogue>When he wakes... his mind could be completely gone.</dialogue>
<character>SAITO</character>
<dialogue>When... when we wake I will still honor our arrangement...</dialogue>
<scene_description>Cobb looks down at Saito sadly.</scene_description>
<character>COBB</character>
<dialogue>Saito-san, when you wake you might not even remember that we had an arrangement. You'll have forgotten this world. Limbo will be your reality. Lost there so long, you'll have become an old man...</dialogue>
<character>SAITO</character>
<dialogue>Filled with regret?</dialogue>
<character>COBB</character>
<dialogue>Waiting to die alone. Yes.</dialogue>
<character>SAITO</character>
<dialogue>Then I'll take the chance and come back. And we'll be young men together again.</dialogue>
<scene_description>Saito smiles weakly. Cobb nods at him, turns to Ariadne.</scene_description>
<character>ARIADNE</character>
<dialogue>When were you trapped in Limbo?</dialogue>
<scene_description>Cobb says nothing. Ariadne pulls him away from Saito.</scene_description>
<character>ARIADNE</character>
<dialogue>Cobb, you might have convinced the rest of this team to carry on with the job. But they don't know the truth.</dialogue>
<character>COBB</character>
<dialogue>What truth?</dialogue>
<character>ARIADNE</character>
<dialogue>The truth that at any minute you might bring a freight train through the wall. The truth that Mal is bursting up through your subconscious.</dialogue>
<character>ARIADNE</character>
<dialogue>The truth that as we go deeper into Fischer, we're also going deeper into you-and I'm not sure we're going to like what we find there.</dialogue>
<scene_description>Cobb stares back at Ariadne. Saying nothing.</scene_description>
<character>ARIADNE</character>
<dialogue>This is not just about Fischer, it's about you. Tell me what happened to you and Mal. Trapped in Limbo.</dialogue>
<scene_description>Cobb looks at her. Thinking it through.</scene_description>
<character>COBB</character>
<dialogue>We were on a job. Exploring dreams within dreams. But we didn't understand how your mind can turn hours into years. How you can get trapped. Trapped so deep that when you wash up on the shore of your subconscious...</dialogue>
<scene_description>INSERT CUT: MAL LIES ON THE SAND, STARING UP AT A CLOUDLESS SKY, WAVES WASHING OVER HER...</scene_description>
<character>COBB</character>
<dialogue>You can lose track of what's real.</dialogue>
<character>ARIADNE</character>
<dialogue>How long were you stuck?</dialogue>
<scene_description>Cobb pauses before he answers. Looks at Ariadne.</scene_description>
<character>COBB</character>
<dialogue>Fifty years.</dialogue>
<scene_description>Ariadne stares at him, incredulous.</scene_description>
<character>ARIADNE</character>
<dialogue>How did you stand it?</dialogue>
<scene_description>INSERT CUT: COBB AND MAL BUILD A SANDCASTLE ON THE BEACH...</scene_description>
<character>COBB</character>
<dialogue>We built. We created a whole world for ourselves...</dialogue>
<scene_description>INSERT CUT: COBB AND MAL WALK THROUGH A DESERTED CITY.</scene_description>
<character>COBB</character>
<dialogue>It's not so bad at first, being gods. The problem is knowing that it's not real. It became impossible for me to live like that.</dialogue>
<character>ARIADNE</character>
<dialogue>But not for her?</dialogue>
<character>COBB</character>
<dialogue>She accepted it. At some point...</dialogue>
<scene_description>INSERT CUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. MAL'S CHILDHOOD HOME - DAY</stage_direction>
<scene_description>Mal opens a DOLL'S HOUSE. Inside is a SAFE. She opens it- it is empty. She pulls out her SPINNING TOP.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>...she'd decided to forget that our world wasn't real.</dialogue>
<scene_description>Mal places the top inside the safe. LOCKS IT AWAY...</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - CONTINUOUS</stage_direction>
<character>ARIADNE</character>
<dialogue>And when you finally woke up?</dialogue>
<character>COBB</character>
<dialogue>To wake from that. From decades lived. To be old souls thrown back into youth. It was hard. At first Mal seemed okay. But I started to realize something was wrong. Finally she admitted it. This idea she was possessed by. This simple little idea that changed everything...</dialogue>
<character>ARIADNE</character>
<dialogue>What was it?</dialogue>
<character>COBB</character>
<dialogue>That our world was not real. No matter what I did, no matter what I said, she was convinced that we were still in a dream. That we needed to wake up again...</dialogue>
</scene>
<scene>
<stage_direction>INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK)</stage_direction>
<scene_description>Cobb is trying to calm Mal, who is hysterical.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>That to get home we'd have to kill ourselves.</dialogue>
</scene>
<scene>
<stage_direction>INT. WORKSHOP - DAY</stage_direction>
<scene_description>Ariadne looks at Cobb, appalled.</scene_description>
<character>ARIADNE</character>
<dialogue>What about your children?</dialogue>
<scene_description>Cobb has to look away.</scene_description>
<character>COBB</character>
<dialogue>She... she believed they weren't real. That our real children were waiting. Somewhere above...</dialogue>
</scene>
<scene>
<stage_direction>INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK)</stage_direction>
<scene_description>Mal shakes her head at Cobb as he USHERS the children out of the room, FACES UNSEEN-</scene_description>
<character>COBB</character>
<dialogue>Calm down, Mal-</dialogue>
<character>MAL</character>
<dialogue>They're projections, Dom. Your dreams. I'm their mother-don't you think I can tell the difference?</dialogue>
<scene_description>Cobb closes the door- turns to her, eyes full of bitter tears.</scene_description>
<character>COBB</character>
<dialogue>If it's my dream then why can't I control it? Why can't I stop this?</dialogue>
<character>MAL</character>
<parenthetical>(it's obvious)</parenthetical>
<dialogue>You don't know you're dreaming.</dialogue>
<character>COBB</character>
<dialogue>You keep telling me I am-</dialogue>
<character>MAL</character>
<dialogue>And you don't believe me!</dialogue>
<character>COBB (V.O.)</character>
<dialogue>She was certain. But she loved me too much to go without me. So she made a plan...</dialogue>
</scene>
<scene>
<stage_direction>INT. ELEGANT HOTEL CORRIDOR - NIGHT (FLASHBACK)</stage_direction>
<scene_description>Cobb walks along, checking door numbers against a key.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>For our anniversary...</dialogue>
</scene>
<scene>
<stage_direction>INT. ELEGANT HOTEL SUITE - CONTINUOUS (FLASHBACK)</stage_direction>
<scene_description>Cobb enters the lavish suite. He notices the DISHEVELED BEDCLOTHES. He steps forwards- SMASH- he has tipped over a champagne glass with his foot... dinner for two is SPREAD ACROSS THE FLOOR. He looks at the DEBRIS, confused... next to the broken glass is a SPINNING TOP. He picks it up, studying it, thinking. He feels a draught, looks to the window. The CURTAIN BILLOWS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXTERIOR ATRIUM - CONTINUOUS (FLASHBACK)</stage_direction>
<scene_description>Cobb looks out the window: Mal sits on the ledge of the opposite window. HAIR BLOWING. Feet dangling over the dizzyingly high atrium. She smiles.</scene_description>
<character>MAL</character>
<dialogue>Join me.</dialogue>
<character>COBB</character>
<dialogue>Mal, come back inside.</dialogue>
<character>MAL</character>
<dialogue>No. I'm going to jump. And you're coming with me.</dialogue>
<character>COBB</character>
<dialogue>No, I'm not. This is real-if you jump, you're not going to wake up, you're going to die. Let's go back inside and talk about this, please.</dialogue>
<character>MAL</character>
<dialogue>We've talked enough.</dialogue>
<scene_description>She KICKS off a shoe and watches it DROP.</scene_description>
<character>MAL</character>
<dialogue>Come out onto the ledge or I'll jump right now.</dialogue>
<scene_description>She means it. Cobb swings his legs out, sitting on the ledge opposite is wife. He looks down at the drop.</scene_description>
<character>MAL</character>
<dialogue>I'm asking you to take a leap of faith.</dialogue>
<character>COBB</character>
<dialogue>I can't do that, Mal. I can't leave our children.</dialogue>
<character>MAL</character>
<dialogue>If I go without you, they'll take them away, anyway.</dialogue>
<character>COBB</character>
<dialogue>What do you mean?</dialogue>
<character>MAL</character>
<dialogue>I filed a letter with our attorney. Explaining how I'm fearful for my safety, how you've threatened to kill me...</dialogue>
<scene_description>Cobb looks back at the wrecked hotel suite, PANICKING...</scene_description>
<character>MAL</character>
<dialogue>I love you, Dom. I've freed you from the guilt of choosing to leave them. We're going home to our real children.</dialogue>
<character>COBB</character>
<dialogue>Out children are here, Mal.</dialogue>
<scene_description>Mal CLOSES HER EYES. Cobb looks for some way to reach her...</scene_description>
<character>MAL</character>
<dialogue>You're waiting for a train...</dialogue>
<character>COBB</character>
<dialogue>NO! MAL, NO, I CAN'T!</dialogue>
<character>MAL</character>
<dialogue>A train that will take you far away...</dialogue>
<character>COBB</character>
<dialogue>DON'T DO THIS!</dialogue>
<character>MAL</character>
<dialogue>You know where you hope this train will take you, you can't know for sure...</dialogue>
<character>COBB</character>
<dialogue>DON'T!</dialogue>
<character>MAL</character>
<dialogue>But it doesn't matter...</dialogue>
<character>COBB</character>
<dialogue>NO!</dialogue>
<character>MAL</character>
<dialogue>Because you'll be together...</dialogue>
<scene_description>Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then tries to bury his face in the wall...</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - DAY</stage_direction>
<scene_description>Cobb stares as he remembers.</scene_description>
<character>COBB</character>
<dialogue>He letter to the authorities refuted all the claims about her sanity that she knew I'd make...</dialogue>
</scene>
<scene>
<stage_direction>INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK)</stage_direction>
<scene_description>Cobb stands with the Thin Man, who has a piece of paper.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>She'd had herself declared sane by three different psychiatrists.</dialogue>
<scene_description>Cobb hears a SHOUT- turns to the garden. James CROUCHES, Philippa joins him, examining the ground, FACES UNSEEN...</scene_description>
<character>COBB (V.O.)</character>
<dialogue>It was impossible for me to explain the nature of her madness...</dialogue>
<scene_description>The Thin Man thrusts the paper into Cobb's hand.</scene_description>
<character>THIN MAN</character>
<dialogue>Right now. Or never, Cobb.</dialogue>
<scene_description>Cobb turns back to the window- about to call out- James and Philippa RUN OFF. Cobb turns from the window. Looks at the paper in his hand. It is an AIRPLANE TICKET.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>So I ran. And I've been running ever since, trying to buy my way back to my family...</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE, WAREHOUSE - DAY</stage_direction>
<scene_description>Cobb looks across at Ariadne.</scene_description>
<character>ARIADNE</character>
<dialogue>Psychiatrists judged her sane?</dialogue>
<character>COBB</character>
<dialogue>She was sane. She was just lost in the labyrinth.</dialogue>
<character>ARIADNE</character>
<dialogue>Then why should you blame yourself?</dialogue>
<character>COBB</character>
<dialogue>Because we were a family. And we had a life I would do anything to get back to now. But that reality wasn't enough for me then.</dialogue>
<character>ARIADNE</character>
<dialogue>It might have been your idea to push the limits, Cobb. But you're not responsible for the idea that destroyed her. The idea that her world wasn't real... that was her own idea from her own mind.</dialogue>
<scene_description>Cobb says nothing.</scene_description>
<character>ARIADNE</character>
<dialogue>Your guilt defines her. Powers her. If we're going to succeed in this, you're going to have to forgive yourself, and you're going to have to confront her. But you don't have to do it alone.</dialogue>
<character>COBB</character>
<dialogue>You don't have to do this for me-</dialogue>
<character>ARIADNE</character>
<dialogue>I'm doing it for the others. They don't know the risk they've taken coming in here with you.</dialogue>
<scene_description>Cobb looks at the rooftop opposite, sees a SNIPER take up a position. Cobb shakes his head, frustrated.</scene_description>
<character>COBB</character>
<dialogue>We can't stay here. Arthur?!</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM, WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Browning puts his hand on Fischer's shoulder.</scene_description>
<character>BROWNING</character>
<dialogue>These people are going to kill us if we don't give them the combination.</dialogue>
<character>FISCHER</character>
<dialogue>They won't, they'll try to ransom us-</dialogue>
<character>BROWNING</character>
<dialogue>I heard them-they're going to lock us in and run the can into the river.</dialogue>
<character>FISCHER</character>
<dialogue>What is in the safe?</dialogue>
<character>BROWNING</character>
<dialogue>Something for you. Maurice always said it was his most previous gift... a will.</dialogue>
<character>FISCHER</character>
<dialogue>Maurice's will is with Port and Dunn.</dialogue>
<character>BROWNING</character>
<dialogue>It's an alternate. It supersedes the other only if you want it to.</dialogue>
<character>FISCHER</character>
<dialogue>What does it say?</dialogue>
<character>BROWNING</character>
<dialogue>It splits all the component businesses of Fischer Morrow into individual companies, transferring ownership to the boards of those companies...</dialogue>
<character>FISCHER</character>
<dialogue>Leaving me nothing?</dialogue>
<character>BROWNING</character>
<dialogue>A basic living. Nothing more. The entire empire would cease to exist.</dialogue>
<character>FISCHER</character>
<dialogue>Destroy my own inheritance? Why would he suggest such a thing?</dialogue>
<character>BROWNING</character>
<dialogue>I don't know, Robert.</dialogue>
<scene_description>Cobb OPENS the door. Arthur is behind him.</scene_description>
<character>COBB</character>
<dialogue>Come to your senses?</dialogue>
<character>FISCHER</character>
<dialogue>Let us go. I don't know the combination. Not consciously.</dialogue>
<scene_description>Cobb considers this. Opens his phone. Pulls out his gun.</scene_description>
<character>COBB</character>
<dialogue>Let's try instinctively. I have someone standing in your father's office ready to tap in a combination.</dialogue>
<scene_description>He holds the phone to Fischer's mouth.</scene_description>
<character>COBB</character>
<dialogue>First six numbers that come into your head. Right now.</dialogue>
<character>FISCHER</character>
<dialogue>I have no idea-</dialogue>
<scene_description>Cobb SWINGS the gun onto Browning-</scene_description>
<character>COBB</character>
<dialogue>RIGHT NOW!</dialogue>
<character>FISCHER</character>
<dialogue>Five, two, eight... four, nine, one.</dialogue>
<scene_description>Cobb lowers his weapon. Listens to the phone. Shakes his head. Shuts the phone.</scene_description>
<character>COBB</character>
<dialogue>You'll have to do better. Bag 'em.</dialogue>
<scene_description>Arthur puts SACKS over their heads.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE - CONTINUOUS</stage_direction>
<scene_description>Cobb and Arthur drag Fischer and Browning to the van-</scene_description>
<character>FISCHER</character>
<dialogue>We're worth much more to you alive...</dialogue>
<scene_description>Arthur places Fischer on the back seat- uses a DROPPER to drop LIQUID onto Fischer's mask- his head SLUMPS FORWARDS. "Browning" yanks the sack from his head- it is now EAMES.</scene_description>
<character>EAMES</character>
<parenthetical>(excited)</parenthetical>
<dialogue>His relationship with his father's much worse that we thought.</dialogue>
<character>ARTHUR</character>
<dialogue>That helps us?</dialogue>
<scene_description>Arthur pulls a SNIPER RIFLE from a case by the van.</scene_description>
<character>COBB</character>
<dialogue>The stronger the issues, the more powerful the catharsis.</dialogue>
<scene_description>Cobb motions for Yusuf to follow his upstairs.</scene_description>
<character>ARTHUR</character>
<dialogue>But how do you reconcile them if they're that estranged?</dialogue>
<character>EAMES</character>
<dialogue>I'm working on that.</dialogue>
<scene_description>Arthur lines up a shot through the window-</scene_description>
<character>ARTHUR</character>
<dialogue>Well, work fast-Fischer's projections are closing in quick, we need to break out of here before we're totally boxed in...</dialogue>
<scene_description>Arthur SHOOTS two snipers. Cobb and Yusuf gently load Saito into the van. He groans. Ariadne straps him in, checks his bandages. Arthur can't get the last sniper- he's too hidden behind a wall-</scene_description>
<character>EAMES</character>
<dialogue>Shouldn't be afraid to dream a little bigger, Arthur-</dialogue>
<scene_description>Eames lines up a shot with a grenade launcher. Fires- the sniper EXPLODES into the air- Arthur looks at Eames.</scene_description>
<character>EAMES</character>
<dialogue>Shall we?</dialogue>
<scene_description>They climb into the van-</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY STREETS - CONTINUOUS</stage_direction>
<scene_description>The van pulls out into the rain-drenched streets. Arthur opens the mechanism case and hands out tubes-</scene_description>
<character>COBB</character>
<dialogue>Shifting Fischer's antipathy from his father onto Browning should work.</dialogue>
<character>EAMES</character>
<dialogue>We need the imagery, the words...</dialogue>
<character>ARIADNE</character>
<dialogue>So you destroy his one positive relationship?</dialogue>
<character>COBB</character>
<dialogue>No. We repair his relationship with his father and expose his godfather's true nature.</dialogue>
<character>EAMES</character>
<dialogue>Hell, we should be charging Fischer as much as Saito.</dialogue>
<character>ARTHUR</character>
<dialogue>What about his security? It's going to get worse as we go deeper.</dialogue>
<character>COBB</character>
<dialogue>We bring in Mr. Charles.</dialogue>
<character>ARTHUR</character>
<dialogue>No.</dialogue>
<character>EAMES</character>
<dialogue>Who's Mr. Charles?</dialogue>
<character>ARTHUR</character>
<dialogue>A bad idea.</dialogue>
<character>COBB</character>
<dialogue>Arthur, the second we approach Fischer in that hotel, they're gonna mow us down-we run with Mr. Charles like on the Stein job.</dialogue>
<character>EAMES</character>
<dialogue>So you've done it before?</dialogue>
<character>ARTHUR</character>
<dialogue>Sure. But it didn't work. The subject realized he was dreaming and his subconscious tore us to pieces.</dialogue>
<scene_description>Eames takes this in.</scene_description>
<character>EAMES</character>
<dialogue>You learned a lot, though. Right?</dialogue>
<character>COBB</character>
<parenthetical>(to Eames)</parenthetical>
<dialogue>I'll need a decoy.</dialogue>
<character>EAMES</character>
<dialogue>No problem. How about a pretty young lady I've used before?</dialogue>
<character>COBB</character>
<dialogue>Fine-</dialogue>
<scene_description>Cobb looks back: a second S.U.V. pulls out, tailing them.</scene_description>
<character>COBB</character>
<parenthetical>(to Yusuf)</parenthetical>
<dialogue>I know you've got to stay ahead of them, but drive with kid gloves, okay? The world down there is going to be very unstable-</dialogue>
<character>ARTHUR</character>
<dialogue>And don't make the jump too soon- that kick is our only way back, we have to be ready to catch it-</dialogue>
<character>YUSUF</character>
<dialogue>I'll use the music to let you know when it's coming, but the rest is up to you.</dialogue>
<scene_description>Arthur puts the mechanism onto the front seat.</scene_description>
<character>YUSUF</character>
<dialogue>Everyone ready?</dialogue>
<scene_description>Nods all round.</scene_description>
<character>YUSUF</character>
<dialogue>Sweet dreams-</dialogue>
<scene_description>Yusuf hits a button and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - SUNSET</stage_direction>
<scene_description>Fischer nurses a drink. Staring at the ice cracking.</scene_description>
<character>BLONDE (O.S.)</character>
<dialogue>Am I boring you?</dialogue>
<scene_description>Fischer looks up. A beautiful BLONDE is next to him.</scene_description>
<character>BLONDE</character>
<dialogue>I was telling you my story. I guess it wasn't to your liking.</dialogue>
<character>FISCHER</character>
<dialogue>I have a lot on my mind.</dialogue>
<scene_description>Fischer looks around the bar. There are several STERN-LOOKING CHARACTERS paying him too much attention.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>Arthur and Ariadne sit at a table across the lobby. They spot Cobb moving across the lobby towards Fischer.</scene_description>
<character>ARTHUR</character>
<dialogue>And there goes Mr. Charles.</dialogue>
<character>ARIADNE</character>
<dialogue>Who or what, exactly, is Mr. Charles?</dialogue>
<character>ARTHUR</character>
<dialogue>It's a gambit designed to turn Fischer against his own subconscious.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - CONTINUOUS</stage_direction>
<scene_description>Cobb approaches the bar, watched closely by Fischer's Sub- security.</scene_description>
<character>COBB</character>
<dialogue>Mr. Fishcer! Good to see you again. Rod Green, Marketing.</dialogue>
<parenthetical>(to Blonde)</parenthetical>
<dialogue>And you must be...</dialogue>
<character>BLONDE</character>
<dialogue>Leaving.</dialogue>
<scene_description>She presses against Fischer as she slides off her stool and deposits a cocktail napkin in front of him.</scene_description>
<character>BLONDE</character>
<dialogue>In case you get bored.</dialogue>
<scene_description>Cobb watches her walk away. The Sub-security FOLLOWS her.</scene_description>
<character>COBB</character>
<dialogue>I think you just got blown off... unless her phone number really does have only six digits.</dialogue>
<scene_description>Fischer glances at the napkin: "528-491."</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>Arthur watches the Sub-security follow the Blonde.</scene_description>
<character>ARIADNE</character>
<dialogue>And why don't you approve?</dialogue>
<character>ARTHUR</character>
<dialogue>Because it involves telling the mark that he's dreaming. Which involves attracting a lot of attention to us.</dialogue>
<character>ARIADNE</character>
<dialogue>Didn't Cobb say never to do that?</dialogue>
<character>ARTHUR</character>
<dialogue>You must've noticed by now how much time Cobb spends doing things he says never to do.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - CONTINUOUS</stage_direction>
<scene_description>Cobb turns to Fischer.</scene_description>
<character>COBB</character>
<dialogue>Strange way to make friends.</dialogue>
<parenthetical>(off look)</parenthetical>
<dialogue>Lifting your wallet, I mean.</dialogue>
<scene_description>Fischer pats his pocket. Empty. He looks to the lobby where he sees the Sub-security trailing the Blonde.</scene_description>
<character>FISCHER</character>
<dialogue>Goddamn it. The wallet alone's worth-</dialogue>
<character>COBB</character>
<dialogue>Five hundred bucks. I know. Don't worry, my guys are on it.</dialogue>
<character>FISCHER</character>
<dialogue>Who did you say you were?</dialogue>
<scene_description>Fischer looks at him, curious. Cobb plows on, confident-</scene_description>
<character>COBB</character>
<dialogue>I said I was Rod Green from Marketing-but I'm not. My name is Mr. Charles. I might seem familiar to you. I'm in charge of your security here.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>The Blonde hurries up to Saito, emerging from the elevator-</scene_description>
<character>BLONDE</character>
<dialogue>Mr. Saito, can I have a minute?</dialogue>
<scene_description>She pushes him back into the elevator, closing the door as the Sub-security approaches...</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>The Blonde fondles Saito's lapels, getting close.</scene_description>
<character>SAITO</character>
<dialogue>I'm sorry, but...</dialogue>
<scene_description>Saito glances over her shoulder to see, in the tunnel of infinite reflections created by the elevator's opposing mirrors, three reflections in, THE BLONDE IS EAMES. He winks.</scene_description>
<character>SAITO</character>
<parenthetical>(pushing him away)</parenthetical>
<dialogue>Very amusing, Mr. Eames.</dialogue>
<character>EAMES</character>
<dialogue>You look a bit perkier.</dialogue>
<scene_description>A SHUDDER ripples through the elevator.</scene_description>
<character>SAITO</character>
<dialogue>Turbulence on the plane.</dialogue>
<character>EAMES</character>
<dialogue>Feels closer. That's Yusuf's driving.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY</stage_direction>
<scene_description>Yusuf FIGHTS the wheel as the van CUTS DOWN AN ALLEY, BUMPING OVER POTHOLES and SMASHING TRASH CANS aside- THREE S.U.V.s IN FURIOUS PURSUIT. Yusuf looks in the rear view mirror, FRUSTRATED. He checks his WATCH, then checks the back: the SLEEPERS SHAKE with the impact and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - NIGHT</stage_direction>
<scene_description>As a TREMOR echoes through the bar Fischer looks at Cobb trying to place him.</scene_description>
<character>FISCHER</character>
<dialogue>Security? You work for the hotel?</dialogue>
<character>COBB</character>
<dialogue>No. My specialty is subconscious security.</dialogue>
<character>FISCHER</character>
<dialogue>You're talking about dreams. You're talking about extraction.</dialogue>
<character>COBB</character>
<dialogue>Exactly. My job is to protect you...</dialogue>
<scene_description>Behind Fischer a WAITER puts down a tray- tipping a champagne glass over- SMASH- Cobb NOTICES. Pauses, looks across the bar- HIS TWO CHILDREN ARE CROUCHED, BACKS TOWARDS US... Cobb looks around the bar, the patrons start to STARE at Cobb, suspicious- Cobb shifts back to Fischer-</scene_description>
<character>COBB</character>
<dialogue>My job is to protect you from any attempt to access your mind through your dreams.</dialogue>
<scene_description>Cobb regains his patter- the patrons lose interest...</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Eames pulls out Fischer's wallet, moves to hand it to Saito, then PAUSES, opens it, leafs past the cast to find... The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, his father blowing on it. The elevator doors open and Eames steps off. HANDS Saito the wallet.</scene_description>
<character>EAMES</character>
<dialogue>Get off at a different floor and keep moving. Dump the wallet, then meet me in the lobby. The security will try to track it down. We need to buy Cobb a little more time.</dialogue>
<scene_description>The doors close. Saito puts the wallet in his pocket. He COUGHS- a deep, nasty cough.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - CONTINUOUS</stage_direction>
<scene_description>Cobb looks over Fischer's shoulder to see a SUITED MAN watching him. Another MAN is walking in from the lobby.</scene_description>
<character>COBB</character>
<dialogue>You're not safe here.</dialogue>
<scene_description>Cobb steps away from the bar. Fischer does not move.</scene_description>
<character>COBB</character>
<dialogue>Trust me. They're coming for you.</dialogue>
<scene_description>Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY</stage_direction>
<scene_description>GUNSHOTS BLAST out the rear and side windows of the van- a Security Man is leaning out of the lead S.U.V. With a SHOTGUN- WIND AND RAIN RIP THROUGH THE VAN- in the back, ARTHUR'S SLEEPING FACE IS WHIPPED BY THE SPRAY, AND WE- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - SUNSET</stage_direction>
<scene_description>Fischer looks out the windows at sudden, HURRICANE-LIKE RAIN-</scene_description>
<character>COBB</character>
<dialogue>Strange weather, huh?</dialogue>
<scene_description>A TREMOR runs through the bar- Cobb looks around-</scene_description>
<character>COBB</character>
<dialogue>You feel that?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>Ariadne and Arthur watch the GUSTS OF WIND RATTLE the windows. Arthur sees HOTEL GUESTS staring out at the weather, PUZZLED. Several of them TURN TO LOOK DIRECTLY AT ARTHUR.</scene_description>
<character>ARIADNE</character>
<dialogue>What's happening?</dialogue>
<character>ARTHUR</character>
<dialogue>Cobb's drawing Fischer's attention to the strangeness of the dream. That's making his subconscious look for the dreamer. For me.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY STREETS - DAY</stage_direction>
<scene_description>At the end of the alley- Yusuf THROWS the van into a HARD RIGHT TURN- we move into EXTREME SLOW MOTION... THE SLEEPERS IN THE BACK ARE DRAWN TO ONE SIDE OF THE VAN BY THE CENTRIFUGAL FORCE... and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - CONTINUOUS</stage_direction>
<scene_description>The liquid in Fischer's drink RISES UP AGAINST ONE SIDE OF THE GLASS- Fischer notices, confused.</scene_description>
<character>COBB</character>
<dialogue>Very odd-the weather, the gravity...</dialogue>
<scene_description>Fischer looks around the bar- it's as if THE ENTIRE ROOM IS SET AT A 45-DEGREE ANGLE- glasses SLIDING off tables...</scene_description>
<character>COBB</character>
<dialogue>But I can explain all this. You've actually been trained for this.</dialogue>
<parenthetical>(Fischer nods)</parenthetical>
<dialogue>Think of the strangeness of the weather, the shifts in gravity. None of this is real...</dialogue>
<character>COBB</character>
<parenthetical>(beat)</parenthetical>
<dialogue>We're in a dream.</dialogue>
<scene_description>Fischer looks at the room around them. Back to Cobb. All through the bar, patrons turn to look at Cobb IN UNISON.</scene_description>
<character>COBB</character>
<dialogue>The simplest test of what I'm saying is for you to try and remember anything about the way you arrived in this hotel... okay?</dialogue>
<scene_description>Fischer stares at Cobb, trying to process this. All around them, people STARE at Cobb. Several get up as if to approach.</scene_description>
<character>COBB</character>
<dialogue>Breathe. Remember the training. Accept the fact that we're in a dream. That's why I'm here protecting you.</dialogue>
<scene_description>As Fischer considers this we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY STREETS - DAY</stage_direction>
<scene_description>Yusuf STRAIGHTENS UP the van, RACING down the street, swerving through traffic and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BAR - EVENING</stage_direction>
<scene_description>The building gradually EASES BACK INTO ALIGNMENT-</scene_description>
<character>FISCHER</character>
<dialogue>So you... you're not real?</dialogue>
<scene_description>The bar patrons start to ignore Cobb again.</scene_description>
<character>COBB</character>
<dialogue>No. I'm a projection of your subconscious. I was put in place to protect you in the event that extractors pulled you into a dream. I believe that's what has happened.</dialogue>
<scene_description>Fischer takes this in. Then looks at the Security Men approaching across the crooked floor, he nods at Cobb-</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - EVENING</stage_direction>
<scene_description>Cobb escorts Fischer across the lobby. As he does so, he walks past the two CHILDREN, backs to us- Cobb ignores them- The two Sub-security fall in behind. Cobb hurries Fischer up the stairs- then PUSHES him into-</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Fischer stumbles in- turns to Cobb, angry-</scene_description>
<character>FISCHER</character>
<dialogue>Hey-</dialogue>
<scene_description>Cobb reaches into his jacket- the First Man BURSTS in- Cobb KICKS him to the ground- DRAWS his gun as the SECOND MAN comes through the door, moving towards Fischer- BLAM! Cobb BLASTS the Second Man in the back- TURNS and SHOOTS the First Man.</scene_description>
<character>FISCHER</character>
<dialogue>Jesus Christ! What are you doing?!</dialogue>
<scene_description>Cobb turns to Fischer, calm. Convincing.</scene_description>
<character>COBB</character>
<dialogue>Look at the gun in his hand.</dialogue>
<scene_description>Fischer looks: the Second Man was holding a pistol. Cobb opens the First Man's jacket to show Fischer his holster and sidearm.</scene_description>
<character>COBB</character>
<dialogue>These men were sent to abduct you.</dialogue>
<scene_description>Cobb pulls out the gun and HANDS it to Fischer.</scene_description>
<character>COBB</character>
<dialogue>If I'm going to help you, I need you to be calm.</dialogue>
<scene_description>Fischer remembers something.</scene_description>
<character>FISCHER</character>
<dialogue>If this is a dream, I have to kill myself and wake up-</dialogue>
<scene_description>Fischer raises the gun towards his head-</scene_description>
<character>COBB</character>
<dialogue>I wouldn't do that-they've probably got you sedated. If you pull that trigger, you might not wake up, you might drop into a lower dream state.</dialogue>
<character>COBB</character>
<dialogue>Mr. Fischer, you know all this, you just have to remember it...</dialogue>
<scene_description>Fischer lowers his gun.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Saito walks down the corridor, followed by a Security Man. Saito DUCKS around the corner, moves to a GARBAGE CHUTE and DROPS Fischer's WALLET into it. He SLIPS into the stairwell as the Security Man comes abreast of the chute and pauses.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Arthur leads Ariadne to a particular room: 491.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 491 - CONTINUOUS</stage_direction>
<scene_description>Arthur leads Ariadne in. He opens the closet, opens the room safe, pulls our FOUR BRICKS OF PLASTIC EXPLOSIVE.</scene_description>
<character>ARTHUR</character>
<dialogue>So, if everything's correct, this room should be directly below 528.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY BATHROOM - CONTINUOUS</stage_direction>
<scene_description>Cobb looks reassuringly at Fischer.</scene_description>
<character>COBB</character>
<dialogue>What do you remember from before this dream?</dialogue>
<character>FISCHER</character>
<parenthetical>(thinking)</parenthetical>
<dialogue>Rain... gunfire... Uncle Peter.</dialogue>
<parenthetical>(looks up)</parenthetical>
<dialogue>Christ-we've been kidnapped.</dialogue>
<character>COBB</character>
<dialogue>Where were they holding you?</dialogue>
<character>FISCHER</character>
<dialogue>They had us... in the back of a van...</dialogue>
<character>COBB</character>
<dialogue>Your body's bouncing around in the back of a van right now-that explains the gravity shifts.</dialogue>
<character>FISCHER</character>
<dialogue>It was... to do with a safe... Christ, why's it so hard to remember?</dialogue>
<character>COBB</character>
<dialogue>It's like trying to remember a dream after you've woken up. It takes years of practice to do it easily. So, you and Browning have been pulled into this dream so they can steal something from your mind. What?</dialogue>
<character>FISCHER</character>
<dialogue>They wanted a combination to a safe... they demanded the first numbers to pop into my head.</dialogue>
<character>COBB</character>
<dialogue>That's them extracting a locator.</dialogue>
<character>FISCHER</character>
<dialogue>A locator?</dialogue>
<character>COBB</character>
<dialogue>A number from your own subconscious. It can be used any number of ways...</dialogue>
<parenthetical>(thinking)</parenthetical>
<dialogue>This is a hotel. Room numbers. What was the number you gave them?</dialogue>
<character>FISCHER</character>
<dialogue>5, 2... something... it was a long number. 528... 528, 4 something.</dialogue>
<character>COBB</character>
<parenthetical>(opens phone)</parenthetical>
<dialogue>Well, we know where to start.</dialogue>
<parenthetical>(into phone)</parenthetical>
<dialogue>Fifth floor.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROOM 491 - CONTINUOUS</stage_direction>
<scene_description>Arthur hangs up the phone. He is standing on a chair, attaching the explosives to the ceiling.</scene_description>
<character>ARIADNE</character>
<dialogue>Do you use a timer?</dialogue>
<character>ARTHUR</character>
<dialogue>No, I have to judge it myself. Once you're all asleep up in room 528, I wait 'til Yusuf starts his kick...</dialogue>
<character>ARIADNE</character>
<dialogue>How will you know?</dialogue>
<character>ARTHUR</character>
<dialogue>His music warns me it's coming, then the van hitting the barrier of the bridge should be unmistakable- that's when I blow the floor out from underneath us and we get a nice synchronized kick. Too soon, and we won't get pulled out; too late and I won't be able to drop us.</dialogue>
<character>ARIADNE</character>
<dialogue>Why not?</dialogue>
<character>ARTHUR</character>
<dialogue>The van will be in free fall. I can't drop us with no gravity.</dialogue>
<scene_description>Arthur finishes setting the charges.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>Saito moves through the lobby. Browning is coming in the other direction. Saito assumes him to be Eames.</scene_description>
<character>SAITO</character>
<dialogue>I see you've changed.</dialogue>
<character>BROWNING</character>
<dialogue>I'm sorry?</dialogue>
<scene_description>Eames comes up behind Browning, catching Saito's eye.</scene_description>
<character>SAITO</character>
<dialogue>I'm... I mistook you for a friend.</dialogue>
<character>BROWNING</character>
<dialogue>Good-looking fellow, I'm sure.</dialogue>
<scene_description>Browning moves off. Saito approaches Eames.</scene_description>
<character>EAMES</character>
<dialogue>That's Fischer's projection of Browning. We'll keep an eye on how he behaves-</dialogue>
<character>SAITO</character>
<dialogue>Why?</dialogue>
<character>EAMES</character>
<dialogue>How he acts will tell us if Fischer's starting to suspect his motives the way we want him to.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR, FIFTH FLOOR - MOMENTS LATER</stage_direction>
<scene_description>Cobb leads Fischer around a corner. Arthur and Ariadne are waiting in the corridor.</scene_description>
<character>COBB</character>
<dialogue>They work for me.</dialogue>
<scene_description>Fischer starts looking at room numbers. Stops at 528. Cobb draws his gun, steps back from the door and KICKS it open.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 528 - CONTINUOUS</stage_direction>
<scene_description>Cobb JUMPS into the room, gun up. The room is empty. Arthur and Ariadne search the room. Saito and Eames arrive. Eames shuts the door. Arthur FINDS something-</scene_description>
<character>ARTHUR</character>
<dialogue>Mr. Charles!</dialogue>
<scene_description>Arthur holds up a MECHANISM CASE. Cobb shows it to Fischer.</scene_description>
<character>COBB</character>
<dialogue>You know what this is?</dialogue>
<scene_description>Fischer's eyes roam over the dials and plungers.</scene_description>
<character>FISCHER</character>
<dialogue>I think so. But I don't understand.</dialogue>
<character>COBB</character>
<dialogue>They were going to put you under.</dialogue>
<character>FISCHER</character>
<dialogue>I'm already under.</dialogue>
<character>COBB</character>
<dialogue>Under again.</dialogue>
<character>FISCHER</character>
<dialogue>A dream within a dream?</dialogue>
<character>ARTHUR</character>
<dialogue>Shhhh!</dialogue>
<scene_description>Arthur is at the door. Someone is there. A key goes into the lock- the door starts to open- Arthur REACHES OVER and GRABS the person entering, THROWS THEM TO THE FLOOR- puts his gun in their face. IT IS BROWNING. Fischer stares, disbelieving, at his own godfather.</scene_description>
<character>FISCHER</character>
<dialogue>Uncle Peter. What's going on?</dialogue>
<scene_description>Cobb pulls the key from Browning's hand: ROOM 528.</scene_description>
<character>COBB</character>
<dialogue>You said you were kidnapped together?</dialogue>
<character>FISCHER</character>
<dialogue>Not exactly, they already had him. They'd been torturing him...</dialogue>
<character>COBB</character>
<dialogue>You saw them torture him?</dialogue>
<scene_description>Fischer shakes his head. Looks at Browning. Thinking.</scene_description>
<character>FISCHER</character>
<dialogue>The kidnappers are working for you.</dialogue>
<character>BROWNING</character>
<dialogue>No, Robert-</dialogue>
<character>FISCHER</character>
<dialogue>You're trying to get that safe open. To get the alternate will.</dialogue>
<scene_description>Browning looks up at Fischer.</scene_description>
<character>BROWNING</character>
<dialogue>Fischer Morrow's been my entire life. I can't let you destroy it.</dialogue>
<character>FISCHER</character>
<dialogue>I'm not going to throw away my inheritance. Why would I?</dialogue>
<character>BROWNING</character>
<dialogue>I couldn't take the chance of you rising to your father's final taunt.</dialogue>
<character>FISCHER</character>
<dialogue>What taunt?</dialogue>
<character>BROWNING</character>
<dialogue>That will. I'm sorry, Robert, but it's his final insult. A challenge to build something for yourself. He's telling you that you aren't worthy of his achievements.</dialogue>
<scene_description>Fischer takes this in. Devastated.</scene_description>
<character>FISCHER</character>
<dialogue>That he was "disappointed?"</dialogue>
<character>BROWNING</character>
<dialogue>I'm so sorry. But he was wrong. You'll make his company even greater than he ever could.</dialogue>
<character>COBB</character>
<dialogue>Your godfather's lying, Robert.</dialogue>
<scene_description>Fischer turns to Cobb.</scene_description>
<character>FISCHER</character>
<dialogue>How do you know?</dialogue>
<character>COBB</character>
<dialogue>It's what I do. He's hiding something.</dialogue>
<scene_description>Cobb looks at Browning.</scene_description>
<character>COBB</character>
<dialogue>Let's find out what.</dialogue>
<scene_description>Cobb nods at Arthur, who starts unpacking the mechanism. Browning watches. Silent.</scene_description>
<character>COBB</character>
<dialogue>Let's do to him what he was going to do to you.</dialogue>
<scene_description>Cobb rolls up his sleeve. Nods at Fischer to do the same.</scene_description>
<character>COBB</character>
<dialogue>We'll penetrate his subconscious and find out what he doesn't want you to know.</dialogue>
<scene_description>Fischer looks Cobb in the eye. Decides- rolls up his sleeve, offering his bare arm. The team run tubes to each other- Arthur injects Fischer, whose head slumps.</scene_description>
<character>ARTHUR</character>
<dialogue>He's out.</dialogue>
<character>ARIADNE</character>
<dialogue>Wait, Cobb-I'm lost. Whose subconscious are we going into?</dialogue>
<character>COBB</character>
<dialogue>Fischer's. I told him it was Browning's so he'd come with us as part of our team.</dialogue>
<character>ARTHUR</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>He's going to help us break into his own subconscious.</dialogue>
<character>COBB</character>
<dialogue>That's the idea. He'll think that his security is Browning's and fight them to learn the truth about his father.</dialogue>
<scene_description>Arthur hits buttons on the mechanism. The team goes out one by one. Cobb is last.</scene_description>
<character>COBB</character>
<dialogue>Fischer's subconscious is going to run you down hard.</dialogue>
<character>ARTHUR</character>
<dialogue>I'll lead them on a merry chase.</dialogue>
<character>COBB</character>
<dialogue>Be back in time for the kick.</dialogue>
<character>ARTHUR</character>
<dialogue>I'm on it.</dialogue>
<scene_description>Cobb is no longer listening- he stares at the net curtains, BILLOWING like those in Mal's suite- a GLIMPSE of someone (Mal?) As the screen goes WHITE, and we are-</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - DAY</stage_direction>
<scene_description>CLOSE ON Cobb's face, staring. Fixed.</scene_description>
<character>ARIADNE (O.S.)</character>
<dialogue>Cobb? Cobb?</dialogue>
<scene_description>Ariadne is beside him. They stand on a cliff, dressed in white snowsuits, carrying white-painted weapons like WWII commandos. Cobb checks his SNIPER RIFLE, examines their objective: a massive FORTIFIED MEDICAL FACILITY a mile below.</scene_description>
<character>ARIADNE</character>
<dialogue>What's down there?</dialogue>
<character>COBB</character>
<dialogue>Hopefully, the truth we want Fischer to learn.</dialogue>
<character>ARIADNE</character>
<dialogue>I meant what's down there for you?</dialogue>
<scene_description>Cobb turns to her. Eames, Saito and Fischer arrive, SKIING down from the hill above. Cobb pulls Eames out of Fischer's earshot.</scene_description>
<character>COBB</character>
<dialogue>You're the dreamer. I need you to draw the security away from the complex.</dialogue>
<character>EAMES</character>
<dialogue>Then who guides Fischer in? You?</dialogue>
<character>COBB</character>
<dialogue>If I know the route... we could be compromised.</dialogue>
<scene_description>Eames looks as Cobb, uneasy. Ariadne comes over.</scene_description>
<character>ARIADNE</character>
<dialogue>I designed the place.</dialogue>
<character>COBB</character>
<dialogue>No. You're with me.</dialogue>
<character>SAITO (O.S.)</character>
<dialogue>I could do it.</dialogue>
<scene_description>They turn to Saito. Saito shrugs at Eames. Eames smiles.</scene_description>
<character>COBB</character>
<dialogue>Eames, brief Saito on the route into the complex. What we're looking for is going to be in the most heavily fortified section. That north tower.</dialogue>
<scene_description>Cobb moves to Fischer. Saito COUGHS. SPITS. Eames sees BLOOD on the snow. Looks at Saito.</scene_description>
<character>COBB</character>
<dialogue>Mr. Fischer, you're going in with Mr. Saito.</dialogue>
<character>FISCHER</character>
<dialogue>You're not coming in?</dialogue>
<character>COBB</character>
<dialogue>You have to do this on your own. You have to get in there, break into your godfather's mind and find out the truth about your father.</dialogue>
<scene_description>Cobb taps Fischer's radio mike.</scene_description>
<character>COBB</character>
<dialogue>Keep this live at all times. I'll be listening in, covering you.</dialogue>
<parenthetical>(holds up the sniper rifle)</parenthetical>
<dialogue>The windows on the upper floors are big enough that I can cover you from that south tower.</dialogue>
<scene_description>Cobb slips into his skis, shoulders his rifle. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 528 - NIGHT</stage_direction>
<scene_description>Arthur checks the mechanism. He hears LOW BOOMS like thunder. He checks his watch- THE SECOND HAND CRAWLS FORWARDS. With a last look at the sleepers, he heads out into the corridor...</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY</stage_direction>
<scene_description>A GUNSHOT slams into the van as Yusuf DRIVES- he glances back to see a MOTORCYCLE pulling up behind him, the REAR PASSENGER FIRING A SHOTGUN- the bike pulls alongside Yusuf's window as the passenger RELOADS- Yusuf YANKS the wheel TOWARDS the bike, bringing the shotgun barrel into the cab so he can GRAB it, spin the wheel back- PULLING the passenger from the back of the bike... Yusuf turns a corner, heading into a disused MARKET-</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Arthur walks towards the elevator. It OPENS- a SECURITY MAN emerges, heading right for him. Arthur takes a TURN, speeding up. The BOOMS are louder, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY</stage_direction>
<scene_description>The bike crosses behind the van, catching up again as the driver pulls a handgun and starts BLASTING. Up ahead, an S.U.V. sits in a side road, lining up to head off the van- the SECURITY MAN driving the S.U.V. guns it, as the bike creeps up on the other side of the van- Yusuf HITS THE BRAKES, forcing the bike out into the path of the S.U.V., tossing the rider like a rag doll- Heading out of the market, the van races onto a FREEWAY ON RAMP, approaching the BRIDGE. An S.U.V. SMASHES into the van's side, FORCING it up against a CRASH BARRIER... the van starts to SLOWLY TILT OVER THE BARRIER as the S.U.V. PUSHES- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction>
<scene_description>As Arthur hurries down the corridor, the corridor starts to TILT, and Arthur is forced to run UP ONTO THE WALL- he rounds a corner- STRAIGHT INTO another Security Man- Arthur HEAD BUTTS him and they STRUGGLE- as they struggle, the corridor SPINS around, THROWING THEM UP ONTO THE WALLS, THE CEILING- as wall becomes floor they DROP through a door into-</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - CONTINUOUS</stage_direction>
<scene_description>The fight continues all over the spinning room- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY OFF RAMP NEAR BRIDGE - DAY</stage_direction>
<scene_description>SLEEPING ARTHUR BOUNCES around as the van TILTS, SCRAPING along the barrier- the van CLEARS THE END OF THE BARRIER AND ROLLS DOWN THE EMBANKMENT, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction>
<scene_description>Arthur and the Security Man DROP to the floor, Arthur on top. Arthur gets up- heads to the stairwell.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY STREETS NEAR BRIDGE - DAY</stage_direction>
<scene_description>The van SETTLES with a thump. Yusuf BREATHES hard. Then SMILES as he realizes he is in one piece. A RINGING BELL up ahead makes him look up to the bridge, where the barriers are starting to come down. Yusuf checks his watch-</scene_description>
<character>YUSUF</character>
<dialogue>Bugger.</dialogue>
<scene_description>Yusuf hits the gas, heading for the bridge. An S.U.V. lines up behind him, trying to catch up before the van crosses the barrier onto the bridge- The van JUST MAKES IT- the S.U.V. behind RIPS its read axle off, SCRAPING to a halt on the rising section. The Security Man inside starts FIRING on the van...</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL STAIRWELL - CONTINUOUS</stage_direction>
<scene_description>Arthur RACES down the steps- OPENS the door to the fourth floor- spots SECURITY MEN outside room 491.</scene_description>
<character>ARTHUR</character>
<dialogue>Hey!</dialogue>
<scene_description>They TURN- he DARTS back into the stairwell- RACES down the stairs- the Security Men follow- they start SHOOTING, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - DAY</stage_direction>
<scene_description>Eames SKIS down within sight of the hospital complex. He reaches into his pack and lets off a FLARE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Security Men on the ramparts spot the flare and send PATROLS out on skis and SNOWMOBILES to investigate.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames watches them close in, then launches himself down the mountain, STREAKING across the icy slope, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY RISING BRIDGE - DAY</stage_direction>
<scene_description>Yusuf PULLS FORWARD, looking over his shoulder to line up a BACKWARDS RUN at the edge. He DUCKS as vicious FIRE from the S.U.V. HAMMERS the vehicle. He looks at his watch. The SECOND HAND TICKING SLOWLY...</scene_description>
<character>YUSUF</character>
<dialogue>Sod it. I hope your ready.</dialogue>
<scene_description>He grabs an MP3 player and reaches into the back to place HEADPHONES on sleeping Arthur's head. As he does so, he notices Saito's bandage BLEEDING THROUGH. Yusuf hits PLAY- Edith Piaf's "Non, je ne regrette rien" starts up and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL STAIRWELL - NIGHT</stage_direction>
<scene_description>Arthur STOPS, hearing something- MASSIVE LOW-END MUSICAL TONES- he looks up PANICKED-</scene_description>
<character>ARTHUR</character>
<dialogue>No, Yusuf. Too soon!</dialogue>
<scene_description>SHOTS slam into the stairs around him and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - DAY</stage_direction>
<scene_description>Cobb and Ariadne make their way down towards the complex.</scene_description>
<character>EAMES (OVER RADIO)</character>
<dialogue>Cobb? Are you hearing that?</dialogue>
<scene_description>Cobb listens. The wind sounds unusually LOW.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames is hidden at the base of some trees, whispering as a patrol passes beneath his position.</scene_description>
<character>EAMES</character>
<dialogue>I noticed it twenty minutes ago-at first I thought it was just wind...</dialogue>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Cobb is listening intently. The "wind" changes pitch.</scene_description>
<character>COBB</character>
<dialogue>No, it's music. Dammit.</dialogue>
<character>EAMES (OVER RADIO)</character>
<dialogue>What do we do?</dialogue>
<character>COBB</character>
<dialogue>We move fast. Saito, did you copy?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOUNTAINS, THE OTHER SIDE OF THE COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito and Fischer CLIMB down a CLIFF FACE above the complex-</scene_description>
<character>SAITO</character>
<dialogue>We're going as fast as we can.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Ariadne looks at Cobb, concerned.</scene_description>
<character>ARIADNE</character>
<dialogue>How long do we have?</dialogue>
<character>COBB</character>
<dialogue>Yusuf's about ten seconds from the jump, which gives Arthur about three minutes, which gives us about-</dialogue>
<character>ARIADNE</character>
<dialogue>Sixty minutes.</dialogue>
<character>COBB</character>
<dialogue>The route you gave them, can they do it in under an hour?</dialogue>
<character>ARIADNE</character>
<dialogue>I don't think so. They've still got to climb down to the middle terrace.</dialogue>
<character>COBB</character>
<dialogue>They need a new route-a direct route.</dialogue>
<character>ARIADNE</character>
<dialogue>The building's designed as a labyrinth.</dialogue>
<character>COBB</character>
<dialogue>There must be access routes that cut through the maze.</dialogue>
<parenthetical>(into radio)</parenthetical>
<dialogue>Eames?</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames cannot answer- he SLALOMS through the forest, Sub- security in hot pursuit, bullets smashing into the trunks...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Cobb turns to Ariadne.</scene_description>
<character>COBB</character>
<dialogue>Did Eames add any features?</dialogue>
<character>ARIADNE</character>
<dialogue>Yes.</dialogue>
<character>COBB</character>
<dialogue>What did he add?</dialogue>
<scene_description>Ariadne looks at Cobb.</scene_description>
<character>ARIADNE</character>
<dialogue>I shouldn't tell you. If Mal-</dialogue>
<character>COBB</character>
<dialogue>There's no time-what did he add?</dialogue>
<character>ARIADNE</character>
<dialogue>Utility closets, trap doors...</dialogue>
<character>COBB</character>
<dialogue>What about service features? Did he add any large pipes or-</dialogue>
<character>ARIADNE</character>
<dialogue>Ducts. He added an air duct system- it doesn't follow the maze. They can use it to go straight from the outer walls to the upper tower.</dialogue>
<character>COBB</character>
<dialogue>Explain it to them.</dialogue>
<character>ARIADNE</character>
<parenthetical>(into radio)</parenthetical>
<dialogue>Saito?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito is using a hammer to tap in a belay.</scene_description>
<character>SAITO</character>
<dialogue>Go ahead.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY RAISED BRIDGE - DAY</stage_direction>
<scene_description>Yusuf looks at the Security Man in the S.U.V., gives him the finger and hits the GAS- RACING BACKWARDS at the barrier... and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL STAIRWAY - NIGHT</stage_direction>
<scene_description>Arthur RUNS UP the stairs, gun in hand- rounds a corner and- IMPOSSIBLY- arrives behind the Security Man, who looks at him, CONFUSED, then looks down to realize he is now at the edge of a dangerous drop- Arthur shrugs.</scene_description>
<character>ARTHUR</character>
<dialogue>Paradox.</dialogue>
<scene_description>Arthur PUSHES him over the edge- he falls- Arthur races up to the fourth floor- throws open the door- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN ON RAINY RAISED BRIDGE - DAY</stage_direction>
<scene_description>In SLOW MOTION- the van SMASHES THROUGH THE CONCRETE BARRIER- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction>
<scene_description>Arthur is SPRINTING down the corridor when a TREMENDOUS CRASH sends him FLYING into the air- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - DAY</stage_direction>
<scene_description>A MASSIVE RUMBLE prompts Cobb to look across the valley-</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames shoots out of the trees, then FALLS to the snow as he sees a great CRACKING up ahead- the SLOPE IS FALLING AWAY IN AN AVALANCHE-</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito hears the RUMBLE above them. He looks down, Fischer is below, near the bottom of the sheer face-</scene_description>
<character>SAITO</character>
<dialogue>Look out!</dialogue>
<scene_description>Saito CUTS the rope- they FALL- HIT the icy face and SLIDE down the slope, clearing the path of the avalanche- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN - DAY</stage_direction>
<scene_description>In EXTREME SLOW MOTION, the van emerges from the concrete balustrade and starts FALLING- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction>
<scene_description>Arthur is still FLYING through the corridor, NOT LANDING- GRAVITY HAS DISAPPEARED... he scrambles for a handhold, GRABBING a sconce- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - DAY</stage_direction>
<scene_description>Cobb watches the avalanche cloud slide past the complex.</scene_description>
<character>ARIADNE</character>
<dialogue>What was that?</dialogue>
<character>COBB</character>
<dialogue>The kick.</dialogue>
<character>EAMES (OVER RADIO)</character>
<dialogue>Cobb? Did we miss it?</dialogue>
<character>COBB</character>
<dialogue>Yeah, we missed it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames is lying on the snow.</scene_description>
<character>EAMES</character>
<dialogue>What the hell do we do now?</dialogue>
<character>COBB (OVER RADIO)</character>
<dialogue>Finish the job before the next kick.</dialogue>
<character>EAMES</character>
<dialogue>What next kick?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Cobb looks at Ariadne as he talks into the radio.</scene_description>
<character>COBB</character>
<dialogue>When the van hits the water. I figure Arthur's got a couple minutes and we've got about twenty.</dialogue>
<scene_description>Cobb and Ariadne MOVE towards the base of the complex.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito and Fischer RUN around the base of the building. They find a large EXHAUST PORT. Lay a charge on the GRILL. They blow the charge. Climb into the open vent.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN - DAY</stage_direction>
<scene_description>In EXTREME SLOW MOTION, the van seems SUSPENDED IN MID-AIR TEN STORIES ABOVE THE RIVER... and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction>
<scene_description>In ZERO GRAVITY, Arthur pulls himself to the door of 491, opens it. He looks at the charges planted on the ceiling.</scene_description>
<character>ARTHUR</character>
<dialogue>How the hell do I drop you?</dialogue>
<scene_description>He PULLS the charges from the ceiling. Hurrying. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito and Fischer hurry through the duct system. Saito is falling behind, coughing up blood.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPPER TERRACE, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Cobb GRABS a Security Guard from behind, strangling him unconscious. He beckons to Ariadne, covering her as she runs towards him. They enter the base of the south tower.</scene_description>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>A guard is manning the tower. Cobb and Ariadne enter- Cobb SHOOTS the guard and moves to the window.</scene_description>
<character>ARIADNE</character>
<parenthetical>(she points)</parenthetical>
<dialogue>That's the antechamber outside the strongroom.</dialogue>
<scene_description>Cobb looks at the large windows of the antechamber.</scene_description>
<character>COBB</character>
<dialogue>What about the strongroom? Doesn't it have any windows?</dialogue>
<character>ARIADNE</character>
<dialogue>Wouldn't be very strong if it did.</dialogue>
<parenthetical>(off look)</parenthetical>
<dialogue>Look, if you wanted to design it yourself-</dialogue>
<character>COBB</character>
<dialogue>It's fine. Better hope that we like what Fischer finds in there.</dialogue>
<scene_description>Cobb sets up his sniper rifle. Through the scope he can see three guards on the balcony outside the chamber. Three more inside. Cobb casually picks them off with his rifle. Ariadne watches through binoculars, appalled.</scene_description>
<character>ARIADNE</character>
<dialogue>These projections, they're part of his subconscious?</dialogue>
<character>COBB</character>
<dialogue>Yeah.</dialogue>
<character>ARIADNE</character>
<dialogue>Are you destroying those parts of his mind?</dialogue>
<character>COBB</character>
<dialogue>No, of course not. They're just projections.</dialogue>
<character>EAMES (OVER RADIO)</character>
<dialogue>Cobb? Something's wrong?</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames is watching the patrols HEAD BACK towards the complex.</scene_description>
<character>EAMES</character>
<dialogue>They're heading your way. Like they know something.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Cobb hears this. Concerned.</scene_description>
<character>COBB</character>
<dialogue>Buy us some time.</dialogue>
<character>EAMES (OVER RADIO)</character>
<dialogue>On my way.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS</stage_direction>
<scene_description>Eames TAKES OFF towards the base of the complex. And we= CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 528 - NIGHT</stage_direction>
<scene_description>Arthur FLOATS into the room. The SLEEPERS are floating, loosely connected by their tubes. Arthur looks at them, MIND RACING. He PULLS Cobb towards Eames, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - DAY</stage_direction>
<scene_description>Saito and Fischer approach the grate covering the exit to the anteroom. Saito SLUMPS to the floor of the duct, pulls out his radio. Fischer looks at him- he is PALE, SHIVERING. Fischer takes the radio, WHISPERS into it.</scene_description>
<character>FISCHER</character>
<parenthetical>(into radio)</parenthetical>
<dialogue>We're here. Are we clear to proceed?</dialogue>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEC - CONTINUOUS</stage_direction>
<scene_description>Cobb SCANS the anteroom through the scope-it looks clear.</scene_description>
<character>COBB</character>
<dialogue>You're clear, but hurry-there's an army headed your way...</dialogue>
<scene_description>Ariadne watches the patrols approaching the complex...</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>The SQUELCH from the radio is too loud- Fischer GRABS it and turns the volume to zero as he starts to remove the grate...</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF THE HOPISTAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Eames is setting MINES along the LOWEST WALL of the structure. He moves carefully-there is a SHEER DROP below the wall...</scene_description>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Cobb SPOTS something through his scope. Something above the main windows, glimpsed through the side of the skylight.</scene_description>
<character>COBB</character>
<dialogue>Shit. There's someone else in there.</dialogue>
<scene_description>Cobb prepares to fire. Ariadne GRABS the radio-</scene_description>
<character>ARIADNE</character>
<dialogue>Fischer, stop! It's a trap!-</dialogue>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Fischer does not see the flashing light on his radio as he carefully lifts the grate. He motions for Saito to stay...</scene_description>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Cobb TENSES to fire.</scene_description>
<character>COBB</character>
<dialogue>Come on... a little lower... a little-</dialogue>
<scene_description>COBB FREEZES- IT IS MAL IN HIS SIGHTS. Ariadne puts up her binoculars. Spots Mal. Fischer is climbing out of the vent...</scene_description>
<character>ARIADNE</character>
<dialogue>Cobb, that's not really her-</dialogue>
<scene_description>Cobb turns to her-</scene_description>
<character>COBB</character>
<dialogue>How can you know that?</dialogue>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - CONTINUOUS</stage_direction>
<scene_description>Fischer moves into the antechamber, cautious-</scene_description>
<character>FISCHER</character>
<dialogue>I'm in.</dialogue>
<scene_description>Fischer turns up the volume-</scene_description>
<character>ARIADNE (OVER RADIO)</character>
<dialogue>Fischer, look out!-</dialogue>
<scene_description>Mal DROPS gracefully to the floor behind him-</scene_description>
<character>MAL</character>
<dialogue>Hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Cobb looks at Ariadne-</scene_description>
<character>ARIADNE</character>
<dialogue>Cobb, she's just a projection. Fischer... he's real.</dialogue>
<scene_description>Cobb thinks. Nods, TURNS back to the scope- too late- MAL SHOOTS FISCHER- Cobb reflexively pulls the trigger- Mal GOES DOWN- Cobb steps back from the scope, STUNNED.</scene_description>
<character>ARIADNE</character>
<dialogue>Eames? Get to the anteroom now!</dialogue>
<scene_description>They run for the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito STARTS as he hears the shot. He starts edging forwards, clutching his belly. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM 528 - NIGHT</stage_direction>
<scene_description>The sleepers are floating in a rough stack, top-and-tailed. Arthur pulls the bedding from the bed and uses the sheet to bind the sleepers together. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN - DAY</stage_direction>
<scene_description>In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still high above the river... and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - NIGHT</stage_direction>
<scene_description>Arthur PUSHES the floating stack of sleepers to the elevator. He hits the button- the doors open- he pushes them in- GRABS the charges- climbs through the hatch in the ceiling and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - DAY</stage_direction>
<scene_description>Eames steps over Saito, who looks up at him with DYING eyes-</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER, HOSPITAL CORRIDOR - DAY</stage_direction>
<scene_description>Eames jumps out of the vent to find Cobb and Ariadne standing over the bodies of Fischer and Mal.</scene_description>
<character>EAMES</character>
<dialogue>What happened?</dialogue>
<character>ARIADNE</character>
<dialogue>Mal killed Fischer-</dialogue>
<character>COBB</character>
<dialogue>I wouldn't shoot her.</dialogue>
<scene_description>Eames grabs a defibrillator from the wall and pulls Fischer's jacket open-</scene_description>
<character>COBB</character>
<dialogue>It won't do any good-</dialogue>
<scene_description>Eames SHOCKS Fischer's chest...</scene_description>
<character>COBB</character>
<dialogue>Even if you could revive his body, his mind's trapped down there. It's over.</dialogue>
<scene_description>Eames listens for a pulse. Looks up at Cobb.</scene_description>
<character>EAMES</character>
<dialogue>So that it, then? We failed.</dialogue>
<character>COBB</character>
<dialogue>I'm sorry.</dialogue>
<character>EAMES</character>
<dialogue>It's you who doesn't get back to your family.</dialogue>
<scene_description>Eames looks down at Fischer. Then over to the double doors.</scene_description>
<character>EAMES</character>
<dialogue>I wanted to know what was going to happen in there. I think we had this one.</dialogue>
<character>ARIADNE</character>
<dialogue>There's still a way: We follow Fischer down-</dialogue>
<scene_description>They look at her.</scene_description>
<character>EAMES</character>
<dialogue>We're almost out of time-</dialogue>
<character>ARIADNE</character>
<dialogue>Down there they'll be enough time. We'll find him-soon as you hear Arthur's music start, you use the defibrillator to revive him-we give him his own early kick from below.</dialogue>
<character>ARIADNE</character>
<dialogue>Get him in there-</dialogue>
<parenthetical>(points to doors)</parenthetical>
<dialogue>Then, as the music ends you blow the hospital and we all ride the kick back up through the layers.</dialogue>
<scene_description>Eames looks at her, then to Cobb.</scene_description>
<character>EAMES</character>
<dialogue>Okay, Saito can hold them off while I plant the rest of the charges.</dialogue>
<character>COBB</character>
<dialogue>Saito's not going to last, Eames.</dialogue>
<character>ARIADNE</character>
<dialogue>We have to try!</dialogue>
<character>EAMES</character>
<dialogue>Go for it, but I'm taking the kick whether you're back or not...</dialogue>
<scene_description>Eames pulls the mechanism from his pack. Offers it to Ariadne. Cobb watches. Silent. Ariadne pulls out the tubes-</scene_description>
<character>ARIADNE</character>
<dialogue>Can I trust you to do what's needed? Mal's down there-</dialogue>
<character>COBB</character>
<dialogue>And I can find her. She'll have Fischer.</dialogue>
<character>ARIADNE</character>
<dialogue>How do you know?</dialogue>
<character>COBB</character>
<dialogue>She wants me to come after him. She wants me back down there with her.</dialogue>
<scene_description>Cobb rolls up his sleeve. Ariadne rolls up her own sleeve. Eames NODS. Cobb and Ariadne lie down. Eames hits the button- WATER. BUBBLES. DROWNING. And we are-</scene_description>
</scene>
<scene>
<stage_direction>EXT. COAST (LIMBO) - DAY</stage_direction>
<scene_description>Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A tremendous BOOM prompts her to look around her- URBAN BUILDINGS PILED right down to the water. The buildings are DECAYING, falling into the ocean like a GLACIER calving. Cobb WADES towards her through the shallow water. Ariadne looks up at the crumbling city around them.</scene_description>
<character>ARIADNE</character>
<dialogue>This is your world?</dialogue>
<character>COBB</character>
<dialogue>It was. And this is where she'll be.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR SHAFT - DAY</stage_direction>
<scene_description>Arthur floats on top of the elevator, planting small charges on the EMERGENCY BRAKES and CABLE. He sets them, GRABS the other explosives, then PUSHES AWAY, shooting up the shaft. As he hits the DETONATOR, BLASTING the braking and safety systems of the elevator, we move into SLOW MOTION, the fireballs FLAMING OUT in graceful licks and we- DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - DAY</stage_direction>
<scene_description>Eames RACES around, full speed- getting the defibrillator paddles- laying them by Fischer's body- he runs into the duct- pulls Saito up to a seated position and hands him a handgun.</scene_description>
<character>EAMES</character>
<dialogue>Come on, Saito. I need you to cover Fischer while I plant the charges.</dialogue>
<scene_description>Saito nods weakly, tries to hold the gun. Eames moves to the window- pulls his machine gun off- checks its load. Ready. He watches the security patrols climb up the outer walls... Eames lays down a HAIL of covering fire- then heads outside-</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Eames races along the upper terrace dodging fire- BULLETS SHATTER a window behind him and we move into SLOW MOTION, the glass CASCADING GENTLY and we- DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. COAST (LIMBO)- DAY</stage_direction>
<scene_description>Cobb and Ariadne climb out of the waves, full speed. They move into the shadow of the tall, crumbling buildings. The streets are eerily DESERTED. As they move further in, the buildings become NEWER, different. Ariadne marvels at the extraordinary collection of buildings- every architectural style imaginable in waves of FAILED UTOPIAS.</scene_description>
<character>ARIADNE</character>
<dialogue>You built all this?</dialogue>
<character>COBB</character>
<dialogue>We both did.</dialogue>
<character>ARIADNE</character>
<dialogue>It's incredible.</dialogue>
<character>COBB</character>
<dialogue>We built for years. Then, when that got stale, we started in on the memories.</dialogue>
<scene_description>A child's SHOUT echoes through the deserted canyons, prompting Cobb to look down a side street: a LITTLE BLONDE BOY crouched, his back to us. A LITTLE BLONDE GIRL joins the boy, and, as Cobb turns down the street, they run off. Cobb and Ariadne emerge into a peculiar SQUARE lined with an eclectic mix of buildings, from APARTMENT BLOCKS to HOUSES.</scene_description>
<character>COBB</character>
<dialogue>This is our neighborhood.</dialogue>
<character>ARIADNE</character>
<parenthetical>(confused)</parenthetical>
<dialogue>From what city?</dialogue>
<character>COBB</character>
<dialogue>No. Our neighborhood.</dialogue>
<parenthetical>(pointing)</parenthetical>
<dialogue>That was our first apartment... then we moved to that building... we got that small house when Mal became pregnant.</dialogue>
<character>ARIADNE</character>
<dialogue>You reconstructed them all from memory?</dialogue>
<character>COBB</character>
<dialogue>We had time.</dialogue>
<scene_description>Cobb pauses in front of a French country house. Staring.</scene_description>
<character>ARIADNE</character>
<dialogue>What's that?</dialogue>
<character>COBB</character>
<dialogue>The house Mal grew up in.</dialogue>
<character>ARIADNE</character>
<dialogue>Will she be in there?</dialogue>
<character>COBB</character>
<dialogue>No. Come on-</dialogue>
<scene_description>Cobb leads Ariadne to the entrance of a glass skyscraper.</scene_description>
</scene>
<scene>
<stage_direction>INT. SKYSCRAPER LOBBY (LIMBO) - CONTINUOUS</stage_direction>
<scene_description>Cobb leads Ariadne across the gleaming lobby to the elevators.</scene_description>
<character>COBB</character>
<dialogue>We both wanted a house, but we both loved skyscrapers. In the real world we had to choose. Not here.</dialogue>
</scene>
<scene>
<stage_direction>INT. SKYSCRAPER ELEVATOR (LIMBO) - CONTINUOUS</stage_direction>
<scene_description>Cobb pulls out his handgun, and a ziplock bag full of bullets.</scene_description>
<character>ARIADNE</character>
<dialogue>How do we send Fischer back?</dialogue>
<character>COBB</character>
<dialogue>We need some kind of kick.</dialogue>
<character>ARIADNE</character>
<dialogue>What?</dialogue>
<character>COBB</character>
<dialogue>I'll improvise.</dialogue>
<scene_description>Cobb COCKS his weapon, and the ELEVATOR STOPS. The doors open. Ariadne moves to exit, Cobb stops her.</scene_description>
<character>COBB</character>
<dialogue>There's something you have to understand about me. About inception. You see, an idea is like a virus...</dialogue>
<scene_description>Cobb leads her out of the lift...</scene_description>
</scene>
<scene>
<stage_direction>INT. PENTHOUSE (LIMBO) - CONTINUOUS</stage_direction>
<scene_description>Cobb and Ariadne step off the lift and into the incongruous interior of a craftsman house. They cautiously move down the corridor towards the back of the house...</scene_description>
<character>COBB</character>
<dialogue>Resilient...</dialogue>
<parenthetical>(turns to Ariadne)</parenthetical>
<dialogue>Highly contagious, and an idea can grow. The smallest seed of an idea can grow to define or destroy your world...</dialogue>
<scene_description>Cobb is staring into the kitchen. Mal is sitting at the table, back to them, staring out at the porch- the TOWERS of Limbo stretching off behind it.</scene_description>
<character>MAL</character>
<dialogue>The smallest idea, such as... "Your world is not real."</dialogue>
<scene_description>Cobb hands Ariadne his gun and moves towards Mal.</scene_description>
<character>MAL</character>
<dialogue>A simple little thought that changes everything...</dialogue>
<scene_description>Ariadne watches as Cobb sits down beside Mal. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR SHAFT - NIGHT</stage_direction>
<scene_description>Arthur FLIES back down the shaft to the top of the elevator, SQUEEZES past the car to the bottom and starts to set the MAIN CHARGES ACROSS THE BOTTOM OF THE CAR, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>Cobb touches Mal's arm- she TURNS, angry. It is only now that we see that she holds a CARVING KNIFE. Mal looks at Ariadne.</scene_description>
<character>MAL</character>
<dialogue>So certain of your world. Of what's real. Do you think he is-</dialogue>
<parenthetical>(points at Cobb)</parenthetical>
<dialogue>Or do you think he's as lost as I was?</dialogue>
<character>COBB</character>
<dialogue>I know what's real.</dialogue>
<character>MAL</character>
<dialogue>What are the distinguishing characteristics of a dream? Mutable laws of physics? Tell that to the quantum physicists. Reappearance of the dead? What about heaven and hell? Persecution of the dreamer, the creator, the messiah? They crucified Christ, didn't they?</dialogue>
<character>COBB</character>
<dialogue>I know what's real.</dialogue>
<character>MAL</character>
<dialogue>No creeping doubts? Not feeling persecuted, Dom? Chased around the globe by anonymous corporations and police forces? The way the projections persecute the dreamer?</dialogue>
<scene_description>Mal puts her hand on his face. Pitying.</scene_description>
<character>MAL</character>
<dialogue>Admit it, Dom. You don't believe in one reality anymore. So choose. Choose your reality like I did. Choose to be here. Choose me.</dialogue>
<character>COBB</character>
<parenthetical>(rising anger)</parenthetical>
<dialogue>I have chosen, Mal. Our children. I have to get back to them. Because you left them. You left us.</dialogue>
<character>MAL</character>
<dialogue>You're wrong, Dom. You're confused... our children are here-</dialogue>
<scene_description>A child's SHOUT draws Cobb- James CROUCHES on the porch, back to us. Philippa joins him, also turned away. Cobb watches, moved. Mal leans in close.</scene_description>
<character>MAL</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>And you'd like to see their faces again, wouldn't you, Dom?</dialogue>
<character>COBB</character>
<dialogue>Our real children are waiting for me up above.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
<scene_description>Arthur scrambles to arrange the sleepers on the floor of the car- as his hand comes away from Saito, he sees BLOOD on it. He looks at Saito's belly- the blood is coming through his shirt. Arthur sticks headphones on sleeping Eames, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL FORTRESS - DAY</stage_direction>
<scene_description>Eames throws a GRENADE, blowing up the security forces trying to ascend the terraces. He DUCKS to the ground to avoid HEAVY FIRE- starts unpacking the charges and setting them along the base of the terraces-</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito looks up as he hears a Security Guard climbing through the duct... he raises his gun, TREMBLING with weakness... And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>Mal laughs at Cobb.</scene_description>
<character>MAL</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Up above? Listen to yourself. You judged me for believing the very same thing.</dialogue>
<scene_description>Mal points at the children-</scene_description>
<character>MAL</character>
<dialogue>These are our children. Watch.</dialogue>
<parenthetical>(turns to the kids)</parenthetical>
<dialogue>Hey, James! Philippa?!</dialogue>
<scene_description>The children START TO TURN to us- BUT COBB CLOSES HIS EYES.</scene_description>
<character>COBB</character>
<dialogue>They're not real, Mal. Our real children are waiting for us-</dialogue>
<scene_description>The children run off. Cobb opens his eyes.</scene_description>
<character>MAL</character>
<dialogue>You keep telling yourself that but you don't believe it-</dialogue>
<character>COBB</character>
<dialogue>I know it-</dialogue>
<character>MAL</character>
<dialogue>And what if you're wrong? What if I'm what's real?</dialogue>
<scene_description>Cobb is silent.</scene_description>
<character>MAL</character>
<dialogue>You keep telling yourself what you know... but what do you believe? What do you feel?</dialogue>
<scene_description>Cobb looks at Mal. Struggling.</scene_description>
<character>COBB</character>
<dialogue>Guilt. I feel guilt. And however confused I might get.</dialogue>
<character>COBB</character>
<dialogue>However lost I might seem... it's always there. Telling me something. Reminding me of the truth.</dialogue>
<character>MAL</character>
<dialogue>What truth?</dialogue>
<character>COBB</character>
<dialogue>That you were wrong to doubt our world. That the idea that drove you to question your reality was a lie...</dialogue>
<character>MAL</character>
<dialogue>How could you know it was a lie?</dialogue>
<character>COBB</character>
<dialogue>Because it was my lie.</dialogue>
<character>MAL</character>
<parenthetical>(realizing)</parenthetical>
<dialogue>Because you planted the idea in my mind.</dialogue>
<character>COBB</character>
<dialogue>Because I performed inception on my own wife, then reaped the bitter rewards...</dialogue>
<character>ARIADNE</character>
<dialogue>Why?</dialogue>
<character>COBB</character>
<dialogue>We'd become lost in here. Living in a world of infinite possibilities. A world where we were gods. I realized we needed to escape, but she'd locked away her knowledge of the unreality of this world...</dialogue>
<scene_description>INSERT CUT: Mal opens the doll's house. Takes the spinning top, lies it down in the safe. LOCKS IT AWAY.</scene_description>
<character>COBB</character>
<dialogue>I couldn't make Mal understand that we needed to break free. To die. So I started to search our world...</dialogue>
<scene_description>Cobb turns to Mal, but keeps talking to Ariadne... INSERT CUT: Cobb WANDERS the streets of Limbo...</scene_description>
<character>COBB</character>
<dialogue>Searching for the right place in her mind...</dialogue>
<scene_description>INSERT CUT: Cobb stops outside the VICTORIAN HOUSE, MAL'S CHILDHOOD HOME, looking up at it. He heads inside...</scene_description>
<character>COBB</character>
<dialogue>And when I found that place, that secret place where she had shut away her knowledge years before, I broke it open...</dialogue>
<scene_description>INSERT CUT: Cobb looks around Mal's childhood bedroom. Comes to the doll's house...</scene_description>
<character>COBB</character>
<dialogue>I broke into the deepest recess of her mind, to give her the simplest little idea.</dialogue>
<scene_description>INSERT CUT: Cobb throws open the safe doors. Sitting on the shelf of the safe is a spinning top. On its side.</scene_description>
<character>COBB</character>
<dialogue>A truth that she had once known, but had chosen to forget...</dialogue>
<scene_description>INSERT CUT: Cobb picks up the totem. He SPINS it in the safe. IT SPINS AND SPINS WITHOUT END. Cobb CLOSES THE DOOR of the safe...</scene_description>
<character>COBB</character>
<dialogue>That her world was not real.</dialogue>
<scene_description>INSERT CUT: COBB AND MAL ARRIVE AT TRAIN TRACKS CUTTING THROUGH WASTELAND.</scene_description>
<character>COBB (V.O.)</character>
<dialogue>That death was a necessary escape.</dialogue>
<scene_description>They lie on the tracks looking into each other's eyes. Mal is crying. Cobb takes her hand, reassuring. He starts to speak-</scene_description>
<character>COBB</character>
<dialogue>You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you can't know for sure. Yet it doesn't matter...</dialogue>
<scene_description>Mal looks at him across the railroad tracks. Replies-</scene_description>
<character>MAL</character>
<dialogue>Because you'll be together.</dialogue>
<scene_description>The train comes, OBLITERATING the lovers. Back in the present- Cobb looks into Mal's eyes. She is crying.</scene_description>
<character>COBB</character>
<dialogue>I never thought that the idea I'd planted would grow in her mind like a cancer. That even after we woke...</dialogue>
<scene_description>INSERT CUT: Cobb looks around the HOTEL SUITE, confused. He moves to the CURTAINS... Mal is on the ledge opposite.</scene_description>
<character>COBB</character>
<dialogue>You'd continue to believe that your world was not real...</dialogue>
<scene_description>Crying, Mal nods-</scene_description>
<character>MAL</character>
<dialogue>That death was the only escape?</dialogue>
<scene_description>INSERT CUT: Mal PLUNGES to her death.</scene_description>
<character>MAL</character>
<dialogue>You killed me.</dialogue>
<scene_description>Cobb looks at Mal. Whispers-</scene_description>
<character>COBB</character>
<dialogue>I was trying to save you-I'm sorry.</dialogue>
<scene_description>Mal comes in close to Cobb. Looks him over.</scene_description>
<character>MAL</character>
<dialogue>You infected my mind. You betrayed me. But you can make amends. You can still keep your promise. We can still be together... right here. In our world. The world we built together.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
<scene_description>Arthur hits "Play" on his music player- Edith Piaf starts to ring out, Arthur checks his detonator and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - DAY</stage_direction>
<scene_description>Eames races back in- in the relative quiet he notices MASSIVE LOW-E MUSICAL TONES. He drops his gun and goes to Fischer's side...</scene_description>
</scene>
<scene>
<stage_direction>INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>Saito musters all his remaining strength as the guard emerges- Saito FIRES, dropping the guard, then COLLAPSES, the gun clattering to the duct floor... Saito is dead.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - CONTINUOUS</stage_direction>
<scene_description>Eames powers up the defibrillator, puts the paddles on Fischer's chest, then Pow!- he shocks him, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PENTHOUSE (LIMBO)-DAY</stage_direction>
<scene_description>LIGHTNING crackles across the sky- Ariadne sees it.</scene_description>
<character>ARIADNE</character>
<dialogue>We need Fischer.</dialogue>
<character>MAL</character>
<dialogue>You can't have him.</dialogue>
<scene_description>Cobb stares at Mal. Mesmerized.</scene_description>
<character>COBB</character>
<dialogue>If I stay, can she take him back?</dialogue>
<character>ARIADNE</character>
<dialogue>Cobb, what are you saying?</dialogue>
<character>MAL</character>
<dialogue>Fischer's on the porch.</dialogue>
<character>ARIADNE</character>
<dialogue>Cobb, you can't do this.</dialogue>
<character>COBB</character>
<dialogue>Go check he's alive, Ariadne.</dialogue>
<scene_description>Ariadne moves onto the porch, high above the metropolis, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
<scene_description>Arthur nods his head in time with the music, counting down, holding the detonator. He starts bracing himself, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - DAY</stage_direction>
<scene_description>Eames recharges the defibrillator. SHOCKS Fischer again, and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH, PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>Ariadne looks up as a LARGE BOLT OF LIGHTNING RIPS across the sky... she looks down to see Fischer, BOUND AND BLOODY, lying below the rail.</scene_description>
<character>ARIADNE</character>
<dialogue>He's here. And it's time. But you have to come with us.</dialogue>
<scene_description>Another massive lightning strike flickers across the sky-</scene_description>
<character>ARIADNE</character>
<dialogue>Cobb, I'm not going to let you lose yourself in here! You have to get back to your children!</dialogue>
<character>COBB</character>
<dialogue>Send Fischer, I have to stay-</dialogue>
<character>ARIADNE</character>
<dialogue>You can't stay here to be with her-</dialogue>
<scene_description>Cobb turns from Mal. Looks at Ariadne.</scene_description>
<character>COBB</character>
<dialogue>I'm not. Saito is dead by now. That means he's here. I have to stay here and find him.</dialogue>
<scene_description>Ariadne removes Fischer's gag- pulls him up, onto the rail. Cobb looks back at Mal.</scene_description>
<character>COBB</character>
<dialogue>I can't stay here to be with her because she's not real.</dialogue>
<scene_description>Mal looks at Cobb, furious.</scene_description>
<character>MAL</character>
<dialogue>Not real? I'm the only thing you do believe in anymore. Here-doesn't this feel real, Dom?</dialogue>
<scene_description>She STABS him in the chest- Cobb WHEEZES- GASPING, looking at Mal-</scene_description>
<character>COBB</character>
<dialogue>I wish you were. But I couldn't make you real. I'm not capable of imagining you in all your complexity and... perfection. As you really were. You're the best I can do. And you're not real.</dialogue>
<scene_description>Mal pulls the knife and moves to STRIKE again-</scene_description>
<character>ARIADNE</character>
<dialogue>No!</dialogue>
<scene_description>A SHOT rings out, Mal GRABS her shoulder- Cobb turns to Ariadne, who is pointing Cobb's gun.</scene_description>
<character>COBB</character>
<dialogue>What're you doing?</dialogue>
<character>ARIADNE</character>
<dialogue>Improvising.</dialogue>
<scene_description>She KICKS Fischer off the roof- AIMS again at Mal- Fischer DROPS as the sky LIGHTS UP WITH ELECTRICITY- Fischer SCREAMS, then GASPS, no longer falling, and we are-</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - DAY</stage_direction>
<scene_description>Eames pulls the defibrillator from Fischer's chest as he COUGHS AWAKE.</scene_description>
<character>EAMES</character>
<dialogue>Get in there-quick!</dialogue>
<scene_description>Fischer looks up at the double doors. STAGGERS to his feet. Fischer pushes open the doors to the STRONGROOM.</scene_description>
</scene>
<scene>
<stage_direction>INT. STRONGROOM - CONTINUOUS</stage_direction>
<scene_description>Fischer walks into the silent white room. At one end of the room is a bed. A figure lies in the bed. His FATHER. Breathing with tremendous difficulty. Dying. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>Ariadne takes aim at Mal-</scene_description>
<character>COBB</character>
<dialogue>No!</dialogue>
<scene_description>Cobb holds Ariadne's gaze. She lowers the gun. And we- CUT TO: Eames GRABS the detonator- then moves to the door of the strongroom... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR, HOTEL - NIGHT</stage_direction>
<scene_description>Arthur HITS THE DETONATOR-</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR SHAFT - CONTINUOUS</stage_direction>
<scene_description>The CHARGES on the bottom of the elevator EXPLODE, and we move into EXTREME SLOW MOTION as the flames BALLOON- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. STRONGROOM - CONTINUOUS</stage_direction>
<scene_description>A RUMBLE BUILDS as Fischer approaches the bed, overcome with emotion. His Father sees him. Starts trying to speak. Fischer leans in...</scene_description>
<character>FATHER</character>
<parenthetical>(hoarse whisper)</parenthetical>
<dialogue>I... was ... dis ... dis ...</dialogue>
<character>FISCHER</character>
<dialogue>I know, Dad. You were disappointed that I couldn't be you.</dialogue>
<scene_description>The dying man SHAKES HIS HEAD with surprising energy.</scene_description>
<character>FATHER</character>
<parenthetical>(whisper)</parenthetical>
<dialogue>I was disappointed... that you tried.</dialogue>
<scene_description>Fischer hears this. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR SHAFT - NIGHT</stage_direction>
<scene_description>The elevator car is ROCKETED along its track by the explosion-</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Arthur is SMASHED against the floor of the car next to the sleepers who SHUDDER with the force of ACCELERATION- and we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - DAY</stage_direction>
<scene_description>Eames WATCHES Fischer-</scene_description>
<character>EAMES</character>
<parenthetical>(to himself) )</parenthetical>
<dialogue>Come on, come on...</dialogue>
</scene>
<scene>
<stage_direction>INT. STRONGROOM - DAY</stage_direction>
<scene_description>The Father collapses back onto the pillow. Fischer starts to weep. His Father reaches out a trembling hand but when Fischer tries to hold IT, he SHAKES his son's hand away... He is reaching for the SAFE next to his bed. His fingers fumble at the keypad, he can't open it. His son pushes 5,2,8,4,9,1 into the keypad. Opens it. Inside the safe is the WILL. And beside it is a HOMEMADE PINWHEEL, clearly made by a child. By Fischer. He takes it out, MARVELING at it. He turns to his father, but his father is dead. Eames, watching from the door, HITS THE DETONATOR-</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL COMPLEX - CONTINUOUS</stage_direction>
<scene_description>A line of EXPLOSIONS RIPS ALONG THE LOWER WALL... the ENTIRE BUILDING STARTS TO SLIDE DOWN THE MOUNTAIN-</scene_description>
</scene>
<scene>
<stage_direction>EXT. PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>A FIERCE WIND starts HOWLING through the house as the sky outside DARKENS. Cobb shields Mal against the blast- looks up at Ariadne, who HOLDS the railing, FIGHTING the wind-</scene_description>
<character>COBB</character>
<dialogue>That's the kick-you have to go!</dialogue>
<character>ARIADNE</character>
<dialogue>You're coming!</dialogue>
<character>COBB</character>
<dialogue>No, I'm not. I'm staying here to find Saito.</dialogue>
<parenthetical>(turns to Mal)</parenthetical>
<dialogue>And to say goodbye.</dialogue>
<scene_description>Ariadne loosens her grip on the railing...</scene_description>
<character>ARIADNE</character>
<dialogue>Don't lose yourself. Find Saito. And bring him back.</dialogue>
<character>COBB</character>
<dialogue>I will.</dialogue>
<scene_description>Ariadne lets the wind pull her off the edge- FALLING- and we-</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTECHAMBER - CONTINUOUS</stage_direction>
<scene_description>Ariadne DROPS as the FLOOR COLLAPSES- her eyes SNAP OPEN-</scene_description>
</scene>
<scene>
<stage_direction>EXT. PENTHOUSE (LIMBO) - DAY</stage_direction>
<scene_description>Cobb holds Mal in his arms. The wind DIES...</scene_description>
<character>MAL</character>
<dialogue>We'd be together forever. You promised me.</dialogue>
<character>COBB</character>
<dialogue>I know. But we can't. And I'm sorry.</dialogue>
<character>MAL</character>
<dialogue>You remember when you asked me to marry you? You said you dreamt that we'd grow old together.</dialogue>
<character>COBB</character>
<dialogue>And we did...</dialogue>
<scene_description>Mal looks at Cobb... thinking. Remembering. INSERT CUT: TWO ELDERLY PEOPLE (MAL AND COBB) WALK THROUGH LIMBO... ACROSS A WASTELAND... TWO ELDERLY HANDS CLUTCH EACH OTHER AS THEY LIE DOWN ON THE RAILROAD TRACK...</scene_description>
<character>COBB</character>
<dialogue>I miss you more than I can bear... but we had our time together. And now I have to let go...</dialogue>
<scene_description>She nods, weakly. Cobb holds Mal as her eyes close... DYING... and we-</scene_description>
</scene>
<scene>
<stage_direction>INT. STRONGROOM - CONTINUOUS</stage_direction>
<scene_description>Fischer and his Father's body DROP AWAY-</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
<scene_description>Ariadne DROPS inside the ROCKETING ELEVATOR, and as it SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into-</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. VAN INTO RIVER - DAY</stage_direction>
<scene_description>THE WATER, THE VAN CRUNCHING WITH THE IMPACT- WATER CRASHING THROUGH THE BROKEN WINDOWS FLOODING THE INTERIOR... Fischer's EYES OPEN, PANICKING- he UNBUCKLES HIMSELF, pushes out of the broken window- STOPS, goes back to UNBUCKLE Browning and DRAG him out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - CONTINUOUS</stage_direction>
<scene_description>Fischer breaks the surface with Browning, who COUGHS and GASPS. He starts PULLING for the near bank, struggling through the rain-impacted water-</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN, UNDERWATER - CONTINUOUS</stage_direction>
<scene_description>Ariadne, Arthur and Yusuf wait calmly underwater. They are sharing TWO REGULATORS pulled from beneath the front seat. Arthur turns to Saito. There is blood in the water around Saito's belly- his eyes are LIFELESS- Arthur feels for a pulse... turns to Cobb, whose eyes are lifeless... Ariadne GRABS Arthur's elbow, pulling him away...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERBANK - MOMENTS LATER</stage_direction>
<scene_description>Fischer turns Browning/Eames over. They lie there, exhausted.</scene_description>
<character>BROWNING</character>
<dialogue>I'm sorry, Robert.</dialogue>
<scene_description>Fischer stares at the rain on the water.</scene_description>
<character>FISCHER</character>
<dialogue>The will means that Dad wanted me to be my own man, not live for him.</dialogue>
<parenthetical>(turns to Browning) )</parenthetical>
<dialogue>And I'm going to, Uncle Peter.</dialogue>
<scene_description>Browning nods. Wipes the rain from his face. In the puddle beside them, the reflection is not Browning, but Eames.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNDERNEATH BRIDGE IN THE RAIN - MOMENTS LATER</stage_direction>
<scene_description>Arthur sits on the riverbank, breathing heavily.</scene_description>
<character>ARTHUR</character>
<dialogue>What happened?</dialogue>
<character>ARIADNE</character>
<dialogue>Cobb stayed.</dialogue>
<character>ARTHUR</character>
<dialogue>With Mal?</dialogue>
<character>ARIADNE</character>
<dialogue>No. To find Saito.</dialogue>
<scene_description>Arthur looks out at the water below the bridge.</scene_description>
<character>ARTHUR</character>
<dialogue>He'll be lost...</dialogue>
<character>ARIADNE</character>
<dialogue>No. He'll be alright.</dialogue>
<scene_description>And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DAWN. CRASHING SURF.</stage_direction>
<scene_description>The waves TOSS a BEARDED MAN onto wet sand. As the Japanese Security Guard turns him onto his back, we realize that this is Cobb- OLDER. WEARY. TRAVELLED...</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, CASTLE - DAY</stage_direction>
<scene_description>Cobb WOLFS his food. The Elderly Japanese Man (Saito, 90 years old) watches him.</scene_description>
<character>SAITO</character>
<dialogue>So... have you come to kill me?</dialogue>
<scene_description>Cobb does not look up.</scene_description>
<character>SAITO</character>
<dialogue>I've been waiting for someone to come for me...</dialogue>
<character>COBB</character>
<dialogue>Someone from your half-remembered dream...?</dialogue>
<scene_description>Saito peers at Cobb.</scene_description>
<character>SAITO</character>
<dialogue>Cobb? Not possible-he and I were young men together. And I am an old man...</dialogue>
<character>COBB</character>
<dialogue>Filled with regret?</dialogue>
<scene_description>Saito REMEMBERS, nods...</scene_description>
<character>SAITO</character>
<dialogue>Waiting to die alone, yes.</dialogue>
<scene_description>Cobb is STARING at something on the table.</scene_description>
<character>COBB</character>
<dialogue>I came back for you... I came to remind you of what you once knew...</dialogue>
<scene_description>Cobb gestures at the table. Saito follows his gaze down to the polished surface of the table...</scene_description>
<character>COBB</character>
<dialogue>That this world is not real.</dialogue>
<scene_description>The top IS STILL SPINNING PERFECTLY, AS IF IT WILL NEVER TOPPLE. Saito looks at the top. Then back to Cobb.</scene_description>
<character>SAITO</character>
<dialogue>You came to convince me to honor our arrangement?</dialogue>
<character>COBB</character>
<dialogue>Yes. And to take a leap of faith.</dialogue>
<scene_description>As Saito-san listens to Cobb, he looks at the GUN on the table between them...</scene_description>
<character>COBB</character>
<dialogue>Come back and we'll be young men together again.</dialogue>
<scene_description>The elderly Saito looks at Cobb. Nods. And we- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CLASS CABIN, 747 - DAY</stage_direction>
<scene_description>Ariadne watches Cobb. His eyes are closed.</scene_description>
<character>FLIGHT ATTENDANT (O.S.)</character>
<dialogue>Hot towel, sir?</dialogue>
<scene_description>His EYES FLICKER OPEN. He takes the towel with a nod. Ariadne smiles. Relieved.</scene_description>
<character>FLIGHT ATTENDANT</character>
<dialogue>We'll be landing in Los Angeles in about twenty minutes. Do you need immigration forms?</dialogue>
<scene_description>Cobb nods. Takes a landing card. Looks around the cabin. Saito is WATCHING him. Serious. Haunted. Holding Cobb's gaze, SAITO PICKS UP THE PHONE AND DIALS. Cobb nods thanks...</scene_description>
</scene>
<scene>
<stage_direction>INT. ARRIVALS, LAX - LATER</stage_direction>
<scene_description>Cobb steps forwards to the IMMIGRATION OFFICIAL. Hands him his passport. Nervous. The Official takes a beat, looks Cobb up and down, then WHUMP!- the passport is stamped. As Cobb takes it back, he spots Ariadne at the next counter. She nods at him. He nods back. Then moves off... As Cobb passes through baggage claim, he exchanges subtle greetings with Eames and Yusuf. Arthur smiles broadly at Cobb. Cobb brushes past Fischer, who glances back at him as if thinking maybe he should know him, then moves on... As Cobb emerges into the crowded arrivals hall, he spots Professor Miles, waving at him...</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, COBB AND MAL'S HOUSE - DAY</stage_direction>
<scene_description>Cobb enters with Miles. Drops his bags. Moves to the table, looking out at the overgrown garden. He reaches into his pocket, takes out his pewter spinning top, lowers it to the table and SPINS IT- a CHILD'S SHOUT makes him look up- Through the window, James and Philippa have run into view, playing, THEIR FACES TURNED AWAY... Cobb STARES at the back of his children's heads... Miles moves to the window and KNOCKS on the glass- James and Philippa TURN- see their Dad. He steps to the window, watching their BRIGHT FACES SHINING as they run towards him... Behind him, on the table, the spinning top is STILL SPINNING. And we- FADE OUT. CREDITS. END.</scene_description>
</scene>
</script> | Cobb and Arthur are "extractors" who perform corporate espionage using experimental dream-sharing technology to infiltrate their targets' subconscious and extract information. Their latest target, Saito, is impressed with Cobb's ability to layer multiple dreams within each other. He offers to hire Cobb for the ostensibly impossible job of implanting an idea into a person's subconscious; performing "inception" on Robert Fischer, the son of Saito's competitor Maurice Fischer, with the idea to dissolve his father's company. In return, Saito promises to clear Cobb's criminal status, allowing him to return home to his children. Cobb accepts the offer and assembles his team: a forger named Eames, a chemist named Yusuf, and a college student named Ariadne. Ariadne is tasked with designing the dream's architecture, something Cobb himself cannot do for fear of being sabotaged by his mind's projection of his late wife, Mal. Maurice Fischer dies, and the team sedates Robert Fischer into a three-layer shared dream on an airplane to America bought by Saito. Time on each layer runs slower than the layer above, with one member staying behind on each to perform a music-synchronized "kick" (using the French song "Non, je ne regrette rien") to awaken dreamers on all three levels simultaneously. The team abducts Robert in a city on the first level, but his trained subconscious projections attack them. After Saito is wounded, Cobb reveals that while dying in the dream would usually awaken dreamers, Yusuf's sedatives will instead send them into "Limbo": a world of infinite subconscious. Eames impersonates Robert's godfather, Peter Browning, to introduce the idea of an alternate will to dissolve the company. Cobb tells Ariadne that he and Mal entered Limbo while experimenting with dream-sharing, experiencing fifty years in one night due to the time dilation with reality. Mal refused to return to reality, and Cobb instead performed inception on her to convince her. After waking up, Mal still believed she was dreaming. Attempting to "wake up," she committed suicide and framed Cobb to force him to do the same. Cobb fled the U.S., leaving his children behind. Yusuf drives the team around the first level as they are sedated into the second level, a hotel dreamed by Arthur. Cobb persuades Robert that Browning has kidnapped him to stop the dissolution and that Cobb is a defensive projection, leading Robert to another third level deeper as part of a ruse to enter Robert's subconscious. In the third level, the team infiltrates an alpine fortress with a projection of Maurice inside, where the inception itself can be performed. However, Yusuf performs his kick too soon by driving off a bridge, forcing Arthur and Eames to improvise a new set of kicks synchronized with them hitting the water by rigging an elevator and the fortress, respectively, with explosives. Mal then appears and kills Robert before he can be subjected to the inception, and he and Saito are lost in Limbo, forcing Cobb and Ariadne to rescue them in time for Robert's inception and Eames's kick. Cobb makes peace with his part in causing Mal's death. Ariadne kills Mal's projection and wakes Robert up with a kick. Revived into the third level, he discovers the planted idea: his dying father telling him to create something for himself. While Cobb searches for Saito in Limbo, the others ride the synced kicks back to reality. Cobb finds an aged Saito and reminds him of their agreement. The dreamers all awaken on the plane, and Saito makes a phone call. Arriving in Los Angeles, Cobb passes the immigration checkpoint, and his father-in-law accompanies him to his home. Cobb uses Mal's "totem" – a top that spins indefinitely in a dream – to test if he is indeed in the real world, but he chooses not to observe the result and instead joins his children. |
Beetlejuice_1988 | tt0094721 | <script>
<scene>
<stage_direction>EXT. WINTER RIVER, CONNECTICUT - DAY</stage_direction>
<scene_description>A crisp and perfect New England town . Almost too neat to be real . No visible townspeople . CAMERA EXPLORES town . CAMERA FLIES over a rickety bridge - PAST the Maitland Hardware and Appliance store - PAST the church - the Historical Society - UP over the graveyard on the hill and finally - To the Maitland house . The perfect Victorian house surveying the tiny village . Suddenly - A GIANT DADDY LONGLEGS SPIDER mounts the crest of the hill beside the house , pauses to wave a spindly leg and then creeps menacingly on top of the Maitland house .</scene_description>
<character>ADAM</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well, well, you're a big fella!</dialogue>
<scene_description>A hand - as big as God 's - with a huge tweezer , gently reaches down out of the sky and lies , palm up , in the yard next to the house . Daddy Longlegs climbs into it . The hand rises into the sky again .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NEW ANGLE - DAY</stage_direction>
<scene_description>Reveals Winter River as a miniature town , while The Daddy Longlegs and the hand are normal size . Above the model are a homely representation of moon , sun , and stars - a whole , tiny , mechanical universe to track the hours of the day . A large plat map of the city is prominent on the wall . The hand is ADAM MAITLAND 'S . In his late 30 's , he 's a solid easy - going citizen . Capra used to make movies about him . Adam 's model town sprawls across most of the attic space . Windows on either end of the attic shed good light into the warm room . Adam very carefully lifts the spider out the open window . Smiles as he drips him lightly on the breeze . CAMERA TILTS UP FROM THE WINDOW To see the real Winter River , laid out exactly as the model , at the foot of the hill . Adam breathes deeply and looks very pleased at the glorious town below him . ON HIS HUGE HAND AGAIN as it reaches into model and tweezes a tiny sign into the tiny window of Maitland 's Hardware Store on main street . It reads : ADAM AND BARBARA MAITLAND ARE ON VACATION ! HOORAY ! Adam leans down and eyes the sign .</scene_description>
<character>BARBARA</character>
<parenthetical>( behind him . )</parenthetical>
<dialogue>I'm ready!</dialogue>
<scene_description>Adam turns to see entering : BARBARA MAITLAND , 35 - a wholesome beauty who is mellowing well . She smiles at him . Perhaps a certain tinge of sadness about her , because they do n't have children .</scene_description>
<character>ADAM</character>
<parenthetical>( happy to see her . )</parenthetical>
<dialogue>She's ready.</dialogue>
<character>BARBARA</character>
<parenthetical>( eyeing the model . )</parenthetical>
<dialogue>It looks great.</dialogue>
<character>ADAM</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>Thanks.</dialogue>
<scene_description>She pushes a wrapped present across the table .</scene_description>
<character>BARBARA</character>
<dialogue>Happy vacation, honey!</dialogue>
<scene_description>Adam smiles and gives her a present he 's hidden under the table . He opens his present . A can of furniture oil .</scene_description>
<character>ADAM</character>
<dialogue>Manchurian Tung oil?</dialogue>
<parenthetical>( playfully grabs Barbara and kisses her . )</parenthetical>
<dialogue>Where did you get it?</dialogue>
<character>BARBARA</character>
<dialogue>Helen got it for me in Oslo. There's enough to refinish the gateleg table and the cherry wardrobe.</dialogue>
<scene_description>Adam hands Barbara a carefully - wrapped bundle - she unwraps her gift . rolls of very expensive floral wallpaper . She cradles it in her arms like gold leaf .</scene_description>
<character>BARBARA</character>
<dialogue>Oh, Adam. it's beautiful.</dialogue>
<scene_description>Adam nods , and embraces her .</scene_description>
<character>ADAM</character>
<dialogue>Enough to do the guest room.</dialogue>
<character>BARBARA</character>
<parenthetical>( cooing . )</parenthetical>
<dialogue>I'm so glad we're spending our vacation at home.</dialogue>
<parenthetical>( with a sudden resolve . )</parenthetical>
<dialogue>. I'm going to get started right now!</dialogue>
<character>ADAM</character>
<parenthetical>( pulling her back . )</parenthetical>
<dialogue>Whoa! hold on.</dialogue>
<scene_description>Barbara calms down , returning to Adam 's embrace . as : PHONE RINGS - They freeze , then grin .</scene_description>
<character>ADAM & BARBARA</character>
<parenthetical>( unison . )</parenthetical>
<dialogue>No one's home!</dialogue>
<scene_description>HONK HONK outside . They look at each other horrified . Peer out the window .</scene_description>
<character>BARBARA</character>
<dialogue>Oh no.</dialogue>
<character>ADAM</character>
<parenthetical>( pointing at her . )</parenthetical>
<dialogue>It's your turn, darling.</dialogue>
<scene_description>She shakes her head with resignation and goes downstairs . KNOCKING on door from below .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRCASE AND KITCHEN - DAY</stage_direction>
<scene_description>CAMERA FOLLOWS Adam and Barbara downstairs . We see the rambling , old fashioned quality to the house . Clean , sentimental , warm and floral . Some rooms in progress . They continue down the main staircase past photos of themselves , old photos of the early days of Winter River , pictures and mementos of three generations in hardware . Barbara goes to the kitchen and Adam continues down to the basement . HER POV - A WOMAN JANE BUTTERFIELD - tall , gawky and aggressive peeks in the kitchen door . She 's divorced three husbands and buried another for good measure . She 's ruthless but is weirdly , seamlessly pleasant . She waves a legal sized paper at them , starts to come inside .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. KITCHEN DOOR</stage_direction>
<scene_description>Barbara makes dash for it and holds it just as Jane gets a foot in . Jane smiles wildly .</scene_description>
<character>JANE</character>
<dialogue>Hi, Barb! I'm glad I caught you. I heard you were on vacation!</dialogue>
<character>BARBARA</character>
<dialogue>That's right, Jane. Complete vacation.</dialogue>
<character>JANE</character>
<dialogue>Honey - today I am three hundred fifty thousand dollars!</dialogue>
<character>BARBARA</character>
<dialogue>No! Jane, it is 6:45 in the morning!</dialogue>
<character>JANE</character>
<dialogue>Look at me, think of me as cash! This offer is really real! From a rich man in New York City who only saw a photograph!</dialogue>
<parenthetical>( rattles on . )</parenthetical>
<dialogue>My buyer has just made a killing in condos in Manhattan, but he's got a little stress problem.</dialogue>
<parenthetical>( taps her head . )</parenthetical>
<dialogue>. so - he wants to bring the wife and kid for the old peace and quiet.</dialogue>
<character>BARBARA</character>
<dialogue>That's what we're looking for, too.</dialogue>
<character>JANE</character>
<dialogue>Barbara Maitland, sweetie, just listen now. This house is too big. It really ought to be for a couple with a family.</dialogue>
<scene_description>That hurts Barbara a little . She looks at Jane .</scene_description>
<character>JANE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Oh, honey. I did n't mean anything. it's just too big for you.</dialogue>
<scene_description>Jane compulsively affixes her business card , face inside . in the windowpane .</scene_description>
<character>BARBARA</character>
<parenthetical>( shutting door . )</parenthetical>
<dialogue>` Bye, Jane, see you in a few weeks.</dialogue>
<scene_description>ADAM is humming happily , looking for paint brushes in the ground floor storeroom . He spies a cassette deck and looks through a stack of cassettes and plays one . It is an old INKSPOTS LOVE SONG .</scene_description>
</scene>
<scene>
<stage_direction>INT. GUEST ROOM - DAY</stage_direction>
<scene_description>Barbara is starting to paper the walls already . She frowns at the MUSIC . Goes to the door .</scene_description>
<character>BARBARA</character>
<dialogue>Oh, honey. You said no Inkspots on this vacation!</dialogue>
<scene_description>It CLICKS OFF . She goes back into the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. STOREROOM - DAY</stage_direction>
<scene_description>Adam puts away the tape but keeps humming the song . He opens the shutters on a small window . ON WINDOW .</scene_description>
<character>JANE</character>
<parenthetical>( her huge face grinning at him . )</parenthetical>
<dialogue>Boo!</dialogue>
<scene_description>He jumps back , frightened .</scene_description>
<character>ADAM</character>
<dialogue>No, Jane.</dialogue>
<scene_description>Adam closes the shutters as Jane affixes yet another card to the window . He continues his search for a brush . JANE exits jauntily , flapping her contract down the lawn .</scene_description>
</scene>
<scene>
<stage_direction>INT. MAITLAND HOUSE - DAY</stage_direction>
<scene_description>Adam continues rummaging for a brush . Ca n't find it .</scene_description>
<character>ADAM</character>
<parenthetical>( calling to distant Barbara . )</parenthetical>
<dialogue>Honey, come with me down to the store?</dialogue>
<character>BARBARA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What for?</dialogue>
<character>ADAM</character>
<dialogue>I need a good brush for this Tung oil and I want to pick up a piece of the model. Let's go early before anyone sees us.</dialogue>
<scene_description>Barbara has already papered a few rolls in the guest room .</scene_description>
<character>BARBARA</character>
<dialogue>Okay, but let's hurry back. You just run in okay?</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE HOUSE - DAY</stage_direction>
<scene_description>The Victorian house from the model `` in the flesh . '' Adam stands by the station wagon . On the bumper of the car is a sticker reading : WARNING : I BRAKE FOR ANIMALS . Barbara gets in driver 's side . They drive off .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CAR - DAY</stage_direction>
<scene_description>Adam dusts the inside of the dashboard . Clean Clean .</scene_description>
<character>BARBARA</character>
<parenthetical>( preoccupied . )</parenthetical>
<dialogue>Jane said we should sell the house to someone with a family.</dialogue>
<character>ADAM</character>
<dialogue>Ah, the ever - tactful Jane.</dialogue>
<scene_description>Puts his hand on her shoulder .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE RIVER AND BRIDGE AND HILL - DAY</stage_direction>
<scene_description>We see the car coming down the hill toward the bridge .</scene_description>
<character>ADAM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We should be flattered that she wants to sell our house.</dialogue>
<character>BARBARA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I know. I just wish she'd leave us alone.</dialogue>
<character>ADAM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Let's not think about it. We'll have a nice romantic, quiet, vacation. Here comes the bridge chorus.</dialogue>
<scene_description>Car reaches the rickety covered bridge . Car shakes , bobbing up and down on every plank . ON Barbara and Adam TIGHT - -LRB- they 've done this routine before -RRB- . They sing an old Johnny Mathis song . With a lot of vibrato .</scene_description>
<character>TOGETHER</character>
<dialogue>Chances are. When I wear a foolish grin.</dialogue>
<scene_description>They laugh .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN WINTER RIVER - DAY</stage_direction>
<scene_description>Just like the model , but real . And populated . CAMERA PAUSES ON a gorgeous storefront with a brass lion out front . Sign above doors says - BOZMAN BUILDING 1835 . An old man polishes the lion as Maitlands drive by and wave .</scene_description>
<character>BARBARA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wave at the lion.</dialogue>
<character>ADAM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Do n't forget the balls, Ernie.</dialogue>
<character>BARBARA</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( embarrassed . )</parenthetical>
<dialogue>Adam!</dialogue>
<scene_description>Ernie looks around to see no one 's looking and polishes the balls of the lion . CAMERA SPIES A JAUNTY DOG like Benji , peeing on the opposite corner of the lion . Maitlands drive by store with sign : JANE BUTTERFIELD ANTIQUES REAL ESTATE TRAVEL .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTIQUE STORE REAL ESTATE OFFICE TRAVEL AGENCY DAY</stage_direction>
<scene_description>The store is bursting with antiques of all sorts , travel brochures , photographs of houses for sale , and a serve - yourself Xerox machine . LITTLE JANE , her eight - year - old daughter is drudgingly making copies . Jane , phone in hand , rushes to the window to watch Maitlands drive by . Almost popping the cord when it reaches its end . She 's waiting for the other party to pick up .</scene_description>
<character>JANE</character>
<dialogue>Y. ello. Mrs. Deetz? Well the condition is what we country folk call, fixin'. Yes, I think they are fixin' to accept another offer. Well maybe if you offer 390,000 they'll take it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAITLAND HARDWARE - DAY</stage_direction>
<scene_description>Adam sprints up the steps of his lovely hardware store . OLD BILL , a slightly - addled ancient barber , is napping in a chair in front of his shop , next door to Adam 's . Adam fumbles with the lock , not interested in conver - sation . He drops his keys , waking Old Bill .</scene_description>
<character>OLD BILL</character>
<dialogue>` Morning, Adam. You need a haircut before your vacation?</dialogue>
<character>ADAM</character>
<dialogue>No thanks, Bill.</dialogue>
<character>OLD BILL</character>
<dialogue>How's the model coming?</dialogue>
<character>ADAM</character>
<dialogue>Good, Bill - Good.</dialogue>
<scene_description>Bill turns around and continues prattling even though Adam has entered . Bill prattles throughout .</scene_description>
<character>OLD BILL</character>
<dialogue>Y' know, I was thinkin'. you said Bozman built the foundation in 1835 but y' know his grandson came in here last week and said he found a bottle with an 1836 stamp in it plastered in the foundation.</dialogue>
<parenthetical>( suddenly disgusted at the memory . )</parenthetical>
<dialogue>He's got hair down to his goddamned shoulders.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAITLAND HARDWARE</stage_direction>
<scene_description>Adam pulls down a few good paintbrushes and carefully picks up a small model of the Bozman building . He walks out . Old Bill continues unabated .</scene_description>
<character>OLD BILL</character>
<dialogue>He said `` Just give me a trim.'' I took a scissors to him so fast. would've skimmed him clean if he had n't.</dialogue>
<scene_description>Adam strides by quickly to the car .</scene_description>
<character>ADAM</character>
<dialogue>See you, Bill.</dialogue>
<character>OLD BILL</character>
<dialogue>Right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAITLAND'S CAR - DAY</stage_direction>
<scene_description>The Maitlands drive their car out of town . ON JANE</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR AND BRIDGE - DAY</stage_direction>
<scene_description>Car approaches .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - DAY</stage_direction>
<scene_description>Five brushes sit on the seat next to Adam . He cradles small replica of the Bozman building , complete with brass lion .</scene_description>
<character>BARBARA</character>
<dialogue>It's a beauty.</dialogue>
<character>ADAM</character>
<dialogue>Yeah it turned out okay. We applied for a historical plaque for it. That'll be the third one on Main Street.</dialogue>
<character>BARBARA</character>
<parenthetical>( jokingly . )</parenthetical>
<dialogue>With all these historical landmarks in town, where are they going to put the condominiums?</dialogue>
<character>ADAM</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Slow down there, honey. I do n't want the vibration to weaken the model.</dialogue>
<character>BARBARA</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>Oh. I'm sorry.</dialogue>
<scene_description>Barbara starts to apply the brakes . Just before the bridge the dog waddles out in the road . Stops to pee . Barbara swerves . As the car hits the rickety bridge , the speed is just a bit too much . Boards RATTLE and loosen , the car skews and catches in an open slot , careens to the right , then the left and the bridge .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - DAY</stage_direction>
<scene_description>A piling has smashed through the window on the pas - senger side , crushing the upper part of Barbara 's arm . She is wailing in pain and fright . Adam tries to help Barbara . He tries to get out of the car . None of this succeeds .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIDGE AND RIVER - DAY</stage_direction>
<scene_description>The dog finishes , looks over at the car , walks across the bridge and steps on the one board which holds the car aloft . The car rocks back and forth for a moment , and then slides forward toward the water .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR AND BRIDGE</stage_direction>
<scene_description>The car plunges into the rushing water . It floats for a moment , and then sinks like a stone . FADE TO BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARBARA AND ADAM'S LIVING ROOM - DAY</stage_direction>
<scene_description>Quiet , still , expectant . There is a fire laid in the hearth . Suddenly and for no apparent reason it ignites and burns with a furious cheerfulness . Barbara and Adam enter , dazed , wet , and bedraggled .</scene_description>
<character>BARBARA</character>
<dialogue>Something like this always happens when we try to go on vacation. Always.</dialogue>
<scene_description>Adam leads her toward the fire .</scene_description>
<character>ADAM</character>
<dialogue>You'll feel better when you're dry.</dialogue>
<scene_description>He holds out his hands to be warmed . Barbara comes up beside him . All this time she 's been holding her injured arm with the other hand .</scene_description>
<character>BARBARA</character>
<dialogue>This fire was n't burning when we left the house.</dialogue>
<character>ADAM</character>
<dialogue>How's your arm?</dialogue>
<character>BARBARA</character>
<dialogue>I'm not sure. It feels. frozen.</dialogue>
<scene_description>She holds her arms out to warm them . One hand catches on fire . BARBARA 'S LEFT ARM They stare at it dumbfoundedly before Adam regains his senses and snatches it out of the fire . Two of the fingers are burning like candles , and Barbara indus - triously blows them out .</scene_description>
<character>BARBARA</character>
<dialogue>Oh, Adam.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM: A FEW MINUTES LATER - DAY</stage_direction>
<scene_description>They are sitting on the couch together . Barbara is looking away slightly - as one does when a doctor is drawing blood - while Adam looks at her fingers . He frowns . He looks at his skin . It is pale . He looks at Barbara .</scene_description>
<character>ADAM</character>
<dialogue>You'd better sit down, hon.</dialogue>
<character>BARBARA</character>
<dialogue>I am sitting.</dialogue>
<character>ADAM</character>
<dialogue>I'll tell you what, Barbara. I do n't think we survived that crash.</dialogue>
<character>BARBARA</character>
<parenthetical>( pause . )</parenthetical>
<dialogue>Oh, Adam. We're home. In our own house. Nonsense. I'll make some coffee. You get some more firewood.</dialogue>
<scene_description>Adam gets up , a little absently , she follows him as he wanders to the front door . He peers out .</scene_description>
<character>ADAM</character>
<dialogue>Let's take things extra slow. Do you remember how we got back up here?</dialogue>
<scene_description>Barbara tests her hand , clenches and unclenches her fist .</scene_description>
<character>BARBARA</character>
<dialogue>I'm fine. My arm works fine.</dialogue>
<scene_description>Adam , exploring , opens the door , steps out on the front porch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - TWILIGHT</stage_direction>
<scene_description>Adam 's face is painted with color of sunset . He stands atop the steps leading down to the front yard . Barbara stands just inside the open threshold , looking out worriedly .</scene_description>
<character>BARBARA</character>
<parenthetical>( quiet sarcasm . )</parenthetical>
<dialogue>The end of a perfect day.</dialogue>
<scene_description>Adam starts to step down to the yard .</scene_description>
<character>ADAM</character>
<dialogue>Honey, I'm gon na go down to the bridge and retrace our steps.</dialogue>
<scene_description>He steps off the last step into the yard and promptly disappears .</scene_description>
<character>BARBARA</character>
<dialogue>Adam!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE GREAT VOID</stage_direction>
<scene_description>Adam is nowhere . There 's no ground , no sky , nothing to stand on or hold onto or give boundaries or distance . Just vast nothing . Not white and not colored either . NOISE OF A CLOCK TICKING . Adam looks about surprised , does n't like what he does n't see . He turns around to head back up the steps . There are no steps .</scene_description>
<character>ADAM</character>
<dialogue>Barbara?</dialogue>
<scene_description>His VOICE ECHOES STRANGELY . He runs off a little in the distance , and calls again from over there .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing ; quietly . )</parenthetical>
<dialogue>Where are you?</dialogue>
<scene_description>He goes even farther away . IN THE FOREGROUND an enormous geared wheel - the size of a man - rolls by , tearing up the unseamed ground . Something pours up out of the tear - ooze or stuffing . Adam runs forward and stares after the wheel , which is now out of sight . TWO SMALLER GEARS looking very much like components of a giant watch - spin along behind him . One of them veers suddenly toward him , and though Adam jumps out of the way , the gear snags his trouser leg and shreds it . LOUD TICKING . A PERFECTLY ENORMOUS GEAR comes barreling toward him . Adam leaps out of its way . The gear turns , fish - tailing , kicking up ooze and stuffing . Adam flings himself suddenly to the right , but trips into the path of the gear . As he 's about to be crushed , he 's suddenly jerked up to safety .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - NIGHT</stage_direction>
<scene_description>It 's Barbara who 's grabbed him , and quite evidently saved his life - not life , perhaps - but existence . He 's shaken , breathless . Barbara stares at him , as if wondering what he 's just been through .</scene_description>
<character>ADAM</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>You saved my - uh - life. or whatever.</dialogue>
<character>BARBARA</character>
<dialogue>Two hours.</dialogue>
<character>ADAM</character>
<dialogue>What?</dialogue>
<character>BARBARA</character>
<dialogue>That's how long you were gone.</dialogue>
<character>ADAM</character>
<parenthetical>( pondering that . )</parenthetical>
<dialogue>. Hmmm?</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Barbara leads Adam into the house .</scene_description>
<character>ADAM</character>
<dialogue>Anything happen while I was away?</dialogue>
<character>BARBARA</character>
<dialogue>Yes, it did. Yes, it did. I made a couple of small discoveries.</dialogue>
<scene_description>BARBARA stands by the mirror over the hearth mantle . On the mantle is Barbara 's prize collection of porcelain horses . Adam comes to stand beside her . They look into the mirror , and there is no reflection of them . Barbara picks up one of the horses , and trots it through the air . The horse is imaged in the mirror .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There's that, and there's this.</dialogue>
<scene_description>She picks up an ancient , leather - bound book . It 's yellow and worn , about the size of the Boy Scout manual . CLOSEUP : Its title is HANDBOOK FOR THE RECENTLY DECEASED .</scene_description>
<character>ADAM</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>Handbook for the recently diseased.</dialogue>
<character>BARBARA</character>
<dialogue>Deceased. I do n't know where it came from. Look at the publisher.</dialogue>
<character>ADAM</character>
<parenthetical>( he does and reads . )</parenthetical>
<dialogue>Handbook for the Recently Deceased Press.</dialogue>
<character>BARBARA</character>
<parenthetical>( finally admit - ting it . )</parenthetical>
<dialogue>I do n't think we survived the crash.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Adam is already in bed , reading from the handbook . Barbara is getting ready for bed - going through a ritual of sorts that they practiced every night of their married lives .</scene_description>
<character>BARBARA</character>
<dialogue>I do n't like situations like this. I hate it when I'm not in control. So just tell me the basics.</dialogue>
<character>ADAM</character>
<dialogue>This book is n't arranged that way. What do you want to know?</dialogue>
<character>BARBARA</character>
<dialogue>There are a thousand things. Why did you disappear when you walked off the front porch? Is this a punishment? Are we halfway to heaven or are we halfway to hell? And how long is this going to last?</dialogue>
<character>ADAM</character>
<dialogue>I do n't see anything about `` Rewards and Punishments'' or `` Heaven and Hell.''</dialogue>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>This book reads like stereo instructions! Listen to this. ` Geographical and Temporal Perimeters. Functional perimeters vary from manifestation to manifestation.'' This is going to take some time.</dialogue>
<scene_description>BARBARA paces , she trips on her wallpaper rolls . Kicks them .</scene_description>
<character>BARBARA</character>
<dialogue>I knew I'd never finish the guest room. Adam, we just ca n't stay in here forever!</dialogue>
<scene_description>They look at each other , the question hangs in the air . Ca n't they ? Adam stands and walks to the window .</scene_description>
<character>ADAM</character>
<parenthetical>( thoughtfully . )</parenthetical>
<dialogue>Maybe we should set up a normal routine.</dialogue>
<scene_description>She looks at him like he 's nuts .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I mean, let's try to nail down something in our lives. A regular schedule. We can keep track of time and go on with our projects up here in the attic.</dialogue>
<scene_description>She shakes her head , exasperated . Flops down on the bed .</scene_description>
<character>BARBARA</character>
<dialogue>Oh, God, maybe this is all just a bad dream.</dialogue>
<scene_description>ON ADAM - TIGHT - a somber look comes across his face .</scene_description>
<character>ADAM</character>
<dialogue>I'm afraid not, honey.</dialogue>
<scene_description>Barbara looks up at him , questioningly .</scene_description>
<character>BARBARA</character>
<dialogue>Why? What's wrong? Adam?</dialogue>
<scene_description>She stands and joins him at the window . THEIR POV THROUGH THE WINDOW In the distance we see an automobile funeral procession threading its way toward the nearby cemetery . Head - lights are on . We recognize Jane 's car in the line . REVERSE ON BARBARA AND ADAM somber faces . TIGHTER ON PROCESSION It arrives at the gravesite . We see some familiar faces , Ernie , and Old Bill the Barber . Jane and little Jane watch as two identical coffins are carried to - gether , to two open graves . ON BARBARA AND ADAM She drops her head sadly on his shoulder . He leans his face slightly into hers . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Adam is setting up a small monument in the model town cemetery . It reads : ADAM AND BARBARA MAITLAND/UNITED IN LIFE/UNDIVIDED IN DEATH .</scene_description>
<character>ADAM</character>
<dialogue>I wish I had a better view of the cemetery from up here. I do n't know which area is the best placement for us.</dialogue>
<scene_description>Barbara , trying to clean , lets out a frustrated YELP ! She paces .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Cabin fever, han?</dialogue>
<character>BARBARA</character>
<dialogue>I ca n't clean anything. The vacuum is out in the garage. I ca n't leave the house. Why do n't they tell us something? Where are all the other dead people in the world? Why is it just you and me?</dialogue>
<character>ADAM</character>
<dialogue>Maybe this is heaven.</dialogue>
<character>BARBARA</character>
<parenthetical>( looking at the dusty walls . )</parenthetical>
<dialogue>In heaven there would n't be dust on the wallpaper.</dialogue>
<character>ADAM</character>
<dialogue>Hon. I did n't want to die, but really, this is fine with me. Look, we never have to wash dishes again.</dialogue>
<character>BARBARA</character>
<dialogue>Dishes? We have n't eaten in three weeks! Adam, I'm not like you. I really need to be around people, get out to the church and go grocery shopping.</dialogue>
<character>ADAM</character>
<dialogue>But I'm not hungry, are you?</dialogue>
<scene_description>Barbara shakes her head and picks up the Handbook and pages through it desperately .</scene_description>
<character>BARBARA</character>
<dialogue>I keep having this feeling that something has got to happen.</dialogue>
<scene_description>CAR DOOR SLAMS outside . Adam and Barbara look at one another . Run to window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAITLAND HOUSE - DAY</stage_direction>
<scene_description>Jane Butterfield is staring up at the old house .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Adam , from his angle , can just barely see her .</scene_description>
<character>ADAM</character>
<dialogue>God, it's Jane.</dialogue>
<character>BARBARA</character>
<dialogue>What's she doing here?</dialogue>
<character>ADAM</character>
<dialogue>I do n't know.</dialogue>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Jane, Jane, up here!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAITLAND HOUSE - DAY</stage_direction>
<scene_description>Unhearing , Jane heads for car . SOUND OF WIND UP . Blows her dress . Little Jane straggles along with her like an apprentice .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Barbara watches Adam , and shakes her head . He stops .</scene_description>
<character>BARBARA</character>
<dialogue>She ca n't see you, right?</dialogue>
<scene_description>Adam nods .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>In the book, Rule Number Two : the living usually wo n't see the dead.</dialogue>
<character>ADAM</character>
<dialogue>Wo n't? Or ca n't?</dialogue>
<character>BARBARA</character>
<dialogue>Just says `` wo n't.'' Wait a minute. Here it says `` the living are arrogant. they think they'll never die, so they refuse to see the dead.''</dialogue>
<character>ADAM</character>
<dialogue>Arrogant. That's Jane all right.</dialogue>
<scene_description>Barbara sighs and nods .</scene_description>
<character>BARBARA</character>
<dialogue>At least we wo n't have to worry about her.</dialogue>
<scene_description>Adam smiles and goes to his model .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAITLAND HOUSE - DAY</stage_direction>
<scene_description>Jane drives away . CAMERA HINGES to see a FOR SALE sign . Across it - another smaller banner . It reads : SOLD !</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - MORNING</stage_direction>
<scene_description>The Maitlands are asleep . CAMERA EXPLORES the room a bit . It is getting slightly tatty . Adam rolls over , pulling the covers off Barbara . We see : ON BARBARA - she is hovering off the side of the bed . An OMINOUS RUMBLE - like a 4.0 earthquake shakes the house . GLASS RATTLES , the ceramic horses on the mantelpiece jump around . Barbara falls to the floor . They look at one another with horror . They leap up and run downstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>The RUMBLE BUILDS TO A CLIMAX , there is a LOUD METALLIC SQUEAL , and then a CRASH . just as Barbara and Adam arrive . THE FRONT DOOR smashes open revealing a moving van ramp . A TEN - FOOT ELECTRIC - BLUE ITALIAN LEATHER COUCH slides smoothly down the ramp . On the couch sits DELIA DEETZ . The couch CRASHES into the base of the staircase , smashing the newel post and several of the balusters . Barbara cringes . One of the balusters falls at Delia 's side . She grasps it like a scepter . Two MOVING MEN rush down the ramp .</scene_description>
<character>MOVING MAN #1</character>
<dialogue>Sorry about that, Mrs. Deetz.</dialogue>
<character>DELIA</character>
<dialogue>Do n't worry. It was going anyway.</dialogue>
<scene_description>Delia is relentlessly New York , relentlessly fashion - able , relentlessly thin - totally self assured . She is also a woman with a mission - to gut Barbara and Adam 's house and remake it in her own very upscale image . Delia 's gaze is on the living room , but she looks through Adam and Barbara as if they were n't even there -LRB- which to her eyes they 're not -RRB- . Still holding the baluster , Delia gets up off the couch and moves into the living room , surveying it with an odd mixture of ambition , and resolution . BEHIND HER the two Moving Men bring in a matching blue leather armchair . In the armchair sits LYDIA DEETZ . Lydia , age 14 , is a pretty girl , but wan , pale and overly - dramatic , dressed as she is in her favorite color , black . She 's a combination of a little death rocker and an 80 's version of Edward Gorey 's little girls . She has a couple of expensive cameras around her neck - and is already taking photographs of the moving men . Lydia is cool , Lydia is sullen , Lydia is her father 's daughter by his first marriage . Lydia is usually about half - pissed off . But underneath . we like her a lot . The Moving Men still hold up the chair , waiting for Delia to decide where she wants it .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Jesus. Who lived here? The Waltons?</dialogue>
<scene_description>TIGHT ON Lydia - calmly surveys the house . Delia signals wearily that the Moving Men can put the chair down anywhere .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Get all this other crap out of here.</dialogue>
<scene_description>Lydia hops down out of the chair , and comes farther into the living room .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Where is your father? probably in the kitchen.</dialogue>
<scene_description>That 's the cue for CHARLES DEETZ , who comes in through the swinging door , and across the dining room . a ner - vous but basically pleasant man , CHARLES DEETZ is intent on attacking rest and relaxation with the same vengeance that earned him millions in real estate .</scene_description>
<character>CHARLES</character>
<dialogue>The noise in that kitchen. Noisy refrigerator, noisy faucets. We'll have to replace it all. I want no humming in the house.</dialogue>
<scene_description>LYDIA exploring on her own , gazes around the living room with growing pleasure , she backs up for a good angle to photograph . CAMERA HINGES - She is standing with her back right up to Barbara - who is horrified at this creature . Charles enters .</scene_description>
<character>CHARLES</character>
<parenthetical>( to Lydia . )</parenthetical>
<dialogue>What do you think, honey?</dialogue>
<character>LYDIA</character>
<dialogue>Delia hates it.</dialogue>
<scene_description>Lydia gazes at a dusty maze of spider webs .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I could live here.</dialogue>
<scene_description>A movement makes Lydia turn around and scream . It is Delia . Not Barbara .</scene_description>
<character>DELIA</character>
<dialogue>Settle down, Lydia. I wonder where we are going to get counseling for you out here.</dialogue>
<scene_description>A VIOLENT FALSETTO SCREAM turns the Deetz family 's attention to the front windows .</scene_description>
<character>OTHO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Help! Oh help!</dialogue>
<scene_description>OTHO 'S MASSIVE BODY Wedged in the window frame . The short , stubby legs , dressed in the world 's largest pair of Georgia Armani slacks , protrude into the living room , waving fran - tically . Expensive Italian loafers are kicked off the feet , revealing a pair of expensive patterned socks . By their feet shall ye know them .</scene_description>
<character>DELIA</character>
<dialogue>It's Otho!</dialogue>
<character>CHARLES</character>
<dialogue>Otho, why did n't you just come in the door?</dialogue>
<scene_description>Otho 's voice comes as if from a great distance .</scene_description>
<character>OTHO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's bad luck. And I believe hugely in luck.</dialogue>
<character>DELIA</character>
<dialogue>Hold your breath and we'll pull.</dialogue>
<scene_description>Delia turns to Charles and Lydia for help - does n't get it - and at last pulls Otho into the living room single - handedly . All this while the Moving Men are variously carting out the handsome old furniture and bringing in the hideous new furniture . Otho is Robert Morley at his most obscenely fat and faggoty . But he 's not all fat and fun - this customer carries nasty emotional weight as well . OTHO holds onto the curtains for support as he is pulled through the window . And when he is at last all the way through , and upright on his feet , he suddenly gives a tremendous yank . The whole drapery apparatus , including valences , crashes to the floor .</scene_description>
<character>OTHO</character>
<dialogue>That was the single most unattractive window treatment I have ever seen in the entire of my existence.</dialogue>
<character>DELIA</character>
<parenthetical>( starry eyed . )</parenthetical>
<dialogue>I'm so glad you could leave the city to consult me, Otho.</dialogue>
<scene_description>Otho is looking around the room with an eye of quiet horror .</scene_description>
<character>OTHO</character>
<dialogue>Yes, of course you are. Well, Otho had an intuition. Call it a hunch - that it was going to be a fabled monstrosity of a house. And it certainly is. Charles, you're lucky the yuppies are buying condos, so you can afford what I'm going to have to do to this place. We are talking from the ground ups ` ville!</dialogue>
<character>CHARLES</character>
<dialogue>That's fine, Otho. Just keep me out of it. I am here to relax and clip coupons. And goddamnit, I mean to do it.</dialogue>
<scene_description>He exits to find solace in a quiet corner of his house . During this speech , Otho has been surreptitiously pos - ing for Lydia 's camera . She clicks the shutter .</scene_description>
<character>OTHO</character>
<parenthetical>( ignoring her . )</parenthetical>
<dialogue>Is the rest of the house as bad as this?</dialogue>
<character>DELIA</character>
<dialogue>The rest of the house is probably worse. When can you and I get started?</dialogue>
<character>OTHO</character>
<dialogue>No time like the present, as my wicked stepmother used to say.</dialogue>
<scene_description>Out of the pockets of his size 56 Georgia Armani jacket , Otho takes two cans of spray paint - the kind the graffiti artists use - and shakes them as if they were castanets . They certainly sound like it .</scene_description>
<character>OTHO</character>
<dialogue>Delia, let's get this show on the road.</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY</stage_direction>
<scene_description>At one end , near the stairs leading up to the attic , Barbara and Adam are slumped against opposite walls .</scene_description>
<character>BARBARA</character>
<dialogue>Adam, we are in hell. I hate these people.</dialogue>
<character>ADAM</character>
<dialogue>They make Jane look good.</dialogue>
<character>BARBARA</character>
<dialogue>Is this a punishment for something we did in life? What can we do?</dialogue>
<character>ADAM</character>
<parenthetical>( determined . )</parenthetical>
<dialogue>We're not completely helpless. I've been reading the book. There's a word for people in our predicament, honey.</dialogue>
<scene_description>Barbara looks at him .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Ghosts!</dialogue>
<scene_description>Barbara is shocked at the reality . Otho and Delia come up the stairs at the end of the hallway .</scene_description>
<character>OTHO</character>
<dialogue>We're dealing with negative entertainment potential here. I mean, there's absolutely no organic walking flow - through.</dialogue>
<scene_description>Otho looks down the hallway . It 's empty . Adam and Barbara are no longer there .</scene_description>
<character>DELIA</character>
<dialogue>What's wrong?</dialogue>
<character>OTHO</character>
<dialogue>I thought I saw something.</dialogue>
<scene_description>DeLia turns and spray - paints on the wall - in luminous orange - the word MAUVE .</scene_description>
<character>DELIA</character>
<dialogue>Okay?</dialogue>
<character>OTHO</character>
<parenthetical>( screaming with delight . )</parenthetical>
<dialogue>You read my mind! I love clients who can read my mind. I do n't think people realize how strong a connection there is between interior design and the supernatural.</dialogue>
<character>DELIA</character>
<parenthetical>( fawning . )</parenthetical>
<dialogue>I know. I read your book, The Haunted Tapestries of the Waldorf.</dialogue>
<character>OTHO</character>
<dialogue>Gooood!</dialogue>
<scene_description>Delia opens the door and they step inside another room .</scene_description>
<character>DELIA</character>
<dialogue>This will be Lydia's room.</dialogue>
</scene>
<scene>
<stage_direction>INT. LYDIA'S ROOM - DAY</stage_direction>
<scene_description>It 's not Lydia 's room yet , of course , because it still has the Maitlands ' furniture in it . Barbara had partly wallpapered it before the accident . Her tools are still there .</scene_description>
<character>DELIA</character>
<dialogue>What do you think?</dialogue>
<character>OTHO</character>
<dialogue>Viridian?</dialogue>
<character>DELIA</character>
<dialogue>Viridian? What is?</dialogue>
<scene_description>Otho spray - paints the word VIRIDIAN on the wall - plus the word BLUE GREEN - and Cr2 03 , right over a picture of Adam and Barbara as kids .</scene_description>
<character>OTHO</character>
<dialogue>Blue - green! Hydrated chromic oxide! Remember I'm schooled in chemistry. I was a hair analyst! Briefly. Interior design is a science, Delia! Think of me as Doctor Otho.</dialogue>
<parenthetical>( looking at wall . )</parenthetical>
<dialogue>And this patient is truly sick!</dialogue>
<character>DELIA</character>
<dialogue>Of course, her favorite color! How beautiful!</dialogue>
<scene_description>Delia smiles . Behind Delia and Otho , the room 's closet door swings slowly open with and ominous CREAK . DELIA AND OTHO turn that way , with a suggestion of dread . Inside the closet , Barbara 's corpse is suspended from the ceiling by a belt . The corpse twists with a CREAK , and Barbara grins ghostly - and slowly tears off her face , leaving nothing but muscle and bone beneath . Her eyeballs dangle on her cheeks . Delia and Otho stare aghast .</scene_description>
<character>DELIA</character>
<dialogue>Oh my God!</dialogue>
<character>OTHO</character>
<dialogue>We just have to pray that the other closets are bigger than this one.</dialogue>
<scene_description>He walks over . Looks inside .</scene_description>
<character>OTHO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Were these people dwarfes?</dialogue>
<parenthetical>( sic . )</parenthetical>
<parenthetical>( spies something . )</parenthetical>
<dialogue>Oooooo! Look!</dialogue>
<scene_description>He finds , neatly hung in plastic , the Maitlands ' wedding outfits . Totally captivated by this powerful image , he peers through the plastic at them . Holding each up to Delia . Barbara watches wide - eyed at them .</scene_description>
<character>OTHO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Ozzie.</dialogue>
<parenthetical>( holding up her dress . )</parenthetical>
<dialogue>. and. Harriet! What happened to these people?</dialogue>
<scene_description>Delia slams the door in Barbara 's contorted face .</scene_description>
<character>DELIA</character>
<dialogue>They died.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOUSE - SAME TIME</stage_direction>
<scene_description>Delia and Otho come out of Lydia 's bedroom and go through the bathroom . Disgusted , they continue on to the study . OTHO reaches out and turns the knob . The door swings omi - nously open on Charles ' study . This had been Adam 's reading and birdwatching study . Bird posters on the wall , books everywhere . Straight out of Better Homes and Gardens 1963 .</scene_description>
<character>OTHO</character>
<dialogue>Ooo. Deliver me from L.L. Bean!</dialogue>
<scene_description>ANGLE There is one slight difference , however , because on the rag rug in the middle of the floor lies Adam 's headless corpse . Standing over him , holding in one hand a long knife and in the other Adam 's blood - and - gore dripping head is Barbara - with a maniacal look on her face . Behind them , Charles is thumbing through Adam 's Audubon collection . He sits up like a cornered animal protect - ing his territory .</scene_description>
<character>CHARLES</character>
<parenthetical>( to Otho and Delia . )</parenthetical>
<dialogue>This room is off limits. I do n't want either of you to touch one piece of furniture in here. This is my room.</dialogue>
<scene_description>INSIDE THE ROOM The eyes of Adam 's severed head open and look up at Barbara - she stops screaming .</scene_description>
<character>ADAM'S HEAD</character>
<dialogue>They do n't see us. They ca n't hear us.</dialogue>
<scene_description>Outside , Delia is shaking her head .</scene_description>
<character>DELIA</character>
<dialogue>The woman who lived here had the aesthetic instincts of Betty Crocker.</dialogue>
<character>BARBARA</character>
<dialogue>I'm going to get her.</dialogue>
<character>DELIA</character>
<dialogue>I can not convey to you the extent to which this house bores me.</dialogue>
<character>OTHO</character>
<parenthetical>( looking around scientifically . )</parenthetical>
<dialogue>Once you cover up the wallpaper, knock down a few walls, alter the traffic patterns, and - perhaps - think about an inground pool - the place might just be livable. What's on the third floor?</dialogue>
<character>DELIA</character>
<dialogue>Attic space.</dialogue>
<character>OTHO</character>
<dialogue>Let's see. We could turn that into a media room.</dialogue>
<scene_description>They head up the stars to the attic .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - SAME TIME</stage_direction>
<scene_description>Adam 's head has a look of terror on it .</scene_description>
<character>ADAM'S HEAD</character>
<dialogue>Oh, God. I forgot to lock the attic door!</dialogue>
<scene_description>Adam 's headless body jumps up off the floor and rushes out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRCASE TO ATTIC - SAME TIME</stage_direction>
<scene_description>Otho and Delia climbing . The headless corpse careens past them , around the bend in the stairs and out of sight .</scene_description>
<character>OTHO</character>
<dialogue>Did you feel something?</dialogue>
<scene_description>Delia shakes her head .</scene_description>
<character>OTHO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I felt a cool wind.</dialogue>
<scene_description>The expression on Otho 's face suggests he knows more than he 's telling .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANDING OUTSIDE ATTIC DOOR - SAME TIME</stage_direction>
<scene_description>The headless corpse rushes through the open door into the attic .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - SAME TIME</stage_direction>
<scene_description>The headless corpse slams the door shut , turns the key in the lock . Then he slumps against the locked door in an exaggerated stance of relief .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC LANDING - SAME TIME</stage_direction>
<scene_description>Delia tries the knob . The door is locked .</scene_description>
<character>OTHO</character>
<dialogue>You do n't have a key?</dialogue>
<character>DELIA</character>
<dialogue>Maybe Charles does.</dialogue>
<character>OTHO</character>
<dialogue>I have a feeling there's some very interesting space behind this door.</dialogue>
<character>DELIA</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Probably the world's largest Reader's Digest collection! C'mon, let's have some chablis, Otho, I'm laid bare by this experience. Entirely bare.</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY - SAME TIME</stage_direction>
<scene_description>Barbara still holding Adam 's head . Charles still calmly leafing through the Audubons .</scene_description>
<character>ADAM'S HEAD</character>
<dialogue>Whew! That was close.</dialogue>
<character>BARBARA</character>
<dialogue>I can not witness this.</dialogue>
<scene_description>Barbara distractedly puts Adam 's head on a bookshelf . His headless body fumbles with the books and finally reattaches the head .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - DAY</stage_direction>
<scene_description>Adam turns away from the window . Barbara , fuming , moves around Charles making wild gestures .</scene_description>
<character>BARBARA</character>
<dialogue>What's the good of being a ghost if you ca n't frighten people to death?</dialogue>
<character>ADAM</character>
<dialogue>Oh, honey.</dialogue>
<character>BARBARA</character>
<dialogue>No, I'm not putting up with this.</dialogue>
<scene_description>She storms out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MOMENTS LATER</stage_direction>
<scene_description>Barbara storms in , as if straight from the room up - stairs . She heads straight for the back door . Just as she opens the door , Adam rushes up .</scene_description>
<character>ADAM</character>
<dialogue>Barbara, honey! Do n't go out there. You do n't know -</dialogue>
<character>BARBARA</character>
<dialogue>Nothing can be worse than this.</dialogue>
<scene_description>She flings open the door and steps outside . She promptly disappears .</scene_description>
<character>ADAM</character>
<dialogue>Barbara!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SURFACE OF SATURN'S MOON TITAN - DAY</stage_direction>
<scene_description>Barbara plunges into the dusty surface of Titan with an enormous Saturn looming in the sky . She looks around with wonder and some fear . A SULFUR VOLCANO erupts in the distance . A meteor CRASHES with a lurid EXPLOSION . As from a great distance she hears Adam 's VOICE . Like THUNDER .</scene_description>
<character>ADAM</character>
<dialogue>Barbara!</dialogue>
<scene_description>She turns slowly in the yellow dense sand that covers the surface of this distant moon . BARBARA 'S POV Adam is trudging towards her . Behind him , hovering isolated in the air , is the kitchen door . BACK TO SCENE Adam at last catches up with her . Surveys around them .</scene_description>
<character>BARBARA</character>
<dialogue>Oh Adam. Find somebody. I'm getting all yellow. Do something!</dialogue>
<scene_description>BEHIND THEM Something is burrowing rapidly toward them through the sand . The Something could be right out of `` Dune '' . BARBARA AND ADAM stare for a moment , then Adam grabs her and pulls her toward the kitchen door . But the kitchen door has moved , so they veer in the new direction . The Something follows them and rises out of the sand . ON SOMETHING It is a very big , very nasty , and very hungry SNAPPING SANDWORM . It ROARS and lunges at them . BARBARA slightly angered at it , instinctively bats at it . THE SANDWORM is momentarily stunned at Barbara 's audacity . It freezes and shakes its loathesome head . BARBARA bats at it again . Adam is wide - eyed , tries to pull her away . The Sandworm recovers and ROARS after them . ADAM grabs Barbara and tries to escape , but they slip and sink in the sand . They make it to the door just in time , swing it open and hurl themselves through . The door shuts with a BANG just in front of the ROARING SANDWORM . THE SANDWORM rears and ROARS in frustration , HOWLING to the ringed planet .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Barbara , weeping , throws herself in Adam 's arms .</scene_description>
<character>BARBARA</character>
<dialogue>Oh, Adam, do n't ever leave me alone.</dialogue>
<character>ADAM</character>
<dialogue>You left me.</dialogue>
<character>BARBARA</character>
<dialogue>I know. I'm sorry.</dialogue>
<scene_description>She hugs him tight .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I just realized that I could have been killed alone. Do n't ever leave me, honey.</dialogue>
<scene_description>Both contemplate that horror .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We're trapped in this house forever. with those. people.</dialogue>
<character>ADAM</character>
<dialogue>You ca n't say that for sure. It could be a transitional thing. Like a post - life crisis. We just have to be tougher with them. Come on. Have some brandy. Spirits?</dialogue>
<character>BARBARA</character>
<parenthetical>( a tentative smile . )</parenthetical>
<dialogue>Death did n't improve your sense of humor.</dialogue>
<scene_description>They head for the dining room .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM</stage_direction>
<scene_description>Adam has his arms around Barbara 's shoulder . They walk in the door and stumble upon the Deetzes at their dinner . Lydia 's back is to them . Barbara and Adam back out of the room but stop to listen .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>The Deetz 's around the dining room table . There are candles and good china laid out - but they 're eating out of Chinese take - out boxes .</scene_description>
<character>DELIA</character>
<dialogue>I ca n't believe that we're eating Cantonese. Is there no Szechuan up here? Hunan?</dialogue>
<character>CHARLES</character>
<dialogue>There's only one Chinese restaurant out here, darling, the owners are Irish and Irish people happen to cook Cantonese. They do n't know better.</dialogue>
<character>LYDIA</character>
<dialogue>I plan to have a stroke from the amount of MSG that's in this food.</dialogue>
<character>DELIA</character>
<dialogue>This is our first meal in this house, Lydia. Why do n't we all do our little private parts to make it a pleasant one?</dialogue>
<character>CHARLES</character>
<dialogue>Lydia, relax. We'll build you a darkroom in the basement.</dialogue>
<character>LYDIA</character>
<parenthetical>( dramatically . )</parenthetical>
<dialogue>My whole life is a darkroom! One. big. dark. room.</dialogue>
<scene_description>Delia rolls her eyes and nods . She 's been through this before .</scene_description>
<character>DELIA</character>
<dialogue>Nonsense. you'll go to school, maybe meet a farm boy.</dialogue>
<scene_description>Delia laughs . Charles smiles .</scene_description>
<character>LYDIA</character>
<parenthetical>( doleful . )</parenthetical>
<dialogue>Yeah, maybe if he's nice, he'll let me hang myself from a rope in his barn.</dialogue>
<character>CHARLES</character>
<dialogue>Lydia, in a couple of years this whole town will be filled with people like us.</dialogue>
<character>DELIA</character>
<dialogue>We'll be the art center of summer New York. I'll start sculpting again. I'll teach those gallery bastards to refuse my sculpture. And when Otho and I get through with this house, you people are not going to recognize it.</dialogue>
<character>LYDIA</character>
<parenthetical>( dramatically . )</parenthetical>
<dialogue>I say let's keep it the way it is.</dialogue>
<scene_description>Delia stares at Lydia .</scene_description>
<character>CHARLES</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Good idea!</dialogue>
<scene_description>Delia shifts her glare to Charles .</scene_description>
<character>LYDIA</character>
<dialogue>I do. I really like it. I mean, it's already sort of like somebody's home, is n't it? Their couch is comfortable and does n't stick to your legs. It smells like a real home, not a French whorehouse.</dialogue>
<character>DELIA</character>
<dialogue>Lydia, at your age, you are so young.</dialogue>
<parenthetical>( back to business . )</parenthetical>
<dialogue>Charles, we need to call that awful Jane Butterfield tomorrow and get the key to the attic door. Ca n't you find a way to hold back some of her commission?</dialogue>
<character>CHARLES</character>
<dialogue>We're going to have a lot to do tomorrow. The Goodwill truck is coming.</dialogue>
<character>DELIA</character>
<dialogue>and whatever is up there in that attic goes away with it.</dialogue>
<character>CHARLES</character>
<dialogue>Should have it fumigated, too. I saw a fly today.</dialogue>
<scene_description>Lydia looks at them with a mixture of sadness and anger . OUTSIDE THE DOOR - ON THE STAIRS - listening , sit Barbara and Adam . A tear rolls down her face .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Adam and Barbara are lying down on the floor , peering out of one of the small windows overlooking the front yard of the house . The handbook open in front of them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - ADAM AND BARBARA'S POV - DAY</stage_direction>
<scene_description>The entire front yard is alive with workmen and their vehicles . Plumbers , electricians , cable TV men , etc. . In the road on front of the house are several cars of rubbernecking locals , astonished by all the activity . The City has come to Town . Moving men continue to move in the Deetz ' modern , expensive and ugly furniture . They collide with Goodwill men coming out with the Maitlands ' lovely antiques and personal possessions .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Adam and Barbara just look at one another as if to say `` We 're next ! '' Adam leafs through the handbook furi - ously .</scene_description>
<character>BARBARA</character>
<dialogue>Look in the index.</dialogue>
<character>ADAM</character>
<dialogue>Not really. what's this?</dialogue>
<scene_description>Adam pulls from the book an ancient , yellowed , crumbling handbill . He carefully opens it . ON handbill - very primitive , crude , red printing .</scene_description>
<character>ADAM</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( reading . )</parenthetical>
<dialogue>Having difficulty adjusting? Is death a problem and not a solution? Unhappy with eternity? Troubled by the living? Call Betelgeuse, the bio - exorcist. That's Betelgeuse, Betel.</dialogue>
<scene_description>The remainder of the sheet is torn off . ON Barbara - fingering the torn edge . Looking in the book for the remainder . No luck .</scene_description>
<character>BARBARA</character>
<dialogue>That's it? No number, or instructions?</dialogue>
<character>ADAM</character>
<dialogue>Nothing. The bio - exorcist? I do n't get it.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Charles , away from the chaos outside is calmly steeping a mug of herb tea . His solitude is interrupted by a 2500 lb . Vulcan range breaking through a too - small kitchen window .</scene_description>
<character>CHARLES</character>
<parenthetical>( shouting through the window . )</parenthetical>
<dialogue>What the hell are you trying to do out there?</dialogue>
<scene_description>DELIA - OUTSIDE is berating the inept crane operator and shrieks periodically at some fine art movers who are struggling under her horrid modern welded steel sculptures . LYDIA snaps photos of the mayhem . She stops to scan the whole house . LYDIA 'S POV When her gaze reaches to top of the house , she suddenly glimpses Barbara and Adam 's faces in the window . BACK TO SCENE Lydia blinks hard . Her mouth drops open . She looks all around - as if she 'd just seen a ghost or two . JANE BUTTERFIELD 'S CAR pulls up . Little Jane sits in the front seat , burdened with an enormous stack of collated and stapled copies . Lydia catches sight of Jane and runs over . Little Jane locks her door , in fear of Lydia - the strange . Lydia stares at her .</scene_description>
<character>LITTLE JANE</character>
<dialogue>Are you a boy or a girl?</dialogue>
<character>LYDIA</character>
<dialogue>I only speak to vertebrates.</dialogue>
<character>LYDIA</character>
<dialogue>What happened to the people who used to live here?</dialogue>
<character>LITTLE JANE</character>
<parenthetical>( ratty little voice . )</parenthetical>
<dialogue>They drowned!</dialogue>
<character>JANE</character>
<dialogue>Yes, they were family. I was devastated.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Here, darling.</dialogue>
<scene_description>Jane hands a key to Lydia .</scene_description>
<character>LYDIA</character>
<parenthetical>( impressed . )</parenthetical>
<dialogue>Is this the key to the attic?</dialogue>
<character>JANE</character>
<dialogue>That's a skeleton key. It'll open any door in that house. Will you give it to your father?</dialogue>
<parenthetical>( handing her a business card . )</parenthetical>
<dialogue>And you might mention that I single - handedly decorated the house. In case he needs advice in that area. Come see me.</dialogue>
<scene_description>Jane goes away . ANOTHER ANGLE Lydia 's face sobers as she looks up at the now empty attic window .</scene_description>
<character>DELIA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Help! Get off me!</dialogue>
<scene_description>Lydia drops the skeleton key into her pocket surrepti - tiously . She follows Delia 's SHRIEKING .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>Lydia rounds the corner to see Delia , pinned flat against the house by one of her horrid steel sculp - tures . Two movers are struggling to free her . Lydia snaps a quick photograph . They finally free Delia . She clutches at her head , just short of tearing her hair out .</scene_description>
<character>DELIA</character>
<dialogue>You jerks! That is my art, and it is dangerous! You think I want to want to die like that?</dialogue>
<parenthetical>( seeing Lydia . )</parenthetical>
<dialogue>Lydia. Moving is a family affair. So buckle down now and go get Mommy some drugs.</dialogue>
<character>LYDIA</character>
<dialogue>Any particular kind?</dialogue>
<character>DELIA</character>
<dialogue>Joke! Joke! Aspirin!</dialogue>
<scene_description>Lydia walks off toward the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Barbara is half - hiding on the edge of the window .</scene_description>
<character>BARBARA</character>
<dialogue>That little girl saw us.</dialogue>
<character>ADAM</character>
<dialogue>She could n't have. We ca n't make them see us.</dialogue>
<character>BARBARA</character>
<dialogue>But she saw us. I could feel it.</dialogue>
<character>ADAM</character>
<parenthetical>( pause , thinking that over . )</parenthetical>
<dialogue>That's all we need.</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY - DAY</stage_direction>
<scene_description>Lydia looks up the stairs at the attic landing . She 's a little scared . She decides to go up the dark stairs . IN THE HALL At the end of the hall stands Charles , directing men who are carrying books into the room that will be his study . He continues on . A BLAST of STEAM fills the hallway , because workmen are already going at the wallpaper . Lydia emerges from it . Looking up at stairway to attic , mounting courage .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRCASE TO ATTIC - DAY</stage_direction>
<scene_description>Lydia creeps upward , taking the skeleton key from her pocket . FLOORBOARDS SQUEAK .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Adam works on his model . He hears the SQUEAK , looks up confidently .</scene_description>
<character>ADAM</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Do n't worry. I've locked it.</dialogue>
<scene_description>Barbara smiles and knits while rocking in her chair .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC LANDING</stage_direction>
<scene_description>Lydia quietly inserts the key in the lock of the attic door . She turns it . The key is stiff . She turns harder . It 's stuck . Lydia tries the door - it 's no go . She turns the key again . This time it goes all the way around .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Barbara and Adam , surprised by the key , look at each other , carefully , very quietly , stand up and tiptoe toward door . ON THE SCREEN OF AN OLD TV SET in the corner of the attic - Suddenly - a ghostly image POPS ON . ON TV - A BIZARRE , SMALLISH FELLOW outfitted in a too - big cowboy hat , bad wig , and over - sized sunglasses appears on screen singing very quickly . -LRB- It 's a heavily disguised BETELGEUSE . -RRB- BEHIND HIM the CAMERA QUICKLY PANS an assortment of tombstones a la Cal Worthington .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Have the living got you down? Betelgeuse! Are they jacking you around? Betelgeuse! Have you broken out in hives'Cause you're tired of their jive? I will drive them from your hive. Betelgeuse!</dialogue>
<scene_description>ANOTHER ANGLE CAMERA TILTS DOWN a flashing tombstone with `` BETELGEUSE '' written on it . Adam rushes over to shut it off . He ca n't find a plug . He looks around behind set . no workings inside at all . He peers around to the screen . It is blank . Suddenly - Betelgeuse POPS ON AGAIN .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Say it once. Betelgeuse Say it twice. Betelgeuse. The third time's a charm. Betelgeuse! Come on down!</dialogue>
<scene_description>He POPS OFF . Adam and Barbara stare at each other .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANDING - DAY</stage_direction>
<scene_description>Lydia listens . Did she hear something ? She puts her hand on the knob and tries to turn it . It 's stuck . Then the key eerily pops out of the lock and falls on the floor . Charles ' head suddenly appears behind her . Scares her .</scene_description>
<character>CHARLES</character>
<dialogue>What are you doing?</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Adam is holding on tight to the knob of the door . With her knitting needle , Barbara has poked the key out . The two stand absolutely still , listening , terrified of the living intruders .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC LANDING - LYDIA AND CHARLES</stage_direction>
<character>LYDIA</character>
<dialogue>I was just trying to open the door. Mrs. Butterfield brought over a skeleton key.</dialogue>
<character>CHARLES</character>
<dialogue>Let me have it.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Barbara and Adam tighten . ON THE LANDING</scene_description>
<character>LYDIA</character>
<dialogue>But it does n't work.</dialogue>
<scene_description>She hands her father the key . He looks at it and throws it in the corner .</scene_description>
<character>CHARLES</character>
<dialogue>Skeleton keys never work. Anyway, this can wait. We'll get a crowbar later. Where's your mother?</dialogue>
<character>LYDIA</character>
<parenthetical>( very quick de - cisive delivery . )</parenthetical>
<dialogue>Stepmother.</dialogue>
<character>CHARLES</character>
<dialogue>I'm going down to relax. I want a noise - free zone. Do you understand? Noise - free.</dialogue>
<scene_description>He goes down the stairs .</scene_description>
<character>LYDIA</character>
<dialogue>Dad?</dialogue>
<scene_description>He continues .</scene_description>
<character>CHARLES</character>
<parenthetical>( irritated , over his shoulder . )</parenthetical>
<dialogue>What?</dialogue>
<character>LYDIA</character>
<dialogue>I'm lonely.</dialogue>
<scene_description>A BLAST OF STEAM from below drowns out her words . Charles stops and turns around . The BLAST STOPS .</scene_description>
<character>CHARLES</character>
<dialogue>What?</dialogue>
<scene_description>TIGHT ON LYDIA She is resolved .</scene_description>
<character>LYDIA</character>
<dialogue>Nothing.</dialogue>
<scene_description>Charles continues . She begins to follow slowly . ON KEY behind Lydia . WIDEN as Adam rushes out the door , grabs the key and rushes back in again . Lydia hears some - thing but does n't see .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Barbara and Adam have moved away from the door .</scene_description>
<character>ADAM</character>
<parenthetical>( looking through the handbook . )</parenthetical>
<dialogue>We need some help. I found something this morning. Here. Emergencies.</dialogue>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` In case of emergency, draw door.''</dialogue>
<character>BARBARA</character>
<dialogue>Draw door? I do n't know why we keep looking in that stupid book.</dialogue>
<scene_description>Adam takes a piece of chalk and draws a little door on the exposed brick of the chimney .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You do n't actually think this is going to work?</dialogue>
<scene_description>Adam draws a doorknob . Then he tries to turn it . The door , perhaps to his surprise , fails to open .</scene_description>
<character>BARBARA</character>
<dialogue>Yet another triumph for Adam and Barbara in the afterlife. Why do n't we try this Beetle guy?</dialogue>
<character>ADAM</character>
<dialogue>Wait.</dialogue>
<scene_description>He looks at book , then writes on the door : KNOCK AND ENTER . He exchanges a glance with Barbara . She 's even more skeptical than before . Turns away in disgust . Adam knocks on the door , and turns the knob . Nothing . She is more disgusted . Adam goes back to the book .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Aha! Knock three times.</dialogue>
<scene_description>ANOTHER ANGLE He knocks three times . Turns knob . The chalked door swings magnificently open . Behind is an eerie light source , SOARING MUSIC , maybe even a heavenly choir singing pear - shaped syllables . Barbara and Adam look at one another again . They hold hands and step tentatively through . Their figures are lost in the blinding light . They start to shut door after them . ON THE ATTIC LANDING Lydia is staring at the light pouring from under the attic door . It suddenly goes out . ON LYDIA She is dumbfounded . She listens . ON THE LANDING Lydia speeds down the steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLES' STUDY - DAY</stage_direction>
<scene_description>Charles , fiercely intent on relaxing , paces like a catfish out of water . Ralph Lauren in K - mart . He stretches . He sits uneasily in an easy chair , tries like hell to get comfortable . Finally , he puts a book under his bottom to get sitting straight . Looks around tapping his fingers . What to do ? Looks at watch . He takes down a book from Adam 's library , it is an Audubon book of birds . He whips through it like it 's the comics and then looks around for more . He finds the `` Illustrated Walden '' by Thoreau . He speed reads it . He is now really bored . Goes to the fireplace , tries to light it . Can not do it . Goes to desk and writes :</scene_description>
<character>OTHO-INSTALL GAS FIRE LOGS IN</character>
<dialogue />
<character>STUDY.</character>
<dialogue>says.</dialogue>
<scene_description>He studies bird posters . Finds beautiful cardinal picture . Takes field glasses and looks out window . HIS POV Spies big ugly - looking ratty bird devouring something . ON CHARLES horrified . Wrinkles his nose . Lydia enters . He jumps .</scene_description>
<character>CHARLES</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Lydia is shocked .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Darling, ca n't you see I'm relaxing in here!</dialogue>
<character>LYDIA</character>
<dialogue>Well I just wanted to tell you what I saw.</dialogue>
<character>CHARLES</character>
<dialogue>Lydia. What the hell is the point of my moving up here if you people wo n't let me relax? Go help your mother.</dialogue>
<scene_description>Charles returns to field glasses , spies something . She looks at him in frustration .</scene_description>
<character>LYDIA</character>
<parenthetical>( on her way out . )</parenthetical>
<dialogue>Fine. Maybe you can relax in a haunted house. But I ca n't.</dialogue>
<scene_description>She exits . Charles peers after her , brow furrowed . Looks out again at the village . Uses his field glasses to get a better look . HIS POV It is the Bozman Building . Ernie is out front pol - ishing the brass lion . ON CHARLES He thinks . Moves the field glasses to punctuate his discovery of the building . -LRB- His eyes never leave field glasses throughout the following . -RRB-</scene_description>
<character>CHARLES</character>
<dialogue>Nice building. Bad paint. Good lines. bad roof. Good parking. hmmm?</dialogue>
<scene_description>That really registers with him . Without looking , he dials a familiar number on the phone with one hand , lifts the receiver . He clacks his teeth together pur - posefully .</scene_description>
<character>SECRETARY'S VOICE</character>
<dialogue>Botco International.</dialogue>
<character>CHARLES</character>
<dialogue>Yes, I'd like to speak with Maxie Dean.</dialogue>
<character>SECRETARY'S VOICE</character>
<dialogue>He's not in right now.</dialogue>
<character>CHARLES</character>
<dialogue>Well tell him that Charles Deetz called.</dialogue>
<scene_description>He hangs up and continues to spy on Bozman Building . Clacks his teeth .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>My God what I could do with that parking.</dialogue>
<scene_description>TIGHT SHOT - BARBARA AND ADAM Very still , they look cautiously to the right and left - just with their eyes . They 're astounded by what they see , though we do n't yet see it .</scene_description>
<character>ADAM</character>
<dialogue>Not what I expected when we walked through that door.</dialogue>
<character>BARBARA</character>
<dialogue>No. But it's somewhere without big worms.</dialogue>
<scene_description>CAMERA DRAWS BACK and we find that Adam and Barbara are in :</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - DAY</stage_direction>
<scene_description>The most unpleasant waiting room that you ever remember waiting in . Fifties furniture with broken legs , couches propped up on telephone books . Standing ashtrays with dirty stand . Linoleum floors patched a hundred times . National Geographics with the covers torn off . The `` Take a number '' registers in the millions . AS THE CAMERA COMPLETES A CIRCLE OF THE ROOM We see a RECEPTIONIST . She 's the quintessential 50 's receptionist - tight sweater , bullet - breasted bra , bleached hair , red lipstick . She 's wearing a ribbon across her breast reading `` MISS ARGENTINA '' and there are knife slashes across both wrists .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>You do n't have an appointment, do you?</dialogue>
<character>ADAM</character>
<dialogue>W. We did n't know how to make one.</dialogue>
<character>BARBARA</character>
<dialogue>An appointment for what?</dialogue>
<character>RECEPTIONIST</character>
<dialogue>What do you want?</dialogue>
<character>BARBARA</character>
<dialogue>We need some help.</dialogue>
<character>RECEPTIONIST</character>
<dialogue>Already? You just bit the big one nine months ago and you want help?</dialogue>
<character>ADAM</character>
<dialogue>Nine months? What difference does that make?</dialogue>
<character>RECEPTIONIST</character>
<parenthetical>( shrugging . )</parenthetical>
<dialogue>Good luck. You're going to use up all your help vouchers.</dialogue>
<character>ADAM</character>
<dialogue>Help vouchers?</dialogue>
<character>RECEPTIONIST</character>
<dialogue>D - 90's. You spend a hundred and twenty - five years on earth, actually, in that house, during which you get only three class - one D - 90 intercessions with Juno. You probably have n't even read through the manual completely yet.</dialogue>
<character>BARBARA</character>
<dialogue>Why three?</dialogue>
<scene_description>TYPIST Behind the Receptionist holds up both hands each of which have only three fingers on them .</scene_description>
<character>TYPIST</character>
<dialogue>Rule Number Three. Everything comes in threes.</dialogue>
<character>RECEPTIONIST</character>
<dialogue>You'll have to wait if you do n't have an appointment.</dialogue>
<character>BARBARA</character>
<dialogue>How long do we have to wait?</dialogue>
<character>ADAM</character>
<dialogue>Wait for who?</dialogue>
<character>RECEPTIONIST</character>
<dialogue>For Juno, your caseworker. Not that it matters to your type. But there are all these other people here ahead of you. I'd say 3 hours.</dialogue>
<scene_description>The waiting room is now filled with people . Dead people , some in fairly awful states . A cornucopia of carnal shreddage . Adam and Barbara look around for a moment , then very quietly , they reach out to grasp hands .</scene_description>
<character>RECEPTIONIST</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Number 54 million, six hundred one. Ferndock.</dialogue>
<scene_description>CAMERA PUSHES IN CLOSE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC LANDING - DAY</stage_direction>
<scene_description>Lydia kneels down with a screwdriver , a nail file , an ice pick , and a credit card . She inserts nail file into the door . She struggles , and after several attempts - finally uses the ice pick and POP ! The door swings open ominously .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Lydia enters . The room is dim , and filled with dust motes . There are shadows in all the corners . She bumps into a switch which engages the model sun and moon and that eerily illuminates the model town . She 's frightened , then entranced . She peers at it from different angles , her fear for - gotten . She notes small tools scattered around an unfinished area . She continues around the model , oblivious to everything else . Then . She kicks something . Ducks under the table and comes up with something , holds it up to the light . It 's the handbook . She looks through it . Finds the marked page . looks at the chalk door .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<scene_description>Barbara and Adam are still holding hands , as if they had n't moved . Like waiting for an IRS audit .</scene_description>
<character>BARBARA</character>
<parenthetical>( to Adam . )</parenthetical>
<dialogue>Is this what happens when you die?</dialogue>
<scene_description>The Receptionist overhears . She points at Barbara .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>This is what happens when YOU die.</dialogue>
<parenthetical>( points to another corpse . )</parenthetical>
<dialogue>That is what happens when HE dies. That is what happens when THEY die. It's highly personal. And I'll tell you something. if I knew then what I know now. I would n't have had my little `` accident!''</dialogue>
<scene_description>She holds up her wrists and smiling at her little joke , wriggles them indicating her slashes .</scene_description>
<character>OTHER CORPSES</character>
<parenthetical>( all together . )</parenthetical>
<dialogue>Amen!</dialogue>
<scene_description>Barbara and Adam look at them . Corpses resume doing what they were doing . A GRINDING NOISE O.S. - The Receptionist looks up . Barbara and Adam also look O.S. . THEIR POV A Message delivery wire GRINDS along loudly on a pulley . The actual message is held in the hand of the MESSENGER , a flattened corpse , suspended as if on a shirt clothesline , tire marks on his face and clothing . A major roadkill . Dust and gravel ground into him . He smiles wanly at Barbara and Adam as the Receptionist takes a message on a piece of paper and reads it .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Maitland, party of two! Take your handbook and go to the sixth door.</dialogue>
<scene_description>Barbara and Adam upset at the loss of their handbook .</scene_description>
<character>BARBARA</character>
<dialogue>We forgot our handbook.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Lydia is studying the handbook with intense interest .</scene_description>
<character>CHARLES</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( from distant downstairs . )</parenthetical>
<dialogue>Lydia, Delia needs your help!</dialogue>
<scene_description>Lydia gives one more look at the book , and then goes to the door quickly and silently .</scene_description>
<character>CHARLES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Right now, Delia says!</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<character>RECEPTIONIST</character>
<parenthetical>( shaking her head in disgust . )</parenthetical>
<dialogue>Out that way, through the typing pool, down the corridor, sixth door on your left. Sixth door. Two threes.</dialogue>
<parenthetical>( shaking her head . )</parenthetical>
<dialogue>Airhead.</dialogue>
<scene_description>Adam and Barbara walk through a door .</scene_description>
</scene>
<scene>
<stage_direction>INT. TYPING POOL - DAY</stage_direction>
<scene_description>A vast room of desks arranged in a grid , straight out of `` How To Succeed In Business '' . Each desk is occupied , too , but most of the secretaries are merely skeletons , or mouldering corpses slumped over their typewriters . Only one secretary , somewhere in the vast grid , is typing slowly , with long pauses between words . The Messenger on his return trip , parallels Barbara and Adam as they walk along . Barbara ca n't look at him .</scene_description>
<character>MESSENGER</character>
<dialogue>How do I look? There're no mirrors on this side.</dialogue>
<character>ADAM</character>
<parenthetical>( trying to be pleasant . )</parenthetical>
<dialogue>Fine, you look fine.</dialogue>
<character>MESSENGER</character>
<dialogue>Thanks. I've been feeling a little flat.</dialogue>
<scene_description>ANOTHER ANGLE He laughs at his own joke as he goes back through the very , very narrow slot in the wall where the line runs . Adam and Barbara look to the right and left . A vast stack of files slips off a desk and spills out onto the floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - DAY</stage_direction>
<scene_description>Barbara and Adam enter corridor . Empty , like a hotel corridor , but all the doors are of different types - a revolving door , a dutch door , church doors . They walk past a waist - high window , covered by a roll - up shade .</scene_description>
<character>BARBARA</character>
<dialogue>A hundred twenty - five years! I ca n't believe it. I ca n't believe they did n't tell us.</dialogue>
<scene_description>She bumps into the shade and it rolls up FLAPPING . She stares in through the window . Adam peers in it too . THEIR POV A smouldering , mist - filled room . From the smoky plasma floats an occasional tortured soul . Unspeakably SAD MUSIC wafts from within . They get only a glimpse of the bodies in this horrible human soup .</scene_description>
<character>BARBARA</character>
<dialogue>Adam, look at this.</dialogue>
<scene_description>Suddenly , floating up from below , immediately on the other side of the window , a white - crepe face emerges . It seems to be that of a woman , her eyes are red and blue tears rim them . Her pale skin is covered with a flaking crust of salt . She wears the saddest look ever . Her mouth opens plaintively but no sound comes .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Oh, Adam. what is this?</dialogue>
<scene_description>A reflection joins them on their side of the window . A SINISTER LITTLE JANITOR wizened and efficient , pulls the shade down firmly .</scene_description>
<character>SINISTER MAN</character>
<dialogue>That's the lost souls room. A room for ghosts who have been exorcised. Poor devils. That's death for the dead. It's all in the handbook. Keep moving.</dialogue>
<scene_description>The man scuttles off . Adam and Barbara walk on sadly , until they come to a door that looks exactly like the swinging door between the kitchen and dining room of their house .</scene_description>
<character>ADAM</character>
<dialogue>This is it. the sixth door.</dialogue>
<scene_description>Puzzled - Barbara pushes it .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Everything is dark , quiet - but the furniture is obviously not theirs , and neither is the decoration . Adam and Barbara exchange glances , and push on through into the living room .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Quiet , dark . Everyone 's asleep .</scene_description>
<character>ADAM</character>
<dialogue>My God, we're back home.</dialogue>
<character>BARBARA</character>
<dialogue>Look at this, everything is different down here. All our furniture is gone.</dialogue>
<character>ADAM</character>
<dialogue>How long do you suppose we were waiting?</dialogue>
<character>JUNO</character>
<dialogue>Three months.</dialogue>
<scene_description>ANOTHER ANGLE A spot comes on , revealing JUNO - their caseworker . She 's an older woman , no nonsense about her . Over - dressed in an outfit that includes a blouse with ruffled cuffs . We will at some point catch a glimpse of her slashed throat - she smokes heavily . Occa - sionaly smoke puffs from her cut throat .</scene_description>
<character>JUNO</character>
<dialogue>I'd nearly given up on you. I was about to leave. I do have other clients.</dialogue>
<character>BARBARA</character>
<dialogue>Are you Juno, our caseworker?</dialogue>
<character>JUNO</character>
<dialogue>Yes. I evaluate individual cases and determine if help is needed, deserved, and available.</dialogue>
<character>BARBARA</character>
<dialogue>We need help. We deserve help.</dialogue>
<character>ADAM</character>
<dialogue>Are you available?</dialogue>
<character>JUNO</character>
<dialogue>No.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What's wrong?</dialogue>
<character>BARBARA</character>
<dialogue>We're very unhappy.</dialogue>
<character>JUNO</character>
<dialogue>What do you expect? You're dead.</dialogue>
<character>ADAM</character>
<dialogue>We'd like some help in getting rid of the people who moved in here. Barbara and I worked very hard on this house.</dialogue>
<character>BARBARA</character>
<dialogue>We probably would n't mind sharing the house with people who were -</dialogue>
<character>JUNO</character>
<dialogue>- like you used to be?</dialogue>
<character>BARBARA</character>
<dialogue>Yes.</dialogue>
<character>ADAM</character>
<dialogue>But these people -</dialogue>
<scene_description>He indicates a particularly bad piece of Delia 's sculp - ture . Juno walks around it shaking her head .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE</stage_direction>
<scene_description>The following conversation takes place as Barbara and Adam follow Juno as she looks around the house and ends up in their attic space .</scene_description>
<character>JUNO</character>
<dialogue>Things seem pretty quiet here. You should thank God you did n't die in Italy.</dialogue>
<parenthetical>( checking the file . )</parenthetical>
<dialogue>The Deetzes. Okay. Have you been studying the manual?</dialogue>
<character>ADAM</character>
<dialogue>We tried.</dialogue>
<character>JUNO</character>
<dialogue>The Intermediate Interface chapter on Haunting says it all. Get'em out yourself. It's your house. Haunted houses do n't come easy.</dialogue>
<character>BARBARA</character>
<dialogue>We do n't quite get it.</dialogue>
<scene_description>Juno 's watch BUZZES , she stops it .</scene_description>
<character>JUNO</character>
<dialogue>I heard.</dialogue>
<parenthetical>( refers to her file . )</parenthetical>
<dialogue>Tore your face right off! Bad news. It obviously does n't do any good to pull your heads off in front of people if they ca n't see you.</dialogue>
<character>ADAM</character>
<dialogue>We have to start simpler, is that it?</dialogue>
<character>JUNO</character>
<dialogue>Start simply. Do what you know. Use your talents. Practice. We only help those who help themselves. Just do a little at a time. And of course, practice, practice, practice. It's tricky but - you were n't murderers by any chance, were you?</dialogue>
<character>BARBARA</character>
<dialogue>No.</dialogue>
<character>JUNO</character>
<dialogue>Pity. Murderers seem to have an easy time of it. Just look at Amityville.</dialogue>
<parenthetical>( reminiscing . )</parenthetical>
<dialogue>He was one of my boys. Did n't have to give that one any lessons. From day one. But I must be off. I've got a plane load of football players crashed in the midwest. they need a lot of help, just with the basics.</dialogue>
<scene_description>Points at her head indicating dumbness .</scene_description>
<character>BARBARA</character>
<dialogue>If. we have trouble. What about the guy in the flyer? Betelge.</dialogue>
<character>JUNO</character>
<parenthetical>( quickly interrupt - ing her . )</parenthetical>
<dialogue>Do n't say his name, you do n't want his help.</dialogue>
<scene_description>Adam and Barbara look at each other . Puzzled .</scene_description>
<character>ADAM & BARBARA</character>
<dialogue>Well. We might.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Juno peers into the model cemetery with interest . A FLY BUZZES around her . Juno blows it away . Fly flees .</scene_description>
<character>JUNO</character>
<dialogue>No you do n't! He does not work well with others.</dialogue>
<character>BARBARA</character>
<dialogue>What do you mean? What's he do?</dialogue>
<scene_description>A grave look comes over Juno 's face as the light changes to suggest someone telling a ghost story around a campfire .</scene_description>
<character>JUNO</character>
<dialogue>I was n't going to bring it up - but rather than have you stumble into it and make another mistake, I'll tell you -.</dialogue>
<parenthetical>( she nervously puffs her cigarette . )</parenthetical>
<dialogue>He was my assistant, but he was a troublemaker. He went out on his own as a free - lance bio - exorcist - claims to get rid of the living. got into more trouble - you remember the Chicago Fire.</dialogue>
<scene_description>Adam and Barbara look at each other . Juno continues .</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He was demoted to a Grade - 6 malevolent spirit. He's been imprisoned on that plane ever since. in fact, I believe he's been sleezing around your cemetery lately. He can only be brought back by saying his name three times.</dialogue>
<scene_description>Adam and Barbara attempt to interrupt -</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>But I strongly suggest that you remove the Deetz's yourself.</dialogue>
<scene_description>She takes a final drag on the cigarette and smoke billows out the hole in her throat . Juno starts to FADE .</scene_description>
<character>ADAM</character>
<dialogue>And if we need you again, how do we?</dialogue>
<scene_description>Juno fades . Gone . Barbara goes to the model , looks at the cemetery .</scene_description>
<character>BARBARA</character>
<dialogue>That guy is in our cemetery. Oh, Adam.</dialogue>
<character>ADAM</character>
<parenthetical>( holds her shoul - ders , calms her . )</parenthetical>
<dialogue>Look, she's right. We'll just start simple, honey, be tougher. I feel. confident. C'mon.</dialogue>
<scene_description>They exit . CAMERA FOLLOWS ACTION - OVER THE MODEL The FLY BUZZES . It lands and crawls along into the model of the cemetery . THE FLY resplendently green and iridescent , pauses and fiddles with its hairy parts . Starts to walk by .</scene_description>
<character>VOICE</character>
<dialogue>Pssstt! Over here!</dialogue>
<scene_description>Fly stops . Tilts its multi - eyed head . ANOTHER ANGLE Two hands come up from the earth of that grave holding a candy bar .</scene_description>
<character>VOICE</character>
<dialogue>I ca n't use this. You should have it. Flies get so little respect anymore.</dialogue>
<scene_description>THE FLATTERED FLY walks over to the grave . In a flash , the hands grab the struggling fly and dance it like a doll over the grave and then pull it into the earth .</scene_description>
<character>FLY</character>
<dialogue>Buzzz!</dialogue>
<parenthetical>( turns into . )</parenthetical>
<dialogue>Help me! Help me!</dialogue>
<scene_description>A MANIACAL LAUGH grows from the grave . WIND BLOWS as the Fly disappears . Ivy whips away from the grave - stone . We see , for the first time , the chiseled name :</scene_description>
<character>BETELGEUSE</character>
<dialogue />
<scene_description>CLAP OF THUNDER .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLES' STUDY - NIGHT</stage_direction>
<scene_description>Charles is on the phone . He has drawings laid out in front of him . He is at his most urban persuasive , and oddly relaxed - he is finally in his own element .</scene_description>
<character>CHARLES</character>
<dialogue>Maxie, have I not always made you money? I think that is the only real question here.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAXIE'S OFFICE - NIGHT</stage_direction>
<scene_description>New York office , cool design , black couch , and MAXIE DEAN , a 55 - year - old , super tan , white - haired wheeler dealer . Sign says : CHAIRMAN of BOTCO INDUSTRIES . Maxie looks rich and he looks cool as he talks to Charles . Behind him , Sarah , his rich - looking blonde wife , is looking at herself in a mirror .</scene_description>
<character>MAXIE</character>
<dialogue>Well, Charles - no one has made me money like you. Until your nerves went, you were a demon. It is just that. Winter River, Connecticut is, you'll forgive me, no fucking where. Why would I invest that kind of money to buy an old building way the hell up there?</dialogue>
<scene_description>INTERCUT CONVERSATION</scene_description>
<character>CHARLES</character>
<dialogue>Not a building! That's the beauty of it. I think I can buy the whole town. These people do n't know the value of their property!</dialogue>
<character>MAXIE</character>
<dialogue>Then we own a whole town full of nowhere.</dialogue>
<character>CHARLES</character>
<dialogue>No, No - C'mon, Max, you know me. I've got plans. You got ta come up here and see, then I'll tell you about it.</dialogue>
<scene_description>Maxie is n't much interested .</scene_description>
<character>MAXIE</character>
<dialogue>Well, sure, Charles, but I am busy here. you know how it was when you were active.</dialogue>
<scene_description>This burns Charles . But he swallows it . He hears something in the corridor outside - a kind of LOW MOANING .</scene_description>
<character>CHARLES</character>
<parenthetical>( into telephone . )</parenthetical>
<dialogue>Just a minute, Maxie. Somebody.</dialogue>
<character>MAXIE</character>
<dialogue>No listen. we'll talk about this visiting later, I got ta go, I got ta meeting on the Japanese joint venture.</dialogue>
<character>CHARLES</character>
<parenthetical>( torn between the MOANING and Maxie . )</parenthetical>
<dialogue>Great idea, Maxie! Those Japanese could run it for us. Listen, think right about it, will you? We've almost got the house ready, you bring Sarah with you and I'll show you.</dialogue>
<character>MAXIE</character>
<dialogue>Yeah yeah, we'll think on it. Bye ya, Charles. You relax up there, ya hear?</dialogue>
<scene_description>Maxie hangs up . Shakes his head .</scene_description>
<character>MAXIE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Putz! Inter River? My ass.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLES' STUDY - NIGHT</stage_direction>
<scene_description>Charles hangs up frustrated . MOANING INCREASES . He goes to the door and flings it open . A figure is right there in the doorway - A ghost under a sheet . But a `` designer '' sheet . He wails away like a banshee . Eyeholes cut in sheets , Charles jumps , re - covers .</scene_description>
<character>CHARLES</character>
<dialogue>Oh, Jesus, Lydia! Is Connecticut so boring that you have to think up shit like this?</dialogue>
<scene_description>ON Barbara , she stands back away from the door observ - ing skeptically .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I had Maxie Dean on the phone! Darling, Dad's found a way to make some money here while I relax, so scram!</dialogue>
<scene_description>He slams the door , turns around . Then turns around again , and jerks the door open . The ghost is retreat - ing , beaten .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And your mother is going to kill you when she sees that you cut holes in her $ 300 sheets. You provoke her you know. I mean she can be an unreasonable bitch. But you do provoke her.</dialogue>
<scene_description>He SLAMS the door again .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction>
<scene_description>Adam helps Barbara on with her sheet .</scene_description>
<character>BARBARA</character>
<dialogue>God, this is so corny. Have we been reduced to this? Sheets?</dialogue>
<character>ADAM</character>
<dialogue>Think of them as death shrouds. And the moaning is important. Really moan!</dialogue>
<parenthetical>( imitating Juno . )</parenthetical>
<dialogue>Practice, practice, practice.</dialogue>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - NIGHT</stage_direction>
<scene_description>Television still going , Delia asleep with curlers . Adam and Barbara glide inside , go over and stand beside the bed .</scene_description>
<character>ADAM</character>
<dialogue>Deep breath. and.</dialogue>
</scene>
<scene>
<stage_direction>INT. LYDIA'S ROOM - NIGHT</stage_direction>
<scene_description>She has her ever - present camera around her neck . Sud - denly hears MOANS from her parents ' room . Thinking it is sexual , she cringes . Covers her ears .</scene_description>
<character>LYDIA</character>
<dialogue>Gross! How can he stand that woman?</dialogue>
<parenthetical>( louder . )</parenthetical>
<dialogue>Hey, cut it out! I'm a child! For God sakes!</dialogue>
<scene_description>The NOISE gets weirder . Lydia gets interested .</scene_description>
</scene>
<scene>
<stage_direction>INT. MASTER BEDROOM - NIGHT</stage_direction>
<scene_description>Adam and Barbara moan and groan . Delia does n't stir .</scene_description>
<character>BARBARA</character>
<dialogue>I feel really stupid.</dialogue>
<character>ADAM</character>
<dialogue>It's not stupid. We're ghosts. Do you want this woman for breakfast for 125 years? Moan louder!</dialogue>
<scene_description>Barbara moans louder and more weirdly . Delia stirs , sits up , but does n't open her eyes . Adam and Barbara are excited then . disappointed as Delia fumbles on the bedside table for the remote con - trol device , and without opening her eyes , turns off the television set . Then she turns over , and is lost to the world totally . Barbara sighs . She and Adam walk toward the door . When they open it however , Lydia is standing there in her pajamas - she snaps a FLASH Polaroid - and Adam and Barbara jump backwards with yelps of fright .</scene_description>
<character>LYDIA</character>
<dialogue>Sick! Sexual perversion! If you're going to do weird sexual stuff you ought to stay in your bedroom, okay?</dialogue>
<scene_description>Lydia starts back into her room . Then looks at the developing photograph . Something catches her eye . Lydia yelps with fear .</scene_description>
<character>LYDIA</character>
<dialogue>Holy cow! No feet!</dialogue>
<scene_description>She screams . Adam and Barbara scream . Lydia rushes back toward them , starts flashing pictures . Adam and Barbara run around and are pushed into a corner . Polaroids fly everywhere . Lydia runs out of film . She stares at them , panting with fear . A standoff .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>A. Are you the guys who're hiding out in the attic?</dialogue>
<character>ADAM</character>
<parenthetical>( fake terror voice . )</parenthetical>
<dialogue>We're ghosts.</dialogue>
<scene_description>Barbara moans .</scene_description>
<character>LYDIA</character>
<parenthetical>( skeptical , cautious . )</parenthetical>
<dialogue>W. What do you look like under there?</dialogue>
<scene_description>Adam and Barbara pull shut bedroom door , go out into the hall - as if to keep from waking Delia with their conversation .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY - NIGHT</stage_direction>
<scene_description>All three stare at each other tentatively .</scene_description>
<character>ADAM</character>
<dialogue>Are n't you scared?</dialogue>
<character>LYDIA</character>
<dialogue>I'm not scared of Ralph Lauren. Those are sheets. Are you gross under there? Are you `` Night of the Living Dead'' under there? Like all bloody veins and pus?</dialogue>
<character>ADAM</character>
<dialogue>What?</dialogue>
<character>LYDIA</character>
<dialogue>`` Night of the Living Dead?'' It's a movie.</dialogue>
<character>BARBARA</character>
<parenthetical>( pulling off the sheet . )</parenthetical>
<dialogue>If I had seen a ghost at your age, I would have been frightened out of my wits.</dialogue>
<character>LYDIA</character>
<dialogue>You're not gross. Why were you wearing a sheet?</dialogue>
<character>BARBARA</character>
<dialogue>We're practicing.</dialogue>
<character>ADAM</character>
<dialogue>You can actually see us? Without the sheets?</dialogue>
<character>LYDIA</character>
<dialogue>Is this like a trick question?</dialogue>
<character>BARBARA</character>
<dialogue>Tell the truth.</dialogue>
<character>LYDIA</character>
<parenthetical>( offended . )</parenthetical>
<dialogue>Of course I can see you.</dialogue>
<character>ADAM</character>
<dialogue>Nobody else can.</dialogue>
<character>LYDIA</character>
<dialogue>I'm wearing contacts. Also I read through the `` Handbook for the Recently Deceased.'' It says that live people ignore the strange and unusual. I, myself, am strange and unusual.</dialogue>
<character>BARBARA</character>
<parenthetical>( tenderly . )</parenthetical>
<dialogue>You look like a regular girl to me.</dialogue>
<scene_description>Lydia blushes . Barbara smiles warmly . She is begin - ning to like Lydia .</scene_description>
<character>ADAM</character>
<dialogue>You read our book? Could you follow it?</dialogue>
<scene_description>Lydia nods her head .</scene_description>
<character>LYDIA</character>
<dialogue>Why are you creeping around Delia's bedroom?</dialogue>
<character>ADAM</character>
<dialogue>We were trying to scare your mother.</dialogue>
<character>LYDIA</character>
<dialogue>Stepmother. I'm very sensitive about being related to reptiles.</dialogue>
<scene_description>Barbara smiles .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You ca n't scare her. She's sleeping with Prince Valium tonight.</dialogue>
<parenthetical>( defiantly . )</parenthetical>
<dialogue>I stole the key to your attic, you know.</dialogue>
<scene_description>Adam and Barbara look at each other .</scene_description>
<character>BARBARA</character>
<dialogue>Maybe we better talk.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC ROOM - NIGHT</stage_direction>
<scene_description>Adam 's rigged up the moon , and stars , too . Adam and Barbara and Lydia stand just beyond the fringes of the town , dimly lighted giants .</scene_description>
<character>LYDIA</character>
<dialogue>You did this? You carved all these little figures and houses and things?</dialogue>
<character>ADAM</character>
<parenthetical>( pleased . )</parenthetical>
<dialogue>I certainly did. I'd finish it too, but. I do n't get out much.</dialogue>
<character>LYDIA</character>
<dialogue>And this used to be your house, I bet. Why do you want to scare everybody?</dialogue>
<character>ADAM</character>
<dialogue>We want to frighten you away.</dialogue>
<parenthetical>( a little embarrassed . )</parenthetical>
<dialogue>So that you'll move out.</dialogue>
<character>LYDIA</character>
<dialogue>You do n't know the Deetz's very well, do you? My father bought this place. He never walks away from equity. Why do n't you leave?</dialogue>
<character>BARBARA</character>
<dialogue>We ca n't. We have n't left the house since the funeral.</dialogue>
<character>LYDIA</character>
<dialogue>Funeral. God, you guys really are dead!</dialogue>
<parenthetical>( fascinated . )</parenthetical>
<dialogue>What was it like? The funeral. Did you cry?</dialogue>
<character>ADAM</character>
<dialogue>We were n't there. The handbook says funerals are n't for the dead.</dialogue>
<character>LYDIA</character>
<dialogue>God, if this is true this is amazing! I kinda like it up here. Can I visit you sometimes?</dialogue>
<character>ADAM</character>
<dialogue>Well, I do n't know. We do n't get many visitors.</dialogue>
<character>BARBARA</character>
<dialogue>You know you're really a pretty girl.</dialogue>
<scene_description>Lydia flushes .</scene_description>
<character>CHARLES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Lydia!</dialogue>
<character>LYDIA</character>
<dialogue>I better go.</dialogue>
<character>BARBARA</character>
<dialogue>Wait. I do n't think it would be a very good idea if you told your parents that we're up here.</dialogue>
<character>ADAM</character>
<dialogue>Unless you think it would scare them off.</dialogue>
<scene_description>Lydia starts to exit .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You tell them that we are desperate horrible ghoulish creatures who will stop at nothing to get back our house.</dialogue>
<character>LYDIA</character>
<parenthetical>( looks him up and down . )</parenthetical>
<dialogue>Wait a minute, what if this is a dream? Can you do any tricks to prove I'm not dreaming?</dialogue>
<scene_description>Barbara shakes her head , a little ashamed .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Well, if you are real ghosts, you better get another routine, those sheets suck!</dialogue>
<scene_description>She sneaks a smile at Barbara and exits .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>A big ugly machine is doing something unnecessary to the yard .</scene_description>
</scene>
<scene>
<stage_direction>INT. DARKROOM/BASEMENT - DAY</stage_direction>
<scene_description>The FAST - TICKING CLOCK is a timer . Lydia is making Polaroid enlargements . She 's quick and expert at this . She 's examining a print with a magnifying glass .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM - DAY</stage_direction>
<scene_description>Delia shrieks . Going through the dirty clothes , she 's just come across the sheets with the eye holes in them .</scene_description>
<character>DELIA</character>
<dialogue>Lydia! Lydia! My hands are shredded from doing the laundry, and now I have to deal with your vandalism!</dialogue>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS HALLWAY - DAY</stage_direction>
<scene_description>Lydia , pounding up from the basement with the wet print , collides with Delia , rushing down from the sec - ond floor with the scissored sheets .</scene_description>
<character>DELIA</character>
<dialogue>Lydia, honest to God I'm going to kill you. I'm having a party tonight. I'm cooking, I ca n't get servants. Do I need angst? No, I certainly do not!</dialogue>
<scene_description>Lydia speeds by her .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You owe me three - hundred bucks, Lydia! Do n't go running to your father, you worm.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLES' OFFICE - DAY</stage_direction>
<scene_description>Lydia rushes in . Charles is working furiously on a word processor , amidst an array of maps and plans .</scene_description>
<character>LYDIA</character>
<dialogue>Dad. Do you believe me?</dialogue>
<character>CHARLES</character>
<dialogue>Yes. Except when you creep around in your mother's -</dialogue>
<character>LYDIA</character>
<dialogue>Stepmother's.</dialogue>
<character>CHARLES</character>
<dialogue>sheets.</dialogue>
<character>LYDIA</character>
<dialogue>Well this is. I mean, this is the weirdest -</dialogue>
<character>CHARLES</character>
<dialogue>Lydia, I do n't know what it is with you and these pratical jokes, but -</dialogue>
<character>LYDIA</character>
<dialogue>This is not a joke! That sheet was full of ghosts.</dialogue>
<scene_description>She hands him the photo . He looks . Lydia points out .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>No feet.</dialogue>
<scene_description>Charles laughs .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You do n't believe me. That sheet was full of ghosts. They live here.</dialogue>
<scene_description>Charles begins to scroll through computer program .</scene_description>
<character>CHARLES</character>
<parenthetical>( dismissing it . )</parenthetical>
<dialogue>Very clever, Lydia. Now would you please - I'll tell you what. I know! You're bored, right? You take that camera and your bike and photograph every building in town. Do n't tell anyone what it's for.</dialogue>
<parenthetical>( handing her a wad of bills . )</parenthetical>
<dialogue>Here, take some cash and go do it. How's that? You want to stretch, do n't you?</dialogue>
<scene_description>Lydia exits , with determination . Charles looks up on the wall and runs his finger over a plat map of Winter River , just like Adam 's in the attic .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Look at the size of these lots.</dialogue>
<scene_description>Adam peers at the map , puzzled .</scene_description>
<character>ADAM</character>
<dialogue>What is this guy doing?</dialogue>
<scene_description>Barbara follows Lydia out . Adam thinks , intrigued . Exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Delia is frantically preparing for the evening 's dinner party . Lydia is very much in her way , trying to show her the photographs . Delia is n't looking at them .</scene_description>
<character>DELIA</character>
<dialogue>I ca n't believe you are doing this to me! Ghosts. I am giving a dinner party for seven people tonight. Otho has agreed to come back for the demolition of the attic. My agent, Bernard, is bringing some woman who writes for `` Art in America.'' In fact, no one here tonight has not been in `` Vanity Fair.'' Except you.</dialogue>
<character>LYDIA</character>
<parenthetical>( resigned . )</parenthetical>
<dialogue>I told them you were too mean to be afraid.</dialogue>
<character>DELIA</character>
<dialogue>Do n't you dare talk to others about me. I'm an artist! The only thing that scares me is being embarrassed in front of my friends. Do you know how hard it is to get civilized people to set foot in this part of Connecticut? Not a solitary word of this pubescent tripe to anyone.</dialogue>
<scene_description>Lydia exits angrily . CAMERA HINGES . Barbara is watching , horrified at Delia 's occupation of her -LRB- Barbara 's -RRB- kitchen . Adam appears .</scene_description>
<character>BARBARA</character>
<dialogue>Lydia's trying, but they do n't believe her.</dialogue>
<character>ADAM</character>
<dialogue>She's got photos, Barbara.</dialogue>
<character>BARBARA</character>
<dialogue>Adam, you had a photo of Big Foot!</dialogue>
<character>ADAM</character>
<dialogue>This is different. Eventually she'll take someone to the attic. And then what? We've got to try to contact this guy Betelmyer. We got ta get some help, hon.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC ROOM - LATER - DAY</stage_direction>
<scene_description>Adam looks intently through the book . Barbara 's eye is caught by something in the model cemetery . She moves over and sees a small gravestone lit up by neon .</scene_description>
<character>BARBARA</character>
<dialogue>Adam!</dialogue>
<scene_description>Adam comes over . Looks .</scene_description>
<character>ADAM</character>
<dialogue>I did n't do that one. Hmmm.</dialogue>
<character>BARBARA</character>
<dialogue>It's him. Look. Betelgeuse. Betelgeuse.</dialogue>
<scene_description>She looks at Adam , `` should I ? '' Adam chews his lip thoughtfully .</scene_description>
<character>ADAM</character>
<dialogue>Go ahead. third time's a charm.</dialogue>
<character>BARBARA</character>
<parenthetical>( after a deep breath . )</parenthetical>
<dialogue>Betelgeuse!</dialogue>
<scene_description>ZAP ! They are transported into the model graveyard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. INSIDE THE MODEL GRAVEYARD - NIGHT</stage_direction>
<scene_description>WIND BLOWS - With shovels and lanterns , Adam and Barbara are unlikely gravediggers . The mechanized clouds move in the sky across the mechanical moon , throwing weird shadows everywhere . Ground fog creeps slowly along the graves . It is so eerie .</scene_description>
<character>BARBARA</character>
<dialogue>What happened?</dialogue>
<character>ADAM</character>
<dialogue>Three times. Powerful number.</dialogue>
<character>BARBARA</character>
<parenthetical>( standing in front of grave . )</parenthetical>
<dialogue>Bet. el. geuse. What an awful name. I thought it was like - you know. The juice of beetles.</dialogue>
<scene_description>Adam cringes too .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Where is he? What do we do?</dialogue>
<scene_description>Adam looks down at the grave . Knocks on the stone . Nothing .</scene_description>
<character>ADAM</character>
<dialogue>Has anything been simple so far? From the look of the shovel, we dig.</dialogue>
<character>BARBARA</character>
<dialogue>Oh, Adam. I do n't have gloves. My nails keep getting longer. I'll break them.</dialogue>
<scene_description>Hands her a shovel anyway . She digs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. INSIDE THE MODEL GRAVEYARD - LATER - NIGHT</stage_direction>
<scene_description>They 're almost down six feet . By now they are both almost out of sight in the grave . Inside the grave - Adam suddenly hits wood .</scene_description>
<character>BARBARA</character>
<dialogue>It's about time.</dialogue>
<scene_description>They lean down and brush dirt off a brass plate on the coffin . `` BETELGEUSE ''</scene_description>
<character>ADAM</character>
<dialogue>I guess we open it.</dialogue>
<character>BARBARA</character>
<dialogue>Maybe we should knock first?</dialogue>
<scene_description>A slight TREMOR shakes them . They look at each other and try to scramble from the grave . TOPSIDE They just barely crawl out when a mouldering corpse springs out of the grave and jumps on Barbara 's back , and plants a thousand - year - old kiss on her lips . She screams and burbles . Adam pulls the corpse off her back . The corpse does a Three Stooges hammer on Adam 's head . Adam staggers backward , unhurt but shocked . All three stop . ON THE CORPSE Something unreal about him , almost mechanical . Then the corpse , grinning insanely at them , flies straight up into the air over their heads . He CRASHES against the tombstone . And Adam and Barbara see the corpse is only a huge marionette on a string and pole . A LAUGH comes from behind the gravestone . PUPPETEER BETELGEUSE steps out . He looks like someone who just crawled out from under a rock . This is one slippery customer . Betelgeuse speaks in a rapid polyglot , choosing words and phrases from every slang in the world . Barbara is mighty uneasy .</scene_description>
<character>BETELGEUSE</character>
<dialogue>All right. Who are you?</dialogue>
<character>BARBARA</character>
<dialogue>We're.</dialogue>
<character>BETELGEUSE</character>
<dialogue>You're the dead.</dialogue>
<character>ADAM</character>
<dialogue>Are n't you dead?</dialogue>
<character>BETELGEUSE</character>
<dialogue>Hell no! I'm rolling. I'm a businessman. I'm the man what am. Beeetel Jooose! Who do I got ta kill?</dialogue>
<character>ADAM</character>
<dialogue>You do n't kill anyone.</dialogue>
<character>BARBARA</character>
<dialogue>Just get some people out of our house.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Bio busting. I love it. Who do I got ta kill? Family - right? Obnoxious, I bet.</dialogue>
<parenthetical>( contorting face . )</parenthetical>
<dialogue>Mommie, daddy, piglets.</dialogue>
<character>BARBARA</character>
<dialogue>Just one daughter.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Hey you've been on Saturn!</dialogue>
<parenthetical>( brushing yellow dust off her . )</parenthetical>
<dialogue>I hate those Sandworms! Yecchhh! I've lost a lot of buddies to Sandworms.</dialogue>
<parenthetical>( back to work . )</parenthetical>
<dialogue>So a daughter? She got good legs? God I love a young leg.</dialogue>
<scene_description>Air blows up Barbara 's dress , exposing her legs . He leers .</scene_description>
<character>BARBARA</character>
<dialogue>She's only fourteen.</dialogue>
<character>ADAM</character>
<dialogue>acts like she's thirty - five.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( rubbing hands . )</parenthetical>
<dialogue>How does she feel about short old men with dirty ears?</dialogue>
<scene_description>Barbara is grossed out and increasingly uneasy . Beetle Juice senses it and gets back to business .</scene_description>
<character>BETELGEUSE</character>
<dialogue>So you, the dead, want me, the undead, to throw the live guys - Mommie, Daddy and Lolita, who might not mind a tumble with an older guy, out into the cold? Even though they have paid hard casharoonie for your dump?</dialogue>
<character>ADAM</character>
<dialogue>But. the Deetzes are destroying our house.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( scolding sarcasm . )</parenthetical>
<dialogue>You Maitlands are the backbone of the afterlife. So what's my cut?</dialogue>
<character>ADAM</character>
<dialogue>Can you scare them off?</dialogue>
<scene_description>Beetle Juice looks offended .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Me, scary? You be the judge.</dialogue>
<scene_description>ANGLE He swirls his face and shoulders into a horrifying image . Pleased , he laughs at himself .</scene_description>
<character>BARBARA</character>
<parenthetical>( decisively . )</parenthetical>
<dialogue>Honey. Let's go.</dialogue>
<character>ADAM</character>
<dialogue>Go? What d'ya mean? We need help.</dialogue>
<character>BARBARA</character>
<dialogue>No, we do n't. We can work something out ourselves. We just have to try harder.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Hold on. Let's not be squeamish, missy. You rang my bell, you got ta lick the pump. I'm rolling!</dialogue>
<scene_description>BARBARA grabs Adam . Betelgeuse is getting mad . Not pretty .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Folks, be reasonable here. I'm at your service. You be the judge. I'm a harmless guy. Try me.</dialogue>
<character>BARBARA</character>
<dialogue>Home. Home. Home!</dialogue>
<scene_description>ZAP They are gone . Betelgeuse is furious .</scene_description>
<character>BETELGEUSE</character>
<dialogue>You fresh corpse creeps! Who do you think you are? Walking away from a professional?</dialogue>
<scene_description>BETELGEUSE walks to a tree and kicks it hard . The whole huge tree falls , KABLOOM !</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>A small tree falls in the model . Adam , across the room , walks over and straightens it . He looks at Barbara who is poring over the handbook . Making notes . Counting out procedures .</scene_description>
<character>ADAM</character>
<dialogue>Honey, I think that was a mistake.</dialogue>
<character>BARBARA</character>
<dialogue>I am not going to expose that little girl to that. pervert down there.</dialogue>
<character>ADAM</character>
<dialogue>How'd you do that?</dialogue>
<character>BARBARA</character>
<parenthetical>( proud of herself . )</parenthetical>
<dialogue>Just a hunch. remember things come in threes - three times in, three times out. I'm getting the hang of this stuff.</dialogue>
<character>ADAM</character>
<dialogue>I think we really pissed him off.</dialogue>
<character>BARBARA</character>
<dialogue>I do n't care.</dialogue>
<character>ADAM</character>
<dialogue>But we let him out.</dialogue>
<character>BARBARA</character>
<dialogue>I've changed my mind. I feel really confident. We're getting better at this stuff. We can scare them off ourselves - tonight! I've got an idea. You're going to love it. I'm going to hate it.</dialogue>
<scene_description>ADAM turns to look down at the model again . Straightens the tree . Turns away . We can see a tiny light moving through the tiny model forest towards the house .</scene_description>
<character>ADAM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Okay. But that Betelgeuse sure seemed mad.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( singing . )</parenthetical>
<dialogue>Hi ho, hi ho, it's off to work I go!</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Dinner for seven , as promised . Everything looks very nice . Deetzes are in control and in their element . The element is neurotic - chic . Some of the guests are affecting distaste for having had to make the long drive to Connecticut . There 's a bitchy feud going on between GRACE , the `` Art In Amer - ica '' writer , and BERNARD , Delia 's agent , that threatens to become a full - scale war . Otho is drunkish and engaged in his third favorite occupation - direct attacks on the personal weaknesses of his friends . He 's singled out his victim , BERYL , the editor for Ballantine , a frail - looking woman who is dressed `` artistically . ''</scene_description>
<character>OTHO</character>
<parenthetical>( to Beryl . )</parenthetical>
<dialogue>Well, darling, you can only have a hysterectomy once, so why do n't you tell us what you really went into the hospital for last week? Or dare I ask, is that a nose `` nouveau?''</dialogue>
<character>CHARLES</character>
<parenthetical>( privately ; to Otho . )</parenthetical>
<dialogue>Otho, you've got to help me get Maxie Dean up here. I have a deal that could make all of us very comfortable.</dialogue>
<character>OTHO</character>
<dialogue>He's a cloven - hooved beast!</dialogue>
<character>CHARLES</character>
<dialogue>He's your cousin.</dialogue>
<character>OTHO</character>
<dialogue>I am ashamed to say he is. Look, nothing short of giving away free sacks of money would get him up here, Charles. And Sarah? Forget it. You ca n't get her out of Bergdorf's with plastic explosives.</dialogue>
<parenthetical>( still on Beryl 's case . )</parenthetical>
<dialogue>I just hope it was n't yet another of your dreary suicide attempts. You know what they say about people who who commit suicide. In the afterlife, they become civil servants.</dialogue>
<character>BERNARD</character>
<dialogue>Otho! I did n't know you were into the supernatural?</dialogue>
<character>OTHO</character>
<dialogue>Of course you remember! After my stint with the living theatre. I was one of New York City's leading paranormal researchers until the bottom dropped out of the business in' 72.</dialogue>
<character>BERYL</character>
<parenthetical>( sick to death of this blowhard . )</parenthetical>
<dialogue>Paranormal. Is that what they're calling your kind now?</dialogue>
<scene_description>Lydia watches Otho thoughtfully . Suddenly very cur - ious . Delia senses that Lydia might talk ghosts here .</scene_description>
<character>DELIA</character>
<parenthetical>( a threat ; quietly to Lydia . )</parenthetical>
<dialogue>Do n't you dare.</dialogue>
<character>LYDIA</character>
<dialogue>I saw some ghosts.</dialogue>
<scene_description>All quiet .</scene_description>
<character>DELIA</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Lydia tried to play a most amusing joke on me this afternoon.</dialogue>
<character>LYDIA</character>
<dialogue>It was n't a joke.</dialogue>
<character>DELIA</character>
<dialogue>Tried to convince me that this house is haunted. Kids. Kids. Kids! I love them.</dialogue>
<scene_description>Otho 's glance sharpens at this . Everyone else listens .</scene_description>
<character>GRACE</character>
<dialogue>By ghosts?</dialogue>
<character>LYDIA</character>
<dialogue>By what else?</dialogue>
<character>DELIA</character>
<parenthetical>( laughing it away . )</parenthetical>
<dialogue>In sheets yet. Designer sheets. They -</dialogue>
<scene_description>Charles , seeing things are n't going well for Delia , proposes a toast .</scene_description>
<character>CHARLES</character>
<dialogue>I propose a toast to our intrepid friends. Who braved the expressway and fourteen toll booths to visit us. May your buildings go condo.</dialogue>
<scene_description>All lift their wineglasses . All drink . All synchro - nously spit out their wine . All together now .</scene_description>
<character>EVERYONE</character>
<dialogue>Yechhh!</dialogue>
<scene_description>Charles lifts the wine bottle from the cooler . Disgust spans the room . ON bottle - it bears the familiar spread wings of Thunderbird !</scene_description>
<character>BERYL</character>
<dialogue>Thunderbird wine? My God, Delia, do n't you even have a Safeway up here?</dialogue>
<character>DELIA</character>
<parenthetical>( horrified ; but recovering . )</parenthetical>
<dialogue>Joke Joke! Charles get the good wine and I'll serve the shrimp. It's a joke.</dialogue>
<scene_description>Delia stares a spike through Lydia . Delia and Charles rush into the kitchen . Otho looks at his glass and peers at Lydia .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>Delia rushes to get the sushi . Charles finds some good wine .</scene_description>
<character>DELIA</character>
<parenthetical>( rapidly ; furious . )</parenthetical>
<dialogue>Lydia switched wines. Charles - if you do not agree right now, to boarding school, you can forget having what you call sex - ever again in your natural lifetime.</dialogue>
<scene_description>He nods reluctantly . She rushes back to guests .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Lydia is looking around curiously . Delia and Charles rush back in with sushi and good wine . Delia pours for Bernard , the obvious connoisseur . He tastes the wine . All wait . Is it Kerosene du Pape ? He smiles . All smile . Otho is more interested in Lydia 's story . He leans toward her .</scene_description>
<character>OTHO</character>
<dialogue>Now, Lydia. Favor us about your ghosts.</dialogue>
<character>DELIA</character>
<dialogue>No! Do not encourage this little. person.</dialogue>
<character>OTHO</character>
<dialogue>Oh, Delia, lighten up!</dialogue>
<character>DELIA</character>
<dialogue>She's been without therapy up here and I will not allow her to ruin.</dialogue>
<scene_description>But then : DELIA Something comes over her - she straightens , then crouches a little , her hand sweeps across in front of her , almost mechanically . And then our Delia Deetz , unable to help herself , leaves the whitebread world behind and possessed , sings in someone else 's voice , a rich , NEGRO TENOR .</scene_description>
<character>DELIA</character>
<dialogue>`` If I did n't care, More than words could say.''</dialogue>
<scene_description>Lydia 's eyes widen . MUSIC UP . All the guests are spellbound . Charles , too , has the beat - The Ink Spots in his eyes . In a voice not his own .</scene_description>
<character>CHARLES</character>
<dialogue>`` If my every prayer, did not begin and end with just your name.''</dialogue>
<scene_description>Delia is shocked . She looks at Lydia .</scene_description>
<character>DELIA</character>
<dialogue>For God's sake, stop me.</dialogue>
<scene_description>She is cut short by her powerful inspiration .</scene_description>
<character>DELIA</character>
<dialogue>`` I could not be true to you beyond compare.''</dialogue>
<scene_description>ALL THE GUESTS except Lydia , are possessed to become the chorus . They stand by their chairs , they spin in perfect Motown choreography .</scene_description>
<character>EVERYONE</character>
<parenthetical>( except Lydia . )</parenthetical>
<dialogue>`` Shoo doo wop. Shoo doo wop.''</dialogue>
<character>DELIA</character>
<dialogue>`` If I did n't care. for you.''</dialogue>
<character>EVERYONE</character>
<dialogue>`` Shoo doo wop. Shoo doo wop.''</dialogue>
<scene_description>A look of sheer delight comes across Lydia 's face , unlike anything we have previously seen . She dances and claps her hands in time with the music . She is in teen heaven . NOTE : Delia and the guests are fully aware of their singing/actions , but helpless to stop themselves . While it is funny , it is nevertheless just a little frighten - ing . Lydia excitedly looks around the room to see if she can see the ghosts . She ca n't . Now the song pauses . Everyone tries to recover for a shocked second . Instead , the tempo changes . As the tempo quickens , the guest/chorus is syncopated like alternating pistons as they are pushed and pulled into their chairs . They sing throughout . THE SONG crashes to its end . Bernard looks down at his shrimp cocktail . The shrimp draped over the rice roll suddenly rears up like a hand and , making a tiny fist , grabs his dangling tie and . smash - WIDER - All the guests are punched by the shrimp , back over their chairs to the ground . They are stunned . Suddenly everyone runs frightened into the next room .</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. ATTIC ROOM - NIGHT</stage_direction>
<scene_description>Adam and Barbara with huge smiles on their faces , dance the bugaloo then hug and kiss on the landing in front of the attic . Door is open .</scene_description>
<character>TOGETHER</character>
<dialogue>We did it!</dialogue>
<character>ADAM</character>
<dialogue>Let's watch'em scatter.</dialogue>
<scene_description>They enter the attic and run to the window . Look out over the front yard . YARD OF HOUSE - THEIR POV - NIGHT filled with the cars of the guests , as well as Delia and Charles ' vehicles .</scene_description>
<character>ADAM</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Any minute now. They'll all run screaming.</dialogue>
<scene_description>BACK TO SCENE They wait . Nothing moving outside .</scene_description>
<character>BARBARA</character>
<dialogue>Your Ink Spots were wonderful!</dialogue>
<scene_description>Adam smiles proudly .</scene_description>
<character>ADAM</character>
<dialogue>And your shrimp was remarkable.</dialogue>
<character>BARBARA</character>
<dialogue>My shrimp? I did the wine. Did n't you do the sushi?</dialogue>
<character>ADAM</character>
<dialogue>N. No, I just did the Ink Spots.</dialogue>
<character>BARBARA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who did the?</dialogue>
<scene_description>Timid KNOCK at the door of the attic . Barbara glances at Adam . They do n't know what to do .</scene_description>
<character>LYDIA</character>
<parenthetical>( from outside the door . )</parenthetical>
<dialogue>It's me. Lydia.</dialogue>
<scene_description>Adam , puzzled , goes to the door and opens it . Lydia is standing there , sheepish .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>They'd like for you to come downstairs. Delia says you can pick any sheets you want.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>The guests are sitting expectantly . The photographs are being passed around . The wheels are turning in Charles ' mind - he sees a gold mine . Everyone speaks at once .</scene_description>
<character>DELIA</character>
<dialogue>It does indicate a marvelously urbane sense of humor on the part of these ghosts - that they actually appear in sheets!</dialogue>
<character>OTHO</character>
<dialogue>We're dealing with Tracy and Hepburn here, a very sophisticated pair. We must protect them, treat them with respect. Nurture them.</dialogue>
<character>CHARLES</character>
<dialogue>People will pay big money for this. Right, Grace?</dialogue>
<character>GRACE</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>Charles, I want to know why you did n't tell me about this -</dialogue>
<character>DELIA</character>
<parenthetical>( now changing her tune . )</parenthetical>
<dialogue>We were waiting for proof. Lydia's photographs.</dialogue>
<scene_description>Charles is scheming .</scene_description>
<character>BERNARD</character>
<parenthetical>( skeptical . )</parenthetical>
<dialogue>What are you all talking about? We. we just got a little drunk, that's all.</dialogue>
<character>OTHO</character>
<dialogue>No matter how drunk you get, you can not sound like the Ink Spots.</dialogue>
<parenthetical>( to Charles . )</parenthetical>
<dialogue>Charles, this is it! You can get Maxie Dean up here now.</dialogue>
<scene_description>Charles plots and plans .</scene_description>
<character>OTHO</character>
<dialogue>His wife Sarah loves the supernatural. I did a reading for her just last week. Told her her jowls would tighten soon. I mean she will make him sprint up here in his helicopter if you can produce ghosts for her.</dialogue>
<character>BERYL</character>
<dialogue>The `` Enquirer'' has offered fifty thousand dollars for absolute proof of life after death. I'll send them over.</dialogue>
<character>BERNARD</character>
<dialogue>I'm Delia's agent! I've lost money for years on her work. If anything actually happened here, I'll handle it, thank you. But not until I see some real proof.</dialogue>
<scene_description>Lydia appears at the base of the stairs . Everyone stops squabbling , looks at her expectantly .</scene_description>
<character>LYDIA</character>
<dialogue>They do n't want to come down.</dialogue>
<character>OTHO</character>
<dialogue>Why not?</dialogue>
<scene_description>Bernard shakes his head as if all this were an elaborate hoax . He harumphs !</scene_description>
<character>LYDIA</character>
<dialogue>I think the reason is they were trying to scare you, and you did n't get scared -</dialogue>
<character>DELIA</character>
<dialogue>Of course we were n't scared.</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Just a little startled. One of those shrimp dropped down my Kamali.</dialogue>
<scene_description>Bernard is now convinced this whole business was a put - on .</scene_description>
<character>BERNARD</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Total collective hallucination.</dialogue>
<character>BERYL</character>
<dialogue>I was a little tipsie.</dialogue>
<character>DELIA</character>
<dialogue>This was not a hallucination, people. This was real, really totally real.</dialogue>
<character>GRACE</character>
<dialogue>Of course, they were rather spectacular effects - for Connecticut, I mean.</dialogue>
<character>OTHO</character>
<dialogue>All presences have a home space. A place where they live, so to speak. Where do they hide out?</dialogue>
<character>LYDIA</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>The attic.</dialogue>
<character>CHARLES</character>
<dialogue>The attic room is locked -</dialogue>
<character>LYDIA</character>
<dialogue>They're ghosts. They do what they want.</dialogue>
<character>OTHO</character>
<dialogue>Fabulous! Otho Fenlock's `` Locked Door'' ghosts! Probably committed suicide up there - hanging like beeves from the rafters. I'm totally enchanted.</dialogue>
<scene_description>Bernard gathers Grace and Beryl and walks out the door .</scene_description>
<character>BERNARD</character>
<dialogue>Delia, you are a flake. You have always been a flake. I'm packing up and going back to the tricks of the city. That I can manage. If you must frighten people, do it with your sculpture.</dialogue>
<scene_description>They exit . Delia is horrified and embarrassed .</scene_description>
<character>DELIA</character>
<dialogue>Wait! I'm going to get to the bottom of this! Lydia, is this some high - tech trick of yours? I want you to take us up there tout sweet!</dialogue>
</scene>
<scene>
<stage_direction>INT. LANDING OUTSIDE OF ATTIC</stage_direction>
<scene_description>Delia , Charles , Otho and Lydia - creep , creep .</scene_description>
<character>DELIA</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Shhh. They're in there? God, they live like animals. This is where they've been hiding out?</dialogue>
<scene_description>Lydia nods . Delia suddenly , brashly pounds on the door .</scene_description>
<character>DELIA</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>All right, you dead people! Come on out, or we'll break down this door and drag you out on the ropes you hanged yourself with!</dialogue>
<character>LYDIA</character>
<dialogue>Shhhh. They did n't commit suicide.</dialogue>
<character>DELIA</character>
<dialogue>It does n't matter. What matters is I've got a roomful of guests down there, who think I'm a fraud.</dialogue>
<parenthetical>( to Lydia . )</parenthetical>
<dialogue>I am going to teach you something here Lydia. You've got to take the right tone in things like this, or people - whether they're dead or alive - people will walk all over you.</dialogue>
<parenthetical>( loud . )</parenthetical>
<dialogue>Come on out, or I will make death so miserable that you will wish you had never lived!</dialogue>
<scene_description>Delia pounds on door , which opens with an eerie CREAK .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Lydia is pushed in first . She looks around . Delia , Charles and Otho come in next , carefully . One by one they straighten up and look around .</scene_description>
<character>DELIA</character>
<parenthetical>( whisper . )</parenthetical>
<dialogue>So where are they, Lydia?</dialogue>
<scene_description>Lydia shrugs , looks around .</scene_description>
<character>CHARLES</character>
<parenthetical>( off - handedly . )</parenthetical>
<dialogue>Answer your mother.</dialogue>
<character>LYDIA</character>
<dialogue>Listen, you guys. These ghosts are really nice people. I think we scared them off. Let's just leave them alone. Okay?</dialogue>
<scene_description>Charles is suddenly transfixed . He stares at the model .</scene_description>
<character>CHARLES</character>
<dialogue>It's the whole damn town.</dialogue>
<scene_description>They gather around . Lydia is a little sad as she looks at the empty room and the model .</scene_description>
<character>OTHO</character>
<dialogue>Look at that detail!</dialogue>
<character>DELIA</character>
<dialogue>Look at the tiny figures.</dialogue>
<character>CHARLES</character>
<dialogue>Look at all that parking!</dialogue>
<character>LYDIA</character>
<dialogue>Come on. Leave their stuff alone.</dialogue>
<character>OTHO</character>
<dialogue>They're not here, Lydia?</dialogue>
<scene_description>She shakes her head . Otho spots the handbook . Palms it .</scene_description>
<character>DELIA</character>
<dialogue>I have never been so embarrassed. They have n't gone for good, have they?</dialogue>
<scene_description>Delia is suddenly out the door , urging them all outside .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Everyone out of there. If they're in there somewhere, I do n't want to scare them away. Come on now, stay out of there. We've got work to do.</dialogue>
<scene_description>Otho pockets the handbook secretly as everyone exits . Delia carefully closes the door . CAMERA EASES OVER TO THE WINDOW We see two pairs of hands , white - knuckled , gripping the window sill from the outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT</stage_direction>
<scene_description>Barbara and Adam are hanging outside the window . CAMERA EASES BACK to see that instead of hanging from the house - They are hanging from a ledge over The Inferno - ON INFERNO circles of rosy hell . Several devilish Monsters slaver up at them , hoping for new meat for the furnace . Small geysers spurt foul gasses . WINDS BLOW hard on Adam and Barbara . They struggle to hold on and pull themselves back up and into the window .</scene_description>
<character>ADAM</character>
<dialogue>Juno, help! Juno!</dialogue>
<scene_description>After nearly falling , Adam barely saves Barbara and they finally make it up , and disappear into the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC LANDING - NIGHT</stage_direction>
<scene_description>Delia , Charles and Otho all start down the stairs , one by one . All are holding the handrail .</scene_description>
<character>DELIA</character>
<dialogue>Lydia, I will never forgive you for embarrassing me in front of my social inferiors. You help us with these ghosts or you'll be sorry.</dialogue>
<character>LYDIA</character>
<dialogue>I'm sorry already.</dialogue>
<character>CHARLES</character>
<parenthetical>( fixing on Otho . )</parenthetical>
<dialogue>Now, let's get back to business. I I want to get Maxie Dean and Sarah up here immediately. I can make history here! I'm going to turn this sleepy little backward town into a leading supernatural research center. and amusement park.</dialogue>
<character>LYDIA</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>I can not believe this.</dialogue>
<character>CHARLES</character>
<dialogue>Delia will cook.</dialogue>
<scene_description>Delia glares at him .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I'll bring the wine. and the business plan. And Lydia - you'll bring the ghosts.</dialogue>
<character>LYDIA</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>I ca n't bring the ghosts. They're not here!</dialogue>
<character>CHARLES</character>
<dialogue>Otho, could you actually. do something with them?</dialogue>
<character>OTHO</character>
<parenthetical>( pats the handbook under his coat . )</parenthetical>
<dialogue>Perhaps. if I were properly motivated.</dialogue>
<character>LYDIA</character>
<dialogue>That's slavery and murder. You do n't know them. They're nice people!</dialogue>
<scene_description>POV - down the handrail , as they walk downstairs . Lydia lags behind , sullen . LOWER END OF THE HANDRAIL lifts , and turns . The handrail has become a long , fat , diamond - backed snake - unlike any we have ever seen . It flashes terrifying steel teeth and a red - feathered comb . It turns and HISSES at them . ON DELIA She screams as she looks down at her hand on the rail - it grips the scaly , throbbing , dripping body of the snake . THE SNAKE just gets longer and nastier as it turns back in the air , up the stairs toward them . Its tail circles Delia and spins her like a top . When she stops - the snake gives her a big wet snake kiss . SNAKE snaps Otho in the behind . It hurts . THE SNAKE rears up and spreads a red - comb and HISSES loudly . ALL THREE of them fall over each other trying to escape . THE SNAKE hovers horribly over them . Grabs Charles in its coils and squeezes him hard - his fearful face reddens , then it suspends Charles over the edge of the stairs .</scene_description>
<character>SNAKE</character>
<dialogue>We've come for your daughter, Chuck!</dialogue>
<scene_description>HE leers at Lydia and drops Charles like a rock over the bannister . Charles screams . THE SNAKE Grins at a terrified Lydia . SNAKE rears back for a strike , when suddenly , like thunder . One word is heard .</scene_description>
<character>BARBARA</character>
<dialogue>Betelgeuse! Betelgeuse! Betelgeuse!</dialogue>
<scene_description>THE SNAKE looks up with familiar eyes . At top of stairs stands an angry Barbara . What happens next is almost too fast for the eye to see . THE SNAKE shrinks and turns back into the regular mahogany hand - rail . BETELGEUSE or his outline , whips up the stairs , through the door , and is gone like a rocket .</scene_description>
<character>BETELGEUSE</character>
<dialogue>RRRatt shit!</dialogue>
<scene_description>OTHO AND DELIA rush downstairs - Lydia is terrified . She runs away .</scene_description>
<character>LYDIA</character>
<dialogue>I hate you! I thought you were my friends.</dialogue>
<character>BARBARA</character>
<dialogue>No, wait!</dialogue>
<scene_description>Lydia screams and runs down the stairs .</scene_description>
<character>LYDIA</character>
<parenthetical>( screams . )</parenthetical>
<dialogue>I hate all of you!</dialogue>
<scene_description>Slowly , Barbara returns to the attic .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Adam and Barbara are exhausted . Agitated .</scene_description>
<character>ADAM</character>
<dialogue>Great choice we've got here. We get to spend the next century either hanging out that window or doing parlor tricks.</dialogue>
<scene_description>Adam is working with the model town . Barbara is pac - ing .</scene_description>
<character>ADAM</character>
<dialogue>Maybe they'll leave now. That snake was a pretty nasty customer.</dialogue>
<character>BARBARA</character>
<dialogue>He might have hurt somebody.</dialogue>
<character>ADAM</character>
<dialogue>But he did n't. We've got him where we want him.</dialogue>
<scene_description>ON THE MODEL A column of water shoots high in the air . Adam rushes over to the model - looks down .</scene_description>
</scene>
<scene>
<stage_direction>INT. MODEL - DAY</stage_direction>
<scene_description>Betelgeuse has run a beat - up old pickup into a fire hydrant . He stands nearby , hopping mad ; shakes his fist at Adam .</scene_description>
<character>BETELGEUSE</character>
<dialogue>You pansy - assed cretins! How dare you do that to me. I coulda finished the job!</dialogue>
<scene_description>IN THE ATTIC Barbara and Adam , obviously disturbed , look at one another with concern .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( thin and pip - ing voice . )</parenthetical>
<dialogue>Why did you stop me?</dialogue>
<character>BARBARA</character>
<dialogue>I do n't like Charles Deetz particularly, but you could have killed him.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Hey, I've been bottled up for six hundred years. Every dog has his day. This is my town. I need a night to howl.</dialogue>
<character>ADAM</character>
<dialogue>This is my town.</dialogue>
<character>BETELGEUSE</character>
<dialogue>You wish! I nearly scored with that little blonde. I need me a short little queen.</dialogue>
<scene_description>ANGLE Angry , Barbara reaches down into the model and plucks Betelgeuse up . Barbara lifts him up toward her , squeezing him slightly .</scene_description>
<character>BARBARA</character>
<dialogue>You leave her alone, you horrid little prick!</dialogue>
<scene_description>CLOSEUP - BETELGEUSE IN BARBARA 'S HAND Betelgeuse grins . Suddenly large spikes shoot out all over his body , piercing the skin of Barbara 's palm and fingers . Barbara 's blood is a rich pink . She squeals and releases the evil spirit and he plum - mets .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MODEL - DAY</stage_direction>
<scene_description>Betelgeuse lands on the town common . Betelgeuse is defiant .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Go ahead. Make my millenium!</dialogue>
<scene_description>ANGLE We hear the tinny strains of `` Honky Tonk Angel '' as if from down the street . He turns around to follow it .</scene_description>
<character>BETELGEUSE</character>
<dialogue>This burg got a cathouse? I'm getting anxious if you know what I mean. Six hundred years and all.</dialogue>
<scene_description>He turns the corner to a whorehouse , with women - women with demon horns - hanging out of the window , beckoning . Betelgeuse rubs his hands together and swaggers inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Barbara aghast , watching this from above .</scene_description>
<character>BARBARA</character>
<dialogue>Adam! Why did you build a whore house? Have you ever been to?</dialogue>
<character>ADAM</character>
<dialogue>I did n't -</dialogue>
<scene_description>ANGLE He does n't finish - a strong WIND blows through the attic , nearly knocking Barbara and Adam over . They close their eyes against the gale . When they open their eyes again , they 're no longer in the attic . They 're in -</scene_description>
</scene>
<scene>
<stage_direction>INT. JUNO'S OUTER OFFICE - DAY</stage_direction>
<scene_description>A cubicle in a much larger office . Miss Argentina swishes by .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>God, you have got her steaming now.</dialogue>
<scene_description>She exits . There are other special workers . The place is really , really busy . Adam and Barbara sit down to wait . Juno storms through with a sheaf of papers . She sees them . She is steaming mad .</scene_description>
<character>JUNO</character>
<dialogue>The whorehouse was my idea. I want Betelgeuse out of the picture! We've got some serious talking to do.</dialogue>
<character>BARBARA</character>
<dialogue>About what?</dialogue>
<character>JUNO</character>
<dialogue>You people have really screwed up! I received word that you allowed yourselves to be photographed. And you let Betelgeuse out and did n't put him back, and you let Otho get ahold of the handbook.</dialogue>
<character>ADAM</character>
<dialogue>Handbook? When?</dialogue>
<character>JUNO</character>
<parenthetical>( continuing tirade . )</parenthetical>
<dialogue>Never trust the living! We can not have a routine haunting like yours provide incontrovertible visual proof of existence beyond death.</dialogue>
<character>ADAM</character>
<dialogue>Well, we did n't know -</dialogue>
<scene_description>A BUNCH OF FOOTBALL PLAYERS follow Juno like hungry dogs .</scene_description>
<character>DUMB #1</character>
<dialogue>Hey, Coach, where's the men's room?</dialogue>
<character>JUNO</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>I'm not your coach. He survived.</dialogue>
<character>DUMB #2</character>
<dialogue>You do n't need a men's room. You're not no man no more. But Coach, let me get this - What's our curfew over here?</dialogue>
<scene_description>They start squabbling . Juno has to wrangle them into another room .</scene_description>
<character>JUNO</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>I'll be right back.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Charles sits at the table with a small bandage on his head . Delia takes off her Gucci belt and whips it on a chair absent - mindedly .</scene_description>
<character>DELIA</character>
<dialogue>I feel like we've been at war, Charles.</dialogue>
<character>CHARLES</character>
<dialogue>At least insofar as we have our first casualty. Me.</dialogue>
<character>DELIA</character>
<dialogue>Otho'll know what to do.</dialogue>
<character>CHARLES</character>
<dialogue>What's he going to do? Viciously rearrange their environment?</dialogue>
<character>DELIA</character>
<dialogue>Otho knows just as much about the supernatural as he knows about interior design.</dialogue>
<character>CHARLES</character>
<dialogue>Let's hope he knows how to produce those damn ghosts for Max and Sarah. Because I've bought options on property all over town. I need Max's financing.</dialogue>
<character>DELIA</character>
<dialogue>Just do n't tell Lydia.</dialogue>
<character>CHARLES</character>
<dialogue>Why not?</dialogue>
<character>DELIA</character>
<dialogue>I think she's in with them.</dialogue>
</scene>
<scene>
<stage_direction>INT. LYDIA'S BEDROOM - DAY</stage_direction>
<scene_description>It 's dark . The bedroom curtains have been closed . DRAMATIC OPERA MUSIC builds throughout . Lydia melodramatically dressed in a long black dress appears carrying a candle . She is softly crying . She sits at her dressing table , the candlelight shows her writing paper . She begins a very dramatic letter .</scene_description>
<character>LYDIA</character>
<dialogue>I am alone.</dialogue>
<scene_description>She looks at it and crumpling the paper , starts again .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I am utterly. alone. You have sealed my fate with your betrayal. I can no longer stand to be used like a puppet between two deceitful worlds. By the time you read this, I will be gone, having jumped off.</dialogue>
<scene_description>She scratches that out .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. having plummeted off the Winter River Bridge. Then you will know that I am no longer a toy in your petty feuds. Goodbye, Lydia.</dialogue>
<scene_description>A tear falls on the paper as she folds it and puts it in an envelope . OPERA MUSIC BUILDS AND CONTINUES .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLES' OFFICE - DAY</stage_direction>
<scene_description>Lydia slowly makes a copy of the suicide note . The green of the Xerox light falls eerily on her sad face .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Lydia at bottom of attic stairs . LYDIA 'S POV - STAIRS AND DOOR AT TOP They look ominous . She starts upward .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC ROOM - DAY</stage_direction>
<scene_description>The door opens and Lydia peers in . The room is empty . Lydia comes inside .</scene_description>
<character>LYDIA</character>
<dialogue>Are you here?</dialogue>
<scene_description>She hears SOMETHING . Looks all around the room . Nothing .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Mr. and Mrs. Maitland? I've come for the last time?</dialogue>
<parenthetical>( laying note on table . )</parenthetical>
<dialogue>Where are you? Barb.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>They're dead.</dialogue>
<scene_description>Lydia looks around , then peers into model .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Think small. I'm talking to you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MODEL TOWN - BUILDING ROOF - DAY</stage_direction>
<scene_description>A tiny Betelgeuse on the roof of a building , wearing a silk dressing gown , looking like he just dragged him - self out of bed . One of the horned whores is nude , sunbathing in the corner , and Betelgeuse drapes a blanket over her . Lydia 's face looms enormous in the sky .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Cookie, they are dead, dead, deadski.</dialogue>
<character>LYDIA</character>
<dialogue>Of course they're dead. They're ghosts.</dialogue>
<character>BETELGEUSE</character>
<dialogue>No, I mean they've gone. Decamped. Split. Vanished.</dialogue>
<character>LYDIA</character>
<dialogue>Where'd they go?</dialogue>
<character>BETELGEUSE</character>
<dialogue>The happy hunting ground. Who cares?</dialogue>
<character>LYDIA</character>
<dialogue>Are you a spirit too?</dialogue>
<character>BETELGEUSE</character>
<dialogue>Sort of. High spirit. Heh heh. Listen, cookie, I've been trapped in this burg for hundreds of years. All I want is to get out.</dialogue>
<character>LYDIA</character>
<dialogue>I want to get in.</dialogue>
<character>BETELGEUSE</character>
<dialogue>You do? Over here? On my side?</dialogue>
<character>LYDIA</character>
<dialogue>I think so.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( scheming quickly . )</parenthetical>
<dialogue>Well, yes, of course. It's great over here. You'll meet all the greats. James Dean. Sid Vicious.</dialogue>
<character>LYDIA</character>
<dialogue>Well, it ca n't be any worse than my life here.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( sinister , encouraging her . )</parenthetical>
<dialogue>That's right. They treat you like scum, I bet?</dialogue>
<character>LYDIA</character>
<dialogue>Yeah.</dialogue>
<character>BETELGEUSE</character>
<dialogue>I ca n't help you from this side, but here's how we do it. So simple. Say my name three times. That's all. I'll be all yours. Then I'll bring you over here in style.</dialogue>
<character>LYDIA</character>
<dialogue>I. I do n't know what your name is.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Minor problem. The rules. I ca n't tell it to you. But. do you know how to play charades?</dialogue>
<character>LYDIA</character>
<dialogue>Yes.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Of course you do.</dialogue>
<scene_description>He holds up two fingers in a V.</scene_description>
<character>LYDIA</character>
<dialogue>Two words.</dialogue>
<scene_description>Betelgeuse holds up one finger .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>First word.</dialogue>
<scene_description>Betelgeuse puts two fingers on his arm .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Three syllables.</dialogue>
<character>BETELGEUSE</character>
<dialogue>No, dummy. Two.</dialogue>
<character>LYDIA</character>
<dialogue>Your fingers are so small I ca n't see them. First word - two syllables.</dialogue>
<scene_description>He points behind her .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I do n't know what that signal means.</dialogue>
<character>BETELGEUSE</character>
<dialogue>It means look behind you, bimbo.</dialogue>
<scene_description>ANGLE Lydia looks behind her . A greet beetle the size of a Volkswagen is crouching . Its feathery antennae reach out toward her menacingly . Lydia yelps .</scene_description>
<character>LYDIA</character>
<dialogue>Beetle!</dialogue>
<character>BETELGEUSE</character>
<dialogue>Good girrrl!</dialogue>
<scene_description>POP ! The beetle disappears . Betelgeuse holds up two fingers .</scene_description>
<character>LYDIA</character>
<parenthetical>( still shaken . )</parenthetical>
<dialogue>Second word. Be careful.</dialogue>
<scene_description>ANGLE Apprehensive , she jumps when a simple carton of orange juice materializes . Orange juice pours out into a ghostly glass .</scene_description>
<character>LYDIA</character>
<dialogue>Breakfast? Orange?</dialogue>
<scene_description>The orange juice disappears . He shakes his head .</scene_description>
<character>LYDIA</character>
<dialogue>Breakfast beetle? Beetle? Beetle fruit? Fruit bat? Fruit Battle? Volkswagen? Fruit wagon?</dialogue>
<character>BETELGEUSE</character>
<dialogue>Good thing you are a beautiful kid. You are dumb!</dialogue>
<scene_description>Betelgeuse does the signal for `` Now Put Them Together . ''</scene_description>
<character>LYDIA</character>
<dialogue>I am not! Beetle. Juice?</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( jumping with delight . )</parenthetical>
<dialogue>That's it!</dialogue>
<character>LYDIA</character>
<dialogue>Your name is Beetle Juice? Yecch! That's as bad as Deeelia Deeetz.</dialogue>
<character>BETELGEUSE</character>
<dialogue>It's spelled different, but basically. Now you said it twice, just one more time. And I'll be free.</dialogue>
<parenthetical>( sinister . )</parenthetical>
<dialogue>And then you'll be free.</dialogue>
<scene_description>Lydia , puzzled , gets the magnifying glass and peers at him . ON HIS UGLY FACE BIG IN THE GLASS Betelgeuse jumps in the air , his robe parts - we do n't see anything , but maybe Lydia does .</scene_description>
<character>LYDIA</character>
<dialogue>God, you're anatomically correct!</dialogue>
<character>BETELGEUSE</character>
<dialogue>Just say it.</dialogue>
<character>LYDIA</character>
<parenthetical>( recognizing something about him . )</parenthetical>
<dialogue>You were the snake! Right? I know. It was you.</dialogue>
<character>BETELGEUSE</character>
<dialogue>You've got to say it!</dialogue>
<character>LYDIA</character>
<dialogue>No I do n't. I do n't take orders from Smurfs.</dialogue>
<character>BETELGEUSE</character>
<dialogue>How'd you like to be married to. the King?</dialogue>
<scene_description>Lydia does n't get it .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. Elvis?</dialogue>
<parenthetical>( boasting . )</parenthetical>
<dialogue>You know, ever since he came over he and I have been just like this.</dialogue>
<parenthetical>( crosses his fingers . )</parenthetical>
<dialogue>I can arrange it. Just say my name one more time.</dialogue>
<scene_description>She thinks about that one . Shakes her head .</scene_description>
<character>LYDIA</character>
<dialogue>No, No. I need to talk to Barbara.</dialogue>
<scene_description>Betelgeuse smiles .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Well, cookie, just say my name. I can get her.</dialogue>
<parenthetical>( rubbing his horny little hands together . )</parenthetical>
<dialogue>That and so much more.</dialogue>
<scene_description>Lydia walks around thinking for a moment .</scene_description>
<character>LYDIA</character>
<dialogue>Who else did you say is over there?</dialogue>
</scene>
<scene>
<stage_direction>INT. JUNO'S OFFICE - DAY</stage_direction>
<scene_description>Juno staring at them , hard .</scene_description>
<character>JUNO</character>
<dialogue>Yes. or no? Do you want the Deetzes out or in?</dialogue>
<character>ADAM</character>
<dialogue>Out.</dialogue>
<character>BARBARA</character>
<dialogue>What about Betelgeuse?</dialogue>
<character>JUNO</character>
<dialogue>Forget him. He'll remain with his whores until someone calls him. You need to worry about people like Otho. There are a lot of phony trance mediums. They usually ca n't make the formulas work, but if Otho stumbles on the right words in that handbook. he could hurt you. As in - exorcism.</dialogue>
<scene_description>They both look puzzled .</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>In plain English - that's death for the dead. I do n't care what it takes, just get them out of there now. It's not pretty, but - that's death!</dialogue>
<scene_description>Adam stands to go .</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Wait a minute. Let's see what you're going to do.</dialogue>
<scene_description>They look at Juno .</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. to scare her. I want to make sure it's not some silly parlor trick.</dialogue>
<scene_description>Barbara looks at Adam .</scene_description>
<character>ADAM</character>
<dialogue>I'll do the hard part, hon.</dialogue>
<scene_description>ADAM reluctantly pulls on his face , and contorts it into a living , breathing , horror . Juno is even a little repulsed .</scene_description>
<character>JUNO</character>
<dialogue>Not bad. Not bad. Now you? Go ahead.</dialogue>
<scene_description>ANGLE She reluctantly does with her face a minor version of Adam 's horror .</scene_description>
<character>JUNO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Okay. You look great! Now go clean house. And do n't forget the photographs and the damned handbook.</dialogue>
<scene_description>ANGLE Barbara and Adam slowly stand and walk out the door . Barbara/Monster looks back pleadingly . Football players flood into Juno 's office . One PARTICULARLY DUMB PLAYER has a revelation . -LRB- He 's pretty grisly , maybe sat too close to the engine . -RRB-</scene_description>
<character>PARTICULARLY DUMB PLAYER</character>
<dialogue>Coach! Coach, I do n't think we survived the crash!</dialogue>
<scene_description>Barbara and Adam look at each other and continue out the door . OUTSIDE JUNO 'S OFFICE They enter a long dark hallway . They suddenly find themselves standing in front of Lydia 's room . Adam / Monster looks at Barbara/Monster as he grabs the door - knob . She stops him . Tears fall down her sad ghostly face .</scene_description>
<character>BARBARA</character>
<dialogue>Adam. I ca n't do it. I like that little girl.</dialogue>
<character>ADAM/MONSTER</character>
<dialogue>It's too late. Sometimes things just work out this way. We have to, honey.</dialogue>
<character>BARBARA/MONSTER</character>
<dialogue>No we do n't. We can rebel or something. We'll just stay up there in our room. I'll read, you can build on the model. Come on.</dialogue>
<scene_description>She rushes up the stairs , toward the attic . He follows her .</scene_description>
<character>ADAM/MONSTER</character>
<dialogue>Wait. We ca n't, honey. Our house.</dialogue>
<scene_description>She gets to the door . Grabs the handle .</scene_description>
<character>BARBARA</character>
<dialogue>I want to be with Lydia!</dialogue>
<scene_description>She throws open the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - DAY</stage_direction>
<scene_description>Lydia is standing over the model , about to say Betelgeuse 's name .</scene_description>
<character>LYDIA</character>
<dialogue>Okay. Beetle. J.</dialogue>
<scene_description>Barbara/Monster , horrified , screams !</scene_description>
<character>BARBARA/MONSTER</character>
<dialogue>Lydia, stop!</dialogue>
<scene_description>Adam/Monster runs to grab her . Lydia is terrified . Screams .</scene_description>
<character>ADAM/MONSTER</character>
<dialogue>No, do n't say it!</dialogue>
<character>BETELGEUSE</character>
<dialogue>Say it! Rat shit!</dialogue>
<scene_description>Betelgeuse slips off the roof into a patch of thorny bushes .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Lydia screams , Adam/Monster tries to calm her . Lydia struggles and , thinking she is being attacked , runs out the door . Smack into Barbara/Monster . Barbara catches her , frightens Lydia even more . Barbara holds onto her as she struggles . Barbara / Monster slowly changes back into regular Barbara . Lydia sees who it is and she hugs her . Like mother and daughter . ON ADAM - slowly returning to himself . He smiles slightly at the scene .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You lily - livered bleeding hearts!</dialogue>
<character>BARBARA</character>
<dialogue>I'm so sorry we frightened you. What were you doing?</dialogue>
<character>LYDIA</character>
<dialogue>He. Beetle Jui.</dialogue>
<scene_description>Barbara quickly puts her hand over her mouth .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He said if I let him out he would take me over to the other side to find you.</dialogue>
<character>BARBARA</character>
<dialogue>No, Lydia, we're dead.</dialogue>
<character>LYDIA</character>
<dialogue>I want to be dead, too.</dialogue>
<character>BARBARA</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>No you do n't! No. Lydia. Why?</dialogue>
<character>LYDIA</character>
<parenthetical>( after a pause , dramatically but for real . )</parenthetical>
<dialogue>Life is just. unliveable.</dialogue>
<scene_description>Barbara hugs her . She fumbles for words . This is an unusual situation , a dead person talking a live person out of killing herself . She rocks Lydia a little . Barbara looks at Adam .</scene_description>
<character>BARBARA</character>
<dialogue>Lydia, believe me. we know. all the hard stuff is the same over here. You're going to be who you are. whether you're alive or dead. and over here - it's. It's flat. there's no food, no colors. you ca n't smell the flowers.</dialogue>
<parenthetical>( thinking . )</parenthetical>
<dialogue>If we knew then what we know now. we'd have been more careful.</dialogue>
<character>ADAM</character>
<parenthetical>( in the style of the dead receptionist . )</parenthetical>
<dialogue>. we would n't have had our little accident.</dialogue>
<scene_description>Lydia looks at Barbara lovingly .</scene_description>
<character>BARBARA</character>
<dialogue>So never let Beetlejuice out - never. Besides.</dialogue>
<parenthetical>( looking at Adam . )</parenthetical>
<dialogue>We're thinking about letting everyone stay. you and your father and mother can stay too.</dialogue>
<character>LYDIA</character>
<parenthetical>( smiles and says slowly . )</parenthetical>
<dialogue>Step. mother.</dialogue>
<scene_description>ADAM/MONSTER is not sure , huffs around a little . He is trying to change back into Adam , except for his nose , which remains like a beak for a minute . Finally , it changes too . Lydia and Barbara laugh at him . ANGLE Without noticing Lydia , Otho and Charles push in through the door and grab the model . They take it out the door . Adam is beside himself . Does n't know what to do . Barbara stops him from taking action .</scene_description>
<character>ADAM</character>
<dialogue>What is going on?</dialogue>
<character>LYDIA</character>
<dialogue>Really. I do n't know.</dialogue>
<scene_description>Adam looks suspiciously at her .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I really do n't. I'll go find out.</dialogue>
<scene_description>She runs out the door .</scene_description>
<character>BARBARA</character>
<dialogue>Be careful.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>Lydia runs through the hallway and into the dining room .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Lydia walks into a presentation in progress . Sitting around the table are Otho , Maxie , and Delia . Sarah Dean is there , too . She looks around Lydia hoping for ghosts . Sarah is heavily made up , smells bad . Lydia 's photos of the sheeted ghosts are blown up and standing on a nearby easel . Charles , over the model with a pointer , is lost in mid - sentence .</scene_description>
<character>CHARLES</character>
<dialogue>- In short, I've got options to buy enough of Main Street to control the city council for a hundred years. And at the prices I'm talking about, if it all fell apart tomorrow, we just move out and sell to the Arabs and we still come out. I've talked to Ed Cornwall about a wax museum, here. in Thanksgiving Park. Ed's the man who made the talking Jesse Jackson statue. And I've got a museum dedicated to 50 Great Moments in the Paranormal - and parenthetically, D - Con wants to the right to start an insect zoo here in the old hardware store.</dialogue>
<parenthetical>( seeing Lydia . )</parenthetical>
<dialogue>Lydia, did you finally decide to join us?</dialogue>
<scene_description>They all give her an oily smile .</scene_description>
<character>CHARLES</character>
<dialogue>Honey, I am just finishing the first phase presentation about our little project here. Then we'll take a stretch and invite our friends. to meet your friends.</dialogue>
<scene_description>Sarah gets Maxie 's attention and unable to contain her excitement , silently urges him to get on with the ghosts .</scene_description>
<character>SARAH</character>
<dialogue>Are they here yet?</dialogue>
<character>MAXIE</character>
<dialogue>Yes, Charles, let's cut the bullcorn. We're here to see ghosts. This whole ghost town museum and such like follows a train, if you've got the engine. so let's see your goddamned engine.</dialogue>
<scene_description>Everyone looks at Lydia .</scene_description>
<character>LYDIA</character>
<dialogue>They're. not here anymore.</dialogue>
<character>CHARLES</character>
<parenthetical>( smiling apologetically . )</parenthetical>
<dialogue>Nonsense, every time she says that, the paint peels, and some wild creature tries to kill us.</dialogue>
<character>SARAH</character>
<parenthetical>( motioning . )</parenthetical>
<dialogue>We've got these pictures, Lydia.</dialogue>
<character>LYDIA</character>
<dialogue>No, really. they said they might come back and all of us could live in peace if you agreed not to tease them or make them do silly tricks.</dialogue>
<scene_description>Sarah is disappointed . She goes to Maxie . Delia takes over .</scene_description>
<character>DELIA</character>
<dialogue>She's become a little emotional about all this. No counseling up here. But we are n't relying on her. No, we rely on professionals. We have. Otho.</dialogue>
<scene_description>The whole room turns to Otho . Who is scribbling some - thing and mumbling .</scene_description>
<character>CHARLES</character>
<dialogue>Are they still here, Otho?</dialogue>
<scene_description>Otho looks up ; he missed the question .</scene_description>
<character>DELIA</character>
<dialogue>Are they still here, Otho?</dialogue>
<character>OTHO</character>
<dialogue>Oh, they're still here. They're just not showing up.</dialogue>
<character>CHARLES</character>
<dialogue>They're probably guilty about what they did to me.</dialogue>
<character>DELIA</character>
<dialogue>Not these people! They are ruthless!</dialogue>
<character>MAXIE</character>
<dialogue>I do n't care from guilt. I just want to see them.</dialogue>
<character>CHARLES</character>
<dialogue>Otho, can you do it?</dialogue>
<character>OTHO</character>
<dialogue>It's tricky, but I think I can handle it.</dialogue>
<scene_description>He dramatically produces the handbook .</scene_description>
<character>LYDIA</character>
<dialogue>No!</dialogue>
<scene_description>Lydia begins to think about this scene and she shifts to another point of view .</scene_description>
<character>LYDIA</character>
<dialogue>Wait a minute! What am I worried about? Otho, you ca n't even change a tire!</dialogue>
<character>OTHO</character>
<parenthetical>( taking the challenge . )</parenthetical>
<dialogue>I'll need something personal of theirs.</dialogue>
<character>LYDIA</character>
<dialogue>You'll have to go to the Goodwill.</dialogue>
<scene_description>Delia gets an idea .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT</stage_direction>
<scene_description>The moon stares down icily through gray clouds . Wind up .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Barbara is looking out the window .</scene_description>
<character>BARBARA</character>
<parenthetical>( wistful . )</parenthetical>
<dialogue>You know, I've been thinking. I could teach Lydia to sew.</dialogue>
<character>ADAM</character>
<dialogue>Little black party dresses?</dialogue>
<character>BARBARA</character>
<parenthetical>( punching him playfully . )</parenthetical>
<dialogue>Ah, Adam, you do n't know anything about little girls. She's just. missed out on some love, that's all.</dialogue>
<character>ADAM</character>
<parenthetical>( huffy . )</parenthetical>
<dialogue>Let's see if she can get my model back.</dialogue>
<character>BARBARA</character>
<dialogue>You can build another one. with her.</dialogue>
<scene_description>Adam is n't convinced . Barbara motions him to sit next to her .</scene_description>
<character>BARBARA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Come here, I want to talk to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Delia carefully brings out a big plastic bag . Lays something out on the dining room table .</scene_description>
<character>DELIA</character>
<dialogue>I'm deeply sentimental about. weddings.</dialogue>
<scene_description>Lydia stands to see : Delia carefully lays out Barbara 's white wedding dress . Then next to it , Adam 's wedding tux . Lydia looks at it . A chill runs through her .</scene_description>
<character>LYDIA</character>
<parenthetical>( hushed realization . )</parenthetical>
<dialogue>Their wedding clothes.</dialogue>
<character>OTHO</character>
<parenthetical>( dramatically . )</parenthetical>
<dialogue>Their wedding clothes.</dialogue>
<scene_description>Otho then holds up the handbook .</scene_description>
<character>SARAH</character>
<dialogue>The `` words''.</dialogue>
<scene_description>Otho nods .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Lydia is nervous now . Otho lights a candle and Delia turns out the lights .</scene_description>
<character>OTHO</character>
<dialogue>Hands vermillion / start of five bright cotillion / raven's dive nightshades promise / spirit's strive, to the living / let now the dead. come alive.</dialogue>
<scene_description>Nothing happens . Lydia nervously turns away .</scene_description>
<character>LYDIA</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Doo wah.</dialogue>
<scene_description>ANGLE Then a SIZZLE , a TINY CRACKLE , along one side of the square .</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>Barbara with her arm on his shoulder , talks to Adam .</scene_description>
<character>BARBARA</character>
<dialogue>We've been given a gift here, honey. A real live little girl. She likes us a lot. She needs us. Maybe that's why we died so young, to keep us from getting so. attached to things. The house, antiques, your model. Look at us. We did n't have room for anyone.</dialogue>
<character>ADAM</character>
<parenthetical>( after a long thought . )</parenthetical>
<dialogue>What makes you think she likes me?</dialogue>
<scene_description>Barbara slowly smiles . He does too . He turns to Barbara . CAMERA HINGES WITH him to see - ON BARBARA Her face is frightened . She can not speak . She reaches out to him - but is disappearing . He reaches for her but she is suddenly - GONE .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Varicolored lightning bolts shoot from every corner of the square . A gasp from everyone but Lydia . ON LYDIA - she is looking away . She turns to see : ON THE DRESS Barbara 's wedding dress floats over the table and fills slowly , painfully , with the arms , legs and finally the frightened face of Barbara . A lightning bolt flares . Lydia rises slowly to her feet , unable to resist . More lightning bolts .</scene_description>
<character>OTHO</character>
<dialogue>As sudden thunder / Pierces the night ; As magic wonder / Mad affright Rives asunder / Man's delight : Our ghost, our corpse and we Rise to be.</dialogue>
<scene_description>Lydia walks slowly toward Barbara . ON BARBARA She is in pain , she is very slowly aging . She speaks , but no words can be heard . Not even by Lydia . But we can see she is calling for . Adam .</scene_description>
<character>LYDIA</character>
<dialogue>Stop it!</dialogue>
<character>MAXIE</character>
<dialogue>Shhhh!</dialogue>
<scene_description>Lydia screams for Adam .</scene_description>
<character>LYDIA</character>
<dialogue>Adam. Adam.</dialogue>
<character>OTHO</character>
<parenthetical>( louder . )</parenthetical>
<dialogue>As flies the lizard / Serpent fell ; As goblin vizard, / At the spell Of pale wizard, / Sinks to hell ; The buried, dead, and slain. Rise again.</dialogue>
</scene>
<scene>
<stage_direction>INT. ATTIC - NIGHT</stage_direction>
<scene_description>In a lightning flare we see : Adam searching for Barbara . He rushes out into the hallway .</scene_description>
<character>ADAM</character>
<dialogue>Barbara! Barbara? Ba.</dialogue>
<scene_description>His last plaintive call becomes mute as he too begins slowly to disappear .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>On each of the watchers one by one , scared but delighted too . No one is watching Lydia . ON LYDIA - tears well up in her eyes . ON BARBARA She is slowly aging . Now a bewildered Adam appears , floating in his wedding suit . Seeing his Barbara , now older than he is , Adam reaches for her hand . ON HANDS - as he grasps her hand , it seems to be made of white crepe ; it wrinkles and nearly collapses . Adam . puzzled , calls her name silently .</scene_description>
<character>DELIA</character>
<dialogue>What's happening to them?</dialogue>
<character>OTHO</character>
<dialogue>I do n't know.</dialogue>
<character>CHARLES</character>
<dialogue>Are they suffering?</dialogue>
<character>LYDIA</character>
<parenthetical>( screams . )</parenthetical>
<dialogue>They're dying.</dialogue>
<character>MAXIE</character>
<dialogue>They're already dead. They ca n't feel a thing.</dialogue>
<scene_description>Obviously not true . ON BARBARA - she looks down slowly at Lydia and with effort makes a loving smile . She reaches out toward Lydia . Completely helpless now , Lydia weeps openly and then something comes over her . She rushes across the room . Stares down at the model .</scene_description>
<character>LYDIA</character>
<dialogue>Where are you? Help us! Please. Betelgeuse!</dialogue>
<scene_description>A CRACK OF LIGHTNING .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MODEL TOWN GRAVEYARD - NIGHT</stage_direction>
<scene_description>Someone , or something , like the figure of death in the Goya drawing , is perched atop the gravestone of Barbara and Adam Maitland . The graves beneath him are open . The figure turns . it is Betelgeuse . He is filing his talons casually . He speaks with a ghastly rasp .</scene_description>
<character>BETELGEUSE</character>
<dialogue>So. You're ready for me now?</dialogue>
<character>LYDIA</character>
<dialogue>You've got to help them.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Can you help me?</dialogue>
<character>LYDIA</character>
<parenthetical>( frightened . )</parenthetical>
<dialogue>. I will.</dialogue>
<character>BETELGEUSE</character>
<dialogue>Then I'll help them. For a price.</dialogue>
<scene_description>He grins .</scene_description>
<character>LYDIA</character>
<dialogue>W. What is it?</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( his words echo horribly Be .</parenthetical>
<parenthetical>my .</parenthetical>
<parenthetical>queen !</parenthetical>
<dialogue />
<character>LYDIA</character>
<parenthetical>( repulsed . )</parenthetical>
<dialogue>Your qu? But you're.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( smiling devilishly . )</parenthetical>
<dialogue>I'm beeyoo - teeful.</dialogue>
<scene_description>ON LYDIA She is chilled . Steps back . She turns back to the Maitlands who are continuing to age . Looks back to the model .</scene_description>
<character>LYDIA</character>
<dialogue>All right. Betelgeuse.</dialogue>
<scene_description>ON BETELGEUSE He doubles in size . The tombstone crumbles beneath him .</scene_description>
<character>LYDIA</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( louder . )</parenthetical>
<dialogue>Betelgeuse.</dialogue>
<scene_description>WIDER ON GRAVEYARD He doubles in size again . ON LYDIA She hesitates . ON BETELGEUSE - TIGHT He looks up at her confidently .</scene_description>
<character>LYDIA</character>
<dialogue>Betelgeuse!</dialogue>
<scene_description>DINING ROOM - NIGHT Barbara and Adam 's corpses are nearly at the end of their ropes .</scene_description>
<character>CHARLES</character>
<dialogue>All right, that's enough. Can you stop this now?</dialogue>
<scene_description>Otho does n't answer .</scene_description>
<character>CHARLES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Otho?</dialogue>
<character>OTHO</character>
<dialogue>It's too late, Charles. I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Lydia peers at the model . Betelgeuse is transforming . There 's a LOW RUMBLE . The model town starts to shake .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>Lydia backs away . Betelgeuse 's head , now human - size , rises from the center of the model town . TIGHT ON HIS FACE His grin is malevolent and malicious . It 's showtime , folks !</scene_description>
<character>BETELGEUSE</character>
<dialogue>Attention, K - Mart shoppers!</dialogue>
<scene_description>ON DEETZES - who have been focused on the Maitlands now turning around to the model . ON MODEL Betelgeuse begins a bright but sinister Carnival Barker 's pitch . His shoulders now are clearing the model .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Welcome to Winter River!</dialogue>
<scene_description>ANGLE Sarah rushes over to the model , thinking this is more of the show . Maxie follows .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Hel LO Piggies! Welcome to Winter River! See the Museum of Natural Greed. The Monument to Bored Businessmen! Come closer!</dialogue>
<scene_description>ANGLE Suddenly Betelgeuse 's arms elongate , swell and CRACKLE . ON MAXIE AND SARAH Their eyes grow wide . TIGHT ON BETELGEUSE 'S HANDS They split , unfurl , and transmutate into two , shiny , huge sledgehammers . ON BETELGEUSE He grins , his eyes sparkle in anticipation . CARNEY MUSIC UP .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( roughly to the tune of `` Santa Claus is Coming to Town '' . )</parenthetical>
<dialogue>You better not sell, you better not buy.</dialogue>
<scene_description>ON MAXIE AND SARAH Behind each of them , a graduated CARNIVAL BELL RINGING GAME STANDARD erects itself . ON BETELGEUSE</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( still singing . )</parenthetical>
<dialogue>Or old Uncle Beetle Claus will be makin'. you. fly.</dialogue>
<scene_description>Betelgeuse swings his hammer/hands and sends Max and Sarah zooming through the roof . GONG . GONG . ANGLE</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( in style of game show host . )</parenthetical>
<dialogue>Yowser, yowser. Well, who do we have here tonight?</dialogue>
<scene_description>ANGLE He looks up at the suspended Maitlands .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Let's have a hand for the Maitlands, Barbara and Adam. They deserve a rest.</dialogue>
<scene_description>ON MAITLANDS Wispy shadows by now , but still alive/dead . They fall in a heap on the floor . NOTE : They immediately start to regenerate themselves .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Well, we'll get back to them after they recover from their flight.</dialogue>
<scene_description>ON ADAM Filling out again , he struggles to stand , but falls . Barbara shakes her head , trying to regain her focus .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>My God, what ugly wall dressing. Who is responsible for all this ugliness?</dialogue>
<parenthetical>( spying Otho trying to hide . )</parenthetical>
<dialogue>Otho, it's you! Watch out for the taste patrol!</dialogue>
<scene_description>ANGLE He waves and the door opens . A little Italian gentle - man appears .</scene_description>
<character>OTHO</character>
<dialogue>No. Noooo! My God. It's Giorgio Armani!</dialogue>
<character>GIORGIO</character>
<dialogue>Before youa getta started herea, I joost wanta to saya, Otho, do n'ta weara my stuff? Okay? Youa too fat for human - type clothes. Ita makes my designs looka like aircraft covering!</dialogue>
<scene_description>ANGLE Otho is horrified . Suddenly he looks down and sees his clothing has transformed into a polyester nightmare . He runs out the door screaming . Betelgeuese laughs with delight then focuses on Lydia .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Let's leave this crazy world behind us. I'll take you out in style!</dialogue>
<scene_description>Sound of eerie WEDDING MARCH . The fireplace changes into an expressionist altar . ANGLE His leering horned whores walk like bridesmaids , in step , through the door . They rush toward Lydia . ANGLE Frightened , Lydia is assaulted and pulled forward by these ugly handmaidens ; she suddenly looks down and sees she is now clothed in a blood - red wedding dress . Lydia screams !</scene_description>
<character>BARBARA</character>
<dialogue>No. No!</dialogue>
<scene_description>Adam 's eyes widen .</scene_description>
<character>LYDIA</character>
<parenthetical>( frightened , but hurling the incan - tation to make him disappear . )</parenthetical>
<dialogue>No. Betelgeuse. Bet.</dialogue>
<scene_description>Betelgeuse waves a hand and Lydia 's mouth freezes . Delia and Charles plead with the recovering Maitlands .</scene_description>
<character>DELIA</character>
<parenthetical>( frantic . )</parenthetical>
<dialogue>Please, ca n't you do something! Please!</dialogue>
<scene_description>ON BARBARA AND ADAM Adam , not fully recovered , heroically tries to speak - but his jaw falls off . An exhausted Barbara tries to help him reattach it . Betelgeuse looks at Lydia .</scene_description>
<character>BETELGEUSE</character>
<dialogue>You know if we're going to get married, we're going to need witnesses!</dialogue>
<scene_description>Betelgeuse shifts his glare to Charles and Delia . From Behind , Delia 's horrid sculptures come to life and attack Charles and Delia . The sculptures twist around them , forcing them to watch the hideous spectacle . Adam and Barbara are rapidly trying to recover as the ceremony begins . A DEATH - MASKED OLD PREACHER slides down the fireplace , ready to perform the service , speaks with a hissing death rattle .</scene_description>
<character>PREACHER</character>
<dialogue>Do you, Betel.</dialogue>
<scene_description>His mouth drops and is frozen .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Uh - uh! No one says the B word!</dialogue>
<character>PREACHER</character>
<dialogue>Do you, _____________, take this woman to be your wedded wife? To honor.</dialogue>
<character>BETELGEUSE</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>You betcha!</dialogue>
<scene_description>Lydia screams and struggles .</scene_description>
<character>PREACHER</character>
<dialogue>And. you? Do you, Lydia, take this man? er, uh. man. to be your lawful wedded husband? In sickness.</dialogue>
<scene_description>Lydia struggles . Her screams are muffled and distant . Betelgeuse grabs her and shakes her .</scene_description>
<character>BETELGEUSE</character>
<dialogue>You do n't have to answer him, snookums. I'll do it for you.</dialogue>
<parenthetical>( eerily , speaking in her voice . )</parenthetical>
<dialogue>I'm Lydia Deetz and I'm of sound mind. The man next to me is the one I want. You asked me. I'm answering. Yes. How I love that man of mine.</dialogue>
<scene_description>Adam , now fully regenerated , moves toward them . He shouts the incantation .</scene_description>
<character>ADAM</character>
<dialogue>Beetle.</dialogue>
<scene_description>ANGLE Betelgeuse turns to him and with a sweep of his hand , Adam 's teeth -LRB- as if they were false -RRB- , fly out of his mouth and CLATTER to the floor . Adam , toothless , musters up his ghost powers and - ON TEETH - TIGHT - they rare back and continue shouting .</scene_description>
<character>TEETH</character>
<dialogue>Beetleju.</dialogue>
<scene_description>ANGLE Mayhem breaks out . A furious Betelgeuse stomps at them with his feet . The teeth scuttle under the model .</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( angrily , to old man . )</parenthetical>
<dialogue>Now move it, pops!</dialogue>
<scene_description>ON ADAM Speechless , Adam heroically charges toward Betelgeuse , ready to strike him . Betelgeuse spins on him and waves his hand . SOUND OF RUSHING WIND . ON ADAM He has been zapped into his model town . ANGLE Barbara screams and jumps at Betelgeuse .</scene_description>
<character>BARBARA</character>
<dialogue>Beetlegeuse.</dialogue>
<scene_description>Betelgeuse turns on her , eyes flashing . ON BARBARA A gag comes over her mouth . ON MODEL Adam is running around the streets trying to get out of the model . He looks up into the sky , sees a red glow and THUNDERING WEDDING MUSIC . He does n't know what to do . ON BARBARA She tears away her face -LRB- like tissue -RRB- and tries to say his name again .</scene_description>
<character>BARBARA</character>
<dialogue>Betelgeuse.</dialogue>
<scene_description>ON BETELGEUSE More angry , he waves his hand . ON BARBARA Her lips are zippered shut . IN MODEL Desperate , Adam gets an idea . He runs over to the truck Betelgeuse had crashed earlier , jumps in and tries to start it . ON BARBARA She unzips her mouth and tries again .</scene_description>
<character>BARBARA</character>
<dialogue>Be</dialogue>
<scene_description>ON BETELGEUSE Fire darts from his eyes . ON BARBARA A chromium steel plate is riveted across her mouth . She screams wordlessly behind it . IN MODEL Adam finally gets the truck started . BARBARA Struggling with her mouth , frustrated to the breaking point , she looks all around the room and rushes to the window and CRASHES through into the night . IN MODEL Adam sees Barbara rush out . He looks back at Betelgeuse , floors the gas pedal and goes for one last shot . BETELGEUSE</scene_description>
<character>BETELGEUSE</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Now, let's get rolling!</dialogue>
<character>PREACHER</character>
<dialogue>Then, by the authority vested in me by.</dialogue>
<scene_description>A RUMBLE comes from outside . Everyone notices but the Preacher . He stutters to finish the wedding .</scene_description>
<character>BETELGEUSE</character>
<dialogue>By me! Get on with it!</dialogue>
<scene_description>LOUDER NOISE from outside . Now nearly DEAFENING .</scene_description>
<character>PREACHER</character>
<dialogue>Yes. by him. I now pronounce you man and.</dialogue>
<scene_description>ANGLE The truck is racing up to Betelgeuse 's foot . Adam bails out just in time as the truck hits Betelgeuse 's foot and EXPLODES , giving him a distracting hot foot , then - ON WINDOW Through it - amidst a cloud of yellow dust - CRASHES the sand worm . Barbara rides him bareback . Barbara struggles to control the ROARING worm . She pulls on his ears and looks around for Beetle Juice . Seeing him , she spurs the Worm after Beetle Juice . ANGLE Beetle Juice struggles , trying to run from the worm . But Barbara and the worm outmaneuver him , corner him , and when the worm reaches him , he opens his hungry mouth and gulps Betelgeuse in one mouthful .</scene_description>
<character>BETELGEUSE</character>
<dialogue>Rrrrat shit!</dialogue>
<scene_description>ANGLE Barbara leaps off , as the Sand Worm continues down through the floorboards of the house Betelgeuse is gone . Adam is back to full size . Charles and Delia are no longer held by the sculptures . Lydia runs back to her family and Adam and Barbara . The dust settles . ON HOLE - JUNO peers into the room . She pulls the whores through the hole . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET - WINTER RIVER - A BRIGHT DAY</stage_direction>
<scene_description>BIRDS SING . Ernie polishes the lion . Old Bill sleeps . People stroll .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISS SHANNON'S BOARDING SCHOOL - DAY</stage_direction>
<scene_description>A lovely white boarding school with long , green lawn . A BELL RINGS . Girls come out the front door . Say goodbyes . Lydia walks out too , carrying books .</scene_description>
<character>LYDIA</character>
<dialogue>` Bye, Serena. See you later.</dialogue>
<scene_description>Lydia walks along Main Street of Winter River .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JANE BUTTERFIELD'S ANTIQUES/TRAVEL/REAL ESTATE</stage_direction>
<scene_description>Jane is getting out of her car - Little Jane follows .</scene_description>
<character>JANE</character>
<dialogue>Hellooo! How's school?</dialogue>
<character>LYDIA</character>
<parenthetical>( not particularly interested . )</parenthetical>
<dialogue>It's okay. How's the dirt business?</dialogue>
<character>JANE</character>
<dialogue>Well, I'm expecting a call from your parents. I have some news for them.</dialogue>
<scene_description>Jane hears PHONE RING from inside , rushes in to answer it .</scene_description>
<character>LYDIA</character>
<dialogue>Tell them I'll call them tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET - WINTER RIVER - A BRIGHT DAY</stage_direction>
<scene_description>Ernie polishes the lion . Lydia passes .</scene_description>
<character>LYDIA</character>
<dialogue>Do n't forget the balls, Ernie.</dialogue>
<scene_description>He looks around , surprised .</scene_description>
</scene>
<scene>
<stage_direction>INT. JANE BUTTERFIELD'S ANTIQUES/TRAVEL/REAL ESTATE</stage_direction>
<scene_description>Jane screams into the phone .</scene_description>
<character>JANE</character>
<dialogue>What do you mean no? After all I've done for you. I do n't do this for my health you know.</dialogue>
<scene_description>CAMERA EXPLORES a row of photographs of houses for sale . ON PHOTOGRAPH - of the old Maitland house . It is delapidated and haunted - looking . A legend reads : Fixer - Upper 's Special . '' BACK TO JANE - she is frustrated .</scene_description>
<character>JANE</character>
<dialogue>I have here a bona fide offer of $ 250,000.00 for that dump.</dialogue>
<scene_description>Little Jane is now at the Xerox machine . The NOISE irritates Big Jane and she throws a wad of paper at Little Jane . Little Jane gets mad and throws her papers into the air and exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK APARTMENT - DAY</stage_direction>
<scene_description>We recognize the furniture . It 's the Deetzes ' . Delia is on the phone to Jane . Charles comes in with the Wall Street Journal . He fidgets , taps his fingers , as he reads and pours coffee - all at once .</scene_description>
<character>DELIA</character>
<parenthetical>( whisper to Charles . )</parenthetical>
<dialogue>It's Mrs. Butterworth again.</dialogue>
<scene_description>Charles picks up the extension .</scene_description>
<character>CHARLES</character>
<dialogue>Listen to me, Jane. We do n't want anyone looking at the house. We do n't want it painted, the yard mowed, the trees trimmed, nor do we want it termite inspected. It's not for sale.</dialogue>
</scene>
<scene>
<stage_direction>INT. JANE'S STORE - DAY</stage_direction>
<scene_description>Jane listens . Silent . Thinking .</scene_description>
<character>JANE</character>
<dialogue>Well. Okay for now. When will you sell it?</dialogue>
</scene>
<scene>
<stage_direction>INT. NEW YORK APARTMENT - DAY</stage_direction>
<character>DELIA</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Never, honey. Never.</dialogue>
<scene_description>She hangs up . Looks at Charles .</scene_description>
<character>DELIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Some people never know when to leave things the way they are.</dialogue>
<scene_description>Charles smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. MAITLAND HOUSE - DAY</stage_direction>
<scene_description>SOUND OF SWEEPING - CAMERA eases up - Barbara is sweeping . Adam working on his model .</scene_description>
<character>ADAM</character>
<dialogue>What time is it?</dialogue>
<character>BARBARA</character>
<dialogue>3:30 I guess.</dialogue>
<character>ADAM</character>
<dialogue>Give or take a year.</dialogue>
<scene_description>Barbara smiles . The KITCHEN DOOR SLAMS . Barbara looks up at Adam . They smile .</scene_description>
<character>ADAM</character>
<dialogue>Did you get the paint?</dialogue>
<character>LYDIA'S VOICE</character>
<dialogue>I got it. And I took pictures of the new church for you, too.</dialogue>
<character>BARBARA</character>
<dialogue>How'd you do on the science test?</dialogue>
<scene_description>ON LYDIA</scene_description>
<character>LYDIA</character>
<parenthetical>( hangs her head . )</parenthetical>
<dialogue>It was gross. They wanted me to dissect a frog. I told them no way. I said it was against my religion. I got a C.</dialogue>
<scene_description>Adam frowns a little .</scene_description>
<character>BARBARA</character>
<dialogue>How did you do on the math test?</dialogue>
<scene_description>Lydia looks down coyly .</scene_description>
<character>ADAM</character>
<dialogue>We studied all day yesterday. Do n't tell me.</dialogue>
<character>LYDIA</character>
<dialogue>I got an A!</dialogue>
<scene_description>They grin with pride .</scene_description>
<character>LYDIA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>So can I?</dialogue>
<character>ADAM</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Uh - uh. Only if you got above a C on science.</dialogue>
<character>LYDIA</character>
<dialogue>Oh, go on.</dialogue>
<character>BARBARA</character>
<dialogue>Oh, Adam, do n't tease her. You never got an A in science in your life!</dialogue>
<character>ADAM</character>
<dialogue>All right.</dialogue>
<scene_description>ON LYDIA - she puts down her books . Loosens her collar , ruffles her hair and waits .</scene_description>
<character>ADAM</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Okay.</dialogue>
<scene_description>Lydia looks down . Lydia begins to levitate . She lifts her head and leaves the white bread world behind ! In a voice as deep and soulful as Percy Sledge :</scene_description>
<character>LYDIA</character>
<dialogue>`` When a man loves a woman. He ca n't keep his mind on nothin' else.''</dialogue>
<scene_description>Behind her ghostly images of the football players appear as back - up .</scene_description>
<character>FOOTBALLERS</character>
<dialogue>Oooooo. Hummm oooooo.</dialogue>
<character>LYDIA</character>
<dialogue>He'd change the world for the good thing he's found. When a main needs a woman, He cai n't keep his mind on nothin' else. If she's bad, he wo n't see it, she can do no wrong.</dialogue>
<scene_description>ANGLE A great pile of sand with the whorehouse in the middle . An irritated Betelgeuse crawls out on the roof . Hating the singing he shakes his fist at the sky - loses his footing and tumbles into the sand . Terrified , he scrambles to get out . ON PILE A moving coil under the sand sends him scurrying inside again . The Sandworm SNAPPING right behind him as he runs back out on the roof . ANGLE CAMERA TILTS UP to see house . It is the perfect , New England house . CAMERA PULLS BACK from the model - out the window of the real house . Outside the real house - we see it is dilapidated , and undeniably , the perfect haunted house . FADE OUT .</scene_description>
</scene>
</script> | Barbara and Adam Maitland decide to spend their vacation decorating their idyllic Connecticut country home. Jane Butterfield, a pushy real estate agent, hounds them with purchase offers that she solicits against their will. As the two are driving home from a trip to town, Barbara swerves to avoid a dog and the car plunges into a river. After they return home, Adam decides to retrace their steps as they cannot recall how they got home. Upon stepping outside, he is taken to a desert world with monstrous sandworms before being pulled back in by Barbara. Even though he had been gone for less than a minute, Barbara claims he had been gone for two hours. She and Adam notice that they now lack reflections in mirrors and they discover a Handbook for the Recently Deceased and realize they did not survive the crash. Jane immediately sells the house to the Deetz family, from New York City. Charles Deetz is a former real estate developer; his wife Delia, a sculptor; and his teenage goth daughter Lydia, from his first marriage, who is an aspiring photographer. Under the guidance of interior designer Otho, Delia begins to transform the house into a posh modern art piece. Consulting the Handbook, the Maitlands travel to a netherworld waiting room populated by other distressed souls, where they discover that the afterlife is structured according to a complex bureaucracy involving vouchers and the usual overworked caseworkers. The Maitlands' own caseworker, Juno, informs them that they must remain in the house for 125 years. If they want the Deetzes out of the house, it is up to them to scare them away. Barbara's and Adam's attempts at scaring the family prove counterproductive, despite their ability to shape-shift into monsters, as nobody can see or hear them. While the Maitlands are away seeing Juno, Lydia discovers the handbook and reads it. Although Adam and Barbara remain invisible to Charles and Delia, Lydia can see the ghost couple and befriends them. Against Juno's advice, the Maitlands contact the miscreant Betelgeuse (pronounced Beetlejuice), Juno's former assistant and now freelance "bio-exorcist" ghost, to scare away the Deetzes. However, Betelgeuse quickly offends the Maitlands with his crude and morbid demeanor; and they reconsider hiring him, and instead attempt themselves to wreak havoc during a small dinner party, when the Deetzes have invited Delia’s agent, Bernard, along with Otho and other friends. However, the living are only intrigued by the turn of events. The small town's charm and the supernatural events inspire Charles to pitch his boss Maxie Dean on transforming the town into a tourist hot spot, but Maxie wants proof of the ghosts. Using the Handbook for the Recently Deceased, Otho conducts what he thinks is a séance and summons Adam and Barbara, but they begin to decay, as Otho had unwittingly performed an exorcism instead. Horrified, Lydia begrudgingly summons Betelgeuse for help; but he agrees to help her only on the condition that she marry him, enabling him to freely cause chaos in the mortal world. Betelgeuse saves the Maitlands and disposes of Maxie, his wife, and Otho, then prepares a wedding before a ghastly minister. The Maitlands intervene before the ceremony is completed, with Barbara riding a sandworm through the house to devour Betelgeuse. Finally, the Deetzes and Maitlands agree to live in harmony within the house. Adam, Barbara and Lydia are seen in a remodeled part of the house dancing to Harry Belafonte's "Jump in the Line" (with Lydia floating in the air) to celebrate Lydia getting an "A" on her math test. Charles is in the den reading a book called, "The Living and the Dead," (by the authors of "Handbook for the Recently Deceased") a manual on how the living and the dead can co-exist. Meanwhile, Betelgeuse is stuck in the afterlife waiting room; there, he attempts to cut in front of a witch doctor, who shrinks his head in retaliation. However, being Betelgeuse, he remains upbeat: "This could be a good look for me". |
Little Shop of Horrors_1986 | tt0091419 | <script>
<scene>
<scene_description>"LITTLE SHOP OF HORRORS" FEBRUARY14, 1985</scene_description>
<character>FADE IN:</character>
<dialogue>1 A GREY VOID - SWIRLS OF THRLATENING,EVER-CHANGING l</dialogue>
<character>STORM-SKYCOLOR</character>
<dialogue>A chil,ling "Phantom of the Opera" ORGANCHORD·. A voice not unlike God's (or Orson Welles') intones th~ follow- ing "prologue." SIMULTANEOUSLY,the WORDSSCROLL SLOW- LY ACROSS THE SCREEN.</dialogue>
<character>VOICE</character>
<parenthetical>(mock-serious, CHURCH-LIKE' MUSIC UNDER)</parenthetical>
<dialogue>On the twenty-third day of the month of September, in an early year of a decade not too long before our own, the human race suddenly encountered a deadly threat to its very existence.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And this terrifying enemy surfaced -- as such enemies often do -- in the seemingly most innocent ••• and unlikely ••• of places •••</dialogue>
<scene_description>The CHURCH-LIKEMUSIC CLIMAXESIN A DRUMROLL as we see light droplets of water hitting and causing RIPPLES IN THE IMAGE. IMMEDIATELY,BUBBLEGUM-ROCK MUSIC KICKS IN AS CAMERAPULLS BACK to reveal that the above-mentioned grey void is really a puddle of muck in a foul Skid Row gutter and that a wino is passed out beside it,~his long black hair soaking in the goo. We see now that a light rain is falling as CAMERAMOVESUP to reveal:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOSHNIK'S SKID ROWFLORIST'S SHOP - DAY - DARK,</stage_direction>
<character>CLOUDYSKY</character>
<dialogue>A run-down storefront flower shop, just beyond the gut- ter. The building is so old, so forlorn, so dilapi- dated, it seems to lean to one s i\_de. As the shc:>p's sign comes INTO VIEW there is an EAR-SPLITTING BURST OF THUNDERfollowed by a bigger-than-life lightnin9 flash. Suddenly the harmless facade is transformed into some- thing ominous and foreboding. And just as suddenly the MAIN TITLE, •LITTLE SHOP OF HORRORS"FADES UP. The word •HORRORS" is colored red and a few drops, of what we suppose to be blood, slowly ooze down and fall from its letters as, SUNG in VOICE-OVER, we hear:</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SONG (V.O.)</character>
<dialogue>Little Shop Little Shoppa Horrors Little Shop Little Shoppa Terr~r Call a cop! Little Shoppa Horrors No Oh Op Oh No-oh!</dialogue>
<scene_description>The TITLE FADES OUT and on another lightning flash we CUT TO A DIFFERENT ANGLE OF the shop as three girls, CRYSTAL, RONETTE and CHIFFON ENTER THE SHOT. They are the ones we heard singing in voice-over. As CAMERA TRUCKS WITH them, while KEEPING the shop in the back- ground, they continue the number singing and dancing a· la any girl group of the 1960~s:</scene_description>
<character>GIRLS</character>
<dialogue>Little Shop Little Shoppa Horrors Bop sh' bop! Little Shoppa Terror What 'em drop! Little Shoppa Horrors No Oh Oh Oh No-oh!</dialogue>
<scene_description>In the background of the PREVIOUS SHOTS we've seen not only the shop but also: a malnourished dog poking through an overturned garbage can, a pre-1960's car or two passing by, newspapers being blown by the wind, and a bum begging from people who quickly pass by grasping umbrellas. The Girls now turn and enter through the doors of the shop.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP - DAY</stage_direction>
<scene_description>The place is a mess.· The flowers are on their last legs or are altogether dead. The corsages are decay- ing. The cash register is rusted and covered with dust. The lightbulbs are bare. The FTD posters are from twenty years earlier. Clearly the place hasn't had a customer in years.</scene_description>
<character>GIRLS</character>
<parenthetical>(during the above)</parenthetical>
<dialogue>Shing-a-ling What a creepy thing to be happenin' (Lookout Lookout Lookout Lookout) Shang-a-lang Feel the Sturm-and-Drang</dialogue>
<scene_description>GIRLS (cont.) !n ~h~air (Yeah yeah yeah yeah) Sha la la Stop right where you are Don'tcha move a thing! The Girls have danced past a storage room and over to a man who is sitting at the shop's counter reading a newspaper which hides his face. The paper, "The Skid Row Herald Examiner." The headline: UNEXPECTEDTOTAL ECLIPSE! END OF THE WORLD? The man lowers the paper to turn the page and we see that it is MUSHNIK, the shop's owner. Be glances at the door, .then at the clock, sighs, and returns to his newspaper. Be does not notice the Girls who are inches away singing the following right to him: GIRLS (cont.) You'd better Tellin' you, you'd better Tell yo' mama Somethin's gonna get her She'd better Everybody'd better Beware! ON the word "beware" CAMERAFOLLOWS the Girls as they dance over to a closed door. They open it and we: CUT TO A REVERSE SHOT OF the door as it is being opened and the CAMERALEADS the Girls down a dingy flight of stairs as they sing: GIRLS (cont.) (Come-a, come-a, come-a) Little Shop Little Shoppa Horrors Bob sh' bop You'll never stop the terror As the Girls reach the bottom they sing and dance, PAST CAMERATOWARDS ••• SEYMOUR ••• who is standing with his BACK TO CAMERAon tc>p of a tall and dangerous •ladder" of crates, boxes and books. Be is putting something away on a high shelf cranuned with clothes, comic books and assorted junk. Be,, too, doe~ not notice the Girls as they sing to him: GIRLS (cont.' Little Shop Little Shoppa Horrors No oh oh oh no Oh oh oh oh Oh oh oh no-oh-oh-Ohl ON the last extended note of the song the Girls back AWAYFROM CAMERA and we are LEFT ALONE WITH Seymour. As he continues struggling we see an old beat-up RADIO on the lower shelf next to him from which we hear:</scene_description>
<character>RADIO (V .0.)</character>
<dialogue>At his press conference today, President Kennedy fielded questions concerning last Thursday's total eclipse of the sun, an unpredicted and unprecedented astrological phenomenon which has baffled the nation •••</dialogue>
<scene_description>DURING the broadcast we see Seymour teetering until finally, losing his balance, he grabs for the shelf and with a pathetic whimper he falls taking it, some potted plants, comic books, clothing, junk, and radio down with him. · SFX: CRASH! Seymour has dropped OUT OF SHOT. We BOLD ON what's left of the wall as we hear •••</scene_description>
<character>MOSHNIK (O.S.)</character>
<dialogue>Seymour, what is going on down there?!</dialogue>
<scene_description>Seymour pops BACK UP INTO FRAME IN A FULL-FACE CLOSEUP and shouts:</scene_description>
<character>SEYMOUR</character>
<dialogue>Very little, Mr. Mushnik!</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOP - DAY</stage_direction>
<character>MOSHNIK</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Aron, g'vorn, g'voxen, akebebble, mitzbeleh.</dialogue>
<character>CUT TO:</character>
<dialogue>-We have CUT TO ANOTHER</dialogue>
<scene_description>ANGLEOF Seymour to see that the Girls are no longer there and to see that we are in: The basement. These dark surroundings have been trans- formed into Seymour's pathetic living quarters with clothing, a hotplate, jun'· ~ood containers, a sleeping cot, and crud everywhere. However, blooming amid the decay and the debris are hundreds of strange and exotic plants. They're growing lavishly in coffee cans, shav- ing mugs, the most unlikely containers, nourished by makeshift gro-lights. Seymour starts picking up the mess he's made. Be starts with the RADIO which is turned over on the floor and which is now EMITTING STATIC. Be hits it and MUSIC COMESON: Phil Spector and the Crystals' 1963 arrange- ment of "Uptown" •••</scene_description>
<character>RADIO (V.O.)</character>
<dialogue>Be gets up each morning and he</dialogue>
<scene_description>goes downtown. Where everyone's his boss and he's lost in an angry land. He's a little man. But then he comes Uptown each evening to my tenement~-· As he's picking through the mess Seymour notices a par- ticular plant amongst the others that has fallen on the floor. Be worriedly picks it up, puts back the dirt in its Maxwell Bouse coffee can and places it under a special gro-light, giving the feeling that the plant has its own theatrical spotlight. The plant is clearly on its last legs. Its avocado-like pod is withered and dry, its leaves are brown and its little tendrils resemble a polio victim. Be tends to it with great care. SFX: (O.S.) HIGH HEELS ON CONCRETE. Seymour hears the sound of high heels clicking quickly in the distance. Bis expression changes to one of longing as he turns and goes to the basement window and looks out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKID ROWSTREET - RAIN HAS STOPPED - DAY</stage_direction>
<character>CAMERA IS NOWACROSS THE STREET AT AN EXTREMELOW</character>
<dialogue>ANGLE. we see Seymour's hopeful faee through the base- ment window in the background as a car passes. In the extreme foreground a bum is sprawled out on the sidewal~.</dialogue>
<scene_description>.The SOUNDOF THE CLICKING HEELS IS UPON US NOWas a pair of black pumps ENTERS FRAME stepping over the bum. CAMERAMOVESWITH the feet UNTIL they are now walking TOWARDSCAMERA. We TILT UP PAST the fishnet stockings, black dress, leopard-skin print jacket, and up to a FULL-FACE CLOSEUP OF•••</scene_description>
<character>AUDREY</character>
<dialogue>She is rushing TOWARDSCAMERA. We see she has a black eye.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOP - DAY</stage_direction>
<scene_description>DC>ORCHIME. Mushnik looks up to see Audrey enter hur- riedly. She immediately begins to take off her leopard-print jacket, struggling as she does to conceal the black eye.</scene_description>
<character>MUSHNIK</character>
<dialogue>So, she finally decides to come to work?</dialogue>
<character>AUDREY</character>
<dialogue>Good morning, Mr. Mushnik.</dialogue>
<character>MUSHNIK</character>
<dialogue>What morning? It's almost closing time. Not that we had a C'Ustomer.</dialogue>
<scene_description>A LOUD CRASH from the basement. MUSHNIK (cont.) What in the name of God is going on down there? Audrey, you'd better go see what he's ••• (beat) Audrey ••• where did you get that shiner?</scene_description>
<character>AUDREY</character>
<parenthetical>( innocently)</parenthetical>
<dialogue>Shiner?</dialogue>
</scene>
<scene>
<stage_direction>INT. STORAGEROOM</stage_direction>
<scene_description>Aucrey starts to hang up her coat anc put on her uni- form, a frilly pink smock. Mushnik follows her in.</scene_description>
<character>(CON~INUED)</character>
<dialogue>MUSHNIK</dialogue>
<scene_description>Audrey, that greasy boyfriend of yours, he's beating up on you again? Look, I know it's none of my business, but I'm beginning to think he's maybe not such a nice boy.</scene_description>
<character>AUDREY</character>
<dialogue>You don't meet nice boys when you live on Skid Row, Mr. Mushnik.</dialogue>
<scene_description>Seymour comes up from downstairs carrying a precarious- ly balanced pile of clay pots.·</scene_description>
<character>SEYMOUR</character>
<dialogue>I got these pots unloaded for you, Mr. Mushnik •••</dialogue>
<scene_description>But even before the sentence is finished, he has lost his footing. Seymour and the pots fall to the floor with an EAR-SPLITTING CRASH, identical to the ones we have heard before.</scene_description>
<character>MUSHNIK</character>
<dialogue>Seymour! Look what you've done to the· inventory!</dialogue>
<character>AUDREY</character>
<dialogue>Don't yell at Seymour, Mr. Mushnik.</dialogue>
<character>SEYMOUR</character>
<parenthetical>(still on the floor)</parenthetical>
<dialogue>Hi, Audrey. You look radiant today. Is that new eye makeup?</dialogue>
<character>AUDREY</character>
<dialogue>I'll help him clean it up before any customers get here.</dialogue>
<character>MUSHNIK</character>
<dialogue>Well, that oughta give you plenty of time.</dialogue>
<scene_description>Mushnik moves through the shop toward the front door. MOSHNIK (cont.) Look, God, what an existence I got.</scene_description>
<character>MUSHNIK</character>
<dialogue>Misfit employees, bums on the sidewalk, business is lousy .•• my life is a living hell.</dialogue>
<scene_description>He notices• Crystal, ~~~ette and Chiffon lounging idly on the stoop next dool to the shop. MUSHNIK (cont. ) You! Urchins! Off the stoop! It ain't bad enough I got the winos permanently decorating the storefront? I need three worthless ragamuffins to complete the picture? The Girls start walking away as they speak.</scene_description>
<character>RONETTE</character>
<dialogue>Oh, we ain't botherin' nobody. Are we, Crystal?</dialogue>
<character>CRYSTAL</character>
<dialogue>No we're not, Ronette.</dialogue>
<character>MUSBNIK</character>
<parenthetical>( following them)</parenthetical>
<dialogue>You oughta be in school.</dialogue>
<character>CRYSTAL</character>
<dialogue>we on the split-shift.</dialogue>
<character>RONETTE</character>
<dialogue>Right. We went to school 'til the fifth grade. Then we split.</dialogue>
<scene_description>Mushnik has stopped following them.</scene_description>
<character>MUSBNIK</character>
<parenthetical>(shouting at them)</parenthetical>
<dialogue>So how do you intend to bet~er yourself?</dialogue>
<character>CRYSTAL</character>
<dialogue>Better ourselves? You heard what he said, Chiffon? Better ourselves? Mister, when you from Skid Row, ain't no such thing.</dialogue>
<scene_description>The Girls turn the corner into a darkened, narrow street where we see trash cans and fire escapes, and a WINO lying amidst the filth. About twenty yards in the distance we see a WOMAN. She is in her fifties, wear- ing a working uniform. She could b~ a waitress or a maid. An old, worn coat hangs from her shoulders. She seems very tired ano walks very slowly TOWARD CAMERA. MO~IC! Intro to "Downtown/Skid Row."</scene_description>
<character>WOMAN</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Alarm goes off at seven Ano you· start uptown You put" in your eight hours for the</dialogue>
<scene_description>powers That have always been.</scene_description>
<character>RONETTE</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>Sing it, child.</dialogue>
<character>WOMAN</character>
<dialogue>Till it's five P.M.</dialogue>
<character>WINO</character>
<parenthetical>(sits up)</parenthetical>
<dialogue>Then you go •••</dialogue>
<scene_description>He falls back down. The Girls join the Woman as they walk up the narrow street to the main Skid Row Street.</scene_description>
<character>WOMAN AND GIRLS</character>
<dialogue>Downtown, where the folks are broke Downtown, where your life's a joke Downtown, when you buy your token you</dialogue>
<scene_description>go ••• Eome to Skid Row Home to Skid Row</scene_description>
<character>WINO 2</character>
<parenthetical>(ENTERS SHOT)</parenthetical>
<dialogue>Yes, you go •••</dialogue>
<scene_description>He falls OUT OF SHOT. From around a corner, from an alleyway, from a fire escape, from a tenement building ••• MOREPEOPLE (maids, janitors, bus boys, bag ladies, waitresses, bums, messengers, etc.) join the Woman and the Girls. The group builds in strength and passion and takes over the street in a number whose choreography is not dance but rather, impassioned, rhythmic movement.</scene_description>
<character>NEW PERSON 1</character>
<parenthetical>(on the street)</parenthetical>
<dialogue>Downtown, where the cabs don't stop.</dialogue>
<character>NEWPERSON 2</character>
<parenthetical>(in a tenement window)</parenthetical>
<dialogue>nowntown, where the food is slop.</dialogue>
<scene_description>PERSON 2 joins the others on the street.</scene_description>
<character>NEWPERSONS 3 & 4</character>
<parenthetical>(from an alleyway)</parenthetical>
<dialogue>Downtown, where the hop-heads flop In the snow!</dialogue>
<character>ALL</character>
<dialogue>Down on Skid Row! Down on Skid Row!</dialogue>
<scene_description>ALL (cont.) (plus more from around a corner) Uptown you cater to a million jerks Uptown, you're messenger and mailroom clerks Eating all your lunches at the hot dog carts The bosses take your money and they break your hearts. A 1950's bus stops and discharges a few more people who join the throng. ALL (cont.) And uptown you cater to a million whores You disinfect terrazzo on their bathroom floors Your jobs are really menial, you make no bread And then at five o'clock you head •••</scene_description>
<character>WINO</character>
<parenthetical>(from behind garbage can)</parenthetical>
<dialogue>By subway •••</dialogue>
<character>ALL</character>
<dialogue>Downtown.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHOP - DAY</stage_direction>
<scene_description>Audrey is on the sidewalk emptying broken clay pots into a trash can. We see the chorus reflected in the shop's window.</scene_description>
<character>AUDREY</character>
<dialogue>Where the guys are drips.</dialogue>
<character>ALL (O.S.)</character>
<dialogue>Downtown!</dialogue>
<character>AUDREY</character>
<dialogue>Where they rip your slips.</dialogue>
<character>ALL (0. S.)</character>
<dialogue>Downtown!</dialogue>
<character>AUDREY</character>
<dialogue>Where r~lationships are no-go!</dialogue>
<scene_description>Audrey walks into:the street where everyone is posed hyper-dramatically (a la nwest Side Story") singing in powerful chorus. She, also singing, moves amongst them.</scene_description>
<character>ALL PLUS AUDREY</character>
<dialogue>Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row Down on Skid Row!</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOP - DAY</stage_direction>
<scene_description>Seymour is sweeping his mess.</scene_description>
<character>SEYMOUR</character>
<dialogue>Poor! All my life I've always been poor I keep asking God what I'm for And He tells me, Gee, I'm not sure</dialogue>
<parenthetical>(mimicking Mushnik)</parenthetical>
<dialogue>Sweep that floor kid!</dialogue>
<parenthetical>(himself again)</parenthetical>
<dialogue>Oh! I started life as an orphan, child</dialogue>
<scene_description>of the street Here on Skid Row!</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHOP - DAY</stage_direction>
<scene_description>During the previous lyrics, CAMERAhas turned a full 360 degrees to show the chorus in the background and it now FOLL.OWSSeymour out of the shop onto the sidewalk as he sings:</scene_description>
<character>SEYMOUR</character>
<dialogue>He took me in, gave me shelter A bed, crust of bread and a job Treats me like dirt, calls me a slob ••• Which I am So I live</dialogue>
<character>(CONTINUED}</character>
<dialogue>Everyone on the street is now moving, very slowly, not unlike zombies. (Audrey is no longer with them.} Seymour joins them in the street and walks amongst them.</dialogue>
<character>ALL</character>
<dialogue>Downtown</dialogue>
<character>SEYMOUR</character>
<dialogue>That's tour home address, you live •••</dialogue>
<character>ALL</character>
<dialogue>Downtown</dialogue>
<character>SEYMOUR</character>
<dialogue>When your life's a mess, you live •••</dialogue>
<character>ALL</character>
<dialogue>Downtown</dialogue>
<character>SEYMOUR</character>
<dialogue>Where depressions's jes' status quo!</dialogue>
<character>ALL</character>
<dialogue>Down on Skid Row!</dialogue>
<scene_description>HIGH, WIDE SHOT of chorus in. background on Main Street as Seymour turns and walks into a narrow alley. Be is alone and singing to himself.</scene_description>
<character>SEYMOUR</character>
<dialogue>Someone show me a way to get outa here 'Cause I constantly pray I'll get outa</dialogue>
<scene_description>here Please won't somebody say I'll get outa here Someone gimme my shot or I'll rot here. CAMERACRANESDOWNWITH Seymour as he stops in front of an old rusty cyclone fence which creates a cul de sac. CAMERAis now BEHIND the fence as we see Seymour through the steel mesh. Suddenly a filthy hand comes up grabbing the wire, followed by its body, and another body, and another, and another. We see that the bodies are those of BUMS slowly crawling up the cyclone fence almost on top of each other as they menacingly sing to Seymour who is backing away and also singing.</scene_description>
<character>SEYMOUR</character>
<dialogue>Show me how and I will I'll I'll Uphill</dialogue>
<character>ALL</character>
<dialogue>Downtown get outa here start climbin' Downtown</dialogue>
<character>SEYMOUR</character>
<dialogue>Ano 9et outa here Someone</dialogue>
<character>ALL</character>
<dialogue>'Cause tel.l.</dialogue>
<scene_description>I still The rainbow's just Could get outa h~re A no-show! Seymour, feeling trapped, runs out of the a:~ ·Y•</scene_description>
<character>SEYMOUR-</character>
<dialogue>Someone tell Lady Luck That I'm stuck here</dialogue>
<character>BUMS (V .O.)</character>
<dialogue>When you live •••</dialogue>
<scene_description>During the following we INTERCUT between Audrey and Seymour, eacb of whom are at different parts of the street. They wander about melodramatically trying to get away from the filth and degradation of Skid Row.</scene_description>
<character>SEYMOURANO</character>
<dialogue>AUDREY</dialogue>
<character>ALL</character>
<dialogue>Gee it sure would be Downtown Swell to.get outa here Where the sun don't shine Bid the gutter Downtown Farewell and get outa here Past the bottom line I'd move heaven and Downtown · Bell to get .outa Skid ••• Go ask any wino he'll I'd do I dunno what know To get outa Skid .Downtown But a helluvalot To get outa Skid Downtown</dialogue>
<scene_description>Unable to escape from the shackles of Skid Row, and feeling desperately trapped, they stop at either side of a corner building. They do not see each other as, in an overly· dramatic, yet heartfelt plea, they sing to the heavens. The sky becomes lyrical and pink and the entire chorus moves in slow, deliberate, quasi-Jerome Robbins choreography as everyone sings with starry-eyed intensity. SEYMOURAND ALL (Cont.) AUDREY(cont. ) People tell me Downtown There's not a way Outa Skic1 But believe me I gotta get Outa Skid Row Skid Row!</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP - EARLYMORNING</stage_direction>
<scene_description>Mushnik, Seymour and Audrey are in the shop. Mushnik, depressed, glances up at the clock.</scene_description>
<character>MUSHNIK</character>
<dialogue>Look at that! Six o'clock and we haven't. sol.d so much a.s a fern.</dialogue>
<scene_description>All right. That's it. Don't bother coming in tomorrow.</scene_description>
<character>AUDREY</character>
<dialogue>You don't mean •••</dialogue>
<character>SEYMOUR</character>
<dialogue>You can't mean •••</dialogue>
<character>MUSHNIK</character>
<dialogue>What? What? What don't I mean? I mean I'm closed, for;1et it, · kaput.</dialogue>
<character>AUDREY</character>
<dialogue>You can't!</dialogue>
<character>MUSHNIK</character>
<dialogue>Kaput! Extinct. I'm closing this God and customer forsaken place.</dialogue>
<character>SEYMOUR</character>
<dialogue>Mr. Mushnik, forgive me for saying so, but has it ever occurred to you that maybe what the firm needs is to move in a new direction?</dialogue>
<character>AUDREY</character>
<dialogue>Seymour, why don't you run downstairs and bring up that strange and interestiri1g new pla\_nt you've been working on?</dialogue>
<scene_description>Seymour helpfully exits. AUDREY (cont. ) You see, Mr. Mushnik, some of those exotic plants that Seymour's been tinkering around with are really ••• unusual ••• and we were both thinking that ma~rbe some of those strange and interesting plants, prominently displayed and advertised, would att:cact business. Seymour is now standing behind them holding the same withered plant we saw earlier in the basement. It looks even worse than it did before. (CONTINUED}:</scene_description>
<character>SEYMOUR</character>
<dialogue>I'm afraic it isn't feeling very well today.</dialogue>
<character>AUDREY</character>
<dialogue>There, now isn't that ••• bizarre?</dialogue>
<character>MUSHNIK</character>
<dialogue>At least. What kind of a weirdo plant is that, Seymour?</dialogue>
<character>SEYMOUR</character>
<dialogue>I dunno. It looks like some kinda flytrap, but I haven't been able to identify it in any of my books. So I gave it my own name. I call it an Audrey Two.</dialogue>
<character>AUDREY</character>
<dialogue>After me?</dialogue>
<character>SEYMOUR</character>
<dialogue>I hope you don't mind.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You see, sir, if you put a strange and interesting plant like this, here in the window, maybe ••• ·</dialogue>
<character>MUSHNIK</character>
<dialogue>Maybe what? Do you have any idea how ridiculous you sound? Just because you put a strange and interesting plant in the window, people don't suddenly •••</dialogue>
<scene_description>A CUSTOMERopens the door to the shop.</scene_description>
<character>CUSTOMER</character>
<dialogue>Excuse me. I couldn't help noticing that strange and interesting plant.</dialogue>
<scene_description>Mushnik and employees look up in amazement. CUSTOMER(cont. ) What is it?</scene_description>
<character>SEYMOUR</character>
<dialogue>It's an Audrey Two!</dialogue>
<character>CUSTOMER</character>
<dialogue>I've never seen anythin9 like it before.</dialogue>
<character>SEYMOUR</character>
<dialogue>No one has.</dialogue>
<character>CUSTOMER</character>
<dialogue>Where did you get it?</dialogue>
<scene_description>MUSIC: A harp? Bells? The kind of thJ.•-~ that signalled a flashback in musicals of the forties and fifties. Seymour :1ooks off into the distance, conjuring for him~elf the vision of his first encounter with the plant.</scene_description>
<character>SEYMOUR</character>
<dialogue>Well -- you remember that total eclipse of the sun a couple of weeks ago?</dialogue>
<scene_description>FLASHBACK("Da Doo"): Through this entire sequence, we hear Seymour in v.o. and see him in the situations he describes. Crystal, Ronette, and Chfffon are always in the recalled scenes with him, just sort of there, hanging out on a stoop or lurking in a corner, singing backup with appropriately choreographed girl-group gestures.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A STYLIZED, ALMOSTCALIGARIANRENDITION OF SIXTH</stage_direction>
<character>AVENUE IN THE THIRTIES - THE. PLANT DISTRICT.</character>
<dialogue>GIRLS</dialogue>
<parenthetical>(sung)</parenthetical>
<dialogue>Da Doo.</dialogue>
<scene_description>Seymour is walking along, fascinated by the foliage for sale.</scene_description>
<character>SEYMOUR(V. 0 � )</character>
<parenthetical>(spo\_ken)</parenthetical>
<dialogue>I was walking in the wholesale flower district that day •••</dialogue>
<character>GIRLS</character>
<dialogue>Shoop Da Do</dialogue>
<scene_description>He pass~s a strange-looking florist's shop, its sign printed in Chinese characters.</scene_description>
<character>SEYMOUR(V. 0. )</character>
<dialogue>And I passed by this plaee where this old Chinese man •••</dialogue>
<scene_description>CLOSEUP: An.elderly Mandarin with a crazed and evil leer.</scene_description>
<character>GIRLS</character>
<dialogue>Chang! na Doo</dialogue>
<scene_description>Seymour and the Mandarin shake hands.</scene_description>
<character>SEYMOUR (V. 0. )</character>
<dialogue>He sometimes sells me weird and exotic cuttin9s •••</dialogue>
<scene_description>Mandarin chops a leaf off a plant with a dangerous- looking Oriental saber.</scene_description>
<character>GIRLS</character>
<dialogue>Snip! Da Doc</dialogue>
<scene_description>Mandarin extends the leaf to Seymour.</scene_description>
<character>SEYMOUR (V .O.)</character>
<dialogue>'Cause he knows, ya see, that strange plants are my hobby.</dialogue>
<scene_description>Seymour examines it.</scene_description>
<character>GIRLS</character>
<dialogue>Dada da da da Da Doo!</dialogue>
<scene_description>And decides not to buy it.</scene_description>
<character>SEYMOUR (V. 0. )</character>
<dialogue>Be didn't have anything unusual there that day.</dialogue>
<character>GIRLS</character>
<dialogue>Nope! Da Doc.</dialogue>
<scene_description>Seymour starts to walk away.</scene_description>
<character>SEYMOUR (V. 0. )</character>
<dialogue>So I was just about to, you know, walk on by •••</dialogue>
<character>GIRLS</character>
<dialogue>Good for you!</dialogue>
<scene_description>But suddenly, Seymour stops dead in his tracks. Be notices something in the sky!</scene_description>
<character>SEYMOUR (V. 0 � )</character>
<dialogue>When suddenly and without warning There was this •••</dialogue>
<scene_description>THE SKY. A total eclipse occurs before our eyes.</scene_description>
<character>SEYMOUR& GIRLS (V.O.)</character>
<dialogue>Total eclipse of the sun!</dialogue>
<character>SEYMOUR (V. 0. )</character>
<dialogue>It got very dark.</dialogue>
<scene_description>Just as suddenly,\_. the eclipse is over. We' re back on the street and Seymour looks at the Mandarin in puzzlement. The Mandarin glances down at a row of flower buckets containing cut flowers.</scene_description>
<character>GIRLS</character>
<dialogue>Da Dool</dialogue>
<scene_description>Among the flower buckets, now, sits one strange and interesting plant -- a baby version of ••• CLOSEUP - THE AUDREYTWO</scene_description>
<character>SEYMOUR (V. 0 � )</character>
<dialogue>And when the light came back, this weird plant was just sitting there.</dialogue>
<character>GIRLS</character>
<dialogue>Oops-ee-do!</dialogue>
<character>SEYMOUR (V. 0. )</character>
<dialogue>Just stuck in, you know, among the zinneas.</dialogue>
<scene_description>Seymour picks up the plant and examines it.</scene_description>
<character>GIRLS</character>
<dialogue>Aud-ree Two!</dialogue>
<character>SEYMOUR (V. 0 � )</character>
<dialogue>I coulda sworn it hadn't been there before, but the old Chinese man sold it to me anyway •••</dialogue>
<scene_description>Seymo.ur fishes iri his pocket for one dollar and some change which he gives to the inscrutable MANDARIN. SEYMOUR (V. 0 • ) (cont. ) For a dollar ninety-five. Seymour walks up the street, away from us, carrying his new plant.</scene_description>
<character>GIRLS & MANDARIN(V.O.)</character>
<dialogue>Sha 1a·1a la la la Doo doo doo doo!</dialogue>
<scene_description>EXTREMECLOSEUP of.Mandarin turning TO CAMERAand flashing a knowing grin. EXTREME CLOSEUP of the Girls, also smiling knowingly TO CAMERA. EXTREMECLOSEUP of two filthy BUMS, tneir faces distorted and smiling. CAMERAPULLS BACK and we see we are in ••.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP - EARLY EVENING</stage_direction>
<scene_description>The two Bums are now in the background outside the shop. Their faces are mushed against the display window as they look, with great curiosity, at the others in the shop.</scene_description>
<character>CUSTOMER</character>
<dialogue>Yessir, that's an unusual story and a fascinating plant.</dialogue>
<scene_description>Be turns to leave. Mushnik, Seymour and Audrey exchange a look of mutual disappointment. And the Customer turns around. CUSTOMER(cont. ) Oh .•• I, might as well take fifty dollars' worth of roses while I'm here.</scene_description>
<character>MUSHNIK</character>
<parenthetical>(stunned)</parenthetical>
<dialogue>Fifty dollars? Yessirl Right away, sir!</dialogue>
<character>CUSTOMER</character>
<dialogue>Can you break a hundred?</dialogue>
<character>MUSHNIK</character>
<parenthetical>(he knew it was too good to be true)</parenthetical>
<dialogue>A hundred. Er, no •••</dialogue>
<character>CUSTOMER</character>
<dialogue>Well, then I'll just have to take twice as many, won't I?</dialogue>
<scene_description>Be hands Mushnik a hundred dollar bill. CLOSEUP of Seymour.</scene_description>
<character>SEYMOUR</character>
<dialogue>Twice as many?</dialogue>
<scene_description>CLOSEUPof Audrey.</scene_description>
<character>AUDREY</character>
<dialogue>Twice as many?</dialogue>
<scene_description>CLO:...·:p of the two Bums we see outside the window.</scene_description>
<character>. BUMS</character>
<parenthetical>(mouthing it ••• in ··mime)</parenthetical>
<dialogue>nTwice as many?n</dialogue>
<scene_description>The two Bums quickly glance to the front door. CLOSEUP of CUSTOMER2 opening front door.</scene_description>
<character>CUSTOMER2</character>
<dialogue>That plant in the window, it's simply amazing!</dialogue>
<scene_description>CLOSEUP of CUSTOMER3 opening front door.</scene_description>
<character>CUSTOMER3</character>
<dialogue>That plant in the window, wherever'd you get it?</dialogue>
<scene_description>CLOSEUP of CUSTOMERS4 and 5 opening front door.</scene_description>
<character>CUSTOMER4</character>
<dialogue>Look, there it is, Marge.</dialogue>
<character>CUSTOMER5 (MARGE)</character>
<dialogue>Oh my gosh, it's peculiar!</dialogue>
<scene_description>CLOSEUP of the two Bums\_ as they open the front door. They are about to speak when a look of fear crosses their faces and they turn and run as all the Customers come piling out of the front door. They are laden with bunches and bunches of flowers and are excitedly babbling about that amazing plant.</scene_description>
<character>MUSHNIK</character>
<parenthetical>(in the doorway, waving good-bye)</parenthetical>
<dialogue>Thank you! Come again! You know where to find us! Come and look at the weirdo plant some more. It's just gonna get bigger and more interesting!</dialogue>
<scene_description>He comes inside. There are no more flowers in the shop. Sold out.</scene_description>
<character>MUSHNIK</character>
<dialogue>Well, don't just stand there! Quick, quick, quick. Put that plant ••• what do you call it?</dialogue>
<character>SEYMOUR</character>
<dialogue>Audrey Two.</dialogue>
<character>MUSHNIK</character>
<dialogue>Put that Audrey Two back in the window where the passersby can see it! I don't mind admitting I'm wrong when I'm wrong and I'm wrong. My God, I'd never have believed it. My children, I'm taking us all out to dinner!</dialogue>
<scene_description>Seymour, excited, looks at Audrey. Audrey looks up, intensely disappointed.</scene_description>
<character>AUDREY</character>
<dialogue>Oh, I'd like-to, Mr. Mushnik, but I have a date.</dialogue>
<scene_description>She heads for the storage room. Mushnik follows her in.</scene_description>
<character>MUSHNIK</character>
<dialogue>With the same nogoodnick?</dialogue>
</scene>
<scene>
<stage_direction>INT. COATROOM</stage_direction>
<scene_description>Audrey removes her work smock and starts to put on her jacket.</scene_description>
<character>MUSHNIK</character>
<dialogue>I'm telling you, Audrey, you don't need a date with him. You need major medical.</dialogue>
<scene_description>She closes her jacket, looks up meekly, forces a sad, embarrassed smile. AODµY Enjoy dinner.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP</stage_direction>
<scene_description>As Audrey hurriedly passes through, Seymour gazes at her longingly.</scene_description>
<character>·AUDREY</character>
<parenthetical>(without looking at him)</parenthetical>
<dialogue>Goodnight, Seymour.</dialogue>
<character>SEYMOUR</character>
<dialogue>Goodnight •••</dialogue>
<scene_description>And she's gone. Seymour looks sadly off in her direction. Mushnik emerges from the storeroom.</scene_description>
<character>MUSHNIK</character>
<dialogue>Poor girl.</dialogue>
<character>SEYMOUR</character>
<parenthetical>(forlorn. Trying to cheer himself up)</parenthetical>
<dialogue>Are we still going to dinner?</dialogue>
<scene_description>Mushnik is about to answe:C" kindly when his eye notices: THE PLANT It has wilted since we la:st saw it. It droops over the side of its pot at a forty-five degree angle. Three very serious descending MUSICAL CHORDSunderscore the SHOT. Mushnik approaches the plant, picks it up, and takes it to Seymour.</scene_description>
<character>MOSHNIK</character>
<dialogue>You're not going anywhere, Krelborn! You're staying right here and taking care of this sick plant!</dialogue>
<character>SEYMOUR</character>
<dialogue>I told you it's been giving me trouble. It just wilts like this. The Audrey Two is not a healthy girll</dialogue>
<character>MUSHNIK</character>
<dialogue>Strictly between us, neither is the Audrey One.</dialogue>
<character>SEYMOUR</character>
<dialogue>If only I knew what breed it was, what genus. But it's nowhere in the books.</dialogue>
<character>MUSHNIK</character>
<dialogue>well, Krelborn, my advice to you is you better figure it out and fast. Look what this exotic. little beauty did for business.</dialogue>
<character>SEYMOUR</character>
<dialogue>I know.</dialogue>
<character>MUSHNIK</character>
<dialogue>So work, Seymour! Nurse this plant back to health! I'm counting on you!</dialogue>
<character>SEYMOUR</character>
<dialogue>I know.</dialogue>
<character>MUSHNIK</character>
<parenthetical>(donning his coat, hat and scarf)</parenthetical>
<dialogue>You do?</dialogue>
<character>SEYMOUR</character>
<dialogue>I do.</dialogue>
<character>MUSHNIK</character>
<dialogue>So fix! Goodnight!</dialogue>
<scene_description>I-</scene_description>
<character>18</character>
<dialogue>EXT. SKID ROW-</dialogue>
<scene_description>MUSIC IN: The intro to "Grow for Me." As we watch Mushnik disappear, sunset gives way to evening. One by one, lights pop on in windows up and down the street. Winos light fires and huddle beside them with brown- bagged bottles. A light pops on in Seymour's basement . room. 19 INT. THE BASEMENT l.9 Seymour is looking through the basement window at ••• AUDREY standing in the window of her own tenement flat, across the street. She has changed outfits and is now looking into a mirror on her wall, struggling to conceal her black eye with Cover Girl liquid eye makeup. S!ymour gazes up at her with painful longing, then returns his attention to his pathetic botanical charge. He sings as he works with misting ean, spade and fertilizet. It is an intimate moment with a boy and his plant.</scene_description>
<character>SEYMOUR</character>
<dialogue>I've given you sunshine I've given you dirt You've given me nothin' But hear~ache and hurt. I'm beg~in' you sweetly, I'm down on my knees. Oh please, grow for me. I've give you plantfood And water to sip. I've given you potash. You've given me ••• zip! Oh God, how I mist you. Oh pod, how you tease. Now.please, grow for me.</dialogue>
<scene_description>Seymour grabs a gardening-book from the shelf and leafs through it. SEYMOUR (cont.) I've given you southern exposure To get you to thrive I've pinched you back hard, like I'm S'posed ta You're barely alive I've tried you at levels of moisture From desert to mud He gives up for a while and starts putting his room in semi-order. SEYMOUR(cont.) I've given you grow-lights and mineral supplements. What do you want from me? Blood? Seymour picks up some dead roses, the thorns· of which have pricked his finger. It bleeds just a little ••• but brightly. SEYMOUR(cont.) Damned roses! Damned thorns! Seymour rummages around through a box to find some band-aids. His finger keeps bleeding. Near him, a light from behind casts the plant's shadow on the wall. Suddenly •• , 19 CONTINUED: (2) The shadow moves. In silhouette, the pod has opened up. Seymour notices this and turns around to see -- Audrey Two, open wide, as if asking for something. Seymour moves toward it. It upens wider. He is puzzled by this behavior, then shrugs it off and returns to his previous activities. He puts a band-aid on his finger, hiding the blood. The plant closes. Seymour notices this and begins to get the idea. He removes the band-aid and raises his finger in front of the pod. Sure enough, it opens again. Seymour slowly hides his finger behind his back. And just as slowly, the pod closes. He reveals the blood again. The plant opens. Now he tries to trick it. He moves his hand down-up very fast. With amazing reflexes, the plant shuts and opens. Seymour gulps and sings: SEYMOUR(cont.) I've give~ you sunshine. Itve given you rain. Looks like you're not happy, 'less I open a vein! I'll give you a few drips If that'll appease ••• Now please •.• Oh please ••• He squeezes a few drops of blood from his finger into the gaping pod. It snatches for the red stuff like a puppy for a biscuit. Seymour, a little sickened by his own action ·and even more so by his plant's response, turns away from the pod and starts upstairs. SEYMOUR(cont.) I guess a few drops couldn't hurt ••• long as you don't make a habit out of it or anything. Audrey Two is alone now, lit by a shaft of moonlight pouring in through the basement window. As MUSIC BUILDS under, the dirt in which the plant is potted begins to stir. The dry surface erupts like a small earthquake. Roots begin to push through. The Maxwell House coffee can starts to shake, then bulge. At last, the plant itself begins to grow. The pod sort of bubbles, then swells. New leaves appear, first as buds, and then unfurl before our eyes. The stem extends three inches, then four. By the time the MUSIC REACHES ITS CLIMAX, the plant is a sturdy foot-and-a-half tall. It then bends its stem gracefully and rises back up. If we didn't know better, we'd think it had just taken a curtain call.</scene_description>
</scene>
<scene>
<stage_direction>INT. RADIO STATION</stage_direction>
<scene_description>An ANNOUNCERsits at a desk in a small radio station. He speaks into a microphone.</scene_description>
<character>ANNOUNCER</character>
<dialogue>This is radio station WSKID•••</dialogue>
<scene_description>He plays five NOTES on a small CHIME. ANNOUNCER(cont. ) Where in just a few minutes we'll be bringing you •wink Wilkensen's Weird World!• The show that talks to wonderful people who bring in their weird things. But first, the news ••• (he changes his voice to make it very deep) ••• The President today announced •••</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROLROOM</stage_direction>
<scene_description>It is separated from the studio by glass. We faintly hear the news broadcast as we see, sitting in a chair,• a man holding a fish which is stuffed and mounted. The fish has a human nose and mustache. Next to the man and fish is seated a little boy holding a Rube Goldberg-type machine. Next to him, and also seated, is a six-foot tall wooden ventriloquist's dummy. Sitting on the dummy's lap is a live midget who is casually smoking a cigarette. And next to him is Seymour with Audrey Two on his lap. They are all patiently waiting their turn. The plant is now a good twelve inches taller than when we saw it last. Seymour wears ten band-aids ••• one on each of his fingers. Unseen by the others, including Seymour, Audrey Two starts leaning towards the engineer who is adjusting some dials. The plant inches closer to the e:ng ineer. Only when the plant.has its pod open and is about to bite the engineer, does Seymour notice. He grabs the .poa ana pulls it back.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE STUDIO</stage_direction>
<scene_description>The Announcer is finishing the news.</scene_description>
<character>ANNOUNCER</character>
<parenthetical>(still with a low voice)</parenthetical>
<dialogue>••• Partly cloudy on Saturday with highs in the mid-seventies.</dialogue>
<scene_description>Be bangs on the CHIME again, five times. ANNOUNCER(cont.) (back to Voice No. 1) And now, •wink Wilkensen 1 s Weird World!n with your host, Wink Wilkensen! Through the glass, in the background, we see an assistant get Seymour and the plant. MUSIC: Theme of •wink Wilkensen's Weird World!" ANNOUNCER(cont.) (same announcer, but now with still another voice) Thanks, Ted. Bi, everybody. we 1 ve got a great show for you today. Some wonderful people with some really weird stuff. (waving at his assistant to bring in Seymour) Our first guest is someone you've probably read about in the papers by now ••• Mr. Seymour Krelborn who has discovered a new breed of plant life hitherto unknown on this pla~et. Bello, Mr. Krelborn.</scene_description>
<character>SEYMOUR</character>
<dialogue>Uh, hello ••• Wink.</dialogue>
<character>ANNOUNCER</character>
<dialogue>Say, I sure wish the folks at home could see this. Where did you .s.il such a weird plant?</dialogue>
<character>SEYMOUR</character>
<dialogue>Well ••• you remember that total eclipse of the sun a couple of · weeks ago?</dialogue>
<scene_description>OMITTED & &</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROLROOM</stage_direction>
<scene_description>Crystal, Ronette and Chiffon pop up from behind the engineer.</scene_description>
<character>GIRLS</character>
<parenthetical>(sung)</parenthetical>
<dialogue>Oa Ooo!</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDIO</stage_direction>
<character>SEYMOUR</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>I was walkin' in the wholesale flower district t.hat day •••</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SHOP - EARLY EVENING</stage_direction>
<scene_description>The CASH REGISTER RINGS. Its drawer opens as, from it, Mushnik grabs and counts wads of money. In the back- ground we see a sign in the window. It reads: •welcome to Mushnik's -- Bome of the Audrey Two." A •closed" sign is on the door.</scene_description>
<character>ANNOUNCER(V. 0. )</character>
<parenthetical>(on radio)</parenthetical>
<dialogue>And thus we conclude our interview with Seymour Krelborn, the young botanical ••• er, do you mind if I call you a genius?</dialogue>
<character>SEYMOUR (V .O.)</character>
<dialogue>Gosh, nol</dialogue>
<scene_description>Mushnik shakes his head in disbelief.</scene_description>
<character>ANNOUNCER {V .O.)</character>
<dialogue>The genius who has discovered America's largest and most amazing unidentified plant.</dialogue>
<character>SEYMOUR {V. 0. )</character>
<dialogue>I'd like to remind our listeners that the Audrey Two is on display exclusively at Mushnik's Skid Row Florist's... ·</dialogue>
<scene_description>During the above. From inside we see that Audrey is outside banging on the front door. Mushnik rushes over and opens it. H~r black eye is a little better, but she now wears hei arm in a chic leopard-print sling.</scene_description>
<character>AUDREY</character>
<dialogue>Am I late? Did I miss it?</dialogue>
<scene_description>They move to the RADIO, on which we hear Seymour strug- gling to get his last words in as the ANNOUNCER con- cludes the broadcast.</scene_description>
<character>SEYMOUR(V. 0. )</character>
<dialogue>That's U ••• K •••Open six ten to six!</dialogue>
<character>ANNOUNCER(V � 0 � )</character>
<dialogue>Mushnik's ••• M••• S ••• days a week, long and watch out for what's weird.</dialogue>
<scene_description>Mushnik switches OFF THE RADIO.</scene_description>
<character>MUSHNIK</character>
<dialogue>That's what I call advertising.</dialogue>
<scene_description>Be grabs his coat and starts out the front door with Audrey following.</scene_description>
<character>AUDREY</character>
<dialogue>Seymour's first radio broadcast. I wanted to hear so bad. I. tried to be on time, but •••</dialogue>
</scene>
<scene>
<stage_direction>EXT. SBOP - EARLYEVENING</stage_direction>
<scene_description>Mushnik and Audrey on sidewalk. Mushnik locks the door.</scene_description>
<character>MUSHNIK</character>
<dialogue>Don't tell me. You got tied up.</dialogue>
<character>AUDREY</character>
<dialogue>No, just handcuffed ••• a little.</dialogue>
<scene_description>We see a large picture of Seymour and the plant hung near the sign in the display wipdow as Mushnik walks Audrey across the street.</scene_description>
<character>MUSHNIK</character>
<dialogue>Handcuffed. Audrey, I don't know who this noodnick is you're hanging out with, but he is hazardous to your health.</dialogue>
<character>AUDREY</character>
<dialogue>That's.for sure. But I can't leave him.</dialogue>
<character>MUSHNIK</character>
<dialogue>Why not?</dialogue>
<character>AUDREY</character>
<dialogue>He'd get angry. And if he does this to me when he likes me, imagine what he'd do if he ever got mad.</dialogue>
<scene_description>They arrive at her tenement door. Mushnik sighs in exasperation and leaves. Audrey turns and enters her building. MUSIC: Lead-in to •somewhere That's Green.n</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDREY'S APARTMENT - EARLY EVENING</stage_direction>
<scene_description>It is a typical, small Skid Row apartment, however, Audrey has tried to cover the poverty in which she lives by decorating it in a style we would call •Frilly Woolworth's.• She enters and looks out her window at the picture of Seymour across the street as she sings:</scene_description>
<character>AUDREY</character>
<dialogue>I think Seymour's the greatest But I'm dating a semi-sadist. So I got a black eye And my arm's in a cast. Still that Seymour's a cutie.</dialogue>
<scene_description>She looks at his picture again, then decides to be honest. AUDREY (cont.) Well, if not He's got inner beauty And I dream of a place Where we could be together At last ••• She pulls out her treasured collection of magazines: "Bouse and Gardens," "Better Homes," "Woman's Day." MUSIC SWELLS lyrically as she flips them open to favorite pictures: model kitchens with avocado- colored, double-~-.: refrigerators, playrooms with knotty pine panelling, pristine Early American bedrooms with white chenille spreads and doily-covered night tables. An exterior shot of a •contemporary" split- level house, circa 1961. She sighs and continues singing: AUDREY(cont. ) A matchbox of our own. A fence of real chain link A grill out on the patio Disposal in the sink A washer and a dryer and An ironing machine In a tract house that we share, Somewhere that's green. CAMERAPOSHES into the picture. AUDREY'S DAYDREAM She's in the magazine pictures now, dressed for all the world like Barbara Billingsley from pumps to pearls, a ruffled apron protecting her shirtwaist. She moves from room to room of a perfect (and perfectly awful) suburban cheesebox -- dusting the plastic- covered sofa, adjusting the pole-lamps, straightening the hand-tinted, plastic-framed photos -- singing all the while. AUDREY (cont.) Be rakes and trims the grass Be loves to mow and weed I cook like Betty Crocker And I look like Donna Reed There's plastic on the furniture To keep it neat and clean In the Pine-Sol scented air Somewhere That's Green. ORCHESTRALINTERLUDE- a brief dream ballet. The mood now is pure Leslie Caron as the rest of Audrey's dream is danced out. we see a merrily pot-bellied Seymour mowing the lawn in a brightly colored Ban-Lon shirt, as a COCKERSPANIEL YAPS at his heels.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PLAYROOM- DAY</stage_direction>
<scene_description>The children watch Saturday Morning TV as Audrey appears with a smiling pitcher of Kool-Aid. The daughter is platinum blonde like her Mom and wears a little leopard-print pinafore. The son is prematurely balding at seven years old and wears glasses and cap identical to his father's.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE DINING ROOM- DAY</stage_direction>
<scene_description>Audrey ushers neighbor ladies in pedal-pushers and curlers to a table set for Mah Jongg. In a flash, she's back with bridge-mix and crustless tuna fish sandwiches.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE LIVING ROOM- DAY</stage_direction>
<scene_description>Audrey and neighbor at a Tupperware party.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KITCHEN - DAY</stage_direction>
<scene_description>Audrey dances to the oven to put in four Swanson TV dinners.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONG SHOT - DUSK</stage_direction>
<scene_description>Outside, the sun begins to set•over a development where all the houses look just like this one.</scene_description>
</scene>
<scene>
<stage_direction>INT. PLAYROOMAT NIGHT</stage_direction>
<scene_description>Audrey and Seymour snuggle on .the couch. The kids are on the floor, watching Lucy with her hand stuck in a bowling ball. Even the dog and cat are snuggled and enjoying the p\_rogram. Audrey continues to sing in v .o.</scene_description>
<character>AUDREY (V .O.)</character>
<dialogue>Between our frozen dinner</dialogue>
<scene_description>And our bedtime, nine-fifteen We snuggle watching Lucy On our big Enormous Twelve-inch screen Audrey and Seymour tuek the kids into bunk beds and chuckle at the pets asleep with them.</scene_description>
<character>AUDREY (V .O.)</character>
<dialogue>I'm his Deeember Bride Be's Father, He Knows Best The kids' room, next to our room And a third room for a guest A pict~re out of Better Bernes and Gardens Magazine</dialogue>
<scene_description>Audrey and Seymour reach the threshold of their Early American bedroom. Be lifts her up and we .tactfully</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKID ROW- NIGHT</stage_direction>
<scene_description>CLOSEUP of Audrey at her window singing. CAMERASLOWLY PULLS BACK as she looks out and sees a bleak Skid Row cityscape of brick walls, garbage, fire escapes, and passed-out winos.</scene_description>
<character>AUDREY</character>
<dialogue>Far from Skid Row I dream we·•11 go Somewhere That's ••• Green.</dialogue>
<scene_description>CAMERA has pulled back across the street so we see an EXTREMEWIDE SHOT of Audrey's tenement. Bers is the only bright light we see in this dark, decayed street. MUSIC:. A pulsing, high energy, bass line. The beginning of •some Fun Now.• This MUSIC DISSOLVES the reflective mood as CAMERA TILTS up to see the Skid Row skyline. On a distant ·rooftop are three figures, silhouetted against the sky. We START MOVINGTOWARDthem with gathering speed as the pulsating bass-line builds in volume and excite- ment. Soon, we're CLOSE enough to see that it's ••• Crystal, Ronette and Chiffon, in a girl-group formation, bathed in the glow of a rooftop neon sign. They begin to sing, Crystal taking the lead, in an exaggerated •Donna Summer meets Irene Caran style.</scene_description>
<character>GIRLS</character>
<dialogue>Ya YaYaYa Ya Ya Ya Ya YaYaYa Ya Ya Ya</dialogue>
<character>GIRLS</character>
<dialogue>Seymour, the shnook, His life was the worst Oh what a bore dirt poor is Now take a look HiF , 1ck has reversed Joy to the boy! It sure is Some fun now!</dialogue>
<scene_description>INSERT - SPINNING NEWSPAPER- •skid Row Gazette." HEADLINE -- "Mystery Plant at Mushnik's!• INSERT - SPINNING NEWSPAPER- "Garden Club News." HEADLINE -- "Audrey Two! The New Plant for the Sixties?!" Photo of a larger Audrey Two being held by a weaker-looking Seymour. INSERT - SPINNING PERIODICAL - •The Second Annual Horticultural Awards Luncheon.• Several photos of Seymour holding the- plant and accepting an award·. GIRLS (cont.) Be was brin9in' up the rear-o (Some fun now) Be was ringin' ~pa zero (Some fun now) Now he's swingin' into gear-o Some fun now Now TELEVISION APPEARANCE: Seymour, holding an ever-larger Audrey Two talks with Groueho Marx on •You Bet Your Life.• The duck flies down. The secret word is •chlorophyl.• GIRLS (cont.) Some fun now Most folks used to sock it to him (Some fun now) Told jokes, used to try to screw him (Some fun now) Now they're proud to say they knew him (Some fun now) Some fun now INSERT - SPINNING ·TV GUIDE.· ·TV Guide• stops spinning, opens and CAMERApushes in to see listing for "Mr. Wizard.• TELEVISION APPEARANCE- Seymour, holding an even larger Audrey Two, talks to Mr. Wizard and a couple of thirteen-year-old kids who look too smart for their own good. GIRLS (cont.) Some fun now That 1 s the way the Whoopie goes And (Some fun now) That 1 s the way the garden grows And (Some f.un now) Some fu.n heaven only knows It Is ••• STILL PHOTOS - Various stills of Seymour being more successful. GIRLS (cont.) Some fun now! Some fun now! Some fun now! Some fun now!</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP - DAY</stage_direction>
<scene_description>The· shop is bulging with customers all chattering about, and viewing, the Audrey Two and buying flowers as if they were going out of style. It is obvious that Mushnik has ploughed some of his profits back i-nto the· shop. It has been re-decorated with real formica on the counters, new refrigerated display cases with twinkling lights, kitschy pseudo-antique trimmings, the works. The Girls are also in the mass of customers and continue sinoing •sQffie F~n Now,· ~be iyr1cs of which fade into and mingle with the cacophony of the people in the store.</scene_description>
<character>GIRLS</character>
<dialogue>Cfading out)</dialogue>
<scene_description>Some fun now! Some fun now! Some fun now. Some fun now. As the throng moves about the shop they clear the plant enough for us to see that it is now sitting in an enormous pot on the floor and standing a full four-feet tall with a spotlight on it. Mushnik is on the phone and can barely make himself beard over all the babble.</scene_description>
<character>MOSRNIK</character>
<dialogue>Yes, Mrs. Shiva. No, Mrs. Shiva. Right away, Mrs. Shiva.</dialogue>
<parenthetical>(hangs up and shouts to Seymour)</parenthetical>
<dialogue>Seymour! Did you send out the order for Mrs. Shiva?</dialogue>
<character>SEYMOUR</character>
<parenthetical>(looking very anemic)</parenthetical>
<dialogue>Mrs. Shiva! I forgot!</dialogue>
<character>MUSHNIK</character>
<dialogue>You forgot! You forgot! Do ye· hear this, God? Are you listening, customers? He forgot!</dialogue>
<scene_description>Seymour heads for the storeroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. STOREROOM</stage_direction>
<character>- DAY 40</character>
<dialogue>The shop's little storage room has been converted into a flower arranging area. Audrey is hard at work on a "Get Well Soon" arrangement which includes not only flowers but handy po~ket packs of Kleenex and bottles of aspirin. Behind her a sign advertises "Arrangements by Audrey." From the other r~om, we hear the bustling SOUNDSof the successful shop. 'Seymour rushes in just as Audrey puts the final touch into her arrangement ••• a thermometer.</dialogue>
<character>SEYMOUR</character>
<parenthetical>(entering)</parenthetical>
<dialogue>Audrey, quick ••• we gotta do an emergency arrangement.</dialogue>
<character>AUDREY</character>
<parenthetical>(springing into ac~ion)</parenthetical>
<dialogue>Birthday? Wedding? Baby?</dialogue>
<character>SEYMOUR</character>
<dialogue>Funeral •.</dialogue>
<character>AUDREY</character>
<dialogue>Band me the lilies.</dialogue>
<scene_description>They clear a space on the table and Audrey begins to assemble a very large and scrupulously tasteless funeral arrangement. Huge lilies. Black satin bows. Seymour as 9 ists, like a nurse at surgery.</scene_description>
<character>SEYMOUR</character>
<dialogue>Mr. Mushnik's really mad. I keep forgetting things. I guess it's 'cause I feel a little weak and lightheaded ~11 the time •.</dialogue>
<character>AUDREY</character>
<dialogue>Scissor·s. You've got a lot on your mind.</dialogue>
<scene_description>Mushnik passes through on the way to the basement.</scene_description>
<character>MUSHNIK</character>
<dialogue>Mind? What mind? The Shivas are our most important funereal ~~count. Who could forget such an order?</dialogue>
<scene_description>Be leaves.</scene_description>
<character>AUDREY</character>
<dialogue>Sometimes I think Mr. Mushnik's too hard on you. Glue.</dialogue>
<scene_description>Seymour hands Audrey a can of spray glue with which she begins to spray the fresh lilies, carnations and mums in her arrangement. Neither she nor Seymour considers this anything out of the ordinary.</scene_description>
<character>SEYMOUR</character>
<dialogue>I don't mind. After all, I owe him everything. Be took me out of the Skid Row Home for Boys when I was just a little tyke ••• gave me a warm place to sleep ••• under the counter ••• good things to eat like meatloaf and water ••• Floors to sweep and toilets to clean and •••</dialogue>
<character>AUDREY</character>
<dialogue>Glitter.</dialogue>
<scene_description>sbe 1s noiaing out her hand like a surgeon does for a scalpel. Seymour hands her a plastic bag of multi- colored glitter. Audrey tosses fi.stsful of glitter on the glue-covered flowers as she addresses Seymour, meaning every word from the bottom of her enormous heart.</scene_description>
<character>AUDREY</character>
<dialogue>You know, I think you should raise your expectations, Seymour. Now that you're getting successful I mean.</dialogue>
<scene_description>She pauses for a moment and looks straight at him. AUDREY(cont. ) It's clear you suffer from a low self-image. And it's high time you should get it fixed. Go out and do something nice for yourself, like buy some nice clothes. (CONTINtJEP) SEYMOtrn Aw, I'm a very bad shopper, Audrey. I don't have good taste ••• Ee looks admiringly down at the glittering arrangement, then adoringly up into her eyes. · SEYMOUR(cont. ) ... like you.</scene_description>
<character>AUDREY</character>
<dialogue>(she melts).</dialogue>
<scene_description>Oh ••• (she returns his loving gaze) Well ••• (there's magic in the air) ••• I could help you pick things out. He can't believe what he's just heard. He leans closer.</scene_description>
<character>SEYMOUR</character>
<dialogue>You could?</dialogue>
<scene_description>So does she.</scene_description>
<character>AUDREY</character>
<dialogue>Sure!</dialogue>
<scene_description>And closer •••</scene_description>
<character>SEYMOUR</character>
<dialogue>You'd go shopping with me?</dialogue>
<character>AUDREY</character>
<dialogue>Sure!</dialogue>
<scene_description>And closer •••</scene_description>
<character>SEYMOUR</character>
<dialogue>You'd be seen with me in a public place like a department store?</dialogue>
<character>AUDREY</character>
<dialogue>sure!</dialogue>
<character>SEYMOUR</character>
<dialogue>Tonight?</dialogue>
<scene_description>Reality intrudes. She pulls back, embarrassed and upset. She smiles shyly to cover it. Mushnik now re- enters, having come from the basement.</scene_description>
<character>AUDREY</character>
<dialogue>Oh, I can't tonight.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've got a date.</dialogue>
<scene_description>Seymour is crestfallen. Seeing Mushnik, he grabs the arrangement and exits. Audrey watches Seymour as he dejectedly walks away. She truly wishes she could go out with him.</scene_description>
<character>MUSHNIK</character>
<dialogue>Again this date? Some date. A date gives you a corsage, not a multiple fracture, I'm telling you, Audrey, he ain't a good, clean kinda boy.</dialogue>
<character>AUDREY</character>
<parenthetical>(she returns to work)</parenthetical>
<dialogue>Be's a professional.</dialogue>
<character>MUSHNIK</character>
<dialogue>What kinda professional drives a motorcycle and wears a black leather jacket?</dialogue>
<scene_description>MUSIC: A .nasty, tambourine and chain-flavored •Leader of the Pack• musical vamp begins as we --</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>·EXTREMECLOSEUP of a black-leathered glove REWING the accelerator of a moving motorcycle. CAMERATILTS up to see a face covered by a black motorcycle helmet. Dark goggles cover the eyes. All we can see is the lower face of a toothy-grinning greaser with a Robert Goulet smile. We don't know it yet, but this is ORIN SCRIVELLO.</scene_description>
<character>ORIN</character>
<dialogue>When I was younger, just a bad lit~le</dialogue>
<scene_description>kid My mama noticed funny things I did Like shootin' puppies with a B.B. gun I'd poison guppies, and when I was done -- I'd find a pussycat and bash in his head. That's when my Mama said ••• Pedestrians busily moving along the sidewalk. Crystal, Ronette and Chiffon .are sitting on a parked car as Orin pulls up.</scene_description>
<character>GIRLS</character>
<dialogue>What did she say?</dialogue>
<scene_description>Orin gets off the bike, which miraculously stays up by itself. He walks into an office building and down a corridor.</scene_description>
<character>ORIN</character>
<dialogue>She said, my boy I think someday You'll find a way To make your natural tendencies pay.</dialogue>
<scene_description>He stops in the corridor and opens a door. You'll be a ...ORIN (cont.)</scene_description>
</scene>
<scene>
<stage_direction>INT. DENTIST'S OFFICE</stage_direction>
<scene_description>Orin steps inside and unzips his black leather jacket underneath which he is wearing a white dentist's uniform. The· Girls are now in the background wearing Dental Assistant's uniforms and singing back-up.</scene_description>
<character>ORIN</character>
<dialogue>Dentist! You have a talent for causing things</dialogue>
<scene_description>pain. Orin takes off his helmet and flings it aside, hitting his nurse, Miss Mack, and knocking her out. ORIN (cont.) Son be a Dentist! People will pay you to be inhumane. ROOMONE Orin enters. A terrified patient, wearing God-awful looking braces, is in the chair. Orin, still wearing his motorcycle gloves, grabs an absolutely filthy, crud-caked towel and "cleans• his gloves.</scene_description>
<character>ORIN</character>
<dialogue>Your temperment's wrong for the</dialogue>
<scene_description>priesthood And teaching would suit you still less. Or-in grabs a large pliers from a cabinet full of horrific-looking\_dental instruments. Be wrenches the patient's head back and maniacally "tightens" the patient's braces. Orin twists the braces with the same subtlety he would use to jack up a car. The·patient almost passes out. ORIN (cont.) Son, be~ Dentist ·. You'll be a success! Orin exits. MUSIC VAMPS. ROOM TWO Grinning dementedly, he enters the room as a star would enter a stage. A twelve-year-old boy sits in the chair. Bis mother stands next to him, holding his hand.</scene_description>
<character>.GIRLS</character>
<parenthetical>( in room)</parenthetical>
<dialogue>Here he is, folks The leader of the plaque</dialogue>
<scene_description>Orin yanks the gas mask off the terrified boy and he breathes in some gas. GIRLS (cont.) Watch him suck up that gas! Oh my Godl The mother faints. High on nitrous oxide, Orin giggles maniacally and exits. ROOM THREE Orin enters giggling.</scene_description>
<character>GIRLS (V .O.)</character>
<dialogue>Be's a dentist and he'll never-ever be Any good.</dialogue>
<scene_description>Another horrified PATIENT trembles in the chair as Orin goes into the Patient's mout~ with a rusty pliers. Orin emerges with a large rotted tooth, roots and all. Be flings the tooth aside and exits giggling.</scene_description>
<character>GIRLS</character>
<dialogue>(poking their heads in the doorway} Who wants their teeth done By the Marquis De Sadel MUSIC VAMPS.</dialogue>
<scene_description>ROOM FOUR Orin is leaning over another PATIENT to whom he's just given an injection. Orin retracts the· huge needle from the Patient's mouth.</scene_description>
<character>PATIENT</character>
<parenthetical>(shrieking)</parenthetical>
<dialogue>Oh, that hurts!</dialogue>
<scene_description>Orin grabs his trusty pliers and heads foi the Patient's teeth. PATIENT (cont.} (terrified) Wait! I'm not numb!</scene_description>
<character>ORIN</character>
<dialogue>Ah, shut up! Open wide! Here I come!</dialogue>
<scene_description>REVERSESHOT from inside the Patient's mouth. We see the back of his teeth, tongue, and lips and through the opening of the lips we see Orin and the Girls singing.</scene_description>
<character>ORIN</character>
<dialogue>I am your Dentistl</dialogue>
<character>PATIENT</character>
<dialogue>(the large lips form the words} Goodness gracious! ORIN And I enjoy the career that I picked. GIRLS</dialogue>
<scene_description>You love itl</scene_description>
<character>ORIN</character>
<parenthetical>(EXITING SHOT)</parenthetical>
<dialogue>I am your Dentist</dialogue>
<character>(CONTINUED}</character>
<dialogue>CUT TO Orin at the door. It is closed.</dialogue>
<character>GIRLS (0 .S.)</character>
<dialogue>Fitting braces!</dialogue>
<scene_description>Orin stands with his ear to the door, listening.</scene_description>
<character>ORIN</character>
<dialogue>And I get off on the pain I inflict!</dialogue>
<scene_description>On the word·"inflict" Orin violently swings open the door. THE HALLWAY We see Orin has caught his nurse, MISS MACK, in mid- stride and has flattened her against the wall. Loving it, he crosses to Room Five.</scene_description>
<character>GIRLS (0 .S.)</character>
<dialogue>Be really loves it!</dialogue>
<character>ROOMFIVE</character>
<dialogue>Orin is hand cranking a WWII field DRILL which emits a horrible SCREECHINGNOISE. The Patient</dialogue>
<character>49</character>
<dialogue>is absolutely</dialogue>
<scene_description>catatonic with fear as, ever grinning, Orin gets down to it.</scene_description>
<character>ORIN</character>
<parenthetical>(over the SCREECHING SOUNDOF THE DRILL)</parenthetical>
<dialogue>I thrill when I drill A bicuspid It's swell, though they tell me I'm maladjusted</dialogue>
<character>GIRLS</character>
<dialogue>Dentist!</dialogue>
<scene_description>WAITING ROOM Orin pokes his smiling head in.</scene_description>
<character>ORIN</character>
<dialogue>And though it may cause my patients distress.</dialogue>
<scene_description>All the Patients in the waiting room cower back.</scene_description>
<character>PATIENTS</character>
<dialogue>Distress!</dialogue>
<scene_description>A PATIENT who is manaclec hand and foot and whose mouth is filled with cotton bits, fights to remove herself from the chair.- The Girls hold her down. Orin relishes making her wait for the torment to come. He opens a cupboard and inside we see an altar with candles burning and a large, gilt-framed photo of an elderly Italian lady. Be sings to it adoringly.</scene_description>
<character>ORIN</character>
<dialogue>Somewhere, Somewhere in heaven above me I know -- I know that my mama's proud of me 'Cause I'm a Dentist! And a success!</dialogue>
<scene_description>Be slowly, menacingly starts to approach the Patient brandishing a WHININGDRILL in one hand and with the other hand he holds a water sprayer. Be viciously sprays a thick, steady stream of water into the Patient's mouth. ORIN (cont.) Say ah.</scene_description>
<character>PATIENT</character>
<parenthetical>(in terror, with I. her mouth filling with water)</parenthetical>
<dialogue>Ahhh •••</dialogue>
<character>ORIN</character>
<dialogue>Say ah!</dialogue>
<character>PATIENT</character>
<parenthetical>(about to pass out)</parenthetical>
<dialogue>Aggggghhhh!</dialogue>
<scene_description>Orin is leering, menacing, and wild-eyed as he's drown- ing the Patient.</scene_description>
<character>ORIN</character>
<dialogue>Say ah!</dialogue>
<character>PATIENT</character>
<parenthetical>(gargling a scream)</parenthetical>
<dialogue>Ahhhrrgggrrl</dialogue>
<character>ORIN</character>
<parenthetical>(smugly, straight to CAMERA)</parenthetical>
<dialogue>Now spit.</dialogue>
<scene_description>Orin violently slaps the Patient on the back. The Patient heaves forward spewing out a huge mouthful of water and cotton bits as we --</scene_description>
</scene>
<scene>
<stage_direction>51A EXT. STREET 51A</stage_direction>
<scene_description>A CLOSEUPof about a gallon of water and pieces of gravel landing in the gutter. CAMERATILTS UP to see a large vase of water being emptied by Seymour. He puts the first vase down, picks up a second one and as he empties the second one a motorcycle ROARS to a halt by the curb and splashes Seymour. It is Orin, in full black leather gear. Be removes his helmet and de-bikes (again, the motorcycle miraculously stays up by itself). Be approaches the shop, unscrewing the cap of a little metal inhaler as he walks.</scene_description>
<character>SEYMOUR</character>
<dialogue>I'm sorry, sir. You can't go in there now.</dialogue>
<character>ORIN</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Oh yes, I can.</dialogue>
<character>SEYMOUR</character>
<dialogue>No, really, sir. We're closed!</dialogue>
<character>ORIN</character>
<parenthetical>(lifting the inhaler to his nose)</parenthetical>
<dialogue>Relax. You want some nitrous oxide?</dialogue>
<character>SEYMOUR</character>
<dialogue>No, no, thank you.</dialogue>
<character>ORIN</character>
<parenthetical>(continuing toward shop)</parenthetical>
<dialogue>Suit yourself.</dialogue>
<character>SEYMOUR</character>
<dialogue>Uh ••• sir ••• You really can't •••</dialogue>
<scene_description>Audrey comes out of the shop, dressed for her ,aate.</scene_description>
<character>AUDREY</character>
<dialogue>It's okay, Seymour. This is my date •••</dialogue>
<scene_description>Orin nods, grins, and giggles inanely, feeling the gas. AUDREY (cont.) My boyfrienp. Seymour. Orin Scrivello ••• Orin abruptly stops laughing and shoots her a murderous glare. AUDREY (cont.) (quickly, to pacify him) D.D.S.:</scene_description>
<character>ORIN</character>
<parenthetical>(suddenly, loud)</parenthetical>
<character>SEYMOUR</character>
<parenthetical>(involuntarily)</parenthetical>
<dialogue>Sir?</dialogue>
<character>ORIN</character>
<parenthetical>(extremely affable)</parenthetical>
<dialogue>I know you. Sure, I saw you on the news ••• Gimme a minute, now. I know your name ••• it's Cedric, Steven, Simon •••</dialogue>
<character>AUDREY</character>
<dialogue>Seymour •••</dialogue>
<character>ORIN</character>
<parenthetical>(suddenly vicious)</parenthetical>
<dialogue>Somebody talkin' to you?</dialogue>
<character>AUDREY</character>
<dialogue>Oh no ••• Excuse me.</dialogue>
<character>ORIN</character>
<dialogue>Excuse me what?</dialogue>
<character>AUDREY</character>
<dialogue>Excuse me ••• Doctor.</dialogue>
<character>ORIN</character>
<dialogue>That's better.</dialogue>
<parenthetical>(turns to Seymour~ a pussycat again)</parenthetical>
<dialogue>I know, you're the Plant Guy, right? Bey, wait! It must be in there, huh?</dialogue>
<scene_description>He inhales some more nitrous and stumbles to the window. There it is, big as life. ORIN (cont.) Ow wow, is that incredible!</scene_description>
<character>AUDREY</character>
<dialogue>Er ••• shouldn't we be leaving now?</dialogue>
<scene_description>Orin shoots her another threatening look. AUDREY(cont. ) I'm sorry!</scene_description>
<character>ORIN</character>
<dialogue>Sorry what?</dialogue>
<character>AUDREY</character>
<dialogue>Doctor! Doctor! Sorry, Doctor!</dialogue>
<character>ORIN</character>
<parenthetical>(to Seymour)</parenthetical>
<dialogue>Ya gotta train 'em, eh, stud? Listen, here's my card. You ever need a root canal or anything just give me a buzz, you hear? I'm ser1ous. It's on the house. okay, Aud-ree!</dialogue>
<scene_description>Orin tosses his head summoning Audrey to follow. She sneaks one miserable, trapped glance at Seymour, then forces herself to join Orin on the motorcyole. As Orin REVS it up we see, on the cycle, a decal insignia of a tooth stuck with a dagger and the letters. •A.D.A.• Orin calls back to Audrey over the ROAROF THE ENGINE. ORIN (cont.) You got the handcuffs?</scene_description>
<character>AUDREY</character>
<parenthetical>(as they pull away)</parenthetical>
<dialogue>They're right in my bag.</dialogue>
<scene_description>Seymour's blood is boiling. Be leaps on his bicycle and pedals off to follow them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVE-IN - NIGHT</stage_direction>
<scene_description>Orin, astride his bike gleefully watches the start of •creature from the Haunted Sea.• Audrey, behind him on the bike (where she couldn't see the screen if she wanted to), ~s forced to sit holding the littlP drive- in SPEAKER. With a tacky neon sign in the background and a woman in robe and curlers carrying food in the foreground, Seymour, depressed to the point of desperation, sits at a picnic table watching them. THUNDER. A sudden cloudb,ust.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVE-IN</stage_direction>
<scene_description>On the motorcycle, Orin snaps his fingers. Audrey pulls out an umbrella and holds it in one hand, the speaker still in the other, covering Orin while she herself gets soaked.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNACK BAR</stage_direction>
<scene_description>Seymour, dejected and getting wet, bicycles away.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE SHOP - NIGHT (AN HOURLATER)</stage_direction>
<scene_description>Seymour, miserable and wet from his ride, sits on the floor next to AUDREYTWO. He.pats the pot as he talks to it. Be needs a friend.</scene_description>
<character>SEYMOUR</character>
<dialogue>You oughta see the way he treats her Twoey. She deserves a prince, not a sadistic creep like him. The man's a total disgrace to the dental profession. I don't know what's goin' 01n sometimes. Seems like the whole world's goin' crazy. Least we got each other, right? I'm gonna turn in, Twoey. See ya in the •••</dialogue>
<scene_description>Seymour starts for the basement when he hears a CRUNCH- ING SOUND. Be turns around and sees that -- Audrey Two has wilted dramatically. SEYMOUR(cont. ) Oh boy, here we go again. Be looks down at his fingers. There's still a bandage on each one. SEYMOUR (cont. ) C'mon, I haven't got much left. I'm all anemic, I've got dizzy spells ••• Lookit, gimme a few days to heal, okay? Then when the headache passes, we'll start again on the left hand and ••• The PLANT SPEAKS.· A deep, funky basso.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Feed me.</dialogue>
<character>SEYMOUR</character>
<dialogue>I beg your pardon?</dialogue>
<character>AUDREY TWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<dialogue>Twoey ... you talked ••• you opened your trap, your</dialogue>
<scene_description>thing and you said •••</scene_description>
<character>AUDRE-YTWO</character>
<parenthetical>(loud)</parenthetical>
<dialogue>Feed me, Krelborn! Feea me Jl2!!!</dialogue>
<scene_description>Seymour frantically starts removing a band-aid and starting toward the Plant •</scene_description>
<character>. SEYMOUR</character>
<dialogue>Look, maybe I can squeeze a little more out of this one, but --</dialogue>
<scene_description>Seymour stands over the gaping pod, trying to squeeze a drop or two from his bone-dry finger.·</scene_description>
<character>AUDREY TWO</character>
<dialogue>More! Morel</dialogue>
<character>. SEYMOUR</character>
<dialogue>There isn't any more! Whatdya want me to do? Slit my wrists?</dialogue>
<scene_description>Silently the Plant opens its pod as if to say "You got i tl II SEYMOUR (cont. ) (scared now) Oh boy. (trying to stay calm) Look ••• I got an idea •••</scene_description>
<character>SEYMOUR</character>
<dialogue>I'm-a-go down to Shmendrik's and pick you up some nice chopped sirloin.</dialogue>
<character>AUDREY TWO</character>
<dialogue>Must be blood.</dialogue>
<character>. SEYMOUR</character>
<dialogue>Twoey, :that's disgusting.</dialogue>
<character>AUDREY TWO</character>
<dialogue>Must be fresh.</dialogue>
<character>SEYMOUR</character>
<dialogue>I don't want to hear this.</dialogue>
<scene_description>MUSIC IN. "Git It." The Plant starts to sing.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>Does it have to be human?</dialogue>
<character>AUDREY</character>
<dialogue>Feed me!</dialogue>
<character>TWO</character>
<dialogue>SEYMOUR</dialogue>
<scene_description>Does it have to be mine?</scene_description>
<character>AUDREY TWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<dialogue>Where am I s'posed to get it?</dialogue>
<scene_description>The Plant goes into a "Rock Me, Baby• style blues riff, swaying its leaves and moving its pod with slick in- sinuation.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Feed me, Seymour. Feed me all night long</dialogue>
<parenthetical>(spoken)</parenthetical>
<dialogue>That's right, boy, you can do itl</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Henh, henh, henh, henh!</dialogue>
<parenthetical>(sung)</parenthetical>
<dialogue>'Cause if ya feed me, Seymour, I can grov rp, big and strong!</dialogue>
<scene_description>Seymour starts for the storeroom. He's seen enough.</scene_description>
<character>SEYMOUR</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>You eat blood, Audrey Two, let's face it. How'm I s~posed to keep on feeding you, kill people?</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(likewise)</parenthetical>
<dialogue>I'll make it worth your while.</dialogue>
<scene_description>Seymour stops dead in his tracks.</scene_description>
<character>SEYMOUR</character>
<dialogue>What?</dialogue>
<character>AUDREY TWO</character>
<dialogue>You think this is all coinciden~e, baby? The sudden success around here? The press coverage?</dialogue>
<character>SEYMOUR</character>
<dialogue>Look, you're a plant! An inanimate object!</dialogue>
<scene_description>Seymour heads out again. The Plant sends a vine flying out across the room and wraps it around Seymour's waist.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Does this look inanimate to you, punk?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>If I can talk and I can move? Who's to say I can't do anything I want?</dialogue>
<character>SEYMOUR</character>
<dialogue>Like what?</dialogue>
<character>AUDREYTWO</character>
<dialogue>Like deliver, pal. Like see you get everything your secret, greasy heart desires!</dialogue>
<scene_description>The SONG resumes as the Plant sensually rubs its vine up and down Seymour's side. AUDREYTWO (cont.) would you like a Cadillac car? Or a guest shot on Jack Paar? How about a date with Hedy Lamarr? You gonna git it? The Plant's vine spins Seymour around abruptly so he's now facing the singing pod. It begins to rock in time to its own music.' AUDREYTWO (cont.) Mm hm. How'd ya like to be a big wheel Dinin' out for every meal I'm the plant who can make it real! You gonna git itl The Plant starts moving its vines and tendrils like an octopus at a modern dance recital as the MUSIC turns funky, slow, and hot. AUDREYTWO (cont.) I'm your genie I'm your friend I'm your willing slave Take a chance, Just feed me and Ya know the kinda eats The kinda red.hot treats The kinda sticky, licky sweets I CRAAAAAAAVEl On that word •crave,• the Plant opens its pod wide for the first time, giving us a glimpse of ferocious teeth inside. One vine pulls up a chair while two other vines push Seymour down onto the ~hair. The pod rises up a bit now, so it's towering over the seated Seymour like the genie from the lamp. The stem on which it rests rocks out as the song starts going for broke. AUDREYTWO (cont.) C'mon, Seymour Don't be a putz Trust me and your life'll surely rival King Tut's Show a little 'nitiative Work up the guts And you'll Git It! Seymour stands and, during the following lyrics which Seymour sings to himself in VOICE OVER, he looks in a mirror and sees ••• instead of his own face ••• the faces of Crystal, Ronette and Chiffon grinning li~e Cheshire Cats and WAILING a shrill Gospel counter-melody. Seymour turns away only to see a Bum grinning dr~~ly at him through the window.</scene_description>
<character>SEYMOUR·(V.O.)</character>
<dialogue>I don 1 t know! I don't know! I have so many strong Reservations! Should I go And perform •••</dialogue>
<scene_description>Seymour turns away from the grinning Bum and sees a pair of scissors on the counter next to some shiny red ribbon. SEn!OUR (cont. ) Mutilations? Seymour, still lost in thought. The Plant over his shoulder, leaning closer.</scene_description>
<character>AUDREY TWO</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>You didn 1 t have nothin' till you met me. C'mon, kid. What'll it be? Money? Girls? One particular girl? Bow 'bout that Audrey? Think it over. There must be someone you could eight- six, real quiet like ••• and git me some LUNCH l</dialogue>
<scene_description>The Plant rocks out again, moving its stem like Mick Jagger moves his hips, leaning its pod over one of its vines, almost as if the leaf held a microphone. AUDREYTWO (cont.) (sung) Think about that room at the Ritz! Wrapped in velvet, covered in glitz! A little nookie gonna clean up those zits! And you'll Git It! Seymour turns away from the doorway and sings to him- self.</scene_description>
<character>SEYMOUR</character>
<dialogue>Gee, I'd like a Harley machine •••</dialogue>
<character>AUDREYTWO</character>
<dialogue>Now you're cookin' l</dialogue>
<character>SEYMOUR</character>
<dialogue>Toolin' around like I was James Dean •••</dialogue>
<character>AUDREYTWO</character>
<dialogue>Yeah!</dialogue>
<character>SEYMOUR</character>
<dialogue>Makin' all the guys on the corner Turn green!</dialogue>
<character>AUDREYTWO</character>
<dialogue>So Go Git It! Ooooh-oooh-oooh-oooh</dialogue>
<scene_description>Seymour gets into it, now, as the Plant moves every- thing it's got -- pod, vines, stem, leaves. It's actu- ally dancing with Seymour -- who bugaloos right back at it. AUDREYTWO (cont.) If you wanna be profound And you really gotta justify Take a break and look around A lotta folks deserve to die! The fun stops. Seymour can't believe what he just heard.</scene_description>
<character>SEYMOUR</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>Wait a minute, wait a minute! That's not a very nice thing to say.</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(spoken, nudging him smugly)</parenthetical>
<dialogue>But it's true, isn't it?</dialogue>
<character>SEYMOUR</character>
<dialogue>No! I don't know anyone who deserves to get chopped up and fed to a hungry plant!</dialogue>
<character>AUDREY TWO</character>
<dialogue>Mmmm,sure you do.</dialogue>
<scene_description>And with that, the Plant sends a vine sailing across the room to a light switch, which it flicks off with the greatest of ease. From the darkened shop's front window, the street out- side is now plainly visible. The Plant's vines take Seymour firmly by the shoulders and point him toward the window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STREET OUTSIDE - SEYMOUR'SPOV</stage_direction>
<scene_description>It's still raining lightly. Orin's MOTORCYCLE ROA~ to a halt outside Audrey's tenement building. They "disembark."</scene_description>
<character>ORIN</character>
<dialogue>Stupid woman! Christ, what a friggin' scatterbrain!</dialogue>
<character>AUDREY</character>
<dialogue>I'm sorry, Doctor! I'm sorry, Doctor!</dialogue>
<character>ORIN</character>
<dialogue>Drops the damned umbrella, gets me soaked!</dialogue>
<character>AUDREY</character>
<dialogue>I'm clumsy, Doctor! I'm clumsy, Doctor!</dialogue>
<scene_description>They disappear into Audrey's building, but their muffled VOICES are still audible.</scene_description>
<character>ORIN (O.S.)</character>
<dialogue>Get the door open, ya little slut.</dialogue>
<character>AUDREY(0 .S.)</character>
<dialogue>I'm trying, Doctor! I'm trying, Doctor!</dialogue>
<scene_description>They appear now as silhouettes on the closed shade of Audrey's apartment window.</scene_description>
<character>ORIN (0 .S.)</character>
<dialogue>Look at my jacket! Look at my hair! Get the Vitalisl Quick, the Vitalis!</dialogue>
<character>AUDREY(0 .S.)</character>
<dialogue>I'm out of it, Doctor!</dialogue>
<character>ORIN (0 .S.)</character>
<dialogue>What'?!'?!'?!?</dialogue>
<scene_description>Still in silhouette on the shade, he slaps her.</scene_description>
<character>AUDREY(O.S.)</character>
<dialogue>Orin! That hurt!</dialogue>
<character>ORIN (O.S.)</character>
<dialogue>Can it!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SHOP</stage_direction>
<scene_description>MUSIC BUILDS to a climax as Seymour slowly turns, red- faced and trembling, toward the Plant. He's a man possessed now -- ready to do anything to save Audrey from the clutches of that beast across the street.</scene_description>
<character>SEYMOUR & AUDREY TWO</character>
<parenthetical>(singing tight, angry harmony)</parenthetical>
<dialogue>If you want a rationale It isn't very hard to see Stop and think it over, pal, The guy sure looks like plantfood to</dialogue>
<scene_description>me! The guy sure looks like plantfood to me! The guy sure looks like plantf~od to me! The Plant, jumping up and down -- its pot hammering the floorboards -- is singing and "dancing• wildly now, shaking everything it's got working Seymour up to a frenzy.</scene_description>
<character>SEYMOUR</character>
<dialogue>Be's so nasty, treating her rough!</dialogue>
<character>AUDREY TWO</character>
<dialogue>Smackin' her around and always</dialogue>
<scene_description>talkin' so tough!</scene_description>
<character>SEYMOUR</character>
<dialogue>You need blood, and he's got more</dialogue>
<scene_description>than enough!</scene_description>
<character>AUDREY TWO</character>
<dialogue>I need blood, and he's got more</dialogue>
<scene_description>than enough!</scene_description>
<character>SEYMOUR & AUDREY TWO</character>
<dialogue>You (I) need blood and he's got</dialogue>
<scene_description>more than enough! The Plant's pod looks Seymour straight in the eye •••</scene_description>
<character>AUDREYTWO ·</character>
<dialogue>So 90 Git It!</dialogue>
<scene_description>Seymour turns away from the Plant and into a CLOSEUP his face a knot of utter resolve.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENTIST'S OFFICE RECEPTIONROOM- 6 P.M. (THE</stage_direction>
<scene_description>NEXT AFTERNl"\f')'-i ) Miss Mack, a receptionist and refugee from the Women's Army Corps, sits ieading "Combat Magazine.• She has a large band-aid on· her face from when the helmet hit her. Across from her waits a patient, MR. DENTON. ORIN'S GIGGLES waft in from a ·nearby-examining room. They are followed by a SCREAMOF PAIN. Miss Mack shakes her head and mutters.</scene_description>
<character>MISS MACK</character>
<dialogue>Weakling.</dialogue>
<character>DENTON</character>
<parenthetical>(cheerfully)</parenthetical>
<dialogue>Does that mean they're finished? Is it almost my turn?</dialogue>
<character>MISS MACK</character>
<dialogue>Keep your pants on.</dialogue>
<scene_description>A TEENAGEDGIRL emerges from the examining room. Her mouth is encumbered by a grotesquely exaggerated ver- sion of a night-retainer so large, heavy, and rusted, the Girl can barely hold her head up. Ber MOTHER, deeply shaken by the dentistry she has just witnessed, mumbles to herself in shock.</scene_description>
<character>MOTHER</character>
<dialogue>The Lord is my Shepherd, I shall not want •••</dialogue>
<scene_description>Denton approaches the Teenager.</scene_description>
<character>DENTON</character>
<dialogue>What did he do? Tell me everything!</dialogue>
<character>TEENAGER</character>
<parenthetical>(unable to make her- self understood through the metal in her mouth)</parenthetical>
<dialogue>Argfluuggggshjenkrenh!</dialogue>
<scene_description>The Mother and Daughter exit. Denton sits down. Miss Mack glances at the clock and starts to pack it in for the evening. Orin enters wearing a leather apron. He smiles madly~ his eyes are gl~zed.</scene_description>
<character>ORIN</character>
<dialogue>Next!</dialogue>
<scene_description>Denton springs to his feet.</scene_description>
<character>DENTON</character>
<dialogue>That•s{me! Arthur Denton! I'm next!</dialogue>
<character>ORIN</character>
<parenthetical>(askance at the enthusiasm)</parenthetical>
<dialogue>Does that have an appointment?</dialogue>
<character>MISS MACK</character>
<dialogue>Ask it. I'm off duty.</dialogue>
<scene_description>She leaves. Denton chatters away excitedly as he and Orin head for the office.</scene_description>
<character>DENTON</character>
<dialogue>You know, I've been saving up all month for this. I'm sure I need a root canal. I'm sure I need ·a very long, slow, root canal.</dialogue>
<character>ORIN</character>
<dialogue>We'll see.</dialogue>
<character>DENTON</character>
<dialogue>I have a history of dental illness.</dialogue>
<character>ORIN</character>
<dialogue>Shu~ up!</dialogue>
<character>DENTON</character>
<dialogue>Yes,~!</dialogue>
</scene>
<scene>
<stage_direction>INT. ORIN'S OFFICE</stage_direction>
<scene_description>Orin, taking a hit from his small nitrous oxide vial, comes toward Denton brandishing a drill.</scene_description>
<character>DENTON</character>
<dialogue>Yes! Yes! That's itl Show it to me first! Show it to me first!</dialogue>
<scene_description>Orin starts into his mouth. Seymour opens the door and looks around. Nobody there. He enters and sits. He is extremely nervous as he puts his hand in his pocket and pulls out a g~n. Be looks at it and puts it back quickly as, from th~ inner of- fice, he hears Denton's CRIE~ of pleasure surfacing over the SOUNDOF DRILLING.</scene_description>
<character>DENTON(0 .S.)</character>
<dialogue>That was terrific! More!</dialogue>
<character>LOUDER DRILLING O.S.</character>
<dialogue>DENTON(0 .S.) (cont.)</dialogue>
<scene_description>Don't stop! Oh, God, don't stop now! Seymour winces.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE</stage_direction>
<scene_description>Denton is in a frenzy. Orin, having paused in his work for a moment, stares at him in disbelief.</scene_description>
<character>DENTON</character>
<dialogue>More! Yes! Yes! Yes! I want it! Now! Now! Now! Yes!</dialogue>
<parenthetical>(then quietly)</parenthetical>
<dialogue>What's wrong?</dialogue>
<character>ORIN</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Get out.</dialogue>
<character>DENTON</character>
<dialogue>Aw, come on, Doc.</dialogue>
<character>ORIN</character>
<dialogue>I said, get out!</dialogue>
<scene_description>Denton comes running out of the office, Orin following close behind, carrying his drill. ORIN , (cont.) Goddamn sicko! Move itl Denton is out the door in a flash. Orin, frenzied, whirls on Seymour, catching him off guard. ORIN (cont.) Lemme ask you something. (brandishing drill) Does this scare you?</scene_description>
<character>(CONTINOED)</character>
<dialogue>SEYMOUR</dialogue>
<scene_description>Yeah.</scene_description>
<character>ORIN</character>
<dialogue>Would you like it if I took this thing and made straight for your goddamn incisors?!</dialogue>
<character>SEYMOUR</character>
<dialogue>No!</dialogue>
<character>ORIN</character>
<dialogue>It'd hurt, right?</dialogue>
<character>SEYMOUR</character>
<dialogue>Right!</dialogue>
<character>ORIN</character>
<dialogue>You'd scream, right?</dialogue>
<character>SEYMOUR</character>
<dialogue>Right!</dialogue>
<character>ORIN</character>
<dialogue>Then get your ass in here!</dialogue>
<character>SEYMOUR</character>
<dialogue>What?!</dialogue>
<scene_description>Before Seymour can do anything, Orin has started haul- ing him into the office.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE</stage_direction>
<scene_description>Seymour struggles, but Orin easily straps hi1n into the chair and shines the light right in Seymour's eyes.</scene_description>
<character>ORIN</character>
<parenthetical>(as he straps him in)</parenthetical>
<dialogue>Don't I know you?</dialogue>
<character>SEYMOUR</character>
<dialogue>Seymour Krelborn, we met yester •••</dialogue>
<scene_description>Orin forces Seymour's mouth wide open and looks in gleefully.</scene_description>
<character>ORIN</character>
<dialogue>Oo, your mouth's a mess, kid. Let's start with that wisdom toothl</dialogue>
<scene_description>Orin gets his pliers.</scene_description>
<character>SEYMOUR</character>
<dialogue>No!</dialogue>
<character>ORIN</character>
<dialogue>We'll just rip the little bugger right outa there, whatdya say?</dialogue>
<character>SEYMOUR</character>
<dialogue>Let me -:go!</dialogue>
<scene_description>Orin turns to Seymour, suddenly smiling.</scene_description>
<character>ORIN</character>
<dialogue>There's always time for dental hygiene, Seymour. You ever seen the results of a neglected mouth? Look, Seymour!</dialogue>
<scene_description>With a flick of his finger, Orin turns on a light box, similar to those used to read X-rays. This one, how- ever, displays an enormous color slide of a disgusting, rotted, decaying, salivating dog's mouth • . ORIN (cont .. ) This could happen to you! Seymour is about to be ill. ORIN (cont.) Unless I take immediate action. Orin grabs his WWII field DRILL and starts to pump the drill's pedal. It makes a high-pitched, HORRIBLE SOUND.</scene_description>
<character>SEYMOUR</character>
<dialogue>What's that?</dialogue>
<character>ORIN</character>
<dialogue>That's the drill, Seymour.</dialogue>
<character>SEYMOUR</character>
<dialogue>It's rusty!</dialogue>
<character>ORIN</character>
<dialogue>It's an antique!</dialogue>
<parenthetical>(fondly)</parenthetical>
<dialogue>They don't make instruments like this any more. Sturdy, heavy, dull. This is gonna be a pleasure.</dialogue>
<scene_description>Be is about to drill Seymour when he gets an idea and stops abruptly.</scene_description>
<character>{CONTINUED)</character>
<dialogue>ORIN (cont.)</dialogue>
<scene_description>I'm gonna want some gas for this one.</scene_description>
<character>SEYMOUR</character>
<dialogue>Gas?</dialogue>
<character>ORIN</character>
<dialogue>Nitrous oxide.</dialogue>
<character>SEYMOUR</character>
<dialogue>Oh, thank God. I thought you weren't going to use any.</dialogue>
<character>ORIN</character>
<dialogue>Oh, the gas isn't for you, Seymour. It's for me. I wanna really enjoy this. In fact, I'm gonna use my special gas mask.</dialogue>
<scene_description>As Orin speaks, he opens the cabinet and pulls out an elaborate mask. He straps it on around his neck. he is preoccupied enough not to notice ••• Seymour loosening his wrist restraints. ORIN (cont.) I find that a little giggle gas before we begin increases my pleasure enormously. The mask in place now, Orin ~urns the knob on the wall all the way up to Full. ORIN (cont.) Here we go! HISSING SOUNDS. Orin immediately begins to get high and giggle. Be is laughing so hard now, he has to hold onto a countertop for support. This turns his back toward Seymour. ORIN (cont.) Oh boy, Seymour, I am flyin' now. Oh, the things we are gonna do to your mouth! Heeeeyaaaahahahahaha! Orin tries to regain composure and straighten up. ORIN (cont.) Okay, okay, okay, okay. work to do.</scene_description>
<character>ORIN (CONT� )</character>
<parenthetical>(more laughter)</parenthetical>
<dialogue>Time to work.</dialogue>
<parenthetical>(more laughter)</parenthetical>
<dialogue>Okay, okay, straighten up and •••</dialogue>
<scene_description>Be &omehow manages to pull himself to an upright posi- tion and turns around. Suddenly, his expression is one of shock as he sees ••• Seymour, standing in the doorway, pointing a gun at him. ORIN (cont.) What the hell is that? Seymour closes his eyes and clenches his teeth, trying to make himself shoot. ORIN (cont.) A gun. (exploding with laughter, then talking through it with difficulty) The.kid's got a goddamn revolver! (more laughter) Jesus, I'm in trouble, huh? Be giggles hysterically as he turns the gas knob. It comes off in his hand. The HISSING SOUND continues. This strikes him funny. ORIN (cont.) Oh oh ••• Laughs. Seymour keeps the gun pointed, trying to force himself to actually pull the trigger. Orin makes an attempt to get the mask off, but he can barely get his arms up to his head. Re's too weak from the gas and the laughter. ORIN (cont.) Oh boy ••• uh ••• Oh ••• Seymour, give me a hand, would ya? Er ••• no, I guess you wouldn't. He laughs. Be tries to pull the hose out of the wall. The entire gas apparatus comes with it, sending Orin crashing to the floor. The HISSING CONTINUES. Orin finds this hilarious. He's on the floor laughing like an imbecile, wheezing, and desperately trying to catch his breath. He tries to get to his· feet. He can't. He struggles to speak: ORIN (cont.) The point is, Seymour, I could asphyx; •• asphyx ••• asphyx ••• -:(a real scream) Help me!!!\_ Seymour just stands there watching, gun still pointed. ORIN (cont.) {a beat, then weakly) What'd I ever do to you?</scene_description>
<character>SEYMOUR</character>
<dialogue>Nothin'</dialogue>
<scene_description>{beat: then quietly) It's what you did to her. Orin stares Seymour in the face.</scene_description>
<character>ORIN</character>
<dialogue>Her who?</dialogue>
<scene_description>Beat. He gets it. We see it in his eyes. He knows why Seymour has come .• ORIN (cont.) Oh. {beat) Her. Orin loses consciousness. His head, still encased in the mask, hits the floor WITH A THUD. He's dead. Seymour slowly lowers the unused gun to his side. MUSIC: Sturm and Orang. A full orchestral wLittle Shop" in a minor key.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A DARK ALLEY - NIGHT</stage_direction>
<scene_description>Seymour is slowly and laboriously dragging a very large and heavy white bag. Seymour, emerging from an alley, checks to see that no one is around and then crosses the street, straining to drag the large white bag with him. INT • THE SHOP - NI GBT Seymour stands. betore Audrey Two, the white bag at his feet. The plant,, back-lit, seems bigger than ever. Seymour suddenly seems very small and insignificant. Seymour turns to leave.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Chop it up.</dialogue>
<scene_description>Seymour stops in his tracks, appalled.</scene_description>
<character>SEYMOUR</character>
<dialogue>What!!!</dialogue>
<character>AUDREY TWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<parenthetical>(defeated)</parenthetical>
<dialogue>Okay, okay. Okay.</dialogue>
<scene_description>67 - BEHIND THE SHOP</scene_description>
<character>EXT. A DIMLY LIT COURTYARD</character>
<dialogue>Sturm and Drang MUSIC CONTINUES. Seymour looks around bag out of the shop,</dialogue>
<character>67</character>
<dialogue>nervously, into courtyard.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE BASEMENT</stage_direction>
<scene_description>Seymour rummages around in the tool cabinet until he finds what he's looking for: AN AXE The very sight of it makes him wince. But what must be done, must be done •••</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD</stage_direction>
<scene_description>Seymour enters with the axe, a bucket, and a pile of old newspapers. Be starts spreading the papers out on the concrete. Mushnik appears at the front door. The night gate is oown and locked, of course. He fumbles to find the correct key. He can't. Be's frustrated. Be starts around through the alley to try the back door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD</stage_direction>
<scene_description>Seymour grits his teeth, closes his eyes, and raises the axe. · ANGLE - THE COURTYARD</scene_description>
<character>WALL</character>
<dialogue>Seymour's shadow. He brings the axe down. There's an awful SOUND as it hits bottom.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHOP BACK DOOR</stage_direction>
<scene_description>Mushnik, fumbling with another key, hears the SOUND. Be turns. ANGLE - THE COURTYARD</scene_description>
<character>WALL</character>
<dialogue>The shadow lowers the axe again. That SOUND~ CLOSEOP - MUSBNIK Bis jaw drops. If this were 1925, his hair would stand on end. The shadow continues its task.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE SBOP BACK DOOR</stage_direction>
<scene_description>Mushnik, stunned and sickened, forgets his business in the shop and turns.</scene_description>
</scene>
<scene>
<stage_direction>INT. TBE SHOP</stage_direction>
<scene_description>as MUSIC builds to a THUNDEROUSCLIMAX, Seymour is seen, gingerly and with great distaste, lifting bits of Orin (an arm with a studded leather wristband~ a head frozen in a stupid grin) and dumping them into the plant's cavernous pod. EATING SOUNDS and then -- THE PLANTLAUGHS-- a deep, echoing, frightening laugh- ter that REVERBERATES as we: DISSOLVE TO: Sunlight streams through the basement window. Seymour is asleep, but restless. The PLANT'S LAUGHTER still echoes in his dreams. Be wakes up as he becomes aware of a SIREN IN THE DISTANCE, drawing closer. He gets up and looks through his window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKID ROW - SEYMOUR'S POV</stage_direction>
<scene_description>A police car has pulled up in front of Audrey's house. Two officers, Frank and Joe, are talking to her. She looks shocked by something they've said. Seymour starts to dress, frantically.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUDREY'S FRONT STOOP - MORNING</stage_direction>
<scene_description>The officers climb into their car and pull away. Audrey sits on the stoop, very upset. Seymour waits until the police have pulled away, then approaches from across the street. Audrey is -about to cry and doesn't want him to see. She starts away from him, moving down the street. Be follows.</scene_description>
<character>SEYMOUR</character>
<dialogue>Audrey what did they say to you?</dialogue>
<character>AUDREY</character>
<dialogue>Who?</dialogue>
<character>SEYMOUR</character>
<dialogue>The police.</dialogue>
<character>AUDREY</character>
<dialogue>Oh, nothing.</dialogue>
<character>SEYMOUR</character>
<dialogue>Audrey, talk to me. What'd they say?</dialogue>
<scene_description>She gives in and stops.</scene_description>
<character>AUDREY</character>
<dialogue>It's Orin ••• They say he's disappeared!</dialogue>
<character>SEYMOUR</character>
<dialogue>The ••• police told you that?</dialogue>
<character>AUDREY</character>
<dialogue>They suspect foul play.</dialogue>
<character>SEYMOUR</character>
<dialogue>They do?</dialogue>
<character>AUDREY</character>
<dialogue>Be was ·heavily in debt to certain rubber ~appliance firms. His receptionist ••• this morning she found the place a shambles ••• gas masks everywhere ••• things ripped out of walls ••• They think ••• I can't even think about what they think.</dialogue>
<scene_description>She starts to cry and moves away from him. She turns a corner and happens into --</scene_description>
</scene>
<scene>
<stage_direction>EXT. A PICTURESQUEALLEYWAY</stage_direction>
<scene_description>A jumble of fire escapes fills the background. The very walls seem to be tinted lavender and blue a watercolor of urban architecture -- something out of West Side Story.· Audrey, still crying, finds a trash can and perches on it to sob.</scene_description>
<character>SEYMOUR</character>
<dialogue>Audrey ••• Audrey, please don't cry ••• Would it be ••• so terrible ••• if something .b.!£ happened to him?</dialogue>
<character>AUDREY �</character>
<dialogue>Seymour, what a thing to sayl</dialogue>
<character>SEYMOUR</character>
<dialogue>Well, would it?</dialogue>
<character>AUDREY</character>
<parenthetical>(after a beat and a sniffle: a confession)</parenthetical>
<dialogue>It wouldn't be terrible at all. It would be -- A miracle. Not to mention all the money I'd save on Epsom salts and ace bandages.</dialogue>
<character>SEYMOUR</character>
<dialogue>See?</dialogue>
<character>AUDP.EY</character>
<dialogue>But I 1 d still feel guilty. I mean, if he met with foul play or some terrible accident of some kind, it'd partly be my fault, you see. 'Cause secretly ••• I wished it.</dialogue>
<scene_description>She fights back tears. Seymour works up the nerve to sit beside her. After a beat, he speaks very gently.</scene_description>
<character>SEYMOUR</character>
<dialogue>Audrey, you shouldn't waste one more minute worrying about that creep. There's a lot of guys would give anything to go out with you. Nice guys.</dialogue>
<character>AUDREY</character>
<dialogue>I don't deserve a nice guy, Seymour.</dialogue>
<character>SEYMOUR</character>
<dialogue>That's not true.</dialogue>
<scene_description>She rises and moves away. She could never say this to his face.</scene_description>
<character>AUDREY</character>
<dialogue>I deserved a creep like Orin Scrivello, D.D.S. You know where I met him? In the gutter.</dialogue>
<character>SEYMOUR</character>
<dialogue>The gutter?</dialogue>
<character>AUDREY</character>
<dialogue>The gutter. It's a nightspot. I used to work there. I'd put on cheap and tasteles~ outfits ••• not nice ones like this. Low and nasty apparel, and I'd •••</dialogue>
<scene_description>She breaks. She sits on a pile of crates, weeping softly. MUSIC UNDER: the intro to "Suddenly Seymour." Seymour comes close and kneels beside her.</scene_description>
<character>SEYMOUR</character>
<dialogue>Audrey, that's all behind you now. You've got nothing to be ashamed of.</dialogue>
<character>SEYMOUR(CONT.)</character>
<dialogue>You're a very nice person and I always knew you were. Underneath the bruises and the handcuffs, you know what I saw? A girl I respected. I still do.</dialogue>
<parenthetical>(sung)</parenthetical>
<dialogue>Lift up your head Wash off your mascara Here ••• take my Kleenex, Wipe that lipstick away Show me your face Clean as the mornin' I know things were bad But now they're okay.</dialogue>
<scene_description>Ee rises and is suddenly framed against a yellow morn- ing sky, glimpsed at the end of the alley. For a momen.t he's Gary Cooper, John Glenn, Gordon MacCrea. Audrey looks up at him in awe. SE'YMOUR(cont. ) Suddenly, Seymour Is standing beside you You don't need no m~ke-up Don't have to pretend Suddenly, Seymour · Is here to provide you Sweet Understanding Seymour's your friend. Audrey does not sing back to him. She sings, instead, to God, her eyes brimming with tears.</scene_description>
<character>AUDREY</character>
<dialogue>Nobody ever Treated me kindly Daddy left early Ma.mawas poor. I'd meet a man and I'd follow him blindly Be's snap his fingers Me, I'd say •sure"</dialogue>
<scene_description>As a look of quasi-religious redemption spreads across her masacara-stained face: AUDREY (cont.) Suddenly, Seymour Is standing beside me Be don't give me orders Be don't condescend</scene_description>
<character>AUDREY(CONT.)</character>
<dialogue>Suddenly, Seymour Is here to provide me Sweet Understanding Seymour's my friend.</dialogue>
<scene_description>Ee moves toward her.</scene_description>
<character>SEYMOUR</character>
<dialogue>Tell me this feelin' lasts 'til forever Tell me the bad times Are clean washed away</dialogue>
<scene_description>She moves away from him, up onto a fire escape -- "to think."</scene_description>
<character>AUDREY</character>
<dialogue>Please understand that It's still strange and frightenin' For losers like I've been It's so hard to say •••</dialogue>
<scene_description>And ~he turns, all passionate commitment. Now he's on the ground and she's on a fire escape. It's the bal- cony scene. They reach for each other through the iron bars. AUDREY(cont.) Suddenly, Seymour! We PULL BACK to see that Crystal, Ronette and Chiffon are lurking on another fire escape, across the alley, prepared to sing backup.</scene_description>
<character>SEYMOUR& GIRLS</character>
<dialogue>Suddenly, Seymour!</dialogue>
<character>AUDREY</character>
<dialogue>Be purified me!</dialogue>
<character>SEYMOUR& GIRLS</character>
<dialogue>He purified you!</dialogue>
<character>AUDREY</character>
<dialogue>Suddenly, Seymour!</dialogue>
<character>SEYMOUR& GIRLS</character>
<dialogue>Suddenly, Seymour!</dialogue>
<character>AUDREY</character>
<dialogue>Showed me I can --</dialogue>
<scene_description>With one grand Errol Flynn gesture, Seymour pulls him- self up and floats ten feet high, up onto the fire escape beside her.</scene_description>
<character>SEYMOUR</character>
<dialogue>Yes, you can</dialogue>
<character>AUDREY</character>
<dialogue>Learn how to</dialogue>
<character>ALL</character>
<dialogue>Be more The girl that's inside me {you)!</dialogue>
<character>SEYMOUR</character>
<dialogue>With Sweet Understanding</dialogue>
<character>AUDREY</character>
<dialogue>Sweet Understanding --</dialogue>
<character>SEYMOUR</character>
<dialogue>With Sweet Understanding</dialogue>
<character>AUDREY</character>
<dialogue>Sweet Understanding</dialogue>
<character>ALL.</character>
<dialogue>Sweet Understanding! Seymour's My (Your) Man!</dialogue>
<scene_description>And at the number's close, they're locked in the quin- tessential love-duet pose: his arms around her from behind, faces close together, eyes glistening, and mouths open to hold the last note as long as the ar- rangement demands.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOP - MORNING</stage_direction>
<scene_description>MUSIC: nsuddenly Seymour• playoff. Seymour enters the shop. Be is on cloud nine. Be passes the plant as if in a trance. Audrey Two has practically doubled in bulk. The plant is glowing with green good health and its vines are all over the shop. It's even started to bud. It turns to see Seymour go down to the basement.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT</stage_direction>
<scene_description>Seymour jumps on his cot. From under his pillow he takes out a photo of Audrey. Be looks at it dreamily and is just about to kiss it when he is startled by •••</scene_description>
<character>MUSHNIK</character>
<dialogue>You love her madly, don't you, Shmuck?</dialogue>
<scene_description>Seymour turns around to see Mushnik standing in the shaaows.</scene_description>
<character>SEYMOUR</character>
<dialogue>Mr. Mushnik -- you scared me.</dialogue>
<character>MUSHNIK</character>
<dialogue>I scared him. After what I've seen, I scared him. Bmph. You think I didn't know? I knew. I knew you lay down here on your pathetic cot and dreamed about her. But I didn't know the lengths to which you'd go, the depths to which you'd sink •••</dialogue>
<character>SEYMOUR</character>
<dialogue>What depths? What sink? What are you talking about?</dialogue>
<scene_description>MUSIC IN: •suppertime Intro,• a tension-producing •tubular bells"-style vamp.</scene_description>
<character>MUSHNIK</character>
<dialogue>{pointing up to</dialogue>
<scene_description>the shop) 1- Little red dots all over the linoleum ••• Seymour, who had no idea they were there, loses his breath. MU~HNIK(cont.) Little red spots on the concrete outside!! I'm talking blood, Krelbornl I'm talking under my own roof ••• Mushnik is now at the tool cabinet. Be opens it and grabs the axe ••• MUSBNIK (cont.) An axe murderer! MUSIC: A BIG CHORD. Seymour's face falls. CLOSEUPof Seymour as Audrey Two is heard in ECHO.</scene_description>
<character>AUDREYTWO (V .O.)</character>
<parenthetical>(singing in echo)</parenthetical>
<dialogue>Re's got yout number now.</dialogue>
<character>MOSBNIK</character>
<dialogue>I saw everything.</dialogue>
<character>AUDREY TWO (V .O.)</character>
<dialogue>He knows just what you done.</dialogue>
<character>MUSHNIK</character>
<dialogue>Everything you ••• ugh ••• done to her boyf=ri.end.</dialogue>
<character>AUDREY TWO (V. 0.)</character>
<dialogue>You go~ no place to hide.</dialogue>
<scene_description>Seymour clamps his hands over his ears so as not to hear the Demon Plant. Mushnik thinks Seymour doesn't want to hear him so he keeps going with more intensity ••• -</scene_description>
<character>MUSHNIK</character>
<dialogue>I saw you ••• chopping.</dialogue>
<character>AUDREY TWO (V .O.)</character>
<dialogue>You got nowhere to run.</dialogue>
<character>SEYMOUR</character>
<dialogue>It's true! I chopped him up. But I didn't kill him!</dialogue>
<character>AUDREY TWO (V. 0 � )</character>
<dialogue>He knows your life of crime.</dialogue>
<scene_description>Mushnik produces a gun and trains it on Seymour to hold him back.</scene_description>
<character>MUSHNIK</character>
<dialogue>Tell it to the police!</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOP</stage_direction>
<scene_description>We now see the plant is singing.</scene_description>
<character>AUDREY</character>
<dialogue>I think</dialogue>
<character>TWO</character>
<dialogue>it's</dialogue>
<scene_description>We INTERCUT between the shop, where the plant keeps singing, and the BASEMENT,where Mushnik is holding the gun on Seymour. Mus\_hnik backs Seymour up the stairs as we are aware that Seymour is struggling to come up with a decent way out. Must there be more bloodshed?</scene_description>
<character>AUDREY</character>
<dialogue>Come on, come on</dialogue>
<character>TWO</character>
<dialogue>National Geographic!</dialogue>
<character>AUDREY</character>
<dialogue>Come on, come on</dialogue>
<character>TWO (CONT.)</character>
<dialogue>Your future with Audrey Come on, come on, Ain't no time to turn squeamish Come on, come on I swear on all their spores, When he's gone the world will be yours! -:</dialogue>
</scene>
<scene>
<stage_direction>INT. THE SHOP</stage_direction>
<scene_description>The door from the basement opens. The plant is im- mobile. Seymour walks into the room as Mushnik, gun in hand, follows. Crystal, Ronette and Chiffon are lurking in the shadows outside the shop window.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing softly, seductively)</parenthetical>
<dialogue>Come on ••• come on ••• Come on ••• come on •••</dialogue>
<scene_description>Mushnik walks Seymour to the front door. He stops. VAMPCONTINUESUNDERas he speaks.</scene_description>
<character>MUSHNIK</character>
<dialogue>Krelborn, I just want to say it kills me to have to do this.</dialogue>
<scene_description>CUT TO the Girls outside in the shadows.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing)</parenthetical>
<dialogue>It's suppertime.</dialogue>
<scene_description>· CUT TO Mushnik.</scene_description>
<character>MOSHNIK</character>
<dialogue>Considering the fact you're something of an idiot, and the man you hacked to pieces wasn't such a paragon himself •• ; you could get off in thirty, forty years.</dialogue>
<scene_description>CUTTO the Girls whom we still see outside through the window.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Come on ••• come on •••</dialogue>
<scene_description>CUT TO Musbnik.</scene_description>
<character>MUSHNIK</character>
<dialogue>And it,would be a shame, all things considered that your ••• life's work shouldn't be here waiting for you.</dialogue>
<scene_description>CUT TO the Girls who are now inside the shop sitting on the counter.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing)</parenthetical>
<dialogue>· Come on ••• come on •••</dialogue>
<scene_description>CUT TO Mushnik.</scene_description>
<character>MUSHNIK</character>
<dialogue>So ••• if you want me to ••• take care of this plant of yours ••• I assume you fertilize •••</dialogue>
<scene_description>CUT TO the Girls who are now standing right next to Se:ymour.</scene_description>
<character>GIRLS</character>
<dialogue>{singing)</dialogue>
<scene_description>Come on ••• come on •••</scene_description>
<character>SEYMOUR</character>
<dialogue>She ••• needs ••• to be fed, sir.</dialogue>
<scene_description>The PLANT RUSTLES ITS LEAVES in anticipation.</scene_description>
<character>MUSHNIK</character>
<dialogue>Fed?</dialogue>
<scene_description>CUT TO the Girls who, still inside the Shop, are in front of the display window. A couple of filthy bums are outside leering through the window just behind the girls.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing with more insistence now)</parenthetical>
<dialogue>Come on ••• come on •••</dialogue>
<character>SEYMOUR</character>
<dialogue>Just ••• potash ••• you know••• the usual minerals and all.</dialogue>
<character>MUSHNIK</character>
<dialogue>Of course.</dialogue>
<scene_description>As Seymour speaks he casually backs Mushnik towards the plant.</scene_description>
<character>SEYMOUR</character>
<dialogue>And on Thursdays you give it wat~---·</dialogue>
<scene_description>CUT TO the Girls who are now grinning behind the plant.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing with dark intensity)</parenthetical>
<dialogue>Come on ••• come on •••</dialogue>
<scene_description>CUT TO the Bums who are grinning menacingly through the window. CUT TO Seymour.</scene_description>
<character>SEYMOUR</character>
<dialogue>••• Of course .you have to clean the leaves.</dialogue>
<character>MUSHNIK</character>
<dialogue>Yes •••</dialogue>
<character>SEYMOUR</character>
<dialogue>But most importantly, whatever you do •••</dialogue>
<character>MUSHNIK</character>
<dialogue>Yes •••</dialogue>
<scene_description>CUT TO the Girls.</scene_description>
<character>GIRLS</character>
<parenthetical>(singing ••• almost hissing)</parenthetical>
<dialogue>Come on ••• come on •••</dialogue>
<scene_description>CUT TO Seymour.</scene_description>
<character>SEYMOUR</character>
<dialogue>••• whatever you do ••• just be sure •••</dialogue>
<scene_description>By now we see the plant has opened its vast, cavernous mouth and is waiting ••• CUT TO the Bums outside leering. CUT TO Mushnj,k.</scene_description>
<character>MOSHNIK</character>
<dialogue>Yes? ••• Yes? •••</dialogue>
<character>(CONTINOED)</character>
<dialogue>CUT TO the Girls. They don't sing. They are grinning, looking, concentrating intently •••</dialogue>
<scene_description>MUSHNIK (cont.) Yes?... Yes?? All of a sudden Mushnik falls back and inside the open maw of the plant.·</scene_description>
<character>GIRLS</character>
<parenthetical>(singing brightly)</parenthetical>
<dialogue>It's suppertime!</dialogue>
<scene_description>Seymour turns his back. Be can't watch what he knows will come next. With the force of a hungry shark, the jaws slam shut on Mushnik. CRUNCHINGSOUNDS, punctuated by MUSICAL CHORDS, mingle with the old man's SCREAMS•.</scene_description>
<character>MUSHNIK</character>
<dialogue>Krelborn!</dialogue>
<scene_description>CRUNCH; CHORD. MUSBNIK (cont.) No! CRUNCH; CHORD. MUSHNIK (cont\_.) Aaaaaaaggggghhhhh! The girls are now outside the shop and they softly retreat back into the shadows. The two bums cackle loudly at what they've seen and run away. MUSIC makes a direct segue from •Eating of Mushnik" underscore to the cello-flavored •Meek Shall Inherit" vamp.</scene_description>
<character>VOICE (0 .S.)</character>
<dialogue>Seymour Krelborn •••</dialogue>
<scene_description>Startled, Seymour turns to see a slick, grinning TALENT AGENT who has entered the shop.</scene_description>
<character>AGENT</character>
<dialogue>It's so nice to meet you I'm from William Morris. The pleasure is yours. You don't answer calls So I came down in person We're dying to book you on lecturing</dialogue>
<scene_description>tours. He extends a contract to Seymour who just stands there in CLOSEUP thrown.</scene_description>
<character>WOMAN'SVOICE (O.S.)</character>
<dialogue>Yes, darling, we're sending photographers Thursday.</dialogue>
<scene_description>CAMERA PULLS BACK from Seymour and we see that we are in •••</scene_description>
</scene>
<scene>
<stage_direction>INT. RUSSIAN TEA ROOM-STYLERESTAURANT</stage_direction>
<scene_description>Seymour sits in a booth with an aging but glamorous BLONDELADY from LIFE MAGAZINEand her creepy, leering male ASSISTANT. They are finishing a very lavish lunch. Seymour has caviar stains on his collar.</scene_description>
<character>BLONDELADY</character>
<dialogue>So get the plant ready and wear a clean shirt. Just sign this release.</dialogue>
<scene_description>She produces a contract.</scene_description>
<character>CREEPYLEERING ASSISTANT</character>
<dialogue>Need a pen?</dialogue>
<character>BLONDELADY</character>
<dialogue>Aren't you thrilled? It's the cover of Life Magazine!</dialogue>
<scene_description>As if to bribe him, the Assistant pushes an enormous serving of something rich, cream-covered, and cherry- topped in front of Seymour. ·</scene_description>
<character>CREEPYLEERING ASSISTANT</character>
<dialogue>Dessert?</dialogue>
<scene_description>We are CLOSE to Seymour's dazed expression.</scene_description>
<character>VOICE (0 .S.)</character>
<dialogue>I'm telling you son, it's a cinch to get ratings.</dialogue>
<scene_description>And CAMERAPULLS BACK to reveal that we are now in •••</scene_description>
</scene>
<scene>
<stage_direction>INT. A TELEVISIONSTUDIO CONTROL</stage_direction>
<character>ROOM</character>
<dialogue>Banks of television monitors are in the background. The same image is on each monitor:</dialogue>
<character>84</character>
<dialogue>A smiling photo</dialogue>
<scene_description>Seymour with Audrey Two in front of a logo. The words on the logo read ••• "Seymour Krelborn's Gardening Tips." A TV EXECUTIVE, WRITER and FLUNKY are sitting with Seymour.</scene_description>
<character>TV EXECUTIVE</character>
<dialogue>''he 'title is Marvin's.</dialogue>
<character>WRITER</character>
<dialogue>The co~cept is mine.</dialogue>
<scene_description>The Flunky produces a contract and pen and urges them on Seymour.</scene_description>
<character>FLUNKY</character>
<dialogue>The first weekly gardening show on our network!</dialogue>
<character>TV EXECUTIVE</character>
<dialogue>And you're gonna host it, you lucky kid.</dialogue>
<scene_description>EXECUTIVE, WRITER and FLUNKY Sign! II '</scene_description>
<character>85</character>
<dialogue>We are CLOSE IN on two tall doors. see two men, one holding a contract, a cigar and with his arm around Seymour. PAST CAMERAand we hold on Crystal, Chiffon in the foreground. desk in front of typewriters. about ten women also at desks with typewriters. type and bounce in time to the music as the girls</dialogue>
<character>INT.</character>
<dialogue>impressive The doors swing open. the other smoking They walk Ronette, They are each sitting In the background are They sing.</dialogue>
<character>GIRLS</character>
<dialogue>They say the meek Shall Inherit You know the Book doesn't lie It's not a question of merit It's not demand and supply</dialogue>
<character>CUT</character>
<dialogue>TO:</dialogue>
<character>86</character>
<dialogue>INT. LIMOUSINE - NIGHT</dialogue>
<scene_description>CLOSEUPof a chauffeur driving the car. Be is bopping to the J~usic and smiling broadly INTO CAMERAas we hear the girls SINGING IN VOICE OVER. CONTINUED:</scene_description>
<character>GIRLS (V.O.)</character>
<dialogue>They say the meek gonna get it And you a meek little guy</dialogue>
<scene_description>CAMERA PUSHES PAST him toward the back of the limo. We see that it is an exaggerated "stretch" limo ••• about fifty feet long. Over this the GIRLS SING ••• GIRLS (V • 0 • ) (cont. ) You know the meek are gonna get ~hat's comin' to 'em By and by ••• CAMERA PUSHES FORWARDto see Seymour sitting in the back seat flanked by two men urging him to sign a con- tract. A buxom woman sits on Seymour's lap offering him champagne. Seymour looks very confused. As CAMERA CLOSES IN on the group, one of them lets money fall onto Seymour's lap as we .•• LIMBO ••• Money falling in SLOWMOTIONin front of Seymour's face as Seymour's unconscious sings in v.o.</scene_description>
<character>SEYMOUR(V. 0 � )</character>
<dialogue>My future's starting I've got to let it Stick with that plant, and gee, My bank account will thrive</dialogue>
<scene_description>The green, slow falling money has turned into green, thick, undulating plan~ vines. Seymour now struggles to disentangle himself from them. s:E:YMOUR(V.O.) (cont.) What am I saying No way, forget it It's much too dangerous to keep that plant alive. Be finally frees himself and runs as we •••</scene_description>
<character>CUT</character>
<dialogue>88</dialogue>
<character>TO:</character>
<dialogue>LIMBO</dialogue>
<scene_description>A long, seemingly endless tunnel. Through its walls poke dozens upon dozens of hands and vines holding pens and contracts and money and liquor bottles and car keys and.bras and panties ••• all beckoning Seymour as he races past them trying to escape.</scene_description>
<character>SEYMOUR (V. 0. )</character>
<dialogue>I take .these offers That means more killing Who knew success would come with messy,</dialogue>
<scene_description>nasty strings.</scene_description>
<character>CUT</character>
<dialogue>89</dialogue>
<character>TO:</character>
<dialogue>LIMBO</dialogue>
<scene_description>A dirt floor. An hour glass sits on a short ionic column. The sand in the top of the hour glass is green, but as it falls and collects on the bottom it becomes red. Tormented and panicky, Seymour races in FROMCAMERA and runs into the distance. Be is nude, except for his glasses and his cap.</scene_description>
<character>SEYMOUR (V. 0. )</character>
<dialogue>I sign these contracts, That means I'm willing To keep on doing bloody, awful, evil</dialogue>
<scene_description>things</scene_description>
<character>CUT</character>
<dialogue>90</dialogue>
<character>TO:</character>
<dialogue>LIMBO</dialogue>
<scene_description>All is dark. We follow Seymour who is perspiring heavily and running with all he's got. Suddenly he stops because in front of him is a very large hand- tinted photo portrait of a jaunty, smiling Mushnik. Blood oozes down from the top of the photo.</scene_description>
<character>SEYMOUR (V .O.)</character>
<dialogue>No! Nol There's only so far you can bend!</dialogue>
<scene_description>Seymour whips around TO CAMERA and we see that he is now a plant. Be is green, with plant markings.-Vines are where his arms should be. Of course he still wears his glasses and eap as we POLL BACKand see that he is buried ass-high in a terra-cotta pot. SED10UR (V.O.) (cont.) Ne! No! This nightmare must come to an end! of Seymour's face as he violently sits up from his cot ••• perspiration dripping from him.</scene_description>
<character>SEYMOUR</character>
<dialogue>Nol Nol</dialogue>
<character>CUT</character>
<dialogue>Seymour, the axe.</dialogue>
<character>TO:</character>
<dialogue>in his</dialogue>
<scene_description>SEYMOUR(cont. ) You've got no alternative, Seymour old boy.</scene_description>
<character>CUT</character>
<dialogue>Seymour now at the stairs leading to the shop. crazed, he climbs them as he sings •••</dialogue>
<character>TO:</character>
<dialogue>Half</dialogue>
<scene_description>SEYMOUR(cont. ) Though it means you'll be broke again And unemployed, It's the only solution .It can't be avoided -- The vegetable must be destroyed. He has reached the top of the stairs. He flings open the door. As it swings open he sees Audrey's smock hanging from it. Seymour's expression softens. Forlorn and heartsick he turns away and with a tear in his eye sings ••• SEYMOUR(cont.) But then ••• There's Audrey. Lovely Audrey ••• LIMBO A promontory on top of which Audrey stands. She looks like a goddess. She wears a flowing dress and wrapped around her neck is a very, very long diaphanous scarf that extends behind her about fifty feet blown by a strong wind.</scene_description>
<character>SEYMOUR(V. 0. )</character>
<dialogue>If life were tawdry and impoverished</dialogue>
<scene_description>as before She might not like me She might not want me CAMERAHAS POLLED BACK to a WIDE SHOT. We see Seymour standing off at a distance and looking up at her with his arms outstretched. He is Gene Kelly, and she, Cyd Charisse. She runs down and towards him through the dense dry ice smoke lapping at her feet. SEYMOUR{V.O.) {eont.) Without my plant ••• On the word wplant,w Audrey runs past Seymour's waiting arms and falls into the waiting vines of Audrey Two who has been just o.s. SEYMOUR{V.O.) (cont.) She might not love me Any more CUT TO A CLOSEUP of Seymour. Be looks up at someone in soft, sad resignation. CAMERABEGINS TO PULL BACK AND UP.</scene_description>
<character>GIRLS {V .O.)</character>
<dialogue>They say the meek shall inherit.</dialogue>
<scene_description>CAMERAPULLS BACK AND HIGH making Seymour ·look very smal+. Be now stands on a very large contract which covers the entire floor. A hand extends, from CAMERA, toward Seymour. The hand holds a contract.</scene_description>
<character>SEYMOUR</character>
<dialogue>Where do I sign?</dialogue>
<character>GIRLS (V .O.)</character>
<dialogue>You know the book doesn't lie.</dialogue>
<scene_description>The hand, and arm, have extended about fifteen feet from CAMERAto Seymour. The arm is the Agent's, whose face appears in the extreme foreground.</scene_description>
<character>AGENT</character>
<dialogue>Right on the line.</dialogue>
<character>GIRLS (V .O.)</character>
<dialogue>It's not a question of merit.</dialogue>
<scene_description>CUT TO A MEDIUMSHOT of Seymour. Be turns around as, behind him, the Blonde Lady floats in horizontally like Chagall's lovers. She, too, holds a contract.</scene_description>
<character>BLONDE LADY</character>
<dialogue>Your pen or mine?</dialogue>
<character>GIRLS (V .O.)</character>
<dialogue>It's not demand or supply.</dialogue>
<scene_description>Seymour turns around completely now as a MANrises from below like a phantom, right in front of Seymour. He holds a pen and contract. . MANl Paragr~ph nine. Seymour signs the contracts.</scene_description>
<character>GIRLS (V .O.)</character>
<dialogue>You'll make a fortune, we swear it.</dialogue>
<scene_description>The TV Executive pops up from behind Seymour and grabs the signed contract.</scene_description>
<character>TV EXECUT IVE</character>
<dialogue>This·copy's mine.</dialogue>
<character>GIRLS (V .O.}</character>
<dialogue>If on t~is fact you rely</dialogue>
<character>ALL</character>
<dialogue>Bye bye. So long!</dialogue>
<scene_description>LIMBO EXTREMECLOSEUPof a flashbulb popping. CLOSEUPof Seymour. Be is being besieged by autograph hounds. More flashbulbs pop. Each flash is like a rifle shot to Seymour. Be tries to escape, but the crowd hems him in. It is nighbnarish. ·</scene_description>
<character>GIRLS (V .O.)</character>
<dialogue>You know the meek are gonna get what's</dialogue>
<scene_description>comin' to 'em You know the meek are gonna get what's comin' to 'em You know the meek are gonna get what's comin' to 'em. We see that Seymour and the crowd are actually in front of the shop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHOP - LATE AFTERNOON</stage_direction>
<scene_description>Seymour tries to push through the throng.</scene_description>
<character>GIRLS</character>
<parenthetical>(they are in the crowd now)</parenthetical>
<dialogue>Bye ••• And ••• Bye •••</dialogue>
<character>SEYMOUR</character>
<dialogue>Pleasel Please! Let me through.</dialogue>
<character>SECURITY MAN</character>
<dialogue>Hey, get back. They're filming.</dialogue>
<scene_description>Security Man pushes him back, knocking Seym~ur into a surly WINO.</scene_description>
<character>WINO</character>
<dialogue>Hey, watch where you're goin'.</dialogue>
<scene_description>A scuffle ensues in which Seymour is punched and man- handled by Winos and Security.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE SHOP - LATE AFTERNOON</stage_direction>
<scene_description>A CAMERACREWand TV CHORUSare in the midst of filming a spot for noel Monte Presents Audrey Two in a Salute to Vegetables.• Audrey stands to one side watching delightedly. SINGERS and DANCERSare doing something silly and Dallas Cowboy Cheerleaderish in front.of the Plant. It's bigger than ever and has been decorated with red, white and blue bunting.</scene_description>
<character>SINGERS & DANCERS</character>
<dialogue>Who's the best, the beautiful green</dialogue>
<scene_description>one? Who? Audrey Two!! Who's a star if ever I've seen one? Who? Audrey Two! 1 Look at them! Those leaves! · That stem! She puts the rest to root! Yes, who makes photosynthesis seem cute? Our Au-drey! Au••• Au••• Aud••• 1 Suddenly, right as the Singers and Dancers start to go into a dance break, the Plant collapses. The vines wilt, the leaves sag, and the pod sinks to the floor. Gasps. A moment of chaos.</scene_description>
<character>DIRECTOR</character>
<dialogue>Cut! What the hell's goin' on? What happened to the goddamn greenery?</dialogue>
<scene_description>The Director sees, Seymour stumble in the front door. He doesn't seem to notice that Seymour is bruised and disheveled from the fight outside.</scene_description>
<character>SEYMOUR</character>
<parenthetical>(distraught)</parenthetical>
<dialogue>It just ••• needs to be fed.</dialogue>
<character>DIRECTOR</character>
<dialogue>So feed it!</dialogue>
<character>SEYMOUR</character>
<parenthetical>(becoming more agitated)</parenthetical>
<dialogue>I can't, not now!</dialogue>
<character>DIRECTOR</character>
<dialogue>Then I'll feed it. Where do you· keep the plant food?</dialogue>
<character>SEYMOUR</character>
<parenthetical>(exploding)</parenthetical>
<dialogue>It doesn't eat plant food and I can't feed it now! Just leave me alone, will ya? All of you! Why won't you all leave me a ... l</dialogue>
<character>AUDREY</character>
<dialogue>Seymour!</dialogue>
<parenthetical>(she slaps him daintily)</parenthetical>
<dialogue>You're hysterical. They're only trying to help.</dialogue>
<character>SEYMOUR</character>
<parenthetical>(coming to his senses a bit)</parenthetical>
<dialogue>I know ••• I know ••• I'm sorry •••</dialogue>
<scene_description>Seymour runs to the back door. Audrey follows him.</scene_description>
<character>DIRECTOR</character>
<dialogue>Okay ••• Okay, guys, pack it up.</dialogue>
<scene_description>The sun is just beginning to set. Audrey discovers Seymour sitting on a trash heap, face in hands. She moves to him.</scene_description>
<character>SEYMOUR</character>
<parenthetical>(sof'.~-, to himself)</parenthetical>
<dialogue>What am I gonna do? What am I gonna do?</dialogue>
<character>AUDREY</character>
<dialogue>It's wilted before and you've always brought it back to life, somehow.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Seymour, I think running this place all by yourself is too much for you. When did Mr. Mushnik say he'd be back?</dialogue>
<character>SEYMOUR</character>
<dialogue>Buh?</dialogue>
<character>AUDREY</character>
<dialogue>You know, in that note you told me he left you. The one that said he was goin' out to his sister's house in •••</dialogue>
<character>SEYMOUR</character>
<dialogue>Czechoslovakia. He could be gone a very long time.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Audrey -- could I ask you something?</dialogue>
<character>AUDREY</character>
<dialogue>Anything.</dialogue>
<character>SEYMOUR</character>
<dialogue>Just suppose there'd never been an Audrey Two and I was just a nothing again, a nobody •••</dialogue>
<parenthetical>(he pauses, afraid to ask)</parenthetical>
<dialogue>Would you still like me?</dialogue>
<character>AUDREY</character>
<dialogue>I'd still love you, Seymour.</dialogue>
<scene_description>He looks at her for a moment, 'then pulls her to him. MUSIC: "SUDDENLY·, SEYMOUR" plays under dialogue. quietly and gently.</scene_description>
<character>SEYMOUR</character>
<dialogue>Then marry me, Audrey. I'll take you to that little development you've always dreamed about and . once we're there it'll be happy ever after, I promise. Nice little house ••• nice little car ••• and no.plants. No plants at all ••• {We'll go to Alaska!</dialogue>
<character>AUDREY</character>
<dialogue>They say it's pretty there.</dialogue>
<character>SEYMOUR</character>
<dialogue>Then will you? Will you marry me?</dialogue>
<character>AUDREY</character>
<parenthetical>(a beat then shyly)</parenthetical>
<dialogue>Sure.</dialogue>
<character>SEYMOUR</character>
<dialogue>You will?</dialogue>
<character>AUDREY</character>
<dialogue>Sure!</dialogue>
<character>SEYMOUR</character>
<dialogue>Tonight?</dialogue>
<character>AUDREY</character>
<parenthetical>(tickled)</parenthetical>
<dialogue>Aw, sure!</dialogue>
<character>SEYMOUR</character>
<dialogue>I'll pick you up in an hour and we'll go to City Ball!</dialogue>
<parenthetical>(singing)</parenthetical>
<dialogue>Suddenly, Seymour Is standing beside you •••</dialogue>
<character>AUDREY</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Suddenly, Seymour Showed me I can •••</dialogue>
<parenthetical>(suddenly, spoken)</parenthetical>
<dialogue>Seymour, we better stop singing. I've gotta get ready!</dialogue>
<scene_description>As MUSIC SWELLS, Audrey, the happiest girl in the world, flies out of the courtyard, turning back only once to blow Seymour a kiss. Be watches her go, then closes his eyes, wishing with All his might that every- thing will turn out. It's deserted now. Outside, the sun sinks lower. The plant is still wilted and lifeless. Seymour stands looking at it in silence for a moment, then very quietly tries to sneak past it. But just as he gets to the door, a spooky, hoarse whisper sto~~ him dead in his tracks.</scene_description>
<character>AUDREY TWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<dialogue>Under no circumstances.</dialogue>
<character>AUDREYTWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<dialogue>I will not so stop asking.</dialogue>
<character>AUDREYTWO</character>
<dialogue>Feed me!</dialogue>
<character>SEYMOUR</character>
<dialogue>No. No more. I can't take living with the guilt.</dialogue>
<character>AUDREYTWO</character>
<dialogue>Tough titty.</dialogue>
<character>SEYMOUR</character>
<dialogue>Watch your language.</dialogue>
<character>AUDREYTWO</character>
<dialogue>Awwh. Cut the crap and bring on the meat!</dialogue>
<character>SEYMOUR</character>
<dialogue>Okay ••• okay ••• I'll bring you meat. I'll run down to the corner and I'll pick you up some ground round, how 'bout that?</dialogue>
<character>AUDREY TWO</character>
<dialogue>Don't do me no favors.</dialogue>
<character>SEYMOUR</character>
<dialogue>Look, it's my last offer. Yes or no?</dialogue>
<character>AUDREY TWO</character>
<dialogue>. (beat)</dialogue>
<scene_description>You sure do drive a hard bargain.</scene_description>
<character>SEYMOUR</character>
<dialogue>Done. Fine. Great. And don't think you're getting dessert.</dialogue>
<scene_description>As the sun slips further down, Winos gather and light fires. Seymour walks down the street and disappears. INT • THE SHOP - EV"'"'T.,..NG Audrey Two emits a.quiet, satisfied laugh. It waits a beat and then slithers one of its vines toward the shop's counter. ' The vine crawls up the side of the counter. When it reaches the top the vine ·goes to the cash register. It pushes down a key and, with its customary RING, the cash register drawer opens. The vine pokes through the drawer and takes out a nickel. It then slinks back down to the floor, goes to the wall, and crawls up to the pay telephone. Another vine lifts up the receiver as the nickel is deposited. The receiver is brought up to the pod where, if the pod had an ·ear, its ear would be. The vine dials a number and then taps the side of the phone patiently as the Plant hums waiting for the phone to be answered. We hear the RINGS FILTERED through the re- ceiver.</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDREY'S BEDROOM</stage_direction>
<scene_description>Her PHONE IS RINGING. Guess who? Audrey sits at her dressing table. Some cheap luggage and a vanity case are on the bed. She is wearing a white dress and is brushing her hair. She hasn't teased it yet so it falls naturally and softly to her shoulders. It gives her the appearance of a heroine .in a Gothic romance. She picks up the receiver.</scene_description>
<character>AUDREY</character>
<dialogue>Bello.</dialogue>
<scene_description>Audrey Two is heard FILTERED through the receiver. The Plant breathes heavily and obscenely, then •••</scene_description>
<character>AUDREYTWO</character>
<parenthetical>(sung)</parenthetical>
<dialogue>Bey, little lady, hello!</dialogue>
<character>AUDREY</character>
<dialogue>Who••• who is this?</dialogue>
<character>AUDREYTWO</character>
<parenthetical>(sung)</parenthetical>
<dialogue>You're lookin' cute as can be!</dialogue>
<character>AUDREY</character>
<parenthetical>(smiling ••• she thinks it's a joke)</parenthetical>
<dialogue>Is this someone I know?</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(sung)</parenthetical>
<dialogue>You're lookin' mighty sweet.</dialogue>
<character>AUDREY</character>
<parenthetical>(smiling affectionately she's sure she knows who it is now)</parenthetical>
<dialogue>Seymour.</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(sung)</parenthetical>
<dialogue>No, it ain't Seymour, it's me!</dialogue>
<scene_description>Audrey happens to turn around and look through her window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SHOP - AUDREY'S POV</stage_direction>
<scene_description>It is the last blaze of sunset. Across the street, through the shop's window, she sees the Plant ••• totally alive now. Its vines writhing like a Medusa, its leaves flapping like great palmetto fans, its pod grown to mammoth proportions. It emits an unearthly green glow that spills from the shop onto the street.</scene_description>
<character>AUDREY (V .O.)</character>
<dialogue>Oh my God!</dialogue>
<scene_description>.:</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDREY'S APARTMENT</stage_direction>
<scene_description>Audrey is not there. All we see is the receiver dangl- ing toward the floor. We hear an o.s. DOOR SLAM and the SOUND OF FEET RONNING.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE SHOP</stage_direction>
<scene_description>The vine replaces the receiver as another vine pulls down the little coin return slow. No niekel. It BANGS on the side of the phone. Still no luck. What the hell. Audrey has just opened the front door and she stands and stares in amazement.</scene_description>
<character>AUDREY</character>
<dialogue>{under her breath)</dialogue>
<scene_description>I don't believe it. ·</scene_description>
<character>AUDREYTWO</character>
<dialogue>Believe it, baby.</dialogue>
<character>AUDREY</character>
<dialogue>Am I dreaming this?.</dialogue>
<character>AUDREYTWO</character>
<dialogue>No, and you ain't in Kansas, neither.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I need me some water in the worst way. Look at my branch, I'm drying up.</dialogue>
<parenthetical>(sung)</parenthetical>
<dialogue>Come on and give me a drink.</dialogue>
<character>AUDREY</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>I don't know if I should.</dialogue>
<character>AUDREYTWO</character>
<parenthetical>(sung)</parenthetical>
<dialogue>Hey, little lady, be nice.</dialogue>
<character>AUDREY</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>Do you talk to Seymour like this?</dialogue>
<character>AUDREYTWO</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>Sure do!</dialogue>
<parenthetical>(sung)</parenthetical>
<dialogue>I'll drink it straight! Don't need no glass and no ice! Don't need no twist of lime!</dialogue>
<character>AUDREY</character>
<parenthetical>(spoken)</parenthetical>
<dialogue>All right ••• I'll get the can.</dialogue>
<scene_description>She moves into the shop, cowering along the wall, just into range of the large tendrils' grasp •</scene_description>
<character>.</character>
<dialogue>In a flash, it wraps around her like a boa constrictor.</dialogue>
<scene_description>AUDREYTWO (cont.) (spoken) And now it's Suppertime! Audrey screams and struggles. The tendril starts pull- ing her toward the gaping pod. Audrey fights for all she's worth, but the vines en- snare and attack her from all sides. She's being pulled~ .1xorably toward the pod. AUDREYTWO (cont.) Relax, ~oll and it'll be easier. Come join your .dentist friend and Mushnik ••• Audrey screams. AUDREYTWO (cont.) They're right inside! And with one great heave, the vines pull her into the pod itself. The jaws clamp down. She screams again. The shop door flies opan~. Seymour rushes in and begins prying at the pod with all his might.</scene_description>
<character>SEYMOUR</character>
<dialogue>Get off of her! Get off of her!</dialogue>
<scene_description>Be finally succeeds in getting the pod open just enough to pull her out. She is alive, but just barely. Ber dress is tastefully stained with just a bit of red. Be drags her out of the shop, kicking the fighting vines and branches out of his way as he goes, until he gets her beyond their reach and through the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKID ROW</stage_direction>
<scene_description>It is night now·. The golden glow of a street lamp floods lyrically down on them, as Seymour lowers the dying Audrey to the moonlight pavement, and cradles her in his arms. MUSIC COMESIN SOFTLY UNDER.</scene_description>
<character>SEYMOUR</character>
<dialogue>Don't die, Audrey. Please, please don't die.</dialogue>
<character>AUDREY</character>
<parenthetical>(innocently, weakly)</parenthetical>
<dialogue>~ou know, the plant just said the strangest thing just now ••• It said that Orin and Mr. Mushnik were already inside.</dialogue>
<character>SEYMOUR</character>
<parenthetical>(the ultimate confession)</parenthetical>
<dialogue>It's true. 1 did it. I fed them to it.</dialogue>
<character>AUDREY</character>
<dialogue>· (sweetly}</dialogue>
<scene_description>And that's what made it so big and strong and you so famous?</scene_description>
<character>SEYMOUR</character>
<parenthetical>(he hates himself)</parenthetical>
<dialogue>I've done terrible things, but not to you, never to you.</dialogue>
<character>AUDREY</character>
<dialogue>But •••</dialogue>
<parenthetical>(an idea dawns)</parenthetical>
<dialogue>I want you to, Seymour.</dialogue>
<character>SEYMOUR</character>
<dialogue>What?</dialogue>
<character>AUDREY</character>
<parenthetical>(tenderly)</parenthetical>
<dialogue>When I die, which should be very shortly, give .m!. to the plant so it can live to bring you all the wonderful things you deserve.</dialogue>
<character>SEYMOUR</character>
<dialogue>You don't know what you're saying</dialogue>
<scene_description>Audrey is transfigured, she's Joan of Arc, Little Eva, Melanie Wilkes going out in a blaze of angelic self- lessness.</scene_description>
<character>AUDREY</character>
<dialogue>But I do. It's the one gift I can give you. And if I'm in the plant, then I'm part~ the plant. So, in a way ••• we'll always be ••• together.</dialogue>
<scene_description>(sung quietly, with her dying breaths} You'll wash my t~nder leaves You'll smell my sweet perfume You'll water me and care for me You'll see.me bud and bloom. I'm feeling strangely happy now, contented and serene. Oh~ don't you see •••</scene_description>
<character>AUDREY (CONT.)</character>
<dialogue>Finally I'll be .•. Somewhere that's •••</dialogue>
<parenthetical>(she reaches toward the vision)</parenthetical>
<dialogue>Green!</dialogue>
<scene_description>And she collapses. There, in the moonlight, under a street lamp, she,dies in his arms. MUSIC: "The Death of Audrey," a chorale with angelic voices and string orchestra, underscores as Seymour lifts his love from the ground. Behind him, through the shop window, we can see the pod open ceremoniously. ANGLE -- Seymour holding Audrey, pod in b.g. The pod emits be·ams of light now, plunging Seymour and his dead love into dramatic silhouette. He carries her slowly toward the source of light •</scene_description>
</scene>
<scene>
<stage_direction>. 104 INT. THE SHOP 104</stage_direction>
<scene_description>The mood is one of Wagnerian splendor. It's Gotter- dammerung, as Seymour ritualistically fulfills Audrey's dying wish and places her gently, tenderly, into the light-filled pod. He kneels, tears streaming down his cheeks, to see the act to com~letion. Audrey slowly begins to slip further and further away from us, into the light beaming from the plant's "throat." At last, she's gone. Seymour rises, destroyed, and runs from the shop -- out onto the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKID ROW</stage_direction>
<scene_description>Seymour finds the first fire escape he can and climbs it. 106 EXT • ROOFTOP 106 MUSIC: the last.notes of the •oeath of Audrey• chorale trail off, giving way to TRAFFIC SOUNDS, as Seymour reaches the top of the building, stumbles to the edge, and looks down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP.</stage_direction>
<scene_description>Seymour takes a deep breath and prepares to jump ••• When he hears 11 VOICE that stops him.</scene_description>
<character>VOICE ( O.C.)</character>
<dialogue>Mr. Krelborn ••• Mr. Krelborn •••</dialogue>
<scene_description>Seymour turns to see--, PATRICKMARTIN,a mid~estern businessman in a green suit. We will never know how he got there.</scene_description>
<character>MARTIN</character>
<dialogue>Patrick Martin. I'm in Licensing and Marketing. I wanna sho~ you something.</dialogue>
<scene_description>Seymour turns away and prepares once more to jump.</scene_description>
<character>SEYMOUR</character>
<dialogue>I'm not interested.</dialogue>
<character>MARTIN</character>
<dialogue>Aah, but you will be.. Look •••</dialogue>
<scene_description>As MARTINspeaks he carefully takes something out of his -briefcase.</scene_description>
<character>MARTIN</character>
<dialogue>••• I took the liberty of taking a cutting from that amazing plant of yours and see what it grew in just a couple of days •••</dialogue>
<scene_description>MARTINhas taken out a tiny AUDREY TWO••• about a few incbes tall but looking exactly like the re&l AUDREY TWO. It sits in a delightful, well designed container on which are written the word~: "Audrey Two". Seymour, surprised and uncomprehending, just stares at it.</scene_description>
<character>MARTIN</character>
<dialogue>The design boys made the little pot. Cute;huh? Get the idea? My firm is willing to pay you a reasonable amount to take leaf cuttings ••• develop little Audrey Two'e ••• and sell them to florist shops -- supermarkets across the nation. Whypretty soon.every household in America could have one.</dialogue>
<scene_description>These last words echo in Seymour's confused and frazzled mind.</scene_description>
<character>F.CHO</character>
<dialogue>Have one ••• have one ••• have one ••• have one •••</dialogue>
<scene_description>Seymour shakesnis bead to banish the echo. Something begins to dawn on him.</scene_description>
<character>MARTIN</character>
<dialogue>Imagine it boy. We'll make a fortunet Audrey Twos everywheret</dialogue>
<character>ECHO</character>
<dialogue>Ever;r,,here ••• everywhere ••• everywhere ••• everywhere· ••••</dialogue>
<character>MARTIN</character>
<dialogue>This . w.</dialogue>
<scene_description>thing could be bigger than Hula Hoopst ··</scene_description>
<character>F.CHO</character>
<dialogue>Hula hoops ••• Hula hoops ••• Hula hoops •••</dialogue>
<scene_description>' .. f1.ARTIN Whattya say Mr. Krelborn? Martin is"giving his best salesman's smile, his eyes fixed on Seymour, waiting for an answer. Seymour looks at·the tiny plant as, unseen by.Martin; it subtly turns and opens· its tiny mouth at Seymour· in an almost malicious, silent smile. Seymour is suddenly possessed of complete understanding. His face becomes a mask of rage and resolve. Without another word he· races down the fire escape.</scene_description>
<character>MARTIN</character>
<parenthetical>(Shouting)</parenthetical>
<dialogue>Mr. Krelbornt Mr. Krelbornt Heyt We don't h~ve to deal with you, you knowt A godda.mned·vegetable's public domaint You ask our la-wyerst</dialogue>
</scene>
<scene>
<stage_direction>INT. THESHOP.</stage_direction>
<scene_description>Se:vmour bursts through the door and faces the plant, which is even bigger, stronger, and healthier now. It dwarfs him completely.</scene_description>
<character>SEYMOUR</character>
<dialogue>Every household in Americat That's what you had in mind all along, isn't it?</dialogue>
<character>AUDREY TWO</character>
<parenthetical>(Its voice now an unearthly rumble)</parenthetical>
<dialogue>No shit, Sherlock.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SEYMOUR</character>
<dialogue>We're not talking about one hungry plant here! We're talking about ••• World conquest!</dialogue>
<scene_description>AUDREY 'l'WO You go~ itl</scene_description>
<character>SEYMOUR</character>
<dialogue>You ate the only thing I ever loved! 1</dialogue>
<scene_description>The plant, laughing, draws it~elf up to its full height and begins to sing from old-fashioned Rock and Roll.</scene_description>
<character>AUDREY</character>
<dialogue>I used to hear the people talk about</dialogue>
<character>TWO</character>
<dialogue>That old King Kong. They used to say he was the meanest, But them folks was wrong. He climbed the Empire State.</dialogue>
<parenthetical>(the building ain't that big)</parenthetical>
<dialogue>Shoot, I could climb in half the time, But climbin' ain't my gig. I'm just bad! I'm real bad! I'm bad!</dialogue>
<scene_description>Seymour is at the counter. Be opens the drawer and takes out the gun and loads it with bullets. AUDREYTWO (cont.) You know Godzilla was a monster, He was mighty mean. Now, even I had to respect him, •cause the boy was green. But when he said to me •aey, Audrey, you ain't all that tough,• I had to show that leapin' lizard I was tough\_ enough! Seymour aims and FIRES at the plant. AUDREYTWO (cont.) He said "Gad!• Be FIRES AGAIN. AUDREYTWO (cont.) •oon't get mad!" And AGAIN. AUDREYTWO (cont.) "Boy you're bad!" The bullets just bounce off. Seymour runs down to the basement. AUDREYTWO {cont.) That's- right, I'm bad!</scene_description>
<character>BACKUP VOICES (V.O.)</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>Bad!</dialogue>
<character>BACKUP VOICES (V .O.)</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>So I ain't worried 'bout your biggest</dialogue>
<scene_description>guns I'm just too bad! Seymour returns from the basement with the axe. Be tries chopping the vines. Every time he swings, the vine moves and he misse.s. ~. and he smashes a piece of the shop.</scene_description>
<character>BACKUP (V .O.)</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>Bad!</dialogue>
<character>BACKUP (V .O.)</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>I'm ten feet tall and weight at least</dialogue>
<scene_description>two tons: I'm extra badl Audrey Two's littler pods sing backup as the big one sings lead.</scene_description>
<character>LITTLE PODS</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>Bad!</dialogue>
<character>LITTLE PODS</character>
<dialogue>Bad!</dialogue>
<scene_description>Seymour tries to get the little pods with the axe but they're too fast for him as he smashes the wall, the floor, the counter.</scene_description>
<character>AUDREYTWO</character>
<dialogue>Go on and bitch and whine and wail and</dialogue>
<scene_description>curse Too bad! I'm bad!</scene_description>
<character>LITTLE PODS</character>
<dialogue>Bad!</dialogue>
<character>AUDREYTWO</character>
<dialogue>Bad!</dialogue>
<character>LITTLE PODS</character>
<dialogue>Bad!</dialogue>
<scene_description>Seymour's had it. Be just throws the axe at Audrey Two. The plant catches it and flips it from vine to vine. It gives Seymour a little juggling show.</scene_description>
<character>AUDREY TWO</character>
<dialogue>And if you mess with me, I'll just get worse!</dialogue>
<scene_description>The plant heaves the axe at Seymour. Seymour side- steps it in the nick of time and it goes crashing through a window. Seymour's really angry. During the following lyrics he throws a chair at the plant. It catches the chair. Be throws a small table at the plant. It catches the table. Be throws a shovel. It catches the shovel. AUDREY TWO (cont. ) One day I met the Bri~e of Frankenstein, (So much for her) Just one encounter.and she called me, •Mr. Audrey, sir.• CLOSEUPof Seymour grabbing the cash register to throw at the plant ••• but it's too heavy for him. But damn itl ••• he's not giving up and ••• yes he's lifting itl But no. CAMERAPULLS BACK and we see a vine wrapped around it. It's the plant who's lifting it up and out of Seymour's arms. AUDREYTWO ( eont. ) So.it's a cinch no puny baldy of a botanist Is gonna be a half a match. for me when I get pissed. You got it, Dad? The plant is now holding and waving the chair, the shovel, and the table ••• and the cash register. We see it take a mighty wind up, like it's 3 and 2, bottom of the ninth ••• CLOSEUPof Seymour. His m. - h is open and his eyes are bulging with fear. Be ducks. The items sail through the air and smash through Mushnik's large display window. Seymour,gazes at the broken shards and realizes that instead of him trying to kill the plant, Sweet Jesus! ••• the plant is now trying to kill~! . AUDREY TWO (cont.) You been had! Oh I'm bad! Seymour tries to get away, but each time he tries, a vine hurtles past him and tears a hole in the wall, sending off sparks from severed electrical lines, and spewing water into the room from busted pipes. Seymour goes to the left, a vine shoots out to the left and smashes through the wall. Seymour goes to the right·, a vine careens to the right smashing through the wall. Each vine is its own Bruce Lee. No fuckin' around. The plant is serious! AUDREYTWO (cont.) So come and get me, kid, I dare you. Try and make your kill. I'll make you sorry y1::>uwas messin' with my chlorophyll! The plant rips the radiator out of the wall sending a cloud of steam spewing into the room. It pulls the radiator apart like it was a toy accordion. AUDREY~t'WO(cont.) I hope you're gettin' close to ready now to end this fusis These foolish efforts to undo me is so te-di-ous. Getting a bit bored with it all, the plant flings its vines to the ceiling and holds on to the rafters. It raises its pot about five fee f;c-om the floor and bounces and swings as it sings., •• AUDREYTWO (cont.) See, all your methods are so corny, And so childish, And so undergrad. They just an exercise in stupid! I am Baa -aa-aad t Audrey Two goes for the big finish: with a gargantuan yank of the rafters it creates an avalanche of 'brick, ~ood, and plaster that rages down over the Plant and Seymour. Before the dust has even settled we hear the :Plant laughing triumphantly.: The shop looks like it has just survived the blitzkrieg. The walls are partially demolished, chunks of ceiling have caved in. On the other side of what used to be the shop, Seymour, filthy, wounded, and exhausted, emerges from under a pile of rubble. Dazed, but sensing he is still in danger, he quickly scrambles, rolls, falls, and crawls away from the shop and into the street out of reach of the mocking Plant. Breathing heavily and seemingly half-mad he takes the heroic stature-of a mad prophet or of Kevin McCarthy in Invasion of the Body Snatchers as he shoute •••</scene_description>
<character>SEYMOUR</character>
<dialogue>I'll warn 1 emt I'll warn 'emt I'll tell •em!you're comingt The human race won't take this lying downt And wherever.your kind grows ••• whatever you try ••• WE'LL BE WAITINGFORYOUt</dialogue>
<scene_description>Seymour turns and runs pushing his way through a few bums that have been watching.</scene_description>
<character>SEYMOUR</character>
<parenthetical>(Shouting to the rooftops)</parenthetical>
<dialogue>They're comingt They're comingt Don't feed 'emt Don't feed the plantst Don't feed the plantst</dialogue>
<scene_description>As Seymour exits screaming, we hear the rumbling, demonic laughter of the Plant in the distance. The bums too begin cackling until we are left with the almost deserted streets echoing with dark, ominous laughter. LIMBO. AMERICAN</scene_description>
<character>FLAG,·.:</character>
<dialogue>MUSIC: A tense rhythm begins which grows into grand magisterial music--the intro to "Subsequent to the Events" •</dialogue>
</scene>
<scene>
<stage_direction>.</stage_direction>
</scene>
<scene>
<stage_direction />
<scene_description>II: .....:</scene_description>
<character>...; .. : '</character>
<dialogue>. .....</dialogue>
<character>,··</character>
<dialogue>• • I /</dialogue>
<scene_description>A hup:-e American f121.ff fil LB the fr-'ime. It is he"'vi1 y b~ck-1i t making it SP.em luminescent. It dwarfs Crystal, Ronette, Bnd Chiffon who are posed in silhouette in front of the fJB5. The girl,.; ceremonious1.y bee:in Wl'llking to camera Ann as they r,et closer and c1oser Cryst~, sin~s with Gospe1 fervor •••</scene_description>
<character>CRYSTAL</character>
<dialogue>SuhsP.quent to the events You have just witnessed Similar events in cities Across America •••</dialogue>
<dialogue>Events which bore a striking Resemblance To the ones you have just seen Began occurringt</dialogue>
<scene_description>Cut to:</scene_description>
</scene>
<scene>
<stage_direction>INT. GARDEN</stage_direction>
<scene_description>SHOP. DAY. GIRLS (V .o.) (Singing)· An F.CUof the words "Audrey Two's" fills the screen. Camera pulls Subsequent to the events back to see that these words are You have just witnessed pA.rt of a sign: ''Yest We have Audrey Two's on sale here~" Camera Unsuspecting jerks trucks by a very long lin.e of From Maine to California beaming customers waiting at the check-out counter each holding one Made the acquaintance of or more tiny Audrey Two's. (Exactly A new breed of flytrap the same tiny Audrey Two's that Patrick Martin had on the rooftop). And got sweet-talked In the background customers are Into feeding it besieging a clerk for more of those new, delightful Audrey Two's in their Bloodt cleverly designed little containers • .,Dissolve to:</scene_description>
</scene>
<scene>
<stage_direction>INT. SEARS BASEMENT. DAY. �</stage_direction>
<scene_description>GIRLS (v.o.·cont~) Close-ups of dozens of hands grasping (Singing) for the tiny Audrey Two's.· A screaming, Thus the plants pushing t~rong Qf peopl~ are mashed up against a counter behind which are ~orked their terrible will lw.r~dreds of Audrey Two's. People are Finding jerks shoving, screaming, waving money as the sales people do their best to help. Who would feed The frenzy is like that of Cabbage Patch Them their fill Dolls, Pet Rocks, and Hula Hoops all rolled into one. Suddenly we see someone And the plants pushing his way through the crowd ••• It Proceeded to grow ••• is Seymour. He is unshaven, dirty, with blood-shot eyes ••• as if he hadn't sl~pt for And grow. weeks. He jumps on the counter-top · · · kicking off the Audrey Two's and screaming. INT. HOUSE.NIGHT. GIRLS.(V.O. Cont.) (Singing) Bedroom of a suburban home. A middle-aged couple are·lying in And began bed. All we·see are their feet in tne foreground. Betwe•~ the What they came here feet we see the T.V. on whicl · The Tonight Show starring Jack Paar To do (or a very young Johnny. C~rson). A news bulletin comes o~~ A newscaster Which was essentially to •• appears and in back of him !Jashes the word "Cleveland". Then we see a Eat Clevelandt live, on the·spot reporter in front of a Cleveland building bei~ destroyed And DesMqinest, by a 15 foot Audrey Two. People are screaming ·and running e.way. The··-· ,.. And Peoriat</scene_description>
<character>I</character>
<dialogue>destruction continuee-as'the r~porter And New Yorkt</dialogue>
<scene_description>is dragged off by a ·tentacle. · Then ••• AND WHEREYOU LIVE! 6n · the '·bedroom:still) .·.;after;t\].le·lyr!c~·, "And"where yoo·3:ive"-.;;.-;a ·thick vine· comes smashing ddwn·on the T-.V. itself exploding (V .o.)</scene_description>
<character>. "C'HOBUS.</character>
<dialogue>it• into smithereens. Two-or thr~~ other (Singing)' vines smash: through the wall as even more vines l'ldi out and wrap around the legs of. ,:'hey~Y o,rt,r Y?~ !~~~~~ and fam~- the people in bed and dr~g them away Love and m~~!Y ~d ~~i~nt acclaim· ·. screaming as plaster fells around.th~m. But whatever·they offer you~~.</dialogue>
<scene_description>Don:t !eed '.f:h~plant~f ..</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOS ANGELES~... NIGHT.</stage_direction>
<scene_description>The large, famous· Hollywood sign They may offer ~OU in the hills. The searchlight of a Lo~s of cheap thrill~ hovering helicopter is aimed at a hu&e Audrey Two as it des~roys the sign •• Fancy condos. throwing the letters into the air ... .In Bev~rl;r\_ ~i:;Lls 1 ea vine the sigl"I to just read : ""Ho--woo" while police fire guns and flaTes at Bu~~wh~~ever th~y ofiFr you the marauding plant. Don: t feed the 11J.ants~ EXT. NEW '.:YORK. NIGHT. • r Look out! Medium shot of the fac• of the Here com~s Aµdrey Twoi Statue of .Liberty as we see green Look outt tentacles oozing from the inside of her • •. r crown and covering her eyes like • . AUDREYTWO Medusa's snakes. AnothP.r Andrey Two ··-- Here I come for you! iE at the end of her a,..m '!:weloping the torch ~ith it's tentacles. On the ground CHORUScv.o.) are police search liehts ~nd the National Here I come for Guard fir:i.n~ up at the pll'l\]'ltl!S. Rere I come !or Here I come for voutttn (Singing) In the background Manhattan is on fire. In the foreground two or Hold -your hA.t three more Audrey Two's are attacking •• a mind boggling mass of leaves, vines, tendrils, and roots.:.they are lumbering And hane onto your soult towards the foreground. Suddenly, from • t he di~tance, a torn, hasgard figure comes runntng to· camera. Crazed and totally Something's comin' hysterical he runs up i,nto an·extreme close-up</scene_description>
<character>,</character>
<dialogue>••• his face fillingI</dialogue>
<scene_description>the screen as he screams •• To eat the world wholet</scene_description>
<character>I -</character>
<dialogue>., pSEY}40UR , .. : JI. • 'I</dialogue>
<scene_description>They're,Herett They're herett If we fight it Runt 1 : THEY'RE HERE1Lt.t · · ••• i11 I .. He· turns and runs to mid-bac~ound We've still got a chancet screaming, trying to help the others fight the plant.as we see cars overturned, broken fire hydrants .spe..,.ing wat·er, downed But -whatever they offer yout electrical11lines crackling with sparks, police and National Guard ~oldiers firing away, fires burning out of cbrttrol in the . r Though ·they' re sloppin' the trc"'~ .> distance.· It is the end of civilization for yout as we know it. Men, women and childr~n ••. incluqing Seymour ••• run screaming up to and past camera as the Audrey Two is: Please whatever they offer you, c:dmosf upon them and: us •• advancing menacingly, C!!:) inexorably to camera and, openi.ng its •.·.' v.riJe cavernous ma'!' it seems to swallow the , ·Don•t feed the plantst C~hlt'f"'I as it completely blacks out the screen. LJ~ are left vith the horrible sounds of cataclysmic destruction. Don't Feed The Pla-ah-antstt •. • I t "! FADE UP: 11--FOLLOWED BY--"? U t ?"</scene_description>
<character>UTHE.:END</character>
<dialogue>MUSIC•.</dialogue>
<character>CREDITS RQL4,.</character>
<dialogue>I.</dialogue>
<parenthetical>(After last credit ••• in black ••• as people are leaving·the theatre ••• a very large, low rumbling laugh •• )</parenthetical>
<dialogue>AUDREYTWO(v.o. in black)</dialogue>
<scene_description>Hahahahahahaha.hahahatttttt Presents</scene_description>
<character>A FRANK OZ FILM</character>
<dialogue>RICK MORANIS</dialogue>
<character>ELLEN GREENE</character>
<dialogue>VINCENT GARDENIA</dialogue>
<scene_description>With a Special Appearance by</scene_description>
<character>STEVE MARTIN</character>
<dialogue>And with Special Guest Stars</dialogue>
<character>JAMES BELUSHI</character>
<dialogue>JOHN CANDY</dialogue>
<character>CHRISTOPHER GUEST</character>
<dialogue>BILL MURRAY</dialogue>
<scene_description>Directed by FRANK OZ Produced by DAVID GEFFEN Screenplay by HOWARDASHMAN Audrey II Designed and Created by LYLE CONWAY Choreography by PAT GARRETT Film Editor JOHN JYMPSON Director of Phography ROBERT PAYNTER, B.s.c. Production Designed by ROY WALKER Special Visual Effects by BRAN FERREN Music Produced by BOB GAUDIO Original Motion Picture Score by MILES GOODMAN Line Producer WILLIAMS. GILMORE Music by ALAN MENKEN Lyrics by HOWARDASHMAN</scene_description>
<character>WARNER BROS.'</character>
<dialogue>"LITTLE</dialogue>
<character>ON</character>
<dialogue>The monster musical comedy film "Little Shop of Horrors,"</dialogue>
<scene_description>starring Rick Moranis, Ellen Greene, Vincent Gardenia and Steve Martin, is set to open here on at the Warner Bros . and producer David Geffen bring to the screen the 1986 motion picture adaptation of the award-winning stage hit, which was based on the 1960 Roger Corman cult classic film. The film presents an extraordinary triangle involving a lower eastside Manhattan flower shop employee named Seymour, his whim- sical co-worker Audrey and a plant nicknamed Audrey II--whose growth-rate is surpassed only by its peculiar appetite. With the acquisition of the screen rights by the David Geffen Company, Geffen's goal was to fuse the elements of the original story and the stage production into its own unique entity on film. Winning the Drama Critics' Circle, Drama Desk and Outer Critics' Circle Awards as the season's best musical, the New York stage production spawned an American touring com- pany, a two-year London run, and other noteworthy productions in major cities all over the world. The Geffen Company presents a Frank Oz Film, "Little Shop of Horrors," released by The Geffen Company through Warner Bros. Produced by David Geffen and directed by Frank Oz, the -more- monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia, with a special appearance by Steve Martin and cameo appearances by John Candy, James Belushi, and Christopher Guest. -wb-</scene_description>
<character>"LITTLE SHOPOF HORRORS"</character>
<dialogue>- Production Information -</dialogue>
<scene_description>Mushnik's Flower Shop is the sleaziest floral store on Skid Row. Wilting corsages, dark brown greenery and bums sprawled in the doorway add credence to the deep-rooted belief that whatever it is that lures people "downtown," it isn' t flowers. With business drooping lower than his Creeping Charlie, Mushnik has decided to throw in the trowel and lay off his only two employees, the klutzy orphan Seymour and brave, blonde, battered Audrey. Then Seymour purchases a strange and inter- es .ting plant from an ancient Mandarin during a total eclipse - of the sun. And business blooms. Customers converge on the shabby premises, attracted by the odd potted pod in the window. Christening his prize Audrey II in honor of his secret love, Seymour showers it with mulch, gro-light and affection. But, as it develops, there's only one type of nourishment that Audrey II craves--and it 's not available at your local nursery! The Ge£fen Company presents a Frank Oz Film, "Little Shop of Horrors," · released by The Geffen Company through Warner Bros. Produced by David Geffen and directed by Frank Oz, the monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia, with a special appearance by Steve Martin -more- Christopher Guest • . · .. The screenplay and lyrics were written by Howard Ashman and the music composed by Alan Menken, who collab- orated on the off-Broadway and London stage hit on which the movie is bas~d. The stage hit, which has since blossomed into a perennial, was inspired by Roger Corman's "Grade Z" horror film of the same title. Shot in 1960 on an unbelievable schedule of two days and a night (lar gely because Corman was offered a storefront left over from another movie) , "Little Shop of Horrors" went on to become a cult classic. It was also notable for the brief, bizarre appearance of relative newcomer Jack Nicholson as a masochistic dental patient. New York theatre critics gave the stage production of "Little Shop of Horrors" a blue ribbon reception. The New Yorker ' s Edith Oliver hailed it as "a musical comedy that is both musical and comic ... full of surprises and marvelous effects." Richard Corliss in Time magazine welcomed "a carnivore with its own intimidat ing charm" which "envelops the stage and (gasp!) most of the audience." Winning the Drama Critics ' Circle, Drama Desk and Outer Critics' Circle Awards as the season's best musical, the show spawned an American touring company (which is still going strong ), a two-year London run, and productions in France, Scandinavia, Israel, Japan, Germany, Australia and -more- With the acquisition of the screen rights by the David Geffen Company, the voracious Venus people-trap had blossomed thrice. Geffen's goal was to fuse the elements of the original story and the show into its own unique entity. The time-frame, he decided, would remain intact. Downtown, it is still 1960. Here , Seymour Krelborn (RICK MORANIS) toils slavishly for Mushnik (VINCENT GARDENIA), who plucked him "as a tyke" from the Skid Row Home for Homeless Boys. In his basement bedroom, where he raises exotic foliage, Seymour pines for Audrey ( ELLEN GREENE), the lithe, blonde salesgirl with the Betty Boop voice and cinema noir wardrobe. But Audrey is literally a prisoner of love. Her steady crush--in more ways than one--is Orin Scrivello ( STEVE MARTIN), a biker dentist whose delight for burning rubber is only exceeded by his joy for inflicting pain. When he isn't giving root canals a bad name or getting high on his own nitrous oxide, Scrivello spends most of his time::.:,,. putting Audrey in traction. One night, in the depths of Mushnik's cellar, Seymour pricks his finger on a rose--an d Audrey II gets her first slurp of RH negative. Audrey II grows. Seymour grows anemic. Audrey II demands more "sticky, licky sweets." Seymour buys more Band-Aids. If Mushnik's prosperity and his exhausted -more- errand boy are both to survive, fresh blood must be added to the floral food chain ... For director Frank Oz, the challenge of "Little Shop of Horrors" was "deceptive." The project, he says, "looked simple, but wasn't. If we played it too camp, the audience wouldn't care about the characters. If we were too straight, we'd veer toward melodrama." What evolved was what Oz calls "heightened reality." In opening the stage show to encompass the littered alleyways, decrepit tenements and end-of-the-line elevated train of Mushnik's neighborhood, he and Oscar-winning production de- signer Roy Walker created a fantasy Skid Row. But within the sprawling set--which consumed every ~quare inch of Pinewood Studios' "007" st age (the largest in the world)--Oz also sought a certain "intimacy." "I didn't want to balloon it into a musical 'War and Peace' or even a big, splashy '40s extravaganza," says the director. "There are no dizzying overhead crane shots. No irrelevant dance numbers. Nothing to overwhelm what is basically the simple story of a boy, a girl and a man-eating plant." Several production numbers, however, display amusing affection for film lore. The hollow-eyed vagrants, shuffling through the gutters of "Downtown," recall Busby Berkeley's Depression-era classic, "My Forgotten Man." "Somewhere That's Green" is a paean to the suburban never-never land of scores of movies and '60s sitcoms. -more- a colorfully incongruous cast. Seymour is played by Rick Moranis, one of the Canadian Second City troupe's non-fraternal "McKenzie Brothers," who breezed through "Ghostbusters" as Sigourney Weaver's randy next-door nebbish. His "Little Shop . .. " role as a botanical body snatcher required "more straight acting than anything I'd done before," says Moranis. "But the real attraction was the chance to sing. Until now, I'd been limited mostly to parody." Ellen Greene, on the other hand, knew the role of Audrey "like a second skin," having played it for two years-- in New York, Los Angel~s and London. (Time magazine praised her portrayal of "a sweet, sexy, slightly dizzy J:,londe with an Elmer Fudd lisp, wittle-girl wiles" and a voice that "buckles theatre walls.") Her character, comments Greene , first came into focus during costume fittings for the off-Broadway show. "We went through about five wigs before Audrey became a cornsilk blonde," she explains . Next came the low-cut leopard skin dresses, stiletto heels and jangling of the B-movie heroines who were Audrey's role models. Vincent Gardenia insists that he was chosen as Mushnik because "Frank Oz liked my name . " The Naples-born actor, who began his career as a teenager playing old men in New York's Italian theatre, calls Mushnik "a symphony of frustration. He's a man trying to cling to the past despite the depravity -more- building around him." At the root of much of that depravity is Steve Martin's Doctor Scrivello. (Call him anything other than "Doctor" and he'll joyfully rip your eyeteeth out.) As the leather-clad "leader of the plaque," Scrivello parks his Harley Davidson, dons surgical whites and bounces from room to room in his "one patient-no waiting" office armed with a variety of evermore alarming implements. Martin claims that Scrivello makes Lawrence Olivier's sadistic oral surgeon in "Marathon Man" look like a public benefactor. Scattered through "Little Shop of Horrors" are cameos by several well-known comedic actors. Renewing his Second City rappoFt with Rick Moranis, John Candy plays Wink Wilkenson, the one-man radio station who introduces Skid Row listeners to "the weirdest stuff" in the world--like Seymour Krelborn's incredible plant. "Spinal Tap ' s " Christopher Guest is the first customer to put his money down for a magnetic Audrey II. James Belushi is a huckster with a plan to cross-pollinate her cuttings. Among the inspired notions of the stage musical was a "Greek chorus" of three teenaged girls who sashayed through the action ... in perfect harmon y and street-smart cynicism ... like Skid Row Supremes. To find the film's t~io, auditions were held in New York, Chicago, Detroit, Washington , D.C. and London. Out of more than a thousand hopefuls tested, the youngsters chosen for their vocal power and brash energy were 18-year-old -more- Michelle Weeks as Ronette, 16-year-old Tichina Arnold as Crystal and 17-year-old Tisha Campbell as Chiffon. With the trio assembled, there was still one character left to be cast: Audrey II. The challenge of creating a plant "like nothing ever seen on this planet," who would talk, sing and bite the hand that feeds her, was entrusted to Lyle Conway. An acknowledged animatronics wizard, Conway has worked with Oz (and Jim Henson) on "The Muppet Show" and "The Dark Crystal," and had designed the enchanting Lewis Carroll character for Dennis Potter's "Dream Child." Conway began the project with an "inspirational" field trip to London's famous botanical Eden, Kew Gardens. "I felt that at each stage of her development, Audrey II should have a distinct look. The 'baby' plant resembles a rosebud with lips modeled after Ellen Greene's . Then she grows . .. and grows more monstrous." Conway next turned to the Atomic Energy Authority at Harwell, England, for technical advice on creating a core which would support ... and control .. . the creature. "The scientists there saw it as a game , a pleasant break from their top-security work. They were immensely helpful," he says. "Size," continues Conway " is the downfall of most mechanical marvels. Small creatures are relatively easy. Big ones suffer from gravity . Our challenge was to take something twelve and a half feet tall, weighing slightly -more- of its own." One aspect which concerned director Oz was Audrey II's lip synching. "It had to be perfect," says Conway. "Frank didn't want big, flapping hamburger buns." To get the right effect took as many as forty puppeteers. By the time Conway's work was finished, he'd gone through 15,000 hand-made leaves , 2,000 feet of vine, several hundred gallons of KY Jelly and 11 1/2 miles of cable. ("Just slightly more cable than was used to build the Brooklyn Bridge," he says proudly .) But Audrey II was only half-alive. Still to come was the character 's voice, performed by Levi Stubbs, an original member of the Four Tops. Says musical director Robby Merkin: "If I die tomorrow, working with Levi will get me into heaven. Here's a modest, con- summate pro who has been singing for thirty years in a group that changed the face of popular music. "He can sing anything, any way you ask him . We showed him what the plant would look like and a light bulb went on in his head. From then on, he~ the plant." Combining the film's diverse elements into a hothouse of horrors began long before a camera turned. The first phase of the process was in the hands of production designer Roy Walker, an Academy Award winner for "Barry Lyndon," a nominee for "Yentl," and a subject of critical accla i m for his work with Roland Joffe on "The Killing Fields." -more - of Mike Ploog, who graduated from Marvel Comics (where he drew "Conan," "The Werewolf" and "Planet of the Apes" ... "anything with hair on it ) to fi l ms like "Superman II" and "Young Sherlock Holmes." In creating his imaginary Skid Row, complete with "working" elevated train, Walker remained a stickler for detail. Set decorator Tessa Davies was dispatched to New York, on a scavenger hunt to find gas meters, soap boxes, doorknobs, street signs and hundreds of stage props, circa The oddest item on Davies ' shopping list were garbage cans from that era--complete with authentic garbage. "They had to be genuine and they had to be old," she says. "I went around the streets in a truck loaded with new garbage cans, offering to trade them for used ones. People thought I was crazy. I suspect I got away with it only because I was a foreigner." Simultaneously, costume designer Marit Allen was rum- maging through thrift shops, with the same sixties flavor in mind. "What helped was that the principals all had a definite idea of how they should dress," sh e says . Ellen Greene wanted "clothes that suggested cast-offs from Kim Novak and Rita Hayworth . We agreed that there would be a point in the story where he r i mage would change. When she falls in love with Seymour , she goes from red, black and leopard to softer shades." -more- bridge the credibility gap, somewhere between a nerdy loser and a shy, appealing guy." Steve Martin was "discreet in his taste in black leather ... more Elvis Presley than Hell's Angels." Within the complex interweaving of humor , music, fantasy, horticulture, set design, special effects, choreog- raphy, puppetry and the ultimate threat to civilization, the core of the movie is its characters, says Oz. "They have to be people you believe in ... people you laugh with, not at." About the Cast ... As Seymour Krelborn, a fledgling Faust on Skid Row, RICK MORANISmoves downtown from the Central Park penthouse he occupied in "Ghostbusters." In that Ill comedy hit of 1984 , he was the party animal who threw wild bacchanals across the hall from Sigourney Weaver , unaware that her Mid-Manhattan apartment was being repossessed--by dead spirits. Playing New Yorkers of any stripe is no greater sur- prise to Toronto-born Moranis than the fact that he is an actor at all. "I always thought show business was for Americans," he says with his trademark sly grin. "I didn't realize Canadians could get involved." In fact, he began his career as a radio engineer while he was still in high school. Although it was only part-time, it offered Moranis an unlooked-for opportunity: after con- sistently writing funny one-liners for his deejay friends, -more- he was given his own show, and soon became a popular on-air personality. Seguing into cabaret comed y, Moranis performed in Toronto nightclubs, then moved int o Canadian television. After several years of writing and performing, he was asked to join "Second City Television " in its third season. When the satirical comedy show was picked up by an American net- work, it not only won an Emmy but also brought Moranis national recognition. In solo spots on "SCTV, " Moranis earned special acclaim for his comedic portraya l s of such personalities as Woody Allen and Dick Cavett , and won Emmys for comedy writing in 1981 and '82. With Dave Thomas he created t he McKenzie Brothers ( Bob and Doug)--beer-guzzling phi l osophers from the Canadian north woods, whose goofy antics became an "SCTV" mainstay. When the "McKenzie Brothers " made an album, it won a Grammy nomination. When the y made their screen bow, it was as the stars, co-writers and c o-d i rectors of " Strange Brew"--the top-grossing Canadian f ilm of 1983. Moranis has since appeare d in "Streets of Fire" and "Club Paradise," as well as "Gho stb usters ." Even though she wanted Audre y to "be ripe enough to fall off a tree," ELLEN GREENE i ns i sts there is something "playful and kittenish about her . .. she's a child/woman you fall in love with because of her i mperfections." -more - expected. She played Audrey for two years on stage--18 months in Los Angeles and off-Broadway, and six months in London's West End. A native New Yorker, whose grandfather was in the Yiddish theatre, she always knew she wanted to be a per- former. Although her father was a dentist, one brother a doctor and the other a lawyer, her education-oriented family didn't stand in her way when she started calling on casting agents after finishing high school. She finally landed a gig at Reno Sweeney's, a cabaret club on 13th Street, where she played piano, sang and ban- tered ... and earned strong enough reviews to move up to off-Broadway. With the New York Shakespeare Festival, Greene appeared in David Rabe's "In the Boom Boom Room," "Sorrows of Stephen," "Wake Up, It's Time to Go To Bed" and "Stage Directions." She made her Broadway bow in the title role of "Rachel Lily Rosenbloom and Don't You Ever Forget Itl" then appeared in "The Nature and Purpose of the Universe," "Teeth and Smiles" and opposite Michael York in "The Little Prince and the Aviator." Her performance as Jenny in "Threepenny Opera" brought her a Tony nomination. After making her motion picture debut in Paul Mazursky's "Next Stop, Greenwich Village," Greene played Jill Clayburgh's friend in "I ' m Dancing as Fast as I Can . " "Little Shop of -more- When Mr. Mushnik, the flower shop owner, gives Audrey some fatherly advice--"A date gives you a corsage, not a multiple fracture"--he is simply acting in character. Accord- ing to VINCENT GARDENIA, who portrays him, Mushnik is "a man of Old World manners, trying to cope with the craziness and cruelty around him." A veteran character actor in films, theatre and tele- vision, Gardenia was born in Naples, Italy, in 1922, and played his first role at the age of five--in Brooklyn, where his family settled after emigrating. Graduating from juvenile to leading roles in New York's Italian theatre, the growing Gardenia was in his mid-30s when he began his professional career in earnest. His break- through came with off-Broadway's "The Man With the Golden Arm," the 1954 shocker about drug addiction. After enhancing his reputation with "The Brothers Karamazov," "The Visit," "Death of a Salesman" and "A View From the Bridge," Gardenia won the coveted Tony for his performance in Neil Simon's bittersweet "The Prisoner of Second Avenue." He followed up with roles in three more Simon plays--"God's Favorite" (written especially for him ) , "Plaza Suite" and "California Suite." He most recently ap- peared on Broadway in the 1984-85 hit, "Glengarry Glen Ross." Interestingly enough, Gardenia, who emanates an easy Italian warmth, has alternated between softies and cold- blooded killers in his screen career. He made his bow in -more- mobster Dutch Schultz in "Mad Dog Coll." But he won his Oscar nomination for his crusty, kindly baseball team manager in 1973 1 s "Bang the Drum Slowly." Other films include "Death Wish," "The Front Page" with Jack Lemmon and Walter Matthau, and "Heaven Can Wait," with Warren Beatty. His close-cropped hair is hidden under a black wig that recalls the glory that was "Grease," his sunshine smile is twisted into a sadistic leer, and he handles women like Cagney on a bad day. But as Orin Scrivello, D.D.S. (Doctor of De Sade), STEVE MARTIN has a role he can sink his teeth into. One of the outstanding comics of the past 15 years, Martin has won Emmys for his television work, Grammys for his record albums, and an Oscar nomination for his screen bow as "The Absent Minded Waiter ," a 1978 short film. Born in Waco, Texas, he was raised in Southern California, where he sold Disneyland guidebooks at 10, and did magic and comedy routines at Knott's Berry Farm in his teens. After earning his degree in Theatre Arts from UCLA, Martin, then 21, entered television as a writer on the popular "Smothers Brothers Show" (hi s first Emmy). He soon added such clients as Sonny and Cher, Pat Paulsen, Glen Campbell and John Denver to his list, but by the late 1960s began performing his own material. -more- like the Carpenters and the Nitty Gritty Dirt Band, Martin hit his stride through frequent appearances on Johnny Carson's "Tonight Show," and other TV guest shots. Expressions like "Excuuuuuuse me" and "I'm a wild and crazy guy" became part of the language . Martin's career soon encompassed his own television specials, sold-out concerts and gold-plated comedy albums. His first two--"Let's Get Small" and "Wild and Crazy Guy"-- won Grammys, while "Comedy is Not Pretty" and "King Tut" sold in the millions. With "The Jerk," which he co-wrote, Martin moved into feature films in 1979. He has since starred in the innova- tive "Dead Men Don't Wear Plaid," the sci-fi spoof "The Man With Two Brains," the provocative "Pennies From Heaven," and as Lily Tomlin's haunted other half in "All of Me." Martin wears three hats on the soon-to-be-released "Three Amigos," including that of executive producer. Di- rected by John Landis, "Three Amigos" was written by Martin, Lorne Michaels and Randy Newman. Additionally, he toplines the cast along with Chevy Chase and Martin Short. Martin is presently shooting "Roxanne," a screenplay he wrote for Columbia Pictures. Directed by Fred Schepisi and produced by Daniel Melnick and Michael Rachmil, Martin stars with Daryl Hannah, Rick Rossovich , Shelley Duvall and Fred Willard. Underscoring the dramatic twists of plot and fate in -more- a trio of street urchins played by MICHELLE~EKS, TICHINA ARNOLDand TISHA CAMPBELL. All are native New Yorkers, who knew each other either from school or from appear i ng in such musicals as "Sing Mahalia Sing," "The Me Nobody Knows" and "Mama, I want to Sing." Michelle, who plays Ronette--at 18 the oldest and "toughest" of the three--began singing at four and acting at 14. She completed a run in the starring role of Emma in "The Tap Dance Kid" just before filming "Little Shop of Horrors." Sixteen-year-old Tichina--whose Crystal is the youngest and "most talkative"--is a student at New York's Music and Art High School. She began acting at 11, when she appeared on stage in "The Me Nobody Knows ." She plans to study psychology at college. Tisha, who plays 17-year-old Chiffon--"the shy one"-- i s the only member of the trio to ·come from a theatrical family. At 5 she won a car in a talent show, and has since appeared in various musical shows , i ncluding "Mama, I Want To Sing" and "Really Rosie." She is a student at Arts High in New Jersey. Short but sparkling contr ibuti ons to "Little Shop of Horrors" are made by John Candy, James Belushi and Christopher Guest. As radio announcer Weird Wink Wilkenson, JOHN CANDY -more - puts his considerable heft through quick character changes, relying on voice and sound effects to fool his listeners. It's child's play for the Toronto-born Candy, who first gained recognition in television's "SCTV," where he impersonated (with devastating precision) such out-sized stars as Orson Welles, Divine and Luciano Pavarotti. He also won two Emmys for his writing contributions. Candy made his film debut as an extra in "Class of '44," but quickly found his metier in such hugely successful comedies as "The Blues Brothers ," "Stripes," "National Lampoon's Vacation" and "Splash." He has since co-starred in "Brewster's Millions," "Volunteers" and the recently released "Armed and Dangerous." Portraying a high-powered entrepreneur--who plots to get his cut from Audrey II's cuttings--is JAMES BELUSHI, cur- rently winning wide acclaim as Bernie Litka in "About Last Night." (The character, a · crudely endearing sexist, was originally performed by Belushi in David Mamet's "Sexual Perversity in Chicago," the Obie-winning play on which "About Last Night" is based.) Born and raised in Chicago , Belushi graduated from the University of Illinois and spent two years with the city's fertile Second City troupe before signing on as the Pirate King in Joseph Papp's tour i ng production of "The Pirates of Penzance." Following the show to Broadway, Belushi remained in New York for a two-year stint on television's "Saturday -more- Night Live," then returned to his hometown for "Sexual Perversity." After making his film debut in "Thief," he played a cameo in "Trading Places," starred in "The Man With One Red Shoe," and co-starred as a rock 'n' roll deejay in "Salvador." CHRISTOPHERGUEST--the customer who gets rose fever from Audrey II--is a native New York er who studied clarinet at the High School of Music and Art, then began his career as a National Lampoon satirist. After several years of "Lampooning" as both writer and performer--59 radio shows, three-Grammy-nominated albums, the off-Broadway hit, "Lemmings "--Guest won an Emmy for co- writing television's "Lily Tomlin Special," in which he also co-starred. As a television actor, Guest has ranged from comedy to drama, scoring as Jeb Magruder in "Blind Ambition," opposite Bette Davis in "A Piano for Mrs. Cimino," and in the long- running series "Laverne & Shirle y" and "All in the Family." In addition to portraying rock star Nigel Tufnel in Rob Reiner ' s hit film, "This Is Spinal Tap," Guest has appeared on screen in "The Long Riders," "Girlfriends" and "Heartbeeps." About the Filnnnakers ... Director FRANKOZ is carving a unique niche for himself in motion pLctures. -more - For Jim Henson's Muppets, he performs Miss Piggy, Fozzie Bear, Animal, Cookie Monster, Bert and Grover . As an actor, he appeared in brief but telling roles in "The Blues Brothers," "Trading Places" and "An American Werewolf in London" before making an overnight folk-hero-- and ~ cover-boy--of Yoda, the wrinkled, lovable Jedi sage in "The Empire Strikes Back ." As a filmmaker, Oz served as producer (with David Lazer) on the Muppets' second movie, "The Great Muppet Caper," co-directed "The Dark Crystal" with Jim Henson, then made his solo directing bow with "The Muppets Take Manhattan." Producer DAVID GEFFEN, an entertainment entrepreneur whose involvements range from records and £ilms to Broadway shows and talent management, began his career in 1964 in the mail room of the William Morris talent agency. Four years later, with agency co-worker Elliot Roberts, he formed Geffen-Roberts Management which shortly represented such clients as Joni Mitchell, Crosb y, Stills and Nash, Neil Young and Jackson Browne. In 1971, Geffen formed his own label, Asylum Records. He later merged the company with Elektra to form Elektra/ Asylum, which soon became a recognized leader in the music industry , with such artists as The Eagles, Linda Ronstadt, Jackson Browne, Queen, Carly Simon and Bob Dylan, among others. In 1975, Geffen was named Vice Chairman of Warner -more- for the successful pictures "Oh, Godl , " "The Late Show" and "Greased Lightning." From 1976 through 1979, Geffen taught a course on the music business at UCLA and Yale University, and, in 1980, was appointed by Governor Brown to the Board of Regents of the University of California . In 1980, he returned full - force to the music industry with the formation of his own Geffen Records, with such top talents as John Lennon/Yoko Ono , Donna Summer , Elton John and Peter Gabriel on the label. The '80s also marked Geffen ' s entrance into theatrical productions , such as the smash hit "Dreamgirls," the Tony Award winning New York p1;oduction "Cats , " and the Dramatist Guild-winning "Little Shop of Horrors." His other notable theatrical efforts included ''Master Harold and the Boys" and the Royal Shakespeare Company's "Good." The ' 80s also brought Geffen ' s renewed involvement with motion pictures with formation of The Geffen Film Company. Under his personal guidance , Geffen ' s film arm has brought to the screen the controversial drama of two young women athletes contending for Olymp i c gold in "Personal Best," the immensely-successful Tom Cr u i se , -starring youth comedy "Risky Business," Albert Brooks ' well-received yuµpy dropout film "Lost In America" and Marti n Scorsese's critically- heralded comedy-drama "After Hours ." Most recently, Geffen l aunc h e d the new Broadway play -mor e-</scene_description>
<character>HOWARD</character>
<dialogue>ASHMAN,who wrote the screenplay and lyrics</dialogue>
<scene_description>for the film version of "Little Shop of Horrors," also wrote the book and lyrics for the musical play, and directed the original off-Broadway production and its London counterpart. A native of Baltimore, Ashman has been associated with the Houston, Pittsburgh and San Francisco Opera companies, the Manhattan Theatre Club, Princeton's Mccarter Theatre and New York's WPA Theatre, where he was Artistic Director from 1976 to 1982. He also wrote the book and lyrics (with Dennis Green) for the musical version of Kurt Vonnegut's "God Bless You, Mr. Rosewater." For his contributions to the stage production of "Little Shop of-Horrors," Ashman received the Outer Critics' Circle Award for best lyrics and best off-Broadway musical, the New York Drama Critics' Award for best musical, and the Drama Desk Award for best lyrics. When composer ALANMENKENwon the 1982/83 Outer Critics' Circle Award for his music in the stage version of "Little Shop of Horrors," it was the result, he says, of a longstand- ing friendship and collaboration with Howard Ashman. The pair previously teamed on "God Bless You, Mr. Rosewater," a 1979 musical of Kurt Vonnegut's book, which marked Menken's first major production. It was while studying medicine at New York University that Menken made the switch to music composition. Joining Lehman Engel's BMI Musical Theatre Workshop, he wrote the -more- music and/or lyrics for its productions, as well as songs heard in revues and cabaret acts around New York. After having his career anointed with "Rosewater," Menken went on to collaborate with Steve Brown on "Attina, Evil Queen of the Galaxy," and to write the music and lyrics for "Real Life Funnies," a revue based on the cartoons of The Village Voice's Stan Mack. He is currently collaborating with Tom Eyen on "Kicks." The Geffen Company presents a Frank Oz Film, "Little Shop of Horrors ," released by The Geffen Company through Warner Bros . Produced by David Geffen and directed by Frank Oz, the monster musical comedy stars Rick Moranis, Ellen Greene and Vincent Gardenia , with a special appearance by Steve Martin and cameo appearances by John Candy, James Belushi and Christopher Guest . -wb- Seymour Krelborn ..... .. ... ... .. .•... ........... . • . ... . ... .. .. RICK MORANIS Audrey .....•••.••...•.•............ .. .... .• .................. ELLEN GREENE Mushnik ••.•......• . •.••••.••.•....... . .•.••..•• . .. . •... .. VINCENT GARDENIA Or in Scrivello, D.D .S •••••. • . . .••• • ... • •.•••••. . .• ...... ..... STEVE MARTIN Crystal ... . . . .. .•••.. . . ••....... . .. . .. . . .. . . ... . ... . .. ..... TI CHINA ARNOLD Chiffon •• • ....•..••••. .....•• • .• .... . .....•.••••.. ..... .... TISHA CAf1PBELL Ronette ....•....... ... ... .... . . •• ........ . .. ... . . . ...... . .. MICHELLE WEEKS Patrick Martin .•.•..•••••......•.. •. .. . ...•... ... .......... . JAMES BELUSHI Wink Wilkinson .......... . .....••................ ....... ........ JOHN CANDY First Customer . ....•.•..•. •.. •• . •............. . . . ....•. . CHRISTOPHER GUEST Arthur Denton ... . . ........... ... ................. .. ...... ..... BILL MURRAY (in order of appearance) Narr a tor .. .. . ..... . .. ..........• ••.•....•...••....•.•...... . STANLEY JONE S "Downtown" Old Woman . .. . . .........•. .... ......•.•... . ..•.. BERTICE READING "Downtown" Bum //1 ............... . • .. ..... ..... . .. .. . . . .... ... .... ED WILEY "Downtown" Bum II 2 ... ......••.••..• .......... . .. . .. ..•••••.•.• ALAN TILVERN "Down town " Bum I/ 3 . ..... ..... .• .•....... .. . .... . . . .. .. . .. JOHN SCOTT MARTIN Chinese Flor ist ... . . ..... . ..•.•• •...•• •• . . ... . ....•••.••.•... VINCENT WONG Doo Wop Street Singers ... . •...••.......•. ...... ... .. ....... .... MAK WILSON DANNY CUNNINGHAM: DANNY JOHN-JULES: GARY PALMER:</scene_description>
<character>PAUL SWABY</character>
<dialogue>Second Customer .•.....•. .. .•••.•... .. . . .....•..•••.. ... . ..... MILDRED SHAY</dialogue>
<dialogue>Third Customer ..•. .. ... ..•• .... .•. .• ..... . . . ... .•. . ...... . MELISSA WILTS IE</dialogue>
<dialogue>Fourth Cus torner ......•. .•....••.•. ..... .....•. ... ... .... ..... . KEVIN SCOTT</dialogue>
<dialogue>Fifth Cus corner .•.•••....• •. •........... ...• .• ••• •....... BARBARA ROSENBLAT</dialogue>
<dialogue>Radio Station Ass i stant .. .. ...•... .. . . .. .. ... ... ..... .... .. ... ADEEN FOGLE Audrey & Seymour's Kids .•••••••••••...••.••...•..•.....•.••• KELLY HUNTLEY</dialogue>
<character>PAUL REYNOLDS</character>
<dialogue>Dental Nurse ••••••••••• • .•.•.•.••.•... . ••.......••.•••. • • MIRIAM MARGOLYES</dialogue>
<dialogue>Boy Patient .••..•....•..•..• .... . . .. . ..•......••...••••...•.• ABBIE DABNER</dialogue>
<dialogue>Second Patient ..••.••••.••.•••••......•.....•....•...•.•..•.•... FRANK DUX</dialogue>
<dialogue>Patient on Cei 1 ing .........•.•••.•...••......•.............. PETER WHITMAN</dialogue>
<dialogue>Girl Patient .•..•.......••••................. . ... . ......... HEATHER HENSON</dialogue>
<dialogue>Girl's Mother ............... . .••....• ... . .•. . • ............. . . JUDITH MORSE</dialogue>
<dialogue>Agent ..•...••.•..........•••...•.•.............•....•.....•..• BOB SHERMAN</dialogue>
<dialogue>"Life" Magazine Lady .. ...•..•..•.•••....••..•.•.••....... DOREEN HERMITAGE</dialogue>
<dialogue>Her Ass is tan t ......•....••............•.•............•.....•.• KERRY SHALE</dialogue>
<dialogue>Network Exec # 1 ..............••.....•........................ ROBERT ARDEN</dialogue>
<dialogue>Network Exec /12 .................•.............•..•.•......... STEPHEN HOYE</dialogue>
<dialogue>Network Exec /13. •••••••••••••••••••••••••••••••• • •• • ••••••••• BOB SESSIONS</dialogue>
<dialogue>Television Reporter .•...•.•.•..•••.•.•...............•. MICHAEL J. SHANNON The Voice of "AUDREY II" performed by ..•..........•.•..•..... . LEVI STUBBS</dialogue>
<scene_description>of The Four Tops</scene_description>
<character>\* \* \* \*</character>
<dialogue>Directed by •••••••• •••••••••••••••• ••••••••• ••••••••••••••••• • FRA.NK oz Produced by .••.••••••••••••••••..••• ••..•• .••.•••• •• •••••• DAVID GEFFEN</dialogue>
<dialogue>Screenplay by . ....................... ..... ............... HOWARD ASHMA.N</dialogue>
<dialogue>Music by . ............................ ............. ......... ALAN MENKEN</dialogue>
<dialogue>Lyrics by ... .................... ................. ........ HOWARD ASHMAN</dialogue>
<dialogue>Music Produced by . ................ .............. ............ BOB GAUDIO</dialogue>
<dialogue>Original Motion Picture Score by ••••. . . • ............••••• MILES GOODMAN</dialogue>
<dialogue>Director of Photography .•.....••••••.. ••• ••••••• ROBERT PAYNTER, B.S.C.</dialogue>
<dialogue>Production Designed by ••••.....•••••••••••••••••...••..••..• ROY WALKER</dialogue>
<dialogue>Film Edi tor .••...•.•••••••••.•••••• •••••....•..•• •••••• •. • JOH N JYMPSON</dialogue>
<dialogue>Special Visual Effects by ••.• . ••••.•••••.•..••. •..•••..•••• BRAN FERREN</dialogue>
<dialogue>"Audrey II" Designed and Created by •.•••• ..•....•.•••••.••• LYLE CONWAY</dialogue>
<dialogue>Costumes Designed by ..•...•• •••.. .. ..••..•. ...••.•......... MARIT ALLEN</dialogue>
<dialogue>Casting b y .....••...••.•••.•....•....•.........•........ MARGERY SIMKIN</dialogue>
<dialogue>Based on the musical stage play</dialogue>
<dialogue>Book and Lyrics by ...••••••.•...•••...• •.••..•.•• .•••• • .. HOWARDASHMAN</dialogue>
<dialogue>Music by .. ................................................ . ALAN MENKE N</dialogue>
<dialogue>Production Supervisor for The Geff en Company .••.•••••.•.• ERIC ANGELSON</dialogue>
<dialogue>Line Producer ••••••••.••••••.•••.••.•.•••...•••••.•• WILLIAM S. GILMORE</dialogue>
<dialogue>Associate Producers .•.••.••••.••••••• •••••.••• •.•..•••••••• DAVID ORTON</dialogue>
<character>DENIS HOLT</character>
<dialogue>Carner a Opera tor ..••••••••....••••.•.•••.•.•.••.• FREDOIE COOPER, S • 0. C.</dialogue>
<dialogue>Choreographer .•.•....••.....••••.....••••.•....•..•••..•••• PAT GARRETT</dialogue>
<dialogue>Musical Casting by .•••.•••••••.•..•....•• •..••• JOHNSON-LIFF ASSOCIATES</dialogue>
<dialogue>Orchestrations & Musical Supervisio n by •• .....•......•.... ROBBY MERKIN</dialogue>
<dialogue>Vocal Arranger ..•.••..••.•.•..••...••• •.•.•••••• ••••••••• ROBERT BILLIG</dialogue>
<dialogue>Music Coordinator •••.••••.•..••••••....•••..........•..•• JIM HENRIKS ON Music Arranged and Adapted by ••••••••• ••• •••• ROBBY MERKIN & BOB GAUDIO</dialogue>
<dialogue>First Assistant Director •••.•••• ••••••••.•••••••.•• .••••• DUSTY SYMONDS</dialogue>
<dialogue>Production Manager ••••. •••••••••••••• •.•..•.•••.•• ••••••••• DONALD TOMS</dialogue>
<dialogue>Script Supervisor •••••••••••••...•••.. ••••..••••••• PAMELA MANN FRANCIS</dialogue>
<dialogue>Second Assistant Director .•••••...•••••••••••••.•••••••••• GARETH TANDY</dialogue>
<dialogue>Third Assistant Director •••••..•.•••.•••••..••...• NICK HECKSTALL-SMITH</dialogue>
<dialogue>Production Coordinator .....•.•....•.•.•••.••••••••••••••• VICKI MANNING</dialogue>
<dialogue>Assistant to Mr. Oz ••••••••.••••••••.. •••.•••.• •• •• • • .....• VAL DEMETER</dialogue>
<dialogue>Casting Director (U.K.) ••••••...•.••.•.• ••••.•• • • .•••••••• CELESTIA FOX</dialogue>
<dialogue>Art Director •••••••••••••••••••••••••..•••••..••• • •••••• STEPHEN SPENCE</dialogue>
<dialogue>Art Director (Models) •••••••••••.....••..••.••••••••••...•• JOHN FENNER</dialogue>
<dialogue>Assistant Art Director ••••.•••.....• •.•••.•••••••• ••....••• JIM MORAHAN</dialogue>
<dialogue>Set Decorator •••••. •••••••••••••••• ••.•••••••••• •.•••••••• TESSA DAVIES</dialogue>
<dialogue>Production Illustrator ••• •• ••.••••••• ••.•.•••.•.. •..••••. MICHAEL PLOOG</dialogue>
<dialogue>Construction Coordinator ••••••••..••••••..••.•..••••••• MICHAEL REDDING</dialogue>
<dialogue>Production Buy er (U.K.) ••••••·••••••••••••••••••••••••••••••RON QUELCH Production Buyer (U.S.) •..••...••••.•..•••••••••.•••••••••.• CAROL NAST</dialogue>
<dialogue>Draughtspersons .••..•.••.•.•.•••••••••••••••••••••••.. MARTIN HITCHCOCK</dialogue>
<character>PHILIP ELTON</character>
<dialogue>SUZANNA SMITH</dialogue>
<scene_description>Sculptor/Modeller .....••....•••..••••••• ••• ••••••.• •.•• ..••. BRIAN MUIR Mode 1 Maker • •••••••••.••••.•••••••••••••••••••••••••••••• MARK WOOLLARD Art Department Trainee ••.•.•..••• •••••• • •••••••••• .• ••• .. JEREMY KARPEL Focus Puller .••......•••.•.••••• •••...•••••..••••• ••• DANNY SHELMERDINE Clapper Loader •.•........••.. . •. ..•••.•......•. . ..• ...•.... BOB BRIDGES Camera Grip •...••••••••••••••••••••••• •..•••••.•. ..•• DAVID CADW</scene_description>
<character>ALLADER</character>
<dialogue>Additional Grip .. .. .....•........... ........ ..... .... .. . .. KEVIN FRASER Second Unit Ca.mer amen ••••••••••••••••••• •••• •• ••• ••••••••• RONNIE MAASZ</dialogue>
<character>JAMES DEVIS</character>
<dialogue>Second Unit Camera Operator ... ............ ... .... . .JEFF PAYNTER</dialogue>
<dialogue>Camera Trainee. .................. ................. .NIGEL (WILL) WILLIS</dialogue>
<dialogue>Sound Mixer .•. ........................................... .PETER SUTTON</dialogue>
<dialogue>Boom Operator. • JOHN SALTER</dialogue>
<dialogue>Playback Operator. • •• SIMON cox</dialogue>
<dialogue>Sound Maintenance. .RON BUTCHER</dialogue>
<dialogue>Video Supervisor. • •. IAN KELLY</dialogue>
<dialogue>Video Assistant •• .DAVID SIMONETTI</dialogue>
<dialogue>Intercom Technician /V ideo Operator. .ST UART LORRAINE</dialogue>
<dialogue>Wardrobe Supervisor ••.••••• ....• PAUL VACHON</dialogue>
<dialogue>Assistant Costume Designer. .WILLIAM McPHAIL</dialogue>
<dialogue>Wardrobe Assistants .••••••• .DOROTHEA SMYLI E</dialogue>
<scene_description>SUE HONEYBORNE:</scene_description>
<character>MIKE JAR VIS</character>
<dialogue>Seamstress ••.• •.• ..• .. JO MEASURE</dialogue>
<dialogue>Chief Makeup Artist. .PAUL ENGELEN</dialogue>
<dialogue>Makeup Artist ••••. .LYNDA ARMSTRONG</dialogue>
<dialogue>Chief Hairdresser. .COLIN JAMISON</dialogue>
<dialogue>Hairdressers .•.••• .JAN JAMISON</dialogue>
<character>SUE LOVE</character>
<dialogue>Production Accountant. .JO GREGORY</dialogue>
<dialogue>Assistant Accountant. .ALLAN DAVIES</dialogue>
<dialogue>Computer Operator .• •• • •• LYNN BOWEN</dialogue>
<dialogue>Cashier ..•••.....•.......••• .ANDY ANDREWS</dialogue>
<dialogue>Production Office Assistant. •••• JANINE LODGE</dialogue>
<dialogue>Producer's Secretar y •••••••• . . . . . . . . . . . . . . . . . . . . . . . . . . . TESSA BILLYEALD Pre-Production Secretary (N.Y.) ••••••••• • •..•••••••••• MELANIE WILLIAMS</dialogue>
<dialogue>Production Runners .•••.••••••••••••.••.•••••......•.••.••• JAMES HICKOX</dialogue>
<scene_description>MARK CHALLENOR: JOHN WITHERS: GARETH FRANCIS:</scene_description>
<character>MARTIN KRAUKA</character>
<dialogue>Unit Publicist .............•......... ................ . ... . SUSAN D'ARCY</dialogue>
<dialogue>Assistant Publicist ....•......••••••• ••••••••.•• ••..••••••••. ROSE BEAN</dialogue>
<dialogue>Still Photographer ...••••••••...........•.•............... MURRAYCLOSE</dialogue>
<character>PRINCIPAL</character>
<dialogue>ANTONY ASBURY</dialogue>
<character>PLANT PERFORMERS</character>
<dialogue>BRIAN HENSON</dialogue>
<character>MAK WILSON</character>
<dialogue>SUE DACRE</dialogue>
<character>ROBERT TYGNER</character>
<dialogue>DAVID BARCLAY</dialogue>
<character>MARCUS CLARKE PAUL SPRINGER</character>
<dialogue>DAVID GREENAWAY TOBY PHILPOTT</dialogue>
<character>DON AUSTEN</character>
<dialogue>WILLIAM TODD JONES TERRY LEE</dialogue>
<character>CHRIS LEITH</character>
<dialogue>IAN TREGONNING JOHN ALEXANDER</dialogue>
<character>MICHAEL QUINN JAMES BARTON</character>
<dialogue>GRAHAMFLETCHER</dialogue>
<character>MADELINE ADAMS</character>
<dialogue>TONY ANTONY</dialogue>
<character>MARTIN ANTONY</character>
<dialogue>JOAN BARTON</dialogue>
<character>AILSA BERK</character>
<dialogue>MARTIN BRIDLE</dialogue>
<character>RICHARD BRAIN</character>
<dialogue>FIONA BENYON BROWN</dialogue>
<character>SIMON BROWN</character>
<dialogue>GEORGIA CLARKE DEBBIE CUMMING</dialogue>
<character>DAVID BULBECK</character>
<dialogue>RICHARD COOMBS PHIL EASTON</dialogue>
<character>MARY EDWARDS</character>
<dialogue>MIKE HALFORD</dialogue>
<character>GEOFF FELIX</character>
<dialogue>LESLIE HAYNES</dialogue>
<character>PENNY HETHERINGTON</character>
<dialogue>RONNIE LE DREW</dialogue>
<character>HELEN JOANNIDES</character>
<dialogue>PATRICIA MARTINELLI</dialogue>
<scene_description>SALLY McCORMACK STEPHEN MOTTRAM</scene_description>
<character>RUSSELL NASH</character>
<dialogue>GRAHAMNEWTON</dialogue>
<character>ALISON NEIL</character>
<dialogue>ANGIE PASSMORE</dialogue>
<character>NIGEL PLASKITT</character>
<dialogue>PETER ROBBINS</dialogue>
<character>JUDY PREECE</character>
<dialogue>GILLY ROBIC</dialogue>
<character>ANNA SAVVA</character>
<dialogue>JOHN STYLES</dialogue>
<character>DAVID SHOWLER</character>
<dialogue>NICHOLASTEMPLE</dialogue>
<character>IAN THOM</character>
<dialogue>PATTI WEBB</dialogue>
<character>DAVID TRAINER</character>
<dialogue>SIMON WILLIAMSON</dialogue>
<character>FRANCIS WRIGHT</character>
<dialogue>Physical</dialogue>
<character>SASKIA WRIGHT</character>
<dialogue>Therapist</dialogue>
<character>ANIMATRONICS STAFF</character>
<dialogue>Coordinator ..•••.•••....•••...............•.•..•....• BARBARA GRIFFITHS</dialogue>
<dialogue>Chief Mechanical Deisgners ..••...•••••.•••••......•..••... NEAL SCANLAN</dialogue>
<character>CHRISTIAN OSTWALD</character>
<dialogue>Head of Fabrication .....•.•••..... .•••.....•.... .......•. SHERRY AMOTT</dialogue>
<dialogue>Senior Modeller •.•.•.•..••••••.•....•••..•.•••..•....••. JOHN BLAKELEY</dialogue>
<dialogue>Senior Painters .......• . ...•••••••• •.•.•• ......•....•..... DAVID WHITE</dialogue>
<character>JANE HARDING</character>
<dialogue>Head of Foam Lab ...........•.•.... •... ..... ••.. ... .. ...... SUE HIGGINS</dialogue>
<dialogue>Senior Mechanical Design ....••..........••....•••......•• NIK WILLIAMS</dialogue>
<scene_description>JIM SANDYS: KEVIN HERD:</scene_description>
<character>STUART ROBINSON</character>
<dialogue>TIM WHEELER</dialogue>
<scene_description>Fabrication ........•. •..•....•.•..•........ ........•••.. GRAEME GALVIN</scene_description>
<character>ALISON DARKE</character>
<dialogue>GINETTE RUTHVEN</dialogue>
<character>JANET KNETCHEL</character>
<dialogue>JOAN GARRICK</dialogue>
<scene_description>EVE ROBERTS:</scene_description>
<character>MAVIS TAYLOR</character>
<dialogue>Modellers ••••.....•........•.•... .........•••..•..•.•.•.. STUART SMITH</dialogue>
<character>DAVID HAYES</character>
<dialogue>GARY POLLARD</dialogue>
<character>JEREMY HUNT</character>
<dialogue>JOHN ROBINSON</dialogue>
<character>PHILOMENA DAVIS</character>
<dialogue>Animatronics Technicians ..•.•..•..•.•.•.•. ...•...• .••••.• STEVE DONALD</dialogue>
<character>BRENT BLAIR</character>
<dialogue>PHIL DABSON</dialogue>
<character>MICHAEL SCANLAN</character>
<scene_description>JASON REED:</scene_description>
<character>IAN MORSE</character>
<dialogue>Animatronics Assistants ••.•••••••••••.•••• •••••• ••••••• FIONA BEAUMONT</dialogue>
<character>ROBERT HATT</character>
<dialogue>Animatronics Plasterers .••.••••••.•.••.•.•..•...••••.•.•••• DON TAYLOR</dialogue>
<character>MICHAEL GASTER</character>
<dialogue>Trainees •••••••..•........•.••••••..•..•...•.........•.. JONATHAN WEBB</dialogue>
<character>JOANNA TURNER</character>
<dialogue>Supervising Electrician •...••••••...•••..•..••.••••••••.••••• JOHN MAY</dialogue>
<dialogue>Best Boy .....•••.....•.•...•.••••••••.•••••••••.••..••••• JOHN SULLIVAN</dialogue>
<dialogue>Gaffer ( 2nd Unit) •••..•..•••••••••••••. ••.•••.••• • •. . MICHAEL McDERMOTT</dialogue>
<dialogue>Supervising Propman .•..•..•••••••••••••• •• •••••••••••.•• DANNY SKUNDRIC</dialogue>
<dialogue>Chargehand Props .•••••••.•••.••••••.••••••••••.••••••••••••• KEITH PITT</dialogue>
<dialogue>Prop Storeman • ••.••.••••••••••••.....••.•.••....•••••••••••• BRIAN WEST</dialogue>
<dialogue>Propmen ........•.••.•..•.•••.•••••.•..••.•............•.•. GRAHAMEMERY</dialogue>
<character>CLIVE WILSON</character>
<dialogue>Carpenter ••. .•••.••.....•.........••••••.••••.•••.•.••..•... JOHN PERRY</dialogue>
<dialogue>Painter • ••.•••.••.••••••••••••••••••••••••••••••••••••••.. JOSEPH MONKS</dialogue>
<dialogue>Plasterer •• .•••••••••••.••••••••••••••••..••••...•....•••.• TERRY LYNC H</dialogue>
<dialogue>Plasterer's Laborer .•••••••••• • •••••••••...•••••...••••••• RICHARD LYON</dialogue>
<dialogue>Stagehand . •.•••••••••••••••••••••••••••••••••••••••••••••••• JOE MOORAT</dialogue>
<dialogue>Rigger .••••.•.•••••...•..•..............•....•............ JOSEPH DOYLE</dialogue>
<dialogue>Carpenter (Animatronics) .••••••••...•••••.....••••••••...••• STEVE EELS</dialogue>
<dialogue>Stagehand (Animatronics) .......••..•..••••••••••.••••••.•••• LEE TAYLOR</dialogue>
<dialogue>Rigger (Animatronics) •.•.••.....•.••••••••••••••••••.•••.•• TONY ROBINI</dialogue>
<dialogue>Special Physical Effects .•••......••... •.••.• •• EFFECTS ASSOCIATES LTD.</dialogue>
<scene_description>MARTIN GUTTERIDGE:</scene_description>
<character>GRAHAMLONGHURST</character>
<dialogue>Additional Lighting Equipment •••••... ••••• LEE ELECTRIC (LIGHTING) LTD.</dialogue>
<dialogue>Grip Package • •.••.•.••.••••.......•..... .•. ....•..•.••• GRIP HOUSE LTD.</dialogue>
<dialogue>Model Unit Supervisor ••••••..... •...•.•• ••••••.....••••• RICHARD CONWAY The Credits ••• 7</dialogue>
<dialogue>Assistant Director .•••••....•.••••• .••••• . ••. ....••••••••••••• TIM REED</dialogue>
<dialogue>Script Supervisor .......•.............•••..•••••••.•••••••• ANNE WOTTON</dialogue>
<dialogue>Cameraman ...••••••••••••••• • .......... .••..••. •••.. PAUL WILSON, B. S. C.</dialogue>
<dialogue>Camera Operator . . •.• JOHN MORGA</dialogue>
<character>N</character>
<dialogue>Focus Puller ...•..••••...•••••••••.•••••••••••••••••••• JONATHAN TAYLOR</dialogue>
<dialogue>Clapper Loader ••••••••••.•.•••••••••••••••••••••••....••... NIGEL STONE</dialogue>
<dialogue>Grip . ............ . .TED JAFFREY</dialogue>
<dialogue>Model Technicians •••.•••••••••••••••••• ....••.•• ..•.•••••.•• BOB HOLLOW</dialogue>
<character>MARTIN GANT</character>
<dialogue>DAVID McCALL</dialogue>
<character>STEPHEN HAMILTON</character>
<dialogue>Model Makers ••••••••••.•..•••••••••... •••••••• ••..••••..•.•• TERRY REED</dialogue>
<character>JIM MACHIN</character>
<dialogue>Sculptor .•................ .KEITH SHORT</dialogue>
<dialogue>Senior Effects Technician •.••.•.•• •••••••••• ••••...•••• CHRISTINE OVERS</dialogue>
<dialogue>Special Effects Assistant .....••.•.•..•.....••••..••••.••.•. TIM WILLIS</dialogue>
<dialogue>General Assistant •.••.•... ...• • KAYE MOSS</dialogue>
<dialogue>Runner • •.•••••••••••••••...•••••..••••••••.••••••.•••.••• MARTIN MERCER</dialogue>
<dialogue>Video Operator .......•••.•.....•••.•......••••..••••••..... CHRIS KENNY</dialogue>
<dialogue>First Assistant Film Edi tor .....................•....••••• WILLIAM WEBB</dialogue>
<dialogue>Second Assistant Edi tor .•...•••.•..••••.•..•..•• • •.••... JONATHAN LUCAS</dialogue>
<dialogue>ADR Edi tor ............ ...................... . ................. BOB RISK</dialogue>
<dialogue>ADR Assistant. •.. STEFNA SMAL</dialogue>
<dialogue>Sound Effects Supervisor. . ••• RON DAVIS Assistant Sound Editor. .COLIN WILSON</dialogue>
<dialogue>Visual Effects Editors. ................................... .DEREK TRIGG</dialogue>
<character>BOB GAVIN</character>
<dialogue>Effects Assistant .••.••••••••••••.••• •••••••• .•..•.•.....•.. BEN PALMER Assistant Editors (L.A.) ••••••••••.••••••••••••••••••••• LOUISE HOGARTH</dialogue>
<character>LISA DORNEY</character>
<dialogue>REBECCA EINFELD</dialogue>
<scene_description>Post Prod uction Coordinator (L.A.) •••••••••••.•••••.••• ••• DENISE FROST Music Edi tors •••........•...•••••••••••.•...•...........• NANCY FOGARTY</scene_description>
<character>CHRISTOPHER KENNEDY</character>
<dialogue>Assistant Music Editor •••••••••.•.•.• ..•. ••••.•.•.••••••••• ANDREWGLEN</dialogue>
<dialogue>Music Pre-Recording (London) ••••.•.....•.•.••.•••••••. ADVISION LIMITED</dialogue>
<dialogue>Engineer •••••.•••••••••.••.•.••.••••..••.....••••.•..••.... DAVID JACOB</dialogue>
<dialogue>Assistant Engineer ...••••••••••••••••..•••••••••..••.. MARTIN O'DONNELL</dialogue>
<dialogue>Music Assistants .•...•••.•••••••..•••...•.••••••••••••... PAULINE McGEE</dialogue>
<character>CLAIRE IBBOTSON</character>
<dialogue>JOANNA HART</dialogue>
<scene_description>Music Pre-Recording (Los Angeles) .•.•.• HOLLYWOODSOUND RECORDERS, INC. Engineer . .•.••.....••.•.••..••....••...•••••.••••••....••• TONY D 'AMICO Assistant Engineers •...••..•••••••••..•••. •.• •••••.•••••••• DANIEL REED SCOTT MacPHERSON Additional Overd ubs •.....•.••••••••••.•.• • •• • .•.•••••.••••.• ROBERT ASH Music Assistants ..........•.•••••• .•••.•••••.••••..•..••• ••• BOB SUTTON</scene_description>
<character>ROBERT SOBO</character>
<dialogue>SUZAN (KAPNER) MANN</dialogue>
<scene_description>Original Score Recording .••••.... •• .••.•••.•.....•.. RECORD PLANT, INC. Engineer •.....•.•.•••.• ••..•••••••••••••••...•••••••••••••••• JOEL MOSS Orchestra Contractor •••.••.•••••••••••••••••....•••....••• CARL FORTINA Orchestrations ..•••••••••.•••••••••• ••• ••••...•••.•••• THOMAS PASATIERI Music Copying .•.•••••..•.•.•.••.• •••••••••.••••••..••. ROBERT BORNSTEIN Re-Recording Mixers .•.....•••..•. •••••........... . ROBERT W. GLASS, JR. STEVE MASLOW:</scene_description>
<character>KEVIN O'CONNELL</character>
<dialogue>Recordists ..•.••••.. . ..•..•• •........•••.•..•••••.•....... GARY RITCHIE</dialogue>
<character>BOBBY NICHOLS</character>
<dialogue>The Credits .•• 9</dialogue>
<dialogue>Negative Cutter .••••••••••••••••••••••••••••••••••••••••• DONAH BASSETT</dialogue>
<dialogue>Color Timer ...........•...••.•.•...•••.........•.•...•.... DICK RITCHIE</dialogue>
<scene_description>Special Visual Effects by ASSOCIATES & FERREN, New York Project Coordination ...•••••••••....••• •. . •...••• .••.•• JAMES N. SHELLY</scene_description>
<character>SUSAN COURSEY</character>
<dialogue>SUSAN LeBER</dialogue>
<scene_description>DAVID McDONOUGH Electronics •.••••••••••••. •.••..•••••• ••••• • . .•.•••.. ROBERT C. FRA.NCIS CHESTER T. HARTWELL:</scene_description>
<character>JOHN C. HUNTINGTON III</character>
<dialogue>Optical Effects .......••.......••.•... .. ....••••...... •• ROBERT ROWOHLT</dialogue>
<scene_description>JOHN ALAGNA: BOB BUCKLES:</scene_description>
<character>SANFORD DUKE</character>
<dialogue>MITCH WILSON</dialogue>
<scene_description>Systems Support •••••••••••••••••••••••...••••••• • ••••••• PHILLIP CULLUM KINNERETH ELLENTUCK: LARS PEDERSON: PAUL PRATT:</scene_description>
<character>ALAND. WEBB</character>
<dialogue>Motion Control •••.•..••.•••.•.••.••..•••••••••••••• CHARLES F. HARRISON</dialogue>
<scene_description>OTTO LEICHLITE R: JOHN A. FRITH: MELISSA RICE:</scene_description>
<character>KEN WISNER</character>
<dialogue>Graphics & Animation •••••••••....•..•.••..••••••••.•••••••••• DICK RAUH</dialogue>
<scene_description>VALERIE BAIAEDI: MICHAEL N. CAPUTO: MICHAEL FAERMAN: GREGORY M. HARKER:</scene_description>
<character>DENNIS JORDAN</character>
<dialogue>JOE LAUDATI</dialogue>
<scene_description>MICHAELSULLIVAN: MICHAEL TABACCO: MICHAEL VENTRESCO:</scene_description>
<character>BRIAN WATERSON</character>
<dialogue>VINCENT N. YACENDA</dialogue>
<scene_description>Robin Animation ......•.................................... PETER CHIANG OPTICAL FILM EFFECTS LTD.: Levi Stubbs' appearance Courtesy of Motown Records "I LOVE LUCY" courtesy of CBS Inc., and Viacom Enterprises "HOWDYDOODY" (R) (c) courtesy of National Broadcasting Company, Inc. "LIFE" title and format used with permission of Time Incorporated Special Thanks to</scene_description>
<character>HORTICULTURE MAGAZINE</character>
<dialogue>BETTER HOMES AND GARDENS</dialogue>
<character>TV GUIDE MAGAZINE</character>
<dialogue>PAUL DOOLEY</dialogue>
<scene_description>and</scene_description>
<character>ROBIN OZ</character>
<dialogue>Filmed entirely at</dialogue>
<character>PINEWOOD STUDIOS LTD.</character>
<dialogue>Iver Heath, Buckinghamshire, England</dialogue>
<scene_description>Re-Recorded at</scene_description>
<character>THE GOLDWYNSOUND FACILITY</character>
<dialogue>Warner Hollywood Studios</dialogue>
<scene_description>Lenses and PANAFLEX (R) Camera by PANAVISION (R) Color by TECHNICOLOR (R) Title Design by BRAN FERREN DOLBY (DD) STEREO in Selected Theatres Original Motion Picture Soundtrack Available on GEFFEN RECORDS, CASSETTES & COMPACT DISCS:</scene_description>
<character>A GEFFEN COMPANYRELEASE</character>
<dialogue>Distributed by WARNER BROS., INC. (WB),</dialogue>
<scene_description>a Warner Communications Company</scene_description>
</scene>
</script> | In the early 1960s, a three-girl "Greek chorus" – Crystal, Ronette and Chiffon – introduce the film, warning the audience that some horror is coming their way ("Prologue: Little Shop of Horrors"). Seymour Krelborn and his co-worker, Audrey, work at Mushnik's Flower Shop in New York City's rough, rundown Skid Row neighborhood, which they lament that they cannot escape ("Skid Row (Downtown)"). Struggling from a lack of customers, Mr. Mushnik decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant – which he dubbed "Audrey II" – from a Chinese flower shop during a solar eclipse ("Da-Doo"). The plant brings much business to Mushnik's shop, but soon starts to wither. Seymour accidentally pricks his finger, and discovers that Audrey II needs human blood to thrive ("Grow for Me"). Audrey II begins to grow rapidly, making Seymour a local celebrity. Meanwhile, Audrey suffers at the hands of her sadistic biker boyfriend, Orin Scrivello; however, she has feelings for Seymour and secretly dreams of running off with him to the suburbs ("Somewhere That's Green"). Seymour continues to feed Audrey II his own blood, draining his energy ("Some Fun Now"). He attempts to ask Audrey out, but she turns him down because she has a date with Orin, who is revealed to be a dentist ("Dentist!"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant suggests that Seymour murder someone, promising that it will bring him fame and fortune and will impress Audrey. Seymour initially refuses, but eventually agrees after he witnesses Orin abusing Audrey ("Feed Me (Git It!)"). After Orin finishes with his masochistic patient, Arthur Denton, who had requested "a long, slow, root canal", Seymour draws a revolver on Orin, but cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas, but breaks the valve, and Seymour watches as he asphyxiates. Seymour dismembers Orin's body and feeds it to Audrey II, which has grown to enormous size, but is unknowingly witnessed by Mushnik, who flees in fear. Audrey, feeling guilty over Orin's disappearance, is comforted by Seymour and the two admit their feelings for each other ("Suddenly, Seymour"). That night, Mushnik confronts Seymour about Orin's death. He holds Seymour at gunpoint, demanding the plant for his own silence. Backed into a corner, Seymour begins to tell him how to care for Audrey II but before he can reveal the secret, the plant swallows Mushnik whole ("Suppertime"). Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite ("The Meek Shall Inherit"). Offered money and a contract for a botany TV show, Seymour becomes overwhelmed and decides to escape Skid Row with Audrey using money coming the next day, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher. While Seymour is gone, the plant telephones Audrey, coaxes her into the shop and attacks her ("Suppertime II"). |
Alien³_1992 | tt0103644 | <script>
<scene>
<scene_description>Alien III Screenplay by John Fasano Story by Vincent Ward & John Fasano</scene_description>
<character>FIRST DRAFT</character>
<dialogue>March 29, 1990</dialogue>
<scene_description>"But how will you die when your time comes, Narcissus, since you have no mother? Without a mother, one cannot love. Without a mother, one cannot die." - Hesse ALIEN III THE SCREEN IS BLACK A pinpoint of light appears. Red. An ember. Unseen BELLOWS blow. GLASS FURNACE The embers glow. Flame. The fire GROWS. A RIVER OF MOLTEN GLASS Heated by the furnace to over 1,300 degrees fahrenheit. White Hot. GLASS FACTORY Flickering flame casts dancing shadows on wooden walls. Coarsely grained wood. Moisture blasted out by years of intense heat. Timbers split. Patched with new wood, it too now old and dry. SMOKE Billows up the walls. Hangs as an angry, black cloud amongst the rafters and beams of the vaulted ceiling. Almost obscures -- A MAN On a narrow LEDGE, twenty feet about the Glassworks' floor. His clothing is Medieval. A rough textured cassock. He is a MONK. LOUVERS are set into the wall. He angles them open. The smoke begins to escape. The Monk turns, raises arms and LEAPS from his lofty perch -- Gently gliding down to the floor with the aid of a FLOWING FOX -- a primitive hand-held pulley that runs down a rope. He lands next to the glass furnace, surrounded by -- MORE MONKS By their dress. With Blowing Iron and Pontil. They blow and shape the molten glass. Crack off the finished pieces. The old way. ONE PARTICULAR MONK Black skinned, early fifties. Stirs his five foot long blowing iron in the molten glass, but he is watching something else. It moves him to song. Lilting tenor lifts high into the air. This is BROTHER KYLE.</scene_description>
<character>BROTHER KYLE</character>
<dialogue>Well would he guess the ascending of the star, Wherein his patient's fortunes settled were. He knew the course of every malady, Were it of cold or heat or moist or dry. Brother John, would-be Doctour of Physick.</dialogue>
<scene_description>We see the object of his song: BROTHER JOHN Not yet forty. Strong features, but fear behind the eyes. The fear that comes from a lack of inner confidence. A good face, nonetheless. He stirs a thick mixture in a mortar. Next to him another MONK sits holding his arm out in front of him, cassock sleeve rolled up, revealing a vicious BURN.</scene_description>
<character>BROTHER KYLE</character>
<dialogue>Tend you quickly he will, with bottles from a shelf.</dialogue>
<scene_description>But heals not, so easily, The ills which plague himself. Brother John stops stirring.</scene_description>
<character>BROTHER JOHN</character>
<parenthetical>(to Kyle)</parenthetical>
<dialogue>Enough.</dialogue>
<scene_description>He scoops the salve out with his fingers and applies it to the Burned Monk's arm. The Burned Monk INHALES sharpley as the cool mixture contacts the injured area.</scene_description>
<character>BROTHER JOHN</character>
<parenthetical>(to the burned Monk)</parenthetical>
<dialogue>Relax.</dialogue>
<parenthetical>(to Kyle)</parenthetical>
<dialogue>Put those lungs of yours to better use.</dialogue>
<character>BROTHER KYLE</character>
<dialogue>Yes, Doc Tor.</dialogue>
<scene_description>Kyle laughs, removes the blowing iron from the molten glass -- a BLOB of white hot glass hanging on the end. He rolls the blob on the Marver, a flat, polished piece of iron, then begins to blow a bottle shaped container. John wraps a fray-edged cloth bandage around the burn.</scene_description>
<character>JOHN</character>
<dialogue>Keep this from getting wet. Go home at late afternoon mealtime and don't come back to work today --</dialogue>
<character>BURNED MONK</character>
<dialogue>But John --</dialogue>
<character>JOHN</character>
<dialogue>I'll tell the Abbot. Just rest today. You're lucky you only burned yourself on the side of the furnace. If some of that glass had gotten on your arm --</dialogue>
<scene_description>He points to the top of his forearm.</scene_description>
<character>JOHN</character>
<dialogue>-- it would've burned clean through to the other side.</dialogue>
<scene_description>He mimes a drop down from the bottom of his arm. The Burned Monk shudders at the thought. BELLS toll.</scene_description>
<character>JOHN</character>
<dialogue>That's late afternoon. Now get on.</dialogue>
<character>BURNED MONK</character>
<dialogue>Thank you, John. I --</dialogue>
<character>JOHN</character>
<dialogue>You're welcome. Go!</dialogue>
<scene_description>The Burned Monk trundles off, injured arm against his chest. John gathers his mortar, pestle, and extra bandages into a burlap sack. Kyle comes over.</scene_description>
<character>KYLE</character>
<dialogue>Good work.</dialogue>
<character>JOHN</character>
<dialogue>All right, but I'm no Father Anselm.</dialogue>
<character>KYLE</character>
<dialogue>You're yourself, that's better...</dialogue>
<scene_description>Kyle pushes him through the door... INTO THE HALLWAY The Hallway is alive with cassocked monks. Their LOW CHANTING reverberates throughout the building. The wooden floorboards creak beneath their combined weights. This is obviously a MEDIEVAL MONASTERY...</scene_description>
<character>KYLE</character>
<dialogue>The Abbot will be pleased.</dialogue>
<character>JOHN</character>
<dialogue>Don't.</dialogue>
<character>KYLE</character>
<dialogue>Don't what?</dialogue>
<character>JOHN</character>
<dialogue>Please don't tell him. At least until I know if there's an infection.</dialogue>
<character>KYLE</character>
<dialogue>You want to be the Abbey's Physician, and you haven't learned the first rule: Don't worry about the patient.</dialogue>
<scene_description>John's face drops.</scene_description>
<character>KYLE</character>
<dialogue>I shouldn't have. Sorry. Look, I know how you must --</dialogue>
<character>JOHN</character>
<dialogue>You don't, but thanks anyway.</dialogue>
<scene_description>AT THE END OF THE HALLWAY A wide stairwell. A constant stream of monks all moving down the stairs. Coming from floors above. Headed for lunch. Kyle starts down. John starts up --</scene_description>
<character>KYLE</character>
<dialogue>Not coming down?</dialogue>
<character>JOHN</character>
<dialogue>I have someone waiting for me.</dialogue>
<scene_description>Kyle disappears into the crowd. John moves up... THE STAIRWAY A river of brown cassocks running downstream. John is the only one moving against the flow. He exits the stairwell -- ONE FLOOR UP A narrow corridor lined with doorways. John moves to one in particular. He doesn't even look as he grabs the door knob. This is his room. He opens the door -- IN BROTHER JOHN'S ROOM An old, worn out DOG lays in wait on an old, worn out cassock which is now serving as its bed. At the sight of John it stands.</scene_description>
<character>JOHN</character>
<dialogue>Come on, Mattias.</dialogue>
<scene_description>The dog, MATTIAS, joins him in the hall. Monk and pet disappear up a flight of stairs. Past another dozen or so Monks who are on their way down.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY</stage_direction>
<scene_description>A vast room filled with rows of wooden tables with low benches between aisle after aisle of floor-to-ceiling wooden shelves jammed to capacity with BOOKS of all shapes and sizes. Millions of books, from the looks of it. From each book hangs a long CHAIN, long enough to allow the book to be carried only as far as the nearest table. A CORPULENT MONK - BROTHER PHILIP In his fifties, and the Librarian by his stern affect, his position behind a broad, but also old oak desk, and the large KEY hanging from his belt. He watches the few stragglers return their chain bound volumes to the shelves and head for the door, then rises and joins them... IN THE CORRIDOR JUST OUTSIDE THE LIBRARY John leans against the wall as Philip exits. Mattias is nowhere to be seen.</scene_description>
<character>PHILIP</character>
<dialogue>Brother John.</dialogue>
<character>JOHN</character>
<dialogue>Brother Philip.</dialogue>
<character>PHILIP</character>
<dialogue>Feeding the mind instead of the body again?</dialogue>
<character>JOHN</character>
<dialogue>My training has taught me to feed what's hungry.</dialogue>
<scene_description>Philip pats his broad stomach and heads down the hallway.</scene_description>
<character>PHILIP</character>
<dialogue>As did mine. As long as you're alone. Enjoy yourself -- and remember, no book leaves the library.</dialogue>
<character>JOHN</character>
<dialogue>How could I forget? Have a good meal...</dialogue>
<scene_description>John watches the corpulent librarian head down the stairs. When he's gone from sight John lifts the bottom of his cassock to reveal Mattias.</scene_description>
<character>JOHN</character>
<dialogue>Perfect.</dialogue>
<scene_description>They move into the library... THE MEDIEVAL SECTION The oldest books. John moves to the stacks. Mattias trots over to a particular bench and sits. This is his regular place. AT THE SHELVES John stands on toe tips to retrieve an ancient Tome. He runs his fingers over the familiar leather binding. A smile plays across his lips. He carries the book, places it on the edge of the table so there is slack in the chain. Sits on the bench next to the dog. Clears his throat, opens the book, begins to read... John (reading) In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks --</scene_description>
<character>VOICE O/S</character>
<dialogue>Sometimes, I think you'd like that.</dialogue>
<scene_description>John turns to find -- THE ABBOT Leader of the monastery. In his seventies but looks younger. His Cassock is adorned with a large, ornately carved, wooden CHAIN in place of a rope belt. He crosses to the table. John closes the book and stands, head bowed in respect. John Abbot, I -- I didn't think anyone would --</scene_description>
<character>ABBOT</character>
<dialogue>Mind? Just Philip, if he knew. I passed him on the way up. He said you'd come in alone. I knew better.</dialogue>
<scene_description>He scratches the back of Mattias' neck.</scene_description>
<character>ABBOT</character>
<dialogue>Hello, Mattias. How are you, boy?</dialogue>
<scene_description>The dog snuffles in response.</scene_description>
<character>ABBOT</character>
<dialogue>You know what Philip says about Mattias' hair and his breathing. You'll have to take him out of here.</dialogue>
<character>JOHN</character>
<dialogue>He likes when I read to him and -- I can't --</dialogue>
<scene_description>John looks down sheepishly. Though nearly forty, he feels almost adolescent in the presence of the Abbot. The Abbot pulls a large key from his pocket.</scene_description>
<character>ABBOT</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Someone must have left this one unlocked. Take the book with you.</dialogue>
<scene_description>He hands the key to John, who is shocked -- this is a great honor.</scene_description>
<character>JOHN</character>
<dialogue>Father, I --?</dialogue>
<character>ABBOT</character>
<dialogue>Kyle tells me you did a good job at the glassworks today.</dialogue>
<character>JOHN</character>
<dialogue>I'll reserve judgement until the patient lives.</dialogue>
<scene_description>John crosses to the shelf and unlocks his book. He returns the key.</scene_description>
<character>ABBOT</character>
<dialogue>It will get easier. Father Anselm was... an unexpected loss. You'll do fine.</dialogue>
<scene_description>The Abbot walks towards the door...</scene_description>
<character>ABBOT</character>
<dialogue>Just have it back before the end of lunch. Oh -- And I didn't see you in here.</dialogue>
<character>JOHN</character>
<dialogue>Thank you.</dialogue>
<parenthetical>(to Mattias)</parenthetical>
<dialogue>Let's go upstairs, boy.</dialogue>
<scene_description>John takes his book -- Moves to a spiral wooden staircase. Mattias at his heels. Goes UP -- INTO THE BELL TOWER The mechanics of the bell tower -- all ropes and wooden cogs cast scary shadows. A doorway leads to -- THE ROOF OF THE ABBEY Thick with sandy dust. The wood shows through thin patches. We PULL BACK TO REVEAL what we think is the roof of the Abbey is actually -- THE SURFACE OF ARCEON - NIGHT The door has opened onto the SURFACE OF A PLANTOID! The curving horizon broken only by the very top of the Abbey bell tower poking through from the levels below. SMOKE curls from vents set into the surface. Sunken areas of the planet's sirface are SEAS. This is ARCEON. An manmade orbiter. A shell of lightweight foamed steel, five miles in diameter. Constructed by The Company on Special Order with habitable level within finished in whatever material suits its end user. This orbiter, for reasons to be discovered later, has been sheathed in wood. JOHN Walks to the shore of an inland SEA. Sits on a bare patch of wood. Looks up. His eyes grow accustomed to -- THE NIGHT SKY - JOHN POV Freckled with tiny dots of light. Stars. Spread across the inky void. Bathe Arceon's surface with their celestial glow. John smiles at Mattias, breathes deep. The atmosphere up here is thinner, but fresher. He opens the book. Reads aloud --</scene_description>
<character>JOHN</character>
<dialogue>In the year of our Lord 1348 I, Brother Gerhado of the Minorite Abbey helped bury the Abbot and my sixty fellow monks, day by day, one by one, until I am the only one left. I stayed as long as I could bear it, then with my dog --</dialogue>
<scene_description>Mattias lifts his ears at this part. His favorite part.</scene_description>
<character>JOHN</character>
<dialogue>- fled. I have put this to parchment lest this pestilence - this Black Death - stay my hand.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>This was finished by another hand...</dialogue>
<scene_description>John closes the book. Something catches his eye -- Something among the myriad points of light in the sky. Millions of miles away: ONE OF THE STARS Brighter than the rest. MOVING. Fast enough to leave a faint trail. Across the stars. And down... A comet. John stands. Watches -- THE STAR Growing brighter. Drawing nearer. JOHN Joined by three other MONKS. They are older than he. The Four men watch the sky... THE STAR Brighter still. Closer. MORE MONKS Two dozen. A hundred. They come up through the planet's surface. Out of wooden trap doors. Join the others. Days pass. Now three hundred. Necks bowed back. Mouths agape. A SUBTITLE identifies...</scene_description>
<character>RELIGIOUS COLONY ARCEON</character>
<dialogue>-----------------------</dialogue>
<dialogue>POPULATION: 350 Exiles CRIME: Political Heresy</dialogue>
<scene_description>THE STAR Fills the sky. Burns brighter still as it hits the planetoid's atmosphere. ON THE SURFACE OF ARCEON Hundreds of Monks shield their eyes as the ship -- the star -- ROARS over their heads. Trailing FIRE -- John holds up his hands - to touch a star -- Skin BLISTERS as it passes over him, He turns and watches as it -- Arcs downward -- INTO THE SEA WHOMP- SSSSSSSSSS --!! PLUMES of steam rise into the air. The water boils. Fish bob to the surface. Bloated. Dead. JOHN Is the first to hit the shore. Small leather and wood fishing boats tossed by the wake. His coracle is the first into the water. The others running up behind him. He cannot hear the SHOUTS of warning. ON THE SEA - DAWN The sun cracks over the black water. John's hands move the rough wooden oars. Blistered palm opens. BLOOD flows. He tears off a piece of his cassock -- Rips it with his teeth -- Wraps the bloody hand. Rows. THE STAR Ship. Star Ship. Sulaco escape vehicle #4 rocks on the water. White metal skin blackened by the heat. JOHN Rows right into it. His coracle pitches in the choppy surf. He scrambles onto the ship's cracked tile surface. Teeters -- balances -- moves to the unmistakeable HATCH. Looks around for a knob, a handle -- NEXT TO THE HATCH A small panel door whose black and yellow stripes denote urgency. John hesitantly opens the door, revealing a shiny metal LEVER. He stares at it...a beat. Then quickly pulls it down... WUORRRSH -! Hull door OPENS. The doorway is a black maw. John crosses himself. Begins to lower his foot into the hatch --</scene_description>
<character>KYLE O/S</character>
<dialogue>Watch it!</dialogue>
<scene_description>He almost falls backwards off the ship. Looks back -- THE OTHER MONKS Are rapidly approaching. Kyle gestulates wildly --</scene_description>
<character>KYLE</character>
<dialogue>John! Wait -- ! Don't go in!</dialogue>
<scene_description>John turns back to the open hatch. Machine recirculated air flows out. He feels it on the skin of his face. Cool. Cool, and artificial. It calls to him. He steps in. Swallowed by the blackness -- WHOOSH-CLANG -! The door closes behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. SULACO ESCAPE POD #4 - DAY</stage_direction>
<scene_description>Dark. Dim red lights. John stands still as his eyes adjust to the darkness. He sees: NEWT'S HYPER SLEEP TUBE A glass and metal COFFIN -- pneumatic piping twines around its base. The glass lid is BROKEN. A Small RED LIGHT pulses at the head of the tube -- a soft VOICE and TONE, like your seat belt warning -- is audible...</scene_description>
<character>COMPUTER VOICE</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Seal broken...seal broken...</dialogue>
<scene_description>John finds himself moving towards the tube... Looks through the broken lid: IN THE TUBE There is a splattered BLOOD STAIN on the sterile white interior. OLD, turned rust-brown. Whatever happened here happened a while ago. Rust colored drips trail down to -- THE FLOOR Drag marks. His eyes follow the stains to a pile of Bloody clothing against a control panel. A jumpsuit. Torn. Child size. The head of child's DOLL, but no body to be found. JOHN Looks back towards the door. Part of him wants to get the hell out here -- but he fights back his fear. He is a doctor - or trying to be - someone in here may need his help. He presses forward -- Averts his gaze from the clothing, UP to the blinking and glowing instrument panels and their myraid -- LIGHTS Pressure lights. Data lights. Warning lights. Thousands of lights. Like the stars in the sky. It's been decades since he's seen technology like this -- and never this close up. He steps further into the ship, his fear now replaced by fascination, follows the lights.... ON A PALE GREEN SCREEN LED numbers race -- 7,291.01.05...06...07 A legand identifies "Elapsed since separation." He moves on... A VIDEO MONITOR Through scanning bars of snow, an image: A WOMAN with a YOUNG GIRL standing in front of her. The Woman's arms are wrapped around the girl. Protective. Maternal. The Woman speaks. Her message repeats itself. A tape loop, although John has no idea what that is.</scene_description>
<character>WOMAN</character>
<dialogue>...taking pod four. The Crew of the SS Sulaco and all Marine commandoes are dead. Ship's sensors have interrupted the hyper sleep cycle. An overlooked alien egg has hatched. Bishop and Hicks have been killed. Xenomorphs have infested the cruiser. Newt and I are taking pod four. The Crew of...</dialogue>
<scene_description>The WARNING TONE of the Woman's message rekindles John's fear. He moves more hesitantly around the periphery of the ship, following the trail of blinking instruments -- Drawn to touch a button. Click... SOMETHING TENTACLE-LIKE DROPS DOWN ON HIS SHOULDER! Just an oxygen mask. John feels his rapidly BEATING heart as he pushes aside the plastic, dangling object and continues around the shuttle. His hand brushes over a SENSOR which responds by lighting and -- HSSSSSSSSS -! A BLAST of freon shoots out of an overhead pipe -- John SHOUTS and back up into -- ANOTHER HYPER SLEEP TUBE!!! Next to Newt's now empty tube. Humming gently. Still operational. John approaches it cautiously. He can make out the occupant through the lid... A WOMAN The woman from the screen. This is RIPLEY. In hypersleep. Wearing a white cotton tank top and boxer-type shorts. Christ, she looks beautiful. John looks from Ripley to her image on the monitor, then back. Sinks to his knees, reverent. Fascination has replaced fear again. Moves his face closer to the lid. Closer to hers... DAYLIGHT spills in -- John's head WHIPS towards the source of the light -- THE DOOR Open. Kyle and the other monks.</scene_description>
<character>KYLE</character>
<dialogue>John - what is it? Is this a Supply ship?</dialogue>
<character>JOHN</character>
<dialogue>No. No supplies. Kyle, there's someone in here --</dialogue>
<scene_description>The Second Monk looks at Kyle.</scene_description>
<character>SECOND MONK</character>
<dialogue>This is forbidden.</dialogue>
<character>KYLE</character>
<dialogue>John. Just get the hell out of there --</dialogue>
<character>JOHN</character>
<dialogue>I don't want to stay. I have to get her out before this sinks. You come in, give me a hand --</dialogue>
<character>KYLE</character>
<dialogue>Her? Look, this is not the supply ship, so this is technology forbidden to us. Get out of there now!</dialogue>
<scene_description>John looks down at Ripely. A KEYPAD is mounted at the head of the tube. A red button: "EMERG-OPEN" That's plain enough.</scene_description>
<character>JOHN</character>
<dialogue>All right --</dialogue>
<scene_description>He presses it. The Tube opens with a loud BLAST of compressed air. The Monks at the door recoil at the sound. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE SHIP - ON THE SEA - DAY</stage_direction>
<scene_description>Ripley has been lowered into a large coracle. John holds her in front of him. Unconscious. Her head lolls as the boat rocks on the waves. The monks start to row back to short.</scene_description>
<character>FIRST MONK</character>
<parenthetical>(reverent)</parenthetical>
<dialogue>A space ship...</dialogue>
<character>SECOND MONK</character>
<parenthetical>(even more reverent)</parenthetical>
<dialogue>A woman...</dialogue>
<character>KYLE</character>
<dialogue>You shouldn't have gone in --</dialogue>
<character>JOHN</character>
<dialogue>I'm supposed to be a doctor.</dialogue>
<scene_description>He pushes Ripley's hair away from her forehead.</scene_description>
<character>JOHN</character>
<dialogue>She could've been lost.</dialogue>
<character>FIRST MONK</character>
<dialogue>Been a long time since I saw either.</dialogue>
<character>SECOND MONK</character>
<dialogue>It isn't sinking. Look at it. What are we supposed to do with it?</dialogue>
<character>KYLE</character>
<dialogue>What was it like in there --?</dialogue>
<character>JOHN</character>
<dialogue>Lights. So many lights --</dialogue>
<character>THIRD MONK</character>
<dialogue>Tow it in. Bring it in.</dialogue>
<character>SECOND MONK</character>
<dialogue>It's evil.</dialogue>
<character>FIRST MONK</character>
<dialogue>It's just technology.</dialogue>
<character>SECOND MONK</character>
<dialogue>Evil technology. Look at these fish --</dialogue>
<character>THIRD MONK</character>
<dialogue>The Abbot will know what we should do with it --</dialogue>
<character>KYLE</character>
<dialogue>Just lights?</dialogue>
<character>JOHN</character>
<dialogue>Machines. Buttons. Metal.</dialogue>
<character>SECOND MONK</character>
<dialogue>See? Just look at the fish.</dialogue>
<character>THIRD MONK</character>
<dialogue>The Abbot will know.</dialogue>
<character>SECOND MONK</character>
<dialogue>They're boiled. These fish are boiled.</dialogue>
<character>JOHN</character>
<dialogue>Thousands of lights. Like the stars. Like Heaven on Earth.</dialogue>
<scene_description>Ripley stirs in John's arms. Groans. Fights to come out of her fugue state... Looks around through half-lidded eyes -- She is surrounded by rowing, cassocked Monks. MONKS? She closes her eyes. Tries to clear the imagine. Opens: They're still there. She looks down at the bloodied hands around her waist -- realizes she's sitting on someone's lap. Looks back over her shoulder -- JOHN He smiles at her. Friendly, not sexual. RIPLEY Shakes her head. Tries to speak -- Her lips form soundless words. She looks over her other shoulder, sees -- THE SHIP - RIPLEY POV Bobbing on the surface. Growing small with each stroke of the oars. RIPLEY Brows knit. Fights the cobwebs in her brain. Tries to focus on the ship -- Remembers. Turns to John, tries to speak --</scene_description>
<character>RIPLEY</character>
<dialogue>Wait. New...</dialogue>
<scene_description>She loses consciousness. GO TO BLACK...:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE ABBEY - RIPLEY'S ROOM - DAY</stage_direction>
<scene_description>Streaks of light move across the darkness. Form patterns of light and shadow against the wooden walls. There is a sublime stillness, but coming through the walls are the muted, far off SOUNDS of the Abbey -- The SAWING of wood. HAMMERING. WHISPERED prayers. LILTING song. We move down off the wall to a hand-made wooden bed. Ripley in restless sleep.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARCEON SEA - DUSK</stage_direction>
<scene_description>The waters grown rough with the approach of night. Wind whips across white wave tops -- SPRAYS the dozen Monks who LASH their boats to Ripley's SHIP with thick hemp ropes -- Start to tow it to shore...</scene_description>
</scene>
<scene>
<stage_direction>INT. RIPLEY'S ROOM - NIGHT</stage_direction>
<scene_description>Ripley is sleeping -- but struggling against some unseen foe -- She tries to sit up -- can't. Tries to shake off the effects of the suspended animation...looks up through half-lidded eyes: JOHN Sits next to her. Quite asleep. Hands swathed in white bandages. Book resting on his lap. She squints to make the figure standing in the shadows behind him -- it's skin picks up and reflects tiny points of flickering cangle light - seems to ripple as it moves -- THE ALIEN Big, black shiny-smooth head moves into the taper light. It moves towards her, cable-like arms held out at its side -- moving out of sync with its feet -- Ripley tries to move - to cry out -- She can't. She can only move her eyes. She looks over at John, sleeping peacefully. He doesn't notice the Alien -- The Alien moves closer. She can feel his breath -- it evaporates the sweat on her forehead -- a CHILL runs through her but she still can't move -- The Alien stands alongside her bed. Extends a six-fingered hand... Gently rests it on her stomach. Cocks its head -- like it's listening to something. The implication is clear. Ripley finds her voice --</scene_description>
<character>RIPLEY</character>
<dialogue>AAAAAAAAAAAARGH!</dialogue>
<scene_description>Her eyes open wide -- She sits bolt upright. A hand moves to her forehead. Gently pushes her head back to the pillow. John's.</scene_description>
<character>JOHN</character>
<dialogue>You're out of it. Out of it...</dialogue>
<scene_description>Ripley falls back, eyes glued to where the alien appeared. John sees her focal point, looks back over his shoulder: Nothing. Ripley's eyes roll back into her head. She tries to speak -- It was there. Her hand, at her side, tightens into a fist -- John's hand covers hers. Eases the fingers open again. She feels the coarse bandages against her palm. He starts to read quietly from Saint Augustines' Confessions. She begins to drowse again as his soft voice flows over her like waves lapping against the shore...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SURGACE OF ARCEON - DAY</stage_direction>
<scene_description>A HOWLING DUST STORM has kicked up. The monks wear small round goggles, have rags tied over their noses, as they work at a huge BLOCK AND TACKLE arrangement -- Hundreds of ropes grow TAUT. Timbers GROAN. They LIFT Ripley's SHIP -- SWING it over to a large portal --</scene_description>
</scene>
<scene>
<stage_direction>INT. RIPLEY'S ROOM - DAY</stage_direction>
<scene_description>Ripley lays with eyes closed. Muffled VOICES outside her door:</scene_description>
<character>ABBOT</character>
<dialogue>How is the woman, John?</dialogue>
<character>JOHN</character>
<dialogue>I don't think she's here yet.</dialogue>
<scene_description>At the sound of John's voice the SLIGHTEST smile plays across Ripley's sleeping lips.</scene_description>
<character>JOHN</character>
<dialogue>She is close, though.</dialogue>
<scene_description>As they continue talking, Ripley wakes. Opens her eyes. Rolls over onto her side -- There is a window right next to the bed. Ripley lifts herself up on one elbow, looks out: HER POV Garden of Earthly delights... Monks laboring under a beautiful, celestial blue sky -- picking apples, fishing on the water on small inland lakes. Working with hammer and saw on small wooden cottages. Lyrical. It makes her feel good. She scans the countryside... Sheep graze around wooden ladders stretching hundreds of feet up to the -- Ripley does a take -- WORKERS ON A SCAFFOLDING With crude brushes at the end of poles -- PAINT the sky blue. The Abbey, the cottages, the fields outside her window are all on one level - INSIDE THE PLANET. The vaulted CEILING, painted to look like the sky with huge glass "windows" to allow the sunlight in, is actually the UNDERSIDE of the planetoid's outer shell. Ripley looks back at the Monks on the ground: Instead of repairing, they are taking the cabins apart, stacking the wood onto push carts --</scene_description>
<character>RIPLEY</character>
<dialogue>What the hell --?</dialogue>
<scene_description>SUDDENLY -- The Sulaco Escape ship APPEARS in front of her. SWINGS past her window suspended by ropes. Then disappears up, out of sight. Ripley checks her pulse.</scene_description>
<character>RIPLEY</character>
<dialogue>This must be a dream. A bad one.</dialogue>
<scene_description>She rolls back onto the bed. Stares up at the ceiling. ABOVE HER - ON THE ROOF OF THE ABBEY Monks scurry around the Ship as it is lowered into place on a flat area of the roof above the libaray. It seats with a deeply resounding THUD... RIPLEY Hears the SOUND and then another - her door OPENING. She turns to find the Abbot and John standing in the doorway. John waits in the doorway as the Abbot crosses to the chair by the bed and sits.</scene_description>
<character>RIPLEY</character>
<dialogue>Who are you?</dialogue>
<character>ABBOT</character>
<dialogue>I am the Abbot. Leader of this Colony. And you?</dialogue>
<scene_description>He smiles. Open. Friendly.</scene_description>
<character>RIPLEY</character>
<dialogue>Ripley. How did I get here?</dialogue>
<character>ABBOT</character>
<dialogue>Your vehicle crash landed.</dialogue>
<parenthetical>(indicates John)</parenthetical>
<dialogue>Brother John found you and brought you here.</dialogue>
<character>RIPLEY</character>
<dialogue>Where is here?</dialogue>
<character>ABBOT</character>
<dialogue>This is the Minorite Abbey within the manmade orbiter Arceon.</dialogue>
<character>RIPLEY</character>
<dialogue>Can I use a radio to --</dialogue>
<character>ABBOT</character>
<dialogue>We have no radio here. We are a monastic order that has renounced all modern technology. We live the old way. The pure way.</dialogue>
<scene_description>She shakes her head.</scene_description>
<character>RIPLEY</character>
<dialogue>Uh, I - I still don't feel 100%. Whoever took me out of the stasis tube must not have run the full D-F program... Where's Newt?</dialogue>
<scene_description>The Abbot looks at her blankly.</scene_description>
<character>RIPLEY</character>
<dialogue>There was a little girl with me --</dialogue>
<character>ABBOT</character>
<dialogue>You were alone.</dialogue>
<character>RIPLEY</character>
<dialogue>No. She was with me. I put her in her stasis tube -- We launched when the --</dialogue>
<character>ABBOT</character>
<dialogue>You were the only living thing found aboard that vessel.</dialogue>
<scene_description>The Abbot watches Ripley as the terrible truth overcomes her --</scene_description>
<character>RIPLEY</character>
<parenthetical>(slowly)</parenthetical>
<dialogue>Oh, God. Newt.</dialogue>
<scene_description>She stops -- gets that chill up her spine -- She realizes that she MUST have brought the Alien with her.</scene_description>
<character>RIPLEY</character>
<dialogue>It came with us.</dialogue>
<scene_description>The Abbot leans in.</scene_description>
<character>ABBOT</character>
<dialogue>What came with you?</dialogue>
<character>RIPLEY</character>
<dialogue>Listen -- there is a danger here. It came with me. How long have I been here?</dialogue>
<character>ABBOT</character>
<dialogue>Almost two days --</dialogue>
<character>RIPLEY</character>
<parenthetical>(calculates)</parenthetical>
<dialogue>Loose for two days. This planet could be overrun within the week.</dialogue>
<scene_description>Ripley grabs the Abbot by his cassock --</scene_description>
<character>RIPLEY</character>
<dialogue>Look, there's a xenomorph --</dialogue>
<parenthetical>(sees his confusion)</parenthetical>
<dialogue>An Alien creature. A killer. A monster. And now it's here.</dialogue>
<scene_description>The Abbot looks at her the way you look at that guy on the corner of Santa Monica and 3rd who's babbling about Judgement Day. The guy with his pants down around his kness. She sees this, releases her hold on him...</scene_description>
<character>RIPLEY</character>
<dialogue>Calm down, Ripley. Okay, I was with a platoon of Colonial Marines on a mission to planetoid LV426. We left Earth six months ago - maybe a year --</dialogue>
<character>ABBOT</character>
<parenthetical>(interrupts)</parenthetical>
<dialogue>Wait a moment --</dialogue>
<scene_description>The Abbot becomes aware of John's presence in the doorway. Turns over his shoulder at him.</scene_description>
<character>ABBOT</character>
<dialogue>Leave us.</dialogue>
<scene_description>John waits there a beat, then backs out and closes the door.</scene_description>
<character>ABBOT</character>
<dialogue>Continue.</dialogue>
<character>RIPLEY</character>
<dialogue>We launched in the Cruiser Sulaco from Gateway sub-orbital space station --</dialogue>
<character>ABBOT</character>
<dialogue>Not possible.</dialogue>
<character>RIPLEY</character>
<dialogue>What do you mean?</dialogue>
<character>ABBOT</character>
<dialogue>When we left Earth seventy years ago, it was on the brink of a New Dark Age. Technology was on the verge of destroying the planet's environment. A computer virus was threatening to wipe away all recorded knowledge. There didn't seem to be any way it could be averted. In the almost</dialogue>
<dialogue>forty years since we were towed out here in hypersleep, the news that came with occasional supply ships only got worse. Finally, the ships stopped coming. We had to resign ourselves to the fact that worst had come to pass, and the Earth no longer existed.</dialogue>
<scene_description>Now she gives him that look.</scene_description>
<character>RIPLEY</character>
<parenthetical>(slowly)</parenthetical>
<dialogue>Uh...All right... Forget the Earth - How many people do you have here? Let's worry about them. Warn them --</dialogue>
<scene_description>A new look overtakes the Abbot's face. A look of fear. Now she's getting to him - or is she? He abruptly stands.</scene_description>
<character>ABBOT</character>
<dialogue>Your mind is troubled. You need to rest some more.</dialogue>
<character>RIPLEY</character>
<dialogue>I don't need rest - I need to get to your people. You've got to get to them -- tell them about the alien --</dialogue>
<scene_description>He heads for the door --</scene_description>
<character>ABBOT</character>
<dialogue>I have had enough for now.</dialogue>
<character>RIPLEY</character>
<dialogue>Enough? Didn't you hear what I said? It could wipe out the entire population of this planet. It may have started already - Have there been any unusual deaths since I got here?</dialogue>
<scene_description>The Abbot stops in the door -</scene_description>
<character>ABBOT</character>
<dialogue>No. And there won't be.</dialogue>
<scene_description>The Abbot SLAMS the door behind him. THE CORRIDOR OUTSIDE RIPLEY'S ROOM - DAY John stands nearby as the Abbot addresses two BURLY MONKS</scene_description>
<character>ABBOT</character>
<dialogue>Bolt it.</dialogue>
<scene_description>The guards move to bolt the door.</scene_description>
<character>JOHN</character>
<dialogue>What is it -- What's wrong?</dialogue>
<character>ABBOT</character>
<dialogue>Your patient is in a dangerous mental state. Nobody gets in or out until I say so.</dialogue>
<character>JOHN</character>
<dialogue>But I. Her meals --</dialogue>
<character>ABBOT</character>
<dialogue>Nobody.</dialogue>
<character>JOHN</character>
<dialogue>Father, I don't understand --</dialogue>
<scene_description>The Abbot turns and disappears down the hall. John looks from the departing Abbot to the two Guard/Monks. THE LIBRARY - NIGHT John has his head buried in his hands. His back rises and falls with the rhythmic breathing of sleep. Mattias curled up on his feet. Asleep as well. WHAM! The Library door FLIES open --! John sits bolt upright -- A HYSTERICAL MONK bursts in. Rushes to John's table.</scene_description>
<character>HYSTERICAL MONK</character>
<dialogue>Brother John! You're here! The Abbot said you'd -- I need -- you're the medic --</dialogue>
<character>JOHN</character>
<dialogue>What?!</dialogue>
<character>HYSTERICAL MONK</character>
<dialogue>My Sandy -- she's ill --</dialogue>
<scene_description>John tries to rub the fitfull sleep out of his eyes.</scene_description>
<character>JOHN</character>
<dialogue>Huh? A woman?</dialogue>
<character>HYSTERICAL MONK</character>
<dialogue>Sandy. My ewe.</dialogue>
<scene_description>John returns his head to the table.</scene_description>
<character>JOHN</character>
<dialogue>One of your sheep? Jesus Christ. Call a vet.</dialogue>
<character>HYSTERICAL MONK</character>
<dialogue>Father Anselm was the vet.</dialogue>
<scene_description>John looks under his arms at Mattias -- The dog just stares at him.</scene_description>
<character>JOHN</character>
<dialogue>You're no help. Okay, let me get my bag. All creatures great and small...</dialogue>
</scene>
<scene>
<stage_direction>INT. HYSTERICAL MONK'S BARN - NIGHT</stage_direction>
<scene_description>A small structure housing a handful of sheep and a few chickens in wire cages. The wooden walss are full of gaps where boards have been ripped off. The Hysterical Monk holds a torch to illuminate the scene. One of his sheep is laying on its side...</scene_description>
<character>HYSTERICAL MONK</character>
<dialogue>I just gave her dinner and she keeled over.</dialogue>
<character>JOHN</character>
<dialogue>So would I. It's freezing in here.</dialogue>
<character>HYSTERICAL MONK</character>
<dialogue>Been using the wood from the walls for the fire in my cabin.</dialogue>
<character>JOHN</character>
<dialogue>Haven't we all...</dialogue>
<scene_description>John kneels at the ewe. She's breathing heavy. Rapidly. John puts his left hand down on the hay covered floor while he checks the animal's neck pulse with his right hand. She gives a weak "Baa-ah."</scene_description>
<character>JOHN</character>
<dialogue>May be pneumonia. Pitch some of that hay around her. Stop this damn cold breeze.</dialogue>
<scene_description>The Hysterical Monk props the torch up in an empty bucket and retreives a crude iron pitchfork from the wall. Starts to pile hay around the fallen animal.</scene_description>
<character>JOHN</character>
<dialogue>First, I'll --</dialogue>
<scene_description>He sits up to reach for his back, then stops when he sees what's on his left hand -- A SLIMY MUCOUS-LIKE SUBSTANCE</scene_description>
<character>JOHN</character>
<dialogue>Wait a minute...</dialogue>
<scene_description>The Hysterical Monk stops on mid-pitch. John rubs the material between his fingers. Brings it close to his nose. Sniffs.</scene_description>
<character>HYSTERICAL MONK</character>
<dialogue>What is it?</dialogue>
<character>JOHN</character>
<dialogue>I don't know. It's all over the ground. Some sort of --</dialogue>
<scene_description>BAAA-AAAH!!! The ewe starts to SHAKE - QUIVER -- John tries to hold it down -- The Hysterical Monk, at this juncture, goes completely apeshit.</scene_description>
<character>HYSTERICAL MONK</character>
<dialogue>What?! WHAT?!</dialogue>
<character>JOHN</character>
<dialogue>Jesus! Help m --</dialogue>
<scene_description>The ewe is shaking so violently that John is thrown back -- He knocks over the bucket -- the torch falls into the hay -- The light is cut off as the torch almost smothers. Then the hay starts to burn -- Weak fire light revealing: BAAaa-Aha-SCLORTCH-H-!! THE EWE EXPLODES ---! Stomach BURSTS -- SPRAYING the two Monks with entrails and blood -- They start SCREAMING. The flickering FIRE LIGHT grows as... A TERRIBLE ALIEN CHEST-BURSTER BURSTS out of the jerking and twitching carcass. It shows the characteristics of the animal in which it has gestated. Tiny razor sharp teeth and black, glass-like eyes peer from a enlongated head covered with downy, but gore-matted WOOL. A quadroped, its shrunked hind legs struggling to free itself from the cooling morass of intestines. John can only SCREAM as the most horrible nightmare he can imagine tries to slough off the animal's mortal coil. The Hysterical Monk, fear overcome with ANGER at the loss of his beloved Sandy, steps in front of the near catatonic Medic and instinctively THRUSTS his pitchfork into the creature -- The sharp prongs PIERCE its still forming body -- The CREATURE WAILS a high pitched SHRIEK - half alien, half sheep as it is roughly TORN from it's nesting place -- The Monk lifts -- It TWISTS at the end of the fork, acid blood dripping onto the wood floor -- each drop bursting into a little pool of FIRE. The Hysterical Monk turns to the now raging hay fire -- The entire corner of the barn is ablaze -- SHOVES the abomination in -- The Sheep/Alien POPS and SIZZLES as tongues of flame leap up to lap at it's struggling body -- tiny tail whipping about -- The creature dies, its fading screams are soon the only sound heard within the barn. The Hysterical Monk holds his fork in the flame as he looks back to check on -- JOHN Face contorted, eyes glued to the burning creature. Heaving lungs push air through his diaphram, but no sound comes from his open mouth -- The Doctor in training has seen the devil.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HYSTERICAL MONK'S BARN - NIGHT</stage_direction>
<scene_description>Wooden walls collapse inward as the building becomes a pyre. Acrid black smoke curls up to the ceiling and spreads out across the rafters... We pull back from the sight INTO a window. Into</scene_description>
</scene>
<scene>
<stage_direction>INT. RIPLEY'S ROOM - NIGHT</stage_direction>
<scene_description>Ripley, watches the burning barn. Frustrated, she climbs out of the bed on unsteady legs, wearing her tank top and shorts. Pulls on a coarse wollen cassock, ties the rope belt --</scene_description>
<character>RIPLEY</character>
<dialogue>Idiots...I'll --</dialogue>
<scene_description>WHAM! The door BURSTS OPEN --</scene_description>
<character>RIPLEY</character>
<dialogue>What the -?</dialogue>
<scene_description>Four BURLY MONKS rush in and grab her. TEAR her out of bed --</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>Ripley is dragged down the darkened hallway.</scene_description>
<character>ABBOT V.O.</character>
<dialogue>An evil has come to Arceon...</dialogue>
<scene_description>IN THE TRIBUNAL ROOM - NIGHT As he continues we move down a row of stern Monk faces, ending at the Abbots...</scene_description>
<character>ABBOT</character>
<dialogue>You heard Brother Graham tell of the devil inside sheep's wool --</dialogue>
<scene_description>He motions towards the Hysterical Monk, sitting in the crowd.</scene_description>
<character>ABBOT</character>
<dialogue>An evil brought by this woman in her vessel of technology.</dialogue>
<scene_description>PULL BACK TO REVEAL A large circular room with wooden walls stretching thirty feet high. Light creeps in through stained glass windows. Hundreds of monks sits in a gallery that looms over the floor of the Tribunal. On the floor: The Abbot and the five eldest Monks sit at a long table facing the witness stand. On the stand: RIPLEY Considers the faces that surround her. Fear. Hate.</scene_description>
<character>RIPLEY</character>
<dialogue>This can't be happening.</dialogue>
<character>BALD TRIBUNAL MONK</character>
<dialogue>You have no voice in this tribunal.</dialogue>
<character>RIPLEY</character>
<dialogue>You must listen to me! You're all in terrible danger! It came with me on the ship --</dialogue>
<character>ABBOT</character>
<dialogue>We know that. At first we believed its arrival was a good omen. But it has only brought pestilence. Dead sheep. Dead fish.</dialogue>
<character>BALD TRIBUNAL MONK</character>
<dialogue>Evil.</dialogue>
<scene_description>Ripley turns to the Abbot.</scene_description>
<character>RIPLEY</character>
<dialogue>Yes, the ship brought it. Not evil. It brought the Alien. I told you, it's here.</dialogue>
<character>ABBOT</character>
<dialogue>We know the name of the evil it brought. It brought technology. Technology to destroy our planet, as surely as it destroyed the Earth.</dialogue>
<character>MONK IN AUDIENCE</character>
<dialogue>Destruction!</dialogue>
<character>RIPLEY</character>
<dialogue>I was on the Earth less than a year ago. It's still there. People, cities, all still there!</dialogue>
<scene_description>A murmur through the crowd. Some are listening to her. The Abbot looks around. He must be in command.</scene_description>
<character>ABBOT</character>
<parenthetical>(matter of fact)</parenthetical>
<dialogue>All dead.</dialogue>
<character>RIPLEY</character>
<parenthetical>(screams)</parenthetical>
<dialogue>It's still there!</dialogue>
<scene_description>The Abbot smiles to himself for making her crack. He stands and begins to pace.</scene_description>
<character>ABBOT</character>
<dialogue>You could not have been on the Earth a year ago, because there is no Earth to be on -- for at least twenty years.</dialogue>
<character>RIPLEY</character>
<dialogue>I haven't been floating in space for twenty years. Let me get to my ship and I'll prove it.</dialogue>
<character>BALD TRIBUNAL MONK</character>
<dialogue>No. Who knows what new evils she'll release if allowed back into that infernal machine.</dialogue>
<character>MONK IN AUDIENCE</character>
<dialogue>No! Don't let her!!</dialogue>
<character>TRIBUNAL MEMBER</character>
<dialogue>This woman is a danger. She denies The New Dark Age. She denies reality.</dialogue>
<character>RIPLEY</character>
<dialogue>This is reality. There is a Xenomorph loose on this planetoid - a alien -- it must have stowed away on my ship -- must have killed --</dialogue>
<parenthetical>(swallows hard)</parenthetical>
<dialogue>Newt. Killed the girl I brought with me. You can't stop it. It goes inside you like an egg - grows -</dialogue>
<parenthetical>(mimes)</parenthetical>
<dialogue>Explodes out of you - keeps growing into some sort of monster. Kills you -- Kills all of you...</dialogue>
<scene_description>She looks at the Medieval people around her. They stare at her in complete confusion. To them, she does sound like a madwoman.</scene_description>
<character>RIPLEY</character>
<dialogue>Who are you people? Look at you -- all of you -- the way you're dressed. This isn't the Middle Ages. You're in space --</dialogue>
<dialogue>on a artifical planet. What are you doing out here?</dialogue>
<scene_description>There, in the upper tier -- John. They make eye contact. She looks to him pleadingly.</scene_description>
<character>RIPLEY</character>
<dialogue>Isn't there anyone here who will listen?</dialogue>
<scene_description>John looks from Ripley to the Abbot. The Abbot stares him down. John turns away.</scene_description>
<character>RIPLEY</character>
<parenthetical>(defeated)</parenthetical>
<dialogue>I guess not. I can't believe this...</dialogue>
<scene_description>The gavel BANGS. The Abbot sits in a moment of contemplation.</scene_description>
<character>ABBOT</character>
<dialogue>Then there is no choice.</dialogue>
<scene_description>The Four Monks grab Ripley roughly -- Bind her arms.</scene_description>
<character>ABBOT</character>
<parenthetical>(to Ripley)</parenthetical>
<dialogue>The evil is inside you. I cast you down. To be sealed away. And God have mercy on your soul.</dialogue>
<scene_description>SLAM CUT TO: THE SHAFT ROOM - DAY A Medieval elevator shaft. The "elevator" is a wooden cage lowered on thick, rough hewn ropes. Ripley, bound, is led to it. She looks back at the monks who have gathered at the door --</scene_description>
<character>RIPLEY</character>
<dialogue>You won't be able to fight it... You don't know what it is --!</dialogue>
<scene_description>She's put into the cage. The door is secured. Two monks begins to pull the ropes. The cage is lifted out over the abyss -- a vast cavernesque space. The other Monks move closer. Crowd around the edge -- John pushes through them - right to the edge -- Watches as the cage is slowly lowered down... Ripley looks directly at John --</scene_description>
<character>RIPLEY</character>
<dialogue>You've sentenced yourselves to death!</dialogue>
<scene_description>John watches as she disappears down into the darkness... Then turns and pushes his way through the crowd -- Down the hall -- THE TRIBUNAL ROOM Empty now except for the Abbot and the Tribunal Members. They speak in hushed tones. John appears in the doorway, but pauses - strains to hear what they are saying:</scene_description>
<character>BALD TRIBUNAL MONK</character>
<dialogue>...they'll have started before she gets down to the Hermitage level.</dialogue>
<character>ABBOT</character>
<dialogue>No trouble?</dialogue>
<character>BALD TRIBUNAL MONK</character>
<dialogue>Only finding the wood for the ship. But Anderson's hut was about that big, and he's dead three months now.</dialogue>
<character>ABBOT</character>
<dialogue>I had that wood earmaked for the Cloister next winter. Well, we might not get to the winter if we don't take care of this. By winter time we can start taking the penitent cells apart. No one in them.</dialogue>
<character>ANOTHER TRIBUNAL MONK</character>
<dialogue>The wood isn't going to last forever.</dialogue>
<character>ABBOT</character>
<dialogue>Neither are we --</dialogue>
<scene_description>He becomes aware of John's presence, and motions the other Tribunal members out of the room. John moves to the Abbot. The Abbot knows what's coming...</scene_description>
<character>ABBOT</character>
<dialogue>Go ahead.</dialogue>
<character>JOHN</character>
<dialogue>This woman. Ripley. I tended her --</dialogue>
<character>ABBOT</character>
<dialogue>Yes, and you did a good job. You shouldn't feel responsible. You couldn't have known --</dialogue>
<character>JOHN</character>
<dialogue>Please, sir, let me finish. I feel that there may be something to what she says.</dialogue>
<character>ABBOT</character>
<dialogue>There isn't.</dialogue>
<scene_description>The Abbot moves to his table, begins to gather up his gavel, notebook. John follows him --</scene_description>
<character>JOHN</character>
<dialogue>I don't understand what you are doing.</dialogue>
<character>ABBOT</character>
<dialogue>This colony is my responsibility. I am protecting the colony.</dialogue>
<character>JOHN</character>
<dialogue>From what? This woman? You never gave her a chance. How can you be so sure you're right?</dialogue>
<character>ABBOT</character>
<dialogue>A better question is what makes you think I'm wrong?</dialogue>
<character>JOHN</character>
<dialogue>You didn't see this thing -- this demon -- Brother Graham and I -- we both saw it.</dialogue>
<character>ABBOT</character>
<parenthetical>(realizes)</parenthetical>
<dialogue>That's right. You both did.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And what was it?</dialogue>
<character>JOHN</character>
<dialogue>I -- I don't know what it was. But I don't think Ripley was a party to it.</dialogue>
<character>ABBOT</character>
<dialogue>She admits she brought it.</dialogue>
<character>JOHN</character>
<dialogue>But she tried to warn us --</dialogue>
<character>ABBOT</character>
<dialogue>You know that's how the devil works. Deception.</dialogue>
<character>JOHN</character>
<dialogue>But I believe her. I don't know how to describe it -- A feeling.</dialogue>
<character>ABBOT</character>
<dialogue>You haven't seen a woman in thirty years. Where does this feeling originate, John?</dialogue>
<character>JOHN</character>
<parenthetical>(points to his head)</parenthetical>
<dialogue>Here.</dialogue>
<scene_description>Pause.</scene_description>
<character>ABBOT</character>
<dialogue>I believe you. But your feelings are fooling you.</dialogue>
<character>JOHN</character>
<dialogue>It's - It's her conviction. I just think --</dialogue>
<scene_description>The Abbot snaps at him --</scene_description>
<character>ABBOT</character>
<dialogue>Don't think.</dialogue>
<scene_description>John takes a step back at the Abbot's tone. A tone he's never heard before. The Abbot runs a hand through his thinning hair. Forces a smile.</scene_description>
<character>ABBOT</character>
<dialogue>It's been a long night. For all of us. You really don't understand what you're dealing with here.</dialogue>
<character>JOHN</character>
<dialogue>That's what she said.</dialogue>
<scene_description>The Abbot chafes.</scene_description>
<character>ABBOT</character>
<dialogue>These are ideas which threaten the very system we live under. The creature is dead and the woman is gone. Forget them. Both. Go read. Go fishing. Go anywhere, but leave this alone.</dialogue>
<character>JOHN</character>
<dialogue>But I --</dialogue>
<character>ABBOT</character>
<dialogue>Alone. I'll get Philip to let Mattias into the Library, all right? For your own good, just stay out of this.</dialogue>
<scene_description>John looks like he's going to protest.</scene_description>
<character>ABBOT</character>
<dialogue>I mean it.</dialogue>
<character>JOHN</character>
<parenthetical>(slowly)</parenthetical>
<dialogue>Yes, Father.</dialogue>
<scene_description>John turns and leaves the room. The Abbot stares after him.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON LEVEL - NIGHT</stage_direction>
<scene_description>Dark. Dank. Dreary. A NAIL is hammered into a board. Then another. The board is old, twisted. The grain is pronounced, splintered. Another board is lifted into place, a nail held -- BAM-BAM-BAM - HAMMERED in tight. TWO ANCIENT WORKERS Drab, torn gray clothing. Hammer the boards over the opening in the wall. Methodically covering up -- RIPLEY Watching them work. BAM-BAM-BAM. Defeated. ON THE ROOF OF THE ABBEY (INTERCUT) A dozen Monks frantically hammer planks up around the Sulacco escape ship - A frame of wood -- begin to wall it in... IN THE PRISON LEVEL The two ANCIENT WORKERS continue their carpentry. The planks cover more of the opening. BAM-BAM-BAM. Covers more of Ripley. BAM-BAM-BAM. She stares... ON THE ROOF OF THE ABBEY Planks are rising around the ship. Covering it. Locking away the good omen turned evil. IN THE LIBRARY John and Mattias sit before an open book. He doesn't read. He can hear the POUNDING of the hammers. It seems to reverberate THROUGH the planet. Through his SKULL. He closes his eyes in pain. RIPLEY Only her face is visible. Another board. BAM-BAM-BAM. Then just her eyes. Just before the last plank is put in place --</scene_description>
<character>WORKER</character>
<dialogue>Here you go, woman. Something from your ship. Something to keep you company --</dialogue>
<scene_description>He tosses it into the cell. Ripley catches it. Watches as the last of the light is covered over. BAM-BAM...BAM. She continues to stare at the once open wall as her eyes grow accustomed to the darkness. The little light creeping between the planks grows in intensity until it is soon enough to see what it is she has caught -- NEWT'S DOLL'S HEAD. Ripley looks around her cell -- actually a narrow space behind other cells, one wall curved out -- like a narrow slice crossways towards the edge of the pie. Looks at the Doll's head in her hand. A beat. She FREAKS OUT --!</scene_description>
<character>RIPLEY</character>
<dialogue>You fucking idiots! You're dead! You're all dead!</dialogue>
<scene_description>BEATS the walls. KICKS. SMASHES her HEAD against the wall. Again. Her nose starts to bleed. Her hand goes to her nose. She squints in the darkenss. Sees the BLOOD. Tastes the iron taste in her mouth. Death is with her again.</scene_description>
<character>RIPLEY</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Dead...</dialogue>
<scene_description>The "widest" part of her cell, the middle, allows her to slide down into a sitting position. She does.</scene_description>
<character>RIPLEY</character>
<dialogue>Christ. Jesus Christ. It's here. Here. Shit. Here. I can't get rid of it...</dialogue>
<scene_description>Looks at the Doll's head --</scene_description>
<character>RIPLEY</character>
<dialogue>Newt. This isn't what I wanted...</dialogue>
<scene_description>She throws the doll's head away -- It bounces off the wall and rolls back to an upright position so that it is staring at her.</scene_description>
<character>RIPLEY</character>
<parenthetical>(snaps)</parenthetical>
<dialogue>Don't stare at me!</dialogue>
<scene_description>Beat.</scene_description>
<character>VOICE O/S</character>
<dialogue>Sorry.</dialogue>
<scene_description>Ripley looks down at the base of the wall facing her -- Where it meets the floor, in the rotting timbers: A HOLE. In it: A MAN'S FACE Bright, wrinkled eyes beneath a snowy white crew cut. He's looking back at her. ON THE ROOF OF THE MONASTERY - NIGHT The Sulaco escape pod #4 is now a memory as the Monks have finished walling it up. Now just another part of the Abbey. As the Monks move down the thin wooden ladders we follow -- Pass them -- down to an open window and into...</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - THE MEDIEVAL SECTION - NIGHT INTO DAWN</stage_direction>
<scene_description>John is here, Mattias asleep at his feet. The tables, the benches, the floor are COVERED with hundreds of books he's pulled off the shelves, their chains all TANGLED. All open to -- PICTURES OF DEVILS Different representations of Evil through the ages -- Lucifer, Shaitan, Ahriman, Asmodeus -- Satan. "The Temptation of Christ" from the Master of Schloss Lichtenstein. Satan roasting on an enormous grill from "Tres riches heures du Duc de Berry." The devil as a serpent. As a semi-humanoid. Gruenwald's "Temptation of St. Anthony." Pacher's "Saint Wolfgang and the Devil." A miasma of Medieval Monsters. JOHN Picks his way through the mess. Like a man possessed he fumbles through book after book. The first golden rays of daylight filter through the huge stained glass windows. John rapidly flips through the Medieval tome in front of him - past an illustration of Satan depicted as having a FACE on his ASS -- further still -- then stops. This is it. We can't see what the illustration is, but we see his REACTION: His eyes open wide as saucers. SLAMS the book closed as if the image would strike blind. He turns to Mattias as if to say something -- Decides not to wake the sleeping dog. John wraps the book's chain around his hand and puts one foot up against the shelf. Pulls -- SPANKT! The old chain gives way. Face set, he loops the shoulder strap of his burlap medical bag over his shoulder. Clutches the book to his chest, gently pets his sleeping dog and goes...</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY OUTSIDE ABBOT'S OFFICE - DAY</stage_direction>
<scene_description>John strides down the corridor purposefully but stops and flattens himself against the wall when the door to the Abbot's office opens suddenly -- BROTHER GRAHAM, The Hysterical Monk, is forcibly led from the room by two burly Monks, taken down the corridor in the other direction. He is gagged. A third Burly Monk moves out of the doorway with the Abbot.</scene_description>
<character>JOHN</character>
<dialogue>Now find John and have him brought to me immediately.</dialogue>
<character>THIRD BURLY MONK</character>
<dialogue>Yes, Father.</dialogue>
<character>ABBOT</character>
<dialogue>Start in the library. And keep it quiet.</dialogue>
<scene_description>The Third Burly Monk nods and moves off. The Abbot watches him leave, then goes back into the room and closes the door. John stares at the closed door a beat and then makes up his mind. He turns and runs back down the hallway...</scene_description>
</scene>
<scene>
<stage_direction>INT. GLASS FACTORY - DAY</stage_direction>
<scene_description>The first Monks straggle in for the morning shift. Kyle is among them. He lifts his blowing iron from a wall mounted rack and moves towards the glass furnace as two other Monks begin to stoke the fire. John enters. Looks around the room and for a frantic moment cannot find -- KYLE At the glass furnace. About to dip his blowing iron into the MOLTEN GLASS. John runs over to him. Almost knocks him over --</scene_description>
<character>KYLE</character>
<dialogue>Hey! Watch it!</dialogue>
<scene_description>He sees that John is agitated --</scene_description>
<character>KYLE</character>
<dialogue>What? What is it?</dialogue>
<scene_description>The other monks begin to notice the commotion, start moving in for a look...</scene_description>
<character>JOHN</character>
<dialogue>I -- Abbot. Must --</dialogue>
<scene_description>John tries to catch his breath. He gestulates wildly. Kyle puts down his blowing iron.</scene_description>
<character>KYLE</character>
<dialogue>John - relax. Take a deep breath - Christ, now I sound like you --</dialogue>
<scene_description>He sees the book clutched in John's white knuckled hands.</scene_description>
<character>KYLE</character>
<dialogue>Is that it, John? Is it the book --?</dialogue>
<character>JOHN</character>
<parenthetical>(panting)</parenthetical>
<dialogue>Yes. Devil.</dialogue>
<scene_description>Kyle moves closer to him. Cautiously. John sees the other monks gathering around -- Closing in on him - whispering --</scene_description>
<character>WHISPERING MONKS</character>
<dialogue>He's got it...</dialogue>
<character>SECOND WHISPERING MONK</character>
<dialogue>Like the Comet Woman...</dialogue>
<character>THIRD WHISPERING MONK</character>
<dialogue>He found her...</dialogue>
<character>WHISPERING MONK</character>
<dialogue>He's infected...</dialogue>
<scene_description>John sees one of the Monks run out -- undoubtedly going to tell the Abbot. John looks into his friend Kyle's face -- Fear.</scene_description>
<character>KYLE</character>
<dialogue>Everything's gonna be fine. Now, let's</dialogue>
<dialogue>see the --</dialogue>
<character>JOHN</character>
<dialogue>Don't humor me -- I'm --</dialogue>
<character>KYLE</character>
<dialogue>Sure. Everything's gonna be fine...</dialogue>
<scene_description>If only he could explain - he can't. John YANKS the book away -- spins -- Bursts through the crowd...</scene_description>
<character>KYLE</character>
<dialogue>Wait -- JOHN!</dialogue>
</scene>
<scene>
<stage_direction>INT. SHAFT ROOM - DAY</stage_direction>
<scene_description>The cage is still down, the ropes stretching into the abyss. John runs in. Moves to the ropes. Places the book on the floor. Tightens his scarred hands on the rope -- Mind racing: The woman will know. Know what it is. How to combat it. He PULLS -- There's no tension against the ropes. John FALLS back on his ass. The ropes WHIZ through the rusty pulley overhead. Pile on the floor in front of John. He lifts the end of the rope. Stares: BITTEN THROUGH. CUT TO: THROUGH THE MONASTERY - SERIES OF SHOTS John RUNS through the building. Through the upper half of the planet. DOWN through the many levels, past dozens of Monks oblivious to the previous night's events and the danger they face: Monks working at Looms. Monks in the Tanning Room. Monks in Morning Prayer. Past them all, to --</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBEY BASEMENT WORKROOM - DAY</stage_direction>
<scene_description>Mops and brooms. John enters. His hair is wild, breathing heavy. He shoves the book into his medical bag. Pushes aside a box of kindling wood to reveal a WOODEN DOOR set into the timbers of the floor. He opens the door: LADDERS Extending down through huge open areas beneath the upper level. Past vast underground viaducts that held up by wooden rafters. Beyond that - a great underground sea that marks the center of the planet - below that, the cells. And Ripley. JOHN Can smell the dank air from the lower tunnels. He MUST go down -- The hard way. He climbs into the darkness...</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBEY LAVATORY - NIGHT</stage_direction>
<scene_description>An enormous room, over a football field in length, consisting of at least a hundred open toilet STALLS facing a hundred wall mounted SINKS. Their condition, though, bespeaks the awful truth - The stalls furthest away from us are COBWEBBED. Some have had the side walls stripped for fire wood. Of the original hundred sinks, maybe twenty are still functional - A facility created for a much larger number of colonists than are left. A SKINNY MONK washes his hands. IN THE STALLS Moving down the row of stalls (chest high, thank you) past a few empty stalls and several grimacing faces, the second to last being The Abbot --</scene_description>
<character>ABBOT</character>
<dialogue>Cold tonight --</dialogue>
<scene_description>-- continuing to the last, Bald Tribunal Member.</scene_description>
<character>BALD TRIBUNAL MEMBER</character>
<dialogue>Gets colder every night.</dialogue>
<character>ABBOT</character>
<dialogue>And every day. Never this bad. Taken</dialogue>
<dialogue>so much wood out of the structure the surface wind blows right through the colony. Right under the floor --</dialogue>
<scene_description>The Bald Tribunal Member SHIVERS as a cold breeze runs along the waste trough under the floor and chills the air in his bowl.</scene_description>
<character>BALD TRIBUNAL MEMBER</character>
<dialogue>Right up your bloody backside. Nights like this make me miss plumbing -- Ack --!</dialogue>
<scene_description>He feels a TUGGING at his bowels - it's not piles. A beat.</scene_description>
<character>ABBOT O/S</character>
<dialogue>What?</dialogue>
<character>BALD TRIBUNAL MONK</character>
<dialogue>I don't -- AAH --</dialogue>
<scene_description>The Bald Tribunal Monk SCREAMS as something GRABS him from below -- (note: the left half of the following 5 pages is cut off. I have completed the text to the best of my ability.) Something SNAKES up his rectum and hooks into his lower intestine! He convulses in spasms of agony. There is a terrible RIPPING SOUND as the Bald Tribunal Monk is PULLED VIOLENTLY down -- out of frame -- We PAN BACK down the row of stalls tight on each sitting Monk and see their HORRIFIED REACTION as they feel the ALIEN drag the Bald Tribunal Monk's body away under them... THE ABBOT in his stall He pounds on the wall --</scene_description>
<character>ABBOT</character>
<dialogue>Matthew? Matthew? Jesus, what's wrong?</dialogue>
<scene_description>SKINNY MONK washing his hands, sees all this. Looses control of his bodily functions as blood sprays from the faucet -- OTHER MONKS In their stalls as the toilets reject a torrent of gore! Blood and viscera spraying the walls -- converting the Abbey into an abattoir. CUT TO: SPACE Angle on the Orbitor Arceon: An orb of wood hands peacefully against a tapestry of celestial seas.</scene_description>
<character>RIPLEY V.O.</character>
<dialogue>Death...</dialogue>
</scene>
<scene>
<stage_direction>INT. RIPLEY'S CELL - NIGHT</stage_direction>
<scene_description>Darkness. Somewhere water drips into a puddle. Ripley lays on her side on the floor with her head resting near the hole in the floor. Her eyes are closed.</scene_description>
<character>RIPLEY</character>
<dialogue>Wherever I go.</dialogue>
<scene_description>A HAND pushes a crust of bread through the hole. She opens her eyes to look at the food. The White-Haired Man's head appears --</scene_description>
<character>WHITE-HAIRED MAN</character>
<dialogue>Take it.</dialogue>
<character>RIPLEY</character>
<dialogue>Thanks, but no thanks, Anthony.</dialogue>
<scene_description>She knows his name.</scene_description>
<character>ANTHONY</character>
<dialogue>You waiting for meat? They don't bring me meat because they know I'm an android. Really don't need it. Bread's better for you anyway. Harder to digest, so it makes you feel fuller than you are.</dialogue>
<character>RIPLEY</character>
<dialogue>Not hungry.</dialogue>
<scene_description>Anthony takes a bite.</scene_description>
<character>ANTHONY</character>
<dialogue>Mmmm. Just a little crunchy.</dialogue>
<scene_description>Ripley twists onto her back until she's staring up at the ceiling.</scene_description>
<character>RIPLEY</character>
<dialogue>Waste of time.</dialogue>
<character>ANTHONY</character>
<dialogue>You don't eat, you'll starve to death, girl.</dialogue>
<character>RIPLEY</character>
<dialogue>That was the plan when they put me down here. And why should you care?</dialogue>
<character>ANTHONY</character>
<dialogue>Because I'm a synthetic person you don't think I can care?</dialogue>
<character>RIPLEY</character>
<dialogue>Believe me, that's a discussion you don't want to have with me.</dialogue>
<character>ANTHONY</character>
<dialogue>You told me you had a bad experience and a good one with androids --</dialogue>
<character>RIPLEY</character>
<dialogue>That's one of each. That means you could go either way. I'm tired of talking about this.</dialogue>
<scene_description>He pushes the bread towards her again.</scene_description>
<character>ANTHONY</character>
<dialogue>You've still gotta eat. You gotta fight the bastards --</dialogue>
<character>RIPLEY</character>
<dialogue>I'm tired of fighting. Maybe I'll be dead before he finds me. Maybe he won't get the satisfaction.</dialogue>
<character>ANTHONY</character>
<dialogue>He? You make it sound like this Alien has a personal score to settle with you. The biology you describe: Queen laying eggs, larvae, drone -- that's very insectoid. Insects usually don't bear grudges.</dialogue>
<character>RIPLEY</character>
<dialogue>And Androids usually aren't the prisoners of lunatics that believe they're ancient Greeks.</dialogue>
<character>ANTHONY</character>
<dialogue>Medieval Monks.</dialogue>
<character>RIPLEY</character>
<dialogue>Whatever.</dialogue>
<character>ANTHONY</character>
<dialogue>And they've only chose to live the life style, they don't believe they're --</dialogue>
<parenthetical>(hears something)</parenthetical>
<dialogue>What's that?</dialogue>
<scene_description>Ripley strains to listen. In the distance: KNOCKING. Someone is knocking on the walls. A VOICE calls out --</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON LEVEL CORRIDOR - NIGHT</stage_direction>
<character>JOHN</character>
<parenthetical>(hoarse)</parenthetical>
<dialogue>Ripley!</dialogue>
<scene_description>He moves down the hallway. BANGS his fist against the walls every few feet -- Waits a moment for a reply, then moves on.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANTHONY'S CELL</stage_direction>
<scene_description>Anthony gets off the floor - Moves so she can see into his cell: The walls of Anthony's cell are covered with charcoal sketches - Different versions of demons and the devil. She rolls her eyes - This guy is an Android! Anthony crosses to his cell door, peers through eye level.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON LEVEL CORRIDOR HALLWAY - ANTHONY POV</stage_direction>
<scene_description>John coming towards him, knocking on the doors of boarded up cells.</scene_description>
<character>ANTHONY</character>
<dialogue>Hey -- you knocking -- cut it out -- You're going to wake everybody up.</dialogue>
<scene_description>John moves to Anthony's door. Looks at him through the slot. Anthony recognizes him.</scene_description>
<character>ANTHONY</character>
<dialogue>Brother John?</dialogue>
<scene_description>John unbolts Anthony's door. Picks him up by his cassock --</scene_description>
<character>JOHN</character>
<dialogue>Anthony? Thought you dead fifteen years.</dialogue>
<character>ANTHONY</character>
<dialogue>Made too good for that. What're you doing?</dialogue>
<character>JOHN</character>
<dialogue>I -- I'm looking -- the Abbot --</dialogue>
<character>ANTHONY</character>
<dialogue>What? You look like you've seen the devil.</dialogue>
<character>RIPLEY O/S</character>
<dialogue>He has.</dialogue>
<scene_description>Anthony turns to look back at Ripley -- moves aside so John can see her face at the hole --</scene_description>
<character>ANTHONY</character>
<dialogue>You mean he --</dialogue>
<scene_description>Anthony turns back - John is gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORRIDOR</stage_direction>
<scene_description>As John begins to PULL the outermosk planks off.</scene_description>
<character>RIPLEY</character>
<dialogue>I was right, wasn't I? You've seen it, you've seen the Alien?</dialogue>
<scene_description>John pauses at that. His eyes tighten at the memory.</scene_description>
<character>RIPLEY</character>
<dialogue>I can tell you have. I was right. It came with me.</dialogue>
<parenthetical>(to the wall, sharp)</parenthetical>
<dialogue>Go away.</dialogue>
<scene_description>John stops. Looks at the wall. Ripley's voice comes clearly through the wood...</scene_description>
<character>RIPLEY</character>
<dialogue>Listen, priest, or whatever you are, I</dialogue>
<dialogue>know what you want. I can't help you. I couldn't help any of the others. Just stop what you're doing. Go away. Do you understand?</dialogue>
<scene_description>John has opened a crack that exposes Ripley's eyes. He stares at her a beat, tries to think of what to reply -- He goes back to work as she continues her confession...</scene_description>
<character>RIPLEY</character>
<dialogue>You going to stay, Father? But you're not going to talk. Okay. Then you can listen. You should listen. Your Abbot was right. I am guilty. But not of heresy. Of murder.</dialogue>
<scene_description>John stops again. Just stares at her eyes.</scene_description>
<character>RIPLEY</character>
<dialogue>The murder of the crew of the Nostromo. That was when I first met the Alien.</dialogue>
<scene_description>That reminds him of why he's here. He doubles his efforts at the boards...</scene_description>
<character>RIPLEY</character>
<dialogue>No, not the same one that's here now. Or maybe it is. Maybe they're all the same one. I couldn't save my crew then. I should have been able to. But I couldn't. When I went the second time --</dialogue>
<scene_description>Her eyes soften.</scene_description>
<character>RIPLEY</character>
<dialogue>Then I met Newt. Newt. I fought -- stayed alive to keep Newt alive. Hoped maybe that would make up for...</dialogue>
<scene_description>She trails off. Slides down the wall.</scene_description>
<character>RIPLEY</character>
<dialogue>Now he got her too. What's the point?</dialogue>
<parenthetical>(hard again)</parenthetical>
<dialogue>Just go away. Leave me in here. If you let me out you'll want me to help you and it will start all over again. Let it end.</dialogue>
<scene_description>John breaks through, flickering torch light streams in the mote filled air around him. Ripley looks up at him.</scene_description>
<character>RIPLEY</character>
<dialogue>I can't help you.</dialogue>
<scene_description>John, heaving and panting from the excertion. Swallows...</scene_description>
<character>JOHN</character>
<dialogue>Puh. (pant) Please.</dialogue>
<character>RIPLEY</character>
<dialogue>It never ends.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - PRISON LEVEL - NIGHT</stage_direction>
<scene_description>A long, twisted-plank-floored corridor with a torch every twenty feet. There is MOVEMENT at the far end. Something is coming towards us - FLICKERING in and out of the light and shadow --</scene_description>
<character>RIPLEY O/S</character>
<dialogue>Sheep?</dialogue>
<scene_description>RIPLEY, JOHN AND ANTHONY Running together. Anthony carries a long wooden staff like a spear. John has his bag. Ripley a torch. We move with them.</scene_description>
<character>ANTHONY</character>
<dialogue>It must be able to take on some of the characteristics of the animal it grows in. Maybe they are from some sort of aggressive soldier race -- warring parties drop the eggs on opposing planets --</dialogue>
<character>RIPLEY</character>
<dialogue>And the alien takes on the form of the creature that finds it, assuming that animal is the dominant life form on the planet. So when it gestates in a man --</dialogue>
<scene_description>Ripley shudders at the memory.</scene_description>
<character>ANTHONY</character>
<dialogue>It's a biped. In a sheep or cow, a quadroped.</dialogue>
<character>RIPLEY</character>
<dialogue>Shit. I just didn't think it could do that to animals.</dialogue>
<character>JOHN</character>
<dialogue>Wait a minute - I thought you were the expert on this monster.</dialogue>
<character>RIPLEY</character>
<dialogue>Is that the only reason you came to get me out? Because I knew about this thing?</dialogue>
<character>JOHN</character>
<dialogue>Yes. I mean no. I mean, that was part of it. Look. I never thought you were wrong. I was wrong not to say anything. I was afraid to speak up. It's hard to be a monk, you know?</dialogue>
<scene_description>Ripley stops. Looks at him. A long beat.</scene_description>
<character>RIPLEY</character>
<dialogue>Thank you. If anything, you're honest.</dialogue>
<character>JOHN</character>
<dialogue>We all are. Took vows.</dialogue>
<character>RIPLEY</character>
<dialogue>I don't know about the Abbot.</dialogue>
<character>JOHN</character>
<dialogue>I'm sure he thinks what he did was right.</dialogue>
<character>RIPLEY</character>
<dialogue>Is that speaking up for someone?</dialogue>
<character>JOHN</character>
<dialogue>No. Charity.</dialogue>
<scene_description>She smiles. They turn a corner...</scene_description>
</scene>
<scene>
<stage_direction>INT. SLOPING CORRIDOR - NIGHT</stage_direction>
<scene_description>This hallway slopes downwards a few degrees. The three find themselves trotting, leaning backward to keep their balance.</scene_description>
<character>RIPLEY</character>
<dialogue>All right, let's forget about the past and get on to our survival. No more prisoners behind us?</dialogue>
<character>ANTHONY</character>
<dialogue>Not for years.</dialogue>
<character>RIPLEY</character>
<dialogue>Okay -- If the Alien's had a few days to lay his eggs our only hope is to get off this - What is this?</dialogue>
<character>JOHN</character>
<dialogue>Arceon.</dialogue>
<character>ANTHONY</character>
<dialogue>Satellite.</dialogue>
<character>RIPLEY</character>
<dialogue>Get to my ship and get off this Satellite.</dialogue>
<character>JOHN</character>
<dialogue>We can't.</dialogue>
<character>RIPLEY</character>
<dialogue>We can't what?</dialogue>
<character>JOHN</character>
<dialogue>Leave Arceon. Can't leave the library --</dialogue>
<character>RIPLEY</character>
<dialogue>A Tape Library?</dialogue>
<character>JOHN</character>
<dialogue>Books.</dialogue>
<character>RIPLEY</character>
<dialogue>So?</dialogue>
<character>JOHN</character>
<dialogue>The reason we are out here. Like the Monks who guarded Monastery Libraries on remote islands off England during the First Plague --</dialogue>
<character>RIPLEY</character>
<dialogue>There must be books on other colonies --</dialogue>
<character>JOHN</character>
<dialogue>Some of these books survived the burning of the Libraries of Alexandria. They contain knowledge that exists in no other record. Their value is unestimable.</dialogue>
<scene_description>He runs his hand along the spine of the book in his bag.</scene_description>
<character>JOHN</character>
<dialogue>We're supposed to protect them.</dialogue>
<character>RIPLEY</character>
<parenthetical>(to Anthony)</parenthetical>
<dialogue>And what does an android have to do with all this?</dialogue>
<character>JOHN</character>
<dialogue>He's a spy.</dialogue>
<character>ANTHONY</character>
<dialogue>The Company planted me here.</dialogue>
<character>RIPLEY</character>
<dialogue>The Company? What does the Company have to do with this?</dialogue>
<character>ANTHONY</character>
<dialogue>They built this prison.</dialogue>
<character>RIPLEY</character>
<dialogue>Prison?</dialogue>
<character>JOHN</character>
<dialogue>Colony.</dialogue>
<character>ANTHONY</character>
<dialogue>Prison. They are all political heretics.</dialogue>
<scene_description>Ripley looks at John.</scene_description>
<character>RIPLEY</character>
<dialogue>You left that part out.</dialogue>
<character>JOHN</character>
<dialogue>The order was more of a counter culture, a reaction to the Technology that was beginning to take over everyone's lives. It was a simple enough idea - Read, don't watch disk. Walk, don't pump more carbons into the air. The earliest members renounced technology. Started to collect the remaining books. Nobody would have noticed if it hadn't been for the Virus.</dialogue>
<character>RIPLEY</character>
<dialogue>Your Abbot talked about that. The New Plague.</dialogue>
<character>ANTHONY</character>
<dialogue>A computer virus. A bad program. By this time the Corporate structure was transglobal, all the world's data storage systems were linked. It spread through</dialogue>
<scene_description>two countries before it was stopped.</scene_description>
<character>JOHN</character>
<dialogue>After a scare like that, thousands flocked to our retreat. People started clamoring for written information. For our books. They abandoned the modern ways --</dialogue>
<character>RIPLEY</character>
<dialogue>I think I can see how this comes out. They gave up their possessions.</dialogue>
<character>ANTHONY</character>
<dialogue>This was a threat --</dialogue>
<character>RIPLEY</character>
<dialogue>To the Company.</dialogue>
<character>JOHN</character>
<dialogue>They sold the technology. A movement to live simply was quickly twisted by Federal agents into a political movement against the Company-controlled World Government. Too much was at stake.</dialogue>
<character>RIPLEY</character>
<dialogue>Too much profit.</dialogue>
<character>JOHN</character>
<dialogue>We were sentenced as political dissidents. This orbiter is our gulag. All the men were packed up with all our books, and towed into space. Ten thousand men. The eldest died very quickly.</dialogue>
<character>RIPLEY</character>
<dialogue>The Company had such a sense of irony. Sending you out on this wooden tub.</dialogue>
<character>ANTHONY</character>
<dialogue>I was placed among them as a sensor. Keeps tabs on the movement.</dialogue>
<character>RIPLEY</character>
<dialogue>So how'd they find out about you?</dialogue>
<character>ANTHONY</character>
<dialogue>I told them. After the supply ship's stopped coming I saw no point in keeping up the charade. Since I was a sort of walking reminder of technology, they cast me down.</dialogue>
<character>RIPLEY</character>
<dialogue>Join the club.</dialogue>
<parenthetical>(to John)</parenthetical>
<dialogue>I figured this wasn't planned. You don't have to be a genius to see it wouldn't be prudent to try to preserve man's written works for generations -- without women.</dialogue>
<scene_description>John looks embarrassed.</scene_description>
<character>RIPLEY</character>
<dialogue>And I don't know about your New Plague, but I was just on Earth and everything's fine.</dialogue>
<scene_description>John has a doubtful look.</scene_description>
<character>RIPLEY</character>
<dialogue>I was right about the Alien, wasn't I? Means I must be right about the Earth.</dialogue>
<scene_description>The logic behind her argument is uncomfortable.</scene_description>
<character>JOHN</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Perhaps.</dialogue>
<character>RIPLEY</character>
<dialogue>That's better than nothing. Come on.</dialogue>
<scene_description>They reach the end of the corridor. It opens into --</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSOM SPACE - PRISON LEVEL</stage_direction>
<scene_description>An enormous open space between "cell blocks." The Wall behind them is honey-combed with corridor openings going up four stories, connected by aged, warped wooden ladders reminiscent of Indian cave dwellings. Only wooden. The room stretches several football field lengths ahead of them -- falling off into gloom. They stand silent for a moment, dwarfed by the size of the room and the task ahead of them. Finally --</scene_description>
<character>RIPLEY</character>
<dialogue>At any rate, let's forget about the Earth completely - whether you're right</dialogue>
<dialogue>or I'm right what's important is getting the hell out of here. From here my ship is...?</dialogue>
<scene_description>John points up at the ceiling.</scene_description>
<character>ANTHONY</character>
<dialogue>In Heaven.</dialogue>
<character>RIPLEY</character>
<dialogue>Right. And this is...</dialogue>
<scene_description>Anthony and John nod.</scene_description>
<character>ANTHONY</character>
<dialogue>This orbiter was patterned after a medieval concept of the universe --</dialogue>
<parenthetical>(makes a circle in the air)</parenthetical>
<dialogue>They call the top half "Heaven - "</dialogue>
<character>JOHN</character>
<dialogue>The Abbey, the fields --</dialogue>
<character>ANTHONY</character>
<dialogue>The bottom half is "Hell." Where we are.</dialogue>
<character>RIPLEY</character>
<dialogue>Aptly named. What's in the middle?</dialogue>
<character>JOHN</character>
<dialogue>The sea.</dialogue>
<character>ANTHONY</character>
<dialogue>Really.</dialogue>
<character>RIPLEY</character>
<dialogue>Work with me here. How far is it back to the surface of the planet?</dialogue>
<character>JOHN</character>
<dialogue>As a stone falls --- Five miles through the center.</dialogue>
<character>RIPLEY</character>
<dialogue>And the elevator -- the thing they lowered me down in?</dialogue>
<character>JOHN</character>
<dialogue>Ropes cut.</dialogue>
<character>ANTHONY</character>
<dialogue>It's smart. First he cuts their escape</dialogue>
<dialogue>off, then works his way down through the monastery level by level until there isn't a thing left alive. Interesting...</dialogue>
<character>RIPLEY</character>
<dialogue>Well, you start appreciating him more than me and I'll find a way to shut you down, capisce, Andy? How do we get up?</dialogue>
<character>JOHN</character>
<dialogue>There are ladders.</dialogue>
<scene_description>She stops. John and Anthony continue on a few steps and then stop and walk back to her.</scene_description>
<character>RIPLEY</character>
<dialogue>Five miles with the Alien between us and there? Good luck, boys.</dialogue>
<scene_description>She turns and heads back towards her cell -- John catches her shoulder --</scene_description>
<character>JOHN</character>
<dialogue>You can't --</dialogue>
<character>RIPLEY</character>
<dialogue>Can't what? Not help you go to your deaths? I've had my fill of that.</dialogue>
<character>JOHN</character>
<dialogue>I need you. I can't do it alone.</dialogue>
<character>RIPLEY</character>
<dialogue>I've fought these creatures twice before. It take a lot to kill these things. Heavy artillery.</dialogue>
<character>ANTHONY</character>
<dialogue>We don't have weapons here.</dialogue>
<character>RIPLEY</character>
<dialogue>How about something we can make weapons from? Do you have anything like that -- any modern things here?</dialogue>
<scene_description>John SHAKES his head vehemently --</scene_description>
<character>JOHN</character>
<dialogue>We renounced technology. It was those things that caused the Plague.</dialogue>
<character>RIPLEY</character>
<dialogue>This is a man-made planet. Something has to be recirculating your air, your water.</dialogue>
<character>JOHN</character>
<dialogue>God?</dialogue>
<character>RIPLEY</character>
<dialogue>Please.</dialogue>
<character>JOHN</character>
<dialogue>I don't know. I just took it for granted.</dialogue>
<character>RIPLEY</character>
<dialogue>Most people do. Without some sort of technology we haven't got a chance.</dialogue>
<scene_description>From behind them:</scene_description>
<character>ANTHONY</character>
<dialogue>There is technology.</dialogue>
<scene_description>John and Ripley turn to look at him.</scene_description>
<character>ANTHONY</character>
<dialogue>A room. A Technology room. Fresh air and water come out.</dialogue>
<character>RIPLEY</character>
<dialogue>An atmosphere processing plant --</dialogue>
<character>ANTHONY</character>
<dialogue>The heart and lungs of Arceon.</dialogue>
<character>RIPLEY</character>
<dialogue>Where is it?</dialogue>
<character>ANTHONY</character>
<dialogue>One level beneath the underground sea.</dialogue>
<character>JOHN</character>
<dialogue>That's five levels up --</dialogue>
<character>ANTHONY</character>
<parenthetical>(points into the gloom)</parenthetical>
<dialogue>On the other side of the orbiter.</dialogue>
<scene_description>John looks at Ripley --</scene_description>
<character>JOHN</character>
<dialogue>A chance.</dialogue>
<scene_description>Ripley looks from John's earnest face to the darkness and back.</scene_description>
<character>RIPLEY</character>
<dialogue>All right. You've got me - so far. But here's the deal: I don't know how many of your brethren are going to be alive when we get up there, but if we make it to my ship, you're all coming with me. We'll take as many of your precious books as we can carry, but we're going. I'm not going to fight this thing again to end up alone again. Understand?</dialogue>
<scene_description>John nods his head.</scene_description>
<character>RIPLEY</character>
<dialogue>We're all dead anyway. We might as well go fi --</dialogue>
<scene_description>She feels a TWINGE in her midsection -- Doubles over. Anthony and John each take an arm --</scene_description>
<character>RIPLEY</character>
<dialogue>Ugh - I'm all right.</dialogue>
<scene_description>She takes a deep breath.</scene_description>
<character>RIPLEY</character>
<dialogue>Still thawing out. I hate hyper sleep... Come on.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ARCEON - MONASTERY LEVEL - NIGHT</stage_direction>
<scene_description>The formerly idyllic landscape has been reduced to a scorched battlefield. Wooden huts leveled. Small fires dot the land. The air thick with ash and greasy smoke. DOZENS OF MONKS swarm across the countryside like ants on a mound of spilt sugar. In one hand a taper or torch held high, in the other hand their WEAPON: scythe, pitchfork, hoe, whatever they could get ahold of, seem pitifully out of place. Some pound sharpened stakes into the ground, others push carts into rough barricades. A "Platoon" of Monks huddle around trap doors open on the wooden "ground." More ladders. They climb down to -- AN UNDERGROUND WHEAT FIELD - NIGHT Just beneath the Monastery level of the satellite: an Underground Wheatfield. Tall golden grass stretches out for miles, swaying gently around huge wooden columns that support the Abbey fifty feet above -- THE CEILING A lattice-work of suspended troughs and wooden pipes -- the "plumbing," the understructure, of the Monastery. THE MONKS Descend the ladders single file. Fear is in all of their faces though most have only heard the stories. They move cautiously into the wheat. Spread out through the field in the jaggedly drawn skirmish line. THE ABBOT The Bald Tribunal Monk's dried blood splattered on his cassock, stands atop an empty wooden wagon. From this vantage point he watches THE MONKS IN THE FIELD THRASH and POKE their way forward leaving trails through the high grass. Their attempt at an orderly progression quickly falls apart as they get strung out all over the field.</scene_description>
<character>ABBOT</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Stay together. Together...</dialogue>
<scene_description>Then another movement catches the Abbot's eye -- AHEAD of the Monks - the wheat waves against the wind. Begins to ripple -- the wheat flattens. a TRAIL forms. SomeTHING is MOVING in the long grass. Moving towards the Lead Monk -- FAST. The Abbot opens his mouth as if to shout a warning - even though the Monk closest to the moving trail is too far away to hear him - before he can make a sound The Alien closes the gap - Feeling horribly helpless he can only watch as AARGH-Aa -! The Lead Monk gives one strangled CRY before he disappears beneath the surface of the long grass. His taper falls among the long, dry stalks -- begins to SMOKE... The Abbot can see the trail moving towards his men before they can. He finds his voice:</scene_description>
<character>ABBOT</character>
<dialogue>Run! RUN!</dialogue>
<scene_description>The Monks in the field turn from the spot where the Monk screamed towards the Abbot -- TURN THEIR BACKS to the now moving again trail --</scene_description>
<character>ABBOT</character>
<dialogue>No - NO. The --</dialogue>
<scene_description>The Alien hits the skirmish line at a flanking angle -- RAKING through five Monks like a scythe through wheat. His tail, arms WHIP out -- SNAP their spines like kindling. Lost torches ignite the wheat... The field BURSTS INTO FLAME. Smoke fills the air. In the smoky commotion the Monks break rank and start running. Weapons in front of them -- SWINGING wildly -- Screaming. Crying. DYING. One Frightened Monk runs through another with his pitchfork. Another hears something crashing through the grass towards him and buries his scythe in his best friend's chest. And through it all the Alien seems to be everywhere. Using the chalky smoke for cover as it SLASHES and TEARS its way across the field -- THE ABBOT Frozen in terror to the spot. Squints through the smoke to see what has happened to his flock. Hears the WAILS of defeat rising up from the wounded. The waving grass is flattened as The Alien moves towards him -- He can finally pry himself from his perch on the wagon. He climbs down. As his feet hit the wooden floor he feels a shadow fall over him. The little hairs on the back of his neck stand up. He slowly turns... THE ALIEN Rises out of the grass in front of the Holy Man. Slowly rises up to its height of almost three meters. It's long, smooth head is no longer black and slimy. It is golden. It's cable-like arms are sheathed in a straw-like covering. It has adapted to the environment of the wheat field. Its now grass-like lips draw back into a ghastly parody of a smile. The Abbot SCREAMS and RUNS.</scene_description>
<character>JOHN O/S</character>
<dialogue>It isn't your fault, you know.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRANSOM SPACE - SERIES OF SHOTS</stage_direction>
<scene_description>They move across the huge room...Anthony a few paces ahead. Their candles throwing only enough light to see several yards. Wind whistles through the huge room, timbers creaking like some gigantic old house settling.</scene_description>
<character>RIPLEY</character>
<dialogue>What?</dialogue>
<character>JOHN</character>
<dialogue>Those things you said before --</dialogue>
<scene_description>Ripley remembers her "confession."</scene_description>
<character>JOHN</character>
<dialogue>I read about it in psychology books. Sometimes when people outlive someone they cared for, they transfer some of the guilt for that person's death to themselves.</dialogue>
<character>RIPLEY</character>
<dialogue>I got a belly full of that from the Psychtechs when I was on Earth. Yeah. "Survivor Guilt syndrome," or something like that. But that's not what I was thinking about. I was thinking about my "friend" up there.</dialogue>
<scene_description>She looks up.</scene_description>
<character>RIPLEY</character>
<dialogue>He was on the pod. He killed Newt but</dialogue>
<scene_description>not me. Why not me? It's almost like he's playing with me. Maybe they have some sort of race memory. Maybe he knows what I did to his "mother." That's why he didn't just kill me. That would be too easy. He has to torment me.</scene_description>
<character>JOHN</character>
<dialogue>You make it sound human.</dialogue>
<character>RIPLEY</character>
<dialogue>Hell, I don't know what it is.</dialogue>
<scene_description>John unconsiously fingers his book.</scene_description>
<character>JOHN</character>
<dialogue>I think I do.</dialogue>
</scene>
<scene>
<stage_direction>INT. LADDER-WELL - PRISON LEVEL - NIGHT</stage_direction>
<scene_description>At the end of the space a rough hewn wooden ladder leads to another block of cell corridors four stories up. Years of damp air have warped the ladder. Ripley leads the way, torch in her left hand. They climb...</scene_description>
</scene>
<scene>
<stage_direction>INT. END OF PRISON CORRIDOR - FOURTH LEVEL - NIGHT</stage_direction>
<scene_description>Dark. Ripley is the first one up. She raises her torch and heads down the new corridor alone. The cells here have no doors. She holds her torch in one -- An old skeleton sits in quiet contemplation. AT THE LADDER John is just climbing off, Anthony right behind him. Anthony is winded. He reaches up for a helping hand. John looks back and sees that Ripley has moved ahead without them, then reaches down to help Anthony. Their hands clasp -- ANTHONY HAS A "VISION" He is seemingly standing in an open field, sheep grazing peacefully at his side. SUDDENLY he is ATTACKED by a horde of Medieval demons. Fish faced demons. Man-headed bird demons. They fly about him, grab hold of his limbs. The Sheep nearest him opens it's mouth to reveal a horde of razor sharp fangs, SINKS THEM INTO HIS ANKLE -- Anthony SCREAMS -! RIPLEY Down the corridor HEARS the scream, turns back -- sees Anthony fighting with himself, struggling against John's grasp - ANTHONY Balanced precariously on the top of the ladder in the real world as he fights against the demons in his android mind -- He JERKS -- Pulls his left ankle out of the grasp of the DEMON SHEEP -- OFF the ladder - forty foot drop waiting below him... JOHN Struggles to keep his death grip on Anthony's hand. It's all that keeps Anthony from falling back down the shaft --</scene_description>
<character>JOHN</character>
<dialogue>Jesus Christ. Ripleeeee -!</dialogue>
<scene_description>He PULLS with all his might... ANTHONY SEES a horrible BIRD-DEMON grasping his hand in its beak -- BITING through his wrist. He waves his staff in the air -- He aims for its head: CRACK -! WHACKS John's hand with his staff -- John HOWLS in pain - LETS GO -- Anthony TEETERS BACK ON ONE FOOT, arms waving in the air -- Ripley's hands SHOOT OUT -- GRAB Anthony's cassock -- STOP his fall. Anthony's eyes open wide at the sight of this new horror -- A terrible, wet, black cable-armed CREATURE that's latched itself onto his cassock -- Long, shiny head. Ripley has become the Alien. WHACK! Anthony HITS the Creature with his staff -- HITS Ripley on the head. WHACK! Again. In the face. John tries to take hold of Anthony's staff arm -- WHACK! The cane WHIPS against the side of his head, knocking him back. Ripley sets her feet and pulls on Anthony's cassock -- Opens her mouth - GRUNTS -- ANTHONY sees the terrible Alien open it's maw to devour him. WHACK! His staff connects with the bridge of Ripley's nose. She sees flashes of light -- loses her balance -- Pitches forward, starts to go over with Anthony -- JOHN GRABS THEM! Wraps his arms around the struggling pair and like a sumo wrestler LIFTS and FALLS backwards - carrying the three of them into the corridor -- WHUMPH! They land on the floor in a heap. Anthony continues to FLAIL ABOUT -- Ripley and John pin him to the floor between them. Finally, the vision leaves him. He loses consciousness. JOHN Breathing heavy - opens his eyes -- He's staring right into Ripley's face. Less than an inch away. He's laying on top of her. She's breathing heavy too. A long, uncomfortable moment.</scene_description>
<character>RIPLEY</character>
<dialogue>Thanks.</dialogue>
<character>JOHN</character>
<dialogue>You're welcome.</dialogue>
<scene_description>They roll off each other. Her hand goes up to her nose. Blood.</scene_description>
<character>RIPLEY</character>
<dialogue>I'm all right.</dialogue>
<scene_description>John reaches into his bag, withdraws a small cotton bag.</scene_description>
<character>JOHN</character>
<dialogue>Hold this against your nose. It'll stop the flow.</dialogue>
<scene_description>She looks over at him questioningly.</scene_description>
<character>JOHN</character>
<dialogue>I'm a doctor.</dialogue>
<scene_description>She holds the small bag against her nose. The bleeding stops. They move over to Anthony - try to help him to his feet. He shakes them off.</scene_description>
<character>ANTHONY</character>
<dialogue>No - please. Just let me sit. Awhile.</dialogue>
<scene_description>He rubs his temples. White, milk-like sweat runs down his cheek.</scene_description>
<character>ANTHONY</character>
<dialogue>Damn it.</dialogue>
<character>RIPLEY</character>
<dialogue>What was that?</dialogue>
<character>ANTHONY</character>
<dialogue>The reason I'm down here.</dialogue>
<scene_description>John points to his own eyes.</scene_description>
<character>JOHN</character>
<dialogue>Visions.</dialogue>
<character>ANTHONY</character>
<dialogue>Dreams.</dialogue>
<character>RIPLEY</character>
<dialogue>Androids can't dream...</dialogue>
<character>ANTHONY</character>
<dialogue>That's probably what they thought when they built me. But my brain is cyber-</dialogue>
<dialogue>organic - patterned after the human brain - it functions the same way a human brain does. It accumulates random images and sensations during waking hours, but unlike the human brain that sloughs them off during sleep --</dialogue>
<character>RIPLEY</character>
<dialogue>Androids don't sleep.</dialogue>
<character>ANTHONY</character>
<dialogue>Right. Maybe they've fixed this on later models, but I don't. Do you know what happens to the human brain when it is deprived of sleep? It starts to run off the dreams while you're awake, as hallucinations. Same thing with me. For twenty years I absorbed data on this planetoid. A little after we lost contact with Earth the visions started. They thought I was insane. I had to explain that it was because I was an android. They liked that even less.</dialogue>
<character>RIPLEY</character>
<dialogue>What did you see?</dialogue>
<character>ANTHONY</character>
<dialogue>What I always see. Images of Monsters. Demons.</dialogue>
<character>JOHN</character>
<dialogue>They're portents. They stand for an evil yet to come.</dialogue>
<character>ANTHONY</character>
<dialogue>Just images I've absorbed from those old books and have no way to get rid of.</dialogue>
<character>RIPLEY</character>
<dialogue>I saw the inside of your cell.</dialogue>
<character>ANTHONY</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>My head is full of them. I try to get them out any way I can.</dialogue>
<scene_description>His eyelids droop.</scene_description>
<character>JOHN</character>
<dialogue>You need sleep.</dialogue>
<character>ANTHONY</character>
<dialogue>I know that. I'll settle for rest.</dialogue>
<scene_description>He closes his eyes. Ripley recovers the torch.</scene_description>
<character>RIPLEY</character>
<dialogue>Stay with him.</dialogue>
<scene_description>Ripley tried to stand - John takes her arm, pulls her down.</scene_description>
<character>JOHN</character>
<dialogue>No. We all need rest. You especially.</dialogue>
<scene_description>Ripley considers him.</scene_description>
<character>JOHN</character>
<dialogue>Doctor's orders.</dialogue>
<scene_description>She smiles and sits.</scene_description>
<character>JOHN</character>
<dialogue>Besides, you see what happens when you get ahead of us. We should stay together.</dialogue>
<character>RIPLEY</character>
<dialogue>All right. He's still above us, anyway.</dialogue>
<character>JOHN</character>
<dialogue>What do you mean?</dialogue>
<character>RIPLEY</character>
<dialogue>I've faced this evil twice before - I guess I've gotten sensitive to it --</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You're really a Doctor?</dialogue>
<scene_description>John pats his canvas bag.</scene_description>
<character>JOHN</character>
<dialogue>See my bag?</dialogue>
<character>RIPLEY</character>
<dialogue>What's that book?</dialogue>
<character>JOHN</character>
<dialogue>Just a book.</dialogue>
<character>RIPLEY</character>
<dialogue>I don't buy "just a book" from a guy who says we can't leave the planet without the library.</dialogue>
<character>JOHN</character>
<dialogue>It's just... a medical book I might need.</dialogue>
<character>RIPLEY</character>
<dialogue>You don't have any food in there, do you?</dialogue>
<character>JOHN</character>
<dialogue>Only if you can eat bandages.</dialogue>
<scene_description>Ripley rubs her midsection.</scene_description>
<character>RIPLEY</character>
<dialogue>In a few hours that's going to sound good. Going in and out of suspended animation - Christ I probably haven't eaten in a year.</dialogue>
<character>ANTHONY</character>
<parenthetical>(without opening eyes)</parenthetical>
<dialogue>You should've eaten the bread.</dialogue>
<character>RIPLEY AND JOHN</character>
<dialogue>Rest!</dialogue>
<scene_description>Ripley lets her head loll back against the wall. Closes her eyes. Time passes. Her brow knits. John sees this.</scene_description>
<character>JOHN</character>
<dialogue>You all right?</dialogue>
<character>RIPLEY</character>
<dialogue>Aces.</dialogue>
<character>JOHN</character>
<dialogue>You weren't hurt when I landed on you? Bruised a rib?</dialogue>
<scene_description>He reaches over and puts his hands beneath her cassock. Feels her midsection. His hands are warm.</scene_description>
<character>RIPLEY</character>
<dialogue>Are you sure you're a doctor?</dialogue>
<scene_description>He withdraws his hands.</scene_description>
<character>JOHN</character>
<dialogue>Sort of. My father passed on when we first came here. The Abbey's Physician - Father Anselm - took me in. He really raised me --</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Taught me what he could before he passed away. He was schooled on Earth.</dialogue>
<character>RIPLEY</character>
<dialogue>Well, I'm just hungry.</dialogue>
<character>JOHN</character>
<dialogue>You haven't eaten since I took you out of your tube.</dialogue>
<character>RIPLEY</character>
<dialogue>You did that...</dialogue>
<scene_description>She reaches out and takes hold of his hands. Turns them over.</scene_description>
<character>RIPLEY</character>
<dialogue>You burned yourself on the escape pod.</dialogue>
<scene_description>Her hands on his makes him feel...uncomfortable.</scene_description>
<character>RIPLEY</character>
<dialogue>Thank you, I guess.</dialogue>
<scene_description>They look into each other's eyes --</scene_description>
<character>ANTHONY O/S</character>
<dialogue>You should've eaten the bread.</dialogue>
<scene_description>Ripley, embarrassed, releases his hands. Looks at Anthony. He's trying to stand.</scene_description>
<character>ANTHONY</character>
<dialogue>Enough rest. There's beasties afoot.</dialogue>
<scene_description>They start into... A NARROW CORRIDOR Ceiling so low their torches must be held out in front of them. Ripley makes an effort not to move faster than the two monks.</scene_description>
</scene>
<scene>
<stage_direction>INT. LADDER SHAFT</stage_direction>
<scene_description>A great long ladder hanging in the middle of nowhere. Seems at least a mile long. The group climbs... A SERPENTINE CORRIDOR Liquid drips through the ceiling planks over head. Falls into RED puddles on the slanted floor. John kneels, dips his fingertips --</scene_description>
<character>JOHN</character>
<dialogue>Blood.</dialogue>
<parenthetical>(sniffs)</parenthetical>
<dialogue>Mixed with sea water.</dialogue>
<character>ANTHONY</character>
<dialogue>We're getting close to the center of the arc -- near the sea.</dialogue>
<character>RIPLEY</character>
<dialogue>Blood.</dialogue>
<character>JOHN</character>
<dialogue>Getting close...</dialogue>
<scene_description>John HEARS somthing. Raises his hand -- "stop" The group stops. Flatten themselves against the wall. John takes Anthony's staff. Moves forward with it held out in front of him... WHIRLS around a blind corner -- SHOVES something against the wall -- Thump! It struggles -- Ripley and Anthony run up -- raise their tapers -- Revealing:</scene_description>
<character>RIPLEY</character>
<dialogue>The Abbot.</dialogue>
<scene_description>Cassock torn, dirty. Hair, eyes wild. Anthony's staff across his throat. John pulls back.</scene_description>
<character>JOHN</character>
<dialogue>Father --</dialogue>
<character>RIPLEY</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>What are you doing down here, father? You look like you've seen something that doesn't exist.</dialogue>
<scene_description>The Abbot runs his fingers through his hair. Smoothes it down.</scene_description>
<character>ABBOT</character>
<dialogue>I was their spiritual leader. I was not prepared to lead them in battle. Not against that thing.</dialogue>
<character>JOHN</character>
<dialogue>No one could be.</dialogue>
<character>RIPLEY</character>
<dialogue>I thought you said the evil was inside me -- that sealing me up was the answer to all your problems?</dialogue>
<character>ABBOT</character>
<dialogue>Destruction. The destruction YOU brought to us!</dialogue>
<character>RIPLEY</character>
<dialogue>I only tried to warn you.</dialogue>
<character>ABBOT</character>
<dialogue>What are you doing with this woman --?</dialogue>
<character>JOHN</character>
<dialogue>We are going to the Technology Room. Trying to find some way to fight --</dialogue>
<character>ABBOT</character>
<dialogue>You don't join the devil to fight the devil.</dialogue>
<character>ANTHONY</character>
<dialogue>She's helping us --</dialogue>
<character>ABBOT</character>
<dialogue>Look who defends the deceiver -- the one who isn't even human. John, can't you see what is happening? On ancient Earth, during the Black Death - many believed that God had abandoned them, so they appealed to the Devil. Flocked to him hoping to save their bodies - losing their souls in the bargain.</dialogue>
<character>RIPLEY</character>
<dialogue>Father, we're all on the run from the same monster so let's not resort to the fire and brimstone routine. I've been enlightened about your "movement." Pretty funny to be tried for heresy on a planet of heretics.</dialogue>
<character>JOHN</character>
<dialogue>Please.</dialogue>
<scene_description>The time for pretense is past.</scene_description>
<character>ABBOT</character>
<dialogue>All right. I was trying to keep you quiet.</dialogue>
<character>JOHN</character>
<dialogue>Sir --?</dialogue>
<character>ABBOT</character>
<dialogue>I do what I have to do to keep the Brotherhood together. We all gave up believing in Earth a long time ago. How do you think they would feel if told their exiled was in vain? That the holocaust they were trying to avoid never occured? Those men up there have grown to live with it.</dialogue>
<character>RIPLEY</character>
<dialogue>And with you as their leader.</dialogue>
<scene_description>The Abbot smiles. Ripley is sharp.</scene_description>
<character>ABBOT</character>
<dialogue>You threatened the status quo.</dialogue>
<character>RIPLEY</character>
<dialogue>So you, protector of knowledge and truth, lied to them.</dialogue>
<character>ABBOT</character>
<dialogue>Only about you. The rest I still believe. If Earth still orbits its sun there is no way it could have survived being reduced to Barbarism.</dialogue>
<character>RIPLEY</character>
<dialogue>You're as bad as the Company.</dialogue>
<character>JOHN</character>
<dialogue>Ripley --</dialogue>
<character>RIPLEY</character>
<dialogue>That's why you ran. After all your talk death stared you in the face and you were afraid.</dialogue>
<character>ABBOT</character>
<dialogue>Not afraid of death.</dialogue>
<character>RIPLEY</character>
<dialogue>The Alien.</dialogue>
<character>ANTHONY</character>
<dialogue>The Organism.</dialogue>
<character>ABBOT</character>
<dialogue>The Devil.</dialogue>
</scene>
<scene>
<stage_direction>INT. TECHNOLOGY ROOM CORRIDOR</stage_direction>
<scene_description>The now four refugees work their way into the final corridor. Dark. Turns at sharp angles. Blind alleys. The floor is uneven, wood aged and twisted. Warped by years of water dripping from above. The group strings out as it moves into the darkness, candles held high... ANTHONY Bringing up the rear, puts his walking stick down -- SNAPP!!! Everybody stops at the sound.</scene_description>
<character>ABBOT</character>
<dialogue>What was that?</dialogue>
<scene_description>Anthony pulls his stick from the grasp of a--</scene_description>
<character>ANTHONY</character>
<dialogue>Man trap.</dialogue>
<scene_description>They lower their candles. Look to: THE FLOOR Interspersed throughout the timbers -- Spring jawed, steel toothed, BEAR TRAPS. Rusted. Open. And all around them.</scene_description>
<character>ANTHONY</character>
<dialogue>In case anyone tried to get in and tamper with the technology.</dialogue>
<scene_description>The four of them are standing in the middle of a mine-field of man traps. Nobody moves.</scene_description>
<character>ABBOT</character>
<dialogue>What do we do?</dialogue>
<character>RIPLEY</character>
<dialogue>Don't move. Don't breath.</dialogue>
<character>ABBOT</character>
<dialogue>We can't just stand here and wait.</dialogue>
<character>RIPLEY</character>
<dialogue>Floor's too unstable to try to walk around them.</dialogue>
<scene_description>John pulls a loose board from the corridor wall. Turns and kneels at the trap in front of him. Pokes the end of the board into the jaws... SNAP!! The others jump at the sound --</scene_description>
<character>ABBOT</character>
<dialogue>John - what are you doing?</dialogue>
<scene_description>John pulls the stick out of the rusted jaws. Moves to the next trap -- Snap!!</scene_description>
<character>RIPLEY</character>
<dialogue>He's thinking like a leader. Everyone: Grab wood. Spring the traps. Clear a path.</dialogue>
<parenthetical>(proud of him)</parenthetical>
<dialogue>Good work, Father John.</dialogue>
<character>JOHN</character>
<dialogue>Brother.</dialogue>
<character>RIPLEY</character>
<dialogue>Brother. Let's go.</dialogue>
<scene_description>Ripley pulls a plank from the wall next to her. Exposes a bit of the surface underneath -- It's METAL. She touches the cool, familiar material. Smiles. Now she knows this is not a dream. She turns and SPRINGS the trap in front of her -- SNAP!! THE FOUR Slowly make their way down the corridor, one hand holding a candle high, the other poking a piece of wood into the trap in front of them... SNAP-SNAP...SNAP. SNAP. walking carefully around the yet unfired traps.... THE DOOR TO THE TECHNOLOGY ROOM A huge wooden door with no knob or handle. Looks like it could almost be part of the wall. John and Ripley are the first to it. They put down their planks and begin to feel around the edges of the door for some purchase. The Abbot joins them. BACK IN THE CORRIDOR Anthony lags behind. He senses a presence in the hallway. Hears a sound behind him. We see a GLIMPSE of something -- He turns towards the sound -- Empty hallway. He thinks. Starts forward again -- with his ear cocked to the rear... SNAP! AT THE DOOR Ripley, John and The Abbot knock on the door, walls. Ripley leans her head against the wall in frustration and exhaustion. To get this far, and be locked out. She feels sick to her stomach. How long since she had food? She looks over at John. He is staring at her. He turns red at being caught. Cute.</scene_description>
<character>JOHN</character>
<dialogue>I just - are you allright?</dialogue>
<character>RIPLEY</character>
<dialogue>Tied. Without sleep, food -- I just feel my age.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Figuring hyperspace time, I'm almost a hundred.</dialogue>
<scene_description>She wipes her brow and goes back to knocking...</scene_description>
<character>JOHN</character>
<dialogue>Hello?</dialogue>
<scene_description>The wall beneath his fist sounds hollow. Fingernails find the edge of the plank and pull -- The plank slides aside on tiny, rusty pneumatic pistons. BEHIND THE PLANK A primitive KEYBOARD. Circa late twentieth century.</scene_description>
<character>JOHN</character>
<dialogue>I think this is it.</dialogue>
<scene_description>Ripley and the Abbot move over to see.</scene_description>
<character>ABBOT</character>
<dialogue>Technology.</dialogue>
<character>RIPLEY</character>
<dialogue>Yeah - a hundred years ago. An antique.</dialogue>
<character>ABBOT</character>
<parenthetical>(to Ripley)</parenthetical>
<dialogue>Go ahead.</dialogue>
<character>RIPLEY</character>
<dialogue>Go ahead and what?</dialogue>
<character>ABBOT</character>
<dialogue>Open the door, woman.</dialogue>
<character>RIPLEY</character>
<dialogue>I'll get to it, but listen to me -- you may dress like you're living in the middle ages but you can't treat me like your chambermaid, or whatever Monks had.</dialogue>
<scene_description>UP THE HALL - ANTHONY Hears the sound again. Turns. Nothing again. He pauses... Turns back quickly -- The wooden wall MOVES - steps forward -- THE ALIEN Adapted itself to look like WOOD. It's body changes -- transmutes -- Cable-like sinew snaking over grained limbs to approximate the more traditional bio- mechnoid alien appearance...! ANTHONY POV The weary android sees the Alien as a conglommoration of his many Medieval images of demons. He hears the Alien's hollow, raspy breath. It glides towards him... Anthony steps back directly INTO A TRAP as his mind goes -- SNAP!! The STEEL JAWS spring shut on his left ankle. Milky blood-fluid starts to flow. He finds himself in the same predicament as his vision -- Ankle pinned, the Alien's appendages circling him -- He screams. AAAAAAAAAAAARGH --! AT THE DOOR Ripley is trying to work. She punches numbers into the keyboard. She is too exhausted to see straight. They HEAR the scream -- John RUNS back -- Traps SNAPPING around him -- Ripley turns towards the sound -- The Abbot pushes her back to the keyboard --</scene_description>
<character>ABBOT</character>
<dialogue>OPEN IT!!</dialogue>
<scene_description>Ripley knits her brows. Forces herself to focus. Her fingers punch the keys. THE ALIEN Steps towards Anthony -- Snap-snap-SNAP-AP-!! Traps snap closed on its tail, its legs -- HALFWAY DOWN THE HALL - JOHN SNAP!! His cassock is snagged in a trap. He TEARS right out of it -- AT THE END OF THE HALL Anthony is in the clutches of the Alien. He WHACKS at the Beast with his staff, but his blows fall like drops of rain on an elephant. The Alien LIFTS him up to face him. Anthony SCREAMS as his left leg is stretched agsinst the tension of the trap's chain -- Blood pouring as white ribbons from his almost severed ankle. FACE TO FACE WITH THE ALIEN Anthony drops his staff and grabs each of the alien's arms with his own android arms. His extra-human strength keeps them from squeezing him any tighter, but he cannot avert his gaze from the smooth, eyeless face. The Alien considers him. Its thin, almost translucent lips pull back to reveal rows of splinter-like teeth. The jaws spread, making room for the distended tongue: The Alien HISSES -- PUTS OUT Anthony's EYES with a thin stream of ACIDIC SALIVA -- Artificial skin BUBBLES AND BLISTERS -- JOHN Picks up Anthony's staff. Begins to FLAIL away at the demon. AT THE DOOR Ripley is getting no response from the keyboard.</scene_description>
<character>ABBOT</character>
<dialogue>What's wrong?!</dialogue>
<scene_description>Ripley slides the keyboard out of the wall compartment. The wires are so old they've broken.</scene_description>
<character>RIPLEY</character>
<dialogue>Shit.</dialogue>
<scene_description>She BITES the ends off the wires - spits out the insulation. TWISTS the bare wire ends together... Sweat runs into her eyes. JOHN WHACKS the Alien with Anthony's staff -- Again. Again. The creature will not let Anthony go. The Android writhes in its grasp, his face now a blistered, pulpy mass, eyes gone. RIPLEY Finishes hot wiring. The keyboard hums to life. Her fingers FLY across the keys -- THE ALIEN Tail wraps around John's waist -- Pulls him towards it -- LIFTS him - turns him upside down -- Lips PULL BACK -- John's hands GROPE at the floor -- Sharp metal teeth SPREAD -- THE DOOR KEYBOARD Lights: CODE ACCEPTED Ripley's head whips towards the corridor -- JOHN His hand closes around the end of one of the traps -- He brings it up -- SNAP!! It SLAMS closed on the Alien's extended Tongue -! The Beast bellows!! Whips its head from side to side -- Can't shake off the trap -- ACID BLOOD sprays out --! Lands as pools of FIRE on the wooden floor. THE DOOR Opens with a strained blast of dust -- SEE-WHORCSSH! The Abbot LEAPS inside --</scene_description>
<character>RIPLEY</character>
<dialogue>It's open!!</dialogue>
<scene_description>JOHN PRIES Anthony's ankle out of his trap. Scoops up his staff, drags the moaning Android -- Back up the corridor -- RIPLEY Stands in open Technology Room doorway --</scene_description>
<character>ABBOT</character>
<dialogue>Close it -- close it -- it's coming -</dialogue>
<character>RIPLEY</character>
<dialogue>We wait. John!!</dialogue>
<scene_description>John and Anthony appear out of the shadows -- Run/hobble towards the door -- THE ALIEN Acid Blood DISSOLVES the traps' steel jaws. PULLS itself free. Head whips towards the escaping Monks -- if it had eyes they would narrow to slits in anger -- RUNS up the hall -- RIPLEY Follows John and Anthony into the Technology Room. On the other side of the doorway: another keyboard. She punches keys --</scene_description>
<character>ABBOT</character>
<dialogue>Hurry --</dialogue>
<character>JOHN</character>
<scene_description>THE ALIEN Yards away -- Limping. Hissing. ANGRY. THE KEYBOARD Acceptance tone "bings." The Door starts to slide down -- The Alien is feet away -- INCHES... The door seats itself closed with a solid THUD. Ripley, panting, rests eyes closed against the rough wooden door. A beat. She turns to the room for the first time and finds -- WINDMILLS Real Man of LaMancha wood and cloth windmills. Two story high arms slowly rotating. Moving enormous volumes of air through the wind tunnel-like room. As far as the eye can see. Turning, creaking. WHOOSH...WHOOSH... But no electronics. No radio. No weapons. This is the Technology Room. Ripley collapses to the floor and loses consciousness. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SULACO ESCAPE SHIP #4 (DREAM)</stage_direction>
<scene_description>Yellow warning lights PULSE. Those goddamned STROBES are flickering on and off. Steam blasts out overhead pipes. The blue-spark pilot light muzzles of a FLAME THROWER shyly pokes out from behind a console. It's owner cautiously follows... RIPLEY She's breathing heavy. She's wearing a sweat soaked tank top. Her eyes flit from side to side. Then up. Then down. She pokes the weapon out ahead of her and moves into the pod. She silently crosses the distance to Newt's sleep tube: IN THE TUBE Newt sleeps peacefully. Ripley allows herself one maternal smile, then remembers. Her grip TIGHTENS in the Flame Thrower in her hands. She flips a switch to HI HEAT. Moves around the sleep tubes... A noise to her left. She WHIRLS -- Pulls the trigger on the flame thrower -- click. Nothing. She tries again -- a half-hearted burp, but no flame. She begins to panic -- Senses the Alien's presence. Looks left, right, up - no Alien... Looks down: The Alien's tail is COMING UP BETWEEN HER LEGS. She turns -- Right into it's grasp. The useless flamethrower SKITTERS across the floor. She PUMMELS the beast with balled up fists.</scene_description>
<character>RIPLEY</character>
<dialogue>No. NO! I beat you! I beat you mother fucker!!</dialogue>
<scene_description>The Alien spins her -- pushes her over across the sleep tube -- Like it's taking her from behind! Ripley looks down into the sleep tube: Newt is gone. Her doll's head lays in a pool of blood. The Alien wraps his arms around Ripley. Thin lips pull back for a kiss. She SCREAMS.</scene_description>
</scene>
<scene>
<stage_direction>INT. TECHNOLOGY ROOM - REALITY - DAY</stage_direction>
<scene_description>Ripley opens her eyes. WHOOSH...WHOOSH... She's still in the room with the windmills. Somehow this place seems less real than her dream. She looks around: John is sitting next to her, writing on a piece of parchment. He smiles a relieved smile.</scene_description>
<character>JOHN</character>
<dialogue>I thought we'd lost you.</dialogue>
<character>RIPLEY</character>
<dialogue>What are you writing?</dialogue>
<character>JOHN</character>
<dialogue>Last will and testament.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Just kidding.</dialogue>
<scene_description>She looks to her left: Anthony is lying on his back, cotton bandage wrapped around his eyes. His ankle is a swollen mess. Wires are hanging out.</scene_description>
<character>RIPLEY</character>
<dialogue>Is he --?</dialogue>
<character>JOHN</character>
<dialogue>Resting.</dialogue>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>He'll be fine.</dialogue>
<character>ANTHONY</character>
<dialogue>No I won't. He's a terrible liar.</dialogue>
<character>RIPLEY</character>
<dialogue>I'm sorry.</dialogue>
<character>ANTHONY</character>
<dialogue>It's ironic. I guess my visions were prescience after all. How will I ever resolve that with my artifical con- science?</dialogue>
<scene_description>A creaking floorboard to Ripley's right draws her attention to The Abbot. He's pacing.</scene_description>
<character>ABBOT</character>
<dialogue>Do you see what you've delivered us into?</dialogue>
<character>RIPLEY</character>
<dialogue>Yeah. Lead me not into temptation to kick your -- ahh --</dialogue>
<scene_description>Ripley tries to stand - her head spins. WHOOSH...WHOOSH...</scene_description>
<character>RIPLEY</character>
<dialogue>Oh shit.</dialogue>
<scene_description>The entire room THROBS with the rhythm of the wind.</scene_description>
<character>RIPLEY</character>
<dialogue>Where is the Big Boy -?</dialogue>
<scene_description>The Abbot points to the door.</scene_description>
<character>ABBOT</character>
<dialogue>On the other side of that door. Waiting for us to starve to death.</dialogue>
<scene_description>Ripley moves to the door and feels it's cold surface.</scene_description>
<character>RIPLEY</character>
<dialogue>It's playing with us. It could get in here any time it wants.</dialogue>
<character>ABBOT</character>
<dialogue>Why should he enter? He knows that one of the people in this room is in league with him.</dialogue>
<character>JOHN</character>
<dialogue>Sir. We're all in the same coracle, so to speak.</dialogue>
<character>ABBOT</character>
<dialogue>Maybe more than one of us.</dialogue>
<character>RIPLEY</character>
<dialogue>Let's talk about the facts, Mr. Abbot.</dialogue>
<scene_description>She looks at the windmills. WHOOSH...WHOOSH...</scene_description>
<character>RIPLEY</character>
<dialogue>This is your technology?</dialogue>
<character>ABBOT</character>
<dialogue>Even this is forbidden to us.</dialogue>
<character>RIPLEY</character>
<dialogue>Well then, the facts are that we're screwed.</dialogue>
<scene_description>She moves into the room. Walks around one of the Windmills.</scene_description>
<character>RIPLEY</character>
<dialogue>An Eco system. Nothing to recycle your atmosphere except the green plants. Winds generated down here --</dialogue>
<parenthetical>(looks at the floor)</parenthetical>
<dialogue>Windmills use the natural surface winds to turn wheels underground, create tides on the seas to recirculate your water...</dialogue>
<character>ANTHONY</character>
<dialogue>More than that. There are pumps beneath the floor - I can feel their vibration.</dialogue>
<character>RIPLEY</character>
<dialogue>Probably pumping this air through charcoal filters.</dialogue>
<scene_description>WHOOSH...WHOOSH...</scene_description>
<character>RIPLEY</character>
<dialogue>It gets colder all the time here, right?</dialogue>
<scene_description>John looks at her questioningly.</scene_description>
<character>JOHN</character>
<dialogue>Yes...</dialogue>
<character>RIPLEY</character>
<dialogue>Your wood burning fires throw soot into the atmosphere, building the cloud layer - cutting off the sun's rays - cooling the planet, forcing you to burn more wood.</dialogue>
<scene_description>WHOOSH...WHOOSH...</scene_description>
<character>ANTHONY</character>
<dialogue>The Greenhouse Effect. It's how the Earth almost destroyed itself in the late 20th century.</dialogue>
<character>RIPLEY</character>
<dialogue>Don't you see? This is a planet set to self destruct. Not in ten minutes or two hours but soon. Your atmosphere here is finite. If the plants die the fires will eat up all the oxygen - this planetoid will be dead - Everyone will die.</dialogue>
<scene_description>The Abbot has the look of a man who has been beaten in the last few meters of a Marathon.</scene_description>
<character>ABBOT</character>
<dialogue>It's here. I was just hoping I would be dead long before it came to this.</dialogue>
<character>JOHN</character>
<dialogue>What?</dialogue>
<character>ABBOT</character>
<dialogue>We're supposed to die here. That's the point.</dialogue>
<character>RIPLEY</character>
<dialogue>Wait a minute -- you were exiled --?</dialogue>
<character>ABBOT</character>
<dialogue>The punishment for our crime was death.</dialogue>
<scene_description>Anthony sits up.</scene_description>
<character>ANTHONY</character>
<dialogue>This planet is the supreme triumph of planned obsolesence. A certain amount of primitive materials with an atmosphere processing system as fragile as a real environment but not replenishable.</dialogue>
<scene_description>The Abbot has a faraway look in his eyes...</scene_description>
<character>ABBOT</character>
<dialogue>Poetic justice for the anti-technologists. The Company's best work. You know, I used to be a corporate executive. Middle range V.P. Then my wife got hit by a speed craft. I chucked it all and joined the order. Be a monk -- see the world. Being here, being chairman of the board...</dialogue>
<character>RIPLEY</character>
<dialogue>No, now I understand why I landed here. To join you happy lunatics in your deaths.</dialogue>
<scene_description>Ripley moves away... John starts after her.</scene_description>
<character>JOHN</character>
<dialogue>Ripley, wait --</dialogue>
<scene_description>The Abbot stands, blocks his way.</scene_description>
<character>ABBOT</character>
<dialogue>Where can she go? She's trapped.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Trapped inside her own prison. A prison in her mind. Inside her mind. Dancing. Sparklets of light - dance with the june bugs in the recesses of ourmindstheyare coming to danceintheshadowof...</dialogue>
<scene_description>John and Ripley turn to look at the Abbot. He begins to speak faster. Faster. He shakes. Vibrates is more accurate -- A trickle of BLOOD runs from his left ear...</scene_description>
<character>ABBOT</character>
<dialogue>RidingthewildwindsofchangeNoescapeNo escapeforthewickedEvilEvilthynameis</dialogue>
<dialogue>woman.Woman.Womanheiscoming.Heiscoming foryouuuuuuuuu --\*</dialogue>
<scene_description>SPLORTCH-KT--!! The Abbot's HEAD EXPLODES --!!! Like a ripe melon dropped ten stories onto pavement. Blood, bone, hair and brain matter SPRAY John. John SCREAMS. A HORRIBLE ALIEN HEAD BURSTER Is all that sits atop the blood spurting neck of the Abbot. It keeps it's hold on the Abbot's spinal cord -- The Abbot's body continues to stagger around, arms jerking mechanically as lack of fresh nerve impulses from the brain works its way through the system. Ripley SCREAMS. The Infant Alien-headed corpse stumbles towards her -- She plucks Anthony's staff from the floor and SWINGS -- -- Like a child hitting a baseball from a TEE -- WHACK-K -!! BLASTS the Chest/head burster across the room -- It hits the floor SCRAMBLING. Scuttles down into where the Windmills meet the floor. Disappears.</scene_description>
<character>RIPLEY</character>
<dialogue>BASTARD!! It came out of his fucking head!</dialogue>
<character>ANTHONY</character>
<dialogue>I didn't have to see that to know what that means.</dialogue>
<character>RIPLEY</character>
<dialogue>He sent him to us. That bastard outside. I can't get away from him. He's fucking with my mind. He's my punishment!</dialogue>
<character>ANTHONY</character>
<dialogue>I'm confused. Before you said it came out of the torso, not the head --</dialogue>
<character>RIPLEY</character>
<dialogue>I don't feel like a discussion of Alien biology.</dialogue>
<scene_description>John comes up next to her.</scene_description>
<character>JOHN</character>
<dialogue>Ripley, don't --</dialogue>
<scene_description>She pushes him away and sinks to the floor.</scene_description>
<character>RIPLEY</character>
<dialogue>I should just wait for the air to run out...</dialogue>
<character>JOHN</character>
<dialogue>I believe - I know - that we can win -- there is an answer in our books.</dialogue>
<character>RIPLEY</character>
<dialogue>Your books? Your books are gone, Brother. Your world is gone. Once that thing starts to lay its eggs, all your brothers - if they aren't already - are dead.</dialogue>
<character>JOHN</character>
<dialogue>If that's true, then all of us, the books, are consigned to ashes.</dialogue>
<scene_description>He clasps his hands and bows his head. The Abbot's blood drips off his hands. Plip - plop! Into a little puddle at Ripley's feet. She stares at the blood. Aahk. Feels the PAIN again. Runs her hand across her chest...</scene_description>
<character>ANTHONY O/S</character>
<dialogue>Ripley?</dialogue>
<character>RIPLEY</character>
<dialogue>What?</dialogue>
<character>ANTHONY</character>
<dialogue>There are several inconsistancies between this and the other Aliens you described.</dialogue>
<character>RIPLEY</character>
<dialogue>Give it up.</dialogue>
<character>ANTHONY</character>
<dialogue>I think this is important. This may help us fight it. The creature that I fought in the hall - when I first saw it, it had camoflaged itself to look like wood.</dialogue>
<scene_description>Ripley looks up.</scene_description>
<character>RIPLEY</character>
<dialogue>Wood? When I saw it in my room it looked the way it did before -- black, mechanical --</dialogue>
<dialogue>unless that was a dream.</dialogue>
<character>ANTHONY</character>
<dialogue>I don't think it was. I think that this creature, if it is the efficient predator that you say it is, has the ability to adapt to its environment.</dialogue>
<character>RIPLEY</character>
<dialogue>Then the reason they've always looked the same to me is that I only ever saw them in the same environment.</dialogue>
<character>ANTHONY</character>
<dialogue>Or this may be an as yet unseen stage of development -- you saw a queen -- This could be like a King ant -- more highly advanced than the drone, bred for survival -?</dialogue>
<character>JOHN</character>
<dialogue>How does this explain the thing that came out of the ewe's chest? The Abbot's head?</dialogue>
<character>RIPLEY</character>
<dialogue>Maybe it can deposit different types of eggs. The chest burster is probably dormant until the host eats - The first one I ever saw came out of Kane after he started to eat --</dialogue>
<scene_description>And in one horrible moment she realizes: She hasn't eaten. The pain in her chest...</scene_description>
<character>RIPLEY</character>
<dialogue>No.</dialogue>
<scene_description>Anthony "looks" towards her - does he realize as well?</scene_description>
<character>JOHN</character>
<dialogue>No what?</dialogue>
<character>RIPLEY</character>
<dialogue>No, we're not beat yet, Father --</dialogue>
<character>JOHN</character>
<dialogue>Brother --</dialogue>
<scene_description>Ripley gets up.</scene_description>
<character>RIPLEY</character>
<dialogue>Brother. Not yet. If he's taunting me,</dialogue>
<dialogue>then maybe we can use that. We can beat this bastard. We can get to my ship. We can live.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TECHNOLOGY ROOM</stage_direction>
<scene_description>John stands by a ladder that runs up to a trap door in the ceiling. Holds a torch. Ripley is on the ground with Anthony, his injured leg splayed out in front of him. Skin is palid.</scene_description>
<character>ANTHONY</character>
<dialogue>Don't have second thoughts. Blind and crippled I would only slow you down. Give him time to figure out what you're doing. Just leave me my staff.</dialogue>
<character>RIPLEY</character>
<dialogue>Okay. Good luck.</dialogue>
<scene_description>She shakes his hand. He pulls her closer. Anthony's empty eye sockets seem to see as he looks at Ripley.</scene_description>
<character>ANTHONY</character>
<dialogue>Ripley, I know. Good luck.</dialogue>
<character>RIPLEY</character>
<dialogue>Sit tight.</dialogue>
<scene_description>Ripley crosses to John. Poised at the bottom of the ladder they look up at the trap door on the ceiling.</scene_description>
<character>RIPLEY</character>
<dialogue>He could be waiting on the other side of that door. We might not get ten feet before he kills the three of us.</dialogue>
<scene_description>He shakes his head.</scene_description>
<character>JOHN</character>
<dialogue>We had better go, then.</dialogue>
<scene_description>He smiles. She smiles back. They move up the ladder. It leads up a damp, short shaft, walls GREEN with algae, to AN UNDERGROUND DOCK - NIGHT The ladder shaft opens onto a barnacled pier. Ripley and John climb out onto the wooden structure. Before them: AN UNDERGROUND SEA stretches the width of the entire planet, over five miles across. The floor of the lowest level of the top half of the orbiter makes a ceiling that looms a hundred feet overhead. The water sparkles with a golden glow.</scene_description>
<character>JOHN</character>
<dialogue>Must be day on the surface of the planet.</dialogue>
<character>RIPLEY</character>
<dialogue>Where is the light coming from?</dialogue>
<character>JOHN</character>
<dialogue>Mirrors. Reflect the outside light down great shafts -- through lenses. That's what they make in the glass factory. Lenses. Look --</dialogue>
<scene_description>She turns: A HUGE WATERFALL Lit from within by daylight beaming down from above -- pours into the sea a short distance from them.</scene_description>
<character>JOHN</character>
<dialogue>Opens to the surface. Water flows in and out. I don't know how. There's one at either end. I came down on the other side.</dialogue>
<character>RIPLEY</character>
<dialogue>What do we do?</dialogue>
<scene_description>John points to three small leather and wood coracles bobbing at the end of their ropes.</scene_description>
<character>JOHN</character>
<dialogue>We cross.</dialogue>
</scene>
<scene>
<stage_direction>INT. TECHNOLOGY ROOM - DAY</stage_direction>
<scene_description>Anthony has dragged himself to a sitting position against the bottom of one of the windmills. He winces as he prods his tender ankle with the end of his staff. It SPARKS. The large canvas arms of the windmill rotate above his head. The wind blows through his hair. WHOOSH...WHOOSH... Feels good. Anthony reaches up and waves his hand of his "eyes."</scene_description>
<character>ANTHONY</character>
<dialogue>Now the seer can only see what God wants him to. Forty years on a planet of Monks and I've finally found religion.</dialogue>
<scene_description>A floor board CREAKS. Anthony strains to hear:</scene_description>
<character>ANTHONY</character>
<dialogue>John? Ripley?</dialogue>
<scene_description>WHOOSH...WHOOSH... He knows it is not.</scene_description>
<character>ANTHONY</character>
<dialogue>Well come then. I haven't got forever.</dialogue>
<scene_description>A shadow falls across his face. He can feel it. He doesn't have to see what is here. THE UNDERGROUND OCEAN - DAY INTO NIGHT The leather boat makes its way across the sea. John rows while Ripley holds the torch aloft. As night falls she takes the oars. The Ocean is dead calm. The coracle glides across the glass- like surface. John flexes his scarred fingers.</scene_description>
<character>RIPLEY</character>
<dialogue>Your hands okay?</dialogue>
<character>JOHN</character>
<dialogue>They'll be fine. You've been on a boat before.</dialogue>
<scene_description>Ripley squints ahead of them. The ocean seems to go on forever.</scene_description>
<character>RIPLEY</character>
<dialogue>I was a warrant officer on a ship -- but I did all my sailing in space.</dialogue>
<character>JOHN</character>
<dialogue>Father Anselm used to take me on his</dialogue>
<dialogue>coracle when I was little.</dialogue>
<scene_description>Ripley leans forward - scans his face.</scene_description>
<character>RIPLEY</character>
<dialogue>How old were you when they towed this satellite out here?</dialogue>
<character>JOHN</character>
<dialogue>Five. The Abbot said they put us to sleep for the thirty years it took to get here. We've had almost forty more. Until now.</dialogue>
<character>RIPLEY</character>
<dialogue>What happened to your mother?</dialogue>
<character>JOHN</character>
<dialogue>Never had one. I mean, never knew her. I mean, I did, once. She left my father when he joined the movement. If she hadn't I wouldn't be here. They kept the other children with the women, on Earth. That was too long ago now. Like a dream.</dialogue>
<scene_description>Ripley's face grows strangely dark. She turns to the water.</scene_description>
<character>RIPLEY</character>
<dialogue>Did you know that I was a mother?</dialogue>
<character>JOHN</character>
<dialogue>The girl in the ship with -?</dialogue>
<character>RIPLEY</character>
<dialogue>No. On Earth. I never mentioned my daughter. My daughter. I have - had I guess, by now - a daughter on Earth. Kathy. She was nine when I signed on to the Nostromo. Mommy will be home before you know it I said. My shares would have set us up good. Then I lost sixty years floating around in a rescue pod. Thanks to the Alien. I came home to face a bitter, 70 year old woman. My daughter. A little girl who's mother never came home.</dialogue>
<character>JOHN</character>
<dialogue>Jesus Christ.</dialogue>
<character>RIPLEY</character>
<dialogue>They said I should have been happy to be</dialogue>
<dialogue>alive. Funny, huh? That's why I went back the second time. Not so I could fight it -- You can't fight it -- So I could let it kill me.</dialogue>
<scene_description>She rubs her chest --</scene_description>
<character>JOHN</character>
<dialogue>You didn't choose to get lost in space.</dialogue>
<character>RIPLEY</character>
<dialogue>Thanks for the try Father --</dialogue>
<character>JOHN</character>
<dialogue>Brother.</dialogue>
<character>RIPLEY</character>
<dialogue>Brother, but I'm not looking for absolution. I couldn't be a good mother to my daughter. I couldn't be a good mother to Newt. But I can be a good mother to you. I can make sure you survive.</dialogue>
<scene_description>Suddenly they feel rain -- Ripley holds out her hand. Her eyes open wide at what she sees. John takes the oars as she holds the torch over the side: The Ocean has become red with BLOOD. Blood DRIPS down from the ceiling around them.</scene_description>
<character>RIPLEY</character>
<dialogue>Blood.</dialogue>
<scene_description>John looks up.</scene_description>
<character>JOHN</character>
<dialogue>From the levels above.</dialogue>
<scene_description>His face goes white.</scene_description>
<character>JOHN</character>
<dialogue>He must have slaughtered all --</dialogue>
<character>RIPLEY</character>
<dialogue>Don't think about it. Don't think about what's up there. Just row.</dialogue>
<scene_description>As Ripley takes the torch away from the water, tiny ripples move across the surface. She doesn't notice. A SHAPE Passes underneath the boat. A swimming CREATURE. The Alien. Thanks to the reflective qualities of water, it appears HUGE. Dwarfs their coracle.</scene_description>
</scene>
<scene>
<stage_direction>INT. TECHNOLOGY ROOM - NIGHT</stage_direction>
<scene_description>All the windmills are BURNING. Flaming arms lazily turning. Anthony is not in sight. Whoosh...Whoosh... THE OTHER SIDE OF THE OCEAN - NIGHT Another dock with ladders going up and down. Ripley and John climb out of the coracle. Don't waste time tying off. They go -- UP THE LADDER A hundred foot climb. The wood is twisted. Rungs have been torn away in some places. They pull themselves up sections that have only the tiniest foothold. The temperature rises as they do. Sweat runs into their eyes. Soon they can see the floor above them: BLACKENED by intense heat. They climb.</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND WHEAT FIELDS - NIGHT</stage_direction>
<scene_description>Ripley and John come up from the level below.</scene_description>
<character>RIPLEY</character>
<dialogue>Holy shit.</dialogue>
<scene_description>John crosses himself. Another testament to the terrible battle with the Alien. Reduced to just a huge, blackened floor. All the crops burned to ash -- Their charred stalks mingled with the corpses of roasted Monks. Their nostrils assailed by the stench of the dead -- Ripley would puke if she had any food in her body.</scene_description>
<character>JOHN</character>
<dialogue>There's Andrew. And Raphael. Peter...</dialogue>
<character>RIPLEY</character>
<dialogue>Stop. How far?</dialogue>
<character>JOHN</character>
<dialogue>We're right below the Abbey now.</dialogue>
<scene_description>They cross the smoldering field. The scorched floor threatens to give way under John's feet -- Ripley pull him to one side. THE MONASTERY LEVEL Heaven has become HELL. The ground, the buildings, the Sky-timber - all blackened. FIRES burn everywhere. Air choked with gray smoke and dust pouring in from the Orbiter's surface through rends in the vaulted ceiling. RIPLEY AND JOHN Climb through a hole where a trap door has been torn off it's hinges. They look at the grim tableau: Monks impaled on their own pikes. Tangled together in their own pungy stakes. Alien cocoon material cobwebbed over their bodies. THE MONASTERY Flickering fires lit the first few floor windows. Ripley takes a step towards it -- Reaches back and pulls John...</scene_description>
</scene>
<scene>
<stage_direction>INT. GLASS FACTORY - NIGHT</stage_direction>
<scene_description>The Glass furnace boils almost to the point of overflow. Small fires burn out of control around the room. Finished glass pieces BURST from the heat. Ripley and John enter.</scene_description>
<character>JOHN</character>
<dialogue>This is the glassworks. They have tools here --</dialogue>
<parenthetical>(spots)</parenthetical>
<dialogue>Kyle --</dialogue>
<scene_description>He runs across the room -- BROTHER KYLE Sits calmly at the Marver table. He places playing cards on the table in front of him. Solitaire. He sings to himself quietly.</scene_description>
<character>KYLE</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>Can't see my baby. Don't see my baby. Bay be.</dialogue>
<scene_description>John grabs him by the lapels - pulls him to his feet. The playing cards fall to the floor -- Kyle watches them, not John.</scene_description>
<character>JOHN</character>
<dialogue>Kyle. Brother Kyle.</dialogue>
<character>KYLE</character>
<dialogue>Cards on the floor, fifty two pickup. Black king on red queen, put the ace up --</dialogue>
<scene_description>John SHAKES him.</scene_description>
<character>JOHN</character>
<dialogue>Kyle goddammit!</dialogue>
<scene_description>Ripley moves closer.</scene_description>
<character>RIPLEY</character>
<dialogue>John - it's too late --</dialogue>
<scene_description>Kyle begins to sing faster. Faster.</scene_description>
<character>KYLE</character>
<dialogue>Ace up. Put the ace up. Redaceupup. Blackaceup.Up.Pup-pup-pup-chaka- boomloommawhacka -- Booomalooma looma --</dialogue>
<scene_description>Ripley and John look at each other. They know what this means. John pulls a length of rope off a nearby table. Moves in front of Kyle. Looks into his glassy eyes. A tear runs down his cheek.</scene_description>
<character>JOHN</character>
<dialogue>Keep singing, my friend.</dialogue>
<scene_description>John loops the rope around Kyle's neck. Strangles him. Eases the lifeless body to the floor. Stares at it. RIPLEY Pulls a blowing iron from the rack. Feels its weight and balance. A reasonable weapon. She crosses to John.</scene_description>
<character>JOHN</character>
<dialogue>I killed him. I'm a doctor and I killed him.</dialogue>
<character>RIPLEY</character>
<dialogue>You had to. You're supposed to end suffering.</dialogue>
<scene_description>She hands him a pontil, a pointed iron spear used to form the molten glass shapes.</scene_description>
<character>RIPLEY</character>
<dialogue>Let's get the hell out of here.</dialogue>
</scene>
<scene>
<stage_direction>INT. STAIRWELL - NIGHT</stage_direction>
<scene_description>Ripley and John move up the stairs. Flickering orange lit from below. Smoke and soot rise from the first on the lower floors.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - NIGHT</stage_direction>
<scene_description>They enter carefully. The room is exactly as John left it, books out of shelves, hanging on their chains.</scene_description>
<character>RIPLEY</character>
<dialogue>He's made a mess.</dialogue>
<scene_description>John pushes ahead of her.</scene_description>
<character>JOHN</character>
<dialogue>No. He hasn't been up here yet. I did this.</dialogue>
<scene_description>He moves to the nearest shelf and uses his pontil to pry open the lock --</scene_description>
<character>JOHN</character>
<dialogue>Here - philosophy - we'll start here --</dialogue>
<scene_description>AAAROO --! A HAIRY BLUR flies out from between the stacks -- WHUMPH! Knocks John to the floor -- Licks his face.</scene_description>
<character>JOHN</character>
<dialogue>Mattias!</dialogue>
<scene_description>The happy dog leaps all over his master.</scene_description>
<character>JOHN</character>
<dialogue>He waited. Ripley, this is Mattias. My dog. Good fellow.</dialogue>
<scene_description>Ripley crosses to them.</scene_description>
<character>RIPLEY</character>
<dialogue>I'm glad. Really. But we've probably only got a few minutes before this entire place goes up in flames. Just grab whatever books you want and --</dialogue>
<scene_description>Ripley leans in to pet Mattias. Mattias draws his lip back. Growls. He's looking over Ripley's shoulder. She turns around slowly... THE ALIEN Standing in the open doorway. It's in bad shape from the man traps. Lost a foot. Tongue hanging out, useless. Parts of it look like wood. Parts of it look like wheat. It carries Anthony's waterlogged, limp body -- POPS off his head like a grape from the bunch. Tosses the corpse at Ripley's feet. I could swear it's trying to smile. RIPLEY AND JOHN Back against the book stacks. John grabs Mattias' collar. The Dog GROWLS at the Alien intruder...</scene_description>
<character>JOHN</character>
<dialogue>Easy, boy...</dialogue>
<character>RIPLEY</character>
<dialogue>Is there another way out?</dialogue>
<character>JOHN</character>
<dialogue>Not that will do us any good.</dialogue>
<scene_description>THE ALIEN Limps into the room dragging one foot. It's breathing is labored. Dripping acid blood leaves a thin trail of fire behind it.</scene_description>
<character>JOHN</character>
<dialogue>We hurt it.</dialogue>
<scene_description>The Alien draws itself up to its full height -- Even wounded it is one dangerous mother fucker.</scene_description>
<character>RIPLEY</character>
<dialogue>You wanna give it a bandage? Look -- Where is my ship from here?</dialogue>
<character>JOHN</character>
<dialogue>On the roof directly above this room.</dialogue>
<character>RIPLEY</character>
<dialogue>Here's the plan --</dialogue>
<character>JOHN</character>
<dialogue>But the books --</dialogue>
<character>RIPLEY</character>
<dialogue>Forget the books!</dialogue>
<scene_description>RUFF!! Mattias pulls free from John's grasp -- Runs to the Alien --</scene_description>
<character>RIPLEY</character>
<dialogue>Shit.</dialogue>
<scene_description>MATTIAS Snaps and barks at the Alien -- Leaping about to dodge its claws. Draws its attention -- RIPLEY AND JOHN RUN at the Alien. It is trying to spear the dog with its tail. John swings the iron rod -- THWAP -! HITS the Alien across the back of its bulbous head -- It turns to him -- SPLIIIITCH -! Ripley SHOVES the blowing iron into the Alien's torso. His acid blood SPURTS out the end of the hollow tube -- SPLATTERS Ripley's cassock - she TEARS it off -- John grabs Mattias -- pulls him back. The Alien SPINS in a circle -- Blood SPRAYING around him - Creating a CIRCLE OF FIRE about him -- IGNITING the books --</scene_description>
<character>JOHN</character>
<dialogue>No! THE BOOKS!!</dialogue>
<character>RIPLEY</character>
<dialogue>Don't --!</dialogue>
<scene_description>John steps forward -- Ripley grabs for him -- The ACID EATS through the wooden floor -- THE FLOOR COLLAPSES The Alien, John and Ripley PLUMMET down -! THROUGH the next floor -- INTO THE GLASSWORKS The Alien FALLS into the molten glass vat -- SCREECHES - arms flailing as it sinks beneath the surface of the thousand degree liquid. JOHN Finds himself HANGING over the bubbling glass vat - Caught - DANGLING on the Flying Fox rope. Five feet away - the ledge the Flying Fox is launched from. He looks down: He can see the huge open vat of molten glass below him. To its right, the Water DUMP TANK - a large wine cask-looking affair where finished pieces are cooled. He looks up: Ripley holding onto the edge of the broken floor above.</scene_description>
<character>JOHN</character>
<dialogue>Are you all right?</dialogue>
<scene_description>Ripley grunts an affirmative response. At least is she falls, it will only be a twenty-foot drop to the floor. John is looking at instant par-boiling. John starts to move hand over hand UP the rope. He begins to sweat. A drop of sweat falls... HSSS! POPS AND SIZZLES as it hits the surface of the molten glass -- RIPLEY Tries to pull herself up to the floor above -- The next level is a raging fire. She can only hang and DROP. She DOES -! Falls the two stories. Bends her knees and ROLLS on impact. JOHN Has reached the ledge overlooking the furnace. He stands. Sees Ripley slowly rising --</scene_description>
<character>JOHN</character>
<dialogue>Ripley -!</dialogue>
<scene_description>Ripley shakily gets to her feet. Hops on one foot.</scene_description>
<character>RIPLEY</character>
<dialogue>Aargh. I'm fine. Let's get the fuck out of --</dialogue>
<scene_description>SUDDENLY THE ALIEN'S head breaks the surface of the molten glass. SCREAMING. STEAMING. It is white-hot - translucent -- covered with -- It looks like MOLTEN GLASS!! Hook-like hands grasp the edge of the tank -- It tries to climb out -- Ripley turns to run. Tender ankle gives out. She falls face down on the floor -- Rolls over -- THE ALIEN is going to climb out of the vat -- She SCREAMS -- JOHN Grabs the Flying Fox handle. SWINGS down the rope - across the room -- PAST the Alien -- It turns away from Ripley - She scrambles across the floor... John lands HARD. Points --</scene_description>
<character>JOHN</character>
<dialogue>Ripley - the lever!!</dialogue>
<scene_description>Ripley looks next to her: a burning wooden lever. The Alien has one foot out of the glass furnace -- RIPLEY grabs the lever -- Hssssst! Putting out the fire with her hand -- Pulls -- THE HUGE DUMP TANK OF WATER DUMPS. Empties a thousand gallons -- RAINS DOWN on the Alien. It HOWLS in pain -- The Molten Glass instantly COOLS -- The rapid extreme temperature change causes the beast to BE-THWOOOoooOOM -!! EXPLODE into a million pieces...!!!! Ripley helps John off the floor. They are battered. Bloody. They look into the vat. The steam clears... The room is littered with Alien Bits. Each piece is encased in glass -- Trapped like a fly in amber.</scene_description>
<character>JOHN</character>
<dialogue>Saw that happen to a bottle once.</dialogue>
<character>RIPLEY</character>
<parenthetical>(panting)</parenthetical>
<dialogue>Beat... Beat him - ugh --</dialogue>
<scene_description>She grabs her stomach as her knees give out. John gives her an arm for support.</scene_description>
<character>JOHN</character>
<dialogue>We've got to get to the Library --</dialogue>
<character>RIPLEY</character>
<dialogue>Don't worry. Ship. Just --</dialogue>
<scene_description>They look up: Mattias looks down through the hole in the floor. BARKS...</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - NIGHT</stage_direction>
<scene_description>An INFERNO. Every bookshelf ablaze. The floor dotted with pools of flame. Ripley and John are at the door - held back by the heat -- John tries to enter the room -- Ripley grabs him --</scene_description>
<character>RIPLEY</character>
<dialogue>Don't be stupid --</dialogue>
<character>JOHN</character>
<dialogue>Some of them! I've got to save some of them! Mattias!!</dialogue>
<scene_description>Mattias yelps in response. Threads his way through to them. Ripley spins him to face her. Tears stream down his cheeks.</scene_description>
<character>RIPLEY</character>
<dialogue>They're lost. You did your best. If you get out, it wasn't in vain. We've got to live!!</dialogue>
<scene_description>She YANKS him into the hallway -- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MONASTERY - THE ROOF - NIGHT</stage_direction>
<scene_description>Ripley's good foot KICKS down the burning planks that surround the escape ship. John and Mattias stand behind as she climbs through to the ship. John looks around: The ABBEY LEVEL is devastated. The air is filled with smoke. The Abbey is burning. The Library is in flames. John looks down at his medical bag. Torn, bloody, scorched, it still hangs from his shoulders. Inside: The only remaining book.</scene_description>
<character>RIPLEY O/S</character>
<dialogue>Come on in!</dialogue>
<scene_description>John and Mattias step through --</scene_description>
</scene>
<scene>
<stage_direction>INT. SULACCO ESCAPE POD #4 - NIGHT</stage_direction>
<scene_description>Ripley CLICKS on the lights. John lifts Mattias into the hatch.</scene_description>
<character>JOHN</character>
<dialogue>The Library --</dialogue>
<character>RIPLEY</character>
<dialogue>I told you -- the Earth is still there --</dialogue>
<scene_description>Ripley checks an instrument: Elapsed travel time. Her brows knit. She TAPS the gauge.</scene_description>
<character>RIPLEY</character>
<dialogue>Not working.</dialogue>
<character>JOHN</character>
<dialogue>What does that mean?</dialogue>
<character>RIPLEY</character>
<dialogue>It means I don't know how long I was in hyper sleep.</dialogue>
<character>JOHN</character>
<dialogue>It means the Abbot could've been right --</dialogue>
<character>RIPLEY</character>
<dialogue>It means my clock isn't working. We have to get out of here. Even if he was right this ship's onboard computer is filled with man's knowledge.</dialogue>
<character>JOHN</character>
<dialogue>Not everything. Some things will be lost forever.</dialogue>
<character>RIPLEY</character>
<dialogue>Then man starts over. He's done it before.</dialogue>
<scene_description>She pushes a few buttons. Somewhere under the floor a propulsion source HUMS to life. THROBBING through the soles of John's feet. Ripley is absorbed in her work.</scene_description>
<character>RIPLEY</character>
<dialogue>Okay. The seals weren't broken so we're probably clear. But those dead monks out there are going to start hatching soon. Let's get ready to take off.</dialogue>
<character>JOHN</character>
<dialogue>What can I do?</dialogue>
<character>RIPLEY</character>
<dialogue>Here, I need a compressor tank from in that compartment.</dialogue>
<scene_description>She motions towards an open door. John enters the compartment. Whoosh-CLANG -! The door closes behind him.</scene_description>
<character>JOHN</character>
<dialogue>Hey! What?!</dialogue>
<scene_description>He looks out the window in the door. Ripley is staring at him, punching keys on a pad next to the door.</scene_description>
<character>JOHN</character>
<dialogue>Hey - I'm locked in.</dialogue>
<scene_description>Mattias scratches at the door.</scene_description>
<character>RIPLEY</character>
<dialogue>I know. I locked you in.</dialogue>
<character>JOHN</character>
<dialogue>What?</dialogue>
<character>RIPLEY</character>
<dialogue>I'm not going with you. I've got one inside me.</dialogue>
<character>JOHN</character>
<dialogue>What?! You can't --</dialogue>
<scene_description>She runs a hand across her midsection.</scene_description>
<character>RIPLEY</character>
<dialogue>I figured it out. That's why it didn't kill me. He must have impregnated me when I was in the stasis tube.</dialogue>
<parenthetical>(remembers nightmare)</parenthetical>
<dialogue>It hasn't come out yet because I haven't eaten, It's still dormant. So either I eat and it kills me or I don't eat and I starve to death. Either way I die.</dialogue>
<scene_description>John pulls the Medieval Tome out of his medical bag.</scene_description>
<character>JOHN</character>
<dialogue>My book -- I know what to do --</dialogue>
<character>RIPLEY</character>
<dialogue>What, an exorcism? No good.</dialogue>
<character>JOHN</character>
<dialogue>You can't do this. Ripley - listen to me - you're confusing feeling of guilt for actual sin - I can help you --</dialogue>
<character>RIPLEY</character>
<parenthetical>(ignoring)</parenthetical>
<dialogue>I've set a time lock. When the pod escapes the Colony's gravitational pull this compartment will open. Then all you have to do is get into the Stasis tube with Mattias and press the blue button. With any luck a freighter or something will pick you up. Good luck.</dialogue>
<scene_description>He pounds his fists against the door.</scene_description>
<character>JOHN</character>
<dialogue>NO! No, Goddammit - you can't do this. You can't let it win.</dialogue>
<scene_description>She turns away from the door.</scene_description>
<character>RIPLEY</character>
<dialogue>It always wins. We killed it, but it's</dialogue>
<scene_description>still inside me -- You're my last chance. If I can keep you alive it'll make up for all those I've lost.</scene_description>
<character>JOHN</character>
<dialogue>Listen to me! You have to let me try! Ripley: You're MY only chance!</dialogue>
<scene_description>She's listening...</scene_description>
<character>JOHN</character>
<dialogue>I told you Father Anselm raised me. He raised me and when he was dying I couldn't do anything to save him. I didn't know enough. It was my fault he died. If you don't let me try to save you my body will live but my soul will be dead.</dialogue>
<scene_description>Ripley turns and stares at him.</scene_description>
<character>JOHN</character>
<dialogue>Please.</dialogue>
<scene_description>CUT TO: THE PAGE A MEDIEVAL ETCHING. A Monk vomits up the devil. Pull back as John lowers Ripley to the pod floor. John closes his eyes. Closes the book. He pours some water into a small plastic cup. Retrieves a small pouch of herbs. Opens it. Wrinkles his nose - they smell -- pours these ancient medicines into the space age cup.</scene_description>
<character>RIPLEY</character>
<dialogue>What is this stuff?</dialogue>
<character>JOHN</character>
<parenthetical>(forceful)</parenthetical>
<dialogue>Something that will make you well. Something that will make you sick.</dialogue>
<character>RIPLEY</character>
<dialogue>I don't --</dialogue>
<character>JOHN</character>
<dialogue>Shut up and drink.</dialogue>
<scene_description>He lifts the back of Ripley's head -- FORCES the drink down her throat. John swings his leg over her midsection. STRADDLES her. Presses his two hands together in prayer. Then balls them into one fist. Takes a deep, preparatory breath... Ripley starts to GAG -- Cough. Her body starts to JERK -- John BRINGS HIS FIST DOWN INTO HER STOMACH -- WHAMM -!! Ripley CONVULSES -- has the dry heaves -- WHAM! WHAM --! John PUMMELS Ripley's diaphragm! She sputters -- VOMITS a thick mucous-like substance -- HEAVES -- Ripley's back arches -- She SCREAMS a gut wrenching WAIL -- Her torso BULGES as the creature is forced upwards. John BEARS down -- Pushes UP under her ribs -- FORCING the chest-burster up her throat -- Ripley fights for air as the alien STOPS halfway up her esophagus -- She's choking -- John crosses himself -- takes a deep breath -- Lowers his mouth to hers -- Inhales. Exhales. CPR. THE ALIEN CHEST BURSTER SLITHERS out of Ripley's mouth -- INTO JOHN'S!! Reptilian tail whips about before disappearing down his gullet. John falls back against a computer console. Gagging. Fights to speak. Ripley raises herself up on one elbow. Alien mucous drooling down her chin. Hair matted against her forehead.</scene_description>
<character>RIPLEY</character>
<dialogue>Why?</dialogue>
<character>JOHN</character>
<dialogue>Choking. It was the only way.</dialogue>
<scene_description>He drops the open book in front of her: She sees the etching. JOHN Gulps back the oozing slime. Struggles to his feet.</scene_description>
<character>JOHN</character>
<dialogue>They knew.</dialogue>
<character>RIPLEY</character>
<dialogue>But you --</dialogue>
<scene_description>Ripley tries to stand - to go after him -- She can't sit up -- feels like a rib might be cracked.</scene_description>
<character>RIPLEY</character>
<dialogue>You'll die --</dialogue>
<scene_description>John stumbles to the Pod door. Turns back.</scene_description>
<character>JOHN</character>
<dialogue>That's idea. Join...my brothers. If we were right, Heaven. If we were wrong -- either way, where we belong. World of books. Pages.</dialogue>
<scene_description>He draws the parchment out of his bag. Drops it to the floor.</scene_description>
<character>JOHN</character>
<dialogue>You... are from the real world.</dialogue>
<scene_description>He starts to step through the door -- Mattias tries to follow.</scene_description>
<character>JOHN</character>
<dialogue>Stay -- both of you.</dialogue>
<scene_description>He exits the Pod. Ripley drags herself across the floor.</scene_description>
<character>RIPLEY</character>
<dialogue>No - wait! John!</dialogue>
<scene_description>To the Door. Looks out: BROTHER JOHN Dawn's rays are peeking through the battered ceiling as he walks slowly across the smoking roof. Into the inferno that is the burning Abbey. Ripley watches as John and the alien horror inside him are INCINERATED. The heat of the flames grows. She must pull back -- Reaches up for the door handle. It closes with a THUD. She rolls onto her back. She weeps. For the first time in years. She's been absolved. CREeeek -!! The escape pod SHIFTS. Ripley's eyes SNAP open -- The Roof beneath the Pod is beginning to GIVE WAY. Ripley rolls onto her stomach and drags herself to the pilot's chair. Pulls herself into the seat. Straps herself in -- SULACCO ESCAPE POD #4 Blasts THROUGH the wooden outershell of the Orbiter Arceon. ROARS towards us - past us.</scene_description>
</scene>
<scene>
<stage_direction>INT. SULACCO ESCAPE POD #4 = DAY</stage_direction>
<scene_description>Ripley places Mattias into the Hyper sleep tube. Rubs under his chin. Is about to climb in with him when she spots something on the floor -- JOHN'S PARCHMENT Ripley picks it up and unrolls it. She hears John's voice:</scene_description>
<character>JOHN V.O.</character>
<dialogue>I, Brother John Goldman of the orbiter Arceon, Minorite abbey and gaol, know the Abbot was wrong. There is a great evil here. I have seen it. I put pen to paper now lest this plague - this creature stills my hand. I have gone down below - both to try to warn the others and get the woman - Ripley - get from her some clue as to how to battle this evil, or at least to make my peace for not defending her. She believes there is still and Earth and I hope she is right. I hope she will be able to find out. I hope she can find some rest for the devils that torment her.</dialogue>
<scene_description>Ripley looks at the elapsed time counter on the command console. Pulls a pen from it's holder. She adds:</scene_description>
<character>RIPLEY V.O.</character>
<dialogue>Whether the Earth exists or not, whether we end up in Heaven, or Hell, or the cold vacuum of space, she has.</dialogue>
<scene_description>She sets her course. Gets back into her tube. Closes the lid. DEEP SPACE The escape pod moves through the jet-black void... ARCEON Dwindles into the darkness behind her, a smouldering, slowly dying ember... THE SCREEN GOES BLACK: END CREDITS ROLL... Teenager in the back of the movie theater shouts, "It's in the dog!"</scene_description>
</scene>
</script> | Following the events of Aliens, an egg hatches aboard the Colonial Marine spaceship Sulaco, releasing a facehugger. A fire starts and the ship's computer launches an escape pod containing Ellen Ripley, Newt, Hicks, and the damaged android Bishop; all four are in cryonic stasis. The pod crash-lands on Fiorina "Fury" 161, a foundry and maximum-security correctional facility inhabited by male inmates with a genetic predisposition for antisocial behavior. The inmates recover the crashed pod and its passengers. The facehugger approaches inmate Thomas Murphy's dog, Spike. Ripley is awakened by Clemens, the prison's chief medical officer, who informs her that she is the sole survivor. The prison warden, Harold Andrews, says that her presence may have disruptive effects. Ripley insists that Clemens perform an autopsy on Newt and that her and Hicks's bodies be subsequently burned, fearing that Newt may be carrying an Alien embryo. Despite protests from the warden and his assistant Aaron, the autopsy is conducted and no embryo is found. The funeral proceeds with spiritual leader Dillon delivering a speech as the deceased are dropped into the furnace. Elsewhere in the prison, a quadrupedal alien bursts from Spike. Ripley finds the damaged Bishop in the prison's garbage dump before being cornered by four inmates and almost gang-raped. After being saved by Dillon, Ripley returns to the infirmary and re-activates Bishop, who, before asking to be permanently shut down, confirms that a Facehugger came with them to Fiorina, under knowledge of the Weyland-Yutani Corporation. Growing to full size, the alien kills Murphy, Boggs, and Rains. It also returns outcast prisoner Golic to his previously psychopathic state. Ripley informs Andrews of her previous Xenomorph encounters and suggests everyone work together to hunt down and kill it. However, the facility is without weapons; their only hope is the rescue ship being sent for Ripley by Weyland-Yutani. The Alien ambushes Ripley and Clemens in the prison infirmary, killing him, and cornering her. However, it mysteriously spares her and retreats. Ripley rushes to the cafeteria to warn the others. Andrews orders Aaron to take her back to the infirmary, but the warden himself is dragged into the vents and killed by the monster. Ripley rallies the inmates and proposes they pour flammable toxic waste into the ventilation system and ignite it to flush out the Alien. However, its intervention causes a premature explosion and several inmates die. With Aaron's help, Ripley scans herself using the escape pod's medical equipment and sees the embryo of an Alien Queen growing inside her. She also discovers that Weyland-Yutani hopes to turn the aliens into biological weapons. The Alien will not kill her because of the embryo she carries, so Ripley begs Dillon to do it; he agrees only if she helps the inmates kill the Alien first. They form a plan to lure the Alien into the foundry's molding facility, trap it, and drown it in molten lead. The bait-and-chase plan results in the deaths of every remaining prisoner but Dillon and Morse. Dillon sacrifices himself to position the Alien towards the mold as Morse pours the molten lead onto them. Although the Alien is covered in molten metal, it escapes the mold. Ripley activates the fire sprinklers, blowing the Alien apart from thermal shock. The Weyland–Yutani team arrives, including commandos and a man who looks identical to Bishop who says he is Bishop's creator. He tries to persuade Ripley to undergo surgery to remove the Alien Queen embryo, claiming it will be destroyed. Ripley refuses and steps back onto a mobile platform, which Morse positions over the furnace. The Weyland–Yutani team shoots Morse in the leg to stop him; Aaron strikes the Bishop look-alike with a wrench and is shot dead by the commandos. Ignoring pleas to give them the embryo, Ripley throws herself into the furnace, holding captive the infant queen as it erupts from her. The facilities are closed down. Morse, the sole survivor, is led away as Ripley's final logbook recording from the Nostromo plays. |
It's a Wonderful Life_1946 | tt0038650 | <script>
<scene>
<stage_direction>It's a Wonderful Life</stage_direction>
<scene_description>More info about this movie on IMDb.com Opening sequence/George saves Harry FADE IN -- -- NIGHT SEQUENCE Series of shots of various streets and buildings in the town of Bedford Falls , somewhere in New York State . The streets are deserted , and snow is falling . It is Christmas Eve . Over the above scenes we hear voices praying : GOWER 'S VOICE I owe everything to George Bailey . Help him , dear Father . MARTINI 'S VOICE Joseph , Jesus and Mary . Help my friend Mr. Bailey . MRS. BAILEY 'S VOICE Help my son George tonight . BERT 'S VOICE He never thinks about himself , God ; that 's why he 's in trouble . ERNIE 'S VOICE George is a good guy . Give him a break , God . MARY 'S VOICE I love him , dear Lord . Watch over him tonight . JANIE 'S VOICE Please , God . Something 's the matter with Daddy . ZUZU 'S VOICE Please bring Daddy back . CAMERA PULLS UP from the Bailey home and travels up through the sky until it is above the falling snow and moving slowly toward a firmament full of stars . As the camera stops we hear the following heavenly voices talking , and as each voice is heard , one of the stars twinkles brightly : FRANKLIN 'S VOICE Hello , Joseph , trouble ? JOSEPH 'S VOICE Looks like we 'll have to send someone down -- -- a lot of people are asking for help for a man named George Bailey . FRANKLIN 'S VOICE George Bailey . Yes , tonight 's his crucial night . You 're right , we 'll have to send someone down immediately . Whose turn is it ? JOSEPH 'S VOICE That 's why I came to see you , sir . It 's that clock - maker 's turn again . FRANKLIN 'S VOICE Oh -- -- Clarence . Has n't got his wings yet , has he ? We 've passed him up right along . JOSEPH 'S VOICE Because , you know , sir , he 's got the I.Q. of a rabbit . FRANKLIN 'S VOICE Yes , but he 's got the faith of a child -- -- simple . Joseph , send for Clarence . A small star flies in from left of screen and stops . It twinkles as Clarence speaks : CLARENCE 'S VOICE You sent for me , sir ? FRANKLIN 'S VOICE Yes , Clarence . A man down on earth needs our help . CLARENCE 'S VOICE Splendid ! Is he sick ? FRANKLIN 'S VOICE No , worse . He 's discouraged . At exactly ten - forty - five PM tonight , Earth time , that man will be thinking seriously of throwing away God 's greatest gift . CLARENCE 'S VOICE Oh , dear , dear ! His life ! Then I 've only got an hour to dress . What are they wearing now ? FRANKLIN 'S VOICE You will spend that hour getting acquainted with George Bailey . CLARENCE 'S VOICE Sir . If I should accomplish this mission -- -- I mean -- -- might I perhaps win my wings ? I 've been waiting for over two hundred years now , sir -- -- and people are beginning to talk . FRANKLIN 'S VOICE What 's that book you 've got there ? CLARENCE 'S VOICE The Adventures of Tom Sawyer . FRANKLIN 'S VOICE Clarence , you do a good job with George Bailey , and you 'll get your wings . CLARENCE 'S VOICE Oh , thank you , sir . Thank you . JOSEPH 'S VOICE Poor George . Sit down . CLARENCE 'S VOICE Sit down ? What are . JOSEPH 'S VOICE If you 're going to help a man , you want to know something about him , do n't you ? CLARENCE 'S VOICE Well , naturally . Of course . JOSEPH 'S VOICE Well , keep your eyes open . See the town ? The stars fade out from the screen , and a light , indistinguishable blur is seen . CLARENCE 'S VOICE Where ? I do n't see a thing . JOSEPH 'S VOICE Oh , I forgot . You have n't got your wings yet . Now look , I 'll help you out . Concentrate . Begin to see something ? The blur on the screen slowly begins to take form . We see a group of young boys on top of a snow - covered hill . CLARENCE 'S VOICE Why , yes . This is amazing . JOSEPH 'S VOICE If you ever get your wings , you 'll see all by yourself . CLARENCE 'S VOICE Oh , wonderful !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR FROZEN RIVER AND HILL –– DAY –– 1919</stage_direction>
<scene_description>CLOSE SHOT -- -- group of boys . They are preparing to slide down the hill on large shovels . One of them makes the slide and shoots out onto the ice of a frozen river at the bottom of the hill . BOY . -LRB- as he slides . -RRB- Yippee ! CLARENCE 'S VOICE Hey , who 's that ? JOSEPH 'S VOICE That 's your problem , George Bailey . CLARENCE 'S VOICE A boy ? JOSEPH 'S VOICE That 's him when he was twelve , back in 1919 . Something happens here you 'll have to remember later on . Series of shots as four or five boys make the slide down the hill and out onto the ice . As each boy comes down the others applaud . CLOSE SHOT -- -- George Bailey at bottom of slide . GEORGE . -LRB- through megaphone . -RRB- And here comes the scare - baby , my kid brother , Harry Bailey . CLOSE SHOT -- -- Harry , on top of hill , preparing to make his slide . HARRY I 'm not scared . BOYS . -LRB- ad lib . -RRB- Come on , Harry ! Attaboy , Harry ! MEDIUM SHOT -- -- Harry makes his slide very fast . He passes the marks made by the other boys , and his shovel takes him onto the thin ice at the bend of the river . The ice breaks , and Harry disappears into the water . CLOSE SHOT -- -- George . GEORGE I 'm coming , Harry . MEDIUM SHOT -- -- George jumps into the water and grabs Harry . As he starts to pull him out he yells : GEORGE Make a chain , gang ! A chain ! WIDER ANGLE -- -- the other boys lie flat on the ice , forming a human chain . When George reaches the edge with Harry in his arms , they pull them both to safety . JOSEPH 'S VOICE George saved his brother 's life that day . But he caught a bad cold which infected his left ear . Cost him his hearing in that ear . It was weeks before he could return to his after - school job at old man Gower 's drugstore . DISSOLVE Drugstore</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET –– BEDFORD FALLS –– SPRING AFTERNOON</stage_direction>
<scene_description>MEDIUM SHOT -- -- Five or six boys are coming toward camera , arm in arm , whistling . Their attention is drawn to an elaborate horsedrawn carriage proceeding down the other side of the street . MEDIUM PAN SHOT -- -- The carriage driving by . We catch a glimpse of an elderly man riding in it . CLOSE SHOT -- -- the boys watching the carriage . GEORGE Mr. Potter ! CLARENCE 'S VOICE Who 's that -- -- a king ? JOSEPH 'S VOICE That 's Henry F. Potter , the richest and meanest man in the county . The boys continue until they reach Gower 's drugstore . The drugstore is old - fashioned and dignified , with jars of colored water in the windows and little else . As the kids stop : GEORGE So long ! BOYS . -LRB- ad lib . -RRB- Got to work , slave . Hee - haw . Hee - haw .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR DRUGSTORE —– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- George comes in and crosses to an old - fashioned cigar lighter on the counter . He shuts his eyes and makes a wish : GEORGE Wish I had a million dollars . He clicks the lighter and the flame springs up . GEORGE . -LRB- cont'd. -RRB- Hot dog ! WIDER ANGLE -- -- George crosses over to the soda fountain , at which Mary Hatch , a small girl , is seated , watching him . George goes on to get his apron from behind the fountain . GEORGE . -LRB- calling toward back room . -RRB- It 's me , Mr. Gower . George Bailey . CLOSE SHOT -- -- Mr. Gower , the druggist , peering from a window in back room . We see him take a drink from a bottle . GOWER You 're late . MEDIUM SHOT -- -- George behind soda fountain . He is putting on his apron . GEORGE Yes , sir . WIDER ANGLE -- -- Violet Bick enters the drugstore and sits on one of the stools at the fountain . She is the same height as Mary and the same age , but she is infinitely older in her approach to people . VIOLET . -LRB- with warm friendliness . -RRB- Hello , George . -LRB- then , flatly , as she sees Mary . -RRB- VIOLET ` Lo , Mary . MARY . -LRB- primly . -RRB- Hello , Violet . George regards the two of them with manly disgust . They are two kids to him , and a nuisance . He starts over for the candy counter . GEORGE Two cents worth of shoelaces ? VIOLET She was here first . MARY I 'm still thinking . GEORGE . -LRB- to Violet . -RRB- Shoelaces ? VIOLET Please , Georgie . George goes over to the candy counter . VIOLET . -LRB- to Mary . -RRB- I like him . MARY You like every boy . VIOLET . -LRB- happily . -RRB- What 's wrong with that ? GEORGE Here you are . George gives Violet a paper sack containing licorice shoelaces . Violet gives him the money . VIOLET . -LRB- the vamp . -RRB- Help me down ? GEORGE . -LRB- disgusted . -RRB- Help you down ! Violet jumps down off her stool and exits . Mary , watching , sticks out her tongue as she passes . CLOSE SHOT -- -- George and Mary at fountain . GEORGE Made up your mind yet ? MARY I 'll take chocolate . George puts some chocolate ice cream in a dish . GEORGE With coconuts ? MARY I do n't like coconuts . GEORGE You do n't like coconuts ! Say , brainless , do n't you know where coconuts come from ? Lookit here -- -- from Tahiti -- -- Fiji Islands , the Coral Sea ! He pulls a magazine from his pocket and shows it to her . MARY A new magazine ! I never saw it before . GEORGE Of course you never . Only us explorers can get it . I 've been nominated for membership in the National Geographic Society . He leans down to finish scooping out the ice cream , his deaf ear toward her . She leans over , speaking softly . CLOSE SHOT -- -- Mary , whispering . MARY Is this the ear you ca n't hear on ? George Bailey , I 'll love you till the day I die . She draws back quickly and looks down , terrified at what she has said . CLOSE SHOT -- -- George and Mary . GEORGE I 'm going out exploring some day , you watch . And I 'm going to have a couple of harems , and maybe three or four wives . Wait and see . He turns back to the cash register , whistling . ANOTHER ANGLE -- -- taking in entrance to prescription room at end of fountain . Gower comes to the entrance . He is bleary - eyed , unshaven , chewing an old unlit cigar . His manner is gruff and mean . It is evident he has been drinking . GOWER George ! George ! GEORGE Yes , sir . GOWER You 're not paid to be a canary . GEORGE No , sir . He turns back to the cash register when he notices an open telegram on the shelf . He is about to toss it aside when he starts to read it . INSERT THE TELEGRAM . It reads : `` We regret to inform you that your son , Robert , died very suddenly this morning of influenza stop . Everything possible was done for his comfort stop . We await instructions from you . '' Pres. HAMMERTON COLLEGE . '' BACK TO SHOT . George puts the telegram down . A goodness of heart expresses itself in a desire to do something for Gower . He gives the ice cream to Mary without comment and sidles back toward Gower .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR PRESCRIPTION ROOM OF DRUGSTORE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Gower , drunk , is intent on putting some capsules into a box . GEORGE Mr. Gower , do you want something . Anything ? GOWER No . GEORGE Anything I can do back here ? GOWER No . George looks curiously at Gower , realizing that he is quite drunk . Gower fumbles and drops some of the capsules to the floor . CLOSE SHOT -- -- capsules spilling on floor at their feet . BACK TO SHOT -- -- George and Gower . GEORGE I 'll get them , sir . He picks up the capsules and puts them in the box . Gower waves George aside , takes his old wet cigar , shoves it in his mouth and sits in an old Morris chair in the background . George turns a bottle around from which Gower has taken the powder for the capsules . Its label reads `` POISON . '' George stands still , horrified . GOWER Take these capsules over to Mrs. Blaine 's . She 's waiting for them . George picks up the capsule box , not knowing what to do or say . His eyes go , harassed , to the bottle labeled poison . George 's fingers fumble . GEORGE Yes , sir . They have the diphtheria there , have n't they , sir ? GOWER Ummmm . Gower stares moodily ahead , sucking his cigar . George turns to him , the box in his hand . GEORGE Is it a charge , sir ? GOWER Yes -- -- charge . GEORGE Mr. Gower , I think . GOWER Aw , get going ! GEORGE Yes , sir .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR DRUGSTORE –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- George comes out into main room . As he puts on his cap he sees a Sweet Caporals ad which says : INSERT `` ASK DAD HE KNOWS '' -- -- SWEET CAPORAL BACK TO SHOT With an inspiration , George dashes out the door and down the street . Mary follows him with her eyes . George visits Pop 's office</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- George runs down the street until he comes opposite a two - story building with a sign on it reading `` Bailey Building and Loan Association . '' He stops . Potter 's carriage is waiting at the entrance . Suddenly he runs up the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE BLDG. AND LOAN –– DAY</stage_direction>
<scene_description>FULL SHOT -- -- The offices are ancient and a bit on the rickety side . There is a counter with a grill , something like a bank . Before a door marked : PETER BAILEY , PRIVATE , George 's Uncle Billy stands , obviously trying to hear what is going on inside . He is a very good - humored man of about fifty , in shirt - sleeves . With him at the door , also listening , are Cousin Tilly Bailey , a waspish - looking woman , who is the telephone operator , and Cousin Eustace Bailey , the clerk . The office vibrates with an aura of crisis as George enters and proceeds directly toward his father 's office . CLOSE SHOT -- -- Uncle Billy listening at the door . As George is about to enter his father 's office , uncle Billy grabs him by the arm . UNCLE BILLY Avast , there , Captain Cook ! Where you headin ' ? GEORGE Got to see Pop , Uncle Billy . UNCLE BILLY Some other time , George . GEORGE It 's important . UNCLE BILLY There 's a squall in there that 's shapin ' up into a storm . During the foregoing , Cousin Tilly has answered the telephone , and now she calls out : COUSIN TILLY Uncle Billy . telephone . UNCLE BILLY Who is it ? COUSIN TILLY Bank examiner . INSERT CLOSE UP Uncle Billy 's left hand . There are pieces of string tied around two of the fingers , obviously to remind him of things he has to do . BACK TO SHOT -- -- Uncle Billy looking at his hand . UNCLE BILLY Bank examiner ! I should have called him yesterday . Switch it inside . He enters a door marked WILLIAM BAILEY , PRIVATE . George stands irresolute a moment , aware of crisis in the affairs of the Bailey Building and Loan Association , but aware more keenly of his personal crisis . He opens the door of his father 's office and enters .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BAILEY'S PRIVATE OFFICE –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- George 's father is seated behind his desk , nervously drawing swirls on a pad . He looks tired and worried . He is a gentle man in his forties , an idealist , stubborn only for other people 's rights . Nearby , in a throne - like wheelchair , behind which stands the goon who furnishes the motive power , sits Henry F. Potter , his squarish derby hat on his head . The following dialogue is fast and heated , as though the argument had been in process for some time . BAILEY I 'm not crying , Mr. Potter . POTTER Well , you 're begging , and that 's a whole lot worse . BAILEY All I 'm asking is thirty days more . GEORGE . -LRB- interrupting . -RRB- Pop ! BAILEY Just a minute , son . -LRB- to Potter . -RRB- Just thirty short days . I 'll dig up that five thousand somehow . POTTER . -LRB- to his goon . -RRB- Shove me up . Goon pushes his wheelchair closer to the desk . GEORGE Pop ! POTTER Have you put any real pressure on those people of yours to pay those mortgages ? BAILEY Times are bad , Mr. Potter . A lot of these people are out of work . POTTER Then foreclose ! BAILEY I ca n't do that . These families have children . MEDIUM CLOSE SHOT -- -- Potter and Bailey . GEORGE Pop ! POTTER They 're not my children . BAILEY But they 're somebody 's children . POTTER Are you running a business or a charity ward ? BAILEY Well , all right . POTTER . -LRB- interrupting . -RRB- Not with my money ! CLOSE SHOT -- -- Potter and Bailey . BAILEY Mr. Potter , what makes you such a hard - skulled character ? You have no family -- -- no children . You ca n't begin to spend all the money you 've got . POTTER So I suppose I should give it to miserable failures like you and that idiot brother of yours to spend for me . George can not listen any longer to such libel about his father . He comes around in front of the desk . GEORGE He 's not a failure ! You ca n't say that about my father ! BAILEY George , George . GEORGE You 're not ! You 're the biggest man in town ! BAILEY Run along . He pushes George toward the door . GEORGE Bigger 'n him ! As George passes Potter 's wheelchair he pushes the old man 's shoulder . The goon puts out a restraining hand . GEORGE Bigger 'n everybody . George proceeds toward the door , with his father 's hand on his shoulder . As they go : POTTER Gives you an idea of the Baileys .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE BLDG. AND LOAN –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and his father at the door . GEORGE Do n't let him say that about you , Pop . BAILEY All right , son , thanks . I 'll talk to you tonight . Bailey closes the door on George and turns back to Potter . George stands outside the door with the capsules in his hand . Back to drugstore</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BACK ROOM –– GOWER'S DRUGSTORE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Gower talking on the telephone . George stands in the doorway . GOWER . -LRB- drunkenly . -RRB- Why , that medicine should have been there an hour ago . It 'll be over in five minutes , Mrs. Blaine . He hangs up the phone and turns to George . GOWER . -LRB- cont'd. -RRB- Where 's Mrs. Blaine 's box of capsules ? He grabs George by the shirt and drags him into the back room . GEORGE Capsules . GOWER . -LRB- shaking him . -RRB- Did you hear what I said ? GEORGE . -LRB- frightened . -RRB- Yes , sir , I . Gower starts hitting George about the head with his open hands . George tries to protect himself as best he can . GOWER What kind of tricks are you playing , anyway ? Why did n't you deliver them right away ? Do n't you know that boy 's very sick ? GEORGE . -LRB- in tears . -RRB- You 're hurting my sore ear .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR FRONT ROOM DRUGSTORE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary is still seated at the soda fountain . Each time she hears George being slapped , she winces .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BACK ROOM DRUGSTORE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Gower . GOWER You lazy loafer ! GEORGE . -LRB- sobbing . -RRB- Mr. Gower , you do n't know what you 're doing . You put something wrong in those capsules . I know you 're unhappy . You got that telegram , and you 're upset . You put something bad in those capsules . It was n't your fault , Mr. Gower . George pulls the little box out of his pocket . Gower savagely rips it away from him , breathing heavily , staring at the boy venomously . GEORGE . -LRB- cont'd. -RRB- Just look and see what you did . Look at the bottle you took the powder from . It 's poison ! I tell you , it 's poison ! I know you feel bad . and . George falters off , cupping his aching ear with a hand . Gower looks at the large brown bottle which has not been replaced on the shelf . He tears open the package , shakes the powder out of one of the capsules , cautiously tastes it , then abruptly throws the whole mess to the table and turns to look at George again . The boy is whimpering , hurt , frightened . Gower steps toward him . GEORGE . -LRB- cont'd. -RRB- Do n't hurt my sore ear again . But this time Gower sweeps the boy to him in a hug and , sobbing hoarsely , crushes the boy in his embrace . George is crying too . GOWER No . No . No . GEORGE Do n't hurt my ear again ! GOWER . -LRB- sobbing . -RRB- Oh , George , George . GEORGE Mr. Gower , I wo n't ever tell anyone . I know what you 're feeling . I wo n't ever tell a soul . Hope to die , I wo n't . GOWER Oh , George . Luggage shop / With Mr. Gower/Bert and Ernie</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LUGGAGE SHOP –– DAY –– (1928)</stage_direction>
<scene_description>MEDIUM SHOT -- -- It is late afternoon . A young man is looking over an assortment of luggage . Across the counter stands Joe Hepner , the proprietor of the store -- -- he is showing a suitcase . JOE An overnight bag -- -- genuine English cowhide , combination lock , fitted up with brushes , combs . CUSTOMER Nope . As CAMERA MOVES UP CLOSER to him , he turns and we get our first glimpse of George as a young man . CAMERA HAS MOVED UP to a CLOSEUP by now . GEORGE Nope . Nope . Nope . Nope . Now , look , Joe . Now , look , I . I want a big one . Suddenly , in action , as George stands with his arms outstretched in illustration , the picture freezes and becomes a still . Over this hold - frame shot we hear the voices from Heaven : CLARENCE 'S VOICE What did you stop it for ? JOSEPH 'S VOICE I want you to take a good look at that face . CLARENCE 'S VOICE Who is it ? JOSEPH 'S VOICE George Bailey . CLARENCE 'S VOICE Oh , you mean the kid that had his ears slapped back by the druggist . JOSEPH 'S VOICE That 's the kid . CLARENCE 'S VOICE It 's a good face . I like it . I like George Bailey . Tell me , did he ever tell anyone about the pills ? JOSEPH 'S VOICE Not a soul . CLARENCE 'S VOICE Did he ever marry the girl ? Did he ever go exploring ? JOSEPH 'S VOICE Well , wait and see . CLOSE SHOT -- -- the screen . The arrested CLOSEUP of George springs to life again . GEORGE Big -- -- see ! I do n't want one for one night . I want something for a thousand and one nights , with plenty of room for labels from Italy and Baghdad , Samarkand . a great big one . JOE I see , a flying carpet , huh ? I do n't suppose you 'd like this old second - hand job , would you ? He brings a large suitcase up from under the counter . GEORGE Now you 're talkin ' . Gee whiz , I could use this as a raft in case the boat sunk . How much does this cost ? JOE No charge . GEORGE That 's my trick ear , Joe . It sounded as if you said no charge . JOE . -LRB- indicating name on suitcase . -RRB- That 's right . GEORGE . -LRB- as he sees his name . -RRB- What 's my name doing on it ? JOE A little present from old man Gower . Came down and picked it out himself . GEORGE . -LRB- admiring the bag . -RRB- He did ? Whatta you know about that -- -- my old boss . JOE What boat you sailing on ? GEORGE I 'm working across on a cattle boat . JOE A cattle boat ? GEORGE . -LRB- as he exits . -RRB- Okay , I like cows .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GOWER'S DRUGSTORE –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- The place is practically the same except that it is now full of school kids having sodas , etc. . A juke box and many little tables have been added . It has become the hangout of the local small fry . There are now three kids jerking sodas . Gower is a different man now -- -- sober , shaven and good - humored . He is behind the counter when George comes in . Gower 's face lights up when he sees George . GEORGE Mr. Gower . Mr. Gower . thanks ever so much for the bag . It 's just exactly what I wanted . GOWER Aw , forget it . GEORGE Oh , it 's wonderful . GOWER Hope you enjoy it . George suddenly sees the old cigar lighter on the counter . He closes his eyes and makes a wish . GEORGE Oh . Oh . Wish I had a million dollars . As he snaps the lighter the flame springs up . GEORGE . -LRB- cont'd. -RRB- Hot dog ! George shakes Gower 's hand vigorously and exits .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– DAY</stage_direction>
<scene_description>PAN SHOT -- -- as George crosses the street , Uncle Billy , cousin Tilly and Cousin Eustace are leaning out of the second floor window of the Building and Loan offices . UNCLE BILLY Avast there , Captain Cook . You got your sea legs yet ? COUSIN EUSTACE Parlez - vous francais ? Hey , send us some of them picture postcards , will you , George ? UNCLE BILLY Hey , George , do n't take any plugged nickels . COUSIN TILLY Hey , George , your suitcase is leaking . George waves up at them and continues on across the street .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- as George crosses the street . He spots Ernie and his cab , and Bert the motor cop , parked alongside . GEORGE Hey , Ernie ! ERNIE Hiya , George ! GEORGE Hi , Bert . BERT George . GEORGE Ernie , I 'm a rich tourist today . How about driving me home in style ? Bert opens the door of the cab and puts George 's suitcase inside . ERNIE Sure , your highness , hop in . And , for the carriage trade , I puts on my hat . As George is about to enter the cab , he stops suddenly as he sees Violet . -LRB- now obviously a little sex machine -RRB- come toward him . Her walk and figure would stop anybody . She gives him a sultry look . REVERSE ANGLE -- -- The three men by the cab , but including Violet . VIOLET Good afternoon , Mr. Bailey . GEORGE Hello , Violet . Hey , you look good . That 's some dress you got on there . CLOSE SHOT -- -- Violet . She reacts to this . VIOLET Oh , this old thing ? Why , I only wear it when I do n't care how I look . CAMERA PANS WITH her as Violet swings on down the sidewalk . REVERSE SHOT -- -- cab . As Violet goes by , George and Bert raise their heads above the top of the cab . MEDIUM SHOT -- -- on Violet 's back as she goes . As she crosses the street , an elderly man turns to look at her and is almost hit by a car that pulls up with screeching brakes . CLOSE SHOT -- -- George and Bert at cab . Ernie sticks his head out form the driver 's seat . ERNIE How would you like . GEORGE . -LRB- as he enters cab . -RRB- Yes . ERNIE Want to come along , Bert ? We 'll show you the town ! Bert looks at his watch , then takes another look at Violet 's retreating figure . BERT No , thanks . Think I 'll go home and see what the wife 's doing . ERNIE Family man . Dinner at the Bailey home</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BAILEY DINING ROOM –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- Pop Bailey is seated at the dinner table . Mrs. Bailey and Annie , the cook , look up toward the vibrating ceiling . There are SOUNDS of terrific banging and scuffling upstairs . Annie pounds on the ceiling with a broom . MOTHER . -LRB- calling out . -RRB- George ! Harry ! You 're shaking the house down ! Stop it ! POP Oh , let 'em alone . I wish I was up there with them . MOTHER Harry 'll tear his dinner suit . George ! ANOTHER ANGLE -- -- Mrs. Bailey is calling up the stairs . ANNIE That 's why all children should be girls . MOTHER But if they were all girls , there would n't be any . Oh , never mind . -LRB- calling upstairs . -RRB- George ! Harry ! Come down to dinner this minute . Everything 's getting cold and you know we 've been waiting for you . GEORGE 'S VOICE Okay , Mom . She goes up the stairs . Pop is smiling and poking his plate . A commotion is heard on the stairs , the boys imitating fanfare MUSIC . Down they come , holding their mother high between them on their hands . They bring her into the dining room and deposit her gracefully into Pop 's lap . BOYS Here 's a present for you , Pop . Pop kisses her . Mother gives Pop a quick hug , then turns with all the wrath she can muster on the two boys . MOTHER Oh , you two idiots ! George , sit down and have dinner . HARRY I 've eaten . MOTHER Well , are n't you going to finish dressing for your graduation party ? Look at you . HARRY I do n't care . It 's George 's tux . Annie crosses the room , holding her broom . Harry reaches out for her . ANNIE If you lay a hand on me , I 'll hit you with this broom . HARRY Annie , I 'm in love with you . There 's a moon out tonight . As he pushes her through the kitchen door , he slaps her fanny . She screams . The noise is cut off by the swinging door . George and his mother sit down at the table . GEORGE Boy , oh , boy , oh , boy -- -- my last meal at the old Bailey boarding house . MOTHER Oh , my lands , my blood pressure ! CLOSE SHOT -- -- Harry , as he sticks his head through the kitchen door . HARRY Pop , can I have the car ? I 'm going to take over a lot of plates and things . MOTHER What plates ? HARRY Oh , Mom -- -- I 'm chairman of the eats committee and we only need a couple of dozen . MOTHER Oh , no you do n't . Harry , now , not my best Haviland . She follows Harry into the kitchen , leaving Pop and George . As she goes : GEORGE Oh , let him have the plates , Mother . CLOSE SHOT -- -- George and his father , eating at the table . There is a great similarity and a great understanding between them . POP Hope you have a good trip , George . Uncle Billy and I are going to miss you . GEORGE I 'm going to miss you , too , Pop . What 's the matter ? You look tired . POP Oh , I had another tussle with Potter today . GEORGE Oh . POP I thought when we put him on the Board of Directors , he 'd ease up on us a little bit . GEORGE I wonder what 's eating that old money - grubbing buzzard anyway ? POP Oh , he 's a sick man . Frustrated and sick . Sick in his mind , sick in his soul , if he has one . Hates everybody that has anything that he ca n't have . Hates us mostly , I guess . MEDIUM SHOT -- -- the dining room . Harry and his mother come out of the kitchen , Harry carrying a pie in each hand and balancing one on his head . CAMERA PANS WITH them as they cross . HARRY Gangway ! Gangway ! So long , Pop . POP So long , son . GEORGE Got a match ? HARRY Very funny . Very funny . MOTHER Put those things in the car and I 'll get your tie and studs together . HARRY Okay , Mom . You coming later ? You coming later , George ? GEORGE What do you mean , and be bored to death ? HARRY Could n't want a better death . Lots of pretty girls , and we 're going to use that new floor of yours tonight , too . GEORGE I hope it works . POP No gin tonight , son . HARRY Aw , Pop , just a little . POP No , son , not one drop . CLOSE SHOT -- -- George and Pop at the table . Annie comes in with some dishes . ANNIE Boys and girls and music . Why do they need gin ? She exits . GEORGE Father , did I act like that when I graduated from high school ? POP Pretty much . You know , George , wish we could send Harry to college with you . Your mother and I talked it over half the night . GEORGE We have that all figured out . You see , Harry 'll take my job at the Building and Loan , work there four years , then he 'll go . POP He 's pretty young for that job . GEORGE Well , no younger than I was . POP Maybe you were born older , George . GEORGE How 's that ? POP I say , maybe you were born older . I suppose you 've decided what you 're going to do when you get out of college . GEORGE Oh , well , you know what I 've always talked about -- -- build things . design new buildings -- -- plan modern cities -- -- all that stuff I was talking about . POP Still after that first million before you 're thirty . GEORGE No , I 'll settle for half that in cash . Annie comes in again from the kitchen . POP Of course , it 's just a hope , but you would n't consider coming back to the Building and Loan , would you ? Annie stops serving to hear his answer . GEORGE</scene_description>
<character>Well, I . . .</character>
<dialogue>says.</dialogue>
<parenthetical>( to Annie . )</parenthetical>
<dialogue>Annie, why do n't you draw up a chair? Then you'd be more comfortable and you could hear everything that's going on. ANNIE I would if I thought I'd hear anything worth listening to. GEORGE You would, huh?</dialogue>
<scene_description>She gives George a look , and goes on out into the kitchen . Bailey smiles and turns to George . POP I know it 's soon to talk about it . GEORGE Oh , now , Pop , I could n't . I could n't face being cooped up for the rest of my life in a shabby little office . He stops , realizing that he has hurt his father . GEORGE . -LRB- cont'd. -RRB- Oh , I 'm sorry , Pop . I did n't mean that remark , but this business of nickels and dimes and spending all your life trying to figure out how to save three cents on a length of pipe . I 'd go crazy . I want to do something big and something important . POP . -LRB- quietly . -RRB- You know , George , I feel that in a small way we are doing something important . Satisfying a fundamental urge . It 's deep in the race for a man to want his own roof and walls and fireplace , and we 're helping him get those things in our shabby little office . GEORGE . -LRB- unhappily . -RRB- I know , Dad . I wish I felt . But I 've been hoarding pennies like a miser in order to . Most of my friends have already finished college . I just feel like if I do n't get away , I 'd bust . POP Yes . Yes . You 're right , son . GEORGE You see what I mean , do n't you , Pop ? POP This town is no place for any man unless he 's willing to crawl to Potter . You 've got talent , son . You get yourself an education . Then get out of here . GEORGE Pop , do you want a shock ? I think you 're a great guy . To cover his embarrassment , he looks toward the kitchen door and calls : GEORGE . -LRB- cont'd. -RRB- Oh , did you hear that , Annie ? CLOSE SHOT -- -- Annie listening through glass in door . ANNIE I heard it . About time one of you lunkheads said it . CLOSE SHOT -- -- George and his father at the table . GEORGE I 'm going to miss old Annie . Pop , I think I 'll get dressed and go over to Harry 's party . POP Have a good time , son . High school gymnasium dance</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HIGH SCHOOL GYM –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- At one end of the room an orchestra is playing . George wends his way through the dancing couples toward a supper table . He and Harry are carrying plates and pies . GEORGE Here you are . Several of the boys take the plates from him . George looks at them , feeling very grown up and out of place . HARRY . -LRB- introducing George . -RRB- You know my kid brother , George . I 'm going to put him through college . Sam Wainwright comes in behind Harry , waggles his hands at his ears as he talks . SAM Here comes George . Hello , hee - haw ! George swings around , delighted to hear a familiar voice . WIDER ANGLE -- -- including Sam and Marty Hatch . Sam is assured and breezy , wearing very collegiate clothes . GEORGE Oh , oh . Sam Wainwright ! How are you ? When did you get here ? SAM Oh , this afternoon . I thought I 'd give the kids a treat . GEORGE Old college graduate now , huh ? SAM Yeah -- -- old Joe College Wainwright , they call me . Well , freshman , looks like you 're going to make it after all . GEORGE Yep . Sam sees Harry and leaves George in the middle of a gesture . SAM . -LRB- to Harry . -RRB- Harry ! You 're the guy I want to see . Coach has heard all about you . HARRY He has ? SAM Yeah . He 's followed every game and his mouth 's watering . He wants me to find out if you 're going to come along with us . HARRY Well , I got ta make some dough first . SAM Well , you better make it fast . We need great ends like you -- -- not broken down old guys like this one . George and Sam wiggle their fingers at their ears , saluting each other . GEORGE Hee - haw ! SAM Hee - haw ! An elderly , fussy school principal comes over to George . PRINCIPAL George , welcome back . GEORGE Hello , Mr. Partridge , how are you ? PRINCIPAL Putting a pool under this floor was a great idea . Saved us another building . Now , Harry , Sam , have a lot of fun . There 's lots of stuff to eat and drink . Lots of pretty girls around . Violet Bick comes into the scene and turns to face George . She is waving her dance program at him . VIOLET Hey , George . GEORGE Hello , Violet . VIOLET Hello , what am I bid ? Marty Hatch enters scene . MARTY George . GEORGE Hiya , Marty . Well , it 's old home week . MARTY Do me a favor , will you , George ? GEORGE What 's that ? MARTY Well , you remember my kid sister , Mary ? GEORGE Oh , yeah , yeah . SAM `` Momma wants you , Marty . '' `` Momma wants you , Marty . '' Remember ? MARTY Dance with her , will you ? GEORGE Oh . me ? Oh , well , I feel funny enough already , with all these kids . MARTY Aw , come on . Be a sport . Just dance with her one time and you 'll give her the thrill of her life . SAM Aw , go on . MARTY . -LRB- calling off . -RRB- Hey , sis . GEORGE Well , excuse me , Violet . Do n't be long , Marty . I do n't want to be a wet nurse for . He stops suddenly as he sees Mary , staring at her . CLOSEUP -- -- Mary Hatch . She is standing talking to one of the boys , Freddie , a glass of punch in her hand . For the first time , she is wearing an evening gown and she has gained assurance from the admiration of the boy with her . She turns around and for the first time she sees George . For a second she loses her poise , staring at him . FREDDIE 'S VOICE And the next thing I know , some guy came up and tripped me . That 's the reason why I came in fourth . If it had n't been for that . CLOSE SHOT -- -- George , staring at Mary . FREDDIE 'S VOICE . -LRB- cont'd. -RRB- . that race would have been a cinch . I tried to find out who it was later . CLOSEUP -- -- Mary , still staring at George , and smiling . FREDDIE 'S VOICE . -LRB- cont'd. -RRB- . but I could n't find out . Nobody 'd ever tell you whoever it was because they 'd be scared . They know . MEDIUM CLOSEUP -- -- Mary and Freddie . Marty comes into scene , followed by George . FREDDIE . -LRB- cont'd. -RRB- . what kind of . MARTY . -LRB- interrupting . -RRB- You remember George ? This is Mary . Well , I 'll be seeing you . GEORGE Well . Well . Well . FREDDIE Now , to get back to my story , see . Mary hands her punch cup to Freddie , and she and George start dancing . FREDDIE . -LRB- cont'd. -RRB- Hey , this is my dance ! GEORGE Oh , why do n't you stop annoying people ? FREDDIE Well , I 'm sorry . Hey ! MOVING SHOT -- -- following George and Mary as they dance . GEORGE Well , hello . MARY Hello . You look at me as if you did n't know me . GEORGE Well , I do n't . MARY You 've passed me on the street almost every day . GEORGE Me ? MARY Uh - huh . GEORGE Uh - uh . That was a little girl named Mary Hatch . That was n't you . A WHISTLE is heard offscreen , and the MUSIC stops . CLOSE SHOT -- -- Harry on the orchestra platform , whistle in hand . HARRY Oyez -- -- oyez -- -- oyez . The big Charleston contest . The prize ? A genuine loving cup . Those not tapped by the judges will remain on the floor . Let 's go ! CLOSEUP -- -- George and Mary . As the MUSIC starts and couples begin dancing once more , they look at each other . GEORGE I 'm not very good at this . MARY Neither am I. GEORGE Okay -- -- what can we lose ? They start their Charleston . We see a SERIES OF SHOTS of various couples doing their routines , some good , some bad . CLOSEUP -- -- Freddie leaning against the railing around the dance floor , looking daggers at George . Mickey , a young punk who has had one too many , is beside him . MICKEY What 's the matter , Othello -- -- jealous ? Did you know there 's a swimming pool under this floor ? And did you know that button behind you causes this floor to open up ? And did you further know that George Bailey is dancing right over that crack ? And I 've got the key ? Freddie needs no more . He takes the key from Mickey and turns the switch . The floor begins to part in the middle , each half sliding under the bleacher seats . Pandemonium starts . Dancers begin to scream as they try to get off . Some are so engrossed in dancing they continue at top speed . Teachers and elders start to scurry off . As the floor opens , it reveals an attractive , lighted swimming pool . George and Mary are so busy dancing they do n't notice the floor opening . Spotlights concentrate on them . They mistake the screams for cheers . CLOSE SHOT -- -- George and Mary dancing . GEORGE They 're cheering us . We must be good . MEDIUM CLOSE SHOT -- -- the crowd watching George and Mary dancing . They move backwards until finally they reach the edge of the floor and fall into the pool below . SERIES OF SHOTS -- -- George and Mary still trying to dance in the water -- -- the crowd on the edge cheering them -- -- some of the crowd leap into the pool -- -- the principal trying to restore order , finally clasps his hands like a diver and leaps in himself . FADE OUT George and Mary 's moonlight walk FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR TREE-LINED RESIDENTIAL STREET –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George and Mary . The night is warm with a bright moon . George is dressed in jersey sweater and oversize football pants that keep wanting to come down . Mary is in an old white bath robe . Each is carrying their wet clothes tied into a bundle that leaves a trail of dripping water . As they near the camera we hear them singing : GEORGE AND MARY . -LRB- singing . -RRB- Buffalo Gals ca n't you come out tonight . Ca n't you come out tonight . Ca n't you come out tonight . Buffalo Gals ca n't you come out tonight and dance by the light of the moon . GEORGE Hot dog ! Just like an organ . MARY Beautiful . CAMERA MOVES WITH them as they proceed down the street . GEORGE And I told Harry I thought I 'd be bored to death . You should have seen the commotion in that locker room . I had to knock down three people to get this stuff we 're wearing here . Here , let me hold that old wet dress of yours . He takes the bundle of clothes from Mary . They stop and look at each other . MARY Do I look as funny as you do ? GEORGE I guess I 'm not quite the football type . You . look wonderful . You know , if it was n't me talking I 'd say you were the prettiest girl in town . MARY Well , why do n't you say it ? GEORGE I do n't know . Maybe I will say it . How old are you anyway ? MARY Eighteen . GEORGE Eighteen ? Why , it was only last year you were seventeen . MARY Too young or too old ? GEORGE Oh , no . Just right . Your age fits you . Yes , sir , you look a little older without your clothes on . Mary stops . George , to cover his embarrassment , talks quickly on : GEORGE I mean , without a dress . You look older . I mean , younger . You look just . In his confusion George steps on the end of the belt of Mary 's bath robe , which is trailing along behind her . She gathers the robe around her . GEORGE Oh - oh . MARY . -LRB- holding out her hand . -RRB- Sir , my train , please . GEORGE A pox upon me for a clumsy lout . He picks up the belt and throws it over her arm . GEORGE Your . your caboose , my lady . MARY You may kiss my hand . GEORGE Ummmmm . Holding her hand , George moves in closer to Mary . GEORGE . -LRB- cont'd. -RRB- Hey -- -- hey , Mary . Mary turns away from him , singing `` Buffalo Gals '' : MARY . -LRB- singing . -RRB- As I was lumbering down the street . George looks after her ; then picks up a rock from the street . GEORGE Okay , then , I 'll throw a rock at the old Granville house . MARY Oh , no , do n't . I love that old house . MEDIUM LONG SHOT -- -- old house . It is a weather - beaten , old - fashioned two - storied house that once was no doubt resplendent . GEORGE No . You see , you make a wish and then try and break some glass . You got to be a pretty good shot nowadays , too . MEDIUM CLOSEUP -- -- George and Mary . MARY Oh , no , George , do n't . It 's full of romance , that old place . I 'd like to live in it . GEORGE In that place ? MARY Uh - huh . GEORGE I would n't live in it as a ghost . Now watch . right on the second floor there . MEDIUM LONG SHOT -- -- old house . George hurls the rock at the house . We hear the SOUND of a window breaking .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR FRONT PORCH OF HOUSE –– Night</stage_direction>
<scene_description>CLOSE SHOT -- -- We see a grumpy old man in shirt sleeves in a rocking chair on the porch . He looks up as he hears the breaking glass .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– NIGHT</stage_direction>
<scene_description>CLOSEUP -- -- George and Mary . MARY What 'd you wish , George ? GEORGE Well , not just one wish . A whole hatful , Mary . I know what I 'm going to do tomorrow and the next day and the next year and the year after that . I 'm shaking the dust of this crummy little town off my feet and I 'm going to see the world . Italy , Greece , the Parthenon , the Colosseum . Then I 'm coming back here and go to college and see what they know . and then I 'm going to build things . I 'm gon na build air fields . I 'm gon na build skyscrapers a hundred stories high . I 'm gon na build bridges a mile long . As he talks , Mary has been listening intently . She finally stoops down and picks up a rock , weighting it in her hand . GEORGE . -LRB- cont'd. -RRB- Are you gon na throw a rock ? MEDIUM LONG SHOT -- -- the old deserted house . Mary throws her rock , and once more we hear the SOUND of breaking glass . GEORGE . -LRB- cont'd. -RRB- Hey , that 's pretty good . What 'd you wish , Mary ? Mary looks at him provocatively , then turns and shuffles off down the street , singing as she goes . George hurries after her . MARY . -LRB- singing . -RRB- Buffalo Gals , ca n't you come out tonight . George joins her in the singing as they proceed down the street . MARY AND GEORGE . -LRB- singing . -RRB- . ca n't you come out tonight , ca n't you come out tonight . Buffalo Gals ca n't you come out tonight and dance by the light of the moon . GEORGE What 'd you wish when you threw that rock ? CLOSE SHOT -- -- man on the porch of house , listening to George and Mary . MEDIUM CLOSEUP -- -- George and Mary have stopped walking and now face one another . MARY Oh , no . GEORGE Come on , tell me . MARY If I told you it might not come true . GEORGE What is it you want , Mary ? What do you want ? You want the moon ? Just say . LONG SHOT -- -- full moon shining through the trees . BACK TO SHOT -- -- George and Mary . GEORGE . -LRB- cont'd. -RRB- . the word and I 'll throw a lasso around it and pull it down . Hey , that 's a pretty good idea . I 'll give you the moon , Mary . MARY I 'll take it . And then what ? GEORGE Well , then you could swallow it and it 'd all dissolve , see ? And the moonbeams 'd shoot out of your fingers and your toes , and the ends of your hair . -LRB- pauses . -RRB- Am I talking too much ? MEDIUM CLOSEUP -- -- Man on porch of house . As George finishes talking , he jumps up out of his chair : MAN Yes ! Why do n't you kiss her instead of talking her to death ? CLOSE SHOT -- -- George and Mary . GEORGE How 's that ? MEDIUM CLOSEUP -- -- man on porch . MAN Why do n't you kiss her instead of talking her to death ? CLOSE SHOT -- -- George and Mary . GEORGE Want me to kiss her , huh ? CLOSE SHOT -- -- porch of house . MAN Aw , youth is wasted on the wrong people . As he speaks , the man leaves the porch and goes into his house , slamming the front door . CLOSE SHOT -- -- George and Mary . GEORGE Hey , hey , hold on . Hey , mister , come on back out here , and I 'll show you some kissing that 'll put hair back on your head . What are you . Mary runs off scene . George has been once more standing on the belt of her bath robe , so as she goes , her robe comes off . GEORGE . -LRB- looking around . -RRB- Mary . He drops his bundle of clothes and picks up Mary 's robe . He can not se her anywhere . GEORGE . -LRB- cont'd. -RRB- Okay , I give up . Where are you ? CLOSEUP -- -- bush at edge of sidewalk . We see Mary 's face peering out from the leaves . MARY Over here in the hydrangea bushes . MEDIUM CLOSE SHOT -- -- George and Mary . George walks toward the bush . GEORGE Here you are . Catch . He is about to throw her the robe , when a thought strikes him . GEORGE . -LRB- cont'd. -RRB- Wait a minute . What am I doing ? This is a very interesting situation . MARY . -LRB- from the bushes . -RRB- Please give me my robe . GEORGE Hmm . A man does n't get in a situation like this every day . MARY . -LRB- impatiently . -RRB- I 'd like to have my robe . GEORGE Not in Bedford Falls , anyway . Mary thrashes around in the bushes . We hear her say : MARY Ouch ! GEORGE Gesundheit . This requires a little thought here . MARY . -LRB- getting mad . -RRB- George Bailey ! Give me my robe ! GEORGE I 've heard about things like this , but I 've never . MARY . -LRB- interrupting . -RRB- Shame on you . I 'm going to tell your mother on you . GEORGE Oh , my mother 's way up the corner there . MARY . -LRB- desperate . -RRB- I 'll call the police . GEORGE They 're way downtown . They 'd be on my side , too . MARY I 'm going to scream ! GEORGE . -LRB- thoughtfully . -RRB- Maybe I could sell tickets . Let 's see . No , the point is , in order to get this robe . I 've got it ! I 'll make a deal with you , Mary . Headlights flash into the scene , and the old Bailey automobile drives in , with Harry at the wheel , and Uncle Billy beside him . UNCLE BILLY George ! George ! Come on home , quick ! Your father 's had a stroke ! George throws Mary 's robe over the bush and gets into the car . GEORGE Mary . Mary , I 'm sorry . I 've got to go . HARRY Come on , George , let 's hurry . GEORGE Did you get a doctor ? UNCLE BILLY Yes , Campbell 's there now . CLOSEUP -- -- the hydrangea bush . As the car drives off , Mary , now wearing the robe , rises up from the bush and follows the car with her eyes . FADE OUT Board of directors meeting FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BAILEY BUILDING AND LOAN SIGN OVER ENTRANCE</stage_direction>
</scene>
<scene>
<stage_direction>INTERIOR BAILEY BUILDING AND LOAN OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Directors Meeting . There are about twelve directors seated around a long table . They are the substantial citizens of Bedford Falls Dr. Campbell , a lawyer , an insurance agent , a real estate salesman , etc. . Prominently seated among them is Henry F. Potter , his goon beside his wheelchair . Uncle Billy and George are seated among the directors . The Chairman of the Board is Dr. Campbell . They have folders and papers before them , on which they have been reporting . Before each of the directors there are individual reports for them to study . DR. CAMPBELL I think that 's all we 'll need you for , George . I know you 're anxious to make a train . GEORGE . -LRB- rising . -RRB- I have a taxi waiting downstairs . DR. CAMPBELL I want the Board to know that George gave up his trip to Europe to help straighten things out here these past few months . Good luck to you at school , George . GEORGE Thanks . DR. CAMPBELL Now we come to the real purpose of this meeting -- -- to appoint a successor to our dear friend , Peter Bailey . POTTER Mr. Chairman , I 'd like to get to my real purpose . MAN Wait just a minute now . POTTER Wait for what ? I claim this institution is not necessary to this town . Therefore , Mr. Chairman , I make a motion to dissolve this institution and turn its assets and liabilities over to the receiver . UNCLE BILLY . -LRB- angrily . -RRB- George , you hear what that buzzard . LAWYER Mr. Chairman , it 's too soon after Peter Bailey 's death to discuss chloroforming the Building and Loan . MAN Peter Bailey died three months ago . I second Mr. Potter 's motion . DR. CAMPBELL Very well . In that case I 'll ask the two executive officers to withdraw . Dr. Campbell rises from his seat . George and Uncle Billy start to collect their papers and leave the table . DR. CAMPBELL . -LRB- continued . -RRB- But before you go , I 'm sure the whole board wishes to express its deep sorrow at the passing of Peter Bailey . GEORGE Thank you very much . DR. CAMPBELL It was his faith and devotion that are responsible for this organization . POTTER I 'll go further than that . I 'll say that to the public Peter Bailey was the Building and Loan . Everyone looks at him surprised . UNCLE BILLY . -LRB- trying to control himself . -RRB- Oh , that 's fine , Potter , coming from you , considering that you probably drove him to his grave . POTTER Peter Bailey was not a business man . That 's what killed him . Oh , I do n't mean any disrespect to him , God rest his soul . He was a man of high ideals , so - called , but ideals without common sense can ruin this town . -LRB- picking up papers from table . -RRB- Now , you take this loan here to Ernie Bishop . You know , that fellow that sits around all day on his brains in his taxi . You know . I happen to know the bank turned down this loan , but he comes here and we 're building him a house worth five thousand dollars . Why ? George is at the door of the office , holding his coat and papers , ready to leave . GEORGE Well , I handled that , Mr. Potter . You have all the papers there . His salary , insurance . I can personally vouch for his character . POTTER . -LRB- sarcastically . -RRB- A friend of yours ? GEORGE Yes , sir . POTTER You see , if you shoot pool with some employee here , you can come and borrow money . What does that get us ? A discontented , lazy rabble instead of a thrifty working class . And all because a few starry - eyed dreamers like Peter Bailey stir them up and fill their heads with a lot of impossible ideas . Now , I say . George puts down his coat and comes around to the table , incensed by what Potter is saying about his father . GEORGE Just a minute -- -- just a minute . Now , hold on , Mr. Potter . You 're right when you say my father was no business man . I know that . Why he ever started this cheap , penny - ante Building and Loan , I 'll never know . But neither you nor anybody else can say anything against his character , because his whole life was . Why , in the twenty - five years since he and Uncle Billy started this thing , he never once thought of himself . Is n't that right , Uncle Billy ? He did n't save enough money to send Harry to school , let alone me . But he did help a few people get out of your slums , Mr. Potter . And what 's wrong with that ? Why . Here , you 're all businessmen here . Does n't it make them better citizens ? Does n't it make them better customers ? You . you said . What 'd you say just a minute ago ? . They had to wait and save their money before they even ought to think of a decent home . Wait ! Wait for what ? Until their children grow up and leave them ? Until they 're so old and broken - down that they . Do you know how long it takes a working man to save five thousand dollars ? Just remember this , Mr. Potter , that this rabble you 're talking about . they do most of the working and paying and living and dying in this community . Well , is it too much to have them work and pay and live and die in a couple of decent rooms and a bath ? Anyway , my father did n't think so . People were human beings to him , but to you , a warped , frustrated old man , they 're cattle . Well , in my book he died a much richer man than you 'll ever be ! POTTER I 'm not interested in your book . I 'm talking about the Building and Loan . GEORGE I know very well what you 're talking about . You 're talking about something you ca n't get your fingers on , and it 's galling you . That 's what you 're talking about , I know . -LRB- to the Board . -RRB- Well , I 've said too much . I . You 're the Board here . You do what you want with this thing . Just one thing more , though . This town needs this measly one - horse institution if only to have some place where people can come without crawling to Potter . Come on , Uncle Billy ! George leaves the room , followed by the jubilant Uncle Billy . Potter 's face is grim with hatred . The `` frustrated old man '' remark was gall in his veins . POTTER Sentimental hogwash ! I want my motion . He is interrupted by a babble of talk , as the directors take up the argument .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George , visibly shaken , is busy with his bag , his papers . He is worried about the outcome of the meeting . Dissolving the Building and Loan will alter his plans . Uncle Billy follows him around , chattering . UNCLE BILLY Boy , oh , boy , that was telling him , George , old boy . You shut his big mouth . -LRB- to Cousin Tilly and Cousin Eustace . -RRB- You should have heard him . COUSIN EUSTACE What happened ? We heard a lot of yelling . UNCLE BILLY Well , we 're being voted out of business after twenty - five years . Easy come , easy go . COUSIN TILLY . -LRB- reading a newspaper . -RRB- Here it is , `` Help Wanted -- -- Female . '' MEDIUM CLOSE SHOT -- -- DOORWAY TO OFFICE . Ernie is in the doorway . ERNIE You still want me to hang around , George ? MEDIUM CLOSE SHOT -- -- George and the others . GEORGE . -LRB- looking at his watch . -RRB- Yeah , I 'll be right down . UNCLE BILLY Hey , you 'll miss your train . You 're a week late for school already . Go on . GEORGE . -LRB- indicating Board room . -RRB- I wonder what 's going on in there ? UNCLE BILLY Oh , never mind . Do n't worry about that . They 're putting us out of business . So what ? I can get another job . I 'm only fifty - five . COUSIN TILLY Fifty - six ! UNCLE BILLY Go on -- -- go on . Hey , look , you gave up your boat trip , now you do n't want to miss college too , do you ? Dr. Campbell comes running out , all excited . DR. CAMPBELL George ! George ! They voted Potter down ! They want to keep it going ! Cousin Eustace , Cousin Tilly and Uncle Billy cheer wildly . Dr. Campbell and George shake hands . UNCLE BILLY Whoopee ! DR. CAMPBELL But they 've got one condition -- -- only one condition . GEORGE What 's that ? DR. CAMPBELL That 's the best part of it . They 've appointed George here as executive secretary to take his father 's place . GEORGE Oh , no ! But , Uncle Billy . DR. CAMPBELL You can keep him on . That 's all right . As secretary you can hire anyone you like . GEORGE . -LRB- emphatically . -RRB- Dr. Campbell , now let 's get this thing straight . I 'm leaving . I 'm leaving right now . I 'm going to school . This is my last chance . Uncle Billy here , he 's your man . DR. CAMPBELL But , George , they 'll vote with Potter otherwise . LAP DISSOLVE Railroad station -- -- Harry 's return</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SKY –– NIGHT</stage_direction>
<scene_description>The same stars we saw in the opening sequence are once more twinkling as we hear the voices form Heaven : CLARENCE 'S VOICE I know . I know . He did n't go . JOSEPH 'S VOICE That 's right . Not only that , but he gave his school money to his brother Harry , and sent him to college . Harry became a football star -- -- made second team All American . CLARENCE 'S VOICE Yes , but what happened to George ? LAP DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RAILROAD STATION –– DAY –– FOUR YEARS LATER</stage_direction>
<scene_description>MEDIUM SHOT -- -- Characteristic activity ; a number of people waiting for the train . Uncle Billy is seated on a baggage wagon eating peanuts as George paces up and down in front of him . JOSEPH 'S VOICE George got four years older , waiting for Harry to come back and take over the Building and Loan . GEORGE Oh , there are plenty of jobs around for somebody that likes to travel . Look at this . -LRB- takes some folders from his pocket . -RRB- There . Venezuela oil fields -- -- wanted , man with construction experience . Here 's the Yukon , right here -- -- wanted , man with engineering experience . The WHISTLE of the approaching train is heard . GEORGE . -LRB- cont'd. -RRB- Thar she blows . You know what the three most exciting sounds in the world are ? UNCLE BILLY Uh - huh . Breakfast is served ; lunch is served ; dinner . GEORGE No , no , no , no ! Anchor chains , plane motors , and train whistles . UNCLE BILLY Peanut ?</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR TRAIN –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- The train comes to a stop , and Harry is among the first to get off , followed by an attractive girl about the same age as he is . George rushes into the shot , and as the brothers embrace : GEORGE . -LRB- joyously . -RRB- There 's the professor now ! Old professor , Phi Beta Kappa Bailey ! All American ! HARRY Well , if it is n't old George Geographic Explorer Bailey ! What ? No husky dogs ? No sled ? -LRB- to Uncle Billy . -RRB- Uncle Billy , you have n't changed a bit . UNCLE BILLY Nobody ever changes around here . You know that . GEORGE Oh , am I glad to see you . HARRY Say , where 's Mother ? GEORGE She 's home cooking the fatted calf . Come on , let 's go . HARRY Oh , wait . Wait . Wait a minute . CLOSE SHOT -- -- the group , including Ruth Dakin . This is the young lady who came off the train with Harry . In the excitement of greetings she has been momentarily forgotten . She stands , smiling , waiting . GEORGE Hello . UNCLE BILLY How do you do . HARRY Ruth Dakin . RUTH Ruth Dakin Bailey , if you do n't mind . George and Uncle Billy stare , astounded . UNCLE BILLY Huh ? HARRY Well , I wired you I had a surprise . Here she is . Meet the wife . George is thunderstruck . He takes Ruth 's hand . UNCLE BILLY Well , what do you know -- -- wife . GEORGE Well , how do you do . Congratulations . Congratulations . What am I doing ? He kisses Ruth . CAMERA MOVES WITH them down the platform . GEORGE Harry , why did n't you tell somebody ? -LRB- to Ruth . -RRB- What 's a pretty girl like you doing marrying this two - headed brother of mine ? RUTH . -LRB- smiling . -RRB- Well , I 'll tell you . It 's purely mercenary . My father offered him a job . George stops , with a sinking feeling . Uncle Billy and Ruth continue out of shot . Harry stops with George . UNCLE BILLY . -LRB- as he moves off . -RRB- Oh , he gets you and a job ? Well , Harry 's cup runneth over . HARRY George . about that job . Ruth spoke out of turn . I never said I 'd take it . You 've been holding the bag here for four years , and . well , I wo n't let you down , George . I would like to . Oh , wait a minute . I forgot the bags . I 'll be right back . He runs out of the shot , George watching him . CLOSE SHOT -- -- George slowly moves after Uncle Billy and Ruth . He is thinking deeply . UNCLE BILLY 'S VOICE It was a surprise to me . This is the new Mrs. Bailey , my nephew 's wife . Old , old friend of the family . RUTH 'S VOICE Oh , of course . I 've heard him speak of you . UNCLE BILLY 'S VOICE And I want to tell you , we 're going to give the biggest party this town ever saw . CAMERA MOVES WITH George as he comes into the scene . Ruth detaches herself from the group and offers George some popcorn . RUTH . -LRB- to George . -RRB- Here , have some popcorn . George , George , George . that 's all Harry ever talks about . GEORGE . -LRB- quietly . -RRB- Ruth , this . what about this job ? RUTH Oh , well , my father owns a glass factory in Buffalo . He wants to get Harry started in the research business . GEORGE Is it a good job ? RUTH Oh , yes , very . Not much money , but a good future , you know . Harry 's a genius at research . My father fell in love with him . GEORGE And you did , too ? Ruth nods , smiling . After Harry 's wedding celebration/George and Violet</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR FRONT PORCH –– BAILEY HOME –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Cousin Eustace is taking a photograph of the family group assembled on the porch . Flash bulbs go off , and the group breaks up . The crowd enters the front door of the house , leaving George and Uncle Billy on the porch . CLOSE SHOT -- -- George and Uncle Billy . The latter is tipsy . He feels very high . UNCLE BILLY Oh , boy , oh boy , oh boy . I feel so good I could spit in Potter 's eye . I think I will . What did you say , huh ? Oh , maybe I 'd better go home . He looks around for his hat , which is on his head . UNCLE BILLY . -LRB- cont'd. -RRB- Where 's my hat ? Where 's my . George takes the hat from Uncle Billy 's head and hands it to him . UNCLE BILLY . -LRB- cont'd. -RRB- Oh , thank you , George . Which one is mine ? GEORGE . -LRB- laughing . -RRB- The middle one . UNCLE BILLY Oh , thank you , George , old boy , old boy . Now , look -- -- if you 'll point me in the right direction . would you do that ? George ? GEORGE Right down here . They descend the porch steps , and George turns his uncle around and heads him down the street . UNCLE BILLY Old Building and Loan pal , huh . GEORGE Now you just turn this way and go right straight down . UNCLE BILLY That way , huh ? He staggers out of the scene , and as George turns away , we hear Uncle Billy singing `` My Wild Irish Rose . '' There is a CRASH of cans and bottles , then : UNCLE BILLY 'S VOICE I 'm all right . I 'm all right . '' . the sweetest flower that grows . ''</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOUSE –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George is standing at the garden gate . He takes some travel folders from his pocket , looks at them and throws them away . He is obviously disturbed about the latest turn of events . His mother comes out of the house and kisses him . GEORGE Hello , Mom . MRS. BAILEY . -LRB- as she kisses him . -RRB- That 's for nothing . How do you like her ? She nods toward the house , where Harry and Ruth , among a crowd of other couples , are dancing to the MUSIC of a phonograph , and can be seen through the front door . GEORGE She 's swell . MRS. BAILEY Looks like she can keep Harry on his toes . GEORGE Keep him out of Bedford Falls , anyway . MRS. BAILEY Did you know that Mary Hatch is back from school ? GEORGE Uh - huh . MRS. BAILEY Came back three days ago . GEORGE Hmmmm . MRS. BAILEY Nice girl , Mary . GEORGE Hmmmm . MRS. BAILEY Kind that will help you find the answers , George . GEORGE Hmmm . MRS. BAILEY Oh , stop that grunting . GEORGE Hmmm . MRS. BAILEY Can you give me one good reason why you should n't call on Mary ? GEORGE Sure -- -- Sam Wainwright . MRS. BAILEY Hmmm ? GEORGE Yes . Sam 's crazy about Mary . MRS. BAILEY Well , she 's not crazy about him . GEORGE Well , how do you know ? Did she discuss it with you ? MRS. BAILEY No . GEORGE Well then , how do you know ? MRS. BAILEY Well , I 've got eyes , have n't I ? Why , she lights up like a firefly whenever you 're around . GEORGE Oh . MRS. BAILEY And besides , Sam Wainwright 's away in New York , and you 're here in Bedford Falls . GEORGE And all 's fair in love and war ? MRS. BAILEY . -LRB- primly . -RRB- I do n't know about war . GEORGE Mother , you know , I can see right through you -- -- right back to your back collar button . trying to get rid of me , huh ? MRS. BAILEY Uh - huh . They kiss . Mrs. Bailey puts George 's hat on his head . GEORGE Well , here 's your hat , what 's your hurry ? All right , Mother , old Building and Loan pal , I think I 'll go out and find a girl and do a little passionate necking . MRS. BAILEY Oh , George ! GEORGE Now , if you 'll just point me in the right direction . This direction ? -LRB- as he leaves . -RRB- Good night , Mrs. Bailey .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George is standing in the middle of the street , hands in his pockets . As a girl passes , he turns and watches her for a moment . He is obviously undecided as to what he wants to do .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR VIOLET BICK'S BEAUTY SHOP –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- Violet is locking up for the night . A couple of men are crowding around her , each one bent on taking her out . There is laughter , kidding and pawing . She looks up and sees George standing there . VIOLET . -LRB- to the two men . -RRB- Excuse me . MAN Now , wait a minute . VIOLET I think I got a date . But stick around , fellows , just in case , huh ? MAN We 'll wait for you , baby . CAMERA PANS WITH Violet as she crosses the street to George . MEDIUM CLOSE SHOT -- -- George and Violet . VIOLET Hello , Georgie - Porgie . GEORGE Hello , Vi . He looks her over . Violet takes her beauty shop seriously and she 's an eyeful . She senses the fact that George is far from immune to her attractions . She links her arm in his and continues on down the street with him . CLOSE MOVING SHOT -- -- George and Violet . VIOLET What gives ? GEORGE Nothing . VIOLET Where are you going ? GEORGE Oh , I 'll probably end up down at the library . They stop walking and face one another . VIOLET George , do n't you ever get tired of just reading about things ? Her eyes are seductive and guileful as she looks up at him . He is silent for a moment , then blurts out : GEORGE Yes . what are you doing tonight ? VIOLET . -LRB- feigned surprise . -RRB- Not a thing . GEORGE Are you game , Vi ? Let 's make a night of it . VIOLET . -LRB- just what she wanted . -RRB- Oh , I 'd love it , Georgie . What 'll we do ? GEORGE Let 's go out in the fields and take off our shoes and walk through the grass . VIOLET Huh ? GEORGE Then we can go up to the falls . It 's beautiful up there in the moonlight , and there 's a green pool up there , and we can swim in it . Then we can climb Mt. Bedford , and smell the pines , and watch the sunrise against the peaks , and . we 'll stay up there the whole night , and everybody 'll be talking and there 'll be a terrific scandal . VIOLET . -LRB- interrupting . -RRB- George , have you gone crazy ? Walk in the grass in my bare feet ? Why , it 's ten miles up to Mt. Bedford . GEORGE Shhh . VIOLET . -LRB- angrily . -RRB- You think just because you . By this time a small crowd has collected to watch the above scene . Violet is furious and talking in a loud voice , and George is trying to quiet her . Finally : GEORGE Okay , just forget about the whole thing . As George stalks off , the crowd breaks into laughter , and we : George calls on Mary and their fate is sealed</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RESIDENTIAL STREET –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George is walking slowly past the Hatch home . He stares meditatively at the simple dwelling , then he starts walking ahead . but after a few steps he turns around and starts back . He walks past the house a few yards , turns , and starts back again .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BEDROOM WINDOW –– HATCH HOME –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary is looking out the window , watching George walk back and forth . MARY What are you doing , picketing ? George stops , startled , and looks up . GEORGE Hello , Mary . I just happened to be passing by . MARY Yeah , so I noticed . Have you made up your mind ? GEORGE How 's that ? MARY Have you made up your mind ? GEORGE About what ? MARY About coming in . Your mother just phoned and said you were on your way over to pay me a visit .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– NIGHT</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- George looks surprised at this . GEORGE My mother just called you ? Well , how did she know ? MARY Did n't you tell her ? GEORGE I did n't tell anybody . I just went for a walk and happened to be passing by . But Mary has disappeared from the window . GEORGE . -LRB- cont'd. -RRB- -LRB- to himself . -RRB- What do you . went for a walk , that 's all .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HATCH HOME –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Mary is running down the stairs . MARY . -LRB- calling off . -RRB- I 'll be downstairs , mother . MRS. HATCH 'S VOICE All right , dear . Mary looks in a mirror at the bottom of the stairs and fixes her hair . She is plainly excited at George 's visit . She runs into the parlor and puts a sketch on an easel . INSERT THE SKETCH . It is a caricature of George throwing a lasso around the moon . Lettering on the drawing says `` George Lassos The Moon . '' BACK TO SHOT -- -- Mary runs into the hall , opens the phonograph and puts on a record of `` Buffalo Gals . '' Then she opens the front door and stands there waiting for George .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR DOORWAY –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George is struggling with the gate -- -- he finally kicks it open and starts slowly up the path toward Mary . MARY Well , are you coming in or are n't you ? GEORGE Well , I 'll come in for a minute , but I did n't tell anybody I was coming over here . CLOSE SHOT -- -- Mary and George are in the entrance hall . GEORGE When did you get back ? MARY Tuesday . GEORGE Where 'd you get that dress ? MARY Do you like it ? GEORGE It 's all right . I thought you 'd go back to New York like Sam and Ingie , and the rest of them . MARY Oh , I worked there for a couple of vacations , but I do n't know . I guess I was homesick . GEORGE . -LRB- shocked -RRB- Homesick ? For Bedford Falls ? MARY Yes , and my family and . oh , everything . Would you like to sit down ? They go through the doorway into the parlor . GEORGE All right , for a minute . I still ca n't understand it though . You know I did n't tell anybody I was coming here . MARY Would you rather leave ? GEORGE No , I do n't want to be rude . MARY Well , then , sit down . George sees the cartoon on the easel and bends down for a close look at it . GEORGE . -LRB- indicating cartoon . -RRB- Some joke , huh ? CLOSE SHOT -- -- George and Mary sitting on the divan . He is uncomfortable , and she tries desperately to keep the conversation alive . GEORGE Well , I see it still smells like pine needles in here . MARY Thank you . There is silence for a moment , then Mary joins in singing with the phonograph record which has been playing all through the above scene : MARY . -LRB- singing . -RRB- `` And dance by the light . '' GEORGE What 's the matter ? Oh , yeah . yeah . He looks at his watch , as though about to leave . GEORGE . -LRB- cont'd. -RRB- Well , I . MARY . -LRB- desperately . -RRB- It was nice about your brother Harry , and Ruth , was n't it ? GEORGE Oh . yeah , yeah . That 's all right . MARY Do n't you like her ? GEORGE Well , of course I like her . She 's a peach . MARY Oh , it 's just marriage in general you 're not enthusiastic about , huh ? GEORGE No , marriage is all right for Harry , and Marty , and Sam and you .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR STAIRS</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Mrs. Hatch , in a bathrobe , and with her hair in curlers , is leaning over the banister as she calls : MRS. HATCH Mary ! Mary !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR PARLOR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Mary seated on the divan . MRS. HATCH 'S VOICE Who 's down there with you ? MARY It 's George Bailey , Mother . MRS. HATCH 'S VOICE George Bailey ? What 's he want ? MARY I do n't know . -LRB- to George . -RRB- What do you want ? GEORGE . -LRB- indignant . -RRB- Me ? Not a thing . I just came in to get warm . MARY . -LRB- to mother . -RRB- He 's making violent love to me , Mother . George is aghast . MRS. HATCH 'S VOICE You tell him to go right back home , and do n't you leave the house , either . Sam Wainwright promised to call you from New York tonight . GEORGE . -LRB- heatedly . -RRB- But your mother need n't . you know I did n't come here to . to . to . MARY . -LRB- rising . -RRB- What did you come here for ? GEORGE I do n't know . You tell me . You 're supposed to be the one that has all the answers . You tell me . MARY . -LRB- terribly hurt . -RRB- Oh , why do n't you go home ? GEORGE . -LRB- almost shouting . -RRB- That 's where I 'm going . I do n't know why I came here in the first place ! Good night ! As George leaves the room , the telephone in the hall starts ringing . MARY . -LRB- to George . -RRB- Good night ! MRS. HATCH 'S VOICE Mary ! Mary ! The telephone ! It 's Sam !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALL –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Mary comes into the hall . MARY . -LRB- almost weeping . -RRB- I 'll get it . As Mary comes into the hall , she stops by the phonograph , which is still playing `` Buffalo Gals , '' takes off the record with a jerk , and smashes it against the machine . The phone is still ringing . MRS. HATCH Mary , he 's waiting ! MARY Hello . As Mary picks up the phone , George comes in from the front porch . GEORGE I forgot my hat . MARY . -LRB- overly enthusiastic . -RRB- Hee - haw ! Hello , Sam , how are you ? SAM 'S VOICE Aw , great . Gee , it 's good to hear your voice again . George has stopped , hat in hand , to hear the first greetings . MARY Oh , well , that 's awfully sweet of you , Sam . -LRB- glances toward door , sees George still there . -RRB- There 's an old friend of yours here . George Bailey . SAM You mean old moss - back George ? MARY Yes , old moss - back George . SAM 'S VOICE Hee - haw ! Put him on . MARY Wait a minute . I 'll call him . -LRB- calling . -RRB- George ! MRS. HATCH He does n't want to speak to George , you idiot ! MARY He does so . He asked for him . -LRB- calling . -RRB- Geo . George , Sam wants to speak to you . She hands the instrument to George . GEORGE Hello , Sam .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR SAM'S NEW YORK OFFICE –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Sam is seated at his desk , while a couple of his friends are nearby , with highballs in their hands . SAM . -LRB- into phone . -RRB- Well , George Baileyoffski ! Hey , a fine pal you are . What 're you trying to do ? Steal my girl ?</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HATCH HALL –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George and Mary . GEORGE . -LRB- into phone . -RRB- What do you mean ? Nobody 's trying to steal your girl . Here . here 's Mary . SAM 'S VOICE No , wait a minute . Wait a minute . I want to talk to both of you . Tell Mary to get on the extension . GEORGE . -LRB- to Mary . -RRB- Here . You take it . You tell him . MARY Mother 's on the extension .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR UPPER HALLWAY –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mrs. Hatch . As she hears this , she hastily hangs up the extension phone on which she has been listening . BACK TO SHOT -- -- George and Mary . MARY We can both hear . Come here . Mary takes the telephone from George and holds it so that of necessity George 's cheek is almost against hers . He is very conscious of her proximity . MARY . -LRB- on phone . -RRB- We 're listening , Sam . SAM 'S VOICE I have a big deal coming up that 's going to make us all rich . George , you remember that night in Martini 's bar when you told me you read someplace about making plastics out of soybeans ? GEORGE Huh ? Yeah - yeah - yeah . soybeans . Yeah . SAM 'S VOICE Well , Dad 's snapped up the idea . He 's going to build a factory outside of Rochester . How do you like that ? Mary is watching George interestedly . George is very conscious of her , close to him . GEORGE Rochester ? Well , why Rochester ? SAM 'S VOICE Well , why not ? Can you think of anything better ? GEORGE Oh , I do n't know . why not right here ? You remember that old tool and machinery works ? You tell your father he can get that for a song . And all the labor he wants , too . Half the town was thrown out of work when they closed down . SAM 'S VOICE That so ? Well , I 'll tell him . Hey , that sounds great ! Oh , baby , I knew you 'd come through . Now , here 's the point . Mary , Mary , you 're in on this too . Now listen . Have you got any money ? GEORGE Money ? Yeah . well , a little . SAM 'S VOICE Well , now listen . I want you to put every cent you 've got into our stock , you hear ? And George , I may have a job for you ; that is , unless you 're still married to that broken - down Building and Loan . This is the biggest thing since radio , and I 'm letting you in on the ground floor . Oh , Mary . Mary . MARY . -LRB- nervously . -RRB- I 'm here . SAM 'S VOICE Would you tell that guy I 'm giving him the chance of a lifetime , you hear ? The chance of a lifetime . As Mary listens , she turns to look at George , her lips almost on his lips . MARY . -LRB- whispering . -RRB- He says it 's the chance of a lifetime . George can stand it no longer . He drops the phone with a crash , grabs Mary by the shoulders and shakes her . Mary begins to cry . GEORGE . -LRB- fiercely . -RRB- Now you listen to me ! I do n't want any plastics ! I do n't want any ground floors , and I do n't want to get married -- -- ever -- -- to anyone ! You understand that ? I want to do what I want to do . And you 're . and you 're . He pulls her to him in a fierce embrace . Two meant for each other find themselves in tearful ecstasy . GEORGE . -LRB- cont'd. -RRB- Oh , Mary . Mary . MARY George . George . George . GEORGE Mary . CLOSE SHOT -- -- Mrs. Hatch is at the top of the stairs . She practically faints at what she sees . George and Mary tie the knot/Trouble at the Building and Loan</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR FRONT HALL BAILEY HOME –– DAY –– SEVERAL MONTHS LATER</stage_direction>
<scene_description>CLOSEUP -- -- Cousin Tilly 's face fills the screen as she cries : COUSIN TILLY Here they come ! CAMERA PULLS BACK , and we hear the SOUND of the Wedding March . People are crowded into the rooms family , friends , neighbors . There is a din of conversation . Mary and George appear at the top of the stairs in traveling clothes , with Mrs. Hatch , red - eyed , behind them . Mary throws her bouquet , which is caught by Violet Bick . As they come out onto the porch , we see that it is raining . Nevertheless , Cousin Eustace has his camera equipment set up and is taking pictures of the group . George and Mary dodge through the rain and a shower of rice and get into Ernie 's taxicab , which pulls away from the curb .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR PORCH OF BAILEY HOUSE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mrs. Bailey and Annie , the maid . MRS. BAILEY First Harry , now George . Annie , we 're just two old maids now . ANNIE You speak for yourself , Mrs. B.</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR ERNIE'S CAB –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George , Mary and Ernie . George and Mary are in each other 's arms . ERNIE If either of you two see a stranger around here , it 's me . GEORGE Hey , look ! Somebody 's driving this cab . Ernie reaches over and hands George a bottle of champagne done up in gift wrappings . ERNIE Bert , the cop , sent this over . He said to float away to Happy Land on the bubbles . GEORGE Oh , look at this . Champagne ! MARY Good old Bert . ERNIE By the way , where are you two going on this here now honeymoon ? GEORGE Where are we going ? -LRB- takes out a fat roll of bills . -RRB- Look at this . There 's the kitty , Ernie . Here , come on , count it , Mary . MARY I feel like a bootlegger 's wife . -LRB- holding up the money . -RRB- Look ! GEORGE You know what we 're going to do ? We 're going to shoot the works . A whole week in New York . A whole week in Bermuda . The highest hotels -- -- the oldest champagne -- -- the richest caviar -- -- the hottest music , and the prettiest wife ! ERNIE That does it ! Then what ? GEORGE . -LRB- to Mary . -RRB- Then what , honey ? MARY After that , who cares ? GEORGE That does it -- -- come here . The cab passes the bank , and Ernie sees a crowd of people around the door . He stops the cab . LONG SHOT -- -- scurrying people under umbrellas , swarming around the bank doors . Panic is in the air . Attendants are trying to close down . Several people come running past the cab .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR CAB</stage_direction>
<scene_description>CLOSE SHOT -- -- George , Mary and Ernie . ERNIE Do n't look now , but there 's something funny going on over there at the bank , George , I 've never really seen one , but that 's got all the earmarks of a run . PASSERBY Hey , Ernie , if you got any money in the bank , you better hurry . MARY George , let 's not stop . Let 's go ! George gets out of the cab and looks down the street . GEORGE Just a minute , dear . Oh - oh . MARY Please , let 's not stop , George . GEORGE I 'll be back in a minute , Mary . George runs off up the street , toward the Building and Loan .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- sidewalk . An iron grill blocks the street entrance to the Building and Loan . It has been locked . A crowd of men and women are waiting around the grill . They are simply - dressed people , to whom their savings are a matter of life and death . George comes in with an assumed cheerful manner . The people look at him silently , half shamefaced , but grimly determined on their rights . In their hearts there is panic and fear . GEORGE Hello , everybody . Mrs. Thompson , how are you ? Charlie ? What 's the matter here , ca n't you get in ? No one answers . He quickly unlocks the grill door and pushes it open . Followed by the crowd , George runs upstairs and into the outer offices of the Building and Loan .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George , followed by the still - silent people , comes in . Uncle Billy is standing in the doorway to his private office , taking a drink from a bottle . He motions to George to join him . GEORGE What is this , Uncle Billy ? A holiday ? UNCLE BILLY George . He points to George 's office . George turns back cheerfully to the crowd . GEORGE Come on in , everybody . That 's right , just come in . George vaults over the counter . GEORGE . -LRB- cont'd. -RRB- Now look , why do n't you all sit down . There are a lot of seats over there . Just make yourselves at home . UNCLE BILLY George , can I see you a minute ? The people ignore George and remain standing in front of the teller 's window . They all have their passbooks out . George hurries into his office where Uncle Billy is waiting for him .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Uncle Billy . GEORGE Why did n't you call me ? UNCLE BILLY I just did , but they said you left . This is a pickle , George , this is a pickle . GEORGE All right now , what happened ? How did it start ? UNCLE BILLY How does anything like this ever start ? All I know is the bank called our loan . GEORGE When ? UNCLE BILLY About an hour ago . I had to hand over all our cash . GEORGE All of it ? UNCLE BILLY Every cent of it , and it still was less than we owe . GEORGE Holy mackerel ! UNCLE BILLY And then I got scared , George , and closed the doors . I . I . I . GEORGE The whole town 's gone crazy . The telephone rings . Uncle Billy picks it up . UNCLE BILLY Yes , hello ? George . it 's Potter . GEORGE Hello ?</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S LIBRARY –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- Potter seated behind his desk , his goon alongside him . Standing in front of the desk is a distinguished - looking man , obviously the president of the bank . He is mopping his brow with his handkerchief . POTTER George , there is a rumor around town that you 've closed your doors . Is that true ? Oh , well , I 'm very glad to hear that . George , are you all right ? Do you need any police ?</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Uncle Billy . GEORGE . -LRB- on phone . -RRB- Police ? What for ?</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Potter talking on phone . POTTER Well , mobs get pretty ugly sometimes , you know . George , I 'm going all out to help in this crisis . I 've just guaranteed the bank sufficient funds to meet their needs . They 'll close up for a week , and then reopen .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Uncle Billy . GEORGE . -LRB- to Uncle Billy . -RRB- He just took over the bank .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter on phone . POTTER I may lose a fortune , but I 'm willing to guarantee your people too . Just tell them to bring their shares over here and I will pay them fifty cents on the dollar .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Uncle Billy . GEORGE . -LRB- furiously . -RRB- Aw , you never miss a trick , do you , Potter ? Well , you 're going to miss this one . George bangs the receiver down and turns to meet Uncle Billy 's anxious look .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE</stage_direction>
<scene_description>CLOSEUP -- -- Potter on phone . POTTER If you close your doors before six P.M. you will never reopen . He realizes George has hung up , and clicks the phone furiously .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Uncle Billy UNCLE BILLY George , was it a nice wedding ? Gosh , I wanted to be there . GEORGE Yeah . -LRB- looks at string on Uncle Billy 's finger . -RRB- . you can take this one off now . An ominous SOUND of angry voices comes from the other room . George and Uncle Billy exit from George 's office .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- More people have crowded around the counter . Their muttering stops and they stand silent and grim . There is panic in their faces . GEORGE Now , just remember that this thing is n't as black as it appears . As George speaks , sirens are heard passing in the street below . The crowd turn to the windows , then back to George . GEORGE . -LRB- cont'd. -RRB- I have some news for you , folks . I 've just talked to old man Potter , and he 's guaranteed cash payments at the bank . The bank 's going to reopen next week . ED But , George , I got my money here . CHARLIE Did he guarantee this place ? GEORGE Well , no , Charlie . I did n't even ask him . We do n't need Potter over here . Mary and Ernie have come into the room during this scene . Mary stands watching silently . CHARLIE I 'll take mine now . GEORGE No , but you . you . you 're thinking of this place all wrong . As if I had the money back in a safe . The money 's not here . Your money 's in Joe 's house . -LRB- to one of the men . -RRB- . right next to yours . And in the Kennedy house , and Mrs. Macklin 's house , and a hundred others . Why , you 're lending them the money to build , and then , they 're going to pay it back to you as best they can . Now what are you going to do ? Foreclose on them ? TOM I got two hundred and forty - two dollars in here , and two hundred and forty - two dollars is n't going to break anybody . MEDIUM CLOSE SHOT -- -- ANOTHER ANGLE GEORGE . -LRB- handing him a slip . -RRB- Okay , Tom . All right . Here you are . You sign this . You 'll get your money in sixty days . TOM Sixty days ? GEORGE Well , now that 's what you agreed to when you bought your shares . There is a commotion at the outer doors . A man . -LRB- Randall -RRB- comes in and makes his way up to Tom . RANDALL Tom . Tom , did you get your money ? TOM No . RANDALL Well , I did . Old man Potter 'll pay fifty cents on the dollar for every share you got . -LRB- shows bills . -RRB- CROWD . -LRB- ad lib . -RRB- Fifty cents on the dollar ! RANDALL Yes , cash ! TOM . -LRB- to George . -RRB- Well , what do you say ? GEORGE Now , Tom , you have to stick to your original agreement . Now give us sixty days on this . TOM . -LRB- turning to Randall . -RRB- Okay , Randall . He starts out . MRS. THOMPSON Are you going to go to Potter 's ? TOM Better to get half than nothing . A few other people start for the door . CAMERA PANS WITH George as he vaults over the counter quickly , speaking to the people . GEORGE Tom ! Tom ! Randall ! Now wait . now listen . now listen to me . I beg of you not to do this thing . If Potter gets hold of this Building and Loan there 'll never be another decent house built in this town . He 's already got charge of the bank . He 's got the bus line . He 's got the department stores . And now he 's after us . Why ? Well , it 's very simple . Because we 're cutting in on his business , that 's why . And because he wants to keep you living in his slums and paying the kind of rent he decides . The people are still trying to get out , but some of them have stood still , listening to him . George has begun to make an impression on them . GEORGE . -LRB- cont'd. -RRB- Joe , you lived in one of his houses , did n't you ? Well , have you forgotten ? Have you forgotten what he charged you for that broken - down shack ? -LRB- to Ed . -RRB- Here , Ed . You know , you remember last year when things were n't going so well , and you could n't make your payments . You did n't lose your house , did you ? Do you think Potter would have let you keep it ? -LRB- turns to address the room again . -RRB- Ca n't you understand what 's happening here ? Do n't you see what 's happening ? Potter is n't selling . Potter 's buying ! And why ? Because we 're panicky and he 's not . That 's why . He 's picking up some bargains . Now , we can get through this thing all right . We 've got to stick together , though . We 've got to have faith in each other . MRS. THOMPSON But my husband has n't worked in over a year , and I need money . WOMAN How am I going to live until the bank opens ? MAN I got doctor bills to pay . MAN I need cash . MAN Ca n't feed my kids on faith . During this scene Mary has come up behind the counter . Suddenly , as the people once more start moving toward the door , she holds up a roll of bills and calls out : MARY How much do you need ? George jumps over the counter and takes the money from Mary . GEORGE Hey ! I got two thousand dollars ! Here 's two thousand dollars . This 'll tide us over until the bank reopen . -LRB- to Tom . -RRB- All right , Tom , how much do you need ? TOM . -LRB- doggedly . -RRB- Two hundred and forty - two dollars ! GEORGE . -LRB- pleading . -RRB- Aw , Tom , just enough to tide you over till the bank reopens . TOM I 'll take two hundred and forty - two dollars . George starts rapidly to count out the money . Tom throws his passbook on the counter . GEORGE There you are . TOM That 'll close my account . GEORGE Your account 's still here . That 's a loan . Mary turns and slips out through the crowd , followed by Ernie . George hands the two hundred and forty - two dollars to Tom , and speaks to Ed , the next in line . GEORGE . -LRB- cont'd. -RRB- Okay . All right , Ed ? ED I got three hundred dollars here , George . Uncle Billy takes out his wallet and takes out all the cash he 's got . GEORGE Aw , now , Ed . what 'll it take till the bank reopens ? What do you need ? ED Well , I suppose twenty dollars . GEORGE Twenty dollars . Now you 're talking . Fine . Thanks , Ed . -LRB- to Mrs. Thompson , next in line . -RRB- All right , now , Mrs. Thompson . How much do you want ? MRS. THOMPSON But it 's your own money , George . GEORGE Never mind about that . How much do you want ? MRS. THOMPSON I can get along with twenty , all right . GEORGE . -LRB- counting it out . -RRB- Twenty dollars . MRS. THOMPSON And I 'll sign a paper . GEORGE You do n't have to sign anything . I know you 'll pay it back when you can . That 's okay . -LRB- to woman next in line . -RRB- All right , Mrs. Davis . MRS. DAVIS Could I have seventeen - fifty ? GEORGE Seven . -LRB- he kisses her . -RRB- Bless your heart , Of course you can have it . You got fifty cents ? -LRB- counting . -RRB- Seven .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE BUILDING AND LOAN –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George , Uncle Billy and Cousin Tilly are behind the counter , watching the minute hand of a clock on the wall as George counts off the seconds . Cousin Eustace is ready to close the door . UNCLE BILLY . -LRB- excitedly . -RRB- We 're going to make it , George . They 'll never close us up today ! GEORGE . -LRB- counting . -RRB- Six . five . four . three . two . one . Bingo ! Cousin Eustace slams and locks the door , and scurries around the counter to join the others . GEORGE . -LRB- cont'd. -RRB- We made it ! Look . -LRB- holds up two bills . -RRB- . look , we 're still in business ! We 've still got two bucks left ! Uncle Billy is taking a drink out of his bottle . GEORGE . -LRB- cont'd. -RRB- Well , let 's have some of that . Get some glasses , Cousin Tilly . -LRB- to Uncle Billy . -RRB- We 're a couple of financial wizards . UNCLE BILLY Those Rockefellers ! GEORGE Get a tray for these great big important simoleons . UNCLE BILLY We 'll save them for seed . A toast ! They raise their glasses . GEORGE A toast ! A toast to Papa Dollar and to Mama Dollar , and if you want the old Building and Loan to stay in business , you better have a family real quick . COUSIN TILLY I wish they were rabbits . GEORGE I wish they were too . Okay , let 's put them in the safe and see what happens . The four of them parade through the office ; George puts the two dollars in the safe . CLOSE SHOT -- -- group around the safe door . As George comes out : COUSIN EUSTACE . -LRB- handing out cigars . -RRB- Wedding cigars ! GEORGE . -LRB- startled . -RRB- Oh - oh . wedding ! Holy mackerel , I 'm married ! Where 's Mary ? Mary . -LRB- he runs around looking for her . -RRB- Poor Mary . Look , I 've got a train to catch . -LRB- looks at his watch . -RRB- Well , the train 's gone . I wonder if Ernie 's still here with his taxicab ? George rushes into his office to look out the window . COUSIN TILLY . -LRB- on telephone . -RRB- George , there 's a call for you . GEORGE Look , will you get my wife on the phone ? She 's probably over at her mother 's . COUSIN TILLY Mrs. Bailey is on the phone .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE</stage_direction>
<scene_description>MEDIUM CLOSEUP -- -- George is thoroughly rattled . GEORGE I do n't want Mrs. Bailey . I want my wife . Mrs. Bailey ! Oh , that 's my wife ! Here , I 'll take it in here . -LRB- picks up phone . -RRB- Mary ? Hello . Listen , dear , I 'm sorry . What ? Come home ? What home ? Three - twenty Sycamore ? Well , what . whose home is that ? The Waldorf Hotel , huh ? `` Welcome home , Mr. Bailey ''</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR OLD GRANVILLE HOUSE –– NIGHT</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- An old - fashioned , run - down house , unpainted and warped by the weather . It once had class but has not been lived in for years . This is the house that George and Mary will live in from now on . The rain is pouring down . A faint glow of light shines out from bottom windows . George hurries into scene . He stops to make sure it is the right number before going up the steps .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SIDE OF HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Bert and man working in rain , sorting through travel posters . MAN Hey , this is the company 's posters , and the company wo n't like this . BERT How would you like to get a ticket next week ? Have n't you any romance in you ? MAN Sure I have , but I got rid of it . BERT . -LRB- reading poster . -RRB- Liver pills ! Who wants to see liver pills on their honeymoon ? What ? They want romantic places , beautiful places . places George wants to go . A sharp whistle is heard . CLOSE SHOT -- -- window of house . Ernie is leaning from the window . ERNIE Hey , Bert , here he comes . CLOSE SHOT -- -- Bert and man . BERT Come on , we got to get this up . He 's coming . MAN Who ? BERT The groom , idiot . Come on , get that ladder . MAN . -LRB- disgustedly . -RRB- What are they -- -- ducks ? CLOSE SHOT -- -- side porch of house . Bert and the man are putting up travel posters to cover up the broken windows . BERT Get that ladder up here . MAN All right -- -- all right . BERT Hurry up . hurry up . hurry up . MAN I 'm hurrying . MEDIUM CLOSE SHOT -- -- George is approaching the front door of the house , on which a sign is hanging `` Bridal Suite . '' Ernie looks out through the curtain covering the broken glass of the front door . ERNIE Hiya . Good evening , sir . Ernie opens the door , revealing himself as a homemade butler . This has been accomplished by rolling up his pants and putting on an old coachman 's hat . George enters . ERNIE Entray , monsieur , entray .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GRANVILLE HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George enters . The house is carpetless , empty -- -- the rain and wind cause funny noises upstairs . A huge fire is burning in the fireplace . Near the fireplace a collection of packing boxes are heaped together in the shape of a small table and covered with a checkered oil cloth . It is set for two . A bucket with ice and a champagne bottle sit on the table as well as a bowl of caviar . Two small chickens are impaled on a spit over the fire . A phonograph is playing on a box , and a string from the phonograph is turning the chickens on the spit . The phonograph is playing `` Song of the Islands . '' Mary is standing near the fireplace looking as pretty as any bride ever looked . She is smiling at George , who has been slowly taking in the whole set - up . Through a door he sees the end of a cheap bed , over the back of which is a pair of pajamas and a nightie . Ernie exits and closes the door . MARY . -LRB- tears in her eyes . -RRB- Welcome home , Mr. Bailey . GEORGE . -LRB- overcome . -RRB- Well , I 'll be . Mary , Mary , where did you . They rush into each other 's arms and hold each other in ecstasy .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SIDE OF HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Bert and Ernie , standing in the pouring rain , start singing `` I Love You Truly . ''</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Mary . They remain embraced . GEORGE Oh , Mary . MARY Remember the night we broke the windows in this old house ? This is what I wished for . GEORGE Darling , you 're wonderful .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SIDE OF HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Bert and Ernie . They finish their song , and Ernie kisses Bert on the forehead . Bert slams Ernie 's hat on his head . FADE OUT Martini gets a home of his own/George is tempted by Potter/George lassos stork FADE IN</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SLUM STREET BEDFORD FALLS –– DAY –– TWO YEARS LATER</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- In front of one of the miserable shacks that line the street are two vehicles . One of them is George Bailey 's rickety car , and the other is an even more rickety truck piled high with household goods . The Martini family is moving . The family consists of Martini , his wife and four kid of various ages , from two to ten . George and Mary are helping the Martinis move . About a dozen neighbors crowd around . Martini and George , assisted by three of the Martini children , are carrying out the last of the furniture . As they emerge from the house , one of the neighbors , Schultz , calls out : SCHULTZ Martini , you rented a new house ? MARTINI Rent ? -LRB- to George . -RRB- You hear what he say , Mr. Bailey ? GEORGE What 's that ? MARTINI I own the house . Me , Giuseppe Martini . I own my own house . No more we live like pigs in thisa Potter 's Field . Hurry , Maria . MARIA Yes . GEORGE Come on . -LRB- to Mary . -RRB- Bring the baby . -LRB- to Martini . -RRB- I 'll bring the kids in the car . MARTINI Oh , thank you , Mr. Bailey . Mary gets in the front seat of the car , with the baby in her arms . GEORGE All right , kids -- -- here -- -- get in here . Now get right up on the seat there . Get the . get the goat ! The family goat gets in the back seat with the three kids . MARTINI Goodbye , everybody ! GEORGE All in . The rickety caravan starts off down the street , to the cheers of the neighbors .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BAILEY PARK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Sign hanging from a tree `` Welcome to Bailey Park . '' CAMERA PANS TO follow George 's car and the old truck laden with furniture as they pass -- -- we hear Martini 's voice singing `` O Sole Mio . '' Bailey Park is a district of new small houses , not all alike , but each individual . New lawns here and there , and young trees . It has the promise when built up of being a pleasant little middle class section .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MARTINI'S NEW HOUSE –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George and Mary are on the porch of the new house , with the Martinis lined up before them . GEORGE Mr. and Mrs. Martini , welcome home . The Martinis cross themselves .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– BAILEY PARK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Sam Wainwright is standing in front of his big black town car . Sam is the epitome of successful , up - and - coming businessman . His wife , in the car , is a very attractive , sophisticated - looking lady , dripping with furs and jewels . Sam is watching George across the street . SAM That old George . he 's always making a speech . -LRB- to George . -RRB- Hee - haw ! -LRB- wiggles his hands . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR NEW HOUSE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary and George on porch . GEORGE . -LRB- to Mary . -RRB- Sam Wainwright ! MARY Oh , who cares . -LRB- to Mrs. Martini , giving her loaf of bread . -RRB- Bread ! That this house may never know hunger . Mrs. Martini crosses herself . MARY . -LRB- giving her salt . -RRB- Salt ! That life may always have flavor . GEORGE . -LRB- handing bottle to Martini . -RRB- And wine ! That joy and prosperity may reign forever . Enter the Martini castle ! The Martinis cross themselves , shaking hands all around . The kids enter , with screams of delight . Mrs. Martini kisses Mary .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE IN BANK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter seated in his wheelchair at his desk , with his goon beside him . His rent collector , Reineman , is talking , pointing to maps spread out on the desk . REINEMAN Look , Mr. Potter , it 's no skin off my nose . I 'm just your little rent collector . But you ca n't laugh off this Bailey Park any more . Look at it . A buzzer is heard , and Potter snaps on the dictaphone on his desk . SECRETARY 'S VOICE Congressman Blatz is here to see you . POTTER . -LRB- to dictaphone . -RRB- Oh , tell the congressman to wait . -LRB- to Reineman . -RRB- Go on . REINEMAN Fifteen years ago , a half - dozen houses stuck here and there . -LRB- indicating map . -RRB- There 's the old cemetery , squirrels , buttercups , daisies . Used to hunt rabbits there myself . Look at it today . Dozens of the prettiest little homes you ever saw . Ninety per cent owned by suckers who used to pay rent to you . Your Potter 's Field , my dear Mr. Employer , is becoming just that . And are the local yokels making with those David and Goliath wisecracks ! POTTER Oh , they are , are they ? Even though they know the Baileys have n't made a dime out of it . REINEMAN You know very well why . The Baileys were all chumps . Every one of these homes is worth twice what it cost the Building and Loan to build . If I were you , Mr. Potter . POTTER . -LRB- interrupting . -RRB- Well , you are not me . REINEMAN . -LRB- as he leaves . -RRB- As I say , it 's no skin off my nose . But one of these days this bright young man is going to be asking George Bailey for a job . Reineman exits . POTTER The Bailey family has been a boil on my neck long enough . He flips the switch on the dictaphone . SECRETARY 'S VOICE Yes , sir ? POTTER Come in here .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET IN BAILEY PARK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Mary are talking to Sam Wainwright in front of the latter 's car . Hs wife , Jane , is now out of the car . SAM We just stopped in town to take a look at the new factory , and then we 're going to drive on down to Florida . GEORGE Oh . JANE Why do n't you have your friends join us ? SAM Why , sure . Hey , why do n't you kids drive down with us , huh ? GEORGE Oh , I 'm afraid I could n't get away , Sam . SAM Still got the nose to the old grindstone , eh ? Jane , I offered to let George in on the ground floor in plastics , and he turned me down cold . GEORGE Oh , now , do n't rub it in . SAM I 'm not rubbing it in . Well , I guess we better run along . There is handshaking all around as Sam and Jane get into their car . JANE Awfully glad to have met you , Mary . MARY Nice meeting you . GEORGE Goodbye . JANE Goodbye , George . SAM So long , George . See you in the funny papers . GEORGE Goodbye , Sam . MARY Have fun . GEORGE Thanks for dropping around . SAM . -LRB- to chauffeur . -RRB- To Florida ! -LRB- to George . -RRB- Hee - haw ! GEORGE Hee - haw . The big black limousine glides away , leaving George standing with his arm around Mary , gazing broodingly after it . They slowly walk over to George 's old car and look at it silently .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter is lighting a big cigar which he has just given George . The goon is beside Potter 's chair , as usual . GEORGE Thank you , sir . Quite a cigar , Mr. Potter . POTTER You like it ? I 'll send you a box . GEORGE . -LRB- nervously . -RRB- Well , I . I suppose I 'll find out sooner or later , but just what exactly did you want to see me about ? POTTER . -LRB- laughs . -RRB- George , now that 's just what I like so much about you . -LRB- pleasantly and smoothly . -RRB- George , I 'm an old man , and most people hate me . But I do n't like them either , so that makes it all even . You know just as well as I do that I run practically everything in this town but the Bailey Building and Loan . You know , also , that for a number of years I 've been trying to get control of it . or kill it . But I have n't been able to do it . You have been stopping me . In fact , you have beaten me , George , and as anyone in this county can tell you , that takes some doing . Take during the depression , for instance . You and I were the only ones that kept our heads . You saved the Building and Loan , and I saved all the rest . GEORGE Yes . Well , most people say you stole all the rest . POTTER The envious ones say that , George , the suckers . Now , I have stated my side very frankly . Now , let 's look at your side . Young man , twenty - seven , twenty - eight . married , making , say . forty a week . GEORGE . -LRB- indignantly . -RRB- Forty - five ! POTTER Forty - five . Forty - five . Out of which , after supporting your mother , and paying your bills , you 're able to keep , say , ten , if you skimp . A child or two comes along , and you wo n't even be able to save the ten . Now , if this young man of twenty - eight was a common , ordinary yokel , I 'd say he was doing fine . But George Bailey is not a common , ordinary yokel . He 's an intelligent , smart , ambitious young man -- who hates his job -- -- who hates the Building and Loan almost as much as I do . A young man who 's been dying to get out on his own ever since he was born . A young man . the smartest one of the crowd , mind you , a young man who has to sit by and watch his friends go places , because he 's trapped . Yes , sir , trapped into frittering his life away playing nursemaid to a lot of garlic - eaters . Do I paint a correct picture , or do I exaggerate ? GEORGE . -LRB- mystified . -RRB- Now what 's your point , Mr. Potter ? POTTER My point ? My point is , I want to hire you . GEORGE . -LRB- dumbfounded . -RRB- Hire me ? POTTER I want you to manage my affairs , run my properties . George , I 'll start you out at twenty thousand dollars a year . George drops his cigar on his lap . He nervously brushes off the sparks from his clothes . GEORGE . -LRB- flabbergasted . -RRB- Twenty thou . twenty thousand dollars a year ? POTTER You would n't mind living in the nicest house in town , buying your wife a lot of fine clothes , a couple of business trips to New York a year , maybe once in a while Europe . You would n't mind that , would you , George ? GEORGE Would I ? -LRB- looking around skeptically . -RRB- You 're not talking to somebody else around here , are you ? You know , this is me , you remember me ? George Bailey . POTTER Oh , yes , George Bailey . Whose ship has just come in -- -- providing he has brains enough to climb aboard . GEORGE Well , what about the Building and Loan ? POTTER Oh , confound it , man , are you afraid of success ? I 'm offering you a three year contract at twenty thousand dollars a year , starting today . Is it a deal or is n't it ? GEORGE Well , Mr. Potter , I . I . I know I ought to jump at the chance , but I . I just . I wonder if it would be possible for you to give me twenty - four hours to think it over ? POTTER Sure , sure , sure . You go on home and talk about it to your wife . GEORGE I 'd like to do that . POTTER In the meantime , I 'll draw up the papers . GEORGE All right , sir . POTTER . -LRB- offers hand . -RRB- Okay , George ? GEORGE . -LRB- taking his hand . -RRB- Okay , Mr. Potter . As they shake hands , George feels a physical revulsion . Potter 's hand feels like a cold mackerel to him . In that moment of physical contact he knows he could never be associated with this man . George drops his hand with a shudder . He peers intently into Potter 's face . GEORGE . -LRB- cont 'd -- -- vehemently . -RRB- No . no . no . no , now wait a minute , here ! I do n't have to talk to anybody ! I know right now , and the answer is no ! NO ! Doggone it ! -LRB- getting madder all the time . -RRB- You sit around here and you spin your little webs and you think the whole world revolves around you and your money . Well , it does n't , Mr. Potter ! In the . in the whole vast configuration of things , I 'd say you were nothing but a scurvy little spider . You . He turns and shouts at the goon , impassive as ever beside Potter 's wheelchair . GEORGE . -LRB- cont'd. -RRB- . And that goes for you too ! As George opens the office door to exit , he shouts at Mr. Potter 's secretary in the outer office : GEORGE . -LRB- cont'd. -RRB- And it goes for you too !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BEDROOM –– GEORGE AND MARY'S HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George enters the bedroom . The room is modestly furnished with just a cheap bed , a chair or two , and a dresser . Mary is asleep in the bed . As George comes in , his head is filled with many confusing thoughts , relating to incidents in his past life . POTTER 'S VOICE You would n't mind living in the nicest house in town . Buying your wife a lot of fine clothes , going to New York on a business trip a couple of times a year . Maybe to Europe once in a while . George takes off his hat and coat , moves over to the dresser and stares at his reflection in the mirror . GEORGE 'S VOICE I know what I 'm going to do tomorrow and the next day and next year and the year after that . I 'm shaking the dust of this crummy little town off my feet , and I 'm going to see the world . And I 'm going to build things . I 'm going to build air fields . I 'm going to build skyscrapers a hundred stories high . I 'm going to build a bridge a mile long . While the above thoughts are passing through George 's head , his attention is caught by a picture on the wall near the dresser : INSERT Picture on the wall . It is the sketch of George lassoing the moon that we first saw in Mary 's living room . The lettering reads `` George Lassos The Moon . '' GEORGE 'S VOICE What is it you want , Mary ? You want the moon ? If you do , just say the word ; I 'll throw a lasso around it and pull it down for you . Mary is now awake , and starts singing their theme song : MARY . -LRB- singing . -RRB- Buffalo Gals , wo n't you come out tonight , wo n't you come out tonight , wo n't you come out tonight . George crosses over and sits on the edge of the bed . GEORGE Hi . MARY Hi . GEORGE Mary Hatch , why in the world did you ever marry a guy like me ? MARY To keep from being an old maid . GEORGE You could have married Sam Wainwright or anybody else in town . MARY I did n't want to marry anybody else in town . I want my baby to look like you . GEORGE You did n't even have a honeymoon . I promised you . -LRB- does a double take . -RRB- . Your what ? MARY My baby . GEORGE . -LRB- incredulously . -RRB- You mean . Mary , you on the nest ? MARY George Bailey lassos stork . GEORGE Lassos the stork ! You mean you . What is it , a boy or a girl ? Mary nods her head happily . FADE OUT George and Mary start a family/Harry gets decorated/Uncle Billy loses the money FADE IN MONTAGE SEQUENCE Over the following SERIES OF SHOTS we hear the voices of Joseph and Clarence in Heaven .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George is crossing the street , heading for the offices of the Building and Loan . JOSEPH 'S VOICE Now , you 've probably already guessed that George never leaves Bedford Falls . CLARENCE 'S VOICE No !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HOSPITAL –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- nurse holding newborn baby . JOSEPH 'S VOICE Mary had her baby , a boy .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR SITTING ROOM –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary sitting on the floor playing with a baby . A little boy is in a playpen nearby . JOSEPH 'S VOICE Then she had another one -- -- a girl .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GRANVILLE HOUSE –– DAY</stage_direction>
<scene_description>CLOSE SHOTS -- -- Mary is busy hanging wallpaper and painting the old place . JOSEPH 'S VOICE Day after day she worked away remaking the old Granville house into a home .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GRANVILLE HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George has just come into the hall . He is obviously tired and discouraged as he starts up the stairs . The knob on the banister comes off in his hand . JOSEPH 'S VOICE Night after night George came back late from the office . Potter was bearing down hard .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RECRUITING GROUNDS –– DAY</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- A group of men , obviously just drafted , marching along in a camp . JOSEPH 'S VOICE Then came a war .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR RED CROSS WORKROOM –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mrs. Bailey and other women in Red Cross uniforms busily sewing , etc. . JOSEPH 'S VOICE Ma Bailey and Mrs. Hatch joined the Red Cross and sewed .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR TRAIN IN RAILROAD STATION –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary , with portable U.S.O. pushcart , is serving coffee and doughnuts to men leaning from the train . JOSEPH 'S VOICE Mary had two more babies , but still found time to run the U.S.O.</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR FACTORY –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Sam Wainwright showing set of blueprints to two Army officers . JOSEPH 'S VOICE Sam Wainwright made a fortune in plastic hoods for planes .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR FACTORY –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter is wheeled in toward a long table around which several men are seated . JOSEPH 'S VOICE Potter became head of the draft board . POTTER . -LRB- reading from papers . -RRB- One - A . One - A . One - A .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET IN BEDFORD FALLS –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Gower and Uncle Billy are conducting a bond rally from the top of an Army tank . JOSEPH 'S VOICE Gower and Uncle Billy sold war bonds .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BATTLEFIELD –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSEUP -- -- Bert , in uniform , moving cautiously with fixed bayonet . Smoke and flashes of gunfire in background . JOSEPH 'S VOICE Bert the cop was wounded in North Africa . Got the Silver Star .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SKY –– DAY</stage_direction>
<scene_description>LONG SHOT -- -- Hundreds of planes , flying overhead , with parachutes dropping from them . JOSEPH 'S VOICE Ernie , the taxi driver , parachuted into France .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR REMAGEN BRIDGE OVER THE RHINE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Marty in the foreground , beckoning to soldiers to come on . JOSEPH 'S VOICE Marty helped capture the Remagen Bridge .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR READY ROOM ON AIRCRAFT CARRIER –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Harry is fastening the helmet of his flying clothes . He waves as he exits through the door . JOSEPH 'S VOICE Harry . Harry Bailey topped them all . A Navy flier , he shot down fifteen planes .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR OCEAN FROM DECK OF CARRIER –– NIGHT</stage_direction>
<scene_description>LONG SHOT -- -- A flaming plane crashes into the sea . JOSEPH 'S VOICE . two of them as they were about to crash into a transport full of soldiers . CLARENCE 'S VOICE Yes , but George .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR RATION OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George , behind the counter , is trying to quiet a crowd of people all clamoring for more ration points . GEORGE George ? Four - F on account of his ear , George fought the battle of Bedford Falls . George shouts . GEORGE Hold on . hold on . hold on now . Do n't you know there 's a war on ?</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STRET –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George , in the uniform of an air raid warden , is patrolling his beat . JOSEPH 'S VOICE Air raid Warden .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- man beside lighted window pulls down the shade as George blows his whistle .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George is helping load his old car with scrap paper . JOSEPH 'S VOICE . paper drives .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR DUMP –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Wheelbarrow full of junk being dumped onto pile . JOSEPH 'S VOICE . Scrap drives .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- children wheeling old tires . JOSEPH 'S VOICE . Rubber drives .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR CHURCH –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- People praying in church . JOSEPH 'S VOICE Like everybody else , on V - E Day he wept and prayed .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR CHURCH –– Another angle.</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- People entering church . JOSEPH 'S VOICE On V - J Day he wept and prayed again . FRANKLIN 'S VOICE Joseph , now show him what happened today . JOSEPH 'S VOICE Yes , sir . -LRB- END OF MONTAGE -RRB-</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BEDFORD FALLS STREET –– WINTER –– DAY</stage_direction>
<scene_description>George is walking along the sidewalk reading a newspaper . It is a raw , gusty day , and his overcoat and muffler flap in the breeze . Draped around one arm is a large Christmas wreath . Under his other arm are several more copies of the paper . JOSEPH 'S VOICE This morning , day before Christmas , about ten A.M. Bedford Falls time . George comes to where Ernie , the taxi driver , is standing on the sidewalk . GEORGE . -LRB- holding out paper . -RRB- Hi , Ernie , look at that . INSERT NEWSPAPER . The front page of the paper , the Bedford Falls Sentinel . The headline reads PRESIDENT DECORATES HARRY BAILEY -- -- LOCAL BOY WINS CONGRESSIONAL MEDAL OF HONOR . The subhead tells of a plan for a giant jubilee and parade , to be followed by a banquet , in honor of Commander Harry Bailey , U.S.N. on his way home from Washington after receiving the Congressional Medal of Honor . There 's a large picture of President Truman pinning the coveted medal on Harry 's bosom , in the midst of dignitaries ; a picture of the transport which Harry saved . Practically the whole front page is devoted to the story . CLOSE SHOT -- -- George and Ernie . ERNIE . -LRB- kidding . -RRB- Gon na snow again . GEORGE . -LRB- outraged . -RRB- What do you mean -- -- it 's gon na snow again ? Look at the headlines . ERNIE I know -- -- I know -- -- I know . I think it 's marvelous . Gower comes running across the street from his drugstore and joins them . GEORGE . -LRB- reading . -RRB- Commander Harry Bailey . Mr. Gower , look at this -- -- the second page . -LRB- gives them papers . -RRB- Now look , this is for you . This is for you , this is for you . -LRB- as he leaves . -RRB- See you again .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– DAY</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- Uncle Billy is walking along the street , humming happily to himself . He sees some men decorating the Court House with banners and bunting -- -- there is a huge sign reading Welcome Home Harry Bailey . UNCLE BILLY . -LRB- calls out . -RRB- Be sure you spell the name right .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>FULL SHOT -- -- The offices are unchanged , still small - time and old - fashioned . The same office force , albeit a few years older Cousin Tilly and Cousin Eustace . Seated on a chair is a middle - aged man with a brief case . The outer door opens and George enters : GEORGE Extra ! Extra ! Read all about it ! Cousin Tilly and Cousin Eustace are talking on the phone . COUSIN EUSTACE George ! George ! It 's Harry now on long distance from Washington ! GEORGE Harry ! What do you know about that ? COUSIN EUSTACE He reversed the charges . It 's okay , is n't it ? GEORGE What do you mean it 's okay ? For a hero ? -LRB- takes the phone . -RRB- Harry ! Oh , you old seven kinds of a son of a gun . Congratulations ! How 's Mother standing it ? . She did ? What do you know . -LRB- to Eustace . -RRB- Mother had lunch with the President 's wife ! COUSIN TILLY Wait till Martha hears about this . COUSIN EUSTACE What did they have to eat ? GEORGE . -LRB- on phone . -RRB- What did they have to eat ? Harry , you should see what they 're cooking up in the town for you . Oh , are they ? -LRB- to Eustace . -RRB- The Navy 's going to fly Mother home this afternoon . COUSIN EUSTACE In a plane ? GEORGE What ? Uncle Billy ? -LRB- to Eustace . -RRB- Has Uncle Billy come in yet ? COUSIN TILLY No , he stopped at the bank first . GEORGE . -LRB- on phone . -RRB- He 's not here right now , Harry . Cousin Eustace has turned away from George and caught a glimpse of the man waiting in the chair . This is Carter , the bank examiner , come for his annual audit of the books of the Building and Loan . GEORGE . -LRB- cont'd. -RRB- -LRB- on phone . -RRB- But look . COUSIN EUSTACE . -LRB- interrupting . -RRB- George . GEORGE . -LRB- on phone . -RRB- . now tell me about it . COUSIN EUSTACE . -LRB- interrupting . -RRB- . George , that man 's here again . GEORGE What man ? COUSIN EUSTACE . -LRB- nervously . -RRB- Bank . bank examiner . GEORGE Oh . -LRB- on phone . -RRB- Talk to Eustace a minute , will you . I 'll be right back . He gives the phone to Eustace , puts down his wreath and goes over to Carter . CLOSE SHOT -- -- George and Carter . They shake hands . GEORGE Good morning , sir . CARTER Carter -- -- bank examiner . GEORGE Mr. Carter , Merry Christmas . CARTER Merry Christmas . GEORGE We 're all excited around here . -LRB- shows him paper . -RRB- My brother just got the Congressional Medal of Honor . The President just decorated him . CARTER Well , I guess they do those things . Well , I trust you had a good year . GEORGE Good year ? Well , between you and me , Mr. Carter , we 're broke . CARTER Yeah , very funny . GEORGE Well . -LRB- leading him into office . -RRB- . now , come right in here , Mr. Carter . CARTER . -LRB- as they go . -RRB- Although I should n't wonder when you okay reverse charges on personal long distance calls . COUSIN TILLY George , shall we hang up ? GEORGE No , no . He wants to talk to Uncle Billy . You just hold on . CARTER . -LRB- in doorway . -RRB- Now , if you 'll cooperate , I 'd like to finish with you by tonight . I want to spend Christmas in Elmira with my family . GEORGE I do n't blame you at all , Mr. Carter , Just step right in here . We 'll fix you up .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BANK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Uncle Billy is filling out a deposit slip at one of the desks . UNCLE BILLY . -LRB- writing . -RRB- December twenty - fourth . He takes a thick envelope from his inside pocket and thumbs through the bills it contains . It is evidently a large sum of money . UNCLE BILLY . -LRB- cont'd. -RRB- Eight thousand . MEDIUM SHOT -- -- door to street . Potter is being wheeled in by his goon . Various bank officials run over to greet him -- -- he is reading a newspaper . Uncle Billy has finished filling out his slip , and comes over to taunt Potter , the envelope containing the money in his hand . UNCLE BILLY Well , good morning , Mr. Potter . What 's the news ? He grabs the paper from Potter 's hand . UNCLE BILLY -LRB- cont'd. -RRB- Well , well , well , Harry Bailey wins Congressional Medal . That could n't be one of the Bailey boys ? You just ca n't keep those Baileys down , now , can you , Mr. Potter ? POTTER How does slacker George feel about that ? UNCLE BILLY Very jealous , very jealous . He only lost three buttons off his vest . Of course , slacker George would have gotten two of those medals if he had gone . POTTER Bad ear . UNCLE BILLY Yes . Uncle Billy folds Potter 's paper over the envelope containing his money , and flings his final taunt at the old man . UNCLE BILLY . -LRB- cont'd. -RRB- After all , Potter , some people like George had to stay home . Not every heel was in Germany and Japan ! In a cold rage , Potter grabs his paper and wheels off toward his office . Uncle Billy smiles triumphantly and goes toward deposit window with his deposit slip . CLOSE SHOT -- -- Uncle Billy and bank teller at the window . UNCLE BILLY . -LRB- still chuckling . -RRB- Good morning , Horace . Uncle Billy hands the bank book over . The teller opens it , starts to punch it with rubber stamps . TELLER I guess you forgot something . UNCLE BILLY Huh ? TELLER You forgot something . UNCLE BILLY What ? TELLER Well , are n't you going to make a deposit ? UNCLE BILLY Sure , sure I am . TELLER Well , then . it 's usually customary to bring the money with you . UNCLE BILLY Oh , shucks . Uncle Billy searches through every pocket he has . UNCLE BILLY . -LRB- cont 'd -RRB- -LRB- looks bewildered . -RRB- I know I had . The teller , knowing the old man 's vagaries , points to one of the numerous string tied around his fingers . TELLER How about that one there ? UNCLE BILLY Hmm ? Well , I .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter is now behind his desk . He spreads the newspaper out in front of him , muttering as he does so . POTTER Bailey . He sees the envelope , looks inside at the money . Then , to his goon , indicating the office door : POTTER . -LRB- cont'd. -RRB- Take me back there . Hurry up . -LRB- as they go . -RRB- Come on , look sharp . Potter opens the door just a little , and peers through into the bank .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BANK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- deposit slip desk . Uncle Billy looks around for the money envelope . It is not there . He looks puzzled , thinks hard , then a look of concern creeps into his eyes . He starts thumping his pockets , with increasing panic , and looks in the waste paper basket on the floor . He finally rushes through the door and out into the street .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter watching through the door . POTTER . -LRB- to goon . -RRB- Take me back . The goon wheels him back to his desk . He is deep in thought , with a crafty expression on his face .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– DAY</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- Uncle Billy running across the street in the direction of the Building and Loan .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George coming from room where he has just left the bank examiner . GEORGE Just make yourself at home , Mr. Carter . I 'll get those books for you . He sees Violet Bick standing there . GEORGE . -LRB- cont'd. -RRB- Oh , hello , Vi . VIOLET George , can I see you for a second ? GEORGE Why , of course you can . Come on in the office here . He hears a noise , and sees Uncle Billy entering the office . GEORGE . -LRB- cont'd. -RRB- Uncle Billy , talk to Harry . He 's on the telephone . George and Violet enter his private office . Uncle Billy comes hurrying in . COUSIN TILLY Hurry , Uncle Billy , hurry . Long distance , Washington . COUSIN EUSTACE Hey , here 's Harry on the phone . COUSIN TILLY Harry , your nephew , remember ? COUSIN EUSTACE . -LRB- on phone . -RRB- Here he is . Uncle Billy picks up the phone and speaks distractedly , without knowing what he is saying . UNCLE BILLY . -LRB- on phone . -RRB- Hello . hello . Yes , Harry -- -- yes . everything . everything 's fine . He hangs up agitatedly , muttering to himself as he goes into his own office . Cousin Tilly and Cousin Eustace look after him , dumbfounded . UNCLE BILLY . -LRB- cont'd. -RRB- I should have my head examined . Eight thousand dollars . It 's got to be somewhere .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Violet . George has just finished writing something , and is slipping the paper into an envelope . GEORGE . -LRB- hands it to her . -RRB- Here you are . VIOET . -LRB- bitterly . -RRB- Character ? If I had any character , I 'd . GEORGE It takes a lot of character to leave your home town and start all over again . He pulls some money from his pocket , and offers it to her . VIOLET No , George , do n't . GEORGE Here , now , you 're broke , are n't you ? VIOLET I know , but . GEORGE What do you want to do , hock your furs , and that hat ? Want to walk to New York ? You know , they charge for meals and rent up there just the same as they do in Bedford Falls . VIOLET . -LRB- taking money . -RRB- Yeah -- -- sure . GEORGE It 's a loan . That 's my business . Building and Loan . Besides , you 'll get a job . Good luck to you . She looks at him , then says a strange thing . VIOLET I 'm glad I know you , George Bailey . She reaches up and kisses him on the cheek , leaving lipstick . George opens the door for her .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- As George and Violet come through the door , they are being watched by Cousin Tilly , Cousin Eustace and the bank examiner , who is still waiting to go to work on the books . GEORGE Say hello to New York for me . VIOLET Yeah -- -- yeah . sure I will . GEORGE Now , let 's hear from you . Violet sees the lipstick on George 's cheek , and dabs at it with her handkerchief . GEORGE . -LRB- cont'd. -RRB- What 's the matter ? Merry Christmas , Vi . VIOLET Merry Christmas , George . She exits . MR. CARTER Mr. Bailey . GEORGE Oh , Mr. Carter , I 'm sorry . I 'll be right with you . -LRB- to Cousin Tilly . -RRB- Uncle Billy in ? COUSIN TILLY Yeah , he 's in his office .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR DOORWAY TO UNCLE BILLY'S OFFICE –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- As George opens the door he sees Uncle Billy frantically looking for the missing envelope . The office is in a mess , drawers are opened , and papers scattered on the floor and on the desk . GEORGE Unc . What 's going on ? The bank examiner 's here , and I . UNCLE BILLY . -LRB- in dismay . -RRB- He 's here ? GEORGE Yeah , yeah . He wants the accounts payable . George stops short , suddenly aware of the tragic old eyes looking up at him . GEORGE . -LRB- cont'd. -RRB- What 's the matter with you ? Uncle Billy gestures nervously for George to come in . He does so and closes the door .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR OUTER OFFICE –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- Cousin Tilly is at her switchboard , and Cousin Eustace standing beside her . Carter is still waiting in the doorway to his office . Suddenly the door opens and George comes striding out . He goes directly to the safe and starts searching , but does n't find the money . Then he goes to the cash drawer in the counter , and looks through it . GEORGE Eustace . EUSTACE Yeah ? GEORGE Come here a minute . Cousin Eustace runs over to George . GEORGE . -LRB- cont'd. -RRB- Did you see Uncle Billy with any cash last night ? COUSIN EUSTACE He had it on his desk counting it before he closed up .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– DAY</stage_direction>
<scene_description>MEDIUM SHOT -- -- Uncle Billy and George are retracing the former 's steps through the snow , looking everywhere for the missing money . They pause for a moment on the sidewalk . GEORGE Now look , did you buy anything ? UNCLE BILLY Nothing . Not even a stick of gum . GEORGE All right . All right . Now we 'll go over every step you took since you left the house . UNCLE BILLY This way . They continue on down the street on their search .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR WINDOW OF POTTER'S OFFICE IN BANK –– DAY</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter is peering through the slats of the Venetian blind , watching them as they go .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– DAY</stage_direction>
<scene_description>MOVING SHOT -- -- George and Uncle Billy continue their search .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR UNCLE BILLY'S LIVING ROOM</stage_direction>
<scene_description>CLOSE SHOT -- -- A shabby , old - fashioned , gas - lit room which has been turned almost inside out and upside down in an effort to locate the missing money . Drawers of an old secretary have been pulled out and are on the floor . Every conceivable place which might have been used by Uncle Billy to put the money has been searched . George , his hair rumpled , is feverishly pursuing the search . Uncle Billy is seated behind the desk , his head on his hands . GEORGE And did you put the envelope in your pocket ? UNCLE BILLY Yeah . yeah . maybe . maybe . GEORGE . -LRB- shouts . -RRB- Maybe -- -- maybe ! I do n't want any maybe . Uncle Billy , we 've got to find that money ! UNCLE BILLY . -LRB- piteously . -RRB- I 'm no good to you , George . I . GEORGE Listen to me . Do you have any secret hiding place here in the house ? Someplace you could have put it ? Someplace to hide the money ? UNCLE BILLY . -LRB- exhausted . -RRB- I 've been over the whole house , even in rooms that have been locked ever since I lost Laura . Uncle Billy starts sobbing hysterically . George grabs him by the lapels and shakes him . GEORGE . -LRB- harshly . -RRB- Listen to me ! Listen to me ! Think ! Think ! UNCLE BILLY . -LRB- sobbing . -RRB- I ca n't think any more , George . I ca n't think any more . It hurts . George jerks him to his feet and shakes him . Uncle Billy stands before him like a frisked criminal , all his pockets hanging out , empty . George 's eyes and manner are almost maniacal . GEORGE . -LRB- screaming at him . -RRB- Where 's that money , you stupid , silly old fool ? Where 's the money ? Do you realize what this means ? It means bankruptcy and scandal , and prison ! He throws Uncle Billy down into his chair , and still shouts at him : GEORGE . -LRB- cont'd. -RRB- That 's what it means ! One of us is going to jail ! Well , it 's not going to be me ! George turns and heads for the door , kicking viciously at a waste basket on the floor as he goes . Uncle Billy remains sobbing at the table , his head in his arms . George goes ballistic</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Janie -LRB- aged eight -RRB- is seated at the piano playing `` Hark , the Herald Angels Sing , '' which she practices during the remainder of this scene . There is a Christmas tree all decorated near the fireplace . At a large table Mary is busy putting cellophane bows and decorations on gift packages . At a small table Pete -LRB- aged nine -RRB- is seated with pad and pencil in the throes of composition . On the floor Tommy -LRB- aged three -RRB- is playing with a toy vacuum cleaner . We hear the SOUND of a door open and close . Mary turns and sees George enter the hall , a slight powdering of snow on his head and shoulders .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALL –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- As George comes into the house . MARY Hello darling . CHILDREN Hello Daddy , hello daddy . MARY . -LRB- indicating tree . -RRB- How do you like it ? George sneezes violently . MARY AND CHILDREN Bless you ! MARY Did you bring the wreath ? PETE Did you bring the Christmas wreath ? GEORGE What ? What wreath ? MARY The Merry Christmas wreath for the window . GEORGE . -LRB- gruffly . -RRB- No . I left it at the office . MARY Is it snowing ? GEORGE Yeah , just started . MARY Where 's your coat and hat ? GEORGE Left them at the office . Mary stares at him , aware that something unusual has happened . MARY What 's the matter ? GEORGE . -LRB- bitterly . -RRB- Nothing 's the matter . Everything 's all right .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George slumps into an armchair and lifts Tommy onto his lap . Mary is helping Pete decorate the Christmas tree . MARY Go on , Pete , you 're a big boy . you can put the star up . Way up at the top . That 's it . Fill in that little bare spot right there . That 's it . -LRB- to George . -RRB- Is n't it wonderful about Harry ? We 're famous , George . I 'll bet I had fifty calls today about the parade , the banquet . Your mother 's so excited , she . During this scene , George has been sitting in the chair , hugging Tommy to him , and crying quietly . Mary realizes that something is seriously wrong , and breaks off . Janie is thumping away at the piano . GEORGE Must she keep playing that ? JANIE . -LRB- hurt . -RRB- I have to practice for the party tonight , Daddy . PETE Mommy says we can stay up till midnight and sing Christmas carols . TOMMY Can you sing , Daddy ? MARY . -LRB- to George . -RRB- Better hurry and shave . The families will be here soon . GEORGE . -LRB- rising from chair . -RRB- Families ! I do n't want the families over here ! Mary leads him out toward the kitchen . MARY Come on out in the kitchen with me while I finish dinner . They exit with Tommy hanging onto George 's coat - tails , and pulling at him . CAMERA PANS WITH them . TOMMY Excuse me . excuse me .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALL –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- as they go toward kitchen . MARY Have a hectic day ? GEORGE . -LRB- bitterly . -RRB- Oh , yeah , another big red letter day for the Baileys . PETE Daddy , the Browns next door have a new car . You should see it . GEORGE . -LRB- turns on him . -RRB- Well , what 's the matter with our car ? Is n't it good enough for you ? PETE Yes , Daddy . TOMMY . -LRB- tugging at coat . -RRB- Excuse me , excuse me .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR KITCHEN –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- They come through the door . GEORGE . -LRB- annoyed . -RRB- Excuse you for what ? TOMMY I burped ! MARY All right , darling , you 're excused . Now go upstairs and see what little Zuzu wants . Tommy leaves , and Mary turns to the stove . GEORGE Zuzu ! What 's the matter with Zuzu ? MARY Oh , she 's got a cold . She 's in bed . Caught it coming home from school . They gave her a flower for a prize and she did n't want to crush it so she did n't button up her coat . GEORGE What is it , a sore throat or what ? MARY Just a cold . The doctor says it 's nothing serious . GEORGE The doctor ? Was the doctor here ? MARY Yes , I called him right away . He says it 's nothing to worry about . GEORGE Is she running a temperature ? What is it ? MARY Just a teensie one -- -- ninety - nine , six . She 'll be all right . George paces about the kitchen , worried . GEORGE Gosh , it 's this old house . I do n't know why we do n't all have pneumonia . This drafty old barn ! Might as well be living in a refrigerator . Why did we have to live here in the first place and stay around this measly , crummy old town ? MARY . -LRB- worried . -RRB- George , what 's wrong ? GEORGE Wrong ? Everything 's wrong ! You call this a happy family ? Why did we have to have all these kids ? PETE . -LRB- coming in . -RRB- Dad , how do you spell `` frankincense '' ? GEORGE . -LRB- shouts . -RRB- I do n't know . Ask your mother . George goes toward doorway . MARY Where 're you going ? GEORGE Going up to see Zuzu . We hear his footsteps as he leaves . Mary looks after him , puzzled and concerned , then comes over to Pete . PETE He told me to write a play for tonight . MARY F - R - A - N - K - I - N .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALL –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George starts up the stairs . The knob on the banister comes off in his hand , and for a moment he has an impulse to hurl it into the living room . Then , he replaces the knob , and goes on up the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR ZUZU'S BEDROOM –– NIGHT</stage_direction>
<scene_description>FULL SHOT -- -- The SOUND of Janie at the piano can be heard , the same monotonous rhythm over and over . Zuzu . -LRB- aged six -RRB- is sitting up in her bed , the lamp burning beside her . She is holding her prize flower . George tiptoes in . Then , as he sees she 's awake , he comes over , sitting on the edge of her bed . ZUZU Hi , Daddy . GEORGE Well , what happened to you ? ZUZU I won a flower . She starts to get out of bed . GEORGE Wait now . Where do you think you 're going ? ZUZU Want to give my flower a drink . GEORGE All right , all right . Here , give Daddy the flower . I 'll give it a drink . She shakes her head and presses the flower to her . A few petals fall off . She picks them up . ZUZU Look , Daddy . paste it . GEORGE Yeah , all right . Now , I 'll paste this together . She hands him the fallen petals and the flower . He turns his back to Zuzu , pretending to be tinkering with the flower . He sticks the fallen petals in his watch pocket , rearranges the flower , and then turns back to Zuzu . GEORGE There it is , good as new . ZUZU Give the flower a drink . George puts the flower in a glass of water on the table beside her bed . GEORGE Now , will you do something for me ? CLOSE - UP -- -- George and Zuzu . They whisper . ZUZU What ? GEORGE Will you try to get some sleep ? ZUZU I 'm not sleepy . I want to look at my flower . GEORGE I know -- -- I know , but you just go to sleep , and then you can dream about it , and it 'll be a whole garden . ZUZU It will ? GEORGE Uh - huh . She closes her eyes and relaxes on the bed . George pulls the covers over her . He bends down and his lips touch a tendril of the child 's hair . Then he gets up and tiptoes out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Janie is still pounding with grim determination at the piano . Pete is seated at the table writing . Tommy is playing with his toy vacuum cleaner . The telephone rings . JANIE AND PETE Telephone .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary comes in and picks up the phone . MARY I 'll get it . -LRB- on phone . -RRB- Hello . Yes , this is Mrs. Bailey . George enters shot , and stands listening to her . MARY . -LRB- cont'd. -RRB- Oh , thank you , Mrs. Welch . I 'm sure she 'll be all right . The doctor says that she ought to be out of bed in time to have her Christmas dinner . GEORGE Is that Zuzu 's teacher ? MARY . -LRB- hand over receiver . -RRB- Yes . GEORGE Let me speak to her . He snatches the phone from Mary . GEORGE . -LRB- cont'd. -RRB- -LRB- on phone . -RRB- Hello . Hello , Mrs. Welch ? This is George Bailey . I 'm Zuzu 's father . Say , what kind of a teacher are you anyway ? What do you mean sending her home like that , half - naked ? Do you realize she 'll probably end up with pneumonia on account of you ? MARY . -LRB- shocked . -RRB- George ! She puts a restraining hand on his arm . He shakes it off . She can not know that George 's tirade against Mrs. Welch is really a tirade against the world , against life itself , against God . Over the phone we hear Mrs. Welch 's voice sputtering with protest . GEORGE Is this the sort of thing we pay taxes for -- -- to have teachers like you ? Silly , stupid , careless people who send our kids home without any clothes on ? You know , maybe my kids are n't the best - dressed kids ; maybe they do n't have any decent clothes . Mary succeeds in wresting the phone from George 's hand . GEORGE . -LRB- cont'd. -RRB- Aw , that stupid . Mary speaks quickly in to the phone . MARY Hello , Mrs. Welch . I want to apologize . hello . hello . -LRB- to George . -RRB- She 's hung up . GEORGE . -LRB- savagely . -RRB- I 'll hang her up ! But the telephone is suddenly alive with a powerful male voice calling : MR. WELCH 'S VOICE Now , who do you think you are ? George hears this and grabs the receiver from Mary . GEORGE . -LRB- to Mary . -RRB- Wait a minute . -LRB- on phone . -RRB- Hello ? Who is this ? Oh , Mr. Welch ? Okay , that 's fine , Mr. Welch . Gives me a chance to tell you what I really think of your wife . Mary once more tries to take the phone from him . MARY George . GEORGE . -LRB- raving at her . -RRB- Will you get out and let me handle this ? -LRB- into phone -- -- shouting . -RRB- Hello ? Hello ? What ? Oh , you will , huh ? Okay , Mr. Welch , any time you think you 're man enough . Hello ? Any . But before he can think of an insult to top Welch 's , we hear a click on the phone . GEORGE Oh . He hangs up the receiver , and turns toward the living room . His face is flushed and wet . PETE Daddy , how do you spell `` Hallelujah '' ? GEORGE . -LRB- shouts . -RRB- How should I know ? What do you think I am , a dictionary ? He yells at Tommy , noisily playing with his vacuum cleaner . GEORGE . -LRB- cont'd. -RRB- Tommy , stop that ! Stop it ! Janie is still practicing at the piano , monotonously . GEORGE . -LRB- cont'd. -RRB- -LRB- savagely . -RRB- Janie , have n't you learned that silly tune yet ? You 've played it over and over again . Now stop it ! Stop it !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- The room has suddenly become ominously quiet , the only SOUND being George 's labored breathing . George goes over to a corner of the room where his workshop is set up -- -- a drawing table , several models of modern buildings , bridges , etc. . Savagely he kicks over the models , picks up some books and hurls them into the corner . Mary and the children watch , horrified . George looks around and sees them staring at him as if he were some unknown wild animal . The three children are crying . GEORGE . -LRB- gasping for breath . -RRB- I 'm sorry , Mary , Janie . I 'm sorry . I did n't mean . you go on and practice . Pete , I owe you an apology , too . I 'm sorry . What do you want to know ? PETE . -LRB- holding back his tears . -RRB- Nothing , Daddy . Mary and the children stare at him , stunned by his furious outburst . There is silence in the room . GEORGE What 's the matter with everybody ? Janie , go on . I told you to practice . -LRB- shouts . -RRB- Now , go on , play ! Janie breaks into sobs . JANIE Oh , Daddy . MARY . -LRB- in an outburst . -RRB- George , why must you torture the children ? Why do n't you . The sight of Mary and the children suffering is too much for George . GEORGE Mary . He looks around him , then quickly goes out the front door of the house . Mary goes to the phone , picks it up . MARY Bedford , two - four - seven , please . PETE Is Daddy in trouble ? JANIE Shall I pray for him ? MARY Yes , Janie , pray very hard . TOMMY Me , too ? MARY You too , Tommy . -LRB- on phone . -RRB- Hello , Uncle Billy ? George asks Potter for help/At Martini 's / Clarence saves George</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE IN BANK –– NIGHT –– 8:00 P.M.</stage_direction>
<scene_description>MEDIUM CLOSE UP -- -- Potter is seated at his desk , his goon beside him . He is signing some papers . George is seated in a chair before the desk , without a hat or coat , covered lightly with snow . GEORGE I 'm in trouble , Mr. Potter . I need help . Through some sort of an accident my company 's short in their accounts . The bank examiner 's up there today . I 've got to raise eight thousand dollars immediately . POTTER . -LRB- casually . -RRB- Oh , so that 's what the reporters wanted to talk to you about ? GEORGE . -LRB- incredulous . -RRB- The reporters ? POTTER Yes . They called me up from your Building and Loan . Oh , there 's a man over there from the D.A. 's office , too . He 's looking for you . GEORGE . -LRB- desperate . -RRB- Please help me , Mr. Potter . Help me , wo n't you please ? Ca n't you see what it means to my family ? I 'll pay you any sort of a bonus on the loan . any interest . If you still want the Building and Loan , why I . POTTER . -LRB- interrupting . -RRB- George , could it possibly be there 's a slight discrepancy in the books ? GEORGE No , sir . There 's nothing wrong with the books . I 've just misplaced eight thousand dollars . I ca n't find it anywhere . POTTER . -LRB- looking up . -RRB- You misplaced eight thousand dollars ? GEORGE Yes , sir . POTTER Have you notified the police ? GEORGE No , sir . I did n't want the publicity . Harry 's homecoming tomorrow . POTTER . -LRB- snorts . -RRB- They 're going to believe that one . What 've you been doing , George ? Playing the market with the company 's money ? GEORGE No , sir . No , sir . I have n't . POTTER What is it -- -- a woman , then ? You know , it 's all over town that you 've been giving money to Violet Bick . GEORGE . -LRB- incredulous . -RRB- What ? POTTER Not that it makes any difference to me , but why did you come to me ? Why do n't you go to Sam Wainwright and ask him for the money ? GEORGE I ca n't get hold of him . He 's in Europe . POTTER Well , what about all your other friends ? GEORGE They do n't have that kind of money , Mr. Potter . You know that . You 're the only one in town that can help me . POTTER I see . I 've suddenly become quite important . What kind of security would I have , George ? Have you got any stocks ? GEORGE . -LRB- shaking his head . -RRB- No , sir . POTTER Bonds ? Real estate ? Collateral of any kind ? GEORGE . -LRB- pulls out policy . -RRB- I have some life insurance , a fifteen thousand dollar policy . POTTER Yes . how much is your equity in it ? GEORGE Five hundred dollars . POTTER . -LRB- sarcastically . -RRB- Look at you . You used to be so cocky ! You were going to go out and conquer the world ! You once called me a warped , frustrated old man . What are you but a warped , frustrated young man ? A miserable little clerk crawling in here on your hands and knees and begging for help . No securities -- -- no stocks -- -- no bonds -- -- nothing but a miserable little five hundred dollar equity in a life insurance policy . You 're worth more dead than alive . Why do n't you go to the riff - raff you love so much and ask them to let you have eight thousand dollar ? You know why ? Because they 'd run you out of town on a rail . But I 'll tell you what I 'm going to do for you , George . Since the state examiner is still here , as a stockholder of the Building and Loan , I 'm going to swear out a warrant for your arrest . Misappropriation of funds -- -- manipulation -- -- malfeas - ance . George turns and starts out of the office as Potter picks up the phone and dials . POTTER . -LRB- cont'd. -RRB- All right , George , go ahead . You ca n't hide in a little town like this . George is out of the door by now . CAMERA MOVES CLOSER to Potter . POTTER . -LRB- cont'd. -RRB- -LRB- on phone . -RRB- Bill ? This is Potter .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George comes out of the bank into the falling snow . He crosses the street , tugs at the door of his old car , finally steps over the door , and drives off .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MARTINI'S BAR –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- An attractive little roadside tavern , with the name `` Martini 's '' in neon lights on the front wall .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR MARTINI'S BAR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- The place is an Italian restaurant with bar . The bottles sparkle . There are Christmas greens and holly decorating the place . It has a warm , welcoming spirit , like Martini himself , who is welcoming new arrivals . The booths and the checkered - cloth - covered tables are full . There is an air of festivity and friendliness , and more like a party than a public drinking place . George is seated at the bar -- -- he has had a great deal to drink , far more than he 's accustomed to . MARTINI 'S VOICE . -LRB- greeting new customers . -RRB- Merry Christmas . Glad you came . MAN 'S VOICE How about some of that good spaghetti ? MARTINI 'S VOICE We got everything . During this , CAMERA MOVES CLOSER to George . Nick , the bartender , is watching him solicitously . Seated on the other side of George is a burly individual , drinking a glass of beer . George is mumbling : GEORGE God . God . Dear Father in Heaven , I 'm not a praying man , but if you 're up there and you can hear me , show me the way . I 'm at the end of my rope . Show me the way , God . NICK . -LRB- friendly . -RRB- Are you all right , George ? Want someone to take you home ? George shakes his head . Martini comes over to his side . MARTINI . -LRB- worried . -RRB- Why you drink so much , my friend ? Please go home , Mr. Bailey . This is Christmas Eve . The ugly man next to George , who has been listening , reacts sharply to the name `` Bailey . '' MAN Bailey ? Which Bailey ? NICK This is Mr. George Bailey . Without any warning , the burly man throws a vicious punch at George , who goes down and out . Martini , Nick and several others rush to pick him up . MAN . -LRB- to George . -RRB- And the next time you talk to my wife like that you 'll get worse . She cried for an hour . It is n't enough she slaves teaching your stupid kids how to read and write , and you have to bawl her out . MARTINI . -LRB- furious . -RRB- You get out of here , Mr. Welch ! Mr. Welch reaches in his pocket for money . WELCH Now wait . I want to pay for my drink . MARTINI Never mind the money . You get out of here quick . WELCH All right . MARTINI You hit my best friend . Get out ! Nick and Martini shove Welch out the door , then run back to help George to his feet . George 's mouth is cut and bleeding . NICK You all right , George ? GEORGE . -LRB- stunned . -RRB- Who was that ? MARTINI He 's gone . Do n't worry . His name is Welch . He do n't come in to my place no more . GEORGE Oh -- -- Welch . That 's what I get for praying . MARTINI The last time he come in here . You hear that , Nick ? NICK Yes , you bet . GEORGE Where 's my insurance policy ? -LRB- finds it in pocket . -RRB- Oh , here . He starts for the door . MARTINI Oh , no , Please , do n't go out this way , Mr. Bailey . GEORGE I 'm all right . Nick and Martini try to stop him , but he shrugs them off . MARTINI Oh , no -- -- you do n't feel so good . GEORGE I 'm all right . MARTINI Please do n't go away -- -- please ! George opens the door and exits to the street .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RESIDENTIAL STREET –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George 's car comes along the empty street , through the falling snow , suddenly swerves and crashes into a tree near the sidewalk of a house . George gets out to look at the damage , and savagely kicks at the open door of the car , trying to shut it . The noise brings the owner of the house running out . OWNER What do you think you 're doing ? CLOSE SHOT -- -- George stands unsteadily near the car , shaken by the accident . The front lights are broken and the fender is ripped . George stands dully looking at the damage . The owner comes up , looking at his tree . He leans over to examine the damages . OWNER . -LRB- with indignation . -RRB- Now look what you did . My great - grandfather planted this tree . George staggers off down the street , paying no attention to the man . OWNER . -LRB- cont'd. -RRB- Hey , you . Hey , you ! Come back here , you drunken fool ! Get this car out of here !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BRIDGE OVER RIVER –– NIGHT</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- George is crossing the approach to the bridge when a truck swings around the corner and nearly hits him . DRIVER Hey , what 's the matter with you ? Look where you 're going ! The truck turns onto the bridge , and George takes a narrow catwalk at the railing . CLOSE SHOT -- -- George has stopped by the railing at the center of the bridge . The snow is now falling hard .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RIVER –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- CAMERA SHOOTING DOWN from George 's angle TO the water , dotted with floating ice , passing under the bridge .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BRIDGE AT RAILING –– NIGHT</stage_direction>
<scene_description>CLOSEUP -- -- George . He stares down at the water , desperate , trying to make up his mind to act . He leans over looking at the water , fascinated , glances furtively around him , hunches himself as though about to jump . MEDIUM CLOSE SHOT -- -- From above George a body hurtles past and lands in the water with a loud splash . George looks down , horrified . VOICE . -LRB- from river . -RRB- Help ! Help ! George quickly takes off his coat and dives over the railing into the water . CLOSER ANGLE -- -- George comes up , sees the man flailing about in the water , and CAMERA PANS WITH him as he swims toward the man . MAN Help ! Help ! Help !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR TOLL HOUSE ON BRIDGE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- The toll house keeper , hearing the cries for help , comes running out on the bridge with a flashlight , which he shines on the two figures struggling in the water below .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RIVER –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- The man in the water is Clarence , the angel whose voice we have heard speaking from Heaven . George reaches him , grabs hold of him , and starts swimming for shore .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR TOLL HOUSE ON BRIDGE –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George , Clarence , and the tollkeeper . George is seated before a wood - burning stove before which his clothes are drying on a line . He is in his long winter underwear . He is sipping a mug of hot coffee , staring at the stove , cold , gloomy and drunk , ignoring Clarence and the tollkeeper , preoccupied by his near suicide and his unsolved problems . Clarence is standing on the other side of the stove , putting on his undershirt . This is a ludicrous seventeenth century garment which looks like a baby 's night shirt -- -- with embroidered cuffs and collar , and gathered at the neck with a drawstring . It falls below his knees . The tollkeeper is seated against the wall eyeing them suspiciously . Throughout the scene he attempts to spit , but each time is stopped by some amazing thing Clarence does or says . Clarence becomes aware that his garment is amazing the tollkeeper . CLARENCE I did n't have time to get some stylish underwear . My wife gave me this on my last birthday . I passed away in it . The tollkeeper , about to spit , is stopped in the middle of it by this remark . Clarence , secretly trying to get George 's attention , now picks up a copy of `` Tom Sawyer '' which is hanging on the line , drying . He shakes the book . CLARENCE . -LRB- cont'd. -RRB- Oh , Tom Sawyer 's drying out , too . You should read the new book Mark Twain 's writing now . The tollkeeper stares at him incredulously . TOLLKEEPER How 'd you happen to fall in ? CLARENCE I did n't fall in . I jumped in to save George . George looks up , surprised . GEORGE You what ? To save me ? CLARENCE Well , I did , did n't I ? You did n't go through with it , did you ? GEORGE Go through with what ? CLARENCE Suicide . George and the tollkeeper react to this . TOLLKEEPER It 's against the law to commit suicide around here . CLARENCE Yeah , it 's against the law where I come from , too . TOLLKEEPER Where do you come from ? He leans forward to spit , but is stopped by Clarence 's next statement . CLARENCE Heaven . -LRB- to George . -RRB- I had to act quickly ; that 's why I jumped in . I knew if I were drowning you 'd try to save me . And you see , you did , and that 's how I saved you . The tollkeeper becomes increasingly nervous . George casually looks at the strange smiling little man a second time . GEORGE . -LRB- offhand . -RRB- Very funny . CLARENCE Your lip 's bleeding , George . George 's hand goes to his mouth . GEORGE Yeah , I got a bust in the jaw in answer to a prayer a little bit ago . CLARENCE . -LRB- comes around to George . -RRB- Oh , no -- -- no -- -- no . I 'm the answer to your prayer . That 's why I was sent down here . GEORGE . -LRB- casually interested . -RRB- How do you know my name ? CLARENCE Oh , I know all about you . I 've watched you grow up from a little boy . GEORGE What are you , a mind reader or something ? CLARENCE Oh , no . GEORGE Well , who are you , then ? CLARENCE Clarence Odbody , A - S - 2 . GEORGE Odbody . A - S - 2 . What 's that A - S - 2 ? CLARENCE Angel , Second Class . The tollkeeper 's chair slips out from under him with a crash . He has been leaning against the wall on it , tipped back on two legs . Tollkeeper rises and makes his way warily out the door . From his expression he looks like he 'll call the nearest cop . CLARENCE . -LRB- cont'd. -RRB- -LRB- to tollkeeper . -RRB- Cheerio , my good man . George rubs his head with his hand , to clear his mind . GEORGE Oh , brother . I wonder what Martini put in those drinks ? He looks up at Clarence standing beside him . GEORGE . -LRB- cont'd. -RRB- Hey , what 's with you ? What did you say just a minute ago ? Why 'd you want to save me ? CLARENCE That 's what I was sent down for . I 'm your guardian angel . GEORGE I would n't be a bit surprised . CLARENCE Ridiculous of you to think of killing yourself for money . Eight thousand dollars . GEORGE . -LRB- bewildered . -RRB- Yeah . just things like that . Now how 'd you know that ? CLARENCE I told you -- -- I 'm your guardian angel . I know everything about you . GEORGE Well , you look about like the kind of an angel I 'd get . Sort of a fallen angel , are n't you ? What happened to your wings ? CLARENCE I have n't won my wings yet . That 's why I 'm an angel Second Class . GEORGE I do n't know whether I like it very much being seen around with an angel without any wings . CLARENCE Oh , I 've got to earn them , and you 'll help me , wo n't you ? GEORGE . -LRB- humoring him . -RRB- Sure , sure . How ? CLARENCE By letting me help you . GEORGE Only one way you can help me . You do n't happen to have eight thousand bucks on you ? CLARENCE Oh , no , no . We do n't use money in Heaven . GEORGE Oh , that 's right , I keep forgetting . Comes in pretty handy down here , bub . CLARENCE Oh , tut , tut , tut . GEORGE I found it out a little late . I 'm worth more dead than alive . CLARENCE Now look , you must n't talk like that . I wo n't get my wings with that attitude . You just do n't know all that you 've done . If it had n't been for you . GEORGE . -LRB- interrupts . -RRB- Yeah , if it had n't been for me , everybody 'd be a lot better off . My wife , and my kids and my friends . -LRB- annoyed with Clarence . -RRB- Look , little fellow , go off and haunt somebody else , will you ? CLARENCE No , you do n't understand . I 've got my job . GEORGE . -LRB- savagely . -RRB- Aw , shut up , will you . Clarence is not getting far with George . He glances up , paces across the room , thoughtfully . CLARENCE . -LRB- to himself . -RRB- Hmmm , this is n't going to be so easy . -LRB- to George . -RRB- So you still think killing yourself would make everyone feel happier , eh ? GEORGE . -LRB- dejectedly . -RRB- Oh , I do n't know . I guess you 're right . I suppose it would have been better if I 'd never been born at all . CLARENCE What 'd you say ? GEORGE I said I wish I 'd never been born . CLARENCE Oh , you must n't say things like that . You . -LRB- gets an idea . -RRB- . wait a minute . Wait a minute . That 's an idea . -LRB- glances up toward Heaven . -RRB- What do you think ? Yeah , that 'll do it . All right . -LRB- to George . -RRB- You 've got your wish . You 've never been born . As Clarence speaks this line , the snow stops falling outside the building , a strong wind springs up which blows open the door to the shack . Clarence runs to close the door . CLARENCE . -LRB- cont'd. -RRB- -LRB- looking upward . -RRB- You do n't have to make all that fuss about it . As Clarence speaks , George cocks his head curiously , favoring his deaf ear , more interested in his hearing than in what Clarence has said . GEORGE What did you say ? CLARENCE You 've never been born . You do n't exist . You have n't a care in the world . George feels his ear as Clarence talks . CLARENCE . -LRB- cont'd. -RRB- No worries -- -- no obligations -- -- no eight thousand dollars to get -- -- no Potter looking for you with the Sheriff . CLOSEUP -- -- George and Clarence . George indicates his bad ear . GEORGE Say something else in that ear . CLARENCE . -LRB- bending down . -RRB- Sure . You can hear out of it . GEORGE Well , that 's the doggonedest thing . I have n't heard anything out of that ear since I was a kid . Must have been that jump in the cold water . CLARENCE Your lip 's stopped bleeding , too , George . George feels his lip , which shows no sign of the recent cut he received from Welch . He is now thoroughly confused . GEORGE What do you know about that . What 's happened ? MEDIUM CLOSE SHOT -- -- George looks around , as though to get his bearings . GEORGE It 's stopped snowing out , has n't it ? What 's happened here ? -LRB- standing up . -RRB- Come on , soon as these clothes of ours are dry . CLARENCE Our clothes are dry . George feels the clothes on the line . GEORGE What do you know about that ? Stove 's hotter than I thought . Now , come on , get your clothes on , and we 'll stroll up to my car and get . They start dressing . George interrupts himself . GEORGE . -LRB- cont'd. -RRB- Oh , I 'm sorry . I 'll stroll . You fly . CLARENCE I ca n't fly . I have n't got any wings . GEORGE You have n't got your wings . Yeah , that 's right . George and Clarence go to Nick 's Place</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- This is the same empty street where George 's car swerved into the tree near the sidewalk . George and Clarence come into shot and up to the spot where George had left his car smashed against the tree . George looks around , but his car is nowhere to be seen , and the tree is undamaged . CLARENCE What 's the matter ? GEORGE . -LRB- puzzled . -RRB- Well , this is where I left my car and it is n't here . CLARENCE You have no car . GEORGE Well , I had a car , and it was right here . I guess somebody moved it . CLOSE SHOT -- -- at curb . The owner of the house passes with some Christmas packages under his arm . OWNER . -LRB- politely . -RRB- Good evening . GEORGE Oh , say . Hey . where 's my car ? OWNER I beg your pardon ? GEORGE My car , my car . I 'm the fellow that owns the car that ran into your tree . OWNER What tree ? GEORGE What do you mean , what tree ? This tree . Here , I ran into it . Cut a big gash in the side of it here . The owner bends down to examine the trunk of the tree , then straightens up and smells George 's breath . He backs away . OWNER You must mean two other trees . You had me worried . One of the oldest trees in Pottersville . GEORGE . -LRB- blankly . -RRB- Pottersville ? Why , you mean Bedford Falls . OWNER I mean Pottersville . -LRB- sharply . -RRB- Do n't you think I know where I live ? What 's the matter with you ? The owner proceeds toward his house . George is completely bewildered . GEORGE Oh , I do n't know . Either I 'm off my nut , or he is . -LRB- to Clarence . -RRB- . or you are ! CLARENCE It is n't me ! GEORGE Well , maybe I left the car up at Martini 's . Well , come on , Gabriel . He puts his arm around Clarence , and they start off up the road . CLARENCE . -LRB- as they go . -RRB- Clarence ! GEORGE Clarence ! Clarence !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR NICK'S BAR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- It is Martini 's place , but almost unrecognizable . The cheerful Italian feeling is gone . It is now more of a hard - drinking joint , a honky - tonk . Same bar , tables have no covers . People are lower down and tougher . Nick the bartender is behind the bar . George and Clarence come in . George does not notice the difference , but Clarence is all eyes and beaming . They go up to the bar . GEORGE . -LRB- as they come in . -RRB- That 's all right . Go on in . Martini 's a good friend of mine . Two people leave the bar as they approach . GEORGE . -LRB- cont'd. -RRB- There 's a place to sit down . Sit down . MEDIUM CLOSEUP -- -- Nick is wiping off the bar as they sit down . GEORGE . -LRB- cont'd. -RRB- Oh , hello , Nick . Hey , where 's Martini ? NICK You want a martini ? GEORGE No , no , Martini . Your boss . Where is he ? NICK . -LRB- impatient . -RRB- Look , I 'm the boss . You want a drink or do n't you ? GEORGE Okay -- -- all right . Double bourbon , quick , huh ? NICK Okay . -LRB- to Clarence . -RRB- What 's yours ? CLARENCE I was just thinking . -LRB- face puckers up with delicious anticipation . -RRB- It 's been so long since I . NICK . -LRB- impatient . -RRB- Look , mister , I 'm standing here waiting for you to make up your mind . CLARENCE . -LRB- appreciatively . -RRB- That 's a good man . I was just thinking of a flaming rum punch . No , it 's not cold enough for that . Not nearly cold enough . Wait a minute . wait a minute . I got it . Mulled wine , heavy on the cinnamon and light on the cloves . Off with you , me lad , and be lively ! NICK Hey , look mister , we serve hard drinks in here for men who want to get drunk fast . And we do n't need any characters around to give the joint atmosphere . Is that clear ? Or do I have to slip you my left for a convincer ? As he says this , Nick leans over the counter and puts his left fist nearly in Clarence 's eye . Clarence is puzzled by this conduct . CLARENCE . -LRB- to George . -RRB- What 's he talking about ? GEORGE . -LRB- soothingly . -RRB- Nick -- -- Nick , just give him the same as mine . He 's okay . NICK Okay . Nick turns away to get the drinks . GEORGE What 's the matter with him . I never saw Nick act like that before . CLARENCE You 'll see a lot of strange things from now on . GEORGE Oh , yeah . Hey , little fellow -- -- you worry me . You got someplace to sleep ? CLARENCE No . GEORGE You do n't huh ? Well , you got any money ? Nick is listening suspiciously to this conversation . CLARENCE No . GEORGE No wonder you jumped in the river . CLARENCE I jumped in the river to save you so I could get my wings . Nick stops pouring the drinks , bottle poised in his hand . GEORGE Oh , that 's right . A cash register bell rings off stage . Clarence reacts to the SOUND of the bell . CLARENCE Oh - oh . Somebody 's just made it . GEORGE Made what ? CLARENCE Every time you hear a bell ring , it means that some angel 's just got his wings . George glances up at Nick . GEORGE Look , I think maybe you better not mention getting your wings around here . CLARENCE Why ? Do n't they believe in angels ? GEORGE . -LRB- looking at Nick . -RRB- A . Yeah , but . you know . CLARENCE Then why should they be surprised when they see one ? GEORGE . -LRB- to Nick . -RRB- He never grew up . He 's . -LRB- to Clarence . -RRB- How old are you , anyway , Clarence ? CLARENCE Two hundred and ninety - three . -LRB- thinks . -RRB- . next May . Nick slams the bottle down on the counter . NICK That does it ! Out you two pixies go , through the door or out the window ! GEORGE Look , Nick . What 's wrong ? NICK . -LRB- angrily . -RRB- And that 's another thing . Where do you come off calling me Nick ? GEORGE Well , Nick , that 's your name , is n't it ? NICK What 's that got to do with it ? I do n't know you from Adam 's off ox . -LRB- sees someone come in . -RRB- Hey , you ! Rummy ! Come here ! Come here ! CLOSE SHOT -- -- a small wreck of a man , with weak , watery eyes . Obviously a broken - down panhandler , his hat in his hand . CLOSEUP -- -- George . He can hardly believe his eyes . It is Gower the druggist . BACK TO SHOT -- -- Nick at the bar . NICK . -LRB- to Gower . -RRB- Did n't I tell you never to come panhandling around here ? Nick picks up a seltzer bottle , and squirts Gower in the face with it . The crowd laugh brutally . Gower smiles weakly as the soda runs off his face . CLOSE SHOT -- -- George , horrified , leaps up and goes over to Gower . GEORGE Mr. Gower ! Mr. Gower ! This is George Bailey ! Do n't you know me ? GOWER No . No . NICK . -LRB- to his bouncers . -RRB- Throw him out . Throw him out . The bouncers throw Gower out the front door . George rushes back to the bar . GEORGE . -LRB- bewildered . -RRB- Hey , what is . Hey , Nick , Nick . Is n't that Mr. Gower , the druggist ? NICK You know , that 's another reason for me not to like you . That rumhead spent twenty years in jail for poisoning a kid . If you know him , you must be a jailbird yourself . -LRB- to his bouncers . -RRB- Would you show these gentlemen to the door . BOUNCER Sure . This way , gentlemen .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR NICK'S BAR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Clarence come flying through the door and land in the snow .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR NICK'S BAR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Nick at the cash register , busily ringing the bell . NICK Hey ! Get me ! I 'm giving out wings !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR NICK'S BAR –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George and Clarence lying in the snow . George has a strange , puzzled look on his face . They remain for a moment as they landed , looking at each other . CLARENCE You see , George , you were not there to stop Gower from putting that poison into the . GEORGE What do you mean , I was n't there ? I remember distinctly . George catches a glimpse of the front of the building with the neon sign over the door . It now reads `` NICK 'S PLACE '' instead of `` MARTINI 'S . '' George and Clarence get to their feet . GEORGE . -LRB- exasperated . -RRB- What the . hey , what 's going on around here ? Why , this ought to be Martini 's place . He points to the sign , and looks at Clarence . Clarence sort of hangs his head . George fixes him with a very interested look . GEORGE . -LRB- cont'd. -RRB- Look , who are you ? CLARENCE . -LRB- patiently . -RRB- I told you , George . I 'm your guardian angel . George , still looking at him , goes up to him and pokes his arm . It 's flesh . GEORGE Yeah , yeah , I know . You told me that . What else are you ? What . are you a hypnotist ? CLARENCE No , of course not . GEORGE Well then , why am I seeing all these strange things ? CLARENCE Do n't you understand , George ? It 's because you were not born . GEORGE Then if I was n't born , who am I ? CLARENCE You 're nobody . You have no identity . George rapidly searches his pockets for identification , but without success . GEORGE What do you mean , no identity ? My name 's George Bailey . CLARENCE There is no George Bailey . You have no papers , no cards , no driver 's license , no 4 - F card , no insurance policy . -LRB- he says these things as George searches for them . -RRB- George looks in his watch pocket . CLARENCE . -LRB- cont'd. -RRB- They 're not there , either . GEORGE What ? CLARENCE Zuzu 's petals . George feverishly continues to turn his pockets inside out . CLARENCE . -LRB- cont'd. -RRB- You 've been given a great gift , George . A chance to see what the world would be like without you . George is completely befuddled . GEORGE . -LRB- shaking his head . -RRB- Now wait a minute , here . Wait a minute here . As , this is some sort of a funny dream I 'm having here . So long , mister , I 'm going home . He starts off . Clarence rises . CLARENCE Home ? What home ? GEORGE . -LRB- furious -RRB- Now shut up ! Cut it out ! You 're . you 're . you 're crazy ! That 's what I think . you 're screwy , and you 're driving me crazy , too ! I 'm seeing things . I 'm going home and see my wife and family . Do you understand that ? And I 'm going home alone ! George strides off hurriedly . Clarence slowly follows him , glancing up toward Heaven as he goes . CLARENCE How 'm I doing , Joseph . Thanks . -LRB- pause . -RRB- No , I did n't have a drink ! The nightmare continues/George ca n't go home again/Ma Bailey 's / Cemetery/Library</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George moves into the scene . The sign bearing the name of the town reads `` Pottersville . '' George looks at it in surprise , then starts up the street toward the main part of town . As he goes , CAMERA MOVES WITH him . The character of the place has completely changed . Where before it was a quiet , orderly small town , it has now become in nature like a frontier village . We see a SERIES OF SHOTS of night clubs , cafes , bars , liquor stores , pool halls and the like , with blaring jazz MUSIC issuing from the majority of them . The motion picture theatre has become a burlesque house . Gower 's drugstore is now a pawnbroker 's establishment , and so on . CLOSE SHOT -- -- George stops before what used to be the offices of the Building and Loan . There is a garish electric sign over the entrance reading : `` Welcome Jitterbugs . '' A crowd of people are watching the police , who are raiding the place , and dragging out a number of screaming women , whom they throw into a patrol wagon . George talks to one of the cops : GEORGE Hey . hey . Where did the Building and Loan move to ? COP The Building and what ? GEORGE The Bailey Building and Loan . It was up there . COP They went out of business years ago . MEDIUM CLOSEUP -- -- George sees the struggling figure of Violet Bick , arrayed as a tart , being dragged into the patrol wagon . GEORGE Hey , Violet ! -LRB- to the cop . -RRB- Hey , listen -- -- that 's Violet Bick ! COP I know . I know . GEORGE I know that girl ! The cop shoves George to one side . He looks around and sees Ernie 's taxi cruising slowly by . GEORGE . -LRB- cont'd. -RRB- Hey , Ernie -- -- Ernie !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Ernie stops the cab , and George enters it . GEORGE Ernie , take me home . I 'm off my nut ! ERNIE . -LRB- a much harder Ernie . -RRB- Where do you live ? GEORGE Aw , now , doggone it , Ernie , do n't you start pulling that stuff . You know where I live . Three - twenty Sycamore . Now hurry up . ERNIE Okay . Three - twenty Sycamore ? . GEORGE Yeah -- -- yeah -- -- hurry up . Zuzu 's sick . ERNIE All right . He pulls down the flag on the meter and starts the cab .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR CAB –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSEUP -- -- George and Ernie . Ernie is puzzled by the stranger . GEORGE Look here , Ernie , straighten me out here . I 've got some bad liquor or something . Listen to me now . Now , you are Ernie Bishop , and you live in Bailey Park with your wife and kid ? That 's right , is n't it ? ERNIE . -LRB- suspiciously . -RRB- You seen my wife ? GEORGE . -LRB- exasperated . -RRB- Seen your wife ? I 've been to your house a hundred times . ERNIE Look , bud , what 's the idea ? I live in a shack in Potter 's Field and my wife ran away three years ago and took the kid . And I ai n't never seen you before in my life . GEORGE Okay . Just step on it . Just get me home . Ernie turns to driving , but he 's worried about his passenger . As he passes the burlesque house he sees Bert the cop standing beside his police car . Attracting his attention , he motions to Bert to follow him , indicating he has a nut in the back . Bert gets into his car and follows .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR GEORGE'S HOUSE –– NIGHT</stage_direction>
<scene_description>MEDIUM LONG SHOT -- -- The taxi pulls up to the curb and stops . MEDIUM CLOSE SHOT -- -- The cab is parked . George gets out and looks at the house . ERNIE Is this the place ? GEORGE Of course it 's the place . ERNIE Well , this house ai n't been lived in for twenty years .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOUSE –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George is stopped momentarily by the appearance of the house . Windows are broken , the porch sags , one section of the roof has fallen , doors and shutters hang askew on their hinges . Like a doomed man , George approaches the house .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR CAB –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- The police car has pulled up beside the cab , and Bert and Ernie stand watching George 's actions . BERT What 's up , Ernie ? ERNIE I do n't know , but we better keep an eye on this guy . He 's bats . Ernie switches on the spotlight on his cab , and turns the beam toward the old house .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALLWAY GEORGE'S HOUSE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- The interior of the house is lit up here and there , ghostlike , by Ernie 's spotlight . No furniture , cobwebs , wallpaper hanging and swinging -- -- stairs are broken and collapsed . In a voice that sounds like a cry for help , George yells out : GEORGE Mary ! Mary ! Tommy ! Pete ! Janie ! Zuzu ! Where are you ? Clarence suddenly appears leaning against a wall . CLARENCE They 're not here , George . You have no children . GEORGE . -LRB- ignoring him . -RRB- Where are you ? -LRB- then , to Clarence . -RRB- What have you done with them ?</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR DOORWAY –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Bert is standing in the entrance , with his gun in his hand . Ernie is a few feet behind him , ready to run . BERT All right , put up your hands . No fast moves . Come on out here , both of you . GEORGE Bert ! Thank heaven you 're here ! He rushes toward Bert . BERT Stand back . GEORGE Bert , what 's happened to this house ? Where 's Mary ? Where 's my kids ? ERNIE . -LRB- warningly . -RRB- Watch him , Bert . BERT Come on , come on . GEORGE . -LRB- bewildered -RRB- Bert -- -- Ernie ! What 's the matter with you two guys ? You were here on my wedding night . You , both of you , stood out here on the porch and sung to us , do n't you remember ? ERNIE . -LRB- nervously . -RRB- Think I 'd better be going . BERT Look , now why do n't you be a good kid and we 'll take you in to a doctor . Everything 's going to be all right . Bert tries to lead George away by the arm , but George struggles with him , trying to explain . GEORGE Bert , now listen to me . Ernie , will you take me over to my mother 's house ? Bert , listen ! -LRB- gesturing to Clarence . -RRB- It 's that fellow there -- -- he says he 's an angel -- -- he 's tried to hypnotize me . BERT I hate to do this , fella . Bert raises his gun to hit George on the head . As he does so , Clarence darts in and fixes his teeth in Bert 's wrist , forcing him to let George go . CLARENCE Run . George ! Run , George ! George dashes out of the house and down the street , as Bert grapples with Clarence , and they fall to the ground , wrestling . We see Bert kneeling , trying to put handcuffs on Clarence . CLARENCE . -LRB- cont'd. -RRB- Help ! Joseph , help ! BERT Oh , shut up ! CLARENCE Help , oh Joseph , help ! Joseph ! Suddenly Clarence disappears from under Bert 's hands . Bert gets up , amazed by his vanishing . BERT Where 'd he go ? Where 'd he go ? I had him right here . Ernie 's hair is now standing on end with fright . ERNIE . -LRB- stammering . -RRB- I need a drink He runs out of the scene . BERT Well , which way 'd they go ? Help me find 'em .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BAILEY HOME –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George runs up the path to the front door of the house and raps on the door . He rings the bell and taps on the glass , when his attention is caught by a sign on the wall reading `` Ma Bailey 's Boarding House . '' MEDIUM CLOSEUP -- -- George at the door . The door opens and a woman appears . It is Mrs. Bailey , but she has changed amazingly . Her face is harsh and tired . In her eyes , once kindly and understanding , there is now cold suspicion . She gives no sign that she knows him . MA BAILEY Well ? GEORGE Mother . MA BAILEY Mother ? What do you want ? It is a cruel blow to George . GEORGE Mother , this is George . I thought sure you 'd remember me . MA BAILEY . -LRB- coldly . -RRB- George who ? If you 're looking for a room there 's no vacancy . She starts to close the door , but George stops her . GEORGE Oh , Mother , Mother , please help me . Something terrible 's happened to me . I do n't know what it is . Something 's happened to everybody . Please let me come in . Keep me here until I get over it . MA BAILEY Get over what ? I do n't take in strangers unless they 're sent here by somebody I know . GEORGE . -LRB- desperate . -RRB- Well , I know everybody you know . Your brother - in - law , Uncle Billy . MA BAILEY . -LRB- suspiciously . -RRB- You know him ? GEORGE Well , sure I do . MA BAILEY When 'd you see him last ? GEORGE Today , over at the house . MA BAILEY That 's a lie . He 's been in the insane asylum ever since he lost his business . And if you ask me , that 's where you belong . She slams the door shut in George 's face .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR HOUSE –– NIGHT</stage_direction>
<scene_description>MEDIUM CLOSE SHOT -- -- George stands a moment , stunned . Then he turns and runs out to the sidewalk , until his face fills the screen . His features are distorted by the emotional chaos within him . We see Clarence leaning on the mail box at the curb , holding his volume of `` Tom Sawyer '' in his hand . CLARENCE Strange , is n't it ? Each man 's life touches so many other lives , and when he is n't around he leaves an awful hole , does n't he ? GEORGE . -LRB- quietly , trying to use logic . -RRB- I 've heard of things like this . You 've got me in some kind of a spell , or something . Well , I 'm going to get out of it . I 'll get out of it . I know how , too . I . the last man I talked to before all this stuff started happening to me was Martini . CLARENCE You know where he lives ? GEORGE Sure I know where he lives . He lives in Bailey Park . They walk out of scene .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR CEMETERY –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- George and Clarence approach the tree from which the `` Bailey Park '' sign once hung . Now it is just outside a cemetery , with graves where the houses used to be . CLARENCE Are you sure this is Bailey Park ? GEORGE Oh , I 'm not sure of anything anymore . All I know is this should be Bailey Park . But where are the houses ? The two walk into the cemetery . CLARENCE . -LRB- as they go . -RRB- You were n't here to build them . CLOSE MOVING SHOT -- -- George wandering like a lost soul among the tombstones , Clarence trotting at his heels . Again George stops to stare with frightened eyes at : CLOSE SHOT -- -- a tombstone . Upon it is engraved a name , Harry Bailey . Feverishly George scrapes away the snow covering the rest of the inscription , and we read : IN MEMORY OF OUR BELOVED SON -- -- HARRY BAILEY -- -- 1911 - 1919 . CLOSE SHOT -- -- George and Clarence . CLARENCE Your brother , Harry Bailey , broke through the ice and was drowned at the age of nine . George jumps up . GEORGE That 's a lie ! Harry Bailey went to war ! He got the Congressional Medal of Honor ! He saved the lives of every man on that transport . CLARENCE . -LRB- sadly . -RRB- Every man on that transport died . Harry was n't there to save them because you were n't there to save Harry . You see , George , you really had a wonderful life . Do n't you see what a mistake it would be to throw it away ? CLOSEUP -- -- George and Clarence . GEORGE Clarence . CLARENCE Yes , George ? GEORGE Where 's Mary ? CLARENCE Oh , well , I ca n't . GEORGE I do n't know how you know these things , but tell me -- -- where is she ? George grabs Clarence by the coat collar and shakes him . CLARENCE I . GEORGE If you know where she is , tell me where my wife is . CLARENCE I 'm not supposed to tell . GEORGE . -LRB- becoming violent . -RRB- Please , Clarence , tell me where she is . CLARENCE You 're not going to like it , George . GEORGE . -LRB- shouting . -RRB- Where is she ? CLARENCE She 's an old maid . She never married . GEORGE . -LRB- choking him . -RRB- Where 's Mary ? Where is she ? CLARENCE She 's . GEORGE Where is she ? CLARENCE . -LRB- in self - defense . -RRB- She 's just about to close up the library ! George lets Clarence go , and runs off . Clarence falls to the ground , where he rubs his neck . CLARENCE . -LRB- to himself . -RRB- There must be some easier way for me to get my wings .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR LIBRARY –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary comes out the door , then turns and locks it . We see George watching her from the sidewalk . Mary is very different -- -- no buoyancy in her walk , none of Mary 's abandon and love of life . Glasses , no make - up , lips compressed , elbows close to body . She looks flat and dried up , and extremely self - satisfied and efficient . CLOSEUP -- -- George , as he watches her . CLOSE SHOT -- -- George and Mary , on the sidewalk . GEORGE Mary ! She looks up , surprised , but , not recognizing him , continues on . GEORGE . -LRB- cont'd. -RRB- Mary ! Mary starts to run away from him , and he follows , desperately . GEORGE . -LRB- cont'd. -RRB- Mary ! Mary ! He catches up to her , grabs her by the arms , and keeps a tight grip on her . She struggles to free herself . GEORGE . -LRB- cont'd. -RRB- Mary , it 's George ! Do n't you know me ? What 's happened to us ? MARY . -LRB- struggling . -RRB- I do n't know you ! Let me go ! GEORGE Mary , please ! Oh , do n't do this to me . Please , Mary , help me . Where 's our kids ? I need you , Mary ! Help me , Mary ! Mary breaks away from him , and dashes into the first door she comes to , the Blue Moon Bar .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BLUE MOON –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- Small tables , booths , perhaps a counter . It is crowded . Many of the people are the same who were present during the run on the Building and Loan . Mary comes running in , screaming . The place goes into an uproar . George comes in , practically insane . Some of the men grab and hold on to him . GEORGE . -LRB- shouting . -RRB- Mary . -LRB- to men holding him . -RRB- Let me go ! Mary , do n't run away ! MAN Somebody call the police ! ANOTHER MAN Hit him with a bottle ! ANOTHER MAN He needs a strait jacket ! MARY . -LRB- from back of room . -RRB- That man -- -- stop him ! GEORGE . -LRB- recognizing some of them . -RRB- Tom ! Ed ! Charlie ! That 's my wife ! Mary lets out a final scream , then faints into the arms of a couple of women at the bar . GEORGE . -LRB- cont'd. -RRB- Mary ! MAN Oh , no you do n't ! GEORGE . -LRB- screaming . -RRB- Mary ! George ca n't fight through the men holding him . Desperately he thinks of Clarence , and heads for the door . GEORGE . -LRB- cont'd. -RRB- Clarence ! Clarence ! Where are you ?</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR SIDEWALK –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Just as George breaks through the door , Bert arrives in his police car . He gets out and heads for the door , to run into George as he comes out . BERT Oh , it 's you ! He grabs for George , who lets him have one square on the button , knocking him down , then continues running down the street yelling for Clarence . Bert gets up , takes out his gun and fires several shots after the fleeing figure . BERT . -LRB- to crowd . -RRB- Stand back ! Bert gets into the police car , and , siren screaming , sets off in pursuit of George . WIPE TO : George regains his wonderful life / `` It 's a miracle ! '' -- -- George 's friends come to his rescue , and Clarence gets his wings</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BRIDGE OVER RIVER –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- The same part of the bridge where George was standing before Clarence jumped in . The wind is blowing as it has all through this sequence . George comes running into shot . He is frantically looking for Clarence . GEORGE Clarence ! Clarence ! Help me , Clarence . Get me back . Get me back . I do n't care what happens to me . Only get me back to my wife and kids . Help me , Clarence , please ! Please ! I want to live again ! CLOSEUP -- -- George leaning on the bridge railing , praying . GEORGE I want to live again . I want to live again . Please , God , let me live again . George sobs . Suddenly , toward the end of the above , the wind dies down . A soft , gentle snow begins to fall . CLOSE SHOT -- -- George sobbing at the railing . The police car pulls up on the roadway behind him , and Bert comes into scene . BERT Hey , George ! George ! You all right ? George backs away and gets set to hit Bert again . BERT . -LRB- cont'd. -RRB- Hey , what 's the matter ? GEORGE . -LRB- warningly . -RRB- Now get out of here , Bert , or I 'll hit you again ! Get out ! BERT What the Sam Hill you yelling for , George ? GEORGE Do n't . George ? George talks hopefully -- -- George touches Bert unbelievingly -- -- George 's mouth is bleeding again . GEORGE . -LRB- cont'd. -RRB- Bert , do you know me ? BERT Know you ? Are you kiddin ' ? I 've been looking all over town trying to find you . I saw your car piled into that tree down there , and I thought maybe . Hey , your mouth 's bleeding ; are you sure you 're all right ? GEORGE What did . George touches his lips with his tongue , wipes his mouth with his hand , laughs happily . His rapture knows no bounds . GEORGE . -LRB- cont'd. -RRB- -LRB- joyously . -RRB- My mouth 's bleeding , Bert ! My mouth 's bleed . -LRB- feeling in watch pocket . -RRB- Zuzu 's petals ! Zuzu 's . they 're . they 're here , Bert ! What do you know about that ? Merry Christmas ! He practically embraces the astonished Bert , then runs at top speed toward town . LONG SHOT -- -- George runs away from camera yelling : GEORGE Mary ! Mary !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR RESIDENTIAL STREET –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George 's wrecked car is smashed against the tree . He comes running into shot , sees the car , lets out a triumphant yell , pats the car , and dashes on .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George sees that the POTTERSVILLE sign is now replaced by the original YOU ARE NOW IN BEDFORD FALLS sign . GEORGE Hello , Bedford Falls ! He turns and runs through the falling snow up the main street of the town . As he runs , he notices that the town is back in its original appearance . He passes some late shoppers on the street : GEORGE . -LRB- cont'd. -RRB- Merry Christmas ! PEOPLE . -LRB- ad lib . -RRB- Merry Christmas ! Merry Christmas , George !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR THEATRE –– NIGHT</stage_direction>
<scene_description>PAN SHOT -- -- As George runs by : GEORGE Merry Christmas , movie house !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BEDFORD FALLS EMPORIUM –– NIGHT</stage_direction>
<scene_description>PAN SHOT -- -- as George runs by : GEORGE Merry Christmas , emporium !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BUILDING AND LOAN OFICES –– NIGHT</stage_direction>
<scene_description>PAN SHOT -- -- As George runs by : GEORGE Merry Christmas , you wonderful old Building and Loan !</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR BANK –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George notices a light in Potter 's office window , and races across the street .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR POTTER'S OFFICE –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Potter is seated working at his desk , his goon by his side . George pounds on the window . GEORGE . -LRB- from outside . -RRB- Merry Christmas , Mr. Potter ! George runs off as Potter looks up from his work . POTTER Happy New Year to you -- -- in jail ! Go on home -- -- they 're waiting for you !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR GEORGE'S HOME –– NIGHT</stage_direction>
<scene_description>The lights are on . There is a fire in the fireplace . The Christmas tree is fully decorated with presents stacked around .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR ENTRANCE HALL –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Carter , the bank examiner , a newspaper reporter and photographer , and a sheriff , are waiting in the hall for George . George comes dashing in the front door . GEORGE . -LRB- excitedly . -RRB- Mary . -LRB- sees the men . -RRB- Well , hello , Mr. Bank Examiner ! He grabs his hand and shakes it . CARTER . -LRB- surprised . -RRB- Mr. Bailey , there 's a deficit ! GEORGE I know . Eight thousand dollars . SHERIFF . -LRB- reaching into pocket . -RRB- George , I 've got a little paper here . GEORGE . -LRB- happily . -RRB- I 'll bet it 's a warrant for my arrest . Is n't it wonderful ? Merry Christmas ! The photographer sets off a flash bulb . GEORGE Reporters ? Where 's Mary ? -LRB- calling . -RRB- Mary ! George runs to the kitchen . He gets no answer . As he goes : GEORGE . -LRB- cont'd. -RRB- Oh , look at this wonderful old drafty house ! Mary ! Mary ! He comes running back to the hall . GEORGE . -LRB- cont'd. -RRB- Have you seen my wife ? CHILDREN 'S VOICES Merry Christmas , Daddy ! Merry Christmas , Daddy !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR STAIRS –– NIGHT</stage_direction>
<scene_description>MEDIUM SHOT -- -- The three children are at the top of the stairs . They are in their pajamas . GEORGE Kids ! George starts to run up the stairs , and the old familiar knob on the banister comes off in his hand . He kisses it lovingly and puts it back , then continues up the stairs . GEORGE . -LRB- cont'd. -RRB- Pete -- -- kids -- -- Janie -- -- Tommy . -LRB- takes them in his arms . -RRB- I could eat you up !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR TOP OF STAIRS –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- George and the kids . He is hugging them . GEORGE Where 's your mother ? JANIE She went looking for you with Uncle Billy . Zuzu comes running out of her bedroom . George crushes her to him . ZUZU Daddy ! GEORGE Zuzu -- -- Zuzu . My little gingersnap ! How do you feel ? ZUZU Fine . JANIE And not a smitch of temperature . GEORGE . -LRB- laughing . -RRB- Not a smitch of temp .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR HALL –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- As Mary comes through the door , breathless and excited . The four men are watching with open mouths . GEORGE 'S VOICE Hallelujah ! MARY . -LRB- to the men . -RRB- Hello . -LRB- sees George . -RRB- George ! Darling !</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR STAIRS –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary races up the stairs , where George meets her in a fierce embrace . GEORGE Mary ! Mary ! MARY George , darling ! Where have you been ? George and Mary embrace tearfully . MARY Oh , George , George , George . GEORGE Mary ! Let me touch you ! Oh , you 're real ! MARY Oh , George , George ! GEORGE You have no idea what 's happened to me . MARY You have no idea what happened . He stops her with a kiss . She leads him excitedly down the stairs . MARY . -LRB- cont'd. -RRB- Well , come on , George , come on downstairs quick . They 're on their way . GEORGE All right .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR LIVING ROOM –– NIGHT</stage_direction>
<scene_description>CLOSE SHOT -- -- Mary leads George , who is carrying a couple of the kids on his back , to a position in front of the Christmas tree . MARY Come on in here now . Now , you stand right over here , by the tree . Right there , and do n't move , do n't move . I hear 'em now , George , it 's a miracle ! It 's a miracle ! She runs toward front door and flings it open . Ad lib SOUNDS of an excited crowd can be heard . Uncle Billy , face flushed , covered with snow , and carrying a clothes basket filled with money , bursts in . He is followed by Ernie , and about twenty more townspeople . MARY Come in , Uncle Billy ! Everybody ! In here ! Uncle Billy Mary and the crowd come into the living room . A table stands in front of George . George picks up Zuzu to protect her from the mob . Uncle Billy dumps the basketful of money out onto the table -- -- the money overflows and falls all over . UNCLE BILLY Is n't it wonderful ? The rest of the crowd all greet George with greetings and smiles . Each one comes forward with money . In their pockets , in shoe boxes , in coffee pots . Money pours onto the table -- -- pennies , dimes , quarters , dollar bills -- -- small money , but lots of it . Mrs. Bailey and Mrs. Hatch push toward George . More people come in . The place becomes a bedlam . Shouts of `` Gangway -- -- gangway '' as a new bunch comes in and pours out its money . Mary stands next to George , watching him . George stands there overcome and speechless as he holds Zuzu . As he sees the familiar faces , he gives them sick grins . Tears course down his face . His lips frame their names as he greets them . UNCLE BILLY . -LRB- emotionally at the breaking point . -RRB- Mary did it , George ! Mary did it ! She told a few people you were in trouble and they scattered all over town collecting money . They did n't ask any questions -- -- just said `` If George is in trouble -- -- count on me . '' You never saw anything like it . Tom comes in , digging in his purse as he comes . TOM What is this , George ? Another run on the bank ? Charlie adds his money to the pile . CHARLIE Here you are , George . Merry Christmas . Ernie is trying to get some system into the chaos . ERNIE The line forms on the right . Mr. Martini comes in bearing a mixing bowl overflowing with cash . ERNIE Mr. Martini ! Merry Christmas ! Step right up here . Martini dumps his money on the table . MARTINI I busted the juke - box * , too ! -LRB- * editor 's note I feel compelled to point out that this word is pronounced `` juke - a - box '' in the film itself . To me , the movie would lose a little something without that charming , superfluous `` a '' ! -RRB- Mr. Gower enters with a large glass jar jammed full of notes . ERNIE Mr. Gower ! GOWER . -LRB- to George . -RRB- I made the rounds of my charge accounts . Violet Bick arrives , and takes out the money George had given her for her trip to New York . GEORGE Violet Bick ! VIOLET I 'm not going to go , George . I changed my mind . Annie , the colored maid , enters , digging money out of a long black stocking . ANNIE I 've been saving this money for a divorce , if ever I get a husband . Mr. Partridge , the high school principal , is the next donor . PARTRIDGE There you are , George . I got the faculty all up out of bed . -LRB- hands his watch to Zuzu . -RRB- And here 's something for you to play with . MAN . -LRB- giving money . -RRB- I would n't have a roof over my head if it was n't for you , George . Ernie is reading a telegram he has just received . ERNIE Just a minute . Quiet , everybody . Quiet -- -- quiet . Now , this is from London . -LRB- reading . -RRB- Mr. Gower cables you need cash . Stop . My office instructed to advance you up to twenty - five thousand dollars . Stop . Hee - haw and Merry Christmas . Sam Wainwright . The crowd breaks into a cheer as Ernie drops the telegram on top of the pile of money on the table . MARY . -LRB- calling out . -RRB- Mr. Martini . How about some wine ? As various members of the family bring out a punch bowl and glasses , Janie sits down at the piano and strikes a chord . She starts playing `` Hark ! The Herald Angels Sing , '' and the entire crowd joins in the singing . We see a SERIES OF SHOTS of the various groups singing the hymn , and some people are still coming in and dropping their money on the table . Carter , the bank examiner , makes a donation ; the sheriff sheepishly looks at George and tears his warrant in small pieces . In the midst of this scene , Harry , in Naval uniform , enters , accompanied by Bert , the cop . HARRY Hello , George , how are you ? GEORGE Harry . Harry . HARRY . -LRB- as he sees the money . -RRB- Mary -- -- looks like I got here too late . BERT Mary , I got him here from the airport as quickly as I could . The fool flew all the way up here in a blizzard . Mrs. Bailey enters scene . MRS. BAILEY Harry , how about your banquet in New York ? HARRY Oh , I left right in the middle of it as soon as I got Mary 's telegram . Ernie hands Harry a glass of wine . HARRY . -LRB- cont'd. -RRB- Good idea , Ernie . A toast . to my big brother , George . The richest man in town ! Once more the crowd breaks into cheering and applause . Janie at the piano and Bert on his accordion start playing `` Auld Lang syne , '' and everyone joins in . CLOSE SHOT -- -- George , still holding Zuzu in his arms , glances down at the pile of money on the table . His eye catches something on top of the pile , and he reaches down for it . It is Clarence 's copy of `` Tom Sawyer . '' George opens it and finds an inscription written in it `` Dear George , remember no man is a failure who has friends . Thanks for the wings , Love Clarence . '' MARY . -LRB- looking at book . -RRB- What 's that ? GEORGE That 's a Christmas present from a very dear friend of mine . At this moment , perhaps because of the jostling of some of the people on the other side of the tree , a little silver bell on the Christmas tree swings to and fro with a silvery tinkle . Zuzu closes the cover of the book , and points to the bell . ZUZU Look , Daddy . Teacher says , every time a bell rings an angel gets his wings . GEORGE . -LRB- smiling . -RRB- That 's right , that 's right . He looks up toward the ceiling and winks . GEORGE . -LRB- cont'd. -RRB- Attaboy , Clarence . The voices of the people singing swell into a final crescendo for the FADE OUT THE END</scene_description>
</scene>
</script> | On Christmas Eve 1945, in Bedford Falls, New York, 38-year-old George Bailey contemplates suicide. The prayers of his family and friends reach heaven, where Clarence Odbody, Angel 2nd class, is assigned to save George, in return for which he will earn his angel wings. To prepare him for his mission, Clarence is shown flashbacks of George's life. The first is from 1919, when 12-year-old George saves his younger brother Harry from drowning, losing the hearing in his left ear in the process. At his after-school job, George prevents disaster after realizing that the druggist, Mr. Gower, has accidentally added poison to a prescription. In 1928, George plans to leave on a world tour and then enter college. At Harry's high-school graduation party, George is reintroduced to Mary Hatch, who has had a crush on him from childhood. They are walking home when news arrives that George's father, Peter, has had a stroke; Peter Bailey soon dies. George postpones his travel so he can sort out the family business, Bailey Brothers' Building and Loan. Henry F. Potter, the richest - and meanest - man in the county, and a member of the board of the Building and Loan, wishes to dissolve the company to eliminate it as a competitor. The board of directors votes to keep the Building and Loan open, on condition that George stay on to run it. George gives his college tuition to Harry on the condition that Harry take over the Building and Loan when he graduates. He works alongside his uncle, Billy. Four years later, in 1932, Harry returns from college, married, and with a job offer from his father-in-law. Although Harry is ready to honor his commitments to George and the Building and Loan, George learns that the job has excellent prospects and will not allow his brother to turn it down. As a result, George never does leave Bedford Falls, but ends up falling in love with Mary and they marry. On their way to their honeymoon, though, they witness a run on the bank and use their $2,000 honeymoon savings (equivalent to $40,000 in 2019) to keep the Building and Loan solvent and out of Potter's control until the panic subsides. Eventually, George establishes Bailey Park, a development of modest houses financed by the Building and Loan that offers home ownership in contrast to rentals in Potter's overpriced slums. The unscrupulous Potter attempts to lure George into becoming his assistant, offering him $20,000 a year (equivalent to $280,000 in 2019); George is tempted, but realizes Potter's true intent is to shut down the Building and Loan, and rebukes him. During World War II, George is ineligible for service, being classified as 4F because of his deaf ear. Harry becomes a Navy pilot and earns the Medal of Honor by shooting down a kamikaze plane headed for a troop transport. On Christmas Eve morning 1945, as the town prepares a hero's welcome for Harry, Uncle Billy goes to the bank to deposit $8,000 (equivalent to $110,000 in 2019) of the Building and Loan's cash. When Potter enters, Billy taunts him by grabbing the newspaper out of his lap and reading the headline about Harry aloud. Billy returns the newspaper to Potter, but unintentionally wraps the envelope with the cash in it. When the teller asks him for the money for the deposit, Billy discovers that he has misplaced the cash. Potter discovers the envelope, and seeing an opportunity to ruin the Baileys and finally quash the Building and Loan, says nothing. When a bank examiner arrives to review the Building and Loan's records, George realizes that scandal and criminal charges will follow. After retracing Billy's steps without success, George berates him, then goes home and takes out his frustration on his family. George desperately appeals to Potter for a loan and offers his life insurance policy with only $500 in equity (equivalent to $10,000 in 2019) as collateral. Based on the policy's $15,000 nominal value (equivalent to $210,000 in 2019), Potter says that George is worth more dead than alive, and as a shareholder in the Building and Loan, and phones the police to have him arrested for misappropriation of funds. George gets drunk at a local bar and prays for help, then, contemplating suicide, goes to a nearby bridge. The film's narrative catches up to the time of the opening scene. Before George can jump, Clarence dives into the river, causing George to rescue Clarence rather than kill himself. George does not believe Clarence's subsequent claim that he is George's guardian angel. When George says he wishes he had never been born, Clarence decides to grant his wish to show George an alternate timeline in which he never existed. In this timeline, Bedford Falls is named Pottersville, a seedy town where the main drag is occupied by strip clubs, swing halls, cocktail lounges, and other dens of vice. Mr. Gower, the druggist, has recently been released from prison for manslaughter, because George was not there to stop him from accidentally putting poison in the pills. The Building and Loan has long since closed down, as George never took over after his father's passing. The house where George and Mary lived has been derelict for twenty years. George's mother does not know him - she reveals that Uncle Billy was institutionalized after the Building and Loan failed. In the cemetery where Bailey Park would have been, George discovers Harry's grave. Clarence explains that the soldiers on the transport ship died because Harry was not there to save them, since George was not alive to save Harry from drowning. George seeks out Mary, who in the alternate timeline is a spinster who works at the library, and claims he is her husband. She screams for the police. George flees and the local policeman, Bert, gives chase. Convinced that Clarence really is his guardian angel, George runs to the bridge and begs for his life back. The alternate timeline changes back to the original reality. George, now grateful for the life that he has, rushes home to await his arrest. Mary and Uncle Billy arrive, having rallied the townspeople, who stream in and donate more than enough to cover the missing $8,000; the sheriff rips up George's arrest warrant. Harry arrives and toasts George as "the richest man in town." A bell on the Christmas tree rings, and the youngest daughter, Zuzu, says that the sound means that an angel has just earned his wings, signifying Clarence's promotion. George, his family and friends join in singing "Auld Lang Syne". |
The A-Team_2010 | tt0429493 | <script>
<scene>
<character>-THE A-TEAM</character>
<dialogue>by</dialogue>
<scene_description>Lawrence Konner & Mark Rosenthal</scene_description>
<character>-</character>
<dialogue>current Revisions</dialogue>
<scene_description>By Michael Brandt and Derek Haas TWENTIETHCENTURYFOX O~tober 31, 2007 FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT - NIGHT</stage_direction>
<scene_description>The CAMERAFLIES in over miles and miles of arid desert, nothing to interrupt the landscape except the occasional scrub brush or canyon ... until it finds ... ... about a HUNDREDTENTS AND CANOPIES, some of them quite large, squatting in the middle of nowhere. • CARD: Iraqi/ Kuwaiti Border, March 19, 2003 The CAMERAKEEPS FLYING until it homes in on a ...</scene_description>
</scene>
<scene>
<stage_direction>INT. REC TENT - NIGHT</stage_direction>
<scene_description>... pushing through it to find ... ... what'.s basically an open, town hall-type gathering area. One soldier is holding court with a group of BRITISH OFFICERS. He is a damned good-looking man, LIEUTENANT TEMPLETON "FACE" PECK.</scene_description>
<character>FACE</character>
<dialogue>... two or three years ago. I was in Scotland outside of Glasgow at this bar called the Ivory Tick ...</dialogue>
<character>BRITISH OFFICER</character>
<dialogue>I was just in Glasgow and I've never heard of it.</dialogue>
<character>FACE</character>
<dialogue>Right, well, I'm getting to that ... the place was owned by this old Scottish prizefighter, Kenneth "The Haymaker" McHaymond. He was known for having a hell of a knock-out punch and he's kind of a surly guy and I was out minding my own business with some other Gis and he tells me that he hate.s us Yanks and we</dialogue>
<character>FACE</character>
<dialogue>Anyway, me being the proud American I am, I tell him where he can take his pint of</dialogue>
<dialogue>Newcastle and stuff it.</dialogue>
<scene_description>The Brits laugh again, enthralled.</scene_description>
<dialogue>FACE</dialogue>
<scene_description>So this big bastard tells me he's gonna knock me out with one punch. "One</scene_description>
<dialogue>punch?" I say, and he says ''That's right,</dialogue>
<dialogue>·one punch." Well I always recognize a</dialogue>
<dialogue>bet when I see one so I say to him, "Why don't you put your money where your mouth</dialogue>
<dialogue>is? I own the armed forces lightweight</dialogue>
<dialogue>title and one thing I know this handsome</dialogue>
<dialogue>face can do is take a punch. So if you</dialogue>
<dialogue>knock me out with one punch I'll pay you five-hundred dollars."</dialogue>
<scene_description>The two Brits snicker.</scene_description>
<character>BRITISH OFFICER</character>
<dialogue>And what'd Mr. Haymaker wager in return</dialogue>
<dialogue>if you withstood his punch?</dialogue>
<character>FACE</character>
<dialogue>Why do you think the pub is now named</dialogue>
<dialogue>"Templeton Peck's?"</dialogue>
<scene_description>They all look at the nameplate on his uniform: Lt. Templeton Peck ... and then start laughing.</scene_description>
<dialogue>FACE (CONT'D) .</dialogue>
<scene_description>That's a true story.</scene_description>
<dialogue>BRITISH OFFICER</dialogue>
<parenthetical>(to his mates)</parenthetical>
<dialogue>There is a Peck's pub there I think ...</dialogue>
<scene_description>Just then, an American Colonel, JOHN "HANNIBAL" SMITH, staggers up to them, a little drunk ...</scene_description>
<dialogue>HANNIBAL</dialogue>
<character>HANNIBAL</character>
<dialogue>still outrank you and ... you should know ... you are full of shit. That's an order.</dialogue>
<character>FACE</character>
<dialogue>Ohhhh-kay ... What say you go sleep it</dialogue>
<scene_description>. off? We're just having a friendly get-to- know-your-allies discussion here. Hannibal holds up a finger.</scene_description>
<character>HANNIBAL</character>
<dialogue>I guarantee I can knock you out with one punch.</dialogue>
<scene_description>Face sizes him up.</scene_description>
<character>FACE</character>
<dialogue>Thanks ... but I don't think you've got a pub to name after me, so ...</dialogue>
<character>HANNIBAL</character>
<dialogue>I'll bet you a thousand bucks. I can knock you out with either hand.</dialogue>
<character>FACE</character>
<dialogue>Come on, now. You've obviously ...</dialogue>
<scene_description>The British officer interrupts.</scene_description>
<character>BRITISH OFFICER</character>
<dialogue>I'll take that bet.</dialogue>
<scene_description>Hannibal spins toward the officer ...</scene_description>
<character>HANNIBAL</character>
<dialogue>You're on.</dialogue>
<character>BRITISH OFFICER</character>
<dialogue>Pounds.</dialogue>
<character>HANNIBAL</character>
<dialogue>Fine with me.</dialogue>
<scene_description>Face takes off his jacket, while Hannibal and the Brit</scene_description>
<character>FACE</character>
<dialogue>Do you mind hitting my right side? My left's kinda my calling card. It'd be like punc~ing a Renoir.</dialogue>
<character>HANNIBAL</character>
<dialogue>Whatever.</dialogue>
<scene_description>Hannibal shifts his stance to favor his left hand. Everyone waits •.. tension building in the room ... quite a .crowd is drawn. Face gets himself pumped, ready for it... for just a moment, we're not sure Hannibal's going to be able to steady himself enough to even throw one. Then suddenly, the colonel launches a hayrnaker that starts from around his belt area ... WHAMMM! QUICK SHOTS: Face drops. Hannibal scoops up the money. Walks out of the tent. The British officers just look after him, defeated, and we... DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARRACKS - NIGHT</stage_direction>
<scene_description>Face walks down a row of barracks with an ice pack to his right jaw. A STRUCK MATCH gets him to wheel ... and just then, we see Hannibal lighting up a cigar. Face smiles.</scene_description>
<character>HANNIBAL</character>
<dialogue>You know what they say, Face?</dialogue>
<character>FACE</character>
<dialogue>What's that Hannibal?</dialogue>
<character>HANNIBAL</character>
<dialogue>A Limey officer and his pounds are soon parted ...</dialogue>
<scene_description>WHAMMM! The British officer they grifted steps out of nowhere to deck him with a right cross, sending his cigar flying! One of his sidekicks\_ is right there with him ...</scene_description>
<character>BRITISH OFFICER</character>
<dialogue>(raging)</dialogue>
<scene_description>You dirty cheating American bastards ... Face doesn't wait for more, he dives at the second British officer, a snarl on his mug ... ... as Hannibal whips his leg around and knocks the first officer to the ground ... he straddles the guy\_ and WHAM! WHAM!pounds him in the face ... ... just then, a LIEUTENANTsprints up, pointing at a television that is visible through a canopy. . .</scene_description>
<character>LIEUTENANT</character>
<dialogue>It's starting! It's starting!</dialogue>
<scene_description>He points at the TV and CNN is showing images of Baghdad being pounded by missiles. Face and Hannibal look up at the TV from where they are both straddling the two brits, fists cocked. Someone turns up the volume on the television ...</scene_description>
<character>CNN REPORTER</character>
<dialogue>They are calling it "Shock and Awe" as Baghdad is being bombarded ...</dialogue>
<character>HANNIBAL</character>
<dialogue>I like that. Shock and ...</dialogue>
<scene_description>WHAM!!! He pounds the British officer one more time in the face ...</scene_description>
<character>BRITISH OFFICER</character>
<parenthetical>(groans)</parenthetical>
<dialogue>Awwwww!</dialogue>
<scene_description>And we FREEZE FRAMEon the guy's face as it gets knocked sideways ... DESERT: Hard-pack sand. Bleak, scorched. A BLACK SHAPE on the HORIZON turns out to be a ... U.S. ARMY HUMVEE, Kicking up DUST. Driven by a BRIGADE MESSENGER, matching his GPS MAP to TIRE TRACKS, scratched in the earth. • CARD: OPERATION IRAQI FREEDOM. SOMEWHERE</scene_description>
<character>SOUTH OF BAGHDAD</character>
<dialogue>The HUMVEE just stops. Precise middle of nowhere. The MESSENGER jumps out. Checks GPS again.</dialogue>
<character>COMPANYMESSENGER</character>
<parenthetical>(tentative)</parenthetical>
<dialogue>Colonel Smith?</dialogue>
<scene_description>Silence, except for wind. Now he cups his mouth.</scene_description>
<character>COMPANYMESSENGER</character>
<parenthetical>(shouts)</parenthetical>
<scene_description>COLONEL SMITH.: PUNCH WIDE. RISING OUT of SAND. A hundred American SPECIAL FORCES. From their most perfect hiding places. Full desert camouflage. FACES striped with grease. Hannibal strides over till he's in the Messenger's face. Whites of his eyes WIDE behind face paint.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(soft, tense)</parenthetical>
<dialogue>Kinda loud, corporal.</dialogue>
<character>BRIGADE MESSENGER</character>
<dialogue>General Garner is sending a Chinook for you, sir.</dialogue>
<scene_description>Hannibal squints.</scene_description>
<character>GEN. GARNER</character>
<parenthetical>(VIDEO STREAM)</parenthetical>
<dialogue>We're getting creamed with chatter about looting when we take Baghdad.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(wary)</parenthetical>
<dialogue>Okay ...</dialogue>
</scene>
<scene>
<stage_direction>INTERCUT: INT. FORWARDOPERATING BASE (FOB) 'THUNDER'</stage_direction>
<scene_description>Hundreds of ANALYSTS watching dozens of live MONITORS. Showing the assault on BAGHDAD-from myriad locations. CARD: ARMY TACTICAL MONITORINGCENTER (TMC) DIRECTOR OF OPERATIONS, GEN. GARNER stands by a MONITOR where HANNIBAL STREAMS LIVE.</scene_description>
<character>GEN. GARNER</character>
<dialogue>I'm gonna need you to secure the Iraqi National Museum. When you've established a safe perimeter, private contractors will bring in a heavy-lift chopper to take the artifacts to a protected location.</dialogue>
<scene_description>Hannibal's eyes ice the screen.</scene_description>
<character>HANNIBAL</character>
<dialogue>This war's barely started. First I had to put up with the Red Coats and now you're giving me private contractors ...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Sir ...</dialogue>
<character>GEN. GARNER</character>
<dialogue>Get used to it. This is a diplomatic mission. 'Operation Friends of Liberty.'</dialogue>
<character>HANNIBAL</character>
<dialogue>No offense, but I'd rather go back to securing oil fields in Basra.</dialogue>
<character>GEN. GARNER</character>
<dialogue>How'd that work out?</dialogue>
<character>HANNIBAL</character>
<dialogue>She divorced me six years ago.</dialogue>
<character>GEN. GARNER</character>
<dialogue>Smart woman. I pulled a team of Rangers for you. And one brilliant kid from motor pool ...</dialogue>
<character>HANNIBAL</character>
<dialogue>An oxymoron if I've ever heard one.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. CH-4 CHINOOK - OVER BAGHDAD- LATER</stage_direction>
<scene_description>At 30,000 feet. Hannibal joins his team as they put on HALO (HIGH ALTITUDE/LOW OPENING) equipment. HELMETS, OXYGENtanks. Insulated SUITS. Heavy-duty PARACHUTES. Hannibal is intercepted by SGT. B.A. BARACAS (22). Steel frame. Two-percent body fat.</scene_description>
<character>B.A.</character>
<dialogue>I'm the oxymoron, sir.</dialogue>
<character>HANNIBAL</character>
<dialogue>Welcome to the team, Sergeant.</dialogue>
<scene_description>A violent SHAKE. Fierce GRINDING OF ENGINES. CHOPPER dips. Face is nearby. He watches B.A .. shudder nervously as the chopper steadies itself again. Then he looks down at B.A.'s hand ... the man is pumping a tennis ball, almost squeezing the air right out of it. Like he's channeling his tension into the ball.</scene_description>
<character>FACE</character>
<dialogue>Afraid of jumping, sarge?</dialogue>
<scene_description>B.A. turns his death stare on to Face:</scene_description>
<character>HANNIBAL</character>
<dialogue>This is a High Altitude, Low Opening jump.</dialogue>
<scene_description>B.A. doesn't look out the door, but the tennis ball squeezing becomes even quicker. Hannibal measures him.</scene_description>
<character>HANNIBAL</character>
<dialogue>You will not deploy till you pass through the enemy radar zone at two thousand feet so set your auto/open in case you lose consciousness. We will assemble below and move to the target. Go on green.</dialogue>
<scene_description>HANNIBAL waits for a DOUBLE,GREEN LCD LIGHT. Signals. Face is the first in.the window.</scene_description>
<character>FACE</character>
<parenthetical>(to B.A.)</parenthetical>
<dialogue>See you in thirty-thousand feet, Sergeant.</dialogue>
<scene_description>WIDEN. Face leaps out the hold door, followed by a dozen RANGERS. In ten seconds, only Hannibal and B.A. are left. B.A. is frozen, pumping that ball.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(clips onto B.A.)</parenthetical>
<dialogue>I'll piggy-back you down.</dialogue>
<scene_description>Finally, B.A. shakes his head, defeated.</scene_description>
<character>B.A.</character>
<dialogue>I can't.</dialogue>
<character>HANNIBAL</character>
<dialogue>Alright, sergeant, you stay behind.</dialogue>
<scene_description>B.A. relaxes, stops squeezing that ball, while Hannibal UNCLIPS. Turns away. Hannibal suddenly wraps his arms in a vice grip around B.A. and LEAPS FROM THE HOLD carrying B.A. OUT... SCREEN GOES BLACK. FADE IN AGAIN - CLOSE ON B;A., Eyes OPEN, FOCUS on a diminutive MAN with a gray goatee.</scene_description>
</scene>
<scene>
<stage_direction>REVEAL: EXT. IRAQ NATIONAL MUSEUM- PLAZA - DAY</stage_direction>
<scene_description>Staring down at B.A. is DR. FOUAD AL-MAHDI, the museum director, proud, refined. B.A. is on a field litter. Atop the museum STEPS ... B.A. jumps to his feet. HANNIBAL shouts orders as RANGERS drag their chutes into the Plaza.</scene_description>
<character>HANNIBAL</character>
<dialogue>Double up on the perimeter. Watch the roof tops. Face, put a team on the North side.</dialogue>
<parenthetical>(seeing B.A. up)</parenthetical>
<dialogue>Welcome back, sergeant Baracas. Ready to work?</dialogue>
<scene_description>B.A. growls as Hannibal hands him an M-16 and spots a beat- up CONTAINER (the trailer half of an 18 WHEELER) with Arabic graffiti being loaded with ARTIFACTS by MUSEUM STAFF. The CAB sits withsome other rusty old RIGS. Hannibal's Rangers take positions around the museum. Al- Mahdi looks openly disappointed.</scene_description>
<character>DR. AL-MAHDI</character>
<dialogue>Is this ... all of you?</dialogue>
<character>HANNIBAL</character>
<dialogue>This is enough.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>We cannot fit everyt~ing into one container.</dialogue>
<character>HANNIBAL</character>
<dialogue>CLOSER. Sleek hunter green body ARMOR, stitched LOGOS, like Polo shirts.</dialogue>
<dialogue>EX-SPECIAL FORCES MAJOR EDDIE PIKE (38), compact but bulked up, greets Hannibal like it's a backyard barbecue.</dialogue>
<character>PIKE</character>
<dialogue>Major Eddie Pike,' Green Lake Security.</dialogue>
<character>HANNIBAL</character>
<dialogue>You sure you're still a major, Eddie?</dialogue>
<scene_description>Pike grins, used to the attitude.</scene_description>
<character>PIKE</character>
<dialogue>Don't underestimate us, Colonel. My boys and me were all Special Forces with combat experience.</dialogue>
<character>HANNIBAL</character>
<dialogue>Who now charge ten grand an hour.</dialogue>
<scene_description>Pike's smile seems to widen, if possible.</scene_description>
<character>PIKE</character>
<dialogue>Opportunity is what separates America from this shitbox.</dialogue>
<parenthetical>(flicks Hannibal's SPECIAL FOR~ES PIN)</parenthetical>
<dialogue>And Green Lake knows how to treat a warrior.</dialogue>
<character>HANNIBAL</character>
<dialogue>Uh-huh.</dialogue>
<character>PIKE</character>
<dialogue>Don't tell me you haven't thought about what's next out there ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Oh, I've thought about civilian life.</dialogue>
<character>PIKE</character>
<dialogue>What's stopping you?</dialogue>
<scene_description>INSIDE THE MAIN GALLERY:</scene_description>
</scene>
<scene>
<stage_direction>.. and over to where Al Mahdi is gingerly lifting the case surrounding an exquisite VASE, sparkling like a star.</stage_direction>
<character>DR. AL-MAHDI</character>
<dialogue>I'm afraid to move it. Afraid not to. It's more than five thousand years old.</dialogue>
<character>HANNIBAL</character>
<dialogue>It's from Ur, the Babylonian city.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>You know art history, colonel?</dialogue>
<character>HANNIBAL</character>
<dialogue>I took a class.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>Cast by Nebuchadnezzar for the Hanging Gardens of Babylon. Taken from Darius by Alexander the Great. The boy-king's ashes were hidden inside. The Prophet himself said one day the tears of the wretched would fill the golden vase, and peace would settle on the land.</dialogue>
<character>HANNIBAL</character>
<dialogue>That's a big story for a small vase.</dialogue>
<scene_description>Al-Mahdi smiles.</scene_description>
<character>DR. AL-MAHDI</character>
<dialogue>We Iraqi's love stories.</dialogue>
<character>HANNIBAL</character>
<dialogue>I'll put it on myself.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>This is only a display copy.</dialogue>
<scene_description>He points to a small tin SEAL at the bottom.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(to Al-Mahdi)</parenthetical>
<dialogue>Grab whatever you can. We're moving out.</dialogue>
<scene_description>FOLLOW HANNIBAL, sprinting outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NATIONAL MUSEUM- FRONT STEPS (CONTINUOUS)</stage_direction>
<scene_description>Hannibal meets Green Lake men running IN as he goes OUT. They've dropped everything by the container: statuary, rugs, stone tablets. Hannibal screams to B.A.</scene_description>
<character>HANNIBAL</character>
<dialogue>You spot the enemy, sergeant?</dialogue>
<character>B.A.</character>
<dialogue>Negative, sir.</dialogue>
<scene_description>The same piercing WHISTLE, times three. MORTARS hit the PLAZA. BAM! BAM! BAM! CLOSER. An EXPLOSION rocks the CHINOOK. Its LOADING HOLD shredded.</scene_description>
<character>HANNIBAL</character>
<dialogue>Fall back.</dialogue>
<scene_description>RANGERS, including Face, sprint past Hannibal, waiting by the museum's stone pillars till everyone is in. PIKE joins Hannibal.</scene_description>
<character>GEN. GARNER</character>
<parenthetical>(over two-way)</parenthetical>
<dialogue>Air-Recon's got hostiles headed your way. And lots of them.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>I feel them, but I can't see them.</dialogue>
<character>PIKE</character>
<dialogue>We need to get that chopper out of here fast or we·' 11 be stuck.</dialogue>
<scene_description>INTERCUT: FOB 'THUNDER' - TMC - LIVE MONITOR LIVE VIDEO STREAM of the attack. Garner is Hannibal's mentor. Close as a father.</scene_description>
<character>GEN. GARNER</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Some things are worth dying for. 'Art' ain't one of 'em. Your mission is terminated. Get the hell out of there.</dialogue>
<scene_description>PIKE, anxious, agrees whole-heartedly.</scene_description>
<character>PIKE</character>
<dialogue>There's nothing in our contract about suicide runs.</dialogue>
<character>HANNIBAL</character>
<dialogue>There's nothing in mine about dealing with assholes, but here we are.</dialogue>
<scene_description>Automatic WEAPONS FIRE strafes the museum STEPS, forcing them back inside ...</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUSEUM- MOMENTSLATER</stage_direction>
<scene_description>RANGERS lay down FIRE as the MUSEUMSTAFF rushes onto the CHINOOK. Blades spinning. Hannibal spots Al-Mahdi wit.h Face hanging back on the steps.</scene_description>
<character>HANNIBAL</character>
<dialogue>What the hell are you doing here?</dialogue>
<character>FACE</character>
<dialogue>Trying to convince DaVinci here he needs to get out while he still can ...</dialogue>
<character>DR. AL-MAHDI</character>
<parenthetical>(desperate)</parenthetical>
<dialogue>If I leave our heritage to the</dialogue>
<character>FACE</character>
<dialogue>Would you want to be responsible for disfiguring this face?</dialogue>
<scene_description>The curator doesn't know how to respond.</scene_description>
<character>HANNIBAL</character>
<dialogue>I didn't think so ...</dialogue>
<scene_description>He grabs Al-Mahdi under the elbow and leads him to the CHINOOK. Pike is just about to close the door.</scene_description>
<character>HANNIBAL</character>
<dialogue>We got one more.</dialogue>
<character>PIKE</character>
<dialogue>Sorry, we're full up ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Then you'll have to ride it out on the ground like the rest ...</dialogue>
<character>PIKE</character>
<parenthetical>(cuts him off)</parenthetical>
<dialogue>Have a nice life, Colonel.</dialogue>
<scene_description>Pike turns to call out ...</scene_description>
<character>PIKE</character>
<dialogue>Take her up, Andy!</dialogue>
<scene_description>... but Hannibal yanks him by the ankles where he falls right out of the chopper with a THUD... Another MORTARROUND explodes nearby and the GREEN LAKE CHOPPER takes off without them ...</scene_description>
<character>PIKE</character>
<dialogue>Are you out of your fucking mind? How am I gonna get out .now?</dialogue>
<character>HANNIBAL</character>
<dialogue>HANNIBAL</dialogue>
<scene_description>Get the doctor out of here. We'll take the artifacts ...</scene_description>
<character>PIKE</character>
<dialogue>This is insane.</dialogue>
<character>HANNIBAL.</character>
<dialogue>Insane is that ten grand an hour you charge.</dialogue>
<scene_description>Dr. Al-Mahdi looks at Hannibal as he closes the door on him, desperate ...</scene_description>
<character>DR. AL-MAHDI</character>
<dialogue>Iraq's soul is in your hands.</dialogue>
<scene_description>Pike doesn't wait, drives OFF. Hannibal hurries back to his rig ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Jesus Christ ...</dialogue>
<scene_description>He starts to move around to the driver's side but B.A. is standing there.</scene_description>
<character>B.A.</character>
<dialogue>I'll drive.</dialogue>
<character>HANNIBAL</character>
<dialogue>You know how to handle a wheel?</dialogue>
<character>B.A.</character>
<dialogue>If she's got an engine and can't defy gravity, I can handle her.</dialogue>
<character>HANNIBAL</character>
<dialogue>All right then.</dialogue>
<scene_description>He slides in next to Face as B.A. takes the wheel. MOVING WITH THE 18 WHEELER (60 MPH), Pike takes a corner sharply. B.A. barely makes it. The TRAILER slams into a BUILDING. Mortar, block SHATTERS. Pike takes a second, 90 degree TURN. B.A. pulls the wheel hard. The TRUCK almost flips through the turn. . . A much . LARGER EXPLOSION greets them . A FIREBALL engulfs Pike's cab. Lost in BLACK SMOKE. When the SMOKE clears, Hannibal can't see them.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(into two...:way)</parenthetical>
<dialogue>Green Lake One, come in. Over?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Radio's dead.</dialogue>
<scene_description>PAN RIGHT as HANNIBAL'S WINDOWblows OUT. Hannibal ducks just in time, his HELMET showered by SHARDS. B.A. keeps plowing ahead.</scene_description>
<character>B.A.</character>
<dialogue>Where are we headed?</dialogue>
<scene_description>Hannibal taps the GPS SCREEN. SHATTERED.</scene_description>
<character>HANNIBAL</character>
<dialogue>Find a highway south ... this city's about to be invaded.</dialogue>
<scene_description>STREET OPENS into a MARKET... the RIG rams through deserted STALLS, splintering WOOD... HEAVY FIRE seems to come from everywhere ... They CLEAR the MARKET and find themselve.s headed straight for an OLD WOODENBRIDGE, over a murky SLOUGH.</scene_description>
<character>FACE</character>
<dialogue>Hit the black top on the other side of the bridge.</dialogue>
<character>B.A.</character>
<dialogue>I'm too wide.</dialogue>
<scene_description>CRANE UP. The RIG veers onto a deserted TWO-LANE BLACKTOP. Huge SIGN in ARABIC with SADDAM's smiling FACE.</scene_description>
<character>B.A.</character>
<dialogue>What's that sign say?.</dialogue>
<character>HANNIBAL</character>
<dialogue>"Leaving Baghdad" I hope.</dialogue>
<scene_description>SLOW DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY- SOMEWHEREWEST OF BAGHDAD- DAWN</stage_direction>
<scene_description>The 18 WHEELER limps into a US CHECKPOINT on six good tires. Eviscerated like a whale's carcass on the beach. IN THE CAB. Hannibal, Face, and B.A., fried. Coated in dust. No water. A bevy of Army vehicles and tanks have taken over the road. Troops swarm over to the truck as our trio climb down. Some of the troops snap salutes to the tired men. Soon, a MEDICAL EVAC CHOPPER touches down. GENERAL GARNER leaps out and hurries to our guys.</scene_description>
<character>GEN. GARNER</character>
<dialogue>You gave me a scare.</dialogue>
<character>HANNIBAL</character>
<dialogue>Did we miss the war?</dialogue>
<character>GEN. GARNER</character>
<dialogue>Just the</dialogue>
<scene_description>fall of Baghdad. (then) The museum was looted. Every damn stone of it.</scene_description>
<character>HANNIBAL</character>
<dialogue>They didn't get the good stuff.</dialogue>
<scene_description>General Garner follows B.A., Face, and Hannibal to the BACK OF THE RIG. B.A. throws OPEN the doors ... A 100 POUND SACK</scene_description>
<character>HANNIBAL</character>
<dialogue>In the truck. Where we put it.</dialogue>
</scene>
<scene>
<stage_direction>WIDEN. EXT. MILITARY TRIBUNAL - CAMP DOHA, KUWAIT CITY</stage_direction>
<scene_description>U.S. CENTRAL COMMAND,KUWAIT. B.A. faces a JUDGE ADVOCATE (MAJOR) while THREE MILITARY JUDGES look on. yUDGE ADVOCATE You're telling the court it disappeared?</scene_description>
<character>HANNIBAL</character>
<dialogue>Things don't just disappear.</dialogue>
<character>JUDGE ADVOCATE</character>
<dialogue>You did.</dialogue>
<scene_description>PAN THE COURT, crowded. B.A. and FACE, up front. GENERAL GARNER, directly behind them. Hannibal looks an OFFICER, intently making NOTES on a CLIPBOARD. CID CAPTAIN THOMASV. LYNCH (32) tightens his square jaw as he writes. Crew cut, pug nose betray working class Irish roots. Next to Lynch is his put-upon assistant, LIEUTENANT ANGEL SOSA, 23, Latina, stunning dark eyes. BRIEFCASE bulging with FILES.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>You disappeared for twenty-four hours. Luckily, you were stopped trying to cross the Syrian border.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I would like to show the court live video feed from the attack on the museum.</dialogue>
<scene_description>LIGHTS OFF. ROOM goes DARK. VIDEO FILLS A COURTROOMSCREEN. Edited for effect. Artifacts loaded on the RIG ... Incoming MORTAR rounds ..• CHINOOK evacuating the staff ... HANNIBAL locking the rig's doors ... The rig driving away.</scene_description>
<character>HANNIBAL</character>
<dialogue>As a soldier, you learn the same lesson over and over. Nothing ever comes together the way you plan it.</dialogue>
<scene_description>The Judge Advocate walks back. Stops. Turns.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>One last question. Isn't it true you majored in art history?</dialogue>
<scene_description>Hannibal just stares at the guy, his face going hot. LATER: B.A. sits on the stand.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>Sgt. Bosco Arnold Baracas was offered leniency to testify against Colonel Smith. He refused.</dialogue>
<parenthetical>(a dramatic beat)</parenthetical>
<dialogue>Now I offer it one last time. Tell us what Colonel Smith did with the artifacts, and you can avoid prison.</dialogue>
<scene_description>B.A. locks eres with the Advocate.</scene_description>
<character>B.A.</character>
<dialogue>You want me to lie to save my ass. That's old army, sir. I'm new army. Army of one.</dialogue>
<scene_description>Hannibal smiles.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>Suit yourself. Not everyone is as stubborn or as stupid as you.</dialogue>
<scene_description>The Judge Advocate's eyes move to Face, who looks down, shamed. LATER: Face is on the stand, looking squeamish. He won't make eye contact with Hannibal or B.A.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>Face nods, like he's troubled ... but then he sets his jaw, like he' s going to do what's right. He locks eyes with Hannibal...</dialogue>
<character>FACE</character>
<dialogue>I can't lie for you anymore, Colonel...</dialogue>
<scene_description>Hannibal stands up...</scene_description>
<character>HANNIBAL</character>
<dialogue>You goddam Benedict Arnold...</dialogue>
<scene_description>The JUDGE is banging the gavel, trying to get control of these proceedings.</scene_description>
<character>CHIEF JUDGE</character>
<dialogue>That's enough!</dialogue>
<character>FACE</character>
<dialogue>(still to Hannibal)</dialogue>
<scene_description>Just tell 'em where you buried the art. Hannibal sits down, stunned, realizing he's been played.</scene_description>
<character>JUDGE ADVOCATE</character>
<dialogue>No further questions.</dialogue>
<scene_description>Face stands up and starts to be led away, close to the table holding the defendants... Suddenly, Hannibal launches for Face, even cuffed... B.A. does the same, fighting through the MPs who are trying to restrain him... It's a melee in the cozy confines of the courtroom ••• as Hannibal knocks Face to the ground...</scene_description>
<character>FACE</character>
<dialogue>Get 'em off me!</dialogue>
<scene_description>Finally, the MPs get Hannibal and B.A. restrained. Face gets up, breathing hard: turns and gives Face one last death stare. Lynch watches the whole time, making notes.</scene_description>
</scene>
<scene>
<stage_direction>INT. MILITARY TRIBUNAL - LATER</stage_direction>
<scene_description>HANNIBAL and B.A. stand in front of the judge, Face conspicuously missing now.</scene_description>
<dialogue>CHIEF JUDGE</dialogue>
<scene_description>On the twenty-six felony counts, the court finds you guilty as charged. You will serve two years on each count to run consecutively. BANG, gavel down. CAPTAIN LYNCH is suddenly standing right in front of Hannibal.</scene_description>
<character>HANNIBAL</character>
<dialogue>We were railroaded. And woulda been found guilty even without Peck's testimony.</dialogue>
<character>LYNCH</character>
<dialogue>You were given a fair trial.</dialogue>
<scene_description>He reaches out. Takes OFF Hannibal's SPECIAL FORCES PIN. An insult, and a humiliation.</scene_description>
<character>HANNIBAL</character>
<dialogue>I'll be corning for that.</dialogue>
<character>LYNCH</character>
<dialogue>Somehow I don't think you will.</dialogue>
<scene_description>Hannibal just stares at him while he is led away. SLOW DISSOLVE: STEEL GRATE OVER A DIRTY WINDOW, INTO FRAME: HANNIBAL, peeking outside.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON - COURTYARD- DAY</stage_direction>
<scene_description>BUS doors OPEN. B.A. steps down first. HANNIBAL behind him, his hands manacled and legs chained. LIEUTENANT SOSA is waiting for them with an ARMEDMP escort.</scene_description>
<character>HANNIBAL</character>
<dialogue>Point the way, Sergeant.</dialogue>
<character>SOSA</character>
<dialogue>The prisoner will remain silent while being processed.</dialogue>
<character>B.A.</character>
<dialogue>You're addressing a colonel in the United States Special Forces.</dialogue>
<character>SOSA</character>
<dialogue>I'm addressing prisoner number 709821.</dialogue>
</scene>
<scene>
<stage_direction>INT. 'C' DORMITORY- HANNIBAL'S CELL - DAY</stage_direction>
<scene_description>6 x 10 cinder block. Vertical WINDOW. Steel TOILET. Hannibal arranges a few BOOKS, MAGAZINES. Sits on his cot with a NEWSPAPER, as the DOOR OPENS. An MP GUARD shouts.</scene_description>
<character>MP GUARD</character>
<dialogue>Attention.</dialogue>
<scene_description>Hannibal stands easily. CAPTAIN LYNCH strides in, plants his feet. Same CLIPBOARD we saw at the trial.</scene_description>
<character>LYNCH</character>
<dialogue>The prisoner's reading privileges have been rescinded.</dialogue>
<scene_description>He snatches the newspaper from Hannibal's hands.</scene_description>
<character>LYNCH</character>
<dialogue>Ditto all mail privileges. You will be limited to a single, half hour yard break. Visits to the library, weight</dialogue>
<character>LYNCH</character>
<dialogue>Maybe I'm an art lover. Maybe I get squeamish at the thought of priceless artifacts buried somewhere in the Iraqi desert, stolen for personal profit by a traitor to his uniform. Maybe I get a little piqued at every news channel and paper back home calling the army I love and respect and have dedicated my life to a bunch of incompetent, amoral idiots for allowing the Iraqi National Museum to get looted. Or maybe I just don't like you.</dialogue>
<character>HANNIBAL</character>
<dialogue>That's a lot of maybes.</dialogue>
<scene_description>Long beat.</scene_description>
<character>LYNCH</character>
<dialogue>Enjoy your day, prisoner.</dialogue>
<scene_description>He turns and leaves. Hannibal gets up and moves to the door ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Can I at least have a cigar ...</dialogue>
<scene_description>But all he gets is HEELS CLICKING down the hallway.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON CAFETERIA.- DAWN</stage_direction>
<scene_description>HANN.IBAL slides along the COUNTER with his tray. Watches a KITCHEN WORKER spoon gray OATMEALinto a bowl.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(looks at bowl)</parenthetical>
<dialogue>Okay, I give up. What is it?</dialogue>
<scene_description>FOLLOW HANNIBAL (TIGHT SHOT), Jogging with other PRISONERS around the YARD. Drenched in</scene_description>
<character>LYNCH</character>
<dialogue>Eventually, he'll tell us what we need to know for the puff of one cigar.</dialogue>
<scene_description>Sosa looks over at B.A. in another section· of the yard.</scene_description>
<character>SOSA</character>
<dialogue>What about the sergeant?</dialogue>
<character>LYNCH</character>
<dialogue>He -doesn't know dick. Let him rot.</dialogue>
<character>SOSA</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Lynch looks over at Sosa ...</scene_description>
<character>LYNCH</character>
<dialogue>By the way ... I sent your reference out to General Tasker. I let him know I am considering giving you advanced responsibility on this.</dialogue>
<scene_description>She lowers the binocs.</scene_description>
<character>SOSA</character>
<dialogue>I appreciate that, sir.</dialogue>
<scene_description>... and we ... MOVE DOWNTO PRISON YARD (CONTINUOUS) HANNIBAL finds B.A. playing with a family of mangy FERAL CATS .. Hannibal squats, a huge TABBY brushes back and forth against his leg. Meows like he demands attention.</scene_description>
<character>HANNIBAL</character>
<dialogue>Where'd you come from tough guy?</dialogue>
<character>B.A.</character>
<dialogue>They move back and forth, from the prison, to the town. Seein' who'll feed them the most.</dialogue>
</scene>
<scene>
<stage_direction>INT. HANNIBAL'S CELL - NIGHT</stage_direction>
<scene_description>Hannibal sews a TORN SHIRT while Lynch finishes making notes in his clipboard.</scene_description>
<character>HANNIBAL</character>
<dialogue>If you're waiting for me to break, you might want to buy a recliner and settle l.n.</dialogue>
<character>LYNCH</character>
<dialogue>Tell us where you buried the art and I'll get you better food, transfer to a nicer base, better climate .. ;</dialogue>
<character>HANNIBAL</character>
<dialogue>I buried it in your mother's</dialogue>
<character>LYNCH</character>
<parenthetical>(cutting him off)</parenthetical>
<character>GUARD!</character>
<dialogue>The MP GUARD appears. Swipes a CELL CARD to open the LOCK.</dialogue>
<character>LYNCH</character>
<dialogue>Keep it up. It'll just make it all the more satisfying to watch you crack.</dialogue>
<scene_description>Lynch moves off. The MP GUARD LOCKS the cell again. Hannibal falls back on his cot. LIGHTS OFF. Beat ... Hannibal rolls OFF, by the wall. CLOSER. He pokes the wall with the NEEDLE. Plaster falls away. Hannibal feels it. Dry, brittle. Chips some more. Sweeps the mess into his pocket. Rolls back on his cot. The CAMERAMOVES DOWNTO ... B.A. 'S CELL:</scene_description>
</scene>
<scene>
<stage_direction>.. where it finds his cot empty. Empty because he's tied INTO POV: HANNIBAL finishes a run around the yard. Sits· with B.A. The FERAL TABBY jumps in his arms. He strokes it.</stage_direction>
</scene>
<scene>
<stage_direction>INT. PRISON - CORRIDOR - NIGHT</stage_direction>
<scene_description>LYNCH leaves Hannibal's cell as the LIGHTS GO OFF. Hannibal waits, rolls to the WALL. CLOSER. He scrapes congealed OATMEALfrom the WALL into a BOWL. Thick as putty, it conceals his HOLE. Hannibal wriggles through. INSIDE THE WALL. Hannibal moves between the WALL and the MECHANICALS. CLIMBS a steel LADDER. At the TOP, braces, kicks OUT a GALVANIZED EXHAUST. Wriggles OUTSIDE. ON A NARROWLEDGE. BELOW, a FLAT ROOF, another 25' drop to the ground. HANNIBAL looks across ... OVER PLAYING FIELDS ... to WOODSoutside the BASE ... Not that far. If you discount three WALLS OF RAZOR WIRE. He turns back. As he PULLS the EXHAUST into place, it SLIPS. FALLS TO THE ROOF BELOW. There's no retrieving it. CLOSE ON CAPTAIN LYNCH: Bright and fresh at 0500, walking with SOSA and the MP GUARD. They proceed round the corner to Hannibal's cell. PAN THE CELL. Empty ...</scene_description>
<character>LYNCH</character>
<parenthetical>(tight, to Sosa)</parenthetical>
<dialogue>Where is the prisoner?</dialogue>
<scene_description>SOSA stares at the MP GUARD, frozen in disbelief.</scene_description>
<character>SOSA</character>
<dialogue>Open the door.</dialogue>
<scene_description>He quickly swipes the LOCK with his KEY CARD. Pushes INSIDE. No sign of Hannibal. BETWEEN THE WALLS (CONTINUOUS) Lynch follows Sosa through. She shines a FLASHLIGHT. The BEAM catches the HOLE where the EXHAUST used to be ...</scene_description>
<character>SOSA</character>
<dialogue>Shit.</dialogue>
<character>LYNCH</character>
<parenthetical>(into two-way)</parenthetical>
<dialogue>We have a breach. Lock down the base. Get the dogs.</dialogue>
<character>CLOSE ON TWO GERMANSHEPHERDS,</character>
<dialogue>Straining at their leashes. Crazy with a new scent. Held</dialogue>
<scene_description>"back by TWO SPECIALISTS.</scene_description>
<character>WIDEN. EXT. PRISON - SECURITY GATE</character>
<dialogue>Lynch watches as the dogs bark at one of HANNIBAL's SHIRTS. Snapping at the perimeter. Sosa stands back.</dialogue>
<character>FIRST DOG SPECIALIST</character>
<dialogue>Got him.</dialogue>
<scene_description>Lynch looks PAST the PLAYING FIELDS ... to the WOODS outside the BASE ...</scene_description>
<character>LYNCH</character>
<dialogue>He made it out.</dialogue>
<parenthetical>(to Sosa)</parenthetical>
<dialogue>I want a full search team.</dialogue>
<character>SOSA</character>
<dialogue>Yes, sir.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Rubber bullets, sir?</dialogue>
<character>LYNCH</character>
<dialogue>The prisoner spent the last two decades</dialogue>
</scene>
<scene>
<stage_direction>INT. HANNIBAL'S CELL - SAME TIME</stage_direction>
<scene_description>Silent, then ... PUSH CLOSE ON THE COT. We HEAR a soft ripping sound from the MATTRESS. EVEN CLOSER. A HAND aooears. HANNIBAL digs out of the mattress. Falls to the floor, choking for air. Spits cotton fluff. CLOSE ON B .A.: Carrying a stack of SIX CINDER BLOCKS on his shoulder. WIDEN: PRISON CONSTRUCTION SITE - DAY Prisoner LABOR detail. Most men carry TWO BLOCKS. B.A. sets EIGHT BLOCKS by a fresh HOLE. Walks back to the TRUCK. They react as an ALARM sounds. Tug at B.A. 's leg. TILT DOWN. HANNIBAL, under the truck.</scene_description>
<character>HANNIBAL</character>
<dialogue>You ready to clear our names, sergeant?</dialogue>
<character>B.A.</character>
<dialogue>What took you so got-damn long?</dialogue>
</scene>
<scene>
<stage_direction>INT. PRISON GARAGE - DAY</stage_direction>
<scene_description>Hannibal and B.A. slip inside. Move along a ROW OF LIFTS, till they find a HUMVEEnot pulled apart. Hannibal drops it down. Looks inside. No key.</scene_description>
<character>HANNIBAL</character>
<dialogue>Can you jump this?</dialogue>
<scene_description>B.A. just looks at him like he's insulted.</scene_description>
<character>HANNIBAL</character>
<dialogue>Okay ... get her running ...</dialogue>
<scene_description>B.A. matches his stare ...</scene_description>
<character>B.A.</character>
<dialogue>I enlisted out of the blue. On my way to bust some guy's jaw, saw a picture of a black soldier in a store front window. Left South Central L.A. that day. Never even saw the ocean before. I trusted the spirit inside.</dialogue>
<character>HANNIBAL</character>
<dialogue>What's your spirit telling you now?</dialogue>
<scene_description>B.A. smiles.</scene_description>
<character>B.A.</character>
<dialogue>It's te·lling me to "drive."</dialogue>
<scene_description>WIDEN. B.A. takes off towards the METAL GARAGE DOOR. SUDDENLY, an MP, right IN FRONT of them. Beefy, armed. B.A. blows past him and the MP races to the EMERGENCY PANEL. Slaps it. The OVERHEADDOOR STARTS TO CLOSE... ALARM screaming.</scene_description>
<character>B.A.</character>
<dialogue>I don't have it.</dialogue>
<character>HANNIBAL</character>
<dialogue>Do not stop.</dialogue>
<scene_description>B.A. pushes the HUMVEE, The STEEL DOOR SLAMS into the roof, B.A.'s door pops, a metal strip SLICES his ARM. CRANE UP, as they speed onto the MAIN BASE ROAD. INTERCUT: FORREST-· MANNHEIM- SAME TIME Lynch and Sosa run up, gasping for air. The DOGS claw at a CAVE OPENING in a rock cliff. Covered in shrubs.</scene_description>
<character>LYNCH</character>
<parenthetical>(SHOUTS)</parenthetical>
<dialogue>CLOSER. A strip of Hannibal's SHIRT, tied around its girth. The dogs bark wildly. Sosa laughs suddenly.</dialogue>
<character>SOSA</character>
<dialogue>We followed the cat.</dialogue>
<scene_description>LYNCH, so pissed he can't speak.</scene_description>
<character>LYNCH</character>
<dialogue>Lock down the base.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PRISON BASE - IN THE HUMVEE (MOVING)</stage_direction>
<scene_description>Hannibal checks a large GASH in B.A.'s left arm. He's bleeding profusely.</scene_description>
<character>HANNIBAL</character>
<dialogue>How bad, sergeant?</dialogue>
<character>B.A.</character>
<dialogue>I can handle it.</dialogue>
<character>HANNIBAL</character>
<dialogue>You won't stay conscious long enough to 'handle it' .</dialogue>
<scene_description>Hannibal looks around. POV: Sees a squat, four story BUILDING with AMBULANCESparked alongside. A DOCTOR WEARING a WHITE LAB COAT is just about to climb in the back of one of the ambulances ... The Humvee roars to a stop and Hannibal jumps out ...</scene_description>
<character>HANNIBAL -</character>
<dialogue>Medic ... we need help.</dialogue>
<scene_description>The doctor turns to look at them as Hannibal gets B.A. down from behind the wheel.</scene_description>
<character>TALL DOCTOR</character>
<dialogue>Sorry, I'm grafting a gastroepiploic artery at 0800.</dialogue>
<character>B.A.</character>
<dialogue>What's that?</dialogue>
<character>TALL DOCTOR</character>
<dialogue>A sedative.</dialogue>
<character>B.A.</character>
<dialogue>Just stitch me.</dialogue>
<scene_description>B.A. offers his arm. The Doctor shrugs, pulls out a needle, quickly threads in some sutures ... and starts to sew up the arm ... B.A. doesn't even blink. Just then ... a LOUD SIREN makes them all jump.</scene_description>
<character>HANNIBAL</character>
<dialogue>Can you sew on the fly, doc?</dialogue>
<scene_description>He opens the door to the ambulance as ... ... B.A. climbs in back, followed by Hannibal. The doctor hops in behind them ...</scene_description>
<character>TALL DOCTOR</character>
<dialogue>I can sew .on a fly or a butterfly or a grasshopper or ... hey ... are you gonna turn the red lights on .. .</dialogue>
<character>HANNIBAL</character>
<parenthetical>(that was random)</parenthetical>
<dialogue>Excuse me?</dialogue>
<scene_description>Just then ...</scene_description>
<character>NURSE (FROM BEHIND)</character>
<dialogue>Captain Murdock?</dialogue>
<scene_description>A middle-aged NURSE carrying a BOX of powdered DONUTS gapes at the Tall Doctor up in the ambulance.</scene_description>
<character>MURDOCK</character>
<dialogue>Not now, Nurse Crotched. You know my office hours.</dialogue>
<character>NURSE</character>
<dialogue>Captain Murdock has been a guest in psychiatries for the last six months.</dialogue>
<character>MURDOCK</character>
<parenthetical>(laughs, too loud)</parenthetical>
<dialogue>Clever, nurse. Clever. I am an attending doctor of internal medicine at Johns Hopkins Medical College, wit~ a speciality in cardiovascular disease ...</dialogue>
<character>NURSE</character>
<dialogue>You are a diagnosed psychotic with bipolar mania and dissociated identity disorder.</dialogue>
<scene_description>TWO MP's are walking their way.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(checks B.A. 's stitches)</parenthetical>
<dialogue>I've seen field dressings and these aren't too bad.</dialogue>
<character>B.A.</character>
<dialogue>'Too bad' ain't good enough.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(to Nurse)</parenthetical>
<dialogue>He'll be back in time for his afternoon meds. Thank you, Nurse.</dialogue>
<scene_description>Hannibal heaves Murdock back in. But first Murdock snags the DONUTS. DOORS SLAM on the startled Nurse. The AMBULANCEpeels away. FOLLOWAMBULANCE(MOVING) Down a BLACK TOP ROAD. Hannibal turns from behind the wheel ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Keep stitching, Captain ...</dialogue>
<character>B.A.</character>
<dialogue>Your face is gonna be misspelled.</dialogue>
<scene_description>Hannibal pushes the ambulance ... 60, 70, 80 MPH...</scene_description>
<character>HANNIBAL</character>
<dialogue>Shit.</dialogue>
<scene_description>A LINE OF M.P. HUMVEES, appear from the opposite direction. Hannibal slumps down. POV: PASSING BY -- LYNCH and SOSA, in the lead HUMVEE. CLOSE ON SOSA. eyes lock on a driverless window. She leans out, looks back .. HANNIBAL pops up, checks his REARVIEW. Well past them. Relaxes. Till he sees the entire column of HUMVEES TURN AROUND.</scene_description>
<character>HANNIBAL</character>
<dialogue>We need to get off this base.</dialogue>
<scene_description>Hannibal veers down an EMPTY BLACK TOP, finds himself ... WIDEN. BASE AIRPORT UTILITY ROAD (CONTINUOUS) The airport is the size of a small city facility. JETS, PROPS, HELICOPTERS, HANGARS, RUNWAYS ... and lots of military personnel. Hannibal checks the REARVIEW again. MP HUMVEES closing the gap. He looks around ... Sitting alone, away from everything else, on the last, and longest, RUNWAY ... A massive C-130 HERCULES TRANSPORT CARGO PLANE. REAR LOADING BAY OPEN. THREE ABRAMS TANKS ready· for loading by GROUNDCREW.</scene_description>
<character>B.A.</character>
<parenthetical>(to Hannibal)</parenthetical>
<dialogue>You can't hijack a plane! There's too many ground crew.</dialogue>
</scene>
<scene>
<stage_direction>EXT. C-130 HERCULES (CONTINUOUS)</stage_direction>
<scene_description>GROUNDCREWMENstare out at the commotion in the distance. Spooked by the ALARM SIRENS. Startled as the AMBULANCE jolts to a stop right at the CARGO BAY. HANNIBAL, MURDOCKand B.A. leap out in HAZMAT SUITS. Weirds out the crew.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(filtered)</parenthetical>
<dialogue>What the hell are you still doing here? We have an anthrax situation on the base.</dialogue>
<scene_description>Murdock brushes by a CREW MAN. CLOSER. He dusts POWDER from a donut on his shoulder.</scene_description>
<character>MURDOCK</character>
<parenthetical>(SHOUTS)</parenthetical>
<dialogue>Sir, right here.</dialogue>
<scene_description>Hannibal runs over. The CREW MAN boggles. Hannibal pushes him into the ambulance.</scene_description>
<character>HANNIBAL</character>
<dialogue>Drive yourselves to the E.R. Stat. Everybody\_in. Now.</dialogue>
<scene_description>The CREW squeezes into the ambulance.</scene_description>
<character>HANNIBAL</character>
<dialogue>Your lives are on the clock. Go, go, go.</dialogue>
<scene_description>The AMBULANCEwheels off. They watch as the M.P. HUMVEE COLUMNveers away to follow. They strip off the HAZMAT suits. RUN UP the RAMP.</scene_description>
</scene>
<scene>
<stage_direction>INT. C-130 HERCULES - CARGO HOLD (CONTINUOUS)</stage_direction>
<scene_description>THREE ABRAMS TANKS, ONE BLACKHAWK,already loaded.</scene_description>
<character>HANNIBAL</character>
<dialogue>Goddammit. Okay. We're just gonna have</dialogue>
<dialogue>to run for it. Let's hit the fence and ...</dialogue>
<dialogue>Murdock speaks up ...</dialogue>
<dialogue>MURDOCK</dialogue>
<scene_description>I can fly you out.</scene_description>
<character>HANNIBAL</character>
<dialogue>What?</dialogue>
<character>MURDO.CK</character>
<dialogue>I was ... I mean ... I am a pilot.</dialogue>
<scene_description>B.A.'s had enough. He grabs Murdock by the neck. Slams him against the BLACKHAWK.</scene_description>
<character>B.A.</character>
<dialogue>You're a medic, too, right? What else? Senator? Astronaut?</dialogue>
<character>MURDOCK</character>
<dialogue>Psssh. No ...</dialogue>
<scene_description>He looks at Hannibal like B.A.'s the lunatic. Hannibal moves in, locks eyes with Murdock, dead serious.</scene_description>
<character>HANNIBAL</character>
<dialogue>I've seen men crack in battle. And I've seen men pretend to crack to avoid battle. I don't need to know your story. But I need to know this ... can you fly this bird?</dialogue>
<character>MURDOCK</character>
<parenthetical>( steady)</parenthetical>
<dialogue>If it's got wings or rotors, I can fly it.</dialogue>
<scene_description>Hannibal nods.</scene_description>
<character>HANNIBAL</character>
<dialogue>B .A.</dialogue>
<scene_description>You want to put your life into Toucan Sam's hands, be my guest. But I ain't getting in no airplane with him.</scene_description>
<character>HANNIBAL</character>
<dialogue>I thought you might say that.</dialogue>
<scene_description>Hannibal plunges that sedative needle into B.A.'s arm. B.A. makes a face, then, drops like a stone, right next to the doctor's bag at Hannibal's feet. WIDE SHOT - AIRPORT RUNWAY LYNCH has stopped the AMBULANCE. The CREW CHIEF and his men have their arms up. Trying to explain about the powder ... ON SOSA: shielding her eyes. Staring at something ... INTO POV: FAR RUNWAY. The C-130 moves slowly down the long RUNWAY. CARGO BAY RAMP, still OPEN.</scene_description>
<character>SOSA</character>
<dialogue>That Hercules is moving, sir.</dialogue>
<scene_description>Lynch turns and looks.</scene_description>
<character>LYNCH</character>
<dialogue>But neither man is a pilot.</dialogue>
</scene>
<scene>
<stage_direction>INT. C-130 HERCULES (CONTINUOUS)</stage_direction>
<scene_description>Picking up speed. Murdock is checking gauges. Now Hannibal can feel the wind from the OPEN CARGO DOOR.</scene_description>
<character>HANNIBAL</character>
<dialogue>Close the ramp, captain.</dialogue>
<scene_description>Murdock tries a lever. The RADIO comes on, playing MUSIC.</scene_description>
<character>MURDOCK</character>
<dialogue>It's around here ... somewhere.</dialogue>
<scene_description>Hannibal watches Murdock fumble. Suddenly, a VOICE on</scene_description>
<character>MURDOCK</character>
<dialogue>Fine ...</dialogue>
<scene_description>He pulls back hard on the stick.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRPORT - HANGAR- SAME TIME</stage_direction>
<scene_description>Lynch spins, as the C-130 LIFTS OFF. Beat. One of the ABRAMS TANKS simply slips DOWNthe CARGO RAMP. . . CRASH! . .. Leaving a CRATER in the tarmac.</scene_description>
<character>LYNCH</character>
<parenthetical>(into radio)</parenthetical>
<dialogue>Get the wing commander. I want jets in the air. Now.</dialogue>
<scene_description>WIDE SHOT - C-130 HERCULES - CLIMBING FAST The Hercules struggles to ascend. Heading for the tallest BUILDING on the base. A FOURTEEN STORY APARTMENT complex.</scene_description>
<character>MURDOCK</character>
<dialogue>Uh-oh.</dialogue>
<scene_description>The APARTMENT BUILDING is right there .... CLOSE ON THE RAMP, the SECOND ABRAMSTANK slips OUT... Smashing into the ROOF. But providing just enough LIFT. The C-130 just clears the building by inches.</scene_description>
<character>MURDOCK</character>
<dialogue>·Hahahah! I can't believe I just did</dialogue>
<scene_description>that! Hannibal looks at him like the guy really is nuts.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIR FIELD - SAME TIME</stage_direction>
<scene_description>TWO F-16's FIGHTER JETS {ALPHA, BETA) already streaking into TAKE-OFF ...</scene_description>
<character>LYNCH</character>
<parenthetical>(into two-way)</parenthetical>
<dialogue>Colonel Smith, I want you to hear my instructions to our commanders.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Commanders, you are hereby approved to use lethal force to bring down the Hercules. Fire on contact.</dialogue>
<scene_description>F-16 ALPHA Rocketing towards the C-130, coming quickly INTO VIEW.</scene_description>
<character>ALPHA PILOT</character>
<dialogue>Roger control, locking-in target. Releasing sidewinder.</dialogue>
<scene_description>A MISSILE streaks from its wings, VAPOR TRAIL tracing its path to the Hercules.</scene_description>
</scene>
<scene>
<stage_direction>INT. C-130 HERCULES - SAME TIME</stage_direction>
<scene_description>Hannibal sees an infinite range of majestic CLOUDS ahead. Some with the deep purple opaqueness of STORM CLOUDS.</scene_description>
<character>HANNIBAL</character>
<dialogue>Make for that storm bank.</dialogue>
<character>MURDOCK</character>
<dialogue>There's enough electricity in there to light up Berlin.</dialogue>
<character>HANNIBAL</character>
<dialogue>Outstanding.</dialogue>
<scene_description>WIDEN, just as the C-130 banks INTO the CLOUDS, they're rocked by an enormous EXPLOSION. CARGO RAMP, blown AWAYby the SIDEWINDER. The remaining ABRAMS TANK begins to ROLL BACKWARDS, and FALLS OUT.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALPHA F-16 - SAME TIME</stage_direction>
<character>LYNCH</character>
<dialogue>By what?</dialogue>
<scene_description>PILOT IN COCKPIT POV: The ABRAMS TANK tumbling at him.</scene_description>
<character>ALPHA PILOT</character>
<dialogue>A tank!</dialogue>
<scene_description>PUNCH WIDE. The PILOT has one second to EJECT. SHOT UP and FREE, as the TANK rips the jet·in two.</scene_description>
</scene>
<scene>
<stage_direction>INT. C-130 HERCULES - SAME TIME</stage_direction>
<scene_description>Murdock fights to keep control of the big plane.</scene_description>
<character>HANNIBAL</character>
<dialogue>Stay in the cloud cover.</dialogue>
<scene_description>INTO FRAME - F-16 BRAVO, Streaking after them. CLOUDS rumble. FLASH of LIGHTNING. Then, the BRAVO PILOT sees the HERCULES.</scene_description>
<character>BRAVO PLOT</character>
<dialogue>Target located. Target locked-in.</dialogue>
<scene_description>He rolls the jet behind the C-130. HAND punches the RELEASE .... MISSILE streaks from the WING. POV: DIRECT HIT on the C-130. A mammoth FIREBALL. And a zillion pieces of metal rain down in a cloud of SMOKE. INTERCUT: CONTROL TOWER - SAME TIME Lynch hears the Pilot's report.</scene_description>
<character>BRAVO PILOT</character>
<parenthetical>(on two-way)</parenthetical>
<dialogue>Confirmed kill. Repeat. Hercules intercepted with lethal force.</dialogue>
<character>SOSA</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>OUT OF THE CLOUD BANK - SAME TIME The BLACKHAWKHELICOPTER, falling, spinning like a top. INSIDE: HANNIBAL and MURDOCK, fighting for control. B.A., still unconscious, strapped to a seat.</scene_description>
<character>HANNIBAL</character>
<dialogue>Do you know what's wrong, captain?</dialogue>
<character>MURDOCK</character>
<dialogue>Well, let's start with the fact that I've never flown one of these before ...</dialogue>
<character>HANNIBAL</character>
<dialogue>You said anything with rotors!</dialogue>
<character>MURDOCK</character>
<dialogue>Rotors! Right!.</dialogue>
<scene_description>He flips a switch ... ON ROTORS. Start to spin, STOP, then FIRE UP.. Murdock finds the HORIZON.... The helicopter finally levels OFF. Speeding through the CLOUD BANK.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT - AMERICAN/KUWAITI CHECK POINT - NIGHT</stage_direction>
<scene_description>One of hundreds of small BORDER posts. Immensely hot, dusty. PIKE has his lap top balanced on a HUMVEEBUMPER. He closes it. Turns to face ... • ' An AMERICAN MARINE CORPORAL, flummoxed at a stack of DOCK RECEIPTS.</scene_description>
<character>MARINE CORPORAL</character>
<dialogue>I don't want to hold you up. But these codes ain't in my computer.</dialogue>
<scene_description>INSIDE THE TRAILER .• THREE MARINES, plagued by paperwork. Don't even look up as the MARINE CORPORAL enters.</scene_description>
<character>MARINE CORPORAL</character>
<parenthetical>(turning to Pike)</parenthetical>
<dialogue>What's your contractor ID again?</dialogue>
<character>PIKE</character>
<dialogue>M-16.</dialogue>
<character>MARINE CORPORAL</character>
<dialogue>What?</dialogue>
<scene_description>PIKE whips out an M-16 and opens FIRE. Killing the Marines before they realize what's happening. NEW ANGLE. PIKE runs back to his HUMVEEand waits for a second set of HEADLIGHTS to move out of the darkness. He leads the 18 WHEELER across the border. DISSOLVE: CLOSE ON B.A., Eyes .flutter, OPEN slowly .... INTO B.A.'S POV: curlicues of CLOUD glide by in a golden DAWN, like a Baroque mural. Glazed smile, until ... RACK FOCUS, B.A. looks BELOW... INTO B.A.'S POV: GLIDING OVER A THICK MOUNTAIN FOREST, the chopper looks for an open spot to touch down. WIDEN, as the CHOPPER lands. B.A. sees MURDOCKat the controls. Murdock gives him a big grin. B.A.'s eyes go wide ... he's furious.</scene_description>
<dialogue>HANNIBAL</dialogue>
<scene_description>Good morning, sergeant.</scene_description>
<dialogue>Hannibal helps him out of the chopper ...</dialogue>
<dialogue>B.A.</dialogue>
<character>B.A.</character>
<dialogue>Where they're staying from now on. Where are we anyway?</dialogue>
<character>HANNIBAL</character>
<dialogue>Italy. Not far from Naples.</dialogue>
<character>B.A.</character>
<dialogue>What the hell we doing in Italy?</dialogue>
<character>HANNIBAL</character>
<dialogue>Checking up on someone.</dialogue>
<scene_description>WIDE SHOT - NAPLES, ITALY - DAY. Choked with traffic and smog. Highest crime rate in Italy. Some neighborhoods off-limits even to the police.</scene_description>
</scene>
<scene>
<stage_direction>WIDEN: EXT. WAREHOUSE- DAY</stage_direction>
<scene_description>Old stone building in a neighborhood of winding narrow LANES. SIX ITALIAN MEN linger sullenly in front. Young thugs for the Camorra, the Napoli crime syndicate.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE(CONTINUOUS)</stage_direction>
<scene_description>A storehouse of STOLEN GOODS. Piled haphazardly before being sold on the black market. FIND GIOVANNI AGOSTELLI (42), canny, bullish, smoking an expensive cigar. A shrewd survivor of frequent local gang wars.</scene_description>
<character>AGOSTELLI</character>
<parenthetical>(in ITALIAN; subtitled)</parenthetical>
<dialogue>L'avete portato? (Did you bring it?)</dialogue>
<scene_description>The CAMERAFINDS Face, examining a RED FERRARI parked in the warehouse.</scene_description>
<character>FACE</character>
<dialogue>AGOSTELLI</dialogue>
<scene_description>I swear on my mother's grave. It is untouched. Perfetto . . (piqued) Are you calling me a liar? Face raises the hood.</scene_description>
<character>FACE</character>
<dialogue>They built three 1962m TRI/LM's. One for Prince Ranier of Monaco, one for Marcello Mastrioanni, and this. Not one was ever welded. . . here.</dialogue>
<scene_description>Caught in a lie, Agostelli just laughs.</scene_description>
<character>AGOSTELLI</character>
<dialogue>I'll knock off ten thousand.</dialogue>
<character>FACE</character>
<dialogue>Fifty.</dialogue>
<character>AGOSTELLI</character>
<dialogue>Bastardo. Thirty. But I want to see the big machina first.</dialogue>
<character>FACE</character>
<dialogue>No problem.</dialogue>
<scene_description>Face starts to leave.</scene_description>
<character>AGOSTELLI</character>
<dialogue>Wait. My brother Antonio will go with you. Just so there aren't any problems.</dialogue>
<scene_description>ANTONIO, a skinny, weasely looking gangster wearing dark sunglasses with a toothpick wedged in his mouth steps over to Face.</scene_description>
<character>FACE</character>
<dialogue>The more the merrier.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NAPLES - STREET</stage_direction>
<scene_description>PAN A FLATBED TRUCK, A canvas TARP over the BACK, covering something BIG. Face lifts the tarp to check on it. PUNCH: MURDOCK,sitting in front of a huge ENGINE.</scene_description>
<character>MURDOCK</character>
<dialogue>I love the sound of an F/A-18 jet engine. Like a panther in heat.</dialogue>
<scene_description>Face is stunned. HANNIBAL, appears behind, drives a fist into Face's side, doubling him over, and takes his gun. Antonio turns to run and moves right into a hard elbow from B.A., knocking him completely off his feet. The guy is down for the count.</scene_description>
<character>HANNIBAL</character>
<dialogue>Hiya, Face.</dialogue>
<character>FACE</character>
<dialogue>Oh ... uh. Hi, Colonel. Sergeant. Uh ... you guys ... um ... must've ... you got out?</dialogue>
<character>HANNIBAL</character>
<dialogue>Yeah. Early release.</dialogue>
<character>FACE</character>
<dialogue>Oh, good. That's great. Seriously. I mean ... I just wanted to get out so I could ... um ... work from the outside to help clear ... all of our ... uh ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Work the outside huh?</dialogue>
<scene_description>Hannibal hauls back and punches him in the gut again. He crumples to the ground.</scene_description>
<character>HANNIBAL</character>
<dialogue>B.A. grabs him, is about to smash his face in ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Wait.</dialogue>
<scene_description>B.A. stops.</scene_description>
<character>HANNIBAL</character>
<dialogue>How'd you get the engine to an American fighter jet?</dialogue>
<character>FACE</character>
<dialogue>EBay. I was the final bidder.</dialogue>
<scene_description>Hannibal nods at B.A. who pulls his fist back ...</scene_description>
<character>FACE</character>
<dialogue>Whoa whoa ... Okay. I've got a deal going.</dialogue>
<character>HANNIBAL</character>
<dialogue>With?</dialogue>
<character>FACE</character>
<parenthetical>(admitting)</parenthetical>
<dialogue>Giovanni Agostelli.</dialogue>
<character>HANNIBAL</character>
<dialogue>Agostelli is Comorra.</dialogue>
<character>B.A.</character>
<dialogue>What's that?</dialogue>
<character>HANNIBAL</character>
<dialogue>Napolian crime syndicate.</dialogue>
<parenthetical>(accusingly to Face)</parenthetical>
<dialogue>Well known for fencing famous works of art. You got some art to sell, Face?</dialogue>
<character>FACE</character>
<dialogue>Who? Me?</dialogue>
<scene_description>B.A. slams Face against the truck, where Face sees Murdoch sitting on the engine like he's riding.a horse.</scene_description>
<character>HANNIBAL</character>
<dialogue>Take us to Agostelli.</dialogue>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE- MOMENTSLATER</stage_direction>
<scene_description>Agostelli watches as Face strolls back into the warehouse, empty handed.</scene_description>
<character>AGOSTELLI</character>
<dialogue>Where's my engine? Where's my brother?</dialogue>
<character>FACE</character>
<dialogue>Uh ... I have a problem.</dialogue>
<character>AGOSTELLI</character>
<dialogue>What problem?</dialogue>
<character>HANNIBAL</character>
<dialogue>Me.</dialogue>
<scene_description>The thugs in the room all point guns at Hannibal as he walks in, puffing a cigar.</scene_description>
<character>AGOSTELLI</character>
<dialogue>If this is a raid, you will die first.</dialogue>
<character>HANNIBAL</character>
<dialogue>If this were a raid, I'd be running too. I just escaped military prison for a crime I didn't commit.</dialogue>
<character>AGOSTELLI</character>
<dialogue>That's very moving and all but I don't give a shit.</dialogue>
<parenthetical>(eyeing Face)</parenthetical>
<dialogue>We were in the middle of a business negotiation ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Then let's talk business. The Comorra fenced the Rembrandts from the hit on Lord Beit's estate in Ireland. And 'The Scream' theft in Norway. And probably a</dialogue>
<scene_description>Just then, they HEAR THE SOUND of a jet engine revving up outside the warehouse.</scene_description>
<character>HANNIBAL</character>
<dialogue>That sounds like someone's being cleared for take off ...</dialogue>
<scene_description>All the men step ... OUTSIDE THE WAREHOUSE:</scene_description>
</scene>
<scene>
<stage_direction>.. to reveal B.A. has rigged the ENGINE to a truck BATTERY. The rotors SPIN, blowing back a jet stream.</stage_direction>
<scene_description>B.A. and Murdock are holding up Antonio, just to the side of the engine.</scene_description>
<character>HANNIBAL</character>
<dialogue>You wanted to talk business, let's talk business. You have something I want ... the name of the fence. I have something you want, your brother still alive.</dialogue>
<scene_description>Agostelli turns and points his finger into Face's face.</scene_description>
<character>AGOSTELLI</character>
<parenthetical>(furious)</parenthetical>
<dialogue>I will not kill you. I will disfigure your face to the point that even your mother will turn away in shame ...</dialogue>
<scene_description>Face swallows hard.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(shouts over the engine)</parenthetical>
<dialogue>Murdock ... what size shoes does Agostelli's brother wear?</dialogue>
<scene_description>Murdock quickly takes off one of Antonio's shoes, examines it ...</scene_description>
<character>MURDOCK</character>
<dialogue>Hannibal locks eyes with Agostelli.</dialogue>
<character>HANNIBAL</character>
<dialogue>The name, Agostelli.</dialogue>
<scene_description>Agostelli eyes him, hotly. Hannibal turns to B.A ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Shred him, Sergeant ...</dialogue>
<scene_description>B.A. lifts up Antonio's body over his head as easy as lifting a doll. He heads towards the INTAKE.</scene_description>
<character>AGOSTELLI</character>
<dialogue>Basta! ... Stop. Okay ... okay ... Dimitri Grushko.</dialogue>
<scene_description>Hannibal waits for more.</scene_description>
<character>AGOSTELLI</character>
<dialogue>Grushko has friends in the Kremlin and can middle-man anything he wants. I've heard rumors he's bringing in big clients for a new auction. Something about a golden vase.</dialogue>
<scene_description>Hannibal signals and Murdock shuts off the engine. He gets in close to Agostelli.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(intense)</parenthetical>
<dialogue>You may be Comorra, but we're the blackness Uncle Sam won't talk about. If you open your mouth about this, you'll see us again, and then you won't see anything again. Ever.</dialogue>
<scene_description>He turns and walks over to B.A. and Murdock. Calls out over his shoulder ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Keep the engine and the car. Your brother will call you as soon as we're</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - NAPLES - DAY</stage_direction>
<scene_description>FACE, moving quickly, looking over his shoulder. On his CELL.</scene_description>
<character>FACE</character>
<parenthetical>(talking as he runs)</parenthetical>
<dialogue>I want to speak to Lieutenant Angel Sosa.</dialogue>
<scene_description>INTERCUT: MANNHEIMBASE AIRPLANE HANGAR- SAME TIME LT. SOSA pulls off RUBBER GLOVES. Exhausted, a night without sleep. Steps back to gaze at her work. WIDEN. The reconstructed C-130, and all its contents. TANKS and BLACKHAWKS. From thousands of teeny PIECES. Mounted on frames. A jigsaw puzzle from Hell. LYNCH appears.</scene_description>
<character>SOSA</character>
<dialogue>We've recovered everything ... except one Blackhawk helicopter.</dialogue>
<scene_description>Lynch nods, knowing what this means.</scene_description>
<character>LYNCH</character>
<dialogue>Godammit. How am I going to explain this?</dialogue>
<scene_description>Sosa's CELL VIBRATES.</scene_description>
<character>SOSA</character>
<parenthetical>(into cell)</parenthetical>
<dialogue>Sosa.</dialogue>
<scene_description>BACK TO FACE. Intercut:</scene_description>
<character>FACE</character>
<dialogue>This is Templeton Peck. What the fuck? A little warning that those maniacs got out ...</dialogue>
<scene_description>STAY WITH FACE: At a street corner, we realize Face is watching Hannibal, B.A. (holding Antonio), and Murdock walk down an alley toward a black van.</scene_description>
<character>FACE</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Shut up. and listen. I know you're tracing this so I'll be quick. I bring you your missing prisoners AGAIN and the Iraqi loot and I get an honorable discharge ... tell me we have a deal ...</dialogue>
<character>LYNCH</character>
<dialogue>I can't just ...</dialogue>
<character>FACE</character>
<dialogue>You got two seconds or I lose them forever ...</dialogue>
<character>LYNCH</character>
<dialogue>It's a deal.</dialogue>
<character>FACE</character>
<dialogue>I'll be in touch.</dialogue>
<scene_description>Fac:e snaps the cell phone shut ... and we cut to:</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN - DAY</stage_direction>
<scene_description>B.A. starts it up but suddenly Face is standing in front of it, his arms out. He moves around to the window ... speaks past B.A. to Hannibal ...</scene_description>
<character>FACE</character>
<dialogue>I want in.</dialogue>
<character>HANNIBAL</character>
<dialogue>I don't give a damn. Kill him B.A.</dialogue>
<character>HANNIBAL</character>
<dialogue>Then why were you with Agostelli?</dialogue>
<character>FACE</character>
<dialogue>I'd like to clear my name as much as you.</dialogue>
<scene_description>B. A. squeezes harder ...</scene_description>
<character>FACE</character>
<dialogue>Look, you know I can deal better than anyone, and what you need now is a sophisticated negotiator. Those Russians will smell a rat a mile away.</dialogue>
<character>B.A.</character>
<dialogue>You got a lot of nerve talking about rats.</dialogue>
<scene_description>Face chokes ... Hannibal just watches, semi-amused. Finally ...</scene_description>
<character>HANNIBAL</character>
<dialogue>Hop in, Lieutenant. There might be some use for you yet.</dialogue>
<scene_description>B.A. reluctantly lets him go and we quickly cut to: THE VAN: ... peels out, the back doors open, and Antonio is tossed into the street as the van roars away. AERIAL OVER - PORT OF VARNA, BULGARIA - DAY Crowded with CRUISE SHIPS off-loading. Capitalism pouring into the fo=er Communist stalwart. Title: Port of Varna, Bulgaria. CONTINUE OVER the DOCK, now we see private YACHTS and CRUISERS ... the new ruling class ... He's talking on a cell phone. We hear both sides and intercut ...</scene_description>
<character>GEN. GARNER</character>
<dialogue>I was getting worried.</dialogue>
<character>HANNIBAL</character>
<dialogue>Not as worried as I am.</dialogue>
<character>GEN. GARNER</character>
<dialogue>After you find the vase, get across the Turkish border. I'll have a chopper waiting to pull you out. The court will have to overturn your charges.</dialogue>
<parenthetical>(pointed)</parenthetical>
<dialogue>Be careful, Hannibal, the guy who's going to slam the knife in your back is usually standing right next to you.</dialogue>
<scene_description>Just then, Face pops his head out ...</scene_description>
<character>FACE</character>
<dialogue>You ready?</dialogue>
<character>HANNIBAL</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Message received, sir.</dialogue>
<scene_description>He hangs up and steps with Face back into a ... HOTEL ROOM: A crooked ceiling FAN goes thwap-thwap. Murdock and B.A. are wearing CUSTOMS uniforms. Face is in a full tuxedo. Hannibal is wearing a dark suit.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(to B.A. and Murdock)</parenthetical>
<dialogue>Wait for my signal. Then board strong. Seize the vase. Arrest us. Get off fast. We need to be long gone before Grushko knows who we are. And tap that radar tower. I don't want any surprises.</dialogue>
<character>FACE</character>
<dialogue>You know what, Bosco? I'm getting tired of the accusations.</dialogue>
<scene_description>B.A. looks like he's ready to rip him limb from limb ... their noses inches apart.</scene_description>
<character>FACE</character>
<dialogue>~ know I didn't swipe the art. I'm pretty sure the Colonel didn't swipe the art. Loony Tunes wasn't there. The only thing I'm not sure about is what hand you played in this.</dialogue>
<character>B.A.</character>
<dialogue>You finished?</dialogue>
<character>FACE</character>
<dialogue>It depends.</dialogue>
<character>B.A.</character>
<dialogue>Then let me tell you something, Face-man. There are nine commandments in the Bible that I try to.live by. "Thou shalt not steal" is something Mrs. Baracas taught me when I was a pup and I've never broken it.</dialogue>
<scene_description>Murdock pipes up ...</scene_description>
<character>MURDOCK</character>
<dialogue>Aren't there ten commandments?</dialogue>
<character>B.A.</character>
<dialogue>I tend to look past the one about not killing. Especially when we're talking about rats.</dialogue>
<scene_description>He and Face are still eye to eye. Hannibal finishes tying his tie.</scene_description>
<character>HANNIBAL</character>
<dialogue>Enough. They'll be plenty of time to kill each other later. Right now, let's</dialogue>
<character>FACE</character>
<dialogue>You're just leaving the car? It cost me a Rolex to bribe the dealer.</dialogue>
<character>HANNIBAL</character>
<dialogue>A knock off, right?</dialogue>
<scene_description>Face starts to deny it, then smiles. Hannibal is already walking away. ON THE GANGWAY. Hannibal whispers last minute instructions to Face.</scene_description>
<character>HANNIBAL</character>
<dialogue>When the auction starts, don't do anything to signal a bid. Don't cough, scratch your ear, smile.</dialogue>
<character>FACE</character>
<dialogue>Don't worry about me.</dialogue>
<character>HANNIBAL</character>
<dialogue>Ahd Grushko has a wife. I don't know what's Russian for 'Pet of the Year' but if she drops a napkin, walk away. Don't even look at her.</dialogue>
<character>FACE</character>
<dialogue>What year was she?</dialogue>
<scene_description>SECURITY MEN in tuxedos frisk them as they step on board.</scene_description>
</scene>
<scene>
<stage_direction>INT. GORKY - MAIN DECK - COMMONROOM</stage_direction>
<scene_description>Appointed i.n teak and brass. Attractive RUSSIAN HOSTESSES serve well-dressed MEN and WOMEN, Grushko's clients. Face enters with Hannibal, like he's t.he buyer and Hannibal's his assistant.</scene_description>
<character>HANNIBAL</character>
<dialogue>There it is.</dialogue>
<scene_description>Face locks eyes with a BLONDE (20's), legs so long they seem to bestride the world. She makes a beeline for Face.</scene_description>
<character>TALL BLONDE</character>
<parenthetical>(Russian accent)</parenthetical>
<dialogue>Are you as bored as I am?</dialogue>
<character>FACE</character>
<dialogue>Not anymore.</dialogue>
<scene_description>She sips from a flute of champagne. Face suddenly realizes her OTHER hand is IN his pocket.</scene_description>
<character>TALL BLONDE</character>
<dialogue>I misplaced my hotel keys in your pocket.</dialogue>
<character>FACE</character>
<dialogue>If I find them, I'll run them over to you tonight.</dialogue>
<scene_description>Hannibal pulls, leading Face away.</scene_description>
<character>FACE</character>
<dialogue>Hey. It's a party. I'm being social.</dialogue>
<character>HANNIBAL</character>
<dialogue>It's a mission. You're being suicidal.</dialogue>
<scene_description>A short MAN with the pallor of a vampire blocks their way. DIMITRI GRUSHKO, 40's, kinky black hair, dead black eyes, fake smile.</scene_description>
<character>GRUSHKO</character>
<dialogue>I see you've met my wife.</dialogue>
<character>FACE</character>
<dialogue>Yeah ... she's uh ...</dialogue>
<character>GRUSHKO</character>
<dialogue>I don't know you.</dialogue>
<character>FACE</character>
<dialogue>You don't need to know me. You just need to know my black American Express.</dialogue>
<scene_description>Hannibal sees several SECURITY MEN close in. For a second, we don't think Face is going to answer. Then ...</scene_description>
<character>FACE</character>
<dialogue>I bought the original sketch for Ren and Stimpy.</dialogue>
<scene_description>Grushko stares. Hannibal is sure Face has just gotten them killed. Just when we think that's all he's got ...</scene_description>
<character>FACE</character>
<dialogue>Which I traded for Maradona's cleats from the 1994 World Cup. I turned that for a small painting of st. Francis that turned out to be a Zubaran stolen from the Prado.</dialogue>
<scene_description>Grushko expression is slowly turning into a smile ..•</scene_description>
<character>FACE</character>
<dialogue>Flipped that for twelve Mark Rothko's stolen from his Soho loft. Which let me finance the Gardner Museum theft in Boston. Which got me my first Leonardo. Don't you hate the riff raff calling him</dialogue>
<scene_description>'DaVinci'? Grushko laughs a belly life.</scene_description>
<character>GRUSHKO</character>
<dialogue>Okay, friend. A. collector like you will be satisfied here.</dialogue>
<scene_description>Grushko leaves with his wife.</scene_description>
<character>HANNIBAL</character>
<dialogue>Shit.</dialogue>
<character>FACE</character>
<dialogue>What?</dialogue>
<character>HANNIBAL</character>
<dialogue>We're moving.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Got it. All right. Find something that floats and follow us out. We stick with the plan.</dialogue>
<scene_description>WITH B.A. AND MURDOCK. Moving to a BULGARIAN CUSTOMS HSV (High Speed Vessel). Mounted 50mm. TWO JET SKIS at back.</scene_description>
<character>B.A.</character>
<dialogue>Can you drive this boat?</dialogue>
<character>MURDOCK</character>
<dialogue>These things are fast. I like fast.</dialogue>
<scene_description>MURDOCKjumps on board, moves into the CABIN. Starts the supercharged engines. A SHOUT below. A BULGARIAN CUSTOMS OFFICER lumbers up, just awake. B.A. grabs his wrist, pulls him out ... flips him overboard.</scene_description>
<character>B.A.</character>
<dialogue>Move us out.</dialogue>
<scene_description>WIDEN. Murdock maneuvers the HSV into the HARBOR. Immediately clips the back of a KETCH, over-corrects, caroms off a POWER B,OAT...</scene_description>
<character>B.A.</character>
<dialogue>Thought you could drive this thing.</dialogue>
<character>MURDOCK</character>
<dialogue>I'm directionally challenged.</dialogue>
<scene_description>B.A. gets in his face.</scene_description>
<character>B.A.</character>
<dialogue>My foot's about to be directionally challenged.</dialogue>
<character>MURDOCK</character>
<dialogue>Take it easy, sergeant. Maybe you'd like some of my medications ... they'll sort out your anger issue ... .</dialogue>
<character>MURDOCK</character>
<dialogue>Whoa ... check it out. A Beriev Be-200 Flying Boat. Holds eighty people. You can.fly around the world and never need an airport.</dialogue>
<scene_description>Murdock bursts into happy tears.</scene_description>
<character>MURDOCK</character>
<dialogue>I dreamed that plane be.fore they built it.</dialogue>
<character>B.A.</character>
<dialogue>Never mind. I take it all back.</dialogue>
</scene>
<scene>
<stage_direction>INT. GORKY - MAIN DECK - COMMONROOM</stage_direction>
<scene_description>Face watches Hannibal, by the VASE. Studying it. GRUSHKOholds up his hands at the front.</scene_description>
<character>GRUSHKO</character>
<dialogue>Ladies and gentlemen. Lately, I've become dead to the beauty of what I sell. My eyes only see money ...</dialogue>
<parenthetical>(with emotion)</parenthetical>
<dialogue>Today, I am born again. Today I offer you what I believe is man's first great work of art. Bids begin at one hundred million euros.</dialogue>
<scene_description>A GERMANDEALER calls out.</scene_description>
<character>GERMANDEALER</character>
<dialogue>Verify its provenance.</dialogue>
<scene_description>Grushko aims a REMOTE. PUNCH ON SCREEN. DR. AL MAHDI, wide-eyed. The shot is CLOSE UP, so he can't see where Al Mahdi is.</scene_description>
<character>GRUSHKO</character>
<dialogue>You all know Dr. Al-Mahdi and trust his opinion.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(softly)</parenthetical>
<dialogue>I need to see if Al-Mahdi is on board.</dialogue>
<scene_description>Face nods. FOLLOW HANNIBAL ALONG THE MAIN DECK RAIL, Down a STAIRWAY to the SECOND DECK. Through a TEAK DOOR... into the SECOND DECK CORRIDOR. STATE ROOMS on each side. Hannibal checks the first. Sumptuous, but EMPTY.</scene_description>
<character>B.A. (O.S.)</character>
<parenthetical>(suddenly on two-way)</parenthetical>
<dialogue>Hannibal, Grushko is heading for the Russian side of the lake.</dialogue>
<character>HANNIBAL</character>
<dialogue>If there's trouble, they'll provide back up for him. Give me five minutes.</dialogue>
<character>B.A. (O.S.)</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>You might not have five minutes.</dialogue>
<scene_description>FACE: He's snuck out to the rail.</scene_description>
<character>FACE</character>
<parenthetical>(into his phone)</parenthetical>
<dialogue>Where are you?</dialogue>
<scene_description>INTERCUT: CHINOOK (MOVING), LYNCH on his mobile. SOSA points to the GPS SCREEN.</scene_description>
<character>LYNCH</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>We're turning south ... just minutes away.</dialogue>
<scene_description>Converted to a work room. SATELLITE RECEIVER. LAP TOP MONITOR.... CLOSER ON MONITOR. AL-MAHDI, tele-conferenced in from SOMEWHEREELSE. EVEN CLOSER. Al-Mahdi sits on a folding chair, in an empty room, cinder block walls. SILHOUETTE OF A MAN O.S. with a RIFLE, a shadow on the wall behind Al-Mahdi ...</scene_description>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>He's not here.</dialogue>
<character>B.A.</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>See if you can source the data-stream ...</dialogue>
<character>HANNIBAL</character>
<dialogue>Listen to you ...</dialogue>
<character>B.A.</character>
<dialogue>I got talents you don't even know about ...</dialogue>
<scene_description>Hannibal is still watching the monitor ... Al-Mahdi starts to get out of his chair and a hand reaches into the frame and pushes him back down. Hannibal focuses in on that hand. . . Just then, a security guard enters, looks at Hannibal. The longest SECOND in history. Both startled. The GUARD reaches in his tuxedo for a PISTOL, but Hannibal pulls him into the room by his gun hand. The Guard kicks out Hannibal's knee, dropping him. An elbow to the Guard's stomach bends him over. Hannibal slaps the GUN free and it skitters UNDER the equipment. CLOSE-IN FIGHTING. Hannibal springs to his feet. Trades vicious blows with the Guard, then snatches up the lap top and swings it like a baseball bat right into the guard's face. Crack! The Guard drops flat. Hannibal leaves quickly, locking the door behind.</scene_description>
<character>GRUSHKO</character>
<parenthetical>(points to him)</parenthetical>
<dialogue>One hundred and thirty million Euros.</dialogue>
<scene_description>Face is sure SECURITY MEN are staring at him. He checks his watch anxiously. Hannibal appears alongside.</scene_description>
<character>B.A. (O.S.)</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Hannibal, a Russian patrol ship is hauling ass your way.</dialogue>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Board.</dialogue>
<scene_description>INTERCUT: B.A., ON BOW, He can see a RUSSIAN NAVY BOAT speeding into view.</scene_description>
<character>B.A.</character>
<parenthetical>(calls to the cabin)</parenthetical>
<dialogue>Murdock! Sound the siren. Let them know we're boarding.</dialogue>
<scene_description>B.A. looks around. Murdock is not on the ship.</scene_description>
<character>B.A.</character>
<dialogue>Murdock?</dialogue>
<scene_description>He zeroes in on the spot where the two jet-skis were ... because one of them is now conspicuously gone. BACK TO COMMONROOM. Face keeps looking outside.</scene_description>
<character>GRUSHKO</character>
<parenthetical>(auction continues)</parenthetical>
<dialogue>The bid is one hundred and thirty million Euros. Do I have one-sixty? Anyone else? Once? Twice?</dialogue>
<character>HANNIBAL</character>
<parenthetical>(to Face)</parenthetical>
<character>GRUSHKO</character>
<dialogue>Once. Twice ... The bidding is closed. Bravo.</dialogue>
<scene_description>Grushko picks up the VASE and carries it to Face while the guests applaud. Places it in his arms.</scene_description>
<character>GRUSHKO</character>
<dialogue>Of course, we need a bank confirmation. If you'll come with me.</dialogue>
<scene_description>Grushko directs Face to a TABLE with a solid gold PHONE. Hannibal acts like he's Face's assistant ...</scene_description>
<character>HANNIBAL</character>
<dialogue>I'd use the Bahamian bank, sir. The Swiss are so lethargic.</dialogue>
<scene_description>Face picks up the phone, trying to stall ...</scene_description>
<character>. FACE</character>
<dialogue>Did you bring my glasses, Reginald?</dialogue>
<scene_description>WIDEN, as the SIREN of the CUSTOMS BOAT, loud and shrill, penetrates the room. The GUESTS are immediately freaked.</scene_description>
<character>FACE</character>
<dialogue>What's going on here?</dialogue>
<scene_description>Grushko calmly signals a GUARD. Puts his hand on Face's shoulder, pressing him into the seat.</scene_description>
<character>GRUSHKO</character>
<dialogue>We will handle it. Call.</dialogue>
<scene_description>Grushko has perfected a way of smiling that seems like a death sentence. COMING ALONGSIDE THE GORKY: B.A. powers down the HSV, but not nearly enough. He slams INTO the GANGWAY,caroms into the hull. ON HANNIBAL, as the collision rocks the boat. Grushko shouts something in Russian to his men.</scene_description>
<character>GRUSHKO</character>
<dialogue>Relax, ladies and gentlemen, we are simply adjusting our position.</dialogue>
<scene_description>A SECURITY GUARD appears. Whispers in Grushko's ear. His eyes are pure steel as they turn on Hannibal. Hannibal takes the VASE, hurls it across the ROOM. GUESTS scream. The GUARDS jump for it ... too late. The VASE explodes into SHARDS.</scene_description>
<character>GRUSHKO</character>
<dialogue>What have you done?!</dialogue>
<character>HANNIBAL</character>
<parenthetical>(announces)</parenthetical>
<dialogue>It's the display vase from the museum. A fake. Our friend here was scamming his clients.</dialogue>
<scene_description>And the CLIENTS know now. They all grab their CELL PHONES, screaming for their private yachts. Grushko reaches for a small, gold WALTHERHAND GUN. Hannibal's fist fires like a piston to his gut as the gun FIRES. Face pushes his way through the ensuing chaos ... ALONG THE RAIL. Face sees the CHINOOK moving in. He calls LYNCH.</scene_description>
<character>FACE</character>
<parenthetical>(on his phone)</parenthetical>
<dialogue>It's a fake. I repeat the vase here is a fake.</dialogue>
<scene_description>INTERCUT: LYNCH - IN THE CHINOOK, Skimming over the water towards the GORKY. SOSA watches the yacht in her FIELD GLASSES. LYNCH is putting a clip into his Ml6 as he hears Face's VOICE.</scene_description>
<character>FACE</character>
<dialogue>LYNCH</dialogue>
<scene_description>Okay ... don't leave the colonel's side till you locate the art. (to Sosa) Abort. Turn back ... Face keeps moving along the rail as he sees the CHINOOK turn back. FIND HANNIBAL. Looking for Face. A SECURITY GUARD challenges him. Hannibal flips him over the rail. INTERCUT: B.A., steering the HSV alongside the GORKY.</scene_description>
<character>B.A.</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Port side.</dialogue>
<scene_description>B.A. looks through field glasses. Ball of SMOKE from the RUSSIAN SHIP. Delayed ECHO. PUNCH WIDER. A 50 MM SHELL explodes close enough to the HSV to shower B.A. with seawater. Hannibal appears with FACE.</scene_description>
<character>FACE</character>
<dialogue>What the hell have we gotten into?</dialogue>
<character>HANNIBAL</character>
<dialogue>Right now ... the water.</dialogue>
<scene_description>He spins Face into a full Nelson, and bulls him OVER THE RAIL ... They drop hard into the sea. IN THE WATER - SAME TIME, B.A. veers the HSV to Hannibal. Pulls him and Face inside. Turns sharply away from the Gorky. The HSV increases ~peed. Tries to out-run the Russian ship ... RUSSIAN GUNFIRE traces across the water in front of them. B.A. turns the HSV sharply. Just then The FLYING BOAT drops from the sky. Sending up a Murdock runs to the cockpit. But B.A. is still on the launch.</scene_description>
<character>HANNIBAL</character>
<dialogue>Get on.</dialogue>
<scene_description>B.A. is frozen.</scene_description>
<character>B.A.</character>
<dialogue>Can't. Move.</dialogue>
<scene_description>The RUSSIANS are coming round for another attack.</scene_description>
<character>FACE</character>
<dialogue>Let him swim. Take off.</dialogue>
<scene_description>Hannibal looks at B.A., extends his hand.</scene_description>
<character>HANNIBAL</character>
<dialogue>Good luck, soldier.</dialogue>
<character>B.A.</character>
<dialogue>Thank you, sir.</dialogue>
<scene_description>B.A. clasps his hand into Hannibal's, but Hannibal locks on. B.A. realizes he isn't letting go ... just as ... WIDEN. FLYING BOAT PICKS UP SPEED AND LIFTS OFF:</scene_description>
</scene>
<scene>
<stage_direction>.. Hannibal has B.A. dangling in the air, murder in his eyes.</stage_direction>
<scene_description>Just as the RUSSIANS launch a shell. It EXPLODES, destroying the CUSTOMS BOAT in a huge fireball, right beneath B.A.'s feet. Hannibal pulls B.A. in the rest of the way, where he just collapses on the plane's floor.</scene_description>
<character>HANNIBAL</character>
<dialogue>I just saved your life, sergeant. Yet, you look annoyed.</dialogue>
<character>GEN. GARNER</character>
<parenthetical>(into mobile)</parenthetical>
<dialogue>So you almost died and ended up with nothing to show for it.</dialogue>
<scene_description>INTERCUT: FLYING BOAT (MOVING) Hannibal in the cockpit beside Murdock.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(into mobile)</parenthetical>
<dialogue>Oh, we got something. . .... a shadow on a wall. Holding a gun on Dr. Al-Mahdi. A Special Forces soldier.</dialogue>
<character>GEN. GARNER</character>
<dialogue>All our men are at war.</dialogue>
<character>HANNIBAL</character>
<dialogue>Not the ones who carry custom-made M- 16a's ...</dialogue>
<scene_description>FLASHBACK: SILHOUETTE BEHIND AL MAHDI, The outline of an M16A...</scene_description>
<character>HANNIBAL</character>
<dialogue>And have Green Lake insignia's on their sleeves... '</dialogue>
<scene_description>FLASHBACK: THAT HAND PUSHING AL-MAHDI DOWN ... now we ZOOM IN CLOSER and can see a tiny "GLS" sewn into the cuff. We didn't notice it before, but Hannibal sure did.</scene_description>
<character>HANNIBAL (CONT'D)</character>
<dialogue>I'm going straight to Green Lake.</dialogue>
<character>GEN. GARNER</character>
<dialogue>Dangerous move, Hannibal.</dialogue>
<character>HANNIBAL</character>
<dialogue>If I find Al-Mahdi, I find the museum</dialogue>
<character>GEN. GARNER</character>
<dialogue>You can't do it alone. Do you have an "A" level team?</dialogue>
<scene_description>Hannibal turns and looks around the plane .... INTO POV: B.A. with his eyes shut. FACE, brushing .his mussed hair. And MURDOCK, swatting wildly around his head at imaginary bugs ... Hannibal just shakes his head.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(back to Garner)</parenthetical>
<dialogue>I definitely have£ team.</dialogue>
<scene_description>DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>INT. SOSA'S OFFICE - DAY</stage_direction>
<scene_description>Sosa is watching her PRINTER spew out typed pages. The DOOR OPENS. LYNCH, steps in. He's brought a file folder in and sets them on her desk. She flips through the files ...</scene_description>
<character>SOSA</character>
<dialogue>Sir, you didn't sign these reports.</dialogue>
<character>LYNCH</character>
<dialogue>Just sign for me.</dialogue>
<character>SOSA</character>
<dialogue>Yes, sir. But ... well, this is a paper trail. Literally.</dialogue>
<character>LYNCH</character>
<dialogue>Means go away when the ends are good.</dialogue>
<parenthetical>(then, a smile)</parenthetical>
<dialogue>I've got everyone at the Pentagon and half of Congress calling for some sort of symbol we can show the world that we actually give a damn about these people we're liberating. I guarantee they don't· care how we recover the artifacts, just that we do it.</dialogue>
<character>LYNCH</character>
<dialogue>Check in with Peck. That is your responsibility.</dialogue>
<character>SOSA</character>
<dialogue>Yes, sir. Bur I'd like to talk about the direction ...</dialogue>
<scene_description>But he's already walking away, not interested ... CLOSE ON B .A.: As his eyes flicker AWAKE. He sits up ... WIDEN. A small, dumpy BEDROOM. Curtains closed. Dark. Hears a VOICE from behind a SLIDING DOOR. B.A. stands up. Listens.</scene_description>
<character>FACE</character>
<parenthetical>(whispered, intense)</parenthetical>
<dialogue>I'm saying I want to set some things straight. In person.</dialogue>
<scene_description>B.A. opens thk door. Steps onto a wrap-around BALCONY. Sunlight almost blinding. FACE snaps his cell phone shut. CARD: DUBAI - UNITED ARAB EMIRATES A MOTEL on the outskirts of a smog enshrouded CITY.</scene_description>
<character>B.A.</character>
<dialogue>Who were you talking to?</dialogue>
<character>FACE</character>
<parenthetical>(challenging)</parenthetical>
<dialogue>My mother.</dialogue>
<scene_description>B.A. looks at him for a long second, then ...</scene_description>
<character>FACE</character>
<dialogue>You want to say something?</dialogue>
<character>B.A.</character>
<dialogue>I don't make cracks about people's</dialogue>
<scene_description>Just then, Hannibal steps out on the porch ...</scene_description>
<character>B.A.</character>
<dialogue>Where are we now and what are we doing here, sir?</dialogue>
<scene_description>Hannibal walks to the rail. Points. The others join him looking out at ... POV: LONG SHOT - DUBAI TOWER Even at this distance the tower looms over the city. United Arab Emirates' contestant for the tallest structure on the planet. MATCH CUT: DUBAI TOWER: Only this time we're looking UP at it from the STREET. Miles of glass WINDOWS. WIND howls around it. The team walks by and disappears inside ...</scene_description>
</scene>
<scene>
<stage_direction>INT. A MCDONALDS- MOMENTSLATER</stage_direction>
<scene_description>Hannibal, Murdock, Face and B.A. at a TABLE. Hannibal sets down the TRAY and stacks HAMBURGERSinto a tower.</scene_description>
<character>HANNIBAL</character>
<dialogue>Green Lake occupies floors 102 through 104. They use internal Wi-Fi to link the offices. But one office has a separate secure system.</dialogue>
<parenthetical>(finger on his tower)</parenthetical>
<dialogue>Here. Classified information. A guard stays on the steel door, 24/7. Ex- Special Forces. Required to sweep the room for bugs every five minutes. And there's always a suit on the desk. That's two we have to handle.</dialogue>
<parenthetical>(to B.A.)</parenthetical>
<character>B.A.</character>
<dialogue>On the business side of that steel door with a relay link to the outside of the building.</dialogue>
<character>FACE</character>
<dialogue>What are you going to do, Colonel? Walk right in and ring the bell?</dialogue>
<scene_description>Hannibal grabs a handful of fries, smiles.</scene_description>
<character>- HANNIBAL</character>
<dialogue>Green Lake wants me. They can have me.</dialogue>
<scene_description>ELIZABETH (38): Refined, Yankee features. Dashes in from her garden to catch the KITCHEN phone. Sprawling, designer house.</scene_description>
<character>ELIZABETH</character>
<dialogue>Hello?</dialogue>
<scene_description>INTERCUT: CLOSE ON HANNIBAL, Taken back. Her VOICE freezes him.</scene_description>
<character>ELIZABETH</character>
<dialogue>Who is this?</dialogue>
</scene>
<scene>
<stage_direction>WIDEN. EXT. DUBAI - STREET - DAY</stage_direction>
<scene_description>Hannibal tries to remember why this seemed a good idea.</scene_description>
<character>HANNIBAL</character>
<dialogue>Don't hang up, Elizabeth.</dialogue>
<scene_description>Elizabeth's face goes through a series of emotions: recognition, wonder, rattled, pissed off.</scene_description>
<character>ELIZABETH</character>
<dialogue>Jesus. Hannibal?</dialogue>
<scene_description>Awkward, then.</scene_description>
<character>HANNIBAL</character>
<dialogue>I need a favor.</dialogue>
<character>ELIZABETH</character>
<dialogue>Friends ask for favors.</dialogue>
<character>HANNIBAL</character>
<dialogue>We weren't friends?</dialogue>
<character>ELIZABETH</character>
<dialogue>We were married. But friends? I never received that honor.</dialogue>
<scene_description>On shaky ground, he tries another tack.</scene_description>
<character>HANNIBAL</character>
<dialogue>How's your son?</dialogue>
<character>ELIZABETH</character>
<dialogue>Sons. Three of them.</dialogue>
<scene_description>Another shock.</scene_description>
<character>HANNIBAL</character>
<dialogue>Really. Wow. That's, well, must be a lot of work for you.</dialogue>
<character>ELIZABETH</character>
<dialogue>Arthur always takes paternity leave. To be here for me. Everyday.</dialogue>
<character>HANNIBAL</character>
<dialogue>Is that the good part or the bad part?</dialogue>
<scene_description>She just waits ...</scene_description>
<character>HANNIBAL</character>
<dialogue>I'm happy for you Elizabeth.</dialogue>
<scene_description>Elizabeth's voice softens.</scene_description>
<character>ELIZABETH</character>
<dialogue>ELIZABETH</dialogue>
<scene_description>You don't care how I am.</scene_description>
<character>HANNIBAL</character>
<dialogue>You're reacting like a cynic.</dialogue>
<character>ELIZABETH</character>
<dialogue>I had a good teacher. Good-bye, Hannibal.</dialogue>
<character>HANNIBAL</character>
<dialogue>Wait. Please, Elizabeth. I really need your help.</dialogue>
<scene_description>He's waiting, waiting, waiting ... and before we hear her answer, we ... DISSOLVE TO: WIDE SHOT - DUBAI TOWER - MAIN ENTRANCE - DAY OFFICE WORKERS, SHOPPERS move in and out. UAE FEDERAL POLICE keep traffic moving. A VAN stops. B.A. drives. DOOR OPENS. MURDOCKsteps out. Suit, tie, maybe a little dishevelled. Briefcase. He looks at the entrance, stops. Swallows hard.</scene_description>
<character>HANNIBAL</character>
<dialogue>.What's the problem, Captain?</dialogue>
<character>MURDOCK</character>
<dialogue>I ... uh ... heh-heh ... it's nothing.</dialogue>
<scene_description>They watch Murdock stride towards the entrance.</scene_description>
<character>B.A.</character>
<dialogue>Only one reason why people pretend to be shit-bird crazy. 'Cause they scared to go into battle.</dialogue>
</scene>
<scene>
<stage_direction>INT. DUBAI TOWER - LOBBY</stage_direction>
<scene_description>Sprawling, gleaming. A tasteful SECURITY CHECK POINT run by UAE POLICE. Black goatees. Professional. Murdock freezes. He has to pass his BRIEFCASE through a METAL DETECTOR. He wipes sweat from his cheek. Steps through. Closes his eyes as the BRIEFCASE glides through. Nothing set off. A particularly large UAE GUARD watches Murdock intently. All the way to the ELEVATORS. AT THE ELEVATORS, Murdock waits in a crowd. Seems like forever. Finally, DOORS OPEN. Everyone else steps ON. Murdock is left alone. Appears like he's going to implode.</scene_description>
<character>HANNIBAL ( 0 . S . )</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>On your way up, captain?</dialogue>
<scene_description>Murdock steps ON. Just as DOORS CLOSE... REVERSE ANGLE. HANNIBAL, passing through the METAL DETECTORS. Under the fierce gaze of the UAE GUARDS. Hannibal continues to an ELEVATOR. Steps ON. ON THE ELEVATOR, Packed. Hannibal looks UP. A SECURITY CAMERAis set inside the ceiling. MATCH TO FISH EYE SHOT OF HANNIBAL. Staring at the SECURITY CAMERA. We can HEAR the clicking sounds of a DIGITAL PHOTO rendered.</scene_description>
<character>HANNIBAL</character>
<dialogue>OKIE GUARD</dialogue>
<scene_description>We got a match. It's flagged.</scene_description>
<character>DANIELS</character>
<dialogue>Call Pike. I'm gonna make a sweep.</dialogue>
<scene_description>The Okie picks up a phone ...</scene_description>
</scene>
<scene>
<stage_direction>INT. HELICOPTOR - SAME TIME</stage_direction>
<scene_description>Pike sits in the front of a helicopter traveling over Dubai. He gets the call over his headset and clicks it through ...</scene_description>
<character>PIKE</character>
<dialogue>This isPike.</dialogue>
<parenthetical>(he listens, incredulous)</parenthetical>
<dialogue>Hannibal Smith is in the tower!?</dialogue>
<scene_description>IN THE SKY, the helicopter makes a sharp bank and heads for the massive tower in the distance ...</scene_description>
</scene>
<scene>
<stage_direction>INT. GREEN LAKE SECURITY - LOBBY - SAME TIME</stage_direction>
<scene_description>Sprawling, busy. Large art-directed POSTERS flaunt Green Lake's services. Saving the world. A pretty European RECEPTIONIST, at a desk, suddenly notices MURDOCK, looking around.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Can I help you?</dialogue>
<scene_description>Murdock adjusts his tie.</scene_description>
<character>MURDOCK</character>
<parenthetical>(mumbles)</parenthetical>
<dialogue>I, urn .•. need to ... see someone. It's very ... important.</dialogue>
<scene_description>The Receptionist touches a SECURITY ALERT on her desk. INTERCUT: B.A. AND FACE. Parked on a SIDE STREET just OUTSIDE the TOWER. They HEAR it all.</scene_description>
<character>B.A.</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>He's the Titanic, Hannibal.</dialogue>
<character>FACE</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>We're all going down.</dialogue>
<scene_description>TO HANNIBAL. Stepping OFF the ELEVATOR on ANOTHER FLOOR.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Give him a chance.</dialogue>
<scene_description>BACK TO MURDOCK. Daniels appears.</scene_description>
<character>DANIELS</character>
<dialogue>Can I see ID, sir?</dialogue>
<character>MURDOCK</character>
<dialogue>I don't understand. Don't you know who I am?</dialogue>
<scene_description>Daniels puts his hand firmly on Murdock's elbow ..</scene_description>
<character>DANIELS</character>
<dialogue>Come with me.</dialogue>
<scene_description>Murdock is losing his nerve fast. His mouth suddenly dry as sand. Voice trembling.</scene_description>
<character>MURDOCK</character>
<dialogue>I'm Edward Althorp. I'm expected.</dialogue>
<scene_description>Daniels starts to pull Murdock along. Away from the public spaces. TO HANNIBAL. Listening in. Stops at a STAIRWAY DOOR. BACK TO MURDOCK. Dragged around corners, far into the back by Daniels. Daniels punches a KEYPAD at the STEEL SECURITY Murdock blinks. What a time to be perfectly sane. Knowing he's going to fail.</scene_description>
<character>MURDOCK</character>
<dialogue>I'm. . . Edward ... Althorp. I'm ... expected.</dialogue>
<scene_description>• Daniels smirks.</scene_description>
<character>DANIELS</character>
<dialogue>Well this is going to be fun ...</dialogue>
<scene_description>He gets up and takes off his jacket, cracks a knuckle, and right then ... STEEL DOOR OPENS again. A handsome WOMAN(ARCHER, 40's, business suit, frosted hair) pops through.</scene_description>
<character>ARCHER</character>
<parenthetical>(out of breath)</parenthetical>
<dialogue>Mr . Al thorp?</dialogue>
<scene_description>Murdock's eyes slowly focus on her.</scene_description>
<character>MURDOCK</character>
<dialogue>Yes.</dialogue>
<scene_description>She shoots a disapproving grimace at Daniels.</scene_description>
<character>ARCHER</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>I'm Ms. Archer. We just received your FAX. I'm so sorry. A big misunderstanding;</dialogue>
<scene_description>Daniels senses he's in deep shit.</scene_description>
<character>DANIELS</character>
<dialogue>I guess I didn't understand ... who you were, are, ...</dialogue>
<scene_description>Murdock jumps to his feet. The 'character' flooding into his being. As it often does. He erupts in a torrent of words.</scene_description>
<character>MURDOCK</character>
<dialogue>I have so many former students. He's at the Pentagon. Said they used my system for security. Wanted to outsource work to my company. I did have a company, didn't I? All I had was a Honda Civic. Said my first contract was small. A hundred million .... Four years later, we go public. Now the numbers all start with a 'B'. And I need to outsource my outsource work. That's why I came to Green Lake. I thought I'd be treated with respect.</dialogue>
<scene_description>Daniels has shriveled.</scene_description>
<character>ARCHER</character>
<dialogue>I'm setting up the meeting now, sir. In the meantime, Mr. Daniels will bring you tea. •</dialogue>
<character>MURDOCK</character>
<dialogue>That'll be fine.</dialogue>
<scene_description>They both leave. Murdock waits, opens his BRIEFCASE. Takes out a WIRELESS RADIO RELAY. Peels off sticky-strips. Sets i.t on the wall behind a CABINET.</scene_description>
<character>MURDOCK</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>The tap is open.</dialogue>
<scene_description>IN A HALLWAY: Hannibal hurries through the FIRE DOOR and reaches the next landing. The first thing he sees is a 9mm pointing at his face. The OKIE GUARD throws him against the wall.·</scene_description>
<character>HANNIBAL</character>
<parenthetical>(acting befuddled)</parenthetical>
<dialogue>I think I'm lost.</dialogue>
<character>OKIE GUARD</character>
<dialogue>Shut up.</dialogue>
<scene_description>Hannibal back to the railing where he slips a small disc the size of a quarter from his pocket. He sticks it to the railing ...</scene_description>
<character>OKIE GUARD</character>
<dialogue>Short chopper ride over to Kuwait. Ever see what happens to a body in the desert? No need to bury it. After a day or two, it's gone. Even the bones.</dialogue>
<scene_description>IN THE VAN, B.A.'s laptop lights up, connected. But the signal is weak.</scene_description>
<character>B.A.</character>
<dialogue>I gotta get closer.</dialogue>
<scene_description>He jumps out of the van with a BACKPACK. Looks around. Raises an ANTENNA in the pack. Attached to a small HARD DRIVE. Face slides behind the wheel.</scene_description>
<character>B.A.</character>
<parenthetical>(looks back at Face)</parenthetical>
<dialogue>Five minutes.</dialogue>
<character>FACE</character>
<dialogue>I'll be here.</dialogue>
<scene_description>B.A. heads for the LOBBY. As soon as B.A. is gone, Face slams the gas pedal. Rockets away. INTERCUT: DUBAI - UPSCALE' BAR - SAME TIME Could be Aspen or Acapulco. The universal kingdom of Cosmopolitans and flavored martinis. FIND FACE. AT A TABLE. LOOKING SMUG. Turns his head to find LYNCH, who sits on one side. SOSA, the other.</scene_description>
<character>LYNCH</character>
<dialogue>Did they scam Green Lake?</dialogue>
<character>LYNCH</character>
<parenthetical>(to Waiter)</parenthetical>
<dialogue>Disappear.</dialogue>
<scene_description>He does, quickly. Face turns to Lynch, his smile disappearing too.</scene_description>
<character>FACE</character>
<dialogue>New deal. Here's what I need. New identity. Seychelles, Greece, any tropic will do. Monthly stipend, goes without saying. I won't be piggy, but I have standards.</dialogue>
<scene_description>Sosa drops a FILE on the bar. FACE'S NAME on it.</scene_description>
<character>SOSA</character>
<dialogue>Trading stolen military equipment, smuggling, conspiracy. That' s an easy ten years.</dialogue>
<character>FACE</character>
<dialogue>You knew all that before we made a deal and you let them escape prison. Plus you don't have your art. Obviously, your careers are pinned to finding both the escapees and the goods or you would've taken the Colonel already. I know bullshit better than anyone, remember that.</dialogue>
<scene_description>Lynch eyes him like he's the scum on the bottom of his shoe. Finally ...</scene_description>
<character>·LYNCH</character>
<dialogue>We believe Colonel Smith is going to use Green Lake planes to move the art. I want you to stay close to him. Do not let him ditch you.</dialogue>
<character>FACE</character>
<dialogue>No problem.</dialogue>
<scene_description>Suddenly, Lynch pulls out a NEEDLE GUN, and pops it into Face's wrist, inserting an electronic MONITORING DEVICE. It raises a small BUMP on the skin.</scene_description>
<character>LYNCH</character>
<dialogue>When they show you the art, press this once. We'll find you.</dialogue>
<character>FACE</character>
<dialogue>You could've just ·given me a damn cell phone.</dialogue>
<character>LYNCH</character>
<dialogue>If you've got one dying breath ... it'll take less energy to press the button.</dialogue>
<scene_description>FACE stands, trying to think of something to say. Fuck it. He leaves.</scene_description>
<character>SOSA</character>
<parenthetical>(waits, then)</parenthetical>
<dialogue>I don't trust him. We're leaving too much to his discretion. I should follow him.</dialogue>
<scene_description>Lynch eyes her ...</scene_description>
<character>LYNCH</character>
<dialogue>He finds you doubling him, that means you're out to dry.</dialogue>
<character>SOSA</character>
<dialogue>Sir?</dialogue>
<character>LYNCH</character>
<dialogue>I need this, Lieutenant Sosa.</dialogue>
<scene_description>Collects himself, whispers ... eyes hot.</scene_description>
<character>LYNCH (CONT'D)</character>
<dialogue>This has been a black mark on !!!Y head. If you do something to take this mission down, I will not be there to wipe your nose and hold your hand. Do I make</dialogue>
<character>LYNCH</character>
<dialogue>Then go if you're going.</dialogue>
<scene_description>PUNCH TO: B.A., striding out of the TOWER LOBBY, into daylight. Squints, shields his eyes with his hand. No sign of Face.</scene_description>
<character>B.A.</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Hannibal? Peck ain't here.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>Hannibal? Colonel? ... Sir? Shit ...</dialogue>
<scene_description>FIND MURDOCK: Feet up in a private ROOM. Sipping tea. Munching cookies. Daniels walks in sheepishly. A jar with Arab script in his hand.</scene_description>
<character>DANIELS</character>
<dialogue>They only have local honey.</dialogue>
<character>MURDOCK</character>
<parenthetical>(stares)</parenthetical>
<dialogue>But I said, 'Tupelo honey. ', Tupelo is local only in Mississippi.</dialogue>
<scene_description>Daniels' radio buzzes. He listens for a second ...</scene_description>
<character>DANIELS</character>
<dialogue>I'll be right there.</dialogue>
<scene_description>He turns and walks out. MURDOCKlooks at the door, thinking ... ON THE LANDING PAD: Hannibal stares out across the city. In the distance, Pike's helicopter can be seen bee-lining for the</scene_description>
<character>HANNIBAL</character>
<dialogue>Your accent. It's too little of a drawl to be Texan ... and there's just a hint of Cherokee ... I'm gonna say northern Oklahoma .. .</dialogue>
<scene_description>The guard breaks into a smile ...</scene_description>
<character>OKIE GUARD</character>
<dialogue>Stillwater.</dialogue>
<character>HANNIBAL</character>
<dialogue>I thought ...</dialogue>
<scene_description>Before he finishes the sentence, Hannibal launches and headbutts the Okie with a sickening crack. Okie falls, stunned. One kick to the chin, and he's out cold. Hannibal kneels. Stretches the cuffs to reach the Okie's KNIFE. Starts to cut himself free. Just then, he sees Daniels appear with a Pistol. BANG! The gun FIRES ... ... wildly. RACK FOCUS. MURDOCKstand behind Daniels. Used his briefcase like a club.</scene_description>
<character>MURDOCK</character>
<dialogue>I said Tupelo Honey!</dialogue>
<scene_description>Hannibal just looks at him like he's a loon. IN THE HELICOPTER: Pike sees his two guards down on the landing pad.</scene_description>
<character>PIKE</character>
<dialogue>Shit! Take me down!</dialogue>
<scene_description>CLOSE ON A ROW OF NUMBERS: The list GROWSbefore our eyes. INTO FRAME. A FINGER,</scene_description>
</scene>
<scene>
<stage_direction>WIDEN: EXT. D.UBAI - STREET - DAY</stage_direction>
<scene_description>HANNIBAL and MURDOCKlean over B.A., on a bench, lap top balanced on his knees. DOWNLOADINGfrom his mini-hard drive. The TOWER in the b.g.</scene_description>
<character>B.A.</character>
<parenthetical>(bringing up a new screen)</parenthetical>
<dialogue>What's this? Whoa.</dialogue>
<scene_description>ON SCREEN. ROWS OF SIXTEEN DIGIT NUMBERS. Moving incredibly fast.</scene_description>
<character>HANNIBAL</character>
<dialogue>Those are routing numbers. They're moving money.</dialogue>
<character>B.A.</character>
<dialogue>Moving it? Looks more like ping-pong.</dialogue>
<scene_description>B.A. keeps scrolling through DOWNLOADS.</scene_description>
<character>B.A.</character>
<dialogue>Check this out. They're throwing an anniversary party for themselves. Texas barbecue at their desert compound. Flying in live bands. Cocky suckers.</dialogue>
<scene_description>SCREEN goes DARK.</scene_description>
<character>B.A.</character>
<dialogue>That's everything.</dialogue>
<character>MURDOCK</character>
<dialogue>Where's Lieutenant Peck?</dialogue>
<scene_description>:</scene_description>
<character>B.A.</character>
<dialogue>No sign of him.</dialogue>
<character>FACE (O.S.)</character>
<parenthetical>(suddenly; over two- way)</parenthetical>
<dialogue>T.he local cops were following the van. I</dialogue>
<scene_description>INTERCUT: STREET - SAME TIME FACE moves down on a crowded sidewalk. Looks at a row of stores: Dior, Hermes, Cavalli.</scene_description>
<character>FACE</character>
<dialogue>All these places look the same. Um, it</dialogue>
<scene_description>says ... • (a courtyard arch) Burjuman Center.</scene_description>
<character>HANNIBAL (0. S.)</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>Don't move.</dialogue>
<scene_description>PULL BACK - SOMEONE IS WATCHING FACE From across the street. We assume it's SOSA... NEW ANGLE. But SOSA appears down the block on the other side of the street. REVERSE AND REVEAL PIKE, with a silenced SNIPER RIFLE, SCOPE. Perched on the top of a PARKING GARAGE. Waiting for Hannibal. SOSA lets a BUS by, darting across in its cover. FIND LYNCH: In a SEDAN, parked around the corner.</scene_description>
<character>LYNCH</character>
<parenthetical>(into two-way)</parenthetical>
<dialogue>Has he made contact with Smith yet?</dialogue>
<character>SOSA (O.S.)</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>I don't see him.</dialogue>
<scene_description>SEDAN DOOR OPENS. HANNIBAL sits next to Lynch. Strips OFF his EAR PIECE. Pops the WIRE. Takes his CUFFS. Locks his wrists inside/out on the STEERING WHEEL.</scene_description>
<character>. HANNIBAL (</character>
<dialogue>I didn't steal anything. Green Lake Security. That's who you should be checking out.</dialogue>
<character>LYNCH</character>
<parenthetical>(in a fury)</parenthetical>
<dialogue>Do you think I didn't do my job? I investigated Green Lake. They lost four men. Every bit of evidence points to you.</dialogue>
<character>HANNIBAL</character>
<dialogue>Send a CID team to search their base in Kuwait.</dialogue>
<character>LYNCH</character>
<dialogue>You were found guilty by a military court and even had one of your own testify against you.</dialogue>
<character>HANNIBAL</character>
<dialogue>We were the A-Team.</dialogue>
<character>LYNCH</character>
<dialogue>I don't know what that ...</dialogue>
<character>HANNIBAL</character>
<dialogue>It's combat slang. We were the scapegoats, the fall guys for every overconfident military mistake the army made on the road to Baghdad.</dialogue>
<scene_description>He locks eyes with Lynch.</scene_description>
<character>HANNIBAL</character>
<dialogue>Now some soldiers might just take their medicine and say that's just the army, shit rolls downhill, but it's not the army I believe in. I believe if a man can prove his innocence than he should do</dialogue>
<scene_description>He pats down Lynch until he stops on his front pocket ... Hannibal quickly unbuttons it and withdraws his Special Forces pin.</scene_description>
<character>HANNIBAL</character>
<dialogue>I told you I'd come back for this.</dialogue>
<scene_description>With that, he puts the sedan in 'D'. Jumps out as the car lurches forward. Lynch can't reach the wheel.</scene_description>
<character>LYNCH</character>
<dialogue>Goddammit!</dialogue>
<scene_description>He slams into a CAR, jamming the street. BACK TO FACE: Sosa is still on his tail. He looks up to see the sedan CRASH. That's weird ...</scene_description>
</scene>
<scene>
<stage_direction>.. and suddenly MURDOCKand B.A. are walking with him.</stage_direction>
<character>FACE</character>
<dialogue>Where's Hannibal?</dialogue>
<character>B.A.</character>
<dialogue>You're being followed.</dialogue>
<scene_description>B.A. takes Face's arm and ducks him between two buildings. Sosa hustles to catch up. Just as she pops around the building, B.A. is waiting for her, and grabs her.</scene_description>
<character>SOSA</character>
<dialogue>Get off me!</dialogue>
<scene_description>Face looks up. Sees a glint of LIGHT from the PARKING ROOF. ON THE PARKING GARAGE: Pike FIRES.</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN (MOVING)</stage_direction>
<scene_description>Face and Murdock set Sosa on the back bench.</scene_description>
<character>HANNIBAL</character>
<dialogue>See him?</dialogue>
<scene_description>B.A. checks the mirrors.</scene_description>
<character>B.A.</character>
<dialogue>No.</dialogue>
<scene_description>Groggy, Sosa sill tries to pull her gun. Hannibal reaches back and grabs her wrist. The car swerves.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(to B.A.)</parenthetical>
<dialogue>Do you mind?</dialogue>
<character>SOSA</character>
<dialogue>You're all under arrest.</dialogue>
<scene_description>Murdock presses a handkerchief to her cut.</scene_description>
<character>MURDOCK</character>
<dialogue>It's okay. I'm a doctor.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DUBAI INTERNATIONAL AIRPORT - PARKING GARAGE - DAY</stage_direction>
<scene_description>B.A. takes a DIET COKE from a vending machine by the elevator. Walks over to the VAN. INSIDE. B.A. pops the can for SOSA.</scene_description>
<character>B.A.</character>
<dialogue>My sisters live on diet soda.</dialogue>
<character>SOSA</character>
<dialogue>Their brother lives on larceny.</dialogue>
<scene_description>She sips it anyway. Hannibal sits beside her.</scene_description>
<character>HANNIBAL</character>
<dialogue>Or you can help us. You know we didn't shoot at you from the rooftops.</dialogue>
<character>SOSA</character>
<dialogue>He wasn't shooting at me.</dialogue>
<character>HANNIBAL</character>
<dialogue>Fine. But Lynch just told me that Green Lake checked out clean. Do you really believe that? And why is everyone at Green Lake so keen on killing us if they don't have their hands in the jar.</dialogue>
<scene_description>She just stares at him ... thinking. Hannibal sees his opening.</scene_description>
<character>HANNIBAL</character>
<dialogue>Twenty-four hours, that's all I want. And if I can't prove to you that Green Lake framed us, we'll turn ourselves in.</dialogue>
<character>B.A.</character>
<dialogue>Not me.</dialogue>
<character>FACE</character>
<dialogue>No way.</dialogue>
<character>MURDOCK</character>
<dialogue>What was the question?</dialogue>
<character>HANNIBAL</character>
<dialogue>All of us.</dialogue>
<scene_description>Sosa looks at Face. Figures there's two of them to con Hannibal now.</scene_description>
<character>SOSA</character>
<dialogue>All right. I have nothing to lose. What's your plan?</dialogue>
<character>HANNIBAL</character>
<dialogue>It involves you.</dialogue>
<scene_description>A HILL:</scene_description>
</scene>
<scene>
<stage_direction>.. and find themselves looking down on the sprawling mess in the desert that is Dubai, and the airport.</stage_direction>
<scene_description>If we don't</scene_description>
<character>HANNIBAL</character>
<dialogue>make it, if we don't find the</dialogue>
<scene_description>goods before they fence 'em or find something that ties Green Lake to the museum heist, then this window closes ·forever.</scene_description>
<character>SOSA</character>
<dialogue>My amnesty clock is ticking.</dialogue>
<character>B.A.</character>
<dialogue>We have to find it. They ain't dragging me back to jail. Not for something I didn't do.</dialogue>
<scene_description>Face eyes B.A., looks down at that welt on his wrist.</scene_description>
<character>FACE</character>
<dialogue>You guys ready?</dialogue>
<character>MURDOCK</character>
<dialogue>Ready steady like my cousin Eddie.</dialogue>
<scene_description>Everyone looks at Murdock, but he's just staring ahead, like he's focused on the mission at hand.</scene_description>
<character>HANNIBAL</character>
<dialogue>All right then ... let's show them why they fucked with the wrong soldiers.</dialogue>
<scene_description>With that, they head toward the airport ... DUBAI INTERNATIONAL - BAGGAGECAROUSEL MURDOCKand FACE, in a crowd of PASSENGERS. Long, international flight. Loud BEEP. BAGS start coming round. The cowgirl gives Face a once-over.</scene_description>
<character>FEMALE SINGER</character>
<dialogue>You from the tour company, sugar?</dialogue>
<character>FACE</character>
<dialogue>There's a whole army of lonely guys waiting to hear some real country & western.</dialogue>
<character>COWBOYMUSICIAN</character>
<dialogue>Well, shit, padner ... that's why we came half way round the world.</dialogue>
<character>FACE</character>
<dialogue>Here's your driver.</dialogue>
<scene_description>B.A. appears. The cowgirl reaches for a bulging suitcase. B.A. beats her to it.</scene_description>
<character>B.A.</character>
<dialogue>Let me get that. You got to be careful. You're not in America anymore.</dialogue>
<scene_description>Face hooks the cowgirl's arm.</scene_description>
<character>FACE·</character>
<dialogue>We'll take good care of y'all.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KUWAIT CITY AIRPORT - TERMINAL - LATER</stage_direction>
<scene_description>A VAN at the curb. GREEN LAKE logo. The DRIVER, ex- Ranger, hops out ... as a COWBOYand COWGIRL exit: He's tall, skinny. Dark glasses. Unshaven. Very Hank Williams, Jr. She's a dark-haired Tejana, sultry eyes. CLOSER. The cowpokes are MURDOCKand SOSA.</scene_description>
<character>DRIVER</character>
<dialogue>And I was afraid I wouldn't spot you.</dialogue>
<scene_description>He hands them blindfolds ... Murdock stares at her, like he's smitten. REVERSE: ANOTHER VAN, B.A. and Hannibal watch them leave. Face hops in, lugging a heavy trunk. Slams door closed. B.A. pulls out.</scene_description>
<character>FACE</character>
<dialogue>It took a few phone calls. And declaring personal bankruptcy.· But I got everything.</dialogue>
<scene_description>B.A. speeds after the Green Lake van. AERIAL OVER - GREEN LAKE COMPOUND- KUWAIT - NIGHT A secret base in the KUWAIT DESERT. Hidden in ROCKY HILLS. A HERD of desert GOATS passes like shadows. A private army within the private army. VARIOUS SHOTS: GREEN LAKE BASE - NIGHT QUONSET HUTS. BARRACKS. A black-topped LOT with ARMORED VEHICLES, DPV' s ( DESERT PATROL VEHICLES) , GRIZZLIES. MlAl ABRAMSTANKS... And behind the buildings, a LANDING STRIP. ANGLE - AN OUTDOORSTAGE, Rock concert caliber. LIT UP by tall LIGHT TOWERS. And a C&Wparty. Long GRILLS serving barbecue to Green Lake SOLDIERS. All CONTRACTORS. All ex-Army.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKSTAGE - CLOSE ON MURDOCK</stage_direction>
<scene_description>Feet propped on an AMP. Chatting up the STAGE MANAGER.</scene_description>
<character>MURDOCK</character>
<dialogue>You don't want to push these tejana gals. What a temper. Same ritual, every show. Hair first. Major construction. Then vocal exercises, you know, 00-00, ee-ee, aa-aa.</dialogue>
<scene_description>Murdock picks up his GUITAR.</scene_description>
<character>MURDOCK(CONT'.D)</character>
<dialogue>In the meantime, I'll plug in.</dialogue>
<scene_description>PUSH INSIDE GUITAR. A COMPUTERBOARD, soldered where the pick up should be. SIX RED LIGHTS. Blink in succession.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GREEN LAKE BASE - OPPOSITE SIDE - SAME TIME</stage_direction>
<scene_description>SOSA, moves along the perimeter. Costume glitters with spangles. Passing by flat-roofed WAREHOUSES. PULL BACK INTO POV: HANNIBAL and FACE, in the rocks, quarter mile away. Hannibal sites SOSA in an INFRARED SCOPE on his tri-pod mounted BARRETT SNIPER RIFLE. While B.A. d.;Lsperses Face's trunk into 80 lb. packs, Hannibal follows Sosa to a WAREHOUSEWINDOW.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(into two-way)</parenthetical>
<dialogue>Hold the unit to the window.</dialogue>
<scene_description>SOSA takes off her hat.' Lifts an tiny CAMERAon a snake cord UP to the WINDOW. BACK TO HANNIBAL, watching the image on a 4x4 MONITOR.</scene_description>
<character>HANNIBAL</character>
<dialogue>Just supplies ... Go on to the next one.</dialogue>
<scene_description>SOSA turns for the next warehouse. Notices a ROAD, at the rear of the base. To a distant WAREHOUSE. Half mile away.</scene_description>
<character>SOSA</character>
<dialogue>SOSA</dialogue>
<parenthetical>(two-way)</parenthetical>
<dialogue>I'll take a peek.</dialogue>
<scene_description>Hannibal is caught off guard.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(two-way)</parenthetical>
<dialogue>No. Go back. That's an order.</dialogue>
<character>SOSA</character>
<dialogue>Sorry, you're not in my chain of command.</dialogue>
<character>HANNIBAL</character>
<dialogue>Goddammit.</dialogue>
<scene_description>SOSA jogs down the road. Hannibal HEARS her YELP. OUT OF THE DARK. A GREEN LAKE GUARD, snags her wrist.</scene_description>
<character>GUARD</character>
<dialogue>You're in big trouble, sweetie.</dialogue>
<scene_description>HANNIBAL fixes the GUARD in his BARRETT RIFLE.</scene_description>
<character>SOSA</character>
<parenthetical>(trying to stay calm)</parenthetical>
<dialogue>Did I do something wrong, sugar?</dialogue>
<character>GUARD</character>
<dialogue>You were supposed to be on stage five minutes ago.</dialogue>
<scene_description>He smiles, leads her away ... BACK TO HANNIBAL. Lowers the rifle. Checks his watch. Looks at Face.</scene_description>
<character>HANNIBAL</character>
<dialogue>Let's move.</dialogue>
<scene_description>Each one grabs a pack. ON THE CAMP PERIMETER - MOMENTSLATER, B.A. plugs in a LOOP WANDwith an ELECTROMAGNETICpulse.</scene_description>
<character>B.A.</character>
<dialogue>How do you know?</dialogue>
<character>FACE</character>
<dialogue>'Cause the General I grifted always commissions the good shit.</dialogue>
<scene_description>Face turns UP the wattage and the wand crackles.</scene_description>
<character>FACE</character>
<dialogue>Go.</dialogue>
<scene_description>WIDEN. They scamper across the perimeter. Race to the cover of GROUNDFUEL TANKS. Hannibal aims his SCOPE. INTO POV: THE ISOLATED WAREHOUSE. No Guards.</scene_description>
<character>HANNIBAL</character>
<dialogue>Looks clear.</dialogue>
<scene_description>No one moves.</scene_description>
<character>B.A.</character>
<dialogue>Shouldn't be clear.</dialogue>
<scene_description>Now what.</scene_description>
<character>HANNIBAL</character>
<dialogue>Well, we either caught a lucky break, or ...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We found it.</dialogue>
<scene_description>B.A. and Hannibal move off toward the WAREHOUSEas Face slides his hand to the MONITOR, under his skin. Press. Faintest click, he triggers it, then runs after them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SOMEWHEREIN THE DESERT - THREE BLACKHAWKS</stage_direction>
<scene_description>Wait in darkness. LYNCH, in the ONE CHOPPER, watches his ON BOARD GPS start BEEPING. Lynch locks in the location.</scene_description>
<character>LYNCH</character>
<dialogue>They cross to the far side. Cinder BLOCK WALL. Hannibal runs his hand over it.</dialogue>
<character>HANNIBAL</character>
<dialogue>You ever hear of Browning?</dialogue>
<character>B.A.</character>
<dialogue>The rifle?</dialogue>
<character>HANNIBAL</character>
<dialogue>The poet.</dialogue>
<scene_description>Hannibal is studying the wall.</scene_description>
<character>HANNIBAL</character>
<dialogue>He wrote one</dialogue>
<scene_description>for a sick boy, called it The Pied Piper of Hamelin. It focused on a mountain wall, which could magically close over everything precious. He taps the wall ... listening.</scene_description>
<character>HANNIBAL</character>
<dialogue>Trapping them inside, forever.</dialogue>
<character>B.A.</character>
<dialogue>You think this Browning fella ever head of Semtex?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STAGE - NIGHT</stage_direction>
<scene_description>BAND rolling into a MUSICAL INTRO. GREEN LAKE SOLDIERS, stand, clapping in UNISON. Rebel yells, howls. . .. MURDOCK strums his guitar. Beaming at the crowd. INTERCUT: MIXING BOARD, TWO TECHIES. ONE hears Murdock's guitar, isolated in his head phones. It sounds terrible.</scene_description>
<character>ONE TECHIE</character>
<parenthetical>(to his partner)</parenthetical>
<dialogue>He's kidding, right?</dialogue>
<scene_description>WIDEN. SPOTLIGHT HITS SOSA, strutting on stage. Fringed Has a human VOICE ever been more off key? Sosa seems oblivious ...</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE- SAME TIME</stage_direction>
<scene_description>B.A. triggers the TIMER. Runs back with Hannibal. Beat ••• SEMTEX rips a HOLE in the wall. Well, more than a hole. More than they wanted. By a lot.</scene_description>
<character>B.A.</character>
<parenthetical>(coughing from dust)</parenthetical>
<dialogue>A little heavy?</dialogue>
<scene_description>The CAMERAPUSHES IN ON HANNIBAL, worried ..•</scene_description>
<character>HANNIBAL</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRIVATE OFFICE - SAME TIME</stage_direction>
<scene_description>PIKE, monitoring the show. A tilt of his head. HEARS the low ECHO of an explosion. Quick shake of the ground. Pike signals his ex-SPECIAL FORCES SOLDIERS, already reaching for guns. INT . WAREHOUSE Hannibal, B.A., and Face hurry through to a large, windowless SPACE. Hannibal shines his light. Empty.</scene_description>
<character>B.A.</character>
<dialogue>They moved it.</dialogue>
<scene_description>Hannibal shakes his head ... rocks on his feet.</scene_description>
<character>HANNIBAL</character>
<dialogue>The floor. Hydraulics.</dialogue>
<scene_description>He scans the wall with his light. POWER BOX, in the corner. Hannibal pulls a large LEVER. Standing in a dusty suit is DR. AL-MAHDI. Chained by his foot to the wall. By a COMMUNICATIONSSYSTEM. COMPUTERS, MONITORS, VIDEO.</scene_description>
<character>DR. AL-MAHDI</character>
<parenthetical>(blinks, then)</parenthetical>
<dialogue>Have they captured you, too, colonel?</dialogue>
<character>HANNIBAL</character>
<dialogue>Hell, we just captured them. Turn your head, professor.</dialogue>
<scene_description>Al-Mahdi looks away. Hannibal uses an iron rod to pop the chain from his foot.</scene_description>
<character>DR. AL-MAHDI</character>
<dialogue>They sold some of the art. But most of it is here.</dialogue>
<scene_description>He opens a TRUCK and we see the MUSEUMARTIFACTS. Packed in bubble wrap, for shipping. Al-Mahdi unwraps a small package revealing the real GOLDEN VASE. Rather than shining gold, it's actually more dented metal. But something about that makes it more majestic. Al-Mahdi holds it like a newborn.</scene_description>
<character>FACE</character>
<dialogue>I'll go watch the flank.</dialogue>
<scene_description>Hannibal nods and Face takes off. Hannibal walks deeper in the garage and finds A PREDATOR DRONE. A ground-controlled, unmanned vehicle. About the size of a small car. And just then it hits him ...</scene_description>
<character>HANNIBAL</character>
<dialogue>I saw it.</dialogue>
<scene_description>FLASHBACK: HANNIBAL, on the ground in front of the museum. A SHADOWripples past.</scene_description>
<character>. B.A.</character>
<dialogue>They're armed like their own country.</dialogue>
<character>HANNIBAL</character>
<dialogue>They are their own country.</dialogue>
<scene_description>BARRACKS - GENERAL GARNER - MOMENTSLATER Steps from the shower to pick up a call.</scene_description>
<character>HANNIBAL</character>
<dialogue>Operation 'Friends of Liberty' is back on.</dialogue>
<scene_description>General Garner sits down.</scene_description>
<character>GEN. GARNER</character>
<dialogue>You found the stolen art?</dialogue>
<scene_description>Hannibal looks over the artifacts.</scene_description>
<character>HANNIBAL</character>
<dialogue>A whole museum's worth.</dialogue>
<character>GEN. GARNER</character>
<dialogue>Can you get it out?</dialogue>
<scene_description>B.A. catches Hannibal's attention, puts a finger over his lips like Shhhh. Points UP.</scene_description>
<character>HANNIBAL</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>I'm texting coordinates. Send a Ranger platoon to meet me.</dialogue>
<scene_description>Hannibal clicks off as the LIFT begins to RISE. He shows B.A. TEN FINGERS. Huh? Then B.A. nods, thumbs up. Opens his pack. Takes out a WIRE SPOOL.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STAGE - SAME TIME</stage_direction>
<scene_description>SOSA, at the mike. No matter how good she looks, her PUSH INSIDE MURDOCK'S GUITAR. An ELECTRIC SURGE travels to the POWER RELAY... EXPANDEDTHROUGHTHE CHORD... ALONG-THE STAGE... UP THE LIGHT TOWERS. LIGHTS brighten, for a second. Then they EXPLODE. WIDEN, as the entire BASE GOES DARK. Murdock grabs Sosa's hand. They start running.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ON THE BASE - SAME TIME - FIND FACE:</stage_direction>
<scene_description>Moving past the rows of ARMOREDVEHICLES. Trying to get his ass out of there. Slips into a GRIZZLY APC. Keeping headlights OFF, he drives away.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAREHOUSE- UNDERGROUND</stage_direction>
<character>GARAGE- HYDRAULIC FLOOR</character>
<dialogue>Pike and his EX-SOLDIERS DROP INTO FRAME. FLASHLIGHTS crisscross the garage. Start moving FORWARD.</dialogue>
<dialogue>WITH PIKE: checking each RIG. TRAILER: then CAB.</dialogue>
<dialogue>CLOSE ON HANNIBAL, flat on his stomach. Al-Mahdi beside him, eyes wide. We can't tell which RIG they're in.</dialogue>
<dialogue>BACK TO PIKE, throwing open DOORS. Two MEN point rifles while Pike sweeps the trailer. Empty.</dialogue>
<dialogue>A TRUCK ENGINE starts. Somewhere else. PIKE races to the sound. Signals his guys to surround the TRUCK. Pike waits until they're in place. Yanks OPEN the DRIVER'S DOOR.</dialogue>
<dialogue>EMPTY... CAMERARUSHES TO THE ENGINE GRILL. A WIRE runs from the block along the floor.</dialogue>
<scene_description>PUNCH WIDE. EVERY RIG IN THE GARAGESTARTS UP. BRIGHTS FLASH ON. HORNS GO OFF. PIKE and his EX-SOLDIERS spin in circles, not sure whichone to run to. TIGHT ON B.A., underneath a STEERING WHEEL. Twisted like a Pike unloads a clip from his automatic rifle into the cab. The TRUCK keeps lumbering. UP THE RAMP. Pike's MEN move with it. Shredding the CAB and TRAILER with concentrated fire. BEAT. Then the truck ERUPTS in flames, burning so bright they have to step back. PIKE: kicks the cab door, which FALLS. OFF. Pike leans through the smoke. What the hell? Empty. RACK FOCUS. A DIFFERENT TRUCK rumbles through the SMOKE.</scene_description>
<character>PIKE</character>
<parenthetical>(bellows)</parenthetical>
<dialogue>There.</dialogue>
<scene_description>IN THE CAB. • B.A., jams the gear shift. Sits UP. IN THE TRAILER. Hannibal keeps Al-Mahdi's head low as bullets cut through the trailer. Al-Mahdi groans as ammo explodes a STATUE. B.A. blows through the GARAGE DOORS. PIKE chases after, backlit by flames, unloading a clip. One of his EX- SOLDIERS appears.</scene_description>
<character>PIKE</character>
<dialogue>Send a team of Grizzlies out. I'll find them from the air.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. 18 WHEELER - DESERT - NIGHT (MOVING)</stage_direction>
<scene_description>Hannibal leaps from the trailer, runs to the cab. B.A. accelerates over the rough terrain. ANGLE. IN FRONT OF THEM. The ground suddenly rises up with a deafening percussive ROAR. •</scene_description>
<character>HANNIBAL</character>
<parenthetical>(shouts over)</parenthetical>
<dialogue>Kill your lights.</dialogue>
<scene_description>The world turns BLACK. B..A. can't see a thing. Hannibal</scene_description>
<character>B.A.</character>
<dialogue>My cousin D'Andre used to turn the lights out and drive Route 2 in the hills over Eagle Rock. Freaked us all out.</dialogue>
<character>HANNIBAL</character>
<dialogue>Bet he didn't have a Blackhawk on his tail.</dialogue>
<character>B.A.</character>
<dialogue>Worse. LAPD.</dialogue>
<scene_description>ON THE BLACKHAWK. PIKE comes round. Sprays rounds in FRONT OF A-RIG, just close enough to make B.A. turn.</scene_description>
<character>HANNIBAL</character>
<dialogue>He won't hit us. Not with a billion dollars worth of art in the back.</dialogue>
<character>B.A.</character>
<dialogue>He's herding us.</dialogue>
<scene_description>IN THE TRAILER. Dr. Al-Mahdi is tossed around like a rag doll. He grabs a precious BOWL as it starts to fall. Tries to hold as many things as he can. The BLACKHAWKstrafes around the rig, pushing towards a BLIND CANYON IN THE MOUNTAINS. The RIG follows along a sandy bottom. It winds for a quarter mile. Now B.A. leans forward.</scene_description>
<character>B.A.</character>
<dialogue>There's no way out, colonel.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>Hannibal?</dialogue>
<scene_description>But Hannibal is not in the truck anymore. TILT UP: Pike's CHOPPER zooms over them. Fires two ROCKETS in succession. The rockets slam into the CLIFF. ROCKS fall, blocking any retreat. The rig is now literally stuck between a rock and a hard</scene_description>
<character>PIKE</character>
<parenthetical>(into two-way)</parenthetical>
<dialogue>He's stuck. Send out a crew to tow the rig back.</dialogue>
<scene_description>ON THE CLIFF, HANNIBAL leaps from solid rock ... THROUGHthe AIR ... ONTO the BLACKHAWK. CLINGS to the HOLD DOOR. PIKE, feels the impact. Looks LEFT. Nothing. RIGHT, the HOLD DOOR is OPEN. He reaches for his 9mm and spins, just as HANNIBAL lands a punch. PIKE yanks the STICK back, sending the BLACKHAWKboth UP, and banking RIGHT. HANNIBAL is thrown towards the OPEN PASSENGER DOOR. Braces his arm. Pike fires, shatters the WINDOW. Lands a rabbit punch to Hannibal's back. Hannibal shoots his elbow, catching Pike's cheek, and grabs for the stick, but it's too late ... The BLACKHAWKclips a ROCK, its blades sliced away. With a lurch the helicopter flips to its side, CRASHES. INSIDE. HANNIBAL and PIKE, neither is moving. LONG BEAT. Finally PIKE bolts up to see a growing FIRE. Disoriented, he Pulls himself OUT.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACKHAWK- ON THE ROCK OUTCROP (CONTINUOUS)</stage_direction>
<scene_description>PIKE emerges from the burning chopper. Sees HEADLIGHTS, moving his way. Reaches for a side arm with his bloody hand. Turns ... FINDS HANNIBAL, already charging .. Hannibal knocks his handand the gun skips OVER the edge. ON HANNIBAL and PIKE, each grips the other's gun belt. Landing blows. Eye to eye. Pike's enormous upper body strength starts to overwhelm Hannibal. The next blow propels Hannibal back OFF the rock. Drops eight feet, hits hard. A FLAT LEDGE. No time to recover. Pike is on him. WIDE SHOT - CANYON- THREE GRIZZLIES Racing to the RIG. A Green Lake GUNNER sights the TRAILER with his MOUNTED7.6 rrnn. ON B.A.: takes a position in front of the TRAILER. DR. AL- MAHDI, hides behind.</scene_description>
<character>B.A.</character>
<dialogue>They want to take us ... they're gonna have to get through me.</dialogue>
<scene_description>ANGLE. The ARMORED.VEHICLES almost there. A LIGHT, out of nowhere, suddenly, BLINDS THEM. All THREE GREEN LAKE DRIVERS STOP. Eyes adjust to the LIGHT. REVERSE. A GREEN LAKE ABRAMSMlAl sits in front of them. Turret shifts towards them. ONE GREEN LAKE DRIVER radios to a SECOND DRIVER.</scene_description>
<character>FIRST DRIVER</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Easy. He's one of ours.</dialogue>
<scene_description>No doubt, the Green Lake EMBLEM, painted on the side. LEAD GRIZZLY starts AROUNDthe TANK. Other TWO follow. But what's this? The tank's TURRET turns with them. INT. ABRAMSMlAl TANK - SAME TIME MURDOCK, behind SOSA. At the SCOPE, of the 120 rrnn smoothbore CANNON.</scene_description>
<character>MURDOCK</character>
<dialogue>Objects in the scope may .appear closer than they are.</dialogue>
<scene_description>Sosa squints through the scope, slips her finger on the RED GUN TRIGGER .. IN THE FINAL APC: The passenger barks at the driver.</scene_description>
<character>APC PASSENGER</character>
<dialogue>Run 'em down!</dialogue>
<scene_description>The driver grits his teeth ... mashes the accelerator ... IN FRONT OF THE TRUCK: B.A. has nowhere to go ... he grits his teeth, the APC baring down on him ... he's a goner ...</scene_description>
</scene>
<scene>
<stage_direction>.. when all of a sudden, another GRIZZLY comes flying out of nowhere, and ...</stage_direction>
<scene_description>INSIDE THE GRIZZLY, we see Face at the wheel! It barrels into the side of the other APC, SMASH! Knocking it over so it rolls like a spare tire and smashes into the canyon's walls. B.A. looks up at Face ... grateful. Face just winks from behind the wheel. He wipes the sweat off his brow with the back of his .hand and the CAMERAPUSHES IN ON HIS WRIST ... which is bloody, like something's been cut out of it.</scene_description>
</scene>
<scene>
<stage_direction>INTERCUT: EXT. CID BLACKHAWKFORMATION - NIGHT</stage_direction>
<scene_description>LYNCH follows the MONITOR SIGNAL on his GPS.</scene_description>
<character>LYNCH</character>
<dialogue>Take me down.</dialogue>
<scene_description>WIDEN. CID BLACKHAWKformation touches down. CID OFFICERS dismount with LYNCH. Heavily armed. Moving along the ridge. LYNCH follows the SIGNAL on a HAND MONITOR.</scene_description>
<character>LYNCH</character>
<dialogue>He's coming out.</dialogue>
<scene_description>Metallic click of safeties released. OUT OF THE CAVE. MOUNTAINGOATS. Moving lazily past the MP's. CLOSER. Face's MONITOR DEVICE, tied to the foreleg of the last GOAT. Lynch's face is bright red ... raging. WIDE SHOT - SOMEWHEREIN KUWAIT - DESERT MOUNTAINS - DAWN DR. AL-MAHDI stands by the 18 WHEELER. Dishevelled, but the pride back in his eyes. Face and B.A. are there. HANNIBAL watches as the ABRAMSMlAl rumbles INTO VIEW. MURDOCK, hops out first. Lends a HAND to SOSA. She climbs out ... looks at Face in wonder ...</scene_description>
<character>SOSA</character>
<dialogue>You were never with us ...</dialogue>
<character>FACE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Nahhh, really?</dialogue>
<character>SOSA</character>
<parenthetical>(in wonder)</parenthetical>
<dialogue>Which means, even back at the trial ...</dialogue>
<character>FACE</character>
<dialogue>The colonel was being railroaded ...</dialogue>
<character>HANNIBAL</character>
<dialogue>And I needed a man who could work from the outside.</dialogue>
<character>FACE</character>
<dialogue>And keep tabs on the pursuers ...</dialogue>
<character>HANNIBAL</character>
<dialogue>... while we were clearing our names.</dialogue>
<scene_description>Hannibal walks over to him, eyes soft ... looks him in the eye.</scene_description>
<character>HANNIBAL</character>
<dialogue>I'm sorry, sergeant. You were the last man put on the mission and even though I was convinced you weren't doubling us, I had to be sure.</dialogue>
<scene_description>B.A. looks a little hurt, but nods.</scene_description>
<character>B.A.</character>
<dialogue>Itwas the smart thing to do.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But if you ever doubt me again ...</dialogue>
<character>. HANNIBAL</character>
<dialogue>I'll beat anyone through a wall who doubts you again, sergeant.</dialogue>
<scene_description>Hannibal salutes him, and B.A. returns the salute. Hannibal checks his watch.</scene_description>
<character>HANNIBAL</character>
<dialogue>One phone call and we get our lives back ...</dialogue>
<scene_description>Dr. Al-Mahdi locks eyes with Hannibal.</scene_description>
<character>DR. AL-MAHDI</character>
<dialogue>If you take possession of our art, I will never see it again. You know that. It will be held as evidence. Shipped back and forth while the world fights over jurisdiction.</dialogue>
<scene_description>Hannibal shifts on his feet.</scene_description>
<character>MURDOCK</character>
<dialogue>If we don't deliver all this to the United States Army we're still criminals.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>DR. AL-MAHDI</dialogue>
<scene_description>to wait until the madman fell from power and there was peace again. I can wait, too.</scene_description>
<character>FACE</character>
<dialogue>Might be a long time.</dialogue>
<character>DR. AL-MAHDI</character>
<dialogue>My country is ten thousand years old. A few more lifetimes won't matter.</dialogue>
<scene_description>Hannibal, Face, B.A., and Murdock all share looks. Finally they all nod in agreement.</scene_description>
<character>HANNIBAL</character>
<dialogue>Freedom is overrated anyway.</dialogue>
<scene_description>Face looks over at Sosa, who is sitting by herself over on a rock, the weight of the world on her shoulders. He slides over to her.</scene_description>
<character>SOSA</character>
<dialogue>I'm screwed. You played us and I'm screwed ...</dialogue>
<character>FACE</character>
<dialogue>You were screwed anyway. Lynch was hanging you out on this from day one.</dialogue>
<scene_description>Sosa stands up, sets her\_ jaw.</scene_description>
<character>SOSA �</character>
<dialogue>So now what?</dialogue>
<scene_description>They all look at her. Hannibal's thinking. Then ...</scene_description>
<character>HANNIBAL</character>
<dialogue>One other thing doesn't add up ...</dialogue>
<scene_description>HOLD ON HANNIBAL, realizing this is not over. DISSOLVE:</scene_description>
<character>ELIZABETH</character>
<dialogue>You would expect me to drop everything for you.</dialogue>
<character>HANNIBAL</character>
<dialogue>That wouldn't be fair.</dialogue>
<scene_description>But he did, and she did.</scene_description>
<character>ELIZABETH</character>
<dialogue>I called a Federal A.G. I know. There's a bank in South Carolina under investigation. They think Green Lake has been laundering money through it.</dialogue>
<character>HANNIBAL</character>
<dialogue>Okay.</dialogue>
<character>ELIZABETH</character>
<dialogue>It's in one of those silly small towns. With a patriotic name. 'Friends of Liberty, South Carolina.'</dialogue>
<scene_description>HOLD ON HANNIBAL, mind racing.</scene_description>
<character>HANNIBAL</character>
<dialogue>I owe you.</dialogue>
<character>ELIZABETH</character>
<dialogue>You do. So don't call me again, Hannibal.</dialogue>
<scene_description>And with that, she hangs up. He looks at his phone, chagrined. Then smiles an appreciative smile, and we cut to ... CLOSE ON A BOTTLE OF JACK DANIELS, A GLASS set down, now empty. And a stack of HUNDREDDOLLAR BILLS. Shrink-wrapped.</scene_description>
</scene>
<scene>
<stage_direction>WIDEN: INT. FARM HOUSE - RURAL SOUTH CAROLINA - DAY</stage_direction>
<scene_description>Garner slams the TAIL GATE. HANNIBAL is there.</scene_description>
<character>HANNIBAL</character>
<dialogue>You had a feed of the Baghdad raid. You knew it was Green Lake the whole time.</dialogue>
<character>GEN. GARNER</character>
<dialogue>They're a persuasive bunch.</dialogue>
<character>HANNIBAL</character>
<dialogue>You're looking at the last guy.who should be giving advice about the military justice system ...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What if I said you can give it back?</dialogue>
<scene_description>They hold each other's eyes.</scene_description>
<character>GEN. GARNER</character>
<dialogue>Green Lake billed three hundred million last year. Imagine.</dialogue>
<character>HANNIBAL</character>
<dialogue>I'd get a headache.</dialogue>
<character>GEN. GARNER</character>
<dialogue>At some point I realized the whole country didn't care about anything anymore, except getting rich. And why not? Whoever said money can't buy happiness was dead broke.</dialogue>
<scene_description>Then.</scene_description>
<character>GEN. GARNER</character>
<parenthetical>(bitter)</parenthetical>
<dialogue>To Hell with the army. And to hell with you.</dialogue>
<parenthetical>(shouts)</parenthetical>
<dialogue>You were supposed to come back with the chopper. That was the plan. But you had to ...</dialogue>
<scene_description>WHAM!!! Hannibal levels him with a haymaker left, sending</scene_description>
<character>HANNIBAL</character>
<dialogue>Military police are on the way. You can explain to.them yourself where you got the money. I won't be around.</dialogue>
<scene_description>Garner stands back up, faces Hannibal.</scene_description>
<character>GEN. GARNER</character>
<dialogue>You can't run forever.</dialogue>
<character>HANNIBAL</character>
<dialogue>You know something, sir?·</dialogue>
<character>GEN. GARNER</character>
<dialogue>What?</dialogue>
<scene_description>Hannibal WALLOPS him with his RIGHT ... knocking him out.</scene_description>
<character>HANNIBAL</character>
<dialogue>I'm better with my right hand.</dialogue>
<scene_description>He walks off, shaking his hand. UP A RURAL HILL: Hannibal looks back at the small farm house ... so peaceful out here ... as a BEVY OF MILITARY SQUAD CARS roar into the front yard and stop. He starts to walk away, when a GUNSHOT rings out from near the truck... Hannibal turns around quickly, looks down at the truck... and sees General Garner lying there, a gun in his hand, slumped over ... a suicide. Hannibal just shakes his head, and hustles away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL - PARKING LOT - SOUTH CAROLINA - DAY</stage_direction>
<scene_description>Murdock just shrugs ... WIDEN, AS THEY WALK ALONG THE CARS. They feel vulnerable in public. But can't quite leave each other yet.</scene_description>
<character>HANNIBAL</character>
<dialogue>The CID lists us as escaped felons. There's a million dollar reward on me. Oh, and General Garner's suicide pretty much .closed the door on us proving our</dialogue>
<dialogue>innocence. Everyone thinks we were all</dialogue>
<dialogue>tied into it with him. The case is officially closed.</dialogue>
<dialogue>The others just shake their heads, this sinking in.</dialogue>
<dialogue>HANNIBAL</dialogue>
<scene_description>So I guess this is it, boys. We're too easy to spot as a group.</scene_description>
<character>FACE</character>
<dialogue>Try not to look like soldiers. Buy some clothes, get a good hair cut.</dialogue>
<scene_description>Hannibal smiles.</scene_description>
<character>HANNIBAL</character>
<dialogue>And watch your back.</dialogue>
<character>B.A.</character>
<dialogue>Hard for one man to watch his own back.</dialogue>
<scene_description>MURDOCKsuddenly lowers his head.</scene_description>
<character>MURDOCK</character>
<dialogue>Some lady's following us.</dialogue>
<scene_description>A MIDDLE-AGED WOMAN, sneakers, jeans, nervous, walks right up to Hannibal.</scene_description>
<character>MIDDLE-AGED WOMAN</character>
<dialogue>Colonel Smith?</dialogue>
<scene_description>Hannibal doesn't know what to say.</scene_description>
<character>MIDDLE-AGED WOMAN</character>
<dialogue>I can't go to the FBI. My son is ex- military. I think he was mixed up in some serious government business ...</dialogue>
<character>HANNIBAL</character>
<dialogue>I don't know what you're thinking I can do ...</dialogue>
<character>MIDDLE-AGED WOMAN</character>
<dialogue>I '·11 pay you a retainer.</dialogue>
<character>HANNIBAL</character>
<dialogue>I'm sorry ... I just ...</dialogue>
<character>MIDDLE-AGED WOMAN</character>
<dialogue>I don't want some second rate security agency to track him down. I need the best.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm extremely wealthy, colonel. I'm willing to pay a million dollars if you can find my son.</dialogue>
<scene_description>Everyone looks at her, suddenly interested.</scene_description>
<character>HANNIBAL</character>
<dialogue>How'd you find me, ma'am?</dialogue>
<character>MIDDLE-AGED WOMAN</character>
<dialogue>She told me.</dialogue>
<scene_description>PAN RIGHT. SOSA, appears, looking pretty spectacular in a sun dress.</scene_description>
<character>SOSA</character>
<dialogue>Face was right. Lynch set me up, had me signing all the paperwork instead of him. The entire mission was off the books.</dialogue>
<character>HANNIBAL</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>Sosa shrugs ... MOVEfrom HANNIBAL, to B.A., to FACE, to MURDOCK.</scene_description>
<character>HANNIBAL</character>
<dialogue>You soldiers want to do this?</dialogue>
<scene_description>And before they can answer, we ... FADE OUT.</scene_description>
</scene>
</script> | John "Hannibal" Smith is held captive in Mexico by two corrupt Federal Police officers working for renegade General Javier Tuco. Hannibal escapes and sets out to rescue his friend Templeton "Face" Peck, who is also held captive at Tuco's ranch. Hannibal saves Face after enlisting former Ranger B.A. Baracus, driving to the rescue in B.A.'s modified GMC Vandura. Pursued by Tuco, they stop at a nearby Army hospital to recruit the services of a pilot H.M. "Howling Mad" Murdock. They flee in a medical helicopter and are being chased by Tuco in a dogfight. They lure Tuco's helicopter into American airspace where it is shot down by a fighter jet for trespassing, killing Tuco. Eight years later in Iraq, Hannibal is contacted by CIA Special Activities Division operative Lynch, who assigns them on a black operation to recover U.S. Treasury plates and over $1 billion in cash slated to move out of Baghdad in an armored convoy. Hannibal's commanding officer, General Morrison, consents to the operation but Face's former girlfriend, Defense Criminal Investigative Service Capt. Charissa Sosa, tries to discourage the team from getting the plates. The mission is successful, but when the team returns to base, both the money and Morrison's vehicle are destroyed by Brock Pike and his men from the private security firm Black Forest. Without Morrison, the only proof that they were authorized to act, Hannibal, Face, Murdock, and B.A. are court-martialed, sentenced to ten years in separate supermax prisons, and dishonorably discharged. Because the plates were her responsibility, Sosa is demoted to lieutenant. Six months later, Lynch visits Hannibal in prison and tells him that Pike may be trying to sell the plates with the help of an Arab backer. Hannibal, who has been tracking Pike on his own, makes a deal with Lynch: full reinstatement and clean records for his team in return for the plates. Lynch agrees and Hannibal escapes, breaking out Face, B.A., and Murdock in the process. The team hijacks a C-130, which is later destroyed by Reaper UCAVs, but not before the team parachutes away in an M8 light tank stashed aboard and make it to the ground safely. The team moves to reclaim the plates and kidnaps Pike's backer. It is revealed that the backer is actually General Morrison in disguise, who plotted with Lynch and Pike to steal the plates but teamed up with Pike to double-cross Lynch and fake his death. Lynch orders an airstrike to kill the team and Morrison, but the team manages to escape while Morrison is killed in the explosion. Hannibal arranges to meet Sosa on board a container ship at the Port of Los Angeles, saying he will hand over "Morrison" and the plates. Face then calls Sosa and conspires on a different plan with her. It all unfolds according to plan until Pike, who is now working with Lynch, blows up the container ship with a rocket launcher and chases Face in an ensuing gunfight. B.A. confronts Pike before breaking his neck, killing him and saving Face's life. Hannibal leads Lynch into a container with Murdock, who, wearing a covered, bullet-proof helmet filled with ketchup, is portraying Morrison. Lynch shoots at Murdock's head, and believing that he has killed Morrison, is later tricked into admitting that he stole the plates and is subsequently caught and arrested by Sosa for his crimes. CIA agents led by a separate "Lynch" come and claim custody of the original one. Despite their success and proving themselves innocent, the military still arrests the team for escaping from federal prison, which is a criminal offense. Sosa is reinstated to captain, but she promises to do all she can to set the team free and kisses Face as everybody is led into a prison van. In the van, Face opens his mouth, revealing a handcuff key given to him by Sosa through the kiss. |
The Ladykillers_2004 | tt0335245 | <script>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - DAY</stage_direction>
<scene_description>A BOAT Specifically , a garbage scow . We see it from ON HIGH , chugging down the placid but mighty Mississippi . Head credits play over COVERAGE of the garbage scow . No sound , except for an incongruously heroic score . The COVERAGE is a little rough , coarse - grained ; along with the overbearing score it almost suggests an industrial film rather than a feature . One piece of sound - the toot of the boat 's horn - is obviously library . And not a new library either . The garbage scow passes under a bridge spanning the broad , sluggish waters , and proceeds on to its landfill , a steaming river island . Disturbed gulls and other scavenger birds rise from where they were picking through trash . Their squawks , like the boat horn , are not quite believable as SYNC . The head credits end as the anthemic music resolves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAUCIER, MISSISSIPPI - DAY</stage_direction>
<scene_description>AN OLD HOUND DOG lies on the weather - grayed and - roughened planking of a front porch . The porch is half - shaded from the noonday sun . It is quiet except for the chirr of heat bugs , close by , and , very distant , many voices in chorus , engaged in divine worship in a Baptist church sufficiently far away that vagaries of breeze fan them in and out of audibility . We once again hear the toot of the scow 's horn , distant now and played as real , not slapdash effect . At this , the dog lifts his nose to catch the breeze , sniffs , and then , whining , lowers his head to the floor and covers his snout with his forepaws . He huffs briefly and goes to sleep . We DRIFT UP to show that the dog is sleeping before the SAUCIER WORM STORE Your source for worms , lures , etcetera , etcetera . We TRAVEL OVER TO REVEAL that the modest one - story structure houses two establishments ; its other front door leads to the SAUCIER MUNICIPAL BUILDING . A campaign sign in the window on the municipal side shows a black man of late middle - age beaming and giving the viewer a thumbs - up : RE - ELECT WAYNE WYNER SHERIFF/He Is Too Old to Go to Work .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAUCIER MUNICIPAL BUILDING - DAY</stage_direction>
<scene_description>We hear snoring on top of a low , steady hissing sound . We are DRIFTING toward the door of the lock - up , which stands open . The small cell is empty , its bed neatly made . A KEY We are ARCING slowly around a jailer 's key on a ring that hangs from a nail . The OFFSCREEN snoring and whirring continues . The TRACK 'S SHIFTING ANGLE now makes the light catch a spider web spun between the key and the wall . POLICE SCANNER We DRIFT across the face of the radio . The peaceful steady hissing jumps in louder at the CUT : it is uninterrupted : a transmissionless , crimeless , misdemeanorless idle radio hiss . The snoring is also louder here . As we TRAVEL OFF the radio we are COMING ONTO a pair of feet propped up on the desktop . They belong to SHERIFF WYNER , tipped back in his chair , fingers laced on his chest , head lolling forward . As the MOVING CAMERA FINALLY ENDS on him , there is the ring of a telephone - muffled , not present . It nevertheless rouses the sheriff who almost strangles on a snore as he awakes , and then rocks forward to pick up his phone .</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Sheriff Wyner.</dialogue>
<scene_description>The muffled ringing continues ; the sheriff looks , puzzled , at the phone . Now the ringing stops and we hear a muffled voice next door :</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Worms.</dialogue>
<scene_description>The sheriff replaces the phone , leans back again , adjusts his hat , and is about to go back to sleep when we hear the front door open . The sheriff looks and reacts with genuine , if momentary , fear . He manages to compose himself and give the intruder a smile :</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Afternoon, Miz Munson.</dialogue>
<scene_description>Entering is an elderly black woman in a floral print dress and fruited bonnet .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Afternoon, Sheriff. You know the Funthes boy?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Mackatee Funthes?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>No no, WeeMack! Mackatee's eldest!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Oh yeah, believe I do.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well, he's a good boy but he done gone down to the Costco in Pascagoula and got hisself a blastah - and he been playin' that music!</dialogue>
<scene_description>Wyner is not sure where this is going :</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Uh - huh.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Loud!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Well -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>`` Left my wallet in El Segundo!''</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>He -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Songs like that!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Uh - huh.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hippity - hop music!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>I could -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You know they call it hippity - hop music, but it do n't make me wan na go hippity - hop!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>No ma'am -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>And Othar do n't like that music neither!</dialogue>
<scene_description>Sheriff Wyner now displays an exaggerated solicitousness :</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>It's been disturbin' Othar then, has it?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>How could it help but do! That kind of music! You know what they call colored folks in them songs? Have you got any idea?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>I do n't think I -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>NIGGAZ! I do n't wan na say the word. I wo n't say it twice, I'll tell you that. I say it one time.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Yes ma'am.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>In the course a swearin' out my complaint.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Yes'm -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>NIGGAZ! Two thousand years after Jesus! Thirty years after Martin Luther King! The age of Montel! Sweet lord a - mercy, izzat where we at?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Mm - mm -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>WeeMack down to Pascagoula buyin' a big thumpy stereo player?! So he can listen to that word in the house next to mine? Sheriff, you got ta help that boy!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Help him?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You got ta take an innarest! EXTEND that helpin' hand!</dialogue>
<character>SHERIFF WYNER</character>
<parenthetical>( dubious . )</parenthetical>
<dialogue>Well, we're here to help.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well God bless ya. Do n't wan na be tried and found wantin'.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>No ma'am.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Many many tunkalow parzen, Sheriff Wyner. Many many tunkalow parzen!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Many what ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You have been tried and found wanting. Do n't want that writin' on the wall!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>No ma'am -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Feast a Balthazar!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Mm - hm.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>John The Apostle said : Behold there is a stranger in our midst, come to destroy us!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Yes ma'am.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SAUCIER MUNICIPAL BUILDING - DAY</stage_direction>
<scene_description>Mrs. Munson closes the door behind her . She wags a paper fan and mutters :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>He's a good man. Just needs instruction. Dog, you in peoples' way.</dialogue>
<scene_description>The dog stirs with a whine and ambles off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - DAY</stage_direction>
<scene_description>With a neatly tended garden . It is the last house on a street of other similarly modest but well maintained homes ; beyond it the street disappears down a bluff . The empty space beyond suggests a wide river , and indeed we can see the top of an anchored , gaudily painted paddle - boat poking over the rise . The paddle - boat is apparently anchored at the near bank of the river . Mrs. Munson is entering by the gate . She stops in the garden and stoops to pull a tiny weed marring the otherwise perfect row of flowers . I/E . MUNSON HOUSE - FOYER - DAY Mrs. Munson lets herself in . A cat lopes up to her , the bell around its neck tinkling , and leans mewing into her leg .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You need somethin' to eat, Angel?</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Mrs. Munson hand - cranks a can opener around a tin of cat food .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Mm. gizzards.</dialogue>
<scene_description>The cat paces back and forth between her legs , leaning into them and purring , responding to the snap of tin as the cover comes off the can . The can contains cubed processed gizzard in a gelatinous medium like the stuff that clings to gefilte fish .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Above the fireplace is an oil portrait of a serious - looking black man of late middle - age with a neatly groomed mustache starting to gray . A couple of candles sit on the mantel below the portrait , giving it the semblance of a shrine . Mrs. Munson enters and lights the candles .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Othar, I went'n complained about WeeMack, I hope it'll do some good. That boy hangin' by a thread! Over the pit! Fiery pit! `` I Left My Wallet in El Segundo''!</dialogue>
<scene_description>She shakes out the match and sits in a rocker and takes up her knitting . As she sits she gives an audible groan .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Sixty - seven years of life, forty - six years of marriage, you mean to tell me you never one time suffered from piles? It's the human condition, most humans anyway. Like that ball player said : world's got two kinds of folks - them that's got piles and them that's gon na get'em. But you was always healthy as an ox.</dialogue>
<scene_description>There is the distant moan of a riverboat horn .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Passed on before you got piles. Mmmmhmm. Thank the Lord you was n't sick. You do n't wan na sicken'n die. No, you wan na pass nice'n peaceful. go to sleep one night, wake up in the glory land. woof.</dialogue>
<scene_description>A gust of wind hums under the eaves ; the candles below the portrait flicker . As Mrs. Munson looks around the room , vaguely towards the ceiling , sensing a negative aura , the cat arches its back and hisses . At this moment the doorbell rings .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Well who's that now, Pickles?</dialogue>
<scene_description>She grunts as she hoists herself out of the chair . I/E . MUNSON HOUSE - FOYER - NIGHT She opens the door - A draft -</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The candles below the portrait of Othar go out , sending up thin wisps of smoke . I/E . MUNSON HOUSE - FOYER - NIGHT The cat shrieks and bolts out the door , past the man on the stoop : GOLDTHWAIT HIGGINSON DORR , III . He is a middle - aged Southern gentleman wearing a panama hat and a cape over a cream - colored suit . He has dark circles under his eyes . The smile he attempts , mournful yet courtly , is wiped away by :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>PICKLES!</dialogue>
<character>DORR</character>
<dialogue>Ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Go get ` im!</dialogue>
<character>DORR</character>
<dialogue>I do beg your pardon?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Go get Pickles, I did n't let ` im out!</dialogue>
<character>DORR</character>
<parenthetical>( tasting the name . )</parenthetical>
<dialogue>Pickles.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>Dorr walks down the stoop followed by the old lady .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Oh, he's up the tree again. Your gon na have to shimmy on up.</dialogue>
<character>DORR</character>
<dialogue>I am so terribly sorry, madam. But wo n't the feline eventually tire of his lonely perch and, pining for his master's affection, return on his own initiative?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Huh? No, he wo n't come down less you fetch him. He'd set there til Gabriel blows his horn if someone did n't shimmy up. Up with you now!</dialogue>
<character>DORR</character>
<dialogue>Well then could n't we perhaps offer him kitty treats and enticements, or if not foodstuffs perhaps squeaky little toys of the kind formerly manufactured in Hong Kong but now produced in the other so - called `` Little Tigers''.</dialogue>
<scene_description>His fingers form the quotes .</scene_description>
<character>DORR</character>
<dialogue>of the Pacific Rim? The point bein', do we have to actually ascend the tree -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Look, I do n't want no doubletalk. If you ai n't gon na fetch him down I guess I got ta call the po - lice.</dialogue>
<character>DORR</character>
<dialogue>Police.</dialogue>
<scene_description>His face darkens .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>They ai n't gon na be happy. Every time they come fetch him down they swear they wo n't do it no more.</dialogue>
<scene_description>Dorr casts his hat aside and starts awkwardly climbing the tree . He gasps as he climbs :</scene_description>
<character>DORR</character>
<dialogue>No need to call the authorities. I did this often as a youth - why, I was a positive lemur. Here, kitty.</dialogue>
<scene_description>The cat backs away down a branch , arching its back and hissing .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Do n't upset him, now!</dialogue>
<scene_description>Dorr , on his stomach , inches after the cat , grunting :</scene_description>
<character>DORR</character>
<dialogue>I would n't dream of it. harmless little felix domesticus. Come to G.H.</dialogue>
<scene_description>The branch breaks , hinging down to slam Dorr face - first into the trunk , from where he drops the rest of the way to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Othar 's portrait , upside - down , seems to be looking bemusedly down on us . An OBJECTIVE ANGLE shows Dorr lying on the couch , a damp washcloth on his forehead , eyes rolled back to look at the picture . Mrs. Munson is entering with a cup of tea . Dorr swings his feet out to sit up and accept the tea .</scene_description>
<character>DORR</character>
<dialogue>I thank you, madam, for your act of kindness.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well you let him out.</dialogue>
<character>DORR</character>
<dialogue>I certainly did and I do apologize no end. Allow me to present myself, uh, formally : Goldthwait Higginson Dorr, Ph.D..</dialogue>
<character>MRS. MUNSON</character>
<dialogue>What, like Elmer?</dialogue>
<character>DORR</character>
<dialogue>Beg your pardon, ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Fudd?</dialogue>
<character>DORR</character>
<dialogue>No no, Ph.D. is a mark of academic attainment. It is a degree of higher learning bestowed, in my case, in recognition of my mastery of the antique languages of Latin and Greek. I also hold a number of other advanced degrees including the baccalaureate from a school in Paris, France, called the Sorbonne.</dialogue>
<scene_description>Munson chuckles .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Sore bone, well I guess that's appropriate. You ever study at Bob Jones University?</dialogue>
<character>DORR</character>
<dialogue>I have not had that privilege.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>It's a bible school, only the finest in the country. I send them five dollars every month.</dialogue>
<character>DORR</character>
<dialogue>That's very gener -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I'm on their mailing list. I'm an Angel.</dialogue>
<character>DORR</character>
<dialogue>Indeed.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>They list my name in the newsletter, every issue. I got the literature here, you wan na examine it.</dialogue>
<character>DORR</character>
<dialogue>Perhaps when my head has recovered from its. buffeting. Mrs. Munson, are you at all curious as to why I darkened your door, as the expression has it, on this lovely camelia - scented morn?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I was wondering, til you let Pickles out. Then in all the excitement -</dialogue>
<character>DORR</character>
<dialogue>I quite understand. The fact is that I saw the sign on your window advertising a room to let, and it is the only such sign among the houses of this charming, charming street.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Yeah, I got a room. I'm lookin' for a quiet tenant. Fifteen dollars a week</dialogue>
<character>DORR</character>
<dialogue>I quite understand. Madam, you are addressing a man who is quiet - and yet not quiet, if I may offer a riddle.</dialogue>
<scene_description>He sets down the teacup and rises .</scene_description>
<character>DORR</character>
<dialogue>Perhaps you can show me the room, Mrs. Munson, and allow me to explain.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well you can see the room, but I do n't like double - talk.</dialogue>
<scene_description>Mrs. Munson precedes him .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - STAIRCASE - NIGHT</stage_direction>
<scene_description>up the stairs .</scene_description>
<character>DORR</character>
<dialogue>You see, madam, I am currently on sabbatical from the institution where I teach - the University of Mississippi at Hattiesburg. I am taking a year off to indulge my passion - I do n't believe that is too strong a word - for the music of the Renaissance. I perform in - and have the honor of directing - a period instrument ensemble that performs at Renaissance fairs and other cultural fora.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT</stage_direction>
<scene_description>They enter a small bedroom . There is a small bed on a brass frame , a chair , a wash basin , and cheerful yellow chintz drapes on the window . Dorr appreciatively takes it in .</scene_description>
<character>DORR</character>
<dialogue>thoo - out central and southern Mississippi. We perform on the instruments for which the music was originally composed, in the belief that. that. Why, this is lovely.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Wait a minute. You got some kind of band?</dialogue>
<scene_description>Dorr once again wiggles quotes with his fingers :</scene_description>
<character>DORR</character>
<dialogue>The word `` band'' would be, in this context, something of an anachronism. Though we do play together - hence the word `` ensemble'' - the nature of the music is such that one would hesitate to apply the epithet `` band'' with its connotations of jangling rhythm and ear - popping amplification.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>So you do n't play hippity - hop, `` I Left My Wallet in El Segundo,'' songs with the titles spelt all funny?</dialogue>
<character>DORR</character>
<dialogue>Madam, I shudder. I quake. The revulsion I feel for modern popular music, and all other manifestations of contemporary decay, is, I have no doubt, the equal of y' own. Why, we play music that was composed to the greater glory of God. Devotional music. Church music.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Gospel music?</dialogue>
<character>DORR</character>
<dialogue>Well - inspired by the gospels, certainly. The vintage, of course, is no more recent than the Rococo.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Rococo, huh? Well, I guess that'd be okay.</dialogue>
<character>DORR</character>
<dialogue>But I certainly do n't propose to inflict our rehearsals on you. May I enquire - do you have a root cellar?</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>Dorr ducks while descending the steep , narrow stair in order to avoid an overhead beam . He is followed by Mrs. Munson .</scene_description>
<character>DORR</character>
<dialogue>Yes, yes, yes, this looks promising.</dialogue>
<scene_description>He pulls on a hanging string to light a bare bulb overhead .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Little dank, ai n't it?</dialogue>
<character>DORR</character>
<dialogue>Oh, indeed, but that only improves the acoustics.</dialogue>
<scene_description>He experimentally claps his hands .</scene_description>
<character>DORR</character>
<dialogue>Marvelous. These earthen walls are ideal for baffling the higher registers of the, uh, lute and, uh, sackbutt. That's why so much music of the cinquecento was played in crypts and catacombs. Yes, this will do nicely.</dialogue>
<scene_description>He dry - washes his hands with enthusiasm , but his tone remains mournful .</scene_description>
<character>DORR</character>
<dialogue>This is perfect. This is more than perfect. I can scarcely contain my glee.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You containing it okay.</dialogue>
<scene_description>He starts to peel cash out of a large , well - worn billfold :</scene_description>
<character>DORR</character>
<dialogue>Allow me to pay you a week in advance. Allow me to pay you two weeks in advance. Allow me to pay you a month in advance. I can not countenance the thought of these charming apartments being tenanted by someone unappreciative of their special je ne sais quoi.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>That would be a shame.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>TRACKING ON A GARBAGE CART On the cart is a boombox . It is playing `` I Left My Wallet in El Segundo . '' It is being pushed through a casino empty of customers . As the cart stops and a wastebasket is emptied into it :</scene_description>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You got ta peel this shit out sticks to the bottom.</dialogue>
<scene_description>WIDER shows two youngish black men in the khaki uniforms of custodians . Emptying the wastebasket is WEEMACK - MACKATEE FUNTHES . He is instructing GAWAIN MACSAM .</scene_description>
<character>WEEMACK</character>
<dialogue>You would n't believe this shit, sometimes even out here on the casino floor you gon na find sanitary napkin shit stuck there, Tucks, I do n't know what the fuck people do while they're gambling here man.</dialogue>
<character>GAWAIN</character>
<dialogue>I ai n't peelin' funky shit with my human hands, man. That's a prescription for disease and viruses and shit, attackin' y' insides.</dialogue>
<scene_description>As they roll on we see more of the gambling floor , which is on something less than the scale of a Las Vegas casino . The floor is not yet open and dealers stack and count chips at the tables , pit bosses with clipboards looking over their shoulders . Other dealers strap on visors and sleeve garters , preparing to work .</scene_description>
<character>WEEMACK</character>
<dialogue>You got ta do it. Mr. Gudge checks everything. Man is a motherfuck. Shit - looka this.</dialogue>
<scene_description>After a furtive look around he plucks a chip from the next wastebasket and slips it in his pocket .</scene_description>
<character>WEEMACK</character>
<dialogue>You keep an eye out, man. I found a hundred - dollar chip once.</dialogue>
<character>GAWAIN</character>
<dialogue>Fuck that, man. I ai n't pawin' through used Tucks for a fi' dollar chip.</dialogue>
<character>WEEMACK</character>
<dialogue>I said it was a hundred.</dialogue>
<character>GAWAIN</character>
<dialogue>Man, your guts gon na turn to soup'n leak outcha fuckin' asshole.</dialogue>
<scene_description>SERVICE HALL The cart jitters loudly on the dimpled plastic floor .</scene_description>
<character>WEEMACK</character>
<dialogue>This tunnel leads back onto land. To the office for all the people work for Mannex. Mannex Corporation. Owns the Lady Luck'n three other boats.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - SERVICE HALL - DAY</stage_direction>
<scene_description>The two men are entering a windowless fluorescent - lit office area . A row of wooden office doors and one heavy steel door .</scene_description>
<character>WEEMACK</character>
<dialogue>This is where they think on their corporate shit, Gudge and them.</dialogue>
<scene_description>He stops to empty a wastebasket .</scene_description>
<character>WEEMACK</character>
<dialogue>The lights is ugly but it ai n't as many Tucks.</dialogue>
<scene_description>He bangs on the steel door :</scene_description>
<character>WEEMACK</character>
<dialogue>YO, motherfuck! Lem me in!</dialogue>
<character>MUFFLED VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What's the password?</dialogue>
<character>WEEMACK</character>
<dialogue>Kiss my ass.</dialogue>
<scene_description>We hear a deep chuckle and the door , steel reinforced , swings open .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - COUNTING ROOM - DAY</stage_direction>
<scene_description>The two men enter , WeeMack nodding at the security man -LRB- ELRON -RRB- .</scene_description>
<character>WEEMACK</character>
<dialogue>This is where they count the dough. You try to take any of it Elron there shoot your ass.</dialogue>
<scene_description>Again the security man chuckles . WeeMack picks up some fast - food wrappers .</scene_description>
<character>WEEMACK</character>
<dialogue>This place is a fuckin' pigsty. You a pig, man, nothin' but a squeaky ol' motherfuckin' pig.</dialogue>
<scene_description>Elron chuckles . He is an enormously fat man ; his chuckles come from deep , deep in his chest .</scene_description>
<character>WEEMACK</character>
<dialogue>You got fuckin' Kocoa Krispies in ya uniform man, still got breakfast there and you eatin' motherfuckin' lunch.</dialogue>
<scene_description>Elron uses one hand to swipe crumbs off his uniform shirt , chuckling .</scene_description>
<character>WEEMACK</character>
<dialogue>You a disgrace before motherfuckin' God.</dialogue>
<scene_description>Elron chuckles .</scene_description>
<character>WEEMACK</character>
<dialogue>You a motherfuck - oh, hello Mr. Gudge, how we be this mornin'?</dialogue>
<scene_description>A man in a buttoned white shirt nods at him .</scene_description>
<character>GUDGE</character>
<dialogue>Funthes. How's the new man?</dialogue>
<character>WEEMACK</character>
<dialogue>He is a cleaning motherfucker, man!</dialogue>
<character>GUDGE</character>
<dialogue>Is that a fact.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOUNDSTAGE - SMOKING FIELD SET - DAY</stage_direction>
<scene_description>HIGH ANGLE It is a ruin of a field ; charred trees point bare and gnarled limbs toward a gray sky ; smoke drifts across the desolate waste . Something is bounding towards us from the deep background . We BOOM DOWN as it approaches : a bulldog , running avidly toward us on its stumpy little legs . An OFFSCREEN male voice -LRB- CLARK PANCAKE -RRB- :</scene_description>
<character>PANCAKE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>One, Mountain!</dialogue>
<scene_description>There is an explosion that showers dirt in front of the dog and makes it veer . Something strapped around the dog 's neck bounces as he runs .</scene_description>
<character>PANCAKE</character>
<dialogue>Scrub two! Scrub three! Four, Mountain!</dialogue>
<scene_description>Another explosion makes the dog veer back so that it once again bears on us . The thing that has been bouncing around its neck flies off . Our CONTINUING BOOM DOWN has brought us to ground level just as the dog arrives in front of us to feed at a dog food bowl in the foreground . The yellow plastic bowl has a K - Ration logo facing us . We hear another OFFSCREEN voice -LRB- DIRECTOR -RRB- :</scene_description>
<character>DIRECTOR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Cut, goddamnit. His canteen fell off.</dialogue>
<scene_description>The Director 's feet enter in the foreground . He hooks the dogs belly with one foot and hoists it roughly away from the bowl . We The DIRECTOR . He scowls down at the animal .</scene_description>
<character>DIRECTOR</character>
<dialogue>Props!</dialogue>
<scene_description>A man in a Hemingway field - jacket with multiple pockets , and also a loaded utility belt , trots up toward him , his belt jangling as he runs . This is CLARK PANCAKE . Pancake is a florid beer - bellied man in his late fifties . He has a full blond - grey Grizzly Adams beard and wears multi - pocketed shorts that form an ensemble with his Hemingway jacket . The director is angry .</scene_description>
<character>DIRECTOR</character>
<dialogue>The goddamn thing's canteen fell off. It would have been a good take.</dialogue>
<scene_description>Pancake is unperturbed .</scene_description>
<character>PANCAKE</character>
<dialogue>Okay. Okay. We're prepared for that.</dialogue>
<scene_description>He hits a button on the radio on his belt and talks into his headset :</scene_description>
<character>PANCAKE</character>
<dialogue>Mountain, bring Otto with the apparatus.</dialogue>
<scene_description>PULLING ANOTHER BULLDOG He strains at his lead , muscling forward as quickly as his minder and his own stumpy little legs will allow . He peers through the two goggly eyeholes of an antique leather gas mask , its pignose breathing apparatus covering his own snout . His phlegmy breathing is amplified by the device . We TILT UP the lead to show his minder , MOUNTAIN GIRL . She is a solid woman in her late forties with freckles beginning to merge into age spots . Her long straw - colored hair is tightly braided into Heidi pigtails bound with red ribbon . Otherwise her dress is unadorned . The director squints at the dog .</scene_description>
<character>DIRECTOR</character>
<dialogue>What the hell is this?</dialogue>
<scene_description>Pancake 's manner is professorial :</scene_description>
<character>PANCAKE</character>
<dialogue>World War I vintage gas mask. It's authentic. Strapped on, of course, so it ca n't fall off. The animal is free to be as active as he wants, does n't inhibit his movement, and I think it really sells the whole doughboy thing -</dialogue>
<character>DIRECTOR</character>
<dialogue>It looks like a fucking joke.</dialogue>
<scene_description>Pancake stares at the director for a moment and , though not doing anything , makes a sound of concentrated effort :</scene_description>
<character>PANCAKE</character>
<dialogue>Nnnnrnff!</dialogue>
<scene_description>The director squints at him :</scene_description>
<character>DIRECTOR</character>
<dialogue>What?</dialogue>
<scene_description>Pancake comes out of his trance , or whatever it was :</scene_description>
<character>PANCAKE</character>
<dialogue>No, nothing, uh. you're absolutely right, the gas mask is a whimsical concept -</dialogue>
<character>DIRECTOR</character>
<dialogue>How the hell does it eat when it gets to the Kennel Rations?</dialogue>
<scene_description>The dog looks up from person to person as each speaks , twisting its neck to peer through the eyeholes . Its breathing is growing louder .</scene_description>
<character>PANCAKE</character>
<dialogue>Well, you're absolutely right -- -</dialogue>
<character>DIRECTOR</character>
<dialogue>Do n't let the client see this.</dialogue>
<character>PANCAKE</character>
<dialogue>Of course not, that would be inappropriate -</dialogue>
<character>DIRECTOR</character>
<dialogue>Or the Humane fucker.</dialogue>
<character>PANCAKE</character>
<dialogue>No no -</dialogue>
<scene_description>The dog gets down on its knees , slowly , like a camel , breathing ever more loudly .</scene_description>
<character>DIRECTOR</character>
<dialogue>They'll shut the fucking spot down, Pancake. Put the goddamn canteen back on. That says he's a soldier. Dented tin canteen. Just tie the damn thing to his collar.</dialogue>
<scene_description>The dog flops over into the mud .</scene_description>
<character>PANCAKE</character>
<dialogue>Easiest thing in the world. I just thought - but the canteen is much better. Good concept. Let's go with that -</dialogue>
<character>DIRECTOR</character>
<dialogue>What's he doing?</dialogue>
<scene_description>The dog has started to convulse .</scene_description>
<character>PANCAKE</character>
<dialogue>Well, he's uh. Just breathe normally, Otto.</dialogue>
<character>DIRECTOR</character>
<dialogue>The fucking dog ca n't breathe.</dialogue>
<character>PANCAKE</character>
<dialogue>Oh, he can breathe, that thing is - just breathe normally, Otto.</dialogue>
<scene_description>The dog 's breath is rasping and horrible .</scene_description>
<character>DIRECTOR</character>
<dialogue>The fucking dog can not breathe! Get that fucking thing off him!</dialogue>
<character>PANCAKE</character>
<dialogue>Of course. Easiest thing in the world.</dialogue>
<scene_description>He stoops and fiddles at the straps .</scene_description>
<character>PANCAKE</character>
<dialogue>It's on good and tight, I, uh. Just breathe normally, Otto.</dialogue>
<scene_description>He starts thumping at his pockets .</scene_description>
<character>DIRECTOR</character>
<dialogue>Get the fucking thing off him!</dialogue>
<character>PANCAKE</character>
<dialogue>Do n't have my Leatherman. Mountain! Give me your Leatherman! Chop chop!</dialogue>
<character>DIRECTOR</character>
<dialogue>Get the fucking thing off him! Chitra, make sure the Humane fucker does n't come over here! Bring him to craft services!</dialogue>
<scene_description>As he makes to scoop up the dog :</scene_description>
<character>PANCAKE</character>
<dialogue>Good idea! Ice water, treats - --</dialogue>
<character>DIRECTOR</character>
<dialogue>Not the dog, you idiot! The Humane fucker! Distract him!</dialogue>
<character>PANCAKE</character>
<dialogue>Right! Of course!</dialogue>
<scene_description>He goes back to work on the mask .</scene_description>
<character>DIRECTOR</character>
<dialogue>Oh my god, he's bleeding!</dialogue>
<character>PANCAKE</character>
<dialogue>No, that's me - I - the Leatherman. here we go.</dialogue>
<scene_description>His hand gouting blood , he finally manages to get the gas mask off . A crowd is starting to gather and gape . The director barks at a grip :</scene_description>
<character>DIRECTOR</character>
<dialogue>Put up a couple solids here - I do n't want the client seeing this!</dialogue>
<scene_description>Pancake thumps on the inert dog 's chest .</scene_description>
<character>PANCAKE</character>
<dialogue>Come on, Otto!</dialogue>
<character>DIRECTOR</character>
<dialogue>Otto is fucking dead!</dialogue>
<character>PANCAKE</character>
<dialogue>Mountain, have electric run me a stinger! Do n't give up on me, Otto! Mountain, I need two live leads!</dialogue>
<scene_description>More people crowd in to look .</scene_description>
<character>MOUNTAIN GIRL</character>
<dialogue>Clark, the gennie's a hundred yards away!</dialogue>
<character>PANCAKE</character>
<dialogue>Goddamnit! Otto's gon na have brain damage in about ninety seconds! Okay!</dialogue>
<scene_description>He pulls the dog 's lips back , exposing its teeth and slobbered tongue .</scene_description>
<character>PANCAKE</character>
<dialogue>Kiss of life!</dialogue>
<scene_description>He sucks in a deep breath and starts mouth - to - mouthing the beast .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOOTBALL FIELD - DAY</stage_direction>
<scene_description>POV We are looking out from inside a football helmet ; we hear the super - present breathing of the helmet 's occupant . Just over the breathing we can hear the muffled shouting of a snap count . We are in a crouch position looking downfield . At the call of `` Hike ! '' we and everyone on the field spring into action . We sprint downfield , the breathing becoming even louder . A very big person downfield is sprinting toward us . After several yards , still on the move , we PAN quickly around to look back for the quarterback . Barely visible among converging bodies , he is releasing the football toward someone else . Easing up on the run we PAN BACK around to look downfield just as the oncoming defender is upon us and - CRUNCH - slams into us . A STROBING PAN leaves us looking up at the sky . Our loud breathing has stopped . After a long beat the breathing resumes with a raggedy labored inhale . It continues irregularly . Another helmeted player appears above us to peer down into our helmet . He extends a hand to help us up . HUDDLE We are looking back and forth around the circle at our gathered teammates .</scene_description>
<character>QUARTERBACK</character>
<dialogue>Delta thirty - seven. On four!</dialogue>
<scene_description>All , with a simultaneous hand clap :</scene_description>
<character>TEAM</character>
<dialogue>Huh!</dialogue>
<scene_description>LINE OF SCRIMMAGE Lined up opposite us is a snarling defender . Once again , over loud breathing , we can just hear the shouted count . At `` Hike ! '' we straighten to meet the defensive lineman lunging at us . His mouthpiece clatters against ours and in horrific CLOSE - UP he strains against us , his animal gurgles of effort audible over our own ragged breath . With a primal roar from the defenseman our POV tips back and up , BOOMING DOWN to stop with a CRUNCH against the ground , staring up . Once again our breathing has stopped . After a beat a foot is planted on our helmet as a looming running back steps on us in his charge downfield . He is pursued by defenders some of whom leap over us and some of whom by the sound of it step on various body parts . HUDDLE The same back - and - forth PAN .</scene_description>
<character>QUARTERBACK</character>
<dialogue>Okay, Epsilon twenty - two! You the man! Hey! BUTTHEAD!</dialogue>
<scene_description>This brings our wandering attention PANNING back to the quarterback :</scene_description>
<character>QUARTERBACK</character>
<dialogue>You the man!</dialogue>
<scene_description>A very , very present VOICE -LRB- HUDSON -RRB- :</scene_description>
<character>HUDSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Me the man?</dialogue>
<character>TEAM</character>
<dialogue>Huh!</dialogue>
<scene_description>LINE OF SCRIMMAGE The same breathing and count . On `` Hike ! '' we sprint downfield . The same distant defender sprinting toward us . We hear low but very present a dismayed :</scene_description>
<character>HUDSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Unh. oh no.</dialogue>
<scene_description>Our breathing is torn by rasping wheezes of effort as we continue to run . We look back . Every player is looking directly at us . A huge spiralling football coming at us - too close , too soon - and - BONK ! It bounces off our mouth guard and flies up .</scene_description>
<character>HUDSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>shit.</dialogue>
<scene_description>We are looking forward just as CRUNCH ! We are hit by the defender . We once again land face - up . Very steeply FORESHORTENED , right over us , we see the defender juggling the live ball . With a moan , our own hand reaches weakly up towards the ball and the high , distant defender . He finally gathers in the ball and securely tucks it , and starts back upfield . We climb wearily to our feet . We look back upfield just in time to see the defender start an elaborate victory dance in the end zone . He pauses for a moment to point a gloved hand directly at us , then resumes his strut . Shouting from the sidelines brings our PANNING attention over . The coach , face twisted with fury , is shouting at us and using his clipboard to wave us off the field . We trot toward the sidelines . All of our teammates stare at us -- - some in shock , some in anger , some in pity . At the sideline bench our POV swings round as we seat ourself . A hand reaches up to the mouth guard to pull off the helmet and we Our first OBJECTIVE SHOT as the player -LRB- HUDSON -RRB- finishes pulling off his helmet . He is a big blond boy . His entire body , including his face , is solidly built . An offscreen Voice :</scene_description>
<character>COACH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hudson!</dialogue>
<scene_description>The boy , Hudson , turns to look , and we cut to one last POV The COACH is striding up , swinging his clipboard at the camera : with a loud CRUNCH ! it brings on : BLACK</scene_description>
</scene>
<scene>
<stage_direction>EXT. MINI-MALL / HI-HO DONUT - DAY</stage_direction>
<scene_description>HIGH ANGLE It is a typical sunbaked concrete strip mall with a Seven - Eleven , a launderette , and a Hi - Ho Donut . The Hi - Ho Donut sign shows a pink donut with sprinkles and says in much smaller lettering : And Croissants . A beat - up Impala pulls into the lot , pulsing hip - hop music . After a long rumbling idle the ignition is killed . Both front doors open . Two BLACK KIDS get out and look around with a manner that is if anything too casual .</scene_description>
</scene>
<scene>
<stage_direction>INT. HI-HO DONUT - DAY</stage_direction>
<scene_description>There is faint muzak and loud air - conditioner hum . Glass cases display donuts identified as GLAZED , JELLY , and FANCIES . Fancies ooze yellow goo . The jelly on the jelly donuts is developing a crust of age . The glazed also look moth - eaten . One customer , a disheveled older man , sits at one of the little formica tables staring into a coffee cup . Next to the coffee is a brown paper bag from which a straw protrudes . Behind the counter is a middle - aged VIETNAMESE WOMAN in a neat white blouse . The two youths enter pulling out enormous handguns from underneath their windbreakers .</scene_description>
<character>YOUTH #1</character>
<dialogue>All right Dragon Lady, give us all the fuckin' money!</dialogue>
<scene_description>The woman stares blankly .</scene_description>
<character>YOUTH #1</character>
<dialogue>We want that donut money!</dialogue>
<character>VIETNAMESE WOMAN</character>
<dialogue>Yao gin nyap!</dialogue>
<scene_description>A man appears from the kitchen in back . He is a middle - aged Vietnamese gentleman in a crisply pressed khaki leisure suit . An ascot is knotted at his neck . He wears aviator eyeglasses . In his mouth smolders a half - burned - down filterless cigarette . This , we shall learn later , is THE GENERAL .</scene_description>
<character>YOUTH #2</character>
<dialogue>Okay papa - san, we want that donut money.</dialogue>
<character>YOUTH #1</character>
<dialogue>And we ai n't fuckin' around, Mr. Hi - Ho.</dialogue>
<character>VIETNAMESE WOMAN</character>
<dialogue>Hi - Ho.</dialogue>
<scene_description>The two youths look at her briefly . Nothing else is forthcoming . The drunk looks up from his paper bag .</scene_description>
<character>YOUTH #2</character>
<dialogue>Look, this fuckin' thing, it ai n't complicated. You give us all the fuckin money, you do n't get shot in the head, you make more donuts, get more money. That's how it works, see?</dialogue>
<scene_description>The General stares at him . As with his wife , none of it seems to register ; unlike his wife , he seems unperturbed .</scene_description>
<character>YOUTH #1</character>
<dialogue>Give us the money!</dialogue>
<scene_description>He is pointing the gun directly at the General 's head .</scene_description>
<character>YOUTH #1</character>
<dialogue>You got three fuckin' seconds. You understand one - two - three? I'm gon na count one - two - three and then shoot. Okay? Three sec -- - huh!</dialogue>
<scene_description>The General has swung his fist up to hook two fingers inside the youth 's nostrils . His gun clatters to the floor . The fingers are way , way up his nose . Only one knuckle shows on each finger . The youth is staring cross - eyed at his own nose . His friend is also stupefied .</scene_description>
<character>YOUTH #1</character>
<parenthetical>( very nasal . )</parenthetical>
<dialogue>His fingers are way the fuck up my nose.</dialogue>
<character>YOUTH #2</character>
<dialogue>GET. YA FINGAS. OUT. THE MAN'S. NOSE!</dialogue>
<scene_description>The General still impassively sucks on his cigarette . The first youth is on the verge of tears :</scene_description>
<character>YOUTH #1</character>
<dialogue>I think they're in my brain, man.</dialogue>
<character>YOUTH #2</character>
<dialogue>MOTHERFUCK!</dialogue>
<scene_description>He raises his gun to start firing . As he does so the General uses his hook - hold on the other youth 's nose to slam his head backwards , down into some Fancies . The door opens and a customer walks in , a semi - elderly lady with a cane . Youth # 2 , eyes rolling , wildly swings to cover the door , then back to the General who has his friend 's head pressed into the Fancies , then uncertainly over to the Vietnamese woman who is loudly yelling at him in Vietnamese . Cigarette still dangling from his lower lip , the General calmly plucks a pot of coffee from the coffee warmer and tosses it into Youth # 2 's face . Youth # 2 screams .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HI-HO DONUT - DAY</stage_direction>
<scene_description>HIGH ANGLE The car is still pulsing hip - hop music . Youth # 2 stumbles out of the Hi - Ho , hands covering his face and sinks to his knees .</scene_description>
</scene>
<scene>
<stage_direction>INT. HI-HO DONUT - DAY</stage_direction>
<scene_description>The General now has the first youth 's face pressed into the Fancies from behind . Without disturbing his smoking , the General repeatedly kicks the youth in the ass . His wife , muttering irritably in Vietnamese , is wheeling a water bucket and mop to where the floor is covered with coffee .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>At the CUT many voices are swelling in a song of worship . It is a black Baptist church , and the music has great energy . The white - robed choir finishes singing ; a preacher takes the podium .</scene_description>
<character>PREACHER</character>
<dialogue>I know you all remember that when Moses came down the mountain, carrying the word a God, come down that Sinai peak, he caught those Israelites red - handed. What he catch'em doin'? He caught'em worshipping a golden calf.</dialogue>
<scene_description>Shouts of `` That 's right ! ''</scene_description>
<character>PREACHER</character>
<dialogue>He caught'em with their backs turned on God!</dialogue>
<scene_description>More shouts of `` That 's right ! ''</scene_description>
<character>PREACHER</character>
<dialogue>He caught'em worshipping a FALSE God! A God of EARTHLY things! He caught them Israelites in DECLINE!</dialogue>
<scene_description>`` He caught 'em ! ''</scene_description>
<character>PREACHER</character>
<dialogue>Because backslidin' is DECLINE, brothers and sisters! You hear talk these days, and I know you've heard this talk, you hear talk of DECLINE, well all that means is we done turned our back on God!</dialogue>
<scene_description>`` That 's right ! ''</scene_description>
<character>PREACHER</character>
<dialogue>People say civilization doin' this, civilization doin' that, civilization in DECLINE! Well it ai n't no civilization! It ai n't no them! It's US, brothers and sisters!</dialogue>
<scene_description>`` Amen ! '' We are TRACKING among the congregants , disproportionately women , mostly of middle age and elderly , mostly wearing elaborate go - to - church hats .</scene_description>
<character>PREACHER</character>
<dialogue>It's what's in our hearts, each and every one of us when we like them Israelites! Slidin' awa - a - a - ay down that Godly slope, slippin' and slidin' toward the mire and muck a the stinkhole of greed - that's DECLINE!</dialogue>
<scene_description>`` That 's decline ! '' The CONTINUING TRACK brings us onto Mrs. Munson , wearing , like most of her peers , an oversized hat ; hers is adorned with a great deal of plastic fruit .</scene_description>
<character>PREACHER</character>
<dialogue>And what did Moses do when he saw those declinin' backslidin' never - mindin' sinners?</dialogue>
<scene_description>`` What he do ? ''</scene_description>
<character>PREACHER</character>
<dialogue>Moses SMOTE those sinners in his wrath yes he did!</dialogue>
<scene_description>`` Yes he did ! ''</scene_description>
<character>PREACHER</character>
<dialogue>Y' all know what smote is! I smite! You smite! He smites! We done smote!</dialogue>
<scene_description>`` That 's right ! ''</scene_description>
<character>PREACHER</character>
<dialogue>To smite is to go UPSIDE the head!</dialogue>
<scene_description>`` Uh - huh ! ''</scene_description>
<character>PREACHER</character>
<dialogue>Because sometimes, brothers and sisters, that is the ONLY way!</dialogue>
<scene_description>`` Yes it is ! ''</scene_description>
<character>PREACHER</character>
<dialogue>To smite is to reMIND! We got to STOP that decline! And scramble back UP to the face a the almighty Gyod!</dialogue>
<scene_description>`` Amen ! ''</scene_description>
<character>PREACHER</character>
<dialogue>` Stead a worshippin' that GOLDEN calf, that earthly TRASH on that GARBAGE island! That GARBAGE island in that shadowland WAY outside the Kingdom a God!</dialogue>
<scene_description>`` Way outside ! ''</scene_description>
<character>PREACHER</character>
<dialogue>That GARBAGE island where scavenger birds feast on the bones a the backslidin' damned!</dialogue>
<scene_description>`` Yes they do ! ''</scene_description>
<character>PREACHER</character>
<dialogue>And so, let us pray.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHURCH - DAY</stage_direction>
<scene_description>It is a white clapboard country church . The preacher stands at the door chatting with the congregants filing out .</scene_description>
<character>WOMAN #1</character>
<dialogue>You preach a wonderful sermon, Brother Cleothus.</dialogue>
<character>PREACHER</character>
<dialogue>Why thank you, Sister Rose.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>That man has a lot to say.</dialogue>
<character>WOMAN #1</character>
<dialogue>Yes he does.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>And every word of it the truth.</dialogue>
<character>WOMAN #2</character>
<dialogue>Mm - mm. Jesus well pleased with him.</dialogue>
<character>WOMAN #3</character>
<dialogue>Deed he is.</dialogue>
<character>PREACHER</character>
<dialogue>Oh now ladies.</dialogue>
<character>WOMAN #3</character>
<dialogue>Pleased as he can be.</dialogue>
<character>WOMAN #1</character>
<dialogue>Mm - mm.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Stout, too.</dialogue>
<character>WOMAN #1</character>
<dialogue>Mm - mm.</dialogue>
<character>PREACHER</character>
<dialogue>Oh now you gracious ladies.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Mrs. Munson is at the kitchen table . She folds a five dollar bill into a sheet of paper , raising her voice as she does so :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>It was a good sermon. That man has a lot to say.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>We have CUT to the portrait of Othar over the mantel . He does not answer . From the kitchen :</scene_description>
<character>MRS. MUNSON'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Stout, too. It would've been a comfort to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Mrs. Munson has stuffed the paper - enclosed bill into an envelope , which she is now laboriously addressing to Bob Jones University .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>And the choir was all in good voice. Mm - mm -</dialogue>
<scene_description>There is a knock at the door .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Who could that -</dialogue>
<scene_description>The cat yowls and hisses . I/E . MUNSON HOUSE - FOYER - DAY As Mrs. Munson swings open the door . G.H. Dorr stands on the stoop mournfully dry - washing his hands and obsequiously ducking his head .</scene_description>
<character>DORR</character>
<dialogue>My dear Mrs. Munson, I do so hope this is not an inopportune time for our first practice -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Somebody die?</dialogue>
<character>DORR</character>
<dialogue>I beg your - Oh!</dialogue>
<scene_description>He looks back at the long black vintage Lincoln hearse parked at the curb behind him .</scene_description>
<character>DORR</character>
<dialogue>No no, no bereavement, though it is so kind of you to enquire. No, the hearse is simply a vehicle commodious enough to accommodate all of the members of our ensemble. And of course our instruments, contrived in an age ignorant of miniaturization.</dialogue>
<scene_description>He turns and gestures at the vehicle . At his sign , Gawain , the custodian , emerges from the driver 's side . Clark Pancake emerges from the front passenger side . The General , wearing a different but equally pressed khaki suit and ascot , and with a smoking cigarette in his lips , emerges from a back door . Gawain goes to the back of the hearse and opens its hatch to let out Lump Hudson , the football player . Lump helps unload five large and oddly shaped instrument cases , each man taking one except for Lump himself , who carries two . As the parade of losers and misfits winds its way up the walk :</scene_description>
<character>DORR</character>
<dialogue>Let me introduce you to my friends, my colleagues, these devoted and passionate musicians. This is Gawain MacSam, our bassoonist.</dialogue>
<scene_description>Gawain nods as he passes by .</scene_description>
<character>DORR</character>
<dialogue>General Nguyen Pham Doc, viola da gamba.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>No smoking in this house.</dialogue>
<scene_description>The General tosses his cigarette away and bows stiffly as he passes .</scene_description>
<character>GENERAL</character>
<dialogue>So sorry.</dialogue>
<character>DORR</character>
<dialogue>Clark Pancake - a multi - instrumentalist, but with his remarkable embosser Clark specializes in wind instruments, and is especially accomplished on the French horn.</dialogue>
<scene_description>He nods , passes .</scene_description>
<character>DORR</character>
<dialogue>And, finally, Aloysius `` Lump'' Hudson. Lump is our sackbuttist and - thank you, Lump - I see you've also brought my fiddle.</dialogue>
<scene_description>As he hands Dorr the violin case :</scene_description>
<character>LUMP</character>
<dialogue>Here's your fiddle, Doctor.</dialogue>
<scene_description>Mrs. Munson sizes up the group .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You ai n't gon na make a racket, are ya?</dialogue>
<character>DORR</character>
<dialogue>Oh no. Oh no no no no no. No, we shall recuse ourselves to the basement where we shall be - I think here the expression is uniquely appropriate.</dialogue>
<scene_description>He gives a sickly smile .</scene_description>
<character>DORR</character>
<dialogue>as quiet as the crypt.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hmph.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>The General stands stock still , his nose an inch away from the earthen wall , studying it , squinting through the smoke of the cigarette pinched between his lips . The rest of the men are opening their cases and taking out the instruments . Gawain 's case contains , however , not a musical instrument but a boombox and several tapes . He loads one of the tapes into the machine .</scene_description>
<character>DORR</character>
<dialogue>What do you think, General? Present any problems?</dialogue>
<scene_description>After a beat the General turns away from the wall to give Dorr a look into which one might read anything , or nothing . Gawain hits play on the boombox and the cellar is filled with the fussy strains of baroque chamber music . Dorr nods .</scene_description>
<character>DORR</character>
<dialogue>Good then.</dialogue>
<scene_description>He spreads a map open on the sackbutt case .</scene_description>
<character>DORR</character>
<dialogue>All right, gentlemen, why do n't we all crowd around and go over the plan.</dialogue>
<scene_description>The biggest feature on the map is a wavy , roughly north - south pair of lines : a river . A boat icon sits at one edge and from it a dotted rectangle extends inland . Dorr taps at the boat icon with his fiddle bow .</scene_description>
<character>DORR</character>
<dialogue>This, gentlemen, is the Lady Luck, gambling den, cash cow, Sodom of the Mississippi delta - and the focus of our little exercise. Here is Orchard Street.</dialogue>
<scene_description>He is tracing a street that parallels the dotted rectangle extending from the boat . The street is lined by small house icons on either side ; the bow comes to rest on one of those icons .</scene_description>
<character>DORR</character>
<dialogue>and here is the residence of Marva Munson, the charming lady whom y' all met moments ago. Gentlemen.</dialogue>
<scene_description>Bow taps emphasize :</scene_description>
<character>DORR</character>
<dialogue>You. are. here. Now. This brings us to this square.</dialogue>
<scene_description>The bow indicates it , and then withdraws . Dorr uses the bow as a swagger stick to punctuate as he begins to pace .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, I believe you are all aware that the Solons of the State of Mississippi, to wit, its legislature, have decreed that no gaming establishment shall be erected within its borders upon dry land. They may, however, legally float upon any watercourse defining a state boundary. But while the gambling activity itself is restricted to riverboats, no such restriction applies to the functions ancillary to this cash besotted bidnis. The casino's offices, locker rooms, facilities to cook and clean, and most importantly its counting houses - the reinforced, secret, and super secure repositories of the lucre - may all be situated. wherever. Gawain - where is wherever?</dialogue>
<character>GAWAIN</character>
<dialogue>Say wha?</dialogue>
<scene_description>Dorr 's smug smile fades . Testily :</scene_description>
<character>DORR</character>
<dialogue>Where is the money?</dialogue>
<character>GAWAIN</character>
<dialogue>Oh. End of every shift pit boss brings the cash down to the hold of the ship in the locked cash box ; once a day all the cash boxes're moved to the counting room.</dialogue>
<character>DORR</character>
<dialogue>And where is the counting room?</dialogue>
<character>GAWAIN</character>
<dialogue>Well, uh. in that square there. Where you pointing.</dialogue>
<character>DORR</character>
<dialogue>And what, to flog a horse that if not at this point dead is in mortal danger of expirin', does the dotted square represent?</dialogue>
<scene_description>Gawain hesitates , the question 's obviousness suggesting to him some trick .</scene_description>
<character>GAWAIN</character>
<dialogue>Offices. Underground.</dialogue>
<scene_description>Dorr 's eyes close . A smile of feline contentment curls his lips . He murmurs :</scene_description>
<character>DORR</character>
<dialogue>Underground. Mmm. During the casino's hours of operation the door to the counting room is fiercely guarded, and the door itself is of redoubtable Pittsburgh steel ; when the casino is closed the entire underground complex is locked up and the armed guard retreats to the casino's main entrance. There, then, far from the guard, reposes the money, cosseted behind a five - inch - thick steel portal, yes, but the walls, gentlemen, the walls of that room, are but humble masonry, behind which is only the soft loamy soil deposited over the centuries by Ol' Man, the meanderin' Mississip', as it fanned its way back and forth across this great alluvial plain.</dialogue>
<scene_description>He has pried a fistfull of dirt from the cellar wall .</scene_description>
<character>DORR</character>
<dialogue>This earth.</dialogue>
<scene_description>He crumbles it , letting it sift to the floor , and then , pleased with himself , he smiles .</scene_description>
<character>DORR</character>
<dialogue>Any questions?</dialogue>
<scene_description>Lump looks around , then hesitantly raises his hand .</scene_description>
<character>DORR</character>
<dialogue>Yes, Lump?</dialogue>
<character>LUMP</character>
<dialogue>What, uh. what does `` cosseted'' mean?</dialogue>
<scene_description>Once again Dorr 's smile fades . He does not dignify the question with answer .</scene_description>
<character>DORR</character>
<dialogue>The General here, whose curriculum vitae compahends massive tunneling experience thoo the soil of his native French - Indochina, will direct our little ol' tunnelin' operation.</dialogue>
<scene_description>The General acknowledges with a curt nod .</scene_description>
<character>DORR</character>
<dialogue>Clark Pancake, while a master of none, is a jack of all those trades corollary to our aim. He will be doin' such fabricatin' and demolition work as our little caper shall require.</dialogue>
<scene_description>Clark acknowledges verbally :</scene_description>
<character>PANCAKE</character>
<dialogue>Happy to be on board.</dialogue>
<character>DORR</character>
<dialogue>Gawain is the proverbial `` inside man''. He has managed to secure a berth on the custodial staff of the Lady Luck, thereby placin' himself in a position to perform certain chores whose precise nature need n't detain us here, but whose performance shall guide this expedition to its happy conclusion.</dialogue>
<character>GAWAIN</character>
<dialogue>Ya damn skippy.</dialogue>
<character>DORR</character>
<dialogue>And this brings us to Lump. To look at Lump you might wonder, what function could he possibly fill, what specialized expertise could he possibly offer, to our merry little ol' band a miscreants. Well gentlemen, in a project of such magnitude and such risks, it is traditional - nay, it is imperative - to enlist the services of a hooligan, a goon, an ape, a physical brute, who will be our security, our fist, our batterin' ram. Lump is our blunt instrument, and on all our behalfs I wish him a warm Mississippi welcome.</dialogue>
<character>LUMP</character>
<dialogue>Thanks, Professor.</dialogue>
<character>DORR</character>
<dialogue>Well gentlemen, here you are, men of different backgrounds and differing talents, men with, in fact only two things in common : one, you all saw fit to answer my little advertisement in the Memphis Scimitar, and, two, you are all going to be, in consequence, very very incredibly rich. Let us revel in our adventure, gentlemen. Let us make beautiful music together. And above all, gentlemen, let us keep it to ourselves. What we say in this root cellar, let it stay in this root cellar.</dialogue>
<character>LUMP</character>
<dialogue>There's no `` I'' in `` team''.</dialogue>
<scene_description>All stare at him .</scene_description>
<character>DORR</character>
<dialogue>Lump has a very excellent point.</dialogue>
<scene_description>The music swells , supported now by a male chorus that has the spirited manliness of the Red Army choir . We</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - BASEMENT - NIGHT</stage_direction>
<scene_description>The men at work , tunneling . The cat sits on the cellar floor , head cocked , gazing at the hole now opened in the wall . Lump , in a sleeveless undershirt , glistening with sweat , wields a pickaxe at the forward point . At the mouth of the hole Clark Pancake shovels dirt into a heavy plastic refuse bag held open by Gawain . G.H. Dorr sits on a camp chair , one hand idly waving time to the music , reading an old and yellowed tome with half - glasses perched midway down his nose . The General hops nimbly out of the tunnel and unzips and steps out of his all - in - one to reveal , underneath , his neatly pressed leisure suit and ascot .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Later , Dorr stands at the head of the cellar stairs , looking around the empty parlor . He gives a nod down the stairs and the men troop up past him , carrying sacks of earth . Over the mantelpiece , the eternal flame of the devotional candle almost animating his features , Othar seems to watch the men as they cross to the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>The men load the earth into the hearse .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - NIGHT</stage_direction>
<scene_description>We are at the Mississippi bridge that we saw in the prologue to the movie , but now , in dead of night , deserted . The hearse is pulling up at the middle of the bridge and dimming its lights . The men emerge ; when they open the back of the hearse to pull out the sacks , the cat bounds out to watch from a distance . We watch the men from HIGH , ANGLED DOWN along the masonry of a tower that stands in the middle of the suspension bridge . An ornamental gargoyle leers in the foreground . The garbage scow is approaching . We hear the low toot of its horn as it nears the bridge . Lump is poised with the first sack hugged to his chest , leaning over the railing . The nose of the barge enters below us . Lump releases the sack . We watch it drop dead away like a bomb from an airplane . It thuds distantly onto the barge . The next sack has been passed up to Lump and is released . The cat watches . Its orange eyes blink . Its pupils adjust .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>A PULL BACK shows that the cat is in fact back in the basement . Its POV : continued tunneling . Back to the cat , watching , then turning its head at a noise : At the head of the stairs , the cellar door is opening . A whistle from the General and Lump and Clark Pancake scramble from the tunnel . They whip a curtain over its opening and all men grab up their instruments as Dorr , covering with a cough , turns off the CD player . The General , his ever - present cigarette smoldering between his lips , tongue - and - lips it up and backwards so that it is inside his mouth , which he now closes . Marva Munson is heavily and carefully descending the stairs . As the men come into view they are looking up at her , Lump holding his sackbutt but still glistening with sweat and smeared with dirt .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>That's okay, do n't stop on account of me.</dialogue>
<scene_description>Lump looks around , saucer - eyed , then blows gamely into his sackbutt . It sounds like goose farts until Dorr waves him down .</scene_description>
<character>DORR</character>
<dialogue>No no, madam, we were about to take a break anyway. The glissandi on this particular piece are technically very demanding and I think we would all welcome a moment of relaxation.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Huh. I just thought you might like to see - what a you gotten up to, honey? Why you sweatin' like that.</dialogue>
<scene_description>It is directed at Lump , who looks down at his own sweat - stained undershirt .</scene_description>
<character>LUMP</character>
<dialogue>I, uh.</dialogue>
<character>GAWAIN</character>
<dialogue>That man plays one bitch barrelful a sackbutt. Ai n't no one can blow the tenor sackbutt like Lump, hoowee! goes at that thing like it was a pu - uh, like it was a woman! Goddamn! He -</dialogue>
<scene_description>She cuffs him on the head .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You mind! I do n't want that kind of talk in my home, even in the root cellar. This is a Christian house, boy, none of that hippity - hop language.</dialogue>
<character>DORR</character>
<dialogue>Sadly, Gawain is given to -</dialogue>
<scene_description>WHAP ! She slaps Gawain again .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Sometimes it's the only way!</dialogue>
<scene_description>He untenses after what seemed like the final blow , but - WHAP ! - she slaps him again .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I'm tryin' to help you, son!</dialogue>
<scene_description>WHAP !</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Better yaself!</dialogue>
<character>DORR</character>
<dialogue>As well you should, ma'am. But Gawain at times is so far transported by his love of the music of the early Renaissance as to -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Do n't make no never - mind he's transported!</dialogue>
<scene_description>Dorr has her by the elbow and is ushering her back up the stairs .</scene_description>
<character>DORR</character>
<dialogue>I understand your -</dialogue>
<scene_description>She pulls her elbow away and sniffs .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You been smokin'?</dialogue>
<character>DORR</character>
<dialogue>Certainly not, madam. I understand your indignation. And I was offering explanation, not excuse. I myself am offended by those who can not find the proper words to express themselves and have recourse to -</dialogue>
<scene_description>Gawain calls up the stairs :</scene_description>
<character>GAWAIN</character>
<dialogue>Do n't you be explainin' me, dawg! You ca n't look into my mind, cape man!</dialogue>
<character>DORR</character>
<dialogue>Yes, yes.</dialogue>
<scene_description>Dorr 's tone is soothing as he shuts the door at the top of the stairs .</scene_description>
<character>DORR</character>
<dialogue>A fiery lad! But then Youth is fiery! A fact often remarked upon by the poets of the Romantic era.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>My youth I was in church, I was n't walkin' around fiery. Youth ai n't no excuse for nothin'! Well, anyway. only came down to show you the fife.</dialogue>
<scene_description>She hands him a thick , roughly whittled piece of cane . Dorr holds it , looks at it dumbly . He is , for the first time that we have seen anyway , non - plussed .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Othar's fife. He burned his own.</dialogue>
<scene_description>Dorr tries to summon conversation as the two sit with their backs to the fireplace :</scene_description>
<character>DORR</character>
<dialogue>Did he?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - hm. I thought maybe bein' a musical man you'd be interested.</dialogue>
<character>DORR</character>
<dialogue>Oh, I am indeed -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Cut it himself and burned the holes. Israelites called it a kalil.</dialogue>
<character>DORR</character>
<dialogue>Ah.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Kalil, fife, same thing. You can read about it in the Bible. Ai n't nothin' new under the sun.</dialogue>
<character>DORR</character>
<dialogue>Indeed not.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Gone these twenty years. He was some kind of man.</dialogue>
<scene_description>From Othar 's POV , slightly high , we see them both twist in their chairs to look up at the portrait . REVERSE of the portrait , LOW ANGLE . Othar looks down at us with what appears to be bemusement . Marva Munson and Dorr gaze up at the portrait for a motionless beat . At length , Marva Munson sighs :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Blowed the kalil.</dialogue>
<scene_description>Dorr 's eyes remain on the picture as he inquires :</scene_description>
<character>DORR</character>
<dialogue>I do n't suppose Othar ever turned his hand - or, uh, heh - heh - heh, turned his lip - to the shofar?</dialogue>
<scene_description>Prompted by her silence , he adds :</scene_description>
<character>DORR</character>
<dialogue>The ceremonial ram's horn, sounded by the priests of the Hebrews?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I do n't know nothin' ` bout that. Othar did n't study no shofar, to the extent a my knowledge. The kalil was good enough for my Othar.</dialogue>
<scene_description>She gazes at the portrait .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Some kind of man.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>TRACKING BEHIND A SASHAYING ASS following a woman in a red dress .</scene_description>
<character>GAWAIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey baby, do n't be cruel. Jus' sneak one little peek.</dialogue>
<scene_description>The woman looks back over her shoulder , smiling , as she continues to walk .</scene_description>
<character>GAWAIN</character>
<dialogue>Do n't let this uniform fool ya -</dialogue>
<scene_description>REVERSE PULLING TRACK leads Gawain MacSam , pushing his wheeled trash bin .</scene_description>
<character>GAWAIN</character>
<dialogue>You do n't need to be gamblin', honey, you lookin' at a sure thing. They call me Mr. 21, baby,'cause that's how I measure up. I am the original black Jack, honey, accept no substitutions. You can pull my lever all day long, sweet mama, I ai n't never gon na come up lemons. That's right, sugar, you can blow on my dice any ol' time.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - GUDGE'S OFFICE - DAY</stage_direction>
<scene_description>Gudge has his feet up on the desk and is filing his nails with an emery board .</scene_description>
<character>GAWAIN</character>
<dialogue>But Mr. Gudge, she had an ass that could pull a bus. This lady was fine, fine, dandy, divine.</dialogue>
<character>GUDGE</character>
<dialogue>I do n't care how big her ass was, MacSam. You're fired.</dialogue>
<character>GAWAIN</character>
<dialogue>Say what?</dialogue>
<character>GUDGE</character>
<dialogue>There is no fraternizing with customers on the Lady Luck. Clean out your locker.</dialogue>
<character>GAWAIN</character>
<dialogue>But Gudge -- -</dialogue>
<character>GUDGE</character>
<dialogue>Get out of here. You're fired.</dialogue>
<character>GAWAIN</character>
<dialogue>You ca n't fire me. I sue your ass!</dialogue>
<character>GUDGE</character>
<dialogue>Sue me? For what?</dialogue>
<character>GAWAIN</character>
<dialogue>Sue you for fuckin' punitive damages, man!</dialogue>
<character>GUDGE</character>
<dialogue>Punitive damages.</dialogue>
<character>GAWAIN</character>
<dialogue>Ya damn skippy. I know you firin' my ass'cause I'm black!</dialogue>
<character>GUDGE</character>
<dialogue>Everyone on the custodial staff is black, MacSam. Your replacement's gon na be black. His replacement will no doubt be black.</dialogue>
<character>GAWAIN</character>
<dialogue>Fuckin' judge is gon na be black, motherfucker, that's who gon na be black! You gon na stand tall before the man!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAFFLE HOUSE - DAY</stage_direction>
<scene_description>VERY HIGH ANGLE We are looking down past the distinctive pylon - mounted yellow letters : WAFFLE .</scene_description>
</scene>
<scene>
<stage_direction>INT. WAFFLE HOUSE - DAY</stage_direction>
<scene_description>The band of miscreants is seated around a table with cups of coffee . Dorr 's wardrobe makes no concession to the informality of the setting ; he still wears his cape and a black string tie . His manner is more mournful even than usual :</scene_description>
<character>DORR</character>
<dialogue>Oh my. Oh my my my my my. This is a severe setback. I am distraught. I am more than distraught, I am devastated. Oh my, this is quite the monkey - wrench heaved into the meticulously engineered construct of our little escapade.</dialogue>
<character>LUMP</character>
<dialogue>Yeah, it fucks things up.</dialogue>
<character>DORR</character>
<dialogue>I am beside myself. I am at a positive loss for words.</dialogue>
<character>GAWAIN</character>
<dialogue>You still talkin' okay though.</dialogue>
<character>WAITRESS</character>
<dialogue>Have you all decided?</dialogue>
<scene_description>Dorr 's intensely mournful agitation is brought to bear upon her :</scene_description>
<character>DORR</character>
<dialogue>Oh madam, we must have waffles. We must all have waffles forthwith!</dialogue>
<scene_description>They hand in their menus .</scene_description>
<character>DORR</character>
<dialogue>Oh we must think. We must all have waffles and think, each and every one of us to the very best of his ability! Perhaps if you apologized to the man and gave him flowers, or perhaps a fruit basket, with a card depicting a misty seascape and inscribed with a sentiment.</dialogue>
<character>GAWAIN</character>
<dialogue>Shit, man, it ai n't about apologizin'! He fired me'cause I'm black!</dialogue>
<character>PANCAKE</character>
<dialogue>He ca n't do that. You could sue him. Open and shut case.</dialogue>
<character>GAWAIN</character>
<dialogue>Fuckin' A.</dialogue>
<character>PANCAKE</character>
<dialogue>This is not 1952.</dialogue>
<character>GAWAIN</character>
<dialogue>Man's a fuckin' bigot.</dialogue>
<character>DORR</character>
<dialogue>Well then, perhaps, surely, a chocolate assortment has been known to warm the heart of even the most hardened misanthrope, especially if it's a premium chocolate, imported, say, from Switzerland, or the Netherlands, or some other of the so - called `` Low'' countries be they Dutch or Flemish or Walloon -</dialogue>
<character>GAWAIN</character>
<dialogue>Walloon my ass, the man ai n't gon na roll over for a fuckin' candy bar!</dialogue>
<character>PANCAKE</character>
<dialogue>I'm afraid there's a setback on the tunneling front too. We've run into a pretty large rock, and -</dialogue>
<character>GENERAL</character>
<dialogue>- Rock!</dialogue>
<scene_description>All turn to look at the General . He continues to stare at a spot in space . He slowly releases some inhaled cigarette smoke , murmuring :</scene_description>
<character>GENERAL</character>
<dialogue>Very bad.</dialogue>
<character>DORR</character>
<dialogue>Oh my my, it seems that the poet was right : Troubles never singly come.</dialogue>
<character>PANCAKE</character>
<dialogue>Oh, we can get through the rock, no worries there. Simplest thing in the world. Why we blow right through it ; I've got a pyro license, we bore a hole in the rock, pack in a little plastique ; igneous blows pretty good, and we -</dialogue>
<character>LUMP</character>
<dialogue>Is he gon na want a piece of the action?</dialogue>
<scene_description>All turn to look at Lump .</scene_description>
<character>PANCAKE</character>
<dialogue>Who?</dialogue>
<scene_description>Lump hesitates , looking at the inquiring faces that surround him .</scene_description>
<character>LUMP</character>
<dialogue>Igneous?</dialogue>
<scene_description>A female Voice :</scene_description>
<character>MOUNTAIN GIRL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hello Clark. Am I ordering the prima cord?</dialogue>
<scene_description>The men look up at her .</scene_description>
<character>PANCAKE</character>
<dialogue>Yes, Mountain, we were just talking about that, and some plastique.</dialogue>
<scene_description>All the men are staring at her , agog .</scene_description>
<character>GAWAIN</character>
<dialogue>The fuck is this?</dialogue>
<character>PANCAKE</character>
<dialogue>This is Mountain Girl. Mountain is my right hand. She helps me with ordnance. Helps me with damn near everything.</dialogue>
<scene_description>The men stare .</scene_description>
<character>GAWAIN</character>
<dialogue>You brought your bitch to the waffle house?!</dialogue>
<scene_description>There is tension in the air . Dorr clears his throat .</scene_description>
<character>DORR</character>
<dialogue>I confess myself to be puzzled as well. I thought we all understood that, so far as our little enterprise is concerned, mum, as the saying would have it, is the word -</dialogue>
<character>PANCAKE</character>
<dialogue>Of course. I understand that. But this is Mountain.</dialogue>
<scene_description>He chuckles .</scene_description>
<character>PANCAKE</character>
<dialogue>I do n't keep secrets from Mountain. That's not how you maintain a loving, caring relationship.</dialogue>
<character>GAWAIN</character>
<dialogue>You brought your bitch to the waffle house?</dialogue>
<scene_description>He looks around .</scene_description>
<character>GAWAIN</character>
<dialogue>Man brings his bitch to the waffle house!</dialogue>
<character>PANCAKE</character>
<dialogue>Look, you, I'll thank you to stop referring to Mountain that way. She's the other half of my life.</dialogue>
<character>GAWAIN</character>
<dialogue>Everybody lookin' at me like I'm a fuck - up, losin' that sorry - ass job, and this motherfucker bring his bitch to the waffle house!</dialogue>
<scene_description>Pancake lunges across the table , sending dishes clattering to the floor as he grabs Gawain by the shirt .</scene_description>
<character>PANCAKE</character>
<dialogue>You son of a bitch punk! Shut your goddamn mouth!</dialogue>
<scene_description>He shakes him vigorously and rears back to take a swing at him . Gawain draws a gun .</scene_description>
<character>GAWAIN</character>
<dialogue>Come and get me motherfuck! Come on, baby, let's get it on!</dialogue>
<scene_description>Mountain starts screaming . People look , aghast .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, please!</dialogue>
<scene_description>The other men pry Pancake and Gawain apart .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, this sort of behavior does you no credit in the eyes of your colleagues, or in those of the other patrons of this waffle house!</dialogue>
<scene_description>Pancake grumbles as he composes himself and straighten his clothes .</scene_description>
<character>PANCAKE</character>
<dialogue>Nobody talks to Mountain Girl that way. She had an abusive family!</dialogue>
<character>GAWAIN</character>
<dialogue>Fuck you, man.</dialogue>
<character>PANCAKE</character>
<dialogue>Little punk. I got syrup on my safari jacket.</dialogue>
<scene_description>He embraces Mountain , who continues to sob quietly .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, I propose that we consider the matter of this woman, Mountain Water, to be -</dialogue>
<character>PANCAKE</character>
<dialogue>Mountain Girl.</dialogue>
<character>DORR</character>
<dialogue>I am so very sorry. I propose that we consider this matter to be closed, and we shall chose to trust her, since we now have no choice, and since she shall share only in Mr. Pancake's portion of the booty.</dialogue>
<scene_description>Over the shoulder of the quietly weeping Mountain Girl :</scene_description>
<character>PANCAKE</character>
<dialogue>Of course. Would n't have it any other way.</dialogue>
<character>GAWAIN</character>
<dialogue>Damn right you wo n't.</dialogue>
<character>PANCAKE</character>
<dialogue>Up yours, punk.</dialogue>
<character>DORR</character>
<dialogue>Gentlemen! And the manner of disposing of our igneous impediment is also settled. That leaves only the question of Gawain retrieving his job.</dialogue>
<character>LUMP</character>
<dialogue>Could n't you just bribe the guy?</dialogue>
<scene_description>All turn to look at Lump .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON LIVING ROOM - NIGHT</stage_direction>
<scene_description>Othar looks serenely down from his spot over the mantelpiece . Marva Munson knits ; G.H. Dorr sits nodding over an ancient volume of half - forgotten lore , reading glasses perched midway down his nose . Curtains waft lazily in the summer night breeze .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You just a readin' fool, ai n't you Mr. Dorr.</dialogue>
<character>DORR</character>
<dialogue>Yes yes, I must confess, madam, that often I feel more at home in these ancient volumes than I do in the hustle - bustle of our modern world. To me, paradoxically, the literature of the so - called `` dead tongues'' has more currency than this mornin's newspaper.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - mm.</dialogue>
<character>DORR</character>
<dialogue>In these books.</dialogue>
<scene_description>He removes his glasses and lazily twirls them .</scene_description>
<character>DORR</character>
<dialogue>In these volumes, there is the accum ` lated wisdom a mankind which succours me when the day is hard or the night lonely and long.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Wisdom of mankind, what about the wisdom of the Lord?</dialogue>
<character>DORR</character>
<dialogue>Oh yes, the Good Book, mm. I have found reward in its pages. But for me there are other good books as well ; the heavy volumes of Antiquity, freighted with the insights of Man's glorious age. And then of course I love, love, love the works of Mr. Ed G'Allan Poe.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I know who he is. Kinda creepy.</dialogue>
<character>DORR</character>
<dialogue>Oh no, madam, noooo. Not of this world, true ; he lived in a dream, an ancient dream.</dialogue>
<scene_description>Dorr himself is lost in a dream :</scene_description>
<character>DORR</character>
<dialogue>`` Helen, they beauty is to me Like those Nicean barks a yore That gently, o'er a perfumed sea, The weary, wayworn wanderer bore To his own native shore.''</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Who was Helen? She was n't a loose woman, was she? Some kinda whore a Babylon?</dialogue>
<scene_description>Dorr is still lost :</scene_description>
<character>DORR</character>
<dialogue>One does n't know who Helen was, though I picture her as bein' very, very extremely. pale.</dialogue>
<scene_description>He comes to himself , focuses on Mrs. Munson .</scene_description>
<character>DORR</character>
<dialogue>Miz Munson, I was tryin' to think of some way of expressin' my gratitude to you for takin' in.</dialogue>
<scene_description>He chuckles .</scene_description>
<character>DORR</character>
<dialogue>this weary, wayworn wanderer.</dialogue>
<scene_description>The Professor takes a small ticket envelope from where it had served as bookmark , and hands it across .</scene_description>
<character>DORR</character>
<dialogue>It's just a modest little ol' present, why it's practically nothing at all.</dialogue>
<scene_description>Beaming , she takes two tickets out of the envelope and inspects them .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Oh Mr. Dorr, why you are such a gallant man.</dialogue>
<character>DORR</character>
<dialogue>Oh no madam, I blush. I melt. No, I just happened to hear of this gospel concert tomorrow night, The Mighty Mighty Clouds of Joy, and I thought you and a friend from church, perhaps.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Othar loved that music. Yes, I got a widow - lady friend.</dialogue>
<character>DORR</character>
<dialogue>The concert is up in Memphis, but I have arranged for a car service to transport you thither and, needless to say, back home at the concert's termination. My friends and I will be rehearsing here tomorrow evening so you need n't worry about the security of your charming little old house.</dialogue>
<scene_description>There is a knock at the door .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Huh? Excuse me.</dialogue>
<scene_description>I/E . MUNSON HOUSE - FOYER - NIGHT Mrs. Munson swings the door open to Sheriff Wyner . His squad car is parked at the curb .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Sheriff Wyner, how you doin'.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The Professor 's eyes widen with concern as he hears the voices , off :</scene_description>
<character>SHERIFF</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Evenin', Miz Munson, I just came by.</dialogue>
<scene_description>I/E . MUNSON HOUSE - FOYER - NIGHT The sheriff is tipping his hat and already backing away , trying to make his visit brief :</scene_description>
<character>SHERIFF</character>
<dialogue>to let you know I had a word with WeeMack. He says he gon na comply with your request, keep the music down and neighborly.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - hm.</dialogue>
<scene_description>He calls from the bottom of the stoop :</scene_description>
<character>SHERIFF</character>
<dialogue>So you have a pleasant evening now, and just let us know -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hang on there, Sheriff, somebody I want you to meet.</dialogue>
<character>SHERIFF</character>
<dialogue>Ma'am, I'm a little pressed for time -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Why, you chasin' a gang of bank robbers? Get on in here say hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The Voices approach :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>We was just havin' tea, talkin' about Othar -</dialogue>
<scene_description>The two enter and Mrs. Munson stops short , looking . The living room is empty . Even the Professor 's teacup is gone .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Hm. Bussed his own dishes. You can always tell a gentleman.</dialogue>
<scene_description>The sheriff , hat in hand , gazes about .</scene_description>
<character>SHERIFF</character>
<dialogue>Someone was here, ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - hm, with me'n Othar.</dialogue>
<scene_description>Once again , he tries to excuse himself :</scene_description>
<character>SHERIFF</character>
<dialogue>Well, maybe I'll catch him next time.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Come on up to his room.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT</stage_direction>
<scene_description>The door opens and the two look in . The neatly made bed next to the small , barren dresser .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Mm, he's neat.</dialogue>
<character>SHERIFF</character>
<dialogue>Very neat.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Probably went down to the cellar to play with his friends.</dialogue>
<scene_description>She turns .</scene_description>
<character>SHERIFF</character>
<dialogue>Ma'am, I really have to.</dialogue>
<scene_description>POV FROM UNDER THE BED Top - teased by a dust ruffle in the foreground , we see Mrs. Munson 's heavy orthopedic shoes turning to pass Sheriff Wyner 's shiny black boots . REVERSE shows Dorr , cheek pressed to the floor , his teacup and saucer under the bed with him .</scene_description>
<character>SHERIFF</character>
<dialogue>be gettin' back.</dialogue>
<scene_description>BACK TO NORMAL PERSPECTIVE Mrs. Munson is about to go out the door but notices something : A corner of the Professor 's cape , protruding from under the end of the bed .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What the.</dialogue>
<scene_description>BACK TO DORR fearfully watching . HIS POV The heavy orthopedic shoes approach , and then , with loud Mr. Mogul sounds of effort , Mrs. Munson 's hands and knees hit the floor . Her head drops in to view to peer in , her own cheek against the floorboards .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What the. Why, Professor!</dialogue>
<scene_description>We see the Sheriff watching and his HIGH POV of Mrs. Munson 's enormous ass .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What you doin' havin' tea down there?!</dialogue>
<scene_description>Dorr makes silent hand waves to disavow his own presence . Mrs. Munson roars with laughter . With difficulty she pushes herself back upright , still laughing .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Land of Goshen! Get out from under there!</dialogue>
<character>SHERIFF</character>
<dialogue>Miz Munson, my pager just went off.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Why of all the.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - STAIRCASE/FOYER - NIGHT</stage_direction>
<scene_description>The Sheriff is already backing down the stairs :</scene_description>
<character>SHERIFF</character>
<dialogue>` Fraid I got ta respond.</dialogue>
<scene_description>He opens the front door and calls up :</scene_description>
<character>SHERIFF</character>
<dialogue>I'll try to meet your friend some other time.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - DORR'S BEDROOM - NIGHT</stage_direction>
<scene_description>Dorr shimmies out from under the bed .</scene_description>
<character>DORR</character>
<dialogue>Well that was very. refreshing. As you know.</dialogue>
<scene_description>He gets to his feet , slaps dust from the front of his pants .</scene_description>
<character>DORR</character>
<dialogue>we academics are inordinately fond of wedgin' ourselves into confined spaces. At Yale the students will see how many of their number they can enclose in a telephone booth ; Harvard, a broom closet.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Why I never!</dialogue>
<character>DORR</character>
<dialogue>There was the goldfish - swallowin' craze, of course, a different but related phenomenon. Ahem. I hope I did n't spill any tea.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - GUDGE'S OFFICE - DAY</stage_direction>
<scene_description>CLOSE ON A BOX OF CHOCOLATES The box is being pulled open .</scene_description>
<character>GUDGE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What the hell is this?</dialogue>
<scene_description>WIDER shows Gawain in Mr. Gudge 's office as Gudge , behind the desk , looks at the gift - wrapped box .</scene_description>
<character>GAWAIN</character>
<dialogue>It's just my way of sayin', well, goddamnit, I do n't know what it's like walkin' in your shoes, bein' all tightass and all, and you do n't know what it's like to walk in my shoes, but, well.</dialogue>
<scene_description>Gudge is opening a card that was inside the box . Its floral front says in gold script , `` I 'm Sorry . If I hurt your feelings . ''</scene_description>
<character>GAWAIN</character>
<dialogue>You know, there's the custodian, and then there's the man inside the custodian, y' understand what I'm sayin'.</dialogue>
<scene_description>Gudge opens the card . Inside is a hundred - dollar bill .</scene_description>
<character>GAWAIN</character>
<dialogue>and that man has needs, dig, and I guess those needs, Mr. Gudge, which they usually involve women with big asses, well those motherfuckin' needs sometimes well up over the custodian like the motherfuckin' Johnstown Flood. But my point is it ai n't gon na happen again. Not if it's humanly possible.</dialogue>
<scene_description>Gudge reads the card , flips it over to look at its back .</scene_description>
<character>GUDGE</character>
<dialogue>Hmm.</dialogue>
<character>GAWAIN</character>
<dialogue>But Jesus, if you'd seen the ass on that girl, Mr. Gudge, you'd a wanted her sitting on your face too.</dialogue>
<character>GUDGE</character>
<dialogue>Well, we're all human.</dialogue>
<character>GAWAIN</character>
<dialogue>Ya damn skippy.</dialogue>
<character>GUDGE</character>
<dialogue>This apology buys you a one - week probationary period. Stay away from the customers, MacSam.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - NIGHT</stage_direction>
<scene_description>Pancake is on his stomach , wearing goggles , boring a hole into a rock face with a power drill .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>We hear the whine of the drill faintly here , all but covered by the sound of the chamber music on the boom box . The other men sit around . Dorr gives a casual glance at his watch as the whine subsides . Pancake emerges from the tunnel covered with grime .</scene_description>
<character>PANCAKE</character>
<dialogue>The drill bit's getting awfully hot. Gawain, maybe you could fill a hudson sprayer and spritz it down while I drill.</dialogue>
<character>GAWAIN</character>
<dialogue>Fuck you, man, I ai n't your house nigger. I'm the inside man!</dialogue>
<character>PANCAKE</character>
<dialogue>Look, are you gon na have a bug up your ass for the rest of the time we work together?</dialogue>
<character>LUMP</character>
<dialogue>I'll get the sprayer.</dialogue>
<character>PANCAKE</character>
<dialogue>No no, me and this gentleman here have to get square. Let me tell you something, MacSam. You wan na know something?</dialogue>
<character>GAWAIN</character>
<dialogue>I do n't wan na know shit from you.</dialogue>
<scene_description>Pancake leans against the wall and pushes his goggles up on his forehead , leaving raccoon eyes .</scene_description>
<character>PANCAKE</character>
<dialogue>I'm gon na tell you how I came down to Mississippi. Was n't born here, you know. I'm from Scranton, Pennsylvania.</dialogue>
<scene_description>Abruptly , he stares off into space .</scene_description>
<character>PANCAKE</character>
<dialogue>Nnnff!</dialogue>
<character>GAWAIN</character>
<dialogue>Huh?</dialogue>
<scene_description>Pancake 's eyes regain their focus :</scene_description>
<character>PANCAKE</character>
<dialogue>Scranton, Pennsylvania. Came down here in 1964. Greyhound Bus. With the Freedom Riders. You know who the Freedom Riders were, MacSam?</dialogue>
<character>GAWAIN</character>
<dialogue>I do n't give a shit who they were. Just tell me when they gon na leave.</dialogue>
<character>PANCAKE</character>
<dialogue>The Freedom Riders, my fine young man, were a group of concerned liberals from up North - whites, Negros, and yes, Jewish people - all working together, just like we are here. Concerned citizens who came down here so that local black people could have their civil liberties. So that people like you could have the vote.</dialogue>
<scene_description>All look at Pancake . Quiet , except for the delicate chamber music . Gawain 's tone softens :</scene_description>
<character>GAWAIN</character>
<dialogue>You know what, man?</dialogue>
<character>PANCAKE</character>
<dialogue>What, brother?</dialogue>
<character>GAWAIN</character>
<dialogue>I do n't vote. So fuck you.</dialogue>
<scene_description>Pancake darkens :</scene_description>
<character>PANCAKE</character>
<dialogue>Why you fucking -</dialogue>
<character>GAWAIN</character>
<dialogue>And the bus you rode in on!</dialogue>
<character>PANCAKE</character>
<dialogue>That's it!</dialogue>
<scene_description>He peels off his coat .</scene_description>
<character>PANCAKE</character>
<dialogue>Let's step outside, MacSam!</dialogue>
<scene_description>There is a knock on the cellar door . The men freeze momentarily , then scramble for their instruments . The General flips his cigarette backwards into his mouth . Dorr turns off the boom box , then calls :</scene_description>
<character>DORR</character>
<dialogue>Yes, madam?</dialogue>
<scene_description>The door opens and Mrs. Munson comes down the stairs , holding a large plate covered by a checked napkin .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>My friend Mrs. Funthes is here so I'm about to go on out. I just wanted to leave y' all with some cinnamon cookies.</dialogue>
<scene_description>She takes the napkin off and carries the plate from person to person ; each obediently takes a cookie with a murmured `` Thank you , ma'am . ''</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Y' all sound pretty good. It'd be nice if you'd come by the church some day, give us a recital.</dialogue>
<scene_description>Dorr takes her by the arm and escorts her back to the stairs .</scene_description>
<character>DORR</character>
<dialogue>Oh madam, you are too kind. Our music, however, is - how shall I put it? - rather Roman in its outlook ; many of our pieces were commissioned by the Holy See.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Oh, I see all right, but we do n't make a big whoop - dee - do about denominations ; everybody welcome at our church. We've had Methodists come in. Episcopals. Even had a Jew come in once with a guitar back in the sixties.</dialogue>
<character>DORR</character>
<dialogue>Indeed. Excuse me, one moment, ma'am, and I shall see you off.</dialogue>
<scene_description>They have reached the top of the stairs and the Professor ushers her out but stays behind himself . He turns to address the rest of the men below :</scene_description>
<character>DORR</character>
<dialogue>If you gentlemen can labor harmoniously in the course of my absence, then perhaps upon my return we shall be prepared to explode that vexin' ol' piece a igneous.</dialogue>
<character>GAWAIN</character>
<dialogue>He's the motherfuckin' piece of igneous.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The Professor emerges from the cellar . Mrs. Munson awaits with her friend who is likewise togged out in fancy Sunday dress and carrying a shiny black purse .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Professor, this is Rosalie Funthes, Rosalie, Professor G.H. Dorr, Ph.D..</dialogue>
<character>ROSALIE</character>
<dialogue>Oh my, that's an awful lot of letters.</dialogue>
<character>DORR</character>
<dialogue>Well of course in my youth I was simply known as Goldthwait.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>Pancake is taking the boom box off the table to clear some space .</scene_description>
<character>PANCAKE</character>
<dialogue>All right, safety meeting, let's listen up. General, could you hand me the prima cord and the compound there. Before we set the charge we'll run through our procedure.</dialogue>
<scene_description>Various paraphernalia are laid out on the table . The cat sits in a corner of the cellar , watching carefully and , it seems , listening attentively .</scene_description>
<character>PANCAKE</character>
<dialogue>I have earplugs for whoever wants them. Just wedge them in your ears. Now here we have - not yet, Lump.</dialogue>
<scene_description>Lump stops putting in his earplugs .</scene_description>
<character>PANCAKE</character>
<dialogue>Now. Prima cord. Gelatinite. C4. Time comes, we pack the hole in the rock with the C4 and insert two leads. A.</dialogue>
<scene_description>He holds up one lead .</scene_description>
<character>PANCAKE</character>
<dialogue>and B.</dialogue>
<scene_description>He holds up the other lead .</scene_description>
<character>PANCAKE</character>
<dialogue>Charge comes from a battery that is inside this plunger. Ordinary auto battery, you can pick it up at Sears, easiest thing in the world.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>A black town car idles at the curb . Dorr is just escorting the two ladies out the front door and down the stoop .</scene_description>
<character>DORR</character>
<dialogue>I remember my father telling me - and it is one of the few memories I retain of the man, from one of his visits home, and how I do cherish it - he said, `` Goldthwait, you are not formed as other little boys.''</dialogue>
<character>ROSALIE</character>
<dialogue>Mm - mm.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>He a man of learnin'?</dialogue>
<character>DORR</character>
<dialogue>G.H. number two was self - educated ; he had no career, as such, though the state recognized the breadth of his readin' by making him librarian at the state nervous hospital in Meridian, where he was a distinguished inmate.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>Pancake sets down the two electrical leads and picks up a hammer .</scene_description>
<character>PANCAKE</character>
<dialogue>This is the same procedure we will be using when we collapse the tunnel after entering the casino vault and returning to the root cellar.</dialogue>
<scene_description>He looks pointedly at Gawain .</scene_description>
<character>PANCAKE</character>
<dialogue>This is for your own protection, so pay close attention. Once these materials are combined only the professionals may handle them. That means me, or the General. Separately they are harmless - completely inert. Why, you could light this stuff on fire, hit it with a hammer -</dialogue>
<scene_description>He swings the hammer down onto the plastique -</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>- and there is the dull thud of an explosion and the house 's windows rattle in their frames . The Professor , at the open door of the car into which the two ladies have just sat , looks up at the house , as do the ladies .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What in the name of heaven was that?</dialogue>
<scene_description>Dorr stares at the house , appalled .</scene_description>
<character>DORR</character>
<dialogue>I'm. quite sure. that there is. no cause for alarm.</dialogue>
<scene_description>He struggles for self - possession .</scene_description>
<character>DORR</character>
<dialogue>Why, I'm not even absolutely certain that I heard anything at all.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Did n't hear anything?!</dialogue>
<character>DORR</character>
<dialogue>Well, something, perhaps, but.</dialogue>
<scene_description>Marva Munson starts to get out of the car .</scene_description>
<character>DORR</character>
<dialogue>nothing that need discompose us, was the sense I was trying to convey.</dialogue>
<scene_description>He urges her back into her seat .</scene_description>
<character>DORR</character>
<dialogue>Miz Munson, I will not have you missing your musical recital. Why, you go ahead now. Miz Funthes, you as well, I beg of you.</dialogue>
<scene_description>He is backing up the walk .</scene_description>
<character>DORR</character>
<dialogue>I shall call the gas company, or the water company, or whatever subterranean utility is implicated in this little. occurrence. I shall see to the matter. as only a highly educated classicist could.</dialogue>
<scene_description>At the door now , he gives the two women peering out the car window a smiling but vigorous wave away , which they do not heed , and then he enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The room is filled with smoke . Othar , slightly askew over the mantel , looks a little huffy . We hear clomping and screaming on the cellar stairs . Lump bursts out , shrieking :</scene_description>
<character>LUMP</character>
<dialogue>Blood, Professor! Oh my God! Blood!</dialogue>
<scene_description>The General comes bounding up the stairs like a panther , a cigarette burning in his lips . He lands catlike in the living room , glides to the blubbering Lump , grabs one shoulder firmly with one hand , and with the other slaps him sharply , once forehand , once backhand . Lump stares at him , shocked , his blubbering cut short . More noise is coming from the stairs :</scene_description>
<character>PANCAKE</character>
<dialogue>why, it's nothing to make a fuss about. Perfectly all right. happens all the time.</dialogue>
<character>GAWAIN</character>
<dialogue>You got ta go find it, dipshit!</dialogue>
<scene_description>Pancake emerges from the stairwell , his hair singed , his face and the front of his jumpsuit darkened by the blast . He is clutching one hand with the other .</scene_description>
<character>PANCAKE</character>
<dialogue>No, no. Really, I'm perfectly all right.</dialogue>
<scene_description>Gawain has ascended just behind to hector him over his shoulder :</scene_description>
<character>GAWAIN</character>
<dialogue>Perfectly all right? You just blew your fucking finger off!</dialogue>
<character>PANCAKE</character>
<dialogue>Sure, but -</dialogue>
<character>GAWAIN</character>
<dialogue>Well get back down there and find it, man! I ai n't pickin' up your goddamn finger!</dialogue>
<character>DORR</character>
<dialogue>I gather there was a premature detonation -</dialogue>
<character>GAWAIN</character>
<dialogue>They can sew that shit back on, jack! Like that guy his wife cut his dick off! Just sewed that motherfucker back on!</dialogue>
<character>PANCAKE</character>
<dialogue>Of course. Simplest thing in the world. Microsurgery -</dialogue>
<character>GAWAIN</character>
<dialogue>Saw that motherfucker in a porno! Thing still works!</dialogue>
<scene_description>Pancake is pale from loss of blood and his pontifications lack full conviction :</scene_description>
<character>PANCAKE</character>
<dialogue>Oh yes, they have remarkable abilities in the, uh.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>Quiet . The two women sit in the idling car , looking at the house . From the house there is very muted bellowing . Still looking toward the house , Mrs. Munson offers a word of explanation to her friend :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>They using the house to practice music a the rococo.</dialogue>
<character>ROSALIE</character>
<dialogue>Mmmm - hm.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The cat , with a human finger in its mouth , sidles cautiously to one side , warily eying someone .</scene_description>
<character>VOICES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Get him!</dialogue>
<scene_description>The General , pluming cigarette in his mouth , tensed arms extended outwards , sidles cautiously to cut him off .</scene_description>
<character>DORR</character>
<dialogue>I propose that we get our fallen comrade to the hospital, and the General shall follow when he manages to recover the severed digit.</dialogue>
<character>PANCAKE</character>
<dialogue>I do n't know what all the fuss is about.</dialogue>
<scene_description>The cat jumps . The General leaps to follow .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>The two women looking . The front door of the house opens . Lump , the Professor , and Gawain emerge , escorting Pancake . Just before Gawain finishes closing the door the cat slips out .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>PICKLES!</dialogue>
<scene_description>The door is yanked fully open and the General races out after the cat .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You catch Pickles now!</dialogue>
<scene_description>The cat races across the lawn and , with no break in stride , up his favorite tree . The General follows and , also without breaking stride , clambers up the tree after it . Tree limbs shake with activity hidden by the leaves . We hear the hiss of the cat . The men are bundling Pancake into the hearse . Dorr calls to the women before climbing in :</scene_description>
<character>DORR</character>
<dialogue>The house is perfectly in order, but we need medical attention for Mr. Pancake who, during the disturbance, pinched his finger in a valve of the sackbutt.</dialogue>
<scene_description>The cat leaps out of the tree and runs away down the road .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You let the cat out!</dialogue>
<scene_description>The General leaps out of the tree to land catlike on the street , arms tensed , casts a look both ways , and then pursues the animal down the road . We hear the retreating padding footsteps of all six feet .</scene_description>
<character>DORR</character>
<dialogue>The General is even now exercising every effort to retrieve your mischievous little pet. Please go, go and enjoy your concert, and we shall see you later in the evening. Au revoir, mes dames!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - NIGHT</stage_direction>
<scene_description>A new day . The garbage scow chugs down the mighty Mississippi . It toots its horn .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>CLOSE ON SCHEMATIC MAP It shows the underground complex and , stretching towards it in a line drawn with a blunt pencil , is the tunnel . It is now almost to the vault . A violin bow enters to tap at the line .</scene_description>
<character>DORR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Despite our little setback we find ourselves on schedule to penetrate the vault.</dialogue>
<scene_description>The bow taps at the vault outline .</scene_description>
<character>DORR</character>
<dialogue>here, this afternoon, having successfully blasted that little ol' rock to pieces during Miz Munson's choir practice.</dialogue>
<scene_description>The violin bow withdraws .</scene_description>
<character>DORR</character>
<dialogue>Clark, perhaps you can run us through the game plan for what remains of our tunnelin'.</dialogue>
<scene_description>A bandaged hand enters frame and a finger - stump points at the end of the penciled line .</scene_description>
<character>PANCAKE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Of course. Why, it's child's play now, easiest thing in the world. Only a couple of feet separate us from the vault.</dialogue>
<scene_description>WIDER The men are clustered around the map , spread out on the sackbutt case in the cellar . Clark continues :</scene_description>
<character>PANCAKE</character>
<dialogue>Just the usual spadework until we hit the masonry of the vault, and then we drill through.</dialogue>
<character>DORR</character>
<dialogue>And will you be able to wield the drill with your maimed extremity?</dialogue>
<character>PANCAKE</character>
<dialogue>Oh, I should think so, it's only one finger. Inhibits me in doing finer work, of course. I'll always have to live with that. Ahem. Maybe, and I'm just thinking out loud here, maybe since, as you say, it will present problems later.</dialogue>
<character>DORR</character>
<dialogue>Yes, Clark?</dialogue>
<character>PANCAKE</character>
<dialogue>Well, maybe - and this is something I've talked over with Mountain Girl, and she agrees with me, so it's not just one person's opinion - maybe I should get a little extra compensation for the accident.</dialogue>
<scene_description>A long , stony silence .</scene_description>
<character>PANCAKE</character>
<dialogue>Somewhat larger share. Why, if this were any other line of work I'd be getting workmen's comp, would n't I? Might even have a pretty good lawsuit.</dialogue>
<character>GAWAIN</character>
<dialogue>You gon na sue yaself for blowin' off your finger?</dialogue>
<character>PANCAKE</character>
<dialogue>Well that is simply asinine -</dialogue>
<character>DORR</character>
<dialogue>Yes but you see, Clark, this is not what you just called `` some other line of work.''</dialogue>
<character>PANCAKE</character>
<dialogue>But if it were -</dialogue>
<character>DORR</character>
<dialogue>This is a criminal enterprise, not to put too fine a point on it, entailin' all manner a risks not involved in honest labor. Governmental regulations an' civic safeguards can not be assumed to apply to antisocial pursuits.</dialogue>
<character>LUMP</character>
<dialogue>Yeah, but he lost his finger.</dialogue>
<character>GAWAIN</character>
<dialogue>We do n't give a shit! Man can blow his own dick off, do n't make no nevermind to us! We do n't got ta pay the man for goin' around blowin' off body parts! Getcha head outcha ass, man!</dialogue>
<character>PANCAKE</character>
<dialogue>Look, you -</dialogue>
<character>DORR</character>
<dialogue>I think that in this instance Gawain has a very excellent point. I -</dialogue>
<character>GENERAL</character>
<dialogue>No extra share!</dialogue>
<scene_description>All stop and stare at the General . Clark grumbles :</scene_description>
<character>PANCAKE</character>
<dialogue>Well, okay, majority rules, like I say, it was just a trial balloon. Hand's not so bad really, I even get some phantom feeling.</dialogue>
<character>GAWAIN</character>
<dialogue>You pull on your prick you get phantom feeling. Greedy motherfuck.</dialogue>
<character>DORR</character>
<dialogue>Now that that matter is settled, let us synchronize our watches before Gawain reports to work. In. twenty seconds. it will be twelve - sixteen exactly. fifteen.</dialogue>
<character>PANCAKE</character>
<dialogue>It will be twelve - fifteen?</dialogue>
<character>DORR</character>
<dialogue>No, in fifteen seconds - now eleven seconds - it will be twelve - sixteen. eight.</dialogue>
<character>LUMP</character>
<dialogue>Professor?</dialogue>
<character>DORR</character>
<dialogue>Six. five - yes, Lump?</dialogue>
<character>LUMP</character>
<dialogue>I do n't have a watch.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASINO - DAY</stage_direction>
<scene_description>It is the weathered doorway to the main entrance of the Lady Luck . A hand enters to rap .</scene_description>
<character>ELRON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yeah?</dialogue>
<character>GAWAIN</character>
<dialogue>Me, dickwad.</dialogue>
<scene_description>A low , chesty chuckle . The door swings open and Gawain enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>RUMBLING WHEELS ON NUBBY FLOOR A garbage bin is being wheeled across the empty casino floor . WIDER Gawain is wheeling it . He is approaching the tunnel to the corporate annex . BACK TO THE WHEELS As they roll down the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>Loud singing at the cut . We are looking at Mrs. Munson in the middle of the choir , holding forth in song .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - SERVICE HALL - DAY</stage_direction>
<scene_description>Gawain leans back against the wall next to the vault door , arms folded across his chest . Faintly , from inside the vault , we hear the whine of a power tool . Gawain leans over and punches the button on boom box that hangs from the rolling garbage bin . The hallway pulses with `` I Left My Wallet In El Segundo . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>More singing , Mrs. Munson and the rest of the choir now clapping as they sing .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>The power - tool whine is louder here . We are looking at a patch of wall . After a beat , and with a loud rev as resistance gives way , a drill bit emerges from the wall , spitting out bits of the masonry . The drill withdraws . After a beat , hammer blows . The chunk of masonry begins to buckle .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - SERVICE HALL - DAY</stage_direction>
<scene_description>The General opens the door , still somehow immaculately groomed . Gawain enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>The gospel number rising to climax , supported by the organist and the rest of the congregation .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>Clark and Lump , covered in dirt and plaster dust , have started stuffing bundled bills and small sacks into large garbage bags . An irregular hole , about three feet across , gapes in the far wall . Gawain punches off the boombox , looking at all the money .</scene_description>
<character>GAWAIN</character>
<dialogue>Well ai n't that somethin'.</dialogue>
<scene_description>Clark suddenly freezes in the act of collecting money . He straightens slowly .</scene_description>
<character>PANCAKE</character>
<dialogue>Hnnnn. Arrunggggh! Rnffff.</dialogue>
<scene_description>He stands stock still , wincing , gazing off into space .</scene_description>
<character>PANCAKE</character>
<dialogue>Mmmmnggh!</dialogue>
<scene_description>He whispers hoarsely , urgently :</scene_description>
<character>PANCAKE</character>
<dialogue>IBS!</dialogue>
<scene_description>The other men look at him .</scene_description>
<character>GAWAIN</character>
<dialogue>Say what?</dialogue>
<character>PANCAKE</character>
<dialogue>IBS! Irritable Bowel Syndrome! Is there a men's room down here?!</dialogue>
<character>GAWAIN</character>
<dialogue>Oh man, you should n't be using the men's room -</dialogue>
<character>PANCAKE</character>
<dialogue>Or a lady's room! IBS! Quickly!</dialogue>
<character>GAWAIN</character>
<dialogue>You shoulda shit back in the house, man! We do n't want Elron finding you in the goddamn crapper!</dialogue>
<scene_description>Clark 's voice is still hoarse . He does small knee bends of urgency :</scene_description>
<character>PANCAKE</character>
<dialogue>No choice! Quickly! It's a medical condition!</dialogue>
<character>GAWAIN</character>
<dialogue>You are disgusting, man. All right, follow me.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>We are CLOSE ON Gawain peering anxiously to one side . He turns and peers the other way . We hear a toilet flush and , after a beat , Clark emerges from the men 's room door next to which Gawain stands . His manner is now completely relaxed .</scene_description>
<character>PANCAKE</character>
<dialogue>Feel thirty pounds lighter.</dialogue>
<scene_description>They start walking back to the vault .</scene_description>
<character>PANCAKE</character>
<dialogue>Thank you for being so understanding. Not everyone is, of course, which is why the biggest challenge of IBS is educating the public. Afflicts over two million people yet most of us have never heard of it. And it strikes without regard to age, gender or race.</dialogue>
<character>GAWAIN</character>
<dialogue>Oh fuck, man, I do n't wan na know about it.</dialogue>
<character>PANCAKE</character>
<dialogue>That's the kind of attitude we're fighting.</dialogue>
<character>GAWAIN</character>
<dialogue>Well maybe you should sign me up, man,'cause you startin' to irritate my bowel.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>The choir finishes a number and sits - all except for Marva Munson , who unties the knot on her robe at the nape of her neck , slips it off and , with murmured goodbyes , slips away .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>As the two men enter Clark is still holding forth :</scene_description>
<character>PANCAKE</character>
<dialogue>I guess I never told you, that's how Mountain Girl and I met. They had an IBS Weekend at Grossinger's, in the Catskills. Of course the tourist business up there has suffered, with the demise of the Borscht Belt. So they have different promotions, mixers, so on. This was a weekend for Irritable Bowel singles to meet and support each other and share stories.</dialogue>
<character>GAWAIN</character>
<dialogue>Man, I do n't wan na hear a single one a them stories.</dialogue>
<character>PANCAKE</character>
<dialogue>Well, some of them are very -</dialogue>
<character>GAWAIN</character>
<dialogue>Not one fuckin' story! You one fucked - up motherfucker! You -</dialogue>
<scene_description>They stop short , looking : The General and Lump are standing in the middle of the floor , stock still , each clutching a bag of money , staring up at the same corner of the ceiling . Lump turns to Clark and Gawain .</scene_description>
<character>LUMP</character>
<dialogue>Hey, lookit that.</dialogue>
<scene_description>Gawain and Clark join them in the middle of the vault and look up at the corner of the ceiling . A small video camera , aimed squarely at the four men . THROUGH THE CAMERA Black - and - white video , very WIDE ANGLE HIGH SHOT , of the four motionless men below goggling up at the lens . Smoke plumes from the General 's cigarette . BACK TO NORMAL PERSPECTIVE</scene_description>
<character>PANCAKE</character>
<dialogue>Huh. Looks like an Ikegami.</dialogue>
<scene_description>He slips on his reading glasses as he gets a leg up on a shelf just below the camera and hoists himself . He peers in at the lens . THROUGH THE LENS Clark looming into EXTREME CLOSE SHOT .</scene_description>
<character>PANCAKE</character>
<dialogue>Oh yeah. Mm - hm. I'm not sure whether it's broadcasting.</dialogue>
<scene_description>NORMAL PERSPECTIVE</scene_description>
<character>PANCAKE</character>
<dialogue>Um - hm. No.</dialogue>
<scene_description>He is fingering the back of the camera .</scene_description>
<character>PANCAKE</character>
<dialogue>Hard wire.</dialogue>
<scene_description>Down below , Gawain looks at the wire snaking along the seam of wall and ceiling . At the opposite corner it travels down the joint of the two walls . He traces its path down and then across one wall at chair - rail height towards the door . The other men follow in an anxious herd as he traces one finger along it . Just before reaching the vault door the wire goes through the wall in a hole finished off with a grommet . Gawain goes out the vault door .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - SERVICE HALL - DAY</stage_direction>
<scene_description>and picks up the line where it emerges on the other side , travels down to the joint of wall and floor , and then continues along the floor . Gawain follows it and the other men continue to follow him . He traces it anxiously down the hall in a hunched lope . The other men scuttle behind into .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - MONITOR ROOM - DAY</stage_direction>
<scene_description>The wire winds around into the room , back up to chair - rail height , along one wall , behind some cabinetry which Gawain hurries past to find it again on the far side , and then down to a video recorder . It is not , however , hooked up to the video recorder : its pronged end swings loose just by where it would be plugged in . Inside the video recorder is a casette , which Gawain ejects . The men crowd to look over his shoulder as he examines it : `` Shevann 's Schvanz '' . There is a pile of other videos by the monitor : `` Charlayne and the Chocolate Factory , '' `` Big Dick Blaque 's Big Night Out , '' `` Lem me Tell Ya ` Bout Black Chicks , '' `` Anus & Andy . '' Just next to the pile is an old bowl of Kocoa Krispies .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>The General climbs into the tunnel with a garbage bagful of money , followed by Lump , likewise encumbered . Lump hands back out a satchel to Gawain , who sets it on the vault floor by the hole . From the way he handles it , it is quite heavy . Pancake , also with a bag of money , is getting ready to climb in :</scene_description>
<character>PANCAKE</character>
<dialogue>Look, I did n't choose to have IBS -</dialogue>
<character>GAWAIN</character>
<dialogue>Shut the fuck up!</dialogue>
<scene_description>Lump hands Gawain a smaller , lighter satchel which he likewise sets on the floor .</scene_description>
<character>PANCAKE</character>
<dialogue>There's no cure, you know. Only control. Lifelong condition. Not complaining, just fact. And I did meet Mountain.</dialogue>
<character>GAWAIN</character>
<dialogue>Grab your bag and get in that fucking hole!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHURCH - DAY</stage_direction>
<scene_description>Mrs. Munson is leaving , with singing still audible from the service that continues inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>We are looking from inside the tunnel towards its mouth , where the Professor stoops slightly to peer in , anxiously dry - washing his hands . A REVERSE shows the hunched - over men scuttling along the tunnel towards us , holding large garbage sacks .</scene_description>
<character>DORR</character>
<dialogue>Welcome back, gentlemen, mission accomplished I see. I am so very very delighted.</dialogue>
<scene_description>He gives a hand down to each man as he exits the tunnel .</scene_description>
<character>DORR</character>
<dialogue>Congratulations. Congratulations. I have some cold duck on ice for the occasion.</dialogue>
<character>LUMP</character>
<dialogue>Maybe we could have something to drink, too.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>Gawain , left behind , is muttering to himself as he uses a trowel and other instruments from his satchel to patch up the hole at his end of the tunnel .</scene_description>
<character>GAWAIN</character>
<dialogue>Motherfucker ca n't stop talking, ca n't stop shitting. Motherfucker tell everyone about his motherfuckin' asshole. No one gives a shit about his asshole. Nobody interested in another man's asshole. Or his bitch's.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - DAY</stage_direction>
<scene_description>Mrs. Munson is letting herself in .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>The men are sitting around the table , champagne glasses raised . On the table sits the money , stacked in orderly piles .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, to we few. We who have shared each other's company, each other's care, each other's joy, and who now reap the fruits of our communal effits, shoulder to shoulder, from each accordin' to his abilities so forth whatnot. We have had our little diffences along the way, it's true, but I like to think they have only made us value one another the more, each coming to understand and appreciate the other's unique qualities, potencies, and, yes, foibles. I suggest that we shall look back upon this caper one day, one distant day, grandchildren dandled upon our knee, and perhaps a tear will form, and we shall say, Well, with wit, and grit, and no small amount of courage, we accomplished something on that day, a feat of derring - do, an enterprise not ignoble - we, merry band, unbound by the constraints of society and the prejudices of the common ruck, we happy few. Gentlemen - to us!</dialogue>
<character>MEN</character>
<dialogue>To us!</dialogue>
<scene_description>They clink .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Upstairs Mrs. Munson runs water into a teapot , humming to herself .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>Having finished patching , Gawain starts painting . He turns on his boombox , and out comes the big bassy `` I Left My Wallet in El Segundo . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>The men , having drunk deep , are setting down their glasses . Pancake looks at his watch with some concern .</scene_description>
<character>PANCAKE</character>
<dialogue>Charge should've gone off already.</dialogue>
<character>DORR</character>
<dialogue>I do beg your pardon?</dialogue>
<character>PANCAKE</character>
<dialogue>The charge to collapse the tunnel. I set it for eight minutes.</dialogue>
<scene_description>Dorr looks at his watch .</scene_description>
<character>DORR</character>
<dialogue>Well that time, and more, has most certainly elapsed.</dialogue>
<scene_description>FROM INSIDE THE TUNNEL Looking toward the mouth . The men stoop over and peek fearfully in . They again stand upright . A silence . Dorr clears his throat .</scene_description>
<character>DORR</character>
<dialogue>I need not remind you of the importance of obliterating any trace of a connection between the vault and this house. It was of the essence of this plan that it should appear that the money had simply vanished. Without a trace. Spirited away, as it were, by ghosts.</dialogue>
<character>PANCAKE</character>
<dialogue>Of course. I understand.</dialogue>
<character>DORR</character>
<dialogue>The conundrum of the undisturbed yet empty vault, the unsolvable riddle of the sealed yet violated sanctum, is of the utmost importance not only to make our caper innelectually satisfying. It is also exigent as a matter of practical fact : I remind you that if a tunnel is ever found leading to this house, this house's owner knows all of your names.</dialogue>
<character>PANCAKE</character>
<dialogue>She certainly does.</dialogue>
<character>DORR</character>
<dialogue>Therefore - to draw the unavoidable conclusion - someone shall have to reenter the tunnel to reset that charge.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Pancake , hunched over , scurries along the tunnel . He reaches the remnants of a large rock , where the tunnel grows smaller . He drops to crawl position and elbows his way forward , toolbelt clanking along . We are getting closer and closer to a muffled but thuddingly bassy `` I Left My Wallet in El Segundo . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - VAULT - DAY</stage_direction>
<scene_description>The music loudly present at the cut . Gawain takes a handheld blowdryer out of his satchel and flips it on , directing it at the fresh paint on the wall whose repairs are now invisible .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Music once again muffled . Pancake has reached a little LED - displaying timer with leads trailing off of it . He grabs it , puts on his reading glasses , squints . The display shows : TIME REMAINING : 00:12 . The colons in the display rhythmically blink , but the number does not advance . For some reason , stuck .</scene_description>
<character>PANCAKE</character>
<dialogue>Huh.</dialogue>
<scene_description>He reaches to his tool belt , pulls out his Leatherman .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>Mrs. Munson is setting places at a large table . There are about a dozen place settings .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Pancake now has a mini - mag light clenched between his teeth , aimed down at the timer . He opens the phillips head on his Leatherman but abruptly stops and stares off into space .</scene_description>
<character>PANCAKE</character>
<dialogue>Nnnnrungh.</dialogue>
<scene_description>He is squinting with pain . The muffled hip - hop song is beginning to recede .</scene_description>
</scene>
<scene>
<stage_direction>INT. VAULT - DAY</stage_direction>
<scene_description>Gawain is wheeling his garbage cart out the door . The vault is completely empty but looks completely undisturbed . He closes the heavy vault door behind him , leaving quiet .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Quiet here as well , now . Pancake 's moan trails off to nothing . He relaxes . The moment , whatever it was , has passed . He looks back down at the unit , flicks it with his finger , and it emits a soft beep .</scene_description>
<character>PANCAKE</character>
<dialogue>Huh?</dialogue>
<scene_description>He squints at the back of the unit . As it beeps again , he turns the unit over to look at its face . The readout now says : 00:10 . As he watches , peering down through the bottom of his glasses , it continues to advance with a beep as each second slips by : 9 . 8 .</scene_description>
<character>PANCAKE</character>
<dialogue>What the -</dialogue>
<scene_description>His eyes widen and he frantically shakes the unit . It continues beeping . He briefly and sloppily tries to fit the phillips head into one of the four screws on the back of the unit but immediately gives up and starts a panicked wriggle back up the tunnel , whimpering .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>Gawain is wheeling his garbage cart past Elron .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>Mrs. Munson is placing the last piece of silverware , just so .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>Pancake is in full panicked awkward flight as -</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>- BOOM ! We CUT TO the cellar and Pancake is shot out the tunnel like a human cannonball , trailing a comet - tail of dirt , dust , and debris that wafts what were neatly stacked bills up into the air .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>The portrait of Othar jostles back to square . He now looks a little angry . The cat arches her back , emitting a startled yowl . Mrs. Munson stands , frozen , then looks slowly around , trying to assimilate what has just happened .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>Gawain and Elron are staring at each other , frozen , also reacting to what just happened . Finally :</scene_description>
<character>GAWAIN</character>
<dialogue>You just fart?</dialogue>
<character>ELRON</character>
<dialogue>Heh - heh - heh.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>Mrs. Munson is looking at the cellar door . Dust drifts out from under it . She takes a slow step towards it . Another step . She opens the door . There is no visibility in the cellar due to swirling clay dust . She takes one step down the stairs , waving at the air in front of her face . Paper money wafts in and out of the dust . We hear Voices :</scene_description>
<character>PANCAKE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Perfectly all right. Not a problem.</dialogue>
<character>LUMP</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well there sure as shit ai n't no tunnel left.</dialogue>
<scene_description>The clearing dust reveals the caped Professor anxiously dancing from foot to foot , gathering money out of the air . As he reaches up to grab a bill that has him facing up in Mrs. Munson 's direction , he freezes . His POV reveals her through dissipating dust .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Professor, I'm surprised.</dialogue>
<scene_description>There is a long beat , through which all stare at her .</scene_description>
<character>DORR</character>
<dialogue>Properly speaking, madam, we have been surprised ; you are taken aback. Though I acknowledge that the sense you intend is gaining currency through increasing use.</dialogue>
<scene_description>Further dissipation of the dust reveals how much money there is , settling now to cover the floor of the cellar .</scene_description>
<character>DORR</character>
<dialogue>You have returned from your devotions betimes.</dialogue>
<scene_description>We hear the ring of the doorbell .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I hadda fix tea. I wan na talk to you, Professor, do n't you be leavin'. And do n't make any more noise! And you!</dialogue>
<scene_description>She points at the General who , in the excitement , has neglected to hide his ever - present cigarette .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I told you, I do n't want any smokin' in here!</dialogue>
<scene_description>She clomps upstairs and shuts the cellar door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM</stage_direction>
<scene_description>We PULL HER towards the front door , angry and lost in thought . Her look softens somewhat as she opens the door . It is a chattering infestation of hens : all of her friends from church push in wearing church dresses and elaborate hats .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>The men are still frozen looking up toward the door . The muted cackle of church ladies . The men gradually unfreeze .</scene_description>
<character>LUMP</character>
<dialogue>She saw everything. She saw our hole.</dialogue>
<scene_description>He turns to Dorr , near tears :</scene_description>
<character>LUMP</character>
<dialogue>She saw our hole, Professor!</dialogue>
<scene_description>Dorr rubs his hands anxiously , thinking :</scene_description>
<character>DORR</character>
<dialogue>Yes. Yes.</dialogue>
<character>LUMP</character>
<dialogue>What do we do?</dialogue>
<character>DORR</character>
<dialogue>Well, first, my dear boy, we follow the General's example.</dialogue>
<scene_description>The General remains staring up at the door , frozen but for the smoke pluming from the cigarette in his mouth .</scene_description>
<character>DORR</character>
<dialogue>and refrain from panic. Secondly, we cooly, calmly, collectedly think. think.</dialogue>
<scene_description>The gaze of all the men drifts back up to the cellar door , and we look down at them , gazing up .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>The chattering ladies are gathered at the table , Mrs. Munson pouring them tea . The cellar door creaks noisily - one might almost say gothically - ajar , and the Professor peers out with an ingratiating smile .</scene_description>
<character>DORR</character>
<dialogue>Hsst. Madam.</dialogue>
<scene_description>The chattering abates and the ladies all look at him . His smile broadens into ghastliness and he crooks a finger toward Mrs. Munson .</scene_description>
<character>DORR</character>
<dialogue>Mrs. Munson, if I might have a word.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You get back down those stairs!</dialogue>
<character>DORR</character>
<dialogue>I assure you I shall be -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hush! Down those stairs! We havin' tea now! I be down shortly.</dialogue>
<scene_description>He nods meekly and retreats , easing the door creakily shut . The ladies look inquisitively at Mrs. Munson as his footsteps are heard descending the stair .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>He's the tenant.</dialogue>
<character>LADIES</character>
<dialogue>Mm - hm.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR DAY</stage_direction>
<scene_description>As the Professor rejoins the still staring and silent group . The money has been picked up and is once again in stacks upon the table .</scene_description>
<character>DORR</character>
<dialogue>She shall be down shortly.</dialogue>
<scene_description>Explaining , he indicates upstairs with a jerk of the head :</scene_description>
<character>DORR</character>
<dialogue>Tea. Dainties.</dialogue>
<scene_description>The men nod , murmuring . The cellar door squeaks open . There is the clomp of careful footsteps on the stair . Using only tongue and teeth , the General flips his smoking cigarette inwards into his mouth and gives Mrs. Munson his usual deadpan look . She halts halfway down the stairs , still wearing an apron and holding a spatula .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I do n't know what you boys been up to but I was n't born yesterday and I know mischief when I see it. Now I want an explanation, but first I want you boys to get your fannies up here with y' alls period instruments. I been tellin' the ladies about your music and they wan na hear you play.</dialogue>
<scene_description>She turns to head back up the stairs but abruptly stops to turn and give the General a hard look which he innocently returns .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Hmph.</dialogue>
<scene_description>She turns again and clomps back up the stairs . The General opens his mouth and , again without using his hands , restores his cigarette to its usual place on his lower lip . Lump is fretful :</scene_description>
<character>LUMP</character>
<dialogue>Professor?</dialogue>
<character>DORR</character>
<dialogue>Yes, Lump?</dialogue>
<character>LUMP</character>
<dialogue>I ca n't really play the buttsack.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - DAY</stage_direction>
<scene_description>The cellar door opens and the men troop out , G.H. Dorr leading and the other men following rather sheepishly behind .</scene_description>
<character>DORR</character>
<dialogue>Madame - or rather, mesdames - you will have to accept our apologies for failing to perform since, as you see, we are shorthanded. Gawain is still at work and we could no more play with one part tacit than a horse could canter shy one leg.</dialogue>
<character>LADIES</character>
<dialogue>Mm - hmm.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hmph.</dialogue>
<character>DORR</character>
<dialogue>Perhaps I could offer as a poor but ready substitute a brief poetic recital. Though I do n't pretend to great oratorical skills, I will happily present, with your ladies' permission, verse from the unquiet mind of Mr. Ed G'Allan Poe.</dialogue>
<scene_description>Lump , Pancake , and the General sit and awkwardly accept dainty teacups . The Professor rises , spreads his hand , and pronounces :</scene_description>
<character>DORR</character>
<dialogue>`` Ladies, thy beauty is to me Like those Nicean barks of yore.''</dialogue>
<scene_description>CLOSE - UPS of the various ladies , some sipping tea or slowly munching biscuits , but all eyes glued to the declaiming man in the cape .</scene_description>
<character>DORR</character>
<dialogue>`` That gently, o'er a perfumed sea The weary, wayworn wanderer bore To his own native shore.''</dialogue>
<scene_description>Murmuring Voice :</scene_description>
<character>VOICE</character>
<dialogue>Amen.</dialogue>
<scene_description>A slurp of tea from another quarter . Dorr bears on :</scene_description>
<character>DORR</character>
<dialogue>`` On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece And the grandeur that was Rome.''</dialogue>
<scene_description>A long silence . Then , scattered :</scene_description>
<character>VOICES</character>
<dialogue>Mm - mm. Glory hallelujah.</dialogue>
<scene_description>A lady holding a teacup turns to the General :</scene_description>
<character>LADY</character>
<dialogue>That was soooome poem.</dialogue>
<scene_description>The General stares at her .</scene_description>
<character>LADY</character>
<dialogue>You know any?</dialogue>
<scene_description>We hear the front door opening and Gawain enters , still wearing his Lady Luck custodial uniform . He looks . His POV : church ladies with teacups and his comrades seated among them , also holding teacups and scones .</scene_description>
<character>GAWAIN</character>
<dialogue>Y' all been celebratin'?</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - FOYER - LATER (EVENING)</stage_direction>
<scene_description>The bustling and chattering ladies are just finishing leaving ; Mrs. Munson is seeing them off at the door . Evening is gathering , and we hear the lonely toot of the distant garbage scow . The men as well stand by the door and , affecting good cheer , wave off the departing ladies .</scene_description>
<character>DORR</character>
<dialogue>Goodbye, ladies. We had such a pleasant time.</dialogue>
<scene_description>Mrs. Munson closes the door and her manner instantly darkens .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Now, I wan na know what's goin' on.</dialogue>
<character>DORR</character>
<dialogue>Yes indeed, and the thirst for knowledge is a very commendable thing. Though in this instance, I believe when you hear the explanation, you will laugh riotously, slappin' your knee and perhaps even wipin' away a giddy tear, relieved of your former concern.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Hmph.</dialogue>
<character>DORR</character>
<dialogue>You see Lump here is an enthusiastic collector of Indian arrowheads and, having found one simply lying on your cellar floor, a particularly rare artifact of the Natchez tribe, he enlisted us in an all - out effort to sift through the subsoil in search of others. Well, in doing so, we apparently hit a motherlode of natural gas - I myself became acutely aware of the smell of `` rotten eggs'' - and it was at just this unfortunate moment that the General here violated one of the cardinal rules of this house and lit himself a cigarette.</dialogue>
<scene_description>The General stiffly bows :</scene_description>
<character>GENERAL</character>
<dialogue>So sorry.</dialogue>
<scene_description>The Professor , nodding , smiling , and dry - washing his hands , continues to look at Mrs. Munson , though his story , apparently , has ended . She returns his ingratiating look with a stare .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What about all that money?</dialogue>
<scene_description>Dorr 's smile fades .</scene_description>
<character>DORR</character>
<dialogue>Ah. The money. The money is. Mr. Pancake's.</dialogue>
<character>PANCAKE</character>
<dialogue>That's right.</dialogue>
<character>DORR</character>
<dialogue>He only just re - mortgaged his house in order to pay for the procedure that will correct the wandering eye of his common - law wife, Mountain Water, who suffers from astygmia and strabismus and a general curdling of the vitreous jelly. Mr. Pancake however is an ardent foe of the federal reserve and is in fact one of those eccentrics about whom one occasionally reads, hoarding his entire life savings either under the proverbial mattress or, as in Mr. Pancake's case, in a Hefty bag that is his constant companion.</dialogue>
<scene_description>Under her stare , he elaborates :</scene_description>
<character>DORR</character>
<dialogue>Steel Sack.</dialogue>
<character>PANCAKE</character>
<dialogue>Do n't trust the banks. Never have.</dialogue>
<scene_description>She thinks , decides .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>This do n't smell right. I'm callin' Sheriff Wyner.</dialogue>
<scene_description>A chorus of gasps .</scene_description>
<character>DORR</character>
<dialogue>Madam - if you please. Yes! Yes! It was a lie! A fantastic tale! You have us! Dead to rights! But please allow me to tell you the truth - in private.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - EVENING</stage_direction>
<scene_description>He escorts her to sit beneath the portrait of Othar , sits across from her , and leans confidentially in .</scene_description>
<character>DORR</character>
<dialogue>Madam.</dialogue>
<scene_description>He agonizes . The words do not come easy .</scene_description>
<character>DORR</character>
<dialogue>What I am about to reveal to you, you may find. shocking. Mrs. Munson, I must tell you that we are not. what we appear.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - hm.</dialogue>
<character>DORR</character>
<dialogue>We are not in fact musicians of the late Renaissance. Nor of the early or mid period. We are, in fact. criminals! Desperate men, madam! We have tunneled into the nearby offices of the Lady Luck gambling emporium and have relieved it of its treasure!</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Lord have mercy!</dialogue>
<character>DORR</character>
<dialogue>It is true that the Lady Luck is a den of iniquity, a painted harlot luring people into sin and exciting the vice of greed with her false promise of easy winnings. Oh, her gains are ill - gotten, yes, but I offer no excuses - save one! We men have each pledged half of our share of the booty to a charitable institution - the General, to a placement service for Southeast Asian refugees ; Mr. Pancake to the Blue Ridge Parkway Conservancy ; and Lump to the United Jewish Appeal. As compensation for use of your house we had planned to donate a full share to Bob Jones University, without burdening you with guilty knowledge by informing you of same. But you have wrested the information from me! Now it is all on the table. Now you have it, the whole story, the awful truth.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Stolen money!</dialogue>
<character>DORR</character>
<dialogue>Yes, yes, shamefully I admit it, yes! But find the victim, Mrs. Munson, I challenge you! Even the casino itself, that riparian Gomorra, shall suffer no harm! It has an insurance company, a financial behemoth that will cheerfully replenish its depleted vaults! That is its function! And the insurance company itself is made up of tens and tens of thousands of policy - holders so that - we have done the calculations, Mrs. Munson! - so that at the end of the day, at the final reckoning, each policy - holder shall have contributed only one penny - one single solitary cent - to the satisfaction of this claim.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Just one penny?</dialogue>
<character>DORR</character>
<dialogue>Think of it, Mrs. Munson! One cent from thousands upon thousands of people so that Bob Jones University can continue on its mission! Why, I have no doubt that, were the policy - holders aware of the existence of that august institution, why, each and every one of them would have volunteered some token amount to the furtherance of its aims!</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well that's prob ` ly true.</dialogue>
<scene_description>The Professor , warming , has resumed dry - washing his hands :</scene_description>
<character>DORR</character>
<dialogue>Yes madam, sadly, the criminal stain is upon my soul, but the benefit shall accrue to any number of worthy causes. As long, that is, as the secret stays with us. And I, surely, shall not be the one to divulge it.</dialogue>
<scene_description>Mrs. Munson nods , musing .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Well. it's hard to see the harm in it. One penny.</dialogue>
<scene_description>Her gaze drifts around the room , a smile beginning to warm her face . The smile freezes , though , as her look catches on something . Her POV : Othar , above the mantle , looks down with a disapproving scowl .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I'm sorry, Professor.</dialogue>
<scene_description>Dorr is taken aback :</scene_description>
<character>DORR</character>
<dialogue>Excuse me, ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>No. It's wrong. Do n't you be leadin' me into temptation.</dialogue>
<character>DORR</character>
<dialogue>Madam, I must strenuously protest -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>No, it's just plain wrong. Stealin'. I know your intentions were good, and I wo n't call the police if you give the money back. But I got ta see that you do it.</dialogue>
<character>DORR</character>
<dialogue>Madam -</dialogue>
<character>MRS. MUNSON</character>
<dialogue>And all a you got ta go to church with me next Sunday.</dialogue>
<scene_description>The Professor is incredulous :</scene_description>
<character>DORR</character>
<dialogue>And. engage in divine worship?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I made up my mind. You can double - talk all you want, but its church or the county jail.</dialogue>
<character>DORR</character>
<dialogue>But -</dialogue>
<scene_description>She rises .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>You think it over. I got ta feed the cat.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>The men all sit around the card table , lit from below by an oil lamp . The General is neatly packing the stacks of banknotes into the sackbutt case .</scene_description>
<character>GAWAIN</character>
<dialogue>Motherfuck!</dialogue>
<character>DORR</character>
<dialogue>Yes. Unfortunately, Mrs. Munson has rather complicated the situation -</dialogue>
<character>GAWAIN</character>
<dialogue>I know how to discomplicate it! Put a cap in the old lady's head! Then everything simple again!</dialogue>
<scene_description>The group lapses into silence , considering . Even Gawain needs a moment to digest the horror that he himself has proposed . The Professor is solemn :</scene_description>
<character>DORR</character>
<dialogue>Not easy to do. Many reasons. Practical ones : a quiet neighborhood, a sleepy town. Reasons of moral repugnance : a harmless woman, a deed conceived and executed in cold blood. No, Gawain ; would that it were simple!</dialogue>
<character>GAWAIN</character>
<dialogue>Well - fuck, man! What we gon na do, give the money back and go to church?!</dialogue>
<character>DORR</character>
<dialogue>I shudder. I quake.</dialogue>
<scene_description>He turns to the General .</scene_description>
<character>DORR</character>
<dialogue>You sir, are a Buddhist. Is there not a middle way?</dialogue>
<scene_description>The General grunts as he closes the clasps on the sackbutt case full of money :</scene_description>
<character>GENERAL</character>
<dialogue>Must float like a leaf on the river of life. And kill old lady.</dialogue>
<scene_description>The men murmur .</scene_description>
<character>DORR</character>
<dialogue>Well. I suppose you are right. It is the active nature of the crime, though, that so horrifies - the squeezing of the trigger, the plunging of the knife. But, think a moment - look at the other tools we have at hand.</dialogue>
<scene_description>He looks around .</scene_description>
<character>DORR</character>
<dialogue>We have the cellar. We have masonry and trowel. Perhaps we could simply. immure her.</dialogue>
<character>PANCAKE</character>
<dialogue>Sure, easiest thing in the world. I could whip up a little mortar in one of those snow saucers, lay the bricks, anchor in some chains, Mountain has a source for the manacles.</dialogue>
<character>DORR</character>
<dialogue>Ahh but gentlemen, we delude ourselves. Think of the woman's piteous moans as we lay tier upon tier of brick. Think of her lamentations as we fit the last brick into place, appealing to our better selves, the higher angels of our nature, our recollections of our own sainted mothers. No, I fear that we lack the sand to commit such an act. No. no. shortest and most painless is best. Let us confront reality. Gawain's gun. the retort muffled by a pillow. into the brain. the affair of an instant. The only question is. who wields the weapon.</dialogue>
<scene_description>He looks around the table . Silence . No volunteers .</scene_description>
<character>DORR</character>
<dialogue>I believe it is traditional, in such circumstances, to draw straws.</dialogue>
<character>PANCAKE</character>
<dialogue>Well, sure, fair enough.</dialogue>
<scene_description>He takes a broom leaning against the wall , bends back and snaps a handful of its bristles .</scene_description>
<character>PANCAKE</character>
<dialogue>I'm thinking, though, that since I lost my finger - I mean, literally lost it because of that goddamn cat - maybe I should be excused from this thing. Hard for me to squeeze a trigger anyway -</dialogue>
<character>GAWAIN</character>
<dialogue>You one whiney motherfucker! I squeeze your nutsack you keep that up!</dialogue>
<character>PANCAKE</character>
<dialogue>Listen, punk -</dialogue>
<character>DORR</character>
<dialogue>Gentlemen, no special pleading, no exceptions. It's in the nature of the situation that we would all prefer to be excused.</dialogue>
<scene_description>Pancake grumbles as he counts out five bristles , takes one and snaps it in half , displaying the short straw to the group , and then hands the four long and one short to the Professor :</scene_description>
<character>PANCAKE</character>
<dialogue>Well, okay. it was just a trial balloon.</dialogue>
<scene_description>With a flap of his cape the professor jumbles the straws and encloses them in one hand . Sweaty CLOSE - UPS . Each man stares at the straws . Some hesitant , some resolute , they draw : First , the General : long straw . His reaction : impassive . Next , Lump : long straw . His reaction : relieved . Next , Pancake . Long straw .</scene_description>
<character>PANCAKE</character>
<dialogue>Long straw. You all see it. All your fuss over nothing, punk.</dialogue>
<scene_description>Two straws left . Gawain stares at them , licks his lips . He reaches for one straw , touches it , hesitates .</scene_description>
<character>GAWAIN</character>
<dialogue>Motherfucker.</dialogue>
<scene_description>He touches the other straw , hesitates . He goes back to the first straw , closes his hand around it , closes his eyes , and pulls . He lifts the straw into frame before his squeezed - shut eyes , raises his eyebrows , and slowly opens fluttering eyelids to look : short straw . The Professor , smiling , opens his fist to confirm that he holds the last long one . Gawain moans .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>PULLING HIM UP THE STAIRS Slowly , slowly , Gawain mounts the cellar stairs . Behind him , gathered in a semi - circle and looking up from the foot of the stairs , the other men wait . As he plants one plodding foot in front of the other Gawain raises the gun , slides back its primer to make sure there is a round in the chamber , and then slides it shut as he reaches the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON - LIVING ROOM - NIGHT</stage_direction>
<scene_description>In the foreground Mrs. Munson sits knitting , humming an old temperance tune . In the background the cellar door swings open . Marva Munson does n't notice ; her knitting needles continue their rhythmic clack . We PULL Gawain , gun at the ready , as he takes slow , cautious steps across the floor . We INTERCUT his POV of the back of the old lady 's head , bowed over her knitting . As Gawain passes the sofa he picks up a cushion and buries in it his hand holding the gun . He looks back up at the old lady . But now , still cautiously approaching , he cocks his head , his expression bemused . HIS POV nearing the old lady is now different somehow . The perspective is somewhat lower ; the humming woman sounds not quite the same ; the rocking chair and the room itself are subtly different . WHEN WE CUT BACK TO GAWAIN he is a runty , TEN - YEAR - OLD CHILD walking slowly across the floor ; he is cradling not a gun in a pillow but a squirming little puppy dog . The dog yips ; the woman turns to look at us . It is not Mrs. Munson , but another black woman of about the same age .</scene_description>
<character>MAMA</character>
<dialogue>What you got there, Gawain?</dialogue>
<character>CHILD GAWAIN</character>
<dialogue>Why - nothin', mama.</dialogue>
<character>MAMA</character>
<dialogue>Nothin' my ass! You got a dog there!</dialogue>
<character>CHILD GAWAIN</character>
<dialogue>No, Mama!</dialogue>
<character>MAMA</character>
<dialogue>A filthy noisy little pest of a puppy dog gon na shit all over the house!</dialogue>
<character>CHILD GAWAIN</character>
<dialogue>He wo n't shit in the house, Mama, I'm gon na train him, I promise, gon na train him real good -</dialogue>
<scene_description>WHAP ! She cuffs him on the side of his head .</scene_description>
<character>MAMA</character>
<dialogue>I'm gon na train you real good! I told you do n't bring no stray dogs into this house!</dialogue>
<scene_description>WHAP ! Another slap .</scene_description>
<character>MAMA</character>
<dialogue>You wait til your Daddy gets home, he gon na lay into you proper!</dialogue>
<scene_description>WHAP ! The little boy , weeping , throws his arms around his mother :</scene_description>
<character>CHILD GAWAIN</character>
<dialogue>Please do n't hurt me no more! I love you, Mama!</dialogue>
<character>MAMA</character>
<dialogue>Daddy gon na kick your ass!</dialogue>
<scene_description>WHAP !</scene_description>
<character>MAMA</character>
<dialogue>Bringin' in a filthy dirty dog!</dialogue>
<scene_description>WHAP ! Gawain 's little brothers and sisters , drawn by the commotion , have gathered excitedly to watch .</scene_description>
<character>SISTER</character>
<dialogue>Mama's whuppin' Gawain's ass!</dialogue>
<character>BROTHER</character>
<parenthetical>( eagerly . )</parenthetical>
<dialogue>Ai n't you gon na use the strap, Mama?</dialogue>
<scene_description>WHAP ! WHAP ! Gawain is sobbing :</scene_description>
<character>CHILD GAWAIN</character>
<dialogue>Please do n't hurt me, Mama!</dialogue>
<scene_description>Now it is the adult Gawain blubbering . The clack of knitting needles stops and Mrs. Munson turns to look .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What you doin'? What you doin' with my pillow there?</dialogue>
<scene_description>He surreptitiously slides the gun into his pocket , sniveling :</scene_description>
<character>GAWAIN</character>
<dialogue>I'm sorry, ma'am, I -</dialogue>
<scene_description>WHAP ! She cuffs him on the side of the head .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>I'm displeased with you! Colored boy like you, falling in with that trash downstairs!</dialogue>
<scene_description>WHAP !</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Ashamed a yourself! Did n't your mama raise you right!</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>Gawain is tramping down the stairs .</scene_description>
<character>GAWAIN</character>
<dialogue>I ca n't do it!</dialogue>
<scene_description>The men are stunned .</scene_description>
<character>DORR</character>
<dialogue>Why. this is most. irregular.</dialogue>
<character>GAWAIN</character>
<dialogue>She reminds me of my mama. I ca n't shoot my mama! You motherfuckers just draw straws again.</dialogue>
<character>PANCAKE</character>
<dialogue>Wait a minute. You've got to accept your responsibilities, young man.</dialogue>
<character>GAWAIN</character>
<dialogue>Fuck you. And your irritated bowel. I ca n't shoot that old lady.</dialogue>
<character>GENERAL</character>
<dialogue>Must shoot!</dialogue>
<character>PANCAKE</character>
<dialogue>Now look here, it's the easiest thing in the world. Pretend her head is a casaba melon, and the gun is a melon - baller, and -</dialogue>
<character>GAWAIN</character>
<dialogue>What the fuck you talkin' about, man? You think this a melon - baller, you do it, man!</dialogue>
<character>DORR</character>
<dialogue>My my, this is most irregular.</dialogue>
<character>PANCAKE</character>
<dialogue>Look, with equal rights come equal responsibilities -</dialogue>
<character>DORR</character>
<dialogue>I'm afraid that Mr. Pancake is right, my dear fellow. We can not draw straws again ; the exercise loses all credibility if you show that the loser can simply beg off doing the job.</dialogue>
<character>GENERAL</character>
<dialogue>Must shoot!</dialogue>
<scene_description>Gawain shoves the gun toward Pancake .</scene_description>
<character>GAWAIN</character>
<dialogue>She just an old colored lady to you - you do it, man!</dialogue>
<character>PANCAKE</character>
<dialogue>Why you sniveling little coward!</dialogue>
<character>GAWAIN</character>
<dialogue>What you say, you whiney motherfucker? I come up your irritated ass with this - motherfuckin' gun -</dialogue>
<scene_description>He is waving the gun .</scene_description>
<character>PANCAKE</character>
<dialogue>You think you scare me, you mewling punk! You do n't scare me! Bull Connor and all his dogs did n't scare me!</dialogue>
<scene_description>He shoves Gawain .</scene_description>
<character>PANCAKE</character>
<dialogue>Be a man!</dialogue>
<character>GAWAIN</character>
<dialogue>You fuck!</dialogue>
<scene_description>He shoves him back . Pancake shoves :</scene_description>
<character>PANCAKE</character>
<dialogue>Be a man!</dialogue>
<character>GAWAIN</character>
<dialogue>You ai n't no fuckin' man, fuckin' a sixty - year - old lady in pigtails!</dialogue>
<character>PANCAKE</character>
<dialogue>WHY YOU BASTARD PUNK! MOUNTAIN GIRL IS FIFTY - THREE!</dialogue>
<scene_description>They are shoving each other now , getting into it .</scene_description>
<character>PANCAKE</character>
<dialogue>SHE COULD RIDE YOUR ASS TO JELLY!</dialogue>
<scene_description>He lunges at him with a bear hug and his inertia sends both men tumbling to the floor , where they roll and wrestle .</scene_description>
<character>DORR</character>
<dialogue>Gentlemen, please!</dialogue>
<character>GAWAIN</character>
<dialogue>I seen Virginia hams I'd rather stick my dick in than your old -</dialogue>
<scene_description>BANG ! A muffled gunshot . Quiet . The two men have stopped rolling . They stare at each other where they lie , Pancake on top . At length :</scene_description>
<character>PANCAKE</character>
<dialogue>Oh my god.</dialogue>
<scene_description>Horrified , he slowly rises .</scene_description>
<character>PANCAKE</character>
<dialogue>I think he's hit!</dialogue>
<scene_description>The men gather round and look down . Gawain still stares up at the ceiling . Pancake stoops , waves his hand in front of his eyes . No reaction .</scene_description>
<character>PANCAKE</character>
<dialogue>I'll just check the carotid artery.</dialogue>
<scene_description>He checks the carotid artery .</scene_description>
<character>PANCAKE</character>
<dialogue>That's a negative.</dialogue>
<character>LUMP</character>
<dialogue>Oh, fuck.</dialogue>
<character>DORR</character>
<dialogue>Oh my.</dialogue>
<character>LUMP</character>
<dialogue>Is he dead, Professor?</dialogue>
<character>PANCAKE</character>
<dialogue>Sure he's dead. I checked his carotid artery.</dialogue>
<character>DORR</character>
<dialogue>Well this is most irregular. We will need a Hefty bag.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>THE CELLAR DOOR Creaking open . The Professor , Lump , and the General peek out . The living room is empty but a sliver of the kitchen is visible ; its light is on , and we can hear water running . Dorr hisses :</scene_description>
<character>DORR</character>
<dialogue>She is in the kitchen. I shall distract her while you steal out with the carcass.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - KITCHEN - NIGHT</stage_direction>
<scene_description>Dorr enters breezily ; Mrs. Munson is at the sink , filling a teapot . Dorr positions himself so that , to talk to him , Mrs. Munson has her back to the living room .</scene_description>
<character>DORR</character>
<dialogue>Well, my dear Mrs. Munson, I have outlined your position to my colleagues and I now return to you to return our collective verdict.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Mm - hmm.</dialogue>
<scene_description>Behind her , the General peers around the corner and starts a catlike advance across the living room .</scene_description>
<character>DORR</character>
<dialogue>There was much spirited discussion and an atmosphere of frank give - and - take. Some of our number were initially appalled at your proposal that we simply return the money ; some were more receptive.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I do n't care they was receptive or not!</dialogue>
<character>DORR</character>
<dialogue>And that attitude, madam, was a factor in our discussions. To a man, I must say, they were devastated at the prospect of not being able to contribute to their respective charities.</dialogue>
<scene_description>The General signals to Lump who now crosses the living room with a big garbage bag slung over one shoulder in a fireman 's carry .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Well that is a shame.</dialogue>
<character>DORR</character>
<dialogue>Indeed. But at the end of the day, your position prevailed, and the men have decided that we shall return the money - every last cent of it! - and attend Sunday services, rather than spend the remainder of our years wasting away in the Mississippi Men's Correctional Facility. Though that was the original preference of some.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well I'm glad y' all came to see the light, anyway. I'm gon na have some tea and go to bed.</dialogue>
<scene_description>The Professor , seeing that the General and Lump have made it out the door , is anxious to wind things up :</scene_description>
<character>DORR</character>
<dialogue>So the money shall be returned tomorrow at the opening of the casino office. Enjoy your tea, madam.</dialogue>
<scene_description>Backing out , he looks to one side . Through the living room window he can see the hearse pulling away from the curb . There is another car - an old Volkswagon microbus - slowly tooling the opposite way down the street . Dorr looks back to Mrs. Munson .</scene_description>
<character>DORR</character>
<dialogue>and congratulations on having recalled to the fold five poor, confused sheep who had momentarily strayed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT</stage_direction>
<scene_description>We are at the middle of the bridge , the tower gargoyle looking blankly down at the doings below . In the misty night Lump and the General are braced over the railing , looking down , each holding one of the feet that protrude from the Hefty bag cinched around Gawain 's ankles . A cigarette burns on the General 's lower lip . Behind the two men we can see the idling hearse . There is the toot of the garbage scow . Lump and the General release Gawain 's feet . Their POV shows the sack receding and flumping into the garbage piled onto the scow that slips by below . A flock of scavenger birds , disturbed by the impact , lifts off the scow with angry caws .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Dorr skulks at a corner of the living room 's picture window , peering out at the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>DOOR 'S POV The Volkswagon microbus again cruises slowly down the street in the same direction as previously ; apparently it has been circling .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>The Professor scowls .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>DORR 'S POV The hearse pulls up to the curb .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>The Professor clomps down the cellar stairs . Pancake is loading their digging implements into a satchel .</scene_description>
<character>PANCAKE</character>
<dialogue>They back yet?</dialogue>
<scene_description>Dorr is absent :</scene_description>
<character>DORR</character>
<dialogue>Yes. yes, they just arrived.</dialogue>
<scene_description>Pancake straightens from the satchel .</scene_description>
<character>PANCAKE</character>
<dialogue>Good. I'll go dump these in the hearse.</dialogue>
<scene_description>He mounts the stairs with a satchel in either hand . We can hear the front door opening as the other men enter . Dorr , bemused , but apparently moved by a hunch , advances slowly to the sackbutt case . He slides the catch that lets its spring clasp pop up . He lifts the lid . Mother Jones magazine . Piles of Mother Jones magazines .</scene_description>
<character>DORR</character>
<dialogue>What in heaven's name.</dialogue>
<scene_description>He riffles a pile , confirming that it is in fact all magazine , no money . Lump and the General are clomping down the stairs .</scene_description>
<character>DORR</character>
<dialogue>General!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - NIGHT</stage_direction>
<scene_description>We are PULLING Clark down the street , a satchel in either hand . HIS POV The microbus , parked halfway down the block , ominously idling . THE BUS We are CLOSE on its side - view mirror . Someone leans from the driver 's seat for a view into the mirror , and in the mirror we see her , pigtails swinging : Mountain Girl . HER POV Clark Pancake , still rather small , approaching up the empty street . PANCAKE PULLING him again . A smile is beginning to play at the corners of his mouth .</scene_description>
<character>PANCAKE</character>
<dialogue>No extra share, huh.</dialogue>
<scene_description>The smile abruptly fades . He stops in his tracks for no discernible reason . At length :</scene_description>
<character>PANCAKE</character>
<dialogue>Nnnrnf.</dialogue>
<scene_description>He pants . Behind him , in the deep background , we see the General bounding into the street and silently toward us .</scene_description>
<character>PANCAKE</character>
<dialogue>Oof!</dialogue>
<scene_description>The moment passes . Pancake shakes his head , as if to clear it , and resumes his walk . HIS POV We are nearing the bus . THE BUS Mountain Girl sits in the idling bus , waiting . With a thunk and a gentle rock of the bus , we hear its back doors opening , and Pancake 's voice .</scene_description>
<character>PANCAKE</character>
<dialogue>Mountain.</dialogue>
<character>MOUNTAIN GIRL</character>
<dialogue>Clark.</dialogue>
<scene_description>We hear an oof ! of exertion as Pancake hoists each of the two satchels into the back . The oofs are followed by :</scene_description>
<character>PANCAKE</character>
<dialogue>Nnrungh! Aaarmh. Ninnnff. Offffflleghhll.</dialogue>
<character>MOUNTAIN GIRL</character>
<dialogue>IBS, dear?</dialogue>
<scene_description>THE BACK OF THE BUS to show Pancake being garotted by the General .</scene_description>
<character>PANCAKE</character>
<dialogue>Nnnnnmmmmfffgh!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT</stage_direction>
<scene_description>The tower gargoyle stares sightlessly down . Lump and the General are at their accustomed place , each holding a foot shod in a large hiking boot . Behind them we see the hearse idling . Near them on the bridge , both hands grasping the railing as he gazes dreamily out into the night , is the Professor .</scene_description>
<character>DORR</character>
<dialogue>. Like those Nicean barks of yore That gently, o'er a perfumed sea.''</dialogue>
<scene_description>We hear the toot of the boat 's horn and the men drop the body .</scene_description>
<character>LUMP</character>
<dialogue>Quick! Grab Clark!</dialogue>
<scene_description>They quickly stoop and grab another bag - swaddled body out of which even larger hiking boots protrude .</scene_description>
<character>DORR</character>
<dialogue>. The weary, wayworn wanderer bore.''</dialogue>
<scene_description>They drop the second body .</scene_description>
<character>DORR</character>
<dialogue>. To his own native shore.''</dialogue>
<scene_description>We hear the distant flump and the cawing of scavenger birds .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>CLOSE ON A FIST With three protruding straws . Lump picks a long straw : relief . The General picks a short straw . A short grunt .</scene_description>
<character>DORR</character>
<dialogue>Excellent. I believe, at last, we have the right man for the job.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Mrs. Munson lies on her back gently snoring . At the open window , sheers ripple in the evening breeze . A large clock ticks upon the mantle . It is almost one o'clock .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>THE CELLAR DOOR It creaks open . The General looks stealthily out . A cigarette in his mouth plumes smoke . He pushes the door fully open , emerges .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Mrs. Munson 's snore catches on an inhale . She mutters something , sighs , and resumes snoring .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - STAIRCASE - NIGHT</stage_direction>
<scene_description>The General treads lightly , noiselessly , up the stairway leading to the second floor . He slides one hand into his jacket , pulls out a garotte . With the faintest whoosh he whips it in a complicated loop and snags the other handle with his other hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - UPSTAIRS HALLWAY - NIGHT</stage_direction>
<scene_description>The General emerges from the staircase and advances on the closed bedroom door . As he reaches for the knob he performs the no - handed flip of the burning cigarette into his mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - NIGHT</stage_direction>
<scene_description>The door swings noiselessly open . The General pauses to survey : The still room . The ticking clock . Mrs. Munson , a large sleeping mound upon the bed . The General advances , raising the garotte in both hands . He closes on her sleeping form . The garotte is lowered toward her exposed neck . It is a foot - half a foot - inches - away . Somewhere a muted gear ratchets and triggers the toll of - The clock , striking one . It is a cuckoo clock but , instead of a bird emerging , a berobed Jesus comes out with his hand resting on the head of a child who gazes up in adoration . The General starts at the noise and then suddenly freezes , his eyes widening . Jesus retreats back into the clock . The General has swallowed his cigarette . He reaches up to his throat , panicked . In a silent frenzy , he yanks loose his ascot . He gazes wildly about . He reaches for the water glass at Mrs. Munson 's bedside . He tips it back into his mouth . There is a rattling sound . HIS POV The uptilted water glass is sending false teeth - full uppers and lowers - rattling toward his face . THE GENERAL He frantically - but still noiselessly - sets the glass back down . Wildly looks about , one hand clamped to his throat . A mad but silent dash for the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - UPSTAIRS HALLWAY - NIGHT</stage_direction>
<scene_description>Plunging for the head of the stairs - - a brief yowl from the cat - - recoiling from where its tail has been stepped on , a hiss and a flash of its claws at the General 's leg -</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - STAIRCASE/LIVING ROOM - NIGHT</stage_direction>
<scene_description>- and he falls down the stairs , each thudding impact bouncing his body like a rag doll 's . At the bottom of the stairs he lies still . A CLOSE - UP shows his head bent at an unnatural angle , unblinking eyes staring . Traces of smoke wisp from each nostril and his open mouth . Over the mantle , Othar returns the dead man 's stare . He looks somewhat smug .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - NIGHT</stage_direction>
<scene_description>The Professor and Lump , responding to the noise , look slowly up toward the ceiling .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - BRIDGE - NIGHT</stage_direction>
<scene_description>The body is laid out in a garbage bag by the rail . The Professor stands looking at it , contemplatively . Lump stands looking at it , contemplatively . The cat sits nearby on its haunches looking at it , impassively . The professor muses :</scene_description>
<character>DORR</character>
<dialogue>T'was our até brought us to this pass.</dialogue>
<character>LUMP</character>
<dialogue>What, Professor?</dialogue>
<scene_description>There is the toot ! of an approaching scow . Dorr 's manner is still absent , his regard still on the corpse :</scene_description>
<character>DORR</character>
<dialogue>Our overweening pride. The old woman is a more potent antagonist than one had imagined.</dialogue>
<scene_description>He rouses himself , goes over to the bagged corpse . Lump follows him and the two men hoist the body over the rail .</scene_description>
<character>DORR</character>
<dialogue>Now, Lump, I'm afraid it falls to you to finish the job.</dialogue>
<scene_description>They let the body fall onto the scow passing below .</scene_description>
<character>DORR</character>
<dialogue>The comedy must end.</dialogue>
<scene_description>The Professor turns to Lump and tries to hand him Gawain 's gun , but Lump , uncomfortable , declines to take it .</scene_description>
<character>LUMP</character>
<dialogue>Professor, I been doing some thinking.</dialogue>
<character>DORR</character>
<dialogue>Oh dear. Oh dear oh dear oh dear.</dialogue>
<character>LUMP</character>
<dialogue>Maybe she's right! Maybe we should be going to church!</dialogue>
<character>DORR</character>
<dialogue>Oh dear, Lump. I feared that those would be your words. Not that I do n't appreciate your giving the matter the benefit of your thought. But please recall, young man, our respective functions in this enterprise. I am a professor, the professor as you yourself so often say, the thinker, the `` brains of the operation,'' trained in fact in the arts of cogitation. You, Lump, are the goon, the hooligan, the dumb brute whose actions must be directed by a higher intelligence.</dialogue>
<character>LUMP</character>
<dialogue>Yeah, I know, but -</dialogue>
<character>DORR</character>
<dialogue>No buts, dear boy! Do not repeat the error of thinking! Now is the moment of praxis! Now, my dear boy, you must act!</dialogue>
<scene_description>Lump reluctantly takes the gun that the Professor thrusts upon him .</scene_description>
<character>LUMP</character>
<dialogue>I ca n't do it, Professor! A nice old lady like that!</dialogue>
<character>DORR</character>
<dialogue>Think of the riches, Lump, that you and I alone shall divide! Recall the dream of wealth untold that first drew you to this enterprise!</dialogue>
<character>LUMP</character>
<dialogue>But -</dialogue>
<character>DORR</character>
<dialogue>And reflect also that if you decline to act, forcing me to do so, then you shall no longer have any entitlement to the money! Your offices shall have been nugatory!</dialogue>
<character>LUMP</character>
<dialogue>You mean - you mean - you're gon na kill her?!</dialogue>
<character>DORR</character>
<dialogue>Of course! My hand would be forced!</dialogue>
<character>LUMP</character>
<dialogue>I ca n't let you do that, Professor! A nice old lady like that!</dialogue>
<character>DORR</character>
<dialogue>You?! Allow? Not allow? What presumption! You stupid boy! You very very extremely stupid boy!</dialogue>
<scene_description>We hear the toot of an approaching scow - this one very long , sustained under all of the following :</scene_description>
<character>LUMP</character>
<dialogue>Oh yeah?</dialogue>
<scene_description>He points the gun at the Professor and -</scene_description>
<character>LUMP</character>
<dialogue>Well who looks stupid now?</dialogue>
<scene_description>- squeezes - click - on an empty chamber .</scene_description>
<character>LUMP</character>
<dialogue>Huh?</dialogue>
<scene_description>He turns the gun to have a look .</scene_description>
<character>LUMP</character>
<dialogue>No bullets?</dialogue>
<scene_description>HIS POV shows the foreshortened barrel as he experimentally squeezes the trigger . the Professor on the BANG ! and , after a sad shake of his head , Lump in time to see him finish toppling back over the rail . The scow - horn ends .</scene_description>
<character>DORR</character>
<dialogue>Perhaps. it had to be thus.</dialogue>
<scene_description>He goes to the railing to look down . Lump , face - up on a pile of garbage , glides away . Disturbed birds flap upward . The professor muses :</scene_description>
<character>DORR</character>
<dialogue>. Lo, in yon brilliant window - niche How statue - like I see thee stand.''</dialogue>
<scene_description>His gaze rises with the ascending birds . Among the white gulls is one black bird . The Professor eyes it as it rises past him .</scene_description>
<character>DORR</character>
<dialogue>Hm. A raven?</dialogue>
<scene_description>FROM VERY HIGH we look down on the Professor , the black bird rising to perch on the gargoyle on the suspension tower in the foreground . The bird settles on a loose , teetering piece of masonry . BACK TO THE PROFESSOR looking at the receding red light on the bridge of the receding scow :</scene_description>
<character>DORR</character>
<dialogue>. The agate lamp within thy hand.''</dialogue>
<scene_description>BACK HIGH The teetering chunk of masonry tips away and the perchless bird flaps off . BACK TO THE PROFESSOR very dreamy : he sees something in the distance , beyond time and space :</scene_description>
<character>DORR</character>
<dialogue>Ah, Psyche! from the regions which Are Holy land!''</dialogue>
<scene_description>This is punctuated by the crunching impact of masonry scoring a direct hit on his head . He falls over the rail . His cape snags on the railing and he hangs limp and lifeless . Directly below his dangling body the stern of Lump 's barge is slipping away to leave black waters and the clanking of chains . The fabric of the Professor 's cape begins to tear . His body drops in fits and starts as the fabric gives way . Finally the body rips free . It falls away from us . As it does so the clanking chains are pulling into view the second - banger - a garbage barge being chain - towed by the receding scow . Dorr 's body lands neatly on the barge . A gust of wind . The cape flaps free of the railing and is wind - tossed away amidst the cawing birds . The cat , watching , blinks .</scene_description>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - MRS. MUNSON'S BEDROOM - DAY</stage_direction>
<scene_description>DRINKING GLASS It is resting on the very edge of the night table - protruding , in fact , past the table 's edge . It is morning . We hear rustling from the bed . Hands reach INTO FRAME and hesitate , finding the glass empty of water and precariously perched .</scene_description>
<character>MRS. MUNSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hmm.</dialogue>
<scene_description>The hands tip the glass and take the teeth . We hear complicated oral noises .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUNSON HOUSE - DAY</stage_direction>
<scene_description>The door opens away to reveal the morning paper lying on the stoop . Mrs. Munson leans INTO FRAME to pick it up and we ADJUST as she straightens to have a look : The headline says : $ 2.6 MILLION DISAPPEARS FROM LADY LUCK CASINO . The subhead : POLICE BAFFLED .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Mm - hm.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUNSON HOUSE - CELLAR - DAY</stage_direction>
<scene_description>Mrs. Munson is walking down the stairs .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Professor!</dialogue>
<scene_description>She stops midway down and looks : The empty cellar . Money stacked neatly on the card table . Mrs. Munson sadly shakes her head .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Hmm. Could n't face the music.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SAUCIER MUNICIPAL BUILDING - DAY</stage_direction>
<scene_description>Mrs. Munson is climbing the porch in her Sunday best . She feints at the dog who lies curled in the sun :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Scoot now! Outa the way!</dialogue>
</scene>
<scene>
<stage_direction>INT. SAUCIER MUNICIPAL BUILDING - DAY</stage_direction>
<scene_description>The sheriff is busy on the phone ; there is a DEPUTY today also on the phone . The sheriff , seeing Mrs. Munson enter , covers the phone with one hand .</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Miz Munson.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Sheriff, I got ta make a statement.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Could it possibly wait, ma'am? We're a little busy today.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I guess it can wait, but it's about that casino money.</dialogue>
<scene_description>The sheriff exchanges a significant look with the deputy , then murmurs into the phone :</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Call you right back.</dialogue>
<scene_description>He cradles the phone and smiles at Mrs. Munson .</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>You know something about it?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Something? Everything! I got it at home.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>You. you have what at home, now?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>The money. Two point six million dollars. Down in my root cellar. All stacked up nice and neat.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Mm - hmm.</dialogue>
<scene_description>The deputy pauses to look up from his phone :</scene_description>
<character>DEPUTY</character>
<dialogue>How'd it get there, Marva?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Bunch a desperate men that stole it put it there, that's how! They was musicians of the Renaissance period, played the sackbutt and so on - well, it turns out they really could n't play, although they could recite poems to break your heart. Their ringleader speaks in dead tongues.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Does he now.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I tried to get you to see him! That night?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Oh yes.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I had to yell at'em ` bout stealin' all that money and I guess I made'em feel pretty bad'cause they picked up and left without takin' the money. But I was peeved with'em, Sheriff, they'd been up to all sorts of mischief, come close to blowin' up the house, disturbed Othar no end.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Angry, was he?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Would n't you be? All that racket!</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>I expect so.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>And they let Pickles out too!</dialogue>
<scene_description>The sheriff sighs .</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>So you want us to go fetch him.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>No, he's back, but what you want me to do with the money?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Well.</dialogue>
<scene_description>He and the deputy exchange looks . The sheriff looks back at Mrs. Munson .</scene_description>
<character>SHERIFF WYNER</character>
<dialogue>Why do n't you just keep it, Miz Munson.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Keep it?</dialogue>
<character>DEPUTY</character>
<dialogue>You keep it, Marva.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Well. I know it's only a penny offa everybody's policy.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>How's that ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>I know folks do n't much care. Could I. You s ` pose I could.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Yes ma'am?</dialogue>
<character>MRS. MUNSON</character>
<dialogue>Could I give it all to Bob Jones University?</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>That'd be nice, ma'am.</dialogue>
<scene_description>She picks up her handbag and heads for the door .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Well, long as everybody knows.</dialogue>
<character>SHERIFF WYNER</character>
<dialogue>Thank you for the information, ma'am.</dialogue>
<character>MRS. MUNSON</character>
<dialogue>You're welcome, sheriff. Just doin' my duty.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SAUCIER, MISSISSIPPI - DAY</stage_direction>
<scene_description>Mrs. Munson is walking home . It is a beautiful spring day . From far off , wafting toward us on the breeze , we can hear the church chorus singing . Mrs. Munson joins in . She has a strong voice :</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Leaning, Leaning, Safe and secure from all harm. Lean on Jesus, Lean on Jesus, Leaning on the everlasting arm.</dialogue>
<scene_description>She turns up the walk to her house .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>What a fellowship, What a peace of mind, Safe and secure from all harm. Lean on Jesus, Lean on Jesus, Leaning on the everlasting arm.</dialogue>
<scene_description>When she opens the front door the cat slips out .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Pickles!</dialogue>
<scene_description>It races off down the street .</scene_description>
<character>MRS. MUNSON</character>
<dialogue>Pickles!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - BRIDGE - DAY</stage_direction>
<scene_description>Pickles scurries along the walkway . We hear the toot ! of an approaching scow . The cat reaches the middle of the bridge . He sticks his head through the bars of the railing . When we CUT CLOSE on the cat as he looks down at the water , we see that he holds in his mouth a human finger . As the scow passes underneath , the cat opens its mouth and lets the finger drop . The finger falls away and is barely visible by the time it hits the scow . The cat looks up INTO THE LENS , and blinks . Its sideways irises adjust . The scow is gliding away . With the low mournful toot of its horn we tilt up the river to the great garbage island where scavenger birds pick through the trash . THE END</scene_description>
</scene>
</script> | Mrs. Marva Munson, a strict, religious and elderly widow, meets "Professor" Goldthwaite Higginson Dorr, a southern classicist and Edgar Allan Poe enthusiast who expresses interest in the room she has for rent and asks to use her root cellar for rehearsals of an early music ensemble he directs, to which she agrees. The fellow musicians in the pretend ensemble are actually a gang of criminals. The band are composed of a dim football player named Lump as the "muscle", the overconfident movie effects technician Garth Pancake as the "jack of all trades" (who suffers from IBS), the crass and sloppy Gawain McSam as their "inside man", and the Vietnamese, tough-as-nails General as their "tunneling expert" (who hides his chain smoking from the disapproving Mrs. Munson by concealing his cigarette in his mouth). The group of criminals plan to dig a tunnel through the exposed wall in the cellar in order to break into the underground vault for a nearby riverboat casino. The dirt they remove is taken out at night and tossed off a bridge onto a garbage barge as it passes below. A series of mishaps threaten to derail their plan, including "inside man" Gawain losing his janitorial job at the casino, Mrs. Munson's cat Pickles running off with Garth's finger when he accidentally sets a plastic explosive off in his hand, and a visit from the local sheriff. Nonetheless, the group manages to break through the wall of the vault and snatch the loot. Before the group can get away, Mrs. Munson uncovers the plot and tells Dorr to return the money and go with her to church on Sunday, or face the authorities. Dorr attempts to persuade her otherwise, by claiming that the casino's insurance company will replace the money, resulting in each shareholder only losing a single penny. He also claims he will donate a full share of the stolen funds to Bob Jones University, a Bible college which Mrs. Munson admires, but she insists on her judgment. The gang decides they have no choice but to murder her. None of them are eager to kill an old woman so they draw straws. The task falls to Gawain but he fails to go through with it after he realizes Mrs. Munson reminds him of his mother. This starts a fight between Garth and Gawain which results in Gawain being fatally shot with his own gun; the group dumps his body off the bridge onto the trash barge. Garth then attempts to steal the entire sum of money and escape with his girlfriend, "Mountain Girl," but the General kills them both with a garotte wire and discards their bodies onto the barge. After drawing lots again, the General is about to kill Mrs. Munson in her sleep, concealing his cigarette in his mouth as per usual. He is suddenly startled by a cuckoo clock, accidentally swallowing his cigarette. In a frenzied search for water, The General trips over Mrs. Munson's cat and falls down the stairs to his death. As Lump and Dorr dispose of The General's body onto the barge, Lump has a change of heart and tells Dorr he wants to do what Mrs. Munson says. When Dorr refuses, Lump attempts to shoot him with a revolver but the chamber is empty; he peers down the barrel and accidentally shoots himself with the round that was in the next chamber, falling off the bridge onto the barge. Dorr, now alone, pauses to admire a passing raven and recite poetry until the raven dislodges the head of a crumbling grotesque on top of the bridge. The head falls, knocking Dorr over the railing, and his cape gets caught on the ironwork and breaks his neck, killing him instantly. As the barge passes under the bridge, the fabric tears and he too falls onto it. Finding the stolen money in her basement, Mrs. Munson believes that the criminals have fled and left it behind. She informs the police about the money, but they think she is insane and tell her to keep it; she decides to donate it to Bob Jones. The movie closes by showing Pickles dropping Garth's severed finger onto the barge. |
The Life of David Gale_2003 | tt0289992 | <script>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - SUNRISE</stage_direction>
<scene_description>A dishevelled WOMAN in a business suit -LRB- 27 -RRB- runs down a lonely highway in Texas hill country , moving desperately through the thick morning fog . She 's carrying a VHS cassette . The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist . She runs , and runs . She slows , out - of - strength , looks up and down the highway . Both in front and behind , it leads straight into the mist , a tunnel of fog . She stumbles on , a final effort . She runs . Sees something . Stops cold . WHITE</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE OF "DEATHWATCH AUSTIN" - SUNRISE</stage_direction>
<scene_description>A clock on the wall : 6:11 . Beneath the clock a simple banner reads `` DeathWatch Austin . ''</scene_description>
<character>YOUNG MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's probably been about seven minutes.</dialogue>
<scene_description>The office is small , cheaply furnished . One wall is filled with neat rows of 8x10 's of death row inmates . About 30 percent have red crosses over their faces . Five people wait in tense silence . A SKINNY COLLEGE GUY with a mullet and pinch of Skoal in his mouth looks at a computer screen . A co - ed cuddles a Styrofoam cup of coffee , sobs quietly . A matronly woman sits quietly at a desk holding a phone to one ear . The clock 's minute hand changes from :11 to :12 . CONSTANCE HARRAWAY -LRB- 36 -RRB- , bookish , sits beside DAVID GALE -LRB- 31 -RRB- . He wears a blue Yale sweatshirt . They both stare at nothing . She bites her lip .</scene_description>
<character>COLLEGE GUY</character>
<dialogue>Okay. Okay. We've got pronouncement. 6:12. Roughly eight minutes.</dialogue>
<parenthetical>( a beat as he records the time . )</parenthetical>
<dialogue>Number 36 this year for the Great State of Texas.</dialogue>
<scene_description>They all exchange looks : they 've lost . David stands .</scene_description>
<character>CONSTANCE</character>
<dialogue>David, do n't start throwing things.</dialogue>
<scene_description>A PHONE RINGS . David controls himself .</scene_description>
<character>DAVID</character>
<dialogue>I'm going home. Let's do the press fax tomorrow.</dialogue>
<scene_description>Another PHONE RINGS . Constance stands .</scene_description>
<character>CONSTANCE</character>
<dialogue>Go. I'll do it.</dialogue>
<scene_description>He nods to her , exits . She walks to the photo wall . With a red magic marker she marks a cross over the photo of a Hispanic male . The wall clock reads 6:13 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT IN FRONT OF OFFICE - SUNRISE</stage_direction>
<scene_description>The office is in a largely abandoned mini - mall . It 's going to be a clear summer day . David hurries through the empty parking lot to Volvo station wagon . As the car exits the lot , we see the Austin skyline with the capitol building in the distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S CAR - SUNRISE</stage_direction>
<scene_description>David drinks from a travel cup as he drives , windows down .</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSECTION - SUNRISE</stage_direction>
<scene_description>David stops at a red light beside a squad car with one cop inside . The cop gives him a cursory glance .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S CAR - SUNRISE</stage_direction>
<scene_description>He stares at the cop . The cop looks neutrally ahead ; behind him the buckle of his seat belt shoulder strap catches the reflection of the rising sun . BACK TO DAVID He stares , then :</scene_description>
<character>DAVID</character>
<dialogue>Hey!</dialogue>
<scene_description>The cop ignores him .</scene_description>
<character>DAVID</character>
<dialogue>Yo! Officer!</dialogue>
<scene_description>The cop looks over ; his face says he expects a confrontation . David points to the seat belt buckle .</scene_description>
<character>DAVID</character>
<dialogue>Your seatbelt.</dialogue>
<scene_description>The cop nods , weary , embarrassed . He reaches back for the belt . David takes a sip and drives on . WHITE CLOSE ON TELEVISION Court TV reporter , Roberts , stands in front of the Supreme Court .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The high court also refused to stay Friday's execution of former philosophy professor, David Gale.</dialogue>
<character>FEMALE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( with her mouth full . )</parenthetical>
<dialogue>Christ doin' Karaoke.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE OFFICE - DAY</stage_direction>
<scene_description>KRUGER -LRB- 47 -RRB- watches with a leg up on her messy desk , eating low - fat tortilla chips and massaging a knee with an electric massager . A name plate on her desk reads `` Barbara D. Kruger , Crime and Courts Editor . '' News magazine covers are on the walls . Kruger is black , short , overweight , wears an old jogging suit and new oversized athletic shoes . She has half - frame granny glasses on a cord around her neck .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Gale had sought a review of his 1993 conviction for the rape and murder of University of Texas colleague, Constance Harraway.</dialogue>
<scene_description>Kruger reaches for a phone , hits four numbers , takes a chip . ON TV A book - jacket photo of Constance . BACK ON ROBERTS</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Defense lawyers had hoped to argue that Gale's former activism against capital punishment unduly prejudiced.</dialogue>
<scene_description>ON KRUGER She waits impatiently , munching , swallowing .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>the Texas judicial system. Citing ` discriminating purpose' -</dialogue>
<character>KRUGER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Hey, they're not gon na stay Gale. It's on Court TV right now, listen.</dialogue>
<scene_description>She holds the phone out in the direction of the TV , uses the opportunity to eat another chip . ON TV We see old footage of David on a TV talk show .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>clear political gain in executing its leading opponent of the death penalty.</dialogue>
<scene_description>ON KRUGER</scene_description>
<character>KRUGER</character>
<parenthetical>( into the phone , swallowing . )</parenthetical>
<dialogue>So, what's it gon na be? Belyeu said to call after the decision. No, they said only Bitsey.</dialogue>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( in b.g . )</parenthetical>
<dialogue>. Further failed to consider that the victim was herself an abolitionist activist.</dialogue>
<character>KRUGER</character>
<dialogue>It means only Bitsey. Bill, I do n't get to make the rules, I'm a fat black woman.</dialogue>
<scene_description>Bitsey Bloom -LRB- The runner from the opening -RRB- enters . She wears , as always , a tailored suit .</scene_description>
<character>KRUGER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>. What we need is to put her on a plane to Houston.</dialogue>
<character>BITSEY</character>
<parenthetical>( WOMAN . )</parenthetical>
<dialogue>Gale's going down.</dialogue>
<scene_description>Kruger shushes her with a we - know - already gesture .</scene_description>
<character>KRUGER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Why do you always get lordosis around legal? She's here.</dialogue>
<scene_description>She puts him on SPEAKER , and reaches for a chip .</scene_description>
<character>BITSEY</character>
<parenthetical>( to the phone . )</parenthetical>
<dialogue>Hi. What's lordosis?</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Female ape's posture when preparing for intercourse. Hello, Bitsey.</dialogue>
<scene_description>Bitsey shoots Kruger a look , mouths `` you 're sick . ''</scene_description>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Look, kids, setting aside the cost issue, though half - a - million dollars for three two hour interviews is not only illegal it's obscen -</dialogue>
<character>KRUGER</character>
<dialogue>Market value. Guy's never talked.</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That aside, I, we are still uncomfortable with the arrangement.</dialogue>
<character>BITSEY</character>
<dialogue>Meaning?</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Meaning you've just spent a very public seven days in jail for a very public contempt of court citation.</dialogue>
<character>BITSEY</character>
<dialogue>Protecting sources, even kiddie porn scumbags, is magazine policy.</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And I, we continue to appreciate your decision. We're just concerned. A rapist slash murderer, five days before he's executed, demands a reporter known for protecting sexual deviants. A reporter who is also a very attractive woman -</dialogue>
<scene_description>Bitsey and Kruger moan in unison .</scene_description>
<character>KRUGER</character>
<dialogue>This is disparate treatment.</dialogue>
<character>BITSEY</character>
<dialogue>I could go if I were an ugly blabby guy?</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There's an agenda issue here which would be diffused with an older male.</dialogue>
<character>KRUGER</character>
<dialogue>I hear lawyers gleefully saying the words Bloom vs. News Magazine Inc..</dialogue>
<character>BITSEY</character>
<dialogue>` Well, Your Honor, I started to notice that my assignments were evaluated on the basis of my sex.'</dialogue>
<character>KRUGER</character>
<dialogue>You've got ta let her go now.</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That's not quite what I meant.</dialogue>
<character>KRUGER</character>
<dialogue>He's got ta let you go.</dialogue>
<character>BITSEY</character>
<dialogue>` Certain references were made -'</dialogue>
<character>BILL</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>All right. All right. Enough. The intern is with you at all times?</dialogue>
<scene_description>Bitsey vehemently shakes her head `` no '' to this idea .</scene_description>
<character>KRUGER</character>
<dialogue>Yes. I, we are hanging up. ` Bye.</dialogue>
<scene_description>Kruger hangs up the phone before he can respond .</scene_description>
<character>BITSEY</character>
<dialogue>I'm not baby - sitting.</dialogue>
<scene_description>Kruger reaches for a chip .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - NIGHT</stage_direction>
<scene_description>ZACK -LRB- boyish , 24 -RRB- sits in the passenger seat , smoking and looking at a case file in his lap . He holds the cigarette just outside the slightly open window . Zack has a bohemian grunge thing going - long hair , ultra - hip glasses . As Bitsey drives , she keeps looking down at the dash 's instrument panel . We hear strained patience in her voice .</scene_description>
<character>BITSEY</character>
<dialogue>Gale was seen leaving the house.</dialogue>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE 45 - NIGHT</stage_direction>
<scene_description>The car 's lights move past a sign : `` Huntsville 27 Miles . ''</scene_description>
<character>BITSEY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>His sperm was inside her.</dialogue>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - NIGHT</stage_direction>
<character>BITSEY</character>
<dialogue>His prints were all over the kitchen, including one on the bag.</dialogue>
<scene_description>Zack has a police photo : a woman naked on a kitchen floor , hands handcuffed behind her . Over her head is an opaque white plastic bag , sealed around the neck with duct tape .</scene_description>
<character>ZACK</character>
<dialogue>Half - a - thumb print.</dialogue>
<character>BITSEY</character>
<dialogue>Okay, half - a - thumb print.</dialogue>
<character>ZACK</character>
<dialogue>Could have touched it before it was a murder weapon.</dialogue>
<character>BITSEY</character>
<dialogue>Do you fondle your friends' garbage bags?</dialogue>
<character>ZACK</character>
<dialogue>Yeah, I get very touchy around household plastics. ` Hello, everybody - ooooh, Tupperware.' Chill. I'm just saying the bag could have been out on the counter or something.</dialogue>
<scene_description>She looks at him a beat .</scene_description>
<character>BITSEY</character>
<dialogue>Hey, Zack?</dialogue>
<character>ZACK</character>
<dialogue>Yeah.</dialogue>
<character>BITSEY</character>
<dialogue>He did it.</dialogue>
<character>ZACK</character>
<dialogue>But the murder's way too fucking clumsy. And this guy's a major intellectual. Top of his Yale class, a Rhodes gig, tenured at 27, two books. He's an academic stud.</dialogue>
<character>BITSEY</character>
<dialogue>And, empirically speaking, a psychotic.</dialogue>
<scene_description>Zack picks up another file photo : Christmas shot of the Gale family : David -LRB- 31 -RRB- , his wife -LRB- Sharon , beautiful , 29 -RRB- , and son -LRB- Chase , 6 -RRB- .</scene_description>
<character>ZACK</character>
<dialogue>Look at his wife, she's a regular Grace Kelly. Old money svelte. Father was Ambassador to Spain -</dialogue>
<character>BITSEY</character>
<parenthetical>( looking at the car 's instrument panel . )</parenthetical>
<dialogue>Shit! The light's on again.</dialogue>
<scene_description>CLOSEUP - OVERHEAT LIGHT is on . BACK TO SCENE</scene_description>
<character>ZACK</character>
<dialogue>Ignore it. It's a rental.</dialogue>
<character>BITSEY</character>
<dialogue>Thanks, Zack. Do you smell anything?</dialogue>
<character>ZACK</character>
<dialogue>No. Besides the guy's a flaming liberal.</dialogue>
<scene_description>Bitsey keeps looking down at the light .</scene_description>
<character>BITSEY</character>
<dialogue>A person's politics has nothing to do with their propensity to commit crime.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Are n't we supposed to smell it if it's overheating?</dialogue>
<character>ZACK</character>
<dialogue>Wrong, seventy - three percent of all serial killers vote republican.</dialogue>
<character>BITSEY</character>
<dialogue>Throw the cigarette out so we can smell.</dialogue>
<scene_description>Zack reaches for the car ashtray .</scene_description>
<character>BITSEY</character>
<dialogue>No! You'll stink up the car. Throw it out!</dialogue>
<character>ZACK</character>
<dialogue>I'm not gon na fucking pollute.</dialogue>
<character>BITSEY</character>
<dialogue>Zack!</dialogue>
<scene_description>Zack pinches the cherry off , lets it drop out the window . He shows her the filter , animatedly puts in the ash tray . She gives him a look . They ride a beat in silence . Bitsey sniffs .</scene_description>
<character>BITSEY</character>
<dialogue>We better pull off. Shit, this is so irritating.</dialogue>
<character>ZACK</character>
<dialogue>How far to Huntsville?</dialogue>
<character>BITSEY</character>
<dialogue>Look.</dialogue>
<scene_description>She points to an approaching rest area exit sign . They share a glance , then a laugh . Zack affects an evil , maniacal cackle .</scene_description>
<character>ZACK</character>
<parenthetical>( ` Hard Copy ' announcer 's voice . )</parenthetical>
<dialogue>` NEWS Magazine reporters Bitsy Bloom and Zack Stemmons entered the rest area with car trouble.</dialogue>
</scene>
<scene>
<stage_direction>EXT. REST AREA EXIT - NIGHT</stage_direction>
<scene_description>The car exits for the rest area .</scene_description>
<character>ZACK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Little did they know their troubles were just beginning.</dialogue>
<scene_description>Zack mimics the OPENING MUSIC to `` Dark Shadows . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. REST AREA - NIGHT</stage_direction>
<scene_description>Well lit and empty . The rental car is parked with the hood up . They stand looking at the radiator .</scene_description>
<character>BITSEY</character>
<dialogue>Is it hot?</dialogue>
<scene_description>He puts his hand on it .</scene_description>
<character>ZACK</character>
<dialogue>Oww! Jesus, yes. Is n't it always?</dialogue>
<scene_description>Bitsey shrugs .</scene_description>
<character>ZACK</character>
<dialogue>So what do I do?</dialogue>
<character>BITSEY</character>
<dialogue>I do n't know, something male.</dialogue>
<scene_description>Zack animatedly adjusts his balls , spits .</scene_description>
<character>ZACK</character>
<dialogue>Now what?</dialogue>
<scene_description>Bitsey 's not paying attention . She 's watching headlights coming toward them .</scene_description>
<character>BITSEY</character>
<dialogue>Company.</dialogue>
<character>ZACK</character>
<dialogue>I hope whoever it is never saw Deliverance.</dialogue>
<scene_description>A late model pickup pulls up behind them . They shade their eyes from its headlights . The lights go off . An OLDER COWBOY -LRB- mid - 60 's , Stetson , lizard skin boots -RRB- steps out .</scene_description>
<character>OLDER COWBOY</character>
<dialogue>You folks need some help?</dialogue>
<character>BITSEY</character>
<dialogue>Actually yes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUNTSVILLE MOTEL SIX - NIGHT</stage_direction>
<scene_description>The motel lies adjacent to Interstate 45 and a Kettle restaurant . The rental car pulls up to the reception building .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUNTSVILLE MOTEL SIX - NEXT DAY</stage_direction>
<scene_description>The rental car is parked in front . The morning is overcast , it 's sprinkling . Bitsey emerges from one of the rooms on the second floor carrying an umbrella .</scene_description>
</scene>
<scene>
<stage_direction>INT. KETTLE RESTAURANT - DAY</stage_direction>
<scene_description>Bitsey enters and sees Zack in a booth , smoking and reading . The hyper - smiley TEENAGE HOSTESS approaches her .</scene_description>
<character>HOSTESS</character>
<dialogue>How are you this morning?</dialogue>
<scene_description>Bitsey ignores her , takes a menu without comment . She goes and sits across from Zack ; he 's reading Dialogical Exhaustion by David Gale .</scene_description>
<character>BITSEY</character>
<dialogue>Little early, is n't it?</dialogue>
<character>ZACK</character>
<dialogue>The non - smoking section's over there.</dialogue>
<character>BITSEY</character>
<dialogue>I meant the book.</dialogue>
<character>ZACK</character>
<dialogue>Oh.</dialogue>
<scene_description>Bitsey opens the menu ; he puts the book down .</scene_description>
<character>BITSEY</character>
<dialogue>What time is it?</dialogue>
<character>ZACK</character>
<dialogue>9:15. The waitress says the Ellis Unit is about fifteen minutes out of town, so we've got like five and half hours. I -</dialogue>
<character>BITSEY</character>
<dialogue>Never eat where the menus have pictures of the food.</dialogue>
<character>ZACK</character>
<dialogue>I was thinking we should drive to Austin, check out the crime scene. Could be some story stuff for us.</dialogue>
<character>BITSEY</character>
<parenthetical>( without looking up . )</parenthetical>
<dialogue>First, this is n't a story. It's an interview. We come, I listen, you watch, we go home. Second, there is no ` us' in the assignment.</dialogue>
<character>ZACK</character>
<dialogue>Okay, what do I watch you do for the next five hours?</dialogue>
<character>BITSEY</character>
<parenthetical>( closing the menu . )</parenthetical>
<dialogue>Drive around looking for decent restaurant.</dialogue>
<character>ZACK</character>
<dialogue>You know, your reputation as Siberian - Female - Dog - Person does n't do you justice.</dialogue>
<scene_description>She 's unsure how to interpret his comment . He smiles .</scene_description>
<character>BITSEY</character>
<dialogue>My reputation got us invited here. I play by the rules. It's called objectivity.</dialogue>
<scene_description>They stare at each other . Zack picks up his book , starts to read , affects a shiver .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY</stage_direction>
<scene_description>Drizzle . The prison and adjacent parking lot can be seen a few hundred yards down the road . In front of the guardhouse is a sign : `` TDC Ellis Unit . All visitors must report . '' SUPERIMPOSE : `` DAY ONE '' The rental car ENTERS the FRAME , brakes briefly for the empty guardhouse , and moves on toward the prison .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT PARKING LOT - DAY</stage_direction>
<scene_description>Bitsey and Zack get out of their car . She has an umbrella .</scene_description>
<character>ZACK</character>
<dialogue>So where do we report?</dialogue>
<scene_description>Three razor wire fences surround the prison . Guard towers rise at the corners . Outside the fence sits a small building with a sign : `` REPORT HERE . '' Bitsey makes a there - you - have - it face . They move toward the building . Someone hawks . They look over . Within the fence , a skinny Hispanic inmate -LRB- 50 's -RRB- spits . He 's hunched in the rain thirty yards away . He watches them neutrally . CAMERA TRACKS Bitsey and Zack as they walk nervously past a series of kennel - like pens that run along a long building . Inmates watch them pass : A smoking , tattooed white male -LRB- 30 's -RRB- stands by his door . A muscular black man -LRB- 30 's -RRB- with a Muslim skullcap speaks quietly to the forty - something redneck beside him . A paunchy Hispanic -LRB- 20 's -RRB- with a shaved head sits back against the building , making clicking sounds . A skinny white guy with his shirt off tosses a tennis ball against the building . At the closest end of the last pen , a gang - banger -LRB- 20 's -RRB- watches as he stands with his fingers clutching the chain - link above his head . Rain runs down his face .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS RECEPTION OFFICE</stage_direction>
<scene_description>As Bitsey and Zack enter , a clean - cut man in his forties is on the phone -LRB- DUKE GROVER -RRB- . He waves them in and holds up a wait - just - a - second finger .</scene_description>
<character>GROVER</character>
<dialogue>Well, I do n't rightly know one fraternity from another. But if we catch any those boys out here again, we're gon na Arrest and Prosecute. You do that, Susan. Bye now.</dialogue>
<scene_description>The office has cheap wood paneling and a tired shag carpet . A portrait of GOVERNOR HARDIN -LRB- female , mid - 50 's -RRB- is on the wall , a large aerial photograph of the prison on the other . At a desk sits a WOMAN WITH TEXAS HAIR -LRB- 40 's -RRB- . Grover hangs up .</scene_description>
<character>GROVER</character>
<parenthetical>( to the Woman . )</parenthetical>
<dialogue>Thank you, Margie.</dialogue>
<parenthetical>( turning to Bitsey and Zack . )</parenthetical>
<dialogue>Correspondents Bloom and Stevens I presume.</dialogue>
<character>BITSEY</character>
<dialogue>Yes, hello.</dialogue>
<scene_description>They shake hands .</scene_description>
<character>ZACK</character>
<dialogue>Stemmons.</dialogue>
<character>GROVER</character>
<dialogue>Stemmons. Sorry, wo n't happen again. I'm Duke Grover, T.D.C. community relations.</dialogue>
<scene_description>Grover 's demeanor suggests a successful Little League coach , his suit suggests J.C. Penny . He speaks quickly .</scene_description>
<character>MARGIE</character>
<parenthetical>( WOMAN . )</parenthetical>
<dialogue>He's usually real good with names.</dialogue>
<character>GROVER</character>
<parenthetical>( to Bitsey . )</parenthetical>
<dialogue>And these days I always like to ask, now do you prefer Miss, Mrs. or Ms?</dialogue>
<character>BITSEY</character>
<dialogue>Bitsey.</dialogue>
<character>GROVER</character>
<dialogue>Bitsey it is. Margie, I'm stealin' your umbrella.</dialogue>
<character>MARGIE</character>
<dialogue>Okey dokey.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT ENTRANCE</stage_direction>
<scene_description>Bitsey and Grover walk beneath their umbrellas toward the Unit gate - Grover walks as fast as he talks . Zack follows , turns his collar up .</scene_description>
<character>GROVER</character>
<dialogue>Bitsey, you ever been in a prison?</dialogue>
<character>BITSEY</character>
<dialogue>Yes.</dialogue>
<scene_description>Zack smiles to himself .</scene_description>
<character>GROVER</character>
<dialogue>On death row?</dialogue>
<character>BITSEY</character>
<dialogue>No.</dialogue>
<character>GROVER</character>
<dialogue>Well, we house 422 inmates here. Average stay with us is nine years. Some get commuted, move on, most get killed. It'll put you off your supper, but then it's supposed to.</dialogue>
<scene_description>The unit fence gate parts as they enter . The older gate guard nods as they pass .</scene_description>
<character>GROVER</character>
<parenthetical>( to the guard . )</parenthetical>
<dialogue>Afternoon, Earl.</dialogue>
<parenthetical>( back to her . )</parenthetical>
<dialogue>We've got three concerns here : safety, safety and safety. The visitation area is entirely secure - we just ask you do n't touch the glass. Windex gets expensive.</dialogue>
<scene_description>They come to the door of the entrance area .</scene_description>
<character>GROVER</character>
<dialogue>Rules say seven days prior to execution inmates must be interviewed in a cage.</dialogue>
<scene_description>The DOOR BUZZES , Grover opens it .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS ENTRANCE LOBBY - DAY</stage_direction>
<scene_description>The lobby has institutional chairs and few vending machines . To one side is a guard 's counter and a walk through metal detector . They enter and make their way toward the counter .</scene_description>
<character>GROVER</character>
<dialogue>This changes for no man. You're not carryin' a weapon are you?</dialogue>
<character>BITSEY</character>
<dialogue>No.</dialogue>
<character>GROVER</character>
<dialogue>Mr. Stemmons, you packin'?</dialogue>
<character>ZACK</character>
<dialogue>No, sir.</dialogue>
<scene_description>They arrive at the counter . Behind it are two GUARDS , one male , one female .</scene_description>
<character>GROVER</character>
<parenthetical>( to the guards . )</parenthetical>
<dialogue>Clarence. Karla. New York guests for Mr. Gale.</dialogue>
<character>CLARENCE</character>
<parenthetical>( GUARD . )</parenthetical>
<dialogue>May I see your purse, ma'am.</dialogue>
<character>GROVER</character>
<parenthetical>( to Bitsey , indicating the metal detector . )</parenthetical>
<dialogue>Go on and walk through.</dialogue>
<scene_description>Grover keeps talking as he walks around the detector and waits for her .</scene_description>
<character>GROVER</character>
<dialogue>Now, should any kinda of unpleasantness occur in the visitation area, we ask that you stay put. Come on through, Mr. Stemmons. And please follow the instructions of these fine correctional officers should they see fit to give you any.</dialogue>
<character>CLARENCE</character>
<parenthetical>( handing her the purse . )</parenthetical>
<dialogue>Here you go, ma'am.</dialogue>
<scene_description>He leads them down the hall .</scene_description>
<character>GROVER</character>
<dialogue>Anythin' you say can be overheard.</dialogue>
<scene_description>And any discussion of criminal activity on your part is admissible . Not plannin ' a jailbreak are you , Bitsey ?</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - DAY</stage_direction>
<scene_description>The door guard gets up from his small table and opens the door for them .</scene_description>
<character>GROVER</character>
<dialogue>Here we are.</dialogue>
<scene_description>The visitation hall has the linoleum - and - fluorescent feel of an empty school cafeteria . It is seamlessly intersected by curved wall of sheer glass . Across the hall a guard 's booth is built into the concrete wall ; the two guards inside look like they are in a sound booth . Every fifteen feet , the glass has small sound holes . On the visitors ' side , chairs -LRB- with lap desks -RRB- cluster at each section . Just getting up from a chair in the hall 's center is a big man wearing an expensive suit and black cowboy boots . This is David 's lawyer , BENJAMIN BELYEU -LRB- late 30 's -RRB- . On the prisoner 's side of the glass , a row of ten chairs trace the outline of its curve . Above each chair a microphone hangs from the ceiling . The center chair is in a stainless steel cage . Inside sits David Gale .</scene_description>
<character>GROVER</character>
<parenthetical>( calling out to Belyeu . )</parenthetical>
<dialogue>All yours, Mr. Belyeu.</dialogue>
<parenthetical>( to Bitsey and Zack . )</parenthetical>
<dialogue>You folks have safe visit now.</dialogue>
<character>BITSEY</character>
<dialogue>Thank you.</dialogue>
<scene_description>He exits as Bitsey and Zack make their way toward Belyeu and David ; it 's a walk of about twenty - five feet . Belyeu 's voice is a thick combination of Cajun and Harvard Yard .</scene_description>
<character>BELYEU</character>
<dialogue>Miss Bloom?</dialogue>
<character>BITSEY</character>
<dialogue>Yes.</dialogue>
<scene_description>Belyeu speaks as slowly as Grover did quickly . David stands up politely in his cage - he 's too tall and has to hunch .</scene_description>
<character>BELYEU</character>
<dialogue>Did that P.R. man validate your parkin'?</dialogue>
<character>BITSEY</character>
<dialogue>He said the gift shop could do it.</dialogue>
<scene_description>Belyeu laughs , smiles pure Old New Orleans charm .</scene_description>
<character>BELYEU</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>She's a smart one.</dialogue>
<scene_description>Belyeu takes a few steps toward them , extends his hand .</scene_description>
<character>BELYEU</character>
<dialogue>Benjamin Belyeu, Mr. Gale's attorney.</dialogue>
<character>BITSEY</character>
<dialogue>This is Zack.</dialogue>
<character>BELYEU</character>
<dialogue>Pleasure.</dialogue>
<parenthetical>( turning . )</parenthetical>
<dialogue>And this is the man of the hour.</dialogue>
<scene_description>They move toward David . A SPEAKER - SYSTEM LOUDLY -LRB- really loudly -RRB- interrupts :</scene_description>
<character>GUARD</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sit down, Gale.</dialogue>
<scene_description>All wince . David sits , smiles , a bit embarrassed .</scene_description>
<character>DAVID</character>
<dialogue>Hello.</dialogue>
<character>BITSEY</character>
<dialogue>Hello.</dialogue>
<character>ZACK</character>
<dialogue>Hi.</dialogue>
<character>BELYEU</character>
<dialogue>Now, why ca n't they turn that thing down?</dialogue>
<character>DAVID</character>
<parenthetical>( to the microphone above him . )</parenthetical>
<dialogue>My lawyer respectfully suggests you adjust the speaker - system volume.</dialogue>
<scene_description>A beat . They all look over at the guard 's booth . One of the guards makes a get - on - with - your - business gesture .</scene_description>
<character>DAVID</character>
<dialogue>They're practicing being cruel and unusual.</dialogue>
<character>BELYEU</character>
<dialogue>Mrs. Bloom, I'm sure you're a bitin' at the bit.</dialogue>
<scene_description>Belyeu collects papers from the chair he was using and starts to stuff them into his antique carpetbag .</scene_description>
<character>BELYEU</character>
<dialogue>Now, it is our understanding that you are to have three two - hour sessions. Today, tomorrow and Thursday, all at three in the P.M. I'm sorry we ca n't afford you more time, but contrary to popular rumor we have not yet begun to fight. Furthermore, it's our understanding that you will do this with no recording equipment of any kind.</dialogue>
<parenthetical>( to David . )</parenthetical>
<dialogue>You have my Gregg book?</dialogue>
<character>DAVID</character>
<dialogue>I need it for Billy's appeal.</dialogue>
<character>BELYEU</character>
<parenthetical>( to Bitsey . )</parenthetical>
<dialogue>My client's got a ten pound bass on the line and he's worried about baitin' his neighbor's hook.</dialogue>
<parenthetical>( takes out his planner . )</parenthetical>
<dialogue>Now, I have some papers for which I need your Jo Ann Hancock.</dialogue>
<parenthetical>( handing her a business card . )</parenthetical>
<dialogue>Come by my Austin office at your earliest convenience. Thursday mornin', say.</dialogue>
<scene_description>Bitsey 's confused . Belyeu just smiles at her , then looks up at the microphone . She understands , nods .</scene_description>
<character>BELYEU</character>
<dialogue>Fine, till Thursday then.</dialogue>
<scene_description>Belyeu picks up his bag . He and Zack start the hike to the door . Belyeu turns , walks backwards .</scene_description>
<character>BELYEU</character>
<dialogue>Good luck, Miss Bloom.</dialogue>
<parenthetical>( to David . )</parenthetical>
<dialogue>I'll come by later. We can play a game of hangman, take up smokin'.</dialogue>
<scene_description>David waves `` get lost . '' Belyeu turns .</scene_description>
<character>BELYEU</character>
<dialogue>Bye, ya' all.</dialogue>
<scene_description>They watch him walk away . Bitsey turns to David . He 's looking at the floor , caught in a thought .</scene_description>
<character>BITSEY</character>
<dialogue>So.</dialogue>
<character>DAVID</character>
<dialogue>Sorry. Have a seat.</dialogue>
<scene_description>She does so . David smiles at her , he has a beautiful smile , sincere , charming , vaguely devilish .</scene_description>
<character>BITSEY</character>
<dialogue>He's a character.</dialogue>
<character>DAVID</character>
<dialogue>Yeah, known Benny most my life. Met the summer after 4th grade, spent the day burning ants with his dad's magnifying glass. We called it playing ` Execution.'</dialogue>
<scene_description>David looks at her a beat , lets the irony of this sit in the air . Uncomfortable , Bitsey starts to look in her purse .</scene_description>
<character>DAVID</character>
<dialogue>Since I grew up in foster homes, he's become the only family I have.</dialogue>
<character>BITSEY</character>
<dialogue>Where's your ex - wife?</dialogue>
<scene_description>Bitsey takes a pad out of her purse , looks for a pen .</scene_description>
<character>DAVID</character>
<dialogue>We agreed minimal contact would be easier. Please do n't mention her, or my son.</dialogue>
<character>BITSEY</character>
<dialogue>All right. Anything else, just clearly say, ` off the record.' I'll take it to my grave. But then you know that about me. Otherwise I would n't be here.</dialogue>
<scene_description>David smiles , nods .</scene_description>
<character>BITSEY</character>
<parenthetical>( referring to the pen . )</parenthetical>
<dialogue>Is this recording equipment?</dialogue>
<scene_description>He shrugs .</scene_description>
<character>DAVID</character>
<dialogue>How should we start?</dialogue>
<character>BITSEY</character>
<dialogue>I'd say you're a man with a story to tell, Mr. Gale. You chose the magazine, the format. You chose me.</dialogue>
<scene_description>She sits with pen on paper , poised for dictation .</scene_description>
<character>BITSEY</character>
<dialogue>Go.</dialogue>
<scene_description>David looks at her a long beat , then gives her the smile . WHITE TRANSITION MONTAGE CAMERA starts TO ROTATE and ROLLS THROUGHOUT until the LAST SHOT COMES TO REST UPRIGHT . A -RRB- OVERHEAD Belyeu gets in his Cadillac in the wet Ellis Unit parking lot . B -RRB- ELLIS UNIT -LRB- RAINY DAY -RRB- from the air . C -RRB- AUSTIN FROM AIR -LRB- SUNNY DAY -RRB- D -RRB- OVERHEAD SEXY FEMALE GRAD STUDENT -LRB- over - dressed in a mini - skirt and heels -RRB- moves hurriedly through the University of Texas -LRB- U.T. -RRB- campus . E -RRB- FROM BEHIND TWO GRADUATE STUDENTS attending class in an U.T. lecture hall - they are laughing as David entertains from a mike at the podium .</scene_description>
</scene>
<scene>
<stage_direction>INT. U.T. LECTURE HALL - DAY</stage_direction>
<scene_description>Thirty animated students -LRB- circa 1992 -RRB- are listening to David lecture . He 's younger -LRB- 31 -RRB- , vibrant - looks like a grad student himself . On the white board behind him are phrases : `` Lucan , '' `` objet petit a , '' `` Fantasy Theory . ''</scene_description>
<character>DAVID</character>
<dialogue>Think. What do you fantasize about? World peace?</dialogue>
<parenthetical>( as no one responds . )</parenthetical>
<dialogue>Thought so.</dialogue>
<parenthetical>( light laughter . )</parenthetical>
<dialogue>Money - Fame - Ferrari?</dialogue>
<parenthetical>( as some guys applaud loudly ; others then boo them . )</parenthetical>
<dialogue>A Pulitzer? Nobel? M.T.V. Music Award?</dialogue>
<parenthetical>( applause . )</parenthetical>
<dialogue>A genius hunk - ostensibly bad but secretly simmering with noble passions, and willing to sleep on the wet spot?</dialogue>
<scene_description>As women applaud .</scene_description>
<character>LARGE WOMAN</character>
<parenthetical>( yells . )</parenthetical>
<dialogue>I'll take two!</dialogue>
<scene_description>Laughter .</scene_description>
<character>DAVID</character>
<dialogue>A Victoria's Secret model - just slumming between law school and running her family's Vastly Endowed Foundation for Tragically Sad - Eyed Children?</dialogue>
<scene_description>The crowd laughs , David changes tone .</scene_description>
<character>DAVID</character>
<dialogue>Okay, good, you see Lucan's point. Fantasies must be unrealistic. The minute you get something, you do n't, you ca n't, want it anymore. To exist, desire needs absent objects. So desire supports itself with crazy fantasies.</dialogue>
<scene_description>The over - dressed Sexy Grad Student enters loudly from a side door , out - of - breath and discombobulated . The crowd laughs at the timing . David pauses .</scene_description>
<character>STUDENT</character>
<dialogue>Sorry.</dialogue>
<scene_description>He animatedly gestures to the seats , waits a beat as she moves towards them .</scene_description>
<character>DAVID</character>
<dialogue>This is what Pascal means when he says the only time we're truly happy is when day - dreaming about future happiness.</dialogue>
<scene_description>The Sexy Student sits , adjusts herself .</scene_description>
<character>DAVID</character>
<dialogue>Or why we say, ` The hunt is sweeter than the kill' or ` Be careful what you wish for.'</dialogue>
<scene_description>A guy behind the Sexy Student taps her on the shoulder , she turns and he hands her letter from the registrar 's office . It 's from a girl friend two rows back . The girlfriend mouths , `` It came today ? ''</scene_description>
<character>DAVID</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Not because you'll get it, but because you're doomed not to want it if you do. Think about it next time you're at a wedding.</dialogue>
<scene_description>Laughter . The Sexy Student turns back around , throws the letter in a book .</scene_description>
</scene>
<scene>
<stage_direction>INT. U.T. HALLWAY - DAY</stage_direction>
<scene_description>Students pour out of the double doors leading from David 's class . The hall is crowded . Standing waiting for him against the wall is Constance -LRB- glasses , granola clothes -RRB- . She 's looking at a document , holds a file .</scene_description>
</scene>
<scene>
<stage_direction>INT. U.T. LECTURE HALL - DAY</stage_direction>
<scene_description>The students are leaving . David is quickly erasing the white - board . The Sexy Student approaches him -LRB- her name is Berlin -RRB- .</scene_description>
<character>BERLIN</character>
<parenthetical>( SEXY STUDENT . )</parenthetical>
<dialogue>Sorry about being late. There was, you know, a thing.</dialogue>
<character>DAVID</character>
<dialogue>There usually is, Berlin.</dialogue>
<character>BERLIN</character>
<dialogue>Look, I know I'm not doing well.</dialogue>
<scene_description>He turns , nods , takes his books and papers from the podium .</scene_description>
<character>BERLIN</character>
<dialogue>And to torture a cliche, I'd do anything to pass.</dialogue>
<scene_description>He looks at her a beat , starts to walk toward the door .</scene_description>
<character>BERLIN</character>
<dialogue>Anything, Professor Gale.</dialogue>
<scene_description>He stops , turns .</scene_description>
<character>DAVID</character>
<dialogue>Anything, huh?</dialogue>
<character>BERLIN</character>
<parenthetical>( suggestively . )</parenthetical>
<dialogue>Anything.</dialogue>
<character>DAVID</character>
<parenthetical>( the smile . )</parenthetical>
<dialogue>Anything?</dialogue>
<scene_description>She affects a solicitous shyness - then goes all sex .</scene_description>
<character>BERLIN</character>
<dialogue>Any thing.</dialogue>
<scene_description>He checks the room , then comes over to her , close .</scene_description>
<character>DAVID</character>
<dialogue>Tell you what, I'll give you good grade, a really good grade, if you will.</dialogue>
<parenthetical>( leans down to her ear , whispers sensually . )</parenthetical>
<dialogue>. study.</dialogue>
<scene_description>He smiles , turns , walks away . As she watches , anger builds .</scene_description>
</scene>
<scene>
<stage_direction>INT. U.T. HALLWAY - DAY</stage_direction>
<scene_description>David comes out the room . Constance sees him , hurries to him . She 's excited , and speaks now - as always - with absolute authority . They talk as they walk down the crowded hall .</scene_description>
<character>CONSTANCE</character>
<dialogue>David!</dialogue>
<character>DAVID</character>
<dialogue>Hey.</dialogue>
<character>CONSTANCE</character>
<dialogue>The T.A. finished transcribing the Governor's radio and TV comments. Listen :' I hate killing, that's why I'm willing to kill to stop it.' The woman breathes in soundbites.</dialogue>
<scene_description>She hands him a copy .</scene_description>
<character>DAVID</character>
<parenthetical>( pretends to read a quote . )</parenthetical>
<dialogue>` Yes, Virginia, the people of this State have overwhelmingly affirmed the reality of Santa.'</dialogue>
<character>CONSTANCE</character>
<dialogue>You might can use some of her pre - centrist stuff.</dialogue>
<character>DAVID</character>
<dialogue>Tell me again why you are n't doing the debate.</dialogue>
<character>CONSTANCE</character>
<dialogue>Telegenics. You have a cuter butt.</dialogue>
<character>DAVID</character>
<dialogue>I had n't noticed.</dialogue>
<character>CONSTANCE</character>
<dialogue>I know.</dialogue>
<character>DAVID</character>
<dialogue>That's not what I meant.</dialogue>
</scene>
<scene>
<stage_direction>EXT. U.T. CAMPUS - DAY</stage_direction>
<scene_description>David and Constance exit the building into the sun .</scene_description>
<character>CONSTANCE</character>
<dialogue>She's gon na do the whole mother thing. She empathizes with you completely, but experience has given her the courage to take the tougher road, ta - da, ta - da. Keep it rational. And flirt politely.</dialogue>
<character>DAVID</character>
<dialogue>` Governor, you bat a lovely lash for a woman who executed thirty eight last year.'</dialogue>
<scene_description>They 've come to a sidewalk junction , stop .</scene_description>
<character>CONSTANCE</character>
<dialogue>And watch your ego. Do n't come across as one of those I - hate - authority - because - nobody - in - charge - reads - the - New Yorker types.</dialogue>
<character>DAVID</character>
<dialogue>Anything else?</dialogue>
<character>CONSTANCE</character>
<dialogue>Yeah, do n't fall into one of your brooding silences. Oh, I'm getting new federal stats from Amnesty tonight.</dialogue>
<character>DAVID</character>
<dialogue>I'm going to Greer's party. Fax them to Sharon's number at the house.</dialogue>
<scene_description>She looks at him sternly over the top of her glasses .</scene_description>
<character>CONSTANCE</character>
<dialogue>If you have a hang - over tomorrow -</dialogue>
<character>DAVID</character>
<parenthetical>( hangs up , walking away . )</parenthetical>
<dialogue>Apropos playing Mother.</dialogue>
<character>CONSTANCE</character>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>Ten o'clock!</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Bright - eyed and bushy tailed!</dialogue>
</scene>
<scene>
<stage_direction>EXT. GALE HOME - ESTABLISHING - NIGHT</stage_direction>
<scene_description>The house is an immaculately restored two - story Victorian , far better than what a university professor can afford . The grounds are perfect . David 's Volvo is in the driveway , his wife 's new Laredo beside it . On the street out front sits a new VW Beetle .</scene_description>
</scene>
<scene>
<stage_direction>INT. KID'S ROOM - NIGHT</stage_direction>
<scene_description>David 's son - CHASE - sits in bed holding a stuffed sheep in the air . David turns off the light in the adjacent bathroom , comes in holding his son 's jeans and shoes . David wears a t - shirt which says `` Evil - Doer & Curious Person . '' The room is over - decorated with boy stuff .</scene_description>
<character>DAVID</character>
<dialogue>Did you mark your calendar?</dialogue>
<character>CHASE</character>
<parenthetical>( looking up at it . )</parenthetical>
<dialogue>Yep.</dialogue>
<scene_description>INSERT - KID 'S CALENDAR hangs above the bed , opened to the month of March . It has a felt - tipped pen hanging from a piece of string taped to it . Ten frowny faces cover ten consecutive days , then there are three empty days before a large smiley face awaits on the fourth . The frowny faces are in a kid 's hand , the smiley face in an adult 's . BACK TO SCENE</scene_description>
<character>CHASE</character>
<parenthetical>( counting on his fingers . )</parenthetical>
<dialogue>Only. three more Spain days.</dialogue>
<scene_description>David puts the jeans and shoes away .</scene_description>
<character>DAVID</character>
<dialogue>Only three. That's great, huh?</dialogue>
<scene_description>David comes and sits beside his son . Points to an African statue -LRB- a man holding a spear -RRB- on the bedside table .</scene_description>
<character>DAVID</character>
<dialogue>What's he doing in here?</dialogue>
<character>CHASE</character>
<dialogue>Mommy said I could. Just till she gets back.</dialogue>
<parenthetical>( touching the spear . )</parenthetical>
<dialogue>That's a special - duper monster laser knife.</dialogue>
<character>DAVID</character>
<dialogue>Where's your laser gun?</dialogue>
<scene_description>Chase reaches under the sheets , searches , finally pulls out a laser pointer .</scene_description>
<character>CHASE</character>
<dialogue>Here.</dialogue>
<scene_description>He `` shoots '' some toys in the corner with the red laser dot .</scene_description>
<character>CHASE</character>
<dialogue>Tussshh, tusssshh, tussshh. I never shoot them in the eyes, Daddy.</dialogue>
<character>DAVID</character>
<dialogue>That's'cause you're a special - duper - super - quadruper boy. Who's now going to sleep.</dialogue>
<scene_description>He tucks his son in .</scene_description>
<character>DAVID</character>
<dialogue>Who loves you?</dialogue>
<scene_description>Chase giggles , points at his dad , then pokes his nose .</scene_description>
<character>DAVID</character>
<dialogue>Ooooh.</dialogue>
<parenthetical>( kissing him . )</parenthetical>
<dialogue>Good night, son.</dialogue>
<character>CHASE</character>
<parenthetical>( holding up his stuffed sheep . )</parenthetical>
<dialogue>Do Cloud Dog.</dialogue>
<character>DAVID</character>
<parenthetical>( kissing the sheep . )</parenthetical>
<dialogue>Good night, Cloud Dog.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Obsessively cool , full of designer furniture and rough fabrics . The art is mostly contemporary and conspicuously lit - a Damien Hirst piece sits in one corner . A few African antiquities are scattered throughout . A BABYSITTER sits on the couch reading a school textbook , holding lip gloss and absentmindedly applying it as she reads . David passes on his way to the door .</scene_description>
<character>DAVID</character>
<dialogue>Back before midnight.</dialogue>
<character>BABYSITTER</character>
<dialogue>It's cool, Mr. Gale.</dialogue>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>Do n't do anything I would n't.</dialogue>
<character>DAVID</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Rest assured.</dialogue>
<scene_description>He exits . When she hears the DOOR CLOSE , the Babysitter reaches for the TV remote .</scene_description>
</scene>
<scene>
<stage_direction>INT. DUPLEX - LIVING AREA - NIGHT</stage_direction>
<scene_description>The duplex is upscale , two - story with a vaulted ceiling . Scattered about are forty party - goers , mostly grad students . Some spill out onto the back patio and around the pool . Everyone has a t - shirt with a philosophic idea -LRB- `` Yawnic , '' `` Mad , Bad and Dangerous to Know , '' '' -LSB- Philosophic t - shirt -RSB- '' . -RRB- LEONARD COHEN MUSIC PLAYS . FROM FRONT DOOR GREER -LRB- late 20s , Persian , `` Host '' t - shirt -RRB- escorts David into the living room .</scene_description>
<character>GREER</character>
<dialogue>The guy's the Immanuel Kant of the N.F.L. Consistent, accurate, effective, and boring, boring, boring.</dialogue>
<scene_description>Greer leaves him at the sofa where an OLDER PROFESSOR -LRB- 60s , homemade t - shirt - `` Pre - Socratic '' - over his shirt and tie -RRB- stands speaking with ROSS -LRB- late 40s , `` Homosexualist '' t - shirt -RRB- .</scene_description>
<character>DAVID</character>
<dialogue>Meinen Herren.</dialogue>
<character>ROSS</character>
<parenthetical>( has an Oxford accent . )</parenthetical>
<dialogue>Hello, David.</dialogue>
<character>OLDER PROFESSOR</character>
<dialogue>Professor Gale. Where's your better half?</dialogue>
<character>DAVID</character>
<dialogue>Spain.</dialogue>
<character>OLDER PROFESSOR</character>
<dialogue>Again?</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Well, I was just off for air.</dialogue>
<scene_description>He moves to the patio . They watch him go .</scene_description>
<character>DAVID</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Looks like Sharon's affair is an open secret.</dialogue>
<character>ROSS</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Hermeneutical bias : the only fun truths are the ones someone's trying to hide.</dialogue>
<parenthetical>( normal tone . )</parenthetical>
<dialogue>Have a seat.</dialogue>
<scene_description>They sit on the sofa .</scene_description>
<character>ROSS</character>
<dialogue>Listen, Berlin's here - and livid. Probations suspended her. She received the letter today, took the opportunity to throw a fit in my office. You should -</dialogue>
<character>BERLIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Talking about me?</dialogue>
<scene_description>She 's standing behind them . David tilts his head back .</scene_description>
<character>DAVID</character>
<dialogue>Yep.</dialogue>
<scene_description>She 's tipsy , brings her face down between their heads .</scene_description>
<character>BERLIN</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>He tell you I said when you were circumcised they threw away the wrong part.</dialogue>
<character>DAVID</character>
<dialogue>He mentioned it.</dialogue>
<scene_description>An uncomfortable beat . She reaches over and takes Ross 's drink from his hand , drinks the rest , puts it back .</scene_description>
<character>DAVID</character>
<dialogue>It's called schmuck.</dialogue>
<character>BERLIN</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<dialogue>The part of the foreskin that gets thrown away. I think it's called schmuck.</dialogue>
<character>BERLIN</character>
<dialogue>Are n't we so fucking clever.</dialogue>
<character>ROSS</character>
<parenthetical>( standing , escaping . )</parenthetical>
<dialogue>I suppose I should get us another. David?</dialogue>
<character>DAVID</character>
<dialogue>Black Bush.</dialogue>
<scene_description>Ross walks to the bar . Berlin comes around and sits in his seat . Her mid - drift T - shirt reads `` Sex is Power . ''</scene_description>
<character>BERLIN</character>
<dialogue>You were a jerk this afternoon.</dialogue>
<scene_description>A beat . She 's turned facing him , he looks forward .</scene_description>
<character>DAVID</character>
<dialogue>For what it's worth, I did n't know about the suspension.</dialogue>
<character>BERLIN</character>
<dialogue>Is that supposed to be an apology?</dialogue>
<character>DAVID</character>
<dialogue>More like a conciliation.</dialogue>
<scene_description>ON FOOD AND DRINKS TABLE Ross has two gin - and - tonics and is finishing pouring David 's Black Bush . He moves away . The table is neatly laid with snacks and bottles . The flower arrangement is perfect . SAME SCENE - LATER The table is now in mid - party chaos . Food spilled , bottles empty , the flowers in disarray . `` I 'M TOO SEXY '' PLAYS LOUDLY in the background . Berlin takes a bottle of Red Label from the table . CAMERA TRACKS her THROUGH the living room , where a few people now dance , and out onto the patio . A crowd well on their way to being drunk gathers by the pool . They surround two patio chairs which face each other , one with David , the other with Ross . The men are playing an Irish drinking game - the crowd has chosen favorites .</scene_description>
<character>ROSS</character>
<parenthetical>( slurring a bit . )</parenthetical>
<dialogue>All right.</dialogue>
<parenthetical>( clears his throat . )</parenthetical>
<dialogue>As the poets have mournfully sung, Death takes the innocent young, The screamingly funny, The rolling in money, And those who are very well hung.</dialogue>
<scene_description>Laughter , a few animated moans . David raises his glass to Ross and downs a whiskey . Someone starts to chant : `` Gale ! Gale ! Gale ! ''</scene_description>
<character>DAVID</character>
<parenthetical>( feeling good but very much in control . )</parenthetical>
<dialogue>There once was a lesbian from Canjuom, Who took a young man to her room, And they argued all night, As to who had the right, To do what, how, and to whom.</dialogue>
<scene_description>Laughter . Two women holding each other boo . Ross drinks .</scene_description>
<character>BERLIN</character>
<dialogue>One more. C'mon, one more.</dialogue>
<character>DAVID</character>
<dialogue>Enough. That's enough.</dialogue>
<scene_description>The crowd wants more . Someone makes chicken sounds .</scene_description>
<character>ROSS</character>
<dialogue>Do you bow to the Queen?</dialogue>
<scene_description>David looks at him , contemplates , then smiles . He holds his glass out for a refill . The crowd applauds . FULL SHOT OF PATIO The crowd is chanting : `` Ross ! Ross ! Ross ! '' SAME SCENE - LATER The crowd has dispersed . A couple of small groups converse . Someone is being thrown into the pool . TECHNO MUSIC PLAYS . Inside the duplex a few dancers are still going at it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>David is washing his face . As he dries , the TECHNO MUSIC downstairs gets BRIEFLY LOUDER . He looks from beneath the towel into the mirror . Berlin has entered the bathroom .</scene_description>
<character>DAVID</character>
<dialogue>I'm done.</dialogue>
<scene_description>She locks the door , leans back against it . She 's flushed . He folds the towel .</scene_description>
<character>BERLIN</character>
<dialogue>I'm not a student anymore.</dialogue>
<character>DAVID</character>
<dialogue>Do n't think I want to know what that means.</dialogue>
<scene_description>David lays the towel down , leans back against the sink - they face each other on opposite sides of the bathroom .</scene_description>
<character>BERLIN</character>
<dialogue>There once was woman named Berlin, Who liked a bit now and again. Not now and again, But Now! And Again! And Again! And Again! And Again!</dialogue>
<scene_description>He laughs .</scene_description>
<character>BERLIN</character>
<dialogue>Cute, huh?</dialogue>
<character>DAVID</character>
<dialogue>Cute.</dialogue>
<character>BERLIN</character>
<dialogue>I have a secret. But I have to come over there to tell you.</dialogue>
<scene_description>He makes an I 'm - not - so - sure face . She moves playfully toward him .</scene_description>
<character>BERLIN</character>
<dialogue>Here I come.</dialogue>
<scene_description>She comes up to him , leans into him as she puts her mouthclose to his ear . He keeps his hands back on the sink counter .</scene_description>
<character>BERLIN</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>I was n't after the grade.</dialogue>
<scene_description>She stands with her body against him , looks into his eyes .</scene_description>
<character>DAVID</character>
<dialogue>Berlin, this, this is not.</dialogue>
<scene_description>She puts her fingers over his mouth , keeps them there .</scene_description>
<character>BERLIN</character>
<dialogue>Ssshhhh.</dialogue>
<scene_description>With her free hand she takes one of his , rubs it against her face and lips as she speaks .</scene_description>
<character>BERLIN</character>
<dialogue>We'll just talk, analyze, contemplate. Or. you can put your mouth on my body.</dialogue>
<scene_description>She moves his hand down , brushing it against her breast and to her groin . She brings her mouth toward her fingers - which are still against his lips .</scene_description>
<character>BERLIN</character>
<parenthetical>( softly , vulnerably . )</parenthetical>
<dialogue>Do n't reject me. Please.</dialogue>
<scene_description>With her eyes open , she kisses the back of her own fingers , runs her tongue between them , opens them to reach his mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>A Hispanic woman -LRB- T - shirt : `` DerriDa - Da '' -RRB- bee - bops to the bathroom door . Tries the handle , then dances away .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>About eight dancers dance to the TECHNO MUSIC - its pace increasing . A couple them are really into it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>Berlin and David are against the sink , kissing in full passion . The MUSIC from downstairs seems LOUDER . Her T shirt is off . Panting , he turns her against the sink . Pulls her skirt up , reaches for her panties .</scene_description>
<character>BERLIN</character>
<dialogue>Rip them.</dialogue>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>BERLIN</character>
<dialogue>Rip them off.</dialogue>
<scene_description>He does so .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Ross sits at the kitchen table , holding his throbbing head against the POUNDING MUSIC . Greer sets a cup of coffee in front of him , sits across . A long beat . They seem like parents waiting out a teenager 's party .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>Berlin is back against the sink , undoing David 's fly as he takes his T - shirt off . The MUSIC from downstairs seems even LOUDER . His pants and underwear fall . He starts to penetrate her .</scene_description>
<character>BERLIN</character>
<dialogue>No. From behind.</dialogue>
<scene_description>She turns , faces the mirror . He positions himself behind , enters her .</scene_description>
<character>BERLIN</character>
<dialogue>Yes.</dialogue>
<scene_description>He moves against her .</scene_description>
<character>BERLIN</character>
<dialogue>Do it hard.</dialogue>
<scene_description>He looks at her in the mirror , then continues . She watches him . ON PATIO A guy sits alone at the far end of the pool on a lounger . The dancers can be seen in the living room behind him .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>David thrusts against Berlin , her thighs pound against the edge of the sink . The MUSIC is as LOUD as it is downstairs .</scene_description>
<character>BERLIN</character>
<dialogue>Harder.</dialogue>
<scene_description>He looks at her in the mirror , unsure .</scene_description>
<character>BERLIN</character>
<dialogue>Harder.</dialogue>
<scene_description>He thrusts harder .</scene_description>
<character>BERLIN</character>
<dialogue>Yes.</dialogue>
<scene_description>They continue in rhythm . She reaches back and pulls him into her .</scene_description>
<character>BERLIN</character>
<dialogue>Bite me. Bite my shoulder.</dialogue>
<scene_description>She watches him do so in the mirror .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>The dancers dance - the TECHNO PACE has INCREASED even more . One dancer is a blur .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>Berlin is pulling David into her . They approach a climax . She scratches him on the small of the back . Blood trickles .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>The MUSIC and dancers are in pure FRENZY . Suddenly , the MUSIC STOPS . Greer stands by the STEREO , his hand coming back from the power button . He gestures `` that 's - all - folks . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM</stage_direction>
<scene_description>David and Berlin stand still and apart , breathing heavily into the reality - inducing silence . He looks at her in the mirror , a look of shame . She gives him an odd smile . BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Constance wakes with a jolt , sweating . She gets up and goes into her bathroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>She turns on the light , moves to the sink , opens the medicine cabinet . It 's stacked with prescription medicines . Suddenly , she turns to the toilette , vomits . BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARNES & NOBLE COFFEE HOUSE - DAY</stage_direction>
<scene_description>David and Constance sit by a window , the U.T. campus in the b.g. David 's distracted , wearing a suit and a long face . She 's wearing the closest thing she has to business attire . She has stacks of paper spread in front of her .</scene_description>
<character>CONSTANCE</character>
<dialogue>Okay, let's say we find an innocent on death row. Would n't matter. Corrections would let him go. Governor Harding would go on TV, say, ` Thanks to the good people at DeathWatch, the system works.' Yeah, if they executed an innocent, and we had absolute, undeniable, in - your - face proof, we could demand abolition. Just like happened in England. Are you okay?</dialogue>
<character>DAVID</character>
<parenthetical>( coming out of it . )</parenthetical>
<dialogue>Sorry. Yeah.</dialogue>
<scene_description>He makes an effort , plays the `` good listener . ''</scene_description>
<character>CONSTANCE</character>
<dialogue>But it has n't happened, not since' 76. And wo n't happen.</dialogue>
<scene_description>David nods .</scene_description>
<character>CONSTANCE</character>
<dialogue>Dead men ca n't make a case.</dialogue>
<character>DAVID</character>
<dialogue>And ` Almost Martyrs' do n't count.</dialogue>
<character>CONSTANCE</character>
<dialogue>Just keep it rational. The death penalty is expensive and ineffective. No one wants to see a murderer as a victim.</dialogue>
<character>DAVID</character>
<dialogue>Um - hum.</dialogue>
<character>CONSTANCE</character>
<dialogue>And stop that.</dialogue>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>CONSTANCE</character>
<dialogue>Active listening. I hate active listeners. Makes me feel like I'm with a Dale Carnegie grad who cares more about appearing to listen than actually listening. Did you bring the Amnesty fax?</dialogue>
<character>DAVID</character>
<dialogue>I can listen and appear to listen at the same time. Yeah, no. Damn, I left it home.</dialogue>
<character>CONSTANCE</character>
<dialogue>I have a copy.</dialogue>
<scene_description>She looks through her papers , finds the copy in the stack beneath her coffee cup . She starts to hand it to him . He is looking out the window , caught in a thought .</scene_description>
<character>CONSTANCE</character>
<dialogue>You want to tell me what's up.</dialogue>
<character>DAVID</character>
<dialogue>Nothing. Everything. Something profoundly stupid happened last night.</dialogue>
<character>CONSTANCE</character>
<parenthetical>( teasing . )</parenthetical>
<dialogue>I hope you used a condom.</dialogue>
<scene_description>A beat . His reaction tells her the jest hit home .</scene_description>
<character>CONSTANCE</character>
<dialogue>Jesus Christ, David. Was she one of yours?</dialogue>
<scene_description>A longer beat . He holds her eyes .</scene_description>
<character>DAVID</character>
<dialogue>It was Berlin.</dialogue>
<scene_description>She 's stunned , then genuinely angry .</scene_description>
<character>CONSTANCE</character>
<dialogue>Oh, that's great, great. I can hear the grapevine now. They suspended her so Gale could dick her with a clear conscience.</dialogue>
<scene_description>He looks at his coffee , which he has n't touched .</scene_description>
<character>CONSTANCE</character>
<dialogue>A power differential equals coercion. Great. You are so weak.</dialogue>
<character>DAVID</character>
<dialogue>Constance, you're not my wife. Thank God.</dialogue>
<character>CONSTANCE</character>
<dialogue>I know you can tell yourself it's a position I aspire to, but believe me, I would rather.</dialogue>
<scene_description>She trails off . They stare at each other a beat . Then , she starts to collect the papers .</scene_description>
<character>DAVID</character>
<dialogue>I did n't mean -</dialogue>
<character>CONSTANCE</character>
<dialogue>Let's go.</dialogue>
<scene_description>As she collects , she winces , grabs her side .</scene_description>
<character>DAVID</character>
<dialogue>Are you okay?</dialogue>
<character>CONSTANCE</character>
<dialogue>Yes, let's just go.</dialogue>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO - CONTROL BOOTH - DAY</stage_direction>
<scene_description>Two people sit in front of monitors displaying various angles on sound stage . The main monitor is playing the end of the show 's signation .</scene_description>
<character>ASSISTANT DIRECTOR</character>
<dialogue>In three, two.</dialogue>
<scene_description>ON SOUND STAGE A camera operator cues the host -LRB- 50s , male , bow tie -RRB- . The host is flanked by David and Governor Hardin . The set has an upscale regional television look . The Governor has the rare ability to look comfortable while David fidgets .</scene_description>
<character>HOST</character>
<parenthetical>( to camera . )</parenthetical>
<dialogue>Welcome back to ` Batter's Box.' Tonight we continue our very special four - part series with the Governor Hardin. Arguing capital punishment with her is DeathWatch coordinator, Professor David Gale. Governor, you're up.</dialogue>
<character>GOVERNOR HARDIN</character>
<dialogue>Alan, let me say somethin' I always say.</dialogue>
<scene_description>Constance stands behind the cameras . She motions to David - something about the papers in front of him .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>And I'm gon na keep on sayin.' And that is I hate killin.' That's why my administration is willing to kill to stop it.</dialogue>
<character>DAVID</character>
<dialogue>So you do n't subscribe to the idea that' a good state is one that protects its most despised members'?</dialogue>
<character>GOVERNOR HARDIN</character>
<dialogue>It's a nice liberal idea, but like most nice liberal ideas, naive.</dialogue>
<character>DAVID</character>
<dialogue>It's a quote from you, Governor, from your first state attorney campaign.</dialogue>
<scene_description>Constance is biting her lip , breaks into a smile . The Governor is unsure how to react , then laughs . The host chuckles with her .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>You've got me, Professor. But let me, in my defense, give you a quote. Winston Churchill : ` If you're not a liberal at twenty, you've got no heart, if you're still a liberal at thirty, you've got no brain.'</dialogue>
<scene_description>The host 's laughter is overdone . David smiles . Constance bites her lip .</scene_description>
<character>DAVID</character>
<dialogue>So, basically you feel, to choose another quote, ` society must be cleansed of elements which represent its own death.'</dialogue>
<scene_description>The Governor makes an animated thinking face .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>Well, yes. I would have to agree.</dialogue>
<parenthetical>( chuckles again . )</parenthetical>
<dialogue>Did I say that, too?</dialogue>
<character>DAVID</character>
<dialogue>No, ma'am. That was Hitler.</dialogue>
<scene_description>Constance makes a `` Yes ! '' gesture with her hands . The Governor is surprised into silence . The host laughs and , noting her reaction , trails off . David becomes more confident , his tone more sincere .</scene_description>
<character>DAVID</character>
<dialogue>Governor, ca n't we examine the possibility that capital punishment is n't working. That murderers are n't deterred by the law because they have about as much forethought as lemmings. That it's expensive, inequably administered, that.</dialogue>
<scene_description>David cuts his eyes briefly to Constance .</scene_description>
<character>DAVID</character>
<dialogue>that we may even be killing innocents.</dialogue>
<scene_description>Constance rolls her eyes . The Governor is ready for this .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>All righty, Mr. Gale, I'll play your game. Name one. Name one innocent man Texas has put to death in my tenure. One.</dialogue>
<scene_description>A beat . David does n't respond .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>Name one in the last twenty years. In any state in this country.</dialogue>
<scene_description>A long , miserable beat .</scene_description>
<character>HOST</character>
<dialogue>Well, Mr. Gale?</dialogue>
<character>DAVID</character>
<dialogue>Dead men ca n't make a case.</dialogue>
<character>GOVERNOR HARDIN</character>
<dialogue>Well, as my daddy used to say : If you ca n't find a problem, there probably is n't one.</dialogue>
<scene_description>Constance shakes her head in irritation . BACKSTAGE - LATER The show is over . David and the Governor are shaking hands . Constance stands nearby .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>Well, you certainly had me on that Hitler quote.</dialogue>
<character>DAVID</character>
<dialogue>Thank you, Governor.</dialogue>
<character>GOVERNOR HARDIN</character>
<dialogue>These debates are awfully good for the state, do n't you think?</dialogue>
<character>DAVID</character>
<dialogue>Of course.</dialogue>
<character>GOVERNOR HARDIN</character>
<dialogue>Well, I've got to buzz.</dialogue>
<scene_description>She moves toward her handlers .</scene_description>
<character>GOVERNOR HARDIN</character>
<dialogue>You folks keep up the good work. We need that opposition.</dialogue>
<scene_description>Constance 's and David 's polite smiles follow her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TELEVISION STATION - DAY</stage_direction>
<scene_description>Constance and David argue as they walk the sidewalk to the parking lot .</scene_description>
<character>CONSTANCE</character>
<dialogue>Your exact words were, ` Just tell me when my ego gets in the way of the work.' Now I'm telling you : Your ego's in the way of work.</dialogue>
<character>DAVID</character>
<parenthetical>( indicating the station . )</parenthetical>
<dialogue>Look, I wanted you to do this anyway.</dialogue>
<character>CONSTANCE</character>
<dialogue>You put up precisely two seconds of protest at the thought of a televised debate.</dialogue>
<character>DAVID</character>
<dialogue>What's that supposed to mean?</dialogue>
<character>CONSTANCE</character>
<dialogue>It means DeathWatch suffers because you're so anxious to finger authority, to publicly prove that David Gale is so much fucking smarter than the powers that be. Learn to work without an audience. Try squeezing money from the donor list. Have you ever licked one single mail - out envelope?</dialogue>
<scene_description>They come to the end of the sidewalk , where two SUITS are standing - one Hispanic , one white -LRB- 30s -RRB- .</scene_description>
<character>MAN #2</character>
<parenthetical>( SUIT . )</parenthetical>
<dialogue>Mr. Gale?</dialogue>
<character>DAVID</character>
<dialogue>Look, guys, there's not much more to say -</dialogue>
<character>MAN #2</character>
<dialogue>Rameriz, Austin police. This is Officer Haslinger.</dialogue>
<scene_description>The officers show their Ids . Constance takes one to examine it more closely .</scene_description>
<character>DAVID</character>
<dialogue>What, arguing with the Governor is a crime?</dialogue>
<scene_description>The officers exchange a look .</scene_description>
<character>MAN #3</character>
<parenthetical>( SUIT . )</parenthetical>
<dialogue>No, sir, rape is.</dialogue>
<scene_description>Constance and David look at each other , stunned . OVERHEAD SHOT CAMERA QUICKLY CRANES UP and ROTATES . WHITE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - OVERHEAD SHOT - DAY</stage_direction>
<scene_description>CAMERA CRANES DOWN and ROTATES , ENDING UPRIGHT BY Bitsey as she listens to David .</scene_description>
<character>GUARD</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( over the loudspeaker . )</parenthetical>
<dialogue>Gale, time's up.</dialogue>
<scene_description>The speaker , loud as ever , startles Bitsey . David nods over to the guard 's booth .</scene_description>
<character>DAVID</character>
<dialogue>Berlin had my bite marks, bruises, ripped clothing. My skin was beneath her nails. It did n't look like anything but rape. Two days later she called the D.A., said she would n't testify, too drunk to be sure, etc.. On the plane home, Sharon read about her husband's rape case being dropped.</dialogue>
<character>BITSEY</character>
<dialogue>Why'd she do it?</dialogue>
<scene_description>A guard approaches . David stands up and moves to the back of his cage , puts his hands behind him and out the slot in the back to be handcuffed .</scene_description>
<character>DAVID</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Finger authority, show she was smarter than the powers that be.</dialogue>
<character>BITSEY</character>
<dialogue>Do you know where I can find her?</dialogue>
<character>DAVID</character>
<dialogue>First year in here I received a card postmarked San Francisco. It was n't signed, but I suspect it was from her - the front had the text ` Sex is Power.'</dialogue>
<scene_description>Cuffed , David stands aside for the cage door to be opened .</scene_description>
<character>BITSEY</character>
<dialogue>Anything written on it?</dialogue>
<character>DAVID</character>
<dialogue>Yeah. It said, ` I'm sorrier than you can know.'.</dialogue>
<parenthetical>( exiting the cage . )</parenthetical>
<dialogue>See you tomorrow, Ms. Bloom.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX PARKING LOT - NIGHT</stage_direction>
<scene_description>Bitsey and Zack are walking from the Kettle to their rooms . Zack is lighting a cigarette . The rain 's stopped , but the lot is wet .</scene_description>
<character>BITSEY</character>
<dialogue>Try phone records, a net search.</dialogue>
<character>ZACK</character>
<dialogue>Fucking better than watching you work.</dialogue>
<scene_description>They walk a beat in silence .</scene_description>
<character>ZACK</character>
<dialogue>You think he's telling the truth?</dialogue>
<character>BITSEY</character>
<dialogue>Do n't ask me that. I do n't know. There is no truth, only perspectives.</dialogue>
<character>ZACK</character>
<dialogue>Ca n't say that. If you say ` there is no truth,' you're claiming it's true that there is no truth - it's a logical contradiction.</dialogue>
<character>BITSEY</character>
<dialogue>Working on our philosophy merit badge, Zack?</dialogue>
<character>ZACK</character>
<dialogue>I, on the other hand, think Gale's telling the truth.</dialogue>
<scene_description>They come to the stairs and start up .</scene_description>
<character>BITSEY</character>
<dialogue>This you know telepathically?</dialogue>
<character>ZACK</character>
<dialogue>It's just my perspective.</dialogue>
<scene_description>In a dark corner of the parking lot sits the pickup from the rest area . The older cowboy watches Bitsey and Zack climb the stairs . On his STEREO , PUCCINI plays . Once they are in their rooms , he TURNS UP the opera , closes his eyes , feels the music .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - DAY</stage_direction>
<scene_description>The car moves through an older Austin suburb with wood framed houses -LRB- circa 1950 -RRB- in varying states of repair . It 's an overcast day . Zack drives , slowly , searching . Bitsey has the passenger seat fully reclined , lies with her eyes closed . SUPERIMPOSE : DAY TWO .</scene_description>
<character>ZACK</character>
<dialogue>Thirty - three o what?</dialogue>
<character>BITSEY</character>
<dialogue>Seven.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>` Check out the crime scene in Austin.' You made it sound so close. Shit, two and half hours and that damn lig -</dialogue>
<character>ZACK</character>
<dialogue>Bitsey.</dialogue>
<scene_description>She looks up . Zack is pointing at house 3307 , which needs paint and a lawn mower . In front of the house is a homemade sign which reads , `` David Gale Death House and Museum '' See where it happened ! '' Beneath are the opening hours -LRB- 12 - 8 -RRB- ; someone has marked them out and scribbled `` ring bell . '' They share a look .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH OF HOUSE 3307 - DAY</stage_direction>
<scene_description>Bitsey rings the bell . Zack stomps out a cigarette , points out a worn `` Block Home '' sign in the window , raises his eyebrows . As Bitsey straightens her skirt , the door is opened by a GOTH GIRL , probably not quite eighteen . She has jet - black hair , nose piercings , tattoos , a Nine Inch Nails T - shirt . METAL MUSIC comes from within . The Goth Girl just looks at them . After an uncomfortable silence , Bitsey extends her hand .</scene_description>
<character>BITSEY</character>
<dialogue>Hi. I'm Bitsey Bloom and this is Zack Stemmons. We -</dialogue>
<character>GOTH GIRL</character>
<dialogue>You want the tour?</dialogue>
<scene_description>Her voice is slacker monotone .</scene_description>
<character>BITSEY</character>
<dialogue>Uh, yes.</dialogue>
<character>GOTH GIRL</character>
<dialogue>There's a twenty - dollar mandatory donation, apiece. But you get a re - enactment photo packet. It's got five pictures.</dialogue>
<character>BITSEY</character>
<dialogue>Okay.</dialogue>
<scene_description>A beat .</scene_description>
<character>GOTH GIRL</character>
<dialogue>I got ta collect first.</dialogue>
<character>BITSEY</character>
<dialogue>Oh, sure.</dialogue>
<scene_description>Bitsey reaches in her bag .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>They enter . The room is dark , messy , with an old couch and TV/VCR . A kitchen is adjacent . The walls are full of Goth bric - a - brac : London Batcave poster , one from Burton 's Frankenweenie , a couple of fan - zine pictures of Siouxsie and the Banshees . In one corner is a very expensive STEREO , from which THE CURE plays . In another , a dead plant . The Goth Girl turns the MUSIC DOWN . A table near the door has numbered photos beneath a torn and curling sheet of plastic . Small packets of snapshots sit on the table along with a few hand - labelled videos and a book of clippings . There 's also a guest book .</scene_description>
<character>GOTH GIRL</character>
<dialogue>You got ta sign the book. Does n't have to be your real name, though.</dialogue>
<scene_description>Bitsey signs in .</scene_description>
<character>GOTH GIRL</character>
<dialogue>First page says you're here to do research on violent crime. The state requires it for nonprofit shit.</dialogue>
<scene_description>Zack signs in .</scene_description>
<character>GOTH GIRL</character>
<dialogue>Take a re - enactment photo packet.</dialogue>
<scene_description>Bitsey does so . As does Zack .</scene_description>
<character>GOTH GIRL</character>
<dialogue>If you guys could share one, it would be really cool. The butt wipes where I do prints kinda jerk my chain.</dialogue>
<scene_description>Zack puts his back . Bitsey is looking at a photo : the Goth Girl in her panties and bra laying on the floor with plastic wrap over her head . She 's handcuffed and wearing a platinum blonde wig . The pose is half - corpse , half - pinup .</scene_description>
<character>GOTH GIRL</character>
<dialogue>That's me. My boyfriend took it. We also did a video. It's fifty bucks'cause you can see my tits. There's a version without tits, that's thirty - five.</dialogue>
<scene_description>Zack looks at a video , hand - labelled : `` Constance Harraway Murder -LRB- with breasts -RRB- ! Copyright 1997 ! Svengali Productions ! ''</scene_description>
<character>BITSEY</character>
<dialogue>Do many people take the tour?</dialogue>
<character>GOTH GIRL</character>
<dialogue>Not so much anymore. We thought this would be like a busy week - Gale gettin' the prune juice and all. Prune juice is what death row dudes call the poison,'cause it gives you the shits. Most jerks just take a photo from the street. They shot a ` Real Crimes' episode here, but the owner did n't give us dick.</dialogue>
<character>ZACK</character>
<dialogue>You do n't mind living here?</dialogue>
<character>GOTH GIRL</character>
<dialogue>I'm cool with ghouls. Beats livin' with my dickwad parents. It starts over here.</dialogue>
<scene_description>She takes them to the coffee table . Among her own things , a dusty Johnny Walker Black Label bottle sits beside a tumbler -LRB- an index card with the # 1 leans against it -RRB- . The area has been outlined on the table with white shoe polish .</scene_description>
<character>GOTH GIRL</character>
<dialogue>She let him crash here sometimes. He was like constantly wasted. Drank Black Label religiously.</dialogue>
<scene_description>Bitsey and Zack exchange a look . The Goth Girl moves into the kitchen . It 's cluttered and dirty except in the various areas which at one point had been outlined and indexed - the cards are all dirty . A sliding glass door leads onto the patio . The backyard has n't been mowed in years ; roughly twenty pots with dead plants lying around . By the door , three small taped Xs are on the floor , outlined and indexed -LRB- # 2 -RRB- .</scene_description>
<character>GOTH GIRL</character>
<dialogue>This is where the tripod was. My boyfriend borrowed the one we usually show folks. They never found a camera, photos, or videos or anything. Gale must have buried them. These serial killer dudes take photos to whack off to later.</dialogue>
<character>ZACK</character>
<dialogue>He's not exactly a serial killer.</dialogue>
<character>GOTH GIRL</character>
<dialogue>Whatever.</dialogue>
<scene_description>She moves to the sink . On the linoleum , the position of Constance 's body has been chalk - lined -LRB- # 3 -RRB- . In this area are a pair of handcuffs -LRB- # 4 -RRB- . Not far off is a roll of packing tape -LRB- # 5 -RRB- . A pair of latex kitchen gloves are crumpled on the sink counter -LRB- # 6 -RRB- .</scene_description>
<character>GOTH GIRL</character>
<dialogue>She was like totally naked right here. The meter man saw her through the door. Gale handcuffed her, taped her mouth, then taped a bag over her head so she could n't breathe. My boyfriend says that's probably when he fucked her. Your muscles tense up when you die - the sex is better.</dialogue>
<parenthetical>( pointing . )</parenthetical>
<dialogue>He used those housewife gloves so he would n't leave prints. They found sticky stuff from the tape on them.</dialogue>
<scene_description>Zack picks up the gloves .</scene_description>
<character>GOTH GIRL</character>
<dialogue>We ask folks not to touch the exhibit.</dialogue>
<character>ZACK</character>
<dialogue>Right.</dialogue>
<scene_description>He puts them back .</scene_description>
<character>GOTH GIRL</character>
<dialogue>The totally sick part was where they found the key -</dialogue>
<character>BITSEY</character>
<dialogue>We know, you can save that.</dialogue>
<character>ZACK</character>
<dialogue>What? Where was it?</dialogue>
<character>GOTH GIRL</character>
<dialogue>It was in her stomach, dude. He made her swallow it before he bagged her.</dialogue>
<scene_description>A beat . Zack 's shocked .</scene_description>
<character>GOTH GIRL</character>
<dialogue>That's pretty much the highlight.</dialogue>
<scene_description>Got questions ?</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - DAY</stage_direction>
<scene_description>Bitsey drives . They are on the two - lane highway to Huntsville . Zack smokes out the window .</scene_description>
<character>BITSEY</character>
<dialogue>It was in the case file.</dialogue>
<character>ZACK</character>
<dialogue>Fuck, in her stomach? That's colder than Wisconsin.</dialogue>
<character>BITSEY</character>
<parenthetical>( looking in the rearview mirror . )</parenthetical>
<dialogue>Zack, open your vanity.</dialogue>
<character>ZACK</character>
<dialogue>What?</dialogue>
<character>BITSEY</character>
<dialogue>The vanity mirror, pull it down.</dialogue>
<scene_description>He does so .</scene_description>
<character>BITSEY</character>
<dialogue>See that truck behind us?</dialogue>
<character>ZACK</character>
<dialogue>Yeah.</dialogue>
<character>BITSEY</character>
<dialogue>Is n't that the cowboy from the rest area?</dialogue>
<scene_description>They look in their respective mirrors . Some distance behind them is the older cowboy in his pickup .</scene_description>
<character>ZACK</character>
<dialogue>Same truck.</dialogue>
<character>BITSEY</character>
<dialogue>Weird coincidence, huh?</dialogue>
<character>ZACK</character>
<parenthetical>( turning . )</parenthetical>
<dialogue>Coincidences are always weird, that's why they're coincidences.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - DAY</stage_direction>
<scene_description>Bitsey sits in front of David . He 's less animated than the day before , drained . He rubs his wrists . They are speaking in hushed tones . A beat .</scene_description>
<character>DAVID</character>
<dialogue>Off - the - record?</dialogue>
<character>BITSEY</character>
<dialogue>Alright, we're off.</dialogue>
<character>DAVID</character>
<dialogue>Constance was murdered with what's called the Securitat Method. You're hand - cuffed, forced to swallow the key, taped at the mouth, a bag's sealed over your head and you're left to suffocate. The Securitat did this to Romanians who would n't inform or confess. Sometimes the bag was ripped off at the last second, you got a second chance. If not, you die knowing the ` key' to your freedom was inside you the whole time. A cheap - but - effective metonym. Problem is I mentioned the method in an early article. The prosecution never knew.</dialogue>
<character>BITSEY</character>
<dialogue>You're telling me someone's framing you?</dialogue>
<character>DAVID</character>
<dialogue>It's more than that.</dialogue>
<character>DAVID</character>
<dialogue>There was a tripod.</dialogue>
<character>BITSEY</character>
<dialogue>Right, facing her body. Are we on?</dialogue>
<character>DAVID</character>
<parenthetical>( nods agreement . )</parenthetical>
<dialogue>Not a single print was found on it. Someone brought it, wiped it, left it. Why? It's as if they wanted me to know that somewhere there's a record of what really happened that afternoon. As if they wanted me to die knowing the key to my freedom was. out there.</dialogue>
<character>BITSEY</character>
<dialogue>Maybe you're being paranoid?</dialogue>
<character>DAVID</character>
<dialogue>Ms. Bloom. I'm an anti - death row activist on death row. Does n't that strike you as odd?</dialogue>
<scene_description>A beat . She nods .</scene_description>
<character>BITSEY</character>
<dialogue>Any ideas who ` they' are?</dialogue>
<character>DAVID</character>
<dialogue>No.</dialogue>
<scene_description>A beat .</scene_description>
<character>DAVID</character>
<dialogue>But I have someone on it, someone I'm hoping will one day find an answer.</dialogue>
<character>BITSEY</character>
<dialogue>Belyeu's hired a detective?</dialogue>
<scene_description>He shakes his head .</scene_description>
<character>DAVID</character>
<dialogue>A journalist.</dialogue>
<scene_description>It takes Bitsey a second to understand . David smiles .</scene_description>
<character>DAVID</character>
<parenthetical>( mimicking Belyeu . )</parenthetical>
<dialogue>` She's a smart one.'</dialogue>
<scene_description>ACCELERATED ROTATING ZOOM OUT TO LONG SHOT . WHITE .</scene_description>
</scene>
<scene>
<stage_direction>INT. U.T HALLWAY - LONG SHOT - DAY</stage_direction>
<scene_description>ACCELERATED ROTATING ZOOM IN . David and Constance stand by the double doors . He 's concentrated ; she 's biting her lip . They 're looking onto a large parking lot . The lot is practically empty except for Sharon and Chase , who stand near their Jeep . It 's packed with various household items , things not entrusted to movers .</scene_description>
<character>CONSTANCE</character>
<dialogue>I'll drop by your office after.</dialogue>
<scene_description>He nods and goes out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. U.T. PARKING LOT - DAY</stage_direction>
<scene_description>As David approaches them , Chase runs to them - still carrying Cloud Dog . He jumps on his dad .</scene_description>
<character>CHASE</character>
<dialogue>Wear me like a fur, Daddy! Wear me like a fur!</dialogue>
<scene_description>As he walks , David drapes the boy sideways over his shoulders -LRB- like a fur -RRB- . Chase squeals with pleasure .</scene_description>
<character>DAVID</character>
<dialogue>Who's your hero?</dialogue>
<scene_description>Chase bonks him on the nose . David sets Chase down when he reaches his WIFE . He kiss him goodbye as the boy struggles to move on to something else . A long beat as David and his wife stand uncomfortably .</scene_description>
<character>DAVID</character>
<dialogue>Call me when you get to Boston?</dialogue>
<character>SHARON</character>
<parenthetical>( WIFE . )</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>A beat .</scene_description>
<character>DAVID</character>
<dialogue>I wish you -</dialogue>
<character>SHARON</character>
<dialogue>Do n't.</dialogue>
<scene_description>She turns and walks to the Jeep . The door 's open .</scene_description>
<character>SHARON</character>
<dialogue>Chase, get in, Sweetie.</dialogue>
<scene_description>Chase climbs in , sits in the driver 's seat .</scene_description>
<character>CHASE</character>
<parenthetical>( turning to his dad . )</parenthetical>
<dialogue>See ya later, Alli - gator.</dialogue>
<character>DAVID</character>
<dialogue>After awhile, Crocodile.</dialogue>
<character>CHASE</character>
<dialogue>Take it easy, Japa - ne - se.</dialogue>
<character>DAVID</character>
<dialogue>Okey - dokey, Artichokey.</dialogue>
<character>SHARON</character>
<parenthetical>( to Chase . )</parenthetical>
<dialogue>Scoot.</dialogue>
<scene_description>Chase scoots over to the passenger seat . Sharon gets in the driver 's seat .</scene_description>
<character>SHARON</character>
<dialogue>I sent you an e - mail.</dialogue>
<character>DAVID</character>
<dialogue>Okay?</dialogue>
<character>SHARON</character>
<dialogue>Just read it.</dialogue>
<scene_description>She closes the door . Suddenly , Chase opens the passenger side door , runs around the Jeep carrying Cloud Dog . He runs to his dad , hugs him one last time .</scene_description>
<character>SHARON</character>
<parenthetical>( cracking her window . )</parenthetical>
<dialogue>Come on, Chase.</dialogue>
<scene_description>Chase starts to go back , turns and hands David his Cloud Dog without comment . He then quickly runs back around the Jeep and gets in . David watches them drive away . Chase 's hand waves out the window until they are out of the parking lot . INSERT - COMPUTER SCREEN with an e - mail message : `` David , I want a divorce . I 'm sorry to say it so plainly , but that 's how I feel it . I do n't need time to think , this whole ` rape ' thing has only forced . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S U.T. OFFICE - DAY</stage_direction>
<scene_description>David sits in front of his computer , staring into space . The office is institutional , cramped . Books line the walls , fill the desk . There 's a framed poster -LRB- Warhol - style -RRB- of Socrates . He reaches into his desk for a bottle of Black Bush and fills his glass . There 's a KNOCK on the door . Constance enters .</scene_description>
<character>CONSTANCE</character>
<dialogue>You could at least hide the bottle.</dialogue>
<scene_description>David closes the e - mail . She collapses in the chair opposite his desk , exhausted .</scene_description>
<character>DAVID</character>
<dialogue>Well?</dialogue>
<character>CONSTANCE</character>
<dialogue>Officially, you're on sabbatical. Unofficially, they want you to look for another position. It was four to two.</dialogue>
<scene_description>A beat as he absorbs the information .</scene_description>
<character>DAVID</character>
<dialogue>How did Ross vote?</dialogue>
<character>CONSTANCE</character>
<dialogue>You're not supp. Against you.</dialogue>
<scene_description>David nods .</scene_description>
<character>DAVID</character>
<dialogue>And you?</dialogue>
<character>CONSTANCE</character>
<dialogue>Against my politics.</dialogue>
<scene_description>David mouths a `` thank you . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. GALE HOUSE - DAY</stage_direction>
<scene_description>A Century 21 real estate agent is putting a `` For Sale '' sign in the front yard .</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSCALE RESTAURANT - DAY</stage_direction>
<scene_description>David is having lunch with an IVY LEAGUE - LOOKING MALE in his fifties . Only water and bread are on the table .</scene_description>
<character>DAVID</character>
<dialogue>So, I wanted to get your feedback on the idea.</dialogue>
<scene_description>The Ivy Leaguer vigorously butters his bread .</scene_description>
<character>IVY LEAGUER</character>
<dialogue>Look, Professor Gale, I could sit here, as I'm sure others have, and plead departmental cutbacks. Claim you need more publications, or I need a minority, whatever. All bull - geschichte. Your record's brilliant. You're an original voice worth - in the scarcity - defines - value capitalist system under which we toil - your weight in gold. Hell, it's not even the alcohol. It'd be nice to have faculty whose crutch was n't Prozac. But, to speak plainly, if I hire you, in the eyes of the regents, alumni and every freshman with an ear for gossip, I'd be hiring a rapist.</dialogue>
<scene_description>He takes a bite of bread .</scene_description>
<character>IVY LEAGUER</character>
<dialogue>You're not politically correct, Dr. Gale. Welcome to the club.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. DAVID'S APARTMENT - DAY</stage_direction>
<scene_description>David stands on the balcony of a sparsely - furnished 420 - a - month apartment . Books are stacked everywhere . An Interstate runs nearby . He holds a phone , looks down in the pool area . DAVID 'S POV A horribly - tanned man in his seventies -LRB- wearing a Speedo -RRB- attempts to do Tai Chi .</scene_description>
<character>CHASE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( on his mom 's answering machine . )</parenthetical>
<dialogue>We are n't home. Please, tell us a message.</dialogue>
<character>SHARON</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( cueing him in the b.g . )</parenthetical>
<dialogue>At the beep.</dialogue>
<character>CHASE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At the peep.</dialogue>
<scene_description>ON DAVID David lets the PHONE BEEP , just stares down at the man , saying nothing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT COMPLEX PARKING LOT - DAY</stage_direction>
<scene_description>As David gets out of his Volvo , a SORORITY PLEDGE -LRB- funny clothes , Greek letters on her cheek -RRB- quickly approaches . She takes his picture with a Polaroid camera . She runs to a waiting convertible , where two other girls sit .</scene_description>
<character>SORORITY PLEDGE</character>
<dialogue>I got it! I got it!</dialogue>
<scene_description>She jumps in the car and they speed away .</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGH-RISE OFFICE - DAY</stage_direction>
<scene_description>The office is Philip Stark chic with large window walls - Austin stretches into the distance . David sits on a sofa across from an exceedingly ATTRACTIVE WOMAN -LRB- early 40s -RRB- .</scene_description>
<character>ATTRACTIVE WOMAN</character>
<dialogue>What exactly attracts you to the bond market?</dialogue>
<scene_description>He 's staring into space .</scene_description>
<character>ATTRACTIVE WOMAN</character>
<dialogue>Mr. Gale?</dialogue>
<scene_description>He looks at her . She forces a strained smile .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S APARTMENT - NIGHT</stage_direction>
<scene_description>Dark . David lies on the floor , his head propped against a wall . He 's in his underwear and drinking from a Black Bush bottle . The phone 's beside his ear and Chase 's MESSAGE on his wife 's MACHINE TWEAKS out of the receiver speaker . After the BEEP , David hangs up , gets a DIAL TONE , and punches re - dial . The MESSAGE STARTS again . After the BEEP , he hangs up , gets a DIAL TONE , and punches re - dial .</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL OFFICE - DAY</stage_direction>
<scene_description>David is in the office of an overdressed YUPPIE BLACK MAN -LRB- early 20s -RRB- . David is doing his active listening thing .</scene_description>
<character>YUPPIE MAN</character>
<parenthetical>( over - articulating . )</parenthetical>
<dialogue>Now, Mr. Gale, I want you to tell me three personal qualities you have that would make you a successful Radio Shack manager.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GOLF COURSE - DAY</stage_direction>
<scene_description>David and Belyeu approach a ball fifty feet from the green .</scene_description>
<character>BELYEU</character>
<dialogue>Because divorce proceedings do not require her presence in the country. For a custody hearin', yeah, she'll have to return.</dialogue>
<scene_description>David chooses a club .</scene_description>
<character>BELYEU</character>
<dialogue>But without successful completion of an alcohol treatment program, you'll be lucky to get the odd Thanksgivin'.</dialogue>
<scene_description>David walks to the ball .</scene_description>
<character>DAVID</character>
<dialogue>So my chances of getting partial custody are n't good?</dialogue>
<character>BELYEU</character>
<dialogue>Roughly the same as you sinkin' that from here.</dialogue>
<scene_description>David looks at him , then concentrates on the ball - suddenly it has meaning . He swings . The ball lands in a water trap .</scene_description>
</scene>
<scene>
<stage_direction>INT. PICTURESQUE MOUNTAIN ROAD - DAY</stage_direction>
<scene_description>David 's Volvo winds up the road , enters through a gate . A sign beside the gate : `` The Go lightly : A Recovery Clinic . '' BLACK .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTANCE'S HOUSE (3307) - DAY</stage_direction>
<scene_description>It 's a beautiful day . The house looks much different than in the Goth Girl 's care - flower bed , well - manicured lawn , fresh paint . The `` Block Home '' sign is in the window . David 's Volvo pulls up in front .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. CONSTANCE'S FRONT HALLWAY - DAY</stage_direction>
<scene_description>Constance opens the door for David . He 's wearing a short sleeved Radio Shack shirt and tie . She 's taken aback . Looks at him a beat , bites her lip , suppresses a laugh .</scene_description>
<character>CONSTANCE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>He plays hurt , then they both burst out laughing . LONG SHOT - CONSTANCE AND DAVID She hugs him as they laugh on the porch .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S LIVING ROOM - DAY</stage_direction>
<scene_description>The living room is now Laura Ashley cozy . The sliding door is open so the room 's sunny , breezy . Constance leads David in . She looks tired but is animated , a bit too much so . Her hair is different .</scene_description>
<character>CONSTANCE</character>
<dialogue>You look good.</dialogue>
<character>DAVID</character>
<dialogue>I feel. washed.</dialogue>
<scene_description>She smiles at him maternally , touches his face . They hug again .</scene_description>
<character>CONSTANCE</character>
<parenthetical>( lightly , in his arms . )</parenthetical>
<dialogue>I need you. DeathWatch needs you, now more than ever.</dialogue>
<character>DAVID</character>
<dialogue>Nothing like I need you, both. You're all I have.</dialogue>
<character>CONSTANCE</character>
<dialogue>Look.</dialogue>
<scene_description>She moves from him , takes a photo from a case file on her kitchen table .</scene_description>
<character>CONSTANCE</character>
<dialogue>Jo Ann Johnson's been re - scheduled.</dialogue>
<scene_description>INSERT - PHOTO of a young black women - pleasant , timid . BACK ON SCENE</scene_description>
<character>CONSTANCE</character>
<dialogue>I've got a call with Hawkins tonight, and if national will commit emergency funds.</dialogue>
<scene_description>She lifts a small plant , moves to the porch .</scene_description>
<character>DAVID</character>
<dialogue>Jo Ann will be commuted and you'll only prove the system works.</dialogue>
<scene_description>He notices she has bruises on her arms .</scene_description>
<character>CONSTANCE</character>
<dialogue>But I'll save a life.</dialogue>
<character>DAVID</character>
<parenthetical>( referring to the bruises . )</parenthetical>
<dialogue>Where'd you get those?</dialogue>
<character>CONSTANCE</character>
<dialogue>Spring cleaning.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONSTANCE'S PORCH</stage_direction>
<character>CONSTANCE</character>
<dialogue>She went up at 18, she's 26 now.</dialogue>
<scene_description>She sets the plant down among others . At the very back of the yard , the Older Cowboy spades in a vegetable garden .</scene_description>
<character>DAVID</character>
<parenthetical>( calling to the Cowboy . )</parenthetical>
<dialogue>Hey! She ever not make you work when you come by?</dialogue>
<character>OLDER COWBOY</character>
<parenthetical>( raising his spade in greeting . )</parenthetical>
<dialogue>Mornin', David.</dialogue>
<character>DAVID</character>
<parenthetical>( turning to Constance . )</parenthetical>
<dialogue>What's her story?</dialogue>
<character>CONSTANCE</character>
<dialogue>I really want us to get behind this one. She's articul -</dialogue>
<character>DAVID</character>
<dialogue>Constance, who did she kill?</dialogue>
<scene_description>Constance looks at him a beat , sighs .</scene_description>
<character>CONSTANCE</character>
<dialogue>A cop.</dialogue>
<character>DAVID</character>
<dialogue>She admit to it?</dialogue>
<scene_description>Contance sheepishly nods .</scene_description>
<character>DAVID</character>
<dialogue>You're a crazy woman. Not your medium grade thinks - she's - Teddy Roosevelt's - bathrobe, but stark - raving - loose - screws - in - the - belfry insane.</dialogue>
<character>CONSTANCE</character>
<dialogue>You're mixing metaphors.</dialogue>
<character>DAVID</character>
<dialogue>A real danger to flora and fauna.</dialogue>
<character>CONSTANCE</character>
<dialogue>Are we gon na do this?</dialogue>
<character>DAVID</character>
<parenthetical>( the smile . )</parenthetical>
<dialogue>And how.</dialogue>
<scene_description>He kisses her on the forehead - he 's surprised .</scene_description>
<character>DAVID</character>
<dialogue>You're burning up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STARBUCKS - NIGHT</stage_direction>
<scene_description>David exits the store carrying four large coffees in a cup - container , tries to sip one without spilling the others . He 's still wearing the Radio Shack shirt , seems happier . In the parking lot , a hip high schooler jumps out of his Camero and moves toward the store . As David comes in front of the car , he sees his former baby - sitter sitting in the passenger seat . Their eyes meet . He smiles . She smiles back , waves . As he passes , he hears the girl hit the car 's automatic DOOR - LOCK BUTTON .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE OF DEATHWATCH (AUSTIN) - NIGHT</stage_direction>
<scene_description>David enters carrying the coffee . The matron sits on a desk licking envelopes . The college guy is on the floor beneath a desk rewiring a computer terminal .</scene_description>
<character>COLLEGE GUY</character>
<parenthetical>( calling from beneath a desk . )</parenthetical>
<dialogue>Howdy, Mr. Gale.</dialogue>
<character>DAVID</character>
<dialogue>Hello, folks.</dialogue>
<scene_description>David goes to the Matron , gives her cup and three Sweet & Lows .</scene_description>
<character>MATRON</character>
<dialogue>Hello. My, this is service. Thank you.</dialogue>
<character>DAVID</character>
<dialogue>Gladly.</dialogue>
<scene_description>He takes one of the unsealed envelopes from her stack , then puts a cup beside the legs of the College Guy .</scene_description>
<character>DAVID</character>
<dialogue>Latte on your left, partner.</dialogue>
<scene_description>David makes his way to the back office . The College Guy gives the Matron a look - they 're surprised , pleased .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK OFFICE - DAY</stage_direction>
<scene_description>Constance sits at a spartan desk . Nothing is on the walls , though a window opens onto the alley behind . She 's talking on the SPEAKER PHONE with the DeathWatch national director - a social gathering is going on behind him .</scene_description>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>and see what kind of resources the religious groups can deliver.</dialogue>
<scene_description>David comes through the door . She waves him in .</scene_description>
<character>CONSTANCE</character>
<dialogue>I'm sure we can get some pulpit time, maybe cable.</dialogue>
<scene_description>He sets her coffee in front of her . Then sits across from her .</scene_description>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Cable's good. Listen, I need to run. For now, I agree the first press release should focus on the woman's youth.</dialogue>
<scene_description>David holds up the envelope for Constance to see , then animatedly licks and seals it . He then , literally , pats himself on the back .</scene_description>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'll have the Washington people look into counsel competency, though I'm almost sure she's exhausted this issue on appeal.</dialogue>
<scene_description>She smiles at him , shakes her head .</scene_description>
<character>CONSTANCE</character>
<parenthetical>( to the phone . )</parenthetical>
<dialogue>John, David's going to -</dialogue>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, I almost forgot. He's not around, is he?</dialogue>
<scene_description>Constance hesitates , looks at David . He shakes his head no .</scene_description>
<character>CONSTANCE</character>
<dialogue>No.</dialogue>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Good, keep it that way. His relationship to DeathWatch is over, terminated. Last thing we need is this rape thing coming back to bite our butts.</dialogue>
<scene_description>Constance is not sure how to react . David just stares at her .</scene_description>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>These guys do n't stay on the wagon for very long.</dialogue>
<scene_description>David stands up and leaves the room , quickly . His coffee spills . Constance can only watch .</scene_description>
<character>DIRECTOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm serious, Constance. Ban him from the premises. I realize you two.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEATHWATCH OFFICE (AUSTIN) - NIGHT</stage_direction>
<scene_description>Constance comes anxiously out the front door . CONSTANCE 'S POV David 's Volvo pulls out of the parking lot . BACK TO SCENE She stands watching it drive away , breathing heavily . She winces , grabs her stomach , vomits on the sidewalk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUSTIN STREET - NIGHT</stage_direction>
<scene_description>The Volvo is parked on a seedy Southside street . David stands at a phone booth and dials a long - distance number and a calling code . He waits , impatiently , looks across the street : There 's a liquor store . CLOSEUP - RECEIVER at his ear , Chase 's MESSAGE BEGINS . BACK ON DAVID He speaks into the PHONE after the BEEP .</scene_description>
<character>DAVID</character>
<dialogue>Sharon, pick up. For once just pick up the goddamn phone! If you keep him in Spain, I'll. I'm begging you. He's my son! Please! Please. Please.</dialogue>
<scene_description>David starts to put the receiver back , then suddenly starts smashing it against the phone 's body ; he smashes it long after there is anything left to destroy , long after his hand bleeds .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTANCE'S HOUSE (3307) - NEXT DAY</stage_direction>
<scene_description>Constance walks with car keys and a large stack of mail toward her front porch . She looks like she has n't slept in weeks . David is sitting on the porch beneath the Block Home sign , holding Cloud Dog . He wears the Yale sweatshirt , the Radio Shack shirt is wrapped around his injured hand . He 's sloppy drunk .</scene_description>
<character>DAVID</character>
<dialogue>We're seeking refuse, refuge, uge.</dialogue>
<character>CONSTANCE</character>
<dialogue>Come on, come inside.</dialogue>
<scene_description>She opens the door as he stands .</scene_description>
<character>DAVID</character>
<dialogue>We fell off our wagon.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S LIVING ROOM - DAY</stage_direction>
<scene_description>David enters rambling , stands leaning against the back of the couch , holding the sheep .</scene_description>
<character>DAVID</character>
<dialogue>Know why Saint Jude is the patron saint of lost causes?'Cause his real name was Judas. There were two Judases, Judai, the saint guy and the bad Judas who ratted on Jesus, and tried to kiss him. Medievalers would n't pray to good Judas for fear of getting bad Judas on the line by mistake. Ergo, they only gave him business when really desperate. That's why. Then they changed his name.</dialogue>
<scene_description>She 's not in the room .</scene_description>
<character>DAVID</character>
<dialogue>Constance?</dialogue>
<scene_description>He looks back toward the entry hall . A small flyer lightly blows along the floor into the living room .</scene_description>
<character>DAVID</character>
<dialogue>Your mail's blowing.</dialogue>
<scene_description>He looks in the entry hall . ENTRY HALL Constance lies unconscious on the floor near the open door . The mail is scattered about her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WAITING ROOM - DAY</stage_direction>
<scene_description>David sleeps in a chair , on the floor beside him is a stack of vending - machine coffee cups . A typical hospital INTERCOM can be heard throughout the scene . A female DOCTOR -LRB- mid - 30s -RRB- sits beside him , lightly shakes his shoulder . He wakes , groggy .</scene_description>
<character>DOCTOR</character>
<dialogue>How we doing?</dialogue>
<character>DAVID</character>
<dialogue>Fine. How's Constance?</dialogue>
<character>DOCTOR</character>
<dialogue>Sleeping.</dialogue>
<scene_description>A beat as he collects himself , sits up .</scene_description>
<character>DOCTOR</character>
<dialogue>Mr. Gale, a leukemia patient's condition is highly susceptible to external stress. While we do n't want to totally restrict Constance's life -</dialogue>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>DOCTOR</character>
<dialogue>Constance's illness requires a degree of regularity.</dialogue>
<character>DAVID</character>
<dialogue>Constance has leukemia?</dialogue>
<character>DOCTOR</character>
<dialogue>Acute. She was diagnosed last fall.</dialogue>
<scene_description>A beat as the situation clarifies for both of them . David is stunned , the doctor embarrassed .</scene_description>
<character>DOCTOR</character>
<dialogue>Have I created a problem?</dialogue>
<character>DAVID</character>
<dialogue>No, no.</dialogue>
<scene_description>They sit in silence . The hospital intercom seems to say :</scene_description>
<character>GUARD</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Gale, time's up.</dialogue>
<scene_description>CLOSEUP - DAVID CAMERA SLOWLY ROTATES . WHITE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - CLOSEUP - BITSEY - DAY</stage_direction>
<scene_description>CAMERA SLOWLY ROTATES . Bitsey stares at David , engrossed .</scene_description>
<character>DAVID</character>
<dialogue>When I asked why she had n't told me, she muttered, ` too busy.' I guess she figured as long as death was chasing her, she could help others escape.</dialogue>
<scene_description>He stands , goes to the back of the cage to be handcuffed .</scene_description>
<character>DAVID</character>
<dialogue>Constance left the world better than she found it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's a small, difficult thing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT PARKING LOT - DAY</stage_direction>
<scene_description>The rental car sits in a corner of the mostly empty lot , as far as possible from the razor - wire fence and exercise pens .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - DAY</stage_direction>
<scene_description>Zack waits in the driver 's seat , smoking . He looks nervously through the windshield toward the pens . Bitsey raps on the window , startling him .</scene_description>
<character>ZACK</character>
<dialogue>Fuck.</dialogue>
<scene_description>Zack unlocks the door , throws his cigarette out . Bitsey opens the door and gets in .</scene_description>
<character>ZACK</character>
<dialogue>Hey.</dialogue>
<character>BITSEY</character>
<parenthetical>( waving her hand at the smoke . )</parenthetical>
<dialogue>For God's sake, Zack.</dialogue>
<character>ZACK</character>
<dialogue>You're not a happy camper.</dialogue>
<character>BITSEY</character>
<dialogue>It's not a happy place.</dialogue>
<scene_description>He STARTS the CAR .</scene_description>
<character>ZACK</character>
<dialogue>Talked to the Austin prosecutor. Belyeu's a yokel. Prosecutor says he fucked up the penalty phase, says Gale probably would have gotten life on mitigating factors. Gale stuck with him, though, all through appeals, despite major pro bono offers.</dialogue>
<character>BITSEY</character>
<dialogue>What else?</dialogue>
<character>ZACK</character>
<dialogue>Notta on Berlin, we pick up the money in Houston tonight, overheat light came on twice, and you're about to get a surprise.</dialogue>
<character>BITSEY</character>
<dialogue>I do n't want a surprise.</dialogue>
<character>ZACK</character>
<parenthetical>( pointing ahead . )</parenthetical>
<dialogue>Too late.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY</stage_direction>
<scene_description>The guardhouse is now occupied . The crossing guard is down . Across the drive sits a Texas Highway Patrol car . All along the drive 's left side , protest vehicles are parked in the grass . They stretch out to the two - lane highway , where another Highway patrol car is stationed . The drive 's right side is also marked off , though the only vehicle on this side is a Houston TV news truck . Six people in ponchos discuss something in the middle of the drive . The rental car ENTERS the FRAME .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR</stage_direction>
<scene_description>Bitsey and Zack approach the guardhouse .</scene_description>
<character>ZACK</character>
<dialogue>This is mostly an Oklahoma caravan. I got stuck behind them on the way in.</dialogue>
<scene_description>The guardhouse attendant looks in , waves them through as the crossing guard lifts .</scene_description>
<character>ZACK</character>
<dialogue>Execution's not for another 36 hours. It's gon na be a zoo. There's the P.R. guy.</dialogue>
<scene_description>Standing among the six people in ponchos is Duke Grover . They pass him in SLOW MOTION . He sees them , smiles , makes a `` Hello '' shooting - gesture .</scene_description>
<character>BITSEY</character>
<dialogue>What a life, waiting around for someone to die.</dialogue>
<character>ZACK</character>
<dialogue>Fuck, look.</dialogue>
<scene_description>The next - to - last vehicle on the left is the Older Cowboy 's pickup . He sits inside talking with another man . The Older Cowboy sees them , touches his hat as they pass .</scene_description>
<character>BITSEY</character>
<dialogue>This is a little too coincidental.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DAY</stage_direction>
<scene_description>The rental car passes a farmhouse .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR</stage_direction>
<scene_description>Bitsey and Zack are headed to Huntsville .</scene_description>
<character>ZACK</character>
<dialogue>'Cause I could n't see the license plate.</dialogue>
<character>BITSEY</character>
<dialogue>Forget it. What time is it?</dialogue>
<character>ZACK</character>
<dialogue>6:05. Why do n't you have a watch?</dialogue>
<character>BITSEY</character>
<dialogue>It's a long story.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DAY</stage_direction>
<scene_description>The rental car passes a black teenager hitchhiking in front of an abandoned vegetable stand .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX GANGWAY - DAY</stage_direction>
<scene_description>Bitsey and Zack make their way to their rooms . Zack 's is first .</scene_description>
<character>BITSEY</character>
<dialogue>Give me an hour.</dialogue>
</scene>
<scene>
<stage_direction>INT. ZACK'S MOTEL SIX ROOM - DAY</stage_direction>
<scene_description>Zack unlocks his door , enters . The room 's a mess , papers everywhere . He walks toward a portable computer sitting on the room desk .</scene_description>
<character>BITSEY</character>
<dialogue>Zack!</dialogue>
<scene_description>Zack runs from the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX GANGWAY - DAY</stage_direction>
<scene_description>Zack runs towards Bitsey . She stands outside her room .</scene_description>
<character>ZACK</character>
<dialogue>What!?</dialogue>
<character>BITSEY</character>
<dialogue>It's open.</dialogue>
<character>ZACK</character>
<dialogue>So? Maybe the maid forgot.</dialogue>
<character>BITSEY</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>Look!</dialogue>
<scene_description>As he comes to her door , he sees what she 's indicating : Between the door and its frame , someone has stuck a roll of duct tape .</scene_description>
</scene>
<scene>
<stage_direction>INT. BITSEY'S MOTEL SIX ROOM - DAY</stage_direction>
<scene_description>Bitsey pushes the door open , looks in and around . She sees something , enters . Zack enters behind her , sees what she sees .</scene_description>
<character>ZACK</character>
<dialogue>I'll check the bathroom.</dialogue>
<scene_description>He goes . She approaches the middle of the room . The room , in contrast to Zack 's , is perfectly neat . It has two twin beds . The nightstand has been moved to the center . On it is a lamp , turned on . Suspended just above the lamp , a VHS cartridge hangs from the ceiling by fishing line . BITSEY 'S BATHROOM Zack checks behind the shower curtain .</scene_description>
<character>ZACK</character>
<dialogue>Clear in here! Do n't touch it!</dialogue>
<scene_description>BACK IN BEDROOM As Zack enters , he sees Bitsey holding the VHS Cassette .</scene_description>
<character>ZACK</character>
<dialogue>Fuck, Bitsey, there could have been prints.</dialogue>
<character>BITSEY</character>
<dialogue>Look.</dialogue>
<scene_description>She holds up the cassette . It has a label typed from an old typewriter : `` For Bitsey Bloom . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX RECEPTION - DUSK</stage_direction>
<scene_description>Zack runs out the front door carrying a VCR , the cables drag the ground behind him . He runs toward the rooms .</scene_description>
</scene>
<scene>
<stage_direction>INT. BITSEY'S MOTEL ROOM - DUSK</stage_direction>
<scene_description>Bitsey unlocks the door , lets Zack in .</scene_description>
<character>ZACK</character>
<dialogue>She says no one asked for you. And all the room keys are different.</dialogue>
<scene_description>He goes to the TV .</scene_description>
<character>ZACK</character>
<dialogue>Just she and her husband have masters.</dialogue>
<character>BITSEY</character>
<dialogue>What did you tell her?</dialogue>
<character>ZACK</character>
<dialogue>That you have a jealous boyfriend.</dialogue>
<scene_description>He starts to hook up the VCR .</scene_description>
<character>BITSEY</character>
<dialogue>Thanks. How about the V.C.R?</dialogue>
<character>ZACK</character>
<dialogue>She did n't ask. I think she assumed it had something to do with why he was jealous. I still say we should do this in my room - this one's a fucking crime scene.</dialogue>
<character>BITSEY</character>
<dialogue>Whoever got in here - without a key in broad daylight - was probably smart enough not to leave prints. I have the remote.</dialogue>
<scene_description>He turns ON the TV .</scene_description>
<character>ZACK</character>
<dialogue>Maybe they could look for D.N.A. Try three.</dialogue>
<character>BITSEY</character>
<parenthetical>( hitting the remote . )</parenthetical>
<dialogue>They do n't look for D.N.A. when someone breaks in to deliver, Zack. Here.</dialogue>
<scene_description>She hands him the tape . He starts to put it in , hesitates , looks back at her .</scene_description>
<character>ZACK</character>
<dialogue>You sure you want to see what's on here?</dialogue>
<character>BITSEY</character>
<dialogue>No. Start it.</dialogue>
<scene_description>He puts it in , pushes play . She sits on the bed . He sits beside her . They watch the black leader appear .</scene_description>
<character>BITSEY</character>
<dialogue>I hope this is n't what I think it is.</dialogue>
<scene_description>CLOSEUP - TV An image flickers in . It 's a woman lying nude on the kitchen floor of house 3307 , facing away from the camera . An opaque white kitchen bag is over her head , sealed at the neck with duct tape . Her hands are handcuffed behind her . She appears dead .</scene_description>
<character>BITSEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>God, no.</dialogue>
<character>ZACK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Fuck. Is it her?</dialogue>
<character>BITSEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Turn it up.</dialogue>
<scene_description>BACK TO SCENE They stare at the screen , she bites a thumbnail . He turns the sound up .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE 3307 - KITCHEN - DAY (ON TV)</stage_direction>
<scene_description>Hi - 8 video : The woman does not move . The kitchen is cleaner than we 've seen it , but otherwise unchanged . Kitchen gloves can be seen - laid upside down and inside out - on the dish rack beside the sink . Near the body on the floor is a roll of duct tape . In the lower right corner of the screen is part of what looks like a towel . The audio is full of ATMOSPHERIC HUM . A REFRIGERATOR contributes . BIRDS can barely be heard in the distance , so can what sounds like a LAWN MOWER . Suddenly , the woman makes a muffled sound , seems to come to life . Her wrists start to pull against the handcuffs , then jerk at them . She panics . He legs flail , kick against the counter . She screams , muffled , frantic . She rolls onto her stomach , her whole body fights against the cuffs . She desperately rubs her face along the linoleum trying to rip the plastic . Soon , her energy wanes , she jerks less . Her covered face now points toward the camera . Her head seems to rock , a sleepy nod . Her body goes slack . Black .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX GANGWAY - DUSK</stage_direction>
<scene_description>Bitsey stands at the railing , looking out at the interstate and a thunderstorm gathering on the horizon . After a few seconds , Zack comes up beside her .</scene_description>
<character>ZACK</character>
<dialogue>Belyeu says to bring the tape first thing tomorrow. Also said you were right about not calling the police.</dialogue>
<scene_description>A beat , she keeps looking straight on .</scene_description>
<character>ZACK</character>
<dialogue>Are you gon na be okay?</dialogue>
<scene_description>Bitsey takes a deep breath , turns to him , holds his eyes . She shakes her head no . Her lips start to tremble . He puts his arms around her as she starts to cry .</scene_description>
</scene>
<scene>
<stage_direction>INT. KETTLE RESTAURANT - NIGHT</stage_direction>
<scene_description>Bitsey and Zack sit at a booth having coffee . Zack smokes . The VHS cassette is also between them , as is a small stack of crumpled tissues . The thunderstorm can be heard in the distance . The waitress is refilling their cups , and they wait until she leaves . Hushed tones .</scene_description>
<character>ZACK</character>
<dialogue>Let's say Gale's right. Some sick - fuck - Agatha Christie - wannabe set him up, arranged like the perfect murder. Why send a magazine journalist proof a few hours before he's won? Does n't make sense.</dialogue>
<character>BITSEY</character>
<dialogue>No, it's perfect. He knows News Magazine wo n't give the scoop to the dailies or nightly news, not after having paid for it. Probably guessed we would n't call the cops. And, most importantly, knows I'll tell Gale tomorrow.</dialogue>
<character>ZACK</character>
<dialogue>Why does he give a shit?</dialogue>
<character>BITSEY</character>
<dialogue>Zack, what if Harraway's murder was just a means to getting Gale. I mean sending him through hell, a sick cat and mouse game. You kill the one person he has left. Make sure he sits six years on death row for the murder - a place he's made a public career of loathing. And then just let him die, die knowing everyone will remember him with disgust. You destroy his loved ones, his life's work, his memory - and you make him watch.</dialogue>
<character>ZACK</character>
<dialogue>That's a lot of hate. You're talking beyond sadism.</dialogue>
<scene_description>Bitsey gestures to the tape , makes a need - I - say - more face .</scene_description>
<character>ZACK</character>
<dialogue>Then why release it?</dialogue>
<character>BITSEY</character>
<dialogue>If the mouse dies the game's over. Maybe the cat's enjoying himself. Or.</dialogue>
<character>ZACK</character>
<dialogue>Or?</dialogue>
<character>BITSEY</character>
<parenthetical>( picks up the tape . )</parenthetical>
<dialogue>Imagine walking to the chamber knowing this exists.</dialogue>
<character>ZACK</character>
<dialogue>The ` cat' is a fucking psychopath.</dialogue>
<character>BITSEY</character>
<dialogue>Yeah, but smart.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX - NIGHT</stage_direction>
<scene_description>The storm batters the motel . We see Bitsey 's dark front window . Lightning . A figure stands looking out . More lightning . It 's Bitsey , intently watching the night .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - DAY</stage_direction>
<scene_description>SUPERIMPOSE : DAY THREE On the back seat is an aluminum suitcase . Zack sits beside it looking out the back window . Bitsey drives . It 's still raining , hard . They 're on the two - lane highway to Austin .</scene_description>
<character>ZACK</character>
<dialogue>Why do they call it check - book journalism if we always pay cash?</dialogue>
<scene_description>CLOSE ON DASH The over - heat light is on . BACK TO SCENE</scene_description>
<character>ZACK</character>
<dialogue>Woa, woa. Sadist at six o'clock!</dialogue>
<character>BITSEY</character>
<dialogue>Is it the truck?</dialogue>
<scene_description>ZACK 'S POV The cowboy 's truck can be seen through the tire mist fifty yards behind them .</scene_description>
<character>ZACK</character>
<dialogue>Yep, and doing a lousy job of hiding.</dialogue>
<scene_description>Bitsey watches in the rearview mirror . Zack out the back window .</scene_description>
<character>ZACK</character>
<dialogue>He must think we're idiots. You think he's our fucked - up feline?</dialogue>
<scene_description>Bitsey does n't respond , just watches in the mirror , then :</scene_description>
<character>BITSEY</character>
<dialogue>Is he gaining?</dialogue>
<character>ZACK</character>
<dialogue>No. Just sitting back there.</dialogue>
<character>BITSEY</character>
<dialogue>Can you see the license?</dialogue>
<character>ZACK</character>
<dialogue>Too much mist. What the fuck does this guy want?</dialogue>
</scene>
<scene>
<stage_direction>INT. LAW OFFICE OF BENJAMIN BELYEU - DAY</stage_direction>
<scene_description>The office has a view of the rain - soaked capital . Expensively decorated . Dark woods and deep carpets - Belyeu 's practice is clearly thriving . A sharp - looking CLERK sits at a corner table counting money from the aluminum suitcase . Bitsey sits on a huge sofa . Belyeu stands just outside his door .</scene_description>
<character>BELYEU</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Fine. Oh, and bring in Miss Bloom's original when that's done.</dialogue>
<parenthetical>( entering , to Bitsey . )</parenthetical>
<dialogue>Do n't blame you for not watching that twice.</dialogue>
<scene_description>He goes to his desk and starts sifting through papers .</scene_description>
<character>BITSEY</character>
<dialogue>I could n't sleep afterwards.</dialogue>
<character>BELYEU</character>
<dialogue>I understand. I generally tell folks I'm no more afraid of the grim reaper than I am of a Presbyterian on Mother's Day. But watching your tape. well. I had to keep tellin' myself ` that's not Constance' just to get through.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Unfortunately, others may argue the same.</dialogue>
<character>BITSEY</character>
<dialogue>Yeah, but it's her kitchen, in her house.</dialogue>
<character>BELYEU</character>
<dialogue>Currently home to Weirdos Incorporated. Arguably, that tape could have been made by anybody with twenty dollars and a tolerance for vulgarity.</dialogue>
<character>BITSEY</character>
<dialogue>But it will at least get us a postponement?</dialogue>
<character>BELYEU</character>
<dialogue>I hope so, Miss Bloom, I certainly hope so. But you've got to remember that there's a machine a runnin'. And come six o'clock tomorrow mornin' that machine wants to be fed.</dialogue>
<scene_description>The Clerk puts the last of the money back into the suitcase .</scene_description>
<character>CLERK</character>
<dialogue>All here, Mr. Belyeu.</dialogue>
<character>BELYEU</character>
<parenthetical>( to the Clerk . )</parenthetical>
<dialogue>Thank you, Joshua.</dialogue>
<parenthetical>( to Bitsey . )</parenthetical>
<dialogue>To add to our troubles, your own credibility may come into question.</dialogue>
<scene_description>The Clerk exits .</scene_description>
<character>BITSEY</character>
<dialogue>Why?</dialogue>
<character>BELYEU</character>
<dialogue>You've been fraternizin' with the condemned. In the court's eyes, he's the most likely candidate to have put you onto the tape. He's a persuasive man, you're a out - of - state woman - it do n't look good on paper.</dialogue>
<character>BITSEY</character>
<dialogue>But someone put it in my hotel room.</dialogue>
<character>BELYEU</character>
<dialogue>A fact for which we have no evidence.</dialogue>
<scene_description>A very professional - looking assistant enters , hands Bitsey her video .</scene_description>
<character>BELYEU</character>
<dialogue>Thank you, Bobbi.</dialogue>
<character>BITSEY</character>
<dialogue>Thanks.</dialogue>
<character>BELYEU</character>
<parenthetical>( standing . )</parenthetical>
<dialogue>Well, let's not start readin' Kafka just yet. Could we find a sympathetic judge. I'll file within the hour. You headin' back over to Ellis?</dialogue>
<character>BITSEY</character>
<parenthetical>( standing . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>BELYEU</character>
<dialogue>Fine. I'll call over at the motel later and give you an update.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE HALLWAY - DAY</stage_direction>
<scene_description>Bitsey comes out of two huge oak doors , walks past a gold `` Belyeu and Crane '' sign . She turns a corner . At the end of another short hall , she comes to the elevator , pushes the call button . As she waits , she looks out an adjacent window at the capital in the rain . She remembers something , looks down - she has her purse but no umbrella .</scene_description>
<character>BITSEY</character>
<dialogue>Shit.</dialogue>
<scene_description>She heads back toward Belyeu 's office . As she turns the corner , she sees the older cowboy enter the Belyeu and Crane office .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUSTIN OFFICE BUILDING - DAY</stage_direction>
<scene_description>Bitsey hurries umbrella - less through the rain to the rental car parked in the loading zone .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - DAY</stage_direction>
<scene_description>Bitsey opens the door . Zack 's in the passenger seat . She does n't bother to sit .</scene_description>
<character>BITSEY</character>
<dialogue>Did you see the cowboy go in?</dialogue>
<character>ZACK</character>
<dialogue>He went in Belyeu's building?</dialogue>
<character>BITSEY</character>
<dialogue>Into his office. Just saw him.</dialogue>
<character>ZACK</character>
<dialogue>Fuck!</dialogue>
<character>BITSEY</character>
<dialogue>Follow him. Find out who he is, where he lives - what he -</dialogue>
<character>ZACK</character>
<dialogue>How are you gon na get to Ellis?</dialogue>
<character>BITSEY</character>
<dialogue>A taxi.</dialogue>
<scene_description>Zack makes a face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT DRIVE - DAY</stage_direction>
<scene_description>A taxi makes its way through the hundreds of protesters and press that now gather along the drive .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - DAY</stage_direction>
<scene_description>Bitsey , wet and hugging herself , paces in front of David . She 's upset .</scene_description>
<character>DAVID</character>
<dialogue>Okay, okay. Calm down. You have to sit.</dialogue>
<scene_description>Over the loudspeaker :</scene_description>
<character>GUARD</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Visitors need to stay seated.</dialogue>
<scene_description>She sits .</scene_description>
<character>DAVID</character>
<parenthetical>( to the microphone above . )</parenthetical>
<dialogue>Sorry.</dialogue>
<parenthetical>( to Bitsey . )</parenthetical>
<dialogue>Look at me. He's not your man. His name is Dusty Wright, DeathWatch Director before Constance. He's a ` bullhorner,' a zealot who thinks a good demonstration has to end in a riot and arrests. ` Almost martyrs do n't mean shit.' They fired him. Constance kept him in the organization, and he loved her for it. The man adored her.</dialogue>
<character>BITSEY</character>
<dialogue>Then why was he following us? Why was he at Belyeu and Crane?</dialogue>
<character>DAVID</character>
<dialogue>He and Benny used to work A.C.L.U. cases together, until Dusty punched a clansman in a federal court. Benny sometimes still gives him work, probably had him follow you.</dialogue>
<character>BITSEY</character>
<dialogue>Why?</dialogue>
<scene_description>A beat . David looks up at the microphone .</scene_description>
<character>DAVID</character>
<dialogue>To make sure you honored your agreement, one for which there's no contract.</dialogue>
<character>BITSEY</character>
<dialogue>He would've said something.</dialogue>
<character>DAVID</character>
<dialogue>He's a lawyer, Ms. Bloom.</dialogue>
<character>BITSEY</character>
<dialogue>Maybe Dusty was jealous because you were seeing Constance.</dialogue>
<character>DAVID</character>
<dialogue>I was n't ` seeing' Constance.</dialogue>
<character>BITSEY</character>
<dialogue>She died. she had your sperm -</dialogue>
<character>DAVID</character>
<dialogue>It's more complicated than that.</dialogue>
<scene_description>TWO SHOT Rotates . WHITE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - MED. SHOT - DAVID - SUNRISE (ROTATING CAMERA)</stage_direction>
<scene_description>David sits in a lawn chair beside his Volvo . The tailgate 's down , serving as a makeshift table for a coffee thermos and whiskey bottle . David stares off down the alley , clearly in pain . He holds a child 's drawing . INSERT - DRAWING Has Gaudi 's church and a matador in background . Prominent in the foreground are three labeled figures : Sharon -LRB- `` Mommy '' -RRB- , Chase -LRB- `` Me '' -RRB- and a dark - haired man -LRB- `` Papa Jorge '' -RRB- . Jorge is dressed in a tux , Sharon seems to wear a bridal gown .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEATHWATCH AUSTIN OFFICE - SUNRISE (6:09)</stage_direction>
<scene_description>The atmosphere is tense . Dusty Wright sits on a deskholding a red Magic Marker , the matron sits behind it . They look at the college guy , who closely watches a computer screen . In the center of the room , a middle - aged priest sits and quietly prays while holding the hands of an overweight woman , she murmurs quiet affirmations . Finally , the college guy looks up at Dusty , nods . The room 's occupants all exchange glances . Dusty walks to the photo wall , marks a cross through the photo of Jo Ann Johnson , then walks to the back office .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK OFFICE - SUNRISE</stage_direction>
<scene_description>Constance , wrapped in an afghan , sleeps on a futon . She 's shockingly anemic . Dusty kneels beside her , watches her sleep . After a beat , she wakes with a slight jolt - like someone whose been fighting to stay awake . She looks at him , then sees the marker in his hand . She looks away .</scene_description>
<character>CONSTANCE</character>
<dialogue>All I can feel is envy.</dialogue>
<scene_description>Dusty stands , goes to the alley window . DUSTY 'S POV David 's Volvo is parked just outside the window . David sits in a lawn chair behind it . David looks awful .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - SUNRISE</stage_direction>
<scene_description>In the window , Dusty holds up the marker . David nods .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE 3307 - CONSTANCE'S BACK YARD - DUSK</stage_direction>
<scene_description>David sits on the porch holding a drink , a bottle of Black Bush in the chair beside him . He 's staring at nothing . Constance comes out the open sliding glass door , wearing a turtleneck sweater and wrapped in her afghan . She goes to the chair beside him , picks up the bottle and sits . They silently survey the yard , the sunset . She hugs the bottle , he sips his drink .</scene_description>
<character>CONSTANCE</character>
<dialogue>Remember those Kubler - Ross stages, the ones the dying go through?</dialogue>
<character>DAVID</character>
<dialogue>Denial, anger, bargaining, depression, and acceptance. Where are you?</dialogue>
<character>CONSTANCE</character>
<dialogue>Denial.</dialogue>
<character>DAVID</character>
<dialogue>Denial's my personal favorite.</dialogue>
<character>CONSTANCE</character>
<dialogue>The whole idea of there being a process makes me tired. I'm not up to the job of Dying Person. Marveling at blades of grass. Lecturing strangers to relish every moment.</dialogue>
<character>DAVID</character>
<dialogue>Mending bridges.</dialogue>
<character>CONSTANCE</character>
<dialogue>Mending bridges. Confessing regrets. Uuuggh.</dialogue>
<character>DAVID</character>
<dialogue>No regrets?</dialogue>
<character>CONSTANCE</character>
<dialogue>Nope.</dialogue>
<scene_description>A beat .</scene_description>
<character>CONSTANCE</character>
<dialogue>Take that back. I wish I had a child.</dialogue>
<character>DAVID</character>
<dialogue>Me, too.</dialogue>
<character>CONSTANCE</character>
<dialogue>I'm sorry, David.</dialogue>
<scene_description>She reaches over and puts her hand on his arm .</scene_description>
<character>CONSTANCE</character>
<dialogue>I guess I just wish I would have risked more.</dialogue>
<scene_description>She has the bottle in her other hand , looks at it , takes a swig .</scene_description>
<character>CONSTANCE</character>
<parenthetical>( making a face , swallowing hard . )</parenthetical>
<dialogue>Uumm, also not enough sex. Should have had more sex.</dialogue>
<scene_description>She puts the bottle down beside her chair .</scene_description>
<character>DAVID</character>
<dialogue>How much. how many lovers have you had?</dialogue>
<character>CONSTANCE</character>
<dialogue>Including college?</dialogue>
<character>DAVID</character>
<dialogue>Including college.</dialogue>
<scene_description>Her hand -LRB- on his arm -RRB- holds up four fingers .</scene_description>
<character>DAVID</character>
<dialogue>Well, it's. not every. yeah, you should have had more sex.</dialogue>
<scene_description>She laughs , coughs . He laughs . Their laughter trails off into the yard . He takes her hand in his .</scene_description>
<character>CONSTANCE</character>
<dialogue>You work hard not to be seen as a sex object. Before long, you're not seen at all.</dialogue>
<character>DAVID</character>
<dialogue>I see you.</dialogue>
<scene_description>They are holding hands in the air , their elbows on the chairs ' armrests .</scene_description>
<character>DAVID</character>
<dialogue>Want to make it five? Finish the hand?</dialogue>
<character>CONSTANCE</character>
<dialogue>A pity lay. No thanks.</dialogue>
<scene_description>A beat . They watch their fingers lightly play with one another .</scene_description>
<character>DAVID</character>
<dialogue>It would n't be pity.</dialogue>
<scene_description>They turn , their eyes meet , hold .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Constance and David are in bed making love . He 's on top , one hand supports her head , the other strokes her face . They tenderly kiss . He starts moving , gently .</scene_description>
<character>DAVID</character>
<dialogue>Are you okay?</dialogue>
<character>CONSTANCE</character>
<dialogue>Do n't worry.</dialogue>
<scene_description>He kisses her neck .</scene_description>
<character>CONSTANCE</character>
<dialogue>It's good.</dialogue>
<scene_description>Moves up to her ear .</scene_description>
<character>CONSTANCE</character>
<dialogue>Talk to me. Let me hear your voice.</dialogue>
<character>DAVID</character>
<parenthetical>( in her ear . )</parenthetical>
<dialogue>I'm here. Happy. I'm very happy.</dialogue>
<scene_description>He kisses her mouth , moves against her in delicate rhythm . Her moans take on a teary edge . Their voices , breathless whispers , meld into one another .</scene_description>
<character>CONSTANCE</character>
<dialogue>Hold me tight.</dialogue>
<character>DAVID</character>
<dialogue>I'm here.</dialogue>
<character>CONSTANCE</character>
<dialogue>Tight. I'm scared.</dialogue>
<character>DAVID</character>
<dialogue>It's okay.</dialogue>
<scene_description>She 's begun to cry .</scene_description>
<character>DAVID</character>
<dialogue>Okay.</dialogue>
<scene_description>He stops moving , kisses her tears .</scene_description>
<character>CONSTANCE</character>
<dialogue>Do n't stop. Stay in me. Please stay in me.</dialogue>
<scene_description>He moves again , slowly .</scene_description>
<character>DAVID</character>
<dialogue>Shhh. I'm staying.</dialogue>
<character>CONSTANCE</character>
<dialogue>I need to feel you inside.</dialogue>
<character>DAVID</character>
<dialogue>It's okay. I'm inside. I'm not pulling out.</dialogue>
<character>CONSTANCE</character>
<dialogue>I'm so tired.</dialogue>
<character>DAVID</character>
<dialogue>I know, I know.</dialogue>
<character>CONSTANCE</character>
<dialogue>Tired of being afraid.</dialogue>
<character>DAVID</character>
<dialogue>Shhh.</dialogue>
<character>CONSTANCE</character>
<dialogue>Help me.</dialogue>
<character>DAVID</character>
<dialogue>I'm here. It's okay.</dialogue>
<character>CONSTANCE</character>
<dialogue>Help me. Please. Make it stop.</dialogue>
<character>DAVID</character>
<dialogue>Shhh. I'm here. I'm here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONSTANCE'S HOUSE (3307) - NIGHT</stage_direction>
<scene_description>The house is dark . A light in one of the rooms comes on .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S BEDROOM - DAY</stage_direction>
<scene_description>She 's awake as David enters . He opens the curtains , sets a glass of water beside bottles on the nightstand . He crawls on top of the covers , spoons her , nuzzles the back of her head .</scene_description>
<character>CONSTANCE</character>
<dialogue>How do you feel about last night?</dialogue>
<character>DAVID</character>
<dialogue>Rescued. You?</dialogue>
<character>CONSTANCE</character>
<dialogue>Like I have a reason to get out of bed. Ironic, huh?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONVENIENCE STORE PARKING LOT - DAY</stage_direction>
<scene_description>David goes to the pay phone against the building .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S BATHROOM - DAY</stage_direction>
<scene_description>Constance stands in a bathrobe beside her shower . Turns the water on . She 's caught in a thought , bites her lip . She turns the water off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT POOL AREA - DAY</stage_direction>
<scene_description>David sits in a lounger speaking to someone on his right . He 's sober .</scene_description>
<character>DAVID</character>
<dialogue>Let's say they move back from Spain, that I somehow got my one weekend a month. Would it matter? By high school, I'd be his weak spot, the focus of locker room jabs, embarrassed pride. In college there'd be late - night angst : ` What if I turn out like the old man?' Holidays would be forced smiles and unscheduled exits. I mean, what girl comes home with you if there's talk that Pops is a rapist?</dialogue>
<scene_description>A beat .</scene_description>
<character>DAVID</character>
<dialogue>I ca n't stand the idea of being his model of failure. Without him, I drink. To cover the hole. To prove to myself he's better off without me.</dialogue>
<scene_description>CAMERA PULLS BACK to reveal Dusty Wright sitting in the lounger beside him .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S KITCHEN - DAY</stage_direction>
<scene_description>Constance , still in her robe , puts an armful of sheets in the washing machine . She feels faint .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORMER GALE HOUSE - BACK YARD - DAY</stage_direction>
<scene_description>David sits in a swing set , rocks slowly . He 's simply looking at the house . A yuppie woman opens the back door .</scene_description>
<character>DAVID</character>
<parenthetical>( standing . )</parenthetical>
<dialogue>Sorry, just leaving.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONSTANCE'S LIVING ROOM - DAY</stage_direction>
<scene_description>Constance is quickly sorting through a box of memorabilia , a photo catches her attention . INSERT - PHOTO Constance on vacation in a Caribbean resort . She sits alone at a dinner table , looks to camera , seems surprised to be photographed . BACK ON SCENE As Constance contemplates the photo , she hears the DOORBELL ring .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAWN - FROM ABOVE - DAY</stage_direction>
<scene_description>We see David lying in the grass of recently - cut lawn .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S VOLVO - DUSK</stage_direction>
<scene_description>David in the car in a mall parking lot , staring at nothing . On the seat beside him is Cloud Dog and a half empty Black Bush bottle .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S VOLVO - NIGHT</stage_direction>
<scene_description>David 's asleep , using Cloud Dog as a pillow . The bottle is empty . A light flashes in on him , waking him . There 's a KNOCK on the window - it 's the police . He 's blinded by the flashlight . POLICEMAN ROTATING CAMERA . The policeman holds the light .</scene_description>
<character>POLICEMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( a loudspeaker voice . )</parenthetical>
<dialogue>Gale, time's up.</dialogue>
<scene_description>WHITE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS VISITATION AREA - BITSEY AND DAVID - DAY</stage_direction>
<scene_description>ROTATING CAMERA . Bitsey 's agitated . David 's drained .</scene_description>
<character>BITSEY</character>
<dialogue>But there has to be someone. Someone with a motive, who knew you both. Someone who visited that morning.</dialogue>
<character>DAVID</character>
<dialogue>If I could answer. we would n't be having this conversation. It's why I need you, why I chose you. You have my story, now.</dialogue>
<parenthetical>( mimicking her delivery . )</parenthetical>
<dialogue>` Go.'</dialogue>
<character>BITSEY</character>
<dialogue>There's not enough time.</dialogue>
<scene_description>The guard approaches .</scene_description>
<character>DAVID</character>
<dialogue>You'll find time.</dialogue>
<character>BITSEY</character>
<dialogue>You know that's not what I meant. You should have done this earlier.</dialogue>
<character>DAVID</character>
<dialogue>You're not here to save me. You're here to save my son's memory of his father - that's all I want.</dialogue>
<scene_description>A beat .</scene_description>
<character>BITSEY</character>
<dialogue>You're going to let them kill you.</dialogue>
<scene_description>David moves to the back of the cage to be handcuffed .</scene_description>
<character>DAVID</character>
<dialogue>We live to stop death. Eating, inventing, loving, praying, fighting, killing - choose a verb. All to stall this evil, Job's ` king of terrors.' But what do we really know about it? Nobody comes back. There's a point, when your mind out - lives its obsessions, when your habits survive your dreams, when your losses. You wonder, maybe death is a gift. All I know is that by this time tomorrow, I'll be better off. What I do n't know is why.</dialogue>
<parenthetical>( exits the cage . )</parenthetical>
<dialogue>Goodbye, Bitsey.</dialogue>
<scene_description>The guard escorts him away . When he 's out of earshot :</scene_description>
<character>BITSEY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Goodbye, David.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS UNIT DRIVE GUARDHOUSE - DAY</stage_direction>
<scene_description>A guard hangs up a phone and leans out the door .</scene_description>
<character>GUARD</character>
<dialogue>Car's on its way. Wan na wait in here?</dialogue>
<scene_description>Bitsey stands in the rain . Behind her , hundreds of protesters flank the drive .</scene_description>
<character>BITSEY</character>
<dialogue>No thanks.</dialogue>
<scene_description>She turns and walks toward the highway . The parade tape has been replaced with crowd barriers . The drive 's left side now overflows with abolitionists : They cluster beneath tarps , some sing hymns , others paint signs -LRB- `` Do n't kill with my taxes ! '' , `` Mark 6:10 , '' `` Murder does n't Stop Murder ! '' -RRB- . Beneath one umbrella stands a large black woman holding a candle - she watches Bitsey . The right side is a media circus . Various pro - death penalty activists also cluster here . They too have prepared signs : `` Rape and Suffocate Him ! '' , `` Thank Jesus for Justice , '' '' ` Let 's Do it ' . '' A blackboard keeps a countdown : `` 13 hours . '' At the end of the drive , on the left , Bitsey sees a sign leaning against a camper : `` Save David Gale . '' It catches rain ; its letters run .</scene_description>
</scene>
<scene>
<stage_direction>INT. KETTLE RESTAURANT - NIGHT</stage_direction>
<scene_description>The restaurant 's crowded . A Church of Christ couple -LRB- 50s -RRB- eat without comment . The man 's T - shirt reads , `` It 's Simple : You Kill , You Get Killed . '' In the booth beside them sit Bitsey and Zack , their dinners largely untouched . Bitsey watches three sleazy JOURNALISTS at a table not far from theirs .</scene_description>
<character>JOURNALIST #1</character>
<dialogue>I got it. I got it. You could have corporate sponsors. Volkswagen for Bundy, Home Depot for Gacy. And ` The David Gale Execution, brought to you by.'</dialogue>
<character>JOURNALIST #2</character>
<dialogue>. Hefty.'</dialogue>
<scene_description>They find this hilarious . Bitsey looks away .</scene_description>
<character>BITSEY</character>
<dialogue>What time is it?</dialogue>
<character>ZACK</character>
<parenthetical>( checking his watch . )</parenthetical>
<dialogue>Nine hours, 52 minutes.</dialogue>
<scene_description>A beat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX PARKING LOT - NIGHT</stage_direction>
<scene_description>Pouring rain . As Bitsey and Zack hurry toward their rooms , they see Belyeu getting out of his Cadillac . He carries Bitsey 's umbrella and opens his own .</scene_description>
<character>BITSEY</character>
<dialogue>Belyeu!</dialogue>
<scene_description>He turns , comes toward them . Bitsey holds a newspaper over her head , Zack slouches .</scene_description>
<character>BITSEY</character>
<dialogue>Did you have Dusty Wright follow us?</dialogue>
<character>BELYEU</character>
<dialogue>I employ Mr. Wright from time to time.</dialogue>
<character>BITSEY</character>
<dialogue>You could have said something.</dialogue>
<character>BELYEU</character>
<parenthetical>( opening her umbrella . )</parenthetical>
<dialogue>That would have defeated the purpose. Apologies if I caused you unnecessary anxiety, but I'm paid to be suspicious.</dialogue>
<parenthetical>( handing it to her . )</parenthetical>
<dialogue>Thought I'd return this.</dialogue>
<character>ZACK</character>
<dialogue>Any word on the writ?</dialogue>
<character>BELYEU</character>
<dialogue>Denied. Tape went to a federal judge two hours ago. Your videographer friend made contact?</dialogue>
<character>BITSEY</character>
<dialogue>No.</dialogue>
<character>BELYEU</character>
<dialogue>What you got was definitely a snippet. Could be he has more previews scheduled. Best stick close to your room.</dialogue>
<character>BITSEY</character>
<dialogue>How's David?</dialogue>
<character>BELYEU</character>
<dialogue>Holdin' up. I'm headed back over.</dialogue>
<character>BITSEY</character>
<dialogue>Tell him I'll take care of it, about his son, I mean.</dialogue>
<character>BELYEU</character>
<dialogue>Will do. We'll talk later?</dialogue>
<scene_description>She nods .</scene_description>
<character>BELYEU</character>
<dialogue>Watch yourselves.</dialogue>
<scene_description>They turn from one another . Bitsey turns back .</scene_description>
<character>BITSEY</character>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>Mr. Belyeu.</dialogue>
<scene_description>He turns .</scene_description>
<character>BITSEY</character>
<dialogue>Were Dusty and Constance close?</dialogue>
<character>BELYEU</character>
<dialogue>Thick as thieves.</dialogue>
<scene_description>Bitsey nods .</scene_description>
</scene>
<scene>
<stage_direction>INT. BITSEY'S MOTEL SIX ROOM - NIGHT</stage_direction>
<scene_description>Dark . Bitsey and Zack sit on either side of the room 's table looking out the window . Rain shadows run down their faces . The room phone is on the table , as is Zack 's watch : 10:17 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX AND KETTLE - LONG SHOT - FROM ACROSS</stage_direction>
<scene_description>INTERSTATE - NIGHT The rain 's lightened up . The motel 's full . Lights are on in ten of the motel rooms . The Kettle 's lights go off , one after another .</scene_description>
</scene>
<scene>
<stage_direction>INT. BITSEY'S MOTEL SIX ROOM - NIGHT</stage_direction>
<scene_description>Zack sleeps at the end of one bed , fully dressed . Bitsey , lost in agitated thought , neatly packs a suit into her perfectly arranged suitcase . She stops , thinks . She goes to her purse and takes out the VHS cassette , a pen and a note pad . Hesitating a beat , she puts the tape in the VCR . She turns on the TV and waits for an image .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL SIX - NIGHT</stage_direction>
<scene_description>Rain . All the rooms except Bitsey 's are dark . From within comes a TV glow .</scene_description>
</scene>
<scene>
<stage_direction>INT. BITSEY'S MOTEL SIX ROOM - INSERT - BITSEY'S</stage_direction>
<scene_description>NOTEPAD - NIGHT She 's sketched a flow - chart of the tape with major elements timed out . BITSEY has her shoes off , sits on the floor with her back against a bed . She 's still watching the tape , tired , exasperated . Finally , she turns the TV OFF , rubs her eyes . She stands , looks at the radio alarm clock on the nightstand : 11:33 .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>Bitsey brushes her teeth . Looks down and sees a towel on the floor . Picks it up , starts to hang it on the towel rack , stops , looks at herself in the mirror . A beat . An idea hits her , first as something odd , then as a freight train . She spits , hurries into the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<character>BITSEY</character>
<parenthetical>( putting on her shoes . )</parenthetical>
<dialogue>Zack! Wake up! Get up!</dialogue>
<scene_description>He starts to pull himself awake .</scene_description>
<character>BITSEY</character>
<dialogue>Did you throw the towel on the floor?</dialogue>
<character>ZACK</character>
<dialogue>What?</dialogue>
<character>BITSEY</character>
<dialogue>The towel on my bathroom floor. Did you put it there?</dialogue>
<character>ZACK</character>
<dialogue>Yeah, I guess. It's a hotel room. What -</dialogue>
<character>BITSEY</character>
<dialogue>Do you do that at home?</dialogue>
<character>ZACK</character>
<dialogue>No. Fuck, Bitsey. I'm sorry, it's not like it's -</dialogue>
<character>BITSEY</character>
<dialogue>Get up.</dialogue>
<scene_description>She disconnects the VCR .</scene_description>
<character>ZACK</character>
<parenthetical>( sitting up . )</parenthetical>
<dialogue>What the fuck's wrong with you?</dialogue>
<character>BITSEY</character>
<dialogue>Grab the T.V. I want to check something.</dialogue>
<character>ZACK</character>
<dialogue>What?</dialogue>
<character>BITSEY</character>
<dialogue>We're taking a tour.</dialogue>
<character>ZACK</character>
<dialogue>Where?</dialogue>
<scene_description>She has the VCR . Grabs her purse on the way to the door .</scene_description>
<character>BITSEY</character>
<dialogue>Austin. Get the T.V.</dialogue>
<scene_description>She opens the door , exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE 3307 ENTRY HALL - NIGHT</stage_direction>
<scene_description>The DOORBELL RINGS over BAUHAUS MUSIC . The Goth Girl , wearing only the Nine Inch Nails T - shirt , opens the door . Bitsey barrages past carrying the VCR , Zack follows with the TV .</scene_description>
<character>BITSEY</character>
<dialogue>Wan na make a hundred bucks?</dialogue>
<character>GOTH GIRL</character>
<dialogue>What do I got ta do?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOUSE 3307 LIVING ROOM - NIGHT</stage_direction>
<scene_description>Bitsey , Zack and the Goth girl enter .</scene_description>
<character>BITSEY</character>
<dialogue>We're going over the crime scene.</dialogue>
<scene_description>Bitsey checks the kitchen . The tripod 's back . The other exhibit pieces have n't changed .</scene_description>
<character>BITSEY</character>
<dialogue>And for the next hour I want you to do exactly what I say when I say to do it. If I say suck Zack's dick, all I want to hear from you is ` May I swallow.'</dialogue>
<character>GOTH GIRL</character>
<dialogue>You want me to suck his dick?</dialogue>
<character>ZACK</character>
<dialogue>It's just a patriarchal figure of speech.</dialogue>
<character>BITSEY</character>
<dialogue>Is your boyfriend here?</dialogue>
<character>GOTH GIRL</character>
<dialogue>He ai n't exactly my boyfriend anymore.</dialogue>
<character>BITSEY</character>
<dialogue>Well is his video camera here?</dialogue>
<character>GOTH GIRL</character>
<dialogue>Yeah.</dialogue>
<character>BITSEY</character>
<dialogue>Get it.</dialogue>
<scene_description>She starts to leave , turns back .</scene_description>
<character>GOTH GIRL</character>
<dialogue>I got ta collect first.</dialogue>
<scene_description>Bitsey , moaning , reaches for her purse . CLOSEUP - STEREO CLOCK reads 1:48 . Zack 's hand ENTERS the FRAME , turns the MUSIC DOWN . SAME SCENE - MINUTES LATER Video : The Goth Girl 's messy kitchen . Camera zooms in to a perspective similar to that on the Constance tape . The exhibit pieces -LRB- kitchen gloves , handcuffs , tape roll -RRB- are more - or - less where they were before . The Goth Girl enters the frame , she 's removing pizza boxes and laundry from the counter .</scene_description>
<character>ZACK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Move those index cards, too.</dialogue>
<scene_description>She picks up the index cards . Zack looks up from a video camera 's eye piece . The camera is on the tripod , connected to the Goth Girl 's TV . Near it , the hotel TV/VCR . Bitsey cues the Constance tape to the beginning , freezes the image . Zack then checks the camera angle on the Goth Girl 's TV . He moves the TVs so that they are side - by - side .</scene_description>
<character>BITSEY</character>
<dialogue>Zoom in a hair.</dialogue>
<scene_description>He does so . Bitsey compares perspectives between the left TV -LRB- Goth Girl cleaning -RRB- to the right TV -LRB- Constance -RRB- .</scene_description>
<character>BITSEY</character>
<dialogue>Put the gloves on a dish rack.</dialogue>
<character>GOTH GIRL</character>
<dialogue>I do n't have one.</dialogue>
<scene_description>Zack goes to the sink , lays three pizza boxes on the counter as an ersatz dish rack - he drapes the kitchen gloves over them .</scene_description>
<character>BITSEY</character>
<dialogue>Turn them inside out.</dialogue>
<scene_description>He does so .</scene_description>
<character>BITSEY</character>
<dialogue>Move the tape roll about a foot to the left. And get rid of the handcuffs.</dialogue>
<scene_description>Zack repositions the tape . The Goth Girl picks up the handcuffs .</scene_description>
<character>BITSEY</character>
<dialogue>Come check this, Zack.</dialogue>
<parenthetical>( to the Goth Girl . )</parenthetical>
<dialogue>Could you. what's your name?</dialogue>
<character>GOTH GIRL</character>
<dialogue>Nico's cool.</dialogue>
<character>BITSEY</character>
<dialogue>Nico, lie down on the floor, facing the counter.</dialogue>
<scene_description>Zack comes behind the tripod and looks at the TVs . NICO sits on the floor , starts to take off her T - shirt .</scene_description>
<character>ZACK</character>
<dialogue>We can imagine that part.</dialogue>
<parenthetical>( to Bitsey . )</parenthetical>
<dialogue>I'll position her.</dialogue>
<scene_description>He goes to Nico , arranges her in the position of Constance -LRB- which now bears no relation to the white outline on the floor -RRB- .</scene_description>
<character>BITSEY</character>
<dialogue>That's fine. Just straighten her legs.</dialogue>
<scene_description>Zack comes back behind the tripod . He and Bitsey look at the two TV images - roughly the same . The Constance tape , however , shows what looks like a white towel in the lower right - hand corner . Bitsey points to it .</scene_description>
<character>BITSEY</character>
<dialogue>What's this?</dialogue>
<character>ZACK</character>
<dialogue>Towel or something.</dialogue>
<character>BITSEY</character>
<dialogue>Okay, look at this.</dialogue>
<scene_description>She plays the tape of Constance for eight seconds .</scene_description>
<character>BITSEY</character>
<dialogue>I noticed this back at the hotel. See?</dialogue>
<scene_description>Bitsey touches the TV screen by one of Constance 's feet . The foot moves ever so slightly . She hits pause .</scene_description>
<character>BITSEY</character>
<dialogue>She moves her foot. Why?</dialogue>
<character>ZACK</character>
<dialogue>Fucking good question.</dialogue>
<character>BITSEY</character>
<dialogue>It's another fifteen seconds before she comes to. If she had passed out once, without fresh air she would n't come back. There was no head trauma, her blood tested normal -</dialogue>
<character>ZACK</character>
<dialogue>Jesus, maybe she was faking, hoping he would go away.</dialogue>
<character>BITSEY</character>
<dialogue>Or.</dialogue>
<scene_description>Bitsey looks up at Nico .</scene_description>
<character>BITSEY</character>
<dialogue>We've got to bag her.</dialogue>
<character>ZACK</character>
<dialogue>Woa. Not a good idea.</dialogue>
<character>BITSEY</character>
<dialogue>All right, I'll do it.</dialogue>
<scene_description>SAME SCENE - MINUTES LATER Nico hurries from the bedroom into the kitchen . Bitsey and Zack stand by the sink . A white plastic bag is now on the sink counter ; beside it , the roll of duct tape .</scene_description>
<character>NICO</character>
<dialogue>I found it.</dialogue>
<scene_description>Nico hands Zack the key to the handcuffs . He tests them , then lays them on the counter .</scene_description>
<character>BITSEY</character>
<parenthetical>( to Zack . )</parenthetical>
<dialogue>Okay, I want you to wait three minutes before you take it off.</dialogue>
<character>ZACK</character>
<dialogue>Bitsey, I'm not so sure about this.</dialogue>
<character>BITSEY</character>
<dialogue>Three full minutes. Just stand behind the tripod. Both of you.</dialogue>
<scene_description>Zack and Nico move behind the tripod . Bitsey puts the bag on her head , rips off a long length of tape . She seals the bag around her neck . She then handcuffs herself from behind , with some difficulty . CLOSEUP - KEY is on the sink counter while she does this .</scene_description>
<character>BITSEY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( through the bag . )</parenthetical>
<dialogue>Have you started?</dialogue>
<scene_description>BACK TO SCENE</scene_description>
<character>ZACK</character>
<dialogue>Twenty - two seconds.</dialogue>
<scene_description>Bitsey sits on the linoleum , then lies on her side .</scene_description>
<character>ZACK</character>
<dialogue>Thirty seconds.</dialogue>
<character>NICO</character>
<dialogue>Fuckin' wicked.</dialogue>
<scene_description>Bitsey lies perfectly still .</scene_description>
<character>ZACK</character>
<dialogue>Thirty - five. Forty. Forty - five. Fifty.</dialogue>
<character>NICO</character>
<dialogue>Maybe she should n't.</dialogue>
<character>ZACK</character>
<dialogue>Fifty - five. one minute. five. ten. one - fifteen.</dialogue>
<scene_description>Bitsey starts to pull slightly at the cuffs .</scene_description>
<character>ZACK</character>
<dialogue>Fuck. Twenty. twenty - five. thirty.</dialogue>
<character>NICO</character>
<dialogue>This is n't cool.</dialogue>
<character>ZACK</character>
<dialogue>thirty - five. Fuck. one - forty. one - forty fi.</dialogue>
<scene_description>Bitsey panics , fights like hell against the cuffs .</scene_description>
<character>BITSEY</character>
<parenthetical>( through the bag . )</parenthetical>
<dialogue>Zack!</dialogue>
<scene_description>Zack runs to her , knocking the tripod over . He rips the bag open . She sucks air .</scene_description>
<character>ZACK</character>
<parenthetical>( ripping at the tape . )</parenthetical>
<dialogue>Jesus fucking Christ, Bitsey. You okay? What if I'd've waited?</dialogue>
<scene_description>She tries to catch her breath . Nico releases the handcuffs .</scene_description>
<character>ZACK</character>
<dialogue>No more fucking experiments, all right? Just tell me what's going on. You okay?</dialogue>
<scene_description>Bitsey nods , holds up her hand , wants to say something . She takes his arm , looks at him .</scene_description>
<character>BITSEY</character>
<parenthetical>( still breathing heavily . )</parenthetical>
<dialogue>She. she did it herself.</dialogue>
<scene_description>SAME SCENE - MINUTES LATER Zack sits on the couch holding the handcuffs and smoking . Nico sits on one of its armrests . Bitsey , full of adrenaline , paces in front of them , thinking out loud .</scene_description>
<character>BITSEY</character>
<dialogue>She used the gloves to keep fingerprints off the tape and bag. Then she put them back on the dish rack, but upside down and inside out, a housewives' habit. A murderer would have just tossed them aside - like they were the first time we were here, like you do a towel in a hotel.</dialogue>
<character>ZACK</character>
<dialogue>Maybe, all right, maybe.</dialogue>
<parenthetical>( indicating the cuffs . )</parenthetical>
<dialogue>But why wear these?</dialogue>
<character>BITSEY</character>
<dialogue>They threw me. I forgot you have to have the key to put them on. But she needed them. She knew she would instinctively try to rip the bag off, that at some point automatism would kick in.</dialogue>
<character>NICO</character>
<dialogue>Fuckin' A, like when people hang themselves. At the last second they go chicken, claw at the rope and shit. The police find their own skin beneath their nails.</dialogue>
<character>BITSEY</character>
<dialogue>And she swallowed the key so she could n't get to it. She made sure there was no way out.</dialogue>
<character>ZACK</character>
<dialogue>Woa, chill, chill. Why not hang yourself, or take pills. Why take your fucking clothes off? Why make it look like a murder?</dialogue>
<scene_description>A beat . Bitsey contemplates .</scene_description>
<character>BITSEY</character>
<dialogue>It's so calculated. She's handcuffed, taped at the mouth. The gloves. The damn tripod.</dialogue>
<character>ZACK</character>
<dialogue>Why, Bitsey? Why fake your own murder?</dialogue>
<character>BITSEY</character>
<dialogue>I do n't know.</dialogue>
<character>ZACK</character>
<dialogue>Motive's like a major issue here.</dialogue>
<character>BITSEY</character>
<dialogue>Thanks, Zack.</dialogue>
<character>ZACK</character>
<dialogue>It does n't make sense. The woman's a bleeding - heart abolitionist. Why frame an innocent man? Why send Gale to the chair for what looks -</dialogue>
<character>BITSEY</character>
<dialogue>What'd you say?</dialogue>
<character>ZACK</character>
<dialogue>She had to know some innocent fuck would take the fall.</dialogue>
<character>BITSEY</character>
<dialogue>Oh my God, Zack, that's it! That's why! To prove it happens. To have absolute proof that the system convicts innocents.</dialogue>
<character>ZACK</character>
<dialogue>Get the fuck out of here.</dialogue>
<character>BITSEY</character>
<dialogue>No, that's how she thought. She lived for DeathWatch. If she's gon na die, why not die for it? That's why the tripod was here. To record proof, undeniable proof, the tape. That's why we got an out - take.</dialogue>
<character>ZACK</character>
<dialogue>A dead woman put the tape in your room?</dialogue>
<character>BITSEY</character>
<dialogue>Of course not. She needed help, someone to keep it, release it. Someone she could trust, someone dedicated to the cause.</dialogue>
<scene_description>They stare at each other a beat . The same thought :</scene_description>
<character>ZACK</character>
<parenthetical>( mimicking Belyeu . )</parenthetical>
<dialogue>Thick as thieves.</dialogue>
</scene>
<scene>
<stage_direction>INT. DUSTY WRIGHT'S CABIN - NIGHT</stage_direction>
<scene_description>Dusty looks up at a wall clock : 4:23 . He sits fully dressed in his living room , listening to an OPERA . He closes his eyes . CAMERA PULLS BACK OUT of his window and into :</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS BESIDE WRIGHT'S CABIN - NIGHT</stage_direction>
<scene_description>Behind a couple of trees near the woods ' edge , Bitsey and Zack hide watching him .</scene_description>
<character>ZACK</character>
<dialogue>Hairy.</dialogue>
<character>BITSEY</character>
<dialogue>Come on.</dialogue>
<scene_description>She turns back into the woods .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIRT ROAD - NIGHT</stage_direction>
<scene_description>Bitsey and Zack emerge from the woods near the rental car . They walk and speak quickly in the light rain .</scene_description>
<character>BITSEY</character>
<dialogue>Because of the Berlin thing, Constance knew the police would go straight to Gale. In a way, he's perfect. A high profile alcoholic whose life was shit anyway. But.</dialogue>
<character>ZACK</character>
<dialogue>She was in love with him.</dialogue>
<character>BITSEY</character>
<dialogue>I do n't know. Something. They were close. She would n't want him dead.</dialogue>
<scene_description>They come to the car , get in .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - NIGHT</stage_direction>
<scene_description>Bitsey drives .</scene_description>
<character>BITSEY</character>
<dialogue>Remember this thing about Dusty being a bull - horner, going to far?</dialogue>
<character>ZACK</character>
<dialogue>Why he was fired from DeathWatch, and the A.C.L.U.</dialogue>
<character>BITSEY</character>
<dialogue>Right. Maybe the plan was for Dusty to release the tape after Gale's conviction, after a year or so. You know, force him to dry out, let him play the heroic victim, give him back his dignity. So, Dusty Wright's sitting on this tape, waiting, the only one who knows about it. And maybe good ole Dusty starts to think that an erroneous execution is a hell of a lot more politically useful than a last - minute save.</dialogue>
<character>ZACK</character>
<dialogue>Which would only prove the system works.</dialogue>
<character>BITSEY</character>
<dialogue>Yeah. Almost martyrs do n't count. What's one murder to stop thousands?</dialogue>
<character>ZACK</character>
<dialogue>So he'll wait, release the whole tape after the execution.</dialogue>
<character>BITSEY</character>
<dialogue>Right. Somewhere he must have the original. What time is it?</dialogue>
</scene>
<scene>
<stage_direction>INT. WRIGHT'S CABIN - NIGHT</stage_direction>
<scene_description>The wall clock : 4:50 . Dusty hears the PHONE RING over a BARITONE 'S ARIA . He turns the MUSIC DOWN , and picks up .</scene_description>
<character>DUSTY</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - NIGHT</stage_direction>
<scene_description>The gas station is old , isolated on a country road . Closed , dark . By the road , a single light pole illuminates the area - its light catching the drizzle . Directly beneath the pole is a phone booth , where Bitsey waits by the rental car .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction>
<scene_description>Zack is on the phone with the booth door open . Bitsey stands just outside .</scene_description>
<character>ZACK</character>
<dialogue>Let's talk about your tape. No, meet me at the station down the hill, in fifteen minutes.</dialogue>
<scene_description>Zack hangs up before Dusty can respond . He stops out of the booth and gives Bitsey a tentative look .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT'S CABIN - NIGHT</stage_direction>
<scene_description>Dusty hangs up , thinks .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - NIGHT</stage_direction>
<scene_description>Bitsey sits in the car 's driver seat . Zack stands by the booth .</scene_description>
<character>BITSEY</character>
<dialogue>Do n't move from the booth. Call the second you see the truck. Remember, let it ring just once. Then get into the woods -</dialogue>
<character>ZACK</character>
<dialogue>I know. Go.</dialogue>
<character>BITSEY</character>
<parenthetical>( pulling away . )</parenthetical>
<dialogue>Into the woods, Zack.</dialogue>
<character>ZACK</character>
<dialogue>Go!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey is in the woods , watches Dusty pull away in the pickup . She hurries to the front door , enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey turns on the lights and begins searching . She sees 11 videos on a bookshelf . Some are labeled , three are n't . She takes the cassettes to the TV/VCR . Puts one in -LRB- her hands are wet -RRB- . Nothing . She searches for the right AV channel .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction>
<scene_description>Zack anxiously waits . His eyes check the road .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey has a picture , but the tape is an old TV western . She starts to fast forward , realizes she wo n't be able to do so with each tape , hits eject . She checks the clock : 5:04 . She takes another unlabeled tape . It 's a home video of a city council meeting .</scene_description>
<character>BITSEY</character>
<parenthetical>( hitting eject . )</parenthetical>
<dialogue>Shit!</dialogue>
<scene_description>She grabs the next unlabeled tape .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - NIGHT</stage_direction>
<scene_description>Zack paces in front of the booth , checks his watch .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey has an old `` I Love Lucy '' episode . Ejects , looks at the label : `` Lucy . '' She grabs another , labeled `` Unforgiven . '' The credits from Unforgiven roll on screen .</scene_description>
<character>BITSEY</character>
<dialogue>Shit!</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - NIGHT</stage_direction>
<scene_description>Zack sees lights coming toward him . Gets into the phone booth , drops two coins , dials six numbers . He hesitates to punch the seventh , checks the road . The approaching lights belong to a car . He quickly hangs up .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey is frantic . Another tape is an old Johnny Carson interview with Pavarotti .</scene_description>
<character>BITSEY</character>
<dialogue>Shit!</dialogue>
<scene_description>She reaches for another .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - NIGHT</stage_direction>
<scene_description>Zack hugs himself in the waning drizzle .</scene_description>
<character>ZACK</character>
<dialogue>Come on. Fucking come on.</dialogue>
</scene>
<scene>
<stage_direction>INT. WRIGHT CABIN</stage_direction>
<scene_description>Bitsey has what looks like an office Christmas party . She goes for another tape - the last . Cheyenne Autumn comes up on the screen . She hits eject . She gets up , unsure what to do next . She goes back to the bookshelf , pulls books out to look behind them for more tapes , indifferent to the mess . She goes to a filing cabinet , quickly rifles it . She looks around the room , sees something . She goes to a large oak desk with an old typewriter on it . After the other drawers , she looks in the lap drawer . It 's empty except for large padded envelope addressed to `` Bitsey Bloom/News Magazine/40 W. 43rd St. / New York , New York 10036 . '' A beat as she stares in disbelief . She rips it open , pulls out a VHS cassette and checks the label : `` Constance . '' The PHONE RINGS , startling her . She looks at the phone , then at the clock : 5:14 . The phone does n't ring again . A beat of absolute silence . Bitsey goes quickly to the VCR and puts in the tape - hands shaking . After a few seconds , Constance appears standing in her kitchen by the sink , dressed in a bathrobe . She 's wearing the kitchen gloves and fills a glass with water . ON VIDEO Constance turns from the sink :</scene_description>
<character>CONSTANCE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( her voice weak . )</parenthetical>
<dialogue>Ready?</dialogue>
<scene_description>The response is silent , but she nods . A beat - she bites her lower lip . In one quick movement she takes the key from the handcuffs and swallows it with the water . It goes down with difficulty ; she coughs , then signals she 's okay . She puts the glass in the sink . She takes the duct tape roll , rips off a long section , sticks one end to the back of her gloved hand . She tears off another small section , drops the roll on the floor . She tapes the small section over her mouth . She then takes the plastic bag from the counter , looks at it a beat . Constance turns toward camera , mouth taped , eyes watering . She nods once , and turns back . She quickly puts the bag over her head . After she has smoothed the excess air out with one hand , she takes the packing tape from the other . She seals the bag around her neck . She smoothly takes off the gloves . They 're inside out and she snaps them so that the fingers extend . She drops them upside down on the dish rack . She removes her robe - she 's nude beneath - and tosses it aside . It lands in the bottom right hand corner of the screen . She feels for the handcuffs on the counter , takes them . She sits on the floor , cuffs herself . She rolls onto her side , perfectly still , waiting . ON BITSEY Engrossed , trembling . The spell breaks as she comes to the part of the tape she 's seen before . Averting her eyes , she fast - forwards past where Constance struggles to where she dies . Constance lies perfectly still . A beat . VIDEO A man wearing gloves walks into the frame : Dusty . ON BITSEY This is what she 's needed . VIDEO Dusty goes to Constance , kneels and , removing a glove , checks her pulse . He looks briefly up into the camera , then stands . He picks up her robe and comes back past the tripod . A beat . We see only Constance 's dead body - then black . ON BITSEY A hand grabs her shoulder . She screams and spins around . It 's Zack , breathing hard .</scene_description>
<character>ZACK</character>
<dialogue>He did n't show! Fuckin' move!</dialogue>
<scene_description>Bitsey hits the eject button .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WRIGHT CABIN - NIGHT</stage_direction>
<scene_description>Bitsey and Zack hurry out of the cabin and into the woods . The pickup is nowhere to be seen . As they disappear into the trees , Dusty can be seen standing beneath the eave at the side of the house , watching .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RENTAL CAR - SUNRISE</stage_direction>
<scene_description>The car moves full speed through the misty dawn . The drizzle has stopped .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - NIGHT</stage_direction>
<scene_description>Bitsey drives . The overheat light is on . Zack has her purse in his lap , rips a page out of her phone book . She 's almost in tears , yelling .</scene_description>
<character>BITSEY</character>
<dialogue>Everyone! Wake up New York, the warden, the Governor, the goddamn Supreme Court death clerk! How far is it?</dialogue>
<character>ZACK</character>
<dialogue>Took me 30 this afternoon. You've got 26, maybe more.</dialogue>
<character>BITSEY</character>
<dialogue>I'll make it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. INTERSTATE - IN FRONT OF MOTEL SIX - SUNRISE</stage_direction>
<scene_description>The rental car slides to a near stop on the interstate shoulder . Zack jumps out , as Bitsey spins away again . He runs across the frontage road toward the motel in the mist .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUNTSVILLE TOWN SQUARE - SUNRISE</stage_direction>
<scene_description>The rental car barrels through the empty square , ignoring stop signs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - SUNRISE</stage_direction>
<scene_description>The rental car flies past a `` Huntsville City Limit '' sign and disappears into the fog .</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - SUNRISE</stage_direction>
<scene_description>The overheat light is still on . Bitsey looks down , then turns on the RADIO . A COUNTRY AND WESTERN SONG is on . She punches scan .</scene_description>
<character>BITSEY</character>
<parenthetical>( to the radio . )</parenthetical>
<dialogue>Give me the time. Give me the goddamn time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY JUNCTION - SUNRISE</stage_direction>
<scene_description>The highway forks off to another . An arrow sign at the fork reads : `` TDC Ellis Unit/8 Miles . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR - SUNRISE</stage_direction>
<scene_description>Bitsey smells something .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY TO ELLIS UNIT - SUNRISE</stage_direction>
<scene_description>The rental car , smoke pouring from the engine , clunks to a dead roll , stops . Bitsey jumps out , VHS cassette in hand . She does n't close the door . Starts running . Bitsey runs down the middle of the two - lane highway . The rental car in the b.g. recedes into the mist - visibility is no more than fifty yards . The sounds of her breathing and SHOES HITTING the PAVEMENT ECHO into the mist . She runs , and runs . A car comes up quickly behind her . Its HORN BLARES . She turns , starts to wave it down . The driver SITS ON his HORN , swerves around her onto highway 's shoulder and drives on . She runs . Runs past an abandoned vegetable stand . Runs past a sleepy farmhouse . She runs , and runs . She slows , out of strength , looks up and down the highway . Both in front and behind , it leads straight into the mist , a tunnel of fog . She stumbles on , a final effort . She runs . Sees something . Stops cold . Coming toward her in the distance are small flashing lights . They rise on hill and then fall behind another . They appear again . Soon , she can make out the form of an ambulance , and its highway patrol escort . The vehicles move slowly toward her , without sirens , as deathly quiet as their cargo . She stands to the side of the road as they approach . The highway patrol vehicle and the ambulance - marked `` Texas Department of Corrections '' - pass silently in SLOW MOTION . She watches as they disappear back into the mist . In SLOW MOTION , she screams , falls to her knees wailing , but we can not hear her . We HEAR NOTHING .</scene_description>
</scene>
<scene>
<stage_direction>INT. WRIGHT'S CABIN - SUNRISE</stage_direction>
<scene_description>In the b.g. , Dusty walks out the front door carrying two large suitcases . On his desk in the f.g. is a radiator cap . BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. DALLAS/FT. WORTH AIRPORT - DAY</stage_direction>
<scene_description>Belyeu makes his way through the departure hall carrying the aluminum suitcase . ON TV Roberts and the Court TV `` breaking news '' logo are on the screen .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( to camera . )</parenthetical>
<dialogue>Here's what we know so far. Last night, News Magazine posted on their web site a video obtained by reporter Bitsey Bloom.</dialogue>
<scene_description>Light applause . The TV is mounted on the wall in :</scene_description>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE'S EDITORIAL FLOOR - DAY</stage_direction>
<scene_description>Bitsey watches the report with about a dozen colleagues . Kruger stands beside her . A few people congratulate her . She attempts a smile and nods , though she does n't look away from the TV . Kruger shushes the others to hear the story .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The footage appears to show Constance Harraway commit suicide.</dialogue>
<scene_description>ON TV</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Bloom reports she received the tape Friday morning at a motel in Huntsville, where she was staying while conducting Gale's last interview.</dialogue>
<scene_description>ON FLOOR Zack watches Bitsey from the other side of the room . She looks over at him , then quickly looks back at the TV .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The tape apparently had been in the possession of a former DeathWatch Director.</dialogue>
<scene_description>ON TV Camera pulls back to reveal that Roberts is standing in front of Wright 's cabin . Other journalists and gawkers can be seen out front . Police vehicles are also visible . Suits and officers move in and out of the cabin .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( reading the name off a card . )</parenthetical>
<dialogue>. Dustin Emil Wright. As you can see, police and officials from the State Attorney's office have been in and out of his cabin all morning, looking for clues to his whereabouts.</dialogue>
</scene>
<scene>
<stage_direction>INT. DALLAS/FT. WORTH AIRPORT - DAY</stage_direction>
<scene_description>Belyeu enters a men 's room .</scene_description>
</scene>
<scene>
<stage_direction>INT. MEN'S ROOM - DAY</stage_direction>
<scene_description>Belyeu walks to a row of sinks . He sets the case on the floor and starts to wash his hands . A businessman combs his hair to Belyeu 's left . Belyeu looks in the mirror and sees Dusty approach from a stall .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY</stage_direction>
<scene_description>The room watches Roberts .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>a fanatic in the movement to stop the death penalty.</dialogue>
<scene_description>ON TV</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It appears Wright withheld the tape to make an obscure political point about the potential for error in capital cases.</dialogue>
<scene_description>ON BITSEY She watches , trying to contain her emotions . Zack watches her . She looks his direction . He smiles sadly , looks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. DALLAS/FT. WORTH AIRPORT - MEN'S ROOM - DAY</stage_direction>
<scene_description>Dusty washes his hands , looks down at the case . The businessman leaves .</scene_description>
<character>DUSTY</character>
<dialogue>All there?</dialogue>
<character>BELYEU</character>
<dialogue>Passport and ticket as well.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY</stage_direction>
<scene_description>Governor Hardin is on the steps of the capital , journalists around her .</scene_description>
<character>GOVERNOR HARDIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, it's a tragedy for all of us. As to whether this will change policy, the people of Texas will have to decide. Right now, the prudent course is to put things on hold pendin' a procedural review, allow ourselves time to mourn.</dialogue>
<scene_description>Kruger leans toward Bitsey .</scene_description>
<character>KRUGER</character>
<dialogue>You bet she'll review. Capital punishment approval rates dropped 17 points.</dialogue>
<scene_description>Bitsey just looks at the TV , trying to make it through .</scene_description>
</scene>
<scene>
<stage_direction>INT. DALLAS/FT. WORTH AIRPORT MEN'S ROOM - DAY</stage_direction>
<scene_description>Dusty picks up the case . Belyeu straightens his tie .</scene_description>
<character>BELYEU</character>
<dialogue>What are you going to do?</dialogue>
<character>DUSTY</character>
<parenthetical>( walking past him . )</parenthetical>
<dialogue>Go to the opera.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE - EDITORIAL FLOOR - ON TV - DAY</stage_direction>
<scene_description>Old footage of David being led in chains from an Austin jailhouse to a waiting van . He wears the clothes he was wearing the day Constance died .</scene_description>
<character>ROBERTS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Of course, the ultimate irony is that David Gale, a man who became an unwitting martyr, may achieve in death what he worked for in life.</dialogue>
<scene_description>ON BITSEY She bites her lower lip in a manner reminiscent of Constance . BLACK .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET (BARCELONA) - DAY</stage_direction>
<scene_description>Dusty walks along the Ramblan . He carries a duty - free bag and the aluminum suitcase . He comes to a building , checks its number against a piece of paper , enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARCELONA APARTMENT HOUSE - DAY</stage_direction>
<scene_description>Dusty ascends a staircase onto hallway . He walks a few steps to door number six . An OLD SPANISH WOMAN passes him .</scene_description>
<character>DUSTY</character>
<dialogue>Senorita Gale esta viviendo aqui?</dialogue>
<character>OLD WOMAN</character>
<dialogue>Si. Si.</dialogue>
<character>DUSTY</character>
<dialogue>Gracias.</dialogue>
<scene_description>The old woman moves down the stairs . Dusty puts the aluminum suitcase on the doormat . From the duty - free bag he takes out David 's Yale sweatshirt , lays it over the case . He RINGS the DOORBELL , turns and walks back down the hall . He stands at the top of the stairs , waiting for someone to answer before descending . Sharon -LRB- older than we 've seen her -RRB- opens the door , sees the case and sweatshirt . She looks around , but Dusty is gone . She picks them up .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY</stage_direction>
<scene_description>Bitsey sits at her neurotically neat desk , looking out the window . It 's a sunny day in New York . For the first time , we see her wearing something besides a business suit . Framed on her cubicle wall is the latest News cover page : a picture of David with the headline `` The Executed Innocent . '' A MAIL GUY drops a Fed Ex package on her desk .</scene_description>
<character>MAIL GUY</character>
<dialogue>This just came.</dialogue>
<scene_description>It 's from `` Belyeu & Crane/420 Congress Ave. / Austin , Texas , 78710 . '' She opens it , pulls out Cloud Dog and a handwritten note on Belyeu & Crane stationery . INSERT - NOTE reads : `` David wanted you to have this . He said it would be the key to your freedom . Regards , Benjamin Belyeu . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. SHARON'S BARCELONA APARTMENT - DAY</stage_direction>
<scene_description>At the breakfast table , a Spanish yuppie male sits with a newspaper in front of him . He watches Sharon open the case . Inside : money , stacks and stacks of money . On top is an unsigned note : `` I 'm sorrier than you can know . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. NEWS MAGAZINE - EDITORIAL FLOOR - DAY</stage_direction>
<scene_description>Bitsey holds the stuffed sheep . puzzled . Looks at the note ,</scene_description>
<character>BITSEY</character>
<dialogue>Key to your freedom? Key to your.</dialogue>
<scene_description>Suddenly , she understands . She squeezes the sheep , shakes it , hears something . She cuts the sheep open with scissors . A Hi - 8 tape is in the stuffing . It 's hand labeled : `` Off the record . '' She jumps up . TRACKING SHOT Bitsey hurries THROUGH the cubicles . She goes DOWN a hall and INTO the `` MultiMedia '' room .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEWS - MULTIMEDIA ROOM - DAY</stage_direction>
<scene_description>Bitsey locks the door , puts the tape into a Hi - 8 deck . ON VIDEO The tape is cued to where Dusty picks up Constance 's robe and walks past the tripod out of frame . We see only Constance 's body . We hear the sliding door to the patio open behind the camera .</scene_description>
<character>DUSTY</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( calling . )</parenthetical>
<dialogue>It's over.</dialogue>
<scene_description>A long beat . FOOTSTEPS on the patio .</scene_description>
<character>DUSTY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Want me to turn this off?</dialogue>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>David walks into frame . He goes a couple of steps toward Constance 's body and stops , facing her . We see him only from behind . He looks at her , runs his hands over his head .</scene_description>
<character>DAVID</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I could n't watch.</dialogue>
<character>DUSTY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She preferred it that way. You were right about not tellin' her the whole plan.</dialogue>
<character>DAVID</character>
<dialogue>It helped her to think her death would save me.</dialogue>
<scene_description>A beat .</scene_description>
<character>DUSTY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You sure you want to do this?</dialogue>
<character>DAVID</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yeah. Almost martyrs do n't count.</dialogue>
<scene_description>A beat .</scene_description>
<character>DUSTY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Better go ahead then.</dialogue>
<scene_description>David goes to Constance , kneels . He reaches down and with his thumb gently strokes her face through the plastic . He stands , turns and walks back to the camera . He reaches behind the lens to turn it off . A beat . Half his face fills frame , his watery eyes looking directly at us . In the other half , we see Constance 's body . Black .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARCELONA OPERA HOUSE - NIGHT</stage_direction>
<scene_description>Dusty sits watching a performance of Puccini 's Turandot . On stage is the scene where Liu martyrs herself . CLOSEUP - DUSTY He closes his eyes . THE END</scene_description>
</scene>
</script> | David Gale is a professor on death row in Texas. With only a few days until his execution, his lawyer negotiates a half-million dollar fee to tell his story to Bitsey Bloom, a journalist from a major news magazine. She has a reputation of keeping secrets and protecting her sources. He tells her how he ended up on death row, revealed through a series of lengthy flashbacks. Gale is head of the philosophy department at the University of Austin and an active member of DeathWatch, an advocacy group campaigning against capital punishment. At a graduation party, he encounters Berlin, an attractive graduate student who had been expelled from the school. When Gale gets drunk at the party, she seduces him and they have sex. She then falsely accuses Gale of rape. The next day, he loses a televised debate with the Governor of Texas when he is unable to prove a demonstrably innocent man was executed during the governor's term. After losing the debate, Gale is arrested and charged with rape. While the rape charge against Gale is later dropped, the damage had already been done, and his family, marriage, university career and reputation are all destroyed. Constance Harraway, a fellow DeathWatch activist, is a close friend of Gale who consoles him after his life falls apart, and the pair have sex. However, the next day, Harraway is discovered raped and murdered, suffocated by a plastic bag taped over her head. An autopsy reveals that she had been forced to swallow the key to the handcuffs used to restrain her, a psychological torture technique used by the Securitate under the communist regime of Nicolae Ceauşescu, which Gale and Harraway had both protested against. The physical evidence at the crime scene points to Gale, who is convicted of rape and murder and is sentenced to death. In the present, Bloom investigates the case in between her visits with Gale. She comes to believe that the apparent evidence against Gale does not add up. She is tailed several times in her car by Dusty Wright, an alleged one-time lover and colleague of Harraway, who she suspects was the real killer. Wright slips evidence to Bloom that suggests Gale has been framed, implying that the actual murderer videotaped the crime. Bloom pursues this lead until she finds a tape revealing that Harraway, who was suffering from terminal leukemia, had committed an elaborate suicide made to look like murder. Wright is seen on the videotape, acting as her accomplice, implying that they framed Gale as part of a plan to discredit the death penalty by conspiring to execute an innocent person, and subsequently releasing evidence of the actual circumstances. Once Bloom and her aide find this evidence, only hours remain until Gale's scheduled execution. She tries to give the tape to the authorities in time to stop the execution. She arrives at the Huntsville Unit just as the warden announces that the execution has been carried out. The tape is subsequently released, causing a media and political uproar over the execution of an innocent man. Later, Wright receives the fee that Bloom's magazine agreed to pay for the interview, and delivers it to Gale's ex-wife in Spain, along with a postcard from Berlin in San Francisco apologizing, all but confessing that the rape accusation that derailed Gale's life and career was false. His ex-wife looks distraught, knowing Gale told the truth and that she effectively stole their child away from him. Much later still, a videotape labeled "Off the Record" is delivered to Bloom. This tape picks up at the point where Wright confirmed that Harraway was dead. It continues, showing him stepping aside to allow Gale, also present and party to the suicide, to caress the body of his lover, deliberately leaving his fingerprints on the plastic bag in the process. He then stands up and ends the recording, leaving Bloom stunned with the truth that the couple deliberately sacrificed themselves to discredit capital punishment. |
Dexter_2006 | tt0773262 | <script>
<scene>
<stage_direction>FADE IN</stage_direction>
<scene_description>ON THE FULL MOON Millions of glittering stars behind it and as we start pulling back off the stars , we HEAR the even VOICE of -</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Tonight's the night. And it's going to happen again and again. Has to happen.</dialogue>
<scene_description>PANNING DOWN Passing the moon - wonderfully bright in all its redness .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nice night.</dialogue>
<scene_description>PANNING FURTHER DOWN UNTIL The moonlight illuminates the restless , inner city streets of Miami and we start moving through them - passing the neon lit bars with enthusiastic DRINKERS , clueless GERMAN TOURISTS , wearing shorts , black socks and sandals , long legged MODELS flirting on the boulevard , blue collar CUBANO MEN sipping espresso , a few scantily clad HOOKERS hawking johns and a band of RUNAWAYS looking for handouts -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Miami's a great town - love the Cuban food, pork sandwiches - my favorite. but I'm hungry for something different now.</dialogue>
<scene_description>A nervous middle - aged COUPLE , clearly lost , RACES in and out of the pools of light cast by the city street lights .</scene_description>
</scene>
<scene>
<stage_direction>A CAR, CIRCA EARLY 1990'S</stage_direction>
<scene_description>Drives into frame , turns a corner , drives down a main boulevard , approaches an intersection - the overhanging light turns RED and as the car stops , we push into - THE WINDSHIELD AND SEE A MAN behind the wheel of that Car but we ca n't see his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAND SHELL - PARK - MIAMI, FL - NIGHT</stage_direction>
<scene_description>PROUD PARENTS sit on the grass , opened picnic baskets in front of them . Their eyes focused on two dozen BOYS -LRB- 12 - 14 -RRB- wearing snappy looking , matching shirts , singing a beautiful rendition of `` Bach Magnificat . '' With a flourish , the tropically dressed CHOIR MASTER -LRB- 40 's -RRB- , handsome , all - American looking , with a scrubbed clean face , guides the boys to the stunning crescendo . The CROWD stands , ERUPTS with applause . The boys smile . The Choir Master turns , bows to the audience - more applause , then rises , blows kisses to his perky little WIFE and their TWO young DAUGHTERS standing in the front row . FREEZE FRAME ON THE CHOIR MASTER</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( contained excitement . )</parenthetical>
<dialogue>There he is - Mike Donovan. He is the one.</dialogue>
<scene_description>MOMENTS LATER The kids all walk off the stage , join their happy parents on the lawn . The Choir Master joins his wife , bends down , gives her a kiss , hugs his two sweet little girls . Other PARENTS walk over extend their heartfelt thanks to the Choir Master . Everyone starts packing up their picnic baskets -</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - BORDERING THE PARK - MIAMI, FL - LATER</stage_direction>
<scene_description>The Choir Master walks his wife and daughters to a Buick sedan . Helps them get in , buckles up the kids - waves as the car drives off . He turns , walks up the street .</scene_description>
<character>NEW ANGLE</character>
<dialogue>The Choir Master comes closer, closer to a -</dialogue>
<scene_description>FORD TAURUS STATION WAGON And STOPS right before us , so close we can almost touch him . He fumbles in his pocket for his keys and after a beat , the key finally enters the lock , the station wagon door opens and as the Choir Master slides in behind the wheel , SUDDENLY -</scene_description>
<character>A MAN</character>
<dialogue>POPS UP from the back seat, quicker than a jack in the box, and with incredible quickness WHIPS a fishing line around the Choir Master's neck, pulls it very TIGHT.</dialogue>
<scene_description>THE CHOIR MASTER 'S EYES go wide and his face turns white . The MAN behind him turns toward the camera , and we finally SEE - DEXTER 'S FACE -LRB- 30 's -RRB- , good looking with carefully constructed features , eyes that are full of life . FREEZE FRAME ON HIS FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My name is Dexter - Dexter Morgan and I'm going to kill this man tonight.</dialogue>
<scene_description>BACK TO SCENE Dexter turns back to Donovan , leans in close to his ear , whispers menacingly .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're mine now, so do exactly as I say.</dialogue>
<character>DONOVAN</character>
<parenthetical>( struggling , barely audible . )</parenthetical>
<dialogue>What do you want?</dialogue>
<scene_description>And Dexter pulls the fishing line tighter , cuts into Donovan 's skin .</scene_description>
<character>DEXTER</character>
<parenthetical>( hard . )</parenthetical>
<dialogue>I want you to be quiet.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And if you're good, maybe I'll let you live a little longer. Now drive.</dialogue>
<scene_description>And Donovan pulls out of the spot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIRT ROAD - OUTSKIRTS OF MIAMI, FL - LATER</stage_direction>
<scene_description>The station wagon driving down a dirt road flanked by swampland . It does n't look good . We can see it in Donovan 's eyes .</scene_description>
<character>DEXTER</character>
<dialogue>Turn here.</dialogue>
<scene_description>Donovan turns the wheel and the car rumbles toward -</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CISTERN - OUTSKIRTS OF MIAMI, FL - SAME</stage_direction>
<scene_description>The car stops in front of an old , abandoned concrete cistern . To the side , is a small yard where we see THREE MOUNDS of dirt piled high . The car STOPS . Donovan stares at the mounds , then snaps his eyes shut . Dexter releases the noose .</scene_description>
<character>DEXTER</character>
<dialogue>Get out.</dialogue>
<scene_description>Donovan STUMBLES out of the car , falls to the ground , starts to whimper .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( sharp , demanding . )</parenthetical>
<dialogue>You have to listen and do what I say. You should know that. It's important.</dialogue>
<scene_description>After a beat , Donovan slowly gets up and the two of them stare at each other . There 's a weird understanding between the two . Dexter smiles , says softly -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>In the house.</dialogue>
<scene_description>Dexter whips the fishing line back around Donovan 's neck and they both walk up to the front door and enter -</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CISTERN - OUTSKIRTS OF MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter KICKS the door closed , quickly flips on a flood lamp , lights up the room , leans into Donovan 's ear , whispers .</scene_description>
<character>DEXTER</character>
<dialogue>Look.</dialogue>
<scene_description>Donovan is too scared , tries to turn his head away -</scene_description>
<character>DONOVAN</character>
<dialogue>No.</dialogue>
<character>DEXTER</character>
<dialogue>Oh yes.</dialogue>
<character>DONOVAN</character>
<parenthetical>( struggling . )</parenthetical>
<dialogue>NO! NO!</dialogue>
<scene_description>But Dexter twists the noose tighter and Donovan 's SCREAMS are cut off .</scene_description>
<character>DEXTER</character>
<dialogue>It's horrible, is n't it? Is n't it?</dialogue>
<scene_description>But Donovan SLAMS his eyes shut even tighter .</scene_description>
<character>DONOVAN</character>
<parenthetical>( pleading . )</parenthetical>
<dialogue>Please.</dialogue>
<scene_description>Dexter GRABS the back of Donovan 's neck , SPINS him around , SLAMS his face into a wall , then grabs his hair and pulls Donovan 's head back .</scene_description>
<character>DEXTER</character>
<dialogue>OPEN YOUR EYES AND LOOK AT WHAT YOU DID - LOOK OR I'LL CUT YOUR EYELIDS RIGHT OFF OF YOUR FACE.</dialogue>
<scene_description>Donovan 's eyes pop open wide , and we finally SEE - THREE SMALL BODIES Three little dead BOYS laid out on plastic sheets and spread out in a semi - circle before them .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It took me a long time to get all these little boys clean - one of them had been in the ground so long he was falling apart - Pulled him out in bits and pieces.</dialogue>
<character>DONOVAN</character>
<dialogue>NO.</dialogue>
<scene_description>And then in a deeply heartfelt voice Donovan starts mumbling in a mantra - like way -</scene_description>
<character>DONOVAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hail Mary, full of grace, the Lord.</dialogue>
<character>DEXTER</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>STOP! That never helped anyone.</dialogue>
<character>DONOVAN</character>
<dialogue>Please.</dialogue>
<character>DEXTER</character>
<dialogue>It's time for the truth.</dialogue>
<character>DONOVAN</character>
<parenthetical>( pleading again . )</parenthetical>
<dialogue>Please. You can have anything -</dialogue>
<character>DEXTER</character>
<dialogue>That's good. Beg. Did these little boys beg?</dialogue>
<scene_description>Donovan SCREAMS and Dexter lets go . Donovan falls forward and lands on his face sobbing , sniveling .</scene_description>
<character>DONOVAN</character>
<dialogue>I could n't help myself, I just could n't. Please, you have to understand.</dialogue>
<scene_description>Dexter looks down at him -</scene_description>
<character>DEXTER</character>
<dialogue>Trust me, I definitely understand.</dialogue>
<scene_description>Then Dexter grabs him , lifts him up , stares into his eyes .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See, I ca n't help myself either.</dialogue>
<parenthetical>( w/disgust . )</parenthetical>
<dialogue>But children. I could never do that. Not like you. Never, ever kids.</dialogue>
<character>DONOVAN</character>
<parenthetical>( rhetorical , plaintive . )</parenthetical>
<dialogue>Why?</dialogue>
<character>DEXTER</character>
<dialogue>I have standards.</dialogue>
<scene_description>And then in a flash , Dexter pulls a syringe out of his pocket , PLUNGES the needle deep into Donovan 's neck . His eyes instantly roll up and into the back of his head and when we see nothing but white , he collapses onto the floor . Dexter leans down , picks him up by his collar , drags him up the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CISTERN - OUTSKIRTS MIAMI, FL - LATER</stage_direction>
<scene_description>Flood lamps illuminate the clean , freshly prepared room . The windows are sealed with thick plastic sheets and on the table in the middle of the room - Donovan lies naked , but his arms and legs are strapped down with duct tape . His eyes wide open and his mouth is stuffed with thick wads of white gauze . Placed strategically around the room are boxes lined with white garbage bags and on a smaller table next to the Choir Master are bottles of chemicals , small saws , drills , scalpels and knives of every shape and size . It 's an unseemly display of gleaming metallic , sterile utensils . Dexter , now wearing a clean , form fitting Hazmat suit and a pair of surgical gloves , looks down at Donovan .</scene_description>
<character>DEXTER</character>
<dialogue>Soon, you'll be packed into a few neatly wrapped Hefties and my own small corner of the world will be a neater, happier place. A better place.</dialogue>
<scene_description>Dexter lifts a very sharp scalpel and an eye dropper off the table , leans over Donovan and with the scalpel makes a small precise little incision on the man 's forehead . Blood trickles out and using the eyedropper , Dexter very carefully , sucks a few blood droplets up and into the small tube of glass .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Blood. Sometimes it sets my teeth on edge.</dialogue>
<scene_description>When he sees the blood , Dexter clearly gets excited - But after a beat , he controls himself , then very carefully squeezes the rubber top of the eye dropper over a glass slide and a few tear drops of blood gently spatter onto the slide , then he presses a second piece of glass over it , seals the two slides together - FREEZE ON THE BLOOD SLIDE</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Other times, it helps me control the chaos.</dialogue>
<scene_description>BACK TO SCENE Dexter slips the glass slide into his shirt pocket , smiles , then grabs a small surgical saw off the table - we HEAR the whirl of its motor running and as Dexter slowly brings the saw down toward Donovan 's crotch - We fade to - BLACK .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEXTER'S BOAT - CANALS - MIAMI, FL - EARLY MORNING</stage_direction>
<scene_description>Dexter , back in casual clothes , stands behind the wheel of his boat , puttering past an early morning fishing boat - a huge smile on his face . Dexter eyes a leather - skinned FISHERMAN standing on his commercial fishing boat - waves to him .</scene_description>
<character>DEXTER</character>
<dialogue>Ahoy - Ahoy there, Captain. Any big Marlin out there today?</dialogue>
<scene_description>The fisherman smiles , waves back and Dexter smiles wide .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Whatever made me the way I am left me hollow, empty inside. People fake a lot of human interactions - but I fake it all and I fake it very well.</dialogue>
<scene_description>Dexter navigates his boat out of the bay .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that's my plight - I care about people as much as I care about lawn furniture but I ca n't blame my foster parents for that. Harry and Doris Morgan did a wonderful job raising me. But they're both dead now.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I did n't kill them.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Honest.</dialogue>
<scene_description>And just then a testosterone injected SPEED BOAT cuts across his bow causing a large wave to SPLASH over Dexter 's deck and we -</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. BOAT - CENTRAL FL - LATE AFTERNOON</stage_direction>
<scene_description>It 's a beautiful , warm Sunday afternoon and the boat is anchored in the lazy bay . A bin filled with freshly caught RED SNAPPERS sits behind - HARRY -LRB- 50 's -RRB- , Dexter 's foster father - a diamond in the rough , tough exterior , but soft at heart - pulls a flask out of his pants pocket , slowly unscrews the top , downs a slug of booze , then slips the flask back into his pants . YOUNG DEXTER -LRB- 12 -RRB- watches his father very carefully , then picks up a small bottle of milk , unscrews the top , takes a sip , screws the top back on , then tries to slip it into his pants - just like his father , but it does n't fit so he sets it aside . Harry stares into nothingness - then turns to his adopted son and says very softly , simply -</scene_description>
<character>HARRY</character>
<dialogue>You're different, are n't you, Dexter?</dialogue>
<scene_description>Dexter swallows hard , looks nervously at his dad .</scene_description>
<character>YOUNG DEXTER</character>
<parenthetical>( haltingly . )</parenthetical>
<dialogue>What do you mean, Pop?</dialogue>
<character>HARRY</character>
<dialogue>The Billups say Buddy disappeared.</dialogue>
<scene_description>Little Dexter turns away .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( softly . )</parenthetical>
<dialogue>I found the grave, son.</dialogue>
<character>YOUNG DEXTER</character>
<parenthetical>( defensive . )</parenthetical>
<dialogue>That dog was a noisy little creep, Pop. He was barking all night and Mom could n't sleep and she's very, very sick and that lousy dog was yapping at every leaf that blew down the sidewalk.</dialogue>
<scene_description>Harry looks at Dexter .</scene_description>
<character>HARRY</character>
<dialogue>There were a lot of bones in there, Dexter and. not just Buddy's.</dialogue>
<scene_description>Little Dexter fidgets .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How long have you been doing this, son?</dialogue>
<scene_description>Dexter looks away then looks back into his father 's eyes .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>About a year and a half.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Pop. Are you mad?</dialogue>
<scene_description>Harry stares at little Dexter , then slowly drapes his arm around his son and pulls him close . And as they stare into the river water , we 're suddenly -</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>And as his boat disappears into the morning fog , passing large container ships and oil tankers , we see the back of the boat and it 's named the `` SLICE OF LIFE . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEXTER'S APARTMENT - MIAMI, FL - EARLY MORNING</stage_direction>
<scene_description>Dexter bounces up the exterior spiral staircase of his apartment building and as he heads down the 2nd story balcony toward his door , he sees a GARDENER whacking away with a machete trimming a tree .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S APARTMENT - SAME</stage_direction>
<scene_description>Dexter walks into his apartment , closes the door behind him . It appears more like a library than a home - book shelves are everywhere and all the books are categorized , alphabetized and lined up perfectly and in that collection , among other medical books , is a copy of Gray 's Anatomy . Some of the walls are covered with framed , family photos . Dexter walks past his coffee table stacked with neat piles of Pop culture magazines and `` How To . '' books . In the middle of the room is a large desk with a computer on top . Dexter drops his keys and wallet on the desk , then walks to the far wall , approaches his air conditioner unit , turns it up even colder . He then pulls off the front panel of the `` modified '' air conditioner and inside we see two sets of condenser coils . Dexter pulls off one of the coils , reaches inside and retrieves a long rectangular wood box , sets it on his desk , lifts off the lid and from his shirt pocket , pulls out the slide of blood we saw him extract from Donovan . Dexter stares at it for a beat , then -</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>At least the code of Harry, my wonderful father, is satisfied.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And so am I.</dialogue>
<scene_description>He files it amongst many other slides inside the box , slams the lid shut , then places the box back inside the air conditioner , reaches back in and pulls out a stack of files , all labeled `` MISSING PERSONS : PROPERTY OF MIAMI - METRO P.D. '' The file on top reads : `` JANE SAUNDERS . '' Dexter leafs through it and we see a mug - shot of a seedy looking dude , labeled `` JAWORSKI . ''</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He was a great cop here in Miami, taught me how to think like one, even though I'm not. Taught me how to cover my tracks.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm a very neat monster.</dialogue>
<scene_description>As he puts the folder down , he notices his answering machine is BLINKING - Dexter eyes it , then presses a button and we HEAR -</scene_description>
<character>DEBRA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Dexter. DEXTER, YOU THERE?! ANSWER THE FUCKEN PHONE.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - 7 SEAS MOTEL - MIAMI, FL - SAME</stage_direction>
<scene_description>And we see DEBRA -LRB- 20 's - Dexter 's outstanding - looking foster sister -RRB- dressed as a classic cheap whore , her shapely body shrink wrapped tight in a pink neon tube - top , ripped , crack - whore jeans and high heels , sucking hard on a cigarette and talking urgently into her cell phone .</scene_description>
<character>DEBRA</character>
<dialogue>Okay. Dex, please, soon as you get in I'm at a crime scene by this shithole, the Seven Seas Motel and I need you here right away. Okay, Dex? Please. Pretty fucken please with cheese on top.</dialogue>
<scene_description>She slaps her cell phone closed and we -</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Smiling .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That's Harry's daughter, my marvelous foul - mouthed foster sister, Deborah.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DEXTER'S APARTMENT - LATER</stage_direction>
<scene_description>Dexter takes a very hot shower , lathers up all over , scrubs his face hard , then kneads the shampoo deep into his scalp and enjoys the whole experience a great deal . Dries himself in front of the mirror .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She's the only person in the world who cares if I'm alive or dead. She loves me. Why? I do n't know. I'm unlovable. I have no feelings about anything.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DEXTER'S APARTMENT - LATER</stage_direction>
<scene_description>Dexter finishes his morning push - ups then quickly gets dressed . Slips on a snappy looking shirt , khakis , all bright , light and airy . He 's good to go .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But if I could have feelings at all, I'd have them for Deb.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - 7 SEAS MOTEL - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter gets out of his air conditioned Car and is momentarily stunned by the brutally hot morning sun . He heads toward A CROWD OF polyester - wearing RETIREES , hand - me - down - wearing CUBANO refugees and bikini - wearing TOURISTS , standing behind the yellow police tape cordoning off this dingy low - life , hell - hole of a motel advertising hourly rates . But right now , the rooms are empty and the parking lot is full with COP CARS and MEDICAL EXAMINER VANS .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There's something strange and disarming about looking at a homicide scene in the bright daylight of the Miami sun. It makes the most grotesque killings look antiseptic, staged - like you're in a new and daring section of Disney World. Dahmer - Land.</dialogue>
<scene_description>Dexter scoots under the yellow tape when SUDDENLY a very intimidating - looking UNIFORMED COP blocks his path .</scene_description>
<character>COP</character>
<dialogue>You better be a cop.</dialogue>
<scene_description>Dexter flashes his OFFICIAL MIAMI - METRO FORENSIC DEPT. . I.D.</scene_description>
<character>DEXTER</character>
<dialogue>No. Forensics.</dialogue>
<scene_description>The Cop eyes the badge then waves him in . Dexter walks past him , then SEES amongst all the other COPS hanging around - Debra still looking like a cheap whore , running up to him .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Jeeze Deb, where the hell do you keep your gun?</dialogue>
<character>DEBRA</character>
<parenthetical>( catching her breath . )</parenthetical>
<dialogue>Cut the crap - They found another hooker. At least, they think it's a hooker.</dialogue>
<character>DEXTER</character>
<dialogue>Why?</dialogue>
<character>DEBRA</character>
<dialogue>Hard to tell from what's left. That's the third in the last five months.</dialogue>
<character>DEXTER</character>
<dialogue>Third?</dialogue>
<parenthetical>( intrigued . )</parenthetical>
<dialogue>You mean there's.</dialogue>
<character>DEBRA</character>
<dialogue>Hell yeah we got a serial killer, Bro - the other two were up in Broward County - chopped up in bits and pieces too, and they say there's no connection. Any drooling moron could see these kills are connected. But that bitch.</dialogue>
<character>DEXTER</character>
<dialogue>What bitch?</dialogue>
<character>DEBRA</character>
<dialogue>That bitch. That big - hipped dope, Lieutenant LaGuerta - Look at her.</dialogue>
<scene_description>And Dexter turns and SEES - LT. MARIA LAGUERTA -LRB- 30 's -RRB- , the intensely sexy , Cuban born head of Miami - Metro homicide , talking rapid fire to a clearly nervous Cuban PORTER .</scene_description>
<character>DEBRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She's the lead on the case. How the hell does that happen?</dialogue>
<character>DEXTER</character>
<dialogue>She's a born politician - kiss enough ass and you get the post. Maybe you should try it sometimes.</dialogue>
<character>DEBRA</character>
<dialogue>Blow me. She's convinced there's a witness and I want in on this case - it's my beat but instead of using me, she's got some detectives I never met interviewing my whores who - trust me - are not going to talk to those dudes. What an idiot. Idiot. Idiot.</dialogue>
<scene_description>LaGuerta catches Dexter 's eye and in the midst of her rapid paced conversation with the Cuban Porter , smiles at Dexter , then her eyes quickly scan the crowd , the crime scene .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Uh oh. there's that frown and those darting eyes. Perhaps she's hoping a clue will leap out of nowhere and she can shoot it.</dialogue>
<character>DEBRA</character>
<dialogue>Dex. DEX. Jesus, come on, what the hell am I going to do?</dialogue>
<scene_description>Dexter turns , smiles at Deb .</scene_description>
<character>DEXTER</character>
<dialogue>What are you going to do?</dialogue>
<character>DEBRA</character>
<dialogue>I'm going to get the hell out of this sex suit and get into the homicide division, that's what I want to do. But that ass kissing puta is gon na stick her bubble ass in the way. Shit, why does she have to hate my goddamn guts?</dialogue>
<character>DEXTER</character>
<dialogue>Cause you hate hers.</dialogue>
<character>DEBRA</character>
<dialogue>Look, I do n't need you to reiterate the fucken obvious. Okay? Now are you going to help me?</dialogue>
<character>DEXTER</character>
<dialogue>I'll do anything for you, but.</dialogue>
<character>DEBRA</character>
<parenthetical>( cuts him off . )</parenthetical>
<dialogue>Do n't be fucken dense on me now. You know what I need, Dex - you have these things, these hunches - you know with these types of murders.</dialogue>
<character>DEXTER</character>
<dialogue>Just sometimes, Deb.</dialogue>
<parenthetical>( off her look . )</parenthetical>
<dialogue>All right, let me take a look and in the meantime, avoid LaGuerta and talk to the Captain and ask him to put you on the case. But keep the sex suit on - it'll help your cause.</dialogue>
<character>DEBRA</character>
<parenthetical>( shakes her head . )</parenthetical>
<dialogue>Why do I love you?</dialogue>
<scene_description>And with that , she takes off . Dexter smiles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE POOL - 7 SEAS MOTEL - MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter walks down and into the empty pool and SEES - VINCE MASUKA -LRB- 30 's -RRB- , slight , half Japanese , half white , sporting a shaved head , meticulously brushing the pool tiles for fingerprints . ANGEL BATISTA -LRB- 30 's -RRB- , the corpulent , chain - smoking Miami - Metro Medical Examiner , leans down and very carefully plucks out body parts which are all individually wrapped up in white butcher 's paper and neatly tied with twine . Batista 's last grab is clearly a foot and . Batista sets it down amongst a lot of other body parts -LRB- legs , hands , individual fingers . -RRB- on a blue plastic tarp , and like a puzzle we 're beginning to see the complete human figure laid out . It 's gruesome , but still , there 's something . something almost intriguingly artistic about it . Masuka looks up , wipes the sweat off his brow , sees Dex and smiles with a big fake smile . FREEZE ON MASUKA 'S FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Something's wrong with this guy, Masuka. It's like he learned how to smile from those models in a Sears catalogue.</dialogue>
<scene_description>BACK TO SCENE</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nice haircut, Masuka.</dialogue>
<character>MASUKA</character>
<parenthetical>( too excited . )</parenthetical>
<dialogue>Saw your sister. Damn. looking hot.</dialogue>
<character>DEXTER</character>
<dialogue>She should. It's hot as hell out here.</dialogue>
<character>MASUKA</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>So what brings you here?</dialogue>
<character>DEXTER</character>
<dialogue>Came to see how the real experts operate.</dialogue>
<scene_description>Masuka flashes that fake smile again , then starts laughing - his whole body convulsing in great heaves and gasps , almost sounds like he 's drowning . Dexter stares at him in amazement , then -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that laugh. Do I perform CPR or the Heimlich?</dialogue>
<scene_description>Masuka finally stops laughing .</scene_description>
<character>MASUKA</character>
<dialogue>Seriously, why are you here?</dialogue>
<character>DEXTER</character>
<parenthetical>( rhetorically . )</parenthetical>
<dialogue>It's a crime scene.</dialogue>
<character>MASUKA</character>
<dialogue>Yeah, but you do blood spatter.</dialogue>
<character>DEXTER</character>
<dialogue>So?</dialogue>
<character>MASUKA</character>
<dialogue>So, there's no blood here.</dialogue>
<scene_description>Dexter stares at him , then suddenly feels light - headed , takes a step back , something has happened . His world is clearly rocked . Finally , he recoups , focuses back on Masuka .</scene_description>
<character>DEXTER</character>
<dialogue>What was that?</dialogue>
<character>MASUKA</character>
<dialogue>Yeah. There's no blood in or on or near the body at all. It's the weirdest thing you ever saw.</dialogue>
<scene_description>PUSHING INTO DEXTER 'S HORROR STRICKEN FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>No blood. No sticky, hot, messy, awful blood. NO BLOOD AT ALL.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Why had n't I thought of that? No blood.</dialogue>
<parenthetical>( and then his face relaxes . )</parenthetical>
<dialogue>What a gorgeous idea.</dialogue>
<scene_description>Dexter quickly spins around to Batista , then whips out a pair of surgical gloves , snaps them on , leans down next to Batista who 's slowly unwrapping a hand with his scalpel .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How does he do it? How does the killer get rid of the blood?</dialogue>
<character>BATISTA</character>
<dialogue>Hard to say. The body's in good shape and she was muy bonita. Had a big ass too. Her head's over there, take a look.</dialogue>
<scene_description>Dexter ignores that , leans in , inspects the exposed hand .</scene_description>
<character>DEXTER</character>
<dialogue>This is unique.</dialogue>
<character>MASUKA</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>No shit and no prints either.</dialogue>
<scene_description>Batista picks away until he finally reveals the tip of an ankle .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This guy's good. I've never seen such clean, dry, neat looking dead flesh. Wonderful.</dialogue>
<scene_description>Dexter looks at Batista .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Very clean.</dialogue>
<character>BATISTA</character>
<dialogue>Yeah, but he did n't finish - no terminado.</dialogue>
<character>DEXTER</character>
<dialogue>Looks pretty completo to me, Angel.</dialogue>
<character>BATISTA</character>
<dialogue>No, look - he cut the leg in four pieces, almost like using a ruler, but this leg is only in two pieces, and here. Looks like he started to make a third cut but stopped. Possible, he got interrupted.</dialogue>
<character>MASUKA</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>That's why LaGuerta is looking for a witness. Working on that motel Porter back there. God help him.</dialogue>
<scene_description>Dexter looks at them both .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>No blood. I ca n't think.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I have to get out of here.</dialogue>
<scene_description>Dexter rises - takes one last look at all the marvelous bloodless body parts laid out on the tarp , then without saying anything , turns , walks away from Masuka and Batista .</scene_description>
<character>BATISTA</character>
<dialogue>Dex, donde vas? Where you going?</dialogue>
<character>DEXTER</character>
<parenthetical>( spins around . )</parenthetical>
<dialogue>Hey. no blood - no trabajo.</dialogue>
<scene_description>And Dexter climbs out of the pool and disappears behind a group of COPS standing by the squad cars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - 7 SEAS MOTEL - MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter keeps walking , passes LaGuerta who winks at him .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I wish she'd stop that. It's one of those mating rituals which I really do n't understand.</dialogue>
<scene_description>Dexter ducks past a group of REPORTERS who suddenly surround LaGuerta pushing their microphones and cameras into her face , spewing questions and as Dexter looks back at the crime scene , we hear -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But that bloodless body - This guy may have exceeded my own abilities.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter slowly pulls to a stop near the front entrance of the hotel - focuses on the VALET STAND where we see - JAMIE JAWORSKI -LRB- 30 's -RRB- , a short , stocky , pleasant enough looking man , whose large brown eyes might be a little too close together , wearing a traditional valet outfit . A sleek BMW pulls up - Jaworski opens the door and a sexy ASIAN WOMAN dressed in a skimpy tennis outfit , steps out of the car . Jaworksi watches her sashay into the hotel and as he closes the door , we SEE a large tattoo of a naked woman , but with a featureless face emblazoned across his forearm . FREEZE ON JAWORSKI</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This guy likes hanging around the wives of the rich and famous. Works the hotels looking for women who appreciate personal trainers.</dialogue>
<scene_description>BACK TO SCENE Jaworski leers at a gorgeous BLOND - spandex outfit painted on her body , a gym bag slung over her shoulder - as she gets out of another car and enters the hotel .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Six months ago, I think he fell in love with a pretty brunette, Mrs. Jane Saunders.</dialogue>
<scene_description>Dexter opens a Miami - Metro P.D. missing person 's file , pulls out a picture of Jane Saunders - and she is a very beautiful brunette .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>A sweet mother of two, married to Harry Saunders a successful banker.</dialogue>
<scene_description>Dexter shuffles through a series of still photos -</scene_description>
</scene>
<scene>
<stage_direction>TIGHT ON A PHOTO OF THE ENTIRE SAUNDERS FAMILY</stage_direction>
<character>DEXTER</character>
<dialogue>They all lived a pleasant life in an overgrown modern house, until she unfortunately disappeared.</dialogue>
<scene_description>TIGHT ON A PHOTO OF HARRY HANDCUFFED AND LED OUT OF THE HOUSE</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The cops arrested the husband for murder. They never convicted him, but all was n't lost because they still managed to destroy his life.</dialogue>
<scene_description>TIGHT ON A PHOTO OF THE CHILDREN CRYING</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>and leave his kids emotionally deficient forever. But I knew he was no killer.</dialogue>
</scene>
<scene>
<stage_direction>BACK TO SCENE</stage_direction>
<scene_description>Another LADY enters the hotel drops her tennis bag , bends over and Jaworski freezes , stares at that pantalooned bottom .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My favorite valet was a suspect for a while but the cops could never make anything stick.</dialogue>
<scene_description>After a beat , Jaworski , slides into her car and drives away .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE HEADQUARTERS - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter , carrying a large box of donuts , walks past the SERGEANT sitting behind the command desk talking on the phone - the Sergeant quickly gets up , reaches into the donut box grabs one - Dexter smiles , heads down the glass enclosed office cubicles , passing UNIFORMED COPS - weaves in and out of a bunch of casually dressed POLICE DEPARTMENT ADMINISTRATORS , then comes upon two veteran DETECTIVES .</scene_description>
<character>DETECTIVE BOB</character>
<dialogue>Hey Dex.</dialogue>
<scene_description>They stop , dig into the box , each grab a cream - filled donut .</scene_description>
<character>DEXTER</character>
<parenthetical>( happily . )</parenthetical>
<dialogue>Hi Bob, Dan. How're the families?</dialogue>
<character>DETECTIVE DAN</character>
<parenthetical>( with mouth full . )</parenthetical>
<dialogue>Mmmm. good. You?</dialogue>
<scene_description>Dexter nods , smiles .</scene_description>
<character>DETECTIVE BOB</character>
<dialogue>See you at the next blood bath?</dialogue>
<character>DEXTER</character>
<dialogue>Never miss a party.</dialogue>
<scene_description>The Detectives laugh , mumble `` thanks '' and keep walking . Dexter watches them disappear down the hall , then we - FREEZE ON ALL THE DIFFERENT PEOPLE IN THE HALLWAY</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Salt of the earth these people and they try hard, but with the solve rate for murders at about twenty percent - Miami is a great place for me to play. A great place for me to hone my craft. Viva Miami.</dialogue>
<parenthetical>( accented . )</parenthetical>
<dialogue>Si. Viva Miyami.</dialogue>
<scene_description>BACK TO SCENE Dexter turns down another hallway , then HEARS -</scene_description>
<character>DEBRA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Dex.</dialogue>
<scene_description>He turns around , sees Deb smiling , dressed in plain clothes and running toward him .</scene_description>
<character>DEXTER</character>
<dialogue>I like your other outfit better.</dialogue>
<scene_description>Debra reaches into his box of donuts , grabs a powdered one .</scene_description>
<character>DEBRA</character>
<dialogue>You're a sick bastard but guess what. the sex suit worked and the Captain put me on the case. LaGuerta was n't happy, but she needs to get laid.</dialogue>
<character>DEXTER</character>
<dialogue>I guess. So congrats.</dialogue>
<character>DEBRA</character>
<parenthetical>( jams the donut in her mouth . )</parenthetical>
<dialogue>Got any ideas yet?</dialogue>
<character>DEXTER</character>
<dialogue>Nope.</dialogue>
<character>DEBRA</character>
<dialogue>Well start doing your mental autopsy because I need your theories and thanks for the fucken donut. It sucked.</dialogue>
<parenthetical>( kisses him . )</parenthetical>
<dialogue>Got ta go.</dialogue>
<scene_description>And with that she 's gone . Dexter smiles , wipes the powder off his face , turns around and heads down another hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDS ROOM - POLICE HEADQUARTERS - SAME</stage_direction>
<scene_description>And we see CAMILLIA -LRB- late 60 's -RRB- sitting at her desk , reading the paper , stirring her Sanka .</scene_description>
<character>DEXTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Donut?</dialogue>
<scene_description>She 's motherly but tough and smart . Above all , she 's discreet , keeps her own counsel and everyone knows that she 's been the ruler and sole gatekeeper of the Police Department 's Office of Records for the past twenty years . Behind her are endless rows of ceiling high metal shelves packed with records and files . She looks up , smiles wide , then eyes Dexter suspiciously .</scene_description>
<character>CAMILLIA</character>
<dialogue>Keeping your fingernails clean?</dialogue>
<character>DEXTER</character>
<dialogue>Never leave home without my rubber gloves.</dialogue>
<scene_description>And Camillia dives in , grabs a few crullers .</scene_description>
<character>CAMILLIA</character>
<dialogue>Good boy.</dialogue>
<scene_description>Beat , then Dexter eyes her , a small smile crosses his face .</scene_description>
<character>DEXTER</character>
<dialogue>Anything new?</dialogue>
<scene_description>And she hands him a fat file , labeled `` Jaworski . ''</scene_description>
<character>CAMILLIA</character>
<parenthetical>( playful . )</parenthetical>
<dialogue>One of these days, you're going to tell me.</dialogue>
<character>DEXTER</character>
<parenthetical>( leans in , whispers . )</parenthetical>
<dialogue>I already did - blood spatter does n't take all my time and I like doing it - maybe I can help out.</dialogue>
<parenthetical>( beat , smiles . )</parenthetical>
<dialogue>. -RRB- Fills my nights.</dialogue>
<character>CAMILLIA</character>
<dialogue>You have a morbid sense of fun.</dialogue>
<character>DEXTER</character>
<parenthetical>( genuinely . )</parenthetical>
<dialogue>That's probably true.</dialogue>
<character>CAMILLIA</character>
<dialogue>You should find a pretty girl.</dialogue>
<character>DEXTER</character>
<dialogue>I found you.</dialogue>
<character>CAMILLIA</character>
<dialogue>Charming like your father - just do n't get me fired.</dialogue>
<character>DEXTER</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Then who would I bring donuts to?</dialogue>
<scene_description>Dexter slips the file in to a manila envelope and heads out .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAB - POLICE HEADQUARTERS - MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter , light footed as ever , walks through the large , glass enclosed lab , passing the `` Analytical , '' `` Forensic '' and `` Serology -LRB- blood -RRB- '' sections all packed with SCIENTISTS and ANALYSTS in white coats , hovering over microscopes , computers , and other high tech machines . He reaches into his box of donuts , grabs the last one . Stares into the empty box .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Just like me. Clean, crisp outside, and nothing at all on the inside.</dialogue>
<scene_description>Dexter dumps that box into a garbage can , passes Masuka cataloging prints , heads toward the back of the room and enters his small little glass enclosed office -</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S OFFICE - POLICE HQ - SAME</stage_direction>
<scene_description>Where he 's immediately confronted by - SGT. DOAKES -LRB- 30 's -RRB- , a large , imposing BLACK MAN , whose cold frosty eyes are framed by a face fixed with a permanent look of hostility - especially when he 's around Dexter .</scene_description>
<character>SGT. DOAKES</character>
<parenthetical>( hard , impatient . )</parenthetical>
<dialogue>Where the hell you been?</dialogue>
<character>DEXTER</character>
<dialogue>Crime scene?</dialogue>
<scene_description>Doakes stares at him then looks around the office , eyes - The poster of Miami 's , `` Matador 's Hockey Team , '' taped to one of the glass walls , but the other walls are plastered with images of blood stained walls , floors , and carpets - looks almost like a `` Jackson Pollack exhibit . ''</scene_description>
<character>SGT. DOAKES</character>
<dialogue>What about these?</dialogue>
<scene_description>Doakes shoves a few oversized color photos of A COUPLE OF BODIES , lying dead on the carpeted floor of a large hotel room into Dexter 's hands .</scene_description>
<character>SGT. DOAKES</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( hard . )</parenthetical>
<dialogue>The hotel coke - head murders? This dealer and the girl?</dialogue>
<scene_description>Dexter scans them - eyes the blood spatter on the walls .</scene_description>
<character>DEXTER</character>
<dialogue>This hallmark - looking couple did n't die by the hands of a professional killer. Nope. This is child's play. Messy work - all that blood on the walls - looks like finger painting.</dialogue>
<character>SGT. DOAKES</character>
<dialogue>You give me the fucking creeps, you know that Dexter?</dialogue>
<character>DEXTER</character>
<dialogue>Yeah, I know. Sorry about that.</dialogue>
<character>SGT. DOAKES</character>
<parenthetical>( takes a step in . )</parenthetical>
<dialogue>Fuck you.</dialogue>
<character>DEXTER</character>
<dialogue>Okay.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Is there something I can.</dialogue>
<character>SGT. DOAKES</character>
<dialogue>Yeah. You can give me your fucking analysis on the blood spatter on these killings. You think I'm here to invite you to my nephew's bris?</dialogue>
<character>DEXTER</character>
<dialogue>I did n't know you were Jewish.</dialogue>
<character>SGT. DOAKES</character>
<dialogue>Shut the fuck up and just write your report already. Do n't even know why I need you - so just grab a crayon, psycho and scribble this down : Rival dealer came in - two scum - bags slashed to hell - dealer stole the drugs. Wham, bam done and I do n't give a shit what you say, cause that's what happened and that's who I'm looking for - We're looking for a motherfucking thief dealer. Got it?</dialogue>
<character>DEXTER</character>
<parenthetical>( uncertain . )</parenthetical>
<dialogue>Okay. sure. I guess, but I need to get over there.</dialogue>
<character>SGT. DOAKES</character>
<dialogue>Then get there already, you fucking weirdo, I need it quick.</dialogue>
<character>DEXTER</character>
<dialogue>I'm on it, Sergeant.</dialogue>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And Doakes storms out of the office, Dexter eyes all the Lab Technicians, Cops and Detectives.</dialogue>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The only real question I have is why, in a building full of cops. all supposedly with a keen insight into the human soul, is Doakes the only one that gets the creeps from me?</dialogue>
</scene>
<scene>
<stage_direction>INT. OCEAN VIEW HOTEL SUITE - MIAMI, FL - LATER</stage_direction>
<scene_description>The sliding doors on the balcony are open and hot gusts of wind whip the curtains around . And in the middle of this suite are a couple of -LRB- what look like -RRB- tall microphone stands and - Emanating from the top of each stand is a series of individual strings stretched across the room and pinned to the blood splattered on the opposite wall and curtains . On the far right side of the room , the wall is almost entirely covered with one big dripping splotch of blood . The left side of the room is very different . The wall is covered with thousands of seemingly random little dots of blood , but like a Pissaro painting , when you step back and away , those abstract dots suddenly transform into a beautiful series of descending arcs , like rainbows of blood . Dexter pins yet another string to a tiny splat of blood on the wall completing a complex maze of strings - a massive cat 's cradle hanging across the room . Dexter walks back away from the wall , stands next to a young buff UNIFORMED COP -LRB- 20 's -RRB- . Dexter admires his work -</scene_description>
<character>UNIFORMED COP</character>
<dialogue>So you're going to catch this guy in this big fucking spider web you're making?</dialogue>
<character>DEXTER</character>
<dialogue>Just looking for patterns.</dialogue>
<character>UNIFORMED COP</character>
<dialogue>Heard they brought them out in chunks.</dialogue>
<character>DEXTER</character>
<parenthetical>( up - beat . )</parenthetical>
<dialogue>And lots of little pieces too.</dialogue>
<character>UNIFORMED COP</character>
<dialogue>So this killer used a sword?</dialogue>
<character>DEXTER</character>
<dialogue>Nope, probably a very sharp knife. Look at the blood spatter. Look at the patterns, tells a story. See this big pond of blood right there?</dialogue>
<scene_description>And he steps to the large blot on the right side of the wall .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That was from the initial slice. The male victim was standing right here.</dialogue>
<parenthetical>( points . )</parenthetical>
<dialogue>. and the killer's knife swooped across, slashed his throat. See - Notice the long, thick, heavy drips, here and here.</dialogue>
<character>UNIFORMED COP</character>
<dialogue>Yeah, nice.</dialogue>
<scene_description>And Dexter points to the arcs of blood on the left side .</scene_description>
<character>DEXTER</character>
<dialogue>Now over here are nice clean sprays of blood and there's a rhythm to them, and that can only happen when you're holding something light, moving quick, nice, sharp slices through the body - no splashes, no drips, clean and easy, graceful cuts like skipping pebbles across a lake. This guy knew how to use a blade.</dialogue>
<character>UNIFORMED COP</character>
<dialogue>So we're looking for a Sushi chef?</dialogue>
<scene_description>FREEZE ON THE COP</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh God. No wonder Miami suffers a pitiful twenty percent solve rate.</dialogue>
<scene_description>BACK TO SCENE DEXTER STARES AT THE COP .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yeah. Sushi chef is possible. Would n't be my first choice - but hey, you never know.</dialogue>
<scene_description>Dexter walks around the room , picks up his camera , focuses on the cats cradle . Flash , flash .</scene_description>
<character>UNIFORMED COP</character>
<dialogue>Now what?</dialogue>
<scene_description>Dexter looks at the Cop -</scene_description>
<character>DEXTER</character>
<dialogue>Now I eat.</dialogue>
</scene>
<scene>
<stage_direction>EXT/INT. DEXTER'S CAR - STREETS - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter drives down a squalid residential street , surrounded by low income housing , barbecue joints and crumbling Catholic Churches . Gang - looking KIDS hang out in front of bodegas , drinking , smoking - their boom boxes blasting . Eating a juicy Cuban pork sandwich , Dexter pulls into a parking spot , then puts the sandwich down .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The problem with eating and driving, which I love to do, is not being able to employ the ten - two hand position on the wheel. It's a matter of public safety.</dialogue>
<scene_description>He picks up the new `` JAWORSKI '' file Camillia gave him .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But there's always a sacrifice.</dialogue>
<scene_description>Dexter scans a few pages of the Jaworski file .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Looks like Jaworski's been busy.</dialogue>
<scene_description>He turns his head , looks across the street and focuses on a small shitty looking house with a rusty chain link fence blocking the side alley running along the house .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>recently picked up for a peeping tom episode and flashed a poor soccer mom.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Time to take a little tour.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAWORSKI'S HOUSE - MIAMI, FL - DAY</stage_direction>
<scene_description>And as soon as Dexter steps inside the side door , we HEAR the loud , vicious BARKS of a massive DOG and Dexter FREEZES . He then slowly turns and SEES that massive mangy dog , snarling and licking its chops at the end of the hallway . Dexter and the dog lock eyes and then - The Dog suddenly charges at Dexter , but Dexter calmly closes the hallway door and the dog SMASHES into it - Bam .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Animals do n't like me. Especially dogs.</dialogue>
<scene_description>But that monster dog keeps banging against the door desperately wanting to take a bite out of Dexter .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't think they approve of what I sometimes do to their masters. And that dog recognizes me, as easily as I can recognize Jaworski. or any other killer.</dialogue>
<scene_description>Dexter looks around the house . It 's small and messy , but above all , sordid . There 's a paper towel holder next to the unmade bed . In the middle of the room is a desk with a computer on it and an expensive looking digital video camera . Dexter picks it up , eyes it curiously . He then notices a stack of S&M porn magazines - picks one up - flips through it , stops on the classifieds , reads a few . Some have been highlighted .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Interesting taste in literature. His needs are evolving - turning violent. He's on the fast track.</dialogue>
<scene_description>And as Dexter walks out of the house , closing the door behind him , we HEAR -</scene_description>
<character>HARRY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's okay, son, go on.</dialogue>
<scene_description>Then we slowly -</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. BOAT - LATE AFTERNOON</stage_direction>
<scene_description>Harry still has his arm draped over little Dexter 's shoulders - looks down at his son .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>Well. I kinda, you know feel something, like inside, watching me.</dialogue>
<character>HARRY</character>
<dialogue>Do you hear voices?</dialogue>
<character>YOUNG DEXTER</character>
<dialogue>No. it's not really a voice - it's something. something different.</dialogue>
<scene_description>And little Dexter looks away .</scene_description>
<character>HARRY</character>
<dialogue>And this something, it makes you - kill things?</dialogue>
<scene_description>After a beat , Dexter looks back at his father .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>No, well. it does n't really make me. It just makes it seem like a really good idea.</dialogue>
<character>HARRY</character>
<dialogue>Have you ever wanted to kill something else? You know, something bigger than a dog?</dialogue>
<character>YOUNG DEXTER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>HARRY</character>
<dialogue>Like a person?</dialogue>
<character>YOUNG DEXTER</character>
<dialogue>Yeah, but nobody in particular.</dialogue>
<character>HARRY</character>
<dialogue>Why did n't you?</dialogue>
<scene_description>Dexter and Harry lock eyes for a beat , then -</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>I thought you would n't like it. You and mom.</dialogue>
<character>HARRY</character>
<dialogue>That's why you did n't?</dialogue>
<character>YOUNG DEXTER</character>
<parenthetical>( fumbling . )</parenthetical>
<dialogue>I, uh. I did n't want you mad at me - you know, angry or disappointed.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Are you, Pop?</dialogue>
<scene_description>And as Harry locks eyes with little Dexter , we -</scene_description>
</scene>
<scene>
<stage_direction>EXT. OCEAN DRIVE - SOUTH BEACH - EVENING</stage_direction>
<scene_description>Dexter , looking showered and fresh and wearing a snappy , new outfit , carries a paper bag filled with goodies , walks through the extraordinary parade of gorgeous MEN and WOMEN . Rumba music BLASTING through restaurant speakers follows him as he goes .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Friday night. Date night in Miami. Every night is date night in Miami, and everyone's having sex, but for me, sex never enters into it.</dialogue>
<scene_description>Dexter walks past a good looking COUPLE sitting at a table at an outdoor cafe , stops - does a double take . And sure enough the GUY is sipping a Mojito , while the pretty young GIRL , smoking a cigarette with one hand , slowly and casually massages the guy 's crotch with the other .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't understand sex. It's not in my nature. I do n't have anything against women, and I certainly have an appropriate sensibility about men, but when it comes to the actual act of sex, it just seems so undignified.</dialogue>
<scene_description>More sexy , young hip WOMEN wearing micro short , tight dresses saunter up and down the boulevard .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But I have to play the game and after years of trying to look normal, I have finally.</dialogue>
<scene_description>Dexter approaches his car , opens the door , slides in -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>finally met the perfect date.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT DOOR OF A MODEST HOUSE - MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter walks up to the house RINGS the bell . Ding - dong .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>and that's because.</dialogue>
<scene_description>And just then the door SWINGS open , Dexter smiles wide .</scene_description>
</scene>
<scene>
<stage_direction>INT. RITA'S HOUSE - MIAMI, FL - SAME</stage_direction>
<scene_description>The door closes , Dexter faces the blushing RITA -LRB- 30 's -RRB- , sweet and delicate but vulnerable and amazingly attractive even in her Post Office delivery uniform . TIGHT ON RITA 'S SMILING FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She is, in her own way - as damaged as me. Been seeing her for about a year now.</dialogue>
<character>RITA</character>
<dialogue>Be ready in a sec - running late - just have to talk to the sitter.</dialogue>
<character>DEXTER</character>
<dialogue>Oki - doke.</dialogue>
<scene_description>SHE SMILES , SPINS AROUND -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Deb introduced us.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMBO'S - MIAMI, FL - DAY</stage_direction>
<scene_description>Dexter and Deb -LRB- now dressed as a uniformed cop -RRB- eat plates of smoked Wahoo fish .</scene_description>
<character>DEBRA</character>
<dialogue>Met a girl last week, Dex.</dialogue>
<parenthetical>( chews . )</parenthetical>
<dialogue>This is the fucken best.</dialogue>
<parenthetical>( and then - . )</parenthetical>
<dialogue>You need a good woman. Met her on a domestic dispute call.</dialogue>
</scene>
<scene>
<stage_direction>INT. RITA'S HOUSE - MIAMI, FL - DAY</stage_direction>
<scene_description>Deb rips out her billy - club and starts WHACKING and BASHING the ex - husband over his head . She finally puts him into a choke hold and knocks him unconscious . A damaged doll house has been knocked of table and lies on its side .</scene_description>
<character>DEBRA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Her ex - husband was a fucken crack addict, a sick abusive psycho and I beat the living daylights out of him. It was great. But she's pretty - once her face heals. Anyway she's single now.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMBO'S - MIAMI, FL - SAME</stage_direction>
<scene_description>Still eating the smoked fish .</scene_description>
<character>DEXTER</character>
<dialogue>Sounds promising.</dialogue>
<character>DEBRA</character>
<dialogue>Yeah, she's perfect for you - vulnerable, low self esteem, you know what they say about those kind of girls. probably fuck your brains out. She needs someone to treat her nice. Want her number?</dialogue>
</scene>
<scene>
<stage_direction>BACK TO SCENE</stage_direction>
<scene_description>And Rita 's two children , ASTOR -LRB- 8 -RRB- , a soft spoken , sweetheart of a girl wearing soft cotton jammies , holding and a little doll inside a small , plastic zip - lock bag and her brother CODY -LRB- 5 -RRB- , a soft skinned , polite young boy , wearing an oversized t - shirt as a nightgown , run in .</scene_description>
<character>ASTOR</character>
<parenthetical>( very softly . )</parenthetical>
<dialogue>Hi, Dexter.</dialogue>
<scene_description>Dexter drops to his knees , smiles .</scene_description>
<character>DEXTER</character>
<dialogue>May I observe that you look lovely this evening.</dialogue>
<scene_description>She eyes him , drops her eyes to the floor , then says coyly -</scene_description>
<character>ASTOR</character>
<dialogue>Okay.</dialogue>
<character>DEXTER</character>
<parenthetical>( turns to - . )</parenthetical>
<dialogue>And Master Cody, handsome as ever.</dialogue>
<scene_description>Dexter rises , walks into the living room - modest and simple , right out of a cheap catalogue , then turns back to the kids and smiles - FREEZE ON ASTOR AND CODY</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I like kids - In fact, these kids are more important to me than their mom. But children who witness their crack addict fathers trying to kill their mother with the hard to assemble Ikea furniture. tend to be slightly withdrawn.</dialogue>
<scene_description>BACK TO SCENE Dexter pulls cartons of ice cream out of his bag .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Vanilla, chocolate and strawberry.</dialogue>
<character>CODY</character>
<dialogue>No coffee?</dialogue>
<character>DEXTER</character>
<parenthetical>( smiles , then - . )</parenthetical>
<dialogue>But which do you think melts faster?</dialogue>
<scene_description>They giggle like crazy and just then Rita pops back in , now wearing a sweet - looking , breezy , sun dress and a pair of dainty running shoes .</scene_description>
<character>RITA</character>
<dialogue>Ready?</dialogue>
<scene_description>AND AS WE FREEZE ON HER DARLING , SMILING FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What Deb did n't know was that her ex - hubby raped her.</dialogue>
</scene>
<scene>
<stage_direction>INT. RITA'S LIVING ROOM - MIAMI, FL - NIGHT</stage_direction>
<scene_description>Rita sits on the couch , wearing a slip - on a nightgown over her pajamas - wraps her big cotton robe tight around her waist . She turns and looks at Dexter sitting nervously next to her , a box of pizza on his lap , and it 's then we notice the bruise around her eye .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>and infected her pelvic region with some horrible crack house disease. Ever since then, she's been completely uninterested in sex. Lucky for me.</dialogue>
</scene>
<scene>
<stage_direction>BACK TO SCENE</stage_direction>
<character>RITA</character>
<dialogue>Bed at nine, okay?</dialogue>
<character>CODY</character>
<dialogue>Will you be back?</dialogue>
<character>RITA</character>
<dialogue>Of course I'll be back.</dialogue>
<character>CODY</character>
<parenthetical>( sweetly . )</parenthetical>
<dialogue>I meant Dexter.</dialogue>
<character>DEXTER</character>
<dialogue>You'll be asleep.</dialogue>
<character>CODY</character>
<dialogue>No I wo n't.</dialogue>
<character>DEXTER</character>
<dialogue>Then I'll stop in and we'll all play cards. High stakes poker.</dialogue>
<scene_description>And Cody and Astor lean into Dexter and wrap their arms around his waist - hug him tight .</scene_description>
<character>RITA</character>
<dialogue>Give Mommy a kiss.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BAYFRONT PARK - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter and Rita walk into the park . It 's a festival atmosphere and one side is lined with - KIOSKS selling hot pork sandwiches , ice cold beers , Jamaican jerk and shaved ice cones and massive crab claws , all mobbed by the beautiful and the hip .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Needless to say, I have some unusual habits, yet all these socially acceptable people ca n't wait to pick up hammers and publicly smash their food to bits.</dialogue>
<scene_description>A montage of hammer wielding DINERS maniacally smashing defenseless crustaceans into bits and pieces . And as the shells fly like shrapnel from an exploding car bomb , the diners greedily pick at the meat . Rita smashes a crab to bits and smiles wide to Dexter .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Normal people are so hostile.</dialogue>
</scene>
<scene>
<stage_direction>BACK TO SCENE</stage_direction>
<scene_description>And Rita pulls Dexter past the kiosks and into a seething crowd of skimpily dressed WOMEN and MEN dancing and drinking tequila under the intense midnight heat . Laser and strobe lights illuminate the crowd and D.J. 's on a stage frenetically spinning an upbeat Reggae - ton tune . It 's a bacchanalian human flesh feast . As Rita tries to get Dexter to dance , Dexter suddenly becomes aware of some not so distant blue and red flashing lights on the other side of the crowd . No one else seems to notice , but Dexter cranes his neck and SEES - A couple of POLICE CARS , AN AMBULANCE , their red and blue lights twirling and the ubiquitous yellow `` Caution Crime Scene '' police tape cordoning off a small area . Dexter grabs Rita 's hand tight , STOPS walking .</scene_description>
<character>DEXTER</character>
<dialogue>They might need me.</dialogue>
<character>RITA</character>
<dialogue>Why did n't they call you?</dialogue>
<character>DEXTER</character>
<dialogue>They do n't always know they need me.</dialogue>
<scene_description>And with that , he fights his way through the sweltering crowd , heads toward the crime scene and Rita calls out -</scene_description>
<character>RITA</character>
<dialogue>DEX.</dialogue>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Rushing past COPS , then SEES - Lt. LaGuerta talking to an eager REPORTER but Dexter avoids eye contact , quickly maneuvers around some DETECTIVES and COPS , then SEES - Angel Batista -LRB- the M.E. -RRB- in the same position we saw him at the last crime scene - bent over , examining wrapped body parts -LRB- legs , toes , arms -RRB- all nicely stacked in a pyramid formation . Batista , looks up - grim , tense .</scene_description>
<character>BATISTA</character>
<dialogue>Son of a whore.</dialogue>
<character>DEXTER</character>
<dialogue>Who?</dialogue>
<character>BATISTA</character>
<dialogue>I'm talking about this hijo de puta - this ass - hole killer, this maricon savage who makes us work on a Friday night.</dialogue>
<character>DEXTER</character>
<dialogue>Only on Mondays through Thursday. That's what I always say.</dialogue>
<character>BATISTA</character>
<dialogue>Of course - be reasonable. Who wants to work on a Friday night? I have my needs.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>So como ta? What are you doing here?</dialogue>
<character>DEXTER</character>
<dialogue>Was in the neighborhood.</dialogue>
<parenthetical>( then eyes him . )</parenthetical>
<dialogue>Why? Same guy, same pattern?</dialogue>
<character>BATISTA</character>
<dialogue>Bone dry. No blood again.</dialogue>
<scene_description>And Dexter suddenly feels light headed again , paces , recoups , then leans down next to Batista - focuses .</scene_description>
<character>BATISTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mira aqui - there's a small difference in the cuts this time.</dialogue>
<parenthetical>( points to an exposed hand . )</parenthetical>
<dialogue>Very rough here. Almost emotional. Then here - not so much, here and here and in - between.</dialogue>
<character>DEXTER</character>
<dialogue>Muy bien.</dialogue>
<character>BATISTA</character>
<dialogue>Yeah, nice, but look at this.</dialogue>
<scene_description>Batista nudges the severed hand aside , taps an exposed femur .</scene_description>
<character>BATISTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look - all bone. The killer, flayed the skin completely off. Why would he do that?</dialogue>
<scene_description>Dexter takes a breath , looks at Batista .</scene_description>
<character>DEXTER</character>
<dialogue>He's experimenting. Trying to find the right way.</dialogue>
<character>BATISTA</character>
<dialogue>Is he experimenting with the head too?</dialogue>
<character>DEXTER</character>
<dialogue>What do you mean?</dialogue>
<character>BATISTA</character>
<dialogue>I mean, la bestia took her fucking head. There is n't one around here and God knows what he's doing with it.</dialogue>
<scene_description>Dexter stares at Batista , gets up and slowly walks away deep in thought .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He's certainly raising the bar. Damn, this guy is good.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEXTER'S CAR - IN FRONT OF RITA'S HOUSE - SAME</stage_direction>
<scene_description>The car stops . Dexter and Rita sit in silence , then -</scene_description>
<character>RITA</character>
<dialogue>Will they catch him soon?</dialogue>
<character>DEXTER</character>
<dialogue>Doubt it. The killer is an artist.</dialogue>
<character>RITA</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>What do you mean?</dialogue>
<scene_description>But now Dexter 's in his own world and without even realizing it , he slowly runs his hand over Rita 's thigh , tracing out the cut marks he just saw on the bloodless body . As he speaks softly , his hand moves higher and higher up her leg .</scene_description>
<character>DEXTER</character>
<dialogue>His technique. it's incredible.</dialogue>
<character>RITA</character>
<dialogue>What? Dex, I can hardly hear what you're.</dialogue>
<scene_description>But before she finishes , Dexter 's hand is SUDDENLY way too close to Rita 's crotch and a look of horror crosses her face , she PUSHES his hand away , and quickly jumps back . She then pats her dress down , frantically runs her hands through her hair .</scene_description>
<character>RITA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm sorry. I do n't think I want to - I mean, I'm not ready for - Damn it, Dexter. WHY!?</dialogue>
<scene_description>She unbuckles her seat belt , jerks the door handle up , jumps out of the car , SLAMS the door shut - runs into her house . BACK ON DEXTER</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What have I done now? I'm not even interested. And why ca n't I get that neat stack of body parts out of my head.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>No blood.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Why did I touch her that way?</dialogue>
<scene_description>And as we push in tight to Dexter 's face , we -</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DEXTER'S APARTMENT - LATER THAT NIGHT</stage_direction>
<scene_description>And Dexter looks GRIM and ANGRY - sits at his desk , faces his computer - the large `` Jaworski File '' just inches from his fingers and right next to that , is the same porn magazine we saw in Jaworski 's apartment . Dexter pounds away on the keyboard and as the images on the computer screen reflect off his face , his shoulders tighten , and his eyes turn cold and black .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That's it. He's definitely the one.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>`` Scream Bitch Scream.'' The mother of all rape sites.</dialogue>
<scene_description>PLAYING ON THE SCREEN Is a grainy video of the attractive , but the struggling , desperate Jane Saunders is tied down to a stained mattress lying on a filthy basement floor - and humping away on top of her is - a short , stocky , masked man with the same tattooed hands we saw on Jaworski . It 's unseemly and nauseating , then it becomes pure evil as we watch Jaworski climax , reach under the mattress , pull out a knife , and as he raises it high in the air , we -</scene_description>
</scene>
<scene>
<stage_direction>THE FURIOUS DEXTER</stage_direction>
<scene_description>Staring at the computer - hatred all over his face .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now it's just a matter of time before he becomes a drop of blood in my glass slide collection.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But I have to wait, because what I do requires infinite planning and I have to be careful and follow the code of my father.</dialogue>
<scene_description>And as Dexter pushes back from his desk , we hear -</scene_description>
<character>YOUNG DEXTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Is that why we took this trip, Pop?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAMPGROUNDS - LATE AFTERNOON</stage_direction>
<scene_description>The sun is going down and little Dexter is helping his father build a campfire - throws a couple of twigs into the pile .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>To talk about this?</dialogue>
<scene_description>Harry blows into the embers , the fire ignites , then he sits down next to Dexter , turns and looks at his son .</scene_description>
<character>HARRY</character>
<dialogue>I'm getting old, son, and I think when you get older, people understand things differently. Understand things in a better way.</dialogue>
<character>YOUNG DEXTER</character>
<dialogue>I think I understand.</dialogue>
<scene_description>Beat .</scene_description>
<character>HARRY</character>
<dialogue>Ten years ago, I would have had you committed - but now I know better.</dialogue>
<parenthetical>( gently . )</parenthetical>
<dialogue>You're a good kid, Dexter.</dialogue>
<character>YOUNG DEXTER</character>
<parenthetical>( sincere , distraught . )</parenthetical>
<dialogue>No Pop, I'm bad. I'm.</dialogue>
<character>HARRY</character>
<parenthetical>( cuts him off . )</parenthetical>
<dialogue>No. You're good. You are, Dex. I know it and you know it and I know it because. because otherwise you would n't care what me or your mom thought - you'd just do it. But we're not going to be here forever so we have to get you sorted out.</dialogue>
<scene_description>He stares into Dexter 's eyes .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>Pop, I'm sorry.</dialogue>
<character>HARRY</character>
<parenthetical>( beat , then very gently . )</parenthetical>
<dialogue>Come here, son.</dialogue>
<scene_description>Harry leans over , flicks the hair away from Dexter 's face .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What do you remember from before? You know, before we took you in?</dialogue>
<scene_description>Beat .</scene_description>
<character>YOUNG DEXTER</character>
<dialogue>Nothing.</dialogue>
<character>HARRY</character>
<dialogue>Good, because what happened was too strong. It got into you too early, son and it's going to stay there.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's going to make you want to kill and you wo n't be able to stop it.</dialogue>
<character>YOUNG DEXTER</character>
<parenthetical>( sad . )</parenthetical>
<dialogue>So, I'm going be like this forever?</dialogue>
<character>HARRY</character>
<dialogue>Yes, and nothing can change that - but you can channel it. Control it. We can use it for good.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm going to teach you how to choose what and who you kill. Teach you how not to get caught.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>This will be our secret. Just between you and me? No one else can ever know.</dialogue>
<character>YOUNG DEXTER</character>
<dialogue>Are you sure?</dialogue>
<character>HARRY</character>
<dialogue>I'm absolutely sure and Dexter - I want you to, because there are plenty of people who deserve it.</dialogue>
<character>YOUNG DEXTER</character>
<dialogue>So you're not mad at me?</dialogue>
<character>HARRY</character>
<dialogue>No, son. I love you.</dialogue>
<scene_description>As Harry smiles then pulls little Dexter into his arms , we HEAR -</scene_description>
<character>DEBRA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Do n't bullshit me, Dex. Give me something before they shut me out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMBO'S RESTAURANT - MIAMI, FL - MORNING</stage_direction>
<scene_description>Crowded and chaotic . Dexter and Deb sit and eat .</scene_description>
<character>DEBRA</character>
<dialogue>LaGuerta's still convinced the killer was seen, too scared to finish so she still has me interviewing hookers.</dialogue>
<character>DEXTER</character>
<dialogue>It's a waste of time. Think, Deb. If he was interrupted.</dialogue>
<character>DEBRA</character>
<parenthetical>( cuts him off , excited . )</parenthetical>
<dialogue>Jesus Christ right - because then how'd he get the time to wrap up all the pieces? She's dumber than the boat people. Throw her a fucking raft.</dialogue>
<character>DEXTER</character>
<parenthetical>( beaming . )</parenthetical>
<dialogue>But now we have a fourth body and the cuts were different. It's telling us a story - the ritual is changing. He's looking for some inspiration and he's not finding it.</dialogue>
<character>DEBRA</character>
<parenthetical>( realizing . )</parenthetical>
<dialogue>So he keeps doing it until he gets it right.</dialogue>
<character>DEXTER</character>
<dialogue>I could be wrong.</dialogue>
<scene_description>But he is n't and Deb knows it , then shovels a forkful of food into her mouth and after a couple of hearty chomps -</scene_description>
<character>DEBRA</character>
<parenthetical>( with mouthful . )</parenthetical>
<dialogue>So, how the hell was your date last night?</dialogue>
<character>DEXTER</character>
<dialogue>Great. You ought to try it sometime. You need a life.</dialogue>
<character>DEBRA</character>
<dialogue>I need a transfer to Homicide, then we'll see about a life.</dialogue>
<character>DEXTER</character>
<dialogue>I understand, it would certainly sound better for the kids to say, ` Mommy's in homicide.'</dialogue>
<character>DEBRA</character>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>Do n't make me hit you.</dialogue>
<character>DEXTER</character>
<dialogue>It's a natural thought. And then we can talk about nephews and nieces. More little Morgans. Why not?</dialogue>
<character>DEBRA</character>
<dialogue>You sound like mom.</dialogue>
<character>DEXTER</character>
<dialogue>I'm channeling her.</dialogue>
<character>DEBRA</character>
<dialogue>Change the channel and tell me what you know about cell crystallization?</dialogue>
<character>DEXTER</character>
<parenthetical>( eyes her . )</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>DEBRA</character>
<dialogue>I heard the coroner say it last night - he was talking about the dead headless chick.</dialogue>
<character>DEXTER</character>
<parenthetical>( stares at her . )</parenthetical>
<dialogue>You got that look in your eye.</dialogue>
<character>DEBRA</character>
<dialogue>I was there before you and I noticed the body looked different from the others. Her pieces were cold - Like meat packing cold, so that's what I'm pondering - Is that what cell crystallization means?</dialogue>
<scene_description>FREEZE ON DEXTER</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My God, why did n't I think about that? It's beautiful.</dialogue>
<scene_description>BACK TO SCENE</scene_description>
<character>DEBRA</character>
<dialogue>Dex. what are you thinking?</dialogue>
<scene_description>Dexter looks at his sis , sips some water .</scene_description>
<character>DEXTER</character>
<dialogue>Sorry. But it makes sense. Cold - slows the flow of blood.</dialogue>
<character>DEBRA</character>
<dialogue>Why the hell is that important?</dialogue>
<character>DEXTER</character>
<dialogue>Just a feeling. but I think maybe he has a thing about blood.</dialogue>
<character>DEBRA</character>
<dialogue>That's not enough. Come on, I need to show LaGuerta and her boys.</dialogue>
<scene_description>Beat and then -</scene_description>
<character>DEXTER</character>
<dialogue>Refrigerated truck.</dialogue>
<scene_description>Deb eyes him , leans in close , then says slowly -</scene_description>
<character>DEBRA</character>
<dialogue>What - the - fuck - are - you - talking - about?</dialogue>
<character>DEXTER</character>
<parenthetical>( thinking - . )</parenthetical>
<dialogue>A refrigerated truck. He wants a cold environment to slow the blood flow. Clean and. mobile, so he can dump the garbage afterwards.</dialogue>
<character>DEBRA</character>
<dialogue>So we're looking for a refrigerated truck now.</dialogue>
<character>DEXTER</character>
<dialogue>Probably a stolen one.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Think there are a lot of stolen trucks out there?</dialogue>
<character>DEBRA</character>
<dialogue>You nuts? In Miami?</dialogue>
<scene_description>They break into smiles , then Deb gets up , kisses his head -</scene_description>
<character>DEBRA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Love you. thanks.</dialogue>
<scene_description>And she 's gone . Dexter looks around takes out a little note pad and pen and starts writing a list . `` Sharpen scalpels , replace batteries in saw , change needle . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S APARTMENT - LATER</stage_direction>
<scene_description>Dexter pours over blue prints that are clearly labeled Baywater Apartments .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Preparation is vital. No detail can be overlooked.</dialogue>
</scene>
<scene>
<stage_direction>INT. LARGE ROOM - HALF-BUILT BAYWATER PROJECTS - LATER</stage_direction>
<scene_description>Dexter staples thick sheets of plastic over the windowless window frames , then mops the unfinished cement floor .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And the ritual is intoxicating.</dialogue>
</scene>
<scene>
<stage_direction>INT. LARGE ROOM - HALF-BUILT BAYWATER PROJECTS - LATER</stage_direction>
<scene_description>Dexter SNAPS a rubber sheet over a stack of sheet rock in the middle of the unfinished room , pats it down , then cuts pieces of Duct - tape off a large roll and sticks them to the side of the sheet rock .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Duct tape, rubber sheets - Necessary tools of the trade.</dialogue>
</scene>
<scene>
<stage_direction>INT. LARGE ROOM - HALF-BUILT BAYWATER PROJECTS - LATER</stage_direction>
<scene_description>He sees a roll of shrink wrap , quickly whips out his filet knife , cuts up the shrink wrap , makes himself a mask , leaving is face pressed in and distorted . He quickly makes a small slit in between his lips so he can breathe . He pulls it off his face , then folds it neatly .</scene_description>
<character>DEXTER</character>
<dialogue>I'm a big fan of the little things in life.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE HEADQUARTERS - MIAMI, FL - NEXT DAY</stage_direction>
<scene_description>Dex walks into the crowded main lobby , then freezes at the ight of - THE CHOIR MASTER 'S WIFE Standing in front of the DESK SERGEANT , crying .</scene_description>
<character>WIFE</character>
<dialogue>I do n't understand. Do something, please. Put out an Amber alert, put his face on milk cartons - JUST FIND MY HUSBAND!</dialogue>
<character>DESK SERGEANT</character>
<parenthetical>( patiently . )</parenthetical>
<dialogue>Ma'am, I understand - the detectives re looking into everything and when we know.</dialogue>
<scene_description>As we pan off the Sergeant and his voice trails off , we settle - ON DEXTER Eyeing the Wife .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm pretty certain I made no mistakes.</dialogue>
<scene_description>Dexter turns , heads toward the briefing room , then feels a hard poke into his shoulder and stops . He spins around and tares into the face of -</scene_description>
<character>SGT. DOAKES</character>
<dialogue>I saw you staring at that woman. What do you care about her?</dialogue>
<character>DEXTER</character>
<dialogue>I do n't. I was just.</dialogue>
<character>SGT. DOAKES</character>
<parenthetical>( cuts him off . )</parenthetical>
<dialogue>You like when women cry? You like that? What's your thing, psycho?</dialogue>
<character>DEXTER</character>
<dialogue>Just heading to the briefing room.</dialogue>
<character>SGT. DOAKES</character>
<parenthetical>( hard . )</parenthetical>
<dialogue>You got no call to be in there, so flee.</dialogue>
<scene_description>But Dexter turns , keeps walking -</scene_description>
<character>SGT. DOAKES</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey! I'm.</dialogue>
<scene_description>With Doakes right behind him , Dexter grabs the briefing room oor , pulls it open , and we SEE - Lt. LaGuerta standing right inside . Doakes quickly regains his composure .</scene_description>
<character>SGT. DOAKES</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to LaGuerta . )</parenthetical>
<dialogue>This fucking guy does n't belong. I'm still waiting for his spatter report on the coke head murders.</dialogue>
<parenthetical>( back to Dexter . )</parenthetical>
<dialogue>Go do that.</dialogue>
<scene_description>LaGuerta shoots them both a look . Dexter retreats .</scene_description>
<character>DEXTER</character>
<dialogue>It's okay. I do n't want to make anyone unhappy.</dialogue>
<scene_description>Dexter turns , but LaGuerta reaches out , grabs his hand .</scene_description>
<character>LAGUERTA</character>
<dialogue>He can stay.</dialogue>
<parenthetical>( to Dexter . )</parenthetical>
<dialogue>I'd love your input and we'll discuss your case after the meeting - so how about we get started?</dialogue>
<scene_description>And LaGuerta pulls him into -</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIEFING ROOM - POLICE HEADQUARTERS - MIAMI, FL - SAME</stage_direction>
<scene_description>The room is packed with UNIFORMED COPS , DETECTIVES . LaGuerta sashays toward the front of the room . Dexter spins away from Doakes , runs into a COP .</scene_description>
<character>COP #2</character>
<parenthetical>( playfully . )</parenthetical>
<dialogue>Hey, Dex, I got some spatter in my shorts, want a swab?</dialogue>
<scene_description>Dexter smiles at him , looks for a seat , slides past a few ore COPS , then SEES - DEBRA Sitting alone in the back - cuts through the crowd - GRABS a seat next to her , squeezes her knee with encouragement .</scene_description>
<character>DEXTER</character>
<dialogue>You ready?</dialogue>
<character>DEBRA</character>
<parenthetical>( confidently . )</parenthetical>
<dialogue>I'm gon na shame this bitch.</dialogue>
<character>DEXTER</character>
<dialogue>Just state your case, clean and easy, and you'll be the hero.</dialogue>
<scene_description>And just then , Masuka slides into a seat next to Deb .</scene_description>
<character>MASUKA</character>
<dialogue>Deb, how about I give you a hundred bucks and you let me put my head between your babaloos?</dialogue>
<character>DEBRA</character>
<parenthetical>( right back and loud . )</parenthetical>
<dialogue>How about I stomp on your dick?</dialogue>
<scene_description>Masuka starts heaving and choking with that laugh and Deb stares at him with a mixture of amazement and disgust . ON LAGUERTA AT THE PODIUM</scene_description>
<character>LAGUERTA</character>
<parenthetical>( eyes Deb and Masuka . )</parenthetical>
<dialogue>Okay, settle down. Now, has anyone tracked down our witness?</dialogue>
<scene_description>Mumbles throughout the room . Her face tenses , she 's pissed .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>COME ON, PEOPLE - SOMEONE NEEDS TO FIND SOMETHING HERE.</dialogue>
<character>DEBRA</character>
<dialogue>Uh - Lt. LaGuerta.</dialogue>
<scene_description>Everyone turns - LaGuerta looks at Deb , rolls her eyes .</scene_description>
<character>LAGUERTA</character>
<dialogue>Oh, Officer Morgan. Did n't recognize you with your clothes on.</dialogue>
<scene_description>Titters all around . Deb hesitates then faces LaGuerta .</scene_description>
<character>DEBRA</character>
<dialogue>I have an idea - something in a different direction.</dialogue>
<character>LAGUERTA</character>
<dialogue>An idea?</dialogue>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Please, share it with us.</dialogue>
<scene_description>Deb stands , takes a breath and says -</scene_description>
<character>DEBRA</character>
<dialogue>Cell crystallization -</dialogue>
<character>DEXTER</character>
<parenthetical>( very softly . )</parenthetical>
<dialogue>A little more confidence, please.</dialogue>
<character>LAGUERTA</character>
<parenthetical>( overlapping , to Deb . )</parenthetical>
<dialogue>Excuse me?</dialogue>
<character>DEBRA</character>
<dialogue>On the last victim. I'd like to check and see if any refrigerated trucks have been stolen in the last week or so.</dialogue>
<scene_description>SILENCE . Everyone stares at Deb , then -</scene_description>
<character>LAGUERTA</character>
<dialogue>Refrigerated trucks?</dialogue>
<parenthetical>( dismissive . )</parenthetical>
<dialogue>Like ice cream trucks?</dialogue>
<scene_description>They lock eyes . It 's a stand - off .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She does n't get it - None of the brick - heads get it and poor Debra is n't making them see it.</dialogue>
<character>DEBRA</character>
<parenthetical>( hard , w/growing anger . )</parenthetical>
<dialogue>No. Not ice cream trucks. A refrigerated vehicle that could cause that kind of tissue damage - A refrigerated truck that is mobile, so he'll be harder to catch - a refrigerated truck, that might give us a lead.</dialogue>
<scene_description>Everyone fidgets uncomfortably in their seats .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( patronizing . )</parenthetical>
<dialogue>That's very interesting - very creative, but let's keep looking for the witness. We know, he or she is out there - The forensic evidence, the interrupted cut, proves there was an eyewitness - someone saw something so let's concentrate on finding that person. Okay?</dialogue>
<character>DEBRA</character>
<dialogue>But.</dialogue>
<character>LAGUERTA</character>
<parenthetical>( sharp , hard . )</parenthetical>
<dialogue>Just keep talking to all your hookers.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Okay, that's all for today.</dialogue>
<scene_description>And as everyone rises and leaves the room , Dexter looks at LaGuerta who winks at him .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Shit.</dialogue>
<scene_description>But Dexter RACES out of the room and down -</scene_description>
</scene>
<scene>
<stage_direction>THE HALLWAY</stage_direction>
<scene_description>Where he grabs Deb storming away . She spins and out of rustration SCREAMS -</scene_description>
<character>DEBRA</character>
<dialogue>DAMN HER.</dialogue>
<scene_description>Then she PUNCHES Dex hard in his chest .</scene_description>
<character>DEXTER</character>
<dialogue>Ouch. Jesus, Deb.</dialogue>
<character>DEBRA</character>
<dialogue>Sorry. but she made me look like a fucken idiot. She's such a COCK!</dialogue>
<character>DEXTER</character>
<dialogue>Cock?</dialogue>
<character>DEBRA</character>
<dialogue>You know what I fucking mean. I mean, what the fuck was I supposed to say? I'm just there because the Captain said they had to let me in.</dialogue>
<character>DEXTER</character>
<dialogue>But he did n't say they had to listen to you.</dialogue>
<character>DEBRA</character>
<dialogue>Right again, so say adios to my career. I'm going to die a meter maid.</dialogue>
<character>DEXTER</character>
<dialogue>There is another way. Find the truck.</dialogue>
<scene_description>And just then LaGuerta appears .</scene_description>
<character>LAGUERTA</character>
<dialogue>Excuse me.</dialogue>
<parenthetical>( smiling to Dex . )</parenthetical>
<dialogue>Dexter. My office, please.</dialogue>
<scene_description>LaGuerta turns , saunters away . Deb stares at Dex with a look of utter amazement .</scene_description>
<character>DEBRA</character>
<dialogue>What the hell was that? What the fu. You boning her? Oh my God.</dialogue>
<scene_description>And Deb takes off .</scene_description>
<character>DEXTER</character>
<dialogue>NO. Deb, wait.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAGUERTA'S OFFICE - POLICE HEADQUARTERS - LATER</stage_direction>
<scene_description>Dex has all his pictures of the blood splattered hotel suite on easels . Faces Lt. LaGuerta and Sgt. Doakes .</scene_description>
<character>DEXTER</character>
<dialogue>It has nothing to do with drugs.</dialogue>
<character>SGT. DOAKES</character>
<dialogue>This is a waste of our goddamn time.</dialogue>
<character>LAGUERTA</character>
<dialogue>I think Sgt. Doakes is right.</dialogue>
<scene_description>Dex eyes LaGuerta and Doakes looks like he 's about to pull his gun . Dex eyes him , then says evenly -</scene_description>
<character>DEXTER</character>
<dialogue>I read the other reports - all the other forensic analysis and everyone agrees. The coke - head murders had nothing to do with cocaine. It was a crime of passion. The murderer came there to kill the woman - not the dealer. He did him quick and got him out of the way but he sure as hell took his sweet time slicing up that lady and you do n't do that unless you have a long personal relationship with someone - probably an ex - boyfriend.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>That's who I'd look for.</dialogue>
<character>LAGUERTA</character>
<dialogue>Okay. It's a bit of a push, but Sgt, you should check it out anyway.</dialogue>
<character>SGT. DOAKES</character>
<parenthetical>( stares at Dexter . )</parenthetical>
<dialogue>I'm watching you, motherfucker.</dialogue>
<scene_description>And as we push into Dexter 's face , we HEAR the CRACK of thunder , and we -</scene_description>
</scene>
<scene>
<stage_direction>EXT. HALF-BUILT BAYWATER PROJECTS - MIAMI, FL - LATER</stage_direction>
<scene_description>The land has been cleared of all trees and a series of half built two - story condo 's sit abandoned in their place .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Another huge development that was going to improve all of our lives by turning trees and animals into cement and old people from New Jersey. But this place ran out of money - stalled, inert, lifeless.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HALF-BUILT APARTMENT - MIAMI, FL - LATER</stage_direction>
<scene_description>SECOND STORY WINDOW P.O.V. And through the sheets of rain we SEE - Jaworski pull up in his pickup , get out , a large wrench in his hand . He steps through the puddles and heads into the building .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Jaworski's been coming here for weeks. likes to steal all the copper wire. Good money in that.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>No security guards. That's good.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALF-BUILT APARTMENT - MIAMI, FL - SAME</stage_direction>
<scene_description>MOVING P.O.V. And we see Jaworski slowly head up the stairs , walk down the hallway , then disappear into a second story room . DOORWAY P.O.V. And we see Jaworski , struggling with a large piece of copper tubing , turning his wrench , over and over until the tubing is finally freed . Sweating , Jaworski , picks up a pile of tubing , cradles it in his arms , heads for the door and as soon as he steps into the doorway , he stops - FREEZES . SEES a picture of Jane Saunders pinned to the wall . Then in a FLASH - Dexter , wearing a rubber apron over his clothes and his face all pressed and distorted from that shrink wrap mask is behind him - his filet knife pressed into Jaworski 's neck .</scene_description>
<character>DEXTER</character>
<dialogue>Do n't move and do n't make a sound.</dialogue>
<character>JAWORSKI</character>
<dialogue>Hey, wait a.</dialogue>
<scene_description>And with that , Dexter pulls a syringe out of his pocket , plunges the needle deep into Jaworski 's neck and Jaworski crumbles to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. LARGE ROOM - BAYWATER PROJECTS - MIAMI, FL - LATER</stage_direction>
<scene_description>Jaworski 's naked body is shrink wrapped down over a stack of sheet rock . Duct tape stretched across his mouth . Next to him is a small table covered with a gleaming , lethal set of filet knives of various shapes and sizes . Dexter peels the mask off his face , leans over Jaworski and stares into his eyes .</scene_description>
<character>DEXTER</character>
<dialogue>Let's talk.</dialogue>
<scene_description>Jaworski struggles , shakes his head and Dexter rips the duct tape off his face .</scene_description>
<character>JAWORSKI</character>
<parenthetical>( pained . )</parenthetical>
<dialogue>Fuck.</dialogue>
<character>DEXTER</character>
<dialogue>Talk.</dialogue>
<character>JAWORSKI</character>
<parenthetical>( eyes wild with fear . )</parenthetical>
<dialogue>What? What do you mean?</dialogue>
<character>DEXTER</character>
<dialogue>I think you know what I mean.</dialogue>
<character>JAWORSKI</character>
<dialogue>No.</dialogue>
<scene_description>And with that , Dexter very casually and smoothly , draws the scalpel across Jaworski 's cheek .</scene_description>
<character>JAWORSKI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh, God.</dialogue>
<character>DEXTER</character>
<parenthetical>( tight , hard . )</parenthetical>
<dialogue>Now talk to me about Jane Saunders.</dialogue>
<scene_description>Beat . Then Dexter lifts the scalpel again .</scene_description>
<character>JAWORSKI</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>Okay. okay.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I did her.</dialogue>
<character>DEXTER</character>
<dialogue>How?</dialogue>
<scene_description>Beat .</scene_description>
<character>JAWORSKI</character>
<dialogue>In a movie - snuff film.</dialogue>
<parenthetical>( and then . )</parenthetical>
<dialogue>But I'm not sorry.</dialogue>
<character>DEXTER</character>
<dialogue>Of course not. And now, I'm not sorry, either.</dialogue>
<scene_description>And with that , Dexter lifts up his knife , then suddenly stops , reaches into his pants pocket and pulls out his cell phone .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( pleasantly . )</parenthetical>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. RITA'S HOUSE - MIAMI, FL - SAME</stage_direction>
<scene_description>Rita has the phone pressed hard against her ear .</scene_description>
<character>RITA</character>
<dialogue>I'm sorry. I mean, I'm sorry about the other night, but uh. Well, uh, Dex - I really need to see you, so can you - I mean, can you come by tonight - just for, you know - like a little while. I'm really. What are you doing now?</dialogue>
<scene_description>BACK ON</scene_description>
<character>DEXTER</character>
<dialogue>Just finishing up a little project, but I'll try to come by later.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Okay, bye.</dialogue>
<scene_description>He hangs up , looks at Jaworksi , smiles , raises his knife again and .</scene_description>
</scene>
<scene>
<stage_direction>INT. LARGE ROOM - BAYWATER PROJECTS - LATER</stage_direction>
<scene_description>Dexter gently places a piece of Jaworski 's leg into a white Hefty garbage bags filled with other bits and pieces of Jaworksi 's body stacked in a pile across the room . He takes a deep breath then whips his apron and gloves off -</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I feel a lot better now. Always do afterwards.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEXTER'S CAR - BISCAYNE BLVD - LATER THAT NIGHT</stage_direction>
<scene_description>Dexter drives down Biscayne Blvd , comes to a stop at a red light .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S CAR - SAME</stage_direction>
<scene_description>After a beat , he reaches into his shirt pocket , pulls out the glass side of Jaworski 's blood , looks at it .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>All in all it was good night - One less amateur film maker polluting the internet.</dialogue>
<scene_description>Just then , the beam of the headlights of a truck approaching from behind creeps up on his hand and Dexter quickly looks into his rear view mirror . POV FROM THE TRUCK As it bears down on Dexter 's car .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S CAR</stage_direction>
<scene_description>And Dexter is instantly blinded by the light . THE TRUCK Slowly pulls around and - DEXTER Looks out of the passenger side window and sees - THE TRUCK Slowly pass him , and Dexter realizes that it 's a refrigerated truck -</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>No. Ca n't be.</dialogue>
<scene_description>And just then the truck takes off - Dexter 's shocked . He chases after the truck and -</scene_description>
</scene>
<scene>
<stage_direction>THE TRUCK</stage_direction>
<scene_description>Cruises down one block , takes a right .</scene_description>
</scene>
<scene>
<stage_direction>DEXTER'S</stage_direction>
<scene_description>Car keeps up - stays close behind the truck .</scene_description>
</scene>
<scene>
<stage_direction>THE TRUCK</stage_direction>
<scene_description>Speeds up - Passes a sign that reads : `` Port of Miami . Restricted Area . ''</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Speeds after the truck and drives onto - THE OLD PORT BRIDGE And as he speeds up the causeway , he suddenly realizes that he 's coming to a dead end . DEXTER Sees the truck stopped ahead and - Slams his brakes and comes to a stop and watches -</scene_description>
</scene>
<scene>
<stage_direction>THE TRUCK</stage_direction>
<scene_description>Slowly begins a three point turn , and when it stops , it 's now facing -</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Who is now unnerved . It 's a Mexican standoff . Beat . THE TRUCK Pops on his high beams . DEXTER Squints and when he opens his eyes , he SEES -</scene_description>
</scene>
<scene>
<stage_direction>THE TRUCK</stage_direction>
<scene_description>RACING BACK TOWARD DEXTER - and it 's getting closer , closer .</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Turns white , then grips the wheel tighter and as the oncoming truck gets closer -</scene_description>
</scene>
<scene>
<stage_direction>THE TRUCK</stage_direction>
<scene_description>SWERVES AND - A SEVERED HEAD Flies into Dexter 's windshield . The glass CRACKS , SPIDERS and .</scene_description>
</scene>
<scene>
<stage_direction>THE HEAD</stage_direction>
<scene_description>Rolls off the hood , BOUNCES onto the wet causeway and starts rolling and skipping , heading straight toward the edge of the road and coming dangerously close to falling into the water below .</scene_description>
</scene>
<scene>
<stage_direction>DEXTER</stage_direction>
<scene_description>Jumps out of the car , RACES after the rolling head , catches up to it , bends down and GRABS IT - But the rain soaked , bloodless - head SLIPS through his fingers and scoots away from him . Then with a burst of energy , Dexter lunges - GRABS it pulls it in close and tight with his hands . He takes a couple of deep breaths , rises to his feet and . Standing alone in the middle of the empty road , Dexter lifts the head up , looks into her eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEXTER'S CAR - STREETS - MIAMI, FL - LATER</stage_direction>
<scene_description>Dexter sits on the hood of his car , watching the PARAMEDICS pick up the head and drop it into a bag , then carry it into n ambulance . Dexter waves -</scene_description>
<character>DEXTER</character>
<dialogue>Bye, bye.</dialogue>
<scene_description>Dex looks across the street at - Sgt. Doakes and Debra leaning against an unmarked police car nd Debra smiles wide , gives him a thumbs up and just then - LaGuerta 's car pulls up , headlights momentarily blinding Dexter . He shields his eyes , then after a beat , he sees LaGuerta get ut of her car , and lock eyes with - Deb who smirks at her , then turns , nods to Doakes . They both get into the unmarked car and take off . LaGuerta shakes her head , SLAMS her door shut and walks towards Dexter .</scene_description>
<character>LAGUERTA</character>
<dialogue>You okay?</dialogue>
<scene_description>LaGuerta approaches . Dexter eyes her then says wryly .</scene_description>
<character>DEXTER</character>
<dialogue>What a way to get a head.</dialogue>
<character>LAGUERTA</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Cute.</dialogue>
<scene_description>LaGuerta looks around , then takes a step towards him .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So did you see the driver of the truck?</dialogue>
<character>DEXTER</character>
<dialogue>Nope.</dialogue>
<character>LAGUERTA</character>
<dialogue>You sure it was a refrigerated truck?</dialogue>
<parenthetical>( off his nod . )</parenthetical>
<dialogue>But you did n't see the driver?</dialogue>
<character>DEXTER</character>
<dialogue>Nope.</dialogue>
<character>LAGUERTA</character>
<dialogue>And you're sure it was a refrigerated truck?</dialogue>
<character>DEXTER</character>
<dialogue>No question.</dialogue>
<character>LAGUERTA</character>
<dialogue>You seem pretty certain.</dialogue>
<scene_description>She steps in even closer .</scene_description>
<character>DEXTER</character>
<dialogue>Certain is my middle name.</dialogue>
<character>LAGUERTA</character>
<parenthetical>( seductively . )</parenthetical>
<dialogue>I like a confident man.</dialogue>
<scene_description>And she presses her tempting , elegant body against his body .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nice job on the coke head murders. Doakes picked up the killer. It was her boyfriend. But Doakes still hates you.</dialogue>
<scene_description>Her hand drops down , starts massaging his thigh .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How'd you get so smart, Dexter?</dialogue>
<scene_description>She runs her hands over his chest , then through his hair .</scene_description>
<character>LAGUERTA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And you always wear such nice clothes.</dialogue>
<character>DEXTER</character>
<dialogue>Lt, I do n't think.</dialogue>
<scene_description>She presses harder against him , whispers seductively -</scene_description>
<character>LAGUERTA</character>
<dialogue>Shhhh.</dialogue>
<character>DEXTER</character>
<dialogue>No, Lt. not here.</dialogue>
<character>LAGUERTA</character>
<dialogue>That's right, not here. My place.</dialogue>
<scene_description>And as she leans in for the kiss , Dexter quickly turns his face away , scoots to the side and . LaGuerta falls forward , hitting the car hard .</scene_description>
<character>DEXTER</character>
<parenthetical>( horrified . )</parenthetical>
<dialogue>Lt. I'm so, so sorry.</dialogue>
<scene_description>LaGuerta rights herself , whips around - venom in her eyes .</scene_description>
<character>LAGUERTA</character>
<dialogue>You son - of - a - bitch.</dialogue>
<character>DEXTER</character>
<dialogue>No. Lt. Please, listen. I just had a head thrown at me and I'm feeling a little out of sorts and I'm afraid I might disappoint you.</dialogue>
<scene_description>They lock eyes . Dexter smiles wide and bright and LaGuerta finally buys it - smiles back .</scene_description>
<character>LAGUERTA</character>
<dialogue>Okay, some other time. When you're less traumatized.</dialogue>
<scene_description>They lock eyes , Dexter nods , then ducks into his car and drives off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RITA'S HOUSE - MIAMI, FL - EARLY MORNING</stage_direction>
<scene_description>Dexter stands in front of Rita 's door , presses the bell . Ding , dong , ding , dong . The door swings open and Dexter SEES Rita bundled up in her robe . After a beat -</scene_description>
<character>RITA</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Dex. it's been eight hours.</dialogue>
<character>DEXTER</character>
<dialogue>I'm sorry.</dialogue>
<character>RITA</character>
<dialogue>I was worried and I did n't know what to do.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I called in sick. I mean, are you okay?</dialogue>
<character>DEXTER</character>
<dialogue>Yeah, sure, I'm fine. I'm sorry. it was, you know - another.</dialogue>
<character>RITA</character>
<dialogue>Oh.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>The kids slept over next door -.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>They can stay a little longer.</dialogue>
<character>DEXTER</character>
<dialogue>Okay.</dialogue>
<scene_description>Beat .</scene_description>
<character>RITA</character>
<dialogue>Would you like to come in?</dialogue>
<character>DEXTER</character>
<dialogue>Okay.</dialogue>
<scene_description>And he steps -</scene_description>
</scene>
<scene>
<stage_direction>INT. RITA'S HOUSE - MIAMI, FL - SAME</stage_direction>
<scene_description>Dexter follows Rita into the living room - she turns , faces him .</scene_description>
<character>RITA</character>
<dialogue>I do n't want to lose you, Dex.</dialogue>
<character>DEXTER</character>
<dialogue>Okay. Sure.</dialogue>
<character>RITA</character>
<dialogue>And I want you.</dialogue>
<scene_description>And with that , she opens her robe and shyly shows Dexter the simple but elegant nightgown she 's wearing underneath .</scene_description>
<character>RITA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( nervously . )</parenthetical>
<dialogue>DEX. I want to make love to you.</dialogue>
<character>DEXTER</character>
<dialogue>Oh, okay, thanks.</dialogue>
<character>RITA</character>
<dialogue>You're welcome.</dialogue>
<scene_description>And Rita reaches out , slowly pulls him close . They start to kiss , then she stops , pulls back -</scene_description>
<character>RITA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't worry, the Doctor's cleared up that little problem I had.</dialogue>
<character>DEXTER</character>
<parenthetical>( hesitantly . )</parenthetical>
<dialogue>Okay, that's. that's good.</dialogue>
<scene_description>And they kiss and then it builds until Dexter guides Rita to the couch and as he slowly lays her down , we -</scene_description>
</scene>
<scene>
<stage_direction>INT. DEXTER'S APARTMENT - COCONUT GROVE, FL - MORNING</stage_direction>
<scene_description>Dexter steps inside , closes the door .</scene_description>
<character>DEXTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wow. Sex. How did that happen? But she seemed pleased so I guess I did n't disappoint her.</dialogue>
<scene_description>He looks around the room , all seems fine and he heads into - THE DARK KITCHEN</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But that's because I do n't care, and chances are if you do n't care about something, you'll be better at it.</dialogue>
<scene_description>He flips on the light -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Performance anxiety must be a bitch.</dialogue>
<scene_description>And then he SEES - BARBIE DOLL 'S HEAD Scotched taped and hanging by its hair on the refrigerator door and Dexter FREEZES - stares at the head . He 's clearly tense , unnerved . Dexter slowly approaches the refrigerator , touches the Barbie head and as it swings gently back and forth , he slowly opens the freezer door and inside he finds - THE BARBIE DOLL BODY PARTS Neatly stacked and tied together with little pink ribbons - just like the bloodless bodies , sans the little pink ribbons . After a beat , Dexter 's body relaxes -</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I suppose I should be upset, even feel violated, but I'm not.</dialogue>
<scene_description>And then he notices - SMALL VANITY MIRROR Stuck in one of Barbie 's hands . He pulls the tiny mirror out of the doll 's hand , stares into it . And we see little fragmented images of Dexter 's face off the mirror .</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No. In fact, I think this is a friendly message - Kind of like, ` Hey, want to play?'</dialogue>
<scene_description>Dex puts the mirror down , closes the freezer door , and as he looks down at the little Barbie head swinging on the refrigerator door again , we - FREEZE ON DEXTER 'S SMILING FACE</scene_description>
<character>DEXTER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And yes, I want to play. I really, really do.</dialogue>
<scene_description>And on that , we - BLACK</scene_description>
</scene>
</script> | The pilot commences with Dexter driving through Miami, summarizing, in a monologue, that something is to occur on that night. After a choir performance at a bandstand, Dexter kidnaps Mike Donovan (Jim Abele), a pastor who rapes and murders young boys, and takes him to a remote cabin in the Everglades and forces him to look at the bodies of his victims. Before sedating him, Dexter explains that he could never kill a child, because he abides by a moral code. Later, Donovan awakes to find himself strapped to a table. Dexter makes an incision in his cheek with a scalpel and collects his blood in a slide, and proceeds to kill him. Dexter, returning from dumping Donovan's remains, narrates that he is not sure why he feels the need to kill, and speaks of his adoptive parents, Harry and Doris Morgan, both of whom are dead. At his apartment, Dexter stores Donovan's blood in a case containing the blood of his other victims. Dexter explains that he kills according to a code taught to him by his foster father who, as a Miami police officer, instructed Dexter on how to avoid being caught, and to kill only those who "deserve it". Flashbacks throughout the episode reveal that Harry first decided to impart these "lessons" upon Dexter after discovering that the boy had been killing neighborhood pets. Dexter receives a voice message from his foster sister Debra Morgan (Jennifer Carpenter), a police officer in the vice department and, Dexter believes, the only person who loves him. Debra says that she is at a crime scene, and wants him to be there because she needs his help. Dexter arrives and Debra, undercover as a prostitute, informs him that another hooker has been killed, the third in five months. Dexter inspects the victim and is shocked to learn that the chopped up corpse is bloodless. Dexter leaves, awed by the killer's technique, and says that due to the lack of blood he can't help out. At the police station, Dexter discusses another murder case being handled by James Doakes (Erik King), who hates Dexter and suspects he is hiding something. Dexter suggests that it was a crime of passion, rather than the bad drug deal Doakes believes it to be. Dexter surveils Jamie Jaworski, a murderer who escaped justice due to a faulty warrant, and breaks into his home to find proof of his crime. Once he confirms that Jaworski is guilty, Dexter meets with his girlfriend Rita Bennett (Julie Benz), a domestic violence victim. As a result of her violent past with her husband, Rita has no interest in sex, and Dexter secretly feels comfortable with the lack of intimacy. Rita also has two young children, Astor and Cody, whom Dexter genuinely feels for. While on a date with Rita, Dexter finds another crime scene in which the victim has been cut into pieces with no traces of blood; this time, however, the head is missing. Dexter theorizes that the killer murders his victims in extreme cold, explaining the absence of blood. Dexter further suggests that a stolen refrigerated truck is being used for the murders. Dexter allows Debra to pitch the theory, but their superior officer, Lt. María LaGuerta (Lauren Vélez), who dislikes Debra, dismisses it. Dexter captures Jaworski, who admits his guilt and explains that he has no remorse for his act. After killing Jaworski, Dexter drives to see Rita, but is sidetracked when he sees a refrigerated truck. Dexter follows the truck, and the driver throws a severed head onto Dexter's car. When the police squad arrives, LaGuerta confirms that Doakes' case was indeed a crime of passion. Dexter arrives at Rita's apartment, where she expresses interest in taking their relationship to a more intimate level, under the impression that this is what Dexter wants. Dexter feels uncomfortable, but is saved when Rita's son, Cody, gets sick next door and needs his mother to pick him up. When Dexter arrives at his apartment, he finds a doll's head on his refrigerator door. Inside the freezer, he finds the other parts of the doll, severed just like the bloodless bodies of the dead women. Dexter views the doll as an invitation to play, which he greets gladly. |
M_1931 | tt0022100 | <script>
<scene>
<stage_direction>M</stage_direction>
<scene_description>A large white M on a dark , shadowy screen . MUSIC -LRB- `` In the Hall of the Mountain King '' -RRB- and TITLES BEGIN . As the TITLES END , a child 's voice is heard CHANTING . FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - CITY BLOCK - BERLIN, GERMANY - 1930 A.D. - DAY</stage_direction>
<scene_description>FADE IN on a HIGH ANGLE - A group of children , standing in a circle , play a game . In the center of the circle , a LITTLE GIRL points her finger from one child to another in rhythm with the chant .</scene_description>
<character>LITTLE GIRL</character>
<parenthetical>( chants . )</parenthetical>
<dialogue>Just you wait a little while, The evil man in black will come. And with his little chopper, He will chop you up.</dialogue>
<scene_description>The LITTLE GIRL stops in front of one of her playmates and gestures for her to leave the circle .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>You're out.</dialogue>
<scene_description>The child leaves the circle and the game continues .</scene_description>
<character>LITTLE GIRL</character>
<parenthetical>( chants . )</parenthetical>
<dialogue>Just you wait a little while, The evil man in black will come. And with his little chopper, He will chop you up.</dialogue>
<scene_description>During the chant , we PAN OFF , past two coal - bunkers -LRB- revealing that we are in the courtyard of a block of flats -RRB- , and CLIMB the face of the tenement block to show an outdoor balcony with washing hanging out to dry . A PREGNANT WOMAN appears , carrying a basket of laundry ; she pauses when she hears the chanting , then leans over the balcony and shouts down to the children .</scene_description>
<character>PREGNANT WOMAN</character>
<dialogue>Will you stop singing that awful song?!</dialogue>
<scene_description>But the chanting continues -</scene_description>
<character>PREGNANT WOMAN</character>
<dialogue>Ca n't you hear?</dialogue>
<scene_description>The chanting stops .</scene_description>
<character>PREGNANT WOMAN</character>
<parenthetical>( mutters to herself . )</parenthetical>
<dialogue>Always that awful song.</dialogue>
<scene_description>She walks off , carrying her basket . After a moment , the chant continues .</scene_description>
<character>LITTLE GIRL</character>
<parenthetical>( chants , o.s . )</parenthetical>
<dialogue>Just you wait a little while, The evil man in black will come. And with his little chopper.</dialogue>
<scene_description>We hold on the empty balcony for a long moment and then</scene_description>
</scene>
<scene>
<stage_direction>INT. TENEMENT BLOCK - DAY</stage_direction>
<scene_description>The FRONT DOOR of one of the flats . The PREGNANT WOMAN with her basket of laundry RINGS the bell . The door opens and a tired , haggard , middle - aged woman appears . It is MRS. BECKMANN . Behind her , we see a KITCHEN . The PREGNANT WOMAN hands the basket to MRS. BECKMANN and wearily wipes her brow .</scene_description>
<character>PREGNANT WOMAN</character>
<parenthetical>( sighing . )</parenthetical>
<dialogue>Oh, dear!</dialogue>
<character>MRS. BECKMANN</character>
<dialogue>What's the matter?</dialogue>
<character>PREGNANT WOMAN</character>
<dialogue>I'm always telling those kids to stop singing that terrible murderer's song. and they do nothing but sing it at the top of their voices all day.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>As if we had n't heard enough of that killer.</dialogue>
<character>MRS. BECKMANN</character>
<dialogue>Oh, leave them alone. As long as they're singing, at least we know they're still there.</dialogue>
<character>PREGNANT WOMAN</character>
<dialogue>Yes, I suppose you're right.</dialogue>
<scene_description>The pregnant woman shuts the door for MRS. BECKMANN , leaving her alone in her flat with the laundry . MRS. BECKMANN puts the basket in a corner of her poor but clean kitchen , then bends over a bowl of water and continues with her washing . A cuckoo - clock STRIKES . MRS. BECKMANN looks up at the clock , which shows midday . The RINGING of a church bell mingles with the cuckoos . MRS. BECKMANN smiles , straightens up , and wipes her hands .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>A group of parents waits on the pavement outside the main entrance to the local school . Cars pass . The bell stops ringing as the children come out ; one little girl waves and goes off in a direction different from her friends . It is ELSIE BECKMANN ; she wears a satchel on her back and carries a string bag with a ball in it . When she comes to cross the road she steps off the curb without looking , a car HONKS at her and she hurriedly steps back onto the curb . A policeman stops the traffic and escorts her across .</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. BECKMANN'S KITCHEN - DAY</stage_direction>
<scene_description>MRS. BECKMANN sets the table for Elsie 's lunch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER CITY STREET - DAY</stage_direction>
<scene_description>ELSIE walks along the pavement of a busy sidewalk , bouncing her ball . She stops by a circular pillar of the sort used as a billboard and starts throwing her ball against it . We FOLLOW the ball and MOVE IN to show one of the posters : 10,000 Marks Reward . WHO IS THE MURDERER ? Since Monday , 11th June this year , the following have disappeared : the school - children Klaus Klawitsky and his sister Klara , who live at 470 Mueller Street . Various evidence leads us to believe that the children were victims of a similar crime to that committed last autumn against the Doering sisters . As the ball continues to bounce against the poster , the shadow of a man in a hat falls across the pillar : it is the shadow of the MURDERER .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What a pretty ball.</dialogue>
<scene_description>The shadow bends down .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What's your name?</dialogue>
<character>ELSIE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Elsie Beckmann.</dialogue>
</scene>
<scene>
<stage_direction>INT. MRS. BECKMANN'S TENEMENT - DAY</stage_direction>
<scene_description>KITCHEN - MRS. BECKMANN peels potatoes and puts them into a tureen . The clock reads 12:20 . MRS. BECKMANN puts the lid on the tureen . She hears footsteps , goes to the door , opens it and looks up the stairs . STAIRCASE - Two LITTLE GIRLS are going up .</scene_description>
<character>MRS. BECKMANN</character>
<dialogue>Elsie did n't come with you?</dialogue>
<character>1ST LITTLE GIRL</character>
<dialogue>No.</dialogue>
<character>2ND LITTLE GIRL</character>
<parenthetical>( simultaneously . )</parenthetical>
<dialogue>No, she did n't come with us.</dialogue>
<scene_description>MRS. BECKMANN watches from the doorway , as the GIRLS go on up the stairs ; then she leans over the bannisters and looks down into the empty staircase well . MRS. BECKMANN shakes her head and goes back into her flat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER - HIGH ANGLE - DAY</stage_direction>
<scene_description>A BEGGAR - with a card hung around his neck reading `` BLIND '' - stands on a corner selling balloons . A paper windmill is stuck in his battered hat . The MURDERER and ELSIE stand in front of him , examining the balloons . The MURDERER WHISTLES , loudly and and a little off - key , the first bars of `` In the Hall of the Mountain King '' from Grieg 's ` Peer Gynt . ' He buys a balloon in the shape of a huge doll and hands it to ELSIE who thanks him with a little curtsy .</scene_description>
<character>ELSIE</character>
<dialogue>Thank you very much.</dialogue>
<scene_description>The MURDERER and ELSIE walk off as the BLIND BEGGAR pockets his money .</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. BECKMANN'S KITCHEN - DAY</stage_direction>
<scene_description>MRS. BECKMANN puts the tureen into a steaming saucepan . The doorbell RINGS . Visibly relieved , she rushes to open the door . On the doorstep stands the PAPERMAN .</scene_description>
<character>PAPERMAN</character>
<dialogue>Good morning. A thrilling new chapter, Mrs. Beckmann!</dialogue>
<parenthetical>( hands her the paper . )</parenthetical>
<dialogue>Passionate, moving, sensational.</dialogue>
<character>MRS. BECKMANN</character>
<parenthetical>( very wearily . )</parenthetical>
<dialogue>Good - thank you.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Oh. just a moment, Mr. Gehrke.</dialogue>
<scene_description>She takes the paper and moves away . We STAY ON the PAPERMAN .</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Tell me, Mr. Gehrke.</dialogue>
<character>PAPERMAN</character>
<dialogue>Yes?</dialogue>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Have you seen Elsie?</dialogue>
<character>PAPERMAN</character>
<dialogue>Did n't she just come up the stairs?</dialogue>
<scene_description>MRS. BECKMANN comes back to the door to pay the PAPERMAN .</scene_description>
<character>MRS. BECKMANN</character>
<dialogue>No, she's not back yet.</dialogue>
<character>PAPERMAN</character>
<dialogue>Well, she wo n't be long now.</dialogue>
<scene_description>He touches the peak of his cap and turns to go .</scene_description>
<character>PAPERMAN</character>
<dialogue>Good - bye, Mrs. Beckmann.</dialogue>
<character>MRS. BECKMANN</character>
<parenthetical>( not reassured . )</parenthetical>
<dialogue>Good - bye, Mr. Gehrke.</dialogue>
<scene_description>She hesitates for a moment , then goes onto the landing and leans once again over the bannisters to peer down into THE EMPTY STAIRCASE WELL .</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s. , her voice echoing . )</parenthetical>
<dialogue>Elsie! Elsie!</dialogue>
<scene_description>MRS. BECKMANN , looking worried , goes back to her flat , and closes the door . THE CUCKOO - CLOCK - It 's now 1:15 . The cuckoo strikes once . WIDE ANGLE - MRS. BECKMANN 'S KITCHEN MRS. BECKMANN is alone . She opens the window and leans out , calling anxiously .</scene_description>
<character>MRS. BECKMANN</character>
<dialogue>Elsie! Elsie!</dialogue>
<scene_description>THE EMPTY STAIRCASE WELL</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Elsie!</dialogue>
<scene_description>THE ATTIC LOFT OF THE BLOCK OF FLATS Empty except for some washing hanging in the shadows .</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Elsie!</dialogue>
<scene_description>THE KITCHEN TABLE Elsie 's empty chair , her clean plate , her spoon , and her folded napkin .</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Elsie! Elsie!</dialogue>
<scene_description>FAR AWAY - A PATCH OF SCRUBBY GROUND From out of the undergrowth rolls ELSIE 'S ball . It rolls to a stop . THE BIG , DOLL - SHAPED BALLOON It floats up into the air and catches momentarily in some telegraph wires , until the wind shakes it free and carries it away . FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - EARLY EVENING</stage_direction>
<scene_description>FADE IN on A HIGH ANGLE of a sidewalk . A CAR sits parked at the curb . A PAPERSELLER rushes by , waving the latest edition .</scene_description>
<character>PAPERSELLER</character>
<dialogue>Extra! Extra! Extra!</dialogue>
<scene_description>A passer - by stops him and buys a paper . ANOTHER HIGH ANGLE of ANOTHER STREET where ANOTHER PAPERSELLER can be seen , surrounded by a crowd that urgently wants to buy his papers .</scene_description>
<character>PAPERSELLER</character>
<dialogue>Extra! Extra! New crime! Who is the murderer? Who? Who is the murderer?</dialogue>
</scene>
<scene>
<stage_direction>INT. THE MURDERER'S ROOM - NIGHT</stage_direction>
<scene_description>The MURDERER sits at the windowsill , his back to us , writing . He holds a cigarette in his left hand and still whistles the tune from ` Peer Gynt . ' INSERT - THE MURDERER 'S LETTER The handwriting is a childish scrawl . ` Since the police have n't published my first letter , I am writing today straight to the NEWSPAPERS . Keep up your investigations . Everything will happen just as I have predicted . But I have n't yet FINISHED . '</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - NIGHT</stage_direction>
<scene_description>A POLICE POSTER - Affixed to a brick wall . In large letters , we can read . 10,000 Marks Reward . WHO IS THE MURDERER ? The lettering of the rest of the poster is too small . We slowly PULL BACK over the heads of a crowd gathered around the poster . General hubbub .</scene_description>
<character>VOICES OF CROWD</character>
<dialogue>Good God, here we go again. It's terrible! 10,000 Marks. The lettering is too small, we ca n't read it all! Hey, read it out loud, you, there in front. Yes, read it. out loud.</dialogue>
<parenthetical>( reading . )</parenthetical>
<dialogue>` The unknown murderer'. Let him read. Oh, hey! Quiet! Shut up!</dialogue>
<parenthetical>( reading . )</parenthetical>
<dialogue>` The terror in our town has found a new'. Oh, that's enough. Stop it!</dialogue>
<parenthetical>( reading . )</parenthetical>
<dialogue>` victim'. Louder, we ca n't hear a thing.</dialogue>
<scene_description>The sound of the crowd CROSSFADES to the voice of a RADIO ANNOUNCER .</scene_description>
<character>RADIO ANNOUNCER</character>
<dialogue>Certain evidence leads us to believe that the murderer is the same as the one who has already killed eight children in our city. We must once more draw your attention to the fact.</dialogue>
<scene_description>HIGH ANGLE - CAFe TABLE A group of middle - class men sit around it , smoking and drinking . One of them , an OLD MAN , reads aloud from a newspaper . His voice takes over from the RADIO ANNOUNCER . In the middle of the table , stands a little embroidered nag , the insignia of the club to which these gentlemen belong .</scene_description>
<character>OLD MAN</character>
<parenthetical>( reading . ) '</parenthetical>
<dialogue>. that the first duty of every mother, of every father, is to warn their children of the danger which always threatens them. Moreover, because the danger is often hidden under an attractive disguise, some sweets, a toy, fruit, can be the murderer's weapons.</dialogue>
<character>THE OTHER MEN</character>
<dialogue>Very true. Of course.</dialogue>
<scene_description>The OLD MAN stops reading to take a gulp of beer . His neighbor , a fat civil servant in a stiff collar , impatiently stuffs a huge cigar into a cigar - holder .</scene_description>
<character>MAN WITH CIGAR-HOLDER</character>
<dialogue>Go on.</dialogue>
<parenthetical>( nervously . )</parenthetical>
<dialogue>Come on now. Read on.</dialogue>
<character>OLD MAN</character>
<dialogue>Right, right.</dialogue>
<parenthetical>( reading . ) '</parenthetical>
<dialogue>. The anxiety of the general public is all the greater, because police enquiries.'</dialogue>
<scene_description>As the OLD MAN continues to read , we see two of the other men at the table . A BALD MAN wearing pince - nez ; beside him , a FAT MAN twirls a glass of wine in his hand .</scene_description>
<character>OLD MAN</character>
<parenthetical>( o.s . ) '</parenthetical>
<dialogue>. have not yet finished. But the police find themselves faced by an almost impossible problem.'</dialogue>
<scene_description>The BALD MAN nudges his neighbor and they whisper to one another . The BALD MAN points his cigar at the MAN WITH CIGAR - HOLDER opposite him . The OLD MAN continues to read .</scene_description>
<character>OLD MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>` The guilty man has left no trace. Who is the murderer?'</dialogue>
<scene_description>The MAN WITH CIGAR - HOLDER opposite listens attentively . On his cigar - holder , we see the design of a naked woman .</scene_description>
<character>OLD MAN</character>
<dialogue>` What is he like? Where is he hiding? No one knows. And, yet, he is one of us. Your neighbor could be the murderer.'</dialogue>
<scene_description>He lowers the paper . The BALD MAN and his companion stare with contempt at the MAN WITH CIGAR - HOLDER . On the table , the newspaper ` Tempo ' , with the headline : ' 10,000 Marks reward ' . The BALD MAN grabs his glass of beer .</scene_description>
<character>BALD MAN</character>
<dialogue>Yes, that's right.</dialogue>
<scene_description>HIGH ANGLE of the whole group .</scene_description>
<character>MAN WITH CIGAR-HOLDER</character>
<dialogue>Why do you look at me, when you say that?</dialogue>
<character>BALD MAN</character>
<dialogue>You know very well.</dialogue>
<character>MAN WITH CIGAR-HOLDER</character>
<dialogue>What do I know very well?</dialogue>
<scene_description>The BALD MAN , behind his glass of beer , leans forward and stares at his companion through his pince - nez .</scene_description>
<character>BALD MAN</character>
<dialogue>All right. think a bit. You'll find out.</dialogue>
<character>MAN WITH CIGAR-HOLDER</character>
<dialogue>What are you insinuating?</dialogue>
<character>BALD MAN</character>
<dialogue>That I saw you going up the stairs, behind the little girl from the fourth floor.</dialogue>
<character>MAN WITH CIGAR-HOLDER</character>
<parenthetical>( jumps up , shouting angrily . )</parenthetical>
<dialogue>What?! You're crazy, you dirty swine!</dialogue>
<character>BALD MAN</character>
<parenthetical>( also jumps up , shouting . )</parenthetical>
<dialogue>Who's a swine? Me? Me? Or the man who chases little girls?</dialogue>
<scene_description>In the excitement , he loses his pince - nez . HIGH ANGLE of the whole group .</scene_description>
<character>MAN WITH CIGAR-HOLDER</character>
<parenthetical>( mad with rage . )</parenthetical>
<dialogue>You slanderer!</dialogue>
<character>BALD MAN</character>
<dialogue>Murderer!</dialogue>
<scene_description>As the MAN WITH CIGAR - HOLDER tries to punch his opponent , two FRIENDS and a waiter intervene . General confusion .</scene_description>
<character>OLD MAN</character>
<dialogue>But, gentlemen! Gentlemen! Gentlemen!</dialogue>
<scene_description>They are separated .</scene_description>
<character>MAN WITH CIGAR-HOLDER</character>
<dialogue>I'll see you in court.</dialogue>
<character>BALD MAN</character>
<dialogue>I'll see YOU in court.</dialogue>
<character>WAITER</character>
<parenthetical>( intervening . )</parenthetical>
<dialogue>Now then, gentlemen. calm down.</dialogue>
<character>ANOTHER CLIENT</character>
<dialogue>I did n't mean to.</dialogue>
<scene_description>The HEAD WAITER , a CLIENT and the three FRIENDS go out . The SMALL MAN has been watching the row with fiendish glee . The BALD MAN continues to shout at his departing enemy .</scene_description>
<character>BALD MAN</character>
<dialogue>Slanderer. ruining my reputation.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>In a comfortable bourgeois flat . The drawers of a chest have been pulled out and the contents scattered everywhere . Through the door we see a sitting - room .</scene_description>
<character>THE HUSBAND</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What a slanderer! What an awful man!</dialogue>
<scene_description>A WOMAN appears at the doorway , in tears .</scene_description>
<character>THE HUSBAND</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>And the police listened to him! They're searching my house!</dialogue>
<scene_description>A POLICEMAN and THE HUSBAND come through the door into the sitting room .</scene_description>
<character>THE WOMAN</character>
<parenthetical>( weeping . )</parenthetical>
<dialogue>How awful! Oh, what shame!</dialogue>
<character>THE HUSBAND</character>
<dialogue>Searching an honest man's flat, because of an anonymous letter. It's. it's.</dialogue>
<character>POLICEMAN</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Mr. Jaeger, calm down. We're only doing our duty.</dialogue>
<character>THE HUSBAND</character>
<dialogue>When we never have a minute's peace? Frightened about the children.</dialogue>
<character>POLICEMAN</character>
<dialogue>Look, it's for that very reason, that the police have to follow every lead. Any man in the street.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE STREET - NIGHT</stage_direction>
<character>POLICEMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>could be the guilty man.</dialogue>
<scene_description>In the street , a little OLD MAN of about sixty , wearing a bowler hat and spectacles with round , metal rims stops under a street lamp to read his paper . A LITTLE GIRL comes up to him , pushing a scooter .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Could you tell me what time it is, please?</dialogue>
<character>OLD MAN</character>
<parenthetical>( very friendly . )</parenthetical>
<dialogue>Yes, my child.</dialogue>
<scene_description>He takes out his watch . A few yards away , in front of a furniture shop , two shoppers , laden with parcels , look on . A WORKMAN with huge wide shoulders , wearing a cap , comes out of the shop . The LITTLE GIRL stands with the OLD MAN . In the background , the big WORKMAN approaches , menacingly , as the OLD MAN puts his watch away and bends down to the LITTLE GIRL .</scene_description>
<character>OLD MAN</character>
<dialogue>Now, my child, you must go home. Where do you live?</dialogue>
<scene_description>As the LITTLE GIRL goes off on her scooter , the WORKMAN interrupts .</scene_description>
<character>WORKMAN</character>
<dialogue>What business is it of yours, where the kid lives?</dialogue>
<character>OLD MAN</character>
<parenthetical>( looking up , terrified . )</parenthetical>
<dialogue>Excuse me?</dialogue>
<scene_description>The OLD MAN looks up anxiously , through his pebbled - glasses , with great , round , scared eyes . The WORKMAN , enormous , rises on his toes .</scene_description>
<character>WORKMAN</character>
<dialogue>What did you want with the kid?</dialogue>
<character>OLD MAN</character>
<parenthetical>( startled . )</parenthetical>
<dialogue>But. but. nothing at all! And you, what do you want with me!</dialogue>
<scene_description>The WORKMAN seizes his arm . Some people stop and gather round .</scene_description>
<character>WORKMAN</character>
<parenthetical>( seizing the OLD MAN . )</parenthetical>
<dialogue>Just you wait and see.</dialogue>
<character>OLD MAN</character>
<parenthetical>( struggling . )</parenthetical>
<dialogue>Let go. Let me go. It's a. a. an impertinence!</dialogue>
<character>FIRST PASSER-BY</character>
<parenthetical>( to the OLD MAN . )</parenthetical>
<dialogue>What's going on?</dialogue>
<character>OLD MAN</character>
<parenthetical>( to PASSER - BY . )</parenthetical>
<dialogue>It's an outrage!</dialogue>
<character>SECOND PASSER-BY</character>
<parenthetical>( to the WORKMAN , off the OLD MAN . )</parenthetical>
<dialogue>What does he want?</dialogue>
<character>WORKMAN</character>
<parenthetical>( to OLD MAN . )</parenthetical>
<dialogue>Do n't get on your high horse.</dialogue>
<parenthetical>( to SECOND PASSER - BY . )</parenthetical>
<dialogue>First, he accosts children.</dialogue>
<character>ANOTHER BYSTANDER</character>
<dialogue>Punch his face in!</dialogue>
<character>WORKMAN</character>
<parenthetical>( continues . )</parenthetical>
<dialogue>and then, he comes on all high and mighty.</dialogue>
<character>OLD MAN</character>
<parenthetical>( struggling . )</parenthetical>
<dialogue>Let me go, ca n't you? I did n't start the conversation with the child.</dialogue>
<character>WORKMAN</character>
<dialogue>You wanted to get off with her, did n't you?</dialogue>
<character>FEMALE PASSER-BY</character>
<parenthetical>( violently . )</parenthetical>
<dialogue>Yes. and then kill her like all the others. huh?</dialogue>
<scene_description>Everyone joins in and starts shouting .</scene_description>
<character>CROWD</character>
<dialogue>It's the murderer! It's him! Hold onto him. Call the police. Of course, no cops when you need them. Oh, officer! Officer!</dialogue>
<scene_description>Everyone hangs onto the OLD MAN . The crowd jostles and calls for a policeman .</scene_description>
<character>CROWD</character>
<dialogue>Officer! Officer!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - STAIRS OF A PARKED DOUBLE DECKER BUS - NIGHT</stage_direction>
<scene_description>A crowd tries to board the bus . The CONDUCTOR comes down the stairs pushing people out of the way .</scene_description>
<character>CONDUCTOR</character>
<dialogue>Move along, please. move along now. stop blocking the way.</dialogue>
<scene_description>Behind the CONDUCTOR , comes a POLICEMAN , leading a THIEF .</scene_description>
<character>THE THIEF</character>
<parenthetical>( insultingly , to the policeman . )</parenthetical>
<dialogue>You're good at catching pickpockets, that's all you know how to do. You'd do better to go after the child murderer.</dialogue>
<scene_description>The dense crowd presses against the bus . They 've heard the thief mention the child murderer .</scene_description>
<character>VARIOUS VOICES</character>
<dialogue>What? The child murderer? The murderer.</dialogue>
<parenthetical>( off the THIEF . )</parenthetical>
<dialogue>That's him. the murderer!</dialogue>
<character>POLICEMAN</character>
<dialogue>Move along now.</dialogue>
<parenthetical>( to the thief . )</parenthetical>
<dialogue>Come on now. get a move on.</dialogue>
<scene_description>Hysterical cries rise from the crowd . Fists are raised . The POLICEMAN and his prisoner have difficulty forcing their way through and become separated by the angry mob .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINISTER'S OFFICE - DAY</stage_direction>
<scene_description>CLOSE - HEADLINES The daily paper , ` General Anzeiger ' - the ` Tempo ' section : ` THE MURDERER WRITES TO THE PAPERS . ' Underneath , the MURDERER 'S letter is reproduced : ` Since the police have n't published my first letter , I am writing today straight to the NEWSPAPERS . Keep up your investigations . Everything will happen just as I have predicted . But I have n't yet FINISHED . ' A hand nervously holding a monocle spreads out the paper . WIDER ANGLE - MINISTER 'S OFFICE The MINISTER sits at his desk , the newspaper spread out before him . He speaks into a white telephone , emphasizing his points with wooden gestures .</scene_description>
<character>MINISTER</character>
<dialogue>It's an unheard - of scandal. What a deplorable effect this will have on public opinion, Inspector. It is a serious error, very serious.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE HEADQUARTERS - DAY</stage_direction>
<scene_description>In THE OFFICE OF THE CHIEF OF POLICE , the CHIEF OF POLICE , an elegant man , sits at his desk . In one hand , he waves a pen ; in the other , he holds the telephone .</scene_description>
<character>CHIEF OF POLICE</character>
<dialogue>But, Minister, we've no power to prevent the murderer from writing to anyone he wants to!</dialogue>
<scene_description>The MINISTER 'S reply is inaudible . A male SECRETARY passes some letters to the CHIEF OF POLICE and starts to leave . The CHIEF OF POLICE signs to him that he should read an entry in his engagement book . The SECRETARY does so and exits .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>The guilty man is a mental case. He must get pleasure out of seeing his actions reported in the papers. We immediately got in touch with the editors to obtain the original letter. The laboratory is already busy on it.</dialogue>
<scene_description>CLOSE - A SET OF FINGERPRINTS In the Police laboratory . The dossier of a certain Richard Ernst , known as ` Four - Fingered Ernst . ' PAN ACROSS the dossier to show the prints of the left hand , next to the right .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Of course, it is almost impossible to find usable fingerprints on a postcard that has been through so many hands.</dialogue>
<scene_description>CLOSE - HAND WITH MAGNIFYING GLASS Moving across a dossier .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>But we must try everything.</dialogue>
<scene_description>IN ANOTHER ROOM . of the police laboratory , a fingerprint is projected onto a large screen . Silhouetted against it , a police research assistant , using a magnifying glass , compares the projection with the dossier .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>to find in our archives a clue or a trail that will lead us nearer a solution.</dialogue>
<scene_description>OFFICE OF THE POLICE ARCHIVES An employee paces up and down dictating a report .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MURDERER'S ROOM - DAY</stage_direction>
<scene_description>The MURDERER looks at himself in the mirror and makes terrible faces , spreading his lips and lifting his eyebrows with his fingers .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MINISTER'S OFFICE - DAY</stage_direction>
<scene_description>THE MINISTER speaks into the phone .</scene_description>
<character>MINISTER</character>
<dialogue>Yes, yes, Inspector. certainly. I do n't doubt your keenness. the efforts of your men. But, all the same. the results.</dialogue>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>We must have results. results.</dialogue>
<scene_description>The sound of the MINISTER 'S VOICE continues as we CUT TO the CHIEF OF POLICE 'S OFFICE . During the following conversation the frustrated CHIEF 'S VOICE continues as images illustrate his words .</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. SEARCH MONTAGE - DAY/NIGHT</stage_direction>
<character>CHIEF OF POLICE</character>
<dialogue>Minister, my men are only getting twelve hours' sleep a week.</dialogue>
<scene_description>POLICE STATION Several tired policemen slump on benches . As two come in off their beats another two start to get up to go .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>as well as searches on the spot, Minister.</dialogue>
<scene_description>VARIOUS ANGLES - SUBURBAN GARDENS Plainclothes men search everywhere . In the background are two photographers . A flash - gun goes off . Behind a hedge , one of the policemen finds a ball of paper .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>We find, for instance, behind a hedge in a thicket a little tissue - paper bag.</dialogue>
<scene_description>CLOSE - A PAIR OF TWEEZERS . carefully lifting the paper bag on which can be read the word SWEETS .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>clearly it held cheap candy. In a corner we found tiny crumbs of acid drops and some grains of colored sugar. Within a radius of twelve kilometres, we have.</dialogue>
<scene_description>CLOSE - MAP OF BERLIN The gardens where the bag was discovered are circled and dated 21 - 6 . A compass draws a second larger circle dated 22 - 6 ; the same compass starts a third circle .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>searched in all the sweet - shops, cake - shops, to find out where the bag came from. In vain. every day we widen the area of the search.</dialogue>
<scene_description>SWEET - SHOP COUNTER A detective questions a salesgirl who shakes her head insistently and shrugs .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>but, of course, no one remembers anything. or, at least not clearly enough.</dialogue>
<scene_description>ICE CREAM KIOSK A detective questions a salesman , without success .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>In spite of all these negative replies we are keeping up the search, stepping more and more into an area of uncertainty.</dialogue>
<scene_description>GROCERY STORE A detective questions a grocer and his wife , without success .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>without much hope of finding any solution. Our men.</dialogue>
<scene_description>THE MINISTER 'S OFFICE The MINISTER crashes his palm violently against his desk , his other hand holding the telephone .</scene_description>
<character>MINISTER</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>What good is that to me, Inspector? I know you're not sleeping. but those are the facts : an unknown murderer terrorizes the city. a city of four million people. And. and. the police, your police, are helpless. I want results!</dialogue>
<scene_description>THE OFFICE OF THE CHIEF OF POLICE</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( irritated . )</parenthetical>
<dialogue>Minister, you do n't really seem to appreciate the incredible difficulties which face us.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE HEADQUARTERS - OFFICE - DAY</stage_direction>
<scene_description>A DETECTIVE questions two witnesses . One is large and fat ; he wears a little beard and pince - nez . The other witness is stunted . In the background is a typist , taking down the exchange .</scene_description>
<character>1ST WITNESS</character>
<parenthetical>( indignantly to 2ND WITNESS . )</parenthetical>
<dialogue>You do n't know anything.</dialogue>
<character>2ND WITNESS</character>
<parenthetical>( leaps from his chair . )</parenthetical>
<dialogue>More than you, sir.</dialogue>
<character>DETECTIVE</character>
<dialogue>But, gentlemen, gentlemen. Could you at least come to some agreement on what color bonnet the little girl was wearing, when you saw her this morning, talking to an unknown man?</dialogue>
<character>1ST WITNESS</character>
<dialogue>But, of course, Inspector, the bonnet was red.</dialogue>
<character>2ND WITNESS</character>
<dialogue>Inspector, the bonnet was green.</dialogue>
<character>1ST WITNESS</character>
<parenthetical>( rising . )</parenthetical>
<dialogue>It was a red bonnet.</dialogue>
<character>2ND WITNESS</character>
<dialogue>It was a green bonnet.</dialogue>
<character>1ST WITNESS</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Red!</dialogue>
<character>2ND WITNESS</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Green!</dialogue>
<character>1ST WITNESS</character>
<parenthetical>( in an absolute fury . )</parenthetical>
<dialogue>Red!</dialogue>
<character>2ND WITNESS</character>
<parenthetical>( in as great a fury . )</parenthetical>
<dialogue>Green.</dialogue>
<scene_description>The WITNESSES try to shout one another down . The DETECTIVE looks on amazed . INTERCUT extreme CLOSE - UPS of both WITNESSES .</scene_description>
<character>1ST WITNESS</character>
<dialogue>Red.</dialogue>
<character>2ND WITNESS</character>
<dialogue>Green.</dialogue>
<character>1ST WITNESS</character>
<dialogue>Red.</dialogue>
<character>2ND WITNESS</character>
<dialogue>Green.</dialogue>
<character>1ST WITNESS</character>
<dialogue>Red.</dialogue>
<character>2ND WITNESS</character>
<dialogue>Green.</dialogue>
<scene_description>GROUP SHOT - The typist gets up .</scene_description>
<character>DETECTIVE</character>
<dialogue>Stop, stop! It's hopeless. Thank you, gentlemen.</dialogue>
<character>1ST WITNESS</character>
<dialogue>Of course, Inspector, if you are prepared to listen to a socialist.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE OF THE CHIEF OF POLICE - DAY</stage_direction>
<scene_description>The CHIEF is still on the telephone .</scene_description>
<character>CHIEF OF POLICE</character>
<dialogue>The police have followed up, as of today, more than fifteen hundred clues in this case. The dossiers we have collected fill sixty thick volumes. We have put all our men onto it.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. ANOTHER SEARCH MONTAGE - DAY/NIGHT</stage_direction>
<scene_description>Several policemen beating through the undergrowth of a WOOD . The voice of the CHIEF OF POLICE continues over the following scenes .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>to systematically comb all the areas every thicket, every piece of undergrowth, every clearing is carefully examined, because behind each bush.</dialogue>
<scene_description>Several policemen searching a wooded PIT .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>in every hole, we might find something that would put us at last on the right track.</dialogue>
<scene_description>A police dog as he picks up a scent and follows it to the edge of a LAKE , barking . A policeman follows him , holding him on a long leash . Other handlers and their dogs appear .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>We have sent out police dogs. The best trackers have been put onto the weak scents we have found. without any result. Since this murderer's first crime.</dialogue>
<scene_description>Detectives checking the papers of down - and - outs in a scruffy dormitory of a DOSSHOUSE , where rows of beds face one another and old clothing hangs from the walls .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>the police have inspected all the dosshouses every night and checked the identity of every vagrant. Of course, these steps do n't increase the popularity of the police, nor do they calm the nerves of the general public.</dialogue>
<scene_description>A smoky RAILWAY STATION . Detectives are checking everyone 's papers .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>nevertheless, we are keeping up our watch on all railway stations. But these checks are no more successful than our nightly raids.</dialogue>
<scene_description>A deserted STREET at night lit by street lamps . A plainclothes detective is accosted by a whore , but he goes on his way . Further on , under a street lamp , another girl talks with a client .</scene_description>
<character>CHIEF OF POLICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>of the various underworld hangouts.</dialogue>
<scene_description>HIGH ANGLE - A dark STREET , still wet from recent rain . A couple disappear into a seedy HOTEL . A detective , beneath a street lamp opposite , looks on . VARIOUS SHOTS - The headlights of a car light up the walls . Two plainclothes detectives leap from the car while it is still moving . They abruptly walk the sidewalk nonchalantly as the car drives off . Their footsteps ECHO . Two cars full of men drive up and SQUEAL to a halt at the curb . A dozen or so policemen jump from cars and station themselves rapidly in various doorways . Three detectives wait in one doorway . One of them looks at his watch and gestures at the others . They move out of sight . On the dark , wet STREET , a detective walks to the middle of the street and gives a signal - a whistle BLOWS . Up the street , uniformed policemen , waiting by their parked vehicles , spring into action , rushing off . A group of plainclothes detectives march down the street , past the hotel , followed by uniformed men drawn up in two ranks . A few prostitutes exiting the hotel are rounded up and forced back inside . But it is not the hotel that the police have targeted . they march past it , down the street . HIGH ANGLE - looking down over the roofs at a line of uniformed policemen and a group of detectives as they march down the street .</scene_description>
</scene>
<scene>
<stage_direction>INT.'THE CROCODILE' - NIGHT</stage_direction>
<scene_description>Down the spiral staircase which leads from the street , a young PROSTITUTE rushes into a sordid basement bar . It is an underworld hangout known as ` The Crocodile ' . A stuffed crocodile hangs from the ceiling .</scene_description>
<character>PROSTITUTE</character>
<dialogue>THE COPS!</dialogue>
<scene_description>Without wasting a second , the clients , criminals and whores , rush for the exit , scrambling over the tables and chairs . The LANDLADY rapidly lowers a metal grille which shuts her off behind the bar . Everyone rushes for the stairs . HIGH ANGLE - looking down the empty staircase : general chaos and confusion . The young prostitute appears first , followed by a thief who gives a sudden start and , furious , turns back . Others pass him to be turned back in their turn . Police whistle . Car horns . A line of policemen , advancing steadily , pushes the fleeing crowd back down into the room . ON THE STREET - two plainclothes men lead away a prostitute .</scene_description>
</scene>
<scene>
<stage_direction>INT.'THE CROCODILE' - NIGHT</stage_direction>
<character>POLICEMAN'S VOICE</character>
<dialogue>Police. Get back there.</dialogue>
<character>YOUNG PROSTITUTE'S VOICE</character>
<parenthetical>( among other cries . )</parenthetical>
<dialogue>Let me go, you bastard! Let me go! Eh, Inspector, let me go!</dialogue>
<scene_description>A policeman descends the stairs carrying the YOUNG PROSTITUTE in his arms . We TRACK with them till they stop at the bottom of the stairs , beneath the arch of the entrance .</scene_description>
<character>YOUNG PROSTITUTE</character>
<dialogue>Let me go, wo n't you! you beast, Let me go, let me go!</dialogue>
<character>THIEF</character>
<dialogue>Let the girl alone, dirty pig.</dialogue>
<scene_description>The prostitute is released and exchanges words with the cop - punctuated by her spitting on him . General hubbub rising to a crescendo .</scene_description>
<character>POLICE</character>
<dialogue>Silence. silence!</dialogue>
<scene_description>Over the heads of the crowd , a SERGEANT appears .</scene_description>
<character>SOMEONE IN THE CROWD</character>
<dialogue>Ah, the head cop.</dialogue>
<scene_description>Laughter . With a gesture , the SERGEANT commands silence .</scene_description>
<character>SERGEANT</character>
<dialogue>Quiet.</dialogue>
<character>A VOICE</character>
<dialogue>That'd suit you, would n't it?</dialogue>
<scene_description>On the stairs , in the dim light of the cellar , with the crowd of thieves and whores in the background , stands the dark silhouette of the SERGEANT .</scene_description>
<character>SERGEANT</character>
<dialogue>Police orders. Nobody leaves this place. Get your papers ready.</dialogue>
<scene_description>Cries of protest and whistles from around the room . The SERGEANT stands in the entrance flanked on either side by police . An inspector comes down the stairs with one of his men . It is the heavyish INSPECTOR LOHMANN . He pauses , his face still in darkness .</scene_description>
<character>A VOICE</character>
<dialogue>Let's see you, let's see you!</dialogue>
<scene_description>He moves forward and stops a few steps from the bottom .</scene_description>
<character>LOHMANN</character>
<parenthetical>( cheerfully . )</parenthetical>
<dialogue>Come on now, children. Let's not do anything silly.</dialogue>
<character>A THIEF</character>
<parenthetical>( raising his hat . )</parenthetical>
<dialogue>It's ` Fatty' Lohmann!</dialogue>
<character>A VOICE</character>
<parenthetical>( chanting . )</parenthetical>
<dialogue>Loh - mann, Loh - mann, Loh - mann.</dialogue>
<character>ANOTHER VOICE</character>
<dialogue>Pop Lohmann!</dialogue>
<scene_description>Several wave their hats .</scene_description>
<character>EVERYONE</character>
<parenthetical>( in chorus . )</parenthetical>
<dialogue>Loh - mann! Loh - mann! Loh - mann!</dialogue>
<scene_description>The chanting ends in whistles . INSPECTOR LOHMANN comes down to the last step and enters the light . A strong looking man , about forty , he gives the impression of shrewd efficiency .</scene_description>
<character>LOHMANN</character>
<dialogue>Quiet!</dialogue>
<character>A VOICE</character>
<dialogue>Get out!</dialogue>
<character>LOHMANN</character>
<dialogue>You'll wear yourself out.</dialogue>
<character>A WOMAN'S VOICE</character>
<parenthetical>( hysterically . )</parenthetical>
<dialogue>It would be better if you caught the child murderer.</dialogue>
<character>ANOTHER WOMAN'S VOICE</character>
<dialogue>Yeah. much better!</dialogue>
<scene_description>The CROWD whistles .</scene_description>
<character>LOHMANN</character>
<dialogue>Quiet! Quiet! Be reasonable!</dialogue>
<scene_description>He steps forward . Several policeman follow him .</scene_description>
<character>LOHMANN</character>
<dialogue>Spread out. spread out all of you. All of you. spread out. Come on, come on now. Get your papers out.</dialogue>
<scene_description>More detectives come down the stairs .</scene_description>
<character>A VOICE</character>
<dialogue>I have n't got any.</dialogue>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Show me your papers.</dialogue>
<character>A GIRL</character>
<parenthetical>( o.s. , begging . )</parenthetical>
<dialogue>Let me go, please, Inspector.</dialogue>
<scene_description>One of the criminals hides at the back of the CLOAKROOM . He tries to get out through a skylight , but suddenly starts back . Through the grille of the skylight which gives onto the street , he sees : a policeman stands outside . The thief resignedly turns away . In the ladies ' TOILET , a policeman enters , hesitates , then pulls back a curtain . A thief , embarrassed , comes out of his hiding place . In the MAIN CELLAR , LOHMANN and two of his men are installed behind two tables . In front of him stands a young prostitute . Uniformed police form a corridor leading to the exit . In the background , the various occupants of the club stand about .</scene_description>
<character>LOHMANN</character>
<dialogue>Have you got any papers?</dialogue>
<character>THE GIRL</character>
<dialogue>But, Inspector, I ca n't go around everywhere with my date of my birth on me. That's asking too much.</dialogue>
<character>LOHMANN</character>
<parenthetical>( indifferent . )</parenthetical>
<dialogue>Let's not beat around the bush, darling.</dialogue>
<scene_description>Between LOHMANN and one of his assistants , THE GIRL stands beside an enormous THUG , with a black eye , wearing a cap , a fag - end in his mouth , hands in pockets . A row of police lines the wall .</scene_description>
<character>THE GIRL</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>That's really asking too much, Inspector.</dialogue>
<character>LOHMANN</character>
<parenthetical>( severely . )</parenthetical>
<dialogue>Alex.</dialogue>
<scene_description>Alex is short for Alexanderplatz , the headquarters of the Berlin police . In other words , she 's going downtown .</scene_description>
<character>THE GIRL</character>
<dialogue>Look here, it's disgusting.</dialogue>
<scene_description>She goes off to the right . Pushed by the others , the THUG steps forward . He takes out a wallet and , very sure of himself , hands his papers to LOHMANN . LOHMANN flicks through the papers . Skeptically , he examines their owner . A policeman searches the THUG . LOHMANN whistles the song : ` Where did you get your beautiful blue eyes ? ' and gives the THUG an understanding wink . Behind them stand a group of thieves , surrounded by police . The policeman finishes searching and goes out . The THUG puts his hands back in his pockets and looks at LOHMANN triumphantly . LOHMANN smiles and holds the papers up to the light .</scene_description>
<character>LOHMANN</character>
<parenthetical>( commiserating . )</parenthetical>
<dialogue>Poor workmanship, my friend.</dialogue>
<scene_description>The THUG , surprised , takes the cigarette butt out of his mouth .</scene_description>
<character>LOHMANN</character>
<dialogue>You've been had.</dialogue>
<scene_description>A pause . LOHMANN signals to a policeman .</scene_description>
<character>LOHMANN</character>
<dialogue>Alex. Next.</dialogue>
<scene_description>The THUG furiously throws his butt to the floor .</scene_description>
<character>A THIEF</character>
<parenthetical>( insolently . )</parenthetical>
<dialogue>Better luck next time, Willi.</dialogue>
<character>THUG</character>
<parenthetical>( moving off . )</parenthetical>
<dialogue>Oh. you. Shut your face.</dialogue>
<character>LOHMANN</character>
<dialogue>Next.</dialogue>
<scene_description>A greasy Mediterranean type steps forward , very smooth . He wears a sumptuous fur - collared overcoat . Taking off his bowler , he tips his hat to LOHMANN obsequiously and presents his papers .</scene_description>
<character>ANOTHER THIEF</character>
<parenthetical>( admiringly . )</parenthetical>
<dialogue>Fancy boy.</dialogue>
<scene_description>Another whistles . LOHMANN looks at the papers and gives them back . FANCY BOY raises his hat again and prepares to leave . We TRACK with him . Suddenly LOHMANN , using the handle of his walking stick , snags FANCY BOY 's arm and pulls him back to the table .</scene_description>
<character>FANCY BOY</character>
<parenthetical>( astonished . )</parenthetical>
<dialogue>What's the matter?</dialogue>
<character>A THIEF</character>
<dialogue>Pop Lohmann has got him.</dialogue>
<character>SEVERAL VOICES</character>
<dialogue>He's got him.</dialogue>
<scene_description>LOHMANN grabs a newspaper jutting out of the pocket of FANCY BOY 'S fur coat , unfolds it , and looks it over : INSERT - the front page of the newspaper dated 21st November , 1930 . An illustrated article , circled in pencil , reads : ` Unsolved burglary at a furrier 's shop . LOHMANN puts down the paper .</scene_description>
<character>LOHMANN</character>
<dialogue>Well. I think I had better take you down to headquarters.</dialogue>
<character>FANCY BOY</character>
<parenthetical>( horrified . )</parenthetical>
<dialogue>But, after all, my. my papers are in order.</dialogue>
<scene_description>While he protests , his papers are taken from him .</scene_description>
<character>LOHMANN</character>
<dialogue>Next.</dialogue>
<scene_description>Next in line is a LITTLE FAT MAN , cheerful and very friendly .</scene_description>
<character>LITTLE FAT MAN</character>
<parenthetical>( off FANCY BOY . )</parenthetical>
<dialogue>No luck, huh?</dialogue>
<scene_description>The LITTLE FAT MAN comes up to LOHMANN and clumsily takes off his hat .</scene_description>
<character>LOHMANN</character>
<dialogue>Next.</dialogue>
<parenthetical>( holds out his hand . )</parenthetical>
<dialogue>Papers.</dialogue>
<character>LITTLE FAT MAN</character>
<parenthetical>( in a friendly tone . )</parenthetical>
<dialogue>I have n't got any.</dialogue>
<character>LOHMANN</character>
<dialogue>Alex.</dialogue>
<character>LITTLE FAT MAN</character>
<parenthetical>( shrugs his shoulders . )</parenthetical>
<dialogue>No luck.</dialogue>
<scene_description>LITTLE FAT MAN leaves .</scene_description>
<character>LOHMANN</character>
<dialogue>Next. come on, let's keep it going.</dialogue>
<scene_description>Two policemen search a corner of the room . They look under the tables , tip up the chairs and go through the pockets of the coats in the cloakroom . One finds a revolver , then a leather briefcase . INSERT of the briefcase as it is opened : inside , a complete housebreaking kit . Things that have been confiscated are piled up , a jimmy , a saw , revolver bullets , etc. . A hand adds the empty briefcase to the pile . The LANDLADY stands behind her bar talking to a SERGEANT , who takes out a cigarette .</scene_description>
<character>LANDLADY</character>
<dialogue>This is ruining our business, Sergeant. Every night there's interference. No one can have ten minutes in peace anymore. Give us a chance!</dialogue>
<scene_description>She goes to the back of the bar and pours herself a drink . The SERGEANT lights his cigarette at a gas lamp .</scene_description>
<character>SERGEANT</character>
<dialogue>It's no joke for us either, out every night.</dialogue>
<character>LANDLADY</character>
<dialogue>Of course. but you're drivin' away my clientele. And the guy you're looking for is n't here.</dialogue>
<parenthetical>( she drinks . )</parenthetical>
<dialogue>You ca n't imagine how mad everyone is about this guy who's causing a raid every night. Especially the girls. okay, they walk the streets. but, believe me, every one is a a little mother at heart.</dialogue>
<scene_description>The SERGEANT tries to keep a straight face as he leans on the bar , surrounded by clouds of cigarette smoke .</scene_description>
<character>LANDLADY</character>
<dialogue>I know plenty of crooks who get kinda tender when they see kids playing. If they catch that bastard.</dialogue>
<parenthetical>( makes a short , sharp gesture . )</parenthetical>
<dialogue>. they'll wring his neck. Believe me.</dialogue>
<scene_description>Another policeman comes up and salutes the SERGEANT .</scene_description>
<character>POLICEMAN</character>
<dialogue>Ready to go, Sergeant?</dialogue>
<scene_description>The SERGEANT touches the peak of his cap and leaves with the policeman .</scene_description>
<character>SERGEANT</character>
<parenthetical>( to the LANDLADY . )</parenthetical>
<dialogue>Good night.</dialogue>
<scene_description>The LANDLADY watches them leave with a gesture of disgust .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE UNDERWORLD MEETING ROOM - NIGHT</stage_direction>
<scene_description>A man in plus - fours stands by the window of a comfortably furnished middle - class room ; he looks at the street through binoculars . He is a PICK - POCKET . In the street , two police vans drive past , full of crooks . LOHMANN follows in an open car . The PICK - POCKET still looks through his binoculars .</scene_description>
<character>PICK-POCKET</character>
<dialogue>So, it's ` The Crocodile' tonight.</dialogue>
<parenthetical>( lowers the binoculars . )</parenthetical>
<dialogue>Two trucks full again.</dialogue>
<scene_description>He turns around . On the sofa , smoking a cigarette , sits a tall , thin CON - MAN , dressed impeccably but a little pretentiously . He wears a dark jacket , a waistcoat and light trousers , and has a thin moustache . Lounging beside him , a BURGLAR , tough but not very bright , also smoking . The CON - MAN gets up impatiently .</scene_description>
<character>CON-MAN</character>
<dialogue>What's keeping Schraenker?</dialogue>
<scene_description>A moustached SAFE - BREAKER sits at the table in the center of the room , doctoring playing cards .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Is n't it three o'clock yet?</dialogue>
<character>PICK-POCKET</character>
<dialogue>I'll find out.</dialogue>
<scene_description>He puts down the binoculars and walks from the window to the telephone in the middle of the room . He dials a number .</scene_description>
<character>PICK-POCKET</character>
<dialogue>Hello. The exact time, please, Miss.</dialogue>
<parenthetical>( sits at the table . )</parenthetical>
<dialogue>Two minutes to three. Thank you.</dialogue>
<scene_description>He hangs up and , from various pockets , takes out a series of watches . He compares the time they show and places them on the table . The CON - MAN has sat down beside him and does card tricks .</scene_description>
<character>PICK-POCKET</character>
<parenthetical>( setting one of the watches . )</parenthetical>
<dialogue>Two minutes to three.</dialogue>
<character>CON-MAN</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>There are more police on the streets than whores.</dialogue>
<scene_description>The BURGLAR sits in an armchair , a bag under his arm . In front of him , a small low table , with an ashtray on it overflowing with butts .</scene_description>
<character>BURGLAR</character>
<dialogue>Wherever you spit. nothing but cops.</dialogue>
<scene_description>The SAFE - BREAKER , chewing on his cigarette holder , comes up to the table . He wears a white waistcoat and a white bow - tie . A 1900 - style chandelier hangs above everyone .</scene_description>
<character>PICK-POCKET</character>
<dialogue>Even when you're with a doll, they do n't leave you in peace. And they've gone nuts too. All they can think about is that murderer.</dialogue>
<parenthetical>( to the SAFE - BREAKER . )</parenthetical>
<dialogue>. Mine. she's got a little six - year old girl, and, every night, I have to waste time searching under the bed and in the cupboards to make sure the murderer is n't hiding there.</dialogue>
<scene_description>The CON - MAN spreads three cards out on the table . The SAFE - BREAKER indicates a card with the look of an expert . The CON - MAN turns it up : an ace . The PICK - POCKET takes out a handkerchief and spreads it out beside the watches .</scene_description>
<character>PICK-POCKET</character>
<dialogue>You ca n't even get on with your job. Everywhere you come across the police. There's no privacy any more. I'm fed up.</dialogue>
<scene_description>The SAFE - BREAKER walks around the table , looking at the time as he passes .</scene_description>
<character>CON-MAN</character>
<parenthetical>( bored . )</parenthetical>
<dialogue>What else is new?</dialogue>
<scene_description>He puts the cards in his pocket . The PICK - POCKET arranges his watches in the handkerchief and slips them into his pocket . The SAFE - BREAKER sits down again .</scene_description>
<character>CON-MAN</character>
<dialogue>What's keeping Schraenker?</dialogue>
<character>PICK-POCKET</character>
<dialogue>Maybe he's been caught.</dialogue>
<character>BURGLAR</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Not him.</dialogue>
<parenthetical>( rejoins the others . )</parenthetical>
<dialogue>He did a bank job in London and Scotland Yard set a trap for him. there he was, hands up, back to the wall, millions of cops all round. and two seconds later there were two bodies on the ground and he'd beat it!</dialogue>
<scene_description>The BURGLAR has sat down , his bag on his knee . The SAFE - BREAKER lights another cigarette from the stub of the first .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( with respect . )</parenthetical>
<dialogue>The best man between Berlin and San Francisco.</dialogue>
<character>BURGLAR</character>
<dialogue>They've been looking for him for six years and they have n't caught him.</dialogue>
<character>PICK-POCKET</character>
<dialogue>Have n't caught him. But dogs can kill wolves.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>Shut up.</dialogue>
<scene_description>The PICK - POCKET tries to calm the SAFE - BREAKER . They are all nervous and worried , and smoke heavily . The CON - MAN looks at the time again .</scene_description>
<character>CON-MAN</character>
<dialogue>The suspense is killing. He's usually right on time -</dialogue>
<scene_description>On these last words , the door bell RINGS four times . Relieved , they look at one another .</scene_description>
<character>PICK-POCKET</character>
<dialogue>Thank God!</dialogue>
<character>BURGLAR</character>
<dialogue>At last!</dialogue>
<scene_description>The door opens . SCHRAENKER appears in leather overcoat , bowler hat and carrying a walking stick . He immediately shuts the door , but does n't come into the room .</scene_description>
<character>ALL</character>
<dialogue>Good afternoon. You've got here at last. Good afternoon.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Are you mad? Close the curtains.</dialogue>
<scene_description>At the window , the curtains are half - drawn . Next to it is the table where the SAFE - BREAKER is sitting . The PICK - POCKET creeps along the wall to the window to avoid being seen from the street . The PICK - POCKET returns to his place at the table in the middle of the room . SCHRAENKER , at the central table , has taken off his overcoat to reveal a chalk - stripe suit , dark tie and black leather gloves . He removes his hat , putting it on the table with his curved - handled walking stick -LRB- very similar to Lohmann 's -RRB- .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Gentlemen, the meeting can now begin.</dialogue>
<scene_description>He sits down to preside over the meeting .</scene_description>
<character>SCHRAENKER</character>
<dialogue>According to the regulations, I confirm with pleasure that the leadership of every organization in our Union is represented.</dialogue>
<scene_description>He grasps his stick .</scene_description>
<character>SCHRAENKER</character>
<dialogue>I assume that you all have full powers.</dialogue>
<scene_description>The SAFE - BREAKER nods . The PICK - POCKET , who is cracking a nut , nods too . The CON - MAN , while lighting a cigarette , also nods . Finally , the BURGLAR , still bent over the bag , also gives his assent .</scene_description>
<character>SCHRAENKER</character>
<dialogue>authorizing you to vote for your members. Good. let's not be held up by procedure. We all know why we are here.</dialogue>
<parenthetical>( vehemently . )</parenthetical>
<dialogue>Someone who is not a member of the Union is threatening our rackets. The new measures taken by the police, the daily raids in our areas to find this child murderer, interfere with our business activities in an unbearable way. We can put up no longer with the endless pressure from the police, in every hotel, cafe, or flat.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>That's for sure.</dialogue>
<character>PICK-POCKET</character>
<dialogue>Mm hmm!</dialogue>
<character>SCHRAENKER</character>
<dialogue>This state of affairs must not be allowed to continue. We'll have to put things right again or we'll be destroyed.</dialogue>
<scene_description>The BURGLAR stubs out his cigarette . As SCHRAENKER continues to talk , the BURGLAR takes out another cigarette and strikes a match . Now and again SCHRAENKER 'S gloved hand , playing with his stick , passes across frame .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The funds of our organization are exhausted. Unless I make use of the funds put aside to support the wives of our colleagues who are being looked after by the state, I just do n't know where I'll find the funds needed for the preparation and execution of our various projects. What is more, our reputation is suffering. The cops are looking for the murderer in our ranks, gentlemen. When I come up against a cop while carrying on my business, he knows the risk he runs. and I do, as well. If one of us dies. okay. that's a risk one must take. It can happen : but we are not on the same level as this man they're looking for now.</dialogue>
<scene_description>SCHRAENKER underlines these last words with a wide gesture .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Exactly.</dialogue>
<character>SCHRAENKER</character>
<dialogue>There is a chasm between him and us.</dialogue>
<character>BURGLAR</character>
<dialogue>Of course.</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( at the same time . )</parenthetical>
<dialogue>No comparison.</dialogue>
<character>SCHRAENKER</character>
<dialogue>We're doing our job because we have a living to make. But this monster has no right to live. He must DIS - APP - EAR. He must be exterminated, without pity. without scruples. Gentlemen, our members must be able to carry on their business normally, without being handicapped by the growing nervousness of the police. I'm appealing to you.</dialogue>
<scene_description>With a gesture , he invites comments ; on the gesture , we CUT TO</scene_description>
</scene>
<scene>
<stage_direction>INT. THE OFFICE OF THE CHIEF OF POLICE - NIGHT</stage_direction>
<scene_description>The CHIEF continues SCHRAENKER 'S same gesture . A meeting is also in progress at his office . Policemen and high - ranking detective inspectors are sitting at a long conference table , littered with brandy glasses and coffee cups . Cigar - smoke fills the air . The CHIEF stands at the head of the table and finishes SCHRAENKER 'S line :</scene_description>
<character>CHIEF OF POLICE</character>
<dialogue>for advice.</dialogue>
<scene_description>He sits down and a police OFFICER rises . Beside him , a bespectacled man in plainclothes listens attentively .</scene_description>
<character>THE OFFICER</character>
<parenthetical>( in a military tone . )</parenthetical>
<dialogue>I suggest a closer watch on I.D. cards, a systematic search of the the whole city, police raids.</dialogue>
<scene_description>The bespectacled man looks dubious .</scene_description>
<character>THE OFFICER</character>
<dialogue>more numerous raids, and certainly tougher ones.</dialogue>
<scene_description>He sits down . We now CUT BACK AND FORTH between the meetings of the police and the underworld . AT THE UNDERWORLD MEETING . the CON - MAN gets up .</scene_description>
<character>CON-MAN</character>
<dialogue>Spies. We need spies in the ranks of the police to give us plenty of warning of new measures.</dialogue>
<character>BURGLAR</character>
<dialogue>The girls've got to take a little more notice of the cops. We're always getting into trouble because one of the girls has snitched to her cop boyfriend.</dialogue>
<scene_description>The PICK - POCKET agrees ; the CON - MAN sits down satisfied .</scene_description>
<character>BURGLAR</character>
<dialogue>Now, it's up to the girls to snitch for us!</dialogue>
<scene_description>The SAFE - BREAKER rises .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>What we must do. And after all, we've all got contacts. What we must do is make a statement to the Press ourselves, tell them that we, the Organization, members of the Union - we condemn the bastard just as much! We ought to make it known that the police should quit looking for him in the underworld.</dialogue>
<scene_description>AT THE POLICE MEETING . an elderly bespectacled detective , with a small beard and a stiff collar , speaks . Another detective sits on his right ; on his left , a police officer with a monocle .</scene_description>
<character>ELDERLY DETECTIVE</character>
<dialogue>I'm sure it's a man who looks like a peaceful little family man, who would n't harm a fly, except when he has his fits, of course!</dialogue>
<scene_description>LOHMANN listens with interest .</scene_description>
<character>ELDERLY DETECTIVE</character>
<dialogue>Perhaps in his normal state, he even plays marbles with the concierge's children.</dialogue>
<scene_description>LOHMANN nods agreement .</scene_description>
<character>ELDERLY DETECTIVE</character>
<dialogue>Or perhaps plays cards with his wife. Without this appearance of, let's say inoffensiveness in private life, it would be impossible to believe that murderers like Grossmann or Haarmann were able to live for years in large, busy blocks of flats without their neighbors suspecting them in the slightest.</dialogue>
<scene_description>An OFFICER with a moustache , smoking a pipe , agrees ; beside him a plain - clothes man takes notes .</scene_description>
<character>THE OFFICER</character>
<dialogue>That's what we must get across to the public. They must help.</dialogue>
<scene_description>LOHMANN , clearly annoyed , rises to his feet .</scene_description>
<character>LOHMANN</character>
<dialogue>Do n't talk to me about help from the general public. It disgusts me just to hear them talk.</dialogue>
<scene_description>He bows towards the CHIEF OF POLICE .</scene_description>
<character>LOHMANN</character>
<dialogue>Sorry, Chief.</dialogue>
<scene_description>The CHIEF , smiling , makes a gesture accepting the apology .</scene_description>
<character>LOHMANN</character>
<dialogue>Sorry, but that is the truth. Good God! Has help from the public brought us one useful clue?</dialogue>
<scene_description>Furiously , he stubs out his cigar .</scene_description>
<character>LOHMANN</character>
<dialogue>Just a pile of letters full of the most incredible accusations!</dialogue>
<scene_description>Two INSPECTORS at the end of the table concur .</scene_description>
<character>FIRST INSPECTOR</character>
<dialogue>How true.</dialogue>
<character>LOHMANN</character>
<dialogue>Calls to the police as soon as a garbage man steps on their lawn.</dialogue>
<character>SECOND INSPECTOR</character>
<dialogue>Exactly.</dialogue>
<character>LOHMANN</character>
<dialogue>But when we want really accurate information. they ca n't remember anything, they've seen nothing. That's help from the public for you.</dialogue>
<character>CHIEF OF POLICE</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I think you exaggerate a little, Lohmann.</dialogue>
<scene_description>AT THE UNDERWORLD MEETING . great clouds of smoke drift over the table . All present are deep in thought . The PICK - POCKET breaks the silence .</scene_description>
<character>PICK-POCKET</character>
<dialogue>I've got an idea! There's a magician, no, a tele. telepa. or is it radiologist? Anyway, I do n't know what you call them. one of those guys who finds handkerchiefs and wallets that have been hidden.</dialogue>
<scene_description>The BURGLAR turns away skeptically . AT THE POLICE MEETING . also full of smoke , a uniformed OFFICER speaks .</scene_description>
<character>OFFICER</character>
<dialogue>I also think the reward is n't high enough.</dialogue>
<scene_description>His neighbor , an INSPECTOR , gestures in disagreement and gets up .</scene_description>
<character>OFFICER</character>
<dialogue>Chief. we must offer a real fortune for catching the murderer.</dialogue>
<scene_description>The INSPECTOR , standing , pushes his chair up to the table .</scene_description>
<character>INSPECTOR</character>
<parenthetical>( irritably , as he leaves . )</parenthetical>
<dialogue>None of this is getting us anywhere.</dialogue>
<scene_description>AT THE UNDERWORLD MEETING . clouds of cigarette smoke hang around the fringed lampshade .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>That wo n't do any good.</dialogue>
<character>CON-MAN</character>
<dialogue>Well, what do you suggest?</dialogue>
<scene_description>The BURGLAR gets up , moves behind his armchair and leans on the back of it .</scene_description>
<character>BURGLAR</character>
<dialogue>Well, we ca n't just wait until the police make up their minds to arrest this guy.</dialogue>
<scene_description>AT THE POLICE MEETING . An INSPECTOR with long disorderly white hair leans over the back of his chair towards the CHIEF OF POLICE , continuing the movement of the BURGLAR . The POLICEMAN with the monocle sits on his left ; on his right in the foreground , another INSPECTOR sits .</scene_description>
<character>THE INSPECTOR</character>
<dialogue>The difficulty of solving this type of crime is increased by the fact that the wrongdoer and the victim are only connected by a chance meeting. An instantaneous impulse is the killer's only motive.</dialogue>
<character>THE CHIEF</character>
<parenthetical>( impressed . )</parenthetical>
<dialogue>Hmm. Hmm.</dialogue>
<character>THE INSPECTOR</character>
<dialogue>We find the victim ; we identify her ; we find out when she was last seen. And then, and then, nothing more. The children disappear.</dialogue>
<scene_description>AT THE UNDERWORLD MEETING . the SAFE - BREAKER stands . In the background , the rest sit round the table . The BURGLAR perches on the back of his chair .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>The police have been looking for this murderer for eight months now. Now it's got to the point where they'll only catch him by luck.</dialogue>
<character>BURGLAR</character>
<dialogue>We ca n't wait for that.</dialogue>
<character>CON-MAN</character>
<dialogue>We'll be ruined before then.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>What are we going to do then?</dialogue>
<scene_description>HIGH ANGLE - THE POLICE MEETING The room is misty with thick clouds of smoke . The meeting has come to a full stop and some of the officers have got up and are pacing around the room . HIGH ANGLE - THE UNDERWORLD MEETING The PICK - POCKET has made a huge question mark with the shells of his nuts on the table . The SAFE - BREAKER and the BURGLAR both pace restlessly up and down . HIGH ANGLE - THE POLICE MEETING Most people have left their places and are wandering around the room . HIGH ANGLE - THE UNDERWORLD MEETING Only the PICK - POCKET and SCHRAENKER sit . The CON - MAN stands by the table , and the SAFE - BREAKER has moved into the background by the window . SCHRAENKER slowly lifts his bowed head and , finally , deliberately , breaks the silence .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( decisively . )</parenthetical>
<dialogue>We'll have to catch him ourselves.</dialogue>
<scene_description>Astonished , the others slowly gather round him .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Yes. we must. This is what we must do.</dialogue>
<scene_description>THE POLICE MEETING Abandoned chairs around the conference table - most of the delegates wander up and down . But gradually their attention is drawn to what LOHMANN is saying and one or two nod their heads in agreement .</scene_description>
<character>LOHMANN</character>
<dialogue>There's still one possible way. The guilty man or the possible suspects must already have a record somewhere. Such a person, deeply disturbed, must already have fallen foul of the law. We've got to contact every clinic, every prison, every lunatic asylum.</dialogue>
<scene_description>Noise of general agreement .</scene_description>
<character>LOHMANN</character>
<dialogue>We'll have to make enquiries about everyone who has been freed as ` harmless' but who has the same pathological condition as the killer.</dialogue>
<scene_description>THE UNDERWORLD MEETING . The crooks look down at a map spread across a map of Berlin .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Every square yard must be permanently watched. From now on no child must take a step without us being warned.</dialogue>
<scene_description>CLOSE - SCHRAENKER 'S BLACK - GLOVED HAND . placed over the map .</scene_description>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Okay, but how do we do it?</dialogue>
<character>SAFE-BREAKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Yes. how?</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>There must be people.</dialogue>
<scene_description>WIDER - The shadow of the group is silhouetted on the wall , SCHRAENKER 'S shadow in the center .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>who can go anywhere without being noticed. who can follow anyone on the streets without arousing suspicion. who can follow the children right to their front doors without anytrouble. In fact, people no one would suspect of being guilty.</dialogue>
<character>THE OTHERS</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>But who? Who? People like that do n't exist. Who could do it? Who? Who?</dialogue>
<scene_description>SCHRAENKER pauses and then rises so that his shadow on the wall swells up .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The beggars. The beggars' union.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE BEGGAR'S MARKET - DAY</stage_direction>
<scene_description>A notice reads : NO MORE CREDIT . We PAN OFF this and TRACK TO a table where two beggars lay out bits of bread and slices of sausage . We TRACK to a CLOSE SHOT of their hands with the bread and sausage .</scene_description>
<character>1ST BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Sausage going up.</dialogue>
<character>2ND BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>God, this cheese smells good.</dialogue>
<scene_description>PAN TO another table where a game of cards is in progress . Only the players ' hands and the cards are visible .</scene_description>
<character>3RD BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That finishes you.</dialogue>
<scene_description>PAN UP TO show a grizzled tramp , who has brought in a caged live chicken . He finishes a glass of wine , toasting his chicken . We TRACK past a grille in front of a cloakroom to find another tramp , snoring . Beside him , two others take the fillings out of sandwiches .</scene_description>
<character>4TH BEGGAR</character>
<dialogue>Stop snoring! You'll wake the lice.</dialogue>
<scene_description>We TRACK TO the counter where the fat BOSS OF THE BEGGARS ' MARKET takes a steaming sausage out of a pot and takes a bite . Then he counts a packet of sandwiches a tramp has brought him .</scene_description>
<character>THE BOSS</character>
<parenthetical>( counting . )</parenthetical>
<dialogue>Two, four, six, eight, ten, twelve, fourteen, sixteen, eighteen, twenty, twenty - two, twenty - four, twenty - six.</dialogue>
<scene_description>As he continues , we MOVE towards a huge blackboard fixed to the wall behind him . On it is written : ` PRICES FOR THE EVENING OF THE 16th , ' and then a list of every sort of sandwich , classified according to filling and the quality of the bread . The BOSS gets up on a stool and alters certain prices , murmuring to himself .</scene_description>
<character>THE BOSS</character>
<dialogue>Sandwiches : Friday, bad day for cold meat. No go.</dialogue>
<scene_description>His voice continues , as we PAN UP to the floor above and PUSH THROUGH a window to a strange sort of office . A vulture 's skeleton is on the left in the foreground . At the back of the room , beggars form a queue . We MOVE towards the office where two men from the Beggar 's Union are working . One studies a map of the town , the other writes names into a huge register .</scene_description>
<character>1ST MAN</character>
<dialogue>Now we must deal with the back yards.</dialogue>
<character>2ND MAN</character>
<dialogue>Yes, from number one to number forty - eight.</dialogue>
<scene_description>We MOVE towards SCHRAENKER who leans against the wall watching the work . PAN TO a door with a glass panel on which can be read : ` ACCOUNTS . Please give your name to the outside office . ' In the corridor , as in the office , beggars wait behind a small barrier .</scene_description>
<character>2ND MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Next.</dialogue>
<scene_description>The barrier is briefly raised and a beggar enters the office , taking off his cap . Another beggar stands in front of the TWO MEN who give him a small slip of paper . The 2ND MAN keeps a carbon copy of it .</scene_description>
<character>2ND MAN</character>
<dialogue>You are responsible for the courtyards of every block of flats from 1 to 81 High Street.</dialogue>
<character>BEGGAR</character>
<dialogue>Right.</dialogue>
<scene_description>The BEGGAR goes out . Another comes up .</scene_description>
<character>2ND MAN</character>
<dialogue>Next.</dialogue>
<scene_description>INSERT - a street map marked with the places where the children have disappeared or been murdered . CLOSE - the 1ST MAN 's pencil follows one of the streets .</scene_description>
<character>1ST MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>89 to 196 High Street. Okay?</dialogue>
<scene_description>WIDER ANGLE - OFFICE One tramp stands before the TWO MEN and two more tramps join him . The 2ND MAN notes down the first one 's particulars .</scene_description>
<character>2ND MAN</character>
<parenthetical>( writing . )</parenthetical>
<dialogue>89 to 196 High Street. What's your union number?</dialogue>
<character>TRAMP</character>
<parenthetical>( after some thought . )</parenthetical>
<dialogue>Three, seven, ninety - five. Emil Dustermannn.</dialogue>
<scene_description>CLOSE - a hand writing the name and number in the register .</scene_description>
<character>2ND MAN</character>
<dialogue>Three. seven. ninety - five. Emil Dustermann.</dialogue>
<scene_description>The hand tears a slip from the register . WIDER ANGLE - the line of BEGGARS with DUSTERMANN in the foreground : he has a wooden leg and leans on a stick .</scene_description>
<character>2ND MAN</character>
<dialogue>There you are, Emil.</dialogue>
<scene_description>He gives him the paper .</scene_description>
<character>2ND MAN</character>
<dialogue>Maybe, you'll win the fifteen thousand.</dialogue>
<character>DUSTERMANN</character>
<dialogue>Maybe I will.</dialogue>
<parenthetical>( taps his leg . )</parenthetical>
<dialogue>Knock wood.</dialogue>
<scene_description>ANOTHER ANGLE - ANOTHER PART OF THE MARKET An assorted collection of second - hand goods and junk is on display . A line of metal grilles form a cash desk , and there are violins and accordions spread out on a long table . In the background there are several barrel organs , and on a shelf a stack of old shoes and boots . A constant murmur of voices reaches us from other parts of the market . The junk dealer demonstrates one of the barrel organs to a beggar , but it is very out of key and only plays a few screeching NOTES . The BLIND BEGGAR - the one who sold the doll - like balloon to the MURDERER - sits at a nearby table drinking a beer , balloons floating above him . Putting down his glass , he covers his ears to blot out the screeching . Immediately , the excruciating noise from the barrel organ stops ; but as he lowers his hands , it starts up again . After a moment , another organ starts to play a charming polka . The BLIND BEGGAR lowers his hands and is delighted . He begins to conduct an imaginary orchestra . The music continues over as we</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE COURTYARD OF A TENEMENT BLOCK - DAY</stage_direction>
<scene_description>HIGH ANGLE - Early evening . The setting sun casts long shadows across the tarmac . In the gloom , a few children stand in twos and threes watching a BEGGAR playing a barrel organ . Coins are thrown from windows above . CLOSER - the barrel organ . The music stops and the last coin rolls along the ground .</scene_description>
<character>BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Thank you, ladies and gentlemen, thank you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEGGARS' MONTAGE - DAY</stage_direction>
<scene_description>The next day . SIDEWALK - The legs of a ANOTHER BEGGAR , seated on the curb , his hat upturned beside him . A man and a little girl pass but only their legs are visible . The little girl throws a coin into the hat .</scene_description>
<character>BEGGAR</character>
<dialogue>Thank you.</dialogue>
<scene_description>CLOSE - the BEGGAR wears dark glasses and a notice round his neck saying ` BLIND ' . A German sheepdog sits beside him . The two shadows of the passers - by draw away . The BEGGAR lifts his glasses to take a sly look after them and , on cue , the dog comically turns its head in the same direction . From the BEGGAR 'S POV , we see the man and the little girl walking off arm - in - arm . We TRACK with them , past a poster advertising ` West - front 1918 ' . The man goes with the little girl as far as the entrance to a SCHOOL . He kisses her and leaves here there . Beside the school entrance , another BEGGAR , with two white pigeons , is on the look - out . SWEET SHOP Two little girls looking into the shop window . EMIL DUSTERMANN stands beside it , keeping watch . TOY SHOP In the shop window , a windmill and other mechanical toys are turning . Two children stop to watch while their nurse runs into a friend and walks off , unconsciously abandoning the kids . Other children join the first two at the window . A legless beggar , squatting on a little cart , looks on with concern . The nurse returns and retrieves her kids .</scene_description>
</scene>
<scene>
<stage_direction>INT. INSPECTOR LOHMANN'S OFFICE - DAY</stage_direction>
<scene_description>LOHMANN sits at his desk , smoking a cigar and reading a letter in his typewriter . INSERT - the letter . ` When searching their homes , we must above all look for any clue by which we could establish where the murderer 's letter to the papers originated . If there is an old wooden table on which the letter could have been written , if there is a red pencil or any tiny pieces from sharpening such a pencil , or writing paper of the same type . The inquiries must be made as discreetly as possible . LOHMANN 'S hand comes into shot holding a pen . He underlines the words ` old wooden table ' and corrects a typing error .</scene_description>
<character>LOHMANN</character>
<parenthetical>( off the typo , muttering . )</parenthetical>
<dialogue>Idiot.</dialogue>
<scene_description>He also underlines the words ` red pencil ' . A KNOCK on the door .</scene_description>
<character>LOHMANN</character>
<dialogue>Come in.</dialogue>
<scene_description>WIDER ANGLE - OFFICE LOHMANN signs the letter . An ASSISTANT comes in and passes him a file .</scene_description>
<character>THE ASSISTANT</character>
<dialogue>Here's the list of mental patients who have been let out as cured or harmless in the last five years.</dialogue>
<scene_description>INSERT - the file as LOHMANN sorts through it . It contains reports from ` Dr. Goll 's Psychiatric Institute , ' from ` Professor Emil Lebbowitz 's private clinic for mental patients , ' from ` The Protestant Hospital of Nazareth , ' from ` The Elizabeth Clinic . ' from ` St. Hedwig 's Hospital . ' etc. .</scene_description>
<character>ASSISTANT</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Reports from every institute, private and public.</dialogue>
<scene_description>LOHMANN picks up another file .</scene_description>
<character>ASSISTANT</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>And that's a list of their present addresses.</dialogue>
<scene_description>LOHMANN opens the file and flicks through it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOWER MIDDLE CLASS ROOMING HOUSE - DAY</stage_direction>
<scene_description>Early afternoon . The MURDERER , coming out into the street from the rooming house , moves off to the left . LOHMANN 'S ASSISTANT immediately appears from the right . He hesitates an instant , then throws down his cigarette and goes in .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOMING HOUSE - ENTRANCE HALL - DAY</stage_direction>
<scene_description>INSERT - a name plate above a bell . It reads : ELIZABETH WINKLER . CLOSE - the ASSISTANT 'S hand ruffles through a notebook full of addresses . All except the last three have been crossed out . His finger stops at ` HANS BECKERT , c/o E. WINKLER . Gleder St. 15 , 2nd Floor . ' WIDER - The ASSISTANT stands by a door on the landing . He rings and puts his notebook away . A small frightened old lady named MRS. WINKLER answers the door . A large key - ring is fixed to her apron . The ASSISTANT greets her .</scene_description>
<character>MRS. WINKLER</character>
<parenthetical>( very softly . )</parenthetical>
<dialogue>Morning.</dialogue>
<character>ASSISTANT</character>
<dialogue>Does a Mr. Beckert live here?</dialogue>
<character>MRS. WINKLER</character>
<dialogue>What?</dialogue>
<character>ASSISTANT</character>
<parenthetical>( louder . )</parenthetical>
<dialogue>Does Mr. Beckert live here?</dialogue>
<character>MRS. WINKLER</character>
<dialogue>I'm afraid I ca n't hear you. I'm a bit hard of hearing.</dialogue>
<character>ASSISTANT</character>
<parenthetical>( to one side . )</parenthetical>
<dialogue>As if I could n't tell.</dialogue>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Does a Mr. Beckert live here?</dialogue>
<character>MRS. WINKLER</character>
<parenthetical>( a little worried . )</parenthetical>
<dialogue>Oh. Mr. Beckert? Yes. yes, of course. Yes, Mr. Beckert Lives here. I'm afraid he has just gone out.</dialogue>
<character>ASSISTANT</character>
<dialogue>Too bad. I wanted to see him.</dialogue>
<character>MRS. WINKLER</character>
<parenthetical>( very softly . )</parenthetical>
<dialogue>Oh yes.</dialogue>
<scene_description>She shrugs her shoulders .</scene_description>
<character>ASSISTANT</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>I'm from the Income Tax Office.</dialogue>
<character>MRS. WINKLER</character>
<parenthetical>( startled . )</parenthetical>
<dialogue>Oh, good God! The tax people! Yes. yes. Would you like. would you like to wait?</dialogue>
<scene_description>She gestures to him to come in . He bows .</scene_description>
<character>ASSISTANT</character>
<dialogue>Yes, thank you.</dialogue>
<character>MRS. WINKLER</character>
<dialogue>Not at all.</dialogue>
<scene_description>The ASSISTANT enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MURDERER'S ROOM - DAY</stage_direction>
<scene_description>Moments later , MRS. WINKLER unlocks the door to the room and allows the Assistant to enter .</scene_description>
<character>MRS. WINKLER</character>
<dialogue>Please take a seat.</dialogue>
<scene_description>The ASSISTANT puts his hat on the round central table and sits down in an armchair beside it . She goes out . As soon as the door closes , he jumps up to examine the room , but he hears MRS. WINKLER coming back and only just has time to sit down again . She hands him a newspaper .</scene_description>
<character>MRS. WINKLER</character>
<dialogue>Perhaps you'd like something to read?</dialogue>
<character>ASSISTANT</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Thank you. You're most kind.</dialogue>
<character>MRS. WINKLER</character>
<dialogue>Not at all.</dialogue>
<scene_description>He takes the paper . INSERT - the front page of the ` General Anzeiger ' for 24th November , 1930 . WIDER - The ASSISTANT and MRS. WINKLER .</scene_description>
<character>ASSISTANT</character>
<dialogue>Tell me, Mrs. Winkler, does Mr. Beckert take this paper?</dialogue>
<scene_description>MRS. WINKLER , already at the door , turns around .</scene_description>
<character>MRS. WINKLER</character>
<parenthetical>( astonished . )</parenthetical>
<dialogue>Mr. Beckert?</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>No, he always borrows mine.</dialogue>
<character>ASSISTANT</character>
<dialogue>Ah.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>MRS. WINKLER nods and leaves the room . As soon as she has closed the door again , the ASSISTANT gets up and looks at the table where he put his hat . He throws the hat on the chair and carefully raises the cloth . HIGH ANGLE - the ASSISTANT bends over the table and scratches the wood with his fingernails .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>A fruit - seller 's barrow , piled high with apples , oranges and bananas . From a strut hang some superb pineapples . The MURDERER stands behind the barrow dolefully eating an apple , at the same time gesturing to the fruit - seller to put another in the bag being filled for him .</scene_description>
</scene>
<scene>
<stage_direction>INT. MURDERER'S ROOM - DAY</stage_direction>
<scene_description>HIGH ANGLE - the ASSISTANT finishes his inspection . Disappointed by the negative search , he slowly replaces the cloth . NEW ANGLES - the ASSISTANT beside the table . Above his head , hangs a Tiffany - style glass lampshade , and beyond him a large pottery stove stands against the wall . As the ASSISTANT carefully surveys the room , we PAN across from the bedside table to the double windows . A bowl of fruit and other foodstuffs are stored in the space between them . We recognize the same wide windowseat where the MURDERER wrote his letter to the press . We PAN back to the ASSISTANT again . He leans over a wicker waste - paper basket from which he extracts an empty cigarette packet , a publicity hand - out for cigars and a postcard , which he lifts up and studies carefully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>The MURDERER eats an apple and looks at a window display in a cutlery and silverware shop . We see him from inside through the glass , his face framed in the reflection of a diamond - shaped display of knives . The reflections of other cutlery form geometric patterns around him . We see the street behind him and his VIEW of the shop window : the knives are arranged around a diamond - shaped mirror on the screen at the back of the window . The MURDERER munches his apple . Suddenly he stops chewing . Reflected in the mirror he can see a little girl leaning against the railings on the other side of the street , the image framed with knives . The MURDERER stands transfixed , staring at her . He wipes his mouth with the back of his hand , eyes bulging . The little girl leans nonchalantly on the railings , obviously waiting for someone . The MURDERER 'S arms fall limply to his side , he gasps for breath and his eyes close as he sways forward against the shop front . Then the fit subsides and he recovers slightly . Seen in reflection , the little girl leaves the railings and goes out of sight . The MURDERER slowly turns around and follows her with his eyes . He lowers his head and sets off slowly , whistling the ` Peer Gynt ' theme .</scene_description>
</scene>
<scene>
<stage_direction>INT. MURDERER'S ROOM - DAY</stage_direction>
<scene_description>The ASSISTANT picks up an empty sweet carton from the bedside table , examines it and makes a note .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>A bookshop window , in which hangs a spinning cardboard circle with an endlessly spiral design near a huge cardboard arrow bobbing quickly up and down . The little girl stares fascinated by the continual motion , until she turns away distracted by something else . Just as the ` Peer Gynt ' theme begins to accompany her - WHISTLED piercingly by the MURDERER o.s. - the girl wanders on past other shop windows and delightedly flings her arms around a smart young woman who approaches her .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Hello, mummy!</dialogue>
<scene_description>The whistling stops abruptly . The woman and the little girl walk off , arms around each other . We FOLLOW them along the pavement as they pass the MURDERER who has ducked into the bookshop doorway , pretending to look at some books displayed there . He looks around furtively and eventually steps out into the street to watch them go , his eyes drooping and his mouth partly open . Behind him the arrow continues to fly up and down , its shadow appearing to pierce the revolving spiral at every descent , as if stabbing at the MURDERER 's heart . He puts his hands together on his chest , nervously scratching them . The MURDERER turns to see : A NEARBY CAFe . with tables outside , screened from the street by a trellis of climbing plants . The MURDERER enters and sits at a table to the left of the entrance , his face just visible in profile through the foliage . A WAITER comes out to serve him even though the cafe 's not open yet .</scene_description>
<character>WAITER</character>
<dialogue>Good evening. What would you like?</dialogue>
<character>MURDERER</character>
<dialogue>Coffee. Sorry.</dialogue>
<scene_description>The WAITER starts to withdraw .</scene_description>
<character>MURDERER</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>No! a vermouth. No, a brandy.</dialogue>
<scene_description>The WAITER bows and withdraws .</scene_description>
<character>MURDERER</character>
<parenthetical>( exhausted . )</parenthetical>
<dialogue>Brandy. brandy.</dialogue>
<scene_description>We TRACK in towards the foliage . The MURDERER starts to intensely whistle his theme , then stops . He takes out a cigarette as the WAITER arrives to pour a brandy .</scene_description>
<character>WAITER</character>
<dialogue>There you are.</dialogue>
<scene_description>The MURDERER drinks the brandy in a gulp .</scene_description>
<character>MURDERER</character>
<parenthetical>( in a broken voice . )</parenthetical>
<dialogue>Another one.</dialogue>
<scene_description>The WAITER 'S hand pours another glass .</scene_description>
<character>WAITER</character>
<dialogue>There.</dialogue>
<scene_description>The MURDERER swallows the second glass , leans forward and stares fixedly in front of him . With a mechanical gesture he puts a cigarette in his mouth and immediately takes it out again . He presses his two bunched fists into his eyes and starts to whistle again . Then he covers his ears . In the background the lights of the cafe come on and faintly light up the table . He immediately stops whistling and gets up . We TRACK away from him rapidly .</scene_description>
<character>MURDERER</character>
<dialogue>The bill.</dialogue>
<character>WAITER</character>
<parenthetical>( coming up . )</parenthetical>
<dialogue>Two brandies. One sixty - five please.</dialogue>
<scene_description>Coins CLINK on the saucer .</scene_description>
<character>WAITER</character>
<dialogue>Thanks very much.</dialogue>
<scene_description>The MURDERER departs , whistling , his hands in his pockets .</scene_description>
</scene>
<scene>
<stage_direction>INT. INSPECTOR LOHMANN'S OFFICE - DAY</stage_direction>
<scene_description>LOHMANN , an enormous cigar in his hand , sits at his desk thinking . Beside him , his ASSISTANT makes his report .</scene_description>
<character>ASSISTANT</character>
<dialogue>Number 24 : Beckert. He does not take the Stadtischer Courier. A walnut table with a cloth. No red pencil, nor any traces of such a pencil. No writing paper. In the wastepaper basket, a printed advertisement and a colored postcard.</dialogue>
<scene_description>LOHMANN thinks ; behind him we see a map of the city .</scene_description>
<character>ASSISTANT</character>
<dialogue>of a bunch of flowers, written on it : ` Regards, Paul.' No address of sender. An empty cigarette packet, Ariston brand. A bag of sweets with the name of a sweet shop.</dialogue>
<character>LOHMANN</character>
<parenthetical>( interrupts . )</parenthetical>
<dialogue>Wait. wait a moment.</dialogue>
<scene_description>He screws up his eyes and thinks .</scene_description>
<character>LOHMANN</character>
<dialogue>Ariston, did you say? A. ris. ton.</dialogue>
<scene_description>We TRACK IN on LOHMANN 'S face . Deep in thought , he writes the name in the air . We TRACK IN closer .</scene_description>
<character>LOHMANN</character>
<dialogue>That rings a bell. Ariston.</dialogue>
<scene_description>We TRACK IN even closer . Suddenly , LOHMANN seems to have got it . He grabs the telephone .</scene_description>
<character>LOHMANN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Hello. I want the file on the Marga Perl murder. Right away.</dialogue>
<scene_description>He hangs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALLOON SELLER'S KIOSK - DAY</stage_direction>
<scene_description>The BLIND BEGGAR has just sold two balloons to a woman who pays and goes off .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>Thank you very much.</dialogue>
<scene_description>From far off , we hear the MURDERER 'S whistling approach . His shadow passes . The BLIND BEGGAR lifts his head .</scene_description>
<character>BLIND BEGGAR</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>That's funny. I've heard that somewhere before.</dialogue>
<scene_description>We TRACK IN closer .</scene_description>
<character>BLIND BEGGAR</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>It was. it was.</dialogue>
<scene_description>Some passers - by watch with concern as the BLIND BEGGAR walks forward , away from his kiosk , tapping with his stick . Near some PLANKS , half covering a hole in the road , the BLIND BEGGAR , still holding his balloons , waves to someone - to the surprise of some passers - by .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>Hey, hey, Henry!</dialogue>
<scene_description>HENRY , a young man in a cap , rushes to join him .</scene_description>
<character>HENRY</character>
<dialogue>What is it?</dialogue>
<scene_description>HENRY takes the BLIND BEGGAR 'S hand .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>Listen a moment. There's someone whistling. Ca n't you hear him?</dialogue>
<scene_description>HENRY shakes his head , no . The BLIND BEGGAR turns his face in the direction of the whistling . HENRY looks and listens .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>There.</dialogue>
<scene_description>HENRY cranes his neck . But the whistling suddenly stops .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>He's just stopped. Did you see him, the guy who was whistling?</dialogue>
<character>HENRY</character>
<dialogue>Yes, yes. I can still see him.</dialogue>
<character>BLIND BEGGAR</character>
<dialogue>Yes?</dialogue>
<character>HENRY</character>
<dialogue>Sure. He's talking to a little girl as he walks down the street with her.</dialogue>
<character>BLIND BEGGAR</character>
<dialogue>After him, and do n't let him go.</dialogue>
<character>HENRY</character>
<dialogue>But why?</dialogue>
<character>BLIND BEGGAR</character>
<dialogue>The day Elsie Beckmann was killed someone bought a balloon off me. He was with a little girl.</dialogue>
<scene_description>HENRY understands and rushes off .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>and the fellow whistled just like that!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE QUIET STREET - DAY</stage_direction>
<scene_description>HENRY runs to the end of the roadworks and looks around . The MURDERER is nowhere in sight . We FOLLOW a concerned HENRY as he enters the quiet street running at a right angle to the previous one . In a basement , a greengrocer 's shop is lit up . He approaches and looks through the window . HENRY 'S POV - The MURDERER and the LITTLE GIRL are being served by an old woman . She hands them a big paper bag and some sweets for the GIRL , who thanks her as the MURDERER pays . HENRY IN THE STREET - in front of the window ; he stands up quickly , then hesitates for a moment . Taking one last look through the window , he runs off . HENRY hides in a corner of the roadworks between a tar boiler and a great roll of cable . He watches the street . The MURDERER and the LITTLE GIRL come out of the shop . She curtsies and offers him the bag of fruit . He takes an orange . Anxiously , he looks right and left , but there is no one in sight . Then he sweeps back his coat and puts his hand into his trouser pocket . CLOSE - he takes out a switchblade knife and flicks it open . The blade glints and flashes in the gloom . ANGLE ON HENRY - ready to jump out . CLOSE - the blade peeling an orange . ANGLE ON HENRY - he searches his pockets ; he takes out a piece of chalk . CLOSE - the palm of HENRY 's left hand on which he draws a large letter M , heavy with chalk dust . ANGLE ON the MURDERER , facing the girl . He finishes peeling his orange and throws the peel onto the ground . HENRY walks up , quickly but casually . As though by mistake , he knocks against the MURDERER and so gets a chance to slam his left hand against the back of the MURDERER 'S left shoulder . Terrified , the MURDERER backs away , dropping the knife .</scene_description>
<character>HENRY</character>
<parenthetical>( feigning annoyance . )</parenthetical>
<dialogue>Damn it, are you crazy, throwing your peel on the ground!</dialogue>
<scene_description>HENRY gestures at the peel and walks off .</scene_description>
<character>HENRY</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>I might have broken my neck. Unbelievable.</dialogue>
<scene_description>CLOSE - the knife on the ground .</scene_description>
<character>HENRY</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>I should report you to the police. You're a danger to the public.</dialogue>
<scene_description>The LITTLE GIRL bends over and picks up the knife . PULL BACK to a WIDER SHOT as she rises and tries to hand the knife to the MURDERER . But he is still staring at HENRY . The LITTLE GIRL gives the still shaken MURDERER a little nudge .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Uncle.</dialogue>
<scene_description>The MURDERER is startled by the nudge but quickly recovers . He takes her hand , with the knife in it , and presses it to his chest as we CIRCLE AROUND behind him , to discover - high on his back and unbenownst to him - a ragged letter 'M ' outlined in chalk .</scene_description>
</scene>
<scene>
<stage_direction>INT. INSPECTOR LOHMANN'S OFFICE - DAY</stage_direction>
<scene_description>LOHMANN sits at his desk , his ASSISTANT standing beside him . LOHMANN studies a dossier , following the lines with his finger . Suddenly he raises his head .</scene_description>
<character>LOHMANN</character>
<dialogue>There. that's it. They found three cigarette stubs where the crime took place - Aristons.</dialogue>
<character>ASSISTANT</character>
<dialogue>Yes, the cigarettes are the same, but there is no old wooden table.</dialogue>
<scene_description>Nervously , LOHMANN waves away the objection and plunges back into the dossier .</scene_description>
<character>ASSISTANT</character>
<parenthetical>( thoughtfully . )</parenthetical>
<dialogue>Of course. he could have written the letter somewhere else, but.</dialogue>
<scene_description>The ASSISTANT 's eyes turn to LOHMANN 'S office window . He glances at the sill .</scene_description>
<character>ASSISTANT</character>
<parenthetical>( suddenly leaning towards LOHMANN . )</parenthetical>
<dialogue>. Heavens, the windowsill!</dialogue>
</scene>
<scene>
<stage_direction>INT. MURDERER'S ROOM - DAY</stage_direction>
<scene_description>CLOSE - The windowsill . A hand holds a magnifying glass through which we see the grain of the wood on the sill . WIDER - LOHMANN and his ASSISTANT closely examine the sill . LOHMANN holds the magnifying glass and we see them in profile .</scene_description>
<character>LOHMANN</character>
<dialogue>You're right!</dialogue>
<character>ASSISTANT</character>
<parenthetical>( opening one of the windows . )</parenthetical>
<dialogue>Just a minute!</dialogue>
<scene_description>He bends over the gap between the double windows , licks his finger , and pushes the wet finger into the gap . He examines his finger , then turns to show it to LOHMANN . CLOSE - his dirty finger .</scene_description>
<character>ASSISTANT</character>
<dialogue>Red pencil shavings!</dialogue>
<scene_description>WIDER - LOHMANN and his ASSISTANT stand in front of the window .</scene_description>
<character>LOHMANN</character>
<parenthetical>( with great satisfaction . )</parenthetical>
<dialogue>Good God. At last, we are getting somewhere!</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERWORLD MEETING ROOM - DAY</stage_direction>
<scene_description>SCHRAENKER sits , wearing his bowler . The SAFE - BREAKER is on the telephone opposite him . The BURGLAR and the PICK - POCKET stand beside him . They all wear overcoats .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Yes. yes. What?</dialogue>
<scene_description>The doorbell RINGS .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>They're on his trail.</dialogue>
<character>CON-MAN</character>
<parenthetical>( enters and joins the group . )</parenthetical>
<dialogue>They've found him?</dialogue>
<character>PICK-POCKET</character>
<dialogue>The beggars found him.</dialogue>
<character>BURGLAR</character>
<dialogue>He was talking to a little girl.</dialogue>
<character>CON-MAN</character>
<dialogue>Tell me more.</dialogue>
<character>PICK-POCKET</character>
<dialogue>They put a mark on him.</dialogue>
<character>SAFE-BREAKER</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>Ca n't you be quiet?!</dialogue>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>What's that?</dialogue>
</scene>
<scene>
<stage_direction>INT. TELEPHONE BOOTH - DAY</stage_direction>
<scene_description>HENRY 's on the line .</scene_description>
<character>HENRY</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>They're following the sign. They're not letting him out of their sight for a second.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY STREETS - SURVEILLANCE MONTAGE - DAY</stage_direction>
<scene_description>The MURDERER walks slowly down a street with the LITTLE GIRL . A passer - by throws down a cigarette butt . A tramp comes up , accompanied by a colleague with one leg , picks up the stub , and follows the MURDERER . NEW ANGLE - the MURDERER and the LITTLE GIRL , as they reach a column covered with posters . The two BEGGARS follow close behind . The ONE - LEGGED MAN disappears behind the column and a MAN IN A CAP takes his place . NEW ANGLE - STREET Seen from a half - open door . Behind the door is the outline of a MAN ON WATCH . The MURDERER and the LITTLE GIRL cross the road , followed warily by the MAN IN A CAP and his partner . The MAN ON WATCH takes over for the partner . ANOTHER ANGLE - the MURDERER and the LITTLE GIRL passing in front of a cheap cafe . The two beggars are still following . The MAN IN A CAP taps on the window of the cafe . Immediately , a man comes out and takes over trailing the MURDERER .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOY SHOP - DAY</stage_direction>
<scene_description>The window display of a toy shop , seen from the inside , full of dolls , teddy bears , and all kinds of toys . A lot of traffic in the street . The MURDERER and the LITTLE GIRL stop in front of the window . He talks to her enthusiastically and she eagerly points out a toy to him . The MURDERER nods his head . NEW ANGLE - the entrance of the shop from the street . The MURDERER is just about to go in when the LITTLE GIRL sees the chalk mark and grabs his sleeve .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Uncle.</dialogue>
<character>MURDERER</character>
<dialogue>What is it?</dialogue>
<character>LITTLE GIRL</character>
<dialogue>You're all dirty.</dialogue>
<character>MURDERER</character>
<dialogue>Where?</dialogue>
<scene_description>He looks at himself in a mirror beside the doorway .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>There, on your shoulder.</dialogue>
<scene_description>CLOSE - the MURDERER 'S reflection in the mirror . He turns and sees the M reflected . His eyes bulge . CLOSER - the letter M. WIDER - the LITTLE GIRL and the MURDERER together .</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Here, I'll clean it off.</dialogue>
<scene_description>She tries to rub off the letter with her handkerchief . The MURDERER stares at it in the mirror . Suddenly frightened , he turns nervously towards the street . MURDERER 'S POV : a BEGGAR , hiding behind a beer truck . RESUME on the panicking MURDERER and the LITTLE GIRL .</scene_description>
<character>LITTLE GIRL</character>
<parenthetical>( astonished . )</parenthetical>
<dialogue>Whatever's the matter?</dialogue>
<character>MURDERER</character>
<dialogue>Come on. let's go.</dialogue>
<scene_description>He takes her hand and is about to leave when he hears someone WHISTLE sharply . Terrified , he lets go of the LITTLE GIRL and runs away . RESUME on the BEGGAR , looking around , distraught . Then he WHISTLES through his fingers . ANOTHER ANGLE - a street corner with a street lamp , with a pawnbroker 's shop in the background . The MURDERER runs to the corner , where he startles easily at the sound of more shrill WHISTLES . Uncertain , he moves first one way and then the other , before finally deciding to turn down a side street . We PAN WITH him to reveal a man standing nearby , pressed tensely against the wall of a building , watching the MURDERER . Is he one of the beggars ? Or just an innocent bystander ? They regard one another for a long , agonizing moment . Nervously , the MURDERER hesitates a moment , is about to tip his hat to him , but then walks off briskly . The man watches the MURDERER depart , then , after a long moment , begins to follow him . HIGH ANGLE - the MURDERER in an empty street , trying to shake off his pursuers . He turns sharp left and crosses the road , but at the far end two beggars appear . The MURDERER retraces his steps and stops undecided in front of the covered entrance GATE to a huge block of offices . In the foreground , a pursuer blocks the middle of the street . GATEWAY - The gate , a geometrical structure , leads to the inner courtyard of an office building . We TRACK rapidly with him as the MURDERER frantically runs in and hides behind a buttress . Anxiously , he watches the gateway . MURDERER 'S POV - An open gate on the other side of the courtyard leading to another street . A policeman passes across it . RESUME on the MURDERER in his hiding - place ; he presses back against the wall as the policeman passes in the background . TWO BEGGARS - They appear in the gateway which the MURDERER came through . RESUME on the MURDERER , poking his head out to look at the street . THREE BEGGARS - A third beggar arrives and join the other two . They take stock of the situation . The FIRST BEGGAR gives a signal and the two others go off right and left to circle the building . The siren of a fire engine BLARES in the distance . WIDE ANGLE - From the street we see the gateway where the MURDERER , a tiny figure , hides behind a pillar . Two fire engines ROAR past , sirens BLARING and lights flashing - and blocking the remaining beggar 's view . By the time the fire engines have passed , the MURDERER has disappeared . The FIRST BEGGAR quickly crosses the road and goes through the gateway arch , searching vainly for the MURDERER . The two other BEGGARS return and join him in the courtyard . THE THREE BEGGARS - They confer .</scene_description>
<character>2ND BEGGAR</character>
<dialogue>Anyway, he has n't come out. We would have seen him.</dialogue>
<character>3RD BEGGAR</character>
<dialogue>Impossible.</dialogue>
<character>1ST BEGGAR</character>
<dialogue>He must be in the courtyard, then. He did n't come out this way either.</dialogue>
<character>2ND BEGGAR</character>
<dialogue>He must be somewhere.</dialogue>
<scene_description>The BEGGARS peer around . BEGGAR 'S POV - PAN ALONG the face of the office building . The sun is now very low and the windows are lighted .</scene_description>
<character>1ST BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Maybe he's gone to hide inside the building.</dialogue>
<scene_description>A clock STRIKES six o'clock .</scene_description>
<character>2ND BEGGAR</character>
<dialogue>Hell! The offices will be closing.</dialogue>
<character>1ST BEGGAR</character>
<dialogue>As long as he does n't get out with all the people coming out.</dialogue>
<scene_description>The 2ND BEGGAR rushes off to look through the other gateway .</scene_description>
<character>2ND BEGGAR</character>
<parenthetical>( coming back . )</parenthetical>
<dialogue>Hell! Here come the first ones already.</dialogue>
<character>1ST BEGGAR</character>
<dialogue>Let's go out into the street.</dialogue>
<scene_description>He starts to rush off . Office workers begin to exit the building .</scene_description>
<character>1ST BEGGAR</character>
<dialogue>Keep a sharp look out.</dialogue>
<scene_description>The other two run towards the other entrance as the office workers start streaming out , some riding bicycles . The 2ND BEGGAR , pretending to sell matches , watches them carefully .</scene_description>
<character>VARIOUS VOICES</character>
<dialogue>Excuse me, I just want to light my cigarette. My holidays start tomorrow. First I'm going to Konigsberg. With my ulcer, I ca n't eat things like that. The boss came and saw me today.</dialogue>
<scene_description>In the foreground , a car passes , HOOTING .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MURDERER'S ROOM - NIGHT</stage_direction>
<scene_description>LOHMANN 'S ASSISTANT sits on the windowsill . Two other plainclothesmen sit in the foreground .</scene_description>
<character>ASSISTANT</character>
<dialogue>Put out the light, otherwise he'll suspect something when he gets back.</dialogue>
<scene_description>A PLAINCLOTHES MAN rises and switches the light off , the ASSISTANT looks out of the window .</scene_description>
<character>PLAINCLOTHES MAN</character>
<dialogue>What's the time?</dialogue>
<character>ASSISTANT</character>
<parenthetical>( checks his watch . )</parenthetical>
<dialogue>Nearly six - thirty.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>A uniformed watchman finishes closing and locking the imposing security gate that goes right across the gateway entrance . He greets a passing policeman and goes back into the building . We HOLD on the empty courtyard for a beat or two . Where is the murderer ?</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEPHONE BOOTH - NIGHT</stage_direction>
<scene_description>The 1ST BEGGAR talks to the underworld bosses .</scene_description>
<character>1ST BEGGAR</character>
<dialogue>He must still be in the building. Anyway, he did n't come out with the others.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE UNDERWORLD MEETING ROOM - NIGHT</stage_direction>
<scene_description>The SAFE - BREAKER , a cigarette - holder in his mouth , is on the telephone in the crooks ' MEETING ROOM . Standing beside him , SCHRAENKER , still wearing overcoat and bowler , plays with his stick .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Okay. yes. yes. no, just a moment.</dialogue>
<scene_description>He covers the mouthpiece with his hand and turns to SCHRAENKER .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>The beggars have gone for reinforcements to search the whole area. They say the murderer must still be in the building.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Hmm.</dialogue>
<parenthetical>( thoughtful pause . )</parenthetical>
<dialogue>What kind of building is it?</dialogue>
<character>SAFE-BREAKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>What kind of building is it?</dialogue>
</scene>
<scene>
<stage_direction>INT. TELEPHONE BOOTH - NIGHT</stage_direction>
<character>BEGGAR</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Nothing but offices. I do n't know what's in the cellar. There's a branch of the Savings Bank on the ground floor, and from the first to the fifth, nothing but offices, and above that, lofts.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - THE TOP FLOOR - NIGHT</stage_direction>
<scene_description>Over bannisters on a top floor landing , we see the half - open door of an attic loft . To the right of the door is the NIGHT WATCHMAN 'S time - switch . The WATCHMAN comes up and stops , astonished , in front of the door .</scene_description>
<character>WATCHMAN</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Look at that. It's not possible.</dialogue>
<scene_description>We TRACK WITH him as he pushes open the door and looks into the attic .</scene_description>
<character>WATCHMAN</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Anyone there?</dialogue>
<scene_description>He turns on the light and enters . VARIOUS ANGLES - In the attic . The WATCHMAN walks down a corridor .</scene_description>
<character>WATCHMAN</character>
<dialogue>Hello! Hello! Hello!</dialogue>
<scene_description>In the foreground , various compartments , all filled with a jumble of old furniture and bric - a - brac , cut off from the passage by fence - like partitions . The WATCHMAN passes behind them . We TRACK WITH him past several compartments .</scene_description>
<character>WATCHMAN</character>
<dialogue>Anyone there?</dialogue>
<scene_description>He checks one of the doors by shaking it to see whether it is firmly closed . He goes to the next one , where he does the same . NEW ANGLE - In the gloom of the attic , we can just make out the MURDERER , hiding in a corner . We hear the disappearing FOOTSTEPS of the WATCHMAN and the rattle of doors .</scene_description>
<character>WATCHMAN</character>
<parenthetical>( o.s. , quietly , to himself . )</parenthetical>
<dialogue>Whatever next!?</dialogue>
<parenthetical>( shouting again . )</parenthetical>
<dialogue>Anyone there?</dialogue>
<scene_description>RESUME on the WATCHMAN seen through the fence - like partitions . He shakes a door , looks once more along the corridor , then turns away .</scene_description>
<character>WATCHMAN</character>
<dialogue>Bah! Damn carelessness. All that trouble for one door.</dialogue>
<scene_description>He goes out . RESUME on the MURDERER as the attic light goes out . He stands up , tremendously relieved . We hear the door that leads out onto the landing close and a key turn in the lock . The MURDERER stands alert , breathing heavily , realizing he 's trapped .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERWORLD MEETING ROOM - NIGHT</stage_direction>
<scene_description>SCHRAENKER , the PICK - POCKET , the CON - MAN , the BURGLAR and the SAFE - BREAKER are grouped around the table . SCHRAENKER , standing , looks down superciliously , holding his cane handle down on the table . The SAFE - BREAKER is on the telephone .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Yes. ah! Good.</dialogue>
<scene_description>He covers the receiver and turns to the others .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>It looks as if the guy is really cornered now. I think we'd better tell the police straight away.</dialogue>
<character>CON-MAN</character>
<dialogue>I agree.</dialogue>
<scene_description>The BURGLAR and the PICK - POCKET also agree . The SAFE - BREAKER starts to talk into the telephone again .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Now then, listen carefully.</dialogue>
<scene_description>SCHRAENKER violently grabs the receiver from him .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Hello. Just a moment. What? Okay. and call me back.</dialogue>
<scene_description>He hangs up .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>What is it? What's got into you?</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>Are you mad or something?</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>Why?</dialogue>
<character>SCHRAENKER</character>
<dialogue>The police? No. we're going to get the guy ourselves. Listen. now, the time is.</dialogue>
<scene_description>Clumsily , everyone fumbles for a watch .</scene_description>
<character>CON-MAN</character>
<dialogue>Eight o'clock.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Good. Then, at. nine. ten. eleven o'clock!</dialogue>
</scene>
<scene>
<stage_direction>EXT. OFFICE BUILDING - GATEWAY - NIGHT</stage_direction>
<scene_description>The gateway of the office block . From the street outside , we can see through the sliding gates across the courtyard to the lighted windows of the WATCHMEN 'S OFFICE . Somewhere a clock STRIKES eleven , as a uniformed policeman walks up to the gates and stops . He RINGS the bell . One of the watchmen comes out into the courtyard . WATCHMAN 'S POV reveals the empty street through the gates and the policeman saluting behind them .</scene_description>
<character>POLICEMAN</character>
<dialogue>Good evening. Did you know your gates.</dialogue>
<scene_description>CLOSE - THE GATE . it is locked tight .</scene_description>
<character>POLICEMAN</character>
<dialogue>were n't closed?</dialogue>
<character>WATCHMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What? But that's impossible.</dialogue>
<scene_description>He comes forward , but only his hands holding a lamp are visible .</scene_description>
<character>WATCHMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>I've only just.</dialogue>
<scene_description>CLOSE - WATCHMAN 'S HAND - shaking the gate .</scene_description>
<character>WATCHMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>But it is.</dialogue>
<scene_description>He stops suddenly . We PAN to his shocked face . SMASH CUT - the POLICEMAN 'S gloved hand points a revolver through the ironwork .</scene_description>
<character>POLICEMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Open up and no noise!</dialogue>
<scene_description>CLOSE - THE WATCHMAN - stunned , behind the gate . REVERSE SHOT - THE POLICEMAN - who turns out to be SCHRAENKER in disguise . He points two revolvers .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Are you going to open up, then?</dialogue>
<parenthetical>( a pause ; then , brutally . )</parenthetical>
<dialogue>Come on. get it open!</dialogue>
<scene_description>The WATCHMAN slides back the gate . SCHRAENKER goes through and with the barrel of one of his guns pushes the WATCHMAN towards his office . The gate stays open .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Get a move on!</dialogue>
<scene_description>ANGLE ON THE GATE - which has been pushed open just wide enough to let one person through at a time . The key ring swaying from the key in the lock of the gate . O.s. SCHRAENKER whistles a few bars of the song , ` Be faithful and honest . ' Someone else echoes his whistling . The SAFE - BREAKER appears and signals to a group of colleagues to follow him . They pass through the gate , loaded with bags and suitcases . They all gather in front of . THE WATCHMEN 'S OFFICE . Over the heads of the whole group , through the glass partition and half - open door , we see the WATCHMAN sitting terrified on a chair with SCHRAENKER and the CON - MAN standing over him .</scene_description>
<character>SCHRAENKER</character>
<dialogue>How many other watchmen are there in the building?</dialogue>
<scene_description>The WATCHMAN does not move .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Okay then, so you do n't want to answer, huh?</dialogue>
<scene_description>The WATCHMAN shakes his head . The CON - MAN grabs him by the waistcoat .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( ironically . )</parenthetical>
<dialogue>Okay, then. Okay.</dialogue>
<scene_description>He shuts the door from the inside . Through the glass panes of the door , we see SCHRAENKER saying something to the WATCHMAN who still refuses to reply . At a sign from SCHRAENKER , the CON - MAN reaches over the seated WATCHMAN 'S shoulders and pulls back the WATCHMAN 'S arms . The crowd of crooks press forward to watch the torture through the glass , thus partially blocking our view . After a second 's silence , there is a sharp SCREAM . SCHRAENKER opens the door and speaks to the crooks standing outside .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( matter - of - fact . )</parenthetical>
<dialogue>Two more watchmen, guys.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>HALLWAY - One of the other watchmen comes through and resets a time switch on the wall and then moves on out of sight . THE ATTIC - where the MURDERER , seen through the slatted partitions , tries to force the lock of the main attic door with his knife . He swears in a low voice . CLOSE - the lock over the MURDERER 'S shoulder . He removes one of the screws around the lock and rattles the lock furiously - but it wo n't open .</scene_description>
<character>MURDERER</character>
<dialogue>Damn it!</dialogue>
<scene_description>He examines the lock from underneath . On his back the chalked letter M is still visible . HUGE CLOSE - UP - he slips the blade of his knife between the lock and the door , trying to pry open the catch , but the blade snaps and the point falls to the ground . WIDER - the MURDERER half - standing , half leaning on the door .</scene_description>
<character>MURDERER</character>
<dialogue>Damn it!</dialogue>
<scene_description>He raises his arm to throw the knife handle away .</scene_description>
<character>MURDERER</character>
<parenthetical>( muttering . )</parenthetical>
<dialogue>Hell!</dialogue>
<scene_description>He freezes abruptly , arm up and eyes rolling wildly . He hears something on the other side of the door and listens intently . ON THE OTHER SIDE OF THE DOOR - a WATCHMAN passes . He resets the time - switch . FOURTH FLOOR LANDING - Two crooks work on the lock of a door ; one makes an impression , the other passes him the appropriate skeleton key . A third man comes up the stairs carrying a case . FIRST FLOOR LANDING - SCHRAENKER stands on the steps . Two crooks pass him carrying suitcases .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Careful with the lights. And do n't walk like elephants.</dialogue>
<scene_description>The PICK - POCKET arrives from the basement wearing a raincoat and cap .</scene_description>
<character>SCHRAENKER</character>
<dialogue>What's up?</dialogue>
<character>PICK-POCKET</character>
<dialogue>He is n't in the basement. We've been through it with a fine comb and found nothing.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Hmm!</dialogue>
<character>PICK-POCKET</character>
<dialogue>Fried and Auguste are still going through the boiler rooms.</dialogue>
<scene_description>The PICK - POCKET starts back down the stairs when SCHRAENKER calls him back .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Wait.</dialogue>
<scene_description>Two crooks carrying an unconscious watchman pass by in the background .</scene_description>
<character>CROOK</character>
<parenthetical>( to SCHRAENKER . )</parenthetical>
<dialogue>That's the last one.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( to PICK - POCKET . )</parenthetical>
<dialogue>Go up and join Emile. He needs help.</dialogue>
<character>PICK-POCKET</character>
<dialogue>Okay.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Go on, get a move on!</dialogue>
<scene_description>The PICK - POCKET hurries up the stairs . WATCHMEN 'S OFFICE - Dressed rather incongruously in a smart overcoat , silk scarf , and bowler , the SAFE - BREAKER pores over a plan on the table . Another time - switch is on the wall behind him . Propped up against the desk , the second watchman lies bound and unconscious . The two crooks carry the third watchman in , followed by the PICK - POCKET .</scene_description>
<character>PICK-POCKET</character>
<dialogue>Schraenker sent me.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>Good. Listen carefully.</dialogue>
<scene_description>He points to a time - switch . CLOSE - THE TIMESWITCH The SAFE - BREAKER 'S gloved hand points at the alarm with his cigarette holder .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>It's a new type of time - switch.</dialogue>
<scene_description>CLOSE - BLUEPRINT The gloved hand points to a plan of the building .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Here is a general plan of the lay - out. If the time - switches are not reset at exactly the right time, they automatically set off an alarm at the nearest police station. Get it?</dialogue>
<scene_description>RESUME on the time clock .</scene_description>
<character>PICK-POCKET</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>The SAFE - BREAKER 'S hand puts a key into the lock and turns it .</scene_description>
<character>SAFE-BREAKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Like that.</dialogue>
<scene_description>WIDER - the two of them stand in front of the switch . The PICK - POCKET looks at the plan .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Have you got it?</dialogue>
<character>PICK-POCKET</character>
<dialogue>What do you think I am, some kind of idiot?</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>Could be.</dialogue>
<scene_description>He hands him the key . The PICK - POCKET sets off at a run to make his rounds . STAIRCASE - SCHRAENKER stands , listening to the report of two more of his men .</scene_description>
<character>1ST CROOK</character>
<dialogue>He is n't in the boiler room either.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Fine.</dialogue>
<scene_description>Two men pass with cylinders of gas and an oxy - acetylene cutter .</scene_description>
<character>2ND CROOK</character>
<dialogue>We moved all the coal.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( shouting up to an upper floor . )</parenthetical>
<dialogue>Hey!</dialogue>
<scene_description>On the landing above , the BURGLAR sets up the acetylene cutter in front of a door .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Are you crazy?</dialogue>
<scene_description>The BURGLAR stops his work and straightens up . SCHRAENKER and the other two men look up at him .</scene_description>
<character>SCHRAENKER</character>
<dialogue>What if that door's wired up already? Do you want to get the police out here right away?</dialogue>
<character>BURGLAR</character>
<dialogue>Okay. But we've got to get in if we're going to search the whole building.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>But not by the door, you fool!</dialogue>
<scene_description>He taps his temple .</scene_description>
<character>SCHRAENKER</character>
<dialogue>The office on the floor above. go through the ceiling.</dialogue>
<scene_description>HIGH ANGLE - three crooks coming out of a hallway onto the fourth floor landing . They move towards the bannisters . One of them , wearing a beret pulled down over his ears , leans over and shouts .</scene_description>
<character>CROOK</character>
<dialogue>Nothing!</dialogue>
<scene_description>OFFICE - SECOND FLOOR The BURGLAR again . He drills with some difficulty through the floor with a power - drill . The SAFE - BREAKER 'S legs can be seen next to him where he stands holding a torch . The BURGLAR 'S tool bag lies open on the floor beside him . THE LOFT The MURDERER , using the broken knife , tries to lever a nail out of one of the wooden uprights of a partition . CLOSE - THE BROKEN BLADE WIDER - as he struggles to remove the nail by hand . CLOSE AGAIN - the blade levers the nail out . OFFICE - SECOND FLOOR The BURGLAR and the SAFE - BREAKER have now managed to make a decent - sized hole in the floor . The BURGLAR throws down a rope ladder .</scene_description>
<character>BURGLAR</character>
<dialogue>Right. let's go.</dialogue>
<scene_description>He lowers himself through the hole . The SAFE - BREAKER leans over and watches him climb down . TOP FLOOR The PICK - POCKET , still studying the plan of the building , has now reached the time - switch outside the main door to the attics . He is just about to put the key in the lock when he hears a faint sound of BANGING . Glancing around nervously , he stops to listen . IN THE ATTIC , the MURDERER , squatting behind the door , hammers something . CLOSE - he flattens one end of the nail with the handle of his knife . ON THE OTHER SIDE OF THE DOOR , the PICK - POCKET creeps nearer to the door , listening carefully . The BANGING continues . Wildly excited , he makes for the stairs ; but he suddenly remembers the time - switch and turns back on his heels and quickly resets it . He pauses for a second to listen again , and then rushes downstairs . TOP FLOOR - the PICK - POCKET , plan in hand , races down the stairs from the sixth floor landing . ON THE FIFTH FLOOR Some crooks force a door on the fifth floor landing . As the PICK - POCKET races past , one of them turns round .</scene_description>
<character>5TH FLOOR CROOK</character>
<dialogue>Hey, what's up?</dialogue>
<scene_description>The PICK - POCKET does n't stop .</scene_description>
<character>5TH FLOOR CROOK</character>
<dialogue>Hey, ca n't you answer me? What's happening? Oy, Paul, you might tell us.</dialogue>
<scene_description>FOURTH FLOOR A man in a beret runs out into the hallway , torch in one hand , revolver in the other . He leans over the bannisters to get a better view of the PICK - POCKET .</scene_description>
<character>CROOK IN BERET</character>
<dialogue>What's going on?</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( breathless . )</parenthetical>
<dialogue>I heard someone banging!</dialogue>
<scene_description>Another crook emerges into the hallway . The PICK - POCKET races past .</scene_description>
<character>SECOND CROOK</character>
<dialogue>What did you say?</dialogue>
<character>CROOK IN BERET</character>
<dialogue>What's the hurry?</dialogue>
<scene_description>OFFICE - SECOND FLOOR The SAFE - BREAKER who leans over the hole in the floor , shining his torch to light up the room below . Hearing the shouting , he jumps up . He emerges into the HALLWAY and grabs at the PICK - POCKET as he passes .</scene_description>
<character>PICK-POCKET</character>
<parenthetical>( shaking free . )</parenthetical>
<dialogue>I must see Schraenker!</dialogue>
<scene_description>FIRST FLOOR The PICK - POCKET as he hurls himself towards SCHRAENKER , pointing frantically upwards .</scene_description>
<character>PICK-POCKET</character>
<parenthetical>( out of breath . )</parenthetical>
<dialogue>In the attic. he's in the attic. I heard him knocking.</dialogue>
<scene_description>The SAFE - BREAKER joins them .</scene_description>
<character>PICK-POCKET</character>
<dialogue>In the attic. he's in the attic!</dialogue>
<scene_description>TOP FLOOR IN THE ATTIC , the MURDERER has succeeded in bending the nail and tries to use it as a skeleton key . He puts it into the key - hole and feels around with it . IN THE HALLWAY , the metallic sound of the nail inside the keyhole can still be heard , as SCHRAENKER and the others arrive . They stop to listen and the men nudge one another expectantly .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Shhhhhh. keep quiet!</dialogue>
<scene_description>The noise of the HAMMERING can be heard clearly . IN THE ATTIC , the MURDERER , crouched behind the door , HAMMERS at the nail . On the floor , he studies his crude skeleton key . He turns back to the door and is about to push the key into the keyhole when the handle moves very slightly . The MURDERER backs away and presses himself against the wall , eyes bulging with terror and staring fixedly at the door - handle . IN THE HALLWAY - CLOSE - THE LOCK - Two hands are testing a skeleton key selected from an assorted bunch on a large key ring . IN THE ATTIC , the MURDERER presses his ear against the door to listen and then slips off down the corridor . Halfway down , he turns back to switch off the light , plunging the place into darkness except for the illumination filtering in around the edges of the door . His shadow disappears into the recesses of the attic . A moment later , the door bursts open and SCHRAENKER appears in silhouette against the hallway light . Behind him three flashlights click on .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Get on with it, then.</dialogue>
<scene_description>Flashlight beams pass across the wooden partitions .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>He must be there.</dialogue>
<character>OTHER VOICES</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>There's the switch.</dialogue>
<scene_description>The lights come on . The men see the corridor with the numerous compartments , piled high with old furniture .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Force the locks.</dialogue>
<scene_description>Some crooks pass down the corridor .</scene_description>
<character>VOICES</character>
<dialogue>Come on. Hurry up! Get a move on! Come on. Off with it.</dialogue>
<scene_description>Two crooks force a partition door . WATCHMAN 'S OFFICE The CON - MAN sits by the window . The PICK - POCKET comes in , excited .</scene_description>
<character>PICK-POCKET</character>
<dialogue>We've got him!</dialogue>
<character>CON-MAN</character>
<parenthetical>( getting up . )</parenthetical>
<dialogue>What?</dialogue>
<character>PICK-POCKET</character>
<dialogue>He's in the attic!</dialogue>
<character>CON-MAN</character>
<dialogue>Yeah?</dialogue>
<scene_description>While the two crooks are talking , the FIRST WATCHMAN moves . Though still lying tied up on the floor , he makes an effort to haul himself onto his knees and reach the nearby alarm .</scene_description>
<character>PICK-POCKET</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Yes, I heard someone hammering.</dialogue>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Who?</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>and immediately told Schraenker.</dialogue>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What did he say?</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>He's already up there with eight men.</dialogue>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That's good.</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>They'll get him any moment.</dialogue>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>You think so?</dialogue>
<scene_description>The two crooks are face to face .</scene_description>
<character>PICK-POCKET</character>
<dialogue>I just came down to tell you.</dialogue>
<character>CON-MAN</character>
<dialogue>Great.</dialogue>
<character>PICK-POCKET</character>
<parenthetical>( importantly . )</parenthetical>
<dialogue>If I had n't been on the alert we might have been looking for him for hours.</dialogue>
<scene_description>The CON - MAN rises quickly and grabs the PICK - POCKET by the shoulder . The WATCHMAN , on his knees , lifts his handcuffed hands towards the alarm bell .</scene_description>
<character>CON-MAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Look out! the watchman!</dialogue>
<scene_description>The WATCHMAN 'S hands snatch awkwardly at the alarm , connected directly to the local police station . A bell RINGS .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - NIGHT</stage_direction>
<scene_description>A ticker - tape machine starts to operate by unrolling a punched tape . A POLICEMAN approaches and leans over to read the tape .</scene_description>
<character>POLICEMAN</character>
<dialogue>Three. one. four.</dialogue>
<scene_description>CLOSE - the machine with the punched tape emerging .</scene_description>
<character>POLICEMAN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Three, one, four.</dialogue>
<scene_description>CLOSE - a filing cabinet . A hand flicks through some cards and takes one out .</scene_description>
<character>ANOTHER POLICEMAN</character>
<dialogue>Three, one, four.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>IN THE ATTIC - The PICK - POCKET bursts in to warn the men searching there . He shouts something incomprehensible .</scene_description>
<character>A CROOK</character>
<dialogue>Are you crazy?</dialogue>
<scene_description>General hubbub .</scene_description>
<character>PICK-POCKET</character>
<dialogue>Yes, the cops'll be here any minute. The watchman gave the alarm.</dialogue>
<character>CROOK</character>
<dialogue>Let's get out of here!</dialogue>
<scene_description>They make for the door .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Stop! Quiet!</dialogue>
<scene_description>SCHRAENKER approaches .</scene_description>
<character>SCHRAENKER</character>
<dialogue>We've five minutes more and six more compartments to search. Carry on. Get on with it. Only hurry! Come on, now!</dialogue>
<scene_description>The CROOKS start work again . One of them fiddles with the lock on a door . SCHRAENKER pushes him aside .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Out of the way. You ca n't do it like that.</dialogue>
<scene_description>He CRASHES against the door with all his weight to break it open . IN ONE OF THE COMPARTMENTS , the MURDERER hides , weak with fear . Light feebly penetrates a skylight behind him . The sound of doors being forced open comes gradually closer .</scene_description>
<character>VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>He's not in here.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Next door!</dialogue>
<scene_description>NOISE of splintering wood and tearing hinges .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Come on. Quicker.</dialogue>
<scene_description>The NOISE draws nearer and the MURDERER ducks down further and further into his corner .</scene_description>
<character>VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Not here either.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Come on. Keep it up! Next door.</dialogue>
<scene_description>As we hear the noise of another breaking door , the MURDERER disappears completely behind the bric - a - brac . Only his hat is visible .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Quick. We've only three minutes left.</dialogue>
<character>VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Hurry up. Quickly!</dialogue>
<character>SEVERAL VOICES</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>This one has n't got a padlock. he must be here. go on, open it. it's locked from the inside. let me do it!</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Hurry up. Only one minute left!</dialogue>
<scene_description>Deafening NOISE as the door is forced down and furniture crashes to the floor . Panic - stricken , the MURDERER leaps to his feet , spot - lit by a powerful flashlight beam , his face grotesquely twisted with fear . Backing away , he stumbles against a grandfather clock .</scene_description>
<character>VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Here he is. here he is. the bastard!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE COURTYARD - NIGHT</stage_direction>
<scene_description>A parked car in the street behind the gates which are still pulled back . The SAFE - BREAKER , on guard by the opening , checks on the men as they stream silently through , loaded with equipment which they throw into the car before slipping out of sight down the street .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Get going. Hurry up!</dialogue>
<parenthetical>( whistles through his fingers . )</parenthetical>
<dialogue>Everybody out!</dialogue>
<scene_description>The CON - MAN runs past , pulling his overcoat on over a WATCHMAN 'S jacket . The SAFE - BREAKER pushes him outside .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Go on! Move!</dialogue>
<scene_description>Other crooks pass through .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Come on, hurry up. Quick!</dialogue>
<scene_description>The CON - MAN goes back inside .</scene_description>
<character>CON-MAN</character>
<dialogue>Christ! Get out while you can, you fool!</dialogue>
<scene_description>The CON - MAN makes for the door as the SAFE - BREAKER runs past the WATCHMEN 'S OFFICE . A few stragglers come out of the building .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>Anybody left?</dialogue>
<character>CROOK</character>
<dialogue>A few up top. they're on their way.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>No reason for you to wait for them. With or without the guy, it does n't matter, get away.</dialogue>
<scene_description>He throws up his arms in despair .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>What are they up to, for Christ's sake.</dialogue>
<scene_description>He goes back into the building .</scene_description>
<character>SAFE-BREAKER</character>
<dialogue>At last. Thank God!</dialogue>
<scene_description>A final group leaves the building and the SAFE - BREAKER follows them . Two men carry the MURDERER down the steps , tied up and struggling inside a carpet . SCHRAENKER , still in his policeman 's uniform , and the SAFE - BREAKER are the last to leave . An ominous silence .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>A few minutes later . IN THE WATCHMEN 'S OFFICE , the FIRST WATCHMAN lies unconscious , wrists handcuffed together . The two other watchmen , slumped together in a corner , lie tied up and unconscious . HIGH ANGLE - SECOND FLOOR A flashlight beam sweeps across the floor of the room below and rises towards the hole in the ceiling .</scene_description>
<character>BURGLAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Hey! He's not down here.</dialogue>
<scene_description>No reply .</scene_description>
<character>BURGLAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Oh! Who's pulled up the ladder?</dialogue>
<scene_description>The BURGLAR 'S face comes into view , looking up from below .</scene_description>
<character>BURGLAR</character>
<dialogue>Who's pulled up the ladder?</dialogue>
<scene_description>Someone throws the ladder down into the hole .</scene_description>
<character>BURGLAR</character>
<parenthetical>( irritably . )</parenthetical>
<dialogue>Bunch of morons.</dialogue>
<scene_description>As his head and shoulders emerge from the hole , a flashlight clicks on and shines straight into his face .</scene_description>
<character>BURGLAR</character>
<dialogue>Hello.</dialogue>
<scene_description>A second flashlight lights him up .</scene_description>
<character>A VOICE</character>
<dialogue>Hands up.</dialogue>
<character>BURGLAR</character>
<parenthetical>( curtly . )</parenthetical>
<dialogue>How can I put my hands up when I'm trying to hang onto the ladder?</dialogue>
<character>THE VOICE</character>
<dialogue>Out of there.</dialogue>
<scene_description>PULL BACK as the BURGLAR climbs out of the hole , sits on the edge , and raises his hands . PULL FURTHER BACK to reveal that he 's surrounded by policemen .</scene_description>
<character>BURGLAR</character>
<parenthetical>( jokingly . )</parenthetical>
<dialogue>For once I'm innocent.</dialogue>
</scene>
<scene>
<stage_direction>INT. INSPECTOR GROEBER'S OFFICE - NIGHT</stage_direction>
<scene_description>The voice continues .</scene_description>
<character>BURGLAR</character>
<dialogue>as a new born babe.</dialogue>
<scene_description>The BURGLAR sits by INSPECTOR GROEBER 'S desk . A lamp shines into his face . GROEBER is a distinguished , well - groomed man of about fifty . Behind them sits a secretary , a little old man who looks over the top of his spectacles at the BURGLAR with mild surprise and then over to GROEBER . GROEBER cuts a cigar and , from behind the lamp , leans towards the BURGLAR .</scene_description>
<character>GROEBER</character>
<dialogue>This will surprise you, Franz, but I believe you.</dialogue>
<character>BURGLAR</character>
<parenthetical>( not altogether reassured . )</parenthetical>
<dialogue>Hmmm.</dialogue>
<parenthetical>( laughs nervously . )</parenthetical>
<dialogue>Then everything is in order, Inspector.</dialogue>
<parenthetical>( gets up . )</parenthetical>
<dialogue>I can leave then.</dialogue>
<scene_description>GROEBER 'S hand comes into shot and gestures to him to sit down .</scene_description>
<character>GROEBER</character>
<dialogue>One minute!</dialogue>
<scene_description>GROEBER picks up a packet of cigarettes and offers them to the BURGLAR .</scene_description>
<character>GROEBER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Cigarette?</dialogue>
<character>BURGLAR</character>
<dialogue>Oh, boy.</dialogue>
<scene_description>Crestfallen , the BURGLAR slumps back into his chair and takes a cigarette .</scene_description>
<character>GROEBER</character>
<dialogue>I'll take your word for it.</dialogue>
<scene_description>GROEBER leans back , rocking his chair .</scene_description>
<character>GROEBER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>On condition you tell me.</dialogue>
<scene_description>He pauses . The BURGLAR waits , holding an unlit cigarette in one hand and a burning match in the other .</scene_description>
<character>GROEBER</character>
<dialogue>who the man was you were looking for. and found in the building.</dialogue>
<scene_description>On these last words , he lets himself fall forward , while the BURGLAR puts out the match and lays the cigarette on the table , feigning surprise .</scene_description>
<character>BURGLAR</character>
<dialogue>I do n't understand, Inspector. A man, you said? No, I do n't know anything about that, Inspector. There must be some mistake. I do n't know anything. Nothing at all.</dialogue>
<character>GROEBER</character>
<dialogue>Of course.</dialogue>
<parenthetical>( slyly . )</parenthetical>
<dialogue>Only I do n't understand why you are covering up for the gang who left you in the lurch.</dialogue>
<scene_description>GROEBER relights his cigar .</scene_description>
<character>GROEBER</character>
<dialogue>Funny friends! Leaving you right in it and running off. Bah!</dialogue>
<character>BURGLAR</character>
<parenthetical>( smiling maliciously . )</parenthetical>
<dialogue>That wo n't wash with me, Inspector.</dialogue>
<scene_description>GROEBER takes some notes . The SECRETARY takes the opportunity to sharpen some pencils . The BURGLAR looks around worriedly . He tries to read what GROEBER is writing but ca n't make it out .</scene_description>
<character>BURGLAR</character>
<dialogue>After all.</dialogue>
<scene_description>Not very sure of himself , the BURGLAR pauses ; then , after a moment , he begins again .</scene_description>
<character>BURGLAR</character>
<dialogue>After all, I'm not risking very much.</dialogue>
<scene_description>INSERT of the hole in the office floor .</scene_description>
<character>BURGLAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Maybe a little bit of damage. But nothing was stolen.</dialogue>
<scene_description>RESUME SCENE</scene_description>
<character>GROEBER</character>
<dialogue>Of course, something was stolen. In fact a good deal.</dialogue>
<scene_description>The BURGLAR leans forward , surprised .</scene_description>
<character>BURGLAR</character>
<dialogue>What?</dialogue>
<scene_description>He is rising to the bait .</scene_description>
<character>BURGLAR</character>
<dialogue>Stolen? How much?</dialogue>
<character>GROEBER</character>
<dialogue>If you talk, I'll tell you.</dialogue>
<character>BURGLAR</character>
<dialogue>I've already told you. I do n't know anything.</dialogue>
<character>GROEBER</character>
<dialogue>All right.</dialogue>
<scene_description>He gets up .</scene_description>
<character>GROEBER</character>
<dialogue>Well, think about it. It's amazing what one remembers.</dialogue>
<parenthetical>( turning on the ceiling light . )</parenthetical>
<dialogue>. when one's left alone for an hour or two.</dialogue>
<scene_description>A door opens .</scene_description>
<character>GROEBER</character>
<dialogue>Take him away.</dialogue>
<scene_description>Someone places a hand on the BURGLAR 'S shoulder . He rises and leaves the room . We TRACK IN on GROEBER , who watches him go thoughtfully .</scene_description>
<character>GROEBER</character>
<parenthetical>( to the SECRETARY . )</parenthetical>
<dialogue>Get the night watchman sent in.</dialogue>
<scene_description>He sits down and opens a dossier .</scene_description>
<character>SECRETARY</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Get the night watchman, Damowitz.</dialogue>
<scene_description>GROEBER raises his eyes and looks towards the door . We FOLLOW his look : the SECRETARY shows the WATCHMAN in .</scene_description>
<character>GROEBER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Sit down.</dialogue>
<scene_description>The WATCHMAN sits in the chair in front of the desk . GROEBER continues to study the dossier .</scene_description>
<character>GROEBER</character>
<dialogue>Now then, you said in your statement.</dialogue>
<scene_description>He raises his eyes to the WATCHMAN .</scene_description>
<character>GROEBER</character>
<dialogue>Listen carefully.</dialogue>
<scene_description>The SECRETARY 'S hand turns off the light on the desk and picks up a pencil .</scene_description>
<character>GROEBER</character>
<dialogue>you may have to repeat it under oath.</dialogue>
<scene_description>He reads from the dossier .</scene_description>
<character>GROEBER</character>
<dialogue>that you clearly heard.</dialogue>
<scene_description>The WATCHMAN 'S right cheek is swollen .</scene_description>
<character>GROEBER</character>
<dialogue>that one of the burglars said to another : ` We've found him.'</dialogue>
<scene_description>The WATCHMAN nods his head , winces with pain , and holds his cheek .</scene_description>
<character>GROEBER</character>
<dialogue>. I've discovered the guy. He is in the attic.' Is that correct?</dialogue>
<character>WATCHMAN</character>
<dialogue>Yes, Inspector. ooooh.</dialogue>
<parenthetical>( grimaces with pain . )</parenthetical>
<dialogue>Yes, Inspector. I'd swear to that whenever you wish.</dialogue>
<scene_description>GROEBER closes the dossier .</scene_description>
<character>GROEBER</character>
<dialogue>Right. You may go home and rest now. But please keep yourself at the disposal of the police.</dialogue>
<scene_description>The WATCHMAN gets up .</scene_description>
<character>WATCHMAN</character>
<dialogue>Of course, Inspector. oooh.</dialogue>
<parenthetical>( painfully . )</parenthetical>
<dialogue>Good day, Inspector.</dialogue>
<scene_description>He goes out , holding his jaw .</scene_description>
<character>GROEBER</character>
<dialogue>Good day.</dialogue>
<scene_description>GROEBER remains for a moment , deep in thought . We TRACK IN as he picks up the telephone .</scene_description>
<character>GROEBER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Tell me, is Inspector Lohmann in the building? Oh, good. He's talking to somebody? No, it does n't matter. I'll come up.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOHMANN'S OFFICE - NIGHT</stage_direction>
<scene_description>LOHMANN sits at his desk smoking a cigar , framed against the large map of the city on the wall behind him . Now he is in shirt - sleeves , his collar open and tie loosened , and he looks tired and harassed . He is on the telephone , and with one hand pours out coffee from an enamel coffee pot .</scene_description>
<character>LOHMANN</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>What? Good. Has n't come in yet. You're watching the old girl, that Mrs. Winkler, eh?</dialogue>
<scene_description>A KNOCK on the door .</scene_description>
<character>LOHMANN</character>
<dialogue>Come in.</dialogue>
<scene_description>NEW ANGLE - LOHMANN sits in his chair . From this angle , the size of his stomach is enormously exaggerated and we can see that his trousers are unbuttoned at the waist ; chewing at his cigar , he hangs up .</scene_description>
<character>LOHMANN</character>
<dialogue>Hell!</dialogue>
<scene_description>GROEBER enters , a dossier under his arm , and sits on the edge of the desk . LOHMANN adds some milk to his coffee from a carton .</scene_description>
<character>LOHMANN</character>
<dialogue>What do you want?</dialogue>
<character>GROEBER</character>
<dialogue>I wanted to ask you.</dialogue>
<scene_description>LOHMANN drinks his coffee .</scene_description>
<character>GROEBER</character>
<dialogue>a favor.</dialogue>
<character>LOHMANN</character>
<parenthetical>( drinking . )</parenthetical>
<dialogue>Ugh. what muck.</dialogue>
<character>GROEBER</character>
<dialogue>I wanted to ask you.</dialogue>
<scene_description>GROEBER places the dossier on the table .</scene_description>
<character>GROEBER</character>
<dialogue>Anyway, read a bit of that.</dialogue>
<scene_description>LOHMANN takes a bite from a biscuit and picks up the dossier , marked REPORTS .</scene_description>
<character>LOHMANN</character>
<dialogue>Reports?</dialogue>
<character>GROEBER</character>
<dialogue>Yeah.</dialogue>
<scene_description>LOHMANN opens the dossier . The first typewritten sheet carries the date 25th November , 1930 .</scene_description>
<character>GROEBER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Burglary in an office block.</dialogue>
<scene_description>The page is turned . POLICE STATION The ticker - tape machine and the punched tape . THE OFFICE BUILDING A map of the office building at Bennastrasse 29 - 33 and Ostend - allee 114 - 117 .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Bennastrasse?</dialogue>
<scene_description>CLOSER - OFFICE BUILDING The main entrance of the building with gates half - open and the WATCHMEN 'S office illuminated .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That's a very quiet neighborhood.</dialogue>
<scene_description>THE WATCHMAN 'S OFFICE The WATCHMAN lies unconscious on the floor of his office .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Perhaps it's not as quiet as all that.</dialogue>
<scene_description>THE WATCHMAN 'S OFFICE The other bound watchmen lie in the corner .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Hell, this is getting serious.</dialogue>
<scene_description>AN OPEN WOODEN DOOR On the landing , with the lock sawed out of it . ANOTHER DOOR Also forced . THE DOSSIER In LOHMANN 'S hands . Another page is turned . ANOTHER DOOR A drill still sticks in a hole and all around the lock there is a circle of holes .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Did they intend to empty the whole place, then?</dialogue>
<scene_description>THE BASEMENT The door to the coal - hole has been smashed .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s. , amazed . )</parenthetical>
<dialogue>What can they have been looking for in the coal?</dialogue>
<scene_description>THE BOILER ROOM As seen through a shattered door .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Look at that. It's incredible.</dialogue>
<scene_description>THE DOSSIER In LOHMANN 'S hands . Another page is turned . THE ATTIC The door of every compartment has been forced .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Good Lord.</dialogue>
<scene_description>REAR OF ATTIC The last few doors are completely smashed to pieces .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s. , clicks his tongue . )</parenthetical>
<dialogue>This is madness!</dialogue>
<scene_description>ATTIC COMPARTMENT All the furniture turned upside down . CLOSE - HOLE IN THE CEILING On the second floor , with the rope ladder and the abandoned drill .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Ah, now it makes sense. They were after the safe.</dialogue>
<scene_description>CLOSE - AN OLD SAFE Untouched .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Good God. What's that all about?</dialogue>
<scene_description>CLOSE - ANOTHER SAFE Also unharmed .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>I do n't understand it at all.</dialogue>
<scene_description>CLOSE - ANOTHER SAFE Also intact .</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>They have n't even attacked that one. Were they all crazy or something?</dialogue>
<scene_description>THE DOSSIER The last pages turn . RESUME - LOHMANN 'S OFFICE LOHMANN and GROEBER at LOHMANN 'S desk .</scene_description>
<character>LOHMANN</character>
<parenthetical>( lifts his head . )</parenthetical>
<dialogue>Well, I'll be damned!</dialogue>
<character>GROEBER</character>
<dialogue>Well, what have you got to say? Nothing stolen, but a man was taken away. God knows where.</dialogue>
<character>LOHMANN</character>
<dialogue>Fantastic!</dialogue>
<scene_description>LOHMANN puts his cigar - holder down on a plate and prepares another cigar .</scene_description>
<character>GROEBER</character>
<dialogue>And Franz - the burglar we arrested - is n't talking. Frightened evidently. Actually I know him well. he's one of those burglars who would rather jump from the fifth floor than get mixed up in a murder.</dialogue>
<scene_description>LOHMANN finishes cutting his cigar and starts to suck it .</scene_description>
<character>GROEBER</character>
<dialogue>If we could. set a trap for him.</dialogue>
<scene_description>A huge smile spreads across LOHMANN 'S face .</scene_description>
<character>GROEBER</character>
<dialogue>Could you help me out, Lohmann?</dialogue>
<character>LOHMANN</character>
<parenthetical>( raising his cigar . )</parenthetical>
<dialogue>I see what you are getting at. well then, let's take a look at this Franz.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRISON CELL - NIGHT</stage_direction>
<scene_description>The BURGLAR stretches out on a bed , his legs in the foreground . The cell door opens and a DETECTIVE appears .</scene_description>
<character>DETECTIVE</character>
<dialogue>For questioning.</dialogue>
<scene_description>FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>INT. LOHMANN'S OFFICE - NIGHT</stage_direction>
<scene_description>FADE IN on the BURGLAR examining a plaque on the wall . The DETECTIVE who brought him in stands in the background . CLOSE - THE PLAQUE It 's a list of the members of the Homicide Department , with names , addresses and telephone numbers . Under ` Head of Department , ' we can read : ` Karl Lohmann . ' followed by an address and telephone number . WIDER The BURGLAR stares at the list .</scene_description>
<character>BURGLAR</character>
<parenthetical>( unhappily . )</parenthetical>
<dialogue>Inspector Karl Lohmann.</dialogue>
<scene_description>A door opens . The BURGLAR turns . LOHMANN has come in , hands in pockets , sucking a cigar . The BURGLAR moves towards him .</scene_description>
<character>BURGLAR</character>
<parenthetical>( frightened . )</parenthetical>
<dialogue>What do you want with me? What does Homicide want with me?</dialogue>
<scene_description>After a moment , LOHMANN stops in front of the BURGLAR .</scene_description>
<character>LOHMANN</character>
<dialogue>Yes. your case has been passed over to me now.</dialogue>
<scene_description>The BURGLAR , very worried , wrings his hands . LOHMANN stands in front of him .</scene_description>
<character>BURGLAR</character>
<dialogue>But. but why? What for?</dialogue>
<character>LOHMANN</character>
<dialogue>You did your work a little too well.</dialogue>
<scene_description>The BURGLAR nervously unbuttons his collar .</scene_description>
<character>BURGLAR</character>
<parenthetical>( in a choked voice . )</parenthetical>
<dialogue>Yes?</dialogue>
<character>LOHMANN</character>
<parenthetical>( meaningfully . )</parenthetical>
<dialogue>One of the watchmen.</dialogue>
<scene_description>INSERT - DAMOWITZ , THE WATCHMAN He sits at a table , in his home , an enormous plate of sausage and cabbage in front of him . He drinks some beer , wipes his moustache and digs into another sausage . RESUME on LOHMANN and the BURGLAR in LOHMANN 'S OFFICE .</scene_description>
<character>BURGLAR</character>
<parenthetical>( in a choked voice . )</parenthetical>
<dialogue>Dead?</dialogue>
<scene_description>LOHMANN paces round his office .</scene_description>
<character>LOHMANN</character>
<dialogue>Planning and assisting with a murder. That's a bad scene, Franz.</dialogue>
<character>BURGLAR</character>
<parenthetical>( choking . )</parenthetical>
<dialogue>I ca n't go on with it. I do n't want to have anything to do with that.</dialogue>
<scene_description>LOHMANN picks up a dossier and flicks through it .</scene_description>
<character>BURGLAR</character>
<parenthetical>( breaks down . )</parenthetical>
<dialogue>I'll tell you everything. everything I know.</dialogue>
<character>LOHMANN</character>
<parenthetical>( casually . )</parenthetical>
<dialogue>Very wise, but unfortunately too late.</dialogue>
<scene_description>The BURGLAR moves nearer and pleads with LOHMANN who turns his back on him .</scene_description>
<character>BURGLAR</character>
<dialogue>Inspector, it ca n't be too late. please, Inspector. But, it is n't possible. Listen, I'm going to tell you everything. everything. Even who we were looking for in that damn building.</dialogue>
<scene_description>LOHMANN straightens up , triumphant and interested , but does not turn around .</scene_description>
<character>LOHMANN</character>
<dialogue>Well, then.</dialogue>
<character>BURGLAR</character>
<dialogue>The murderer. the child murderer.</dialogue>
<scene_description>LOHMANN 'S mouth drops open in amazement , and his cigar falls out onto the table . A pause . Dumbfounded , LOHMANN , without thinking , raises a shaky hand to remove the cigar from his lips . He looks confused for a moment , but quickly recovers his composure and picks it up from the dossier where it had fallen .</scene_description>
<character>LOHMANN</character>
<parenthetical>( dawning realization . )</parenthetical>
<dialogue>What? What? Who?</dialogue>
<character>BURGLAR</character>
<parenthetical>( distraught . )</parenthetical>
<dialogue>The child murderer, Inspector.</dialogue>
<scene_description>LOHMANN puffs out a great cloud of cigar smoke which completely obscures his face . He strides across the room flapping a hand to disperse the smoke - screen around him .</scene_description>
<character>LOHMANN</character>
<dialogue>Wait a minute.</dialogue>
<scene_description>LOHMANN quickly exits out a door which he closes behind him . NEW ANGLE - LOHMANN 'S PRIVATE BATHROOM LOHMANN leans against the basin and puts his head under the cold tap . RESUME on LOHMANN 'S OFFICE The BURGLAR waits in total despair .</scene_description>
<character>BURGLAR</character>
<parenthetical>( sighs , to himself . )</parenthetical>
<dialogue>This had to happen to me! Of all people.</dialogue>
<scene_description>A door opens behind him . He turns . LOHMANN comes back in , looking happy and satisfied . He has his jacket on and , rubbing his hands , sits down behind his desk . After a moment , LOHMANN takes out a cigar and cuts it , with a pair of scissors .</scene_description>
<character>LOHMANN</character>
<dialogue>Right. Now, we're going to have a little talk.</dialogue>
<character>BURGLAR</character>
<parenthetical>( hopelessly . )</parenthetical>
<dialogue>If you want to, Inspector.</dialogue>
<character>LOHMANN</character>
<dialogue>And, mind you, do n't lie.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Okay, let's start. What have you got to do with the murderer and where have you taken him?</dialogue>
<character>BURGLAR</character>
<dialogue>Well now, Inspector, you know the old.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FACTORY - DAY</stage_direction>
<scene_description>The battered fassade of an empty factory , almost a ruin .</scene_description>
<character>BURGLAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>distillery of Kuntz and Levy.</dialogue>
<scene_description>A CORNER OF THE BUILDING</scene_description>
<character>LOHMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The one that went bankrupt?</dialogue>
</scene>
<scene>
<stage_direction>INT. FACTORY - DAY</stage_direction>
<scene_description>WORKSHOP In the gloom of an abandoned workshop inside the factory is a shadowy staircase . In the distance , inarticulate cries gradually draw nearer . TWO MEN come down the steps and disappear into the gloom .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What do you want with me? Let me go. let me go!</dialogue>
<character>A VOICE</character>
<parenthetical>( roughly . )</parenthetical>
<dialogue>Go on. keep moving. go on.</dialogue>
<scene_description>The TWO MEN reappear , pushing the MURDERER up the stairway . He struggles furiously although his jacket has been pulled over his head . At the top of the steps , a third MAN comes to open a door for them .</scene_description>
<character>MURDERER</character>
<parenthetical>( struggling . )</parenthetical>
<dialogue>I've done nothing to you. Let me go, you swine.</dialogue>
<scene_description>ANOTHER FLIGHT OF STEPS An iron door is flung open . A foot appears on the top step , but no one appears for a moment as there is obviously a scuffle going on at the top of the stairs . The third MAN enters and stands on the steps .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Let me go.</dialogue>
<scene_description>The two others push the MURDERER down the steps .</scene_description>
<character>MURDERER</character>
<dialogue>Bastards!</dialogue>
<scene_description>The MURDERER has fallen to the bottom of the steps .</scene_description>
<character>MURDERER</character>
<dialogue>Bunch of bastards!</dialogue>
<scene_description>One of the men exits , closing the iron door behind him as he goes . The remaining two men stand on the top of the steps and look down at the MURDERER as he drags his coat off his head .</scene_description>
<character>MURDERER</character>
<dialogue>What do you want with me? Bastards! What do you want?</dialogue>
<scene_description>He turns and stops dead in his tracks . WIDE - HUGE FACTORY CELLAR - MURDERER 'S POV Assorted members of the underworld stare at him . We PAN ALONG the entire length of the cellar to reveal that a vast crowd has assembled - crooks and their wives , whores , pimps , and beggars - most of them standing , with the older members seated on boxes and crates . There is absolute silence and no one moves . PAN continues until it reaches a trestle table set up in front of them . Behind it sit the PICK - POCKET , the CON - MAN and the SAFE - BREAKER , on either side of SCHRAENKER - obviously a crude form of tribunal and , as usual , SCHRAENKER is in charge .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Help!</dialogue>
<scene_description>RESUME ON MURDERER . and the two men on the stairs .</scene_description>
<character>MURDERER</character>
<dialogue>Help! Let me go. I want to get out.</dialogue>
<scene_description>He tries to climb up a few steps .</scene_description>
<character>MURDERER</character>
<dialogue>I want to get out. Get out.</dialogue>
<scene_description>WIDE - CELLAR A general view of the tribunal , lit only by a single bulb hanging from the ceiling .</scene_description>
<character>MURDERER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Let me out!</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>You will not get out of here.</dialogue>
<scene_description>The two men on the staircase block the MURDERER 'S way . He turns back to face the crowd .</scene_description>
<character>MURDERER</character>
<dialogue>But gentlemen.</dialogue>
<scene_description>His hair falling over his face , he comes down the stairs .</scene_description>
<character>MURDERER</character>
<parenthetical>( appeals to them . )</parenthetical>
<dialogue>Please, I do n't even know what you want me for.</dialogue>
<scene_description>He takes a few hesitant paces forward .</scene_description>
<character>MURDERER</character>
<dialogue>I beg you. Set me free. There must be some mistake.</dialogue>
<scene_description>A hand reaches above the MURDERER 'S head , feeling around in the air .</scene_description>
<character>MURDERER</character>
<dialogue>A mist -</dialogue>
<scene_description>The hand falls on the MURDERER 'S shoulder . The MURDERER 'S voice breaks off .</scene_description>
<character>BLIND BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>No. No. No mistake. Impossible. There's no mistake.</dialogue>
<scene_description>PULL BACK to show the MURDERER and the BLIND BEGGAR . The MURDERER turns towards him . The BLIND BEGGAR withdraws his hand .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>No, no mistake.</dialogue>
<character>MURDERER</character>
<dialogue>But. what do you mean?</dialogue>
<scene_description>We PULL FURTHER BACK so that the BLIND BEGGAR 'S other arm comes into view . He holds a doll - shaped balloon . He shows it to the MURDERER .</scene_description>
<character>BLIND BEGGAR</character>
<dialogue>Do you recognize it? It is a balloon like the one you gave to little Elsie Beckmann.</dialogue>
<scene_description>The MURDERER stiffens with fear at the mention of that name . The BLIND BEGGAR holds the string of the balloon and lets it rise up as far as the string will go . HIGH ANGLE The MURDERER follows the balloon 's ascent with horrified eyes . It sways gently very close to the camera . The faces of the crowd are a confused blur in the background .</scene_description>
<character>BLIND BEGGAR</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>A balloon like that.</dialogue>
<character>MURDERER</character>
<parenthetical>( gibbering . )</parenthetical>
<dialogue>El. El. Elsie. El. Elsie.</dialogue>
<scene_description>He backs away , terrified by the balloon , until he stumbles against the table . The MURDERER 'S voice grows more and more high - pitched :</scene_description>
<character>MURDERER</character>
<dialogue>No, no, no.</dialogue>
<scene_description>NEW ANGLES - The MURDERER , near the table .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Where did you.</dialogue>
<scene_description>On SCHRAENKER 'S first words , the MURDERER turns to a threatening SCHRAENKER who has a photograph in front of him on the table of a little girl .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( leaning forward ominously . )</parenthetical>
<dialogue>. bury little Martha?</dialogue>
<scene_description>Behind the MURDERER , we see the BLIND BEGGAR and the staircase guarded by the two men . As one of the men leads the BLIND BEGGAR away , the MURDERER walks toward SCHRAENKER , pleading .</scene_description>
<character>MURDERER</character>
<dialogue>But. but I never. I never even knew her.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Oh yes, very good. You did n't even know her.</dialogue>
<scene_description>SCHRAENKER waves another photograph .</scene_description>
<character>SCHRAENKER</character>
<dialogue>And what about this one?</dialogue>
<scene_description>The MURDERER backs away , now helpless with fright .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>And this one?</dialogue>
<scene_description>The MURDERER chews at his fingers . SCHRAENKER 'S gloved hand shows a third photograph . We recognize ELSIE 'S face .</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>and this one, you did n't know this one either, eh?</dialogue>
<scene_description>The MURDERER is now crazy with fright . Panic - stricken , he spins around in a mad dash for the exit . One of the men who brought him in sits at the foot of the stairs ; he jumps up to bar the way as the crowd begin to jump up and SHOUT hysterically .</scene_description>
<character>VOICES</character>
<dialogue>Stop him. Stop him. do n't let him escape!</dialogue>
<scene_description>The crowd surges forward . Only SCHRAENKER remains calmly seated .</scene_description>
<character>VOICES</character>
<dialogue>Stop him. he ca n't get away!</dialogue>
<scene_description>The MURDERER rushes the crook on the stairs , pushing him violently out of the way , and then climbs desperately towards the iron door .</scene_description>
<character>VOICES</character>
<dialogue>Quick, stop him. Hold him. Look out. the door!</dialogue>
<scene_description>At the top of the stairs , the MURDERER tries to open the door but a crook grabs him by the collar .</scene_description>
<character>A VOICE</character>
<dialogue>Hold him. hang onto him.</dialogue>
<scene_description>The MURDERER hangs onto the door handle with both hands . The crook holds him from behind . Two others come to his aid .</scene_description>
<character>A VOICE</character>
<dialogue>Go on. Go on. Hit him. Belt him!</dialogue>
<scene_description>CLOSE - the MURDERER 'S convulsed face . A hand seizes him by the throat .</scene_description>
<character>MURDERER</character>
<parenthetical>( in a strangled voice . )</parenthetical>
<dialogue>Let me go. Let me go!</dialogue>
<parenthetical>( almost in tears . )</parenthetical>
<dialogue>You have no right to treat me like this!</dialogue>
<character>VOICES</character>
<dialogue>We'll show you what right we have!</dialogue>
<scene_description>WIDER - The three men try to make the MURDERER loosen his grip . A fourth crook comes up the stairs to help them . One of them kicks him on the shins . The general shouting gets louder as more people crowd on the steps . CLOSE - The crook kicks the MURDERER . The MURDERER 'S hand still grasps the iron door 's handle .</scene_description>
<character>A VOICE</character>
<dialogue>Go on. on his shins.</dialogue>
<scene_description>CLOSE - The MURDERER receives another violent kick in the shins . WIDER - the struggle at the door . A crook tries to hit the MURDERER 'S hands .</scene_description>
<character>VOICES</character>
<dialogue>Heave. ho. Heave. ho.</dialogue>
<scene_description>CLOSE - the crook 's fist violently striking the MURDERER 'S fingers . The shock makes him let go . WIDER - the group draws back from the MURDERER and throws him down the stairs . The MURDERER falls heavily to the ground , banging his head sharply against some old timbers lying against a wooden barrier . He lies twisting with pain while the crowd CHEERS and HOOTS triumphantly .</scene_description>
<character>MURDERER</character>
<parenthetical>( groaning . )</parenthetical>
<dialogue>You have no right to hold me here.</dialogue>
<scene_description>A prostitute gets up furiously .</scene_description>
<character>PROSTITUTE</character>
<parenthetical>( screaming fanatically . )</parenthetical>
<dialogue>Right? Someone like you does n't have any rights!</dialogue>
<parenthetical>( roaring . )</parenthetical>
<dialogue>Kill him!</dialogue>
<character>A MAN</character>
<parenthetical>( next to her , rising . )</parenthetical>
<dialogue>Yes, kill him!</dialogue>
<character>PROSTITUTE</character>
<dialogue>Crush him like a mad dog!</dialogue>
<scene_description>The crowd grows very animated .</scene_description>
<character>A VOICE</character>
<dialogue>Crush him!</dialogue>
<scene_description>SCHRAENKER turns impatiently to the crowd .</scene_description>
<character>SCHRAENKER</character>
<dialogue>Quiet!</dialogue>
<character>A VOICE</character>
<dialogue>Kill him! Kill him!</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( shouts . )</parenthetical>
<dialogue>Shut up!</dialogue>
<scene_description>An imperious gesture from SCHRAENKER and the crowd calms down . When the noise dies down completely , he turns towards the MURDERER .</scene_description>
<character>SCHRAENKER</character>
<dialogue>You talk of rights. You will get your rights.</dialogue>
<scene_description>PAN ACROSS the attentive faces of the crowd , as SCHRAENKER continues :</scene_description>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>We are all law experts here, from six weeks in Tegel, to fifteen years in Brandenburg.</dialogue>
<scene_description>SCHRAENKER gestures to the crowd .</scene_description>
<character>SCHRAENKER</character>
<dialogue>You will get your rights. you will even have a lawyer.</dialogue>
<parenthetical>( ironically . )</parenthetical>
<dialogue>Everything will be done according to the rule of law.</dialogue>
<scene_description>The MURDERER crouches against the wooden barrier like a toad .</scene_description>
<character>MURDERER</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>A lawyer? A lawyer! I do n't need a lawyer. Who is accusing me? You, maybe? You?</dialogue>
<scene_description>A hand reaches down and taps him on the shoulder . The MURDERER turns around . A fairly old , ill - shaven man leans towards him across a wooden barrier . He is the LAWYER . In front of him , on a chest , a pile of Criminal and Civil law books .</scene_description>
<character>LAWYER</character>
<dialogue>Eh. just a moment. If I were you, sir, I'd keep quiet. Your life's at stake. in case you did n't know.</dialogue>
<scene_description>The MURDERER rises and leans towards the LAWYER seated behind his chest . He stares at him in amazement .</scene_description>
<character>MURDERER</character>
<dialogue>And who are you?</dialogue>
<character>LAWYER</character>
<parenthetical>( greets him with a wave of his hat . )</parenthetical>
<dialogue>I have the dubious honor of being your defense counsel. But I am afraid it wo n't be much use to you.</dialogue>
<scene_description>The LAWYER superciliously blows some dust from his notebook .</scene_description>
<character>MURDERER</character>
<parenthetical>( to the LAWYER . )</parenthetical>
<dialogue>But. but. do you want to kill me then?</dialogue>
<parenthetical>( horrified . )</parenthetical>
<dialogue>Murder me, just like that!</dialogue>
<character>SCHRAENKER</character>
<dialogue>We just want to render you harmless. That's what we want. but you'll only be harmless when you're dead.</dialogue>
<character>MURDERER</character>
<parenthetical>( begging . )</parenthetical>
<dialogue>But, if you kill me, it'll be cold - blooded murder!</dialogue>
<scene_description>Derisive LAUGHTER echoes around the cellar . The LAWYER sighs and shakes his head sadly .</scene_description>
<character>MURDERER</character>
<dialogue>I demand that you hand me over to the police.</dialogue>
<scene_description>The LAUGHTER increases . The MURDERER raises his voice .</scene_description>
<character>MURDERER</character>
<dialogue>I demand to be handed over to the jurisdiction of the common law!</dialogue>
<scene_description>Loud LAUGHTER from the crowd . SCHRAENKER and the CON - MAN watch , unconcerned ; behind them , the crowd rocks with LAUGHTER .</scene_description>
<character>A VOICE</character>
<dialogue>Quite a performance. That's not bad, that, ha, ha, ha!</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( to the MURDERER . )</parenthetical>
<dialogue>That would suit you, would n't it?</dialogue>
<character>CON-MAN</character>
<parenthetical>( ironic . )</parenthetical>
<dialogue>Anything else you'd like?</dialogue>
<character>SCHRAENKER</character>
<dialogue>So that you can invoke paragraph fifty - one.</dialogue>
<character>A VOICE</character>
<dialogue>That's it.</dialogue>
<character>SCHRAENKER</character>
<dialogue>And spend the rest of your life in an institution at the state's expense. And then you'd escape. or else there'd be a pardon and there you are, free as air, with a pass, protected by the law because of mental illness. Off again chasing little girls.</dialogue>
<scene_description>The crowd LAUGHS .</scene_description>
<character>SCHRAENKER</character>
<dialogue>No, no. Very dry. We're not going to let that happen.</dialogue>
<character>A VOICE</character>
<parenthetical>( echoing . )</parenthetical>
<dialogue>No, no, no.</dialogue>
<character>SCHRAENKER</character>
<dialogue>We must make you powerless. You must disappear.</dialogue>
<character>A VOICE</character>
<dialogue>Bravo. he must disappear.</dialogue>
<scene_description>The MURDERER sobs with fear .</scene_description>
<character>MURDERER</character>
<dialogue>But - I ca n't help what I do!</dialogue>
<scene_description>He falls to his knees and miserably hides his face in his hands .</scene_description>
<character>MURDERER</character>
<dialogue>I ca n't help it. I ca n't. I ca n't. I ca n't help it.</dialogue>
<scene_description>In the front row of the crowd , a crook rises to his feet and waves dismissively .</scene_description>
<character>CROOK</character>
<parenthetical>( with contempt . )</parenthetical>
<dialogue>The old story.</dialogue>
<scene_description>A long pause as the MURDERER , on his knees , helplessly lowers his hands .</scene_description>
<character>MURDERER</character>
<parenthetical>( in complete despair . )</parenthetical>
<dialogue>What do you know about it? What are you saying? If it comes to that, who are you? What right have you to speak?</dialogue>
<scene_description>He turns his head to look at them all .</scene_description>
<character>MURDERER</character>
<dialogue>Who are you? All of you? Criminals! Perhaps you're even proud of yourselves? Proud of being able to break safes, to climb into buildings or cheat at cards. Things you could just as well keep your fingers off. You would n't need to do all that if you had learnt a proper trade. or if you worked. If you were n't a bunch of lazy bastards. But I.</dialogue>
<scene_description>His hands clutch at his chest .</scene_description>
<character>MURDERER</character>
<dialogue>I ca n't help myself! I have n't any control over this evil thing that's inside me - the fire, the voices, the torment.</dialogue>
<scene_description>A skeptical SCHRAENKER sits at the table ; behind him the crowd listens intently .</scene_description>
<character>SCHRAENKER</character>
<dialogue>You mean to say you have to murder?</dialogue>
<character>MURDERER</character>
<parenthetical>( agonized . )</parenthetical>
<dialogue>Always. always, there's this evil force inside me. It's there all the time, driving me out to wander through the streets. following me. silently, but I can feel it there. it's me, pursuing myself, because.</dialogue>
<scene_description>An old man in the crowd nods thoughtfully , moved by the MURDERER 'S genuine anguish .</scene_description>
<character>MURDERER</character>
<dialogue>I want to escape. to escape from myself!</dialogue>
<scene_description>Two other crooks . One of them seems very moved .</scene_description>
<character>MURDERER</character>
<dialogue>but it's impossible. I ca n't. I ca n't escape.</dialogue>
<parenthetical>( panting . )</parenthetical>
<dialogue>I have to obey it. I have to run. run. streets. endless streets. I want to escape. I want to get away.</dialogue>
<scene_description>Two prostitutes , one of them nervously twisting a handkerchief .</scene_description>
<character>MURDERER</character>
<dialogue>And I am pursued by ghosts. Ghosts of mothers. And of those children. They never leave me.</dialogue>
<parenthetical>( shouts desperately . )</parenthetical>
<dialogue>They are there, there, always, always! Always. except!</dialogue>
<parenthetical>( lowers his voice . )</parenthetical>
<dialogue>. except when I do it. when I.</dialogue>
<scene_description>He raises his hands towards his neck , as though he were about to strangle a victim , then he lets them fall limp at his sides . He shakes his head .</scene_description>
<character>MURDERER</character>
<dialogue>Then I ca n't remember anything. And afterwards I see those posters and I read what I've done. I read. and. and read. Did I do that? But I ca n't remember anything about it. But who will believe me? Who knows what it feels like to be me? How I'm forced to act. How I must. Do n't want to, but must. Must. Do n't want to. must. And then. a voice screams. I ca n't bear to hear it.</dialogue>
<scene_description>He puts his head against the wooden barrier in a paroxysm , covering his ears with his hands .</scene_description>
<character>MURDERER</character>
<parenthetical>( at the height of his fit . )</parenthetical>
<dialogue>I ca n't. I ca n't go on. Ca n't go on. Ca n't go on. Ca n't go on.</dialogue>
<scene_description>SCHRAENKER and the SAFE - BREAKER sit , the crowd behind them . SCHRAENKER rises to his feet as the MURDERER 'S voice dies away .</scene_description>
<character>MURDERER</character>
<dialogue>I ca n't go on.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( to the crowd . )</parenthetical>
<dialogue>The accused has said that he can not help himself. That is to say : he has to murder. As this is the case, he has pronounced his own death sentence.</dialogue>
<character>VOICES</character>
<dialogue>Hurrah. that's true. Hurrah.</dialogue>
<character>SCHRAENKER</character>
<dialogue>Someone who admits to being a compulsive murderer should be snuffed out. Like a candle.</dialogue>
<character>A VOICE</character>
<dialogue>Hurrah.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( louder . )</parenthetical>
<dialogue>This man must be wiped out, eliminated.</dialogue>
<scene_description>APPLAUSE and SHOUTS . The MURDERER , on his knees , rubs his head against the barrier , his hands still over his ears . The NOISE continues . Behind SCHRAENKER and the SAFE - BREAKER , the crowd is in a frenzy .</scene_description>
<character>VARIOUS VOICES</character>
<dialogue>Hurrah. Perfect, just what I think. Hurrah!</dialogue>
<scene_description>The LAWYER gets up . Beside him , the MURDERER cringes .</scene_description>
<character>LAWYER</character>
<dialogue>I wish to speak.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The defense lawyer will speak.</dialogue>
<scene_description>The crowd quiets down .</scene_description>
<character>LAWYER</character>
<parenthetical>( ironically , off SCHRAENKER . )</parenthetical>
<dialogue>Our very honorable President who is, I believe, wanted by the police for three murders.</dialogue>
<character>SCHRAENKER</character>
<parenthetical>( very angry . )</parenthetical>
<dialogue>That's got nothing to do with it!</dialogue>
<character>LAWYER</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. claims that because my client acts under an irresistible impulse, he is condemned to death.</dialogue>
<character>A VOICE</character>
<dialogue>That's exactly it. Yes. He's right.</dialogue>
<character>LAWYER</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>He is mistaken. because it is that very fact that clears my client.</dialogue>
<scene_description>Members of the crowd look puzzled : a one - eyed crook , a prostitute , an older man who looks like a wrestler .</scene_description>
<character>THE ONE-EYED CROOK</character>
<dialogue>Hey, just a moment, that's enough.</dialogue>
<scene_description>Other faces in the crowd look on sternly . In the foreground sits a crook with a moustache , a hat and a bow - tie .</scene_description>
<character>CROOK</character>
<dialogue>Are you mad, you drunken old sot?</dialogue>
<character>LAWYER</character>
<dialogue>It is this very fact of obsession which makes my client not responsible. And nobody can be punished for something which he is not responsible for.</dialogue>
<scene_description>WHISTLES and CAT - CALLS .</scene_description>
<character>VOICE</character>
<dialogue>That's ridiculous.</dialogue>
<character>PROSTITUTE</character>
<parenthetical>( furious , jumps to her feet . )</parenthetical>
<dialogue>Do you want to suggest by any chance that this brute should get off?</dialogue>
<character>A CROOK</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>That he should stay alive?</dialogue>
<character>LAWYER</character>
<dialogue>I mean that this man is sick. And a sick man should be handed over, not to the executioner, but to the doctor.</dialogue>
<character>SAFE-BREAKER</character>
<dialogue>Could you guarantee he'd be cured?</dialogue>
<character>LAWYER</character>
<dialogue>What use are asylums, then?</dialogue>
<character>CON-MAN</character>
<dialogue>And what would happen if he escaped?</dialogue>
<character>SCHRAENKER</character>
<dialogue>Yes. or if they released him as harmless? And what if the compulsion to kill returns? Yet another man - hunt for several months. Paragraph fifty - one again. Into the asylum again and then another escape or release. And then the compulsion all over again. And so on and so on till doomsday!</dialogue>
<character>LAWYER</character>
<dialogue>No one has the right to kill a man who is not responsible for his actions. Not the state, and certainly not you. The state must take care that this man becomes harmless and ceases to be a danger to his fellow citizens.</dialogue>
<scene_description>During this plea , the crowd becomes excited and they begin to SHOUT and BAWL at the top of their voices . His last words are almost lost in the general LAUGHTER . A PROSTITUTE gets up .</scene_description>
<character>PROSTITUTE</character>
<dialogue>You've never had children, eh? So you have n't lost any either. But if you want to know what it's like to lose one of your kids.</dialogue>
<scene_description>Another woman tries to calm her .</scene_description>
<character>PROSTITUTE</character>
<dialogue>then go and ask the parents of those children he got at.</dialogue>
<scene_description>Amid the different groups of onlookers , an enormous thug listens , close to tears .</scene_description>
<character>PROSTITUTE</character>
<dialogue>Ask them what those days and nights were like when they did n't know for sure what was up. and about the ones when they finally knew what happened.</dialogue>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Ask the mothers!</dialogue>
<scene_description>The MURDERER still crouches against the barrier , his hands over his ears .</scene_description>
<character>A WOMAN</character>
<dialogue>She's right!</dialogue>
<scene_description>The MURDERER crouches ever lower .</scene_description>
<character>PROSTITUTE</character>
<dialogue>Ask the mothers!</dialogue>
<character>VOICES</character>
<dialogue>Yes, the mothers. the mothers. ask them. Do you think they'll have mercy on a child - murderer?</dialogue>
<scene_description>In the crowd , the fever rises .</scene_description>
<character>A CROOK</character>
<dialogue>She's right.</dialogue>
<character>ANOTHER</character>
<dialogue>And how.</dialogue>
<character>PROSTITUTE</character>
<dialogue>No mercy. No pardon.</dialogue>
<character>A CROOK</character>
<dialogue>Give him to us, the murderer.</dialogue>
<character>2ND CROOK</character>
<dialogue>Kill him, the monster.</dialogue>
<scene_description>A PROSTITUTE in the front row screams her rage . Behind her , a crook in a cap is also worked up .</scene_description>
<character>YOUNG PROSTITUTE</character>
<dialogue>Crush him, the brute.</dialogue>
<character>MAN</character>
<parenthetical>( simultaneous . )</parenthetical>
<dialogue>Kill him.</dialogue>
<character>WRESTLER</character>
<dialogue>Bleed the beast.</dialogue>
<character>ONE-EYED CROOK</character>
<dialogue>Hang him.</dialogue>
<character>A VOICE</character>
<dialogue>Beat him down.</dialogue>
<character>A LITTLE MAN</character>
<dialogue>Kill him.</dialogue>
<character>ANOTHER</character>
<dialogue>Kill him.</dialogue>
<scene_description>The whole furious mob rages on .</scene_description>
<character>VOICES</character>
<dialogue>To the gallows. Finish him. Kill him. Kill him</dialogue>
<character>LAWYER</character>
<dialogue>All that shouting wo n't silence me!</dialogue>
<scene_description>The noise dies down . The crowd waits , but not appeased .</scene_description>
<character>LAWYER</character>
<dialogue>I will not allow a crime to be committed in my presence. I demand that this man.</dialogue>
<character>A VOICE</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>He is n't one!</dialogue>
<character>LAWYER</character>
<parenthetical>( carries on . )</parenthetical>
<dialogue>. that this man be granted the protection of the law, which is everybody's right.</dialogue>
<character>A VOICE</character>
<dialogue>To hell with that. to hell with it.</dialogue>
<scene_description>WHISTLES and SHOUTS from the crowd .</scene_description>
<character>LAWYER</character>
<parenthetical>( very loud . )</parenthetical>
<dialogue>I demand that this man be handed over to the police.</dialogue>
<scene_description>The crowd and the leaders of the tribunal are in uproar .</scene_description>
<character>A WOMAN</character>
<parenthetical>( hysterically . )</parenthetical>
<dialogue>To the police!</dialogue>
<character>CON-MAN</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>Filthy stooge!</dialogue>
<scene_description>The frenzy has reached its height . Everyone SHOUTS , WHISTLES and SCREAMS at the same time . From every side , crooks and prostitutes throw themselves towards the MURDERER . then , suddenly , everyone freezes , and all eyes fix on the iron door of the cellar . Shrill police WHISTLES and VOICES fill the air .</scene_description>
<character>VOICE</character>
<dialogue>Police. Hands up!</dialogue>
<scene_description>Taken by surprise , the crooks and women all stand stock still - and slowly raise their hands . Only SCHRAENKER remains seated . He tips back his chair arrogantly . After casting a long look around the assembled crowd and seeing that there is no hope , he gets up abruptly and raises his hands . The MURDERER still crouches against the barrier . He rises slowly and looks in confusion at the frozen crowd before him . TRACK IN on him as a lawman 's hand is placed firmly on his left shoulder .</scene_description>
<character>A VOICE</character>
<dialogue>In the name of the law.</dialogue>
<scene_description>FADE OUT From the black screen , the voice of MRS. BECKMANN can be heard :</scene_description>
<character>MRS. BECKMANN</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>We, too, should keep a closer watch on our children.</dialogue>
<scene_description>A concluding burst of MUSIC -LRB- the last moments of `` In the Hall of the Mountain King '' -RRB- and we reach THE END</scene_description>
</scene>
</script> | A group of children are playing an elimination game in the courtyard of an apartment building in Berlin[5] using a chant about a child murderer. A woman sets the table for dinner, waiting for her daughter to come home from school. A wanted poster warns of a serial killer preying on children, as anxious parents wait outside a school. Little Elsie Beckmann leaves school, bouncing a ball on her way home. She is approached by Hans Beckert, who is whistling "In the Hall of the Mountain King" by Edvard Grieg. He offers to buy her a balloon from a blind street-vendor. He walks and talks with her. Elsie's place at the dinner table remains empty, her ball is shown rolling away across a patch of grass, and her balloon is lost in the telephone lines overhead. In the wake of Elsie's death, Beckert sends an angry letter about his crimes to the newspapers, from which the police extract clues using the new techniques of fingerprinting and handwriting analysis. Under mounting pressure from city leaders, the police work around the clock. Inspector Karl Lohmann, instructs his men to intensify their search and to check the records of recently released psychiatric patients to look for those with a history of violence against children. They stage frequent raids to question known criminals, disrupting underworld business so badly that Der Schränker ("The Safecracker") calls a meeting of the city's criminal bosses. They decide to organize their own manhunt, using beggars to watch and guard the children. The police discover two clues corresponding to the killer's letter in Beckert's rented rooms. They wait there to arrest him. Beckert sees a young girl in the reflection of a shop window. Following her, he is thwarted when the girl meets her mother. When he encounters another young girl, he succeeds in befriending her, but the blind beggar recognizes his whistling. The blind man tells one of his friends, who tails the killer with assistance from other beggars he alerts along the way. Afraid of losing him, one young man chalks a large M (for Mörder, meaning "murderer" in German) on his hand, pretends to trip and bumps into Beckert, marking the back of his clothing. The beggars close in. When Beckert finally realizes he is being followed, he hides inside a large office building just before the workers leave for the evening. The beggars call Der Schränker, and a team of criminals arrives. They tie up and torture a guard for information. After capturing the remaining watchmen, they systematically search the building from coal cellar to attic, finally catching Beckert. When a watchman manages to trip the silent alarm, the crooks narrowly escape with their prisoner before the police arrive. One, however, is captured and eventually tricked into revealing the purpose of the break-in (nothing was stolen) and where Beckert would be taken. The criminals drag Beckert to an abandoned distillery to face a kangaroo court. He finds a large, silent crowd awaiting him. Beckert is given a "lawyer", who gamely argues in his defense but fails to win any sympathy from the "jury". Beckert delivers an impassioned monologue, saying that his urges compel him to commit murder, while the other criminals present break the law by choice. His "lawyer" points out that the presiding "judge" is himself wanted on three counts of totschlag (a form of homicide under German law). Beckert pleads to be handed over to the police, asking, "Who knows what it's like to be me?" Just as the enraged mob is about to kill him, the police arrive to arrest both Beckert and the criminals. As the real trial passes, five judges prepare to pass judgment on Beckert. Before the sentence is announced, the shot cuts to three of the victims' mothers crying. Elsie's mother says no sentence would bring back the dead children, and "One has to keep closer watch over the children." The screen goes black as she adds, "All of you. "[6] |
Gandhi_1982 | tt0083987 | <script>
<scene />
<scene />
<scene>
<character>HOUSE SERVANT'S VOICE</character>
<dialogue>He will be saying prayers in the garden - just follow the others. In contrast to those about him, there is tension in Godse's face, an air of danger in his movements. He glances at two policemen who are talking casually, absorbed in their own gossip - then he looks back at another tonga that pulls up just behind his. Two young men.</dialogue>
<parenthetical>( Apte and Karkare . )</parenthetical>
<dialogue>meet Godse's gaze, and again we get the sense of imminent danger. They descend and pay their driver absently, their eyes watching the crowd. Sitting along in the shadows of a stationary tonga a little distance down the street an elderly man.</dialogue>
<parenthetical>( Prakash . )</parenthetical>
<dialogue>with a short, close - cropped beard and the taut, sunken flesh of a cadaver is watching. Apte and Karkare look back at him. There is just the slightest acknowledgment and then Prakash lifts his eyes to the gate, as though to tell them to be about their business.</dialogue>
</scene>
<scene />
<scene>
<character>MANU</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Brother - Bapu is already late for prayers. Ignoring her, his nerves even more taut, Godse joins his hands together and bows in greeting to the Mahatma. And now we see Gandhi in full shot. The cheap glasses, the nut - brown head, the warm, eager eyes. He smiles and joins his hands together to exchange Godse's greeting. Godse moves his right hand rapidly from the stance of prayer to his jacket, in an instant - it holds a gun, and he fires point blank at Gandhi - loud, startling - once, twice. thrice. Gandhi's white shawl is stained with blood as he falls.</dialogue>
<character>GANDHI</character>
<dialogue>Oh, God. oh, God. Amid the screams and sounds of chaos we dissolve through to</dialogue>
</scene>
<scene />
<scene>
<character>MURROW</character>
<parenthetical>( clipped , weighted . )</parenthetical>
<dialogue>. The object of this massive tribute died as he had always lived - a private man without wealth, without property, without official title or office.</dialogue>
</scene>
<scene>
<character>MURROW'S VOICE-OVER</character>
<dialogue>Mahatma Gandhi was not a commander of great armies nor ruler of vast lands, he could boast no scientific achievements, no artistic gift. Yet men, governments and dignitaries from all over the world have joined hands today to pay homage to this little brown man in the loincloth who led his country to freedom. We see the throng, following the weapon - carrier bier of Gandhi as it slowly inches its way along the Kingsway. Mountbatten, tall, handsome, bemedalled, walks at the head of dignitaries from many lands. and behind them a broad mass of Indians. For a moment we see their sandalled feet moving along the roadway and realize their quiet, rhythmic shuffling is the only noise this vast assemblage has produced.</dialogue>
<character>MURROW'S VOICE-OVER</character>
<dialogue>Pope Pius, the Archbishop of Canterbury, President Truman, Chiang Kai - shek, The Foreign Minister of Russia, the President of France. are among the millions here and abroad who have lamented his passing. In the words of General George C. Marshall, the American Secretary of State, `` Mahatma Gandhi had become the spokesman for the conscience of mankind.'' In the crowd following the bier we pick out the tall, English figure of Mirabehn, dressed in a sari, her face taut in a grief that seems ready to break like the Ganges in flood. Near her a tall, heavy - set man, Germanic, still powerful of build and mien though his white hair and deep lines suggest a man well into his sixties.</dialogue>
<parenthetical>( Kallenbach . )</parenthetical>
<dialogue>. He too marches with a kind of numb air of loss that is too personal for national mourning. On the edge of the street an American newspaperman.</dialogue>
<parenthetical>( Walker . )</parenthetical>
<dialogue>watches as the bier passes him. He has been making notes, but his hand stops now and we see the profile of Gandhi from his point of view as the weapon - carrier silently rolls by. It is personal, close. Walker clenches his teeth and there is moisture in his eyes as he looks down. He tries to bring his attention to his pad again, but his heart is not in it and he stares with hollow emptiness at the street and the horde of passing feet following the bier.</dialogue>
<character>MURROW'S VOICE-OVER</character>
<dialogue>a man who made humility and simple truth more powerful than empires.'' And Albert Einstein added, `` Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth.'' The camera picks out those who ride on the weapon - carrier with Gandhi's body. the stout, blunt, but now shattered Patel, Gandhi's son, Devadas, the strong, almost fierce face of Maulana Azad, now angry at the Gods themselves. and finally Pandit Nehru - a face with the strength of a hero, the sensitivity of a poet, and now wounded like the son of a loving father.</dialogue>
<character>MURROW'S VOICE-OVER</character>
<dialogue>but perhaps to this man of peace, to this fighter who fought without malice or falsehood or hate, the tribute he would value most has come from General Douglas McArthur : `` If civilization is to survive,'' the General said this morning, `` all men can not fail to adopt Gandhi's belief that the use of force to resolve conflict is not only wrong but contains within itself the germ of our own self - destruction.'' A news truck is parked in the mass of the crowd. As the cortege nears, the photographers on it stand to snap their pictures. There is a newsreel crew center. The camera features a woman photographer.</dialogue>
<parenthetical>( Margaret Bourke - White . )</parenthetical>
<dialogue>who sits with her legs dangling over the side of the truck, her famous camera held loosely in her hand, un - regarded, as she watches the body of Gandhi approach. The intelligent features are betrayed by the emotion in her eyes. For an instant we see Gandhi from her point of view, and read the personal impact it has on her.</dialogue>
<character>MURROW'S VOICE-OVER</character>
<dialogue>Perhaps for the rest of us, the most satisfying comment on this tragedy comes from the impudent New York PM which today wrote, `` There is still hope for a world which reacts as reverently as ours has to the death of a man like Gandhi.'' The camera is high and we see the cortege from the rear, moving off down the vast esplanade, its narrowing path parting the sea of humanity like a long trail across a weaving plain. and as the shuffling sound of sandalled feet fades in the distance we dissolve through to</dialogue>
</scene>
<scene />
<scene>
<character>GANDHI</character>
<dialogue>Tell me - do you think about hell?</dialogue>
<character>PORTER</character>
<parenthetical>( stares at him blankly . )</parenthetical>
<dialogue>`` Hell!''</dialogue>
<character>GANDHI</character>
<parenthetical>( the eternal , earnest sophomore . )</parenthetical>
<dialogue>No - neither do I. But.</dialogue>
<parenthetical>( he points abruptly to the book . )</parenthetical>
<dialogue>but this man is a Christian and he has written - The porter has glanced down the corridor, where from his point of view we can just glimpse the European talking with the conductor.</dialogue>
<character>PORTER</character>
<dialogue>Excuse me, baas, but how long have you been in South Africa?</dialogue>
<character>GANDHI</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>A - a week.</dialogue>
<character>PORTER</character>
<dialogue>Well, I do n't know how you got a ticket for - He looks up suddenly then turns back quickly to his work. Gandhi glances at the door to see what has frightened him so. The European and the conductor push open the door and stride in.</dialogue>
<character>CONDUCTOR</character>
<dialogue>Here - coolie, just what are you doing in this car? Gandhi is incredulous that he is being addressed in such a manner.</dialogue>
<character>GANDHI</character>
<dialogue>Why - I - I have a ticket. A First Class ticket.</dialogue>
<character>CONDUCTOR</character>
<dialogue>How did you get hold of it?</dialogue>
<character>GANDHI</character>
<dialogue>I sent for it in the post. I'm an attorney, and I did n't have time to - He's taken out the ticket but there is a bit of bluster in his attitude and it is cut off by a cold rebuff from the European.</dialogue>
<character>EUROPEAN</character>
<dialogue>There are no colored attorneys in South Africa. Go and sit where you belong. He gestures to the back of the train. Gandhi is nonplussed and beginning to feel a little less sure of himself. The porter, wanting to avoid trouble, reaches for Gandhi's suitcases.</dialogue>
<character>PORTER</character>
<dialogue>I'll take your luggage back, baas.</dialogue>
<character>GANDHI</character>
<dialogue>No, no - just a moment, please. He reaches into this waistcoat and produces a card which he presents to the conductor.</dialogue>
<character>GANDHI</character>
<dialogue>You see, Mohandas K. Gandhi, Attorney at Law. I am going to Pretoria to conduct a case for an Indian trading firm.</dialogue>
<character>EUROPEAN</character>
<dialogue>Did n't you hear me? There are no colored attorneys in South Africa! Gandhi is still puzzled by his belligerence, but is beginning to react to it, this time with a touch of irony.</dialogue>
<character>GANDHI</character>
<dialogue>Sir, I was called to the bar in London and enrolled in the High Court of Chancery - I am therefore an attorney, and since I am - in your eyes - colored - I think we can deduce that there is at least one colored attorney in South Africa. The Porter stares - amazed!</dialogue>
<character>EUROPEAN</character>
<dialogue>Smart bloody kaffir - throw him out! He turns and walks out of the compartment.</dialogue>
<character>CONDUCTOR</character>
<dialogue>You move your damn sammy carcass back to third class or I'll have you thrown off at the next station.</dialogue>
<character>GANDHI</character>
<parenthetical>( anger , a touch of panic . )</parenthetical>
<dialogue>I always go First Class! I have traveled all over England and I've never.</dialogue>
</scene>
<scene />
<scene>
<character>GANDHI</character>
<dialogue>But you're a rich man - why do you put up with it? We are in a large Victorian parlor in a well - to - do home. Facing Gandhi are Khan, a tall, impressive Indian. Singh, slighter and older than Khan, but wiry and looking capable of physical as well as intellectual strength, and Khan's twenty - year - old son, Tyeb Mohammed.</dialogue>
<character>KHAN</character>
<parenthetical>( a shrug . )</parenthetical>
<dialogue>I'm rich - but I'm Indian. I therefore do not expect to travel First Class. It is said with a dignity and strength that makes the statement all the more bewildering. Gandhi looks around helplessly. We see Mr. Baker, a wealthy white lawyer, whose home this is, poking at the fire, slightly amused at Gandhi's naïveté.</dialogue>
<character>GANDHI</character>
<dialogue>In England, I was a poor student but I -</dialogue>
<character>KHAN</character>
<dialogue>That was England. Gandhi is holding a British legal document ; he lifts it pointedly.</dialogue>
<character>GANDHI</character>
<dialogue>This part of `` England's'' Empire!</dialogue>
<character>SINGH</character>
<dialogue>Mr. Gandhi, you look at Mr. Khan and see a successful Muslim trader. The South Africans see him simply as an Indian. And the vast majority of Indians - mostly Hindu like yourself -.</dialogue>
<parenthetical>( there is a moment of blinking embarrassment from Gandhi at this mention of his own religion . )</parenthetical>
<dialogue>were brought here to work the mines and harvest the crops - and the Europeans do n't want them doing anything else. Gandhi looks at Mr. Baker almost in disbelief.</dialogue>
<character>GANDHI</character>
<dialogue>But that is very un - Christian. Mr. Baker smothers a smile.</dialogue>
<character>TYEB MOHAMMED</character>
<dialogue>Mr. Gandhi, in this country Indians are not allowed to walk along a pavement with a `` Christian''! Gandhi looks at Khan incredulously.</dialogue>
<character>GANDHI</character>
<dialogue>You mean you employ Mr. Baker as your attorney, but you ca n't walk down the street with him?</dialogue>
<character>KHAN</character>
<dialogue>I can. But I risk being kicked into the gutter by someone less `` holy'' than Mr. Baker. He smiles, but his eyes show that it is no joke. Gandhi glances from one to the other them - absorbing the inconceivable. And then almost before our eyes his innocence of the world fuses with his anger at the injustice of it all.</dialogue>
<character>GANDHI</character>
<dialogue>Well, then, it must be fought. We are children of God like everyone else.</dialogue>
<character>KHAN</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>Allah be praised. And what battalions will you call upon?</dialogue>
<character>GANDHI</character>
<dialogue>I - I will write to the press - here - and in England.</dialogue>
<parenthetical>( He turns to Baker firmly . )</parenthetical>
<dialogue>And I will use the courts. He lifts the documents threateningly.</dialogue>
<character>SINGH</character>
<dialogue>You will make a lot of trouble. Its tone is chilling, and Gandhi's firmness is shaken a little.</dialogue>
<character>GANDHI</character>
<dialogue>We are members of the Empire. And we come from an ancient civilization. Why should we not walk on the pavements like other men? The sturdy Khan is studying him with a look of wry interest.</dialogue>
<character>KHAN</character>
<dialogue>I rather like the idea of an Indian barrister in South Africa. I'm sure our community could keep you in work for some time, Mr. Gandhi - even if you caused a good deal of trouble.</dialogue>
<parenthetical>( Gandhi reacts uncertainly . )</parenthetical>
<dialogue>Especially if you caused a good deal of trouble. Gandhi glances at Tyeb Mohammed and Baker, then stiffens, plainly frightened by the challenge, but just as plainly determined to take it.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>There's the English reporter. I told you he'd come. We see the English reporter waiting skeptically. Near him, trying to be inconspicuous on the edge of the small crowd, are five policemen.</dialogue>
<parenthetical>( one sergeant and four constables . )</parenthetical>
<dialogue>. A horse - drawn paddy wagon is drawn up beside them.</dialogue>
<character>KHAN</character>
<dialogue>You also said your article would draw a thousand people.</dialogue>
<parenthetical>( If the crowd numbers 100 they 're lucky . )</parenthetical>
<dialogue>At least some of the Hindus brought their wives. We see five or six women in saris standing together.</dialogue>
<character>GANDHI</character>
<dialogue>No. I asked my wife to organize that. We feature Gandhi's wife, Ba, standing at the front of the women. She possesses a surprising delicacy of feature, with large expressive eyes and a beautiful mouth - but at this moment she is ill at ease and uncertain, forcing herself to do that which she would rather not.</dialogue>
<character>SINGH</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>Some of them are leaving. Gandhi wets his lips nervously. He glances with a little apprehension at the police, then takes his notes from his pocket and moves to the front of the fire. He holds up his hand for attention. He forces a smile - then starts reading -</dialogue>
<character>GANDHI</character>
<dialogue>Ladies and Gentlemen, we have asked you to gather here to help us proclaim our right to be treated as equal citizens of the Empire. It is flat and dull, like someone reading a speech to themselves, and those in the crowd who had hesitated before wandering off shrug and continue on their way. Gandhi is unnerved by it a little but he struggles on - louder, but just as colorlessly.</dialogue>
<character>GANDHI</character>
<dialogue>We do not seek conflict. We know the strength of the forces arrayed against us, know that because of them we can only use peaceful means - but we are determined that justice will be done! This last has come more firmly, and he lifts his head to the crowd, as though expecting a reaction. Three or four committed supporters applaud as on cue, but his technique is so inexpert that it draws nothing but blank faces from the bulk of them. He glances nervously at Ba, who is embarrassed for them both now. She wraps her sari more closely around her and her expression is a wife's `` I told you so'' - sufferance, mortification and loyalty, all in one. Gandhi wets his lips again - and takes a square of cardboard from his pocket - his `` pass.''</dialogue>
<character>GANDHI</character>
<dialogue>The symbol of our status is embodied in this pass - which we must carry at all times, but no European even has to have. He holds it up. A constable glances at the police sergeant.</dialogue>
<character>GANDHI</character>
<dialogue>And the first step to changing our status is to eliminate this difference between us. And he turns and drops his pass in the wire basket over the fire. The flames engulf it. The police sergeant's eyes go wide with disbelief. The crowd murmurs in shock. At last Gandhi has got a reaction, but the dropping of the card has been as matter - of - fact as his speaking, with none of the drama one might expect from so startling a gesture. Even so, a constable glances at the police sergeant again, `` Do we take him?''. The sergeant just shakes his head, `` Wait.'' Khan moves up to Gandhi as the tremor of reaction ripples through the crowd.</dialogue>
<character>KHAN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>You write brilliantly, but you have much to learn about handling men. He takes Gandhi's notes from him, and faces the crowd.</dialogue>
<character>KHAN</character>
<parenthetical>( the reading not fluent , but firm and pointed . )</parenthetical>
<dialogue>We do not want to ignite. the fear or hatred of anyone. But we ask you - Hindu, Muslim and Sikh - to help us light up the sky. and the minds of the British authorities - with our defiance of this injustice. It is the end of the speech. He looks at the crowd. No one knows quite what to do. Gandhi harumphs - gesturing to a shallow box Singh holds. Kahn turns back, extemporizing rather lamely.</dialogue>
<character>KHAN</character>
<dialogue>We will now burn the passes of our committee and its supporters. We ask you to put your passes on the fire with -</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>Oh, no, you bloody well do n't! He has stepped forward with his constables, who have faced the crowd, halting the tentative movements of the few committed supporters toward the fire.</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>Those passes are government property! And I will arrest the first man who tries to burn one! He is facing the crowd. Behind him, Khan holds himself erect and slowly takes his own card from his pocket. He holds it aloft and then lowers it resolutely into the wire basket. The crowd reacts and the sergeant turns just in time to see it dropped in the flame.</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>Take him away! He gestures to a constable, who turns from the crowd and marches to Khan, seizing him by the arm and marching him to the paddy wagon. As he passes the sergeant, the sergeant takes his billy club, and faces the crowd, rapping the club menacingly against his hand.</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>Now - are there any more?! Behind him, Gandhi wavers indecisively a moment, then takes the box from Singh and moves to the fire. Ba holds her hand to her mouth - terrified. Again the crowd's reaction turns the sergeant. Gandhi is at the fire. For a second, his eyes lock with the sergeant's - and then nervously, he takes a card and drops it in the wire basket, and another.</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>You little sammy bastard - I - He has leapt across the distance between them, knocking the box from Gandhi's hands, sending the cards flying and shoving Gandhi to the ground. He turns and faces the crowd angrily, pointing the billy club threateningly.</dialogue>
<character>POLICE SERGEANT</character>
<dialogue>You want that kind of trouble - you can have it! Again, a murmur from the crowd turns him. Gandhi, on his hands and knees, blood trickling from his abraded cheek, has picked up a card from the ground and he leans forward apprehensively, his eyes fearfully on the sergeant, but he drops it defiantly in the basket. The sergeant's fury bursts - and he slams the billy club down on Gandhi's head. Gandhi sags to the ground. Ba screams. She starts to run to him, but the other women seize her.</dialogue>
<character>BA</character>
<dialogue>Let me go! She fights loose, but one of the constables takes her firmly. The sergeant turns from the commotion to see that Gandhi, his head oozing blood, has crawled to his knees again and is picking up another card. The crowd watches. The newspaper reporter watches. Ba stares in anguish. Gandhi lifts the card. The sergeant stares at him, angry but his emotions somewhat in control after the first blow.</dialogue>
<character>SERGEANT</character>
<dialogue>Stop! An instant of hesitation, then Gandhi drops the card into the basket. The sergeant almost stops, but he strikes again. A quiver of distaste at his own act crosses his face as Gandhi sags. Ba's anguished face is wet with tears. The newspaper reporter stares without making notes. Khan, at the paddy wagon, watches in wonder. Gandhi, his head bleeding badly now, rises to his knees - a breath and he gropes around the ground for another card. His fingers finally clutch one. The sergeant stares, his face wracked with uncertainty and confusion. Gandhi lifts the card and painfully holds it over the fire, then drops it in the basket. The sergeant slams the billy club down again - firmly, but with a manifest reluctance. The crowd watches breathlessly, the newspaper reporter stares. The sergeant draws a breath, grasping the club, but he bites his lip as he sees Gandhi lift his head feebly, his shaking hands, stained with his own blood, groping for another card.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>You saved the papers. Ba reaches forth, gently touching the bandages on his head.</dialogue>
<character>BA</character>
<dialogue>I wish you were still struggling for work in Bombay. Gandhi does n't take his eyes from the papers, but he shakes his head.</dialogue>
<character>GANDHI</character>
<dialogue>I hated that - all the pettiness, the little corruptions.</dialogue>
<parenthetical>( A reflective grin . )</parenthetical>
<dialogue>And I was more laughing stock than lawyer. He smiles whimsically, then turns back to the papers.</dialogue>
<character>GANDHI</character>
<dialogue>But they needed me here. If I'd never been thrown off that train, perhaps no one would ever have needed me. Ba stares at the back of his head, wounded by that remark, bearing it as stoically as he bore the blows against him.</dialogue>
<character>GANDHI</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` A high court judge has confirmed that Mr. Gandhi would have been within his rights to prosecute for assault since neither he nor Mr. Khan resisted arrest.'' - I told you about English law.</dialogue>
<character>BA</character>
<dialogue>As I told you about English policemen. Before Gandhi can retort there is a knock on the door.</dialogue>
<character>GANDHI</character>
<dialogue>Yes? A small, round ayah.</dialogue>
<parenthetical>( an Indian nursemaid . )</parenthetical>
<dialogue>pushes open the door and proudly admits her charges, Gandhi's sons : Harilal.</dialogue>
<parenthetical>( ten . )</parenthetical>
<dialogue>, Manilal.</dialogue>
<parenthetical>( six . )</parenthetical>
<dialogue>and Ramdas.</dialogue>
<parenthetical>( two . )</parenthetical>
<dialogue>. They are all dressed in European suits, ties and stiff collars. They step forward, one by one, making the pranam.</dialogue>
<parenthetical>( the Hindu gesture of greeting . )</parenthetical>
<dialogue>, then bending and touching the hands and lips to Gandhi's feet in the traditional obeisance of child to father.</dialogue>
<character>HARILAL</character>
<dialogue>We are glad to have you back, Bapu. Gandhi smiles.</dialogue>
<character>GANDHI</character>
<dialogue>And I am glad to be back.</dialogue>
<parenthetical>( He holds his hands out to Ramdas . )</parenthetical>
<dialogue>Come. And Ramdas runs to him and Gandhi bends to kiss him as Ramdas put his arms around his neck.</dialogue>
<character>BA</character>
<dialogue>Be careful! Gandhi pats him indulgently, then carefully stands erect, looking at them all with satisfaction.</dialogue>
<character>GANDHI</character>
<dialogue>Tomorrow I will tell you what it feels like to be a jailbird. The two older boys show the expected apprehension - and interest. Gandhi nods to the ayah. She claps her hands smartly.</dialogue>
<character>AYAH</character>
<dialogue>Come. Come. The boys bow and leave like boys used to household discipline. The ayah closes the door and we hear their chatter at they go down the hall.</dialogue>
<character>GANDHI</character>
<dialogue>Just like proper English gentlemen. I'm proud of them.</dialogue>
<character>BA</character>
<dialogue>They are boys. - And they're Indian. Gandhi is stretching out on the bed, taking up another paper.</dialogue>
<character>GANDHI</character>
<dialogue>Hm. Will you take this off?</dialogue>
<parenthetical>( he touches the bandage on his cheek . )</parenthetical>
<dialogue>It pinches every time I speak. Ba comes and sits down on the bed beside him, maneuvering so that she can get at the bandage.</dialogue>
<character>GANDHI</character>
<dialogue>Here, you see? Even the South African papers apologize - `` a monstrous attack.''</dialogue>
<character>BA</character>
<parenthetical>( of the tape , as she is about to pull it . )</parenthetical>
<dialogue>Are you sure?</dialogue>
<character>GANDHI</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Yes - I ca n't talk like this. Ba pauses and looks at him mischievously, as though that's not a bad idea. He scowls at her, then recognizes her `` joke'' and grins.</dialogue>
<character>GANDHI</character>
<dialogue>Pull! Ba pulls one of the strands of tape and Gandhi flinches.</dialogue>
<character>GANDHI</character>
<dialogue>Oww!</dialogue>
<character>BA</character>
<parenthetical>( mockingly . )</parenthetical>
<dialogue>Mr. Khan said they called you brave. Gandhi is nursing the moustache ; he looks at her wryly.</dialogue>
<character>GANDHI</character>
<dialogue>If you would let me teach you to read, you could see for yourself. She leans forward to pull at the remaining piece.</dialogue>
<character>BA</character>
<dialogue>I could have told them you were merely foolish. Gandhi is watching her as she leans across him, her beauty and proximity obviously stirring him.</dialogue>
<character>GANDHI</character>
<dialogue>It proves what I told you. If I had prosecuted him as everyone advised - even you - they would have hated me - by showing forgiveness I - ouch! She has pulled the other piece.</dialogue>
<character>BA</character>
<dialogue>There. And she slowly pries the gauze free from the strands of hair above his lip. As she does Gandhi watches her more and more intently, and slips his arms around her back.</dialogue>
<character>GANDHI</character>
<parenthetical>( as though continuing the argument . )</parenthetical>
<dialogue>You see there is such a thing as moral force - and it can be harnessed. Ba examines the bandage and gently touches the wound, but she is aware of his burning eyes and arms around her back.</dialogue>
<character>BA</character>
<dialogue>Not always. You have told me twice now that you were giving up the pleasures of the flesh. It slows Gandhi uneasily for a moment and Ba must grin at his discomfiture. He leans back - still holding her, but looking at the ceiling.</dialogue>
<character>GANDHI</character>
<dialogue>I am. I am convinced the holy men are right. When you give up, you gain. The simpler your life the better. Ba makes a moue of acceptance and starts to pull free of him - but his arms still hold her. She smothers a smile and lies down, her face next to his, but neither of them looking at each other. A long beat. and then Gandhi turns his head. She is aware of his eyes on her, but she does n't move. Gandhi leans forward and touches his lips to her neck.</dialogue>
<character>GANDHI</character>
<dialogue>I will fast tomorrow - as a penance. Ba smiles. Still not looking at him, she places her hand behind his head, gently.</dialogue>
<character>BA</character>
<dialogue>If you enjoy it a great deal you must fast for two days. Gandhi laughs. and buries her in love. STREET AND COURTYARD OF GOVERNMENT BUILDING - JOHANNESBURG -</dialogue>
</scene>
<scene>
<character>TALL CIVIL SERVANT</character>
<dialogue>The London papers have arrived from the Cape, sir.</dialogue>
<character>SMUTS</character>
<dialogue>Yes -? The tall civil servant checks his notes.</dialogue>
<character>TALL CIVIL SERVANT</character>
<dialogue>The worst was the Daily Mail, sir. They said, `` The burning of passes by Mr. Gandhi was the most significant act in colonial affairs since the Declaration of Independence.'' Smuts has given the reins to the stable boy.</dialogue>
<character>SMUTS</character>
<dialogue>Did they? Well, they'll find we're a little better prepared this time. Mr. Gandhi will find he's on a long hiding to nothing. And he strides into the building, past the smartly saluting sentries.</dialogue>
</scene>
<scene>
<character>CHARLIE</character>
<dialogue>You'd be Gandhi -.</dialogue>
<parenthetical>( Gandhi nods . )</parenthetical>
<dialogue>. I thought you'd be bigger.</dialogue>
<character>GANDHI</character>
<dialogue>I'm sorry.</dialogue>
<character>CHARLIE</character>
<dialogue>I - I mean it's all right. It does n't matter.</dialogue>
<parenthetical>( He suddenly steps forward and thrusts out his hand . )</parenthetical>
<dialogue>I'm - my name is Andrews, Charlie Andrews. I've come from India - I've read a great deal about you.</dialogue>
<character>GANDHI</character>
<dialogue>Some of it good, I hope. He turns and waves to the parlor window. The three boys are there - all bigger - and Ba holds a new addition ; they all wave. And Gandhi turns back, and starts down the long, hilly street.</dialogue>
<character>GANDHI</character>
<parenthetical>( to Charlie . )</parenthetical>
<dialogue>Would you care to walk? He gestures Charlie on and starts walking. Charlie nods uncertainly. He looks back at the cab in confusion, then signals the driver to follow and hurries on to match strides with Gandhi's brisk pace.</dialogue>
<character>GANDHI</character>
<parenthetical>( noting Charlie 's collar . )</parenthetical>
<dialogue>You're a clergyman.</dialogue>
<character>CHARLIE</character>
<dialogue>Yes. I've - I've met some very remarkable people in India. and - and when I read what you've been doing here, I - I wanted to help.</dialogue>
<parenthetical>( He looks at Gandhi , then smiles awkwardly . )</parenthetical>
<dialogue>Does that surprise you?</dialogue>
<character>GANDHI</character>
<dialogue>Not anymore.</dialogue>
<parenthetical>( And now he smiles . )</parenthetical>
<dialogue>At first I was amazed. but when you are fighting in a just cause, people seem to pop up - like you - right out of the pavement. Even when it is dangerous or -</dialogue>
</scene>
<scene>
<character>FIRST YOUTH</character>
<dialogue>Hey - look what's comin'!</dialogue>
<character>SECOND YOUTH</character>
<dialogue>A white shepherd leading a brown sammy!</dialogue>
<character>CHARLIE</character>
<dialogue>Perhaps I should - Gandhi restrains him and shakes his head.</dialogue>
<character>GANDHI</character>
<dialogue>Does n't the New Testament say, `` If your enemy strikes you on the right cheek, offer him the left''? He starts to move forward. Charlie hesitates, then follows nervously, more nervous for Gandhi than himself.</dialogue>
<character>CHARLIE</character>
<dialogue>I think perhaps the phrase was used metaphorically. I do n't think our Lord meant - They are getting closer. The youths laughing, whispering.</dialogue>
<character>GANDHI</character>
<dialogue>I'm not so certain. I have thought about it a great deal. I suspect he meant you must show courage - be willing to take a blow - several blows - to show you will not strike back - nor will you be turned aside. And when - One youth has flicked his cigarette - hard. It lands at Gandhi's feet. He pauses, looking at the youth.</dialogue>
<character>GANDHI</character>
<dialogue>and when you do that it calls upon something in human nature - something that makes his hate for you diminish and his respect increase. I think Christ grasped that and I - I have seen it work. He starts forward again, he is almost on the youths - clearly frightened, but.</dialogue>
<character>GANDHI</character>
<dialogue>Good morning.</dialogue>
<character>FIRST YOUTH</character>
<dialogue>Get off the pavement, you bloody - And he reaches forth to haul Gandhi from the pavement, but -</dialogue>
<character>A WOMAN'S VOICE</character>
<dialogue>Colin! Colin! What are you doing? A woman is leaning out of an upstairs window, looking down at the fracas disconcertedly. It is the first youth's mother and her presence reduces the pitch of his hostility considerably.</dialogue>
<character>FIRST YOUTH</character>
<dialogue>Nuthing. nuthing. We were just cleaning up the neighborhood a little. A snickering response from the other youths - but they are embarrassed by the questioning disapproval of Colin's mother's attitude. There's no note of apology in her cold stare at Gandhi, but she clearly believes her son should not be doing what he is doing.</dialogue>
<character>COLIN'S MOTHER</character>
<dialogue>You're already late for work. I thought you'd gone ten minutes ago. The moment of crisis has passed. Nothing will happen while she is there. Gandhi steps back on the pavement, addressing the first youth.</dialogue>
<character>GANDHI</character>
<dialogue>You'll find there's room for us both. And he steps around him, Charlie trailing, as the first youth stares at them sullenly. As they stride on, Charlie glancing back -</dialogue>
<character>CHARLIE</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>That was lucky.</dialogue>
<character>GANDHI</character>
<dialogue>I thought you were a man of God.</dialogue>
<character>CHARLIE</character>
<parenthetical>( wittily , but making his point . )</parenthetical>
<dialogue>I am. But I'm not so egotistical as to think He plans His day around my dilemmas. Gandhi laughs as they turn the corner.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>you could call it a `` communal farm,'' I suppose. But we've all come to the same conclusion - our Gita, the Muslim's Koran or your Bible - it's always the simple things that catch your breath - `` Love thy neighbor as thyself'' -.</dialogue>
<parenthetical>( He smiles , thinking back at the youths . )</parenthetical>
<dialogue>not always practiced - but it's something we Hindus could learn a lot from. He has paused before an office and a young girl.</dialogue>
<parenthetical>( Sonja . )</parenthetical>
<dialogue>has come from it to speak to him about something of urgency, but she hovers, not interrupting.</dialogue>
<character>CHARLIE</character>
<dialogue>That's the sort of thing you'll be seeking on this `` farm''.</dialogue>
<character>GANDHI</character>
<parenthetical>( a smile . )</parenthetical>
<dialogue>Well, we shall try. And now he turns to Sonja. Behind her we see the small office `` M.K. Gandhi/Attorney.'' Several clients waits, most of them conspicuously poor. Sonja's tone is loaded with foreboding.</dialogue>
<character>SONJA</character>
<dialogue>They're going to change the pass laws. Gandhi absorbs the news stiffly.</dialogue>
</scene>
<scene>
<character>SMUTS'S VOICE-OVER</character>
<dialogue>It's taken time, but it needed to be done fairly. We did n't want to create an injustice simply because Mr. Gandhi was abusing our existing legislation. Beneath the signature we see the boldly printed identification : Jan Christian Smuts.</dialogue>
<character>SECOND VOICE</character>
<dialogue>Just one second, sir, please. Another angle. A cameraman records the moment with a flash photo. General Smuts, whose presence is equal to his office, addresses someone out of shot as a male secretary removes the document.</dialogue>
<character>SMUTS</character>
<dialogue>But on a short trip, I would n't spend too much time on the Indian question, Mr. Walker. It's a tiny factor in South African life. The reporter who stands opposite him is Walker, much, much younger, almost boyish compared to the way we saw him at the funeral.</dialogue>
<character>WALKER</character>
<parenthetical>( a helpless shrug . )</parenthetical>
<dialogue>It's news at the moment. I will certainly report on your mines and the economy - but I would like to meet this Mr. Gandhi. Smuts has risen. He knows how to concede with grace.</dialogue>
<character>SMUTS</character>
<dialogue>Of course. We Westerners have a weakness for these - these spiritually inclined men of India. But as an old lawyer, let me warn you, Mr. Gandhi is as shrewd a man as you will ever meet, however `` otherworldly'' he may seem. But I'm sure you're enough of a reporter to see that. The gaze is firm, strong, cynical.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>so it's not `` spiritualism'' or `` nationalism'' - we're not against anything but the idea that people ca n't live together. They've reached the entrance to the tent, and he gestures in.</dialogue>
<character>GANDHI</character>
<dialogue>You see - Hindus, Muslims, Sikhs, Jews - even Christians. This last remark has been directed toward Charlie Andrews, who sits near them at a cluttered table, typing on an old typewriter. He waves, and Gandhi shouts out to them all over the putt - putt of the generator :</dialogue>
<character>GANDHI</character>
<dialogue>Mr. Walker! Of The New York Times! They nod. One of the Hindus bows with his hands clasped together. Gandhi hands Walker a copy of Indian Opinion and they start across the relatively barren field toward some other tents, Walker glancing at the paper. Gandhi watches him, grinning.</dialogue>
<character>GANDHI</character>
<dialogue>Without a paper - a journal of some kind - you can not unite a community.</dialogue>
<parenthetical>( A teasing smile . )</parenthetical>
<dialogue>You belong to a very important profession.</dialogue>
<character>WALKER</character>
<dialogue>Hm. And what should an `` important professional'' write about your response to General Smuts's new legislation?</dialogue>
<character>GANDHI</character>
<dialogue>I do n't know. I'm still searching for a `` response.''</dialogue>
<character>WALKER</character>
<parenthetical>( a leading question . )</parenthetical>
<dialogue>You will respect the law.</dialogue>
<character>GANDHI</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>There are unjust laws - as there are unjust men. This carries a weight and apprehension that none of the rest of the conversation has. Walker measures Gandhi with a little surprise.</dialogue>
<character>WALKER</character>
<dialogue>You're a very small minority to take on the Government - and the Empire. Gandhi seems trapped by an ineluctable fact.</dialogue>
<character>GANDHI</character>
<dialogue>If you are a minority of one, the truth is the truth. Reluctant as it is, it too carries commitment and Walker senses it. But they have come by a site where a building is being erected, and a European.</dialogue>
<parenthetical>( Kallenbach . )</parenthetical>
<dialogue>is perched above a doorway on the half - completed structure, getting a level. Some Indians are working below him. Gandhi turns to him, light - hearted again.</dialogue>
<character>GANDHI</character>
<dialogue>This is Mr. Kallenbach. He is our chief carpenter - and also our chief benefactor. He has made this experiment possible. Walker waves his notebook at him and Kallenbach lifts his level in greeting. On his bronzed chest there is a Star of David. Walker looks around, grinning, shaking his head. We see two women in saris trying to quell some squabbling children in the background.</dialogue>
<character>WALKER</character>
<dialogue>Well, it's quite a place, your `` ashram'' - is that right?</dialogue>
<character>GANDHI</character>
<dialogue>That's right. The word only means `` community.'' But it could stand for `` village''. or the world. Walker looks at him appraisingly.</dialogue>
<character>WALKER</character>
<dialogue>You're an ambitious man.</dialogue>
<character>GANDHI</character>
<parenthetical>( uncertainly . )</parenthetical>
<dialogue>I hope not. A moment of embarrassed doubt, then he starts toward a half - finished building - wooden sides, door, but canvas still covering the roof. It has an awning spread before it. Walker's carriage is tethered nearby, a Black driver standing in the sun, waiting. In the background we see two women cleaning a latrine. Walker glances at the latrine.</dialogue>
<character>WALKER</character>
<dialogue>They tell me you also take your turn at peeling potatoes and cleaning the `` outhouse'' - is that part of the experiment? As we have approached we see a table set for tea under the awning. There are two places. Having set the places, Ba is walking along the side of the building, away from them. She glances at Gandhi tautly and deliberately avoids speaking or acknowledging him.</dialogue>
<character>GANDHI</character>
<parenthetical>( a little surprised , a little annoyed . )</parenthetical>
<dialogue>Ba - we will need another place set for Mr. Walker's driver. Ba looks at him coldly.</dialogue>
<character>BA</character>
<dialogue>I will tell Sora. She turns back and walks into the building by the rear entrance. Gandhi is disconcerted by her attitude, but he tries to answer Walker.</dialogue>
<character>GANDHI</character>
<dialogue>It's one way to learn that each man's labor is as important as another's. In fact when you're doing it, `` cleaning the outhouse'' seems far more important than the law. A grin - but forced. When a girl.</dialogue>
<parenthetical>( Sora . )</parenthetical>
<dialogue>comes from the building bringing another cup and place setting, Gandhi calls to the driver.</dialogue>
<character>GANDHI</character>
<dialogue>Please come and join us - you'll need something before your journey back.</dialogue>
<parenthetical>( He nods to Walker . )</parenthetical>
<dialogue>Excuse me a moment. And he goes into the building, determined to find the source of Ba's aloofness.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>What is it? Now Ba looks at him hostilely.</dialogue>
<character>BA</character>
<dialogue>Sora was sent to tell me I - I must rake and cover the latrine.</dialogue>
<character>GANDHI</character>
<dialogue>Everyone takes his turn.</dialogue>
<character>BA</character>
<dialogue>It is the work of untouchables.</dialogue>
<character>GANDHI</character>
<dialogue>In this place there are no untouchables - and no work is beneath any of us!</dialogue>
<character>BA</character>
<parenthetical>( she looks up at him . )</parenthetical>
<dialogue>I am your wife.</dialogue>
<character>GANDHI</character>
<dialogue>All the more reason. He holds her gaze as angrily as she holds his.</dialogue>
<character>BA</character>
<parenthetical>( finally , scornfully . )</parenthetical>
<dialogue>As you command. As she starts to rise he grabs her arm, but she pulls free.</dialogue>
<character>BA</character>
<dialogue>The others may follow you - but you forget, I knew you when you were a boy! She says it derisively and it stings, but Gandhi is aware of Walker and he fights to hold his temper.</dialogue>
<character>GANDHI</character>
<dialogue>It's not me. It's the principle. And you will do it with joy or not do it at all! Ba settles back defiantly.</dialogue>
<character>BA</character>
<dialogue>Not at all then. For a moment Gandhi stares at her, and she back at him, resentfully. He suddenly reaches down and grabs her arm, pulling her roughly to her feet.</dialogue>
<character>GANDHI</character>
<dialogue>All right, go! You do n't belong here! Go! Leave the ashram! Get out altogether! We do n't want you! It is hushed but violent as he pulls her toward the rear door, opening it to push her out as she struggles against him.</dialogue>
<character>BA</character>
<dialogue>Stop it! Stop it! What are you doing!? She lurches free of his grip, glaring at him angrily. For a moment they both stare at each other, shattered by their violence.</dialogue>
<character>BA</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>Have you no shame? I'm your wife.</dialogue>
<parenthetical>( Like lead . )</parenthetical>
<dialogue>Where do you expect me to go? Gandhi stares at her breathlessly, his temper subsiding into a dazed remorse. He sinks numbly to a stool, sitting, holding his head in his hands. Ba studies him for a moment - and she sighs, her temper and breathing subsiding too. She moves and kneels before him.</dialogue>
<character>GANDHI</character>
<dialogue>What is the matter with me? A moment, then she soothes the top of his head - like the mother - wife she is.</dialogue>
<character>BA</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>You are human - only human. Gandhi looks up at her, blankly, abjectly.</dialogue>
<character>BA</character>
<dialogue>And it is even harder for those of us who do not even want to be as good as you do. And Gandhi grins weakly. Ba catches it and sends it back, warmer, less complicated by doubts. Gandhi sighs, putting his arms around her and she leans into him so that their heads are touching.</dialogue>
<character>GANDHI</character>
<dialogue>I apologize. Ba mutters `` Hm'' and holds him a little firmer. A moment.</dialogue>
<character>GANDHI</character>
<dialogue>I must go back to that reporter. Ba nods.</dialogue>
<character>BA</character>
<dialogue>And I must rake and cover the latrine. Gandhi holds her back so that he can look at her. She looks at him evenly - no smile, but the warmth still in her eyes.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<parenthetical>( to the house . )</parenthetical>
<dialogue>I want to welcome you all! A buzz, then applause - loud and defiant. When is subsides Gandhi looks down at the plainclothes policemen, fixing his gaze on them.</dialogue>
<character>GANDHI</character>
<dialogue>Every one of you.</dialogue>
<parenthetical>( Then , still at them . )</parenthetical>
<dialogue>We - have - no - secrets. And again the audience bursts into applause. The policemen just sit like stone - confident, sure, immune to rhetoric.</dialogue>
<character>GANDHI</character>
<dialogue>Let us begin by being clear about General Smuts's new law. All Indians must now be fingerprinted - like criminals. Men and women.</dialogue>
<parenthetical>( A rising , angry response ; Gandhi just waits . )</parenthetical>
<dialogue>No marriage other than a Christian marriage is considered valid. Under this Act our wives and mothers are whores. And every man here a bastard. In the gallery a rhythmic pounding signals the anger and protest and is taken up around the hall. The police stare imperturbably. Khan leans towards Singh, nodding to Gandhi.</dialogue>
<character>KHAN</character>
<dialogue>He's become quite good at this. Singh smiles at the understatement. Gandhi holds up his hand, silencing the hall.</dialogue>
<character>GANDHI</character>
<dialogue>And a policeman passing an Indian dwelling - I will not call them homes - may enter and demand the card or any Indian woman whose dwelling it is.</dialogue>
<character>A VOICE</character>
<dialogue>God damn them! Gandhi just waits.</dialogue>
<character>GANDHI</character>
<dialogue>Understand! He does not have to stand at the door - he may enter. Now a violent response - a large, powerful merchant rises in the third row.</dialogue>
<character>MERCHANT</character>
<dialogue>I swear to Allah I will kill the man who offers that insult to my home and my wife!</dialogue>
<parenthetical>( A guttural cheer ; he glares at the police . )</parenthetical>
<dialogue>And let them hang me! Another cheer. When it subsides, Tyeb Mohammed rises near the back, where he is seated with a number of other young men.</dialogue>
<character>TYEB MOHAMMED</character>
<dialogue>I say talk means nothing. Kill a few officials before they disgrace one Indian woman - then they might think twice about such laws! The police half rise to look back at him, but there is a smattering of applause and several stand to look back.</dialogue>
<character>TYEB MOHAMMED'S FRIEND</character>
<dialogue>In that cause, I would be willing to die! And now there is general applause. Gandhi waits, then</dialogue>
<character>GANDHI</character>
<dialogue>I praise such courage. I need such courage - because in this cause, I too am prepared to die.</dialogue>
<parenthetical>( A response ; he looks at Tyeb Mohammed . )</parenthetical>
<dialogue>But, my friend, there is no cause for which I am prepared to kill. He looks at the audience. This is the more sober Gandhi they have come to know.</dialogue>
<character>GANDHI</character>
<dialogue>I have asked you here tonight because despite all their troops and police, I think there is a way to defeat this law. Whatever they do to us we will attack no one, kill no one. But we will not.</dialogue>
<parenthetical>( the climatic point . )</parenthetical>
<dialogue>give our fingerprints - not one of us. He looks down at the police, making the point stick. There is a tentative reaction from the audience, but uncertain.</dialogue>
<character>GANDHI</character>
<dialogue>They will imprison us, they will fine us. They will seize our possessions. But they can not take away our self - respect if we do not give it to them.</dialogue>
<character>VOICE FROM THE GALLERY</character>
<dialogue>Have you been to prison? They'll beat us and torture us! I say -</dialogue>
<character>GANDHI</character>
<dialogue>I am asking you to fight -!</dialogue>
<parenthetical>( It catches the audience a little , holds them . )</parenthetical>
<dialogue>To fight against their anger - not to provoke it! He has their attention now.</dialogue>
<character>GANDHI</character>
<dialogue>We will not strike a blow - but we will receive them. And through our pain we will make them see their injustice.</dialogue>
<parenthetical>( quickly . )</parenthetical>
<dialogue>and it will hurt, as all fighting hurts!</dialogue>
<parenthetical>( Utter silence . )</parenthetical>
<dialogue>. But we can not lose. We can not.</dialogue>
<parenthetical>( He looks down at the police . )</parenthetical>
<dialogue>Because they may torture my body, may break my bones, even kill me.</dialogue>
<parenthetical>( Up to the house . )</parenthetical>
<dialogue>They will then have my dead body - not my obedience. And now he gets the response he has wanted. Firm, mature, determined. Gandhi holds up his hand.</dialogue>
<character>GANDHI</character>
<dialogue>We are Hindu and Muslim - children of God, each of us. Let us take a solemn oath in His name that - come what may - we will not submit to this law. He looks at the audience. A second, then a merchant stands, signifying his pledge. And then another. Then Tyeb Mohammed and the youths about him. Then all over the theater they begin to stand and on the stage until everyone is standing. It is all done is silence. Gandhi looks at the full theater - all standing. He takes a step forward.</dialogue>
<character>GANDHI</character>
<parenthetical>( a coarse singing . )</parenthetical>
<dialogue>God save our gracious King. Long live our.</dialogue>
<parenthetical>( the audience takes it up . )</parenthetical>
<dialogue>. noble King.</dialogue>
<parenthetical>( And their voices fill the auditorium . )</parenthetical>
<dialogue>God save the King! A prison door slams : we are close on one face, another slam, another face, and again and again in the rhythm of marching feet.</dialogue>
</scene>
<scene>
<character>CIVILIAN</character>
<dialogue>These men are contracted laborers. They belong in the mines.</dialogue>
<character>GANDHI</character>
<dialogue>You have put their comrades in jail. When you free them they will go back to work. The civilian smiles slowly. He looks from Gandhi to the miners.</dialogue>
<character>CIVILIAN</character>
<dialogue>I've warned you.</dialogue>
<character>GANDHI</character>
<dialogue>We have warned each other. The civilian looks at him sharply, then smiles derisively, signaling the car off. As it pulls away, Tyeb Mohammed and Singh come up to Gandhi, both made wary by the man's evident satisfaction with what has transpired.</dialogue>
<character>SINGH</character>
<dialogue>I do n't think that is very good. Gandhi watches the disappearing car worriedly, then turns and signals the miners on. They start forward. Their point of view. The car rides on past the factory building out of which it turned, and suddenly mounted police come swinging out from the buildings and face the procession. Tracking back before Gandhi, Singh and Tyeb Mohammed as they move forward, fear suddenly making their pace more labored. Tracking back before the mounted police.</dialogue>
<character>SERGEANT</character>
<dialogue>At the canter - for - ward! They come on fast, batons at the ready. Gandhi screws up his courage, marching on. Tyeb Mohammed sets his jaw in defiance. Singh forces himself along at Gandhi's side. The mounted police riding on, batons at the ready. Featuring an Indian miner. He is in the front rank of the procession, watching the horses approach. He has a blunt farmer's face.</dialogue>
<character>MINER</character>
<parenthetical>( half to Gandhi . )</parenthetical>
<dialogue>We should lie down - the horses wo n't tramp on us.</dialogue>
<parenthetical>( Then shouting out . )</parenthetical>
<dialogue>Down! Down! Everyone lie down! He starts to go down, and others around him, convinced by the authority of his voice. The sense of the idea seizes Gandhi, and as the sound of the galloping horses nears, he turns and shouts too.</dialogue>
<character>GANDHI</character>
<dialogue>Lie down! Lie down! And the miners begin to go down, some face up, shielding their faces with their hands, some burying their faces in the earth and covering their heads with their hands. Close fast traveling, the sergeant's point of view. We arrive at the prone miners. Close on Gandhi, his arms crossed in front of his face, staring up, frightened, but determined to bear it. Wide angle. The horses can not bring themselves to gallop over the human carpet ; they rear, plunge, swerve. Close shot - miner who shouted `` down.'' He is peering through his crossed hands, a tight smile of satisfaction at knowledge confirmed. He turns to see : The sergeant thrown off his horse. He lands heavily, scrambles up, furious, darts after it. Mounting, he is enraged to hear laughter. Close shot. Singh and the miner who shouted `` Down'' kneeling, grinning at the chaos.</dialogue>
<character>MINER</character>
<dialogue>The horses have more mercy than the men. Singh smiles, but suddenly looks up fearfully. The sergeant looms over them.</dialogue>
<character>SERGEANT</character>
<dialogue>You're right! And without taking his booted foot from the stirrup he swings it into the miner's face. The man goes down, bleeding. An angry roar from the miners. Several stand and shake their fists. `` Bastard!,'' `` God damn you, Englishman!,'' `` Jackal!'' The wounded miner himself starts to stagger up. The sergeant sweeps them, his eyes glittering - this he can deal with. But -</dialogue>
<character>GANDHI</character>
<dialogue>Lie down! Lie down! It is a command, and angry in its own way, but it carries all the weight of his influence on them. They begin to go down again and the sergeant wheels his horse and rides at Gandhi. With deliberate, almost fatalistic pace, Gandhi goes first to his knees and then sprawls down flat, his hands over the top of his head, awaiting the blow of the horse's hoof. Close shot, the horse's head, its eyes rolling as it swerves again. Close shot, the sergeant controlling it, cursing, but unable to make it plunge down on the man. Full shot, the sergeant wheeling his horse, angrily - surveying the whole of the procession as they lie sprawled on the ground, his mounted police circling in front of them, not knowing what to do.</dialogue>
<character>SERGEANT</character>
<dialogue>Follow me! He turns his horse angrily and gallops back toward the factories. Gandhi, Singh and Tyeb Mohammed are looking off at the retreating horses. The car with the civilian has returned in the distance. Gandhi looks at the miner who first shouted `` Down'' - a smile, a nod of recognition and thanks. The miner grins, rubbing at the blood on his face, shrugging off Gandhi's implied praise. Featuring the police. The sergeant wheels by the car with the civilian ; his police turn their horses, lining up across the road again. Their point of view. Gandhi and the miners coming on once more, chanting forcefully. `` One King! One Law! One King! One Law!''</dialogue>
<character>SERGEANT</character>
<dialogue>What the hell are we supposed to do now?</dialogue>
<character>CIVILIAN</character>
<parenthetical>( watching the procession narrowly . )</parenthetical>
<dialogue>Let them march. In our own sweet time, in our own sweet way - we'll get them.</dialogue>
</scene>
<scene>
<character>CHARLIE</character>
<dialogue>Some of you may be rejoicing that Mr. Gandhi has at last been put into prison. The congregation is listening to him stiffly, unsympathetically, and there is more than one murmur of assent at his words. The clergyman who has given Charlie the use of his pulpit sits beneath it, embarrassed, but sticking resolutely to his decision to give Charlie a hearing.</dialogue>
<character>CHARLIE</character>
<dialogue>But I would ask you - assembled here in this house of God - to recognize that we are witnessing something new, something so unexpected, so unusual that it is not surprising the Government is at a loss. What Mr. Gandhi has forced us to do is ask questions about ourselves. A few men in the congregation rise and pointedly escort their families from the church. Charlie struggles on.</dialogue>
<character>CHARLIE</character>
<dialogue>As Christians, those are difficult questions to answer. How do we treat men who defy an unjust law - men who will not fight, but will not comply? More of the congregation rise and march from the church. though a few pointedly do not.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>They're sparing no one, I see.</dialogue>
<character>KHAN</character>
<dialogue>No. You were the surprise. It's been all over the prison. We thought they'd be too afraid of the English press.</dialogue>
<character>GANDHI</character>
<dialogue>So did I. He takes his soup from Khan.</dialogue>
<character>KHAN</character>
<parenthetical>( acidly . )</parenthetical>
<dialogue>Do n't worry about the meat - it's Hindu.</dialogue>
<parenthetical>( referring to the soup . )</parenthetical>
<dialogue>- there's not a trace. Gandhi smiles, but they turn as the gate opens and a paddy wagon is backed into the press of prisoners. Khan shakes his head.</dialogue>
<character>KHAN</character>
<dialogue>I do n't know who they've left out there to do the work. There ca n't be one mine left open. Have they touched the women?</dialogue>
<character>GANDHI</character>
<dialogue>My wife publicly defied the law. They've arrested her and four others.</dialogue>
<character>KHAN</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>The fools!</dialogue>
<parenthetical>( He spills some soup . )</parenthetical>
<dialogue>Sorry.</dialogue>
<character>GANDHI</character>
<dialogue>It's split the Government.</dialogue>
<character>KHAN</character>
<dialogue>Well, that's one victory. Gandhi looks around the crowded yard at the soiled bandages, the defiant, determined faces.</dialogue>
<character>GANDHI</character>
<dialogue>If we hold firm, it wo n't be the last.</dialogue>
<character>KHAN</character>
<dialogue>Do n't worry - I've never seen men so determined. You've given them a way to fight. And I do n't think - He is distracted by a phalanx of guards.</dialogue>
<parenthetical>( an officer and four men . )</parenthetical>
<dialogue>pushing their way through the prisoners.</dialogue>
<character>PRISON OFFICER</character>
<dialogue>Gandhi! I want Gandhi! Which sammy is it? The prisoners are moving back from them resentfully but their glances reveal who Gandhi is. The prison officer's eyes fall on him.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>SMUTS</character>
<dialogue>Ah, Mr. Gandhi. I thought we might have a little talk. He nods to the tall civil servant, who bows and closes the door. Smuts crosses the room toward a small cabinet.</dialogue>
<character>SMUTS</character>
<dialogue>Will you have a glass of sherry?</dialogue>
<character>GANDHI</character>
<dialogue>Thank you. No. Smuts looks at Gandhi, a little surprised at the frigid tone of that refusal.</dialogue>
<character>SMUTS</character>
<dialogue>Perhaps some tea?</dialogue>
<character>GANDHI</character>
<parenthetical>( a shake of the head . )</parenthetical>
<dialogue>I dined at the prison.</dialogue>
<character>SMUTS</character>
<dialogue>Ahh. He appraises Gandhi, measuring the irony of his words, his determination. Then with a little sigh at the lost opportunity he replaces the stopper on the sherry, turns and gestures Gandhi on into the room.</dialogue>
<character>SMUTS</character>
<dialogue>Please - please do come and sit down. It's prison I wanted to talk to you about. He has indicated a chair near his desk, but as Gandhi goes forward he pauses by a spread of papers from England on a long table near the middle of the room. We see one headline in close shot : `` Thousands Imprisoned in South Africa/Mines Close. Crops Unharvested,'' a subhead, `` Gandhi Leads Non - Violent Campaign.'' He looks at Smuts. Smuts smiles, a passing nod at the papers.</dialogue>
<character>SMUTS</character>
<dialogue>Mr. Gandhi, I've more or less decided to ask the House to repeal the Act that you have taken such `` exception'' to.</dialogue>
<character>GANDHI</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Well, if you ask, General Smuts, I'm sure it will be done. Smuts smiles.</dialogue>
<character>SMUTS</character>
<dialogue>Hm. Of course it is not quite that simple.</dialogue>
<character>GANDHI</character>
<dialogue>Somehow I expected not. A wry smile, and he sits on the edge of the chair Smuts has directed him to. Smuts measures him again, not absolutely certain how to deal with him. A pause, and he affects to take Gandhi's irony at face value.</dialogue>
<character>SMUTS</character>
<dialogue>I'm glad to hear you say that. very glad. You see if we repeal the Act under pressure.</dialogue>
<parenthetical>( a nod at the papers again . )</parenthetical>
<dialogue>under this kind of pressure it will create a great deal of resentment. Can you understand that?</dialogue>
<character>GANDHI</character>
<dialogue>Very well. And Gandhi does understand it - as a guiding principle. Never humiliate your enemy. And his tone conveys it.</dialogue>
<character>SMUTS</character>
<parenthetical>( a bit surprised . )</parenthetical>
<dialogue>Good. Good.</dialogue>
<parenthetical>( The bland politician : the compromise . )</parenthetical>
<dialogue>I have thought of calling for a Royal Commission to `` investigate'' the new legislation.</dialogue>
<parenthetical>( He gestures , implying they 'll do what they 're told . )</parenthetical>
<dialogue>I think I could guarantee they would recommend the Act be repealed.</dialogue>
<character>GANDHI</character>
<parenthetical>( waiting for the catch . )</parenthetical>
<dialogue>I congratulate them. Smuts does a slight double take, a smile, then the `` tough'' politician.</dialogue>
<character>SMUTS</character>
<dialogue>But they might also recommend that future Indian immigration be severely restricted - even stopped. He measures Gandhi challengingly, obviously expecting some contest. Gandhi mulls it, then</dialogue>
<character>GANDHI</character>
<dialogue>Immigration was not an issue on which we fought. It would be wrong of us to make it one now that we - we are in a position of advantage. Smuts stares at him. a moment, then</dialogue>
<character>SMUTS</character>
<dialogue>You're an extraordinary man.</dialogue>
<character>GANDHI</character>
<parenthetical>( his grin ; he brushes at his prison garb . )</parenthetical>
<dialogue>I assure you I feel a very ordinary man at this moment. And now Smuts smiles with him. He bends suddenly and signs a group of documents.</dialogue>
<character>SMUTS</character>
<dialogue>I'm ordering the release of all prisoners within the next twenty - four hours. You yourself are free from this moment. Gandhi stands, a little uncertain about the sudden change in his status. Smuts signs the last document, then sees Gandhi's doubt - and misreads it.</dialogue>
<character>SMUTS</character>
<dialogue>Assuming we are in agreement?</dialogue>
<character>GANDHI</character>
<dialogue>Yes - yes. It's just that. in these clothes I'd - I'd prefer to go by taxi.</dialogue>
<character>SMUTS</character>
<parenthetical>( confused by his hesitation . )</parenthetical>
<dialogue>All right. Fine.</dialogue>
<character>GANDHI</character>
<dialogue>I'm - I'm afraid I have no money.</dialogue>
<character>SMUTS</character>
<dialogue>Oh!</dialogue>
<parenthetical>( He quickly feels in his waistcoat pockets - and realizes he has no money ! )</parenthetical>
<dialogue>Neither have I.</dialogue>
<parenthetical>( He reaches forth and touches a buzzer . )</parenthetical>
<dialogue>I'm awfully sorry. The tall civil servant.</dialogue>
<parenthetical>( Daniels . )</parenthetical>
<dialogue>enters.</dialogue>
<character>SMUTS</character>
<dialogue>Daniels, would you lend Mr. Gandhi a shilling for a taxi? Daniel stares.</dialogue>
<character>DANIELS</character>
<dialogue>I beg your pardon, sir?</dialogue>
<character>SMUTS</character>
<parenthetical>( a second thought . )</parenthetical>
<dialogue>How far will you be going, Mr. Gandhi?</dialogue>
<character>GANDHI</character>
<parenthetical>( a mischievous smile . )</parenthetical>
<dialogue>Well - now that this is settled - I had thought seriously of going back to India.</dialogue>
<parenthetical>( he faces the startled Daniel . )</parenthetical>
<dialogue>but a shilling will do splendidly for the moment. Still a little confused, Daniels reaches in his pocket and produces a shilling. He hands it to Gandhi.</dialogue>
<character>GANDHI</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( To Smuts . )</parenthetical>
<dialogue>Thank you both for a very enlightening experience. He bows slightly and starts out the door. Daniels immediately starts to accompany him, but Gandhi stops. A beat.</dialogue>
<character>GANDHI</character>
<parenthetical>( ice . )</parenthetical>
<dialogue>I'm obliged, Mr. Daniels, but I will find my own way out. And his own steel shows in the oblique reference to the ignominy of his way in. Daniel bows, and he and Smuts just stare as the uniformed `` prisoner'' goes out through the grand doors, past the stunned men in the office to the outer doors and on to the grand staircase. The prison guard appears in the doorway, looking off in confusion at Gandhi, then back at the office for guidance. Daniels simply shakes his head `` Let him be.'' Finally, when Gandhi has disappeared down the stairs, Daniels turns to Smuts.</dialogue>
<character>SMUTS</character>
<parenthetical>( a shake of the head . )</parenthetical>
<dialogue>He's either a great man or a colossal fraud. Either way, I shall be glad to see the last of him.</dialogue>
</scene>
<scene>
<character>YOUNG ENGLISHMAN</character>
<dialogue>By God, he loves it. Their point of view. A British general is coming down the gangplank accompanied by his ADC. The officer commanding and the Guard of Honor await him.</dialogue>
<character>SECOND ENGLISHMAN</character>
<dialogue>I'm sure he hates it. The young Englishman glances at him quizzically. The General has taken the salute and moves to inspect the troops to the accompaniment of the military band.</dialogue>
<character>SECOND ENGLISHMAN</character>
<dialogue>Generals' reputations are being made in France today, fighting on the Western Front. Not as Military Governors in India. He is suddenly aware of a well - dressed Indian half - listening to their conversation. He glances at him and the well - dressed Indian simply nods slightly and moves off a little. The second Englishman grimaces at the young Englishman and looks down again.</dialogue>
<character>SECOND ENGLISHMAN</character>
<dialogue>What the devil's going on back there? He is looking aft. His point of view. Another far less elaborate gangplank extends from the aft section of the ship. Third Class passengers are disembarking here, and on shore, separated by a wire fence from the rest of the pier. A large crowd of Indians is reacting excitedly to someone coming down the gangplank but we ca n't yet see that person. The young Englishman glances back at the well - dressed Indian to make sure of his distance, then speaks quietly.</dialogue>
<character>YOUNG ENGLISHMAN</character>
<dialogue>It must be that Indian that made all that fuss back in Africa. My cabin boy told me he was on board.</dialogue>
<character>SECOND ENGLISHMAN</character>
<dialogue>Why have n't we seen him?</dialogue>
<parenthetical>( Finding the name . )</parenthetical>
<dialogue>Gandhi?</dialogue>
<character>YOUNG ENGLISHMAN</character>
<dialogue>Yes. That's it. He was traveling Third Class. There he is. Their point of view. There has been a little hiatus in those disembarking but now Gandhi has appeared, coming down the gangplank with Ba and the children.</dialogue>
<parenthetical>( grown - up sons now . )</parenthetical>
<dialogue>, and three or four people behind them, including the tall figure of Charlie Andrews. But Gandhi is wearing an Indian tunic and sandals and he has shaved his hair except for a central section on the top.</dialogue>
<character>SECOND ENGLISHMAN'S VOICE-OVER</character>
<dialogue>God - he's dressed like a coolie! I thought he was a lawyer. The young Englishman glances back cautiously toward the well - dressed Indian again, then</dialogue>
<character>YOUNG ENGLISHMAN</character>
<dialogue>After he came out of jail he refused to wear European clothes.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>No, no, I have n't `` refused''. I - I simply wanted to dress the way my comrades in prison dressed. He speaks with an uncertainty and tentativeness that he had lost in South Africa, patently overwhelmed by the reception. An English journalist catches him as he turns.</dialogue>
<character>ENGLISH JOURNALIST</character>
<dialogue>Will you support the war effort, Mr. Gandhi? An exuberant woman puts a garland over his shoulders.</dialogue>
<character>GANDHI</character>
<dialogue>I - I have demanded rights as a British citizen, it is therefore my duty to help in the defense of the British Empire. He smiles uncertainly again. As he turns he is face to face with an American reporter.</dialogue>
<character>AMERICAN REPORTER</character>
<dialogue>What are you going to do now that you're back in India?</dialogue>
<character>GANDHI</character>
<dialogue>I do n't know. I do n't know. An Indian reporter has cornered Ba behind him.</dialogue>
<character>SECOND INDIAN REPORTER</character>
<dialogue>As an Indian woman how could you accept the indignity of prison? Gandhi half - twists to hear Ba's answer, but his arm is taken by a young Indian.</dialogue>
<parenthetical>( Nehru . )</parenthetical>
<dialogue>in elegant European clothes. Another garland is thrown over his shoulders.</dialogue>
<character>NEHRU</character>
<dialogue>Please, Mr. Gandhi. Featuring Ba. Offhand, her eyes on Gandhi ahead.</dialogue>
<character>BA</character>
<dialogue>My dignity comes from following my husband. She joins her hands, acknowledging a garland placed around her shoulders, and pushes on after Gandhi. Charlie helps to guide her. Featuring Gandhi. The young Nehru, somewhat amused by all the excitement, leads Gandhi through the crowd to a little flower - covered platform. We see a banner : THE CONGRESS PARTY WELCOMES GANDHI.</dialogue>
<character>NEHRU</character>
<parenthetical>( he too speaks with an Oxbridge accent . )</parenthetical>
<dialogue>Just a few words - then we'll get you to civilization. He grins. He has guided Gandhi to the first step of the platform. Another garland is wrapped around Gandhi's shoulders, and in some embarrassment, he mounts the platform. There is a great cheer, but in the silence that follows we hear the military band from across the way as the troops prepare to march off. Gandhi looks around at the crowd. Finally he speaks out.</dialogue>
<character>GANDHI</character>
<dialogue>I - I am glad to be home.</dialogue>
<parenthetical>( A little round of applause . )</parenthetical>
<dialogue>I - I thank you for your greeting. He makes the pranam and starts for the steps. The crowd is a little disappointed, but they manage a cheer and applause. Nehru is standing next to a heavy - set, well - dressed man.</dialogue>
<parenthetical>( Patel . )</parenthetical>
<dialogue>. They exchange a wry glance, `` Not exactly a world - beater.'' A car door slams. The camera pulls back. Nehru has slammed the door of a gleaming Rolls Royce touring car, the top down. He has seated Gandhi in it beside Patel, taking Gandhi's knapsack. An Indian chauffeur rides in front. The crowd still surges around and Gandhi is looking apprehensively back for Ba.</dialogue>
<character>NEHRU</character>
<dialogue>We'll follow with your wife - do n't worry, everything's arranged. He grins boyishly, in part to comfort, in part unable to contain his amusement at Gandhi and his evident confusion.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Who is that young man?</dialogue>
<character>PATEL</character>
<dialogue>That's young Nehru. He's got his father's intellect, his mother's looks and the devil's charm. If they do n't ruin him at Cambridge - Wave! Wave! - he may amount to something. There are crowds along the street, and Gandhi - in surprise that they are for him - waves tentatively. Patel waves too but he eyes Gandhi rather critically.</dialogue>
<character>PATEL</character>
<dialogue>I must say when I first saw you as a bumbling lawyer here in Bombay I never thought I'd be greeting you as a national hero.</dialogue>
<character>GANDHI</character>
<dialogue>I'm hardly that, Mr. Patel.</dialogue>
<character>PATEL</character>
<dialogue>Oh, yes, you are. It's been two hundred years since an Indian has cocked a snoot at the British Empire and got away with it. And stop calling me Mr. Patel, you're not a junior clerk anymore.</dialogue>
<character>GANDHI</character>
<parenthetical>( a beat ; still hesitant . )</parenthetical>
<dialogue>No. They have come to a main thoroughfare. A crowd still lines the streets but it is thin and around and between we see groups of desperate poor, parked on the pavement, staring with blank curiosity at the passing car, but too listless and too out of touch to move from their little squatters' patches. Patel looks at Gandhi's clothes rather disapprovingly.</dialogue>
<character>PATEL</character>
<dialogue>The new Military Governor of the North West Province was on that ship. Too bad you came back Third Class - he might have been impressed by a successful barrister who had outmaneuvered General Smuts. Gandhi is staring at the street. From his point of view we hold on a gaunt young, aged woman holding a baby wrapped in rags as threadbare as her sari. Another hollow - faced child leans against her.</dialogue>
<character>GANDHI</character>
<parenthetical>( leadenly . )</parenthetical>
<dialogue>Yes. I'm sure.</dialogue>
</scene>
<scene>
<character>MRS. NEHRU</character>
<parenthetical>( wittily . )</parenthetical>
<dialogue>No, I leave practical matters to my husband and revolution to my son. She nods lightly toward Nehru. Featuring Nehru who is introducing Gandhi to two men, one tall, slender, ascetic looking, but dressed impeccably.</dialogue>
<parenthetical>( Jinnah . )</parenthetical>
<dialogue>. The other with a haunting face - beard, flowing dark hair, the air of a poet or a ruthlessly dedicated radical.</dialogue>
<parenthetical>( Prakash - whom we recognize from the opening sequence in Delhi at Gandhi 's assassination . )</parenthetical>
<dialogue>.</dialogue>
<character>NEHRU</character>
<dialogue>Mr. Jinnah, our joint host, member of Congress, and the leader of the Muslim League and Mr. Prakash, who I fear is awaiting trial for sedition and inducement to murder. Gandhi has bowed to Jinnah, now he looks a little startled at Prakash. Prakash grins and makes the pranam to Gandhi.</dialogue>
<character>PRAKASH</character>
<dialogue>I have not actually pulled a trigger, Mr. Gandhi, I have simply written that if an Englishman kills an Indian for disobeying his law, then it is an Indian's duty to kill an Englishman for enforcing his law in a land that is not his. Gandhi nods.</dialogue>
<character>GANDHI</character>
<dialogue>It is a clever argument ; I am not sure it will produce the end you desire. He meets Prakash's gaze firmly, the first moment we have seen any sign of the Gandhi of South Africa.</dialogue>
<character>JINNAH</character>
<parenthetical>( testingly . )</parenthetical>
<dialogue>We hope you intend to join us in the struggle for Home Rule, Mr. Gandhi.</dialogue>
<character>GANDHI</character>
<parenthetical>( a pause . )</parenthetical>
<dialogue>I - Charlie Andrews touches Gandhi's arm, excusing himself to the others.</dialogue>
<character>CHARLIE</character>
<dialogue>May I? Mohan - I would like you to meet someone. Gandhi bows to the others and is led off to an Indian bishop in full clerical robes. Behind him we see Patel regaling a small group with some story of court or society. As Gandhi leaves, Jinnah, Nehru and Prakash watch him clinically. Except for the servants, Gandhi is the only Indian male not in European clothes.</dialogue>
<character>NEHRU</character>
<dialogue>He told the press he would support the British in the war.</dialogue>
<character>PRAKASH</character>
<parenthetical>( acidly . )</parenthetical>
<dialogue>That's non - violence for you.</dialogue>
<character>JINNAH</character>
<dialogue>Is he a fool? Nehru grins slowly, thoughtfully.</dialogue>
<character>NEHRU</character>
<dialogue>I'm not certain. But I would n't be surprised. We get a shot of Ba in a gathering of Indian women. She stands listening, seemingly tongue - tied in the sophisticated patter. And we cut to Charlie introducing Gandhi to a man in obvious ill health, but well dressed, looking like the professor, philosopher and elder statesman he is.</dialogue>
<parenthetical>( Gokhale . )</parenthetical>
<dialogue>.</dialogue>
<character>CHARLIE</character>
<dialogue>I lied to you, Mohan, when I told you I decided to come to South Africa to meet you. Professor Gokhale sent me. Gokhale is pleased, Gandhi amused. He bows very respectfully.</dialogue>
<character>GOKHALE</character>
<dialogue>We're trying to make a nation, Gandhi - and the British keep trying to break us up into religions and principalities and `` provinces.'' What you were writing in South Africa - that's what we need here. He has offered his hand during this, and Gandhi has helped him from the garden chair he has been seated on, handing him the cane that is resting against it.</dialogue>
<character>GANDHI</character>
<parenthetical>( a smile . )</parenthetical>
<dialogue>I have much to learn about India. And I have to begin my practice again - one needs money to run a journal. Another grin. Gokhale has started to walk with him, looking at him intently, penetratingly.</dialogue>
<character>GOKHALE</character>
<dialogue>Nonsense.</dialogue>
<parenthetical>( He turns to Charlie . )</parenthetical>
<dialogue>Go on, Charlie. This is Indian talk - we want none of you imperialists. It is brusque but affectionate ; we know he regards Charlie as Gandhi does. and Charlie does too.</dialogue>
<character>CHARLIE</character>
<parenthetical>( a mock threat . )</parenthetical>
<dialogue>All right - I'll go and write my report to the Viceroy.</dialogue>
<character>GOKHALE</character>
<dialogue>Go and find a pretty Hindu woman and convert her to Christianity - that's as much mischief as you're allowed. He still has n't smiled, but Gandhi and Charlie have. ANOTHER PART OF THE GARDEN This is private - beautiful and still. Gandhi walks along slowly, taking the pace of the ailing Gokhale.</dialogue>
<character>GOKHALE</character>
<dialogue>Forget your practice. India has many men with too much wealth - it is their privilege to nourish the efforts of the few who can raise India from servitude and apathy. I will see to it - you begin your journal.</dialogue>
<character>GANDHI</character>
<dialogue>I have little to say. India is an `` alien'' country to me. He grins self - deprecatingly but Gokhale persists.</dialogue>
<character>GOKHALE</character>
<dialogue>Well, change that. Go and find India. Not what you see here, but the real India. You'll see what needs to be said. What we need to hear. He pauses and looks at Gandhi - and for the first time he smiles. When he speaks his voice is thick with feeling.</dialogue>
<character>GOKHALE</character>
<dialogue>When I saw you in that tunic I knew. I knew I could die in peace.</dialogue>
<parenthetical>( A dying man 's command . )</parenthetical>
<dialogue>Make India proud of herself. His eyes are watery with emotion, but he stares at Gandhi rigidly.</dialogue>
</scene>
<scene />
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<scene>
<character>TROOP LEADER</character>
<dialogue>Clear the way! Get out of the way! He is swinging his sword, not lethally, but threateningly at the Indian passengers from the train. His British NCOs are equally angry and deliberately ride close to the passengers, forcing them back against the train. Gandhi and Charlie step back. And as the troop goes past we see from their point of view a group of Indian bearers, trotting in the middle of the horsemen, carrying two litters - covered, each hanging by straps from a long pole - and each bearing a badly wounded British soldier ; one appears to be dead.</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>GANDHI</character>
<parenthetical>( at first distant , as from the hill . )</parenthetical>
<dialogue>I ask you to pray for those who died.</dialogue>
<parenthetical>( Closer . )</parenthetical>
<dialogue>For the English soldiers.</dialogue>
<parenthetical>( a murmur . )</parenthetical>
<dialogue>who were doing what they thought was right.</dialogue>
<parenthetical>( Closer . )</parenthetical>
<dialogue>And for the brave terrorists whose patriotism led them to do what was wrong. The murmur of resistance from the crowd is louder at this. Gandhi shakes his head at the dissent.</dialogue>
<character>GANDHI</character>
<dialogue>It is not my law, it is the law of creation. We reap what we sow. Out there in the fields - and in our hearts. Violence sows hatred, and the will to revenge. In them. And in us. He looks up. HILLSIDE - HIS POINT OF VIEW The troop leader, on horseback, is on the hill beside the gallows. The first view of Gandhi on the platform was his. Some of his troops are lined up beside him. He stares down at Gandhi coldly.</dialogue>
</scene>
<scene>
<character>PATEL</character>
<dialogue>I agree with Jinnah. Now that the Americans are in, the war will end soon. The Germans are worn out as it is.</dialogue>
<parenthetical>( he rolls over , facing Nehru . )</parenthetical>
<dialogue>and our first act should be to convene a Congress Party convention and demand independence. Nehru takes an iced drunk from a servant.</dialogue>
<character>JINNAH</character>
<dialogue>And we must speak with one voice - united. The others assent. Nehru shakes his head wistfully.</dialogue>
<character>PATEL</character>
<parenthetical>( it reminds him . )</parenthetical>
<dialogue>Ah - we should invite Gandhi. What the devil has happened to him anyway?</dialogue>
<character>NEHRU</character>
<dialogue>He's `` discovering'' India.</dialogue>
<character>JINNAH</character>
<parenthetical>( cynically . )</parenthetical>
<dialogue>Which is a lot better than causing trouble where it matters. Invite him - let him say his piece about South Africa - and then let him slip into oblivion.</dialogue>
</scene>
<scene />
<scene>
<character>BA</character>
<parenthetical>( quietly , private . )</parenthetical>
<dialogue>Please! You're being foolish!</dialogue>
<character>GANDHI</character>
<dialogue>There's no room! And the air is lovely. She grimaces severely and tugs at him.</dialogue>
<character>CHARLIE</character>
<dialogue>No violence, please.</dialogue>
<character>GANDHI</character>
<dialogue>Let me hang on with two hands or I will fall. Featuring the roof. And Indian squats right on the edge of the roof above Charlie. He is looking down, offering a hand.</dialogue>
<character>INDIAN</character>
<parenthetical>( over the sound of the engine . )</parenthetical>
<dialogue>Englishman Sahib! Charlie, who has been grinning, suddenly looks baffled, not to say appalled.</dialogue>
<character>INDIAN</character>
<dialogue>Come! Come! There is room! His hand still dangles in offering to the tall Charlie. Another angle. Two other Indians on the roof move to where they can grip the first Indian's other arm, as counterforce to the weight of Charlie.</dialogue>
<character>FIRST INDIAN</character>
<parenthetical>( to Charlie . )</parenthetical>
<dialogue>Place the foot on the window. Featuring Charlie. Hesitatingly, he grips the inside of the window higher, and starts to swing one foot onto the window ledge.</dialogue>
<character>GANDHI</character>
<parenthetical>( amused , but disconcerted . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>CHARLIE</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>Going nearer to God! Gandhi, baffled a second, sees the outstretched hand above them, and in puckish complicity, helps boost Charlie up. Long shot. As Charlie reaches up, his hand is grasped and he starts to scramble and be pulled up to the roof. Featuring Gandhi and Ba. As Charlie's leg, assisted by Gandhi, starts to leave its lodging on the window ledge Ba suddenly turns, sees it, and grabs for it in alarm.</dialogue>
<character>BA</character>
<dialogue>Charlie! Be careful! Close shot. Charlie. His face flat on the roof of the train as his arm is still gripped by the Indian, but his leg is being pulled from behind.</dialogue>
<character>CHARLIE</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>Mohan -! Resume Gandhi and Ba. Gandhi quickly moves to free Ba's hand from Charlie's leg and almost loses his own grip. He grabs the window again.</dialogue>
<character>GANDHI</character>
<dialogue>Let go! You'll kill him! Ba is confused.</dialogue>
<character>GANDHI</character>
<dialogue>Let go! Let go! With one hand he pries at her grip. In the chaos of instructions others in the coach are helping Gandhi, and Ba senses she is doing something wrong, but is still not sure what. She lets go. Close shot. Charlie. A desperate sigh of relief. Long shot. Charlie is pulled on up to the top of the coach. Featuring Charlie as he sits, puffing and recovering from the fright.</dialogue>
<character>FIRST INDIAN</character>
<dialogue>You see - most comfortable. Charlie nods grimly. Featuring Gandhi and Ba. Gandhi, smiling, goes on the tips of his toes to get a better view. Ba grabs him desperately.</dialogue>
<character>BA</character>
<dialogue>Please, God, no! Featuring Charlie. He looks around at the rest of the passengers on the roof, their bundles and baskets clutched beside them. Their poverty is appalling, but they are all smiling at him, a sense of gaiety made in part by his Englishman's participation in their experience. They must shout over the train.</dialogue>
<character>SECOND INDIAN</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Are you Christian, Sahib?</dialogue>
<character>CHARLIE</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Yes, yes, I'm a Christian.</dialogue>
<character>SECOND INDIAN</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>I know a Christian.</dialogue>
<parenthetical>( Charlie acknowledges it politely . )</parenthetical>
<dialogue>She drinks blood. Charlie stares at him in surprise.</dialogue>
<character>SECOND INDIAN</character>
<parenthetical>( explaining - obvious . )</parenthetical>
<dialogue>The blood of Christ - every Sunday! He is nodding, smiling, expecting Charlie's understanding. And Charlie gives it - somewhat bleakly. Suddenly</dialogue>
<character>GANDHI'S VOICE</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>Charlie! The Indians turn. Charlie turns.</dialogue>
</scene>
<scene>
<character>FIRST INDIAN</character>
<dialogue>It's all right, Sahib! Very safe - bend - bend! All the Indians are crouching. Charlie closes his eyes ruefully - he's had better ideas than this - and he gets as flat as he can.</dialogue>
</scene>
<scene>
<character>INDIAN'S VOICE</character>
<dialogue>Pray to God, Sahib! Now is when it is best to be Hindu! Close shot. Charlie. In a flash of steamy light, staring wide - eyed at the Indian. Black, and sudden silence.</dialogue>
</scene>
<scene>
<character>JINNAH</character>
<parenthetical>( gradually fading in . )</parenthetical>
<dialogue>We were asked for toleration. We were asked for patience. Some gave it and some did not. Well, their war is over! And those of us who supported it, and those of us who refused must forget our differences! The camera has been moving in ; now it jumps to Jinnah in close shot and intercuts with the impact of his fervid delivery on the audience.</dialogue>
<character>JINNAH</character>
<dialogue>And there can be no excuses from the British now! India wants Home Rule! India demands Home Rule! And the audience cheers him. Newspaper cameramen crowded around the platform photograph him. Patel comes forward from the back of the platform, clapping. He is chairing the Congress. Jinnah bows, taking his notes, gesturing to the auditorium. A man made for the spotlight, a man loving the spotlight. At last he moves back to his place on the platform. Nehru clasps his hand in congratulation. Others crowd around him. And fleetingly, just in the edge of picture, we see Gandhi - again, the only one in an Indian tunic - sitting at the end of the second row on the platform. He is just watching the flood of enthusiasm for Jinnah. Featuring Patel approaching the microphone, stilling the house with upraised hands.</dialogue>
<character>PATEL</character>
<dialogue>And let no one question that Mr. Jinnah speaks not just for the Muslims - but for all India! And again the audience cheers and applauds his little coda. He raises his hands, stilling them again.</dialogue>
<character>PATEL</character>
<dialogue>And now I'm going to introduce to you a man whose writings we are all becoming familiar with. a man who stood high in the esteem of our beloved Professor Gokhale. a man whose accomplishment in South Africa will always be remembered. Mr. Mohandas Gandhi. Gandhi has already started to come toward the podium. He is greeted with mild applause, but already the convention is performing like a convention now that the spell of Jinnah's major speech has dissipated. As Gandhi reaches the podium, Patel gestures him to it.</dialogue>
<character>PATEL</character>
<parenthetical>( politely . )</parenthetical>
<dialogue>Your journal has made a great impact. Gandhi nods to him and acknowledges the residue of applause.</dialogue>
<character>GANDHI</character>
<dialogue>I am flattered by Mr. Patel.</dialogue>
<parenthetical>( His grin . )</parenthetical>
<dialogue>I would be even more flattered if what he said were true. He means about the journal. Patel has wandered back toward the others, his mind already on them. But he has half heard Gandhi's comment and turns - a smile, a politician's flexibility -</dialogue>
<character>PATEL</character>
<parenthetical>( loudly ; he is away from the mike . )</parenthetical>
<dialogue>But it's true! I - I read it. often. Again Gandhi grins - and takes glasses from his sleeve. This is the first time we have seen them. He has one slip of paper with notes on it which he has put on the podium. He puts his glasses on and faces the convention.</dialogue>
<character>GANDHI</character>
<dialogue>Since I returned from South Africa, I have traveled over much of India. And I know I could travel many more years and still only see a small part of it. On the platform, the whispered politics go on. On the floor of the convention, some listen, some talk of other things.</dialogue>
<character>GANDHI</character>
<dialogue>and yet already I know what we say here means nothing to the masses of our country. Nehru has turned, having caught that last remark. He touches Patel on the shoulder `` Listen.''</dialogue>
<character>GANDHI</character>
<dialogue>Here we make speeches for each other - and those English liberal magazines that may grant us a few lines. And now they are beginning to pay attention on the floor of the hall too.</dialogue>
<character>GANDHI</character>
<dialogue>But the people of India are untouched. Their politics are confined to bread and salt. Jinnah too is listening now - aloofly, challengingly.</dialogue>
<character>GANDHI</character>
<dialogue>Illiterate they may be, but they are not blind. They see no reason to give their loyalty to rich and powerful men who simply want to take over the role of the British in the name of freedom. There is dissent on the floor and on the platform - but it is muttered and English `` polite.'' Gandhi goes on.</dialogue>
<character>GANDHI</character>
<dialogue>This Congress tells the world it represents India. My brothers, India is seven hundred thousand `` villages'' not a few hundred lawyers in Delhi and Bombay. Until we stand in the fields with the millions who toil each day under the hot sun, we will not represent India - nor will we ever be able to challenge the British as one nation. He takes off his glasses and folds them and in silence starts back toward his place on the platform. A cameraman flashes a picture, and someone begins to applaud ; it is taken up here and there, tepidly. On the platform, the leaders join in perfunctorily. We see one peasant face.</dialogue>
<parenthetical>( Shukla . )</parenthetical>
<dialogue>- which we will come to know - watching from the crowd of outsiders who stand in the doorways. Nehru, who has been looking at Gandhi with interest and some surprise turns to Patel.</dialogue>
<character>NEHRU</character>
<dialogue>Have you read his magazine?</dialogue>
<character>PATEL</character>
<dialogue>No - but I think I'm going to.</dialogue>
</scene>
<scene>
<character>FIRST FRIEND</character>
<dialogue>This ca n't be the way! Nehru is looking a little harassed, from the ragging he is taking and from the ride. The ashram is only half - finished, the ground unworked, the buildings only partially completed and the whole looking like some primitive frontier outpost. They are finally brought to a halt by a goat that is tethered right across the path.</dialogue>
<character>SECOND FRIEND</character>
<parenthetical>( a mocking quote . )</parenthetical>
<dialogue>Yes, I'm sure this is the direction India is taking. The others laugh ; Nehru suffers.</dialogue>
<character>SECOND FRIEND</character>
<dialogue>To think I almost got excited by Mr. Jinnah when all this was awaiting me.</dialogue>
</scene>
<scene>
<character>NEHRU</character>
<dialogue>We're looking for Mr. Gandhi!</dialogue>
<character>CHARLIE</character>
<dialogue>Ah, you'll find him under the tree by the river.</dialogue>
<parenthetical>( He points off , then glances at the car . )</parenthetical>
<dialogue>You'd better leave the car - the ground is rather soft.</dialogue>
<character>NEHRU</character>
<dialogue>Thank you. He looks around the ashram a little dismally.</dialogue>
<character>FIRST FRIEND</character>
<parenthetical>( drolly , as he climbs out . )</parenthetical>
<dialogue>Come on! I'm anxious to meet this new `` force''!</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>I try to live like an Indian, as you see. it is stupid of course, because in our country it is the British who decide how an Indian lives - what he may buy, what he may sell. And from their luxury in the midst of our terrible poverty they instruct us on what is justice and what is sedition.</dialogue>
<parenthetical>( He looks at them , a teasing but mordant grin . )</parenthetical>
<dialogue>So it is only natural that our best young minds assume an air of Eastern dignity, while greedily assimilating every Western weakness as quickly as they can acquire it. His smile is sardonic, but genuine, theirs embarrassed and self - conscious.</dialogue>
<character>NEHRU</character>
<parenthetical>( defensively . )</parenthetical>
<dialogue>If we have Home Rule that will change. Gandhi has finished the last potato. He glances at Nehru then drops the potato in the bowl. He lifts the pail of peelings to Nehru.</dialogue>
<character>GANDHI</character>
<dialogue>Would you, please? Nehru in his fine linen suit takes the pail awkwardly. His friends watch with amusement, but they too rise to follow as they head for the kitchen.</dialogue>
<character>GANDHI</character>
<dialogue>And why should the English grant us Home Rule? Here, we must take the peelings to the goats. He re - directs Nehru toward a trough where two or three goats are tethered, but he keeps right on talking.</dialogue>
<character>GANDHI</character>
<dialogue>We only make wild speeches, or perform even wilder acts of terrorism. We've bred an army of anarchists but not one single group that can really fight the British anywhere.</dialogue>
<character>NEHRU</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>I thought you were against fighting. They have reached the trough.</dialogue>
<character>GANDHI</character>
<dialogue>Just spread it around - they like the new peelings mixed with the rotting ones. Nehru has carefully walked around something distasteful on the ground, now he dumps the peelings along the trough and spreads them `` delicately.'' Gandhi scoops some peelings from the trough to feed a goat that nudges him.</dialogue>
<character>GANDHI</character>
<dialogue>Where there is injustice, I've always believed in fighting.</dialogue>
<parenthetical>( He looks at Nehru . )</parenthetical>
<dialogue>The question is do you fight to change things, or do you fight to punish.</dialogue>
<parenthetical>( His smile . )</parenthetical>
<dialogue>For myself, I have found that we are all such sinners we should leave punishment to God. And if we really want to change things there are better ways of doing it than by derailing trains or slashing someone with a sword. He meets Nehru's gaze, and for a moment something deeper than argument passes between them. Then something catches Gandhi's eye. He looks off. Ba stands, watching him, waiting.</dialogue>
<character>BA</character>
<dialogue>The fire is ready. Gandhi turns. The goat is reaching for his bowl of potatoes. He pushes it away and starts for the kitchen.</dialogue>
<character>GANDHI</character>
<dialogue>You see, even here we live under tyranny. Nehru grins, captured by Gandhi's seriousness, and his humor. He has n't moved, and neither have his friends. They watch Gandhi as he carries his bowl of potatoes to Ba.</dialogue>
<character>NEHRU</character>
<parenthetical>( reflectively . )</parenthetical>
<dialogue>I told you.</dialogue>
<character>FIRST FRIEND</character>
<dialogue>Hm. but look at him. Some `` fighter''! I can see the British shaking now. Gandhi plods on toward the kitchen, carrying the bowl of potatoes.</dialogue>
</scene>
<scene>
<character>BA</character>
<dialogue>But it's the ink that is the most diffic - She stops, because coming along the riverbed toward them is a man.</dialogue>
<parenthetical>( Shukla . )</parenthetical>
<dialogue>who looks as though he has come a long, weary way. His face is gaunt, his little bundle of belongings pathetic. As he nears them, he pauses.</dialogue>
<character>SHUKLA</character>
<dialogue>I am looking for Mr. Gandhi.</dialogue>
</scene>
<scene>
<character>SHUKLA</character>
<dialogue>I've wanted to speak to you for a long time. He looks up at Gandhi almost sheepishly. He does not eat yet, but his hunger is evident. Ba sits at one side in the shadows watching him as intently as Gandhi.</dialogue>
<character>SHUKLA</character>
<dialogue>our crops. we ca n't sell them. We have no money. but the landlords take the same rent. His voice is choked and near to tears, resonant with the unspoken agony his words mean for him and the others like him. He looks at Gandhi nervously for a moment, then puts the food to his mouth like a man who is starving, and trying desperately not to show it. Close shot. Ba. The solemn intensity of her gaze reflects her identification with the man's agony. She glances up at Gandhi.</dialogue>
</scene>
<scene>
<character>ENGLISH CAPTAIN</character>
<dialogue>Clear the way there! Get out of the way! A detail of British troops, already on the station, moves in his wake, just as aggressive toward the crowd as he is.</dialogue>
<character>SERGEANT PUTNAM</character>
<dialogue>Sir! Up here! The sergeant is on the low sloping roof of the station. The captain turns briskly to two of his detail.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Give me a leg up, will you! The two men join hands and the captain is hoisted up with an assist from Sergeant Putnam. We hear the train stop in the background. On the roof. The captain stands erect.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>What the hell is it, Sergeant? He is now standing and his face has frozen. It needs no answer from Putnam.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Jesus! He turns his head slowly, his mouth agape at His point of view. The whole of the obscurely lit platform is covered thick with waiting crowds. They engulf the station house, back and front, and on the other side of the train more people are packed all along its length, and beyond them along the narrow street that stretches through the little collection of houses adjoining the station, every rooftop is covered - men, women with babes in arms, children. There is no excitement, hardly any movement - just a vast congregation of people, waiting silently is the darkness - and as the camera pans we see that the crowd extends, indiscernible, even beyond the range of light.</dialogue>
<character>ENGLISH CAPTAIN</character>
<parenthetical>( awed , a little frightened . )</parenthetical>
<dialogue>What the hell is going on?</dialogue>
<character>SERGEANT PUTNAM</character>
<dialogue>I do n't know, sir. The agent says they got a telegram and it just said, he is coming. and gave the time of the train.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Who the hell is he?</dialogue>
<character>SERGEANT PUTNAM</character>
<dialogue>I do n't know, sir. Featuring Gandhi. He has stepped down from the train. Shukla guides him, Ba and Charlie a step or two behind. Gandhi moves through the silent crowd, his hands in the pranam, bowing a little to either side. As he advances, the crowd parts - it is almost eerily silent. As their clothes indicate, the area is Muslim, so some salaam.</dialogue>
<parenthetical>( a touch of the hand to the forehead . )</parenthetical>
<dialogue>and a few tentatively make the pranam back to Gandhi as he moves through them. Most of the faces are gaunt and lean. A destitute people. And suddenly there is a commotion and the sound of boots on the concrete platform, and the English captain shoves his way through to confront Gandhi down the little aisle that was being made for him. The sergeant and part of the detail and behind the captain. The captain stares. Then he looks around at the crowd, suspiciously, a touch of inner fear, then back to Gandhi.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Who the devil are you?</dialogue>
<character>GANDHI</character>
<dialogue>My name is Gandhi. Mohandas K. Gandhi. There is a flicker of recognition, but uncertain. The captain stiffens ; a steeling of the will. Another glance at the crowd, this time with an air of outraged authority.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Well, whoever you are, we do n't want you here. I suggest you get back on that train before it leaves the station.</dialogue>
<character>GANDHI</character>
<parenthetical>( calmly , a glance at the crowd . )</parenthetical>
<dialogue>They seem to want me.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Now look here. I'll put you under arrest if you'd prefer?</dialogue>
<character>GANDHI</character>
<dialogue>On what charge? It has the cold assurance of a lawyer, and the Captain is a little shaken by it. He glances at Charlie who stands behind Gandhi now, and it makes him all the more uncertain.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>I do n't want any trouble. He tries to make it severe, but it is a comedown.</dialogue>
<character>GANDHI</character>
<dialogue>I am an Indian traveling in my own country. I see no reason for trouble. It is firm and there is an edge of assertiveness to it that the Captain does n't like, but Gandhi's unrelenting stare unnerves him. He glances at Charlie again.</dialogue>
<character>ENGLISH CAPTAIN</character>
<dialogue>Well, there'd better not be. Again, the empty severity of weakness. He looks around, then turns and marches off briskly shoving his way through the crowd. `` Out of my way, there! Come on, move!'' Gandhi smiles reflectively, and the crowd suddenly begins to buzz. Where all was silence before there is now the hum of excitement. Already he has scored a victory - and as he moves forward again, making the pranam, they return it with flushed greetings. `` Gandhi - Gandhi - Bapu - Gandhiji''.</dialogue>
</scene>
<scene>
<character>MEHA</character>
<dialogue>For years the landlords have ordered us to grow indigo, for dyeing the cloth. Always they took part of the crop as rent. Gandhi sits cross - legged, listening. It is the kind of listening that opens the heart. Behind him a mass of villagers sits stoically, outside the dwelling, waiting while their case is heard. Meha tries to speak unemotionally but under Gandhi's sympathetic gaze his despair keeps cracking through.</dialogue>
<character>MEHA</character>
<dialogue>But now the English factories make cloth for everyone. No one wants our indigo. And the landlords wo n't take their share. They say we must pay our rent in cash. Near to breakdown, he gestures around the empty house.</dialogue>
<character>MEHA</character>
<dialogue>What we could, we sold. The police have taken the rest. There is no food, we - He can not go on.</dialogue>
<character>GANDHI</character>
<dialogue>I understand.</dialogue>
<parenthetical>( He examines his hands a moment . )</parenthetical>
<dialogue>The landlords are British? It's a rhetorical question. Meha nods. Gandhi looks around the crude dwelling, almost nothing remains. We see two young men, one seventeen perhaps, the other older, and a girl, sixteen. And finally Meha's wife, sitting near Ba, the two women listening together but Meha's wife looks like a woman who has given up, her hair is dead and hardly combed, her sari dirty. Meha looks at Gandhi and shakes his head hopelessly. Gandhi nods. He stands slowly.</dialogue>
<character>GANDHI</character>
<dialogue>What we can do. we will try to do. The words are said bleakly, not to raise false hopes. He glances at Meha's wife. Water comes to her eyes, and she lowers her head. Ba puts her hands on her shoulders and clasps her to her, and the woman breaks, and sobs and sobs.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Is all Champaran like this, Shukla?</dialogue>
<character>SHUKLA</character>
<dialogue>Yes, Bapu.</dialogue>
<parenthetical>( He looks across the field . )</parenthetical>
<dialogue>The whole province. hundreds - thousands. It registers with Gandhi - but inside. A moment.</dialogue>
<character>CHARLIE'S VOICE</character>
<dialogue>Mohan -! Gandhi shakes himself from his absorption and looks back. Ba and Charlie are mounted on a similar howdah on another elephant, both being led by peasant boys. Charlie is pointing behind them. Coming along the path is a tall Indian policeman on a bicycle. He rides right past Charlie and Ba and comes alongside Gandhi. His attitude is superficially polite, but he is full of righteous authority.</dialogue>
<character>POLICEMAN</character>
<parenthetical>( he knows . )</parenthetical>
<dialogue>Are you Mr. M. K. Gandhi?</dialogue>
<character>GANDHI</character>
<dialogue>Yes.</dialogue>
<character>POLICEMAN</character>
<dialogue>I'm sorry but you are under arrest.</dialogue>
<character>GANDHI</character>
<dialogue>I am not sorry at all. It contains more anger than we have seen him display to anyone but Ba.</dialogue>
</scene>
<scene>
<character>BATSMAN</character>
<parenthetical>( to the wicket keeper . )</parenthetical>
<dialogue>Who did you say would be buying the drinks? The wicket keeper makes a rude, facetious gesture, but as the batsman turns to settle in his crease again</dialogue>
<character>BATSMAN</character>
<dialogue>Oh, no - He has looked up. A car is pulling hurriedly in near the clubhouse, an officer in it, and people are streaming toward it. The car. A major is standing on the back seat. An Indian corporal drives.</dialogue>
<character>MAJOR</character>
<dialogue>I've got no idea. All I know is there's a riot or something at Motihari in Champaran, and the whole company is ordered out.</dialogue>
<character>A VOICE</character>
<dialogue>It's two days' march!</dialogue>
<character>MAJOR</character>
<dialogue>That's why the match is off. It's mostly Muslim territory and the old man's taking no chances. Featuring the batsman and some of the players as they walk across the field toward the car. They know something's up.</dialogue>
<character>BATSMAN</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>God, and it's the best innings I've had since Oxford.</dialogue>
<character>WICKET KEEPER</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>India's full of grief, old man. The batsman `` takes'' on him facetiously, and we cut to :</dialogue>
</scene>
<scene>
<character>CHARLIE</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>I wish to see the prisoner, please. The captain looks at his clerical collar, his English face, his determination.</dialogue>
<character>CAPTAIN</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>All right, Sergeant. Charlie moves through the Indian soldiers and up toward the entrance. The captain stares out worriedly over the unruly crowd.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Charlie - Reverse on Charlie. He looks down at Gandhi and shakes his head.</dialogue>
<character>CHARLIE</character>
<parenthetical>( a somber grin . )</parenthetical>
<dialogue>. Shades of South Africa. Close shot. Gandhi. Head and shoulders. He returns the grin, but anger and determination still dominate his mood.</dialogue>
<character>GANDHI</character>
<dialogue>Not quite. They're only `` holding me'' until the Magistrate's hearing. Then it will be prison.</dialogue>
<character>CHARLIE</character>
<parenthetical>( sympathetically . )</parenthetical>
<dialogue>Did they take your clothes? And now we see Gandhi in full shot for the first time. He is wearing only a white loincloth, the shawl over his shoulders and sandals - the costume he will wear for the rest of his life.</dialogue>
<character>GANDHI</character>
<dialogue>These are my clothes now. Charlie studies him a moment, and being Charlie, he understands.</dialogue>
<character>CHARLIE</character>
<parenthetical>( affectionately . )</parenthetical>
<dialogue>You always had a puritanical streak, Mohan. He grins, and it elicits a little grin from Gandhi.</dialogue>
<character>GANDHI</character>
<parenthetical>( in a tone of defensiveness . )</parenthetical>
<dialogue>If I want to be one with them, I have to live like them.</dialogue>
<character>CHARLIE</character>
<dialogue>I think you do.</dialogue>
<parenthetical>( A smile . )</parenthetical>
<dialogue>But I thank God we all do n't. And Gandhi laughs.</dialogue>
<character>GANDHI</character>
<dialogue>I'm sure your legs are quite as handsome as mine.</dialogue>
<character>CHARLIE</character>
<dialogue>Ah, but my puritanism runs the another way. I'm far too modest for such a display. And again Gandhi laughs. Charlie turns to the guard.</dialogue>
<character>CHARLIE</character>
<dialogue>Could n't I be let in with the prisoner? I am a clergyman. The police guard hesitates, and then unlocks the cell. Charlie enters and sits on a little wooden stool opposite Gandhi, his long legs awkwardly filling most of the space between them. Gandhi has remained seated, pensive. Charlie studies him a moment.</dialogue>
<character>CHARLIE</character>
<parenthetical>( a bit puzzled . )</parenthetical>
<dialogue>They're calling you `` Bapu.'' I thought it meant father.</dialogue>
<character>GANDHI</character>
<parenthetical>( wistfully . )</parenthetical>
<dialogue>It does. We must be getting old, Charlie. A little grin, but his mood remains pensive - and remote.</dialogue>
<character>CHARLIE</character>
<dialogue>What do you want me to do? Gandhi looks up - his anger, his determination there, but then broken by a hopeless sigh.</dialogue>
<character>GANDHI</character>
<dialogue>I think, Charlie, that you can help us most by taking that assignment you've been offered in Fiji. Charlie is stunned, and obviously hurt. Gandhi proceeds more gently.</dialogue>
<character>GANDHI</character>
<dialogue>I have to be sure - they have to be sure - that what we do can be done by Indians. alone. And now Charlie understands. Gandhi smiles ; warmth, and sadness. Then he speaks with a determined purposefulness, a friend's trust.</dialogue>
<character>GANDHI</character>
<dialogue>But you know the strategy. The world is full of people who will despise what's happening here. It is their strength we need. Before you go, you could start us in the right direction. He has taken some scratched notes from under the bedding and handed them to Charlie. Charlie nods. He sighs, and rises slowly.</dialogue>
<character>CHARLIE</character>
<dialogue>I must leave from Calcutta, and soon. You'll have to say goodbye to Ba for me. Gandhi rises, glancing wryly at the prison walls. He nods.</dialogue>
<character>GANDHI</character>
<dialogue>When I get the chance. And now he faces Charlie ; this is the moment of farewell.</dialogue>
<character>CHARLIE</character>
<dialogue>Well, I - He does n't know what to say, how to say it. Gandhi meets his eyes - a smile that shelters Charlie's vulnerability, returns his love.</dialogue>
<character>GANDHI</character>
<dialogue>There are no goodbyes for us, Charlie. Wherever you are, you will always be in my heart. The very English, very steadfast Charlie fights to contain his emotions.</dialogue>
</scene>
<scene>
<character>MAGISTRATE</character>
<parenthetical>( whispered conference . )</parenthetical>
<dialogue>I am going to clear the courtroom.</dialogue>
<character>CLERK</character>
<parenthetical>( politely . )</parenthetical>
<dialogue>I'm not sure we'd be able to. And it is a first hearing, it's supposed to be public. And he's a lawyer. The magistrate frowns.</dialogue>
<character>MAGISTRATE</character>
<parenthetical>( worried , angry . )</parenthetical>
<dialogue>I do n't know where they found the nerve for all this.</dialogue>
<character>CLERK</character>
<dialogue>I'm sure I do n't either, but the troops wo n't be here until tomorrow.</dialogue>
<character>MAGISTRATE</character>
<dialogue>How the press get here before the military? We see the front row from his point of view. Two or three Indian journalists and one European.</dialogue>
<character>CLERK</character>
<dialogue>That English clergyman sent a number of telegrams yesterday afternoon. I understand one of them even went to the Viceroy. The magistrate receives that news with some alarm. He indicates that the clerk take his place. Gandhi stands. The courtroom is silent, but we can still hear the sound of the chanting outside.</dialogue>
<character>MAGISTRATE</character>
<dialogue>You have been ordered out of the province on the grounds of disturbing the peace.</dialogue>
<character>GANDHI</character>
<parenthetical>( defiantly . )</parenthetical>
<dialogue>With respect, I refuse to go. The magistrate stares. The journalists write. The clerk swallows. The magistrate looks around the courtroom and is only too aware of the mob outside.</dialogue>
<character>MAGISTRATE</character>
<parenthetical>( sternly . )</parenthetical>
<dialogue>Do you want to go to jail?</dialogue>
<character>GANDHI</character>
<parenthetical>( not giving him an inch . )</parenthetical>
<dialogue>As you wish. The clerk lowers his eyes to his pad. The magistrate searches the distant wall, the top of his desk, his twitching hands for an answer. Finally</dialogue>
<character>MAGISTRATE</character>
<parenthetical>( as much sternness as he can muster . )</parenthetical>
<dialogue>All right. I will release you on bail of one hundred rupees until I reach a sentence.</dialogue>
<character>GANDHI</character>
<dialogue>I refuse to pay one hundred rupees. Again the magistrate stares. And so do the journalists. The magistrate wets his lips -</dialogue>
<character>MAGISTRATE</character>
<dialogue>Then I - I will grant release without bail - until I reach a decision. And now the court explodes. In the chaos of cheering and delight, the magistrate rises, looks around the room and heads for his chambers. The journalists are scribbling furiously. Gandhi turns and starts out of the courtroom. We hear cries of `` Gandhi! - Gandhi! - Bapu!'' THE COURTHOUSE BALCONY Gandhi steps down from the courtroom to the balcony. A huge cheer comes up from the massed peasants below. As he smiles down at them, he is turned by</dialogue>
<character>A VOICE</character>
<dialogue>Gandhiji! - Gandhiji! Mr. Gandhi! Four young Indians - elegantly dressed in English clothes - are following him, having plunged through the crowd in the courtroom. A beat - and the first young man addresses him over the chaos.</dialogue>
<character>FIRST YOUNG MAN</character>
<parenthetical>( his accent is as refined as his clothes . )</parenthetical>
<dialogue>Gandhiji - we are from Bihar. We received a cable this morning from an old friend who was at Cambridge with us.</dialogue>
<parenthetical>( A smile . )</parenthetical>
<dialogue>His name is Nehru and I believe you know him. Gandhi reacts - with surprise and caution.</dialogue>
<character>GANDHI</character>
<dialogue>Indeed.</dialogue>
<character>FIRST YOUNG MAN</character>
<dialogue>He tells us you need help. And we have come to give it. Again Gandhi is surprised - but even more cautious. Behind him, the crowd begins to chant `` Gandhi - Gandhi.''</dialogue>
<character>GANDHI</character>
<dialogue>I want to document, coldly, rationally, what is being done here. It may take months - many, many months.</dialogue>
<character>FIRST YOUNG MAN</character>
<parenthetical>( they 're eager , impressed . )</parenthetical>
<dialogue>We have no pressing engagements. It sounds casually ironic, but they look determined, even angry.</dialogue>
<character>GANDHI</character>
<dialogue>You will have to live with the peasants.</dialogue>
<parenthetical>( They nod . )</parenthetical>
<dialogue>I have nothing to pay you.</dialogue>
<parenthetical>( They only smile . )</parenthetical>
<dialogue>Hmm. He is looking at them with a soupçon of skepticism but he is beginning to smell victory. His name echoes around him and is taken up even louder as the news spreads to the street.</dialogue>
</scene>
<scene>
<character>SIR GEORGE</character>
<dialogue>I do n't know what this country is coming to! The Governor, Sir Edward Gait - the portrait of the King prominent behind him - is feeling as cornered as Sir George but for different reasons. His desk is arrayed with several tall stacks of folders - all with exactly the same covers - and on one corner of the desk, some folded newspapers. We can just read `` Gandhi'' in a headline. He taps one of the folders irritably with his hand.</dialogue>
<character>SIR EDWARD</character>
<dialogue>But good God, man, you yourself raised the rent simply to finance a hunting expedition! Sir George looks at him - half defensive, half defiant. They are old friends - the same school, the same social class, long together in India - and their argument is an argument between friend who accept the same premises. But even so the Governor feels the game has not quite been played fairly.</dialogue>
<character>SIR EDWARD</character>
<dialogue>And some of these others -.</dialogue>
<parenthetical>( he gestures to the folders again . )</parenthetical>
<dialogue>beatings, illegal seizures, demanding services without pay, even refusing them water! In India! Sir George is staring out of the window, vexed, bristling but defensive.</dialogue>
<character>SIR GEORGE</character>
<dialogue>Nobody knows what it is to try to get these people to work!</dialogue>
<character>SIR EDWARD</character>
<dialogue>Well, you've make this half - naked whatever - he - is into an international hero. He picks up one of the papers irritatedly, the London Daily Chronicle.</dialogue>
<character>SIR EDWARD</character>
<dialogue>`` One lone man marching dusty roads armed only with honesty and a bamboo shaft doing battle with the British Empire.''</dialogue>
<parenthetical>( He lowers the paper dismally ; then the ultimate bitterness . )</parenthetical>
<dialogue>At home children are writing `` essays'' about him. Sir George looks at him and sighs heavily. Sir Edward stares back, then drops the paper back on his desk.</dialogue>
<character>SIR EDWARD</character>
<dialogue>I could n't take another two years of him to save my life. Sir George turns, and paces back toward him. For the first time we see Sir Edward's personal secretary.</dialogue>
<parenthetical>( a male civil servant . )</parenthetical>
<dialogue>sitting at a small desk and listening with highly developed unobtrusiveness.</dialogue>
<character>SIR GEORGE</character>
<dialogue>What do they want? It is the first sign of concession. Sir Edward lifts his eyes to his personal secretary.</dialogue>
<character>PERSONAL SECRETARY</character>
<parenthetical>( reading precisely from a document . )</parenthetical>
<dialogue>A rebate on rents paid.</dialogue>
<parenthetical>( Sir George huffs . )</parenthetical>
<dialogue>They are to be free to grow crops of their own choice. A commission - part Indian - to hear grievances. Sir George looks from him to Sir Edward. A beat.</dialogue>
<character>SIR GEORGE</character>
<parenthetical>( wearily . )</parenthetical>
<dialogue>That would satisfy him?</dialogue>
<character>SIR EDWARD</character>
<parenthetical>( a nod ; then pointedly . )</parenthetical>
<dialogue>And His Majesty's Government. It only needs your signature for the landlords. Sir George looks at the document on the secretary's desk. A moment. The secretary turns it slowly so it is facing him. Sir George looks at it like a snake. The secretary picks up a pen and offers it. A second, then Sir George takes the pen and signs angrily.</dialogue>
<character>SIR GEORGE</character>
<dialogue>It will be worth it to see the back of him.</dialogue>
<parenthetical>( A flourish at the end of his signature , then he stands . )</parenthetical>
<dialogue>We're too damn liberal. Sir Edward is at the liquor cabinet.</dialogue>
<character>SIR EDWARD</character>
<dialogue>Perhaps. But at least all this has made the Government see some sense about what men like Mr. Gandhi should be allowed, and what they should be denied. He turns, offering Sir George a whiskey in a finely cut glass of crystal.</dialogue>
<character>SIR EDWARD</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>Things are going to change.</dialogue>
</scene>
<scene>
<character>JINNAH</character>
<parenthetical>( in annoyance . )</parenthetical>
<dialogue>Where is Mr. Gandhi?</dialogue>
<character>CHAUFFEUR</character>
<parenthetical>( distastefully . )</parenthetical>
<dialogue>He said he preferred to walk, sir. I followed him most of the way. He's just turned the corner. Jinnah closes the door and looks across at the entrance in exasperation.</dialogue>
<character>JINNAH</character>
<dialogue>The Prophet give me patience.</dialogue>
<character>CHAUFFEUR</character>
<dialogue>He came Third Class. It's a disdainful comment and he drives the car off toward the garage. Gandhi comes around the corner of the wall into the entrance. He is carrying a bedroll and a bamboo walking stick. Herman Kallenbach is with him, dressed informally, also carrying a bedroll. Jinnah makes a `` sophisticated'' salaam.</dialogue>
<character>JINNAH</character>
<parenthetical>( with effort . )</parenthetical>
<dialogue>My house is honored. Gandhi grins, dismissing the formality.</dialogue>
<character>GANDHI</character>
<parenthetical>( he makes the pranam . )</parenthetical>
<dialogue>The honor is ours. May I introduce Mr. Kallenbach. He's an old friend.</dialogue>
<parenthetical>( anticipating Jinnah 's objection . )</parenthetical>
<dialogue>and his interest is in flowers. I presumed to tell him he could wander your gardens while we talked.</dialogue>
<character>JINNAH</character>
<parenthetical>( the suave , but slightly ironic host . )</parenthetical>
<dialogue>I'll send my gardener. I'm sure you'll have much to discuss.</dialogue>
</scene>
<scene>
<character>JINNAH</character>
<dialogue>Gentlemen - the hero of Champaran. Again Gandhi grins at the extravagance.</dialogue>
<character>GANDHI</character>
<dialogue>Only the stubborn man of Champaran. A polite little laugh ; Jinnah introduces him.</dialogue>
<character>JINNAH</character>
<dialogue>Mr. Patel you know.</dialogue>
<parenthetical>( Patel bows . )</parenthetical>
<dialogue>Mr. Maulana Azad - a fellow Muslim. recently released from prison. Gandhi makes the pranam, studying him with interest after that comment. Azad gives a gentle salaam.</dialogue>
<character>JINNAH</character>
<dialogue>Mr. Kripalani.</dialogue>
<parenthetical>( A bow - we have seen him at the Congress Conference . )</parenthetical>
<dialogue>And of course you know Mr. Nehru. Gandhi turns. Featuring Nehru. He stands, awaiting Gandhi's attention. All the others have been dressed in European clothes. The handsome Europeanized Nehru now wears an Indian tunic - much like the one that Gandhi once wore. For a moment Gandhi studies the costume, then a broad smile.</dialogue>
<character>GANDHI</character>
<parenthetical>( a play on Jinnah 's introduction . )</parenthetical>
<dialogue>I am beginning to know Mr. Nehru.</dialogue>
<character>PATEL</character>
<parenthetical>( to business : Gandhi has been admitted to the power circle , he is not the power . )</parenthetical>
<dialogue>Well, I've called you here because I've had a chance to see the new legislation. It's exactly what was rumored. Arrest without warrant. Automatic imprisonment for possession of materials considered seditious. He looks at Gandhi.</dialogue>
<character>PATEL</character>
<dialogue>Your writings are specifically listed. Gandhi nods at the `` compliment,'' but they are all angered by the severity of it.</dialogue>
<character>KRIPALANI</character>
<dialogue>So much for helping them in the Great War.</dialogue>
<character>JINNAH</character>
<parenthetical>( fire . )</parenthetical>
<dialogue>There is only one answer to that. Direct action - on a scale they can never handle! Again the temper of it produces a little silence. Then</dialogue>
<character>NEHRU</character>
<dialogue>I do n't think so. He moves to a servant who stands, holding a large tray with a silver service of tea. Of them all, Nehru's manner is the most naturally patrician and Jinnah watches him with a somewhat envious awareness of it.</dialogue>
<character>NEHRU</character>
<dialogue>Terrorism would only justify their repression. And what kinds of leaders would it throw up? Are they likely to be the men we would want at the head of our country? His stand has produced a little shock of surprise. Holding his tea, he turns to Gandhi with a little smile.</dialogue>
<character>NEHRU</character>
<dialogue>I've been catching up on my reading. He means Gandhi's of course. Jinnah looks at the two of them. Gandhi has removed his sandals and is sitting cross - legged on a fine upholstered chair. Jinnah's eyes rake him with anger and distaste.</dialogue>
<character>JINNAH</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>I too have read Mr. Gandhi's writings, but I'd rather be ruled by an Indian terrorist than an English one. And I do n't want to submit to that kind of law.</dialogue>
<character>PATEL</character>
<parenthetical>( to Nehru - diplomatically - but with a trace of condescension . )</parenthetical>
<dialogue>I must say, Panditji, it seems to me it's gone beyond remedies like passive resistance.</dialogue>
<character>GANDHI</character>
<parenthetical>( in the silence . )</parenthetical>
<dialogue>If I may - I, for one, have never advocated passive anything. They all look at him with some surprise. As he speaks, he rises and walks to the servant.</dialogue>
<character>GANDHI</character>
<dialogue>I am with Mr. Jinnah. We must never submit to such laws - ever. And I think our resistance must be active and provocative. They all stare at him, startled by his words and the fervor with which he speaks to them.</dialogue>
<character>GANDHI</character>
<dialogue>I want to embarrass all those who wish to treat us as slaves. All of them. He holds their gaze, then turns to the immobile servant and with a little smile, takes the tray from him and places it on the table next to him. It makes them all aware that the servant, standing there like an insensate ornament, has been treated like a `` thing,'' a slave. As it sinks in, Gandhi pours some tea then looks up at them with a pleading warmth - first to Jinnah.</dialogue>
<character>GANDHI</character>
<dialogue>Forgive my stupid illustration. But I want to change their minds - not kill them for weaknesses we all possess. It impresses each one of them. But for all his impact, they still take the measure of him with caution.</dialogue>
<character>AZAD</character>
<dialogue>And what `` resistance'' would you offer?</dialogue>
<character>GANDHI</character>
<dialogue>The law is due to take effect from April sixth. I want to call on the nation to make that a day of prayer and fasting. `` Prayer and fasting''? They are not overwhelmed.</dialogue>
<character>JINNAH</character>
<dialogue>You mean a general strike?</dialogue>
<character>GANDHI</character>
<parenthetical>( his grin . )</parenthetical>
<dialogue>I mean a day of prayer and fasting. But of course no work could be done - no buses, no trains, no factories, no administration. The country would stop. Patel is the first to recognize the implications.</dialogue>
<character>PATEL</character>
<dialogue>My God, it would terrify them.</dialogue>
<character>AZAD</character>
<parenthetical>( a wry smile . )</parenthetical>
<dialogue>Three hundred fifty million people at prayer. Even the English newspapers would have to report that. And explain why.</dialogue>
<character>KRIPALANI</character>
<dialogue>But could we get people to do it?</dialogue>
<character>NEHRU</character>
<parenthetical>( he is half sold already . )</parenthetical>
<dialogue>Champaran stirred the whole country.</dialogue>
<parenthetical>( To Gandhi . )</parenthetical>
<dialogue>They are calling you Mahatma - the Great Soul.</dialogue>
<character>GANDHI</character>
<dialogue>Fortunately such news comes very slowly where I live.</dialogue>
<character>NEHRU</character>
<parenthetical>( continuing , to the others . )</parenthetical>
<dialogue>I think if we all worked to publicize it. all of the Congress. every avenue we know. The idea has caught hold. As the others talk of `` papers,'' `` telegrams,'' `` speeches,'' Jinnah looks over his cup at Gandhi with an air of bitter resignation, but he tries to make light of it.</dialogue>
<character>JINNAH</character>
<dialogue>Perhaps I should have stayed in the garden and talked about the flowers.</dialogue>
</scene>
<scene>
<character>ADC</character>
<dialogue>Sir - it's Mr. Kinnoch. Lord Chelmsford turns expectantly.</dialogue>
<character>CHELMSFORD</character>
<dialogue>Yes?</dialogue>
<character>KINNOCH</character>
<parenthetical>( hesitant , stunned . )</parenthetical>
<dialogue>Nothing. nothing is working, sir - buses. trains. the markets.</dialogue>
<parenthetical>( Personal , incredulous . )</parenthetical>
<dialogue>There's not even any civilian staff here, sir. Everything has stopped.</dialogue>
<character>CHELMSFORD</character>
<parenthetical>( curt , firm . )</parenthetical>
<dialogue>Is it simply Delhi and Bombay? His firmness does n't restore Kinnoch's normal aplomb. He holds the telegrams forward.</dialogue>
<character>KINNOCH</character>
<dialogue>No, sir - Karachi, Calcutta, Madras, Bangalore. It's, it's total. He glances at the general.</dialogue>
<character>KINNOCH</character>
<parenthetical>( the ultimate . )</parenthetical>
<dialogue>The Army had to take over the telegraph or we'd be cut off from the world. That takes the wind out of all of them. Grimly, Lord Chelmsford looks out across the palace's ordered lawns and gardens.</dialogue>
<character>CHELMSFORD</character>
<dialogue>I ca n't believe it.</dialogue>
<character>KINNOCH</character>
<dialogue>He's going to sell his own paper tomorrow in Bombay. They've called for a parade - on Victoria Road.</dialogue>
<character>CHELMSFORD</character>
<parenthetical>( clenches his jaw and turns to the General . )</parenthetical>
<dialogue>Arrest him!</dialogue>
</scene>
<scene />
<scene>
<character>NEHRU</character>
<dialogue>Bapu. Gandhi, who also looks worn, rises his eyebrows whimsically at the use of that name.</dialogue>
<character>GANDHI</character>
<dialogue>You too. He means `` Bapu'' - `` Father.''</dialogue>
<character>NEHRU</character>
<parenthetical>( a real smile , but the same affection . )</parenthetical>
<dialogue>It seems less formal than `` Mahatma.'' Gandhi sighs, and their faces and minds go to more somber matters.</dialogue>
<character>NEHRU</character>
<dialogue>Since your arrest the riots have hardly stopped. Not big - ; but they keep breaking out. I run to stop them. and Patel and Kripalani - they are never at rest. But some English civilians have been killed, and the Army is attacking crowds with clubs - and sometimes worse. Gandhi has listened to it all with a growing sense of despair.</dialogue>
<character>GANDHI</character>
<dialogue>Maybe I'm wrong. maybe we're not ready yet. In South Africa the numbers were small.</dialogue>
<character>NEHRU</character>
<dialogue>The Government's afraid, and they do n't know what to do. But they're more afraid of terrorists than of you. The Viceroy has agreed to your release if you will speak for non - violence.</dialogue>
<character>GANDHI</character>
<parenthetical>( a sad smile . )</parenthetical>
<dialogue>I've never spoken for anything else.</dialogue>
</scene>
<scene />
<scene>
<character>SPEAKER</character>
<dialogue>England is so powerful - its army and its navy, all its modern weapons - but when a great power like that strikes defenseless people it shows it brutality, its own weakness! Especially when those people do not strike back.</dialogue>
<parenthetical>( He holds aloft the clenched journal . )</parenthetical>
<dialogue>That is why the Mahatma begs us to take the course of non - violence!</dialogue>
</scene>
<scene>
<character>SPEAKER</character>
<dialogue>If we riot, if we fight back, we become the vandals and they become the law! If we bear their blows, they are the vandals - God and His law are on our.</dialogue>
<parenthetical>( He glances up . )</parenthetical>
<dialogue>side. Long shot - his point of view. The two platoons of sepoys, rifles at the port, trot smartly through the gate and fan out on either side of the motionless and dominant figure of Dyer. Resume the speaker.</dialogue>
<character>SPEAKER</character>
<parenthetical>( soldiering on . )</parenthetical>
<dialogue>. We must have the courage to take their anger. Medium close - the sepoys and Dyer. He issues his commands in a quiet and unemotional voice, as though they were on maneuvers.</dialogue>
<character>DYER</character>
<dialogue>Port arms, Sergeant Major. The sergeant major issues the command. The troops port arms.</dialogue>
<character>DYER</character>
<dialogue>Load. Again, the sergeant major barks the command, the bolts slam back and forth, the magazines clatter. Featuring the platform and the front of the crowd. They have all turned now to watch, frozen in incredulity and fascination. The sound of the sergeant major's orders and the sinister rattle of breeches and bolts drifting to them.</dialogue>
<character>SPEAKER</character>
<parenthetical>( almost to himself as he too is riveted . )</parenthetical>
<dialogue>. Our pain will be our victory. Their point of view. The distant figures facing them. Resume the crowd. Numbly they begin to back away, pressing against the speaker's stand, themselves. A man picks up a child. Their point of view. The small, distant figures of the sepoys again. A word of command. One platoon kneels and takes aim. Another command. The second platoon, standing behind the first, takes aim. Featuring Dyer. His ADC approaches. The British police officer stands off to one side.</dialogue>
<character>ADC</character>
<dialogue>Do we issue a warning, sir?</dialogue>
<character>DYER</character>
<parenthetical>( stiffly . )</parenthetical>
<dialogue>They've had their warning - no meetings. It is final. Resume the crowd. A ripple of panic now, everyone pressing back, but still they can not credit what they see. Only one or two have the presence of mind to push clear and seek shelter. It is too late. Close shot Dyer, still calm.</dialogue>
<character>DYER</character>
<dialogue>Sergeant Major -</dialogue>
<character>SERGEANT MAJOR</character>
<dialogue>Take aim! Long shot over the sepoys and their sights, the wavering crowd distant.</dialogue>
<character>DYER</character>
<dialogue>Fire! Flash shot along the line of sepoys ; the rifles jerk and bang. The crowd, running, screaming.</dialogue>
<character>SERGEANT MAJOR</character>
<dialogue>Reload! A dreadful press of panic - stricken people flying toward the walls. And again the crash of rifles. Some fall. Others run off - screen in an aimless, irresistible wave. Dyer is walking behind his men, telling them, with a view to maximum accuracy, what he has told them on the firing range.</dialogue>
<parenthetical>( it makes him a little irritable to have to repeat it . )</parenthetical>
<dialogue>.</dialogue>
<character>DYER</character>
<dialogue>Take your time. Take your time. He looks off at the crowd. His eyes narrow. A group of men are hurling themselves at a breach in the top of the wall, hanging there, scrabbling for a purchase, some disappearing, a few heroic individuals astride the wall reaching down to assist their women and children in the swirling crowd below.</dialogue>
<character>DYER</character>
<dialogue>Corporal!</dialogue>
<character>CORPORAL</character>
<dialogue>Sir!</dialogue>
<character>DYER</character>
<dialogue>Over there. He nods. The corporal looks.</dialogue>
<character>CORPORAL</character>
<dialogue>Sir. He directs the attention of his neighbors in the firing line toward the new target ; they shift their aim. A man reaching for a child - who is also propelled upward by its mother from below - is hit, falls, so that he and the child crash into the crowd below. Sepoys firing ad lib. Dyer watching the effect, careful and conscientious. Swift tracking a man running through the staggering crowd, over the litter of bodies, his mouth open, his eyes wild. He arrives at a well, throws down the rope and slides down it. Others seize the idea and in panic throw themselves into the well, dropping out of sight. Featuring Dyer. Meticulously, he taps a corporal on the shoulder with his swagger stick and indicates the well. The corporal signals his line of men. At the well. The gathering crowd - men, women - and laced with rifle fire. From behind the sepoys we see the whole Bagh, littered with dead and dying, a thick ruck around the well, the walls hanging with wounded and dying, the firing continuing, loud, loud, louder. until -</dialogue>
</scene>
<scene>
<character>ADVOCATE</character>
<dialogue>General Dyer, is it correct that you ordered your troops to fire at the thickest part of the crowd? Dyer glances woodenly at the panel - a man in some shock at the consequences of what he assumed was an act worthy of praise.</dialogue>
<character>DYER</character>
<parenthetical>( righteously . )</parenthetical>
<dialogue>That is so. The Advocate looks at him with a degree of disbelief - more at his attitude than his statement.</dialogue>
<character>ADVOCATE</character>
<dialogue>One thousand five hundred and sixteen casualties with one thousand six hundred and fifty bullets. A slight reaction from the public section. Dyer's jaw tightens.</dialogue>
<character>DYER</character>
<dialogue>My intention was to inflict a lesson that would have an impact throughout all India. He stares at the panel like a reasonable man making a reasonable point. The evasiveness, the only half - buried embarrassment of their response only deepens his own withdrawal into himself.</dialogue>
<character>INDIAN BARRISTER</character>
<dialogue>General, had you been able to take in the armored car, would you have opened fire with the machine gun? Dyer thinks about it. Then unashamedly -</dialogue>
<character>DYER</character>
<dialogue>I think, probably - yes. A muted reaction from the public section. The Indian barrister stares at him a moment, then simply lowers his eyes to his notes.</dialogue>
<character>HUNTER</character>
<dialogue>General, did you realize there were children - and women - in the crowd?</dialogue>
<character>DYER</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>I did. For the first time there is the hint of uncertainty in his manner.</dialogue>
<character>ADVOCATE</character>
<dialogue>But that was irrelevant to the point you were making?</dialogue>
<character>DYER</character>
<dialogue>That is correct. There is just a tremor of distaste quickly suppressed among the panel. Not so quickly in the public section.</dialogue>
<character>ADVOCATE</character>
<dialogue>Could I ask you what provision you made for the wounded? Dyer looks at him quickly. The question is unexpected, even a little `` clever.'' The officers listening clearly resent it.</dialogue>
<character>DYER</character>
<parenthetical>( a moment , then firmly . )</parenthetical>
<dialogue>I was ready to help any who applied. And that answer stops the Advocate. He smiles dryly.</dialogue>
<character>ADVOCATE</character>
<dialogue>General. how does a child shot with a 3 - 0 - 3 Enfield `` apply'' for help? Dyer faces him stonily, a seed of panic taking root deep in his gut.</dialogue>
</scene>
<scene />
<scene />
<scene>
<character>CHELMSFORD</character>
<dialogue>You must understand, gentlemen, that His Majesty's Government - and the British people - repudiate both the massacre and the philosophy that prompted it. Chelmsford is pacing along one side of a large conference table. Just in front of this is the `` British'' side - two generals.</dialogue>
<parenthetical>( a full general and a brigadier . )</parenthetical>
<dialogue>, a naval officer, two senior civil servants, a senior police officer. Across from them is the `` Indian'' side : Gandhi, Nehru, Patel, Jinnah, Azad. This time Gandhi is in the middle and speaks with the full authority of a leader. The Indian side acknowledges Chelmsford's disclaimer - coolly, but accepting it. That lifts Chelmsford's hopes a little.</dialogue>
<character>CHELMSFORD</character>
<dialogue>What I would like to do is to come to some compromise over the new civil legis -</dialogue>
<character>GANDHI</character>
<dialogue>If you will excuse me, Your Excellency, it is our view that matters have gone beyond `` legislation.'' It is spoken with the cold determination of a man still angry. It stops Chelmsford in mid - pace.</dialogue>
<character>GANDHI</character>
<dialogue>We think it is time you recognized that you are masters in someone else's home.</dialogue>
<parenthetical>( It chills , stiffens ; Gandhi proceeds only an iota softer . )</parenthetical>
<dialogue>Despite the best intentions of the best of you, you must, in the nature of things, humiliate us to control us. General Dyer is but an extreme example of the principle. It is time you left. The British are stunned almost to speechlessness - the audacity, the impossibility of it - and from Gandhi of all people. The senior civil servant, Kinnoch, is the first to recover.</dialogue>
<character>KINNOCH</character>
<dialogue>With respect, Mr. Gandhi, without British administration, this country would be reduced to chaos.</dialogue>
<character>GANDHI</character>
<parenthetical>( patient , ironic . )</parenthetical>
<dialogue>Mr. Kinnoch, I beg you to accept that there is no people on earth who would not prefer their own bad government to the `` good'' government of an alien power.</dialogue>
<character>BRIGADIER</character>
<parenthetical>( indignantly , choked . )</parenthetical>
<dialogue>My dear sir - India is British! We're hardly an alien power! Gandhi and the others just look at him. Chelmsford is realist enough to recognize that a faux pas has been made, and he strives to get the meeting back on the course he intends.</dialogue>
<character>CHELMSFORD</character>
<dialogue>Even if His Majesty could waive all other considerations, he has a duty to the millions of his Muslim subjects who are a minority in this realm. And experience has taught that his troops and his administration are essential in order to keep the peace. He has deliberately if delicately caught the eye of both Jinnah and Maulana Azad during this. Gandhi knows the trouble this can cause and he answers more for those on his side than the Viceroy's.</dialogue>
<character>GANDHI</character>
<dialogue>All nations contain religious minorities. Like other countries, ours will have its problems.</dialogue>
<parenthetical>( Flat , irrevocable . )</parenthetical>
<dialogue>But they will be ours - not yours. Its finality is such that for a moment there is no response at all, but then the General smiles.</dialogue>
<character>GENERAL</character>
<dialogue>And how do you propose to make them yours? You do n't think we're just going to walk out of India. His smile flitters cynically on the mouths of the others on his side.</dialogue>
<character>GANDHI</character>
<dialogue>Yes. in the end you will walk out. Because one hundred thousand Englishmen simply can not control three hundred fifty million Indians if the Indians refuse to co - operate. And that is what we intend to achieve - peaceful, non - violent, non - co - operation. He looks at them all, then up at Lord Chelmsford behind them.</dialogue>
<character>GANDHI</character>
<dialogue>Until you yourself see the wisdom of leaving. your Excellency. LATER - THE SAME GOVERNMENT COUNCIL ROOM Close shot - a crystal decanter. The top is lifted, whiskey pours. The camera pulls back. We are still in the Council Room, but time has passed. The Indian delegation has gone, and the British are relaxing as a servant pours.</dialogue>
<character>GENERAL</character>
<parenthetical>( mocking his exchange with Gandhi . )</parenthetical>
<dialogue>`` You do n't just expect us to walk out?'' `` Yes.'' And they all laugh.</dialogue>
<character>BRIGADIER</character>
<dialogue>Extraordinary little man! `` Nonviolent, non - co - operation'' - for a moment I almost thought they were actually going to do something. There are some smiles, but not all of them are quite so amused.</dialogue>
<character>CHELMSFORD</character>
<parenthetical>( thoughtfully . )</parenthetical>
<dialogue>Yes - but it would be wise to be very cautious for a time. The Anti - Terrorist Act will remain on the statutes, but on no account is Gandhi to be arrested. Whatever mischief he causes, I have no intention of making a martyr of him. It is an instruction they all find correct.</dialogue>
</scene>
<scene>
<character>BA</character>
<parenthetical>( simple , direct . )</parenthetical>
<dialogue>. but now something worse is happening. When Gandhiji and I were growing up, women wove their own cloth. But now there are millions who have no work because those who can buy all they need from England. I say with Gandhiji, there is no beauty in the finest cloth if it makes hunger and unhappiness. It is the end of her speech and she makes the pranam and turns away. There is applause and noise, but Ba does not acknowledge it ; she simply sits cross - legged behind Gandhi, who is talking with Patel and Nehru. At last he rises, and the noise and applause increase to something like chaos. In close shot we see other British soldiers watching on the perimeter of the crowd and they are now made even more wary by the enthusiasm of this greeting. Gandhi fiddles with his glasses, preoccupied ; finally he looks out over the crowd and holds up a hand - almost lazily - and gradually, but quite definitely, the crowd stills.</dialogue>
<character>GANDHI</character>
<dialogue>My message tonight is the message I have given to your brothers everywhere. To gain independence we must prove worthy of it. We intercut with the crowd, listening raptly. Gandhi holds up one finger.</dialogue>
<character>GANDHI</character>
<dialogue>There must be Hindu - Muslim unity - always.</dialogue>
<parenthetical>( A second finger . )</parenthetical>
<dialogue>Secondly, no Indian must be treated as the English treat us so we must remove untouchability from our lives, and from our hearts. Neither of these goals is easy, and the audience reaction shows it. Now Gandhi raises a third finger.</dialogue>
<character>GANDHI</character>
<dialogue>Third - we must defy the British. And the crowd breaks into stamping and applause. Gandhi lets it run for a time, then stills it with the one small gesture as before.</dialogue>
<character>GANDHI</character>
<dialogue>Not with violence that will inflame their will, but with firmness that will open their eyes. This has sobered the audience somewhat. Now he looks out across them as though seeking something. Then</dialogue>
<character>GANDHI</character>
<dialogue>English factories make the cloth - that makes our poverty.</dialogue>
<parenthetical>( A reaction . )</parenthetical>
<dialogue>All those who wish to make the English see, bring me the cloth from Manchester and Leeds that you wear tonight, and we will light a fire that will be seen in Delhi - and London! There is an excited stir ; he silences it.</dialogue>
<character>GANDHI</character>
<dialogue>And if, like me, you are left with only one piece of homespun - wear it with dignity! Close shot - the ground. As suitcoats, shirts, vests, trousers, are flung into a pile. Featuring the two British soldiers - later - on the edge of the crowd, staring off, their faces now brightly lit by darting flames. Their point of view. A huge triangular pile burns before the platform, an excited half - naked crowd swirling in the shadows around it. Resume the two British soldiers. They look at each other with a kind of fear a rampant crowd can excite in those who must hold it.</dialogue>
</scene>
<scene>
<character>PATEL</character>
<dialogue>Excuse me - just let me get out of your way, please.</dialogue>
<parenthetical>( Someone reaches for his bedroll and bag . )</parenthetical>
<dialogue>No, thank you, I'll manage. He looks up ; it is Kallenbach who is the insistent `` helper.''</dialogue>
<character>PATEL</character>
<parenthetical>( joyous - it 's been a long time . )</parenthetical>
<dialogue>Ah, Herman!</dialogue>
<parenthetical>( Of the bags . )</parenthetical>
<dialogue>No, no - do n't destroy my good intentions. I'm feeling guilty about traveling Second Class. Kallenbach is smiling too. He reaches for the bags again.</dialogue>
<character>KALLENBACH</character>
<dialogue>I do it as a friend - and admirer - not a servant.</dialogue>
<character>PATEL</character>
<dialogue>Ah, in that case! And grandly, he relinquishes the bags and looks back.</dialogue>
<character>PATEL</character>
<dialogue>Maulana is made of sterner stuff. Our trains met in Bombay, but he's back there in that lot somewhere. Their point of view. In the chaos of the Third Class we see Maulana Azad coming out of a section of the coach. He is carrying a baby wrapped in rags. The child's mother with two little ones hanging on her has followed him out.</dialogue>
<character>PATEL'S VOICE-OVER</character>
<dialogue>There he is - out Gandhi - ing Gandhi. Azad hands the woman the baby and she obviously thanks him. He makes a little salaam to her and moves through the confusion of the platform toward the camera. Resume Patel and Kallenbach.</dialogue>
<character>PATEL</character>
<parenthetical>( shaking his head at it all . )</parenthetical>
<dialogue>When I think what our `` beloved Mahatma'' asks, I do n't know how he ever got such a hold over us. Is he back?</dialogue>
<character>KALLENBACH</character>
<dialogue>Yes. Now that things are moving he's going to write and only take part when it's necessary. Azad approaches them.</dialogue>
<character>AZAD</character>
<parenthetical>( to Patel . )</parenthetical>
<dialogue>It was a Hindu child and it tried to wet on me. He and Kallenbach clasp with their free hands, both grinning.</dialogue>
<character>PATEL</character>
<dialogue>Of course. A Muslim beef eater - I'm only surprised he missed.</dialogue>
<character>AZAD</character>
<dialogue>He was a she.</dialogue>
<character>PATEL</character>
<dialogue>Ah, that explains it.</dialogue>
<parenthetical>( He grins . )</parenthetical>
<dialogue>Well, do I carry your luggage as penance or -</dialogue>
<character>KALLENBACH</character>
<dialogue>There's another passenger - a Miss Slade.</dialogue>
<parenthetical>( He turns automatically , as Patel and Azad do , toward the First Class section . )</parenthetical>
<dialogue>She's the daughter of an English admiral.</dialogue>
<parenthetical>( Patel and Azad look back at him in quick surprise .</parenthetical>
<parenthetical>Kallenbach smiles . )</parenthetical>
<dialogue>She's been corresponding with him for a year. And the camera pans with their glances at they look back with real interest toward the First Class coach. Porters are unloading the baggage of two or three passengers here and helping some others.</dialogue>
<parenthetical>( English and Indian . )</parenthetical>
<dialogue>to board. In the foreground we see a tall Indian woman in a red sari. Farther along there is a large stack of luggage being added to by a porter. An English woman is hovering about it. She is well dressed, but rather dreary and unprepossessing, and the camera zooms in toward her.</dialogue>
<character>PATEL</character>
<dialogue>And what does the daughter of an English admiral propose to do in an ashram - sink us?</dialogue>
<character>AZAD</character>
<parenthetical>( quietly - his manner . )</parenthetical>
<dialogue>From the looks of the luggage, yes. Patel grins. Like most witty men, he loves wit in others.</dialogue>
<character>KALLENBACH</character>
<dialogue>She wants to make her home with us - and Gandhiji has agreed. Patel groans. They turn back to the train and just as they do, the tall Indian woman in the red sari tips a porter, taking one small bag from him and turns : Mirabehn.</dialogue>
<parenthetical>( Madeleine Slade . )</parenthetical>
<dialogue>is tall, quite pretty and extremely English despite the sari. The minute she turns, she stops on seeing the now startled Kallenbach.</dialogue>
<character>MIRABEHN</character>
<dialogue>You'd be Mr. Kallenbach. Kallenbach recovers sufficiently to -</dialogue>
<character>KALLENBACH</character>
<dialogue>And you would be Miss Slade.</dialogue>
<character>MIRABEHN</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>I prefer the name Gandhiji has given me - Mirabehn. The word means `` daughter.'' Patel and Azad stare at each other in something like bafflement.</dialogue>
</scene>
<scene>
<character>KALLENBACH</character>
<parenthetical>( of the car . )</parenthetical>
<dialogue>It was a gift and it only worked a few weeks, but when Gandhi came home he struck on this idea. He calls it his ox - Ford. Comfortable - and yet more our pace. He does what little steering is necessary and Mirabehn smiles at it all, finding everything delightful. She peers ahead in the direction of the distant ashram.</dialogue>
<character>MIRABEHN</character>
<dialogue>Might Mr. Nehru be there too?</dialogue>
<character>PATEL</character>
<parenthetical>( glibly . )</parenthetical>
<dialogue>The irresponsible young Nehru is in prison - again. Though there is a rumor that under pressure from your country, they will let him out - again. Mirabehn has turned to look at him. She has the same sophomoric eagerness and intensity as the young Gandhi.</dialogue>
<character>MIRABEHN</character>
<dialogue>You ca n't know how closely we follow your struggle -.</dialogue>
<parenthetical>( to Patel personally . )</parenthetical>
<dialogue>how many in England admired what you did in Bardoli. It must have taken enormous courage.</dialogue>
<character>PATEL</character>
<dialogue>Well, in this country one must decide if one is more afraid of the government or Gandhi.</dialogue>
<parenthetical>( Of Azad , Kallenbach and himself . )</parenthetical>
<dialogue>For us, it's Gandhi. Mirabehn is enthralled by the wit, the modesty that underlines the words. She faces Kallenbach.</dialogue>
<character>MIRABEHN</character>
<parenthetical>( a note of wonder . )</parenthetical>
<dialogue>And you're German.</dialogue>
<character>KALLENBACH</character>
<dialogue>Yes.</dialogue>
<character>MIRABEHN</character>
<dialogue>And do you feel Indian? She thinks she does, and that he would want to.</dialogue>
<character>KALLENBACH</character>
<dialogue>No. It surprises, but it does n't deflate.</dialogue>
<character>MIRABEHN</character>
<dialogue>But you've been with him so long - why? Kallenbach, whose size and stillness carry the aura of some great piece of primitive sculpture - solid, true, disturbingly profound - searches inside himself for the answer.</dialogue>
<character>KALLENBACH</character>
<dialogue>I'd come to believe I would never meet a truly honest man. And then I met one. It is so profoundly simple and deeply felt that it obviously touches the deeply emotional Mirabehn.</dialogue>
</scene>
<scene>
<character>BA</character>
<dialogue>Stop - stop. She leans across and tries to extricate his fingers.</dialogue>
<character>BA</character>
<dialogue>God gave you ten thumbs.</dialogue>
<character>GANDHI</character>
<parenthetical>( morosely . )</parenthetical>
<dialogue>Eleven. And Ba laughs again and Gandhi smiles, tapping her with playful reproval on the top of her bent head. There are footsteps and Gandhi looks up. Patel stands in the doorway. Gandhi's face changes to something like elation. A beat.</dialogue>
<character>GANDHI</character>
<dialogue>Sardar. It means `` leader'' and it is the name the peasants have given Patel. Gandhi uses it with an intonation of novelty and respect. He stands and crosses to Patel, clutching him emotionally, and it brings a bit of emotion from the sophisticated Patel. Gandhi holds him back to look at him.</dialogue>
<character>GANDHI</character>
<dialogue>What you've done is a miracle. You have made all India proud. Patel gets hold of himself, and affects his usual glib cynicism.</dialogue>
<character>PATEL</character>
<dialogue>It must have been the only Non - violent campaign ever led by a man who wanted to kill everybody every day.</dialogue>
<character>GANDHI</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Not true!</dialogue>
<parenthetical>( He means himself . )</parenthetical>
<dialogue>The secret is mastering the urge. He smiles again, then, his arm still around Patel's shoulder, he turns to greet the others. Azad looks at him, then facetiously, as though to put down Patel.</dialogue>
<character>AZAD</character>
<dialogue>He came Second Class. Gandhi laughs again, squeezing Patel's shoulder.</dialogue>
<character>GANDHI</character>
<dialogue>Well, we ca n't expect miracles all the time.</dialogue>
<parenthetical>( Then to Azad , more soberly . )</parenthetical>
<dialogue>Your news I understand is not so good. Azad shakes his head.</dialogue>
<character>AZAD</character>
<dialogue>No. Gandhi reaches forward and touches his hand, and he sees Mirabehn on the porch. For a moment their eyes meet and then Mirabehn moves forward quickly and takes his hand, kissing it, tears running down her cheek. Gandhi touches the top of her head.</dialogue>
<character>GANDHI</character>
<dialogue>Come, come - you will be my daughter.</dialogue>
</scene>
<scene>
<character>AZAD</character>
<dialogue>but then some rioting broke out between Hindus and Muslims - violent, terrible. Gandhi looks up at Azad, Azad shakes his head solemnly</dialogue>
<character>AZAD</character>
<dialogue>Whether it was provoked.</dialogue>
<parenthetical>( he shrugs , a hint of suspicion . )</parenthetical>
<dialogue>But it gave them an excuse to impose martial law throughout Bengal.</dialogue>
<parenthetical>( He looks at Gandhi , shaking his head grimly . )</parenthetical>
<dialogue>Some of the things the military have done. But he does not go on. It has a terrible sobriety.</dialogue>
<character>GANDHI</character>
<dialogue>Is the campaign weakening? Azad shakes his head.</dialogue>
<character>AZAD</character>
<dialogue>The marches and protests are bigger if anything but with the censorship here.</dialogue>
<parenthetical>( a nod toward Mirabehn . )</parenthetical>
<dialogue>they know more in England than we do, and it saps the courage to think you may be suffering alone. Gandhi reaches out and touches his hand.</dialogue>
<character>GANDHI</character>
<dialogue>They are not alone. And martial law only shows how desperate the British are. He holds Azad's eyes, giving strength. Then he turns to Mirabehn, made more aware of her by Azad's reference. For a moment he looks at her sari.</dialogue>
<character>GANDHI</character>
<dialogue>Is that homespun? Or cotton from Leeds? The tone suggests he thinks it is homespun. Mirabehn nods, a little choked that his attention is turned to her.</dialogue>
<character>MIRABEHN</character>
<dialogue>I - I sent for it, from here. I dyed it myself. Gandhi smiles approvingly. Then a shadow -</dialogue>
<character>GANDHI</character>
<dialogue>What do the workers in England make of what we're doing? It must have produced hardship. Mirabehn beams.</dialogue>
<character>MIRABEHN</character>
<dialogue>It has. But you'd be surprised. They understand - they really do. It's not the workers you have to worry about.</dialogue>
<character>GANDHI</character>
<dialogue>Good.</dialogue>
<parenthetical>( A glance toward Ba . )</parenthetical>
<dialogue>Ba will have to teach you to spin too.</dialogue>
<character>MIRABEHN</character>
<dialogue>I would rather march.</dialogue>
<character>GANDHI</character>
<dialogue>First spin. Let the others march for a time. Mirabehn nods and looks resignedly at Ba. Ba is spinning. She smiles.</dialogue>
<character>BA</character>
<dialogue>First lesson : To march, wear shoes, to spin, do not. Mirabehn looks down at the shoes on her feet - and then at the others and their bare feet - and she looks up in grinning, self - conscious embarrassment. Ba smiles at her affectionately.</dialogue>
<character>BA</character>
<dialogue>I'll teach you all our foolishness, and you must teach me yours. Mirabehn looks at her, accepting the warmth behind the teasing. It is the beginning of an enduring friendship.</dialogue>
</scene>
<scene>
<character>MARCHERS</character>
<dialogue>Home Rule! Long live Gandhi! Buy Indian! Long live Gandhi! We have cut to the parade - and it is the tail end, going around a corner ahead. Some of the marchers wave their cloth tauntingly at the police. One policeman suddenly steps out and grabs at a piece of cloth waved at him. He pulls it viciously from the marcher.</dialogue>
<character>POLICEMAN</character>
<dialogue>I'll stuff your damn mouth with it! He chases the marcher and boots him with his foot. Another marcher runs at the policeman, swinging at him with his piece of cloth.</dialogue>
<character>SECOND MARCHER</character>
<dialogue>Leave him alone - he was n't harming you! Another angle - sudden. He is whacked across the face with a billy club and falls, clutching his face and spouting blood from his nose. Another angle. The police are now all attacking, swinging clubs and kicking at the tail - enders of the march. And the tail - enders begin to scream</dialogue>
<character>TAIL-ENDERS</character>
<dialogue>Help! Help us! as they try to scramble away from the attack. Out of shot we can still hear the disappearing chant : `` Home Rule! Long live Gandhi!''</dialogue>
</scene>
<scene>
<character>TAIL-ENDER</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Help! Help us! Another angle. Some of the marchers turn at the shout. RESUME THE POLICE - THE FIRST STREET A few of the tail - enders watching, some running clear of the police, some being beaten. Two police have a man on the ground. One policeman looks up.</dialogue>
<character>POLICEMAN</character>
<dialogue>Hey - Their point of view. The corner where the parade has disappeared. It is now packed with more marchers, more flooding in from behind. We see the whole street, the marchers massed near the corner, spread out, staring at the police, who are now frozen in their mayhem, staring off at the marchers. For a second, utter silence. And then the police begin to back away from their victims. The marchers start to move forward. The police draw their guns, and the marchers suddenly run at them, a guttural roar, as though they were one single wild beast. Featuring the police. They start to run, some turning to fire at the pursuing crowd, then running on.</dialogue>
</scene>
<scene />
<scene>
<character>PATEL'S VOICE</character>
<dialogue>That's one bit of news they have n't censored. Another angle. Patel leans with one arm on a table, his mood as devastated as Gandhi's ; he is looking at an Indian paper on the table by his hand. A moment then</dialogue>
<character>JINNAH'S VOICE</character>
<dialogue>Oh, it's all over the world.</dialogue>
<parenthetical>( ironically . )</parenthetical>
<dialogue>India's `` non - violence.'' He has been standing, looking out of a window. He turns, and tosses a newspaper on a desk. It is a New York Times and we just glimpse the picture of the severed head lying in the smoldering ashes. And now we see Nehru and Azad in the background too. And Desai. Jinnah as usual in a finely cut European suit, the others are dressed in tunics of homespun as they will be to the end.</dialogue>
<character>NEHRU</character>
<parenthetical>( bleakly . )</parenthetical>
<dialogue>What can we do?</dialogue>
<character>GANDHI</character>
<parenthetical>( sepulchrally . )</parenthetical>
<dialogue>We must end the campaign. They turn to him - a sense of surprise, but they do n't really believe he means the statement.</dialogue>
<character>JINNAH</character>
<dialogue>After what they did at the massacre - it's only an eye for an eye.</dialogue>
<character>GANDHI</character>
<parenthetical>( he has n't moved ; the same tone . )</parenthetical>
<dialogue>An eye for an eye only ends up making the whole world blind.</dialogue>
<parenthetical>( Now he looks up at them . )</parenthetical>
<dialogue>We must stop.</dialogue>
<character>PATEL</character>
<parenthetical>( a baffled smile . )</parenthetical>
<dialogue>Gandhiji - do you know the sacrifices people have made? He looks at him. Gandhi does n't move. Patel looks up hopelessly at Jinnah. Azad keeps his eyes fixed on Gandhi, sensing, fearing what is going to happen.</dialogue>
<character>JINNAH</character>
<dialogue>We would never get the same commitment again - ever. He looks at Gandhi with a mounting sense of annoyance. Gandhi is listening, but still withdrawn into himself.</dialogue>
<character>GANDHI</character>
<dialogue>If we obtain our freedom by murder and bloodshed I want no part of it.</dialogue>
<character>NEHRU</character>
<parenthetical>( pleading . )</parenthetical>
<dialogue>It was one incident.</dialogue>
<character>GANDHI</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Tell that to the families of the policemen who died. Jinnah turns away in anger. Patel sighs. Nehru feels helpless but he continues to try.</dialogue>
<character>NEHRU</character>
<dialogue>Bapu - the whole nation is marching. They would n't stop, even if we asked them to. Gandhi stares into nothing - mulling that. Finally</dialogue>
<character>GANDHI</character>
<dialogue>I will ask. And I will fast as penance for my part in arousing such emotions - and I will not stop until they stop. Nehru stares at him - surprised. Azad is not.</dialogue>
<character>JINNAH</character>
<parenthetical>( disgustedly . )</parenthetical>
<dialogue>God! You can be sure the British wo n't censor that! They'll put it on every street corner. Gandhi does not react. And Nehru ignores the thought too, because like Azad his mind is already on the real danger.</dialogue>
<character>NEHRU</character>
<dialogue>But - but Gandhiji people are aroused. they wo n't stop. Gandhi looks up at him - a resigned fatalism.</dialogue>
<character>GANDHI</character>
<dialogue>If I die, perhaps they will.</dialogue>
</scene>
<scene />
<scene>
<character>BA</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I must get ready for evening prayers. Mirabehn is here. She strokes his sweating head again, touches his shoulder and gets up. For a moment the two women hold each other's gaze, then Ba smiles weakly, and leans her head into the taller Mirabehn's shoulder. With her free hand Mirabehn touches Ba's head. Then Ba straightens, and leaves without looking back. Mirabehn bends and sits by Gandhi's side.</dialogue>
<character>MIRABEHN</character>
<dialogue>I've brought your drinking water. May I turn you? Gandhi struggles to turn, and Mirabehn helps him. When he turns we see that his face is wet with sweat from the dry heaving and his hands and arms are quivering and he can not stop them. She looks at him nervously, then pours a glass from the pitcher.</dialogue>
<character>MIRABEHN</character>
<dialogue>There is a little lemon juice in it. That is all. She turns back, and propping up his head, helps him to sip.</dialogue>
<character>MIRABEHN</character>
<dialogue>Herman has gone to meet Pandit Nehru - there was a telegram. Almost everywhere it has stopped. Gandhi swallows with difficulty. He pauses, letting his head fall back and she lowers it down to the mat again. He tries to smile.</dialogue>
<character>GANDHI</character>
<dialogue>When it is everywhere, then my prayers will be answered. Mirabehn looks daunted by his intractability.</dialogue>
<character>GANDHI</character>
<dialogue>Do you find me stubborn?</dialogue>
<character>MIRABEHN</character>
<parenthetical>( her own honesty . )</parenthetical>
<dialogue>I do n't know. I know you are right. I do n't know that this is right. Gandhi signals her down to him. She bends so she is looking at the floor and he is speaking almost into her ear.</dialogue>
<character>GANDHI</character>
<parenthetical>( hoarse , strained . )</parenthetical>
<dialogue>When I despair, I remember that all through history the way of truth and love has always won. We intercut their faces, very close, as he speaks.</dialogue>
<character>GANDHI</character>
<dialogue>There have been tyrants and murderers, and for a time they can seem invincible. But in the end they always fall. Think of it - always. When you are in doubt that that is God's way, the way the world is meant to be. think of that. During the very last of it Mirabehn has turned her face to him, touched with emotion.</dialogue>
<character>GANDHI</character>
<parenthetical>( the paternal smile . )</parenthetical>
<dialogue>And then - try to do it His way.</dialogue>
<parenthetical>( A tear runs down Mirabehn 's face .</parenthetical>
<parenthetical>She touches his shoulder .</parenthetical>
<parenthetical>Gandhi just leans his head back in exhaustion . )</parenthetical>
<dialogue>And now - could I have another feast of lemon juice? Mirabehn straightens up, smiling, wiping the tear from her cheek with mock discipline. She starts to pour water from the pitcher into the glass again, then she turns suddenly, her attention caught. Her point of view. The doorway. Nehru stands in it. Kallenbach and Desai are a step or two behind him.</dialogue>
<character>MIRABEHN</character>
<dialogue>Panditji - come in. She stands, moving back from Gandhi. Nehru crosses and kneels in Mirabehn's place. Gandhi looks up at him and his eyes light. He moves his shaking hand out and Nehru clasps it. A moment of personal feeling between them, then</dialogue>
<character>NEHRU</character>
<dialogue>Jinnah, Patel, all of Congress has called for the end of non - co - operation. There's not been one demonstration. All over India people are praying that you will end the fast. They're walking in the streets, offering garlands to the police - and to British soldiers. It is a victory. Gandhi's face cracks into a tearful grin.</dialogue>
<character>GANDHI</character>
<parenthetical>( croaked . )</parenthetical>
<dialogue>Perhaps - perhaps I have overdone it. And Nehru chokes with emotion and laughter at the same time. He buries his head on Gandhi's hand, clutching it to him.</dialogue>
</scene>
<scene>
<character>LITTLE BOY</character>
<dialogue>Good morning, Bapu! Reverse angle. Gandhi is walking, holding Ba's shoulder for support with one hand, and Mirabehn's with the other. It is some days later.</dialogue>
<character>GANDHI</character>
<dialogue>Good morning.</dialogue>
<parenthetical>( Of the goat . )</parenthetical>
<dialogue>Do n't let her go. If she bumps me I am done for. The boy grins at Gandhi's feigned alarm.</dialogue>
<character>LITTLE BOY</character>
<dialogue>Do n't worry. I milk her every day, she's not - The sound of a motor disturbs them. Gandhi turns. His point of view. Coming into the entrance, along the bumpy path are two police cars.</dialogue>
<parenthetical>( early 1920s Morris . )</parenthetical>
<dialogue>. They have to stop because they are impeded by Gandhi's ox - Ford. Four Indian policeman hop quickly out of the second car. A British police superintendent, and his British deputy get more decorously out of the first. Another angle. Gandhi has turned with his two props, Ba and Mirabehn. The police are approaching him. Kallenbach is running from the fields. Nehru is hurrying from another building carrying sheaves of page proofs. Other ashramites converge from the fields and buildings. The British police superintendent.</dialogue>
<parenthetical>( who is Scottish . )</parenthetical>
<dialogue>stops before Gandhi.</dialogue>
<character>POLICE SUPERINTENDENT</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Sedition.</dialogue>
<character>NEHRU</character>
<parenthetical>( it is too absurd . )</parenthetical>
<dialogue>You ca n't be serious! This man has just stopped a revolution!</dialogue>
<character>POLICE SUPERINTENDENT</character>
<parenthetical>( uncomfortably ; he knows . )</parenthetical>
<dialogue>That's as may be. I only know what I am charged to perform. Nehru stares at him and the policemen with growing incredulity.</dialogue>
<character>NEHRU</character>
<dialogue>I do n't believe it - even the British ca n't be that stupid!</dialogue>
<character>GANDHI</character>
<dialogue>Panditji - please, help me. It stops Nehru. He looks at Gandhi and sighs in unmastered frustration, but he moves to Gandhi's side. Gandhi turns to Mirabehn.</dialogue>
<character>GANDHI</character>
<dialogue>You must help Herman - and Ba.</dialogue>
<parenthetical>( He releases her , and says more loudly to the others . )</parenthetical>
<dialogue>I have been on many trips - it is just another trip. He smiles at them, then slips his free hand on Nehru's shoulder and he turns to the superintendent.</dialogue>
<character>GANDHI</character>
<dialogue>I am at your command. Featuring Gandhi, Ba and Nehru, as they walk to the car behind the somewhat surprised superintendent.</dialogue>
<character>GANDHI</character>
<parenthetical>( to Nehru . )</parenthetical>
<dialogue>If there is one protest - one riot - a disgrace of any kind, I will fast again. He looks at Nehru firmly. Nehru knows him well enough now not to argue - even at this, though his face shows the struggle.</dialogue>
<character>GANDHI</character>
<parenthetical>( and now he smiles - Gandhi to Nehru , special . )</parenthetical>
<dialogue>I know India is not ready for my kind of independence. If I am sent to jail, perhaps that is the best protest our country can make at this time. And if it helps India, I have never refused to take His Majesty's hospitality. He laughs and Nehru struggles to join in the joke.</dialogue>
</scene>
<scene>
<character>CLERK</character>
<dialogue>Call the prisoner to the bar. The sergeant - at - arms turns and moves to the door at the side of the bench. The courtroom immediately falls silent. The sergeant - at - arms opens the door - a moment - and Gandhi enters slowly. He has recovered a bit more, but he still moves slowly. Featuring Judge Broomfield. As Gandhi enters, he lowers his glasses, places them on his desk, and rises, facing Gandhi. Featuring two English court reporters. One nudges the other in astonishment, signaling off toward the judge. Their point of view. The clerk, confused as well as astonished, see the judge standing, facing Gandhi in respect, and dutifully, he too stands. Resume the reporters. A disbelieving exchange of glances, the sound of others standing around them. They glance back. Full shot - the courtroom. The whole court rises, the astounded reporters the last of all. Featuring Gandhi. He takes the prisoner's stand. He looks around, a little surprised, a little affected by the demonstration. He looks up at the judge. For a minute their eyes meet, the judge makes a little bow to Gandhi. Gandhi reciprocates. and the judge sits down. Featuring the reporters shrugging incredulously to each other, as they sit once more. Later. The Advocate General is speaking from a folded journal.</dialogue>
<character>ADVOCATE GENERAL</character>
<dialogue>`` Non - co - operation has one aim : the overthrow of the Government. Sedition must become our creed. We must give no quarter, nor can we expect any.''</dialogue>
<parenthetical>( He looks up at Gandhi . )</parenthetical>
<dialogue>Signed M. K. Gandhi, in your journal Young India, dated twenty - second March of this year. Do you deny writing it?</dialogue>
<character>GANDHI</character>
<dialogue>Not at all.</dialogue>
<parenthetical>( To the judge . )</parenthetical>
<dialogue>And I will save the Court's time, M'Lord, by stating under oath that to this day I believe non - co - operation with evil is a duty. And that British rule of India is evil. There is a little shock of reaction around the courtroom. The Advocate General smiles with a brittle disdain, then he turns to the judge.</dialogue>
<character>ADVOCATE GENERAL</character>
<dialogue>The Prosecution rests, M'Lord. The judge nods. He turns, glancing at the empty table for defense counsel, and then to Gandhi.</dialogue>
<character>JUDGE BROOMFIELD</character>
<dialogue>I take it you will conduct your own defense, Mr. Gandhi.</dialogue>
<character>GANDHI</character>
<dialogue>I have no defense, My Lord. I am guilty as charged.</dialogue>
<parenthetical>( Then testingly . )</parenthetical>
<dialogue>And if you truly believe in the system of law you administer in my country, you must inflict on me the severest penalty possible. It is almost a cruel challenge to the obviously humane Broomfield. The reporters scribble, watching the Judge even as they write, because the mere doubt in the Judge's face reflects on the whole position of the British to India. Featuring Judge Broomfield. He lowers his glasses soberly, staring at them for a moment.</dialogue>
<character>JUDGE BROOMFIELD</character>
<dialogue>It is impossible for me to ignore that you are in a different category from any person I have ever tried, or am likely to try. He looks up at Gandhi and his own respect for him is almost poignantly manifest.</dialogue>
<character>JUDGE BROOMFIELD</character>
<parenthetical>( a long beat . )</parenthetical>
<dialogue>It is nevertheless my duty to sentence you - to six years' imprisonment. A stunned intake of breath from the whole courtroom, then in absolute silence the clerk scribbles the sentence in his notebook. A pause. The Judge lowers his eyes.</dialogue>
<character>JUDGE BROOMFIELD</character>
<parenthetical>( a personal statement , not a real hope . )</parenthetical>
<dialogue>If however His Majesty's Government could - at some later date - see fit to reduce that term, no one would be better pleased than I. He folds, and refolds his glasses and then without looking at anyone he rises. The court rises and he walks stiffly to his chambers. Featuring Gandhi. He stands, staring at Broomfield, and now it is his face that shows the respect.</dialogue>
</scene>
<scene>
<character>COLLINS' VOICE-OVER</character>
<parenthetical>( English accent . )</parenthetical>
<dialogue>Yes, I'm sure that's exactly what they hoped. Put him in prison a few years and with luck he'd be forgotten. And maybe they'd even subdue him. We see from Walker's point of view an Indian woman walking along the road, leading a tall camel that carries sacks of produce. Two young girls in ragged saris walk with her, and a boy of eight leads a smaller camel behind them. They are staring off at the car. Resume Walker. He swings back around, fascinated with what he is seeing of India. The car is an early 1930s Morris Minor.</dialogue>
<character>COLLINS</character>
<dialogue>Well, he certainly was n't forgotten! And as soon as he got out he was back tramping the country, preaching non - violence and demanding a free India. Everybody knows another showdown's coming - but when, and over what - He shrugs, `` Nobody knows''.</dialogue>
<character>WALKER</character>
<dialogue>Well, I read you account of that crowd in Calcutta and that he was twisting the Lion's tail again. Collins has suddenly slowed the car, then swerves around a pair of elephants hauling logs.</dialogue>
<character>WALKER</character>
<parenthetical>( falteringly . )</parenthetical>
<dialogue>. and I knew something had to give. And I was determined to be here when it did.</dialogue>
<character>COLLINS</character>
<dialogue>How does a reporter in Central America learn that Gandhi was born in Porbandar anyway?</dialogue>
<character>WALKER</character>
<dialogue>Oh, I've been a Gandhi buff for a long time. Collins glances at him in surprise as he steers the car around another procession of camels heading toward the port.</dialogue>
<character>COLLINS</character>
<dialogue>He certainly makes good copy.</dialogue>
<parenthetical>( A laugh . )</parenthetical>
<dialogue>The other day Winston Churchill called him `` that half - naked Indian fakir.'' Walker smiles too, but it soon passes.</dialogue>
<character>WALKER</character>
<dialogue>I met him once. Collins looks at him in real surprise.</dialogue>
<character>COLLINS</character>
<dialogue>You mean Gandhi?</dialogue>
<character>WALKER</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Back in South Africa.</dialogue>
<parenthetical>( reflectively . )</parenthetical>
<dialogue>long time ago.</dialogue>
<character>COLLINS</character>
<dialogue>What was he like?</dialogue>
<character>WALKER</character>
<dialogue>Lots of hair. and a little like a college freshman - trying to figure everything out.</dialogue>
<character>COLLINS</character>
<dialogue>Well, he must've found some of the answers. He honks as he goes around a wooden - wheeled cart.</dialogue>
</scene>
<scene>
<character>BA</character>
<parenthetical>( a step forward . )</parenthetical>
<dialogue>`` In every worthy wish of yours, I shall be your helpmate.'' Another angle featuring Walker and Collins, who are sitting alone, in the cool shadows of the temple, watching with fascination as Gandhi and Ba repeat their marriage ceremony for them, Walker jotting notes occasionally, but his eyes always glued to Gandhi and Ba, who are in part lost in memories and echoes of a significance only they can know.</dialogue>
<character>GANDHI</character>
<parenthetical>( a step . )</parenthetical>
<dialogue>`` Take a fourth step, that we may be ever full of joy.'' Wide shot. Showing the two of them before the altar of the temple, moving closer to each other.</dialogue>
<character>BA</character>
<parenthetical>( a step . )</parenthetical>
<dialogue>`` I will ever live devoted to you, speaking words of love and praying for your happiness.'' Close shot - Gandhi.</dialogue>
<character>GANDHI</character>
<dialogue>`` Take a fifth step, that we may serve the people.''</dialogue>
<character>BA</character>
<dialogue>`` I will follow close behind you and help to serve the people.'' Featuring Walker, now too entranced by the ceremony, by the depth of layered emotions in Gandhi and Ba's voices and eyes to take any notes.</dialogue>
<character>GANDHI</character>
<dialogue>`` Take a sixth step, that we may follow our vows in life.''</dialogue>
<character>BA</character>
<dialogue>`` I will follow you in all our vows and duties.'' Ba and Gandhi. Near to meeting now.</dialogue>
<character>GANDHI</character>
<parenthetical>( a last step . )</parenthetical>
<dialogue>`` Take the seventh step, that we may ever live as friends.'' Ba takes the last step, so that they are face to face. A beat.</dialogue>
<character>BA</character>
<dialogue>`` You are my best friend. my highest guru, and my sovereign lord.'' For a moment their eyes hold - the many dreams, and hopes and pain - the love of many years. Walker watches, his own face taut with emotion. Resume Gandhi and Ba. And Gandhi slowly lifts his hand.</dialogue>
<character>GANDHI</character>
<dialogue>Then I put a sweetened wheat cake in her mouth. He touches Ba's lips with his extended fingers and she kisses them gently.</dialogue>
<character>BA</character>
<dialogue>And I put a sweetened wheat cake in his mouth. She has lifted her fingers to his mouth and he kisses them gently. Featuring Walker and Collins both touched, the overtly cynical American obviously even more than the likeable Englishman. Gandhi turns to them.</dialogue>
<character>GANDHI</character>
<dialogue>And with that we were pronounced man and wife.</dialogue>
<parenthetical>( Solemnly . )</parenthetical>
<dialogue>We were both thirteen.</dialogue>
</scene>
<scene>
<character>WALKER</character>
<dialogue>It's beautiful.</dialogue>
<character>GANDHI</character>
<dialogue>Even as a boy I thought so. Walker looks down at him. Gandhi scowls up in the early light.</dialogue>
<character>WALKER</character>
<dialogue>Trying to keep track of you is making me change all my sleeping habits. Gandhi smiles.</dialogue>
<character>GANDHI</character>
<dialogue>And you've come all this way because you think something is going to happen?</dialogue>
<character>WALKER</character>
<dialogue>Hm.</dialogue>
<parenthetical>( Then weightedly . )</parenthetical>
<dialogue>Is it?</dialogue>
<character>GANDHI</character>
<dialogue>Perhaps. I've come here to think about it. They both watch the waves beat on the shore a moment, the changing hues of the sunrise on the whites of Porbandar.</dialogue>
<character>GANDHI</character>
<parenthetical>( musing . )</parenthetical>
<dialogue>Do you remember much of South Africa?</dialogue>
<character>WALKER</character>
<dialogue>A great deal.</dialogue>
<character>GANDHI</character>
<dialogue>I've traveled so far - and thought so much.</dialogue>
<parenthetical>( He smiles in self - mockery , and turns toward the city . )</parenthetical>
<dialogue>As you can see, my city was a sea city - always filled with Hindus and Muslims and Sikhs and Jews and Persians.</dialogue>
<parenthetical>( He looks at Walker . )</parenthetical>
<dialogue>The temple where you were yesterday is of my family's sect, the Pranami. It was Hindu of course but the priests used to read from the Muslim Koran and the Hindu Gita, moving from one to the other as though it mattered not at all which book was read as long as God was worshipped. He looks out to sea, and we intercut his face with Walker's, the sea, and the town itself as the sun turns it white.</dialogue>
<character>GANDHI</character>
<dialogue>When I was a boy I used to sing a song in that temple : `` A true disciple knows another's woes as his own. He bows to all and despises none. Earthly possessions hold him not.'' Like all boys I said the words, not thinking of what they meant or how they might be influencing me.</dialogue>
<parenthetical>( He looks at Walker .</parenthetical>
<parenthetical>then out to the sea again , shaking his head . )</parenthetical>
<dialogue>I've traveled so far. and all I've done is come back home. Walker studies him as this profound man reaches, in his middle years, a profound insight. Featuring Gandhi staring out to sea, his mind locked in reflection, and suddenly his head lifts, his eyes become alert, he is caught by some excitement which he weighs for a moment, then he stands, his manner suddenly tingling with optimism. Walker stares at him, then at what Gandhi seems to be looking at. His point of view. The waves lapping the shore below them. Walker turns back to Gandhi, puzzled. But there is no mistaking the sudden glow in Gandhi's face.</dialogue>
<character>WALKER</character>
<dialogue>You know what you're going to do. Gandhi looks at him, a teasing smile.</dialogue>
<character>GANDHI</character>
<dialogue>It would have been very uncivil of me to let you make such a long trip for nothing. The grin broadens, and then he starts briskly down the promontory. Walker scrambles up after him.</dialogue>
<character>WALKER</character>
<dialogue>Where are you going? Gulls fly over them, squawking in the growing light. Gandhi pauses, looking up at the gulls, then back down to the sea.</dialogue>
<character>GANDHI</character>
<dialogue>I'm going back to the ashram.</dialogue>
<parenthetical>( then firmly . )</parenthetical>
<dialogue>and then I'm going to prove to the new Viceroy that the King's writ no longer runs in India! He turns from the sea to Walker, his eyes confident, elated, then he continues on down the promontory. Still baffled, Walker glances at the sea, at him, then hurries after. Full shot. The waves running against the shore.</dialogue>
</scene>
<scene>
<character>IRWIN</character>
<dialogue>Salt? Another angle. He is looking in astonishment at his principal secretary. His ADC, a general, a brigadier, a senior police officer are with him. Like him they hold the same offices, but are a new team.</dialogue>
<character>PRINCIPAL SECRETARY</character>
<dialogue>Yes, sir. He is going to march to the sea and make salt. Irwin looks at him, still trying to penetrate the significance of the act. The senior police officer helps.</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>There is a Royal Monopoly on the manufacture of salt, sir. It's illegal to make it or sell it without a Government license. Irwin has listened ; it's beginning to make a little sense.</dialogue>
<character>IRWIN</character>
<dialogue>All right - he's breaking the law. What will he be depriving us of, two rupees of salt tax?</dialogue>
<character>PRINCIPAL SECRETARY</character>
<dialogue>It's not a serious attack on the revenue, sir. Its primary importance is symbolic.</dialogue>
<character>IRWIN</character>
<dialogue>Do n't patronize me, Charles. The principal secretary blanches.</dialogue>
<character>PRINCIPAL SECRETARY</character>
<dialogue>No, sir. I - in this climate, sir, nothing lives without water - or salt. Our absolute control of it is a control on the pulse of India. Irwin looks at his ADC, then paces a bit, pondering it.</dialogue>
<character>IRWIN</character>
<dialogue>And that's the basis of this `` Declaration of Independence''?</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>Yes, sir. The day he sets off everyone is supposed to raise the flag of `` Free India.'' Then he walks some two hundred and forty miles to the sea and makes salt. A moment as Irwin considers it, then it is the general who speaks.</dialogue>
<character>GENERAL</character>
<dialogue>I say ignore it. Let them raise their damn flags, let him make his salt. It's only symbolic if we choose to make it so.</dialogue>
<character>PRINCIPAL SECRETARY</character>
<parenthetical>( pointedly . )</parenthetical>
<dialogue>He's going to arrive at the sea on the anniversary of the massacre at Amritsar. Irwin has turned to him. And this makes up his mind.</dialogue>
<character>IRWIN</character>
<dialogue>General Edgar is right - ignore it. Mr. Gandhi will find it's going to take a great deal more than a pinch of salt to bring down the British Empire. He is concerned enough to be angry, but certain enough to be dogmatic.</dialogue>
</scene>
<scene />
<scene>
<character>GANDHI</character>
<parenthetical>( to Nehru . )</parenthetical>
<dialogue>. the real test will come if I am arrested. If there is violence we lose all our moral advantage. This time it must n't happen. He looks at Nehru and Azad solemnly to emphasize the point. Nehru nods ; a little smile.</dialogue>
<character>NEHRU</character>
<dialogue>We're not beginners anymore. We've been trained by a strict sergeant major. He means Gandhi of course, and Gandhi accepts the reference, but it is the acceptance of the strict sergeant major : `` Do n't fail me.'' Then he looks to Azad.</dialogue>
<character>GANDHI</character>
<dialogue>If I'm taken, Maulana is to lead the march. If he is arrested, Patel, then Kripalani, then yourself. Nehru nods. Ba moves to massage the top of Gandhi's head.</dialogue>
<character>BA</character>
<dialogue>You should be relaxing. Gandhi grins, looking at Mirabehn, who is massaging his legs.</dialogue>
<character>GANDHI</character>
<dialogue>I'm sure I'm fit for at least five hundred miles.</dialogue>
<character>MIRABEHN</character>
<dialogue>You should ride the pony. It is not necessary to walk to prove the point. Gandhi looks at Nehru, a benign shrug.</dialogue>
<character>GANDHI</character>
<dialogue>I have two of them bossing me now. Nehru smiles. He stands, having taken the last proof sheet. Azad rises with him.</dialogue>
<character>NEHRU</character>
<dialogue>We must get these to the printer.</dialogue>
<parenthetical>( He looks down at Gandhi . )</parenthetical>
<dialogue>I know it will succeed. Even my mother is prepared to march. Gandhi is pleasurably impressed with that.</dialogue>
<character>GANDHI</character>
<dialogue>And Jinnah?</dialogue>
<character>NEHRU</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>He's waiting. He's not prepared to accept it will mean as much as you think.</dialogue>
<character>GANDHI</character>
<parenthetical>( smiles confidently . )</parenthetical>
<dialogue>Wait and see. wait and see. He leans back and closes his eyes. Ba rubs his head soothingly. Nehru bends and squeezes his arm in farewell. Gandhi nods, not opening his eyes. Nehru and Azad smile at Ba and leave.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<parenthetical>( of the press . )</parenthetical>
<dialogue>You've done me a great service.</dialogue>
<character>WALKER</character>
<parenthetical>( a grin , then a play on Gandhi 's words to him . )</parenthetical>
<dialogue>It would have been uncivil of me to have let you make such a long trip for nothing. Gandhi smiles. He turns back toward his bungalow. Ba and Mirabehn stand there watching, Desai with them. Gandhi holds their gaze a second, then turns and starts forward. Pyarelal takes up a position next to him, the marchers follow. Featuring Walker. He steps back, letting Gandhi proceed into the range of the cameras on his own. The crowd around the entrance throws flowers in Gandhi's path, some calling out, `` Long live Mahatma Gandhi!'' Gandhi passes the cameramen and starts along the trail.</dialogue>
</scene>
<scene>
<character>WALKER</character>
<dialogue>Is it over if they arrest you now?</dialogue>
<character>GANDHI</character>
<dialogue>Not if they arrest me - or a thousand - or ten thousand.</dialogue>
<parenthetical>( He looks at Walker . )</parenthetical>
<dialogue>It is not only generals who know how to plan campaigns. Walker smiles - a little uneasily - for they are now near the police. Gandhi nods to them amiably as he passes along in front of them. Walker is turning, watching for a move from the police but begins to grasp that there may be none. He hurries along closer to Gandhi again, one eye still on the police.</dialogue>
<character>WALKER</character>
<dialogue>What if they do n't arrest you? What if they do n't react at all? Gandhi glances at him. Walker too wears a knapsack. Gandhi nods to it, though never breaking his pace.</dialogue>
<character>GANDHI</character>
<dialogue>Do you still have your notebook?</dialogue>
<parenthetical>( Walker fumbles for it ; Gandhi goes right on talking . )</parenthetical>
<dialogue>The function of a civil resister is to provoke response. And we will continue to provoke until they respond, or they change the law. They are not in control - we are. That is the strength of civil resistance. He nods politely toward the British police officer at the end of the police line. Walker stops, letting the procession march on by him, looking at the British police officer, then writing busily in his notebook. Collins stop by him.</dialogue>
<character>COLLINS</character>
<dialogue>What'd he say?</dialogue>
<character>WALKER</character>
<parenthetical>( wryly . )</parenthetical>
<dialogue>He said he's in charge.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Are you going to walk all the way?</dialogue>
<character>WALKER</character>
<parenthetical>( a weary grin . )</parenthetical>
<dialogue>My name is Walk - er. And I intend to report it the way it is. Gandhi smiles and turns back. He shakes his head.</dialogue>
<character>GANDHI</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>`` My name is Walk - er''. And grinning at it, he passes by the policemen and into the cheers of the crowd. Long shot, high. As the procession trails into the village, we see several villagers, knapsacks or bundles strung over their shoulders, run around the police and join the end of the procession.</dialogue>
</scene>
<scene>
<character>STUDENT LEADER</character>
<dialogue>We've come to join the march. What do we do?</dialogue>
<character>PYARELAL</character>
<parenthetical>( bluntly . )</parenthetical>
<dialogue>Be sure you're awake in the morning.</dialogue>
<parenthetical>( It comes from a knowledge of students .</parenthetical>
<parenthetical>He smiles and nods off . )</parenthetical>
<dialogue>Find a place to sleep. The student leader follows his gaze and the camera pans off with his glance. We see that the numbers have grown immensely. Fires dot the field and spread and spread and spread. Behind Walker and Pyarelal the newsreel truck and three cars for reporters are spread out around the fires. We identify a couple of Frenchmen and a Japanese. Walker looks at Pyarelal and shakes his head in wonder at it all.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>GANDHI'S VOICE-OVER</character>
<dialogue>Man needs salt as he needs air and water. This salt comes from the Indian Ocean.</dialogue>
<parenthetical>( The salt crystals are added to an urn already partially full .</parenthetical>
<parenthetical>The camera pulls back and Gandhi lifts the urn .</parenthetical>
<parenthetical>All around him the pressing crowd : newsreel cameramen , reporters - Walker , Collins , Naidu , Pyarelal .</parenthetical>
<parenthetical>Firmly . )</parenthetical>
<dialogue>Let every Indian claim it as his right! A wide - angle shot. Gandhi in the center of the wildly cheering crowd, the camera pulling back and back. and the shot becomes black and white, and we hear the music of Movietone News.</dialogue>
<character>ANNOUNCER'S VOICE-OVER</character>
<dialogue>and so once more the man of non - violence has challenged the might of the British Empire. And with that we get the Movietone Music tag and as the film fades, the lights go up on</dialogue>
</scene>
<scene>
<character>SENIOR POLICE OFFICER</character>
<dialogue>They're making it everywhere, sir - mobs of them - publicly. Congress leaders are selling it on the streets of Delhi. Irwin sighs.</dialogue>
<character>BRIGADIER</character>
<dialogue>We're being made fools of around the world!</dialogue>
<character>GENERAL</character>
<dialogue>Is n't there any instruction from London? Irwin nods.</dialogue>
<character>IRWIN</character>
<dialogue>We're required to stop it.</dialogue>
<parenthetical>( He stands , his mind made up . )</parenthetical>
<dialogue>And stop it we will.</dialogue>
<parenthetical>( He looks at the senior police officer . )</parenthetical>
<dialogue>I do n't care if we fill the jails, stop it. Arrest anyone, any rank - except Gandhi. We'll cut his strength from under him. And then we'll deal with the Mahatma. For the first time he is truly angry.</dialogue>
</scene>
<scene>
<character>BRITISH SUBALTERN</character>
<dialogue>Oh, my God! The beach. Subaltern's point of view. Packed with people making salt, selling salt, buying salt. Resume the British subaltern. He looks back. His point of view. Behind him there is an open military truck and about twenty sepoys. Formidable for an ordinary crowd, nothing to handle this. The subaltern stiffens bravely and signals the men somewhat unconvincingly from the truck.</dialogue>
<character>SUBALTERN</character>
<dialogue>Right - jump to it - clear this beach!</dialogue>
</scene>
<scene />
<scene>
<character>NEHRU</character>
<dialogue>No violence, Zia! And a lathi is brought smashing across the side of Nehru's head. He is knocked to his knees ; blood streams from his head. He feels the side of his head, the blood soaking his hand. He struggles to his feet, facing the policeman who has struck him.</dialogue>
<character>NEHRU</character>
<parenthetical>( repeating quietly , as though to Zia . )</parenthetical>
<dialogue>. no violence. It stops the policeman for a second, and a sergeant suddenly intrudes, recognizing Nehru.</dialogue>
<character>SERGEANT</character>
<dialogue>You're Nehru -</dialogue>
<character>NEHRU</character>
<dialogue>I'm an illegal trader in salt. The sergeant sighs grimly.</dialogue>
</scene>
<scene>
<character>SENIOR POLICE OFFICER</character>
<dialogue>There's been no time to keep figures, but there must be ninety - a hundred thousand under arrest.</dialogue>
<parenthetical>( Grimly , incredibly . )</parenthetical>
<dialogue>And it still goes on.</dialogue>
<character>IRWIN</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Who's leading them?</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>I do n't know! Nehru, Patel, almost every Congress Official is in jail. and their wives and their children - we've even arrested Nehru's mother.</dialogue>
<character>PRINCIPAL SECRETARY</character>
<parenthetical>( shrewdly . )</parenthetical>
<dialogue>Has there been any violence?</dialogue>
<character>SENIOR POLICE OFFICER</character>
<parenthetical>( distracted , offhand . )</parenthetical>
<dialogue>Oh, in Karachi the police fired on a crowd and killed a couple of people and -.</dialogue>
<parenthetical>( and this hurts . )</parenthetical>
<dialogue>and in Peshawar the Deputy Police Commissioner lost his head and. and opened fire with a machine gun.</dialogue>
<parenthetical>( He looks up at them quickly , defensively . )</parenthetical>
<dialogue>But he's facing a disciplinary court! You ca n't expect things like that not to happen when -</dialogue>
<character>IRWIN</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>I believe the question was intended to discover if there was any violence of their side. The senior police officer looks up, realizing his gaffe and wishes desperately he could relive the last couple of minutes.</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>Oh, no, sir - no, I'm afraid not.</dialogue>
<character>PRINCIPAL SECRETARY</character>
<parenthetical>( again the Machiavellian mind . )</parenthetical>
<dialogue>Perhaps if we arrested Gandhi, it might - He means incite violence. The Viceroy ponders it - favorably.</dialogue>
<character>IRWIN</character>
<parenthetical>( to senior police officer . )</parenthetical>
<dialogue>He's addressed this letter directly to you, has he?</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>Yes, sir, he has. The usual - India's salt belongs to India - but then he says flatly that he personally is going to lead a raid tomorrow on the Dharasana Salt Works.</dialogue>
<character>IRWIN</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>Thank him for his letter, and put him in jail. The senior police officer is brought up by the chill directness of it. He looks at Irwin and the principal secretary for a moment in uncertainty. Then</dialogue>
<character>SENIOR POLICE OFFICER</character>
<dialogue>Yes, sir. Yes, sir. It will be my pleasure. As he turns to leave Irwin speaks - almost offhandedly.</dialogue>
<character>IRWIN</character>
<dialogue>And Fields, keep that salt works open. The senior police officer stares at him, then</dialogue>
<character>SENIOR POLICE OFFICER</character>
<parenthetical>( delighted . )</parenthetical>
<dialogue>Yes, sir!</dialogue>
</scene>
<scene>
<character>AZAD</character>
<dialogue>I would like admission to the Works.</dialogue>
<character>CHIEF POLICE OFFICER</character>
<parenthetical>( equally politely . )</parenthetical>
<dialogue>I am sorry, sir. That can not be allowed. Azad looks at him a second, then glances at the troops. He is clearly afraid, but there is an air of tragic inevitability in his face. He moves back to address the volunteers.</dialogue>
<character>AZAD</character>
<dialogue>Last night they took Gandhiji from us. They expect us to lose heart or to fight back. We will not lose heart, we will not fight back. In his name we will be beaten. As he has taught us, we will not raise a hand. `` Long live Mahatma Gandhi!'' He turns and starts down the dip toward the gate and the waiting lathis of the police. A series of shots, as Azad leads the first row of volunteers down and up the dip. We intercut Walker, frozen, watching the inevitable onslaught, the British police commanding officer ready to give the first order.</dialogue>
<character>POLICE COMMANDING OFFICER</character>
<parenthetical>( finally . )</parenthetical>
<dialogue>Now! And with the volunteers a foot from them, the police strike with their lathis. A groan of empathic anguish from the waiting volunteers, but then we get A series of shots As the next row moves forward and the horror of the one - sided mayhem proceeds heads are cracked, faces split, ribs smashed, and yet one row of volunteers follows another, and another into the unrelenting police, who knock bleeding bodies out of the way, down into the dip, swing till sweat pours from their faces and bodies. And through it we intercut with Mirabehn and the Indian women rescuing the wounded, carrying them on stretchers to be bandaged. We see Walker helping once or twice, turning, watching, torn between being a professional spectator and a normal human being. And always the volunteers coming, never stopping, never offering resistance. And finally on sound there is an insistent click, click, click, like a thud of the lathis but becoming clearly the slap of an impatient hand on a telephone cradle and out of the carnage of the salt works we dissolve to</dialogue>
</scene>
<scene>
<character>WALKER</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Hello! Ed! Ed! Goddammit, do n't cut me off!</dialogue>
<parenthetical>( Then suddenly he 's through . )</parenthetical>
<dialogue>Ed! Okay - yeah - right. And he continues urgently reading the story that lies on his notes on the little stand before him.</dialogue>
<character>WALKER</character>
<dialogue>`` They walked, with heads up, without music, or cheering, or any hope of escape from injury or death.''</dialogue>
<parenthetical>( His voice is taut , harshly professional . )</parenthetical>
<dialogue>`` It went on and on and on. Women carried the wounded bodies from the ditch until they dropped from exhaustion. But still it went on.'' He shifts the mangled notes and comes to his last paragraph. He speaks it trying only half successfully to keep the emotion from his voice.</dialogue>
<character>WALKER</character>
<dialogue>`` Whatever moral ascendance the West held was lost today. India is free for she has taken all that steel and cruelty can give, and she has neither cringed nor retreated.''</dialogue>
<parenthetical>( On Walker close .</parenthetical>
<parenthetical>His sweating , blood and dirt - stained face near tears . )</parenthetical>
<dialogue>`` In the words of his followers, ` Long live Mahatma Gandhi.'''</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>GANDHI</character>
<dialogue>I am aware that I must have given you much cause for irritation, your Excellency. I hope it will not stand between us as men. Reverse angle. Irwin is in shadows behind his desk looking, still, in some kind of shock, staring at Gandhi.</dialogue>
<character>IRWIN</character>
<dialogue>Mr. Gandhi, I have instructions to request your attendance at an All - Government Conference in London to discuss - to discuss the possible Independence of India. He faces Gandhi stiffly. The whirr of a camera, and a swift cut to A SUCCESSION OF BLACK - AND - WHITE `` NEWSREEL'' SEQUENCES OF GANDHI'S VISIT TO ENGLAND AND THE ALL - GOVERNMENT CONFERENCE. Wide screen, but slightly under - cranked with the bad cutting and predictable music of the old newsreels. A. Gandhi, Mirabehn and Gandhi's secretary, Desai, waving goodbye from the boat deck of their ship as it sails - Mirabehn is holding the tether of a goat - all of them smiling at the camera like voyagers everywhere. B. Gandhi on the steps of Kingsley Hall in the East End of London being greeted by a cheering crowd. Mirabehn holds an umbrella over him as he takes a bouquet from a little child. The now gray - haired Charlie Andrews beams possessively at his side. C. Gandhi, in his dhoti, waving to a small crowd as he enters the gates of Buckingham Palace. A London bobby watches. D. Gandhi, taking his seat at the conference table among the formally - in some Maharajahs' cases, elaborately - dressed delegates. A gavel is struck and Ramsay MacDonald begins his opening address.</dialogue>
<character>MACDONALD</character>
<dialogue>I think our first duty is to recognize that there is not one India, but several : a Hindu India, a Muslim India, and India of Princely States. And all these must be respected - and cared for - not just one. Beneath its unctuous political veneer it is blatantly divisive and clearly reveals the true intent of the Conference. As Gandhi looks at MacDonald, we read on his face his perception of the sad truth. E. Gandhi, Mirabehn and Charlie walking under an umbrella in the rain, their heads bent in glum conversation. F. Gandhi being welcomed and kissed by a group of millworkers outside a large mill entrance identified by the sign GREENFIELD COTTON MILL, LANCASHIRE. He is hugged and squeezed by some hefty female millworkers, all grinning happily, Gandhi not least. G. Gandhi in a radio studio, seated at a table, a large microphone labeled `` CBS'' before him, technicians and Mirabehn in the glass booth behind him, Walker across the table from him, the `` On the Air'' sign bright.</dialogue>
<character>GANDHI</character>
<parenthetical>( to Walker . )</parenthetical>
<dialogue>Do I speak into that? Walker cringes, glancing at the lighted `` On the Air'' sign. He signals `` Yes'' frantically.</dialogue>
<character>GANDHI</character>
<dialogue>Are they ready? Do I start? He glances at the booth. Everybody including Walker and Mirabehn are nodding `` Yes.'' Gandhi shrugs, grins at everyone's excitement, and begins.</dialogue>
<character>GANDHI</character>
<dialogue>I am glad to speak to America where so many friends exist that I know only in my heart. As the speech continues in the thin, static - y tones of thirties' radio, we see Mirabehn and the technicians listening in the control room. / Walker, across the table from Gandhi. / The outside of Broadcasting House. / The Empire State Building and Manhattan. / A mid - western farmhouse. / A thirties' radio set in a thirties' American living room. / A family, listening, kids playing on the floor, half ignoring it, the mother ironing, the father in an armchair, a newspaper open.</dialogue>
<character>GANDHI'S VOICE</character>
<parenthetical>( continuing over all . )</parenthetical>
<dialogue>I think your interest and the world's has fallen on India, not only because we are struggling for freedom, but because the way we are doing so is unique as far as history shows us. Here in Europe mighty nations are, it seems, already contemplating another war, though I think they, and all the world, are sick to death of bloodspilling. All of us are seeking a way out, and I flatter myself that perhaps the ancient land of India will offer such a way. If we are to make progress we must not repeat history, but make history. And I myself will die before I betray our belief that love is a stronger weapon than hate. H. Gandhi shaking hands with MacDonald outside No. 10 Downing Street, MacDonald smiling the politician's smile, Gandhi smiling rather sadly. I. Gandhi on the deck of a boat, sitting on a deck chair, wrapped in blankets, staring somberly out to sea. Reverse angle : the wake of the boat in the vast ocean.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>It is only a sprain. Take her to the river, and we'll make a mud - pack for her. Go - I wo n't be long. He turns back. Another angle. He is spinning.</dialogue>
<parenthetical>( expertly . )</parenthetical>
<dialogue>, and gathered on the porch with him are Nehru and Jinnah and Patel and Azad and Kripalani. Desai and Pyarelal are inconspicuously in attendance as always, Pyarelal now clearly sharing Desai's role as secretary.</dialogue>
<character>JINNAH</character>
<dialogue>So the truth is, after all your travels, all your efforts, they've stopped the campaign and sent you home empty - handed. He is in his white suit, the black - ribboned pince - nez. He sits on a wicker chair, Nehru and Patel lean against the railing, Azad and Kripalani sit on the floor like Gandhi.</dialogue>
<character>GANDHI</character>
<dialogue>They are only clinging to old dreams.</dialogue>
<parenthetical>( looks up from his spinning to Jinnah . )</parenthetical>
<dialogue>and trying to split us in the old way. But the will has gone - Independence will drop like a ripe apple. The only question is when.</dialogue>
<parenthetical>( another glance at Jinnah . )</parenthetical>
<dialogue>and how.</dialogue>
<character>NEHRU</character>
<dialogue>I say when is now - and we will determine how.</dialogue>
<character>JINNAH</character>
<dialogue>Precisely. Gandhi winds up what he has done, and starts to rise.</dialogue>
<character>GANDHI</character>
<dialogue>They are preparing for war. I will not support it, but I do not intend to take advantage of their danger.</dialogue>
<character>PATEL</character>
<parenthetical>( blithely , but to the point . )</parenthetical>
<dialogue>That's when you take advantage. Gandhi has moved toward the steps. He stops and looks at Patel. A wry, gentle smile.</dialogue>
<character>GANDHI</character>
<dialogue>No. That is just another way of striking back. We have come a long way together with the British. When they leave we want to see them off as friends.</dialogue>
<parenthetical>( He starts down the steps and heads for the river . )</parenthetical>
<dialogue>And now, if you'll excuse me, there is something I must attend to. Featuring Nehru. He looks at Jinnah and shrugs. Jinnah takes it less philosophically and his eyes burn with anger as he watches Gandhi head for the young girl with the injured goat.</dialogue>
<character>NEHRU</character>
<parenthetical>( resignedly . )</parenthetical>
<dialogue>`` Mud packs.'' TRAIN STATION. INTERIOR. DUSK. Gandhi is moving with the stream of passengers disembarking from the Third Class section. Ba and Mirabehn are struggling along behind him, Desai and Pyarelal completing the little group. They pass a newspaper stand : `` Hitler's Armies Sweep On.'' As they move out into the flux of the station we see many uniforms, the sense of a nation readying for war. A British captain stands before a full platoon of Indian troops. As Gandhi approaches, a British Lt. Colonel and his Adjutant.</dialogue>
<parenthetical>( a Captain . )</parenthetical>
<dialogue>move out from one side of the troops.</dialogue>
<character>BRITISH COLONEL</character>
<dialogue>Mr. Gandhi - sir. Gandhi stops, looks up at him, at the troops behind him.</dialogue>
<character>BRITISH COLONEL</character>
<dialogue>I have instructions to inquire as to the subject of your speech tonight. Gandhi shakes his head with a weary grin.</dialogue>
<character>GANDHI</character>
<dialogue>The value of goat's milk in daily diet.</dialogue>
<parenthetical>( Into his eyes . )</parenthetical>
<dialogue>But you can be sure I will also speak against war. The British Colonel signals back to the troops.</dialogue>
<character>BRITISH COLONEL</character>
<dialogue>I'm sorry, sir. That ca n't be allowed. As a detail marches up to them, the colonel's adjutant speaks gently to Ba.</dialogue>
<character>ADJUTANT</character>
<dialogue>It's all right, Mrs. Gandhi. I have orders to return with you and your companion to the Mahatma's ashram.</dialogue>
<character>BA</character>
<dialogue>If you take my husband, I intend to speak in his place. She stares at the adjutant belligerently. He looks flummoxed. Later. Long shot - high. The colonel and his adjutant striding toward the exit of the station. Following behind them, a detail of six soldiers accompanying Gandhi. The camera tracks across the platform and we see they are being followed by a detail of six soldiers accompanying Ba. And the camera tracks again and we see they are being followed by a detail of six soldiers accompanying Mirabehn!</dialogue>
</scene>
<scene>
<character>BOURKE-WHITE</character>
<dialogue>Stop! Wait a minute! The jeep slithers to a stop, and Bourke - White grabs a camera that is strapped around her, stands, and takes a picture of the palace.</dialogue>
</scene>
<scene />
<scene>
<stage_direction>EXTERIOR - WINDING BUMPY ROAD - DAY</stage_direction>
<character>LIEUTENANT</character>
<dialogue>It was the Aga Khan's palace, but they've turned it into a prison. Bourke - White slips back down into her seat ; we see the arm band on her jacket : `` Press.'' The lieutenant starts the jeep up and they head toward the gate, where we see a British soldier on guard.</dialogue>
<character>LIEUTENANT</character>
<parenthetical>( shouting over the motor . )</parenthetical>
<dialogue>They've got most of the leading Congress politicians in this one. But Nehru and some others are over in Dehra Dun. Your timing's pretty lucky. They had your Mr. Gandhi cut off from the press but last month his personal secretary died and they've let up on the restrictions. Bourke - White just absorbs it, staring at the palace, taking in the experience with the appetite of her breed, and her own particular sensitivity.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Yes, I have heard of Life Magazine.</dialogue>
<parenthetical>( A smile . )</parenthetical>
<dialogue>I have even heard of Margaret Bourke - White. But I do n't know why either should be interested in an old man sitting in prison when the world is blowing itself to pieces. Bourke - White - who has been moving, crouching to shoot him and the light - sags back against the wall, relaxing at last. She has a smile as penetrating and warming as his.</dialogue>
<character>BOURKE-WHITE</character>
<parenthetical>( a beat - and she smiles . )</parenthetical>
<dialogue>You're the only man I know who makes his own clothes. Gandhi grins and glances toward his dhoti.</dialogue>
<character>GANDHI</character>
<dialogue>Ah, but for me that's not much of an accomplishment. Meaning he does n't wear many clothes. Bourke - White bursts into an appreciative radiance - already she has assessed him, and been won.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>No - prison is rather agreeable to me, and there is no doubt that after the war, independence will come. My only worry is what shape it will take. Jinnah has -</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Stop! She has Gandhi in the foreground, a soldier on the wall above and behind him.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Now go on - just as you were. Gandhi shrugs but suffers it. We feature him, low, from her point of view, as he walks on, the soldier pacing on the wall in the background.</dialogue>
<character>BOURKE-WHITE</character>
<parenthetical>( coaching . ) ''</parenthetical>
<dialogue>. what shape it will take.'' Jinnah has - what?</dialogue>
<character>GANDHI</character>
<parenthetical>( at first disconcerted , but then flowing . )</parenthetical>
<dialogue>Jinnah has - has cooperated with the British. It has given him power and the freedom to speak, and he has filled the Muslims with fears of what will happen to them in a country that is predominantly Hindu.</dialogue>
<parenthetical>( He stops , lowering his head gravely . )</parenthetical>
<dialogue>That I find hard to bear - even in prison. She clicks.</dialogue>
</scene>
<scene>
<character>BOURKE-WHITE</character>
<parenthetical>( archly , but emphatically of the spinning . )</parenthetical>
<dialogue>I do not see it as the solution of the twentieth century's problems! She's grinning at her own frustration and she keeps trying, but there's no doubt she means it. Gandhi's smile broadens. Wryly he lifts his own `` product'' - a tiny roll of thread.</dialogue>
<character>GANDHI</character>
<dialogue>I have a friend who keeps telling me how much it costs him to keep me in poverty. And they both laugh. a guard on the wall distantly looks at them wonderingly.</dialogue>
<character>GANDHI</character>
<parenthetical>( a bit more seriously . )</parenthetical>
<dialogue>But I know happiness does not come with things - even twentieth century things. It can come from work, and pride in what you do.</dialogue>
<parenthetical>( He looks at her steadily . )</parenthetical>
<dialogue>It will not necessarily be `` progress'' for India if she simply imports the unhappiness of the West. And she responds to the sophistication of that observation. He pivots around, moving beside her, and slowly demonstrates the process, taking her hands, guiding her. Bourke - White watches him as much as the wheel.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>But do you really believe you could use non - violence against someone like Hitler?</dialogue>
<character>GANDHI</character>
<parenthetical>( a thoughtful pause . )</parenthetical>
<dialogue>Not without defeats - and great pain.</dialogue>
<parenthetical>( He looks at her . )</parenthetical>
<dialogue>But are there no defeats in this war - no pain?</dialogue>
<parenthetical>( For a moment the thought hangs , and then Gandhi takes their hands back to the spinning . )</parenthetical>
<dialogue>What you can not do is accept injustice. From Hitler - or anyone. You must make the injustice visible - be prepared to die like a soldier to do so. And he smiles a little wisely at her.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Is my finger supposed to be wrapped around that?</dialogue>
<character>GANDHI</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>No. That is what you get for distracting me.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>What do you expect when you talk like that?</dialogue>
<character>GANDHI</character>
<parenthetical>( trying to unravel the mess . )</parenthetical>
<dialogue>I expect you to show as much patience as I am now. His tone is not altogether patient. She looks at him in surprise and he sighs tolerantly. Then reflectively</dialogue>
<character>GANDHI</character>
<dialogue>Every enemy is a human being - even the worst of them. And he believes he is right and you are a beast.</dialogue>
<parenthetical>( And now a little smile . )</parenthetical>
<dialogue>And if you beat him over the head you will only convince him. But you suffer, to show him that he is wrong, your sacrifice creates an atmosphere of understanding - if not with him, then in the hearts of the rest of the community on whom he depends. Bourke - White looks at him and there is enough sense in this argument to give her pause.</dialogue>
<character>GANDHI</character>
<dialogue>If you are right, you will win - after much pain.</dialogue>
<parenthetical>( He looks at her , then smiles in his own ironic way . )</parenthetical>
<dialogue>If you are wrong, well, then, only you will suffer the blows. She stares at him, and we know she thinks him much more profound than she had thought initially.</dialogue>
</scene>
<scene>
<character>BA</character>
<dialogue>not at all. Bapu has always said there were two kinds of slavery in India - one for women, one for the untouchables - and he has always fought against both. Bourke - White accepts it at face value. She opens another line of inquiry.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Does it rankle, being separated from him this way? Ba pauses.</dialogue>
<character>BA</character>
<dialogue>Yes. but we see each other in the day.</dialogue>
<character>BOURKE-WHITE</character>
<parenthetical>( delicately . )</parenthetical>
<dialogue>But not at night. She's terribly curious, but she does n't want to offend. Ba sees both the curiosity and the hesitancy. She smiles across at Mirabehn, then</dialogue>
<character>BA</character>
<dialogue>In Hindu philosophy the way to God is to free yourself of possessions - and the passions that inflame to anger and jealousy.</dialogue>
<parenthetical>( A smile . )</parenthetical>
<dialogue>Bapu has always struggled to find the way to God.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>You mean he - he gave up -.</dialogue>
<parenthetical>( how to phrase it , finally . )</parenthetical>
<dialogue>married life. Again Ba smiles.</dialogue>
<character>BA</character>
<dialogue>Four times he tried - and failed.</dialogue>
<parenthetical>( Mirabehn and Bourke - White grin .</parenthetical>
<parenthetical>The older woman gives a wistful smile . )</parenthetical>
<dialogue>But then he took a solemn vow. She shrugs. the implication is it was a long time ago.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>And he has never broken it?</dialogue>
<character>BA</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Not yet. She looks at them soberly and then they all burst into laughter like girls.</dialogue>
</scene>
<scene>
<character>MAJOR</character>
<dialogue>I've got permission to move her - he can go too. The doctor shakes his head.</dialogue>
<character>DOCTOR</character>
<dialogue>She's had a coronary throm - a serious heart failure. She would n't survive a trip. It's best to leave her - and hope. The major looks defeated and depressed by the news.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>It is time for my walk - I wo n't be long. Ba's eyes flutter open. She holds her hand out to him and he takes it. When he goes to release it, she clutches it. Gandhi hesitates, and then he sits, holding Ba's hand in his lap. He looks across at Mirabehn and nods for her to go. Mirabehn smiles weakly, gives Ba a last little rub of farewell and stands. The doorway. Patel stands, letting Mirabehn pass before him and do down the corridor with Azad. He looks back. His point of view. Gandhi sitting, holding Ba's hand, his eyes once more on the floor in their empty stare. Another angle - later. The light has changed. A fly moves along a small section of the floor that still contains a ribbon of the dying sunlight. Gandhi still sits, holding Ba's hand, staring into nothingness. The doctor appears in the doorway. He pauses, nods amiably to Gandhi, though Gandhi does not react to his presence at all. Moving quietly, the doctor goes to the other side of Ba and crouches, and lifts her wrist to feel her pulse. He holds it for a moment, then lifts his eyes in doubt and sudden fateful apprehension. He glances at her, then slowly lowers her arm and puts the branches of his stethoscope in his ears. He puts the acoustic bell over her heart. a moment, and he lifts it slowly, his face confirming for us what he and we already know : there is no heartbeat. He glances at Pyarelal, who only lowers his eyes. The doctor turns his head slowly to Gandhi. Gandhi. His point of view. His posture is utterly unchanged, Ba's hand still in his lap, his eyes still staring emptily at the floor in front of him, but suddenly tears begin to run down his cheeks. He does not move, there is no change in his empty stare, but the tears continue to flow.</dialogue>
</scene>
<scene />
<scene>
<character>MOUNTBATTEN</character>
<dialogue>We have come to crown victory with friendship - to assist at the birth of an independent India and to welcome her as an equal member in the British Commonwealth of Nations.</dialogue>
<parenthetical>( A little smile . )</parenthetical>
<dialogue>I am here to see that I am the last British Viceroy ever to have the honor of such a reception. He grins in his youthful, beguiling manner and makes the pranam to the cheering crowd. It is cut off by the sound of a door being opened, close.</dialogue>
</scene>
<scene>
<character>JINNAH</character>
<dialogue>I do n't give a damn for the independence of India! I am concerned about the slavery of Muslims! Nehru and Patel are approaching from the conference room, both of them looking worn and angry too. Jinnah raises his voice deliberately so Nehru will hear.</dialogue>
<character>JINNAH</character>
<dialogue>I will not sit by to see the mastery of the British replaced by the mastery of the Hindus!</dialogue>
<character>GANDHI</character>
<parenthetical>( patiently , not yet believing it ca n't be settled . )</parenthetical>
<dialogue>Muslim and Hindu are the right and left eye of India. No one will be slave, no one master. Jinnah sneers at the idea, though he cools a little.</dialogue>
<character>JINNAH</character>
<dialogue>The world is not made of Mahatma Gandhis.</dialogue>
<parenthetical>( He looks at Nehru and Patel . )</parenthetical>
<dialogue>I am talking about the real world.</dialogue>
<character>NEHRU</character>
<dialogue>The `` real India'' has Muslims and Hindus in every village and every city! How do you propose to separate them?</dialogue>
<character>JINNAH</character>
<dialogue>Where there is a Muslim majority - that will be Pakistan. The rest is your India.</dialogue>
<character>PATEL</character>
<parenthetical>( a forced patience . )</parenthetical>
<dialogue>Mohammed - the Muslims are in a majority on two different sides of the country.</dialogue>
<character>JINNAH</character>
<parenthetical>( acidly . )</parenthetical>
<dialogue>Let us worry about Pakistan - you worry about India. Gandhi is staring at Jinnah trying to fathom the source of his anger and fear. He turns to see that Mountbatten has been standing in the open door to the conference room, as torn as Gandhi by the conflict, feeling it best controlled in formal discussion.</dialogue>
<character>MOUNTBATTEN</character>
<dialogue>Gentlemen, perhaps we should recommence. Gandhi nods, and reluctantly the adversaries move back to the conference room. Gandhi is last through the door. He pauses by Mountbatten, a little sigh - `` How difficult, how difficult'' - then he puts a friendly hand on Mountbatten's shoulder and the two of them enter together.</dialogue>
</scene>
<scene>
<character>GODSE</character>
<parenthetical>( with others . )</parenthetical>
<dialogue>Death to Jinnah! Death to Jinnah! We have pulled back and we see a whole gathering of Hindu youths near the entrance to the ashram. Many wave black flags. A couple of trucks that have brought them, and a car, are along the path. Kallenbach is stepping out of an old 1942 open Austin that he has put in a waiting position near the entrance to the path. The chanting shout `` Death to Jinnah!'' suddenly dies. The youths - and Kallenbach - look back toward the ashram. Featuring Gandhi's bungalow. Nehru has stepped out onto the porch and he glares at the youths. It is his presence that has silenced them. Kallenbach smiles.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Thank God, they've stopped. Mirabehn is spinning across the room. She lifts her head as a signal to someone out of shot. Gandhi's two grand nieces, Manu and Abha, who help Mirabehn now that Ba is gone, rise quickly at Mirabehn's signal, Manu to help with his shawl, Abha to hold his sandals so that he can slip into them.</dialogue>
<character>GANDHI</character>
<dialogue>I'm your grand uncle but I can still walk either of you into the ground and I do n't need to be pampered this way! It's cross - he's worried about other things. Mirabehn just smiles at it. Gandhi looks down at Abha, and taps her sharply on the top of the head.</dialogue>
<character>GANDHI</character>
<dialogue>Finish your quota of spinning. She nods obediently, the flicker of a smile around her mouth, youthful, irrepressible. The beauty of it almost saddens Gandhi. He taps her again - gently - and goes out.</dialogue>
</scene>
<scene>
<character>HINDU YOUTH</character>
<dialogue>Bapu - please. Do n't do it! They are all awed, timid even in his actual presence, and the mood of their gathering has changed altogether. Gandhi looks at the youth and the line of others.</dialogue>
<character>GANDHI</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>What do you want me not to do? Not to meet with Mr. Jinnah?</dialogue>
<parenthetical>( Fiercely . )</parenthetical>
<dialogue>I am a Muslim!</dialogue>
<parenthetical>( He stares at them , then relents . )</parenthetical>
<dialogue>And a Hindu, and a Christian and a Jew - and so are all of you. When you wave those flags and shout you send fear into the hearts of your brothers. He sweeps them sternly with his eyes, all his fatigue and strain showing.</dialogue>
<character>GANDHI</character>
<dialogue>This is not the India I want. Stop it. For God's sake, stop it. And he lowers his head and moves on to the car, where Kallenbach holds the door for him, Nehru, Azad and Pyarelal following. Another angle. As they get into the car, we see the car that sits by the two trucks that have brought the youths. In the back seat we see two men, one of whom is Prakash.</dialogue>
<parenthetical>( The bearded man at Gandhi 's assassination . )</parenthetical>
<dialogue>.</dialogue>
</scene>
<scene>
<character>JINNAH</character>
<dialogue>Now, please, if you've finished your prayers, could we begin with business. He has been looking at Gandhi, who sits on the floor of the large room some distance from him, just lifting his head from prayers. Nehru, Patel and Azad are on the same side of the room as Gandhi. They rise from prayer as Jinnah comes down the steps to them. Gandhi hesitates, then begins.</dialogue>
<character>GANDHI</character>
<dialogue>My dear Jinnah, you and I are brothers born of the same Mother India. If you have fears, I want to put them to rest.</dialogue>
<parenthetical>( Jinnah listens impatiently , skeptically .</parenthetical>
<parenthetical>Gandhi just glances in Nehru 's direction . )</parenthetical>
<dialogue>I am asking Panditji to stand down. I want you to be the first Prime Minister of India.</dialogue>
<parenthetical>( Jinnah raises an eyebrow of interest . )</parenthetical>
<dialogue>- to name your entire cabinet, to make the head of every government department a Muslim. And Jinnah has drawn himself up. His vanity is too great not to be touched by that prospect. He measures Gandhi for a moment to see that he is sincere, and when he is satisfied with that, he turns slowly to Nehru, Patel and Azad. Nehru glances at Patel. They have all been taken by surprise by the offer - and do not feel what Gandhi feels. Nehru looks hesitantly at Gandhi.</dialogue>
<character>NEHRU</character>
<dialogue>Bapu, for me, and the rest.</dialogue>
<parenthetical>( his hand gestures to Patel and Azad . )</parenthetical>
<dialogue>if that is what you want, we will accept it. But out there.</dialogue>
<parenthetical>( he indicates the streets . )</parenthetical>
<dialogue>already there is rioting because Hindus fear you are going to give too much away.</dialogue>
<character>PATEL</character>
<dialogue>If you did this, no one could control it. No one. It bears the stamp of undeniable truth. Gandhi's eyes sag with the despair of a man whose last hope, whose faith, has crumbled around him. Jinnah smiles cynically, he spreads his hands `` See?''</dialogue>
<character>JINNAH</character>
<dialogue>It is your choice. Do you want an independent India and an independent Pakistan? Or do you want civil war? Gandhi stares at him numbly.</dialogue>
</scene>
<scene />
<scene />
<scene />
<scene>
<character>BOURKE-WHITE</character>
<dialogue>Are n't you being a little overprotective? Kallenbach looks at her. Her tone criticizes more than his stilling the goat's bell.</dialogue>
<character>KALLENBACH</character>
<dialogue>Tomorrow. Tomorrow photograph him.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>I came all this way because I believed the picture of Independence Day was of him here alone. Kallenbach stands and looks across at her, judging, then appealing to her humanity.</dialogue>
<character>KALLENBACH</character>
<dialogue>It is violence, and the fear of violence, that have made today what it is. Give him the dignity of his grief. Bourke - White grabs a clump of grass, twists it free, and sighs. She tosses the grass vaguely at the goat.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>And while we're sitting here feeding goats, what will happen to all the Muslims in India and the Hindus in Pakistan? Kallenbach stops, staring absently at the ground ahead, then</dialogue>
<character>KALLENBACH</character>
<dialogue>Gandhi will pray for them.</dialogue>
</scene>
<scene />
<scene>
<character>NEHRU</character>
<parenthetical>( fast , curt . )</parenthetical>
<dialogue>No. There just are not that many troops.</dialogue>
<character>MILITARY AIDE</character>
<dialogue>What's he to do?</dialogue>
<character>NEHRU</character>
<dialogue>What he can! He turns. Patel has a message he was going to present to him. He hesitates, grins dismally, and crumples the message - `` No use.'' Nehru sags. He looks at Patel with haggard eyes.</dialogue>
<character>NEHRU</character>
<dialogue>He was right. It's insane - anything would have been better.</dialogue>
<character>PATEL</character>
<dialogue>Have you found him? Nehru nods solemnly.</dialogue>
<character>NEHRU</character>
<dialogue>He's in Noakhali. Patel reacts to that - surprise, apprehension.</dialogue>
<character>NEHRU</character>
<dialogue>He's tramping from village to village - no police, no troops - trying to quell the madness single - handedly.</dialogue>
<parenthetical>( He sighs , half in admiration , half in hopeless exasperation at the old man 's audacity . )</parenthetical>
<dialogue>Maulana has gone to bring him back. Patel nods grimly - the noisy chaos of the room. Someone shouts at Nehru, `` Prime Minister!'' CLOSE SHOT - GANDHI In silence - looking tragic, tired and defeated. He is sitting in his characteristic manner, staring down at the carpet before him.</dialogue>
<character>NEHRU'S VOICE</character>
<parenthetical>( dull , lifeless . )</parenthetical>
<dialogue>What you have done in Noakhali is a miracle, Bapu, a miracle, but millions are on the move - millions. There is no way to stop it. and no one can count the dead. The camera angle has changed. We are in</dialogue>
</scene>
<scene>
<character>NEHRU</character>
<dialogue>In Calcutta it's like civil war. The Muslims rose and there was a bloodbath, and now the Hindus are taking revenge - and if we ca n't stop it there'll be no hope for the Hindus left in Pakistan.</dialogue>
<character>PATEL</character>
<dialogue>an eye for an eye making the whole world blind. It is an empty and despairing echo of Gandhi's words.</dialogue>
<character>AZAD</character>
<dialogue>Are n't there any troops to spare?</dialogue>
<character>NEHRU</character>
<parenthetical>( tense , fragile . )</parenthetical>
<dialogue>Nothing - nothing. The divisions in Bombay and Delhi can hardly keep the peace now. And each fresh bit of news creates another wave of mad. ness. He has turned and seen Gandhi standing slowly. It has almost stopped him.</dialogue>
<character>PATEL</character>
<dialogue>Could we cut all news off? I know -</dialogue>
<character>NEHRU</character>
<dialogue>Bapu - please. Where are you going.</dialogue>
<character>GANDHI</character>
<parenthetical>( sounding like an old man . )</parenthetical>
<dialogue>I do n't want to hear more. He is moving toward the door. It stops them all. Pyarelal moves tentatively to open the door.</dialogue>
<character>PATEL</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>We need your help!</dialogue>
<character>GANDHI</character>
<dialogue>There is nothing I can give.</dialogue>
<character>AZAD</character>
<dialogue>Where are you going? Gandhi turns, looks at him bleakly.</dialogue>
<character>GANDHI</character>
<dialogue>Calcutta.</dialogue>
</scene>
<scene>
<character>POLICE COMMISSIONER</character>
<dialogue>Sir, please, I do n't have the men to protect you - not in a Muslim house. Not this quarter.</dialogue>
<character>GANDHI</character>
<dialogue>I am staying with the friend of a friend. There is a sudden commotion just below them and angry shouts : `` Death to Muslims!,'' `` Death to Muslims!'' Gandhi peers down. His point of view. A surging gang of youths, many carrying torches, and far outnumbering the little group of police and soldiers, are shouting up at the roof. We see three or four black flags and stains of blood on many of them. A few hold knives still wet with blood.</dialogue>
<character>A YOUTH</character>
<dialogue>There he is! A feral roar goes up at the sight of Gandhi, but he stands unmoving.</dialogue>
<character>HINDU YOUTH LEADER</character>
<parenthetical>( his voice emotional , tearful . )</parenthetical>
<dialogue>Why are you staying at the home of a Muslim! They're murderers! They killed my family! Featuring Gandhi. It is a comment too grave for glibness, and Gandhi is obviously struck by the pain of it. He pauses for a moment, staring down at the youth :</dialogue>
<character>GANDHI</character>
<dialogue>Because forgiveness is the gift of the brave. He makes it mean the youth. For a second it makes an impact, but then the youth shouts his defiance at him and his message.</dialogue>
<character>YOUTH</character>
<dialogue>To hell with you, Gandhi! An angry chorus of acclamation ; when it dies</dialogue>
<character>GANDHI</character>
<parenthetical>( to the youth . )</parenthetical>
<dialogue>Go - do as your mother and father would wish you to do. It is ambiguous, open - ended, meaning anything your mother and father would wish you to do. Tears flush from the boy's eyes and he stares at Gandhi with a kind of hopeless anguish and rage. But the impact is on the youth alone ; around him the others begin to take up the chant `` Death to Muslims!,'' `` Death to Muslims!'' Gandhi turns from the street. He looks at the police commissioner - at his fatigue, his concern, his manifest respect. Gandhi musters a weary smile.</dialogue>
<character>GANDHI</character>
<dialogue>I have lived a lifetime. If I had shunned death - or feared it - I would not be here. Nor would you be concerned for me.</dialogue>
<parenthetical>( He lets it sink in then he takes the commissioner 's arm and moves back toward the center of the roof . )</parenthetical>
<dialogue>Leave me - and take your men.</dialogue>
<parenthetical>( An understanding touch of the arm . )</parenthetical>
<dialogue>You have more important things to worry about. The commissioner looks at him, uncertain, not knowing what to do, as the angry chanting continues above the sound of rioting.</dialogue>
</scene>
<scene>
<character>WOMAN</character>
<dialogue>Bapu. Allah be with you. There are tears in Gandhi's eyes now.</dialogue>
<character>GANDHI</character>
<dialogue>And with you.</dialogue>
<parenthetical>( He touches her wrinkled hand . )</parenthetical>
<dialogue>Pray. I can not help you - pray. pray. And the weight of his helplessness hangs on him.</dialogue>
</scene>
<scene />
<scene>
<character>NEHRU</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>No! There will not be a Hindu Police and a Muslim Police. There is one police! An aide slips a newspaper on his desk in front of him. He does n't look at it till the senior commissioner lowers his head and turns, accepting defeat. Then Nehru glances at the paper. In thick headlines : GANDHI : A FAST UNTO DEATH! Nehru does n't move for a moment. Then he lifts his face slowly to his aide.</dialogue>
<character>NEHRU</character>
<dialogue>Why must I read news like this in the paper? The aide shakes his head - there's no answer. Nehru lowers his head again ; it is like another burden on a man who already has too many. He grips his temples. a terrible sigh.</dialogue>
<character>NEHRU</character>
<dialogue>Tell Patel. Arrange a plane. We will go - Friday.</dialogue>
<character>THE AIDE</character>
<dialogue>Four days? Nehru thinks on it solemnly, then nods yes.</dialogue>
</scene>
<scene>
<character>NEHRU</character>
<dialogue>Bapu. Gandhi turns to pat their joined hands with his other hand. He does so with effort, and at last he sees Patel.</dialogue>
<character>GANDHI</character>
<dialogue>Sardar.</dialogue>
<parenthetical>( He looks him over . )</parenthetical>
<dialogue>You have gained weight. You must join me in the fast. Patel sits near the head of the cot so the three of them are on a level. Outside the canopied area, Bourke - White is crouched, her camera framing the three of them.</dialogue>
<character>PATEL</character>
<parenthetical>( wittily , warmly . )</parenthetical>
<dialogue>If I fast I die. If you fast people go to all sorts of trouble to keep you alive. Gandhi smiles and reaches to touch hands with him.</dialogue>
<character>NEHRU</character>
<dialogue>Bapu, forgive me - I've cheated. I could have come earlier. But your fast has helped. These last days people's minds have begun to turn to this bed - and away from last night's atrocity. But now it is enough. Gandhi shakes his head.</dialogue>
<character>GANDHI</character>
<dialogue>All that has happened is that I've grown a little thinner. It is despairingly sincere. But Nehru feels he has an antidote for that despair. The distant sound of an explosion.</dialogue>
<character>NEHRU</character>
<dialogue>Tomorrow five thousand Muslim students of all ages are marching here in Calcutta - for peace.</dialogue>
<parenthetical>( The real point . )</parenthetical>
<dialogue>And five thousand Hindu students are marching with them. It is all organized. Bourke - White captures the sense of elation in his face. From her discreet distance, she lowers the camera, holding it against her mouth, waiting for Gandhi's response. Gandhi nods to Nehru, accepting the news with a sad wistfulness.</dialogue>
<character>GANDHI</character>
<dialogue>I'm glad - but it will not be enough. Nehru is n't prepared for this resistance. He glances at Patel, and we see that they recognize that their bland conviction that they could talk him out of the fast was deeply misplaced. Nehru turns back - this time no confidence, only concern. A forced smile.</dialogue>
<character>NEHRU</character>
<dialogue>Bapu, you are not so young anymore. Gandhi smiles, pain etched in his eyes. He touches Nehru's hand.</dialogue>
<character>GANDHI</character>
<dialogue>Do n't worry for me - death will be a deliverance.</dialogue>
<parenthetical>( There is water in his eyes , but his words have the weight of a man truly determined to die . )</parenthetical>
<dialogue>I can not watch the destruction of all I have lived for. Nehru stares at him, feeling the sudden fear that Gandhi means it. Patel, Mirabehn, Azad, Bourke - White are gripped by the same realization.</dialogue>
</scene>
<scene />
<scene>
<character>MIRABEHN</character>
<dialogue>Bapu. Gandhi looks at her, and then the microphone. When he speaks into the microphone his voice is very weak.</dialogue>
<character>GANDHI</character>
<dialogue>Each night before I sleep, I read a few words from the Gita and the Koran, and the Bible.</dialogue>
<parenthetical>( we intercut with Bourke - White and those on the roof watching . )</parenthetical>
<dialogue>tonight I ask you to share these thoughts of God with me. And now we go into the streets, intercutting with Gandhi but seeing Hindus listening around loudspeakers on corners, in little eating houses, Muslim shops where people live in the back, and neighbors gathering defensively in groups.</dialogue>
<character>GANDHI</character>
<parenthetical>( the books are there , but he does it from memory of course . )</parenthetical>
<dialogue>I will begin with the Bible where the words of the Lord are, `` Love thy neighbor as thyself''. and then our beloved Gita which says, `` The world is a garment worn by God, thy neighbor is in truth thyself''. and finally the Holy Koran, `` We shall remove all hatred from our hearts and recline on couches face to face, a band of brothers.'' He leans back, exhausted. Mirabehn is looking at him ; she starts to sing softly.</dialogue>
<character>MIRABEHN</character>
<dialogue>`` Lead Kindly Light, amidst the circling gloom.'' Gandhi, his eyes closed, takes it up in his weak, croaking voice.</dialogue>
<character>GANDHI/MIRABEHN</character>
<dialogue>`` The night is dark, and I am far from home, Lead thou me on.''</dialogue>
</scene>
<scene>
<character>NEHRU</character>
<parenthetical>( hysterically . )</parenthetical>
<dialogue>Who dares say such things! Who?!</dialogue>
<parenthetical>( And he is running at them and they spread in fear . )</parenthetical>
<dialogue>Come! Kill me first! Come! Where are you?! Kill me first! The crowd has spread from him all along the street ; they stand against the walls of the houses staring at him, terrified to move. We see, just in passing, the frightened, apprehensive faces of Godse, and near him, Apte and Karkare. Nehru stands, staring at them all, his face seething with anger.</dialogue>
</scene>
<scene>
<character>MIRABEHN</character>
<dialogue>His pulse is very irregular - the kidneys are n't functioning. Nehru looks across at Gandhi. The doctor, who is testing Gandhi's pulse yet again, glances at him - no encouragement - and moves away. Nehru moves to the side of the cot and Gandhi smiles weakly and holds out a hand, but he is in pain.</dialogue>
<character>NEHRU</character>
<dialogue>Bapu, I have brought Mr. Suhrawardy. It was he who called on the Muslims to rise ; he is telling them now to go back to their homes, to lay down their arms. Gandhi looks up at Suhrawardy, who nods. Gandhi looks back at Nehru. There is no hint of him changing his mind.</dialogue>
<character>NEHRU</character>
<parenthetical>( personally . )</parenthetical>
<dialogue>Think what you can do by living - that you can not do by dying. Gandhi smiles whimsically, he touches him again but there is no change in his attitude.</dialogue>
<character>NEHRU</character>
<parenthetical>( pleadingly . )</parenthetical>
<dialogue>What do you want?</dialogue>
<character>GANDHI</character>
<parenthetical>( a moment . )</parenthetical>
<dialogue>That the fighting will stop - that you make me believe it will never start again. Nehru looks at him hopelessly.</dialogue>
</scene>
<scene>
<character>NEHRU</character>
<dialogue>Sometimes it is when you are quite without hope and in utter darkness that God comes to the rescue. Gandhiji is dying because of our madness. Put away your `` revenge.'' What will be gained by more killing? Have the courage to do what you know is right. For God's sake, let us embrace like brothers.</dialogue>
</scene>
<scene>
<character>GOONDA LEADER</character>
<dialogue>It is our promise. We stop. It is a promise. Gandhi is looking at him, testing, not giving or accepting anything that is mere gesture.</dialogue>
<character>GANDHI</character>
<dialogue>Go - try - God by with you. The Goondas stand. They glance at Suhrawardy ; he smiles tautly and they start to leave, but one.</dialogue>
<parenthetical>( Nahari . )</parenthetical>
<dialogue>lingers. Suddenly he moves violently toward Gandhi, taking a flat piece of Indian bread.</dialogue>
<parenthetical>( chapati . )</parenthetical>
<dialogue>from his trousers and tossing it forcefully on Gandhi.</dialogue>
<character>NAHARI</character>
<dialogue>Eat. Mirabehn and Azad start to move toward him - the man looks immensely strong and immensely unstable. But Gandhi holds up a shaking hand, stopping them. Nahari's face is knotted in emotion, half anger, half almost a child's fear - but there is a wild menace in that instability.</dialogue>
<character>NAHARI</character>
<dialogue>Eat! I am going to hell - but not with your death on my soul.</dialogue>
<character>GANDHI</character>
<dialogue>Only God decides who goes to hell.</dialogue>
<character>NAHARI</character>
<parenthetical>( stiffening , aggressive . )</parenthetical>
<dialogue>I - I killed a child.</dialogue>
<parenthetical>( Then an anguished defiance . )</parenthetical>
<dialogue>I smashed his head against a wall. Gandhi stares at him, breathless.</dialogue>
<character>GANDHI</character>
<parenthetical>( in a fearful whisper . )</parenthetical>
<dialogue>Why? Why? It is as though the man has told him of some terrible self - inflicted wound.</dialogue>
<character>NAHARI</character>
<parenthetical>( tears now - and wrath . )</parenthetical>
<dialogue>They killed my son - my boy! Almost reflexively he holds his hand out to indicate the height of his son. He glares at Suhrawardy and then back at Gandhi.</dialogue>
<character>NAHARI</character>
<dialogue>The Muslims killed my son. they killed him. He is sobbing, but in his anger it seems almost as though he means to kill Gandhi in retaliation. A long moment, as Gandhi meets his pain and wrath. Then</dialogue>
<character>GANDHI</character>
<dialogue>I know a way out of hell. Nahari sneers, but there is just a flicker of desperate curiosity.</dialogue>
<character>GANDHI</character>
<dialogue>Find a child - a child whose mother and father have been killed. A little boy - about this high. He raises his hand to the height Nahari has indicated as his son's.</dialogue>
<character>GANDHI</character>
<dialogue>and raise him - as your own. Nahari has listened. His face almost cracks - it is a chink of light, but it does not illumine his darkness.</dialogue>
<character>GANDHI</character>
<dialogue>Only be sure. that he is a Muslim. And that you raise him as one. And now the light falls on Nahari. His face stiffens, he swallows, fighting any show of emotion ; then he turns to go. But he takes only a step and he turns back, going to his knees, the sobs breaking again and again from his heaving body as he holds his head to Gandhi's feet in the traditional greeting of Hindu son to Hindu father. A second, and Gandhi reaches out and touches the top of his head. Mirabehn watches. The Goondas watch. Suhrawardy watches. Finally</dialogue>
<character>GANDHI</character>
<parenthetical>( gently , exhaustedly . )</parenthetical>
<dialogue>Go - go. God bless you.</dialogue>
</scene>
<scene />
<scene>
<character>CONSTABLE</character>
<dialogue>Yes, sir, yes, sir.</dialogue>
<parenthetical>( He holds up his hand to the senior officer . )</parenthetical>
<dialogue>`` Wait.'' He glances up at the senior riot squad officer.</dialogue>
<character>CONSTABLE</character>
<parenthetical>( writing , from the phone . )</parenthetical>
<dialogue>Accident, `` Christie crossroads,'' a lorry and a rickshaw. Yes, sir, I have it. He shrugs at the senior riot squad officer and hands the information slip to another constable behind the desk. The sergeant sighs, and moves to the outside door. We hear him bellow, `` Stand down.'' The constable hangs up and sighs heavily. The senior riot squad officer shakes his head, and turns and walks slowly to the door.</dialogue>
</scene>
<scene>
<character>SERGEANT</character>
<dialogue>I would n't have believed it, Mr. Gupta.</dialogue>
<character>SENIOR OFFICER</character>
<dialogue>Sergeant, it's a bloody miracle.</dialogue>
</scene>
<scene />
<scene>
<character>MIRABEHN</character>
<dialogue>Bapu, there's been no fighting - anywhere. It has stopped - the madness has stopped. We see the police commissioner, Suhrawardy, two doctors, Abdul Ghaffar Khan, and some others. Nearer Gandhi, behind Mirabehn, are Nehru, Patel, Azad and Pyarelal. Gandhi turns to Mirabehn, his face shaking, peering into her eyes.</dialogue>
<character>GANDHI</character>
<dialogue>It is foolish if it is just to save the life of an old man.</dialogue>
<character>MIRABEHN</character>
<dialogue>No. no. In every temple and mosque they have pledged to die before they lift a hand against each other. His weary eyes look at her ; he looks up slowly to Azad. Azad nods `` It's true.'' Then Patel</dialogue>
<character>PATEL</character>
<dialogue>Everywhere. Gandhi looks at Nehru. Nehru just nods tautly. Gandhi looks down, then lifts his head to Azad.</dialogue>
<character>GANDHI</character>
<dialogue>Maulana, my friend, could I have some orange juice. Then you and I will take a piece of bread together. The relief brings water to their eyes and grins to their faces. Nehru bends to Gandhi. Gandhi holds his hand out to him, and Nehru clutches it. Then</dialogue>
<character>NEHRU</character>
<dialogue>You see, Bapu, it is not difficult. I have fasted only a few hours and I accomplished what you could not do in as many days. It is a joke in their way with each other and Gandhi's eyes light, his smile comes. But it is tired. He puts his other hand over Nehru's and Nehru lowers his head to it, crying silently.</dialogue>
</scene>
<scene />
<scene>
<character>GANDHI</character>
<dialogue>That is how you eat muli. Manu hands him a cloth and he wipes his hands. Another click of a camera. He is not fully recovered, but well on the way.</dialogue>
<character>GANDHI</character>
<parenthetical>( to the photographer . )</parenthetical>
<dialogue>I'm not sure I want to be remembered that way. It is all light and for fun. We get a wide - angle shot now and see that Bourke - White is shooting one of her favorite subjects again. She is enjoying the banter, as is Mirabehn, who is spinning quietly to one side of the room, and Patel, who sits cross - legged like Gandhi on the floor. Pyarelal is working on papers with him but grins at this.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Do n't worry, with luck you may not be. And she shoots him again, as he hands the cloth back to Manu. Abha is sitting next to Manu, looking at a collection of pictures of Gandhi, obviously Bourke - White's.</dialogue>
<character>PATEL</character>
<dialogue>No, he'll be remembered for tempting fate. It is wry, but waspishly chiding. Abha suddenly holds a picture up for Gandhi to see. It's one of him, ears wide, eyes round.</dialogue>
<character>ABHA</character>
<dialogue>Mickey Mouse. Gandhi taps her on the head with his finger as she smiles. But Bourke - White has looked from Patel to Gandhi, clearly shaken by the implication in Patel's words.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>You really are going to Pakistan, then?</dialogue>
<parenthetical>( Gandhi shrugs , and she chides too . )</parenthetical>
<dialogue>You are a stubborn man.</dialogue>
<character>GANDHI</character>
<parenthetical>( a grin , in the mood of their `` flirtation '' . )</parenthetical>
<dialogue>I'm simply going to prove to Muslims there, and Hindus here, that the only devils in the world are those running around in our own hearts - and that's where all our battles ought to be fought. Abha has signaled to the cheap watch dangling from his dhoti. He glances at it, and holds his arms out. The two girls help him.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>And what kind of a warrior have you been in that warfare? She is photographing his getting - up and leaning on the two girls.</dialogue>
<character>GANDHI</character>
<dialogue>Not a very good one. That's why I have so much tolerance for the other scoundrels of the world. He moves off, but has a sudden thought and turns to Patel.</dialogue>
<character>GANDHI</character>
<dialogue>Ask Panditji to - to consider what we've discussed. Patel nods soberly and Gandhi starts for the door, Bourke - White moving with him.</dialogue>
<character>GANDHI</character>
<parenthetical>( of the photographs . )</parenthetical>
<dialogue>Enough.</dialogue>
<character>BOURKE-WHITE</character>
<parenthetical>( a plea . )</parenthetical>
<dialogue>One more. He has passed her, he's in the doorway. We see the crowd at the end of the garden, where the light of the day is beginning to soften. He turns, teasing in his slightly flirtatious way with women.</dialogue>
<character>GANDHI</character>
<dialogue>You're a temptress. She shoots him against the door - the crowd milling distantly, waiting - then she lowers her camera.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Just an admirer.</dialogue>
<character>GANDHI</character>
<dialogue>Nothing's more dangerous, especially for an old man. He turns ; the last words have betrayed the smile on his face ; they have a painful sense of truth about them. Bourke - White watches as he moves into the garden toward the crowd in the distance. She turns to Mirabehn.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>There's a sadness in him. It's an observation - and a question. Mirabehn accedes gravely.</dialogue>
<character>MIRABEHN</character>
<dialogue>He thinks he's failed. Bourke - White stares at her, then turns to look out at him.</dialogue>
<character>BOURKE-WHITE</character>
<dialogue>Why? My God, if anything's proved him right, it's what's happened these last months. Mirabehn nods, but she keeps on spinning and tries to sound cynically resigned but her innate emotionalism keeps breaking through in her voice and on her face.</dialogue>
<character>MIRABEHN</character>
<dialogue>I am blinded by my love of him, but I think when we most needed it, he offered the world a way out of madness. But he does n't see it. and neither does the world. It is laced with pain. Bourke - White turns and looks out at Gandhi - so tiny, so weak as he walks between his `` props.'' He has now reached the end of the garden and is moving among the crowd assembled there.</dialogue>
</scene>
<scene>
<character>GANDHI</character>
<dialogue>Allah be with you. Smiling, he turns back. A jostling, the sound of beads falling.</dialogue>
<character>MANU</character>
<parenthetical>( to someone . )</parenthetical>
<dialogue>Brother, Bapu is already late for prayers. Gandhi turns to the person ; he makes the pranam. Full shot. Godse is making the pranam to him and he suddenly, wildly draws his gun and fires. The camera closes on Gandhi as he staggers and falls, the red stain of blood seeping through his white shawl.</dialogue>
<character>GANDHI</character>
<dialogue>Oh, God. oh, God. Manu and Abha bend over him, silent in their first shock. The sound of panic and alarm begins to grow around them, they suddenly scream and begin to cry.</dialogue>
<character>MANU/ABHA</character>
<dialogue>Bapu! Bapu!</dialogue>
</scene>
<scene />
<scene>
<character>GANDHI'S VOICE</character>
<parenthetical>( weak , struggling , as he spoke the words to Mirabehn . )</parenthetical>
<dialogue>. There have been tyrants and murderers - and for a time they can seem invincible. But in the end they always fall. Think of it - always. When you are in doubt that that is God's way, the way the world is meant to be. think of that. And slowly the camera begins pulling back, leaving the flowers, the brown, rolling current as though leaving the story of Gandhi, going far out, away from the great river, reaching higher and higher, through streaks of clouds as end titles begin. And through them, once more we hear, dimly, reminiscently, through the rushing wind : `` At home children are writing ` essays' about him!''. the croaky voice singing, `` God save our gracious King''. Dyer : `` Sergeant Major -,'' the Sergeant Major : `` Take aim!,'' Dyer : `` Fire!,'' the sound of massed rifle fire, screams. `` You are my best friend. my highest guru, and my sovereign lord.'' `` Who the hell is he?,'' `` I do n't know, sir.'' `` My name is Gandhi. Mohandas K. Gandhi.'' the sound of rioting, women's screams, terror. `` Find a child - a child whose mother and father have been killed. A little boy. about this high.'' `` He thinks he's failed.'' `` Long live Mahatma Gandhi! Long live Mahatma Gandhi!'' THE END</dialogue>
</scene>
</script> | On 30 January 1948, after an evening prayer, an elderly Gandhi is helped out for his evening walk to meet a large number of greeters and admirers. One visitor, Nathuram Godse, shoots him point blank in the chest. Gandhi exclaims, "Oh, God!", and then falls dead. In 1893, the 23-year-old Gandhi is thrown off a South African train for being an Indian sitting in a first-class compartment despite having a first-class ticket. Realising the laws are biased against Indians, he then decides to start a nonviolent protest campaign for the rights of all Indians in South Africa. After numerous arrests and unwelcome international attention, the government finally relents by recognising some rights for Indians.In 1915, as a result of his victory in South Africa, Gandhi is invited back to India, where he is now considered something of a national hero. He is urged to take up the fight for India's independence, (Swaraj, Quit India) from the British Empire. Gandhi agrees, and mounts a nonviolent non-cooperation campaign of unprecedented scale, coordinating millions of Indians nationwide. There are some setbacks, such as violence against the protesters and Gandhi's occasional imprisonment. The 1919 Jallianwala Bagh massacre is also depicted in the film. Nevertheless, the campaign generates great attention, and Britain faces intense public pressure. In 1930, Gandhi protests against the British-imposed salt tax via the highly symbolic Salt March. He also travels to London for a conference concerning Britain's possible departure from India; this, however, proves fruitless. After the Second World War, Britain finally grants Indian independence. Indians celebrate this victory, but their troubles are far from over. The country is subsequently divided by religion. It is decided that the northwest area and the eastern part of India (current-day Bangladesh), both places where Muslims are in the majority, will become a new country called Pakistan. It is hoped that by encouraging the Muslims to live in a separate country, violence will abate. Gandhi is opposed to the idea, and is even willing to allow Muhammad Ali Jinnah to become the first prime minister of India, but the Partition of India is carried out nevertheless. Religious tensions between Hindus and Muslims erupt into nationwide violence. Horrified, Gandhi declares a hunger strike, saying he will not eat until the fighting stops. The fighting does stop eventually. Gandhi spends his last days trying to bring about peace between both nations. He thereby angers many dissidents on both sides, one of whom (Godse) is involved in a conspiracy to assassinate him. Gandhi is cremated and his ashes are scattered on the holy Ganga. As this happens, viewers hear Gandhi in another voiceover from earlier in the film. |
Law Abiding Citizen_2009 | tt1197624 | <script>
<scene>
<stage_direction>LAW-ABIDING CITIZEN</stage_direction>
<scene_description>OPENING CREDIT SEQUENCE . Images and sounds are surreal , dreamlike , disturbing : A HAND is trying to dial three simple numbers . Trembling fingers miss , try again . we hear boop - boop - boop .</scene_description>
<character>911 OPERATOR</character>
<parenthetical>( filtered . )</parenthetical>
<dialogue>911 operator, what is your emergency?</dialogue>
<scene_description>The phone rises , gripped tightly . Knuckles white . We 're TIGHT , it 's dark , we see no face - just slack , trembling lips . Whoever it is , he ca n't talk . All we hear is breathing , all we sense is grief and panic and deep shock .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( filtered . )</parenthetical>
<dialogue>Hello? Can you hear me? Can you speak?</dialogue>
<character>CLYDE</character>
<dialogue>eyes.</dialogue>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What? Can you speak up?</dialogue>
<character>CLYDE</character>
<dialogue>her. eyes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Lights appear like phantoms over blacktop , flashing . Police cars coming our way .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sir, what is the nature of your emergency?</dialogue>
<scene_description>The man ca n't speak .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sir? Are you injured? Do you need medical attention?</dialogue>
<scene_description>The cars blast by us .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - NIGHT</stage_direction>
<character>CLYDE</character>
<dialogue>her eyes. she ca n't.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT</stage_direction>
<scene_description>POLICE VEHICLES converge in SLOW - MOTION , dreamlike . Doors fly open , COPS jump out , weapons drawn as WE MOVE with them to : Front door . RAMP TO NORMAL CAMERA SPEED as it opens , revealing : BENSON CLYDE , phone still gripped . He barely registers the weapons aimed at his face . CAMERA CLOSES IN ON HIM , as :</scene_description>
<character>CLYDE</character>
<dialogue>She ca n't. close her eyes.</dialogue>
<scene_description>He 's pulled from frame . CAMERA KEEPS MOVING , following COPS into the house . Dark as hell inside . And tense . Arms training weapons . Moving up a tight hallway , emerging into . THE LIVING ROOM . where the flashlight beams find blood - spatter patterns . Furniture shattered and overturned . A kid 's sneaker . The flashlights play across TWO BODIES in the wreckage - a woman 's pale hand , a child 's motionless leg . CAMERA DRIFTS AROUND to the cops ' faces , as :</scene_description>
<character>COP #1</character>
<parenthetical>( unsnaps shoulder radio . )</parenthetical>
<dialogue>Dispatch, we have multiple 10 - 55s,</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE (SLO-MO) - NIGHT</stage_direction>
<scene_description>Chaotic now , vehicles and lights . The eye of the storm is Clyde on the lawn , hugging his knees , fetal with horror and grief . He 's screaming at the sky , but no sound is coming out . EMS TECHS enter shot , steal the frame , race toward the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE (SLO-MO) - NIGHT</stage_direction>
<scene_description>TRACKING SHOT at floor level , photos being taken . FLASHES bathe the foreground wreckage . FORENSIC TECHS step gingerly . Uniformed cops hang grimly back , hugging the walls . CAMERA BRINGS US TO CLOSEUP : A PROFILE IN DEEP SHADOW in the foreground , face tilted obliquely in the wreckage . A CAMERA FLASH reveals the face with shocking glare and the IMAGE FREEZES . A TEN YEAR - OLD GIRL , eyes open , staring at us .</scene_description>
<character>CLYDE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( prelap . )</parenthetical>
<dialogue>Her eyes. That's how they were. Open like that. You see?</dialogue>
</scene>
<scene>
<stage_direction>INT. CITY HALL - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Clyde is seated , speaking slowly and precisely . ANGLE WIDENS , revealing the room , light filtering through blinds , as :</scene_description>
<character>CLYDE</character>
<dialogue>When I found my wife and child dead, my little girl's eyes were open.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>The last thing she saw of this earth were the faces of the men who took her life. Can you understand that?</dialogue>
<character>NICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yes. Yes, I can.</dialogue>
<character>CLYDE</character>
<dialogue>Can you? Really?</dialogue>
<parenthetical>( looks to somebody else . )</parenthetical>
<dialogue>You?</dialogue>
<character>CANTRELL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mr. Clyde. I do n't see this helping.</dialogue>
<character>CLYDE</character>
<dialogue>No? You married? Children?</dialogue>
<scene_description>ANGLE HAS NOW WIDENED/DRIFTED to include D.A. JONAS CANTRELL , Senior Attorney for the State . He wears thick glasses and is suffering the early stages of macular degeneration .</scene_description>
<character>CANTRELL</character>
<dialogue>Divorced. I have a son and daughter. Both in college.</dialogue>
<character>CLYDE</character>
<dialogue>My daughter was ten. I married late in life.</dialogue>
<scene_description>Clyde spreads the crime scene photos further on the table . ANGLE COMES AROUND to reveal the third man in the room : NICK PRICE The D.A. under Cantrell - focused , exceptional at what he does , the man you 'd want on your side .</scene_description>
<character>CLYDE</character>
<dialogue>You, Mr. Price? Married? Kids?</dialogue>
<scene_description>Nick does n't answer , stays focused on the task :</scene_description>
<character>NICK</character>
<dialogue>I've seen the crime scene photos, Mr. Clyde. Many times. They're horrifying. But they do n't alter the facts of the case.</dialogue>
<character>CLYDE</character>
<dialogue>Facts? Those men are guilty. Both of them. You know they are.</dialogue>
<character>NICK</character>
<dialogue>This is n't about what we know. It's about what we can prove in court.</dialogue>
<character>CANTRELL</character>
<dialogue>Things have gone against us. Tainted crime scene, evidence thrown out.</dialogue>
<character>CLYDE</character>
<dialogue>Maybe you just have n't tried hard enough.</dialogue>
<character>NICK</character>
<dialogue>Look. We've had only one real break in this case. The fact that one asshole has decided to testify against the other asshole.</dialogue>
<character>CLYDE</character>
<dialogue>In return for immunity. So he gets away with it.</dialogue>
<character>CANTRELL</character>
<dialogue>The other man does n't. He'll go down for the crime. That has to count for something.</dialogue>
<character>CLYDE</character>
<dialogue>Yes. It counts for half.</dialogue>
<parenthetical>( pause , quietly . )</parenthetical>
<dialogue>Do n't reward one of the men who murdered my family. Please.</dialogue>
<character>NICK</character>
<dialogue>Mr. Clyde. I ca n't claim to know what it's like to be in your position. Losing your wife and child. But please try to grasp how limited our options are. This is how the justice system works.</dialogue>
<scene_description>Clyde sits for a long moment , numb , absorbing this .</scene_description>
<character>CLYDE</character>
<dialogue>Ah. I see my mistake. I came for justice. Instead I got a system.</dialogue>
</scene>
<scene>
<stage_direction>INT. CITY HALL - HALLWAY - DAY</stage_direction>
<scene_description>SARAH LOWELL , fresh out of law school , is waiting anxiously for the meeting to end , arms full of file folders . With her is BILL REYNOLDS , the defense attorney in this case , glancing impatiently at his watch . Clyde exits the room fast , not watching where he 's going , accidentally plowing into Sarah as he passes .</scene_description>
<character>CLYDE</character>
<dialogue>Sorry. My fault.</dialogue>
<character>SARAH</character>
<dialogue>It's okay.</dialogue>
<scene_description>On he goes . Nick and Cantrell exit the room .</scene_description>
<character>SARAH</character>
<dialogue>You're due upstairs in three minutes! You're gon na be late!</dialogue>
<character>NICK</character>
<dialogue>Thank you, voice of doom.</dialogue>
<scene_description>They move toward the elevators with Reynolds . Sarah 's at their heels , sensing the tension and keeping her mouth shut .</scene_description>
<character>NICK</character>
<parenthetical>( to Cantrell . )</parenthetical>
<dialogue>We doing the right thing?</dialogue>
<character>REYNOLDS</character>
<parenthetical>( jumps in . )</parenthetical>
<dialogue>You even doubt it? C'mon, you did n't just tumble off the fucking truck. Do the math.</dialogue>
<scene_description>Cantrell has trouble seeing the elevator button , misses . Nick presses it for him . -LRB- This is thrown away without comment ; both men are used to Cantrell 's bad eyes by now . -RRB- They elevator opens , they get on .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - DAY</stage_direction>
<scene_description>and ride up :</scene_description>
<character>NICK</character>
<dialogue>It's your office.</dialogue>
<character>CANTRELL</character>
<dialogue>It's your decision.</dialogue>
<scene_description>Nick shoots him a withering look , glances back at Sarah .</scene_description>
<character>NICK</character>
<dialogue>What do you think?</dialogue>
<character>REYNOLDS</character>
<dialogue>What are you asking her for? She's just an intern.</dialogue>
<character>SARAH</character>
<parenthetical>( deer in the headlights . )</parenthetical>
<dialogue>I am just an intern.</dialogue>
<character>NICK</character>
<dialogue>You were top of your class at Yale, do n't give me that shit.</dialogue>
<character>CANTRELL</character>
<dialogue>Young lady. Someday you might have our jobs. You know the issues of the case before the court. Speak.</dialogue>
<character>SARAH</character>
<dialogue>Okay. Um. You can take both men to trial, spend a year and millions of taxpayer dollars, and probably lose. Or you can cut a deal and at least put one of the men who did the crime on death row. It's a no - brainer. You make the deal.</dialogue>
<character>REYNOLDS</character>
<parenthetical>( smug , to the men . )</parenthetical>
<dialogue>Duh.</dialogue>
<scene_description>They trade a look . Cantrell glances to Sarah .</scene_description>
<character>CANTRELL</character>
<dialogue>When the day comes that you argue a real case in court, you might refrain from summing up with `` duh.''</dialogue>
<character>SARAH</character>
<dialogue>I'll avoid that.</dialogue>
</scene>
<scene>
<stage_direction>INT. JUDGE'S CHAMBERS - DAY</stage_direction>
<scene_description>JUDGE LAURA BURCH presides . Nick , Cantrell , Sarah are present . CLARENCE DARBY is the focus , Bill Reynolds at his side .</scene_description>
<character>JUDGE BURCH</character>
<dialogue>The agreement has been vetted by both sides? Satisfactory to all?</dialogue>
<character>REYNOLDS</character>
<dialogue>Yes, your Honor. Defense approves.</dialogue>
<character>CANTRELL</character>
<dialogue>State also approves, your Honor.</dialogue>
<scene_description>Nick places a document before DARBY , along with a pen .</scene_description>
<character>NICK</character>
<dialogue>Clarence Darby. This document guarantees that you will provide testimony against Rupert Ames in the matter of which you were both accused. In return, you will be shielded from further prosecution for those capital crimes. But you will plead guilty to the lesser charge of breaking and entering.</dialogue>
<character>REYNOLDS</character>
<dialogue>You'll do a maximum of five years. With good behavior, you could be out in three.</dialogue>
<character>JUDGE BURCH</character>
<dialogue>That also depends on your testimony and the level of your cooperation.</dialogue>
<character>DARBY</character>
<dialogue>Your Honor need not worry on my account. I assure the court that I am aware of the opportunity I've been given. And I am deeply grateful to all concerned.</dialogue>
<scene_description>Nick gives Cantrell a glance , both stoically enduring this proceeding . Darby pulls the document closer .</scene_description>
<character>DARBY</character>
<dialogue>If I may. It has come to my attention that Rupert Ames has been spreading lies about me to the tabloid press. About certain alleged activities of which I have no knowledge. Sexual and otherwise. Libel and slander. yes?</dialogue>
<character>NICK</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>You can always sue him.</dialogue>
<character>DARBY</character>
<dialogue>Well, no matter. My tongue will wag in court, under oath. His tongue will wag in hell.</dialogue>
<scene_description>He puts pen to paper , looks to Nick .</scene_description>
<character>DARBY</character>
<dialogue>He'll get the chair?</dialogue>
<character>NICK</character>
<dialogue>We do n't do chair. We do needle.</dialogue>
</scene>
<scene>
<stage_direction>INT. CITY HALL - GRAND INTERIOR STAIRCASE - DAY</stage_direction>
<scene_description>Cathedral - like , pigeons fluttering . The door from the hallway opens and BETSY , a months - old GERMAN SHEPHERD PUPPY , bounds toward us on a leash pulling Cantrell toward the top of the vast marble staircase . Nick trails them , nervous as hell :</scene_description>
<character>NICK</character>
<dialogue>Whoa, Jonas, take my elbow.</dialogue>
<character>CANTRELL</character>
<dialogue>I'm not blind. Yet. I'll do it.</dialogue>
<character>NICK</character>
<dialogue>You're shitty on stairs. At least let me take the leash so the dog does n't pull you down.</dialogue>
<character>CANTRELL</character>
<dialogue>No. She needs to imprint on me. Not you, not somebody else.</dialogue>
<scene_description>Cantrell starts down . Nick 's at his side , hovering and ready to grab him , jumping at every little lurch Cantrell makes .</scene_description>
<character>CANTRELL</character>
<dialogue>That's the whole point of this phase. She needs to get the idea that she and I are partners. Then the real training can begin. Unless you wan na lead me around the rest of my life.</dialogue>
<character>NICK</character>
<dialogue>I'll pass.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COURTHOUSE STEPS - DAY</stage_direction>
<scene_description>Nick and Cantrell emerge into daylight and find Darby in the protective custody of a FEDERAL MARSHAL on the courthouse steps , surrounded by a crush of REPORTERS :</scene_description>
<character>DARBY</character>
<dialogue>it was a burglary gone wrong. We thought the house was empty. Rupert found the woman and child at home and went crazy. I was stoned and in fear of my own life, so I fled.</dialogue>
<scene_description>They catch sight of Bill Reynolds , the defense attorney .</scene_description>
<character>CANTRELL</character>
<dialogue>Bill! You let all your clients give testimony on the courthouse steps?</dialogue>
<character>REYNOLDS</character>
<dialogue>Hellooo, kettle to pot. Since when do you shy away from publicity?</dialogue>
<character>NICK</character>
<dialogue>Since everything in this case has gone sideways so far. Tell your boy to save it for the courtroom.</dialogue>
<character>REYNOLDS</character>
<dialogue>He's your boy too now. You tell him.</dialogue>
<scene_description>Reynolds proceeds down the steps .</scene_description>
<character>NICK</character>
<dialogue>Asshole.</dialogue>
<character>REYNOLDS</character>
<dialogue>Dickwad.</dialogue>
<character>CANTRELL</character>
<dialogue>Fuckface.</dialogue>
<scene_description>and vanishes in the crowd . Nick glances sourly toward Darby .</scene_description>
<character>DARBY</character>
<dialogue>and may I say for the record how very sorry I am that I failed to prevent Rupert Ames from committing those terrible crimes.</dialogue>
<character>NICK</character>
<dialogue>You good here?</dialogue>
<character>CANTRELL</character>
<dialogue>Long as nobody bumps into me.</dialogue>
<scene_description>CAMERA FOLLOWS Nick through the crowd toward Darby .</scene_description>
<character>DARBY</character>
<dialogue>been given a chance to put the drugs and foul living behind me. To atone for my past failings and weakness of character. It is a gift given me by God's grace.</dialogue>
<scene_description>Darby sees Nick , grabs his hand , shaking it for the cameras .</scene_description>
<character>DARBY</character>
<dialogue>and the grace and wisdom of this court. I can not thank you enough, sir. I can not.</dialogue>
<scene_description>A BARRAGE OF CAMERA FLASHES . Nick caught off guard before the press , Darby not letting go . Then Nick sees : NICK 'S POV Clyde , a tiny defeated figure far below , waits at the bus stop . He 's gazing up , seeing this photo op happen . NICK breaks the handshake with a flush of discomfort , signals the federal marshal :</scene_description>
<character>NICK</character>
<dialogue>Marshal, escort your man, please!</dialogue>
<parenthetical>( to the reporters . )</parenthetical>
<dialogue>Mr. Darby is done here!</dialogue>
<scene_description>Darby is hustled down the steps . The reporters surge to Nick , surrounding him , shouting questions . Nick looks over their heads and glimpses Clyde getting on a bus . The door closes , the bus pulls away .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S HOUSE - NIGHT</stage_direction>
<scene_description>Nick enters . Dark . He drops his briefcase by the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>REFLECTED IN THE MIRROR : KELL , Nick 's wife , is just out of the bath , wearing a robe and toweling her hair . Nick enters behind her . She cranes back for a kiss , keeps toweling her hair in the mirror . He hugs her from behind , buries his face in her neck . Drained .</scene_description>
<character>KELL</character>
<dialogue>Shit day?</dialogue>
<character>NICK</character>
<dialogue>Shit day. Better now.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>How's she doing?</dialogue>
<character>KELL</character>
<dialogue>Fine. She drove me a little crazy today.</dialogue>
<character>NICK</character>
<dialogue>She was busy?</dialogue>
<character>KELL</character>
<dialogue>In overdrive. Here. Feel.</dialogue>
<scene_description>He reaches around , slowly unties her robe , pulls it open . revealing her pregnant belly . -LRB- Our angles have avoided this till now . -RRB- He places his hand , feeling for movement .</scene_description>
<character>KELL</character>
<dialogue>Of course she stops kicking the moment you get home.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>SLOW TRACKING SHOT finds them in bed , Nick with his head on Kell 's chest . Pensive .</scene_description>
<character>NICK</character>
<dialogue>I had to say some things to a man today I did n't want to say. And I did something I did n't want to do.</dialogue>
<character>KELL</character>
<dialogue>You did n't lie to him. Or bullshit him. Or shine him on.</dialogue>
<character>NICK</character>
<dialogue>None of those things.</dialogue>
<character>KELL</character>
<dialogue>So you had your reasons. You did what you had to. It's not your fault the world sucks.</dialogue>
<scene_description>Nick smiles , eases his face to her belly .</scene_description>
<character>NICK</character>
<dialogue>You in there. Listen up. Your mother just said the world sucks. You may wan na rethink this whole thing. My advice? If you're asking? Just stay in there. I promise you, nothing will ever make as much sense as it does right now.</dialogue>
<character>KELL</character>
<dialogue>What is wrong with you?</dialogue>
<character>NICK</character>
<dialogue>plus there's shit you do n't need to know about. Rap. Internet porn. Madonna's entire back catalog.</dialogue>
<character>KELL</character>
<dialogue>Did someone drop you on your head? Seriously. I have swollen ankles and all I do is pee. That baby's coming out.</dialogue>
<character>NICK</character>
<parenthetical>( weighs that . )</parenthetical>
<dialogue>Okay. I'm sure you heard that. Then again there are the Beatles. 70's funk. Louie. Ella. Be a shame to miss those.</dialogue>
<parenthetical>( beat , getting serious . )</parenthetical>
<dialogue>All right, kid. Bring it on. But when you're old enough for the world to disappoint you, I hope you wo n't blame your old man for bringing you into this mess. Give me that at least.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - DAWN</stage_direction>
<scene_description>Nick and Kell asleep . She 's no longer pregnant - it 's now ten years later . A long beat of quiet . A small face peers in from the hallway . EMMA , their 10 year - old daughter . She darts in , puts her face to Nick 's .</scene_description>
<character>EMMA</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Dad?</dialogue>
<character>NICK</character>
<dialogue>Huh? Wha -?</dialogue>
<character>EMMA</character>
<dialogue>You know what it is?</dialogue>
<character>NICK</character>
<dialogue>What?</dialogue>
<character>EMMA</character>
<parenthetical>( hollering . )</parenthetical>
<dialogue>IT'S MY BIRTHDAAAAAY!</dialogue>
<scene_description>She jumps up on the bed , bouncing up and down and dancing around , hollering at the top of her lungs :</scene_description>
<character>EMMA</character>
<dialogue>IT'S MY BIRTHDAY, IT'S MY BIRTHDAY, IT'S MY BIRTHDAY!</dialogue>
<scene_description>Nick and Kell are too groggy to do anything but ride it out . Emma sails off the bed and vanishes out the door , hollering all the way up the hallway :</scene_description>
<character>EMMA</character>
<dialogue>I'M SO COOL IT'S MY BIRTHDAAAY!</dialogue>
<scene_description>Nick and Kell are left groping with blankets , heart rates , and consciousness :</scene_description>
<character>KELL</character>
<dialogue>Glad it's once a year.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN/BREAKFAST AREA - MORNING</stage_direction>
<scene_description>Nick and Emma finishing breakfast , getting ready to leave , Kell packing Emma 's lunch at the counter :</scene_description>
<character>EMMA</character>
<dialogue>Why ca n't you be here?</dialogue>
<character>NICK</character>
<dialogue>It's a work thing. Grownup stuff. You know that happens sometimes.</dialogue>
<character>EMMA</character>
<dialogue>But it's.</dialogue>
<parenthetical>( draws sneakily close . )</parenthetical>
<dialogue>. MY BIRTHDAAAAAY!</dialogue>
<scene_description>He claps his hand over her mouth .</scene_description>
<character>NICK</character>
<dialogue>I believe we've established that. I let go, you'll stop reminding me?</dialogue>
<parenthetical>( she nods , he lets go . )</parenthetical>
<dialogue>We'll celebrate this weekend. Tonight is all about your friends. Knock yourselves out, do n't give mom any grief. I'll try to be home in time to tuck you in, okay?</dialogue>
<character>EMMA</character>
<dialogue>Okay. But what are you doing tonight that is more important than.</dialogue>
<scene_description>She 's doing that `` sneakily drawing close '' thing again . Nick holds up his finger , cautioning her to say it quietly .</scene_description>
<character>EMMA</character>
<parenthetical>( leans in , whispers . )</parenthetical>
<dialogue>. my birthdaaaaay.</dialogue>
<character>KELL</character>
<dialogue>Something he'd get out of if he could. Here. Take lunch. Grab backpack. We go.</dialogue>
<scene_description>Emma grabs her stuff , kisses dad , races from the room . Kell grabs her keys to follow , kisses Nick goodbye .</scene_description>
<character>NICK</character>
<dialogue>Nice evasion. Thanks.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RURAL ROAD - DUSK</stage_direction>
<scene_description>Cars are traveling an old service road .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWN CAR - DUSK</stage_direction>
<scene_description>Nick 's in back with Cantrell . The years have left Cantrell 90 % blind ; his glasses are beyond Coke bottle - thick . Between them sits Betsy the German shepherd , now ten years old , wearing a guide - dog harness . She looks miserable wearing a big cone - shaped POST - SURGERY COLLAR .</scene_description>
<character>NICK</character>
<dialogue>How long she have to wear this stupid thing?</dialogue>
<character>CANTRELL</character>
<dialogue>Till the stitches heal. Week or two.</dialogue>
<scene_description>Nick dotes on the dog , they 're old pals :</scene_description>
<character>NICK</character>
<dialogue>Poor honey. Sucks, does n't it? But you're very pretty. Yes, you are. Even with a radar dish on your head.</dialogue>
<character>SARAH</character>
<dialogue>There they are. Like clockwork.</dialogue>
<scene_description>ANGLE SHIFTS TO Sarah - much more confident and power - suited than last time we saw her - riding up front with the driver .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL ESTABLISHING - GEORGE HILL PRISON - LATE DAY</stage_direction>
<scene_description>The car pulls up to the gate as CAMERA RISES to reveal the new facility positioned right next to the old one .</scene_description>
</scene>
<scene>
<stage_direction>INT. EXECUTION CHAMBER - NIGHT</stage_direction>
<scene_description>The condemned , RUPERT AMES , is placed against the upright execution table and buckled in . The table is tilted back to vertical . All Rupert can do is lay there and watch , as : MEDICAL TECHS swab his arms with alcohol , prepare the needles , find his veins . The needles are inserted , taped off . The I.V. lines are attached . Very methodical . The techs leave the room . The curtain is drawn aside , revealing the big window that separates the chamber from :</scene_description>
</scene>
<scene>
<stage_direction>INT. VIEWING ROOM - NIGHT</stage_direction>
<scene_description>Nick and his colleagues are among SEVERAL DOZEN WITNESSES seated in chairs . They watch as WARDEN IGER faces Rupert .</scene_description>
<character>WARDEN IGER</character>
<dialogue>Rupert Ames. Do you have anything to say?</dialogue>
<scene_description>Rupert does n't have much of an IQ and he 's scared shitless , but he does his best :</scene_description>
<character>RUPERT</character>
<dialogue>I'm here. Clarence Darby ai n't. And that ai n't right.'Cause that man is evil, ai n't no other way to say it. All them things he done, and him turn witness against me for it.</dialogue>
<scene_description>He pauses , trying to untangle his thoughts .</scene_description>
<character>RUPERT</character>
<dialogue>I did wrong too. I guess I'll pay up. But it was always him sayin' jump and how high, and I just went along. Now he's killin' me and he got you people to do it. And that's a shame. A goddamn shame. And.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>. and I guess that's all.</dialogue>
<scene_description>Nick trades a look with Sarah . Cantrell is stoic . Warden Iger nods to TWO GUARDS manning the LETHAL INJECTION MACHINE , on which EIGHT OVERSIZED GLASS CYLINDERS in a vertical row are the main feature , filled with various clear liquids . There are two switches - one a dummy , the other live -LRB- no way to know which is which -RRB- . The guards power up the machine . Lights activate on the board . Each man grabs a switch , waits . Nick watches the wall clock . It hits 7 o'clock . The warden nods and the guards flick their switches , quickly leaving the room . The warden follows them out , closes the door . We hear the pumps quietly activate . Rupert is taking shallow breaths , terrified . then lays back to wait . PLUNGER ONE slowly descends , emptying its contents into the I.V. lines . Rupert sags as the fast - acting barbiturate spreads through his veins . his breathing slows . his head drops back . he loses consciousness . PLUNGER TWO depresses , sending the second vial of liquid into the I.V. lines with a quiet whir of pumps . PLUNGER THREE activates . then PLUNGER FOUR . the row of cylinders emptying in sequence . Rupert lies unconscious , just drifting away . He suddenly comes to . He draws in a long , shaky breath . It catches in his throat . His eyes go wide . His entire body starts to clench against some increasing pain . Nick is surprised , uncertain . Betsy starts GROWLING SOFTLY at Cantrell 's side . Her head comes up , hackles rising . Nick glances to the dog . then to Iger , sees the stunned look on the warden 's face . Something is definitely wrong . The pumps keep whirring , the plungers keep descending . Rupert he throws his head back , mouth wide .</scene_description>
<character>RUPERT</character>
<dialogue>Ah. ah. AH!</dialogue>
<scene_description>The witnesses go tense , confused - what the hell ?</scene_description>
<character>RUPERT</character>
<dialogue>Ah - ah - Jesus, do n't that HURT!</dialogue>
<scene_description>Rupert looks down at his arms , his expression turning to sheer horror , because : The veins are turning angry red , then blackening , as the liquids course through them .</scene_description>
<character>RUPERT</character>
<dialogue>OH FUCK, OH FUCK, THAT HUUUURTS!</dialogue>
<scene_description>Those are last coherent words he speaks . From then on , he 's just shrieking and bouncing against his straps , because : His veins are starting to smoke . Noxious and foul . The flesh starts giving away , blood eating though skin like acid . Shock sweeps the onlookers :</scene_description>
<character>SARAH</character>
<dialogue>Oh, Jesus.</dialogue>
<character>CANTRELL</character>
<dialogue>What's going on? Nick?</dialogue>
<scene_description>People are on their feet . Horror and incomprehension .</scene_description>
<character>CANTRELL</character>
<dialogue>Nick, goddamn it, what?</dialogue>
<character>NICK</character>
<dialogue>I do n't know!</dialogue>
<scene_description>Rupert is fast becoming a horror : It 's going down his arms and legs , up his neck , infusing his ears - a nauseating discoloration courses through his body , using his veins as a road map , going from red to yellow to black like bruises birthing spontaneously before our eyes . People in the room scream , turning away . Nick pushes his way to the viewing glass , shouting at the techs :</scene_description>
<character>NICK</character>
<dialogue>WHAT THE FUCK'S GOING ON? DO SOMETHING!</dialogue>
<scene_description>The techs dash into the chamber - but are instantly gagging and choking on the toxic fumes billowing from Rupert . They retreat coughing , pulling the door shut again . Rupert 's screams spew forth toxic fumes . breath blows smoke from his nostrils . eyes liquefy . he 's arching against his restraints so hard that bones begin snapping , blood spewing and smoking through his skin . All Nick can do is stand at the glass in horror as whatever is happening runs its course and the victim collapses in a cloudy , toxic haze .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON YARD - PARKING AREA - NIGHT</stage_direction>
<scene_description>Drained and waiting : Nick sitting against the town car . Cantrell across from him with Betsy at his side -LRB- the guide dog will always be at his side in this movie , specified or not -RRB- . EMERGENCY LIGHTS are swirling all around them . A PARADE OF PEOPLE descends : DETECTIVE DUNNIGAN , Sarah , Warden Iger , COPS , PRISON STAFF . Intense :</scene_description>
<character>IGER</character>
<dialogue>We're still trying to sort through this thing.</dialogue>
<character>CANTRELL</character>
<dialogue>Gentlemen, we face a terrible shitstorm of scrutiny in the days to come. We need answers. Start with what we know.</dialogue>
<character>IGER</character>
<dialogue>Lethal injection is a series of drugs given in a specific order. Somebody had to have replaced one or more of those ingredients with something else.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>Industrial solvent? Acid?</dialogue>
<character>DUNNIGAN</character>
<dialogue>Let's not guess, let forensics do its job.</dialogue>
<character>CANTRELL</character>
<dialogue>How could the chemicals be switched? We're in a goddamn prison!</dialogue>
<character>NICK</character>
<dialogue>I'll ask because somebody has to. Is there any chance, no matter how remote, that this was an accident? A mix - up? Weird shit happens?</dialogue>
<scene_description>A beat of awkward silence . The warden hesitating .</scene_description>
<character>SARAH</character>
<dialogue>Show them. The bad part.</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONE JUNCTION ROOM - NIGHT</stage_direction>
<scene_description>Dunnigan brings our group in . ELECTRICIANS huddle at an array of circuits and trunk lines . In the dancing flashlight beams :</scene_description>
<character>DUNNIGAN</character>
<dialogue>Some kind of bypass on the phone lines.</dialogue>
<scene_description>Nick sees a CIRCUIT - BOARD spliced into the wiring .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Twenty minutes before the execution, the prison stopped receiving incoming calls and emails. Cell service went dark too. Signal was probably jammed.</dialogue>
<character>SARAH</character>
<dialogue>The bad part. I was just on with the Governor's office. He commuted Rupert Ames' sentence. They were trying to call us to stop the execution. They could n't get through.</dialogue>
<scene_description>Nick and Cantrell are stunned as this sinks in .</scene_description>
<character>DUNNIGAN</character>
<dialogue>The Governor's incoming number triggered this device and shut out any further calls.</dialogue>
<scene_description>Cantrell removes his glasses , rubs his eyes . Softly :</scene_description>
<character>CANTRELL</character>
<dialogue>Oh, fuck me. Fuck me.</dialogue>
<character>DUNNIGAN</character>
<dialogue>One more thing.</dialogue>
<scene_description>Dunnigan aims his maglight and swings the junction box cover all the way open . Scrawled on the inside of the door in red are the words : `` HIS TONGUE WILL WAG IN HELL . ''</scene_description>
<character>DUNNIGAN</character>
<dialogue>This mean anything to you?</dialogue>
<scene_description>CAMERA PUSHES IN on Nick .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON YARD - PARKING AREA - NIGHT</stage_direction>
<scene_description>Nick 's LAPTOP sits on an unmarked car , streaming the D.A. 'S DATABASE by wireless . Nick taps the keys , as :</scene_description>
<character>NICK</character>
<dialogue>Clarence Darby. That's what he said when he agreed to testify against the man we executed tonight.</dialogue>
<character>DUNNIGAN</character>
<dialogue>`` His tongue will wag in hell.'' Those very words? It was ten years ago.</dialogue>
<character>SARAH</character>
<dialogue>I remember it too. Some things stick in your head.</dialogue>
<character>NICK</character>
<dialogue>Check the court transcripts, they're public record.</dialogue>
<scene_description>DARBY 'S MUGSHOT -LRB- ten years ago -RRB- scans up , along with pertinent info of that time . GARZA , Dunnigan 's partner , peers at it .</scene_description>
<character>GARZA</character>
<dialogue>I know this prick. I'm pretty sure he's one of our C.I.s.</dialogue>
<scene_description>Surprised looks are traded .</scene_description>
<character>DUNNIGAN</character>
<dialogue>You think, or you know?</dialogue>
<character>GARZA</character>
<dialogue>That's not the name he uses now. But I'm pretty sure he's one of Bernstein's informants.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Okay, raise Bernstein, I want everything he's got, including an address. We roll with tactical.</dialogue>
<character>NICK</character>
<dialogue>How about I ride - along? Give you a fast, accurate ID on this guy?</dialogue>
<character>CANTRELL</character>
<dialogue>Is that necessary?</dialogue>
<character>NICK</character>
<dialogue>You said yourself we should move fast. This thing'll be all over the morning news cycle. We'd all look a lot better if we have the right man in custody by then.</dialogue>
<scene_description>Off Cantrell 's look .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIDGE/CITYSCAPE - NIGHT</stage_direction>
<scene_description>AERIAL SHOT : ANGLING DOWN to find a CONVOY OF POLICE VEHICLES speeding across a bridge .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNMARKED CAR (MOVING) - NIGHT</stage_direction>
<scene_description>Garza driving . Dunnigan riding shotgun . Nick in back , putting on a tactical vest . A transmission comes over the car 's dashboard computer : a MURKY NIGHTTIME SHOT OF A MAN in sunglasses and Hawaiian shirt .</scene_description>
<character>GARZA</character>
<dialogue>That's him. `` Wayne Dunlap.''</dialogue>
<character>DUNNIGAN</character>
<dialogue>Is that Clarence Darby?</dialogue>
<character>NICK</character>
<dialogue>I think so. Hard to tell.</dialogue>
<scene_description>Dunnigan scrolls the classified police data pertaining to the informant : dates , number of convictions attributed .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Jesus, look at this. No wonder Bernstein loves him.</dialogue>
<character>GARZA</character>
<dialogue>We scored a lot of good intel off this fuckhead through the years. Almost a shame to bag the guy.</dialogue>
<scene_description>A snort from Nick . The cops glance back .</scene_description>
<character>NICK</character>
<dialogue>A shame?</dialogue>
<character>GARZA</character>
<dialogue>He's helped us put a lot of bad people behind bars. Look. Arrests, convictions.</dialogue>
<character>NICK</character>
<dialogue>I can read a C.I. profile. What I see is an asshole dirty up to his ears in the drug trade. So you cops look the other way? He gets a free pass as long as he keeps feeding you convictions?</dialogue>
<character>DUNNIGAN</character>
<dialogue>Is n't that what you did ten years ago? Give this guy a free pass in return for a conviction?</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>Maybe we played this asshole to our advantage on the street, but you're the one who put him there. So, no offense, but you might wan na go fuck yourself a little.</dialogue>
<scene_description>Nick stares at the man on the dashboard computer screen .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLARENCE DARBY'S HOUSE - NIGHT</stage_direction>
<scene_description>who is indeed Clarence Darby , naked and drenched with sweat , taking a hit off a crack pipe . A woman 's HAND flails up into frame , trying to grab for it .</scene_description>
<character>DARBY</character>
<dialogue>Wait. wait.</dialogue>
<scene_description>He sucks in a full breath , hands the pipe off to : LISA , the thin tattooed skank he 's got bent over his bed and is fucking from behind . She flares the bowl with a lighter , barely registering any reaction as he keeps pumping her .</scene_description>
<character>DARBY</character>
<dialogue>Almost. Almost.</dialogue>
<character>LISA</character>
<dialogue>This shit makes you soft, baby.</dialogue>
<character>DARBY</character>
<parenthetical>( thrusting , grimacing . )</parenthetical>
<dialogue>Thank you. for stating the obvious. you. bitch.</dialogue>
<scene_description>He grits his teeth . Screams . Finishes . He sags , catching his breath , and glances at the PLASMA TV SCREEN , which has been playing silently . He grabs the remote , unmutes the set :</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>rumors the execution did not go well due to technical flaws, but that has yet to be confirmed.</dialogue>
<character>DARBY</character>
<dialogue>`` Did not go well.'' Way to go, Rupert. You even fucked up dying.</dialogue>
<character>LISA</character>
<dialogue>You know that guy?</dialogue>
<character>DARBY</character>
<dialogue>Knew. Past tense.</dialogue>
<scene_description>CELL PHONE RINGS , he answers .</scene_description>
<character>VOICE</character>
<dialogue>Wayne?</dialogue>
<character>DARBY</character>
<dialogue>Depends. Who's this?</dialogue>
<character>VOICE</character>
<dialogue>Somebody who does n't want to see you in jail. Look out your window.</dialogue>
<parenthetical>( Darby hesitates . )</parenthetical>
<dialogue>Argue later. Do it now.</dialogue>
<scene_description>Darby goes to the window . Headlights in the distance . Lots of them . He grabs binoculars off the sill . BINOCULAR POV : VEHICLES All cop . Racing this way . No lights , no sirens . DARBY lowers the binoculars , stunned .</scene_description>
<character>VOICE</character>
<dialogue>There's a world of shit coming your way. I'd get out the back. Now.</dialogue>
<scene_description>Click - line dead . Darby frozen for a moment , looking around at all the drugs and paraphernalia . He scrambles , tossing on his pants , grabbing his shirt . Lisa jumps off the bed -</scene_description>
<character>LISA</character>
<dialogue>What?</dialogue>
<scene_description>She goes to the window , sees cars sweeping from the darkness .</scene_description>
<character>LISA</character>
<dialogue>Are those fucking cops?</dialogue>
<scene_description>Darby lunges to a bookcase , grabs a REVOLVER from behind the books , sails out the bedroom door .</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS - NIGHT</stage_direction>
<scene_description>and races down the steps with Lisa at his heels .</scene_description>
<character>LISA</character>
<dialogue>You ai n't leaving me here!</dialogue>
<scene_description>She catches him halfway across the room , holding him back . He smashes the gun into her face repeatedly .</scene_description>
<character>DARBY</character>
<dialogue>OFF' A ME!</dialogue>
<scene_description>and knocks her bleeding and crying to the floor . He sails on through the kitchen , leaving her there .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARBY'S HOUSE - NIGHT</stage_direction>
<scene_description>and bursts through the screen door , fleeing barefoot across the back yard as VEHICLES AND COPS swarm the front of the house . A cruiser nails him with a spotlight :</scene_description>
<character>COP VOICE</character>
<parenthetical>( over car speakers . )</parenthetical>
<dialogue>You! Freeze right there!</dialogue>
<scene_description>Darby , never slowing , swings his arm around , FIRING his revolver blindly at all the lights .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - NIGHT</stage_direction>
<scene_description>whoa , fuck , gunshots ! Cops scramble and dive . Nick has just gotten out of Dunnigan 's car - a cruiser 's window takes a blind hit nearby , exploding glass . Nick ducks , total shock , out of his element . Drawing , Dunnigan throws him to the ground .</scene_description>
<character>DUNNIGAN</character>
<dialogue>STAY DOWN!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BAD NEIGHBORHOOD - NIGHT</stage_direction>
<scene_description>Darby runs like an amped - up rat in a maze , hearing cop cars in the night : Engines ROARING , tires SQUEALING . Suddenly , the SOUND OF A HELICOPTER above . Darby dashes for cover against a garage , lost in shadow . A massively bright searchlight sweeps from above , probing . Darby crouches , heart hammering , watching the searchlight scan over rooftops . His phone RINGS , he answers :</scene_description>
<character>VOICE</character>
<dialogue>Ditch the gun. Wipe the prints.</dialogue>
<character>DARBY</character>
<dialogue>Kiss my ass.</dialogue>
<character>VOICE</character>
<dialogue>I heard six shots. Revolver? Bring extra ammo?</dialogue>
<scene_description>Darby glances at the gun , realizing . He bangs his head back against the garage wall in frustration - fuck !</scene_description>
<character>VOICE</character>
<dialogue>You shot at cops. That's attempted murder if they find the gun on you. You're in deep enough without that.</dialogue>
<scene_description>Darby frantically wipes the gun with his shirttail , as :</scene_description>
<character>VOICE</character>
<dialogue>You'll need my help getting out.</dialogue>
<character>DARBY</character>
<dialogue>What'll it cost me?</dialogue>
<character>VOICE</character>
<dialogue>We'll discuss terms later. Go south, across 10th. Past the El tracks. Alley behind the clinic.</dialogue>
<character>DARBY</character>
<dialogue>What's there?</dialogue>
<character>VOICE</character>
<dialogue>A cop. Take his ride, he wo n't give you any trouble.</dialogue>
<character>DARBY</character>
<dialogue>How do you know?</dialogue>
<character>VOICE</character>
<dialogue>'Cause I tasered his ass. You gon na keep asking questions?</dialogue>
<scene_description>Click - line dead . Darby breaks cover , heaves the gun into somebody 's yard , keeps moving .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARBY'S HOUSE - NIGHT</stage_direction>
<scene_description>Chaotic with cops and lights . Lisa is dragged out , shrieking and bleeding , her face a broken mess . ANGLE TO Nick watching it all unfold . He sees Dunnigan approach :</scene_description>
<character>DUNNIGAN</character>
<dialogue>No way he's getting out of this neighborhood.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT</stage_direction>
<scene_description>Darby finds a POLICE CRUISER parked in the moonlight , window down . Dark inside . A LOCAL COP is sprawled across the front seat . groaning , coming to . Darby jumps in , passenger side , wrestles the cop upright . He yanks the cop 's service revolver , slapping him awake .</scene_description>
<character>DARBY</character>
<dialogue>Drive.</dialogue>
<scene_description>Darby reaches over and keys the engine to life .</scene_description>
<character>DARBY</character>
<dialogue>Drive, fucker! I'll put your brains on the dash!</dialogue>
<character>COP</character>
<parenthetical>( disoriented . )</parenthetical>
<dialogue>Do n't shoot! Do n't hurt me, okay?</dialogue>
<character>DARBY</character>
<dialogue>Depends on you. Go.</dialogue>
<scene_description>The cop hits the gas . Tense moments go by as they accelerate up a dark road . Darby ducks as COP CARS stream past .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARBY'S HOUSE - NIGHT</stage_direction>
<scene_description>Dunnigan and Nick tense , hearing a VOICE over the radio :</scene_description>
<character>COP VOICE</character>
<parenthetical>( heavily filtered . )</parenthetical>
<dialogue>. air unit three. see no sign of suspect. think we lost him.</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( keys mic . )</parenthetical>
<dialogue>Keep sweeping the area, unit three.</dialogue>
<parenthetical>( to Tactical Commander . )</parenthetical>
<dialogue>Go house - to - house. Check everything. Garages, dumpsters, storm drains.</dialogue>
<scene_description>BLUE - 9 - 19 - 08 25A .</scene_description>
<character>NICK</character>
<dialogue>You got ta be kidding me.</dialogue>
<scene_description>Dunnigan - angry , at a loss - does n't reply . Cops are scrambling in all directions . Nick turns , steps TOWARD CAMERA INTO A TIGHT SHOT , gazing off into the darkness . Something very weird just happened here , but he has no idea what . Softly :</scene_description>
<character>NICK</character>
<dialogue>How could we lose him?</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDUSTRIAL ZONE - NIGHT</stage_direction>
<scene_description>Tracks and factories , remote and deserted . Far away , the POLICE COPTER is still buzzing , searching . The police cruiser appears , stops . Darby emerges with gun and flashlight leveled , motions for the cop to get out . The cop complies with hands raised , shaking .</scene_description>
<character>DARBY</character>
<dialogue>In the ditch.</dialogue>
<character>COP</character>
<dialogue>please. do n't kill me.</dialogue>
<character>DARBY</character>
<dialogue>Knees. Let's go.</dialogue>
<scene_description>Darby shoves him stumbling into the ditch . The cop sinks to his knees and starts to weep .</scene_description>
<character>COP</character>
<dialogue>I'll never see my wife and little girl again. I'll never see them.</dialogue>
<character>DARBY</character>
<dialogue>It's fucked up.</dialogue>
<scene_description>Darby steps closer , draws the hammer back , takes aim for a head shot . but his PHONE RINGS . He pulls it fast .</scene_description>
<character>DARBY</character>
<dialogue>This my guardian angel?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Hello?</dialogue>
<scene_description>On his knees in the muck , the cop 's quiet weeping becomes soft laughter . He brings up a cell phone , speaks into it :</scene_description>
<character>COP</character>
<dialogue>I see you got out okay.</dialogue>
<scene_description>Darby draws back , confused , gun still aimed . The cop snaps his cell phone shut , rises to face him .</scene_description>
<character>COP</character>
<dialogue>You know why I'll never see my wife and daughter again?</dialogue>
<scene_description>He takes his hat off , peels his moustache away . Darby pins him with the flashlight , finally and fully revealing :</scene_description>
<character>BENSON CLYDE</character>
<dialogue>You took them from me.</dialogue>
<scene_description>Recognition floods Darby . He pulls the trigger , and : Nothing . Just a click , Darby freezing , a hiss of pain . Not comprehending . Clyde reaches for the gun , pries open Darby 's fingers , pulls it from his grasp . revealing the TINY NEEDLES that sprang from the pistol 's grip into Darby 's palm . Darby stares at his perforated palm . His knees give out and Clyde catches him , eases him to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARM SHED - NIGHT</stage_direction>
<scene_description>ANGLE : A head encased in a hood . The hood is pulled off , revealing Darby - eyes wide , lying on a rough table . Benson Clyde leans over him , checks his pupils .</scene_description>
<character>CLYDE</character>
<dialogue>Ca n't speak?</dialogue>
<scene_description>He displays the prop gun rigged with the needles .</scene_description>
<character>CLYDE</character>
<dialogue>Tetrototoxin. Fascinating stuff. It paralyzes you, but leaves all other neurological functions intact.</dialogue>
<scene_description>He sets the gun down , starts rooting through some instruments that Darby ca n't see -LRB- though he 's straining to -RRB- .</scene_description>
<character>CLYDE</character>
<dialogue>That means you ca n't move. Or talk. But you can see. Hear. Feel.</dialogue>
<parenthetical>( busying himself . )</parenthetical>
<dialogue>That last one's important. Feel. You can feel everything.</dialogue>
<parenthetical>( glances at bottled drugs . )</parenthetical>
<dialogue>Got some other items here. Drugs to revive you in case you pass out. Stuff like that.</dialogue>
<scene_description>Darby almost manages to speak , thrashing weakly . Clyde leans over , checks his pupils again .</scene_description>
<character>CLYDE</character>
<dialogue>Wearing off a little. No worries.</dialogue>
<scene_description>He tucks a padded block under Darby 's head like a pillow , raising his head so he can see better . Clyde moves down the table , tightens straps holding Darby down . But the worst part : TOURNIQUETS are tied on Darby 's arms and legs at various points . Darby sees them and starts hyperventilating .</scene_description>
<character>CLYDE</character>
<dialogue>Oh. These. Do n't want you bleeding out. This will take a while.</dialogue>
<scene_description>Clyde puts on a thick coat , like a meat - packer 's . He returns , sorting implements , Darby trying to see . Clyde obliges him , holding things up :</scene_description>
<character>CLYDE</character>
<parenthetical>( pliers . )</parenthetical>
<dialogue>Teeth.</dialogue>
<parenthetical>( hacksaw . )</parenthetical>
<dialogue>Balls.</dialogue>
<parenthetical>( bolt cutter . )</parenthetical>
<dialogue>Fingers. Maybe toes.</dialogue>
<parenthetical>( scalpel . )</parenthetical>
<dialogue>Eyelids. In case you insist on shutting your eyes.</dialogue>
<scene_description>Darby 's screaming - but with the tetrototoxin in his system , all that 's coming out is air , like a slow leak . Clyde picks up an object , unfolds it - a full - body plastic coat . He puts it on over his other coat , as :</scene_description>
<character>CLYDE</character>
<dialogue>Earlier on the phone? I said I'd get you out? You asked me what it would cost? Well.</dialogue>
<scene_description>He finishes buttoning up , crosses back to the table , raises a new object into view : a CIRCULAR POWER SAW .</scene_description>
<character>CLYDE</character>
<dialogue>We'll start with an arm and a leg. Go from there.</dialogue>
<scene_description>Pause . The reality of what he 's about to do washing over him :</scene_description>
<character>CLYDE</character>
<dialogue>I've been waiting to say that line for years. But it was n't very funny, was it? No. Played much better in my head. Maybe it's my delivery.</dialogue>
<scene_description>He puts a construction - site face protector atop his head , the kind with a full plastic face shield that can be flipped down . He turns and undoes the slipknot of a laundry cord stretching up to the ceiling . He feeds the cord and a full - length mirror tilts down horizontally above the table . Darby finds himself staring straight up into it - he 'll see everything . ANGLE FROM BEHIND VIDEO CAMERA The CAMERA 'S LCD SCREEN looms large in our shot . The LCD is dark , the camera inactive . It 's mounted high on a tripod , aimed down at the table . Clyde approaches b.g. , pauses .</scene_description>
<character>CLYDE</character>
<dialogue>Gosh. My heart's beating. You?</dialogue>
<scene_description>He flips his visor down - dark , no face visible . He reaches up , turns the camera on . The LCD screen activates . ANGLE CLOSES IN until all we see is : THE LCD IMAGE . Grainy in low light . Clyde , now faceless behind the visor , crosses to the squirming figure on the table . We hear the CIRCULAR SAW BUILD TO A HIGH SHRIEK . FADE TO BLACK . and the SHRIEKING SAW FADES . HOLD IN BLACK . THE BLACKNESS OPENS UP - we 're in a cop car 's trunk looking up as the lid is opened . A FIGURE in a meat - packing coat looms over us , faceless and scary behind a dark face protector . ANGLE INTO TRUNK reveals OFFICER HILTS hand - cuffed and duct - taped . He 's spent the night in here . He recoils , terrified and blinded by glare . BLUE - 9 - 19 - 08 29A . The figure opens a wicked - sharp butterfly knife , CLICK - CLACKS it open . He leans down , slits the tape binding Hilts ' arms , drops the keys in the cop 's hands .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY DIRT ROAD - DAWN</stage_direction>
<scene_description>The police cruiser sits on a dirt road , a FEMALE DISPATCHER 'S VOICE issuing softly and incessantly from the radio :</scene_description>
<character>FEMALE VOICE</character>
<dialogue>unit twenty one, come in. unit twenty one, please respond. report your location.</dialogue>
<scene_description>The mysterious figure strides from the police cruiser to a MIDNIGHT BLUE 1965 LINCOLN CONTINENTAL in superb condition , shrugging off his thick coat . He gets in , hits the gas . Hilts struggles to uncuff himself in the cruiser 's trunk , arms and legs cramping , as : The Lincoln becomes a CLOUD OF DUST receding in the distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S KITCHEN - MORNING</stage_direction>
<scene_description>Cleaning up the aftermath of the party : Nick up on a step - stool taking down the birthday banner ; Kell in her robe feeding the dishwasher ; Emma zooming in and out shuttling paper plates and plastic cups into a big trash bag .</scene_description>
<character>EMMA</character>
<dialogue>and while we were singing karaoke, Ashley was all dancing around and jumping up and down and suddenly she gets this look on her face.</dialogue>
<character>KELL</character>
<dialogue>I saw it coming.</dialogue>
<character>EMMA</character>
<dialogue>and suddenly she just went barf. Total puke moment. And we were all like, ewwww gross! It was so funny.</dialogue>
<scene_description>She 's out of the kitchen to grab more stuff . Kell starts preparing a bowl of cereal for Emma .</scene_description>
<character>KELL</character>
<dialogue>Funny for her. I cleaned it up.</dialogue>
<character>NICK</character>
<dialogue>I had my `` ewwww gross'' moment last night too.</dialogue>
<character>KELL</character>
<dialogue>Hey. I had a house full of shrieking ten year - old girls.</dialogue>
<character>NICK</character>
<dialogue>Hey. I saw a guy's veins dissolve.</dialogue>
<character>KELL</character>
<dialogue>Honey. It's not a competition.</dialogue>
<parenthetical>( off his look . )</parenthetical>
<dialogue>Okay, you win.</dialogue>
<scene_description>Emma re - enters , dumping more trash :</scene_description>
<character>EMMA</character>
<dialogue>so Tara says that's what you get for eating too much cake and that almost made Ashley puke again.</dialogue>
<scene_description>The DOORBELL RINGS . Kell glances out the window .</scene_description>
<character>KELL</character>
<dialogue>Delivery.</dialogue>
<character>EMMA</character>
<parenthetical>( grabs her cereal . )</parenthetical>
<dialogue>I'll get it!</dialogue>
<scene_description>She runs out . Nick comes off the step - stool , gratefully accepts a cup of coffee from Kell . He suddenly freezes , notices : The kitchen TV is playing CNN : a top - of - the - hour story on the Rupert Ames execution and foul - up .</scene_description>
<character>NICK</character>
<dialogue>Oh, shit. We've gone national.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>At the front door , a MESSENGER hands Emma a GIFT BASKET trailing mylar balloons with `` Happy Birthday Emma '' on them .</scene_description>
<character>EMMA</character>
<dialogue>Thank you!</dialogue>
<scene_description>She closes the door , turns toward us , finds a CARDBOARD ENVELOPE on the basket - a card ? She opens it , finds : Not a card . An unlabeled DVD .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY DIRT ROAD - DAY</stage_direction>
<scene_description>LOCAL SHERIFFS -LRB- not city cops -RRB- are spreading out across the fields , beating the grass , looking for clues . ANGLE TO Officer Hilts , blanket - draped and still rattled by his night - long ordeal , being interviewed by a SERGEANT :</scene_description>
<character>SERGEANT</character>
<dialogue>the suspect who tasered you last night. was it the same person who let you out of the trunk this morning?</dialogue>
<character>HILTS</character>
<dialogue>I never saw a face. either time. he wore a thing, a face shield.</dialogue>
<scene_description>Suddenly , we hear a DISTANT VOICE shouting in panic :</scene_description>
<character>VOICE</character>
<dialogue>Sergeant! Sergeant!</dialogue>
<scene_description>Everybody 's gaze snaps up , tense . Across the fields , a YOUNG COP is stumbling away from a distant farm shed , pointing :</scene_description>
<character>YOUNG COP</character>
<dialogue>Come quick! You got ta see this!</dialogue>
</scene>
<scene>
<stage_direction>INT. NICK'S KITCHEN - DAY</stage_direction>
<scene_description>Nick at the table with Kell , riveted to CNN : STATE OFFICIALS , including Iger , are being grilled in a media frenzy . Cantrell was right , it 's a shitstorm of scrutiny .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Emma , munching her bowl of breakfast cereal , slots the DVD in the player . She backs up , hits play with the remote . An IMAGE appears on screen , grainy . Emma looks perplexed . It 's not a normal DVD - more like a bad home movie : A figure in a plastic coat and face shield turns from the camera to a table , where another man is strapped down . The first man raises a circular saw . The man on the table is thrashing weakly , trying to move . Emma still has no idea what she 's looking at . Suddenly : The man with the saw makes a quick sweep across the table , across the other man 's leg at the shin . The move was so fast and casual that it 's taking a moment to sink in : Emma stands frozen , clutching her cereal bowl .</scene_description>
<character>EMMA</character>
<dialogue>Daddy?</dialogue>
<scene_description>B.G. , we see Nick lean back in his chair , reacting to her tone of voice . and by what sounds like a shrieking saw . On screen , the man with the saw picks up the severed limb and shows it to the victim . It 's been lopped off below the knee . Emma drops her bowl - it shatters at her feet . Nick and Kell enter behind her , confused , not sure what they 're seeing . On screen , the man with the saw lops off the victim 's forearm .</scene_description>
<character>KELL</character>
<dialogue>Oh my God!</dialogue>
<scene_description>Emma turns , throws herself into her parents ' arms . They drop to their knees , shielding their sobbing daughter . PUSH IN ON them staring at the shrieking saw .</scene_description>
<character>KELL</character>
<dialogue>What the hell is this? Jesus Christ, Nick! Turn it off! Turn it off!</dialogue>
<parenthetical>( comforting Emma . )</parenthetical>
<dialogue>It's okay, baby, I'm here.</dialogue>
<scene_description>Nick lunges to turn off the TV as : FROM THIS POINT ONWARD , WE PLAY THE SEQUENCE AS MONTAGE :</scene_description>
</scene>
<scene>
<stage_direction>INT. FARM SHED - DAY</stage_direction>
<scene_description>The door is swung open in a blaze of sunlight . The local cops enter with pistols drawn and shotguns leveled . Faces go stark with horror as their eyes adjust .</scene_description>
<character>SERGEANT</character>
<dialogue>Oh my Lord.</dialogue>
</scene>
<scene>
<stage_direction>INT. A RENOVATED FARMHOUSE SOMEWHERE - DAY</stage_direction>
<scene_description>A RECORD is pulled from a sleeve . An old - school vinyl LP .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARM SHED - DAY</stage_direction>
<scene_description>Cops easing in . ANGLE SWINGS QUEASILY AROUND as they enter , WIDENING to reveal a scene of nightmare intensity : Blood everywhere . Streaks . Spatters . And body parts . Strewn and discarded . Intestines nailed to the rafters overhead .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY</stage_direction>
<scene_description>A RECORD PLAYER NEEDLE DROPS , hits the groove with a HISS of vinyl . MUSIC STARTS TO PLAY LOUDLY , BOOMING through the space . FOCUS REMAINS WITH the spinning record . An OUT - OF - FOCUS FIGURE in a rolling chair pushes away from the record player and sails across the room toward a brightly - lit work table .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARM SHED - DAY (SONG CONTINUES)</stage_direction>
<scene_description>Cops are covering their mouths with handkerchiefs , gagging . The stench is incredible . Flies are buzzing and swarming . One cop turns away and doubles over , trying not to puke . The Sergeant moves cautiously forward , finds : A HEAD . On the wooden dissection table . Clarence Darby , not that you 'd recognize him . His eyes are gone . His lips are missing . His teeth . well , most of them are scattered about .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>A MINIATURE CIVIL WAR SOLDIER is held in extreme magnification before us under a tabletop magnifier , the tip of a paintbrush delicately evoking stunning detail .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S HOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>Emma is still sobbing into her mother 's arms as Nick takes the frame f.g. , shouting into the phone :</scene_description>
<character>NICK</character>
<dialogue>My daughter is traumatized! She's only ten! It's a goddamn snuff film! In my home!</dialogue>
</scene>
<scene>
<stage_direction>INT. DETECTIVE'S BULLPEN - DAY (SONG CONTINUES)</stage_direction>
<character>GARZA</character>
<parenthetical>( motioning O.S . )</parenthetical>
<dialogue>Price got a video of it happening delivered to his house.</dialogue>
<scene_description>Dunnigan enters frame f.g. , snatches up his extension . He listens for a few beats , trying to get a word in :</scene_description>
<character>DUNNIGAN</character>
<dialogue>Yeah, we know. Nick, we know. The body's been found. The pieces, anyway. Call just came in.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>In some old shed on a farm outside the city. About a hundred and fifty acre piece of property.</dialogue>
</scene>
<scene>
<stage_direction>INT. NICK'S HOUSE - DAY (SONG CONTINUES)</stage_direction>
<character>NICK</character>
<dialogue>Belonging to who?</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>A GIANT EYEBALL stares at us , unnaturally magnified by a tabletop magnifier . The lens is swept aside , revealing : Benson Clyde . In addition to the tabletop magnifier , he 's wearing MAGNIFYING LENSES on his head . He examines the figurine with his naked eye , then flips the glasses down to continue .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY HIGHWAY - DAY (SONG CONTINUES)</stage_direction>
<scene_description>VEHICLES race along two - lane blacktop : CRUISERS , UNMARKED CARS , TACTICAL VANS . A POLICE HELICOPTER skims along just above them at scary - low altitude . The cars veer off pavement and up a dirt road , kicking up an awesome trail of dust as the copter sweeps wide , pacing .</scene_description>
</scene>
<scene>
<stage_direction>INT. CARS - DAY (SONG CONTINUES)</stage_direction>
<scene_description>Tense faces : Dunnigan , Garza , Nick .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>Clyde pauses , hearing a RUMBLE under the music . Glances up as the rumble passes overhead - a helicopter ? He clicks on a tiny fan , holds the figurine under it , giving it a final dry .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>A shitstorm descends : vehicles swerving in , COPS jumping out , machine gun - toting SWAT TACTICAL TROOPS pouring from vans .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY (SONG CONTINUES)</stage_direction>
<scene_description>Clyde , still holding the figurine under the whirring fan , leans to one side in his chair , glancing out the window . He glimpses scurrying figures behind cars , cops darting and surrounding the house , motioning with hand signals . He holds up the figurine for a final look . Satisfied with it , he places it onto : A CHESSBOARD - the last piece . All the others are also hand - painted , gorgeous . Real craftsmanship here . He stands . Calmly moves to the middle of the room . Kicks off his shoes . Peels off his shirt and undershirt . Even takes off his pants . There will be no confusion about hidden weapons . He positions himself , very precise and purposeful . Lifts his hands high above his head . Presenting himself . Waiting . Then , bam : doors EXPLODE in and windows SHATTER as the SWAT tactical troops storm the room , bad - asses in black , machine guns aimed , encircling him , everybody shouting :</scene_description>
<character>SWAT TROOPS</character>
<dialogue>DO NOT MOVE - FREEZE MOTHERFUCKER - DO N'T EVEN TWITCH - WE WILL FIRE UPON YOU - LET'S SEE THOSE HANDS -</dialogue>
<scene_description>Clyde is the calm eye of a pissed - off storm of highly professional cops with itchy trigger fingers . He remains serene , looking around at them , hands raised high .</scene_description>
<character>SWAT CAPTAIN</character>
<dialogue>ON THE FLOOR! FACE DOWN! DO IT NOW!</dialogue>
<scene_description>He compliantly goes to his knees , then prone , offers his hands behind his back . They move in , cuff him , as troops spread throughout the house yelling `` Clear ! ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - DAY</stage_direction>
<scene_description>Nick , wearing his kevlar , follows Dunnigan and Garza . Nick glances over and sees a perfect 1965 midnight - blue Lincoln Continental in the carport .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - DAY</stage_direction>
<scene_description>Clyde is pulled to his feet just as Nick enters . UNIFORMS spread out , securing the house . Dunnigan faces Clyde .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Benson Clyde. You have the right to remain silent.</dialogue>
<scene_description>as the full Miranda is read , Nick and Clyde have their eyes locked throughout - this moment is all about them .</scene_description>
<character>DUNNIGAN</character>
<dialogue>understand your rights as I have explained them?</dialogue>
<character>CLYDE</character>
<dialogue>Yes.</dialogue>
<scene_description>Clyde is hustled outside , leaving Nick with Dunnigan and Garza in the farmhouse - it 's renovated , clean , very loft - like . Nick drifts to the table , sees the chess board , ca n't help admiring the pieces . Then his eyes go to a floor - to - ceiling bookcase . He 's stunned to realize : they 're all law books .</scene_description>
<character>GARZA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Check this shit out.</dialogue>
<scene_description>Nick turns , moves to Garza 's side . Dunnigan joins them . All three staring at a wall . ANGLE SHIFTS around to reveal : The long - ago PHOTO -LRB- clipped from a newspaper -RRB- of Nick and Clarence Darby shaking hands on the courthouse steps . ANGLE WIDENS to reveal : Photo after photo . The crime scene photos . photos of Clyde and his family in happier times . photos clipped from magazines and newspapers about the murder and trial . all very neatly and precisely arrayed . The entire wall covered with them . THE MUSIC KEEPS BOOMING from the record player . Dunnigan turns TIGHT TO CAMERA and yells :</scene_description>
<character>DUNNIGAN</character>
<dialogue>CAN SOMEBODY TURN THAT FUCKING MUSIC OFF, PLEASE?</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE INTERROGATION ROOM - DAY</stage_direction>
<scene_description>Clyde sits alone and isolated in a small room . WIDEN to reveal Sarah at the observation glass . She turns as Nick steps up .</scene_description>
<character>SARAH</character>
<dialogue>He says he'll only talk to you.</dialogue>
<scene_description>Nick and Dunnigan prepare to go in . Dunnigan takes off his gun and holster , lays them on a table , as Garza activates the VIDEO . Cantrell finds a chair by feel , sits down , as : INNER ROOM Nick and Dunnigan enter . Dunnigan melts into a corner to observe as Nick sits across the table from Clyde .</scene_description>
<character>CLYDE</character>
<dialogue>Counselor.</dialogue>
<character>NICK</character>
<dialogue>Mr. Clyde.</dialogue>
<character>CLYDE</character>
<dialogue>Why so formal? We go way back. Call me Benson. Or Ben.</dialogue>
<scene_description>Nick sits across the table from Clyde , settles in .</scene_description>
<character>NICK</character>
<dialogue>Well. I'm here. So?</dialogue>
<character>CLYDE</character>
<dialogue>So. Maybe you can explain what this is all about.</dialogue>
<scene_description>Nick almost laughs - not what he expected to hear .</scene_description>
<character>NICK</character>
<dialogue>I think that's obvious.</dialogue>
<scene_description>Clyde spreads his hands questioningly - not really .</scene_description>
<character>DUNNIGAN</character>
<dialogue>You murdered two people. Rupert Ames and Clarence Darby.</dialogue>
<character>CLYDE</character>
<parenthetical>( shifts his gaze . )</parenthetical>
<dialogue>Detective?</dialogue>
<character>DUNNIGAN</character>
<dialogue>Dunnigan.</dialogue>
<character>CLYDE</character>
<dialogue>Dunnigan. I thought I'd made it clear I would only speak to the gentleman across the table from me.</dialogue>
<scene_description>Dunnigan glowers at him , looks to Nick .</scene_description>
<character>NICK</character>
<dialogue>You murdered two people. Rupert Ames and Clarence Darby.</dialogue>
<character>CLYDE</character>
<dialogue>Darby? I knew about Ames, of course. I've been following the news about his horribly botched execution. But Darby too? Quite a coincidence.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Cut the shit. We know you did it. Save everybody a lot of time and trouble and just confess.</dialogue>
<character>CLYDE</character>
<dialogue>Are you going to continue to insist on being part of this conversation?</dialogue>
<character>DUNNIGAN</character>
<dialogue>Yes.</dialogue>
<character>CLYDE</character>
<parenthetical>( beat , gives in . )</parenthetical>
<dialogue>Fine. Far be it from me to be rude.</dialogue>
<character>NICK</character>
<dialogue>Clarence Darby was found on your property. Old abandoned shed?</dialogue>
<character>CLYDE</character>
<dialogue>I did n't know I had one. It's 150 acres, uncultivated. The other day I found a creek I never knew I had. Hunters trespass all the time. You going to try to pin the dead deer on me too?</dialogue>
<scene_description>OBSERVATION AREA</scene_description>
<character>SARAH</character>
<dialogue>I do n't believe this guy.</dialogue>
<character>CANTRELL</character>
<dialogue>That man is frosty.</dialogue>
<scene_description>INNER ROOM</scene_description>
<character>CLYDE</character>
<dialogue>It occurs to me that an even moderately clever person could try to frame me for the murder simply by killing him on my property. One of Darby's drug rivals? That's an unsavory world.</dialogue>
<parenthetical>( off Nick 's stare . )</parenthetical>
<dialogue>A jury would have to weigh that possibility. What else you got?</dialogue>
<character>NICK</character>
<parenthetical>( temper flaring . )</parenthetical>
<dialogue>How about video of you dismembering Darby while he was still alive?</dialogue>
<character>CLYDE</character>
<dialogue>That's odd. See, if I were to do such a thing, I'd probably wear something so I could n't be identified. Some kind of mask maybe. But you say it's actually me on the video? Did the camera capture my good side?</dialogue>
<scene_description>Nick snaps , lunges across the table , grabs Clyde .</scene_description>
<character>NICK</character>
<dialogue>You sick fuck, you sent it to my house! My daughter saw that video! It fucking traumatized her! She could n't stop sobbing!</dialogue>
<scene_description>Dunnigan moves in fast , trying to pull Nick off -LRB- but failing -RRB- :</scene_description>
<character>DUNNIGAN</character>
<dialogue>Whoa - whoa, Nick, ease off!</dialogue>
<character>CLYDE</character>
<dialogue>No trouble here, Detective, we're fine. Thank you, though.</dialogue>
<scene_description>Dunnigan backs off . Clyde turns back to Nick , who 's still got him in his grasp , their faces close .</scene_description>
<character>CLYDE</character>
<dialogue>Your daughter is, what, ten now? That's a wonderful age. My daughter was always so busy at that age, so interested, so into everything. Jumping around. I called her `` Bean,'' she jumped around so much.</dialogue>
<scene_description>Nick is easing off by inches , subtly and ineffably weirded - out , unable to break Clyde 's gaze . Softly :</scene_description>
<character>CLYDE</character>
<dialogue>I am sorry, Nick, that your daughter experienced that. You're right. That video should not have arrived that way. The person who sent it should have thought twice.</dialogue>
<scene_description>Dunnigan moves in again , gently but firmly pulls Nick away .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Okay, enough.</dialogue>
<character>CLYDE</character>
<dialogue>Unless there's hard evidence tying me to these crimes - forensic or otherwise - why am I here? Why are we having this conversation?</dialogue>
<character>NICK</character>
<dialogue>We know you did it.</dialogue>
<character>CLYDE</character>
<dialogue>It's not about what you know. It's about what you can prove in court.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>Your words. Like when you called it a justice system. You know the thing about a system, Nick? Any system can be played.</dialogue>
<character>NICK</character>
<dialogue>You think you can play us? You gon na take me on?</dialogue>
<character>CLYDE</character>
<dialogue>Clarence Darby did. And I'm much smarter than he was. Or you.</dialogue>
<scene_description>Nick advances , furious , held back by Dunnigan :</scene_description>
<character>NICK</character>
<dialogue>I'm gon na bury you, fucker!</dialogue>
<character>CLYDE</character>
<parenthetical>( lunges to his feet . )</parenthetical>
<dialogue>That's it, that's what I want! That fire in the belly! That's what I wanted ten years ago! Do it, Nick! Bury me!</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( shouting at Clyde . )</parenthetical>
<dialogue>Sit down! Sit the fuck down!</dialogue>
<scene_description>Clyde does , settles in , speaking calmly :</scene_description>
<character>CLYDE</character>
<dialogue>Or. Set me free.</dialogue>
<character>NICK</character>
<dialogue>What?</dialogue>
<character>CLYDE</character>
<dialogue>Did I stutter? Make your case. Or. Shake my hand on the courthouse steps and send me on my way.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>I'll even make it easy on you. I will confess, how's that?</dialogue>
<character>NICK</character>
<dialogue>You're gon na confess.</dialogue>
<character>CLYDE</character>
<dialogue>Let's start tomorrow after a good night's sleep. We'll all be fresh and rested.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL COURTYARD - DAY</stage_direction>
<scene_description>Nick paces agitated , with the group :</scene_description>
<character>SARAH</character>
<dialogue>Ten years he's been planning this? Patient people make me nervous. This? This freaks me out.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Is he serious about confessing? What's his deal, is he crazy?</dialogue>
<character>NICK</character>
<dialogue>Confession or not, we're gon na nail him on two counts of first - degree.</dialogue>
<character>CANTRELL</character>
<dialogue>Agreed, but softly. Nothing hard - ass, no grand - standing. Kid gloves.</dialogue>
<character>NICK</character>
<dialogue>Kid gloves? He's a psycho with a power saw.</dialogue>
<character>CANTRELL</character>
<dialogue>Depending on who's writing the headline, he's a grieving husband and father who got revenge on the men who murdered his wife and child.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>Public sympathy is to be respected and feared. This could blow up in our faces if we're not careful. We ca n't look like we're pissed off or have an ax to grind.</dialogue>
<parenthetical>( stops . )</parenthetical>
<dialogue>Are we pissed off? Do we have an ax to grind?</dialogue>
<character>NICK</character>
<dialogue>No.</dialogue>
<character>CANTRELL</character>
<dialogue>Then stop acting like it.</dialogue>
<scene_description>Beat . Nick takes a deep breath .</scene_description>
<character>NICK</character>
<dialogue>Okay. He got under my skin a little. That's done.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - DAY</stage_direction>
<scene_description>STEADICAM TWO SILHOUETTES : We 're following Nick and Sarah through one of the pedestrian tunnels to the street :</scene_description>
<character>NICK</character>
<dialogue>background check's got ta be thorough, I want to know everything there is to know about this son of a bitch. Get all the ADAs on it, tell'em I better not see them sitting around on their asses or texting their pals.</dialogue>
<character>SARAH</character>
<dialogue>How about outside help? That P.I. who helped us on the Jacovitz case?</dialogue>
<character>NICK</character>
<dialogue>Yeah, he was good. And Hanson's always reliable. But try to limit their hours, okay?</dialogue>
<scene_description>We find a MERCEDES at the curb - Kell at the wheel , Emma in back . Nick gets in . Sarah leans down , happy to see them . Emma 's face lights up - the little girl obviously adores her .</scene_description>
<character>KELL</character>
<dialogue>Well, hello there beauty!</dialogue>
<character>SARAH</character>
<dialogue>Hey Kell! Hey Emma, how's my dynamo?</dialogue>
<character>EMMA</character>
<dialogue>Hi, Sarah!</dialogue>
<character>KELL</character>
<dialogue>We have n't seen you in so long it's ridiculous. When are you gon na come by for a visit?</dialogue>
<character>SARAH</character>
<dialogue>Who needs a life, right? Talk to your husband, maybe he'll give us a day off one of these years.</dialogue>
<character>KELL</character>
<dialogue>Soon, huh? Seriously, we miss you.</dialogue>
<scene_description>Sarah blows Emma a big extravagant kiss . Emma returns it , waves as they pull away . Nick and Kell glance back , happy to see their daughter acting a bit more like her old self .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S HOUSE - NIGHT</stage_direction>
<scene_description>Late . Nick , in t - shirt and pajama bottoms , comes up a dark hallway with a file in his hand , rubbing his eyes . He comes to his daughter 's bedroom door , quietly turns the knob . EMMA 'S BEDROOM . and finds the bed empty . Sheets thrown back . Nick stands for a moment , every irrational fear he 's ever had washing over him . CAMERA FOLLOWS HIM fast down the hallway . into the master bedroom , where he finds Emma sleeping with Kell . He stands for a moment , heart hammering . Softly :</scene_description>
<character>NICK</character>
<dialogue>Fuck.</dialogue>
<scene_description>Kell stirs , sees him , puts a finger to her lips . In whispers :</scene_description>
<character>NICK</character>
<dialogue>I saw her bed empty. Scared the shit out of me. Do n't know why.</dialogue>
<character>KELL</character>
<dialogue>She had a bad dream. She wanted to sleep with us tonight.</dialogue>
<character>NICK</character>
<parenthetical>( feels his heart race . )</parenthetical>
<dialogue>Jesus.</dialogue>
<character>EMMA</character>
<parenthetical>( stirs . )</parenthetical>
<dialogue>Daddy?</dialogue>
<scene_description>He climbs onto the bed , cuddles up , Emma between them .</scene_description>
<character>EMMA</character>
<dialogue>I had a nightmare. That man.</dialogue>
<character>NICK</character>
<dialogue>I know. Shhh. We're all good. You're safe. Nobody's gon na hurt you.</dialogue>
<character>KELL</character>
<dialogue>Especially not that man. Daddy's gon na put him in jail forever. That's what daddy does. He makes sure the bad people stay locked away.</dialogue>
<scene_description>Nick lays there , listening .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<scene_description>A huge domed chamber . In the center of the floor stands a smaller free - standing domed cage , like a bizarre birdcage . Inside the birdcage : Nick and Garza wait . Garza mans a camera . Outside the birdcage : Observers . Some -LRB- Cantrell and Sarah -RRB- occupy floor - level , where the video monitors are . Others -LRB- Iger and Dunnigan -RRB- are on a catwalk above that encircles the room . A door opens and Clyde is brought into the birdcage . He gazes around , checking his surroundings .</scene_description>
<character>CLYDE</character>
<dialogue>I admit I expected something more modern. That jail downtown?</dialogue>
<character>NICK</character>
<dialogue>Filled to capacity. It has been for years. They had to re - open this for the overflow. Part of it anyway.</dialogue>
<character>GARZA</character>
<dialogue>Welcome to the county jail annex. All new inmates come here. It was in the papers.</dialogue>
<character>CLYDE</character>
<dialogue>Right. Prison crowding. It's a problem.</dialogue>
<scene_description>He sits . Nick joins him , pulls out a legal pad .</scene_description>
<character>NICK</character>
<dialogue>For the record : You've waived legal counsel. You've offered to confess to the murders of Clarence Darby and Rupert Ames. Yes?</dialogue>
<character>CLYDE</character>
<dialogue>We'll get to that. First, what I'd really like to talk about is the cot in my cell. It's lumpy.</dialogue>
<parenthetical>( off Nick 's stare . )</parenthetical>
<dialogue>Hardly any padding? Steel springs? Very uncomfortable?</dialogue>
<character>NICK</character>
<dialogue>I know what lumpy means. Sorry to hear it. But we're not here to talk about prison conditions, we're here to talk about things you've done.</dialogue>
<character>CLYDE</character>
<dialogue>Start with things I have n't done. Like get any sleep last night.</dialogue>
<parenthetical>( beat , leans forward . )</parenthetical>
<dialogue>I said let's begin today fresh and rested. You recall my words?</dialogue>
<character>NICK</character>
<dialogue>What do you want from me?</dialogue>
<character>CLYDE</character>
<dialogue>A bed in my cell.</dialogue>
<character>NICK</character>
<dialogue>A bed. In your cell.</dialogue>
<character>CLYDE</character>
<dialogue>Yes, please. One of those Sleep - Matic adjustables. Those are best.</dialogue>
<character>NICK</character>
<dialogue>You want the variable temperature control too?</dialogue>
<character>CLYDE</character>
<dialogue>That would be nice.</dialogue>
<scene_description>Beat . Nick tosses his legal pad on the table , swivels around in his chair to the observers up on the catwalk , spreads his arms in a `` help me '' gesture .</scene_description>
<character>NICK</character>
<dialogue>Anybody?</dialogue>
<character>DUNNIGAN</character>
<dialogue>It's a steel cot! It's bolted to the wall!</dialogue>
<character>CLYDE</character>
<dialogue>I'm sure they have a wrench.</dialogue>
<character>IGER</character>
<dialogue>We also have rules prohibiting personal items such as beds.</dialogue>
<character>CLYDE</character>
<parenthetical>( looks to Nick . )</parenthetical>
<dialogue>Let me get this straight. You're going to let a bed prevent this confession from taking place.</dialogue>
<character>NICK</character>
<dialogue>You looking to deal? All right, how's this? How about I do n't kick your fucking teeth down your throat?</dialogue>
<scene_description>Clyde is mildly taken aback . The cops tense up .</scene_description>
<character>CANTRELL</character>
<dialogue>Nick.</dialogue>
<character>NICK</character>
<dialogue>Sorry, Jonas. Okay, kid gloves.</dialogue>
<parenthetical>( to Clyde . )</parenthetical>
<dialogue>My daughter slept in our bed last night. She has n't done that since she was six. You gave her nightmares. So excuse me if I do n't feel like cutting any little deals today.</dialogue>
<character>CLYDE</character>
<dialogue>My daughter ca n't have nightmares, because she died with Clarence Darby's breath in her face. You gave him a reduced sentence and his freedom. All I want is a good night's sleep.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PRISON COURTYARD - DAY</stage_direction>
<scene_description>Everybody 's wound up , talking fast :</scene_description>
<character>NICK</character>
<dialogue>This is bullshit. He's jerking our chain big - time.</dialogue>
<character>CANTRELL</character>
<dialogue>I can justify the expense.</dialogue>
<character>IGER</character>
<dialogue>It's not just a bed. Every inmate here will be on the phone to their lawyer filing lawsuits for equal treatment. Can you justify that?</dialogue>
<character>SARAH</character>
<parenthetical>( offering . )</parenthetical>
<dialogue>We give him a bed, he confesses, we take the bed away. At most it's one night.</dialogue>
<scene_description>Cantrell weighs it , decides :</scene_description>
<character>CANTRELL</character>
<dialogue>We're talking a high - profile double homicide. Order the bed.</dialogue>
</scene>
<scene>
<stage_direction>INT. CELLBLOCK - CLYDE'S CELL - DAY</stage_direction>
<scene_description>Clyde watches as MAINTENANCE MEN remove the unbolted cot from the cell and his Sleep - Matic is rolled in . CONVICTS watch , dumbfounded . Clyde 's cellmate , a towering Aryan Brother named DWIGHT DIXON , stands quietly amazed .</scene_description>
<character>CLYDE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( pre - lap . )</parenthetical>
<dialogue>Switching the drugs was easy.</dialogue>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<scene_description>Back in the birdcage :</scene_description>
<character>CLYDE</character>
<dialogue>I hacked the Fedex database, diverted the package to me, made the switch, sent the package on. It's automated tracking numbers moving millions of packages daily. Nobody's questioning who receives what, or why.</dialogue>
<character>NICK</character>
<dialogue>And the prison phones?</dialogue>
<character>CLYDE</character>
<dialogue>Get a phone company uniform, hack the prison database, schedule an official visit. They'll wave you through the gate, like they did me. It's simple if you know how things work.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>It's a system. You learn how it works. You play it. Any system.</dialogue>
<character>NICK</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>I saw him die. That stuff burned his veins. He suffered terribly.</dialogue>
<character>CLYDE</character>
<dialogue>Score.</dialogue>
<scene_description>Nick flips to a new page on his pad .</scene_description>
<character>NICK</character>
<dialogue>Let's move on to Clarence Darby.</dialogue>
<character>CLYDE</character>
<parenthetical>( sits back . )</parenthetical>
<dialogue>Hey, you like music?</dialogue>
<character>NICK</character>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>Very much. Why?</dialogue>
<character>CLYDE</character>
<dialogue>I could tell. I love music. All of it. It's like air in my lungs. So the thing about Clarence Darby is, I want my record collection and player brought to me. The vinyl discs as well as CDs.</dialogue>
<scene_description>Reactions all around the room . Iger leans forward :</scene_description>
<character>IGER</character>
<dialogue>Vinyl records and CDs can be broken into shards. They make excellent weapons. My answer to that one, Mr. Clyde, is not no, but hell no.</dialogue>
<scene_description>Clyde absorbs that , looks to Nick , as :</scene_description>
<character>NICK</character>
<dialogue>It's a legitimate concern.</dialogue>
<character>CLYDE</character>
<parenthetical>( beat , calls to Iger . )</parenthetical>
<dialogue>How about my ipod and speaker dock?</dialogue>
</scene>
<scene>
<stage_direction>INT. CELLBLOCK - CLYDE'S CELL - DAY</stage_direction>
<scene_description>AN IPOD AND SPEAKER DOCK now occupy a small plywood shelf attached to the railing outside Clyde 's cell . A GUARD plugs it in via a long orange extension cord . ANGLE WIDENS to Iger , who turns to the bars and hands a remote control through to Clyde . Dixon 's watching balefully , as is every inmate on the cellblock .</scene_description>
<character>IGER</character>
<dialogue>The player stays out here. You hand the remote to the on - duty guard every night at lights out. Those terms are n't negotiable.</dialogue>
<character>CLYDE</character>
<dialogue>I appreciate your compromise.</dialogue>
<scene_description>Iger draws close to the bars . Quietly :</scene_description>
<character>IGER</character>
<dialogue>You looking to get your ass kicked?</dialogue>
<parenthetical>( off Clyde 's look . )</parenthetical>
<dialogue>By every inmate on this cellblock. You keep this up, they'll take it out on you. Harshly.</dialogue>
<scene_description>Clyde glances back to Dwight . Dwight 's watching , glowering , agreement in his silence . Clyde turns back to Iger .</scene_description>
<character>IGER</character>
<dialogue>Just trying to keep you alive in here. That's all.</dialogue>
<scene_description>Iger walks away . Clyde aims the remote . MUSIC STARTS PLAYING . He leans his head on the bars , listening , blissed . Cons all over the cellblock are staring daggers at him .</scene_description>
<character>CLYDE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( pre - lap . )</parenthetical>
<dialogue>I took his fingers with a bolt cutter. His toes with a pair of tin snips. His balls with a hacksaw.</dialogue>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<character>CLYDE</character>
<dialogue>his penis with a box cutter. His skin with a filet knife. His teeth with pliers. His eyes. for those I used my fingers.</dialogue>
<parenthetical>( looks to Nick . )</parenthetical>
<dialogue>Check the video I made. All that will match up. I kept him alive for an hour, give or take. Time it.</dialogue>
<scene_description>Nick trades looks with the others in the room - everybody have what they need ? People nod . Nicks closes his pad .</scene_description>
<character>CLYDE</character>
<dialogue>What now?</dialogue>
<character>NICK</character>
<dialogue>My office types it up, you sign.</dialogue>
<scene_description>Nick rises , putting things in his briefcase . People get ready to leave - but Clyde motions Garza to keep it rolling .</scene_description>
<character>CLYDE</character>
<dialogue>How about a signing bonus? The small concessions you've made so far have kept my cooperation flowing. why not give me a reward for signing?</dialogue>
<character>NICK</character>
<dialogue>You do n't want to sign, do n't sign. We've got you on videotape, we'll go to trial. In ten years, when your appeals are exhausted, I'll attend your execution. I'll make sure nobody tampers with the drugs.</dialogue>
<character>CLYDE</character>
<dialogue>Do n't be such a hard - ass, Nick. I do n't want much. Just a good meal.</dialogue>
<parenthetical>( directed at Iger . )</parenthetical>
<dialogue>The food here? Sucks. No offense.</dialogue>
<scene_description>Dunnigan glances at Nick and stifles a smile , enjoying where this is going in spite of himself :</scene_description>
<character>DUNNIGAN</character>
<dialogue>What do you have in mind?</dialogue>
<character>CLYDE</character>
<dialogue>There's a place in town on Halston. La Traviata. Ever been?</dialogue>
<character>DUNNIGAN</character>
<dialogue>It's a little above my pay grade.</dialogue>
<character>CLYDE</character>
<dialogue>You know it, do n't you, Nick?</dialogue>
<character>NICK</character>
<dialogue>I've eaten there. So?</dialogue>
<character>CLYDE</character>
<dialogue>They cater. Tonight, at 7 p.m., I would like my meal delivered to my cell from La Traviata. With nice silverware, crisp linens.</dialogue>
<character>NICK</character>
<dialogue>Not gon na happen.</dialogue>
<character>CLYDE</character>
<dialogue>Why not?</dialogue>
<character>NICK</character>
<dialogue>Because I have no interest in making it happen. And you have nothing left to bargain with.</dialogue>
<character>CLYDE</character>
<dialogue>C'mon, Nick. We've just started bargaining. You have n't even heard what I'm offering yet.</dialogue>
<scene_description>This makes people pause . Something in the tone of his voice .</scene_description>
<character>CLYDE</character>
<dialogue>Miss Lowell? Is your laptop still on? Would you please do a search?</dialogue>
<scene_description>She flips the laptop opens , dread mounting even though she 's not sure why , poises her fingers over the keys .</scene_description>
<character>CLYDE</character>
<dialogue>William. Baxter. Reynolds.</dialogue>
<scene_description>Cantrell 's quietly stunned as the name sinks in . Pin - drop silence now . Laptop keys CLACKING SOFTLY . People frozen .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Who's William Reynolds?</dialogue>
<character>CANTRELL</character>
<dialogue>Clarence Darby's defense attorney. He brokered the testimony deal with us ten years ago. He's been missing now since.</dialogue>
<character>CLYDE</character>
<dialogue>March of' 06.</dialogue>
<scene_description>Sarah spins the laptop - a photo of Reynolds , a story of his disappearance .</scene_description>
<character>CLYDE</character>
<dialogue>Detectives Dunnigan and Garza will like this offer, Nick. It'll clear one of their department's missing - persons files. And it'll solve them their third homicide this week.</dialogue>
<character>NICK</character>
<dialogue>Tell me.</dialogue>
<character>CLYDE</character>
<dialogue>How do you think I located Clarence Darby after he got out of jail and legally changed his name? Reynolds told me - though it took some convincing.</dialogue>
<scene_description>PUSH IN ON Clyde in the frozen silence .</scene_description>
<character>CLYDE</character>
<dialogue>You want the location of the body? Tonight, 7 p.m., I get my meal delivered to my cell from La Traviata.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP HELIPAD - FEDERAL BUILDING - DAY</stage_direction>
<scene_description>A HELICOPTER THROTTLES UP , everything moving fast : an FBI FIELD TEAM , led by AGENT SAM DAVIES , emerges from a staircase door onto the roof , where they are met by Nick and Dunnigan . Davies dons his kevlar vest on the move toward the waiting copter , everybody SHOUTING over the rotors :</scene_description>
<character>DUNNIGAN</character>
<dialogue>SPECIAL AGENT SAM DAVIES, NICK PRICE WITH THE D.A.'S OFFICE!</dialogue>
<character>DAVIES</character>
<dialogue>NICK! TELL ME ABOUT THIS BODY!</dialogue>
<character>NICK</character>
<dialogue>SUSPECT SAYS NEW JERSEY! ACROSS THE STATE LINE! THAT MAKES IT FEDERAL, THAT MAKES IT YOU!</dialogue>
<character>DAVIES</character>
<parenthetical>( to another FED . )</parenthetical>
<dialogue>GET THE CAMDEN OFFICE TO HAVE A GROUND TEAM MEET US!</dialogue>
<parenthetical>( to Dunnigan . )</parenthetical>
<dialogue>LOCATION?</dialogue>
<character>DUNNIGAN</character>
<dialogue>SUSPECT WILL GIVE US A GPS MARK! WE'LL ADVISE YOU IN THE AIR!</dialogue>
<scene_description>They get to the helicopter , feds loading in as Nick pulls a business card , hands it to Davies .</scene_description>
<character>NICK</character>
<dialogue>I'LL BE IN MY OFFICE! PLEASE CALL ME! WE GOT A LOT OF PEOPLE HOLDING THEIR BREATH ON THIS!</dialogue>
<character>DAVIES</character>
<dialogue>WILL DO!</dialogue>
<scene_description>Davies gets in , signals the PILOT . The copter takes to the air , buffeting Nick and Dunnigan .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S CELL - DAY</stage_direction>
<scene_description>TIGHT ON CLYDE . He looks up , speaking slowly and clearly :</scene_description>
<character>CLYDE</character>
<dialogue>GPS position is as follows.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT - DAY</stage_direction>
<scene_description>FBI HELICOPTER THUNDERING over the city .</scene_description>
<character>VOICE ON RADIO</character>
<dialogue>delta niner foxtrot. GPS coordinates follow.</dialogue>
<scene_description>The helicopter veers , banks into a steep turn .</scene_description>
</scene>
<scene>
<stage_direction>INT. D.A.'S OFFICE - DAY</stage_direction>
<scene_description>Nick enters , moves through the bullpen . ADAs -LRB- assistant district attorneys -RRB- are working and grimly focused . Nick pokes his head into Sarah 's office . She looks up .</scene_description>
<character>NICK</character>
<dialogue>What do we have so far?</dialogue>
</scene>
<scene>
<stage_direction>EXT. PRISON - DAY</stage_direction>
<scene_description>A HIGH - END DELIVERY VAN bearing the logo of La Traviata is waved through the gate into the delivery entrance .</scene_description>
<character>SARAH</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He's got no next - of - kin. No family since his wife and daughter were killed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT - DAY</stage_direction>
<scene_description>THE FBI HELICOPTER THUNDERS over beautiful green hills .</scene_description>
<character>SARAH</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He's a tinkerer. Little inventions and gizmos.</dialogue>
</scene>
<scene>
<stage_direction>INT. NICK'S OFFICE - DAY</stage_direction>
<scene_description>Nick gazing out the window , Cantrell seated with his dog , Sarah reading the report thus far :</scene_description>
<character>SARAH</character>
<dialogue>he holds two dozen patents that have made him a lot of money the last ten years. He's invested a lot of it in real estate. Weird stuff.</dialogue>
<character>CANTRELL</character>
<dialogue>Weird how?</dialogue>
<character>SARAH</character>
<dialogue>Properties with no real value. Around airports, chemical plants. Stuff nobody wants.</dialogue>
</scene>
<scene>
<stage_direction>INT. CELLBLOCK - DAY</stage_direction>
<scene_description>A CONVICT comes to his bars , peering out .</scene_description>
<character>CONVICT</character>
<dialogue>Motherfucker.</dialogue>
<scene_description>because here comes the rolling La Traviata cart - gleaming domes keeping food warm , silver utensils , crisp linens , a ROSE in a bud vase . A red - jacketed LA TRAVIATA WAITER is pushing the cart , accompanied by GUARDS and Warden Iger . More cons appear at their bars , faces peering , an angry grumble growing in the cellblock as the cart goes by . The waiter 's looking around , nervous .</scene_description>
<character>SARAH</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He votes. He gives money to charity, mostly victim's funds.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<character>SARAH</character>
<dialogue>but he also gives a big chunk to macular research.</dialogue>
<character>CANTRELL</character>
<parenthetical>( looks up . )</parenthetical>
<dialogue>He donates to eye research?</dialogue>
<character>SARAH</character>
<dialogue>RPI. That's the charity you work with, is n't it?</dialogue>
<character>CANTRELL</character>
<dialogue>Huh. Strange.</dialogue>
</scene>
<scene>
<stage_direction>INT. CELL - DAY</stage_direction>
<scene_description>The waiter , hemmed by guards , nervously reads the order :</scene_description>
<character>WAITER</character>
<dialogue>consommé. sea bass. squab. New York strip, rare. a variety of pates.</dialogue>
<character>CLYDE</character>
<dialogue>Rack of lamb?</dialogue>
<character>WAITER</character>
<dialogue>oh, yes, rack of lamb.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEW JERSEY HILLTOP - DAY</stage_direction>
<scene_description>THE HELICOPTER ROARS IN , lands . Davies and his men jump out . AN FBI GROUND TEAM is waiting for them . A CAMDEN FIELD AGENT runs up and points at the ground , shouting :</scene_description>
<character>FIELD AGENT</character>
<dialogue>WE THINK WE'VE GOT A CAIRN HERE! SOMEBODY LAID A BED OF STONES AND PLANTED SOD OVER IT!</dialogue>
<scene_description>Davies signals his team . SHOVELS AND PICKS hit the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DAY</stage_direction>
<scene_description>while GORGEOUS FOOD hits paper plates . It 's being slopped unceremoniously from the fine china by the guards . TILT UP to Iger overseeing this process , passing china and utensils to the waiter , who 's flustered :</scene_description>
<character>WAITER</character>
<dialogue>You're bruising the crepes.</dialogue>
<character>GUARD</character>
<dialogue>Life's a bitch, then you die.</dialogue>
<character>IGER</character>
<dialogue>no plates, they break into nice jagged pieces. nothing sharp, nothing that can be made sharp. no forks, no knives, no spoons. lose that carafe. we will have no potential weapons of any kind this evening, thank you. you can eat with your fingers.</dialogue>
<character>CLYDE</character>
<dialogue>The guards will think me gauche.</dialogue>
<scene_description>Clyde 's got the rose , teasing his nose with it . All around the cellblock , inmates are shouting insults and threats .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DAY</stage_direction>
<scene_description>Sarah is exiting , leaving Nick and Cantrell to stare at the phone and wait for it to ring .</scene_description>
<character>NICK</character>
<parenthetical>( calls after her . )</parenthetical>
<dialogue>Thanks. Keep digging.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DAY</stage_direction>
<scene_description>Digging . Sod coming off , being set aside on plastic . FLASH PHOTOS being taken . Stones being pried up .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELLBLOCK - DAY</stage_direction>
<scene_description>Waiter and guards exit with the cart . The entire cellblock is SHOUTING . Iger pauses , gives a final glance back . Softly :</scene_description>
<character>IGER</character>
<dialogue>Idiot.</dialogue>
<scene_description>Then he too departs , as : CLYDE aims his remote . MUSIC for dining . Clyde glances back at Dwight , who 's poised and tense .</scene_description>
<character>CLYDE</character>
<dialogue>I suppose if I do n't share, you'll beat the shit out of me. Make me squeal like a piggy. That sort of thing.</dialogue>
<character>DWIGHT</character>
<dialogue>Fuckin' A.</dialogue>
<scene_description>Clyde motions `` join me , wo n't you ? '' They each take a seat . Clyde passes Dwight a crisply - folded linen napkin . Dwight tucks it like a bib . Clyde lays his on his lap . A hurled object CLANGS off their bars . The cons are now throwing things , hollering to raise the dead . Clyde cranks the music a bit louder , motions for Dwight to dig in . Dwight goes for it , cramming food in his mouth and grabbing for more , fingers digging in .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DUSK</stage_direction>
<scene_description>fingers digging in , pulling loose soil , prying stones . A layer of soil is brushed aside to reveal : A face . Embedded in the dirt . He 's been there a long time . FLASH PHOTOS highlight desiccated lips and teeth .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>lips and teeth - Dwight chewing , laughing . Oddly enough , he and Clyde seem to have started enjoying each other 's company . THE MUSIC PLAYS in bizarre counterpoint to : THE CACOPHONY of an angry cellblock - if the cons were n't in their cells , this would be a riot . All imaginable items are being hurled through bars : toilet paper rolls , books , shoes , clothes , all raining down , showering the cellblock floor .</scene_description>
<character>CLYDE</character>
<dialogue>I wonder what the little people are eating tonight?</dialogue>
<scene_description>Dwight throws his head back and laughs .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DUSK</stage_direction>
<scene_description>while , in deep silence , Nick unwraps a sorry - looking deli sandwich , swaps his pickles for Cantrell 's potato salad -LRB- their long - standing ritual -RRB- . They both keep glancing at the phone .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>as Clyde and Dwight indulge their food orgy . Dialogue is not important , so we wo n't hear any - we 'll let the MUSIC take over and carry - because it 's all about tone : They 're laughing and talking , winding each other up . And the more Clyde wisecracks , the more Dwight laughs . Clyde finishes gnawing a lamb rack and says something to Dwight about the ruckus . Dwight turns , glances out , as : Clyde casually , but with purpose , lowers the bone onto his lap - adding it to one already there . He picks up a fresh one , starts chewing the meat off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DUSK</stage_direction>
<scene_description>Dark enough now for flashlights . In the beams , we see the body mostly excavated . Forensic team members gather , in gloves and breather masks , getting ready to try lifting .</scene_description>
<character>FORENSIC TECH</character>
<dialogue>Okay, let's see if we can get him out in one piece.</dialogue>
<scene_description>ANGLE FINDS Davies at the helicopter , activity around him , holding Nick 's card and dialing a cell phone .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>Clyde laughing , chewing , gnawing that third bone . ANGLE CLOSES DOWN as he brings it to his lap . TIGHT REVEAL : His napkin wrapped tightly around his hand provides padding for his palm . The two earlier bones are already held between his fingers - he places the third , makes a fist - and the bones now protrude from his clenched knuckles like a trio of spikes . TILT UP to Clyde . he reaches across , turns a paper plate over to cover the crepes .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DUSK</stage_direction>
<scene_description>The PHONE RINGS . Nick snatches it up . He listens , looks to Cantrell . nods . They found the body .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DUSK</stage_direction>
<scene_description>Behind Davies , B.G. , the body 's being extracted from the hole :</scene_description>
<character>FORENSIC TECH</character>
<dialogue>gently on three. one. two.</dialogue>
<character>DAVIES</character>
<parenthetical>( on cell . )</parenthetical>
<dialogue>- we'll have to wait for the autopsy results, but -</dialogue>
<scene_description>WHAM - the GRAVE ERUPTS as HALF A DOZEN BURIED CLAYMORE MINES pop like firecrackers , knocking Davies forward .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>and Clyde lunges , face no longer laughing , the rolling cart slamming into the wall as the lamb bones protruding from his fist go slamming into Dwight 's throat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WIDE LANDSCAPE/HILLTOP - DUSK</stage_direction>
<scene_description>and the dust cloud cascades across the hillside .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>and Clyde has Dwight pinned on the floor against the bars , arm ramming like a piston , punching those bones into Dwight 's throat again and again , blood everywhere .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DUSK</stage_direction>
<scene_description>TIGHT ON NICK holding the phone . He knows something awful just happened on the other end :</scene_description>
<character>NICK</character>
<dialogue>Agent Davies?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DUSK</stage_direction>
<scene_description>An open CELL PHONE lies on the grass . Feet stumble haltingly into the shot . TILT UP TO : Davies , dazed , staring offscreen in shock . Dust and smoke billowing . People running , shouting .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELL - DUSK</stage_direction>
<scene_description>Clyde rises into the shot , calm now , covered with blood . He unwraps the napkin from his hand , snaps it open , uses it to wipe the blood from his face . He takes his seat , positions the cart , uncovers the crepes and resumes eating . FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. PRISON COURTYARD - DAY</stage_direction>
<scene_description>A steel gate slides open , revealing Nick . Flanking him are Cantrell , Dunnigan , Davies -LRB- banged up and bandaged -RRB- , Iger , others . They move toward us with purpose , grim and resolute , Sarah bringing up the rear with a young ADA named ROYCE .</scene_description>
<character>NICK</character>
<dialogue>Why do you have him in the dome?</dialogue>
<character>IGER</character>
<dialogue>He killed his cellmate. We had to separate him out.</dialogue>
<character>CANTRELL</character>
<dialogue>What's wrong with solitary?</dialogue>
<character>IGER</character>
<dialogue>We do n't have the authority. Not without a court order. This place was re - opened under protest as it is. Some areas are off - limits to our use - tied up in a legal challenge by the ACLU as cruel and unusual. Especially solitary.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>It was nicknamed the dungeon.</dialogue>
<character>NICK</character>
<parenthetical>( to Sarah . )</parenthetical>
<dialogue>Get Judge Burch on the phone.</dialogue>
<scene_description>Sarah speed - dials as a GUARD lets them in .</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<scene_description>Clyde waits in the birdcage , shackled . The group spreads into the room , silence thick . Nobody will enter the birdcage this time . Clyde occupies it alone - owning it , in fact - as :</scene_description>
<character>IGER</character>
<dialogue>Nice trick with the rack of lamb. Did n't see that one coming.</dialogue>
<character>NICK</character>
<dialogue>Why'd you kill your cellmate?</dialogue>
<character>CLYDE</character>
<dialogue>I claim self - defense.</dialogue>
<character>NICK</character>
<dialogue>Here's what I think. You suckered us in. You ordered that meal for the purpose of killing him.</dialogue>
<character>CANTRELL</character>
<dialogue>Which makes it premeditated. Again.</dialogue>
<character>CLYDE</character>
<dialogue>And, again, you'll have to prove that in court. As I've said before.</dialogue>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>. make your case. Or set me free.</dialogue>
<character>DAVIES</character>
<parenthetical>( pissed , moving forward . )</parenthetical>
<dialogue>Your booby - trap killed two of mine and put four in the hospital. That brings the total of people you've killed to six - and be advised the Bureau does not suffer losing agents in the field.</dialogue>
<parenthetical>( turns . )</parenthetical>
<dialogue>We're done dancing. I have the right to claim jurisdiction here, do I not, Detective Dunnigan?</dialogue>
<character>DUNNIGAN</character>
<dialogue>That is correct, Agent Davies.</dialogue>
<character>DAVIES</character>
<parenthetical>( again to Clyde . )</parenthetical>
<dialogue>So. I'm gon na rendition your ass. Rumor has it we have places that make Guantanamo look like Disneyland. Do n't bother packing, you're gon na disappear.</dialogue>
<character>CLYDE</character>
<parenthetical>( beat , glances to Nick . )</parenthetical>
<dialogue>You see, Nick? That man is pissed! That's what I'm talking about! No deals, no compromise! You see?</dialogue>
<character>NICK</character>
<dialogue>I see you totally disconnected from reality, that's what I see!</dialogue>
<character>SARAH</character>
<parenthetical>( handing off phone . )</parenthetical>
<dialogue>Judge Burch with an answer for you.</dialogue>
</scene>
<scene>
<stage_direction>INT. JUDGE'S CHAMBERS - DAY</stage_direction>
<character>JUDGE BURCH</character>
<dialogue>I'm the ACLU's biggest fundraiser in this state. You wan na put that piece of shit in solitary? Good. As far as I'm concerned, you can bury him in the bowels of hell.</dialogue>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<character>NICK</character>
<dialogue>Thank you, Judge Burch.</dialogue>
<parenthetical>( hangs up , looks to Iger . )</parenthetical>
<dialogue>Consider your court order signed.</dialogue>
<parenthetical>( moves to Clyde . )</parenthetical>
<dialogue>Freedom? Not likely. In fact, you just bought a one room suite in the dungeon. Very exclusive.</dialogue>
<character>IGER</character>
<dialogue>You'll have it all to yourself - the first man down there in over twenty years. Quite an achievement.</dialogue>
<scene_description>Clyde sinks with a sigh of resignation and defeat , rests his head wearily on the bars . Nick moves in , speaking quietly :</scene_description>
<character>NICK</character>
<dialogue>You're doing everything wrong. Making all the wrong moves.</dialogue>
<character>CLYDE</character>
<dialogue>It would seem that way.</dialogue>
<scene_description>The wording catches Nick - but he dismisses it , turns :</scene_description>
<character>NICK</character>
<dialogue>Sam. I know you got hit hard. I know you're furious. But I'd like my shot at prosecuting this case.</dialogue>
<parenthetical>( off Davies ' look . )</parenthetical>
<dialogue>This started with us. Let me finish it. Give me that chance.</dialogue>
<character>CLYDE</character>
<dialogue>I'm seeing fire in your belly, Nick. I like it. Keep going. This is our deal, after all.</dialogue>
<character>CANTRELL</character>
<dialogue>Let's not mistake this! This is not about the two of you!</dialogue>
<character>CLYDE</character>
<parenthetical>( shouts . )</parenthetical>
<dialogue>Wake up, blind man! It's been exactly that since I watched him shake Clarence Darby's hand on the steps of the Hall of Justice ten years ago! The Hall of Justice!</dialogue>
<scene_description>His voice echoes off . In the silence that follows :</scene_description>
<character>DAVIES</character>
<dialogue>You wan na take this fuck down? Be my guest. Whatever you need.</dialogue>
<character>CLYDE</character>
<parenthetical>( bangs his bars . )</parenthetical>
<dialogue>That's the spirit, yes!</dialogue>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>It's on you now, Nick. It's your game to lose. Just do n't screw up. You do, they'll scapegoat you. That's how the justice system works.</dialogue>
<parenthetical>( to Davies . )</parenthetical>
<dialogue>Good call, Sam. Making me disappear was a bad idea. You could n't have handled the blowback.</dialogue>
<character>NICK</character>
<dialogue>Blowback?</dialogue>
<character>CLYDE</character>
<dialogue>Cause and effect. Your actions provoke reactions. The choices you make come back to haunt you.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>There are things I've set in motion. Dominoes that will fall. Did n't see the rack of lamb coming? Start a list. All I can do at this point. if I feel like it. is stop them from happening. Ready to talk deal?</dialogue>
<character>NICK</character>
<dialogue>You're insane.</dialogue>
<character>CLYDE</character>
<dialogue>See how insane you think this is. You're going to release me from this place with all charges dropped within twenty four hours.</dialogue>
<character>NICK</character>
<dialogue>Or what?</dialogue>
<character>CLYDE</character>
<dialogue>Or I start killing everybody.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOLITARY WING - DAY</stage_direction>
<scene_description>`` The Dungeon '' - a small underground block of FIVE CELLS dating back a century or more . A GUARD is spraying WD - 40 into the lock of a cell , trying to turn the key . It finally does , as : Clyde is brought in . GUARDS have him on poles connected to a leather collar around his neck , and they 're none too gentle . Clyde tosses a final glance back at Nick and Iger .</scene_description>
<character>CLYDE</character>
<dialogue>Clock's running, Nick.</dialogue>
<scene_description>and then he 's gone , shoved inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON COURTYARD - DAY</stage_direction>
<scene_description>Nick and the others exit the Dome , thoughts racing :</scene_description>
<character>CANTRELL</character>
<dialogue>What can he do? We've got him boxed in. He's isolated, for God's sake.</dialogue>
<character>NICK</character>
<dialogue>Let's keep him that way. Strict rules apply. Law says he gets one hour outside his cell a day, that's what he gets. Just one, under heavy guard. The other twenty - three hours, he's in that cell, he's a ghost, he does n't exist. No contact whatsoever.</dialogue>
<character>DUNNIGAN</character>
<dialogue>You think it was a bluff?</dialogue>
<character>NICK</character>
<dialogue>We underestimated him before. I'd like to know what this prick is capable of.</dialogue>
<parenthetical>( calls to Sarah . )</parenthetical>
<dialogue>Update on the background check?</dialogue>
<character>SARAH</character>
<dialogue>Properties, investments, a few small businesses he owns - a lot of it's hidden behind false names and shell companies, but we're still digging.</dialogue>
<character>NICK</character>
<dialogue>That's it? Nothing else unusual?</dialogue>
<character>ROYCE</character>
<dialogue>The last twenty years, he's been Joe Blow Citizen. But prior to that, we've hit a blank spot. He used to do consulting for the government, but we ca n't pin down what.</dialogue>
<scene_description>They absorb this - especially Davies . All eyes go to him .</scene_description>
<character>NICK</character>
<dialogue>What kind of government work leaves a blank spot, Sam?</dialogue>
<character>DAVIES</character>
<dialogue>I'll make a few discreet calls. See what I can find out.</dialogue>
</scene>
<scene>
<stage_direction>INT. RESTAURANT - NIGHT</stage_direction>
<scene_description>Expensive , upscale . We find Nick and Kell at a table . She 's got her menu , but her attention 's really on Nick . He 's toying absently with his wine glass .</scene_description>
<character>KELL</character>
<dialogue>Where are you?</dialogue>
<character>NICK</character>
<parenthetical>( catches himself . )</parenthetical>
<dialogue>Million miles away. Sorry.</dialogue>
<character>KELL</character>
<dialogue>Do n't be. This guy's really doing a number on your head, is n't he?</dialogue>
<character>NICK</character>
<dialogue>Yeah. I guess he is.</dialogue>
<parenthetical>( she expects more . )</parenthetical>
<dialogue>It's. killing his cellmate. I need that to make sense.</dialogue>
<character>KELL</character>
<dialogue>Why? Happens in prison all the time.</dialogue>
<character>NICK</character>
<dialogue>Yeah, I know, but. we're not talking some gang - banger. This man is precise. Does things for a reason.</dialogue>
<character>KELL</character>
<dialogue>He's psycho. You said so yourself. We saw it on that video. Psychos do n't need a reason, Nick. They're just psycho.</dialogue>
<parenthetical>( off his look . )</parenthetical>
<dialogue>Whatever. You'll figure it out. You always do.</dialogue>
<character>NICK</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Thanks. I'm a poor excuse, though. It's date night. You deserve better.</dialogue>
<parenthetical>( a glance around . )</parenthetical>
<dialogue>Just wish you'd picked another restaurant.</dialogue>
<character>KELL</character>
<dialogue>This is our place. You love it here.</dialogue>
<parenthetical>( as a waiter approaches . )</parenthetical>
<dialogue>You should have said something.</dialogue>
<scene_description>She raises her menu - yes , we 're in La Traviata . And the waiter is the same guy who brought Benson Clyde his meal :</scene_description>
<character>WAITER</character>
<dialogue>Have we decided?</dialogue>
<scene_description>Nick 's CELL PHONE RINGS . He pulls it , checks the number , gives them a look - sorry , got ta take this .</scene_description>
<character>NICK</character>
<dialogue>Sam? What is it?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Not far, maybe six blocks. I'm having dinner with my wife.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - NIGHT</stage_direction>
<character>DAVIES</character>
<dialogue>Two words : doggy bag. Be in your office in ten minutes.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Nick, do n't ask questions. I was on the phone all day. Believe me when I say we've got one shot at this.</dialogue>
<scene_description>He clicks off .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S OFFICE - NIGHT</stage_direction>
<scene_description>and faces Nick and Cantrell in the dimly - lit office :</scene_description>
<character>NICK</character>
<dialogue>He's coming here?</dialogue>
<character>DAVIES</character>
<dialogue>So I'm told. It's called inter - agency cooperation, but do n't ask me what agency because I would n't know. This is n't even back - channels, this is Theseus in the fucking Labyrinth.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>I just blew thirty years' worth of favors today calling in this one chit. I hope it's worth it.</dialogue>
<scene_description>The desk phone RINGS . Nick answers , listens a beat :</scene_description>
<character>NICK</character>
<dialogue>Yes. Yes, we're all here. Downstairs? Okay. Understood.</dialogue>
<parenthetical>( hangs up . )</parenthetical>
<dialogue>He said not to take the elevator.</dialogue>
<scene_description>Off their puzzled looks .</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL - SPIRAL STAIRCASE - NIGHT</stage_direction>
<scene_description>Huge , descending seven floors , circles within circles dropping into darkness . Nick and Davies lead the way down . Cantrell brings up the rear with his dog and cane .</scene_description>
<character>SPOOK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>That's good there.</dialogue>
<scene_description>They freeze . Nick and Davies peer down . They start to make out a FIGURE in the murky darkness one level below .</scene_description>
<character>SPOOK</character>
<dialogue>Which one of you is Davies?</dialogue>
<scene_description>Davies takes a step forward . THE SPOOK eases partially into the light - flinty gaze , military - style haircut .</scene_description>
<character>SPOOK</character>
<dialogue>You must be well thought of, Agent Davies. I do n't do this. But I was asked nicely by the right people. They briefed me on your problems with Benson Clyde.</dialogue>
<character>NICK</character>
<dialogue>What are we dealing with?</dialogue>
<character>SPOOK</character>
<dialogue>Things I can neither confirm nor deny. Things of which, if I'm asked, I will disavow any knowledge.</dialogue>
<scene_description>The guys trade a look . Cantrell ca n't help chuckling .</scene_description>
<character>CANTRELL</character>
<parenthetical>( to Davies . )</parenthetical>
<dialogue>You got ta be kidding me with this guy.</dialogue>
<character>SPOOK</character>
<dialogue>He's not. Tell me you grasp the implication of what I've said, or we're done here.</dialogue>
<character>CANTRELL</character>
<parenthetical>( smile fades . )</parenthetical>
<dialogue>Yeah. Okay. I get it.</dialogue>
<character>NICK</character>
<dialogue>What was Clyde? Some kind of spy?</dialogue>
<character>SPOOK</character>
<dialogue>Spooks like me are a dime a dozen. Clyde was a brain. He ran a think - tank, inventing things for use in the field. Ways to kill people.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>You need to get rid of somebody. It's not a situation where you can get close. What do you do?</dialogue>
<character>NICK</character>
<dialogue>Ask Clyde?</dialogue>
<character>SPOOK</character>
<dialogue>That's right. Ask Clyde. And he'd figure something out. Gizmos, strategy. He was good at it.</dialogue>
<character>NICK</character>
<dialogue>How good?</dialogue>
<character>SPOOK</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>You play chess?</dialogue>
<character>NICK</character>
<dialogue>Yeah. Tournament level in college, matter of fact.</dialogue>
<character>SPOOK</character>
<dialogue>In my line, we use an aptitude profile based on chess. A tournament - level player like you can think five to eight steps ahead of an average player, did you know that? Me, I think about ten steps ahead, so I'd take you in a game.</dialogue>
<character>NICK</character>
<dialogue>What about Clyde?</dialogue>
<character>SPOOK</character>
<dialogue>Off the charts. If you're eight steps ahead, he's twenty. Or fifty. He's already got the game won on the first move, you do n't even know you're playing yet.</dialogue>
<parenthetical>( further into the light . )</parenthetical>
<dialogue>This cellmate he killed? You think that was random? Bullshit. That was a pawn taken off the board. If I were you, I'd be trying to figure out what the move was.</dialogue>
<character>NICK</character>
<dialogue>I have been. Any thoughts?</dialogue>
<character>SPOOK</character>
<dialogue>Top of my head? Was the cellmate ever connected with this case? Or with Clyde? Was anybody else in that facility? Guards? Cons? The janitor? Any connection at all, no matter how remote. Because if Clyde says he has things in play, he does.</dialogue>
<character>DAVIES</character>
<dialogue>Like what? He's locked up. What can he do?</dialogue>
<character>SPOOK</character>
<parenthetical>( gives him a look . )</parenthetical>
<dialogue>You're an average chess player, are n't you?</dialogue>
<character>DAVIES</character>
<dialogue>Actually, I kind of suck.</dialogue>
<character>SPOOK</character>
<dialogue>I can tell. But I like your tie.</dialogue>
<character>DAVIES</character>
<parenthetical>( perplexed . )</parenthetical>
<dialogue>Thank you. Father's Day.</dialogue>
<character>SPOOK</character>
<dialogue>There's this tie - we call it the Albert, after Albert DeSalvo. They tiptoe in one night, thread a piano wire with a ratchet gizmo into one of your ties. Sounds crazy, but trust me it works. You put your tie on and all day long it slowly tightens. You do n't even notice it's cutting off the blood - flow to your brain. Then you drop dead. Brain - dead or plain dead, does n't much matter at that point.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Clyde invented that.</dialogue>
<scene_description>The Spook melts back into the shadows . The guys crane forward , trying to see . There 's a brief spill of light below as a doorway opens and closes . he 's gone . The three of them stand there absorbing everything they 've heard . Nick sits on a step . Quiet looks are traded . and they all start taking off their ties .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S HOUSE - NIGHT</stage_direction>
<scene_description>Nick enters tie - less , subdued , distracted . Kell and Emma are in the living room playing Scrabble .</scene_description>
<character>EMMA</character>
<dialogue>Daddy!</dialogue>
<scene_description>Emma jumps up and runs over for a hug .</scene_description>
<character>EMMA</character>
<dialogue>Mom said I could stay up late. Wan na play Scrabble?</dialogue>
<character>NICK</character>
<dialogue>Let me talk to mom first.</dialogue>
<scene_description>Emma returns to the couch . Kell comes to Nick , noticing his weird vibe : he 's looking around at the room .</scene_description>
<character>NICK</character>
<dialogue>Sorry about date night.</dialogue>
<character>KELL</character>
<dialogue>It's fine. You learn anything?</dialogue>
<character>NICK</character>
<dialogue>Thing or two.</dialogue>
<scene_description>He moves up the hallway - slowly , as if noticing the walls for the first time , the picture frames , the light fixtures .</scene_description>
<character>KELL</character>
<parenthetical>( following him . )</parenthetical>
<dialogue>Nick?</dialogue>
<character>NICK</character>
<dialogue>Hey, I was thinking. Maybe you could pack an overnight bag for you and Emma in case you need to. you know. spend the night in a hotel. Or something.</dialogue>
<character>KELL</character>
<dialogue>Why would we wan na do that?</dialogue>
<character>NICK</character>
<dialogue>No reason. It's like a fire - drill thing. You know. In case.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>He comes in , opens the closet , reaches up for some overnight bags - but pauses , drawn to his tie - rack inside the door . He stares at the ties hanging in neat rows . starts touching them , running his hands up and down the fabric . Kell stands in the doorway watching . Wondering what the fuck is going on . And getting a little creeped out .</scene_description>
<character>KELL</character>
<dialogue>Honey?</dialogue>
<scene_description>He freezes , feeling something in the seam of a tie . Runs his fingers up and down , thinking something 's in there . Emma appears in the doorway too , at her mother 's side . Both staring now . They watch as : Nick grabs a pair of scissors from Kell 's sewing kit , carves the tie lengthwise , rips it open , feverish and faster , finds nothing inside but mangled fabric and thread and - stops . Looks back . Realizes they 're staring at him .</scene_description>
<character>KELL</character>
<dialogue>What the hell are you doing?</dialogue>
<scene_description>Nick pauses - what the hell is he doing ? He starts to regain his sense , laughs at himself in amazement .</scene_description>
<character>EMMA</character>
<dialogue>Daddy?</dialogue>
<character>NICK</character>
<dialogue>It's okay, baby - I'm fine, I promise. Go back to your game.</dialogue>
<scene_description>Dubious , Emma departs . As soon as she 's out of earshot :</scene_description>
<character>KELL</character>
<dialogue>Seriously, Nick. What the fuck.</dialogue>
<character>NICK</character>
<dialogue>Nothing. I got paranoid for no reason, that's all. I'm fine now. I ca n't believe I let that son of a bitch Clyde get to me like that.</dialogue>
<character>KELL</character>
<dialogue>Are you in danger? Are we?</dialogue>
<scene_description>The question hangs there - the real question .</scene_description>
<character>NICK</character>
<dialogue>I'm sure we're fine.</dialogue>
<scene_description>He pulls his phone , speed - dials .</scene_description>
<character>NICK</character>
<dialogue>I'll make goddamn sure.</dialogue>
<parenthetical>( beat , into phone . )</parenthetical>
<dialogue>Sarah, roust the ADAs. Tell'em we're pulling an all - nighter.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PRISON COURTYARD - NIGHT</stage_direction>
<scene_description>ADAs are parking their cars along the wall , directed by a waving GUARD . ANGLE FINDS a lot of people : cop , prison , FBI . Sarah jumps out of her car and hurries over to Nick and the others with a flock of EIGHT ADAs at her heels .</scene_description>
<character>NICK</character>
<dialogue>Ready to turn this place upside down?</dialogue>
</scene>
<scene>
<stage_direction>INT. PRISON ADMINISTRATION OFFICES - NIGHT</stage_direction>
<scene_description>we find the ADA team spread around the bullpen , aided by prison personnel and police advisors - everybody 's on computers , or sorting heaps of paper files , etc. .</scene_description>
<character>NICK</character>
<dialogue>See if there's anybody locked up here - or working here - ex - cop, witness for the prosecution - anybody who might have had anything to do with the original Darby - Ames case, or has any previous history with Benson Clyde. Start with the cellmate. Flag anything, no matter how insignificant it seems.</dialogue>
<scene_description>JAMESON glances up in dismay from his keyboard .</scene_description>
<character>JAMESON</character>
<dialogue>This could take days.</dialogue>
<scene_description>Sarah , grabbing a stack from a filing cabinet and slamming the door shut with her hip , gives him a laser look :</scene_description>
<character>SARAH</character>
<dialogue>We boring you, Jameson? You got someplace to be?</dialogue>
<character>JAMESON</character>
<dialogue>No, Miss Lowell.</dialogue>
<character>SARAH</character>
<parenthetical>( crossing the room . )</parenthetical>
<dialogue>Weekend plans? Cancel'em! I do n't wan na hear any shit about it!</dialogue>
<parenthetical>( on Jameson again . )</parenthetical>
<dialogue>Clack - clack, Jameson. Clack - clack.</dialogue>
<scene_description>Jameson dives onto the keys , starts clack - clacking . Sarah gives Nick a nod - she 's got this in hand . Nick exits .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON GROUNDS - NIGHT</stage_direction>
<scene_description>and finds a FORENSIC TEAM disassembling Clyde 's Sleep - Matic bed - nuts , bolts , struts , electronics . The mattress is being razored open , wadding pulled out and run under fluoroscopes .</scene_description>
<character>NICK</character>
<dialogue>Well?</dialogue>
<character>DUNNIGAN</character>
<dialogue>It used to be a Sleep - Matic adjustable bed. Now it's not.</dialogue>
<scene_description>CAMERA FOLLOWS them to a table where an FBI TEAM is focusing all their skills and tech on Clyde 's ipod and speaker dock . The TEAM LEADER places the buds in his ears , listening .</scene_description>
<character>NICK</character>
<dialogue>What do you have?</dialogue>
<character>TEAM LEADER</character>
<dialogue>Rocky Mountain Way. Joe Walsh.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>What do you want from me, it's a fucking ipod.</dialogue>
<scene_description>The other agents snicker , not hiding their amusement , but :</scene_description>
<character>NICK</character>
<dialogue>Tear it apart, make sure. Memory. Speakers. Wiring. Everything.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLYDE'S CELLBLOCK - NIGHT</stage_direction>
<scene_description>GUARDS , FEDS , BOMB - SNIFFING DOGS - they 're cruising the cellblocks , flashlights swiveling , beams catching the faces of sleepy cons in their cells or at their bars . We find Nick and Iger at Clyde 's now - empty cell . TWO FBI emerge , shake their heads .</scene_description>
<character>FBI FORENSIC</character>
<dialogue>Blood stain. Few fibers. That's it.</dialogue>
<character>CONVICT</character>
<parenthetical>( sleepy , at his bars . )</parenthetical>
<dialogue>Warden, man, whassup?</dialogue>
<character>IGER</character>
<dialogue>Everybody back to sleep.</dialogue>
<character>NICK</character>
<parenthetical>( looks to Iger . )</parenthetical>
<dialogue>I want to see him.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOLITARY WING - CLYDE'S CELL - NIGHT</stage_direction>
<scene_description>Two doors : solid steel outer door , inner barred door . The outer slides aside , reveals Nick outside the bars . Inside stands a shadow , waiting : Clyde .</scene_description>
<character>CLYDE</character>
<dialogue>You're up early. Trouble sleeping?</dialogue>
<character>NICK</character>
<dialogue>It was a good bluff. But you're done. Fucking with my head. Scaring my family half to death. Done.</dialogue>
<scene_description>Clyde moves closer to the bars , into the light .</scene_description>
<character>CLYDE</character>
<dialogue>Amazing, is n't it? How primal that is. That pull? What a man is capable of when it comes to his family?</dialogue>
<character>NICK</character>
<dialogue>You strip away all the polite shit, that's what we're really about.</dialogue>
<character>CLYDE</character>
<dialogue>I hope you never face what it is to lose them, Nick. It's like dying yourself. There's nothing worse.</dialogue>
<scene_description>That could play as a threat , of course - but it 's not . It 's genuine . And pained . And sincere . And Nick knows it .</scene_description>
<character>NICK</character>
<dialogue>Good night, Ben.</dialogue>
<character>CLYDE</character>
<dialogue>Good night, Nick.</dialogue>
<scene_description>And then the moment 's gone and the mocking Clyde returns :</scene_description>
<character>CLYDE</character>
<dialogue>Is it casual Friday?</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>I've never seen you not wear a tie.</dialogue>
<scene_description>And that says volumes : Clyde 's totally aware of what they 've been up to and is tickled by it . The outer door GRINDS SHUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON GROUNDS - DAWN</stage_direction>
<scene_description>Night has passed , day is coming . All the earlier energy has dissipated into anticlimax and weariness . People straggle across the yard in groups toward their vehicles . Nick , Dunnigan , Davies , Iger - all look whipped . Sarah approaches , briefcase in hand , files under her arm .</scene_description>
<character>SARAH</character>
<dialogue>We dug pretty deep for one night. Still got a ways to go, but on a first look? Nothing. Nada. Zip.</dialogue>
<character>IGER</character>
<dialogue>Well, that's good news.</dialogue>
<character>NICK</character>
<dialogue>So far. Now we double - down. Make absolutely certain.</dialogue>
<parenthetical>( nods after ADAs . )</parenthetical>
<dialogue>Let them all sleep a few hours, then bring'em back for round two.</dialogue>
<character>SARAH</character>
<dialogue>Due diligence. My middle name.</dialogue>
<scene_description>She trudges toward her car , following the ADAs toward their vehicles . Nick trades relieved looks with the men - everybody coming down from a tense night . Davies shakes their hands :</scene_description>
<character>DAVIES</character>
<dialogue>Fellas. For once, glad not to be of assistance.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Love it when they cry wolf.</dialogue>
<scene_description>The men separate in different directions . Dunnigan catches a glimpse of Sarah almost at her car - she loses a page from under her arm , which flutters away on the breeze .</scene_description>
<character>DUNNIGAN</character>
<parenthetical>( calls to her . )</parenthetical>
<dialogue>Miss Lowell! Lost something!</dialogue>
<scene_description>She looks back , sees the page skittering slowly across the ground . Weary , she blows a strand of hair from her eyes , sets down her briefcase , walks back to get it . Dunnigan smiles , keeps walking . The other men too . Nick stands a moment , watching , then starts toward his car . The ADAs are getting to their cars , pulling key fobs , aiming them to unlock their cars . Sarah is getting to the page , leaning down . The ADAs are pressing the remotes , a CHORUS OF CHIRPS . And WHAM - the cars EXPLODE in a stunning SERIES OF DETONATIONS , killing the ADAs , throwing bodies through the air , kicking cars off the ground and flipping a few skyward . Nick is knocked flat by heat and shrapnel ripping the air . Sarah goes flying . An arcing car slams upside - down nearby on a rocket - booster of flame and shattering axle . And from this point on the visuals and sound are surreal : NICK pries himself off the ground , stunned , looking around , trying to figure out what the fuck just happened . He 's disoriented , all sound muffled . Smoke drifting . Flames billowing . Dunnigan runs up to Nick , shouting something . We ca n't tell what , because Nick ca n't hear . Dunnigan sees Nick is alive , turns and keeps going , running to help the others . Nick looks over , sees bodies being pulled clear by responders , men running in , beating at flames . Nick , dazed , looks through the drifting smoke and sees Sarah trying to sit up . There 's something wrong with her leg . Nick pulls himself to his knees , staggers to his feet as sound filters back in : screams , shouts , the roar of flames . He stumbles through the smoke to Sarah . She 's on the ground in shock , sobbing and flailing , crying out . Nick sees the jagged piece of metal that slammed deep into her calf , nearly severing it . He drops to his knees , tries to calm her :</scene_description>
<character>NICK</character>
<dialogue>You're gon na be all right.</dialogue>
<scene_description>He pulls the metal from her leg - mistake . Blood sprays . He clamps down hard with both hands , blood going everywhere .</scene_description>
<character>NICK</character>
<dialogue>MEDIC! I NEED A MEDIC!</dialogue>
<scene_description>He keeps clamping down , Sarah screaming and sobbing , as we GO TO BLACK IN A SERIES OF FADE - TO - BLACKS , THE FOLLOWING IMAGES : FIREMEN spraying the flaming rubble of the cars . TANGLES OF WRECKAGE billowing smoke . A BODY BAG dragged across the ground , added to a ROW OF BODY BAGS awaiting transport . EMERGENCY VEHICLES parked haphazardly , lights spinning . COPS AND RESPONDERS dealing with the scene . SARAH being wheeled on a gurney to a PARAMEDIC VAN by an EMS TEAM , oxygen mask on her face , gravely injured but stabilized , everything swirling around her , Dunnigan clearing a path . NICK appears , takes her hand . She clasps it weakly . They load her on and the vehicle pulls out with siren and lights .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON GROUNDS - DAY</stage_direction>
<scene_description>Back to `` real time '' - Cantrell is just getting out of his town car with his dog . WE FIND Nick on his cell :</scene_description>
<character>NICK</character>
<parenthetical>( on cell . )</parenthetical>
<dialogue>Baby. Listen. Do n't be worried or scared. But I want you to pack those overnight bags. I do n't have time to explain now. Just do it, okay? I'll call you back as soon as I can - please, honey, I got ta go.</dialogue>
<scene_description>He clicks off as ANGLE COMES AROUND , revealing Davies and his TEAMS coming his way :</scene_description>
<character>DAVIES</character>
<dialogue>Each car had an explosive charge on the gas tank.</dialogue>
<character>NICK</character>
<dialogue>He's got someone working with him. On the outside. He's got to.</dialogue>
<character>DAVIES</character>
<dialogue>Not necessarily. Everything looks pre - rigged.</dialogue>
<character>BOMB EXPERT</character>
<dialogue>We found a short - range transmitter beacon buried outside the prison wall. When your people showed up here and drove in through the gate, the signal armed the bombs.</dialogue>
<character>DUNNIGAN</character>
<dialogue>He could have planted those bombs a month ago.</dialogue>
<character>CANTRELL</character>
<parenthetical>( grappling for sense . )</parenthetical>
<dialogue>No. no, we've got two dozen ADAs on payroll. Those eight were picked last night on the spur of the moment. How could he know which eight would show up?</dialogue>
<character>DAVIES</character>
<dialogue>He did n't. Our people just found bombs on every car in your ADA pool. All two dozen. We're disarming those now.</dialogue>
</scene>
<scene>
<stage_direction>INT. "THE DOME" - DAY</stage_direction>
<scene_description>TIGHT ON CLYDE shoved into the birdcage . The neck - poles are disengaged . He moves forward , gazing through the bars .</scene_description>
<character>CLYDE</character>
<dialogue>I want a phone in my cell. If I'm conducting my own defense, it would be useful. Also in case you and I need to be in touch, Nick.</dialogue>
<character>NICK</character>
<dialogue>Fuck you.</dialogue>
<character>CLYDE</character>
<parenthetical>( glances at clock . )</parenthetical>
<dialogue>Your twenty four hours are about up. In return for the phone, I'll extend you another twelve hours.</dialogue>
<character>NICK</character>
<dialogue>If not?</dialogue>
<character>CLYDE</character>
<dialogue>How many more people die while you stand around dithering? How many do you get killed before my point starts sinking in?</dialogue>
<scene_description>Cantrell closes in , tracking Clyde by voice :</scene_description>
<character>CANTRELL</character>
<dialogue>Motherfucker! Whatever point you had was lost long ago! Eight kids dead in that yard, most of them just out of college! Eight! I have to talk to their families. I have to try to explain why their loved ones are dead.</dialogue>
<scene_description>Clyde leans down , right in Cantrell 's face , intense :</scene_description>
<character>CLYDE</character>
<dialogue>I've been waiting for my explanation for ten years. So far.</dialogue>
<parenthetical>( shouts . )</parenthetical>
<dialogue>. NOBODY'S FUCKING BOTHERED!</dialogue>
<scene_description>Beat . Cantrell spits in his face , turns away trembling with rage . Clyde calmly wipes it off , rises to address them all :</scene_description>
<character>CLYDE</character>
<dialogue>If it has n't dawned on you, this is a war. As in any war, there will be collateral damage. The question, as always, is how much damage you're willing to take before you withdraw.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Maybe I got a better idea. Maybe we end this war right now.</dialogue>
<parenthetical>( looks around . )</parenthetical>
<dialogue>Fourteen people dead! I have to say this out loud?</dialogue>
<parenthetical>( moving toward Clyde . )</parenthetical>
<dialogue>Prisoners die in custody all the time. Attacking a guard. Trying to escape. Shit like that.</dialogue>
<scene_description>Clyde , eyes locked , pulls his shirt open - here 's your target . Dunnigan , temper flaring , yanks his revolver and aims .</scene_description>
<character>DUNNIGAN</character>
<dialogue>Do n't tempt me.</dialogue>
<character>GARZA</character>
<dialogue>Jesus Christ, man, dial it back.</dialogue>
<character>CLYDE</character>
<dialogue>Do it. It would be decisive. Stupid, but decisive.</dialogue>
<parenthetical>( off Dunnigan 's look . )</parenthetical>
<dialogue>Can you handle the blowback, Detective? The `` shit like that?''</dialogue>
<scene_description>Nick 's stunned , seeing the whole situation spiraling out of control . He steps in , seizing the moment back :</scene_description>
<character>NICK</character>
<dialogue>Put the gun away! Are you crazy?</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( calmly reholsters . )</parenthetical>
<dialogue>It's an option. All I'm saying. Risk the blowback. Ride it out.</dialogue>
<character>NICK</character>
<dialogue>We're not risking anything. Or letting him tear us down.</dialogue>
<parenthetical>( to Clyde . )</parenthetical>
<dialogue>You're not getting us to throw out the rules, like you. No way.</dialogue>
<character>CLYDE</character>
<dialogue>I like rules. I've wanted you to follow them from the start. Like the one that says you prosecute a man who murders my family.</dialogue>
<parenthetical>( re - buttons . )</parenthetical>
<dialogue>So. Rules. A phone buys you another twelve hours. But if you have n't cut my deal and let me go by the deadline.</dialogue>
<character>NICK</character>
<dialogue>What? What then?</dialogue>
<character>CLYDE</character>
<dialogue>I'll kill someone in this room.</dialogue>
<scene_description>That sucks the air out of the conversation - everybody stares as that sinks in . Glances are traded .</scene_description>
<character>NICK</character>
<dialogue>Who?</dialogue>
<scene_description>He looks at the room full of people , scans their faces as if trying to pick . He points his finger , starts going from one end of the group to the other .</scene_description>
<character>CLYDE</character>
<dialogue>Eenie. meenie. miney. moe.</dialogue>
<scene_description>from person to person , to the end , moving back again .</scene_description>
<character>CLYDE</character>
<dialogue>my mother. told me. to pick. a person. and that. person. is.</dialogue>
<scene_description>He lands on Cantrell . Silence . Cantrell obviously ca n't see .</scene_description>
<character>CANTRELL</character>
<dialogue>Who's he pointing at?</dialogue>
</scene>
<scene>
<stage_direction>EXT. PRISON COURTYARD - DAY</stage_direction>
<scene_description>Everybody on the move , emotions high :</scene_description>
<character>CANTRELL</character>
<dialogue>Fuck him. Let him try.</dialogue>
<character>NICK</character>
<dialogue>That's not helpful! We have fourteen dead! You could ask them what he's capable of, but they're in no position to answer.</dialogue>
<character>CANTRELL</character>
<parenthetical>( beat , tight . )</parenthetical>
<dialogue>Point taken.</dialogue>
<character>DAVIES</character>
<dialogue>We'll give him his phone. We'll tap in and monitor every call.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Buys us another twelve hours, we could use that right now. That puts the deadline at.</dialogue>
<parenthetical>( checks his watch . )</parenthetical>
<dialogue>. about 7:30 tonight.</dialogue>
<character>CANTRELL</character>
<dialogue>Shit. I'll be in front of a room full of lawyers. The A.B.A. dinner. I'm the keynote speaker.</dialogue>
<character>NICK</character>
<dialogue>No way. Find a replacement.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Until his deadline passes, you're in protective custody. Not negotiable.</dialogue>
<scene_description>Cantrell is n't happy about it - but nods .</scene_description>
<character>NICK</character>
<dialogue>And have them switch the location of that dinner.</dialogue>
<character>CANTRELL</character>
<dialogue>That's last minute.</dialogue>
<character>NICK</character>
<dialogue>Exactly. He could have gotten your schedule in advance - been planning to take you out at the dinner along with everybody else. That eenie - meenie act could have been horseshit.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>We have to get a few moves ahead. Plan for every contingency.</dialogue>
<character>DUNNIGAN</character>
<dialogue>This way, Mr. Cantrell. Garza, you're with Mr. Price.</dialogue>
<scene_description>They split up . Dunnigan leads Cantrell to an unmarked car while Nick and Garza head toward Nick 's . Nick 's phone RINGS . He checks the number , answers :</scene_description>
<character>NICK</character>
<dialogue>Hey baby - no, I'm fine. Really. Honey, calm down.</dialogue>
<scene_description>He listens a beat , calls to the men getting in the other cars :</scene_description>
<character>NICK</character>
<dialogue>Our shit just hit the fan in a big way - we're all over the news.</dialogue>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Yes, all eight died. Sarah's in surgery right now.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. they think so, but.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. okay, I'll meet you there. Love you.</dialogue>
<scene_description>He hangs up , aims his key fob - and hesitates . He and Garza trade a look , thinking the same thought . ANGLE SHIFTS to :</scene_description>
<character>BOMB EXPERT</character>
<dialogue>You're good. Car's been swept.</dialogue>
<character>NICK</character>
<dialogue>Of course it has. Thanks.</dialogue>
<scene_description>Nick , feeling foolish , presses the fob . Nothing but a tiny CHIRP . He and Garza get in .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNMARKED CAR (MOVING) - DAY</stage_direction>
<scene_description>Dunnigan drives . Cantrell and his dog ride in back . Both men tense and silent . TWO POLICE CRUISERS provide escort .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S CAR (MOVING)/EXT. HOSPITAL - DAY</stage_direction>
<scene_description>Nick is pulling up toward the hospital , sees a TV NEWS VAN at the entrance , a MINICAM CREW arguing with hospital security .</scene_description>
<character>GARZA</character>
<dialogue>Go around. I'll get us in back.</dialogue>
<scene_description>Nick hits the gas , drives past the news van .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - DAY</stage_direction>
<scene_description>and they come past the nurse 's duty desk . UNIFORMS are stationed in the hallway . Garza pushes a path through :</scene_description>
<character>GARZA</character>
<dialogue>Keep the press off this floor, understand?</dialogue>
<scene_description>Nick squeezes past . The floor is busy . He finds Kell in the waiting area . She looks up , spots him . Kell rises . She and Nick pull into a tight embrace . No words for a long moment . Kell 's shaken , fighting tears .</scene_description>
<character>NICK</character>
<dialogue>Any word?</dialogue>
<character>KELL</character>
<dialogue>She's in surgery now. They're saying she'll be okay.</dialogue>
<character>NICK</character>
<dialogue>Thank God. That's good.</dialogue>
<character>KELL</character>
<dialogue>Good? You'll have to explain the good part, Nick. I'm missing it. This is crazy. What if something happened to you? What would I say to Emma? What would we do?</dialogue>
<character>NICK</character>
<dialogue>You did n't lose me. You wo n't. Does the school know we're pulling Emma out of class?</dialogue>
<character>KELL</character>
<dialogue>I called, yeah, but - I'd rather be here for Sarah when she wakes up. Nick - and for you. I want to do something.</dialogue>
<character>NICK</character>
<dialogue>You are. Getting our daughter out of harm's way. And yourself.</dialogue>
<parenthetical>( calls to Garza . )</parenthetical>
<dialogue>Detective. Will you escort my wife, please?</dialogue>
<parenthetical>( to Kell . )</parenthetical>
<dialogue>There's not much time. I'll be there to see you off. Okay? Please?</dialogue>
<scene_description>Kell reluctantly walks away with Garza , while :</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - DAY</stage_direction>
<scene_description>A media frenzy is brewing : TRUCKS pulling in , NEWS CREWS gathering . ANGLE TO A REPORTER on - camera :</scene_description>
<character>REPORTER</character>
<dialogue>reporting live from a tense scene at City Hall. we have confirmation of earlier reports that eight people with the district attorney's office were killed this morning in an explosion at the County Correctional Annex in George Hill.</dialogue>
</scene>
<scene>
<stage_direction>INT. D.A.'S OFFICE - DAY</stage_direction>
<scene_description>Nick enters , finds the STAFF around the bullpen watching the same live report . Everybody 's in shock , a few are crying .</scene_description>
<character>REPORTER</character>
<dialogue>details are sketchy at this point, and names are being withheld.</dialogue>
<scene_description>People start noticing Nick . Royce comes up , looking dazed .</scene_description>
<character>NICK</character>
<dialogue>Sarah's fine. That's the good news.</dialogue>
<character>ROYCE</character>
<dialogue>Oh, God, that's a relief.</dialogue>
<parenthetical>( calls to the others . )</parenthetical>
<dialogue>Miss Lowell is okay. she's okay.</dialogue>
<scene_description>Everybody reacts - they needed a shred of good news .</scene_description>
<character>ROYCE</character>
<dialogue>We've been getting calls from upstairs. The mayor's people.</dialogue>
<parenthetical>( off Nick 's look . )</parenthetical>
<dialogue>Someone from our office has to make a statement to the press. With Mr. Cantrell absent, the mayor wants you to do it.</dialogue>
<character>NICK</character>
<parenthetical>( pause , thinking . )</parenthetical>
<dialogue>Royce. how much petty cash do we have in the safe?</dialogue>
<character>ROYCE</character>
<dialogue>I do n't know. four thousand?</dialogue>
<character>NICK</character>
<dialogue>Give it to me. And your cell phone. I need to borrow it for a few days.</dialogue>
<character>ROYCE</character>
<parenthetical>( beat , puzzled . )</parenthetical>
<dialogue>What do you want me to tell the mayor?</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. CITY HALL - DAY</stage_direction>
<scene_description>A FIGURE enters shot , pushes a door open into glaring daylight . CAMERA FOLLOWS him outside to a podium set up before a swarming MOB OF PRESS shouting questions . ANGLE COMES AROUND to reveal : Royce , nervous , leaning to the microphones .</scene_description>
<character>ROYCE</character>
<dialogue>We in the D.A.'s office are still reeling from the events of this morning, as you can imagine. It's a tragic day for us. for our city.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION PLATFORM - DAY</stage_direction>
<scene_description>Kell and Emma on the platform , Garza hovering nearby , CROWDS swarming around them as boarding calls come over the P.A. system . Kell is looking around , anxious . Nick appears on the platform , hurrying . They see him . Emma runs , throws herself into Nick 's arms as he crouches .</scene_description>
<character>EMMA</character>
<dialogue>I wan na see Sarah.</dialogue>
<character>NICK</character>
<dialogue>Hey, hey. she's fine, do n't be scared. That's not allowed. And there's no reason for it.</dialogue>
<character>EMMA</character>
<dialogue>This sucks.</dialogue>
<character>NICK</character>
<dialogue>I know.</dialogue>
<character>EMMA</character>
<dialogue>Why do we have to go?</dialogue>
<character>NICK</character>
<dialogue>'Cause your mom wants to see a few Broadway shows. You gon na begrudge her that?</dialogue>
<character>EMMA</character>
<dialogue>You're kinda full of shit, Dad.</dialogue>
<scene_description>Nick 's taken aback - not sure whether to laugh . He trades a look with Kell , who 's too tense with worry to care .</scene_description>
<character>NICK</character>
<dialogue>Okay, you're right. Maybe I am a little. But only a little. The part you can believe is that this is all going to be fine. Sarah, us.</dialogue>
<parenthetical>( directed at Kell . )</parenthetical>
<dialogue>I mean it. Okay?</dialogue>
<character>EMMA</character>
<dialogue>Okay.</dialogue>
<scene_description>She detaches from her father . Nick rises to Kell , pulls an envelope , hands it to her .</scene_description>
<character>NICK</character>
<dialogue>No credit cards. Too easy to track. Meals, hotel, whatever - pay cash.</dialogue>
<scene_description>then takes her cell , swaps it for Royce 's .</scene_description>
<character>NICK</character>
<dialogue>I'll keep this. It can be traced. Use this one instead. Do n't answer unless you see it's me.</dialogue>
<character>P.A. VOICE</character>
<dialogue>FINAL BOARDING CALL FOR NEW YORK CITY DIRECT, FINAL CALL.</dialogue>
<character>KELL</character>
<dialogue>Anything else?</dialogue>
<character>NICK</character>
<dialogue>I love you.</dialogue>
<character>KELL</character>
<dialogue>Emma's right. This sucks.</dialogue>
<scene_description>She embraces him , fears and emotions swirling .</scene_description>
<character>KELL</character>
<dialogue>Be goddamn careful.</dialogue>
<scene_description>She breaks the embrace . Nick stands , watching them get on the train . The doors close . The train starts out . Nick turns . Garza 's been watching - a look of sympathy for what Nick 's going through .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN - DAY</stage_direction>
<scene_description>Kell and Emma on the train , watching buildings slide by outside the window . Kell troubled , holding her daughter .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT OF TRAIN - DAY</stage_direction>
<scene_description>WE FOLLOW the train traveling a path through canyons of buildings , leaving the city . ANGLE SWAPS TRAIN FOR CAR as we drift over a bridge and find Nick 's car racing across the span .</scene_description>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S HOUSE - DAY</stage_direction>
<scene_description>Nick and Garza enter . ANGLE COMES AROUND to reveal the house swarming with HIGH - TECH FBI FORENSIC TEAMS turning the house upside - down , tearing things apart , X - RAY SCANNING walls . Cantrell sits isolated , near tears of frustration , as the place is trashed around him . He glances up , hearing :</scene_description>
<character>NICK</character>
<dialogue>Jesus.</dialogue>
<character>CANTRELL</character>
<dialogue>Nick? These guys wo n't even let me pack a bag. Not even a toothbrush.</dialogue>
<scene_description>Davies enters frame , accompanied by FORENSIC TECHS - not the guys from downtown , but people who work serious ops .</scene_description>
<character>DAVIES</character>
<dialogue>We have granules of an unidentified substance in the ice - maker.</dialogue>
<scene_description>He holds up a drinking glass with a few ice cubes , runs a black - light wand behind it - dark granules become visible on each pass , embedded in the ice .</scene_description>
<character>DAVIES</character>
<dialogue>I'm betting something lethal.</dialogue>
<character>TECH #1</character>
<dialogue>Like this salt.</dialogue>
<parenthetical>( pours a small amount . )</parenthetical>
<dialogue>Not sodium chloride. Potassium chloride. It's a neuro - blocker, stops the heart - they use it in lethal injections. You'd be dead before you got up from the table.</dialogue>
<scene_description>Nick tosses the others a grim look .</scene_description>
<character>NICK</character>
<dialogue>I'm telling you, Clyde has someone working with him. Someone on the outside.</dialogue>
<character>CANTRELL</character>
<dialogue>Who? Who could he have?</dialogue>
<character>NICK</character>
<dialogue>Somebody from his past. Could be that spook we met on the stairs, for all we know - he'd know how to plant this shit.</dialogue>
<character>CANTRELL</character>
<dialogue>Him? No - why would Clyde let him come talk to us?</dialogue>
<character>NICK</character>
<dialogue>To fuck with our heads? To get us to bring in our ADAs so he could blow them up?</dialogue>
<character>DUNNIGAN</character>
<dialogue>It would be a Clyde move. But it's not proof.</dialogue>
<parenthetical>( to Cantrell . )</parenthetical>
<dialogue>Could he have planted this stuff in your house before he was arrested?</dialogue>
<character>CANTRELL</character>
<dialogue>I - I do n't know.</dialogue>
<character>NICK</character>
<dialogue>Jonas, think - last few days, have you used any ice? Any salt?</dialogue>
<character>CANTRELL</character>
<parenthetical>( confused , grappling . )</parenthetical>
<dialogue>I do n't use salt - my cholesterol. Ice? Yeah - not long ago.</dialogue>
<character>NICK</character>
<dialogue>Before or after he was arrested?</dialogue>
<character>CANTRELL</character>
<dialogue>I do n't remember! You track your use of ice, Nick? You keep a daily log?</dialogue>
<scene_description>TECH # 2 calls from the kitchen :</scene_description>
<character>TECH #2</character>
<dialogue>Heads - up! Looks like polonium here. In his tea pot. Same way the Russians killed Litvenenko. Took him two weeks to die.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>It's an exotic isotope. All you need is a trace amount. Rips through your organs and bone marrow.</dialogue>
<scene_description>Nick 's been listening , thunderstruck , paler by the moment . He looks to Cantrell sitting there , quiet and shaking .</scene_description>
<character>NICK</character>
<dialogue>I'll buy you a new toothbrush.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AERIAL ESTABLISHING OF HOTEL - DAY</stage_direction>
<scene_description>DRIFTING IN on a reflective glass skyscraper - spectacular .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>The door opens , revealing Nick , Cantrell , et al. . They come into the room . actually , `` room '' undersells it . It 's the most spectacular suite known to man - huge open floor plan , with a stunning view of all the downtown buildings surrounding us .</scene_description>
<character>NICK</character>
<dialogue>Holy shit.</dialogue>
<character>CANTRELL</character>
<dialogue>Nice?</dialogue>
<character>DAVIES</character>
<dialogue>I'm actually a little jealous Clyde did n't pick me.</dialogue>
<scene_description>Cantrell laughs - and it lightens everybody 's mood . Nick drifts to the windows , gazing out , as :</scene_description>
<character>DUNNIGAN</character>
<dialogue>It's the presidential suite. Last person who stayed here was actually a president. Of a country. Security here is amazing.</dialogue>
<character>NICK</character>
<dialogue>It's not bad, Jonas. I think you can muddle through.</dialogue>
<character>DAVIES</character>
<dialogue>You're muddling with him. I do n't want you back at your house until my people sweep it. You need pajamas, buy some in the shop downstairs.</dialogue>
<scene_description>Nick nods , pulls Sarah 's reports from his briefcase .</scene_description>
<character>NICK</character>
<dialogue>The background check my office was compiling - these properties we think Clyde owns? If he is working with somebody, they could be operating out of any of these. We should check them.</dialogue>
<character>DUNNIGAN</character>
<dialogue>I'll try to wrangle additional manpower. Big job.</dialogue>
<character>DAVIES</character>
<parenthetical>( pages the report . )</parenthetical>
<dialogue>No shit. This is quite a list. Over forty locations?</dialogue>
<character>NICK</character>
<dialogue>It's not even complete. Sarah was in the middle of it - untangling property ownership from under assumed names, shell companies. She's the expert on all that.</dialogue>
<character>CANTRELL</character>
<dialogue>Fellas. I'm grateful for all your efforts. I just wanted to say it.</dialogue>
<character>NICK</character>
<dialogue>Save it for tonight. Hope you're in the mood for Chinese takeout.</dialogue>
<character>CANTRELL</character>
<dialogue>Where are you going?</dialogue>
<character>NICK</character>
<dialogue>That stuff in your house - it's all gone too far. I started this. I owe everybody at least one last try at defusing it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTY JAIL ANNEX - DAY</stage_direction>
<scene_description>A STEEL DOOR opens . Clyde steps out , shackled , blinking at daylight . He comes down a short flight of steps . CAMERA COMES AROUND to reveal his surroundings : not within prison walls , but rather behind the prison - a loading area we have n't seen , comprised of fences and razor wire . Nick walks in the rear gate , passed through by Warden Iger himself - this is clearly an off - the - books meeting . Nick and Clyde walk to each other , meet halfway .</scene_description>
<character>CLYDE</character>
<dialogue>Interesting location you've chosen.</dialogue>
<character>NICK</character>
<dialogue>I thought we'd have some privacy.</dialogue>
<character>CLYDE</character>
<dialogue>For what? A talk? Or.</dialogue>
<parenthetical>( gazes around . )</parenthetical>
<dialogue>Maybe you've decided to take Detective Dunnigan's advice.</dialogue>
<scene_description>He 's noticing GUARDS atop the prison wall and surrounding roofs - all with sniper rifles .</scene_description>
<character>NICK</character>
<dialogue>Be the perfect place for it. Outside the wall. Look like you were shot trying to escape.</dialogue>
<scene_description>WIDE ANGLE FROM ABOVE Nick and Clyde below . A SCOPE suddenly rises into frame , turning our shot into a SNIPER SCOPE POV , jumping Clyde 's face into magnification . He smiles in the crosshairs . RESUME NICK AND CLYDE</scene_description>
<character>CLYDE</character>
<dialogue>You have some kind of signal worked out? You scratch your nose and blam, I'm a goner?</dialogue>
<character>NICK</character>
<dialogue>Something like that.</dialogue>
<character>CLYDE</character>
<dialogue>Might solve all your problems. What's stopping you? Afraid of the blowback?</dialogue>
<character>NICK</character>
<dialogue>No. It's to prove a point.</dialogue>
<parenthetical>( off Clyde 's look . )</parenthetical>
<dialogue>Just because I have the power, does n't mean I have to use it.</dialogue>
<character>CLYDE</character>
<dialogue>Ah. Nice. Good one.</dialogue>
<character>NICK</character>
<dialogue>One can show mercy.</dialogue>
<character>CLYDE</character>
<dialogue>Mercy. Right.</dialogue>
<character>NICK</character>
<dialogue>Yeah. So why do n't you?</dialogue>
<scene_description>We see Clyde 's brain bend a little - trying to wrap his head around it . It 's almost painful for him .</scene_description>
<character>CLYDE</character>
<dialogue>I think we've come a little too far for that, have n't we, Nick? I mean, what do I say? Sorry, my bad? Which way to the execution chamber?</dialogue>
<character>NICK</character>
<dialogue>Do n't give me that. Death does n't scare you.</dialogue>
<character>CLYDE</character>
<parenthetical>( smiles `` right '' . )</parenthetical>
<dialogue>Yeah, but. we're in the flow of this now. You cry havoc, you let slip the dogs of war, you go with it. You do n't just stop because someone says hey wait. By then the dogs are dragging you.</dialogue>
<character>NICK</character>
<dialogue>Until one side admits defeat. What if I did that? What if I said.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. you were right. I was wrong. What if I say I should have prosecuted both men ten years ago?</dialogue>
<character>CLYDE</character>
<dialogue>I'd say you're making progress. You should have, you know. Prosecuted both.</dialogue>
<character>NICK</character>
<dialogue>I'd have lost.</dialogue>
<character>CLYDE</character>
<dialogue>With your head held high. And without any blame from me.</dialogue>
<scene_description>Nick 's CELL RINGS - he turns away , answers :</scene_description>
<character>NICK</character>
<dialogue>Yeah.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>She is? Great news. I'll stop on my way back. And Royce? Put some get - well flowers in her room, they sell'em in the lobby. Thanks.</dialogue>
<parenthetical>( hangs up , baleful . )</parenthetical>
<dialogue>Six hours in surgery.</dialogue>
<character>CLYDE</character>
<dialogue>But she's okay - good. Miss Lowell is a fine young woman.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Oh, hey. your wife and little girl get out of town all right?</dialogue>
<character>NICK</character>
<parenthetical>( beat , staring . )</parenthetical>
<dialogue>You asking that question makes me want to scratch my nose.</dialogue>
<scene_description>Clyde glances around at the snipers with a laugh .</scene_description>
<character>CLYDE</character>
<dialogue>Just a guess. It's what I would do. Get'em out, make sure they're safe.</dialogue>
<parenthetical>( reproachful . )</parenthetical>
<dialogue>C'mon. Like I'd ever have hurt them anyway.</dialogue>
<character>NICK</character>
<dialogue>No?</dialogue>
<character>CLYDE</character>
<dialogue>There are limits. Even in war. I may be many things, Nick. But I'm not Clarence Darby. I'm not Rupert Ames. I'm not that kind of monster.</dialogue>
<character>NICK</character>
<dialogue>What kind are you?</dialogue>
<character>CLYDE</character>
<dialogue>Not the kind who'd hurt your wife and child. Christ, look at me. Mine were my salvation - then they were killed - and all I had left was this. Life without them in this fucking charnel - house world.</dialogue>
<scene_description>Pause . Drawing close :</scene_description>
<character>CLYDE</character>
<dialogue>It hurt to lose them, did n't it? Your family. Even knowing they'd come back.</dialogue>
<character>NICK</character>
<dialogue>Yeah.</dialogue>
<character>CLYDE</character>
<dialogue>Imagine knowing they would n't.</dialogue>
<character>NICK</character>
<dialogue>I ca n't. I ca n't imagine that.</dialogue>
<character>CLYDE</character>
<dialogue>Good. I envy you. For me, knowing mine wo n't come back is the only thing that's crowded my thoughts for ten years. If I could take a rusty knife and cut out that part of my brain, I would.</dialogue>
<character>NICK</character>
<dialogue>I wo n't make any more deals with murderers. If hearing that makes a difference. if that was the point of all this. you've won.</dialogue>
<scene_description>We see Clyde 's brain hurting again - he 's trying to believe that , would like to believe that .</scene_description>
<character>CLYDE</character>
<dialogue>Counselor. I have no doubt, as we stand here, that you really believe that. I wish I could.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Are we done? You gon na scratch your nose, or can I go?</dialogue>
<scene_description>Silence now . Nothing left to say . They turn and walk in opposite directions .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S SOLITARY CELL - DAY</stage_direction>
<scene_description>and Clyde is brought in , locked into gloom as the doors SLAM behind him . He stands , staring at the darkness .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITYSCAPE - DUSK</stage_direction>
<scene_description>The sun is setting .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S CAR (MOVING) - DUSK</stage_direction>
<scene_description>as Nick drives back into town , crossing one of the bridges .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BALLROOM - DUSK</stage_direction>
<scene_description>-LRB- Not Cantrell 's hotel , but one close by . -RRB- A SIGN reads : `` A.B.A. Dinner . '' PEOPLE are entering , passing a GREETER . ANGLE FINDS Judge Burch arriving .</scene_description>
</scene>
<scene>
<stage_direction>INT. JUDGE BURCH'S OFFICE - DUSK</stage_direction>
<scene_description>A SECRETARY answers the ringing phone :</scene_description>
<character>SECRETARY</character>
<dialogue>Judge's chambers.</dialogue>
<character>VOICE ON PHONE</character>
<dialogue>Laura? Laura, that you?</dialogue>
<character>SECRETARY</character>
<dialogue>I'm sorry, Judge Burch is gone for the evening.</dialogue>
<character>VOICE ON PHONE</character>
<dialogue>Dang it. Listen, honey, I flew in from Galveston for this A.B.A thing Laura invited me to - just got here and they said it was moved. You got a number, address, anything?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DUSK</stage_direction>
<scene_description>Nick peers in . Sarah 's in bed , leg braced , in traction . She 's awake but groggy - which is n't stopping her from giving instructions to Royce , who 's scribbling notes at her bedside :</scene_description>
<character>SARAH</character>
<dialogue>tell Hansen we need hard info on those addresses. do n't let the shell game on ownership title slow him down. at this point we'll take educated guesses.</dialogue>
<scene_description>Sarah looks over , sees Nick step in , gives him a weak smile .</scene_description>
<character>NICK</character>
<dialogue>Hey.</dialogue>
<character>SARAH</character>
<dialogue>Hey. Nice flowers. Thanks.</dialogue>
<scene_description>He comes to the bed , takes her hand , squeezes it .</scene_description>
<character>NICK</character>
<dialogue>How you doing?</dialogue>
<character>SARAH</character>
<dialogue>This place has great drugs. Damn. I should've totaled my leg long ago.</dialogue>
<scene_description>But her emotions are in turmoil - she puts her hands over her face , holding back a sob .</scene_description>
<character>SARAH</character>
<dialogue>They're all dead?</dialogue>
<character>NICK</character>
<dialogue>I'm afraid so.</dialogue>
<scene_description>Sarah lets herself cry . Nick waits , then :</scene_description>
<character>NICK</character>
<dialogue>You're alive. That counts for a lot.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm sorry I put you in harm's way.</dialogue>
<scene_description>BLUE - 9 - 19 - 08 94A . She absorbs that , angrily wipes her eyes .</scene_description>
<character>SARAH</character>
<dialogue>It was n't you. It was that son of a bitch. I hear he's threatened Jonas?</dialogue>
<character>NICK</character>
<dialogue>We're all over it. Jonas is safe - out of reach.</dialogue>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>Cantrell on the upper level , wearing brand - new sweats , white cane tapping the unfamiliar place , Betsy at his side . He follows VOICES around the corner . Inside a room , Garza 's playing poker with three other cops : LASZLO , FLEMING , and MITRIUS .</scene_description>
<character>CANTRELL</character>
<dialogue>Who's winning?</dialogue>
<character>FLEMING</character>
<dialogue>Laszlo, the cheatin' prick.</dialogue>
<character>LASZLO</character>
<dialogue>Yer mama.</dialogue>
<character>GARZA</character>
<dialogue>Wan na sit in?</dialogue>
<character>CANTRELL</character>
<dialogue>If I had my Braille set, I'd clean you out. Not much of a game if you have to tell me what my cards are.</dialogue>
<character>GARZA</character>
<dialogue>Right. sorry.</dialogue>
<scene_description>The other guys toss Garza a look - what a moron .</scene_description>
<character>CANTRELL</character>
<dialogue>People forget. No worries.</dialogue>
<parenthetical>( turns away . )</parenthetical>
<dialogue>Enjoy your game, fellas.</dialogue>
<character>FLEMING</character>
<dialogue>Need help? Want one of us should walk you down?</dialogue>
<character>CANTRELL</character>
<dialogue>I'm good. Unfamiliar places take me a little longer. But I get there.</dialogue>
<character>GARZA</character>
<parenthetical>( calls after him . )</parenthetical>
<dialogue>Holler if you need anything.</dialogue>
<parenthetical>( back to the game . )</parenthetical>
<dialogue>Okay, who's in, who's out.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL BALLROOM - NIGHT</stage_direction>
<scene_description>WAITERS setting out salads , guests taking seats , as :</scene_description>
<character>M.C.</character>
<dialogue>Good evening. Sorry for any confusion our last - minute change of location might have caused.</dialogue>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>That incredible city view - skyscrapers all around , aglow with lights . Cantrell enters frame , drawn to the glass . A POLICE HELICOPTER IS ROARING slowly past out there , drifting among the buildings at our eye level . Cantrell raises his hand , places it on the glass , feeling the vibrations . The copter 's searchlight sweeps the windows , highlighting him briefly with incredible light he ca n't see .</scene_description>
</scene>
<scene>
<stage_direction>INT. OTHER HOTEL BALLROOM - NIGHT</stage_direction>
<scene_description>but we can see the copter going by from here , searchlight playing over Cantrell 's building - which is plainly visible just across the way . ANGLE WIDENS to find Judge Burch at a table , as :</scene_description>
<character>M.C.</character>
<dialogue>please join me in a warm welcome for our keynote speaker this evening, Judge Laura Burch.</dialogue>
<scene_description>She rises and heads for the podium amidst APPLAUSE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHINESE RESTAURANT - NIGHT</stage_direction>
<scene_description>Nick exits , arms loaded down with bags of takeout , talking on his cell phone as he heads for his car :</scene_description>
<character>NICK</character>
<dialogue>yes, you pain in the ass, of course I got your kung - pao. you think I'd forget. just do n't give Betsy any, I ca n't deal with dog farts all night.</dialogue>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>Cantrell 's sitting in front of that incredible view with Betsy at his feet , on the phone :</scene_description>
<character>CANTRELL</character>
<dialogue>How long, man, I'm starving.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHINESE RESTAURANT - NIGHT</stage_direction>
<scene_description>Nick gets to his car , checks his watch - and pauses . The time reads : `` 7:27 . '' Nick is suddenly hit with a momentary sense of dread . He glances up the street . ANOTHER ANGLE reveals Nick in deep f.g. looking up the broad avenue - in the distance stands Cantrell 's skyscraper .</scene_description>
<character>NICK</character>
<dialogue>I'm minutes away. Relax.</dialogue>
<scene_description>Nick shakes off his misgivings , hangs up , gets in the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>Cantrell eases to the floor , sits with Betsy . He strokes her fur . She WHINES , uneasy .</scene_description>
<character>CANTRELL</character>
<dialogue>It's okay. It's gon na be okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>Judge Burch at the podium :</scene_description>
<character>JUDGE BURCH</character>
<dialogue>Jonas was upset not to be here with you tonight. a personal matter came up. but he wanted me to give you all his fondest regards.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A ROOFTOP - NIGHT</stage_direction>
<scene_description>ANGLE LOOKING UP at Cantrell 's hotel - a FIGURE steps into our shot , his back to us . He pulls a cell phone from his pocket , flips it open , sees the time : `` 7:29 . '' The thumb starts pressing numbers - boop . boop . boop .</scene_description>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>ANGLE DRIFTING ACROSS THE FLOOR - Cantrell and Betsy against the incredible city view . He finally gets fed up with that surgery collar she 's worn the entire movie , reaches around , unsnaps the plastic . He puts the collar aside , gently ruffs her shaggy neck .</scene_description>
<character>CANTRELL</character>
<dialogue>There. That's better.</dialogue>
<scene_description>He puts his arm around her , taking comfort in her presence . A quiet , pensive moment .</scene_description>
</scene>
<scene>
<stage_direction>INT. NICK'S CAR (MOVING) - NIGHT</stage_direction>
<scene_description>Nick driving , a block from the hotel now .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP - NIGHT</stage_direction>
<scene_description>as the FIGURE finishes dialing . The thumb hovers a moment , then presses `` send . '' We hear the call RINGING through .</scene_description>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>and Cantrell hears a strange SOUND . almost like a phone ringing - sort of close but not - weirdly muffled . He looks around , trying to pinpoint it . His head finally swivels down to Betsy lying at his side . She 's WHINING , getting a little freaked , licking her stitches . Cantrell 's hand travels down her fur to her belly . fingertips tracing the stitching . and what he ca n't see is the strange glow building under her skin . But he can sense it . His eyes widen slightly . and WHAM ! The room is swallowed in a DETONATION -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CANTRELL'S FLOOR - NIGHT</stage_direction>
<scene_description>- which BLOWS OUT THE ROOM IN A HUGE EXPLOSION , the rows of windows vanishing in a storm of flame and shattering glass .</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>Judge Burch and the others gasp as the explosion lights up the night from the building across the way .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NICK'S CAR - NIGHT</stage_direction>
<scene_description>Nick slams on his brakes - he cranes forward , gazing up in horror as the explosion is reflected in his windshield .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP - NIGHT</stage_direction>
<scene_description>The blast kicks from the face of the building , fireball rising with eerie grace into the night sky , as : The FIGURE steps into frame , pockets the cell phone . CAMERA PIVOTS BEHIND him , losing Cantrell 's building and bringing the other hotel into view - the one with the lawyers .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NICK'S CAR - NIGHT</stage_direction>
<scene_description>Nick jumps out , stunned . He runs up the street toward the hotel as glass and debris rains onto the sidewalk .</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>People crowd to the glass , staring out at the skyscraper across the way - at the smoking ruin that was once a floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOFTOP - NIGHT</stage_direction>
<scene_description>and the FIGURE bends down , picks something up . He hefts it onto his shoulder : a LAWS ROCKET - LAUNCHER . He flips up the sight , takes aim at the other hotel , fires . WHOOOSH - the rocket streaks , leaving a contrail .</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>FAST CUT : Judge Burch and those around her reacting as the glare of the rocket approaches in a heartbeat - WHAM ! OUR SECOND EXPLOSION of the night takes out the ballroom , killing dozens , blowing flame and debris across the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Nick sees it : the contrail , the second blast , all of it . It stops him dead in his tracks . Just overwhelmed .</scene_description>
</scene>
<scene>
<stage_direction>INT. CANTRELL'S SUITE - NIGHT</stage_direction>
<scene_description>Garza and his guys come stumbling and bleeding from the room they were in . They get to the top of the stairs , find the front of the suite open to the windy sky outside .</scene_description>
<character>FLEMING</character>
<parenthetical>( gasping on radio . )</parenthetical>
<dialogue>. we need help up here.</dialogue>
<character>GARZA</character>
<dialogue>Jesus Christ. What the fuck hit us?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Nick stares up , wondering the same thing as we FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL - GRAND CONFERENCE ROOM - DAY</stage_direction>
<scene_description>A 30 - foot - high hand - painted domed ceiling above , an equally huge ROUND TABLE below - an imposing room that says power . Nick is ushered in . A DOZEN OR MORE PEOPLE are seated - top - echelon city brass - political , fire , police . Also present are Davies and Dunnigan . -LRB- Dunnigan is not seated - he 's getting his ass reamed today . -RRB- The top dog : THE MAYOR . He 's seething but not a screamer - a man who keeps it tightly reined :</scene_description>
<character>MAYOR</character>
<dialogue>We're worldwide news this morning. Almost twenty dead, among them some of this country's top attorneys. I had friends in that room. Hell, I almost attended myself.</dialogue>
<character>NICK</character>
<dialogue>The second explosion. I saw a rocket fired.</dialogue>
<parenthetical>( to Davies and Dunnigan . )</parenthetical>
<dialogue>Clyde does have somebody on the outside.</dialogue>
<character>MAYOR</character>
<dialogue>What you saw or think you saw is beside the point. What matters is that the FBI wanted to rendition this man out of my city. The reason he's still here causing havoc is you. You wanted to prosecute this case. Your ambition kept him here and provoked this tragedy.</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( mutters . )</parenthetical>
<dialogue>. not entirely fair.</dialogue>
<character>MAYOR</character>
<dialogue>Detective. Your job is hanging by a thread. I'd think a man of your experience would know when to keep his mouth shut and his ass covered.</dialogue>
<scene_description>Dunnigan - formidable though he is - looks away , keeps his mouth shut . The Mayor approaches Nick , looks him in the eye .</scene_description>
<character>MAYOR</character>
<dialogue>When I go in front of the cameras today - unlike some people who seem unwilling to do so when asked - I'm going to make goddamn sure the media does n't hang this abject disaster around my neck. Why? Because I'm hanging it on yours.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You're done. Gone. Fired. Non - existent. Get the fuck out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL COURTYARD - DAY</stage_direction>
<scene_description>People going about their business . Nick exits , dazed , comes down the steps . He sits on a step , vacant - a man completely at a loss and out of options . His CELL RINGS . He rouses himself , flips it open .</scene_description>
<character>CLYDE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hey. Some legal team from the mayor showed up here this morning. I hear you're off the case. Told you they'd scapegoat you, did n't I?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Nick? You there?</dialogue>
<character>NICK</character>
<dialogue>How'd you kill Jonas? I know about the second explosion, I saw the contrail, so I know you got somebody working for you. But the first explosion - how?</dialogue>
<character>CLYDE</character>
<dialogue>Say you find a guy with a bad cocaine problem. Hungry ex - wives. Greedy mistress. Heavy gambling debts.</dialogue>
<scene_description>a bizarre sound occurs on the line - an unidentifiable SHRIEKING SOUND that grows and rapidly dissipates .</scene_description>
<character>CLYDE</character>
<dialogue>Say that guy's a veterinarian. You hand him a million in cash, he'll do what you ask. Especially if he's looking to blow town for good.</dialogue>
<character>NICK</character>
<parenthetical>( ca n't believe it . )</parenthetical>
<dialogue>It was. inside the dog?</dialogue>
<character>CLYDE</character>
<dialogue>You own the vet, you own the dog. Explosive was n't even that big. Stuff I use, it did n't have to be.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Hidden in plain sight. That's my specialty. Have n't you figured that out yet?</dialogue>
<scene_description>Nick sighs , rubs his eyes , can barely even speak .</scene_description>
<character>CLYDE</character>
<dialogue>What's next for you? Mulling career options? I suppose law is out.</dialogue>
<character>NICK</character>
<dialogue>I'm trying to get over my friend being dead. Aside from that, fuck you.</dialogue>
<character>CLYDE</character>
<dialogue>Fair enough.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'll miss you Nick. It was a good dance.</dialogue>
<character>NICK</character>
<dialogue>Did n't bring your family back, though, did it?</dialogue>
<parenthetical>( off Clyde 's silence . )</parenthetical>
<dialogue>Has it made you feel better? All this? You done making your point?</dialogue>
<character>CLYDE</character>
<dialogue>Just warming up. This is Clausewitz shit, my friend. Total war.</dialogue>
<scene_description>CAMERA PUSHING IN on Nick , listening , as :</scene_description>
<character>CLYDE</character>
<dialogue>I'm gon na pull the whole thing down. I will topple the gleaming pillars and drag the whole fucking diseased, corrupt temple down on my head.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Stay tuned. It'll be Biblical.</dialogue>
<scene_description>Click - line goes dead . Nick sits staring at the phone . BLUE - 9 - 19 - 08 102A .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
<scene_description>Nick enters , finds Sarah crying . A WALL - MOUNTED TV IS PLAYING A NEWS REPORT of the explosions - file footage of Jonas Cantrell pops up . Nick drifts over , sits at her bedside , as :</scene_description>
<character>REPORTER</character>
<dialogue>going live now to City Hall where Mayor Tilden is about to make a statement. announcing, we're told, among other things, the dismissal of District Attorney Nick Price.</dialogue>
<scene_description>The IMAGE cuts to the Mayor stepping to the mic .</scene_description>
<character>MAYOR</character>
<dialogue>Thank you all for gathering on this solemn and anxious occasion.</dialogue>
<scene_description>Nick MUTES it . He and Sarah do n't speak for long moments - he 's waiting for her to pull herself together . She finally does , going into professional mode , pulling her laptop and files and reports around her .</scene_description>
<character>SARAH</character>
<dialogue>We got the latest batch of background in. Hansen and the other guy did some good work here -</dialogue>
<character>NICK</character>
<dialogue>Sarah. Give it a rest. It's over. We're done.</dialogue>
<parenthetical>( off her look . )</parenthetical>
<dialogue>I'm done. The mayor is nailing my coffin shut. The best thing you can do right now is distance yourself from me as much as you can - see what you can salvage of your career.</dialogue>
<scene_description>Sarah is staring at him with `` fuck you '' in her eyes . She picks up a multi - page list of addresses , hands it to him .</scene_description>
<character>SARAH</character>
<dialogue>This lists over fifty shit - value properties in industrial zones that nobody in their right mind would want to own - stuff around chemical plants, factories. All are owned by Benson Clyde. Look at twenty - two.</dialogue>
<scene_description>Nick , not caring , scans down to :</scene_description>
<character>NICK</character>
<dialogue>`` Joe's Lube - and - Drive Garage.'' Went out of business in'94.</dialogue>
<parenthetical>( looks up , irritated . )</parenthetical>
<dialogue>Now why would Joe's extinct Lube - and - Shit Garage be of the slightest possible fucking interest to you, me, or anyone?</dialogue>
<character>SARAH</character>
<parenthetical>( tight , pissed . )</parenthetical>
<dialogue>The garage, not so much. But the address. Look at the location.</dialogue>
<scene_description>Nick looks down at the list again . staring .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JOE'S LUBE-AND-DRIVE GARAGE - DAY</stage_direction>
<scene_description>A shitty garage in a shitty industrial park . Bordering it , on the other side of some fencing , are municipal train tracks . Nick 's car pulls up . He gets out . It 's a ghost town here . He goes to the garage window - glass thick with dirt . He wipes with his sleeve , but it does n't help him see in .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - DAY</stage_direction>
<scene_description>TIGHT ON ROLL - UP DOOR - a CAR JACK jams in under the lip . We hear CRANKING and the door rises . Nick drops down , peering in . He squeezes under the door , stands up . Gloomy in here . He hits the door switch - it RATTLES up on its tracks , flooding the place with light . He looks around . Cobwebs . Dust . A CAR under a tarp on the hydraulic floor - lift . Old shelves and pallets of tools . Rust . Grime . The crap of ages . He sighs , turns and walks out .</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. GARAGE - DAY</stage_direction>
<scene_description>and pauses . Something tickling his brain . Suddenly , a SHRIEKING COMMUTER TRAIN blasts by - gone , dwindling . It was a bizarre , distinctive sound . like the one Nick heard during his last phone call with Clyde . Nick stands frozen , pieces in his head tumbling and threatening to fall into place . Something about the shape of that car under that tarp . He turns , staring at it . Goes back in , drawn to it - it 's long , distinctly old - school , with sharp boxy corners . He draws the tarp off - finds a 1965 Lincoln Continental , midnight - blue , in excellent condition . The last time he saw it , it was parked in a carport at Benson Clyde 's farmhouse . What 's it doing here ? More pieces falling into place . Nick leaves the garage again , walking out . CAMERA TRACKS HIM across the tarmac , and as we come around the corner of the building , we reveal : The County Correctional Annex is right there , a backwater corner of the prison not sixty feet away . Nick stares up at it - a very curious location indeed .</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - DAY</stage_direction>
<scene_description>FAST CUTS : Nick searching . behind shelves . the toilet . in closets . the grimy little office . He stops . Looks at the car . There 's a mechanic 's pit below that hydraulic lift . He goes to the control , hits `` up '' . ANGLE FROM MECHANIC 'S PIT Nick 's face comes slowly into view as the hoist rises . FADE TO BLACK IN BLACKNESS , WE HEAR : Boop - boop - boop . a cell being dialed . The line RINGING . A voice answering :</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - BULLPEN - NIGHT</stage_direction>
<character>DUNNIGAN</character>
<parenthetical>( weary . )</parenthetical>
<dialogue>Dunnigan.</dialogue>
<scene_description>INTERCUT WITH STREET -LRB- INDUSTRIAL AREA -RRB- :</scene_description>
<character>NICK</character>
<parenthetical>( on cell . )</parenthetical>
<dialogue>Do we finish this tonight?</dialogue>
<character>DUNNIGAN</character>
<dialogue>Nick? Jesus.</dialogue>
<parenthetical>( nervous glance around . )</parenthetical>
<dialogue>Look. No hard feelings, but there is no `` we.'' You're radioactive. I ca n't even be seen talking to you.</dialogue>
<character>NICK</character>
<dialogue>I know who he's got on the outside.</dialogue>
<parenthetical>( that stops Dunnigan . )</parenthetical>
<dialogue>I'll ask again. Do we finish this tonight?</dialogue>
<scene_description>Poor Dunnigan looks tortured . He catches Garza 's eye .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT</stage_direction>
<scene_description>A TRAIN SHRIEKS through shot , revealing : The garage quiet in moonlight . The area deserted . Beat . The garage door rolls up on its tracks . Darkness within . A PAIR OF HEADLIGHTS kick on , blinding us . The Lincoln emerges , moves off into the night as the door rolls down again . We hear SOFT STATIC from a police radio , and a voice :</scene_description>
<character>DUNNIGAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>All units. Subject vehicle is on the move.</dialogue>
<scene_description>ANGLE WIDENS to reveal we 're in an UNMARKED CAR - Dunnigan at the wheel , Nick beside him . Dunnigan 's on the radio :</scene_description>
<character>DUNNIGAN</character>
<dialogue>Everybody maintain distance.</dialogue>
<scene_description>Dunnigan puts the car in gear , pulls out . FROM THIS POINT ON , WE 'RE VERY MUCH IN MONTAGE STYLE -LRB- IT GOES WITHOUT SAYING THIS NEEDS THE RIGHT PIECE OF MUSIC -RRB- :</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT - NIGHT</stage_direction>
<scene_description>DRIFTING MAGICALLY THROUGH the downtown skyscrapers . neon - lit rooftops . city lights reflecting off glass buildings . AN FBI HELICOPTER drops into shot . CAMERA COMES AROUND , pacing , the copter 's reflection in the buildings we 're passing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT</stage_direction>
<scene_description>SKYSCRAPERS pass the lens below us . There 's a midnight - blue Lincoln traveling the streets far below . It turns a corner , moving up a long boulevard . CAMERA PIVOTS around a skyscraper , following .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - VARIOUS ANGLES - NIGHT</stage_direction>
<scene_description>The Lincoln cruising , cold reflections of street lamps kicking off sheet metal , flowing along its body and windshield . WE START ZOOMING AND RACKING FOCUS to the unmarked cars tailing it in traffic . visually , it becomes a surreal dance of headlights and traffic signals .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOTS - VARIOUS ANGLES - NIGHT</stage_direction>
<scene_description>A POLICE COPTER joins the FBI copter in the air . both cruising eerily against a kaleidoscopic wash of city lights .</scene_description>
<character>VOICE #1</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Maintain two thousand foot ceiling.</dialogue>
</scene>
<scene>
<stage_direction>INT. DUNNIGAN'S CAR (MOVING) - NIGHT</stage_direction>
<character>VOICE #1</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Subject vehicle turning south off of Hudson. into an alley.</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( clicks hand - mic . )</parenthetical>
<dialogue>Hang back. hang back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT</stage_direction>
<scene_description>The Lincoln pulls to a loading door . The door rises .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUILDING - NIGHT</stage_direction>
<scene_description>and the Lincoln enters . It stops next to a LARGE CUBE VAN with the logo : `` Nomos Custodial Services . '' CAMERA PUSHES IN as the car door opens , feet step out . TILT UP to Clyde dressed in a custodial services uniform . He slams the car door , gets in the van , fires up the engine .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL VIEW OF ALLEY - NIGHT</stage_direction>
<scene_description>Far below us , the van emerges from the same door , comes out of the alley and back onto the street .</scene_description>
<character>VOICE #2</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I got a white van. large cube type. think he switched vehicles. moving north again on Hudson.</dialogue>
</scene>
<scene>
<stage_direction>INT. DUNNIGAN'S CAR - NIGHT</stage_direction>
<character>DUNNIGAN</character>
<dialogue>Five and six, stick with that building in case he's trying to cowboy us. All other units, stay with the van.</dialogue>
<scene_description>Dunnigan pulls out into traffic , resuming the tail .</scene_description>
<character>VOICE #3</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I have visual on van. Logo on side reads `` Nomos Custodial Services.''</dialogue>
<character>NICK</character>
<dialogue>Where the hell is he going?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - ESTABLISHING - NIGHT</stage_direction>
<scene_description>The glorious old building looms above us . TILT DOWN to reveal a red carpet event brewing - LIMOS AND LUXURY CARS pulling up , GUESTS in expensive attire getting out . The NOMOS VAN STEALS THE FRAME as it drives past and turns to go around the back of the building . A LIMO STEALS THE FRAME BACK as it pulls to the curb . The Mayor steps out , waving and smiling for FLASHING CAMERAS .</scene_description>
</scene>
<scene>
<stage_direction>INT. DUNNIGAN'S CAR (MOVING) - NIGHT</stage_direction>
<scene_description>Nick and Dunnigan drive past all the hoopla .</scene_description>
<character>NICK</character>
<dialogue>You do n't suppose Nomos Custodial has a service contract with City Hall, do you?</dialogue>
<scene_description>Off Dunnigan 's look of `` oh shit '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY HALL SERVICE ENTRANCE - NIGHT</stage_direction>
<scene_description>TIGHT ON A CARD SCANNER as a card is swiped . THUNK - the lock disengages . TILT UP to Clyde as he rolls a loaded custodial cart -LRB- with mops and trash barrel -RRB- inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL SERVICE AREA - NIGHT</stage_direction>
<scene_description>A GUARD mans the security desk - he glances up from a BANK OF LIVE - FEED VIDEO MONITORS as Clyde rolls his cart in .</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Mr. Nomos! Ai n't seen you around.</dialogue>
<character>CLYDE</character>
<dialogue>Ted. had to get that vacation in. Visited my sister in the Keys.</dialogue>
<character>SECURITY GUARD</character>
<dialogue>Nice. Good for you.</dialogue>
<character>CLYDE</character>
<dialogue>Hey, what's all that hoopla at the main entrance?</dialogue>
<character>SECURITY GUARD</character>
<dialogue>Mayor's got a big fuckin' thing. Thousand dollar a plate whatever. They say the Governor might come.</dialogue>
<character>CLYDE</character>
<parenthetical>( moving on . )</parenthetical>
<dialogue>I'll stay out of their way.</dialogue>
<character>SECURITY GUARD</character>
<parenthetical>( calls after him . )</parenthetical>
<dialogue>They're up on six, avoid that floor. They got more security than God.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT LOOKING STRAIGHT DOWN - NIGHT</stage_direction>
<scene_description>Far below : The entrance lit up with arriving cars and guests , CAMERAS FLASHING . A HELICOPTER DRIFTS through the shot just below us in SLOW - MOTION , rotors thrumming eerily .</scene_description>
</scene>
<scene>
<stage_direction>INT. SERVICE ELEVATOR - NIGHT</stage_direction>
<scene_description>while Clyde rides up . He stops at five , gets out .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>and rolls his cart up the hallway . MUFFLED MUSIC from the floor above . He comes to a door , sorts his keys .</scene_description>
</scene>
<scene>
<stage_direction>INT. EMPTY COURTROOM - NIGHT</stage_direction>
<scene_description>and enters in darkness . Moving swiftly , he reaches into his trash barrel , pulls a gleaming STEEL BRIEFCASE from under the shredded papers - he strides to the judge 's dais , lays the case atop it , turns and heads back to his cart .</scene_description>
</scene>
<scene>
<stage_direction>INT. SERVICE AREA SECURITY DESK - NIGHT</stage_direction>
<scene_description>as a STREAM OF TACTICAL COPS stampede into the building and up the stairs . ANGLE FINDS Nick , Dunnigan , and Davies looming over the nervous security guard :</scene_description>
<character>DUNNIGAN</character>
<dialogue>What floor?</dialogue>
<character>SECURITY GUARD</character>
<dialogue>I told him to avoid six.</dialogue>
<parenthetical>( checking monitors . )</parenthetical>
<dialogue>There.</dialogue>
<scene_description>On a monitor : Clyde rolls his cart from the courtroom .</scene_description>
<character>SECURITY GUARD</character>
<dialogue>That's the main courtroom on five.</dialogue>
<character>NICK</character>
<dialogue>That's right below the ballroom. The Mayor's event.</dialogue>
</scene>
<scene>
<stage_direction>INT. 6TH FLOOR HALLWAY AND BALLROOM - NIGHT</stage_direction>
<scene_description>Early arrivals are coming up , entering the ballroom . The place is crawling with SECRET - SERVICE TYPES in suits .</scene_description>
</scene>
<scene>
<stage_direction>INT. 5TH FLOOR HALLWAY - NIGHT</stage_direction>
<scene_description>Clyde comes down the hallway B.G. , rolling his cart . F.G. , ANGLE FINDS tactical cops with machine guns pouring quietly up the stairs , taking up positions just around the corners , poised and tense . TIGHTEN IN as the TAC LEADER uses a small mirror to peek around the corner and spot Clyde :</scene_description>
<character>TAC LEADER</character>
<parenthetical>( whispering on headset . )</parenthetical>
<dialogue>Subject in sight. Do we take him?</dialogue>
</scene>
<scene>
<stage_direction>INT. ANOTHER STAIRCASE - NIGHT</stage_direction>
<scene_description>Nick , Dunnigan and others are racing up the steps . Dunnigan raises his radio to say yes , but :</scene_description>
<character>NICK</character>
<dialogue>No. Let him go.</dialogue>
<parenthetical>( off Dunnigan 's look . )</parenthetical>
<dialogue>We know where to find him. Let's get to that courtroom.</dialogue>
<scene_description>Dunnigan hesitates - against every instinct in his body .</scene_description>
<character>DUNNIGAN</character>
<dialogue>I hope you know what the fuck you're doing.</dialogue>
<parenthetical>( clicks mic . )</parenthetical>
<dialogue>Negative. We're letting him go. All units hang back. Repeat. We are letting the subject go.</dialogue>
</scene>
<scene>
<stage_direction>INT. 5TH FLOOR HALLWAY - NIGHT</stage_direction>
<scene_description>The cops trade surprised glances . The elevator DINGS . Clyde gets on , the doors close . The cops swarm up the hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - NIGHT</stage_direction>
<scene_description>This all happens fast : Bang - the doors slam open . Nick leads a huge phalanx of cops and FBI in , weapons and flashlight beams stabbing in all directions .</scene_description>
<character>NICK</character>
<dialogue>There.</dialogue>
<scene_description>They race to the judge 's dais - the steel case .</scene_description>
<character>DAVIES</character>
<dialogue>Do n't touch it! Could be motion sensitive!</dialogue>
<scene_description>Davies shoves his way to the front , grabs a small hand - held drill from one of his guys ' tactical vests :</scene_description>
<character>DAVIES</character>
<dialogue>I need light!</dialogue>
<scene_description>Dozens of beams converge . Davies places the drill , goes to work on the case . grind , grind .</scene_description>
<character>VOICE #4</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I have visual. suspect leaving the building. different service exit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY HALL - NIGHT</stage_direction>
<scene_description>Clyde exits a loading dock , gets in his van .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - NIGHT</stage_direction>
<scene_description>grind , grind . the drill taps through . Davies yanks it , feeds a fiber - optic tube into the hole , puts his eye to the eyepiece . He swivels the tube carefully , peering inside .</scene_description>
<character>DAVIES</character>
<dialogue>Crap.</dialogue>
<parenthetical>( glances up . )</parenthetical>
<dialogue>Explosives. Nasty ones.</dialogue>
<character>DUNNIGAN</character>
<dialogue>What? C - 4?</dialogue>
<scene_description>Davies takes his eye from the eyepiece , looks at them .</scene_description>
<character>DAVIES</character>
<dialogue>C - 4 is for girl scouts. This is malglinite. Take out the whole floor above us. maybe this entire corner of the building.</dialogue>
<character>NICK</character>
<dialogue>Can you open it? Disarm it?</dialogue>
<character>DAVIES</character>
<parenthetical>( back to eyepiece . )</parenthetical>
<dialogue>No, we got tripwires. We open this lid, instant karma's gon na get us.</dialogue>
<parenthetical>( keeps scanning . )</parenthetical>
<dialogue>Do n't see a motion sensor. Trigger looks simple. dial a cell phone, incoming call arms the trigger - trigger's set to count down from forty seconds, then boom.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>That call comes in, we have forty seconds to get as far away from this thing as possible.</dialogue>
<character>DUNNIGAN</character>
<parenthetical>( to his men . )</parenthetical>
<dialogue>Alert the mayor's security team. Evacuate those people upstairs - clear that ballroom, go!</dialogue>
<character>NICK</character>
<dialogue>No!</dialogue>
<scene_description>Dunnigan turns on him , instant shouting match :</scene_description>
<character>DUNNIGAN</character>
<dialogue>No? What the fuck are you talking about, this could go off any second!</dialogue>
<character>NICK</character>
<dialogue>He wo n't set it off until that room is full! People are still arriving, red carpet shit, that's at least another half hour!</dialogue>
<character>DUNNIGAN</character>
<dialogue>I will not take that risk!</dialogue>
<character>NICK</character>
<dialogue>You have to!</dialogue>
<scene_description>Beat . Nick , no longer shouting , but intense and fast :</scene_description>
<character>NICK</character>
<dialogue>If I'm him, I've rigged cameras in that ballroom - live video feed - first sign of an evacuation, I trigger the bomb.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>We have to think ahead of this fuck!</dialogue>
<scene_description>Pause . Looks traded .</scene_description>
<character>DAVIES</character>
<dialogue>I'm open.</dialogue>
<character>DUNNIGAN</character>
<dialogue>Okay, Nick. What's the move?</dialogue>
</scene>
<scene>
<stage_direction>INT. LINCOLN/NOMOS CUSTODIAL - NIGHT</stage_direction>
<scene_description>Clyde slams the van door , gets in the Lincoln . He pulls a handheld CLAMSHELL VIDEO MONITOR - it shows a LIVE FEED of people entering the ballroom , mingling as they arrive . Clyde smiles , starts the engine .</scene_description>
</scene>
<scene>
<stage_direction>INT. CITY HALL BALLROOM - NIGHT</stage_direction>
<scene_description>The Mayor enters , waving to everybody , shaking hands .</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S LUBE-AND-DRIVE GARAGE - NIGHT</stage_direction>
<scene_description>The garage door rises . The Lincoln backs in , stops on the hydraulic lift . Clyde gets out , throws the tarp over it . Briefly checks his clamshell . Still plenty of time . He raises the lift a few feet , drops down and crawls under the car into : THE MECHANIC 'S PIT Duplicate controls . He hits the button and the car sinks down atop us , settling to the floor , sealing us into darkness . Beat . A BRIGHT LIGHT turns on - one of those gazillion candlepower flashlights . Clyde aims it and we see : A TUNNEL hewn into the wall of the mechanic 's pit . Just large enough for Clyde to crawl into . He does .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - NIGHT</stage_direction>
<scene_description>Hand - dug , rough dirt held up by two - by - four bracing . A wheeled platform is the transport - Clyde 's on his back , pulling himself along by an overhead rope , hand over hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDER THE PRISON - NIGHT</stage_direction>
<scene_description>Clyde emerges in the suffocating darkness of a sub - basement laid into a foundation that dates back to the Civil War . He crawls free , shining his light as rats scurry in shadows . He 's on his hands and knees at first because the ceiling 's so low . He 's finally able to rise , moving along at a crouch . and emerging into a proper sub - tunnel . Now able to walk normally , he navigates the tunnels and comes to :</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S STAGING AREA - NIGHT</stage_direction>
<scene_description>We 're just below the solitary wing . Clyde has it rigged with all his needs : computer , spare cell phones , various kinds of clothing , even a shelf lined with snacks . He quickly shrugs off his custodian 's outfit , revealing his prison jumpsuit beneath . He gazes up a welded steel ladder -LRB- identical to four others in a row - one for each cell -RRB- . He checks his clamshell one last time , tweaking the bad reception with a relay - ballroom looks full . He clicks off his lamp and clamshell , sets them on a shelf . He goes up the ladder to a hatch in the ceiling .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S CELL - NIGHT</stage_direction>
<scene_description>and enters through a swiveling portal concealed behind the toilet . In deep darkness now , he pulls his cell phone , starts inputting a number - boop . boop . boop . And he freezes . Realizing . There 's somebody in there with him . a silhouette sitting on the floor by the door . The figure reaches out , pushes open the outer door a bit . Faint light spills in , revealing :</scene_description>
<character>NICK</character>
<dialogue>I came to talk. Guess who was n't in his cell? Imagine my surprise.</dialogue>
<character>CLYDE</character>
<dialogue>Imagine mine.</dialogue>
<character>NICK</character>
<dialogue>Beautiful how you played us. Getting yourself tossed into solitary - pre - rigged with exits from all five cells. Whichever one we put you in, you had your bases covered.</dialogue>
<parenthetical>( faint smile . )</parenthetical>
<dialogue>I thought I was such a bad - ass putting you down here. Turns out I was doing what you wanted.</dialogue>
<character>CLYDE</character>
<dialogue>That's how you play. Make the other guy think it's his idea.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You came to talk, so talk.</dialogue>
<character>NICK</character>
<dialogue>Been thinking. If I'd done things differently - made different decisions from the start - we would n't have gotten to this point.</dialogue>
<character>CLYDE</character>
<dialogue>But it happened. And here we are.</dialogue>
<character>NICK</character>
<dialogue>Here we are.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Your decisions put us here too. This mess is on both of us.</dialogue>
<character>CLYDE</character>
<dialogue>You want to hold hands? What's your point?</dialogue>
<character>NICK</character>
<dialogue>We ca n't change decisions we've made. We can only account for decisions we make from here. I know what mine will be.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What about you? You gon na finish dialing that number, or what?</dialogue>
<scene_description>Clyde hesitating , thumb hovering over the number pad .</scene_description>
<character>CLYDE</character>
<dialogue>If I do n't? What are you offering?</dialogue>
<character>NICK</character>
<dialogue>You looking to deal?</dialogue>
<character>CLYDE</character>
<dialogue>I'm willing to listen.</dialogue>
<character>NICK</character>
<dialogue>Okay, here's the deal. The deal is. there is no deal.</dialogue>
<parenthetical>( off Clyde 's look . )</parenthetical>
<dialogue>I told you. No more deals with murderers. I'm sticking to that. That's my decision. It's what you taught me. Strange as it sounds, I'm grateful for the lesson.</dialogue>
<scene_description>Nick rises , steps out - pauses , turns back .</scene_description>
<character>NICK</character>
<dialogue>Your turn. You make the right decision, I'll see what I can do for you. But the wrong decision is one you'll have to live with the rest of your life.</dialogue>
<scene_description>The moment stretches . Clyde poised - all down to this . In the end , he ca n't help himself : Boop - boop - boop - hits send .</scene_description>
<character>CLYDE</character>
<dialogue>I'm sorry.</dialogue>
<character>NICK</character>
<dialogue>Me too.</dialogue>
<scene_description>Nick pushes the barred door shut .</scene_description>
<character>NICK</character>
<dialogue>because like I said, it's a decision you'll have to live with the rest of your life. Which at this point I figure is.</dialogue>
<parenthetical>( glances at watch . )</parenthetical>
<dialogue>. another 35 seconds.</dialogue>
<scene_description>and turns the key in the lock - klatch .</scene_description>
<character>NICK</character>
<dialogue>Check mate.</dialogue>
<scene_description>Clyde hears a SOUND . like a phone ringing - sort of close but not - muffled - like the sound Cantrell heard . Clyde , realization dawning , thrusts his hand out and jerks the cot blanket up , revealing : The steel briefcase under his cot . He glances up to see : Nick gone . Clyde scrambles to his portal , yanks on the handle . CLYDE 'S STAGING AREA -LRB- UNDER THE CELLS -RRB- ANGLE ON : The hatch handle rattles - now padlocked shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S GARAGE/MECHANIC'S PIT - NIGHT</stage_direction>
<scene_description>FAST CUT : Dunnigan thrusts himself out of the tunnel , cops grabbing his arms , pulling him free .</scene_description>
</scene>
<scene>
<stage_direction>INT. SOLITARY WING - NIGHT</stage_direction>
<scene_description>Nick comes through the sally - port at a fast stride , through another door , goes up the steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S CELL - NIGHT</stage_direction>
<scene_description>Clyde wheels around , frantic as a caged tiger - he lunges to the door , rattling the bars . QUICK ANGLES . while Nick pounds faster and faster up staircase after staircase .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLYDE'S CELL - NIGHT</stage_direction>
<scene_description>Clyde - enraged , bellowing - picking up the steel briefcase , swinging it hard against the bars , trying to batter through . And then stopping . A self - awareness returning . Perhaps it 's the Clyde that 's been missing for years - the sane one . Pause . He sets the briefcase down . Stands a moment . He sits down on the briefcase . Calm now . Pulls a SMALL PHOTO from his breast pocket . Gazes at it . It 's his wife and daughter . He stares at them a while . Tucks the photo back in his pocket . Nods .</scene_description>
<character>CLYDE</character>
<dialogue>Well played.</dialogue>
<scene_description>BOOOOM ! The DETONATION is staggering , instantly vaporizing Clyde and the cell he 's in . SOLITARY WING . BLOWING the bars right out of the stone on a WALL OF FLAME that overwhelms the lens . FAST CUTS : CORRIDORS AND STAIRCASES . FLAME HURTLING with express - train force .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PRISON COURTYARD - NIGHT</stage_direction>
<scene_description>and BLASTING TONS OF BRICK AND MORTAR skyward . Nick enters the shot as WE DOLLY BACK WITH HIM , walking away from the building going to dust and rubble B.G. CAMERA PANS HIM AROUND , now following him , as he approaches Davies standing with Iger . Iger is staring , agog :</scene_description>
<character>IGER</character>
<dialogue>Jesus.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Thank God that wing was empty.</dialogue>
<scene_description>A car arriving behind them : Dunnigan getting out , approaching .</scene_description>
<character>IGER</character>
<dialogue>How do I explain this to the city?</dialogue>
<character>DUNNIGAN</character>
<dialogue>I think the Mayor will have your back.</dialogue>
<scene_description>Nick approaches , comes abreast of them . Looks are traded with Dunnigan and Davies . Relief . Fellowship . A touch of sadness . Words are n't needed here . Nick keeps walking , pulls his cell phone , starts dialing . Dunnigan smiles . He knows exactly where Nick 's going .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN STATION PLATFORM - DAY</stage_direction>
<scene_description>LONG LENS : Nick sitting . waiting . An ARRIVING TRAIN moves massively into the shot , pulling into the station . Nick rises . A SQUEAL OF BRAKES , steel on steel . Nick engulfed in a crowd of arriving passengers , people getting off , swirling and jostling all around him , wiping frame . only two faces he wants to see . and there they are . He sweeps his family into his arms . The final moments of this movie are all about faces and joy . and CREDITS BEGIN as we FADE OUT</scene_description>
</scene>
</script> | In a Philadelphia home invasion, Clarence Darby (Stolte) rapes and kills the wife and daughter of Clyde Shelton (Butler), who is forced to watch. Prosecuting Attorney Nick Rice (Foxx) is unable to securely convict Darby. Unwilling to take a chance on lowering his high conviction rate, he makes a deal with Darby, who pleads guilty to a lesser charge and receives a reduced sentence in exchange for testifying against his accomplice, Rupert Ames (Stewart); Ames only intended to steal goods from Shelton and flee, and was unaware of Darby's plan to rape and kill Shelton's wife and daughter. Ames is convicted and sentenced to death, while Darby is released after a few years. Clyde feels betrayed by Rice's actions and the justice system. Ten years later, Ames is executed. Unknown to the prosecutors and witnesses, the drug usually used has been replaced with an anticonvulsant, causing Ames to die painfully. Evidence implicates Darby. An anonymous caller alerts Darby as the police draw near and directs him to a remote location. Clyde, disguised as a police officer, reveals himself as the caller and paralyzes Darby with tetrodotoxin. He straps Darby to a table and video records himself dismembering Darby. When Darby's remains are found, evidence ties his death to Clyde. Clyde willingly surrenders and goes to prison. Rice learns his wife and daughter have been sent the dismemberment video and are traumatized by it. He initially refuses a plea bargain with Clyde, but District Attorney Jonas Cantrell orders Rice to make a deal. Clyde demands a new bed in his cell in exchange for a "confession." In court, Clyde represents himself and successfully argues he should be granted bail, then berates the judge for accepting the legal precedent he cited, believing her too easily convinced, and too eager to let madmen and murderers back on the street. The judge denies bail to Clyde, and cites him for contempt of court. Clyde demands an elaborate steak lunch and a music player be delivered to his cell by a specific time, in return for telling where to find Darby's lawyer, who was reported missing. Rice agrees, though the lunch is delayed by a few minutes by the warden's security measures. Once he has his meal, which he shares with a cellmate, Clyde provides a set of coordinates where Rice and the others find Darby's lawyer, buried alive but suffocated by time-mechanized materials while Clyde's lunch was delayed. As loud music plays in Clyde's cell, he proceeds to kill his cellmate with the bone of his steak, forcing the warden to secure him in solitary confinement. Cantrell arranges a meeting with a CIA contact and brings Rice. They learn Clyde previously worked with the agency, creating imaginative assassination devices and orchestrated intricate lethal tactics against nearly impossible targets. They are warned Clyde can kill anyone anytime he wishes. During a meeting with Rice and Cantrell, the judge dies from an explosive device hidden in her cell phone. Clyde demands all charges against him be dropped or he will "kill everyone". Rice takes precautionary measures instead. After Clyde's deadline passes, a number of Rice's assistants die from car bombs. Rice meets with Clyde in private and beats him. Clyde defiantly tells Rice that he is just beginning to destroy the system and all who believe in it. Leaving the funeral of a colleague, Cantrell is killed by a weaponized bomb disposal robot. The mayor puts the city on lockdown and promotes Rice to acting District Attorney. Rice learns that Clyde owns an auto garage near the prison. A tunnel leads to a cache of guns, disguises, and other equipment below the solitary confinement cells, with secret entrances to each cell. He and Police Detective Dunnigan realize that Clyde wanted to be in solitary confinement all along; this allows him to easily leave the prison without detection, carry out his pre-meditated murders while misleading the police, who have assumed his murders to have been the work of accomplices. Evidence points to Clyde's next target, City Hall, where the mayor is holding an emergency meeting. Rice and his men cannot find Clyde but discover evidence pointing to a cell-phone-activated suitcase bomb in the room directly below the meeting. Clyde returns to his cell. He is surprised to find Rice waiting for him. Clyde suggests another deal, but Rice says he no longer makes deals with murderers, thanking Clyde for teaching him that. Rice warns him to not do anything he will regret, but Clyde's cell phone is ready to be dialed to activate the City Hall bomb. When Clyde dials the phone, Rice leaves immediately. Clyde realizes too late that Rice has moved the bomb to his cell, which is now sealed. Clyde holds his daughter's bracelet, accepting his fate as the bomb explodes, killing him. The epilogue shows Rice watching his daughter in a musical stage performance, an activity for which he previously had difficulty finding time. |
Gold_2016 | tt1800302 | <script>
<scene>
<scene_description>Syntax Warning: Invalid Font Weight BEST ORIGINAL SCREENPLAY Patrick Massett & John Zinman</scene_description>
<character>GOLD</character>
<dialogue>by</dialogue>
<scene_description>Patrick Massett & John Zinman</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE JUNGLES OF INDONESIA - DAY</stage_direction>
<scene_description>A NATIVE slashes through thick foliage, leading a patrol of INDONESIAN MILITARY -- shouted commands and radio chatter. The tribesmen hack through the perimeter of the brush and the party emerges onto the wide silt bank of a muddy river. Suddenly WILD BOAR let out a chorus of squeals and scatter into the brush, and there, splayed on the river bank, we find-- A BODY. One of the soldiers approaches -- the stench is palpable -- the body already decomposing. The soldier finds a wallet, checks the ID -- we don't see the identity. The Soldier speaks into his radio.</scene_description>
<character>SOLDIER</character>
<parenthetical>(Indonesian)</parenthetical>
<dialogue>We have the body...</dialogue>
<scene_description>While from the jungle the eyes of a wild pig can be seen peering out, waiting to resume its meal. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - DAY</stage_direction>
<scene_description>A hand tosses ice into a low ball. Realizes there's no booze. Into the cabinet, finds a stashed bottle. The MAN pours a healthy measure of whiskey. KENNY WELLS (40's), unshaven, takes a long drink, masking his nerves. He is a about an inch from total collapse.</scene_description>
<character>WELLS</character>
<dialogue>Sure I can't pour you one?</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>No, thanks. I'm working.</dialogue>
<scene_description>The VOICE is calm, in control, authoritarian.</scene_description>
<character>WELLS</character>
<dialogue>All the more reason.</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>Wells, sit. We've got a lot to cover.</dialogue>
<character>WELLS</character>
<dialogue>Here I am. Fire away.</dialogue>
<scene_description>Wells raises his glass in a mock toast. He will not be rushed. He's got an easy smile and sparkling eyes -- but his face tells the story of a man acquainted with his whiskey.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>How did you meet Michael Acosta?</dialogue>
<character>WELLS</character>
<dialogue>The first time or the second time?</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>How did you meet him, Wells?</dialogue>
<character>WELLS</character>
<dialogue>You sure you don't want a drink? You're making me nervous.</dialogue>
<scene_description>Wells sits and faces us. Off the silence --</scene_description>
<character>WELLS</character>
<dialogue>April of '88 -- I had three properties crap out on me in six week period.</dialogue>
<scene_description>SIERRA NEVADA RANGE... TILT DOWN to find Reno against it...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RENO, NEVADA - DAY</stage_direction>
<scene_description>SUPER: Reno, Nevada... April, 1988 -- ROULETTE WHEEL SPINNING, reveal it's in a grocery store. -- COWS GRAZING scrubland on the edge of town. -- OLD CASINOS. Dusty ranches. Tourists. Migrant workers. -- A ONE-ARMED BANDIT, with a gun "arm," pays out nickels. ...SLOWLY TIGHTENING as if a dry wind carries us to...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THREE GREENHORNS BAR - MORNING</stage_direction>
<scene_description>A faded watering hole from the boomtown days.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I was on the balls of my ass, scrambling. Not exactly uncharted waters, but I was in pretty deep...</dialogue>
<scene_description>A beat up '79 Caddy Eldorado, covered in a layer of road grime, it's bumper held on with wire, pulls into a spot and dies. For this hour there are already many cars in the lot. Through a smoky haze, Wells stares out, eyes like a Bukowski poem. He's got one lit cigarette as he lights another. Flicks ashes at the ashtray, misses -- a constellation of burn marks.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Ten AM. And I knew the board of directors had already convened.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - CONTINUOUS</stage_direction>
<scene_description>Wells enters like the cock of the walk, back slapping and waving hellos, a well-liked regular. His suit looks like it might have been slept in... more than once. Middle-age men in bad suits with bad hair fill the tables, working phone lines and yellow pads. These are modern-day "prospectors," promoting bottom-feeder mining stocks. Pass a couple regulars -- CONRAD "CONNIE" WRIGHT (40's) and SCOTTIE NEVINS (50's) -- doing more drinking than working. A BARMAID concentrates on scratching a lotto ticket that looks like the slots: Cherry... Cherry... Cherry! The winning amount: $5.00 -- Wells approaches one of the traders, clamping down on his shoulders with both hands, working out the knots. This is BOBBY BURNS (50's), balding, pouring a shot into his coffee.</scene_description>
<character>WELLS</character>
<dialogue>Bobby Burns!</dialogue>
<character>BURNS</character>
<dialogue>Oh yeah, that's the stuff...</dialogue>
<character>WELLS</character>
<dialogue>You boys hear about this cowboy's tombstone that won the contest for Best Tombstone? The 5 Rules To Follow For A Happy Life...</dialogue>
<scene_description>Smiles from the guys at the surrounding tables. They all lean in to listen. Wells clearly loves the attention.</scene_description>
<character>WELLS</character>
<dialogue>One: it's important to have a woman who helps at home, cooks from time to time, cleans up and has a job. Two: it's important to have a woman who can make you laugh. Three: it's important to have a woman you can trust, and doesn't lie to you. Four: it's important to have a woman who is good in bed, and likes to be with you.</dialogue>
<character>WELLS</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Five: it's very important that these four women do not know each other or you could end up dead like me.</dialogue>
<scene_description>Everyone laughs. Wells beams, punctuating the punch-line with a slap on Burns's back. Burns calls out to the barmaid --</scene_description>
<character>BURNS</character>
<dialogue>Whaddayou think, Kay?</dialogue>
<scene_description>KAY is short for KAYLENE, an ex-Jr. Miss Reno, and second runner-up Jr. Miss Nevada. She loves Joe Montana, horses, and Kenny, though in reverse order. Kay's jeans are a half-size too small, not because she's trying to be sexy but because she's happy.</scene_description>
<character>KAY</character>
<dialogue>I'll kill him right now.</dialogue>
<scene_description>More laughter. Wells loudest of all.</scene_description>
<character>WELLS</character>
<parenthetical>(to Burns)</parenthetical>
<dialogue>So, whatcha working? Anything I should know about?</dialogue>
<character>BURNS</character>
<dialogue>Telmerek. Their Aukland stake, the bank called the note. I picked up a bunch of the debt, I gotta flip it before the call.</dialogue>
<character>WELLS</character>
<dialogue>Any bites?</dialogue>
<character>BURNS</character>
<dialogue>Nibbles.</dialogue>
<character>WELLS</character>
<dialogue>Keep throwing that line.</dialogue>
<scene_description>A pat on the arm and he's off to the bar where his double Seagrams is already being poured by ROY BAKER (60's), sweet face that's seen some miles -- like a broken down boxer.</scene_description>
<character>ROY</character>
<dialogue>A little eye opener, Kenny?</dialogue>
<character>WELLS</character>
<dialogue>Breakfast of champions, Roy. Breakfast of champions.</dialogue>
<scene_description>Wells raises his glass in his signature salute.</scene_description>
<character>WELLS</character>
<dialogue>To the mother lode.</dialogue>
<scene_description>Wells pounds the whiskey and WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - BACK BOOTH - LATER</stage_direction>
<scene_description>Wells sits at his "desk" -- the corner booth in the back of the bar. Working one of the two phones on the table. He flicks the ash from his smoke into a half full ashtray.</scene_description>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>...It's an outstanding opportunity, which is why I'm calling you personally. The geologic reports are encouraging and we're taking a very aggressive position. We're looking at yields in the high six figures. A prospectus? ...Of course, I can mail one right out. I should tell you, though - this offering is already oversubscribed. I'm taking out of my own holdings to cover demand but hey, we can always get you in on the next one... I understand. Look, why don't I give you a ring this afternoon and we'll see if there are any parcels left. Well, if you just give me...</dialogue>
<scene_description>Click. Another one that got away.</scene_description>
<character>WELLS</character>
<dialogue>You have a pleasant day...</dialogue>
<scene_description>He hangs up the receiver and grabs his drink, a HAND stops it before it reaches his lips.</scene_description>
<character>KAY</character>
<dialogue>11:15, Kenny.</dialogue>
<character>WELLS</character>
<dialogue>Oh, Christ.</dialogue>
<scene_description>He hops out of the booth. Maybe drinking all morning suddenly not the best idea.</scene_description>
<character>KAY</character>
<dialogue>There's a fresh shirt in the "office."</dialogue>
<character>WELLS</character>
<dialogue>Where would I be without you?</dialogue>
<character>KAY</character>
<dialogue>Sittin' right here.</dialogue>
<scene_description>Wells grabs his briefcase and heads into his adjunct office.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREENHORNS BATHROOM - DAY</stage_direction>
<scene_description>Fresh shirt laid out. Wells gives himself a sink bath. Electric shave. Visine. Gargle of Scope. And WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - MOMENTS LATER</stage_direction>
<scene_description>Wells emerges, transformed, presents himself to Kay.</scene_description>
<character>KAY</character>
<dialogue>It's a miracle.</dialogue>
<character>WELLS</character>
<dialogue>A million bucks?</dialogue>
<scene_description>Her looks says let's not get carried away, but she says:</scene_description>
<character>KAY</character>
<dialogue>Two million.</dialogue>
<scene_description>He drains his drink.</scene_description>
<character>WELLS</character>
<dialogue>I'll come by for you after. We'll celebrate.</dialogue>
<character>KAY</character>
<dialogue>I'll have my dancing shoes on.</dialogue>
<scene_description>Down the bar a NICKEL SLOT MACHINE noisily pays out. They both see this as a good sign.</scene_description>
<character>WELLS</character>
<dialogue>I've got a good feeling about this.</dialogue>
<scene_description>And he's off. And WE GO:</scene_description>
</scene>
<scene>
<stage_direction>INT. COLEMAN & MEAD CAPITAL GROUP - RECEPTION - DAY</stage_direction>
<scene_description>TIGHT ON a PICTORIAL in Northern Prospector. Wells, in the reception of a local investment bank, flipping pages. Flip Flip. Checks his watch, looks at the receptionist, BEV.</scene_description>
<character>WELLS</character>
<dialogue>Any idea how much longer, Bev?</dialogue>
<character>BEV</character>
<dialogue>Shouldn't be too much longer now, Kenny. How you been?</dialogue>
<scene_description>He makes the so-so gesture with his hand. Two bankers enter. LLOYD STANTON (30's) and HENRY ANDREWS, even younger, in nicer suits, with looks on their faces that say, "Let's get this over with." Stanton extends his hand.</scene_description>
<character>STANTON</character>
<dialogue>Mr. Wells, I'm Lloyd Stanton. My colleague Henry Andrews.</dialogue>
<scene_description>Wells puts on a smile and shakes hands.</scene_description>
<character>WELLS</character>
<dialogue>Good to meet you.</dialogue>
<character>STANTON</character>
<dialogue>Come on back.</dialogue>
</scene>
<scene>
<stage_direction>INT. COLEMAN & MEAD CAPITAL GROUP - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Stanton and Andrews take seats at one end of the conference table. Wells stands uncomfortably alone at the other end.</scene_description>
<character>STANTON</character>
<dialogue>What can we do for you?</dialogue>
<character>WELLS</character>
<dialogue>Aren't we waiting for Clive?</dialogue>
<character>STANTON</character>
<dialogue>Mr. Coleman is tied up in a meeting.</dialogue>
<character>WELLS</character>
<dialogue>No offense boys, but I was supposed to be meeting with Clive.</dialogue>
<character>STANTON</character>
<dialogue>None taken. But, if you were supposed to be meeting with Clive you'd be meeting with Clive.</dialogue>
<scene_description>That stung. Wells takes just a moment to recover. Sits. Slaps a smile on his face and slides documents across the table.</scene_description>
<character>WELLS</character>
<dialogue>We're developing some very exciting properties that are spot-on for your investor profile: low buy-in with a sizable upside and the beautiful part is they're all only twelve to eighteen months to cash positive.</dialogue>
<scene_description>Stanton and Andrews listen impassively, scanning the documents.</scene_description>
<character>ANDREWS</character>
<dialogue>Manitoba?</dialogue>
<character>WELLS</character>
<dialogue>We picked up an option on a skipped claim at auction.</dialogue>
<character>ANDREWS</character>
<dialogue>It's a ninety day option.</dialogue>
<character>WELLS</character>
<dialogue>Yes, the window is narrow, but there's an excellent shale formation that...</dialogue>
<character>STANTON</character>
<dialogue>...Natural Gas? Environmental impact's gonna be a bitch. I don't like the liability. What's next?</dialogue>
<scene_description>He dismissively flips the page, leaving Wells to quickly shift gears.</scene_description>
<character>WELLS</character>
<dialogue>Eastern Utah. We're sitting on a nice land-lease opportunity. The overburden is borax rich so there's an immediate revenue source, but the real prize is in the granite under-shelf. Our studies point to rich chromium and nickel deposits.</dialogue>
<character>ANDREWS</character>
<dialogue>There's a pretty long chain of title on this claim. No payouts. What makes you think you're gonna be luckier than all these others?</dialogue>
<character>WELLS</character>
<dialogue>All under capitalized. Never got past development, none of them.</dialogue>
<character>STANTON</character>
<dialogue>Under capitalized? I'm not sure under capitalized does your situation justice.</dialogue>
<scene_description>Wells swallows down another helping of pride and pushes on.</scene_description>
<character>WELLS</character>
<dialogue>We've hit a down turn, yes, true enough, but...</dialogue>
<character>STANTON</character>
<dialogue>...Mr. Wells, Washoe has a practical value hovering just above zero. Your debt load is untenable and you come to us with raw land, no infrastructure, no fungible assets. You can't possibly expect us to underwrite this.</dialogue>
<character>WELLS</character>
<dialogue>I'm talking about a small offering here. If you'll just look at the geo you'll see what I see, which is money.</dialogue>
<scene_description>Stanton looks him in the eye. A beat.</scene_description>
<character>STANTON</character>
<dialogue>Not our money.</dialogue>
<scene_description>He closes the documents with an air of finality.</scene_description>
<character>STANTON</character>
<dialogue>We can't help you, Mr. Wells.</dialogue>
<character>WELLS</character>
<dialogue>These are jackpot, gentlemen. You back away from these - these are career changing opportunities.</dialogue>
<scene_description>Stanton rises from his chair.</scene_description>
<character>STANTON</character>
<dialogue>If you'll excuse us.</dialogue>
<character>WELLS</character>
<dialogue>I want to talk to Clive!</dialogue>
<scene_description>Wells stands, his already red face flushing, every broken capillary showing like battle scars.</scene_description>
<character>WELLS</character>
<dialogue>My father put Clive Coleman on the map. He built this goddamn bank!</dialogue>
<character>STANTON</character>
<dialogue>You are not your father, Mr. Wells.</dialogue>
<scene_description>Like a dagger. Wells stands stunned by the statement.</scene_description>
<character>STANTON</character>
<dialogue>Bring us something we can sell and we'll talk.</dialogue>
<character>WELLS</character>
<dialogue>These are good properties.</dialogue>
<character>STANTON</character>
<dialogue>They're crap, Wells. Played out hand- me-downs. I'd be embarrassed to even talk to my clients about them. Andrews...</dialogue>
<scene_description>Stanton slides the documents across the table at Wells.</scene_description>
<character>STANTON</character>
<dialogue>Is there anything else?</dialogue>
<scene_description>Wells gathers up his papers.</scene_description>
<character>WELLS</character>
<dialogue>Yeah. Go fuck yourself.</dialogue>
<scene_description>He grabs his bag and walks out with as much dignity as he can muster. Stanton watches him go. He knows he did his job, he kicked Wells's ass, but it doesn't mean he has to feel good about it. There but by the grace of God... Andrews, on the other hand, is smiling, misreading his boss.</scene_description>
<character>ANDREWS</character>
<dialogue>Not even noon and the guy reeks like a still.</dialogue>
<character>STANTON</character>
<dialogue>Shut up, Andrews.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. WELLS'S CAR - CONTINUOUS</stage_direction>
<scene_description>Wells on the street. Tracking with him. Walk of shame. Door slams. Leans back in his car seat. Trembling.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>That had to be the worst day of my life.</dialogue>
<scene_description>WE PULL IN CLOSE on Wells's face, panic rising in his eyes... DISSOLVE TO: AN AMBER STREAM OF SEAGRAMS splashing over a tumbler of ice.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I'd lost my house and was living at Kay's. We were pretty close to losing that, too.</dialogue>
<scene_description>PULL BACK TO REVEAL WE ARE...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RENO NEIGHBORHOOD - DUSK</stage_direction>
<scene_description>A street of small tract homes. A nice little neighborhood forty years ago, now it feels a lot like the people who live here -- tired and in need of attention. It's getting dark, that moment the night and soul closes in.</scene_description>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - LIVING ROOM - EVENING</stage_direction>
<scene_description>The place is small and reflects a woman's touch, just the slightest bit girly. Everything worn, humble, but maintained. On the counter, we see a mess of BILLS, mostly RED NOTICES -- Phone. Electric. Gas. Car. Wells sits on the edge of the sofa, talking on the phone, pitching for his very life.</scene_description>
<character>WELLS</character>
<dialogue>...we're looking at yields in the high six figures... Yes, that's right. Kenny Wells. Washoe Mining. I spoke to your wife last week.</dialogue>
<scene_description>A SERIES OF DISSOLVES. MORE WHISKEY -- as much spills on the table as makes it into the glass. On the table, a pretty good dent in the bottle.</scene_description>
<character>WELLS</character>
<dialogue>...I'm taking out of my personal holdings to cover demand... Could you hold on a sec, I've got to take this call...</dialogue>
<scene_description>IT'S DARK NOW Wells is now slumped in an armchair. He muzzles the phone and reaches for his drink.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>Washoe Mining, the company my grandfather scratched out of the side of a Nevada mountain, that my father built into a real player.</dialogue>
<scene_description>He drinks with a shaky hand. Steadies, and downs the rest.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>...It only took me five years to run it into the ground.</dialogue>
<scene_description>He's blind drunk, struggling to get his mouth around the words. The fight has gone out of him...</scene_description>
<character>WELLS</character>
<dialogue>If you could just let me know when a good time would be for us to sit down, I'm sure you would see...</dialogue>
<scene_description>But that's as far as he gets. The hum of the dead line. He sets the phone down, leans his head against the cold window and closes his eyes. His breath fogs the glass instantly.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>At the close of that day, Washoe was trading at four cents a share - if it was trading at all...</dialogue>
<scene_description>He pulls a cig, last in the pack. Fire flares in his eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - DAY (PRESENT)</stage_direction>
<scene_description>Hand, cigarette, fire, a deep inhale. Wells's eyes -- turning his attention back to the off-screen voice.</scene_description>
<character>WELLS</character>
<dialogue>Rock bottom, as they say. Pun intended.</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>You're avoiding the question, Mr. Wells. How was the Indonesian venture with Acosta initiated?</dialogue>
<scene_description>Wells leans back in his chair, a challenge in his expression. If we want the story, we're gonna have to indulge him awhile.</scene_description>
<character>WELLS</character>
<dialogue>Relax. I'm getting there.</dialogue>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - NIGHT</stage_direction>
<scene_description>Kay walks into the house, still in her sales vest, with its name tag - "Hi! I'm Kay!" - looking for Wells...</scene_description>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>...who she finds passed out on the sofa. She takes in the prospectus papers all over the floor, the bottle of Seagrams, mostly drained. She stores her tips. Lights one of Kenny's cigarettes. Pours a drink. Puts on some music. Through thin curtains sees a neighbor dragging a trash can around the side of the house. Kay flops back on the couch next to Wells. He realizes she's home and sorta half sits up.</scene_description>
<character>WELLS</character>
<dialogue>Oh Kay. What are we gonna do? Kay?</dialogue>
<character>KAY</character>
<dialogue>Just shush...</dialogue>
<scene_description>And he sags against her, head on her shoulder.</scene_description>
<character>WELLS</character>
<dialogue>What are we gonna do?</dialogue>
<character>KAY</character>
<dialogue>We'll get by, baby. We always do.</dialogue>
<scene_description>His eyes have eased shut. Which she looks sideways and sees. She sighs, leans her head back, takes a sharp pull on her cig and blows smoke up at the ceiling. And we look down at the tableau through the smoke.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I had a half a gallon of Seagrams in me. I should've been dead. But I wasn't. Instead, what happened was I had a dream. I mean, literally. I had a dream.</dialogue>
<scene_description>Camera pushes down, tightening on Wells...</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Indonesia...</dialogue>
<scene_description>Closing on Wells's sleeping eyes. And suddenly WE ARE --</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - DAY</stage_direction>
<scene_description>WE SOAR above the jungle canopy, diving down through the lush foliage, emerging atop a jagged ridge overlooking -- A PRISTINE JUNGLE VALLEY. A shimmering river winds through. Everything is bathed in BRILLIANT GOLDEN LIGHT, breathtaking.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I met Mike Acosta years earlier. That was the first time. I still had a little money then and Indonesia was booming. I was looking for a way to get in...</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNGLE RIVER - DAY</stage_direction>
<scene_description>Boots splashing through a shallow creek. A HAND scoops into shallow moving water and pulls up a fistful of silt. A figure silhouetted in jungle. SUPER: INDONESIA - 1982</scene_description>
<character>WELLS (V.O)</character>
<dialogue>...Back then, if you were aiming to put a hole in the ground in Indonesia, you wanted Mike Acosta telling you where to dig.</dialogue>
<scene_description>TIGHT ON miners carrying bags of ore up wooden ladders.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>He was what they called a "River Walker." A hands-on geologist. The real deal: Oxford college, MIT.</dialogue>
<scene_description>And AT THE TOP FIND MIKE ACOSTA, 30's, giving orders, squinting against the light, something regal in his bearing.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Mom was Venezuelan. Dad, English. Left when he was little. That's always tough.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAKARTA HOSTESS BAR - NIGHT</stage_direction>
<scene_description>Diaphanously clad HOSTESSES lounge with businessmen. Racy as hell for a Muslim country. Everyone sweating cheap booze. Acosta holds court at a corner table. Prospectors hang on every word. Chief among them Kenny Wells.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>He'd just discovered the largest copper strike in Southeast Asia and everyone wanted a piece of him. And for a half-English guy, his teeth weren't all that messed up.</dialogue>
<scene_description>Acosta dumps an ashtray on the table, scatters the contents, using ashes and burning embers to illustrate his point.</scene_description>
<character>ACOSTA</character>
<dialogue>You got the Nazca plate off South America, the Pacific plate, Juan de Fuca, North American, South American. You've got trenches, fissures and fault lines - Aleutian, Marianas, Tonga - the plates rubbing and grinding up on each other - six trillion kilobars of pressure, ten thousand degrees Celsius kicking up geothermic hot spots all along the Pacific Rim.</dialogue>
<scene_description>He takes them all in with a rogue's smile... An INDONESIAN GIRL, who understands no English, hangs on his every word.</scene_description>
<character>ACOSTA</character>
<dialogue>Pressure, heat and time. And there's no better cooker than right here.</dialogue>
<scene_description>Is he talking about geology now, or where his hand is resting on the back of the thigh of the Indonesian girl?</scene_description>
<character>WELLS (V.O)</character>
<dialogue>He called it the "Ring of Fire" theory. And he definitely had everyone's attention.</dialogue>
<character>ACOSTA</character>
<dialogue>It's how I found the copper, and it's why I'll find the gold.</dialogue>
<scene_description>Find Wells nodding along, smitten.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>I was too small-time to really get his ear, but I kept tabs on him... And then I had the dream.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - VARIOUS - MORNING</stage_direction>
<scene_description>Still drunk, Wells digs through junk piled in a disused room that houses an old broken down jacuzzi. An empty pool outside in a concrete yard. He searches a milk crate with items from a long ago move. Finds an old business card -- MICHAEL ACOSTA.</scene_description>
<character>WELLS</character>
<dialogue>Okay, okay. Here we go.</dialogue>
<scene_description>Now he moves to a dresser, a JEWELRY BOX sits on top. A glance to the sleeping Kay. And he opens the box. He pulls out an ANTIQUE PAVE DIAMOND AND GOLD LADIES PENDANT WATCH. Kay stirs and Wells slips the watch into his pocket.</scene_description>
<character>KAY</character>
<parenthetical>(sleepy)</parenthetical>
<dialogue>You're up early.</dialogue>
<scene_description>He gives her a kiss goodbye which turns into a real kiss as she pulls him down.</scene_description>
<character>KAY</character>
<dialogue>You wanna talk about yesterday?</dialogue>
<character>WELLS</character>
<dialogue>I've got a plan. I've gotta go.</dialogue>
<character>KAY</character>
<dialogue>Kenny, listen. Carl had an idea...</dialogue>
<character>WELLS</character>
<dialogue>Carl? American Home Carl?</dialogue>
<character>KAY</character>
<dialogue>He said he could get you on, for a while, if you wanted.</dialogue>
<character>WELLS</character>
<dialogue>I... I don't know... I'm not really --</dialogue>
<character>KAY</character>
<dialogue>I bought everything you're selling and I'm no fool. You could sell ice to Eskimos.</dialogue>
<character>WELLS</character>
<dialogue>I don't know, babe. Let me get back from this trip.</dialogue>
<character>KAY</character>
<dialogue>It'd be temporary. Just til the market turns.</dialogue>
<parenthetical>(a real proposal)</parenthetical>
<dialogue>We could fool around in the warehouse. A moment as he looks at her. All sorts of things going on in there. It's love. And the certainty she's with him. Always.</dialogue>
<character>WELLS</character>
<dialogue>I'll be back soon, a week at most. If it doesn't pan out, I'll talk to Carl.</dialogue>
<character>KAY</character>
<dialogue>Wait. What? Back from where?</dialogue>
<scene_description>And he's gone. Kay gets up, mystified, about to go after him when she sees the open jewelry box. Her watch is gone.</scene_description>
<character>KAY</character>
<dialogue>Dammit, Kenny--!</dialogue>
</scene>
<scene>
<stage_direction>INT. PAWN SHOP - DAY</stage_direction>
<scene_description>A GOLD ROLEX PRESIDENTIAL sliding off a wrist. It's placed on a counter, followed by a diamond pinky ring, sapphire cuff links and Kay's pendant watch. A ROLL OF CASH changes hands.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I didn't think twice. I was on my way.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAWN SHOP - DAY</stage_direction>
<scene_description>Pushing as Wells exits, counting his money, wiping frame...</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>It was like I was being called. It was the gold calling. I know that sounds crazy, but if you knew that feeling... If you knew...</dialogue>
<scene_description>As a PASSENGER JET TAKES OFF just over the pawn shop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAKARTA, INDONESIA - ESTABLISHING - MORNING</stage_direction>
<scene_description>The city sparkles -- it's a collision of tradition and technology; tall towers and shanty towns; soaring wealth and crushing poverty. There's something electric about it. Super: JAKARTA, INDONESIA WE FIND Wells entering one of the finest hotels in the world.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAKARTA PALACE HOTEL - AFTERNOON</stage_direction>
<scene_description>Lavish. Everything the name implies. Wells on a house phone. One cigarette smolders in an ashtray as he lights another.</scene_description>
<character>WELLS</character>
<dialogue>Yeah, Mike, it's Kenny Wells. I'm in the lobby of the Jakarta Palace... leaving another message. We must have gotten our wires crossed about the time. Look, I have a few other meetings, I'll try and move things around. Give me a jingle, okay?</dialogue>
<scene_description>He hangs up. He checks where his watch would be. Asks a passing waiter the time. Still no Acosta. He drinks. Drags on his smoke and burning ash falls on his jacket, making a hole.</scene_description>
<character>WELLS</character>
<dialogue>Goddammit.</dialogue>
<scene_description>He starts to furiously brush it off when he hears --</scene_description>
<character>ACOSTA (O.S.)</character>
<dialogue>Wells?</dialogue>
<scene_description>And there's ACOSTA. Calm and confident and smiling.</scene_description>
<character>WELLS</character>
<dialogue>Hey, Mike! Thanks for coming. It's good to see you again.</dialogue>
<scene_description>Does Acosta remember him? Maybe. A hustler trying his best not to look needy. Disapproving eyes from around the clubby lobby.</scene_description>
<character>ACOSTA</character>
<dialogue>I know a local place, a bit more color, if you know what I mean.</dialogue>
<character>WELLS</character>
<dialogue>What, they're not pouring here?</dialogue>
<scene_description>Then Acosta remarks something in Indonesian and a lobby clerk snaps obsequiously, ushers them toward the lounge.</scene_description>
<character>WELLS</character>
<dialogue>Now you're talking, Mike.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAKARTA PALACE HOTEL - LOBBY - LATER</stage_direction>
<scene_description>A discreet bar cart navigates a lounge area now packed with Jakarta's international business elite.</scene_description>
<character>WELLS (O.S.)</character>
<dialogue>...So this salesman goes up to a house and knocks on the front door. It's opened by a ten year-old boy who has a lighted cigar in one hand, a glass of whiskey in the other and a Penthouse magazine tucked under his arm. Salesman: "Hello son. Is your mom or dad home?" The little boy: "What the fuck do you think?"</dialogue>
<scene_description>Wells laughs loud. A BARMAN mixes their drinks. Acosta takes his, glances at his watch.</scene_description>
<character>ACOSTA</character>
<dialogue>So, Kenny, what are we talking about?</dialogue>
<character>WELLS</character>
<dialogue>Ring of fire, Mike. Ring of fire.</dialogue>
<scene_description>Acosta gives a little laugh.</scene_description>
<character>ACOSTA</character>
<dialogue>You're playing my greatest hits, now. Fire's gone out of that one.</dialogue>
<character>WELLS</character>
<dialogue>What are you talking about?</dialogue>
<character>ACOSTA</character>
<dialogue>Ring of fire hasn't been proven. It's the opinion of my fellow esteemed geologists that the whole thing is, quoting here, a crock of shit.</dialogue>
<scene_description>Wells takes a moment, the wheels turning, then...</scene_description>
<character>WELLS</character>
<dialogue>Well, what the hell? You called it wrong, what are you gonna do?</dialogue>
<scene_description>Acosta shoots a look.</scene_description>
<character>ACOSTA</character>
<dialogue>In this game there is no right or wrong, there's only hits and misses.</dialogue>
<character>WELLS</character>
<dialogue>So, you still think you're right?</dialogue>
<character>ACOSTA</character>
<dialogue>I don't think I'm right. I know I'm right. There's gold here.</dialogue>
<character>WELLS</character>
<dialogue>I'm happy you said that, Mike. I truly am. I believe you.</dialogue>
<character>ACOSTA</character>
<dialogue>I hate to dash your hopes, but don't you think others have come along before you, with the same thought and, from the looks of it, deeper pockets?</dialogue>
<character>WELLS</character>
<dialogue>Ring of fire is real. I knew it the minute I heard it. It was like a lightning strike. I never forgot it.</dialogue>
<scene_description>Acosta laughs. He can't help it.</scene_description>
<character>WELLS</character>
<dialogue>Go ahead and laugh. I'm used to it. But hear this, I don't just believe, I know.</dialogue>
<character>ACOSTA</character>
<dialogue>No one will back me on this one.</dialogue>
<scene_description>Wells mixes them both two more strong ones.</scene_description>
<character>WELLS</character>
<dialogue>I will. I'll get the money.</dialogue>
<character>ACOSTA</character>
<dialogue>You look like you had to rob someone to get here.</dialogue>
<character>WELLS</character>
<dialogue>Tell me where you want to dig, Mike, and I'll make sure the bills are paid.</dialogue>
<character>ACOSTA</character>
<dialogue>You roll in here like we're old pals? I'm a mirage, mate. You know jack shit about who I am.</dialogue>
<character>WELLS</character>
<dialogue>You know it's out there. I can see it in your eyes. You still believe.</dialogue>
<scene_description>As Wells says this, we can see Acosta start to believe, maybe for the first time in a while.</scene_description>
<character>WELLS</character>
<dialogue>I get it. I was born on the side of a mountain, too. My father scraped everything he had out of the rocks. He died with dirt under his fingernails. I intend to do the same.</dialogue>
<scene_description>Acosta just might be wavering. Wells won't let him get away.</scene_description>
<character>WELLS</character>
<dialogue>This business wrote me off years ago, and maybe you're not running a hot hand... Let's prove 'em wrong. Prove all of them wrong. And you know why? 'Cause Ring of Fire is right. Tell me I'm crazy, I'll be on the next plane.</dialogue>
<scene_description>Acosta is inscrutable. Wells waits, sweating. Finally:</scene_description>
<character>ACOSTA</character>
<dialogue>You're crazy.</dialogue>
<scene_description>Acosta rises from the table. He tosses cash down and brushes past, leaving Wells like a raft with a hole in it.</scene_description>
<character>ACOSTA (O.S.)</character>
<dialogue>Do you have a hat?</dialogue>
<scene_description>DISCOVER Acosta has stopped behind Wells with a kind of this is the dumbest thing I'll ever do expression.</scene_description>
<character>WELLS</character>
<dialogue>Yeah, I got a hat.</dialogue>
<scene_description>But Wells is starting to smile.</scene_description>
<character>ACOSTA</character>
<dialogue>Good. I'm taking you upriver.</dialogue>
<character>WELLS</character>
<dialogue>What river is that, Mike?</dialogue>
<character>ACOSTA</character>
<dialogue>The only one that matters.</dialogue>
<scene_description>Acosta walks out. Wells drains his drink. And WE GO...</scene_description>
</scene>
<scene>
<stage_direction>EXT. TALKING BIRD FISHING VILLAGE - DAY</stage_direction>
<scene_description>A fishing village on market day. Talking birds, snake gazers, and WELLS, weekend sporty, exiting a cab. The DRIVER yells and points toward the river. Everyone wants to sell him something. He sees Acosta waiting by a traditional freighter canoe with the long-shaft outboard. The boatman, OBB, smokes a cigarette.</scene_description>
<character>ACOSTA</character>
<dialogue>You're late. This is Obb.</dialogue>
<scene_description>Wells eyes the boat warily.</scene_description>
<character>WELLS</character>
<dialogue>That thing gonna make it?</dialogue>
<character>ACOSTA</character>
<dialogue>Let's hope so.</dialogue>
<parenthetical>(messing with him)</parenthetical>
<dialogue>Ever seen a Borneo pit viper?</dialogue>
<character>WELLS</character>
<dialogue>Well I tell you, Mikey, I feel like I've met a few --</dialogue>
<character>ACOSTA</character>
<dialogue>Drop out of the trees. Good swimmers, no bigger than this...</dialogue>
<parenthetical>(hands 12 inches apart)</parenthetical>
<dialogue>But if one gets you, find a phone, call your loved ones.</dialogue>
<scene_description>Wells looks around. A few native faces. Huts. No phones.</scene_description>
<character>WELLS</character>
<parenthetical>(re: their boat)</parenthetical>
<dialogue>I went on the exact same thing once at Weeky-Watchee.</dialogue>
<scene_description>Wells hops on the freighter canoe, rocking the shit out of it.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. FREIGHTER CANOE - KENSANA (KIN-SANA) RIVER - DAY</stage_direction>
<scene_description>Obb pulls away from the pier. Wells watches "civilization" disappear behind a bend. And suddenly DAYAK TRIBESMEN panning for gold. In 300 yards, they've gone 5000 years back in time.</scene_description>
<character>ACOSTA</character>
<dialogue>The Dayak have been panning this river for thousands of years. That's how it got it's name, "Daya Kensana."</dialogue>
<scene_description>Acosta lets that hang there, like a tease.</scene_description>
<character>WELLS</character>
<dialogue>Daya Kensana?</dialogue>
<character>ACOSTA</character>
<dialogue>The word, Daya, actually means upstream... Kensana means gold.</dialogue>
<scene_description>Wells can't contain his smile.</scene_description>
<character>WELLS</character>
<dialogue>Upstream Gold?</dialogue>
<character>ACOSTA</character>
<dialogue>That's its name.</dialogue>
<character>WELLS</character>
<dialogue>You gotta be shittin' me. If I had invented it, I wouldn't have had the balls to name it that.</dialogue>
<scene_description>ANGLES ON THE JOURNEY Natives pass in a canoe going the other way; wildlife along the shore; ANGLES from shore, poo rafts next to clothes washing next to teeth brushing. Wells staring. A snake drops and swims through the water. Wells coolly lights a cigarette. RISE UP TO SEE the freighter canoe tiny with a white wake, the river golden in color, bisecting an endless green canopy. Wells POVs. Sun and jet lag. The steady buzz of the prop. Peering from under his hat, water rolling by. His eyes fight it, then shut. Then Acosta is shaking him awake. River narrower and darker under overhanging trees.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENSANA RIVER LANDING - DAY</stage_direction>
<scene_description>The boatman pulls up at a muddy bank. A faint trail goes up into jungle. Acosta hops ashore and Wells follows.</scene_description>
<character>ACOSTA</character>
<dialogue>So, listen... the Dayak are warrior people. Probably best known for Ngayau... headhunting.</dialogue>
<character>WELLS</character>
<dialogue>What the fuck?</dialogue>
<character>ACOSTA</character>
<dialogue>They believe all of a man's power is centered in his head. So they take the head. Doesn't happen much anymore, but they're probably around thinking we're traders or someone's mother-in-law.</dialogue>
<scene_description>Suddenly Wells freezes. There are FACES in the leaves, watching them. Then Wells realizes Acosta has vanished up a dense trail. Wells nearly runs after him. Acosta stands. He has attached a heavy coconut to the end of a bamboo stick. He tests its weight on the ground. THUMP. Then sets out again. Thump Thump Thump.</scene_description>
<character>WELLS</character>
<dialogue>Okay, I'll bite. What is that?</dialogue>
<character>ACOSTA</character>
<dialogue>It makes the king cobras and pythons think an elephant is coming.</dialogue>
<scene_description>Wells watches every footfall. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE STOPPING POINT - DAY</stage_direction>
<scene_description>Light filters from high in the canopy. THUMP THUMP THUMP. The coconut vibrates the earth. Wells follows, drenched in sweat.</scene_description>
<character>WELLS</character>
<dialogue>Getting a world-class case of crotch rot back here.</dialogue>
<parenthetical>(continues, then)</parenthetical>
<dialogue>Jesus... How long..?</dialogue>
<scene_description>He stops.</scene_description>
<character>ACOSTA</character>
<dialogue>Forty million years. For the geology to cook. Then we come along and take it.</dialogue>
<character>WELLS</character>
<dialogue>I meant --</dialogue>
<character>ACOSTA</character>
<dialogue>I know what you meant, Wells. But imagine being asked to give up something you've been hoarding for 40 million years? This jungle will test you, Wells. Hold you up, weigh you, and decide your worth within an ounce.</dialogue>
<character>WELLS</character>
<dialogue>Do you always talk like this? Like a book on tape.</dialogue>
<character>ACOSTA</character>
<dialogue>I suppose I do. Do you listen to books on tape, Wells? Ken Fol-let... Louis L'Amour... Ed-gar Rice Bur-roughs?</dialogue>
<scene_description>He's really made a meal of those pulp names.</scene_description>
<character>WELLS</character>
<dialogue>Where are we going, Acosta?</dialogue>
<scene_description>A no look point back over his shoulder --</scene_description>
<character>ACOSTA</character>
<dialogue>Up. I want to show you something.</dialogue>
<character>WELLS</character>
<dialogue>Up? How far up?</dialogue>
<character>ACOSTA</character>
<dialogue>Six, seven miles tops. Watch your step.</dialogue>
<scene_description>Wells looks up. If there's a way, only Acosta can see it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - TOP OF THE RIDGE - AFTERNOON</stage_direction>
<scene_description>Acosta emerges from the foliage into a clearing. Wells struggles up after -- Acosta stands on the edge, staring out like a man who's come home. Wells is bent over, sucking air, drowning in sweat...</scene_description>
<character>ACOSTA</character>
<dialogue>Take a look.</dialogue>
<scene_description>Wells looks out and is instantly spellbound -- it's JUST LIKE HIS DREAM. GOLDEN LIGHT sparkles over a pristine valley. The KENSANA RIVER snaking around, smoke from a small village on the river far in the distance.</scene_description>
<character>WELLS</character>
<dialogue>My God, it's just like my dream.</dialogue>
<character>ACOSTA</character>
<dialogue>There have been a few folks up here tapping over the years but they've all focused on the foothills far to the south, drawn by the basalt overlay.</dialogue>
<scene_description>He points to an area on the opposite side of the valley.</scene_description>
<character>ACOSTA</character>
<dialogue>What interests me is the other way, on the east bank, up from the river. That small depression, like a giant left a footprint walking away.</dialogue>
<scene_description>Far away we see limestone features we will recognize from the "Washoe site." True excitement in Acosta's voice --</scene_description>
<character>ACOSTA</character>
<dialogue>Those limestone structures are 300 million years old, the pale color comes from skeletons of tiny sea creatures. But the placer gold I've recovered there is much older. Something happened there, Wells. Something hot and angry. That's where we'll find the tasty bits.</dialogue>
<scene_description>But Wells is barely listening. He's transfixed.</scene_description>
<character>WELLS</character>
<dialogue>My dream... It's out there...</dialogue>
<character>ACOSTA</character>
<dialogue>Damn right it is.</dialogue>
<scene_description>Two men together, staring out at their destiny, and WE GO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENSANA VILLAGE - DUSK</stage_direction>
<scene_description>A small village on the river. A vendor scoops rice onto flat leaves, grilling some kind of meat over an open fire. He puts the two portions up on a flat board. Wells goes for his wallet. Acosta stops him, producing a small pouch. He removes a pinch of GOLD DUST, sprinkles it on a scale on the vendor's cart.</scene_description>
<character>ACOSTA</character>
<dialogue>Coin of the realm around here.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>When you think about it, Gold is utterly useless. Copper, Iron, Beryllium, Palladium, Bismuth, these are metals you can do something with. But the one that's good for nothing is the one that everybody wants. Does have a quality though. When you hold it in your hand, it does something to you.</dialogue>
<scene_description>Weights are adjusted, a little more dust -- no one can take their eyes off the sparkling gold.</scene_description>
<character>WELLS</character>
<dialogue>Like get you to spend your whole life looking for it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENSANA VILLAGE - DUSK</stage_direction>
<character>ACOSTA</character>
<dialogue>...so the lease is currently held by a Brazilian company.</dialogue>
<scene_description>Acosta sits comfortably, eating. Wells searches his pockets, finds a couple of mini-bar bottles of scotch, and a packet of airplane peanuts. Offers one of the bottles to Acosta.</scene_description>
<character>WELLS</character>
<dialogue>Only chance you got of surviving what's in that bowl of microbes.</dialogue>
<character>ACOSTA</character>
<dialogue>...They're looking to unload it cheap - getting buried on some Kazakh venture.</dialogue>
<scene_description>Wells finds some peanuts from the plane. Eats them.</scene_description>
<character>WELLS</character>
<dialogue>You know, Mikey, I'm starting to love how you talk. And the first thing I'm gonna do is move some paper.</dialogue>
<character>ACOSTA</character>
<dialogue>None of the big guys will touch us.</dialogue>
<scene_description>In Wells we see a touch of the old confidence returning.</scene_description>
<character>WELLS</character>
<dialogue>You want to raise money from the big boys, from Harvard endowment or some pension fund, I am not your guy. But the little guys, the guys you've never heard of... those are my guys. How much do we need?</dialogue>
<character>ACOSTA</character>
<dialogue>Seven, seven-fifty to start.</dialogue>
<scene_description>Ouch... Wells takes a beat to re-focus.</scene_description>
<character>WELLS</character>
<dialogue>But how much are we gonna need?</dialogue>
<character>ACOSTA</character>
<dialogue>It's not just the lease. We must first procure a permit, which in Indonesia means lining pockets. There are capital costs, too. Equipment. You don't just do this with a couple shovels and a pick-axe.</dialogue>
<character>WELLS</character>
<dialogue>I'll get the money. Whatever it takes.</dialogue>
<scene_description>Wells is about to wipe his face with his NAPKIN, but has a sudden idea. He pulls out a pen and quickly scribbles something down on it then slides the napkin over to Acosta.</scene_description>
<character>ACOSTA</character>
<dialogue>What's this?</dialogue>
<character>WELLS</character>
<dialogue>A contract. Read it. Sign it.</dialogue>
<scene_description>Acosta looks over what Wells has written on the napkin. They share a look -- a moment. WE DON'T SEE WHAT'S ON THE NAPKIN.</scene_description>
<character>ACOSTA</character>
<dialogue>Fair enough.</dialogue>
<character>WELLS</character>
<dialogue>We got a deal?</dialogue>
<scene_description>Acosta signs and sticks his hand out to Wells. They shake.</scene_description>
<character>ACOSTA</character>
<dialogue>Deal.</dialogue>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - DAY</stage_direction>
<character>WELLS</character>
<dialogue>For the first time in my life, I was selling something I believed in. I could feel it in my bones.</dialogue>
<scene_description>Wells up, remembering the energy. Reveal more of the space: a pastiche of several eras, kind of a luxury camp mixed with a whorehouse.</scene_description>
<character>WELLS</character>
<dialogue>Any real salesman will tell you...</dialogue>
<character>VOICE (O.S.)</character>
<dialogue>Mr. Wells, please sit down.</dialogue>
<scene_description>The voice belongs to PAUL JENNINGS, early 40s, buttoned-down shirt, conservative suit, but a fun tie that was probably a gift. A tape recorder is on the table. Two other men, BANKS and LEVINE, both 30's, skeptical, watch as Wells takes his seat again.</scene_description>
<character>WELLS</character>
<dialogue>...If you believe it, you can sure as shit sell it.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - MORNING</stage_direction>
<character>BURNS</character>
<parenthetical>(braying into the phone)</parenthetical>
<dialogue>Hell yeah it's risky...</dialogue>
<scene_description>Bobby Burns standing mid-pitch.</scene_description>
<character>BURNS</character>
<dialogue>I'm being straight here. But hey, no risk, no reward, right?</dialogue>
<scene_description>It's the usual crowd, but the mood is electric. Everyone's working the phones, telling versions of the same story.</scene_description>
<character>CONNIE</character>
<dialogue>Acosta! Largest copper strike in history. Yeah, that guy. We got him --</dialogue>
<character>NEVINS</character>
<dialogue>Platinum resume. Pla-ti-num. Oxford. MIT. That's right: The Copper King --</dialogue>
<character>BURNS</character>
<dialogue>Kin-sana. Indonesia. It literally means River of Gold. No, I'm not fucking kidding.</dialogue>
<scene_description>Camera finding Wells AT THE BAR with his own phone, taking in snippets of the phone pitches.</scene_description>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>It's a 20k minimum buy-in and shares are flying off the shelf.</dialogue>
<scene_description>Kay, passing with a tray of drinks, as Kenny tries to pull her over. She shrugs out of his grasp and continues on.</scene_description>
<character>WELLS</character>
<dialogue>Babe, this is fucking crazy --</dialogue>
<character>BURNS</character>
<dialogue>Going like hotcakes. Hotcakes!!</dialogue>
<scene_description>Connie covering the mouthpiece, interrupts over --</scene_description>
<character>CONNIE</character>
<dialogue>I'm batting 500. BabeFuckingRuth. Every other call, Kenny.</dialogue>
<character>WELLS</character>
<dialogue>Keep throwing the line.</dialogue>
<parenthetical>(into phone)</parenthetical>
<dialogue>The best. What'd I tell you? The best.</dialogue>
<parenthetical>(calling to Kay)</parenthetical>
<dialogue>Babe, shine those dancing shoes, get 'em ready --</dialogue>
<scene_description>She flips him off. It's not a forever anger, but she's angry.</scene_description>
<character>ACOSTA (O.S.)</character>
<dialogue>We don't even have the exploration rights. What are they selling?</dialogue>
<character>WELLS</character>
<dialogue>They're selling the story, Mike. And right now, the story is you. Hey, speaking of which, what are you doing?</dialogue>
<character>ACOSTA (O.S.)</character>
<dialogue>I'm down in Kupang City, looking at coring equipment.</dialogue>
<character>WELLS</character>
<parenthetical>(yelling to the guys)</parenthetical>
<dialogue>Acosta's in Kupang City looking at coring equipment.</dialogue>
<scene_description>The sales pitch shifts, Kupang City. Special coring equipment.</scene_description>
<character>BURNS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Coring rigs will come from Kupang City. I'll put you down for 20. Two shares. You got it.</dialogue>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>You're magic.</dialogue>
<scene_description>And as WE LOOK over this makeshift trading floor in full action, the SOUND OF KEYS BEING PUNCHED rises above the din of sales chatter -- TAPE PRINTOUT SCROLLING, and WE ARE...</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - NIGHT</stage_direction>
<scene_description>Bobby Burns bangs figures into an ADDING MACHINE. Wells circles. It's been a long day, everyone's exhausted. Burns scrolls the tape, tears it off with a flourish. Passes it to Wells, who reads, swallows hard, then delivers the number.</scene_description>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Two hundred sixty seven thousand, four hundred and thirty-four dollars.</dialogue>
<scene_description>Over the phone, there's SILENCE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MINING SUPPLY - KUPANG CITY, INDONESIA - DAY</stage_direction>
<scene_description>Acosta checks out new equipment while on a portable phone --</scene_description>
<character>ACOSTA</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Not exactly the number I had in mind.</dialogue>
<scene_description>Realize Acosta is now looking at the USED EQUIPMENT YARD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. USED EQUIPMENT YARD - KUPANG CITY - DAY</stage_direction>
<scene_description>Acosta stands looking up at rusting industrial dinosaurs against the endless blue sky.</scene_description>
<character>WELLS (O.S.)</character>
<dialogue>I might be able to borrow a little bit against it.</dialogue>
<parenthetical>(beat)</parenthetical>
<character>WELLS (O.S.)</character>
<dialogue>No. Truth. That's it for now. Can you make it work?</dialogue>
<character>ACOSTA</character>
<dialogue>That'll get us the permit, a few holes. If we work fast and get lucky, who knows...</dialogue>
<character>WELLS</character>
<dialogue>Get us a little good news and we'll raise more money.</dialogue>
<scene_description>Suddenly hear some DUDES AT A FOOSBALL TABLE loudly ARGUING over PAC-10 football, drowning out Wells.</scene_description>
<character>ACOSTA</character>
<dialogue>You work out of a bar, Wells?</dialogue>
<character>WELLS</character>
<dialogue>Keeping a lid on expenses, Mike. Makin' the dollar holler.</dialogue>
<scene_description>Acosta hanging up, wondering just what he's gotten himself into. He examines a well-used drill, speaks Bahasa with the mining equipment salesman, haggling.</scene_description>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - BEDROOM - NIGHT</stage_direction>
<scene_description>A suitcase on the bed. Wells sorta packing, a haphazard undertaking under the best of circumstances. He takes a drink. Surveys the possibilities.</scene_description>
<character>WELLS</character>
<dialogue>Which tie? This one or this one?</dialogue>
<scene_description>Reveal Kay behind him, drink in hand.</scene_description>
<character>KAY</character>
<dialogue>I want my watch back.</dialogue>
<character>WELLS</character>
<dialogue>First off, it's your mother's and second you're gonna get it back.</dialogue>
<character>KAY</character>
<dialogue>It was my mother's until she gave it to me.</dialogue>
<character>WELLS</character>
<dialogue>I gotta bring my good shoes, where are my good shoes?</dialogue>
<character>KAY</character>
<dialogue>Look under the bed. I don't like to see my stuff up in pawns, Kenny. You know I'm sensitive to it.</dialogue>
<scene_description>He gets down to look under the bed. See his ass sticking out.</scene_description>
<character>WELLS</character>
<dialogue>We always talk about our dreams, about the ranch, clean air, big views, our place above it all. That's what I'm doin', getting us out of this shitbox.</dialogue>
<character>KAY</character>
<dialogue>I don't mind this shitbox.</dialogue>
<scene_description>He's back up with the shoes.</scene_description>
<character>WELLS</character>
<dialogue>See, right there, that's what I love -- you're like one of those booster rockets that helps us get up to the stars.</dialogue>
<scene_description>Stands back with the shoes. He wiggles the shoes.</scene_description>
<character>WELLS</character>
<dialogue>Too much?</dialogue>
<character>KAY</character>
<dialogue>What the fuck, Kenny?</dialogue>
<character>KAY</character>
<dialogue>We figure shit out together, Kenny. Through thick and fuckin' thin. If you needed my watch, I'd give it to you.</dialogue>
<character>WELLS</character>
<dialogue>I know, babe. I'll be back soon, I promise.</dialogue>
<scene_description>He starts off... Then pauses like he remembers one last thing.</scene_description>
<character>WELLS</character>
<dialogue>Oh, here -- why don't you time me?</dialogue>
<scene_description>He dangles her mother's watch. Turns, smiling. She smiles, too. Love rushes in, overflows.</scene_description>
<character>KAY</character>
<dialogue>Wear the blue tie. It brings out your eyes.</dialogue>
<dialogue>As we PRE-LAP a CALL TO PRAYER --</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAKARTA, INDONESIA - DAWN</stage_direction>
<scene_description>Crossing river traffic reveals a luxury hotel amid minarets. Super: JAKARTA, INDONESIA</scene_description>
</scene>
<scene>
<stage_direction>INT. JAKARTA PALACE HOTEL SUITE - DAY</stage_direction>
<scene_description>Acosta goes over paperwork, shaved, hair groomed, transformed. Wells, adjusting his blue tie, comes out of the bathroom.</scene_description>
<character>ACOSTA</character>
<dialogue>What's that smell?</dialogue>
<character>WELLS</character>
<dialogue>I dropped a goose.</dialogue>
<character>ACOSTA</character>
<dialogue>And are you wearing cologne?</dialogue>
<character>WELLS</character>
<dialogue>Yeah, why? You getting turned on?</dialogue>
<character>ACOSTA</character>
<dialogue>Listen to me: we have one shot at this. He's the Minister of The Interior of Indonesia. If he doesn't like us for any reason, we're done. Never put your hands on your hips. Crossing your arms is considered aggressive. And cologne, here, is an insult.</dialogue>
<character>WELLS</character>
<dialogue>You get a whiff of some of the folks around here? I might suggest changing the national cologne policy.</dialogue>
<character>ACOSTA</character>
<dialogue>We get the deal. We don't insult. We don't talk. We listen, we get our permit and we get out. Are we clear?</dialogue>
<character>WELLS</character>
<dialogue>...yeah. Got it.</dialogue>
<character>ACOSTA</character>
<dialogue>Now go wash it off.</dialogue>
<scene_description>Wells stands there for a moment like a humiliated child. Then goes back into the bathroom. Off Acosta, WE GO:</scene_description>
</scene>
<scene>
<stage_direction>INT. JAKARTA PALACE RESTAURANT - DAY</stage_direction>
<scene_description>A formal room with a Chinese theme. Seated at the table is the MINISTER OF MINING. A cadre of security and yes-men flanking. The Minister speaks with a cultured Indonesian accent.</scene_description>
<character>MINISTER</character>
<dialogue>...I have reviewed your permit request for the Kensana property...</dialogue>
<scene_description>As a waiter pours hot liquid into small bowls at each setting, we find Wells perspiring in his bad suit. He picks up his bowl and starts to sip his "tea." Acosta clears his throat -- Wells sees the Minister dipping his fingers into his bowl.</scene_description>
<character>MINISTER</character>
<parenthetical>(to Acosta)</parenthetical>
<dialogue>There is a conspicuous lack of documentation.</dialogue>
<character>WELLS</character>
<dialogue>Hey, we've got the paperwork --</dialogue>
<scene_description>The Minister ignores him as Acosta jumps in.</scene_description>
<character>ACOSTA</character>
<dialogue>Yes, excellency. We have reports from previous attempts, but judged it best not to waste your valuable time.</dialogue>
<scene_description>The Minister accepts this, but still ignores Wells.</scene_description>
<character>MINISTER</character>
<parenthetical>(beat, to Acosta)</parenthetical>
<dialogue>What makes you think you will find what others before you could not?</dialogue>
<character>ACOSTA</character>
<dialogue>They were looking in the wrong place. The underlying geology is sound.</dialogue>
<scene_description>GIANT PRAWNS are placed in front of them. Wells can't help it--</scene_description>
<character>WELLS</character>
<dialogue>Hey, can I get a fork?</dialogue>
<scene_description>The waiters don't move. Acosta and the Minister ignore Wells.</scene_description>
<character>ACOSTA</character>
<dialogue>There's gold there, Excellency. And with your blessing, we will find it.</dialogue>
<scene_description>A long beat. Wells gets uncomfortable. Realizes his arms are crossed. Uncrosses them. And sells.</scene_description>
<character>WELLS</character>
<dialogue>Mike really knows his stuff. There's no one better...</dialogue>
<scene_description>The Minister doesn't even look at Wells, addressing Acosta.</scene_description>
<character>MINISTER</character>
<dialogue>As you know, our natural resources are a divine inheritance of all the people.</dialogue>
<character>ACOSTA</character>
<dialogue>As is your capable stewardship, Excellency.</dialogue>
<character>MINISTER</character>
<dialogue>A heavy responsibility to be sure.</dialogue>
<scene_description>Wells fidgets, then barks to a waiter --</scene_description>
<character>WELLS</character>
<dialogue>Hey! Who's a guy gotta bang to get a drink around here?</dialogue>
<scene_description>Wells definitely has the Minister's attention now.</scene_description>
<character>MINISTER</character>
<dialogue>I am a Muslim, sir. I do not drink.</dialogue>
<character>WELLS</character>
<dialogue>I'm an American and I do. And last time I checked, I'm hosting this little shindig, so you might want to at least acknowledge I'm sitting here.</dialogue>
<character>MINISTER</character>
<dialogue>You are most definitely an American.</dialogue>
<character>WELLS</character>
<dialogue>What's that mean?</dialogue>
<character>MINISTER</character>
<dialogue>It's the belief that paying for lunch is a substitute for manners.</dialogue>
<character>WELLS</character>
<dialogue>You're right. And I apologize. I can see I've offended your delicate moral sensibilities. But I may have just the thing to help you get over it.</dialogue>
<scene_description>And with that, he pulls out a THICK WAD OF CASH from his jacket, sets it down on the lazy Susan with a THUD. And then spins it -- the cash rotates around the large table toward the Minister. The Minister stares at Wells with contempt.</scene_description>
<character>WELLS</character>
<dialogue>Now that you mention it, I've been thinking of converting to Muslim.</dialogue>
<character>ACOSTA</character>
<dialogue>That's enough.</dialogue>
<character>WELLS</character>
<dialogue>Even if we don't find any gold, at least I still get the forty virgins--</dialogue>
<character>ACOSTA</character>
<dialogue>Wells --!</dialogue>
<character>WELLS</character>
<dialogue>I'm not greedy. I'll go half--twenty's a windfall. Hell, if they're really virgins, two would probably kill me.</dialogue>
<scene_description>The cash slowly stops revolving. The Minister never looks at it. He stands, throws down his napkin, and, entourage in tow, sweeps imperiously from the restaurant. Acosta looks at Wells, his anger and disbelief palpable. Then he grabs up the cash and goes. Wells is alone, his face flushed with embarrassment. He sees a patron staring at him.</scene_description>
<character>WELLS</character>
<dialogue>What the fuck are you looking at?</dialogue>
<scene_description>Wells pours himself a cup of tea, hand shaking as he drinks. Then he looks up and sees Acosta coming back. Wells stands, about to apologize, but before he can speak -- CRACK! Acosta decks him. Wells falls backwards over the chair, hitting the floor. He looks up at Acosta standing over him and, in a flash, recognizes just how much this matters to him, that much of his poise is a kind of cover.</scene_description>
<character>WELLS</character>
<dialogue>You gonna tell me what happened?</dialogue>
<scene_description>Wells gets up, brushing himself off. Acosta takes his time.</scene_description>
<character>WELLS</character>
<dialogue>I'm sorry, I couldn't hear you.</dialogue>
<character>ACOSTA</character>
<dialogue>He took the money.</dialogue>
<scene_description>A smile spreads across Wells's face.</scene_description>
<character>WELLS</character>
<dialogue>Of course he took the money. It's money.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENSANA VALLEY - DAY</stage_direction>
<scene_description>INFINITE JUNGLE in an anamorphic frame. Every leaf and blade of grass swaying in the wind. Then Acosta appears. This is Wells's POV. He hurries to stay close. ACOSTA stops moving. He looks at Wells. He looks down. Wells approaches cautiously and also looks down. Acosta makes an X in the soil. Now reveal a small army of NATIVE WORKERS waiting. A FOREMAN shrieks and they break into motion... clearing the "giant's footstep" for the first drill position at the "Washoe site." The sky is blue, dotted with white clouds; the river sparkles gold surrounded by the limestone cliffs. Tight shots of assembly, metal to metal. Acosta busy. Wells, in his Loman suit slapping at Mosquitos, jungle pressing in.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - VARIOUS - DAY</stage_direction>
<scene_description>A METAL SCAFFOLD lyrically sways above the grass, framed against the limestone cliffs. A break in the grass suddenly reveals a WATER BUFFALO pulling the first drill. The drill is positioned. Jungle has been beaten back. A GIRL leads a goat out of a watchful crowd to the drill where a Dayak "BORETN" waits. He murmurs prayers in his language. Then pulls a knife and, without hesitation or sentimentality, draws it across the goat's neck -- AN ARM YANKS THE PULL-CORD on the drill, ROARING to life -- Panning NATIVE FACES to find WELLS as a gentle SUN SHOWER begins to rain down.</scene_description>
<character>WELLS</character>
<dialogue>See, ahh... That's beautiful! The sky is blessing us.</dialogue>
<scene_description>Acosta stares up at the sky with a different perspective.</scene_description>
<character>ACOSTA</character>
<dialogue>Monsoon's coming early.</dialogue>
<character>WELLS</character>
<dialogue>Monsoon?</dialogue>
<scene_description>CRACK! FLASHES OF LIGHTING. Wells's face realizing the seriousness. THUNDER RUMBLES. Rain falls harder. The DRILL SPINS down into the earth...</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - NIGHT</stage_direction>
<scene_description>Vinyl spinning on a record player. Something lofty, obscure.</scene_description>
<character>WELLS</character>
<dialogue>A record player? Am I paying for that?</dialogue>
<scene_description>But you can tell the whole thing makes Wells happy. He's got a whiskey. The native foreman is there. And through the flaps two distant drills glow under colored tarpaulins.</scene_description>
<character>ACOSTA</character>
<parenthetical>(re: the map)</parenthetical>
<dialogue>We're here. And now we step out in a semi-circular pattern. Six man crews, twelve hour shifts, around the clock. Tomorrow I'll start looking at core samples. We'll send the most promising down river to the assay lab. When we get a hit we'll drop holes to chart the contour of the vein.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - VARIOUS - DAY</stage_direction>
<scene_description>Three foot ROCK CORES laid out in a wooden box... Pull back to reveal ten boxes... then twenty... Moving INSIDE -- THE CORE SHED Where a CIRCULAR SAW cuts a CORE. Wells watching Acosta examine a section, then toss it in a ROCK CRUSHER... The RUBBLE is then bagged in canvas sacks... which are closed and sealed with HOT WAX... and finally stamped with a WASHOE LOGO. THE CORE SAMPLES are carried in a long line through the valley toward the river -- an Indonesian Salgado come to life. Wells and Acosta watch, all hopes and dreams in that line.</scene_description>
<character>WELLS</character>
<dialogue>What do we do now?</dialogue>
<scene_description>CAMERA RISES UP from the workers carrying the core samples to the limestone cliffs and endless sky.</scene_description>
<character>ACOSTA (O.S.)</character>
<dialogue>We wait. And we keep drilling.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - DUSK</stage_direction>
<scene_description>Wells sprays himself liberally in bug spray, making a cloud under the light. Almost immediately a bug bites his shoulder.</scene_description>
<character>WELLS</character>
<dialogue>These bugs don't give a fuck about this bug spray.</dialogue>
<scene_description>AT THE CAMP STOVE Wells, spatula in hand, watches mystery meat sizzle. He cooks and talks over his shoulder to Acosta who is working.</scene_description>
<character>WELLS</character>
<dialogue>The guy who invented the hamburger was smart. But the guy who invented the cheeseburger... Genius.</dialogue>
<scene_description>He begins serving them up.</scene_description>
<character>WELLS</character>
<dialogue>Don't ask where this meat came from.</dialogue>
<scene_description>IT'S LATER They're both relaxing. Wells maybe a bit more relaxed.</scene_description>
<character>WELLS</character>
<dialogue>Goddamn jungle. Nothing for 200 miles and look at us. Not so bad.</dialogue>
<scene_description>Acosta takes in the night. Raises his cup in a salute to the dark jungle all around. They both drink.</scene_description>
<character>ACOSTA</character>
<dialogue>What's the meaning of the tattoo?</dialogue>
<character>WELLS</character>
<dialogue>It's from a poem I read as a kid:</dialogue>
<parenthetical>(Acosta waits)</parenthetical>
<dialogue>The bird with no feet sleeps on the wind.</dialogue>
<character>ACOSTA</character>
<dialogue>You're full of mysteries, Wells. You really are.</dialogue>
<character>WELLS</character>
<dialogue>You got any tattoos, Mike?</dialogue>
<character>ACOSTA</character>
<dialogue>Only on the inside.</dialogue>
<scene_description>Wells looks at him a beat, then looks out into the dark. The sounds of drilling drift across the valley floor. OMIT DISSOLVE TO: And a LONE MESSENGER running up the trail...</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - DAYS LATER</stage_direction>
<scene_description>Wells meets him halfway, takes the ASSAY REPORT and tears it open, reading. Even from a distance we can tell it's bad news. A DRILL IS MOVED to a NEW POSITION. DRILL 2 IS MOVED. CORES ARE CRUSHED and BAGGED. A CANOE LOADED WITH CORE SAMPLES motors away down the rising river. The rain is torrential. The MAIN TENT looks like it's about to float away. Acosta meeting Obb... Wells meeting him... Acosta...</scene_description>
</scene>
<scene>
<stage_direction>INT. WASHOE SITE - MAIN TENT - CONTINUOUS</stage_direction>
<scene_description>Acosta and Wells, back to back, working. Acosta thinking about geology, Wells looking at financials. Realize neither one is looking at an unopened report on the table. Finally Acosta tears it open, reads it. Passes it to Wells: INDO-KARTA LABORATORIES - ASSAY REPORT.</scene_description>
<character>WELLS</character>
<dialogue>...These things look worse every time we get one.</dialogue>
<scene_description>Acosta stares steadily at his map, which shows an increasingly desperate spray of holes.</scene_description>
<character>WELLS</character>
<dialogue>Thirty, 100 meter holes, Mike. Thirty. And what do we got? We got shit.</dialogue>
<character>ACOSTA</character>
<dialogue>Remember what I told you about patience?</dialogue>
<character>WELLS</character>
<dialogue>Remember what I told you about money?</dialogue>
<character>ACOSTA</character>
<dialogue>Yeah, it wasn't a problem. Looks at the numbers. They don't lie.</dialogue>
<character>WELLS</character>
<dialogue>It's a problem now.</dialogue>
<character>ACOSTA</character>
<dialogue>I'll try something else. Move further up the seam. Drop 80 meter holes. Move faster.</dialogue>
<character>WELLS</character>
<dialogue>Do it.</dialogue>
<scene_description>Wells suddenly shudders with a chill. Acosta looks at him.</scene_description>
<character>WELLS</character>
<dialogue>I'm fine.</dialogue>
<character>ACOSTA</character>
<dialogue>You don't look so good.</dialogue>
<character>WELLS</character>
<dialogue>It's ninety-eight degrees out and pissing rain. And all we're pulling up is dinosaur shit. How am I supposed to look?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Jesus, I'm freezing.</dialogue>
<scene_description>Wells starts to shake. Acosta puts a hand to Wells's head.</scene_description>
<character>ACOSTA</character>
<dialogue>You're burning up.</dialogue>
<character>WELLS</character>
<dialogue>I'm fine.</dialogue>
<parenthetical>(off Acosta's concern)</parenthetical>
<dialogue>I said, I'm fine.</dialogue>
<scene_description>Wells forces himself to stand. He moves to Acosta's maps.</scene_description>
<character>WELLS</character>
<dialogue>All right, where do we go next?</dialogue>
<scene_description>But Wells has to sit. Off Acosta's concerned look WE GO...</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - DAY</stage_direction>
<scene_description>That fucking rain. WORKERS, meager items held in plastic bags, assemble in their tent. The FOREMAN speaks to his men.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>We drilled our holes, assayed the cores and got nothing. Zero. We were nearly busted, out of money, out of time. Workers quitting. But, no way I was giving up, I was gonna find a way to keep going if it killed me.</dialogue>
<scene_description>One RIG IS SILENT. Wells struggles across the compound through the downpour to stop the men from leaving. He falls. Picks himself up. Waves his arms. Yells in a language they don't speak. Even the buffalo is leaving. He slips again --</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I picked up a bad case of malaria, which takes out something like a million people a year... And I was on the list.</dialogue>
<scene_description>From the mud he sees the workers vanishing, a skeleton crew on the remaining rig. He rolls on his back. And still the rain comes down.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - RAINY DUSK</stage_direction>
<scene_description>Acosta enters. Doesn't realize Wells is slumped in a chair in the gloom.</scene_description>
<character>WELLS</character>
<dialogue>The workers are leaving, Mike.</dialogue>
<character>ACOSTA</character>
<dialogue>I know. I've got the new assay reports.</dialogue>
<scene_description>Acosta lights a lantern, sees Wells.</scene_description>
<character>ACOSTA</character>
<dialogue>Jesus. Get your ass in bed already.</dialogue>
<scene_description>It's an effort for Wells to speak, painful.</scene_description>
<character>WELLS</character>
<dialogue>Talk to me.</dialogue>
<character>ACOSTA</character>
<dialogue>There's nothing to talk about. We're not finding anything.</dialogue>
<scene_description>Wells sags. The reality that he's losing again sinking in. Wells has another fit of chills. He's half-delirious.</scene_description>
<character>WELLS</character>
<dialogue>Maybe we're pushing them too hard. Maybe we should take it easy, enjoy it a little bit.</dialogue>
<character>ACOSTA</character>
<dialogue>Take it easy? Is that a Reno bumper sticker? The losers' credo.</dialogue>
<character>WELLS</character>
<dialogue>Nah, man, it's just life. Sometimes you just gotta take it easy... I'm freezing.</dialogue>
<scene_description>Acosta helps him to his cot. Pulls the thin blanket over.</scene_description>
<character>WELLS</character>
<dialogue>Maybe cut 'em all in... offer ownership, share in the upside...</dialogue>
<scene_description>The DISTANT WHINE of the last drill suddenly GOES QUIET. The TIMELESS CACOPHONY of the jungle RISES.</scene_description>
<character>WELLS</character>
<dialogue>I'm scared, Mike. Don't let me die out here for nothing...</dialogue>
<scene_description>Wells passes out into a feverish sleep. Acosta watches him a long time before reaching a decision.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN TENT - DAWN</stage_direction>
<scene_description>Acosta steps into the empty, silent camp. Rain curtaining off his hat. He sets out alone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LONGHOUSE VILLAGE - LATER</stage_direction>
<scene_description>Acosta walking through the rainy jungle toward a village. See natives in the limestone cliffs looking down. Acosta passes a pond where people bathe and fill jugs with muddy water. AT THE LONGHOUSE there are DAYAK WOMEN on the porch. Acosta has a few quiet words. One slowly stands, disappears through the DARK OPENING. Acosta cannot see inside. It's too dark. The remaining women look at him evenly. The "FOREMAN" appears, obviously a LOCAL CHIEF.</scene_description>
<character>ACOSTA</character>
<parenthetical>(Dayak)</parenthetical>
<dialogue>What can I do to get you to return to work? We are running out of money, it's true. But we're close. I know it.</dialogue>
<scene_description>A beat as the foreman considers Acosta. Then he gestures to follow. The rising CRIES of a child can be heard.</scene_description>
</scene>
<scene>
<stage_direction>INT. THATCH HUT - DAY</stage_direction>
<scene_description>Thrumming rain on the thatch and in half-gloom find a feverish CHILD. Acosta watches as the mother tries to get him to take a sip of water. Acosta kneels and passes his canteen to the mother. Urges her to pour clean water.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>He realized what they needed wasn't stock options, but drinking water and antibiotics. And damned if he didn't go to every little place every one of our people came from. Streams that had no name. All feeding the great Kensana river.</dialogue>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - DAY</stage_direction>
<scene_description>A skeptical Jennings observes Wells a moment.</scene_description>
<character>JENNINGS</character>
<dialogue>And you believe this was sincere?</dialogue>
<character>WELLS</character>
<dialogue>Absolutely. Mike's half a native anyway. He was trying everything. And I was a mess. Malaria is no joke.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - DAY</stage_direction>
<scene_description>The monsoon continues, but Wells is oblivious, a shuddering chill wracking his body. Acosta watches this uneasily.</scene_description>
<character>ACOSTA</character>
<dialogue>We need to get you out of here. I'm pulling the plug.</dialogue>
<character>WELLS</character>
<dialogue>Not happening. Tell me the plan.</dialogue>
<character>ACOSTA</character>
<dialogue>What they need... they need clean water, antibiotics...</dialogue>
<parenthetical>(reluctant)</parenthetical>
<dialogue>If we get filter systems up here, I think they'll come back.</dialogue>
<scene_description>Wells looks up with dim eyes, a smile crossing his face.</scene_description>
<character>WELLS</character>
<dialogue>I've got maybe eighteen hundred dollars of room left on the Visa. Five hundred on Diner's Club. Use it all.</dialogue>
<scene_description>Wells hot and dry. Acosta looks down at him. He doesn't think Wells is gonna make it. He's seen it before.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMALL CREEK - DAY</stage_direction>
<scene_description>A break in the rain. Misty clouds circle limestone mountains. Brown water in a micro filter as Acosta hangs it from a branch. Clear water flows out a hose. A child tastes the clean water, doesn't like it. Several children laugh. In the river a mother sits with her baby on her lap. As Acosta fills ANOTHER FILTER, reveal NATIVES finding gold up the stream. It almost mocks Acosta.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - DAY</stage_direction>
<scene_description>THE SAME LIMESTONE CLIFFS... ONLY NOW WE TILT DOWN and FIND RENO, GAUDY NEON NESTLED IN GREEN JUNGLE. CASINO SOUNDS AND NOISES MIXED WITH JUNGLE. Wells tossing and turning on the cot having his fever dreams.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>I spent the next few weeks in a malarial haze. I should have been dead. The workers stayed. Mike kept it all going. And he kept me alive.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SMALL CREEK - DAY</stage_direction>
<scene_description>Acosta in the rain, turns and sees something that stops him --</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Did he manage to enjoy himself a little bit along the way..?</dialogue>
<scene_description>A BEAUTIFUL NATIVE GIRL stares at Acosta through the rain. It's like they know each other.</scene_description>
<character>WELLS (V.O.</character>
<dialogue>How should I know? I was delirious. I do not recommend Malaria treated with a bunch of leaves.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - DAY</stage_direction>
<scene_description>Rain. And the sound of an IGNITING FLAME... FUMMM --! A BUTANE FLAME. And Wells in and out of consciousness to find a BORETN in their tent brewing a potion of herbs as Acosta watches.</scene_description>
<character>WELLS</character>
<dialogue>What is that?</dialogue>
<character>ACOSTA</character>
<dialogue>No idea. But they say it works.</dialogue>
<character>WELLS</character>
<dialogue>They don't have electricity. Or socks.</dialogue>
<scene_description>The Boretn brings a bamboo mug toward Wells.</scene_description>
<character>ACOSTA</character>
<dialogue>Come on, get it down.</dialogue>
<scene_description>Wells chokes down the remedy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - VARIOUS - DAY</stage_direction>
<scene_description>Limestone cliffs and mist. Drills spinning, biting into earth. Clouds passing overhead. Men feeding pipe to the machine. Wells drenched in sweat, looking like death -- ACOSTA and FOREMAN load CORE SAMPLES onto a boat. DRILLS SPINNING, biting into the earth/WELLS TOSSING, TURNING, drenched as the FEVER FINALLY BREAKS. Obb brings another report. Acosta reads, betraying no emotion. FEVER DREAM: A RAFT FLOATING ON A GOLDEN RIVER... We're drifting toward it as it goes around a bend... SOMETHING on it... a BODY.. FUNERAL BIER. Closer... closer... it's WELLS --</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN TENT - DAY</stage_direction>
<scene_description>WELLS COMES TO -- surprised to be alive. Surprised it's not raining. Realizes Acosta is right there looking at him.</scene_description>
<character>WELLS</character>
<dialogue>What day is it?</dialogue>
<character>ACOSTA</character>
<dialogue>No idea.</dialogue>
<character>WELLS</character>
<dialogue>Month?</dialogue>
<character>ACOSTA</character>
<dialogue>August.</dialogue>
<scene_description>See this is a different month than Wells expected.</scene_description>
<character>WELLS</character>
<dialogue>You been sitting here this whole time?</dialogue>
<character>ACOSTA</character>
<dialogue>Let's not get carried away.</dialogue>
<scene_description>Wells now realizes Acosta has an assay report.</scene_description>
<character>WELLS</character>
<dialogue>You gonna talk, or what?</dialogue>
<character>ACOSTA</character>
<dialogue>We pulled seventeen more cores.</dialogue>
<scene_description>He looks at Wells, unreadable.</scene_description>
<character>WELLS</character>
<dialogue>What? What do they say? No good?</dialogue>
<character>ACOSTA</character>
<dialogue>Not good...</dialogue>
<scene_description>Wells falls back. Acosta stands, a completely different look on his face, one of wonder --</scene_description>
<character>ACOSTA</character>
<dialogue>More in the vicinity of great.</dialogue>
<scene_description>Wells looks up. A face that's almost afraid to hope.</scene_description>
<character>WELLS</character>
<dialogue>Don't mess around, Mike.</dialogue>
<character>ACOSTA</character>
<dialogue>Eighth of an ounce per ton.</dialogue>
<scene_description>Wells scans the reports, rising to his feet.</scene_description>
<character>WELLS</character>
<dialogue>Eighth of an ounce per... WHAT!!??</dialogue>
<scene_description>Acosta smiles -- Wells is in shock.</scene_description>
<character>ACOSTA</character>
<dialogue>We've got a strike, Kenny.</dialogue>
<scene_description>Wells smiles, laughs, screams!</scene_description>
<character>WELLS</character>
<dialogue>We've got ourselves a gold mine!</dialogue>
<character>ACOSTA</character>
<dialogue>That we do.</dialogue>
<scene_description>Wells struggles up to his feet and joins Acosta best he can in jumping up and down.</scene_description>
<character>WELLS</character>
<dialogue>WE GOT A GOLD MINE..! WE GOT A GOLD</dialogue>
<character>MINE..!</character>
<dialogue>CAMERA DRIFTS outside to meet Wells who appears through the doorway as he YELLS TO THE HILLS --</dialogue>
<character>WELLS</character>
<dialogue>WE GOT A GODDAMN GOLD MINE --!!!</dialogue>
<scene_description>Which ECHOES back to him from the cliffs --</scene_description>
<character>WELLS ECHO</character>
<scene_description>SMASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - NIGHT</stage_direction>
<scene_description>POP!!! Gold-leafed bottles in buckets. Champagne sprays from the bottle as Wells moves through the crowd at the bar, filling everyone's glasses.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>That moment, there's no way I could possibly describe the feeling.</dialogue>
<scene_description>The regulars are all here, sharing in Wells's victory.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>It's amazing how a little gold dust can change everything. For better or worse, the ride had begun. And what a goddamn ride...</dialogue>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - LATER</stage_direction>
<scene_description>The place is vibrating! MUSIC OVER. Wells is with Bobby Burns and Connie and Nevins celebrating at the bar. Kay passing out a round of drinks, the last one to Wells. Kenny looks at Kay; Kay looks at Kenny, deep into each other, a small moment of private understanding in passing that says it all. Then he turns to his guys:</scene_description>
<character>WELLS</character>
<dialogue>To the best team in the business!</dialogue>
<character>CONNIE</character>
<dialogue>You're a stand up guy, Kenny.</dialogue>
<character>NEVINS</character>
<dialogue>To sharing the wealth.</dialogue>
<character>WELLS</character>
<dialogue>To the mother lode!</dialogue>
<scene_description>They clink glasses and drink deeply, "To the mother lode!"</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. CADDY ELDORADO - SCENIC COUNTRY ROAD - DAY</stage_direction>
<scene_description>Kenny and Kay driving into the hills on a perfect afternoon. Fun and carefree, windows down, 70's music on the radio.</scene_description>
<character>KENNY</character>
<dialogue>Smell that? Smell that air? Mountain air. It's a tonic.</dialogue>
<character>KAY</character>
<dialogue>Ah, so good. So good.</dialogue>
<scene_description>They're singing along. Passing small family ranches.</scene_description>
<character>KAY</character>
<dialogue>Remember I told you Janice got promoted to run Truckee?</dialogue>
<character>WELLS</character>
<dialogue>Mmm hmm. Good for her.</dialogue>
<character>KAY</character>
<dialogue>Well, Carl asked me if I'd like to be considered to take her place. Assistant Manager position.</dialogue>
<scene_description>Outside the car as they go zipping past, music trailing, a GHOST TOWN, faded signs and abandoned buildings... A dangling sign reads, "MAGGIE'S CREEK... Pop -- "0" in spray paint.</scene_description>
<character>WELLS</character>
<dialogue>That's great, babe.</dialogue>
<character>KAY</character>
<dialogue>Everything's working out so great.</dialogue>
<scene_description>By way of agreement he rubs her thigh where the dress has ridden up. Sunlight filters through the trees above. Kay's toes are painted eggshell blue.</scene_description>
<character>WELLS</character>
<dialogue>You're gonna be able to quit all of it if you want... Never work another day in your life. Blue skies coming.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDORADO - MAGIC HOUR</stage_direction>
<character>WELLS</character>
<dialogue>Close your eyes.</dialogue>
<scene_description>Wells drives down a country lane.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELDORADO - DAY</stage_direction>
<scene_description>Wells stops, gets out and starts around the car.</scene_description>
<character>KAY</character>
<parenthetical>(happy)</parenthetical>
<dialogue>Kenny Wells, what are you doing?</dialogue>
<character>WELLS</character>
<dialogue>Eyes closed. No peeking.</dialogue>
<scene_description>He opens Kay's door, leads her a short distance.</scene_description>
<character>WELLS</character>
<dialogue>Okay, now open 'em.</dialogue>
<scene_description>She opens her eyes. In her eyes something immense that must be comprehended. And for a moment we don't see what she's seeing and then we do: DREAM RANCH LAND The sweep of ranch land is epic. Prairie dogs hop away. Elk in the distance the size of ants.</scene_description>
<character>KAY</character>
<dialogue>It's beautiful.</dialogue>
<character>WELLS</character>
<dialogue>It's going to be our place, above it all, away from it all. Like we always wanted. We'll put the house here.</dialogue>
<character>WELLS</character>
<dialogue>Fieldstone and oak. The kind that lasts forever. A big kitchen where I'm standing. And a great room with two fireplaces.</dialogue>
<scene_description>He turns to look at Kay, to see if she's going with it.</scene_description>
<character>KAY</character>
<dialogue>Can we afford this?</dialogue>
<character>WELLS</character>
<dialogue>Almost, baby. Almost...</dialogue>
<scene_description>Wells jogs a short distance away, still going...</scene_description>
<character>WELLS</character>
<dialogue>Bedrooms here and here and here... And here... For the kids. Ah, come on, Kay... How many kids?</dialogue>
<character>KAY</character>
<dialogue>People usually start with one.</dialogue>
<scene_description>They look at each other. It's golden hour. Then she skips through the field toward him.</scene_description>
<character>KAY</character>
<dialogue>Kitchen should go the other way, Kenny. To get the morning light.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - NIGHT</stage_direction>
<scene_description>Wells laying it out for the boys: Burns, Connie, and Nevins.</scene_description>
<character>WELLS</character>
<dialogue>It'll be straight commission to start, but this hook's got meat on it. There's money out there, so reel it in.</dialogue>
<scene_description>They throw back the rest of what's in their glasses. Wells leans over and whispers to Bobby Burns.</scene_description>
<character>WELLS</character>
<dialogue>This stock's gonna start cooking. You sell a little here and there. Don't wait. Think rainy day, Bobby boy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DREAM RANCH LAND - DUSK</stage_direction>
<scene_description>The car doors are open, a great SONG plays on the radio. Wells and Kay slow dance in the field as a glorious sunset fades. And PULLING BACK to find a BILLBOARD ON STILTS showing a "dream house." As Kay and Wells slowly turn in the distance and the music is gently blown away across the fields.</scene_description>
</scene>
<scene>
<stage_direction>INT. THREE GREENHORNS BAR - NIGHT</stage_direction>
<scene_description>Wells and Kay dancing in that way happy couples do, almost like they're one person, her head melting against his chest.</scene_description>
<character>BURNS (O.S.)</character>
<dialogue>Kenny... this is Walt Kealer. He publishes "The Gold Digger."</dialogue>
<character>KEALER</character>
<dialogue>We reach a half a million readers and they'd all love to know what you got cooking over there in Indonesia. You have a minute, I'll buy you a drink.</dialogue>
<scene_description>Kealer, a serious guy, and Burns both look at Kay.</scene_description>
<character>KAY</character>
<parenthetical>(almost a whisper)</parenthetical>
<dialogue>No one dances like you.</dialogue>
<parenthetical>(to the world)</parenthetical>
<dialogue>He's all yours, Walt.</dialogue>
<character>WELLS</character>
<dialogue>Hell, I read the Gold Digger. Step over to my office, Walt.</dialogue>
<scene_description>Wells signals for two drinks, leads Kealer to the booth.</scene_description>
<character>KEALER</character>
<dialogue>They're saying you bring this in, you'll get the Golden Pickaxe. What do you say about that?</dialogue>
<character>WELLS</character>
<dialogue>I say we probably just jinxed it.</dialogue>
<character>KEALER</character>
<dialogue>How many ounces you guessing?</dialogue>
<character>WELLS</character>
<dialogue>Millions of ounces, Walt. Millions.</dialogue>
<scene_description>Kealer whistles. Makes a note.</scene_description>
<character>KEALER</character>
<dialogue>Placer mining?</dialogue>
<character>WELLS</character>
<dialogue>Hard rock. It ain't amateur hour.</dialogue>
<character>KEALER</character>
<dialogue>How's the infrastructure?</dialogue>
<character>WELLS</character>
<dialogue>Building it from the ground up.</dialogue>
<scene_description>Wells sees Kay at the bar flirting/teasing with two regulars. Queen of the runway. He loves this. AT THE BAR Kay waits for Roy to mix fresh drinks.</scene_description>
<character>ROY</character>
<parenthetical>(nodding at Wells)</parenthetical>
<dialogue>Seems like someone's ship is finally coming in.</dialogue>
<character>KAY</character>
<dialogue>Everyone's, Roy.</dialogue>
<parenthetical>(so proud)</parenthetical>
<dialogue>He makes shit happen. He really does.</dialogue>
<scene_description>A customer sidles up and wraps a big arm around. Kay flashes some wattage --</scene_description>
<character>KAY</character>
<dialogue>JD, where you been hidin' yourself?</dialogue>
<scene_description>BACK WITH WELLS --</scene_description>
<character>KEALER</character>
<dialogue>On a different tack, what do you think your dad would say if he could see you right now?</dialogue>
<character>WELLS</character>
<dialogue>The last card you turn over is the one that matters.</dialogue>
</scene>
<scene>
<stage_direction>INT. COLEMAN & MEAD CAPITAL GROUP - CLIVE'S OFFICE - DAY</stage_direction>
<scene_description>CLIVE Coleman, 70's, flanked by a now-deferential Andrews and Stanton, opposite Wells.</scene_description>
<character>CLIVE</character>
<dialogue>Kenny, your father and I started out together in this business. Hell, he put me in the business, but I don't have to tell you that.</dialogue>
<character>WELLS</character>
<dialogue>Dad always spoke well of you, Clive.</dialogue>
<character>CLIVE</character>
<dialogue>One of the best men I ever knew.</dialogue>
<scene_description>The mention of his father in this context makes Wells proud.</scene_description>
<character>CLIVE</character>
<dialogue>You've gone from 4 to 23 cents on the first assay result. And you've pulled two more that confirmed those findings?</dialogue>
<character>WELLS</character>
<dialogue>Three more.</dialogue>
<character>CLIVE</character>
<dialogue>Three more... I'd like to underwrite a private placement of Washoe stock. I believe we can raise between eight and ten million dollars.</dialogue>
<character>WELLS</character>
<dialogue>Capital's definitely top of the agenda right now.</dialogue>
<character>CLIVE</character>
<dialogue>A lot of folks will want to make this deal, but we've got history and I hope you know you can trust me. I only wish you'd brought it to me sooner. I could have helped you from the get-go.</dialogue>
<dialogue>Wells' gaze now slides to Stanton, a deer in headlights. Wells pushes his coffee mug across the table.</dialogue>
<character>WELLS</character>
<dialogue>Top that off for me, will you?</dialogue>
<scene_description>Stanton rises and exits with Wells's mug. WE FOLLOW HIM --</scene_description>
</scene>
<scene>
<stage_direction>INT. COLEMAN & MEAD CAPITAL GROUP - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Stanton walks to the kitchenette. A COWORKER looks at him like a condemned man. Hear LAUGHTER from the conference room. He pours the coffee, takes a deep breath, and heads back.</scene_description>
</scene>
<scene>
<stage_direction>INT. COLEMAN & MEAD CAPITAL GROUP - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Stanton comes back in to find the group on their feet, Wells shaking hands with Clive Coleman.</scene_description>
<character>CLIVE</character>
<dialogue>Stanton. Mr. Wells has agreed to give us his business. On one condition.</dialogue>
<scene_description>Stanton blanches. Here it comes. Wells is stone-faced.</scene_description>
<character>WELLS</character>
<dialogue>I want you to personally handle my account. I need you to be available to me 24-7 and 365.</dialogue>
<scene_description>Stanton is speechless for just a moment, but finds his voice.</scene_description>
<character>STANTON</character>
<dialogue>Absolutely. Yes. Thank you.</dialogue>
<scene_description>Clive slaps the stunned Stanton on the shoulder.</scene_description>
<character>CLIVE</character>
<dialogue>Congratulations. Seems you made quite an impression.</dialogue>
<scene_description>A look between Wells and Stanton, a look of understanding. Stanton is grateful, but also knows that Wells owns him.</scene_description>
<character>WELLS</character>
<dialogue>It's gonna be a wild-ass ride. You ready for that?</dialogue>
<character>STANTON</character>
<dialogue>Yes, sir.</dialogue>
<character>WELLS</character>
<dialogue>Then what are we standing here for? Let's go make some money.</dialogue>
<scene_description>SEQUENCE -- -- THE WASHOE SITE -- the noise is staggering as ACOSTA supervises more core drilling. FOUR DRILLS now working, CONVERGING as they MAP THE CONTOURS of the vein. -- THE ASSAY LAB -- a Washoe sack is cut open, the crushed rock core sample is poured onto an industrial scale. -- THE THREE GREENHORNS BAR -- Wells, Bobby Burns and the guys work the phones. Kay brings Wells another Seagrams. He gives her a smile, never missing a beat of his pitch. -- STOCK TICKER -- Washoe climbs...$2.75...$3.10...$4.87...</scene_description>
<character>ACOSTA (V.O.)</character>
<dialogue>Kenny. You check the last report?</dialogue>
<character>WELLS (V.O.)</character>
<dialogue>I'm looking at it now... Holy shit... HOLY SHIT!</dialogue>
<scene_description>-- VIEW THROUGH A MICROSCOPE -- and there it is, scattered among the base rock -- GOLD! Flecks of it, but there's something preternatural about the way it glitters, and at this magnification, it is mesmerizing.</scene_description>
<character>ACOSTA (V.O.)</character>
<dialogue>Holy shit is right, my friend.</dialogue>
<character>WELLS (V.O.)</character>
<dialogue>Whoooow!!!</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. NEW WASHOE OFFICES MONTAGE - DAY</stage_direction>
<scene_description>-- A RENO OFFICE BUILDING catching morning sun. WASHOE MINING PLAQUE slides into the lobby list of tenants. REVERSE to WELLS watching, THE BOYS behind holding boxes of stuff. -- ELEVATORS OPEN. WASHOE SIGN FIRST THING YOU SEE. The boys all swoop in and fan out and get to work. -- TWELVE PACKS go in the fridge. Folding tables opened. Phones pulled out of boxes, wires snakes across the floor. -- A FAX MACHINE begins slowly ticking out a fax: WASHOE TEAM HEADED BY GEOLOGIST MIKE ACOSTA... -- BOOZE BOTTLES ONTO GLASS SHELVES... and we're in Wells's corner office. He and Kay overseeing something. Whip to a STUFFED ELK, evidence of the Greenhorns, now on the wall.</scene_description>
<character>WELLS</character>
<dialogue>Damn nice of Roy to loan us that Elk.</dialogue>
<scene_description>She pushes him backwards by his chest until he's sitting new desk chair. She straddles him. Corner windows. View of Reno.</scene_description>
<character>WELLS</character>
<dialogue>Kay, do you want to work here? Quit all those other jobs?</dialogue>
<scene_description>She looks at him.</scene_description>
<character>KAY</character>
<dialogue>You be the prospector, Mr. Wells. I'll be the barmaid who got swept off her feet.</dialogue>
<scene_description>He spins his chair. Around and around they go --</scene_description>
<character>WELLS</character>
<dialogue>I love you, Kay.</dialogue>
<character>KAY</character>
<dialogue>You better.</dialogue>
<scene_description>-- CAMERA RACES ACROSS THE FLOOR TO FIND THE FAX IS FINISHED. CONNIE TEARS IT OFF AND READS IT: "UPDATES ESTIMATE ON INDONESIAN MINE -- KENSANA TO YIELD IN EXCESS OF 10 MILLION OUNCES!" Connie stares in disbelief.</scene_description>
<character>CONNIE</character>
<dialogue>We're gonna be so fucking rich.</dialogue>
<scene_description>CROSS CUT TO: -- A COMPUTER SCREEN -- WASHOE'S FINANCIALS displayed in GRAPHS and CHARTS. WASHOE'S SHARE PRICE is listed at $6.26. Pull back to reveal WE ARE in --</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - TRADING FLOOR - NEW YORK - DAY</stage_direction>
<scene_description>A young banker, BRIAN WOOLF (30's), scans the info on his screen. He hits print and strides across the trading floor. He barely breaks stride as he passes the PRINTER, grabbing the freshly printed documents and we go...</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - HOLLIS DRESHER'S OFFICE - MOMENTS LATER</stage_direction>
<scene_description>50th Floor. Breathtaking Manhattan views. We are suddenly a long, long way from Reno. A file on a desk: IDEAS FOR HOLLIS. INSIDE -- RECOMMENDATION: WASHOE MINING LTD. STRENGTH OF CONVICTION -- HIGH. Woolf stands before HOLLIS DRESHER (50's), impeccable in bespoke, as Dresher looks over the newly printed documents.</scene_description>
<character>DRESHER</character>
<dialogue>Who are they?</dialogue>
<character>WOOLF</character>
<dialogue>Wildcatters basically. This Acosta had some success before. Copper. Got taken over by Freeport Mac. It's all in there.</dialogue>
<scene_description>Dresher takes a moment before looking up from the documents.</scene_description>
<character>DRESHER</character>
<dialogue>I like this. Bring them in. Let's have a closer look.</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE OFFICES - "CONFERENCE ROOM" - DAY</stage_direction>
<scene_description>A folding table in Kenny's office. Wells is with Bobby Burns, Connie Wright and Stanton... a Washoe board meeting.</scene_description>
<character>STANTON</character>
<dialogue>We're about fifty percent allocated right now. And we want to set aside thirty of the remaining fifty for you boys to unload.</dialogue>
<scene_description>They love this idea. It's low-hanging fruit at this point.</scene_description>
<character>WELLS</character>
<dialogue>Hold that thought. I gotta bleed the beast.</dialogue>
<scene_description>As soon as he's gone, the phone RINGS. They all stare at it.</scene_description>
<character>BOBBY/CONNIE/NEVINS</character>
<dialogue>Kay!!</dialogue>
<scene_description>Through the doorway, passing, without missing a beat --</scene_description>
<character>KAY</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Good morning, Washoe Mining. How may I direct your call.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Please hold.</dialogue>
<scene_description>She covers the mouthpiece, then realizes they actually have a hold button. Which she presses.</scene_description>
<character>KAY</character>
<dialogue>Kenny! You got a call!</dialogue>
<scene_description>Wells emerges from the executive head. They all watch him pick up the receiver. Press the button.</scene_description>
<character>WELLS</character>
<dialogue>This is Kenny Wells.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - DRESHER'S OFFICE - NEW YORK - DAY</stage_direction>
<scene_description>Woolf, looking over the skyline.</scene_description>
<character>WOOLF</character>
<dialogue>Mr. Wells. This is Bryan Woolf of Brown, Thomas, in New York.</dialogue>
<character>WELLS (V.O.)</character>
<dialogue>No shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE OFFICES - DAY</stage_direction>
<scene_description>Wells is listening, starting to fidget nervously.</scene_description>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Wait. Really? ...</dialogue>
<parenthetical>(covering phone)</parenthetical>
<dialogue>Bryan Woolf, mineral group at Brown, Thomas in NYC.</dialogue>
<character>STANTON</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Brown, Thomas. Wow.</dialogue>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Okay. Okay... I look forward to it.</dialogue>
<scene_description>Wells slowly hangs up. Everyone looking, what just happened? Then, Wells calling out --</scene_description>
<character>WELLS</character>
<dialogue>Kay, they're flying me out!</dialogue>
<scene_description>Everyone feeling a bit of awe and excitement. Kay's smile is painted there like a barmaid Mona Lisa.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SEAGRAMS BUILDING - DAY</stage_direction>
<scene_description>The Seagrams building, solid as the booze that built it. And at the base, Wells staring up. As Acosta looks him over.</scene_description>
<character>ACOSTA</character>
<dialogue>Wells. Wells--!</dialogue>
<character>WELLS</character>
<dialogue>I truly had no idea there was a Seagrams building. Like the Vatican.</dialogue>
<character>ACOSTA</character>
<dialogue>Wells! Where'd you get the tie?</dialogue>
<scene_description>Wells looks down at the tie.</scene_description>
<character>WELLS</character>
<dialogue>Airport. Forty bucks. Don't like it?</dialogue>
<scene_description>Acosta snaps off the tag still hanging from the loop.</scene_description>
<character>ACOSTA</character>
<dialogue>You ready?</dialogue>
<character>WELLS</character>
<dialogue>Who you talking to, Mikey?</dialogue>
<scene_description>But Wells's eye is caught by some WALL STREET HONCHOS, composed, confident, effortless, heading to a meeting.</scene_description>
<character>ACOSTA</character>
<dialogue>Wells!</dialogue>
<character>WELLS</character>
<dialogue>Stop saying my name. Are you ready?</dialogue>
<scene_description>Wells pulls his gaze back. They look at each other. Neither one is ready.</scene_description>
<character>WELLS</character>
<dialogue>Shit. We're all just selling used cars.</dialogue>
<scene_description>Wells brushes by confidently. AND WE GO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Woolf, Dresher and others in THE MINERAL GROUP. In this rarefied air, Wells looks out of his depth --</scene_description>
<character>WELLS</character>
<dialogue>We've got a private placement in play right now that's over fifty percent subscribed! And that's off our current assays. The numbers keep coming in good, and they will, sky's the limit on this thing.</dialogue>
<scene_description>Woolf steps up, he's sophisticated, confident.</scene_description>
<character>WOOLF</character>
<dialogue>You don't need to sell us, Mr. Wells. We've done the math and we believe you're sitting on the largest gold find of the decade. At Brown, Thomas we have a history of helping guide people such as yourself through what are sometimes complicated waters.</dialogue>
<character>WELLS</character>
<dialogue>Complicated how?</dialogue>
<character>WOOLF</character>
<dialogue>That delicate balance, Mr. Wells, between being asset rich and cash poor. The important thing is we believe you can go all the way and we want to help you get there.</dialogue>
<scene_description>Wells loves this. Woolf has said exactly the right thing, but you also get the feeling he has done this many times before.</scene_description>
<character>WOOLF</character>
<dialogue>We'll need big money onboard, of course, investment banks, mutual fund managers, pension fund administrators. We have the team and the relationships to introduce you to this world.</dialogue>
<character>WELLS</character>
<dialogue>We've done all right up to now.</dialogue>
<character>WOOLF</character>
<dialogue>There is no doubt about that.</dialogue>
<scene_description>He smiles.</scene_description>
<character>WOOLF</character>
<dialogue>May I speak plainly, Mr. Wells?</dialogue>
<scene_description>Wells looks at Acosta, then back to Woolf.</scene_description>
<character>WELLS</character>
<dialogue>That's the only way to speak, Bryan.</dialogue>
<character>WOOLF</character>
<dialogue>Our clients will want to see a serious plan to turn lab results in a volatile region into an investment we can all stake our reputations on.</dialogue>
<character>WELLS</character>
<dialogue>That's not gonna be a problem --</dialogue>
<character>WOOLF</character>
<dialogue>It's not a problem, per se, but there remains the fact that neither of you have taken a find of this magnitude all the way through production.</dialogue>
<character>WELLS</character>
<dialogue>Now wait a minute. We found it. We can dig it up. It's not that complicated.</dialogue>
<character>WOOLF</character>
<parenthetical>(choosing words carefully)</parenthetical>
<dialogue>Actually, historically, what we've found is it can be quite complicated and we'd like to help formulate how you present the operations side.</dialogue>
<scene_description>Suddenly Wells is beginning to feel a little pushed.</scene_description>
<character>WELLS</character>
<dialogue>What does that even mean? What's he saying?</dialogue>
<character>WOOLF</character>
<dialogue>I'd like you both to consider bringing on a strategic partner.</dialogue>
<scene_description>Wells is suddenly wary. And we see how small town he really is. He lifts Woolf's business card --</scene_description>
<character>WELLS</character>
<parenthetical>(reads)</parenthetical>
<dialogue>Managing Director of Substrate Minerals, Metals, Oil, and Gas. I don't even know what that is.</dialogue>
<character>WELLS</character>
<dialogue>Have any of you ever set one of your hand-made loafers down in a hole on the side of a mountain? Washoe has history.</dialogue>
<character>WOOLF</character>
<dialogue>We've done a fairly thorough analysis of Washoe, Mr. Wells. And we believe you need some strategic help.</dialogue>
<character>WELLS</character>
<dialogue>It's a new day. And Indo is goddamn different.</dialogue>
<parenthetical>(bangs table)</parenthetical>
<dialogue>I know how to bring this baby in!</dialogue>
<scene_description>Acosta observes Wells for a moment. We think Acosta is going to judge him, pile on... instead:</scene_description>
<character>ACOSTA</character>
<dialogue>Wells came and found me. I was at a low point, I'll admit. It happens in this business. Ups and downs. He backed me with his last cent. More than that he risked his life. Almost lost it, too. And now we have the bull by its horns.</dialogue>
<character>WELLS</character>
<dialogue>A big-ass bull!</dialogue>
<character>ACOSTA</character>
<dialogue>I've worked with the best and I can tell you Kenny Wells is up there with them. Which must count for something.</dialogue>
<scene_description>A declaration of friendship, and faith. This means the world to Wells.</scene_description>
<character>WOOLF</character>
<dialogue>It does, Mr. Acosta. We're not by any stretch of the imagination suggesting that anyone take a backseat, we're simply asking you to be open to strategic alliances.</dialogue>
<character>WELLS</character>
<dialogue>No fucking way.</dialogue>
<scene_description>That's that. Acosta goes to the window. He looks out.</scene_description>
<character>ACOSTA</character>
<dialogue>There's something about finding gold -- it's difficult to put into words -- the taste of it on your tongue, gritty and electric, the feel of it between your fingers. It's like a drug. It hooks you. It's what you're missing here in the city; so you must understand why we feel a bit possessive over it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>So I have proposal: put together your institutional players, the guys who rep the big money, whomever needs to kick the tires on this thing... And we'll take them on a little trip up the river...</dialogue>
<scene_description>Now Wells is looking at Acosta, starting to go with it --</scene_description>
<character>ACOSTA</character>
<dialogue>You know what river that is?</dialogue>
<character>WELLS</character>
<dialogue>The only river that matters -- the KENSANA --!</dialogue>
<character>ACOSTA</character>
<dialogue>And they can decide for themselves if we're ready to scale this thing up.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - NIGHT</stage_direction>
<character>JENNINGS</character>
<dialogue>So it was Acosta who proposed the junket to Kensana? Or did you cook that up together?</dialogue>
<scene_description>Wells looking at Jennings.</scene_description>
<character>WELLS</character>
<dialogue>You just don't get it. We weren't "cooking up" anything.</dialogue>
<character>WELLS</character>
<dialogue>I was getting hit from all sides by people wanting in -- Hart Hubbard, my neighbor, lawn care professional, usually worried about Kay's mulberry over his back fence, only now he's dropping mining terms, "Kenny, I hear the grade purity at Kensana is quite high. How is the core frequency?" Hart Hubbard. He cuts grass for a living.</dialogue>
<character>JENNINGS</character>
<dialogue>We've interviewed Mr. Hubbard.</dialogue>
<scene_description>Wells looks at Jennings and Banks and Levine. All dressed up in their middle-class rectitude.</scene_description>
<character>WELLS</character>
<dialogue>I'm just saying I wasn't feeling like I had to cook up anything.</dialogue>
<character>JENNINGS</character>
<dialogue>So it was Acosta who proposed the banker junket?</dialogue>
<character>WELLS</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Yes.</dialogue>
<parenthetical>(can't help himself)</parenthetical>
<dialogue>And it was a genius move. I don't exactly cut the right figure in a Wall Street boardroom. They didn't like my suit or the smell of my whiskey. And let's be clear: we were in a fight, a fight for control. With that one move Mike shifted the balance of power.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. JAKARTA INTERNATIONAL AIRPORT - DAY</stage_direction>
<scene_description>A group of BANKERS blinking in blinding tropical sunlight as they follow Wells out of the terminal.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>They were coming to our house and that was a whole new ball game.</dialogue>
<scene_description>OWENS (40), BINKERT and JACKSON (30's). These are men set free from the concrete jungle, ready for a taste of the real thing. They all pull wheeled carry-ons, some dressed in the latest "in" safari-wear from Ralph Lauren. They're met by Mike Acosta, in full bush gear. Suddenly the Bankers' outfits look foolishly ersatz.</scene_description>
<character>WELLS</character>
<dialogue>Gentlemen, this is Mike Acosta.</dialogue>
<character>ACOSTA</character>
<dialogue>Anyone who wants to turn back, this is your last chance.</dialogue>
<scene_description>They all look at him, "Is he fucking kidding?..."</scene_description>
<character>WELLS</character>
<dialogue>He's messin' with you, come on.</dialogue>
<scene_description>A few of the Bankers sigh, some aren't sure.</scene_description>
<character>WELLS</character>
<dialogue>Welcome to Indo, boys.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENSANA RIVER - DAY</stage_direction>
<scene_description>The front of a canoe breaks the plane, followed by Owens, Binkert, Jackson... taking it all in. It's one of those perfect tropical days -- a balmy breeze, glorious sunshine and billowing clouds hanging in an impossibly blue sky. They pass TRIBESMEN panning along the bank.</scene_description>
<character>WELLS</character>
<dialogue>They've been panning this river for five thousand years. That's how it got its name... Kensana. It means --</dialogue>
<scene_description>He shoots a look to Acosta, making the Bankers wait for it...</scene_description>
<character>ACOSTA</character>
<dialogue>River of gold.</dialogue>
<character>OWENS</character>
<dialogue>That's not real?</dialogue>
<scene_description>A smile between Wells and Acosta -- this is the show and they're loving it. And RISING UP the river is indeed gold colored, snaking through hills of green.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - DAY</stage_direction>
<scene_description>-- A BULLDOZER CLEARS A SECTION OF JUNGLE -- a CREW works a DRILL RIG. Acosta shouts over the din, machete in his hand.</scene_description>
<character>ACOSTA</character>
<dialogue>When we got the hit, we stepped out in a radiating pattern...We'll keep going until we have the complete picture of</dialogue>
<character>ACOSTA</character>
<dialogue>the underlying geology-- how long, how wide, how deep. It's this mapping that gives us the real sense of what we're sitting on.</dialogue>
<scene_description>The men look down at the ground. It's just ground. But their imaginations are working. Acosta points all around them.</scene_description>
<character>ACOSTA</character>
<dialogue>It's everywhere.</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE SITE - CORE SHED - DAY</stage_direction>
<scene_description>Acosta leads the group into the CORE SHED. Throughout the building, lying in wooden cradles, are the CORE SAMPLES -- six foot long cylinders of rock and earth.</scene_description>
<character>ACOSTA</character>
<dialogue>Our typical drill depth is between three and five hundred feet. We pull out our core samples in six foot segments, six inches in diameter packed solid with rock and soil.</dialogue>
<scene_description>He moves to a massive workbench covered with crushed rock.</scene_description>
<character>ACOSTA</character>
<dialogue>This building is guarded 24/7 and kept under lock and key.</dialogue>
<scene_description>Acosta pulls the leather thong around his neck from his shirt, see a huge GOLD NUGGET and a key --</scene_description>
<character>ACOSTA</character>
<dialogue>This is the key.</dialogue>
<scene_description>With that, he hoists up a diamond blade CIRCULAR SAW and it hums to life. He brings the blade down on the rock, OBLITERATING the rock, and our hearing, as it cuts a three- foot section of core. Again, he shouts over the noise --</scene_description>
<character>ACOSTA</character>
<dialogue>The cores are cut into sections and then crushed!</dialogue>
<scene_description>He heaves the cut section into a CRUSHER which AUTOMATICALLY ACTIVATES the mechanism -- adding insult to aural injury.</scene_description>
<character>ACOSTA</character>
<dialogue>The pulverized cores are then bagged and sealed!</dialogue>
<scene_description>He produces a WAX-SEALED CANVAS SACK as an example. Starts to heave it toward the bankers who dance out of the way --</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENSANA VILLAGE - DOCKS - DAY</stage_direction>
<scene_description>The SAME SACK lands on a freighter canoe with other sacks. All labeled and sealed, and under GUARD.</scene_description>
<character>ACOSTA</character>
<dialogue>Under guard, the samples are sent down river to independent labs in Kalimantan. If a seal is broken or damaged in any way, the lab, by law, has to discard the entire sample.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The bottom line is every safeguard has been put in place to assure the security of the process.</dialogue>
<scene_description>The Bankers nod, impressed. But that's not really what they came all this way for. They're not quite sold.</scene_description>
<character>WELLS</character>
<dialogue>Diamond tipped saw blades, rock crushers and core samples ripped from the guts of the earth... It all sounds great, but that's not what you came to see. Am I wrong?</dialogue>
<character>JACKSON</character>
<dialogue>No, you're not.</dialogue>
<scene_description>Wells and Acosta exchange a knowing look.</scene_description>
<character>WELLS</character>
<dialogue>You boys want to see some gold?</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENSANA RIVER - TRIBUTARY - AFTERNOON</stage_direction>
<scene_description>Late afternoon sun filters through the canopy. This could be Eden. A few of the bankers, knee deep, pan the rocky bottom.</scene_description>
<character>BINKERT</character>
<dialogue>No one's gonna believe this shit.</dialogue>
<scene_description>Owens swats at a bug. He looks more annoyed than impressed.</scene_description>
<character>OWENS</character>
<dialogue>So, what do you think?</dialogue>
<character>BINKERT</character>
<dialogue>Not sure. What about you?</dialogue>
<character>OWENS</character>
<dialogue>Acosta seems to know what he's talking about but, I don't know...</dialogue>
<scene_description>Jackson, working the river a few yards away, calls out!</scene_description>
<character>JACKSON</character>
<dialogue>Hey, come here - check it out!</dialogue>
<scene_description>Acosta heads out to him. Wells gestures to the pan.</scene_description>
<character>WELLS</character>
<dialogue>Looks like it might be the stuff.</dialogue>
<scene_description>Acosta holds the pan of mud up to the light -- glimmers of gold are seen in the fading sun.</scene_description>
<character>WELLS</character>
<dialogue>What do you think?</dialogue>
<character>ACOSTA</character>
<dialogue>Give me a minute.</dialogue>
<scene_description>The Bankers all watch, rapt -- Acosta takes the pan and moves back to the river bank, dumps the mud into a waiting SLURRY. He takes a bucket of river water and starts pouring the water SLOWLY over the mud. Then, right before their very eyes...</scene_description>
<character>ACOSTA</character>
<dialogue>Keep your eyes peeled...</dialogue>
<scene_description>Like magic... A HUGE GOLD NUGGET appears! Acosta holds it up into the light, reveling in its sparkling quality.</scene_description>
<character>ACOSTA</character>
<parenthetical>(tosses it to Jackson)</parenthetical>
<dialogue>A few more like that and you can pave Wall Street.</dialogue>
<scene_description>The Bankers are fucking speechless. Wells looks at the converted Owens...</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Pay dirt.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - NIGHT</stage_direction>
<scene_description>Jennings, jacket off, sleeves rolled up, paces. Wells rattles the ice cubes in his empty glass.</scene_description>
<character>WELLS</character>
<dialogue>Now, I honestly don't know if that was just a stroke of luck or an amazing piece of showmanship or both. But when Jackson pulled that nugget out...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. JAKARTA HOSTESS BAR - NIGHT</stage_direction>
<scene_description>INDONESIAN GIRLS dance, somehow more naked than naked. It's Wells, Acosta and the Bankers -- everyone getting loaded.</scene_description>
<character>WELLS (V.O)</character>
<dialogue>...We had 'em.</dialogue>
<scene_description>Acosta shouts out to the BARTENDER in Bahasa. MUSIC UP. Girls dancing together. Acosta passing drinks to the bankers...</scene_description>
<character>ACOSTA</character>
<dialogue>It's called a convex dome. What every geologist dreams of finding and that's what I think we've got at Kensana. Basically, it's a volcano that's collapsed in on itself, forming an inverted shell...</dialogue>
<scene_description>Wells cups his hands.</scene_description>
<character>WELLS</character>
<dialogue>...or a bowl full of all the stuff we're looking for.</dialogue>
<character>BINKERT</character>
<dialogue>How much "stuff" you think we're talking about?</dialogue>
<scene_description>Acosta smiles, throws back his drink and shouts out to a waitress, holding up his empty glass, signalling for drinks.</scene_description>
<character>ACOSTA</character>
<dialogue>Our current assays point to a deposit of anywhere from ten to thirty-five million ounces. When we find the dome, and we will find it, I wouldn't be surprised if we prove eighty to one hundred million ounces...</dialogue>
<scene_description>Jackson still has the presence of mind to do some calculations on his calculator. He looks at the number.</scene_description>
<character>JACKSON</character>
<dialogue>...Is that right?</dialogue>
<scene_description>He redoes the calculations. They all wait. He looks again.</scene_description>
<character>JACKSON</character>
<dialogue>You're talking over thirty billion dollars.</dialogue>
<scene_description>They all freeze. This is bigger than anyone imagined. Even Wells suddenly has the queasy look of a man starting to look at the drop on a roller coaster. He raises his glass.</scene_description>
<character>WELLS</character>
<dialogue>May we all be in heaven an hour before the IRS knows we're dead.</dialogue>
<scene_description>They laugh and, right on cue, out come the girls. Two for each Banker. As one of the girls runs her fingers through Jackson's hair, her breasts pressing against his face, he turns to Owens...</scene_description>
<character>JACKSON</character>
<dialogue>The business trips are going to be outstanding.</dialogue>
<character>OWENS</character>
<dialogue>Hell of a write-off.</dialogue>
<scene_description>Wells and Acosta stand off together, watching as the magic takes hold --</scene_description>
<character>WELLS</character>
<dialogue>Not a bad day.</dialogue>
<scene_description>Acosta smiles. And as the party rages, WE GO: DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. AMERICAN HOME - DAY</stage_direction>
<scene_description>Bright sun. As a car drives by and pulls into a sparsely crowded parking lot, hear a phone STARTING TO RING from the perspective of the caller. Then hear --</scene_description>
<character>KAY (O.S.)</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. JAKARTA PALACE HOTEL - WELLS'S SUITE - DAWN</stage_direction>
<scene_description>WELLS with a phone in one hand, drink in the other.</scene_description>
<character>WELLS</character>
<dialogue>What are you doing, baby? It's me. From halfway around the world.</dialogue>
<character>KAY (V.O.)</character>
<dialogue>Kenny!</dialogue>
<parenthetical>(to someone OS)</parenthetical>
<dialogue>It's Kenny --</dialogue>
<parenthetical>(to Wells)</parenthetical>
<dialogue>I was just telling some people the story of how we met.</dialogue>
<parenthetical>(continuing the story)</parenthetical>
<dialogue>I'd run off from home, didn't finish high school--I had a couple teachers who were real dicks--anyway, I was working for a magician --</dialogue>
<scene_description>Wells is twenty floors up, smiling at the dazzling fairy lights of nighttime Jakarta.</scene_description>
<character>WELLS</character>
<dialogue>Not-So-Amazing Cecil --</dialogue>
<character>KAY (V.O.)</character>
<dialogue>Cec had this one trick, his only trick. Kenny came...</dialogue>
<parenthetical>(to Wells)</parenthetical>
<dialogue>How many shows in a row, Kenny --?</dialogue>
<scene_description>Wells looks inside the suite where a last dancer sways in front of Acosta. The bankers have gone to bed.</scene_description>
<character>WELLS</character>
<dialogue>Twenty --</dialogue>
<character>KAY (V.O.)</character>
<dialogue>Twenty shows in a row. And the trick was?</dialogue>
<character>WELLS/KAY SIMUL</character>
<dialogue>I wanted your number, baby/He wanted my number --</dialogue>
<scene_description>Hear OS LAUGHTER through the phone.</scene_description>
<character>WELLS</character>
<dialogue>I love that story.</dialogue>
<scene_description>INTERCUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. AMERICAN HOME - DAY</stage_direction>
<scene_description>Kay on a white phone in the La-Z-Boy area. A few coworkers are chuckling, heading back to their respective areas.</scene_description>
<character>KAY</character>
<dialogue>How's it going over there?</dialogue>
<character>WELLS</character>
<dialogue>They're all in, baby. Everything we've been waiting for. Everything --!</dialogue>
<character>KAY</character>
<dialogue>Wait. Kenny... Really? Really really?</dialogue>
<scene_description>Wells looks at the lights, which seem to dance with destiny.</scene_description>
<character>WELLS</character>
<dialogue>I'm sending a plane for you, baby. A chariot like you deserve -- private jet -- to meet me in New York City... Blue skies...</dialogue>
<parenthetical>(off her pause)</parenthetical>
<dialogue>Did you hear me? Kay?</dialogue>
<scene_description>Kay holding the phone... Sees a MANAGER, CARL, signalling her.</scene_description>
<character>KAY</character>
<dialogue>I did...</dialogue>
<scene_description>She suddenly just turns away and JUMPS FOR JOY -- WIDE IN THE STORE: Kay airborne --! Screaming with happiness.</scene_description>
<character>WOOLF (V.O.)</character>
<dialogue>...Brown, Thomas, in association with Coleman and Mead Capital Group, are proud to announce the initial public offering of Class-A common stock...</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Woolf is holding the "Wall Street Journal," reading the full page "Tombstone" ad to Dresher and the room full of associates and enthralled board members.</scene_description>
<character>WOOLF</character>
<dialogue>And the listing of Washoe Mining on the New York Stock Exchange!</dialogue>
<scene_description>He holds the paper up with a smile. The boardroom ERUPTS!</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WALDORF-ASTORIA - NIGHT</stage_direction>
<scene_description>A town car pulls up. A DOORMAN opens the door. Kay looks country and momentarily lost.</scene_description>
<character>DOORMAN</character>
<dialogue>Welcome to the Waldorf-Astoria, Ma'am.</dialogue>
<scene_description>Kay looks country and lost.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE WALDORF-ASTORIA - VARIOUS - NIGHT</stage_direction>
<scene_description>The lobby is majestic. Worldly patrons. The Vanderbilt room. The hallway a dizzying assortment of patterns. The BELLMAN opens the door of a suite. Her head is spinning.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE WALDORF-ASTORIA - WELLS'S SUITE - NIGHT</stage_direction>
<character>KAY</character>
<dialogue>Kenny?</dialogue>
<scene_description>Yellow roses lead the way, the main room of the suite filled with hundreds.</scene_description>
<character>KAY</character>
<dialogue>...Are you here?</dialogue>
<scene_description>She heads into the bedroom and finds Wells nearly camouflaged.</scene_description>
<character>WELLS</character>
<dialogue>I wanted to surprise you... Are you surprised? It's your favorite flower, right?</dialogue>
<scene_description>She takes in the huge suite, the Chrysler Building out the window lit up like it's marking the center of the earth.</scene_description>
<character>WELLS</character>
<dialogue>You look beautiful.</dialogue>
<character>KAY</character>
<dialogue>Through thick and fuckin' thin... Thick ain't so bad, Kenny Wells.</dialogue>
<scene_description>He takes her in his arms, rolling across the huge bed.</scene_description>
<character>KAY</character>
<dialogue>Are these the softest sheets you ever felt?</dialogue>
<character>WELLS</character>
<dialogue>Let's get under 'em.</dialogue>
<scene_description>And we begin to HEAR SHOUTING, a CRAZY ENERGY, WHICH TAKES US:</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK STOCK EXCHANGE - HALLWAY - MORNING</stage_direction>
<scene_description>Wells and Kay exit the elevator and see Acosta waiting.</scene_description>
<character>WELLS</character>
<dialogue>My two favorite people in the world. Kay, Mike. Mike, Kay.</dialogue>
<character>KAY</character>
<parenthetical>(re: Wells)</parenthetical>
<dialogue>You know this one stole my watch to go meet you?</dialogue>
<character>WELLS</character>
<dialogue>That's my girl.</dialogue>
<character>ACOSTA</character>
<parenthetical>(laughing, to Kay)</parenthetical>
<dialogue>Actually he omitted that detail.</dialogue>
<parenthetical>(to Wells)</parenthetical>
<dialogue>Kenny--?</dialogue>
<character>KAY</character>
<dialogue>I'm just teasing --</dialogue>
<character>WELLS</character>
<dialogue>She's teasing --</dialogue>
<character>KAY/WELLS/ACOSTA</character>
<dialogue>No, she's not --</dialogue>
<character>KAY</character>
<dialogue>It's really good to meet you, Mike.</dialogue>
<scene_description>They cross down the hall to find</scene_description>
<character>WELLS</character>
<dialogue>Bryan, Kay. Hollis, Kay. My man, Stanton you know. Sweats as much as I do...</dialogue>
<scene_description>And then all are whisked away by NYSE OFFICIALS. And we begin to hear NOISE, like a sporting event is happening beside them.</scene_description>
<character>ACOSTA</character>
<parenthetical>(to Kay)</parenthetical>
<dialogue>You must be proud of him.</dialogue>
<character>KAY</character>
<dialogue>Never doubted for a second.</dialogue>
<scene_description>They both smile, knowing just how far they've come to get here... Then a door opens and they pass INTO A VAST SPACE of light and air:</scene_description>
<character>INT. NEW YORK STOCK EXCHANGE - TRADING FLOOR - CONTINUOUS</character>
<dialogue>ON THE FLOOR looking up at the balcony where suddenly WELLS and KAY and ACOSTA appear amongst the bankers and OTHER DIGNITARIES. Suddenly the room is QUIET in a HELD BREATH.</dialogue>
<dialogue>As we ZOOM up toward Wells and Acosta. Wells throws his arm around Acosta as THEY RING THE OPENING BELL!... DING!DING!DING!DING!</dialogue>
<character>WELLS</character>
<parenthetical>(to Kay)</parenthetical>
<dialogue>I'm ringing the bell, baby!</dialogue>
<character>KAY</character>
<dialogue>I'm so fucking proud of you, baby. So fucking proud of you.</dialogue>
<scene_description>As we hear the ROOM ERUPT, we start pulling back --</scene_description>
</scene>
<scene>
<stage_direction>A102 INT. GREENHORNS - DAY</stage_direction>
<scene_description>PULLING RIGHT OUT OF THE BAR TV: CNN coverage of the boys ringing the bell at the New York Stock Exchange. Bobby, Connie, Scotty, Roy, all the regulars, maybe have stayed up all night to celebrate with Kenny. And CELEBRATE THEY DO:</scene_description>
<character>A SERIES OF SHOTS:</character>
<dialogue>-- A STOCK TICKER -- WASHOE IS OFF TO THE RACES --</dialogue>
<character>$28.00...$35.00...</character>
<dialogue>-- THE CNBC CRAWL -- $67.00... Behind the anchor, the Washoe logo with the heading: "Washoe On The Move."</dialogue>
<dialogue>-- THE TRADING FLOOR -- as purchase slips fall to the floor like confetti. We GO TIGHT ON ONE OF THE SLIPS as it slowly drifts in air -- "BUY: TRT @ $110.00"</dialogue>
<character>WELLS (V.O)</character>
<dialogue>In a single trading day we went from twenty-three bucks to over a hundred and ten. It was unbelievable.</dialogue>
<parenthetical>(beat)</parenthetical>
<character>WELLS (V.O)</character>
<dialogue>The way I see it, what banks do, who the hell knows, but what made this country is not tight-asses in suits, no offense, taking the safe way down, it's guys like Mike and me, who jump.</dialogue>
<scene_description>-- TALL BUILDINGS in Mid-Town. Black car. Doors opening. Kay and Kenny exit, Kay feeling great in a new dress, shoes.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - BAR ROOM - NIGHT</stage_direction>
<scene_description>Waiters with trays of champagne. Binkert, Owens and Jackson swirling around Acosta and Wells and Kay. Then Woolf is pulling Wells and Acosta away.</scene_description>
<character>WOOLF</character>
<dialogue>Kenny, Mike, this guy may sit on your board... if you're very lucky.</dialogue>
<scene_description>Kenny Wells and Mike Acosta shaking hands with the potential board member. As Kay is quietly edged out of the circle.</scene_description>
<character>DRESHER</character>
<dialogue>Kenny, come say hi to the richest guy in Delaware. And best looking.</dialogue>
<scene_description>Kenny meets the richest, best-looking guy in Delaware. As we see a BEAUTIFUL WOMAN openly watching Wells and Acosta. A FEW MINUTES LATER Everyone has gathered. Woolf leads a toast:</scene_description>
<character>WOOLF</character>
<dialogue>To a very good day... To Kenny Wells and to Mike Acosta.</dialogue>
<character>WELLS</character>
<dialogue>To the mother lode!</dialogue>
<scene_description>And there's that woman again. In his sight line. Light in her eyes. Wells makes a show of downing his glass in one gulp --</scene_description>
<character>WELLS</character>
<dialogue>Fill 'er up and keep it flowin'.</dialogue>
<character>JACKSON</character>
<dialogue>Kenny, Mike, try this on for size.</dialogue>
<scene_description>Jackson punches figures into his ever-present calculator.</scene_description>
<character>WELLS</character>
<parenthetical>(to Jackson's wife)</parenthetical>
<dialogue>He sleep with that thing, or what?</dialogue>
<character>JACKSON'S WIFE</character>
<dialogue>He just sets it on vibrate and we're both happy.</dialogue>
<character>JACKSON</character>
<dialogue>As of the closing bell this is what you're both worth, on paper anyway.</dialogue>
<scene_description>And then Wells is looking at the figure, and even he is stunned. Time slows and the world goes silent, like he's sliped into a dream. And in this dream his heartbeat thuds, and bankers laugh; the beautiful woman throws a seductive glance. And Acosta's voice from far, far away:</scene_description>
<character>ACOSTA</character>
<dialogue>A lot of zeros, my friend.</dialogue>
<scene_description>A crystal bell is tolling... for dinner. Everyone moves.</scene_description>
<character>DRESHER</character>
<dialogue>It takes them a full week to do their rotisserie duck.</dialogue>
<scene_description>Kay watches Kenny, surrounded by admirers, head for the other room. He forgets to look for her.</scene_description>
</scene>
<scene>
<stage_direction>A104 INT. FOUR SEASONS RESTAURANT - POOL ROOM - DUSK</stage_direction>
<scene_description>As guests pour into the famous POOL ROOM we find Kay. She pauses, openly taking it all in as others pass. She clutches her champagne flute like a wand.</scene_description>
<character>INT. FOUR SEASONS RESTAURANT - NIGHT</character>
<dialogue>Camera sweeps across the now-candlelit room, murmur of intimate conversations and laughter. It's that time after dinner before desert when people start table hopping. We find Kay with an empty seat beside her. She glances up, watching Kenny work the room.</dialogue>
<character>WELLS</character>
<dialogue>...It's all gambling. Risk. If I really wanted to make money, I'd stay home on Sunday and bet pro-football.</dialogue>
<scene_description>We realize the beautiful woman is seated at the same table where Wells is now holding court.</scene_description>
<character>WELLS</character>
<dialogue>...Stallone on the sidelines in Philly, Eagles won't cover--!</dialogue>
<scene_description>Kay's wine glass is refilled. She glances at Acosta who smiles mysteriously.</scene_description>
<character>WELLS</character>
<dialogue>Miami won't cover in San Fran. Hell, the game starts at midnight for them.</dialogue>
<scene_description>The woman catches his eye, holding out a hand. He gives her a smoke and lights it.</scene_description>
<character>RACHEL</character>
<dialogue>Thank you. Rachel Hill.</dialogue>
<scene_description>Their eyes connect.</scene_description>
<character>WELLS</character>
<dialogue>What brings you out, Rachel?</dialogue>
<character>RACHEL</character>
<dialogue>I'm in Investor Relations. At Brown Thomas. On the team.</dialogue>
<scene_description>There's an empty seat across from her. He considers this. She opens her hand in a gesture that says, please.</scene_description>
<character>WELLS</character>
<dialogue>Does that mean you relate to investors?</dialogue>
<character>RACHEL</character>
<dialogue>Something like that.</dialogue>
<scene_description>Wells laughs. And Rachel laughs with him. Across the room Kay downs her drink. She watches Wells say something and laugh again. She doesn't want to look at the way Rachel Hill smokes, but she can't help it.</scene_description>
<character>WELLS</character>
<dialogue>Rocks of gold as big as your knuckle just sloshing along in the river --</dialogue>
<character>KAY</character>
<dialogue>Hello, I'm Kay.</dialogue>
<scene_description>We realize instantly Kay is sort of drunk and emotional.</scene_description>
<character>RACHEL</character>
<dialogue>Hello, Kay.</dialogue>
<character>WELLS</character>
<dialogue>This is Kay, say hello to Rachel.</dialogue>
<character>KAY</character>
<dialogue>I just did.</dialogue>
<character>WELLS</character>
<dialogue>Rachel works at Brown Thomas. She's on the team.</dialogue>
<character>KAY</character>
<dialogue>I'm going to the washroom. Then I want to leave.</dialogue>
<scene_description>Wells is supposed to say, "I'll go with you," but he doesn't. As Kay moves off, Wells catches Acosta's eyes on him, Acosta's look asking: "What the hell are you doing?" But Wells's attention is drawn back to Rachel as... UNDER THE TABLE Rachel's sexy shoe drops from her sexy stocking foot, which now moves it's way under the cuff of Wells's pants leg. She considers him cooly. Off his expression, WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - LADIES'S RESTROOM - NIGHT</stage_direction>
<scene_description>Kay looks into the mirror, trying to keep it together. Two UPPER EAST SIDE WOMEN enter, waiting for the mirror. The women wait. Kay looks at herself in the mirror and WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - DINING ROOM - NIGHT</stage_direction>
<scene_description>Rachel and Wells still talking. Wells all swept up with the wine and newfound celebrity.</scene_description>
<character>RACHEL</character>
<dialogue>To go out into the wilderness and discover something that everybody wants... how does that feel?</dialogue>
<scene_description>They consider each other. Rachel's foot is doing something else under the table. In the twinkling room no one notices.</scene_description>
<character>WELLS</character>
<dialogue>Better than a kick in the ass.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - BAR - NIGHT</stage_direction>
<scene_description>As Kay makes her way up the stairs, she overhears:</scene_description>
<character>WOOLF (O.S.)</character>
<dialogue>It's like a drunk raccoon found the Hope Diamond. You don't want to get too close, but you don't want to let it get away either.</dialogue>
<scene_description>Laughter. It's Woolf at the bar talking to a banker, LEWIS HORNE. Kay pauses a moment to listen.</scene_description>
<character>HORNE</character>
<dialogue>It's your raccoon, Bryan. Do you let it run a multi-billion dollar company.</dialogue>
<character>WOOLF</character>
<dialogue>And lose you as a client?</dialogue>
<scene_description>Woolf is shaking his head as Kay sidles up.</scene_description>
<character>KAY</character>
<dialogue>Who wants to buy a girl a drink?</dialogue>
<scene_description>Woolf covers:</scene_description>
<character>WOOLF</character>
<dialogue>Kay, meet Lewis Horne!</dialogue>
<character>KAY</character>
<parenthetical>(to the bartender)</parenthetical>
<dialogue>Three double shots of Jack.</dialogue>
<parenthetical>(to Horne)</parenthetical>
<dialogue>Lewis, I like that name, Lewis.</dialogue>
<scene_description>She's flirtatious. Her cleavage like the prow of a ship. The men share a glance: did she overhear? She raises her glass. They raise theirs.</scene_description>
<character>KAY</character>
<dialogue>I propose a toast--</dialogue>
<character>HORNE/WOOLF</character>
<dialogue>Here, here --</dialogue>
<character>KAY</character>
<dialogue>To a small creature...often taken for granted or considered a nuisance just because of its survival skills.</dialogue>
<scene_description>She heard.</scene_description>
<character>KAY</character>
<parenthetical>(fun fact)</parenthetical>
<dialogue>Their babies are called "kits."</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>They are intelligent, fierce fighters, and omnivorous. They eat anything. Just like humans.</dialogue>
<character>WOOLF</character>
<dialogue>Kay--</dialogue>
<character>KAY</character>
<dialogue>And they're cute even when they're waking you up 'cause they got the lid off your garbage can.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>To the raccoon.</dialogue>
<scene_description>She downs her shot. Smiles sweetly, leaves them there. Horne downs his shot and watches her go, impressed and leering both.</scene_description>
<character>HORNE</character>
<dialogue>Do raccoons mate for life?</dialogue>
</scene>
<scene>
<stage_direction>INT. FOUR SEASONS RESTAURANT - DINING ROOM - CONTINUOUS</stage_direction>
<scene_description>As Kay approaches the table, she sees Rachel and Wells, heating up. He turns, sheepishly. Kay picks up her bag.</scene_description>
<character>KAY</character>
<dialogue>Stay if you want. I'm going.</dialogue>
<character>WELLS</character>
<dialogue>Come on, babe, one more drink.</dialogue>
<scene_description>Kay heads for the door. Wells glances back to Rachel's half- smile, but suddenly Acosta is at Wells's side, standing over him.</scene_description>
<character>ACOSTA</character>
<dialogue>What are you doing?</dialogue>
<character>WELLS</character>
<dialogue>What do you mean? Mike, Rachel --!</dialogue>
<character>ACOSTA</character>
<dialogue>Time to go, pal.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE WALDORF-ASTORIA - WELLS'S SUITE - NIGHT</stage_direction>
<scene_description>Kay walks in, Wells does his best to keep up with her. They both make drinks right away.</scene_description>
<character>KAY</character>
<dialogue>...I don't want to talk about it.</dialogue>
<character>WELLS</character>
<dialogue>I wasn't doing anything.</dialogue>
<character>KAY</character>
<dialogue>I don't want to talk about it.</dialogue>
<character>WELLS</character>
<dialogue>Okay, well maybe I should've banged her right there on the table!</dialogue>
<character>KAY</character>
<dialogue>You're too drunk to get it up anyway.</dialogue>
<character>WELLS</character>
<dialogue>I'll take that challenge.</dialogue>
<scene_description>He tries to make a move. She shrugs away.</scene_description>
<character>KAY</character>
<dialogue>I don't care about you flirting with Miss Pneumatic '88. Think I haven't seen it before?</dialogue>
<character>WELLS</character>
<dialogue>Wait, her tits aren't that big. They're not real?</dialogue>
<character>KAY</character>
<dialogue>None of this is real.</dialogue>
<character>WELLS</character>
<dialogue>Kay --</dialogue>
<character>KAY</character>
<dialogue>And you know what, none of it ever was real. We drive up to look at that dream ranch and it's so nice, Kenny, but on the way we pass through where? What did we go right through?</dialogue>
<scene_description>He knows.</scene_description>
<character>KAY</character>
<dialogue>Maggie's Creek. Where your great- grandad staked a claim.</dialogue>
<character>KAY</character>
<dialogue>And it's a ghost town. Which is exactly what this place feels like to me.</dialogue>
<character>WELLS</character>
<dialogue>I knew if I brought you along, you'd work overtime to screw it up for me.</dialogue>
<character>KAY</character>
<dialogue>You have never needed any help in that department.</dialogue>
<scene_description>And she leaves the room. And he goes after her. IN THE BEDROOM Kay sits on the bed, taking off her new shoes. Wells appears in the doorway. Watches her a moment.</scene_description>
<character>WELLS</character>
<dialogue>You know what your problem is, Kay --?</dialogue>
<character>KAY</character>
<dialogue>No, why don't you tell me --</dialogue>
<character>WELLS</character>
<dialogue>You have no vision. It's like your whole world is this big --</dialogue>
<scene_description>Wells holds up two fingers an inch apart --</scene_description>
<character>WELLS</character>
<dialogue>At one end is your kitchen sink and the other end is the goddamn parking lot of a furniture store.</dialogue>
<scene_description>That hurt, actually.</scene_description>
<character>KAY</character>
<dialogue>You mean an actual job that would support a person in a place they live. You mean that vision. You know what, fuck you!</dialogue>
<character>WELLS</character>
<dialogue>Fuck you!</dialogue>
<scene_description>Now she starts packing her things, which really starts to piss him off, and every item she drops in her bag urges him to say more that he'll regret later.</scene_description>
<character>WELLS</character>
<dialogue>Yeah, run back to your crappy little life.</dialogue>
<character>KAY</character>
<dialogue>I like my crappy little life. It's mine--</dialogue>
<character>WELLS</character>
<dialogue>All you've ever wanted was a broken bird--</dialogue>
<character>KAY</character>
<dialogue>What the fuck are you even talking about--?</dialogue>
<character>WELLS</character>
<dialogue>Oh, you said the right things, but in your heart you didn't believe them. You didn't believe in me. You like me losing. It's comfortable.</dialogue>
<character>KAY</character>
<dialogue>These people are using you. They don't care about you. And they certainly don't believe in you.</dialogue>
<dialogue>She takes her old clothes into the bathroom. Door shuts.</dialogue>
<dialogue>Door opens. Herself again. Heading for the door.</dialogue>
<character>WELLS</character>
<dialogue>You just can't let me have the win. You don't have it in you.</dialogue>
<scene_description>She passes by him without a look</scene_description>
<character>WELLS</character>
<dialogue>Did it ever occur to you that I know what I'm doing?</dialogue>
<scene_description>She looks at him, really looks at him.</scene_description>
<character>KAY</character>
<dialogue>I hope you do.</dialogue>
<scene_description>At the door of the suite, she turns.</scene_description>
<character>KAY</character>
<dialogue>Where I'm from, if something seems too good to be true, it usually is.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I just never thought that applied to us.</dialogue>
<scene_description>The door shuts automatically behind her. On the other side find Wells staring at the door. Almost goes after her.</scene_description>
<character>WELLS</character>
<dialogue>I KNOW WHAT I'M DOING!</dialogue>
<scene_description>AT THE BAR -- Angry self-righteous cubes in the glass. AT THE WINDOW -- the chasms of the city late at night -- A GHOST TOWN. CUT TO:</scene_description>
<character>INT. DIMLY LIT ROOM - NIGHT</character>
<dialogue>More whiskey in a glass. Wells feeling no pain now either, or maybe the same pain masked in the same way.</dialogue>
<character>JENNINGS</character>
<dialogue>What did you do next, Wells?</dialogue>
<character>WELLS</character>
<dialogue>What'd I do? What'd I do?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I rode it. And what a ride, Jennings. What a ride...</dialogue>
<scene_description>SMASH TO:</scene_description>
<character>EXT. HELICOPTER - FLYING - LONG ISLAND - GOLDEN HOUR</character>
<dialogue>The beaches of the south fork glow pink as a CHOPPER races away from the setting sun.</dialogue>
<character>EXT. DUNE ROAD LANDING PAD - GOLDEN HOUR</character>
<dialogue>The landing pad on Dune Road, an X amidst sea grass and water. As a chopper banks in over the Shinnecock Bay. Across the road Owens and Binkert, dressed for monied summer fun, wait in a mint VW Thing. Wells exits, ducking low. He crosses the road.</dialogue>
</scene>
<scene>
<stage_direction>A114 INT. VW THING - DAY</stage_direction>
<scene_description>Wells hops in the car. They pass him a six-pack as Owens pulls out of the beach parking lot.</scene_description>
<character>BINKERT</character>
<dialogue>You know how you found the River of Gold?</dialogue>
<character>WELLS</character>
<dialogue>Yeah.</dialogue>
<character>OWENS</character>
<dialogue>Well, it turns out, it flows to right here.</dialogue>
<scene_description>The car toodles off down the sandy lane past massive houses set back in the dunes.</scene_description>
<character>EXT. DUNE ROAD BEACH PAD - DAY</character>
<dialogue>Wells and Dresher with THOMAS CRANEPOOL, 5O's, one of those men who exude permanence.</dialogue>
<character>CRANEPOOL</character>
<dialogue>How's it feel, Mr. Wells, to be a Rock Star?</dialogue>
<character>WELLS</character>
<dialogue>Like I should be banging groupies, not chatting up bankers.</dialogue>
<character>CRANEPOOL</character>
<dialogue>Oh, I imagine we can find a few of those around here somewhere.</dialogue>
<character>DRESHER</character>
<dialogue>Be nice, Wells. This is our host, Thomas Cranepool.</dialogue>
<character>WELLS</character>
<dialogue>I'm making a lot of these rich fucks a lot richer, so I'm thinking I got a little leeway.</dialogue>
<scene_description>As Wells saunters away, Cranepool smiles easily.</scene_description>
<character>CRANEPOOL</character>
<dialogue>Mi casa es su casa.</dialogue>
<parenthetical>(to Dresher)</parenthetical>
<dialogue>I hope he enjoys himself.</dialogue>
<character>DRESHER</character>
<dialogue>I don't think you have anything to worry about in that regard.</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUNE ROAD BEACH PAD - POOLSIDE BAR - LATER</stage_direction>
<scene_description>The sun has dropped behind the trees. Wells gets the bartender's attention again.</scene_description>
<character>BARTENDER</character>
<dialogue>Seagrams on the rocks?</dialogue>
<character>RACHEL (O.S.)</character>
<dialogue>And I'll have the same.</dialogue>
<scene_description>Wells recognizes that voice. It's RACHEL.</scene_description>
<character>WELLS</character>
<dialogue>You sure you want to do that?</dialogue>
<scene_description>She signals the bartender: line it up, buddy.</scene_description>
<character>RACHEL</character>
<dialogue>It reminds me of my childhood.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>So how is everything in the very enchanted world of Kenny Wells?</dialogue>
<character>WELLS</character>
<dialogue>I feel like a million bucks only a few hundred times better.</dialogue>
<character>RACHEL</character>
<dialogue>That must be a very nice feeling.</dialogue>
<character>WELLS</character>
<dialogue>Looks like a few other people around here feel the same way.</dialogue>
<scene_description>She follows his gaze. Faces of self-assured guests. Face, face, face. In Rachel's eyes, the net-worth of everyone.</scene_description>
<character>RACHEL</character>
<dialogue>...Maybe... Maybe not.</dialogue>
<character>WELLS</character>
<dialogue>Hey, you want to get wet?</dialogue>
<character>RACHEL</character>
<dialogue>That's funny, Kenny.</dialogue>
<character>WELLS</character>
<dialogue>Why is it funny?</dialogue>
<scene_description>She leans in close to him, whispers something in his ear. His expression tells us it was a direct hit.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUNE ROAD BEACH PAD - HOT TUB - NIGHT</stage_direction>
<scene_description>Wells and Rachel are in the hot tub. And she is perfection itself, the kind of complete package used to escape every shit backwater the world over since time began.</scene_description>
<character>WELLS</character>
<dialogue>So... how'd you... uh, end up out here?</dialogue>
<character>RACHEL</character>
<dialogue>Well let's see Kenny there are two answers to that question, short form would be, I know Tom. Tom is a friend.</dialogue>
<scene_description>She slides almost imperceptibly closer.</scene_description>
<character>WELLS</character>
<dialogue>I'll bet he is.</dialogue>
<character>RACHEL</character>
<dialogue>Now, now. I stay with his cousin Timmy down the lane. Timmy's really quite a character if you don't know him.</dialogue>
<character>WELLS</character>
<dialogue>I don't know Timmy.</dialogue>
<character>RACHEL</character>
<dialogue>I really don't feel like talking.</dialogue>
<scene_description>She moves closer. He looks at the surface of the water.</scene_description>
<character>WELLS</character>
<dialogue>Help, there's a creature in here with us, an octopus or something.</dialogue>
<scene_description>She leans closer to him, her chest is now against his chest, and her hand still working, slowly, so slowly. She's just above him. And he's looking at her.</scene_description>
<character>RACHEL</character>
<dialogue>Shhh, let's just feel things.</dialogue>
<scene_description>And she moves again and we can tell it feels very good indeed. Suddenly a VOICE from behind --</scene_description>
<character>HANCOCK (O.S.)</character>
<dialogue>Wells? Kenny Wells?</dialogue>
<scene_description>Wells looks up at MARK HANCOCK. A trim, self-assured South African mining mogul, CEO of Newport Holdings.</scene_description>
<character>HANCOCK</character>
<dialogue>Mark Hancock. Seems I've caught you at a bit of a disadvantage, Mr. Wells.</dialogue>
<scene_description>Wells doesn't skip a beat. He stands, steps out of the tub, completely naked, for all to see. Wells extends his dripping hand, which Hancock, unflappable, accepts with a smile.</scene_description>
<character>WELLS</character>
<dialogue>Good to meet you. This is Rachel.</dialogue>
<character>HANCOCK</character>
<dialogue>I know the lovely Rachel.</dialogue>
<scene_description>Wells wraps a towel.</scene_description>
<character>WELLS</character>
<dialogue>Hancock controls more gold than anyone else on the planet.</dialogue>
<character>HANCOCK</character>
<dialogue>With the possible exception now of Mr. Wells.</dialogue>
<scene_description>Wells takes a moment, finding his smokes, checking out Rachel in water and moonlight.</scene_description>
<character>WELLS</character>
<dialogue>So, this is how it happens?</dialogue>
<character>HANCOCK</character>
<dialogue>This is how it happens.</dialogue>
<scene_description>He lights a cigarette with his gold Dunhill lighter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SKYLINE OF MANHATTAN - SUNRISE</stage_direction>
<scene_description>The sun rises through the buildings to the east. We're drifting down the Hudson, hearing the sounds of sex. Pulling into the corporate chopper as Rachel rides Wells.</scene_description>
<character>RACHEL</character>
<dialogue>I've always wanted to do this.</dialogue>
<character>WELLS</character>
<dialogue>I wish to god it had occurred to me.</dialogue>
<scene_description>The chopper banks, the Statue of Liberty one direction, the twin towers and all of Manhattan the other.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Hancock and his lawyers are seated at one end, Wells's bankers at the other including Dresher and Binkert. No one is speaking, they listen to the rant coming from the next room.</scene_description>
<character>WELLS (O.S.)</character>
<dialogue>This isn't a deal, it's a goddamn rape!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - ANTEROOM - CONTINUOUS</stage_direction>
<scene_description>Wells paces like an animal. His personal banker, Stanton, looks on, shocked. Woolf tries to talk him down.</scene_description>
<character>WOOLF</character>
<dialogue>Kenny, listen to me --</dialogue>
<character>WELLS</character>
<dialogue>This is mine! I found it, me and Mike. We were the ones up to our asses in shit and mud and malaria and this asshole offers a minority partnership?!</dialogue>
<scene_description>Woolf stays cool, always reasonable.</scene_description>
<character>WOOLF</character>
<dialogue>Kenny, let's keep perspective here. When someone offers you this amount of money, it's a good day. You may say yes, you may say no, but it's not like anyone's trying to offend you.</dialogue>
<character>WELLS</character>
<dialogue>Well mission goddamn not accomplished.</dialogue>
<scene_description>Stanton steps up for Wells.</scene_description>
<character>STANTON</character>
<dialogue>Bryan, this deal is shit and you know it!</dialogue>
<character>WOOLF</character>
<dialogue>Hancock and Newport Holdings have the expertise and the experience to bring this home. This was always there as a contingency. You know that.</dialogue>
<character>WELLS</character>
<dialogue>No. No. This is where Washoe Mining becomes a player. Not Newport...</dialogue>
<parenthetical>(looking at the papers)</parenthetical>
<dialogue>I don't even see our name. You took our name off of it!? You took my name.</dialogue>
<character>WOOLF</character>
<dialogue>But again just taking a step back for a moment, wouldn't it not be terrible to sit back and enjoy your success.</dialogue>
<character>WELLS</character>
<dialogue>Wouldn't it not be terrible... What kind of way of talking is that? Wouldn't it not be terrible for me to just bend over and grab my ankles. You think you can buy me out and take my name and just vanish Kenny Wells to the corn field?</dialogue>
<scene_description>Woolf has had enough.</scene_description>
<character>WOOLF</character>
<dialogue>If you hit the pause button for a second and consider without emotion, you'll realize this is the kind of very rare moment where with the stroke of a pen, no one in your family, I'm talking your children's grandchildren, will ever have to worry about money again.</dialogue>
<scene_description>For once, Wells doesn't respond right away. He pats for his cigs. Stanton hands him one. Wells fires up and takes a long drag, and finally looks at Woolf.</scene_description>
<character>WELLS</character>
<dialogue>See these hands? These are my father's hands. I clawed into the guts of the hot earth with these hands. I will bury you with these hands, Brian. Now you go tell that silky sable Hancock he works for Kenny Wells.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - CONFERENCE ROOM - CONTINUOUS</stage_direction>
<scene_description>The air has been sucked out of the room.</scene_description>
<character>HANCOCK</character>
<dialogue>You know, I almost respect this guy.</dialogue>
<scene_description>Hancock is already reaching for the phone. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - DAWN</stage_direction>
<scene_description>Tranquil, beautiful. Only the chickens are awake...</scene_description>
</scene>
<scene>
<stage_direction>INT. WASHOE SITE - MAIN TENT - CONTINUOUS</stage_direction>
<scene_description>Acosta at a desk, working with a slide rule planning something cool. As the SOUND of military jeeps shatter the calm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE SITE - MORNING</stage_direction>
<scene_description>Military jeeps filled with armed SOLDIERS roaring down a freshly cut road toward the site. A soldier steps from a vehicle and begins a slow trek toward Acosta. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE HEADQUARTERS - RENO - DAY</stage_direction>
<scene_description>Wells's Caddy swings into a prime spot. It's all fixed up now. Fresh paint. He takes a moment to appreciate this turn of events. And WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>The chaos of a recent move-in, phones on the floor, lots of busy employees. Wells is met almost immediately by Bobby Burns and a few others.</scene_description>
<character>BURNS</character>
<dialogue>Where the hell have you been?! Mike's on the phone --</dialogue>
<scene_description>Wells sees the panic in everybody's eyes. Not good. He sweeps into his office, which looks out on Reno. There's a full bar, the elk head -- a kind of "You can take the man out of the Greenhorns, but you won't get the Greenhorns out of the man" declaration.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENSANA SITE - SAME TIME</stage_direction>
<scene_description>ARMED INDONESIAN SOLDIERS herd WASHOE WORKERS out the gate like frightened cattle, forcing them into the backs of trucks. Acosta is caught up in a wave of workers as they're pushed out of the gate. Acosta speaks on a bulky satellite phone.</scene_description>
<character>ACOSTA</character>
<dialogue>They're locking us out!</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE HEADQUARTERS - WELLS'S OFFICE - DAY</stage_direction>
<scene_description>Wells stands at his desk, smoking.</scene_description>
<character>WELLS</character>
<dialogue>What? What are you talking about?</dialogue>
<character>ACOSTA</character>
<dialogue>They're taking over the mine. The military's here, the Minister revoked our exploration permits.</dialogue>
<scene_description>A terrifying realization begins to dawn on Wells.</scene_description>
<character>ACOSTA</character>
<dialogue>What happened at your meeting with Hancock?</dialogue>
<parenthetical>(yelling)</parenthetical>
<dialogue>What happened at the meeting!?</dialogue>
<character>WELLS</character>
<dialogue>They were trying to push us out, Mike.</dialogue>
<character>ACOSTA</character>
<dialogue>Push us out? What do you mean?</dialogue>
<character>WELLS</character>
<dialogue>They even took our name, Mike. Right off everything.</dialogue>
<character>ACOSTA</character>
<dialogue>You bloody moron.</dialogue>
<character>WELLS</character>
<dialogue>They can't revoke the permit! They can't just steal it away from us!</dialogue>
<scene_description>Acosta is livid, screaming as he's herded onto a truck.</scene_description>
<character>ACOSTA</character>
<dialogue>I told you from the beginning: Suharto can do whatever he wants!</dialogue>
<scene_description>Wells paces, he knows this could be the end.</scene_description>
<character>WELLS</character>
<dialogue>Oh, God... Oh, my God.</dialogue>
<scene_description>Acosta sees a SOLDIER knock one of the WORKERS to the ground with his rifle. Fury in Acosta's face as he rushes over, shoves the soldier out of the way.</scene_description>
<character>ACOSTA</character>
<dialogue>Do not touch my men.</dialogue>
<scene_description>The Soldier levels his rifle at Acosta. Acosta stares back. Defiant. Acosta helps the worker to his feet.</scene_description>
<character>ACOSTA</character>
<parenthetical>(Dayak, subtitles)</parenthetical>
<dialogue>Get to the trucks. Go...</dialogue>
<character>WELLS</character>
<dialogue>Mike - what's going on?...</dialogue>
<parenthetical>(silence from the receiver)</parenthetical>
<dialogue>Mike? Mike?!</dialogue>
<scene_description>Acosta backs away from the Soldier, turns and walks slowly back to the phone... He picks it up. Finally --</scene_description>
<character>ACOSTA</character>
<dialogue>We lost the site. You knew who you were dealing with. They're killers -- Hancock first among them.</dialogue>
<scene_description>Wells seems to physically crumble -- he buries his face in his hands. Completely at a loss.</scene_description>
<character>WELLS</character>
<dialogue>I'm sorry, Mike. I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>INT. DIMLY LIT ROOM - NIGHT</stage_direction>
<scene_description>Wells looks up at Jennings -- it's not easy telling someone what a fuck-up you are. He's embarrassed, the pain of the moment, the booze, the miles, all fresh on his face.</scene_description>
<character>WELLS</character>
<dialogue>It turned out that, in addition to long-standing ties to Suharto, Newport Holdings has on its Board an ex- President of the United States, who was actually IN one of Suharto's weddings -- a groomsman.</dialogue>
<character>WELLS</character>
<dialogue>So the whole time they were looking me in the eye offering to make my grand- kids rich, they had a backup plan, which was to steal it all away.</dialogue>
<character>JENNINGS</character>
<dialogue>And Acosta had ordered you to sell.</dialogue>
<character>WELLS</character>
<dialogue>Yes... no... he didn't order me. We were winging it, the negotiating I mean, it was sort of agreed upon, the direction, without really talking about it, you know what I mean?</dialogue>
<character>JENNINGS</character>
<dialogue>Did he tell you to take the deal? Yes or no?</dialogue>
<character>WELLS</character>
<parenthetical>(reluctant)</parenthetical>
<dialogue>...Yes.</dialogue>
<character>JENNINGS</character>
<dialogue>But you didn't.</dialogue>
<character>WELLS</character>
<dialogue>No.</dialogue>
<scene_description>Jennings glances at the more junior men. This is significant.</scene_description>
<character>JENNINGS</character>
<dialogue>Why not?</dialogue>
<scene_description>Wells is now truly embarrassed. Finally, he gets it out.</scene_description>
<character>WELLS</character>
<dialogue>Because Kensana would become a Newport mine and Mark Hancock's Midas touch continues. Kenny Wells? A footnote -- the lucky bastard who fell down drunk and woke up in a pile of money.</dialogue>
<scene_description>Jennings takes a moment. Walks over to Levine. Confers for a second. See them looking across the space at Wells. There's disagreement. Jennings comes back.</scene_description>
<character>JENNINGS</character>
<dialogue>That was a pretty foolish business decision, wasn't it?</dialogue>
<character>WELLS</character>
<dialogue>It was my dream. I dreamed it. And if you sell your dream, then what do you have left?</dialogue>
</scene>
<scene>
<stage_direction>EXT. KAY'S HOUSE - DAY</stage_direction>
<scene_description>Wells pulls up. Sees his stuff in boxes and garbage bags on her front lawn. He gets out. Then realizes Kay is sitting on the stoop smoking a cigarette.</scene_description>
<character>KAY</character>
<dialogue>I'm just sitting here. Obviously this is an emotional thing, but I'm not going to let it get that way.</dialogue>
<character>WELLS</character>
<dialogue>What're you doing?</dialogue>
<character>KAY</character>
<dialogue>What am I doing? Really? Okay. To make this easier I'm sitting here making a mental list. Of all the shit you never did. A Shit Kenny Never Did List.</dialogue>
<character>WELLS</character>
<dialogue>Kay --</dialogue>
<character>KAY</character>
<dialogue>For instance... my "yard" -- it's pebbles and weeds. The "grass." The "sprinklers." That's next weekend. The big hole in the back yard -- I mean, the "pool." Remember that? Because all I see is crabgrass. And you. I see you, Wells.</dialogue>
<scene_description>She starts to cry. And is mad at herself for it. And now she's on her walk staring at the grass growing between the cracks and through her tears she starts ripping at it and throwing it at him.</scene_description>
<character>KAY</character>
<dialogue>You see all this? See how hard it is? It's not hard. Look at me. Look. So I'm just going to stay here with my...</dialogue>
<character>WELLS</character>
<dialogue>Kay --!</dialogue>
<scene_description>She starts kicking his stuff. Kicking it at him.</scene_description>
<character>KAY</character>
<dialogue>Take your stupid crap... Take it... and leave my stupid crapgrass --</dialogue>
<scene_description>And then she stops, realizing the thing she didn't want to happen --getting massively upset -- has happened.</scene_description>
<character>KAY</character>
<dialogue>Wherever you're going, whatever you're becoming, I don't want to go with you or become that.</dialogue>
<character>WELLS</character>
<dialogue>Kay... Kay, I'm sorry.</dialogue>
<character>KAY</character>
<dialogue>You're always saying that where I'm concerned. Go say you're sorry somewhere else for a while.</dialogue>
<scene_description>She goes inside and slams the front door behind, leaving him outside with all his stuff. Which he now starts collecting. He throws it in the trunk of the car as HART HUBBARD, neighbor, comes around the side of his house.</scene_description>
<character>HART HUBBARD</character>
<dialogue>Is this a bad time?</dialogue>
<character>WELLS</character>
<dialogue>Go fuck yourself, Hart.</dialogue>
<scene_description>Wells gets in and without a look back drives away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THREE GREENHORNS BAR - DAY/NIGHT</stage_direction>
<scene_description>Wells pulls into the bar parking lot. The new leather interior mocking him. Flicks ashes haphazardly at the console ashtray and we see he's already got a bunch of burn holes.</scene_description>
<character>CNBC REPORTER (O.S.)</character>
<dialogue>...Major news on Wall Street. Washoe stock was off nearly fifty points at the opening bell this morning...</dialogue>
<scene_description>The caddy parked outside in daytime. Then it's night time.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - NIGHT</stage_direction>
<scene_description>Wells sits alone, unsteadily, at the bar. He watches the CNBC MARKET REPORT. Roy watches Wells with concern as he pours the last shot from a bottle of Seagrams.</scene_description>
<character>CNBC REPORTER (ON TV)</character>
<dialogue>...On news of the Suharto government's revocation of Washoe's exploration rights... There is talk of a deal in place for Mark Hancock of Newport Holdings to take over Washoe's stake. President and CEO Kenny Wells has not commented publicly on the news.</dialogue>
<scene_description>Roy picks up the remote, about to flip...</scene_description>
<character>WELLS</character>
<dialogue>I'll comment. They stole it. They goddamn stole it.</dialogue>
<parenthetical>(drinks)</parenthetical>
<dialogue>I'm gonna need another.</dialogue>
<character>ROY</character>
<dialogue>You're gonna need to go home, Kenny.</dialogue>
<character>WELLS</character>
<dialogue>Yeah okay, Roy. A roadie then--</dialogue>
<character>ROY</character>
<dialogue>How 'bout a cab.</dialogue>
<scene_description>Wells just looks at Roy. By the look on his face, this could go bad. But a smile comes to Wells's face as he slides off the stool, wobbles onto his feet. It's not a friendly smile.</scene_description>
<character>WELLS</character>
<dialogue>Piece of advice, Roy, and you should take my word on this. You ain't the only game in town.</dialogue>
<character>ROY</character>
<dialogue>Go home, Kenny.</dialogue>
<scene_description>And as he sways for the door, Roy watching him sadly, WE...</scene_description>
<character>STANTON (O.S.)</character>
<dialogue>I'm telling anyone who'll listen, we have legal remedies. There will be a settlement...</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>The late afternoon sun sets the gold WASHOE sign aglow. As a tired Mike Acosta gets out of a taxi. And takes in Reno in all its desolate glory.</scene_description>
<character>STANTON (O.S.)</character>
<dialogue>...None of which I really believe by the way...</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>Burns and Connie listen to Stanton.</scene_description>
<character>STANTON</character>
<dialogue>I stemmed the bleeding for now, but the bottom's gonna fall out.</dialogue>
<scene_description>Scottie Nevins goes looks out the window.</scene_description>
<character>NEVINS</character>
<dialogue>Kenny was at the Greenhorn all night- rough. Roy bounced him. And I swung by the house. Kay tossed him out.</dialogue>
<scene_description>Acosta enters.</scene_description>
<character>ACOSTA</character>
<dialogue>Look at this. It's like a clown car. Trying to work the pedals with your clown feet.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where is he?</dialogue>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - NIGHT</stage_direction>
<scene_description>Kay is asleep in her bed. She's awakened by the RINGING PHONE. INTERCUT: WELLS AT A PAY PHONE --</scene_description>
<character>KAY'S ANSWERING MACHINE (O.S.)</character>
<dialogue>This is us, we can't get to the phone right now. You know what to do.</dialogue>
<scene_description>BEEP. ON KAY -- silence on the line. Then -- CLICK. WELLS -- he hangs up. He has to steady himself as he fishes out more coins. He dials. ON KAY -- the phone rings again. This time she turns on the bedside lamp, sitting up listening.</scene_description>
<character>WELLS (ON ANSWERING MACHINE)</character>
<dialogue>Kay, it's me. Are you there? If you're there will you pick up?</dialogue>
<scene_description>Hearing his voice hurts, but she's not picking up. WELLS is barely able to hold his head up, slogging through his words. Cue the pity-party string section --</scene_description>
<character>WELLS</character>
<dialogue>Okay... guess you're not home, then. I was just calling to... I just wanted to hear your voice. I screwed up, Kay... I thought I could stake a claim, and build something, something real, that's all I wanted... with you... with Washoe...</dialogue>
<parenthetical>(beat, sincere)</parenthetical>
<dialogue>You were right. You were right.</dialogue>
<scene_description>The line goes silent. Kay looks stricken, but she fights the urge to pick up. Wells leans his forehead against the phone -- drifts off for a second. He comes-to with a start.</scene_description>
<character>WELLS</character>
<dialogue>Kay? It's me... I'm gonna stop now. I'm not calling anymore --</dialogue>
<scene_description>She quickly picks up just as Wells hangs up --</scene_description>
<character>KAY</character>
<dialogue>Hello?</dialogue>
<scene_description>Too late. Wells staggers a few paces and tries to light a cigarette, but he's too fucked up to pull it off. He throws it away, turns back to the phone, searches around for change. He's out of change.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAY PHONE AREA - MORNING</stage_direction>
<scene_description>Wells passed out under the phone, receiver dangling. The caddy parked at an odd angle, half over a curb. Door open. DINGING. Then a boot pauses above him. Kicks him. Kicks him harder. WELLS'S POV, staring up into a BACKLIT FIGURE. Another kick, a voice from far away, the voice of God --</scene_description>
<character>ACOSTA</character>
<dialogue>Get up. Get up.</dialogue>
<scene_description>A stunned look, the sun in his eyes, the sickness of booze.</scene_description>
<character>ACOSTA</character>
<dialogue>You don't get to make the mistake AND feel sorry for yourself. It's one or the other, mate.</dialogue>
<character>WELLS</character>
<dialogue>Would've been confused about who's kicking me when I'm down, then I heard the condescension...</dialogue>
<character>ACOSTA</character>
<dialogue>You haven't heard anything yet.</dialogue>
<scene_description>He starts to kick him again, but Wells pulls Acosta's legs out from under him. And it's on: a release of drunken pent-up fury and failure, sloppy and real. They flail, tackle, expending the agony of mutual failure, until they're both wiped out, sprawled on their backs.</scene_description>
<character>ACOSTA</character>
<dialogue>I propose a draw.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL BATHROOM - LATER</stage_direction>
<scene_description>A JET OF COLD WATER ON WELLS.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL BATHROOM - LATER</stage_direction>
<scene_description>The shower is still running.</scene_description>
<character>ACOSTA (O.S.)</character>
<dialogue>How are you doing in there?</dialogue>
<scene_description>No answer. Acosta pulls back the curtain to find Wells sitting on the shower floor, seemingly out cold. ANOTHER ANGLE Acosta holds out a Styrofoam coffee. Which he probably spiked with Seagrams. MotherfuckingTheresa.</scene_description>
<character>ACOSTA</character>
<dialogue>Here, get this down.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL - ROOM - LATER</stage_direction>
<scene_description>Acosta in the open doorway. Maybe a highway out there somewhere. A gloomy day. Wells sits on the edge of a bed in half light, the worse for wear.</scene_description>
<character>WELLS</character>
<dialogue>I think Kay's done with me.</dialogue>
<character>ACOSTA</character>
<dialogue>Smart woman.</dialogue>
<character>WELLS</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Mike, I'm sorry.</dialogue>
<character>ACOSTA</character>
<dialogue>You know what people say? That you're a drunk. Out of your league.</dialogue>
<character>WELLS</character>
<dialogue>Yeah? Well fuck them. I need a big lecture from Mr. Golden Boy in his golden glow. How hard and messed up everything is. Tell me that from your perch at the bar of the Jakarta Palace after you've used that instinct of yours to find some other big strike with some other people.</dialogue>
<scene_description>Acosta stares at him a moment.</scene_description>
<character>ACOSTA</character>
<dialogue>That's what you think?</dialogue>
<character>WELLS</character>
<dialogue>That's what I know. That's what everybody knows. You're MikeFuckingAcosta.</dialogue>
<character>ACOSTA</character>
<dialogue>I've never lacked for confidence...</dialogue>
<scene_description>Wells in agreement on that one. But Acosta seems to be deciding whether to tell him something.</scene_description>
<character>ACOSTA</character>
<dialogue>Okay. So we're in North Sulawesi, monsoon season -- this is 1980 --</dialogue>
<character>WELLS</character>
<dialogue>The copper strike --</dialogue>
<character>ACOSTA</character>
<dialogue>Yeah, the famous copper strike. Only we were looking for bauxite. On the way to where I'm planning to drill, I get us stuck. Five feet of mud. We've found nothing. We've drilled nothing. We're just sitting in the rain, day after day, watching the metal rust.</dialogue>
<character>WELLS</character>
<dialogue>What'd you do?</dialogue>
<character>ACOSTA</character>
<dialogue>Under the theory that it's better to do something than nothing, I reported this was where we were trying to get to. Instead of being lost, we had arrived. This was the spot... Nowhere became somewhere --</dialogue>
<character>WELLS</character>
<dialogue>The place you got stuck?</dialogue>
<character>ACOSTA</character>
<dialogue>Yeah. The place I got stuck.</dialogue>
<scene_description>Wells looks up and slowly everything changes, it has a charm, a purpose, it's cool. It's the place to hit bottom, part of the legend. He goes up to Acosta. A beat. Then...</scene_description>
<character>WELLS</character>
<dialogue>I love that--!</dialogue>
<scene_description>Wells claps him on the back. Looks out at the same Reno he's always looked out at, the same grim futureless rain or dust or whatever's out there and now it looks different, too -- bright and infinite and possible, just like his dream.</scene_description>
<character>WELLS</character>
<dialogue>You were looking for bauxite and you found copper. I went looking for gold and I found a friend.</dialogue>
<character>ACOSTA</character>
<dialogue>That may be the single hokiest thing I've ever heard in my life.</dialogue>
<parenthetical>(off Wells's hurt expression)</parenthetical>
<dialogue>Okay, it's true. But you did con me into signing that goddamn napkin.</dialogue>
<scene_description>It's the moment of truth for Kenny Wells.</scene_description>
<character>WELLS</character>
<dialogue>You know what we said when we started this thing... So... you got a plan?</dialogue>
<character>ACOSTA</character>
<dialogue>Don't you?</dialogue>
<scene_description>But ACOSTA has the beginnings of a slow smile. THE ROAR OF A JET PLANE -- Wells turns and looks out the door -- and the VIEW THROUGH A MOTEL DOORWAY is A RUNWAY IN JAKARTA as an AIR INDONESIA JET drops out of the sky...</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Turns out, Suharto had a son, his youngest, Darmadi - Danny -- bit of a screw-up, a real problem for the old man. So I guess you could say, we all understood each other.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CILIWUNG RIVER - DANNY SUHARTO ESTATE - DAY</stage_direction>
<scene_description>Wells and Acosta are ferried down an urban river in a swanky taxi boat. They arrive at a colonial boathouse and disembark.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>Suharto had been trying to get Danny set up for years, but everything Danny touched turned to shit. I figured if we could bring Danny on board as a partner, maybe he could get daddy to change his mind and swing things back our way. It was a Hail Mary from our own one yard line, but it was all I had... It also didn't hurt that Danny had been regularly ignored by a certain ex-president of the United States who was a groomsman at his father's third wedding and also happened to sit on the board of Newport Holdings.</dialogue>
<scene_description>They are led into a pool area where DARMADI "DANNY" SUHARTO plays "chicken" in the pool with a GIRL on his shoulders.</scene_description>
<character>WELLS (O.S.)</character>
<dialogue>So, this guy walks into a Cadillac dealership, okay?...</dialogue>
</scene>
<scene>
<stage_direction>EXT. ESTATE - DAY</stage_direction>
<scene_description>A massive estate. Wells and Acosta sit in the pool pavilion with Danny, now in a lush bathrobe. Danny looks every bit the royal child with skin that glows. He listens as Wells, in full form, nails the joke...</scene_description>
<character>WELLS</character>
<dialogue>...Salesman says, "Excuse me sir, are you thinking about buying a Cadillac?" And the guy says, "No, I'm definitely buyin' a Cadillac. I'm thinking about pussy!"</dialogue>
<scene_description>Wells laughs. Danny looks at Acosta and then back at Wells who's still laughing. Acosta drops his head as WE WAIT... Danny stares at Wells. A long beat. Then...</scene_description>
<character>DANNY</character>
<dialogue>Cadillac is pussy magnet.</dialogue>
<scene_description>Danny smiles, then laughs. They all start to laugh. Acosta can't believe it.</scene_description>
<character>WELLS</character>
<dialogue>You like Cadillacs?</dialogue>
<character>DANNY</character>
<dialogue>'62 Eldorado. Finest car ever made.</dialogue>
</scene>
<scene>
<stage_direction>INT. DANNY'S '62 ELDORADO - DAY</stage_direction>
<scene_description>The Pixies' "Where is my mind?" plays. Danny driving through downtown Jakarta. Wells in the front seat, Acosta in back. Danny on a driving pillow which raises him up in the seat.</scene_description>
<character>DANNY</character>
<parenthetical>(yelling over music)</parenthetical>
<dialogue>I love Pixies! I lived in Boston. My sister went to Pine Manor. Dated --</dialogue>
<scene_description>Points at Acosta in the backseat.</scene_description>
<character>ACOSTA</character>
<dialogue>Your sister's crazy.</dialogue>
<character>DANNY</character>
<dialogue>My sister is so crazy. Is it too early for a drink?</dialogue>
<scene_description>He nods at the glove box. Wells finds a bottle of BLACK LABEL.</scene_description>
<character>DANNY</character>
<dialogue>Red label is for peasants --</dialogue>
<character>WELLS</character>
<dialogue>That's what I always say --</dialogue>
</scene>
<scene>
<stage_direction>INT. BAMBOO BAR - NIGHT</stage_direction>
<scene_description>Danny, Wells, Acosta in a bar that hasn't changed since the Dutch were running things. Everyone knows Danny.</scene_description>
<character>DANNY</character>
<dialogue>Gerald Ford, tall man. George H.W. Bush, a very tall man. Mark Hancock a tall man. My father a small man. Small in stature. But he loves his family.</dialogue>
<character>WELLS</character>
<dialogue>Mine, too. Then he died in the driveway bringing in groceries.</dialogue>
<scene_description>Wells points to where his heart is. Danny raises a glass.</scene_description>
<character>DANNY</character>
<dialogue>To father of Wells --</dialogue>
</scene>
<scene>
<stage_direction>EXT. DANNY'S ESTATE - NIGHT</stage_direction>
<scene_description>Voices in the dark, drunken, furtive. Then shapes emerge. Now see Danny. A key tries to find a lock. Drops. Gropes.</scene_description>
<character>DANNY</character>
<dialogue>85-15 split, if you have the balls.</dialogue>
<character>ACOSTA</character>
<dialogue>That's robbery --</dialogue>
<character>DANNY</character>
<dialogue>That's deal. If you have balls. No balls, no deal.</dialogue>
<scene_description>Now the key slowly fits in the lock. It makes a subtle clicking sound.</scene_description>
<character>ACOSTA</character>
<dialogue>50-50 and I'd consider it.</dialogue>
<scene_description>Danny shakes his head, no. CAMERA NOW FINDS WELLS... Sweat and true Hail Mary desperation all over his face.</scene_description>
<character>DANNY</character>
<dialogue>Kenny? Do you have balls?</dialogue>
<character>ACOSTA</character>
<dialogue>Don't do it. It's not worth it.</dialogue>
<scene_description>Wells looks again through the bars of a cage. He swallows.</scene_description>
<character>WELLS</character>
<dialogue>Open it.</dialogue>
<scene_description>The heavy bars slam shut behind him. Discover his eyes are clenched shut. Slowly they open. Adjusting to the gloom. WELLS'S POV -- YELLOW EYES, almost lit from within, moving, belonging to SOMETHING VERY LARGE that paces in a circle.</scene_description>
<character>DANNY</character>
<parenthetical>(whispered to Acosta)</parenthetical>
<dialogue>Only 50 left in world.</dialogue>
<scene_description>Wells takes another step. A low GROWLING. He FREEZES. Wells looks back at Danny and Acosta. Then takes another step -- As a SUMATRAN TIGER Moves forward into the moonlight. Crouched, ready to pounce.</scene_description>
<character>DANNY (O.S.)</character>
<parenthetical>(reverent)</parenthetical>
<dialogue>Sumatran tiger... very rare.</dialogue>
<scene_description>Wells slowly reaches out his hand. Closer. Suddenly -- The TIGER ROARS.</scene_description>
<character>ACOSTA</character>
<dialogue>Wells --!</dialogue>
<scene_description>Wells reaches out and touches the tiger's head, right between the eyes. The huge cat STILLS. Wells stills. A tableau -- Kenny Wells' hand touching a Sumatran tiger between the eyes. Wells scratches with his knuckles.</scene_description>
<character>WELLS</character>
<dialogue>I'm touching a tiger! I'm touching a goddamn tiger!!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - CORRIDOR - DAY</stage_direction>
<scene_description>Big views over Manhattan on a stormy Monday morning. The office seems dead. Woolf walks down a long hallway.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWN, THOMAS - OFFICE - CONTINUOUS</stage_direction>
<scene_description>Woolf steps into his office where he finds Dresher waiting.</scene_description>
<character>WOOLF</character>
<dialogue>Hollis. What's going on?</dialogue>
<character>DRESHER</character>
<dialogue>You haven't heard? Wells cut a deal.</dialogue>
<character>WOOLF</character>
<dialogue>A deal? What are you talking about? Who'd cut a deal with him?</dialogue>
<character>DRESHER</character>
<dialogue>Suharto... The Indonesian government.</dialogue>
<character>WOOLF</character>
<dialogue>What?</dialogue>
<character>DRESHER</character>
<dialogue>Washoe retains fifteen percent of the find, the other eighty-five goes to the company of Suharto's choosing, which just so happens to be owned by his son. Wells cut us off at the knees.</dialogue>
<scene_description>Woolf is stunned.</scene_description>
<character>WOOLF</character>
<dialogue>What about Hancock?</dialogue>
<character>DRESHER</character>
<dialogue>He's gone. Can't compete at that number. Deal's over, Frank. Wells and Acosta are now the only outside partners in the biggest gold strike in history. We represent exactly none of it.</dialogue>
<character>WOOLF</character>
<dialogue>Fifteen percent is a terrible deal.</dialogue>
<character>DRESHER</character>
<dialogue>Is it? What's fifteen percent of thirty billion dollars?</dialogue>
<scene_description>Woolf knows now he's looking at the executioner.</scene_description>
<character>WOOLF</character>
<dialogue>I can explain -- you met him --</dialogue>
<character>DRESHER</character>
<dialogue>You are going to be fine, Bryan; you'll land on your feet.</dialogue>
<scene_description>We stay on Woolf, in shock. The SOUND of a CHORUS of VOICES rises, and WE GO...</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THREE GREENHORNS BAR - DAY</stage_direction>
<scene_description>Bobby Burns and the boys singing along drunkenly to some song. As Wells enters carrying a heavy, taped-up roll of fabric, and a small, wrapped gift. Booze and music and cigarettes as they turn and cheer him. But he's looking for Kay.</scene_description>
<character>WELLS</character>
<dialogue>Hey, Roy. Seen Kay around?</dialogue>
<character>ROY</character>
<dialogue>You didn't hear?</dialogue>
<character>WELLS</character>
<dialogue>Hear what, Roy?</dialogue>
<character>ROY</character>
<dialogue>She quit. Got the promotion out at the American Home -- Assistant Manager. Proud of her.</dialogue>
<character>CNBC REPORTER (ON TV)</character>
<dialogue>...In our top money news, a story that is being compared to David and Goliath, or maybe that's Kenny and Goliath -- Kenny Wells that is...</dialogue>
<scene_description>As someone TURNS UP THE VOLUME on THE TV above the bar --</scene_description>
<character>CNBC REPORTER (ON TV)</character>
<dialogue>Washoe Mining has secured a deal with the Suharto government of Indonesia to retain control of their massive gold strike there, fending off a takeover by Newport Holdings.</dialogue>
<character>CONNIE</character>
<dialogue>Kicking Hancock's ass --</dialogue>
<scene_description>More CHEERS. WELLS is the center of attention.</scene_description>
<character>CNN REPORTER/WELLS SIMUL</character>
<dialogue>Washoe shares are soaring on the news.</dialogue>
<scene_description>As CLIVE Coleman spots Wells. Wells sees Clive as he approaches. Whatever he's here for, it looks serious.</scene_description>
<character>CLIVE</character>
<dialogue>Got a minute?</dialogue>
<scene_description>Wells steps out with Clive.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THREE GREENHORNS BAR - LATE AFTERNOON</stage_direction>
<scene_description>Strip plazas, dollar stores, pawn shops. And the first star in the sky, the Northern Star. Or a planet. One of them.</scene_description>
<character>CLIVE</character>
<dialogue>I just got a call.</dialogue>
<scene_description>Wells freezes. Clive enjoys the moment. Giving away nothing.</scene_description>
<character>CLIVE</character>
<dialogue>The National Association of Prospectors is gonna honor you with the Golden Pickaxe.</dialogue>
<character>WELLS</character>
<dialogue>Are you shitting me?</dialogue>
<character>CLIVE</character>
<dialogue>You are officially the best miner in the world. And somewhere I'm sure your dad is smiling.</dialogue>
<scene_description>There, outside The Three Greenhorns Bar, Kenny Wells has finally been accepted on terms he cares about.</scene_description>
<character>WELLS</character>
<dialogue>Well if he's not smiling, I'll smile for the both of us.</dialogue>
<scene_description>He can't speak any more. Too overcome by the moment. And then he realizes where he's gotta go --</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. AMERICAN HOME - LATE AFTERNOON</stage_direction>
<scene_description>The Caddy pulls up. Wells gets out. Opens the trunk. Gets that big roll of gift fabric he bought in Indo. He's happy. A peace offering in hand. Starts forward, then stops. He stares, his face falling. He sees -- KAY, Wearing her own clothes, a manager now, smiling at something her boss is saying. She rests a hand on his arm -- OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. KAY'S HOUSE - DUSK (MINUTES LATER)</stage_direction>
<scene_description>THE ROLL OF FABRIC HITS THE FRONT DOOR and drops to the stoop. Then the wrapped gift hits the door and drops. Wells back in his car. Door SLAMS. Car CAREENS AWAY, barely breaking around a distant turn. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. HARRAH'S HOTEL AND CASINO - RENO, NEVADA - DUSK</stage_direction>
<scene_description>The Caddy rolls up under the awning at Harrah's. An unctuous MANAGER welcomes Wells personally.</scene_description>
<character>MANAGER</character>
<dialogue>Welcome to Harrah's Reno, Mr. Wells.</dialogue>
<character>WELLS</character>
<dialogue>Thank you very much... Carissa.</dialogue>
<character>MANAGER</character>
<dialogue>We have you in the Prospector Suite, which has a wonderful view of the mountains. Will you need help with your bags?</dialogue>
<character>WELLS</character>
<dialogue>Oh, yeah.</dialogue>
<scene_description>He looks back at the Caddy as the luggage trolley passes.</scene_description>
<character>DESK MANAGER</character>
<dialogue>The Prospector Suite has a lovely view of the mountains, Sir.</dialogue>
<character>WELLS</character>
<dialogue>I'll take it.</dialogue>
<character>DESK MANAGER</character>
<dialogue>Will you need help with your bags?</dialogue>
<character>WELLS</character>
<dialogue>Oh, yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - MASTER BEDROOM - DAY</stage_direction>
<scene_description>The boxes he took from Kay's. Rodeo clown ashtray. A few childhood pictures. Young Kenny holding a string of bass. Grandfather on a side of a mountain. His father standing next to a new Caddy, looking for all the world like Wells. There's a KNOCK at the door of the suite. Wells opens it to find MIKE ACOSTA standing there.</scene_description>
<character>WELLS</character>
<dialogue>I didn't think you could make it.</dialogue>
<character>ACOSTA</character>
<parenthetical>(pure Wells)</parenthetical>
<dialogue>Who you talking to, Wells?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Besides, you'll definitely need help with your tie.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - MASTER BATHROOM - EVENING</stage_direction>
<scene_description>Gold fixtures everywhere. Acosta sitting on a counter watches Wells wrestle with the bow tie.</scene_description>
<character>WELLS</character>
<dialogue>I'm nervous.</dialogue>
<scene_description>And the bow tie does present a mystery.</scene_description>
<character>WELLS</character>
<dialogue>A thousand monkeys, a thousand years... Okay, hotshot...</dialogue>
<scene_description>Acosta quickly ties the tie. Adjusts it. And now we see a changed Wells. He looks good. Catches himself in the mirror. Acosta catches the same reflection. Wells pulls cards from his jacket. Looks at Acosta. A true friend is the one you feel comfortable practicing this kind of speech in front of.</scene_description>
<character>WELLS</character>
<dialogue>My great granddad came out here on a wagon. He had a horse and two mules...</dialogue>
<parenthetical>(to Acosta)</parenthetical>
<dialogue>Too much?</dialogue>
<character>ACOSTA</character>
<dialogue>No, man. It's good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RENO SKYLINE - SUNSET</stage_direction>
<scene_description>Mountains in the distance.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRAH'S HOTEL AND CASINO - BALLROOM - NIGHT</stage_direction>
<scene_description>Wells at his table with Acosta, Bobby Burns, Stanton, Clive, Connie, Nevins. He's quiet. This means a lot him.</scene_description>
<character>BOBBY BURNS</character>
<dialogue>Kenny, you're a star, boy. Don't sweat it. I mean really, don't sweat.</dialogue>
<scene_description>He's sweating. Someone passes him a napkin.</scene_description>
<character>MC (O.S.)</character>
<dialogue>It's been a long night and I'm sure you will soon hit the tables here at Harrah's Reno and make it a lot longer night. And hit those tables people... it's why Verna makes the rooms so reasonable.</dialogue>
<scene_description>Laughter around the room. A few big firms have tables. And lots of smaller players. It's everyone's night.</scene_description>
<character>MC</character>
<dialogue>They do accept gold for bar tabs...</dialogue>
<parenthetical>(laughter)</parenthetical>
<dialogue>Now we come to our last honor, the 1988 Golden Pickaxe for "Prospector Of The Year," which goes to our own Kenny Wells! Get up here, Kenny--!</dialogue>
<scene_description>Wells rises and makes his way, showered with applause and FLASHING cameras. The crowd rises, saluting Wells, saluting that part of themselves that hangs on, refuses to give up. Wells cradles the Golden Pickaxe statue, which is exactly as it sounds, a golden pickaxe. He stares out, savoring his moment. Then holds it up as flashbulbs flash. Pulls his speech from his pocket. Looks out at faces, laughing faces, no one taking this quite so seriously.</scene_description>
<character>WELLS</character>
<dialogue>Every last one of us who calls the great state of Nevada home arrived here with a dream.</dialogue>
<character>VOICE (O.S.)</character>
<parenthetical>(yelling out)</parenthetical>
<dialogue>Drinks on Kenny.</dialogue>
<scene_description>Laughter. And AT WELLS'S TABLE --</scene_description>
<character>BURNS</character>
<dialogue>Great state of Nevada?</dialogue>
<scene_description>He sees Kay. He smiles. Realizes it's not her.</scene_description>
<character>WELLS</character>
<dialogue>...That was my great granddad who came out here on a wagon. Had a horse and two mules when they finally stopped moving and said this was the place, he was only about forty miles from right here.</dialogue>
<scene_description>At the back of the room, ACOSTA IS LEAVING. He pauses and turns to Wells. A nod of respect and congratulations passes unspoken between them. And then ACOSTA IS GONE. Wells looks at the statue.</scene_description>
<character>WELLS</character>
<dialogue>What is a prospector?</dialogue>
<parenthetical>(the crowd groans)</parenthetical>
<dialogue>No, I'm serious. It's someone who believes it's out there. Who wakes up every morning and somehow believes. Again and again. It's not there. Standing at the edge of a desert, watching the sun rise and something in him says, "it's that way, just walk."</dialogue>
<scene_description>FLASH, FLASH, FLASH! Wells walks the center aisle, drowned in flashing light and glorious adoration. Everyone's reaching out to shake his hand.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>And the sun is higher and it's getting hot and nobody else sees anything. And everyone else wants to turn back...</dialogue>
<scene_description>And then IT'S LATER and EVERYONE'S CROWDED AT THE BAR. Champagne corks are popping. POP POP POP.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>And everyone else has turned back. And now he's alone. And it's burning hot. And there is no water...</dialogue>
<scene_description>And ON THE CASINO FLOOR Wells is PLAYING ROULETTE. The WHEEL IS SPINNING. STACKS OF MONEY are moving. SHOW GIRLS ARE FLOCKING. Then IT'S EVEN LATER. WELLS IS SPORTING DRINKS ALL AROUND. Champagne. POP POP POP.</scene_description>
<character>WELLS (V.O.)</character>
<dialogue>It's out there... It's out there... It's out there...</dialogue>
<scene_description>TIGHTER ON THE FACE OF KENNY WELLS as he sits back at his table, accepting the congratulations of his friends. As people call his name and cheer and FLASHBULBS POP -- POP POP POP -- BACK AT THE PODIUM. Tight on Wells as he takes in all of the listening faces.</scene_description>
<character>WELLS</character>
<dialogue>And it doesn't matter whether he finds it or not. It doesn't matter. That's a prospector.</dialogue>
<scene_description>He basks in it, the words vibrating for everyone in the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - MORNING</stage_direction>
<scene_description>Tracking across the detritus of a huge night to find Wells in bed, sound asleep. The phone starts to RING -- Wells doesn't move. Then finally he moans, rolls toward the phone --</scene_description>
<character>WELLS</character>
<dialogue>Hello..? What..? What?</dialogue>
<scene_description>Wells is instantly awake. Hear the INDONESIAN FOREMAN saying something FRANTIC over the and over--</scene_description>
<character>WELLS</character>
<dialogue>I'm sorry I can't understand you. No go? I don't understand. Slowly. Speak more slowly.</dialogue>
<scene_description>AT THE WASHOE SITE: THE FOREMAN YELLING INTO A SATELLITE PHONE THE SIZE OF A SUITCASE.</scene_description>
<character>FOREMAN</character>
<parenthetical>(slowly)</parenthetical>
<dialogue>No gold. There is NO GOLD.</dialogue>
<scene_description>The window behind Wells reveals sun just catching the peaks, flaming morning gold. Wells grips the phone like a lifeline.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>A mob scene outside. As Wells pulls up in his car, the crowd converges on him. He can barely get his car door open. He squeezes out and pushes through the furious crowd --</scene_description>
<character>WELLS</character>
<dialogue>I don't know any more than you do right now!</dialogue>
<scene_description>...But nobody's hearing him -- PEOPLE shout out: "You fucking thief!" "I'm gonna kill you!" "Where's our money?!"</scene_description>
<character>WELLS</character>
<dialogue>I will get to the bottom of this! I promise!</dialogue>
<scene_description>Suddenly, out of nowhere -- A FIST -- WHAM -- right across Wells's face! It staggers him. The crowd lets out a roar of approval. This is getting real ugly, real fast. A PAIR OF HANDS GRABS WELLS. He turns, panic in his eyes -- but it's Connie Wright. Bobby Burns is with him. They pull Wells through the mob to the building's side entrance.</scene_description>
<character>CONNIE</character>
<dialogue>Total shit storm, Kenny.</dialogue>
<scene_description>Wells is still dazed.</scene_description>
<character>WELLS</character>
<dialogue>I know... I know...</dialogue>
<scene_description>They fight the last few feet to the door and as they force their way inside, WE FOLLOW THEM...</scene_description>
</scene>
<scene>
<stage_direction>INT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>They're out of breath, adrenaline pumping. Wells turns to face his friends' haunted expressions...</scene_description>
<character>WELLS</character>
<dialogue>What happened? How did this happen?</dialogue>
<character>BURNS</character>
<dialogue>The independent assayer... they couldn't reproduce Mike's findings.</dialogue>
<scene_description>Wells trying to take it in.</scene_description>
<character>CONNIE</character>
<dialogue>There's no gold, Kenny. There's no goddamn gold. There never was.</dialogue>
<character>WELLS</character>
<dialogue>That's not possible.</dialogue>
<scene_description>SEQUENCE OF SCENES -- CNN NEWS CENTER -- A professorial looking MINING EXPERT explains to a NEWS ANCHOR...</scene_description>
<character>MINING EXPERT</character>
<dialogue>It's called "salting" and it literally means, when someone sprinkles gold dust into a sample of rock, like you'd add salt to a steak.</dialogue>
<scene_description>GOLD DUST -- pours onto a DIGITAL SCALE.</scene_description>
<character>MINING EXPERT</character>
<dialogue>By all appearances, Washoe's security protocols were iron-clad. But if the person administering security is fraudulent, the system breaks down.</dialogue>
<scene_description>Then, the gold dust sprinkles into a GROUND SAMPLE OF ROCKS --</scene_description>
<character>MINING EXPERT</character>
<dialogue>...It's the oldest trick in the book.</dialogue>
<character>NEWS ANCHOR</character>
<dialogue>"Oldest trick in the book." And yet major mining corporations, investment banks, auditors, everyone was fooled.</dialogue>
<character>MINING EXPERT</character>
<dialogue>We weren't fooled; we didn't look.</dialogue>
<scene_description>TIGHT ON: A MAGNIFIED IMAGE -- TWO GOLD SAMPLES, side by side. The one on the LEFT has smoothly rounded edges; the one on the RIGHT is angular and jagged.</scene_description>
<character>GEOLOGIST (O.S.)</character>
<dialogue>The image on the left is the type of gold found in the Washoe samples. This is river gold - notice how the edges are rounded, worn smooth by the erosion of the water.</dialogue>
<scene_description>WE PULL BACK to -- A FINANCIAL SHOW -- The GEOLOGIST is seated across from a Jim Cramer-type financial HOST.</scene_description>
<character>GEOLOGIST</character>
<dialogue>...What we should have found is flake gold - the sample on the right, pulled directly from the rock, rough edged and angular.</dialogue>
<scene_description>The Host is nearly apoplectic --</scene_description>
<character>HOST</character>
<dialogue>That seems like a pretty big freakin' detail to overlook!</dialogue>
<character>GEOLOGIST</character>
<dialogue>It's a big detail. But you have to understand, everything else about the Washoe samples was right...</dialogue>
<character>HOST</character>
<dialogue>...But the gold was wrong! It's right there, that's what you're saying?!</dialogue>
<character>GEOLOGIST</character>
<dialogue>Yes.</dialogue>
</scene>
<scene>
<stage_direction>INT. WASHOE HEADQUARTERS - WELLS'S OFFICE - DAY</stage_direction>
<scene_description>The guys are hard at work, going over financial documents. Wells is on a phone at the center of it all --</scene_description>
<character>WELLS</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Acosta? Mike Acosta? No. Yes, I do mind waiting -- Did he or did he not come to the Kalimantan?</dialogue>
<scene_description>Bobby Burns approaches Wells. Burns looks gut-punched.</scene_description>
<character>BURNS</character>
<dialogue>The New York Stock Exchange just suspended trading. They're taking Washoe off the board.</dialogue>
<scene_description>Washoe is done, finished. Wells sinks back in his chair. And slowly hangs up the phone. The news seems to take whatever air he's got left out of him. A long silent moment. There's nothing more to say, but Burns just stands there. He looks in shock, like he's had his soul ripped out. Wells looks up at him...</scene_description>
<character>WELLS</character>
<dialogue>You sold some, right? Put something away?</dialogue>
<scene_description>Burns hesitates before answering...</scene_description>
<character>BURNS</character>
<dialogue>Yeah... Of course. You?</dialogue>
<scene_description>Wells nods halfheartedly. It's clear neither sold a damn thing.</scene_description>
<character>WELLS</character>
<dialogue>Bobby?...</dialogue>
<scene_description>Burns can't meet Wells's eyes.</scene_description>
<character>WELLS</character>
<dialogue>Goddammit, Bobby! I told you to sell some.</dialogue>
<character>BURNS</character>
<dialogue>I thought...I thought... it was just going to keep going up.</dialogue>
<scene_description>Wells is genuinely distressed. And then Burns looks up -- his eyes are damp, on the verge of crying. He can barely speak...</scene_description>
<character>BURNS</character>
<dialogue>Kenny, did you know, Did you know, Kenny?</dialogue>
<scene_description>It's like a blow to the heart.</scene_description>
<character>WELLS</character>
<dialogue>What? Did I know? I can't believe you would ask me that.</dialogue>
<scene_description>Burns looks absolutely crushed.</scene_description>
<character>WELLS</character>
<dialogue>I'll take care of you, Bobby.</dialogue>
<scene_description>Connie rushes in carrying a sheath of PAPERS.</scene_description>
<character>CONNIE</character>
<dialogue>Kenny...</dialogue>
<scene_description>Burns' expression hardens -- fists clenched like he's gonna punch Wells.</scene_description>
<character>BURNS</character>
<dialogue>I don't want you to take care of me! I want you to leave me the hell alone!</dialogue>
<scene_description>Burns walks away, a busted man. Wells turns to Connie. One look and he knows this is big.</scene_description>
<character>WELLS</character>
<dialogue>What?</dialogue>
<character>CONNIE</character>
<dialogue>I don't even know how to say this --</dialogue>
<scene_description>He dumps the papers on Wells's desk.</scene_description>
<character>CONNIE</character>
<dialogue>Look.</dialogue>
<scene_description>Wells reads. It doesn't take him long to understand. He throws a glass at the wall. It shatters.</scene_description>
<character>WELLS</character>
<dialogue>WHAT!!!???</dialogue>
<scene_description>Connie answers Stanton's questioning look.</scene_description>
<character>CONNIE</character>
<dialogue>Acosta was dumping stock. Shell companies. Banks in the Philippines, the Azores. Multiple layers. All off- shore.</dialogue>
<character>STANTON</character>
<dialogue>How much?</dialogue>
<character>CONNIE</character>
<dialogue>Get ready for it... 164 million.</dialogue>
<character>WELLS</character>
<dialogue>I don't believe it.</dialogue>
<character>STANTON</character>
<dialogue>Son of a bitch! What do we do? Kenny?</dialogue>
<character>WELLS</character>
<dialogue>There's gotta be an explanation. We gotta find Mike!</dialogue>
<scene_description>AT THAT MOMENT, they hear TIRES SCREECHING, CAR DOORS SLAMMING. And look outside. DOZENS OF AGENTS rolling up, the familiar blue jackets with the white lettering -- FBI. Hear them entering. Then, a BULLHORN:</scene_description>
<character>FBI</character>
<dialogue>This is the FBI! Step away from your desks! Take two big steps away from your desks. Do not touch anything!</dialogue>
<scene_description>MONTAGE of FBI raid. Floor by floor. They arrive at Wells's office. Connie and Stanton in the middle of the room, frozen. Wells at the window. Below, he sees the SPECIAL AGENT IN CHARGE step out of a car, already giving quiet orders -- It's JENNINGS. Who looks up. Sees Wells at the window. Wells looks at him.</scene_description>
</scene>
<scene>
<stage_direction>INT. NBC NEWS STUDIO - NIGHT</stage_direction>
<scene_description>Sitting with ROGER MUDD is MARK HANCOCK, chairman of Newport Holdings. Hancock as clean as snow as he rewrites history.</scene_description>
<character>HANCOCK</character>
<dialogue>We suspected there were problems early on, which is why we decided not to pursue the joint venture Washoe offered us. We got as many of our investors out of Washoe as fast as possible.</dialogue>
<scene_description>An insert PHOTO of Kenny Wells and Mike Acosta appears.</scene_description>
<character>ROGER MUDD</character>
<dialogue>You made a lot of money. I mean before the walls came tumbling down.</dialogue>
<scene_description>Hancock doesn't want to talk about that.</scene_description>
<character>ROGER MUDD</character>
<dialogue>And how much money was lost in the fraud? That we know of.</dialogue>
<character>HANCOCK</character>
<dialogue>Billions. Large institutional investors lost billions of dollars.</dialogue>
<character>ROGER MUDD</character>
<dialogue>So one, or maybe both of them, two outsiders took everybody on Wall Street for a ride.</dialogue>
<character>HANCOCK</character>
<dialogue>Yes, it really looks like they did.</dialogue>
<character>ROGER MUDD</character>
<dialogue>And Acosta has vanished.</dialogue>
<character>HANCOCK</character>
<dialogue>With hundreds of millions of dollars.</dialogue>
<character>ROGER MUDD</character>
<dialogue>Kenny Wells has consistently maintained his innocence, that he was duped along with everyone else. Given that, what do you make of this?</dialogue>
<scene_description>He picks up a copy of NEWSWEEK MAGAZINE -- Kenny Wells on the cover. Mudd reads the caption out loud:</scene_description>
<character>ROGER MUDD</character>
<dialogue>"Kenny Wells - Fool or Mastermind?" ...Care to comment?</dialogue>
<scene_description>Off Hancock, maybe for the first time, he's at a loss...</scene_description>
<character>HANCOCK</character>
<dialogue>That is a very good question, Roger.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. PROSPECTOR SUITE & WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>A MONTAGE of time passing. Wells in the suite on the phone. Wells at an increasingly empty Washoe headquarters. Wells is increasingly desperate, then finally hopeless. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHOE HEADQUARTERS - DAY</stage_direction>
<scene_description>Wells stands on the steps in front of the building, a hundred MICROPHONES and CAMERAS in his face. NEWS VANS jam the sidewalk. A mob of ANGRY PROTESTORS held at bay by POLICE.</scene_description>
<character>WELLS</character>
<dialogue>Mike Acosta was my friend and partner and he betrayed me. I had no knowledge of the deception he perpetrated. As CEO of this company, it was my job to know. I take full responsibility for my failure in this regard and I apologize sincerely to those who have lost their investments. Wherever you are, Mike, it's time to come in. Tell what happened... Mike --?</dialogue>
<scene_description>He can't go on. Finally, he chokes out --</scene_description>
<character>WELLS</character>
<dialogue>That's all I have to say at this time.</dialogue>
<scene_description>The assembled reporters shout out a flurry of questions at Wells's back as he leaves. They pursue him. Surrounding his car. Trying to stop him from pulling out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HARRAH'S HOTEL AND CASINO - RENO - DAY</stage_direction>
<scene_description>Wells pulls in. Crowds out front waiting for him.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRAH'S HOTEL AND CASINO - RENO - DAY</stage_direction>
<scene_description>Angry FRONT DESK GUY trying to talk about the bill.</scene_description>
<character>FRONT DESK GUY</character>
<dialogue>Mr. Wells, when exactly will you be departing?</dialogue>
<scene_description>People hearing his name. Crowds turning. Pouring in.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - DAY</stage_direction>
<scene_description>The doors closing out the faces of angry, shouting people. Wells just shuts his eyes and rides in blessed silence. DING.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Wells checks the hallway both directions. AT THE "PROSPECTOR SUITE" Checks hall again. Uses his key to open the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - DAY</stage_direction>
<scene_description>Wells entering, motoring toward the bar, freezes. Finds: JENNINGS, BANKS, AND LEVINE Waiting for him like executioners on execution day. A beat.</scene_description>
<character>WELLS</character>
<dialogue>Do I need a lawyer?</dialogue>
<character>JENNINGS</character>
<dialogue>Do you need a lawyer?</dialogue>
<scene_description>A moment between poker players. Then Wells shakes his head.</scene_description>
<character>JENNINGS</character>
<dialogue>Right answer.</dialogue>
<scene_description>Jennings posts two guards outside the door. Sets the tape recorder on the table. Wells at the bar searching, finding the stashed bottle.</scene_description>
<character>WELLS</character>
<dialogue>...Sure I can't pour you one?</dialogue>
<character>JENNINGS</character>
<dialogue>No, thanks. I'm working.</dialogue>
<character>WELLS</character>
<dialogue>All the more reason.</dialogue>
<character>JENNINGS</character>
<dialogue>Wells, sit down. We've got a lot to cover...</dialogue>
<scene_description>The same exchange that started the film. Time has caught up with Kenny Wells' storytelling. FADE TO BLACK: SLOW FADE IN: The Golden Pickaxe STATUE catching morning sun...</scene_description>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - MORNING</stage_direction>
<scene_description>The Sierra Nevada out the windows. It's fall. SUPER OVER -- RENO, NEVADA - OCTOBER, 1988 Wells facing Jennings, listening.</scene_description>
<character>JENNINGS</character>
<dialogue>I think it's pretty unlikely we'll ever see your partner again.</dialogue>
<character>WELLS</character>
<dialogue>Wait, what do you mean? You're not telling me something. What happened to Mike?</dialogue>
<character>JENNINGS</character>
<dialogue>A lot of very powerful people are very angry at Michael Acosta.</dialogue>
<character>WELLS</character>
<dialogue>What happened!?</dialogue>
<scene_description>Jennings searches Wells's face again for a trace of the disingenuous.</scene_description>
<character>JENNINGS</character>
<dialogue>What happened? Yes. That's what we're trying to put together.</dialogue>
<character>JENNINGS</character>
<dialogue>Seventeen billion dollars of value disappeared overnight. That is certain. What else? Michael Acosta waves goodbye to you in the ballroom downstairs -- ta-ta -- goes back to Indonesia on a jet chartered with Washoe funds, and then he does his disappearing act. This you know...</dialogue>
<scene_description>Off Wells -- PRE-LAP: The sound of HELICOPTER ROTORS, growing louder. Deafening... SMASH TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - PRE DAWN</stage_direction>
<scene_description>A helicopter chops at the morning air -- flying in low over the lush jungle as the sun is about to rise.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>First, he's locked out of the assay lab in Kalimantan by The Minister of the Interior. So he goes back to Jakarta.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAKARTA INTERNATIONAL AIRPORT - DAY</stage_direction>
<scene_description>Acosta emerges from a plane and walks down the gangway stairs.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>Where he is immediately detained by Indonesian Military.</dialogue>
<scene_description>Waiting for him at the bottom are INDONESIAN SOLDIERS.</scene_description>
<character>OFFICER</character>
<parenthetical>(subtitled)</parenthetical>
<dialogue>This way Mr. Acosta.</dialogue>
<character>JENNINGS (V.O.)</character>
<dialogue>And they hold him while they try to reproduce for themselves the lab results claimed by Washoe.</dialogue>
</scene>
<scene>
<stage_direction>INT. INDONESIAN MILITARY BARRACKS - DAY</stage_direction>
<scene_description>Acosta watching men march in formation through a doorway.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>Which of course they are unable to do.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - DAY</stage_direction>
<scene_description>Jennings takes his time. He's enjoying this a little.</scene_description>
<character>JENNINGS</character>
<dialogue>And at this point either he's being moved to an actual prison, or he's bribed one of the officers. Either way, he's on a military helicopter.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. HELICOPTER - FLYING - DAY</stage_direction>
<scene_description>Acosta sits in the hold of the chopper, two soldiers across from him, a pilot and another SOLDIER up front, all armed.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>They fly north loosely tracking the Kensana river.</dialogue>
<scene_description>The chopper arcs in, following the river's course. Acosta stares out, far into the distance, taking in the breathtaking beauty.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>Do not underestimate the Suharto family. They are gangsters whose turf is a nation of 100 million.</dialogue>
<scene_description>Acosta in the back of the chopper. He's got a six-pack of Tuborg Gold in cans. He cracks one, holds the others out to the soldiers, who decline. He drains the beer. He looks down at the river as it passes far below, flashing gold in the sunlight, a snaking golden river, golden dream -- Hands suddenly undo his harness. An involuntary breath. Then a smile creeps onto his face. Acosta now at the open hatch door of the chopper. Tighter on his eyes taking it in. He's coming home. IN SILENCE MIKE ACOSTA FALLS FROM THE HELICOPTER Falling and falling and falling toward canpoy and water --</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>A thousand feet up, over the Kensana, Mike Acosta takes a header.</dialogue>
<scene_description>ON THE PILOT -- as he turns and looks back and sees the EMPTY SEAT, the soldiers buckling back in. He turns back around. ACOSTA POV of ONRUSHING RIVER. CLOSER AND CLOSER AND THEN ALL AT ONCE AS WE SMASH --</scene_description>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - DAY</stage_direction>
<scene_description>Wells is on the edge of his seat, eyes red from lack of sleep, booze, cigarette smoke. He's shaken up by the news. He doesn't want to believe it.</scene_description>
<character>WELLS</character>
<dialogue>No way. No fucking way. Mike was too good, too savvy. He had to be planning this. He knows what they do to you for salting. What you think they'd do. He faked it. Or he paid just to have the story out.</dialogue>
<parenthetical>(desperate)</parenthetical>
<dialogue>164 million goes a long way in Indonesia...</dialogue>
<character>JENNINGS</character>
<parenthetical>(beat)</parenthetical>
<dialogue>They found a body.</dialogue>
<character>WELLS</character>
<dialogue>Are you sure it's him?</dialogue>
<character>JENNINGS</character>
<dialogue>I'm not sure of anything, except Mike Acosta traded water filters for river gold, but now the Indonesian government has gone unusually quiet on the subject and seems to have, publicly at least, lost all interest in finding Michael Acosta.</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDONESIAN JUNGLE - DAY</stage_direction>
<scene_description>THE CRANE SHOT of the INDONESIAN MILITARY and DAYAK in semi- circle around the SPLAYED BODY. One of the soldiers breaks ranks and moves forward, kneeling by the body. What he sees there sickens him --</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>Hands and face were eaten away. Probably by wild pigs.</dialogue>
<scene_description>BANG. All heads whirl. The BIG SNAKE FALLS. Floats down river. The soldier finds the wallet, flips it open, checks the ID. And this time we see the name -- MICHAEL ACOSTA. And a picture of MIKE ACOSTA, smiling.</scene_description>
<character>JENNINGS (V.O.)</character>
<dialogue>There was an autopsy, corroborating the identity with dental records from Boston.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROSPECTOR SUITE - DAY</stage_direction>
<scene_description>Jennings produces documents with a sort of bemused skepticism. Autopsy. Photos of a pig-eaten body. Affidavit of cremation.</scene_description>
<character>JENNINGS</character>
<dialogue>Then they sealed the report, cremated the remains. Interestingly Danny Suharto dumped a lot of stock as well. So the Suhartos are even richer, Mike Acosta is ostensibly dead and buried, a hundred sixty four million is still missing, and the question I'm left with is whether or not you were in on it?</dialogue>
<scene_description>Wells takes a moment. Slowly shakes his head. Sad.</scene_description>
<character>WELLS</character>
<dialogue>I can't believe it.</dialogue>
<character>JENNINGS</character>
<dialogue>Can't believe what?</dialogue>
<scene_description>Wells eyes well up. He rubs at them, making them even redder. He lights a cig to cover the emotions.</scene_description>
<character>WELLS</character>
<dialogue>...Everyone in the business had written him off, called his theories crap, and he couldn't let that be the last word on him.</dialogue>
<character>JENNINGS</character>
<dialogue>You talking about Acosta or yourself?</dialogue>
<scene_description>Wells ignores that.</scene_description>
<character>WELLS</character>
<dialogue>We were running out of money and I was sick with Malaria, I think that's when the salting started. Mike was sure he was right, the gold was there, but he needed to buy us more time to find it. I don't think he set out to swindle anyone, but by the time he realized he was wrong and there was no gold, he was in too deep. I honestly think he just didn't want to let me down. And I was fooled just like everybody else.</dialogue>
<scene_description>A pregnant beat. Levine, Jennings' underling, leans down. He's saying something that is mostly muffled... "Either world's biggest fool or..."</scene_description>
<character>LEVINE</character>
<dialogue>...he's not telling the truth --</dialogue>
<character>WELLS</character>
<dialogue>The truth!? The only truth here is that when everyone's getting rich nobody gives a shit about the truth. All anyone had to do was look. Open their eyes. The gold was wrong. The find was too good. Red flags everywhere, but no one looked, because no one wanted to know. Not me, not you, not anyone. What we all wanted was to believe. Why? Because we were making so much money.</dialogue>
<scene_description>Jennings looks over at Banks and Levine. That landed.</scene_description>
<character>JENNINGS</character>
<parenthetical>(to his coworkers)</parenthetical>
<dialogue>Mark, Eric, sit down please.</dialogue>
<scene_description>Jennings checks the cassette on the tape recorder. And when he addresses his questions to Wells we can feel it's all coming down to this.</scene_description>
<character>JENNINGS</character>
<dialogue>Were you aware that Mike Acosta was salting the Washoe core samples?</dialogue>
<character>WELLS</character>
<dialogue>No!</dialogue>
<character>JENNINGS</character>
<dialogue>You had no knowledge Mike Acosta was perpetrating a fraud?</dialogue>
<character>WELLS</character>
<dialogue>No. I thought I'd won the lottery.</dialogue>
<character>JENNINGS</character>
<dialogue>You were not in collusion with Mike Acosta on the Kensana gold strike?</dialogue>
<character>WELLS</character>
<dialogue>No.</dialogue>
<character>JENNINGS</character>
<dialogue>Did you profit from the Kensana fraud?</dialogue>
<character>WELLS</character>
<dialogue>You know I didn't. I can't pay the hotel bill. Hell, I can't even get the minibar.</dialogue>
<character>JENNINGS</character>
<dialogue>Did anyone close to you profit?</dialogue>
<character>WELLS</character>
<dialogue>No.</dialogue>
<character>JENNINGS</character>
<dialogue>You have gained nothing?</dialogue>
<character>WELLS</character>
<dialogue>My friends lost money, my neighbors lost money, but I lost everything. Because, the real truth is... I never cared much about money. I cared about gold. It's different, Jennings. It's different.</dialogue>
<scene_description>Jennings, Banks, and Levine walk away and confer. It's clear they're having a difficult time reaching a quorum. Wells turns and looks at the mountains. And then Jennings crosses back.</scene_description>
<character>JENNINGS</character>
<parenthetical>(into tape recorder)</parenthetical>
<dialogue>End of deposition, 6:45 AM, Seventeen, October, 1988, conducted by Paul K. Jennings - Special Agent In Charge, Federal Bureau of Investigation, District of Nevada, Reno.</dialogue>
<scene_description>He presses stop on the recorder. Closes his notes. He and Wells look at each other a long moment.</scene_description>
<character>JENNINGS</character>
<dialogue>You're free to go, Mr. Wells.</dialogue>
<scene_description>Wells seems like he wasn't expecting this and maybe almost like he was past caring about it.</scene_description>
<character>WELLS</character>
<dialogue>Look at that, somebody believes me.</dialogue>
<character>JENNINGS</character>
<dialogue>I wouldn't go overboard. In fact, I wouldn't leave the state. Wouldn't start buying new stuff or chartering any more jets.</dialogue>
<character>WELLS</character>
<dialogue>I gotta sneak out of here without the front desk guy seeing me. You picking up that tab?</dialogue>
<character>JENNINGS</character>
<dialogue>It's been quite a whirlwind, hasn't it, Mr. Wells?</dialogue>
<scene_description>Wells has no fucking idea how to even begin to answer that one. As the coworkers leave --</scene_description>
<character>BANKS</character>
<dialogue>Good luck, Mr. Wells</dialogue>
<character>LEVINE</character>
<dialogue>We'll be keeping an eye out for you.</dialogue>
<scene_description>Jennings starts to leave, then pauses --</scene_description>
<character>JENNINGS</character>
<dialogue>What are you going to do now, Wells?</dialogue>
<scene_description>And as we push in on Wells, we can see deep in his eyes the beginnings of a plan...</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - HARRAH'S HOTEL AND CASINO - MORNING</stage_direction>
<scene_description>Wells looks back at the hotel. He sees two red-tailed hawks perched on a balcony rail. They drop in unison and then rise on a warm draft. Wells watches them rise and rise. DISSOLVE TO: ONE WHITE ROSES...</scene_description>
</scene>
<scene>
<stage_direction>INT. SEDAN DE VILLE - DAY</stage_direction>
<scene_description>Is placed on the passenger seat of his car. Wells smoking. Driving. Flicks ashes at the ashtray, misses by a mile. Through the glass, a familiar, neater house appears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KAY'S HOUSE - DAY</stage_direction>
<scene_description>He pulls into the driveway of Kay's house. The car shuts off. He gathers himself. Picks up the rose. Gets out of the car. Hart Hubbard, pruning a bush, stops snipping.</scene_description>
<character>NEIGHBOR</character>
<dialogue>Kenny, I'm still worried about that mulberry over the back fence.</dialogue>
<scene_description>An old Mulberry tree grows over the shared fence. Wells doesn't need to look.</scene_description>
<character>WELLS</character>
<dialogue>I know. Good to see you, Hart.</dialogue>
<character>HART HUBBARD</character>
<dialogue>Good to see you too, Kenny.</dialogue>
<scene_description>He's at the door. He takes a breath and knocks. After a while he hears footsteps. Then the door opens. Revealing KAY. She looks at the single flower. At Wells. Syntax Warning: Invalid Font Weight</scene_description>
<character>WELLS</character>
<dialogue>Can I come in?</dialogue>
<scene_description>Kay considers a beat longer than is comfortable, then steps aside to let him in.</scene_description>
</scene>
<scene>
<stage_direction>INT. KAY'S HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Wells sees the pool has been fixed and filled. It sparkles. Wells sitting at the dinette looking at Kay. She looks at him. A golden light shines through new curtains above the sink.</scene_description>
<character>KAY</character>
<dialogue>I made curtains.</dialogue>
<character>WELLS</character>
<dialogue>The house looks great. And so do you.</dialogue>
<scene_description>Kay puts the flower in a small vase. She puts two coffee cups on the dinette. She looks at him a moment then shakes her head. Wells takes a cup of coffee.</scene_description>
<character>WELLS</character>
<dialogue>I called up Carl.</dialogue>
<character>KAY</character>
<dialogue>You called Carl?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What'd he say?</dialogue>
<character>WELLS</character>
<dialogue>I think he was surprised to hear from me. He'll see me next week. No promises.</dialogue>
<character>KAY</character>
<dialogue>Wait, you really called him?</dialogue>
<character>WELLS</character>
<parenthetical>(beat)</parenthetical>
<dialogue>No... Not yet. But I'm going to.</dialogue>
<scene_description>She starts to laugh. He starts to laugh. He reaches out his hand to hold hers across the table. They look at each other.</scene_description>
<character>WELLS</character>
<dialogue>Goddamn.</dialogue>
<scene_description>And then they laugh at the absurdity of it all, of life, of trying to make sense of any of it.</scene_description>
<character>KAY</character>
<dialogue>Oh, some stuff came for you. Some mail.</dialogue>
<scene_description>She goes and finds a grocery bag of stuff that's come for him. He dumps it on the table, searching past catalogues and time- share opportunities, until he finds what he's looking for: A FOREIGN ENVELOPE Thin and light blue with PAR AVION stamped on it. Wells looks at it. He looks at Kay. Then he takes out a small pocket knife, uses the short blade to slice it open. He extracts... an old napkin. THE NAPKIN. The one he and Acosta signed in the jungle. He unfolds it. He reads: Prove 'em all wrong.</scene_description>
<character>"50-50"</character>
<dialogue>Whatever it takes...</dialogue>
<scene_description>Followed by two faded signatures: Kenny Wells & Mike Acosta. He stares at Mike's signature a long moment, remembering.</scene_description>
<character>KAY</character>
<dialogue>What? What is it?</dialogue>
<scene_description>ALSO IN THE ENVELOPE -- A DEPOSIT SLIP</scene_description>
<character>$82,000,000</character>
<dialogue>In his name, at THE FIRST BANK OF GIBRALTAR, exactly half what Acosta sold, fifty percent.</dialogue>
<dialogue>He looks up at Kay mysteriously.</dialogue>
<dialogue>And he smiles.</dialogue>
<scene_description>SMASH TO BLACK: FOR YOUR CO N S I D E R AT I O N</scene_description>
<character>BEST ORIGINAL SCREENPLAY</character>
<dialogue>Patrick Massett & John Zinman</dialogue>
<scene_description>www.TWCAwards.com</scene_description>
</scene>
</script> | In 1981, Kenny Wells helps to run a prospecting company, Washoe, with his father whom he clearly admires. But seven years after his father dies, the business and Kenny are nearly broke after having lost the office, so Kenny and his colleagues now work from his girlfriend's bar. Kenny, now living with his girlfriend, Kay, has a dream that leads him to Indonesia where he meets up with geologist Michael Acosta. Both are struggling financially, but Kenny manages to convince Mike to go into business to acquire a gold prospect. Kenny then flies back to America and raises the promised money to finance their venture. Unfortunately, the exploration program struggles and fails to show any gold, so the workers soon leave until Mike persuades them to come back with the promise of freshwater. Kenny contracts malaria and is bedridden for the next few weeks. When he finally wakes up, Mike reveals that they have had a strike and now have a huge gold deposit. After celebrating, Kenny goes back to America where he sets up a new office for Washoe and is approached by a major Wall Street bank. Mike accompanies Kenny to their meeting and, after a disagreement, decides to bring some of the bank associates to Indonesia in order to show them the mine. This wins the bank over and it invests $20 million in Washoe, leading the venture to become a public company. Washoe proves to be a huge success and increases 70 points in its first day on the stock market. Kenny's life becomes celebratory as he goes from one party to the next, but Kay, fearing that he will be tricked and cut out, argues with him and then leaves after seeing him flirting with another woman, Rachel Hill. He is interrupted by Mark Hancock, a high-profile executive of a major mining company, who approaches him regarding buying the company. Kenny meets with him the next day and is offered $300 million for a portion of the mine, but his company's name would be removed. Offended by this, Kenny declines the offer and storms out. The next day on his way into the office Mike phones to tell Kenny that the Indonesian Government has closed the mine; it is also revealed that a previous US president sits on the board in Hancock's company and that he is a friend of the Indonesian president Suharto. Kenny is disconsolate and seems to be defeated, but Mike flies to the US and offers a plan to win their mine back. They manage to convince the president's son to join them in business after Kenny proves himself by stroking a tiger. The mine is reopened with Washoe receiving 15% of what now is a $30 billion business. Kenny thinks of going back to Kay but, seeing her flirting with another man at her new job, decides against it. Kenny is then told that he has been honored with a golden pickaxe, the greatest prize for a prospector. The evening of the presentation comes, and he goes with Mike, who walks out during Kenny's speech. The next day something has gone wrong as Kenny drives to his office and has to push his way through an angry crowd of people. It is then announced that Mike had faked the whole mine as he planted gold in the samples using a method called 'salting'. The gold that he planted was in fact 'river gold' that had been seen earlier in the film. Mike had traded freshwater for the people's river gold so that he could fake the gold mine. Mike is reported to have fled. Kenny is then questioned by the FBI. He retells his story from a chair in his hotel room that he now cannot afford. The FBI agents seem to believe him and state that Mike was later captured by the Indonesian authorities while on the run and then possibly forced to jump out of a helicopter, some 1000 feet above the jungle. The corpse had its hands and face chewed clean off by wild animals, so Acosta's death is never proven. The agents also say that both the Indonesian minister and Mike dumped their stocks before the scandal broke and that Mike possessed 164 million US Dollars when he fled. Kenny returns to Kay's house where he apologizes and later looks through his mail received since they have been apart. He opens one envelope and finds the napkin Mike and he signed as a contract, reading "50–50". Beneath the napkin is a deposit slip for $82 million to First Bank of Gibraltar, Queens Lane Branch, United Kingdom. |
Far from the Madding Crowd_2015 | tt2935476 | <script>
<scene>
<character>FAR FROM THE MADDING CROWD</character>
<dialogue>by</dialogue>
<scene_description>David Nicholls Based on the novel by Thomas Hardy Final Shooting Script, September 2013 FOX SEARCHLIGHT PICTURES (UK) LTD C/O DNA FILMS 10 AMWELL STREET LONDON EC1R 1UQ ALL RIGHTS RESERVED. COPYRIGHT © 2013 FOX SEARCHLIGHT PICTURES (UK) LTD, DNA FILMS LTD & THE BBC. NO PORTION OF THIS SCRIPT MAY BE PERFORMED, PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT OF FOX SEARCHLIGHT PICTURES (UK) LTD, DNA FILMS LTD & THE BBC. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE RESTRICTIONS SET FORTH ABOVE. FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOLL GATE, NORCOMBE HILL - DAY</stage_direction>
<scene_description>A day in LATE AUGUST. A FIGURE on a hill top; the unpopulated landscape - lush in summer, barren and bleak in winter - curving down to high chalk cliffs with the ocean beyond. GABRIEL OAK sits watching over his flock with his two DOGS, his face handsome if somewhat weather-beaten beneath a low- crowned felt hat. He has a quality of contentment, calm and stillness. Idly, he plays with a stone in his hand. No sound but the sounds of nature. Which is why his eye is drawn towards the horizon, the sound of wheels. A CART is approaching. Curious GABRIEL rises and walks closer, as the CART stops at a toll gate and the OLD WAGGONER gets down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOLL GATE, NORCOMBE HILL - DAY</stage_direction>
<scene_description>From GABRIEL's p.o.v, an argument has broken out with the TURNPIKE KEEPER.</scene_description>
<character>WAGGONER</character>
<dialogue>Misses says she won't pay more.</dialogue>
<character>TURNPIKE KEEPER</character>
<dialogue>Then Misses'd best turn back. Price is thrupence.</dialogue>
<scene_description>The WAGGONER sighs, and goes to negotiate with his PASSENGER, as yet unseen. GABRIEL steps closer.</scene_description>
<character>WAGGONER</character>
<dialogue>Perhaps best to pay him. Be dark soon.</dialogue>
<scene_description>She replies - barely heard. The WAGGONER returns.</scene_description>
<character>WAGGONER</character>
<dialogue>She says she's paid you quite enough.</dialogue>
<character>TURNPIKE KEEPER</character>
<dialogue>Three pence.</dialogue>
<scene_description>A stand-off. Until GABRIEL arrives. He knows the GATEKEEPER. A local.</scene_description>
<character>GABRIEL</character>
<dialogue>Let her through. It's a woman on her own.</dialogue>
<scene_description>Going through the gate, BATHSHEBA EVERDENE very briefly turns to GABRIEL. If she feels gratitude, she can't quite bring herself to express it. Pride wins out. The cart moves on. CUT TO BLACK: TITLES - 'FAR FROM THE MADDING CROWD.' Under TITLES, a series of Wessex landscapes. - CARROW COVE on a brisk autumn day, the low sun glinting on the sea. - the CLIFFS of NORCOMBE HILL facing out into the sea in the grip of a winter storm. - the RIVER AXE in full flow with the melting snows of spring. - bleak EGDON HEATH in the rain, the road seeming to stretch on forever. - the gloom of the GREAT FOREST, dark in its depths even on the brightest summer day. - the mud and stone of ploughed fields in the VALE of BLACKMORE, awaiting planting in March. This is the stage for our story, quite remote from the rest of the world. A grand landscape, sometimes beautiful, sometimes harsh - - and finally, the slope of NORCOMBE HILL on a day in LATE SEPTEMBER. CUT TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. STABLE, MRS HURST FARM, NORCOMBE HILL - DAWN</stage_direction>
<scene_description>LATE SEPTEMBER. A chink of light opens out as the stable door is pulled open. BATHSHEBA is silhouetted against the bright light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS HURST'S COTTAGE - DAWN</stage_direction>
<scene_description>BATHSHEBA leads the horse into the yard of MRS HURST's farm; small, subsistence-level but tidy and well-kept, clinging to the side of the remote hill. We see her face as she greets the horse; a startlingly vivid face, full of spirit and determination. She rides off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORCOMBE HILL - DAWN</stage_direction>
<scene_description>- heading down to the forest that borders the hill.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE - DAY</stage_direction>
<scene_description>BATHSHEBA finds herself in a hollow-way, a path covered by a canopy of trees, too low for rider and horse to pass beneath. She looks one way, then the other, to ensure that she's alone then, in a single dextrous movement, then switches from side- saddle to cross-saddle, tucking her dress up - some sort of trousers or breaches revealed beneath. Comfortable now, she lies backwards along the horse so that her head is near its tail, her feet near its shoulders, her eyes to the sky. It's an impressive performance, almost a circus trick, and she smiles in satisfaction to herself as the horse trots forward, the sky showing between the low boughs. On the ground behind her, a SCARF.</scene_description>
</scene>
<scene>
<stage_direction>7A EXT. NORCOMBE HILL - DAY 7A</stage_direction>
<scene_description>- towards a high vantage point. The panorama is magnificent and she smiles to herself. She urges the horse on, a wonderful rider, riding past GABRIEL without even stopping.</scene_description>
</scene>
<scene>
<stage_direction>7B INT. GABRIEL'S COTTAGE,- NIGHT 7B</stage_direction>
<scene_description>The SCARF again, but now it lies on the table of GABRIEL OAK's cottage, a neat, comfortable place. GABRIEL sits nearby, counting out money which he locks away in a strong box. He closes his money box. His eye returns to the SCARF -</scene_description>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S COTTAGE - DAY</stage_direction>
<scene_description>Another day. From his high vantage point, GABRIEL with his sheep and dogs, behind him his cottage. He sees BATHSHEBA walking by, below.</scene_description>
<character>GABRIEL</character>
<dialogue>Miss!</dialogue>
<scene_description>In his hand, the lost SCARF. He stays proudly on top of the hill, so she has to climb the hill towards him. He hands her the scarf.</scene_description>
<character>BATHSHEBA</character>
<parenthetical>(out of breath)</parenthetical>
<dialogue>My scarf. I lost it. You must be Farmer Oak.</dialogue>
<parenthetical>(surprise from GABRIEL)</parenthetical>
<dialogue>This is your land, I must be trespassing.</dialogue>
<character>GABRIEL</character>
<dialogue>You're welcome here. Gabriel. And you are...?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'd rather not tell you. It's a very odd name, I try not to say it out loud.</dialogue>
<character>GABRIEL</character>
<dialogue>I'm sure you could get a new one. If you wanted.</dialogue>
<parenthetical>(An awkward moment, a misfire. She takes the scarf -)</parenthetical>
<dialogue>Forgive me, I can't always..map my mind on my tongue.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Thank you. Farmer Oak.</dialogue>
<scene_description>On BATHSHEBA as she walks away, a small smile appearing.</scene_description>
</scene>
<scene>
<stage_direction>8A EXT. MRS HURST'S FARM, NORCOMBE HILL - DAY 8A</stage_direction>
<scene_description>BATHSHEBA is milking the cows. GABRIEL is herding his sheep nearby, heading up to the small SHEPHERD'S HUT, a kind of CARAVAN from where he guards the sheep. A greeting between them. She steps out and looks after him. The ice melting -</scene_description>
</scene>
<scene>
<stage_direction>8B EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAY 8B</stage_direction>
<scene_description>GABRIEL has two dogs, YOUNG GEORGE who barks and nips at the flock, and OLD GEORGE who sits contentedly by BATHSHEBA. A new development. BATHSHEBA watches GABRIEL go about his work with some admiration. GABRIEL, for his part, is showing off a little.</scene_description>
<character>GABRIEL</character>
<dialogue>Come by, George. Come!</dialogue>
<parenthetical>(Returning to BATHSHEBA)</parenthetical>
<dialogue>He's keen enough, Young George, but he doesn't know when to stop.</dialogue>
<parenthetical>(petting OLD GEORGE)</parenthetical>
<character>GABRIEL</character>
<dialogue>Not like this one. Been with me a long time, haven't you?</dialogue>
<character>BATHSHEBA</character>
<dialogue>And what's that one called?</dialogue>
<character>GABRIEL</character>
<dialogue>This is Old George.</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(she laughs)</parenthetical>
<dialogue>Of course. Old George.</dialogue>
<scene_description>And GABRIEL walks away towards his caravan.</scene_description>
<character>GABRIEL</character>
<dialogue>Find me amusing, do you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. NORCOMBE HILL - NIGHT</stage_direction>
<scene_description>BATHSHEBA is out riding once more. She stops. It's a beautiful night, the stars framing her, steam rising from the horse. From somewhere in the distance, the sound of dogs barking. Some distance away stands GABRIEL's hut, the small building on wheels that he uses for shelter when watching the flock at night. Smoke rises from the chimney. But something is amiss. We follow her towards the caravan. She knocks on the door - no answer. She goes in and finds -</scene_description>
</scene>
<scene>
<stage_direction>INT. GABRIEL'S CARAVAN, NORCOMBE HILL - NIGHT</stage_direction>
<scene_description>GABRIEL lies unconscious in the smoky interior. BATHSHEBA takes in the scene then leaps into action. With all her strength, she drags him upright, slaps his face.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak! Mr Oak, wake up! Gabriel Oak!</dialogue>
<scene_description>Nothing. Now she tries to haul him to her feet. But he falls, a dead-weight, across her lap. This is all new to BATHSHEBA. A man in her lap. She takes it in. To her side, a jug of milk. She takes it, throws it into his face. Gasping, dazed and confused he comes round. Looks up, sees her face. She laughs with relief. GABRIEL is confused, breathless.</scene_description>
<character>GABRIEL</character>
<dialogue>What's the matter? What is it?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Nothing, since you're not dead. I was heading home when I heard the dogs barking.</dialogue>
<parenthetical>(she busies herself, ventilating the hut)</parenthetical>
<dialogue>It's very foolish of you, Farmer. Oak. My uncle had a hut just like this, I used to play in it as a little girl and he told me, always, always keep a window open or you'll suffocate.</dialogue>
<parenthetical>( - the wetness - )</parenthetical>
<dialogue>I'm sorry about the milk. At least it was warm.</dialogue>
<parenthetical>(he attempts to stand, stumbles. Takes her HAND)</parenthetical>
<dialogue>Rest a moment. You know, Farmer Oak, I think I may have saved your life.</dialogue>
<scene_description>Her hand in his, as GABRIEL steadies himself.</scene_description>
<character>GABRIEL</character>
<dialogue>Tell me your name. I still don't know your name.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Then find it out. My hand, Mr Oak?</dialogue>
<scene_description>Somewhat reluctantly, he lets go of her hand. She walks out into the night. GABRIEL sits on the steps and watches her go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAY</stage_direction>
<scene_description>Next morning. GABRIEL is working his sheep, but his mind is elsewhere. He stops working, his mind wandering.</scene_description>
</scene>
<scene>
<stage_direction>INT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAY</stage_direction>
<scene_description>GABRIEL polishes his boots, puts away his working clothes. A decision has been made.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAY</stage_direction>
<scene_description>GABRIEL walks through his flock and finds a lamb. It has come weeks early, and is the only one. He scoops the tiny thing up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS HURST'S COTTAGE - DAY</stage_direction>
<scene_description>Accompanied by OLD GEORGE, carrying the lamb, GABRIEL marches towards MRS HURST's, a man with a mission. Middle-aged, wry and weather-worn, MRS HURST joins her niece in clearing brambles from the cottage garden. Tough work, BATHSHEBA scratched and muddy. MRS HURST stretches out her back and notices GABRIEL approaching.</scene_description>
<character>MRS HURST</character>
<dialogue>Goodness. Mr Oak.</dialogue>
<character>BATHSHEBA</character>
<dialogue>What does he want?</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN, MRS HURST'S COTTAGE - DAY</stage_direction>
<scene_description>BATHSHEBA washes the mud from her hands, wipes it from her face, checks her reflection in the small mirror. It will have to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR, MRS HURST'S COTTAGE - CONTINUOUS</stage_direction>
<scene_description>GABRIEL and MRS HURST sit in the parlour, a little awkward. BATHSHEBA enters, and he stands abruptly.</scene_description>
<character>GABRIEL</character>
<dialogue>Miss Everdene. Bathsheba. I've brought you a lamb.</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(delighted)</parenthetical>
<dialogue>Thank you, Farmer Oak! Such a dear thing, that's very sweet of you.</dialogue>
<character>GABRIEL</character>
<dialogue>He's come too soon and won't last the winter. I thought you'd like to rear it instead.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Thank you. That's very kind.</dialogue>
<scene_description>MRS HURST takes the lamb out with her.</scene_description>
<character>MRS HURST</character>
<dialogue>I'll make some tea.</dialogue>
<scene_description>And she makes her exit. Silence.</scene_description>
<character>GABRIEL</character>
<dialogue>The lamb is not why I came.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Go on.</dialogue>
<character>GABRIEL</character>
<dialogue>Well...I wanted to ask, Miss Everdene, if you'd marry me.</dialogue>
<scene_description>A long moment.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Oh -</dialogue>
<scene_description>This is not the response he wanted -</scene_description>
<character>GABRIEL</character>
<dialogue>I've never asked anyone before.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, I -</dialogue>
<scene_description>And impulsively he stands.</scene_description>
<character>GABRIEL</character>
<dialogue>Well. I'll leave you now.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Mr Oak -</dialogue>
<parenthetical>(he turns, waits)</parenthetical>
<dialogue>There are things to consider.</dialogue>
<character>GABRIEL</character>
<dialogue>Someone waiting for you?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, there's no-one else but that doesn't mean I'll marry you.</dialogue>
<character>GABRIEL</character>
<dialogue>Good day to you then.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MRS HURST'S COTTAGE - CONTINUOUS</stage_direction>
<scene_description>BATHSHEBA follows him out.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak, stop! I didn't say I wouldn't marry you either!</dialogue>
<parenthetical>(he doesn't understand - which is it?)</parenthetical>
<dialogue>I really haven't ever thought about it. I need time to consider.</dialogue>
<character>GABRIEL</character>
<dialogue>But I know I can make you happy.</dialogue>
<parenthetical>(she's thrown by this)</parenthetical>
<dialogue>I have one hundred acres, two hundred sheep, When I pay off the money, the farm is ours. You could have a piano in a year or two. Flowers and birds. A frame for cucumbers. A baby perhaps, or two -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Please, Mr Oak, that's too much -</dialogue>
<character>GABRIEL</character>
<dialogue>- or more. And whenever you look up I'll be there, and whenever I look up there'll be you.</dialogue>
<scene_description>BATHSHEBA takes this in, imagines it, and makes her decision.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak, I do not want a husband. I'd hate to be some man's property. I shouldn't mind being a bride at a wedding, if I could be one without getting a husband, but -</dialogue>
<character>GABRIEL</character>
<dialogue>That's just stupid talk.</dialogue>
<scene_description>With as much calmness and compassion as she can muster;</scene_description>
<character>BATHSHEBA</character>
<dialogue>You are better off than I, Mr Oak. I have an education and this dress and nothing more. You can do much, much better than me...</dialogue>
<character>GABRIEL</character>
<dialogue>Maybe that's true. But you know that's not the reason.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'm too independent for you.</dialogue>
<parenthetical>(this sounds more plausible)</parenthetical>
<dialogue>If I ever were to marry, I'd need somebody to tame me, and you'd never be able to do it. You'd grow to despise me.</dialogue>
<character>GABRIEL</character>
<parenthetical>(with quiet simplicity)</parenthetical>
<dialogue>I would not.</dialogue>
<parenthetical>(she takes this in. A moment, then -)</parenthetical>
<dialogue>Goodbye, Miss Everdene.</dialogue>
<scene_description>And with that he turns and goes. For a moment she follows him, just a step or two. Then she walks back to the cottage. One last look. GABRIEL walks away, no turning back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAY</stage_direction>
<scene_description>WINTER. Time passing. GABRIEL is herding sheep as light snow falls. Hard, physical work. As night comes on, he rests on the steps of the Shepherd's Hut, the site of BATHSHEBA's rescue.</scene_description>
</scene>
<scene>
<stage_direction>INT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAWN</stage_direction>
<scene_description>Another day. In his caravan, OLD GEORGE by his side, GABRIEL sleeps on. The barking of YOUNG GEORGE wakes them both. Something is up. He sits, listens. The sound of sheep bells now. He is on his feet. To OLD GEORGE -</scene_description>
<character>GABRIEL</character>
<dialogue>Stay here, old boy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAWN</stage_direction>
<scene_description>GABRIEL steps out of the caravan, pulling on his clothes. He listens to the distant barking to find the direction, then runs off. A broken fence nearby -</scene_description>
</scene>
<scene>
<stage_direction>20A EXT. GABRIEL'S CARAVAN, NORCOMBE HILL - DAWN 20A</stage_direction>
<scene_description>He walks through trees, losing track of the barking for a moment. Coming out of the trees and forest, he crests the hill in search of the flock. But they have gone. Disappeared. Silence. Then barking, the sound of the bells, further off this time. He runs -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFFS, NORCOMBE HILL - DAWN</stage_direction>
<scene_description>A natural basin leads up to cliffs and, beyond that, the sea. The precipice is fenced off, but it is towards this cliff edge that the flock have been harried by YOUNG GEORGE. GABRIEL stumbles across the darkened hillside after them. ...but it's too late. The young, impetuous dog is barking and snapping at a single remaining sheep, forcing it through a gap in the broken fence and into the darkness beyond. The sheep has gone. YOUNG GEORGE runs to his master, desperate for approval. But GABRIEL is numb. With a terrible sense of foreboding, he walks towards the gap in the hedge, knowing already what he'll find. GABRIEL's POV. A glimpse of white below.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH, NORCOMBE HILL - DAY</stage_direction>
<scene_description>At the bottom of the limestone cliff, the corpses of the flock. Two hundred sheep, all dead. The sun is up, the water lapping at the corpses. GABRIEL stands exhausted, numb. All of his hopes, his ambitions, the rewards of twenty years hard work, all dead. At his side, YOUNG GEORGE licks his hand, awaiting his reward for a job well done. He kneels next to YOUNG GEORGE, places his forehead against the dog's and speaks to him quietly.</scene_description>
<character>GABRIEL</character>
<dialogue>Least we didn't marry, eh Georgie?</dialogue>
<scene_description>Then he quickly stands and, without malice but with an awful resignation, he raises his gun. A shot rings out.</scene_description>
</scene>
<scene>
<stage_direction>INT. GABRIEL'S COTTAGE - DAY</stage_direction>
<scene_description>Keys and cashbox handed to two GENTLEMAN FARMERS.</scene_description>
<character>FIRST FARMER</character>
<dialogue>Good luck to you, Mr Oak.</dialogue>
<character>SECOND FARMER</character>
<dialogue>And our sympathies.</dialogue>
<character>FIRST FARMER</character>
<dialogue>Where are you heading?</dialogue>
<parenthetical>(no reply)</parenthetical>
<dialogue>We take no pleasure in this.</dialogue>
<scene_description>GABRIEL ignores them and goes instead to OLD GEORGE.</scene_description>
<character>GABRIEL</character>
<dialogue>Sorry, old boy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EGDON HEATH - DAY</stage_direction>
<scene_description>Another day. GABRIEL walks on, everything he owns now in the pack on his back. Now snow falls. The road across Egdon Heath has disappeared. Desperate for shelter, he sees a barn.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - NIGHT</stage_direction>
<scene_description>GABRIEL wraps himself in his blanket and tries to sleep, his breath hanging in the frozen air. There's a hole in the roof. GABRIEL looks to the skies, thinks of BATHSHEBA -</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS HURST'S FARM - DAY</stage_direction>
<character>MRS HURST</character>
<dialogue>Bathsheba!</dialogue>
<scene_description>A shout. BATHSHEBA, working in the fields, stands. MRS HURST runs towards her, waving something in her hand.</scene_description>
<character>BATHSHEBA</character>
<dialogue>What is it?</dialogue>
<scene_description>A letter. She hands it to BATHSHEBA, breathless. Gasping for air -</scene_description>
<character>MRS HURST</character>
<dialogue>Oh my love, it's your poor Uncle's will.</dialogue>
<character>BATHSHEBA</character>
<dialogue>What does it say? What's happened?</dialogue>
<scene_description>Breathless, MRS HURST indicates.</scene_description>
<character>MRS HURST</character>
<dialogue>Read it! Read!</dialogue>
<scene_description>BATHSHEBA does so - BATHSHEBA puts her hand to her mouth. Then she embraces her AUNT.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS HURST'S COTTAGE - DAY</stage_direction>
<scene_description>The cart is loaded with suitcases and furniture. In her city dress once more, BATHSHEBA says farewell - - then clambers aboard, and finds a place amongst the precarious load. The cart trundles off, BATHSHEBA turning and waving goodbye. Excitement, anticipation. On her lap, the lamb. GABRIEL's gift. The blare of a trumpet and -</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE - DAY</stage_direction>
<scene_description>CLOSE on SERGEANT FRANCIS TROY of the 11th DRAGOON GUARDS. Fine-boned, a neatly-trimmed moustache on a finely structured face. The DRAGOONS are a splendid sight, a blaze of brass and scarlet on a January day. They ride towards the market town of CASTERBRIDGE</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN SQUARE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>The GUARDS are holding an opportunistic recruiting drive. As TROY and the other troops stand at ease SERGEANT DOGGETT, attempts to muster new recruits.</scene_description>
<character>SERGEANT DOGGETT</character>
<dialogue>So who'll join us, lads? Which of you fine boys'll put on the scarlet uniform and proudly serve his Queen and Country?...</dialogue>
<scene_description>In amongst the crowd, a YOUNG WOMAN. She's in her best dress, but painfully under-dressed for the cold weather. She's also encumbered by a large, impractical carpet bag. Nevertheless, there's a kind of elation about her, as if she's embarking on some adventure. An escape. This is FANNY ROBBIN. She pushes through the crowd towards the front, finding herself next to GABRIEL OAK; gaunt now, exhausted.</scene_description>
<character>FANNY ROBBIN</character>
<dialogue>Frank! Over here! Frank, it's Fanny!</dialogue>
<scene_description>TROY gives her a quick, fond glance, then fixes his eyes forward again.</scene_description>
<character>FANNY</character>
<parenthetical>(to GABRIEL)</parenthetical>
<dialogue>My sweetheart. Over there.</dialogue>
<character>SERGEANT DOGGETT</character>
<dialogue>You, sir...</dialogue>
<parenthetical>(he has spotted GABRIEL)</parenthetical>
<dialogue>...next to the pretty lady!</dialogue>
<parenthetical>(FANNY ROBBIN blushes)</parenthetical>
<dialogue>There's a good strong figure of a man. Always room in the ranks for gentlemen of your calibre. Come join us, sir!</dialogue>
<scene_description>A moment of hesitation.</scene_description>
<character>FANNY</character>
<dialogue>Go on. You'd make a fine soldier.</dialogue>
<scene_description>But GABRIEL shakes his head and shrinks back into the crowd, walking away as DOGGETT continues.</scene_description>
<character>SERGEANT DOGGETT</character>
<dialogue>Or that gentleman there, you look like a patriot. Come on lad, don't be shy, step forward...</dialogue>
<scene_description>GABRIEL takes one more look over his shoulder, then heads on his way. But FANNY has followed him -</scene_description>
<character>FANNY</character>
<dialogue>You might try Weatherbury!</dialogue>
<parenthetical>(GABRIEL turns)</parenthetical>
<dialogue>If you're looking for work, try Weatherbury. There's a farm there needs all the help it can get.</dialogue>
<character>GABRIEL</character>
<dialogue>Thank you. I'll do that.</dialogue>
<parenthetical>(a moment. He notices her carpet-bag, her thin clothes)</parenthetical>
<dialogue>You should have a cloak, cold night like this.</dialogue>
<character>FANNY</character>
<parenthetical>(with forced pride)</parenthetical>
<dialogue>Oh, no, Francis'll take care of me. He's a sergeant. We're going to be married soon you see.</dialogue>
<character>GABRIEL</character>
<dialogue>But tonight, you have lodgings?</dialogue>
<character>FANNY</character>
<dialogue>No. Not tonight. Not yet.</dialogue>
<scene_description>GABRIEL reaches into his pocket and offers her a coin.</scene_description>
<character>FANNY</character>
<dialogue>I am taken care of.</dialogue>
<parenthetical>(Pride vs. Necessity. GABRIEL persists.)</parenthetical>
<dialogue>But if you're sure can spare it...</dialogue>
<parenthetical>(and she takes it)</parenthetical>
<dialogue>I'll repay you. I'll send it to Weatherbury. But please, don't tell anyone there you saw me. I've run away you see. Let it be our secret.</dialogue>
<scene_description>GABRIEL nods assent and she hurries off, carrying all her possessions.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTERBRIDGE LANE - DUSK</stage_direction>
<scene_description>GABRIEL walks on towards Weatherbury now. Exhausted, it's time to rest.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>A feeble camp fire. Scooping leaves into a pile, GABRIEL makes a mattress of sorts in the woods. Exhausted from the day's humiliations, he pulls his blanket up and tries to sleep. The NOISES of the wood at night. And then a new noise. SHOUTS of alarm. GABRIEL sits. Through the trees, a red glow like the end of a cigar...</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Half a mile away a fire is clearly visible, blazing out of control. Human shouts, the panic of cattle and horses. From the edge of the woods, GABRIEL watches impassively. None of his business. Nothing to do with him. Then a decision. He heads off towards the flames.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>A hayrick in flames, burning with startling speed and intensity. The farmyard is in chaos; livestock crying in panic as men run uselessly back and forth in the orange light. At present, it's the only one on fire, but a number of ricks stand close, and burning straw tumbles through the air, across to the great BARN that holds the crop. A rag-tag group of farmhands - JOSEPH, JACOB, BILLY, LABAN, CAINY and JAN - all hurl water uselessly onto the flames. GABRIEL arrives.</scene_description>
<character>GABRIEL</character>
<dialogue>Who's in charge here?</dialogue>
<character>LABAN TALL</character>
<dialogue>Who are you?</dialogue>
<character>GABRIEL</character>
<dialogue>Who's in charge? Where's your farmer?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>Look - the barn!</dialogue>
<scene_description>Sure enough, the fire has spread to the roof of the barn, where all the crop is kept.</scene_description>
<character>GABRIEL</character>
<dialogue>This rick is lost. It's the barn you need to save. D'you understand?</dialogue>
<scene_description>They stare uselessly at the stranger.</scene_description>
<character>GABRIEL</character>
<dialogue>Ladder?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>It was on the rick.</dialogue>
<scene_description>GABRIEL thinks for a moment. He takes the scarf from JOSEPH's neck and wraps it around his face, making a make-shift mask. Then he grabs a bucket of water, pours it over his head, and strides towards the barn.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>A haywain has ignited, burning furiously down one side, the side nearest the barn.</scene_description>
<character>GABRIEL</character>
<dialogue>Get it away! Now!</dialogue>
<scene_description>And he leads the men in pulling the flaming cart away from the precious barn. But it's too late! The barn roof is starting to burn. They do so, but the cart itself is in flames now. GABRIEL steadies himself and looks across to the barn roof.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>GABRIEL runs inside, through smoke and the crop, searching for a way to the roof. The whole building is a tinderbox, but he clambers to the highest level despite the flames above him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARN, RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>And now he appears on the roof (through a hatch? via a ladder? TO BE DISCUSSED) and begins smothering the burning thatch as the MEN watch from below.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - DAWN</stage_direction>
<scene_description>The fire is extinguished. Thick smoke hangs in the air, a battlefield after the fighting. GABRIEL, blackened and exhausted, is washing the soot from his face. He gathers his possessions, ready to move on, when a maid approaches. This is LIDDY -</scene_description>
<character>LIDDY (O.S.)</character>
<dialogue>The farmer's here.</dialogue>
<character>GABRIEL</character>
<dialogue>About time too. Where's he been?</dialogue>
<character>LIDDY</character>
<dialogue>She'd like to thank you.</dialogue>
<scene_description>GABRIEL stops still. Stands straight. A FIGURE approaches, her face covered against the smoke. A WOMAN. She slows. Stops. She uncovers her face -</scene_description>
<character>BATHSHEBA</character>
<dialogue>No. It can't be.</dialogue>
<scene_description>GABRIEL smiles. And BATHSHEBA EVERDENE, owner of Weatherbury Farm smiles back at him.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak, is that really you?</dialogue>
<character>GABRIEL</character>
<dialogue>Do you happen to want a shepherd, ma'am?</dialogue>
<character>BATHSHEBA</character>
<dialogue>As a matter of fact, I do.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - DAY</stage_direction>
<scene_description>As the WORKERS clear away the fire damage, BATHSHEBA and OAK walk.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I owe you an immense debt, Mr Oak. If I'd lost the barn, I'd have lost my farm.</dialogue>
<character>GABRIEL</character>
<dialogue>Your farm?</dialogue>
<character>BATHSHEBA</character>
<dialogue>It's my inheritance -</dialogue>
<scene_description>And they turn a corner, REVEALING the main house, a little run-down perhaps, but still fine and imposing.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I loved it here as a little girl. When my uncle passed away, he left it to me. Of course it's a little ragged now but this was once the finest farm for miles. I intend to make it so again.</dialogue>
<parenthetical>(she glances at Gabriel)</parenthetical>
<dialogue>Perhaps you find the idea preposterous too, Mr Oak?</dialogue>
<character>GABRIEL</character>
<dialogue>I no longer have that luxury.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'm truly sorry to hear of your great loss, Mr Oak, but if this reversal of fortunes causes you any embarrassment...</dialogue>
<parenthetical>(GABRIEL is silent))</parenthetical>
<dialogue>I think it best if you address me as 'ma'am' or 'Miss Everdene'. In turn I will address you as Mr Oak.</dialogue>
<character>GABRIEL</character>
<dialogue>I understand. Ma'am.</dialogue>
<scene_description>An awkward smile, and she goes.</scene_description>
</scene>
<scene>
<stage_direction>38A INT. GREAT HALL, EVERDENE FARM - DAY 38A</stage_direction>
<scene_description>BATHSHEBA sits at a great oak table, a cash box in front of her. A noise from the doorway - LIDDY, BATHSHEBA's maid, friend and confidante. Fiercely protective of her mistress and, despite being the daughter of BILLY SMALLBURY, fiercely proud of her status.</scene_description>
<character>LIDDY</character>
<dialogue>Miss, the philistines are upon us!</dialogue>
<scene_description>The MEN loiter in the doorway, waiting to be paid.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Send them in.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, EVERDENE FARM - DAY</stage_direction>
<scene_description>A little later. Paid or waiting to be paid are - JAN COGGAN - strong, capable, reliable, a companionable bachelor. LABAN TALL. Handsome, conceited, suspicious of GABRIEL's easy charm. JOSEPH POORGRASS is weak, physically inept, painfully shy, especially around BATHSHEBA. JACOB SMALLBURY, LIDDY's grandfather, is the self-appointed elder statesman, given to wise pronouncements, alcohol and laziness. BILLY SMALLBURY, his son, is reliable, slightly put-upon by both father and daughter. CAINY BALL is an awkward teenager, easily distracted, always in the way. TEDDY COGGAN, JAN's young brother, is the youngest, indulged and spoiled by the others. TEMPERANCE and SOBERNESS MILLER are the opposite of what their names suggest; flirtatious, irreverent, 'yielding'. MRS COGGAN is the housekeeper and cook, JAN's mother, perpetually harassed and dusted in flour. SUSAN TALL is the ferocious, controlling wife of Laban, perpetually enraged at his boozing, his lack of social advancement. MARYANN MONEY is LIDDY's side-kick, good-humoured, a dreamer, easily perplexed. BATHSHEBA hands out the money to each in turn, LIDDY proudly by her side. Next up is -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Joseph Poorgrass! Which one is Joseph Poorgrass?</dialogue>
<scene_description>JOSPEH POORGRASS steps forward. LIDDY indicates 'hat off'.</scene_description>
<character>BATHSHEBA</character>
<dialogue>And what do you do, Joseph Poorgrass?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>I does general things and in Spring I shoot the rooks and help at pig- killing, Sir, I mean Ma'am.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Here's seven and ninepence, and another ten shillings as I'm new.</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>Thank you, Ma'am.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Now. Fanny Robbin? Where is she?</dialogue>
<character>JACOB SMALLBURY</character>
<dialogue>She has run away ma'am. With a soldier.</dialogue>
<scene_description>GABRIEL picks up on this -</scene_description>
<character>PENNYWAYS</character>
<dialogue>Not a soldier, a sergeant!</dialogue>
<scene_description>Sceptical laughter. BATHSHEBA is unamused.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Bailiff Pennyways, here is ten shillings and a further ten. This ends our association. You are dismissed.</dialogue>
<character>PENNYWAYS</character>
<dialogue>Beg pardon, ma'am?</dialogue>
<character>BATHSHEBA</character>
<dialogue>When my uncle was alive, this was a fine, productive farm. Since his death it has fallen into ruin -</dialogue>
<scene_description>PENNYWAYS leans into BATHSHEBA, his face full of menace. GABRIEL stands, at the ready.</scene_description>
<character>PENNYWAYS</character>
<dialogue>Now see here, Miss -</dialogue>
<character>BATHSHEBA</character>
<dialogue>- a fire threatens to destroy the barn and you're nowhere to be found. I have no use for men like you, Mr Pennyways. You are dismissed.</dialogue>
<scene_description>She holds her nerve. PENNYWAYS's bluff is called. A moment as he scans the room for support that will not come. Addressing the others -</scene_description>
<character>PENNYWAYS</character>
<dialogue>I'd get out while you can if I was you!</dialogue>
<scene_description>And he leaves. If BATHSHEBA is shaken, she hides it well. Settling herself.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Now. You've met Mr Oak, our new shepherd. You understand your duties, Mr Oak?</dialogue>
<character>GABRIEL</character>
<dialogue>If I don't, I'll ask you. Ma'am.</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(she stands to address the room)</parenthetical>
<dialogue>From now on you have a mistress, not a master. I don't yet know my talents in farming, but I shall do my best. If you suppose, because I'm a woman, that I don't know bad from good, right from wrong, then leave. But to those who choose to stay, I promise you this. I shall be up before you are awake, I shall be in the fields before you are up. It is my intention to astonish you all. Now - back to work, please.</dialogue>
<scene_description>She stands and leaves the room. The WORKERS look on, some impressed, some sceptical, some duly astonished.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MELCHESTER MOOR - DUSK</stage_direction>
<scene_description>As the evening falls, FANNY walks through the mud of a riverside path in barely adequate shoes towards MELCHESTER BARRACKS. She still carries her carpet-bag, still on the move. It's a barren, bleak landscape, and some of the hope, some of the certainty has gone from FANNY's adventure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MELCHESTER BARRACKS - DUSK</stage_direction>
<scene_description>A river. A wall, high and blank, with shuttered windows. FANNY counts the windows -</scene_description>
<character>FANNY</character>
<dialogue>One, two, three, four...</dialogue>
<scene_description>She picks up a handful of earth, throws it. The small window opens, and TROY appears.</scene_description>
<character>TROY</character>
<dialogue>Who's there?</dialogue>
<character>FANNY</character>
<dialogue>Is it Sergeant Frank Troy?</dialogue>
<character>TROY</character>
<dialogue>Who is it?</dialogue>
<character>FANNY</character>
<dialogue>Frank, don't you know me? Fanny Robbin!</dialogue>
<character>TROY</character>
<dialogue>Fanny!</dialogue>
<character>FANNY</character>
<dialogue>Yes!</dialogue>
<character>TROY</character>
<dialogue>How did you get here?</dialogue>
<character>FANNY</character>
<dialogue>You said I was to come.</dialogue>
<character>TROY</character>
<dialogue>Well...I said that you might. You're too late!</dialogue>
<character>FANNY</character>
<dialogue>You can't come out and see me?</dialogue>
<character>TROY</character>
<dialogue>No no, the barrack gates are closed and I have no leave. I'll find you tomorrow.</dialogue>
<character>FANNY</character>
<dialogue>Tomorrow! Oh, Frank. Then I won't see you till then?</dialogue>
<character>TROY</character>
<dialogue>Do you have a place to stay?</dialogue>
<character>FANNY</character>
<dialogue>Yes. No. I'll find somewhere. When will it be?</dialogue>
<character>TROY</character>
<dialogue>What?</dialogue>
<character>FANNY</character>
<dialogue>What you promised...Don't make me say it. You say it first!</dialogue>
<character>TROY</character>
<dialogue>You say it.</dialogue>
<character>FANNY</character>
<dialogue>When will we get married?</dialogue>
<character>TROY</character>
<dialogue>Soon -</dialogue>
<character>FANNY</character>
<dialogue>Have you asked permission?</dialogue>
<character>TROY</character>
<dialogue>If I said I'll marry you, I will.</dialogue>
<character>FANNY</character>
<dialogue>Oh, I love you Francis Troy!</dialogue>
<character>TROY</character>
<dialogue>Shhhh! Tomorrow.</dialogue>
<scene_description>He closes the window but FANNY lingers, full of hope.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>Market Day. The building is at the very heart of the town, imposing, high-domed and noisy, a sort of stock-exchange for grain. Outside, BATHSHEBA and LIDDY hoist hefty bags of grain samples from her carriage and heads towards the entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>Inside, it's a temple of commerce, and a strictly male preserve that echoes with bargaining, banter and deal-making - - until BATHSHEBA enters, LIDDY behind her.</scene_description>
<character>BATHSHEBA</character>
<parenthetical>(a whisper)</parenthetical>
<dialogue>We have a perfect right to be here.</dialogue>
<scene_description>All heads turn. They could not be more surprised if a small elephant had entered the hall. A silence. Then the murmur of gossip, disapproval, some admiration. Meanwhile, one WELL-DRESSED GENTLEMAN clears his throat.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Gentlemen, shall we return to business?</dialogue>
<scene_description>This man is BOLDWOOD, forties, self-contained, handsome in a Roman way; dignified, the nearest Casterbridge has to aristocracy, and clearly a step above the tradesmen around him. Needless to say, BATHSHEBA notices him - But indifferent, BOLDWOOD returns to business.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>A little later. Still BATHSHEBA stands alone, looking for her first customer as the MALE CROWD mills around her. LIDDY returns;</scene_description>
<character>LIDDY</character>
<dialogue>Perhaps we should go, Miss.</dialogue>
<scene_description>But a FARMER catches her eye. There's nothing for it -</scene_description>
<character>BATHSHEBA</character>
<dialogue>It's Farmer Stone, isn't it? I'm Farmer Everdene's niece. He talked about you with such admiration.</dialogue>
<scene_description>A moment. And the FARMER approaches -</scene_description>
</scene>
<scene>
<stage_direction>INT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>And now BATHSHEBA is surrounded by FARMERS. She is enjoying herself now, as she pours the grain sample into FARMER STONE's hand.</scene_description>
<character>FARMER STONE</character>
<dialogue>How much?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Five pounds a quarter.</dialogue>
<character>FARMER STONE</character>
<dialogue>Three pounds ten shillings.</dialogue>
<character>BATHSHEBA</character>
<dialogue>You paid my uncle five pounds. It's the same grain, Mr Stone.</dialogue>
<character>FARMER STONE</character>
<dialogue>Three pounds ten.</dialogue>
<scene_description>And now BOLDWOOD has approached.</scene_description>
<character>BATHSHEBA</character>
<dialogue>How about you, sir? You'll pay me five pounds?</dialogue>
<scene_description>He tips his hat and walks away. BATHSHEBA watches him.</scene_description>
<character>FARMER STONE</character>
<dialogue>Very well. Four pounds -</dialogue>
<character>BATHSHEBA</character>
<dialogue>- and ten shillings.</dialogue>
<character>FARMER STONE</character>
<dialogue>Four pounds five.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Perhaps I should move on...</dialogue>
<character>FARMER STONE</character>
<dialogue>Very well. Four and ten.</dialogue>
<scene_description>A handshake, the audience enjoying the show, almost as much as BATHSHEBA is enjoying the success. Her eyes seek out BOLDWOOD, but he is already on to more important matters. MUSIC UP: The wheezing of a church organ, the sound of the choir.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH, WEATHERBURY - DAY</stage_direction>
<scene_description>BATHSHEBA and LIDDY are in their Sunday best, taking their seats in the congregation.</scene_description>
<character>BATHSHEBA</character>
<dialogue>It was as bad as being married. Eyes everywhere!</dialogue>
<character>LIDDY</character>
<dialogue>Men! They do like to stare at us.</dialogue>
<character>BATHSHEBA</character>
<dialogue>There was only one man who had the good sense to pay no attention to me -</dialogue>
</scene>
<scene>
<stage_direction>INT. CHURCH, WEATHERBURY - DAY</stage_direction>
<scene_description>A hymn. BOLDWOOD sings in a strong dignified baritone. But despite BATHSHEBA's glances, he remains maddeningly indifferent. Elsewhere, GABRIEL sits in the gallery with the MALE WORKERS, attracting admiring glances from the WOMEN opposite. He observes BATHSHEBA, observing BOLDWOOD.</scene_description>
<character>LIDDY</character>
<dialogue>Rich, handsome, it sends the local girls mad. The Taylor sisters worked at him for two years. Jane Perkins spent twenty pounds in new clothes and might as well have thrown it out the window. It's said when he was young his sweetheart jilted him...</dialogue>
<character>BATHSHEBA</character>
<dialogue>People always say that. Women don't jilt men. Men jilt us.</dialogue>
<character>LIDDY</character>
<dialogue>Did someone jilt you, miss?</dialogue>
<scene_description>And there's GABRIEL, talking with the other MEN.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Me? Certainly not. A man did ask to marry me once, some time ago.</dialogue>
<character>LIDDY</character>
<dialogue>And you wouldn't have him?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I thought he wasn't good enough for me.</dialogue>
<character>LIDDY</character>
<dialogue>What a luxury, to have a choice. 'Kiss my foot sir, my face is for mouths of consequence'.</dialogue>
<character>BATHSHEBA</character>
<dialogue>It wasn't like that at all.</dialogue>
<character>LIDDY</character>
<dialogue>Why? Did you love him?</dialogue>
<scene_description>BATHSHEBA doesn't answer.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>Early February morning, and BATHSHEBA is the first in the fields as promised, a shotgun slung across her back, a pair of pheasants hanging by her side. BATHSHEBA watches and waits, and is about to fire when - She hears a noise behind her, and turns. MR BOLDWOOD is there on horseback. He rides on.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Boldwood!</dialogue>
<character>BOLDWOOD</character>
<dialogue>Don't shoot me, please.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I had no intention of shooting you.</dialogue>
<parenthetical>(nothing)</parenthetical>
<dialogue>It's Miss Everdene! Your neighbour. Farmer Everdene's niece? I'm managing the farm alone now, perhaps you'd heard.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Yes, I'm sure you'll do very well. In the circumstances.</dialogue>
<parenthetical>(BATHSHEBA bridles)</parenthetical>
<dialogue>Well. As you say, we are neighbours. Good hunting, Miss Everdene.</dialogue>
<scene_description>And that's it. BATHSHEBA watches him go.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY, EVERDENE FARM - DAY</stage_direction>
<scene_description>Surrounded by books, papers, dusty boxes, BATHSHEBA and LIDDY are sorting through Farmer Everdene's old belongings.</scene_description>
<character>LIDDY</character>
<dialogue>Listen to this. 'The Rose is red, The Violet blue, Carnations sweet...'</dialogue>
<character>BATHSHEBA</character>
<dialogue>What are you doing, Liddy?</dialogue>
<character>LIDDY</character>
<dialogue>It's a valentine. I was going to send it to Joseph Poorgrass, just to see the look of panic on his face.</dialogue>
<scene_description>A gawdy, sentimental confection of paper and lace.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Poor boy. A little far-fetched, isn't it?</dialogue>
<character>LIDDY</character>
<dialogue>Either him or Mr Oak -</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(abruptly)</parenthetical>
<dialogue>No. Certainly not Mr Oak.</dialogue>
<character>LIDDY</character>
<dialogue>I know! Let's send it to high and mighty Mr Boldwood! Ignoring you like that..</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes!</dialogue>
<character>LIDDY</character>
<dialogue>Or perhaps not.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, we must!</dialogue>
<character>LIDDY</character>
<dialogue>We mustn't!</dialogue>
<character>BATHSHEBA</character>
<dialogue>Why not?</dialogue>
<character>LIDDY</character>
<dialogue>Because he won't see the humour -</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'm sure he will. Or perhaps he won't, perhaps it is too much.</dialogue>
<character>LIDDY</character>
<dialogue>Perhaps it is.</dialogue>
<parenthetical>(But it's too much fun to miss)</parenthetical>
<dialogue>Unless we toss for it.</dialogue>
<scene_description>From the debris, she finds a book.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Open Boldwood, closed -</dialogue>
<character>LIDDY</character>
<dialogue>Joseph Poorgrass.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Closed - Joseph, open - Boldwood.</dialogue>
<character>LIDDY</character>
<dialogue>Are we ready?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Quickly, before I change my mind!</dialogue>
<scene_description>And she tosses the book high into the air. It lands. Open.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>THE VALENTINE. It lies in its envelope on the large dining table in Boldwood's large, comfortable house. BOLDWOOD raises his tea to his lips, and glances casually at the envelope. He turns it over. Facing him is the wax seal. Imprinted in the red wax the words - 'Marry Me' Carefully, he places the tea-cup down. He checks the address - yes, no mistake there. With forensic care, he takes a knife and carefully prises open the envelope so as not to break the seal, then pulls out the card; the gaudy confection of lace and cupids. An entirely foreign object, he holds it with his finger tips. He opens it, and a perfectly ordered world is knocked out of shape.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALL SAINT'S CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>A service is just ending and as the PARISHIONERS disperse, TROY walks towards the PRIEST, splendid in full uniform, nerves concealed behind his swagger.</scene_description>
<character>TROY</character>
<dialogue>Sergeant Troy, for half-past eleven.</dialogue>
<character>PRIEST</character>
<dialogue>Yes, Sergeant Troy and -</dialogue>
<character>TROY</character>
<dialogue>Miss Fanny Robbin. We're getting married.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALL SAINT'S CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>Later. TROY, stands erect at the altar, impassive. The sound of a door behind him. He doesn't turn, but smiles in anticipation of the sight of his bride... But it's only SERGEANT DOGGETT, his best man.</scene_description>
<character>DOGGETT</character>
<dialogue>Sorry I'm late, old boy. Not long now.</dialogue>
<scene_description>A few PARISHIONERS have remained to spectate.</scene_description>
<character>PARISHIONER ONE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Where is she?</dialogue>
<scene_description>TROY doesn't move.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>And sure enough, here comes FANNY ROBBIN hurrying along. She looks beautiful, a simple bunch of flowers grasped in her hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALL SAINT'S CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>The PRIEST has now taken a seat. TROY's composure remains intact.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET/CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>ALL SOUL's CHURCH is up ahead. FANNY pauses for a moment, takes a deep breath, composes herself, suppresses her joy. And enters. A GROOM stands at the altar. A BRIDE too. Consternation as the small CONGREGATION turn and see FANNY in her wedding dress. Confusion.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALL SAINT'S CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>Meanwhile TROY still waits. Discomfort now. The OLD LADIES whispering. There is some laughter, but TROY's features remain fixed. The church bells start to chime. DOGGETT places his hand on TROY's shoulder.</scene_description>
<character>DOGGETT</character>
<dialogue>Don't think she's coming, old boy.</dialogue>
<scene_description>A moment. Then with a snap of his heels TROY turns and marches back down the aisle with as much dignity as he can muster. As he passes, the OLD LADIES smile sympathetically. 'Poor lamb!' Enraging! Humiliating.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALL SAINT'S CHURCH, CASTERBRIDGE - DAY</stage_direction>
<scene_description>FANNY hurtles across the square just in time to see a stern TROY marching away from the church.</scene_description>
<character>FANNY</character>
<dialogue>Frank! Oh, Frank! Wait!</dialogue>
<scene_description>TROY doesn't break stride as FANNY tries to make light of it.</scene_description>
<character>FANNY</character>
<dialogue>There's been a mistake! I thought you told me All Soul's not All Saint's! I went to the wrong church! I thought you'd jilted me, Frank!</dialogue>
<parenthetical>(No smile)</parenthetical>
<dialogue>I don't blame you, but I'm sure you did say...or perhaps it was my mistake after all. Still, we're here now! Smile, Frank, please?</dialogue>
<parenthetical>(He doesn't speak.)</parenthetical>
<dialogue>Tomorrow then! We'll get married tomorrow, just the same?</dialogue>
<scene_description>And TROY stops and turns on her. With barely concealed rage-</scene_description>
<character>TROY</character>
<dialogue>Do you think I'll be humiliated a second time?</dialogue>
<character>FANNY</character>
<dialogue>It was a mistake, Frank.</dialogue>
<character>TROY</character>
<parenthetical>(striding on)</parenthetical>
<dialogue>It was.</dialogue>
<character>FANNY</character>
<dialogue>You will marry me though, won't you, Frank? You promised, and you know I love you. Don't walk away. I have nowhere else to go. Tell me, I beg you, when? When?</dialogue>
<scene_description>People are watching now, she's struggling to maintain her pride despite growing panic. She takes TROY's arm, he shakes her off. There's a final look from TROY before he turns and walks away, leaving FANNY, heartbroken, standing in the street in her wedding dress.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>'Marry Me'. The words in red wax on the envelope, which now sits on BOLDWOOD's mantelpiece. BOLDWOOD takes his breakfast, as before, but now his eye returns to the envelope. The BUTLER arrives, bearing the post. BOLDWOOD sorts through it eagerly, stops - He crosses to the window. In the Everdene fields beyond, GABRIEL.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>GABRIEL is stacking logs with the help of little TEDDY COGGAN. BOLDWOOD strides purposefully across fields towards him.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Mr Oak!</dialogue>
<scene_description>A little LATER. BOLDWOOD now helping GABRIEL with his work.</scene_description>
<character>BOLDWOOD</character>
<dialogue>A letter came to me by mistake. 'The new shepherd, Weatherbury' I can only assume it's for you.</dialogue>
<scene_description>GABRIEL opens the letter. The COIN, returned from Fanny as promised. A simple note. 'Thank You For Your Kindness' BOLDWOOD, meanwhile, produces his pocket book, containing the letter. With forced casualness -</scene_description>
<character>BOLDWOOD</character>
<dialogue>On a separate matter, between ourselves, I wonder, do you know whose handwriting this is?</dialogue>
<parenthetical>(He shows him the envelope)</parenthetical>
<dialogue>It's just a foolish thing -</dialogue>
<character>GABRIEL</character>
<dialogue>There was no name?</dialogue>
<character>BOLDWOOD</character>
<dialogue>No, I believe that is where the fun lies. Do you recognise it?</dialogue>
<scene_description>He does. And with recognition, he understands BATHSHEBA's intentions too. Her perceived ambition. It all makes terrible sense.</scene_description>
<character>GABRIEL</character>
<dialogue>Miss Everdene's.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>Deaf to the noise around him, BOLDWOOD watches BATHSHEBA. For the first time he notices the curve of her neck, the colour of her lips, the shape of her ear. To FARMER STONE;</scene_description>
<character>BOLDWOOD</character>
<dialogue>Is Miss Everdene considered attractive?</dialogue>
<character>FARMER STONE</character>
<parenthetical>(has he gone mad?)</parenthetical>
<dialogue>Very much indeed.</dialogue>
<scene_description>FARMERS surround her, as she smiles, banters, negotiates with a HANDSOME YOUNG MAN, all watched from BOLDWOOD's P.O.V. Another new experience - jealousy. Suddenly she looks across, and catches his eye. Hurriedly he looks away. This is all new. For the first time in his life, his heart has begun to move within him.</scene_description>
</scene>
<scene>
<stage_direction>60A INT. BOLDWOOD'S MANSION - NIGHT 60A</stage_direction>
<scene_description>And so he sits. Insomniac. All peace of mind lost.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD - DAY</stage_direction>
<scene_description>End of May and the time comes for sheep-washing. To this end, a series of fences have been set up, obliging the sheep to enter a deep stonework pool. Up to their chests in chill water, stand GABRIEL and his assistant shepherd JAN. They must hold the panicked sheep under water then hoist them on to dry land. BATHSHEBA and LIDDY arrive.</scene_description>
<character>LIDDY</character>
<dialogue>Careful you don't get wet, Mr Oak!</dialogue>
<character>GABRIEL</character>
<dialogue>Perhaps you'd care to lend a hand?</dialogue>
<scene_description>The MEN laugh.</scene_description>
<character>BATHSHEBA</character>
<dialogue>You don't think I could? Very well.</dialogue>
<scene_description>And BATHSHEBA strides towards the water and, without hesitation, steps right in. She is able and strong, smiling at the applause of the laughter of the others then getting on with the work. For one moment, in the muddy water, we see the shapes of BATHSHEBA and GABRIEL's hands meeting for a moment.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD - DAY</stage_direction>
<scene_description>BOLDWOOD, in his Sunday best, hears the shouts and splashes of the sheep-dipping, and approaches. Then stops. The most extraordinary sight. BATHSHEBA up to her waist in the water, manoeuvring the sheep through the water. LIDDY approaches him quickly and he speaks to her for a moment, passing on a message.</scene_description>
<character>LIDDY</character>
<dialogue>Mister Boldwood wondered if he might have a word.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Mr Boldwood, of course, perhaps later? I'll need to -</dialogue>
<scene_description>BOLDWOOD nods and leaves. BATHSHEBA hauls herself out of the water. The MEN exchange meaningful glances.</scene_description>
<character>GABRIEL</character>
<dialogue>Back to work.</dialogue>
<scene_description>They do so. But GABRIEL can't help but watch BATHSHEBA.</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. TERRACE/GREAT HALL, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>The house is beautiful. BATHSHEBA and BOLDWOOD stand on the terrace, somewhat self-conscious.</scene_description>
<character>BOLDWOOD</character>
<dialogue>One-thousand acres, a mix of arable and livestock. An orchard. A glasshouse. I have some interesting pigs.</dialogue>
<parenthetical>(BATHSHEBA laughs. BOLDWOOD too)</parenthetical>
<dialogue>Some other time perhaps.</dialogue>
<scene_description>BATHSHEBA and BOLDWOOD walk through the fine hall, BOLDWOOD watching her, noting how she fits in here. This seems right.</scene_description>
<character>BATHSHEBA</character>
<dialogue>You have a very beautiful house.</dialogue>
<parenthetical>(no reply from BOLDWOOD)</parenthetical>
<dialogue>Mr Boldwood?</dialogue>
<character>BOLDWOOD</character>
<dialogue>Forgive me, perhaps I should...I'll speak plainly. I have felt lately, more and more, that my present way of living is bad, in every respect bad. But we all change, and my change in this matter came with seeing you.</dialogue>
<scene_description>And BATHSHEBA knows what must come next.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Miss Everdene, I want, very much, more than anything, to have you as my wife.</dialogue>
<parenthetical>(grasping her hand - )</parenthetical>
<dialogue>Miss Everdene - marry me!</dialogue>
<character>BATHSHEBA</character>
<dialogue>I feel, Mr Boldwood, though I respect you very much, I do not feel - what would justify me to - in accepting your offer.</dialogue>
<scene_description>BOLDWOOD looks as if he has been struck.</scene_description>
<character>BOLDWOOD</character>
<dialogue>I see. I have known disappointments in the past, and I wouldn't have asked in this instance if I hadn't been led to believe -</dialogue>
<parenthetical>(he fumbles in his pocket, the ENVELOPE)</parenthetical>
<dialogue>Unless...unless I'm mistaken -</dialogue>
<character>BATHSHEBA</character>
<dialogue>The valentine. No, you're not mistaken, but I should never have sent it. Forgive me, it was thoughtless to disturb your peace of mind -</dialogue>
<character>BOLDWOOD</character>
<dialogue>'Thoughtless'?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Impetuous, frivolous -</dialogue>
<character>BOLDWOOD</character>
<dialogue>So - you meant it as a joke?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No! Not a joke, not exactly -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Then a premonition perhaps? Of future feelings?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I haven't fallen in love with you. Certainly I may say that. I like and respect you very much but you're too...dignified for me.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Too dignified? I see. Perhaps you think I'm too old, but I'll take more care of you than anyone your own age -</dialogue>
<character>BATHSHEBA</character>
<dialogue>- I'm sure you would -</dialogue>
<character>BOLDWOOD</character>
<dialogue>I'll protect you, and care for you, you shall have no worries, your farm shall be looked after by a man, you shall never have to so much as look out of doors at harvest time.</dialogue>
<parenthetical>(BATHSHEBA shakes her head)</parenthetical>
<dialogue>You shall have dresses, a gig, a piano -</dialogue>
<parenthetical>(- and smiles, despite herself)</parenthetical>
<dialogue>I amuse you?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, it's only...I have my own piano, and my own farm and I have no need for a husband.</dialogue>
<parenthetical>(BOLDWOOD doesn't know what to say)</parenthetical>
<dialogue>I think I'd like to return home. My hat, please...</dialogue>
<character>BOLDWOOD</character>
<dialogue>Yes, yes of course. I'll...I'll get someone to drive you. Your hat.</dialogue>
<scene_description>But he's in something of a daze, knocked sideways by this disappointment. BATHSHEBA sees this, and takes pity.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Boldwood. I have made you miserable. It was very wicked of me -</dialogue>
<scene_description>And in her apology he sees his chance.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Will you reconsider?</dialogue>
<scene_description>She takes him in. Handsome, dignified. Would it be so bad?</scene_description>
<character>BOLDWOOD</character>
<dialogue>Can I hope for a change of heart?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Don't hope. Let me think.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Yes. Yes, I'll give you time.</dialogue>
<parenthetical>(He smiles, gives her the hat)</parenthetical>
<dialogue>I will wait.</dialogue>
</scene>
<scene>
<stage_direction>INT. WORKSHOP, EVERDENE FARM - DUSK</stage_direction>
<scene_description>GABRIEL works alone by lamplight, sharpening blades on a pedal-driven grindstone in anticipation of the impending shearing. Sparks illuminate GABRIEL's face.</scene_description>
<character>BATHSHEBA</character>
<dialogue>You're working late, Mr Oak.</dialogue>
<character>GABRIEL</character>
<dialogue>We'll need sharp blades for the shearing.</dialogue>
<scene_description>His manner is subdued. There's something on his mind. So -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Will you teach me?</dialogue>
<scene_description>GABRIEL gives up his seat at the grindstone. BATHSHEBA sits down, and GABRIEL sets the wheel in motion.</scene_description>
<character>GABRIEL</character>
<dialogue>Here -</dialogue>
<parenthetical>(he sits behind, arms wrapped around her)</parenthetical>
<dialogue>Incline the edge so. That's right. Like that.</dialogue>
<scene_description>His hands cover hers. The wheel spins. Too casually -</scene_description>
<character>BATHSHEBA</character>
<dialogue>I wanted to ask, did the men say anything today, about Mr Boldwood?</dialogue>
<character>GABRIEL</character>
<dialogue>Yes they did.</dialogue>
<character>BATHSHEBA</character>
<dialogue>What did they say?</dialogue>
<character>GABRIEL</character>
<dialogue>That you'd be married before the end of the year.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I see. Well I'd like you to contradict it, to the men.</dialogue>
<scene_description>And any warmth there might have been instantly disappears. The wheel spins, then GABRIEL speaks -</scene_description>
<character>GABRIEL</character>
<dialogue>Well, Bathsheba -</dialogue>
<character>BATHSHEBA</character>
<dialogue>'Miss Everdene' please -</dialogue>
<character>GABRIEL</character>
<dialogue>- if Mr Boldwood did really speak of marriage then I'm not going to tell stories just to please you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I said that I wanted you just to mention that it was not true that I was going to marry him.</dialogue>
<character>GABRIEL</character>
<dialogue>I can say that if you wish. I could also give an opinion of what you've done.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I dare say, but I do not want your opinion, Mr Oak!</dialogue>
<character>GABRIEL</character>
<dialogue>I suppose not.</dialogue>
<scene_description>A beat.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Well, what is your opinion?</dialogue>
<character>GABRIEL</character>
<dialogue>That you are greatly to blame for playing pranks on a man like Mr Boldwood. Your actions were unworthy of you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Unworthy! May I ask where my unworthiness lies? In rejecting you perhaps?</dialogue>
<character>GABRIEL</character>
<dialogue>I've long given up thinking of that.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Or wishing it?</dialogue>
<character>GABRIEL</character>
<dialogue>Or wishing it either.</dialogue>
<parenthetical>(Does he mean it? Has he moved on? This blow hits too. With great dignity)</parenthetical>
<dialogue>But I will say this;</dialogue>
<character>GABRIEL</character>
<dialogue>Leading on a man you don't care for is beneath you.</dialogue>
<scene_description>And with this parting shot he turns and walks away.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I cannot allow an employee to criticise my private conduct. You will please leave the farm at the end of the week!</dialogue>
<character>GABRIEL</character>
<parenthetical>(calmly)</parenthetical>
<dialogue>I'd prefer to go at once.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Then go! I never want to see your face again!</dialogue>
<scene_description>A long moment.</scene_description>
<character>GABRIEL</character>
<dialogue>Very well 'Miss Everdene'. I'll go first thing tomorrow.</dialogue>
<scene_description>He walks away with great dignity, and BATHSHEBA can only watch him go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GABRIEL'S COTTAGE - DAY</stage_direction>
<scene_description>His possessions on his back, GABRIEL closes the door of his small, comfortable cottage, and sets off once again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>Bathsheba gallops up, Jan and Joseph running alongside. Scattered across the field the sheep lie on their side, their stomachs swollen, Jacob and Billy examining them.</scene_description>
<character>BATHSHEBA</character>
<dialogue>What is wrong with them?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>They broke fence and got into a field of young clover. Makes their stomachs swell. Come see.</dialogue>
<scene_description>They approach one particular sheep, breathing fast, foam at its mouth.</scene_description>
<character>BATHSHEBA</character>
<dialogue>How did this happen? Who let them break fence?</dialogue>
<parenthetical>(the men look at the ground)</parenthetical>
<character>BATHSHEBA</character>
<dialogue>And why didn't you tell me sooner?</dialogue>
<parenthetical>(BATHSHEBA kneels.)</parenthetical>
<dialogue>Poor thing. What do we do now?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>Nothing. The whole flock is blasted.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Blasted? You mean they're all going to die?</dialogue>
<character>BILLY SMALLBURY</character>
<dialogue>Most probably.</dialogue>
<character>JAN COGGAN</character>
<parenthetical>(with a sheep)</parenthetical>
<dialogue>Another one gone here.</dialogue>
<character>BATHSHEBA</character>
<dialogue>But there must be something we can do!</dialogue>
<character>JACOB SMALLBURY</character>
<parenthetical>(the elder, sagely)</parenthetical>
<dialogue>Only one way of saving them.</dialogue>
<character>BATHSHEBA</character>
<dialogue>What is it? Tell me, quickly!</dialogue>
<character>JACOB SMALLBURY</character>
<dialogue>They must be pierced in their side with a tool made on purpose. A hollow pipe, with a pricker inside.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Well can you do it?</dialogue>
<scene_description>Eventually -</scene_description>
<character>JACOB SMALLBURY</character>
<dialogue>No.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Can I?</dialogue>
<character>JACOB SMALLBURY</character>
<dialogue>Good lord, no. One inch to the right or left and you kill the ewe for sure. Not even a shepherd can do it as a rule.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Then who? Tell me!</dialogue>
<parenthetical>(They look at the floor-)</parenthetical>
<dialogue>No. Oh no.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - DAY</stage_direction>
<scene_description>GABRIEL is well on his way to Casterbridge with his possessions on his back. Healthier than when we first saw him, but on the road again. A shout comes across the fields.</scene_description>
<character>JOSEPH POORGRASS</character>
<dialogue>Gabriel! Gabriel Oak! Wait!</dialogue>
<scene_description>He turns, curious.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA stooped over another dying sheep. Elsewhere -</scene_description>
<character>JAN COGGAN</character>
<dialogue>Lost another one, ma'am</dialogue>
<scene_description>Breathless, JOSEPH POORGRASS rides up.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Why are you alone? Did you find him?</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>Yes miss...</dialogue>
<character>BATHSHEBA</character>
<dialogue>So what did he say?</dialogue>
<character>JOSEPH POORGRASS</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>He said...</dialogue>
<character>BATHSHEBA</character>
<dialogue>Joseph, please...</dialogue>
<scene_description>All are listening.</scene_description>
<character>JOSEPH POORGRASS</character>
<dialogue>He said you're to come in person and request him civilly in a proper manner.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Where does he get his airs! I'll do no such thing!</dialogue>
<character>JOSEPH POORGRASS</character>
<dialogue>He said you'd say that. He said to reply that 'Beggars can't be choosers'.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE - DAY</stage_direction>
<scene_description>GABRIEL waits patiently, a picture of nonchalance as a figure on horseback appears. BATHSHEBA. If he's enjoying this, he tries not to let it show. The mere ghost of a smile as he stands. BATHSHEBA dismounts. With some effort, she re-arranges her face, from vexed pride to forced humility.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak. Gabriel?</dialogue>
<parenthetical>(a deep breath)</parenthetical>
<dialogue>Please don't desert me, Gabriel. I need your help.</dialogue>
<scene_description>A moment. Then he walks abruptly towards BATHSHEBA... ...and past her, taking the reins of the horse, mounting it. He's about to ride off.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Make room for me.</dialogue>
<scene_description>GABRIEL smiles and holds out his hand to her -</scene_description>
<character>GABRIEL</character>
<dialogue>Hold on.</dialogue>
<scene_description>He urges the horse into a gallop, BATHSHEBA holding on tight around his waist.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>- then across the fields. LIDDY, JAN COGGAN and the others see them approach. JAN smiles.</scene_description>
<character>JAN COGGAN</character>
<dialogue>You sly old dog...</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>GABRIEL kneels over a bloated sheep, reaches into his pocket and produces a strange instrument. A brass rod, with a needle concealed inside, a kind of basic syringe. Like a surgeon, he passes his hand over the sheep's flank.</scene_description>
<character>GABRIEL</character>
<dialogue>Find the spot...just here, between the ribs...</dialogue>
<scene_description>And with a sudden, skilled motion, he stabs the sheep. BATHSHEBA and the others recoil.</scene_description>
<character>LIDDY</character>
<dialogue>Oh Lord!</dialogue>
<character>GABRIEL</character>
<dialogue>Looks worse than it is. Now-</dialogue>
<scene_description>The lance pierces the skin, and when the needle is removed the air rushes audibly through the tube. Slowly the sheep visibly deflates, a living balloon. BATHSHEBA can't help but laugh. GABRIEL smiles and sets to work on his next patient.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA has the syringe now, and leans poised over a bloated sheep. The other WORKERS look on -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Here?</dialogue>
<character>GABRIEL</character>
<dialogue>Fast and strong and she won't feel it.</dialogue>
<scene_description>He takes her fingers, places them on a spot over the sheep's ribs. BATHSHEBA summons up her courage, raises the syringe like a dagger -</scene_description>
<character>LIDDY</character>
<dialogue>I CAN'T LOOK!</dialogue>
<character>BATHSHEBA</character>
<dialogue>Liddy!</dialogue>
<parenthetical>(she raises it again)</parenthetical>
<dialogue>Perhaps you should do it.</dialogue>
<character>GABRIEL</character>
<dialogue>And when I'm not here?</dialogue>
<scene_description>BATHSHEBA stabs the sheep. The needle is removed, the sheep deflates. The crowd sighs in relief. BATHSHEBA laughs...</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DUSK</stage_direction>
<scene_description>And now the sun is setting, and BATHSHEBA watches, admiring his skill and dedication as GABRIEL, lit by lamps, moves expertly from one sheep to the next.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Ridiculous animals. Always getting into trouble.</dialogue>
<scene_description>And if GABRIEL remains his own misfortune, he doesn't say anything. The last of the sheep is on its feet again. He crosses to BATHSHEBA, and they survey the scene.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel. Stay on with me?</dialogue>
<scene_description>He smiles. And nothing more needs to be said.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERDENE GARDEN - NIGHT</stage_direction>
<scene_description>A celebratory meal. BATHSHEBA's piano has been moved out into the yard and decorated with flowers, and JAN COGGAN plays and sings a tune. GABRIEL is dressed smartly, a man on the move at one end of the table, BATHSHEBA at the other. As twilight falls and the music plays, BATHSHEBA surveys the bucolic scene and allows herself a smile for her achievements. Her eyes meet GABRIEL's in gratitude. JOSEPH POORGRASS, meanwhile, has conquered his nerves enough to sing a song, a truly awful dirge, literally MONOTONOUS.</scene_description>
<character>JOSEPH POORGRASS</character>
<dialogue>I sowed the seeds of love/It was all in the spring....</dialogue>
<scene_description>It's all too much for LIDDY, who has the tablecloth stuffed into her mouth to suppress laughter.</scene_description>
<character>JOSEPH POORGRASS</character>
<dialogue>O the willow tree will twist...</dialogue>
<scene_description>The fit of giggles is spreading along the table. BATHSHEBA struggles with a straight face. Then she sees a new arrival; MR BOLDWOOD.</scene_description>
<character>BATHSHEBA</character>
<parenthetical>(premature applause)</parenthetical>
<dialogue>Thank you Joseph! That's enough.</dialogue>
<parenthetical>(JOSEPH sits)</parenthetical>
<dialogue>Mr Boldwood! Will you join us? Where -</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(a place for him to sit)</parenthetical>
<dialogue>Gabriel, would you mind...</dialogue>
<scene_description>A brief moment of awkwardness as the social order re- establishes itself. But -</scene_description>
<character>LIDDY/MARYANN/TEMPERANCE AND SOBERNESS</character>
<dialogue>There's a space next to me, Gabriel!/Over here, Mr Oak!/Come and sit with us, Mr Oak!</dialogue>
<scene_description>He joins LIDDY further down the table.</scene_description>
<character>JACOB SMALLBURY</character>
<dialogue>A song, ma'am?</dialogue>
<scene_description>General approval at the notion.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Me? I couldn't possibly!</dialogue>
<parenthetical>(LIDDY and GABRIEL share an ironic smile)</parenthetical>
<dialogue>I don't know what to say! Very well.</dialogue>
<scene_description>She sits at the piano and begins to play. The song is 'The Banks of Allan Water' and, after a moment's nervousness, she sings it beautifully. GABRIEL watches her, then turns to look at BOLDWOOD, enthroned at the head of the table, the heir apparent. GABRIEL notes the devotion in his eyes. To everyone's surprise, he starts to sing too. A faltering baritone that grows in confidence. The song becomes a duet then ends with LOUD APPLAUSE. GABRIEL realises that this is a battle that he can never hope to win. He joins in the applause.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERDENE GARDEN - NIGHT</stage_direction>
<scene_description>In the exquisite evening, a lantern between them, BATHSHEBA and BOLDWOOD walk away from the party.</scene_description>
<character>BOLDWOOD</character>
<dialogue>I thought we were rather good.</dialogue>
<character>BATHSHEBA</character>
<dialogue>So did I!</dialogue>
<parenthetical>(They laugh. A beat.)</parenthetical>
<dialogue>I wanted to thank you for not approaching me again on...that subject.</dialogue>
<character>BOLDWOOD</character>
<dialogue>It has not been easy.</dialogue>
<character>BATHSHEBA</character>
<dialogue>And I'm grateful for your restraint, Mr Boldwood. I can't give you my answer tonight but by the end of the summer, in six weeks time, my mind will be clearer and you'll have my decision then.</dialogue>
<character>BOLDWOOD</character>
<dialogue>It's enough. It's more than I hoped for.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Was there...anything else?</dialogue>
<scene_description>A moment. Will he kiss her? Her face is raised towards him, exquisite in the glow of the lamp. She smiles - granting permission. But -</scene_description>
<character>BOLDWOOD</character>
<dialogue>Do you wish me to accompany you back to the house?</dialogue>
<scene_description>With disappointment, BATHSHEBA registers the hesitation.</scene_description>
<character>BATHSHEBA</character>
<dialogue>No, I like to walk around the farm myself each night, to make sure all is safe.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Then I'll walk with you -</dialogue>
<character>BATHSHEBA</character>
<dialogue>I've done it many times alone. Goodnight, Mr Boldwood.</dialogue>
<scene_description>And she walks off, leaving BOLDWOOD hopeful, BATHSHEBA thoughtful.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLANTATION - NIGHT</stage_direction>
<scene_description>A narrow, overgrown footpath through a fir plantation. The passage is barely wide enough for one and she's disconcerted to see another figure enter the corridor ahead of her. A MAN.: A MOMENT OF FEAR AND HESITATION. SHE GATHERS HER NERVES, LOWERS THE LANTERN AND PROCEEDS TO WALK. THE MALE FIGURE GETS CLOSER. A SCARLET JACKET, UNBUTTONED, AN UNCERTAIN STEP.: THEY ARE ABOUT TO PASS. HEAD DOWN, SHE SQUEEZES BY AND -: - IS IMMEDIATELY STOPPED IN HER TRACKS. HER DRESS HAS BECOME ENTANGLED WITH THE SPURS -:</scene_description>
<character>SOLDIER</character>
<dialogue>Have I hurt you?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No -</dialogue>
<character>SOLDIER</character>
<dialogue>We are entangled. Let me -</dialogue>
<scene_description>He turns on the lantern. She places the lantern on the ground, sending great shadows dancing in the trees. He takes it from her, and raises it so that their faces are illuminated. SERGEANT FRANK TROY. The sudden sight of all that silver and scarlet is like the blare of a trumpet. BATHSHEBA is taken aback. TROY too.</scene_description>
<character>TROY</character>
<dialogue>Good God!</dialogue>
<scene_description>They kneel together simultaneously, then with the lantern shining onto their faces, they untangle the knot.</scene_description>
<character>BATHSHEBA</character>
<dialogue>We've got hitched together somehow.</dialogue>
<character>TROY</character>
<dialogue>Then it seems you're my prisoner -</dialogue>
<character>BATHSHEBA</character>
<dialogue>You're making it worse on purpose -</dialogue>
<character>TROY</character>
<dialogue>Now why would I do that?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Let me do it myself-</dialogue>
<character>TROY</character>
<dialogue>Why such a hurry? Husband waiting?</dialogue>
<parenthetical>(BATHSHEBA is silent)</parenthetical>
<dialogue>I have a knife here.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No! Here, let me try-</dialogue>
<parenthetical>(He can't look away.)</parenthetical>
<dialogue>Please don't stare.</dialogue>
<character>TROY</character>
<dialogue>I can't help myself.</dialogue>
<character>BATHSHEBA</character>
<dialogue>You're drunk. I smell it on your breath.</dialogue>
<character>TROY</character>
<dialogue>I don't think I've ever seen a woman as beautiful as you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>How dare you!</dialogue>
<character>TROY</character>
<dialogue>Take it or leave it, it's the truth.</dialogue>
<scene_description>The knot comes undone suddenly, causing her to stumble backwards. He pulls her to her feet. A moment as they face each other, then she bustles off. To her back -</scene_description>
<character>TROY</character>
<dialogue>At least tell me your name! Where do you live? I want see you again!</dialogue>
<scene_description>And he watches her as she disappears into the night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>A bright SUMMER's day and the FARM WORKERS are making hay. The MEN lead, scythes flashing in the sun. The WOMEN, wearing tilt bonnets to protect them from the sun, follow on behind, raking the cut hay into windrows - ranked piles left to dry in the sun before binding into sheaths. LIDDY and BATHSHEBA join in the work.</scene_description>
<character>LIDDY</character>
<dialogue>Miss, look -</dialogue>
<scene_description>Amongst the dull yellow smocks, a bright white shirt; TROY, with a scythe, energetically mowing ahead.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Who is he, Liddy?</dialogue>
<character>LIDDY</character>
<dialogue>Sergeant Francis Troy. Mother was a French governess, father was a doctor. Or an Earl, depending on what you believe. Noble blood, full of promise, very sharp and trim. Well educated, good things expected of him, and he threw it all in to be a soldier. And a walking ruin to decent girls.</dialogue>
<parenthetical>(BATHSHEBA gives her a look.)</parenthetical>
<dialogue>So they say.</dialogue>
<character>BATHSHEBA</character>
<parenthetical>(tuts, strides off)</parenthetical>
<dialogue>Well I won't have it.</dialogue>
<character>LIDDY</character>
<dialogue>What are you doing, Miss?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'm going to tell him to leave!</dialogue>
<scene_description>And she strides towards TROY. LIDDY watches, amused.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - CONTINUOUS</stage_direction>
<scene_description>TROY watches her approach. The other workers too, stop and stare, GABRIEL amongst them.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Sergeant Troy, I must absolutely insist that you leave this very moment!</dialogue>
<character>TROY</character>
<dialogue>I can't, I have to work off my sin.</dialogue>
<scene_description>He goes back to work.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Well...I wish you wouldn't.</dialogue>
<character>TROY</character>
<dialogue>Why not?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Because I'd rather not thank you.</dialogue>
<character>TROY</character>
<dialogue>And I'd rather not leave. So I won't.</dialogue>
<scene_description>And he returns to work. BATHSHEBA left staring at his back. GABRIEL lays down his scythe and is about to intervene.</scene_description>
<character>BATHSHEBA</character>
<parenthetical>(To TROY, sternly-)</parenthetical>
<dialogue>Will you follow me, please?</dialogue>
<scene_description>And she strides off through the tall grass. TROY puts down his scythe, and follows, grinning.</scene_description>
<character>TROY</character>
<dialogue>Farmer Everdene, you're quite the local legend.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Please!</dialogue>
<character>TROY</character>
<dialogue>What angers you exactly? What I said, or the way I said it?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Neither...both! I won't allow strangers to be impudent, even in praise.</dialogue>
<character>TROY</character>
<dialogue>Even if it's the truth? You must know. There must be some man who tells you that you're beautiful.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Not to my face, not exactly -</dialogue>
<character>TROY</character>
<dialogue>But there must be someone, who kisses you and tells you -</dialogue>
<character>BATHSHEBA</character>
<dialogue>I've never been kissed.</dialogue>
<parenthetical>(The admission surprises both of them. They stop.)</parenthetical>
<dialogue>Why couldn't you have just passed by and said nothing?</dialogue>
<character>TROY</character>
<dialogue>Half the pleasure of a feeling lies in being able to express it. Do you forgive me.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I do not!</dialogue>
<character>TROY</character>
<dialogue>Why?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Because...the things you say.</dialogue>
<character>TROY</character>
<dialogue>I said you were beautiful and I'll say it again. The most beautiful face I ever saw.</dialogue>
<character>BATHSHEBA</character>
<dialogue>That's simply not true -</dialogue>
<character>TROY</character>
<dialogue>But you've never seen yourself through a man's eyes -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Of course not -</dialogue>
<character>TROY</character>
<dialogue>- you don't know what it's like.</dialogue>
<character>BATHSHEBA</character>
<dialogue>What is it like?</dialogue>
<character>TROY</character>
<dialogue>Like not being able to think, or hear, or look in any direction. Except one.</dialogue>
<scene_description>BATHSHEBA glances to where the WORKERS and GABRIEL, are staring.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I hope you fight as well as you speak.</dialogue>
<character>TROY</character>
<dialogue>Better. Meet me tomorrow, eight o'clock and I'll show you.</dialogue>
<scene_description>A pause.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I can't.</dialogue>
<character>TROY</character>
<dialogue>You don't want to?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes, but -</dialogue>
<character>TROY</character>
<dialogue>Then you must.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I mustn't. I can't tell you why, but I mustn't...</dialogue>
<character>TROY</character>
<dialogue>But you could. Nobody would know.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Then I must bring Liddy...</dialogue>
<character>TROY</character>
<dialogue>Now why would you want to do that?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Please. Go now.</dialogue>
<character>TROY</character>
<dialogue>Tomorrow night. Eight o'clock. The hollow in the ferns.</dialogue>
<scene_description>He turns and walks casually away, leaving BATHSHEBA flushed and breathless.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA attempts to read. But her mind is elsewhere. Exasperated, she puts down the book. Glances at the clock. Picks up the book. Should she go? And -</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, EVERDENE FARM - LATE AFTERNOON</stage_direction>
<scene_description>If she goes, is she dressed right? She assesses herself in the mirror. She wears her finest summer dress, pulling the material against her body. She looks exquisite.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEADOW, WEATHERBURY FARM - LATE AFTERNOON</stage_direction>
<scene_description>And now she's hurrying through the meadow towards her rendezvous, flushed in anticipation -</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOLLOW IN THE FERNS - LATE AFTERNOON</stage_direction>
<scene_description>An uncultivated tract of land forms a natural amphitheatre, at the base of which stands a smudge of scarlet. TROY, waiting. BATHSHEBA watches him a moment, breathless. She should leave, immediately. But he sees her, and smiles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE HOLLOW IN THE FERNS - EVENING</stage_direction>
<scene_description>An exquisite evening, sultry and sensual. TROY is giving his lesson, a fearsome looking sword glinting in his hand. The sword exercise is a series of lethal looking slashes and thrusts, very precise. TROY narrates as he demonstrates.</scene_description>
<character>TROY</character>
<dialogue>Four right and left cuts, four right and left thrusts.</dialogue>
<parenthetical>(The sword hisses through the air. BATHSHEBA watches, entranced.)</parenthetical>
<dialogue>Cut one is as sowing corn, two as if hedging. Three as if reaping, four as if threshing...Do you trust me?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I do.</dialogue>
<character>TROY</character>
<parenthetical>(He removes his jacket.)</parenthetical>
<dialogue>Now. You are my enemy, with this exception; I shall miss you every time by a hair's breadth...</dialogue>
<parenthetical>(His hand on her waist, he positions her as if for a dance.)</parenthetical>
<dialogue>I give you my word as a soldier, I will not harm you. The sword is blunt, but you must not flinch.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I'll try not to.</dialogue>
<character>TROY</character>
<parenthetical>(He readies himself)</parenthetical>
<dialogue>Very well. Let's begin.</dialogue>
<scene_description>And suddenly the air is filled with the swash of the blade, glinting in the sun's low rays as TROY repeats the exercise, the blade passing thrillingly close to BATHSHEBA's body. And then the display is over. TROY is sweating and BATHSHEBA too is exhilarated.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Is it over?</dialogue>
<character>TROY</character>
<dialogue>Yes. Except -</dialogue>
<scene_description>And he raises the point of the sword once more to her cheek. A flick of the wrist, and a lock of hair falls.</scene_description>
<character>BATHSHEBA</character>
<dialogue>How did you...how could you cut my hair?</dialogue>
<character>TROY</character>
<dialogue>This sword could skin you alive.</dialogue>
<character>BATHSHEBA</character>
<dialogue>You lied! You told me I was safe!</dialogue>
<character>TROY</character>
<dialogue>And you were, entirely safe. I gave you my word.</dialogue>
<parenthetical>(He steps closer.)</parenthetical>
<dialogue>Now, I will take this -</dialogue>
<scene_description>- the lock of dark hair lies on her breast. Instinctively BATHSHEBA turns her face up towards him, and he takes her face in his hands. Her first kiss has a startling passion, like nothing she has ever experienced before. His hand, too, is between her legs. She gasps. And then, with a coolness that's almost callous, he simply walks away, leaving BATHSHEBA breathless.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEADOW, WEATHERBURY FARM - NIGHT</stage_direction>
<scene_description>And as night falls, she walks slowly home, transformed. The night is warm, it has a sensuality to it. Something has changed.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - LATE AFTERNOON</stage_direction>
<scene_description>BATHSHEBA dresses for her rendezvous. There is no hesitation this time. She stands...</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERDENE FARM - LATE AFTERNOON</stage_direction>
<scene_description>- and hurries through the courtyard towards her next rendezvous with TROY. When -</scene_description>
<character>GABRIEL</character>
<dialogue>Miss Everdene.</dialogue>
<parenthetical>(she stops - caught)</parenthetical>
<dialogue>Perhaps I could walk with you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. YARD, EVERDENE FARM - DUSK</stage_direction>
<scene_description>BATHSHEBA and GABRIEL walk side by side in silence in the warmth of the summer evening. But BATHSHEBA is on edge, keen to get away.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I'm quite happy to walk by myself.</dialogue>
<character>GABRIEL</character>
<dialogue>I'll walk with you.</dialogue>
<scene_description>They walk a little further.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Still, perhaps I'll say goodnight -</dialogue>
<character>GABRIEL</character>
<dialogue>You should have nothing to do with him. He's not good enough for you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Why ever not? He's perfectly honourable, perfectly decent-</dialogue>
<character>GABRIEL</character>
<dialogue>That's not what I believe.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Why, what have you heard? Tell me!</dialogue>
<parenthetical>(And he could. He knows. But he hesitates.)</parenthetical>
<dialogue>You see, it's all rumours, prejudice, simply because he's a soldier -</dialogue>
<character>GABRIEL</character>
<dialogue>I like soldiers, but not this one. I believe him to have no conscience at all. Stay clear. Don't listen to him, don't believe him. Get rid of him.</dialogue>
<character>BATHSHEBA</character>
<dialogue>And why should you care?</dialogue>
<scene_description>A moment. They both know.</scene_description>
<character>GABRIEL</character>
<dialogue>I'm not such a fool as to imagine I might stand a chance now that you are so...above me. But -</dialogue>
<parenthetical>(A deep breath; this is hard.)</parenthetical>
<dialogue>Mr Boldwood loves you. You would be safe in his hands.</dialogue>
<character>BATHSHEBA</character>
<dialogue>You want me to be 'safe'?</dialogue>
<scene_description>A beat. It pains him to say it, but -</scene_description>
<character>GABRIEL</character>
<dialogue>Yes, I do.</dialogue>
<scene_description>A long moment. BATHSHEBA is touched, but also surprised by her own reaction. She reaches for indignation instead.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Then I think it might be best for both of us if you leave this farm immediately.</dialogue>
<scene_description>But GABRIEL starts to laugh.</scene_description>
<character>GABRIEL</character>
<dialogue>This is the second time you've pretended to dismiss me -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Pretended! -</dialogue>
<character>GABRIEL</character>
<dialogue>What's the use of it? Sometimes I'd be glad as a bird to leave this place, for don't suppose I'm content to stay a nobody all my life. One day I will leave you, you can be sure of that. But for now I care for you too much to see you go to ruin. So if you don't mind, I'll stay by your side.</dialogue>
<scene_description>BATHSHEBA smiles, GABRIEL too. But now another a figure approaches. TROY. He stops and waits a little way off. One moment's hesitation, and she walks towards TROY. Without looking back, GABRIEL walks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY, EVERDENE FARM - DAY</stage_direction>
<scene_description>Next day. BATHSHEBA writes a letter, seals an envelope To 'Mr Boldwood, Lower Farm, Weatherbury.' No turning back now.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>Decisive, BATHSHEBA goes to her wardrobe and begins to pack -</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMYARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>She hurls her bag into her fastest gig, heads off into the night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BATH - DAWN</stage_direction>
<scene_description>And as the sun rises, the city of Bath appears in the distance. A weary BATHSHEBA urges the horse on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER, BATH - DAY</stage_direction>
<scene_description>At the appointed time and place, TROY waits. Through the crowds, he sees her; BATHSHEBA, breathless with anticipation. She watches for a moment and approaches. They stand in the street, tantalisingly close.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I wasn't sure if you'd be here. Frank...</dialogue>
<character>TROY</character>
<dialogue>Of course.</dialogue>
<scene_description>Beneath her cloak, she reaches out one hand. Just their fingertips entwine.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>BOLDWOOD sits alone at a large dining table, taking his solitary breakfast, reading his mail just as he had on Valentine's Day. A LETTER. He recognises the handwriting now. A rattling sound. He notices that his hand is shaking. Carefully, he puts his tea-cup down. BOLDWOOD opens the letter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE, WEATHERBURY - NIGHT</stage_direction>
<scene_description>The coach from Bath makes its lonely way towards Weatherbury. BOLDWOOD watches the coach approach, his hand tightening on the silver-headed cane. The coach stops at the top of the lane that leads to the Everdene farm. A figure descends; TROY starts to walk towards the farm. BOLDWOOD falls into step behind, cane in hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>On the approach to BATHSHEBA's house now.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Going to see her I suppose?</dialogue>
<scene_description>TROY walks on without turning.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Did you hear me?</dialogue>
<character>TROY</character>
<dialogue>Should I know you?</dialogue>
<character>BOLDWOOD</character>
<dialogue>My name is William Boldwood.</dialogue>
<character>TROY</character>
<dialogue>Never heard of you.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Nevertheless, I wish to have a conversation. I don't wish to enter into questions of right or wrong, you wouldn't understand. I'm a businessman, and I intend a business transaction with you.</dialogue>
<character>TROY</character>
<dialogue>Go on.</dialogue>
<character>BOLDWOOD</character>
<dialogue>I was engaged to be married to Miss Everdene until you came along.</dialogue>
<character>TROY</character>
<dialogue>Not quite engaged...</dialogue>
<character>BOLDWOOD</character>
<dialogue>You have heard of me then.</dialogue>
<character>TROY</character>
<dialogue>She told me some foolish old man was in love with her. You, I presume.</dialogue>
<character>BOLDWOOD</character>
<parenthetical>(he lets this go)</parenthetical>
<dialogue>Miss Everdene will never marry you. You're not even an officer. She's playing with you, you're too poor, too low-down. A nobody.</dialogue>
<parenthetical>(TROY laughs this off -)</parenthetical>
<character>TROY</character>
<dialogue>What is your proposal?</dialogue>
<character>BOLDWOOD</character>
<dialogue>Marry the other girl. Leave Miss Everdene alone. I'll make it worth your while.</dialogue>
<scene_description>But this is like a slap for TROY. He considers Boldwood, taking him seriously now.</scene_description>
<character>TROY</character>
<dialogue>How?</dialogue>
<character>BOLDWOOD</character>
<dialogue>Leave tonight and I'll give you fifty pounds. The girl shall have money too, and after the wedding I'll settle a certain amount of money on the both of you, paid annually. You can resign your commission, leave this place, start a new life. And leave us be.</dialogue>
<scene_description>TROY considers the deal.</scene_description>
<character>TROY</character>
<dialogue>Fifty pounds you say?</dialogue>
<character>BOLDWOOD</character>
<dialogue>I have the money here.</dialogue>
<scene_description>And he produces the money.</scene_description>
<character>TROY</character>
<dialogue>You seem very confident I'll accept.</dialogue>
<character>BOLDWOOD</character>
<dialogue>I know what you're worth.</dialogue>
<scene_description>TROY lets this pass. He takes the money, weighs it in his hand, then opens the gate and heads towards BATHSHEBA's house. BOLDWOOD follows on, alarmed -</scene_description>
<character>BOLDWOOD</character>
<dialogue>Where are you going? You must go tonight, that's the agreement -</dialogue>
<character>TROY</character>
<dialogue>I can't just leave without saying goodbye. It'll break her heart. I'll tell her I'm not good enough then go straight away. How's that?</dialogue>
<character>BOLDWOOD</character>
<dialogue>No word of me or our arrangement. And never see her again, you must swear...</dialogue>
<character>TROY</character>
<dialogue>I give my solemn vow as a soldier, that I will...</dialogue>
<parenthetical>(Almost at the door, he suddenly stops.)</parenthetical>
<dialogue>But wait a moment....</dialogue>
<character>BOLDWOOD</character>
<dialogue>What is it?</dialogue>
<character>TROY</character>
<dialogue>There's a problem.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Tell me!</dialogue>
<character>TROY</character>
<dialogue>We're already married. You see?</dialogue>
<scene_description>TROY holds his hand up to BOLDWOOD's face. A gold band on his finger. BOLDWOOD is broken.</scene_description>
<character>TROY</character>
<dialogue>We married first thing this morning. Lovely service in Bath, very quiet, the two of us. Tonight's our wedding night. So, you see, it seems I am good enough for her after all.</dialogue>
<scene_description>BOLDWOOD lunges, but TROY intercepts the blow. BOLDWOOD's hand goes to TROY's throat.</scene_description>
<character>BOLDWOOD</character>
<dialogue>I'll kill you, d'you hear me! I'll break your wretched neck!</dialogue>
<scene_description>But TROY swiftly turns the table, shrugging off BOLDWOOD's grip and hurling him to the ground. Three sharp blows to the face - swift and effective.</scene_description>
<character>TROY</character>
<parenthetical>(whispering in his ear)</parenthetical>
<dialogue>Best kill yourself, old man. Don't you think?</dialogue>
<parenthetical>(pushing him to the ground)</parenthetical>
<dialogue>Now - pick up your money and go. You're trespassing.</dialogue>
</scene>
<scene>
<stage_direction>INT. EVERDENE FARM - NIGHT</stage_direction>
<scene_description>TROY surveys his home for the first time. He fingers a porcelain figure, a book. He picks out notes on the piano, pours a glass of wine. His hand is still shaking. This is all his property now. For all its comforts, suddenly it seems bourgeois, dowdy, dull. A twinge of doubt. There is, he realises, the potential for this all to go horribly wrong. A noise, a voice from above. TROY walks towards the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>They make love for the first time. In contrast to the bravado and swagger of their past encounters, there's something tender, tentative about it.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - MORNING</stage_direction>
<scene_description>BATHSHEBA sleeps soundly in the tangled sheets. Sounds from the yard wake TROY. Wearing breeches and his scarlet jacket, he sits on the edge of the crumpled bed and lights a cheroot. From outside, the sound of hammering -</scene_description>
</scene>
<scene>
<stage_direction>EXT/INT. YARD, BEDROOM, EVERDENE FARM - CONTINUOUS</stage_direction>
<scene_description>GABRIEL, POORGRASS and JAN COGGAN are in the yard, well into the working day.</scene_description>
<character>TROY</character>
<dialogue>Good morning, comrades!</dialogue>
<character>JAN COGGAN</character>
<dialogue>Morning sir!</dialogue>
<parenthetical>(hissed to GABRIEL-)</parenthetical>
<dialogue>Answer the man!</dialogue>
<character>TROY</character>
<dialogue>Fine old house. Needs a lick of paint, don't you think?</dialogue>
<parenthetical>(nothing from the MEN)</parenthetical>
<dialogue>You, Sir -</dialogue>
<character>(- GABRIEL)</character>
<dialogue>What's your name?</dialogue>
<scene_description>For a while it seems as if he might not answer.</scene_description>
<character>GABRIEL</character>
<dialogue>Oak.</dialogue>
<character>TROY</character>
<dialogue>Can't hear you!</dialogue>
<character>GABRIEL</character>
<dialogue>My name is Gabriel Oak.</dialogue>
<scene_description>INTERCUT. BATHSHEBA hears this.</scene_description>
<character>TROY</character>
<parenthetical>(to JAN)</parenthetical>
<dialogue>Can you hear him? Mr Oak, please learn to smile and answer when you're spoken to. I'll be down in the fields some time this week, but until then we're not to be disturbed.</dialogue>
<parenthetical>(meeting GABRIEL's eye;)</parenthetical>
<dialogue>Here, this -</dialogue>
<parenthetical>(he tosses them coins)</parenthetical>
<dialogue>- is to drink our health.</dialogue>
<scene_description>JAN stoops eagerly to pick up the coins, but GABRIEL doesn't move. A figure has appeared behind TROY. BATHSHEBA, wrapped in the sheet of the marital bed, momentarily catches GABRIEL's eye. Nothing shameful in her decision, but still a concern for GABRIEL.</scene_description>
<character>TROY</character>
<dialogue>Who is this Mr Oak?</dialogue>
<character>BATHSHEBA</character>
<dialogue>He's my right hand.</dialogue>
<scene_description>TROY takes this in...</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>The harvest begins, the ricks piled high with the fruits of the year. Back-breaking work, sweaty, the kind of occasion BATHSHEBA would once have relished. But not now. From a carriage at the edge of the field the newly-married couple watch the workers, sheltered from the heat and humidity. TROY is now a Gentleman Farmer, ill-at-ease in new civilian clothes. BATHSHEBA in her fashionable clothes is an observer, no longer a participant. GABRIEL glances over at her, then returns to work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE RICK YARD, EVERDENE FARM - DUSK</stage_direction>
<scene_description>Dusty from the days labours, GABRIEL washes. Then notices - a great fat toad lumbers across the ground. OAK kneels and watches its progress. The toad is looking for shelter - a sure sign that a storm is coming. He looks to the skies too. The evening is clear, but dark clouds are already rolling in. Rooks caw, clouds of starlings wheel confusedly around the sky. The night has a sinister aspect. There's a sense of foreboding. The year's harvest stands unprotected in the rick yard. The sound of MUSIC comes from the barn -</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, EVERDENE FARM - DUSK</stage_direction>
<scene_description>A band is playing and the barn is full of the WORKERS and their FAMILIES. Foliage and old chandeliers have been hung from the rafters, food and drink laid out Clapping, cheering and stomping as TROY and BATHSHEBA dance, wonderful together, eyes locked. The dance ends to much applause, TROY and BATHSHEBA at its centre. TROY kisses her; cheers, laughter.</scene_description>
<character>TROY</character>
<dialogue>Gentlemen! Silence! Friends, it is not only the Harvest Home that we're celebrating. This is also a wedding feast. A short while ago I had the happiness to lead to the altar this beautiful lady, your mistress, and only now have we been able to celebrate our happy news. So please, charge your glasses and raise them to - my wonderful wife, Mrs Bathsheba Troy!</dialogue>
<scene_description>GABRIEL watches the applause, then approaches BATHSHEBA.</scene_description>
<character>GABRIEL</character>
<parenthetical>(to BATHSHEBA)</parenthetical>
<dialogue>I have to tell you -</dialogue>
<character>TROY</character>
<dialogue>To me, please, Mr Oak.</dialogue>
<character>GABRIEL</character>
<parenthetical>(to both of them)</parenthetical>
<dialogue>There's going to be a storm. We need to protect the ricks or we'll lose the harvest.</dialogue>
<character>TROY</character>
<dialogue>And how do you know there's going to be a storm?</dialogue>
<character>GABRIEL</character>
<parenthetical>(hesitates, then -)</parenthetical>
<dialogue>Certain signs. The animals.</dialogue>
<character>TROY</character>
<parenthetical>(laughing, teasing)</parenthetical>
<dialogue>The animals told you?</dialogue>
<character>GABRIEL</character>
<dialogue>I need five, six men for an hour, no more.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Frank, perhaps we ought to-</dialogue>
<character>TROY</character>
<dialogue>Nonsense! Tonight's our celebration. Oak, you have no glass in your hand - here.</dialogue>
<scene_description>He pours a glass and offers it to GABRIEL.</scene_description>
<character>GABRIEL</character>
<dialogue>With all due respect, we need able- bodied working men, not drunks and fools...</dialogue>
<character>TROY</character>
<dialogue>It will not rain tonight. My wife forbids it! Now, if you'll excuse me, Mr Oak. Gentlemen, one more thing. Even though I'm no longer Sergeant Troy! I remain a soldier in this one respect -</dialogue>
<parenthetical>(he beckons one of the MEN forward. He carries -)</parenthetical>
<dialogue>Bottles of the finest French brandy! A triple-strength dose to every man here!</dialogue>
<parenthetical>(Disquiet from BATHSHEBA, shouts and cheers from the men)</parenthetical>
<dialogue>And if any of you men show the white feather, then you can look elsewhere for a winter's work!</dialogue>
<scene_description>And to cheers and applause, the bottles are passed round. BATHSHEBA, meanwhile, looks to GABRIEL, wanting to follow.</scene_description>
<character>TROY</character>
<dialogue>You wouldn't leave our wedding party. Would you?</dialogue>
<scene_description>He kisses her, and she does her best not to worry.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - DUSK</stage_direction>
<scene_description>But outside, dark clouds have indeed started to form in the evening sky. A distant flash of lightning. The harvest stands vulnerable and exposed. GABRIEL makes a decision.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>TROY is in amongst his MEN, laughing, joking, passing out the brandy, trying to recreate the camaraderie of the barracks. The WOMEN have largely gone - only SOBERNESS and TEMPERANCE, neither sober nor temperate, remain. The band strike up again, and TROY leads the singing of a bawdy song. Excluded, BATHSHEBA and all but a few of the WOMEN have no other choice but to turn and go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>GABRIEL hauls the water-proofed tarpaulins into the yard. Attaching a rope to one corner, he hurls the other end over the stacks.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>Mad dancing from the MEN, TROY the life and soul. A drinking song now - something like The Barley Mow -</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>With great effort, GABRIEL hauls at the rope, dragging the tarpaulin over the top of the third stack. But the wind catches it, filling it like the sail of a ship. The storm is overhead now. No rain yet, just startling blue skeletons of crackling light. GABRIEL takes a long metal rod with a chain attached - imagine a giant needle and thread - and jams it into the highest point of the rick. This he hopes will act as a lightning conductor. But there's still so much to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>From her bedroom, BATHSHEBA looks out of the window towards the rick yard. A flash of lightning. GABRIEL silhouetted against the sky as he begins the work of roughly thatching the remaining stacks. She makes a decision. Hurriedly, excitedly, she removes her jewellery, her party shoes. The old BATHSHEBA, back again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>GABRIEL works on. BATHSHEBA walks towards him, lamp in hand, in working clothes now.</scene_description>
<character>BATHSHEBA</character>
<dialogue>What can I do?</dialogue>
<character>GABRIEL</character>
<dialogue>It's too dangerous.</dialogue>
<character>BATHSHEBA</character>
<dialogue>If it's too dangerous for me, then it's too dangerous for you.</dialogue>
<parenthetical>(GABRIEL hesitates)</parenthetical>
<dialogue>Just tell me what to do.</dialogue>
<scene_description>A rumble of thunder; not much time.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>The MEN are visibly staggering now. JOSEPH POORGRASS, slight and not used to drinking, is laughing hysterically. Young CAINY BALL, too young to drink, can barely stand. Meanwhile LABAN TALL has picked a fight with another man, and a messy brawl is starting. TROY, the Master of Revels, watches over them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK YARD, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>Perched on ladders on top of the rick, BATHSHEBA and GABRIEL work together, hammering sheaves in to place to shelter the crop. Thunder rolls, lightning crackling but -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Still no rain.</dialogue>
<character>GABRIEL</character>
<dialogue>It'll come.</dialogue>
<scene_description>A flash of lightning, the thunder following immediately.</scene_description>
<character>GABRIEL</character>
<dialogue>Frightened?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Why, are you?</dialogue>
<scene_description>As if in rebuke there's a terrible crack. Lightning forks down from the black sky, and strikes the conductor. Then the terrible peal of thunder. BATHSHEBA, startled, stumbles and falls. GABRIEL grabs her arm and holds her. A moment of relieved laughter - And then the RAIN starts. An extraordinary downpour.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel, if I were to die - and I may die soon, and I'd hate you to think badly of me -</dialogue>
<parenthetical>(GABRIEL goes to protest)</parenthetical>
<dialogue>Please, let me explain. I didn't intend to marry him. I had every intention of ending it, just as you'd advised. But he told me about another woman, a great beauty that he'd loved before and so, somewhere between jealousy and distraction..I married him. Please understand.</dialogue>
<parenthetical>(GABRIEL goes to speak)</parenthetical>
<dialogue>No opinions. I only wanted you to know.</dialogue>
<scene_description>GABRIEL smiles. A moment of extreme closeness between them. For a moment, they might almost kiss. But to what possible end?</scene_description>
<character>GABRIEL</character>
<dialogue>Go to bed, I can finish the rest without you. Let me help you -</dialogue>
<scene_description>He helps her down the ladder. She holds him back.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel. Thank you.</dialogue>
<scene_description>A look of immense gratitude and affection. GABRIEL accepts it, and understands, and returns to work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD, EVERDENE FARM</stage_direction>
<scene_description>Early morning. The work is completed and GABRIEL, exhausted, climbs down from the last rick. But someone is watching. At a distance, MR BOLDWOOD.</scene_description>
<character>GABRIEL</character>
<dialogue>Sir?</dialogue>
<parenthetical>(BOLDWOOD turns, walks smartly away. GABRIEL follows)</parenthetical>
<dialogue>Mr Boldwood, sir -</dialogue>
<character>BOLDWOOD</character>
<dialogue>I wanted to ensure your mistress' crops were safe -</dialogue>
<character>GABRIEL</character>
<dialogue>Wait a moment, sir -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Good work, Gabriel, she's lucky to have you -</dialogue>
<scene_description>He turns. Haunted, strained, pale, soaked to the skin.</scene_description>
<character>GABRIEL</character>
<dialogue>You seem unwell. You should go home.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Yes. Yes, I will.</dialogue>
<parenthetical>(he hesitates)</parenthetical>
<dialogue>Oak, you know that things have not gone well with me lately. I was going to get a little settled in life, but it was not to be. I daresay I am something of a...joke about the parish, but I do want to make it clear that there was no jilting on her part. We were never engaged. No matter what people say, she promised me nothing. And yet, Gabriel, I feel the most terrible grief.</dialogue>
<parenthetical>(He turns to GABRIEL. With an awful false bonhomie )</parenthetical>
<dialogue>Still! No woman ever had power over me for any length of time. Not a word to her. We understand each other, yes?</dialogue>
<scene_description>And poor, mad BOLDWOOD walks on.</scene_description>
</scene>
<scene>
<stage_direction>112A EXT. YARD, EVERDENE FARM - DAY 112A</stage_direction>
<scene_description>A dreary day in AUTUMN. TROY stands alone in shirtsleeves, a broom handle clutched like a sword. He carries out the sword exercise, as before, the chickens pecking around him. But there's something diminished, pathetic about the man in his civilian clothes. This private display is watched by BATHSHEBA, with concern and sadness as he completes the exercise then, in a mad flash of rage, hurls the broom handle against the wall.</scene_description>
</scene>
<scene>
<stage_direction>112B EXT. BOXING ARENA, MARKET SQUARE, CASTERBRIDGE - DAY 112B</stage_direction>
<scene_description>A FIST connects with a man's head. Blood and sweat. Market- day at the Corn Exchange has bought a BOXING MATCH to the town, and in a corner of the square a CROWD has gathered to watch PATTERSON Vs. SULLIVAN. The fight has brought with it BEGGARS, GYPSIES, DRUNKS, GAMBLERS, SOLDIERS on furlough. And among them is TROY, smoking a cheroot, aloof, indifferent. A blow lands. SULLIVAN crashes to the ground. TROY scowls and stabs out his cheroot. His money is handed over to the BOOKIES. And TROY stalks off -</scene_description>
</scene>
<scene>
<stage_direction>112C EXT. BOXING ARENA, MARKET SQUARE, CASTERBRIDGE - CONT. 112C</stage_direction>
<scene_description>- and becomes aware of a BEGGAR WOMAN following close behind.</scene_description>
<character>TROY</character>
<dialogue>No money, I'm afraid. All gone.</dialogue>
<scene_description>He turns. And freezes. The BEGGAR-WOMAN, hunched, barely able to stand, clutching a familiar, battered carpet bag. She's barely recognisable as FANNY ROBBIN. TROY is stunned.</scene_description>
<character>TROY</character>
<dialogue>Fanny.</dialogue>
<character>FANNY</character>
<dialogue>Hello, Frank.</dialogue>
<character>TROY</character>
<dialogue>What are you doing here? I thought you were at your mother's, I thought you were safe.</dialogue>
<parenthetical>(taking her hands)</parenthetical>
<dialogue>You're so pale. You're shaking.</dialogue>
<character>FANNY</character>
<dialogue>I walked here. I'm very tired.</dialogue>
</scene>
<scene>
<stage_direction>112D EXT. MARKET SQUARE, CASTERBRIDGE - CONT. 112D</stage_direction>
<scene_description>BATHSHEBA has finished her business, and wants to return home. The carriage is empty. Where's TROY? Impatient, she scans the street. The next BOXING MATCH has begun.</scene_description>
</scene>
<scene>
<stage_direction>112E EXT. BOXING ARENA, MARKET SQUARE, CASTERBRIDGE - CONT. 112E</stage_direction>
<scene_description>TROY sees BATHSHEBA searching for him, getting closer</scene_description>
<character>TROY</character>
<dialogue>My wife mustn't know -</dialogue>
<scene_description>And there it is; 'wife'.</scene_description>
<character>FANNY</character>
<dialogue>Your wife.</dialogue>
<parenthetical>(she follows his look)</parenthetical>
<dialogue>Mrs Troy is very beautiful.</dialogue>
<character>TROY</character>
<dialogue>No more than you. Fanny -</dialogue>
<parenthetical>(Searching his pockets-)</parenthetical>
<dialogue>Six-pence. It's all I have left. Take it -</dialogue>
</scene>
<scene>
<stage_direction>112F EXT. MARKET SQUARE, CASTERBRIDGE - CONT. 112F</stage_direction>
<scene_description>From BATHSHEBA's p.o.v., she sees her husband talking to a WOMAN, sees the lingering touch of hands, the exchange of money. An unmistakable intimacy, a terrible blow. She quickens her pace -</scene_description>
</scene>
<scene>
<stage_direction>112G EXT. BOXING ARENA, MARKET SQUARE, CASTERBRIDGE - CONT. 112G</stage_direction>
<scene_description>Back to TROY and FANNY. BATHSHEBA is nearly there - he speaks quickly, desperately...</scene_description>
<character>TROY</character>
<dialogue>I've made a terrible mistake, Fanny, but I will make amends. I swear on my life, I'll find a way to be with you.</dialogue>
<character>FANNY</character>
<dialogue>You've sworn before, Frank.</dialogue>
<character>TROY</character>
<dialogue>But this time, this time...</dialogue>
<parenthetical>(FANNY smiles sceptically)</parenthetical>
<dialogue>Go to Budmouth, stay at the Union -</dialogue>
<character>FANNY</character>
<dialogue>The workhouse, Frank? -</dialogue>
<character>TROY</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>Tonight, just tonight, one night, then meet me tomorrow at ten at the bridge. I will bring you all the money I have, I'll find a place for you. You'll want for nothing and I promise you, I will make amends.</dialogue>
<parenthetical>(-heading to BATHSHEBA -)</parenthetical>
<dialogue>Tomorrow, Fanny, at twelve.</dialogue>
<scene_description>And he backs away. FANNY watches him go. For a moment, BATHSHEBA and FANNY's eyes meet... But TROY is approaching now, eyes black with rage.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Do you know who that woman was?</dialogue>
<character>TROY</character>
<dialogue>Get back in the carriage.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Who is she?</dialogue>
<scene_description>And now he grabs her wrist, pulls her towards the carriage - violent, public too.</scene_description>
<character>TROY</character>
<dialogue>How dare you spy on me. Get back in the carriage -</dialogue>
<parenthetical>(grabs her wrist, pulls her away)</parenthetical>
<dialogue>Back in the carriage, damn you!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASTERBRIDGE ROAD - DAY</stage_direction>
<scene_description>And so, exhausted and pale, FANNY begins her long journey towards BUDMOUTH.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTERBRIDGE ROAD - DAY</stage_direction>
<scene_description>An autumn rain starts to fall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTERBRIDGE ROAD - DUSK</stage_direction>
<scene_description>Later. FANNY stirs from uneasy rest. No time to rest or shelter now. She struggles to her feet, steps back out into the rain and -</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUDMOUTH WORKHOUSE - NIGHT</stage_direction>
<scene_description>A grim, grey building, its iron gates forbidding in the gloom. FANNY reaches for the wall to steady herself, stumbles, falls, lies there in the rain. A light appears in a window. An alarm bell is rung...</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>BATHSHEBA lies on one of the bed, TROY on the other, shirtless, smoking a cheroot. She watches his back. He stubs out his cheroot. Unbearable tension.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA eats breakfast alone. TROY strides in.</scene_description>
<character>TROY</character>
<dialogue>Could you let me have twenty pounds?</dialogue>
<character>BATHSHEBA</character>
<dialogue>What for?</dialogue>
<character>TROY</character>
<dialogue>I need twenty pounds.</dialogue>
<character>BATHSHEBA</character>
<dialogue>If you continue to gamble, I will lose the farm.</dialogue>
<character>TROY</character>
<dialogue>It's not for gambling. Do you have the money or not?</dialogue>
<character>BATHSHEBA</character>
<dialogue>That money is required for farm expenses.</dialogue>
<scene_description>She returns to her breakfast. TROY looks dangerous.</scene_description>
<character>TROY</character>
<dialogue>You've had your fun. Now don't do something you'll regret.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I already have.</dialogue>
<character>TROY</character>
<dialogue>What do you regret?</dialogue>
<character>BATHSHEBA</character>
<dialogue>That our love is at an end.</dialogue>
<character>TROY</character>
<dialogue>Well, all love ends at marriage.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I wish you wouldn't talk like that.</dialogue>
<character>TROY</character>
<dialogue>I believe you hate me.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I hate your vices.</dialogue>
<character>TROY</character>
<dialogue>Then give me the twenty pounds and perhaps we can be friends.</dialogue>
<scene_description>Stung, she holds her nerve -</scene_description>
<character>BATHSHEBA</character>
<dialogue>The money is required for farm expenses.</dialogue>
<scene_description>A direct challenge. Then he stands and walks determinedly towards the study. BATHSHEBA, enraged, follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY, EVERDENE FARM - CONTINUOUS</stage_direction>
<scene_description>TROY strides towards the bureau.</scene_description>
<character>BATHSHEBA</character>
<dialogue>It's for that woman, isn't it? Tell me her name!</dialogue>
<scene_description>He begins to rifle through the drawers, a thief now.</scene_description>
<character>TROY</character>
<dialogue>I will not-</dialogue>
<character>BATHSHEBA</character>
<dialogue>Is she married? -</dialogue>
<character>TROY</character>
<dialogue>No -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Is she the one you spoke about, the other woman? Who is she?</dialogue>
<character>TROY</character>
<dialogue>The woman I love! The woman I should have married instead of you!</dialogue>
<parenthetical>(back to the drawers, scrabbling for the money)</parenthetical>
<dialogue>There, you've wormed it out of me, I hope it makes you happy...</dialogue>
<parenthetical>(He finds the money.)</parenthetical>
<dialogue>And if you regret our marriage, then you can be damn sure so do I.</dialogue>
<character>BATHSHEBA</character>
<dialogue>But I don't! I don't regret it if you still love me! I still love you, Frank...</dialogue>
<parenthetical>(Desperate, holding him)</parenthetical>
<dialogue>Come to bed, let me try and please you like I used to. I still love you, Frank. Say you love me too! Say it, Frank, and kiss me!</dialogue>
<scene_description>He regards her face with a look of appalling scorn, then pushes her away from him.</scene_description>
<character>TROY</character>
<dialogue>Bathsheba, please. Don't be so sentimental.</dialogue>
<scene_description>He pockets the money and goes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTERBRIDGE ROAD - DAY</stage_direction>
<scene_description>Glad to be free, glad to be making amends, TROY rides at speed to the rendezvous.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIDGE, BUDMOUTH - DAY</stage_direction>
<scene_description>TROY waits anxiously at the appointed time for his rendezvous with FANNY. A rumble. Along the road comes a waggon bearing a COFFIN. New pine, a pauper's casket, a WORKHOUSE OFFICIAL driving. As a matter of course, TROY removes his hat out of respect...</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>The cart continues on its way. In the distance, its destination - the EVERDENE FARM.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD, EVERDENE FARM - DAY</stage_direction>
<scene_description>GABRIEL and the WORKHOUSE OFFICIAL are in discussion as BATHSHEBA approaches.</scene_description>
<character>GABRIEL</character>
<dialogue>Well there must be some mistake.</dialogue>
<character>WORKHOUSE OFFICIAL</character>
<dialogue>No mistake, Mr Oak. This was Miss Robbin's last known abode.</dialogue>
<character>GABRIEL</character>
<dialogue>No, you'll have to take her to the church.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Bring her inside.</dialogue>
<character>GABRIEL</character>
<dialogue>Perhaps we might let her rest in the coach-house, ma'am.</dialogue>
<character>BATHSHEBA</character>
<dialogue>We'll do no such thing. Fanny was my uncle's servant and we shall treat her with respect. Bring her inside please.</dialogue>
<scene_description>Pale, troubled, BATHSHEBA heads into the house. GABRIEL climbs the waggon, removes the black cloth, and starts- On the lid he sees words written in chalk;</scene_description>
<character>'FANNY ROBBIN AND CHILD'</character>
<dialogue>He glances towards BATHSHEBA, waiting at the doorway.</dialogue>
<dialogue>A moment's thought. She can't know. GABRIEL takes his handkerchief and removes the words 'AND CHILD'</dialogue>
</scene>
<scene>
<stage_direction>INT. STUDY, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>Surrounded by candles, resting on two benches, the coffin sits in the solemn room. BATHSHEBA and LIDDY, with some reverence, place flowers and branches around the plain pauper's coffin.</scene_description>
<character>LIDDY</character>
<dialogue>Do you want me any longer ma'am?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No more tonight, Liddy.</dialogue>
<character>LIDDY</character>
<dialogue>I'll wait up if you like.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, you go to bed.</dialogue>
<parenthetical>(LIDDY stands)</parenthetical>
<dialogue>Do you know what she died of, Liddy?</dialogue>
<character>LIDDY</character>
<dialogue>No, miss. There were rumours but...no.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I see. Liddy, Fanny had a sweetheart. Is that right?</dialogue>
<character>LIDDY</character>
<parenthetical>(LIDDY hesitates.)</parenthetical>
<dialogue>Yes, miss. A soldier. A sergeant.</dialogue>
<parenthetical>(An admission from Liddy. And now she knows)</parenthetical>
<dialogue>Please, come sit upstairs with me.</dialogue>
<scene_description>BATHSHEBA shakes her head - she is crying quietly</scene_description>
<character>BATHSHEBA</character>
<dialogue>I seem to cry a great deal these days. I never used to cry at all. Good night Liddy.</dialogue>
<scene_description>And somewhat reluctantly, LIDDY goes, leaving BATHSHEBA alone.</scene_description>
</scene>
<scene>
<stage_direction>124A INT. STUDY, EVERDENE FARM - NIGHT 124A</stage_direction>
<scene_description>Midnight. BATHSHEBA, pacing up and down. She removes the boughs and flowers from the coffin lid. She sees Fanny's name, and the smudged chalk beneath. Her worst fears... She finds the nails that hold the rough lid down. A moment... Then she takes the poker from the fireplace, places it beneath the lid, pushes. She stumbles back. The coffin lies open in the darkness. Her hands shaking, she reaches for a candle and walks towards the coffin. FANNY looks beautiful in the candle light. In her arms, a bundle confirms BATHSHEBA's suspicions. She takes the flowers with which she was adorning the coffin, and now places them on her rival's body... Suddenly -</scene_description>
<character>TROY</character>
<dialogue>What?</dialogue>
<scene_description>BATHSHEBA stumbles backwards.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I must go.</dialogue>
<character>TROY</character>
<dialogue>Who is it?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I can't stay. Let me go, I want air.</dialogue>
<character>TROY</character>
<dialogue>Stay here!</dialogue>
<scene_description>Numb, dazed, TROY crosses and sees his beloved's face. In her arms, the bundle of white linen. He reaches for the linen, reveals the face. A thunderbolt of shame and remorse.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Is it her?</dialogue>
<character>TROY</character>
<dialogue>It is. A boy. I had a son. My son.</dialogue>
<scene_description>TROY crumples, tears forming in his eyes; shock and grief and remorse.</scene_description>
<character>TROY</character>
<dialogue>Forgive me...</dialogue>
<scene_description>And as BATHSHEBA looks on, he bends and kisses the lips of his dead fiancee. It's a kiss you might give to a sleeping child, one of surpassing tenderness. BATHSHEBA is heartbroken.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Frank. Don't kiss them, I can't bear it. I love you more than she did!</dialogue>
<character>TROY</character>
<dialogue>Bathsheba, this woman is more to me dead than ever were or are or can ever be. You are nothing to me now. Nothing.</dialogue>
<scene_description>Heartbroken, BATHSHEBA staggers out -</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMYARD, EVERDENE FARM - DAWN</stage_direction>
<scene_description>The coffin is loaded onto a hearse. TROY steps from the house. His farmer's clothes have been discarded in favour of his old uniform; the vivid scarlet jacket. He carries a small suitcase and the sword. He looks broken, haunted, a deeply changed man. He takes one last look at the farmhouse that has felt like a prison, then closes the door. Turning, GABRIEL is there. The men stand firm. An acknowledgement of each other. No affection, but no hostility either. If anything, there's a sense of TROY handing something back.</scene_description>
<character>TROY</character>
<dialogue>Goodbye, Mr Oak.</dialogue>
<scene_description>A salute perhaps? GABRIEL nods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OAK TREE, EVERDENE FARM - DAWN</stage_direction>
<scene_description>Early morning, a light rain falling, the end of a long, dark night of the soul. Shivering, wet hair clinging to her face, BATHSHEBA sits beneath an old oak, overlooking the farm that she inherited with such hope and spirit just nine months ago. Now all she feels is weariness, a great melancholy. She sees a figure striding up the hill towards her, hopping and sliding through the mud.</scene_description>
<character>LIDDY</character>
<dialogue>There you are! Oh, Miss, whatever are you thinking? You'll catch your death.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Is he at home?</dialogue>
<character>LIDDY</character>
<dialogue>Gone, Miss, with Fanny. The money too.</dialogue>
<parenthetical>(LIDDY embrace BATHSHEBA)</parenthetical>
<dialogue>I've come to take you home.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Liddy, will you promise me something?</dialogue>
<character>LIDDY</character>
<dialogue>Go on.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Don't ever marry.</dialogue>
<character>LIDDY</character>
<dialogue>Not much chance of that, between the ugly ones I won't have and the handsome ones who won't have me.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Well if you do find someone, stand firm. When trouble comes your way, and it will, don't run from it. Stand your ground, even if you're cut to pieces. That's what I intend to do.</dialogue>
<scene_description>And they start to walk towards the farm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCHYARD, WEATHERBURY</stage_direction>
<scene_description>A new slab of white marble. The new grave, with new headstone now in place. A simple inscription; Erected by Francis Troy. In loving memory of Fanny Robbin and Child. TROY takes all the money he has and pays the STONEMASON.</scene_description>
<character>TROY</character>
<dialogue>There you are. That's everything.</dialogue>
<scene_description>Alone now, he tends to the rough grave as best he can, planting it with wild flowers, a little garden for her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE, BUDMOUTH - DAY</stage_direction>
<scene_description>The road to the coast. TROY walks with determination towards a new, as yet unknown life. It's the last warm day of the year and hot and tired, he stops. In the distance, the sea shimmers invitingly. TROY thinks for a moment, then changes direction, and heads towards the coast.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARROW COVE - DAY</stage_direction>
<scene_description>A deserted, sandy cove, concealed from view by a semi-circle of high rocks. TROY's possessions, folded and stacked with military precision, lie on the beach. The sword glints in the sun. TROY sits, naked, and contemplates the sea. Then he stands and runs into the waves.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SEA - DAY</stage_direction>
<scene_description>TROY pounding away from the shore, attempting to wash away the past in the cold sea water. Breathless, he stops and turns. The beach is somehow a little further away than he thought. He must have been caught by the tide. He starts to pound back towards the shore. But the shore is no nearer. If anything it's suddenly further away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARROW COVE - DAY</stage_direction>
<scene_description>TWO BOYS run on the beach. One of them comes across the suitcase and uniform, the thrilling sword. Curious, they stoop and examine it more closely.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SEA - DAY</stage_direction>
<scene_description>TROY can see the tiny figures on the beach. Treading water, he starts to shout and wave...</scene_description>
<character>TROY</character>
<dialogue>Hello! Over here...</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARROW COVE - DAY</stage_direction>
<scene_description>The scarlet jacket is held aloft, the sword is pulled from its scabbard. It glints in the evening sun. The sight is intoxicating for the BOYS. As the sun sets, they play at soldiers at the water's edge, sword slicing through driftwood while out to sea, TROY's figure is lost in the waves, his voice unheard...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SEA - DAY</stage_direction>
<scene_description>From far out to sea, TROY watches the boys playing at soldiers. There's a strange calm in his eyes. And he starts to swim again, this time away from the shore.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORN EXCHANGE, CASTERBRIDGE - DAY</stage_direction>
<scene_description>BATHSHEBA is at work again in the halls of the Corn Exchange. But the CUSTOMERS who once flocked to her now pass her by. She notes the disapproving looks, the gossip. An abandoned wife, her husband the father of an illegitimate child. There's a cloud of scandal, disapproval, which she accepts with as much dignity as she can. And now TWO MEN are approaching her, a CONSTABLE and a SOLICITOR. All eyes on her now -</scene_description>
<character>CONSTABLE</character>
<dialogue>Mrs Troy?</dialogue>
<character>BATHSHEBA</character>
<dialogue>It's about my husband, isn't it? Tell me.</dialogue>
<character>SOLICITOR</character>
<dialogue>I'm afraid...I'm afraid your husband has drowned.</dialogue>
<scene_description>BATHSHEBA staggers from the blow.</scene_description>
<character>BATHSHEBA</character>
<dialogue>It's not true. It can't be.</dialogue>
<scene_description>And now BOLDWOOD is approaching, arriving just as she collapses.</scene_description>
<character>BOLDWOOD</character>
<dialogue>What did you say to her, man?</dialogue>
<character>CONSTABLE</character>
<dialogue>Her husband is dead. Drowned at sea.</dialogue>
<scene_description>No glee from BOLDWOOD, a man of action and decision now. He scoops her up, carrying her through the crowd.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Some air! Gentlemen, some air please. Make way!</dialogue>
<parenthetical>(BATHSHEBA, recovering now, stirs)</parenthetical>
<dialogue>You've had the most terrible shock. My carriage is outside, I'll take you home -</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, put me down please.</dialogue>
<scene_description>He does so immediately.</scene_description>
<character>BOLDWOOD</character>
<dialogue>You're hardly in a condition to drive yourself -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Please, Mr Boldwood. I'd like to go home alone.</dialogue>
<scene_description>And she gathers herself and walks, a little unsteadily, towards the exit.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVERDENE FARM - DAY</stage_direction>
<scene_description>A sombre mood at the farm. A pale of black water. LIDDY holds up BATHSHEBA's scarlet dress.</scene_description>
<character>LIDDY</character>
<dialogue>You'll need something to wear, it's only proper. Miss?</dialogue>
<character>BATHSHEBA</character>
<dialogue>No. It's not necessary.</dialogue>
<character>LIDDY</character>
<dialogue>Why not, ma'am?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Because he's still alive.</dialogue>
<character>LIDDY</character>
<dialogue>Oh, Miss...</dialogue>
<character>BATHSHEBA</character>
<dialogue>Wouldn't I know more, and wouldn't they have found him, and wouldn't death feel...different to this?</dialogue>
<character>LIDDY</character>
<dialogue>It's only natural to hope. But still -</dialogue>
<scene_description>BATHSHEBA hesitates.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Very well.</dialogue>
<scene_description>The dress is immersed in the black water. And now hangs up to dry, dripping black dye on the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - DAY</stage_direction>
<scene_description>Brown-paper packages. BATHSHEBA, austerely beautiful and pale in the black of her mourning dress, opens it; his jacket, his sword - all his possessions, retrieved from the beach.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD, EVERDENE FARM - DAY</stage_direction>
<scene_description>GABRIEL returns from a day in the fields to find MR BOLDWOOD waiting near the entrance. Bright, cheerful -</scene_description>
<character>BOLDWOOD</character>
<dialogue>Mr Oak, I wonder if I could have a word.</dialogue>
</scene>
<scene>
<stage_direction>EXT. YARD, EVERDENE FARM - DAY</stage_direction>
<character>GABRIEL</character>
<dialogue>It's a great responsibility, sir.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Nonsense! No reason why a man of your abilities should not be able to superintend two farms. And why shouldn't there be stronger links between our establishments? Think of it; two thousand acres under your sole charge, a share of my profits...</dialogue>
<character>GABRIEL</character>
<dialogue>Miss Everdene needs me here.</dialogue>
<character>BOLDWOOD</character>
<dialogue>And her farm would have priority.</dialogue>
<scene_description>He sees BATHSHEBA, holding back, watching. There's something gleeful about BOLDWOOD here, as if holding something back.</scene_description>
<character>GABRIEL</character>
<dialogue>I would need Miss Everdene's permission.</dialogue>
<character>BOLDWOOD</character>
<dialogue>But of course. I wouldn't dare to do anything without her blessing.</dialogue>
<parenthetical>(GABRIEL contemplates)</parenthetical>
<dialogue>If it helps sway your decision, there's an old colleague of yours here -</dialogue>
<scene_description>He opens a side door and out bounds - OLD GEORGE. GABRIEL can't help but laugh as the dog bounds into his arms. BOLDWOOD watches with pleasure.</scene_description>
<character>BOLDWOOD</character>
<dialogue>He took some finding, Mr Oak. I hope you're pleased.</dialogue>
<character>GABRIEL</character>
<dialogue>I am, sir. Very much.</dialogue>
<character>BOLDWOOD</character>
<dialogue>And you'll give me your decision soon. Yes?</dialogue>
<scene_description>BATHSHEBA watches too.</scene_description>
</scene>
<scene>
<stage_direction>INT. EVERDENE FARM - DUSK</stage_direction>
<scene_description>BATHSHEBA and GABRIEL are sheltering from the rain in the doorway. OLD GEORGE is there too - a memory of past times.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Farmer Oak, you're getting on in the world. I knew you would.</dialogue>
<character>GABRIEL</character>
<dialogue>Only with your approval. You know where my loyalty lies -</dialogue>
<character>BATHSHEBA</character>
<dialogue>You're a man of great talent, it's only natural that you should rise. I've no desire to hold you back.</dialogue>
<scene_description>She smiles sadly, and he watches her go. Something has been lost; her arrogance and vanity, but also her spirit and exuberance.</scene_description>
</scene>
<scene>
<stage_direction>140A EXT. FIELDS, EVERDENE FARM - DAY 140A</stage_direction>
<scene_description>But the demands of farming are constant, and as late AUTUMN passes into early WINTER, BATHSHEBA works away in the fields -</scene_description>
</scene>
<scene>
<stage_direction>140B INT. BEDROOM, EVERDENE FARM - NIGHT 140B</stage_direction>
<scene_description>- and falls asleep, exhausted, fully-clothed, alone in this big old house -</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH, WEATHERBURY - DAY</stage_direction>
<scene_description>A hymn. In the church, much has changed. GABRIEL has joined MR BOLDWOOD in the private pews. In smart Sunday clothes, he gathers many admiring glances. BOLDWOOD, too, has lifted his spirits, singing out loud. BATHSHEBA, pale in her mourning black, keeps her eyes forward.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA is out hunting. Pheasants move in the undergrowth, and she raises her gun to take aim... But a noise startles them - they fly off, and she turns and sees BOLDWOOD approaching on horseback. An accidental encounter.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Boldwood.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Mrs Troy.</dialogue>
<character>BATHSHEBA</character>
<dialogue>We've not spoken since -</dialogue>
<character>BOLDWOOD</character>
<dialogue>No. We've not.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I was heading home, if you'd like to...but perhaps you're busy.</dialogue>
<character>BOLDWOOD</character>
<dialogue>No. I'd like that. Very much.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, EVERDENE FARM - DAY</stage_direction>
<scene_description>They sit, companionably, taking tea.</scene_description>
<character>BATHSHEBA</character>
<dialogue>You were very kind to me that day. I hope you'll forgive me if I've kept a certain distance. I've been..not my old self.</dialogue>
<character>BOLDWOOD</character>
<dialogue>No.</dialogue>
<parenthetical>(a delicate matter)</parenthetical>
<dialogue>Forgive me, I understand there are debts.</dialogue>
<character>BATHSHEBA</character>
<dialogue>You've heard then -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Your late husband -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Perhaps we should change the subject -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Perhaps I can help.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Mr Boldwood, that's a kind offer, but I would never dream of borrowing -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Not money.</dialogue>
<parenthetical>(He's trying to restrain himself. But no good - )</parenthetical>
<dialogue>I'm a middle-aged man willing to protect you for the rest of your life. You may run your farm if you wish, without risk. I'll pay your departed husband's debts and guarantee its financial stability. It can be your pastime. Of course, we'd need to wait, for propriety's sake. But when you are ready, I'm offering you shelter, comfort. A safe harbour. As my wife.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>You must at least admire my persistence.</dialogue>
<scene_description>She smiles at this.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I do -</dialogue>
<character>BOLDWOOD</character>
<dialogue>And like me?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes -</dialogue>
<character>BOLDWOOD</character>
<dialogue>And respect me?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes, of course -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Which is it, like or respect?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I..it is difficult for a woman to define her feelings in language that is made by men to express theirs. I know I do not love you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I know that I can never love you the way a woman ought to love her husband.</dialogue>
<character>BOLDWOOD</character>
<dialogue>If you worry about a lack of passion on your part, a lack of...desire, if you worry about marrying me merely out of guilt and pity and compromise, well - I don't mind. I love you and, for my own part, I'm content merely to be liked.</dialogue>
</scene>
<scene>
<stage_direction>INT. STABLE, EVERDENE FARM - NIGHT</stage_direction>
<scene_description>BATHSHEBA and GABRIEL, wrapped up against the chill night, stand shoulder to shoulder.</scene_description>
<character>GABRIEL</character>
<dialogue>When must you give your answer?</dialogue>
<character>BATHSHEBA</character>
<dialogue>By Christmas. It's a terrible responsibility, to hold a man's happiness in your hands. His sanity too, perhaps.</dialogue>
<character>GABRIEL</character>
<dialogue>Could you...care for him?</dialogue>
<character>BATHSHEBA</character>
<dialogue>You mean love him? Let's just say...love is wanting. But then love's a worn-out, miserable thing for me now, love for him or anyone. And perhaps a marriage without love is the price I have to pay.</dialogue>
<scene_description>It's too much for GABRIEL.</scene_description>
<character>GABRIEL</character>
<dialogue>Why are you asking me? Why not ask Liddy or the parson -?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I need someone who's clear-headed, who's objective, indifferent...</dialogue>
<character>GABRIEL</character>
<dialogue>Then I'm afraid you ask the wrong man.</dialogue>
<scene_description>And there it is. An admission. She does not answer immediately.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Well...thank you, Mr Oak -</dialogue>
<scene_description>She stands, smiles sadly. And walks away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE, BUDMOUTH - DAY</stage_direction>
<scene_description>A TRAVELLER walks along a deserted country road. The overcoat and uniform he wears - an ordinary merchant navy seaman' - is somewhat bedraggled and muddied, and the face is unshaven, but he's still recognisable as FRANCIS TROY. A cart approaches. He waits until it's near then hails the DRIVER.</scene_description>
<character>TROY</character>
<dialogue>Can you take me to Weatherbury?</dialogue>
<parenthetical>(the DRIVER rides on. TROY's most charming smile -)</parenthetical>
<dialogue>It is Christmas.</dialogue>
<scene_description>The DRIVER slows TROY jumps on the rear of the cart.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST, BOLDWOOD ESTATE - DAY</stage_direction>
<scene_description>Axes thud into wood. A great pine is felled by WORKMEN as BOLDWOOD looks on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOLDWOOD ESTATE - DAY</stage_direction>
<scene_description>The steam tractor drags the immense tree towards BOLDWOOD's mansion.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>The great tree stands in the process of decoration. Christmas Eve preparations. A table is laid with meats, wine, bread, even fruit. In pride of place - a pineapple! BOLDWOOD presides over it all, glowing with hope and excitement, a little manic perhaps as he shows GABRIEL around.</scene_description>
<character>BOLDWOOD</character>
<dialogue>So - what do you think?</dialogue>
<parenthetical>(the room)</parenthetical>
<dialogue>I'm not in the habit of organising parties. Perhaps we should make it an annual event, every Christmas Eve. I've invited the whole village, do you think they'll come?</dialogue>
<character>BOLDWOOD</character>
<dialogue>Do you think Miss Everdene will come?</dialogue>
<character>OAK</character>
<dialogue>I'm sure she will.</dialogue>
<scene_description>Fussing in a mirror, he attempts adjust his tie, while GABRIEL looks on.</scene_description>
<character>BOLDWOOD</character>
<dialogue>You'll stay too I hope? I know Miss Everdene would like you to be here.</dialogue>
<character>GABRIEL</character>
<dialogue>Perhaps. For an hour or so.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Look - my hands are shaking I'm so nervous. Gabriel, would you? As well as you can, please.</dialogue>
<parenthetical>(GABRIEL takes the tie. Face to face -)</parenthetical>
<dialogue>Is there a knot that's particularly in fashion?</dialogue>
<character>GABRIEL</character>
<dialogue>You're asking the wrong man.</dialogue>
<character>BOLDWOOD</character>
<dialogue>What about women? Does a woman keep her promise?</dialogue>
<character>GABRIEL</character>
<dialogue>She has promised?</dialogue>
<character>BOLDWOOD</character>
<dialogue>An implied promise.</dialogue>
<character>GABRIEL</character>
<dialogue>Once again, I'm not the best person to -</dialogue>
<character>BOLDWOOD</character>
<dialogue>But will she do what's right?</dialogue>
<character>GABRIEL</character>
<dialogue>If it's not inconvenient to her.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Oak, you've become quite cynical lately! She never promised me that first time, therefore she has never broken her promise.</dialogue>
<character>GABRIEL</character>
<dialogue>She hasn't promised this time either.</dialogue>
<character>BOLDWOOD</character>
<dialogue>But she will tonight, I know she will. And when she does -</dialogue>
<scene_description>He produces a small box from his pocket. An engagement ring, heavy with diamonds. GABRIEL can't speak.</scene_description>
<character>BOLDWOOD</character>
<dialogue>I wanted to tell you in advance, Gabriel, because I believe I know your secret.</dialogue>
<parenthetical>(an awkward stab at intimacy)</parenthetical>
<dialogue>I've seen you together, the way you speak to her and watch her and look after her. And I know of her profound...affection for you. You've behaved like a man and as the successful rival - successful through your kindness - I wish you to know that I am profoundly grateful.</dialogue>
<scene_description>And BOLDWOOD beams tearfully in gratitude for the final fulfilment of his dream. Then -</scene_description>
<character>BUTLER</character>
<dialogue>The musicians are here, Sir.</dialogue>
<scene_description>The BUTLER departs. To GABRIEL;</scene_description>
<character>BOLDWOOD</character>
<dialogue>Please - stay. Celebrate with us.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>Lit by torches, the exterior of the mansion looks magnificent. MUSIC can be heard. The party has already started, and BATHSHEBA, descending from the carriage, beautiful in a black silk dress, looks up at the house with a terrible sense of foreboding. At some point this may well be her new home. It's a fine house, yet she can barely bring herself to step inside. She takes LIDDY's hand, squeezes it, and they head in.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>The Party. There are a great many GUESTS here, largely local GENTRY and FARMERS but, in the spirit of Christmas, some of the WORKERS too, all of whom are making the most of the food and the wine. JOSEPH, JACOB, JAN and BILLY, all in their Sunday best, all in various stages of inebriation. The band PLAYS. The dancing has just begin - rather formal and reserved at present. BATHSHEBA's arrival, though, is enough to draw the other GUEST's attention. The beautiful widow, still a source of fascination. From his vantage point on the great stairs, BOLDWOOD watches BATHSHEBA arrives. She smiles back, a little awkwardly.</scene_description>
</scene>
<scene>
<stage_direction>150A INT. BEDROOM, EVERDENE FARM - DAY 150A</stage_direction>
<scene_description>A shadow in the hallway. TROY, alone, in his old home. He looks through cupboards and drawers. On a shelf, a glimpse of red. Through torn brown paper, his cavalry jacket, his sword. All his possessions, retrieved from the beach.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>The PARTY continues, the wine taking effect. Dancing has started, and BOLDWOOD, still keeping his distance, is urging people to join in the merriment. BATHSHEBA, sitting apart, watches him. An effort of imagination; her future husband, her future home. GABRIEL, in turn, is the centre of attention. TWO FARMER's DAUGHTERS, working away at him. But his eyes are on BATHSHEBA, and her sadness. She catches his eye, smiles.</scene_description>
<character>GABRIEL</character>
<dialogue>Will you excuse me -</dialogue>
<scene_description>- and he crosses to her, leaving his ADMIRERS sadly alone.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Mr Oak, you've broken their hearts -</dialogue>
<parenthetical>(the ADMIRERS)</parenthetical>
<dialogue>Go back and talk to them, poor things -</dialogue>
<character>GABRIEL</character>
<dialogue>I've come to say goodnight. I don't suit this kind of affair.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, neither do I. I wish I could leave too.</dialogue>
<character>GABRIEL</character>
<dialogue>Stay a little longer. For his sake.</dialogue>
<scene_description>Both look to BOLDWOOD the buoyant host.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I've been trying to imagine myself living here. I can't seem to manage it.</dialogue>
<character>GABRIEL</character>
<dialogue>You'd suit it very well.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Would I?</dialogue>
<scene_description>A sad smile, a moment between them, interrupted by BOLDWOOD.</scene_description>
<character>GABRIEL</character>
<dialogue>I must go.</dialogue>
<character>BOLDWOOD</character>
<dialogue>Not before you've danced, both of you. I insist.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Mr Oak?</dialogue>
<scene_description>Hesitation, then GABRIEL offers his hand. They take to the floor, and join the other DANCERS. The dance is by no means intimate or improper. There's a distance between them at all times, and LIDDY, BOLDWOOD, the GUESTS watch it with pleasure. But for GABRIEL and BATHSHEBA it is a kind of agony.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel. Tell me - what am I going to do?</dialogue>
<scene_description>GABRIEL thinks about this. He sees BOLDWOOD watching them, the smile on his face, the ring in his pocket. He can't answer. BATHSHEBA looks to him -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel?</dialogue>
<character>GABRIEL</character>
<dialogue>Do what is right.</dialogue>
<scene_description>BATHSHEBA struggles to accept the truth of this, and to hide her disappointment.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Yes. Yes, of course.</dialogue>
<scene_description>She nods tearfully, breaks away and heads for the door. BOLDWOOD sees her and follows, GABRIEL watching them go.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY, BOLDWOOD'S MANSION - NIGHT</stage_direction>
<character>BOLDWOOD</character>
<dialogue>Mrs Troy, surely you're not leaving?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes, I should like to go now-</dialogue>
<character>BOLDWOOD</character>
<dialogue>But your promise! You said by Christmas -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes I did.</dialogue>
<character>BOLDWOOD</character>
<dialogue>My proposal, you accept it?</dialogue>
<parenthetical>(she hesitates)</parenthetical>
<dialogue>A business contract, between two friends free of passion or sentiment. I deserve it.</dialogue>
<scene_description>A deep breath.</scene_description>
<character>BATHSHEBA</character>
<dialogue>I give my promise, yes. I give it as the payment of a debt.</dialogue>
<character>BOLDWOOD</character>
<dialogue>When enough time has passed, you'll marry me? Yes?</dialogue>
<parenthetical>(She nods.)</parenthetical>
<dialogue>Say the words.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I will marry you.</dialogue>
<scene_description>BOLDWOOD's face lights up. Wild-eyed joy.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Thank you! Thank you, thank you, thank you, God bless you, Bathsheba-</dialogue>
<character>BATHSHEBA</character>
<dialogue>Now I must go-</dialogue>
<character>BOLDWOOD</character>
<dialogue>One more thing-</dialogue>
<character>BATHSHEBA</character>
<dialogue>Please, Mr Boldwood-</dialogue>
<character>BOLDWOOD</character>
<parenthetical>(the ring)</parenthetical>
<dialogue>You'll take this. As a token of my love-</dialogue>
<character>BATHSHEBA</character>
<dialogue>I cannot wear a ring, it is not right, it is too soon -</dialogue>
<character>BOLDWOOD</character>
<dialogue>Just for tonight. For me.</dialogue>
<scene_description>BATHSHEBA takes in the man, his look of total adoration. She relents and holds out her hand. To her discomfort, BOLDWOOD slides on the ring, then kisses her hand.</scene_description>
<character>BOLDWOOD</character>
<dialogue>Finally. I am happy now.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>BATHSHEBA hurries out into the night, desperate to get away. She slows, and STOPS. On the great lawn, lit by flaming torches, the STRANGEST SIGHT. A FIGURE stands in the moonlight, scarlet and silver, a sword in his hand as he practices the sword drill. It might almost be a ghost.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>GABRIEL is pulling on his coat, leaving now. LIDDY rushes up to him, drunk, flirtatious.</scene_description>
<character>LIDDY</character>
<dialogue>Mr Oak, no more excuses, you'll dance with me now.</dialogue>
<character>GABRIEL</character>
<dialogue>Have you seen Mrs Troy?</dialogue>
<character>LIDDY</character>
<parenthetical>(disappointed)</parenthetical>
<dialogue>I think she may have left.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOLDWOOD'S MANSION - NIGHT</stage_direction>
<scene_description>TROY and BATHSHEBA face to face, TROY a little drunk now, dishevelled, unshaven.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Frank.</dialogue>
<character>TROY</character>
<dialogue>Black suits you. A little premature, I'm afraid.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I knew it, I knew you were alive, I felt it.</dialogue>
<character>TROY</character>
<dialogue>And here I am. Some fishermen pulled me from the sea. Then I discovered I was dead, and found that I preferred it, for a while anyway.</dialogue>
<character>BATHSHEBA</character>
<dialogue>So why have you come back, Frank?</dialogue>
<character>TROY</character>
<dialogue>The strangest thing. I found I missed you. What's the matter? You don't seem very pleased to see me. No kiss after all this time?</dialogue>
<character>BATHSHEBA</character>
<dialogue>You said that I was dead to you.</dialogue>
<character>TROY</character>
<dialogue>Did I? Well, then - honesty at all times. I find myself in need of money. I gave up my profession for you, it seems harsh that you should have a house and farm while I'm living hand to mouth.</dialogue>
<character>BATHSHEBA</character>
<dialogue>There is no money -</dialogue>
<character>TROY</character>
<dialogue>Then we'll sell the farm.</dialogue>
<scene_description>BATHSHEBA stands numb, devastated - finally defeated. Near the house a few FIGURES can be seen. GUESTS from the party, SPECTATORS, incredulous at the sight.</scene_description>
<character>TROY</character>
<dialogue>Come my love, no tears. Come home with me. We'll talk like we used to.</dialogue>
<parenthetical>(BATHSHEBA doesn't move)</parenthetical>
<dialogue>Did you hear what I said? Come.</dialogue>
<parenthetical>(No reply)</parenthetical>
<character>I'M YOUR HUSBAND AND YOU'LL OBEY</character>
<dialogue>ME, DAMNIT!</dialogue>
<scene_description>Furious, he reaches for her hand and grabs it - He sees the engagement ring glittering there. A realisation, the truth dawning. TROY smiles, and - An EXPLOSION. A gunshot. The force of the blast is immense, sending TROY sprawling across the lawn, the full force of a shotgun blast directed straight into his chest. BOLDWOOD stands, gun in hand. BATHSHEBA's face, her dress, are sprayed with blood. She starts to shake. OTHER GUESTS come running -</scene_description>
<character>BOLDWOOD</character>
<dialogue>I won't be robbed again. Not again.</dialogue>
<scene_description>He gives the gun to GABRIEL. Then, with calm simplicity, he approaches BATHSHEBA, takes her hand, kisses it - Then BOLDWOOD walks away. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>GABRIEL walks through the great hall, empty now. The Christmas tree stands forlorn and wilted.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>GABRIEL pulls open the wardrobe. Dresses in every colour of the rainbow, silks and satins, poplins and serges, all ready for his beloved fiancee... Stitched into a pair of white calf-skin gloves, a label bears the name - 'Bathsheba Boldwood.'</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTERBRIDGE GAOL - DAY</stage_direction>
<scene_description>Perfectly calm, BOLDWOOD sits erect in his cell, hands in lap. Strangely peaceful and still at last.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCHYARD, WEATHERBURY</stage_direction>
<scene_description>A grey January day, and rain falls on TROY's funeral. His friend and comrade-in-arms SERGEANT DOGGETT and a small scattering of military men represent his former regiment. BATHSHEBA stands a little way off, dressed in black, in mourning for the second time. The inscription on the gravestone now reads - Erected by Francis Troy. In loving memory of Fanny Robbin and Child. Died October 9th. In the same grave lies the aforesaid Francis Troy, Who Died December 24th.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, BOLDWOOD'S MANSION - DAY</stage_direction>
<scene_description>GABRIEL opens a drawer. Jewellery; diamonds, pearls, rubies, heavy gold bracelets.</scene_description>
<character>BATHSHEBA (O.S.)</character>
<dialogue>Let me see.</dialogue>
<scene_description>REVEAL BATHSHEBA, in mourning, as she steps forward gingerly, and takes in the jewellery. She takes something from her pocket. The engagement ring that BOLDWOOD gave her.</scene_description>
<character>GABRIEL</character>
<dialogue>If it's any consolation, his life will be spared. A crime of passion.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Because of me.</dialogue>
<character>GABRIEL</character>
<dialogue>You did the right thing in the end.</dialogue>
<scene_description>BATHSHEBA puts the engagement ring back in amongst the other jewels. GABRIEL pushes the drawer closed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>Summer again. Another harvest. The fields are full of WORKERS scything the corn - a fine harvest, a flourishing business. Still in mourning black, BATHSHEBA watches, and allows herself a smile of satisfaction. Music continues -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCHYARD, WEATHERBURY - DAY</stage_direction>
<scene_description>The choir is practicing in the church nearby as BATHSHEBA tends her husband's grave. She is still in mourning, but some of the colour has returned to her face now; not quite the firebrand of the last year, but not so drawn and haunted. She becomes aware of a figure behind her; GABRIEL.</scene_description>
<character>GABRIEL</character>
<dialogue>I'm sorry, I startled you.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I wanted to tend their grave. I've not been here for so long.</dialogue>
<parenthetical>(the church)</parenthetical>
<dialogue>Are you going in?</dialogue>
<character>GABRIEL</character>
<dialogue>Rehearsals. I sing bass in the choir.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes, I've heard you.</dialogue>
<character>GABRIEL</character>
<dialogue>Then I apologise.</dialogue>
<parenthetical>(she smiles)</parenthetical>
<dialogue>I'd been hoping for a chance to talk to you. We've not spoken as much as I'd have liked -</dialogue>
<character>BATHSHEBA</character>
<dialogue>No -</dialogue>
<character>GABRIEL</character>
<dialogue>And I wanted an opportunity to say...well, the fact is I'm leaving England.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Leaving?</dialogue>
<character>GABRIEL</character>
<dialogue>To go to America. I've a mind to try California, and there's a boat leaving Bristol. Four day's time. I'll be on it.</dialogue>
<parenthetical>(She's struggling to take this all in. )</parenthetical>
<dialogue>I understand that I should give you notice.</dialogue>
<character>BATHSHEBA</character>
<dialogue>No, you must go when you want.</dialogue>
<character>GABRIEL</character>
<dialogue>Then I'll leave first thing in the morning. No fuss. I think that's best.</dialogue>
<scene_description>And BATHSHEBA stands, shell-shocked in the graveyard as GABRIEL walks away. The choir sings. She is struggling to take this all in.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, EVERDENE FARM - DAWN</stage_direction>
<scene_description>BATHSHEBA sits on the edge of the bed. She hasn't slept a wink. She stands, opens the window, looks out at her land. Her wardrobe. Her dress of mourning black.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL, EVERDENE FARM - DAY</stage_direction>
<scene_description>No longer dressed in black, BATHSHEBA sits at the table, attempting to sort through the accounts. LIDDY and OLD GEORGE are there too, LIDDY, tearful, consoling the dog, sniffing, inconsolable at the news.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Liddy, that's enough.</dialogue>
<character>LIDDY</character>
<dialogue>Sorry, Miss.</dialogue>
<scene_description>BATHSHEBA returns to the papers before her. Staring. Unseeing. Suddenly she pushes her chair back, walks from the room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMYARD, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA mounts her horse, determined, a decision made.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS, EVERDENE FARM - DAY</stage_direction>
<scene_description>BATHSHEBA rides and rides, just as we first saw her. Cresting a hill, she searches the western road ahead, searching for GABRIEL.</scene_description>
</scene>
<scene>
<stage_direction>166A EXT. COUNTRY LANE - DAY 166A</stage_direction>
<scene_description>The spot where she found him before, but no sign of him this time. Is she too late? She urges the horse on -</scene_description>
</scene>
<scene>
<stage_direction>166B EXT. COUNTRY LANE - DAY 166B</stage_direction>
<scene_description>She comes to a halt. Losing hope now. Then - a figure, far off. It can only be GABRIEL. She rides on -</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY LANE - DAY</stage_direction>
<scene_description>GABRIEL walks on, his possessions on his back. The sun is setting now, but he doesn't look back, not even when he hears the sound of horses hooves behind him.</scene_description>
<character>BATHSHEBA</character>
<dialogue>Gabriel! Gabriel, wait!</dialogue>
<parenthetical>(she dismounts, breathless)</parenthetical>
<dialogue>You'll think I'm strange, but...I thought..I wanted to know.. Gabriel, have I offended you?</dialogue>
<character>GABRIEL</character>
<dialogue>No -</dialogue>
<character>BATHSHEBA</character>
<dialogue>- or upset you in some way?</dialogue>
<character>GABRIEL</character>
<dialogue>Not at all.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Is it money? I will pay you more, Gabriel, whatever you want.</dialogue>
<character>GABRIEL</character>
<dialogue>I don't need money now.</dialogue>
<character>BATHSHEBA</character>
<dialogue>A formal partnership then?</dialogue>
<character>GABRIEL</character>
<dialogue>...nor a partnership. The farm belongs to you alone. The finest farm for miles around.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Then why are you going?</dialogue>
<scene_description>A moment.</scene_description>
<character>GABRIEL</character>
<dialogue>I said I'd leave you one day.</dialogue>
<character>BATHSHEBA</character>
<dialogue>I had hoped I could change your mind.</dialogue>
<character>GABRIEL</character>
<dialogue>Not this time.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Well you must not go!</dialogue>
<character>GABRIEL</character>
<dialogue>You forbid me?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Yes, if you like! I forbid you!</dialogue>
<character>GABRIEL</character>
<parenthetical>(he smiles)</parenthetical>
<dialogue>It's time for you to fight your own battles, and win them too. I believe in you entirely. I don't believe there's anything you can't do.</dialogue>
<scene_description>And that's the end of the discussion.</scene_description>
<character>BATHSHEBA</character>
<dialogue>So we should say goodbye then.</dialogue>
<character>GABRIEL</character>
<dialogue>I suppose so.</dialogue>
<character>BATHSHEBA</character>
<dialogue>Thank you, Gabriel. You've believed in me and fought for me and stood by my side when all the world was against me, and we've been through so much together - Wasn't I your first sweetheart? Weren't you mine? - and now to have to carry on without you when I've loved you for so long -</dialogue>
<parenthetical>(and there it is)</parenthetical>
<dialogue>I love you, Gabriel. There.</dialogue>
<scene_description>A moment -</scene_description>
<character>GABRIEL</character>
<dialogue>If I knew -</dialogue>
<character>BATHSHEBA</character>
<dialogue>Go on.</dialogue>
<character>GABRIEL</character>
<dialogue>If I knew that you would let me love you and marry you -</dialogue>
<character>BATHSHEBA</character>
<dialogue>- but you'll never know.</dialogue>
<character>GABRIEL</character>
<dialogue>Why not?</dialogue>
<character>BATHSHEBA</character>
<dialogue>Because you never ask!</dialogue>
<character>GABRIEL</character>
<dialogue>Would you say no again?</dialogue>
<character>BATHSHEBA</character>
<dialogue>I don't know. Probably.</dialogue>
<scene_description>GABRIEL can't help himself. He laughs, and she laughs too.</scene_description>
<character>BATHSHEBA</character>
<dialogue>So why don't you, Gabriel? Ask me now. Ask me!</dialogue>
<scene_description>A moment and then he steps towards her, takes her in his arms and kisses her. And then -</scene_description>
</scene>
<scene>
<stage_direction>167A INT. CHURCH, WEATHERBURY - DAY 167A</stage_direction>
<scene_description>We are in the church, GABRIEL and BATHSHEBA at the altar, smart but not over-dressed, GABRIEL immensely proud.</scene_description>
<character>GABRIEL</character>
<dialogue>I will.</dialogue>
<scene_description>The VICAR turns to BATHSHEBA -</scene_description>
<character>VICAR</character>
<dialogue>Wilt thou have this man to thy wedded husband?</dialogue>
<scene_description>In the small but happy congregation, LIDDY, the MEN, MRS HURST. But our attention is on BATHSHEBA, C.U., listening intently.</scene_description>
<character>VICAR</character>
<dialogue>Wilt thou obey him, and serve him, love, honour and keep him in sickness and in health?</dialogue>
<scene_description>This is not just a conventional form of words, but a solemn vow and she weighs each part. Obey, serve, love, honour...</scene_description>
<character>VICAR</character>
<dialogue>And forsaking all others, keep thee only to him, so long as you both shall live?</dialogue>
<scene_description>A suspended moment. A decision. And then, finally, with joy and conviction, an affirmation -</scene_description>
<character>BATHSHEBA</character>
<dialogue>Yes. Yes, I will.</dialogue>
</scene>
<scene>
<stage_direction>167B EXT. CHURCH, WEATHERBURY - DAY 167B</stage_direction>
<scene_description>The doors of the church - - burst open as the CONGREGATION spills out. All the workers are there - LIDDY laughing and crying at the same time, MRS HURST too. Not a grand marriage, but a joyous celebration none the less. A ramshackle procession forms, heading down the country lane. And at the rear walk the bride and groom. BATHSHEBA takes GABRIEL's arm, and rests her head on her husband's shoulder. FADE OUT.: THE END</scene_description>
</scene>
</script> | The film is set in about 1870 in Britain. While Bathsheba Everdene (Carey Mulligan) is working on her aunt's farm in Dorset, she meets a neighbouring farmer, Gabriel Oak (Matthias Schoenaerts). As they get to know one another, he proposes, but the headstrong Bathsheba declines, saying she is too independent. One night, his new sheepdog chases Gabriel's entire flock off a cliff. After settling his debts, he is penniless, and leaves in search of work. In contrast, Bathsheba inherits a farm from her uncle and leaves to take charge of it. While at a fair trying to find employment, Gabriel sees recruiting officers. A girl, Fanny Robbin, points out one of the soldiers, Sergeant Frank Troy, her sweetheart. She suggests Gabriel seek employment at a farm in Weatherbury. Gabriel arrives to find several buildings on fire and saves the barn from destruction. At dawn the next day, he is introduced to the farm's new mistress, Bathsheba, who hires him as a shepherd. In the meantime, Fanny goes to the wrong church for her wedding and Troy, apparently jilted, is devastated. While in town trading her seed, Bathsheba sees her neighbour William Boldwood (Michael Sheen), a prosperous and mature bachelor. Bathsheba sends Boldwood a Valentine as a joke, and he, both offended and intrigued, soon proposes marriage. Bathsheba delays giving him a final answer, and Gabriel admonishes her for toying with Boldwood's affections. She is stung by his criticism, and fires him, but the next day, given a crisis with the sheep that only he can manage, she goes after him and successfully persuades him to return. One night while out walking, Bathsheba meets Frank Troy, who expresses admiration for her; the next day he returns to help with the harvest. He flirts with Bathsheba and arranges a secret meeting. At their rendezvous in the woods, he shows off his swordplay, telling her not to flinch as he swings his sword around her head and body. He embraces her passionately and Bathsheba is left in a daze. Gabriel warns her against Troy, but she elopes with him. Returning to the farm, the newly married couple celebrate with all the workers and Troy begins to show his bad side. When Gabriel seeks help to protect the hayricks from an approaching storm, Troy, belligerent and drunk, refuses to take him seriously. Gabriel single-handedly tries to cover the harvest with tarpaulins and Bathsheba, ashamed of Frank's drunken behaviour, comes out into the stormy weather to help. Chastened, she tells Gabriel that she was a fool to fall prey to Frank's flattery. One day in town, Troy sees Fanny begging. She tells him of her error on their wedding day, and reveals that she is pregnant. He sends her to the workhouse while promising to take care of her. When he asks Bathsheba for £20, she refuses, having become annoyed at his gambling. Fanny and her baby die in childbirth; their coffin is delivered to Bathsheba's farm, Fanny's last known address. The words "Fanny Robbin and child" are on the coffin, but Gabriel surreptitiously erases "and child" while bringing it in. Bathsheba recognises Fanny's name, notices the erasure, opens the coffin, and discovers the mother and baby within. When Troy returns, he bends over the coffin and kisses Fanny's lips. When Bathsheba protests, he responds that even in death Fanny means more to him than Bathsheba ever could. In grief he goes to the beach, where he strips off his uniform and swims far into the ocean; everyone believes he has drowned. Left with Frank's gambling debts, Bathsheba worries she may lose the farm. Boldwood offers to buy it and merge it with his property, offering Gabriel a position as bailiff, and again proposes marriage. Bathsheba agrees to consider his offer. On the eve of the Christmas party he plans to throw, Boldwood tells Gabriel that he is aware of Gabriel's feelings for Bathsheba, and shows Gabriel the engagement ring he plans to offer her. At the party, Boldwood graciously invites Gabriel and Bathsheba to dance together; she again asks Gabriel what she should do, and he answers that she should "Do what is right." Leaving the dance, she discovers Troy, outside, alive and well. Having been rescued from drowning, he has faked his death for some weeks. He demands money from Bathsheba, claiming it was unfair that he gave up his profession and now lives off nothing while she has money and a house. Frank grabs her roughly, screaming that she is still his wife and must obey him. Enraged, Boldwood emerges from the house and kills Frank with a single blast from his double-barrelled shotgun, for which he is promptly imprisoned. Gabriel reassures Bathsheba that if it's any consolation Boldwood is bound to be spared his life, for acting in a 'crime of passion'. Some time later, Gabriel announces that since the farm is now secure, he'll be emigrating to America in four days' time. As he leaves on foot early in the morning, Bathsheba chases after him on horseback and begs him not to leave, thanking him for all he's done for her, and always believing in her. Gabriel asks her if she would agree were he to propose again. Bathsheba smiles and tells him he needs ask but once more. Gabriel kisses her passionately in response, and they walk back hand in hand. |
The Private Life of Sherlock Holmes_1970 | tt0066249 | <script>
<scene>
<stage_direction>THE PRIVATE LIFE OF SHERLOCK HOLMES</stage_direction>
<scene_description>BRASS PLAQUE - DAY Engraved on it are the words : COX & CO. , Bankers . Reflected in its shiny surface are double - decker red buses , and other present - day London traffic .</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK VAULT - DAY</stage_direction>
<scene_description>An iron gate opens , and two bank guards come in . One of them switches on the lights . On the shelves which line the walls are dusty strong - boxes , document cases , wrapped packages , etc. . The guards move along the shelves searching for something .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>Somewhere in the vaults of a bank in London is a tin dispatch box with my name on it. It is not to be opened until fifty years after my death.</dialogue>
<scene_description>The guards find a battered tin dispatch box with the name JOHN H. WATSON , M.D. , painted on it . They remove it from the shelf , set it down on a table . The box is tied with heavy cord , the knots sealed with wax . Strung on the cord is the key .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>It contains certain mementos of my long association with a man who elevated the science of deduction to an art - the world's first, and undoubtedly most famous, consulting detective.</dialogue>
<scene_description>While one of the guards dusts the box off , the other cuts the cord with a pair of scissors . He then inserts the key in the lock , turns it , raises the lid - revealing the dusty contents of the box . OVER THIS , SUPERIMPOSE THE MAIN TITLE . The guards now start to remove the objects from the box , one at a time : - A daguerreotype of Holmes , standing , and Watson , seated , in a a stiff studio pose ; Holmes ' deerstalker hat , his curved pipe , his magnifying glass ; Watson 's stethoscope , Holmes ' revolver ; a small enamel sign with the number 221B ; a pair of handcuffs ; a sheet of music paper which is unrolled to disclose a violin piece composed by Holmes , titled FOR ILSE von H. ; A pocket watch , the back of which is opened to reveal a photograph of Gabrielle Valladon ; a signet ring bearing the initials S.H. - under which is concealed a compass ; a worn morocco case - inside which is an early - model hypodermic syringe ; a crystal ball which , when shaken , produces a snowstorm - and when the snow settles , we see a bust of Queen Victoria . OVER THESE OBJECTS , THE REST OF THE CREDIT TITLES ARE SUPERIMPOSED . The last item out of the box is a thick stack of manuscript paper , bound with green ribbon . The guard undoes the ribbon , dusts off the top page , as CAMERA MOVES IN CLOSER . Written in ink , in the cursive penmanship of the period , is the following paragraph : To my heirs : In my lifetime , I have recorded some sixty cases demonstrating the singular gift of my friend Sherlock Holmes - dealing with everything from The Hound of the Baskervilles to his mysterious brother Mycroft and the devilish Professor Moriarty . But there were other adventures which , for reasons of discretion , I have decided to withhold from the public until this much later date . They involve matters of a delicate and sometimes scandalous nature , as will shortly become apparent . OVER THIS , WE HEAR THE VOICE OF DR. WATSON , reading the text . YORKSHIRE LANDSCAPE - DAY A passenger train of the late Nineteenth Century is chugging through the early morning mist .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>It was August of 1887, and we were returning from Yorkshire, where Holmes had solved the baffling murder of Colonel Abernetty.</dialogue>
</scene>
<scene>
<stage_direction>INT. COMPARTMENT - MOVING TRAIN - DAWN</stage_direction>
<scene_description>There are but two passengers in the compartment - sitting by the window , facing each other . In fact they are dozing . One wears a deerstalker and an Inverness cape ; the other is in a dark overcoat and a black bowler , a furled umbrella between his legs , a medical bag on the seat beside him . The rest of their luggage is on the racks above . They are , of course , SHERLOCK HOLMES and DR. JOHN H. WATSON . This being 1887 , they are thirty - three and thirty - five respectively .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>You may recall that he broke the murderer's alibi by measuring the depth to which the parsley had sunk in the butter on a hot day.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAY</stage_direction>
<scene_description>A hansom cab , with Holmes ' and Watson 's luggage strapped to the rack on top , is proceeding down the busy street .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>He was the most brilliant man I have ever known - and I dare say people have envied me for sharing that flat with him in Baker Street.</dialogue>
<scene_description>The cab draws up in front of 221B . The front door opens and MRS. HUDSON , a plump , motherly woman in her fifties , wearing an apron , hurries down the steps . She greets Holmes and Watson warmly as they alight .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>I'll grant you he was stimulating - but he could also be moody, unpredictable, egocentric, and more often than not, completely infuriating - as our landlady, Mrs. Hudson, can attest - bless her kind soul.</dialogue>
<scene_description>The cabbie starts to unload their luggage . As Holmes , Watson and Mrs. Hudson proceed inside , CAMERA TRAVELS UP THE FACADE OF THE BUILDING , past the number 221B , to the bay window on the second floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAY</stage_direction>
<scene_description>It 's all there - the fireplace , the coal scuttle , the Persian slipper with the tobacco ; the velvet wing chair , the basket chair with the writing - arm , the couch with the cushions ; the sideboard with the tantalus and the gasogene ; the acid - stained deal - topped table with Holmes ' chemical equipment on it , the dining table , the small Moorish table ; the bookshelves and the violin case ; the gas fixtures and the oil lamps ; the dumbwaiter connecting with the kitchen in the basement ; and Holmes ' desk , piled high with papers , clippings , research material , etc. . Holmes is pulling up the window shades . Watson has removed his hat and coat , and is putting his medical bag down on the sideboard ; the cabbie , having deposited their luggage , is just leaving .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>I do wish you'd give me a little more warning when you come home unexpected. I would have roasted a goose - and had some flowers for you.</dialogue>
<character>HOLMES</character>
<dialogue>My dear Mrs. Hudson - criminals are as unpredictable as head - colds. You never quite know when you're going to catch one.</dialogue>
<scene_description>He has picked up a dagger , starts opening his mail , which is on the dining table .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>I'll unpack your bags.</dialogue>
<scene_description>She exits into one of the bedrooms . Watson has now taken a magazine out of an envelope .</scene_description>
<character>WATSON</character>
<dialogue>Here's an advance copy of Strand Magazine.</dialogue>
<parenthetical>( shows it to Holmes . )</parenthetical>
<dialogue>They've printed ` The Red - Headed League!'</dialogue>
<scene_description>On the cover is a colored illustration from the story , featuring in obligatory Inverness and deerstalker .</scene_description>
<character>HOLMES</character>
<parenthetical>( offhand . )</parenthetical>
<dialogue>Very impressive.</dialogue>
<character>WATSON</character>
<parenthetical>( leafing through the magazine . )</parenthetical>
<dialogue>Would you like to see how I treated it?</dialogue>
<character>HOLMES</character>
<dialogue>I can hardly wait. I'm sure I'll find out all sorts of fascinating things about the case that I never knew before.</dialogue>
<character>WATSON</character>
<dialogue>Just what do you mean by that?</dialogue>
<character>HOLMES</character>
<dialogue>Oh, come now, Watson, you must admit that you have a tendency to over - romanticize. You have taken my simple exercises in logic and embellished them, exaggerated them.</dialogue>
<character>WATSON</character>
<dialogue>I deny the accusation.</dialogue>
<character>HOLMES</character>
<dialogue>You have described me as six - foot - four, whereas I am barely six - foot - one.</dialogue>
<character>WATSON</character>
<dialogue>A bit of poetic license.</dialogue>
<character>HOLMES</character>
<parenthetical>( removing Inverness and deerstalker . )</parenthetical>
<dialogue>You have saddled me with this improbable costume, which the public now expects me to wear.</dialogue>
<character>WATSON</character>
<dialogue>That's not my doing.</dialogue>
<parenthetical>( indicating cover of Strand . )</parenthetical>
<dialogue>Blame it on the illustrator.</dialogue>
<character>HOLMES</character>
<dialogue>You've made me out to be a violin virtuoso. Here -.</dialogue>
<parenthetical>( holds out a letter he 's been reading . )</parenthetical>
<dialogue>- a request from the Liverpool Symphony to appear as soloist in the Mendelssohn Concerto.</dialogue>
<character>WATSON</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Oh, really?</dialogue>
<character>HOLMES</character>
<dialogue>The fact is that I could barely hold my own in the pit orchestra of a second - rate music hall.</dialogue>
<character>WATSON</character>
<dialogue>You're much too modest.</dialogue>
<character>HOLMES</character>
<parenthetical>( busy with the mail . )</parenthetical>
<dialogue>You have given the reader the distinct impression that I am a misogynist. Actually, I do n't dislike women - I merely distrust them. The twinkle in the eye and the arsenic in the soup.</dialogue>
<character>WATSON</character>
<dialogue>It's those little touches that make you colorful -</dialogue>
<character>HOLMES</character>
<dialogue>Lurid is more like it. You have painted me as a hopeless dope addict - just because I occasionally take a five per cent solution of cocaine.</dialogue>
<character>WATSON</character>
<dialogue>A seven per cent solution.</dialogue>
<character>HOLMES</character>
<dialogue>Five per cent. Do n't you think I'm aware you've been diluting it behind my back?</dialogue>
<character>WATSON</character>
<dialogue>As a doctor - and as your friend - I strongly disapprove of this insidious habit of yours.</dialogue>
<character>HOLMES</character>
<dialogue>My dear friend - as well as my dear doctor - I only resort to narcotics when I am suffering from acute boredom - when there are no interesting cases to engage my mind.</dialogue>
<parenthetical>( holding out one of the open letters . )</parenthetical>
<dialogue>Look at this - an urgent appeal to find six missing midgets.</dialogue>
<scene_description>He tosses the letter down is disgust .</scene_description>
<character>WATSON</character>
<dialogue>Did you say midgets?</dialogue>
<scene_description>He picks up the letter .</scene_description>
<character>HOLMES</character>
<dialogue>Six of them - the Tumbling Piccolos - an acrobatic act with some circus.</dialogue>
<character>WATSON</character>
<dialogue>Disappeared between London and Bristol. Do n't you find that intriguing?</dialogue>
<character>HOLMES</character>
<dialogue>Extremely so. You see, they are not only midgets - but also anarchists.</dialogue>
<character>WATSON</character>
<dialogue>Anarchists?</dialogue>
<character>HOLMES</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>By now they have been smuggled to Vienna, dressed as little girls in burgundy pinafores. They are to greet the Czar of all the Russias when he arrives at the railway station. They will be carrying bouquets of flowers, concealed in each bouquet will be a bomb with a lit fuse.</dialogue>
<character>WATSON</character>
<dialogue>You really think so?</dialogue>
<character>HOLMES</character>
<dialogue>Not at all. The circus owner offers me five pounds for my services - that's not even a pound a midget. So obviously he is a stingy blighter, and the little chaps simply ran off to join another circus.</dialogue>
<character>WATSON</character>
<parenthetical>( crestfallen . )</parenthetical>
<dialogue>Oh. And it sounded so promising -</dialogue>
<character>HOLMES</character>
<dialogue>There are no great crimes anymore, Watson. The criminal class has lost all enterprise and originality. At best they commit some bungling villainy, with a motive so transparent that even a Scotland Yard official can see through it.</dialogue>
<scene_description>He has crossed to the desk , suddenly notices something .</scene_description>
<character>HOLMES</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>Mrs. Hudson!</dialogue>
<parenthetical>( even angrier . )</parenthetical>
<dialogue>MRS. HUDSON!</dialogue>
<scene_description>Mrs. Hudson comes hurrying out of the bedroom .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Yes? What is it? What have I done now?</dialogue>
<character>HOLMES</character>
<parenthetical>( sternly . )</parenthetical>
<dialogue>There is something missing from my desk.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Missing?</dialogue>
<character>HOLMES</character>
<dialogue>Something very crucial.</dialogue>
<parenthetical>( picks up a small feather . )</parenthetical>
<dialogue>You have been tidying up against my explicit orders.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Oh, I made sure not to disturb anything.</dialogue>
<character>HOLMES</character>
<dialogue>Dust, Mrs. Hudson, is an essential part of my filing system. By the thickness of it, I can date any document immediately.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Some of the dust was this thick.</dialogue>
<scene_description>She demonstrates with her thumb and forefinger .</scene_description>
<character>HOLMES</character>
<parenthetical>( promptly . )</parenthetical>
<dialogue>That would be March, 1883.</dialogue>
<scene_description>He blows the feather away .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - EVENING</stage_direction>
<scene_description>START on Holmes ' foot , operating a bellows . CAMERA PANS UP to the top of the chemistry table , on which an elaborate apparatus of brass , glass and rubber tubing has been set up . Inserted into the ends of the rubber tubes are half a dozen cigarettes , four cigars of different shapes and colors , and four pipes , all lit . Activated by the bellows , they are puffing away like mad , wheezing loudly and filling the screen with smoke . Seated at the table is Holmes , in shirt - sleeves . Occasionally he knocks off an ash onto a glass slide , studies it under a microscope . Watson , in a dressing gown , is sitting in the chair with the writing arm , documenting the latest Holmes adventure for Strand Magazine . The open mail has now been affixed to the center of the wooden mantelpiece , with a dagger . Mrs. Hudson is clearing the dinner dishes from the table , and loading them onto the shelf of the dumbwaiter . The accumulation of smoke in the room makes her cough .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>How can you stand this? Why do n't you let me air the room out?</dialogue>
<character>WATSON</character>
<dialogue>Please, Mrs. Hudson - he's working on a definitive study of tobacco ash.</dialogue>
<character>MRS. HUDSON</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>I'm sure there's a crying need for that.</dialogue>
<character>WATSON</character>
<dialogue>In our endeavors, it is sometimes vital to distinguish between, say, the ashes of a Macedonian cigarette and a Jamaican cigar. Sor far he has classified 140 different kinds of ashes.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>All of which will end up on my rug.</dialogue>
<scene_description>She is now pulling on the rope which lowers the dumbwaiter .</scene_description>
<character>WATSON</character>
<dialogue>That'll be enough, Mrs. Hudson.</dialogue>
<character>MRS. HUDSON</character>
<parenthetical>( heading for door . )</parenthetical>
<dialogue>All right. If you gentlemen want to stay here and suffocate.</dialogue>
<scene_description>She exits , shutting the door . For a while , the two go on working . Then Holmes rises abruptly from the chemistry table .</scene_description>
<character>HOLMES</character>
<dialogue>She's right. I am suffocating.</dialogue>
<character>WATSON</character>
<dialogue>Let me open a window.</dialogue>
<character>HOLMES</character>
<dialogue>Not from lack of air - from lack of activity. Sitting here week after week - blowing smoke rings - staring through a microscope - there's no challenge in that.</dialogue>
<character>WATSON</character>
<dialogue>Personally, I consider it a major contribution to scientific criminology.</dialogue>
<scene_description>Holmes has opened his violin case and taken out his fiddle .</scene_description>
<character>HOLMES</character>
<dialogue>How I envy you your mind, Watson.</dialogue>
<character>WATSON</character>
<dialogue>You do?</dialogue>
<character>HOLMES</character>
<dialogue>It's placid, imperturbable, prosaic. But my mind rebels against stagnation. It's like a racing engine, tearing itself to pieces because it's not connected up with the work for which it was built.</dialogue>
<scene_description>He has tucked the violin under his chin , starts to improvise a nervous pent - up melody . There is nothing amateurish about it - he plays quite well . Watson resumes working on his manuscript . Suddenly the music stops . Watson looks up apprehensively . Holmes has put down the violin , and is crossing to the sideboard . He opens Watson 's medical bag , takes out a bottle of cocaine , starts toward his bedroom . Watson pushes the writing arm to the side , rises from his chair .</scene_description>
<character>WATSON</character>
<dialogue>Holmes -</dialogue>
<scene_description>Holmes pays no attention , continues into the bedroom . Watson crosses to the open door . Inside the bedroom , Holmes has put down the cocaine bottle on the washstand , and is rolling up his left sleeve .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, where is your self - control?</dialogue>
<character>HOLMES</character>
<dialogue>Fair question.</dialogue>
<scene_description>From a drawer he takes a morocco case , opens it , removes a hypodermic syringe .</scene_description>
<character>WATSON</character>
<dialogue>Are n't you ashamed of yourself?</dialogue>
<character>HOLMES</character>
<dialogue>Thoroughly. But this will take care of it.</dialogue>
<scene_description>He has removed the stopper from the cocaine bottle , and inserting the hypodermic needle into it , starts to draw up the liquid .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAY</stage_direction>
<scene_description>It is raining . A bus comes down the street , the open top deck sprouting umbrellas like black mushrooms .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>Naturally, I do n't mean to imply that my friend was always on cocaine - sometimes it was opium, sometimes it was hashish. And once he went one of these dreadful binges, there was no telling how long it would last.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAY</stage_direction>
<scene_description>Rain beats on the windows . Holmes and Watson are in the middle of an argument .</scene_description>
<character>WATSON</character>
<dialogue>The only reason you moved in with me is to have a steady supply of stimulants.</dialogue>
<character>HOLMES</character>
<dialogue>Now, now, Watson - you must n't underestimate your other charms.</dialogue>
<scene_description>He starts into the bedroom .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, I warn you. If you lock yourself in there once more -</dialogue>
<character>HOLMES</character>
<dialogue>I intend to do nothing of the sort.</dialogue>
<scene_description>He takes the hypodermic out of the drawer in the washstand , starts back into the living room with it .</scene_description>
<character>HOLMES</character>
<dialogue>Not until you replace this needle. It is getting rather blunt.</dialogue>
<scene_description>As Watson glares at him , the door opens and Mrs. Hudson comes bustling in . Holmes hides the hypodermic behind his back .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>I made you some tea and cress sandwiches.</dialogue>
<scene_description>She opens the door of the dumbwaiter , starts to pull it up .</scene_description>
<character>WATSON</character>
<dialogue>Mrs. Hudson, I want you to pack my bags.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Are you going away for the weekend?</dialogue>
<character>WATSON</character>
<dialogue>And beyond. I'm moving out.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Moving out?</dialogue>
<parenthetical>( she looks at Holmes . )</parenthetical>
<dialogue />
<character>HOLMES</character>
<dialogue>I'm just as surprised as you are.</dialogue>
<character>WATSON</character>
<dialogue>You heard me, Mrs. Hudson. And let's not waste any time.</dialogue>
<scene_description>Mrs. Hudson sighs , exits into Watson 's bedroom .</scene_description>
<character>HOLMES</character>
<dialogue>May I be so bold as to ask where you'er going?</dialogue>
<character>WATSON</character>
<dialogue>I do n't know yet. But I intend to resume my practice. I am, after all, a doctor. And quite a competent one, if I say so as should n't.</dialogue>
<character>HOLMES</character>
<dialogue>You'll find it very dull - snipping out tonsils and flushing out kidneys -</dialogue>
<scene_description>Watson is glancing around the room , searching for something .</scene_description>
<character>HOLMES</character>
<dialogue>If you're looking for your medical bag, you hid it under the Moorish table.</dialogue>
<parenthetical>( as Watson crosses to it . )</parenthetical>
<dialogue>Which shows a little more imagination than last time - when it was under your bed.</dialogue>
<scene_description>Watson picks up the Moorish table , disclosing the medical bag , standing on end . He sets the bag down on the fender , opens it .</scene_description>
<character>WATSON</character>
<dialogue>I will, of course, continue to pay my half of the rent until you find someone to share these rooms with you.</dialogue>
<character>HOLMES</character>
<dialogue>Where am I going to find anyone who will put up with my rather eccentric habits?</dialogue>
<character>WATSON</character>
<parenthetical>( taking hypodermic needle out of bag . )</parenthetical>
<dialogue>Here's a fresh needle - and here's my farewell present to you.</dialogue>
<scene_description>He takes out three bottles of narcotics , puts them on the mantel .</scene_description>
<character>WATSON</character>
<dialogue>If you want to destroy yourself, go right ahead. But I wo n't sit by and watch you doing it.</dialogue>
<scene_description>He snaps his bag shut , carries it toward his bedroom .</scene_description>
<character>HOLMES</character>
<dialogue>Watson.</dialogue>
<scene_description>Watson disappears into the bedroom , slamming the door . Holmes looks after him , then looks at the bottles of dope on the mantelpiece . He starts pacing . After a moment he stops at the chemistry table , studies the assorted glassware on the shelves above .</scene_description>
</scene>
<scene>
<stage_direction>INT. WATSON'S BEDROOM - DAY</stage_direction>
<scene_description>There are two open valises on the bed . Watson is moving around the room , collecting various odds and ends , while Mrs. Hudson packs his clothes .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>It's so sad. You and Mr. Holmes - after all these years -.</dialogue>
<parenthetical>( she sobs . )</parenthetical>
<dialogue />
<character>WATSON</character>
<dialogue>Please, Mrs. Hudson - none of that.</dialogue>
<scene_description>Mrs. Hudson takes a clean handkerchief from the open valise , blows her nose .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>I'll wash this and send it on to you.</dialogue>
<character>WATSON</character>
<dialogue>I'll be at Brown's Hotel.</dialogue>
<character>MRS. HUDSON</character>
<parenthetical>( still sniffling . )</parenthetical>
<dialogue>I know how it feels - I once went through a divorce myself.</dialogue>
<character>WATSON</character>
<parenthetical>( removing diploma from wall . )</parenthetical>
<dialogue>Actually, I'm rather looking forward to it. Leading a normal life again. Regular office hours - nine to three - and if occasionally there's an emergency call in the middle of the night, I know it's going be appendicitis and not an ax murder. Let Holmes go mucking about in the fog and the sleet, looking for a bloodstained collar - button out on the moors, with some demented hound snapping at his behind -</dialogue>
<scene_description>From the living room comes the sound of a revolver shot . Mrs. Hudson screams and Watson looks off in alarm . Then he races out of the room , diploma in hand , followed by Mrs. Hudson .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>As they burst into the room , they see Holmes sitting on the stool beside the chemistry table , a revolver in his hand . He has shattered one of the narcotics bottles on the mantelpiece , and is aiming at a second one .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Mr. Holmes.</dialogue>
<scene_description>Holmes fires , smashing the second bottle . As Mrs. Hudson takes a step forward , he waves her away with the gun .</scene_description>
<character>HOLMES</character>
<dialogue>Please, Mrs. Hudson. You're in my line of fire.</dialogue>
<scene_description>Watson jerks Mrs. Hudson back as Holmes lets go with another shot . The bullet disposes of the third bottle , splattering glass and liquid all over the place . Holmes rises calmly from the stool , crosses to the desk , puts the revolver away in a drawer .</scene_description>
<character>MRS. HUDSON</character>
<parenthetical>( outraged . )</parenthetical>
<dialogue>How many times have I told you I will not tolerate pistol practice on my premises? I should have evicted you when you shot them holes in my wall.</dialogue>
<scene_description>She points up to a spot near the ceiling . Neatly traced in bullet holes are the initials V.R. , with a small crown above them .</scene_description>
<character>HOLMES</character>
<dialogue>Merely celebrating Her Majesty's Golden Jubilee.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Look at that mess you made -</dialogue>
<scene_description>Watson is looking at Holmes with a little smile on his face .</scene_description>
<character>WATSON</character>
<dialogue>It's all right, Mrs. Hudson. I'll clean it up -.</dialogue>
<parenthetical>( hands her the diploma . )</parenthetical>
<dialogue>- while you unpack my things.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Unpack?</dialogue>
<character>HOLMES</character>
<dialogue>You heard him.</dialogue>
<scene_description>A bewildered Mrs. Hudson goes back into the bedroom . Watson crosses to the fireplace , picks up the whiskbroom and the coal shovel , starts cleaning up the broken glass .</scene_description>
<character>WATSON</character>
<dialogue>Thank you, Holmes. I know how difficult it must've been for you -</dialogue>
<character>HOLMES</character>
<dialogue>Not really. It was simple choice between a bad habit and a good companion.</dialogue>
<character>WATSON</character>
<dialogue>You've made me very happy.</dialogue>
<character>HOLMES</character>
<dialogue>I've often been accused of being cold and unemotional. I admit to it. And yet, in my cold, unemotional way, I'm very fond of you, Watson.</dialogue>
<character>WATSON</character>
<dialogue>I know that. But one likes to hear these things occasionally.</dialogue>
<scene_description>He notices the violin , which has been splattered with the liquid from the shattered bottle , picks it up .</scene_description>
<character>WATSON</character>
<dialogue>Look at this. Covered with that nasty stuff. I'd better dry it off.</dialogue>
<character>HOLMES</character>
<dialogue>I'll do it.</dialogue>
<scene_description>He takes the instrument , and dabbing it with a handkerchief , carries it toward the violin case .</scene_description>
<character>WATSON</character>
<dialogue>For a moment, I was worried that you were going to let me walk out - that you were n't even going to try to stop me.</dialogue>
<character>HOLMES</character>
<dialogue>Now, Watson - you know there's nothing I would n't do to keep you here.</dialogue>
<scene_description>With a side - glance at the busy Watson , he opens the violin case . Neatly stashed away around the edges are the three original bottles of narcotics . The ones he shot up , of course , were substitutes from the chemistry set . He places the violin carefully among the bottles , closes the case , snaps the locks . As he moves off , we STAY on the violin case .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>It was not the first not the last time he tricked me like that. Normally, I was inclined to forgive him.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Watson , in his dressing gown , is sitting at the table , finishing his coffee . In front of him is a letter , on blue note - paper , and a pair of theatre tickets .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>But on one occasion, he did something that was so utterly unforgivable, that I would gladly have murdered him - had it not been for my saintly disposition.</dialogue>
<scene_description>Watson sets down his coffee cup , picks up the letter and the tickets , rises from his chair . He starts to pace - addressing Holmes , who is off - scene .</scene_description>
<character>WATSON</character>
<dialogue>Why are you being so stubborn, Holmes? Why wo n't you go? It's the final performance of the Imperial Russian Ballet - the house has been sold out for months -</dialogue>
<scene_description>He moves towards the door of - HOLMES ' BEDROOM - DAY Holmes is sitting in a hip - bath with a high back , soaping himself . Watson appears in the doorway .</scene_description>
<character>WATSON</character>
<dialogue>- seats are going for a guinea apiece -</dialogue>
<character>HOLMES</character>
<dialogue>That's precisely it. Why should someone send up two free tickets? Anonymously, at that.</dialogue>
<character>WATSON</character>
<dialogue>Whoever sent them must be in great distress. The note says -.</dialogue>
<parenthetical>( reading it . )</parenthetical>
<dialogue>` Please! You are the only man in the world who can help me.'</dialogue>
<character>HOLMES</character>
<dialogue>I suspect it's some sort of plot.</dialogue>
<character>WATSON</character>
<dialogue>You mean somebody wants to lure us into a trap?</dialogue>
<character>HOLMES</character>
<dialogue>Somebody wants to kill me.</dialogue>
<character>WATSON</character>
<dialogue>Kill you?</dialogue>
<character>HOLMES</character>
<dialogue>That's right. It's a plot to bore me to death. I detest ballet.</dialogue>
<character>WATSON</character>
<dialogue>But this is n't just any ballet. It's Swan Lake.</dialogue>
</scene>
<scene>
<stage_direction>INT. THEATRE - NIGHT</stage_direction>
<scene_description>START ON THE CONDUCTOR , in the orchestra pit , as he gives the downbeat for the second acto music of SWAN LAKE . CAMERA PULLS BACK TO INCLUDE THE STAGE , with a mechanical sway crossing the mist - shrouded lake . CAMERA CONTINUES TO PULL BACK , REVEALING Holmes and Watson , in evening clothes , occupying a box in the upper tier .</scene_description>
<character>WATSON</character>
<parenthetical>( confidentially . )</parenthetical>
<dialogue>You know, of course, Holmes - that swan is n't really a swan - it's an enchanted princess.</dialogue>
<character>HOLMES</character>
<parenthetical>( bored . )</parenthetical>
<dialogue>H'mmmm.</dialogue>
<scene_description>On the stage now , the hunters appear , carrying lighted torches . BOX Watson trains his opera glasses on the stage , Holmes stifles a yawn . STAGE PETROVA , as the Queen of the Swans , makes her entrance to loud applause . She is in her forties , but splendidly preserved , undoubtedly the greatest ballerina around . BOX Watson nudges Holmes , who has dozed off .</scene_description>
<character>WATSON</character>
<dialogue>Fabulous woman, do n't you think so, Holmes?</dialogue>
<character>HOLMES</character>
<parenthetical>( coming to . )</parenthetical>
<dialogue>Who?</dialogue>
<character>WATSON</character>
<dialogue>The great Petrova.</dialogue>
<scene_description>He hands the glasses to Holmes , who focuses them indifferently on the stage . STAGE Petrova is making an exit , backwards , on points . BOX Holmes lowers the glasses , returns them to Watson .</scene_description>
<character>HOLMES</character>
<dialogue>Very strong arches, I must admit.</dialogue>
<character>WATSON</character>
<dialogue>They say twelve men have died for her.</dialogue>
<character>HOLMES</character>
<dialogue>Really.</dialogue>
<character>WATSON</character>
<dialogue>Six committed suicide, four were killed in duels, and one fell out of the gallery in the Vienna Opera House.</dialogue>
<character>HOLMES</character>
<dialogue>That's only eleven.</dialogue>
<character>WATSON</character>
<dialogue>The man who fell from the gallery landed on top of another man in the orchestra.</dialogue>
<character>HOLMES</character>
<dialogue>That makes an even dozen - in a messy sort of way.</dialogue>
<scene_description>Watson resumes watching the stage through the glasses . STAGE Petrova and the dancer playing the Prince go into the famous pas - de - deux . BOX Watson enjoying himself immensely , Holmes sitting there dourly . The red plush curtain at the rear of the box parts , and a man in evening clothes and a top hat enters . He is in his middle fifties , extremely soigne , and somewhat sinister . His name is ROGOZHIN , and he is Russian . Holmes and Watson look around .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Mister Holmes?</dialogue>
<character>HOLMES</character>
<dialogue>Yes.</dialogue>
<character>ROGOZHIN</character>
<dialogue>I am Nicolai Rogozhin, director - general of the Imperial Russian Ballet. So glad you accept invitation.</dialogue>
<scene_description>Holmes and Watson start to get up , but he motions them back into their chairs .</scene_description>
<character>HOLMES</character>
<dialogue>This is Dr. Watson.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Pleased to meet you.</dialogue>
<parenthetical>( seating himself behind them . )</parenthetical>
<dialogue>You are enjoying?</dialogue>
<character>WATSON</character>
<dialogue>Immensely.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>Tell me, Mr. Holmes, how is your health?</dialogue>
<character>HOLMES</character>
<dialogue>My health? Better consult my doctor.</dialogue>
<character>WATSON</character>
<parenthetical>( to Rogozhin . )</parenthetical>
<dialogue>Oh, he's in excellent shape.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Any insanity in your family? Diabetes? Asthma?</dialogue>
<character>HOLMES</character>
<dialogue>Would you mind telling me what this is all about?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Certainly. Madame Petrova, she has problem.</dialogue>
<character>HOLMES</character>
<dialogue>Could you be more specific?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Certainly not.</dialogue>
<character>WATSON</character>
<dialogue>A liason with a crowned head? Compromising letters? Blackmail?</dialogue>
<scene_description>He glances toward the stage . STAGE The pas - de - deux finished , to a rousing ovation . BOX Rogozhin rises , turns to Holmes .</scene_description>
<character>ROGOZHIN</character>
<dialogue>After performance, there will be little celebration backstage - and Madame requests your presence.</dialogue>
<character>WATSON</character>
<dialogue>We'd be delighted.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( to Watson . )</parenthetical>
<dialogue>You are invited, also.</dialogue>
<scene_description>With a parting look he exits , pulling the plush curtains closed . STAGE The performance is over , the curtain is up , the party is on . Tables have been set up , with caviar , vodka and champagne . The members of the orchestra are now playing balalaikas , and crew and cast -LRB- the ballerinas still in costume , the male dancers in tights -RRB- seem in high spirits . Holmes and Watson , in silk hats with canes , appear from the wings , stop , survey the scene . Watson 's eyes are shining with anticipation . In contrast , Holmes ' face is sober and quizzical . Rogozhin spots the two , detaches himself from a group , hurries over to join them .</scene_description>
<character>ROGOZHIN</character>
<dialogue>There you are, Mr. Holmes. Madame is expecting you in her dressing room. Dr. Watson, you will amuse yourself meanwhile - we have vodka, caviar, girls.</dialogue>
<character>WATSON</character>
<dialogue>No, thank you.</dialogue>
<character>ROGOZHIN</character>
<dialogue>No girls?</dialogue>
<character>WATSON</character>
<dialogue>No caviar. Makes me break out in hives.</dialogue>
<scene_description>Rogozhin turns to a group of ballerinas , claps his hands .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Dievushki. Siude, siuda, dievushki. Posnakomtes s docktorum Watsonom.</dialogue>
<scene_description>Half a dozen ballerinas descend on on Dr. Watson . They are giggling and chattering in Russian . Rogozhin leads Holmes off , while Watson takes in the bevy of beauties around him .</scene_description>
<character>WATSON</character>
<dialogue>Any of you girls understand English?</dialogue>
<character>GIRLS</character>
<dialogue>Nyet.</dialogue>
<character>WATSON</character>
<dialogue>Not one single word?</dialogue>
<character>GIRLS</character>
<dialogue>Nyet.</dialogue>
<character>WATSON</character>
<dialogue>In that case, I do n't mind telling you that you all have lovely po - pos.</dialogue>
<scene_description>He pats a couple of the po - pos with his cane . BACKSTAGE Rogozhin is leading Holmes toward Madame Petrova 's dressing room .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Mr. Holmes, I must prepare you - this is no ordinary case.</dialogue>
<character>HOLMES</character>
<dialogue>It is only the extraordinary that interests me.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Good. Because you will find this extra - extraordinary.</dialogue>
<scene_description>They have now reached the door of Madame 's dressing room . Rogozhin knocks . The door is opened by an elderly Russian maid .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Madame Petrova prinimaet?</dialogue>
<character>MAID</character>
<dialogue>Pozhaluista voidite.</dialogue>
<scene_description>Rogozhin leads Holmes inside . The maid steps out , shuts the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction>
<scene_description>It is small , elegant and sensuous . There is vodka in an ice - bucket , next to a Recamier chaise , a paravent , masses of flowers , and finally Madame Petrova , still in costume , sitting at a dressing table with multiple mirrors , undoing her hair . Candles , in two elaborate candleabra , give Madame 's face a special glow .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Ja priviol vam Mistera Sherlock Holmesa, doragaia.</dialogue>
<character>PETROVA</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Otchen rada.</dialogue>
<scene_description>She extends her hand , and Holmes takes it .</scene_description>
<character>HOLMES</character>
<dialogue>Madame.</dialogue>
<scene_description>He kisses her hand . Petrova appraises him from head to toe , and back again .</scene_description>
<character>PETROVA</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Vi menshe rostom chem ja ozhidala.</dialogue>
<character>HOLMES</character>
<dialogue>Madame says you are shorter than she thought.</dialogue>
<character>HOLMES</character>
<dialogue>I did n't mean to be.</dialogue>
<character>PETROVA</character>
<dialogue>No eto nie vazhno. Menia interessujut glavnim obra som vashi mosghi.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Short, tall, who cares? It is the brains that count.</dialogue>
<character>HOLMES</character>
<parenthetical>( to Rogozhin . )</parenthetical>
<dialogue>Thank you.</dialogue>
<parenthetical>( catching himself , to Petrova . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>Petrova rises , crosses to the paravent .</scene_description>
<character>PETROVA</character>
<dialogue>Ja prochia vsie vashi prikliuchenia. Zamiechatelno! Os sobenno sobaka Baskervillei.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Madame is great admirer of yours. She has read every story - her favorite is Big Dog from Baskerville.</dialogue>
<character>HOLMES</character>
<dialogue>I'm afraid it loses something in translation.</dialogue>
<scene_description>Petrova is now behind the paravent , undressing , only her head visible .</scene_description>
<character>PETROVA</character>
<dialogue>Nikolai, pokazhite iemu skripku.</dialogue>
<scene_description>Rogozhin picks up a violin case , opens it .</scene_description>
<character>ROGOZHIN</character>
<dialogue>Mr. Holmes, you know about fiddles.</dialogue>
<parenthetical>( takes violin out , hands it to him . )</parenthetical>
<dialogue>What is your opinion of this?</dialogue>
<scene_description>Holmes holds the violin up , peers through one of the sound holes .</scene_description>
<character>HOLMES</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>` Antonius Stradivarius Cremonesis, Anno 1709.' Well, the label is authentic.</dialogue>
<parenthetical>( examines violin , plucks strings . )</parenthetical>
<dialogue>Judging from the shape, the color of the varnish, and the tone, I would say it is a genuine Stradivarius of the best period.</dialogue>
<character>ROGOZHIN</character>
<dialogue>You like?</dialogue>
<character>HOLMES</character>
<dialogue>It's magnificent.</dialogue>
<character>PETROVA</character>
<parenthetical>( from behind paravent . )</parenthetical>
<dialogue>Skazhite jemu chto eto podarok ot menia.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Here - take it. Madame says it is yours.</dialogue>
<character>HOLMES</character>
<dialogue>Mine?</dialogue>
<character>ROGOZHIN</character>
<dialogue>For services you will render.</dialogue>
<character>HOLMES</character>
<dialogue>My fees as a detective are not exactly trifling - but a Stradivarius - you're not serious.</dialogue>
<character>ROGOZHIN</character>
<dialogue>I am not. But Madame is.</dialogue>
<scene_description>Petrova emerges from behind the paravent , in a brocade dressing gown .</scene_description>
<character>PETROVA</character>
<dialogue>Nalejte vodki i obiasnite jemu v chom dielo.</dialogue>
<scene_description>She drapes herself on the chaise .</scene_description>
<character>ROGOZHIN</character>
<dialogue>All right. I will pour vodka and explain.</dialogue>
<parenthetical>( starts pouring vodka ; it is pink . )</parenthetical>
<dialogue>Mr. Holmes, what you have seen tonight is last and positively final performance of Madame Petrova. She is retiring.</dialogue>
<character>HOLMES</character>
<dialogue>What a shame.</dialogue>
<character>ROGOZHIN</character>
<dialogue>She has been dancing since she was three years old. And after all, she is now thirty - eight.</dialogue>
<character>HOLMES</character>
<parenthetical>( gallantly . )</parenthetical>
<dialogue>I must say she does n't look thirty - eight.</dialogue>
<character>ROGOZHIN</character>
<dialogue>That is because she is forty - nine.</dialogue>
<parenthetical>( he hands her a glass of vodka , with an exaggerated smile . )</parenthetical>
<dialogue>So Madame has decided to leave ballet and spend life bringing up her child.</dialogue>
<character>HOLMES</character>
<dialogue>How admirable.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( hands him vodka . )</parenthetical>
<dialogue>Problem now is to find father.</dialogue>
<character>HOLMES</character>
<dialogue>Oh? Is he missing?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Correct.</dialogue>
<character>HOLMES</character>
<dialogue>And that's why you called me in?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Also correct. We must have father, because without father, how can there be child?</dialogue>
<character>HOLMES</character>
<dialogue>I see. The whole thing is still in the planning stage -</dialogue>
<character>ROGOZHIN</character>
<dialogue>Correct again. Madame would like child to be brilliant and beautiful. Since she is beautiful - she now needs man who is brilliant.</dialogue>
<scene_description>Holmes ' eyes wander slowly toward Petrova . She raises her glass .</scene_description>
<character>PETROVA</character>
<dialogue>Za zdorovie.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( raising his glass . )</parenthetical>
<dialogue>Za zdorovie.</dialogue>
<character>HOLMES</character>
<dialogue>Za zdrovie.</dialogue>
<scene_description>Petrova and Rogozhin down their vodka bottoms up . Holmes takes one swallow , then stops .</scene_description>
<character>HOLMES</character>
<dialogue>What's in it?</dialogue>
<character>ROGOZHIN</character>
<dialogue>What does it taste like?</dialogue>
<character>HOLMES</character>
<dialogue>Red pepper.</dialogue>
<character>ROGOZHIN</character>
<dialogue>That's what's in it.</dialogue>
<scene_description>While Rogozhin refills Petrova 's glass and his own , Holmes takes another tentative sip .</scene_description>
<character>PETROVA</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Kogda mi smozhem dvinutsa v putj?</dialogue>
<character>HOLMES</character>
<dialogue>I beg your pardon?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Madame wants to know how soon you can be ready.</dialogue>
<character>HOLMES</character>
<dialogue>Ready?</dialogue>
<character>ROGOZHIN</character>
<dialogue>To leave for Venice. All arrangements have been made. You will spend one week there with Madame.</dialogue>
<character>HOLMES</character>
<dialogue>Well, this is all very flattering. But surely there are other me - better men -</dialogue>
<character>ROGOZHIN</character>
<dialogue>To tell you truth, you were not first choice. We considered Russian writer, Tolstoi -</dialogue>
<character>HOLMES</character>
<dialogue>That's more like it. The man's a genius.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Too old. Then we considered the philosopher, Nietzsche -</dialogue>
<character>HOLMES</character>
<dialogue>Absolutely first - rate mind.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Too German. And we considered Tschaikowski -</dialogue>
<character>HOLMES</character>
<dialogue>Oh, you could n't go wrong with Tschaikowski -</dialogue>
<character>ROGOZHIN</character>
<dialogue>We could - and we did. It was catastrophe.</dialogue>
<character>HOLMES</character>
<dialogue>Why?</dialogue>
<character>ROGOZHIN</character>
<dialogue>You do n't know? Because Tschaikowski - how shall put it? Women not his glass of tea.</dialogue>
<character>HOLMES</character>
<dialogue>Pity, that.</dialogue>
<character>PETROVA</character>
<parenthetical>( to Rogozhin . )</parenthetical>
<dialogue>Skazhite jemu chto je otchen dovolna etim resheniem.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Madame is very happy with final choice.</dialogue>
<character>HOLMES</character>
<dialogue>Madame must n't be too hasty. She must remember I'm an Englishman.</dialogue>
<character>ROGOZHIN</character>
<dialogue>So?</dialogue>
<character>HOLMES</character>
<dialogue>You know what they say about us. If there's one thing more deplorable than our cooking, it's our love - making. We are not exactly the most romantic of people -</dialogue>
<character>ROGOZHIN</character>
<dialogue>Perfect. We do n't want sentimental idiots - falling in love, committing suicide. One week in Venice - she goes back to St. Petersburg with baby - you go back to London with fiddle.</dialogue>
<character>HOLMES</character>
<dialogue>An equitable arrangement.</dialogue>
<parenthetical>( puts down violin . )</parenthetical>
<dialogue>About my medical history - when you asked me - I neglected to mention a small detail. There is hemophilia in my family. We're all bleeders.</dialogue>
<character>ROGOZHIN</character>
<parenthetical>( to Petrova . )</parenthetical>
<dialogue>On govorit, chto v jevo semie stradajut ghemofilijei.</dialogue>
<character>PETROVA</character>
<dialogue>Pust nie bezpokoitsa. Ja ostrighu sebe noghti.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Madame says not to worry. She will not scratch you.</dialogue>
<character>HOLMES</character>
<dialogue>That's reassuring to know. But -</dialogue>
<character>PETROVA</character>
<parenthetical>( to Rogozhin . )</parenthetical>
<dialogue>Pochemu on kolebletsa? On nie nahodit menia dostatochno privlekatelnoi?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Madame says you talk too much. You find her attractive or no?</dialogue>
<scene_description>Before Holmes can answer , the door opens and Watson sticks his head in . He is flushed and slightly inebriated , and there is a flower tucked behind his ear . From off comes the SOUND of wild balalaika music .</scene_description>
<character>WATSON</character>
<dialogue>Excuse me.</dialogue>
<parenthetical>( to Rogozhin . )</parenthetical>
<dialogue>What does prokanzik mean?</dialogue>
<character>ROGOZHIN</character>
<dialogue>It means ` You little devil.'</dialogue>
<character>WATSON</character>
<dialogue>It does? I am? Thank you.</dialogue>
<scene_description>He hurries off , shutting the door .</scene_description>
<character>ROGOZHIN</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>I repeat question. You find Madame attractive or no?</dialogue>
<scene_description>Holmes is still looking at the door where Watson exited , an idea forming in his mind .</scene_description>
<character>HOLMES</character>
<parenthetical>( turning to Rogozhin . )</parenthetical>
<dialogue>Oh, I find her most attractive - for a woman, that is.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Then no problem.</dialogue>
<character>HOLMES</character>
<dialogue>Maybe a slight one. You see, I am not a free man.</dialogue>
<character>ROGOZHIN</character>
<dialogue>Not free? You are a bachelor.</dialogue>
<character>HOLMES</character>
<dialogue>A bachelor - living with another bachelor - for the last five years. Five very happy years.</dialogue>
<character>ROGOZHIN</character>
<dialogue>What is it you are trying to tell me?</dialogue>
<character>HOLMES</character>
<dialogue>I hoped I could avoid the subject. But some of us - through a cruel caprice of Mother Nature -</dialogue>
<character>ROGOZHIN</character>
<dialogue>Get to point.</dialogue>
<character>HOLMES</character>
<dialogue>The point is that Tschaikowski is not an isolated case.</dialogue>
<character>ROGOZHIN</character>
<dialogue>You mean, you and Dr. Watson -?</dialogue>
<parenthetical>( Holmes nods . )</parenthetical>
<dialogue>He is your glass of tea?</dialogue>
<character>HOLMES</character>
<dialogue>If you want to be picturesque about it.</dialogue>
<character>PETROVA</character>
<parenthetical>( slightly agitated . )</parenthetical>
<dialogue>Chto on govorit? Pri chom tut Chaikovsky?</dialogue>
<character>ROGOZHIN</character>
<dialogue>On pederast.</dialogue>
<character>PETROVA</character>
<parenthetical>( on her feet now ; flaring . )</parenthetical>
<dialogue>Jescho odin? Eto stanovitsa odnoobrasno! Kakoi vi idiot!</dialogue>
<character>HOLMES</character>
<parenthetical>( picking up his silk hat and cane . )</parenthetical>
<dialogue>Believe me, Madame, the loss is all mine. But I would prefer to disappoint you know than disappoint you in a gondola in Venice.</dialogue>
<scene_description>He takes her limp hand , kisses it . Then he crosses to the door .</scene_description>
<character>HOLMES</character>
<parenthetical>( imitating Rogozhin 's accent . )</parenthetical>
<dialogue>It would have been catastrophe.</dialogue>
<scene_description>He exits . Rogozhin starts to pour himself another glass of vodka . Petrova slaps the glass out of his hand .</scene_description>
<character>PETROVA</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Potchemu vi nie vijasnili eto eto ranshe, prezhde chem posoritj menia!</dialogue>
<scene_description>STAGE The party has built into a real wingding by now . It 's wild - drinking , laughing , singing . Everybody is turned on - especially Watson . He is dancing with a dozen of the ballerinas to madly accelerating balalaika music . Flower behind ear , hair mussed , tie undone , short of breath - he is in paradise . Holmes makes his way through the revelers , approaches Watson .</scene_description>
<character>HOLMES</character>
<dialogue>Watson!</dialogue>
<parenthetical>( Watson pays no attention . )</parenthetical>
<dialogue>Watson, are you coming?</dialogue>
<character>WATSON</character>
<parenthetical>( without missing a step . )</parenthetical>
<dialogue>What is it, old boy?</dialogue>
<character>HOLMES</character>
<dialogue>We're going home.</dialogue>
<character>WATSON</character>
<dialogue>Home? Not a chance. Not the slightest - not the remotest chance. Toodle - ooo.</dialogue>
<scene_description>He waves goodbye , and goes on swirling dizzily with the girls . Holmes puts on his silk hat and leaves . A shaken Rogozhin comes up to the buffet , pours himself a stiff drink of vodka . As he drinks his eyes follow the dancing Watson balefully . Watson spins off several of the girls , grabs another group . His ex - partners wind up close to Rogozhin . He whispers something to them . Their eyes widen , and they stare at Watson with disbelief . Watson again switches partners , and the first girls now whisper intensely to those who just left the floor . The same reaction . Watson , oblivious to all this , is whirling around with another set of girls . By now some of the girls who are in on the secret are whispering to the male dancers in tights . Their reaction is slightly different . They are seeing Watson in a new light . And before Watson knows what 's happening , he has been abandoned by all the girls , and is joined first by one pair then another pair of male dancers , till he is dancing only with gay guys in tights . It gradually dawns on Watson that there is something wrong with this state of affairs . After some difficulty , he breaks away from them .</scene_description>
<character>WATSON</character>
<dialogue>Hold on! Just a moment!</dialogue>
<scene_description>Spotting Rogozhin , he crosses to him . The girls shrink away at his approach .</scene_description>
<character>WATSON</character>
<parenthetical>( bewildered . )</parenthetical>
<dialogue>What's going on? What happened to the girls?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Why? Do you not prefer it this way?</dialogue>
<character>WATSON</character>
<dialogue>What way?</dialogue>
<character>ROGOZHIN</character>
<dialogue>You do n't have to pretend. Mr. Holmes told us everything - about you and him -</dialogue>
<character>WATSON</character>
<dialogue>About me and him?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Come now, no need to be bashful. We are not bourgeois. Maybe with doctors and detectives is unusual - but in ballet, is very usual.</dialogue>
<character>WATSON</character>
<dialogue>What is?</dialogue>
<character>ROGOZHIN</character>
<dialogue>Caprice of Mother Nature. Look at Pavel and Mischa and Boris and Dmitri -</dialogue>
<scene_description>Watson looks around at the boys in tights , who are standing in a half - circle , grinning at him insolently . It is beginning to dawn on him . He pales .</scene_description>
<character>ROGOZHIN</character>
<dialogue>- And Ilya and Sergei -.</dialogue>
<parenthetical>( breaks off , rocks his hand back and forth . )</parenthetical>
<dialogue>Sergei - half and half.</dialogue>
<scene_description>He pours himself another vodka . Watson grabs the glass away from him , downs it with a gulp .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - NIGHT</stage_direction>
<scene_description>In contrast to the frenetic ambiance of the back - stage party , the room seems doubly placid . Holmes , his dinner coat replaced by a smoking jacket , is sitting in the wing chair , having a quiet pipe after the evening 's peculiar adventure . Only the desk lamp is lit . From the street , there is the sound of hurried , angry footsteps approaching the house . Holmes turns his head languidly - he knows who is coming .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - NIGHT</stage_direction>
<scene_description>An enraged Watson , cane and opera glasses in hand , and the flower still behind his ear , is jogging down the center of the deserted street .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Holmes rises casually , twists the wing chair so that its back is to the door , crosses to the lamp on the desk , turns the wick down . From off comes the sound of Watson 's key rattling in the front door lock . STAIRCASE - 221B BAKER STREET - NIGHT The front door opens and Watson storms into the vestibule .</scene_description>
<character>WATSON</character>
<dialogue>Holmes!</dialogue>
<scene_description>He races up the stairs and across the landing , flings open the door of the flat .</scene_description>
<character>WATSON</character>
<dialogue>Holmes!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Watson , grim and breathless , stands in the open doorway . Over the back of the wing chair , he sees smoke curling up from Holmes ' pipe .</scene_description>
<character>WATSON</character>
<dialogue>There you are, you wretch! You rotter! You blackguard! Of all the vile, unspeakable fabrications. What do you have to say for yourself?</dialogue>
<scene_description>No answer from Holmes . We now see - but Watson does not - that the chair is occupied by a section of Holmes ' smoking machine , with the pipe attached .</scene_description>
<character>WATSON</character>
<dialogue>Do n't just sit there - speak up, man!</dialogue>
<scene_description>Still no answer - just a little pipe smoke drifting up from the wing chair . Incensed , Watson raises the opera glasses , tosses them toward the chair . There is a loud thud , the pipe falls to the floor , then there is silence . Watson suddenly becomes concerned .</scene_description>
<character>WATSON</character>
<dialogue>Holmes? Are you all right, Holmes?</dialogue>
<scene_description>He approaches the chair apprehensively , shoves it aside - and there on the floor is the smoking machine , still wheezing slightly . Watson picks it up , and his eyes travel to Holmes , standing in a shadowy corner , working the bellows with his foot .</scene_description>
<character>HOLMES</character>
<dialogue>From the sound of your footsteps, I gathered that you were not in a particularly amiable mood.</dialogue>
<character>WATSON</character>
<parenthetical>( with renewed fury . )</parenthetical>
<dialogue>How could you do a dastardly thing like that to me? What the deuce were you thinking of?</dialogue>
<scene_description>He dashes the smoking machine to the floor .</scene_description>
<character>HOLMES</character>
<dialogue>Watson, you have my most abject apologies. But have you ever been cornered by a madwoman? It seemed like the only way to get out of it without hurting her feelings.</dialogue>
<character>WATSON</character>
<dialogue>What about my feelings? And my reputation? Do you realize the gravity of what you have done? The possible repercussions?</dialogue>
<character>HOLMES</character>
<dialogue>So there'll be a little gossip about you in St. Petersburg.</dialogue>
<character>WATSON</character>
<dialogue>These things spread like wildfire. I can just hear those malicious whispers behind my back. I'll never be able to show my face in polite society. And if it ever got back to my old regiment - you do n't know the Fifth Northumberland Fusiliers - they'll strike me off the rolls - they'll cut off my pension.</dialogue>
<character>HOLMES</character>
<dialogue>Watson, you're running amok.</dialogue>
<character>WATSON</character>
<dialogue>Dishonored, disgraced, ostracized. What am I to do?</dialogue>
<character>HOLMES</character>
<dialogue>Well, for one thing, I'd get rid of that flower.</dialogue>
<scene_description>He points to the flower behind Watson 's ear . Watson grabs the flower , hurls it into the fireplace .</scene_description>
<character>WATSON</character>
<dialogue>You may think this is funny, but we're both in the same boat. We must take desperate measures. We must stop this talk.</dialogue>
<parenthetical>( a beat , then an idea . )</parenthetical>
<dialogue>Maybe if we got married.</dialogue>
<character>HOLMES</character>
<dialogue>Then they'd really talk.</dialogue>
<character>WATSON</character>
<parenthetical>( starts pacing . )</parenthetical>
<dialogue>Obviously, we can not continue to live under the same roof. We must move apart.</dialogue>
<character>HOLMES</character>
<dialogue>Of course, we can still see each other clandestinely - on remote benches in Hyde Park, and in the waiting rooms of suburban railway stations -</dialogue>
<character>WATSON</character>
<parenthetical>( a change in attitude ; defiant . )</parenthetical>
<dialogue>The whole thing is ridiculous. We have nothing to hide.</dialogue>
<character>HOLMES</character>
<dialogue>That's what I've been trying to tell you.</dialogue>
<character>WATSON</character>
<dialogue>Let somebody start a rumor - just one ugly word - and we'll sue them for slander.</dialogue>
<character>HOLMES</character>
<dialogue>Nobody would dare. After all, you have an enviable record with the fair sex.</dialogue>
<character>WATSON</character>
<dialogue>Damn right. I can get women from three continents to testify for me. And you can get women to vouch for you, too - ca n't you, Holmes?</dialogue>
<scene_description>No answer from Holmes . Watson is becoming a little concerned .</scene_description>
<character>WATSON</character>
<dialogue>Can you, Holmes?</dialogue>
<character>HOLMES</character>
<dialogue>Good night, Watson.</dialogue>
<scene_description>He starts toward his bedroom .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, let me ask you a question -.</dialogue>
<parenthetical>( Holmes stops . )</parenthetical>
<dialogue>I hope I'm not being presumptuous - but there have been women in your life?</dialogue>
<character>HOLMES</character>
<dialogue>The answer is yes.</dialogue>
<parenthetical>( a relieved sigh from Watson . )</parenthetical>
<dialogue>You're being presumptuous.</dialogue>
<parenthetical>( Watson 's face falls . )</parenthetical>
<dialogue>Good night.</dialogue>
<scene_description>He walks into his bedroom , shutting the door . Watson takes a tentative step after him .</scene_description>
<character>WATSON</character>
<dialogue>Holmes.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - NIGHT</stage_direction>
<scene_description>There is a cheery fire burning in the grate . Holmes is stretched out full - length on the couch , playing a set of Corelli variations on his violin . Watson is in his usual chair , reading the Evening Standard .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>What, indeed, was his attitude toward women? Was there some secret he was holding back - or was he just a thinking machine, incapable of any emotion?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - NIGHT</stage_direction>
<scene_description>Wisps of fog swirl along the street , making yellow haloes around street lamps .</scene_description>
<character>WATSON'S VOICE</character>
<dialogue>I was not to get the answer until we became involved in what I consider to be the most outrageous case in all our years together.</dialogue>
<scene_description>Out of the mist comes a hansom cab , with the dim figure of a woman visible in the passenger seat . The cab stops in front of 221B , and the driver starts to get down . From upstairs comes the faint sound of violin music .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Watson steps up to the window , pulls the curtain aside , looks down toward the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. 221B BAKER STREET - NIGHT</stage_direction>
<scene_description>The cabbie crosses the pavement , consults an address in his hand , glances up at the number of the house , then rings the bell .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - NIGHT</stage_direction>
<scene_description>Watson turns away from the window , as the BELL downstairs rings again . Holmes stops playing .</scene_description>
<character>WATSON</character>
<dialogue>Were you expecting someone?</dialogue>
<character>HOLMES</character>
<dialogue>Not at this hour.</dialogue>
<character>WATSON</character>
<dialogue>Maybe Mrs. Hudson is entertaining.</dialogue>
<character>HOLMES</character>
<dialogue>I never found her so.</dialogue>
<scene_description>Watson crosses to the door , opens it , steps out . Holmes resumes playing Corelli . VESTIBULE AND STAIRCASE - 221B BAKER STREET - NIGHT Mrs. Hudson , in a robe and night - cap , is talking to the cabbie in the open street door when Watson appears on the landing above .</scene_description>
<character>WATSON</character>
<dialogue>What is it, Mrs. Hudson?</dialogue>
<character>MRS. HUDSON</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>There's a cabbie here - he says you owe him two - and - six.</dialogue>
<character>WATSON</character>
<dialogue>For what?</dialogue>
<character>CABBIE</character>
<parenthetical>( to Watson . )</parenthetical>
<dialogue>For the fare, guv ` nor. The young lady does n't have any money.</dialogue>
<character>WATSON</character>
<dialogue>What young lady?</dialogue>
<character>CABBIE</character>
<dialogue>This one.</dialogue>
<scene_description>He reaches out the door , pulls in the young lady in question . She is in her early thirties , with strikingly handsome features , but at the moment she is somewhat worse for wear . She is wrapped in a blanket , her hair is wet , and there is a bruise on her temple . She is wearing and wedding ring and her name , we will subsequently learn , is GABRIELLE .</scene_description>
<character>WATSON</character>
<dialogue>Well. What have we here?</dialogue>
<parenthetical>( he starts down the stairs . )</parenthetical>
<dialogue>Who are you, miss? What happened to you?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( slight accent . )</parenthetical>
<dialogue>I do n't know.</dialogue>
<character>CABBIE</character>
<dialogue>That's all she keeps saying - I do n't know, I do n't know.</dialogue>
<scene_description>The violin music stops o.s. Watson has now reached the foot of the stairs .</scene_description>
<character>WATSON</character>
<dialogue>Where did she come from?</dialogue>
<character>CABBIE</character>
<dialogue>From the river. I was driving down the Embankment, just below Westminster Bridge, and there she was in the water - drowning.</dialogue>
<scene_description>Holmes appears on the landing above , violin and bow in his hand .</scene_description>
<character>CABBIE</character>
<dialogue>It was n't easy, guv ` nor - what with the cold water - and her fighting me -</dialogue>
<character>HOLMES</character>
<parenthetical>( from the upper landing . )</parenthetical>
<dialogue>Why did you bring her here?</dialogue>
<character>CABBIE</character>
<dialogue>Because I found this in her hand -.</dialogue>
<parenthetical>( gives a square of soggy cardboard to Watson . )</parenthetical>
<dialogue>- 221B Baker Street - that's right, is n't it?</dialogue>
<scene_description>Watson examines the cardboard , nods .</scene_description>
<character>HOLMES</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Young lady - what did you want at this address?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( looking up , trying to focus . )</parenthetical>
<dialogue>I do not remember.</dialogue>
<character>WATSON</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Rather perplexing, would n't you say?</dialogue>
<character>HOLMES</character>
<dialogue>Rather.</dialogue>
<character>CABBIE</character>
<dialogue>Well, gentlemen, you want her? - it's two - and - six - or shall I throw her back in the river?</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Mr. Holmes. You ca n't let him -</dialogue>
<character>HOLMES</character>
<dialogue>Watson, you'd better accept delivery.</dialogue>
<scene_description>Watson fishes some coins out of his pocket , hands them to the cabbie .</scene_description>
<character>WATSON</character>
<dialogue>Keep the change.</dialogue>
<character>CABBIE</character>
<dialogue>Thank you, guv ` nor.</dialogue>
<scene_description>He snatches the blanket off Gabrielle , revealing that her dress is clinging to her damply .</scene_description>
<character>CABBIE</character>
<dialogue>No extra charge for the use of the horse - blanket.</dialogue>
<scene_description>He exits into the street , shutting the door . Gabrielle hugs herself for warmth .</scene_description>
<character>WATSON</character>
<dialogue>You're shivering, my dear.</dialogue>
<parenthetical>( he puts his arm around her . )</parenthetical>
<dialogue>Come along. Let me get you out of those wet clothes.</dialogue>
<scene_description>He starts to lead her up the stairs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - NIGHT</stage_direction>
<scene_description>The cabbie has tossed the blanket into the hansom , and is mounting the driver 's seat . Across the street , a man steps out of the fog into a pool of light cast by one of the street lamps . He is a craggy - faced Prussian of about fifty , and his name is VON TIRPITZ . He looks up toward the Holmes flat . As the hansom makes a U - turn and comes abreast of him , he hops into the cab . The hansom disappears into the fog .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - NIGHT</stage_direction>
<scene_description>Watson is leading Gabrielle to a chair by the fireplace . Holmes is putting his violin down on the table .</scene_description>
<character>WATSON</character>
<dialogue>Sit here, my dear.</dialogue>
<scene_description>He settles her in the chair . Holmes comes over , plucks the square of cardboard from Watson 's hand .</scene_description>
<character>WATSON</character>
<dialogue>She's suffering from shock and exposure.</dialogue>
<scene_description>He starts to massage her wrists to restore her circulation . Holmes is examining the soggy cardboard . On one side is their address , written in pencil . He turns it over , disclosing some smudges of green ink on the other side .</scene_description>
<character>HOLMES</character>
<dialogue>There was some printing on the back of this - but it seems to have come off in the water.</dialogue>
<scene_description>Watson is now studying the bruise on Gabrielle 's temple .</scene_description>
<character>WATSON</character>
<dialogue>Look at this - she's had a nasty blow on the head.</dialogue>
<character>HOLMES</character>
<dialogue>Could she have hit her head when she fell or jumped into the river?</dialogue>
<character>WATSON</character>
<dialogue>No. The blood has already coagulated. So it would appear that she was the victim of a deliberate attack. Get my bag, will you?</dialogue>
<scene_description>As Holmes fetches the medical bag , Gabrielle looks from one to the other .</scene_description>
<character>GABRIELLE</character>
<dialogue>Who are you?</dialogue>
<character>WATSON</character>
<dialogue>I'm Dr. Watson - and this is Mr. Sherlock Holmes. Do the names mean anything to you?</dialogue>
<character>GABRIELLE</character>
<dialogue>No.</dialogue>
<character>WATSON</character>
<dialogue>Think.</dialogue>
<character>GABRIELLE</character>
<dialogue>I'm trying.</dialogue>
<character>HOLMES</character>
<dialogue>Can you think of your own name?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( a beat , then shakes her head . )</parenthetical>
<dialogue>No.</dialogue>
<character>WATSON</character>
<dialogue>She's obviously had a concussion - which often leads to temporary amnesia.</dialogue>
<scene_description>He has now taken some cotton and a bottle of antiseptic out of the medical bag , and is swabbing her wound .</scene_description>
<character>HOLMES</character>
<dialogue>So all we know is that she was coshed on the head, dumped into the Thames, and subsequently dumped into our laps.</dialogue>
<character>WATSON</character>
<dialogue>We know a lot more than that. From her accent, we know she is foreign - from her ring, we know she is married - and there is one other clue we have. Something I deduced while I was helping her up the stairs. No corset.</dialogue>
<character>HOLMES</character>
<dialogue>Good work.</dialogue>
<scene_description>He glances down at Gabrielle 's shoe , which has slipped off her foot . Inside , slightly worn away , are the words : LA FEMME ELEGANTE .</scene_description>
<character>HOLMES</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Are you French?</dialogue>
<parenthetical>( in Berlitz French . )</parenthetical>
<dialogue>Vous etes Francaise?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( concentrating - then . )</parenthetical>
<dialogue>Non, je ne suis pas Francaise.</dialogue>
<character>WATSON</character>
<dialogue>How can she say she's not French, in French?</dialogue>
<character>HOLMES</character>
<dialogue>Vous etes Suisse?</dialogue>
<character>GABRIELLE</character>
<dialogue>Non.</dialogue>
<character>HOLMES</character>
<dialogue>Alors, vous etes Belge.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( haltingly . )</parenthetical>
<dialogue>Je suis pas sure.</dialogue>
<scene_description>Holmes reaches behind her , turns back the collar of her dress . Sewn inside is a label reading : BAZAAR MODERN , Bruxelles .</scene_description>
<character>HOLMES</character>
<dialogue>Vous etes Belge - de Bruxelles!</dialogue>
<character>GABRIELLE</character>
<dialogue>Bruxelles? Oui. Je pense que oui.</dialogue>
<scene_description>Mrs. Hudson has come in with a loaded tea - tray , starts to put it down on the table .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Oh, dash. Will someone remove the violin, please?</dialogue>
<scene_description>Watson takes the violin off the table , and she sets down the tray .</scene_description>
<character>WATSON</character>
<dialogue>We just found out that she's Belgian.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Poor thing.</dialogue>
<character>WATSON</character>
<dialogue>From Brussels.</dialogue>
<character>HOLMES</character>
<parenthetical>( taking Gabrielle 's hand . )</parenthetical>
<dialogue>If you do n't mind.</dialogue>
<scene_description>He slips the wedding ring off her finger , picks up a magnifying glass , examines it . It is made of copper , and engraved on the inside is the inscription : Gabrielle - Emile .</scene_description>
<character>HOLMES</character>
<dialogue>Your name is Gabrielle, is that right? Gabrielle?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't know.</dialogue>
<character>HOLMES</character>
<dialogue>And your husband's name is Emile?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( vaguely . )</parenthetical>
<dialogue>Emile.</dialogue>
<character>HOLMES</character>
<dialogue>Where is he? What are you doing in London?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't know.</dialogue>
<character>HOLMES</character>
<dialogue>When did you arrive from Brussels? Where are you staying?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't know.</dialogue>
<character>HOLMES</character>
<dialogue>What happened at the river? Think! Pensez! Concentrez vous!</dialogue>
<scene_description>Gabrielle bursts into sobs .</scene_description>
<character>WATSON</character>
<parenthetical>( stepping forward . )</parenthetical>
<dialogue>That's enough, Holmes. I will not permit you to question her in this condition.</dialogue>
<parenthetical>( helps the sobbing Gabrielle out of the chair . )</parenthetical>
<dialogue>Mrs. Hudson, put her to bed. My bed.</dialogue>
<parenthetical>( Mrs. Hudson gives him a look . )</parenthetical>
<dialogue>I'll sleep on the couch.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Come, my dear.</dialogue>
<scene_description>She puts her arm around Gabrielle , who is still crying , leads her into Watson 's bedroom .</scene_description>
<character>WATSON</character>
<dialogue>I'd better mix her a sleeping potion.</dialogue>
<scene_description>He gets a packet of white powder out of his medical bag , and during the following , stirs a spoonful into her tea - cup .</scene_description>
<character>HOLMES</character>
<dialogue>Watson, I think we should arrange to have her removed to a hospital.</dialogue>
<character>WATSON</character>
<dialogue>Under no circumstances.</dialogue>
<character>HOLMES</character>
<dialogue>She should have medical attention.</dialogue>
<character>WATSON</character>
<dialogue>She can get that from me. But more importantly, she must be protected - there has already been one attempt on her life.</dialogue>
<character>HOLMES</character>
<dialogue>This temporary amnesia - how temporary is it?</dialogue>
<character>WATSON</character>
<dialogue>It depends on the extent of the injury. It's like veils shrouding her memory. It could clear up in a few days - or a few weeks.</dialogue>
<character>HOLMES</character>
<dialogue>Watson, this is a very small flat - we do n't want to clutter it up with women.</dialogue>
<character>WATSON</character>
<dialogue>Holmes, we've never had a case like this. A woman comes to us with a problem - we do n't know who the woman is - and we do n't know what the problem is. Do n't you find that challenging?</dialogue>
<character>HOLMES</character>
<dialogue>Quite. But we ca n't afford to wait for those veils to lift - we must break through them as quickly as possible.</dialogue>
<character>WATSON</character>
<dialogue>You really feel it's that urgent?</dialogue>
<character>HOLMES</character>
<dialogue>I do. The sooner we solve the case, the sooner we can get rid of her.</dialogue>
<character>WATSON</character>
<dialogue>Oh.</dialogue>
<scene_description>He picks up the cup of tea with the sedative in it , carries it toward the door of his bedroom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAWN</stage_direction>
<scene_description>The street lamps are still lit . A policeman , on patrol duty , is strolling along the sidewalk , swinging his truncheon . Suddenly he sees something up ahead . Alarmed , he ducks into the doorway of a building , flattens himself against the door . From the opposite direction comes a horse - drawn water - sprinkling wagon . The spray covers the sidewalks as well as the street . The policeman waits till the wagon is past , then steps out of the doorway relieved , resumes his patrol .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAWN</stage_direction>
<scene_description>Watson is asleep on the couch , covered with a blanket . He does n't look as if he were in a very comfortable position .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLMES' BEDROOM - DAWN</stage_direction>
<scene_description>Holmes , in a dressing gown , is standing by the window , studying the square of cardboard with the green smudges on it . His bed has not been slept in .</scene_description>
</scene>
<scene>
<stage_direction>INT. WATSON'S BEDROOM - DAWN</stage_direction>
<scene_description>Gabrielle is asleep in Watson 's bed . The door opens slowly , and Holmes looks in . He studies the sleeping Gabrielle for a moment , then quietly pulls the door shut . As the latch clicks into place , Gabrielle awakes and sits up in bed , her back to CAMERA . She is nude .</scene_description>
<character>GABRIELLE</character>
<dialogue>Emile?</dialogue>
<scene_description>She starts to get out of bed .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLMES' BEDROOM - DAWN</stage_direction>
<scene_description>Holmes is back in his room , once more examining the cardboard by the light of the window . The door of Watson 's bedroom opens , and Gabrielle comes out .</scene_description>
<character>GABRIELLE</character>
<dialogue>Emile?</dialogue>
<scene_description>Holmes looks up as Gabrielle appears in the open doorway .</scene_description>
<character>GABRIELLE</character>
<dialogue>Emile? Is that you, Emile?</dialogue>
<character>HOLMES</character>
<parenthetical>( stepping into shadow . )</parenthetical>
<dialogue>Yes, Gabrielle.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( hurrying toward him . )</parenthetical>
<dialogue>Ah, Emile. I thought I'd never find you.</dialogue>
<parenthetical>( embracing him . )</parenthetical>
<dialogue>Hold me. Hold me tight.</dialogue>
<parenthetical>( Holmes puts his arms around her . )</parenthetical>
<dialogue>It's been such a long time. So many nights. You know what I did before I left Brussels?</dialogue>
<character>HOLMES</character>
<dialogue>What?</dialogue>
<character>GABRIELLE</character>
<dialogue>I hope you wo n't be angry with me. I bought myself an expensive negligee.</dialogue>
<character>HOLMES</character>
<dialogue>Did you?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( moving toward bed . )</parenthetical>
<dialogue>A pink negligee with maribou feathers. Do n't you think that's a foolish thing for a married woman?</dialogue>
<parenthetical>( she gets into bed , beckons to him . )</parenthetical>
<dialogue>Come.</dialogue>
<character>HOLMES</character>
<dialogue>Where is the negligee?</dialogue>
<character>GABRIELLE</character>
<dialogue>In my luggage. Come here.</dialogue>
<character>HOLMES</character>
<parenthetical>( moving toward her . )</parenthetical>
<dialogue>And where is your luggage?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>I do n't know. Come, my love. Come. Please.</dialogue>
<scene_description>As she extends her right hand to him , in a beckoning gesture , Holmes notices something on the palm . He takes her hand in his . There , in the same green ink as the smudges on the cardboard , are what appear the be the letters `` I '' , `` O '' , and Greek `` E '' . Crossing to the wash - stand , he picks up his magnifying shaving mirror , returns to the bed , holds it up against the palm of Gabrielle 's hand .</scene_description>
<character>GABRIELLE</character>
<dialogue>What is it, Emile? What are you doing?</dialogue>
<scene_description>Clearly reflected in the mirror is the reverse image of the lettering on Gabrielle 's palm - the number `` 301 '' .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAY</stage_direction>
<scene_description>The table is set for breakfast , and Mrs. Hudson is opening the curtains , flooding the room with sunlight . Then she moves over to the couch , where Watson is sleeping in an awkward position .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Dr. Watson!</dialogue>
<parenthetical>( she claps her hands and he wakes up . )</parenthetical>
<dialogue>Your porridge is getting lumpy. Had n't you better get up?</dialogue>
<scene_description>Watson tries to rise , falls back with a moan .</scene_description>
<character>WATSON</character>
<dialogue>I would like to very much. But -.</dialogue>
<parenthetical>( he turns over on his stomach . )</parenthetical>
<dialogue>Mrs. Hudson, would you mind planting your knee in the small of my back?</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Yes, I would.</dialogue>
<character>WATSON</character>
<dialogue>Please! I'm in excruciating pain.</dialogue>
<scene_description>Mrs. Hudson tentatively rests her knee on Watson 's back .</scene_description>
<character>WATSON</character>
<dialogue>A bit higher - just below my seventh vertebra -.</dialogue>
<parenthetical>( Mrs. Hudson follows instructions . )</parenthetical>
<dialogue>That's good. Put your arms under mine - fold them behind my neck -</dialogue>
<scene_description>Mrs. Hudson presses down harder , and there is a distinct snap .</scene_description>
<character>WATSON</character>
<dialogue>Bless you.</dialogue>
<parenthetical>( he rises , rubbing his neck . )</parenthetical>
<dialogue>That damn couch.</dialogue>
<parenthetical>( crossing to table . )</parenthetical>
<dialogue>You'd better see if our patient is awake.</dialogue>
<scene_description>He seats himself at the table . Mrs. Hudson crosses to the door of Watson 's bedroom , opens it , starts inside , then stops .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Dr. Watson. She's gone.</dialogue>
<character>WATSON</character>
<dialogue>Gone?</dialogue>
<scene_description>He jumps up from the table , joins Mrs. Hudson , looks past her . The bed is empty . Gabrielle 's clothes are in evidence , but there is no sign of her . Watson strides towards Holmes ' bedroom .</scene_description>
<character>WATSON</character>
<dialogue>Holmes! Holmes! She's gone!</dialogue>
<scene_description>He throws the door open , is about to step inside when he sees something that makes him freeze .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLMES' BEDROOM - DAY</stage_direction>
<scene_description>Gabrielle is asleep in Holmes ' bed , covered by just a sheet , and obviously naked underneath . Holmes is not in the room . Mrs. Hudson comes up behind Watson , in the open doorway , peers over his shoulder .</scene_description>
<character>MRS. HUDSON</character>
<parenthetical>( scandalized . )</parenthetical>
<dialogue>Well, I never!</dialogue>
<scene_description>There is the sound of the hall door opening , and they both turn .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Holmes breezes in , carrying a large suitcase , with leather straps around it . Tucked under the straps is a white parasol . And attached to the handle of the suitcase is a cardboard tag with the number 301 on it , in green .</scene_description>
<character>HOLMES</character>
<parenthetical>( inhaling deeply . )</parenthetical>
<dialogue>Mmmmm. I smell porridge. Lumpy as usual, I suppose.</dialogue>
<scene_description>He sets the suitcase down on the couch , as Watson and Mrs. Hudson approach .</scene_description>
<character>WATSON</character>
<dialogue>Oh, there you are, Holmes. We were just wondering - how -.</dialogue>
<parenthetical>( points from his bedroom to Holmes ' . )</parenthetical>
<dialogue />
<character>MRS. HUDSON</character>
<parenthetical>( sternly . )</parenthetical>
<dialogue>We certainly were.</dialogue>
<character>HOLMES</character>
<dialogue>Mrs. Hudson, why do n't you go down to the kitchen - get a towel - and wipe that look of disapproval off your face.</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Liberties - in my house!</dialogue>
<scene_description>She exits huffily .</scene_description>
<character>WATSON</character>
<dialogue>You ca n't really blame her - I mean, the way it looks - if I did n't know you better, I might suspect you'd taken advantage of the young lady.</dialogue>
<character>HOLMES</character>
<dialogue>As a matter of fact, I did take advantage of her. Would you hand me the butter - knife, please?</dialogue>
<character>WATSON</character>
<dialogue>Of course.</dialogue>
<scene_description>He picks up the butter - knife from the table , suddenly turns back with a delayed reaction .</scene_description>
<character>WATSON</character>
<dialogue>You did what?</dialogue>
<character>HOLMES</character>
<parenthetical>( taking butter - knife from him . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>He starts to pry open the locks of the suitcase with the butter - knife .</scene_description>
<character>WATSON</character>
<parenthetical>( spluttering . )</parenthetical>
<dialogue>Holmes, this is reprehensible! Where are your professional ethics? Have you no sense of decency, no shame -</dialogue>
<character>HOLMES</character>
<dialogue>None whatsoever. If you must know, I found her body quite rewarding.</dialogue>
<character>WATSON</character>
<dialogue>You cad!</dialogue>
<character>HOLMES</character>
<dialogue>Especially the palm of her right hand.</dialogue>
<character>WATSON</character>
<dialogue>I'd rather not hear about it!</dialogue>
<character>HOLMES</character>
<dialogue>Very well. Then I wo n't bother to tell you how I traced her suitcase.</dialogue>
<character>WATSON</character>
<dialogue>That's her suitcase?</dialogue>
<character>HOLMES</character>
<dialogue>Remember that piece of soggy cardboard with our address on it? It was a luggage ticket - the number rubbed off on her hand. And since she must have arrived from Brussels by the boat train, I concluded that she had checked her belongings at Victoria Station.</dialogue>
<character>WATSON</character>
<dialogue>By Jove! If you're right, we should find a clue to her identity.</dialogue>
<scene_description>Holmes has now forced open the locks .</scene_description>
<character>HOLMES</character>
<dialogue>Or at least a pink negligee with maribou feathers.</dialogue>
<scene_description>He opens the suitcase , lifts out the top piece of clothing , holds it up - a pink negligee with maribou feathers .</scene_description>
<character>HOLMES</character>
<dialogue>Voila!</dialogue>
<character>WATSON</character>
<dialogue>Let's see - what else is in here?</dialogue>
<scene_description>They start sorting through the clothes in the suitcase . Holmes removes a tied bundle of letters .</scene_description>
<character>HOLMES</character>
<dialogue>Now we're getting somewhere.</dialogue>
<scene_description>As he examines the envelope , Watson takes out a framed photo of a rather attractive man of fifty .</scene_description>
<character>WATSON</character>
<dialogue>Who do you suppose this is?</dialogue>
<scene_description>Gabrielle appears from Holmes ' bedroom wearing Holmes ' dressing gown . She is unsteady on her feet and somewhat dazed . Holmes looks up .</scene_description>
<character>HOLMES</character>
<dialogue>Come in, Madame Valladon.</dialogue>
<parenthetical>( Gabrielle stops . )</parenthetical>
<dialogue>You are Gabrielle Valladon.</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes.</dialogue>
<character>HOLMES</character>
<parenthetical>( holding up photo . )</parenthetical>
<dialogue>And this is your husband, Emile Valladon?</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes.</dialogue>
<scene_description>Her eyes fall on the open suitcase .</scene_description>
<character>HOLMES</character>
<dialogue>Sorry to have ransacked your valise. But since you came to us for help -</dialogue>
<character>GABRIELLE</character>
<dialogue>Where am I?</dialogue>
<character>WATSON</character>
<dialogue>221B Baker Street.</dialogue>
<character>GABRIELLE</character>
<dialogue>Oh, yes.</dialogue>
<parenthetical>( a beat , as she orients herself . )</parenthetical>
<dialogue>Which of you is Mr. Holmes and which is Dr. Watson?</dialogue>
<character>HOLMES</character>
<dialogue>Dr. Watson is the handsome one.</dialogue>
<scene_description>Watson , pleased , twirls the end of his mustache . Gabrielle sways slightly .</scene_description>
<character>HOLMES</character>
<dialogue>That's the way he affects most women.</dialogue>
<scene_description>He helps her into a chair .</scene_description>
<character>WATSON</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Coffee. You want strong coffee.</dialogue>
<scene_description>He hurries over to the breakfast table .</scene_description>
<character>GABRIELLE</character>
<dialogue>It's all so confusing.</dialogue>
<character>HOLMES</character>
<dialogue>Let's try to sort it out. You came to London looking for your husband.</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes. He's a mining engineer. We were married five years ago, in the Congo.</dialogue>
<character>HOLMES</character>
<dialogue>Where your husband was working in a copper mine.</dialogue>
<character>GABRIELLE</character>
<dialogue>How did you know?</dialogue>
<character>HOLMES</character>
<dialogue>Your wedding ring - it's made of copper.</dialogue>
<scene_description>He picks it up from the chemistry table , hands it to her . Gabrielle starts to put it on .</scene_description>
<character>GABRIELLE</character>
<dialogue>Last year he invented a new kind of air pump, and was hired by an English company, Jonah Limited.</dialogue>
<character>WATSON</character>
<parenthetical>( handing her cup of of coffee . )</parenthetical>
<dialogue>Here you are.</dialogue>
<character>HOLMES</character>
<dialogue>Jonah Limited. Go on.</dialogue>
<character>GABRIELLE</character>
<dialogue>We've been writing to each other regularly. Then suddenly, three weeks ago, his letters stopped. I kept writing. but no answer. Finally I decided to go to that address -</dialogue>
<scene_description>She indicates the bundle of letters . Holmes glances at the return address on the back of the envelope .</scene_description>
<character>HOLMES</character>
<dialogue>32 Ashdown Street.</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes. It's just an empty store - nobody there. Then I tried to find Jonah Limited. No such company exists.</dialogue>
<character>WATSON</character>
<dialogue>How decidedly odd.</dialogue>
<character>HOLMES</character>
<dialogue>Madame Valladon, can you think of any reason why your husband should have lied to you about theses things?</dialogue>
<character>GABRIELLE</character>
<dialogue>Emile? Never. He loves me - and I love him.</dialogue>
<character>HOLMES</character>
<dialogue>So I gathered.</dialogue>
<character>GABRIELLE</character>
<dialogue>I went to the police - they said they would send out a missing persons report - but they did n't sound too encouraging. Then I went to the Belgian embassy and explained the situation to them - and they suggested that I consult you.</dialogue>
<character>WATSON</character>
<dialogue>You could have done worse.</dialogue>
<character>GABRIELLE</character>
<dialogue>I was on my way here - and suddenly there were footsteps behind me - and a hand over my mouth - and the smell of choloroform - and the next thing I knew I was in the water - and then a man was wrapping me in a blanket -</dialogue>
<character>HOLMES</character>
<dialogue>Madame Valladon, somebody tried to kill you last night. Do you have any idea who could have done it?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't understand any of it.</dialogue>
<parenthetical>( rises , goes to Holmes . )</parenthetical>
<dialogue>What does it all mean, Mr. Holmes? Where is my husband? You must help me find him.</dialogue>
<character>WATSON</character>
<dialogue>We'll do our best, I assure you.</dialogue>
<character>HOLMES</character>
<dialogue>Madame Valladon, I want you to send one more letter to your husband.</dialogue>
<scene_description>He crosses to the desk , picks up a sheet of paper and an envelope , then leads Gabrielle over to the chair with the writing arm , seats her in it .</scene_description>
<character>HOLMES</character>
<dialogue>To Emile Valladon - Ashdown Street - what was that number?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( addressing envelope . )</parenthetical>
<dialogue>32. What do you want me to say in the letter?</dialogue>
<character>HOLMES</character>
<dialogue>Nothing.</dialogue>
<scene_description>He folds the blank sheet of paper , and as Gabrielle finishes addressing the envelope , he inserts the paper in it , starts to seal it .</scene_description>
<character>WATSON</character>
<dialogue>You're sending an empty sheet of paper to an empty shop?</dialogue>
<character>HOLMES</character>
<dialogue>That empty shop is obviously being used as an accomodation address, or letter - drop. But what gets dropped must be picked up. The question is how? - and by whom? - and why?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHDOWN STREET - DAY</stage_direction>
<scene_description>This is a run - down district in the northwestern part of London . On the corner is No. 32 - a dilapidated abandoned shop , with windows painted halfway up . As CAMERA APPROACHES the building , we hear sawing from inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. EMPTY SHOP - DAY</stage_direction>
<scene_description>It is dusty , cobwebby , quite forbidding . In the rear wall is a closed sliding door , indented about a foot into the shop . Nearby stands a large , square object , covered with a tarpaulin . High up in the rear wall is a slanted skylight , fitted with an iron grill . From outside , Holmes , in deerstalker and Inverness , can be seen sawing through the iron bars . Watson and Gabrielle are beside him .</scene_description>
<character>HOLMES</character>
<dialogue>Hammer. Chisel.</dialogue>
<scene_description>Watson hands him the indicated tools . Holmes chips away the cement from the top and bottom of the last bar , then using it as a hinge , swings the grill open . He lets himself through the skylight , drops to the floor . Watson now helps Gabrielle through the skylight , lowers her toward Holmes , who puts his arms around her waist , eases her to the floor . For a brief moment he keeps his arms around her . Watson has now squeezed through the skylight .</scene_description>
<character>WATSON</character>
<dialogue>Here!</dialogue>
<scene_description>He hands the tools to Holmes , jumps to the floor . Gabrielle is looking around the shop .</scene_description>
<character>GABRIELLE</character>
<dialogue>It's so strange to think I've been writing to a place like this all these months.</dialogue>
<scene_description>Watson crosses to the square tarpaulin - covered object . He lifts up one corner of the tarp - and is greeted by a loud twittering of birds . What he has uncovered is a large cage - and about a hundred canaries , suddenly disturbed , are flapping around unside .</scene_description>
<character>WATSON</character>
<dialogue>Look at all these canaries. Do you suppose this could have been a pet shop?</dialogue>
<character>HOLMES</character>
<dialogue>Maybe.</dialogue>
<parenthetical>( pointing off . )</parenthetical>
<dialogue>Here comes our letter.</dialogue>
<scene_description>Through the front window , the silhouette of a postman can be seen approaching . He drops a letter through the slot in the front door , moves on . The letter lands on a section of floor which is solidly covered with dust - except for a series of double tracks , running to the door and curving back .</scene_description>
<character>HOLMES</character>
<dialogue>Now we are faced with the most nerve - wracking part of the detective's job - doing nothing.</dialogue>
<scene_description>He reassembles the three tools , fitting each section into another , to form a cane .</scene_description>
<character>GABRIELLE</character>
<dialogue>Mr. Holmes -</dialogue>
<character>HOLMES</character>
<dialogue>Yes?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't know how I'm going to pay you for all this. The purse with my money is somewhere at the bottom of the Thames.</dialogue>
<character>HOLMES</character>
<dialogue>It could be worse. You could be at the bottom of the Thames - much to your discomfort - and much to my chagrin.</dialogue>
<character>WATSON</character>
<dialogue>I do n't understand how anybody picks up letters here.</dialogue>
<parenthetical>( pointing . )</parenthetical>
<dialogue>No footprints - just tracks. What does it mean?</dialogue>
<character>HOLMES</character>
<dialogue>I would surmise somebody is using ice - skates - if it were n't for a conspicuous absence of ice.</dialogue>
<scene_description>They become aware of a squeaking noise outside the rear of the shop , growing louder as it gets nearer . The noise stops , there is the sound of a lock turning , then the rattle of a chain .</scene_description>
<character>WATSON</character>
<parenthetical>( in a frantic whisper . )</parenthetical>
<dialogue>What do we do now?</dialogue>
<character>HOLMES</character>
<parenthetical>( unfazed . )</parenthetical>
<dialogue>This way.</dialogue>
<scene_description>He leads Gabrielle and Watson toward the rear wall , right next to the door . They flatten themselves with their backs to the wall , just as the door slides open - concealing them from view . Revealed is the mews behind the shop . In the door is an old BIDDY with straggly hair , sitting in a wheelchair . In her lap are a bulky paper bag and a tin pitcher filled with water . As she wheels herself inside , the unoiled wheelchair squeaks loudly . She stops in front of the cage , pulls on a rope which runs through a pulley in the ceiling - and the tarpaulin rises into the air , exposing the canaries .</scene_description>
<character>WOMAN IN WHEELCHAIR</character>
<parenthetical>( addressing birds . )</parenthetical>
<dialogue>Good morning, my pretties. Here's Mum with your breakfast. Did you think I'd forgotten you?</dialogue>
<scene_description>She pours grain from the paper bag into a feeder hanging inside the cage , pours water from the pitcher into a trough .</scene_description>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>Some of you will be going on a little trip soon - I hate to lose you - but even an old woman has to live. Although you might well ask, why?</dialogue>
<scene_description>She cackles to herself , glances toward the front door .</scene_description>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>Oh. You never told me we had a letter.</dialogue>
<scene_description>She starts to wheel herself toward the front of the shop . Through a crack in the door behind which our three are hiding , we see Holmes ' eye watching her . The old woman reaches the letter , picks it up , studies the address . Then she hears something , glances toward the open rear door . A horse - drawn wagon with a canvas top is just pulling into the mews . Two CARTERS jump down from the driver 's seat , and one of them takes a small bird - cage from the back of the wagon . As they start in through the door , the old woman drops the letter into her lap , wheels herself toward them .</scene_description>
<character>FIRST CARTER</character>
<dialogue>Morning, Duchess.</dialogue>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>Morning.</dialogue>
<character>SECOND CARTER</character>
<dialogue>What have you been doing with yourself?</dialogue>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>What do you think? Taking dancing lessons.</dialogue>
<parenthetical>( she stops in front of the cage . )</parenthetical>
<dialogue>How many do you want this time?</dialogue>
<character>FIRST CARTER</character>
<dialogue>Two dozen.</dialogue>
<scene_description>He opens the door of the small cage , the bottom of which is covered with newspaper , starts transferring canaries into it from the large cage .</scene_description>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>What are they doing with all those canaries? What's going on up there?</dialogue>
<character>SECOND CARTER</character>
<dialogue>Look, Duchess, we do n't know - and we do n't want to know.</dialogue>
<character>FIRST CARTER</character>
<dialogue>When you work for Jonah, it's better not to ask questions.</dialogue>
<scene_description>Through the crack in the door behind which he is hidden , we see Holmes ' eye studying the small bird cage , as the canaries are being transferred into it . We MOVE IN CLOSE on the small cage , and see the soiled newspaper spread on the bottom . The masthead reads : INVERNESS COURIER .</scene_description>
<character>FIRST CARTER</character>
<parenthetical>( counting as he transfers canaries . )</parenthetical>
<dialogue>. twenty - two, twenty - three, twenty - four.</dialogue>
<scene_description>He closes the doors of the cages , picks up the small cage . His companion indicates the letter in the woman 's lap .</scene_description>
<character>SECOND CARTER</character>
<dialogue>How about that letter? Does that go, too?</dialogue>
<character>WOMAN IN WHEELCHAIR</character>
<dialogue>No. That's going to be picked up in person.</dialogue>
<scene_description>She chuckles . The carriers exit into the mews , stash the cage in the back of the wagon , mount the driver 's seat .</scene_description>
<character>WOMAN IN WHEELCHAIR</character>
<parenthetical>( to birds . )</parenthetical>
<dialogue>All right, my pretties. Back to sleep you go. See you tomorrow.</dialogue>
<scene_description>She pulls the rope and the tarpaulin drops back over the cage . Then she deposits the letter on top of the covered cage , wheels herself out the rear door . As she slides it shut from outside , our trio is revealed in their hiding places behind the door . There is the sound of the chain rattling , the lock snapping , and the squeaky wheels moving off .</scene_description>
<character>WATSON</character>
<parenthetical>( a sigh of relief . )</parenthetical>
<dialogue>I really thought we were done for.</dialogue>
<character>HOLMES</character>
<parenthetical>( casually . )</parenthetical>
<dialogue>The art of concealment, my dear Watson, is merely a matter of being in the right place at the right time.</dialogue>
<scene_description>They step forward , and through the painted shop window watch the old woman wheel herself down the street .</scene_description>
<character>GABRIELLE</character>
<dialogue>Did you hear what she said? You really think Emile is going to pick up the letter himself?</dialogue>
<character>HOLMES</character>
<dialogue>It certainly would simplify things, would n't it?</dialogue>
<character>WATSON</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Maildrops and canaries and wheelchairs. And what was all that about Jonah? And what do you suppose they're doing up there? And where is up there?</dialogue>
<character>HOLMES</character>
<dialogue>My guess would be Scotland. Inverness, to be more precise.</dialogue>
<character>WATSON</character>
<dialogue>Inverness?</dialogue>
<character>HOLMES</character>
<dialogue>Did n't you notice the paper at the bottom of their cage? The Inverness Courier.</dialogue>
<scene_description>Gabrielle glances casually at the letter the old woman left lying on top of the cage , and her expression changes .</scene_description>
<character>GABRIELLE</character>
<dialogue>Mr. Holmes! This letter -.</dialogue>
<parenthetical>( she picks it up . )</parenthetical>
<dialogue />
<character>HOLMES</character>
<dialogue>What about it?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( holding it out to him . )</parenthetical>
<dialogue>It's addressed to you.</dialogue>
<scene_description>Holmes takes the letter , examines the envelope . It is indeed addressed to him .</scene_description>
<character>HOLMES</character>
<dialogue>Nevertheless -</dialogue>
<scene_description>With the saw - end of his cane , he slits the envelope open , removes the enclosure , unfolds it . We see the letter in his hand as he reads it out loud . The letterhead says : DIOGENES CLUB , St. James 's , London .</scene_description>
<character>HOLMES</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>My Dear Sherlock : I expect you and Dr. Watson to join me at the club immediately upon reciept of this note. According to my calculations, that should be at 11:40 a.m. Your brother, Mycroft.</dialogue>
<parenthetical>( looking up . )</parenthetical>
<dialogue>What time do you make it, Watson?</dialogue>
<character>WATSON</character>
<parenthetical>( consulting watch . )</parenthetical>
<dialogue>11:43.</dialogue>
<character>HOLMES</character>
<dialogue>Either your watch is wrong, or Mycroft has miscalculated. And knowing Mycroft, I suggest you reset your watch.</dialogue>
<scene_description>Watson automatcially obeys .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIOGENES CLUB - DAY</stage_direction>
<scene_description>Holmes , cane in hand , and Watson are swiftly ascending the steps of a building with an imposing Palladian facade . Beside the entrance is a discreet sign reading : DIOGENES CLUB . Members Only . As they reach the top of the steps , Watson stops Holmes .</scene_description>
<character>WATSON</character>
<dialogue>I do n't mind telling you I'm a bit apprehensive about this.</dialogue>
<character>HOLMES</character>
<dialogue>I'm rather curious myself as to what is going on in that Machiavellian mind of his.</dialogue>
<character>WATSON</character>
<dialogue>I do n't mean Mycroft, I mean Madame Valladon.</dialogue>
<character>HOLMES</character>
<dialogue>Do n't worry. She's perfectly safe with Mrs. Hudson.</dialogue>
<scene_description>He opens the door and they start in .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY - DIOGENES CLUB - DAY</stage_direction>
<scene_description>Dominating the lobby is a large statue of Queen Victoria . Presiding over the reception desk is a uniformed PORTER of military bearing , with one arm and a chest full of campaign ribbons . Holmes and Watson stride in .</scene_description>
<character>HOLMES</character>
<parenthetical>( to porter . )</parenthetical>
<dialogue>To see Mr. Mycroft Holmes.</dialogue>
<character>PORTER</character>
<dialogue>Right you are. He's expecting you in the upstairs study. Now if you gentlemen will sign in -.</dialogue>
<parenthetical>( opens leather - bound register , turns it toward them . )</parenthetical>
<dialogue>Surname, Christian name, address, nature of business -</dialogue>
<scene_description>He holds out the pen to them , but they are gone . He looks around in consternation , sees them hurrying up the majestic staircase , steps out from behind his desk .</scene_description>
<character>PORTER</character>
<dialogue>Gentlemen!</dialogue>
<scene_description>READING ROOM - DIOGENES CLUB - DAY A huge room , with more marble than a mausoleum , and just about as lively . A dozen elderly Establishment types are sunk deep in the leather armchairs , buried behind their copies of The Times . Holmes and Watson are proceeding toward the study . Suddenly Holmes stops beside one of the old fossils , who has fallen asleep in his chair , The Times in his lap , and between his fingers a lighted cigar with an ash four inches long . Holmes picks up an ashtray , holds it under the cigar - just in time to catch the falling ash . As he replaces the ashtray , he scrutinizes the ash .</scene_description>
<character>HOLMES</character>
<dialogue>Jamaican, no doubt - either Tropical or Golosina - I'm not quite sure.</dialogue>
<scene_description>He and Watson continue toward the study door .</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - DIOGENES CLUB - DAY</stage_direction>
<scene_description>It is a very elegant room - shelves of leather - bound volumes reach to the high ceiling , there are antique terrestrial and celestial gloves , scientific instruments in polished brass , marble busts of English statesmen . MYCROFT HOLMES is standing at a refectory table , with his back to the door , engaged in a curious operation . A dusty bottle of wine is held in an ingeniously engineered cradle . As he turns the crank , the bottle tilts forward gently , and he decants the wine into three glasses without disturbing the sediment . Mycroft is an impressive figure of a man , seven years older than Sherlock , impeccably dressed . Behind his snobbish airs and bantering manner , one senses tremendous reserves of strength and authority . The door opens , and Holmes and Watson enter .</scene_description>
<character>MYCROFT</character>
<parenthetical>( without turning . )</parenthetical>
<dialogue>Come in, come in, Sherlock - Dr. Watson. Sit down.</dialogue>
<parenthetical>( Holmes and Watson seat themselves . )</parenthetical>
<dialogue>You're looking very fit, both of you.</dialogue>
<character>WATSON</character>
<dialogue>Thank you.</dialogue>
<character>HOLMES</character>
<parenthetical>( putting down hat and cane . )</parenthetical>
<dialogue>And how are you, Mycroft? How's your gout?</dialogue>
<character>MYCROFT</character>
<dialogue>Under control. Except for the occasional twinge.</dialogue>
<scene_description>He brings over two of the glasses of wine to Holmes and Watson .</scene_description>
<character>MYCROFT</character>
<dialogue>I have a treat for you - a very old Madeira - 1814. There are only six bottles left in the world. I have two of them, and am negotiating for a third.</dialogue>
<character>WATSON</character>
<dialogue>If you do n't mind my saying so, anybody who's susceptible to gout should n't be -</dialogue>
<scene_description>Mycroft has moved back to the table and picked up his glass of Madeira .</scene_description>
<character>MYCROFT</character>
<dialogue>The last doctor who warned me about that was crossing Piccadilly, slipped on an orange peel, and was run over by a delivery van from the Fortnum and Mason. Your very good health.</dialogue>
<scene_description>He and Watson sip their drinks , but not Holmes .</scene_description>
<character>HOLMES</character>
<dialogue>Why are you wasting this precious stuff on us?</dialogue>
<character>MYCROFT</character>
<dialogue>Well, I see you so rarely. How long has it been? Not since the case of the Greek interpreter.</dialogue>
<parenthetical>( to Watson . )</parenthetical>
<dialogue>Is n't it ridiculous? Two brothers living in the same town.</dialogue>
<character>HOLMES</character>
<dialogue>In the same town, perhaps - but not the same world.</dialogue>
<character>WATSON</character>
<parenthetical>( taking another sip . )</parenthetical>
<dialogue>Mmmm. Superb. How old did you say it was?</dialogue>
<character>MYCROFT</character>
<dialogue>1814. One year before Waterloo.</dialogue>
<character>WATSON</character>
<dialogue>One year before Waterloo? Think of that.</dialogue>
<character>MYCROFT</character>
<dialogue>You do know where Waterloo is, do n't you, Doctor?</dialogue>
<character>WATSON</character>
<dialogue>Belgium, is n't it?</dialogue>
<character>MYCROFT</character>
<dialogue>Quite.</dialogue>
<parenthetical>( turning to Holmes . )</parenthetical>
<dialogue>And speaking of Belgium, it has come to my attention that you are interested in the whereabouts of a certain engineer.</dialogue>
<character>HOLMES</character>
<dialogue>Yes, I am.</dialogue>
<character>MYCROFT</character>
<dialogue>Well, I can save you a lot of trouble.</dialogue>
<character>HOLMES</character>
<dialogue>I'd be grateful for any suggestion -</dialogue>
<character>MYCROFT</character>
<dialogue>My suggestion is that you pursue it no further.</dialogue>
<character>HOLMES</character>
<dialogue>Any particular reason?</dialogue>
<character>MYCROFT</character>
<dialogue>Because it involves the national security. We are handling this matter ourselves.</dialogue>
<character>WATSON</character>
<dialogue>We? Who's we?</dialogue>
<character>HOLMES</character>
<dialogue>The Diogenes Club, of course.</dialogue>
<character>MYCROFT</character>
<dialogue>I did n't say that.</dialogue>
<character>HOLMES</character>
<dialogue>I have always suspected that there was some underground connection between this stodgy and seemingly calcified establishment and the Foreign Office in Whitehall.</dialogue>
<character>MYCROFT</character>
<dialogue>That's neither here nor there.</dialogue>
<character>HOLMES</character>
<dialogue>It seems to me that The Diogenes Club is here, there and everywhere. When there are rumblings of revolt in the Sudan, an expedition subsidized by your club conveniently shows up to study the source of the Nile. When there is trouble along the Indian frontier, some of your fellow members pop up in the Himalayas, alledgedly looking for the Abominable Snowman.</dialogue>
<scene_description>A YOUNG MAN in morning coat and striped trousers comes in , holding a telegram . Mycroft crosses to him .</scene_description>
<character>MYCROFT</character>
<parenthetical>( to Watson . )</parenthetical>
<dialogue>What a fertile imagination my brother has. At the age of five, by carefully observing a neighbor's house, he deduced that babies were brought not by the stork, but by the mid - wife in her satchel.</dialogue>
<character>WATSON</character>
<dialogue>As good an explanation as any.</dialogue>
<scene_description>Mycroft has taken the telegram , and is coming forward with it . The young man clears his throat .</scene_description>
<character>MYCROFT</character>
<dialogue>Yes, Wiggins?</dialogue>
<character>YOUNG MAN</character>
<dialogue>An immediate answer is requested, sir.</dialogue>
<scene_description>Mycroft inserts a monocle in his eye , opens the telegram , moves toward the desk reading it .</scene_description>
<character>MYCROFT</character>
<dialogue>Tell them that the three boxes go to Glennahurich, and the red runner goes to the castle.</dialogue>
<character>YOUNG MAN</character>
<dialogue>The three boxes to Glennahurich, the red runner to the castle. Very good, sir.</dialogue>
<scene_description>He exits . Holmes glances toward the telegram as Mycroft puts it down on his desk . Catching his look , Mycroft turns his telegram face - down , lets the monocle drop from his eye .</scene_description>
<character>HOLMES</character>
<dialogue>Why do n't you crumple it up and swallow it - to make sure.</dialogue>
<character>MYCROFT</character>
<dialogue>My dear Sherlock, there are certain affairs that do not come within the province of the private detective. They have to be dealt with on an altogether different level.</dialogue>
<character>HOLMES</character>
<dialogue>In other words, you want me to stay within my limits.</dialogue>
<character>MYCROFT</character>
<dialogue>I do indeed.</dialogue>
<character>HOLMES</character>
<dialogue>Speaking of limits, what exactly is Jonah Limited?</dialogue>
<character>MYCROFT</character>
<dialogue>Sherlock, when I said drop this case, it was not merely a suggestion - it was an order!</dialogue>
<character>HOLMES</character>
<dialogue>By whose authority?</dialogue>
<character>MYCROFT</character>
<dialogue>By the authority of Her Majesty's government. I hope I've made myself clear.</dialogue>
<character>WATSON</character>
<dialogue>Perfectly.</dialogue>
<scene_description>In his nervousness he drops his bowler , which rolls along the floor .</scene_description>
<character>MYCROFT</character>
<dialogue>Now if you'll excuse me, gentlemen -</dialogue>
<character>WATSON</character>
<dialogue>Goodbye, sir.</dialogue>
<character>HOLMES</character>
<dialogue>A pleasure, as always.</dialogue>
<scene_description>He and Watson retrieve their hats , move toward the door .</scene_description>
<character>MYCROFT</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Just a minute.</dialogue>
<parenthetical>( picks up Holmes ' cane . )</parenthetical>
<dialogue>You forgot your tool - kit.</dialogue>
<scene_description>He tosses the cane to Holmes , who catches it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAY</stage_direction>
<scene_description>Holmes and Watson are walking toward 221B . Holmes is whistling ` Loch Lomond . '</scene_description>
<character>WATSON</character>
<dialogue>You will be gentle, wo n't you, when you tell her you're dropping the case?</dialogue>
<character>HOLMES</character>
<dialogue>Watson, what does the word Glennahurich suggest to you?</dialogue>
<character>WATSON</character>
<dialogue>Absolutely nothing.</dialogue>
<character>HOLMES</character>
<dialogue>It's Scottish.</dialogue>
<character>WATSON</character>
<dialogue>Is it?</dialogue>
<character>HOLMES</character>
<dialogue>And like all Scottish names, it's really a word picture. Glen means valley, na means of the, and Hurich, if memory serves me, means yew tree.</dialogue>
<character>WATSON</character>
<dialogue>You're just trying to impress me.</dialogue>
<character>HOLMES</character>
<dialogue>So the three boxes go to the Valley of the Yew Tree.</dialogue>
<scene_description>He resumes whistling . They start to cross the street , skirting a parked hansom . Feeding the horse is the same cabbie who fished Gabrielle out of the river , and in the passenger seat is Von Tirpitz , the craggy - faced Prussian we saw before . He stares fixedly after Holmes and Watson . Holmes and Watson come up to the door of 221B , and Watson fishes his key out . Holmes is still whistling .</scene_description>
<character>WATSON</character>
<parenthetical>( singing along . )</parenthetical>
<dialogue>And I'll be in Scotland before ye.</dialogue>
<parenthetical>( breaks off , looks at Holmes apprehensively . )</parenthetical>
<dialogue>You are dropping the case, are n't you, Holmes?</dialogue>
<character>HOLMES</character>
<dialogue>Open the door.</dialogue>
<scene_description>Watson turns the key in the lock , starts to open the door , but is stopped by a chain on the inside . Through the opening a revolver appears , aiming at them point - blank .</scene_description>
<character>HOLMES</character>
<dialogue>Do n't shoot, Mrs. Hudson - you're liable to lose two excellent tenants.</dialogue>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS - 221B BAKER STEET - DAY</stage_direction>
<scene_description>Mrs. Hudson withdraws the gun , unhooks the chain . She is also holding an embroidery hoop . She opens the door , and Holmes and Watson step into the vestibule .</scene_description>
<character>MRS. HUDSON</character>
<dialogue>Oh, at last. It's been a ghastly experience.</dialogue>
<character>WATSON</character>
<dialogue>Why? What happened?</dialogue>
<character>MRS. HUDSON</character>
<dialogue>Did you ever try doing embroidery with a gun in your hand?</dialogue>
<character>HOLMES</character>
<parenthetical>( taking gun from her . )</parenthetical>
<dialogue>You'll be relieved to know it was not loaded.</dialogue>
<scene_description>He starts up the stairs , followed by Watson .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, you did n't answer my question. Are you planning to disobey Mycroft's orders? He's not just your brother, you know. You'd be defying Her Majesty's government.</dialogue>
<scene_description>No reaction from Holmes . As they reach the landing , Gabrielle is waiting for them in the open doorway of their flat .</scene_description>
<character>GABRIELLE</character>
<dialogue>Any news? Did you find out anything?</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAY</stage_direction>
<scene_description>Holmes and Watson step inside .</scene_description>
<character>HOLMES</character>
<dialogue>Let's just say I know what the next step will be.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( anxious . )</parenthetical>
<dialogue>Yes?</dialogue>
<character>HOLMES</character>
<dialogue>I want you to pack your things.</dialogue>
<character>GABRIELLE</character>
<dialogue>Where are we going?</dialogue>
<character>WATSON</character>
<dialogue>Holmes, let me caution you -</dialogue>
<scene_description>Holmes has put the gun down , and is crossing to one of the book - shelves .</scene_description>
<character>HOLMES</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>At 7:30 this evening, Dr. Watson and I are going to take you to Victoria Station, and put you on the boat - train.</dialogue>
<character>GABRIELLE</character>
<dialogue>The boat - train?</dialogue>
<character>WATSON</character>
<dialogue>Well, that's better.</dialogue>
<scene_description>Holmes has taken a railway guide from the shelf and is consulting it .</scene_description>
<character>GABRIELLE</character>
<dialogue>You're sending me back to Brussels? Is that it?</dialogue>
<character>WATSON</character>
<dialogue>Madame Valladon, you must understand.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( to Holmes , agitated . )</parenthetical>
<dialogue>I came here to find my husband - you were going to help me -</dialogue>
<character>WATSON</character>
<dialogue>Yes, my dear. But circumstances have changed -</dialogue>
<character>GABRIELLE</character>
<dialogue>The great detective! Well, maybe this case is too small for you -</dialogue>
<character>WATSON</character>
<dialogue>On the contrary. It's being handled at a much higher level -</dialogue>
<character>GABRIELLE</character>
<dialogue>Well, I wo n't go back to Brussels. Maybe you're giving up, but I'm not.</dialogue>
<parenthetical>( tears welling up in her eyes . )</parenthetical>
<dialogue>I'm going to go on looking for him. And nobody's going to stop me - even if they try to kill me.</dialogue>
<character>HOLMES</character>
<parenthetical>( looking up from railway guide . )</parenthetical>
<dialogue>Are you quite finished? If you recall, what I said was that we're going to put you on the boat - train - I did n't say you were going to stay on it.</dialogue>
<character>WATSON</character>
<dialogue>She's not?</dialogue>
<character>HOLMES</character>
<dialogue>At 7:30, Mr. Holmes and Dr. Watson will be seen waving goodbye to Madame Valladon at Victoria Station. At eight - twelve, Mr. and Mrs. Ashdown accompanied by their valet John -.</dialogue>
<parenthetical>( a glance at Watson . )</parenthetical>
<dialogue>- will appear at Euston Station, and board the Highland Express to Inverness.</dialogue>
<character>WATSON</character>
<dialogue>Mr. and Mrs?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( moving toward Holmes . )</parenthetical>
<dialogue>Thank you. I'm sorry for what I said.</dialogue>
<parenthetical>( kisses him on cheek . )</parenthetical>
<dialogue />
<character>HOLMES</character>
<dialogue>That's not necessary.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( smiling through tears . )</parenthetical>
<dialogue>I'll go and pack.</dialogue>
<scene_description>She hurries off toward Watson 's room .</scene_description>
<character>WATSON</character>
<parenthetical>( acidly . )</parenthetical>
<dialogue>Maybe I should do it, since I'm the valet.</dialogue>
<scene_description>Holmes replaces the railway guide on the shelf .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, what exactly are you up to?</dialogue>
<character>HOLMES</character>
<dialogue>As you like to put it in your chronicles, the game is afoot.</dialogue>
<character>WATSON</character>
<dialogue>But what game? Are you really that interested in the Belgian engineer?</dialogue>
<scene_description>Without answering , Holmes heads for his bedroom .</scene_description>
<character>WATSON</character>
<dialogue>Or the wife of the Belgian engineer?</dialogue>
<scene_description>Holmes , by this time in his bedroom , shuts the door . Gabrielle reappears from the other bedroom , carrying a glove .</scene_description>
<character>GABRIELLE</character>
<dialogue>You do n't like me very much, do you?</dialogue>
<scene_description>She moves toward the couch .</scene_description>
<character>WATSON</character>
<dialogue>Nothing of the sort. Quite the opposite. But there's more to this case than meets the eye -</dialogue>
<scene_description>By this time Gabrielle has picked up her parasol from the couch , and is obviously searching about .</scene_description>
<character>WATSON</character>
<dialogue>Looking for something?</dialogue>
<character>GABRIELLE</character>
<dialogue>My other glove.</dialogue>
<character>WATSON</character>
<dialogue>Let me help you.</dialogue>
<scene_description>He peers under the couch . Gabrielle moves toward the window , shakes the parasol , opens it a few times .</scene_description>
<character>WATSON</character>
<dialogue>Here it is.</dialogue>
<scene_description>He comes up from under the couch with the missing glove .</scene_description>
<character>GABRIELLE</character>
<dialogue>Thank you.</dialogue>
<scene_description>She slowly starts to shut the parasol .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAY</stage_direction>
<scene_description>Through the upstairs window of 221B we see Gabrielle shutting the parasol . CAMERA PULLS BACK TO INCLUDE the hansom parked across the street , and von Tirpitz watching . He signals to the cabbie , who is back on his perch . The cabbie flicks his whip , and the hansom takes off down the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE - NIGHT</stage_direction>
<scene_description>The Highland Express is speeding northward through the moonlit landscape , its steam whistle hooting mournfully .</scene_description>
</scene>
<scene>
<stage_direction>INT. SLEEPING COMPARTMENT - NIGHT</stage_direction>
<scene_description>The upper and lower berths have been made up in the small , gaslit compartment . Gabrielle 's dress is on a hanger , but there is no sign of her at the moment . Holmes is just pulling a night - shirt over his head .</scene_description>
<character>HOLMES</character>
<dialogue>All right. You can look now.</dialogue>
<scene_description>Gabrielle 's head appears from under the covers of the lower berth .</scene_description>
<character>GABRIELLE</character>
<dialogue>Am I embarrassing you, Mr. Holmes?</dialogue>
<character>HOLMES</character>
<dialogue>Not at all. Would it surprise you if I told you I once spent the night with 121 women?</dialogue>
<character>GABRIELLE</character>
<dialogue>Oh?</dialogue>
<character>HOLMES</character>
<dialogue>On a very interesting case - in a harem in Constantinople.</dialogue>
<scene_description>He starts to climb up the ladder to the upper berth .</scene_description>
</scene>
<scene>
<stage_direction>INT. THIRD CLASS CARRIAGE - NIGHT</stage_direction>
<scene_description>There is the normal complement of passengers , men , women and children , of the middle and lower classes . The only unusual occupants are a group of seven MONKS , in brown habits and cowls . Watson , in valet 's livery , comes down the aisle , proceeds toward a window - seat where he has left his umbrella and bowler . The resf of the bench is occupied by monks , as is the facing bench . As Watson tries to squeeze between them , he steps on the foot of one of the monks .</scene_description>
<character>WATSON</character>
<dialogue>Sorry, father - I mean, friar - or is it abbot?</dialogue>
<scene_description>There is no answer from the monk . Watson picks up his bowler , settles himself in his seat , starts to fan himself with his hat . He turns sociably to the monk beside him , who is absorbed in his Bible .</scene_description>
<character>WATSON</character>
<dialogue>Going to Scotland, you gentlemen? So are we.</dialogue>
<scene_description>As he fans himself the ear - pieces of his stethoscope , which is coiled inside the crown of his bowler , dangle down . He quickly shoves them back inside .</scene_description>
<character>WATSON</character>
<dialogue>I'm a valet. My master and mistress and I are our way to Inverness. Ever been there? Beautiful country.</dialogue>
<scene_description>The monk looks up from his Bible , points to his lips , shakes his head .</scene_description>
<character>WATSON</character>
<dialogue>Oh, forgive me. You must be one of those orders that's taken the vow of silence. Trappists, I believe you're called.</dialogue>
<scene_description>The monk does n't answer . Watson turns away , looks out the window - but there 's nothing to be seen . Then he folds , bored . He glances casually at the Bible in the monk 's hands . The Good Book is opened to a page headed : JONAH .</scene_description>
<character>WATSON</character>
<dialogue>I see you're reading the book of Jonah. Funny - we were just talking about Johan this morning.</dialogue>
<parenthetical>( realizes the hopelessness of the conversation , breaks off . )</parenthetical>
<dialogue>Never mind.</dialogue>
<scene_description>He pulls down the shade , closes his eyes , tries to compose himself into sleep .</scene_description>
</scene>
<scene>
<stage_direction>INT. SLEEPING COMPARTMENT - NIGHT</stage_direction>
<scene_description>Holmes is stretched out in the upper berth , which is in darkness . In the lower , Gabrielle is propped up against a pillow , reading a magazine by the light of a gas lamp . Other magazines are scattered across her blanket .</scene_description>
<character>GABRIELLE</character>
<dialogue>Women are never to be trusted entirely - not the best of them.</dialogue>
<scene_description>Holmes raises himself on his elbow , glances down over the edge of his berth .</scene_description>
<character>HOLMES</character>
<dialogue>What did you say?</dialogue>
<character>GABRIELLE</character>
<dialogue>I did n't say it - you did. According to Dr. Watson.</dialogue>
<character>HOLMES</character>
<dialogue>Oh.</dialogue>
<character>GABRIELLE</character>
<dialogue>He gave me some back issues of Strand Magazine.</dialogue>
<character>HOLMES</character>
<dialogue>The good doctor is constantly putting words into my mouth.</dialogue>
<character>GABRIELLE</character>
<dialogue>Then you deny it?</dialogue>
<character>HOLMES</character>
<dialogue>Not at all. I am not a whole - hearted admirer of womankind.</dialogue>
<character>GABRIELLE</character>
<dialogue>I'm not very fond of them myself.</dialogue>
<character>HOLMES</character>
<dialogue>The most affectionate woman I ever knew was a murderess.</dialogue>
<character>GABRIELLE</character>
<dialogue>Oh?</dialogue>
<character>HOLMES</character>
<dialogue>It was one of those passionate affairs - at odd hours - right in my laboratory. And all the time, behind my back, she was stealing cyanide to sprinkle on her husband's steak and kidney pie.</dialogue>
<character>GABRIELLE</character>
<dialogue>You must n't judge all women by -</dialogue>
<character>HOLMES</character>
<dialogue>Of course not. Only the ones I was involved with. And I do n't just mean professionally - kleptomaniacs, nymphomaniacs, pyromaniacs. Take my fiancee, for instance -</dialogue>
<character>GABRIELLE</character>
<dialogue>Your fiancee?</dialogue>
<character>HOLMES</character>
<dialogue>She was the daughter of my violin teacher - we were engaged to be married - the invitations were out, I was being fitted for a tail - coat - and twenty - four hours before the wedding, she died of influenza.</dialogue>
<character>GABRIELLE</character>
<dialogue>I'm sorry.</dialogue>
<character>HOLMES</character>
<dialogue>It just proves my contention that women are unreliable and not to be trusted.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Good night, Mrs. Ashdown.</dialogue>
<scene_description>He pulls the curtain across his berth .</scene_description>
<character>GABRIELLE</character>
<dialogue>Good night, Mr. Ashdown.</dialogue>
<scene_description>She closes her curtain , as the train whistle sounds .</scene_description>
</scene>
<scene>
<stage_direction>INT. THIRD CLASS CARRIAGE - NIGHT</stage_direction>
<scene_description>Most of the passengers in the car have fallen asleep , in various uncomfortable positions , including Watson . The monk beside Watson looks at him , to make sure he 's out , then rises and moves toward a monk seated apart from the others .</scene_description>
<character>MONK</character>
<parenthetical>( in a whisper . )</parenthetical>
<dialogue>Die Spur fuehrt nach Inverness. Die steigen dort aus. Dort muessen wir ihn finded - den Valladon!</dialogue>
<scene_description>The other monk looks up . Under the cowl we recognize the face of von Tirpitz .</scene_description>
</scene>
<scene>
<stage_direction>EXT. INVERNESS STATION - DAY</stage_direction>
<scene_description>The Highland Express is pulling out of the station . As the last car disappears , and the steam clears from the tracks , we see Holmes , Gabrielle and Watson on the platform . A BAGGAGEMAN is loading their luggage on a hand - cart , under Watson 's supervision .</scene_description>
<character>WATSON</character>
<dialogue>Let's see - two, three, four -</dialogue>
<scene_description>Gabrielle removes her parasol , which has been inserted under the straps of her suitcase .</scene_description>
<character>GABRIELLE</character>
<dialogue>I'll take that.</dialogue>
<character>HOLMES</character>
<parenthetical>( to baggageman . )</parenthetical>
<dialogue>How do you get to Glennahurich? How far is it?</dialogue>
<character>BAGGAGEMAN</character>
<dialogue>Glennahurich?</dialogue>
<character>WATSON</character>
<dialogue>You know - a valley - with a yew tree?</dialogue>
<scene_description>Gabrielle casually opens her parasol .</scene_description>
<character>BAGGAGEMAN</character>
<dialogue>It's about a mile out of town.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Why would you be wanting to go there?</dialogue>
<character>WATSON</character>
<dialogue>Well, if it's got a view, it might be a nice place for a picnic.</dialogue>
<character>BAGGAGEMAN</character>
<dialogue>It's got a view, right enough - but it's no place for a picnic.</dialogue>
<character>HOLMES</character>
<dialogue>Why not?</dialogue>
<character>BAGGAGEMAN</character>
<dialogue>Because it's a cemetary.</dialogue>
<scene_description>Gabrielle looks at Holmes . CAMERA PANS UP TOWARD an iron footbridge , spanning the railway tracks . Moving across it in single file are the seven cowled Trappist monks , with von Tirpitz in the lead .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GLENNAHURICH CEMETARY - DAY</stage_direction>
<scene_description>Under a leaden sky , the yew trees which give the place its name brood over ancient gravestones . Holmes , Gabrielle and Watson come down an overgrown path , stop and look off . A rather meagre funeral procession is moving along the avenue which runs between the rows of graves . It consists of one normal - size pine coffin and two smaller ones , loaded on a cart which is being wheeled by a couple of workmen . Bringing up behind is a MINISTER , with an open prayer book in his hands .</scene_description>
<character>WATSON</character>
<parenthetical>( a note of excitement . )</parenthetical>
<dialogue>The three boxes. Is that it, Holmes?</dialogue>
<character>HOLMES</character>
<dialogue>I would think so.</dialogue>
<character>GABRIELLE</character>
<dialogue>The two small ones - they must be children's coffins.</dialogue>
<scene_description>Holmes starts to cut across between the graves , Gabrielle and Watson following . At the grave - site , the workmen are removing the coffins from the cart . There is one large grave , two smaller ones . A couple of grave - diggers stand by respectfully , caps in hands . Holmes , Gabrielle and Watson come up behind a nearby headstone , stop and watch . At the grave - site , the minister is finishing the service .</scene_description>
<character>MINISTER</character>
<dialogue>earth to earth, ashes to ashes, dust to dust. In sure and certain hope of the resurrection to eternal life through our Lord, Jesus Christ. Amen.</dialogue>
<scene_description>The workmen trundle the cart off , the minister following . The grave - diggers don their caps , pick up their shovels . From their vantage point , Holmes , Gabrielle and Watson are watching .</scene_description>
<character>GABRIELLE</character>
<dialogue>It's so sad.</dialogue>
<character>HOLMES</character>
<dialogue>Sad - and rather odd. There are no flowers - and no mourners.</dialogue>
<scene_description>The grave - diggers have finished filling in the graves when Holmes , Gabrielle and Watson come up .</scene_description>
<character>HOLMES</character>
<dialogue>Morning.</dialogue>
<character>GRAVE-DIGGER</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>Morning.</dialogue>
<character>HOLMES</character>
<dialogue>Working you hard, Dad?</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>Not really. This is healthy country. Sometimes you sit around for weeks with nothing to do. Then you get three in one day.</dialogue>
<character>HOLMES</character>
<dialogue>What happened?</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>An accident. Aye. Father and two sons, they say - they were found floating in the loch.</dialogue>
<character>HOLMES</character>
<dialogue>Local people?</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>No. Nobody around here knows them. The story is that their boat capsized in a swell - but I do n't believe it.</dialogue>
<character>HOLMES</character>
<dialogue>What do you believe?</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>You may think I'm an old fool or an old drunk - but I've living around Loch Ness all my life.</dialogue>
<character>WATSON</character>
<dialogue>Are you trying to tell us it was the monster?</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>Damn right. MacLarnin saw the kids' faces when they were pulled out of the water - looked like old men - must've died of fright.</dialogue>
<character>WATSON</character>
<dialogue>Incredible.</dialogue>
<character>GRAVE-DIGGER</character>
<dialogue>Is it? Last Easter Sunday my wife and me, we were on our way to services, when suddenly. But what's the use?</dialogue>
<scene_description>He picks up a white - washed wooden cross , plants it at the head of the grave . The other grave - digger has inserted smaller crosses into the other two mounds of earth .</scene_description>
<character>HOLMES</character>
<parenthetical>( taking some coins out of his pocket . )</parenthetical>
<dialogue>Here you are, Dad.</dialogue>
<parenthetical>( hands them to the grave - digger . )</parenthetical>
<dialogue />
<character>GRAVE-DIGGER</character>
<dialogue>Thank you. You look like nice people. If you're wanting a holiday in Scotland, go to Loch Lomond, go to Holy Loch - but stay away from Loch Ness.</dialogue>
<scene_description>He and his partner shoulder their shovels , move off .</scene_description>
<character>WATSON</character>
<parenthetical>( snorting . )</parenthetical>
<dialogue>To think that people still believe in that nonsense. Here we are, living in the Nineteenth Century -</dialogue>
<character>GABRIELLE</character>
<dialogue>I'm ashamed to admit it - but I was relieved when he mentioned a father and two boys. It could possibly have anything to do with Emile.</dialogue>
<character>HOLMES</character>
<dialogue>It would appear not.</dialogue>
<character>WATSON</character>
<dialogue>However, there still remains the clue of the castle and the red runner - wherever it may be.</dialogue>
<scene_description>They are about to get under way when suddenly Holmes stops them . Coming down the avenue toward them are four small boys , in knickerbockers and caps , carrying bouquets of flowers . Without a word , Holmes draws Gabrielle and Watson back to their hiding place , behind the headstone . The four boys approach the freshly - filled graves . They remove their caps , lay their flowers on each of the two small graves , then kneel down and bow their heads in prayer . From their position behind the headstone , Holmes , Watson and Gabrielle are watching the four boys , who have their backs to them .</scene_description>
<character>WATSON</character>
<dialogue>If they're unidentified graves, why are those boys bringing flowers?</dialogue>
<character>HOLMES</character>
<dialogue>Because it's their brothers who have just been buried.</dialogue>
<character>WATSON</character>
<dialogue>Their brothers?</dialogue>
<character>HOLMES</character>
<dialogue>And they're not boys. They're as tall as they'll ever grow. Hand me some pebbles, will you?</dialogue>
<character>WATSON</character>
<dialogue>Pebbles.</dialogue>
<scene_description>He picks some up from the ground , hands them to Holmes , who tosses them in the direction of the graves . The pebbles strike a granite cross . At the sound , the four boys simultaneously turn their heads over their shoulders . Despite their slight bodies they have the features of mature men . Gabrielle and Watson react to the sight .</scene_description>
<character>GABRIELLE</character>
<dialogue>They are - how do you say it in English? - nains.</dialogue>
<character>WATSON</character>
<dialogue>Midgets.</dialogue>
<character>HOLMES</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>Boys with the faces of old men.</dialogue>
<character>WATSON</character>
<dialogue>I still do n't see -</dialogue>
<character>HOLMES</character>
<dialogue>Would it help if I told you they were acrobats?</dialogue>
<character>WATSON</character>
<dialogue>Not at all.</dialogue>
<character>HOLMES</character>
<dialogue>Do you remember a tumbling act - six brothers - missing from the circus?</dialogue>
<character>WATSON</character>
<dialogue>Oh, yes - that case you turned down - I completely forgot.</dialogue>
<character>HOLMES</character>
<dialogue>Some of us are cursed with memories like flypaper. And stuck there is a staggering of miscellaneous date, mostly useless.</dialogue>
<scene_description>The four midgets have now risen , and putting on their caps , move off down the avenue . Holmes , Gabrielle and Watson emerge from their place of concealment .</scene_description>
<character>GABRIELLE</character>
<parenthetical>( worriedly . )</parenthetical>
<dialogue>Mr. Holmes, is those are not children, then -?</dialogue>
<character>HOLMES</character>
<dialogue>Quite. The question now is - who's in the third grave?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GLENNAHURICH CEMETARY - NIGHT</stage_direction>
<scene_description>The point of a crowbar digs under the edge of a coffin lid , which starts to give with a squealing protest of nails . CAMERA PULLS BACK TO REVEAL Holmes , standing in the large grave , from which the earth has been removed . Kneeling beside the grave , watching anxiously , are Gabrielle and Watson , the latter holding a bullseye lantern . Holmes pries the lid open , disclosing the corpse of a middle - aged man . His arms are folded across his chest , and on the third finger of his left hand is a wedding ring similar to Gabrielle 's . From the picture of him we have seen earlier , we recognize the face as that of Emile Valladon . Gabrielle lets out a piercing scream , collapses in a faint . Watson catches her .</scene_description>
<character>WATSON</character>
<dialogue>Holmes! She's fainted.</dialogue>
<character>HOLMES</character>
<parenthetical>( preoccupied . )</parenthetical>
<dialogue>Hand me that lantern.</dialogue>
<scene_description>Watson passes down the lantern , and Holmes slowly shines the beam along the length of the coffin .</scene_description>
<character>WATSON</character>
<dialogue>It is Valladon, is n't it?</dialogue>
<character>HOLMES</character>
<dialogue>Obviously. What is not so obvious is why his wedding ring has turned green -</dialogue>
<scene_description>The lantern beam now reveals that laid out at Valladon 's feet are three canaries - their plumage bleached a grey - white color .</scene_description>
<character>HOLMES</character>
<dialogue>- and why there are three dead canaries in the coffin. White canaries.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CALEDONIAN HOTEL - DAWN</stage_direction>
<scene_description>An open carriage is proceeding along the driveway toward the hotel , scatting a flock of sheep grazing nearby . Watson is sitting beside the coachman . Holmes and Gabrielle are in the passenger seat , their luggage is strapped to the back . Through the trees which line the road we glimpse Loch Ness , which is partly obscured by a low - lying mist . The carriage pulls up in front of the hotel , which is identified by a sign above the entrance , and Holmes , Watson and Gabrielle get out . CLOSE SHOT - HOTEL REGISTER Holmes ' hand is writing : Mr. And Mrs. Ashdown and valet , London .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAWN</stage_direction>
<scene_description>The MANAGER , in kilts , is just opening the curtains - disclosing a view of the mist - shrouded lake through the window . The room is on the second floor , and is furnished in a style which has been described as Scotch Baronial - twin beds with a night - table between them , wardrobe , chiffonier , desk , a couple of chairs , and several mounted stags ' heads . Holmes and Gabrielle are in the room , Watson is bringing their bags through the door .</scene_description>
<character>MANAGER</character>
<dialogue>You have a lovely view of the loch from here - as soon as the morning mist rolls away.</dialogue>
<parenthetical>( crosses to desk , picks up guide book . )</parenthetical>
<dialogue>If you've a mind to do any sight - seeing, here's a guide to the local points of interest.</dialogue>
<character>HOLMES</character>
<dialogue>Thank you.</dialogue>
<scene_description>The manager starts toward the door , nodding to Watson .</scene_description>
<character>MANAGER</character>
<dialogue>This way, please. I will show you to your room.</dialogue>
<scene_description>Watson picks up his suitcase , follows him .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - DAY</stage_direction>
<scene_description>The manager and Watson come out , the latter shutting the door .</scene_description>
<character>WATSON</character>
<dialogue>I suppose you're putting me in the basement.</dialogue>
<character>MANAGER</character>
<dialogue>No, your room is in the attic.</dialogue>
<character>WATSON</character>
<dialogue>Good.</dialogue>
<character>MANAGER</character>
<dialogue>It's the privy that's in the basement.</dialogue>
<scene_description>Watson grunts as the manager leads him up a narrow flight of stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>Holmes removes his coat , turns to Gabrielle .</scene_description>
<character>HOLMES</character>
<dialogue>May I have your wedding ring, please?</dialogue>
<scene_description>Gabrielle tearfully removes her ring , hands it to Holmes . From his vest pocket he now produces Valladon 's ring - the copper has a greenish tinge to it . He crosses to the window , compares the two rings in the light . Gabrielle sinks down on the edge of one of the beds .</scene_description>
<character>HOLMES</character>
<dialogue>Just as I thought. There is a distinct difference in color between your ring and your husband's.</dialogue>
<parenthetical>( a sob from Gabrielle . )</parenthetical>
<dialogue>Which leads me to believe that the cause of death was not drowning.</dialogue>
<parenthetical>( Gabrielle is now crying . )</parenthetical>
<dialogue>I wish you would stop that.</dialogue>
<parenthetical>( crossing to her . )</parenthetical>
<dialogue>Stop it!</dialogue>
<character>GABRIELLE</character>
<dialogue>I'm sorry.</dialogue>
<character>HOLMES</character>
<dialogue>I know it's not easy. But you must remember that we're that nice couple from London, on Holiday in the Highlands.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( a final sniffle . )</parenthetical>
<dialogue>I'll try.</dialogue>
<character>HOLMES</character>
<dialogue>That's much better.</dialogue>
<character>GABRIELLE</character>
<dialogue>Thank you.</dialogue>
<scene_description>She manages a tentative smile . Holmes looks at her for a long moment , then -</scene_description>
<character>HOLMES</character>
<parenthetical>( gruffly . )</parenthetical>
<dialogue>Now, if I may proceed without further interruptions -</dialogue>
<character>WATSON'S VOICE</character>
<parenthetical>( from off . )</parenthetical>
<dialogue>Mr. Ashdown!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - DAY</stage_direction>
<scene_description>Watson comes dashing down the narrow stairs from the attic , races toward teh door of Holmes ' room .</scene_description>
<character>WATSON</character>
<dialogue>Mr. Ashdown!</dialogue>
<scene_description>He flings the door open .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>Watson bursts in breathlessly .</scene_description>
<character>WATSON</character>
<dialogue>Holmes! I saw it! I saw it from the attic! It's out there in the lake!</dialogue>
<character>HOLMES</character>
<dialogue>You saw what?</dialogue>
<character>WATSON</character>
<parenthetical>( looking around desperately . )</parenthetical>
<dialogue>The telescope. Where's the telescope?</dialogue>
<character>HOLMES</character>
<dialogue>What did you see?</dialogue>
<character>WATSON</character>
<dialogue>The monster!</dialogue>
<character>HOLMES</character>
<dialogue>The monster?</dialogue>
<scene_description>Watson fishes a small telescope out of Holmes ' suitcase , rushes through the open French window to the balcony .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - DAY</stage_direction>
<scene_description>Watson focuses the telescope on the lake . LOCH NESS THROUGH TELESCOPE - DAY Through the swirling mist which clings to the surface of the lake , a shadowy figure with a long , monster - like neck can be see gliding along .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - DAY</stage_direction>
<scene_description>Watson almost drops the telescope in excitement .</scene_description>
<character>WATSON</character>
<dialogue>There it is! There it is!</dialogue>
<scene_description>Holmes joins him on the balcony .</scene_description>
<character>WATSON</character>
<dialogue>Look for yourself.</dialogue>
<scene_description>He hands the telescope to Holmes . Gabrielle comes up to the window behind them . Holmes trains the telescope on the lake .</scene_description>
<character>WATSON</character>
<dialogue>See it? See it?</dialogue>
<scene_description>LOCH NESS - THROUGH TELESCOPE - DAY Holmes ' eye slowly scans the lake , but there is no sign of Watson 's monster - just the rolling mist .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - DAY</stage_direction>
<scene_description>Holmes lowers the telescope .</scene_description>
<character>HOLMES</character>
<dialogue>I see nothing.</dialogue>
<character>WATSON</character>
<dialogue>Nothing?</dialogue>
<scene_description>He grabs the telescope from Holmes , looks toward the lake .</scene_description>
<character>WATSON</character>
<dialogue>It's gone.</dialogue>
<character>HOLMES</character>
<dialogue>Gone? Maybe it was never there.</dialogue>
<character>WATSON</character>
<dialogue>I swear to you - I saw it - clear as anything -</dialogue>
<character>HOLMES</character>
<dialogue>Watson, as you so succinctly put it, we are living in the Nineteenth Century -</dialogue>
<scene_description>He steps back into the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>Watson comes halfway through the French window .</scene_description>
<character>WATSON</character>
<dialogue>Maybe that grave - digger was right - the swell, and the boat overturning -</dialogue>
<character>HOLMES</character>
<dialogue>Monsieur Valladon may have been found in the lake - but he did not drown. He died of asphyxiation.</dialogue>
<character>GABRIELLE</character>
<dialogue>Asphyxiation.</dialogue>
<character>HOLMES</character>
<parenthetical>( holding up wedding rings . )</parenthetical>
<dialogue>There is only one substance that can turn a copper ring green and bleach the color out of canaries - chlorine gas.</dialogue>
<character>WATSON</character>
<dialogue>That may be. But the fact remains that I saw something out there.</dialogue>
<character>HOLMES</character>
<dialogue>A figment of your imagination. Now let us be logical. The only concrete lead we have is the reference to the castle -.</dialogue>
<parenthetical>( picks up guide book from desk , opens it to map . )</parenthetical>
<dialogue>The question is, which castle?</dialogue>
<character>WATSON</character>
<dialogue>You call yourself logical? You're the least logical man I know.</dialogue>
<character>HOLMES</character>
<dialogue>Am I?</dialogue>
<character>WATSON</character>
<dialogue>How can you say it's a figment of my imagination, when for years you've been saying I have no imagination whatsoever!</dialogue>
<scene_description>He looks at Holmes almost triumphantly . SERIES OF SHOTS - DAY Holmes , Gabrielle , and Watson bicycling away from the hotel . Holmes , in knickerbockers and a Norfolk jacket , and Gabrielle , holding her parasol , are on a tandem . Watson is behind them , on a bicycle with a picnic basket attached to the rack . He is in his valet 's outfit , with metal clips around his trouser cuffs . The three of them bicycling past a long stone wall . They pedal up to an imposing castle . Holmes dismounts , knocks on the front door . Our trio bicycling through a copse of trees . They approach another castle . On a steep road , they ride through a flock of sheep . They are proceeding along a causeway , away from a third castle .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE SHORE - DAY</stage_direction>
<scene_description>Holmes and Gabrielle are sitting on a blanket , the contents of the picnic basket spread before them , having lunch . Watson is pouring the wine . Their bicycles are resting nearby .</scene_description>
<character>WATSON</character>
<dialogue>We have so far investigated eight drafty castles - had our bicycles attacked by sheep and our ears assaulted by bagpipes - and we are exactly where we started.</dialogue>
<character>HOLMES</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Would you like some cranberry sauce, dear?</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes, dear.</dialogue>
<character>HOLMES</character>
<dialogue>Would you pass the cranberry sauce, please, John?</dialogue>
<character>WATSON</character>
<dialogue>Yes, dear.</dialogue>
<scene_description>As he does so , he catches sight of something o.s.</scene_description>
<character>WATSON</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>I say there. Good afternoon. Remember me?</dialogue>
<scene_description>On the road above , approaching a bridge which spans the lake where it narrows into a stream , are the seven Trappist monks , walking slowly in single file . Watson waves to them , but the monks pay no attention to him .</scene_description>
<character>WATSON</character>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>Some chaps I met on the train. We had a long conversation - or rather, I had a long conversation - because they're not allowed to talk - Trappists, you know. Just study their Bibles. You'll never guess what the one next to me was reading - the Book of Jonah - is n't that odd?</dialogue>
<character>HOLMES</character>
<parenthetical>( looking after the monks . )</parenthetical>
<dialogue>Quite.</dialogue>
<scene_description>As he turns back , he notices that Gabrielle is manipulating her parasol in the air .</scene_description>
<character>HOLMES</character>
<dialogue>What is it, dear? What's the matter?</dialogue>
<character>GABRIELLE</character>
<dialogue>A bee.</dialogue>
<scene_description>She continues to work the parasol , alternately opening it and partially closing it . On the bridge von Tirpitz , who is at the rear of the file of monks , glances back toward the lakeshore .</scene_description>
</scene>
<scene>
<stage_direction>EXT. URQUHART CASTLE - DAY</stage_direction>
<scene_description>On a promontory jutting into Loch Ness stand the remains of a medieval fortress . Around the Tower , the Motte , and the ruins of the East wall , wooden scaffolding has been erected , and a couple of dozen men are engaged in what appears to be repair work . Amidst the rubble of the Nether Bailey , an encampment of tents has been set up . Holmes , Gabrielle and Watson come bicycling up along a fence on the heights overlooking the castle , dismount in front of the locked gates . Attached to the gatepost is a sign reading : WARNING : No Unauthorized Person Permitted Beyond This Point .</scene_description>
<character>WATSON</character>
<dialogue>Well, I do n't think we have to bother with this castle. It's just a pile of rubble.</dialogue>
<character>GABRIELLE</character>
<dialogue>Then why are they taking precautions?</dialogue>
<scene_description>She points to the sign - and to a guard coming up the driveway , with a couple of huge mastiffs on leashes .</scene_description>
<character>HOLMES</character>
<dialogue>Why, indeed?</dialogue>
<parenthetical>( turning the tandem around . )</parenthetical>
<dialogue>Let's go.</dialogue>
<character>WATSON</character>
<dialogue>Go where?</dialogue>
<character>HOLMES</character>
<dialogue>When rebuffed at the front door, one's only choice is to try the tradesmen's entrance.</dialogue>
<scene_description>They move off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. URQUHART CASTLE - DAY</stage_direction>
<scene_description>Holmes , Gabrielle and Watson are coming up a path from the lakeside , leading their bicycles . They lean the cycles against a ruined wall , start across the courtyard . A middle - aged MAN in kilts emerges from the tumbled - down gatehouse , comes toward them .</scene_description>
<character>GUIDE</character>
<dialogue>Sorry. No visitors allowed.</dialogue>
<character>HOLMES</character>
<dialogue>Are you the guide here?</dialogue>
<character>GUIDE</character>
<dialogue>Yes. The castle is closed to the public while work is going on.</dialogue>
<character>HOLMES</character>
<dialogue>What are they doing?</dialogue>
<character>GUIDE</character>
<dialogue>It's being restored by the Society for the Preservation of Scottish Monuments.</dialogue>
<character>HOLMES</character>
<dialogue>Too bad. I particularly wanted my wife to see Urquhart Castle. The tower is one of the most interesting examples of - about 1400, was n't it?</dialogue>
<character>GUIDE</character>
<dialogue>That's right.</dialogue>
<character>HOLMES</character>
<dialogue>Let me see - was it built under James the Second or James the Third?</dialogue>
<character>GUIDE</character>
<dialogue>The Thrid. If you come back next year, we'll be all done here, and I'll be glad to show you around.</dialogue>
<character>HOLMES</character>
<dialogue>Thank you.</dialogue>
<scene_description>As the three of them move off , a canvas - topped wagon comes through the stone archway , stops at the front of the steps leading to the inner courtyard .</scene_description>
<character>WATSON</character>
<dialogue>Pleasant sort, is n't he?</dialogue>
<character>HOLMES</character>
<dialogue>Pleasant, but ignorant. He was off one hundred years and one James.</dialogue>
<parenthetical>( taps guide - book in his pocket . )</parenthetical>
<dialogue>It's actually 1500 and James the Fourth.</dialogue>
<character>GABRIELLE</character>
<dialogue>If he's an official guide, should n't he know?</dialogue>
<character>HOLMES</character>
<dialogue>If he's an official guide.</dialogue>
<scene_description>They have now reached the wall against which they left their bicycles . Suddenly Holmes stops , attracted by the sound of birds chirping .</scene_description>
<character>HOLMES</character>
<dialogue>Listen. Do you hear anything, Watson?</dialogue>
<character>WATSON</character>
<parenthetical>( concentrating . )</parenthetical>
<dialogue>No. Those birds are making too much of a racket.</dialogue>
<character>HOLMES</character>
<parenthetical>( looking off . )</parenthetical>
<dialogue>They're not just birds - they're our old friends.</dialogue>
<scene_description>Watson and Gabrielle follow his gaze . From the back of the wagon , the carriers have removed the small bird - cage we saw in the mail - drop on Ashdown Street . They hand it to a workman , who starts up the steps with it . To another couple of workmen they pass down an open - sided crate in which rest two heavy glass bottles protected by wicker . Stencilled on the wooden slate of the crate are the words : SULPHURIC ACID - CORROSIVE . Holmes is watching thoughtfully , Gabrielle and Watson are puzzled .</scene_description>
<character>WATSON</character>
<dialogue>Sulphuric acid?</dialogue>
<character>GABRIELLE</character>
<dialogue>The more we find out the less sense it makes.</dialogue>
<character>HOLMES</character>
<dialogue>To a graduate chemist it makes a great deal of sense. Sulphuric acid, when exposed to salt - water, produces chlorine gas.</dialogue>
<parenthetical>( a beat . )</parenthetical>
<dialogue>Would you mind clasping your hands, Watson?</dialogue>
<character>WATSON</character>
<parenthetical>( obeying . )</parenthetical>
<dialogue>Like this?</dialogue>
<character>HOLMES</character>
<dialogue>A little lower. Thank you.</dialogue>
<scene_description>Watson has lowered his clasped hands , and Holmes uses them as a foothold to go scrambling up the scaffolding of the nearby wall . Reaching the top , he looks off in the direction of the tower . The workman carrying the canary cage , and the two carrying the crate of sulphuric acid are approaching the tower . A draw - bridge comes down , and the three men cross the moat and enter the tower .</scene_description>
<character>HOLMES</character>
<parenthetical>( looking off . )</parenthetical>
<dialogue>That tower may be more interesting than I thought - and not just architecturally.</dialogue>
<scene_description>Out of the ruined gatehouse comes the guard with the two mastiffs on leashes . The dogs start to snarl viciously .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, I have a feeling we're redundant here.</dialogue>
<scene_description>Holmes leaps down from the scaffolding , wheels the tandem around , starts back in the direction from which they came . Gabrielle follows . Watson hurries after them with his bicycle , casting anxious glances over his shoulder as the dogs continue barking .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOCH NESS - EARLY EVENING</stage_direction>
<scene_description>The sun has just gone down behind the hills , but there is still light in the sky . An ominous mist is beginning to settle on the water . Gabrielle is sitting in the stern of a rowboat , her parasol in her lap . She is wearing Holmes ' Norfolk jacket over her dress to ward off the chill . On the rowing seat , facing her , are Watson and Holmes , the latter in his waistcoat . Their oars are pulled in , and they are watching Urquhart Castle , on the opposite side of the lake .</scene_description>
<character>WATSON</character>
<dialogue>We have now observed the castle from the front, from the back, from the side, from land, from water. what now? Are you planning to spend the night out here?</dialogue>
<character>HOLMES</character>
<dialogue>If necessary.</dialogue>
<character>WATSON</character>
<dialogue>You're going to catch your death of cold.</dialogue>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Would n't it be ironic if Holmes' last case were a case of pneumonia?</dialogue>
<parenthetical>( with an embarrassed chuckle . )</parenthetical>
<dialogue>Sorry.</dialogue>
<scene_description>Gabrielle glances past them , and her eyes widen .</scene_description>
<character>GABRIELLE</character>
<parenthetical>( pointing off . )</parenthetical>
<dialogue>What's that?</dialogue>
<scene_description>Holmes and Watson turn their heads . About half a mile away , moving in and out of patches of drifting mist , is Watson 's monster , its long reptillian neck cutting through the water . Watson leaps to his feet .</scene_description>
<character>WATSON</character>
<dialogue>Holmes!</dialogue>
<scene_description>Holmes grabs his arm , pulls him back into his seat .</scene_description>
<character>HOLMES</character>
<dialogue>Quick, Watson. After it!</dialogue>
<scene_description>He grabs his oar , and Watson belatedly joins in . They strain at the oars , setting a course which will intercept the monster . Gabrielle leans forward in her seat , trying to peer past them through the curtains of mist . The monster is much closer now - no more than a quarter of a mile away . Suddenly Watson stops rowing .</scene_description>
<character>WATSON</character>
<dialogue>Holmes, what are we doing? We should be going away from it.</dialogue>
<character>HOLMES</character>
<dialogue>Keep rowing, dammit!</dialogue>
<scene_description>Watson resumes pulling on his oar . As they row , Holmes looks over his shoulder . The monster has started to submerge . Its head disappears beneath the surface of the water , and the wake it leaves behind soon trails off into the mist . Holmes ships his oar .</scene_description>
<character>HOLMES</character>
<dialogue>We've lost it.</dialogue>
<character>WATSON</character>
<parenthetical>( stops rowing . )</parenthetical>
<dialogue>At least you admit there's an it, not just a figment of my imagination.</dialogue>
<character>HOLMES</character>
<dialogue>Quiet.</dialogue>
<scene_description>He listens intently . There is only the sound of water slapping against the side of the boat . The mist is heavier now , and billowing around them .</scene_description>
<character>HOLMES</character>
<parenthetical>( to Watson . )</parenthetical>
<dialogue>Do you have your stethoscope with you?</dialogue>
<character>WATSON</character>
<dialogue>Never without it.</dialogue>
<scene_description>He removes his bowler , unwinds the stethoscope from the inside the crown , hands it to Holmes . Holmes plugs in the ear - pieces , leans over the side of the boat , extends the other end of the stethoscope to the surface of the water .</scene_description>
<character>WATSON</character>
<dialogue>What is it?</dialogue>
<character>HOLMES</character>
<dialogue>I can hear something.</dialogue>
<scene_description>We become aware of the faint beating of engines , accompanied by a bubbling sound .</scene_description>
<character>HOLMES</character>
<dialogue>It's getting closer - closer -</dialogue>
<scene_description>Suddenly the surface of the water breaks , about twenty yards away from them , and the head and neck of the monster rear up from the depths . Watson is first to notice it and jumps to his feet , making choking noises . Gabrielle sees it and screams . Watson grabs an oar , throws it at the monster as it comes past . The backwash hits the boat broadside , rocking it , and Holmes , Watson and Gabrielle are spilled into the lake . The monster moves away from them , heading in the general direction of the castle . It disappears into the mist . Holmes is the first to come up , looks around , sees Gabrielle surfacing a few yards away , swims to her .</scene_description>
<character>HOLMES</character>
<dialogue>Are you all right?</dialogue>
<character>GABRIELLE</character>
<dialogue>I lost my parasol.</dialogue>
<character>HOLMES</character>
<dialogue>Where's Watson?</dialogue>
<scene_description>He glances around , sees Watson 's bowler floating nearby , swims over to it .</scene_description>
<character>HOLMES</character>
<dialogue>Watson?</dialogue>
<scene_description>He lifts the hat - but Watson is n't under it . As Gabrielle hoists herself into the boat , Watson clambers over the other side . After a moment Holmes joins them , and they sit there , sopping wet and breathing heavily .</scene_description>
<character>WATSON</character>
<dialogue>I have come face to face with man - eating tigers - I was once caught in a stampede of wild elephants - India, you know - but I was n't half as frightened. This beast seems to have a personal grudge against us.</dialogue>
<character>GABRIELLE</character>
<dialogue>I just hope it does n't come back.</dialogue>
<character>HOLMES</character>
<dialogue>I do n't think it will.</dialogue>
<parenthetical>( pointing off . )</parenthetical>
<dialogue>Look!</dialogue>
<scene_description>They glance in the indicated direction . There is no sign of the monster . But the mist has momentarily lifted to reveal the castle , and an odd sight greets their eyes - the wooden scaffolding in front of the tower is slowly rising into the air .</scene_description>
<character>WATSON</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>What strange goings - on.</dialogue>
<character>HOLMES</character>
<dialogue>Not really. My guess is that the monster, after a hard day's work, has returned home for his supper.</dialogue>
<scene_description>The scaffolding in front of the tower slowly descends back into the place , as mist once more engulfs the castle .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction>
<scene_description>Holmes , in a different suit of clothes , is pacing across the room , whistling the main theme from `` Swan Lake . '' He stops before the open French window , gazes out toward the lake . Gabrielle is propped up in bed , a blanket drawn up to her chin , watching him . Watson , who has changed into a pair of kilts , is standing in front of the fireplace , warming his backside . Gabrielle glances at Watson , suppresses a giggle .</scene_description>
<character>WATSON</character>
<dialogue>Yes, I know. But would you believe that you ca n't borrow a decent pair of trousers in this place?</dialogue>
<scene_description>Holmes resumes pacing , and Watson becomes aware of his whistling .</scene_description>
<character>WATSON</character>
<dialogue>Would you like to confide in us?</dialogue>
<scene_description>No answer from Holmes . Watson turns to Gabrielle .</scene_description>
<character>WATSON</character>
<dialogue>Whenever he starts whistling, I know he's getting close to a solution.</dialogue>
<character>HOLMES</character>
<dialogue>It's nothing new, actually. We've come across this situation before.</dialogue>
<character>WATSON</character>
<dialogue>We have? Where?</dialogue>
<character>HOLMES</character>
<dialogue>At the ballet.</dialogue>
<character>WATSON</character>
<dialogue>Ballet?</dialogue>
<character>HOLMES</character>
<dialogue>There's a lake - and there's a castle - and there's a swan that is n't really a swan - or, in this case, a monster that is n't really a monster -</dialogue>
<character>WATSON</character>
<dialogue>Then what is it?</dialogue>
<character>HOLMES</character>
<dialogue>What is it indeed that feeds on canary birds and sulphuric acid, and has an engine for a heart?</dialogue>
<character>GABRIELLE</character>
<dialogue>An engine?</dialogue>
<character>HOLMES</character>
<dialogue>The stethoscope is a very sensitive instrument, and water is an excellent conductor of sound. There is no doubt that what we are dealing with is a mechanical monster.</dialogue>
<character>WATSON</character>
<dialogue>Oh?</dialogue>
<character>HOLMES</character>
<dialogue>Not only is it equipped with an artificial heart, it also has artificial lungs. Judging from the bubbles on the surface of the lake, it uses some form of air pump.</dialogue>
<character>GABRIELLE</character>
<dialogue>You think my husband was involved in all this?</dialogue>
<character>HOLMES</character>
<dialogue>Yes, Madame Valladon. I'm sure of it.</dialogue>
<character>WATSON</character>
<dialogue>But why would anybody build a mechanical monster? Just to scare people?</dialogue>
<character>HOLMES</character>
<dialogue>Not very likely.</dialogue>
<character>GABRIELLE</character>
<dialogue>Why did they try to keep me from finding my husband? And why was he buried anonymously?</dialogue>
<character>HOLMES</character>
<dialogue>I think I have a pretty good notion of what they're up to - the Society for the Preservation of Scottish Monuments - better known as the Diogenes Club.</dialogue>
<character>WATSON</character>
<dialogue>The Diogenes Club?</dialogue>
<scene_description>There is a knock on the door .</scene_description>
<character>HOLMES</character>
<dialogue>Come in.</dialogue>
<scene_description>The door opens and the hotel manager enters , holding a magnum of champagne .</scene_description>
<character>MANAGER</character>
<dialogue>Mr. Ashdown, I have a bottle of champagne for you.</dialogue>
<character>HOLMES</character>
<parenthetical>( crossing to him . )</parenthetical>
<dialogue>A bottle of champagne? I did n't order it.</dialogue>
<character>MANAGER</character>
<dialogue>No, indeed. You are to deliver it. These are my instructions.</dialogue>
<scene_description>He hands the magnum to Holmes .</scene_description>
<character>HOLMES</character>
<dialogue>Instructions from whom? Deliver it where?</dialogue>
<character>MANAGER</character>
<dialogue>I would n't know, sir. But there's a carriage waiting for you downstairs.</dialogue>
<character>HOLMES</character>
<dialogue>Are you sure you have the right Mr. Ashdown?</dialogue>
<character>MANAGER</character>
<parenthetical>( flatly . )</parenthetical>
<dialogue>Quite sure, Mr. Holmes.</dialogue>
<scene_description>He turns and exits . Holmes taps the bottle of champagne thoughtfully .</scene_description>
<character>HOLMES</character>
<dialogue>Well, Watson, I would say the curtain is going up on the last act.</dialogue>
<character>WATSON</character>
<dialogue>I do n't like the sound of it.</dialogue>
<character>GABRIELLE</character>
<dialogue>Please be careful.</dialogue>
<scene_description>As Holmes starts toward the door , Watson reaches into his sporran .</scene_description>
<character>WATSON</character>
<dialogue>You'd better take this with you.</dialogue>
<scene_description>He produces a revolver , holds it out to Holmes . Holmes ignores it , exits .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CALEDONIAN HOTEL - NIGHT</stage_direction>
<scene_description>A gig is waiting in front of the entrance , and leaning against it is the guide we saw earlier at Urquhart . Holmes comes out , carrying the champagne bottle .</scene_description>
<character>HOLMES</character>
<dialogue>Who's minding the castle?</dialogue>
<character>GUIDE</character>
<dialogue>You'd better get on. It's late.</dialogue>
<scene_description>Holmes climbs into the gig , and the guide moutns the seat beside him .</scene_description>
<character>HOLMES</character>
<dialogue>Where are we going? Some sort of party?</dialogue>
<character>GUIDE</character>
<dialogue>You wo n't be disappointed in the guest list.</dialogue>
<character>HOLMES</character>
<dialogue>Who's the host?</dialogue>
<character>GUIDE</character>
<dialogue>Jonah.</dialogue>
<scene_description>He flicks the reins . The horse starts off at a trot , and the gig turns into the driveway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOVING GIG - NIGHT</stage_direction>
<scene_description>As they drive along , Holmes glances at the guide , who is grim and uncommunicative .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD LEADING TO CASTLE - NIGHT</stage_direction>
<scene_description>The gig , with its two passengers , proceeds along the lakeshore , approaching the entrance to Urquhart .</scene_description>
</scene>
<scene>
<stage_direction>EXT. URQUHART CASTLE - NIGHT</stage_direction>
<scene_description>A workman is lighting a couple of torches attached to the ruined gatehouse when the gig comes through the archway . The guide reins up the horse in front of the steps leading to the inner courtyard - which are now covered with a narrow red carpet . The guide nods to Holmes , who dismounts , starts up the steps , examining the red carpet . As he reaches the top , he looks off . The strip of red carpet runs across the courtyard , lit by torches planted in the ground . A couple of workmen are are unrolling the rest of the carpet toward the entrance of the tower . As Holmes passes one of the tents , the flap opens and Mycroft steps out , dressed in his inevitable frock coat .</scene_description>
<character>MYCROFT</character>
<dialogue>Mr. Ashdown, I presume.</dialogue>
<character>HOLMES</character>
<parenthetical>( turning . )</parenthetical>
<dialogue>The red runner, I presume.</dialogue>
<parenthetical>( indicates carpet . )</parenthetical>
<dialogue>You should n't have gone to all this trouble just for me.</dialogue>
<character>MYCROFT</character>
<dialogue>It's not for you.</dialogue>
<parenthetical>( calling into tent . )</parenthetical>
<dialogue>McKeller.</dialogue>
<parenthetical>( to Holmes . )</parenthetical>
<dialogue>May I have the champagne, please?</dialogue>
<character>HOLMES</character>
<parenthetical>( handing him bottle . )</parenthetical>
<dialogue>1886 - not a very good vintage, is it?</dialogue>
<character>MYCROFT</character>
<dialogue>Mediocre. But then again, it's not for drinking.</dialogue>
<scene_description>A black - suited MAN emerges from the ten , and Mycroft gives him the champagne .</scene_description>
<character>MYCROFT</character>
<dialogue>Tie it up, will you?</dialogue>
<scene_description>The man moves off toward the tower . Mycroft pulls back the flap of the tent .</scene_description>
<character>MYCROFT</character>
<dialogue>In here.</dialogue>
<scene_description>Holmes passes inside , Mycroft following .</scene_description>
</scene>
<scene>
<stage_direction>INT. TENT - NIGHT</stage_direction>
<scene_description>It is lit by a kerosene lamp suspended from the ridge - pole . There are several cots , one of them with the bedding rolled up . Resting on the stripped cot is a trunk with the name E. VALLADON painted on it . Lying on a table , among a group of engineering models , are Gabrielle 's parasol and Watson 's stethoscope . There are also a couple of drafting tables , with plans and blueprints tacked to them . Holmes moves around the tent , taking all this in .</scene_description>
<character>HOLMES</character>
<dialogue>Interesting - and educational.</dialogue>
<character>MYCROFT</character>
<dialogue>Despite my most emphatic warning, you persisted in meddling. It would have served you right if you'd all drowned.</dialogue>
<character>HOLMES</character>
<dialogue>Sorry to be so unobliging.</dialogue>
<parenthetical>( stops beside torch . )</parenthetical>
<dialogue>E. Valladon. H'mm.</dialogue>
<character>MYCROFT</character>
<parenthetical>( indicating parasol and stethoscope . )</parenthetical>
<dialogue>I imagine this belongs to the pretty lady, and this belongs to your valet. We found them floating in the lake.</dialogue>
<character>HOLMES</character>
<dialogue>Speaking about things floating in the lake -</dialogue>
<character>MYCROFT</character>
<dialogue>How much do you know - or think you know?</dialogue>
<character>HOLMES</character>
<dialogue>I think you're testing some sort of underwater craft - camouflauged to mislead the gullible. I think it's an experimental model, operated by a crew of midgets. I think it is powered by sulphuric acid batteries, and uses canaries to detect escaping gas. Altogether a strange contraption.</dialogue>
<character>MYCROFT</character>
<dialogue>Not quite that unique. Right now, four countries are trying to develop what we call a submersible. But none of them could solve the critical problem - how to stay submerged long enough to make it effective.</dialogue>
<character>HOLMES</character>
<dialogue>What does the Good Book say? `` And Jonah lived in the belly of that fish for three days and three nights.''</dialogue>
<character>MYCROFT</character>
<dialogue>That was our goal. And thanks to Valladon's air - pump, we got a jump on the rest of them. It's a highly complex system of filtration - so we had a series of trials -</dialogue>
<character>HOLMES</character>
<dialogue>And at least one error.</dialogue>
<character>MYCROFT</character>
<dialogue>During a test run in Moray Firth, pressure caused a leak in the hull. Sea water mixed with the acid in the batteries to produce chlorine gas. Before they could reach the surface, Valladon and the crew were dead.</dialogue>
<character>HOLMES</character>
<dialogue>So you had them buried in unmarked graves, to preserve your secret.</dialogue>
<character>MYCROFT</character>
<dialogue>It was essential to keep the information from your client.</dialogue>
<character>HOLMES</character>
<dialogue>You went to all those lengths to prevent Madame Valladon from fiding her husband?</dialogue>
<character>MYCROFT</character>
<dialogue>Your client is n't Madame Valladon - it's the Imperial German Government. They were after the Belgian engineer - or rather, his invention. They knew he was employed by us, but they could n't find out where - so they enlisted the best brain in England to help them. You, my dear brother, have been working for the Wilhelmstrasse.</dialogue>
<character>HOLMES</character>
<dialogue>And Madame Valladon - what part did she play in all this?</dialogue>
<character>MYCROFT</character>
<dialogue>Madame Valladon is dead.</dialogue>
<character>HOLMES</character>
<dialogue>Dead?</dialogue>
<scene_description>Mycroft crosses to the trunk , opens the lid .</scene_description>
<character>MYCROFT</character>
<dialogue>The Germans disposed of her three weeks ago, in Brussels. This is Gabrielle Valladon.</dialogue>
<scene_description>He hands Holmes a small , framed photograph . Holmes looks at it with apprehension , as well he should : the picture is of a somewhat matronly woman , not the glamorous Gabrielle . Holmes lowers the photograph . Behind it , Mycroft is glaring at him with customary arrogance .</scene_description>
<character>MYCROFT</character>
<dialogue>The woman who was brought to your house in the middle of the night - apparently fished out of the Thames - and apparently suffering from amnesia - is, in fact, Ilse von Hoffmanstal, one of their most skillful agents. Am I going too fast for one of the `` best brains in England?''</dialogue>
<character>HOLMES</character>
<dialogue>Go on.</dialogue>
<scene_description>As Mycroft continues , Holmes picks up Ilse 's water - soaked parasol and examines it .</scene_description>
<character>MYCROFT</character>
<dialogue>They planted her on you quite neatly, I must admit, so that you could lead them to their objective, the air pump. Very much like using a hog to find truffles. And now perhaps you'd care to join me. I am expecting a certain royal personage from Balmoral.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASTLE - NIGHT</stage_direction>
<scene_description>A coach and escort approach the castle . Painted on the door of the coach are the initials `` V.R. ''</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE COURTYARD</stage_direction>
<scene_description>The entourage enters the castle courtyard and stops . Footmen open the door and bow to the lone passenger . Waiting on top of the steps , outside the tent , are Mycroft and Holmes . Lined up on the other side of the torch - lit red carpet are half a dozen scientists , in their best clothes . Out of the coach steps a familiar figure - Her Majesty , QUEEN VICTORIA , Defender of the Faith , Empress of India . She is 69 years old , and dressed entirely in black . Mycroft comes down the carpeted steps to meet her .</scene_description>
<character>MYCROFT</character>
<dialogue>Your Majesty.</dialogue>
<scene_description>He bows . The Queen extends her hand to him , and he touches it .</scene_description>
<character>MYCROFT</character>
<dialogue>I trust you had a pleasant journey, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>It was long and it was tedious. And it had better be worth our while, Mr. Holmes.</dialogue>
<character>MYCROFT</character>
<dialogue>I can assure you, Ma'am, it will be.</dialogue>
<scene_description>A lady - in - waiting and a uniformed equerry have now descended from the coach . Mycroft leads the party up the steps .</scene_description>
<character>QUEEN VICTORIA</character>
<dialogue>Now what is this curious ship we are supposed to christen?</dialogue>
<character>MYCROFT</character>
<dialogue>We call it a submersible, Ma'am. It travels under water.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Under water? What a fantastic idea.</dialogue>
<scene_description>They have now reached the top of the steps .</scene_description>
<character>MYCROFT</character>
<dialogue>Ma'am, may present some of the scientists who were responsible for this achievement. J.W. Ferguson, naval architect -</dialogue>
<character>FIRST SCIENTIST</character>
<parenthetical>( bowing . )</parenthetical>
<dialogue>Your Majesty.</dialogue>
<character>MYCROFT</character>
<dialogue>Professor Simpson, our leading expert on hydraulics -</dialogue>
<character>SECOND SCIENTIST</character>
<parenthetical>( bowing . )</parenthetical>
<dialogue>Your Majesty.</dialogue>
<character>MYCROFT</character>
<dialogue>W.W. Prescott, co - inventor of the revolving periscope -</dialogue>
<character>THIRD SCIENTIST</character>
<parenthetical>( bowing . )</parenthetical>
<dialogue>Your Majesty.</dialogue>
<character>MYCROFT</character>
<dialogue>And this is Sir Arthur Grisby, our authority on maritime ballistics -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>We do n't claim to understand any of this. But England is proud of you, gentlemen. To think that man can now observe fish in their native habitat -</dialogue>
<character>MYCROFT</character>
<parenthetical>( trying to correct her . )</parenthetical>
<dialogue>Well, not exactly, Ma'am -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>- and underwater plants and coral reefs -.</dialogue>
<parenthetical>( noticing Holmes . )</parenthetical>
<dialogue>Young man - what was your contribution to this project?</dialogue>
<character>HOLMES</character>
<dialogue>I'm afraid it was rather negligible, Your Majesty.</dialogue>
<character>MYCROFT</character>
<parenthetical>( to the Queen . )</parenthetical>
<dialogue>This is my brother, Sherlock, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Ah, yes. Sherlock Holmes. We have been following your exploits with great interest.</dialogue>
<scene_description>Holmes bows , touches the Queen 's extended hand .</scene_description>
<character>HOLMES</character>
<dialogue>Thank you, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Are you engaged in one of your fascinating cases at the moment?</dialogue>
<character>HOLMES</character>
<dialogue>In a manner of speaking, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>When can we expect to read Dr. Watson's account of the case?</dialogue>
<character>HOLMES</character>
<dialogue>I hope never, Ma'am. It has not been one of my more successful endeavors.</dialogue>
<scene_description>Mycroft signals to a bagpiper , who starts playing HIELAN ' LADDIE .</scene_description>
<character>QUEEN VICTORIA</character>
<dialogue>Ah, the ceremonies are about to begin.</dialogue>
<parenthetical>( to Mycroft . )</parenthetical>
<dialogue>Now where is this underwater ship of yours?</dialogue>
<character>MYCROFT</character>
<parenthetical>( pointing to tower . )</parenthetical>
<dialogue>In the dungeon, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>The dungeon? What a peculiar place to keep it.</dialogue>
<parenthetical>( turning to the others . )</parenthetical>
<dialogue>Well, let us get on with it, gentlemen.</dialogue>
<scene_description>Mycroft leads the Queen along the red runner toward the tower . Holmes follows , then the lady - in - waiting and the equerry , then the scientists . As they cross the inner courtyard , the Highland piper falls in ahead of the procession , leads them toward the drawbridge . Then he steps aside , as the royal party crosses the drawbridge and passes through the door of the tower .</scene_description>
</scene>
<scene>
<stage_direction>INT. DUNGEON - NIGHT</stage_direction>
<scene_description>A high - ceilinged rock chamber , with a spiral iron staircase leading down . The floor is a concrete ramp , the lower end of it covered with water . Beyond is the entrance from the Loch , camouflaged by scaffolding and vegetation . On the upper part of the ramp is a small , primitive submarine , resting on wheels . Prominently lettered on the bow is the name H.M.S. JONAH , and suspended by a rope from the prow is the magnum of champagne which Holmes delivered . Along the sides are torpedo tubes , and fitted over the conning tower is the head and neck of the `` monster '' we saw in the lake . Present are half a dozen naval personnel , commanded by an officer . As the royal party comes down the spiral staircase , the officer snaps to attention . Mycroft is in the lead , followed by the Queen , Holmes , the lady - in - waiting , the equerry and the scientists .</scene_description>
<character>MYCROFT</character>
<dialogue>There she, Ma'am. Her Majesty's Ship Jonah.</dialogue>
<scene_description>The four surviving midgets appear on the deck , in wool jerseys and navy caps . They start pulling on a chain which slowly raises the detachable head - and - neck of the monster toward the ceiling , disclosing the conning tower and the periscope .</scene_description>
<character>QUEEN VICTORIA</character>
<dialogue>And what, may we ask, is the purpose of that hideous gargoyle?</dialogue>
<character>MYCROFT</character>
<dialogue>It's merely a decoy, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Oh. To frighten away the sharks, we imagine.</dialogue>
<character>MYCROFT</character>
<dialogue>Something of the sort. The crew will now demonstrate the workings of the submersible.</dialogue>
<scene_description>A SAILOR of normal height appears on the deck of the sub .</scene_description>
<character>SAILOR</character>
<dialogue>Stand to.</dialogue>
<scene_description>The midgets scramble down the hatch .</scene_description>
<character>QUEEN VICTORIA</character>
<dialogue>Are n't they rather small for sailors?</dialogue>
<character>MYCROFT</character>
<dialogue>They are. But because of the size of the craft, the Navy made an exception.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>They should make it a rule. It's quite fatiguing to pin on all those medals while standing on our toes.</dialogue>
<scene_description>There is the sound of the engines starting . Mycroft leads the Queen to an open bulkhead in the side of the sub , with Holmes and rest of the party close behind . Inside , all is noise and confusion . Metal rods are dipping into glass jars of sulphuric acid , complicated machinery is driving the propeller shaft , bellows are inflating and deflating , etc. . The midgets are at their stations in the cramped quarters , pulling switches , oiling the engines , operating the periscope . Overhead is a cageful of canaries , all chirping away . Mycroft points out the various features to the Queen .</scene_description>
<character>MYCROFT</character>
<dialogue>This is the main engine, which propels it under water at the rate of two knots - the stabilizing mechanism - the multi - stage compressor - the ballast tank trimmer - the air - pump which filters and recirculates the air -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>How charming.</dialogue>
<character>MYCROFT</character>
<dialogue>The air pump, Ma'am?</dialogue>
<character>QUEEN VICTORIA</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>The canaries. Must make the crew feel at home.</dialogue>
<character>MYCROFT</character>
<dialogue>Yes, Ma'am. These are the levers for firing the torpedoes, which are accurate up to as much as 120 feet - the periscope for scanning the surface of the water -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>But where is the glass bottom?</dialogue>
<character>MYCROFT</character>
<dialogue>The what, Ma'am?</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>The glass bottom.</dialogue>
<character>HOLMES</character>
<dialogue>You know - to see the fist -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>- and the plants and the corals -</dialogue>
<character>MYCROFT</character>
<dialogue>That's not quite the idea, Ma'am. H.M.S. Jonah is being commissioned as a warship.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>A warship?</dialogue>
<parenthetical>( waving her hand . )</parenthetical>
<dialogue>Stop that noise. Stop it!</dialogue>
<scene_description>At a signal from Mycroft , the sub engines are turned off .</scene_description>
<character>MYCROFT</character>
<dialogue>Ma'am, if I may explain -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>You had better.</dialogue>
<character>MYCROFT</character>
<dialogue>The Admiralty regards this craft as the ultimate weapon in naval warfare. It can seek out enemy ships and destroy them - with these torpedoes - while remaining completely invisible.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>You mean in can fire at other vessels while under water?</dialogue>
<character>MYCROFT</character>
<dialogue>Yes, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Without any warning?</dialogue>
<character>MYCROFT</character>
<dialogue>That is correct, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>And without showing her colors?</dialogue>
<character>MYCROFT</character>
<dialogue>Indeed, Ma'am.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Mr. Holmes, we are not amused.</dialogue>
<parenthetical>( Mycroft stares at her . )</parenthetical>
<dialogue>It is unsportsmanlike, it is un - English, and it is in very poor taste. We will have none of it!</dialogue>
<character>MYCROFT</character>
<dialogue>I beg your pardon, Ma'am?</dialogue>
<scene_description>He exchanges a look with Holmes .</scene_description>
<character>QUEEN VICTORIA</character>
<dialogue>Sometimes we despair of the state of the world. What will scientists think of next?</dialogue>
<character>MYCROFT</character>
<dialogue>That's precisely it, Ma'am. At this very moment the Germans under Count von Zeppelin, are experimenting with a dirigible -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>A dirigible? And what, pray, is that?</dialogue>
<character>MYCROFT</character>
<dialogue>A rigid balloon, which could fly over London and drop a bomb on Buckingham Palace. It is being developed at the express orders of Kaiser Wilhelm the Second.</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>Nonsense. We refuse to believe that our grandson Willie would do a thing like that.</dialogue>
<character>MYCROFT</character>
<dialogue>We have conclusive proof, Ma'am. Our agent in Friedrichshafen, a man named Ibbetson, actually saw the dirigible, and made a drawing of it. Unfortunately, he was apprehended before he could cross the border.</dialogue>
<character>QUEEN VICTORIA</character>
<parenthetical>( indicating sub . )</parenthetical>
<dialogue>Nevertheless, we do n't want any part of this beastly invention. Get rid of it! Scuttle it! The sooner the better.</dialogue>
<character>MYCROFT</character>
<dialogue>May I point out, Ma'am -</dialogue>
<character>QUEEN VICTORIA</character>
<dialogue>And do n't concern yourself about that dirigible dropping bombs on us. We shall write a very sharp note to the Kaiser.</dialogue>
<parenthetical>( to equerry . )</parenthetical>
<dialogue>Now we wish to return to Balmoral.</dialogue>
<scene_description>She starts toward the spiral staircase . The equerry precedes her up the stairs , the lady - in - waiting follows , the scientists trail after them . Mycroft and Holmes linger behind .</scene_description>
<character>HOLMES</character>
<dialogue>Well, Mycroft, it seems we have both been undone by a woman.</dialogue>
<parenthetical>( Mycroft is staring at the sub . )</parenthetical>
<dialogue>What a shame. All that superb engineering, and all that cunning espionage, for nought.</dialogue>
<character>MYCROFT</character>
<dialogue>Not necessarily. If the Germans want that submersible so badly, why do n't we give it to them?</dialogue>
<character>HOLMES</character>
<dialogue>Give it to them?</dialogue>
<character>MYCROFT</character>
<dialogue>Invite them aboard for the final journey - seven hundred feet - straight down.</dialogue>
<character>HOLMES</character>
<dialogue>And how are you going to arrange that?</dialogue>
<character>MYCROFT</character>
<dialogue>I'm rather counting on you to do it. Since you are on such intimate terms with Fraulein von Hoffmanstal.</dialogue>
<scene_description>O.s. , the bagpiper resumes playing .</scene_description>
<character>MYCROFT</character>
<dialogue>Shall we say goodbye to Her Majesty?</dialogue>
<scene_description>He starts up the spiral staircase . Holmes follows slowly and thoughtfully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CALEDONIAN HOTEL - DAWN</stage_direction>
<scene_description>The gig , with the quide driving and Holmes beside him , comes up the driveway , stops in front of the entrance . Holmes hops down , and twirling Gabrielle 's parasol in his hand , walks into the hotel .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAWN</stage_direction>
<scene_description>In the half - light , Gabrielle can be seen asleep in her bed . She is wearing the pink negligee with the maribou feathers , which has slipped halfway off her shoulders . The other bed has not been slept in . The door from the corridor opens and Holmes steps in , carrying the parasol . He crosses to Gabrielle 's bed , looks down at her for a long moment , adjusts the negligee with the tip of the parasol . The he moves to the French window , opens it , glances out . LAKEFRONT - FROM HOLMES ' ANGLE - DAWN The seven Trappist monks are standing on the shore , silhouetted against the water , watching the hotel .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAWN</stage_direction>
<scene_description>Holmes withdraws from the window , looks at the sleeping Gabrielle , then casually swings the parasol , hitting a metal lamp - shade overhead . Gabrielle sits up abruptly in bed , clutching her negligee around her .</scene_description>
<character>HOLMES</character>
<dialogue>Sorry about that. But as long as you're up - what is the German word for castle? Schloss, is n't it?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( carefully . )</parenthetical>
<dialogue>I think so.</dialogue>
<character>HOLMES</character>
<dialogue>And how would you say under the castle? Unter das Schlss? Or die Schloss?</dialogue>
<character>GABRIELLE</character>
<dialogue>I do n't know. My German is n't that good.</dialogue>
<character>HOLMES</character>
<parenthetical>( indicating . )</parenthetical>
<dialogue>Your Trappist friends are out there waiting to hear from you - it's a chilly morning - we do n't want to keep them standing around too long, do we, Fraulein Hoffmanstal?</dialogue>
<parenthetical>( Gabrielle looks at him without answering . )</parenthetical>
<dialogue>Come now. It's too late to play cat and mouse.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( flatly . )</parenthetical>
<dialogue>Unter dem Schloss.</dialogue>
<character>HOLMES</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( holding out parasol . )</parenthetical>
<dialogue>Here's your signalling device - it's a bit damp, I'm afraid - would you care to let them know where they can find the submersible?</dialogue>
<parenthetical>( Gabrielle makes no move to take the parasol . )</parenthetical>
<dialogue>No? Then I'll just have to do it myself.</dialogue>
<parenthetical>( moving toward window . )</parenthetical>
<dialogue>I only hope my Morse code is adequate to the occasion.</dialogue>
<scene_description>Keeping well to one side of the open window , he extends the parasol outside , opens it , starts sending out a series of long and short signals . LAKEFRONT - DAWN von Tirpitz and the other monks strain their eyes in the direction of the hotel . HOTEL - FROM MONKS ' ANGLE - DAWN Outside the hotel window , Gabrielle 's parasol can be seen flashing the message UNTER DEM SCHLOSS in Morse code - but it is not apparent that Holmes is doing the signalling .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAWN</stage_direction>
<scene_description>As Holmes continues opening and closing the parasol , Gabrielle gets out of bed , comes up beside him . Holmes finishes the message , shuts the parasol , draws it back into the room . Then he looks out the window . LAKEFRONT - FROM HOLMES ' ANGLE - DAWN The monks turn away from the hotel , and with von Tirpitz in the lead , move off along the shore .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAWN</stage_direction>
<scene_description>Holmes steps back from the window , faces Gabrielle .</scene_description>
<character>HOLMES</character>
<dialogue>Well, it's up to the good monks now. You can consider your part of the mission accomplished, Fraulein Hoffmanstal.</dialogue>
<character>GABRIELLE</character>
<dialogue>You're all wrong about me. My name is n't Hoffmanstal.</dialogue>
<character>HOLMES</character>
<dialogue>It is n't?</dialogue>
<character>GABRIELLE</character>
<dialogue>It's von Hoffmanstal.</dialogue>
<character>HOLMES</character>
<dialogue>I stand corrected.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( glancing toward window . )</parenthetical>
<dialogue>I suppose once they're in the castle. It must amuse you, Mr. Holmes, Trappists walking into a trap.</dialogue>
<character>HOLMES</character>
<dialogue>It's more amusing than that. Once in the castle, they will encounter surprisingly little resistance - it will take but a small bottle of chloroform to overcome the guards.</dialogue>
<character>GABRIELLE</character>
<parenthetical>( skeptically . )</parenthetical>
<dialogue>You mean you're going to let them have the air - pump?</dialogue>
<character>HOLMES</character>
<dialogue>Better than that. We're going to let them have the submersible. They will find it with its engines running, all set to go. I assume they're all expert sailors? And since there is a German battleship cruising off the coast of Scotland, I expect they'll try to sail it out of the lock and rendezvous at sea.</dialogue>
<character>GABRIELLE</character>
<dialogue>Did you say try to?</dialogue>
<character>HOLMES</character>
<dialogue>I would suggest you get your things together. Mycroft will be here to take you into custody.</dialogue>
<scene_description>He opens her suitcase , which is on the baggage rack at the foot of the bed . Gabrielle watches him for a beat , then crosses to the wardrobe , starts taking her clothes out .</scene_description>
<character>GABRIELLE</character>
<dialogue>I never had you fooled for a moment, did I? You knew right from the beginning - when the cabbie brought me to Baker Street.</dialogue>
<character>HOLMES</character>
<dialogue>Let me see - not quite that soon.</dialogue>
<scene_description>He stretches out on the bed .</scene_description>
<character>GABRIELLE</character>
<dialogue>It's so funny. I asked for this assignment, you know. I was scheduled to go to Japan, but I could n't resist the challenge of coming up against the best. I'm sorry I did n't give you a closer game.</dialogue>
<character>HOLMES</character>
<dialogue>Close enough.</dialogue>
<character>GABRIELLE</character>
<dialogue>You're just being kind. I failed miserably.</dialogue>
<character>HOLMES</character>
<dialogue>We all have occasional failures. Fortunately, Dr. Watson never writes about mine.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - DAY</stage_direction>
<scene_description>Watson , back in his valet 's outfit again , comes bounding down the narrow stairs from the attic , races toward the door of Holmes ' room .</scene_description>
<character>WATSON</character>
<dialogue>Holmes! Holmes!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>Bright sunlight now floods the room . Gabrielle , fully dressed , is standing in front of the mirror , putting on her hat . Her packed bag has been set out in the middle of the room , and resting on it is the parasol . The door bursts open and Watson dashes in .</scene_description>
<character>WATSON</character>
<dialogue>Holmes!</dialogue>
<scene_description>In his haste he trips over the bag , goes down . As he picks himself up again , Gabrielle points toward the balcony .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - HOTEL - DAY</stage_direction>
<scene_description>Holmes is leaning against the parapet , scanning the lake through his telescope . Watson appears through the open French window behind him .</scene_description>
<character>WATSON</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>Holmes, I saw it again - that thing - it came from the castle - it's out there -</dialogue>
<scene_description>LOCH NESS - THROUGH TELESCOPE - DAY A trial of bubbles is moving along the surface . Suddenly there is a muffled explosion from below , and a geyser of water shoots up into the air .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - HOTEL - DAY</stage_direction>
<scene_description>Holmes slowly lowers the telescope .</scene_description>
<character>HOLMES</character>
<dialogue>It was out there. Now it's gone.</dialogue>
<character>WATSON</character>
<dialogue>Gone?</dialogue>
<character>HOLMES</character>
<dialogue>Forever. Look for yourself.</dialogue>
<scene_description>LOCH NESS - THROUGH TELESCOPE - DAY There is a great turbulence in the water . Up to the surface pops the bottle of christening champagne , with rope and ribbons still attached . Then a copy of the Bible pops up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - HOTEL - DAY</stage_direction>
<character>WATSON</character>
<dialogue>A bottle of champagne? and a Bible?</dialogue>
<character>HOLMES</character>
<dialogue>That's all that's left of H.M.S. Jonah.</dialogue>
<scene_description>He steps through the window as a puzzled Watson lowers the telescope .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - DAY</stage_direction>
<scene_description>Watson follows Holmes in from the balcony .</scene_description>
<character>HOLMES</character>
<dialogue>It would seem that somebody carelessly loosened the bolts of the submersible. What a fitting end for Trappists - now they are resting in eternal silence at the bottom of the lake.</dialogue>
<character>WATSON</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Do you know what he's talking about?</dialogue>
<scene_description>Through the open doorway comes Mycroft . In the corridor behind him is one of his aides .</scene_description>
<character>MYCROFT</character>
<dialogue>Fraulein von Hoffmanstal?</dialogue>
<character>GABRIELLE</character>
<dialogue>Yes, Mr. Holmes. I'm all ready.</dialogue>
<character>MYCROFT</character>
<dialogue>If there's one thing I like about the Prussians, it's their punctuality.</dialogue>
<character>GABRIELLE</character>
<dialogue>If there's one thing I dislike about the British, it's their climate. I understand your jails are quite damp - and your heating facilities totally inadequate.</dialogue>
<character>MYCROFT</character>
<dialogue>They are. But you're not going to jail. You're going back to Germany.</dialogue>
<character>GABRIELLE</character>
<dialogue>Germany?</dialogue>
<character>MYCROFT</character>
<dialogue>You will be conducted to the Swiss - German border, and be exchanged for one of our agents - a man named Ibbetson.</dialogue>
<character>GABRIELLE</character>
<dialogue>Thank you.</dialogue>
<character>MYCROFT</character>
<dialogue>Do n't thank me. Thank my brother. It was his idea.</dialogue>
<scene_description>Gabrielle looks at Holmes , but he avoids her eyes .</scene_description>
<character>MYCROFT</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Frankly, I think we are making a very poor deal. You much better than most operatives working for British intelligence.</dialogue>
<parenthetical>( turning to Holmes . )</parenthetical>
<dialogue>Do n't you agree, Sherlock?</dialogue>
<character>HOLMES</character>
<parenthetical>( with a small but gallant bow to Gabrielle . )</parenthetical>
<dialogue>And better than some consulting detectives.</dialogue>
<scene_description>Mycroft signals to his aide , who comes in from the corridor and picks up Gabrielle 's bag .</scene_description>
<character>MYCROFT</character>
<parenthetical>( to Gabrielle . )</parenthetical>
<dialogue>Shall we?</dialogue>
<character>GABRIELLE</character>
<parenthetical>( reaching for parasol . )</parenthetical>
<dialogue>I'll take that.</dialogue>
<parenthetical>( to Holmes and Watson . )</parenthetical>
<dialogue>Gentlemen.</dialogue>
<scene_description>She turns and walks out the door , Mycroft following . Watson 's bewilderment has now reached monumental proportions .</scene_description>
<character>WATSON</character>
<parenthetical>( folding his arms . )</parenthetical>
<dialogue>All right, Holmes - you do n't have to explain anything to me, if you do n't want to.</dialogue>
<character>HOLMES</character>
<dialogue>I appreciate that, Watson.</dialogue>
<character>WATSON</character>
<dialogue>After all, I'm only your official biographer -</dialogue>
<character>HOLMES</character>
<dialogue>Anyway, I do n't think she'd care to have this story spread all over Strand Magazine.</dialogue>
<character>WATSON</character>
<dialogue>The public has a right to know these things. If she's a German spy, why should we concern ourselves about her feelings?</dialogue>
<scene_description>Holmes crosses to a small window overlooking the courtyard of the hotel , opens it , looks out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - DAY</stage_direction>
<scene_description>Mycroft 's aide comes out of the hotel with Gabrielle 's suitcase , loads it into an open carriage waiting in front of the entrance . Gabrielle emerges , carrying her parasol , and accompanied by Mycroft . He helps her into the carriage , gets in beside her . The aide joins the coachman , and the carriage drives off . Gabrielle does not look back toward the hotel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMALL WINDOW - HOTEL - DAY</stage_direction>
<scene_description>Holmes is framed in the open window , watching the carriage . Watson comes up behind him .</scene_description>
<character>WATSON</character>
<dialogue>If I promised not to write a word about it, would you enlighten me? As your friend - as your valet -</dialogue>
<character>HOLMES</character>
<dialogue>Quiet. I'm trying to read a personal message.</dialogue>
<character>WATSON</character>
<dialogue>A message?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY - DAY</stage_direction>
<scene_description>The carriage is moving away from the hotel . Gabrielle has her parasol over her shoulder , and it opens and closes , opens and closes . GABRIELLE - IN MOVING CARRIAGE - DAY She continues to signal with the parasol , unnoticed by Mycroft .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SMALL WINDOW - HOTEL - DAY</stage_direction>
<scene_description>Watson is straining forward to see out the window .</scene_description>
<character>WATSON</character>
<dialogue>What is she saying?</dialogue>
<character>HOLMES</character>
<parenthetical>( slowly . )</parenthetical>
<dialogue>Auf Wiedersehn.</dialogue>
<character>WATSON</character>
<dialogue>Auf Weider -? The nerve!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY - DAY</stage_direction>
<scene_description>The carriage disappears down an avenue of trees , Gabrielle 's parasol still flashing its message .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAKER STREET - DAY</stage_direction>
<scene_description>There is snow on the ground , and drifts of it piled up along the curbs . Traffic is light . Householders are shovelling the snow off the sidewalks , and pedestrians are hurrying along bundled up against the cold .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - 221B BAKER STREET - DAY</stage_direction>
<scene_description>Holmes , in his dressing gown , and Watson , in his smoking jacket , are at the breakfast table . There is snow on the window - sills , and a cozy fire is burning in the grate . Watson is reading the morning paper . Holmes is sorting through his mail .</scene_description>
<character>HOLMES</character>
<parenthetical>( holding up envelope . )</parenthetical>
<dialogue>H'mmm. A letter from the Diogenes Club.</dialogue>
<character>WATSON</character>
<dialogue>Maybe Mycroft is putting you up for membership.</dialogue>
<character>HOLMES</character>
<dialogue>If only to have the distinct pleasure of blackballing his brother.</dialogue>
<scene_description>He has slit open the envelope . Watson watches him curiously as he reads the letter , but Holmes ' face remains expressionless . Slowly he puts down the letter , rises , crosses to the window , stands there staring out into the wintry street .</scene_description>
<character>WATSON</character>
<dialogue>Are n't you going to finish your breakfast?</dialogue>
<scene_description>Holmes does n't answer . Watson takes a lump of sugar out of the bowl with a pair of tongs , drops it into his coffee . Then glancing over his shoulder to make sure Holmes is n't watching , he swivels the letter around with the tongs . It is written on Diogenes Club stationery , and reads : 9th December , 1888 . Dear Sherlock , My sources in Tokyo inform me that Ilse von Hoffmanstal was arrested last week by the Japanese counter - intelligence service for spying on naval installations in Yokohama harbour . After a secret trial , she was summarily executed by a firing squad . It might interest you to know that . The page ends at this point . Watson turns the sheet of paper over with the tongs . The letter continues on the other side . she had been living in Japan these past few months under the name of Mrs. Ashdown . Sincerely , Mycroft . Watson looks toward Holmes , who is still standing with his back to the room , gets up from the table .</scene_description>
<character>WATSON</character>
<dialogue>Holmes - I'm terribly sorry about this.</dialogue>
<character>HOLMES</character>
<parenthetical>( quietly , without turning . )</parenthetical>
<dialogue>Where is it, Watson?</dialogue>
<character>WATSON</character>
<parenthetical>( after a beat . )</parenthetical>
<dialogue>In the files. May to July, 1885.</dialogue>
<scene_description>Holmes turns to the bookshelves above the desk . From a row of similar volumes , he slides out the three files marked MAY , JUNE , and JULY 1885 . Actually , it 's the medical bag , standing on end , with the spines of three volumes pasted on the bottom .</scene_description>
<character>HOLMES</character>
<dialogue>You're getting better.</dialogue>
<scene_description>He sets the bag down on the desk , opens it , takes out a bottle of cocaine . Watson watches him with compassion as he crosses to his bedroom with his cocaine , goes in , shuts the door . Footsteps are heard hurrying up the stairs , and after a moment there is a knock on the door . Watson approaches the door , opens it to reveal INSPECTOR LESTRADE - a short , nervous man whose features are sharper than his mind . He is wearing an overcoat , his bowler is in his hands , and his fingers are drumming on the crown .</scene_description>
<character>LESTRADE</character>
<dialogue>Good morning, Watson.</dialogue>
<parenthetical>( stepping in . )</parenthetical>
<dialogue>Just happened to be in the neighborhood, and I thought -</dialogue>
<character>WATSON</character>
<dialogue>What is it this time, Inspector Lestrade?</dialogue>
<character>LESTRADE</character>
<dialogue>We've had three rather nasty murders in Whitechapel. All ladies of easy virtue. You may read something about it - the newspapers are referring to the killer as Jack the Ripper.</dialogue>
<character>WATSON</character>
<dialogue>Yes, I think I have.</dialogue>
<character>LESTRADE</character>
<dialogue>Some of us at Scotland Yard were wondering if perhaps Mr. Holmes would be willing to -</dialogue>
<character>WATSON</character>
<parenthetical>( a glance toward the bedroom . )</parenthetical>
<dialogue>I'm sorry, Lestrade. But at the moment, Holmes is working on another problem.</dialogue>
<character>LESTRADE</character>
<parenthetical>( trying to hide his disappointment . )</parenthetical>
<dialogue>Oh. Well, I just thought it was the kind of case that might interest him. I dare say we can solve it without his help.</dialogue>
<character>WATSON</character>
<dialogue>Oh, I'm sure you will.</dialogue>
<scene_description>From Holmes ' bedroom comes the sound of a melancholy tune being played on the violin . Watson starts to ease Lestrade out of the door .</scene_description>
<character>WATSON</character>
<dialogue>Good day, Lestrade.</dialogue>
<scene_description>He shuts the door after him , listens to the sound of the violin for a moment . Then he crosses to the wicker chair , seats himself . He takes some sheets of paper out of the rack and places them on the writing arm , dips his pen in the inkwell , starts to write . The violin music continues OVER SCENE , infinitely romantic , infinitely sad . FADE OUT . THE END</scene_description>
</scene>
</script> | The film is divided into two separate, unequal stories. In the shorter of the two, Holmes is approached by a famous Russian ballerina, Madame Petrova (Tamara Toumanova), who proposes that they conceive a child together, one who she hopes will inherit her physique and his intellect. Holmes manages to extricate himself by claiming that Watson is his lover, much to the doctor's embarrassment. Back at 221B, Watson confronts Holmes about the reality of the ensuing rumours, and Holmes only states that Watson is "being presumptuous" by assuming Holmes has had relationships with women. In the main plot, a Belgian woman, Gabrielle Valladon (Geneviève Page), is fished out of the River Thames and brought to Baker Street. She begs Holmes to find her missing engineer husband. The resulting investigation leads to a castle in Scotland. Along the way, they encounter a group of monks and some dwarfs, and Watson apparently sights the Loch Ness monster. It turns out that Sherlock's brother Mycroft (Christopher Lee) is involved in building a pre-World War I submarine for the British Navy, with the assistance of Monsieur Valladon. When taken out for testing, it was disguised as a sea monster. The dwarfs were recruited as crewmen because they took up less space and needed less air. When they meet, Mycroft informs Sherlock that his client is actually a top German spy, Ilse von Hoffmanstal, sent to steal the submersible. The "monks" are German sailors. Queen Victoria (Mollie Maureen) arrives for an inspection of the new weapon, but objects to its unsportsmanlike nature. She orders the exasperated Mycroft to destroy it, so he conveniently leaves it unguarded for the monks to take (rigging it to sink when it is submerged). Fräulein von Hoffmanstal is arrested, to be exchanged for her British counterpart. In the final scene some months later, Sherlock receives a message from his brother, telling him that von Hoffmanstal had been arrested as a spy in Japan, and subsequently executed by firing squad. Heartbroken, the detective retreats to his room to seek solace in a 7% solution of cocaine. |
More American Graffiti_1979 | tt0079576 | <script>
<scene>
<stage_direction>AMERICAN GRAFFITI</stage_direction>
</scene>
<scene>
<stage_direction>RADIO</stage_direction>
<scene_description>On a dark screen an immense amber light appears and an electric humming begins . The eerie light glows brighter and illuminates a single huge number - 11 . We hear static and a large vertical band of red floats mysteriously across the screen . Pulling back slowly , we watch the glowing band traverse back and forth over the amber light and past more numbers appearing - 70 . 90 . 110 . 130 . And we begin to hear voices - strange songs , fading conversations and snatches of music drifting with static . Pulling back further , we realize it is a car radio filling the screen and radio stations we 're hearing , until the indicator stops . There 's a pause . and suddenly we are hit by a blasting - out - of - the - past , Rocking and Rolling , turn - up - the - volume , pounding Intro to a Vintage 1962 Golden Week - End Radio Show - back when things were simpler and the music was better . And now a wolf howl shatters through time as the legendary Wolfman Jack hits the airwaves , his gravel voice shrieking and growling while the music pumps and grinds .</scene_description>
<character>WOLFMAN</character>
<dialogue>Awwrigght, baay - haay - baay! I got a oldie for ya - gon na knock ya right on de flowa - baay - haay - hee - baay!</dialogue>
<scene_description>The Wolfman howls like a soulful banshee as `` Rock Around the Clock '' blasts forth . MEL 'S DRIVE - IN - DUSK A neon drive - in casts long shadows across a vast parking lot as the sun drops behind a distant hill . A large neon sign buzzes in the foreground . MEL 'S DRIVE - IN , while in the background , `` Rock Around The Clock '' blares from the radio of a beautiful decked and channeled , white with red trim , tuck - and - rolled '58 Chevy Impala that glides into the drive - in . Main titles appear over action . Steve Bolander stops the elegant machine and gets out . He looks around , then walks to the front of the car and leans against the flame - covered hood . Steve is eighteen , good - looking in a conservative , button - down , short - sleeved shirt . Most likely to succeed , president of his graduating class . He looks around the empty drive - in , then hears a funny little horn . A Vespa scooter bumps into the lot . A young kid waves at him - and suddenly grabs the handlebars again as the scooter nearly topples . Terry Fields -LRB- `` The Toad '' -RRB- maneuvers the scooter next to Steve 's Chevy but misjudges and ricochets off the trash can before stopping . Terry grins sheepishly . He 's seventeen , short but plenty loud , both vocally and sartorically in his pink and black shirt , levis , and white bucks . He looks slightly ridiculous but always thinks he 's projecting an air of supercool . Steve watches Terry smooth back his shiny ducktail and primp his waterfall to a perfect cascade over his forehead . He unbuttons his shirt one more button and lowers his pants to look tough . Terry walks over and leans against the flamed car , imitating Steve who pays him no mind . In the background , we hear the Wolfman howling with the music . The record ends and a barrage of humor begins from Wolfman Jack . The Wolfman is an unseen companion to all the kids . Witty and knowledgeable about the trivia that counts , he 's their best friend , confidant , and guardian angel . Now , a grey , insect - like Citroen deux - chevaux putters into the parking lot and stops on the other side of the lot . Steve and Terry watch Curt Henderson get out . Curt stands by his little car . He 's seventeen , a curly bespectacled , scraggly kid with a summer - grown moustache and a paperback stuck in his bermuda shorts . Curt thinks of himself as the town cynic . In reality , he 's a hopeless romantic . He starts over to his buddies .</scene_description>
<character>TERRY</character>
<dialogue>Hey, whadaya say? Curt? Last night in town, you guys gon na have a little bash before you leave?</dialogue>
<character>STEVE</character>
<dialogue>The Moose have been lookin' for you all day, man.</dialogue>
<scene_description>Steve reaches into his pocket and hands Curt an envelope without saying anything . Curt opens it slowly and pulls out a check .</scene_description>
<character>CURT</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Oh great.</dialogue>
<character>TERRY</character>
<dialogue>Whadaya got, whadaya got? Wow - two thousand dollars. Two thousand doll -!</dialogue>
<scene_description>Steve looks at Curt suspiciously ; Curt seems somehow guilty .</scene_description>
<character>STEVE</character>
<dialogue>Mr. Jenning could n't find you, so he gave it to me to give to you. He said he's sorry it's so late, but it's the first scholarship the Moose Lodge has given out. Oh yeah, he says they're all very proud of you.</dialogue>
<scene_description>Curt hands the envelope back to Steve .</scene_description>
<character>CURT</character>
<dialogue>Well. ah. why do n't you hold onto it for a while?</dialogue>
<character>STEVE</character>
<dialogue>What's with you? It's yours! Take it! I do n't want it.</dialogue>
<character>TERRY</character>
<dialogue>I'll take it.</dialogue>
<character>CURT</character>
<dialogue>Steve. Ah, I think we'd better have a talk. I've gotten -</dialogue>
<scene_description>Suddenly a horn honks and they all turn . Laurie Henderson pulls into the drive - in and waves to them . She is driving the family 's '58 Edsel .</scene_description>
<character>STEVE</character>
<dialogue>Your sister calls. I'll talk to you later.</dialogue>
<character>CURT</character>
<dialogue>Now, Steve! Let her wait.</dialogue>
<character>STEVE</character>
<dialogue>Okay, make it short and sweet.</dialogue>
<character>CURT</character>
<dialogue>Yeah, well. Listen.</dialogue>
<parenthetical>( clearing his throat . )</parenthetical>
<dialogue>I. I do n't think I'm going tomorrow.</dialogue>
<character>STEVE</character>
<dialogue>What! Come on, what are you talking about?</dialogue>
<character>CURT</character>
<dialogue>I do n't know. I was thinking I might wait for a year. go to city -</dialogue>
<scene_description>Laurie honks the horn a couple of times . Steve ignores her . There is a long moment and Curt looks uncomfortable .</scene_description>
<character>STEVE</character>
<dialogue>You chicken fink.</dialogue>
<character>CURT</character>
<dialogue>Wait, let me explain -</dialogue>
<character>STEVE</character>
<dialogue>You ca n't back out now! After all we went through to get accepted. We're finally getting out of this turkey town and now you want to crawl back into your cell - look, I got ta talk to Laurie.</dialogue>
<parenthetical>( he hands the check back to Curt . )</parenthetical>
<dialogue>Now take it. We're leaving in the morning. Okay?</dialogue>
<scene_description>Suddenly , there 's an ear - splitting roar and they all turn as a yellow '32 Ford deuce coupe - chopped , lowered and sporting a Hemi - V8 - bumps into the lot . The low slung classic rumbles and parks at the rear of the drive in . Big John Milner , twenty - two , sits in his Ford , tough and indifferent , puffing on a Camel . He wears a white T - shirt and a butch haircut molded on the sides into a ducktail . A cowboy in a deuce coupe - simple , sentimental and cocksure of himself .</scene_description>
<character>STEVE</character>
<dialogue>You wan na end up like John? You ca n't stay seventeen forever.</dialogue>
<character>CURT</character>
<dialogue>I just want some time to think. What's the rush? I'll go next year.</dialogue>
<character>STEVE</character>
<dialogue>We'll talk later.</dialogue>
<scene_description>Steve walks off toward Laurie 's Edsel . Laurie gets out . She 's wearing a letterman 's sweater with a large `` Class of ' 62 '' emblazoned on the shoulder . Steve goes to her and they hug . On the radio , the music ends , and the Wolfman 's intro tune comes on .</scene_description>
<character>RADIO</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>`` Here comes the Wolfman - Wolfman Jack!''</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, We're gon na rock and roll ourselves to death baby. You got the Wolfman Jack Show!</dialogue>
<scene_description>MEL 'S DRIVE - IN - NIGHT As the radio blares `` Sixteen Candles , '' we see that with the darkness Burger City has come alive . A continual line of hot rods pulls into the parking lot to check out the parked cars , then returns to the maindrag . Carhops glide by on roller skates . Curt and John are fooling around in front of the deuce coupe . A horn honks and they turn as a '60 Ford with three girls in it slows by them . A girl leans out the window and smiles .</scene_description>
<character>GIRL</character>
<dialogue>Hi John!</dialogue>
<scene_description>The girls in the car all screech and giggle as they zoom off .</scene_description>
<character>JOHN</character>
<dialogue>Not too good, huh?</dialogue>
<character>CURT</character>
<dialogue>Why is it every girl that comes around here is ugly? Or has a boyfriend? Where is the dazzling beauty I've been searching for all my life?</dialogue>
<scene_description>John watches the procession of gleaming cars traveling through the hot night .</scene_description>
<character>JOHN</character>
<dialogue>I know what you mean. The pickin's are really gettin' slim. The whole strip is shrinking. Ah, you know, I remember about five years ago, take you a couple of hours and a tank full of gas just to make one circuit. It was really somethin.'</dialogue>
<scene_description>Suddenly , in the distance , there 's a blood - curdling scream from an incredible high - performance engine . The entire drive - in stops and listens .</scene_description>
<character>CURT</character>
<dialogue>Hey, John. Someone new in town.</dialogue>
<character>JOHN</character>
<dialogue>Ahhh.</dialogue>
<character>CURT</character>
<dialogue>You gon na go after him?</dialogue>
<character>JOHN</character>
<dialogue>Hey, listen, Professor, if he ca n't find me, then he ai n't worth racin', right?</dialogue>
<character>CURT</character>
<dialogue>The big shot!</dialogue>
<scene_description>Across the swarming parking lot , Steve sits in the front seat of his chevy with Laurie . Budda Macrae , a car hop , leans down to attach a tray to Steve 's window , showing off her tight blouse .</scene_description>
<character>BUDDA</character>
<dialogue>A cherry - vanilla coke and a chocolate mountain. Anything else you want, Steve?</dialogue>
<parenthetical>( Steve shakes his head . )</parenthetical>
<dialogue>If there is you let me know now. Just honk and I'm yours.</dialogue>
<scene_description>She tucks in her blouse a little tighter , gives him a hot look and goes to get the other tray . Budda takes the other tray around the car , almost shoves it in the window where Laurie is sitting .</scene_description>
<character>BUDDA</character>
<dialogue>One fries - grab it before I drop it.</dialogue>
<scene_description>She gives Laurie an antagonistic look and goes off . Steve laughs . Laurie smiles . She 's seventeen , very pretty , with big doe - eyes , and a short bobbed hairdo . She pushes up the sleeves on Steve 's letterman sweater , which is sizes too large for her . His class ring glints on a chain around her neck . Laurie is sweet , the image of vulnerability , but with a practical and self - preserving mind beneath .</scene_description>
<character>STEVE</character>
<dialogue>Where was I?</dialogue>
<character>LAURIE</character>
<dialogue>Um, how you thought high school romances were goofy and we started going together just because you thought I was kinda cute and funny, but then you suddenly realized you were in love with me, it was serious. and ah. oh, you were leadin' up to somethin' kinda big.</dialogue>
<character>STEVE</character>
<dialogue>You make it sound like I'm giving dictation. Well, seriously, what I meant was, that ah. since we do care for each other so much, and since we should really consider ourselves as adults. Now, I, ah. could I have a couple of those fries?</dialogue>
<scene_description>Through the windshield of the Chevy , they see Terry run by in front of them , chasing Budda Macrae who 's outdistancing him on her roller skates .</scene_description>
<character>TERRY:</character>
<dialogue>Come on, Budda. Come on.</dialogue>
<scene_description>Steve watches them go by , then looks back at Laurie .</scene_description>
<character>STEVE</character>
<dialogue>Ah, where was I?</dialogue>
<character>LAURIE</character>
<dialogue>`` consider ourselves adults''.</dialogue>
<scene_description>Laurie pretends to be interested in her french fries , but is obviously expecting something big .</scene_description>
<character>STEVE</character>
<dialogue>Right. right. anyway, I thought maybe, before I leave, we could ah. agree that. that seeing other people while I'm away ca n't possibly hurt, you know?</dialogue>
<scene_description>Laurie has n't looked up but her mood has changed like a mask .</scene_description>
<character>LAURIE</character>
<dialogue>You mean dating other people?</dialogue>
<character>STEVE</character>
<dialogue>I think it would strengthen our relationship. Then we'd know for sure that we're really in love. Not that there's any doubt.</dialogue>
<scene_description>Steve smiles and then looks to her . He stops smiling . They listen to the radio for an awkward moment . Laurie struggles to hold back her tears . With obvious difficulty , she turns to him and smiles . He 's expected something different and does n't know what to do , so he smiles back .</scene_description>
<character>LAURIE</character>
<dialogue>I think you're right. I mean, we're not kids anymore, and it's silly to think that when we're three thousand miles apart we should n't be able to see other people and go out.</dialogue>
<scene_description>Laurie takes his ring on the chain from around her neck and puts it in her purse .</scene_description>
<character>STEVE</character>
<dialogue>Laurie, now, listen, I did n't ask for that back. I think that.</dialogue>
<character>LAURIE</character>
<dialogue>I know. I just sort of think it's juvenile now. I'll keep it at home. It's less conspicuous there.</dialogue>
<character>STEVE</character>
<dialogue>You do n't want to wear it?</dialogue>
<character>LAURIE</character>
<dialogue>I did n't say that. I understand and I'm not upset. I mean, I ca n't expect you to be a monk or something while you're away.</dialogue>
<scene_description>Steve just looks at her and nods . The Wolfman howls an intro to `` Gee '' by the Crows . Outside , skooting around the drive - in after Budda , Terry is pleading with the sexy car hop as she delivers a tray to a car .</scene_description>
<character>TERRY</character>
<dialogue>and I have a really sharp record collection. I even have `` Pledging My Love'' by Johnny Ace. Anyway, how can you love Nelson when he's going out with Marilyn Gator. Since he dumped on you maybe we could -</dialogue>
<character>BUDDA</character>
<dialogue>He did n't dump on me, you little dip. Hi, Steve!</dialogue>
<scene_description>Her tone changes immediately . Terry looks sour and turns around to Steve who 's getting out of the chevy . Budda leaves , wiggling her butt for Steve .</scene_description>
<character>TERRY</character>
<dialogue>She's a little conceited - just playing hard to get.</dialogue>
<character>STEVE</character>
<dialogue>Listen, I came over here to talk to you about -</dialogue>
<character>TERRY</character>
<dialogue>Any time, buddy. I'm your man. Nothing I like better than chewing the rug with a pal. You talk, I'll listen. I'm all ears. Shoot.</dialogue>
<character>STEVE</character>
<dialogue>Shut up.</dialogue>
<character>TERRY</character>
<dialogue>Sure.</dialogue>
<character>STEVE</character>
<dialogue>Terry, I'm going to let you take care of my car while we're away - at least until Christmas. I'm afraid if I leave it with my -</dialogue>
<scene_description>Steve notices Terry is n't with him any more and turns . Terry is standing frozen to a spot .</scene_description>
<character>STEVE</character>
<dialogue>What's wrong?</dialogue>
<scene_description>Terry tries to talk , much like a shell - shocked war veteran . His mouth moves but only a gurgle comes out . Curt is standing by the Chevy , talking with his sister Laurie . She 's still upset by what Steve said to her .</scene_description>
<character>CURT</character>
<dialogue>Hey, sis - what's wrong?</dialogue>
<character>LAURIE</character>
<dialogue>Nothing.</dialogue>
<scene_description>Meanwhile , they watch Terry as Steve explains to him about the car .</scene_description>
<character>STEVE</character>
<dialogue>Now listen, only 30 weight Castrol - R. I've written the tire pressure and stuff on a pad in the glove compartment. Are you listening?</dialogue>
<scene_description>The others are watching now as Terry shakes his head mechanically .</scene_description>
<character>CURT</character>
<dialogue>What's wrong, he's crying!</dialogue>
<scene_description>There is indeed a tear rolling down Terry 's cheek .</scene_description>
<character>TERRY</character>
<dialogue>I ca n't. believe. it.</dialogue>
<parenthetical>( He starts toward the car and gently caresses its paint . )</parenthetical>
<dialogue>I do n't know what to say. I'll. love and protect this car until death do us part.</dialogue>
<parenthetical>( He circles the car . )</parenthetical>
<dialogue>This is a superfine machine. This may even be better than Daryl Starbird's superfleck moonbird. It is better than Daryl Starbird's.</dialogue>
<scene_description>Laurie watches Terry , realizing that like the car , she 'll be left behind as a fond memory . She turns and looks at Steve , who 's been watching her . There 's a moment between them . Budda comes by with an empty tray . Terry sees her and wipes his eyes . He walks up to her , a strange look on his face .</scene_description>
<character>TERRY</character>
<dialogue>Budda, how would you like to go to the drive - in movies with me?</dialogue>
<scene_description>The idea is so preposterous that even Budda is speechless . She looks around at others .</scene_description>
<character>BUDDA</character>
<dialogue>You've got to be kidding!</dialogue>
<character>TERRY</character>
<dialogue>Would I kid you about a thing like that? I want you to know that something has happened to me tonight that is going to change everything. I've got a new.</dialogue>
<scene_description>John walks up quietly and casually pulls down hard on the back pockets of Terry 's low riding levis . There is general hysteria as Terry quickly pulls up his pants .</scene_description>
<character>TERRY</character>
<dialogue>Car! All right, who's the wise -.</dialogue>
<parenthetical>( He turns and sees John and changes his tune . )</parenthetical>
<dialogue>Oh, John - verrry funny.</dialogue>
<parenthetical>( He tries to laugh with the others . )</parenthetical>
<dialogue />
<character>JOHN</character>
<dialogue>Hey, did she do that to you?</dialogue>
<character>STEVE</character>
<dialogue>Let's get going. It seems like we've spent most of our lives in this parking lot.</dialogue>
<character>TERRY</character>
<dialogue>Hey, Curt, let's bomb around, I wan na try out my new wheels!</dialogue>
<character>CURT</character>
<dialogue>I'd like to, Toad, but I'm going with Steve and Laurie to the hop. I'd just slow you down anyway.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, tonight things are going to be different.</dialogue>
<character>JOHN</character>
<dialogue>Hey, wait a minute, you're goin' to the Hop? The Freshman Hop?</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>JOHN</character>
<dialogue>Oh, come on, man. That place is for kids. You two just got your ass out of there. Do n't go back now.</dialogue>
<character>CURT</character>
<dialogue>You ai n't got no emotions?</dialogue>
<character>TERRY</character>
<dialogue>We're gon na remember all of the good times, is what we're gon na do.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, well, go.</dialogue>
<character>CURT</character>
<dialogue>Why do n't you come with us?</dialogue>
<character>JOHN</character>
<dialogue>Bullshit, man!</dialogue>
<character>CURT</character>
<dialogue>Come on. For old time's sake.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, yeah. Well, listen. You go. Go ahead, Curtsy, baby. You go on over there and you remember all the good times you wo n't be having. I ai n't goin' off to some goddamned fancy college. I'm stayin' right here. Havin' fun, as usual.</dialogue>
<scene_description>John walks angrily to his coupe , gets in and slams the door . Curt looks at the others and shrugs .</scene_description>
<character>TERRY</character>
<dialogue>Jesus, Milner, you're in a great mood tonight.</dialogue>
<scene_description>Curt goes over and stands by the window of the yellow coupe .</scene_description>
<character>CURT</character>
<dialogue>What's the matter John? Did I say somethin' wrong? I'm sorry.</dialogue>
<character>JOHN</character>
<dialogue>Ah, man, it's nothin'.</dialogue>
<character>CURT</character>
<dialogue>Well, we'll see you later, okay?</dialogue>
<character>JOHN</character>
<dialogue>Right.</dialogue>
<character>CURT</character>
<dialogue>We'll all do somethin' together. You know, before Steve leaves.</dialogue>
<scene_description>John looks at him suspiciously .</scene_description>
<character>JOHN</character>
<dialogue>Okay, wait a minute. Now, you're not going?</dialogue>
<character>CURT</character>
<dialogue>I do n't know.</dialogue>
<scene_description>John shakes his head . On the radio , Wolfman is taking a call from a listener -</scene_description>
<character>MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wolfman?</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who is this?</dialogue>
<character>MAN</character>
<dialogue>This is Joe. in Little Rock, way down in the Valley.</dialogue>
<character>WOLFMAN</character>
<dialogue>You callin' from Little Rock, California?</dialogue>
<character>MAN</character>
<dialogue>Long distance.</dialogue>
<character>WOLFMAN</character>
<dialogue>My, my, my. listen, man, what kind of entertainment you got in that town?</dialogue>
<character>MAN</character>
<dialogue>All we got is you.</dialogue>
<scene_description>John roars his engine and pulls the yellow deuce coupe into a screeching take - off out of the drive - in . Terry and Curt watch him go off . MAIN STREET , MODESTO - NIGHT During the day , G street is a line of used car lots , small shops , tacky department stores and greasy spoons . At night , it is transformed into an endless parade of kids in flamed , lowered and customed machines who rumble down the one way street , through the seemingly adultless , heat - drugged little town . Police cars glide ominously with the flow of traffic . In parked cars , couples neck between flashing headlights . Guys looking cool in a '56 Chevy sit in the slouched position of the true Low Rider - and over it all the music and the Wolfman can be heard . Just now , it 's `` Runaway '' by Del Shannon . John travels with the flow of traffic , watching some dopey guys shooting squirt guns from a moving car . John drives the deuce coupe effortlessly . He looks over at a car pacing alongside of his own .</scene_description>
<character>JOHN</character>
<dialogue>Hey, Zudo.</dialogue>
<scene_description>A sweaty looking guy turns and nods from the window .</scene_description>
<character>PAZUDO</character>
<dialogue>Hey, Milner.</dialogue>
<character>JOHN</character>
<dialogue>Hey, man, what happened to your flathead?</dialogue>
<character>PAZUDO</character>
<dialogue>Huh?</dialogue>
<character>JOHN</character>
<dialogue>What happened to your flathead?</dialogue>
<character>PAZUDO</character>
<dialogue>Ah, your mother!</dialogue>
<character>JOHN</character>
<dialogue>What?</dialogue>
<character>PAZUDO</character>
<dialogue>Your mother. Hey, we been talkin' about you.</dialogue>
<character>JOHN</character>
<dialogue>Yeah?</dialogue>
<character>PAZUDO</character>
<dialogue>Yeah. There's a very wicked'55 Chevy lookin' for you.</dialogue>
<character>JOHN</character>
<dialogue>Yeah, I know.</dialogue>
<character>PAZUDO</character>
<dialogue>Watch out for the cop that's in Jerry's Cherry.</dialogue>
<character>JOHN</character>
<dialogue>Yeah. All right, thanks.</dialogue>
<scene_description>John nods and the two cars pull apart down the street . TRAVELING G STREET - STEVE 'S WHITE '58 CHEVY The Rock and Roll blares as Terry the Toad cruises along the main drag , singing along with the music . Sitting low in his seat , he looks around , his face aglow , experiencing a new world from the inside of a really fine car . This is the greatest thing that has happened to Terry in seventeen long years of being a short loser . Terry turns a corner and another car pulls alongside . A guy looks out the window .</scene_description>
<character>GUY</character>
<dialogue>Hey, Toad.</dialogue>
<scene_description>Terry looks over and smiles coolly , proud of his new wheels .</scene_description>
<character>GUY</character>
<parenthetical>( leaning out the window . )</parenthetical>
<dialogue>Is that you in that beautiful car?</dialogue>
<parenthetical>( Terry nods modestly . )</parenthetical>
<dialogue>Geez, what a waste of machinery.</dialogue>
<scene_description>Terry 's smile changes to a scowl as the car pulls away from him . Terry accounts the slight to jealousy . Then he forgets it and enjoys driving the beautiful Chevy again . Another car pulls alongside of him as he cruises along slowly .</scene_description>
<character>GIRL</character>
<dialogue>Hey, kid.</dialogue>
<scene_description>Terry looks over at the car cruising next to him . In the back seat , a guy has dropped his trousers and is pushing his bare buttocks against the side window - a classic BA complete with pressed ham . Terry looks away , wondering why this is still happening to him , even in his new car . TRAVELING G STREET - LAURIE 'S '58 EDSEL Curt is in the back seat gazing out the window at the dark main street of the small farm community . Steve and Laurie are talking quietly in the front seat . Laurie is sitting near the window and it sounds like Steve is convincing her to move over . Laurie finally does . His arm goes around her and her head rests on his shoulder . Curt is laughing as the Wolfman harasses someone on the radio . The Wolfman is placing a call .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Here we go with another call out of the station. Can you dig it? Answer the phone, dummy.</dialogue>
<character>MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Pinkie's Pizza</dialogue>
<character>WOLFMAN</character>
<dialogue>Ah, yeah, listen, you got any more of those secret agent spy - scopes?</dialogue>
<character>MAN</character>
<dialogue>Hit parade on the stethoscope?</dialogue>
<character>WOLFMAN</character>
<dialogue>No. No, the secret agent spy - scope, man. That pulls in the moon, the sky and the planets. and the satellites and the little bitty space men.</dialogue>
<character>MAN</character>
<dialogue>You must have the wrong number, partner.</dialogue>
<character>WOLFMAN</character>
<dialogue>` Bye.</dialogue>
<scene_description>Wolfman cuts into `` Why Do Fools Fall in Love . '' Curt is laughing in the back of the car , as he listens to the ever - present D.J. Steve slows the Edsel to a stop at the next light . Curt glances over at a classic white '56 Thunderbird and sits up . In the T - bird , a girl watches him . Blonde , beautiful , her hair , backlit by a used car lot , seems to glow , making her look almost ethereal . Curt does n't move , as if afraid of scaring her away . She smiles faintly - then says something , so softly it 's lost .</scene_description>
<character>CURT</character>
<dialogue>What?</dialogue>
<scene_description>Curt struggles to lower his window . She repeats it , but he ca n't hear . The light changes . She smiles once more and is gone .</scene_description>
<character>CURT</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>What? What?!</dialogue>
<character>STEVE</character>
<dialogue>We did n't say anything.</dialogue>
<character>CURT</character>
<dialogue>Quick! Hang a right!</dialogue>
<character>STEVE</character>
<dialogue>What? Why?</dialogue>
<character>CURT</character>
<dialogue>Cut over to G Street, I've just seen a vision! She was a goddess. You've got to catch her!</dialogue>
<character>STEVE</character>
<dialogue>I did n't see anything.</dialogue>
<character>LAURIE</character>
<dialogue>We're not going to spend the night chasing girls for you.</dialogue>
<character>CURT</character>
<dialogue>I'm telling you, this was the most perfect, dazzling creature I've ever seen.</dialogue>
<character>STEVE</character>
<dialogue>She's gone. Forget it.</dialogue>
<character>CURT</character>
<dialogue>She spoke to me. She spoke to me, right through the window. I think she said, `` I love you.''</dialogue>
<scene_description>Curt looks at his sister and Steve in the front seat . They are bored by his romantic visions .</scene_description>
<character>CURT</character>
<dialogue>That means nothing to you people? You have no romance, no soul? She - someone wants me. Someone roaming the streets wants me! Will you turn the corner?</dialogue>
<scene_description>Laurie looks around at him and seems to pity his flights of poetic fantasy . Curt sits back and shakes his head .</scene_description>
</scene>
<scene>
<stage_direction>PARKING LOT</stage_direction>
<scene_description>Big John sits in his deuce coupe , backed into the parking lot of the Acme Fall - out Shelter Co. , the prime spot in town for girl watching . A guy in wrap - around dark glasses leans by the car next to John . They watch a group of laughing girls cruise by in a Studebaker .</scene_description>
<character>JOHN</character>
<dialogue>Oh, oh. Later.</dialogue>
<character>GUY</character>
<dialogue>Alligator.</dialogue>
<scene_description>John turns on his lights and swings the deuce coupe out into the flow of traffic , after the Studebaker . John accelerates and pulls alongside the Studebaker . The girl in the front seat rolls down her window . John grins and yells over at the carload of cuties .</scene_description>
<character>JOHN</character>
<dialogue>Hey, you're new around here. Where're you from?</dialogue>
<character>FIRST GIRL</character>
<dialogue>Turlock.</dialogue>
<character>JOHN</character>
<dialogue>Turlock? You know a guy named Frank Bartlett?</dialogue>
<character>FIRST GIRL</character>
<dialogue>No. Does he go to Turlock High?</dialogue>
<character>JOHN</character>
<dialogue>Well, he used to. He goes to J.C. now.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Do you go to J.C?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, sure.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Oh, wow! Do you know Guy Phillips?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, sure. I got him in a class.</dialogue>
<character>FIRST GIRL</character>
<dialogue>He's so boss.</dialogue>
<character>JOHN</character>
<dialogue>How would you like to ride around with me for awhile?</dialogue>
<character>FIRST GIRL</character>
<dialogue>I'm sorry, I ca n't. I'm going steady.</dialogue>
<character>JOHN</character>
<dialogue>Ah, come on!</dialogue>
<character>FIRST GIRL</character>
<dialogue>I just ca n't.</dialogue>
<character>JOHN</character>
<dialogue>You're just ridin' around with a bunch of girls. Hey, how about somebody else in there? Anybody else want to go for a ride?</dialogue>
<scene_description>The girls chatter and giggle among themselves . One of the girls dangles a bra out the back window , and they all break into hysterical laughter . The girls try to accelerate ahead , but John stays alongside their car .</scene_description>
<character>JOHN</character>
<dialogue>Aw, come on. I got plenty of room. It's dangerous to have that many people in a car. Cops see ya, you're had. You got nothing to fear, I'm as harmless as a baby kitten.</dialogue>
<scene_description>A small voice rises above the chatter .</scene_description>
<character>CAROL</character>
<dialogue>I'll go. I'll go.</dialogue>
<character>FIRST GIRL</character>
<dialogue>Judy's sister wants to ride with you. Is that all right?</dialogue>
<character>JOHN</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Yeah, sure, Judy - her sister - her mother - anybody. I'll take'em all. Listen, we'll go up and stop at that light. It'll turn red by the time we get there. All right?</dialogue>
<scene_description>The first girl grins and nods . John winks at her .</scene_description>
<character>JOHN</character>
<dialogue>You ever get tired of going steady with somebody that ai n't around - I'm up for grabs.</dialogue>
<scene_description>The cars stop at the light . A girl rushes out from the Studey and runs around the back of John 's coupe . She opens the door and climbs in fast as the light changes . The Studebaker pulls off fast . John pushes through the gears and turns and smiles at his pick - up , as `` That 'll Be the Day '' plays on the Wolfman Jack Show .</scene_description>
<character>JOHN</character>
<dialogue>So, you're Judy's little sister.</dialogue>
<scene_description>Carol Morrison shakes her head . She is thirteen years old , very cute - wearing blue jeans , sneakers and a `` Dewey Webber Surf Board '' T - shirt which hangs to her knees . John seems slightly panicked .</scene_description>
<character>JOHN</character>
<dialogue>Ah, shit, - how old are you?</dialogue>
<character>CAROL</character>
<dialogue>Old enough. How old are you?</dialogue>
<character>JOHN</character>
<dialogue>I'm too old for you.</dialogue>
<character>CAROL</character>
<dialogue>You ca n't be that old.</dialogue>
<character>JOHN</character>
<dialogue>Listen, listen. I think you better go back and sit with your sister. Hey, ah. where are they, anyway? They comin' back or somethin'? This is a joke, right? This better be a joke,'cause I'm not drivin' you around.</dialogue>
<character>CAROL</character>
<dialogue>But you asked me. What's the matter? Am I too ugly?</dialogue>
<parenthetical>( on the verge of tears . )</parenthetical>
<dialogue>Judy does n't want me with her and now you do n't want me with you. Nobody wants me. even my mother and father hate me. Everybody hates me.</dialogue>
<character>JOHN</character>
<dialogue>No they do n't. I mean, I do n't know, maybe they do. But I do n't. It's just that you're a little young for me.</dialogue>
<character>CAROL</character>
<dialogue>I am not! If you throw me out I'll scream.</dialogue>
<character>JOHN</character>
<dialogue>OK, OK, just stay cool. There's no need to scream. We'll think of something.</dialogue>
<parenthetical>( He looks at her as she wipes her eyes . )</parenthetical>
<dialogue>It should n't take too long to find your sister again.</dialogue>
<scene_description>Suddenly , a car horn honks next to them . John looks over at the car .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey John - you gon na be there tonight?</dialogue>
<character>JOHN</character>
<dialogue>Oh, shit! Hey, get down!</dialogue>
<scene_description>John grabs Carol by the neck and pushes her head down onto his lap so she ca n't be seen . John casually waves to the friend in the car cruising alongside .</scene_description>
<character>JOHN</character>
<dialogue>Hey, cool.</dialogue>
<scene_description>Carol 's head is being held down on his lap . She looks up at him .</scene_description>
<character>CAROL</character>
<dialogue>Hey, is this what they call copping a feel?</dialogue>
<scene_description>John jumps , and immediately lets go of her as if burned .</scene_description>
<character>JOHN</character>
<dialogue>NO! Uh uh. N - O. Do n't even say that. Jesus.</dialogue>
<scene_description>John is beginning to sweat now .</scene_description>
<character>CAROL</character>
<dialogue>What's your name?</dialogue>
<character>JOHN</character>
<dialogue>Mud, if anybody sees you.</dialogue>
<scene_description>CRUISING G STREET - STEVE 'S '58 CHEVY Terry continues to cruise the main drag , slouched low and looking cool in his newly acquired machine . He adjusts his waterfall curl as the Wolfman dedicates a list of songs . He passes a group of guys bullshitting around the raised hood of a souped - up parked car . Terry cruises alongside two girls in a Ford . He revs the engine to get their attention and once he has it he motions to roll down their window . They flip him the bird instead and he lets them pass . Terry pulls up to a stop light . The car next to him is a '56 Ford - a good opponent and besides , the kid driving looks younger than Terry .</scene_description>
<character>TERRY</character>
<dialogue>What you got in there, kid?</dialogue>
<character>KID</character>
<dialogue>More than you can handle.</dialogue>
<scene_description>Terry revs his engine . So does the Ford . The tension mounts . The green arrow for the left turn lane flashes on , the car on Terry 's other side moves off , and before he can control his reflexes , Terry , too , has shot into the intersection while the light remains red ! Terry quickly shifts and returns to the starting position . The other driver is grinning . Terry is flustered and embarrassed . Terry revs the Chevy a couple more times , concentration intently this time on the right light . Green ! The Ford bolts into the intersection . Terry likewise floors the gas pedal and goes crashing backwards into a large Buick . Terry is stunned for a moment , then realizes he forgot to shift into first . He fumbles to get the car into first gear . A distinguished looking man comes up to his window after inspecting the damage . Terry tries to escape , but in his panic the engine dies . He struggles to start it .</scene_description>
<character>OLDER MAN</character>
<dialogue>Excuse me, but I think we've had an accident.</dialogue>
<character>TERRY</character>
<dialogue>Well, goddamnit, I wo n't report you this time, but next time just watch it, will ya?</dialogue>
<scene_description>Terry roars off in a cloud of indignant smoke , leaving the gentleman standing in the street looking dismayed . The cars behind him begin to honk their horns and shout crudities .</scene_description>
</scene>
<scene>
<stage_direction>USED CAR LOT</stage_direction>
<scene_description>Terry pulls up in front of a used car lot and jumps out to inspect the damage to Steve 's Chevy . He rubs a small scratch on the back fender , but it wo n't disappear . As he spits on it , a slick , baggy - suited car salesman ambles up .</scene_description>
<character>SALESMAN</character>
<dialogue>I'll give you $ 525 for her on a practically new Corvette. and on top of this, I'm going to know 10 % off the low price of this beautiful Vette. I'm talking about only $ 98 down and $ 98 a month. Now, how am I able to make you this incredible offer? I'll tell you! I'm forced to move all the sporty cars off the lot as quickly as I can. Boss's orders. He does n't want'em. I think it's a mistake, but what can I do?</dialogue>
<scene_description>Terry begins to get worried as the salesman begins to fondle his new Chevy . He becomes frightened as the salesman attempts to drag him over to one of the ` Vettes . Finally Terry breaks away and jumps back into his car and the salesman continues to rave on as Terry drives away . HIGH SCHOOL GYM - `` AT THE HOP '' Herbie and the Heartbeats , wearing their matching red blazers , rock into a raunchy rendition of their masterpiece -</scene_description>
<character>HERBIE AND THE HEARTBEATS</character>
<dialogue>One, two, three, four - one, two three, four - BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. BAH. At the hop!</dialogue>
<scene_description>Pulling back from the bandstand , we see the Dewey High School gym - the basketball nets swung back and draped with crepe , the lights half - low , the noise high , and the waxed floor being polished and pounded by stockinged feet as a seething mob of adolescents join in that ancient rite - The Hop . A hundred of them are dancing and swaying while the band gyrates on a raised platform . Kids on wooden bleachers watch the whirling and spinning mass of ponytails and ducktails , button - down shirts and mid calf skirts , cardigan sweaters with little belts in the back .</scene_description>
</scene>
<scene>
<stage_direction>THE GIRLS' LAVATORY</stage_direction>
<scene_description>Laurie stands in front of a mirror in a line of other girls . She brushes her hair , staring rather despondently at herself in the mirror . The girl next to her is Peg Fuller , a cute cheerleader .</scene_description>
<character>PEG</character>
<dialogue>Hey, why are you so depressed? You'll forget him in a week. Listen, after you're elected senior queen you'll have so many boys after your bod -</dialogue>
<character>LAURIE</character>
<dialogue>I do n't want to go out with anybody else.</dialogue>
<character>PEG</character>
<dialogue>Laurie, I know it's a drag but you ca n't - remember what happened to Evelyn Chelnick? When Mike went to the Marines? She had a nervous breakdown and was acting so wacky she got run over by a bus.</dialogue>
<character>LAURIE</character>
<dialogue>I just wish I could go with him or something.</dialogue>
<character>PEG</character>
<dialogue>Laurie, jeez. Come on.</dialogue>
</scene>
<scene>
<stage_direction>BOY'S LAVATORY</stage_direction>
<scene_description>We move down a row of sinks at which guys are working as intently on their coiffures as the girls . Ducktails being smoothed ; glassy waterfalls being primped ; the fronts of crew cuts being waxed to stand stiff . Steve stands looking at himself , then glances at Eddie Quentin standing next to him , dabbing something on his face .</scene_description>
<character>STEVE</character>
<dialogue>What's that?</dialogue>
<scene_description>Eddie jerks his hand down and hides something .</scene_description>
<character>EDDIE</character>
<dialogue>What's what?</dialogue>
<scene_description>Steve turns and pulls Eddie 's hand up .</scene_description>
<character>STEVE</character>
<dialogue>Hey, zit make - up!</dialogue>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Wait till I tell - hey, everybody, Eddie -</dialogue>
<character>EDDIE</character>
<dialogue>Come on, Steve - do n't. Just cool it.</dialogue>
<scene_description>He takes his pimple cream back and Steve continues to laugh . He stops slowly and looks at himself again in the mirror . He finds something on his neck , looks around at Eddie .</scene_description>
<character>STEVE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Let me see some of that stuff.</dialogue>
<scene_description>Eddie gives him the tube and Steve dabs it on his neck .</scene_description>
<character>EDDIE</character>
<dialogue>You leave tomorrow?</dialogue>
<scene_description>Steve nods .</scene_description>
<character>EDDIE</character>
<dialogue>You and Laurie engaged yet?</dialogue>
<character>STEVE</character>
<dialogue>No, but we got it worked out. We're still going together but we can date other people.</dialogue>
<character>EDDIE</character>
<dialogue>And screw around - I hear college girls really give out.</dialogue>
<scene_description>Suddenly a voice shouts `` One - two - '' they turn to see a guy at every toilet hit the flusher on `` Three , '' sending a torrent of water down the pipes . Suddenly , there 's a rumbling noise as the pipes break and water gushes over the floor . Panic ! Everybody crashes for the doors , laughing and shoving each other .</scene_description>
</scene>
<scene>
<stage_direction>HIGH SCHOOL GYM</stage_direction>
<scene_description>The guys tumble out the lavatory door and abruptly cool it as a dumb - looking paunchy teacher stops and looks them over , rocking on his heels . They escape quietly . Steve and Eddie meet Laurie coming out of the girls ' lavatory with Peg . They 're watching the dancers as Hervie and his band moan through a slow number - `` She 's So Fine . ''</scene_description>
<character>STEVE</character>
<dialogue>Come on.</dialogue>
<character>LAURIE</character>
<dialogue>Come on what?</dialogue>
<character>STEVE</character>
<dialogue>Let's dance.</dialogue>
<character>LAURIE</character>
<dialogue>No thanks.</dialogue>
<character>STEVE</character>
<dialogue>Laurie, I want to dance.</dialogue>
<character>LAURIE</character>
<dialogue>Who's stopping you?</dialogue>
<scene_description>Eddie and Peg are listening and watching . Steve smiles at them like everything 's okay . He glares at Laurie .</scene_description>
<character>STEVE</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Laurie, I thought since this was our last night together for 3 months, you might want to dance with me.</dialogue>
<character>LAURIE</character>
<dialogue>How sentimental. You'll be back at Christmas.</dialogue>
<character>STEVE</character>
<dialogue>I want to dance now, not at Christmas.</dialogue>
<scene_description>He takes her arm , which she pulls away .</scene_description>
<character>LAURIE</character>
<dialogue>Get your cooties off me -</dialogue>
<scene_description>Eddie and Peg are watching with great interest . Steve smiles at them again . Then he leans down and whispers something to Laurie .</scene_description>
<character>LAURIE</character>
<dialogue>Go ahead, slug me, scar my face. I would n't dance with you if you were the last guy left in this gym.</dialogue>
<character>EDDIE</character>
<dialogue>Uh, Peg, I think we should dance.</dialogue>
<character>PEG</character>
<dialogue>No, this is getting good.</dialogue>
<character>LAURIE</character>
<dialogue>I'll dance with you, Eddie. You do n't mind, do you, Peggy?</dialogue>
<scene_description>She takes Eddie by the hand and leaves Steve fuming with Peg .</scene_description>
<character>PEG</character>
<dialogue>Joe College strikes out.</dialogue>
<scene_description>Steve gives her a snide look , then watches Laurie and Eddie laughing , as they join in The Stroll . The whole gym is Strolling in unison , like some strange musical military formation .</scene_description>
</scene>
<scene>
<stage_direction>HIGH SCHOOL HALLWAY</stage_direction>
<scene_description>The Stroll music floats from the gym down the empty hall . Curt walks along with his hands in his pockets . One last trip down the grey , locker - lined corridor . He slows and stops by locker 2127 . He smiles a little , then flips the dial of the lock . Once to the right - back to the left - then to the right again . Curt hits the handle . It does n't open . Changed already . He shrugs and goes off down the hallway .</scene_description>
</scene>
<scene>
<stage_direction>HIGH SCHOOL GYM</stage_direction>
<scene_description>Curt walks in the background , behind the line of kids clapping as one couple Strolls down between them . Then Curt hears somebody call him .</scene_description>
<character>MR. WOLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey - Curtis!</dialogue>
<scene_description>Curt wanders over toward a young teacher , Mr. Wolfe , who is surrounded by a group of admiring -LRB- and grade - seeking -RRB- girls . Mr. Wolfe wears ivy league clothes and is about twenty - five , not much older than his students .</scene_description>
<character>MR. WOLFE</character>
<dialogue>Curtis, come here. Help me, will you? I'm surrounded.</dialogue>
<character>GIRL</character>
<dialogue>You wo n't dance? Come on.</dialogue>
<character>MR. WOLFE</character>
<dialogue>No, really, I'd like to, but I ca n't. I mean, if old Mr. Simpson came in here and saw me dancing with one of you sexy little - excuse me. one of you young ladies, he'd have my rear end.</dialogue>
<character>GIRLS</character>
<dialogue>Aahhh.</dialogue>
<scene_description>The all giggle . Mr. Wolfe shrugs at Curt and heads for a door . Curt follows him and they escape from the girls into the night .</scene_description>
</scene>
<scene>
<stage_direction>OUTSIDE THE GYM</stage_direction>
<scene_description>Curt and Mr. Wolfe come out of the gym . Mr. Wolfe sees a couple of guys skulking around in the shadows smoking cigarettes and laughing . The music has changed to `` See You in September . ''</scene_description>
<character>MR. WOLFE</character>
<dialogue>Hey, Warren. Come on, gentlemen, back inside. Put'em out. Let's go.</dialogue>
<character>CURT</character>
<parenthetical>( grinning as he pulls out a pack of cigarettes . )</parenthetical>
<dialogue>Kids. Want one?</dialogue>
<character>MR. WOLFE</character>
<parenthetical>( taking one from the pack . )</parenthetical>
<dialogue>All right. Hey, I thought you'd left.</dialogue>
<character>CURT</character>
<dialogue>No, not yet.</dialogue>
<parenthetical>( looking for matches . )</parenthetical>
<dialogue>I have no matches.</dialogue>
<scene_description>Mr. Wolfe takes out a pack of matches and lights both their cigarettes . They walk down a chain - link fence , past dark , venetian - blinded classrooms .</scene_description>
<character>MR. WOLFE</character>
<dialogue>Brother, how do I get stuck with dance supervision? Will you tell me that? You going back East? Boy, I remember the day I went off. Got drunk as hell the night before. Just -</dialogue>
<character>CURT</character>
<dialogue>Blotto.</dialogue>
<character>MR. WOLFE</character>
<dialogue>Blotto. Exactly. Barfed on the train all the next day.</dialogue>
<character>CURT</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Cute. Very cute. Where'd you go again?</dialogue>
<character>MR. WOLFE</character>
<dialogue>Middlebury. Vermont. Got a scholarship.</dialogue>
<character>CURT</character>
<dialogue>And only stayed a semester.</dialogue>
<character>MR. WOLFE</character>
<parenthetical>( smiling and nodding . )</parenthetical>
<dialogue>One semester. And after all that, I came back here.</dialogue>
<character>CURT</character>
<dialogue>Why?</dialogue>
<character>MR. WOLFE</character>
<parenthetical>( shrugging . )</parenthetical>
<dialogue>Decided I was n't the competitive type. I do n't know. maybe I was scared.</dialogue>
<character>CURT</character>
<dialogue>Well, you know I might find I'm not the competitive type myself.</dialogue>
<character>MR. WOLFE</character>
<dialogue>What do you mean?</dialogue>
<character>CURT</character>
<dialogue>Well, I'm not really sure that I'm going.</dialogue>
<character>MR. WOLFE</character>
<dialogue>Hey, now - do n't be stupid. Go. Experience life. Have some fun, Curtis.</dialogue>
<scene_description>Then a voice calls from the shadows .</scene_description>
<character>JANE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Bill?</dialogue>
<scene_description>They turn and see a girl coming out of a doorway . Mr. Wolfe looks at Jane , one of his students , but does n't say anything .</scene_description>
<character>JANE</character>
<dialogue>I mean - Mr. Wolfe. Can I speak with you a minute.</dialogue>
<parenthetical>( She smiles at Curt . )</parenthetical>
<dialogue>Hi, Curt.</dialogue>
<character>CURT</character>
<dialogue>Jane.</dialogue>
<scene_description>He looks at Mr. Wolfe , who seems a little embarrassed . Then , Mr. Wolfe sticks out his hand .</scene_description>
<character>MR. WOLFE</character>
<dialogue>Anyway - good luck, Curtis.</dialogue>
<scene_description>Curt shakes his hand .</scene_description>
<character>CURT</character>
<dialogue>Yeah. I'll see you. Thanks a lot.</dialogue>
<scene_description>Curt walks back toward the gym . Looking around , he sees Mr. Wolfe standing in the shadows with the girl , talking intimately . Curt turns away and goes off . Before going back into the gym , Curt stops . He sees a white T - bird parked among a row of cars in the parking lot . He walks - then starts running toward the car . There 's a blonde sitting in the front seat making out with some guy . Curt leans down to the window and is about to say something to his dream girl . But she turns and he sees it 's not her . Her boyfriend glares at him like he 's some kind of peeping Tom . Curt backs away awkwardly , trying to smile . He leaves . CRUISING MAIN STREET - '32 DEUCE COUPE The yellow Ford coupe is gliding down the street - skimming around corners gracefully as the night lights glide up its lacquered hood . Inside the car , Carol glances at John and smiles . The Wolfman is howling on the radio .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>A Wolfman exclusive for ya now. The Beach Boys, baby, a brand new group. I predict they gon na go a long way. This is called `` Surfin' Safari.''</dialogue>
<scene_description>Carol is continuing to jabber on , relating past adventures with her little friends . John is unimpressed .</scene_description>
<character>CAROL</character>
<dialogue>So the next night we found out where they parked and went out with ammunition.</dialogue>
<character>JOHN</character>
<dialogue>Do n't you have homework or something to do?</dialogue>
<character>CAROL</character>
<dialogue>No sweat - my mother does it. Anyway, he thought he was had. He started the car and could n't see through the windshield - and zoomed straight into the canal - it was a riot.</dialogue>
<scene_description>John smiles sarcastically .</scene_description>
<character>CAROL</character>
<dialogue>I still got some, so do n't try anything.</dialogue>
<scene_description>She takes a pressurized can of shaving cream and squirts his nose . He swipes the shaving cream on his nose - swerving - A car honks .</scene_description>
<character>JOHN</character>
<dialogue>Hey, watch it will ya! Jesus Christ, thanks a lot.</dialogue>
<parenthetical>( looking at her angrily . )</parenthetical>
<dialogue>Hey, drivin' is a serious business. I ai n't havin' no accidents because of you.</dialogue>
<scene_description>Carol sinks into her corner of the car . She sticks her tongue out for a quick moment .</scene_description>
<character>JOHN</character>
<parenthetical>( catching her look . )</parenthetical>
<dialogue>Come on, do n't give me any grief. I'm warning ya.</dialogue>
<character>CAROL</character>
<dialogue>Spare me, killer.</dialogue>
<scene_description>He stares at her and she shuts up . `` Surfin ' Safari '' is blaring on the radio and she starts twisting with the music . John turns the radio off .</scene_description>
<character>CAROL</character>
<dialogue>Why'd you do that?</dialogue>
<character>JOHN</character>
<dialogue>I do n't like that surfing shit. Rock'n Roll's been going downhill ever since Buddy Holly died.</dialogue>
<character>CAROL</character>
<dialogue>Do n't you think the Beach Boys are boss!</dialogue>
<character>JOHN</character>
<dialogue>You would, you grungy little twerp.</dialogue>
<character>CAROL</character>
<dialogue>Grungy? You big weenie, if I had a boyfriend he'd pound you.</dialogue>
<character>JOHN</character>
<parenthetical>( looking in the rear - view mirror . )</parenthetical>
<dialogue>Sure - ah, shit, Holstein!</dialogue>
<scene_description>She looks around , and sees a police car following them , bubble lights aglow .</scene_description>
<character>CAROL</character>
<dialogue>Good, a cop - I'm going to tell him you tried to rape me.</dialogue>
<scene_description>John pulls the car over and stops .</scene_description>
<character>JOHN</character>
<dialogue>Oh, no - No. Hey -</dialogue>
<character>CAROL</character>
<dialogue>It's past my curfew. I'm going to tell him how old I am, my parents do n't know I'm out and you tried to rape me. Boy, are you up a creek.</dialogue>
<scene_description>John looks at her .</scene_description>
<character>JOHN</character>
<dialogue>Hey - ah, really - do n't say anything.</dialogue>
<scene_description>She looks at him .</scene_description>
<character>CAROL</character>
<dialogue>If you say `` I was a dirty bird. Carol's not grungy, she's bitchin'.''</dialogue>
<scene_description>The cop is tapping at John 's window . John wipes his face .</scene_description>
<character>CAROL</character>
<dialogue>Say it - I'll tell him.</dialogue>
<character>JOHN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I was a dirty bird, Carol's not grungy, she's bitchin.'</dialogue>
<character>CAROL</character>
<dialogue>Okay - I'll think about it.</dialogue>
<scene_description>`` The Great Imposter '' can be heard on the passing car radios . John rolls down his window . He looks at the surly cop .</scene_description>
<character>HOLSTEIN</character>
<dialogue>Where you going, Milner?</dialogue>
<character>JOHN</character>
<dialogue>I'm going home - sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>Where you been, Milner?</dialogue>
<character>JOHN</character>
<dialogue>Ah - at the movies - sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>Milner, you were n't around the 12th and G streets at about 8:30, were you?</dialogue>
<character>JOHN</character>
<dialogue>No, I wa at the movies - like I said - sir.</dialogue>
<scene_description>Holstein looks at him , then steps back , looks at the car . Holstein 's only a couple years older than John , but the uniform separates them by light years .</scene_description>
<character>HOLSTEIN</character>
<dialogue>Uh - huh. Milner, the reason I stopped you was because the light on your license plate is out.</dialogue>
<parenthetical>( opening his ticket book . )</parenthetical>
<dialogue>I'm gon na have to cite you for that. And Milner, the front end of this. this. this thing you're driving looks a little low.</dialogue>
<character>JOHN</character>
<dialogue>Oh, no sir. It's twelve and a half inches. Regulation size. Now, it's been checked several times. You can check it if you like, sir.</dialogue>
<scene_description>Holstein just glares at him and then leans in close through the window .</scene_description>
<character>HOLSTEIN</character>
<dialogue>Look, Milner.</dialogue>
<character>JOHN</character>
<dialogue>Yes, sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>You ca n't fool with the law.</dialogue>
<character>JOHN</character>
<dialogue>Yes, sir.</dialogue>
<character>HOLSTEIN</character>
<dialogue>We know that was you tonight. We have an excellent description of this car. I could run you in right now and I could make it stick. But I'm not gon na do that, Milner, you know why?</dialogue>
<scene_description>John shakes his head no .</scene_description>
<character>HOLSTEIN</character>
<dialogue>Because I want to catch you in the act. And when I do, I'm gon na nail you, but good. Happy Birthday, Milner.</dialogue>
<scene_description>Holstein drops the ticket through the window onto John 's lap . He starts back to his patrol car . When he 's out of earshot John answers .</scene_description>
<character>JOHN</character>
<dialogue>Thank you - asshole.</dialogue>
<character>CAROL</character>
<parenthetical>( looking over at him . )</parenthetical>
<dialogue>You're a regular J.D.</dialogue>
<character>JOHN</character>
<dialogue>Here, file that under C.S. over there.</dialogue>
<scene_description>Carol takes the ticket and opens the glove compartment .</scene_description>
<character>CAROL</character>
<dialogue>C.S? What's that stand for?</dialogue>
<character>JOHN</character>
<dialogue>Chicken shit - that's what it is.</dialogue>
<character>CAROL</character>
<dialogue>Oh.</dialogue>
<scene_description>She looks amazed as she adds the new ticket to a mess of similar tickets crammed in the glove compartment . The police car pulls by them . John scowls , then roars his engine and pulls back into the stream of traffic . CRUISING MAIN STREET - STEVE 'S '58 CHEVY Terry is looking and feeling like he 's got it made . He downshifts and slows for a red light . A very mean - looking black '55 Chevy - blown , scooped and slicked - pulls up next to him . The driver , Bob Falfa , has a gum - chewing girlfriend sitting almost on top of him . Terry challenges the '55 Chevy by revving his engine . Bob Falfa does n't even look over . He revs his engine - which sounds like a cross between a Boeing 707 and a SuperChief . Terry ca n't believe it . He quits revving his engine - feeling deflated . Terry looks over at the snotty grin on Falfa 's girlfriends ' face .</scene_description>
<character>GIRLFRIEND</character>
<dialogue>Ai n't he neat?</dialogue>
<scene_description>Terry does n't say anything and Bob Falfa glares over at him .</scene_description>
<character>FALFA</character>
<dialogue>Hey, you know a guy around here with a piss yellow deuce coupe - supposed to be hot stuff?</dialogue>
<character>TERRY</character>
<dialogue>You mean John Milner?</dialogue>
<scene_description>Falfa nods slowly .</scene_description>
<character>TERRY</character>
<dialogue>Hey, nobody can beat him, man. He's got the fastest -</dialogue>
<character>FALFA</character>
<dialogue>I ai n't nobody, dork. Right?</dialogue>
<character>TERRY</character>
<dialogue>Right.</dialogue>
<character>FALFA</character>
<dialogue>Hey, you see this Milner, you tell him I'm lookin' for him, huh? Tell him I aim to blow his ass right off the road.</dialogue>
<character>GIRLFRIEND</character>
<parenthetical>( giving another snotty smile . )</parenthetical>
<dialogue>Ai n't he neat?</dialogue>
<scene_description>Terry does n't say anything . There 's another incredible scream as Falfa roars off , leaving Terry to stare through his smoke . Terry accelerates the '58 Chevy - at a prudent speed . As the radio blares `` Almost Grown , '' Terry glides past the lighted stores slowly , taking in everything with wide eyes from his beautiful new car . Terry passes a steaming rear - end collision at an intersection where two guys and two girls are all yelling . Then , suddenly , he spots a girl - walking - alone . His mouth drops open in amazement as he slows to a crawl . Debbie , nineteen , with blonde hair , wearing a blue and white spaghetti - strap dress , strolls along the sidewalk . Terry rolls the powerful engine , but she ignores him . As he passes her , he speeds up .</scene_description>
<character>TERRY</character>
<dialogue>What a babe. what a bitchin' babe. And Wolfman Baby, she's all mine.</dialogue>
<scene_description>Terry tears around the corner and starts his approach once more . He quickly whips out his comb , touches up his hair and settles down into a comfortable slouch .</scene_description>
<character>TERRY</character>
<dialogue>Okay, honey, here I come - James Dean lives!</dialogue>
<scene_description>He hits the clutch , roars the engine a couple more times and then - disaster . Debbie passes behind some rough looking dudes on motorcycles , parked along the curb . One especially vicious biker turns and looks at Terry as he passes . Terry roars off around the block .</scene_description>
<character>TERRY</character>
<dialogue>Stay cool, honey - do n't let those creeps bug you. Wolfman, please do n't let those creeps bug her. please.</dialogue>
<scene_description>As Debbie passes the bikers , they hoot , holler , and make barnyard noises . From the cat calls , and Debbie 's manner it seems obvious that Debbie is a girl a lot of boys have `` known . '' She has walked clear of the bikers as Terry screeches around the corner again . He pulls up alongside her and again slows to a crawl . The pass each other for awhile , but she does n't look over .</scene_description>
<character>TERRY</character>
<dialogue>Hi!</dialogue>
<parenthetical>( lowering his voice . )</parenthetical>
<dialogue>Hello. buenos noches? Need a lift? Nice night for a walk? Do you know John Milner? Curt Henderson? Sure you would n't like a ride somewhere? Did anyone ever tell you that you look just like Connie Stevens?</dialogue>
<scene_description>This stops her and she turns - Terry hits the brakes and the car bounces .</scene_description>
<character>TERRY</character>
<dialogue>You do! I mean it! Just like Connie Stevens. I met her once.</dialogue>
<character>DEBBIE</character>
<dialogue>For real?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. At a Dick Clark road show.</dialogue>
<scene_description>Debbie starts slowly toward the car .</scene_description>
<character>DEBBIE</character>
<dialogue>You really think I look like her?</dialogue>
<character>TERRY</character>
<dialogue>No shit - excuse me, I mean I'm not just feeding you a line. You look like Connie Stevens. What's your name?</dialogue>
<character>DEBBIE</character>
<dialogue>Debbie. I always though I looked like Sandra Dee.</dialogue>
<character>TERRY</character>
<dialogue>Oh yeah - well, you look a lot like her too.</dialogue>
<character>DEBBIE</character>
<dialogue>This your car?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. I'm Terry the - they call me Terry the Tiger.</dialogue>
<character>DEBBIE</character>
<dialogue>It's really tough looking.</dialogue>
<character>TERRY</character>
<dialogue>What school do you go to?</dialogue>
<character>DEBBIE</character>
<dialogue>Dewey - can it lay rubber?</dialogue>
<character>TERRY</character>
<dialogue>Oh yeah, it's got a 327 Chevy mill with six Strombergs.</dialogue>
<character>DEBBIE</character>
<dialogue>Wow - bitchin' tuck and roll. I just love the feel of tuck and roll upholstery.</dialogue>
<character>TERRY</character>
<dialogue>You do?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Well, come on in - I'll let you feel it. I mean, you can touch it if you want -.</dialogue>
<parenthetical>( realizing it 's coming out wrong he gets nervous . )</parenthetical>
<dialogue>I mean the upholstery, you know.</dialogue>
<character>DEBBIE</character>
<dialogue>Okay.</dialogue>
<scene_description>Terry is elated . He climbs out of the car and she slides in the driver 's side . Terry climbs back in next to her and slams the door . She 's sitting right next to him - like a real date should . Terry gets a little nervous .</scene_description>
<character>DEBBIE</character>
<dialogue>Peel out.</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>DEBBIE</character>
<dialogue>Peel out. I love it when guys peel out.</dialogue>
<scene_description>Terry nods , checks his clutch , revs the engine to a high - pitched whine and they 're off - The tires smoke , scream , the car shots off , fish - tailing , nearly hitting a parked car , straightening out . and disappears down Main Street . HIGH SCHOOL GYM - THE HOP On stage , the band is `` taking five . '' They 're looking tough for the girls while the Student Body Secretary is making announcements at the mike .</scene_description>
<character>GIRL</character>
<dialogue>- a great band and they came all the way from Stockton. Let's hear it.</dialogue>
<scene_description>There 's applause as the girl continues .</scene_description>
<character>GIRL</character>
<dialogue>And we want to thank Darby Langdon, who did all these neat decorations.</dialogue>
<scene_description>There 's more applause . Standing among the crowd , Steve and Laurie both look angry .</scene_description>
<character>LAURIE</character>
<dialogue>I do n't care if you leave this second.</dialogue>
<character>GIRL</character>
<parenthetical>( into the mike . )</parenthetical>
<dialogue>Now the next dance is gon na be a snowball and leading it off is last year's class president Steven Bolander - and this year's head cheerleader, Laurie Henderson.</dialogue>
<scene_description>There 's applause , whistles and cheers from the crowd . A blue spotlight floats over the dance floor and then lands on Steve and Laurie , who are in the midst of their argument .</scene_description>
<character>STEVE</character>
<dialogue>What's wrong with you! You're acting like a snotty -</dialogue>
<scene_description>Laurie squints into the spotlight and realizes everybody 's watching them .</scene_description>
<character>LAURIE</character>
<dialogue>Oh God, come on.</dialogue>
<character>STEVE</character>
<dialogue>Come on what?</dialogue>
<character>LAURIE</character>
<parenthetical>( pulling him toward the floor . )</parenthetical>
<dialogue>Oh, Steven - please, everybody's watching. Smile or something.</dialogue>
<scene_description>Steve gives a sick smile as she drags him out onto the floor . A record needle scratches and `` Smoke Gets in Your Eyes '' blares out as Steve and Laurie dance alone in the middle of the floor . The crowd quiets , getting a little misty about this soon - to - be separated teenage couple . For their part , Steve and Laurie are arguing , whispering in each other 's ears .</scene_description>
<character>LAURIE</character>
<dialogue>You think I care if you go off. You think I'm going to crack up or something. Are you conceited!</dialogue>
<character>STEVE</character>
<dialogue>Quit - quit pinching - I do n't know why I ever started taking you out in the first place.</dialogue>
<scene_description>He takes her hand from the tucked - under - the - chin position and puts it around him , in a bear - hug .</scene_description>
<character>LAURIE</character>
<dialogue>You take me out? When we first met you did n't have enough sense to take the garbage out. I asked you out, remember?</dialogue>
<character>STEVE</character>
<dialogue>What do you mean, you asked me out!</dialogue>
<character>LAURIE</character>
<dialogue>Backwards Day - remember? If I had waited for you to ask me - even after that you did n't call me for two weeks.</dialogue>
<character>STEVE</character>
<dialogue>I was busy.</dialogue>
<character>LAURIE</character>
<dialogue>You were scared. Dave Oboler told me. Then when you did ask me out you did n't kiss me for three dates.</dialogue>
<character>STEVE</character>
<dialogue>Well - I was -</dialogue>
<character>LAURIE</character>
<dialogue>Scared - Jim Kaylor told me. I even asked my father why you had n't kissed me.</dialogue>
<character>STEVE</character>
<dialogue>Your father - great!</dialogue>
<character>LAURIE</character>
<dialogue>He said he thought you were bright and you'd probably think of kissing me after a while.</dialogue>
<scene_description>He moans .</scene_description>
<character>LAURIE</character>
<dialogue>You did n't, of course. I had to. Remember that picnic?</dialogue>
<character>STEVE</character>
<dialogue>Out at the canyon?</dialogue>
<character>LAURIE</character>
<dialogue>Oh boy! You ca n't remember anything - the first one, up at the lake. That was the first time you kissed me - I practically had to throw myself at you.</dialogue>
<character>STEVE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I remember.</dialogue>
<scene_description>They continue to dance slowly . Laurie starts to cry , hating herself for it . Steve loosens a minute and looks at her .</scene_description>
<character>STEVE</character>
<dialogue>What's wrong?</dialogue>
<character>LAURIE</character>
<dialogue>Go to hell.</dialogue>
<scene_description>He holds her tighter and they circle the floor , all alone , the crowd watching quietly , the gym echoing with `` Smoke Gets in Your Eyes . ''</scene_description>
</scene>
<scene>
<stage_direction>THE GYM PARKING LOT</stage_direction>
<scene_description>Curt is leaning against a car in the parking lot . He 's looking up at the stars and listening to the music floating out from the gym .</scene_description>
<character>WENDY</character>
<dialogue>What are you doin', stealing hub caps?</dialogue>
<scene_description>A pretty , dark - haired girl , Wendy , slides up next to him and leans against the car . There 's an awkward pause like that which happens often when two people who used to be close meet after things have changed .</scene_description>
<character>CURT</character>
<dialogue>Well - hey, Wendy.</dialogue>
<character>WENDY</character>
<dialogue>How've you been?</dialogue>
<character>CURT</character>
<dialogue>Fine. Great. How've you been?</dialogue>
<scene_description>A horn honks and Wendy turns to a VW that 's idling nearby .</scene_description>
<character>WENDY</character>
<dialogue>I'm coming - wait a sec.</dialogue>
<parenthetical>( turning back to Curt . )</parenthetical>
<dialogue>She's got her car. Hey, I thought you were going away to school.</dialogue>
<character>CURT</character>
<dialogue>Ah, maybe. maybe.</dialogue>
<character>WENDY</character>
<dialogue>Same old Curt. All the time we were going together you never knew what you were doing. well, anyway, I got ta go.</dialogue>
<character>CURT</character>
<dialogue>Hey, Wendy - where are you going?</dialogue>
<character>WENDY</character>
<dialogue>Nowhere.</dialogue>
<character>CURT</character>
<parenthetical>( smiling at her . )</parenthetical>
<dialogue>Well, you mind if I come along?</dialogue>
<character>WENDY</character>
<parenthetical>( affectionately . )</parenthetical>
<dialogue>Okay.</dialogue>
<character>CURT</character>
<dialogue>Okay.</dialogue>
<scene_description>They go off toward the VW and climb in .</scene_description>
</scene>
<scene>
<stage_direction>BACK INSIDE THE GYM</stage_direction>
<scene_description>The hop is almost over and the lights have been lowered , conservatively . Steve and Laurie hold each other , hardly moving and he kisses her . Still kissing , they continue to circle slowly - until a short , totally bald teacher comes and pokes Steve in the side .</scene_description>
<character>MR. KROOT</character>
<dialogue>All right, Bolander, break it up. You know the rules. You and your panting girlfriend want to do that you'll have to go someplace else.</dialogue>
<scene_description>He gives them a disgusted look and starts off .</scene_description>
<character>STEVE</character>
<dialogue>Hey, Kroot!</dialogue>
<scene_description>The teacher turns , surprised by the omission of `` Mr. ''</scene_description>
<character>STEVE</character>
<dialogue>Why do n't you go kiss a duck.</dialogue>
<scene_description>Kroot 's beady eyes widen and he comes back .</scene_description>
<character>KROOT</character>
<dialogue>What? What did you say?</dialogue>
<character>STEVE</character>
<dialogue>I said go kiss a duck, marblehead.</dialogue>
<scene_description>Kroot is stunned and people have stopped dancing to watch</scene_description>
<character>MR. KROOT</character>
<dialogue>Bolander - you're suspended. You're - do n't even come Monday. You are out!</dialogue>
<character>STEVE</character>
<parenthetical>( smiling broadly . )</parenthetical>
<dialogue>I graduated last semester.</dialogue>
<scene_description>Suddenly everything has changed . Mr. Kroot is furious , but unable to do anything . He finally storms off in a huff . Steve , Laurie and the people watching all laugh .</scene_description>
<character>STEVE</character>
<parenthetical>( to Laurie . )</parenthetical>
<dialogue>Get your shoes. Let's go before we get thrown out.</dialogue>
</scene>
<scene>
<stage_direction>THE GYM PARKING LOT</stage_direction>
<scene_description>Steve and Laurie walk toward her Edsel . In the background Wolfman Jack is taking a phone call from someone .</scene_description>
<character>MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello, Wolfman.</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who's this?</dialogue>
<character>MAN</character>
<dialogue>This is Weird Willard.</dialogue>
<character>WOLFMAN</character>
<dialogue>Hold on a minute, let me get my pants off. you understand?</dialogue>
<scene_description>Steve opens the door to the car and then turns Laurie and kisses her .</scene_description>
<character>STEVE</character>
<dialogue>Why do n't we go to the canal?</dialogue>
<character>LAURIE</character>
<parenthetical>( teasing . )</parenthetical>
<dialogue>What for?</dialogue>
<character>STEVE</character>
<dialogue>Listen, I can get tough with you too, you know.</dialogue>
<character>LAURIE</character>
<dialogue>Yeah, hard tough.</dialogue>
<scene_description>She kisses him and they get into the car . As they pull out , the Wolfman continues his conversation on the radio .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I got'em down around my knees, man. Wear these tight pants. I ca n't get'em. All right, I'm gon na do my little dance now, man.</dialogue>
<scene_description>And the Wolfman goes into an insane rain - dance rhythm as we hear `` Little Darlin ' '' CRUISING MAIN STREET - STEVE 'S '58 CHEVY Terry not only looks cool now , but is cool , singing with the radio , a girl beside him . Hot stuff . Terry ever so slowly tries to put his arm around her , but by the time he manages it , he has to shift . They drive by some kids having a car - to - car water pistol war .</scene_description>
<character>TERRY</character>
<dialogue>I go to Dewey too, ya know.</dialogue>
<character>DEBBIE</character>
<dialogue>I never seen ya.</dialogue>
<character>TERRY</character>
<dialogue>I bug out a lot. When I graduate, I'm going to join the Marines.</dialogue>
<character>DEBBIE</character>
<dialogue>They got the best uniforms. But what if there's a war?</dialogue>
<character>TERRY</character>
<dialogue>With the bomb, who's going to start it? We'd all blow up together. Anyway, I'd rather be at the front. I'm like that - rather be where the action is, you know. Once I got in a fight with -</dialogue>
<character>DEBBIE</character>
<dialogue>I love Eddie Burns.</dialogue>
<scene_description>Terry stops , trying to figure out where their conversation went .</scene_description>
<character>TERRY</character>
<dialogue>Eddie Burns - oh, yeah, Eddie Burns. I met him once, too.</dialogue>
<character>DEBBIE</character>
<dialogue>You really think I look like Connie Stevens? I like her - Tuesday Weld is too much of a beatnik, do n't you think?</dialogue>
<character>TERRY</character>
<dialogue>Yeah, beatniks are losers.</dialogue>
<character>DEBBIE</character>
<dialogue>Who do you like? I mean, singers and stuff.</dialogue>
<scene_description>Terry slowly maneuvers his arm around her .</scene_description>
<character>TERRY</character>
<dialogue>Ah hell - I like most of the people you like.</dialogue>
<character>DEBBIE</character>
<parenthetical>( putting her head on his shoulder . )</parenthetical>
<dialogue>That's nice - we got a lot in common.</dialogue>
<scene_description>Both of them start singing with the radio . Suddenly she puts her hand on his leg .</scene_description>
<character>DEBBIE</character>
<dialogue>You know what I'd like more than anything in the world right now?</dialogue>
<scene_description>Terry almost does a comic strip `` Gulp ! ''</scene_description>
<character>DEBBIE</character>
<dialogue>I'd love a double Chubby Chuck. Is n't that what you'd like more than anything right now?</dialogue>
<character>TERRY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>MEL 'S DRIVE - IN The endless chrome - flashing parade continues . Among the lines of fine cars , Terry is parked in the '58 Chevy next to an order speaker on a metal pole . Terry leans out the car window and orders into the intercom .</scene_description>
<character>TERRY</character>
<dialogue>A double Chubby Chuck, a Mexicali Chili Barb, two orders of French fries -</dialogue>
<character>DEBBIE</character>
<dialogue>And cherry cokes.</dialogue>
<scene_description>The intercom clicks on and a garbled voice squawks back at him .</scene_description>
<character>INTERCOM</character>
<dialogue>Ark, wark, dork.</dialogue>
<character>TERRY</character>
<parenthetical>( pushing the button . )</parenthetical>
<dialogue>Now wait a minute. What? Huh?</dialogue>
<character>INTERCOM</character>
<dialogue>Ark, wark, dork.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, right. Cool.</dialogue>
<scene_description>As they wait for their order , several guys in various passing cars yell sleazy greetings to Debbie . Suddenly , a rough - looking face , belonging to Vic Lozier , pops in her window .</scene_description>
<character>VIC</character>
<dialogue>Hey, Deb. How's my soft baby?</dialogue>
<character>DEBBIE</character>
<dialogue>Beat it, Vic. I'm not your baby.</dialogue>
<scene_description>Terry nervously pretends not to hear .</scene_description>
<character>VIC</character>
<dialogue>Oh, come on, honey. So I never called you back. I've been, you know, busy.</dialogue>
<character>DEBBIE</character>
<dialogue>Three weeks. besides, it only took one night for me to realize that if brains were dynamite, you could n't blow your nose.</dialogue>
<character>VIC</character>
<dialogue>Look who's talking. Who's the wimp you're hanging out with now? Einstein?</dialogue>
<character>DEBBIE</character>
<dialogue>Tiger happens to be very intelligent. Unlike you. I know every thing your dirty little mind is thinking.</dialogue>
<parenthetical>( She looks out the window , down at Vic 's pants . )</parenthetical>
<dialogue>. it shows.</dialogue>
<character>TERRY</character>
<dialogue>Hey, now -.</dialogue>
<parenthetical>( his voice cracks . )</parenthetical>
<dialogue>I mean, hey now, buddy, the lady obviously does n't -</dialogue>
<character>VIC</character>
<dialogue>Look, creep, you want a knuckle sandwich?</dialogue>
<character>TERRY</character>
<dialogue>Ah, no thanks, I'm waiting for a double Chubby - Chuck.</dialogue>
<character>VIC</character>
<dialogue>Then shut your smart ass mouth! I'll call ya, Deb, some night when I'm hard up.</dialogue>
<character>DEBBIE</character>
<dialogue>I wo n't be home.</dialogue>
<scene_description>Vic makes a kiss - off noise . She lights a match and flicks it at him . He finally leaves .</scene_description>
<character>TERRY</character>
<dialogue>You seem to, ah - know a lot of weird guys.</dialogue>
<character>DEBBIE</character>
<dialogue>That sex fiend is not a friend of mine ; he's just horny. That's why I like you, you're different.</dialogue>
<character>TERRY</character>
<dialogue>I am? You really think I'm intelligent?</dialogue>
<scene_description>She moves very close to him and whispers in his ear .</scene_description>
<character>DEBBIE</character>
<dialogue>Yeah. And I'll bet you're smart enough to get us some brew.</dialogue>
<character>TERRY</character>
<dialogue>Brew?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Brew. oh - yeah. oh, sure.</dialogue>
<parenthetical>( she kisses him . )</parenthetical>
<dialogue>Yes! Liquor! This place is too crowded anyway.</dialogue>
<scene_description>Terry backs out and drives off , leaving the approaching car hop standing in an empty parking space .</scene_description>
<character>CAR HOP</character>
<dialogue>What about your double Chubby Chuck, mexicali - chili - barb and.</dialogue>
<parenthetical>( looking at the tray . )</parenthetical>
<dialogue>- two cherry cokes, sir?</dialogue>
<scene_description>CRUISING MAIN STREET - '57 VOLKSWAGEN We see the white T - bird ahead for just a moment , before it accelerates , passes a car and disappears , as we hear `` Peppermint Twist '' from the radio . In the VW , Curt is in the back , shaking the driver 's seat , yelling at Bobbie . Wendy is in front next to Bobbie .</scene_description>
<character>CURT</character>
<dialogue>There - do n't you see it? Speed up, you're losing her -</dialogue>
<character>BOBBIE</character>
<dialogue>Quit shouting in my ear!</dialogue>
<character>CURT</character>
<dialogue>Cut around him, cut around him.</dialogue>
<scene_description>The little VW swerves and cuts around an old dagoed Dodge , then speeds along the fast lane . Ahead , we catch a glimpse of the T - bird as it turns a corner .</scene_description>
<character>CURT</character>
<dialogue>There, hang a right - over there!</dialogue>
<scene_description>Bobbie turns , somebody honks , she hits the curb , shifting madly she mis - clutches ; the beetle lugs forward ; Curt falls back in the seat and Wendy looks at him .</scene_description>
<character>CURT</character>
<dialogue>You lost her!</dialogue>
<character>WENDY</character>
<dialogue>What's wrong with you? You know Bobbie gets nose bleeds when she's upset.</dialogue>
<character>BOBBIE</character>
<dialogue>I do not! You shut up!</dialogue>
<character>CURT</character>
<dialogue>Lost her again. Ah, Wendy, my old lover, come back here and console me.</dialogue>
<character>WENDY</character>
<dialogue>Eat your heart out. Who was she anyway?</dialogue>
<character>CURT</character>
<dialogue>I do n't know, but I'm going to find out.</dialogue>
<character>BOBBIE</character>
<dialogue>I know her!</dialogue>
<scene_description>There are a few moments of silence as Bobbie lets Curt sweat it out . Finally , Curt breaks .</scene_description>
<character>CURT</character>
<dialogue>Okay, come on, who is she?</dialogue>
<character>BOBBIE</character>
<dialogue>You know Mr. Beeman? He owns Hepcat Jewelers.</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>BOBBIE</character>
<dialogue>Well, she's his wife.</dialogue>
<character>CURT</character>
<dialogue>But she was young and beautiful, and cruising 10th Street. You're thinking of someone else.</dialogue>
<character>WENDY</character>
<dialogue>Mr. Beeman's not so old.</dialogue>
<character>CURT</character>
<dialogue>What cruel fate keeps me from my true love? How am I ever going to meet her?</dialogue>
<character>WENDY</character>
<parenthetical>( to Bobbie . )</parenthetical>
<dialogue>Did you know that my ex is going to become a presidential aide? It's supposed to be a secret, but his big ambition in life is to shake hands with President Kennedy. How are you going to accomplish that at J.C?</dialogue>
<character>CURT</character>
<dialogue>Maybe I've grown up. Maybe I've changed my mind.</dialogue>
<character>WENDY</character>
<dialogue>Maybe you do n't think you can do it!</dialogue>
<character>CURT</character>
<dialogue>Maybe you should shut up!</dialogue>
<character>WENDY</character>
<dialogue>Maybe I will. and maybe I wo n't.</dialogue>
<character>CURT</character>
<dialogue>Why do n't you move your bod into aft chamber, where we might discuss this in private.</dialogue>
<character>BOBBIE</character>
<parenthetical>( seeing that Wendy is considering it . )</parenthetical>
<dialogue>Thanks a lot.</dialogue>
<character>CURT</character>
<dialogue>Come on, Wendy? She does n't say anything. They pull up to a stoplight. Wendy looks at the red stoplight and then abruptly gets out of the car and jumps in the back.</dialogue>
<character>WENDY</character>
<dialogue>Well, slide over, I'm not sitting on your lap.</dialogue>
<scene_description>She gets in and the car goes off . In the back seat , Curt and Wendy are talking softly . He puts his arm around her and she makes a face , but does n't remove it . Bobbie watches in the rear - view mirror , Curt sees her .</scene_description>
<character>CURT</character>
<dialogue>To the Opera, James.</dialogue>
<character>BOBBIE</character>
<dialogue>Drop dead.</dialogue>
<character>CURT</character>
<dialogue>Unless you want to go to Gallo Dam and have an orgy.</dialogue>
<character>WENDY</character>
<dialogue>You wish.</dialogue>
<scene_description>Curt looks at her and turns her head . He kisses her and puts his arm around her . They neck . The radio plays `` Barbara Ann . '' The little VW flashes by in the stream of traffic . Bobbie drives , glancing in here rear - view mirror occasionally and also watching the station wagon ahead , in which two pairs of feet are dancing against the back window . Wendy pulls away from Curt 's lips and looks out the window .</scene_description>
<character>WENDY</character>
<dialogue>I've been silly. I'm glad you're going to stay. Maybe we'll have some classes together.</dialogue>
<character>CURT</character>
<dialogue>Maybe.</dialogue>
<character>BOBBIE</character>
<parenthetical>( from the front seat . )</parenthetical>
<dialogue>Look, there's Kip Pullman! He's so neat.</dialogue>
<scene_description>Wendy turns and leans forward , laughing . Curt watches her seriously , studying her .</scene_description>
<character>BOBBIE</character>
<dialogue>Do you know Kip?</dialogue>
<character>CURT</character>
<dialogue>Huh? Yeah, I know him.</dialogue>
<character>BOBBIE</character>
<dialogue>Talk to him when we go by.</dialogue>
<character>CURT</character>
<dialogue>What do you want me to say?</dialogue>
<character>BOBBIE</character>
<dialogue>Anything. I just want to meet him.</dialogue>
<scene_description>They pull up next to Kip 's car and Curt leans forward and yells out Bobbie 's window .</scene_description>
<character>CURT</character>
<dialogue>Kip, baby, what's up?</dialogue>
<character>KIP</character>
<dialogue>Henderson, long time no see. Whadaya been doing?</dialogue>
<character>CURT</character>
<dialogue>Not much, just wanted to let you know that Bobbie here is hopelessly in love with you and trembles at the sight of your rippling biceps.</dialogue>
<scene_description>Bobbie swerves the car away and turns a corner . She stops on a dime at the curb .</scene_description>
<character>BOBBIE</character>
<dialogue>You creep, fink, son - of - a - bitch -</dialogue>
<scene_description>She turns and starts flailing at Curt with her purse .</scene_description>
<character>CURT</character>
<dialogue>Help, wait! Joke - Joke - Bobbie, remember your nose bleeds!</dialogue>
<character>BOBBIE</character>
<dialogue>Get out - get out of my car - I hate you!</dialogue>
<character>CURT</character>
<dialogue>Excuse me - ouch - Wendy - I got to go now.</dialogue>
<scene_description>Wendy is laughing and Curt climbs over her out of the small car . He gets out and closes the door . Wendy changes seats and looks at him seriously .</scene_description>
<character>WENDY</character>
<dialogue>Curt, I hope I see you at registration. Call me if you want. It was nice seeing you again.</dialogue>
<character>CURT</character>
<dialogue>See ya.</dialogue>
<scene_description>The car pulls off and Curt watches it . Suddenly , he sees something - the T - bird going the other way down the street .</scene_description>
<character>CURT</character>
<dialogue>Oh shit - there! Wait!</dialogue>
<scene_description>The VW 's gone and Curt starts after the T - bird on foot . He runs down the middle of the street , oblivious to the horns honking and the cars swerving to miss him . We move with Curt as he moves like a broken field runner through the traffic only to finally lose the girl and the Thunderbird and to slow and finally stop , standing on the white line . Cars slow down and kids rubberneck as they go by him . CRUISING G STREET - '32 YELLOW DEUCE COUPE John is driving and the Wolfman is howling on the radio while Carol is having the time of her life .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Went to a dance lookin' for romance. Found Barbara Ann. baby. Hey, this one is for all you out there watchin' the Submarine Races.</dialogue>
<scene_description>And the radio moans into `` Who Wrote the Book of Love . '' Carol sits with her feet up against the dash . John knocks them off and she scowls at him .</scene_description>
<character>CAROL</character>
<dialogue>I'm so thirsty, I could die. Just a little 10 cent coke to wet my whistle. It wo n't take a minute, I can drink it in the -</dialogue>
<scene_description>John suddenly hits the brakes and Carol almost hits the floor . John reaches over and opens the door .</scene_description>
<character>JOHN</character>
<dialogue>Why do n't you just get out and get one then! So long, goodbye, hasta lumbago.</dialogue>
<scene_description>She stares at him , shaken , looking sweet and helpless . He turns and looks at her . A tear rolls down her cheek slowly . John ca n't take it .</scene_description>
<character>JOHN</character>
<dialogue>All right, one coke and then home.</dialogue>
<scene_description>Carol is delighted . She slams the door . John takes off .</scene_description>
<character>CAROL</character>
<dialogue>Is n't it great, the way I can cry whenever I want. A lot of people ca n't do that, but Vicki showed me how. I bet you ca n't cry.</dialogue>
<character>JOHN</character>
<dialogue>Do n't count on it. I may surprise you any minute now.</dialogue>
<scene_description>MEL 'S DRIVE - IN John cruises around the lot until he finds a space among the rows of dazzling cars . He pulls in and leans out to hit the intercom button .</scene_description>
<character>JOHN</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>One ten cent coke. Is ice extra? All right, ice.</dialogue>
<character>CAROL</character>
<dialogue>Thanks for nothing.</dialogue>
<scene_description>She looks around , sitting up so maybe some of her friends will see her in John 's neat car .</scene_description>
<character>CAROL</character>
<dialogue>Oh rats, I though some of my friends might be here.</dialogue>
<character>JOHN</character>
<dialogue>Probably a couple of weeks past their bedtime.</dialogue>
<character>CAROL</character>
<dialogue>Wait, there's Dee Dee. I hope she sees me.</dialogue>
<character>JOHN</character>
<dialogue>Oh Shit, Dee Dee!</dialogue>
<scene_description>A long line of cars coast past . Occasionally , someone yells a greeting to John . The car hop brings the coke . Then a couple , Al and Linda , come over . They lean in the window smiling - John prays they do n't see Carol .</scene_description>
<character>AL</character>
<dialogue>Hiya, John. Say, do you think if I brought my Mopar by the shop Monday you could spot weld the bumper bracket?</dialogue>
<character>JOHN</character>
<dialogue>Have to be before noon.</dialogue>
<character>AL</character>
<dialogue>Sure. Hey, have you met Linda?</dialogue>
<character>JOHN</character>
<dialogue>No. Hi - ahh, this is my, ahh, cousin, Carol. I'm kinda babysitting tonight.</dialogue>
<character>CAROL</character>
<dialogue>Babysitting!</dialogue>
<scene_description>She slugs John on the arm . John grabs her arm as she starts to swing again .</scene_description>
<character>JOHN</character>
<dialogue>Jesus - watch it, will yuh?</dialogue>
<parenthetical>( smiling at Al. ) Been hittin ' me all night .</parenthetical>
<parenthetical>Kids will be kids , you know .</parenthetical>
<dialogue />
<scene_description>She struggles to hit him and spills her coke all over the car . He pushes her rather roughly against the door .</scene_description>
<character>JOHN</character>
<dialogue>Watch out - damn it! Look what - why do n't you grow up!</dialogue>
<parenthetical>( looking at Al again . )</parenthetical>
<dialogue>We do n't get along too well. It's been like this -</dialogue>
<character>CAROL</character>
<dialogue>You spastic creep!</dialogue>
<scene_description>She is about to really cry this time . She jumps out of the car and runs off down the street . John wipes his car out as Al and Linda watch in amazement .</scene_description>
<character>JOHN</character>
<dialogue>We do n't get along too well. You know what cousins are like.</dialogue>
<character>AL</character>
<dialogue>Yeah. well, I'll see ya on Monday before noon.</dialogue>
<scene_description>John mutters profanities to himself , but his anger subsides after a few moments . He looks back in the direction Carol went . All he can see are two Hell 's Angels on choppers rolling in the same direction . He looks a little concerned and starts the coupe . CRUISING MAIN STREET - '32 YELLOW DEUCE COUPE John roars along looking for her until he sees her walking angrily along the sidewalk - being followed by a Ford full of guys . John passes Carol and the Ford and pulls over and stops just ahead of them . Carol stops when she sees John . The Ford also stops and the guys call out to her . She considers the situation a moment , then runs and gets in with John . He pulls off and she grins at him happily .</scene_description>
<character>CAROL</character>
<dialogue>Hi cousin, how's your bod?</dialogue>
<scene_description>SCENIC LIQUOR STORE - STEVE 'S '58 CHEVY Terry pulls into the parking lot and stops . He looks up at the flashing liquor store sign and considers his battle plan . `` Maybe Baby '' by Buddy Holly is playing on the radio .</scene_description>
<character>DEBBIE</character>
<dialogue>Do you have an ID?</dialogue>
<character>TERRY</character>
<dialogue>No. hey, but no sweat. What'll it be? Beer, little wine?</dialogue>
<character>DEBBIE</character>
<dialogue>If you could get some Old Harper, I'd give you a French kiss.</dialogue>
<character>TERRY</character>
<dialogue>Old Harper, rrright! He gives her an OK sign with his fingers and goes over to the store. He starts to enter, then stops and thinks. He sees a man in a business suit approaching, and smiles.</dialogue>
<character>TERRY</character>
<dialogue>Excuse me, sir, while you're in there - I mean, since you're going in anyway, I wonder if -</dialogue>
<character>MAN</character>
<dialogue>Yes, son?</dialogue>
<character>TERRY</character>
<dialogue>Could you - sir - could you give me the time?</dialogue>
<character>MAN</character>
<parenthetical>( looking at his watch . )</parenthetical>
<dialogue>Why sure, it's a quarter to twelve.</dialogue>
<character>TERRY</character>
<dialogue>Great. Quarter to twelve. Thanks a lot.</dialogue>
<scene_description>The man regards him , Terry pretends to start off until the man goes in . Terry pulls himself together as another man approaches , or rather stumbles up , being older , scruffy and , essentially , a bum .</scene_description>
<character>TERRY</character>
<dialogue>Pardon me, sir, but I lost my I.D. in - in a flood and I'd like to get some Old Harper, hard stuff. Would you mind buying a bottle for me?</dialogue>
<scene_description>The bum is still trying to focus on Terry and smiles .</scene_description>
<character>BUM</character>
<dialogue>Why certainly, I lost my wife, too - her name was n't Idy, though, and it was n't in a flood - but I know what ya -</dialogue>
<character>TERRY</character>
<dialogue>Thanks, here's enough for a pint.</dialogue>
<scene_description>The old man takes the money and falls into the store . Terry watches and then waves to Debbie in the car that everything is cool . As he waits for the bum to come back out , the first man in the suit exits . Terry smiles at him again .</scene_description>
<character>TERRY</character>
<dialogue>Hi. Still quarter to twelve.</dialogue>
<character>MAN</character>
<dialogue>Right - o. Night.</dialogue>
<character>TERRY</character>
<dialogue>Night.</dialogue>
<scene_description>The man gets into the car and backs out . Terry goes over to the window of the liquor store and looks to see how the wino 's doing with his booze . Terry sees the liquor store owner setting four bottles of cheap wine on the counter .</scene_description>
<character>TERRY</character>
<parenthetical>( gesturing through the window from outside . )</parenthetical>
<dialogue>Hey, no. Not wine. Ssss - hey!</dialogue>
<scene_description>The owner turns and sees Terry waving . Terry ducks out of sight . When he looks back again , Terry sees the old bum is gone ! Terry ca n't believe it . He finally enters the store .</scene_description>
</scene>
<scene>
<stage_direction>INSIDE THE LIQUOR STORE</stage_direction>
<scene_description>Terry tries to look very casual as he sidles up to the counter . Country - Western music hums over the liquor in hi - fi .</scene_description>
<character>TERRY</character>
<parenthetical>( smiling at the owner . )</parenthetical>
<dialogue>Hi there - ah, say - was there an old man in here a minute ago?</dialogue>
<character>OWNER</character>
<dialogue>Yeah. He went out the back.</dialogue>
<scene_description>Terry is destroyed .</scene_description>
<character>OWNER</character>
<dialogue>You want something?</dialogue>
<scene_description>Terry looks at the man and the endless rows of liquor behind him .</scene_description>
<character>TERRY</character>
<dialogue>Yeah - ah - let me have a Three Musketeers, ah, and a ball point pen ther, a comp, a pint of Old Harper, couple of flashlight batteries and some of this beef jerky.</dialogue>
<scene_description>The owner puts everything into a bag and starts to ring it up .</scene_description>
<character>OWNER</character>
<dialogue>Okay, got an I.D. for the liquor?</dialogue>
<character>TERRY</character>
<dialogue>A what? Oh, sure -.</dialogue>
<parenthetical>( feeling his pockets . )</parenthetical>
<dialogue>Oh nuts, I left it - I left it in the car.</dialogue>
<character>OWNER</character>
<dialogue>Sorry, you'll have to get it before -</dialogue>
<character>TERRY</character>
<dialogue>Well, I ca n't. I also ah, forgot the car.</dialogue>
<scene_description>The owner takes the liquor out of the bag and puts it back on the shelf . Terry stands there . The owner takes the money from him and gives him his change .</scene_description>
</scene>
<scene>
<stage_direction>OUTSIDE THE LIQUOR STORE</stage_direction>
<scene_description>Terry comes back to the Chevy with the bag full of junk . Debbie smiles at him excitedly and scoots over to the window .</scene_description>
<character>DEBBIE</character>
<dialogue>Hey, did ya get it? Ya get it, ya get it?</dialogue>
<scene_description>He hands her the bag .</scene_description>
<character>DEBBIE</character>
<dialogue>You got it. You got it!</dialogue>
<scene_description>She goes through the bag and finds a comb and the batteries .</scene_description>
<character>DEBBIE</character>
<dialogue>You did n't get it. Why did n't you get it?</dialogue>
<character>TERRY</character>
<dialogue>Ah, well, I needed some things and I thought as long as I was in there - look, Debbie, can you loan me a dollar?</dialogue>
<character>DEBBIE</character>
<dialogue>What? Are you for real? Come on. Girls do n't pay. Guys pay.</dialogue>
<character>TERRY</character>
<dialogue>Yeah, well, see - I've only got a fifty and he does n't have change.</dialogue>
<character>DEBBIE</character>
<dialogue>Well, I ca n't believe this. I really can not believe this. Here.</dialogue>
<scene_description>She takes the money from a squeeze - open plastic change purse and hands it to him . Terry smiles weakly and goes back to try his luck again at the liquor store . He stops in front of the door as a young guy with numerous tattoos on his bulging arms approaches the liquor store .</scene_description>
<character>TERRY</character>
<dialogue>Hi - excuse me. I was wondering - could you, ah -</dialogue>
<character>GUY</character>
<dialogue>Buy you a bottle of booze. Yeah, I know. You lost your I.D.. What kind do you want?</dialogue>
<character>TERRY</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>Gee, that's terrific. Ah, just some ah - Old Harper.</dialogue>
<scene_description>He takes Terry 's money and enters the store . The clerk hands the man a bottle of Old Harper . Terry waves excitedly to Debbie , lowering his pants a bit . Suddenly , there 's a gunshot ! Terry whirls to see the young man stuffing cash from the register into his pockets , backing away with a smoking gun . He rushes out of the store , tossing the bottle to Terry and running off into the night . Suddenly , the owner emerges from behind the counter , shooting wildly . Terry ducks and heads for the car with his pint of Old Harper .</scene_description>
</scene>
<scene>
<stage_direction>AUTO WRECKING YARD</stage_direction>
<scene_description>John 's '32 deuce coupe crunches to a gravelly stop in front of a dark auto - wrecking yard . John and Carol get out and climb over the fence . They walk through a valley of twisted , rusting piles of squashed , mashed and crushed automobiles . John sticks his hand into his pockets moodily and stops and looks at one of the burnt - out cars .</scene_description>
<character>JOHN</character>
<dialogue>That's Freddy Benson's Vette. he got his head on with some drunk. Never had a chance. Damn good driver, too. What a waste when somebody gets it and it ai n't even their fault.</dialogue>
<character>CAROL</character>
<dialogue>Needs a paint job, that's for sure.</dialogue>
<scene_description>John does n't hear her and walks on .</scene_description>
<character>JOHN</character>
<dialogue>That Vette over there. Walt Hawkins, a real ding - a - ling. Wrapped it around a fig tree out on Mesa Vista with five kids in it. Draggin' with five kids in the car, how dumb can you get? All the ding - a - lings get it sooner or later. Maybe that's why they invented cars. To get rid of the ding - a - lings. Tough when they take someone with them.</dialogue>
<character>CAROL</character>
<dialogue>You never had a wreck though - you told me.</dialogue>
<character>JOHN</character>
<dialogue>I come pretty close a couple of times. Almost rolled once. So far I've been quick enough to stay out of here. The quick and the dead.</dialogue>
<character>CAROL</character>
<dialogue>I bet you're the fastest.</dialogue>
<character>JOHN</character>
<dialogue>I've never been beaten - lot of punks have tried. See that'41 Ford there? Used to be the fastest wheels in the valley. I never got a chance to race old Earl. He got his in'55 in the hairiest crash ever happened around here. He was racing a'54 Chevy, bored and loaded, out on the old Oakdale Highway and every damn kid in town was out there. The Chevy lost its front wheel doing about 85. The idiot had torched the spindles to lower the front end and it snapped right off. He slammed bam into the Ford and then they both of them crashed into a row of cars and all those kids watchin! Jesus, eight kids killed including both drivers, looked like a battlefield. Board of Education was so impressed they filmed it. Show it now in Drivers Education, maybe you'll see it. Anyway, since then street racing's gone underground. No spectators, I mean. Too bad.</dialogue>
<character>CAROL</character>
<dialogue>I'd love to see you race.</dialogue>
<scene_description>Carol takes his hand and they walk a bit , until John realizes what he 's doing , and drops her hand and pulls away .</scene_description>
<character>JOHN</character>
<dialogue>Come on! None of that.</dialogue>
<character>CAROL</character>
<dialogue>Whadaya mean? I'm the one who's supposed to say that. Whadaya afraid of? I'll keep it above the waist.</dialogue>
<character>JOHN</character>
<dialogue>Funny.</dialogue>
<parenthetical>( he looks at her for a moment . )</parenthetical>
<dialogue>Who knows, in a few years - but not now, bunny rabbit.</dialogue>
<character>CAROL</character>
<dialogue>Bunny rabbit! Oh brother, you are such a drip.</dialogue>
<scene_description>She stomps off and gets back into the coupe , quickly rolling up all the windows . John saunters up and finds the door locked .</scene_description>
<character>JOHN</character>
<dialogue>Come on, open the door.</dialogue>
<character>CAROL</character>
<dialogue>If you say `` Carol's not a bunny, she's a foxy little tail.''</dialogue>
<scene_description>John grins and starts to pull his keys out of his pocket . He stops grinning : Carol grins and dangles his keys inside the car . John leans against the window , closes his eyes , a defeated man .</scene_description>
<character>JOHN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Carol's not a rabbit, she's a foxy little tail.</dialogue>
<scene_description>He hears the button click up and slowly opens the door .</scene_description>
<character>CAROL</character>
<dialogue>You say the cutest things.</dialogue>
<scene_description>John gets into the car .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sneakin' around with the Wolfman, Baby.</dialogue>
<scene_description>The Wolfman 's gravelly voice whispers over the airwaves as John and Carol drive out of the shadowy car grave - yard .</scene_description>
</scene>
<scene>
<stage_direction>WILSON'S APPLIANCE STORE</stage_direction>
<scene_description>Curt is sitting on the hood of a parked De Soto watching a row of televisions in the window of an appliance store . Twelve silent images of Ricky Nelson on `` Ozzie and Harriet '' glow in the dark showroom . Music from passing cars rises and fades as they cruise behind Curt . The Wolfman can be heard .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, this is gon na strike a raw nerve, mama. Here's the Platters.</dialogue>
<scene_description>The Wolfman howls and the Platters wail into the `` Great Pretender . '' Curt sings along , mouthing the words . Then somebody walks in front of Curt . Curt pays no attention , then sense the presence of another guy . Soon he realizes that he is being surrounded by a group of three hoods . They slink up from all sides wearing car coats with the name `` PHAROAHS '' embroidered across the back . Curt looks them over - they all watch the silent tv 's . One of them , without turning , talks to Curt .</scene_description>
<character>JOE</character>
<dialogue>Whadaya doin', creep?</dialogue>
<character>CURT</character>
<dialogue>Me?</dialogue>
<character>JOE</character>
<dialogue>No, I'm talking to the other fifty creeps here. You know Gil Gonzales?</dialogue>
<character>CURT</character>
<dialogue>Gil Gonzales. no.</dialogue>
<character>JOE</character>
<dialogue>Do n't know Gil. you oughta. You really should.</dialogue>
<character>CURT</character>
<dialogue>Yeah. why?</dialogue>
<character>JOE</character>
<dialogue>No reason. he's a friend of ours. and that's his car you're sitting on.</dialogue>
<scene_description>There 's silence . Curt looks uneasy and slides quietly off the De Soto . Curt sticks his hands in his pockets and starts slowly down the sidewalk .</scene_description>
<character>JOE</character>
<dialogue>Hey, where ya goin?</dialogue>
<character>CURT</character>
<parenthetical>( turning . )</parenthetical>
<dialogue>No place. Not going any place.</dialogue>
<character>JOE</character>
<dialogue>Ya must be going someplace - I mean ya left here. Bring him over here, Ants, I want to show him something.</dialogue>
<scene_description>Ants -LRB- a tall , ghoulish - looking kid who probably got his name from the scar across his face which has recently been stitched to look like a party of ants marching across his cheek -RRB- brings Curt back gently . Joe is bent over looking across the hood of the De Soto .</scene_description>
<character>JOE</character>
<dialogue>Here - bend down, look here. See that? Right across there - see?</dialogue>
<character>CURT</character>
<dialogue>I guess so - yeah.</dialogue>
<scene_description>Joe unbends and lightly punches Curt on the shoulder .</scene_description>
<character>JOE</character>
<dialogue>You scratched it, man. Where do you get off sitting on Gil's car, huh, man?</dialogue>
<scene_description>Joe gives him another charming punch on the shoulder . The others have left the tv 's and are watching Curt now , looking puzzled and pained at the scratch on the car .</scene_description>
<character>CURT</character>
<dialogue>I'm sorry. It's not much of a scratch. I do n't think he'll even -</dialogue>
<character>JOE</character>
<dialogue>It ai n't the size that's in question here. It's the principle. Jeez, this is tough. what should we do with ya?</dialogue>
<character>ANTS</character>
<dialogue>Tie him to the car and drag him.</dialogue>
<scene_description>Curt turns and laughs at Ants ' suggestion . He laughs and laughs until he realizes nobody else is ; they are pondering the suggestion .</scene_description>
<character>CURT</character>
<dialogue>That's funny.</dialogue>
<parenthetical>( clearing his throat . )</parenthetical>
<dialogue>Hey, you guys know Toby Juarez? He's a Pharoah, is n't he?</dialogue>
<character>JOE</character>
<dialogue>Toby Juarez. Yeah, sure we know Toby.</dialogue>
<character>CURT</character>
<dialogue>He's a friend of mine.</dialogue>
<scene_description>They all grin and laugh with Curt who feels better .</scene_description>
<character>JOE</character>
<dialogue>Sure, good old Toby. He's a friend of yours. That's cool. we all hate his guts.</dialogue>
<scene_description>Curt stops smiling again .</scene_description>
<character>CURT</character>
<dialogue>Oh - well, I do n't know him that much anyway.</dialogue>
<character>JOE</character>
<dialogue>We killed him last night.</dialogue>
<character>ANTS</character>
<dialogue>Tied him to a car and dragged him.</dialogue>
<scene_description>Curt looks at them both , praying they 're kidding . Joe looks at him , shaking his head .</scene_description>
<character>JOE</character>
<dialogue>This is going to take some thinking. You better come with us maybe.</dialogue>
<parenthetical>( putting his arm around Curt . )</parenthetical>
<dialogue>Go riding with the Pharoahs.</dialogue>
<character>CURT</character>
<dialogue>Well, I do n't think I can - I got ta -</dialogue>
<character>JOE</character>
<dialogue>I know just how ya feel.</dialogue>
<scene_description>Joe leads Curt gently but forcibly toward an incredible maroon '51 Merc that 's been lowered and chopped so that the windows are like ominous slits and the whole machine has a submarine quality . Joe opens the door and Curt slides into the white fluffy interior . In the small back window , a metal plaque reads `` PHAROAHS . '' The third member of the gang is Carlos , a short little kid about fifteen years old . He appears tougher than the rest with a cigarette dangling from his mouth . Joe heads for the driver 's side and Ants and Carlos both go for the front passenger door .</scene_description>
<character>CARLOS</character>
<dialogue>Shotgun!</dialogue>
<character>ANTS</character>
<dialogue>No, I called it!</dialogue>
<character>CARLOS</character>
<dialogue>When?</dialogue>
<character>ANTS</character>
<dialogue>Before we picked you up.</dialogue>
<character>CARLOS</character>
<dialogue>You ca n't call it for the whole night, man. I got it now. Get in the back.</dialogue>
<scene_description>Carlos gives Ants a hard look and Ants backs down and climbs in the back with Curt . The Pharoah 's Mercury roars out from the curb . CRUISING MAIN STREET - PHAROAHS ' '51 MERCURY The radio blares `` Ai n't that a Shame ? '' as Curt sits in the back seat of the car looking very nervous . He eyes the three hoods cautiously . They are sitting super low , their eyes just visible over the windows . Then , Curt happens to look around . He does a double take . Through the narrow window he sees the Thunderbird passing in the opposite direction . Curt swivels and watches through the back window as the T - bird disappears around a corner . Then , he shakes his head . Of all the times to be trapped with the Pharoahs . On the radio the Wolfman is giving a phone operator a bad time and the Pharoahs are chuckling . As the Wolfman continues on the radio , the cars pass though the night like a metallic ballet . The Pharoahs ' Mercury -LRB- with Curt aboard -RRB- passes Laurie 's Edsel . Inside the Edsel , Steve is driving . He puts his arm around Laurie and she leans her head on his shoulder . As the Edsel cruises by in one direction , John Milner 's '32 Ford coupe rumbles by on the other side of the street .</scene_description>
</scene>
<scene>
<stage_direction>INSIDE THE DEUCE COUPE</stage_direction>
<scene_description>Carol is laughing like mad as the Wolfman continues . Even John has to chuckle at the mad D.J. 's raspy patter .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who is this on the Wolfman telephone?</dialogue>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello, Collect.</dialogue>
<character>WOLFMAN</character>
<dialogue>Pardon me. Your name is Colette?</dialogue>
<character>OPERATOR</character>
<dialogue>Yes. Collect Call.</dialogue>
<character>WOLFMAN</character>
<dialogue>Your name is Colette Call?</dialogue>
<character>OPERATOR</character>
<dialogue>Sir, this is the Operator.</dialogue>
<character>WOLFMAN</character>
<dialogue>Are you French, Operator?</dialogue>
<character>OPERATOR</character>
<dialogue>This is a collect call for Wolfman Jack.</dialogue>
<character>WOLFMAN</character>
<dialogue>I. I love you, Operator.</dialogue>
<character>OPERATOR</character>
<dialogue>Is this Wolfman Jack?</dialogue>
<character>WOLFMAN</character>
<dialogue>Is Floyd there?</dialogue>
<character>OPERATOR</character>
<dialogue>It's for a Wolfman. Jack.</dialogue>
<scene_description>Carol looks over at John and shakes her head .</scene_description>
<character>CAROL</character>
<dialogue>I just love listening to the Wolfman. My Mom wo n't let me at home. Because he's a Negro, I think. anyway, he's terrific. Do you know that he just broadcasts from a plane that flies around in circles all the time? Do you think that's true?</dialogue>
</scene>
<scene>
<stage_direction>INSIDE STEVE'S'58 CHEVY</stage_direction>
<scene_description>Terry drives on through the wonderful night - a blonde sitting next to him , he 's feeling very bitchin ' . He and Debbie are also mesmerized by the Wolfman .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Floyd, I love you, Floyd. Is this you, Floyd? I can not look on thee, love took my hand. and smiling did reply, who made the eyes but I. Floyd, reach out and touch my soul.</dialogue>
</scene>
<scene>
<stage_direction>INSIDE THE PHAROAHS''51 MERCURY</stage_direction>
<scene_description>Even Curt has to laugh at the Wolfman - despite his situation . Little Carlos sits in the front seat and looks over at Joe who 's driving .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Your party's ready, sir.</dialogue>
<character>WOLFMAN</character>
<dialogue>You mean Floyd? Hello, is this Floyd?</dialogue>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello, is this Matilda?</dialogue>
<character>WOLFMAN</character>
<dialogue>No, it ai n't honey - bye!</dialogue>
<character>CARLOS</character>
<dialogue>You tell her, Wolfman. He's my man. When I graduate, I'm gon na be a Wolfman. Hey, you know he broadcasts out of Mexico someplace?</dialogue>
<character>JOE</character>
<dialogue>No, he do n't. I seen the station right outside of town.</dialogue>
<character>CARLOS</character>
<dialogue>That's just a clearing station, man. So he can fool the cops. He blasts that thing all the way around the world. It's against the law, man.</dialogue>
<scene_description>In the back seat , Ants nods in agreement .</scene_description>
<character>ANTS</character>
<dialogue>Ah, man - they'll never catch the Wolfman.</dialogue>
<scene_description>Then Ants ' nose starts twitching and he looks over at Curt suspiciously .</scene_description>
<character>ANTS</character>
<dialogue>Hey, man, who cut the cheese?</dialogue>
<scene_description>Curt tries to smile but looks pretty guilty . Then Joe looks around from the front seat .</scene_description>
<character>JOE</character>
<dialogue>He who smelt it, dealt it.</dialogue>
<parenthetical>( looking at Curt in the back . )</parenthetical>
<dialogue>Hey, creep, scoot down. Sitting up like that, it wrecks the lines of the car, you know what I mean?</dialogue>
<scene_description>Curt scoots down to a level even with Ants . Ants is staring at him and grinning evilly . Then they hear an incredible roar , and they all turn to see Bob Falfa 's black '55 Chevy pass by . Falfa has a new girl with him this time , a lovely redhead .</scene_description>
<character>JOE</character>
<dialogue>There's that badass Chevy again. Look at he snatch he's got with him.</dialogue>
<character>ANTS</character>
<dialogue>Hey, man, he looks like a whimp.</dialogue>
<scene_description>Curt nods and tries to join in .</scene_description>
<character>CURT</character>
<dialogue>Probably is. Whimps get all the snatch.</dialogue>
<scene_description>Carlos and Ants look at him . Like nobody asked him to open his mouth .</scene_description>
<character>CARLOS</character>
<dialogue>Milner ai n't gon na beat that. His time has come. He's getting old. He ai n't as fast as he used to be.</dialogue>
</scene>
<scene>
<stage_direction>INSIDE THE DEUCE COUPE</stage_direction>
<scene_description>Milner may not be as fast a he used to be - and having a little teeny - bopper with him is n't helping matters . He looks over at Carol . She 's moved closer to him .</scene_description>
<character>JOHN</character>
<dialogue>You got two seconds to get your ass over in the corner.</dialogue>
<character>CAROL</character>
<dialogue>Do n't worry, I wo n't rape you.</dialogue>
<scene_description>Carol slides back to her side . But as they glide along , Carol watches John . She 's moon - eyed and flipped over him . John deftly down - shifts as he approaches a light and then accelerates through the gears with a `` race '' expertise . There 's a honk and John and Carol look over to see a '60 Cadillac full of girls laughing at them .</scene_description>
<character>GIRL</character>
<dialogue>You got a bitchin' car.</dialogue>
<scene_description>John nods modestly .</scene_description>
<character>GIRL</character>
<dialogue>In fact, we're gon na give you our special prize for having the neatest car around. You want me to give it to you?</dialogue>
<character>JOHN</character>
<dialogue>If the prize is you, honey, I'm a ready Teddy.</dialogue>
<character>GIRL</character>
<dialogue>Yeah, well get bent turkey.</dialogue>
<scene_description>The girl suddenly launches a water balloon , which John ducks deftly , the tumescent missile catching Carol full in the face . The girls roar off . John cracks up as Carol blinks away the water , not believing what 's happened . She wipes her face .</scene_description>
<character>CAROL</character>
<dialogue>All right, very funny. What a chop. Ha ha. Quit laughing!</dialogue>
<scene_description>John tries to control himself , but ca n't .</scene_description>
<character>CAROL</character>
<dialogue>Let's catch'em at the light. Then you jump out and flatten their tires.</dialogue>
<character>JOHN</character>
<dialogue>Hey, wait a -</dialogue>
<character>CAROL</character>
<dialogue>Just do what I say!</dialogue>
<character>JOHN</character>
<dialogue>Yezz, bozz.</dialogue>
</scene>
<scene>
<stage_direction>MAIN STREET INTERSECTION</stage_direction>
<scene_description>Carol jumps out of the car as John stops the car in the right hand lane next to the Cadillac . As Chuck Berry wails `` Johnny B. Goode , '' they go into action . The girls in the Cadillac recognize John as one of their victims and quickly roll up all windows and lock their doors . John starts pulling the stems from the front tires , sinking the car . Carol starts around the car with the shaving cream , spraying all their windows with the foamy lather . Carol is having a great time and John is laughing as they continue their guerrilla attack . They finish and jump back in the coupe . The light turns green and John takes off , leaving the Cadillac stranded at the intersection , covered with shaving cream . Traffic begins to back up . horns begin to honk . CANAL BANK - STEVE 'S '58 CHEVY The crickets chirp under the full moon . We hear `` I Only Have Eyes for You '' playing as the Chevy slowly comes to a stop in an isolated spot along the irrigation canal . Terry gets out of the car , pops the top off two cokes and pours half of them into the canal . He hums , refilling them with bourbon . He goes back to the car .</scene_description>
<character>TERRY</character>
<dialogue>Tootie fruiti all ruti. It's Super Cola!</dialogue>
<scene_description>He hands her one of the bottles and takes a long drink out of the other . He grabs the steering wheel for support and his eyes begin to water .</scene_description>
<character>TERRY</character>
<dialogue>It's a. a little. strong, I think.</dialogue>
<character>DEBBIE</character>
<parenthetical>( drinking . )</parenthetical>
<dialogue>It's the living end.</dialogue>
<scene_description>Terry takes a smaller sip this time .</scene_description>
<character>TERRY</character>
<dialogue>Yeaah, I guess it was n't mixed.</dialogue>
<character>DEBBIE</character>
<dialogue>Wow, it's pretty tonight. It's a perfect night to go horseback riding - I was going with a guy once who had a horse.</dialogue>
<scene_description>Terry chokes .</scene_description>
<character>TERRY</character>
<dialogue>Oh yeah? I used to have a couple of horses myself.</dialogue>
<character>DEBBIE</character>
<dialogue>Really?</dialogue>
<character>TERRY</character>
<dialogue>I used them for hunting. I do a lot of hunting. Deer mostly, although I got a couple of bear last year. Yep, they were good ponies - hunting ponies. I had to train'em special, you know.</dialogue>
<character>DEBBIE</character>
<dialogue>Do you still have'em? We could go for a ride.</dialogue>
<character>TERRY</character>
<dialogue>No, I had to sell'em. To get these wheels. and a jeep. I also have a jeep pick - up, with four - wheel drive. It's got a gun rack. And I use that for hunting mostly.</dialogue>
<character>DEBBIE</character>
<dialogue>Why do you kill little animals? I think that's terrible.</dialogue>
<character>TERRY</character>
<dialogue>Oh, well, yeah, I figure with bears, though, it's either me or them. You know, I think you're really neat.</dialogue>
<scene_description>He suddenly grabs at her , putting his arms around her . She 's caught off - guard and tries to move away .</scene_description>
<character>DEBBIE</character>
<dialogue>Wait a second.</dialogue>
<scene_description>Terry immediately lets go of her .</scene_description>
<character>TERRY</character>
<dialogue>Oh, jeez, I'm sorry. I do n't know what got into me - I did n't mean to - maybe it's the booze or something.</dialogue>
<scene_description>She puts her coke on the floor . She unfastens the chain holding her sweater together and takes it off .</scene_description>
<character>DEBBIE</character>
<dialogue>There - now.</dialogue>
<scene_description>Suddenly , she grabs him and pulls him down on top of herself . She kisses him madly . At first he 's surprised , but then gets the hang of it . They begin to neck passionately , encountering many obstacles in the cramped front seat .</scene_description>
<character>DEBBIE</character>
<dialogue>Ow - you pinched me.</dialogue>
<character>TERRY</character>
<dialogue>I'm sorry.</dialogue>
<character>DEBBIE</character>
<dialogue>Let me get my head over here - okay, now you get up -</dialogue>
<character>TERRY</character>
<dialogue>Ow - my leg, my leg. Ow, watch it!</dialogue>
<character>DEBBIE</character>
<dialogue>Ummm, I just love tuck'n roll upholstery.</dialogue>
<scene_description>As they roll around , a couple of guys walk by the car laughing . Terry manages to sit up and watches them go off into the night .</scene_description>
<character>TERRY</character>
<dialogue>Geez, it's like Grand Central Station around here. Why do n't we go someplace else.</dialogue>
<scene_description>Debbie pulls him back down on top of her .</scene_description>
<character>DEBBIE</character>
<dialogue>Nah, come on. They wo n't come back.</dialogue>
<character>TERRY</character>
<dialogue>Wait a minute. I got a blanket in the back. Why do n't we go over into the field?</dialogue>
<character>DEBBIE</character>
<dialogue>All right. Okay.</dialogue>
<scene_description>They both get out of the car . Terry gets the blanket out of the trunk . They walk along a path next to the moonlit canal . Debbie carries their drinks for them . They left the radio on and Wolfman 's voice can be heard as he takes another call .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hello.</dialogue>
<character>GIRL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yeah!</dialogue>
<character>WOLFMAN</character>
<dialogue>How old are you?</dialogue>
<character>GIRL</character>
<dialogue>I'm thirteen, how old are you?</dialogue>
<character>WOLFMAN</character>
<dialogue>I'm only fourteen.</dialogue>
<character>GIRL</character>
<dialogue>Oh, boy, I love you, Wolfman.</dialogue>
<character>SINGERS</character>
<parenthetical>( singing over . )</parenthetical>
<dialogue>`` Wolfman Jack.''</dialogue>
<character>WOLFMAN</character>
<dialogue>Oh, now we gon na do the weather for all the valleys and the mountain tops. Gon na be hot. about 200 degrees in Merced, 400 degrees out in Fresno, and I know we're gon na have about 500 degrees up around the valley somewhere. You got the Wolfman Jack Show.</dialogue>
</scene>
<scene>
<stage_direction>MINIATURE GOLF COURSE AND ARCADE</stage_direction>
<scene_description>As the Silhouettes yip - yip - yip - yip into `` Get a Job , '' we see the mysterious white Thunderbirds cruise by and disappear . The Pharoahs ' Mercury turns into the parking lot of a a miniature golf course . The doors open and the Pharoahs exit . There 's a pause , then Ants reaches into the car and pulls Curt out also . The Pharoahs saunter into the miniature golf compound .</scene_description>
<character>CURT</character>
<dialogue>Hey, terrific, I love miniature golf.</dialogue>
<character>JOE</character>
<dialogue>I hate it.</dialogue>
<character>CURT</character>
<dialogue>Well, I do n't play that often really. Ah - what're we doing here then?</dialogue>
<character>JOE</character>
<dialogue>We're outta gas.</dialogue>
<character>CURT</character>
<dialogue>They do n't sell gas here.</dialogue>
<character>JOE</character>
<dialogue>No. but we're outta money, too. Come on, Carl.</dialogue>
<character>CURT</character>
<dialogue>Curt.</dialogue>
<scene_description>Joe gives Curt a gentle push and they go inside . The golf course is empty , except for a couple of ugly girls putting around in the far corner . Under a trellis , Curt and Joe enter as the Pharoahs fool around with the candy machine , pinball games , `` Check Your Weight , '' and `` Air Corps Gunner '' games , pretending to play with them . Joe looks around , whistling again .</scene_description>
<character>JOE</character>
<dialogue>All right, men.</dialogue>
<scene_description>Quickly the Pharoahs go into action , jimmying locks , pounding coin returns , pulling out plugs , prying open change boxes and stuffing looses coins into their pockets . Joe smiles at Curt , who looks sick again , involved now in a robbery . Ants is sitting in a `` Rocket to the Moon '' ride , pounding on it unsuccessfully when suddenly it starts . Ants starts bouncing up and down looking dumber than usual . He swears at Rocket to the Moon under his breath - suddenly a screen door slams . The Pharoahs turn . A man in an undershirt stands by the `` Get Your Balls Here '' booth , regarding them warily .</scene_description>
<character>MR. GORDON</character>
<dialogue>What're you punks doing?</dialogue>
<scene_description>The Pharoahs ca n't think of anything right away . Ants bounces noisily in the `` Rocket to the Moon . '' The Pharoahs are all looking to Joe for guidance . Joe for his part is mumbling .</scene_description>
<character>CURT</character>
<dialogue>Hey, hi. Mr. Gordon, what's up?</dialogue>
<scene_description>The man looks at Curt , surprised .</scene_description>
<character>MR. GORDON</character>
<dialogue>Henderson - Curt Henderson? You with these punks?</dialogue>
<scene_description>The Pharoahs do n't know what 's happening yet . Curt walks over to Mr. Gordon .</scene_description>
<character>CURT</character>
<dialogue>These are my friends. We were just.</dialogue>
<scene_description>Mr. Gordon looks skeptical , then Curt smiles at him . Then Mr. Gordon smiles .</scene_description>
<character>MR. GORDON</character>
<dialogue>Jeez, you guys had me scared.</dialogue>
<scene_description>He laughs nervously . The Pharoahs laugh . Everybody 's happy .</scene_description>
<character>MR. GORDON</character>
<dialogue>Hey, you have n't left yet?</dialogue>
<character>CURT</character>
<dialogue>Oh ah - no - no, I'm not -</dialogue>
<scene_description>Mr. Gordon looks puzzled .</scene_description>
<character>CURT</character>
<dialogue>I mean, I'm not leaving until tomorrow.</dialogue>
<character>MR. GORDON</character>
<dialogue>Tomorrow. Well, listen, Hank Anderson's inside. Come in and say goodbye. You know, Hank's the one that brought your name up on the floor of the Moose Hall. You got the check, did n't you?</dialogue>
<scene_description>He leads Curt toward the screen door . Curt looks around at the Pharoahs , who are slowly starting to work again pilfering the machines . Inside the small office , Curt shakes hands with Hank Anderson , who pats him on the shoulder .</scene_description>
<character>HANK</character>
<dialogue>We are all proud of you, Curt. The Moose Scholarship could n't have gone to a better boy. And if there's anything we can do, let us know.</dialogue>
<character>MR. GORDON</character>
<dialogue>Yeah, you'll stay in touch by letter, wo n't you?</dialogue>
<scene_description>There 's a knock at the screen and they turn to see Joe at the screen door .</scene_description>
<character>JOE</character>
<dialogue>Hey, we're all done out here.</dialogue>
<character>MR. GORDON</character>
<dialogue>All done? What - what's he mean?</dialogue>
<character>CURT</character>
<dialogue>Ah, he means, we're all done having loads of fun out here.</dialogue>
<character>MR. GORDON</character>
<dialogue>Oh, well.</dialogue>
<character>HANK</character>
<dialogue>Wonderful. You can have all the fun you want. This place is for fun.</dialogue>
<character>CURT</character>
<dialogue>Yes. Yes, it is. Thank you. Thank you both.</dialogue>
<character>MR. GORDON</character>
<dialogue>Good luck now.</dialogue>
<character>HANK</character>
<dialogue>Before I say goodbye, Curt, I want to tell you I hope you'll be taking along with you a little piece of this place.</dialogue>
<character>CURT</character>
<dialogue>I think I have.</dialogue>
<character>HANK</character>
<dialogue>Good. Do n't forget us.</dialogue>
<character>CURT</character>
<dialogue>No, I wo n't forget you and you wo n't forget me.</dialogue>
<character>MR. GORDON</character>
<dialogue>Okay. ` Bye.</dialogue>
<character>HANK</character>
<dialogue>Good - bye and good luck.</dialogue>
<character>CURT</character>
<dialogue>` Bye.</dialogue>
<character>JOE</character>
<dialogue>It was nice to meet yuh.</dialogue>
<character>CURT</character>
<dialogue>Right. What he said goes for me, too.</dialogue>
<scene_description>Curt and Joe go out through the arcade toward the Mercury . They start walking faster , anxious to get away . Joe grins at Curt as they climb into the car .</scene_description>
<character>JOE</character>
<dialogue>Yeah, you just might make it as a Pharoah yet, boy.</dialogue>
<scene_description>Back in the office , Hank and Mr. Gordon watch the car pull out .</scene_description>
<character>HANK</character>
<dialogue>Some day he'll make a fine Moose.</dialogue>
</scene>
<scene>
<stage_direction>THE CANAL BANK</stage_direction>
<scene_description>Steve 's Chevy sits near the canal . The door is open and the radio blares , while Terry and Debbie are off somewhere in the weeds making out . Suddenly , a beam from a flashlight plays across the trunk . Feet approach the car as the light beam moves across the interior and stops on the vacated shoes on the front seat . The light beam continues past the empty bourbon bottle and starts int he direction of the field where Terry and Debbie are lost in the throes of passionate love . As we follow the light into the field we hear footsteps . As the darkened figure approaches the couple , we see the light go out and catch a gleam of silver in the moonlight as a switchblade springs open ! Terry reacts to the sound .</scene_description>
<character>DEBBIE</character>
<dialogue>What's wrong?</dialogue>
<character>TERRY</character>
<dialogue>I thought I heard something.</dialogue>
<scene_description>She kisses him and he forgets about the noise . The figure retreats back to the Chevy , where another indistinct figure waits .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>They're porking in the weeds. No sweat.</dialogue>
<scene_description>Terry and Debbie are resting in the field , listening to the radio in the distance . A car engine is heard starting up and disappearing down the canal bank . The countryside is very quiet . Only crickets and frogs are heard as Terry begins to drop off asleep . He suddenly jumps with a start .</scene_description>
<character>TERRY</character>
<dialogue>Wait a minute!</dialogue>
<character>DEBBIE</character>
<dialogue>What?</dialogue>
<character>TERRY</character>
<dialogue>The radio is gone. That means - the car is gone!</dialogue>
<scene_description>He scrambles to the spot where the Chevy once stood .</scene_description>
<character>TERRY</character>
<dialogue>Oh no! OH NO!</dialogue>
<scene_description>Debbie comes up and watches Terry look heavenward .</scene_description>
<character>TERRY</character>
<dialogue>Oh God - I'm sorry. But, why the car? You could have struck us with lightning or something - anything - but not the car!</dialogue>
<scene_description>THE CANAL BANK - LAURIE 'S '58 EDSEL Cars are seen here and there in the moonlight along the irrigation canal outside of town . In the cars radios are playing `` To the Aisle , '' laughter can be heard in some , whispering in others . Laurie 's Edsel is parked by the slow - moving water . In the front seat of the car , Steve and Laurie are making out . Laurie leans back against Steve , his arms around her , and they look out the window at the stars .</scene_description>
<character>LAURIE</character>
<dialogue>You know, it does n't make sense to leave home to look for a home, to give up a life to find a new life, to say goodbye to friends you love just to find new friends.</dialogue>
<character>STEVE</character>
<dialogue>What? Say that again, I did n't -</dialogue>
<character>LAURIE</character>
<dialogue>That's what Curt said.</dialogue>
<character>STEVE</character>
<dialogue>Oh, figures.</dialogue>
<parenthetical>( smiling . )</parenthetical>
<dialogue>You must've talked his ear off trying to get him to stay.</dialogue>
<character>LAURIE</character>
<dialogue>That's not true. I did n't say anything. Curt just said at dinner tonight he realized there was no big hurry. He thought he should take it easy for a while, go to J.C. and try to figure out what he wants to do with his life.</dialogue>
<character>STEVE</character>
<dialogue>That sounds logical.</dialogue>
<scene_description>Laurie 's expression changes .</scene_description>
<character>LAURIE</character>
<dialogue>You think so?</dialogue>
<character>STEVE</character>
<dialogue>Sure. I think Curt's probably right for Curt. Not for me though. Laurie, look at me. Now you know what I want out of life. And it's just not in this town.</dialogue>
<character>LAURIE</character>
<dialogue>I'm not going to the airport tomorrow.</dialogue>
<scene_description>She looks sullen and he smiles a little . He turns her around and gently kisses here . They begin to make out , Laurie seeming a little desperate . Steve pushes her slowly down on the seat . He moves on top of here and his hand begins to wander .</scene_description>
<character>LAURIE</character>
<dialogue>Steve! Do n't.</dialogue>
<character>STEVE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>It's our last night together for three months. come on.</dialogue>
<character>LAURIE</character>
<dialogue>We've been through this before.</dialogue>
<character>STEVE</character>
<dialogue>I'm going to miss you so much. I need something to remember you by. You do n't want me to forget you.</dialogue>
<scene_description>She closes her eyes , trying not to cry .</scene_description>
<character>LAURIE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>He starts to move on top of her , kissing her neck . She struggles for a few moments , then goes limp , not responding . He pulls away angrily .</scene_description>
<character>STEVE</character>
<dialogue>What's wrong? You're just lying there.</dialogue>
<character>LAURIE</character>
<dialogue>Well go ahead, you want to.</dialogue>
<character>STEVE</character>
<dialogue>Not like that.</dialogue>
<character>LAURIE</character>
<dialogue>If you're not going to remember me for anything else, why do n't you go ahead?</dialogue>
<character>STEVE</character>
<dialogue>You want it and you know it. Do n't be so damn self - righteous with me. After those things you told me about watching your brother -</dialogue>
<character>LAURIE</character>
<dialogue>You're disgusting! Get out of my car! I told you never -</dialogue>
<character>STEVE</character>
<dialogue>I'm sorry.</dialogue>
<character>LAURIE</character>
<dialogue>Get out! It's not worth it. I do n't care if you're leaving - now get out!</dialogue>
<scene_description>She reaches past him and pulls the door handle . The door swings open and she shoves Steve out . Then she starts the engine and drives away , leaving Steve standing there in the darkness . In the distance , he hears the laughter of other couples and the drifting music from their radios .</scene_description>
</scene>
<scene>
<stage_direction>THE CANAL ROAD</stage_direction>
<scene_description>Terry and Debbie walk slowly along the dark canal . Terry takes a large slug of his bourbon and coke .</scene_description>
<character>DEBBIE</character>
<dialogue>Anyway, the Goat Killer -</dialogue>
<character>TERRY</character>
<dialogue>Let's talk about something else.</dialogue>
<character>DEBBIE</character>
<dialogue>- Whenever he strikes, he leaves a bloody goat's head near the victim. Is n't that creepy?</dialogue>
<scene_description>Terry thinks about it and indeed it is . He looks around into the darkness and then takes Debbie 's hand .</scene_description>
<character>DEBBIE</character>
<dialogue>They thought he went up to Stockton, but two nights ago they found Carlie Johnson and Don White right here by the canal all hacked to pieces and -</dialogue>
<character>TERRY</character>
<dialogue>Who do you think'll take the regionals this -</dialogue>
<character>DEBBIE</character>
<dialogue>- not only were there bloody goats' heads, but he had switched all the parts of their bodies around. You know putting her arms on him and his legs on -</dialogue>
<scene_description>Terry is slowing and he stops her . He motions for her to shut up and they listen . The wind whines across the flat valley . Ahead there is only darkness , then footsteps !</scene_description>
<character>TERRY</character>
<dialogue>Wait a second. Did you hear?</dialogue>
<character>DEBBIE</character>
<dialogue>You think it's the Goat Killer?</dialogue>
<character>TERRY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>No! I mean, no. Listen, I'll go for help, you stay here.</dialogue>
<scene_description>Terry has turned and is starting off when she grabs him by his shirt - tail .</scene_description>
<character>DEBBIE</character>
<dialogue>Come on, we'll hide in the field.</dialogue>
<scene_description>She takes Terry 's hand and they go off behind some bushes , away from the black water . Debbie looks through the bushes , squinting .</scene_description>
<character>DEBBIE</character>
<dialogue>Maybe if it's the Goat Killer he'll get somebody and we'll see the whole thing.</dialogue>
<scene_description>Terry stands with his eyes closed .</scene_description>
<character>TERRY</character>
<dialogue>I do n't want to see the whole thing. Especially if it's us he - oh, why me? I'm going to look lousy with your legs and a goat's head and -</dialogue>
<character>DEBBIE</character>
<dialogue>Shhh - he's stopped. I ca n't see him very - I think he's coming this way.</dialogue>
<scene_description>She edges off to get a better view .</scene_description>
<character>TERRY</character>
<dialogue>Well, as long as he's not - Debbie! Debbie!</dialogue>
<scene_description>She 's gone . Terry starts off , taking one step , turns , takes another , turns , takes another . Suddenly Terry hears something behind him . He turns very slowly and looks . A figure is standing right behind him , silhouetted by the moon , its face obscured . Terry jumps about three feet and yells .</scene_description>
<character>STEVE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Terry!</dialogue>
<character>TERRY</character>
<dialogue>Who, me? Why me?</dialogue>
<scene_description>Terry stops yelling , seeing that it 's Steve .</scene_description>
<character>STEVE</character>
<dialogue>Terry.</dialogue>
<character>TERRY</character>
<dialogue>Steve!</dialogue>
<scene_description>Debbie comes back through the bushes and Terry looks at her nervously .</scene_description>
<character>TERRY</character>
<dialogue>Where'd you go, anyway?</dialogue>
<character>DEBBIE</character>
<dialogue>Over there.</dialogue>
<character>TERRY</character>
<dialogue>Well, do n't go off again. Come on, let's get out of here.</dialogue>
<scene_description>Terry and Debbie start to walk with Steve back toward town . Terry keeps taking pulls from the bottle of bourbon .</scene_description>
<character>STEVE</character>
<dialogue>What're you doing out here? Hey, where's my rod?</dialogue>
<character>TERRY</character>
<parenthetical>( choking . )</parenthetical>
<dialogue>Um, oh, did I introduce you? This is Debbie. Debbie, this is Steve.</dialogue>
<character>DEBBIE</character>
<dialogue>Hello.</dialogue>
<character>STEVE</character>
<dialogue>Hi.</dialogue>
<character>DEBBIE</character>
<dialogue>Hi.</dialogue>
<scene_description>They continue to walk along the dark canal bank .</scene_description>
<character>STEVE</character>
<dialogue>Well, what about my car?</dialogue>
<character>TERRY</character>
<dialogue>Um. I ` ts in the garage. I put it in the garage for safe keeping. I mean. I do n't want to take any chances with it.</dialogue>
<character>STEVE</character>
<dialogue>Oh, great.</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah. Yeah. It's a good thing too.'Cause somebody stole our car.</dialogue>
<character>STEVE</character>
<dialogue>Really? That's terrible. What kind was it?</dialogue>
<character>TERRY</character>
<dialogue>Gee, ah, where's Laurie, anyway?</dialogue>
<character>STEVE</character>
<dialogue>I guess we broke up.</dialogue>
<character>TERRY</character>
<dialogue>You broke up? Bull!</dialogue>
<scene_description>Steve just shrugs . The three of them go off into the darkness . CRUISING MAIN STREET - '32 YELLOW DEUCE COUPE The coupe makes an eccentric swerve as it cruises along the main drag . Inside , Carol is looking at the gear - shift knob that she 's taken off the shift arm as they listen to `` Do You Want to Dance ? ''</scene_description>
<character>CAROL</character>
<dialogue>It does n't look like a gear shift knob.</dialogue>
<character>JOHN</character>
<dialogue>Come on, will ya? Give it back to me.</dialogue>
<character>CAROL</character>
<dialogue>Well, go ahead, cream me. What's wrong, you're a tough guy. Break my arm, see if I care.</dialogue>
<character>JOHN</character>
<dialogue>Forget it.</dialogue>
<scene_description>He ignores her , and finally his silence makes her take a small round knob out of her pocket and put it back on the shifter where it belongs .</scene_description>
<character>CAROL</character>
<dialogue>I was just going to keep it for a little while. You're an ogre, just like my father. He wo n't let me play records, or stay out late, or anything.</dialogue>
<character>JOHN</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>He ah - does n't like you to stay out late?</dialogue>
<character>CAROL</character>
<dialogue>No - he's terrible. Once I was at a party that did n't end till late and he called the cops. Can you imagine? It was only a little after midnight and he had the whole police force -</dialogue>
<character>JOHN</character>
<dialogue>Say, where do you live anyway?</dialogue>
<character>CAROL</character>
<dialogue>Over on Ramona, why?</dialogue>
<parenthetical>( She suddenly smiles . )</parenthetical>
<dialogue>Oh no. Uh uh. You thought I'd tell you where - not me, not old Carol. The night is young and I'm not hitting the rack until I get a little action.</dialogue>
<scene_description>John sighs , wondering if he 'll ever get rid of her . He looks back at something in the rear view mirror . He speeds up and checks the mirror again .</scene_description>
<character>CAROL</character>
<dialogue>What do you keep lookin' at?</dialogue>
<parenthetical>( she looks around behind them . )</parenthetical>
<dialogue>Who's that? You know him? He's following awful close.</dialogue>
<character>JOHN</character>
<dialogue>Grab onto something.</dialogue>
<scene_description>Carol looks scared and grabs onto the dash . John suddenly hits the brakes . The deuce coupe noses down and Bob Falfa 's Chevy has to swerve abruptly to avoid a crash . Falfa pulls the Chevy around and alongside the coupe . He has another new girl with him .</scene_description>
<character>FALFA</character>
<parenthetical>( shouting over . )</parenthetical>
<dialogue>Sorry if I scared ya, man.</dialogue>
<character>JOHN</character>
<parenthetical>( looking ahead . )</parenthetical>
<dialogue>Takes more than that to scare me.</dialogue>
<character>FALFA</character>
<dialogue>Where ya been hiding? Did n't anyone tell ya I been looking for ya?</dialogue>
<character>JOHN</character>
<dialogue>Hey, I ca n't keep tracka all the punks lookin' for me.</dialogue>
<character>FALFA</character>
<dialogue>They say you're the fastest thing in the Valley. But that ca n't be your car, man. That must be your mama's car. Hell, I feel embarrassed just getting near ya.</dialogue>
<character>JOHN</character>
<dialogue>Ya should, man - you're driving a field car.</dialogue>
<character>FALFA</character>
<dialogue>Field car? What's a Field Car?</dialogue>
<character>JOHN</character>
<dialogue>Field Cars drive through the fields, dropping cow shit all over the place to make the lettuce grow.</dialogue>
<character>FALFA</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>That's pretty good. Hey, I like that paint job you got. What they call that - sorta a cross between Piss Yellow and Puke Green, ai n't it?</dialogue>
<character>JOHN</character>
<dialogue>Yeah, well, you're car's so ugly you must have to sneak up on the pumps to get a tank of gas.</dialogue>
<character>FALFA</character>
<dialogue>Well, at least I do n't have to move over to let a funeral go by, man.</dialogue>
<scene_description>Through all the insults , Carol has been cracking up .</scene_description>
<character>CAROL</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Your car's uglier than I am.</dialogue>
<scene_description>John and Falfa both look at her and she sits back .</scene_description>
<character>CAROL</character>
<dialogue>That did n't come out right.</dialogue>
<scene_description>They both stop at a light now . Falfa roars his engine .</scene_description>
<character>FALFA</character>
<dialogue>Come on, boy, prove it. Let's go.</dialogue>
<character>JOHN</character>
<dialogue>Look kid, why do n't you go out and win a few races, then come back and see me.</dialogue>
<character>CAROL</character>
<dialogue>Oh, race him, you can beat him.</dialogue>
<scene_description>John gives Carol a very fierce look and she sinks back into her corner .</scene_description>
<character>FALFA</character>
<dialogue>Hey, that's a tough lookin' girl you got with you, man. What're you doin'? Trying to pick up a few extra bucks babysitting?</dialogue>
<parenthetical>( grinning at Carol . )</parenthetical>
<dialogue>Hey, Doll. Why do n't you come on and ride with me - in about ten years?</dialogue>
<character>JOHN</character>
<dialogue>Leave her out of this. This is just between you and me.</dialogue>
<scene_description>Falfa revs his engine again . John thinks a moment , then shifts down into first . The light changes , and John and Falfa take off , tires screaming . The two cars perfectly in sync , rocket down the block toward the next red light . John starts to slow for the light . Falfa looks over , laughs , and runs the red light . John stops .</scene_description>
<character>CAROL</character>
<dialogue>Wow! He's really fast, is n't he?</dialogue>
<character>JOHN</character>
<dialogue>Yeah. But he's stupid.</dialogue>
<scene_description>CRUISING 10TH STREET - PHAROAH 'S '51 MERCURY Curt is still out riding with the Pharoahs . He seems a little easier with them now , after their successful heist at the miniature golf course . The radio is playing `` Party Doll . ''</scene_description>
<character>CURT</character>
<dialogue>Hey - any of you guys know a blonde in a white T - Bird?</dialogue>
<character>JOE</character>
<dialogue>Yeah, I seen her, what about it?</dialogue>
<character>CURT</character>
<dialogue>I was just wondering who she is.</dialogue>
<character>JOE</character>
<dialogue>She's outta your price range, man. My brother's been with her and he clued me in.</dialogue>
<character>CURT</character>
<dialogue>Price range? You mean she's a -</dialogue>
<character>JOE</character>
<dialogue>Yeah, Thirty Dollar Sheri. Can you believe that? Thirty dollars.</dialogue>
<character>CURT</character>
<dialogue>We must be thinking of different blondes.</dialogue>
<character>CARLOS</character>
<dialogue>Hey man, do n't tell Joe what he thinks.</dialogue>
<character>ANTS</character>
<dialogue>Thirty dollars ai n't much. I saw ten thousand once. My old man had it in a suitcase. They caught him the next morning though.</dialogue>
<character>CARLOS</character>
<dialogue>Fuzz ahead, watch it.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>CARLOS</character>
<dialogue>Fuzz ahead, watch it.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>CARLOS</character>
<dialogue>At Jerrie's Cherries. You can just barely see the fender.</dialogue>
<character>ANTS</character>
<dialogue>That's rotten, man. Hiding like that.</dialogue>
<character>CARLOS</character>
<dialogue>That's shitty.</dialogue>
<character>JOE</character>
<dialogue>It's dishonest.</dialogue>
<scene_description>Ants gives him the evil eye . Joe watches the cop car in the used car lot as they pass it .</scene_description>
<character>JOE</character>
<dialogue>We oughta do something. I got an idea. I got a good idea.</dialogue>
</scene>
<scene>
<stage_direction>MAIN STREET</stage_direction>
<scene_description>Steve , Terry and Debbie have made it back into town from the canal . They walk past the closed stores and stop on a busy corner .</scene_description>
<character>STEVE</character>
<dialogue>I think I'm gon na go over to Burger City.</dialogue>
<character>TERRY</character>
<dialogue>Yeah. Yeah. Laurie's probably over there.</dialogue>
<character>STEVE</character>
<dialogue>You really think she's got me worried about where she is, do n't you?</dialogue>
<character>TERRY</character>
<dialogue>Well.</dialogue>
<character>STEVE</character>
<dialogue>Let me tell you something. I could n't care less. Want to come along?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah, I do. I do.</dialogue>
<character>TERRY</character>
<dialogue>No.</dialogue>
<character>STEVE</character>
<dialogue>Make up your minds.</dialogue>
<character>TERRY</character>
<dialogue>No, thanks. U'mm. You know we got to report the car missing.</dialogue>
<character>STEVE</character>
<dialogue>All right. See yuh.</dialogue>
<character>TERRY</character>
<dialogue>Yeah. See yuh.</dialogue>
<scene_description>Steve goes off and Debbie looks at Terry .</scene_description>
<character>DEBBIE</character>
<dialogue>Why ca n't we go to Burger City?</dialogue>
<character>TERRY</character>
<dialogue>Burger City? Burger City!? How can you think of hamburgers when somebody stole my car.</dialogue>
<scene_description>She looks hurt and starts off . ALLEY BEHIND JERRY 'S CHERRIES USED - CAR LOT Curt is getting out of the low - slung Merc and Joe saunters around from the driver 's side . He smiles , friendly like -</scene_description>
<character>JOE</character>
<dialogue>Listen, ah - Carl, I -</dialogue>
<character>CURT</character>
<dialogue>Curt.</dialogue>
<character>JOE</character>
<dialogue>Curt.</dialogue>
<scene_description>He nods at Curt , looking cautiously around the dark lot .</scene_description>
<character>JOE</character>
<dialogue>Despite you scratching Gil's car, I like you. And I know what you'd like more than anything right now. Like every guy in town, you got the same secret dream, right?</dialogue>
<scene_description>Curt nods .</scene_description>
<character>JOE</character>
<dialogue>Ya want to join the Pharoahs. Huh? You can admit it - you'd like to - but you never dreamed it could be possible, did you?</dialogue>
<scene_description>Curt shakes his head slowly .</scene_description>
<character>JOE</character>
<dialogue>Well, tonight, I'm goin' to give you your chance.</dialogue>
<scene_description>Curt has n't the slightest idea what Joe is talking about . Joe puts his arm around Curt 's shoulders and leads him away , explaining what he has to do , while Ants and Carlos grin . In the middle of the used car lot , a patrol car hides among the autos for sale . Inside the car , Holstein sits with another officer who 's dozing . Across Holstein 's dark glasses , reflections of the kids ' cars cruising by can be seen , as Holstein waits to nab somebody . Joe approaches the patrol car through the lot . He ducks , carrying a length of metal cable in his hand . Curt wanders behind him . Joe sees him and motions for him to get down .</scene_description>
<character>JOE</character>
<dialogue>Get down!</dialogue>
<scene_description>Curt ducks down near Joe .</scene_description>
<character>JOE</character>
<dialogue>Okay. Now you got it? I'm stayin' here. You're on your own.</dialogue>
<character>CURT</character>
<dialogue>Wait a minute, wait a minute, Joe. What if he hears me?</dialogue>
<character>JOE</character>
<dialogue>Shhh. Listen. Look at it this way : Now you got three choices. One, you chicken out. In that case, I let Ants tie you to the car and drag you around a little bit. And you do n't want that, right?</dialogue>
<character>CURT</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Two, you foul up and Holstein hears you and well, ah. you do n't want that, right?</dialogue>
<character>CURT</character>
<dialogue>No, I do n't.</dialogue>
<character>JOE</character>
<dialogue>Three, you are successful and you join the Pharoahs with a carcoat, and the blood initiation and all that, huh?</dialogue>
<character>CURT</character>
<parenthetical>( seeing Joe walk away . )</parenthetical>
<dialogue>Wait - wait a minute. Wait a minute! What blood initiation?</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, here we go baby! Here's `` Come Go With Me.''</dialogue>
<scene_description>The policeman waits for a victim . In the background , we see Curt dodging from behind one car to another . Taking cover , Curt makes another break toward a car - and trips and falls . In the cop car , Holstein thinks he hears something . He opens the door and gets out . Adjusting his billy club , he paces around the used car lot officiously , while Curt hides behind a Falcon and peeks out from behind a fender . He sees Holstein walking back toward the squad car . The cop opens the door again and climbs in . The echoing sound of the calls coming over the police radio blend with the Wolfman 's howling as cars pass with their radios blaring . Curt is inching forward with the cable , toward the squad car . In the background , a slow freight train can be heard starting to move across the valley . Curt ties the cable to a post and then , looking scared , crawls under the police car with the cable . Underneath the car , Curt inches on his back and then reaches up and attaches the cable to the rear axle of the car .</scene_description>
</scene>
<scene>
<stage_direction>MAIN STREET</stage_direction>
<scene_description>Terry and Debbie are walking across the street , Terry looks miserable and disconsolate about the loss of the Chevy he possessed for three short hours . Debbie tries to be more positive about the situation .</scene_description>
<character>DEBBIE</character>
<dialogue>Hey, why do n't we go get your jeep?</dialogue>
<character>TERRY</character>
<dialogue>What? What are you talking about?</dialogue>
<character>DEBBIE</character>
<dialogue>You know, your jeep. The one you sold the hunting ponies for. The one with the four - wheel drive.</dialogue>
<scene_description>Terry just stares at her morosely . He stops by a parking meter and sinks down on top of it .</scene_description>
<character>DEBBIE</character>
<dialogue>Come on, Terry - Terry?</dialogue>
</scene>
<scene>
<stage_direction>ALLEY BEHIND JERRY'S CHERRIES USED CAR LOT</stage_direction>
<scene_description>Curt and Joe are on the run toward the Merc . Ants and Carlos jump in as they start their getaway .</scene_description>
<character>JOE</character>
<dialogue>Hey, you sure you got enough slack?</dialogue>
<character>CURT</character>
<dialogue>Yeah, yeah. No sweat. Let's get out of here.</dialogue>
</scene>
<scene>
<stage_direction>MAIN STREET</stage_direction>
<scene_description>Joe shifts into high gear and is flying down the main drag . Terry and Debbie look startled as they see the Pharoah 's Mercury roaring by - and Curt leaning out the door , shouting insanely .</scene_description>
<character>CURT</character>
<dialogue>Stand by for Justice!</dialogue>
<scene_description>Terry and Debbie watch the Merc speed suicidally past Jerry 's Cherries Used - Car Lot . Holstein spots them and the driver starts up the engine of the squad car . THe red lights start flashing and the siren wails . The patrol car shifts into gear and leaps forward . Suddenly , there 's a horrendous metallic screech , the patrol car hurtles up and out , airborne for a moment - then noses down and bounces along the pavement , sending out sparks as it slides to a stop . The driver is stunned and frozen to the wheel . Holstein manages to remove his dark glasses and looks back . There , sitting quietly in the middle of the parking lot , is their trans - axle and two rear wheels . The patrol car sits on the ground at a twenty degree angle , while its engine whines impotently at top speed . On the radio , the all - seeing Wolfman gives an evil laugh -</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, I ca n't believe it. Feels so good'cause you're sweet sixteen.</dialogue>
<scene_description>And Johnny Burnette takes his cue and croons into `` You 're Sixteen . '' A DARK ROAD OUTSIDE TOWN - DEUCE COUPE John has glided off the main drag and into a residential area . Everything is dark and quiet as the adult population sleeps through the night . John pulls the coupe to the curb and turns off the engine . He turns out the lights . Inside the car , there 's silence . Only the clock ticking . Carol looks over at John a little nervously .</scene_description>
<character>CAROL</character>
<dialogue>Why are we stopping here?</dialogue>
<scene_description>John looks at her and his arm slides along the back of the seat above her . She notices his arm and the fact that he 's moving slowly toward her .</scene_description>
<character>JOHN</character>
<parenthetical>( in a husky voice . )</parenthetical>
<dialogue>Carol.</dialogue>
<character>CAROL</character>
<dialogue>What?</dialogue>
<character>JOHN</character>
<dialogue>I - I do n't think that I can control myself any longer.</dialogue>
<character>CAROL</character>
<dialogue>You ca n't?</dialogue>
<character>JOHN</character>
<dialogue>No. Carol, I've got to have you.</dialogue>
<character>CAROL</character>
<dialogue>Me?</dialogue>
<scene_description>He touches her hair and she slouches back into her corner fearfully .</scene_description>
<character>JOHN</character>
<dialogue>All night you've been sitting there and you've been so sexy and it's been so hot - and I ca n't wait any more.</dialogue>
<character>CAROL</character>
<dialogue>Well - well, a lot of that's an act, you know. Like. like my crying. It was just an act.</dialogue>
<character>JOHN</character>
<dialogue>Well, it's been building up inside of me like a volcano, all night. Maybe if I knew where you lived I could fight it - I could take you home - but since you wo n't tell me, and since here we are - I've got to have you. It's too late -</dialogue>
<character>CAROL</character>
<dialogue>It's not too late! It's never too late! 231 Ramona - two three one -</dialogue>
<character>JOHN</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Two three one -</dialogue>
<character>CAROL</character>
<dialogue>I'll show you! It's easy to find.</dialogue>
<scene_description>John starts the car engine . Carol looks very relieved . The yellow deuce coupe roars off down the dark street . MEL 'S DRIVE - IN Steve sits in the almost empty cafe section of Burger City . He stirs a coffee and mulls over the night 's events in his mind . A door opens and Budda Macrae comes in . She watches him a moment , then takes off her little Bell Boy Cap and gets a cup of coffee for herself . Steve looks up as she comes over on her roller skates .</scene_description>
<character>BUDDA</character>
<dialogue>Hi. You mind if I sit down?</dialogue>
<character>STEVE</character>
<dialogue>Hi Budda. No, have a seat.</dialogue>
<character>BUDDA</character>
<dialogue>I got five minutes outa the rat race, and I saw you all alone. For a change.</dialogue>
<scene_description>She drinks her coffee and he looks out the window thinking about something else .</scene_description>
<character>BUDDA</character>
<dialogue>Where's Laurie?</dialogue>
<character>STEVE</character>
<dialogue>I do n't know.</dialogue>
<character>BUDDA</character>
<dialogue>I thought the two of you'd be going strong, this being your last night and everything -</dialogue>
<character>STEVE</character>
<dialogue>We broke up.</dialogue>
<scene_description>Budda looks surprised .</scene_description>
<character>STEVE</character>
<dialogue>No big deal.</dialogue>
<character>BUDDA</character>
<dialogue>Wow. what happened?</dialogue>
<character>STEVE</character>
<dialogue>Nothing. We were out at the canal and. we had a fight.</dialogue>
<scene_description>Budda smiles and he looks at her strangely .</scene_description>
<character>STEVE</character>
<dialogue>What's so funny?</dialogue>
<character>BUDDA</character>
<dialogue>Nothing. Just thinking. A girl like Laurie - I mean, she goes to school and is cute and popular and all, but we're not so different. We know what we want. I've seen her after you for two years now.</dialogue>
<character>STEVE</character>
<dialogue>She's not like that.</dialogue>
<character>BUDDA</character>
<dialogue>Maybe not. She does have a different approach. Hers is `` Never surrender,'' me I lay down my arms at the drop of a hat -</dialogue>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Budda, you got an hour left, let's get on it.</dialogue>
<character>BUDDA</character>
<parenthetical>( yelling back . )</parenthetical>
<dialogue>All right, relax. old fart. Listen, I'm off in an hour. If you wanta come over, my girlfriend's away for the weekend.</dialogue>
<character>STEVE</character>
<dialogue>I do n't know.</dialogue>
<scene_description>Laurie walks up the drive - in and is about to enter when she stops and watches Steve and Budda . She thinks about going in , then hesitates , watching them .</scene_description>
<character>BUDDA</character>
<dialogue>Why do n't you? I never got a chance to talk to you. You're leaving tomorrow. Listen, I gave up a long time ago, so it'd be just for fun. No problems.</dialogue>
<scene_description>She smiles at him and he smiles back a little . At the door , Laurie turns and leaves before Steven sees her .</scene_description>
<character>BUDDA</character>
<dialogue>I'll see ya later then.</dialogue>
<scene_description>She gets up and goes back to the counter on her skates . Steve thinks a moment and gets up also .</scene_description>
<character>STEVE</character>
<dialogue>Budda, Budda wait.</dialogue>
<scene_description>She turns and he comes over to her as she puts back on her little cap .</scene_description>
<character>STEVE</character>
<dialogue>I got ta get up early and - I just do n't think it'd work out.</dialogue>
<character>BUDDA</character>
<dialogue>She's got you so brainwashed - well, hell. Some day I'm gon na win. Do n't ya think?</dialogue>
<character>STEVE</character>
<dialogue>Sure.</dialogue>
<scene_description>She smiles briefly , then turns and leaves . Steve watches her go . MEL 'S DRIVE - IN The drive - in remains a raucous roar : Cars coming in from the hop , from the movies , other cars going out to the canal or back out to cruise . Only the car hops , who have developed a late - hour , harried look , suggest it 's nearly closing time . The Pharoahs arrive . The Mercury swings imperiously into the lot . The radio can be heard as the rumbling engine dies . The Clovers are singing `` Love Potion # 9 . '' Curt jumps out of the Mercury elated . The Pharoahs all climb out and circle him , punching him playfully . Joe holds him while Carlos tickles him and they all laugh .</scene_description>
<character>JOE</character>
<dialogue>Oh mother, it's been a glorious night.</dialogue>
<character>CARLOS</character>
<dialogue>That was the bitchinest thing I ever seen in my whole life.</dialogue>
<character>ANTS</character>
<dialogue>I seen a little kid attacked by pigs once, but this was even better.</dialogue>
<character>JOE</character>
<dialogue>Oh boy, I'll tell you something, that car must've jumped five feet in the air!</dialogue>
<scene_description>Curt nods , feeling pretty good .</scene_description>
<character>JOE</character>
<dialogue>You sure you got to go? The night's young.</dialogue>
<character>CURT</character>
<dialogue>Yeah, there's some things I got to do. I still want to find that blonde.</dialogue>
<character>JOE</character>
<dialogue>I think she was an optical delusion, man. Psychology - wise it ai n't good to dwell on it. You'll alter your ego or something. Anyway, catch ya tomorrow night?</dialogue>
<character>CURT</character>
<dialogue>Yeah, I guess so.</dialogue>
<character>JOE</character>
<dialogue>Guess so? Man, we do n't admit a lot of guys to the Pharoahs. You understand we're going to have to swipe your jacket and all - you got ta make up your mind.</dialogue>
<scene_description>Curt nods , thinking about it . Then he shrugs . He looks at the three Pharoahs as they climb back into their maroon chariot .</scene_description>
<character>CURT</character>
<dialogue>Hey - I'll see you guys.</dialogue>
<character>JOE</character>
<dialogue>Sure - listen, remember, Rome was n't buried in a night.</dialogue>
<scene_description>Joe laughs and Curt nods . He watches the Mercury pull out and then he wanders back across the drive - in toward his little Citroen .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My, my, my. You only got five minutes left, if you want to talk to the Wolfman. Gon na make all your dreams come true, baby.</dialogue>
<scene_description>Curt gets into the little car and sits listening to the radio . The neon MEL 'S DRIVE - IN is reflected across the windshield .</scene_description>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wolfman.</dialogue>
<character>WOLFMAN</character>
<dialogue>Yeah.</dialogue>
<character>VOICE</character>
<dialogue>Would you dedicate a record to keep me and my girlfriend together?</dialogue>
<character>WOLFMAN</character>
<dialogue>Are you separated?</dialogue>
<character>VOICE</character>
<dialogue>Well, see, we're havin' a little problem.</dialogue>
<character>WOLFMAN</character>
<dialogue>I'll bring you right together. Hold on a minute, man. Hi ya, hi ya, hi, hi, hi. Everything's gon na be all right now, man, you understand? Now, let me play the record for you.</dialogue>
<scene_description>As the Wolfman talks on , Curt glances toward the street . He sees the white Thunderbird gliding by . He sits up quickly and tries to start the Citroen - but the machine barely turns over . He keeps trying desperately , but the engine wo n't catch . CRUISING G STREET - '58 EDSEL Laurie drives slowly , alone in the Edsel . On the radio , the Skyliners are lamenting the sad state of things - `` Since I Do n't Have You . '' Laurie wipes her eyes , crying with the music . A horn honks . She looks over to see Bob Falfa 's car pacing her . He 's alone now and grinning at her . Laurie ignores him . They drive along further . Falfa roars his engine , but she still does n't give him any attention . He gives up and pulls off . Laurie thinks a while , pouting . She pulls alongside Falfa at the next light . He is n't looking at her . She toots her horn and he turns . Laurie motions him to pull over . Falfa looks surprised . The light changes , and he follows her to the curb . Laurie takes a deep breath , and with a determined look , gets out and walks back to his car . She gets in and closes the door . They start off . He looks over and smiles .</scene_description>
<character>FALFA</character>
<dialogue>Hey Hey Hey, baby, what do you say?</dialogue>
<character>LAURIE</character>
<dialogue>Just do n't say anything and we'll get along fine.</dialogue>
<scene_description>Falfa is puzzled by the frigidity in the air . He glances at her then back at the road , wondering about this strange chick . RESIDENTIAL STREET - DEUCE COUPE The coupe slows in front of a modest California ranch - style home . John stops the car and turns off the engine . He looks over at Carol , who seems lost in thought .</scene_description>
<character>JOHN</character>
<dialogue>This the first time you've been quiet all night.</dialogue>
<character>CAROL</character>
<dialogue>I had fun. Goodbye.</dialogue>
<scene_description>She sits for a moment , about to say something .</scene_description>
<character>CAROL</character>
<dialogue>Do you like me?</dialogue>
<character>JOHN</character>
<dialogue>Yeah. I like you. You're all right.</dialogue>
<character>CAROL</character>
<dialogue>But I mean, do you like me?</dialogue>
<character>JOHN</character>
<dialogue>I, ah. I like you. Okay?</dialogue>
<character>CAROL</character>
<dialogue>Could n't I have something to remember you by?</dialogue>
<scene_description>John gives in to her sweet gaze . He takes off the gearshift knob , gives it to her , and leans over and gives her a kiss .</scene_description>
<character>JOHN</character>
<dialogue>` Bye, kid.</dialogue>
<character>CAROL</character>
<dialogue>Gee, thanks. It's just like a ring or something.</dialogue>
<character>JOHN</character>
<dialogue>Yeah.</dialogue>
<character>CAROL</character>
<dialogue>It's like we were going steady. Wait'll I tell Marcia.</dialogue>
<character>JOHN</character>
<dialogue>Wait a minute, now.</dialogue>
<character>CAROL</character>
<dialogue>Wait'll I tell everybody.</dialogue>
<character>JOHN</character>
<dialogue>Do n't go overboard with this thing.</dialogue>
<character>CAROL</character>
<dialogue>Well, I'll see you around.</dialogue>
<scene_description>She jumps out of the car and runs up the walk to the house . He watches her stop at the screen door and turn . She gives him a little wave , then goes inside . John looks over at the empty seat next to him and seems a little sad . He starts the engine and drives off slowly .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I have n't cried so much. And the tears and everything, man. I leaned down towards the microphone and I almost shorted myself out.</dialogue>
<scene_description>OUTSIDE MEL 'S DRIVE - IN Curt has the font hood up on the beetle - like Citroen and is fooling with the recalcitrant engine . Steve is standing beside him .</scene_description>
<character>CURT</character>
<dialogue>Hold that up.</dialogue>
<character>STEVE</character>
<parenthetical>( taking the hood from him . )</parenthetical>
<dialogue>I've been thinking - maybe you're right. Why should I leave home to find a new home. Why should I leave friends that I love to find new friends?</dialogue>
<character>CURT</character>
<dialogue>Wait a minute, wait a minute. I've heard this already. Are n't you the one who for eight weeks has been telling me you have to leave the nest sometime?</dialogue>
<character>STEVE</character>
<dialogue>I realize that. I realize -</dialogue>
<character>CURT</character>
<dialogue>No - no realizing. You've been telling me all summer that it's time to pull your head out of the sand and take a look at the big, beautiful world out there. Gim me this thing.</dialogue>
<character>STEVE</character>
<parenthetical>( letting him close the hood . )</parenthetical>
<dialogue>I do n't know - I -</dialogue>
<character>CURT</character>
<parenthetical>( banging the Citroen hood shut . )</parenthetical>
<dialogue>I feel like a mid - wife.</dialogue>
<character>STEVE</character>
<dialogue>I guess I was wrong. I may have been wrong.</dialogue>
<character>CURT</character>
<dialogue>Wrong nothing. You've been talking about getting out of this town for eight weeks. And now - goddamnit! - you're just - you're just mentally playing with yourself. If you can just relax, we'll talk about it at the airport.</dialogue>
<scene_description>Curt walks around the side of the car and opens the door .</scene_description>
<character>STEVE</character>
<dialogue>Where are you going? It's awfully early in the morning.</dialogue>
<character>CURT</character>
<dialogue>I have a dental appointment.</dialogue>
<character>STEVE</character>
<dialogue>Come on, Curt.</dialogue>
<character>CURT</character>
<dialogue>Just relax, wil ya? I'll see you at the airport.</dialogue>
<scene_description>Curt gets into the car and starts the engine . Steve watches him pull out of the drive - in , then walks off . ALLEY BEHIND THE `` COME ON INN '' BAR A half dozen people are standing around in the parking lot behind the bar . Debbie is sitting on the hood of a car , swinging her legs and chewing gum . The people all seem to be watching something on the ground behind the car . Coughing is heard , then gagging , and the unmistakable sounds of someone being sick . At the back door of the bar even the cooks are looking and pointing . We hear more coughing and vomiting . A guy slides up on the hood next to Debbie .</scene_description>
<character>GUY</character>
<dialogue>I never seen a guy lose so much. He must n't have been used to drinking.</dialogue>
<character>DEBBIE</character>
<dialogue>Oh no, he really likes to drink. He told me.</dialogue>
<scene_description>An old man looks at his watch and then up at the stars .</scene_description>
<character>OLD MAN</character>
<dialogue>Gettin' late. I knew a man once who got this sick. Billy Webber. That was ten years ago. What do you think that was there, that he had for dinner?</dialogue>
<scene_description>More groaning and gaggin is heard . An old woman moves close to the old man and he puts an arm around her sentimentally .</scene_description>
<character>OLD WOMAN</character>
<dialogue>Staying on his hands and knees like that.</dialogue>
<parenthetical>( she grins . )</parenthetical>
<dialogue>He looks like a dog, does n't he? Looks like old Ginger.</dialogue>
<character>OLD MAN</character>
<dialogue>Sicker than a dog, that's for sure.</dialogue>
<scene_description>The people drift off , leaving Debbie sitting alone on the car . Now , Terry slowly emerges , pulling himself up the hood of the car . His face is white . He lies across the hood trying to catch his breath .</scene_description>
<character>TERRY</character>
<dialogue>Ohh rats, I feel like -.</dialogue>
<parenthetical>( he notices a car nearby and pushes himself up . )</parenthetical>
<dialogue>Wait a second. hey!</dialogue>
<scene_description>He staggers across the lot toward Steve 's Chevy ! Debbie slides off the car and follows him .</scene_description>
<character>TERRY</character>
<dialogue>It's - oh my god - it looks like Steve's car. Look, right here under our - it's my car. My car. We found it. Look!</dialogue>
<scene_description>Terry staggers around and looks for the keys . He searches under the front seat and over the visor . Must 've taken the keys with them .</scene_description>
<character>DEBBIE</character>
<dialogue>Maybe we oughta call the police.</dialogue>
<character>TERRY</character>
<dialogue>Never get here in time. I got a better idea. We'll just steal it back. See if you can find some wire around. We only need a foot to hot - wire it. okay?</dialogue>
<scene_description>GAS STATION - DEUCE COUPE John pulls the coupe out of the garage and wheels up to the pumps of the gas station . An attendant nods , looking at the roaring engine .</scene_description>
<character>ATTENDANT</character>
<dialogue>Took the header plugs off. Expectin' some action?</dialogue>
<scene_description>John looks at him from inside the coupe and nods slowly .</scene_description>
<character>JOHN</character>
<dialogue>Yeah. Think so. There's some punk lookin' for me.</dialogue>
<character>ATTENDANT</character>
<dialogue>Why the hell do they bother? You've been number one as long as I can remember.</dialogue>
<character>JOHN</character>
<dialogue>Yeah. it's been a long time, ai n't it? I'll see ya. Thanks.</dialogue>
<scene_description>John drives the car out of the station and screeches down the street . ALLEY BEHIND THE `` COME ON INN '' BAR - STEVE 'S '58 CHEVY Terry is fiddling around under the dashboard , trying to hot - wire the Chevy . As the wires connect , the radio comes to life and the Wolfman growls .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who is this on the Wolfman telephone?</dialogue>
<scene_description>There 's the sound of a phone ringing , then the unmistakable voice of the Big Bopper answering .</scene_description>
<character>BIG BOPPER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hellooo, baaaby -</dialogue>
<scene_description>Just then , Terry looks up and sees one large badass looking at him . Terry gets up slowly and sees another big guy standing nearby . The first badass reaches in and grabs Terry by the shirt . He pulls him from the car . Terry is smiling weakly .</scene_description>
<character>TERRY</character>
<dialogue>Ah, hi - this is my car. What I mean is, somebody stole my car - I mean I lost my car and I want to thank you two guys for -</dialogue>
<scene_description>The first badass shoves Terry toward the other badass .</scene_description>
<character>TERRY</character>
<dialogue>- for returning - I mean finding it. I mean, listen now, listen guys - I've been sick recently, and this kind of activity can really be hard on a guy. Now, easy will you? Easy!</dialogue>
<scene_description>They throw him back and forth and start to rough him up seriously . Debbie is running around helplessly while they pummel Terry . Then , she sees the yellow deuce coupe passing . John glances out his window and notices the fight behind the Come On Inn . He punches it and wheels into a fast U - turn . The hoods have quit playing with Terry and are punching him . Terry 's still on his feet , mostly because he 's drunk and staggering away from a lot of the blows ; also , Debbie is screaming and pelting the assailants with her purse .</scene_description>
<character>DEBBIE</character>
<dialogue>Stop it, stop it, stop it! Help! Police! You creeps!</dialogue>
<scene_description>John jumps out of the coupe and runs into the parking lot . He grabs one of the punks and turns him - smashing him in the face . The punk lands on his ass . John starts circling the other .</scene_description>
<character>TERRY</character>
<dialogue>Go, John!</dialogue>
<character>DEBBIE</character>
<dialogue>Hit him!</dialogue>
<scene_description>A good fighter , John lands a couple of blows to the gut and lands him on his can . Both of them crawl off . Terry is lying nearby , drunk , sick and bloodied . Debbie holds his head in her lap . John goes over and kneels by them .</scene_description>
<character>JOHN</character>
<dialogue>Hey, man, you all right?</dialogue>
<character>TERRY</character>
<dialogue>Yeah. I'll die soon and it'll all be over.</dialogue>
<character>DEBBIE</character>
<parenthetical>( looking at John . )</parenthetical>
<dialogue>Wow - you're just like the Lone Ranger.</dialogue>
<character>JOHN</character>
<parenthetical>( eyeing Debbie . )</parenthetical>
<dialogue>Yeah. Listen, are you with the Toad, or were you with them?</dialogue>
<scene_description>Terry manages to raise his head .</scene_description>
<character>TERRY</character>
<dialogue>You're talking to the woman I love.</dialogue>
<scene_description>His head falls back again .</scene_description>
<character>JOHN</character>
<dialogue>What happened, man?</dialogue>
<scene_description>Terry opens his mouth to start to explain , but it 's too hard . He can only moan . MEL 'S DRIVE - IN The drive - in is emptying out finally as the midnight hour approaches and passes . The die - hards and the hard - ups are still wheeling through Mel 's looking for remains of any action . Steve sits inside in a booth . Two gossipy looking girls come in smiling and slide into the booth across from him .</scene_description>
<character>STEVE</character>
<dialogue>Hi, Karen, Judy.</dialogue>
<character>JUDY</character>
<dialogue>Hi, Steve. Have you seen Laurie lately?</dialogue>
<scene_description>Steve shakes his head no .</scene_description>
<character>JUDY</character>
<dialogue>Well, we have.</dialogue>
<character>STEVE</character>
<parenthetical>( already annoyed . )</parenthetical>
<dialogue>Oh yeah. So what?</dialogue>
<character>JUDY</character>
<dialogue>So nothing. She was just with a really cute guy in a boss car. We wondered who he was.</dialogue>
<character>STEVE</character>
<dialogue>I would n't know.</dialogue>
<character>JUDY</character>
<dialogue>We do. His name's Bob Falfa.</dialogue>
<scene_description>The name registers with Steve . Terry and Debbie pull into the drive - in and park . Terry , his face swelling , groans as he leans toward the intercom .</scene_description>
<character>TERRY</character>
<dialogue>Help. I mean, I want two cherry cokes with lots of ice. Never mind, forget the cokes, just bring the ice, pronto.</dialogue>
<scene_description>The intercom repeats his order in a foreign language and suddenly Steve arrives and opens the door .</scene_description>
<character>STEVE</character>
<dialogue>Out! OUT!</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>STEVE</character>
<dialogue>I need the car - now.</dialogue>
<scene_description>Terry gets out and Debbie gets out her side . Steve gets in .</scene_description>
<character>TERRY</character>
<dialogue>What's going on?</dialogue>
<character>STEVE</character>
<dialogue>I'm about to find out.</dialogue>
<scene_description>Steve roars out of the drive - in , leaving Terry and Debbie standing in an empty space .</scene_description>
<character>DEBBIE</character>
<dialogue>I do n't believe it! You practically get killed trying to get your car back, then you let him have it.</dialogue>
<scene_description>Terry looks at her , his eye swollen , his lip ballooning , his glasses broken . Finally , he gives up - it 's not worth the trouble any longer .</scene_description>
<character>TERRY</character>
<dialogue>It's not my car.</dialogue>
<character>DEBBIE</character>
<dialogue>What?</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>TERRY</character>
<dialogue>IT IS NOT MY CAR!</dialogue>
<character>DEBBIE</character>
<dialogue>Well, where is your car?</dialogue>
<scene_description>Terry is upset now .</scene_description>
<character>TERRY</character>
<dialogue>I DO N'T HAVE A CAR!</dialogue>
<character>DEBBIE</character>
<dialogue>You do n't - no car at all. What about your jeep?</dialogue>
<scene_description>Terry shakes his head .</scene_description>
<character>DEBBIE</character>
<dialogue>No car. well, how am I going to get home?</dialogue>
<scene_description>Just then the car hop approaches with the two cokes on two trays .</scene_description>
<character>CAR HOP</character>
<dialogue>Where's your car? I got ta hook'em to your car.</dialogue>
<scene_description>Terry shrugs , standing in the empty stall , the carhop with the trays and Debbie watching . There 's a low rumbling sound and the girls turn as John 's deuce coupe glides into the stall next to them . Terry shuffles toward John 's car , a defeated man . Terry leans against John 's car and John looks out the window at him .</scene_description>
<character>JOHN</character>
<dialogue>What's wrong, Toad? You lose the car again?</dialogue>
<character>TERRY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>No. Steve took it.</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's a shame, Baby. I'll tell yuh. Got to take it easy when you're drivin' that car of yours. You got to cruise easy, baby. Do n't be doin' any accidents or anything on me.</dialogue>
<scene_description>And the radio plays `` Cryin ' in the Chapel . '' John smiles and gets out of the car . He goes and opens his hood , making a last - minute check on something . Terry sits down gently on a curb by John . Debbie has been talking with some other boys . Eventually she wanders up slowly and looks at Terry . He looks up at her , then away , disgraced and embarrassed . She sits down by him and they 're silent .</scene_description>
<character>DEBBIE</character>
<dialogue>You know, I had a pretty good time tonight.</dialogue>
<character>TERRY</character>
<dialogue>Oh come on, you're just -</dialogue>
<character>DEBBIE</character>
<dialogue>No, no, really. I really had a good time. I mean, you picked me up and we got some hard stuff and saw a hold - up, and then we went to the Canal, you got your car stolen, and then I got to watch you gettin' sick, and then you got in this really bitchin' fight. I really had a good time.</dialogue>
<scene_description>Terry looks at her , starting to regain a little cool .</scene_description>
<character>TERRY</character>
<dialogue>You think so? Yeah - well I guess I have pretty much fun every night.</dialogue>
<character>DEBBIE</character>
<dialogue>Anyway if you're not doing anything tomorrow night, why do n't you come over?</dialogue>
<character>TERRY</character>
<dialogue>Yeah - well, I might be busy, you know. But we could - well, I got a little Vespa I just play around with.</dialogue>
<character>DEBBIE</character>
<dialogue>Really? Why that's almost a motorcycle. And I just love motorcycles.</dialogue>
<scene_description>He feels his swollen lip and she touches it . Then she leans over and kisses him .</scene_description>
<character>DEBBIE</character>
<dialogue>I got to go.</dialogue>
<character>TERRY</character>
<dialogue>Ow.</dialogue>
<character>DEBBIE</character>
<dialogue>Goodnight.</dialogue>
<character>TERRY</character>
<dialogue>See ya.</dialogue>
<scene_description>She smiles , walks off , swinging her purse . She looks over her shoulder and smiles . He smiles back . OUTSIDE RADIO STATION - CITROEN The little Citroen bumps along a lonely dirt road , winding its way through dark peach orchards and wizened grape vineyards . Curt watches the deserted landscape when suddenly , the radio increases in volume and he turns it down . Then it begins to roar and distort eerily as the signal becomes more powerful . Then Curt sees it . He stops the car and gets out . He stands looking at an isolated white frame house hitting in the moonlight . Curt looks up at a spidery radio antenna that rises toward the stars , its black wires humming in the stillness . Curt starts up the gravel walk to the door . Under the glare of a naked spotlight , he sees a small intercom which plays soft Rock and Roll . He hesitates , then pushes a buzzer . He pushes it again and finally a voice comes over the intercom .</scene_description>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yeah, who is it?</dialogue>
<character>CURT</character>
<dialogue>It's - I want to talk to the Wolfman.</dialogue>
<character>VOICE</character>
<dialogue>The Wolfman ai n't here.</dialogue>
<character>CURT</character>
<dialogue>I know, but I got to get in touch with him. I got something to give him before -</dialogue>
<character>VOICE</character>
<dialogue>We do n't take no deliveries after eight. Come back tomorrow.</dialogue>
<character>CURT</character>
<dialogue>No, I ca n't. I want to ask him something that -</dialogue>
<character>VOICE</character>
<dialogue>Dedications by phone is Diamond 75044. Wolfman Top 40 is Box 13, Chula Vista. Wolfman Sweatshirts is Wolf Enterprises, Bakersfield. ` Bye.</dialogue>
<character>CURT</character>
<dialogue>Listen, I got a right to talk to him. I listened to him every night for as long - for twelve years almost. I know him and it's personal and it'll only take a minute and I bet Wolfman would be upset if he knew a friend could n't get in touch with -</dialogue>
<scene_description>A buzzer interrupts him and the door opens an inch . Curt pushes it open slowly - no one is there . A little scared , he goes inside and closes the door .</scene_description>
</scene>
<scene>
<stage_direction>INSIDE RADIO STATION</stage_direction>
<scene_description>Curt walks slowly down a dark eerie corridor , passing strangely lit rooms with electronic generators , humming dynamos and glassed - off booths filled with flashing electronic apparatus . Curt goes through this other - worldly maze until he comes to a small , dimly lit control booth . A figure inside is barely visible through the reflections in the double glass windows . The figure turns and walks up to the window . Curt backs off a bit . A face stares at him - long hair greased in a ducktail , a short chinbeard . Then he speaks , his voice filtering strangely through a hidden speaker .</scene_description>
<character>MANAGER</character>
<dialogue>What do you want?</dialogue>
<scene_description>Through the window , Curt can be seen but no sound is heard .</scene_description>
<character>MANAGER</character>
<dialogue>Pull the red switch.</dialogue>
<character>CURT</character>
<dialogue>I'm looking for a girl.</dialogue>
<character>MANAGER</character>
<dialogue>Are n't we all. She ai n't here. Come on back to the booth.</dialogue>
<scene_description>Curt walks around through a few more glass doors and ends up in the booth with the manager . The manager sits down and leans back , turning a fan to blow on his large chest . He 's a large , friendly looking man ; he wears a Hawaiian shirt . He sucks on a popsicle . Curt stands awkwardly .</scene_description>
<character>MANAGER</character>
<dialogue>Hey, have a popsicle. The ice box just broke down and they're meltin' all over the place. You want one?</dialogue>
<character>CURT</character>
<dialogue>No. Thanks. Listen, ah.</dialogue>
<character>MANAGER</character>
<dialogue>Have a popsicle.</dialogue>
<character>CURT</character>
<dialogue>Are you the Wolfman?</dialogue>
<character>MANAGER</character>
<dialogue>No, man. I'm not the Wolfman.</dialogue>
<scene_description>The manager leans forward and picks up a spool of tape . He holds it up as a magician would for audience inspection , then puts it on a machine . A record is about to end . As it does the manager punches some buttons and the record segues into a Wolfman howl and then the distinctive Wolfman voice takes over . The manager adjusts the monitor volume down and sucks his popsicle .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Who is this on the Wolfman's telephone?</dialogue>
<character>DIANE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Diane.</dialogue>
<character>WOLFMAN</character>
<dialogue>How're you doin', Diane?</dialogue>
<character>DIANE</character>
<dialogue>All right.</dialogue>
<scene_description>The station manager smiles at Curt , who is watching the tape and blinking lights of the large console .</scene_description>
<character>MANAGER</character>
<dialogue>That's the Wolfman.</dialogue>
<character>CURT</character>
<dialogue>He's on tape. The man is on tape.</dialogue>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Do you love me? Say you love me, Diane.</dialogue>
<character>CURT</character>
<dialogue>Well, ah - where does he work? I mean, where is the Wolfman now?</dialogue>
<character>MANAGER</character>
<dialogue>The Wolfman is everywhere.</dialogue>
<character>CURT</character>
<dialogue>But I got to give him this note.</dialogue>
<character>MANAGER</character>
<parenthetical>( taking it from Curt . )</parenthetical>
<dialogue>Here, let me see the note.</dialogue>
<parenthetical>( he reads it . )</parenthetical>
<dialogue>Hell, that's just a dedication. All I got ta do is relay it. And it'll be on the air tomorrow, or Tuesday at the latest.</dialogue>
<character>CURT</character>
<dialogue>No, no. See, this is very important. I may be leaving town tomorrow, and it's very important that I - damn it, that I reach this girl right now.</dialogue>
<character>MANAGER</character>
<dialogue>You do n't know whether you're gon na leave town or not?</dialogue>
<character>CURT</character>
<dialogue>Well, I'm supposed to go to college back East tomorrow. And I do n't know if I'm gon na go.</dialogue>
<character>MANAGER</character>
<dialogue>Wait a minute. Have a popsicle.</dialogue>
<character>CURT</character>
<dialogue>No, thank you.</dialogue>
<character>MANAGER</character>
<dialogue>Sit down a minute.</dialogue>
<scene_description>Curt sits down , undecided about leaving and upset about not being able to get in touch with the lovely creature he saw earlier that night .</scene_description>
<character>MANAGER</character>
<dialogue>Listen, it's early in the morning. Now, I ca n't really talk for the Wolfman. But I think if he was here he'd tell you to get your ass in gear. Now, no offense to your home town here, but this place ai n't exactly the hub of the universe, if you know what I mean. And well - I'll tell you this much - the Wolfman does come in here now and then, with tapes, to check up on me, you know, and when I hear the stories he got about the places he goes. Hell, here I sit while there's a big beautiful world out there, do n't ya know. Wolfman comes in last time talking about some exotic jungle country, handing me cigars he says was rolled on the naked thighs of brown beauties. The Wolfman been everywhere and he seen everything. He got so many stories, so many memories. And here I sit sucking on popsicles.</dialogue>
<scene_description>Curt looks at him a moment .</scene_description>
<character>CURT</character>
<dialogue>Why do n't you leave?</dialogue>
<character>MANAGER</character>
<dialogue>Well, I'm no kid anymore. I been here a long time. And the Wolfman - well, the Wolfman gave me my start and he's sorta become my life. I ca n't leave him now. Got ta be loyal to the Wolfman, you understand.</dialogue>
<scene_description>Curt nods and stands . The manager swivels around and punches some buttons , putting on a commercial . He turns back .</scene_description>
<character>MANAGER</character>
<dialogue>I tell you what. If I can possibly do it tonight, I'll try to relay this dedication and get it on the air for you later on.</dialogue>
<character>CURT</character>
<dialogue>That'd be great. Thanks. Really.</dialogue>
<scene_description>He shakes the manager 's hand , then wipes it on his pants .</scene_description>
<character>MANAGER</character>
<dialogue>Sorry, sticky little mothers ai n't they? Bye.</dialogue>
<character>CURT</character>
<dialogue>` Bye.</dialogue>
<scene_description>Curt goes out the door . He starts back out through the maze of windows and electronic machines . Echoing throughout the rooms , the Wolfman 's raucous voice follows Curt . The Wolfman howls and Curt turns . Through the maze of glass , shifting like prisms , he sees the station manager sitting by the mike - howling ! Then , he laughs and howls again , starting to sing a song called `` Bluebirds on My Dingaling , '' pounding out the rhythm on the console .</scene_description>
<character>CURT</character>
<dialogue>Wolfman.</dialogue>
<scene_description>He backs away , leaving the Wolfman , who 's on his feet now , screaming out the end of the song , dancing by himself in the little glass room , from which his voice radiates out through the night and around the world . MEL 'S DRIVE - IN John is working under the hood of the deuce coupe when Falfa 's Chevy drives into the parking lot . The radio is now blasting `` Heart and Soul . '' Terry moves over toward John 's car . John does n't look up , although he is quite aware of Falfa 's entrance . Falfa slows down in front of John 's car and revs his engine again . John looks up - Laurie is in the car with Falfa . She looks determined not to seem as scared as she really is .</scene_description>
<character>TERRY</character>
<dialogue>Hey, John, let me go with you. Come on.</dialogue>
<character>JOHN</character>
<dialogue>Naw, man. I ca n't take you when I'm racin' somebody.</dialogue>
<character>TERRY</character>
<dialogue>Ah, come on. Just let me go. So I can watch. Or, I'll flag you, okay?</dialogue>
<character>JOHN</character>
<dialogue>All right. Go ahead.</dialogue>
<scene_description>Terry starts to climb into the car . John looks over at Falfa in the rumbling Chevy .</scene_description>
<character>JOHN</character>
<dialogue>Paradise Road.</dialogue>
<scene_description>Falfa grins and gooses the Chevy , peeling out of Mel 's Drive - in . CRUISING MAIN STREET - FALFA 'S '55 CHEVY Falfa looks over at Laurie , who is watching the road nervously .</scene_description>
<character>FALFA</character>
<dialogue>All right now, where's this Paradise Road?</dialogue>
<character>LAURIE</character>
<dialogue>You just follow this street straight out of town. Listen, if you're gon na race John Milner, you can let me out right when we get there.</dialogue>
<character>FALFA</character>
<dialogue>Why do n't you shut up, baby? You ai n't said one word all night long. What a weird broad. But you're gon na appreciate me soon. You're gon na be hangin' on for mercy, when I get this sucker rollin'.</dialogue>
<scene_description>He accelerates the Chevy , shifting up deftly . Laurie looks scared now . CRUISING 10TH STREET - STEVE 'S '58 CHEVY Steve is cruising along the almost deserted streets looking for Laurie . A T - Roadster pulls up alongside and a guy shouts at Steve .</scene_description>
<character>DALE</character>
<dialogue>You heading out to Paradise Road?</dialogue>
<character>STEVE</character>
<dialogue>Paradise Road, I'm not -</dialogue>
<character>DALE</character>
<dialogue>Some guy named Falfa going up against Milner.</dialogue>
<character>STEVE</character>
<dialogue>John's racing Falfa?</dialogue>
<character>DALE</character>
<dialogue>Yeah. Figured something was up, saw them going out of town real cautious and then -</dialogue>
<scene_description>But Steve is gone . Dale looks surprised as the Chevy roars off toward Paradise Road . MEL 'S DRIVE - IN - PRE - DAWN Curt pulls into the parking lot just as the neon sign goes out . The last cars are leaving as the drive - in shutters up for the night . Curt stops next to the lighted phone booth and sits in his car , listening to the Wolfman .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I got a dedication here that's for a friend of the Wolfman - a special friend of the Wolfman who's leaving town tomorrow and wants me to play the next song for a blonde young lady in a Thunderbird. A white T - Bird, you understand? Now my friend's named Curt and he wants to talk to you out there, baby. So you meet him at Burger City, or phone Diamond 3132. Now he's a friend of mine, you hear, and, little girl, you better call him, or the Wolfman gon na get you.</dialogue>
<scene_description>The Wolfman howls and Curt smiles , leaning his chin on his hand , looking around the dark drive - in , wondering about tomorrow . PARADISE ROAD - DAWN John 's '32 yellow deuce coupe and Falfa 's black '55 Chevy are waiting side by side on a long , straight country road , their front wheels resting on a weather - beaten starting line . The sky is getting lighter as the radio plays `` Green Onions . '' There are about six to eight other cars parked off the road to watch the race . Everything is quiet now , only the crickets ignoring the solemnity of the scene , and still singing . Terry jumps out of John 's car , John hands him the flashlight and he takes up a position in front of the two cars . John looks over at Falfa , who 's arguing with Laurie .</scene_description>
<character>JOHN</character>
<dialogue>Hey - Laurie, what in the hell are you doing in there? Is she gon na ride with you?</dialogue>
<character>LAURIE</character>
<dialogue>Mind your own business, John.</dialogue>
<character>FALFA</character>
<dialogue>Yeah, she's with me. You worry about yourself, man.</dialogue>
<character>TERRY</character>
<dialogue>Everybody ready?</dialogue>
<scene_description>John settles back in the driver 's seat and positions his hand on the gear - shift , which we see is wrapped with rags because of the missing knob . Both drivers start revvin ' their engines ; the tension builds . Terry looks nervous , the engines start to scream and Terry , his hands shaking on the flashlight , manages to flash it on . Both cars roar off the starting line , tires smoking and screaming . Terry has his hands over his head and is coughing in a cloud of smoke as they pass . John beats Falfa off the line . Out on the road , as they hit third gear , the cars are almost neck and neck . Inside Falfa 's car , Laurie looks scared to death . Falfa looks insane as he tromps it . John hits fourth at about eighty - five . Falfa does likewise - but starts to fish - tail . Laurie closes her eyes , almost crying - Falfa regains control nervously . Falfa 's engine is winding out incredibly and he begins to get the edge on John . The cars rocket through the dawn light along the flashing white line until suddenly Falfa 's car blows a tire , his front wheel slips off and the car shoots off into a tomato field , hits an irrigation ditch and begins flipping over wildly in a horrifying cloud of dust and smoke - John sees the Chevy leaving the road and screams to a halt , swimming through an unbelievable U - turn and high tailing it back to the crash site . He is out of the car like a bullet , running across the dirty cloddy field . The crash car is beginning to burn in the engine compartment and John is panicked . Meanwhile , the spectators have arrived , including Steve , who jumps from his car and is running across the field . Steve and John arrive at the fire at approximately the same time . They stop , the flames are getting higher , burning up into the trees now . Steve looks around wildly - he sees John and goes at him .</scene_description>
<character>STEVE</character>
<dialogue>You stupid sonofabitch, she was in that car! Why did you have -</dialogue>
<scene_description>He takes a couple of swings at John , who finally manages to tackle him around the waist . They both get up looking at the flaming wreckage . Then John moves around the side , crouching , trying to see past the flames - suddenly , he stands and motions to Steve to come over . They both circle the wreck . Around behind the flaming car Falfa is standing in a state of shock watching the car go up in smoke , while Laurie is circling him , screaming and beating him with her purse .</scene_description>
<character>LAURIE</character>
<dialogue>I said I did n't - you lousy greasy jerk! You coulda killed me - what's wrong with you. You clubfoot.</dialogue>
<scene_description>She beats at him , crying hysterically . Steve runs over and grabs her , pulling her away . She fights at Steve , too , not knowing what 's going on .</scene_description>
<character>LAURIE</character>
<dialogue>No, no, no. Please, do n't come near me. No, please. I think I'm gon na be sick. Oh, Steven.</dialogue>
<character>STEVE</character>
<dialogue>Laurie, please.</dialogue>
<scene_description>Standing in the early light , Steve holds her . She throws her arms around him as the crowd develops along the irrigation ditch to watch the flaming car .</scene_description>
<character>LAURIE</character>
<dialogue>Oh, Steven! Oh, Steven, please, do n't leave me. Do n't leave me, Steven.</dialogue>
<character>STEVE</character>
<dialogue>I wo n't.</dialogue>
<character>LAURIE</character>
<dialogue>I could n't bear it.</dialogue>
<character>STEVE</character>
<dialogue>I wo n't.</dialogue>
<character>LAURIE</character>
<dialogue>Please.</dialogue>
<character>STEVE</character>
<dialogue>Believe me.</dialogue>
<scene_description>John looks at Falfa who 's shaking his head , watching the car dissolve .</scene_description>
<character>JOHN</character>
<dialogue>Come on, before she blows.</dialogue>
<scene_description>He pulls him off by the neck of the shirt and when they 're a few yards off , Falfa 's '55 Chevy does blow - exploding like a small A - bomb , blowing it into Modesto history . Back on the road , John is heading toward his car , its engine still running , its door open . Terry runs up , trotting alongside John like a puppy .</scene_description>
<character>TERRY</character>
<dialogue>Jeez, did you show him! He'll probably never even get in a car again.</dialogue>
<character>JOHN</character>
<dialogue>He was faster.</dialogue>
<character>TERRY</character>
<dialogue>It was beautiful, John. Just beauti - what?</dialogue>
<scene_description>John stops by the open door of the deuce coupe . Terry stares at him and squints against the rising sun .</scene_description>
<character>JOHN</character>
<dialogue>I was losin', man.</dialogue>
<character>TERRY</character>
<dialogue>What?</dialogue>
<character>JOHN</character>
<dialogue>He had me, man. He was pullin' away from me just before he crashed.</dialogue>
<character>TERRY</character>
<dialogue>You're crazy.</dialogue>
<character>JOHN</character>
<dialogue>You saw it.</dialogue>
<character>TERRY</character>
<dialogue>No, you creamed him, from right off the line. The guy never had a chance.</dialogue>
<character>JOHN</character>
<dialogue>Shit, Toad. The man had me. He was beating me.</dialogue>
<character>TERRY</character>
<dialogue>John, I do n't know what you're talking about. It was the most beautiful thing I've ever seen. That guy, he might as well get a wheelchair and roll himself home. Man, you got. you got the bitchinist car in the Valley. You'll always be number one, John. You're the greatest.</dialogue>
<scene_description>John nods , then looks up at Terry . His face is glowing , his glasses are smashed and his lip is swollen . John smiles .</scene_description>
<character>JOHN</character>
<dialogue>Look at your glasses, man.</dialogue>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Okay, Toad. We'll take'em all.</dialogue>
<character>TERRY</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>Right.</dialogue>
<character>JOHN</character>
<dialogue>We'll take em. let's get out of here.</dialogue>
<scene_description>John climbs in the car . Terry yawns and shakes his head .</scene_description>
<character>TERRY</character>
<dialogue>Jesus, what a night.</dialogue>
<scene_description>He climbs in too , and the deuce coupe drives off slowly as the sun rises over the ploughed fields and on the radio we hear `` Only You . '' MEL 'S DRIVE - IN - DAWN - CITROEN Curt sleeps in the little car as the sky grows lighter over the empty parking lot . The phone is ringing in the booth . It continues to ring . Finally Curt becomes aware of it and opens his eyes . It takes him a moment to remember . Then , panicked , he jumps from the car and rushes to the booth .</scene_description>
<character>CURT</character>
<dialogue>Hello, hello, hello!</dialogue>
<scene_description>A soft sexy female voice is on the other end of the line .</scene_description>
<character>VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Curt?</dialogue>
<character>CURT</character>
<dialogue>Yeah. this is Curt, who is this?</dialogue>
<character>VOICE</character>
<dialogue>Who were you expecting?</dialogue>
<character>CURT</character>
<dialogue>Do you drive a white T - Bird?</dialogue>
<character>VOICE</character>
<dialogue>A white' 56. I saw you on Third Street.</dialogue>
<character>CURT</character>
<dialogue>You know me.</dialogue>
<character>VOICE</character>
<dialogue>Of course!</dialogue>
<character>CURT</character>
<dialogue>Who are you? How do you know me?</dialogue>
<character>VOICE</character>
<dialogue>It's not important.</dialogue>
<character>CURT</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>It's important to me. You're the most perfect, beautiful creature I've ever seen and I do n't know anything about you. Could we meet someplace?</dialogue>
<character>VOICE</character>
<dialogue>I cruise Third Street every night. Maybe I'll see you again tonight.</dialogue>
<character>CURT</character>
<dialogue>No. I do n't think so.</dialogue>
<character>VOICE</character>
<dialogue>Why?</dialogue>
<character>CURT</character>
<dialogue>I'm leaving. in a couple of hours. Where are you from?</dialogue>
<character>VOICE</character>
<dialogue>Curt.</dialogue>
<character>CURT</character>
<dialogue>What's your name? At least tell me your name?</dialogue>
<character>VOICE</character>
<dialogue>Goodbye, Curt.</dialogue>
<character>CURT</character>
<dialogue>Wait a second! Wait a second!</dialogue>
<scene_description>But there 's a click as she hangs up . Curt looks at the phone a moment , then also hangs up . From the car radio , he hears the Wolfman making kissing noises .</scene_description>
<character>WOLFMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Little kiss on your ear. Good night, sweetheart. I'll see you later.</dialogue>
<scene_description>And then the Spaniels duh - duh - duh - duh - duh into `` Goodnight Sweetheart . ''</scene_description>
</scene>
<scene>
<stage_direction>AIRPORT DAY</stage_direction>
<scene_description>A DC - 3 prop airliner is warming up its engines as it waits to take off from a small country airport . There are n't too many people around . Just Curt and his friends and family seeing him off . Curt stands with a kindly - looking couple in their fifties . He hugs his mother and shakes hands with his dad . Then , Curt moves to his friends . He shakes Steve 's hand .</scene_description>
<character>STEVE</character>
<dialogue>Good luck.</dialogue>
<character>CURT</character>
<dialogue>Yeah, same to you. And I better see you there next year.</dialogue>
<character>STEVE</character>
<dialogue>Oh yeah, I'll be there.</dialogue>
<character>CURT</character>
<dialogue>Sure.</dialogue>
<scene_description>Curt hugs his sister . Laurie holds on to him for a moment .</scene_description>
<character>CURT</character>
<dialogue>See ya later.</dialogue>
<character>LAURIE</character>
<dialogue>` Bye ` bye, Curt.</dialogue>
<scene_description>Curt goes to Terry and John .</scene_description>
<character>CURT</character>
<dialogue>So long, guys.</dialogue>
<character>TERRY</character>
<dialogue>Well, stay cool, man.</dialogue>
<character>CURT</character>
<dialogue>Yeah.</dialogue>
<character>TERRY</character>
<dialogue>Ah - do n't do anything I would n't do.</dialogue>
<scene_description>Curt smiles at Terry , who has a bandage on his forehead . Curt looks at John and they do n't seem to know what to say . Finally , John gives Curt a little slap on the cheek .</scene_description>
<character>CURT</character>
<dialogue>I'll see ya, buddy.</dialogue>
<character>JOHN</character>
<dialogue>I know, you probably think you're a big shot, goin' off like this - but you're still a punk.</dialogue>
<character>CURT</character>
<dialogue>Okay, John. So long.</dialogue>
<scene_description>He walks toward the plane and they all wave . He looks around as he goes up the steps carrying a small bag and a portable radio . The stewardess smiles as he passes her . Above the door of the plane it reads RADAR EQUIPPED . Curt looks back again , then goes inside . The plane takes off down the runway and then climbs up into the sky .</scene_description>
</scene>
<scene>
<stage_direction>INSIDE THE PLANE</stage_direction>
<scene_description>Curt listens to the radio as the plane takes off . It 's playing `` Goodnight Sweetheart . '' As the plane climbs and banks over the valley , the music fades and the station drifts between static and other stations . and then it 's gone . Curt turns off the radio and looks out the window . As the plane banks , through the window Curt sees the white Thunderbird crossing beneath on the small grey ribbon of highway . Curt watches it . Then the plane 's shadow ripples over the car and it , too , is gone .</scene_description>
</scene>
<scene>
<stage_direction>THE BLUE SKY</stage_direction>
<scene_description>As the plane flies off against the blue sky we see cameos of Curt and his friends : John Milner was killed by a drunk driver in December 1964 . Terry Fields was reported missing in action near An Loc in December 1965 . Steve Bolander is an insurance agent in Modesto , California . Curt Henderson is a writer living in Canada .</scene_description>
</scene>
<scene>
<stage_direction>THE END</stage_direction>
</scene>
</script> | The film, set over the course of four consecutive New Year's Eves from 1964 to 1967, depicts scenes from each of these years, intertwined with one another as though events happen simultaneously. The audience is protected from confusion by the use of a distinct cinematic style for each section. For example, the 1966 sequences echo the movie of Woodstock using split screens and multiple angles of the same event simultaneously on screen, the 1965 sequences (set in Vietnam) shot hand-held on grainy super 16 mm film designed to resemble war reporters' footage. The film attempts to memorialize the 1960s with sequences that recreate the sense and style of those days with references to Haight-Ashbury, the campus peace movement, the beginnings of the modern woman's liberation movement and the accompanying social revolt. One character burns his draft card, showing a younger audience what so many Americans had done on the television news ten years before the movie's release. Other characters are shown frantically disposing of their marijuana before a traffic stop as a police officer pulls them over, and another scene shows the police brutality during an anti-Vietnam protest. The fates of the main characters listed at the end of American Graffiti are updated at the end of this sequel. John Milner is shown driving his trademark yellow deuce coupe toward another vehicle's headlights on New Year's Eve 1964. After disappearing over a small hill, neither his taillights nor the approaching car's headlights are seen again, hinting that this was the crash in which Milner was killed. The anniversary of John's death is mentioned in both the 1965 and 1966 sequences. Terry "The Toad" Fields fakes his own death in Vietnam. Disillusioned with the war, he decides to desert, saying he plans to go to Europe. Terry's superiors believe him to be dead in 1965, as do Debbie in 1966 and Steve and Laurie in 1967. Joe Young (the leader of The Pharaohs) is killed by a sniper in Vietnam after promising to make Terry a Pharaoh once they return to civilian life. Steve and Laurie's relationship is strained by her insistence that she start her own career. Steve forbids it, saying he wants her to be a mom to their young twins. Free-spirited Debbie "Deb" Dunham has switched from Old Harper whisky to marijuana and has given up her platinum blonde persona for a hippie/groupie one in a long, strange trip that ends with her performing with a country-and-western music group.Wolfman Jack briefly reprised his role, but in voice only. The drag racing scenes were filmed at the Fremont Raceway, later Baylands Raceway Park (now the site of automobile dealerships), in Fremont, California. |
Fatal Instinct_1993 | tt0106873 | <script>
<scene>
<character>"FATAL INSTINCT"</character>
<dialogue>Screenplay by</dialogue>
<dialogue>David O'Malley</dialogue>
<scene_description>SHOOTING DRAFT:</scene_description>
<character>FADE IN ON:</character>
<dialogue>EXT. SANTA MONICA PIER - NIGHT</dialogue>
<dialogue>The sultry dampness of a blistering summer hangs in the</dialogue>
<scene_description>night air. People stroll the boardwalk looking for a cool breeze. The soft rhythms of a jazz concert float from the band shell.</scene_description>
<character>CLOSE SHOT - A PAIR OF SEXY HIGH HEELS</character>
<dialogue>and a woman's shapely legs, walking along the wooden</dialogue>
<scene_description>pier.</scene_description>
<character>OPENING TITLES & CREDITS OVER.</character>
<dialogue>After several steps, a discarded piece of gum sticks to</dialogue>
<scene_description>one of her shoes, stretching out stickily. Two steps later, a piece of paper sticks to the gum, flopping awkwardly with each step. The MOVING CAMERA PANS UP her gorgeous legs and sensuous body. She wears a loose summer dress that floats like gossamer around her soft curves. Her hair is long and blond.</scene_description>
<character>NED (V.O.)</character>
<dialogue>To some guys, women are like a cheap puzzle... with pieces that just don't fit. They think the soul of a woman is darker than a back alley... more tangled than a telephone cord... and colder than a Klondike Bar in Canada. But those guys don't even have a clue.</dialogue>
<scene_description>She stops at the railing. We see an incredibly beautiful face and cool, alluring eyes. This is LOLA CAIN. The term "femme fatale" was coined for her. She's on display... and knows it.</scene_description>
<character>NED (V.O.)</character>
<dialogue>When you know women the way I do, you understand exactly what what makes them tick... what makes them hum... what makes them jiggle up and down when they walk. And it's not the kind of thing you can learn from a correspondence course.</dialogue>
<scene_description>The CAMERA MOVES with her as she walks on, passing TWO MEN whose eyes are glued to her. We HOLD ON THEM. One is NED RAVINE, in his thirties, stalwart, handsome, hair trimmed neatly, but with a feel of loose ends about him... coat slung over his shoulder, sleeves rolled up, the sweat dampening his shirt. He's a cop. A plain clothes detective who's been around the block a few times and still gets lost. Next to him is ARCH, his partner. Older, if not in years, at least in mileage. Dependable, solid, with no great aspirations except to reach the end of a shift intact. He's eating Nachos from a cardboard container, licking the cheese off his fingers. The CAMERA PUSHES IN to NED. His eyes are fixed on Lola.</scene_description>
<character>ANGLE - LOLA - NED'S POV</character>
<dialogue>She walks to the other side of the pier... as more</dialogue>
<scene_description>paper sticks to the gum on her shoe. She stands at the railing.</scene_description>
<character>NED (V.O.)</character>
<dialogue>There are two kinds of women in this world... and I've known 'em both.</dialogue>
<character>ANGLE - ARCH</character>
<dialogue>Arch heaves an exasperated sigh and looks toward Ned.</dialogue>
<scene_description>The CAMERA PULLS BACK to INCLUDE NED. It isn't "voice-over" narration at all. Ned is actually talking out loud.</scene_description>
<character>NED (V.O.)</character>
<dialogue>One will take you for a fast ride on a bumpy road with no seat belt. But the other kind...</dialogue>
<character>ARCH</character>
<parenthetical>(interrupts)</parenthetical>
<dialogue>Jeez... knock off the chatter, will ya.</dialogue>
<character>NED</character>
<dialogue>Just trying to keep you awake, Arch.</dialogue>
<character>ARCH</character>
<dialogue>I'm awake! Where do you come up with all that crap about women?</dialogue>
<character>NED</character>
<dialogue>It's true. Women are very complex, but if you know how to read 'em... they're an open book. You can always tell the rotten apples from the peaches.</dialogue>
<character>ARCH</character>
<dialogue>Are you kiddin'?</dialogue>
<character>NED</character>
<dialogue>I'd stake my career on it. Anybody ever proves me wrong, I'll throw away my badge.</dialogue>
<character>ARCH</character>
<dialogue>Aayyhh... women are trouble...</dialogue>
<character>NED</character>
<dialogue>I used to believe that too. Until I married Lana. Now, she... is a peach.</dialogue>
<character>ARCH</character>
<dialogue>Yeah, well you're a lucky stiff, pal. Ya hold down two jobs. Got a</dialogue>
<scene_description>beautiful wife waitin' for ya at home. Everything a guy could ever want, including NO kids.</scene_description>
<character>NED</character>
<dialogue>I'd love to have kids.</dialogue>
<character>ARCH</character>
<dialogue>What?! Rug-rats? Give me a break!</dialogue>
<parenthetical>(looks around)</parenthetical>
<dialogue>Jeez, I hate stakeouts. What makes you think Milo's gonna show up here?</dialogue>
<character>NED</character>
<dialogue>Logic. He knocked off all those banks. He's got cash. He's gonna want to spend it. This is one of the few places that still takes cash. Sooner or later... he's gotta turn up.</dialogue>
<character>ARCH</character>
<dialogue>And how we s'posed to recognize this scumbag?</dialogue>
<character>NED</character>
<dialogue>The "Support Hose Bandit"? When you see him... you'll know him.</dialogue>
<scene_description>In the b.g., MILO CRUMLEY, the "Support Hose Bandit", ambles by casually, unnoticed, sucking on a cherry Snow-Cone through the panty-hose pulled down over his head.</scene_description>
<character>ARCH</character>
<dialogue>These are the best damn Nachos in North America. Maybe the world!</dialogue>
<scene_description>He pops the last chip in his mouth, licks his fingers and turns the container over.</scene_description>
<character>ARCH</character>
<dialogue>I'm empty. I'm gonna get a refill. You want some?</dialogue>
<scene_description>Ned shakes his head. Arch heads off to the Nacho stand. Ned steps over to the railing... gazes out at the ocean. A SAXOPHONE begins to wail a scorching, romantic melody... a recurrent tune that will come to be known as LOLA'S THEME. A beat later... Lola moves to Ned's side at the railing. He tries to ignore her presence, peering into the darkness. Lola digs in her purse for a pack of cigarettes.</scene_description>
<character>LOLA</character>
<dialogue>Got a light?</dialogue>
<character>NED</character>
<dialogue>Sure.</dialogue>
<scene_description>Ned pulls out a small flashlight, shines it in her purse. She pulls a cigarette out of the pack, puts it to her lips... her eyes on Ned, sizing him up.</scene_description>
<character>LOLA</character>
<dialogue>How about a match?</dialogue>
<character>NED</character>
<dialogue>No thanks. I have plenty.</dialogue>
<scene_description>He pulls out a handful of matchbooks, shows her, then stuffs them back in his pocket. He turns and walks along the pier. She falls into step beside him, lighting her own cigarette. A saxophone player named DIZZY follows behind them, continuing to play. He's the actual source of the romantic THEME MUSIC we've been hearing.</scene_description>
<character>LOLA</character>
<dialogue>You really are incredibly stupid, aren't you? I like that in a man.</dialogue>
<character>NED</character>
<dialogue>I'd be insulted, but I know you're serious.</dialogue>
<character>LOLA</character>
<dialogue>You sound so sure of yourself.</dialogue>
<character>NED</character>
<dialogue>I'm not as dumb as I look.</dialogue>
<character>LOLA</character>
<dialogue>Let me buy you a drink, Mr. uh...</dialogue>
<character>NED</character>
<dialogue>Ravine. Ned Ravine. And you are...?</dialogue>
<character>LOLA</character>
<dialogue>Thirsty. What about that drink?</dialogue>
<character>NED</character>
<dialogue>I'm on duty.</dialogue>
<character>LOLA</character>
<dialogue>Brain surgeon?</dialogue>
<character>NED</character>
<dialogue>Cop.</dialogue>
<character>LOLA</character>
<dialogue>Oooo... and I bet you have a big gun.</dialogue>
<character>NED</character>
<dialogue>You lose.</dialogue>
<scene_description>Lola looks toward a nearby hot dog vendor.</scene_description>
<character>LOLA</character>
<dialogue>If I can't buy you a drink...</dialogue>
<parenthetical>(nods toward vendor)</parenthetical>
<dialogue>...let me buy you one of those.</dialogue>
<character>NED</character>
<dialogue>Who can say no to a weiner?</dialogue>
<character>LOLA</character>
<dialogue>Not me.</dialogue>
<scene_description>Lola turns to the hot dog VENDOR, raising two fingers.</scene_description>
<character>LOLA</character>
<dialogue>Two dogs. Hot.</dialogue>
<scene_description>She takes them... hands one to Ned. He picks up the plastic mustard container to put mustard on her hot dog first.</scene_description>
<character>NED</character>
<dialogue>You come here often?</dialogue>
<character>LOLA</character>
<dialogue>Only when I'm in heat.</dialogue>
<scene_description>Ned REACTS to this, squeezing the container. A stream of mustard squirts out, hitting the front of Lola's dress.</scene_description>
<character>NED</character>
<dialogue>Oh! Sorry.</dialogue>
<scene_description>Flustered, he stuffs his hot dog into his inside jacket pocket, then tries to wipe the mustard off Lola's dress, smearing it all over her, making it worse. She watches him with a cool, detached gaze as he fumbles ingenuously. Suddenly, Ned stops, looking off. He sees... Milo Crumley going into the PUBLIC RESTROOM. Ned starts to leave. Lola grabs his hand, holding it tightly against her breast.</scene_description>
<character>LOLA</character>
<dialogue>Where ya going?</dialogue>
<character>NED</character>
<dialogue>Get something to wipe it off.</dialogue>
<character>LOLA</character>
<dialogue>That's okay. You're doing just fine.</dialogue>
<character>NED</character>
<dialogue>I'll get you a wet paper towel.</dialogue>
<scene_description>He heads for the men's room... signaling to Arch, who's waiting in line at the Nacho stand. Arch motions at the long line... all UNIFORMED COPS... shrugging helplessly.</scene_description>
</scene>
<scene>
<stage_direction>INT. MEN'S ROOM ON PIER - NIGHT</stage_direction>
<scene_description>Several MEN are at the urinals. Milo, still wearing the panty hose over his head, washes his face at the sink. He looks up, sees Ned enter. Ned sees Milo... reacts, pulling the frankfurter out of his pocket and pointing it.</scene_description>
<character>NED</character>
<dialogue>Hold it right there, Milo!</dialogue>
<scene_description>The Men turn, seeing Ned pointing the frankfurter.</scene_description>
<character>RESTROOM PATRON</character>
<dialogue>Look out! He's got a weenie!</dialogue>
<scene_description>Milo bolts, slamming into Ned, knocking him back through the door of a stall, into the lap of the MAN inside.</scene_description>
<character>EXT. MEN'S ROOM - NIGHT</character>
<dialogue>Milo bursts out, colliding with Arch. They both go down</dialogue>
<scene_description>in a flurry of Nacho chips and cheese. Arch helps Milo to his feet, apologizing profusely... picking up the gun that Milo dropped, handing it back to him. Milo sprints off down the pier. A beat later, Ned bursts out the door... dashing after Milo.</scene_description>
<character>ANGLE - ALONG THE PIER</character>
<dialogue>Milo runs frantically, knocking people aside! He ducks</dialogue>
<scene_description>into...</scene_description>
<character>INT. BUMPER CAR PAVILION - NIGHT</character>
<dialogue>...and drags a FLUSTERED MAN out of a bumper car, jumps</dialogue>
<scene_description>in, and speeds away! A beat later, Ned runs up, followed by Arch. Ned flashes his badge at a FRECKLE-FACED KID in one of the bumper cars.</scene_description>
<character>NED</character>
<dialogue>Police emergency! I need your car!</dialogue>
<scene_description>He pulls the kid out, jumps in, slaps a portable FLASHING RED LIGHT on the dashboard... then speeds off after Milo, a SIREN WAILING! He zig-zags through the crush of other bumper cars in the pavilion. Ned's bumper car catches up with Milo, pulling alongside. Milo turns the wheel, RAMMING Ned! Ned RAMS him back, both bumper cars swerving violently... spraying SPARKS! Ned SLAMS Milo's car again! Milo loses control, spins out and SMASHES into the pavillion railing! Ned swerves to avoid a collision, but RAMS into two other bumper cars, wrenching to a grinding halt. A BEAT. The AIRBAG inflates in his bumper car. Arch runs up as Ned pulls himself from the wreckage. They turn to see Milo leap from his mangled bumper car, leap over the pavillion railing and dash down the pier and into an alley between two buildings. A sign on the building says:</scene_description>
<character>DEAD END ALLEY.</character>
<dialogue>Ned and Arch eye each other, shake their heads, and</dialogue>
<scene_description>follow after Milo.</scene_description>
<character>OMIT</character>
<dialogue>Sequence omitted from original script.</dialogue>
<character>IN THE ALLEY</character>
<dialogue>Milo runs into a tall chain link fence at the end of</dialogue>
<scene_description>the alley and scrambles up the wire mesh. Suddenly, Ned's hand shoots out, grabs Milo's ankle, yanking him down hard. Milo jumps to his feet, swinging at Ned, who catches Milo's fist with his hand, stopping it cold... neatly snapping a handcuff on his wrist. He shoves Milo's arm against the fence and snaps the other cuff to the chainlink. A SWITCHBLADE flashes out of Milo's other hand with a sharp CLICK! Milo slashes the blade at Ned, just missing his face. On the backswing, Ned parries with his own switchblade and flips Milo's knife away. Milo pulls a .45 Calibre REVOLVER with his free hand! Ned shoves his finger into the end of the barrel. Milo looks surprised... then sneers, clicking the hammer back.</scene_description>
<character>NED</character>
<dialogue>You take science in high school, Milo?</dialogue>
<character>MILO</character>
<dialogue>I skipped high school, cop!</dialogue>
<character>NED</character>
<dialogue>Then you're probably not familiar with the theory of inverse proportionate explosive dynamics.</dialogue>
<character>MILO</character>
<dialogue>What about it?</dialogue>
<character>NED</character>
<dialogue>If you fire a weapon with the barrel obstructed, the explosive force multiplies by twenty-three point five nine eight and reverses on itself with diametric polarity?</dialogue>
<character>MILO</character>
<dialogue>Yeah. So?</dialogue>
<character>NED</character>
<dialogue>The gun will blow up in your hand... and it won't even scorch my pinkie.</dialogue>
<character>MILO</character>
<dialogue>Ha! That's just theoretical hypothesis. Inverse proportionate explosive dynamics has never been demonstrated conclusively in a laboratory environment.</dialogue>
<character>NED</character>
<dialogue>Oh yeah. Then pull the trigger, smart guy. Let's find out.</dialogue>
<scene_description>Milo hesitates, unsure. Finally, he releases the gun. Ned raises it up on the end of his finger. Arch pulls it off with a loud POP! Ned cuffs Milo's hands behind him... spins him around.</scene_description>
<character>NED</character>
<dialogue>You have the right to remain silent... next... if you waive that right, anything you say... next...</dialogue>
<character>REVEAL ARCH</character>
<dialogue>holding up a series of "cue cards"... as Ned reads from</dialogue>
<scene_description>them.</scene_description>
<character>NED</character>
<dialogue>...may be used against you in a court of law... next... You have the right to an attorney... Do you have an attorney?</dialogue>
<character>MILO</character>
<dialogue>Nahhhh!</dialogue>
<character>NED</character>
<dialogue>Then today's your lucky day...</dialogue>
<scene_description>He flips out a business card, handing it to Milo.</scene_description>
<character>ANGLE - THE BUSINESS CARD</character>
<dialogue>It reads... "Ned Ravine - Defense Attorney"</dialogue>
<character>EXT. NED'S HOUSE - DAWN</character>
<dialogue>Large. Expensive. Impressive. The name on the mailbox</dialogue>
<scene_description>reads "Ned and Lana Ravine." We begin to HEAR the O.S. SOUND of passionate lovemaking!</scene_description>
<character>OMIT</character>
<dialogue>Sequence omitted from original script.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
<character>INT. HOUSE - DAWN</character>
<dialogue>The CAMERA MOVES up the stairs, into the bedroom. Still</dialogue>
<scene_description>O.S., we hear more heavy breathing... urgent whispers... lust... passion... squeaky bedsprings! A trail of clothes is scattered before us on the way to the bed... shoes, a dress, slip, bra, nylons, panties... greasy coveralls with a "Frank Kelbo - Mobile Mechanic" namepatch, dirty work boots, a wrench and a gigantic grease gun... The bed shakes violently. A female VOICE calls the shots as various tools drop to the floor.</scene_description>
<character>LANA (O.S.)</character>
<dialogue>Oh yes, Frank! Adjust the stroke by ten percent! That's it.</dialogue>
<parenthetical>(CLUNK! A wrench)</parenthetical>
<dialogue>Now tweak my points. Oh yes, oh yes!</dialogue>
<parenthetical>(THUNK! Pliers)</parenthetical>
<dialogue>You got it! Stabilize your ball joints and grind my rear differential!</dialogue>
<parenthetical>(CLINK! Screwdriver)</parenthetical>
<dialogue>Now accelerate! Floor it! Lay rubber, baby! VRRROOOOOOOOOOMMMMMMMMM!</dialogue>
<scene_description>A beat. The LIGHT clicks ON. LANA; a sexy redhead with a cool, manipulative edge, and FRANK; a slick, smarmy Lothario, lay under the sheets, panting, glistening with sweat. Lana reaches for a pack of "Fatal 100's" on the bedside table.</scene_description>
<character>LANA</character>
<dialogue>Not bad for an auto mechanic...</dialogue>
<character>FRANK</character>
<parenthetical>(grins, cocky)</parenthetical>
<dialogue>Yeah, well you're not so bad yourself... for a lawyer's wife...</dialogue>
<character>LANA</character>
<dialogue>Better watch your tongue, sweetie, or I'll have my husband arrest you.</dialogue>
<character>FRANK</character>
<dialogue>Busy man. Cop and a lawyer. When does he ever find time for you?</dialogue>
<scene_description>She lights a cigarette... exhales a soft, gloomy cloud.</scene_description>
<character>LANA</character>
<dialogue>He doesn't. That's why I need you to keep my engine tuned, Frank. Why drive a jalopy when you can have a hot rod?</dialogue>
<character>FRANK</character>
<dialogue>Maybe you should trade him in on a new model.</dialogue>
<character>LANA</character>
<dialogue>I would... if I could make any money on the deal.</dialogue>
<character>FRANK</character>
<parenthetical>(reaches for her)</parenthetical>
<dialogue>Want to go for another test drive?</dialogue>
<scene_description>The SOUND of an automobile engine outside. Lana stops him.</scene_description>
<character>LANA</character>
<dialogue>Pull over and park it, Frank. I'm still under warranty.</dialogue>
<character>EXT. NED'S HOUSE - MORNING</character>
<dialogue>Ned glances at the white van parked in the driveway,</dialogue>
<scene_description>then takes note of his wife's silver Mercedes... sitting on floor jacks, the hood raised, tools spread out around it.</scene_description>
<character>INT. HOUSE - THE KITCHEN - MORNING</character>
<dialogue>Ned enters. Lana wears a diaphanous dressing gown,</dialogue>
<scene_description>buttoned unevenly, hair disheveled. She smokes a cigarette.</scene_description>
<character>NED</character>
<dialogue>Morning sweetheart.</dialogue>
<scene_description>Ned kisses her on the back of the neck as he passes through the kitchen on his way to the dining room. She reacts with bored, contemptuous disinterest, picking up the coffee pot.</scene_description>
<character>LANA</character>
<dialogue>Uh huh. Want some coffee?</dialogue>
<scene_description>Ned steps back into the kitchen with his briefcase.</scene_description>
<character>NED</character>
<dialogue>No thanks.</dialogue>
<scene_description>Ned sees Frank sitting at the kitchen table, hair messed up, coveralls hastily pulled on inside-out. Frank is reading a copy of INSURANCE DIGEST magazine. A headline on the cover touts an article: "LIFE INSURANCE FOR YOUR CAT!... Cover All Nine Lives For The Price of One!" Ned's smile fades.</scene_description>
<character>LANA</character>
<dialogue>Frank here was just grabbing a little before going back to work on my car.</dialogue>
<scene_description>He steps over to the table... gives Frank a cool stare.</scene_description>
<character>NED</character>
<dialogue>How long you been working on Lana's Mercedes, Frank?</dialogue>
<character>FRANK</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Oh... I don't know... six, seven weeks.</dialogue>
<character>NED</character>
<dialogue>And ya still haven't found the problem?</dialogue>
<character>FRANK</character>
<parenthetical>(a leering smile)</parenthetical>
<dialogue>Think I got my finger on it though.</dialogue>
<scene_description>Ned turns to Lana.</scene_description>
<character>NED</character>
<dialogue>I know what he's doing, Lana. I wasn't born yesterday. He's not fixing your car. He's SCREWING you!</dialogue>
<scene_description>Lana tenses up at this. Frank freezes. He figures they've been busted. He sits there, holding the magazine, not moving a muscle... as Ned turns on him.</scene_description>
<character>NED</character>
<dialogue>YOU are screwing my wife! I can see what your game is, Frank. You open up her hood, poke around in there... squirt some lubrication in... play around with all her parts... then take an old used piston and stick it in... then pull it out... in, out, in, out! Every day! There's no end to it. You just keep coming and COMING!... and the bill just gets bigger and BIGGER!</dialogue>
<scene_description>Lana braces herself against the sink, breathless... turned on by Ned's description. Ned goes to her, sympathetic.</scene_description>
<character>NED</character>
<dialogue>But you don't see it, do you, Lana? You're too good... too pure. You can't see the evil in people like him.</dialogue>
<parenthetical>(turns to Frank)</parenthetical>
<dialogue>Well, you're not getting away with it, pal. I'm pulling the plug! You're fired!</dialogue>
<character>LANA</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>Ned... don't you have to be somewhere?</dialogue>
<character>NED</character>
<parenthetical>(checks his watch)</parenthetical>
<dialogue>Oh... yeah. Thanks, honey. I'm late for court.</dialogue>
<scene_description>He goes to kiss her mouth and she turns her cheek to him. He looks at her lovingly... touches her face tenderly.</scene_description>
<character>NED</character>
<dialogue>You are so naive.</dialogue>
<scene_description>He picks up his briefcase, gives Frank a nasty look, then exits thru the back door. Lana and Frank stare at each other lustfully, really hot now! Frank sweeps the dishes off the table with his arm. Lana leaps into his arms, wrapping her legs around his waist. He lays her down on the kitchen table, standing over her. Suddenly, Ned opens the back door, glaring right at Frank... not even noticing Lana on the table.</scene_description>
<character>NED</character>
<dialogue>Finish your coffee... then GET OUT!</dialogue>
<scene_description>He slams the door. A beat. Lana and Frank begin to devour each other with passionate kisses. Another beat. The front doorbell RINGS once... then again.</scene_description>
<character>FRANK</character>
<dialogue>Who's that?</dialogue>
<character>LANA</character>
<dialogue>Just the postman. He always rings twice.</dialogue>
<character>OMIT</character>
<dialogue>Sequence omitted from original script.</dialogue>
<character>INT. NED'S LAW OFFICE - DAY</character>
<dialogue>Richly appointed with stately oak, walls lined with law</dialogue>
<scene_description>books. As in all "Noir" thrillers, venetian blinds cast dramatic slashes of light and ceiling fans turn lazily in every room. Ned hurries in, rummaging through the files on his desk. LAURA, a strikingly lovely brunette, enters from the outer office, files in hand. She is Ned's astute, dedicated, self- sacrificing "girl-friday" and legal secretary. She keeps his life from spinning crazily apart. She absolutely adores him.</scene_description>
<character>NED</character>
<dialogue>Laura... do you know where...?</dialogue>
<character>LAURA</character>
<parenthetical>(hands him file)</parenthetical>
<dialogue>Right here. The judge decided to skip arraignment and take Milo direct to trial. You're six minutes late, but don't sweat it. You got Judge Allen. He's always eleven minutes late.</dialogue>
<scene_description>She picks up a lawbook, flips it open to a dog-eared page.</scene_description>
<character>LAURA</character>
<dialogue>I suggest you try Lemming versus Florida, 1956... where the guy jumped in the water and everybody followed.</dialogue>
<character>NED</character>
<parenthetical>(thinks about it)</parenthetical>
<dialogue>Yeah. Good idea.</dialogue>
<scene_description>He smiles gratefully... drops the file into his briefcase. Ned heads for the office washroom. Laura darts ahead of him into the washroom and turns the water on. Ned steps in... splashes some water on his face. Laura grabs a towel from the rack where three small towels hang neatly... hands it to Ned. He dries his face, looking at her with genuine fondness and gratitude.</scene_description>
<character>NED</character>
<dialogue>I don't know what I'd do without you?</dialogue>
<scene_description>She glances toward the toilet, notices it hasn't been flushed. She FLUSHES it, lowers the seat.</scene_description>
<character>LAURA</character>
<dialogue>Really?</dialogue>
<scene_description>She sits down on the toilet seat, watching him adoringly as he shaves with an electric razor.</scene_description>
<character>NED</character>
<dialogue>Laura, how long have you worked for me?</dialogue>
<character>LAURA</character>
<dialogue>Two years, seven months, twenty-three days, nineteen hours...</dialogue>
<parenthetical>(checks her watch)</parenthetical>
<dialogue>...six minutes and fifty-two seconds.</dialogue>
<parenthetical>(softly, to herself)</parenthetical>
<dialogue>...fifty-three... fifty-four... fifty- five... fifty-six...</dialogue>
<character>NED</character>
<dialogue>And when was the last time I gave you a raise?</dialogue>
<scene_description>Laura neatly folds the end of the toilet paper into a point.</scene_description>
<character>LAURA</character>
<dialogue>Never. But that's okay. I don't need a raise. In fact... I was thinking of giving you a rebate on my salary.</dialogue>
<scene_description>He clicks off the razor, turns to look at her for a long moment, considering this, then...</scene_description>
<character>NED</character>
<dialogue>Naw. That's okay. You keep it.</dialogue>
<scene_description>He gives her a manly pat on the shoulder then casually tosses the towel onto the rack, where it hangs sloppily askew... right next to her face. He exits. Laura stares at the towel with a tortured expression. The CAMERA PUSHES IN to her face as we see...</scene_description>
<character>INT. ULTRA-MODERN BEACH HOUSE - DAY</character>
<dialogue>Scrawled on a steamed-up bathroom mirror - FLASHBACK -</dialogue>
<scene_description>CAPE COD - THREE YEARS EARLIER. A hand wipes the mirror off, revealing Laura... younger, longer hair, with a nasty black eye. LAURA'S HUSBAND appears behind her, glaring insanely. He looks toward the towel rack. There are three towels... with HIS - HIS - HIS embossed along the bottom edge. One towel hangs longer than the others.</scene_description>
<character>LAURA'S HUSBAND</character>
<dialogue>Did we forget something?</dialogue>
<scene_description>She meekly lines up all the towels.</scene_description>
<character>LAURA'S HUSBAND</character>
<dialogue>Did we forget something?</dialogue>
<scene_description>She meekly lines up all the towels.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEACH HOUSE KITCHEN - DAY</stage_direction>
<scene_description>Laura's Husband pulls the cupboard open. All the cans and boxes are neatly stacked in straight lines. All except one. She straightens it... trembling with fear.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DECK OF BEACH HOUSE - DAY</stage_direction>
<scene_description>He pulls her outside, nodding toward a line of tall PINE trees behind the house. They are all straight and even... except one, whose tall branches tower conspicuously above the rest. He holds up a chainsaw, nodding toward the trees. Shaking and tearful... she backs into the house. END FLASHBACK BACK TO LAURA SCREAMING out in terror! Ned rushes in, shaking her.</scene_description>
<character>NED</character>
<dialogue>Laura. Laura! What is it?</dialogue>
<character>LAURA</character>
<parenthetical>(coming out of it)</parenthetical>
<dialogue>I'm okay, I'm okay. I just get a bit... claustrophobic... in the bathroom.</dialogue>
<character>NED</character>
<dialogue>Maybe we should try some prune juice.</dialogue>
<scene_description>He gives her shoulder a consoling squeeze, then exits. She shakily straightens the towels and regains her composure. Ned opens a wardrobe closet in his office. He walks along, looking at thirty exactly identical blue suits, hanging neatly. Laura follows behind him. He stops and stares, indecisive.</scene_description>
<character>LAURA</character>
<dialogue>Wear the blue one.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Ned turns dramatically to face the jury.</scene_description>
<character>NED</character>
<dialogue>Ladies and gentlemen... I ask you... does this look like the face of a crook?</dialogue>
<scene_description>ANGLE - MILO CRUMLEY sitting next to Laura at the defense table... STILL wearing the panty hose over his head. BACK TO SCENE</scene_description>
<character>NED</character>
<dialogue>Of course it does. But the question of my client's guilt or innocence is not the issue here today. I'm certain every member of the jury can clearly see that he's guilty!</dialogue>
<character>BLIND JUROR</character>
<dialogue>I can't.</dialogue>
<scene_description>ANGLE ON NED - JURY'S POV Ned ignores this, turning to look directly at the CAMERA as he addresses the jury... holding up a pair of nylon pantyhose.</scene_description>
<character>NED</character>
<dialogue>Put yourself in his shoes. Look through his eyes. See the world the way HE sees it!</dialogue>
<scene_description>He puts the pantyhose over the LENS, obscuring our view.</scene_description>
<character>NED</character>
<dialogue>Things just don't look the same. It's fuzzy... and frightening!</dialogue>
<scene_description>NEW ANGLE - TO INCLUDE NED AND JURY The nylon pantyhose are draped over the frightened face of a WOMAN JUROR. All the other Jurors are holding up their own socks and nylon stockings, trying to peer through them. Ned steps over to Milo, motioning toward him.</scene_description>
<character>NED</character>
<dialogue>Ladies and gentlemen... Milo Crumley is not the perpetrator here. He is the VICTIM!</dialogue>
<scene_description>Milo unwraps a piece of bubble gum and pushes it into his panty-hose covered mouth, chewing the nylon and gum together.</scene_description>
<character>NED</character>
<dialogue>Like ALL of us... this man is the unfortunate victim of these tragically difficult economic times. And what does that mean? He can't support his family!</dialogue>
<scene_description>Ned motions toward the gallery, where we SEE... ...MILO'S WIFE and TWO CHILDREN, all wearing panty hose over their faces. Ned motions toward Milo.</scene_description>
<character>NED</character>
<dialogue>For God's sake!... He can't even support his own FACE!</dialogue>
<scene_description>JUDGE ALLEN notices that Milo is chewing gum.</scene_description>
<character>JUDGE ALLEN</character>
<dialogue>Mr. Crumley... you cannot chew gum in my courtroom... unless you have enough for everyone.</dialogue>
<scene_description>Milo holds up a big plastic bag filled with bubble gum. Judge Allen grabs it, takes a piece of gum and hands it to the Bailiff.</scene_description>
<character>JUDGE ALLEN</character>
<dialogue>Bailiff. Pass these out.</dialogue>
<scene_description>The Bailiff takes the bag, offers one to Ned... who takes a piece, unwraps it and starts chewing. The Bailiff then proceeds to pass out gum to EVERYONE in the courtroom. The JURY FOREMAN raises his hand and clears his throat.</scene_description>
<character>JUDGE ALLEN</character>
<dialogue>And don't forget the jury.</dialogue>
<character>NED</character>
<dialogue>And so, desperate and broke, with no other options before him, Mr. Crumley went to eleven Savings & Loans and did what any of you would have done. He stole back the money that the S&Ls had stolen from him!</dialogue>
<scene_description>The courtroom erupts in CHEERS! Judge Allen raps the gavel.</scene_description>
<character>JUDGE ALLEN</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>Mr. Ravine... please approach the bench.</dialogue>
<scene_description>He does. The Judge leans toward him, reaching out to cover the microphone, covering the end of the gavel instead. The Judge's voice is AMPLIFIED over the courtroom speakers.</scene_description>
<character>JUDGE ALLEN</character>
<dialogue>You're not running for congress here, so knock off the speeches and quit inciting these brainless morons! Now pick up the pace and wrap this son- of-a-bitch up! Call your first witness.</dialogue>
<scene_description>Ned turns... looking out over the courtroom.</scene_description>
<character>NED</character>
<dialogue>I call... Detective Ned Ravine.</dialogue>
<scene_description>There is a surprised GASP from the crowd... and a loud MURMUR. The BAILIFF holds out a video box. It's titled HOLY BIBLE - THE VIDEO. Ned puts one hand on it, raises the other.</scene_description>
<character>BAILIFF</character>
<dialogue>Do you swear to tell the truth, the whole truth and nothing but the truth, so help you God?</dialogue>
<character>NED</character>
<dialogue>I do.</dialogue>
<scene_description>Ned sits down... then gets up, his demeanor changing.</scene_description>
<character>NED</character>
<dialogue>Detective Ravine, at the time of the arrest, did you read the defendant his Miranda rights?</dialogue>
<scene_description>He slips back into the witness box.</scene_description>
<character>NED</character>
<dialogue>Of course. That's standard procedure.</dialogue>
<scene_description>Ned steps over to Arch, who is sitting in the first row of the gallery. Arch hands him the Miranda "cue cards."</scene_description>
<character>NED</character>
<dialogue>Are these the cards Officer Brooks used to prompt you while reading Mr. Crumley his rights?</dialogue>
<scene_description>He lays them on the corner of the stand... then slips into the chair. He picks the cards up and flips thru them. On the back we can see scribbled... "NED'S IDIOT CARDS"</scene_description>
<character>NED</character>
<dialogue>Yeah. These are them.</dialogue>
<scene_description>Ned jumps to his feet, pacing dramatically, grabbing the cards.</scene_description>
<character>NED</character>
<dialogue>Reading from the cards now... quote "You have the right to remain silent, if you waive that right, anything you say... may be used against you in a court of law." Is that right?</dialogue>
<character>NED</character>
<parenthetical>(back in the chair)</parenthetical>
<dialogue>That's right.</dialogue>
<character>NED</character>
<parenthetical>(stands up, announces)</parenthetical>
<dialogue>WRONG! The official Miranda warning is... "anything you say CAN be used against you in a court of law." Not "may"... "CAN!"</dialogue>
<parenthetical>(on the attack)</parenthetical>
<dialogue>Don't you know the difference between "can" and "may", Detective? Every school kid knows "can" is a verb that indicates ability to perform, while "may" is a verbal auxiliary indicating the permission to act.</dialogue>
<scene_description>Ned pivots into the witness stand, changing his attitude from aggressive attorney to defensive, angry witness as he hits the chair.</scene_description>
<character>NED</character>
<dialogue>I didn't have time to worry about past participles or interrogative pronouns! I was trying to protect society from a deranged MADMAN!</dialogue>
<parenthetical>(leaps up, pointing)</parenthetical>
<dialogue>But this ivy league fop...!!!</dialogue>
<scene_description>The courtroom ERUPTS! The Judge bangs the gavel. Ned strides proudly toward the defense table.</scene_description>
<character>NED</character>
<dialogue>I have no more use for this witness.</dialogue>
<character>JUDGE ALLEN</character>
<dialogue>Mr. Ravine...</dialogue>
<scene_description>Ned turns. The Judge motions with a finger for Ned to approach the bench. Ned does, resting his hand on it.</scene_description>
<character>JUDGE ALLEN</character>
<dialogue>I'm dismissing this case on the grounds of improper grammar.</dialogue>
<scene_description>The Judge smacks Ned's hand with a ruler!</scene_description>
<character>NED</character>
<dialogue>Ow!</dialogue>
<character>PROSECUTOR</character>
<parenthetical>(jumps up)</parenthetical>
<dialogue>But your Honor...!</dialogue>
<character>JUDGE ALLEN</character>
<dialogue>I know, I know. It's a technicality. But it's the kind of technicality that makes the American legal system what it is today! Court's adjourned!</dialogue>
<scene_description>The Judge mistakenly picks up the microphone and whacks it on the bench like a gavel. BAM! BAM! BAM! It is DEAFENING! Everyone covers their ears in pain. The THX Sound System Logo appears at the bottom of the screen... along with "The Courtroom Is Listening"</scene_description>
</scene>
<scene>
<stage_direction>INT. NED'S LAW OFFICE - LATE AFTERNOON</stage_direction>
<scene_description>Ned turns the key... enters through the private door. He HEARS the plaintive sound of a saxophone playing Lola's Theme... his eyes drawn to the slightly opened door to the outer office. ANGLE - NED'S POV THRU OPENING A gorgeous pair of legs, sleek nylons, high-heeled shoes. There are several CANDY WRAPPERS, CIGARETTE BUTTS and other pieces of TRASH stuck to the bottom of one shoe.</scene_description>
<character>NED</character>
<dialogue>pushes the door open. It's Lola. She wears a tight</dialogue>
<scene_description>white dress, long white gloves and broad-brimmed hat. The hat tips up slowly, revealing her eyes.</scene_description>
<character>LOLA</character>
<dialogue>I waited. You never came back.</dialogue>
<scene_description>Ned reaches in his pocket, pulls out a wet paper towel.</scene_description>
<character>NED</character>
<dialogue>I got busy. Here's that paper towel I promised.</dialogue>
<character>LOLA</character>
<dialogue>Thanks...</dialogue>
<character>NED</character>
<dialogue>How'd you get in? The door was locked.</dialogue>
<scene_description>Lola proudly holds up a tiny bobbie pin. She smiles.</scene_description>
<character>LOLA</character>
<dialogue>It's miraculous what a real woman can do... with a bobbie pin.</dialogue>
<scene_description>Ned looks at the door. The frame and lock have been brutally chewed away, as if someone used a jackhammer on them! She pulls out a pack of cigarettes... BLACK LUNG LITES.</scene_description>
<character>LOLA</character>
<parenthetical>(offering)</parenthetical>
<dialogue>Cigarette?</dialogue>
<character>NED</character>
<dialogue>No... thanks. They're bad for ya.</dialogue>
<scene_description>He goes to the water cooler. She lights up, exhaling a soft cloud of smoke through a sleepy smile, her voice purring.</scene_description>
<character>LOLA</character>
<dialogue>Yes, I know. I like things that are bad for me.</dialogue>
<parenthetical>(touching lawbooks)</parenthetical>
<dialogue>So... I hear you go both ways.</dialogue>
<scene_description>Ned hesitates... about to drink from the paper cup.</scene_description>
<character>NED</character>
<dialogue>Only once. It was a fraternity prank. I never saw him again.</dialogue>
<scene_description>He gulps the water down, crumbles the cup in his hand.</scene_description>
<character>LOLA</character>
<dialogue>No, I mean... you're a cop and a lawyer.</dialogue>
<character>NED</character>
<dialogue>Oh. Yeah. Well, there's a lot of scum out there on the streets... but they all deserve a fair and costly trial.</dialogue>
<scene_description>Ned turns, tries to casually "dunk" the crumpled cup in the waste basket. He misses. Laura enters with a huge pile of lawbooks in her arms. She sees Ned miss the basket and darts over as he bends down to pick it up.</scene_description>
<character>LAURA</character>
<dialogue>I'll get that.</dialogue>
<scene_description>She picks it up and tosses it into the waste basket.</scene_description>
<character>NED</character>
<dialogue>Oh... Laura... this is, uh...</dialogue>
<character>LOLA</character>
<dialogue>Lola Cain.</dialogue>
<scene_description>Laura sets the heavy load of books on the desk and steps toward Lola, extending her hand. Lola takes her time removing the long white glove... finally reaching out and shaking Laura's hand with a condescending air.</scene_description>
<character>LOLA</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>So lovely to meet you, Laura.</dialogue>
<scene_description>Ned grabs the books and turns to the bookshelf, replacing each lawbook in its proper slot. The "handshake" between Lola and Laura turns tense, then aggressive, eventually becoming a "standing Indian wrestle" as they try to force each other off balance with sheer force. Ned is oblivious to the battle behind him, chattering away.</scene_description>
<character>NED</character>
<dialogue>Gotta keep these darn books in their right place or we'll never find the ones we need. Let's see, Q thru M... R thru B... W thru F...</dialogue>
<scene_description>Laura suddenly whirls Lola around, putting her in an arm lock. But Lola elbows Laura in the stomach! Laura doubles over. Lola feigns sympathy, taking her hand... then spins, twisting Laura's arm, flipping her head over heels! Laura lands on the couch... upside down... gasping. Lola strikes a haughty pose, still holding her lit cigarette. She takes a drag. Laura checks her watch, then tumbles off the couch, landing on her feet. She straightens her skirt.</scene_description>
<character>LAURA</character>
<dialogue>It's getting late. I'll give you a ride home, Ned.</dialogue>
<scene_description>Finished with the books, Ned turns... smiles.</scene_description>
<character>NED</character>
<dialogue>I have my car.</dialogue>
<character>LAURA</character>
<dialogue>I'll tow you.</dialogue>
<character>NED</character>
<dialogue>Not today. You don't need to wait. I'll see you tomorrow.</dialogue>
<scene_description>Lola looks at Laura... icy, haughty, triumphant. Laura moves reluctantly toward the door, sees the lock and door frame chewed to pieces... whirls around, heads back toward Ned.</scene_description>
<character>LAURA</character>
<dialogue>I should call someone to fix this...</dialogue>
<character>NED</character>
<dialogue>Tomorrow...</dialogue>
<scene_description>She instantly spins around, heads back toward the door...</scene_description>
<character>LAURA</character>
<dialogue>I'll call from home.</dialogue>
<scene_description>...and exits. Ned sits down on the corner of the desk. Lola sits in the chair across from him.</scene_description>
<character>LOLA</character>
<dialogue>I think I should warn you, Mr. Ravine... I'm not wearing any underwear.</dialogue>
<scene_description>She crosses her legs suggestively... then slowly, enticingly, re-crosses them in the other direction. Unimpressed, Ned opens Laura's desk drawer... pulls a pair of sexy lace panties from a Kleenex-style dispenser box labeled "PANDORA'S POP-UP PANTIES"... which pulls another pair up into position. He tosses the panties to Lola.</scene_description>
<character>NED</character>
<dialogue>Try these on.</dialogue>
<scene_description>She does... very, very slowly and seductively... as they talk.</scene_description>
<character>NED</character>
<dialogue>So... what can I do for you?</dialogue>
<character>LOLA</character>
<dialogue>I've run across some... papers... and I thought you might be able to tell me what they are. You see, I'm not very experienced when it comes to... papers.</dialogue>
<character>NED</character>
<dialogue>I'll help you Miss Cain, if I'm able. Do you have the... papers... here?</dialogue>
<character>LOLA</character>
<dialogue>No... they're at home. I thought you might stop by...</dialogue>
<character>NED</character>
<dialogue>I'm on duty tonight.</dialogue>
<character>LOLA</character>
<dialogue>Don't they ever give you a night off?</dialogue>
<character>NED</character>
<dialogue>Yeah. Tomorrow.</dialogue>
<character>LOLA</character>
<parenthetical>(picks up cigarette)</parenthetical>
<dialogue>Why don't we meet tomorrow evening then?</dialogue>
<scene_description>She finishes pulling the panties on with a sultry smile... "snapping" the elastic waistband. She goes to the door, pauses... turns to him.</scene_description>
<character>LOLA</character>
<dialogue>I'll let you know where.</dialogue>
<character>NED</character>
<parenthetical>(steps over to her)</parenthetical>
<dialogue>What's wrong with my office?</dialogue>
<scene_description>She looks around, exhaling another cloud of smoke.</scene_description>
<character>LOLA</character>
<dialogue>Nothing a good interior decorator couldn't fix.</dialogue>
<scene_description>She opens the door. Behind her, in the hall, we see Dizzy, the saxophone player, wailing away on "Lola's Theme."</scene_description>
<character>CLOSE ON LOLA</character>
<dialogue>She takes a final, long drag on her cigarette, then</dialogue>
<scene_description>reaches O.S. with it... toward Ned.</scene_description>
<character>LOLA</character>
<dialogue>Take care of this for me, will ya?</dialogue>
<scene_description>With a sultry smile, she turns and leaves, closing the door.</scene_description>
<character>ANGLE ON NED</character>
<dialogue>The cigarette is stuck in his nose.</dialogue>
<character>INT. NED'S HOUSE - NIGHT</character>
<dialogue>The front door swings open. Frank is standing there,</dialogue>
<scene_description>dressed in a cheap, loose-fitting suit and a T-shirt.</scene_description>
<character>FRANK</character>
<dialogue>I came back for my shower cap.</dialogue>
<scene_description>Lana, now wearing the diaphanous gown, pulls him inside. She kisses him hungrily, slipping a frilly plastic shower cap with a gaudy floral design on his head.</scene_description>
<character>LANA</character>
<dialogue>Yeah, well you came to the right place.</dialogue>
<scene_description>She walks to the living room. Frank follows, still wearing the shower cap. Lana snaps her fingers.</scene_description>
<character>LANA</character>
<dialogue>Sit down.</dialogue>
<scene_description>He sits in a chair, looking around.</scene_description>
<character>FRANK</character>
<dialogue>Where is he?</dialogue>
<character>LANA</character>
<dialogue>On duty all night. By the time he wraps up his reports, it'll be close to noon tomorrow.</dialogue>
<scene_description>She sits on the couch, picks up a stack of papers.</scene_description>
<character>LANA</character>
<dialogue>I was just reading over...</dialogue>
<scene_description>She looks up at Frank. Sees the shower cap.</scene_description>
<character>LANA</character>
<dialogue>Take off the hat, Frank.</dialogue>
<scene_description>He slips the shower cap off as Lana continues.</scene_description>
<character>LANA</character>
<dialogue>I was just reading over my husband's insurance policies. You wouldn't know anything about insurance, would you, Frankie?</dialogue>
<character>FRANK</character>
<dialogue>Yeah, matter of fact, I sell policies part-time. I got half a brain... or didn't you notice?</dialogue>
<character>LANA</character>
<dialogue>I musta had my eye on something else.</dialogue>
<parenthetical>(hands him papers)</parenthetical>
<dialogue>How about a translation.</dialogue>
<scene_description>He flips through, scanning the pages, shrugging.</scene_description>
<character>FRANK</character>
<dialogue>Standard accident policy... all the usual stuff... blah, blah, blah. The face value is... Wow. Not bad. Three million bucks!</dialogue>
<parenthetical>(flips page)</parenthetical>
<dialogue>And there's a triple indemnity rider.</dialogue>
<character>LANA</character>
<dialogue>Meaning?</dialogue>
<character>FRANK</character>
<dialogue>Aw, it's just something agents throw in so we can boost the premium. If the policy holder dies under very specific conditions, it pays off three times the face value of the policy.</dialogue>
<character>LANA</character>
<dialogue>Nine million dollars...?</dialogue>
<character>FRANK</character>
<dialogue>Yeah... but it's a sure bet for the company. Nobody ever collects.</dialogue>
<character>LANA</character>
<dialogue>Why not?</dialogue>
<character>FRANK</character>
<dialogue>Well, like here... it only pays off if he's shot with a pistol, falls from a moving northbound train and drowns in a fresh water stream.</dialogue>
<character>LANA</character>
<dialogue>All three?</dialogue>
<character>FRANK</character>
<dialogue>See what I mean, sweetheart? What are the odds of that?</dialogue>
<character>LANA</character>
<dialogue>It could happen.</dialogue>
<parenthetical>(dramatic beat)</parenthetical>
<dialogue>Suppose it did happen?</dialogue>
<character>FRANK</character>
<dialogue>Then you'd be rich.</dialogue>
<character>LANA</character>
<dialogue>Then we'd be rich.</dialogue>
<character>FRANK</character>
<dialogue>What're you sayin'...?</dialogue>
<scene_description>She drops to her knees in front of him, her face close to his, speaking with a persuasive urgency.</scene_description>
<character>LANA</character>
<dialogue>We're gonna kill the son-of-a-bitch! And I know exactly how! He has a legal symposium in Santa Barbara this weekend... All we have to do is get him to take the train up instead of driving.</dialogue>
<character>FRANK</character>
<dialogue>How we gonna do that? Didn't you</dialogue>
<scene_description>tell me he hates trains?</scene_description>
<character>LANA</character>
<dialogue>That's where you come in, baby. You're gonna rig his car so it doesn't work. That should be no problem for you.</dialogue>
<scene_description>She gets up, walks to the adjoining room... snapping her fingers at her side. He follows. She steps to a table, pulls the cover off an elaborate scale- model of Dealey Plaza and a train station, complete with HO- Scale model trains chugging around the tracks. She uses a pointer to trace the route to the depot.</scene_description>
<character>LANA</character>
<dialogue>Then... we give him a lift to the train station... through Dealey Plaza, past the Book Suppository and around the grassy knoll...</dialogue>
<character>FRANK</character>
<dialogue>Isn't that out of our way?</dialogue>
<scene_description>Ignoring this, she turns the LIGHTS OFF, walks over to a screen and picks up a remote control. She clicks the button. A SLIDE PROJECTOR comes on, throwing an IMAGE on Frank's back. We can read the words: THE PLAN.</scene_description>
<character>LANA</character>
<dialogue>Move, Frank.</dialogue>
<scene_description>He moves over. "THE PLAN" appears on the screen.</scene_description>
<character>LANA</character>
<dialogue>And pay attention.</dialogue>
<scene_description>As she talks, IMAGES appear on the screen, accompanying her rapid spiel. We see: a shot of the depot, a map of the rail route, a gun, a river, a Bingo game, baseball action and a huge dollar sign!</scene_description>
<character>LANA</character>
<dialogue>Ten minutes out of the station he'll be standing in the vestibule between cars... trying to avoid a panic attack. Fourteen minutes and ten seconds out, the train crosses the Santa Ynez River. So at thirteen minutes and fifty-four seconds, I shoot him, shove him out the door... he hits the river and drowns. Bingo! A triple play. We're rich!</dialogue>
<scene_description>The lights click ON.</scene_description>
<character>FRANK</character>
<dialogue>You been thinking about this a lot, haven't you?</dialogue>
<character>LANA</character>
<dialogue>No. It just came to me.</dialogue>
<parenthetical>(closer, seductive)</parenthetical>
<dialogue>I had this image of a big, powerful, throbbing train... plunging into a long, dark, wet tunnel.</dialogue>
<scene_description>They embrace, kissing passionately, dropping out of frame. The model train CHUGS faster, the train whistle SHRIEKING a long "Woooooooo-woooooooooo!"... racing into a model tunnel.</scene_description>
<character>INT. POLICE STATION - SQUAD ROOM - NIGHT</character>
<dialogue>Ned and Arch drag in a bunch of bad-ass, multi-ethnic</dialogue>
<scene_description>GANG MEMBERS they've just busted. Ned angrily shoves one of the toughest gang members against the wall... losing his cool.</scene_description>
<character>NED</character>
<dialogue>Stand over there and shut up!</dialogue>
<character>GANG MEMBER #1</character>
<dialogue>Hey, man, we got rights! Don't you be layin' no deleterious malfeasance on us.</dialogue>
<scene_description>Ned goes ballistic and slams him into the wall again!</scene_description>
<character>NED</character>
<dialogue>Watch your mouth, punk! I don't want to hear language like that!</dialogue>
<scene_description>Arch grabs Ned by the shoulder, pulling him back, calming him.</scene_description>
<character>ARCH</character>
<dialogue>Whoa, hold on, hoss! Take it easy. You seem a little tense tonight. What is it?</dialogue>
<scene_description>Ned regains his composure. He's depressed.</scene_description>
<character>NED</character>
<dialogue>Aw... I don't know. I guess it's Lana. It's just... I know she wants to have a baby so bad...</dialogue>
<scene_description>Gang Member #1 steps closer, listening.</scene_description>
<character>NED</character>
<dialogue>...but I never get to spend any time with her. And when I am home... it's like she's, you know... avoiding sex.</dialogue>
<scene_description>Gang Member #1 steps closer, listening.</scene_description>
<character>GANG MEMBER #1</character>
<dialogue>You should try to be more sensitive, man. More romantic. Bring her flowers.</dialogue>
<scene_description>He steps between them, putting his arm around Ned's shoulder.</scene_description>
<character>GANG MEMBER #1</character>
<dialogue>Try to understand how she feels. After all...</dialogue>
<scene_description>He steps back, begins to SING "Try A Little Tenderness"...</scene_description>
<character>GANG MEMBER #1</character>
<dialogue>She may be weary... Women do get weary... Wearing that same old shabby dress... But when she's weary... Try a little ten-der-ness...</dialogue>
<scene_description>The other Gang Members join in on the SECOND VERSE with a sweet, mellow street-corner harmony as back-up... and some smooth group choreography. The COPS on duty listen raptly, getting maudlin and dewey- eyed. Tears roll down the cheeks of the BOOKING SERGEANT. The lights dim. A big, gruff COP makes eyes at a HOOKER being booked... and they start to slow dance. Arch watches all this with a sentimental smile, munching on his Nachos. When the song ends, Arch puts a comforting hand, covered with Nacho cheese, on Ned's shoulder.</scene_description>
<character>NED</character>
<dialogue>That can't be it. I'm the tenderest guy on the force. Nah... I think she's just afraid she won't be able to get pregnant.</dialogue>
<character>ARCH</character>
<dialogue>What's to be afraid! It's like making breakfast! You bring home the bacon... she's got the eggs. Ya scramble it up. Ba-da-boom ba-da-bing! She's got an omelette in the oven!</dialogue>
<parenthetical>(a beat, then)</parenthetical>
<dialogue>Why don't you knock off early... go home. It'd be nice for Lana to wake up in the morning and find you there for a change.</dialogue>
<character>NED</character>
<dialogue>Naw... I can't. I got all this paperwork.</dialogue>
<character>ARCH</character>
<dialogue>Don't worry about that.</dialogue>
<character>GANG MEMBER #1</character>
<dialogue>We'll do our own paperwork, man!</dialogue>
<character>OTHER GANG MEMBERS</character>
<dialogue>Yeah! We'll fill out all that shit.</dialogue>
<scene_description>Ned nods, smiles and gratefully "high-fives" the Gang Members as he heads for the door.</scene_description>
<character>INT. THE HOUSE - LATER THAT NIGHT</character>
<dialogue>The house is dark. A key turns in the lock and Ned</dialogue>
<scene_description>enters.</scene_description>
<character>IN THE BEDROOM</character>
<dialogue>It's dark. Ned quietly undresses and slips into bed.</dialogue>
<character>INT. BEDROOM - CLOSE ON LANA - DAWN</character>
<dialogue>Sunlight creeps through the windows. Lana's eyes</dialogue>
<scene_description>flutter open. She sees Ned beside her... sleeping. Suddenly, it hits her. She turns! Frank is on the other side, curled up, snoring. She's laying between both men! Lana elbows Frank. He stirs, groggy. She covers his mouth... indicating Ned. Frank's eyes bug out! He slips out of bed. The bed frame SQUEAKS LOUDLY! Frank freezes. Ned sleeps on steadily. Frank grabs his clothes. An unending torrent of coins fall out of his pants pockets, CLANGING on the floor! He freezes. Ned sleeps on. Frank retrieves the coins, clumsily stepping on the TV REMOTE CONTROL. A high-tech, sleekly designed TELEVISION MONITOR rises up... clicks ON. Frank tries frantically to push the set down, but it keeps rising into position. An IMAGE appears. It's WILLARD SCOTT, doing the weather on the TODAY SHOW. Frank grabs the remote control, frantically pounding on all the buttons. The VOLUME goes up... SOUND BLASTING!</scene_description>
<character>WILLARD SCOTT</character>
<parenthetical>(on television)</parenthetical>
<dialogue>...and Mrs. Prudy Ann Camomile of Delphi, Georgia is one-hundred and</dialogue>
<scene_description>thirteen! What a gorgeous hunk of female! Smokes three cigars a day, drinks a straight shot of vodka at bedtime... and still has sex! The alarm clock goes off, CLANGING LOUDLY! Lana dives for it, slamming her hand down, killing the alarm. Going for a double-play, she flings the clock at the TV, nailing the on/off switch! Silence. Ned is still out cold. Frank moves toward the door... but with each step the floor CREAKS LOUDLY! He turns the knob. It CLUNKS! He pulls the door open v-e-r-y s-l-o-w-l-y and it CRE-E-E-E-A-K-S like the piercing metal brakes of a train! He blows Lana a kiss, then pulls the door closed very gently. It sticks. He pulls harder. The knob pops off in his hand and he falls backward, tumbling down the stairs with a HUGE RACKET! Ned doesn't stir. Finally it's SILENT. Lana exhales. A SMALL BIRD lands on the sill of the open window, trilling a sweet little "CHIRP." Ned sits bolt upright, irritated.</scene_description>
<character>NED</character>
<dialogue>Damn birds!</dialogue>
<scene_description>He grabs his shoe, heaving it toward the open window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NED'S HOUSE - MORNING</stage_direction>
<scene_description>Frank glances back up at the bedroom window with an arrogant smirk. WHAP! Ned's shoe hits him right in the face!</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTHOUSE - DAY</stage_direction>
<scene_description>Ned comes down the courthouse steps. He pauses in the street, glimpsing the back of a WOMAN passing nearby... a STUNNING BLOND decked out in a clinging dress and fashionable hat... a long strip of toilet paper trailing from her high heel shoe. It must be LOLA. He turns to watch her. A HORN BLARES! BRAKES SCREECH! The SOUND OVERLAPS to...</scene_description>
<character>INT. NED'S LAW OFFICE - DAY</character>
<dialogue>The door opens. Ned enters, looking terrible. Suit</dialogue>
<scene_description>ripped, hair messed up, bruised and battered, briefcase crushed.</scene_description>
<character>LAURA</character>
<dialogue>My God, Ned... you look like you were hit by a bus.</dialogue>
<character>NED</character>
<dialogue>I was.</dialogue>
<parenthetical>(notices)</parenthetical>
<dialogue>Who's in my office?</dialogue>
<character>LAURA</character>
<dialogue>Max Shady's mother.</dialogue>
<character>NED</character>
<dialogue>Not again.</dialogue>
<character>INSIDE THE OFFICE</character>
<dialogue>MRS. SHADY, an older woman with a pleasant appearance,</dialogue>
<scene_description>sits in an overstuffed leather chair. Ned and Laura enter.</scene_description>
<character>NED</character>
<dialogue>Hello, Mrs. Shady.</dialogue>
<scene_description>Ned goes straight to his office closet, pulls out an identical blue suit... and starts stripping off his tattered clothes.</scene_description>
<character>NED</character>
<dialogue>Laura... check on my insurance. Make sure it's paid up.</dialogue>
<scene_description>Laura reluctantly returns to the outer office.</scene_description>
<character>MRS. SHADY</character>
<dialogue>Good idea, Mr. Ravine. My son, Max, is getting out of prison tomorrow.</dialogue>
<character>NED</character>
<parenthetical>(checks his watch)</parenthetical>
<dialogue>Gee, has it been seven years already?</dialogue>
<character>MRS. SHADY</character>
<dialogue>Seven long, miserable years in the slammer. And he's a bit pissed off.</dialogue>
<character>NED</character>
<dialogue>Well, being locked in a tiny room with no TV can make a guy feel pretty tense.</dialogue>
<character>MRS. SHADY</character>
<dialogue>I'm very concerned about him, Mr. Ravine. He said you were a two-bit shyster... and he's going to rip your head off and use it for a bowling ball!</dialogue>
<scene_description>He goes to her, putting a comforting hand on her shoulder, looking her right in the eye, attempting to provide solace.</scene_description>
<character>NED</character>
<dialogue>I'm sure the experience wasn't all negative. He probably made a lot of friends...</dialogue>
<character>MRS. SHADY</character>
<parenthetical>(ever hopeful)</parenthetical>
<dialogue>You think?</dialogue>
<character>NED</character>
<dialogue>...learned a useful trade...</dialogue>
<character>MRS. SHADY</character>
<dialogue>Oh yes... live autopsies...</dialogue>
<character>NED</character>
<dialogue>...caught up on all those books he wanted to read...</dialogue>
<scene_description>She struggles to her feet feebly...</scene_description>
<character>MRS. SHADY</character>
<dialogue>Maybe so... but he said he's going</dialogue>
<scene_description>to punch you in the testicles... She hauls off and PUNCHES him like a pile driver! WHAM! He doubles over, gasping.</scene_description>
<character>MRS. SHADY</character>
<dialogue>...smash your face...</dialogue>
<scene_description>She KNEES him in the face, raising him up... then nails him with a devastating RIGHT CROSS, spinning him around. He collapses over the desk.</scene_description>
<character>MRS. SHADY</character>
<dialogue>...and decimate your wardrobe.</dialogue>
<scene_description>She grabs the tail of his suit jacket and rips it up the back!</scene_description>
<character>MRS. SHADY</character>
<dialogue>And I wouldn't want that to happen.</dialogue>
<parenthetical>(spanks his butt)</parenthetical>
<dialogue>He's a naughty naughty boy. I just thought I should warn you.</dialogue>
<scene_description>She turns and shuffles out, passing through the outer office.</scene_description>
<character>MRS. SHADY</character>
<parenthetical>(to Laura)</parenthetical>
<dialogue>Bye for now.</dialogue>
<parenthetical>(pauses by desk)</parenthetical>
<dialogue>Oh... may I have a cookie?</dialogue>
<character>LAURA</character>
<parenthetical>(at file cabinet)</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>She grabs a handful of cookies and casually flings them at Laura... as she heads out the door.</scene_description>
<character>MRS. SHADY</character>
<dialogue>Thank yooooooooou.</dialogue>
<scene_description>Laura rushes into Ned's office with the file folder. He staggers unsteadily by the desk.</scene_description>
<character>LAURA</character>
<dialogue>Oh my God, Ned.</dialogue>
<character>NED</character>
<dialogue>I hate when she comes to see me.</dialogue>
<character>LAURA</character>
<dialogue>Don't you realize, Ned?... you could be in real danger.</dialogue>
<character>NED</character>
<parenthetical>(sees file)</parenthetical>
<dialogue>What's that?</dialogue>
<character>LAURA</character>
<dialogue>Extreme peril. You know, the risk of personal bodily harm.</dialogue>
<character>NED</character>
<parenthetical>(points at file)</parenthetical>
<dialogue>No... I mean that.</dialogue>
<character>LAURA</character>
<dialogue>Your insurance file. But the policy's missing. Did you take it home?</dialogue>
<character>NED</character>
<dialogue>I don't think so.</dialogue>
<scene_description>Laura looks puzzled... wondering where it might be. Then...</scene_description>
<character>LAURA</character>
<dialogue>Oh, wait a second...</dialogue>
<scene_description>She goes to her desk in the outer office, digs through a drawer. Suddenly, she GASPS! She is holding... A FRAMED PHOTOGRAPH of her abusive HUSBAND... sneering. A circle has been drawn around his head with lipstick and a diagonal line slashed across his face. MATCH DISSOLVE TO: FLASHBACK HER HUSBAND'S FACE peers out through a sailboat porthole at stormy seas. A piece of masking tape stuck to the glass matches the diagonal line.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN OF SAILBOAT - NIGHT</stage_direction>
<scene_description>Laura's Husband turns from the porthole. Laura cowers. The boat pitches and heaves, disturbing all the neatly hung towels, emblazoned with MINE - MINE - MINE across the bottom edge. Laura's Husband reacts with a crazed look in his eyes. Laura makes a break for it, running up on deck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAILBOAT IN STORM - NIGHT</stage_direction>
<scene_description>Laura's Husband scrambles up onto the deck, looking fore and aft. Laura's vanished! He looks out to sea, calling...</scene_description>
<character>LAURA'S HUSBAND</character>
<dialogue>Lau-raaaaa!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEACH - NIGHT</stage_direction>
<scene_description>Laura paddles ashore, grasping a little kid's inflatable float ring. She struggles onto the sand and looks out to sea, triumphant... tossing the plastic float aside. MONTAGE - ULTRA CONTEMPO BEACH HOUSE - NIGHT -- Laura rushes in, tracking water all through the house. -- Laura cuts an inch of hair from her amazingly long, very wet tresses, then puts on a WIG... that is also LONG and WET! -- Laura retrieves a bra and a package of Twinkies from a secret hiding place... and stuffs them into a small brown paper bag. -- Laura hurriedly mops up her water tracks, then... -- She uses an industrial buffer to wax the hardwood floor. -- Laura removes her wedding ring... throws it in the toilet. She reaches for the handle to flush it... hesitates, seeing the "CONSERVE WATER - THIS MEANS YOU!" sticker on the toilet. She reaches into the bowl and retrieves the ring. -- On the deck, Laura throws the wedding ring toward the ocean. A SEAGULL swoops down, snatching it in mid-air and flies off. OMIT Sequence omitted from original script. -- In the bathroom... the Seagull flies in through the open window, lands on the back of the toilet and drops the ring... into the toilet bowl!</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BEACH - NEXT MORNING</stage_direction>
<scene_description>Laura's Husband reaches into the surf and picks up the deflated float ring. He looks at it with a cruel sneer.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEACH HOUSE - BATHROOM</stage_direction>
<scene_description>Laura's Husband fishes Laura's wedding ring out of the toilet bowl... looking off with demonic rage! END FLASHBACK MONTAGE THE CAMERA PULLS BACK from Laura's SCREAMING mouth! Her eyes are filled with pure terror! A GIGANTIC wave of WATER splashes in her face! We see Ned... holding a tiny empty paper cup in his hand. Laura is completely drenched!</scene_description>
<character>NED</character>
<dialogue>Laura! Are you alright? That was a very long flashback you had.</dialogue>
<scene_description>She snaps out of it, sputtering.</scene_description>
<character>LAURA</character>
<dialogue>Yes... I know. It's okay. I'm just a little... pre-menstrual.</dialogue>
<scene_description>She goes to her desk, still upset. She picks up the message spike and turns to Ned.</scene_description>
<character>LAURA</character>
<dialogue>That Lola Cain... "person"... stopped by. She left this!</dialogue>
<scene_description>She thrusts it toward Ned's face! There's a business card stuck on the end. He pulls it off. ANGLE - CLOSE ON BUSINESS CARD It reads: LE HOT CLUB! No Air Conditioning... And Proud Of It! Scribbled next to it is the message... "Meet me at 7:30". The edges of the card are scorched.</scene_description>
</scene>
<scene>
<stage_direction>INT. LE HOT CLUB - NIGHT</stage_direction>
<scene_description>It's dark, seductive, smoky, crowded... and HOT. Everybody is dripping with sweat and holding unlit cigarettes. Ned enters, sees Lola sitting on a stool at the bar, one leg crossed provocatively over the other. A beer can is stuck to the gum on the bottom of her shoe. It falls off with a CLUNK. He sits on the stool next to her. She looks at him, smiles.</scene_description>
<character>NED</character>
<dialogue>Oh yeah, before I forget... you asked me to take care of this.</dialogue>
<scene_description>He reaches into his jacket pocket, pulls out a LIT CIGARETTE. It has a very long ash.</scene_description>
<character>LOLA</character>
<dialogue>Thanks...</dialogue>
<scene_description>She takes it... inhales a drag, then lets the smoke flow out through her smile. It flows out for a loooooooooong time! More smoke than she could ever have inhaled. Then...</scene_description>
<character>NED</character>
<dialogue>You smoke too much.</dialogue>
<parenthetical>(looks around, then)</parenthetical>
<dialogue>It's hot tonight.</dialogue>
<character>LOLA</character>
<dialogue>Is it? I never know. My body heat runs about twenty degrees above normal.</dialogue>
<scene_description>He notices the drink in her hand is BOILING. A saxophone begins to softly wail Lola's Theme. Ned looks over to see a QUARTET, featuring Dizzy on sax. The GUITARIST spontaneously bursts into FLAME! A FIREMAN, in full gear, jumps up from the bar and puts out the blaze with a fire extinguisher. None of the band members miss a beat.</scene_description>
<character>NED</character>
<dialogue>Maybe we should look for a cooler place.</dialogue>
<character>LOLA</character>
<dialogue>I doubt we'll find one. Even the wind chimes on my porch aren't moving much these days. They keep thudding softly, like dairy cows bumping butts in the night. I go out there expecting to find a cool breeze... but it's just a lot of hot air.</dialogue>
<scene_description>Ned glances at the MALE CUSTOMERS... sitting at the bar across from them. They're staring coldly at Ned.</scene_description>
<character>NED</character>
<dialogue>What're they lookin' at?</dialogue>
<character>LOLA</character>
<dialogue>A lot of them have tried that seat. You're the first one's lasted this long.</dialogue>
<character>NED</character>
<dialogue>I feel honored.</dialogue>
<character>LOLA</character>
<dialogue>Don't. It's broken.</dialogue>
<scene_description>A beat of realization, then the stool collapses with a CRASH! Ned pulls himself back up and drags another stool over.</scene_description>
<character>NED</character>
<dialogue>Did you bring the... papers?</dialogue>
<character>LOLA</character>
<dialogue>No. I thought you might come over...</dialogue>
<character>NED</character>
<dialogue>Sure. I'll drive you.</dialogue>
<character>LOLA</character>
<dialogue>I brought my own car.</dialogue>
<character>NED</character>
<dialogue>I'll follow you then.</dialogue>
<character>LOLA</character>
<dialogue>I know it sounds silly, but would you leave first... wait in your car? I come here a lot and I wouldn't want those men to think I'm "easy"... a slut who'll jump into bed with anyone at the drop of a hat. But if you leave first...</dialogue>
<character>NED</character>
<dialogue>...they'll think I'm a putz for passing up a sure thing.</dialogue>
<scene_description>Lola stares at Ned for a long moment... then SLAPS his face. He doesn't move, remaining staunchly macho. Then, suddenly, she SLUGS HIM so hard it knocks him over the top of the bar!</scene_description>
<character>LOLA</character>
<parenthetical>(for all to hear)</parenthetical>
<dialogue>Now leave me alone!</dialogue>
<scene_description>She pauses to give him a flicker of a COY SMILE... then picks up her drink and moves to a nearby table. Ned struggles to his feet and staggers to the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. NED'S CAR - NIGHT</stage_direction>
<scene_description>Ned is a mess! Blood trickles from the side of his mouth. Shirt soaked in sweat. He turns the radio ON. LOLA'S THEME starts playing. A small ceiling fan hangs from the interior roof of his car, turning slowly. The venetian blinds on his side windows are partially open, letting in slashes of dramatic light. ANGLE - HIS POV OF ROAD He's following Lola's car. It signals and turns left.</scene_description>
</scene>
<scene>
<stage_direction>INT. NED'S CAR - NIGHT</stage_direction>
<scene_description>Still hot, Ned pulls the chain on the ceiling fan. It spins faster. MUCH faster! The car becomes like a wind tunnel!</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOLA'S HOUSE - NIGHT</stage_direction>
<scene_description>The two cars enter a long drive, coming to a stop near a large two story house surrounded by lush greenery. Ned climbs out... his wind-blown hair flattened on one side and sticking out crazily. ANGLE - LOLA'S CAR DOOR - NED'S POV It opens. Lola's legs swing out. The CAMERA PANS DOWN her long legs to her feet. The car floormat is stuck to one shoe. She casually shakes it off... going to the front door.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOLA'S HOUSE - NIGHT</stage_direction>
<scene_description>They enter. It's DARK. Ned squints into the shadows.</scene_description>
<character>NED</character>
<dialogue>Well, here we are... in the dark.</dialogue>
<character>LOLA</character>
<dialogue>I have The Clapper.</dialogue>
<character>NED</character>
<dialogue>You what?</dialogue>
<scene_description>Lola CLAPS her hands twice and all the LIGHTS COME ON. She smiles at him... drops her car keys on the hall table, then goes up the stairs. Ned drops his car keys on the table too and follows her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH OFF BEDROOM - NIGHT</stage_direction>
<scene_description>Lola clicks on a porch light. She and Ned step out. Dozens of small boxes hang around the perimeter of the porch.</scene_description>
<character>LOLA</character>
<dialogue>My wind chimes.</dialogue>
<scene_description>Ned steps over, running his hands along the boxes. They "thud" against each other.</scene_description>
<character>NED</character>
<dialogue>You know, these would work a lot better if you took them out of the boxes.</dialogue>
<scene_description>He slips several boxes off, releasing clusters of the metal chimes. They "tinkle" and "clang" melodically in the breeze.</scene_description>
<character>LOLA</character>
<dialogue>Well well... I guess you have been around. I'm impressed.</dialogue>
<scene_description>She moves close, coming on to him. Ned feels uneasy.</scene_description>
<character>NED</character>
<dialogue>Why don't we take a look at those... papers?</dialogue>
<character>LOLA</character>
<parenthetical>(remembering)</parenthetical>
<dialogue>Papers. Right.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRESSING AREA OFF BEDROOM - NIGHT</stage_direction>
<scene_description>Lola comes in, looks around, then down. She removes her shoe, pulling off two scraps of paper stuck to the gum on her heel.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGHT</stage_direction>
<scene_description>Ned is looking through a book... "KAMIKAZE KAMA SUTRA - The Encyclopedia of Deadly Sexual Positions." Lola comes back in, hands Ned the two scraps of paper.</scene_description>
<character>NED</character>
<dialogue>That's it? These are the... papers?</dialogue>
<character>LOLA</character>
<dialogue>Yes. They're so confusing to me. Can you tell me what they are?</dialogue>
<scene_description>He checks them out... shrugs. It's obvious.</scene_description>
<character>NED</character>
<dialogue>This one's a laundry receipt... and the other one's an expired lottery ticket.</dialogue>
<scene_description>He hands them back to her, but she gently pushes them away.</scene_description>
<character>LOLA</character>
<dialogue>No. You keep them... as a memento of our time together.</dialogue>
<scene_description>She slips them into his jacket pocket... then sensuously slides her hands around him, grabbing his buns, pulling him closer.</scene_description>
<character>LOLA</character>
<dialogue>I'm so grateful. How can I ever repay you for all you've done?</dialogue>
<character>NED</character>
<dialogue>Cash would be nice.</dialogue>
<character>LOLA</character>
<dialogue>Isn't there some other way?</dialogue>
<character>NED</character>
<dialogue>I suppose you could wash my car.</dialogue>
<character>LOLA</character>
<dialogue>No, I mean, isn't there something else you want? Something I could give you?</dialogue>
<scene_description>She seductively starts to slide the jacket off his shoulders.</scene_description>
<character>NED</character>
<dialogue>Hey... slow down... there's a speed limit in this state. Sixty-five miles an hour.</dialogue>
<character>LOLA</character>
<dialogue>How fast was I going, officer?</dialogue>
<character>NED</character>
<dialogue>Oh, about a hundred and twenty-three.</dialogue>
<character>LOLA</character>
<dialogue>Suppose you pull me over and frisk me?</dialogue>
<character>NED</character>
<dialogue>Suppose I let you off with a warning?</dialogue>
<character>LOLA</character>
<dialogue>Suppose I find a cop with a bigger nightstick?</dialogue>
<character>NED</character>
<dialogue>Suppose I put you under arrest for being a bad girl with bad thoughts?</dialogue>
<character>LOLA</character>
<dialogue>Suppose you handcuff me to the bed?</dialogue>
<character>NED</character>
<parenthetical>(rapid run-on)</parenthetical>
<dialogue>Suppose I do and then we lose the key and while I'm gone to get a duplicate made the house catches on</dialogue>
<scene_description>fire and I can't get back to save you because the bridge is washed out and so you die a horrible death toasted like a Polish sausage on a flaming spit! (shakes his head) Nah... I better be going. He turns and leaves. She is stunned, confused, breathless.</scene_description>
<character>EXT. FRONT DOOR - NIGHT</character>
<dialogue>Ned opens the door, pauses, turns... as Lola joins him</dialogue>
<scene_description>there. She looks into his eyes with desire.</scene_description>
<character>LOLA</character>
<dialogue>You're not so tough. Last chance.</dialogue>
<scene_description>She moves her lips close to his, about to kiss him. Then...</scene_description>
<character>NED</character>
<dialogue>No thanks. I got a cold shower and a wife who trusts me waiting at home.</dialogue>
<character>LOLA</character>
<dialogue>What's the matter? Don't you want me? It's the way I look, isn't it?</dialogue>
<scene_description>He steps out, pauses... turns to her.</scene_description>
<character>NED</character>
<dialogue>Don't forget to lock up.</dialogue>
<scene_description>Ned pulls the door shut. The lock CLICKS. He pauses by his car, realizing something, heaves a sigh, goes back to the door. He tries the knob, but the door is locked. He looks through the small window. He sees Lola standing inside... breathing heavily, bracing herself against the staircase bannister, hand to her heaving chest as if to calm a pounding heart. He pushes against the door. It won't budge. He goes to the large window, gazing inside. She slides one hand enticingly across her breast and thigh, striking a seductive pose. He points toward the door, motioning for her to unlock it. She looks away. Frustrated, Ned tries the window. It's locked. He picks up a wrought iron chair, SLAMS it into the window! The heavy chair falls apart. The glass doesn't even vibrate! He sees a riding power mower in the driveway... jumps into the seat, starts the engine... barreling toward the front of the house! THUNDER CRASHES and LIGHTNING FLASHES in the sky! He PLOWS into the side of the house, SMASHING a huge hole thru the wall!... MOWING a swath in the carpet! Lola GASPS. Ned climbs off the mower, moving toward her. She opens her arms, breathless. The MUSIC SWELLS dramatically! She intercepts him, embracing him passionately.</scene_description>
<character>LOLA</character>
<dialogue>I knew you'd come back...</dialogue>
<character>NED</character>
<parenthetical>(looking past her)</parenthetical>
<dialogue>I forgot my car keys.</dialogue>
<scene_description>He struggles free, grabbing his car keys from the hall table. She follows, embracing him again, even more tenaciously.</scene_description>
<character>LOLA</character>
<dialogue>That's not what you came back for.</dialogue>
<character>NED</character>
<dialogue>Yes it is.</dialogue>
<scene_description>Impatient, she crushes her mouth against his, kissing him hard, desperately clawing at his clothes. She's relentless... devouring him with her lips and tongue. Overwhelmed, he succumbs to her passion. His car keys drop from his hand. She pushes him down toward the floor.</scene_description>
<character>LOW ANGLE - AT FLOOR LEVEL</character>
<dialogue>Her hands grasp his shirt, ripping it open. The buttons</dialogue>
<scene_description>fly in all directions! She grabs at his leather belt, twisting it in her hands... ripping it in two! She grabs his pants by the cuffs... rips one pant leg off! Then the other!... tossing them over each shoulder! Ned and Lola tumble across the floor, arms and legs entangled... rolling themselves up in a rug in the process.</scene_description>
<character>ANGLE - FIREPLACE</character>
<dialogue>A roaring fire. We HEAR O.C. MOANING and HEAVY</dialogue>
<scene_description>BREATHING. The CAMERA TILTS DOWN to a sheepskin rug in front of the fireplace. No one is there! A crystal vase falls, CRASHING on the stone hearth. The CAMERA TILTS UP to REVEAL Ned and Lola... stretched out on the mantle, ravishing each other.</scene_description>
<character>ANGLE - THE REFRIGERATOR</character>
<dialogue>The door suddenly BURSTS OPEN! Ned and Lola tumble</dialogue>
<scene_description>out... wrapped in each other's arms, food tumbling out with them.</scene_description>
<character>OMIT</character>
<dialogue>Sequence omitted from original script.</dialogue>
<character>ANGLE - THE DINING ROOM TABLE</character>
<dialogue>The table wiggles. The CAMERA MOVES UP to REVEAL Ned</dialogue>
<scene_description>and Lola kissing passionately. She lays on the table, arms and legs stretched upward... a spinning plate balanced on the pointed finger of each hand... and a large spinning platter balanced on the end of her pointed left toe. Her right foot brushes the platter to keep it spinning. The Ed Sullivan Show position.</scene_description>
<character>SEVERAL ANGLES - IN BED</character>
<dialogue>-- Ned and Lola's entangled legs, moving under the</dialogue>
<scene_description>sheets. -- Ned sitting, wrists tied to the brass bed with silk scarves. -- Lola, also with her wrists tied to the bed with silk scarves. -- Then... A WIDER ANGLE... revealing that they are BOTH tied... at opposite ends of the same bed!</scene_description>
<character>ANGLE - THE BASEMENT STAIRS</character>
<dialogue>Wrapped in each other's arms, they tumble down the</dialogue>
<scene_description>stairs... crashing into a workbench, still kissing passionately!</scene_description>
<character>ANGLE - A WALL SOCKET</character>
<dialogue>Ned's hand plugs in a cord. RACK FOCUS to a soft lamb's</dialogue>
<scene_description>wool BUFFER WHEEL rising into frame, WHIRRING. It dips into an open can of FLOOR WAX... then moves over to Lola's naked body, buffing the surface of her skin to a high gloss. The CAMERA MOVES to her EYES. They're CROSSED in ecstasy.</scene_description>
<character>ANGLE - THE BEDROOM FLOOR</character>
<dialogue>HEAVY BREATHING. SQUEAKY BED NOISES. The CAMERA MOVES</dialogue>
<scene_description>up along the mattress. The bed moves with a jerky rhythm. The CAMERA REVEALS Lola's hand, grasping the sheet tightly. WE MOVE UP to Lola, lying face down against the pillow.</scene_description>
<character>LOLA</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>...don't... stop...</dialogue>
<character>FULL SHOT - THE BED</character>
<dialogue>Ned jumps up and down on the bed like a trampoline!</dialogue>
<scene_description>Lola is on her stomach, bouncing each time Ned's feet hit the bed.</scene_description>
<character>LOLA</character>
<dialogue>...Oh Ned... please... don't... stop...</dialogue>
<scene_description>He does a complete BACK FLIP!... then keeps bouncing.</scene_description>
<character>EXT. THE ROOFTOP - NIGHT</character>
<dialogue>The wind blows. THUNDER and LIGHTNING! RAIN pours down.</dialogue>
<dialogue>Ned and Lola, both in yellow rain slickers, ravish each</dialogue>
<scene_description>other lustfully on the roof, sliding down the incline of shingles. Oblivious to the peril, they slip right over the edge! They hang from the eaves trough, each clutching it with one hand while still holding one another with their free arms... kissing passionately. The trough breaks! They fall!</scene_description>
<character>ANGLE - THE GROUND BELOW</character>
<dialogue>They roll out of the bushes onto the lawn, arms and</dialogue>
<scene_description>legs entangled. They fall apart, gasping for breath. A beat.</scene_description>
<character>LOLA</character>
<dialogue>That takes care of foreplay.</dialogue>
<scene_description>Ned's eyes widen. Lola grins lustily, rolling on top of him.</scene_description>
<character>INT. PRISON CELL - MORNING</character>
<dialogue>The cell wall is a clutter of PHOTOS: Hitler...</dialogue>
<scene_description>Mussolini... Charles Manson... and his mother, Mrs. Shady. A man's muscular naked torso rises into frame, his back to us. He's doing pull-ups, his body covered with TATTOOS! Quotes on each arm... "Don't have a cow, man!" - Bart Simpson... and "I know you are, but what am I?" - Pee Wee Herman. On one shoulder, a gravestone with the epitaph "I told you I was sick!" In the center of his back... we see a big tattoo of Ned's face labeled "DEAD MEAT." A GUARD opens the cell door.</scene_description>
<character>GUARD</character>
<dialogue>It's time, Max.</dialogue>
<scene_description>The prisoner turns. He's butt-ugly, hard, nasty looking. It's MAX SHADY... with a HUGE "Double Corona" CIGAR in his mouth. On his chest is a tattoo that reads: THIS SPACE FOR RENT. He walks right toward the CAMERA LENS and the FRAME goes TO BLACK. MATCH: CUT TO:</scene_description>
<character>BLACK FRAME</character>
<dialogue>EXT. FEDERAL PRISON - MORNING</dialogue>
<dialogue>Two huge iron doors swing open and a mob of milling</dialogue>
<scene_description>REPORTERS rushes forward, surrounding Max Shady. He wears a blue suit just like Ned's. The Reporters have no microphones, but shove their empty hands at Max as if they do. They shout questions.</scene_description>
<character>REPORTER #1</character>
<dialogue>Mr. Shady! What's the first thing you're gonna do now that you're out?</dialogue>
<character>MAX SHADY</character>
<dialogue>Find Ned Ravine... rip his head off and use it for a bowling ball!</dialogue>
<character>REPORTER #2</character>
<dialogue>Are you a good bowler?</dialogue>
<character>REPORTER #3</character>
<dialogue>You ever bowled a three-hundred game?</dialogue>
<character>REPORTER #4</character>
<dialogue>How would you handle a seven-ten split?</dialogue>
<character>REPORTER #1</character>
<dialogue>Say, aren't you wearing one of Ravine's "trademark" blue suits?</dialogue>
<character>MAX SHADY</character>
<dialogue>Yeah. The bastard gave it to me as a gift... to make up for losing my case. Now I'm going to wear it to his friggin' funeral!!</dialogue>
<scene_description>Shady sees someone o.s., waves like a gleeful little kid.</scene_description>
<character>MAX SHADY</character>
<dialogue>Ma!</dialogue>
</scene>
<scene>
<stage_direction>INT. LOLA'S HOUSE - MORNING</stage_direction>
<scene_description>A ceiling fan rotates slowly... a pair of shorts and a nylon stocking hanging from the blades. The house is a wreck! The CAMERA MOVES DOWN to Ned and Lola, both reclining in a big claw-foot bathtub, facing each other, their arms draped lazily over the sides. Ned's eyes are closed. "In-A-Gadda-Da-Vida" plays on the stereo in the b.g. Lola's hand reaches for an ICE PICK on the floor, raising it up slowly. Then... CLICK!... ignites the cigarette lighter in the handle, touching the flame to the end of her cigarette. She chips away a big chunk of ice from the block in a silver ice bucket beside her... then sensuously rubs the ice across her breasts. Ned winces at the sight of this. Lola smiles at him, then lets the chunk of ice slide into the water... and pushes it between Ned's legs. He cringes, eyes crossed. The familiar repetition of MUSICAL notes from the stereo DRONES LOUDER... grabbing Ned's attention.</scene_description>
<character>NED</character>
<dialogue>That's Madam Butterfly, isn't it?</dialogue>
<character>LOLA</character>
<dialogue>Iron Butterfly. In-A-Gadda-Da-Vida.</dialogue>
<character>NED</character>
<parenthetical>(listening)</parenthetical>
<dialogue>Oh yeah, sure... now I can hear it.</dialogue>
<character>LOLA</character>
<dialogue>It tells the sad story of a woman who is rejected by her lover after a brief, but torrid, affair... so she stalks him with an ice pick and stabs him with it more than a thousand times.</dialogue>
<character>NED</character>
<dialogue>Really? I never could understand the lyrics.</dialogue>
<scene_description>He lifts his feet out of the water, dangles them over each side of the tub. He's still wearing one blue sock. Lola raises her feet out of the water. She's still wearing her high heel shoes. They are dripping.</scene_description>
<character>NED</character>
<dialogue>You know, what happened last night was very, uh...</dialogue>
<character>LOLA</character>
<dialogue>Yes... it was. I should check on my homeowners insurance.</dialogue>
<character>NED</character>
<dialogue>But we can't ever let it happen again. Ever!</dialogue>
<character>LOLA</character>
<dialogue>What are you saying, Ned? That you're rejecting me, your lover, after a brief, but torrid, affair?!</dialogue>
<scene_description>Ned pulls his feet in, sits up... suddenly feeling vulnerable. He measures his words very, very carefully.</scene_description>
<character>NED</character>
<dialogue>I wouldn't put it exactly like that. It's just that... well, I'm married to a wonderful woman... who is very, very attractive...</dialogue>
<parenthetical>(but adds quickly)</parenthetical>
<dialogue>...not that you aren't very attractive!</dialogue>
<scene_description>His voice begins to ECHO and FADE as the CAMERA MOVES IN to a CU of Lola's enraged EYES!</scene_description>
<character>NED</character>
<parenthetical>(voice echoing)</parenthetical>
<dialogue>...you aren't very attractive... you aren't very attractive... you aren't very attractive...</dialogue>
<scene_description>And then WE SEE... A CLOSE SHOT of her hand, grasping the ice pick... scratching it along the side of the tub, peeling back the porcelain. A GRATING SCREECH OVERLAPS to...</scene_description>
<character>INT. PET STORE - DAY</character>
<dialogue>TIGHT on a SCREECHING TROPICAL BIRD. We PULL BACK to</dialogue>
<scene_description>reveal Ned looking around the store. His ripped pants have been temporarily repaired with big pieces of masking tape. A CLERK steps over with two big Parrots on her shoulders.</scene_description>
<character>CLERK</character>
<dialogue>Don't touch anything. You bond with it... you buy it. Whatdya want?</dialogue>
<character>NED</character>
<dialogue>I'd like to buy a pet.</dialogue>
<scene_description>She eyes him suspiciously.</scene_description>
<character>CLERK</character>
<dialogue>Yeah. For what purpose?</dialogue>
<character>NED</character>
<dialogue>It's a gift... for my wife.</dialogue>
<character>CLERK</character>
<dialogue>Right. They all say that.</dialogue>
<character>NED</character>
<dialogue>She spends a lot of time alone. I thought it might be nice if she had something to keep her company.</dialogue>
<character>CLERK</character>
<dialogue>Yeah. Sure. I bet. How do I know you're not the kind of guy who punches out parakeets? Or takes some poor defenseless animal, throws it in a sack and runs over it with your car five or six times.</dialogue>
<character>NED</character>
<dialogue>I would never hurt an animal.</dialogue>
<character>CLERK</character>
<dialogue>Boy, I would. They're driving me CRAZY!</dialogue>
<scene_description>Turns and SHOUTS at the noisy birds.</scene_description>
<character>CLERK</character>
<dialogue>Shuddup!</dialogue>
<scene_description>They do. She turns back to Ned.</scene_description>
<character>CLERK</character>
<dialogue>Okay... tell me more about this broad you're married to. I like to match</dialogue>
<scene_description>people with the pets they deserve.</scene_description>
<character>INT. POLICE SQUAD ROOM - DAY</character>
<dialogue>A typical police squad room... smoke-filled, cluttered,</dialogue>
<scene_description>busy. Arch sits at a desk doing paperwork, surrounded by the Gang Members... who are also filling out papers. Arch SINGS to himself, munching on nachos from a big pile of chips. The Gang Members harmonize with him. A Gang Member reaches for a nacho chip. Arch grabs for the gun in his shoulder holster.</scene_description>
<character>ARCH</character>
<dialogue>Uh-uh.</dialogue>
<scene_description>The Gang Member drops the chip. Arch pops it in his mouth, continues singing. The Gang Members join in with harmony. Ned enters in the background, carrying a box with airholes in it. He steps over to his desk, looking at the singing Gang Members, then motions like a choir leader, cutting them off neatly.</scene_description>
<character>NED</character>
<parenthetical>(doubtful)</parenthetical>
<dialogue>You do all my paperwork?</dialogue>
<scene_description>They all hand over their completed paperwork. Ned stares at them for a beat... surprised.</scene_description>
<character>NED</character>
<dialogue>Get out of here.</dialogue>
<scene_description>They do. He opens the files... checks out the papers. Arch notices something O.S. and gets up.</scene_description>
<character>ARCH</character>
<dialogue>And a damn good job, too. One of 'em even did it in Spanish.</dialogue>
<scene_description>Arch turns the sound up on a wall-mounted TV monitor.</scene_description>
<character>ARCH</character>
<dialogue>Hey Ned! Catch this! Friend of yours.</dialogue>
<scene_description>On the screen... it's Max Shady speaking to the press.</scene_description>
<character>MAX (O.S.)</character>
<parenthetical>(on T.V.)</parenthetical>
<dialogue>...I'd like to reach down Ned Ravine's throat and pull out his guts with my bare hands!</dialogue>
<character>ARCH</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Jesus... you hear that?</dialogue>
<character>NED</character>
<dialogue>He's just working through his anger, trying to find a constructive outlet.</dialogue>
<character>ARCH</character>
<dialogue>Are you kiddin'! He'll do it! The guy's a friggin' looney!</dialogue>
<character>NED</character>
<dialogue>Trust me, I spent a lot of time with him when I was preparing his case. He's really a very sweet, sensitive human being.</dialogue>
<character>MAX</character>
<parenthetical>(on T.V.)</parenthetical>
<dialogue>I'd like to mash his head like a ripe melon...</dialogue>
<character>NED</character>
<dialogue>He gets a little melon-dramatic.</dialogue>
<character>MAX</character>
<parenthetical>(on T.V.)</parenthetical>
<dialogue>...then cut off all his fingers and rip out his liver with my teeth!</dialogue>
<character>NED</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>See. Loves to exaggerate.</dialogue>
<scene_description>Arch slumps in his chair, really stunned.</scene_description>
<character>ARCH</character>
<dialogue>Christ, Ned... you're in deep shit.</dialogue>
<scene_description>Ned laughs it off. He starts checking through the messages and paperwork on his desk. The PHONE RINGS. He picks it up.</scene_description>
<character>NED</character>
<dialogue>Lieutenant Ravine.</dialogue>
<scene_description>Ned's face darkens. He turns away.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOLA'S HOUSE - TIGHT SHOT - LOLA'S MOUTH - DAY</stage_direction>
<scene_description>Speaking into the phone... intense, obsessive.</scene_description>
<character>LOLA</character>
<dialogue>I want to see you, Ned.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE SQUAD ROOM - DAY</stage_direction>
<character>NED</character>
<parenthetical>(whispering harshly)</parenthetical>
<dialogue>I told you not to call me! It's finished between us. No. No, I'm not sucking anything of yours anymore!</dialogue>
<parenthetical>(voice gets louder)</parenthetical>
<dialogue>It's done! OVER!</dialogue>
<scene_description>He SLAMS the receiver down, shattering the phone! Everyone stares at Ned in stunned silence.</scene_description>
<character>NED</character>
<parenthetical>(shrugs it off)</parenthetical>
<dialogue>Wrong number.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOLA'S HOUSE - DAY</stage_direction>
<scene_description>She's in the bathtub, phone receiver in one hand, still jabbing at the porcelain tub with the ice pick. Water squirts from the holes she's punctured in the side of the tub. She flings the ice pick at the wall. It sticks!</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK - DAY</stage_direction>
<scene_description>Lana is seated on a park bench wearing a trenchcoat, hat and sunglasses. Frank walks up, looks around nervously, pretending not to know Lana. He sits down next to her.</scene_description>
<character>FRANK</character>
<dialogue>How come we gotta meet here?</dialogue>
<character>LANA</character>
<dialogue>We have to be careful now. We can't risk being seen together at the house or someone might connect us to the murder later on.</dialogue>
<scene_description>She hands him a hat.</scene_description>
<character>LANA</character>
<dialogue>Here... put this on.</dialogue>
<scene_description>She takes her sunglasses off, looks at him. He hesitates, staring at the hat. A dignified looking OLDER GENTLEMAN approaches. Frank quickly slips the hat on his head. The Older Gentleman sits on the bench across from them. He opens a paper sack and begins neatly laying his lunch out next to him. An apple, sandwich, napkin, Mountain Dew.</scene_description>
<character>LANA</character>
<parenthetical>(whispers to Frank)</parenthetical>
<dialogue>Speak Yiddish.</dialogue>
<character>FRANK</character>
<dialogue>What?</dialogue>
<character>LANA</character>
<dialogue>Red Yiddish.</dialogue>
<scene_description>We see the SUB-TITLE "Speak Yiddish." From this point on, all their dialog is in YIDDISH... but it appears in ENGLISH SUB-TITLES across the bottom of the screen.</scene_description>
<character>FRANK</character>
<dialogue>Ich hobe getracht, efsher iz der nisht geshtoigen un nisht gefloygen.</dialogue>
<parenthetical>(I been thinkin'... maybe this plan is too complicated.)</parenthetical>
<character>LANA</character>
<dialogue>Zein nisht azoy meshige! Der plan iz</dialogue>
<scene_description>kosher vi yosher. (Quit worrying. The plan is perfect.)</scene_description>
<character>INTERCUT - ANGLE ON OLDER GENTLEMAN</character>
<dialogue>He tosses crumbs of his sandwich to the pigeons,</dialogue>
<scene_description>occasionally glancing up at Frank and Lana. Whenever they speak, however, his eyes look down toward their legs.</scene_description>
<character>INTERCUT - MEDIUM TWO-SHOT ON FRANK AND LANA</character>
<dialogue>with SUB-TITLES across the bottom of screen, about</dialogue>
<scene_description>knee-level.</scene_description>
<character>FRANK</character>
<dialogue>Yo! Ober mir darfen imvarfen in tsug. Un schissen un schtippen in vasser arein. Oy a broch! Mir zenen git bakackt.</dialogue>
<scene_description>(Yeah, but we gotta get him on the train, shoot him... then push him in the river. There's a million ways we can screw up.)</scene_description>
<character>LANA</character>
<dialogue>Vus iz mit idr? Die host a vaichen schmoke?</dialogue>
<parenthetical>(You're not going soft on me, are you?)</parenthetical>
<character>FRANK</character>
<dialogue>Ven hob ich gehat a vaichen schmoke?</dialogue>
<parenthetical>(When have I ever gone soft on you?)</parenthetical>
<character>LANA</character>
<dialogue>Lest'n Yomkippur.</dialogue>
<parenthetical>(Last Yom Kippur.)</parenthetical>
<character>FRANK</character>
<dialogue>Nu shoin, ein mul. Es paseert tsie yeyden man.</dialogue>
<parenthetical>(Okay... once! It happens to every guy.)</parenthetical>
<dialogue>He looks around nervously.</dialogue>
<character>FRANK</character>
<dialogue>Oy! Mir vellen zein oif groise tsures. Me'vet unz chap'n.</dialogue>
<parenthetical>(We're going to be in big trouble. They're going to catch us.)</parenthetical>
<character>OLDER GENTLEMAN</character>
<dialogue>There's very little risk involved. Statistics reveal that less than thirty-two percent of all murderers are ever apprehended.</dialogue>
<scene_description>They both look at him... stunned. A long beat.</scene_description>
<character>LANA</character>
<dialogue>You speak Yiddish?</dialogue>
<character>OLDER GENTLEMAN</character>
<dialogue>No. But I can read sub-titles.</dialogue>
<scene_description>Frank and Lana are speechless. But across the bottom of the screen we see a SUB-TITLE reflecting their thoughts.</scene_description>
<character>SUB-TITLE</character>
<dialogue>Oy vay!</dialogue>
<character>INT. NED'S LAW OFFICE - DAY</character>
<dialogue>Ned enters, carrying the box. He sets it down on her</dialogue>
<scene_description>desk.</scene_description>
<character>LAURA</character>
<dialogue>Oh gee, you shouldn't have...</dialogue>
<character>NED</character>
<dialogue>I didn't. It's for my wife.</dialogue>
<scene_description>He goes into his office, starts to change out of his tattered suit. Laura talks to him from the outer office.</scene_description>
<character>LAURA</character>
<dialogue>She called. Wondered why you never came home last night. I told her you were working with a client, undercover.</dialogue>
<scene_description>She steps into the doorway of his office.</scene_description>
<character>LAURA</character>
<dialogue>Were you?</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<character>LAURA</character>
<dialogue>There's lipstick on your collar.</dialogue>
<scene_description>She returns to her desk. Disturbed, Ned quickly pulls the shirt collar out, checks it.</scene_description>
<character>NED</character>
<dialogue>No there isn't.</dialogue>
<character>LAURA</character>
<dialogue>No... there isn't. But you answered my question. She's a real looker, huh?</dialogue>
<character>NED</character>
<dialogue>Who?</dialogue>
<character>LAURA</character>
<dialogue>Lola Cain.</dialogue>
<character>NED</character>
<dialogue>I hadn't noticed.</dialogue>
<scene_description>She opens the blinds behind her and looks at Ned through the window between their offices.</scene_description>
<character>LAURA</character>
<dialogue>Yeah, I noticed how you hadn't noticed.</dialogue>
<parenthetical>(returns to work)</parenthetical>
<dialogue>That's alright. She noticed enough for both of us.</dialogue>
<scene_description>She picks up a stack of papers from the FAX machine. Ned steps into the doorway, wearing a clean shirt.</scene_description>
<character>LAURA</character>
<dialogue>I worry about you, Ned. I worry a lot.</dialogue>
<parenthetical>(hands him papers)</parenthetical>
<dialogue>Max Shady's been faxing death threats to you all morning.</dialogue>
<character>NED</character>
<parenthetical>(reading bits)</parenthetical>
<dialogue>...stick a knife in your...</dialogue>
<parenthetical>(reacts, next)</parenthetical>
<dialogue>...rip the eyeballs out of your...</dialogue>
<parenthetical>(next)</parenthetical>
<dialogue>...drive razor-sharp spikes under your...</dialogue>
<character>LAURA</character>
<dialogue>Did you get to the one...?</dialogue>
<character>NED</character>
<dialogue>...cut it off... shove it in a blender.</dialogue>
<character>LAURA</character>
<dialogue>Yeah... that one.</dialogue>
<character>NED</character>
<parenthetical>(tosses them aside)</parenthetical>
<dialogue>He's just getting it out of his system. Once they say it... they never do it. You know... like the President.</dialogue>
<scene_description>There's a KNOCK at the door. They look up to see an ominous SILHOUETTE of a MAN on the milkglass. Ned starts toward the door. Laura grabs his arm, stopping him.</scene_description>
<character>LAURA</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Wait. It might be him.</dialogue>
<scene_description>She opens her purse, pulls out a big COLT .45, holding it out to him. Ned stares at it, taken aback.</scene_description>
<character>NED</character>
<dialogue>Where did you get that?</dialogue>
<character>LAURA</character>
<parenthetical>(as if obvious)</parenthetical>
<dialogue>From my purse.</dialogue>
<character>NED</character>
<dialogue>What are you doing with it?</dialogue>
<character>LAURA</character>
<parenthetical>(still obvious)</parenthetical>
<dialogue>Handing it to you.</dialogue>
<character>NED</character>
<dialogue>Jeez, Laura, what do you use a gun for?</dialogue>
<character>LAURA</character>
<dialogue>You shoot it. A bullet comes out. Gosh, Ned, after all your years as a cop, I'd think you'd know these things.</dialogue>
<character>NED</character>
<dialogue>Laura... put the gun away.</dialogue>
<scene_description>He hands the gun back to her... goes to the door... opens it. There's a young DELIVERY MAN holding a bouquet of flowers.</scene_description>
<character>DELIVERY MAN</character>
<parenthetical>(checks card)</parenthetical>
<dialogue>Flowers for Ned Rav...</dialogue>
<parenthetical>(looks up)</parenthetical>
<dialogue>Hey... aren't you that lawyer guy? Man, you are dead meat!</dialogue>
<scene_description>Ned grabs the flowers, slams the door. Laura takes the envelope from the flowers... opens it.</scene_description>
<character>LAURA</character>
<dialogue>Is this another sick joke from Max Shady?</dialogue>
<scene_description>She looks at the card... her expression turning cold.</scene_description>
<character>NED</character>
<dialogue>What is it...?</dialogue>
<character>LAURA</character>
<parenthetical>(hands it to him)</parenthetical>
<dialogue>Lola Cain.</dialogue>
<scene_description>She grabs the flowers... takes them into the bathroom.</scene_description>
<character>LAURA</character>
<dialogue>I'll put these in water for you.</dialogue>
<scene_description>Ned opens the envelope. An audio cassette drops into his hand. Written on the label: PLAY ME. From the bathroom, we hear the LOUD SOUND of a TOILET FLUSHING.</scene_description>
</scene>
<scene>
<stage_direction>INT. NED'S CAR - NIGHT</stage_direction>
<scene_description>It's raining. Ned pops the cassette into the tape player.</scene_description>
<character>LOLA'S VOICE</character>
<dialogue>Ned, darling... I know this seems like a strange way to talk with you... but since you won't take my calls, I have no other choice.</dialogue>
<parenthetical>(then suddenly)</parenthetical>
<dialogue>Watch it! That red car's turning left!</dialogue>
<scene_description>Ned swerves to avoid a collision, HONKING his horn.</scene_description>
<character>LOLA'S VOICE</character>
<dialogue>I love you, Ned. We're meant to be together... forever.</dialogue>
<parenthetical>(then suddenly)</parenthetical>
<dialogue>The light's changing! Floor it! Go! Go! Go!</dialogue>
<scene_description>Ned guns it!... accelerating through a yellow light.</scene_description>
<character>LOLA'S VOICE</character>
<dialogue>Nice move!</dialogue>
<parenthetical>(then sincere again)</parenthetical>
<dialogue>Nothing can keep us apart, Ned. Not even your wife. I'd hate to have to tell her about us, but if necessary... I will.</dialogue>
<scene_description>We see HEADLIGHTS behind Ned's car.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOLA'S CAR - NIGHT</stage_direction>
<scene_description>She is following him, her eyes intense, obsessed. Dizzy sits in the back seat, noodling softly on his saxophone.</scene_description>
</scene>
<scene>
<stage_direction>INT. NED'S HOUSE - NIGHT</stage_direction>
<scene_description>Ned steps into the living room carrying the box. Lana comes down the stairs, pulling on a bathrobe.</scene_description>
<character>LANA</character>
<dialogue>What happened to you last night?</dialogue>
<character>NED</character>
<parenthetical>(guilty as charged)</parenthetical>
<dialogue>Why? What have you heard?</dialogue>
<character>LANA</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>You could have called. But then, I suppose you were tied up.</dialogue>
<character>NED</character>
<parenthetical>(reflecting back)</parenthetical>
<dialogue>Only part of the time.</dialogue>
<character>LANA</character>
<dialogue>I never know when you're coming home, Ned. How can I ever make any plans?</dialogue>
<scene_description>In the b.g., through the window, WE SEE Frank drop from the second floor, right onto the seat of a waiting motorcycle. He ZOOMS OFF into the night. Ned steps up behind Lana, slips his arms around her.</scene_description>
<character>NED</character>
<dialogue>I promise I'll spend more time with you. I know it's been rough, being alone so much. But I'll make it up to you. Maybe we should try again, you know... to have a baby.</dialogue>
<scene_description>She rolls her eyes at this... changes the subject.</scene_description>
<character>LANA</character>
<dialogue>So what's in the box?</dialogue>
<character>NED</character>
<dialogue>Oh... I brought you a present!</dialogue>
<scene_description>He hands it to her. She opens it, looks in. She looks up, struggling unsuccessfully to hide a look of displeasure.</scene_description>
<character>LANA</character>
<dialogue>What is it?</dialogue>
<character>NED</character>
<dialogue>It's... sorta like a cat.</dialogue>
<scene_description>Ned pulls out a PET SKUNK and puts it in Lana's lap. She forces a weak smile.</scene_description>
<character>LANA</character>
<dialogue>Not enough like a cat.</dialogue>
<character>NED</character>
<dialogue>It's a little skunk. I got it at Birds-and-Skunks-R-Us.</dialogue>
<character>EXT. HOUSE - NIGHT</character>
<dialogue>Lola stands in the pouring rain outside, drenched...</dialogue>
<scene_description>staring at Lana and Ned through the window.</scene_description>
<character>INT. HOUSE - NIGHT</character>
<dialogue>NED</dialogue>
<scene_description>So... what're you going to name him?</scene_description>
<character>LANA</character>
<dialogue>How about... Ned?</dialogue>
<character>NED</character>
<parenthetical>(thinks about it)</parenthetical>
<dialogue>Yeah. Got a nice ring to it. I've always liked the name Ned.</dialogue>
<character>LANA</character>
<dialogue>No kidding.</dialogue>
<scene_description>He puts his arms around them both.</scene_description>
<character>NED</character>
<dialogue>So whatdya think? You love Ned Junior as much as you love me?</dialogue>
<character>LANA</character>
<dialogue>At least.</dialogue>
<scene_description>The phone RINGS. Lana stands up, unceremoniously dropping the Skunk into Ned's arms. She goes into...</scene_description>
<character>THE ADJOINING ROOM</character>
<dialogue>...to answer the phone.</dialogue>
<character>LANA</character>
<dialogue>Hello?... Hello?... Hello?</dialogue>
<parenthetical>(then, whispering)</parenthetical>
<dialogue>Frank? Is that you?</dialogue>
<character>EXT. THE HOUSE - NIGHT</character>
<dialogue>Lola is in a glass telephone booth with venetian blinds</dialogue>
<scene_description>and a ceiling fan. She cracks the blinds open. In the background, through a window, we can see Lana in the house on the phone.</scene_description>
<character>LANA</character>
<parenthetical>(filtered)</parenthetical>
<dialogue>I told you not to call. Frank? FRANK!</dialogue>
<character>INT. COURTHOUSE - DAY</character>
<dialogue>Ned enters the cavernous marble rotunda, turns down a</dialogue>
<scene_description>hallway crowded with milling attorneys and defendants. Lola suddenly intercepts him... a newspaper trailing from her high heel shoe.</scene_description>
<character>LOLA</character>
<dialogue>Who's Frank?</dialogue>
<character>NED</character>
<dialogue>Frank? The only Frank I know is an auto mechanic... but I sure as hell wouldn't recommend the guy. He's really slow.</dialogue>
<scene_description>He starts to move off, but she stops him, impassioned.</scene_description>
<character>LOLA</character>
<dialogue>I had to see you, Ned. I need to feel your arms around me! I wanna suck your toes til the nails pop off!</dialogue>
<scene_description>Lola's voice ECHOES. BYSTANDERS gather, listening. Ned looks around self-consciously, embarrassed.</scene_description>
<character>NED</character>
<dialogue>I told you, what happened was a big mistake. A one night stand. It's over. I have a wife...</dialogue>
<scene_description>The CROWD presses closer... not missing a thing. A WOMAN snaps a FLASH PICTURE! A MAN turns on his video camera.</scene_description>
<character>LOLA</character>
<dialogue>It doesn't matter. She'll know all about us soon anyway. I want YOU! In my bed... in my arms... in MEEEEEEE!</dialogue>
<scene_description>Mortified, Ned spins on his heels and makes a bee-line for the safety of the Men's Room. Lola holds up two tickets.</scene_description>
<character>LOLA</character>
<dialogue>I got us tickets to see Iron Butterfly!</dialogue>
<character>NED</character>
<dialogue>I hate opera!</dialogue>
<character>INT. MEN'S ROOM - DAY</character>
<dialogue>Ned bursts in, goes to the urinal... not noticing BEN</dialogue>
<scene_description>ARUGULA, an older gentleman in a business suit, standing at the urinal next to him. A beat later... Lola enters.</scene_description>
<character>LOLA</character>
<dialogue>Why are you running from me? Didn't it mean ANYTHING to you?... buffing my buns with carnuba wax?</dialogue>
<parenthetical>(looks down)</parenthetical>
<dialogue>Come on, Neddy-poo. Doesn't Mr. Pokey want to go exploring?</dialogue>
<character>NED</character>
<dialogue>He's busy right now.</dialogue>
<scene_description>Arugula glances sideways at Ned, curious and uneasy.</scene_description>
<character>NED</character>
<dialogue>Look, I told you... Mr. Pokey made a big mistake! One lousy mistake in his whole stinkin' life! So why don't you give him a BREAK! Besides... he belongs to my wife!</dialogue>
<character>EXT. SHOOTING RANGE - DAY</character>
<dialogue>Lana FIRES her gun rapidly... BANG! BANG! BANG!</dialogue>
<scene_description>BANG!... over her shoulder, behind her back, under her leg.</scene_description>
<character>ANGLE ON TARGET</character>
<dialogue>A full-body cut-out of a man, wearing one of Ned's</dialogue>
<scene_description>trademark gray suits. A HUGE SMOKING HOLE has been blown right through the crotch! Lana smirks, inhales the SMOKE from the gun barrel... and blows it out.</scene_description>
<character>INT. COURTROOM - DAY</character>
<dialogue>TILT DOWN from an official government seal that reads</dialogue>
<scene_description>"ARS GRATIA ARTIS." JUDGE Ben Arugula... the distinguished looking gentleman from the men's room, sits on the bench. Ned, Laura and a SLIMY DEFENDANT stand at the defense table.</scene_description>
<character>JUDGE ARUGULA</character>
<dialogue>I'd like to congratulate Mr. Pokey for setting yet another unusual legal precedent. This is the first time I've ever tried a case in which the JURY was found to be insane.</dialogue>
<character>ANGLE - JURY AND BAILIFF</character>
<dialogue>The BAILIFF is handing out straitjackets to all the</dialogue>
<scene_description>JURORS. The Jury Foreman struggles to get his on and laced up.</scene_description>
<character>BAILIFF</character>
<parenthetical>(to another Juror)</parenthetical>
<dialogue>What're you? A thirty-eight long?</dialogue>
<character>BACK TO JUDGE ARUGULA</character>
<dialogue>JUDGE ARUGULA</dialogue>
<scene_description>The jury will be remanded to the Center For Unclear Thinking in Simi Valley. Court's adjourned.</scene_description>
<character>INT. COURTHOUSE HALLWAY - DAY</character>
<dialogue>The JURY is led from the courtroom in straitjackets and chains. Ned and Laura follow them out.</dialogue>
<character>NED</character>
<dialogue>Your BIRTHDAY! Today? Why didn't you tell me?</dialogue>
<character>LAURA</character>
<dialogue>It's not important. I just had one last year.</dialogue>
<character>NED</character>
<dialogue>Well, I'm taking you out to celebrate!</dialogue>
<scene_description>In the b.g. the Slimy Defendant pulls a gun and forces CITIZENS... including Judge Arugula... up against the wall, robbing them!</scene_description>
<character>LAURA</character>
<dialogue>Oh no no! It's no big thing. I'll have another one sometime.</dialogue>
<character>NED</character>
<dialogue>I insist. And I want to get you a nice present.</dialogue>
<character>LAURA</character>
<dialogue>You're so sweet. You don't have to. You gave me a present last year. Those lovely Ginzu knives.</dialogue>
<character>NED</character>
<dialogue>Yeah... aren't they great! They last forever. And you can cut right through a shoe with 'em!</dialogue>
<scene_description>As they walk off, we HOLD ON a CLOSE SHOT of a newspaper. The headline reads: EX-CON STALKS COP/LAWYER NED RAVINE! Below it is a picture of Max Shady, eyes wide with psychotic rage... a huge cigar in his mouth, wearing a garish Hawaiian shirt. Hands lower the newspaper... revealing Max himself, with the same cigar, shirt and crazed look on his face.</scene_description>
</scene>
<scene>
<stage_direction>INT. LE MISS FASHION BOUTIQUE - DAY - MONTAGE</stage_direction>
<scene_description>Laura models hats... each one becoming more outrageous. She coaxes Ned into joining her. They BOTH try on WOMEN's hats... smiling and laughing... as "Brown Eyed Girl" plays. In one of the mirrors, we SEE Max Shady's reflection... as he also tries on women's hats, watching them, puffing his cigar.</scene_description>
<character>INT. LE HULA BOWL RESTAURANT - NIGHT</character>
<dialogue>Laura wears a baseball cap with beer cans attached to</dialogue>
<scene_description>each side with long, curved plastic straws. The cap emblem reads "BEER BIMBO." A price tag hangs from it. She is beaming. In the b.g., Hawaiian DANCERS juggle flaming torches as they dance around an ICE SCULPTURE of a Hula Dancer.</scene_description>
<character>NED</character>
<dialogue>It's nice to be off the streets... away from all the pain and misery out there.</dialogue>
<scene_description>Ned motions casually toward the world "out there"... sticking his thumb into the eye of a WAITER who is bending over to pick up a spoon, setting off a chaotic CHAIN REACTION of small disasters that finally culminates with someone near the dance floor bumping into the Torch Juggler, throwing his rhythm off. Distracted, he starts catching the FLAMING ENDS of the torches! OW! OH! YI! OUCH! YIPES! He drops them all. The Waiter who bumped into him, politely picks up one of the flaming torches and hands it back to the Torch Juggler. He grabs the flaming end of the torch... and lets out a SCREAM! He lunges toward a voluptuous HULA GIRL ICE SCULPTURE, grabbing the frozen breasts. His burned hands SIZZLE! Ned and Laura don't even notice... gazing only at each other.</scene_description>
<character>LAURA (V.O.)</character>
<dialogue>What's he thinking when he looks at me with that goofy smile...?</dialogue>
<character>NED (V.O.)</character>
<dialogue>Boy, does she look stupid in that hat.</dialogue>
<character>LAURA (V.O.)</character>
<dialogue>If I told him how I really feel, he'd probably fire me. What am I saying? He probably doesn't even know I exist.</dialogue>
<character>NED (V.O.)</character>
<dialogue>Laura's incredible. And so smart. Smart enough to recognize that Ginzu knives are the gift of a lifetime.</dialogue>
<parenthetical>(then, concerned)</parenthetical>
<dialogue>But she never goes out with guys. I wonder why?</dialogue>
<character>LAURA (V.O.)</character>
<dialogue>I guess I'll just have to wait. But he's married. I could wait forever. Than again... maybe Lana will get hit by a runaway truck. There's always a chance that...</dialogue>
<character>NED (V.O.)</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>But who cares if she... Oh, sorry.</dialogue>
<character>LAURA (V.O.)</character>
<dialogue>That's alright. I was just rambling.</dialogue>
<character>NED (V.O.)</character>
<dialogue>Go ahead...</dialogue>
<character>LAURA (V.O.)</character>
<dialogue>No, no, really... you first...</dialogue>
<character>NED (V.O.)</character>
<dialogue>I insist... please...</dialogue>
<character>LAURA</character>
<dialogue>Oh, uh... I just wanted to remind</dialogue>
<scene_description>you about...</scene_description>
<character>NED</character>
<dialogue>...the Legal Symposium...</dialogue>
<character>LAURA</character>
<dialogue>...in Santa Barbara...</dialogue>
<character>NED</character>
<dialogue>...tomorrow...</dialogue>
<character>NED & LAURA</character>
<parenthetical>(in unison)</parenthetical>
<dialogue>..."How To Sue Your Loved Ones."</dialogue>
<character>NED</character>
<dialogue>Yeah. I'm driving up in the morning.</dialogue>
<character>ANGLE - MAX SHADY</character>
<dialogue>sits at a corner table wearing a chic beret from the</dialogue>
<scene_description>hat store, voraciously devouring a huge Hawaiian Pit Roasted Pig. He wrenches the apple from the Pig's mouth... takes a huge bite!</scene_description>
<character>BACK TO NED AND LAURA</character>
<dialogue>A saxophone begins to wail "Lola's Theme." Ned looks</dialogue>
<scene_description>up, his eyes drawn to the lounge. He sees... Lola... striking a sexy pose on a bar stool, eyes locked on Ned. Dizzy walks thru, behind the bar, playing his sax. She grabs a handful of cherries from a glass on the bar, shoves them in her mouth, cheeks bulging, tongue moving furiously. A moment later, she pulls out a long chain of inter-locked cherry stems. Ned reacts, shaken, glancing nervously at Laura. She smiles, unaware. His eyes flash back to Lola.</scene_description>
<character>LAURA (V.O.)</character>
<dialogue>He's so cute. He can't even look me in the eye.</dialogue>
<scene_description>Ned's reacts intensely to...</scene_description>
<character>LOLA - NED'S POV</character>
<dialogue>She stretches out sensuously on the bar, executing a</dialogue>
<scene_description>series of humanly impossible erotic gymnastic positions! Then, wrapping her legs around a brass pole, she spins no- handed... until her thighs begin to SMOKE!</scene_description>
<character>REVERSE ANGLE - ON ENTIRE ROOM</character>
<dialogue>The eyes of every MALE in the restaurant are riveted on</dialogue>
<scene_description>Lola!</scene_description>
<character>CLOSER ON NED AND LAURA</character>
<dialogue>The table starts to rise slowly on Ned's side, glasses</dialogue>
<scene_description>sliding toward Laura. She reaches out to stop them... noticing Ned's distracted expression.</scene_description>
<character>LAURA</character>
<parenthetical>(touching his arm)</parenthetical>
<dialogue>What is it, Ned? You can tell me.</dialogue>
<character>NED</character>
<parenthetical>(sighs, reluctant)</parenthetical>
<dialogue>I'm a man, Laura. And all men feel passion at one time or another. Even me.</dialogue>
<character>LAURA</character>
<parenthetical>(hopeful)</parenthetical>
<dialogue>Really?</dialogue>
<character>NED</character>
<dialogue>What would you think of a married man who gave in to those wild, sensual, raging desires?</dialogue>
<character>LAURA</character>
<dialogue>Oh... wow... golly...</dialogue>
<scene_description>She gulps, eyes wide. The DRUMS pound faster as the Dancers in the b.g. pick up the frenetic tempo!</scene_description>
<character>NED</character>
<dialogue>What if, for just one crazy moment, he couldn't resist...? He got knocked for a loop and lost control?</dialogue>
<character>LAURA</character>
<parenthetical>(smiles, eager)</parenthetical>
<dialogue>Gosh... that might be okay.</dialogue>
<scene_description>Breathless, she breaks a sweat, gasping for air. The DRUMS beat LOUDER, FASTER. The b.g. Dancers whip into a frenzy!</scene_description>
<character>NED</character>
<dialogue>What if a tidal wave of lust crashed over him and he was sucked into a vortex of wild, thrashing urges?</dialogue>
<scene_description>Both of Laura's ballcap beer cans EXPLODE! Beer SPRAYS out in a huge gush, drenching her! Ned is so preoccupied with his own dilemma, he doesn't even notice. He heaves a sigh... pats her hand... smiles philosophically.</scene_description>
<character>NED</character>
<dialogue>Well... it's not your problem. I'll work it out.</dialogue>
<character>ANGLE - AN ICE PICK</character>
<dialogue>grasped tightly in Lola's hand. She walks toward Ned</dialogue>
<scene_description>and Laura, a seething rage in her eyes. As she passes the ice sculpture, she stabs the ice pick into the crystalline Hula Dancer's neck! The head breaks off. She catches it and keeps coming, tossing the head casually in one hand, like a basketball. Lola appears suddenly at Ned and Laura's table. They look up.</scene_description>
<character>LOLA</character>
<parenthetical>(to Laura)</parenthetical>
<dialogue>Like some ice for your drink?</dialogue>
<scene_description>She drops the ice Mermaid head. It shatters Laura's glass to bits! Lola turns to Ned with a cold glare.</scene_description>
<character>LOLA</character>
<dialogue>Does your wife know you're... "working" late? I certainly hope so, Mr. Ravine.</dialogue>
<scene_description>She lights her cigarette with the ice pick lighter, then flips it like a jackknife. It STICKS into Ned's chair, right between his legs. Lola flashes a coldly arrogant smile at Laura... then exits.</scene_description>
<character>EXT. NED'S HOUSE - DRIVEWAY - MORNING</character>
<dialogue>Frank opens the hood to Ned's car, holding a</dialogue>
<scene_description>screwdriver in one hand... a wrench in the other. He doesn't know where to start.</scene_description>
<character>CLOSE ANGLE - MAX SHADY'S FEET - MORNING</character>
<dialogue>A NEWSBOY tosses a folded newspaper. It lands at Max</dialogue>
<scene_description>Shady's feet. Max picks up the paper, opens it. The headline says: SHADY READS NEWSPAPER IN FRONT OF RAVINE RESIDENCE! Max looks around self-consciously, eyes shifting uneasily.</scene_description>
<character>INT. NED'S HOUSE - MORNING</character>
<dialogue>Lana stands by the front door. She calls upstairs to</dialogue>
<scene_description>Ned.</scene_description>
<character>LANA</character>
<dialogue>Hurry up, darling. You'll be late!</dialogue>
<scene_description>Frank slips in, wearing his greasy overalls. He wipes his hands on a rag... giving Lana a sly wink.</scene_description>
<character>FRANK</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>It's all taken care of. When do I knock on the door?</dialogue>
<character>LANA</character>
<dialogue>Wait until I signal you. When I raise the blinds... you knock.</dialogue>
<scene_description>She steps over to the blinds and demonstrates. He knocks.</scene_description>
<character>LANA</character>
<dialogue>Not now!</dialogue>
<character>FRANK</character>
<dialogue>Oh, later... right... okay.</dialogue>
<scene_description>She nods, patronizing. Frank exits. Lana picks up the Skunk, cuddling him. Ned comes down wearing his trademark gray suit. Lana kisses him passionately... a final farewell.</scene_description>
<character>LANA</character>
<dialogue>Drive carefully, sweetheart. Say bye- bye to Little Ned. He loves his daddy... don't you Stink Pot?</dialogue>
<character>NED</character>
<parenthetical>(pets the skunk)</parenthetical>
<dialogue>See you tonight, Junior.</dialogue>
<scene_description>As soon as Ned closes the door, Lana's smile vanishes and she casually tosses the Skunk aside with a LOUD CRASH O.C.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NED'S HOUSE - DRIVEWAY - MORNING</stage_direction>
<scene_description>Ned turns the car key. Nothing. He gets out, opens the hood. He stares... dumbfounded.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE HOUSE - MORNING</stage_direction>
<scene_description>Ned comes in, visibly upset. Lana acts surprised.</scene_description>
<character>LANA</character>
<dialogue>What's wrong?</dialogue>
<character>NED</character>
<dialogue>This neighborhood is getting worse all the time! Damn kids stole my engine!</dialogue>
<character>LANA</character>
<dialogue>Why don't you catch the train to Santa Barbara? It leaves in twenty minutes.</dialogue>
<character>NED</character>
<dialogue>I'll just fly up.</dialogue>
<character>LANA</character>
<dialogue>No!</dialogue>
<scene_description>Ned looks at her strangely. She catches herself.</scene_description>
<character>LANA</character>
<dialogue>I mean... you can't. Armed terrorists seized the airport this morning. A plane crashed into the tower... and all the runways are on fire!</dialogue>
<character>NED</character>
<dialogue>Yeah. So?</dialogue>
<character>LANA</character>
<dialogue>And it's fogged in.</dialogue>
<character>NED</character>
<parenthetical>(disappointed)</parenthetical>
<dialogue>Dammit.</dialogue>
<character>LANA</character>
<dialogue>For my peace of mind... take the train.</dialogue>
<scene_description>Lana goes to the window, starts to raise the blinds.</scene_description>
<character>NED</character>
<dialogue>I can't do it. You know how I feel about riding trains.</dialogue>
<scene_description>She stops... letting the blinds drop down.</scene_description>
<character>LANA</character>
<dialogue>Darling... it's only a short trip.</dialogue>
<character>NED</character>
<parenthetical>(reconsiders)</parenthetical>
<dialogue>Yeah... right. A short trip.</dialogue>
<scene_description>She starts to raise the blinds again. He picks up the phone.</scene_description>
<character>NED</character>
<parenthetical>(he hesitates)</parenthetical>
<dialogue>A short trip to hell in a metal tomb!</dialogue>
<scene_description>He slams the receiver down. Lana drops the blinds again...</scene_description>
<character>LANA</character>
<dialogue>Just because both your parents died in a train wreck...</dialogue>
<character>NED</character>
<dialogue>And my brother, Jeff...</dialogue>
<character>LANA</character>
<dialogue>And your brother, Morty...</dialogue>
<character>NED</character>
<dialogue>My two sisters...</dialogue>
<character>LANA</character>
<dialogue>Right...</dialogue>
<character>NED</character>
<dialogue>My best friend, Al... my dog, Woof... Grandma Rose... and Uncle Lionel. All killed by trains!</dialogue>
<character>LANA</character>
<parenthetical>(very convincing)</parenthetical>
<dialogue>Coincidence, Ned. Beside... that's the past. They're gone.</dialogue>
<character>NED</character>
<parenthetical>(sighs, resigned)</parenthetical>
<dialogue>Yeah. I guess I can't bring them back by not riding on a train.</dialogue>
<character>LANA</character>
<dialogue>That's right.</dialogue>
<scene_description>She starts to raise the blinds again...</scene_description>
<character>NED</character>
<dialogue>But I just can't get over this stupid nagging fear that...</dialogue>
<scene_description>She abandons the blinds, leaving them raised part way...</scene_description>
<character>LANA</character>
<dialogue>Fear! What about our baby, Ned? I don't want to raise a child in a</dialogue>
<scene_description>home filled with fear! There's a KNOCK at the door. Lana tugs on the cord and the blinds drop with a CRASH. The KNOCKING stops. She pretends it didn't even happen, racing on.</scene_description>
<character>LANA</character>
<dialogue>But if you can conquer your fear... maybe I can conquer my fear of having a baby with a father who's fearful.</dialogue>
<parenthetical>(goes for broke)</parenthetical>
<dialogue>Ned... don't let a train kill our child before it's even conceived!</dialogue>
<character>NED</character>
<parenthetical>(heaves a sigh)</parenthetical>
<dialogue>I guess you're right.</dialogue>
<scene_description>She grabs the cord, then hesitates...</scene_description>
<character>LANA</character>
<dialogue>You're sure now...?</dialogue>
<scene_description>A beat. He nods. She quickly pulls the blinds up.</scene_description>
<character>NED</character>
<dialogue>But we'll never make it to the station. By the time a cab gets here...</dialogue>
<scene_description>A LOUD KNOCK at the front door. Lana opens it. It's Frank.</scene_description>
<character>FRANK</character>
<dialogue>I was in the neighborhood. Thought I'd stop by and pick up my tools.</dialogue>
<character>LANA</character>
<dialogue>Frank will drive you. Won't you Frank?</dialogue>
<character>FRANK</character>
<dialogue>Sure, I'll take you to the train station.</dialogue>
<scene_description>They all freeze. Lana glares at Frank, who is completely unaware of his faux pas... while Ned tries to figure out why that response didn't sound right.</scene_description>
<character>INT. FRANK'S VAN - DAY</character>
<dialogue>They climb into the van. Ned nervously checks his</dialogue>
<scene_description>watch.</scene_description>
<character>NED</character>
<dialogue>Twelve minutes. We'll never make it.</dialogue>
<character>EXT. FRANK'S VAN - DAY</character>
<dialogue>The CAMERA BOOMS DOWN LOW to reveal Max Shady under the</dialogue>
<scene_description>van, hanging on like a leech, his back only inches from the road. The van drives off.</scene_description>
<character>INT. FRANK'S VAN - MINUTES LATER</character>
<dialogue>At an intersection... they see a "DETOUR" sign. Frank</dialogue>
<scene_description>and Lana exchange concerned looks. Frank turns the corner. The van starts vibrating violently, tossing them around.</scene_description>
<character>NED</character>
<parenthetical>(checks his watch)</parenthetical>
<dialogue>We're not going to make it.</dialogue>
<character>FRANK</character>
<dialogue>We'll make it!</dialogue>
<scene_description>He shifts gears, guns the engine. They rocket ahead, BOUNCING WILDLY, their heads THUMPING the car roof! The van SPLASHES through deep water, a huge fantail spraying out on both sides.</scene_description>
<character>EXT. TRAIN STATION - DAY</character>
<dialogue>The train is pulling in. The CAMERA PANS to Frank's</dialogue>
<scene_description>muddy van as it drives up nearby. Frank waits in the van as Ned and Lana get out and walk toward the train. They pass a feeble OLD WOMAN struggling to drag a HUGE STEAMER TRUNK along the platform... inches at a time. A REDCAP passes her also, carrying a small overnight case for an attractive, elegantly attired SOCIALITE. Everyone ignores the Old Woman. Ned looks nervously at the train, already pale.</scene_description>
<character>LANA</character>
<dialogue>Okay... now what're you going to do if you feel queasy going through the tunnel?</dialogue>
<character>NED</character>
<dialogue>I'll stand in the vestibule between the cars.</dialogue>
<character>LANA</character>
<dialogue>That's right. When you get queasy... go stand in the vestibule between the cars.</dialogue>
<scene_description>She kisses his cheek. He reluctantly boards the train. Her smile vanishes. She hurries back to the next car, nods at Frank, boards the train. Frank peels off his coveralls, follows her on.</scene_description>
<character>ANGLE - COACH PLATFORM</character>
<dialogue>Laura's Husband steps from the train, holding the</dialogue>
<scene_description>deflated Ninja Turtle float ring. He looks around, then walks toward the cab stand. The CAMERA MOVES with him, then HOLDS ON...</scene_description>
<character>MAN READING NEWSPAPER - TIGHT SHOT</character>
<dialogue>The headline says: SHADY VOWS BLENDER VENGEANCE ON</dialogue>
<scene_description>RAVINE! Under the headline is a picture of Max Shady... muddy, bloody, greasy, clothes ripped, cigar shredded... looking off. The paper lowers, revealing Max... a battered mess, looking off. He picks up a small violin case and quickly moves toward the train as it starts to pull out. We now SEE that the seat of Max's pants has been ripped out, his naked buttocks scratched and scraped raw by the road.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Ned stares out the window... apprehensive, nervous. Frank and Lana enter at the opposite end of the coach. They spot Ned, quickly ducking into a seat where they can observe him yet remain hidden from view behind the tall seatbacks.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST COACH CAR - DAY</stage_direction>
<scene_description>Max walks through the car looking for Ned. He pauses, puffing on his big cigar. A WOMAN PASSENGER looks up and is shocked to see Max's scraped bare butt hanging out only inches away.</scene_description>
<character>WOMAN PASSENGER</character>
<dialogue>OH! My dear gracious!</dialogue>
<scene_description>Max swivels around to look at her... turning his bare behind toward an IRRITABLE MAN across the aisle.</scene_description>
<character>IRRITABLE MAN</character>
<dialogue>SIR! Would you PLEASE extinguish that foul smelling cigar?</dialogue>
<character>MAX</character>
<parenthetical>(turning slowly)</parenthetical>
<dialogue>You want me to put out my CIGAR? YOU want me to put out my cigar? You want ME to put out my CIGAR?</dialogue>
<character>IRRITABLE MAN</character>
<dialogue>Yeah.</dialogue>
<character>MAX</character>
<dialogue>Certainly.</dialogue>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Max enters through the vestibule, without his cigar, stopping in his tracks when he sees Ned. He smiles to himself, then ducks back into the lavatory.</scene_description>
<character>INT. LAVATORY - DAY</character>
<dialogue>Max looks at himself in the mirror. He's a disaster. He</dialogue>
<scene_description>opens the violin case, pulling out his trademark "Ned Ravine" gray suit on a hangar. It's not even wrinkled.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Ned looks pale... sweating... reacting tensely to every</dialogue>
<scene_description>lurch and bump the train makes. The feeble Old Woman strains to pull her huge steamer trunk down the aisle, inch by inch, toward Ned.</scene_description>
<character>ANGLE ON FRANK AND LANA</character>
<dialogue>Lana peers over the seat, watching Ned with a cruel</dialogue>
<scene_description>smile.</scene_description>
<character>LANA</character>
<dialogue>It's already getting to him. He'll be out of that seat and into the vestibule within ten minutes... I guarantee it.</dialogue>
<character>INT. LAVATORY - DAY</character>
<dialogue>Max is cleaned up, dressed in the suit. He straightens</dialogue>
<scene_description>his tie, slicks his greasy hair back, sticks a big cigar in his mouth and grins at himself in the mirror.</scene_description>
<character>MAX</character>
<dialogue>You talkin' to me? You talkin' to ME? You... talkin'... to... ME?</dialogue>
<scene_description>He reaches into the violin case, pulls out a complex assortment of metal parts, assembling them swiftly. CLICK... SNAP... CLUNK! It's an incredibly nasty looking high- tech, automatic weapon with gigantic cartridge clip. He screws on a long silencer and points the gun at the ceiling. POOF!... a muffled gunshot! Debris fall around him. He looks up. He has blown a HOLE through the roof of the coach. He adjusts the Silencer Volume Control, which has a scale from 1 thru 11. He turns it all the way down to "0"... DEAD SILENT. He pulls the trigger. The gun RECOILS, but there is absolutely NO SOUND! He has blown another HOLE in the ceiling.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Ned looks across the aisle to see a GROSS SLOB pulling</dialogue>
<scene_description>all kinds of strange food items from a paper bag, making a big, sloppy, disgusting SANDWICH that squirts and drips all over. Ned turns away... really queasy now.</scene_description>
<character>INT. LAVATORY - DAY</character>
<dialogue>Max reaches into the case, pulls out A BLENDER! He</dialogue>
<scene_description>plugs it into the outlet and REVS it a couple times, grinning wickedly.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Max steps out of the lavatory and sees the CONDUCTOR</dialogue>
<scene_description>coming his way collecting tickets. He quickly spins around, slides the door open and steps into the vestibule between cars. The Conductor can't get past the Old Woman, so he climbs over the top of her trunk, with no thought of helping her.</scene_description>
<character>INT. VESTIBULE - DAY</character>
<dialogue>Max looks out the side window, trying to conceal the</dialogue>
<scene_description>weapon in front of him. The Conductor enters, sees him.</scene_description>
<character>CONDUCTOR</character>
<dialogue>Ticket?</dialogue>
<scene_description>Without turning, Max holds the ticket up over his shoulder. The Conductor takes it, punches it, notices the gun barrel.</scene_description>
<character>CONDUCTOR</character>
<dialogue>Sorry pal... automatic weapons are only allowed in the club car after nine p.m.</dialogue>
<scene_description>Max turns, raising the gun with a nasty GROWL. The Conductor casually snaps a baggage tag to the barrel, taking the gun.</scene_description>
<character>CONDUCTOR</character>
<dialogue>I'll check it with baggage. You can claim it at the depot in Santa Barbara.</dialogue>
<scene_description>The Conductor drops the weapon into a big mesh bag... along with a dozen other guns he's collected. He exits. Max whirls around facing the window, eyes filled with rage. Now what?</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>A gun barrel slowly protrudes between the seats in</dialogue>
<scene_description>front of Frank and Lana. Their eyes widen. Suddenly, a stream of water hits Frank in the face! He sputters. A LITTLE KID named JEFF scrambles into the aisle.</scene_description>
<character>JEFF</character>
<dialogue>Hi! I'm Jeff and I'm eight years old. Didja know if ya put a penny on the track it'll make the train crash? No kiddin'! You ever been in a wreck? My uncle has. Lotsa times. It's really neat. Everybody gets creamed! All bloody guts... heads ripped off and stuff... Hey... wanna hear my song "Great Green Gobs of Greasy Grimy Gopher Guts"?</dialogue>
<scene_description>Lana turns to Frank... inspired. She leans toward Jeff.</scene_description>
<character>LANA</character>
<dialogue>You want to earn a couple bucks, kid?</dialogue>
<character>ANGLE ON NED</character>
<dialogue>Jeff bounces into the seat across from Ned.</dialogue>
<character>JEFF</character>
<dialogue>Hi! I'm Jeff and I'm eight years old. Didja know if ya put a penny on the track it'll make the train crash?</dialogue>
<character>ANGLE ON FRANK AND LANA</character>
<dialogue>Lana peers over the seat at Ned. She smiles.</dialogue>
<character>LANA</character>
<dialogue>He's losing it. You better get up to the next car. Remember, give me the high sign as soon as you see the river. It'll be two minutes and nine seconds past the tunnel. I'll take care of the rest. Anything goes wrong... just make sure you back me up.</dialogue>
<parenthetical>(grabs his collar)</parenthetical>
<dialogue>And don't let him see you.</dialogue>
<scene_description>Frank gets up, moves down the aisle slowly, eyes on Ned. He can't squeeze past the Old Woman, who is still struggling to pull her huge trunk down aisle. So... he climbs right over the top of it... oblivious to her. Frank stares at Ned warily as he gets closer. Suddenly, Jeff squirts a stream of water in Ned's eyes. Frank sees his chance, rushing past Ned toward the vestibule.</scene_description>
<character>INT. VESTIBULE - DAY</character>
<dialogue>Frank races through the vestibule behind Max's back. By</dialogue>
<scene_description>the time Max turns to see who's there... Frank is gone.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Ned wipes the water from his eyes, blinking. He grabs</dialogue>
<scene_description>the squirt gun away from Jeff, holding it up angrily.</scene_description>
<character>NED</character>
<dialogue>This... is not a toy!</dialogue>
<character>JEFF</character>
<dialogue>Yes it is.</dialogue>
<scene_description>A beat. Ned realizes he's right. Acting tough, he pulls the plug and drains the water out of the gun, then tosses it back to Jeff. Without missing a beat, Jeff drops the empty water magazine from the grip and jams a full one in... just like loading a cartridge clip. He smirks, ready for action. In the aisle next to them, the Old Woman now pulls her trunk back toward the vestibule. Jeff points the squirt gun at her. Suddenly, she whips around and SQUIRTS HIM in the face with her own squirt gun! He sputters!</scene_description>
</scene>
<scene>
<stage_direction>INT. VESTIBULE - DAY</stage_direction>
<scene_description>Max stares out the window, still seething. Behind him, the Old Woman moves into the vestibule, inch by inch, trying to drag her trunk into the first coach car. Max turns, sees her struggling and goes to her aid.</scene_description>
<character>MAX</character>
<dialogue>Here... let me help you with that.</dialogue>
<scene_description>He pushes the trunk into the first coach car, then very politely holds the door open for her. She smiles sweetly at him as she shuffles through.</scene_description>
<character>OLD WOMAN</character>
<dialogue>What a nice young man. You are so polite.</dialogue>
<character>MAX</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>I try to be.</dialogue>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Jeff is SINGING to Ned... to the tune of "The Old Gray</dialogue>
<scene_description>Mare."</scene_description>
<character>JEFF</character>
<dialogue>Great green gobs of greasy, grimy gopher guts... mutilated monkey meat... chopped up dirty birdie's feet... one pint jar of all-purpose porpoise pus... cooked in a Mulligan stew.</dialogue>
<scene_description>Ned turns queasy. The train lurches. He stiffens.</scene_description>
<character>INT. FIRST COACH CAR - DAY</character>
<dialogue>The Old Woman has unpacked her huge trunk. She has hung</dialogue>
<scene_description>up clothes... set out a vase with flowers... hung up a big framed painting... and turned on a floor lamp. She pulls out a set of dumbbells, pumps them a couple times... and drops them on the floor with a loud CLUNK! Frank watches her from his seat across the aisle with a blank expression... only his eyes moving. The Conductor punches the Old Woman's ticket, then holds out his hand, waiting. She pulls out a Smith & Wesson .44 Magnum... drops it in his bag. He waits. She pulls out an Uzi.</scene_description>
<character>EXT. THE TRACKS AHEAD - MOVING SHOT - DAY</character>
<dialogue>Up ahead, we see a tunnel approaching.</dialogue>
<character>OMIT</character>
<dialogue>Sequence omitted from original script.</dialogue>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>JEFF</dialogue>
<parenthetical>(still singing)</parenthetical>
<dialogue>French fried eyeballs and ugly scabs you wanna pick... stuff to make your mother sick... dog poop on a stick... puke and snot all mixed together in a pot...</dialogue>
<scene_description>Ned is looking very pale and queasy. Suddenly, Jeff jumps up... presses his face against the window.</scene_description>
<character>JEFF</character>
<dialogue>Oh boy! Here comes the tunnel!</dialogue>
<scene_description>Ned can't take it anymore. He gets up, pale and sweating.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRACKS AHEAD - MOVING SHOT - DAY</stage_direction>
<scene_description>...racing toward the tunnel!</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Lana sees Ned stumble shakily into the aisle, moving toward the vestibule.</scene_description>
<character>LANA</character>
<dialogue>Way to go, Ned. Right on time.</dialogue>
<scene_description>The train enters the TUNNEL. Everything goes PITCH BLACK. A few beats, then... LIGHT fills the car again as they emerge from the tunnel. Lana looks. Ned is gone! She heads down the aisle.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST COACH CAR - DAY</stage_direction>
<scene_description>The Conductor is still tagging weapons as the Old Woman comes up with a Ruger Mini 14 machine gun, a Mauser C96 automatic handgun, a sawed-off double-barreled .12 gauge shotgun... and an old wooden slingshot.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Lana looks through the small window into the vestibule and catches a glimpse of a gray suit. She ducks back, leaning against the lavatory door.</scene_description>
<character>INT. LAVATORY - THE MIRROR - DAY</character>
<dialogue>Ned's dripping face rises up from the sink into view.</dialogue>
<scene_description>He splashes more water on, trying to overcome his queasiness.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Lana reaches into her purse, pulls out a gun. She looks through the vestibule windows into the first coach car,</dialogue>
<scene_description>her eyes searching for Frank.</scene_description>
<character>INT. FIRST COACH CAR - LANA'S POV - DAY</character>
<dialogue>Frank pokes his head out into the aisle, looking toward</dialogue>
<scene_description>Lana. He waves at her.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Lana ducks back, pressing herself against the lavatory</dialogue>
<scene_description>door... gripping the gun, tense.</scene_description>
<character>INT. LAVATORY - DAY</character>
<dialogue>Ned starts to open the door, then stops. He notices the</dialogue>
<scene_description>violin case. Opens it. A couple of bullets roll around inside. Then, he sees the blender... puzzled.</scene_description>
<character>INT. SECOND COACH CAR - DAY</character>
<dialogue>Lana leans forward, looking through the vestibule</dialogue>
<scene_description>windows, watching desperately for Frank's signal.</scene_description>
<character>INT. FIRST COACH CAR - DAY</character>
<dialogue>Frank looks out the window and sees...</dialogue>
<character>EXT. THE RIVER - FRANK'S POV</character>
<dialogue>It looms ahead.</dialogue>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Lana sees Frank's frantic signal. She raises the gun, pulls the hammer back and steps quickly into...</scene_description>
</scene>
<scene>
<stage_direction>INT. THE VESTIBULE - DAY</stage_direction>
<scene_description>Max hears someone enter. He stiffens...</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Ned steps out of the lavatory.</scene_description>
</scene>
<scene>
<stage_direction>INT. VESTIBULE - DAY</stage_direction>
<scene_description>Lana FIRES!... blowing a hole right through Max and the window behind him! She keeps firing! BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! More bullets than the gun could ever possibly hold!</scene_description>
</scene>
<scene>
<stage_direction>INT. SECOND COACH CAR - DAY</stage_direction>
<scene_description>Ned hears the GUNSHOTS and whirls around, looking into the vestibule through the glass window, just as...</scene_description>
</scene>
<scene>
<stage_direction>INT. VESTIBLE - DAY</stage_direction>
<scene_description>...Max turns to face Lana, filled with bloody bullet holes.</scene_description>
<character>MAX</character>
<dialogue>You shootin' at me?</dialogue>
<scene_description>Shocked to see it's Max, Lana empties the rest of the bullets into him... BLAM! BLAM! BLAM! BLAM! Max is SLAMMED back into the vestibule door by the impact!</scene_description>
<character>MAX</character>
<dialogue>Yeah... you're definitely shootin' at me.</dialogue>
<scene_description>She fires one last shot... BLAM!!!</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN ON BRIDGE - DAY</stage_direction>
<scene_description>Max flies out the door, executing a perfect "full gainer with a triple twist and a half-tuck"... a flawless Olympic style dive... ending with a dead body "belly flop" into the water!</scene_description>
<character>INT. FIRST COACH CAR - DAY</character>
<dialogue>Frank sees Max hit the river and lets out a loud</dialogue>
<scene_description>"WHOOP!" The Old Woman shoots him a nasty look. He stifles himself.</scene_description>
<character>INT. VESTIBULE - DAY</character>
<dialogue>Ned slides the vestibule door open... steps toward</dialogue>
<scene_description>Lana. In a daze, she raises the gun, points it at him, pulling the trigger... CLICK... CLICK... CLICK. He takes the gun from her gently.</scene_description>
<character>INT. FIRST COACH CAR - DAY</character>
<dialogue>Frank jumps up, rushing forward. He skids to a stop...</dialogue>
<scene_description>seeing Ned through the glass! Shocked, he ducks back.</scene_description>
<character>INT. VESTIBULE - DAY</character>
<dialogue>NED</dialogue>
<scene_description>In this crazy world, there's not a whole lot a guy can count on. But when the chips are down, I can always count on you. He takes her hand gently and kisses it...</scene_description>
<character>NED</character>
<dialogue>You risked your life to save mine. A guy can't ask any more from a woman than that.</dialogue>
<scene_description>... then, CLICK! He snaps a handcuff on her wrist!</scene_description>
<character>NED</character>
<dialogue>But I saw you shoot him, Lana. In cold blood. I gotta arrest you for</dialogue>
<scene_description>murder.</scene_description>
<character>LANA</character>
<dialogue>Ned... you wouldn't...</dialogue>
<character>NED</character>
<dialogue>Sorry. I'm a cop. I have a job to do.</dialogue>
<character>LANA</character>
<dialogue>But... you said it yourself. I saved your life.</dialogue>
<character>NED</character>
<dialogue>Don't worry, baby. I know a good lawyer.</dialogue>
<character>SPINNING NEWSPAPER</character>
<dialogue>whirls at us, snapping to a stop in someone's hands...</dialogue>
<scene_description>upside down. The hands turn it rightside up. The headline reads: COURT!"</scene_description>
<character>REVERSE ANGLE</character>
<dialogue>The paper lowers, revealing Lola Cain with a gratified</dialogue>
<scene_description>smile.</scene_description>
<character>EXT. CITY JAIL - DAY</character>
<dialogue>Ned and Laura move up the steps, surrounded by</dialogue>
<scene_description>REPORTERS and MEDIA PEOPLE. Questions are being fired from all sides.</scene_description>
<character>REPORTER #1</character>
<dialogue>What kind of gun did she use?</dialogue>
<character>NED</character>
<dialogue>That's a question for the arresting officer.</dialogue>
<character>REPORTER #2</character>
<dialogue>Aren't you the arresting officer?</dialogue>
<character>NED</character>
<dialogue>You'll have to ask her attorney.</dialogue>
<character>REPORTER #1</character>
<dialogue>But aren't you her attorney?</dialogue>
<character>NED</character>
<dialogue>Only her husband can answer that.</dialogue>
<character>REPORTER #3</character>
<dialogue>What will Mrs. Ravine be wearing at the trial?</dialogue>
<scene_description>Ned stops at the top of the stairs, turning to the Reporters.</scene_description>
<character>NED</character>
<dialogue>A lovely powder blue dress with a cinch waist, full bodice and a delicately pleated skirt.</dialogue>
<character>REPORTER #3</character>
<dialogue>Does it have a matching jacket?</dialogue>
<character>NED</character>
<dialogue>No comment.</dialogue>
<character>REPORTER #3</character>
<dialogue>Is it cotton or rayon?</dialogue>
<character>NED</character>
<parenthetical>(perturbed)</parenthetical>
<dialogue>I said... NO COMMENT!</dialogue>
<scene_description>Ned and Laura turn and enter the building.</scene_description>
<character>REPORTER #1</character>
<parenthetical>(calling out)</parenthetical>
<dialogue>Did she eat any of the victim's body parts?</dialogue>
</scene>
<scene>
<stage_direction>INT. CITY JAIL BUILDING - ENTRY CORRIDOR - DAY</stage_direction>
<character>NED</character>
<dialogue>Jeez... they're really throwing some tough questions out there today.</dialogue>
<character>LAURA</character>
<dialogue>They're just doing their job.</dialogue>
<character>NED</character>
<dialogue>Yeah... well I call it a "high-tech lynching of an uppity white housewife."</dialogue>
</scene>
<scene>
<stage_direction>INT. CAVERNOUS ROOM - DAY</stage_direction>
<scene_description>It's huge, dark and shadowy. More than a dozen heavily armed POLICE OFFICERS stand guard all around the perimeter. In the center is a cell constructed of iron bars, like an animal cage. Ned and Laura enter. Arch steps over.</scene_description>
<character>NED</character>
<parenthetical>(seeing the cage)</parenthetical>
<dialogue>What's this?</dialogue>
<character>ARCH</character>
<dialogue>Only cell available. They had that serial killer locked up here... you know, the one who talks his victims to death then eats them... Hannibal the Lecturer. But they let him out for a three week tour to publicize his new book.</dialogue>
<scene_description>Arch hands him a hardbound book.</scene_description>
<character>NED</character>
<parenthetical>(reading the cover)</parenthetical>
<dialogue>"To Serve Man."</dialogue>
<character>ARCH</character>
<dialogue>It's a cookbook.</dialogue>
<scene_description>Ned flips it over. ANGLE - THE BOOK - NED'S POV On the back is a picture of HANNIBAL THE LECTURER... wearing a baseball catcher's mask with barbed wire over the mouth. BACK TO SCENE</scene_description>
<character>ARCH</character>
<dialogue>And look, look... he autographed it.</dialogue>
<scene_description>Arch pulls the front cover of the book open, pointing.</scene_description>
<character>NED</character>
<parenthetical>(reads it)</parenthetical>
<dialogue>To Arch... Love to have you for dinner sometime... Hannibal.</dialogue>
<parenthetical>(hands it back)</parenthetical>
<dialogue>Very nice.</dialogue>
<scene_description>Arch points toward the cage.</scene_description>
<character>ARCH</character>
<dialogue>They're waiting for ya. They didn't want to start without her attorney being present.</dialogue>
<character>CLOSE ON LANA - CANTED ANGLE</character>
<dialogue>There's a BIG MOTH on her mouth. The CAMERA PULLS BACK</dialogue>
<scene_description>SLOWLY. A beat... she spits the moth off, irritated.</scene_description>
<character>LANA</character>
<dialogue>PFFFTT! Damn moths! This place could use a good exterminator.</dialogue>
<scene_description>Three POLICE INVESTIGATORS sit opposite Lana at a long table. Moths flutter everywhere.</scene_description>
<character>INVESTIGATOR # 2</character>
<parenthetical>(to Police Guard)</parenthetical>
<dialogue>Let's get the SWAT Team in here.</dialogue>
<scene_description>Ned, Laura and Arch enter the cage as the Guard exits.</scene_description>
<character>LANA</character>
<dialogue>Can't you get me out of this cage, Ned? I'm goin' buggy in here.</dialogue>
<character>NED</character>
<dialogue>Judge said no bail. Don't worry. Just tell the truth, you'll be fine.</dialogue>
<scene_description>He turns to the Investigators.</scene_description>
<character>NED</character>
<dialogue>Who's gonna handle the interrogation?</dialogue>
<character>INVESTIGATOR 1</character>
<dialogue>It's your collar... your bust... your call... your show... your play... your move... your wife...</dialogue>
<character>NED</character>
<dialogue>Okay, okay!... I'll handle it.</dialogue>
<scene_description>Laura sits at the far end of the table and opens her notebook. Lana pulls out her mirrored compact, starts to apply lipstick.</scene_description>
<character>INVESTIGATOR 2</character>
<dialogue>Sorry Mrs. Ravine... there's no makeup allowed in this building.</dialogue>
<scene_description>He nods toward a warning sign: a circle around a LIPSTICK with a diagonal line thru it. She responds, cool, confident.</scene_description>
<character>LANA</character>
<dialogue>What're you gonna do... arrest me for primping?</dialogue>
<scene_description>In the b.g., members of the SWAT Team desperately swat at the fluttering moths. Ned spins his chair around, plants one foot on it, leans on his knee, looking hard at Lana.</scene_description>
<character>NED</character>
<dialogue>Don't give us a tough time. Just spill it! What were you doing on that train?</dialogue>
<character>LANA</character>
<dialogue>Well...</dialogue>
<scene_description>Ned raises his hand, sits down, leans close, changing his tone.</scene_description>
<character>NED</character>
<parenthetical>(confidential)</parenthetical>
<dialogue>As your attorney, I must advise you... you don't have to answer that question.</dialogue>
<scene_description>Ned stands, paces, agitated... plants his foot on the chair again. He leans toward her... getting tough again.</scene_description>
<character>NED</character>
<dialogue>Alright, quit playing games with us!</dialogue>
<parenthetical>(fires questions)</parenthetical>
<dialogue>Who put ya up to it? Where'd you get the gun? What's your link with the CIA?</dialogue>
<character>LANA</character>
<dialogue>I...</dialogue>
<scene_description>Ned jumps in, motioning with his hands for this to stop.</scene_description>
<character>NED</character>
<dialogue>Whoa whoa whoa whoa! That's it! I will not tolerate this unwarranted badgering of my client. She'll have her day in court, gentlemen.</dialogue>
<scene_description>He slams his briefcase shut and turns to Lana, sincere.</scene_description>
<character>NED</character>
<dialogue>I want to thank you, Mrs. Ravine, for being so cooperative with these gentlemen.</dialogue>
<parenthetical>(turns to Laura)</parenthetical>
<dialogue>Did you get all that down, Laura. Every word she said?</dialogue>
<character>LAURA</character>
<dialogue>Yep. Both of 'em.</dialogue>
<character>EXT. NED'S HOUSE - BACKYARD - DAY</character>
<dialogue>The CAMERA MOVES IN to a wire mesh cage at the very</dialogue>
<scene_description>back of the yard. A small sign on it says: NED JUNIOR. The door is open. The cage is... empty!</scene_description>
<character>EXT. AMUSEMENT PARK - DAY</character>
<dialogue>Lola rides the roller coaster with Lana's pet Skunk.</dialogue>
<scene_description>She LAUGHS maniacally as they plunge down a steep grade! The Skunk stands stiffly on her lap, his paws planted on the guard rail, eyes bulging out!... his fur standing straight up!</scene_description>
<character>INT. NED'S HOUSE - DAY</character>
<dialogue>Ned hesitates at the front door. It's open a crack. He</dialogue>
<scene_description>moves inside cautiously. There is a strange BUBBLING SOUND coming from the kitchen. He moves toward it... apprehensive. He enters the kitchen and SEES... a huge bubbling pot on the stove, foam spilling over from under the lid! His mind reels! He charges out the back door.</scene_description>
<character>EXT. BACK OF HOUSE - DAY</character>
<dialogue>Ned bursts out the back door... CAMERA TRACKING with</dialogue>
<scene_description>his feet as he dashes across the huge back yard... MUSIC POUNDING! He SEES the EMPTY animal cage! The door is open. A fuzzy blanket hangs halfway out. Shocked, Ned spins around... running back toward the house... CAMERA TRACKING HIS FEET, struggling to keep up. The CAMERA SLAMS into a tree!... CRACKING the LENS!</scene_description>
<character>INT. NED'S HOUSE - THE KITCHEN - DAY</character>
<dialogue>Ned bursts in... SEES the bubbling pot!... a huge</dialogue>
<scene_description>butcher knife on the counter!... and LOLA, arms outstretched to greet him.</scene_description>
<character>NED</character>
<dialogue>NO!</dialogue>
<character>LOLA</character>
<dialogue>Yes.</dialogue>
<character>NED</character>
<dialogue>NOOOOO!</dialogue>
<character>LOLA</character>
<dialogue>Yes!</dialogue>
<character>NED</character>
<dialogue>NOOOOOOOooooooo!!!</dialogue>
<scene_description>She whips the cover off the bubbling pot.</scene_description>
<character>LOLA</character>
<dialogue>YES! Cappelini pomodoro!</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<scene_description>She lifts up pasta with a spaghetti spoon... tossing a sprig of basil into the pot from the basil-leaf crown she wears.</scene_description>
<character>LOLA</character>
<dialogue>Pasta with tomato sauce. Whatsa matta? You don't like Italian?</dialogue>
<character>NED</character>
<dialogue>Where's Ned Junior? WHERE IS HE?!</dialogue>
<character>LOLA</character>
<dialogue>I thought he might like to get out, so I took him to the amusement park.</dialogue>
<scene_description>He grabs Lola's arm and drags her toward the front door.</scene_description>
<character>NED</character>
<dialogue>You can't just break into my house, cook my food... borrow my skunk!</dialogue>
<parenthetical>(opens the door)</parenthetical>
<dialogue>Leave me alone. Stay out of my face! Out of my neighborhood! Out of my LIFE!</dialogue>
<scene_description>She steps outside... turns to him.</scene_description>
<character>LOLA</character>
<dialogue>You haven't seen the last of me, Ned.</dialogue>
<scene_description>He SLAMS the door in her face... hesitates a beat, curious... then pulls the door open. Lola's still there.</scene_description>
<character>LOLA</character>
<dialogue>I told you.</dialogue>
<scene_description>Ned SLAMS the door again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTHOUSE STEPS - DAY</stage_direction>
<scene_description>It's a media circus! Vendors sell "TRIAL BALLOON" balloons. PRESS PHOTOGRAPHERS cluster around a squad of CHEERLEADERS wearing sweaters emblazoned with "FREE LANA OR BUST!" across their chests. They perform a rousing CHEER in front of a sign on the building that reads... "LE COURTHOUSE".</scene_description>
<character>CHEERLEADERS</character>
<parenthetical>(with choreography)</parenthetical>
<dialogue>Lana, Lana, she's the one Shot a bad guy with a gun Blew that sucker off a train Some guys are a friggin' pain YaaaaaAAAAAAAAY LANA!</dialogue>
<scene_description>A BBC COMMENTATOR speaks to a TV camera.</scene_description>
<character>COMMENTATOR</character>
<dialogue>Once again, Americans are making a mockery of their courts, turning a murder trial into a media circus! How can justice ever prevail when it is ridiculed and reviled in such a heinously revolting manner? This is Clement Von Franckenstein returning you to our BBC studios in London for the latest photographs of Lady Di naked in the bath.</dialogue>
<scene_description>Ned and Laura push their way through the crush of REPORTERS.</scene_description>
<character>INT. COURTROOM - DAY</character>
<dialogue>Spectators pour through several turnstiles, shoving in</dialogue>
<scene_description>their tokens. TV cameras have been set up to broadcast the trial. A UNIFORMED THEATER USHER escorts JURY MEMBERS in, checks their tickets, hands them programs and directs them to their seats. Ned and Laura sit at the defense table, next to Lana... who is oblivious to everything, deeply engrossed in a pocket video game. Ned looks toward the gallery and does a disturbed take. It's Lola!... sitting in the back row wearing a tailored suit, large brimmed hat with dark veil... and a SKUNK SKIN STOLE draped around her shoulders! Dizzy sits next to her, playing softly on a MUTED SAX.</scene_description>
<character>ANGLE - BROADCAST BOOTH</character>
<dialogue>A SPORTSCASTER delivers play-by-play of the action.</dialogue>
<character>SPORTSCASTER</character>
<dialogue>What a great day for a trial! We have lots of incandescent lighting, seventy-two degrees inside... and no wind!</dialogue>
<character>ANGLE - COURTROOM</character>
<dialogue>BAILIFF</dialogue>
<scene_description>Oy vay! Oy vay! Superior Court of Los Angeles is now in session. And here he is... direct from a triumphant one-week engagement in Las Vegas Circuit Court... the honorable... the venerable... the totally irrepressible... Judge Harlan Skan- kyyyyyyy! Flashing "APPLAUSE" signs and flashing "ALL RISE" audience prompters. Everyone gives the Judge a standing ovation.</scene_description>
<character>ANGLE - BROADCAST BOOTH</character>
<dialogue>SPORTSCASTER</dialogue>
<scene_description>Wow... has this defense team been HOT! Thirty-seven straight victories this year! Let's go down for the coin toss.</scene_description>
<character>ANGLE - COURTROOM</character>
<dialogue>The Bailiff flips a coin, motions to the PROSECUTOR.</dialogue>
<character>SPORTSCASTER (V.O.)</character>
<dialogue>The Prosecution wins the flip of the coin and elects to kick things off.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>The PROSECUTOR delivers her impassioned opening statement.</scene_description>
<character>PROSECUTOR</character>
<dialogue>...the prosecution will prove that this repulsive and degenerate woman coldly murdered a decent, law-abiding citizen...</dialogue>
<character>NED</character>
<parenthetical>(jumps up)</parenthetical>
<dialogue>Objection! Move to strike. Hearsay, irrelevant, stupid, idiotic, caca- doody poo-poo...</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>Sustained.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>Laura is on the stand. Ned hands her a sheet of paper.</scene_description>
<character>NED</character>
<dialogue>And can you tell us what this is?</dialogue>
<character>LAURA</character>
<dialogue>Yes. It's a death threat that Max Shady FAXED to you on the day he was released from prison.</dialogue>
<scene_description>Ned snatches it back, pacing, folding it into a paper airplane.</scene_description>
<character>NED</character>
<dialogue>A FAX in which he threatened to puree certain parts of my anatomy in a blender! I'd like to submit this into evidence.</dialogue>
<character>PROSECUTOR</character>
<parenthetical>(jumps up)</parenthetical>
<dialogue>Objection! Who cares about the FAX in this case?</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>I'll allow it.</dialogue>
<scene_description>Ned sails the paper plane toward the COURT CLERK, who is at an evidence table already piled high with tagged guns, appliances, knickknacks, auto parts and other junk. The plane sails toward an open window. The Clerk grabs it... going OUT the window with the plane!</scene_description>
<character>EXT. COURTHOUSE LAWN - DAY</character>
<dialogue>The Cheerleaders lead the SPECTATORS in an exuberant</dialogue>
<scene_description>CHEER.</scene_description>
<character>CHEERLEADERS</character>
<dialogue>U-G-L-Y! You ain't got no alibi! You're ugly! Yeah, you're ugly! M-A- M-A! How you think you got that way? Your Mama! Yeah, your Mama!</dialogue>
<scene_description>In the b.g., the Court Clerk plummets to the ground, then staggers to his feet, and stumbles... dazed... back toward the courthouse.</scene_description>
<character>INT. COURTROOM - LATER</character>
<dialogue>One of the JURORS watches a "DICK VAN DYKE" re-run on a</dialogue>
<scene_description>small portable TV monitors, oblivious to the testimony. In the b.g., the battered Clerk stumbles back in with the paper plane. The Conductor is on the stand. Ned holds up a BLENDER.</scene_description>
<character>NED</character>
<dialogue>And is this the blender you found in the lavatory of the train?</dialogue>
<character>CONDUCTOR</character>
<dialogue>Yes... it is.</dialogue>
<character>NED</character>
<dialogue>I'd like this marked as evidence.</dialogue>
<scene_description>The Bailiff reaches out, Ned waves him off... instead, tossing the blender over several heads to the Court Clerk... who runs to catch it, CRASHING into the wall. The blender falls,</scene_description>
<character>SHATTERS.</character>
<dialogue>ANGLE - BROADCAST BOOTH</dialogue>
<character>SPORTSCASTER</character>
<dialogue>Awwwww... a bad call by Ravine. Let's check out the re-play.</dialogue>
<scene_description>On the RE-PLAY SCREEN we see the action repeated in SLOW MOTION as the Sportscaster draws lines, circles, x's and squiggles.</scene_description>
<character>SPORTSCASTER</character>
<dialogue>Look at THAT! The Bailiff is wide open! But instead of handing it off, Ravine goes for the long bomb. Ohhhh! The pass is wide! A real wobbler! There's no way! He scrambles, but he just can't get his hands on it... And RIGHT THERE!...</dialogue>
<parenthetical>(freezes the frame)</parenthetical>
<dialogue>...WHAM! That blender is gone!</dialogue>
<character>INT. COURTROOM - LATER</character>
<dialogue>At the defense table, Laura glances over at Lana, who</dialogue>
<scene_description>is casually browsing through a copy of GALS & GUNS magazine. Laura reacts, then, trying to be as diplomatic as possible...</scene_description>
<character>LAURA</character>
<dialogue>Ned... did you ever consider that maybe you don't know women as well as you think you do?</dialogue>
<character>PROSECUTOR (O.S.)</character>
<dialogue>Now would you tell the court, in your own words, what you said to Mr. Ravine?</dialogue>
<scene_description>They both look toward the witness stand. Ned is shaken.</scene_description>
<character>NED</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I'm really worried about this guy. He could blow our whole case right out of the water.</dialogue>
<character>ANGLE - WITNESS STAND - MOMENTS LATER</character>
<dialogue>Jeff, the little boy from the train is on the witness</dialogue>
<scene_description>stand. The Prosecutor stands by, listening as...</scene_description>
<character>JEFF</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Great green gobs of greasy grimy gopher guts... mutilated monkey meat... itsy-bitsy birdie feet... Great green gobs of greasy grimy gopher guts... and me without a spoon!</dialogue>
<scene_description>The JURORS turn pale and reach for the air sickness bags in front of them. The Courtroom erupts. The Judge pounds his gavel LOUDLY.</scene_description>
<character>JEFF</character>
<parenthetical>(pointing at Lana)</parenthetical>
<dialogue>That lady paid me two bucks to sing it to him...!</dialogue>
<scene_description>But NO ONE hears this in all the confusion. The Judge, also looking ill now, bangs his gavel again.</scene_description>
<character>JUDGE SKANKY</character>
<dialogue>Recess! Ten minutes!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - DAY</stage_direction>
<scene_description>The Judge, Jury, Attorneys and Spectators are all playing on the swings, teeter-totters, monkey bars... having a blast! Ned and the Prosecutor play "dodge-ball." Laura cheers Ned on. The Prosecutor rockets the ball at Ned... and just misses!</scene_description>
<character>PROSECUTOR</character>
<dialogue>Gotcha, dork face! Gotcha, gotcha!</dialogue>
<character>LAURA</character>
<dialogue>No you didn't!</dialogue>
<character>NED</character>
<dialogue>No way! Uh-uh! Missed by a mile!</dialogue>
<scene_description>The BAILIFF steps into CLOSE UP, blowing a whistle loudly!</scene_description>
<character>BAILIFF</character>
<dialogue>Recess is over! Let's go... move it, move it, move it!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROADCAST BOOTH - LATER</stage_direction>
<scene_description>Marching band MUSIC fades off-screen.</scene_description>
<character>SPORTSCASTER</character>
<dialogue>There they go... the UCLA Marching Band! And now... Holy Toledo!... it looks like the victim's mother... Helen Shady... is gonna take the stand! This will be the first defensive play of the afternoon.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - SAME TIME</stage_direction>
<scene_description>Mrs. Shady is on the stand. Ned paces.</scene_description>
<character>NED</character>
<dialogue>Mrs. Shady... would you tell us about your son, Max. Was he a... a good boy?</dialogue>
<character>MRS. SHADY</character>
<dialogue>He was the best. And that's not just a mother talking. You can ask anybody.</dialogue>
<character>NED</character>
<dialogue>But he got into trouble once in awhile... like all kids do?</dialogue>
<character>MRS. SHADY</character>
<dialogue>Well, you know, pranks. Little jokes and things. But he was so cute. I have pictures!</dialogue>
<scene_description>She reaches down into her huge purse, pulling out a photo album. She opens it, showing Ned.</scene_description>
<character>MRS. SHADY</character>
<dialogue>Here. This is when he set the cat on fire...</dialogue>
<parenthetical>(then, assuring him)</parenthetical>
<dialogue>Oh... but the cat deserved it.</dialogue>
<character>NED</character>
<parenthetical>(looks, points)</parenthetical>
<dialogue>And what, uh... what are these...?</dialogue>
<character>MRS. SHADY</character>
<dialogue>Marshmallows. He just loved to toast marshmallows over a roaring cat. Burned on the outside... all soft in the middle.</dialogue>
<parenthetical>(turns page)</parenthetical>
<dialogue>And right here... this was taken on the day he left the priesthood to join the Green Berets.</dialogue>
<character>ANGLE - THE JURY</character>
<dialogue>They rise slowly out of their seats, craning their</dialogue>
<scene_description>necks, trying to see the photos.</scene_description>
<character>BACK TO SCENE</character>
<dialogue>Ned is now seated next to Mrs. Shady in the witness</dialogue>
<scene_description>box, looking at the photo album with her. Judge Skanky peers over the side of the bench.</scene_description>
<character>NED</character>
<dialogue>This is cute.</dialogue>
<character>MRS. SHADY</character>
<parenthetical>(laughs, delighted)</parenthetical>
<dialogue>Oh yes! That was during his Ku Klux Klan phase. He would take the sheets right off my bed... cut those little holes in them. What a stitch he was!</dialogue>
<character>ANGLE - THE SPECTATORS</character>
<dialogue>are now on their feet, all straining to catch a glimpse</dialogue>
<scene_description>of the photos in the album.</scene_description>
<character>BACK TO SCENE</character>
<dialogue>NED</dialogue>
<scene_description>And is this Max... with all the tools... fixing his bike? She snatches the photo out of the album.</scene_description>
<character>MRS. SHADY</character>
<dialogue>Why that shouldn't even be in there! It's his rotten little half-brother.</dialogue>
<parenthetical>(rips up photo)</parenthetical>
<dialogue>Stinkin' little pecker... he never was any good...</dialogue>
<character>ANGLE - BROADCAST BOOTH</character>
<dialogue>The Sportscaster is pushing his face against the</dialogue>
<scene_description>broadcast booth glass, trying to see what everyone's looking at.</scene_description>
<character>BACK TO SCENE</character>
<dialogue>MRS. SHADY</dialogue>
<parenthetical>(points at another)</parenthetical>
<dialogue>Oh! I didn't like these neo-Nazi boys. They were all so fussy and persnickety about everything. Heil this and heil that.</dialogue>
<parenthetical>(flips the page)</parenthetical>
<dialogue>Oh look... here's Max with his chainsaw. He loved to go to the national park and cut down those giant old trees. It made him feel so patriotic. You know, if he hadn't been such a successful criminal... I think he would have been a lumberjack.</dialogue>
<scene_description>The Court Clerk, Bailiff and Court Recorder have all moved around behind the witness stand, peering over Mrs. Shady's shoulder at the photos.</scene_description>
<character>MRS. SHADY</character>
<parenthetical>(tearful, angry)</parenthetical>
<dialogue>But now he'll never be anything! Not since...</dialogue>
<parenthetical>(stands up, points)</parenthetical>
<dialogue>...that woman, your wife, pulled the trigger and put my little Max in his grave!</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>Mrs. Shady! Do not POINT your finger in my courtroom. It's discourteous, impolite and disrespectful.</dialogue>
<character>MRS. SHADY</character>
<dialogue>Don't you tell me what to do with my finger! It's been more places than you've ever dreamed of!</dialogue>
<character>JUDGE SKANKY</character>
<parenthetical>(bangs gavel)</parenthetical>
<dialogue>Sit down!</dialogue>
<character>MRS. SHADY</character>
<dialogue>I'll point my finger wherever I want!</dialogue>
<scene_description>Mrs. Shady goes berserk... leaping from the witness stand, pointing several different fingers at Judge Skanky. The Bailiff attempts to restrain her, but she breaks free... scurrying around the courtroom, pointing fingers at everyone! CHAOS prevails!</scene_description>
<character>INT. COURTROOM - LATER</character>
<dialogue>The Irritable Man from the train is on the stand...</dialogue>
<scene_description>Max's huge cigar stuck in his ear! The hair around his ear is scorched.</scene_description>
<character>NED</character>
<dialogue>Did you encounter the victim... Max Shady... on board the train?</dialogue>
<character>IRRITABLE MAN</character>
<dialogue>Yeah. And I told him... "this is the NO SMOKING car! Would you please put out your damn cigar!"</dialogue>
<character>NED</character>
<dialogue>And is that the cigar in your ear?</dialogue>
<scene_description>The Man strains to see the cigar out of the corner of his eye. Impatient, Ned finally holds up a small pocket mirror.</scene_description>
<character>IRRITABLE MAN</character>
<dialogue>I believe it is.</dialogue>
<character>NED</character>
<dialogue>I'd like the cigar and the head of this witness entered into evidence.</dialogue>
<scene_description>The Bailiff picks up the Irritable Man and dumps him on the evidence table, where he is tagged by the Court Clerk.</scene_description>
<character>NED</character>
<dialogue>The defense calls... Lana Ravine!</dialogue>
<character>INT. COURTROOM - LATER</character>
<dialogue>Lana is on the stand. The Bailiff swears her in.</dialogue>
<character>BAILIFF</character>
<dialogue>Do you swear to tell the truth, the whole truth and nothing but the truth so help you God?</dialogue>
<character>LANA</character>
<parenthetical>(looks to Judge)</parenthetical>
<dialogue>Do I have to answer that, Harlan?</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>No, no dear. I'll vouch for her.</dialogue>
<scene_description>Ned approaches.</scene_description>
<character>NED</character>
<dialogue>Now, Mrs. Ravine... may I call you Lana?</dialogue>
<character>LANA</character>
<dialogue>No. Call me Angel Tits.</dialogue>
<character>PROSECUTOR</character>
<dialogue>I object!</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>Sustained. Counselor... you will address Angel Tits as Mrs. Ravine.</dialogue>
<character>NED</character>
<parenthetical>(after a beat)</parenthetical>
<dialogue>Mrs. Ravine... would you please tell the court... what were you doing on that train?</dialogue>
<character>LANA</character>
<dialogue>I saw Max Shady at the station... saw him get on board. I knew he'd made threats to kill you and mutilate your reproductive organs...</dialogue>
<scene_description>Ned and EVERY MALE in the courtroom winces at this, doubling over in imagined agony. Lana pauses, then continues...</scene_description>
<character>LANA</character>
<dialogue>...so I got on the train too... so I could warn you.</dialogue>
<character>NED</character>
<dialogue>Do you want to have children?</dialogue>
<character>LANA</character>
<dialogue>Someday. With the right man.</dialogue>
<character>NED</character>
<dialogue>But you couldn't have children if my...</dialogue>
<parenthetical>(makes a gesture)</parenthetical>
<dialogue>...were...</dialogue>
<parenthetical>(another gesture)</parenthetical>
<dialogue>...and, uh...</dialogue>
<character>LANA</character>
<dialogue>It would be difficult.</dialogue>
<character>NED</character>
<dialogue>So you followed him, knowing you had to protect me... your husband... your best friend... the man you love... the future father of your children.</dialogue>
<character>LANA</character>
<dialogue>Something like that.</dialogue>
<character>NED</character>
<dialogue>And when you saw that maniac standing in the vestibule, waiting to pulverize my pee-pee... you pulled the gun and fired and fired and FIRED!</dialogue>
<character>LANA</character>
<dialogue>And fired and fired and fired and fired and fired and fired and fired...</dialogue>
<scene_description>She pauses to count off on her fingers, then...</scene_description>
<character>LANA</character>
<dialogue>...and fired and fired and fired.</dialogue>
<character>NED</character>
<dialogue>The defense rests, your Honor.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>The COURTROOM ARTIST has been sketching intensely throughout the trial. We finally see... he's been sketching a BOWL OF FRUIT on the Court Recorder's desk. Ned picks up some fruit from the bowl and approaches the defense table.</scene_description>
<character>NED</character>
<dialogue>How can you convict a courageous woman who risked everything to save the life of her beloved husband? A woman who acted boldly to stop a demented maniac from doing THIS!...</dialogue>
<scene_description>Ned shoves the BANANA and two PLUMS into a demonstration blender on the defense table. He hits the puree button and the blender WHIRRS loudly!</scene_description>
<character>NED</character>
<parenthetical>(shouts over)</parenthetical>
<dialogue>...pulverizing the private parts of the man she loves!</dialogue>
<scene_description>All MALES in the courtroom react with pained expressions, cringing and doubling-over. Ned turns the blender off.</scene_description>
<character>NED</character>
<parenthetical>(directly to Jury)</parenthetical>
<dialogue>Lana Ravine is a loving wife and the potential mother of my potential child. I challenge YOU to strike a blow for motherhood and the American justice system! Put the "con" back in the Constitution. Put the "ju" back in jurisprudence. Put the "can" back in American. And put the "dom" back in freedom. Find this woman INNOCENT!... so we can all go to bed happy tonight!</dialogue>
<character>INT. PRESS ROOM - LATER</character>
<dialogue>A REPORTER opens the door marked PRESS ROOM. Inside, a</dialogue>
<scene_description>DOZEN REPORTERS press their pants on a dozen ironing boards.</scene_description>
<character>REPORTER</character>
<dialogue>The jury's back!</dialogue>
<scene_description>The Reporters scramble for the door, pulling their pants on!</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTROOM - LATER</stage_direction>
<scene_description>The CAMERA FOLLOWS a folded piece of paper as the Jurors pass it along to the FOREMAN... who hands it to the Bailiff... who hands it to the Judge. He unfolds it, reads it... then winks flirtatiously at the FEMALE JUROR who wrote it. She blushes.</scene_description>
<character>JUDGE SKANKY</character>
<parenthetical>(back to business)</parenthetical>
<dialogue>So... has the jury reached a verdict?</dialogue>
<character>JURY FOREMAN</character>
<parenthetical>(stands up)</parenthetical>
<dialogue>Yes we have, your Honor.</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>How do you find the defendant... on the count of manslaughter?</dialogue>
<character>JURY FOREMAN</character>
<dialogue>Not guilty.</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>On the count of murder in the first degree?</dialogue>
<character>JURY FOREMAN</character>
<dialogue>Not guilty.</dialogue>
<character>JUDGE SKANKY</character>
<dialogue>On the Count of Monte Cristo?</dialogue>
<character>JURY FOREMAN</character>
<dialogue>Not guilty.</dialogue>
<scene_description>A BOISTEROUS CLAMOR in the court. The electronic signs FLASH "NOT GUILTY!"... "NOT GUILTY!"... "NOT GUILTY!"</scene_description>
<character>JUDGE SKANKY</character>
<dialogue>Good. Then on the count of three, let's all get the hell out of here! One... two...</dialogue>
<scene_description>The Jury and Spectators start to rise. The Judge hesitates, gavel poised, shooting them a warning look.</scene_description>
<character>JUDGE SKANKY</character>
<dialogue>Wait... for... it...</dialogue>
<scene_description>Everyone FREEZES halfway out of their seats... waiting.</scene_description>
<character>JUDGE SKANKY</character>
<dialogue>Two and a half... THREE!</dialogue>
<scene_description>He smacks his gavel. Everyone scatters for the doors, but Judge Skanky beats them out of the room. Lana turns cool, dropping her courtroom facade. She plucks off her earrings, unbuttons the neck of her dress, reaches in and magically pulls out her bra, tossing it away.</scene_description>
<character>LANA</character>
<dialogue>Well, counselor, looks like you won another case. Lucky for me.</dialogue>
<scene_description>TWO LEGAL AIDES sneak up behind Ned and dump a big plastic barrel of Gatorade cans over his head!</scene_description>
<character>BAILIFF (O.S.)</character>
<parenthetical>(over P. A. system)</parenthetical>
<dialogue>Attention courtroom shoppers! All trial evidence now on sale. Forty to sixty percent off all exhibits! Everything must go!</dialogue>
<scene_description>They turn to SEE: Spectators and Jurors browse through the clutter of junk in front of the Court Clerk on the evidence table. An IRRITABLE WOMAN claims the Irritable Man, grabbing the cigar from his ear and throwing it down.</scene_description>
<character>IRRITABLE WOMAN</character>
<dialogue>I told you, Bernard... smoking cigars is bad for your hearing!</dialogue>
<scene_description>She pulls him away as Lana steps up, with a cigarette dangling from her lips. Lana picks up her gun and spins the cylinder. It's loaded. The battered Court Clerk limps over, smiling.</scene_description>
<character>COURT CLERK</character>
<dialogue>Mrs. Ravine! What can I do for ya?</dialogue>
<character>LANA</character>
<dialogue>How much for my gun?</dialogue>
<scene_description>Laura sees this... turns to Ned with a look of shock.</scene_description>
<character>LAURA</character>
<dialogue>I don't believe it! She just bought her gun back! The gun she used to kill a man!</dialogue>
<scene_description>Ned looks off toward Lana with admiration.</scene_description>
<character>NED</character>
<dialogue>Yeah... the same gun that saved my life. I'm sure it has sentimental value.</dialogue>
<scene_description>As Lana wades into the crowd of REPORTERS, some still without pants, the CAMERA MOVES TO Lola, who is watching Lana from the back of the courtroom. Lola pulls a small cord hanging from the side of her hat... opening her veil like window drapes. She's not happy.</scene_description>
<character>INT. FRANK'S GARAGE - DAY</character>
<dialogue>Frank lays on a mechanic's "creeper", working under a</dialogue>
<scene_description>car. Lana steps between his feet. He hears her and rolls out, his crotch sliding to a stop against her legs. He looks up, covered with black grease.</scene_description>
<character>FRANK</character>
<dialogue>So... you did it. Ya beat the rap.</dialogue>
<character>LANA</character>
<dialogue>No thanks to you.</dialogue>
<scene_description>He gets to his feet, cocky.</scene_description>
<character>FRANK</character>
<dialogue>Hey... I knew he'd spring ya.</dialogue>
<scene_description>She walks toward him, her voice cold, accusing. He backs up.</scene_description>
<character>LANA</character>
<dialogue>You didn't lift a finger, Frank. You let me take all the heat.</dialogue>
<character>FRANK</character>
<dialogue>Heeeee-eeey... what could I do?</dialogue>
<scene_description>Lana pulls the gun from her purse, pointing it at him.</scene_description>
<character>LANA</character>
<dialogue>You were gonna let me rot in the slammer... never say a thing.</dialogue>
<character>FRANK</character>
<dialogue>Look... you're out... free. Now we're together. That's what counts. We can try again! Forget triple indemnity. We'll whack him and split three mil.</dialogue>
<character>LANA</character>
<dialogue>I'm not splitting anything, Frank.</dialogue>
<parenthetical>(cocks the gun)</parenthetical>
<dialogue>And you know too much.</dialogue>
<character>FRANK</character>
<parenthetical>(arrogant)</parenthetical>
<dialogue>Come on, Lana. You're not gonna shoot me.</dialogue>
<scene_description>He brashly turns his back to her, putting some tools away. She sees a huge electric powered SCREWDRIVER on the workbench next to her, smiling diabolically. She lowers the gun.</scene_description>
<character>LANA</character>
<dialogue>You're right.</dialogue>
<parenthetical>(then, seductive)</parenthetical>
<dialogue>Maybe I'll just screw you to death.</dialogue>
<scene_description>He laughs arrogantly... starts to unbutton his shirt.</scene_description>
<character>FRANK</character>
<dialogue>Now you're talkin' baby.</dialogue>
<character>EXT. THE GARAGE WINDOW - DAY</character>
<dialogue>We see Lana's SILHOUETTE on the window as she raises</dialogue>
<scene_description>the big power screwdriver and turns it on. WHIRR-R-R-R-R-R-R-R- R-R! The CAMERA WHIPS AROUND and PUSHES IN TO...</scene_description>
<character>LOLA</character>
<dialogue>watching the murder from her car. There is a... FLASH!</dialogue>
<scene_description>Then another! And another! We are...</scene_description>
<character>INT. THE GARAGE - LATER</character>
<dialogue>A POLICE PHOTOGRAPHER takes FLASH pictures of the crime</dialogue>
<scene_description>scene. The CORONER, COPS, FORENSIC MEN... all do their thing. Ned and Arch amble in, looking around. Arch is eating Nachos.</scene_description>
<character>FORENSIC MAN</character>
<dialogue>Watch your step, guys. There's a lot of blood.</dialogue>
<scene_description>Throughout this scene, in the b.g., the milling COPS and INVESTIGATORS slip on all the blood, as if on slick ice, and fall out of frame, their arms and legs flailing helplessly! One of the Coroner's INVESTIGATORS approaches Arch and Ned.</scene_description>
<character>INVESTIGATOR</character>
<dialogue>Looks like a suicide. We found a note.</dialogue>
<scene_description>He holds up a rolled piece of paper with a pair of tweezers. Ned takes it, trying to unroll it.</scene_description>
<character>INVESTIGATOR</character>
<dialogue>It was stuck up his nose.</dialogue>
<scene_description>Ned hands it off to Arch, who casually unrolls it. The Investigator slips, arms waving, and falls out of frame.</scene_description>
<character>ARCH</character>
<parenthetical>(reading it)</parenthetical>
<dialogue>"I can't take it anymore. I'm a mediocre mechanic... and a lousy lover."</dialogue>
<character>NED</character>
<dialogue>He's sure got that right.</dialogue>
<scene_description>Arch gives Ned a very strange look. Ned feels his stare.</scene_description>
<character>NED</character>
<dialogue>The "mechanic" part, I mean.</dialogue>
<scene_description>In the b.g., various COPS pair up to have their pictures taken by the Police Crime Scene Photographer... posing, grinning.</scene_description>
<character>NED</character>
<parenthetical>(stares at the body)</parenthetical>
<dialogue>I don't know why, Arch, but I just can't shake this crazy hunch it wasn't suicide.</dialogue>
<character>THE CAMERA MOVES</character>
<dialogue>behind Ned on his line, revealing Frank... pinned to</dialogue>
<scene_description>the wall by the power screwdriver stuck in his back! It's still running... vibrating with a GRINDING HUM. Ned reaches out and turns the screwdriver OFF.</scene_description>
<character>INT. NED'S HOUSE - DAY</character>
<dialogue>Ned enters, pausing. He hears VOICES. He goes to the</dialogue>
<scene_description>living room. Lana and Lola turn to see him in the doorway. He is shocked. Lana looks shaken. But Lola is cool... in control.</scene_description>
<character>LANA</character>
<dialogue>Oh... uh, Ned... This is Lola, um...</dialogue>
<character>NED</character>
<parenthetical>(nervous, defensive)</parenthetical>
<dialogue>Um? She told you her name was Um? And what other lies did she tell</dialogue>
<scene_description>you? I've never seen this woman in my life! Never followed her home! Never had sex with her in the refrigerator! It's all a sick fantasy... and I deny everything! He turns to Lola.</scene_description>
<character>NED</character>
<dialogue>When will women like you learn, you can't tear apart a perfectly good marriage with your vicious lies... Miss UMMMM!</dialogue>
<character>LOLA</character>
<dialogue>Actually... it's Smith. Lola Smith. I sell vacuum cleaners, Mr. Ravine. The big powerful kind that suck up everything in sight. I was just telling your wife, if she wants to get rid of all her dirt, she has to be willing to pay the price.</dialogue>
<scene_description>She turns to Lana with a cold and contemptuous glare.</scene_description>
<character>LOLA</character>
<dialogue>Let me know what you decide, Mrs. Ravine. I'm sure we can work out a convenient "payment" plan. A pleasure meeting you... Ned.</dialogue>
<scene_description>Lola exits. As soon as the door closes, Lana whirls around in a fury!... SMASHING a lamp! She SHRIEKS furiously!</scene_description>
<character>LANA</character>
<dialogue>I... hate... SALESMEN!</dialogue>
<scene_description>He puts his arms around her, comforting.</scene_description>
<character>NED</character>
<dialogue>I know it's been a tough ordeal... with the trial and everything. Tell you what... let's take a trip.</dialogue>
<character>LANA</character>
<dialogue>A trip?</dialogue>
<character>NED</character>
<dialogue>Yeah. Just the two of us.</dialogue>
<character>LANA</character>
<parenthetical>(darkly inspired)</parenthetical>
<dialogue>I like that. Just you and me... all alone. I'll start packing.</dialogue>
<character>NED</character>
<dialogue>Great. Listen... I got something to take care of. I'll be back in awhile.</dialogue>
<scene_description>He kisses her and exits. Lana turns to look up toward the landing, a vengefully insane smile clouding her face.</scene_description>
<character>INT. LOLA'S HOUSE - DUSK</character>
<dialogue>A demanding KNOCK at the door. Lola hesitates at the</dialogue>
<scene_description>door.</scene_description>
<character>LOLA</character>
<dialogue>Who is it?</dialogue>
<scene_description>The door CRASHES OPEN! Ned is silhouetted in the doorway. He looks really pissed! Lola turns and runs. Ned sprints after her, leaping through the air... bringing her down with a tackle!</scene_description>
<character>NED</character>
<dialogue>I just want to talk.</dialogue>
<character>LOLA</character>
<dialogue>Why didn't you say so?</dialogue>
<scene_description>Her foot shoots out, smashing him right in the face... WHAM! She jumps up and scrambles away. Ned pursues her. She grabs a bottle of scotch from the counter, spins around.</scene_description>
<character>LOLA</character>
<dialogue>Would you like a drink?</dialogue>
<scene_description>She throws the bottle! He ducks and it shatters on the wall!</scene_description>
<character>NED</character>
<dialogue>No thanks. I'm driving.</dialogue>
<scene_description>She whirls on one foot, nailing him in the head with a FLYING SPIN KICK! He stumbles back, dazed. She grabs an ice pick.</scene_description>
<character>LOLA</character>
<dialogue>Then let's get to the point!</dialogue>
<scene_description>Lola charges! Ned rolls onto his back, jamming both feet into her stomach, heaving her up over him... thru the air! She SLAMS into the wall!... then slowly turns... still cool and collected. She raises a cigarette... lights it with the ice pick "lighter."</scene_description>
<character>LOLA</character>
<dialogue>So what's your problem, tough guy?</dialogue>
<character>NED</character>
<dialogue>Stay away from my life, my wife, my home and my pets! I'm taking Lana on a vacation and when I come back, I don't ever want to see your face again!</dialogue>
<scene_description>He shoves her against the wall... the cigarette flying away.</scene_description>
<character>LOLA</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>A VACATION! She doesn't deserve a VACATION! She's a brat! A bad girl! She always was and always will be!</dialogue>
<scene_description>He grabs her by the shoulders, shaking her.</scene_description>
<character>NED</character>
<dialogue>What are you talking about? You don't know anything about Lana?</dialogue>
<character>LOLA</character>
<dialogue>I know EVERYTHING!</dialogue>
<character>NED</character>
<parenthetical>(shakes her hard)</parenthetical>
<dialogue>How do you know her? Who is she to you? TELL ME!</dialogue>
<scene_description>She clams up. He slaps her.</scene_description>
<character>NED</character>
<dialogue>Who is she!</dialogue>
<character>LOLA</character>
<dialogue>She's your wife!</dialogue>
<character>NED</character>
<parenthetical>(slaps her again!)</parenthetical>
<dialogue>Who is she!?</dialogue>
<character>LOLA</character>
<dialogue>She's my sister!</dialogue>
<character>NED</character>
<parenthetical>(slaps her again)</parenthetical>
<dialogue>Liar! Who is she?</dialogue>
<character>LOLA</character>
<dialogue>She's your wife!</dialogue>
<scene_description>He raises his hand to slap her hard.</scene_description>
<character>NED</character>
<dialogue>WHO IS SHE!</dialogue>
<scene_description>She SLAPS him!</scene_description>
<character>LOLA</character>
<dialogue>She's my sister!</dialogue>
<scene_description>She continues to slap him... back and forth... repeating her answers... "She's your wife"... "She's my sister!"... "Your wife!"... "My sister!"... "Wife!"... "Sister!" He reaches a boiling point, raising two fingers, preparing to give her the Three Stooges "two-fingered eye poke." She blocks it with her hand and shoves him away. Then, she executes a perfect Three Stooges "wiggly-hand head slap", telling him...</scene_description>
<character>LOLA</character>
<dialogue>She's your wife... AND my sister!</dialogue>
<scene_description>Ned is stunned. MUSIC THUNDERS dramatically! Lana clicks the stereo off. The MUSIC STOPS.</scene_description>
<character>LOLA</character>
<dialogue>She was spoiled rotten! She stole everything I ever had. Everything! Including him.</dialogue>
<character>NED</character>
<dialogue>Him? Who, him?</dialogue>
<character>LOLA</character>
<dialogue>Dwayne. The boy's gym teacher. He was older. So mature... so strong. He smelled like dirty sweat socks and old basketballs. And he was all mine. For awhile.</dialogue>
<parenthetical>(turning bitter)</parenthetical>
<dialogue>But Lana wasn't satisfied with her own things. She had to have mine too. She took it all... my makeup,</dialogue>
<dialogue>my sweaters, my shoes, my underwear...</dialogue>
<character>NED</character>
<dialogue>You wore the same clothes?</dialogue>
<character>LOLA</character>
<dialogue>We were identical twins.</dialogue>
<character>NED</character>
<dialogue>What're you talking about? You two don't look anything alike.</dialogue>
<character>LOLA</character>
<dialogue>Not anymore. One day I caught her stealing my lavender eye shadow and she smashed my face in with a shovel. I had fifty-three operations. When the doctors were finished with me... I looked like THIS! I'm ugly. UGLY!</dialogue>
<character>NED</character>
<dialogue>You're beautiful.</dialogue>
<character>LOLA</character>
<dialogue>Don't lie to me.</dialogue>
<character>NED</character>
<dialogue>They did a terrific job!</dialogue>
<character>LOLA</character>
<dialogue>I look in the mirror. I can SEE!</dialogue>
<character>NED</character>
<dialogue>But... you're gorgeous!</dialogue>
<character>LOLA</character>
<dialogue>Tell that to Dwayne. When he saw my face, he left me for HER... because she looked more like me than I did! First she stole my looks... then she stole the only man who ever loved me!</dialogue>
<scene_description>She comes toward him... feeling in control once more.</scene_description>
<character>LOLA</character>
<dialogue>But I found a way to get even. The best revenge possible. Destroy her marriage!</dialogue>
<character>NED</character>
<dialogue>That's why you did all this? Seduced me... harrassed me... the tape... the flowers... the phone calls...</dialogue>
<character>LOLA</character>
<dialogue>You been hangin' out with Dick Tracy, haven't ya?</dialogue>
<character>NED</character>
<dialogue>It won't work. Lana loves me.</dialogue>
<character>LOLA</character>
<dialogue>It doesn't matter. I'm blackmailing her for everything she's worth. She murdered that greasy auto mechanic. I saw her do it.</dialogue>
<character>NED</character>
<parenthetical>(stunned)</parenthetical>
<dialogue>Lana killed Frank Kelbo?</dialogue>
<character>LOLA</character>
<parenthetical>(also stunned)</parenthetical>
<dialogue>Kelbo! His name was Kelbo?</dialogue>
<character>NED</character>
<dialogue>Yeah. Why? Did he burn you on car repairs too?</dialogue>
<character>LOLA</character>
<dialogue>Dwayne's name was Kelbo. He had a son. Frankie Kelbo.</dialogue>
</scene>
<scene>
<stage_direction>INT. NED'S CAR - NIGHT</stage_direction>
<scene_description>Ned wanders to his car, climbs in, sits there... stunned.</scene_description>
<character>NED (V.O.)</character>
<dialogue>The pieces of the puzzle were falling into place and I didn't like the picture they were making. If Lana really killed Frank Kelbo, then I had misjudged her by a mile. Sure... he was a lousy mechanic. But murder?</dialogue>
<scene_description>Ned rubs his temples, shuts his eyes.</scene_description>
<character>NED (V.O.)</character>
<dialogue>It was all starting to give me a headache bigger than the national deficit.</dialogue>
<character>INT. LOLA'S HOUSE - NIGHT</character>
<dialogue>"In-A-Gadda-Da-Vida" plays on the stereo. Lola sits on</dialogue>
<scene_description>the floor by an end table, eyes dazed, staring blankly. A lamp with a "clapper" switch sits on the table. As the CAMERA MOVES IN SLOWLY to her, she absently "claps" the light off... then on... then off... then on... then off...</scene_description>
<character>INT. NED'S HOUSE - NIGHT</character>
<dialogue>CLOSE ON female hands using a keyhole saw to cut</dialogue>
<scene_description>through a railing on the second floor landing above the foyer. Outside... the SOUND of a car... headlights! The sawing stops.</scene_description>
<character>EXT. NED'S HOUSE - NIGHT</character>
<dialogue>Ned pulls up. The house is dark and ominous. So is the</dialogue>
<scene_description>MUSIC.</scene_description>
<character>INT. NED'S HOUSE - NIGHT</character>
<dialogue>The front door is open a crack. He cautiously pushes it</dialogue>
<scene_description>and the door CR-E-A-K-S open very slowly. The door STOPS, but the LOUD CREAKING continues. Ned touches it lightly with the tip of his finger. The CREAKING STOPS.</scene_description>
<character>NED</character>
<dialogue>Lana?</dialogue>
<scene_description>Ned moves up the stairs. The CAMERA BOOMS UP with him, HOLDING ON an ECU of the partially severed railing.</scene_description>
<character>INT. BATHROOM - NIGHT</character>
<dialogue>Ned enters. Hot water gushes from the faucet into a</dialogue>
<scene_description>clawfoot bathtub. He turns the water off, looking around, puzzled. Loosens his tie, rubs his head. A splitting headache. Opens the medicine cabinet and... SCREECH! YEOW! CRASH! A CAT leaps out!... darts away. There's a NOISE from downstairs.</scene_description>
<character>INT. THE KITCHEN - MOMENTS LATER</character>
<dialogue>Someone is POUNDING on the door. Ned enters and opens</dialogue>
<scene_description>it. It's Laura.</scene_description>
<character>LAURA</character>
<dialogue>Ned! I'm glad you're here. I have so much to tell you.</dialogue>
<character>NED</character>
<dialogue>Come on in. I'll make some tea. Grab a chair.</dialogue>
<character>LAURA</character>
<dialogue>Thanks... I brought my own.</dialogue>
<scene_description>She drags a chair in behind her, sits at the kitchen table. Ned puts a kettle on the burner, turns it on. He starts searching through the cupboard for teabags.</scene_description>
<character>NED</character>
<dialogue>So... what have you got?</dialogue>
<character>LAURA</character>
<dialogue>A lottery ticket and a laundry receipt.</dialogue>
<parenthetical>(lays them on table)</parenthetical>
<dialogue>I found them in the pocket of that suit you wore the night you were working under cover with a client.</dialogue>
<scene_description>Ned freezes, staring out the window, unable to face her.</scene_description>
<character>LAURA</character>
<dialogue>You remember that night, don't ya Ned? Then it hit me. Lottery starts with L-O. Laundry starts with L-A. L- O... L-A. Lola.</dialogue>
<scene_description>Ned turns to her when he hears Lola's name... looking baffled by this convoluted piece of logic.</scene_description>
<character>LAURA</character>
<parenthetical>(shrugs it off)</parenthetical>
<dialogue>Don't sweat it. It's the way a woman's mind works.</dialogue>
<scene_description>He turns back to the cupboard, picking up a container.</scene_description>
<character>NED</character>
<dialogue>How about Ovaltine?</dialogue>
<character>LAURA</character>
<dialogue>Fine. Then I remembered you told me some guy named Frank had been working on your wife's car for two months. You with me so far?</dialogue>
<character>NED</character>
<dialogue>I'm way ahead of you.</dialogue>
<scene_description>He brings the Ovaltine container to the table.</scene_description>
<character>LAURA</character>
<dialogue>Well back it up. You probably took a wrong turn. Remember your insurance policy... the one we couldn't find? I started thinking, who else had access to it beside you and me? The answer came up... Lana. And since she's a woman, it's probably hidden right here.</dialogue>
<scene_description>A huge ceramic cookie jar sits on the table in front of them. Laura SMASHES it with her fist, breaking it open! Cookies spill out... and the insurance policy.</scene_description>
<character>NED</character>
<dialogue>So that's where she hid the Oreos.</dialogue>
<scene_description>He sits down... starts eating Oreos... twisting them apart.</scene_description>
<character>LAURA</character>
<dialogue>Ned, Lana wasn't trying to save your life when she shot Max Shady. She and Frank were plotting to kill you and collect on your insurance policy. But she shot the wrong guy.</dialogue>
<character>NED</character>
<dialogue>That's the craziest thing I ever heard.</dialogue>
<character>LAURA</character>
<parenthetical>(she presses on)</parenthetical>
<dialogue>Don't you see... Frank was going to let her take the fall. So she murdered him and tried to make it look like suicide.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>That's when I realized there was a connection between Lola and Lana...</dialogue>
<character>NED</character>
<dialogue>Yeah... they're sisters. Twin sisters.</dialogue>
<character>LAURA</character>
<dialogue>Well, hang on to your jock strap, Ned. There's more.</dialogue>
<scene_description>She unrolls a complex genealogical chart... walks him thru it.</scene_description>
<character>LAURA</character>
<dialogue>Not only is Frank's father Dwayne Kelbo, notoriously amorous gym teacher and Lola Cain's former lover... Frank's mother is Helen Shady. Max and Frank are half-brothers who never met.</dialogue>
<scene_description>Laura pauses dramatically, then announces.</scene_description>
<character>LAURA</character>
<dialogue>Your lovely wife, Lana, murdered both of Helen Shady's sons.</dialogue>
<character>NED</character>
<dialogue>This is so unbelievable.</dialogue>
<character>LAURA</character>
<dialogue>And you haven't even heard my story.</dialogue>
<character>INT. HOUSE - UPSTAIRS LANDING - NIGHT</character>
<dialogue>The keyhole saw cuts through the railing. The CAMERA</dialogue>
<scene_description>REVEALS Lana, eyes filled with Machiavellian rage. She enters the bathroom, lays the saw blade down. Suddenly... a PAIR OF HANDS plunge into frame, grabbing her by the throat! We GO WITH HER as she is pushed back into the tub, the hands forcing her head under water. Lana grabs a diving mask, clamps it over her face. One of the attacking hands rips it away! Lana grabs a snorkel, sticking it in her mouth. The hand pulls it from her, tossing it aside. The hand shoves a little RUBBER DUCKIE into Lana's mouth! Lana struggles, finally going limp. Her open eyes stare up from beneath the water. The last few bubbles rise to the surface.</scene_description>
<character>INT. KITCHEN - SAME TIME</character>
<dialogue>LAURA</dialogue>
<scene_description>He turned into a monster. And that's when I left him. I just couldn't... The tea kettle WHISTLES! Laura pulls it off the burner. The whistling subsides... replaced by the distant SOUND of water running upstairs. Ned cocks his head, listening.</scene_description>
<character>NED</character>
<dialogue>That damn faucet keeps turning on all by itself. I'll go check it.</dialogue>
<character>LAURA</character>
<dialogue>Okay. I'll make the Ovaltine.</dialogue>
<scene_description>Ned exits. Laura opens the Ovaltine container. It's empty. A DARK SHADOW moves past the window behind Laura. Suspense MUSIC. Laura opens the cupboard. PIGEONS explode out, wings beating furiously! She catches her breath, looks in the cupboard. The cans and boxes are covered with pigeon shit. She shoves them aside, looking for the Ovaltine.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - SAME TIME</stage_direction>
<scene_description>Ned looks up toward the light from the bathroom. Water seeps over the edge of the landing and down the steps. As he moves up the steps, the SOUND of MUSIC... the familiar strains of "In-A-Gadda-Da-Vida"... grows louder and LOUDER.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - SAME TIME</stage_direction>
<scene_description>It's filled with steam. He waves the steam away... STARTLED to see Lana's lifeless body beneath the water, the rubber duckie jammed into her mouth. The tub overflows on the floor. He turns the faucet off. The water stops... and so does the MUSIC. Puzzled, he turns the faucet on. The MUSIC STARTS. Turns it off. The MUSIC STOPS.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME TIME</stage_direction>
<scene_description>As Laura turns away to enter the pantry... her Husband's twisted face suddenly appears in the kitchen window!</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - SAME TIME</stage_direction>
<scene_description>Ned enters. The MUSIC is coming from the closet. Ned yanks the door open! A flock of PIGEONS bursts out!... revealing a GUEST MUSICIAN playing an instrument.</scene_description>
<character>GUEST MUSICIAN</character>
<dialogue>I'm sittin' in for Dizzy. He had a gig tonight.</dialogue>
<scene_description>Ned shuts the door, eyes shifting. Lola must be near.</scene_description>
<character>INT. PANTRY OFF KITCHEN - SAME TIME</character>
<dialogue>Laura searches the large walk-in pantry for tea bags.</dialogue>
<scene_description>She hears a LOUD CRASH of BREAKING GLASS in the kitchen... stops and listens... then casually shrugs it off.</scene_description>
<character>INT. KITCHEN - SAME TIME</character>
<dialogue>Laura's Husband stands in the kitchen. The back door is open... the window shattered. He SEES... the kitchen</dialogue>
<scene_description>towels hanging sloppily on the rack! The disorganized clutter of cans and boxes in the cupboard! WE PUSH IN to his wildly insane eyes!</scene_description>
<character>INT. UPSTAIRS LANDING - SAME TIME</character>
<dialogue>As Ned enters the upstairs landing, we hear VOICES in</dialogue>
<scene_description>his mind.</scene_description>
<character>NED</character>
<parenthetical>(ECHOING V.O.)</parenthetical>
<dialogue>Women are an open book. You can always tell the rotten apples from the peaches. I'd stake my career on it... stake my career on it... stake my career on it...</dialogue>
<scene_description>The repetitive ECHO gets to him. He smacks his head with the palm of his hand. The skipping stops... followed by...</scene_description>
<character>NED</character>
<parenthetical>(ECHOING V.O.)</parenthetical>
<dialogue>...If anyone ever proves me wrong, I'll throw away my badge.</dialogue>
<scene_description>IN THE DARKNESS A woman's HAND unrolls a leather kit... the "U-Pick an Ice Pick Porta-Pik-Pak!"... with seven ice picks in separate slots, each labeled with a day of the week. The hand selects "Wednesday's" ice pick, pulls it out. Then... BONG... BONG... BONG... BONG...! CANTED ANGLE ON - A GRANDFATHER CLOCK It CHIMES loudly. It's twelve midnight! THE HAND returns the ice pick to its slot, selects the one for Thursday.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME TIME</stage_direction>
<scene_description>Laura comes out of the pantry. She stops... gasps! Everything in the cupboard is neatly stacked! All the towels are straight! She whirls around... coming face to face with her Husband! He smiles demonically, holding up the Ninja Turtle float ring.</scene_description>
<character>LAURA'S HUSBAND</character>
<dialogue>Forget something, sweetheart?</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS LANDING - SAME TIME</stage_direction>
<scene_description>Ned nears the bathroom door and suddenly... A PIERCING SCREAM! Lola charges, an ice pick raised over her head! She knocks him backward, into the bathroom, slashing at him. But he deflects the attack, grabbing at her arms.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME TIME</stage_direction>
<scene_description>Laura backs away from her Husband. He holds her wedding ring.</scene_description>
<character>LAURA'S HUSBAND</character>
<dialogue>You forgot to flush, darling.</dialogue>
<character>INT. UPSTAIRS LANDING - SAME TIME</character>
<dialogue>As Ned and Lola continue their violent struggle... Lola</dialogue>
<scene_description>grabs toiletries to aid in her attack. She squirts Ned with SHAVING CREAM... squeezes TOOTHPASTE in his hair... and throws BATH POWDER in his face! Ned is blinded. Gaining the advantage, Lola shoves him back, slamming his head into the wall. He's dazed, helpless. Lola raises the ice pick, moving forward to strike! But Ned grabs a HAIR BLOWER and swings it around, pointing it at her like a gun! She freezes... then smiles contemptuously.</scene_description>
<character>LOLA</character>
<dialogue>What're you gonna do, Ned? Blow me away?</dialogue>
<scene_description>She LAUGHS arrogantly. Ned clicks on the hair blower to HIGH, a blast of HOT AIR hitting Lola's face, puffing her cheeks out, pushing her back, hair flying wildly! Her backside hits the railing where Lana has cut it... the wood splintering! Lola tumbles over backward, SCREAMING! She hangs suspended in mid-air for a moment, like a cartoon character, arms flailing. Then... WHOOM!... she FALLS to the marble floor below, hitting with a LOUD THUD!</scene_description>
<character>INT. THE KITCHEN - SAME TIME</character>
<dialogue>Laura's Husband hears Lola fall, turning. Laura grabs</dialogue>
<scene_description>the iron skillet and CLOBBERS him with it! BONG! He goes down.</scene_description>
<character>LAURA</character>
<dialogue>I never forget anything... honey.</dialogue>
<character>INT. UPSTAIRS LANDING - SAME TIME</character>
<dialogue>Ned stares at the hair blower in his hand. Filled with</dialogue>
<scene_description>disgust and revulsion, he throws the "weapon" down.</scene_description>
<character>INT. KITCHEN - SAME TIME</character>
<dialogue>Laura pulls TWO REVOLVERS from her purse... spinning</dialogue>
<scene_description>them like John Wayne... expertly tossing one over her back, catching it in front! She heads for the foyer.</scene_description>
<character>INT. FOYER - A MOMENT LATER - ON LOLA'S BODY</character>
<dialogue>Laura pauses, looks down at Lola's body... notices</dialogue>
<scene_description>something. She pushes Lola's skirt a bit higher with the toe of her shoe.</scene_description>
<character>LAURA</character>
<parenthetical>(outraged)</parenthetical>
<dialogue>Those are MY panties!</dialogue>
<scene_description>She looks up... sees a light emanating from the bathroom.</scene_description>
<character>ON THE LANDING</character>
<dialogue>Laura moves through the shadows... stops outside the</dialogue>
<scene_description>bathroom, pressing her back against the wall, guns up and ready. She swivels into the doorway... taking a shooter's stance... guns pointed! She sees... LANA... submerged in the tub, face up, the rubber duckie in her mouth. Laura steps back and turns... right into a THING covered in white! Startled, she SHRIEKS! Ned drops the white towel he's using to wipe off all of the shaving cream and toothpaste. Relieved to see it's Ned, she throws her arms around him!</scene_description>
<character>LAURA</character>
<dialogue>Oh Ned!</dialogue>
<character>NED</character>
<dialogue>You were right... there's a million things I don't know about women. Maybe you can teach me a few hundred.</dialogue>
<scene_description>He pulls out his police badge, looks at it.</scene_description>
<character>NED</character>
<dialogue>Hell... I had too many careers anyway.</dialogue>
<scene_description>He tosses it away, over the railing.</scene_description>
<character>INT. FOYER - ECU LOLA - SAME TIME</character>
<dialogue>The badge drops from above, landing on the floor right</dialogue>
<scene_description>in front of Lola's lifeless face. A beat. Her eyes pop open!</scene_description>
<character>INT. BATHROOM - ECU ON BATH WATER - SAME TIME</character>
<dialogue>Suddenly, the rubber duckie pops to the surface.</dialogue>
<character>ON THE LANDING</character>
<dialogue>Laura hugs Ned again, arms locked around his neck,</dialogue>
<scene_description>still gripping a gun in each hand.</scene_description>
<character>LAURA</character>
<dialogue>Oh Ned, I love you. I always loved you!</dialogue>
<character>INT. FOYER</character>
<dialogue>Lola sits bolt upright, bloody but still bouncy.</dialogue>
<character>INT. BATHROOM</character>
<dialogue>Lana suddenly SITS UP in the tub, inhaling a huge GASP</dialogue>
<scene_description>of air, her eyes wild!</scene_description>
<character>INT. KITCHEN - NIGHT</character>
<dialogue>Laura's Husband's eyes POP OPEN! He SITS UP suddenly... smashing his head into the sharp corner of the kitchen</dialogue>
<scene_description>table! He topples back slowly... really dead! Finally.</scene_description>
<character>INT. THE STAIRCASE</character>
<dialogue>Lola's feet move steadily up each stair... her bloody</dialogue>
<scene_description>hand grasping the ice pick.</scene_description>
<character>INT. BATHROOM FLOOR - LOW ANGLE</character>
<dialogue>Lana's feet step out of the tub, water dripping all</dialogue>
<scene_description>around. She picks up the pointed saw from the floor.</scene_description>
<character>ON THE LANDING</character>
<dialogue>Ned and Laura still embrace, her forearms crisscrossed</dialogue>
<scene_description>behind his neck. It's been a long embrace. Suddenly, Lana and Lola both appear, SCREAMING like banshees! Lana charges from the bathroom, grasping the sharp saw blade! Lola races at them from the stairway... with the ice pick! Without missing a beat, Laura raises the barrels of both guns and FIRES at them simultaneously... right next to Ned's ears. The impact of one bullet knocks Lana all the way back through the bathroom, CRASHING spectacularly out the window! The other bullet sends Lola flipping down the staircase! Ned looks stunned, his eyes crossed... the thundering gunshots still ringing in his ears. Laura proudly blows the gunsmoke away from the end of each barrel.</scene_description>
<character>LAURA</character>
<dialogue>Got 'em!</dialogue>
<character>NED</character>
<parenthetical>(deafened)</parenthetical>
<character>WHAT?</character>
<dialogue>LAURA</dialogue>
<scene_description>I said... I GOT 'EM!</scene_description>
<character>NED</character>
<dialogue>HUH?!!!</dialogue>
<character>LAURA</character>
<parenthetical>(yells)</parenthetical>
<character>THEY'RE DEAD! GONE! KA-PUT!</character>
<dialogue>He strains to make out what she's saying, ears still</dialogue>
<scene_description>ringing.</scene_description>
<character>NED</character>
<parenthetical>(yells back)</parenthetical>
<character>SURE I'LL MARRY YOU! NEXT TUESDAY</character>
<dialogue>WOULD BE PERFECT!</dialogue>
<scene_description>A beat. Laura opens her mouth to correct him, then decides against it. She smiles... speaking softly, almost shyly.</scene_description>
<character>LAURA</character>
<dialogue>Okay. But I want to have kids.</dialogue>
<scene_description>He hears THIS... smiles at her.</scene_description>
<character>NED</character>
<dialogue>Great.</dialogue>
<scene_description>They embrace.</scene_description>
<character>EXT. NED'S HOUSE - WIDE SHOT - NEAR DAWN</character>
<dialogue>We MOVE IN SLOWLY toward the house.</dialogue>
<character>NED (V.O.)</character>
<dialogue>So... maybe I was wrong. Maybe women really are like a big jigsaw puzzle... with pieces that never seem to fit where you want 'em to.</dialogue>
<character>INT. NED'S HOUSE - THE BEDROOM - SAME TIME</character>
<dialogue>Ned and Laura are in bed, wrapped in each other's arms.</dialogue>
<character>NED (V.O.)</character>
<dialogue>All I know is, there are three things that men can't possibly ever do...</dialogue>
<character>NEW ANGLE - NED AND LAURA</character>
<dialogue>Revealing that it's NOT "voice over narration." Ned is actually rattling on aloud again.</dialogue>
<character>NED</character>
<dialogue>...understand women... give birth... and program a VCR. And giving birth is the easy one.</dialogue>
<character>LAURA</character>
<dialogue>Ned...</dialogue>
<character>NED</character>
<dialogue>Yeah, Laura?</dialogue>
<character>LAURA</character>
<dialogue>Knock off the chatter, will ya?</dialogue>
<scene_description>He smiles at her. They kiss. Romantic SAXAPHONE MUSIC begins to play... only this time, it's "Laura's Theme." The CAMERA PULLS BACK SLOWLY... revealing Dizzy laying on the bed beside them... playing the sax. After a beat, Laura turns to Dizzy.</scene_description>
<character>LAURA</character>
<dialogue>We won't need you anymore.</dialogue>
<scene_description>Ned casually slips him a twenty dollar bill. Dizzy slips off the bed and out the door. Laura turns to Ned.</scene_description>
<character>LAURA</character>
<dialogue>We can make our own music.</dialogue>
<scene_description>Her hand reaches slowly over the edge of the bed, toward the floor. Suddenly... she comes up with a CONCERTINA, a small accordian... and begins to play it! Ned lays there listening for a few moments, a stunned look frozen on his face. Then... he reaches under the pillow and pulls out a HARMONICA and joins in. The CAMERA BOOMS UP to a HIGH ANGLE SHOT... as they play MEDLEY of all the MUSIC heard in the film. FADE TO BLACK ROLL END CREDITS After the final credit, WE HEAR:</scene_description>
<character>LAURA (V.O.)</character>
<dialogue>Ned, do you know... I want you to make love to me all night long?</dialogue>
<character>NED (V.O.)</character>
<dialogue>No. But if you hum a few bars... I'll fake it.</dialogue>
<character>THE END</character>
</scene>
</script> | Ned Ravine, who is both a police officer and lawyer (who often defends the people he arrests), believes that he knows everything about women, and says that he will throw away his badge if anyone ever proves him wrong. While on a stakeout, he encounters a seductive woman named Lola Cain; the next day, Lola shows up at his law office, saying that she needs him to look over some papers she has come across. Meanwhile, Max Shady, who was just released from prison after seven years, starts stalking Ned, planning to kill him for failing to successfully defend Max in court. Ned's wife Lana and her car mechanic Frank, with whom she is having an affair, start plotting to kill Ned in order to collect on his accident insurance, which has a triple indemnity rider; if Ned is shot, falls from a northbound train, and drowns in a freshwater stream, Lana will collect nine million dollars. Lola gets Ned to come to her house to examine the "papers", which are actually a laundry receipt and an expired lottery ticket, and the two of them end up having sex in various wild ways. The next morning, Ned says that they can never do that again because he loves his wife; this drives Lola to start stalking Ned. A few days later, Ned takes the train to go to a legal symposium; Lana and Frank are also on the train, and so is Max. When the train passes over a lake, Lana shoots Max 36 times with a revolver, mistaking him for Ned, and he backflips through the door to his death; Ned thinks that Lana had acted to save his life. He arrests Lana, and then defends her in court, getting her cleared of all charges. Lana later kills Frank, believing that he was going to abandon her, by pinning him against a wall with his power drill; Lola witnesses this, and starts blackmailing Lana. Ned confronts Lola, and learns that she and Lana are identical twin sisters; after Lana had smashed Lola's face with a shovel, the doctors had given her a whole new face, causing the man she loved to leave her for Lana; Frank was the man's son. Lola's plan from the beginning was to get revenge on Lana by seducing her husband and ruining her marriage. Later, Ned's secretary Laura tells Ned about Lana's plans to kill him, having figured it out herself. Upstairs, Lana is attacked by Lola, who drowns her in the bathtub. While Ned goes upstairs to investigate, Laura's abusive husband (whom she had escaped from three years ago) comes in and confronts her; she kills him with a frying pan. Lola and Ned fight, and Lola falls to her death from the second-floor landing after Ned pushes her back with a powered-up hair dryer through a broken handrail (which Lana had sawn off earlier). As Ned and Laura embrace each other (and Ned throws his badge away), Lola and Lana come back to life and attack; Laura shoots them both. Ned and Laura marry a few days later. |
The Swimmer_1968 | tt0063663 | <script>
<scene>
<stage_direction>The Swimmer</stage_direction>
<scene_description>`` The war has begun . Our country is being invaded . They have taken the first swimming pool . '' IONESCO .</scene_description>
</scene>
<scene>
<scene_description>It is a radiantly beautiful Sunday afternoon . A man is walking through a woods barefoot and in bathing trunks . His step is jaunty , and he is whistling . Dapples of yellow sunlight slant through the leafy boughs overhead onto his tanned , lean - muscled body . The man 's name is Ned Merrill . He is in his mid - forties . Although his handsome , even - featured face shows the marks of his age more than his body does , it is at the moment a youthful face , boyishly exultant with a feeling of well - being . Now and then Ned leaps gracefully from rock to rock in his path - with the coordination of a lifelong athlete . Everything about him - his health , his physical beauty , his happiness - seems to be a celebration of life on this lovely day .</scene_description>
</scene>
<scene>
<scene_description>The Westerhazys Suddenly he bursts out of the woods onto a perfect suburban scene : the garden , swimming pool , and glistening white ridge - top house of Helen and Don Westerhazy . They are sitting on their colorful terrace . Helen 's eyes are closed . Her body is inert . Don is sipping a drink . Both wear bathing suits . When Ned sees them he lets out a whoop of greeting and breaks into a dog trot across the lawn . At the sound of the shout Don and Helen lift their heads to squint at the approaching figure . As Ned comes closer , Don stands up and shades his eyes . Ned has reached the edge of the garden . He runs past a female nude in marble , pauses for an instant to slap it sharply and sassily on the buttocks , laughs with pleasure at his action and continues toward the pool . By this time Don and Helen have recognized him and are waving . Ned reaches the edge of the pool and without breaking his stride he leaps and arches into the high , flat trajectory of a racing dive . He swims with a perfect crawl and a powerful kick . The blue water breaks up into the diamond - shine of splashes and bubbles as he cuts through it to the end of the pool . He kicks away with a well - executed racing turn and swims another length . He does this again and again with untiring vigor and stops only when he sees Don sitting on the diving board offering him a martini . Ned bursts from the water , grinning , and reaches for the glass .</scene_description>
<character>NED</character>
<dialogue>Hey! Thanks!</dialogue>
<scene_description>He treads water , holds the glass up in a silent toast , and drinks the icy - cold delicious gin .</scene_description>
<character>DON</character>
<dialogue>So it's not because our service is bad?</dialogue>
<character>NED</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>DON</character>
<dialogue>We have n't seen you for so damn long -</dialogue>
<character>NED</character>
<parenthetical>( grins . )</parenthetical>
<dialogue>Oh, well - you know how it is!</dialogue>
<character>DON</character>
<dialogue>Where've you been keeping yourself?</dialogue>
<character>NED</character>
<dialogue>Oh - here and there, here and there - what a day! Ever see such a glorious day?</dialogue>
<scene_description>He finishes the drink , hands the glass to Don , and heaves himself easily and gracefully over the side of the pool . They cross to the terrace .</scene_description>
<character>DON</character>
<dialogue>God, it's wonderful to see you! You look great!</dialogue>
<character>NED</character>
<parenthetical>( enthusiastic . )</parenthetical>
<dialogue>So do you -.</dialogue>
<parenthetical>( Don gives him a sour look . )</parenthetical>
<dialogue>Well, a little pale around the edges -</dialogue>
<character>DON</character>
<dialogue>I drank too much last night.</dialogue>
<scene_description>They have reached Helen , stretched out on the chaise .</scene_description>
<character>HELEN</character>
<parenthetical>( happily . )</parenthetical>
<dialogue>Neddy!</dialogue>
<character>NED</character>
<parenthetical>( rests his hand on her feet . )</parenthetical>
<dialogue>How beautiful are thy feet in sandals, O Prince's daughter!</dialogue>
<scene_description>They burst into laughter . She holds out her arms . He bends down to kiss her ; suddenly she drops her head back on the chaise and groans .</scene_description>
<character>NED</character>
<parenthetical>( smiling at her . )</parenthetical>
<dialogue>Bet you drank too much last night!</dialogue>
<scene_description>Don has eased himself gingerly into a chair . He looks at Ned 's dripping , glowing face .</scene_description>
<character>DON</character>
<dialogue>Is n't he a sight for sore eyes?</dialogue>
<character>HELEN</character>
<dialogue>Oh, Neddy, we've missed you!</dialogue>
<character>DON</character>
<dialogue>Come on now, sit down and tell us everything.</dialogue>
<character>HELEN</character>
<dialogue>Where're you coming from?</dialogue>
<character>NED</character>
<dialogue>Oh, I was around - thought I'd come over and have a swim with you.</dialogue>
<parenthetical>( he gestures . )</parenthetical>
<dialogue>Look at that water! Look at that sun!</dialogue>
<character>DON</character>
<parenthetical>( squints and grimaces , then gives up and closes his eyes . )</parenthetical>
<dialogue>Know what I think? I think everybody drank too much last night.</dialogue>
<character>HELEN</character>
<dialogue>It was that rum. I drank too much of that rum.</dialogue>
<character>NED</character>
<dialogue>Whose party?</dialogue>
<character>HELEN</character>
<dialogue>Our own. Do n't worry. You did n't miss a thing.</dialogue>
<character>DON</character>
<dialogue>Usual Saturday night blowout.</dialogue>
<character>HELEN</character>
<dialogue>Same old jokes, same old faces. We've all known each other so long there's not even anyone to flirt with.</dialogue>
<character>NED</character>
<parenthetical>( teasing . )</parenthetical>
<dialogue>I'd have flirted with you.</dialogue>
<character>HELEN</character>
<parenthetical>( affectionately . )</parenthetical>
<dialogue>You're practically a new face!</dialogue>
<character>DON</character>
<dialogue>How're things, Ned? Have a good summer?</dialogue>
<character>NED</character>
<parenthetical>( exuberant . )</parenthetical>
<dialogue>Oh sure! Just great!</dialogue>
<parenthetical>( he bends over Helen again . )</parenthetical>
<dialogue>Come on, love, how about a swim?</dialogue>
<character>HELEN</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>Uh - uh.</dialogue>
<character>NED</character>
<parenthetical>( takes her by the hands . )</parenthetical>
<dialogue>Come on, puts oxygen in your blood. Good for a hangover.</dialogue>
<character>HELEN</character>
<parenthetical>( groans . )</parenthetical>
<dialogue>What in the world makes you think I'm hung over?</dialogue>
<character>NED</character>
<parenthetical>( tugs at her hands . )</parenthetical>
<dialogue>I'll race you!</dialogue>
<character>HELEN</character>
<parenthetical>( pleads . )</parenthetical>
<dialogue>Neddy! Please! No!</dialogue>
<scene_description>He releases her . She settles back and closes her eyes .</scene_description>
<character>NED</character>
<dialogue>How about it, Don?</dialogue>
<character>DON</character>
<dialogue>Are you kidding?</dialogue>
<character>HELEN</character>
<parenthetical>( with a vague wave towards the bar tray . )</parenthetical>
<dialogue>Relax, Neddy - have a drink.</dialogue>
<parenthetical>( she opens her eyes . )</parenthetical>
<dialogue>Go on - sit down and tell us what you've been up to.</dialogue>
<scene_description>At this moment the screen door slams , and a man comes out of the house . It is Stu Forsburgh . He is Ned 's age but , unlike Ned , shows it . He is overweight , with a paunch and thinning hair . He is dressed in trousers , shirt and tie , and a sports jacket .</scene_description>
<character>NED</character>
<parenthetical>( astonished and delighted . )</parenthetical>
<dialogue>Stu Forsburgh!</dialogue>
<scene_description>Stu is equally delighted . They clasp each other warmly .</scene_description>
<character>STU</character>
<dialogue>How are you, Sport?</dialogue>
<character>NED</character>
<dialogue>Okay! Never better!</dialogue>
<character>STU</character>
<dialogue>I'm so glad to see you, you old monster!</dialogue>
<character>NED</character>
<dialogue>What the hell are you doing here?</dialogue>
<character>STU</character>
<dialogue>Just stopped over - been up on the Cape for three weeks - how's Lucinda?</dialogue>
<character>NED</character>
<dialogue>She's great!</dialogue>
<character>STU</character>
<dialogue>And the girls?</dialogue>
<character>NED</character>
<dialogue>All grown up - and beautiful, Stu, just beautiful!</dialogue>
<character>STU</character>
<parenthetical>( giving him a good look . )</parenthetical>
<dialogue>Do n't know how you do it - you have n't changed a bit!</dialogue>
<character>NED</character>
<dialogue>Hey, where'd you get this?</dialogue>
<parenthetical>( he pats Stu 's paunch . )</parenthetical>
<dialogue>Why've you got all those clothes on?</dialogue>
<character>STU</character>
<dialogue>We got to get into town and catch a plane. Peggy's packing.</dialogue>
<character>NED</character>
<parenthetical>( appalled . )</parenthetical>
<dialogue>On a day like this - you're going to take a plane? Do n't give me that, man!</dialogue>
<character>STU</character>
<dialogue>Got to get back to the shop -</dialogue>
<character>NED</character>
<parenthetical>( grabs his lapel . )</parenthetical>
<dialogue>Do you know how long it's been since we had a swim together?</dialogue>
<character>STU</character>
<dialogue>Do n't remind me -</dialogue>
<character>DON</character>
<parenthetical>( at the drink bay . )</parenthetical>
<dialogue>What'll you have, Stu?</dialogue>
<character>NED</character>
<parenthetical>( to Don and Helen . )</parenthetical>
<dialogue>We're old bunk mates. We went to the same camp when we were kids!</dialogue>
<character>STU</character>
<parenthetical>( to Don . )</parenthetical>
<dialogue>Gee, I do n't know. I drank too much last night.</dialogue>
<character>DON</character>
<parenthetical>( lifts the pitcher . )</parenthetical>
<dialogue>A diluted martini?</dialogue>
<character>STU</character>
<dialogue>Okay.</dialogue>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>Boy, I'm out of practice for the kind of party you throw around here. We do n't go in for that in Columbus unless it's New Year's Eve -</dialogue>
<character>NED</character>
<dialogue>I told you not to accept that transfer.</dialogue>
<character>STU</character>
<dialogue>What else could I do?</dialogue>
<character>NED</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>I'd have quit before I'd let anyone send me to the provinces.</dialogue>
<character>STU</character>
<dialogue>Well - it's healthy.</dialogue>
<scene_description>Stu 's wife , Peggy , leans out of an upstairs window and calls :</scene_description>
<character>PEGGY</character>
<dialogue>Stu! Did you pack the pill case?</dialogue>
<character>NED</character>
<parenthetical>( hoots at Stu . )</parenthetical>
<dialogue>Healthy!</dialogue>
<character>STU</character>
<parenthetical>( calls to Peggy . )</parenthetical>
<dialogue>The vitamin case is on the night table, honey!</dialogue>
<character>PEGGY</character>
<parenthetical>( with a big smile . )</parenthetical>
<dialogue>Do n't tell me that's Ned Merrill down there?</dialogue>
<character>NED</character>
<parenthetical>( waves . )</parenthetical>
<dialogue>How are you, honeybunch? Come on down!</dialogue>
<character>PEGGY</character>
<dialogue>Half a minute!</dialogue>
<scene_description>She disappears from the window .</scene_description>
<character>NED</character>
<dialogue>God, Stu, I did n't realize how much I missed that ugly old mug of yours! Listen, get out of those clothes - we'll have one quick swim!</dialogue>
<character>STU</character>
<dialogue>Not up to it. Beginning to feel my age -</dialogue>
<character>NED</character>
<dialogue>You crazy? You're a year younger than I am!</dialogue>
<character>STU</character>
<dialogue>Yeah! You were always pulling seniority on me at camp -</dialogue>
<character>NED</character>
<dialogue>Remember how we used to take off our suits and swim for miles up that river? We just never got tired -</dialogue>
<character>STU</character>
<dialogue>Thirteen, fourteen, fifteen - we had nice new pink lungs in those days.</dialogue>
<character>NED</character>
<dialogue>The water up there, remember? That transparent, light green water! It - it felt different!</dialogue>
<parenthetical>( the memory of it shows in his eyes . )</parenthetical>
<dialogue>What a beautiful feeling! We could have swum around the world in those days!</dialogue>
<character>STU</character>
<dialogue>That was before we ever touched a drink or a cigarette.</dialogue>
<character>DON</character>
<dialogue>Or a girl.</dialogue>
<character>HELEN</character>
<parenthetical>( rouses herself . )</parenthetical>
<dialogue>That does n't sap a man's strength!</dialogue>
<character>NED</character>
<dialogue>Or I'd be in a wheel chair today!</dialogue>
<scene_description>Peggy has come out of the house . She is lithe and attractive and only slightly tense under her badinage .</scene_description>
<character>PEGGY</character>
<dialogue>Ned Merrill - still bragging!</dialogue>
<scene_description>Ned crosses to her and hugs her .</scene_description>
<character>PEGGY</character>
<dialogue>Oh I've heard those old schoolboy stories! You all made them up!</dialogue>
<character>NED</character>
<dialogue>Figured that out, have you?</dialogue>
<parenthetical>( he hugs her again . )</parenthetical>
<dialogue>Now let's settle this nonsense about your taking a plane.</dialogue>
<character>PEGGY</character>
<parenthetical>( indicates Stu . )</parenthetical>
<dialogue>Settle it with him. I like it here. More and more.</dialogue>
<character>NED</character>
<dialogue>Lucinda will be disappointed as hell -</dialogue>
<character>PEGGY</character>
<dialogue>Well I do n't think that's exactly true.</dialogue>
<character>NED</character>
<parenthetical>( to Stu . )</parenthetical>
<dialogue>I can run you over to the house in ten minutes -</dialogue>
<scene_description>There is a small uncomfortable pause . Don gives Helen a slightly worried look .</scene_description>
<character>NED</character>
<parenthetical>( urges . )</parenthetical>
<dialogue>Come for a minute - just to say hello -.</dialogue>
<parenthetical>( to Don . )</parenthetical>
<dialogue>Okay if I borrow your car?</dialogue>
<character>DON</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Well, sure, but -</dialogue>
<scene_description>He looks at Helen .</scene_description>
<character>HELEN</character>
<parenthetical>( quickly , to Ned . )</parenthetical>
<dialogue>Honestly they have n't time. We promised to stop at the Grahams for a quick goodbye drink. You come with us.</dialogue>
<character>PEGGY</character>
<parenthetical>( her eyes still on Ned . )</parenthetical>
<dialogue>Of course he'll come with us.</dialogue>
<character>HELEN</character>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>You have n't seen their new pool, have you?</dialogue>
<character>NED</character>
<dialogue>Whose pool?</dialogue>
<character>HELEN</character>
<dialogue>The Grahams'.</dialogue>
<character>NED</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>Did the Grahams put in a pool?</dialogue>
<scene_description>He crosses to the balustrade along the outer edge of the pool terrace and looks down . From this hilltop can be seen the lush green valley below , crisscrossed by roads , dotted here and there with houses , a church spire .</scene_description>
<character>DON</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Uh huh! They nurse it like a baby!</dialogue>
<character>NED</character>
<parenthetical>( peers over the valley as if trying to find the Grahams ' house and pool . )</parenthetical>
<dialogue>When did the Grahams put in a pool?</dialogue>
<character>DON</character>
<dialogue>Last June.</dialogue>
<character>NED</character>
<parenthetical>( still puzzled . )</parenthetical>
<dialogue>Last June?</dialogue>
<character>HELEN</character>
<parenthetical>( to Peggy . )</parenthetical>
<dialogue>Did you get the suits off the line?</dialogue>
<character>PEGGY</character>
<dialogue>My God, I forgot all about them.</dialogue>
<scene_description>Ned stares over the valley . A faraway look has come into his eyes .</scene_description>
<character>HELEN</character>
<dialogue>If they're still damp, I have some plastic bags you can use.</dialogue>
<character>STU</character>
<parenthetical>( to Peggy . )</parenthetical>
<dialogue>Better get them, honey, and finish packing.</dialogue>
<character>PEGGY</character>
<parenthetical>( her eyes on Ned . )</parenthetical>
<dialogue>Oh there's time -</dialogue>
<scene_description>She crosses to get a drink .</scene_description>
<character>NED</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Listen, the Biswangers have a pool, have n't they?</dialogue>
<character>DON</character>
<dialogue>Biswangers?</dialogue>
<character>HELEN</character>
<dialogue>You know, those awful people on Red Coat Road. They're always talking about their Caribbean cruises or their electric toothbrushes -.</dialogue>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>Sure, they have a big pool.</dialogue>
<character>NED</character>
<parenthetical>( almost to himself . )</parenthetical>
<dialogue>I could do it.</dialogue>
<scene_description>He frowns with concentration . He is thinking hard and hears none of the following small talk .</scene_description>
<character>STU</character>
<parenthetical>( to Peggy . )</parenthetical>
<dialogue>Go on, honey, finish packing.</dialogue>
<character>PEGGY</character>
<parenthetical>( her eyes on Ned . )</parenthetical>
<dialogue>I will in a minute!</dialogue>
<character>STU</character>
<dialogue>If we miss that plane -</dialogue>
<character>PEGGY</character>
<parenthetical>( irritated . )</parenthetical>
<dialogue>Columbus is n't going to fly away, you know!</dialogue>
<character>STU</character>
<dialogue>I want to put the suitcases in the car.</dialogue>
<character>DON</character>
<dialogue>Do n't worry, I'll get you to the airport -</dialogue>
<scene_description>Suddenly Ned lets out a whoop of triumph .</scene_description>
<character>NED</character>
<dialogue>I could do it. I could really do it!</dialogue>
<character>HELEN</character>
<dialogue>Do what, Neddy?</dialogue>
<character>NED</character>
<dialogue>Now with the Grahams there's a string of pools that curves clear across the county to our house! Listen -.</dialogue>
<parenthetical>( he counts carefully on his fingers . )</parenthetical>
<dialogue>The Grahams, the Lears, the Bunkers. Then a portage through the Pastern's riding ring to the Lindleys and the Hallorans and over the ridge to the Gilmartins and Eric Hammar's. Then up Alewives Lane to the Biswangers, then, uh, wait a minute - who's next - I ca n't think -.</dialogue>
<parenthetical>( he looks at them , panicky . )</parenthetical>
<dialogue>I had it a minute ago, I - who is it?</dialogue>
<parenthetical>( his panic increases . )</parenthetical>
<dialogue>Who is it? Who's next to the Biswangers?</dialogue>
<character>HELEN</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Shirley Abbott.</dialogue>
<character>NED</character>
<parenthetical>( with great relief . )</parenthetical>
<dialogue>Shirley Abbott. Then cross Route 424 to the Recreation Center Pool, then the Clydes and that's it.</dialogue>
<character>DON</character>
<dialogue>Who are the Clydes?</dialogue>
<character>NED</character>
<dialogue>That little ranch house at the bottom of our hill.</dialogue>
<parenthetical>( stricken . )</parenthetical>
<dialogue>What if they do n't have a pool?</dialogue>
<parenthetical>( he looks at the others with alarm . )</parenthetical>
<dialogue>Everyone has a pool these days, do n't they? God, if they do n't have a pool, that'll just ruin it!</dialogue>
<character>HELEN</character>
<dialogue>Ruin what?</dialogue>
<character>NED</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Do n't you see? I've just figured it out. Look -.</dialogue>
<parenthetical>( he gestures over the balustrade . )</parenthetical>
<dialogue>If I take a sort of dog - leg to the southwest I can swim home!</dialogue>
<character>STU</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Ah, come on, Ned!</dialogue>
<scene_description>Helen and Don exchange the briefest of glances .</scene_description>
<character>HELEN</character>
<dialogue>Well but - why would you want to swim home?</dialogue>
<character>DON</character>
<dialogue>I do n't get it.</dialogue>
<character>NED</character>
<dialogue>Pool by pool! They make a river all the way to our house!</dialogue>
<character>HELEN</character>
<dialogue>Well I suppose you could put it that way -.</dialogue>
<parenthetical>( firmly . )</parenthetical>
<dialogue>Now Neddy, why do n't you sit down and have a drink, and then we'll all go to the Grahams -</dialogue>
<character>NED</character>
<parenthetical>( has n't heard a word . )</parenthetical>
<dialogue>I'll name it the Lucinda River after my wife!</dialogue>
<character>PEGGY</character>
<parenthetical>( an edge to her voice . )</parenthetical>
<dialogue>That's quite a tribute.</dialogue>
<character>NED</character>
<parenthetical>( up , excited , carried away . )</parenthetical>
<dialogue>This is the day Ned Merrill swims across the county!</dialogue>
<scene_description>He dashes to the pool and dives in in one long unbroken movement . The others watch him .</scene_description>
<character>STU</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Always threw himself into the water like that. God, what energy!</dialogue>
<character>PEGGY</character>
<dialogue>He keeps himself in shape.</dialogue>
<character>STU</character>
<dialogue>Oh come on, he always ate like a horse. Never put on an ounce.</dialogue>
<scene_description>Silently , they watch Ned for a moment . Stu and Peggy are smiling - each a different sort of smile . Helen and Don look anxious . Ned has reached the far end of the pool and hoists himself happily over the curb .</scene_description>
<character>STU</character>
<dialogue>Look at him. Would n't use the ladder, not Ned!</dialogue>
<scene_description>Ned , without a backward glance , is striding hurriedly away in the direction opposite to that from which he appeared .</scene_description>
<character>DON</character>
<parenthetical>( calls . )</parenthetical>
<dialogue>Hey Ned!</dialogue>
<parenthetical>( louder . )</parenthetical>
<dialogue>Hey Ned! Where you going?</dialogue>
<character>NED</character>
<parenthetical>( calls back , not breaking his stride . )</parenthetical>
<dialogue>I'm swimming home!</dialogue>
<character>STU</character>
<dialogue>Hey Ned!</dialogue>
<scene_description>Ned keeps on going .</scene_description>
<character>HELEN</character>
<parenthetical>( on her feet now and worried . )</parenthetical>
<dialogue>Neddy! Come back!</dialogue>
<parenthetical>( he does n't answer , to Don . )</parenthetical>
<dialogue>Where'd he get that nutty idea?</dialogue>
<character>DON</character>
<dialogue>He's just joking.</dialogue>
<character>HELEN</character>
<dialogue>You sure?</dialogue>
<character>DON</character>
<dialogue>Sure. We'll find him waiting for us down at the Grahams.</dialogue>
<character>HELEN</character>
<dialogue>Swim to his house! Why would he want to do that?</dialogue>
<character>STU</character>
<dialogue>Listen, I know Ned - always loved to kid around. Has n't changed a bit.</dialogue>
<scene_description>They watch as Ned leaps over the shrubbery way at the other end of the grounds .</scene_description>
<character>STU</character>
<dialogue>Has n't changed a bit!</dialogue>
</scene>
<scene>
<scene_description>The Grahams A blinding silver image . A high - pitched feminine shriek . Ned is pressing his lips lightly to Betty Graham 's cheek . She sees his face reflected in an aluminum foil sun - tan folder she is holding under her chin . She tosses the device down and leaps up to throw her arms around him . She is about forty , plump and tanned .</scene_description>
<character>BETTY</character>
<dialogue>Neddy! Neddy! It's been such a long time! You look wonderful!</dialogue>
<character>NED</character>
<dialogue>So do you, fatso!</dialogue>
<character>BETTY</character>
<dialogue>I'm going on a diet a week from Thursday. Where'd you come from?</dialogue>
<character>NED</character>
<dialogue>Don and Helen's.</dialogue>
<character>BETTY</character>
<dialogue>Where are they all? Why did n't they come with you?</dialogue>
<character>NED</character>
<dialogue>They're driving down.</dialogue>
<scene_description>The Grahams ' house is white clapboard and expensive but not as expensive as the Westerhazys ' . It is obvious that the Grahams have gone all - out with the landscaping and the outdoor accouterments . The velvet lawn is pierced by a flagpole flying the American flag . There is a good sized terrace and an elaborate brick barbecue . The pool is new , and prominent beside it is a wooden bulletin board on which the Grahams have posted rules for its use . Betty takes Ned 's hand and leads him to the edge of the pool . She watches his expression carefully as he looks at it .</scene_description>
<character>NED</character>
<dialogue>Terrific! Absolutely terrific!</dialogue>
<character>BETTY</character>
<dialogue>Cost a bundle but Howard's had a marvelous year!</dialogue>
<parenthetical>( she points . )</parenthetical>
<dialogue>Look at how clear the water is!</dialogue>
<character>NED</character>
<dialogue>Wow!</dialogue>
<character>BETTY</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>We've got the best filter money can buy. A Dia - something - or - other filter. It filters 99 point 99 point 99 per cent of all solid matter out of the water.</dialogue>
<character>NED</character>
<dialogue>Gee!</dialogue>
<character>BETTY</character>
<parenthetical>( crosses to the little outdoor bar . )</parenthetical>
<dialogue>We put in a six - inch lint filter, too. The way we take care of that pool the water is purer than drinking water. What'll you have, Neddy?</dialogue>
<character>NED</character>
<parenthetical>( indicates the pool . )</parenthetical>
<dialogue>Scoop me up a glass of that.</dialogue>
<character>BETTY</character>
<dialogue>Do n't be silly. Gin and tonic?</dialogue>
<character>NED</character>
<dialogue>Nothing, thanks. I'll have a swim and be on my way.</dialogue>
<character>BETTY</character>
<dialogue>Oh, Neddy, you will not! You just got here!</dialogue>
<character>NED</character>
<dialogue>Okay - a light one.</dialogue>
<character>BETTY</character>
<parenthetical>( mixes the drinks . )</parenthetical>
<dialogue>Next summer we're going to build a pool - house over there - you know, with dressing rooms and a little playroom with a bar.</dialogue>
<character>NED</character>
<dialogue>Boy! That'll be some great lay - out!</dialogue>
<character>BETTY</character>
<parenthetical>( hands him his drink . )</parenthetical>
<dialogue>Neddy, sit down for goodness sake.</dialogue>
<scene_description>They sip their drinks .</scene_description>
<character>BETTY</character>
<parenthetical>( gazes around triumphantly . )</parenthetical>
<dialogue>You never thought he'd make it, did you?</dialogue>
<character>NED</character>
<dialogue>Who?</dialogue>
<character>BETTY</character>
<dialogue>When we were kids and I first started going out with Howard, you were n't very nice to him.</dialogue>
<character>NED</character>
<dialogue>I was n't? Why?</dialogue>
<character>BETTY</character>
<dialogue>Remember, he kept track of every penny he spent in a little note book? You thought that was very amusing.</dialogue>
<character>NED</character>
<dialogue>I was just jealous.</dialogue>
<character>BETTY</character>
<dialogue>Of Howard?</dialogue>
<character>NED</character>
<dialogue>I was crazy about you.</dialogue>
<character>BETTY</character>
<parenthetical>( terribly pleased . )</parenthetical>
<dialogue>You never said - I did n't know that! Oh go on! You were having a big affair with Lucinda!</dialogue>
<character>NED</character>
<dialogue>Why do you think I got smashed at your wedding?</dialogue>
<character>BETTY</character>
<dialogue>Because Lucinda was dancing with Buzzy Bunker, that's why!</dialogue>
<character>NED</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>What a long memory you've got, Grandma.</dialogue>
<scene_description>He senses that Betty is hurt because he 's put her on and looks for a way to make amends .</scene_description>
<character>NED</character>
<dialogue>No kidding, though, you've got a gorgeous pool.</dialogue>
<character>BETTY</character>
<parenthetical>( snaps at him . )</parenthetical>
<dialogue>I've got everything I've ever wanted.</dialogue>
<parenthetical>( pause , she looks at him , her face wretched . )</parenthetical>
<dialogue>Funny, the way things turn out, is n't it?</dialogue>
<scene_description>The sound of a motor has been getting louder , and now from around the house comes Howard , sitting on a midget tractor - mower . He is an ordinary - looking man , with little humor , literal - minded . At the moment he is having the time of his life . He drives the tractor toward the terrace . Ned and Betty cross to him .</scene_description>
<character>HOWARD</character>
<parenthetical>( friendly but not ecstatic . )</parenthetical>
<dialogue>Well of all people! How are you, Ned?</dialogue>
<scene_description>They shake hands . Howard pats the tractor .</scene_description>
<character>HOWARD</character>
<dialogue>How d'you like my new, toy?</dialogue>
<character>BETTY</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>Next year we're going to get the luxury optionals. Padded seat and a canopy.</dialogue>
<character>NED</character>
<parenthetical>( frowns at the tractor . )</parenthetical>
<dialogue>Sounds as if the timing is a bit off.</dialogue>
<character>HOWARD</character>
<parenthetical>( somewhat deflated . )</parenthetical>
<dialogue>Timing?</dialogue>
<character>NED</character>
<dialogue>Let me take a look.</dialogue>
<scene_description>Howard gets off the tractor . Ned lifts the small hood and turns and twists something which guns up the motor loud and fast .</scene_description>
<character>HOWARD</character>
<parenthetical>( irritated . )</parenthetical>
<dialogue>It's not supposed to be a racing car. What's he doing?</dialogue>
<character>BETTY</character>
<parenthetical>( giving her husband a contemptuous glare . )</parenthetical>
<dialogue>He's fixing it.</dialogue>
<character>NED</character>
<dialogue>It'll be okay now.</dialogue>
<scene_description>He puts down the hood . The three of them cross to the pool .</scene_description>
<character>BETTY</character>
<dialogue>Ned's just crazy about our pool.</dialogue>
<character>HOWARD</character>
<parenthetical>( smugly . )</parenthetical>
<dialogue>I did n't skimp on anything. I've got a Dia - Tomaceous Earth Filter in there.</dialogue>
<character>NED</character>
<dialogue>That's what Betty said -</dialogue>
<character>HOWARD</character>
<dialogue>It filters 99 point 99 per cent of all solid matter out of the water.</dialogue>
<character>NED</character>
<dialogue>Betty told me -</dialogue>
<character>HOWARD</character>
<parenthetical>( mixing himself a drink . )</parenthetical>
<dialogue>How come you never put in a pool at your place?</dialogue>
<character>NED</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Never got around to it.</dialogue>
<character>HOWARD</character>
<dialogue>Too bad. Helps the resale value.</dialogue>
<character>NED</character>
<dialogue>I do n't have to worry about resale value.</dialogue>
<character>HOWARD</character>
<dialogue>Well, with the tennis court and all that planting you put in you'll get a hell of a lot more than you paid for it.</dialogue>
<character>NED</character>
<dialogue>If I ever sell it.</dialogue>
<character>HOWARD</character>
<dialogue>Right person has to come along.</dialogue>
<character>NED</character>
<dialogue>I want the girls to be married in that house -</dialogue>
<character>HOWARD</character>
<dialogue>But - I thought -</dialogue>
<scene_description>He stops abruptly , frowns at Betty .</scene_description>
<character>NED</character>
<dialogue>Wo n't be long now. Boys all over the place. Our drive looked like a parking lot today.</dialogue>
<scene_description>Howard 's eyes meet Betty 's . She raises her eyebrows . There is an awkward pause although Ned is unaware of it .</scene_description>
<character>BETTY</character>
<parenthetical>( to change the subject . )</parenthetical>
<dialogue>Gosh, it sure is a heavenly day!</dialogue>
<character>HOWARD</character>
<parenthetical>( gestures . )</parenthetical>
<dialogue>Do n't like the look of that cloud.</dialogue>
<scene_description>The three of them stare up at the blue sky where a strand of cumulus cloud has appeared in the west .</scene_description>
<character>NED</character>
<parenthetical>( exclaims . )</parenthetical>
<dialogue>It's beautiful! It's like a dream city! As if we're looking at it from the bow of a ship - Lisbon, Naples, Istanbul -</dialogue>
<character>HOWARD</character>
<dialogue>Hackensack!</dialogue>
<scene_description>He laughs at his joke . Betty gives him an irritated glance .</scene_description>
<character>NED</character>
<parenthetical>( dreamily . )</parenthetical>
<dialogue>I'd like to see all those glistening white domes and minarets against the sky. First chance I get away from the office that's what I'd do. Go sailing around the Golden Horn.</dialogue>
<character>BETTY</character>
<parenthetical>( pouting at Howard . )</parenthetical>
<dialogue>Why do n't we travel more?</dialogue>
<character>HOWARD</character>
<dialogue>What for? We've got everything we need right here at home -</dialogue>
<scene_description>He is interrupted by the sound of a car horn from the direction of the driveway . Betty leaps up , relieved . So does Howard .</scene_description>
<character>BETTY</character>
<dialogue>That must be Don and Helen with the Forsburghs!</dialogue>
<scene_description>She runs toward the driveway . Howard jogs after her . Immediately Ned dives into the pool , leaving a glistening trail of bubbles as the wake of his passage .</scene_description>
</scene>
<scene>
<scene_description>The Lears Ned is walking rapidly across a spacious lawn toward a large and elaborate pool and pool - house set at its far end . As he approaches the pool he sees a young girl leaping on the diving board . Her name is Muffie . She waves enthusiastically at Ned . Another girl is swimming in the pool . She does n't notice Ned until she hears his voice .</scene_description>
<character>MUFFIE</character>
<dialogue>Hi, Mr. Merrill, how are you?</dialogue>
<character>NED</character>
<dialogue>Hi there, Muffie!</dialogue>
<character>MUFFIE</character>
<dialogue>Mother and Daddy are at the Club</dialogue>
<character>NED</character>
<dialogue>Mind if I have a swim?</dialogue>
<character>MUFFIE</character>
<dialogue>Of course not! Help yourself!</dialogue>
<scene_description>As Ned walks to the end of the pool the other girl swims to meet him . Her hands grasp the curb . Ned bends down and pulls her out and onto the terrace . Her name is Julie and she is arrestingly beautiful . Her long blonde hair is plastered to her head . Her eyelashes are stuck together in little points . Her perfect willowy figure is shown off by a brief bikini . Water is running in rivulets down her face and body .</scene_description>
<character>NED</character>
<dialogue>It is n't - Julianne Hooper!</dialogue>
<character>JULIE</character>
<parenthetical>( delighted . )</parenthetical>
<dialogue>Yes it is!</dialogue>
<character>NED</character>
<parenthetical>( stares at her . )</parenthetical>
<dialogue>I ca n't believe it. You're all grown up.</dialogue>
<scene_description>There is another flashing smile from Julie .</scene_description>
<character>NED</character>
<dialogue>How come we never see you any more?</dialogue>
<character>JULIE</character>
<dialogue>I guess you do n't need me any more -</dialogue>
<character>NED</character>
<dialogue>Of course we need you, Julie - we're always looking for a baby - sitter -</dialogue>
<character>JULIE</character>
<parenthetical>( laughs reproachfully . )</parenthetical>
<dialogue>Oh, Mr. Merrill!</dialogue>
<scene_description>She picks up a towel and starts to dry her hair . Ned watches every move she makes with intense pleasure .</scene_description>
<character>NED</character>
<dialogue>Hey! How about next Sunday night? You busy?</dialogue>
<character>JULIE</character>
<dialogue>No but -</dialogue>
<character>NED</character>
<dialogue>Okay, you're hired. Still live in the same place?</dialogue>
<character>JULIE</character>
<dialogue>Yes but -</dialogue>
<character>NED</character>
<dialogue>I'll pick you up at seven.</dialogue>
<character>JULIE</character>
<dialogue>You're putting me on! A baby - sitter! Ellen and Aggie would have a fit if they heard you!</dialogue>
<scene_description>She laughs with embarrassment . At this point there is a shout from Muffie .</scene_description>
<character>MUFFIE</character>
<dialogue>At last! I'm parched!</dialogue>
<scene_description>A tall boy , about seventeen , in bathing trunks , is coming from the direction of the drive carrying a carton of Cokes . He comes up to them . Ned looks at him blankly .</scene_description>
<character>JULIE</character>
<dialogue>Mr. Merrill, this is my brother Vernon.</dialogue>
<scene_description>Muffie has come out of the pool . She takes the carton from him and puts it on the table .</scene_description>
<character>NED</character>
<dialogue>Your brother!</dialogue>
<scene_description>They shake hands .</scene_description>
<character>NED</character>
<parenthetical>( gesturing the height of a small boy . )</parenthetical>
<dialogue>But your brother was -</dialogue>
<character>VERNON</character>
<parenthetical>( with a grin . )</parenthetical>
<dialogue>Boy, I sure liked that little red Jaguar you used to have!</dialogue>
<scene_description>He crosses to Muffie , who is taking cold bottles of Coke out of the carton .</scene_description>
<character>NED</character>
<dialogue>Julie, I ca n't get over you. How old are you now?</dialogue>
<character>JULIE</character>
<dialogue>Twenty last month.</dialogue>
<character>NED</character>
<dialogue>Going to school?</dialogue>
<character>JULIE</character>
<parenthetical>( shakes her head . )</parenthetical>
<dialogue>I've got a job.</dialogue>
<character>MUFFIE</character>
<parenthetical>( calls . )</parenthetical>
<dialogue>Want a Coke, Mr. Merrill?</dialogue>
<character>NED</character>
<dialogue>Sure -</dialogue>
<scene_description>He and Julie join the other two . Vernon hands them each an opened bottle .</scene_description>
<character>MUFFIE</character>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>Gee, I miss Ellen and Aggie. Where are they?</dialogue>
<character>NED</character>
<dialogue>They're - they're home playing tennis.</dialogue>
<character>MUFFIE</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>They are? But when did they - why did n't they call me?</dialogue>
<character>JULIE</character>
<dialogue>I'd just love to see them. Let's drive over!</dialogue>
<character>NED</character>
<parenthetical>( rises suddenly and puts the Coke down . )</parenthetical>
<dialogue>Well, I've got to be on my way. I'm swimming home.</dialogue>
<character>MUFFIE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>You're swimming home?</dialogue>
<character>NED</character>
<dialogue>Figured out there's a river of pools all the way to my house!</dialogue>
<character>VERNON</character>
<dialogue>That's more hiking than swimming.</dialogue>
<character>NED</character>
<dialogue>Not hiking exactly. Portaging.</dialogue>
<character>MUFFIE</character>
<dialogue>It's okay, if you like exercise.</dialogue>
<character>VERNON</character>
<parenthetical>( to Ned , with a laugh . )</parenthetical>
<dialogue>What a crazy idea!</dialogue>
<character>JULIE</character>
<parenthetical>( with a withering glance at Vernon . )</parenthetical>
<dialogue>I think it's a brilliant idea.</dialogue>
<character>NED</character>
<parenthetical>( his excitement returning . )</parenthetical>
<dialogue>From here I go to the Bunkers, then a portage through the Pastern's riding ring, then the Hallorans and so on - I've got it all mapped out in my mind.</dialogue>
<character>MUFFIE</character>
<dialogue>What are you doing it for?</dialogue>
<scene_description>Ned looks puzzled .</scene_description>
<character>MUFFIE</character>
<dialogue>Why do you want to do it?</dialogue>
<character>JULIE</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>I think it's very original. As if he's an explorer or something.</dialogue>
<character>NED</character>
<parenthetical>( approvingly . )</parenthetical>
<dialogue>Now you sound like a girl with imagination!</dialogue>
<character>JULIE</character>
<dialogue>I mean I think it's an adventure!</dialogue>
<character>NED</character>
<dialogue>Come with me!</dialogue>
<character>JULIE</character>
<parenthetical>( taken aback . )</parenthetical>
<dialogue>Well, gee, I - I -</dialogue>
<character>NED</character>
<dialogue>Come on, live a little!</dialogue>
<character>JULIE</character>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>Well, I do n't know if -</dialogue>
<character>NED</character>
<dialogue>Come on! We'll explore the torrential headwaters of the Lucinda River!</dialogue>
<scene_description>Muffie and Vernon giggle at this .</scene_description>
<character>JULIE</character>
<parenthetical>( with a cold glance at them . )</parenthetical>
<dialogue>All right - I will!</dialogue>
<scene_description>She puts down her Coke and jumps up , smiling at Ned . He is overjoyed .</scene_description>
<character>NED</character>
<dialogue>Race you!</dialogue>
<scene_description>They take running dives into the pool and race to the other end . Ned wins . They hoist themselves over the curb , laughing and dripping . Julie 's sandals are there . She slips her feet into them and they start off , running over the rest of the lawn and down a slope .</scene_description>
</scene>
<scene>
<scene_description>The Country Lane Ned and Julie are walking along a narrow country lane , half overgrown with weeds and bushes , shaded by tall trees . A few black - eyed Susans are blooming along the side of the road . Ned stops .</scene_description>
<character>NED</character>
<dialogue>Funny -</dialogue>
<character>JULIE</character>
<dialogue>What?</dialogue>
<character>NED</character>
<dialogue>Black - eyed Susans now.</dialogue>
<character>JULIE</character>
<dialogue>They're all over the place.</dialogue>
<character>NED</character>
<dialogue>Usually bloom later -</dialogue>
<scene_description>He picks a half dozen and hands them to Julie , like a country boy to his girl . She smiles with pleasure . They walk a little farther in silence . Ned 's eyes are on Julie , constantly admiring her . She catches him looking at her . He smiles .</scene_description>
<character>JULIE</character>
<dialogue>Mr. Merrill -</dialogue>
<character>NED</character>
<dialogue>Hmm?</dialogue>
<character>JULIE</character>
<dialogue>What did you mean before - all that about my coming over to baby - sit?</dialogue>
<character>NED</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>Coming over to baby - sit?</dialogue>
<parenthetical>( remembers . )</parenthetical>
<dialogue>Oh, I was just joking.</dialogue>
<parenthetical>( smiles . )</parenthetical>
<dialogue>I was teasing you.</dialogue>
<character>JULIE</character>
<dialogue>Gee, I wondered.</dialogue>
<character>NED</character>
<dialogue>You used to be such a shy little kid. Always brought along a pile of school books, always dropping pencils and things. Never had a word to say.</dialogue>
<character>JULIE</character>
<dialogue>I thought plenty though.</dialogue>
<character>NED</character>
<dialogue>Thought what?</dialogue>
<character>JULIE</character>
<dialogue>Oh - daydreamed -</dialogue>
<character>NED</character>
<dialogue>What about?</dialogue>
<character>JULIE</character>
<parenthetical>( gives him a sidelong glance . )</parenthetical>
<dialogue>Oh - lots of things.</dialogue>
<character>NED</character>
<dialogue>What sort of things?</dialogue>
<character>JULIE</character>
<dialogue>It's so silly. I mean it was such kid stuff.</dialogue>
<character>NED</character>
<dialogue>Come on - tell me.</dialogue>
<character>JULIE</character>
<parenthetical>( shyly . )</parenthetical>
<dialogue>I bet you never knew I had a big crush on you.</dialogue>
<character>NED</character>
<dialogue>You did?</dialogue>
<character>JULIE</character>
<dialogue>Oh, I was mad about you. Out of my head.</dialogue>
<character>NED</character>
<parenthetical>( terribly pleased . )</parenthetical>
<dialogue>You were?</dialogue>
<character>JULIE</character>
<dialogue>If Mrs. Merrill called me to baby - sit - even at the last minute - I'd cancel out whoever I'd promised and come to your house instead.</dialogue>
<character>NED</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>You must have lost a lot of customers.</dialogue>
<character>JULIE</character>
<dialogue>And then I'd spend about an hour getting myself fixed up. My mother thought I was nuts. I mean, I was just a kid to you but you were a - god to me!</dialogue>
<character>NED</character>
<parenthetical>( enormously pleased . )</parenthetical>
<dialogue>Now you're putting me on!</dialogue>
<character>JULIE</character>
<dialogue>Know what I'd do after the girls were asleep? I'd go up to your room and open your closet and touch your suits. Then I'd go into your bathroom and smell your shaving lotion. Then one time - oh this is a terrible thing to admit -</dialogue>
<character>NED</character>
<dialogue>Tell me -</dialogue>
<character>JULIE</character>
<dialogue>I stole one of your shirts</dialogue>
<scene_description>She looks at him . He laughs happily .</scene_description>
<character>JULIE</character>
<dialogue>When I was doing my homework up in my room I'd put it on. It made me feel as if you were around me.</dialogue>
<character>NED</character>
<parenthetical>( his spirits soaring . )</parenthetical>
<dialogue>Julie - I - I did n't know -</dialogue>
<character>JULIE</character>
<dialogue>When you'd drive me home late at night I'd pretend like mad -</dialogue>
<character>NED</character>
<dialogue>Pretend what?</dialogue>
<parenthetical>( Julie does n't answer . )</parenthetical>
<dialogue>What is it you used to pretend?</dialogue>
<character>JULIE</character>
<parenthetical>( embarrassed . )</parenthetical>
<dialogue>I - after all, I was just a child in those days -</dialogue>
<character>NED</character>
<dialogue>I want to know -</dialogue>
<scene_description>He takes her hand . Julie starts out reluctantly but gets caught up in her own recital .</scene_description>
<character>JULIE</character>
<dialogue>Oh - that you were desperately in love with me - but you were too honorable to say so because, well, I mean - you were married.</dialogue>
<scene_description>She looks at him . He is listening seriously . Reassured , she goes on .</scene_description>
<character>JULIE</character>
<dialogue>So I had to go to Paris to, you know, put an ocean between us. And no matter how many divine Frenchmen begged me, I'd never marry. I'd just live there all pale and mysterious with huge tragic eyes. Then one night I'd be in some club in a fabulous Paris gown and I'd see you at the door - tall, distinguished, a little gray at the temples -</dialogue>
<scene_description>Ned touches his temples where his hair is indeed turning gray .</scene_description>
<character>JULIE</character>
<parenthetical>( nods solemnly . )</parenthetical>
<dialogue>- I pretended your eyes would burn into me across this whole roomful of people and suddenly there'd be a hush and everyone would look at me. And then I'd just stand up and float towards you -</dialogue>
<scene_description>She stops abruptly .</scene_description>
<character>NED</character>
<dialogue>And then what?</dialogue>
<character>JULIE</character>
<parenthetical>( disengages her hand . )</parenthetical>
<dialogue>That's all.</dialogue>
<character>NED</character>
<parenthetical>( with a wild surge of happiness . )</parenthetical>
<dialogue>I - I do n't know what to say!</dialogue>
<character>JULIE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>I told you. I was a real spooky kid!</dialogue>
<scene_description>During the last few exchanges they have been hearing the sound of voices and laughter from the pool nearby . The voices have gradually grown louder .</scene_description>
<character>NED</character>
<dialogue>The Bunkers must be having a party!</dialogue>
</scene>
<scene>
<scene_description>The Bunkers The Bunkers ' terrace is crowded with people , all of them prosperous looking , chic , and deeply tanned . White - coated waiters are passing trays of drinks . There is a crowd around Ned and Julie , the women are kissing Ned , the men are shaking his hand . Ned is on the crest of the wave . His life seems to him as sunny and full of promise as this summer afternoon . Buzz Bunker , a middle - aged man in trunks , is sprawled limply across a wild - looking inflated rubber animal which is floating in the Bunker 's pool . His eyes are closed . His slack face indicates that he is loaded . When he hears the commotion and cries of `` Neddy ! Neddy ! '' he opens one eye and gazes toward the terrace . A woman screams joyfully and breaks through the circle around Ned . She is Enid Bunker , a little under forty , sleek and handsome .</scene_description>
<character>ENID</character>
<dialogue>Look who's here! What a marvelous surprise!</dialogue>
<scene_description>She flings her arms around Ned and kisses him . When she releases him , she looks appraisingly at Julie in her still damp bikini .</scene_description>
<character>NED</character>
<dialogue>This is Julianne Hooper, our baby - sitter. I lost her for a while but I found her again!</dialogue>
<character>ENID</character>
<parenthetical>( with a slight curl of the lip . )</parenthetical>
<dialogue>How fortunate for you, darling!</dialogue>
<character>NED</character>
<parenthetical>( oblivious . )</parenthetical>
<dialogue>My God, that sun tan. You look ravishing!</dialogue>
<scene_description>Enid , all smiles again , gives him a playful push .</scene_description>
<character>ENID</character>
<dialogue>You know where the bar is - go get a drink.</dialogue>
<scene_description>She rushes off to another approaching guest . For an instant Ned surveys the scene . Then he says , with glowing tenderness :</scene_description>
<character>NED</character>
<dialogue>How bonny are the banks of the Lucinda River.</dialogue>
<character>JULIE</character>
<dialogue>What?</dialogue>
<character>NED</character>
<dialogue>I knew we'd find friends all along the way -.</dialogue>
<parenthetical>( leads her toward the bar . )</parenthetical>
<dialogue>Let's have a quick one to appease the natives -</dialogue>
<scene_description>As they push through the crowd Ned continues to be greeted enthusiastically . Everyone is friendly and warm and terribly pleased to see him . They eye Julie with various expressions , most of the men admiring her , the women amused or jealous . All of these encounters are en passant .</scene_description>
<character>ONE MAN</character>
<parenthetical>( claps Ned on the shoulder . )</parenthetical>
<dialogue>Hey Ned! Good to see you! How've you been?</dialogue>
<character>NED</character>
<dialogue>Great! Just great!</dialogue>
<character>A WOMAN</character>
<parenthetical>( exclaims . )</parenthetical>
<dialogue>Neddy!</dialogue>
<parenthetical>( and kisses him . )</parenthetical>
<dialogue />
<character>NED</character>
<dialogue>You look marvelous, honeybunch!</dialogue>
<character>ANOTHER WOMAN</character>
<dialogue>Darling!</dialogue>
<parenthetical>( kisses him . )</parenthetical>
<dialogue>Is it undiplomatic to ask if Lucinda's with you?</dialogue>
<character>NED</character>
<dialogue>She'll be along -</dialogue>
<character>A MAN</character>
<parenthetical>( pumps Ned 's hand . )</parenthetical>
<dialogue>My God! It's been a dog's age!</dialogue>
<character>NED</character>
<dialogue>Rusty! Say, we've got to get together! Call me!</dialogue>
<scene_description>Yet another woman , an athletic - looking freckled blonde , kisses Ned .</scene_description>
<character>FRECKLED BLONDE</character>
<dialogue>Are n't you a sight for sore eyes!</dialogue>
<character>4TH WOMAN</character>
<parenthetical>( kisses him , exclaims . )</parenthetical>
<dialogue>Neddy dear!</dialogue>
<character>FRECKLED BLONDE</character>
<dialogue>How's Lucinda?</dialogue>
<scene_description>The fourth woman pokes her - but too late .</scene_description>
<character>NED</character>
<dialogue>She's fine. We want to see you. We'll call you -</dialogue>
<scene_description>When he has gone , the freckled blonde whispers to her friend . One of the men shakes Ned 's hand .</scene_description>
<character>MAN</character>
<dialogue>Good Lord! Where'd you pop up from?</dialogue>
<character>NED</character>
<dialogue>How you doing, chum?</dialogue>
<character>MAN</character>
<parenthetical>( staring at Julie . )</parenthetical>
<dialogue>Not as well as you!</dialogue>
<scene_description>Ned laughs and pulls Julie on . At the bar , the Bunkers ' Negro butler extends the same hearty welcome .</scene_description>
<character>THE BUTLER</character>
<dialogue>Mr. Merrill!</dialogue>
<character>NED</character>
<dialogue>Hiya Stanley. How's Inez?</dialogue>
<character>THE BUTLER</character>
<dialogue>Will she be glad to see you, sir!</dialogue>
<character>NED</character>
<dialogue>Inez is my girl!</dialogue>
<character>THE BUTLER</character>
<parenthetical>( beams . )</parenthetical>
<dialogue>Yes sir!</dialogue>
<character>NED</character>
<parenthetical>( indicates a wine bottle in a silver cooler . )</parenthetical>
<dialogue>Champagne?</dialogue>
<character>THE BUTLER</character>
<dialogue>Yes sir!</dialogue>
<scene_description>He takes the bottle out of the cooler . Ned examines the label .</scene_description>
<character>NED</character>
<dialogue>Dom Perignon! That's for us!</dialogue>
<scene_description>The butler gets out two champagne glasses and fills them .</scene_description>
<character>NED</character>
<parenthetical>( to Julie . )</parenthetical>
<dialogue>Like champagne?</dialogue>
<character>JULIE</character>
<dialogue>I've only had it once - at a birthday party -</dialogue>
<scene_description>The butler hands them their glasses .</scene_description>
<character>JULIE</character>
<parenthetical>( boasting . )</parenthetical>
<dialogue>A boy drank it out of my slipper!</dialogue>
<character>NED</character>
<parenthetical>( as he touches his glass to hers . )</parenthetical>
<dialogue>Here's to sugar on our strawberries!</dialogue>
<scene_description>Julie giggles . Ned drains his glass and , hardly allowing Julie to finish , pulls her along toward the pool . A man stops them and shakes Ned 's hand with vigor .</scene_description>
<character>MAN</character>
<dialogue>Ned! My God!</dialogue>
<character>NED</character>
<parenthetical>( turns . )</parenthetical>
<dialogue>Brian! How are you, Brian?</dialogue>
<character>BRIAN</character>
<dialogue>Listen, I feel rotten for not calling you. Been so damn busy - do n't know where the time goes -</dialogue>
<character>NED</character>
<dialogue>Let's have lunch this week - for sure!</dialogue>
<character>BRIAN</character>
<dialogue>Okay, but I want to tell you right now I think it was a stinking thing to do - what they pulled on you over at your place -</dialogue>
<scene_description>Ned 's eyes are a little anxious , a little puzzled .</scene_description>
<character>NED</character>
<dialogue>What's that, Brian?</dialogue>
<character>BRIAN</character>
<dialogue>I do n't care how big a firecracker that new guy was! Brother, that story really jolted me -</dialogue>
<scene_description>Ned 's eyes flicker past Brian . He is not listening .</scene_description>
<character>BRIAN</character>
<dialogue>I kept thinking what if some young smart - ass comes in to our shop and does that to me!</dialogue>
<scene_description>Ned 's attention is elsewhere .</scene_description>
<character>NED</character>
<dialogue>I'll hear from you, huh?</dialogue>
<scene_description>He is already pushing past Brian .</scene_description>
<character>NED</character>
<dialogue>Call me up at the office -</dialogue>
<scene_description>Ned 's eyes are on an extremely good - looking woman of about thirty who is wearing a backless bathing suit ; she is talking to a man . Ned sneaks up behind the woman and enfolds her in a bear hug .</scene_description>
<character>NED</character>
<dialogue>Beautiful Cynthia!</dialogue>
<scene_description>Cynthia spins around , delighted .</scene_description>
<character>CYNTHIA</character>
<dialogue>Neddy, darling!</dialogue>
<character>NED</character>
<dialogue>Where's Carter?</dialogue>
<character>CYNTHIA</character>
<parenthetical>( happily . )</parenthetical>
<dialogue>Have n't you heard? We're separated!</dialogue>
<scene_description>Julie has joined them .</scene_description>
<character>NED</character>
<dialogue>This is Julianne Hooper, our baby - sitter.</dialogue>
<character>CYNTHIA</character>
<parenthetical>( her eyes on Ned . )</parenthetical>
<dialogue>Run along to your babies, dear.</dialogue>
<character>NED</character>
<dialogue>She's with me. We're swimming across the county.</dialogue>
<character>CYNTHIA</character>
<parenthetical>( gives Julie an icy stare . )</parenthetical>
<dialogue>How healthy and young of you!</dialogue>
<character>NED</character>
<parenthetical>( admiring Cynthia . )</parenthetical>
<dialogue>Who the hell else out here could wear a suit like that?</dialogue>
<character>CYNTHIA</character>
<dialogue>Why do n't you come over tonight - for dinner?</dialogue>
<scene_description>And she means more than dinner .</scene_description>
<character>NED</character>
<dialogue>Love to - if Lucinda has n't made a date.</dialogue>
<character>CYNTHIA</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>Lucinda! Well - congratulations!</dialogue>
<scene_description>She turns her back abruptly . Ned has n't heard . He has already pushed past her , intent on getting to the pool . A man rushes determinedly over to him and blocks his way .</scene_description>
<character>DAN</character>
<dialogue>Why do n't you leave some phone numbers around? Been trying to reach you.</dialogue>
<character>NED</character>
<dialogue>Danny - boy! How are you, chum?</dialogue>
<character>DAN</character>
<dialogue>Look, I've heard of an opening - sounded perfect for you, your experience. Smaller place than you're used to, but these two guys are creative as hell and -</dialogue>
<character>NED</character>
<parenthetical>( puts his arm around Julie . )</parenthetical>
<dialogue>Say hello to Julianne -</dialogue>
<character>DAN</character>
<parenthetical>( briefly . )</parenthetical>
<dialogue>Hello Julianne -.</dialogue>
<parenthetical>( his attention turns immediately back to Ned . )</parenthetical>
<dialogue>This firm has a reputation for quality. I think if you approach them right, take a cut just at first -</dialogue>
<character>NED</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>A cut?</dialogue>
<character>DAN</character>
<dialogue>Now look here Ned - you do n't have to pretend with me.</dialogue>
<scene_description>But Ned has Julie by the hand and is running to the pool . She slips out of her sandals , and Ned tosses them clear across the length of the pool to the grass at the other end . They dive in . Buzz is still floating on the rubber raft . He does n't move nor glance her way as Julie passes him . Ned stops alongside of the raft , treading water .</scene_description>
<character>NED</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Buzz! Hey, Buzz!</dialogue>
<scene_description>Buzz turns his head slowly and stares at him with glazed eyes .</scene_description>
<character>NED</character>
<dialogue>Know what day this is, Buzz?</dialogue>
<scene_description>Buzz looks infinitely bored .</scene_description>
<character>NED</character>
<dialogue>This is the day Ned Merrill swims across the county!</dialogue>
<scene_description>Expressionless , Buzz turns his head away and closes his eyes .</scene_description>
<character>NED</character>
<parenthetical>( shouts joyfully to Buzz and the world . )</parenthetical>
<dialogue>This is the day!</dialogue>
</scene>
<scene>
<scene_description>The Pastern 's Riding Ring A standard size grassy riding ring , neatly enclosed by a low white fence . In the background is a well - cared - for stable . Inside the ring the jumps are set up for practice . Ned is hurdling one of the highest with graceful ease . After he lands he turns to Julie , who is watching him .</scene_description>
<character>NED</character>
<parenthetical>( triumphant . )</parenthetical>
<dialogue>How about that?</dialogue>
<character>JULIE</character>
<dialogue>Fabulous!</dialogue>
<character>NED</character>
<dialogue>I'm in good shape, huh?</dialogue>
<character>JULIE</character>
<parenthetical>( enthusiastic . )</parenthetical>
<dialogue>Oh yes! You're in much better shape than my father, for example.</dialogue>
<scene_description>Ned reacts to this comparison . He gives her a look .</scene_description>
<character>NED</character>
<dialogue>Come on, try it.</dialogue>
<scene_description>Julie runs to him . He motions her down on one knee , fingertips to the ground , and takes the same position himself .</scene_description>
<character>NED</character>
<dialogue>All set? Go!</dialogue>
<scene_description>They dash together toward the next jump and hurdle it in unison . Julie sails over , her hair flowing out behind her . They land together , laughing delightedly . Ned reaches for her hand and together they continue to circle the ring , leaping over the jumps like two healthy and beautiful animals . For Ned it is a period of his youth returned , and his face is boyish with sheer uncomplicated joy in the perfect obedience of his body , in the girl beside him , in the sunny day . Suddenly , as he lands , Ned makes a stunned grimace of pain . He gasps and holds his ankle .</scene_description>
<character>JULIE</character>
<dialogue>What's the matter?</dialogue>
<character>NED</character>
<dialogue>Twisted it -</dialogue>
<character>JULIE</character>
<dialogue>Oh! Does it hurt much?</dialogue>
<character>NED</character>
<dialogue>No, it's nothing - let's sit down for a minute -</dialogue>
<scene_description>Ned limps in real pain toward a place near the fence where the tree branches make a dappled patch of shade . Julie sits . Ned lies on his stomach , his chin propped on his hands , his eyes enjoying her .</scene_description>
<character>NED</character>
<dialogue>What kind of a job do you have, Julie?</dialogue>
<character>JULIE</character>
<dialogue>Secretary. We're the biggest office supply company in New York.</dialogue>
<character>NED</character>
<dialogue>Funny - I've never run into you on the train.</dialogue>
<character>JULIE</character>
<dialogue>I take the 7:22. I'm always the first one in - so I make the coffee.</dialogue>
<character>NED</character>
<dialogue>Friendly office?</dialogue>
<character>JULIE</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Two of the girls want me to get an apartment with them. Soon as we get our raises.</dialogue>
<character>NED</character>
<dialogue>Watch out! It's a big wicked city!</dialogue>
<character>JULIE</character>
<dialogue>I know. I've had some experiences.</dialogue>
<character>NED</character>
<dialogue>Like what?</dialogue>
<character>JULIE</character>
<dialogue>Well, one morning I was making the coffee and I happened to look out of the window. There's an apartment house across a court. A man was standing at his window looking at me.</dialogue>
<parenthetical>( pauses , then dramatically . )</parenthetical>
<dialogue>He was stark naked!</dialogue>
<character>NED</character>
<parenthetical>( gravely . )</parenthetical>
<dialogue>That's terrible.</dialogue>
<character>JULIE</character>
<dialogue>I just stood there looking at him!</dialogue>
<character>NED</character>
<dialogue>You should report that to somebody -</dialogue>
<character>JULIE</character>
<dialogue>He's never been there again. I check every morning.</dialogue>
<character>NED</character>
<dialogue>Lots of nuts around.</dialogue>
<character>JULIE</character>
<parenthetical>( nods eagerly . )</parenthetical>
<dialogue>Once my boss sent me to deliver some record books. I got into an empty elevator and pressed twenty - six. Then a man got in and pressed twenty - seven. Then the door closed, and the elevator started up. This man came right over and kissed me. On the mouth!</dialogue>
<character>NED</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>What'd you do?</dialogue>
<character>JULIE</character>
<dialogue>I dropped the record books.</dialogue>
<character>NED</character>
<dialogue>What'd he do?</dialogue>
<character>JULIE</character>
<dialogue>He picked them up.</dialogue>
<character>NED</character>
<dialogue>Then what?</dialogue>
<character>JULIE</character>
<dialogue>He gave them to me, and the door opened on the twenty - sixth floor and I got out.</dialogue>
<parenthetical>( expels a breath . )</parenthetical>
<dialogue>Can you imagine! In a building on Park Avenue!</dialogue>
<scene_description>Julie sighs at the quixotic behavior of the human male . She stretches out in the grass . Ned puts his hand lightly on her ankle .</scene_description>
<character>NED</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>How beautiful are thy feet in sandals, O Prince's daughter -</dialogue>
<scene_description>He touches her leg .</scene_description>
<character>JULIE</character>
<parenthetical>( moves her leg away . )</parenthetical>
<dialogue>That's from the Bible, is n't it?</dialogue>
<character>NED</character>
<dialogue>Song of Solomon.</dialogue>
<character>JULIE</character>
<dialogue>When I was a little girl in Sunday School they never mentioned that part of the Bible.</dialogue>
<character>NED</character>
<parenthetical>( soberly . )</parenthetical>
<dialogue>You still are a little girl in Sunday School. I've been thinking. I could meet you on the train in the morning and take you to your office when you have to go out on an errand you could call me and I'll go with you and I'll pick you up at noon every day and we'll have lunch together -.</dialogue>
<parenthetical>( his enthusiasm grows . )</parenthetical>
<dialogue>That's what we'll do! I'll take care of you, Julie!</dialogue>
<character>JULIE</character>
<parenthetical>( inches away a little . )</parenthetical>
<dialogue>Gee I do n't think that would work out very well, Mr. Merrill. I mean I - I need my lunch hour to get my hair done - and shop - things like that.</dialogue>
<scene_description>Ned has n't really listened to her . He very tentatively and lightly strokes her hair .</scene_description>
<character>NED</character>
<dialogue>That shirt of mine, Julie. Do you still have it?</dialogue>
<character>JULIE</character>
<parenthetical>( shakes her head . )</parenthetical>
<dialogue>After a while I decided it was - well, it was just a shirt - and I threw it away -</dialogue>
<scene_description>Ned looks hurt .</scene_description>
<character>JULIE</character>
<dialogue>You had so many shirts I did n't think you'd miss it or anything. Do you mind?</dialogue>
<character>NED</character>
<dialogue>No, but I wish you'd told me how you felt.</dialogue>
<character>JULIE</character>
<dialogue>Oh I could n't! I would've died!</dialogue>
<character>NED</character>
<parenthetical>( soberly . )</parenthetical>
<dialogue>There's so little love in the world. If it's kept a secret then it's wasted, do n't you see?</dialogue>
<scene_description>He lets a long strand of her hair slip through his fingers . She moves away the least bit .</scene_description>
<character>NED</character>
<dialogue>I wo n't let you ever be scared or hurt.</dialogue>
<scene_description>He runs his finger along her arm .</scene_description>
<character>NED</character>
<dialogue>And if you want anything - whatever it is - you just come to me.</dialogue>
<scene_description>He puts his arm across her breast and around her , protectively .</scene_description>
<character>NED</character>
<dialogue>I'll - I'll be your guardian angel -</dialogue>
<scene_description>The hug is meant to be the most delicate and tender embrace , but Julie misinterprets it and tries to release herself . She makes only a slight move but Ned 's grip tightens .</scene_description>
<character>NED</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Julie - Julie - Julie -</dialogue>
<scene_description>Julie panics and breaks away from him . She jumps to her feet and dashes off through the high grass .</scene_description>
<character>NED</character>
<parenthetical>( leaps up . )</parenthetical>
<dialogue>Julie!</dialogue>
<scene_description>She does n't look back . She is running away . Devastated , Ned watches her until she is out of sight .</scene_description>
</scene>
<scene>
<scene_description>The Lindleys Two suburban matrons in their late thirties , good - looking , well - dressed in the ubiquitous suburban uniform of madras shorts and round collared blouses , are seated under a tree in a small woods . The woods border a large clearing of mowed lawn , at the end of which is a swimming pool and an elaborate Tudor house . The two women , whose names are Harriet and Jane , have bird - watcher manuals and notebooks in their laps . They scan the branches of nearby trees through binoculars .</scene_description>
<character>HARRIET</character>
<dialogue>It's a Chestnut Sided Warbler! See there! It has a yellow cap!</dialogue>
<character>JANE</character>
<dialogue>No, no, it's a Myrtle Warbler. Just the crown is yellow and it has a yellow rump -</dialogue>
<scene_description>She lowers her binoculars to rifle through the pages of the manual . Harriet continues to look through her binoculars . Suddenly she gasps , swings them in another direction and peers intently .</scene_description>
<character>JANE</character>
<dialogue>What is it?</dialogue>
<character>HARRIET</character>
<dialogue>I do n't know -</dialogue>
<character>JANE</character>
<dialogue>What's it look like?</dialogue>
<character>HARRIET</character>
<dialogue>Bronze - crested, tawny - chested, flat - bellied, with a blue rump -</dialogue>
<scene_description>After a glance at Harriet , Jane lifts her own binoculars . They suddenly frame the figure of Ned , limping through the woods .</scene_description>
<character>JANE</character>
<dialogue>Oh - oh, I have n't spotted that one in a long time.</dialogue>
<character>HARRIET</character>
<dialogue>Who is he?</dialogue>
<character>JANE</character>
<dialogue>Common species. Found everywhere except home in the nest.</dialogue>
<character>HARRIET</character>
<dialogue>Oh? What's the female like?</dialogue>
<character>JANE</character>
<dialogue>Small, brown, gray crest.</dialogue>
<scene_description>Ned has come out of the woods and is crossing the lawn toward the house . The two women follow him with their binoculars .</scene_description>
<character>HARRIET</character>
<dialogue>Like birds! The gorgeous ones always mate with the drab ones!</dialogue>
<character>JANE</character>
<dialogue>She is not drab. And she's very nice.</dialogue>
<scene_description>Ned has now arrived at the terrace at the back of the house . The windows are open . The place is silent .</scene_description>
<character>NED</character>
<parenthetical>( shouts . )</parenthetical>
<dialogue>Eliot! Nancy! Hey, Eliot!</dialogue>
<scene_description>There is no answer .</scene_description>
<character>NED</character>
<dialogue>Hello! Hello! Anybody home?</dialogue>
<scene_description>The house is deserted . Ned 's look of bright anticipation fades . His shoulders slump . His disappointment is obvious . He sits down in a chair , all the lines of his body slack .</scene_description>
<character>JANE</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Too bad. No reception committee. No drums and banners.</dialogue>
<character>HARRIET</character>
<dialogue>I'd have stayed home if he was coming.</dialogue>
<scene_description>After a moment Ned pulls himself together and , his steps dragging , crosses to the pool . The family has only recently left it . There are remains of drinks , half - filled dishes of peanuts . Children 's toys are scattered around . On a chair is a beach bag and a man 's jacket . On the grass near the pool a croquet game is set up , mallets and balls lying about . Ned surveys the scene with a lack of enthusiasm . He wanders restlessly over to the ice - bucket , digs out some ice and pours himself a short drink . He eats a peanut . There is a portable radio on the table . He switches it on , listens for a moment to the broadcast of a Sunday baseball game .</scene_description>
<character>JANE</character>
<parenthetical>( sourly . )</parenthetical>
<dialogue>What's the name of that bird? A crow? Takes whatever he wants from the other fellow's nest -</dialogue>
<scene_description>Ned switches off the radio , puts down the barely tasted drink , rummages in the beach bag and finds a pack of cigarettes . He puts a cigarette in his mouth and looks around for a match . There are none in the bag . He looks on the tables near the pool but finds only an empty packet which he tosses away in frustration .</scene_description>
<character>HARRIET</character>
<dialogue>God, I know just how he feels!</dialogue>
<scene_description>Ned 's search for a match has become more frantic . He picks up the man 's jacket and goes through the pockets without success . He dumps the beach bag upside down and sorts through the pile of contents .</scene_description>
<character>HARRIET</character>
<dialogue>Would I love to give him a light!</dialogue>
<character>JANE</character>
<dialogue>I would n't give him the time of day.</dialogue>
<character>HARRIET</character>
<dialogue>What's the matter? Why've you got it in for him?</dialogue>
<character>JANE</character>
<dialogue>I happen to have heard the story and I'm on her side.</dialogue>
<character>HARRIET</character>
<parenthetical>( promptly . )</parenthetical>
<dialogue>I have n't heard the story and I'm on his side.</dialogue>
<scene_description>Ned takes the cigarette out of his mouth and tosses it away . He starts for the end of the pool , passing the croquet game . He pauses and picks up a mallet , then places a ball . His first stroke is perfect - the ball rolls directly through the wicket . His second stroke is successful but comes to rest in a position from which it is impossible to make a good third stroke . He scowls at the ball . He bends down and moves the wicket to a favorable position . He strokes the ball through it . Then , obviously feeling much better , he jauntily continues towards the pool .</scene_description>
<character>JANE</character>
<parenthetical>( triumphantly . )</parenthetical>
<dialogue>See that? He's got the ethics of a magpie!</dialogue>
<character>HARRIET</character>
<dialogue>Oh come on! We all cheat if we think we can get away with it!</dialogue>
<parenthetical>( glances at Jane . )</parenthetical>
<dialogue>Do n't you?</dialogue>
<scene_description>Jane 's lips tighten . She lowers her binoculars and starts looking through her bird manual . By this time Ned is swimming across the pool . He reaches the far end and leaps over the curb .</scene_description>
<character>HARRIET</character>
<dialogue>Bravo! Beautiful!</dialogue>
<scene_description>She watches Ned , favoring his bad ankle , stride happily away . Jane is still consulting the bird manual .</scene_description>
<character>JANE</character>
<dialogue>By the way, you were wrong. That bird we saw before was a Myrtle Warbler.</dialogue>
<scene_description>Harriet glances at the manual with bored indifference .</scene_description>
<character>HARRIET</character>
<dialogue>I do n't give a damn if it was a solid gold warbler.</dialogue>
<scene_description>She stretches out lazily on the ground , still thinking about Ned . After a moment she turns her head towards Jane and demands :</scene_description>
<character>HARRIET</character>
<dialogue>What are we doing here in the prime of our lives - watching birds?</dialogue>
</scene>
<scene>
<scene_description>The Hallorans Ned limps up to the impressive entrance gate to the Halloran estate . The huge house is set well back from the road . As he is about to start up the drive a limousine turns in after him . It is driven by a dignified Negro . Ned signals him to stop . He approaches the car , smiling .</scene_description>
<character>NED</character>
<dialogue>Hi there, Steve!</dialogue>
<scene_description>He crosses to the car door .</scene_description>
<character>NED</character>
<dialogue>How are you, Steve?</dialogue>
<parenthetical>( frowns . )</parenthetical>
<dialogue>Oh, you're not Steve.</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( politely . )</parenthetical>
<dialogue>No. How are you, Mr. Merrill?</dialogue>
<character>NED</character>
<dialogue>I'm a friend of the Hallorans.</dialogue>
<character>THE CHAUFFEUR</character>
<dialogue>Yes, I know.</dialogue>
<character>NED</character>
<dialogue>Mind if I ride up to the house with you?</dialogue>
<character>THE CHAUFFEUR</character>
<dialogue>Not at all.</dialogue>
<scene_description>He is about to get out of the car to open the back door .</scene_description>
<character>NED</character>
<dialogue>Do n't bother.</dialogue>
<scene_description>He opens the front door and gets in beside the chauffeur . The Sunday New York Times is lying on the seat . Ned moves it over . The car starts off .</scene_description>
<character>NED</character>
<parenthetical>( with an anxious glance at the chauffeur . )</parenthetical>
<dialogue>How long have you been working for the Hallorans?</dialogue>
<character>THE CHAUFFEUR</character>
<dialogue>Going on two years now.</dialogue>
<character>NED</character>
<dialogue>What happened to Steve?</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( pleasantly . )</parenthetical>
<dialogue>I'm afraid I do n't know.</dialogue>
<character>NED</character>
<parenthetical>( chummy . )</parenthetical>
<dialogue>What a character! Did he mangle the English language!</dialogue>
<scene_description>The chauffeur does n't answer .</scene_description>
<character>NED</character>
<dialogue>We told him he ought to be on television.</dialogue>
<scene_description>Again no answer .</scene_description>
<character>NED</character>
<dialogue>Big bass voice. You should have heard that guy sing!</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( evenly . )</parenthetical>
<dialogue>A natural sense of rhythm?</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( enthusiastically . )</parenthetical>
<dialogue>You bet!</dialogue>
<scene_description>Suddenly something about the Negro 's question bothers him . Ned glances at him . The chauffeur is gazing straight ahead , his profile pleasant and impassive . The car pulls up in front of the entrance to the house . Ned opens the door and gets out .</scene_description>
<character>NED</character>
<dialogue>I'll take them the paper.</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( hands it to him . )</parenthetical>
<dialogue>Thank you.</dialogue>
<character>NED</character>
<dialogue>Thank you for the lift. My apologies - I do n't know why I thought you were Steve.</dialogue>
<character>THE CHAUFFEUR</character>
<parenthetical>( casually , very courteous . )</parenthetical>
<dialogue>That's okay. Sometimes you all look alike to us too.</dialogue>
<scene_description>Ned gives him a look and turns away . He limps slightly as he walks off around the house . The Hallorans ' pool , which is several hundred yards away in back of the house , is set at the end of a wide rolling lawn . Everything about the estate says `` lots of old money . '' Mr. and Mrs. Halloran are sitting at a table beside the pool . They are both gray - haired , handsome , distinguished - looking , elegant in manner and totally naked . It becomes apparent at once that Mrs. Halloran is the Commanding General of this couple and Mr. Halloran her lieutenant . She has set up what looks like an outdoor office at the pool . On the table is a typewriter , piles of papers , pencils , envelopes , etc. , and a telephone . At the moment Mrs. Halloran is busily stapling tickets to form letters and stuffing them into envelopes . From time to time she consults a long list of names and addresses in front of her . Mr. Halloran is in the midst of a conversation on the phone .</scene_description>
<character>MR. HALLORAN</character>
<parenthetical>( obviously speaking to a young child . )</parenthetical>
<dialogue>You want me to say hello to the teddy bear? Hello teddy bear -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Tell him to call his mother!</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Will you call your mummy, please? Oh, you want me to say hello to your little brother? Hello little -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( snatches the phone from Mr. Halloran . )</parenthetical>
<dialogue>Young man, I want to speak to your mother at once!</dialogue>
<scene_description>She hands the phone back to Mr. Halloran and immediately continues her stapling .</scene_description>
<character>MR. HALLORAN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Mrs. McCauley, this is Chester Halloran. oh yes, they're adorable -</dialogue>
<scene_description>He sees the sour look on his wife 's face and continues quickly .</scene_description>
<character>MR. HALLORAN</character>
<dialogue>I'm calling about the Safari Ball, a benefit for the Preserve Our Wild Life Foundation. Oh? of course, out of the question - bon voyage -</dialogue>
<scene_description>There is a feeling that Mrs. McCauley has hung up before the bon voyage . Mr. Halloran hangs up .</scene_description>
<character>MR. HALLORAN</character>
<dialogue>She's leaving tomorrow for a cruise around the world -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>The hell she is!</dialogue>
<scene_description>Ned has come around the corner of the house and , favoring his ankle , is limping towards the Hallorans . They have not yet noticed him . Mr. Halloran sighs , consults a list of names , and is about to dial again when the phone rings .</scene_description>
<character>MR. HALLORAN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Hello. Oh, hello honey -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Tell her to hurry - they'll miss the sun.</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( who has been listening on the phone . )</parenthetical>
<dialogue>She absolutely refuses to bring the children unless we put on our suits.</dialogue>
<character>MRS. HALLORAN</character>
<dialogue>After the way we brought her up? What's the matter with her?</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>After the way we brought you up? What's the matter with you, honey?</dialogue>
<parenthetical>( listens , then to Mrs. Halloran . )</parenthetical>
<dialogue>She says they're her children and she's going to bring them up her way.</dialogue>
<character>MRS. HALLORAN</character>
<dialogue>They'll end up repressed!</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Mummy says they'll end up repressed.</dialogue>
<scene_description>He listens a second and hangs up .</scene_description>
<character>MR. HALLORAN</character>
<parenthetical>( sadly . )</parenthetical>
<dialogue>She's not going to bring the children.</dialogue>
<scene_description>Ned is coming toward them when suddenly he remembers something . He retraces his steps a few feet toward a convenient bush , puts the newspaper , down on the ground , and removes his trunks . Mrs. Halloran is peering toward the now nude figure coming toward them , holding the trunks and the newspaper as a modest cover .</scene_description>
<character>MRS. HALLORAN</character>
<dialogue>Good heavens! It's Ned Merrill!</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( squinting at Ned . )</parenthetical>
<dialogue>I wonder if he's come to ask us again.</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>He'll get the same answer.</dialogue>
<character>MR. HALLORAN</character>
<dialogue>Oh dear, it seems a little mean -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( shaking her head . )</parenthetical>
<dialogue>He's not going to get a penny.</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( wheedling . )</parenthetical>
<dialogue>Could n't we help him out a little? For old times sake? After all, he's a friend -</dialogue>
<character>MRS. HALLORAN</character>
<dialogue>Friends are not deductible.</dialogue>
<scene_description>Ned is closer and waving .</scene_description>
<character>MRS. HALLORAN</character>
<parenthetical>( calls sweetly . )</parenthetical>
<dialogue>Hello Neddy dear!</dialogue>
<character>MR. HALLORAN</character>
<dialogue>How are you, my boy?</dialogue>
<scene_description>Ned reaches them and places the New York Times on the table . Mrs. Halloran flips through it hurriedly and selects a section .</scene_description>
<character>NED</character>
<dialogue>I'm swimming across the county!</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( abstracted , her head in the paper . )</parenthetical>
<dialogue>Why I did n't know one could -</dialogue>
<character>NED</character>
<dialogue>Met your chauffeur on the way in.</dialogue>
<character>MR. HALLORAN</character>
<dialogue>Nice boy. Real sense of personal worth.</dialogue>
<character>NED</character>
<dialogue>Always got a lot of laughs out of old Steve -</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( still scanning the paper . )</parenthetical>
<dialogue>Steve had no sense of personal worth -</dialogue>
<scene_description>Suddenly she folds back a page of the paper , excited .</scene_description>
<character>MRS. HALLORAN</character>
<dialogue>It's in here!</dialogue>
<character>MR. HALLORAN</character>
<dialogue>What does it say, dear?</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( reads . )</parenthetical>
<dialogue>At a meeting of the Zoning Board, local property owners objected to the Halloran proposal on the basis that it would overcrowd the public schools -</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>We've petitioned to have the Driscoll Estate cut up into two - acre lots instead of five - acre lots.</dialogue>
<scene_description>Ned is staring at a nearby tree , its branches bare .</scene_description>
<character>MRS. HALLORAN</character>
<parenthetical>( triumphantly , her eyes on the paper . )</parenthetical>
<dialogue>They're practically calling us Communists!</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( airily . )</parenthetical>
<dialogue>Sticks and stones! Sticks and stones! Sticks and stones!</dialogue>
<scene_description>Mrs. Halloran puts the paper down . Her jaw is set .</scene_description>
<character>MRS. HALLORAN</character>
<dialogue>It's going to be a tough fight, Chester!</dialogue>
<scene_description>She takes up her stapling with renewed vigor . Ned has not been listening to the last exchanges . His attention bas been totally focused on the tree .</scene_description>
<character>NED</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Why is that tree bare?</dialogue>
<character>MR. HALLORAN</character>
<dialogue>That's an ash.</dialogue>
<character>NED</character>
<dialogue>That tree must be blighted.</dialogue>
<character>MR. HALLORAN</character>
<dialogue>No, ashes are the last to get leaves and the first to lose them.</dialogue>
<scene_description>Ned continues to eye the tree in puzzlement for a moment .</scene_description>
<character>MRS. HALLORAN</character>
<parenthetical>( to Mr. Halloran . )</parenthetical>
<dialogue>Overcrowding the public schools! As if people with two acres give birth to more children than people with five acres!</dialogue>
<character>MR. HALLORAN</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>That's not even a biological fact!</dialogue>
<scene_description>During the foregoing Ned has crossed to the table . He picks up one of the tickets .</scene_description>
<character>NED</character>
<dialogue>Safari Ball - put me down for a table.</dialogue>
<character>MRS. HALLORAN</character>
<dialogue>Oh Neddy!</dialogue>
<character>NED</character>
<dialogue>What's wrong? Do n't I always support your benefits?</dialogue>
<character>MRS. HALLORAN</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>A table costs one thousand dollars!</dialogue>
<character>NED</character>
<dialogue>Okay, put me down.</dialogue>
<scene_description>She hesitates . He picks up the pen and holds it out to her . She is about to protest , but something in his eyes changes her mind . She writes his name on the list . This makes him feel much better . His spirits lift visibly . Mr. Halloran beams and nods smugly at his wife .</scene_description>
<character>MR. HALLORAN</character>
<dialogue>By the way, my boy, I was awfully sorry we could n't be of help.</dialogue>
<character>NED</character>
<dialogue>I do n't recall asking you for help.</dialogue>
<character>MR. HALLORAN</character>
<dialogue>Oh, dear, I thought - how're Lucinda and the girls?</dialogue>
<character>NED</character>
<dialogue>Lucinda's fine and the girls are home playing tennis. Now if you do n't mind I think I'll get wet.</dialogue>
<scene_description>He crosses to the pool .</scene_description>
<character>MR. HALLORAN</character>
<parenthetical>( sotto voce . )</parenthetical>
<dialogue>Well! He did n't ask for any money after all!</dialogue>
<character>MRS. HALLORAN</character>
<dialogue>Just wait.</dialogue>
<scene_description>Ned is swimming across the pool , mostly using one arm , his trunks held above the water in the other hand . He reaches the end of the pool , hoists himself easily over the curb and puts on his trunks . He turns , salutes the Hallorans , and hurries off .</scene_description>
<character>MR. HALLORAN</character>
<dialogue>There, you see! He must be back on his feet. He bought a whole table, did n't he?</dialogue>
<scene_description>With a knowingly skeptical smile , Mrs. Halloran picks up a pencil and definitely crosses Ned 's signature off the list .</scene_description>
</scene>
<scene>
<scene_description>The Gilmartins A boy of about eleven , dressed in shorts , is sitting on a stool behind the wooden crate counter of a home - made lemonade stand on a country road . He is playing a recorder . Nearby is the entrance to a drive up to a large house . It is obvious that few cars come up this road and probably no pedestrians . The sky has darkened by this time . The frail , half - naked boy and the plaintive sound of the recorder convey a sense of aching loneliness . The boy sees Ned approaching . He continues to play the recorder until Ned is at the stand .</scene_description>
<character>NED</character>
<dialogue>Hi.</dialogue>
<character>THE BOY</character>
<parenthetical>( puts the recorder down . )</parenthetical>
<dialogue>Hi.</dialogue>
<character>NED</character>
<dialogue>Your name's Gilmartin, is n't it?</dialogue>
<character>THE BOY</character>
<dialogue>Kevin Gilmartin, Jr., after my father. My mother says I've got a lot to live down.</dialogue>
<character>NED</character>
<parenthetical>( indicating the lemonade . )</parenthetical>
<dialogue>How about pouring me a cup?</dialogue>
<character>KEVIN</character>
<parenthetical>( eyeing Ned in his wet trunks . )</parenthetical>
<dialogue>It's ten cents.</dialogue>
<character>NED</character>
<dialogue>I'll owe it to you.</dialogue>
<character>KEVIN</character>
<parenthetical>( cynically . )</parenthetical>
<dialogue>How do I know I'll ever collect?</dialogue>
<character>NED</character>
<dialogue>I'll drop around tomorrow and pay you.</dialogue>
<scene_description>The boy looks dubious .</scene_description>
<character>NED</character>
<dialogue>Scout's honor!</dialogue>
<scene_description>The boy hesitates .</scene_description>
<character>NED</character>
<parenthetical>( urgently - it matters . )</parenthetical>
<dialogue>I look honest do n't I?</dialogue>
<scene_description>The boy does n't answer . He fills the cup and hands it to Ned . Ned 's hand is shaking as he takes it .</scene_description>
<character>KEVIN</character>
<dialogue>You're shivering.</dialogue>
<character>NED</character>
<parenthetical>( ignoring this . )</parenthetical>
<dialogue>Is your mother at home?</dialogue>
<character>KEVIN</character>
<dialogue>She's in Europe. It's a honeymoon so she could n't take me.</dialogue>
<character>NED</character>
<dialogue>How's your father?</dialogue>
<character>KEVIN</character>
<dialogue>He's in love with a manicurist. That's what my mother says. I have to depend on her for information.</dialogue>
<character>NED</character>
<dialogue>You all alone here?</dialogue>
<character>KEVIN</character>
<dialogue>There's a maid.</dialogue>
<character>NED</character>
<dialogue>Know what? I'm going to invite you over to our house. I've got two girls you can play with.</dialogue>
<character>KEVIN</character>
<dialogue>How big?</dialogue>
<character>NED</character>
<dialogue>A little bigger than you.</dialogue>
<character>KEVIN</character>
<dialogue>Do you play with them?</dialogue>
<character>NED</character>
<dialogue>Sure, we play catch and tennis. We go bike riding together -</dialogue>
<character>KEVIN</character>
<parenthetical>( matter - of - factly . )</parenthetical>
<dialogue>I have an English racing bike.</dialogue>
<character>NED</character>
<dialogue>You bring it over. We'll race you.</dialogue>
<scene_description>He puts down his empty cup .</scene_description>
<character>KEVIN</character>
<dialogue>Want another? You'll owe me twenty cents.</dialogue>
<character>NED</character>
<dialogue>Haven ` t time. I'm swimming home.</dialogue>
<scene_description>The boy eyes him suspiciously .</scene_description>
<character>NED</character>
<dialogue>Mind if I use your pool?</dialogue>
<character>KEVIN</character>
<dialogue>Well, I do n't mind, but -</dialogue>
<scene_description>Without waiting to hear what he has to say , Ned has already started up the drive . The boy picks up his recorder and follows him .</scene_description>
<character>NED</character>
<dialogue>You know those girls of mine are like a couple of wild cats. When I get home from the office they pounce on me. They nearly hug the breath out of me.</dialogue>
<character>KEVIN</character>
<dialogue>What games do they play?</dialogue>
<character>NED</character>
<dialogue>Cops and robbers, touch football -</dialogue>
<character>KEVIN</character>
<dialogue>They play chess?</dialogue>
<character>NED</character>
<dialogue>We have n't tried that.</dialogue>
<character>KEVIN</character>
<dialogue>Chess is a brainy game.</dialogue>
<scene_description>As they come close to the pool Ned is stunned to see that it is drained .</scene_description>
<character>NED</character>
<parenthetical>( dismayed . )</parenthetical>
<dialogue>It's empty!</dialogue>
<scene_description>He crosses to the edge and stares disconsolately down at the empty concrete rectangle .</scene_description>
<character>NED</character>
<dialogue>God this does it! This really does it.</dialogue>
<scene_description>He sits wearily , the boy beside him .</scene_description>
<character>NED</character>
<dialogue>My whole project's ruined.</dialogue>
<scene_description>The boy looks at his forlorn face . He senses Ned 's vulnerability and for the first time is drawn to him .</scene_description>
<character>KEVIN</character>
<parenthetical>( unhappily . )</parenthetical>
<dialogue>They took the water out because I'm not a good swimmer. I'm bad at sports. At school nobody wants me on their team.</dialogue>
<character>NED</character>
<dialogue>It's a lot better that way - take it from me. At first you think it's the end of the world because you're not on the team and then -</dialogue>
<character>KEVIN</character>
<parenthetical>( eagerly . )</parenthetical>
<dialogue>Then what?</dialogue>
<character>NED</character>
<dialogue>You realize you're free. You're your own man. You do n't have to worry about getting to be the captain and all that status - stuff.</dialogue>
<character>KEVIN</character>
<dialogue>They'd never elect me captain in a million years.</dialogue>
<character>NED</character>
<dialogue>You're the captain of your soul. That's what counts. Know what I mean?</dialogue>
<scene_description>The boy nods gravely . They sit in silence for a moment .</scene_description>
<character>NED</character>
<dialogue>There's one thing I could do. I could get down there and make believe I'm swimming across the pool.</dialogue>
<character>KEVIN</character>
<dialogue>That's kind of cheating, is n't it?</dialogue>
<character>NED</character>
<dialogue>Not if I did all the strokes exactly as if I were in the water.</dialogue>
<character>KEVIN</character>
<parenthetical>( happily . )</parenthetical>
<dialogue>That's a good idea.</dialogue>
<character>NED</character>
<parenthetical>( rises . )</parenthetical>
<dialogue>Okay, let's do it.</dialogue>
<scene_description>Delighted , the boy follows him to the shallow end of the pool . They jump down to the concrete bottom .</scene_description>
<character>NED</character>
<dialogue>All set? Let's start off with a crawl.</dialogue>
<scene_description>Walking side by side and stroking as if they are really in the water , they begin .</scene_description>
<character>NED</character>
<dialogue>That's right. Relax. Reach out. Say, you've got very good form.</dialogue>
<character>KEVIN</character>
<dialogue>I've had lots of lessons. It's just that I'm afraid of the water.</dialogue>
<scene_description>They continue about a third of the way .</scene_description>
<character>NED</character>
<dialogue>Okay now, change to the side stroke.</dialogue>
<scene_description>They do so .</scene_description>
<character>NED</character>
<dialogue>Know what we do in the winter? We flood our tennis court, and we ice skate on it. Those kids of mine look so damn cute. Like a couple of elves in those little red caps - stocking caps.</dialogue>
<character>KEVIN</character>
<dialogue>I do n't know how to skate.</dialogue>
<character>NED</character>
<dialogue>You come over next winter, and I'll teach you. Then we'll have a hockey game.</dialogue>
<character>KEVIN</character>
<parenthetical>( joyfully . )</parenthetical>
<dialogue>Okay!</dialogue>
<scene_description>They have gone another third of the way .</scene_description>
<character>NED</character>
<dialogue>Breast stroke!</dialogue>
<scene_description>They pantomime the breast stroke .</scene_description>
<character>NED</character>
<dialogue>Yes sir. My kids think I've got all the answers! My kids think I'm just about it!</dialogue>
<scene_description>They arrive at the end of the pool .</scene_description>
<character>KEVIN</character>
<parenthetical>( jubilantly . )</parenthetical>
<dialogue>I've done it! It's the first time I've ever swum the whole length.</dialogue>
<character>NED</character>
<dialogue>Congratulations.</dialogue>
<character>KEVIN</character>
<parenthetical>( suddenly crestfallen . )</parenthetical>
<dialogue>I suppose it does n't count because there's no water.</dialogue>
<character>NED</character>
<dialogue>For us, there was.</dialogue>
<character>KEVIN</character>
<parenthetical>( looks at him curiously . )</parenthetical>
<dialogue>Well - that's a lie, is n't it?</dialogue>
<character>NED</character>
<dialogue>No. You see if you make believe hard enough that something's true - then it is true - for you.</dialogue>
<scene_description>They climb up the ladder .</scene_description>
<character>KEVIN</character>
<dialogue>Let's do it again!</dialogue>
<character>NED</character>
<dialogue>I've got to be going.</dialogue>
<character>KEVIN</character>
<dialogue>Oh come on! Please!</dialogue>
<character>NED</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>It's getting late -</dialogue>
<character>KEVIN</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>Okay, goodbye.</dialogue>
<character>NED</character>
<dialogue>I'm sorry. I'd like to but -</dialogue>
<scene_description>Kevin is unforgiving ; he 's been failed again .</scene_description>
<character>KEVIN</character>
<dialogue>Okay. If you're going to leave, then leave.</dialogue>
<scene_description>He turns away .</scene_description>
<character>NED</character>
<dialogue>I'll give you a ring tomorrow - about coming over -</dialogue>
<scene_description>The boy does n't answer . Ned starts off down the driveway . He has gone only a few yards when he hears the unmistakable sound of someone jumping up and down on the diving board . At first it does n't register . Then he stops in his tracks , a look of intense alarm on his face . Ned turns and dashes back . The boy is leaping hard up and down on the board . Ned sprints up on to the board and throws his arms around the boy from behind . The force of this action almost tumbles both of them into the empty pool . They regain their balance . The boy looks at Ned , stunned and bewildered .</scene_description>
<character>NED</character>
<dialogue>It's okay - it's okay!</dialogue>
<character>KEVIN</character>
<dialogue>What's the matter?</dialogue>
<character>NED</character>
<dialogue>I thought you were going to dive -</dialogue>
<character>KEVIN</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>You thought I was going to dive?</dialogue>
<scene_description>Ned releases the boy who turns and stares at him .</scene_description>
<character>KEVIN</character>
<parenthetical>( as if explaining to a child . )</parenthetical>
<dialogue>There's no water in the pool!</dialogue>
<scene_description>Ned gives him a long , thoughtful look .</scene_description>
<character>NED</character>
<dialogue>Well - so long, again.</dialogue>
<scene_description>He walks away , turning once to look back at the boy , who is sitting alone on the curb of the empty pool . When Ned is part way down the drive he hears the sound of the recorder playing the same tune as before .</scene_description>
</scene>
<scene>
<scene_description>Mrs. Hammar 's This is a contemporary house surrounded by a lovely garden . The pool is a free - form shape . Mrs. Hammar , an old lady , is bending over to cut some flowers . She has a basket on one arm in which she lays them . She is over seventy , with snow white hair , a majestic figure . She wears pearls and a soft print dress - very much the grande dame . She hears a splash in the pool and straightens up , surprised . She can not tell who it is from this distance so she walks slowly toward the pool . By the time she is close , Ned is three quarters of the way toward the opposite end , but she recognizes him . She stops , rigid with anger . As Ned leaps out of the pool she hurries to confront him .</scene_description>
<character>NED</character>
<parenthetical>( very warm and friendly . )</parenthetical>
<dialogue>Good afternoon Mrs. Hammar. How are you?</dialogue>
<character>MRS. HAMMAR</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>May I ask what you're doing here?</dialogue>
<character>NED</character>
<dialogue>On my way home - thought I'd cool off in the pool -</dialogue>
<character>MRS. HAMMAR</character>
<parenthetical>( icily . )</parenthetical>
<dialogue>Who gave you permission to use the pool?</dialogue>
<scene_description>Ned is completely baffled at her tone and attitude .</scene_description>
<character>NED</character>
<dialogue>I'm Ned Merrill!</dialogue>
<parenthetical>( indicates the basket on her arm . )</parenthetical>
<dialogue>Flowers are beautiful - I see Eric's put in a rock garden -</dialogue>
<character>MRS. HAMMAR</character>
<dialogue>You're not welcome here, Mr. Merrill.</dialogue>
<character>NED</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>You know me, do n't you? I'm a friend of Eric's!</dialogue>
<character>MRS. HAMMAR</character>
<dialogue>Friend? How dare you use that word?</dialogue>
<parenthetical>( her voice breaks . )</parenthetical>
<dialogue>You never came to see him - you never even called him -</dialogue>
<scene_description>There is a flicker in Ned 's eyes as if he has suddenly remembered something unpleasant and long buried .</scene_description>
<character>NED</character>
<dialogue>How is Eric? Is he better?</dialogue>
<scene_description>The woman gives him a horrified stare . Ned 's eyes widen with a sudden realization . He backs away slowly , then faster .</scene_description>
<character>MRS. HAMMAR</character>
<dialogue>Just one minute, Mr. Merrill.</dialogue>
<scene_description>Ned stops .</scene_description>
<character>MRS. HAMMAR</character>
<dialogue>This is my house now. Do n't you ever set foot on my property again.</dialogue>
<scene_description>Ned draws in a breath , turns and runs .</scene_description>
<character>MRS. HAMMAR</character>
<parenthetical>( a frail shout after him . )</parenthetical>
<dialogue>Do n't you ever come here again!</dialogue>
<scene_description>She stands where he has left her , her face crumpled with grief .</scene_description>
</scene>
<scene>
<scene_description>The Biswangers An extremely noisy and frantic party is going on around the pool and on a huge terrace covered by a plastic dome . -LRB- The plastic dome is used to cover the pool in winter . -RRB- A loudspeaker is blaring raucous music . This is the Biswangers ' party , and everything about it is louder and faster than at the Bunkers - the clothes are brighter and further out , the women wear more jewels . No one at all is in a bathing suit . It is apparent , too , that the party is being given to celebrate Henry Biswanger 's hole - in - one . A huge banner is strung from one side of the dome to the other . It reads : CONGRATULATIONS HENRY ! HOLE - IN - ONE , TWELFTH HOLE MEADOWLARK CLUB . Attached to a float bobbing in the pool is a number 12 flag from a golf green . All the other decorations are in the shape of `` 12s . '' The centerpiece of the buffet table is a huge 12 molded out of ice . Embedded in its ice base is an enormous bowl of caviar . No one notices Ned 's arrival . He stands forlornly at the edge of the party . Henry Biswsanger and two other men are examining the plastic dome . Henry is a bull , muscular and in tip - top physical shape , a blustering rough diamond who has made it the hard way and is perfectly honest about enjoying it . He slaps the dome proudly as he talks .</scene_description>
<character>HENRY</character>
<dialogue>- ai n't it a bitch! Did you ever see anything like it? Fifteen tons - thirty thousand pounds of structured aluminum and clear plastic!</dialogue>
<parenthetical>( strokes the dome affectionately . )</parenthetical>
<dialogue>And she rolls! She rolls on these tracks here - slides right back like a goddam toy!</dialogue>
<character>ONE OF THE MEN</character>
<dialogue>Batteries?</dialogue>
<character>HENRY</character>
<dialogue>Hell no! Machinery to drive this thing takes up half the space down there -</dialogue>
<scene_description>He gestures .</scene_description>
<character>THE OTHER MAN</character>
<dialogue>What kinda temperature can you keep it in the winter?</dialogue>
<character>HENRY</character>
<dialogue>Like a goddam hothouse. Up to 90 if I want. It can be 20 below and a blizzard outside and I can be in there bakin'!</dialogue>
<scene_description>Two other men , drinks in hand , are standing out of Henry 's earshot , looking at the flag bobbing in the pool .</scene_description>
<character>MAN</character>
<dialogue>- Club gave it to him. You make a hole in one at Meadowlark - they give you the flag.</dialogue>
<character>HIS FRIEND</character>
<dialogue>Guess they do n't lose many flags that way!</dialogue>
<character>MAN</character>
<dialogue>Maybe they should n't of lost this one.</dialogue>
<scene_description>The friend raises his eyebrows .</scene_description>
<character>MAN</character>
<dialogue>He was playing alone. Just him and the caddy.</dialogue>
<scene_description>They both glance at Henry , who is still chatting away about his pool dome .</scene_description>
<character>HENRY</character>
<dialogue>How much use you get outta your pools? Three months? Three and a half if you're lucky? With this rig I'm guaranteed the use of my pool all year around.</dialogue>
<character>THE MAN NEXT TO HIM</character>
<dialogue>Sure, and swimming's good for the ticker at our age -</dialogue>
<character>HENRY</character>
<dialogue>So what do you guys do in the winter? I tried them health clubs in the City. Bunch of pansies runnin' around droppin' soap! Right? Right!</dialogue>
<scene_description>They all laugh heartily . A blonde and a red - head , both with elaborately lacquered hair - dos appropriate for a formal ball , are sitting at a small table playing gin rummy and drinking martinis .</scene_description>
<character>BLONDE</character>
<parenthetical>( indicating the pool . )</parenthetical>
<dialogue>A pool's to get wet in. Who needs an olympic - size pool to get wet in?</dialogue>
<character>RED-HEAD</character>
<dialogue>Wet!</dialogue>
<parenthetical>( pats her hair . )</parenthetical>
<dialogue>After what I pay Pablo every week?</dialogue>
<character>BLONDE</character>
<dialogue>Romeo does me. All the girls are going to Romeo now.</dialogue>
<character>RED-HEAD</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Do you think Romeo's better than Pablo?</dialogue>
<character>BLONDE</character>
<parenthetical>( touching her hair . )</parenthetical>
<dialogue>Sweetie! Look at the difference!</dialogue>
<scene_description>A waiter comes with a tray . They help themselves to two more martinis . Henry has a larger audience now .</scene_description>
<character>HENRY</character>
<dialogue>Last New Year's Eve for instance. Big bash all night. Grace and I got home at dawn loaded - not too loaded to get our clothes off -.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>- so there we are bare - ass and we jump in the pool, and it's all steamy and warm and the snow flakes are floatin' down and the hi - fi system is playin' and I says to Grace -</dialogue>
<scene_description>He whispers to one of his friends . The man throws his head back with a loud , obscene laugh . At the edge of the terrace , Ned is tapping a woman on the shoulder .</scene_description>
<character>NED</character>
<dialogue>Hello Grace -</dialogue>
<scene_description>She turns . Grace Biswanger is about forty . She is dressed in wild - colored hostess pajamas , wears false eyelashes and a huge diamond ring . Her automatically wide smile fades the instant she sees Ned .</scene_description>
<character>GRACE</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Why this party has everything! Including a gate - crasher!</dialogue>
<scene_description>Several nearby guests turn around to stare . Ned tries his usual charm .</scene_description>
<character>NED</character>
<dialogue>I thought you'd be glad to see me.</dialogue>
<character>GRACE</character>
<parenthetical>( bellicosely . )</parenthetical>
<dialogue>You never came when I invited you. Why should I be glad to see you now?</dialogue>
<character>NED</character>
<dialogue>I thought better late than -</dialogue>
<character>GRACE</character>
<dialogue>You thought wrong, buster.</dialogue>
<character>NED</character>
<parenthetical>( politely . )</parenthetical>
<dialogue>As a gatecrasher, do I rate a drink?</dialogue>
<character>GRACE</character>
<dialogue>Suit yourself.</dialogue>
<scene_description>She turns her back on him and walks away . Ned crosses to the bar . He is terribly conspicuous and naked among all these overdressed people . Some eye him curiously . A few who know him nod coldly or glance at him with dislike . The bartender is mixing some drinks for a waiter who stands ready with a small tray .</scene_description>
<character>NED</character>
<parenthetical>( leans on the bar , friendly . )</parenthetical>
<dialogue>You're new here, are n't you?</dialogue>
<character>BARTENDER</character>
<parenthetical>( rudely . )</parenthetical>
<dialogue>What d'ya mean, new?</dialogue>
<character>NED</character>
<dialogue>Oh just - that I have n't seen you around at parties.</dialogue>
<character>BARTENDER</character>
<parenthetical>( with a nasty look at his nakedness . )</parenthetical>
<dialogue>I ai n't seen you either.</dialogue>
<scene_description>Ned , who has always been instant pals with bartenders , is mystified by this reception .</scene_description>
<character>NED</character>
<dialogue>I'll have a gin on the rocks please -</dialogue>
<scene_description>The bartender gives him a sullen look .</scene_description>
<character>NED</character>
<dialogue>- when you have a chance.</dialogue>
<scene_description>The bartender continues to mix the other drinks . Ned is joined at the bar by a young , sexy - looking blonde in a tight sailor suit . Her name is Joan . She puts an empty glass down on the bar .</scene_description>
<character>JOAN</character>
<parenthetical>( to the bartender . )</parenthetical>
<dialogue>Here I am again, Leroy! Fill ` er up!</dialogue>
<scene_description>She gives Ned a dazzling smile and leaps on the bar next to him .</scene_description>
<character>JOAN</character>
<dialogue>Some big deal, huh?</dialogue>
<parenthetical>( indicates the pool , the dome , etc . )</parenthetical>
<dialogue>Boy you sure got to like swimming to go in for this kind of expenditure.</dialogue>
<parenthetical>( eyes his body with approval . )</parenthetical>
<dialogue>You're the type who goes in for swimming, huh?</dialogue>
<character>NED</character>
<parenthetical>( gravely . )</parenthetical>
<dialogue>Why not - when the world is so generously supplied with water?</dialogue>
<character>JOAN</character>
<parenthetical>( has n't quite got it . )</parenthetical>
<dialogue>I'm not a maniac about pools. To tell you the truth it's murder on my hair.</dialogue>
<character>NED</character>
<dialogue>Lovely hair.</dialogue>
<scene_description>The bartender has put their drinks in front of them . They clink glasses and drink .</scene_description>
<character>JOAN</character>
<parenthetical>( flirtatiously . )</parenthetical>
<dialogue>You a neighbor from around here?</dialogue>
<scene_description>Ned shakes his head .</scene_description>
<character>JOAN</character>
<dialogue>Oh, you're a friend of the Biswangers -</dialogue>
<character>NED</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>They're not even on our Christmas card list.</dialogue>
<character>JOAN</character>
<dialogue>Then what are you?</dialogue>
<character>NED</character>
<dialogue>I'm an explorer.</dialogue>
<character>JOAN</character>
<parenthetical>( giggles . )</parenthetical>
<dialogue>I mean, what are you doing here?</dialogue>
<character>NED</character>
<dialogue>I'm swimming home.</dialogue>
<character>JOAN</character>
<parenthetical>( giggles again . )</parenthetical>
<dialogue>You married?</dialogue>
<character>NED</character>
<dialogue>What's that got to do with it?</dialogue>
<scene_description>Joan gives him a long sizing - up look .</scene_description>
<character>JOAN</character>
<dialogue>You divorced or what?</dialogue>
<character>NED</character>
<dialogue>Want to come with me?</dialogue>
<character>JOAN</character>
<dialogue>Where?</dialogue>
<character>NED</character>
<dialogue>Along a river of sapphire pools!</dialogue>
<character>JOAN</character>
<dialogue>I've never heard anyone talk like you.</dialogue>
<character>NED</character>
<dialogue>Come with me and be my love -</dialogue>
<character>JOAN</character>
<dialogue>Oh - oh, I've heard that before!</dialogue>
<character>NED</character>
<dialogue>Not from me.</dialogue>
<character>JOAN</character>
<dialogue>You're no different from any other guy -</dialogue>
<character>NED</character>
<dialogue>Oh but I am! I am a very special human being, noble and splendid -</dialogue>
<scene_description>At this moment a stocky young man thrusts himself between them , takes a firm grip on Joan 's upper arm and propels her quickly away . Ned sees the man talking furiously to the girl . He watches her bottom in tight slacks without emotion , empties his glass , puts it on the bar , and suddenly takes a running dive into the pool . The splash distresses various people along its edge who leap backwards and scowl at the swimmer . A waiter is carefully pushing a hot dog wagon across the terrace in front of the pool house . The wagon is gaily painted and shaded with a little striped umbrella . The waiter parks it and is about to begin serving hot dogs and buns just as Ned emerges from the pool . Ned 's eyes are immediately fastened on the hot dog wagon . Suddenly his expression changes to one of astonishment and alarm . He runs over to it .</scene_description>
<character>NED</character>
<dialogue>My God, this looks like my wagon!</dialogue>
<parenthetical>( examines the painted sides . )</parenthetical>
<dialogue>I'm sure this is my wagon!</dialogue>
<scene_description>He opens it and peers inside , hastily pushing the hot dogs into an untidy pile . The waiter looks pained , a few onlookers gather around . Ned bends closer to examine the bottom of the wagon .</scene_description>
<character>NED</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Hey, this is mine!</dialogue>
<scene_description>He straightens up and addresses the waiter .</scene_description>
<character>NED</character>
<dialogue>How'd this thing get here?</dialogue>
<scene_description>The waiter shrugs .</scene_description>
<character>NED</character>
<dialogue>I wheel my kids around in it. See that?</dialogue>
<parenthetical>( points to something at the bottom . )</parenthetical>
<dialogue>That's where Ellen put her foot through and I mended it with plywood. This is my wagon, man!</dialogue>
<scene_description>By this time Grace and Henry Biswanger have noticed what 's going on and approach along with several of the guests . The guests are clearly supporters of the Biswangers .</scene_description>
<character>GRACE</character>
<dialogue>What's the trouble here?</dialogue>
<character>NED</character>
<dialogue>This is my hot dog wagon!</dialogue>
<character>GRACE</character>
<dialogue>Well - we bought it.</dialogue>
<character>NED</character>
<dialogue>Bought it!</dialogue>
<character>GRACE</character>
<dialogue>At a white elephant sale.</dialogue>
<character>NED</character>
<dialogue>How the hell did it get to a white elephant sale?</dialogue>
<character>GRACE</character>
<dialogue>Your wife must have donated it -</dialogue>
<character>NED</character>
<parenthetical>( trying to be patient . )</parenthetical>
<dialogue>She had n't any right to do that! She knows I'm crazy about this thing -</dialogue>
<character>HENRY</character>
<dialogue>Take it up with her.</dialogue>
<character>NED</character>
<dialogue>Listen, I'll buy it back from you.</dialogue>
<character>HENRY</character>
<dialogue>Not interested.</dialogue>
<character>NED</character>
<parenthetical>( in desperation . )</parenthetical>
<dialogue>I'll give you twice what you paid for it. I'll give you a hundred dollars!</dialogue>
<character>HENRY</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>A hundred dollars! For that piece of junk?</dialogue>
<character>NED</character>
<parenthetical>( slowly and distinctly . )</parenthetical>
<dialogue>I want to buy this wagon back. Name a price. I'll send you a check.</dialogue>
<character>HENRY</character>
<dialogue>Oh yeah?</dialogue>
<parenthetical>( winking at the others . )</parenthetical>
<dialogue>He'll send me a check.</dialogue>
<character>NED</character>
<dialogue>I'm taking this thing home with me.</dialogue>
<scene_description>He gets a firm hold on the handles .</scene_description>
<character>HENRY</character>
<dialogue>Hands off, you!</dialogue>
<scene_description>He steps very close to Ned . His face is menacing .</scene_description>
<character>HENRY</character>
<dialogue>You crashed in - now crash the hell out!</dialogue>
<scene_description>Ned glances at the ring of unfriendly faces around him .</scene_description>
<character>HENRY</character>
<dialogue>Go on - beat it!</dialogue>
<scene_description>He gives Ned a push which knocks him off balance ; he stumbles , his ankle turns , and he falls to the ground . Ned 's first impulse is to get up and punch Henry . In an instant he realizes that this would be beneath his dignity . He rises slowly to his feet .</scene_description>
<character>NED</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I'll have my lawyers get in touch with you tomorrow.</dialogue>
<character>HENRY</character>
<parenthetical>( laughing loudly . )</parenthetical>
<dialogue>Yeah, you do that!</dialogue>
<scene_description>Ned turns and , hobbling a bit on his weak ankle , he walks off slowly , his back straight , his head high . The other guests stand silent and hostile , watching him .</scene_description>
</scene>
<scene>
<scene_description>Shirley Abbott This is the most modest pool along Ned 's way - small , beautifully planted , and with an informal atmosphere - as if all the decor and the gardening had been done by the owner , which indeed it has . The house looks more like a weekend hideaway than a conventional suburban establishment . There are colorful chairs and tables and a large chaise longue on the small terrace . Scattered about are Shirley 's possessions - playscripts , magazines , sun tan oil , dark glasses , beach bag , terry cloth robe , etc. . Also on a table is a well - stocked drink tray . Shirley Abbott is an actress in her early thirties . She has a striking face , handsome , with interesting mobile features . She is unlike all the suburban women Ned has met along the way - distinctly `` other . '' She is wearing a dramatically cut bathing suit . At the moment she is sitting on the chaise , a magnifying glass in one hand , a tweezers in the other , and is apparently trying to get a splinter out of her foot . Nearby is a flat of bulbs and some tools . She has been working in a garden bed close to the pool . Ned appears out of the trees at the opposite end of the pool . Shirley is not aware of his presence . He watches her with an expression of infinite yearning . In a moment this changes to uncertainty and anxiety . He is totally unsure of what kind of welcome he will get . As he comes forward Shirley looks up . She is obviously astonished , anguished , and angry in that order . Then quickly she puts on a look of total indifference , relaxes back onto the chaise , and waits for him .</scene_description>
<character>SHIRLEY</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>What the hell are you doing here?</dialogue>
<character>NED</character>
<dialogue>Wow! New suit?</dialogue>
<character>SHIRLEY</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>It's not new.</dialogue>
<character>NED</character>
<dialogue>I do n't remember that suit.</dialogue>
<character>SHIRLEY</character>
<dialogue>Will you tell me what you're doing here?</dialogue>
<character>NED</character>
<dialogue>I'm swimming home. Pool by pool across the county.</dialogue>
<character>SHIRLEY</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>Good Christ will you ever grow up?</dialogue>
<scene_description>She turns her attention back to the splinter . She is unsuccessful . Ned kneels in front of her .</scene_description>
<character>NED</character>
<dialogue>Let me try.</dialogue>
<character>SHIRLEY</character>
<dialogue>Go away -</dialogue>
<character>NED</character>
<dialogue>Oh come on, let me -</dialogue>
<scene_description>Gently he takes the tweezers from her and probes for the splinter .</scene_description>
<character>NED</character>
<dialogue>I passed a first aid test when I was a Scout - got it!</dialogue>
<parenthetical>( looks at the tweezers . )</parenthetical>
<dialogue>Nope!</dialogue>
<parenthetical>( continues to probe . )</parenthetical>
<dialogue>Was n't much in it about splinters. If you broke something I could make you a beautiful splint!</dialogue>
<scene_description>She winces .</scene_description>
<character>NED</character>
<dialogue>Sorry -.</dialogue>
<parenthetical>( probes once more . )</parenthetical>
<dialogue>There we are!</dialogue>
<parenthetical>( examines the splinter . )</parenthetical>
<dialogue>A regular redwood. You could cut a hole in it and drive a car through.</dialogue>
<scene_description>Shirley smiles in spite of herself . Ned smiles back at her . Suddenly he presses his lips to her foot . She jerks it away with such vehemence that he loses his balance and is sent sprawling .</scene_description>
<character>NED</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>What'd you do that for?</dialogue>
<character>SHIRLEY</character>
<dialogue>Keep away from me.</dialogue>
<scene_description>He sits up , puzzled .</scene_description>
<character>NED</character>
<dialogue>You must be crazy. Everybody's gone crazy today. I've just come from the Biswangers. They snubbed me. Everyone at their party snubbed me -.</dialogue>
<parenthetical>( indignant . )</parenthetical>
<dialogue>- they've even got my hot dog wagon and they wo n't give it back!</dialogue>
<character>SHIRLEY</character>
<dialogue>Your what?</dialogue>
<character>NED</character>
<dialogue>I painted it myself and put the little umbrella up. Always kept it down in the playroom where the ping - pong table is, remember?</dialogue>
<character>SHIRLEY</character>
<dialogue>I've never been in your house, remember?</dialogue>
<character>NED</character>
<parenthetical>( oblivious . )</parenthetical>
<dialogue>Lucinda gave it to a white elephant sale.</dialogue>
<character>SHIRLEY</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>I'm sure it was for a good cause.</dialogue>
<character>NED</character>
<dialogue>She had n't any right. I ought to go straight home and give her hell.</dialogue>
<character>SHIRLEY</character>
<dialogue>What's keeping you?</dialogue>
<scene_description>She turns over on the chaise , her back to him . Ned is hurt . His shoulders droop .</scene_description>
<character>NED</character>
<dialogue>I'm tired. Must have come six miles. Mind if I have a drink?</dialogue>
<character>SHIRLEY</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>All right - but hurry up about it.</dialogue>
<character>NED</character>
<parenthetical>( crosses to the drink tray . )</parenthetical>
<dialogue>How about you? Want a Bullshot?</dialogue>
<character>SHIRLEY</character>
<dialogue>No thanks.</dialogue>
<character>NED</character>
<dialogue>Oh come on - you love the way I make them.</dialogue>
<parenthetical>( holds up a small bottle . )</parenthetical>
<dialogue>Hey, we're running out of Tabasco!</dialogue>
<character>SHIRLEY</character>
<dialogue>We? Are n't you a little confused this afternoon?</dialogue>
<scene_description>Ned is behind her , fixing the drinks . Partly because he is concentrating on what he is doing and partly deliberately , he does n't really listen to what she is saying .</scene_description>
<character>SHIRLEY</character>
<parenthetical>( stretching out on the chaise , not looking at him . )</parenthetical>
<dialogue>Well, how goes it in Never - Never Land?</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<character>SHIRLEY</character>
<dialogue>Has the ideal all - American family found happiness in the big stone house with the tennis court?</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<character>SHIRLEY</character>
<dialogue>I heard a rumor that you had changed your place of residence. Moved out of town.</dialogue>
<character>NED</character>
<dialogue>Of course not. That's ridiculous. Where's the pepper grinder? It's not here.</dialogue>
<character>SHIRLEY</character>
<dialogue>Use the shaker. I did n't think it was true.</dialogue>
<character>NED</character>
<dialogue>Should have freshly ground pepper. That's what makes the difference.</dialogue>
<character>SHIRLEY</character>
<dialogue>Well how is the President of the League of Women Voters?</dialogue>
<character>NED</character>
<dialogue>Who?</dialogue>
<character>SHIRLEY</character>
<dialogue>How is your wife?</dialogue>
<character>NED</character>
<dialogue>Oh, she's fine.</dialogue>
<character>SHIRLEY</character>
<dialogue>I've been away so long I have n't kept up with the news. Are all the waitresses in town certified non - venereal now?</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<character>SHIRLEY</character>
<dialogue>Last I heard that was your wife's project. Physical checkups for food handlers.</dialogue>
<character>NED</character>
<dialogue>Yes. Oh yes.</dialogue>
<character>SHIRLEY</character>
<dialogue>Mrs. Edward Merrill, guardian of our hamburgers! Patron Saint of our pizza pie!</dialogue>
<scene_description>Ned , oblivious of her sarcasm , crosses to her with the two drinks .</scene_description>
<character>NED</character>
<dialogue>Lucinda's always done a lot of good in this town.</dialogue>
<scene_description>Shirley 's eyes meet his .</scene_description>
<character>SHIRLEY</character>
<dialogue>She just did n't do so good at home, huh?</dialogue>
<scene_description>She takes her drink .</scene_description>
<character>NED</character>
<dialogue>Well, here's to sugar on our strawberries!</dialogue>
<scene_description>She holds her glass without drinking and glares at him .</scene_description>
<character>NED</character>
<parenthetical>( chastened . )</parenthetical>
<dialogue>Well - cheers.</dialogue>
<scene_description>They drink . Shirley 's face is blank . Ned gives her a worried glance . The vodka revives his energy a bit . He makes a visible effort to get through to her .</scene_description>
<character>NED</character>
<dialogue>Remember last winter in Toronto? We called Room Service and asked for Bullshots, and they said -</dialogue>
<character>SHIRLEY</character>
<dialogue>I was n't in Toronto last winter.</dialogue>
<character>NED</character>
<dialogue>Sure! I came up for the opening of your show. Do n't you remember how it snowed? And I hired a horse and sleigh to take us from the hotel to the theater?</dialogue>
<character>SHIRLEY</character>
<dialogue>That was the winter before last.</dialogue>
<character>NED</character>
<parenthetical>( with a slight frown of anxiety . )</parenthetical>
<dialogue>Was it in Boston? What was the name of that play in Boston?</dialogue>
<parenthetical>( all charm . )</parenthetical>
<dialogue>I came up on a Saturday, remember? You faked a slipped disc, and your stand - by went on for the matinee. I cured your aching back, did n't I?</dialogue>
<scene_description>Shirley stares at him , her eyes narrowed . She presses her lips together .</scene_description>
<character>NED</character>
<dialogue>Acapulco was the best. We tasted of salt all over, and the phone never rang. And all the nights were silver -</dialogue>
<character>SHIRLEY</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>Listen, Ned, I want you to go now. I mean it.</dialogue>
<character>NED</character>
<dialogue>Why?</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm expecting someone.</dialogue>
<character>NED</character>
<dialogue>Who?</dialogue>
<character>SHIRLEY</character>
<dialogue>None of your business who. I do n't want you to be here when he comes.</dialogue>
<character>NED</character>
<dialogue>A man?</dialogue>
<character>SHIRLEY</character>
<dialogue>Naturally a man. Do you think I've been in a deep freeze while you're been playing house up on the hill?</dialogue>
<scene_description>There is a pause . They look at each other . Ned begins to shiver slightly . He rubs his upper arms with his hands . He coughs .</scene_description>
<character>NED</character>
<dialogue>I'm cold. What's happened to that sun? No heat in it.</dialogue>
<parenthetical>( coughs again . )</parenthetical>
<dialogue>Throat's sore. Do n't know when I've been so cold.</dialogue>
<parenthetical>( almost to himself . )</parenthetical>
<dialogue>Not since those winters in Hanover, that's when. Except I had my martini coat.</dialogue>
<scene_description>Shirley is ignoring him .</scene_description>
<character>NED</character>
<dialogue>Hey Shirley, did I ever tell you about that coat?</dialogue>
<scene_description>He crosses to sit beside her .</scene_description>
<character>NED</character>
<dialogue>Did I, Shirley?</dialogue>
<scene_description>There is no answer .</scene_description>
<character>NED</character>
<dialogue>I've got to tell you about that raccoon coat I had when I was at Dartmouth -</dialogue>
<character>SHIRLEY</character>
<dialogue>Please!</dialogue>
<parenthetical>( with exasperation . )</parenthetical>
<dialogue>Spare me the tales of your glorious youth!</dialogue>
<character>NED</character>
<parenthetical>( his enthusiasm growing . )</parenthetical>
<dialogue>But this is a great story.</dialogue>
<character>SHIRLEY</character>
<dialogue>I do n't want to hear it!</dialogue>
<character>NED</character>
<parenthetical>( plunging on . )</parenthetical>
<dialogue>When my father was in college, it was Prohibition see? So he bought this raccoon coat, and he took it to a shoemaker. He had the guy sew leather pockets in the lining - one for gin, one for vermouth, a big one for a thermos of ice, and a little one for olives. He designed himself a martini coat!</dialogue>
<scene_description>There is a disgusted reaction from Shirley .</scene_description>
<character>NED</character>
<dialogue>Oh yes, he had straps put in to hold a shaker!</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Some guy, my old man. He did n't forget a thing!</dialogue>
<scene_description>Shirley leaps up and crosses to the flat of bulbs . She picks up a tool and starts digging in the flower bed .</scene_description>
<character>NED</character>
<parenthetical>( turns to face her . )</parenthetical>
<dialogue>Twenty - five years later when I was a freshman he gave it to me. Brother! Was I a sensation! I did n't carry any stuff around except to football games, but I wore it all the time. I'll have to bring that coat over here and show it to you.</dialogue>
<parenthetical>( his eyes lighting . )</parenthetical>
<dialogue>You know something, Shirley, that coat was the damnedest, most wonderful thing I ever owned. If Lucinda gave that coat to a white elephant sale I'll kill her - I swear I'll kill her -</dialogue>
<scene_description>He looks off into the distance . A long pause . His voice softens .</scene_description>
<character>NED</character>
<dialogue>Shirley, what happened?</dialogue>
<character>SHIRLEY</character>
<dialogue>What happened to what?</dialogue>
<character>NED</character>
<dialogue>Nothing's turned out the way I thought it would -.</dialogue>
<parenthetical>( haltingly . )</parenthetical>
<dialogue>- when I was a kid I believed in things - people used to be happier when I was a kid - it - it seemed as if everybody loved each other -</dialogue>
<character>SHIRLEY</character>
<dialogue>Excuse me while I swallow the lump in my throat.</dialogue>
<character>NED</character>
<parenthetical>( with genuine puzzlement . )</parenthetical>
<dialogue>What happened?</dialogue>
<character>SHIRLEY</character>
<dialogue>You got pushed out of your golden play pen, that's what.</dialogue>
<character>NED</character>
<dialogue>I used to mow the lawn around our house - my mother paid me twenty - five cents - I can smell that grass -.</dialogue>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>- it's so fast! People grow up, and then they die -</dialogue>
<character>SHIRLEY</character>
<dialogue>Ned, for the last time, will you please go away?</dialogue>
<character>NED</character>
<dialogue>Tell me who's coming over.</dialogue>
<character>SHIRLEY</character>
<dialogue>I told you - it's none of your business!</dialogue>
<character>NED</character>
<dialogue>On a scale of one to ten how would you rate him in bed?</dialogue>
<scene_description>Shirley picks up her drink and tosses the contents into Ned 's face . Their eyes meet and hold in a long stare .</scene_description>
<character>NED</character>
<parenthetical>( his voice breaking . )</parenthetical>
<dialogue>Shirley - I'm sorry - for whatever I did -</dialogue>
<character>SHIRLEY</character>
<parenthetical>( pulling herself together , all brittle again . )</parenthetical>
<dialogue>You only did the usual red - blooded married - man thing. Took me out to lunch, and gave me that lecture on the duties and obligations of a husband and father.</dialogue>
<parenthetical>( smiles . )</parenthetical>
<dialogue>It's become a classic has n't it? Republished every year in the Reader's Digest?</dialogue>
<scene_description>Ned frowns with effort , trying to follow her .</scene_description>
<character>SHIRLEY</character>
<dialogue>It was the first time we'd been to a really chic restaurant in New York - right out in the open in front of the people who count.</dialogue>
<character>NED</character>
<parenthetical>( suddenly recalling it all . )</parenthetical>
<dialogue>You cried!</dialogue>
<character>SHIRLEY</character>
<dialogue>I also raised my voice.</dialogue>
<character>NED</character>
<dialogue>It tore me apart to see you crying -</dialogue>
<character>SHIRLEY</character>
<dialogue>Especially when everyone stared.</dialogue>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>I figured it out later. You chose that place because you thought I would n't dare make a fuss in front of all those mink hats and stylish fags and snotty waiters.</dialogue>
<character>NED</character>
<dialogue>No -</dialogue>
<character>SHIRLEY</character>
<dialogue>Did you really think you could smash my world with no more noise than the tinkle of finger bowls?</dialogue>
<character>NED</character>
<dialogue>I loved you - I did n't know what to do -</dialogue>
<character>SHIRLEY</character>
<dialogue>So you went back to your wife. Well, that figures. The real estate is in her name. She owns the pots and pans. She knows where the lost shirt button is. Why give up all those comforts?</dialogue>
<parenthetical>( a thin smile . )</parenthetical>
<dialogue>I had my comforts too. While you were still on the train back to Connecticut - that groovy young bellhop in my hotel - a real primitive. No hang - ups.</dialogue>
<character>NED</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>You're lying.</dialogue>
<character>SHIRLEY</character>
<dialogue>When you got in and called me from the station I put the phone down on the pillow so he could listen too. All that sniveling about not hurting your innocent wife and your innocent children. We had hysterics. We had to stuff the sheet in our mouths -</dialogue>
<character>NED</character>
<dialogue>You're lying.</dialogue>
<character>SHIRLEY</character>
<dialogue>You'll never know, will you?</dialogue>
<scene_description>Ned begins to shiver uncontrollably . He coughs louder . His face is ashen . He winds his arms about himself . Shirley rises . She is truly concerned . Her tone changes to one of compassion :</scene_description>
<character>SHIRLEY</character>
<dialogue>Ned, what's the matter with you?</dialogue>
<character>NED</character>
<parenthetical>( hardly able to speak . )</parenthetical>
<dialogue>I'm so cold. I'm just so cold.</dialogue>
<character>SHIRLEY</character>
<dialogue>I'd better go in and get you a sweater.</dialogue>
<character>NED</character>
<dialogue>No.</dialogue>
<character>SHIRLEY</character>
<dialogue>Do n't be a fool - you must be catching something -</dialogue>
<scene_description>She makes a move as if to go into the house .</scene_description>
<character>NED</character>
<dialogue>No! How can I swim in a sweater?</dialogue>
<character>SHIRLEY</character>
<dialogue>You'll get pneumonia -.</dialogue>
<parenthetical>( puts her hand on his arm . )</parenthetical>
<dialogue>Listen, I'll drive you home.</dialogue>
<character>NED</character>
<dialogue>No!</dialogue>
<character>SHIRLEY</character>
<parenthetical>( her anxiety increasing . )</parenthetical>
<dialogue>Ned, what is it? You're being ridiculous.</dialogue>
<character>NED</character>
<dialogue>I've got to swim home.</dialogue>
<character>SHIRLEY</character>
<dialogue>For the love of God, why?</dialogue>
<character>NED</character>
<dialogue>I've just got to. I've got to.</dialogue>
<character>SHIRLEY</character>
<dialogue>I'm going to get the car.</dialogue>
<character>NED</character>
<dialogue>I ca n't go in the car. It's impossible. How can I?</dialogue>
<character>SHIRLEY</character>
<dialogue>My God what's happened to you? Something's wrong with you.</dialogue>
<character>NED</character>
<dialogue>Lucinda's waiting - the girls are home playing tennis - I'm swimming home -</dialogue>
<scene_description>Ned 's whole body is shaking spasmodically . Alarmed , Shirley keeps watching him . She picks up her terry cloth robe and puts it over his shoulders . This act is the first really tender gesture he has experienced all afternoon . He turns to her with gratitude as if her gesture has been a proof that she still loves him . Shirley understands the extent of her revelation . In an attempt to negate the moment she turns away and picks up a bottle of sun tan oil . She crosses to the chaise longue and sits down . Ned 's shivering gradually subsides . He has control of himself again .</scene_description>
<character>NED</character>
<dialogue>There - that's better -</dialogue>
<scene_description>Shirley is rubbing the oil on her arms . Ned crosses to her and sits beside her .</scene_description>
<character>NED</character>
<dialogue>Let me do your back.</dialogue>
<character>SHIRLEY</character>
<dialogue>No -</dialogue>
<character>NED</character>
<parenthetical>( reaches for the bottle . )</parenthetical>
<dialogue>Please let me.</dialogue>
<scene_description>Reluctantly Shirley turns over on her stomach . Gently Ned begins to stroke the oil into her back . His touch , the feel of his hand on her flesh , brings memories flooding . Her eyes begin to fill with tears .</scene_description>
<character>NED</character>
<dialogue>Shirley, listen, let's go off together for a couple of weeks - I could manage it right after the fourth -</dialogue>
<character>SHIRLEY</character>
<dialogue>The fourth? Do you mean the fourth of July?</dialogue>
<character>NED</character>
<parenthetical>( rubbing her back and shoulders . )</parenthetical>
<dialogue>I read about a great old castle in Ireland. A real one with a moat and a drawbridge. Some king built it hundreds of years ago. It's an inn now, with crazy old four - posters -</dialogue>
<character>SHIRLEY</character>
<dialogue>Ned please - please go away -</dialogue>
<character>NED</character>
<dialogue>Big soft beds with canopies -.</dialogue>
<parenthetical>( bends over her . )</parenthetical>
<dialogue>Come with me, Shirley?</dialogue>
<character>SHIRLEY</character>
<dialogue>Do you think you can just reappear and move in again? Do you think it's that easy?</dialogue>
<scene_description>She whirls around to give him a long , appraising look .</scene_description>
<character>SHIRLEY</character>
<dialogue>Everything's always been easy for you, has n't it?</dialogue>
<parenthetical>( her voice breaks . )</parenthetical>
<dialogue>God knows I was easy enough to get!</dialogue>
<character>NED</character>
<dialogue>You wore a blue slip with a safety pin holding up the shoulder strap.</dialogue>
<parenthetical>( presses his mouth to her shoulder I kissed your safety pin .</parenthetical>
<dialogue />
<character>SHIRLEY</character>
<parenthetical>( moves away , close to tears . )</parenthetical>
<dialogue>Do n't do that -</dialogue>
<character>NED</character>
<parenthetical>( puts his arms around her . )</parenthetical>
<dialogue>I only want you to love me -</dialogue>
<character>SHIRLEY</character>
<parenthetical>( thrusts herself away and leaps up . )</parenthetical>
<dialogue>That's your hang - up, Neddy - boy. You're afraid the sky will fall down if everybody does n't love you. You'll lose the popularity contest, you wo n't be elected Head Boy - as if the whole world's a prep school!</dialogue>
<scene_description>This truth reaches Ned . He grasps at her blindly , desperate for the only pain - killer he knows . He locks his arms around her and pushes her back on the chaise , his body almost on top of her , his mouth searching for hers .</scene_description>
<character>SHIRLEY</character>
<dialogue>Do n't! Do n't do that! Leave me alone!</dialogue>
<scene_description>She struggles to push him away .</scene_description>
<character>NED</character>
<parenthetical>( holding her tighter . )</parenthetical>
<dialogue>You do n't want me to. You know you do n't.</dialogue>
<scene_description>She struggles furiously to get away from him . Finally she wrests herself free and leaps to her feet .</scene_description>
<character>SHIRLEY</character>
<dialogue>Do n't touch me!</dialogue>
<scene_description>He leaps up after her , and they struggle . She gets away from him , runs to the pool , and plunges in . He jumps in after her . She swims only a few strokes before he has caught her .</scene_description>
<character>SHIRLEY</character>
<dialogue>Stop it! Stop! Let go!</dialogue>
<scene_description>He is holding her close , his hand tangled in her hair to pull her face back , to make her look at him .</scene_description>
<character>NED</character>
<dialogue>We made love in this pool, remember? You loved it!</dialogue>
<character>SHIRLEY</character>
<dialogue>I lied!</dialogue>
<scene_description>He is trying to pull down the straps of her bathing suit . She is kicking and hitting at him .</scene_description>
<character>NED</character>
<dialogue>You loved it in the pool!</dialogue>
<scene_description>He has the straps of her bathing suit down . She is half naked . She continues to fight him desperately . They wrestle in the water . The bathing suit rips . Finally she pulls away from him and swims a few feet . She rushes , sobbing and outraged , up the steps of the pool . Ned is standing waist - high in the water . Holding her tattered suit up to cover herself , Shirley screams at him .</scene_description>
<character>SHIRLEY</character>
<dialogue>I lied! I lied all the time. Telling you I loved it anywhere with you! You bored me to death! Boasting about your deals and your golf scores and your old girls and your old war and your old bloody duty to your wife and kids!</dialogue>
<character>NED</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>You loved it.</dialogue>
<character>SHIRLEY</character>
<dialogue>I played a scene with you!</dialogue>
<character>NED</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>You loved it!</dialogue>
<character>SHIRLEY</character>
<dialogue>It was a fake! I was fooling you! You met your match in me, you suburban stud! I'm an actress!</dialogue>
<scene_description>Her words are like a fist smashed into Ned 's face . His eyes are wild , his mouth slack . He throws back his head and bellows to the sky .</scene_description>
<character>NED</character>
<dialogue>YOU LOVED IT!</dialogue>
<scene_description>Crying hysterically , Shirley turns and runs toward the house . She disappears inside . Ned 's expression is stony and vacant . After a moment he swims automatically to the end of the pool . He grasps the curb to hoist himself out , but he has difficulty . The strength is drained out of him . He struggles . His face is contorted with the effort . Finally , wearily , hand over hand , grasping the curb , he moves to the ladder and , totally defeated , he climbs up it . When he steps off onto the ground his whole body seems limp and fragile . His eyes are sunken . His face is a ruin .</scene_description>
</scene>
<scene>
<scene_description>The Thruway The sun is clouded over . Rain is imminent . Ned is on the side of the road , limp , shivering , his arms wrapped around himself . The Sunday traffic is heavy . Cars of all descriptions whiz by . Ned looks pitiful as he waits on the shoulder of the road . Every time he thinks he might have a chance to dash for the grass divider in the middle of the road a car comes hurtling toward him and he jumps back . He is the object of all kinds of scorn and ridicule from the occupants of the cars . Some peer at him as if he is crazy , some point and laugh , a beer can is thrown at him . He dodges it . Several people shout at him but he ca n't decipher the words . From the backs of station wagons little children make faces , thumbs in their ears , waggling their fingers . No one makes the least attempt to slow up to let him cross . In fact , some drivers , seeing his intention , speed up gleefully as they approach him . Ned feels the indignity of his position and appearance . He looks tense and miserable . He coughs . He hops up and down to warm himself . Finally an old man tooling down the highway at fifteen miles an hour gives him a chance to cross . He dashes for the grass divider and makes it safely . Now he has to buck the long lines of traffic speeding in the other direction . The same ridicule from this traffic is heaped upon him . He watches alertly for a chance to cross . Finally there is a gap in the traffic and he sprints to the other side of the highway .</scene_description>
</scene>
<scene>
<scene_description>Recreation Center Pool A sign above the ticket booth window says `` Adults 50 cents , children 25 cents . '' The ticket seller is a young man , stocky and muscular . He wears a T - shirt . Ned is arguing with him .</scene_description>
<character>NED</character>
<dialogue>- but I'll pay you back. I swear to God I will!</dialogue>
<character>THE YOUNG MAN</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>Against the rules</dialogue>
<character>NED</character>
<dialogue>I'll do whatever you want - I'll sign an IOU.</dialogue>
<character>THE YOUNG MAN</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>Ca n't do it.</dialogue>
<character>NED</character>
<dialogue>I'll get my wallet - I promise - the minute I get home, I'll get my wallet and drive right back here -</dialogue>
<character>THE YOUNG MAN</character>
<dialogue>Look, I did n't make the rules, mister.</dialogue>
<character>NED</character>
<dialogue>Just one length! I want to swim one length. You do n't understand -</dialogue>
<character>THE YOUNG MAN</character>
<dialogue>I understand you ai n't got half a buck. That's all I'm supposed to understand.</dialogue>
<character>NED</character>
<dialogue>Ca n't you make an exception this once? My house is right up the hill over there -.</dialogue>
<parenthetical>( gestures . )</parenthetical>
<dialogue>I'll come straight back with the money! Believe me, I will!</dialogue>
<scene_description>He grasps the ticket cage and shakes it , his urgency growing .</scene_description>
<character>NED</character>
<dialogue>I swear! I promise!</dialogue>
<character>THE YOUNG MAN</character>
<dialogue>Get your hands off there!</dialogue>
<scene_description>Ned 's eyes begin to tear . His tone changes .</scene_description>
<character>NED</character>
<dialogue>Listen, will you please, please lend me fifty cents?</dialogue>
<character>THE YOUNG MAN</character>
<dialogue>What for? Why the hell should I?</dialogue>
<character>NED</character>
<dialogue>I'll pay you back -</dialogue>
<scene_description>His body sags against the booth .</scene_description>
<character>NED</character>
<dialogue>Do n't you realize I'll pay you back?</dialogue>
<character>THE YOUNG MAN</character>
<dialogue>Beat it!</dialogue>
<scene_description>At this point a middle - aged man and woman walk up to the booth carrying bathing suit bags . The man is bald and wears a loud sport shirt . The woman is plump and wears slacks . Their names are Howie and Lillian Hunsacker . Ned smiles with relief and recognition .</scene_description>
<character>NED</character>
<dialogue>Howie!</dialogue>
<character>HOWIE</character>
<dialogue>Hello, Mr. Merrill.</dialogue>
<character>NED</character>
<dialogue>Howie, for Christ sake, will you lend me fifty cents?</dialogue>
<character>LILLIAN</character>
<parenthetical>( angrily . )</parenthetical>
<dialogue>Do n't you do it, Howie!</dialogue>
<character>HOWIE</character>
<dialogue>What's fifty cents more or less, considering?</dialogue>
<scene_description>He digs in his pocket and gives Ned the money .</scene_description>
<character>NED</character>
<parenthetical>( with enormous relief . )</parenthetical>
<dialogue>Thanks, Howie! You're a lifesaver!</dialogue>
<parenthetical>( thrusts the money at the young man , then again to Howie . )</parenthetical>
<dialogue>Thanks a lot, chum. Thanks an awful lot.</dialogue>
<scene_description>He rushes through the turnstile and disappears into the locker room . There are a couple of people ahead of him at the counter where baskets for clothes and dog tags are given out . He gets into line until he realizes that he has no need for a basket . He starts to cross to the open door to the pool area .</scene_description>
<character>ATTENDANT</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Hey! Hey you! Hey you in the trunks!</dialogue>
<scene_description>Ned turns .</scene_description>
<character>ATTENDANT</character>
<dialogue>You take a shower?</dialogue>
<scene_description>Ned shakes his bead .</scene_description>
<character>ATTENDANT</character>
<dialogue>Ca n'tcha read, buddy?</dialogue>
<scene_description>He points to a large sign . Ned looks at it . ALL SWIMMERS MUST TAKE A SHOWER BEFORE USING THE POOL . ALL SWIMMERS MUST USE THE FOOT BATH . ALL SWIMMERS MUST WEAR THEIR IDENTIFICATION DISCS . Ned crosses to a shower booth , enters , closes the door , turns the water on full force , stands under it a split - second , turns off the water , and leaves the booth . He crosses to the open door again . An attendant beside the foot bath glares at his feet , battered , scratched , and still filthy .</scene_description>
<character>ATTENDANT</character>
<dialogue>You take a shower?</dialogue>
<scene_description>Ned nods .</scene_description>
<character>ATTENDANT</character>
<dialogue>Go back and wash those feet.</dialogue>
<scene_description>Wearily Ned crosses back to the shower . The booths are all occupied now . He feels dizzy . The room reels before his eyes . He closes his eyes and leans against a shower door for support . The door opens suddenly , and Ned falls in upon the man coming out . The man grabs him by the shoulders and pushes him back . He gives him a dirty look and walks out . Ned enters the shower . This time he soaps his feet and rinses them under the water , wincing as he does so . They are bruised and sore . The soap hurts the cuts . Gently his hands rub them again and again to get the dirt off . His dizziness returns for a moment . He supports himself against the side of the booth . He comes out of the shower and crosses again to the attendant beside the door . The attendant gives him a surly look and then gazes at his feet with distaste .</scene_description>
<character>ATTENDANT</character>
<parenthetical>( rudely . )</parenthetical>
<dialogue>Spread your toes.</dialogue>
<scene_description>Ned balances on one foot while he spreads his toes with his hands . The attendant peers into the crevices between them . Ned repeats this business with the other foot .</scene_description>
<character>ATTENDANT</character>
<dialogue>Bottoms.</dialogue>
<scene_description>Ned holds up the sole of each foot in turn . The attendant waves him on . He steps into the foot bath and through the door . The rain clouds hang even lower now . There is thunder in the distance . The pool area is surrounded by a high wire mesh fence . It is jammed with people of all ages and all sizes , shouting , splashing . The lifeguards sit on high wooden platforms , at intervals blowing their whistles or bellowing through a public address system various warnings and instructions to the swimmers . The pool has been constructed at the bottom of a high slanting hill - almost a wall of irregular rocks . The shrill sound of voices , the activity , confuse Ned at first . He looks about , uncertain at which end of the pool to begin his swim . He finally figures out which is the deep end and crosses toward it . A couple of children run into him and almost knock him down .</scene_description>
<character>LIFEGUARD</character>
<parenthetical>( through the public address system . )</parenthetical>
<dialogue>Cut out the running, you two kids! No running in the pool area!</dialogue>
<scene_description>Ned finds an empty place in the pool and plunges in . It is an awkward , tired dive , his body is bent , his legs fly apart . He comes up sputtering with disgust at the taste of the chlorine in the water . With difficulty he continues his way toward the other end of the pool , keeping his head above water to avoid collisions but even so he is bumped into , splashed and jostled . At one point a young boy dives from the side of the pool , lands on top of Ned , and submerges him . Ned comes up spitting out water , breathing hard , half - drowned . A girl practicing an awkward crawl slaps her hand across his face . As Ned makes his way across the pool he is watched grimly by Howie and Lillian , now in their bathing suits , and another couple whom they have joined . The other couple are a few years younger than the Hunsackers but the expressions on their faces are equally sour . They are Jack and Sylvia Finney . As Ned reaches the shallow end all four of them rise and approach the place where he will be getting out . Ned has to stand and walk through the last few feet of the pool since the water is barely higher than his knees . He is bumped into at every step , splashed , pushed . A whistle blows shrilly and a guard 's megaphone is pointed at him .</scene_description>
<character>LIFEGUARD</character>
<parenthetical>( bellowing . )</parenthetical>
<dialogue>Hey you! You without the identification disk. Get outta the water!</dialogue>
<scene_description>Ned is not aware that he is being shouted at . He stumbles on , dizzy , half - blinded , and weak . Finally he grasps the ladder and painfully , gasping , pulls himself up . The two couples have placed themselves so that they block his way . They make no attempt to move .</scene_description>
<character>JACK</character>
<dialogue>Whatsa matter, Mr. Merrill, your friends' pools run outta water?</dialogue>
<character>NED</character>
<dialogue>What?</dialogue>
<character>JACK</character>
<dialogue>So how do you like our water, Mr. Merrill?</dialogue>
<character>NED</character>
<dialogue>Oh, hi Jack! Sure is a lot of chlorine in it.</dialogue>
<character>LILLIAN</character>
<dialogue>Stings your eyes a little, huh? That's too bad.</dialogue>
<character>HOWIE</character>
<parenthetical>( the one friendly voice . )</parenthetical>
<dialogue>Ai n't seen you in a dog's age, Mr. Merrill. Too bad you do n't get into town any more.</dialogue>
<character>NED</character>
<parenthetical>( warmly , with relief . )</parenthetical>
<dialogue>We had a lot of laughs together, did n't we, Howie?</dialogue>
<character>HOWIE</character>
<dialogue>Used to count on seeing ya maybe four, five times a week in my place - few drinks, hamburger maybe -</dialogue>
<character>NED</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Say, how was the Series?</dialogue>
<character>LILLIAN</character>
<parenthetical>( loudly to Howie . )</parenthetical>
<dialogue>What you waitin' for? Go on and ask him!</dialogue>
<character>HOWIE</character>
<parenthetical>( ignoring her . )</parenthetical>
<dialogue>Series?</dialogue>
<character>NED</character>
<dialogue>The World Series. Did n't you use those tickets I gave you?</dialogue>
<character>HOWIE</character>
<dialogue>Oh! Last year! Sure - those were great seats! Right over third base -</dialogue>
<character>LILLIAN</character>
<parenthetical>( louder than before . )</parenthetical>
<dialogue>Are you gon na ask him or not?</dialogue>
<character>HOWIE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Hold it down, Lil -</dialogue>
<character>JACK</character>
<dialogue>I got somethin' to ask you, Mr. Merrill. When you gon na pay your bill?</dialogue>
<character>SYLVIA</character>
<dialogue>We're decent people tryin' to make a living. We got ta eat too, you know.</dialogue>
<character>LILLIAN</character>
<dialogue>Tell ` im Howie. Tell ` im he's the first deadbeat we ever got in our place.</dialogue>
<character>HOWIE</character>
<parenthetical>( firmly . )</parenthetical>
<dialogue>Cut it out, will you, Lil -</dialogue>
<character>NED</character>
<dialogue>I - I'm going to send you a check tomorrow both of you -</dialogue>
<character>LILLIAN</character>
<dialogue>That's a laugh all right!</dialogue>
<character>HOWIE</character>
<parenthetical>( warning her . )</parenthetical>
<dialogue>Now Lil -</dialogue>
<character>LILLIAN</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Whatsa matter? He's no friend of yours! What kinda friend sends a check ai n't worth the paper it's written on?</dialogue>
<scene_description>The altercation has attracted attention . Several onlookers have moved nearer .</scene_description>
<character>HOWIE</character>
<parenthetical>( to Lil , Jack , and Sylvia . )</parenthetical>
<dialogue>Let's break it up. Come on, let's not have a fuss in public -</dialogue>
<scene_description>Nobody moves . Jack is aware of the audience and plays up to them .</scene_description>
<character>JACK</character>
<dialogue>You shoulda seen the orders I sent up to his house! French strawberry jam, his wife made me stock for her. American strawberries ai n't good enough for her!</dialogue>
<character>SYLVIA</character>
<dialogue>Plain mustard ai n't good enough for Mrs. Merrill. She had to have Dee John mustard!</dialogue>
<scene_description>The onlookers snicker .</scene_description>
<character>JACK</character>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>Heartsa palm. Heartsa artichoke, heartsa this, heartsa that! Some rich diet you had up there!</dialogue>
<scene_description>The onlookers laugh . Ned looks around , confused .</scene_description>
<character>SYLVIA</character>
<dialogue>Heartsa Jack Finney, that's what you got!</dialogue>
<scene_description>The onlookers laugh again . Ned has hardly understood the words , only the attack . He backs away a a bit .</scene_description>
<character>JACK</character>
<dialogue>You used our market to feed your kids. We all got kids to feed too -</dialogue>
<character>SYLVIA</character>
<dialogue>What's more we bring up our kids to behave themselves. Our kids do n't go around drunk, our kids do n't wreck cars -</dialogue>
<character>JACK</character>
<parenthetical>( more or less to the onlookers . )</parenthetical>
<dialogue>He kept his daughters' names outta the paper that time!</dialogue>
<character>LILLIAN</character>
<dialogue>Bet that check did n't bounce!</dialogue>
<scene_description>Ned stares dizzily around at the curious , amused , or grim faces . He feels cornered , humiliated . He begins to shiver again .</scene_description>
<character>NED</character>
<dialogue>You leave my daughters out of this!</dialogue>
<character>SYLVIA</character>
<dialogue>Why did n't ya teach'em some manners?</dialogue>
<character>LILLIAN</character>
<parenthetical>( to Sylvia . )</parenthetical>
<dialogue>Those girls never paid no attention to him. Why should they?</dialogue>
<parenthetical>( to Ned . )</parenthetical>
<dialogue>Always runnin' around, chummin' with their friends - always tryin' to be one of the gang, were n't ya?</dialogue>
<character>NED</character>
<parenthetical>( his voice shaking . )</parenthetical>
<dialogue>My daughters worship me - they love me and - and they obey me and - and what I say is the law to those girls because I'm their father and they respect me -.</dialogue>
<parenthetical>( close to tears . )</parenthetical>
<dialogue>- they respect me -</dialogue>
<character>LILLIAN</character>
<dialogue>Yeah?</dialogue>
<character>NED</character>
<dialogue>My daughters love me -</dialogue>
<character>LILLIAN</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>Plenty of times we used to hear those girls talkin' in our place. We heard his kids givin' him the razzberry!</dialogue>
<character>NED</character>
<dialogue>You're a goddamn liar!</dialogue>
<character>HOWIE</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Now look here, Mr. Merrill - you do n't get away with that! You do n't call my wife names!</dialogue>
<character>NED</character>
<dialogue>She's a liar!</dialogue>
<character>HOWIE</character>
<parenthetical>( giving him a good , long , hard look . )</parenthetical>
<dialogue>Wan na know what your girls really thoughta you? Your girls laughed at you -</dialogue>
<scene_description>Ned stares at him - he wo n't believe it .</scene_description>
<character>HOWIE</character>
<dialogue>I heard them! Your girls thought you were a great big joke!</dialogue>
<scene_description>This last wound triggers Ned 's panic . He feels suffocated by the ring of strange faces and bodies . All he can think of is that he must get out , get away . He thrusts blindly at Howie with enough force to throw him to the ground . Women scream . The guards blow their ear - splitting whistles . The crowd increases in an instant . Ned dashes through them - pushing at anyone in his way - straight for the wire fence . He climbs it nimbly , given a new spurt of strength by his consuming desire to escape . As he goes over the top he tears his flesh in several places on the sharp wires . He leaps to the rocks and scrambles frantically up the hill like a wild animal - clinging to clumps of grass , slipping and sliding on the slippery surface , intent only on fleeing his tormentors . A few drops of rain are falling .</scene_description>
</scene>
<scene>
<scene_description>The Clydes The back yard of a modest ranch house on a small lot . A half dozen adults - men in loud sport shirts and shorts , women bulgy in pedal pushers , and several small children are hurriedly dismantling what was to have been a picnic supper . Apparently they have waited , hoping it was not going to rain , but now the sky is slate - colored and the rumble of thunder frequent . A charcoal grill is already blazing but unused , and they are taking plates of frankfurters , hamburgers , potato salad and trays of beer into the kitchen . In the center of the back yard is a very large , round , plastic wading pool , the kind used by children . Ned comes around the side of the house , cold , exhausted , walking with the greatest effort . The people in the yard stop what they are doing and stare at him . Ned is transfixed at the sight of the pool . He stumbles toward it . With visible effort he swings one leg over the rim of the pool and then the other . The water barely reaches to the middle of his thigh . He crouches down in the water and begins to paddle across like a little child . The adults exchange glances . The children watch with mouths agape .</scene_description>
<character>MAN</character>
<parenthetical>( low voice . )</parenthetical>
<dialogue>What the hell's going on?</dialogue>
<character>MR. CLYDE</character>
<dialogue>Soused.</dialogue>
<character>MAN</character>
<dialogue>You know him?</dialogue>
<character>MR. CLYDE</character>
<parenthetical>( gesturing up the hill . )</parenthetical>
<dialogue>That's his house up there.</dialogue>
<scene_description>Ned is half way across . A large inflated rubber duck is floating in his path . He rests his cheek on it .</scene_description>
<character>WOMAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Look at that!</dialogue>
<character>ANOTHER WOMAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Makes himself right at home!</dialogue>
<character>MAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Soused out of his skull.</dialogue>
<scene_description>The children take their cue from the adults and laugh too . A little boy tosses a soft rubber beach ball at Ned . It bounces crazily off his head . They scream with glee . Ned climbs out of the pool . Mrs. Clyde is standing in his path . He stops , takes her hand , bows and kisses it briefly . He drops her hand and staggers toward the road . The sound of laughter follows him .</scene_description>
</scene>
<scene>
<scene_description>The Merrills Ned is coming up a narrow winding road . He is weaving a bit from side to side . His chest is heaving as if every breath takes all his strength . From time to time he coughs . Raindrops are splattering down on him . His foot slips and he falls to his knees . The raindrops increase . He wipes them away , leaving the dirt of the road on his face . He struggles to his feet . Ned comes to the gatepost of his own driveway , stops and clings to it for support . There is a streak of lightning overhead and thunder very loud and close . By now the rain is falling steadily . It seems to rouse him a bit . He leaves the gatepost and plods up the curving driveway . Ahead of him is his house - large , grand , rather formal . It is set on a spacious lawn . A tennis court is visible at one side and to the back . Once in a while lightning illuminates the entire scene . The raindrops are more frequent now . With a last spurt of energy , Ned quickens his step . The crescent - shaped drive curves up to the front door . He manages a limping run the last few yards to the house . He turns the knob and pushes at the door in his hurry to get inside . The door is locked . He is astounded and tries the knob again . The door will not budge . He frowns with confusion and turns the knob frantically back and forth . Now the rain is coming in a downpour . He pounds on the door . He tries to force it open with his shoulder . The rain is flooding down upon him . In desperation he beats his fists against the door . Lightning flashes over the house . Thunder crashes above . Ned shouts - not words but deep bellows of anguish . The door is solid . By contrast , Ned 's flailing fists seem puny and fragile . He beats continuously at the impervious oak . The veins stand out in his neck as he shouts convulsively . There is terror in his eyes . His fists pound and pound . The windows of the house are dark . Behind them is the unlit and dimly visible living room . It is totally empty - rectangles of pale paint on the wall where pictures once hung , a fireplace with tarnished andirons in it . Some cardboard cartons filled with cast - offs - wire hangers , broken tennis racket , a worn broom - are against the wall . In the library the shelves are empty except for a tattered telephone book . In the small mirrored bar there is nothing but a corkscrew on the counter . The kitchen is large and well - equipped but dusty . An old calendar and a bulletin board hang on one wall . A scrap of paper thumbtacked to the board reads , `` Slip covers - CA 7 - 4333 . '' In the spacious , paneled dining room one of the wall sconces has come loose and is hanging by its cord . At the end of the entrance hall is the heavy front door . The knob is moving back and forth , back and forth . Outdoors it is darker . The downpour has lessened to a light rain . Ned 's exhausted hand is turning the knob . He no longer pounds . His body is slumped against the door . He is uttering small gasping sounds . His eyes are streaming with tears .</scene_description>
</scene>
</script> | On a sunny day in an affluent suburb in Connecticut, a fit and tanned middle-aged man in a bathing suit, Ned Merrill, drops by a pool party being held by old friends, the Westerhazys. They offer him a cocktail while nursing hangovers from the night before. As they share stories, Ned realizes there is a series of backyard swimming pools that could form a "river" back to his house, making it possible for him to "swim his way home". Ned dives into the pool, emerging at the other end and beginning his journey. Ned's behavior perplexes his friends, who apparently know worrisome things about his recent past which he seems to have forgotten. As Ned travels, he encounters other neighbors. He meets 20-year-old Julie, who used to babysit his daughters (whom he repeatedly refers to as "at home playing tennis"), and reveals his plan to her; she joins him. They crash another pool party and sip champagne. While chatting in a grove of trees, Julie reveals that she had a schoolgirl crush on Ned, who begins talking about how he will protect her, making plans for the two of them. Discomfited by his intimate approaches, Julie runs away. Ned meets a wealthy older couple, unbothered by his eccentric behavior but also unimpressed by his posturing. He then encounters Kevin, a lonely young boy, whom he tries to teach how to swim. They use an abandoned, empty pool, which Ned urges the boy to imagine is filled with water. The boy warms to this method, and soon is "swimming" the length of the empty pool. As Ned takes his leave, he glances back and sees the boy bouncing on the diving board over the deep end of the empty pool. Ned fails to make more than a superficial connection with the people he meets, being obsessed with his journey, and becoming increasingly out of touch with reality. The neighborhood is full of judgmental, well-heeled people intent on one-upmanship, and Ned continues to be confused by hints that his life might not be as untroubled as he believes it to be. Ned carries on with his plan. He walks into another party where the hostess, who seems to have had a past encounter with him, playfully calls him a "party crasher". There, he encounters a bubbly girl, named Joan, who does not know him. Ned asks her to join him, and Joan is intrigued until she is warned off by a friend. Ned jumps into the pool, making a big splash which grabs the attention of the guests. When he emerges from the water, he notices a cart that used to be his, being used to serve hot dogs. Ned gets into a spat with the homeowner, who indignantly claims to have bought it at a white elephant sale. Ned then shows up at the backyard pool of Shirley Abbott, a stage actress with whom he had an affair several years earlier. His warm memories of their time together contrast sharply with her own experience of having been "the other woman". Unable to reconcile his feelings with the pain that he has caused, Ned wades into the deep end of the pool. Ned continues on, showing up at a crowded public swimming pool. He is confronted by hostile local shopkeepers who ask him "How do you like our water?", indicate surprise at his appearance at such a plebeian location, and ask him when he will settle his unpaid bills. When some of them let loose vicious comments about his wife's snobbish tastes and his out-of-control daughters' recent troubles with the law, it is too much for Ned to take and he flees. Ned trudges barefoot alongside a busy highway as the skies darken and rain begins to fall. Amid a downpour at sunset, a shivering, limping Ned staggers home; the tennis court where his daughters were supposedly playing is in disrepair, and his house is locked and deserted, with several windows broken. Anguished, Ned repeatedly tries to open the door in vain, before slumping to the ground in the doorway. |
The White Tiger_2021 | tt6571548 | <script>
<scene>
<character>THE WHITE TIGER</character>
<dialogue>by</dialogue>
<scene_description>Ramin Bahrani Based on the novel by Aravind Adiga I wondered if any wilderness would be more desolate than this! And then I remembered another of the kind - the home I'd left behind. - Mirza Ghalib \* Dialogues spoken in Hindi are in italics. All other dialogues in English. SUPER TITLE: NEW DELHI - 2007 Music, "Beware of the Boys," featuring Jay-Z blasts as we see: INSERTS - feet, hands, faces of the Dandi March statue in Delhi... leading us to Gandhi, leading the procession.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / DELHI STREETS - NIGHT</stage_direction>
<scene_description>The car's headlights glow in a fog of pollution. It speeds past a large statue of Gandhi - the Dandi March. CLOSE ON THE EYES OF BALRAM (early 20s, clean-shaven, thin) looking out the back seat window as the Dandi March flies by. For some reason, Balram is dressed as a MAHARAJA. Balram's POV: ASHOK laughing in the passenger seat with his wife PINKY MADAM who is driving fast (both early 30s). They are drunk.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Should I switch to tequila now?</dialogue>
<character>ASHOK</character>
<dialogue>Why not?</dialogue>
<scene_description>They look at Balram in the back.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Maharaja, sing for me!</dialogue>
<character>ASHOK</character>
<dialogue>Sing, sing, sing.</dialogue>
<scene_description>She swerves around an oncoming rickshaw.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Why's he on this side of the road?</dialogue>
<character>BALRAM</character>
<parenthetical>(nervous)</parenthetical>
<dialogue>Madam, should I drive now.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Are you worried, Maharaja?</dialogue>
<character>BALRAM</character>
<dialogue>No, no, I'm not worried.</dialogue>
<scene_description>Balram's POV: her eyes flirt with him in the rear-view mirror.</scene_description>
<character>PINKY MADAM</character>
<dialogue>You're worried, haha.</dialogue>
<character>BALRAM</character>
<dialogue>Madam, a cow!</dialogue>
<scene_description>Ashok grabs the wheel to help her swerve around a cow in the road.</scene_description>
<character>ASHOK</character>
<dialogue>Holy cow!</dialogue>
<scene_description>They laugh. BALRAM'S POV: HOMELESS on the roadside watch the car fly by. Ashok sings to Pinky and they drunkenly laugh.</scene_description>
<character>ASHOK</character>
<dialogue>Happy birthday to you, happy birthday to you!</dialogue>
<scene_description>Then, A SMALL FIGURE darts in front of the car.</scene_description>
<character>BALRAM</character>
<dialogue>Look out, look out!</dialogue>
<scene_description>It's too late. Before they crash, we FREEZE FRAME ON BALRAM.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Pardon me, your Excellency, this is no way to start a story. I am Indian after all, and it is an ancient and venerated custom of my people to start a story by praying to a Higher Power.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RELIGIOUS TEMPLES - VARIOUS</stage_direction>
<scene_description>Various Hindu temples, Christian churches, Muslim mosques; iconography from each; BELIEVERS praying.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>So I too should start off by kissing some god's foot. But which god? The Muslims have one. The Christians have three. And we Hindus have 36,000,000. Making a grand total of 36,000,004 divine feet for me to choose from.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>BALRAM (late 20s, moustachioed, pot-bellied) sits under a chandelier in the lotus position, eyes closed.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>There are some, not just Communists like you, who think that none of these gods exist. But in my country it pays to play it both ways. The Indian entrepreneur has to be straight and crooked, mocking and believing, sly and sincere, all at the same time.</dialogue>
<scene_description>Travel to Balram; he opens his eyes, stares into the camera. LATER - Balram watches TV news about CHINESE PREMIER WEN JIABAO's upcoming trip to India. Under maps of BANGALORE, Balram types an email to Wen Jiabao at his laptop:</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Mr. Jiabao, your Excellency, when I heard you were coming to meet some Indian entrepreneurs, I just knew I had to email you. Our nation, though it has no drinking water, electricity, sewage system, public transportation, sense of hygiene, discipline, courtesy, or punctuality, does have entrepreneurs.</dialogue>
<scene_description>News SPEAKS of the two rising economic super powers: CHINA & INDIA \[stock footage\]. Our hero, Balram, intently listens.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I've been following the rise of your country for some time, sir. I know you Chinese are great lovers of freedom and individual liberty. The British tried to make you their servants but you never let them. I admire that, Mr. Premier. You see, I was a servant once.</dialogue>
<scene_description>We move off his face and discover the SMALL STATUE OF BUDDHA.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. WHITE TIGER DRIVERS / FIRST FLOOR OFFICES - NIGHT</stage_direction>
<scene_description>Balram comes downstairs. Drivers loiter, OPERATORS man phones. Balram sees a YOUNG BOY, DHARAM (11) doing homework. He glances up at Balram, who nods.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Today, I'm a celebrated entrepreneur in Bangalore - the Silicon Valley of India. They say it's named after a Silicon Valley in "America," but I find that hard to believe. I think we can agree that America is so "yesterday." India and China are so "tomorrow."</dialogue>
<scene_description>He steps outside and surveys a bustling taxi service. A servant brings him coffee, "Sir." Balram is master here.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>In the belief that the future of the world lies with the yellow man and the brown man now that our erstwhile master, the white-skinned man, has wasted himself through buggery, cell phone usage, and drug abuse, I offer to tell you, free of charge, the truth about India, by telling you the story of my life.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE / GANGA RIVER - DAY \[PAST\]</stage_direction>
<scene_description>Water buffaloes, plenty of them.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>These are the best fed and most important members of my family. After them...</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME; LAXMANGARH - DAY</stage_direction>
<scene_description>GRANNY surveys the village like a queen.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>My sly old granny Kusum.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TEA SHOP / LAXMANGARH - DAY</stage_direction>
<scene_description>YOUNG KISHAN (14) smashes coal at the tea shop.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>She had forced my brother, Kishan, to work in the tea shop.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE - DAY</stage_direction>
<scene_description>BALRAM'S FATHER strains to pull the heavy rickshaw.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And she took every rupee from my father, a rickshaw puller.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE - DAY</stage_direction>
<scene_description>Various images of kids, men bathing near buffaloes, hard poor living.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I come from the village of Laxmangarh, which is in the Darkness. India is two countries in one...</dialogue>
</scene>
<scene>
<stage_direction>EXT. GHATS AT A RIVER - DAY</stage_direction>
<character>BALRAM (V.O.)</character>
<dialogue>...an India of Light.</dialogue>
<scene_description>Young Balram walks along the ghats and gawks at WHITE WOMAN & MAN (with dreads) doing yoga poses.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And an India of Darkness.</dialogue>
<scene_description>Balram sees: Sadhus bath, women wash clothes, men brush teeth, in the filthy river.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I think a rich man like you knows which one I come from.</dialogue>
<scene_description>Young Balram sits and stares at the river.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>A scanned poster with a smudged and barely recognizable photo of his face is on the laptop. Balram prints it.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>To give you the basic facts about me, there's no beating that poster, the one the police made of me, some years ago, due to an act of entrepreneurship.</dialogue>
<scene_description>As the poster he sees: "ASSISTANCE SOUGHT IN SEARCH FOR MISSING MAN."</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Yes, the police are looking for me. Why? I'll get to that in time, but only if you promise not to judge me until I've told you my glorious tale.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL IN LAXMANGARH - MORNING</stage_direction>
<scene_description>A SCHOOL INSPECTOR in a blue suit point his cane to three sentences in English on the chalkboard. Young Balram watches him point to a boy -</scene_description>
<character>SCHOOL INSPECTOR</character>
<dialogue>Read. Yes, you.</dialogue>
<scene_description>Balram watches the Boy stand... and remain silent.</scene_description>
<character>SCHOOL INSPECTOR</character>
<dialogue>Can't you read it?</dialogue>
<character>BOY #1</character>
<dialogue>A, B, G, Z...</dialogue>
<character>SCHOOL INSPECTOR</character>
<dialogue>Stop! Have you taught them nothing, you useless fuck?</dialogue>
<character>TEACHER</character>
<dialogue>Sorry, sir -</dialogue>
<scene_description>Balram stands and gets the Inspector's attention.</scene_description>
<character>YOUNG BALRAM</character>
<parenthetical>(reads the English)</parenthetical>
<dialogue>We live in a glorious land. The Lord Buddha received enlightenment in this land. We are grateful to God that we are born in this land.</dialogue>
<character>SCHOOL INSPECTOR</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Come here, boy.</dialogue>
<scene_description>Balram steps forward. The Inspector pulls out a photo.</scene_description>
<character>SCHOOL INSPECTOR</character>
<dialogue>Who is this woman?</dialogue>
<character>YOUNG BALRAM</character>
<dialogue>The Great Socialist, sir.</dialogue>
<character>SCHOOL INSPECTOR</character>
<dialogue>And what is the Great Socialist's message for little children?</dialogue>
<character>YOUNG BALRAM</character>
<dialogue>Any poor boy in any forgotten village can grow up to become prime minister of India.</dialogue>
<character>SCHOOL INSPECTOR</character>
<dialogue>In the jungle, what is the rarest of animals that comes along only once in a generation?</dialogue>
<character>YOUNG BALRAM</character>
<dialogue>... The white tiger.</dialogue>
<scene_description>The Inspector points his cane right at Balram's face.</scene_description>
<character>SCHOOL INSPECTOR</character>
<dialogue>That's what you are: a white tiger. I will ensure you get a scholarship to a school far away from here, in our glorious capital - Delhi.</dialogue>
<scene_description>Balram beams with pride.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH POND - SUNSET</stage_direction>
<scene_description>Balram climbs over his Father's knotted back, passing his palm over his forehead, eyes, nose, neck. They laugh.</scene_description>
<character>YOUNG BALRAM</character>
<dialogue>Papa, know what this is called?</dialogue>
<character>BALRAM'S FATHER</character>
<dialogue>What?</dialogue>
<character>YOUNG BALRAM</character>
<dialogue>It's called "Clavicle".</dialogue>
<character>BALRAM'S FATHER</character>
<dialogue>Clavicle?</dialogue>
<character>YOUNG BALRAM</character>
<dialogue>And these are called "shoulders". And this is called "backbone".</dialogue>
<scene_description>The Father grabs Balram and tickles him as he rattles off body parts in English and they laugh together.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME; LAXMANGARH - NIGHT</stage_direction>
<scene_description>WOMEN sleep in one pile. MEN in another. Only Balram is awake, reading a book - in ENGLISH.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>In the darkness, we all slept together, with legs falling one over the other, like one creature: a millipede.</dialogue>
<scene_description>He turns when he hears someone FART.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE / MAIN JUNCTION / TEA SHOP - DAY</stage_direction>
<scene_description>Balram and KIDS chase a white Ambassador car that enters the village. Kishan watches from the tea shop he works in. RAM PERSAD (the driver) opens the door for THE STORK (late 40s, tall) and his son MUKESH (20s, dark, short, broad).</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The Stork. He was the landlord who ruled our village and collected a third of everything we earned.</dialogue>
<scene_description>A sycophant FISHMONGER brings a basket of fish to the Stork, who smacks him in the head.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>He fed so much on the village that there was nothing left to feed on.</dialogue>
<scene_description>Balram's POV: Mukesh (Mongoose) collects money from RICKSHAW PULLERS - Balram's dad is at the end of the shake-down line.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>We feared his elder son, "the Mongoose," even more.... And my father was always in debt to them.</dialogue>
<scene_description>Balram's POV: his father won't pay, so Mukesh SLAPS him and SHOUTS at him. This rattles Balram.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL IN LAXMANGARH - MORNING</stage_direction>
<scene_description>Teacher sleeps. Kids fight & play. Only Balram reads a book.</scene_description>
<character>YOUNG KISHAN</character>
<dialogue>Psst.</dialogue>
<scene_description>Balram sees his brother at the door.</scene_description>
<character>YOUNG KISHAN</character>
<dialogue>Get your book, chalk and let's go.</dialogue>
<scene_description>Confused, Balram gathers his stuff and -</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEA SHOP; LAXMANGARH - DAY</stage_direction>
<scene_description>They near the tea shop, where the Owner sees them. Balram realizes what's happening.</scene_description>
<character>YOUNG BALRAM</character>
<dialogue>The tea shop? I'm supposed to go to Delhi.</dialogue>
<character>YOUNG KISHAN</character>
<dialogue>Father didn't pay the master. Granny said you have to work now.</dialogue>
<character>TEA SHOP OWNER</character>
<dialogue>Kishan, what're you doing? Get to work!</dialogue>
<scene_description>Kishan pushes Balram forward.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEA SHOP; LAXMANGARH - LATER</stage_direction>
<scene_description>Kishan drops a gunnysack filled with coals in front of Balram. He smashes one and pours the remains into the oven.</scene_description>
<character>YOUNG KISHAN</character>
<dialogue>Now break every last one.</dialogue>
<scene_description>Balram hesitates.</scene_description>
<character>YOUNG KISHAN</character>
<dialogue>You don't like it? Imagine it's my skull you're breaking.</dialogue>
<scene_description>He leaves. A beat. Balram breaks coal into many pieces.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME; LAXMANGARH - SUNSET</stage_direction>
<scene_description>The family eats. Balram, covered in coal grime, sees his father who keeps his head down in shame.</scene_description>
<character>GRANNY</character>
<dialogue>Eat your dinner, sweetie.</dialogue>
<scene_description>He glares at his Granny.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I never saw the inside of a school again.</dialogue>
<character>GRANNY</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>Eat it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE / MAIN JUNCTION - DAY</stage_direction>
<scene_description>Balram watches his father strain to pull the heavy rickshaw.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>By the end of the year my father was sick with tuberculosis.</dialogue>
<scene_description>Balram's POV: His father COUGHS - blood splatters on road.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>No politician had built a hospital in Laxmangarh, so we had to travel two days to another village.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. FREE HOSPITAL - DAY</stage_direction>
<scene_description>They help their Father past goats into the rundown hospital. Balram sits with his Father on the floor next to SICK PEOPLE.</scene_description>
<character>YOUNG KISHAN</character>
<dialogue>I'll try and find a doctor.</dialogue>
<scene_description>Balram watches Kishan run to two WARD BOYS. He bribes them.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>No doctor ever came. Election promises, sir, had taught me how important it is not to be a poor man in a free democracy.</dialogue>
<scene_description>His Father coughs up blood. Balram holds his father in his arms and wipes a damp towel over his forehead. He is holding his dying father...</scene_description>
</scene>
<scene>
<stage_direction>EXT. GHATS AT GANGA RIVER - AFTERNOON</stage_direction>
<scene_description>Balram walks with the family carrying his father's corpse on their shoulders. A PRIEST CHANTS. At the ghats - a funeral pyre. Balram watches the priest SET HIS FATHER'S CORPSE ON FIRE. Balram is transfixed -- He sees his father's foot jerk out, curl up and resist the fire.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Even in death, he was resisting his fate, resisting to die, be reborn and die again, all for nothing.</dialogue>
<scene_description>Balram stops breathing. His eyes flutter. HE FAINTS... He lies on the ghat - his face, serene in the sunlight.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I understood in this moment how hard it is for a man to win his freedom in India.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARKET - DAY</stage_direction>
<scene_description>CU on a rooster, clucking. Pull back to reveal chickens stuffed into wire cages.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Later, I came to realize "why." The greatest thing to come out of this country in its ten thousand year history: The Rooster Coop.</dialogue>
<scene_description>A BUTCHER de-feathers and cuts the throat of a rooster - blood - while the others indifferently watch.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>They can see and smell the blood. They know they're next. Yet they don't rebel, they don't try and get out of the coop.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DELHI - MORNING</stage_direction>
<scene_description>Crowds of working class Indians in the streets, servants busy carrying loads, running about.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Servants here have been raised to behave the same way.</dialogue>
<scene_description>A RICKSHAW DRIVER pedals a heavy load of furniture.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The furniture on his back is worth at least two years his salary.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POSH HOME; DELHI - DAY</stage_direction>
<scene_description>The Rickshaw Driver drops off his load at A RICH WOMAN's home. She puts a wad of CASH in his hand.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And yet he will faithfully pedal it all the way back to his boss, without ever touching a single rupee.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARKET - DAY</stage_direction>
<scene_description>Driver hands the cash to the STORE OWNER and bows - namaste.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>No servant does. Why? Because Indians are the world's most honest and spiritual people?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DELHI - DAY</stage_direction>
<scene_description>WIDE: Masses of PEOPLE, poor, homeless, servants, traffic...</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>No. It's because 99.9 percent of us are caught in the Rooster Coop. The trustworthiness of servants is so strong that you can put the key of emancipation in a man's hand and he will throw it back at you with a curse.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. TEA SHOP / LAXMANGARH - DAY</stage_direction>
<scene_description>CU - a coal breaks into pieces. BALRAM IS NOW AN ADULT (early 20s) still breaking coal in the tea shop. LATER - He wipes the floor, tables, and listens to CUSTOMERS.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I had learned to use my time to eavesdrop on customers waiting for an opportunity, something my brother had given up on long ago.</dialogue>
<scene_description>He sees a lethargic ADULT KISHAN (late 20s) serve tea. LATER Balram sees: a shiny MITSUBISHI PAJERO SUV enters the village, chased by KIDS. The driver, older Ram Persad (50s), opens the door for older Stork (60) and ADULT MUKESH (40).</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I know communists like you don't believe in god, sir, but do you believe in fate?</dialogue>
<scene_description>BALRAM SEES ADULT ASHOK (early 30s) get out of the car listening to an ipod with earbuds - he looks like a god.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>That was when I first saw him, the Stork's youngest son, Mr. Ashok. He had just moved from America back to India, to Dhanbad, where his family had made a fortune in coal. I knew then: this was the master for me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME - AFTERNOON</stage_direction>
<scene_description>Granny glares at Balram. An exhausted Kishan sits nearby with his WIFE, BABY and 4 YEAR OLD who keeps poking Kishan.</scene_description>
<character>BALRAM</character>
<dialogue>I overheard them saying, they need a second driver for Mr. Ashok, he's just come back -</dialogue>
<character>KISHAN</character>
<dialogue>But you don't know how to drive!</dialogue>
<character>BALRAM</character>
<dialogue>I just need 300 rupees for the driving lessons, and -</dialogue>
<character>GRANNY</character>
<dialogue>- No! You have always been insolent, just like your father. You'll stay here with Kishan.</dialogue>
<scene_description>Kishan's baby CRIES. The 4 year old smears dirt on Kishan's face. Balram stares at this like it is a misery.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Granny had married him off, given him two weeks to dip his beak into his wife, and now he was stuck here. I would be too...</dialogue>
<character>BALRAM</character>
<dialogue>Ok, forget it. I thought if I became their driver, you'd buy a bunch of water buffaloes, and be the envy of the village.</dialogue>
<character>GRANNY</character>
<dialogue>So you'll become a driver for the landlords...?</dialogue>
<character>BALRAM</character>
<dialogue>Yes. You could be the richest woman in the village.</dialogue>
<character>GRANNY</character>
<parenthetical>(pulls out money)</parenthetical>
<dialogue>Swear by all the gods in heaven you'll send every rupee you make every month to your Granny.</dialogue>
<character>BALRAM</character>
<dialogue>I swear.</dialogue>
<character>GRANNY</character>
<dialogue>Stop smiling. Pinch your hand and swear!</dialogue>
<scene_description>Balram grabs her cane and starts swinging it around.</scene_description>
<character>BALRAM</character>
<dialogue>I'm pinching! Granny, just think... You'll be the richest women in the village! Your cane will become gold and when you swing it like this... the entire village will line up to see you!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME / LAXMANGARH VILLAGE - SUNRISE</stage_direction>
<scene_description>Balram runs through the village carrying a small sack. He hugs a water buffalo goodbye. Kishan chases with a tiffin lunch box.</scene_description>
<character>KISHAN</character>
<parenthetical>(holds tiffin box high)</parenthetical>
<dialogue>Wait! Granny made your favorite!</dialogue>
<character>BALRAM</character>
<dialogue>You eat that oily lunch, I'm gonna eat in Dhanbad!</dialogue>
<scene_description>He sprints down the dirt road and out of the village.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING BUS / LANDSCAPE - SUNSET</stage_direction>
<scene_description>The bus drives down the road. Balram sits in the bus crowded with people, chickens, goats and a band singing and playing music. He's ecstatic, getting out of the village to-- SUPER TITLE: DHANBAD</scene_description>
</scene>
<scene>
<stage_direction>EXT. DHANBAD STREETS; VARIOUS - DAY</stage_direction>
<scene_description>A massive coal pit on the outskirts of a city covered in black grime. Big, chaotic. Nothing like the village. MEN and CHILDREN, blackened from coal, push bikes piled high with sacks of stolen coal, or on their heads.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Now, I just had to learn to drive.</dialogue>
<scene_description>A taxi drives past KIDS carrying coal; we PAN WITH IT AND -</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING TAXI / DHANBAD - DAY</stage_direction>
<scene_description>- inside the taxi we find Balram DRIVING with joy! SMACK! - AN OLD DRIVER in a brown uniform hits his head.</scene_description>
<character>OLD DRIVER</character>
<dialogue>Watch out, sister-fucker! You're from a caste of sweet-makers. Only a boy from a warrior class can tame a wild stallion. Muslims, Rajputs, Sikhs, they have aggression in their blood. Why don't you stick to sweets and tea, sugar-boy?</dialogue>
<scene_description>Balram deftly dodges traffic, BEGGARS. The Driver takes note.</scene_description>
<character>OLD DRIVER</character>
<dialogue>It's not enough to drive. You've got to become a driver. Anyone tries to overtake you, do this -</dialogue>
<parenthetical>(sticks fist out window)</parenthetical>
<dialogue>Out of the way, sister-fucker!</dialogue>
<scene_description>Emboldened, Balram HONKS and speeds past a car -</scene_description>
<character>BALRAM</character>
<dialogue>Outta my way, sister-fucker!</dialogue>
<character>OLD DRIVER</character>
<dialogue>The road is a jungle. A good driver must roar to get ahead on it!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - AFTERNOON</stage_direction>
<scene_description>A luxury neighborhood. Balram strolls up to a gate guarding a massive villa.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>It wasn't so hard to find out where they lived. I just had to get through the door.</dialogue>
<scene_description>He peers through the gate and is amazed by the Stork's villa, large yard of green grass and trees. He sees Ram Persad (driver #1) waxing the Mitsubishi Pajero. An older, small Honda City, gets his attention: a second car. The GATEKEEPER, SAKET BAHADUR (50s), walks up.</scene_description>
<character>SAKET BAHADUR</character>
<dialogue>Yeah?</dialogue>
<character>BALRAM</character>
<dialogue>Namaste, sir.</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>What do you want?</dialogue>
<character>BALRAM</character>
<dialogue>Any need of a driver, sir? I've got four years experience. My master recently died, so I -</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>Fuck off. We have a driver already.</dialogue>
<character>BALRAM</character>
<dialogue>I see you have two cars, sir, but do you have two drivers?</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>What's wrong with you? Get lost, sister-fucker.</dialogue>
<scene_description>Balram sees the Stork and Ashok. He feigns surprise as he calls out to them -</scene_description>
<character>BALRAM</character>
<dialogue>Sir, this is your house? Namaste. I am from your village, sir! I am from Laxmangarh.</dialogue>
<character>THE STORK</character>
<dialogue>Laxmangarh?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir! The gods must be watching over us! I worked at the tea stall and I would bring tea to your ambassador car -</dialogue>
<character>THE STORK</character>
<dialogue>Let the boy in.</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>But, sir -</dialogue>
<character>THE STORK</character>
<dialogue>Let him in.</dialogue>
<scene_description>As soon as Bahadur opens the gate, Balram pushes him aside and dives at the Stork's feet.</scene_description>
<character>BALRAM</character>
<dialogue>I can't believe it's you, sir. Oh, how the crops died since you left, and we prayed that you'd have more sons to keep rule in the village -</dialogue>
<character>THE STORK</character>
<dialogue>Get up, son. - Do people there still remember me?</dialogue>
<character>BALRAM</character>
<dialogue>Of course, sir. Everyone says, 'Our father is gone, the best and most holy of the landlords - like Gandhi!'</dialogue>
<character>ASHOK</character>
<dialogue>Like Gandhi?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir, Mohandas Karamchand Gandhi, sir.</dialogue>
<character>THE STORK</character>
<dialogue>Ok. What do you want?</dialogue>
<character>BALRAM</character>
<dialogue>Sir, with your permission, I want to be a driver for you, or for your son.</dialogue>
<character>THE STORK</character>
<dialogue>Hmm. Are you a Muslim, boy?</dialogue>
<character>BALRAM</character>
<dialogue>No, sir! I bathe regularly, I'm not lazy -</dialogue>
<character>ASHOK</character>
<dialogue>Hey, what's up?</dialogue>
<scene_description>Ashok extends his hand. The Stork stops him.</scene_description>
<character>THE STORK</character>
<dialogue>Don't do that. You need a driver. Let's go for a spin, see how good this boy is.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING HONDA CITY / DHANBAD STREETS - DAY</stage_direction>
<scene_description>Balram drives Ashok and the Stork in the back; Mukesh (the Mongoose) eyes him from the front seat.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Just my luck - the Mongoose.</dialogue>
<character>THE STORK</character>
<dialogue>He drives well. What's your caste?</dialogue>
<character>BALRAM</character>
<dialogue>Halwai, sir.</dialogue>
<character>THE STORK</character>
<dialogue>What caste is that, top or bottom?</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>In the old days, when India was the richest nation on earth, there were one thousand castes and destinies. These days, there are just two castes: Men with Big Bellies and Men with Small Bellies.</dialogue>
<scene_description>Mukesh SMACKS Balram.</scene_description>
<character>MUKESH</character>
<dialogue>Are you stupid or what?</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>And there are only two destinies: eat or get eaten up.</dialogue>
<character>BALRAM</character>
<dialogue>Bottom, sir.</dialogue>
<character>MUKESH</character>
<dialogue>All our employees are top caste.</dialogue>
<character>ASHOK</character>
<dialogue>Why does his caste matter?</dialogue>
<character>MUKESH</character>
<dialogue>(annoyed with Ashok)- Do you drink?</dialogue>
<character>BALRAM</character>
<dialogue>No sir, in my caste we never drink.</dialogue>
<character>MUKESH</character>
<dialogue>Then what do you do? Steal? - Halwai. Are you a sweet-maker?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>Is that why you're so sweet to us?</dialogue>
<character>ASHOK</character>
<dialogue>You can cook?</dialogue>
<character>BALRAM</character>
<dialogue>Certainly, sir. I cook very well. Very tasty sweets, Gulab jamuns, laddoos, anything you desire.</dialogue>
<character>ASHOK</character>
<dialogue>The driver can cook too? Only in India. Start tomorrow.</dialogue>
<character>MUKESH</character>
<dialogue>Not so fast. First we have to check on his family - and how much do you want?</dialogue>
<character>BALRAM</character>
<dialogue>Absolutely nothing, sir. You're like a father and mother to me. How can I ask for money from my parents?</dialogue>
<character>MUKESH</character>
<dialogue>1,500 a month.</dialogue>
<character>BALRAM</character>
<dialogue>No, sir, please - it's too much. Give me half of that, it's enough. More than enough.</dialogue>
<character>MUKESH</character>
<dialogue>If we keep you beyond two months, it'll go to 2,000.</dialogue>
<character>ASHOK</character>
<dialogue>And you only drive me.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Balram HONKS and SHOUTS at a rickshaw trying to overtake them. The Mongoose threatens to beat the rickshaw driver while Ashok is upset Balram is honking so much \[AD LIB\].</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - AFTERNOON</stage_direction>
<scene_description>The Housekeeper, Bahadur, SLAMS the gate on Balram.</scene_description>
<character>SAKET BAHADUR</character>
<dialogue>They haven't hired you yet, hick!</dialogue>
<scene_description>Through the bars, Balram sees Ashok walking away. He then looks at Mukesh making a call while eyeing him.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The Mongoose must have called his man in Laxmangarh, because two days later, when they did hire me, they knew everything about my family.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE - DAY \[IN BALRAM'S MIND\]</stage_direction>
<scene_description>Balram's FAMILY stands outside their home, like a portrait.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The pride and glory of our nation - "the Indian family."</dialogue>
<scene_description>Two THUGS watch from their car; one reports on the phone.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Every master has to know exactly where their servants' family live at all times, just in case a servant decides to steal from his employer and run. If so -</dialogue>
</scene>
<scene>
<stage_direction>EXT. DHANBAD HOME - DAY \[IN BALRAM'S MIND\]</stage_direction>
<scene_description>Balram, hands tied behind his back, stands against a wall. A Thug SHOOTS him. Balram falls down - DEAD.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Fair enough. I would do the same.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VILLAGE; VARIOUS - DAY \[IN BALRAM'S MIND\]</stage_direction>
<scene_description>The Two Thugs pull out knives and a gun and head towards the family and their home.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But it's what the masters do to their servants' families...</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>Our older Balram seems disturbed as he types at his laptop.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>This is how the Rooster Coop works.</dialogue>
<parenthetical>(stops typing)</parenthetical>
<dialogue>This is how it traps so many millions of men and women in India. So rest assured, the Stork and his sons could count on my loyalty.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DHANBAD - DAY \[PAST\]</stage_direction>
<scene_description>Ram Persad shows Balram a small room with one bed.</scene_description>
<character>RAM PERSAD</character>
<dialogue>Here is your room.</dialogue>
<character>BALRAM</character>
<dialogue>I have a room, sir?</dialogue>
<character>RAM PERSAD</character>
<dialogue>You'll share it with me. I can help you find a mattress.</dialogue>
<character>BALRAM</character>
<dialogue>Thank you, sir, but I'm happy sleeping on the floor - There's even a first class roof!</dialogue>
<scene_description>Persad hands Balram a uniform. Balram is in awe.</scene_description>
<character>RAM PERSAD</character>
<dialogue>You need to wear this at all times.</dialogue>
<character>BALRAM</character>
<dialogue>My own uniform?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - DAY</stage_direction>
<scene_description>Balram steps out into the sunny courtyard in his uniform. He adjusts his collar, he feels proud. Until - SMACK. Bahadur hits him on the back of the head and shoves a rug into his chest - and points to a pile more.</scene_description>
<character>SAKET BAHADUR</character>
<dialogue>I hope you like carpets.</dialogue>
<character>BALRAM</character>
<dialogue>Sir?</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>And when you're done cleaning those, wash all the windows. Got it?</dialogue>
<character>BALRAM</character>
<dialogue>But I'm the driver, sir.</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>No. You are the number two driver.</dialogue>
<scene_description>LATER - Under the hot sun, Balram beats the hanging carpet with a stick - a cloud of dirt in his face. He sees Persad playing badminton with Mukesh's two KIDS. LATER - Balram's POV: the Mitsubishi's leather seats, radio, AC, chrome rims.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Is there any hatred on earth like the hatred of the number two servant for the number one?</dialogue>
<scene_description>Balram cleans the old Honda City and enviously watches Persad wax the sleek Mitsubishi Pajero.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S HOME IN DHANBAD - DAY</stage_direction>
<scene_description>Balram cleans a chandelier in the massive villa and sees Persad quietly crossing below.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>While I cleaned, he strolled about like a master.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DHANBAD - MORNING</stage_direction>
<scene_description>Balram spies on Persad praying to 20 Hindu idols.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>He had every Hindu god lined up and was always praying, as if to accuse me of being a Naxal, a communist - like you, sir.</dialogue>
<scene_description>Balram gets down and prays louder and harder than Persad.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I would not let him out-pray me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - SUNSET</stage_direction>
<scene_description>Balram eats with Bahadur and other SERVANTS. He notices Persad leaving the servant's quarters.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, why is Ram Persad not eating?</dialogue>
<parenthetical>(off Bahadur's shrug)</parenthetical>
<dialogue>And his mouth stinks these days.</dialogue>
<character>SAKET BAHADUR</character>
<dialogue>You keep your mouth shut.</dialogue>
<scene_description>Balram's POV: Persad sneaks out of the gate. - Why?</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>This man was hiding something, and a successful entrepreneur always finds his competition's secrets.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD; TERRACE - DAY</stage_direction>
<scene_description>Balram cleans the terrace table and notices PINKY with her arms around Ashok, stretching his back (!). Ashok notices him and Balram quickly looks away, scared.</scene_description>
<character>ASHOK (O.S.)</character>
<dialogue>Hey driver! Can you come here, please.</dialogue>
<scene_description>Anxious, he sees Ashok waving him to come. So he-</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S HOME IN DHANBAD; BEDROOM - CONTINUOUS</stage_direction>
<scene_description>- enters the bedroom, worried he will be reprimanded.</scene_description>
<character>ASHOK</character>
<dialogue>I wanted to ask you some questions -</dialogue>
<character>PINKY MADAM</character>
<dialogue>Wait - can you turn around. Go on.</dialogue>
<scene_description>Confused, Balram turns around.</scene_description>
<character>PINKY MADAM</character>
<dialogue>No, that's not what I meant, come back!... Wow, your hips are out of alignment. - Ah, sorry, hi, I'm Pinky, we haven't met yet.</dialogue>
<scene_description>Balram's too afraid to shake her hand and namaste's instead. She touches his hips which freaks Balram out.</scene_description>
<character>PINKY MADAM</character>
<dialogue>You're probably stiff - sitting in a car all day. I can adjust you after Ashok.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I am ashamed to admit it now, sir, but in that moment I thought Pinky Madam was one of "those women."</dialogue>
<scene_description>Ashok eyes Balram from toe to head.</scene_description>
<character>ASHOK</character>
<dialogue>All right, honey, I need to talk to him. Ok, driver -- what's your name again?</dialogue>
<character>BALRAM</character>
<dialogue>Balram, sir. Balram Halwai!</dialogue>
<character>ASHOK</character>
<dialogue>Right, Balram. So, Balram, do you know what the "internet" is?</dialogue>
<character>BALRAM</character>
<dialogue>No, sir. But, I can drive to the market and get as many as you want.</dialogue>
<character>ASHOK</character>
<dialogue>No, it's ok. Thank you. Do you have Facebook?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir. I always loved books.</dialogue>
<character>ASHOK</character>
<dialogue>I heard you can read. Have you ever seen a computer?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir. We had many of them in the fields of the village, sir, with the goats.</dialogue>
<character>ASHOK</character>
<dialogue>Goats? They must be pretty advanced to use computers.</dialogue>
<character>PINKY MADAM</character>
<dialogue>All right, that's enough.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I could tell from their faces, I had made a mistake.</dialogue>
<character>ASHOK</character>
<dialogue>You see, he's got two, three years schooling in him. He can read and write, but he doesn't get what he's read. He's "half-baked."</dialogue>
<character>PINKY MADAM</character>
<dialogue>Don't be a jerk.</dialogue>
<character>ASHOK</character>
<dialogue>You're missing the point. Our driver represents the biggest untapped market in India, waiting to surf the web, buy a cell phone and rise up into middle-class, something I can help him do. - You represent the new India, isn't that right?</dialogue>
<character>BALRAM</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Yes, sir. I'm the new India, sir.</dialogue>
<character>ASHOK</character>
<dialogue>You can leave now.</dialogue>
<scene_description>Balram's smile fades.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - NIGHT</stage_direction>
<scene_description>Travel towards Balram, thinking.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I didn't like the way he had spoken about me, "half-baked," but he was right.</dialogue>
<scene_description>He watches Ashok and Pinky through their bedroom window.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>When you come to India, sir, you'll meet hundreds of millions of men like me. Open up our brown skulls and look inside with a pen light.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DHANBAD STREETS / CYBER CAFE- NIGHT</stage_direction>
<scene_description>Balram walks through Dhanbad. He finds a newspaper scrap and reads it as he walks.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>You'll find all these ideas, half formed, half correct, all buggering one another - and that is what we live and act on.</dialogue>
<scene_description>He finds a CYBER CAFE. He watches over someone's shoulder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD; COURTYARD - CONTINUOUS</stage_direction>
<scene_description>Balram massages the Stork's disgusting legs and feet.</scene_description>
<character>THE STORK</character>
<dialogue>Good boy. Higher, good.</dialogue>
<scene_description>The Stork drinks with Ashok and Mukesh; Balram eavesdrops.</scene_description>
<character>ASHOK</character>
<dialogue>India's future is in outsourcing with American companies.</dialogue>
<character>MUKESH</character>
<dialogue>Our future is China. They're building superhighways and need coal. We sell coal.</dialogue>
<character>ASHOK</character>
<dialogue>I know, but I think we should diversify. The IT sector is booming, and the internet -</dialogue>
<character>THE STORK</character>
<dialogue>- "The internet," what is that? Coal is real, I can touch it.</dialogue>
<character>BALRAM</character>
<dialogue>Sir, I learned from Mr. Ashok-sir that the internet is as real as a spider's web, that it connects all human beings -</dialogue>
<scene_description>Suddenly, Mukesh SMACKS Balram.</scene_description>
<character>THE STORK</character>
<dialogue>Do you know what that's for, son?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>For what?</dialogue>
<character>BALRAM</character>
<dialogue>For the internet, sir.</dialogue>
<scene_description>Mukesh SMACKS him again.</scene_description>
<character>MUKESH</character>
<dialogue>You're pressing too hard. Father is getting annoyed. Slow down.</dialogue>
<character>ASHOK</character>
<dialogue>Why do you hit the servants? In America they can sue you for that.</dialogue>
<character>THE STORK</character>
<dialogue>This isn't America. They respect us for it. - Remember that.</dialogue>
<scene_description>Balram locks eyes with Ashok, who feels shame.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S HOME IN DHANBAD; BATHROOM - LATER</stage_direction>
<scene_description>Balram pours the disgusting water into the toilet; flushes. He washes his hands and smells them - awful. He finds an air freshener, sprays his hands - smells good! Sprays under his arms, his crotch. He notices the price tag: Rs. 4,300 (twice his monthly salary)! Surprised, he puts it back.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S HOME IN DHANBAD; DINING ROOM - DAY</stage_direction>
<scene_description>Mukesh (eating) slaps money into Balram's hand.</scene_description>
<character>MUKESH</character>
<dialogue>Count it, I don't want hear shit later.</dialogue>
<scene_description>He counts and confirms.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I was only allowed to keep 200.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - DAY</stage_direction>
<scene_description>Balram hands Kishan money through the gate.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Granny sent Kishan each month to take the rest back to her.</dialogue>
<character>BALRAM</character>
<dialogue>And they're not from the same caste and she's a Christian.</dialogue>
<character>KISHAN</character>
<dialogue>And he married her?!</dialogue>
<character>BALRAM</character>
<dialogue>Yeah, that's normal in America. Her people were against it too, but he wouldn't listen.</dialogue>
<character>KISHAN</character>
<dialogue>But is she American?</dialogue>
<character>BALRAM</character>
<dialogue>No, no, she's Indian. She was born here, but moved there when she was twelve. She told me.</dialogue>
<character>KISHAN</character>
<dialogue>She talks to you?!</dialogue>
<character>BALRAM</character>
<dialogue>Of course. She tells me everything. I am their number one servant!</dialogue>
<scene_description>He looks at Balram with pride.</scene_description>
<character>KISHAN</character>
<dialogue>Are you serious?</dialogue>
<character>BALRAM</character>
<dialogue>Yeah.</dialogue>
<character>KISHAN</character>
<dialogue>Can I come in?</dialogue>
<character>BALRAM</character>
<dialogue>No.</dialogue>
<character>KISHAN</character>
<dialogue>Why not?</dialogue>
<character>BALRAM</character>
<dialogue>Why not?! Mukesh Sir would scold me.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. BALRAM'S ROOM; DHANBAD - NIGHT</stage_direction>
<scene_description>Balram sleeps. Tak tak tak. He wakes up: Persad isn't in bed. OUTSIDE: Balram sneaks around the corner: Persad chops vegetables under a bare bulb - Why?</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - SUNRISE</stage_direction>
<scene_description>Persad sneaks out the back of the home. Balram follows him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DHANBAD STREETS / MOSQUE - MORNING</stage_direction>
<scene_description>Balram follows Persad through a couple streets. Then, he sees Persad take off his shoes and enter - a mosque!</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>What a fool I had been. It was Ramadan. He can't eat and drink during the day. The number one driver was a Muslim. And the Stork, hated Muslims.</dialogue>
<scene_description>PERSAD'S HOME - LATER: Balram spies on Persad who gives MONEY to his FAMILY. He picks up his son and smiles. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - DAY</stage_direction>
<scene_description>Balram sees: Bahadur opens the gate and several government cars enter. A MAN IN WHITE exits with a Great Socialist flag, followed by BODYGUARDS and STAFF. THE GREAT SOCIALIST exits.</scene_description>
<character>MAN IN WHITE</character>
<dialogue>As long as there is a sun and a moon, madam's name will remain! Long live the Madam, long live socialism.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I almost fell down. There was the woman I had seen on a million election posters since I was a boy. The Great Socialist.</dialogue>
<scene_description>Stork and Mukesh bow as Ashok puts a garland of flowers around the Socialist's neck, who squeezes Ashok's cheeks.</scene_description>
<character>GREAT SOCIALIST</character>
<parenthetical>(to the Stork)</parenthetical>
<dialogue>I'm glad your son returned. We need more boys to come home and build India into a superpower.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S HOME IN DHANBAD - LATER</stage_direction>
<scene_description>Balram "dusts" and spies on them arguing \[AD LIB\].</scene_description>
<character>BALRAM (V.O.)</character>
<parenthetical>(re the Great Socialist)</parenthetical>
<dialogue>She was a low caste like me and everyone from the Darkness. Like a good entrepreneur, she had pulled herself up to become Chief Minister of our state. She knew how to stick it to the rich, and we liked her for that.</dialogue>
<character>THE GREAT SOCIALIST</character>
<dialogue>You take coal from government mines without paying taxes, because I let that happen.</dialogue>
<character>THE STORK</character>
<dialogue>And we have shown our appreciation, madam. But two million rupees is a lot. We'll be happy to come to -</dialogue>
<scene_description>The Great Socialist notices Balram and waves him over.</scene_description>
<character>THE GREAT SOCIALIST</character>
<dialogue>Son! Come here, son. Come on.</dialogue>
<scene_description>Shocked, Balram is wary; the family is confused.</scene_description>
<character>THE STORK</character>
<dialogue>Come here you fucker!</dialogue>
<scene_description>Balram comes forward.</scene_description>
<character>THE GREAT SOCIALIST</character>
<dialogue>Your rich employers are trying to bugger me, what do you say to that?</dialogue>
<character>MUKESH</character>
<dialogue>Driver, get lost.</dialogue>
<character>THE GREAT SOCIALIST</character>
<dialogue>Shut up, sister-fucker!</dialogue>
<scene_description>Balram and the family can't believe it. Mukesh turns red.</scene_description>
<character>THE GREAT SOCIALIST</character>
<dialogue>You don't want to pay taxes? Then pay me. I said two million and I mean it.</dialogue>
<scene_description>She spits red paan on their floor, shocking them all.</scene_description>
<character>THE GREAT SOCIALIST</character>
<dialogue>Otherwise, back to Laxmangarh where I first found you hicks!</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. ASHOK'S HOME IN DHANBAD; COURTYARD - NIGHT</stage_direction>
<scene_description>The Stork and his sons drink. Balram sweeps and eavesdrops.</scene_description>
<character>MUKESH</character>
<dialogue>Why pay that small time sister- fucker? Let's go straight to Delhi and pay off the opposing party. She's going to lose the next election.</dialogue>
<character>ASHOK</character>
<dialogue>I agree. Papa, I was thinking, I want to go to Delhi.</dialogue>
<character>THE STORK</character>
<dialogue>You'll stay here and learn the family business. Let your brother and I handle this.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Excuse me, papa, you should not have been disrespected today -</dialogue>
<character>ASHOK</character>
<dialogue>Honey, please -</dialogue>
<character>PINKY MADAM</character>
<dialogue>Shhh! - Delhi is an international city like New York, and it needs someone with Ashok's expertise in -</dialogue>
<character>MUKESH</character>
<dialogue>Hey, Ashok, tell her this is not a place for her to talk.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Excuse me? I'm standing right here. I am a doctor of chiropractic with a DPT from NYU -</dialogue>
<character>MUKESH</character>
<dialogue>Pieces of paper are good for hanging on bedroom walls - where she belongs.</dialogue>
<character>PINKY MADAM</character>
<dialogue>You know what? Ashok and I are going to Delhi, we're going to fix your tax FRAUD problem, and then we'll mail you a postcard.</dialogue>
<scene_description>Balram watches in awe as Pinky argues with Mukesh \[AD LIB\] and Ashok tries to appease.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Where did Pinky Madam's aggression come from? She didn't care about traditions.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. ASHOK'S HOME IN DHANBAD - NIGHT</stage_direction>
<scene_description>Balram spies on Mukesh handing money to a happy Persad.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And when the number one driver got a bonus to drive my master to Delhi...</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS</stage_direction>
<scene_description>Balram pensive at his laptop.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I did something... I wish I did not have to tell you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - DAY</stage_direction>
<scene_description>Balram whistles and washes the Mitsubishi. Persad approaches.</scene_description>
<character>RAM PERSAD</character>
<dialogue>What are you doing?</dialogue>
<character>BALRAM</character>
<dialogue>I've got to make the Mitsubishi look perfect for when I drive my master and mistress to Delhi.</dialogue>
<character>RAM PERSAD</character>
<dialogue>You're mistaken. I'm taking them to Delhi.</dialogue>
<character>BALRAM</character>
<dialogue>Really? To visit all the mosques there, sir?</dialogue>
<character>RAM PERSAD</character>
<dialogue>... - Get away from that.</dialogue>
<scene_description>He tries to take the sponge away - Balram refuses.</scene_description>
<character>BALRAM</character>
<dialogue>I don't think Mukesh-sir wants to give a 3,000 rupee raise to Mohammad Mohammad, or whatever your name is.</dialogue>
<scene_description>Persad's fears are confirmed.</scene_description>
<character>RAM PERSAD</character>
<dialogue>Please, sir, I've been their driver for over 20 years. Mr. Ashok is like my own son, I drove him to school when he was a boy...</dialogue>
<character>BALRAM</character>
<dialogue>That's a good point... But only Allah knows what corrupt ideas you put into my poor master's mind!</dialogue>
<character>RAM PERSAD</character>
<dialogue>Please, sir, I have a family.</dialogue>
<character>BALRAM</character>
<dialogue>... Don't we all.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S HOME IN DHANBAD - DUSK</stage_direction>
<scene_description>Balram looks through the gate at Persad leaving with a bag.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>What a miserable life, having to hide his religion and name just to get a job as a servant. I wanted to run to him and apologize, 'You go be their driver in Delhi. Forgive me brother.'</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DHANBAD - MOMENTS LATER</stage_direction>
<scene_description>Balram enters. Persad's belongings are gone, except his Hindu idols. Balram collects them into a satchel and --</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>You never know when they'll come in handy!</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. HIGHWAY TO DELHI / MOVING MITSUBISHI - DAY</stage_direction>
<scene_description>The glorious Mitsubishi speeds past buses. Stickers of Hindu gods are now freshly stuck on the dashboard. Balram - with a big smile - drives Ashok (front seat), Pinky... and Mukesh. Balram's POV: sweaty PASSENGERS hang on the doors and roof of puttering bus next to him. Balram SHOUTS at them:</scene_description>
<character>BALRAM</character>
<dialogue>I'm going to Delhi in a car - in an air-conditioned car!</dialogue>
<scene_description>Passengers stare at Balram, who did not really shout this. He looks at Ashok and smiles; Ashok smiles back.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / VARIOUS DELHI - DAY</stage_direction>
<scene_description>Wide-eyed, Balram gawks at DELHI. It's massive! Large tree- lined boulevards, majestic government buildings. Cows, autorickshaws and beggar kids crowd the roads - chaos. Balram slams on the brakes, HONKS and swerves around HOMELESS FAMILY with KIDS who jut through heavy traffic.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / GURGAON - DUSK</stage_direction>
<scene_description>Balram looks up at the giant, luxury apartments.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>Balram unloads the suitcases and looks up at the towering apartment buildings - their new home. His masters enter.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; ELEVATOR - NIGHT</stage_direction>
<scene_description>Balram's first elevator ride with a cart full of luggage. He watches the numbers.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>Balram enters with the luggage and is startled by the wealth and expansive views. Ashok is happy that Pinky likes it.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Wow.</dialogue>
<character>ASHOK</character>
<dialogue>Not bad, right? Check out the view. Balram put the bags down anywhere.</dialogue>
<scene_description>Balram can't believe the view, how high they are. He has never been in a skyrise.</scene_description>
<character>BALRAM</character>
<dialogue>Wow, look, the sky!</dialogue>
<character>MUKESH</character>
<dialogue>You want to see a shooting star?</dialogue>
<parenthetical>(smacks Balram)</parenthetical>
<dialogue>Put the bags down exactly in the rooms I tell you and then get this place cleaned up.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Mukesh eyes Balram as he sets the bags down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>Balram drives the car down to the garage.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>After making dinner for Mr Ashok, I took the car down to the garage. That's where all the servants lived, including the drivers.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; SERVANT'S QUARTERS - NIGHT</stage_direction>
<scene_description>Balram follows VITILIGO-LIPS - a driver with pink lips in a dark-skinned face - who shows him the servant's quarters. Two DRIVERS follow and sometimes heckle Balram \[AD LIB\].</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>The main thing to know about Delhi is the roads are good, the people are bad, and the police, totally rotten. (points) The masters' clothes get washed here and sent back up. Toilets are here. This is the phone when your master calls you, there's even a temple in case you want to pray.</dialogue>
<scene_description>He shows Balram where the drivers hang out.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Here is our den of sin. When we have money, we play cards here.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>This driver had a disease called vitiligo that made him look like a clown. It made my stomach churn.</dialogue>
<scene_description>As Vitiligo leads Balram to his room, he slaps a mosquito dead.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Watch out. The mosquitoes'll eat you alive. If they're malaria mosquitoes you'll just be raving for weeks; but if it's dengue mosquitoes, I swear on my mother you'll shiver all over and die for sure.</dialogue>
<character>BALRAM</character>
<dialogue>Die from a mosquito?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Definitely. - Here's your room.</dialogue>
<scene_description>Balram sees a small room with a bed.</scene_description>
<character>BALRAM</character>
<dialogue>Who do I share this with?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>You plan on bringing your family?</dialogue>
<character>BALRAM</character>
<dialogue>No.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Then what? You want to fuck some whores here?</dialogue>
<character>BALRAM</character>
<dialogue>No.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Huh? How's your little guy?</dialogue>
<scene_description>He strokes at Balram's cock.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>- So tell me, Country-Mouse, how much are they paying you?</dialogue>
<character>BALRAM</character>
<dialogue>Enough. I'm happy.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>You're a sweet, loyal dog.</dialogue>
<scene_description>Then he moves closer to Balram, who backs up.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I tilted my body as far as I could from his face.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Does your master need anything? Foreign wine? I have a friend at an embassy. He'll hook it all up. Golf balls? Women?</dialogue>
<character>BALRAM</character>
<dialogue>My master doesn't do those things. He's a good man.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>A "good" man? He's a "rich" man.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - LATER</stage_direction>
<scene_description>Balram writes his name on the wall in chalk, proud to have his very own room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>Balram counts the balconies of the apt towers, amazed such a thing exists.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>Balram opens the door for Ashok and Mukesh, who carries a RED LEATHER BAG.</scene_description>
<character>MUKESH</character>
<dialogue>National Party headquarters.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Ashok stops Balram from closing the door for him.</scene_description>
<character>ASHOK</character>
<dialogue>No worries.</dialogue>
<character>BALRAM</character>
<dialogue>Please, sir.</dialogue>
<character>ASHOK</character>
<dialogue>No, seriously dude, I got it.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / DELHI STREETS - DAY</stage_direction>
<scene_description>Balram drives the brothers through traffic.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>For the next few days I drove Mr. Ashok, the Mongoose and a red bag to see various government officials.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NATIONAL PARTY HEADQUARTERS - DAY</stage_direction>
<scene_description>Balram arrives. The brothers get out with the RED BAG and shake hands with party members. Balram looks around.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>"Democracy," something that you yellow-skinned men, despite your triumphs in sewage, drinking water, and Olympic gold medals, still don't have. If I were in charge of India, I'd get the sewage pipes first, then the democracy.</dialogue>
<scene_description>LATER - Mukesh and Ashok return. Balram opens the doors.</scene_description>
<character>MUKESH</character>
<dialogue>To the President's House. Get moving.</dialogue>
<scene_description>Ashok tries to stop Balram again from opening the door.</scene_description>
<character>ASHOK</character>
<dialogue>Please dude, I got it. Ah...</dialogue>
</scene>
<scene>
<stage_direction>INT. MITSUBISHI / BANK - DAY</stage_direction>
<scene_description>Balram's POV: the brothers put cash into a leather bag.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / DELHI STREETS - DAY</stage_direction>
<scene_description>Balram misses the turn - Mukesh SMACKS him.</scene_description>
<character>MUKESH</character>
<dialogue>That was our exit, idiot! Turn around.</dialogue>
<character>ASHOK</character>
<dialogue>What's wrong with you? Don't do that. Relax.</dialogue>
<character>MUKESH</character>
<dialogue>We need to dump him and get a local who knows Delhi.</dialogue>
<character>ASHOK</character>
<dialogue>We just got here. Remember when you came to New York - you couldn't even find 42nd street.</dialogue>
<scene_description>He touches Balram's shoulder; Balram tingles.</scene_description>
<character>ASHOK</character>
<dialogue>You'll figure it out, don't worry.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>It was the first time he touched me.</dialogue>
<character>BALRAM</character>
<dialogue>Sorry, sir.</dialogue>
<scene_description>He locks eyes with Ashok in the rear-view mirror. Connection.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / PRESIDENT'S HOUSE - DAY</stage_direction>
<scene_description>Balram is dwarfed by the President's House and other massive government buildings. He takes it in. Impressive. LATER - Balram sees Ashok and Mukesh exit with THE MINISTER'S SIDEKICK; they talk and shake hands. Ashok sulks.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Why was Mr. Ashok upset? If I had gone into the President's House I would be shouting: "Balram was here, Balram was here!"</dialogue>
<scene_description>He opens the door for sullen Ashok, who allows it this time.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - AFTERNOON</stage_direction>
<scene_description>Balram drives the brothers and notices Ashok remains sullen.</scene_description>
<character>MUKESH</character>
<dialogue>You'll keep visiting them while I'm gone. And don't let them push you for more money.</dialogue>
<character>ASHOK</character>
<dialogue>Look</dialogue>
<scene_description>Balram looks out the window and sees Gandhi and the Dandi March statue.</scene_description>
<character>ASHOK</character>
<dialogue>We're driving past Mahatma Gandhi, after just having given a bribe to a minister. The world's biggest democracy. It's a fucking joke.</dialogue>
<character>MUKESH</character>
<dialogue>You sound like your wife.</dialogue>
<character>ASHOK</character>
<dialogue>Don't talk about her.</dialogue>
<character>MUKESH</character>
<dialogue>I hope your "madam" knows you're staying on in India?... Ashok?</dialogue>
<scene_description>Balram keeps an eye on Ashok.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION PLATFORM - MORNING</stage_direction>
<scene_description>Balram buys dosa from a stall. He removes the potatoes as he carries them to Mukesh who waits with Ashok at the train.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>A good servant must know his masters from end to end - from lips to anus.</dialogue>
<character>BALRAM</character>
<dialogue>Here you are, sir. I removed all the potatoes.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>And potatoes made the Mongoose fart.</dialogue>
<character>MUKESH</character>
<dialogue>Ah, you have a good memory.</dialogue>
<scene_description>Balram smiles.</scene_description>
<character>MUKESH</character>
<dialogue>Give my brother a reading of the meter each day so we know you don't drive without permission and try and fuck the maid.</dialogue>
<parenthetical>(off Balram's laugh - he hits him)</parenthetical>
<dialogue>What the hell are you laughing at? The police have put cameras in the eyes of all the statues in Delhi, so they're watching you, got it?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>And the air conditioner and music should be turned off when you're on your own.</dialogue>
<character>ASHOK</character>
<dialogue>All right, who cares about the air conditioner.</dialogue>
<character>MUKESH</character>
<dialogue>If you give them air conditioning they will sit on your head, and then fuck you in the ear, trust me.</dialogue>
<character>ASHOK</character>
<dialogue>You're gonna miss the train. Come on.</dialogue>
<scene_description>Balram watches Ashok pull his brother to the train door.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Once the Mongoose left, Mr. Ashok would be my only master. In Laxmangarh we would have called him "the Lamb."</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / DELHI - DAY</stage_direction>
<scene_description>MUSIC plays. Balram drives Ashok who smokes a joint in the back seat and texts on his phone. The SONG changes and -</scene_description>
<character>ASHOK</character>
<dialogue>Dude, I love this song, turn it up.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Mukesh isn't here, turn it up!</dialogue>
<scene_description>TIME SLOWS DOWN FOR BALRAM as Ashok leans over him to turn up the music.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>My master's fruit-flavored perfume rushed into my nostrils.</dialogue>
<character>ASHOK</character>
<dialogue>You like this?</dialogue>
<character>BALRAM</character>
<dialogue>Oh yes, sir.</dialogue>
<scene_description>He sees Ashok bob his head to the music and does the same.</scene_description>
<character>ASHOK</character>
<parenthetical>(re the joint)</parenthetical>
<dialogue>Don't tell anyone, not even Pinky.</dialogue>
<character>BALRAM</character>
<dialogue>Of course, sir. Everything between master and servant is a secret.</dialogue>
<character>ASHOK</character>
<dialogue>I'm not your master, don't say things like that.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>And stop calling me, sir. My name is Ashok. Call me Ashok.</dialogue>
<character>BALRAM</character>
<dialogue>Ashok.</dialogue>
<character>ASHOK</character>
<dialogue>Yes, Ashok. I know it's not the best name in the world, but you gotta live with it.</dialogue>
<character>BALRAM</character>
<dialogue>No sir, it is a really good name.</dialogue>
<character>ASHOK</character>
<dialogue>Really? You like it?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>You can keep it then.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT; TENNIS COURTS - DAY</stage_direction>
<scene_description>Ashok practices his serve while Balram dodges balls and gathers them into a bucket.</scene_description>
<character>BALRAM</character>
<dialogue>You should represent India in the Olympics!</dialogue>
<scene_description>He chases another ball.</scene_description>
<character>BALRAM</character>
<dialogue>Sometimes I wish I had arms like you, sir.</dialogue>
<scene_description>Ashok slams another serve.</scene_description>
<character>ASHOK</character>
<dialogue>Would you be quiet please?</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; GAME ROOM - AFTERNOON</stage_direction>
<scene_description>They sit before a big TV playing video games. Ashok tries to teach him \[AD-LIB\]. Balram is transfixed by Ashok.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I had never seen a man so happy in the Darkness.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; KITCHEN / LIVING ROOM - NIGHT</stage_direction>
<scene_description>Balram finishes cleaning dishes. He hears some noises. He tiptoes to Ashok's closed bedroom door and eavesdrops: Pinky Madam and Ashok are fucking. Balram laughs to himself.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The "lamb" still had the blood of a landlord in him after all.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / MALL ENTRANCE - AFTERNOON</stage_direction>
<scene_description>An impressive, luxury mall. Balram pulls up to the GUARDED entrance. He watches Ashok and Pinky enter.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. MALL PARKING LOT / MITSUBISHI- AFTERNOON</stage_direction>
<scene_description>Balram stands with Vitiligo and other DRIVERS who smoke, chew paan, and pass around a pulp magazine (MURDER WEEKLY).</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>This magazine is great for when you're lonely or upset with your master. It has revenge, sex, murder, rape all the good stuff. You can really enjoy yourself.</dialogue>
<scene_description>Balram gawks at a SEXY RICH WOMAN coming out of the mall.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Country mouse, you like it? Big tits, huge asses. Hold them like mangos and nibble with your teeth. And suck 'em right up!</dialogue>
<character>BALRAM</character>
<parenthetical>(giggles nervously)</parenthetical>
<dialogue>What's he talking about?</dialogue>
<scene_description>He runs his hand over Balram's cock.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>But don't let your little mouse get sucked up in their dark caves! Want me to put in a good word?</dialogue>
<character>BALRAM</character>
<dialogue>I noticed how the ladies here don't have hair in their armpits or legs.</dialogue>
<scene_description>Vitiligo and the other drivers start laughing in disbelief.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>What? Does your mom have hair here or here?</dialogue>
<scene_description>He grabs Balram's chest and cock while the drivers all laugh at him. Upset, Balram shoves his hand away.</scene_description>
<character>DRIVERS</character>
<dialogue>Are all the women in your village hairy beasts?</dialogue>
<character>BALRAM</character>
<dialogue>Why talk about mothers and sisters?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Did your family all hang from the trees and fuck like monkeys?</dialogue>
<scene_description>They crack up, poking fun at Balram.</scene_description>
<character>BALRAM</character>
<dialogue>Do I talk about your mothers and sisters?</dialogue>
<scene_description>He walks away from them as they laugh.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>There and then I resolved never again to tell anyone in Delhi anything I was thinking.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; SERVANT'S QUARTERS - NIGHT</stage_direction>
<scene_description>Balram exits his room with his bag and sees Vitiligo and the servants (drunk, playing cards) still LAUGHING at him.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Where you going, to die? It's just a joke, come on!</dialogue>
<scene_description>Balram walks away. He sees an OLD JANITOR sweeping.</scene_description>
<character>BALRAM</character>
<dialogue>Is there a room I can sleep in? Where I can be alone?</dialogue>
<character>OLD JANITOR</character>
<dialogue>Over there, but who wants to live alone?</dialogue>
<scene_description>Balram walks that way.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. BALRAM'S ROOM; DELHI - CONTINUOUS</stage_direction>
<scene_description>He finds an abandoned storage room, disgusting with a cot and mosquito net. He sets his bag down. This is his new home.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / COUNTRYSIDE - DAY</stage_direction>
<scene_description>MOVING: vast, beautiful country. Balram drives. In the back, Pinky Madam shoots video with her Motorola Razr flip-phone.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Pinky Madam wanted to go to Laxmangarh, and so here I was, driving home, in the Stork's car!</dialogue>
<scene_description>Pinky leans over Balram to take photos and her breasts rub over him.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Look how beautiful!</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I hated her for this. If I crashed, it would be her fault.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Balram, are you happy to see your granny?</dialogue>
<character>BALRAM</character>
<dialogue>Very happy, madam.</dialogue>
<character>ASHOK</character>
<dialogue>Balram, what did you just do? -- You touched your finger to your eye. Did we pass something holy?</dialogue>
<character>BALRAM</character>
<parenthetical>(lies)</parenthetical>
<dialogue>Yes, sir. We just passed a sacred tree. I was offering my respects.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Really? Where?</dialogue>
<character>BALRAM</character>
<dialogue>There, Madam. Yes, this is a very holy area.</dialogue>
<character>ASHOK</character>
<dialogue>See how they worship nature. Who would do this in New York?</dialogue>
<character>PINKY MADAM</character>
<dialogue>People in Brooklyn with a backyard?</dialogue>
<character>ASHOK</character>
<dialogue>He did it again. What was that for?</dialogue>
<character>BALRAM</character>
<dialogue>That's a holy path, sir, where the Lord Buddha walked until he found the tree of enlightenment. Pardon me, but you and Madam should really do the same. It's very important. If you don't, you will become infertile.</dialogue>
<character>ASHOK</character>
<dialogue>What? No!</dialogue>
<character>PINKY MADAM</character>
<dialogue>You better do this right now.</dialogue>
<scene_description>Ashok and Pinky each touch their eye; Balram instructs them how to do it properly \[AD LIB\]. They laugh, have fun.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I gave them reactions of piety for every tree, rock and temple we passed. I was like a Sadhu to them.</dialogue>
<scene_description>He slyly smirks at them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S FAMILY'S HOME - LATER</stage_direction>
<scene_description>The FAMILY greets Ashok and Pinky with garlands; SERVANTS touch his feet. Ashok touches his UNCLE's feet.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I dropped them off at Mr. Ashok's Uncle's villa. We called him, "the Buffalo."</dialogue>
<scene_description>Balram's mood changes.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Then I knew, I had to face my family.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME - LATER</stage_direction>
<scene_description>KIDS chase the car as Balram drives up. The family and NEIGHBORS have gathered. He parks and proudly exits as the kids touch the car and admire his uniform. Kishan and Granny stand at a distance and coldly stare at him. Anxious, Balram touches Kishan's feet.</scene_description>
<character>BALRAM</character>
<dialogue>How's it going brother?</dialogue>
<character>KISHAN</character>
<dialogue>Now he remembers his family. You haven't sent money home since you went to Delhi.</dialogue>
<character>BALRAM</character>
<dialogue>Forgive me, brother. I'm here now.</dialogue>
<character>GRANNY</character>
<dialogue>My grandson is a big shot but he still forces his granny to do all his work for him. This is the fate of an old woman in this world.</dialogue>
<scene_description>Balram touches his Granny's feet and gives them sweets.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME - LATER</stage_direction>
<scene_description>Family gathered for lunch. Balram sees Kishan counting the money; his BABY crawls between him and his wife.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I wanted to bring him to Delhi and save him from all this.</dialogue>
<character>GRANNY</character>
<dialogue>Eat the chicken. I made it myself. You haven't had any like it in ages.</dialogue>
<scene_description>She serves Balram lunch, some wretched chicken curry.</scene_description>
<character>BALRAM</character>
<dialogue>Mr. Ashok Sir, is a vegetarian.</dialogue>
<character>GRANNY</character>
<dialogue>America made him completely lose his mind.</dialogue>
<character>BALRAM</character>
<dialogue>I'm thinking of doing the same.</dialogue>
<character>GRANNY</character>
<dialogue>Huh? You think you're a Brahmin? Eat. You've gotten thin. You need to be plump for your wedding.</dialogue>
<character>BALRAM</character>
<dialogue>Whose marriage?</dialogue>
<character>GRANNY</character>
<dialogue>Yours! We've found a girl for you. You'll be married by the end of the year.</dialogue>
<character>BALRAM</character>
<dialogue>I need more time. I'm not ready to be married.</dialogue>
<character>GRANNY</character>
<dialogue>What does that mean? Now eat your chicken. I made it just for you.</dialogue>
<scene_description>She pushes his lunch closer.</scene_description>
<character>BALRAM</character>
<dialogue>I don't want to marry.</dialogue>
<scene_description>He pushes the food back. The family goes silent. A face off.</scene_description>
<character>GRANNY</character>
<dialogue>Stop thinking of yourself and think of the family.</dialogue>
<parenthetical>(pushes food back to him)</parenthetical>
<dialogue>Eat.</dialogue>
<character>BALRAM</character>
<dialogue>No.</dialogue>
<character>GRANNY</character>
<dialogue>You're not your master, Mr. Ashok. Now eat.</dialogue>
<scene_description>Balram boils. He pushes the plate, sending the food flying.</scene_description>
<character>BALRAM</character>
<dialogue>Did you not understand? Are you going to force me? I don't want to get married!</dialogue>
<scene_description>He gets up and leaves.</scene_description>
<character>BALRAM</character>
<dialogue>You're driving me insane.</dialogue>
<scene_description>Kishan chases him and grabs his arm.</scene_description>
<character>KISHAN</character>
<dialogue>What're you doing? You can't leave.</dialogue>
<scene_description>Balram shakes his arm free and walks to the car.</scene_description>
<character>KISHAN</character>
<dialogue>You have to send money home.</dialogue>
<character>BALRAM</character>
<dialogue>I won't.</dialogue>
<character>KISHAN</character>
<dialogue>It's the family's money.</dialogue>
<character>BALRAM</character>
<dialogue>She's sucked the blood out of you and left you a shell. And she'll leave you to die, like Dad.</dialogue>
<scene_description>He gets in the car and slams the door closed.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI / COUNTRY SIDE - DAY</stage_direction>
<scene_description>Balram drives Ashok and Pinky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICE FIELD BY THE SIDE OF THE ROAD - DAY</stage_direction>
<scene_description>Pan across expansive rice fields. Ashok and Balram pee. (Ashok, texting on his phone). Pinky asleep in the car.</scene_description>
<character>ASHOK</character>
<dialogue>"Why don't I eat meat? Why does Pinky wears pants? Why don't we have kids." They wouldn't stop.</dialogue>
<character>BALRAM</character>
<dialogue>I think we shouldn't go back there, sir.</dialogue>
<scene_description>Ashok's surprised Balram has spoken, but he agrees.</scene_description>
<character>ASHOK</character>
<dialogue>...Maybe. - Did you know one in every three buildings in India is being built in Bangalore. You know why? "Outsourcing" with America.</dialogue>
<character>BALRAM</character>
<dialogue>"Diversifying," sir?</dialogue>
<character>ASHOK</character>
<dialogue>Yeah, right. Good Balram... I'm thinking to offer financial services to Wall Street firms I know.</dialogue>
<character>BALRAM</character>
<dialogue>Why don't I drive you to Bangalore right now.</dialogue>
<character>ASHOK</character>
<dialogue>Now?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Well, it's on the other side of the country.</dialogue>
<character>BALRAM</character>
<dialogue>I'll drive all night, I don't need sleep, sir.</dialogue>
<character>ASHOK</character>
<dialogue>... I gotta make a business plan first, do it the right way.</dialogue>
<character>BALRAM</character>
<dialogue>You'll do it, sir.</dialogue>
<scene_description>Balram watches Ashok walk back to the car, texting.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>If only Mr. Ashok was a real entrepreneur, if only we had left for Bangalore that very day...</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>Older Balram types at his laptop under maps of Bangalore.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>... then things would have turned out differently for us</dialogue>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI / DELHI SCHOOL - AFTERNOON</stage_direction>
<scene_description>Balram sees Ashok texting on his phone in the back seat.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Rich men are born with opportunities they can waste. But a poor man...?</dialogue>
<scene_description>SLOW MO: Balram sees SCHOOL KIDS in uniforms with BOOKS enter an IMPRESSIVE SCHOOL.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT / LIVING ROOM - DAY</stage_direction>
<scene_description>Pinky talks with her FRIEND.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Are we going back to New York or staying here?</dialogue>
<character>PINKY'S FRIEND</character>
<dialogue>You need to talk to him, put your foot down.</dialogue>
<character>PINKY MADAM</character>
<dialogue>He won't talk, he's just vague--</dialogue>
<scene_description>Balram brings in a tray of tea --</scene_description>
<character>PINKY MADAM</character>
<dialogue>Balram! What are you doing?</dialogue>
<character>BALRAM</character>
<dialogue>Bringing your ginger teas, madam.</dialogue>
<character>PINKY MADAM</character>
<dialogue>No. With your hand.</dialogue>
<scene_description>Balram looks down and sees he is scratching his groin.</scene_description>
<character>PINKY'S FRIEND</character>
<dialogue>That's disgusting.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Your uniform is filthy. And your mouth, the paan, - Get rid of this tea and get away. Go.</dialogue>
<scene_description>He takes the tea and leaves.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Ugh, sorry about that.</dialogue>
<character>PINKY'S FRIEND</character>
<dialogue>These lower caste, they are all the same.</dialogue>
<scene_description>LATER - Pinky shows her cousin out. She thinks for a beat.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Balram, come here.</dialogue>
<scene_description>Balram enters.</scene_description>
<character>PINKY MADAM</character>
<dialogue>I want to talk. Sit down.</dialogue>
<character>BALRAM</character>
<dialogue>I'm really sorry, Madam, I'll stop eating paan.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Just sit down. Sit.</dialogue>
<scene_description>Nervous, Balram sits. She sits next to him.</scene_description>
<character>PINKY MADAM</character>
<dialogue>It's wrong that you work for us like this. You should be finishing your education and starting a family.</dialogue>
<character>BALRAM</character>
<dialogue>You and Mr. Ashok are my family now, madam.</dialogue>
<character>PINKY MADAM</character>
<dialogue>That's not true. Don't say that.</dialogue>
<character>BALRAM</character>
<dialogue>But I like serving you. Nothing makes me happier -</dialogue>
<character>PINKY MADAM</character>
<dialogue>You can't possibly believe that... Do you know what my mom and dad do in America? They run a shitty bodega in Jackson Heights selling beer, paan, and porn. I did my homework in the basement.</dialogue>
<character>PINKY MADAM</character>
<dialogue>One night I saw my mom held up at gunpoint and she still worked that entire night. She taught me to never give up, and I made it out. So, what about you? Huh? What do you want to do?</dialogue>
<character>BALRAM</character>
<dialogue>... I want to serve you and Mr. Ashok Sir-</dialogue>
<character>PINKY MADAM</character>
<dialogue>No! Stop saying that! No. This is exactly why the caste system is total shit. The kind of shit Mukesh believes in. He tried to stop Ashok from marrying me! Yeah. Fuck him... fuck this.. -</dialogue>
<scene_description>KITCHEN - LATER Balram picks up a silver tray and looks at his warped reflection. He flashes his teeth: stained from paan. His uniform: filthy. She was right, he's a dirty hick.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET MARKET - NIGHT</stage_direction>
<scene_description>Balram buys toothpaste (SHAKTI WHITENER TO CLEAN YOUR TEETH) black shoes, and a shirt (like Ashok wears) from MEN hawking their goods in a busy market</scene_description>
</scene>
<scene>
<stage_direction>INT. DELHI APARTMENT; SERVANT'S QUARTERS; BATHROOM - NIGHT</stage_direction>
<scene_description>He looks at his teeth - stained with paan. Brush, rinse, spit, look, repeat.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Why had my father never told me not to scratch my groin? Why had he never taught me to brush my teeth?</dialogue>
<scene_description>He looks at his foamy teeth - still stained.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Why had he raised me to live like such an animal?</dialogue>
<scene_description>Balram rinses and SPITS. He stares at his teeth in the mirror, still stained with paan. He brushes even harder.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>If only a man could spit his past out so easily.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - CONTINUOUS</stage_direction>
<scene_description>Balram sleeps under the mosquito net. A CLICKING sound wakes him. He sees cockroaches crawling all over the net. He calmly crushes one between his fingers... DEAD.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>If you ask me to explain how one event connects to another, or how one motive strengthens or weakens the next - I will tell you I don't understand these things.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>A match lights up the dark and burns the poster with Balram's face on it... all the way to the words: WANTED FOR MURDER.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I should warn you, my story gets much darker from here.</dialogue>
<scene_description>FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - NIGHT \[PAST\]</stage_direction>
<scene_description>Ashok opens the door: Balram dressed as a maharaja (like the opening scene) with balloons and a tray of pizza boxes. He bows to Pinky.</scene_description>
<character>BALRAM</character>
<dialogue>Happy birthday, madam. Allow me to serve you, your highness.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Oh god, this is beautiful, thank you Ashoky. Welcome Maharaja!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONNAUGHT PLACE PARKING LOT - NIGHT</stage_direction>
<scene_description>Still dressed as a maharaja, Balram bobs his head to the faint music and flashing lights of a disco club. He sees Vitiligo and the other drivers smoking and chewing paan.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Country-Mouse! Don't stand there alone. It leads to bad thoughts.</dialogue>
<scene_description>He declines to go to them.</scene_description>
<character>DRIVER #1</character>
<dialogue>What a snob, look at him, dressed like the maharaja of England!</dialogue>
<character>DRIVER #2</character>
<dialogue>How's the new room maharaja? Are you the king of the roaches?</dialogue>
<scene_description>The drivers LAUGH. Angry, Balram turns away from them. LATER - INSIDE THE CAR A drunk Ashok and Pinky come out of the club and see Balram asleep in the car. They come to his window and Pinky BANG BANG BANGS her hands on the window startling Balram awake.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Oh my god, I think he just shat his pants.</dialogue>
<scene_description>They burst into laughter at him as he scrambles to open the doors for them.</scene_description>
<character>BALRAM</character>
<dialogue>I must have dozed off.</dialogue>
<character>ASHOK</character>
<dialogue>Come on, don't cry.</dialogue>
<scene_description>They continue to rib him \[AD LIB\].</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - NIGHT</stage_direction>
<scene_description>Balram drives and watches the rear-view mirror: Ashok and Pinky make out. He rubs his crotch with his hand. Ashok catches Balram watching them. A sexually charged beat for Balram before he looks away.</scene_description>
<character>ASHOK</character>
<dialogue>Stop, stop... We're not alone.</dialogue>
<character>PINKY MADAM</character>
<dialogue>It's just Balram.</dialogue>
<scene_description>She pulls him back in, but he resists.</scene_description>
<character>PINKY MADAM</character>
<dialogue>You're so boring.</dialogue>
<character>ASHOK</character>
<dialogue>You're drunk.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Not drunk enough. I want to go back to New York.</dialogue>
<character>ASHOK</character>
<dialogue>Not this again.</dialogue>
<character>PINKY MADAM</character>
<dialogue>"Again?" What "again?" You won't even talk about it. I agreed to six months in India, and then we would decide.</dialogue>
<character>ASHOK</character>
<dialogue>I'm trying to help my family -</dialogue>
<character>PINKY MADAM</character>
<dialogue>Let's not talk about them now. God, you're a nonentity around them. Like skim milk.... Nobody likes skim milk.</dialogue>
<scene_description>Balram sees Ashok is defeated.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / INTERSECTION - CONTINUOUS</stage_direction>
<scene_description>Balram stops at a red light. A TAP at the window: a BEGGAR CHILD tries to sell a Buddha statue (from the opening scene). Pinky unrolls her window.</scene_description>
<character>BEGGAR CHILD</character>
<dialogue>Only 100 rupees, please madam, I'm hungry, please.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Oh, hi precious. Can I see that?</dialogue>
<scene_description>The Beggar Child gives her the statue, then shows more.</scene_description>
<character>BEGGAR CHILD</character>
<dialogue>If you buy three it's only 200, please.</dialogue>
<character>PINKY MADAM</character>
<dialogue>What's your name?</dialogue>
<character>BEGGAR CHILD</character>
<dialogue>Khushnuma, please 200 madam, I'm hungry.</dialogue>
<scene_description>The Child holds her hand out for money. Pinky's heart melts.</scene_description>
<character>BALRAM</character>
<dialogue>Don't touch the car.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Don't say that. That's awful.</dialogue>
<character>BALRAM</character>
<dialogue>Sorry, madam.</dialogue>
<scene_description>She pays 200 to the beggar child and smiles. The kid runs off. The light turns green and Pinky squeezes Balram's shoulder.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Stop the car, Balram. Get out. You can't speak to a kid like that.</dialogue>
<scene_description>He looks at Ashok.</scene_description>
<character>ASHOK</character>
<dialogue>She's the boss.</dialogue>
<scene_description>Pinky gets out and opens Balram's door. Balram gets out, she gets in; Ashok gets into the front passenger seat. Pinky hands Balram the Buddha statue.</scene_description>
<character>PINKY MADAM</character>
<dialogue>We're leaving you with your Buddha for the night.</dialogue>
<character>BALRAM</character>
<dialogue>Madam, I think it would be best if -</dialogue>
<scene_description>She squeezes his cheek and flirts:</scene_description>
<character>PINKY MADAM</character>
<dialogue>The maharaja and the Buddha. So cute. I love you, Balram.</dialogue>
<scene_description>She floors it. They laugh and wave as Pinky speeds away.</scene_description>
<character>ASHOK</character>
<dialogue>Goodbye, Balraaaaam!</dialogue>
<scene_description>Balram looks around. Nothing in the dark night. He sits on the curb. He sees HOMELESS huddled near garbage. A stray dog wanders around. The wind blows through Balram. He looks up at the moon, he sees leaves blowing in the trees. Balram's POV: the statue of Buddha in his hand.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>What is a servant without a master?</dialogue>
<scene_description>LATER - He sees the Mitsubishi's headlights coming at him. He gets up. Pinky Madam SCREECHES to halt a foot from him. Pinky and Ashok get out, laughing.</scene_description>
<character>ASHOK</character>
<dialogue>That was awesome!</dialogue>
<character>PINKY MADAM</character>
<dialogue>Thought we had really left you behind?</dialogue>
<character>BALRAM</character>
<dialogue>No, madam.</dialogue>
<character>PINKY MADAM</character>
<dialogue>You're not angry, are you?</dialogue>
<character>BALRAM</character>
<dialogue>Not at all. Master and mistress are like mother and father to me. How can one be angry with them?</dialogue>
<character>ASHOK</character>
<dialogue>I'm not your father, don't call me that.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Ashok opens the back door and bows to Balram.</scene_description>
<character>ASHOK</character>
<dialogue>And no more "sir!" We're all friends, right?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, ss--</dialogue>
<scene_description>Ashok puts his hand on Balram's mouth.</scene_description>
<character>ASHOK</character>
<dialogue>No! Get in, let's go, let's have some fun!</dialogue>
<scene_description>Ashok pulls Balram in -- Pinky Madam screeches off.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - CONTINUOUS</stage_direction>
<scene_description>Pinky drives fast, erratic. "Beware of the Boys," plays again. -- WE HAVE CAUGHT UP TO THE OPENING SCENE. Balram looks out the window: the Dandi March statue.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Should I switch to tequila now?</dialogue>
<scene_description>She swerves around an oncoming rickshaw. Balram's POV: her eyes flirt with him in the rear-view mirror. Ashok grabs the wheel to help her swerve around a cow in the road. They laugh. BALRAM'S POV: HOMELESS on the roadside watch the car fly by. Ashok sings to Pinky and they drunkenly laugh.</scene_description>
<character>ASHOK</character>
<dialogue>Happy birthday to you, happy birthday to you!</dialogue>
<scene_description>Then, A SMALL FIGURE darts in front of the car.</scene_description>
<character>BALRAM</character>
<dialogue>Look out, look out!</dialogue>
<scene_description>PINKY SMASHES RIGHT INTO IT and drives over it. She keeps driving for a beat... ...then stops, her hands frozen to the wheel in shock. Balram looks out the back window and sees something in the road. Balram gets out. Ashok follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MITSUBISHI / STREET - CONTINUOUS</stage_direction>
<scene_description>Balram looks down the street: THE LUMP IN THE ROAD IS A CHILD. Ashok comes out and approaches Balram.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, sir, we need to leave, sir.</dialogue>
<character>ASHOK</character>
<dialogue>We need to take him to the hospital.</dialogue>
<character>BALRAM</character>
<dialogue>Pinky madam will be in trouble, sir.</dialogue>
<scene_description>Pinky gets out and sees the same.</scene_description>
<character>ASHOK</character>
<parenthetical>(pulls out his phone)</parenthetical>
<dialogue>I'm gonna call the cops.</dialogue>
<character>BALRAM</character>
<dialogue>No, sir, what're you doing?</dialogue>
<parenthetical>(he sees Pinky approach)</parenthetical>
<dialogue>Pinky Madam, sir -</dialogue>
<character>ASHOK</character>
<dialogue>Please go back to the car.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Is it a kid? Oh god, we need to call an ambulance.</dialogue>
<scene_description>They move her back to the car, to the back seat.</scene_description>
<character>ASHOK</character>
<dialogue>I'll do it, just stay in the car, please.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Is it alive?...</dialogue>
<character>BALRAM</character>
<dialogue>If we don't leave right now Pinky Madam will be in trouble, sir... someone will see us, please sir.</dialogue>
<scene_description>Ashok and Pinky are a mess. Balram pushes them into the car.</scene_description>
<character>BALRAM</character>
<dialogue>Please get in the car, sir.</dialogue>
<scene_description>He closes the door, gets in the front and speeds away.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - CONTINUOUS</stage_direction>
<scene_description>Balram drives away; he sees Pinky, hysterical in the back, Ashok trying to calm her.</scene_description>
<character>PINKY MADAM</character>
<dialogue>We have to call the police. Stop the car. Make him stop.</dialogue>
<scene_description>She flails, Ashok holds her tight.</scene_description>
<character>ASHOK</character>
<dialogue>Calm down, calm down, honey, please.</dialogue>
<character>PINKY MADAM</character>
<dialogue>I killed a kid, I killed a kid, god please, We have to go back, please.</dialogue>
<scene_description>She grabs at Balram, but Ashok holds her back. She's weeping.</scene_description>
<character>ASHOK</character>
<dialogue>Please honey, please.</dialogue>
<character>PINKY MADAM</character>
<dialogue>We have to see if it's alive.</dialogue>
<scene_description>Balram watches them in the rear-view mirror.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; GARAGE - LATER</stage_direction>
<scene_description>In the dark corner of the garage: Balram (in his normal clothes again) sees blood on the tires and fender. He scrubs them with a rag and bucket. He finds a bloody fabric. Ashok approaches and sees it.</scene_description>
<character>ASHOK</character>
<dialogue>What is that?</dialogue>
<character>BALRAM</character>
<dialogue>Stuff those kids wear, sir.</dialogue>
<character>ASHOK</character>
<dialogue>What was he doing in the street at two in the morning?</dialogue>
<character>BALRAM</character>
<dialogue>Exactly. It's not our fault. It just jumped in our way, stupid kid.</dialogue>
<character>ASHOK</character>
<dialogue>Don't call him stupid.</dialogue>
<character>BALRAM</character>
<dialogue>Sorry, sir.</dialogue>
<character>ASHOK</character>
<dialogue>... What am I going to do?</dialogue>
<character>BALRAM</character>
<dialogue>Nothing, sir. You know how those people are: they have ten, twenty kids, they don't even know their names. No one will miss this one, sir.</dialogue>
<character>ASHOK</character>
<dialogue>What if someone reports it?</dialogue>
<character>BALRAM</character>
<dialogue>I don't think so, sir. The street was empty. And the parents, even if they're in Delhi - the police won't let people like that into the station.</dialogue>
<character>ASHOK</character>
<dialogue>I shouldn't have listened to her.</dialogue>
<character>BALRAM</character>
<dialogue>Don't worry, sir. Please, it's been a difficult night for you, sir. Go up and rest, I'll take care of this.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - NIGHT</stage_direction>
<scene_description>Balram lies in bed with a smile.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>On my lips there was a big, contented smile that comes to a servant who has done his duty by his master even in the most difficult of moments.</dialogue>
<scene_description>He turns and sees the BUDDHA STATUE. His smile fades.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. ASHOK'S DELHI APARTMENT - MORNING</stage_direction>
<scene_description>Balram burns incense inside the Mitsubishi. He steps back and stares at the car under the morning sun.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>The door opens - Balram is surprised to see a smiling Mukesh.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, namaste.</dialogue>
<character>MUKESH</character>
<dialogue>Balram, come in.</dialogue>
<scene_description>Balram sees the Stork, a distraught Ashok and a LAWYER sitting around the table.</scene_description>
<character>BALRAM</character>
<dialogue>Namaste, sir.</dialogue>
<character>THE STORK</character>
<dialogue>Ah my son, good to see. Sit, sit.</dialogue>
<scene_description>Balram touches the Stork's feet and sits on the floor.</scene_description>
<character>MUKESH</character>
<dialogue>No, here on the sofa. Make yourself comfortable.</dialogue>
<character>BALRAM</character>
<dialogue>No, sir, I can't.</dialogue>
<character>MUKESH</character>
<dialogue>You're part of the family now.</dialogue>
<scene_description>He sits on the sofa with pride and smiles.</scene_description>
<character>MUKESH</character>
<dialogue>Have you spoken with anyone about what happened last night?</dialogue>
<character>BALRAM</character>
<dialogue>No, sir. I washed the car and went to bed.</dialogue>
<character>MUKESH</character>
<dialogue>Good. It's important that you not say a word to anyone.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>- Would you like some paan?</dialogue>
<character>BALRAM</character>
<dialogue>No, sir. I quit paan, Ashok Sir, tell them.</dialogue>
<character>MUKESH</character>
<dialogue>Don't be shy. You chew paan.</dialogue>
<parenthetical>(to the Lawyer)</parenthetical>
<dialogue>Give him some.</dialogue>
<parenthetical>(lawyer hands him paan)</parenthetical>
<dialogue>Put it in your mouth.</dialogue>
<character>BALRAM</character>
<dialogue>Ok, sir.</dialogue>
<character>MUKESH</character>
<dialogue>It's good right?</dialogue>
<character>BALRAM</character>
<dialogue>Wow, it's very good, sir.</dialogue>
<character>LAWYER</character>
<dialogue>The judge has been taken care of. If your man does what he is supposed to do, we'll have nothing to worry about.</dialogue>
<character>MUKESH</character>
<dialogue>My man will do what he is to do. Right, Balram?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Mukesh hands the papers to Balram.</scene_description>
<character>LAWYER</character>
<dialogue>Can you read?</dialogue>
<character>MUKESH</character>
<dialogue>Of course he can.</dialogue>
<character>LAWYER</character>
<dialogue>Read it to us.</dialogue>
<scene_description>Balram watches an Ashok go to the window, his back to Balram.</scene_description>
<character>BALRAM</character>
<dialogue>To whomsoever it may concern, I Balram Halwai do make the following statement of my own free will: On the night of November 3rd this year, I drove the car that hit an unidentified person, or persons or objects...</dialogue>
<character>BALRAM</character>
<dialogue>I don't understand, sir.</dialogue>
<character>MUKESH</character>
<dialogue>I'll explain later. Keep reading.</dialogue>
<character>BALRAM</character>
<dialogue>... That I panicked and refused my obligations to the injured party and fled the scene.</dialogue>
<character>BALRAM</character>
<dialogue>That I was alone in the car and alone responsible...</dialogue>
<scene_description>Balram reads silently. He looks at Ashok who averts his eyes.</scene_description>
<character>MUKESH</character>
<dialogue>We've already told your family. Your granny, what's her name? Hey, Balram?</dialogue>
<character>BALRAM</character>
<dialogue>Kusum, sir.</dialogue>
<character>MUKESH</character>
<dialogue>Yes, Kusum ji. I drove down to Laxmangarh and explained everything to her. And your brother. Your whole family was there. Your granny is proud of you for doing this and agreed to be a witness to your confession. That's her thumbprint.</dialogue>
<scene_description>Balram sees her thumbprint. Mukesh hands him a pen.</scene_description>
<character>MUKESH</character>
<dialogue>You need to sign just below that...</dialogue>
<character>LAWYER</character>
<dialogue>If he doesn't know how to write, he can press his thumb.</dialogue>
<character>ASHOK</character>
<dialogue>He knows how to write. Stop treating him like he's a moron.</dialogue>
<character>MUKESH</character>
<dialogue>Be quiet, Ashok. - Go ahead.</dialogue>
<character>ASHOK</character>
<dialogue>We shouldn't do this. It's wrong.</dialogue>
<character>MUKESH</character>
<dialogue>Then why don't you and Pinky go to the police station and tell them what happened. If you understand law, then handle this, otherwise, shut up!</dialogue>
<scene_description>Balram watches Ashok who remains silent and averts his eyes.</scene_description>
<character>MUKESH</character>
<dialogue>Balram, go on, sign there, next to granny. I'm here, don't worry.</dialogue>
<scene_description>Balram's hands shake as he signs the confession. Mukesh takes it from him and hands it to the lawyer. Balram is stunned.</scene_description>
<character>MUKESH</character>
<dialogue>Aren't you my brother? Don't we eat and hang together?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>I'm here, Ashok brother is here, father is here. There's nothing to worry about, right?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>MUKESH</character>
<dialogue>Good. Now go outside and wait, we will call you.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir</dialogue>
<scene_description>He gets up and touches the Stork's feet. He looks at Ashok as he exits, but Ashok averts his eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APART; HALLWAY</stage_direction>
<scene_description>He exits and waits for the elevator.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APART; ELEVATOR</stage_direction>
<scene_description>He rides down. His heart sinking...</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>Balram walks out. The sun blinds him. He stares up at the towers of the masters looming over him. He hides in some weeds, curling up, trying to save himself.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>Underneath the chandelier, Older Balram is in the lotus position. He opens his eyes and LOOKS INTO THE CAMERA:</scene_description>
<character>BALRAM (TO CAMERA)</character>
<dialogue>To think of this again makes me so angry I might go out and cut the throat of some rich man right now.</dialogue>
<scene_description>Hold on his face staring at us, implicating his audience.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - NIGHT \[PAST\]</stage_direction>
<scene_description>Balram sits in the mosquito net, legs curled up to his chest.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Not once did I think I had options, not once did I think "I'll tell the judge the truth," or run away.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. LIQUOR STORE - NIGHT</stage_direction>
<scene_description>Balram pushes through a crowd of POOR MEN to buy a bottle.</scene_description>
<character>BALRAM</character>
<dialogue>Whiskey, the cheapest kind! Immediate service - or someone will get hurt, I swear!</dialogue>
<scene_description>He opens the bottle, takes a big swig, and walks away. LATER - He looks at WRETCHED HOMELESS living on the road-side.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I was trapped in the Rooster Coop. And don't believe for a second that there's a million-rupee game show you can win to get out of it.</dialogue>
<scene_description>He squats in the dirt with some drunks.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The World's greatest democracy.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>For hundreds of millions of people like me, there is only one way to break free.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>Ashok, sullen, smokes a joint. Balram watches.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I would have to accept what this man's family would do - not just to me - but to my family.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; GARAGE - NIGHT</stage_direction>
<scene_description>Balram sits in the dark garage.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And that takes no normal human being, but a freak, a pervert of nature. It would, in fact, take a White Tiger.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - DAY</stage_direction>
<scene_description>The servant's phone is RINGING and RINGING. In his room, Balram sits in the mosquito net.</scene_description>
<character>VITILIGO-LIPS (O.S.)</character>
<dialogue>Country-Mouse! Hey!</dialogue>
<scene_description>He enters and sees Balram in the net.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Your boss is ringing like crazy for you. He was here the other night.</dialogue>
<scene_description>Balram buries his face in his pillow. Vitiligo comes closer.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>You ill? Typhoid? Dengue? Malaria?</dialogue>
<parenthetical>(smiles his white lips)</parenthetical>
<dialogue>You seem to be in some big trouble? Tell me... say something... Ah!</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; LIVING ROOM - DAY</stage_direction>
<scene_description>Balram enters and sees the Stork and Mukesh watching cricket on TV.</scene_description>
<character>THE STORK</character>
<dialogue>Sisterfucker, where were you? Go get the oil and massage my legs, you fucker.</dialogue>
<scene_description>Balram gets the oil, squats before the Stork, and begins to rub oil over his leg. Ashok and Pinky (she looks like a wreck) enter the apartment.</scene_description>
<character>THE STORK</character>
<dialogue>You're back. Sit down.</dialogue>
<character>ASHOK</character>
<dialogue>Who's winning?</dialogue>
<character>MUKESH</character>
<dialogue>We are losing.</dialogue>
<scene_description>Pinky is focused on Balram and taps Ashok.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Balram...</dialogue>
<character>ASHOK</character>
<dialogue>Balram. - Have they told you?</dialogue>
<character>BALRAM</character>
<dialogue>Sir?</dialogue>
<character>ASHOK</character>
<dialogue>You haven't told him?</dialogue>
<scene_description>Mukesh shakes his head, "no." Balram wonders what's going on. Pinky holds Ashok's arm to stop him - she wants to do it. She surprises everyone by sitting on the floor near Balram.</scene_description>
<character>PINKY MADAM</character>
<dialogue>They have a contact in the police, no one reported seeing what... what I did. They don't need you anymore.</dialogue>
<scene_description>Balram is stunned with relief. He take a beat, then puts his head to the Stork's knee with gratitude. The Stork KICKS him onto his back.</scene_description>
<character>THE STORK</character>
<dialogue>Enough drama you fucker. Massage my legs.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Why - why would you hit him? Why?!</dialogue>
<character>ASHOK</character>
<dialogue>Ok, calm down, it's all right. Let's just go to the room and -</dialogue>
<character>PINKY MADAM</character>
<dialogue>Don't tell me to calm down, it's like you don't even care -</dialogue>
<scene_description>Suddenly, Pinky STRIKES the Stork. Ashok holds her back.</scene_description>
<character>PINKY MADAM</character>
<dialogue>Why would you hit him? Why?</dialogue>
<character>MUKESH</character>
<dialogue>Stop it, you bitch. Ashok control her.</dialogue>
<character>ASHOK</character>
<dialogue>Whoa, stop, come on, calm down, stop doing this.</dialogue>
<character>PINKY MADAM</character>
<dialogue>Don't tell me what to do. Get away from me. Let go of me.</dialogue>
<character>ASHOK</character>
<dialogue>It's over, it's all good now.</dialogue>
<character>PINKY MADAM</character>
<dialogue>"It's all good?" What's wrong with you? I'm done with all this.</dialogue>
<scene_description>She goes back to her room. Balram watches in shock.</scene_description>
<character>MUKESH</character>
<dialogue>Are you ok, father?</dialogue>
<parenthetical>(off Stork's silence)</parenthetical>
<dialogue>I'm worried she wants to find the family and compensate them. As if we're murderers.</dialogue>
<character>ASHOK</character>
<dialogue>She's not going to do that.</dialogue>
<character>MUKESH</character>
<dialogue>You don't talk right now. - She's been raving about it for days.</dialogue>
<character>THE STORK</character>
<dialogue>She can't do that, Ashok. She's gone mad. Control her.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION - DAY</stage_direction>
<scene_description>LOUD SHRIEK of a train. CROWDS run, pile in. Mukesh helps the Stork board; he then turns to Balram -</scene_description>
<character>MUKESH</character>
<parenthetical>(taps his jacket pocket)</parenthetical>
<dialogue>I have your confession here, and will always have it here, brother.</dialogue>
<scene_description>He smiles at Balram, then enters the departing train. Balram walks away through the crowd of PASSENGERS rushing at him, his mind a wreck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD DELHI - MOMENTS LATER</stage_direction>
<scene_description>Balram walks lost in thought. He sees poverty all around him. LATER - he squats by the road. He sees a MAN passed out, covered in flies. He notices a MAN boiling tea for WORKERS. Balram is transfixed by the bubbling milk over a HISSING blue flame. He sees monkeys crawling across power cables overhead. An OLD WOMAN shoves her hand into his face.</scene_description>
<character>OLD WOMAN BEGGAR</character>
<dialogue>Hey Brother, give me a rupee.</dialogue>
<character>BALRAM</character>
<dialogue>Move on.</dialogue>
<character>OLD WOMAN BEGGAR</character>
<dialogue>Give me something to eat, I haven't eaten in days.</dialogue>
<character>BALRAM</character>
<dialogue>Get moving.</dialogue>
<character>OLD WOMAN BEGGAR</character>
<dialogue>Where? Give me a rupee, give me -</dialogue>
<scene_description>He gets up and shouts at her.</scene_description>
<character>BALRAM</character>
<dialogue>Get away from me! What do you want from me? Do you want me to rip my clothes off and give it to you.</dialogue>
<parenthetical>(opens his wallet)</parenthetical>
<dialogue>Here, here is the 36 fucking rupees I made this month, do you want that to? Then what the hell will I eat?</dialogue>
<character>OLD WOMAN BEGGAR</character>
<dialogue>Give me a rupee.</dialogue>
<character>BALRAM</character>
<dialogue>This woman is insane. She's crazy! Get her off the streets. What the fuck does she want?</dialogue>
<scene_description>He wanders off into the crowd of people staring at him... he's becoming unhinged.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - NIGHT</stage_direction>
<scene_description>Balram lies asleep in the dark. The lights turn on.</scene_description>
<character>PINKY MADAM (O.S.)</character>
<dialogue>Balram.</dialogue>
<scene_description>Balram wakes up and sees Pinky.</scene_description>
<character>PINKY MADAM</character>
<dialogue>I need you to drive me.</dialogue>
<scene_description>Balram notices: her SUITCASE.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - NIGHT</stage_direction>
<scene_description>Balram drives Pinky without Ashok; she stares at him in the rear-view mirror.</scene_description>
<character>PINKY MADAM</character>
<dialogue>You were looking for the key for years / But the door was always open.</dialogue>
<character>BALRAM</character>
<dialogue>... Did you say something, madam?</dialogue>
<scene_description>He looks at Pinky, but she's not looking at him at all; she's smoking a cigarette and staring silently out the window.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / AIRPORT - NIGHT</stage_direction>
<scene_description>Balram pulls up and stops. She gets out pushes a brown envelope through his window. He takes it. They lock eyes. She leaves and enters the terminal. He opens the brown envelope in hand: there is money inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - MORNING</stage_direction>
<scene_description>Ashok argues with Balram:</scene_description>
<character>ASHOK</character>
<dialogue>Flight? What flight?</dialogue>
<character>BALRAM</character>
<dialogue>I don't really know what flight, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Why didn't you tell me? Why didn't you wake me up.</dialogue>
<character>BALRAM</character>
<dialogue>I'm sorry sir, please! I just did what she told me.</dialogue>
<character>ASHOK</character>
<dialogue>Why did you drive her there, behind my back?</dialogue>
<character>BALRAM</character>
<dialogue>You can't blame me, sir.</dialogue>
<character>ASHOK</character>
<dialogue>You're my driver! You piece of shit.</dialogue>
<character>BALRAM</character>
<dialogue>I'd never heard of a woman leaving her husband -</dialogue>
<scene_description>Ashok SMACKS Balram in the face, like his father would.</scene_description>
<character>ASHOK</character>
<dialogue>Shut up! She has not left me.</dialogue>
<character>BALRAM</character>
<dialogue>Sir, don't hit me.</dialogue>
<scene_description>He SMACKS Balram again in the face. He grabs him by the collar and shakes him around.</scene_description>
<character>ASHOK</character>
<dialogue>She has not left me. You piece of shit.</dialogue>
<character>BALRAM</character>
<dialogue>Sir, please release me, please sir.</dialogue>
<scene_description>It gets more intense until Balram shoves him off, sending Ashok flying into the sofa.</scene_description>
<character>BALRAM</character>
<dialogue>Get off me!</dialogue>
<scene_description>They're both surprised. Ashok stares up at Balram. A silent beat between them. A crow suddenly lands on the balcony railing. They both turn to see it. It CAWS, looks at them, then flies away.</scene_description>
<character>ASHOK</character>
<dialogue>I wish they had put you in jail.</dialogue>
<scene_description>Balram leaves.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - DAY</stage_direction>
<scene_description>Balram anxiously waits.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I waited two days for my master to call me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - SUNSET</stage_direction>
<scene_description>He stares at the giant luxury towers.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - NIGHT</stage_direction>
<scene_description>Balram paces.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Had he gone back to America and not told me?</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - AFTERNOON</stage_direction>
<scene_description>Balram enters and sees Ashok smoking and drinking whiskey. He's a mess.</scene_description>
<character>BALRAM</character>
<dialogue>Sir... Sir, are you all right?</dialogue>
<character>ASHOK</character>
<dialogue>Why didn't you pack up and leave too?</dialogue>
<character>BALRAM</character>
<dialogue>It's not good to starve yourself. Let me make you dinner.</dialogue>
<character>ASHOK</character>
<dialogue>The whole thing was her fault, bitch. (convulses) Ugh...</dialogue>
<character>BALRAM</character>
<dialogue>Should I call for pizza, sir.</dialogue>
<scene_description>He gets up and rushes to the bathroom and throws up. Balram follows. BATHROOM - Balram enters and sees Ashok on the floor near the toilet. He wets a towel and wipes Ashok's mouth clean.</scene_description>
<character>BALRAM</character>
<dialogue>Feeling better sir?... You must believe in God, sir. My granny says if you believe in God, then good things will happen.</dialogue>
<character>ASHOK</character>
<dialogue>... Why are you so kind to me?</dialogue>
<character>BALRAM</character>
<dialogue>It is my duty, sir.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; VARIOUS - LATE AFTERNOON</stage_direction>
<scene_description>KITCHEN - Balram squeezes lemon into a glass. He adds sugar, salt, and fresh mint leaves with care. He puts it on a tray and brings it to the living room.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, I squeezed you a Nimbu pani. It will make you feel better.</dialogue>
<scene_description>But Ashok is passed out. He TAPS him. Nothing.</scene_description>
<character>BALRAM</character>
<dialogue>Sir?... Sir. Wake up...</dialogue>
<scene_description>He SLAPS Ashok, but he doesn't wake. He SLAPS his master again, HARDER - Ashok is out cold. He sits down and drinks the Nimbu pani himself. And looks at Ashok passed out on the sofa. He puts his feet on the table.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Do we loathe our masters behind a facade of love, or do we love them behind a facade of loathing?</dialogue>
<scene_description>LATER - SLOW MO He puts Ashok's arm around his shoulder and helps him to the - BEDROOM - SLOW MO They've never been this close. Balram lays Ashok in bed, pulls the covers over him.</scene_description>
<character>ASHOK</character>
<dialogue>... Where's Pinky?</dialogue>
<character>BALRAM</character>
<dialogue>Shhh. You need to sleep, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Balram... don't leave.</dialogue>
<character>BALRAM</character>
<dialogue>I'm right here, sir.</dialogue>
<scene_description>Ashok gazes at Balram, then passes out. Balram looks at Ashok's skull on the pillow: like a religious icon. LATER - DUSK: Balram looks through Ashok's closet. He slips on Ashok's jacket and looks at himself in the mirror. He changes his hair to a side part - like Ashok. He cleans his ear with a Q-tip, then talks to it, imitating Ashok:</scene_description>
<character>BALRAM</character>
<dialogue>"Why are you so kind to me, Balram"</dialogue>
<scene_description>He puts the dirty q-tip back in the glass with the others. LIVING ROOM - NIGHT: Wearing Ashok's jacket, Balram pours himself Ashok's top-line whiskey and enjoys.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT; BALCONY - NIGHT</stage_direction>
<scene_description>Balram looks at an impressive view of Gurgaon being built. He enjoys his moment as master with a glass of whiskey.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>With Pinky Madam gone...</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARKET - NIGHT</stage_direction>
<scene_description>Balram and Ashok walk the CROWDED market laughing, talking.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>... I knew it was my duty to be like a wife to him. I didn't let him drink and I lifted his spirits.</dialogue>
</scene>
<scene>
<stage_direction>INT. POOR MAN'S CAFE - NIGHT</stage_direction>
<scene_description>The WAITER slams down plates of okra, cauliflower, daal.</scene_description>
<character>BALRAM</character>
<dialogue>Once you have the food here, you'll never forget it.</dialogue>
<scene_description>Ashok takes a bite and loves it.</scene_description>
<character>ASHOK</character>
<dialogue>This is amazing. From now on, I only want to eat your kind of food.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>And I only want to eat your kind of food.</dialogue>
<character>ASHOK</character>
<dialogue>You know the real India so much better than me. My mom was the one who encouraged me to go to America to study... Pinky really loved her.</dialogue>
<scene_description>Balram sees Ashok suddenly darken... and so he lies to him:</scene_description>
<character>BALRAM</character>
<dialogue>Sir, Pinky Madam told me you were a great man who was going to do great things in India.</dialogue>
<character>ASHOK</character>
<dialogue>When did she say that?</dialogue>
<character>BALRAM</character>
<dialogue>The morning she left. She was crying the entire way to the airport, sir. She said you would not let Mukesh-sir tell you what to do. She said she believes in you.</dialogue>
<scene_description>Ashok takes this in...</scene_description>
</scene>
<scene>
<stage_direction>INT. ROADSIDE TEMPLE - SUNRISE</stage_direction>
<scene_description>They enter the temple. Balram puts a rupee between statues and prays. Ashok does the same. They pray.</scene_description>
<character>BALRAM</character>
<dialogue>She'll come back to you, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Yeah... she's coming back. I can feel it.</dialogue>
<character>BALRAM</character>
<dialogue>I can feel it too, sir.</dialogue>
<scene_description>LATER - SLOW MOTION: A PRIEST puts a tika on their foreheads. They stare at the religious icons of gods like Hanuman.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DELHI - VARIOUS</stage_direction>
<scene_description>Images of the city.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION - AFTERNOON</stage_direction>
<scene_description>Ashok and Balram stand side by side waiting. Mukesh side-hugs Ashok, then shoves his luggage into Balram's chest to carry.</scene_description>
<character>MUKESH</character>
<dialogue>Why is he here? - Go get the car.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - AFTERNOON</stage_direction>
<scene_description>KITCHEN: Balram prepares lunch and spies on Ashok and Mukesh in the LIVING ROOM.</scene_description>
<character>ASHOK</character>
<dialogue>... Divorce? She said that?</dialogue>
<scene_description>Balram sees Ashok's face fall.</scene_description>
<character>MUKESH</character>
<dialogue>Don't worry. I'll handle everything.</dialogue>
<character>ASHOK</character>
<dialogue>You're probably happy she's gone.</dialogue>
<character>MUKESH</character>
<dialogue>That's not true. I just want your happiness.</dialogue>
<character>ASHOK</character>
<dialogue>(gets his phone) I'm gonna book a flight and go there and talk to her-</dialogue>
<scene_description>Mukesh moves closer and puts his hand on Ashok's knees.</scene_description>
<character>MUKESH</character>
<dialogue>Don't call now. Breathe. Don't go begging. You'll regret it.</dialogue>
<character>ASHOK</character>
<dialogue>All I regret is letting her drive that night.</dialogue>
<character>MUKESH</character>
<dialogue>That was not your fault.</dialogue>
<character>ASHOK</character>
<dialogue>It is my fault.</dialogue>
<character>MUKESH</character>
<dialogue>It's not your fault and you know it. I can stay here with you as long as you like.</dialogue>
<scene_description>Balram sees Mukesh put his arm around Ashok.</scene_description>
<character>MUKESH</character>
<dialogue>You want that pizza you like? Macaroni?</dialogue>
<character>ASHOK</character>
<dialogue>I'm sorry. Without you, I'd ...</dialogue>
<scene_description>Balram serves them lunch.</scene_description>
<character>BALRAM</character>
<dialogue>Here you are, sir.</dialogue>
<character>ASHOK</character>
<dialogue>I don't want food right now.</dialogue>
<character>BALRAM</character>
<dialogue>I made it like we had together the other night, sir.</dialogue>
<scene_description>Mukesh wonders what this is about.</scene_description>
<character>ASHOK</character>
<dialogue>I don't give a shit.</dialogue>
<character>BALRAM</character>
<dialogue>Just a taste, sir.</dialogue>
<scene_description>Ashok slaps the food out of his hand, sending it crashing to the floor, the bowl breaking apart.</scene_description>
<character>ASHOK</character>
<dialogue>I said I'm not hungry.... Get lost.</dialogue>
<character>MUKESH</character>
<dialogue>He doesn't feel like it, why are you up his ass! Ged rid of it, you fucker.</dialogue>
<character>ASHOK</character>
<dialogue>Just leave me alone for a fucking second.</dialogue>
<scene_description>Balram walks away with the tray.</scene_description>
<character>MUKESH</character>
<dialogue>Until Ashok Sir calls you, don't hover over him like a fly!</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; ELEVATOR - MOMENTS LATER</stage_direction>
<scene_description>Balram pinches his hand hard, again and again. - Why am I still in servitude to this man?</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; GARAGE - AFTERNOON</stage_direction>
<scene_description>Balram walks under the tubes of light.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The desire to be a servant had been bred into me, poured into my blood. Hammered into my skull.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - MOMENTS LATER</stage_direction>
<scene_description>Balram pulls the money out from under his bed and counts it.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Ninety-three 100 rupee notes. A strange sum. Almost three months my salary, but not quite. Maybe she started with 10,000 and then deducted 700. - No. No.</dialogue>
<scene_description>He paces and talks to himself, to the Buddha statue.</scene_description>
<character>BALRAM</character>
<dialogue>That's not how rich people think. Haven't you learned yet, you idiot? If she thought she owed you 10,000, then what she truly owed you was ten times more. -- No! A hundred times more!</dialogue>
<scene_description>He stops pacing.</scene_description>
<character>BALRAM</character>
<dialogue>They made me sign that confession - and I asked for nothing in return... I didn't even think to ask.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARAGE - LATER</stage_direction>
<scene_description>Balram speaks with Vitiligo.</scene_description>
<character>BALRAM</character>
<dialogue>So what's gonna happen to you when you get older?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>Eyes, it's all the eyes. You work 'till they work. When you're fifty, fifty-five they'll kick you out.</dialogue>
<character>BALRAM</character>
<dialogue>And then what?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>If you save, you'll make enough to buy a shack in a slum. If you've been a bit smarter, and make extra on the side, then maybe more.</dialogue>
<character>BALRAM</character>
<dialogue>That's it?</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>This is the best case scenario. But odds are your boss sacks you for no reason, or you get into an accident. Then you'll be dead or have nothing.</dialogue>
<scene_description>Balram grows sullen. Vitiligo pulls him away from the others.</scene_description>
<character>VITILIGO-LIPS</character>
<dialogue>Country-Mouse, are you ok?</dialogue>
<character>BALRAM</character>
<dialogue>Yeah, first class.</dialogue>
<character>VITILIGO-LIPS</character>
<dialogue>I'm sorry to tell you this, but the other drivers are talking about you openly... You sit in your master's car alone; you talk to yourself... is it true?</dialogue>
<scene_description>Balram wonders if it is... FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APART - NIGHT</stage_direction>
<scene_description>Ashok smokes a joint and plays video games... while Balram watches him from outside on the balcony.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I would not let him tell him, my fate was a shack in a slum.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MECHANIC SHOP - DAY</stage_direction>
<scene_description>Lots of auto-body shops around a mud circle. A MECHANIC hands Balram an invoice, Balram hands him a small amount of money.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Over the next weeks, I learned the ways driver's cheat their masters.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>He hands an invoice to Ashok who gives him a wad of cash.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Number one, give your master phony invoices for repairs that are not necessary.</dialogue>
<character>BALRAM</character>
<dialogue>Thank you, sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION / STREETS - NIGHT</stage_direction>
<scene_description>Balram pumps gas into a gas can. LATER - he pours the petrol into a taxi. The DRIVER pays him.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Two: sell your master's petrol to other drivers.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / DELHI STREETS - NIGHT</stage_direction>
<scene_description>Location 1 Balram pulls over and picks up a CUSTOMER.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>As you gain confidence, cruise around picking up and dropping off paying customers. Delhi has many pick-up points. Over time you will learn them all.</dialogue>
<scene_description>Location 2 Customer puts money in Balram's hand and he picks up more people and drives off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OF DELHI - NIGHT</stage_direction>
<scene_description>Balram speeds through the streets.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>When I looked at the cash, I didn't feel guilt. I felt rage.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / STREETS - NIGHT</stage_direction>
<scene_description>Balram speeds and turns on the AC full blast. He's drunk and drinking whiskey. He turns up pop MUSIC and SINGS.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>There are only two castes in India. I was growing a belly at last.</dialogue>
<scene_description>He talks with an imaginary Ashok in the back seat - does Balram really think he is there?</scene_description>
<character>BALRAM</character>
<dialogue>Ashok Sir, I'll fuck your mother, what about that? Hey are you listening to me? I can't drive like this, take this.</dialogue>
<scene_description>He tries to hand "Ashok" the whiskey bottle.</scene_description>
<character>BALRAM</character>
<dialogue>Take it. You're a eunuch, you motherfucker! A eunuch!</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; GARAGE; BALRAM'S ROOM - NIGHT</stage_direction>
<scene_description>Balram pauses before he enters his room. Ashok is under his mosquito net, drinking.</scene_description>
<character>ASHOK</character>
<dialogue>I know what you were doing.</dialogue>
<character>BALRAM</character>
<dialogue>Please sir, don't get upset with me, I -</dialogue>
<scene_description>Ashok drinks whiskey from a bottle. He's drunk.</scene_description>
<character>ASHOK</character>
<dialogue>You were at the temple offering prayers for my health.</dialogue>
<character>BALRAM</character>
<dialogue>(!) Yes, sir. I've been worried about you. I made an offering of 101 rupees in your name.</dialogue>
<character>ASHOK</character>
<dialogue>Come inside, sit down with me.</dialogue>
<scene_description>Balram sits inside the net facing Ashok, their knees touch.</scene_description>
<character>ASHOK</character>
<dialogue>Is this really where you live? It's so damp, and the smell.</dialogue>
<character>BALRAM</character>
<dialogue>Please sir, this place is like the Taj Mahal for me.</dialogue>
<character>ASHOK</character>
<dialogue>No. No. Taj Mahal is a tomb Balram, you don't live in the Taj Mahal.</dialogue>
<character>BALRAM</character>
<dialogue>Ok, sir.</dialogue>
<character>ASHOK</character>
<dialogue>You know, I have never done what I wanted to do with my life.</dialogue>
<character>BALRAM</character>
<dialogue>What did you want to do, sir?</dialogue>
<character>ASHOK</character>
<dialogue>Music. Or produce it, anyway. You know I lived in the US for so many years, I tried to be like them, but I'm a fucking Indian at heart, you know? We are fucking Indians.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>I want to go to Bangalore and change my country's future. That's what I want to do.</dialogue>
<character>BALRAM</character>
<dialogue>Sir, you can do anything you want. You're a man of quality, sir.</dialogue>
<character>ASHOK</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>A man of quality..</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir!</dialogue>
<character>ASHOK</character>
<parenthetical>(sings)</parenthetical>
<dialogue>You and I, we live in Paradise, but we refuse to see it.</dialogue>
<scene_description>His singing is terrible.</scene_description>
<character>BALRAM</character>
<dialogue>Wow, sir. Wow! I didn't know you could sing. That's beautiful.</dialogue>
<character>ASHOK</character>
<dialogue>Thank you, I try.</dialogue>
<character>BALRAM</character>
<dialogue>You know, I also sing.</dialogue>
<character>ASHOK</character>
<dialogue>Really?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Sing for me then!</dialogue>
<character>BALRAM</character>
<dialogue>Ok, maybe a little.</dialogue>
<parenthetical>(sings)</parenthetical>
<dialogue>Oh Morari, what can be said of you?</dialogue>
<character>ASHOK</character>
<parenthetical>(sings)</parenthetical>
<dialogue>Said of you!</dialogue>
<character>BALRAM</character>
<parenthetical>(sings)</parenthetical>
<dialogue>In this world of yours I don't want to live!</dialogue>
<character>ASHOK</character>
<parenthetical>(sings)</parenthetical>
<dialogue>To live!</dialogue>
<parenthetical>(speaks)</parenthetical>
<dialogue>Wow, you're good, we should form a band Balram.</dialogue>
<character>BALRAM</character>
<dialogue>Ok, sir. Thank you, sir.</dialogue>
<character>ASHOK</character>
<dialogue>I wish I had a simple life like you.</dialogue>
<parenthetical>(touches Balram's face)</parenthetical>
<dialogue>My sweet Balram-ji.</dialogue>
<scene_description>Balram cringes.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIVE-STAR BANGALORE HOTEL - NIGHT \[PRESENT\]</stage_direction>
<scene_description>Older Balram sits at the bar and stares at his whiskey. The TV news gets his attention: WEN JIABAO has arrived in India.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I see you've arrived in my glorious capital, sir. Maybe we can have a drink together when you visit Bangalore. You know, I would not be able to afford even one Johnny Walker Black with the money I had cheated from my ex employer. Or get a room in this five-star hotel with the money Pinky Madam had given me.</dialogue>
<scene_description>Balram looks at a plump INDIAN ESCORT, she looks back.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Men born in the light, like my master, have the choice to be good. Men born in the coop, like me, we don't have that choice.</dialogue>
</scene>
<scene>
<stage_direction>INT. MITSUBISHI / TRAFFIC JAM - NIGHT</stage_direction>
<scene_description>Balram stuck in a traffic jam. Ashok and Mukesh, who has returned with the RED BAG. Balram eyes them in the rear-view mirror.</scene_description>
<character>NEWS HOST (ON RADIO)</character>
<dialogue>The opposition party and underdog, The Great Socialist, hopes to have support from rural India.</dialogue>
<character>MUKESH</character>
<dialogue>Her party is a total mess. The government is going to win for sure. We just have to keep paying them until the elections.</dialogue>
<scene_description>Balram eavesdrops while watching a BEGGAR WITH NO LEGS approach the car:</scene_description>
<character>ASHOK</character>
<dialogue>I can't keep doing this.</dialogue>
<character>MUKESH</character>
<dialogue>Things will change after the election. Then you can do what you want to do.</dialogue>
<scene_description>Balram unrolls the window and hands one rupee to the Beggar.</scene_description>
<character>MUKESH</character>
<dialogue>What was that? Who the hell told you to do that? Can you believe that?</dialogue>
<character>ASHOK</character>
<dialogue>Balram, why'd you give him money?</dialogue>
<character>MUKESH</character>
<dialogue>Turn the radio off, motherfucker.</dialogue>
<scene_description>Balram does.</scene_description>
<character>MUKESH</character>
<dialogue>Sister fucker, I told you not to come this way.</dialogue>
<character>ASHOK</character>
<dialogue>I don't know why he did that.</dialogue>
<character>MUKESH</character>
<dialogue>You think it's your father's money, asshole?</dialogue>
<character>ASHOK</character>
<dialogue>Who do you think you are?</dialogue>
<character>BALRAM</character>
<dialogue>Sorry, sir. It won't happen again.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>At the bar, Balram prepares whiskey for Mukesh and Ashok who eat food - the RED BAG on the coffee table between them. His back is turned, but he spies on them through a mirror.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Be careful what you say around drivers. We have grown skilled at reading lips. I was certain I saw the Mongoose say my name and then a word no servant wants to hear: "replacement."</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - MORNING</stage_direction>
<scene_description>Balram opens the car door for Ashok who walks towards him, the RED BAG in hand.</scene_description>
<character>ASHOK</character>
<dialogue>To the Parliament House.</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Just before Ashok sits, he pauses.</scene_description>
<character>ASHOK</character>
<dialogue>Ah, my phone. Just keep it in the car.</dialogue>
<scene_description>He hands Balram the RED BAG and returns to the apartment. Balram can't believe, the bag is in his hands. Balram looks around a beat - confirms that Ashok is gone, that the LOBBY ATTENDANT is not watching. He puts the RED BAG in the back seat, unzips it and sees: STACKS OF 100 RUPEE NOTES. He rifles through, counting.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>This was at least two year's salary, maybe three... I was worth more.</dialogue>
<scene_description>He shoves the cash back in and zips it closed.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. \[MOVING\] MITSUBISHI / PARLIAMENT HOUSE - DAY</stage_direction>
<scene_description>GUARDS eye Balram as he drives Ashok into a government building. Ashok gets out with the RED BAG. Another Government Building - Balram spies on Ashok carrying the RED BAG into another building.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Over the next days, I tried hard not to look at the red bag.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. \[MOVING\] MITSUBISHI / DELHI STREETS - NIGHT</stage_direction>
<scene_description>Balram's POV: the RED BAG near Ashok, illuminated by his phone. Delhi streets, MEN under lamps read newspapers, OTHERS lie asleep in the street, headlights flash his eyes.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The city knew something was burning inside of me, and she burned too.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / DELHI BANK - AFTERNOON</stage_direction>
<scene_description>Balram's POV: Ashok gets cash from an ATM and puts it in the Red Bag.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI / TRAFFIC - AFTERNOON</stage_direction>
<scene_description>RED BAG in the rear-view mirror. An RICKSHAW DRIVER KNOCKS on his window - it is his FATHER! Balram unrolls the window.</scene_description>
<character>BALRAM'S FATHER</character>
<dialogue>Even if you were to steal it, it wouldn't be stealing.</dialogue>
<character>BALRAM</character>
<dialogue>...</dialogue>
<character>BALRAM'S FATHER</character>
<dialogue>Mr. Ashok bribes politicians in order not to pay taxes. So who is he stealing from? The ordinary people of this country - me and you.</dialogue>
<scene_description>HONK. Balram HITS the brakes. His window is rolled up, and the RICKSHAW DRIVER is no longer his father.</scene_description>
<character>ASHOK</character>
<dialogue>Hey. Balram, hey. Let's go!</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. \[MOVING\] MITSUBISHI / SHERATON HOTEL - NIGHT</stage_direction>
<scene_description>Ashok gets out with the RED BAG.</scene_description>
<character>ASHOK</character>
<dialogue>I'll be a couple of hours.</dialogue>
<scene_description>Balram drives away.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. TRAIN STATION - NIGHT</stage_direction>
<scene_description>Balram enters the station, lit up red at night. At the skywalk, Balram notes destinations on two boards: Benares, Jammu, Amritsar, Mumbai.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>What would my destination be, if I came here with the red bag?</dialogue>
<scene_description>FLAP FLAP FLAP. Balram sees pigeons fly between roof beams. BARK BARK. A mangy dog growls at him, circling.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The pigeons, the dog, the station, they could sense it: a rooster was trying to escape from the coop!</dialogue>
<scene_description>He looks at the flying pigeons. All sounds die out except for the FLAPPING of their wings... Balram is in terror.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>What would Mr. Ashok do to my family?</dialogue>
<scene_description>The FLAPPING continues over the NIGHTMARE IN BALRAM'S MIND:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEMPLE ON HILL; LAXMANGARH - MORNING \[BALRAM'S MIND\]</stage_direction>
<scene_description>FLAPPING continues as we see: a Thug beats Kishan to death and dumps him next to his dead WIFE at a temple on a hill.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALRAM'S FAMILY HOME; LAXMANGARH - MORNING \[BALRAM'S</stage_direction>
<scene_description>MIND\] A massacre: beaten, bloody and dead uncles, aunts and kids. A THUG shots a feeling COUSIN dead. Another Thug stabs Granny to death.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION - NIGHT</stage_direction>
<scene_description>The mangy BARKING dog pulls Balram out of his nightmare.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - NIGHT</stage_direction>
<scene_description>Balram drives and stares in the rear-view mirror at Ashok on his phone, the RED BAG near him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT - NIGHT</stage_direction>
<scene_description>They pull up. Balram opens the door for Ashok - but holds his arm. Strange beat as the men stand at the car door.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, there's something I... I have to tell you.</dialogue>
<character>ASHOK</character>
<dialogue>Yes... go ahead.</dialogue>
<character>BALRAM</character>
<dialogue>... Sir, I want to smash your skull and steal your money.</dialogue>
<scene_description>Ashok considers this.</scene_description>
<character>ASHOK</character>
<dialogue>I know what you're thinking. You miss home, don't you?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Plan a trip back. I'll take care of your expenses, don't worry.</dialogue>
<scene_description>Ashok hands him a couple hundred rupees.</scene_description>
<character>ASHOK</character>
<dialogue>Good night.</dialogue>
<scene_description>Balram watches him enter the apartment. He looks at the money and crumples it up.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>He only gave me enough for a one- way ticket.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SLUM - DAY</stage_direction>
<scene_description>Balram walks towards tents in a SLUM. He sees KIDS playing in sewage. He sees a MAN crapping in daylight. The Man laughs and encourages Balram to join him. Balram squats in front of the crapping man and smiles strangely at him. The Crapping Man laughs and laughs. Balram laughs too.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - DAY</stage_direction>
<scene_description>Through the front windshield: SUPPORTERS of the Great Socialist celebrate their victory, chanting, waving flags.</scene_description>
<character>THE GREAT SOCIALIST (ON RADIO)</character>
<dialogue>Upending all expectations, and riding a wave of support from the poor, the Great Socialist has won a vast majority of the votes. There is no water in our taps, and what do the rich politicians in Delhi give us: Cell phones!</dialogue>
<character>ASHOK (INTO PHONE)</character>
<dialogue>We went with the wrong side. - Turn that off, asshole!</dialogue>
<scene_description>Balram turns off the radio and eavesdrops on Ashok.</scene_description>
<character>ASHOK (INTO PHONE)</character>
<dialogue>All the idiots from the villages voted for her! What the fuck are we going to do?</dialogue>
<scene_description>Protesters bang on their car. Ashok yells at Balram.</scene_description>
<character>ASHOK</character>
<dialogue>Sister-fucker, why the hell did you come this way? Drive!</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / SHERATON HOTEL - NIGHT</stage_direction>
<scene_description>Balram's POV: Great Socialist, Man in White and Ashok exit the hotel surrounded by her guards and staff. A CROWD chants for them</scene_description>
<character>CROWD</character>
<dialogue>Long live socialism!</dialogue>
<scene_description>Balram opens the door for The Great Socialist to get in.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - NIGHT</stage_direction>
<scene_description>Ashok sits in the back seat between The Great Socialist and the Man in White. Balram drives and eavesdrops:</scene_description>
<character>ASHOK</character>
<dialogue>Father sends his warm congratulations. We're all very happy for your success.</dialogue>
<character>THE GREAT SOCIALIST</character>
<dialogue>Oh that's very sweet of you.</dialogue>
<character>ASHOK</character>
<dialogue>We would like to show our appreciation by making a 10 lac donation to your party.</dialogue>
<character>MAN IN WHITE</character>
<dialogue>Is that how much you paid the opposition party you fucker? 40 lacs, Monday night, the Sheraton Hotel.</dialogue>
<scene_description>4 million rupees! Balram takes that in.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE - DUSK</stage_direction>
<scene_description>Balram finds a wrench. He feels its weight. The wind blows garbage, a whirlwind of filth around him. CRACK! He swings the wrench into a concrete block. Again - CRACK - imagining what it would be like to do it.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE OUTSIDE BALRAM'S ROOM; DELHI - NIGHT</stage_direction>
<scene_description>Balram enters, surprised to see a Dharam waiting.</scene_description>
<character>DHARAM</character>
<dialogue>I took the bus, the train and asked people and found you. Granny said you have to take care of me and make me a driver too.</dialogue>
<character>BALRAM</character>
<dialogue>Who are you?</dialogue>
<character>DHARAM</character>
<dialogue>Dharam. I'm Luttu Auntie's fourth son.</dialogue>
<scene_description>Balram remembers. He sees a letter in Dharam's hand.</scene_description>
<character>BALRAM</character>
<dialogue>What's that?</dialogue>
<character>DHARAM</character>
<dialogue>A letter.</dialogue>
<character>BALRAM</character>
<dialogue>A letter? Give it to me.</dialogue>
<scene_description>He takes the letter from Dharam and reads it.</scene_description>
<character>GRANNY (V.O.)</character>
<dialogue>Dear grandson. It has been seven months and two days since you sent us money.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE - DAY</stage_direction>
<scene_description>Kishan and family surround Granny, who SPEAKS TO THE CAMERA:</scene_description>
<character>GRANNY</character>
<dialogue>The city has corrupted your soul. Life has become hard here. Lord Indra is not happy. You must send us money again. Also, I have arranged for your wedding. If you do not come here, we will send the girl to you by bus. If you refuse, we will write a letter explaining everything and send it to your master.</dialogue>
<scene_description>She grins to the camera.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE OUTSIDE BALRAM'S ROOM; DELHI - CONTINUOUS</stage_direction>
<scene_description>Balram puts the letter in his pocket. He SLAPS Dharam hard.</scene_description>
<character>BALRAM</character>
<dialogue>Is she really going to marry me?</dialogue>
<character>DHARAM</character>
<dialogue>Yes Uncle.</dialogue>
<character>BALRAM</character>
<dialogue>Turn around, I am going to hit you again. Turn around.</dialogue>
<scene_description>Dharam turns. Balram sees the boy's lip is bleeding. He is shocked by his own behavior. He tosses the wrench aside and walks away. He crouches in the corner, trembling. He's breaking apart.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT - DAY</stage_direction>
<scene_description>Ashok looks at Dharam standing next to Balram.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The next morning, Mr. Ashok did something he had never done. He gave me a day off.</dialogue>
<character>ASHOK</character>
<dialogue>Who is this? Your nephew?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir. My family.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ASHOK'S DELHI APARTMENT; LOBBY - DAY</stage_direction>
<scene_description>Balram spies on a dark-skinned SERVANT walk into the lobby.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But by now I knew, the rich never give anything for free.</dialogue>
<scene_description>Ashok greets him with a hand shake.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>He had found my replacement.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NATIONAL ZOO - VARIOUS</stage_direction>
<scene_description>Golden-beaked storks, hippos, and more stare at the camera. Balram points out animals to Dharam, who is happy.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>That's when we saw the creature that gets born only once every generation.</dialogue>
<scene_description>They arrive at the last animal: THE WHITE TIGER.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The White Tiger.</dialogue>
<scene_description>Balram is transfixed as the tiger paces behind bars; black stripes and sunlit white fur, dizzying to Balram. IN BALRAM'S MIND: his father pulls a rickshaw. The tiger focuses its eyes into Balram's eyes. IN BALRAM'S MIND: funeral pyre: father's foot curls up. // Granny laughs at him // Pinky Madam smiles at him // Ashok claps and smiles at him Balram sweats, feels weak, his eyes flutter. IN HIS MIND: Ashok slaps him in the face. Balram faints. His face serene, like when he was a boy.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Iqbal, that great Muslim poet, was right when he wrote: "The moment you recognize what is beautiful in this world, you stop being a slave."</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAXMANGARH VILLAGE - SUNSET</stage_direction>
<scene_description>Young Balram stands on a cliff looking at the river.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / ASHOK'S DELHI APARTMENT; GARAGE -</stage_direction>
<scene_description>NIGHT Balram picks up a Johnnie Walker bottle and rotates it in his hand, feeling its weight. He SMASHES the bottle against a column. CLOSER on the bottle - long, cruel, clawlike jags.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASHOK'S DELHI APARTMENT; BALRAM'S ROOM/GARAGE - VARIOUS</stage_direction>
<scene_description>\[RAIN\] MORNING - Balram lights incense sticks inside the car. He wipes it clean, massaging the car for the last time. Balram puts a plastic bag with clothes by the floorboard of his seat. Next to it, he places the broken bottle. Dharam watches Balram bow twice with folded palms to the car. EVENING - Balram and Dharam eat together in silence. The boy wonders what is happening. NIGHT - Balram puts a few hundred rupees in Dharam's pocket.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I hoped the next morning, when I didn't return, he'd know to run.</dialogue>
<scene_description>He gets in the car. Dharam watches him drive away.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MITSUBISHI / ASHOK'S DELHI APARTMENT - NIGHT \[RAIN\]</stage_direction>
<scene_description>Balram pulls up. Mr. Ashok and the RED BAG get in the car.</scene_description>
<character>BALRAM</character>
<dialogue>To the Sheraton, sir?</dialogue>
<character>ASHOK</character>
<parenthetical>(how did Balram know?)</parenthetical>
<dialogue>... Yeah, the Sheraton.</dialogue>
<scene_description>Balram drives away.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - NIGHT \[RAIN\]</stage_direction>
<scene_description>MUSIC. Rain hits the car. Balram drives. He looks at the RED BAG next to Ashok.</scene_description>
<character>ASHOK</character>
<dialogue>Pinky called. She wants to know if I'll come back to New York.</dialogue>
<character>BALRAM</character>
<dialogue>Will you go back, sir?</dialogue>
<character>ASHOK</character>
<dialogue>And pretend to be someone I'm not?</dialogue>
<parenthetical>(shakes head, "no")</parenthetical>
<dialogue>This is my country after all.</dialogue>
<character>BALRAM</character>
<dialogue>There is a story of a cunning Brahmin, trying to trick Buddha. The Brahmin asked, "Master, do you consider yourself a man or a god." The Buddha smiled and said, "Neither. I am just one who has woken up while the rest of you are still sleeping."</dialogue>
<scene_description>Balram and Ashok stare at each other in the rear-view mirror.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SECLUDED DELHI STREET - NIGHT \[RAIN\]</stage_direction>
<scene_description>Balram turns onto a secluded road.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MITSUBISHI - CONTINUOUS \[RAIN\]</stage_direction>
<scene_description>Balram sees Ashok's face lit up by his phone. He looks out the window: dark, empty streets. Balram stops the car.</scene_description>
<character>ASHOK</character>
<dialogue>What's wrong? Why'd we stop?</dialogue>
<character>BALRAM</character>
<dialogue>Something is off with the wheel, sir. Just give me a minute, sir, I'll go check.</dialogue>
<character>ASHOK</character>
<dialogue>Ok.</dialogue>
<scene_description>Balram picks up the broken bottle and exits the car.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SECLUDED DELHI STREET - CONTINUOUS \[RAIN\]</stage_direction>
<scene_description>Balram steps into the rain and soggy mud. He squats near the left rear tire. He confirms that the road is dark, deserted. He looks at bushes on the side of the road - a stretch of wasteland beyond it. He places the broken bottle by the tire. He looks in the car: the blue phone light illuminates Ashok's face. Balram taps the window. Ashok looks up.</scene_description>
<character>BALRAM</character>
<dialogue>There's something off with the wheel, sir.</dialogue>
<character>ASHOK</character>
<dialogue>Ok... maybe we should call for help?</dialogue>
<character>BALRAM</character>
<dialogue>Who will come here, sir? If you can just step outside we can fix it together.</dialogue>
<character>ASHOK</character>
<dialogue>It's raining, let's just call for help.</dialogue>
<character>BALRAM</character>
<dialogue>But sir, you'll be late for your meeting otherwise. If you can just step outside, it won't take much time.</dialogue>
<character>ASHOK</character>
<dialogue>Ah... Ok.</dialogue>
<scene_description>Ashok puts his phone away; the car darkens. He gets out.</scene_description>
<character>BALRAM</character>
<dialogue>Be careful of the bottle, sir. Let me get it away.</dialogue>
<scene_description>Balram points to the BROKEN BOTTLE AND PICKS IT UP.</scene_description>
<character>ASHOK</character>
<dialogue>This tire?</dialogue>
<character>BALRAM</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Ashok gets on his knees. Balram's POV: Ashok's skull. He wants to strike, but can't. The bottle feels heavy. Ashok turns and looks up at Balram.</scene_description>
<character>ASHOK</character>
<dialogue>It seems fine.</dialogue>
<character>BALRAM</character>
<dialogue>No sir, you should have found a replacement a long time ago.</dialogue>
<scene_description>BALRAM RAMS THE BOTTLE DOWN INTO ASHOK'S SKULL. He thrusts it down three times. Ashok falls into the mud. A HISSING sound from his lips. Balram stands over him, watching Ashok crawl about in the mud. Balram steps forward, he puts his knee onto Ashok's chest and rubs his hand over Ashok's clavicles and neck. BALRAM CUTS ASHOK'S THROAT AND KILLS HIM. He stands up and stares at Ashok's dead body. He drops the broken bottle and stares up into the rain before falling to his knees... he has done it, he is free.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING MITSUBISHI / SECLUDED DELHI STREET - NIGHT</stage_direction>
<scene_description>\[RAIN\] Balram floors it. His eyes are wild as he speeds away. He SHOUTS as loud as he can. He sees the red bag on the seat next to him and laughs. But then he is scared, realizing that he has actually done it. He has killed his master.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN STATION - NIGHT</stage_direction>
<scene_description>The rain has stopped. Balram holds the RED BAG. He's changed clothes: a T-shirt, new pants, shoes. Anxious, still no train. He sees pigeons FLAP between the roof beams; a sleeping dog. He sees a HOMELESS FAMILY AND KID. The Kid stares at Balram. ... Should he go back for Dharam? Balram curses himself and leaves the station.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S ROOM; DELHI - NIGHT</stage_direction>
<scene_description>Balram sees Dharam awake under the mosquito net. Balram reaches out his hand. Dharam takes it. They leave.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING TRAIN - MORNING</stage_direction>
<scene_description>The train travels through the landscape. Balram hugs the Red Bag and holds Dharam's hand tightly. Balram stares out the window, anxious, scared... the future...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RURAL TRAIN STATION - MORNING</stage_direction>
<scene_description>Balram and Dharam wait for the train in the middle of nowhere. It arrives. They get in and leave.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING TRAIN IN LANDSCAPE - DUSK</stage_direction>
<scene_description>The train travels under the vast sky. Balram stares out the window, the RED BAG in hand, Dharam asleep on his shoulder. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. HOTEL IN BANGALORE - VARIOUS \[PAST\]</stage_direction>
<scene_description>NIGHT - Dharam sleeps on the floor. Balram (with beard) lies awake in bed, food has been left next to him - untouched. DAY - Balram, in bed, wakes up. He sees Dharam watching him.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I am not a politician. They are extraordinary men who can kill and move on. Not me.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I didn't leave this room for four weeks until my nerves were calm.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BANGALORE STREET; BARBER - DAY</stage_direction>
<scene_description>Dharam watches Balram get his hair/beard trimmed - a new man.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The last stage in my amazing success story, sir, was to go from social entrepreneur to business entrepreneur. This was not easy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BANGALORE; TECH CITIES; VARIOUS - VARIOUS</stage_direction>
<scene_description>Bustling modern city of Bangalore. Impressive tech cities, campuses that resemble Silicon Valley.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But I had an edge. I had come to Bangalore -</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. MOVING RICKSHAW / ELECTRONICS CITY - VARIOUS</stage_direction>
<scene_description>DAY - Balram and Dharam sit in the Rickshaw and see the tech buildings: Yahoo! Dell, GE, Siemens, HP, IBM.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>- and Mr. Ashok had told me the future: "Outsourcing!"</dialogue>
<scene_description>Balram and Dharam ride down an escalator. NIGHT - Balram's POV: a lot of SUVs drop off MEN & WOMEN. Balram notices the DRIVERS getting out to open doors.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>When I saw all those SUVs coming in and out of the call centers to America, I knew what my place would be.</dialogue>
</scene>
<scene>
<stage_direction>INT. BANGALORE POLICE STATION - DAY</stage_direction>
<scene_description>A POLICEMAN escorts Balram (better dressed now) into the police station.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But how would I get rid of the competition? Then I wondered, 'what would Mr. Ashok do?'</dialogue>
<scene_description>Balram says namaste to the ASSISTANT COMMISSIONER. Balram hands him a leather bag.</scene_description>
<character>BALRAM</character>
<dialogue>Sir, I want to make a small offering of my gratitude to you.</dialogue>
<character>ASSISTANT COMMISSIONER</character>
<dialogue>For what?</dialogue>
<character>BALRAM</character>
<dialogue>For all the good you are going to do for me, sir.</dialogue>
<scene_description>As the Commissioner pokes in the bag...</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Don't worry, it wasn't all of it. But it was enough.</dialogue>
<scene_description>The Commissioner smiles. Balram sees lot of WANTED POSTERS covering a wall and spots HIS OWN FACE, a blurry photo on a WANTED FOR MURDER poster.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>You know why they never found me? Because my face could be the face of half the men in India.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BANGALORE TAXI SERVICE - NIGHT</stage_direction>
<scene_description>POLICE raid a taxi service, hassle DRIVERS, arrest the OWNER. The Asst. Commissioner nods at Balram who is across the street watching with Dharam. Balram smiles slyly.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>The police arrested all the call- center drivers for "expired" licenses... Entrepreneurs create opportunity. And that's how I got my own "start-up."</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITE TIGER DRIVERS - NIGHT \[PRESENT\]</stage_direction>
<scene_description>We travel past shining Toyota Qualises and lots of DRIVERS.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>White Tiger Drivers! I've got thirty drivers who work in shifts with twenty-six vehicles, all air- conditioned for the summer months.</dialogue>
<scene_description>It's three years later. Our pot-bellied, older Balram oversees it all.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Put together with my bank holdings, and I am worth fifteen times the sum I borrowed from Mr. Ashok.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT</stage_direction>
<scene_description>Balram's laptop, open to his website: WHITE TIGER DRIVERS, We Drive Technology Forward!</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>Your Excellency, please visit my website. If you like what you see, you can click where it says:</dialogue>
<scene_description>LAPTOP: CONTACT ASHOK SHARMA NOW. Balram turns and looks into the camera.</scene_description>
<character>BALRAM (TO CAMERA)</character>
<dialogue>Yes, "Ashok." That's what I call myself these days.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. WHITE TIGER DRIVERS - NIGHT</stage_direction>
<scene_description>A line of drivers, all from the darkness. Balram hands them pay-checks while Dharam does the book-keeping.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But I don't treat my drivers like servants, I don't care about their religion and I certainly don't call them my "family." They are my employees. I make them sign a contract and I sign it too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SITE OF ACCIDENT - NIGHT</stage_direction>
<scene_description>Balram gets out of his car at the scene of a hit-and-run. TEENAGE BROTHER yells at a DRIVER. The DEAD BOY (12) lies in the mud.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And if there is a problem, I don't let my drivers take the blame.</dialogue>
<scene_description>POLICE welcome Balram, shake his hand.</scene_description>
<character>POLICE AT SCENE</character>
<dialogue>That's the dead boy's brother. Your driver that hit him is there.</dialogue>
<scene_description>Balram looks at the corpse in the mud next to a mangled bicycle. A beat, then he speaks loudly.</scene_description>
<character>BALRAM</character>
<dialogue>I am Ashok Sharma, I am the owner of this vehicle. The blood is on my hands, not my driver.</dialogue>
</scene>
<scene>
<stage_direction>INT. BANGALORE POLICE STATION; OFFICE - NIGHT</stage_direction>
<scene_description>Balram and the angry Teenage Brother wait. The ASSISTANT COMMISSIONER enters with two POLICEMEN.</scene_description>
<character>ASSISTANT COMMISSIONER</character>
<dialogue>It's a terrible thing that has happened. But it's late....</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>I choose to do differently than my masters, I live in the light now.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEAD BOY'S HOME - DAY</stage_direction>
<scene_description>A photo of the Dead Boy with a jasmine garland around it. Balram and Dharam sit opposite the Mother and FATHER.</scene_description>
<character>BALRAM</character>
<dialogue>I want to express my deep sorrow at the death of your son.</dialogue>
<scene_description>He pulls out a BROWN ENVELOPE and sets it on the table.</scene_description>
<character>BALRAM</character>
<dialogue>There are forty thousand rupees in here. I don't give it to you because I have to, but because I want to.</dialogue>
<parenthetical>(in Kannada)</parenthetical>
<dialogue>Do you understand?</dialogue>
<scene_description>Balram sees the Teenage Brother watching from the hallway.</scene_description>
<character>BALRAM</character>
<dialogue>I want to help your other son. He can come and be a driver with me and I will take care of him if you want.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BANGALORE CAFE - SUNSET</stage_direction>
<scene_description>Dharam (school uniform) does homework; Balram reads newspaper headline: FAMILY OF 17 MURDERED IN NORTH INDIAN VILLAGE.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I'll never know what happened to my family. I could only wonder...</dialogue>
<scene_description>He folds the newspaper and puts it away.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>But for the poor there are only two ways to get to the top, crime or politics. Is it like that in your country too?</dialogue>
<scene_description>Balram notices Dharam staring at the newspaper headline.</scene_description>
<character>BALRAM</character>
<dialogue>Do you think about your mom and dad?</dialogue>
<character>DHARAM</character>
<dialogue>... Give me another glass of milk, won't you, Uncle? And a bowl of ice- cream too.</dialogue>
<character>BALRAM</character>
<dialogue>Ice cream is for Sundays.</dialogue>
<character>DHARAM</character>
<parenthetical>(hands him empty bowl)</parenthetical>
<dialogue>No. It's for today.</dialogue>
<character>BALRAM (V.O.)</character>
<dialogue>Smart boy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BANGALORE LUXURY HOTEL - DAY</stage_direction>
<scene_description>Balram, with his own POLICE ESCORT, gets to the front of a SMALL CROWD as a DELEGATION arrives with POLICE ESCORT. Balram sees a MAN emerge from one of the cars: WEN JIABAO.</scene_description>
<character>BALRAM</character>
<dialogue>Your Excellency, it's me, from our emails, sir Ashok Sharma, The White Tiger, how are you?</dialogue>
<scene_description>He shakes Wen Jiabao's hand. PRESS take photos.</scene_description>
<character>BALRAM</character>
<dialogue>I wanted to tell you one more thing, sir, we great entrepreneurs always have our sights set on tomorrow: real estate. With all these American companies coming to Bangalore, the white people will need somewhere to sleep.</dialogue>
<character>WEN JIABAO</character>
<dialogue>Thank you, sir.</dialogue>
<scene_description>But Mr. Jiabao's delegation whisks him away into the hotel.</scene_description>
<character>BALRAM</character>
<dialogue>Enjoy India, sir.</dialogue>
<scene_description>Balram watches him enter the hotel. Balram is flanked by his police escort and speaks with them.</scene_description>
<character>BALRAM</character>
<dialogue>White people are on the way out. They will be finished within our lifetime. It's the century of the brown man and the yellow man, and God save everyone else.</dialogue>
<scene_description>He puts his sunglasses on and walks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALRAM'S MOVING CAR; BANGALORE - NIGHT</stage_direction>
<scene_description>Balram drives his BMW and looks out the window thinking.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>I do think about my ex a lot, and I do miss him. He didn't deserve his fate.... AH, I should have cut the Mongoose's neck.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALRAM'S OFFICE; WHITE TIGER DRIVERS - NIGHT</stage_direction>
<scene_description>Balram typing the email at his laptop, where we first found him.</scene_description>
<character>BALRAM (V.O.)</character>
<dialogue>And sometimes I think, even if they catch me, I'll never say I made a mistake. It was all worthwhile to know, just for a day, just for an hour, just for a minute, what it means not to be a servant.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. WHITE TIGER DRIVERS - NIGHT</stage_direction>
<scene_description>Balram speaks directly to his Drivers as he gathers them and brings them outside to the front of his business.</scene_description>
<character>BALRAM</character>
<dialogue>Now, what happens in your typical Hindi film about murder? A poor man kills a rich man and then gets nightmares of the dead man pursuing him screaming: "Murderer! Shame!" It doesn't happen like that. The real nightmare is the other kind - where you didn't do it, that you didn't kill your master, that you lost your nerve, and that you're still a servant to another man. But then you wake up, the sweating stops, your heartbeat slows. The nightmare is over. You did do it. You killed your master.</dialogue>
<scene_description>Balram steps away from them and speaks directly into the camera:</scene_description>
<character>BALRAM (TO CAMERA)</character>
<dialogue>I have switched sides. I've made it. I've broken out of the coop.</dialogue>
<scene_description>He exits frame, leaving a wall of drivers, servants, perhaps new White Tigers, ready to strike, confronting the camera, confronting the audience...</scene_description>
<character>CUT TO BLACK</character>
</scene>
</script> | In 2010, entrepreneur Balram Halwai emails Chinese premier Wen Jiabao, requesting a meeting, and relating his life story. He states his belief that the Indian underclass is trapped in a perpetual state of servitude, like chickens in a chicken coop. As a young boy in Laxmangarh, Balram is offered a scholarship to a school in Delhi because of his advanced academics. He is told that he is a "white tiger," someone born only once in a century. However, when his father is unable to pay off village landlord 'the Stork', Balram is forced by his grandmother to work in the village's tea stall, and he never returns to school. Balram's father dies from tuberculosis, with no doctor to treat him. As a young man, Balram aspires to become a chauffeur for the Stork's son Ashok, who has returned from the United States with his Jackson Heights-raised wife Pinky. Balram has his grandmother sponsor his driving lessons, with the promise of sharing his chauffeur salary. Balram is hired as the Stork family's second driver, but is also given menial tasks to complete and is otherwise mistreated. Balram is kept loyal by the threat of him and his entire family being murdered if he were to conduct a betrayal. Ashok and Pinky make plans to move to Delhi, where Ashok will bribe Indian politicians so that his family would avoid paying tax money. Balram, wanting to drive for them in Delhi, exposes the secret of the family's primary driver: he is a Muslim. After the primary driver is fired (due to the family's stereotypical prejudice against Muslims), Balram joins the couple in Delhi. In contrast to other members of their family, Ashok and Pinky generally treat Balram with respect and eventually become closer to him, though they still view him as a servant. In Delhi, on Pinky's birthday, she and Ashok get drunk and force Balram to let Pinky drive, which results in her accidentally hitting and killing a child. The Stork family coerces Balram into signing a confession endorsed by his grandmother. Ultimately, nothing comes of it, but Balram is left shaken, and for the first time, is fully aware of how disposable he is to his employers. Pinky leaves Ashok to return to New York, leaving Balram to emotionally support him. Balram realizes that loyal service to Ashok was no guarantee of a comfortable life once his services were no longer needed. Balram begins to defraud Ashok with fake invoices, while making money on the side by selling the car's petrol and using the car as an unlicensed taxi. Balram encounters a series of setbacks. He angers the Stork family when he donates change to a beggar. Balram's grandmother unexpectedly sends one of his younger nephews to live with him in order to learn how to become a driver. Balram also learns that his grandmother is following through with her plans to get him married against his wishes. Meanwhile, Ashok prepares to pay a particularly large bribe, while also arranging to imminently replace Balram with a new driver. Balram has an epiphany on how to escape servitude as the "white tiger". To obtain the bribe money, Balram murders Ashok with a broken whiskey bottle and flees the city with his nephew and the money. An arrest warrant is put out for Balram, but he evades capture. Balram takes his nephew with him to Bangalore, then a bubble for large IT companies. He uses a portion of the stolen cash to bribe the police to eliminate taxi service providers for a lack of licenses. Balram starts his own taxi company, thus becoming wealthy himself. He treats his drivers as employees and not as servants. He takes personal and financial responsibility for any incidents caused by them, even employing a sibling of a child killed in an accident caused by a company driver. He sponsors his nephew's education, while acknowledging that his remaining family back home may have been killed by the Stork's men in retribution. Happy to escape servitude, Balram reveals at the end of the film that he changed his name to Ashok Sharma. |
X-Men Origins: Wolverine_2009 | tt0458525 | <script>
<scene>
<stage_direction>EXT. RURAL ROAD - DAY</stage_direction>
<scene_description>A two - lane road carves through an endless forest of towering black spruce . A flock of pintails skims over the treetops , heading south before the first snowfall . A young BOY -LRB- 12 -RRB- , undersized and feral , trudges home , bookbag strapped to his back . Black - haired and pale - skinned , the boy looks as if he has n't had a good meal in a long time . Before we hear anything the boy turns , watching the bend in the road behind him . After a moment we hear the thrum of a hard - charging engine . An Oldsmobile Super 88 rounds the bend , accelerating as it hits the straightaway . The boy steps away from the road but the car comes straight at him . The boy closes his eyes . The Oldsmobile 's brakes clamp down on the wheels and the car shivers to a halt with inches to spare . Laughter spills from the car 's open windows . Four HIGH SCHOOL LETTERMEN pile out of the car , wearing their leather - sleeved football jackets . GILMAN , the largest of the four , shakes his head and laughs .</scene_description>
<character>GILMAN</character>
<dialogue>Kid did n't even move. You see that? Where's your survival instincts, boy?</dialogue>
<scene_description>The boy says nothing . He readjusts his bookbag and resumes his long walk northward .</scene_description>
<character>GILMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Hey!</dialogue>
<scene_description>Gilman grabs the boy 's shoulder and spins him around -</scene_description>
<character>GILMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The hell you going? You hear me talking to you?</dialogue>
<scene_description>One of the other football players , MASON , walks over and inspects the boy 's face .</scene_description>
<character>MASON</character>
<dialogue>This is the kid whose old man robbed the truck stop last year.</dialogue>
<scene_description>Gilman curls his meaty hand around the back of the boy 's neck and pulls him closer , scrutinizing him . The four lettermen tower over the small boy .</scene_description>
<character>GILMAN</character>
<dialogue>You the one with the convict daddy?</dialogue>
<scene_description>The boy stares back at Gilman , unblinking .</scene_description>
<character>MASON</character>
<dialogue>That's him.</dialogue>
<character>GILMAN</character>
<dialogue>What's the matter, you about to piss your pants? Answer me.</dialogue>
<scene_description>The boy says nothing , never looking away from the bully . Gilman presses his fist , adorned with a heavy class ring , against the.boy 's cheek .</scene_description>
<character>GILMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You a tough guy like your daddy?</dialogue>
<scene_description>Gilman shoves the boy , forcing him to stumble backwards . The boy regains his balance , never taking his eyes off Gilman .</scene_description>
<character>GILMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You want to play tough guy with me? Huh?</dialogue>
<scene_description>Provoked by the boy 's lack of fear , by the insolence of his stare , Gilman rears back and punches him in the face . The boy falls to the ground . Blood spills from a gash in his cheek where the class ring cut him .</scene_description>
<character>MASON</character>
<parenthetical>( a ringside announcer . )</parenthetical>
<dialogue>Right cross to the face. and he's down!</dialogue>
<scene_description>The football players laugh , looking down at the fallen boy . The boy stands . There is still no sign of emotion on his face . No fear , no anger , no evident pain .</scene_description>
<character>GILMAN</character>
<dialogue>What's the matter? You want some more?</dialogue>
<scene_description>The boy does n't look away . The bully swings , cracking the boy in the side of the head , knocking him down again .</scene_description>
<character>GILMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( to his friends . )</parenthetical>
<dialogue>Let's get out of here.</dialogue>
<scene_description>Walking back to the car , Mason slaps Gilman on the shoulder .</scene_description>
<character>MASON</character>
<dialogue>You gave that little pissant something to think about.</dialogue>
<scene_description>Gilman grins and looks back at the boy , expecting him to be sprawled and crying on the ground . Instead the boy stands again , brushes the dirt off his shirt , and walks toward Gilman .</scene_description>
<character>GILMAN</character>
<dialogue>You got to be kidding me. I'm gon na knock the -</dialogue>
<scene_description>But Gilman 's words die in his throat as he sees something impossible happening . The gash on the boy 's cheek knits itself shut , leaving no sign of injury . Gilman is so shocked he does n't see the boy 's fist whizzing toward him , striking him in the nose . And then another punch . And then another . The boy is far smaller and weaker than Gilman , but he fights with a ferocity that seems inhuman , punching and kicking and headbutting , doing whatever it takes to fell his enemy . Gilman , stunned by the intensity of the assault , goes down , trying to protect his face from the blur of blows . Mason tries to pull the boy off his friend and suffers a bite to the hand . He howls with pain and backs off . The other two football players , amazed to see their leader getting pummeled by a boy half his size , watch in awe . The boy growls as he batters the bully . He grabs Gilman 's collar and lifts the football player 's head off the ground , prepared to deliver the coup de grace with his right fist . Three bone claws spring from the boy 's hand , serrated and razor sharp . Everything stops . Mason , clutching his wounded hand , quits hollering and stares . The other two football players blink and slowly back away . Even Gilman , moaning on the ground , hushes and tries to crawl backwards , away from this beast on top of him . But the boy is more shocked than - any of them . He stares with horror at the claws , this part of him he never knew existed . He stands and stumbles away from Gilman . Mason runs over , lifts his punch - drunk friend to his feet , and hustles him toward the Oldsmobile . The other football players pile in , slam the doors shut , and speed off , leaving the boy alone by the side of the road . The boy stares at his claws and for the first time we see fear in his eyes . He screams , a scream that echoes over the black spruce , into the darkening northern sky .</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN - MORNING</stage_direction>
<scene_description>LOGAN wakes . with a wordless shout , sitting upright , shirtless , in a bed covered with shredded bedsheets . KAYLA SILVERFOX -LRB- 25 -RRB- wraps her arms around him and whispers in his ear .</scene_description>
<character>KAYLA</character>
<dialogue>It's okay. shh. it's okay.</dialogue>
<scene_description>Logan pants , chest heaving , eyes wild , gripping the tattered sheets in his fists . Kayla holds him tight until his bone claws retract .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'm right here with you. Okay? I'm right here with you.</dialogue>
<scene_description>Kayla , a full - blooded Innu , wears her long black hair pulled back in a ponytail . She 's been sleeping in one of Logan 's flannel shirts .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The war dreams or the one where you're a kid?</dialogue>
<scene_description>Logan takes a deep breath , finally calming down . He relaxes into Kayla 's arms .</scene_description>
<character>LOGAN</character>
<dialogue>The one where I'm a kid.</dialogue>
<scene_description>Kayla runs her fingers through his thick hair , kissing his forehead . He sees that she has a small cut on her forearm . He takes her arm and looks at the wound .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I cut you.</dialogue>
<character>KAYLA</character>
<dialogue>It's nothing. Just a scratch.</dialogue>
<scene_description>She kisses him .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>We need new sheets again, baby.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARNIVAL - NIGHT</stage_direction>
<scene_description>A traveling carnival has come to a seaside New England town . The brightly - lit Ferris Wheel spins a few hundred yards inland from the dark Atlantic . LOCALS roam through the carnival , lining up to ride the Tilt - A - Whirl . KIDS carrying plumes of cotton candy race from shoot - 'em - up games to free throw competitions . A CARNY BARKER of the old school , wearing a patched - suit and a derby , beckons the curious to his attraction .</scene_description>
<character>CARNY BARKER</character>
<dialogue>Come see the notorious Bird Man! Half - man, half - eagle, is he an angel from Heaven or a spawn of Satan? Ladies and gentlemen, tonight is your last chance to see the creature you've all been hearing about :</dialogue>
<scene_description>We follow two BOYS who hand the barker their tickets , pull aside the curtain and step into the sideshow .</scene_description>
</scene>
<scene>
<stage_direction>INT. SIDESHOW - CONTINUOUS</stage_direction>
<scene_description>. joining a small crowd of CURIOUS ONLOOKERS . The tent is dark save for a spotlight fixed on a tiny stage . SHERRLENE , a peroxide - blonde in her fifties , whose tanned hide is covered with interlaced tattoos , slaps a tribal beat on a pair of bongos . The crowd hushes . A tall man in a hooded robe shuffles toward , the stage like a boxer long past his prime . He stands in front of the gawkers , head bowed , face shadowed by his hood . Finally BEAK throws off his robe and raises his wings to the crowd . As advertised , he looks like an amalgam of man and bird , with three - toed , clawed feet and dirty - feathered wings . His very human , tired brown eyes are set in a face dominated by a long sharp beak . He stares back at the gaping crowd . Beak looks more pathetic than monstrous . His skinny limbs do n't seem very strong and he projects an air of weary resignation , not menace . But when he flaps his gray wings and caws at the onlookers , the children shriek in terror and bury their faces in their father 's legs .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEAK'S TRAILER - NIGHT</stage_direction>
<scene_description>Sherrlene and Beak sit at a card table , playing gin and drinking bourbon .</scene_description>
<character>SHERRLENE</character>
<dialogue>I'm gon na knock with three.</dialogue>
<character>BEAK</character>
<dialogue>Are you kidding me?</dialogue>
<scene_description>He throws down his hand in disgust .</scene_description>
<character>SHERRLENE</character>
<dialogue>You always hold out for gin. You could have knocked a while ago.</dialogue>
<character>BEAK</character>
<dialogue>Yeah, well, I'm an eternal. optimist.</dialogue>
<scene_description>Sherrlene tallies the points .</scene_description>
<character>SHERRLENE</character>
<dialogue>All right, I'm gon na hit it. You want to come look for shells with me on the beach tomorrow?</dialogue>
<character>BEAK</character>
<dialogue>I do n't want to scare away any tourists.</dialogue>
<character>SHERRLENE</character>
<dialogue>Aw, sweetie, it's winter. No tourists. I'll come get you in the morning.</dialogue>
<scene_description>Sherrlene collects her things , stands , and kisses Beak on the side of his feathered head .</scene_description>
<character>BEAK</character>
<dialogue>Goodnight, Sherrlene.</dialogue>
<character>SHERRLENE</character>
<dialogue>Night, Beak. Sweet dreams.</dialogue>
<scene_description>Sherrlene closes the door behind her and Beak flips through the deck of cards , preparing for another lonely night . A knock on the door .</scene_description>
<character>BEAK</character>
<dialogue>You forget your purse?</dialogue>
<parenthetical>( another knock . )</parenthetical>
<dialogue>All right, all right, I'm coming.</dialogue>
<scene_description>He stands and opens the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEAK'S TRAILER - CONTINUOUS</stage_direction>
<scene_description>A towering figure in a long black coat looms beside the trailer 's door .</scene_description>
<character>BEAK</character>
<dialogue>Show's over, pal.</dialogue>
<scene_description>VICTOR CREED is shrouded in shadows , but when he grins his white fangs gleam . He drapes his arm around Beak and drags the birdman inside the trailer .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Show's never over for you, freak.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEAK'S TRAILER - CONTINUOUS</stage_direction>
<character>BEAK</character>
<dialogue>You want money? There's twenty bucks on the dresser. That's all I have.</dialogue>
<character>VICTOR CREED</character>
<dialogue>I just want to hear you talk a minute before I cut your lungs out.</dialogue>
<scene_description>Creed shoves Beak back into his seat , picks up the bottle of bourbon , examines the label , and guzzles it . Beak opens his mouth but no words come out . Finally :</scene_description>
<character>BEAK</character>
<dialogue>You're the one that's been killing mutants.</dialogue>
<scene_description>Creed wipes his lips with the back of his clawed hand .</scene_description>
<character>BEAK</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>But you. you're one of us.</dialogue>
<character>VICTOR CREED</character>
<dialogue>Us? There's no us. There's you and there's me, and in a minute, just me.</dialogue>
<scene_description>Creed smiles down at his feathered target . Beak tries to shield his body with his wings .</scene_description>
<character>BEAK</character>
<dialogue>Please. I never hurt anybody, my whole life.</dialogue>
<character>VICTOR CREED</character>
<dialogue>Let me show you how it's done.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEAK'S TRAILER - CONTINUOUS</stage_direction>
<scene_description>An awful , prolonged shriek escapes from the trailer .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN - DAY</stage_direction>
<scene_description>The small log cabin sits in a clearing in a jack pine forest . Winter has come to the north country ; the ground and tree branches are covered with several inches of snow . Logan chops firewood behind the cabin , splitting the logs with expert axe strikes , smoking a cheap cigar . His nose wrinkles as he sniffs the air .</scene_description>
<character>LOGAN</character>
<dialogue>Smells like government.</dialogue>
<scene_description>Behind Logan , two approaching men in dark suits and black overcoats glance at each other . Logan , halving another block of wood , does n't turn around . One of the newcomers , STRYKER , was a colonel in the Special Forces . He still has the look . His hair is cropped short , his bearing is military , and his blue eyes are fierce . CHRISTOPH NORD , A.K.A. AGENT ZERO , looks more like a death row convict than a military man . A family of tattooed spiders walk down his neck .</scene_description>
<character>STRYKER</character>
<parenthetical>( SMILING . )</parenthetical>
<dialogue>I even showered today.</dialogue>
<scene_description>Logan turns , the axe gripped in his hand .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Been a long time, Logan. You have n't aged a day. Everyone else gets old and gray, but not you.</dialogue>
<character>LOGAN</character>
<dialogue>How'd you find me?</dialogue>
<character>STRYKER</character>
<dialogue>We never lost you, my friend. I believe you know my colleague?</dialogue>
<scene_description>Logan and Agent Zero stare at each other . There is a history between these two and clearly the memories are not fond .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>We're with the Department of Agriculture now.</dialogue>
<character>LOGAN</character>
<dialogue>Agriculture? You working with farmers?</dialogue>
<scene_description>Agent Zero grins . There is nothing pleasant about his grin , .</scene_description>
<character>AGENT ZERO</character>
<dialogue>Pest Control Division. Working with exterminators.</dialogue>
<character>LOGAN</character>
<parenthetical>( puffing on his cigar . )</parenthetical>
<dialogue>Still shooting first, asking questions later?</dialogue>
<scene_description>In one blindingly fast motion , Agent Zero pulls a customized automatic from his shoulder holster , fires , and reholsters .</scene_description>
<character>AGENT ZERO</character>
<dialogue>Still smoking cheap cigars?</dialogue>
<scene_description>Logan spits the butt of the severed cigar from his mouth and clenches his fists .</scene_description>
<character>LOGAN</character>
<dialogue>That was a buck twenty - five, asshole.</dialogue>
<scene_description>Stryker holds up both hands , one palm to Logan , one to Zero .</scene_description>
<character>STRYKER</character>
<dialogue>Boys, please.</dialogue>
<parenthetical>( to Logan . )</parenthetical>
<dialogue>Could we take a minute of your time?</dialogue>
<character>LOGAN</character>
<dialogue>You're taking it.</dialogue>
<character>STRYKER</character>
<dialogue>We want you back.</dialogue>
<scene_description>Logan turns away from them . He tosses aside the axe , picks up a load of firewood and . stacks . it beside the cabin .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You're a born warrior. You can hide up here as long as you want, that's never gon na change.</dialogue>
<character>LOGAN</character>
<dialogue>Not interested.</dialogue>
<character>STRYKER</character>
<dialogue>It's. creative work, I can assure you of that. And it pays well.</dialogue>
<character>LOGAN</character>
<dialogue>Already got a job.</dialogue>
<character>AGENT ZERO</character>
<dialogue>Lumberjack. Eighteen grand a year.</dialogue>
<character>LOGAN</character>
<dialogue>Eighteen five.</dialogue>
<character>AGENT ZERO</character>
<dialogue>You content chopping down trees?</dialogue>
<character>LOGAN</character>
<dialogue>Yeah, I am. It's good work. And I have n't killed anybody in three years.</dialogue>
<character>AGENT ZERO</character>
<dialogue>Starting to miss it?</dialogue>
<character>LOGAN</character>
<dialogue>Right about now I am.</dialogue>
<scene_description>Agent Zero grins , enjoying the game . Stryker , seeing that this is going badly , tries to break the tension .</scene_description>
<character>STRYKER</character>
<dialogue>We're putting together a team. Best men in the business. Men with. special qualities. Men like you.</dialogue>
<character>LOGAN</character>
<dialogue>Forget it.</dialogue>
<scene_description>Logan walks around to the front of the cabin . Stryker and Agent Zero follow . Logan 's battered old pickup truck is parked beside the newcomers ' Lincoln .</scene_description>
<character>STRYKER</character>
<dialogue>It's a team of hunters. We're going after some very bad people.</dialogue>
<scene_description>Logan climbs into the driver 's seat .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You read the papers, Logan? They're killing mutants.</dialogue>
<scene_description>Logan closes the door , turns the key and revs the engine to warm it . Stryker taps on the window . Logan grits his teeth and rolls down the window , not looking at the colonel .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Listen to me. They have names. They have addresses.</dialogue>
<character>LOGAN</character>
<dialogue>I can take care of myself.</dialogue>
<character>STRYKER</character>
<dialogue>All right, forget about yourself. Your country needs you.</dialogue>
<character>LOGAN</character>
<dialogue>I'm Canadian.</dialogue>
<scene_description>He hits the gas , forcing Stryker to jump back lest the tires run over his foot . Stryker and Agent Zero watch him go .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DISTRICT UNIFIED SCHOOL - DAY</stage_direction>
<scene_description>Logan parks in the lot of a sprawling brick grammar school . He gets out of the truck and walks toward the main building . The school day has ended . STUDENTS meet up with their MOMS or DADS for the ride home . As Logan rounds a corner , he stops in his tracks , looking around . Something 's not quite right . Logan ` ducks his head at the last . possible second and a snowball whizzes past , missing him by inches . Six FOURTH GRADERS -LRB- four boys and two girls -RRB- charge at him , hurling snowballs and screaming .</scene_description>
<character>FOURTH GRADERS</character>
<dialogue>Get him!</dialogue>
<scene_description>Logan jumps back around the corner , out of sight . The fourth graders chase after him , round the corner with their throwing hands cocked , ready to launch some serious ice . Logan is nowhere in sight . The fourth graders turn in confused circles , searching for their target , snowballs melting in their hands .</scene_description>
<character>LOGAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, fellas.</dialogue>
<scene_description>The boys and girls look up and see Logan sitting on a second - floor window ledge . He has already formed six perfect snowballs , with which he proceeds to pelt the fourth graders . The kids run , screaming and laughing , nearly colliding with Kayla , who rounds the corner and stares up at Logan .</scene_description>
<character>KAYLA</character>
<dialogue>Nice.</dialogue>
<scene_description>Logan , caught with a snowball in his hand , looks sheepish .</scene_description>
<character>LOGAN</character>
<dialogue>They started it.</dialogue>
</scene>
<scene>
<stage_direction>INT. PICKUP TRUCK - LATER</stage_direction>
<scene_description>Logan drives Kayla home over roads slick with black ice . She sings softly along with the country song on the radio .</scene_description>
<character>LOGAN</character>
<dialogue>Stryker came by the house today.</dialogue>
<character>KAYLA</character>
<dialogue>Stryker? Colonel Stryker? The one you told me about?</dialogue>
<parenthetical>( off Logan 's nod . )</parenthetical>
<dialogue>What did he want?</dialogue>
<character>LOGAN</character>
<dialogue>Wants me back.</dialogue>
<character>KAYLA</character>
<dialogue>And?</dialogue>
<character>LOGAN</character>
<dialogue>Told him no.</dialogue>
<character>KAYLA</character>
<dialogue>So why ca n't they get someone else?</dialogue>
<scene_description>Logan thinks about it for a moment . When he speaks there is a degree of self - loathing in his tone .</scene_description>
<character>LOGAN</character>
<dialogue>I'm the best there is at what I do. And what I do best is n't very nice.</dialogue>
<scene_description>Kayla studies the side of his face for a moment .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe he's right. Maybe it's the only thing I'm good for.</dialogue>
<scene_description>Kayla watches him . Logan shakes his head as if ridding himself of an errant thought .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Son of a bitch had me thinking about it for a minute.</dialogue>
<scene_description>He wraps his arm around her shoulders and pulls her closer .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'm not going anywhere. First time in my life, I do n't feel like a freak.</dialogue>
<character>KAYLA</character>
<dialogue>Hey. You're not a freak.</dialogue>
<character>LOGAN</character>
<dialogue>Most guys do n't have to worry about gutting their girlfriend when they have a bad dream.</dialogue>
<character>KAYLA</character>
<dialogue>You're not a freak. You've got a gift.</dialogue>
<character>LOGAN</character>
<dialogue>A gift?</dialogue>
<scene_description>Logan shakes his head , staring at the black ribbon of road .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You can return a gift.</dialogue>
</scene>
<scene>
<stage_direction>INT. CABIN - NIGHT</stage_direction>
<scene_description>A well - built fire burns in the fireplace . Logan and Kayla sit naked in front of it , wrapped in an old flannel quilt .</scene_description>
<character>KAYLA</character>
<dialogue>The kids made cornhusk dolls today in Arts and Crafts.</dialogue>
<scene_description>She reaches for her bag and pulls out a little doll .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I made one for you.</dialogue>
<scene_description>Kayla hands him the doll and he examines it by firelight . Given the limitations of the art form , it 's a skillful representation of Logan , unique hairstyle and all .</scene_description>
<character>LOGAN</character>
<dialogue>I look like Elvis.</dialogue>
<character>KAYLA</character>
<dialogue>You're Elvis with claws.</dialogue>
<scene_description>The moon , swollen and red - hued , rises above the dark hills , framed in the cabin 's window .</scene_description>
<character>LOGAN</character>
<dialogue>Full moon tomorrow.</dialogue>
<character>KAYLA</character>
<dialogue>You know why the moon's so lonely?</dialogue>
<scene_description>Logan shakes his head . Kayla lies back , resting her head on Logan 's leg as he plays with her hair .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>She used to have a lover. Kuekuatsheu. They lived in the Spirit World and every night they'd wander the skies together. But one of the other spirits was jealous. Trickster wanted the Moon for himself. So he told Kuekuatsheu the Moon asked for flowers. He told him to come to our world and pick her some wild roses.</dialogue>
<character>LOGAN</character>
<dialogue>Never trust a guy named Trickster.</dialogue>
<character>KAYLA</character>
<dialogue>Yeah, well, you do some stupid things when you're in love. Kuekuatsheu did n't know that once you leave the Spirit World, you can never go back. Now he's trapped here. Every night the Moon searches for him and every night he sees her in the sky and howls her name. but he can never touch her again.</dialogue>
<scene_description>For a moment they 're both quiet , contemplating the sad myth .</scene_description>
<character>LOGAN</character>
<dialogue>Koo - koo - choo got screwed.</dialogue>
<character>KAYLA</character>
<dialogue>Kuekuatsheu. The Wolverine.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CABIN - NIGHT</stage_direction>
<scene_description>Viewed from a distance , the little cabin looks warm and inviting , the firelight shining from the windows . Something watches from the edge . of the dark woods . Something monstrous , its black talons carving gashes in the trunk of a pine tree .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOGGING CAMP - MORNING</stage_direction>
<scene_description>Kayla drops Logan off at the logging camp . The site is already loud with motorized activity . TRIMMERS remove the limbs from fallen trees . TEAMSTERS in forklifts load logs onto flatbed trucks . Logan comes around to the driver 's side window , holding his orange Husqvarna chainsaw in one hand .</scene_description>
<character>KAYLA</character>
<dialogue>Be careful.</dialogue>
<scene_description>Logan bends forward to kiss her on the lips . He turns and walks towards a crew of LUMBERJACKS circled around a SUPERVISOR with a clipboard . Logan turns when he hears a honk . Kayla leans out the window .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I love you, by the way.</dialogue>
<scene_description>Logan notices that dozens of lumberjacks are watching this scene . He clears his throat .</scene_description>
<character>LOGAN</character>
<dialogue>I love you, too.</dialogue>
<character>SUPERVISOR</character>
<parenthetical>( thick Maine accent . )</parenthetical>
<dialogue>We all love you, Casanova, but could we get to work here? We need to let some daylight in the swamp.</dialogue>
<scene_description>The lumberjacks laugh loudly . Damage done , Kayla waves a cheerful goodbye and drives away from the camp . Logan trudges into the circle of lumberjacks , who make kissie - kissie sounds and slap his shoulder .</scene_description>
<character>SUPERVISOR</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>All right, I need a team of choppers for 3B, that's gon na be Phelan, Marcuse, Van Mier and Logan. Two teams for 3C.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCESS ROAD - MORNING</stage_direction>
<scene_description>Kayla steers the pickup along the access road leading away . from the logging camp . An eighteen - wheel flatbed loaded with trimmed logs blocks the road . Men in reflective vests stand on the flatbed , securing the load with chains . Kayla hits the brakes and checks - her watch . She 's late . She taps the horn . A FOREMAN ambles over to her , in no particular rush .</scene_description>
<character>FOREMAN</character>
<dialogue>Ca n't move the truck till the load's tied down.</dialogue>
<character>KAYLA</character>
<dialogue>Please? I'm already late.</dialogue>
<character>FOREMAN</character>
<dialogue>Not gon na happen, ma'am.</dialogue>
<scene_description>The foreman thinks about it , sighs , and changes his tune .</scene_description>
<character>FOREMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( yelling to truck driver . )</parenthetical>
<dialogue>Hey Zeke! Pull this mother over. Lady's got to get through.</dialogue>
<scene_description>Moments later the truck rolls forward , enabling Kayla to scoot through in her pickup . She toots her horn and waves .</scene_description>
<character>KAYLA</character>
<dialogue>Thanks, fellas.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIMBER STAND - MORNING</stage_direction>
<scene_description>Logan and three other lumberjacks - PHELAN , MARCUSE , and VAN MIER - tramp through the woods towards their designated area , carrying their chainsaws and helmets . Phelan , whiskey - bellied and flushed from the exertion , has fallen behind .</scene_description>
<character>PHELAN</character>
<dialogue>You all want to ease the pace a little bit? Trees ai n't going anywhere.</dialogue>
<scene_description>Logan , in the lead , stares at a crude smiley face carved into a tall pine tree . His gaze travels from the carving to something sitting on the forest floor .</scene_description>
<character>PHELAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What you got there?</dialogue>
<scene_description>The other lumberjacks gather around Logan . A severed bear 's head , haloed by buzzing flies , rots in the sun .</scene_description>
<character>PHELAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Goddamn.</dialogue>
<character>VAN MIER</character>
<dialogue>Hunter?</dialogue>
<character>MARCUSE</character>
<dialogue>Why would a hunter leave the head?</dialogue>
<character>LOGAN</character>
<dialogue>Bullet did n't kill this bear.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Claws did.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUCK - MORNING</stage_direction>
<scene_description>Kayla sings along with the tape on the tape deck .</scene_description>
<character>KAYLA</character>
<dialogue>Lolly Lolly Lolly get your adverbs here, Lolly Lolly Lolly got some adverbs here, Come on down to Lolly's get the adverbs here.</dialogue>
<scene_description>Rounding a corner on the narrow access road , Kayla nearly collides with a man in a long black coat . She slams on the brakes and the truck shudders to a halt . The man 's back is turned to the truck , his head bowed . His hair hangs below his shoulders , clotted with dirt , as if he 's been sleeping in the woods for weeks . Kayla leans out of the open truck window . Before she can speak , the man in the long black coat turns . It 's not just his size that frightens us , though the man is massive . It 's not just the four - inch - long black talons curling from his fingertips , or the gleaming fangs he licks as he smiles at her . What terrifies us most are his eyes . They are a shark 's eyes , black and loveless and utterly inhuman . Victor Creed walks toward the truck . He scrapes his talons over the hood : screeeeee . Five parallel gashes now scar the hood , carved straight through the steel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMBER STAND - CONTINUOUS</stage_direction>
<scene_description>Logan , hearing a noise the other men ca n't , rises from his crouch . He looks to the west , listening carefully .</scene_description>
<character>PHELAN</character>
<dialogue>What's the matter -</dialogue>
<scene_description>Logan holds up a hand : quiet . He hears a distant scream . A. voice he knows better than any other . He runs , leaving his astonished co - workers behind . No one can run through the woods faster than Logan and ` Logan has never needed to run faster . He vaults fallen trees , ducks under branches , accelerates when he hits the access road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCESS ROAD - MINUTES LATER</stage_direction>
<scene_description>Logan sees the pickup truck in the distance . Even a hundred yards away he can tell that something is.wrong . It seems impossible that he could run any faster , but now he does , reaching the truck in seconds . He sees the claw marks gouged through the steel hood . He sees.the driver 's side door tossed onto the asphalt twenty yards . from the truck . And finally he sees Kayla , curled in the fetal position on the side of the access road . Blood puddles beneath her . Her skin has already begun to lose its ` color . He runs to her , kneels beside her body , hands checking for a pulse , listening for breath , trying desperately to find any sign of life in her lifeless form .</scene_description>
<character>LOGAN</character>
<dialogue>Come on, you're okay. Say something. Say something, darling. Say something. Kayla, come on.</dialogue>
<scene_description>He cradles her in his arms .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You're okay. You're okay.</dialogue>
<scene_description>He rocks back and forth , her lifeless body clutched tightly in his arms , his eyes clenched shut . The veins bulge in his neck , every muscle in his body tenses , as if there were a beast inside him trying to break free of his skin .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASADY'S BAR & GRILL - DAY</stage_direction>
<scene_description>The local dive opens early . TOWN DRUNKS sit by themselves , smoking cigarettes , sipping the day 's first hair - of - the - dog , reading the paper or staring into their beer . Victor Creed sits at the bar , carving a crude smiley face into the wood with the claw of his index finger . He looks up and sees the BARTENDER staring at him . The bartender does n't approve of the vandalism , but he 's not about to say anything . Creed taps the rim of his glass . The bartender comes over with a bottle of George Dickel Tennessee whiskey . He fills Creed 's glass halfway - a standard pour . Creed stares at the bartender . He taps the glass again . The bartender , hand shaking , fills the glass to the brim . Creed raises the whiskey to the light .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Stuff do n't work on me. I drink and drink and I never feel any different.</dialogue>
<scene_description>He downs the full glass of whiskey with a swallow . He looks around the bar , at the pool table in the back , the Wurlitzer jukebox , the stacked bottles of liquor .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You got any insurance on this place?</dialogue>
<character>BARTENDER</character>
<dialogue>Insurance? I guess so. Why?</dialogue>
<scene_description>Creed wipes his mouth with the back of his hand .</scene_description>
<character>VICTOR CREED</character>
<dialogue>'Cause it's about to get ugly.</dialogue>
<scene_description>Logan walks into the tavern , sniffing the air . He sees Creed sitting on the barstool , back to the door . Logan approaches the bar , never taking his eyes off Creed . Finally Creed turns to look at Logan . He stands , towering above the smaller man . Logan sees a splotch of dried blood on the back of Creed 's hand . Creed knows Logan is looking at it . He lifts his hand to his mouth and licks the blood off .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Sweet girl. Tasted like strawberry jam.</dialogue>
<scene_description>The bone claws burst from Logan 's hands , pale , white , and serrated . He growls and swings at Creed 's head . The big man is fast . He ducks under the claws , grinning and circling like a boxer , happy that he 's finally got a decent adversary . The bartender and the local drunks have seen plenty of bar fights , but not ones featuring clawed mutants . They run .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You can scare off the civilians with those, sonny boy. But I got claws of my own.</dialogue>
<scene_description>He swings , raking his talons across Logan 's chest , drawing first blood . Logan lunges at Creed and the battle begins . - The pace of the combat is startling , the physical power stupendous . A missed swipe by Creed ends with him clawing out the guts of the jukebox . Logan jumps at his enemy and gets swatted into the wall , smashing the plasterboard . Creed grabs Logan by the collar and tosses him onto the pool table . Creed brings his fist down , looking to pulverize Logan 's skull , but the smaller man rolls clear . Creed 's fist shatters the slate and the table collapses . Clearing his head on the sawdusted floor , Logan sees the eight ball rolling past . He picks it up and hurls it at Creed 's head . Creed catches the eight ball in his left hand and squeezes his fist shut . He opens his hand and lets the powdered remains spill onto the floor . Logan springs to his feet and swings at creed , again and again , his claws whooshing through the air . Creed , despite his bulk , is an elegant fighter . He circles just out of reach , grinning as the claws slash past his face . Creed grabs Logan 's right wrist as it flies by . He grabs the left wrist . His wet fangs glisten as they plunge toward Logan 's throat . With no room to dodge , Logan drives his head forward , smashing Creed 's face with a glorious headbutt . As Creed staggers back , Logan kicks him in the chest , knocking the big man over the bar , where he crashes into the bottles of liquor and slides to the floor in a tumult of glass shards and alcohol . Logan sees a lit cigarette in an ashtray on one of the tables . He picks the butt up and flicks it over the bar . The cigarette ignites the spilt alcohol . Creed roars and rises to his feet , a burning man . He vaults over the bar and advances on Logan . The flames consume his overcoat , licking at his skin . Creed slaps them out with his palms , apparently oblivious to the pain .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You put up a better fight than your girl did.</dialogue>
<scene_description>Creed snatches Logan and slings him headfirst through the plate glass window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Logan hits the snow - covered pavement hard , splinters - of glass in his hair , his face bloodied from dozens of small cuts . Creed steps out the bar . As Logan struggles to his feet Creed kicks out his legs and drops him again . Creed crouches beside Logan , grabs the back of his head , and smashes his face into the concrete . The beating gets savage , creed hammering Logan again and again . Logan 's healing factor can not keep up with the violence being done to his body .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Time you got declawed, kitty kat.</dialogue>
<scene_description>Creed lifts his heavy black boot and brings it down hard on the extended claws of Logan 's left hand . Logan howls as the - bone claws shatter . Creed repeats the process on Logan 's right hand .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You were a tough little guy. But there's always someone tougher.</dialogue>
<scene_description>Creed plunges his clawed hand into Logan 's chest . Logan gasps , eyes widening . His tolerance for pain is world - class but this is another level of suffering .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>And it's always me.</dialogue>
<scene_description>Creed stands , staring down at Logan 's unmoving body . Sirens moan in the distance . Creed walks away . Logan bleeds in the snow . We rise above him , higher and higher , his battered body dwindling as we rise with the smoke .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL EMERGENCY ROOM - DAY</stage_direction>
<scene_description>Two MALE NURSES shove a gurney down the corridor . Logan is flat on his back , bloody and unconscious . A SURGEON hurries after them , pulling on latex gloves .</scene_description>
<character>SURGEON</character>
<dialogue>We know what we're looking at?</dialogue>
<character>MALE NURSE #1</character>
<dialogue>Bar fight.</dialogue>
<character>MALE NURSE #2</character>
<dialogue>Multiple knife wounds.</dialogue>
</scene>
<scene>
<stage_direction>INT. OPERATING ROOM - CONTINUOUS</stage_direction>
<scene_description>The male nurses transfer Logan from the gurney to the operating bed . One FEMALE NURSE prepares Logan 's arm for an IV while a second NURSE cuts open his blood - soaked shirt with surgical scissors . The frenetic activity in the room ceases . Everyone stares at Logan 's unblemished chest .</scene_description>
<character>SURGEON</character>
<dialogue>What is this?</dialogue>
<scene_description>Logan lunges forward , grabbing the surgeon 's collar and pulling the startled man 's face next to his own .</scene_description>
<character>LOGAN</character>
<dialogue>Where is he?</dialogue>
<character>MALE NURSE #1</character>
<dialogue>Hey, hey, easy -</dialogue>
<scene_description>The male nurses struggle to restrain Logan but he 's too strong for them . The surgeon gasps for air .</scene_description>
<character>LOGAN</character>
<dialogue>Where is he?</dialogue>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>His name is Victor Creed.</dialogue>
<scene_description>Logan turns and sees Stryker standing at the entrance to the operating room .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I can help you find him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL - DAY</stage_direction>
<scene_description>Logan storms out of the hospital , followed by Stryker .</scene_description>
<character>STRYKER</character>
<dialogue>He escaped from an ultramax penitentiary in Nevada last year. Started murdering mutants. Shape - changer in New Mexico, pair of telekinetic twins in California -</dialogue>
<scene_description>Logan turns on Stryker , grabbing the colonel by the throat and shoving him against a lamp post .</scene_description>
<character>LOGAN</character>
<dialogue>Three years I been here. Three years everything's good. Nobody knows me. And then one day you show up and the next day she's dead.</dialogue>
<character>STRYKER</character>
<dialogue>I came to warn you -</dialogue>
<character>LOGAN</character>
<dialogue>You knew he was coming.</dialogue>
<scene_description>Stryker shakes his head as well as he can with Logan 's hand on his throat . Stryker 's face is turning red .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>How did you know?</dialogue>
<character>STRYKER</character>
<dialogue>He got the List.</dialogue>
<character>LOGAN</character>
<dialogue>What list?</dialogue>
<scene_description>Stryker chokes , gasping for air . Logan eases up on his grip but does n't release the man . Stryker takes a deep breath .</scene_description>
<character>STRYKER</character>
<dialogue>The List. Every known mutant in North America. Government's been keeping it for years. Names, addresses, everything.</dialogue>
<character>LOGAN</character>
<dialogue>How did he get it?</dialogue>
<character>STRYKER</character>
<dialogue>Someone must have leaked it to him. There are people in Washington who want to see you all destroyed.</dialogue>
<scene_description>Logan releases Stryker . The ex - colonel straightens his jacket collar and composes himself .</scene_description>
<character>LOGAN</character>
<dialogue>Creed's a mutant, too.</dialogue>
<character>STRYKER</character>
<dialogue>Apparently he does n't have much tribal loyalty.</dialogue>
<scene_description>Logan turns and walks away . He looks like a homeless man , his clothes torn and bloodied , his hair disheveled . He walks fast . Stryker calls after him .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do you have a plan, Captain?</dialogue>
<character>LOGAN</character>
<dialogue>I'm not in the Army anymore.</dialogue>
<character>STRYKER</character>
<dialogue>Do you have a plan?</dialogue>
<scene_description>Logan turns and stares at Stryker .</scene_description>
<character>LOGAN</character>
<dialogue>I'm gon na track him down and I'm gon na end him. That's the plan.</dialogue>
<character>STRYKER</character>
<dialogue>You already tried that. He's a hundred miles away and you're walking out of the hospital.</dialogue>
<scene_description>Logan 's fists are clenched . He 's ready to hammer Stryker into the ground , but the older man does not back down .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You ca n't beat him. Not the way you are right now. You've probably gone your whole life without losing a fight, but I'm telling you now, you ca n't beat him.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Unless I give you the tools.</dialogue>
<scene_description>Logan glares at Stryker , still itching for immediate revenge .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You come with me, I promise you two things. You will suffer more pain than any other man could bear. And you will have your revenge.</dialogue>
<scene_description>Logan stares into Stryker 's eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - DAY</stage_direction>
<scene_description>A black helicopter lands on a concrete helipad inside the walls of the massive compound . SENTRIES armed with assault rifles man the guard towers , scanning the perimeter with binoculars . Logan , Stryker and Agent Zero step out of the helicopter . Logan glances around the foreboding place before following Stryker inside the main building .</scene_description>
</scene>
<scene>
<stage_direction>INT. SURGICAL PREP ROOM - DAY</stage_direction>
<scene_description>Logan lies on his back on an examining table , naked save for a strategically - placed towel . A red - bearded scientist , DR. CORNELIUS , draws blood from Logan with a syringe . An Army surgeon , CAROL HINES , marks Logan 's skin with an indelible pen . He looks like a Maori warrior , his body mapped with strange lines , dots and x 's . Stryker watches Hines work .</scene_description>
<character>STRYKER</character>
<dialogue>Could you unsheath your claws?</dialogue>
<scene_description>Logan raises his left hand . The bone claws pop out , the same length they were before Creed shattered them .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Remarkable. Full regeneration.</dialogue>
<scene_description>Logan examines the markings on his forearm .</scene_description>
<character>LOGAN</character>
<dialogue>The hell you planning on doing to me?</dialogue>
<scene_description>Hines gives Stryker a worried look but he ignores her .</scene_description>
<character>STRYKER</character>
<dialogue>We're going to make you indestructible. But first we have to destroy you.</dialogue>
<scene_description>Stryker heads for the door but stops midway and turns .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I forgot to give you something.</dialogue>
<scene_description>He reaches into his jacket pocket , pulls out an old set of dog tags and tosses them to Logan . Logan inspects the tags with ambivalence .</scene_description>
<character>LOGAN</character>
<dialogue>Never wanted to put these on again.</dialogue>
<character>STRYKER</character>
<dialogue>Held on to them for years. Figured you'd be back one day.</dialogue>
<scene_description>Logan slips the steel chain over his head .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( SMILING . )</parenthetical>
<dialogue>Now you'll always know your name.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - DAY</stage_direction>
<scene_description>Stryker walks down a long concrete corridor lit by fluorescent ceiling lights . Hines steps out of the prep room and hurries after him .</scene_description>
<character>HINES</character>
<dialogue>Sir?</dialogue>
<scene_description>Stryker stops and waits.for her to catch up .</scene_description>
<character>HINES</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I know we've discussed this before -</dialogue>
<scene_description>He knows what she 's going to say . He shakes his head and continues down the hallway , forcing Hines to chase after him .</scene_description>
<character>STRYKER</character>
<dialogue>Ad nauseam, Lieutenant.</dialogue>
<character>HINES</character>
<dialogue>Anesthetic wo n't work on him. His healing factor neutralizes drugs. Including painkillers.</dialogue>
<character>STRYKER</character>
<dialogue>He can handle the pain.</dialogue>
<character>HINES</character>
<dialogue>We've never conducted any animal testing.</dialogue>
<character>STRYKER</character>
<dialogue>No other animal would survive the experiment.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL PREP ROOM - CONTINUOUS</stage_direction>
<scene_description>Logan , wearing a hospital - style robe , stands by the closed door . No other human could hear the conversation down the hallway . Logan catches every word .</scene_description>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He might not, either. There's a significant chance the procedure will kill him.</dialogue>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Correct. Some experiments succeed, some fail. That's why we call them `` experiments.''</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
<character>STRYKER</character>
<dialogue>The man's well - being is not my concern. Proving that the science works - that's what matters.</dialogue>
<scene_description>Hines does not relish confrontation and she 's afraid of Stryker . But she gives it one more try .</scene_description>
<character>HINES</character>
<dialogue>Sir. I took the Hippocratic Oath. I swore I'd never intentionally harm another human being.</dialogue>
<scene_description>Stryker turns on Hines , jabbing his finger at her .</scene_description>
<character>STRYKER</character>
<dialogue>You also swore. to protect your nation. You remember that oath, Lieutenant Hines?</dialogue>
<character>HINES</character>
<dialogue>Yes sir, but I do n't understand why -</dialogue>
<character>STRYKER</character>
<dialogue>I do n't need you to understand. I need you to follow orders.</dialogue>
<scene_description>Stryker continues down the corridor , leaving Hines standing alone in the fluorescent light .</scene_description>
</scene>
<scene>
<stage_direction>INT. SURGICAL PREP ROOM - MOMENTS LATER</stage_direction>
<scene_description>Hines enters the room to find Logan sitting on the examining table , paging through a magazine . He smiles up at her .</scene_description>
<character>LOGAN</character>
<dialogue>You ready for me, Doc?</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - LATER</stage_direction>
<scene_description>Hines and two MEDICAL TECHNICIANS accompany Logan to a water - filled plexiglass tank the size of a lidless coffin . An array of stainless - steel machines crowds around the tank , including a series of robotic arms that taper into foot - long needles . One wall of the theater is glass . Behind the glass is the control room , where Stryker looks on , hands behind his back . Dr. Cornelius and several SUPPORT STAFF enter data into computers monitoring the experiment . Logan removes his robe and hands it to Hines before stepping into the tank of water .</scene_description>
<character>LOGAN</character>
<dialogue>See you o n'the other side.</dialogue>
<scene_description>One of the technicians fastens a breathing tube , connected to an oxygen tank , to Logan 's mouth . Logan lies down , submerging himself in the cold water . The technician clamps Logan 's wrists and ankles into place with stainless - steel shackles bolted to the plexiglass walls . Logan 's eyes are open as he watches the robotic arms swivel into place , poised above him like a gang of metal vipers .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - MOMENTS LATER</stage_direction>
<scene_description>GENERAL MUNSON stands in the back of the room , observing the experiment with great interest . Agent Zero leans against the back wall , bored , cracking his knuckles . Hines takes a seat beside Cornelius , who studies a readout on his computer screen .</scene_description>
<character>CORNELIUS</character>
<dialogue>Adamantium temperature?</dialogue>
<character>TECHNICIAN #1</character>
<dialogue>Steady at eighty - two eleven.</dialogue>
<character>CORNELIUS</character>
<dialogue>Feed lines clear?</dialogue>
<character>TECHNICIAN #2</character>
<dialogue>Lines one through twelve clear.</dialogue>
<character>CORNELIUS</character>
<dialogue>Prepare insertion.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan lies underwater , watching as the robotic arms descend toward him . The needles begin to spin at high speed , like massive power drills . They churn the water when they enter . CLOSE on Logan 's eyes as the needles enter his body . The man has suffered gunshots and knife wounds , car crashes and bottles smashed across his face . He has never suffered this . He closes his eyes .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<character>CORNELIUS</character>
<dialogue>Commence feed.</dialogue>
<scene_description>The technicians enter commands , watching close - up images of the procedure on their monitors .</scene_description>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan writhes in the tank . Twelve long needles have drilled into his bones , including his skull .</scene_description>
<character>TECHNICIAN #1</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Feed commenced at a rate of twenty nine cc's per second.</dialogue>
<character>TECHNICIAN #2</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Density probe indicates preliminary chelation of the compact tissue.</dialogue>
<character>CORNELIUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Body temperature?</dialogue>
<character>HINES</character>
<parenthetical>( 0.5 . )</parenthetical>
<dialogue>One zero two point three.</dialogue>
<character>CORNELIUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Heart rate?</dialogue>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>One sixty.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>Stryker turns and addresses the general .</scene_description>
<character>STRYKER</character>
<dialogue>You're witnessing medical history in the making. We've begun bonding adamantium to Weapon X's skeleton.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>We tried to use that stuff for tank armor. Too damn expensive.</dialogue>
<character>STRYKER</character>
<dialogue>It took us three years to prepare enough alloy for the skeleton.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>So if this works, I guess Weapon X wo n't be walking through any metal detectors.</dialogue>
<character>STRYKER</character>
<dialogue>If this works, General, Weapon X will walk wherever he wants.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan spasms in the tank like a man being electrocuted .</scene_description>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Heart rate one ninety.</dialogue>
<character>CORNELIUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Density?</dialogue>
<character>TECHNICIAN #2</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Four four seven.</dialogue>
<scene_description>CLOSE on Logan 's clenched eyelids and CLOSER still , entering the mind of the tortured man . Horrific images flicker past , selected traumas from a deeply traumatic life . Logan cradles the lifeless body of Kayla Silverfox . The feral boy stares at his monstrous claws and howls . Logan -LRB- looking identical in age to the man we 've been following -RRB- stands in a village in Vietnam as bamboo huts - burn around him .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<character>GENERAL MUNSON</character>
<dialogue>How long before he's mission operative?</dialogue>
<character>STRYKER</character>
<dialogue>Remains to be seen. We're in uncharted territory here.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>Uncharted territory is a pretty good description of your budget, Colonel. This does n't work, you can kiss the Eleven good - bye.</dialogue>
<character>STRYKER</character>
<dialogue>We need the Eleven. Our victory in the war to come depends on it.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>Not everyone in the Pentagon thinks there's gon na be a war.</dialogue>
<scene_description>Stryker turns and fixes his gaze on the general .</scene_description>
<character>STRYKER</character>
<dialogue>Oh, it's coming, General. The enemy walks among us. We'd better be prepared.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan thrashes in the tank , his convulsions increasingly violent , his eyes rolling back in their sockets . The water in the tank begins to steam . The reel of blood - stained images from Logan 's past continues . A bull - necked man beats the feral boy with an axe handle .</scene_description>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Body temperature one zero eight. Heart rate two ten. Sir -</dialogue>
<scene_description>A dying Russian lies on his back on a dock in Odessa , staring at the sky , his shirt punctured with three precise holes . Logan stares down at him , bone claws extended .</scene_description>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He's a warrior, Hines. He can handle it.</dialogue>
<scene_description>Victor Creed plunges his clawed hand into Logan 's gut .</scene_description>
<character>CORNELIUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Density?</dialogue>
<character>TECHNICIAN #2</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Probe rejected, sir.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<character>GENERAL MUNSON</character>
<dialogue>Is there a problem?</dialogue>
<scene_description>Stryker allows himself a small smile .</scene_description>
<character>STRYKER</character>
<dialogue>On the contrary. The probe is diamond - tipped. It's not hard enough to penetrate adamantium.</dialogue>
<character>HINES</character>
<dialogue>Heart rate two twenty five. Sir, we're well beyond maximum -</dialogue>
<character>STRYKER</character>
<dialogue>You're trained to care for humans, Doctor. Weapon X is not one of us.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan writhes in the tank , muscles coiling and uncoiling . The montage of nightmares continues , snapshots from Hell . The feral boy sits alone in the back of a school . bus . While the other children talk and laugh , he cuts his thumb with a pocket knife and watches the wound heal .</scene_description>
<character>TECHNICIAN #1</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Chelation near completion.</dialogue>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Heart rate two forty four. two fifty. two fifty seven.</dialogue>
<character>TECHNICIAN #2</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Adamantiumreservoir ninety percent depleted.</dialogue>
<character>HINES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Core temperature one hundred and nineteen degrees.</dialogue>
<scene_description>A young Stryker , wearing jungle fatigues and a necklace of human ears , holds a revolver to the temple of a sobbing Viet Cong prisoner . Stryker smiles as he pulls the trigger .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>Stryker leans close to the glass , watching his test subject 's agony . His experiment will succeed or fail in the next few moments . Sweat beads his forehead .</scene_description>
<character>STRYKER</character>
<dialogue>Easy now.</dialogue>
</scene>
<scene>
<stage_direction>SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Adamantium claws burst from Logan 's hand , shimmering underwater . Crazed with pain , he carves through the walls of the plexiglass tank . Steaming water cascades onto the poured concrete floor . Bursting free of his restraints , Logan slashes through the robotic arms . Sparks dance like a swarm of fireflies . The dismembered machines twitch like wounded beasts . Logan rises from the broken tank , drenched with water , naked save for dozens of long stainless steel needles drilled into his body and the wires and hoses trailing from the needles . Hair matted to his head , eyes wild , face contorted , he looks like a strange amalgam of machine and animal . He tears the breathing tube from his mouth and stares through the window into the control room , panting , claws extended .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>Hines sits very still , hand over her mouth . Cornelius and the technicians rise from their chairs and slowly back away from the window . The general stares at Logan , awed by the sight of the living weapon . Even Agent Zero no longer looks bored .</scene_description>
<character>STRYKER</character>
<dialogue>Magnificent.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL THEATER - CONTINUOUS</stage_direction>
<scene_description>Logan slashes through the locks of the steel - reinforced theater door . He charges out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>For a moment there is silence in the control room .</scene_description>
<character>GENERAL MUNSON</character>
<dialogue>I take it this is still part of the plan, Colonel?</dialogue>
<character>STRYKER</character>
<dialogue>He's got nowhere to run.</dialogue>
<scene_description>Closed circuit monitors show Logan running down a tunnel .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The only exit is a 25 ton blast door. It was built to withstand a nuclear detonation.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Logan hurries down a long tunnel hewn through solid rock , leaving a trail of watery footprints . He stops in front of the battleship - steel door at the end of the tunnel . Growling , he carves through the door as if it were cardboard .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>The savaged blast door flickers on the monitors . Logan Is free . The general stares at Stryker . Stryker licks his lips .</scene_description>
<character>STRYKER</character>
<parenthetical>( to Agent Zero . )</parenthetical>
<dialogue>Alert the containment team. Bring him back.</dialogue>
<character>AGENT ZERO</character>
<dialogue>Bagged or breathing?</dialogue>
<character>STRYKER</character>
<dialogue>Either way. Just bring him back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - NIGHT</stage_direction>
<scene_description>A full moon shines down on the frozen landscape . Logan has exited the Alkali Lake complex beyond the high walls of the compound . The lake itself shimmers in the moonlight . Logan stares at the lonely moon . A wolf howls in the distance . His breath rises above him in the cold air ; his wet hair freezes . Ignoring the gusting wind and bitter chill , he runs through the snow toward the distant woods .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Logan runs . Pine trees tower above him . He enters a clearing where the virgin snow glitters beneath the moon . He stops moving and peers through the darkness . He smells something coming closer . A pack of GRAY WOLVES emerges from the woods , surrounding Logan . Snow dusts their fur . They look hungry , their blue eyes unblinking as they watch this pale interloper . The LEADER OF THE PACK , a muscular brute far bigger than his comrades , snarls at Logan . Logan stares back at the wolf . The wolf jumps at Logan , fangs bared , aiming for the man 's throat . Logan sidesteps and the wolf hurtles past , skidding on the snow when he lands . Logan and the wolf circle each other , looking for weakness . The wolf gnashes its wet teeth and pounces again . Man and beast battle in the moonlight , a shadowy combat of ferocious velocity , of gleaming fangs and gray fur . The wolf lunges for Logan 's throat again , but this time Logan catches the wolf in one hand and slams it to the snow . The wolf , desperate to escape , rakes Logan 's arm with his claws . Logan ignores the bloody welts . His face is close to the wolf 's face and they stare into each other 's eyes , predator to predator . Snikt ! Logan presses the claws of his left hand to the wolf 's throat . The wolf quits fighting , mewling submissively . He goes slack in Logan 's grip , rolling over to signal surrender . Logan stands over the newly - subservient alpha wolf . The other wolves in the pack stare at the strange champion . Intense light shines on Logan 's face . He turns and sees that he 's surrounded by a dozen SOLDIERS wearing tactical armor . Powerful flashlights are mounted to the barrels of their guns , which are pointed at Logan . The wolves flee , dodging through the pines , their paws kicking up snow .</scene_description>
<character>SOLDIER #1</character>
<dialogue>Put your hands in the air!</dialogue>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - NIGHT</stage_direction>
<scene_description>Stryker and the others are able to watch Logan in action , as night - vision security cameras mounted in the trees beam a constant live feed back to monitors in the control room .</scene_description>
<character>STRYKER</character>
<dialogue>These soldiers are the creme de la creme. They're equipped to handle the situation.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>Logan tries to gauge his enemies , staring into the harsh lights - He growls .</scene_description>
<character>SOLDIER #1</character>
<dialogue>Hands in the air, now!</dialogue>
<scene_description>Logan charges at the soldiers . The soldiers fire their weapons . These are not rifles but high - powered Tasers . Twelve darts sink into Logan 's skin , each connected to a silvery wire . Thousands of volts of electricity course through Logan 's body . Gritting his teeth and fighting through the pain , he slices the twelve wires with his claws and advances on the stunned soldiers .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONTROL ROOM - NIGHT</stage_direction>
<scene_description>The monitors show the fallen soldiers lying in the snow . For a moment everyone in the room is quiet .</scene_description>
<character>HINES</character>
<dialogue>The creme de la creme just got creamed.</dialogue>
<scene_description>Stryker gives her a very nasty look before turning to General Munson and speaking in calming tones .</scene_description>
<character>STRYKER</character>
<dialogue>There's a high - voltage fence on the perimeter of the base -</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>Is it made out of adamantium?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - DAY</stage_direction>
<scene_description>An old Chevrolet pickup truck rattles down a snow - covered road that passes acres of frozen farm fields . A Good Sam Club sticker is pasted on the rear bumper .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHEVROLET - CONTINUOUS</stage_direction>
<scene_description>JAMES and HEATHER HUDSON , a middle - aged farmer and his middle - aged wife , are bundled up in heavy parkas . James drives ; his wife talks .</scene_description>
<character>HEATHER HUDSON</character>
<dialogue>Marge'll probably make her walnut pie again. I thought I'd do meringues this year. Try something different. Do n't you think?</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Yep.</dialogue>
<character>HEATHER HUDSON</character>
<dialogue>You like my meringues, do n't you?</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Yep.</dialogue>
<character>HEATHER HUDSON</character>
<parenthetical>( GOOD - HUMORED . )</parenthetical>
<dialogue>Yep. Yep. Forty years of conversation, all I get is yeps.</dialogue>
<scene_description>Heather grabs her husband 's arm .</scene_description>
<character>HEATHER HUDSON</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Jimmy!</dialogue>
<scene_description>James turns in time to see a naked man sprint across the snow and slip inside a red sheep barn .</scene_description>
<character>HEATHER HUDSON</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I think there's a naked man in the barn.</dialogue>
<character>JAMES HUDSON</character>
<dialogue>yep.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHEEP BARN - DAY</stage_direction>
<scene_description>James Hudson cautiously slides his barn door open . He holds an old shotgun in his hands , a gun he has n't fired in years . He advances slowly into the barn , sunlight from the open door falling on the scattered straw . A vintage motorcycle covered in a tarp stands near the side wall . Hudson looks inside each sheep pen . His thick - wooled SHEEP , ready for breakfast , bleat hopefully . In the third pen Hudson finds Logan , who has covered himself with straw . A few curious sheep sniff at the fugitive 's face . Hudson stares at Logan , who stares back somewhat , well , sheepishly .</scene_description>
<character>JAMES HUDSON</character>
<dialogue>Son. What in hell are you doing?</dialogue>
<character>LOGAN</character>
<dialogue>Sorry. It's a little cold out there.</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Uh huh. It's the middle of January and you got no clothes on.</dialogue>
<character>LOGAN</character>
<dialogue>That's probably it.</dialogue>
<scene_description>Hudson sighs and lowers his shotgun .</scene_description>
<character>JAMES HUDSON</character>
<dialogue>You're not on the drugs, are you?</dialogue>
<character>LOGAN</character>
<dialogue>No sir.</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Just had a rough night?</dialogue>
<character>LOGAN</character>
<dialogue>Pretty rough, yeah.</dialogue>
<character>JAMES HUDSON</character>
<dialogue>All right, come on. I got some old clothes'll probably fit you.</dialogue>
<scene_description>He turns and Logan begins covering strategic places with wads of straw .</scene_description>
<character>JAMES HUDSON</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'll take you around back so my wife do n't see you again.</dialogue>
<character>LOGAN</character>
<dialogue>Sorry if I scared her.</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Scared her?</dialogue>
<parenthetical>( SNORTS . )</parenthetical>
<dialogue>I'm not worried about you scaring her.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Logan sits at the breakfast table with James and Heather . He wears an old plaid shirt , dungarees , and a pair of scuffed work boots . A heaping breakfast lies before him : scrambled eggs , pork sausages , pancakes with maple syrup , a steaming mug of coffee . Logan devours everything in front of him , looking up only to nod in thanks as Heather scoops more food onto his plate .</scene_description>
<character>JAMES HUDSON</character>
<dialogue>You mind if I ask where you came running from?</dialogue>
<character>HEATHER HUDSON</character>
<dialogue>Jimmy. Let the boy eat.</dialogue>
<scene_description>Logan piles eggs onto a slice of buttered toast .</scene_description>
<character>JAMES HUDSON</character>
<dialogue>I'm just wondering. We're twenty miles from town. It's a miracle you did n't get hypothermia out there.</dialogue>
<character>LOGAN</character>
<dialogue>I've got good circulation.</dialogue>
<parenthetical>( gesturing toward barn . )</parenthetical>
<dialogue>Nice chopper you got out there, by the way.</dialogue>
<scene_description>James 's face lights up . Logan has found the man 's passion. ,</scene_description>
<character>JAMES HUDSON</character>
<dialogue>You know motorcycles?</dialogue>
<character>LOGAN</character>
<dialogue>What is it,'48 Panhead?</dialogue>
<character>JAMES HUDSON</character>
<dialogue>Best bike Harley - Davidson ever made. First one with a seventy - four - cubic inch engine, hydraulic valve lifters, aluminum heads -</dialogue>
<scene_description>Heather stands to clear the plates .</scene_description>
<character>HEATHER HUDSON</character>
<dialogue>Now you've got him started. You need more of anything?</dialogue>
<scene_description>Logan , smiling , holds up his hands to surrender . The smile fades when he sees the red laser dot appear on Heather 's shirt .</scene_description>
<character>HEATHER HUDSON</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What's the matter, honey?</dialogue>
<scene_description>Logan dives across the table , trying to knock her out of the way , but the bullet beats him there , punching through the window frame and straight through Heather Hudson 's heart . She collapses in Logan 's arms .</scene_description>
<character>JAMES HUDSON</character>
<dialogue>WHAT -</dialogue>
<character>LOGAN</character>
<dialogue>GET DOWN!</dialogue>
<scene_description>But it 's too late . A second bullet hits James in the back ; the farmer blinks and topples forward , dead before he hits - the ground .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>Agent Zero lies on his belly three hundred yards from the farmhouse . He lowers his sniper rifle and speaks into his headset .</scene_description>
<character>AGENT ZERO</character>
<dialogue>Weapon X is in the farmhouse. He just murdered.two civilians. Fire at will.</dialogue>
<scene_description>An APACHE LONGBOW helicopter streaks overhead , fifty feet above the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Logan checks James Hudson 's pulse but finds none . He looks up when he hears the thrum of the military helicopter . Two Good Samaritans lie dead at his feet , slaughtered for sheltering him . Something bestial has . entered Logan 's eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>The Apache circles the farmhouse .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<scene_description>Both the PILOT and the GUNNER wear helmets with monocular eyepieces that provide images from the external cameras . GUNNER 'S EYEPIECE POV The farmhouse is centered in the crosshairs . Scrolling numbers to the side of the image indicate the range in meters . The gunner 's finger tightens on the trigger .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>
<scene_description>Logan growls and runs for the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<scene_description>The gunner squeezes the trigger .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>The Apache fires multiple Hellfire rockets , which blast out of their launchers and rip into the farmhouse . The old Hudson homestead collapses as the explosions blow out the roof and the support walls .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<character>GUNNER</character>
<dialogue>Direct hit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<character>AGENT ZERO</character>
<dialogue>Locate the target and fire again.</dialogue>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<scene_description>The gunner glances at his pilot . Both men seem mystified by the command .</scene_description>
<character>GUNNER</character>
<dialogue>Sir. the target's destroyed.</dialogue>
<character>AGENT ZERO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Repeat : locate the target and fire again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>The Apache circles the smoking ruin where the house once stood . No sign of Logan is visible in the scorched debris .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<character>GUNNER</character>
<dialogue>They must've hated this guy big time.</dialogue>
<character>PILOT</character>
<dialogue>What was he, terrorist or something?</dialogue>
<character>GUNNER</character>
<dialogue>I do n't know but he's a puddle now.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>The Apache hovers near the sheep barn , rotor blades fanning the rising smoke .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<scene_description>As the gunner continues to scout the ground for any sign of a corpse , the pilot notices something out of the corner of his eye . He stares at the roof of the sheep barn . A smoke - darkened figure stares back at him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHEEP BARN - CONTINUOUS</stage_direction>
<scene_description>Logan , claws extended , skin blackened with soot , jumps from the roof of the barn . He lands on the helicopter windshield .</scene_description>
</scene>
<scene>
<stage_direction>INT. APACHE LONGBOW - CONTINUOUS</stage_direction>
<scene_description>The pilot nearly jumps out of his seat .</scene_description>
<character>PILOT</character>
<dialogue>Jesus!</dialogue>
<scene_description>Logan raises his right hand and plunges his claws through the bulletproof glass .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>Agent Zero watches the Apache plummet to the ground . He snorts with amusement and activates his headset .</scene_description>
<character>AGENT ZERO</character>
<dialogue>Your boy just took down fifty million dollars worth of hardware. Guess I got to do this myself.</dialogue>
</scene>
<scene>
<stage_direction>INT. STRYKER'S OFFICE - DAY</stage_direction>
<scene_description>Stryker sits alone in his office , pinching the bridge of his nose . It 's been a long day for the colonel .</scene_description>
<character>STRYKER</character>
<parenthetical>( on headset . )</parenthetical>
<dialogue>Negative. Come back to base.</dialogue>
<character>AGENT ZERO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Have a little faith, boss.</dialogue>
<character>STRYKER</character>
<dialogue>You do n't have the weaponry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - DAY</stage_direction>
<character>AGENT ZERO</character>
<dialogue>Do n't care what kind of bones he's got. Fifty caliber bullet through his eyeball ought to do it.</dialogue>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Nord, goddamnit -</dialogue>
<character>AGENT ZERO</character>
<dialogue>I'm losing you, boss.</dialogue>
<scene_description>Agent Zero clicks off his headset and.raises the sniper rifle , searching through the smoke with his scope .</scene_description>
<character>AGENT ZERO</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( muttering to himself . )</parenthetical>
<dialogue>Come out and play.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHEEP BARN - CONTINUOUS</stage_direction>
<scene_description>Logan emerges from the Apache 's wreckage and runs toward the sheep barn door . A bullet cracks him in the forehead and Logan falls backwards into the snow , stunned . For a few seconds we can glimpse the adamantium of his skull . His healing factor takes over and his skin begins to knit itself back together . Logan combat crawls inside the sheep barn .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHEEP DARN - CONTINUOUS</stage_direction>
<scene_description>He throws the tarp off the '48 Harley . James Hudson restored this bike with love and elbow grease . The chrome and leather shine as brightly as any new model on the factory floor . The key is in the ignition . This used to be a safe neighborhood .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHEEP BARN - CONTINUOUS</stage_direction>
<scene_description>Logan bursts out of the barn on the Harley . The tires spin on the snow but Logan is an experienced rider . He steadies the bike , steers it onto the blacktop and accelerates , heading in the opposite direction from Agent Zero .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HUDSON FARM - CONTINUOUS</stage_direction>
<scene_description>Agent Zero grabs his rifle and jogs over to a black SUV with tinted windows and off - road tires .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTY ROAD - DAY</stage_direction>
<scene_description>Logan speeds down the road , Agent Zero in hot pursuit . Zero gains ground , both hunter and quarry racing past 100 MPH .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV - DAY</stage_direction>
<scene_description>Agent Zero grabs an Atchisson assault shotgun from a rack behind his seat that holds an impressive array of weaponry . He lowers the passenger window and gets a bead on Logan , who swerves to keep himself -LRB- and his more fragile motorcycle -RRB- a tricky target .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTY ROAD - DAY</stage_direction>
<scene_description>Agent Zero fires six shells in rapid succession . Hundreds of steel pellets scream over the motorcycle , perforating the face of a smiling farmer on a fertilizer billboard . Logan turns and sees the SUV closing on him . Agent Zero rams the bumper into the Harley and Logan very nearly loses control , managing to right the bike at the last second . Logan accelerates and opens up thirty yards of breathing room . He turns and sees Agent Zero catching up again . Logan clamps on the brakes , hard . He holds out his left hand and extends his claws . The tips of the blades scrape the asphalt and sparks fly . The SUV can not brake in time . As it hurtles past the motorcycle , Logan 's claws hit the SUV 's front tire and shred it instantly . A split - second later he shreds the rear tire . The SUV totters , falls to its side , and barrel rolls across the empty road . It ends up on its roof in a drainage ditch , wheels still spinning in the air . Logan turns his bike and pulls up next to the upended SUV . He lowers the kickstand , stands , and walks to the driver 's side . Agent Zero , bloodied and dazed , has managed to push open the door . He leans out and aims his shotgun at Logan , who slices the weapon into four pieces with a sweep of his claws . Logan grabs Agent Zero by the back of the neck and hauls him out of the car .</scene_description>
<character>LOGAN</character>
<dialogue>Those were good people back there. Innocent people.</dialogue>
<scene_description>Agent Zero surreptitiously pulls a commando knife from a sheath on his ankle .</scene_description>
<character>AGENT ZERO</character>
<dialogue>You ever notice good people tend to die when they spend time with you?</dialogue>
<scene_description>He swings the knife at the side of Logan 's neck . ` Logan catches Agent Zero 's wrist and slams it against the door frame . Agent Zero drops the knife with a pained smile . He did n't think that would work .</scene_description>
<character>AGENT ZERO</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe you should stick with the bad people. We're more your speed.</dialogue>
<character>LOGAN</character>
<dialogue>I got a message for your boss.</dialogue>
<character>AGENT ZERO</character>
<parenthetical>( SMIRKING . )</parenthetical>
<dialogue>Yeah? Tell me.</dialogue>
<scene_description>The smirk fades from Zero 's face as he sees the adamantium claws plunging toward his heart .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - DAY</stage_direction>
<scene_description>Logan stands at a pay phone beside the Texaco station , watching a couple of SKATEBOARD PUNKS practice their ollies . He punches in a number and waits for the connection .</scene_description>
<character>OPERATOR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Department of Agriculture.</dialogue>
<character>LOGAN</character>
<dialogue>Get me the Pest Control Division.</dialogue>
<character>OPERATOR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm sorry, sir, there is no Pest Control Division.</dialogue>
<character>LOGAN</character>
<dialogue>Why do n't you get'em anyway. And tell'em Logan's calling.</dialogue>
<scene_description>While he waits he watches one of the kids attempt a backside tailslide on the curb . The kid loses his balance and wipes out , skinning his palms on the asphalt .</scene_description>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Where are you?</dialogue>
<character>LOGAN</character>
<parenthetical>( controlled fury . )</parenthetical>
<dialogue>You should n't have killed those people. All they were doing was helping a stranger.</dialogue>
</scene>
<scene>
<stage_direction>INT. STRYKER'S OFFICE - DAY</stage_direction>
<scene_description>Stryker sits behind the desk of his office . His aide , COLLINS , stands on the other side of the desk , listening in on an extension .</scene_description>
<character>STRYKER</character>
<dialogue>You ran on me, goddamnit. We had a deal. Now you get back to base -</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - CONTINUOUS</stage_direction>
<scene_description>We continue to INTERCUT between the gas station and Stryker 's office .</scene_description>
<character>LOGAN</character>
<dialogue>They had nothing to do with this. You let that mad dog gun'em down like they were animals.</dialogue>
<character>STRYKER</character>
<dialogue>I'm giving you an order, soldier! Return tobase -</dialogue>
<character>LOGAN</character>
<dialogue>Had enough orders for one lifetime.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>I'm going after Victor Creed.</dialogue>
<scene_description>For several seconds there is silence on the line .</scene_description>
<character>STRYKER</character>
<dialogue>We're bringing you in. One way or another, we're bringing you in.</dialogue>
<scene_description>Logan bows his head , considering his next words .</scene_description>
<character>LOGAN</character>
<dialogue>People like you are always waiting for the next war. You start one with me, Colonel, you better sleep with the lights on.</dialogue>
<scene_description>He hangs up the phone and walks to his bike . The skateboard punks give him a wide berth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN DIEGO ZOO - DAY</stage_direction>
<scene_description>Closing time at the big zoo and FAMILIES flock toward the parking lot . SANITATION WORKERS clean the trash from the walking paths .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LEMUR ISLAND - DAY</stage_direction>
<scene_description>The lemur habitat is cultivated to mimic the environment of Madagascar . Four RING - TAILED LEMURS swing from the branches of the baobab trees , shrieking at each other . They congregate in a small wooden hut with a peaked roof , where they scamper up and down the back of FRANCIS , a slender , balding man in a zoo keeper 's uniform . Francis has a gentle smile as he feeds the lemurs leaf - eater biscuits . He speaks to them as they shriek , : clambering over his lap , biscuits clutched in their tiny hands .</scene_description>
<character>FRANCIS</character>
<dialogue>She did what? Ninna, that was n't very nice.</dialogue>
<scene_description>He gives one of the female lemurs an admonishing look . She shrieks and dances away , biscuit held to her chest .</scene_description>
<character>FRANCIS</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You must have done something to deserve it, Myrto. Oh, you bit her? Why? Have n't we talked about this?</dialogue>
<scene_description>The lemurs all quiet down at the same time . Francis watches them . Something is wrong . The lemurs flee , ducking into holes in the baobab trees , hiding from whatever 's coming . Francis frowns and turns . Victor Creed stands above him .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Everyone thinks you're a lunatic, talking to animals. But I know you're not, Francis. You understand them, do n't you? That's your power.</dialogue>
<scene_description>Francis looks for help but there is no one in sight .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What do they tell you?</dialogue>
<scene_description>Francis is quiet for a few seconds , staring at the killer .</scene_description>
<character>FRANCIS</character>
<dialogue>Nothing very fancy. They tell me when they're scared. When they're angry. When they're hungry.</dialogue>
<character>VICTOR CREED</character>
<dialogue>You ever talk to a panther, Francis?</dialogue>
<scene_description>Francis shakes his head .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont .</parenthetical>
<parenthetical>'d . )</parenthetical>
<dialogue>Every now and then a white panther comes along. Albino. The mama panther wo n't even look at it. She wo n't lick it, she wo n't feed it, nothing. So pretty soon the white panther dies. You know why?</dialogue>
<parenthetical>( off Francis 's silence . )</parenthetical>
<dialogue>White panthers are mistakes. And nature takes care of its mistakes.</dialogue>
<character>FRANCIS</character>
<dialogue>There are no mistakes. We're all part of the plan. We're all God's children.</dialogue>
<scene_description>Creed grins , licking his sharp fangs .</scene_description>
<character>VICTOR CREED</character>
<dialogue>I do n't know who my Daddy was, but it sure as Hell was n't God.</dialogue>
<scene_description>Francis bows his head .</scene_description>
<character>FRANCIS</character>
<dialogue>I'm not afraid of dying.</dialogue>
<scene_description>Creed runs one long claw across Francis 's cheek .</scene_description>
<character>VICTOR CREED</character>
<dialogue>How do you know? You've never done it before.</dialogue>
<scene_description>Ninna the ring - tailed lemur mewls softly , trying to hide herself deep within the baobab tree as her human friend SCREAMS .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAS VEGAS STRIP - NIGHT</stage_direction>
<scene_description>Logan , riding James Hudson 's vintage motorcycle , rolls down the famous strip , lit by the mammoth neon signs above him . He stops at a red light and stares at the lonely moon rising over the desert .</scene_description>
<character>LADY OF THE NIGHT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You look like a man who could use a night off.</dialogue>
<scene_description>Logan turns to look at a REDHEAD in a tight silver dress , waiting at the light in her Cadillac convertible . She looks like she 's expensive , and she looks like she 'd be worth it .</scene_description>
<character>LOGAN</character>
<dialogue>You're way out of my league, darlin'.</dialogue>
<character>LADY OF THE NIGHT</character>
<dialogue>You never know. You looking for a good time with a bad woman?</dialogue>
<scene_description>Logan smiles and shakes his head .</scene_description>
<character>LOGAN</character>
<dialogue>Not tonight.</dialogue>
<scene_description>The redhead purses her lips .</scene_description>
<character>LADY OF THE NIGHT</character>
<dialogue>You do n't know what you're missing.</dialogue>
<scene_description>Logan revs his engine as the light changes .</scene_description>
<character>LOGAN</character>
<dialogue>I know exactly what I'm missing.</dialogue>
<scene_description>The courtesan waits at the green light , . watching Logan speed off into the night -</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOXING GYM - NIGHT</stage_direction>
<scene_description>In a seedy part of town , far from the casinos ' bright lights , Logan walks through the front door of a rundown boxing gym .</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING GYM - NIGHT</stage_direction>
<scene_description>Even at this hour the gym is packed with aspiring PUGILISTS . Las Vegas has become the Mecca of world boxing , and many ` of the fighters here exhibit impressive skills as they batter the heavy bag , tap at the speed bag , and jump rope . Logan walks toward a ring in the center of the gym . Two young BOXERS inside the ropes , wearing headgear and sparring gloves , dance around throwing quick jabs that do n't land . JOHN WRAITH -LRB- 45 -RRB- stands outside the ring , watching this action with evident distaste . He wears a black cowboy hat , sunglasses , and a handlebar mustache . He has the swagger and drawl of a rodeo cowboy .</scene_description>
<character>WRAITH</character>
<dialogue>This is a contact sport, ladies. If you do n't like hitting people, try golf.</dialogue>
<scene_description>Logan comes up behind Wraith , unseen by the Texan .</scene_description>
<character>LOGAN</character>
<dialogue>You talk tough for a guy who always let me do the dirty work.</dialogue>
<scene_description>A slow smile creases Wraith 's face . He turns .</scene_description>
<character>WRAITH</character>
<dialogue>Look at this. You never get old, do you?</dialogue>
<scene_description>The two men 'em brace . There is genuine affection here , the camaraderie of men who have fought together , bled together .</scene_description>
<character>WRAITH</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Nobody followed you?</dialogue>
<character>LOGAN</character>
<dialogue>You tryin' to insult me?</dialogue>
<character>WRAITH</character>
<dialogue>Ca n't be too careful, brother. I've been retired five years I still check under the car every time I drive.</dialogue>
<character>LOGAN</character>
<dialogue>I'm looking for Victor Creed.</dialogue>
<scene_description>Wraith 's face goes serious at the mention of the name . He looks around the gym , making sure no one 's watching them . He glances at the boxers in the ring , who lean on the ropes and breathe heavily , awaiting instructions .</scene_description>
<character>WRAITH</character>
<dialogue>Why do n't you two get a manicure or something and meet me back here in the morning.</dialogue>
<parenthetical>( to Logan . )</parenthetical>
<dialogue>Want a beer?</dialogue>
<character>LOGAN</character>
<dialogue>Always.</dialogue>
<scene_description>Wraith leads Logan toward an office in the back , draping an arm around his shoulders .</scene_description>
<character>WRAITH</character>
<dialogue>I love you like a brother. So I'm giving you thirty minutes. After that, you're too dangerous to know.</dialogue>
</scene>
<scene>
<stage_direction>INT. WRAITH'S OFFICE - NIGHT</stage_direction>
<scene_description>The windows in the office look out on the training boxers . Wraith leads Logan inside and grabs two longneck bottles of beer from a mini - fridge .</scene_description>
<character>WRAITH</character>
<dialogue>What I hear, our friend the Colonel's got eyes all over the country looking for you. He ai n't about to let Weapon X go rogue on him.</dialogue>
<scene_description>Wraith pops the caps off the beer bottles and hands one to Logan .</scene_description>
<character>LOGAN</character>
<dialogue>What's Weapon X?</dialogue>
<scene_description>They tap glass .</scene_description>
<character>WRAITH</character>
<dialogue>You are. A walking, talking, hundred - million dollar experiment.</dialogue>
<character>LOGAN</character>
<dialogue>You know about it.</dialogue>
<scene_description>Wraith sits behind his desk and puts his boots up . Logan sits across from him .</scene_description>
<character>WRAITH</character>
<dialogue>I keep my ear to the ground. People like us, we never really quit the game.</dialogue>
<character>LOGAN</character>
<dialogue>I did. Woke up one day and knew I was done.</dialogue>
<scene_description>Logan peels the label from his bottle of beer .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Stryker used to give me a new name every Monday. And by the end of the week, I'd draw a line through it.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>I. put a whole lot of people under the ground. And one day I realized. Stryker was never gon na run out of names.</dialogue>
<scene_description>Wraith nods , meditative .</scene_description>
<character>WRAITH</character>
<dialogue>Our friend the Colonel has big plans.</dialogue>
<character>LOGAN</character>
<dialogue>What kind of plans?</dialogue>
<character>WRAITH</character>
<dialogue>Hear a lot of chatter about something called the Eleven. My boys in Arlington say it's the biggest covert weapons project since FDR built himself an atom bomb. Other than that, no one knows a goddamn thing.</dialogue>
<scene_description>Wraith places his bottle on his desk and sits up straight in his chair .</scene_description>
<character>WRAITH</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Look, I. I heard about what happened to your woman. For what it's worth, I'm sorry.</dialogue>
<scene_description>Logan nods . He does n't want to talk about it .</scene_description>
<character>WRAITH</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I did a little contract work with Creed back in the day. I've known some seriously foul people, but that cat. They say he took out a whole village in Nicaragua one time, every man, woman, and child, killed'em all, just'cause he was bored.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>I been screwed, sued, and tattooed, but I never killed no kids.</dialogue>
<character>LOGAN</character>
<dialogue>Creed did government work?</dialogue>
<character>WRAITH</character>
<dialogue>Till they got wise to him. Wherever he went there was a trail of bodies. And not always the right bodies, you know what I'm saying?</dialogue>
<scene_description>There is murder in Logan 's eyes .</scene_description>
<character>LOGAN</character>
<dialogue>Help me find him.</dialogue>
<character>WRAITH</character>
<dialogue>He's a hard cat to track.</dialogue>
<character>LOGAN</character>
<dialogue>Just tell me where to start looking. I'll do the rest.</dialogue>
<scene_description>Wraith taps the bottleneck , considering .</scene_description>
<character>WRAITH</character>
<dialogue>Might want to talk to his friends from the ultramax.</dialogue>
<character>LOGAN</character>
<dialogue>The prison he busted out of?</dialogue>
<character>WRAITH</character>
<parenthetical>( NODDING . )</parenthetical>
<dialogue>Feds built it to hold the baddest of the bad mutants. Worked pretty well. Only problem - now they all know each other.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>You ever hear of a guy named Fred J. Dukes?</dialogue>
<character>LOGAN</character>
<dialogue>Nope.</dialogue>
<character>WRAITH</character>
<dialogue>People call him the Blob. You find him, you'll know why. Got out of the hoosegow a few months ago. Went home to Iowa. Town called Elgin.</dialogue>
<character>LOGAN</character>
<dialogue>You think he's still in touch with Creed?</dialogue>
<scene_description>Wraith leans back in his chair and allows himself another slow smile .</scene_description>
<character>WRAITH</character>
<dialogue>I bet you'll find out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - NIGHT</stage_direction>
<scene_description>Logan , on his Harley , speeds past a welcome sign for Elgin , Iowa , Population 676 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE MOTEL - NIGHT</stage_direction>
<scene_description>The neon Vacancy sign shines , a beacon for tired travellers in the heartland .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction>
<scene_description>Logan lies on top of the bed covers , hands behind his head . The lights are out and Fox News plays on the television , casting the small room in blue light . INSERT TELEVISION . A REPORTER stands in a Detroit alleyway as POLICE OFFICERS in the background cordon off the area from ONLOOKERS .</scene_description>
<character>REPORTER</character>
<dialogue>This is the 13th confirmed mutant slaying of the last two months, and with the investigation apparently stalled, members of the mutant community are voicing their outrage.</dialogue>
<scene_description>A YOUNG WOMAN wearing a `` Mutants are Humans , Too '' t - shirt speaks passionately for the camera .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Of course there's bias at work here. If these were normal people getting. chopped up, you better believe there'd be an FBI Task Force investigating, there'd be all sorts of resources allocated to find this killer. Why is it that when violence is done to our community, the nation turns its back? If the government ca n't protect us, we're gon na have to start protecting ourselves.</dialogue>
<scene_description>In the corner of the TV screen , carved directly into the brick wall of the alley , is a crude smiley face . END INSERT . Logan 's expression does not change as he watches the report . Our only indications that he 's boiling inside are the look of dark vengeance in his eyes , and the fingers of his right hand , which clench into a fist , unclench , clench again . He lowers the volume with the remote , picks up the telephone and dials a number . We hear four rings .</scene_description>
<character>KAYLA</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( on answering machine . )</parenthetical>
<dialogue>Hey, you've reached Kayla and Logan. We're not home right now so please leave a message after the beep and we'll get back to you as soon as we can. Bye!</dialogue>
<scene_description>Beep . Logan replaces the receiver in its cradle and lies back , alone in the world .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUPERMARKET PARKING LOT - DAY</stage_direction>
<scene_description>A MOTHER pushes her shopping cart towards her minivan . Her young , freckled SON holds her hand , gazing fearfully at Logan , who stands on the edge of the lot smoking a cigar . He looks out of place in this quiet , Midwestern town . Logan winks at the kid . He drops his cigar , grinds it out with the toe of his boot , and heads for the supermarket .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUPERMARKET - DAY</stage_direction>
<scene_description>Two STOCK BOYS , wearing bright blue vests over red shirts , stand at one of the aisle dividers , hiding behind a stack of breakfast pastries . They are plainly terrified .</scene_description>
<character>STOCK BOY #1</character>
<dialogue>Say something.</dialogue>
<character>STOCK BOY #2</character>
<dialogue>You say something. It's your section!</dialogue>
<character>STOCK BOY #1</character>
<dialogue>Dude.</dialogue>
<scene_description>The stock boy peeks around the divider . FRED J. DUKES , a.k.a. , THE BLOB , stands in the center of the aisle , tearing open bags of pork rinds and pouring them down his gullet . Dukes is the biggest man you 've ever seen . By a long shot . Just shy of seven feet tall and weighing in at half a ton , he 's beyond fat . Beyond obese . His eyes look like pinpricks in the swollen enormity of his face . When he shifts his bulk , ripples cascade down his flanks , his flesh trembling with each breath .</scene_description>
<character>LOGAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Jesus, Dukes.</dialogue>
<scene_description>Dukes , mouth and chin dusted with fried pork skin , turns his head to examine the pest standing next to him .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe it's time to give the pork rinds a rest.</dialogue>
<scene_description>Dukes swings his arm . Despite his enormous mass , the man moves with surprising speed . Not quick enough to catch Logan , though , who ducks beneath the blow . Dukes 's forearm , thicker than a fire hydrant , smashes through the steel shelving . Bags of pork rinds and potato chips tumble to the floor . Snikt ! Logan shows his glittering claws to the big man .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'll fillet you standing, fat man. That what you want?</dialogue>
<scene_description>Dukes hesitates . That is not what he wants .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Where's Victor Creed?</dialogue>
<scene_description>Dukes grunts and bulls forward , toppling the heavily - laden shelves into the next aisle . Panicked SHOPPERS scream and run for the exits . Dukes blasts through the cereal aisle , too , with a great rending of steel , his giant shoes crushing boxes of Lucky Charms as he stomps into the produce section . A coconut bounces off Dukes 's head . Enraged , the giant turns and sees Logan standing by a pile of hairy coconuts , tossing one in his hand like a baseball .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You're gon na help me, bub. You_just do n't know it yet.</dialogue>
<scene_description>Dukes bellows and runs at Logan . A coconut pelts him in the face , angering him further . Logan jumps out of the way as Dukes brings down his massive fists . Coconuts explode . Dukes charges after Logan , shattering watermelons , stacked grapefruits , clusters of bananas . After a thirty second rampage Dukes is exhausted , his giant chest heaving as he gasps for air , his hands and face splattered with remnants of crushed fruit . Logan jumps onto Dukes ' back . The fat man roars and spins around , trying to buck the little rider , but Logan 's got one arm wrapped around Dukes ' throat and he 's not letting go . The spinning makes Dukes a little dizzy and he slows down . Three adamantium claws shine in the big fellow 's face , reflecting the overhead fluorescent lights . Dukes quits , his massive shoulders slumping . He sinks to his knees , his great bulk splitting the linoleum floor . Logan presses his claws against Dukes ' quivering jowls .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Where's Creed?</dialogue>
<character>FRED J. DUKES</character>
<dialogue>How the hell would I know?</dialogue>
<character>LOGAN</character>
<dialogue>Come on, he's your friend. When was the last time you talked to him?</dialogue>
<character>FRED J. DUKES</character>
<dialogue>Friend? He do n't have any friends. All he's got is victims.</dialogue>
<character>LOGAN</character>
<dialogue>Careful, Dukes. I can smell a lie before you even tell it.</dialogue>
<scene_description>The Blob begins to cry , the great bellows of his cheeks trembling , tears and snot dribbling down his face .</scene_description>
<character>FRED J. DUKES</character>
<dialogue>I'm not lying! I do n't know where he is.</dialogue>
<scene_description>Logan pulls a handkerchief out of his back pocket and hands it to Dukes .</scene_description>
<character>LOGAN</character>
<dialogue>All right, take it easy.</dialogue>
<scene_description>Dukes blows his nose into the handkerchief , one of history 's loudest and most violent nasal ejaculations . He offers back the soiled handkerchief . Logan waves it off .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It's a gift.</dialogue>
<scene_description>Dukes takes a deep breath , gathering himself .</scene_description>
<character>FRED J. DUKES</character>
<dialogue>You ever been to Superior?</dialogue>
<character>LOGAN</character>
<dialogue>The club for mutants? Down in New Orleans?</dialogue>
<character>FRED J. DUKES</character>
<dialogue>Creed likes to party down there. Talked about it all the time - how hot the girlies were. That's all I know.</dialogue>
<scene_description>Logan shaves Dukes ' jaw with the edge of his claw .</scene_description>
<character>LOGAN</character>
<dialogue>Nah. You know more than that.</dialogue>
<scene_description>Dukes tilts his face , trying to keep his face from getting scraped off .</scene_description>
<character>FRED J. DUKES</character>
<dialogue>Joint's owned by a guy named Barbarus. Shared a cell with Creed in the ultramax. Anyone knows where to find him, it's Barbarus.</dialogue>
<scene_description>Logan stares into the Blob 's face , gauging the man 's words .</scene_description>
<character>LOGAN</character>
<dialogue>He better be there, Freddie. And he better know something good.'Cause I'm in a mood for violence and you're way too big to hide.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Stryker stands by a window - overlooking Alkali Lake while General Munson sits at the head of the conference table .</scene_description>
<character>STRYKER</character>
<dialogue>we have information that he was in Las Vegas two nights ago. We'll find him soon.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>This is turning into a goddamn disaster, Colonel.</dialogue>
<character>STRYKER</character>
<dialogue>I disagree. I'd say the experiment has been a success. GENERAL MUNSON</dialogue>
<scene_description>Success ? Are you kidding me ?</scene_description>
<character>STRYKER</character>
<dialogue>Weapon X is a prototype. Nothing more. He's the walking proof that enhanced skeletons are viable. That, along with the healing factor we've replicated from his blood, will insure that the Eleven is capable of protecting our species from extinction.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>At this point, Logan is merely an inconvenience. He wo n't be for long.</dialogue>
<character>GENERAL MUNSON</character>
<dialogue>I'm sorry, William. I've lost confidence in your leadership. I'm going to recommend your dismissal to the Joint Chiefs.</dialogue>
<scene_description>Stryker stares out the window at the distant lake , with no visible reaction to the General 's words .</scene_description>
<character>STRYKER</character>
<dialogue>Disappointing, General. Expected, but still. disappointing.</dialogue>
<scene_description>General Munson takes a sip of water from the glass in front of him .</scene_description>
<character>GENERAL MUNSON</character>
<dialogue>I know you believe in what you're doing. But I do n't. War with the mutants is not inevitable.</dialogue>
<scene_description>The general coughs . He begins to look confused as he coughs again , his breathing gone suddenly ragged . He clutches at his chest . A thin smile curls Stryker 's lips . He turns to regard the General .</scene_description>
<character>STRYKER</character>
<dialogue>You're having a massive heart attack, sir. Leading cause of death for men in your age bracket.</dialogue>
<scene_description>The general gasps for air , trying to rise to his feet . In his death throes , he knocks the glass of water from the table . It shatters on the floor .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The war is coming. It's time to choose sides.</dialogue>
<scene_description>The general collapses - and Stryker stands above him , staring down at the dying man with pitiless eyes .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You chose treason.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLUB SUPERIOR - NIGHT</stage_direction>
<scene_description>A heavy rain falls in the French Quarter . There is no sign outside the club , only.a gargantuan BOUNCER standing in front of an unmarked door in a dark alley . The bouncer apprises the stocky mutant walking his way .</scene_description>
<character>BOUNCER</character>
<dialogue>You superior?</dialogue>
<scene_description>Only when we go CLOSE ON THE BOUNCER do we realize he has a single eye , large and bloodshot , centered in his forehead . Logan raises both hands . Snikt ! A single claw extends from his right hand . He shoves the claw straight through his left palm , retracts the blade , and shows his wounded palm to the bouncer . The bouncer sees the wound heal and opens the door .</scene_description>
<character>BOUNCER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Welcome home, brother.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUB SUPERIOR - MOMENTS LATER</stage_direction>
<scene_description>The dimly - lit club is the size of a warehouse and jammed with PARTYING MUTANTS . Most of them look like normal humans but a few are `` overts , '' distinguished by curling horns , scaled skin and other genetic abnormalities . A sexy WAITRESS walks by with a tray of drinks . She winks at Logan . A `` Kiss Me , I 'm a Mutant '' button is pinned to her shirt . Industrial beats pour out of speakers bolted to the ceilings . Logan surveys the room . A young PUSHER approaches , his long sideburns shaved into scimitars running down his jawline .</scene_description>
<character>PUSHER</character>
<dialogue>You lookin' for help, man? Ups, downs, in - betweens. What you need?</dialogue>
<character>LOGAN</character>
<dialogue>Wild roses for the moon.</dialogue>
<character>PUSHER</character>
<dialogue>Wild roses. That some new hash out of Amsterdam?</dialogue>
<character>LOGAN</character>
<dialogue>Something like that. You seen my buddy Barbarus?</dialogue>
<scene_description>The dealer points toward a staircase at the back of the club .</scene_description>
<character>PUSHER</character>
<dialogue>VIP room. But hold up, bro,. I got what you're looking for.</dialogue>
<character>LOGAN</character>
<dialogue>Trust me, bub - you do n't.</dialogue>
<scene_description>Logan heads for the staircase .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB SUPERIOR, SECOND FLOOR - NIGHT</stage_direction>
<scene_description>Logan tries to enter the VIP room but a muscle - bound SKINHEAD with Mutant Power brands on his biceps blocks his path .</scene_description>
<character>SKINHEAD</character>
<dialogue>Private party.</dialogue>
<character>LOGAN</character>
<dialogue>I'm on the list. Logan.</dialogue>
<scene_description>The skinhead raises his clipboard and examines the list .</scene_description>
<character>SKINHEAD</character>
<dialogue>Last name?</dialogue>
<scene_description>Logan 's fist splits the clipboard and crushes the skinhead 's nose . The muscle - bound brute slumps to the floor , unconscious . Logan steps over him and into the VIP room .</scene_description>
<character>LOGAN</character>
<dialogue>Unknown.</dialogue>
</scene>
<scene>
<stage_direction>INT. VIP ROOM - CONTINUOUS</stage_direction>
<scene_description>The VIP MUTANTS - sit at plush booths , downing shots of tequila . They grope their GIRLFRIENDS . They arm wrestle and compare tattoos and gobble down fried oysters . BARBARUS sits in a corner booth . He wears a custom - made wife - beater . The brutally - muscled mutant has four arms , all sleeved in tattoos . One hand pours himself a new glass of Jack Daniel 's . A second hand gouges his name into the table top with a black steel commando knife . The third drums the beat of the current song on the vinyl booth 's backrest . The fourth hand pets PANTERA , the nubile mutant sitting on his lap , a beautiful young woman entirely covered in glistening black fur . Her yellow eyes glitter . Logan approaches the table . Barbarus stares up at him . Pantera purrs , yellow eyes on Logan .</scene_description>
<character>BARBARUS</character>
<parenthetical>( nuzzling his girl . )</parenthetical>
<dialogue>Oh, I heard about this li'l fella. Mr. Creed beat him to hell.</dialogue>
<character>LOGAN</character>
<dialogue>I came back. Where is he?</dialogue>
<character>BARBARUS</character>
<dialogue>Somewhere in America. Doing what he does best.</dialogue>
<character>LOGAN</character>
<dialogue>What's that?</dialogue>
<character>BARBARUS</character>
<dialogue>Putting people's insides on the outside.</dialogue>
<character>LOGAN</character>
<dialogue>He's killing mutants, bub.</dialogue>
<scene_description>Barbarus smiles , twenty fingers drumming on the table top .</scene_description>
<character>BARBARUS</character>
<dialogue>Some mutants need killing.</dialogue>
<character>LOGAN</character>
<dialogue>You got that right. Snikt!</dialogue>
<scene_description>Barbarus shoves his girlfriend out of the way and stands , unsheathing three more black commando knives from his belt . The other MUTANTS quiet down , watching the fireworks . Barbarus swings , the four knives whistling through the air . Logan ducks under them and continues to bob and weave as Barbarus advances behind a whirlwhind of black steel . Logan slashes and one severed hand falls to the ground . Barbarus howls , stabbing at Logan with his three good arms . Logan 's claws flash through the air again , and another neatly severed hand lands on the table . Logan retracts his claws and curls one finger : come at me . Barbarus , shamed and furious , gathers himself and charges . Logan times his punch perfectly , pivoting on the ball of his foot and hitting Barbarus with an uppercut that sounds like a well - hit baseball . Barbarus crashes to the floor . Pantera hisses and pounces at Logan , her black claws aimed at his face . Logan backhands her . She hits the floor and slides across the hardwood . Logan kneels beside Barbarus .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You want to keep your other hands? Where is he?</dialogue>
<scene_description>Blood dribbles from Barbarus 's lip . He spits out a tooth .</scene_description>
<character>BARBARUS</character>
<dialogue>He do n't sent me postcards.</dialogue>
<character>LOGAN</character>
<dialogue>No? Way I hear it, you two were practically boyfriends before he busted out.</dialogue>
<character>BARBARUS</character>
<dialogue>Busted out?</dialogue>
<parenthetical>( LAUGHING . )</parenthetical>
<dialogue>You been misinformed. Victor Creed got himself a government pardon. Some fellas from the Department of Agriculture came and picked him up.</dialogue>
<character>LOGAN</character>
<dialogue>You're lying to me.</dialogue>
<scene_description>Barbarus grins , his teeth red from the blood in his mouth .</scene_description>
<character>BARBARUS</character>
<dialogue>No, sir. But somebody is.</dialogue>
</scene>
<scene>
<stage_direction>INT. PARKING GARAGE - NIGHT</stage_direction>
<scene_description>A five - story concrete parking structure on the edge of Las Vegas . John Wraith walks to his black . '68 Mustang , whistling a Jerry Jeff Walker song . When he gets to the car he drops to the floor and checks the underbody for bombs . Nothing down there . He stands , reaching into his pocket for his keys .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You think I'd use a bomb on you, Johnny Boy?</dialogue>
<scene_description>Wraith spins around . Victor Creed sits on a concrete parapet , the desert wind blowing his filthy blonde hair . He hops off the parapet and walks toward Wraith .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It's all about human contact for me.</dialogue>
<scene_description>Wraith quickly unlocks the car door and get in . He slips the key into the ignition . The engine turns on the first try . Wraith hits the gas and the Mustang squeals out in reverse . He slams on the brakes , shifts into drive , and guns the car right at Creed . An instant before impact , Creed sidesteps the car and punches through the driver 's window . It 's a miracle of a punch , timed perfectly , a crushing shot to Wraith 's jaw . Wraith loses control . of the car and it sideswipes a parked Hummer , spinning to a stop against a concrete wall . Wraith blinks and tries to clear his head . Creed reaches inside the broken window and hauls the Texan out . He lifts the bleeding man into the air and flashes his white fangs .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Hear you been talking out of school.</dialogue>
<character>WRAITH</character>
<dialogue>He'll find you.</dialogue>
<character>VICTOR CREED</character>
<dialogue>That's the plan. It's a lot easier than finding him.</dialogue>
<scene_description>Creed slams Wraith against the concrete wall and plunges his claws deep into Wraith 's gut . The Texan 's mouth opens as the full force of the pain hits him . Creed whispers in his ear .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I can feel your spine, Johnny Boy.</dialogue>
<scene_description>A sickening crunch as vertebrae are crushed like walnut shells .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Never knew you had one.</dialogue>
<scene_description>Creed drops Wraith 's body to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. HINES' HOUSE - NIGHT</stage_direction>
<scene_description>Carol Hines , the Army surgeon last seen in Alkali Lake , unlocks her front door and steps inside her house . she looks exhausted , with deep circles under her eyes . She puts her keys and the mail on a table by the door and then looks up , startled , when she hears SHRIEKING . Hines , very nervous , advances into the dark kitchen . She flicks on the lights . A red kettle on the stove top whistles . A mug waits on the counter . Hines , mystified , turns off the burner .</scene_description>
<character>LOGAN</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Pour yourself a cup of tea.</dialogue>
<scene_description>Hines spins around . Logan sits at the kitchen table , an unlit cigar in his mouth .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It's gon na be a long night.</dialogue>
</scene>
<scene>
<stage_direction>INT. HINES' HOUSE - LATER</stage_direction>
<scene_description>They both sit at the kitchen table now . Logan smokes his cigar and watches Hines , who clutches her mug of tea with trembling hands . Logan watches her through the haze of smoke .</scene_description>
<character>LOGAN</character>
<dialogue>Careful, Doc. I can smell a lie. I can hear it. Maybe you start to sweat a little bit. Maybe the pitch of your voice changes. But I'll know.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Tell me about Creed.</dialogue>
<scene_description>Hines opens her mouth , closes it , opens it again .</scene_description>
<character>HINES</character>
<dialogue>I ca n't. Please. you do n't know what they'll do to me.</dialogue>
<character>LOGAN</character>
<dialogue>Nope. But I know exactly what I'll do to you.</dialogue>
<scene_description>Hines stares at Logan and he stares back .</scene_description>
<character>HINES</character>
<dialogue>I do n't believe you. You're different than they are. You would n't hurt an innocent person.</dialogue>
<character>LOGAN</character>
<dialogue>You're not innocent, Doc.</dialogue>
<scene_description>He leans forward , forearms on the tabletop .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What does Victor Creed have to do with the Weapon X program?</dialogue>
<character>HINES</character>
<dialogue>It's not the Weapon X program, it's the Weapon Ultra program. Started sixty - five years ago. They've been trying to make the perfect soldier for a long time. First to fight the Nazis. Then the Communists. Now it's mutants.</dialogue>
<character>LOGAN</character>
<dialogue>So where does Weapon X fit in?</dialogue>
<scene_description>Hines closes her eyes and takes a deep breath .</scene_description>
<character>HINES</character>
<dialogue>You do n't understand. X is a letter but it's also a Roman numeral. Weapon `` Ex'' is a nickname. Officially, you're Weapon Ten.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Victor Creed is Weapon Nine.</dialogue>
<scene_description>Hines watches him , unsure how he 'll react .</scene_description>
<character>HINES</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Both of you are experiments. prototypes. The final product is almost ready. Weapon Eleven.</dialogue>
<scene_description>Logan 's face darkens as the extent of his betrayal becomes clear to him .</scene_description>
<character>LOGAN</character>
<dialogue>Creed works for Stryker.</dialogue>
<scene_description>Hines nods .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>He ordered it. He ordered Creed to kill her.</dialogue>
<scene_description>Hines can see Logan 's mounting fury . She holds up her hands .</scene_description>
<character>HINES</character>
<dialogue>I do n't know about anyone getting killed. I'm just a scientist. I work in a lab sixteen hours a day.</dialogue>
<character>LOGAN</character>
<dialogue>Just following orders, huh?</dialogue>
<character>HINES</character>
<dialogue>He was your commanding officer for years. How many people did you kill on his orders?</dialogue>
<scene_description>Logan stares at her for a long count . she stares back , terrified but resolute .</scene_description>
<character>LOGAN</character>
<dialogue>All this time I been hunting Creed, and he's just a puppet. It's Stryker pulling the strings.</dialogue>
<scene_description>He stubs out his cigar on the breakfast table .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You ready to stop following orders?</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Stryker stands at the window overlooking Alkali Lake . Dr. Cornelius steps into the room , holding a black leather case .</scene_description>
<character>CORNELIUS</character>
<dialogue>The Eleven will be ready within 24 hours.</dialogue>
<character>STRYKER</character>
<dialogue>Good.</dialogue>
<character>CORNELIUS</character>
<dialogue>Sir. Lieutenant Hines has n't reported to base today.</dialogue>
<character>STRYKER</character>
<dialogue>Hines?</dialogue>
<scene_description>Stryker considers the information for a moment and nods .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>All right, thank you, Doctor.</dialogue>
<parenthetical>( glancing at case . )</parenthetical>
<dialogue>What's this?</dialogue>
<scene_description>Cornelius sets the case on the table and opens it . Six gleaming , armor - piercing bullets rest in green felt niches .</scene_description>
<character>CORNELIUS</character>
<dialogue>We saved the leftover adamantium from the Weapon X procedure.</dialogue>
<scene_description>Stryker plucks one of the bullets from its niche and rolls it between his fingers , examining it with a practiced eye .</scene_description>
<character>CORNELIUS</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Each one's got a high - explosive core. Two in the head and Logan's brain will have to regenerate from scratch.</dialogue>
<character>STRYKER</character>
<dialogue>They wo n't kill him?</dialogue>
<character>CORNELIUS</character>
<dialogue>According to the computer models we ran, there's a 30 percent chance his healing factor will reconstitute the gray matter. But those synaptic bridges that form our memories? Gone. If he survives, his brain will come back fresh.</dialogue>
<character>STRYKER</character>
<dialogue>A blank slate. easy to train.</dialogue>
<scene_description>Stryker fondles the shining bullet lovingly .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>She's a pretty little thing.</dialogue>
<character>CORNELIUS</character>
<dialogue>She ought to be. That's the world's most expensive bullet.</dialogue>
<scene_description>Stryker pulls a revolver from his shoulder holster , dumps the standard rounds , and begins loading the adamantium bullets .</scene_description>
<character>CORNELIUS</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>There's another way, a more reliable way, to break down his memory.</dialogue>
<character>STRYKER</character>
<dialogue>Mm?</dialogue>
<character>CORNELIUS</character>
<dialogue>Only problem is, the procedure can only be done here at Alkali Lake.</dialogue>
<scene_description>Stryker swings the chamber shut and holsters his gun .</scene_description>
<character>STRYKER</character>
<dialogue>Oh, he's coming back, Doctor. We have what he's looking for.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - DAY</stage_direction>
<scene_description>Hines , driving an old Ford , pulls up.to the guard house at the perimeter of the compound . A YOUNG SENTRY salutes her .</scene_description>
<character>YOUNG SENTRY</character>
<dialogue>Morning, Lieutenant.</dialogue>
<scene_description>Hines smiles brightly , trying to hide her nervousness .</scene_description>
<character>HINES</character>
<dialogue>Good morning!</dialogue>
<scene_description>The sentry looks into the car 's cabin . The passenger seat is empty . The back seat is empty .</scene_description>
<character>YOUNG SENTRY</character>
<dialogue>Could you pop the trunk for me?</dialogue>
<character>HINES</character>
<dialogue>The trunk?</dialogue>
<character>YOUNG SENTRY</character>
<dialogue>Yes, ma'am.</dialogue>
<scene_description>It 's all standard procedure but Hines is close to panicking . She opens the glove compartment and hits the trunk release . The sentry inspects the trunk . nothing but a coil of rope and a roll of electrical tape . He slams the trunk door .</scene_description>
<character>YOUNG SENTRY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You have a good day.</dialogue>
<scene_description>He signals to a second SENTRY standing inside the guard house , who hits a button . The steel gate rolls open and Hines drives into the compound .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DAY</stage_direction>
<scene_description>Hines steps out of her parked car and looks around . No one is in the immediate vicinity .</scene_description>
<character>HINES</character>
<dialogue>It's safe.</dialogue>
<scene_description>Logan crawls out from the underbody , where he had been clinging . He dusts himself off .</scene_description>
<character>LOGAN</character>
<dialogue>Were you aiming for every speed bump in the state?</dialogue>
<character>HINES</character>
<dialogue>Sorry about that. Now what?</dialogue>
<character>LOGAN</character>
<dialogue>We find a uniform that fits.</dialogue>
<scene_description>A well - built SERGEANT walks toward his vehicle , paging through requisition papers on a clipboard .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue />
<scene_description>That ought to work .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE WEAPONS ENGINEERING CENTER - DAY</stage_direction>
<scene_description>Hines and Logan , who now wears a crisp uniform with a sergeant 's stripes and a black beret , walk into the building .</scene_description>
</scene>
<scene>
<stage_direction>INT. WEAPONS ENGINEERING CENTER - CONTINUOUS</stage_direction>
<character>HINES</character>
<dialogue>You have some blood on your shirt.</dialogue>
<scene_description>Logan sees the drops of blood and tries to blot them out .</scene_description>
<character>LOGAN</character>
<dialogue>I barely hit the guy.</dialogue>
<scene_description>They do n't notice as a small security camera near the entrance pivots , its black eye watching the intruders . Hines , very nervous , tries to keep her composure . Logan puts a hand on her shoulder - partly to steady her nerves , partly to keep pushing her forward .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Time to visit the Colonel.</dialogue>
</scene>
<scene>
<stage_direction>INT. WEAPONS ENGINEERING CENTER - DAY</stage_direction>
<scene_description>Hines and Logan walk down a long corridor . Several SOLDIERS and SCIENTISTS walk by , most of them ignoring the pair . One young scientist in a lab coat hurries past , nodding at Hines .</scene_description>
<character>YOUNG SCIENTIST</character>
<dialogue>Lieutenant.</dialogue>
<character>HINES</character>
<parenthetical>( NODDING . )</parenthetical>
<dialogue>Murphy.</dialogue>
<scene_description>Hines waits till Murphy passes . She stops in front of a locked door and allows a laser scanner to read her retina . The door slides open . Logan looks through the open doorway , his nostrils flaring . He looks primed for homicide .</scene_description>
<character>LOGAN</character>
<dialogue>I can smell him.</dialogue>
<scene_description>He walks through the door . Hines checks to see if the coast is clear.and follows him . Neither notices the security camera mounted on the ceiling , swiveling to track their movement .</scene_description>
</scene>
<scene>
<stage_direction>INT. WEAPON XI FACILITY - DAY</stage_direction>
<scene_description>Logan and Hines stand at the top of a steel staircase , forty feet above the concrete floor of a massive cavern . Created in the 1960s by an underground hydrogen bomb test , the Alkali Lake cavern is the second biggest in the country , smaller only than the salt caverns of the Gulf Coast , home of the Strategic Petroleum Reserve . The sheer scale of the place is staggering . Three times the size of the Super Dome , with walls of rough granite , the cavern is loud with the constant thrum of ventilation and high - powered machinery . Heavy steel pillars support the ceiling of the cavern . Ten thousand stainless steel isolation tanks crowd the floor , arrayed in a grid , each tank slightly larger than a coffin . TECHNICIANS walk in between the tanks , checking gauges , writing notes in clipboards . More technicians sit on a raised podium in the center of the cavern , overlooking the Eleven , entering information into the computers that monitor the sleeping army . Logan is awed by the sight . Hines has descended the staircase ahead of him . He follows after her .</scene_description>
<character>HINES</character>
<dialogue>Welcome to Weapon Eleven.</dialogue>
<character>LOGAN</character>
<parenthetical>( STUNNED . )</parenthetical>
<dialogue>I thought it was just gon na be one guy. This is.</dialogue>
<character>HINES</character>
<dialogue>Ten thousand.</dialogue>
<scene_description>They reach the cavern floor and walk amongst the Eleven .</scene_description>
<character>HINES</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Stryker says mutants and humans will fight a war soon.</dialogue>
<parenthetical>( gesturing to Weapon XI . )</parenthetical>
<dialogue>This is his army.</dialogue>
<scene_description>The camera glides over the isolation tanks as Hines continues to speak . We catch glimpses of the ELEVEN inside , comatose soldiers with needles and wires protruding from their skin , exactly like Logan during the Weapon X procedure . The men all look identical and they all look oddly familiar .</scene_description>
<character>HINES</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>They incorporate the most successful features of the previous Weapons. Enhanced skeletons, heightened senses, healing factor -</dialogue>
<scene_description>Logan stops beside one tank and looks at the man inside , who floats in his chemical sleep . His eyes widen when he realizes what he 's looking at .</scene_description>
<character>LOGAN</character>
<dialogue>It's Creed.</dialogue>
<scene_description>He looks inside another tank . Same cruel face , same powerful body . Only their shaved heads distinguish them from Victor Creed .</scene_description>
<character>LOGAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>They're all Creed.</dialogue>
<character>HINES</character>
<dialogue>Stryker's most successful mutant hunter. They cloned him years ago.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>The Colonel's been planning this for a long time.</dialogue>
<scene_description>Logan walks through the midst of this vast , sleeping army , surrounded by ten thousand replicas of his worst enemy .</scene_description>
<character>LOGAN</character>
<dialogue>They get into the world, it's genocide.</dialogue>
<character>HINES</character>
<dialogue>I think that's the general idea.</dialogue>
<scene_description>Logan stops in mid - stride , head raised in the manner of a hunting dog who has just caught wind of his prey .</scene_description>
<character>HINES</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What's the matter?</dialogue>
<scene_description>Logan moves , walking quickly , nearly knocking over a technician entering data into one of the stasis pods .</scene_description>
<character>TECHNICIAN</character>
<dialogue>Hey.</dialogue>
<scene_description>Hines hurries after Logan , smiling apologetically at the annoyed technician .</scene_description>
<character>HINES</character>
<dialogue>Where you going?</dialogue>
<scene_description>Logan never turns .</scene_description>
<character>LOGAN</character>
<dialogue>Do n't follow me.</dialogue>
<scene_description>Hines stops , standing alone in the middle of the Eleven .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DAY</stage_direction>
<scene_description>Logan walks rapidly down the hallway , his pace accelerating as he nears a closed doorway . He rests his head against the door for a moment before putting his hand on the knob and entering the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. STRYKER'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Stryker sits behind his desk , smiling at Logan . But Logan 's not looking at the colonel . He 's looking at the young woman who sits across from Stryker , her back to the door . She does n't turn . Her long black hair cascades down her back .</scene_description>
<character>STRYKER</character>
<dialogue>Hello, old friend. We've been waiting for you.</dialogue>
<scene_description>Logan walks toward the desk , slowly now , a man in a nightmare he ca n't wake from .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Did you really think we just let you walk away three years ago? You're a dangerous man, my friend. We like to keep an eye on dangerous men.</dialogue>
<scene_description>When Logan reaches the young woman he puts his hand on her shoulder . Kayla Silverfox turns and stares up at him , tears streaming down her face .</scene_description>
<character>KAYLA</character>
<dialogue>I'm sorry. I'm so sorry.</dialogue>
<scene_description>An aluminum baseball bat whirs through the air , smashing the back of Logan 's head . Logan falls to the floor , unconscious . Victor Creed stands above him , staring at the flattened barrel of the baseball bat .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Man's got a hard head.</dialogue>
<character>STRYKER</character>
<parenthetical>( STANDING . )</parenthetical>
<dialogue>Let's go. He'll only be out for a couple minutes.</dialogue>
<scene_description>Creed tosses aside the bat and lifts Logan onto his shoulders as easily as a normal man would lift a child of six . He carries Logan out of the room , winking at Kayla .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CHAMBER, ALKALI LAKE - DAY</stage_direction>
<scene_description>Logan , still unconscious , sits on a chair that looks far too similar to an electric chair , his arms and legs bound with titanium manacles that prevent any movement . The room looks like an execution chamber , complete with a viewing window . He opens his eyes and blinks in the bright light . Stryker and Creed stand in front of him but Logan does n't look at them . Dr. Cornelius and an ASSISTANT stand near a machine that is wired to the electric chair , fiddling with the controls , but Logan does n't look at them , either . He stares at Kayla , who can not meet his eyes .</scene_description>
<character>LOGAN</character>
<dialogue>Who are you?</dialogue>
<character>KAYLA</character>
<parenthetical>( very quiet . )</parenthetical>
<dialogue>You know who I am.</dialogue>
<character>LOGAN</character>
<dialogue>No I do n't.</dialogue>
<character>STRYKER</character>
<dialogue>She's real, old friend. Your eyes are telling you. Your ears. Your nose.</dialogue>
<scene_description>Logan ignores Stryker , staring at the love of his life .</scene_description>
<character>LOGAN</character>
<dialogue>You're dead.</dialogue>
<character>STRYKER</character>
<dialogue>I asked you nicely to join the program. And you were so stubborn. But I knew if nothing else could motivate you, revenge would.</dialogue>
<scene_description>Stryker smiles at Kayla , a proud professor beaming at his student .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Tell him. Tell him about the day you died.</dialogue>
<scene_description>Kayla , head bowed , is silent for a long count . When she speaks her voice is a strange monotone , devoid of feeling .</scene_description>
<character>KAYLA</character>
<dialogue>They gave me a syringe full of hydrochlorothiazide.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCESS ROAD - AN EARLIER DAY</stage_direction>
<scene_description>Perhaps the colors are desaturated to let us know that this is a scene we 've witnessed before , or thought we did . Kayla sits behind the wheel of her pickup . Victor Creed walks toward her , black talons raking five gashes on the hood . Kayla has been expecting him . She pulls her backpack out from behind the seat and takes from it a hypodermic needle and a plastic IV bag filled with dark blood . Creed tears the truck 's door off its hinges and tosses it twenty yards . Kayla injects herself with the hypodermic .</scene_description>
<character>KAYLA</character>
<parenthetical>( V. 0 . )</parenthetical>
<dialogue>Reduces the heartbeat to almost zero. Breathing virtually stops. Makes you flatline for six minutes.</dialogue>
<scene_description>Kayla hops down from the truck . She holds out the IV bag to Victor , who casually pierces it with his claw .</scene_description>
<character>KAYLA</character>
<parenthetical>( V. 0. ; cont 'd . )</parenthetical>
<dialogue>I'd been drawing my own blood every night for the past week. I had four liters ready that morning.</dialogue>
<scene_description>Kayla smears . her own blood on her body and empties the rest of the bag on the pavement . She lies down in the puddle in a fetal position , her breathing already beginning to slow .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CENTER, ALKALI LAKE - DAY</stage_direction>
<character>LOGAN</character>
<dialogue>Why?</dialogue>
<character>KAYLA</character>
<dialogue>Same as Victor. Stryker gave me a choice : spend the rest of my life in prison or come work for him.</dialogue>
<character>LOGAN</character>
<dialogue>Prison.</dialogue>
<scene_description>Kayla finally raises her head - and looks directly at Logan .</scene_description>
<character>KAYLA</character>
<dialogue>Shot my Daddy when I was eighteen. Big mistake. Should have shot him when I was seventeen.</dialogue>
<character>LOGAN</character>
<dialogue>You told me he died of a heart attack.</dialogue>
<character>KAYLA</character>
<dialogue>Maybe he had a heart attack after I shot him. Sat there and watched him bleed. After what that man did to me, I wish he died slower.</dialogue>
<scene_description>Logan stares at her for a long time .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>That sweet little girl you lived with in the cabin? That was all make - believe.</dialogue>
<character>LOGAN</character>
<dialogue>You loved me. I know you loved me.</dialogue>
<scene_description>Kayla blinks and looks away .</scene_description>
<character>KAYLA</character>
<dialogue>I'm a good actress.</dialogue>
<character>LOGAN</character>
<dialogue>No one's that good.</dialogue>
<character>STRYKER</character>
<dialogue>Everybody's a sucker for something. Figuring out what it is, that's the trick. For you, it's a woman's love. An easy weakness to forgive. But still a weakness.</dialogue>
<scene_description>Stryker signals to Cornelius . The doctor and his assistant attach a nasty - looking copper halo to Logan 's skull . The halo is wired to the electric chair . Logan never takes his eyes off Silverfox .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do n't be angry at her. She was just serving her country, keeping the mutant menace in check. She and victor have been a real credit to their race.</dialogue>
<scene_description>It takes Logan a moment to understand this comment .</scene_description>
<character>LOGAN</character>
<dialogue>You're a mutant?</dialogue>
<character>KAYLA</character>
<dialogue>My Daddy found out when I was twelve. Said a freak like me deserved whatever I got.</dialogue>
<character>VICTOR CREED</character>
<dialogue>My kind of guy.</dialogue>
<character>STRYKER</character>
<dialogue>She's a gifted girl. She can plant thoughts in anyone's mind, make them believe what she wants - as long as she stays focused on them.</dialogue>
<scene_description>He strokes her long dark hair , proud of his protege . Kayla does n't seem thrilled by Stryker 's touch , but she endures it .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>A useful tool in a seduction.</dialogue>
<character>KAYLA</character>
<parenthetical>( to Logan . )</parenthetical>
<dialogue>Spent so much time getting you to love me, by the time the Colonel showed up I could n't get you to leave me.</dialogue>
<scene_description>Dr. Cornelius finishes calibrating his machine and adjusting the halo brace .</scene_description>
<character>CORNELIUS</character>
<dialogue>We're good to go.</dialogue>
<character>STRYKER</character>
<dialogue>So, Logan. The truth is, you're a real pain in the ass. But we've invested far too much time and treasure to terminate you. We're starting over.</dialogue>
<scene_description>Cornelius checks the digital gauges on the machine .</scene_description>
<character>CORNELIUS</character>
<dialogue>If I've calibrated correctly, we'll leave intact the hard - wired functions, walking and talking, all that good stuff.</dialogue>
<character>VICTOR CREED</character>
<dialogue>You mean I do n't get to potty train him?</dialogue>
<character>CORNELIUS</character>
<dialogue>But every memory you've ever had will evaporate. Just like it never happened.</dialogue>
<scene_description>Logan never takes his eyes off Kayla , his personal Judas .</scene_description>
<character>LOGAN</character>
<dialogue>Good.</dialogue>
<character>STRYKER</character>
<parenthetical>( to Cornelius . )</parenthetical>
<dialogue>Let me know when he's clean. I have to look in on our other guest.</dialogue>
<scene_description>Stryker exits the room , followed by Victor .</scene_description>
<character>LOGAN</character>
<parenthetical>( to Kayla . )</parenthetical>
<dialogue>That story you told me. about the guy who goes to get flowers for the Moon. I ca n't get it out of my head. Except I had it all backwards. I thought you were the moon and I was your Wolverine. But you're the Trickster, are n't you? And I'm just a schmuck who got played.</dialogue>
<scene_description>Kayla is silent for a moment .</scene_description>
<character>KAYLA</character>
<dialogue>My mother told me that story.</dialogue>
<scene_description>She takes a deep breath and turns to go .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It does n't matter. You wo n't remember any of this.</dialogue>
<character>LOGAN</character>
<dialogue>You did n't trick me into loving you.</dialogue>
<character>KAYLA</character>
<dialogue>What?</dialogue>
<character>LOGAN</character>
<dialogue>The last two months, you were n't playing around in my skull. You were n't using your powers on me. I thought you were dead and I loved you more than ever. Maybe it makes you feel better to think it was all fake. But it was never fake for me.</dialogue>
<scene_description>Kayla lowers her eyes .</scene_description>
<character>KAYLA</character>
<dialogue>You do n't know where I come from. You do n't know what it was like.</dialogue>
<character>LOGAN</character>
<dialogue>I know exactly what is was like. I come from there too.</dialogue>
<character>KAYLA</character>
<dialogue>I did n't have a choice.</dialogue>
<character>LOGAN</character>
<dialogue>Course you did. You still do.</dialogue>
<scene_description>Kayla stares down at Logan . The tenderness returns to her face . She could free him right now if she wanted . The moment passes and Kayla shakes her head .</scene_description>
<character>KAYLA</character>
<dialogue>I'm sorry.</dialogue>
<character>LOGAN</character>
<dialogue>Yeah, you keep saying that.</dialogue>
<parenthetical>( to Cornelius . )</parenthetical>
<dialogue>Come on. Turn on the juice. Let's get this over with.</dialogue>
<character>CORNELIUS</character>
<dialogue>Whenever you're ready, Miss Silverfox.</dialogue>
<scene_description>Kayla turns and walks out of the room . Cornelius and his aide follow , shutting the door behind them . Logan takes a deep breath . He looks like a man who is ready to forget everything .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLDING CELL - DAY</stage_direction>
<scene_description>Hines sits alone on a metal cot . The cell door slides open . Stryker and Victor step inside .</scene_description>
<character>STRYKER</character>
<dialogue>Lieutenant. Victor and I were just discussing how to kill you and we thought you might have some suggestions.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Silverfox steps out of the re - education chamber . She hears voices from the holding cell and approaches .</scene_description>
<character>STRYKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>When the Turks captured a traitor, they strapped a steel basket to the man's stomach. Inside the basket was a rat.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLDING CELL - CONTINUOUS</stage_direction>
<character>STRYKER</character>
<dialogue>Now, even a rat ca n't chew through steel. But it can chew through a stomach. So it would. Right through the skin and the fat and the muscle and the intestines, right on out the other side.</dialogue>
<scene_description>Hines looks like she might be sick very soon . Kayla steps into the doorway .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Victor thinks the Turks were soft, letting the rats do the dirty work. He's looking forward to spending your last night with you.</dialogue>
<character>HINES</character>
<dialogue>Please, Colonel -</dialogue>
<scene_description>Stryker pats Hines on the cheek and nods to Victor .</scene_description>
<character>STRYKER</character>
<dialogue>Enjoy yourself.</dialogue>
<character>HINES</character>
<dialogue>Please do n't do this. Please!</dialogue>
<scene_description>Victor drags the screaming Hines off of her cot . Kayla watches with growing unease but Stryker smiles and - waves goodbye as he turns the key that shuts the cell door .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CENTER, ALKALI LAKE - DAY</stage_direction>
<scene_description>Logan sits in his electric chair , staring straight ahead , preparing himself for the pain .</scene_description>
</scene>
<scene>
<stage_direction>INT. VIEWING ROOM - CONTINUOUS</stage_direction>
<scene_description>Cornelius stands behind the glass viewing window with his ASSISTANT . He puts his hand on a red switch .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CENTER, ALKALI LAKE - CONTINUOUS</stage_direction>
<scene_description>Thousands of volts surge into Logan 's skull , forcing his body to arch . After several seconds the power shuts off . Tendrils of white smoke rise from the copper halo . Logan opens his eyes and stares at Cornelius .</scene_description>
<character>LOGAN</character>
<dialogue>That all you got?</dialogue>
</scene>
<scene>
<stage_direction>INT. VIEWING ROOM - CONTINUOUS</stage_direction>
<character>CORNELIUS</character>
<parenthetical>( to his assistant . )</parenthetical>
<dialogue>This could take a while. Raise the amperage by forty percent.</dialogue>
</scene>
<scene>
<stage_direction>INT. STRYKER'S OFFICE - DAY</stage_direction>
<scene_description>Stryker signs a memo and hands it to his aide , Collins . Kayla stands by the window , picking at her fingers .</scene_description>
<character>KAYLA</character>
<dialogue>You're going to let Victor kill that woman.</dialogue>
<scene_description>Stryker and Collins ignore her .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>When you got me out of prison, you told me we were going to help people.</dialogue>
<scene_description>Stryker continues to sign papers , never looking up .</scene_description>
<character>STRYKER</character>
<dialogue>We are. We're saving humanity.</dialogue>
<character>KAYLA</character>
<dialogue>From the mutants?</dialogue>
<scene_description>The phone rings . Stryker answers it .</scene_description>
<character>STRYKER</character>
<dialogue>Yes?</dialogue>
<parenthetical>( LISTENING . )</parenthetical>
<dialogue>Good. I'm coming down.</dialogue>
<parenthetical>( hanging up ; to Collins . )</parenthetical>
<dialogue>The Eleven is ready.</dialogue>
<scene_description>He stands and heads for the door . Collins follows . In the doorway , Stryker stops and fixes his cold blue gaze on Kayla .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do n't worry, my sweet. You're one of the good ones. I'll protect you.</dialogue>
<scene_description>He and Collins exit the room , leaving Kayla alone with her misery .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CENTER, ALKALI LAKE - DAY</stage_direction>
<scene_description>Logan sits panting in the chair , gripping the ends of the arm rests with white fingers , waiting for the next surge of electricity . It comes and he arches again , all the muscles in his body contracting , the veins in his neck bulging .</scene_description>
</scene>
<scene>
<stage_direction>INT. VIEWING ROOM - CONTINUOUS</stage_direction>
<scene_description>Cornelius and his assistant watch Logan with no detectable sympathy . They turn when Kayla walks into the room .</scene_description>
<character>KAYLA</character>
<dialogue>Is he clean yet?</dialogue>
<scene_description>Cornelius and the assistant face front again .</scene_description>
<character>CORNELIUS</character>
<dialogue>He's stronger than I thought. We could be here all night.</dialogue>
<scene_description>Kayla watches Logan in his agony . A glimmer of remorse passes over her face .</scene_description>
<character>KAYLA</character>
<dialogue>He was good to me.</dialogue>
<scene_description>Cornelius , fiddling with the amperage dial , curls his lips in a sardonic smile .</scene_description>
<character>CORNELIUS</character>
<dialogue>You have a funny way of showing your gratitude.</dialogue>
<scene_description>Logan thrashes in his chair . Kayla chews her lip . For a long count she watches Logan suffer .</scene_description>
<character>KAYLA</character>
<dialogue>You should turn it off now.</dialogue>
<scene_description>Cornelius turns and stares at her .</scene_description>
<character>CORNELIUS</character>
<dialogue>I should what?</dialogue>
<parenthetical>( BLINKING . )</parenthetical>
<dialogue>Oh. I guess that's. I guess that's a good idea.</dialogue>
<scene_description>He turns off the electricity .</scene_description>
<character>KAYLA</character>
<dialogue>You two have always hated each other. You should fight.</dialogue>
<scene_description>The assistant blinks and begins to scowl , turning toward Cornelius just in time to get punched in the mouth . The two men brawl on the floor with the lack of skill you 'd expect from two scientists .</scene_description>
</scene>
<scene>
<stage_direction>INT. RE-EDUCATION CENTER - MOMENTS LATER</stage_direction>
<scene_description>Kayla steps into the room . Logan sits slumped motionless in the electric chair . She detaches the copper halo . The skin beneath the metal is singed but it quickly begins to heal . Kayla stares at the man she betrayed , hesitates for a moment and exhales . She unfastens the titanium manacles . Logan is still unconscious . Kayla shakes him gently .</scene_description>
<character>KAYLA</character>
<dialogue>Hey. Wake up.</dialogue>
<scene_description>Logan opens his eyes . He is clearly disoriented , as if waking from a long coma . He stares up at Kayla .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Are you okay?</dialogue>
<scene_description>Logan stares at her , groggy and confused .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do you understand what I'm saying?</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Do you remember me?</dialogue>
<scene_description>In one blinding motion , Logan snatches Kayla by the throat and roughly pulls her to him . She does not resist .</scene_description>
<character>LOGAN</character>
<dialogue>I would have done anything for you.</dialogue>
<character>KAYLA</character>
<dialogue>Please.</dialogue>
<character>LOGAN</character>
<dialogue>Do you hear me? Anything.</dialogue>
<character>KAYLA</character>
<dialogue>Please. Creed's killing your friend.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLDING CELL - DAY</stage_direction>
<scene_description>Victor Creed holds Hines against the cell wall with one hand . Her feet kick in the air as she struggles . He splits her blouse down the middle with a long black talon .</scene_description>
<character>VICTOR CREED</character>
<dialogue>I've always had a thing for human chicks. You're all so soft and helpless.</dialogue>
<character>HINES</character>
<dialogue>No.</dialogue>
<character>VICTOR CREED</character>
<dialogue>Maybe it's time I did a little surgery on you, Doctor.</dialogue>
<character>LOGAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>The woman said no.</dialogue>
<scene_description>Creed turns his head and sees Logan and Kayla standing in the doorway . He grins and tosses Hines aside . She crashes into the wall and slides to the floor , dazed .</scene_description>
<character>VICTOR CREED</character>
<parenthetical>( to Logan . )</parenthetical>
<dialogue>Starting to think you're addicted to pain. You keep coming back for more. Snikt!</dialogue>
<character>LOGAN</character>
<dialogue>This is the end.</dialogue>
<character>VICTOR CREED</character>
<dialogue>Amen to that.</dialogue>
<scene_description>Kayla stands in between them , holding up her hands .</scene_description>
<character>KAYLA</character>
<dialogue>Please! We should n't be fighting each other. Stryker's using us.</dialogue>
<character>VICTOR CREED</character>
<dialogue>A little late for the Mutant Power crap. We hunt freaks for the man. That's why we're free.</dialogue>
<character>KAYLA</character>
<dialogue>What's he gon na do with us when the other mutants are dead? Put us in a zoo?</dialogue>
<scene_description>Creed hesitates , considering the logic of her words . A fanged smile splits his face .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Do n't try your head games on me. I've gutted better telepaths than you.</dialogue>
<scene_description>Creed rears back to hammer Kayla , a blow that would separate her head from her body . Logan catches Creed 's fist inches from Kayla 's face .</scene_description>
<character>LOGAN</character>
<dialogue>Time you quit picking on girls.</dialogue>
<character>VICTOR CREED</character>
<dialogue>Oh, I'm happy picking on men.</dialogue>
<scene_description>Creed swings at Logan 's head , Logan ducks , and the fight begins . This is melee so efficient that no motion is wasted . Every lunge would kill any other adversary . Every parried blow would shatter a normal man 's arm . Kayla , bleeding from the nose , staggers to her feet . She helps up Hines and pushes her toward the door .</scene_description>
<character>KAYLA</character>
<dialogue>Get out of here.</dialogue>
<scene_description>Hines does n't have to be told twice . She flees . Creed sees his plaything running out the door . He snarls in frustration .</scene_description>
<character>VICTOR CREED</character>
<dialogue>You're ruining my party.</dialogue>
<scene_description>He grabs hold of Logan and hurls him headfirst through the cell wall - a concrete support wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Logan crashes to the floor , covered in rubble . Creed steps out of the cell , licking his fangs . Creed tries to stomp Logan 's face , but the smaller man rolls out of the way and gets back on his feet . The mutants battle down the corridor , claws whistling through the air . A team of SENTRIES charge around the corner , wearing tactical armor and carrying XM8 assault rifles . They level their rifles at the battling mutants .</scene_description>
<character>SENTRY #1</character>
<dialogue>Get down! Get down!</dialogue>
<character>SENTRY #2</character>
<dialogue>Down on your knees!</dialogue>
<scene_description>Logan and Creed , trying to punch holes in each other , ignore the sentries . Kayla , staring down the barrels of the big guns , . holds up her hands . She concentrates , staring into the sentries ' eyes .</scene_description>
<character>KAYLA</character>
<dialogue>We're here as guests of Colonel Stryker.</dialogue>
<scene_description>The sentries ' hostility shifts into apologetic obeisance .</scene_description>
<character>SENTRY #1</character>
<dialogue>Very sorry about that.</dialogue>
<character>KAYLA</character>
<dialogue>You boys are no longer needed here. Go back to barracks.</dialogue>
<character>SENTRIES</character>
<dialogue>You got it. See ya later. Bye!</dialogue>
<scene_description>The sentries wave cheerfully and depart . Creed and Logan are equally skilled , but Creed 's superior size and strength begin to wear the smaller man down . Creed slams him into the wall , opening fissures . Holding both of Wolverine 's wrists up with one hand , Creed grabs Wolverine 's face with his free hand . His black claws slide toward Wolverine 's eyes .</scene_description>
<character>VICTOR CREED</character>
<dialogue>How you gon na fight without eyes, little man?</dialogue>
<scene_description>Logan brings his knee up hard , smashing his adamantium - enhanced kneecap into Creed 's groin . The big man groans . Logan spins Creed around , jamming him against the wall . He tries to skewer Creed with the claws of his right hand but Creed moves his head at the last moment . Logan 's claws are buried to the hilt - in the wall . He strikes at Creed with his left hand , but Creed dodges again . All six of Logan 's claws are deep in the solid rock wall . He brings his hands . together , the adamantium blades slicing through granite as if it were cheesecake . Creed ducks under the claws an instant before they shred him . He grabs Logan in a - bear hug . A large section of the wall behind them falls out , and , unable to halt their momentum , Logan and Creed tumble through the hole , disappearing from sight . Kayla runs over and stands at the jagged precipice , looking out onto the gargantuan Weapon XI cavern .</scene_description>
</scene>
<scene>
<stage_direction>INT. WEAPON XI FACILITY - CONTINUOUS</stage_direction>
<scene_description>Logan and Creed fall seventy feet , clawing at each other in mid - air . Logan hits the floor hard , the impact blasting a small crater in the concrete . Creed manages a rolling fall , cat - quick and dexterous . Stryker stands on the raised podium in the center of the cavern , overlooking his vast , sleeping army . He can not believe what he 's seeing .</scene_description>
<character>STRYKER</character>
<parenthetical>( to Lead Technician . )</parenthetical>
<dialogue>I want the Eleven combat ready.</dialogue>
<character>LEAD TECHNICIAN</character>
<dialogue>We ca n't rush them,. sir. They've been in stasis for -</dialogue>
<character>STRYKER</character>
<dialogue>I want them ready!</dialogue>
<scene_description>The Lead Technician flinches and barks orders to his subordinates , who enter commands into their computers . The lids of ten thousand isolation tanks slide open . As the camera roams among the Eleven , needles and hoses detach from their bodies , releasing their metallic grip . The cloned Creeds begin to stir in their stainless steel coffins . Creed pounces on Logan , who is still severely injured from the fall . Creed tears into the smaller man mercilessly , slinging him around the cavern , gouging him with his black talons . Creed batters Logan with a series of savage blows . Logan falls , his healing factor overwhelmed , barely conscious . Creed plants one heavy black boot on Logan 's face and presses down hard . He leers at his defeated foe .</scene_description>
<character>VICTOR CREED</character>
<dialogue>Your pal Wraith pissed all over my boots when I crushed his spine. Smell like fear, do n't they?</dialogue>
<scene_description>Something changes within Logan , a fury so overwhelming it can not be contained , a rage so vast it could only be called berserker . Logan rolls toward his tormentor , sweeping his claws straight through Creed 's ankle , severing the foot . Creed screams and falls to his knees . Logan stands , grabbing a handful of Creed 's dirty blonde hair .</scene_description>
<character>LOGAN</character>
<dialogue>This is for the ones who could n't fight back.</dialogue>
<scene_description>The adamantium blades are a silver blur in the overhead light . Stryker , standing on the podium , sees his chief henchman 's head tumble from his shoulders . He grits his teeth and surveys his army . Ten thousand enhanced warriors begin to step out of their steel coffins , baring their fangs , eyeing their surroundings .</scene_description>
<character>STRYKER</character>
<parenthetical>( to the Lead Technician . )</parenthetical>
<dialogue>Activate the PA system.</dialogue>
<scene_description>The Lead Technicians flips a switch . Stryker speaks into a microphone ; his voice booms from speakers mounted on the pillars throughout the cavern .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Soldiers!</dialogue>
<scene_description>The Eleven snap to attention with machined synchronicity , all ten thousand facing Stryker . Logan , bloodied but healing , stares down at his fallen enemy .</scene_description>
<character>KAYLA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Logan!</dialogue>
<scene_description>Kayla runs down one of the steel staircases that clings to the cavern wall like fire escapes .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>If we get closer to Stryker, I can work my magic.</dialogue>
<scene_description>Logan stares at Stryker , his true enemy , the.man who destroyed his life . Ten thousand clones . encircle Stryker , who stands on the raised podium in the cavern 's center .</scene_description>
<character>LOGAN</character>
<dialogue>I do n't want him hypnotized. I want him dead.</dialogue>
<scene_description>Never taking his eyes off his enemy , Logan advances . Stryker sees Logan walking toward him , toward the hordes of clones . Stryker shakes his head and smiles .</scene_description>
<character>STRYKER</character>
<dialogue>The man's committing suicide.</dialogue>
<scene_description>He leans into the microphone . The Eleven listen to their commander 's voice , amplified by hundreds of speakers</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>No army that ever marched could stand against you! You will never abandon your mission, and your mission is simple! Kill the mutants! Kill them wherever you find them!</dialogue>
<scene_description>Stryker points at Logan .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>THIS IS YOUR FIRST ENEMY!</dialogue>
<scene_description>Ten thousand cloned murderers turn on Logan , soulless black eyes focusing on their target . Logan stops his march beside one of the massive steel pillars . that supports the cavern ceiling .</scene_description>
<character>LOGAN</character>
<parenthetical>( to Kayla . )</parenthetical>
<dialogue>Get the hell out of here.</dialogue>
<character>KAYLA</character>
<dialogue>What are you doing?</dialogue>
<character>LOGAN</character>
<dialogue>Bringin' down the house.</dialogue>
<scene_description>He sweeps his claws clean through the pillar , at an angle . The uppermost section shears off and drills into the floor with a concussive whump that spiderwebs the concrete for thirty feet around the impact site . Stryker realizes what Logan is doing .</scene_description>
<character>STRYKER</character>
<dialogue>ATTACK! ATTACK!</dialogue>
<scene_description>The Eleven charge . From above we can see the full - scale of the onslaught , wave upon wave of cloned murderers closing in . Logan runs to the next pillar and slices through it . Creaks and groans sound overhead , as the tremendous weight above exerts pressure on the remaining weight - bearing supports . Most of the ten thousand ca n't get close to Logan , but they all want in on the first kill . Whirling , slashing , stabbing , kicking , Logan scythes a circle of devastation , spray - painting the floor with the black blood of the Eleven . He reaches a third pillar and chops through it . Kayla eyes the ceiling nervously and hurries toward the exit .</scene_description>
<character>STRYKER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>STOP HIM, YOU IDIOTS! STOP HIM!</dialogue>
<scene_description>Even Logan ca n't hold back the tide for long . Talons rake his face , his arms , his chest . But still he battles , slicing through a fourth pillar , a fifth . Tremendous fissures split the rock ceiling . Dust and rocks fall onto the cavern floor as the fissures widen . Logan sees that the cavern 's collapse is imminent . He can no longer hold off the Eleven 's assault . An instant before the clones can shred him , he jumps , using his claws to scale one of the still - standing steel pillars with the grace and speed of a leopard climbing a tree . One of the clones follows , using his black talons in the same fashion , grabbing at Logan 's feet . When Logan is forty feet above the throng of teeth - gnashing clones , he severs the pillar below his feet . The clone chasing him can climb no farther , can do nothing but roar and hiss at his escaping prey . Logan swings himself onto the steel staircase , where Kayla waits beside the open door . He races up the stairs . Stryker sees his dream in ruins . He runs for the nearest exit . Kayla and Logan are a few feet from the door , from safety , when the cavern ceiling gives out . Thousands of tons of stone and steel come crashing down . Logan grabs Kayla and hauls her to safety an instant before she would be crushed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - DAY</stage_direction>
<scene_description>The compound has essentially imploded , the major structures falling into the massive pit created by the cavern 's collapse . Severed gas lines and ruptured boilers have turned the crater into a raging fire pit . Smoke billows up from the molten core . A few dazed survivors , SOLDIERS and SCIENTISTS , have escaped the carnage , but Alkali Lake no longer exists as a military base . Thousands of singed documents flutter in the wind . Logan and Kayla walk away from the burning crater , never looking back . They head through the woods toward the lake that glitters in the sunlight .</scene_description>
<character>KAYLA</character>
<dialogue>One of them could have survived.</dialogue>
<scene_description>Logan glances at her .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>The clones. They've got your healing factor.</dialogue>
<scene_description>Logan looks back at the devastation .</scene_description>
<character>LOGAN</character>
<dialogue>Unless someone comes along who can move a few million tons of steel, they ai n't going anywhere.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - LATER</stage_direction>
<scene_description>They stop at the edge of the lake . Paper from the destroyed base drifts through the air , falling on the water and the shore .</scene_description>
<character>LOGAN</character>
<dialogue>Almost looks peaceful from here.</dialogue>
<character>KAYLA</character>
<dialogue>There's something I want you to know.</dialogue>
<scene_description>He looks at her .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe nothing I say matters anymore. But I'm going to say it anyway. I.</dialogue>
<scene_description>A blossom of blood opens up on her chest . She stares down at it in wonder before sinking to her knees . Logan turns and sees Stryker walking toward them .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Stryker fires again . The adamantium bullet rips through Logan 's forehead with an unholy sound . Logan falls to the ground . Stryker stands above him and fires another bullet into Logan 's head . Stryker turns the gun on Kayla .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You do n't need to waste another bullet. I'm already dead.</dialogue>
<scene_description>Stryker blinks and hesitates . Kayla coughs , her strength beginning to fade .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe you should turn that gun on yourself, Colonel.</dialogue>
<scene_description>Stryker nods , pointing the gun at his own head .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It would be good for the mutants if I made you pull the trigger.</dialogue>
<parenthetical>( BEAT . )</parenthetical>
<dialogue>Why do you hate us so much?</dialogue>
<scene_description>Stryker 's finger trembles on the trigger .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Is it because your son is one of us?</dialogue>
<scene_description>For the first time , perhaps , we see something human in the cold blue of Stryker 's eyes .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Enough killing, Colonel. Throw your gun in the lake.</dialogue>
<scene_description>Stryker does as he 's told . The revolver sinks into the water .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Leave us. Keep walking till your feet start to bleed.</dialogue>
<scene_description>Stryker turns and walks away . Kayla crawls over to Logan . She lifts his head onto her lap . He 's unconscious but breathing . The bullet holes in his skin have already healed . She strokes his jaw . and smiles sadly . One of the scraps of paper from the base blows against her leg . She takes it and looks down at the blank page . She has no pen . She touches her chest , just above her heart , wetting her finger with her blood . She writes four words on the page , blows on it to dry it , folds it once and places it in Logan 's hand . She kisses his lips and rests his head gently on the ground . Fighting the pain , a dying woman , Kayla manages to stand .</scene_description>
<character>KAYLA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>If you ever remember what I did to you, try to forgive me. I was a fool. And you were right. I always loved you.</dialogue>
<scene_description>She turns and walks toward the lake , never looking back , never hesitating as the waters rise above her knees , above her waist , above her shoulders , above her head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALKALI LAKE - SUNSET</stage_direction>
<scene_description>Logan 's eyes flutter and open . For a moment he squints into the blue sky . He sits up , looking around . The woods are empty . He stands , completely disoriented , a stranger in the world . He realizes that he 's holding a piece of paper in his hand . He unfolds it and reads the message written in blood . You are my Wolverine . He stares at it for a moment before folding it carefully and putting it in his pocket . He takes a deep breath of cold air and walks west , toward the falling sun . He does n't know who he is . He does n't know where he 's going . But the wind blows through his hair , the last of the sunlight feels good on his skin . He is a free man . He walks toward his destiny . THE END</scene_description>
</scene>
</script> | In 1845, James Howlett, a boy living in Canada, witnesses his father being killed by groundskeeper Thomas Logan. Anxiety activates the boy's mutation: bone claws protrude from his knuckles and he impales Thomas, who reveals that he is James' birth father before dying. James flees along with Thomas' other son Victor Creed, who is James' half-brother and has a healing factor mutation like James. They spend the next century as soldiers, fighting in the American Civil War, both World Wars and the Vietnam War in 1973. In Vietnam, the increasingly violent Victor attempts to rape a Vietnamese woman and kills a senior officer who tries to stop him. James returns to Victor upon the commotion, and ignorant of his brother’s intent, he rushes to defend him. This results in the pair being sentenced to execution by firing squad, which they survive due to their mutant healing abilities. Major William Stryker approaches them in military custody and offers them membership in Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes and Chris Bradley. They join the team for a few missions, with James using the alias Logan, but Victor and the group's lack of empathy for human life causes Logan to leave. Six years later, in 1979, Logan works as a logger in Canada, where he lives with his girlfriend Kayla Silverfox. Stryker and Zero approach Logan, reporting that Wade and Bradley have been killed; someone is targeting the team. Logan refuses to rejoin Stryker, but after finding Kayla's bloodied body in the woods, realizes that Victor is responsible. He finds Victor at a local bar, but Logan loses the subsequent fight. Afterward, Stryker explains that Victor has gone rogue and offers Logan a way to become strong enough to get his revenge. Logan undergoes a painful operation to reinforce his skeleton with adamantium, a virtually indestructible metal. Once the procedure is complete, Stryker orders that Logan's memory be erased so he can be used as Stryker's personal weapon, but Logan overhears and escapes to a nearby farm, where an elderly couple takes him in. Zero kills the couple the following morning and tries to kill Logan, but Logan takes down Zero's helicopter and swears to kill both Stryker and Victor. Logan locates John and Fred at a boxing club. Fred explains that Victor still works for Stryker, hunting down mutants for Stryker to experiment on at his new laboratory, located at a place called "The Island". Fred mentions Remy "Gambit" LeBeau, the only one who escaped from the island and therefore knows its location. John and Logan find LeBeau in New Orleans, then both fight Victor, who kills John and extracts his DNA. Agreeing to help release mutants that Stryker has captured, Gambit takes Logan to Stryker's facility on Three Mile Island. Logan learns that Kayla is alive, having been forced by Stryker into surveilling him in exchange for her sister's safety. However, Stryker refuses to release her sister and denies Victor the adamantium bonding promised for his service, claiming that test results revealed Victor would not survive the operation. Stryker activates Wade, now known as Weapon XI, a "mutant killer" with the powers of multiple mutants. While Logan and Victor fight off Weapon XI, Kayla is mortally wounded leading the captive mutants to Professor Charles Xavier and safety. After Logan kills Weapon XI, Stryker arrives and shoots Logan in the head with adamantium bullets, rendering him unconscious. Before Stryker can shoot Kayla, she grabs him and uses her mutant power to persuade him to turn around and walk away until his feet bleed, then succumbs to her injuries. Logan regains consciousness but has lost his memory. He notices his dog tags read "Logan" on one side and "Wolverine" on the other. He pauses upon noticing Kayla's body, but does not recognize her. In a mid-credits scene, Stryker is detained for questioning by MPs in connection with the death of General Munson, whom Stryker murdered to protect his experiment. In a post-credits scene, following the defeat of Deadpool, his hand crawls out of the rocks and touches his head, which awakens and shushes the screen, revealing that he has survived being decapitated. |
The Unborn_2009 | tt1139668 | <script>
<scene>
<character>BORN</character>
<dialogue>An original screenplay</dialogue>
<scene_description>by David S. Goyer November 4, 2007 Over darkness we hear a YOUNG BOY WHISPER:</scene_description>
<character>CHILD'S VOICE</character>
<dialogue>Some people are doorways.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON PARK - PORTLAND, OREGON - DAY</stage_direction>
<scene_description>FADE IN on a gray, drizzly morning. We are gliding behind a YOUNG WOMAN as she jogs down a leaf-strewn path. She has a lean, athletic body. We follow her for a good while.</scene_description>
<character>CASEY (V.O.)</character>
<dialogue>It starts with me running. My usual route. It's early, so the park is completely empty.</dialogue>
<scene_description>Presently, the woman slows to a stop, her shoulders rhythmically rising and falling as she breathes. ANGLE ON THE WOMAN Attractive, intense, with soulful brown eyes. This is CASEY BELL (19). Casey stares at an object on the ground -- a RED \* KNIT GLOVE. She picks it up. As she rises, she tenses --</scene_description>
<character>CASEY (V.O.)</character>
<dialogue>Then I get the feeling that someone is watching me.</dialogue>
<scene_description>She slowly turns around -- A LITTLE BOY (9) Stands in the path. He is pale, with haunted eyes, dressed in clothes a half-century out of date. On his left hand is the matching glove. We will come to know this boy as BARTO. Casey stares at the boy, gripped by rising apprehension -- only now a DOG sits in the boy's place, resting on its haunches. A bull terrier. A papier-mâché mask of the boy's face is strapped to the dog's head with red ribbon. The dog trots off into the nearby trees. Casey follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON PARK - WOODS - DAY</stage_direction>
<scene_description>Casey pushes her way through branches and brambles, coming upon the discarded mask. The dog is nowhere to be found. Casey reaches for the mask, but realizes that the end of the ribbon is buried in the soil. She digs with her fingers, unearthing a MASON JAR. Casey brushes dirt from it. CLOSE ON THE JAR A HUMAN EMBRYO rests within formaldehyde. About nine weeks into development. Suddenly, the embryo OPENS ITS EYES.</scene_description>
<character>ROMY'S VOICE</character>
<dialogue>That's disgusting. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. NEILSON HOME - LIVINGROOM - NIGHT</stage_direction>
<scene_description>The lights are off and Casey is nestled on a couch, a cellphone in one hand, a fashion magazine open on her lap. A TV is on, the sound muted. \*</scene_description>
<character>CASEY</character>
<dialogue>I know. So what does the dream \* mean?</dialogue>
</scene>
<scene>
<stage_direction>INT. MARSHALL HOUSE - ROMY'S BEDROOM - NIGHT (INTERCUT) \*</stage_direction>
<scene_description>ROMY MARSHALL (19), Casey's slightly neurotic best friend, \* leafs through a book on dream symbols.</scene_description>
<character>ROMY</character>
<dialogue>That your vagina is completely disease-infested.</dialogue>
<character>CASEY'S VOICE</character>
<dialogue>Shut up. For real.</dialogue>
<scene_description>Romy sighs, reads from the page in question.</scene_description>
<character>ROMY</character>
<dialogue>"Babies are symbolic of change and renewal. If the baby is a stranger to you, it may represent something developing within yourself that is not yet ready to be born."</dialogue>
<parenthetical>(beat, deadpan)</parenthetical>
<dialogue>It doesn't say anything about babies in formaldehyde.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEILSON HOME - LIVINGROOM - NIGHT (INTERCUT)</stage_direction>
<scene_description>Casey stretches out, slinking further down into the couch.</scene_description>
<character>CASEY</character>
<dialogue>What about dogs?</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>It doesn't say anything about dogs in formaldehyde either.</dialogue>
<character>CASEY</character>
<dialogue>Fuck you, Romy.</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>Okay, okay --</dialogue>
<parenthetical>(sighing, flipping pages)</parenthetical>
<dialogue>"Depending on its actions, a dog may represent the dreamer's natural drives and instincts, whether they be restrained or unleashed. In mythology the dog was often seen as the guardian of the afterlife, or a messenger between the visible and the hidden --" Then it just goes on with more psycho-babble.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Forget about it. So how were the \* kids? Did you have to change diapers and shit like that?</dialogue>
<character>CASEY</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>No. The baby was down when I got here. And the four year-old conked</dialogue>
<dialogue>out as soon as I read to him. \*</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>Do you think they have a nanny-cam?</dialogue>
<character>CASEY</character>
<dialogue>Come on.</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>I would if I had kids. There's no way I'd trust them with some random teenager.</dialogue>
<parenthetical>(conspiratorially)</parenthetical>
<dialogue>Do you think they have any porn in their DVD collection?</dialogue>
<character>CASEY</character>
<dialogue>Like I really want to know what Mr. Neilson beats off to.</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>Well it's not Mrs. Neilson, that's for sure.</dialogue>
<character>ROMY'S VOICE</character>
<dialogue>You know, Lisa was sitting for the Stapletons and she found, like full- on gay porn in their media closet.</dialogue>
<scene_description>Just then, a THUMP sounds from overhead. Casey looks towards the ceiling, suddenly alert.</scene_description>
<character>CASEY</character>
<dialogue>Hold on.</dialogue>
<scene_description>ANOTHER THUMP. Definitely coming from upstairs. Casey leans over the coffee table, reaching for a baby monitor. She turns up the volume, listening. We slowly PUSH IN on the monitor. Through the HISSING STATIC a barely discernible WHISPER. Unintelligible, and then:</scene_description>
<character>CHILD'S VOICE</character>
<dialogue>Some people are doorways.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEILSON HOME - STAIRWELL - NIGHT</stage_direction>
<scene_description>Casey turns on a light, peering up the carpeted stairs to the landing above. She calls out.</scene_description>
<character>CASEY</character>
<dialogue>Matty? You up?</dialogue>
<scene_description>No answer. Casey starts up the stairs.</scene_description>
<character>CASEY</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Romy, hang on. I think one of the kids is awake.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEILSON HOME - UPPER HALLWAY - NIGHT</stage_direction>
<scene_description>At the end of the hall, light shines out from the open nursery door. Casey approaches with mild trepidation.</scene_description>
<character>CASEY</character>
<dialogue>Matty?</dialogue>
<scene_description>CASEY'S POV As she rounds the corner MATTY NEILSON (5) becomes framed in the doorway, clad in superhero pajamas. A chair has been pulled beside the crib. Matty stands on it, leaning over the crib rail, holding a small mirror. He pivots the mirror back and forth, reflecting light into the baby's face.</scene_description>
<character>CASEY</character>
<dialogue>What are you doing, Matty?</dialogue>
<scene_description>Matty doesn't respond. He is intent upon his task.</scene_description>
<character>CASEY</character>
<dialogue>Matty.</dialogue>
<scene_description>Again, no response. Casey steps forward, gently tugging at the boy's arm. He resists her. Then the baby begins to CRY and Casey renews her efforts.</scene_description>
<character>CASEY</character>
<dialogue>Matty, stop that.</dialogue>
<scene_description>Suddenly, Matty twists around and SMASHES the mirror into Casey's face. The mirror SHATTERS and Casey staggers back, dropping her cell phone. She stares at Matty, stunned.</scene_description>
<character>CASEY</character>
<dialogue>MATTY!!!</dialogue>
<scene_description>Matty glares back, emotionless, hands immobile at his sides.</scene_description>
<character>MATTY</character>
<dialogue>Jumby wants to be born now.</dialogue>
<scene_description>And just like that, whatever spell has taken hold of Matty seems to lift. He seems disoriented. Then he begins to WAIL. On the floor, Romy'S VOICE is heard from the fallen phone:</scene_description>
<character>ROMY'S VOICE</character>
<dialogue>Casey? What's going on there?</dialogue>
</scene>
<scene>
<stage_direction>INT. NEILSON HOME - STAIRWELL - NIGHT</stage_direction>
<scene_description>Some time later, Casey stands opposite ROGER and GAIL NEILSON (30s), who have returned from their night on the town. Both are apologetic, agitated. Gail holds the baby in her arms. Casey dabs at her left cheek with a Kleenex, having received what amounts to little more than a scratch.</scene_description>
<character>GAIL</character>
<dialogue>Are you sure you're alright?</dialogue>
<character>CASEY</character>
<dialogue>It's fine, it's nothing.</dialogue>
<character>ROGER</character>
<dialogue>I can't even imagine what got into him. He's never done anything like that before.</dialogue>
<character>CASEY</character>
<dialogue>I probably just startled him. \* Honestly, he was more upset than I was afterwards.</dialogue>
<character>GAIL</character>
<dialogue>All the same, I'd feel better if you had your eye checked out.</dialogue>
<scene_description>Embarrassed and anxious to put the whole thing past her, Casey edges towards the front door.</scene_description>
<character>CASEY</character>
<dialogue>I will. I promise.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEILSON HOME - FRONT PORCH - NIGHT</stage_direction>
<scene_description>It's quiet. Just the sound of WIND CHIMES coming from a neighbor's porch. Casey exits, the Neilsons trailing her out. Halfway down their driveway, she pauses and waves, then starts in a catty-corner direction across the street towards -- THE BELL HOME, An upper middle-class Colonial Revival with an S-class black Mercedes parked in front. As Casey approaches her house, she pauses. On the ground is a RED KNIT GLOVE. Casey freezes, eyes wide. She fearfully looks behind her -- but no one is there. Casey looks back to the glove. She shakes her head, dismissing it as nothing. But as she continues onward, she gives the glove a wide berth.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - ENTRY WAY/LIVINGROOM - NIGHT</stage_direction>
<scene_description>Casey enters, shedding her coat at the door, trying to shake the feeling of unease. We FOLLOW HER into the livingroom.</scene_description>
<character>CASEY</character>
<dialogue>Hey, Dad. Allison.</dialogue>
<scene_description>GORDON BELL (40s), is cuddling on the couch with his girlfriend, ALLISON THAYER (30s). They're watching a movie.</scene_description>
<character>ALLISON</character>
<dialogue>How was sitting, Casey?</dialogue>
<character>CASEY</character>
<parenthetical>(not wanting to engage)</parenthetical>
<dialogue>Fine.</dialogue>
<scene_description>Though they're cordial enough, we sense that Casey and Allison aren't particularly friendly.</scene_description>
<character>GORDON</character>
<dialogue>There's cheesecake from Ricardo's, if you want it.</dialogue>
<character>CASEY</character>
<dialogue>Thanks, but I think I'm just going to crash. Night, you guys.</dialogue>
<scene_description>Casey continues on her way.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM/BEDROOM - NIGHT</stage_direction>
<scene_description>Casey, now wearing a T-shirt and panties, stands at the sink. She opens the medicine cabinet, takes out her birth control pills, pops one from a blister pack and downs it. As she closes the medicine cabinet, she inspects the scratch on her cheek in the mirror. It's minor. She turns off the bathroom light, exits. A few steps into her darkened bedroom, she pauses. There's a TAPPING behind her, like someone rapping on a window pane. Casey turns. It's coming from behind the cabinet mirror. Casey opens the medicine cabinet. There's nothing inside but \* toiletries. She shuts it again, dismissing it as nothing. \* MOMENTS LATER, Casey climbs in bed. She stares at the ceiling, then looks to a framed photo -- CASEY as a GIRL, laughing in the arms of a WOMAN (30s). Casey studies the photo, shuts her eyes. ANGLE ON THE MEDICINE CABINET MIRROR Slowly PUSH IN. The TAPPING is heard again, but slightly lower in volume now. FADE TO BLACK.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - KITCHEN - DAY</stage_direction>
<scene_description>FADE IN as Casey hurriedly fixes breakfast. The TV is on, some inane morning show. Casey has a pan on the stove, some eggs ready nearby. She pours herself a glass of juice, chugs it down. Then she cracks one of the eggs open into the pan. As it SIZZLES, she reaches for a second egg, cracks it too -- AS THE EGG SPILLS OUT Something squirms amidst the yolk. A creepy-crawly POTATO BUG, over an inch long. It's on its back, legs writhing. Casey gags, dumping the pan's contents into a wastebasket. Thoroughly grossed out, she looks through the window above the sink -- at the Neilsons' house across the street.</scene_description>
<character>ROMY (PRELAP)</character>
<dialogue>And that was all the kid said?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARRISON COMMUNITY COLLEGE - COMMONS - DAY \*</stage_direction>
<scene_description>Casey sits at a table with her boyfriend, MARK HARDIGAN, who has his arm draped around her. He's tall, good-looking, thoughtful. The perfect boyfriend. Across from them are Romy and LISA SHEPHERD, another student. It's lunchtime.</scene_description>
<character>CASEY</character>
<dialogue>Yeah. "Jumby wants to be born now." And then he hit me.</dialogue>
<character>LISA</character>
<dialogue>That's creepy.</dialogue>
<character>MARK</character>
<dialogue>The kid's four. He probably didn't even know what he was doing.</dialogue>
<character>ROMY</character>
<dialogue>It's bad luck, you know.</dialogue>
<character>CASEY</character>
<dialogue>Breaking the mirror?</dialogue>
<character>ROMY</character>
<dialogue>Well, that. But what he was doing with it, too. Newborns aren't supposed to see their own reflections until they're at least a year old. It means they'll die soon.</dialogue>
<character>MARK</character>
<dialogue>According to who?</dialogue>
<character>ROMY</character>
<dialogue>It's just one of those superstitions.</dialogue>
<character>MARK</character>
<dialogue>You're completely fucked in the head.</dialogue>
<character>ROMY</character>
<parenthetical>(defensive)</parenthetical>
<dialogue>It's not like I believe it. It's just one of those things.</dialogue>
<character>MARK</character>
<dialogue>Where do you get all this useless information? It's amazing.</dialogue>
<character>ROMY</character>
<dialogue>I read, okay? You should try it some time. They string all these words together on a page and they spell out a message. It's awesome.</dialogue>
<scene_description>Mark rolls his eyes, making a "retardo" face. Lisa, meanwhile, has lost interest in the conversation and is checking her text messages.</scene_description>
<character>LISA</character>
<dialogue>Hey, you guys want to go to St. Andrews on Saturday night? Brandon's brother is DJing. \*</dialogue>
<character>ROMY</character>
<dialogue>I'd be up for that. \*</dialogue>
<scene_description>Mark nods as well, but he's got his eye on Casey, who looks preoccupied. She catches him watching her, smiles at him. Just then, the SCHOOL BELL RINGS.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCIENCE HALL - DAY \*</stage_direction>
<scene_description>Casey sits near the back, a few rows away from Mark. She's \* got a notebook open and is doing her best to pay attention. MR. SHIELDS (30s), cute and energetic by professor standards, \* paces before the chalkboard at the head of the class. He's already written the day's subject on the board:</scene_description>
<character>"THE GREAT IMPONDERABLES".</character>
<dialogue>Now he's finishing a question beneath that.</dialogue>
<scene_description>"WHAT HAPPENED BEFORE TIME BEGAN?":</scene_description>
<character>SHIELDS</character>
<dialogue>As far as we know, the universe is roughly fifteen billion years old. So if the universe had a beginning, what happened before the beginning?</dialogue>
<scene_description>Shields scans the faces of his students. They're stumped. Casey blinks, distracted. She rubs her left eye (the one Matty had hit) as if she had something in it.</scene_description>
<character>SHIELDS</character>
<dialogue>Okay. Fair enough. People have been wracking their brains over that one for thousands of years. Einstein would tell us that there was no before, since time itself didn't exist yet.</dialogue>
<scene_description>Casey continues to feel discomfort. She's got an itch, so she scratches behind her ear, brushing her hair away. CASEY'S POV Her vision WARPS, the words on the blackboard blurring.</scene_description>
<character>SHIELDS</character>
<dialogue>So here's another question -- how big is the universe?</dialogue>
<scene_description>Mr. Shields turns to the board, writing a second question:</scene_description>
<character>"HOW BIG IS THE UNIVERSE?"</character>
<dialogue>Casey shuts her eyes, massaging her temples. She opens them again. From her perspective, the new question now reads:</dialogue>
<character>"JUMBY WANTS TO BE BORN NOW."</character>
<dialogue>Casey looks at her notes, SEES that she's written the same statement repeatedly, covering virtually the entire page.</dialogue>
<character>SHIELDS</character>
<dialogue>Does the universe go on forever? And if it doesn't go on forever, then what's beyond the edge?</dialogue>
<scene_description>A STUDENT raises his hand and Shields nods to him.</scene_description>
<character>STUDENT</character>
<dialogue>Nothing?</dialogue>
<character>SHIELDS</character>
<dialogue>Maybe yes, maybe no. Here's the catch. Since our universe was created, the light from the Big Bang has been steadily travelling outward. Now by definition, nothing's faster than light -- so we'd never be able to catch up to that boundary. Be even if we did, you could never go beyond it, because space itself bends. You'd \* wind up back where you started. It'd be like walking into a mirror.</dialogue>
<scene_description>Casey looks back to the board once more, SEES that the question has reverted to its original state. She feels another itch, brushes her hair away again. But when she brings her hand back in front of her face she SEES -- A POTATO BUG Crawling across her hand, like the one in the egg yolk! Casey SCREAMS, flinging the bug onto the floor. She STOMPS on it repeatedly. The others look at her, concerned.</scene_description>
<character>SHIELDS</character>
<dialogue>Is everything alright, Casey?</dialogue>
</scene>
<scene>
<stage_direction>INT. COMMUNITY COLLEGE - WOMEN'S GYM - DAY \*</stage_direction>
<scene_description>Casey is in the showers with a few OTHER GIRLS, clutching herself beneath the warm spray, tuning out the CHATTER. MOMENTS LATER, Casey stands at a sink, brushing out her hair. Romy is there too, wrapped in a towel, applying makeup.</scene_description>
<character>ROMY</character>
<dialogue>-- so then he texted me the day after we went out. "I miss you". But when I texted him back, he never replied. And that was like two days ago. What do you think's up with that? Should I call him?</dialogue>
<character>CASEY</character>
<dialogue>He's probably seeing someone else too.</dialogue>
<character>ROMY</character>
<dialogue>So why bother saying he misses me, then?</dialogue>
<character>CASEY</character>
<dialogue>He probably texted both of you. He was seeing who would answer first. It was a booty text.</dialogue>
<character>ROMY</character>
<dialogue>Case --</dialogue>
<scene_description>Casey looks up, registering concern on Romy's face.</scene_description>
<character>ROMY</character>
<dialogue>There's something wrong with your eye.</dialogue>
<character>CASEY</character>
<dialogue>What are you talking about?</dialogue>
<character>ROMY</character>
<dialogue>Go look.</dialogue>
<scene_description>Romy nods to the mirror. Casey looks. CLOSE ON CASEY'S LEFT EYE The eye Matty struck. A good portion of her brown iris has turned BRIGHT BLUE. Casey blinks and we -- MATCH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OPHTHAMOLOGY EXAMINING ROOM - DAY</stage_direction>
<scene_description>THE SAME EYE, the pupil constricting as light shines over it.</scene_description>
<character>DR. CALDWELL (O.S.)</character>
<dialogue>It's called heterochromia, meaning one iris is a different color than the other. Usually, it's congenital.</dialogue>
<scene_description>REVEAL Casey in an examination chair, her hands rigidly clasping the armrests. Mark sits beside her, while DR. CALDWELL (50s) inspects her eye with an ophthalmoscope.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>Normally, it's the entire iris. Sectoral or partial discolorations like this are much more uncommon.</dialogue>
<character>MARK</character>
<dialogue>Is it dangerous?</dialogue>
<character>DR. CALDWELL</character>
<dialogue>Not in of itself. Sometimes it occurs after blunt trauma. Blood might pool in the anterior chamber and you'll get iron deposits. On very rare occasions it might be indicative of a melanomatous tumor. In order to rule that out I'll need to take a few digital pictures.</dialogue>
<scene_description>Caldwell sets down the scope and reaches for another device.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>This is a retinal camera. We put a little topical gel on your cornea and the imagining head rests directly on top of that. It feels a bit strange, but it's perfectly safe. I'll put some anaesthetic eye-drops in first.</dialogue>
<character>CASEY</character>
<dialogue>Okay.</dialogue>
<scene_description>Caldwell applies the eye-drops, then reaches to a tray where a Q-tip rests in a dish of gel. Casey grasps Mark's hand. Caldwell spreads apart the lids of her left eye with his thumb and forefinger. With the other hand, he gently applies the gel to the surface of her cornea.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>Now you'll feel some mild pressure. Try not to blink, alright?</dialogue>
<scene_description>Caldwell picks up the handheld camera and positions the imaging head directly onto her eye. Mark winces, focusing instead on a nearby LCD monitor where a real-time view of the anterior segment of Casey's eye can be seen.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>Okay. We're done.</dialogue>
<scene_description>Caldwell removes the camera and Casey blinks reflexively. Caldwell swivels his chair over to the LCD screen and uses a mouse to click through the captured images.</scene_description>
<character>CASEY</character>
<dialogue>See anything?</dialogue>
<character>DR. CALDWELL</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Not really. No evidence of any hemorrhaging or lesions.</dialogue>
<parenthetical>(turning back)</parenthetical>
<dialogue>I admit I'm stumped. I'd like to run a blood panel, just to be safe. I'm also going to recommend an MRI of the surrounding orbital cavity.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARK'S CAR - DAY</stage_direction>
<scene_description>Mark drives while Casey lounges in the passenger seat, her head propped against the window. She's watching the passing landscape, wearing a pair of those dark, disposable sunglasses that are given to eye patients post-examination. CASEY'S POV (THROUGH THE WINDOW) Her vision is blurry, with halation obscuring any bright highlights. Up ahead, a MAN is walking a bull terrier along the road. As we pass by, the dog looks up at the car -- it's wearing the papier-mâché mask from Casey's dream. Casey does a double-take. She removes her sunglasses, starts rubbing her eyes.</scene_description>
<character>CASEY</character>
<dialogue>Jesus. \*</dialogue>
<scene_description>Mark glances over at her, concerned.</scene_description>
<character>MARK</character>
<dialogue>Does it hurt?</dialogue>
<character>CASEY</character>
<dialogue>No. The light's just a little bright because of the eye-drops. \*</dialogue>
<scene_description>Casey forces a smile and reaches for Mark's hand.</scene_description>
<character>CASEY</character>
<dialogue>Thanks for driving me.</dialogue>
<character>MARK</character>
<dialogue>No problem.</dialogue>
<character>CASEY</character>
<dialogue>You want to stay over for a while? My Dad won't be back from his deposition until tomorrow morning.</dialogue>
<character>MARK</character>
<dialogue>So does that mean you're feeling frisky?</dialogue>
<character>CASEY</character>
<parenthetical>(shrugging)</parenthetical>
<dialogue>Maybe.</dialogue>
<character>MARK</character>
<dialogue>Awesome, cause those glasses are \* definitely giving me a boner.</dialogue>
<scene_description>Casey rolls her eyes, puts the dorky glasses back on.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey and Mark are just finishing having sex. Mark rolls off, winded. Casey rests her head on his chest. They stay that way for a while, lost in their own private thoughts.</scene_description>
<character>MARK</character>
<dialogue>It really screws with your head.</dialogue>
<character>CASEY</character>
<dialogue>What?</dialogue>
<character>MARK</character>
<dialogue>The whole idea that the universe doesn't have an end.</dialogue>
<character>CASEY</character>
<dialogue>That's what you were thinking about just now? \*</dialogue>
<scene_description>Mark props himself up on an elbow.</scene_description>
<character>MARK</character>
<dialogue>When I was a kid, there was this picture book on myths that I used to check out from the library. And there was this one entry about how the American Indians believed that the whole world rested on the back of a giant turtle.</dialogue>
<character>MARK</character>
<dialogue>And I guess someone asked this \* Indian chief, "well what's underneath the turtle?" And the chief shot back that it was turtles \* all the way down.</dialogue>
<scene_description>Casey smiles at this.</scene_description>
<character>MARK</character>
<dialogue>And that's what the picture showed - - the world on this huge turtle, then another turtle beneath that one, and so on. All these turtles \* dwindling away into the distance.</dialogue>
<scene_description>Mark pauses, finding himself oddly haunted by the memory.</scene_description>
<character>MARK</character>
<dialogue>And for some reason, that picture always upset me. I couldn't wrap \* my head around there being these turtles going on forever. I'd try \* to imagine what it would feel like \* if you fell off and were falling past them. Knowing that you'd never land. That you'd just keep \* falling forever. \*</dialogue>
<character>CASEY</character>
<dialogue>I still get that way when I think about dying.</dialogue>
<character>MARK</character>
<dialogue>You don't think there's an afterlife?</dialogue>
<scene_description>After a long beat, Casey answers:</scene_description>
<character>CASEY</character>
<dialogue>No.</dialogue>
<character>MARK</character>
<dialogue>Why?</dialogue>
<scene_description>Casey turns around now, searching Mark's eyes with her own.</scene_description>
<character>CASEY</character>
<dialogue>Because I don't feel her anywhere.</dialogue>
<scene_description>Mark looks to the nearby photo of Casey and her Mom, then pulls her closer, as much for his own comfort as hers.</scene_description>
<character>CASEY</character>
<dialogue>I remember the last time I saw her. We went to the hospital. She was just sitting there in her room, staring into the corner. It was like she was already gone.</dialogue>
<character>MARK \*</character>
<dialogue>Did she say anything to you? \*</dialogue>
<character>CASEY \*</character>
<dialogue>Yeah. She said she'd found out who \* her mother was. \*</dialogue>
<character>MARK \*</character>
<dialogue>What do you mean? \*</dialogue>
<character>CASEY \*</character>
<dialogue>Well, she was adopted. And she \* never knew who her birth mother \* was. So I guess she found out or \* something. \*</dialogue>
<character>MARK \*</character>
<dialogue>So who was it? \*</dialogue>
<character>CASEY \*</character>
<dialogue>She never said. The next day she \* was dead. \*</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>They say it takes a really long time when you hang yourself, that sometimes people have second thoughts, but then they can't do anything about it.</dialogue>
<parenthetical>(shaking her head)</parenthetical>
<dialogue>I used to hate her for leaving us.</dialogue>
<scene_description>Mark nods. What can he possibly say? Then he notices the time on the bedside table clock -- 11:11.</scene_description>
<character>MARK</character>
<dialogue>Hey, four sticks.</dialogue>
<character>CASEY</character>
<dialogue>Hmmm?</dialogue>
<character>MARK</character>
<parenthetical>(re: clock)</parenthetical>
<dialogue>11:11. Close your eyes and make a wish.</dialogue>
<scene_description>Casey shuts her eyes, thinks. The clock changes to 11:12.</scene_description>
<character>MARK</character>
<dialogue>Okay, good. You got that one.</dialogue>
<scene_description>Casey opens her eyes and smiles. Then she sits up, gives Mark a kiss, reaches for a robe at the foot of the bed.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM - NIGHT</stage_direction>
<scene_description>Casey sits on the toilet, finishing a pee. She flushes, stands, opens the medicine cabinet and takes out her birth control pills. She closes the cabinet. CLOSE ON CASEY'S REFLECTION The patch of discoloration in the afflicted iris is growing. Disturbed, Casey flips off the light and exits -- -- but only gets a few steps before she stops. She hears that TAPPING again, coming from within the medicine cabinet. Casey opens the cabinet. As before, nothing is amiss. Just \* a bunch of toiletries inside. Casey removes a couple of the larger items, checking behind them, but there's hardly room to conceal anything hidden. Feeling foolish, Casey returns the items and shuts the cabinet. But even as she steps away, the TAPPING resumes. Casey stares at the cabinet. It's not her imagination. The sound is definitely coming from behind the mirror. Summoning her strength, Casey flings open the cabinet -- A HOWLING FACE STARES BACK AT HER The little boy from her nightmare! He reaches out, his entire body having been somehow wedged into the tiny confines of the cabinet. Casey SCREAMS, throwing herself backwards. Mark is there in an instant, having pulled on his boxers.</scene_description>
<character>MARK</character>
<dialogue>What, what --?!</dialogue>
<scene_description>Casey points to the partially closed medicine cabinet --</scene_description>
<character>CASEY</character>
<dialogue>Inside -- inside it!!!</dialogue>
<scene_description>Mark cautiously swings the cabinet open -- but the boy is gone. Mark steps aside, offering Casey a clear view.</scene_description>
<character>MARK</character>
<dialogue>I don't see anything. Was it a spider or something?</dialogue>
<scene_description>Casey stands, drawing closer. Everything in the cabinet is as it was before. Her brow furrows.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - ENTRY WAY - NIGHT</stage_direction>
<scene_description>Mark, now fully dressed, is at the front door. Casey, still in her robe, is seeing him out.</scene_description>
<character>MARK</character>
<dialogue>You sure you're okay? Because I can stay. \*</dialogue>
<character>CASEY</character>
<dialogue>It's fine, honestly. I just need some sleep.</dialogue>
<character>MARK</character>
<dialogue>Okay. But if you get freaked out, you call me, alright? Any time.</dialogue>
<scene_description>Casey nods. They kiss and Mark exits. After Casey shuts the front door, she leans against it, collecting herself. Then she looks upward, at the stairs leading to the second floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM - NIGHT</stage_direction>
<scene_description>Moments later, we find Casey with a screwdriver, removing the bottom hinge of the cabinet mirror. Having freed the mirror, she sets it on the floor in the corner, face down.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey climbs in bed, pulling the covers up. She stares at the ceiling, glances over at the photograph of her mother. A MEMORY FLASH CASEY (8) in the doorway of a hospital room with her father. JANET BELL (30s) sits at a table in a hospital gown, doped up on drugs, staring into the void. BACK TO CASEY IN THE PRESENT As she turns away from the photo and shuts her eyes. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - KITCHEN - DAY</stage_direction>
<scene_description>FADE IN on Casey finishing a cup of juice. She's in her running clothes. She sets the empty cup in the sink, then reaches for her iPod Shuffle. She inserts the ear buds and heads out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON PARK - DAY</stage_direction>
<scene_description>A gray, drizzly morning. Much like the one in Casey's dream. Casey runs the same route, lost in her music. As she rounds the bend where she had seen the glove and the boy, she slows. But there is no glove and there is no boy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN STREET - DAY</stage_direction>
<scene_description>Exhausted from her run, Casey walks back home. We hear WIND CHIMES coming from a neighbor's front porch. ACROSS THE STREET TWO POLICE CARS are parked in front of the Neilsons' house, along with a white COUNTY CORONER van. TWO OFFICERS linger by the cars. A number of NEIGHBORS have gathered as well. Casey turns to MRS. BYRNE, an elderly neighbor who'd been walking her dog.</scene_description>
<character>CASEY</character>
<dialogue>Mrs. Byrne -- what's going on?</dialogue>
<character>MRS. BYRNE</character>
<dialogue>It's the baby. She wasn't breathing.</dialogue>
<scene_description>Just then, a CORONER INVESTIGATOR and a FORENSIC ASSISTANT exit the house, maneuvering a wheeled gurney onto the walkway. A TINY FIGURE covered by a sheet has been belted to a backboard. Gail Neilson rushes alongside it, sobbing.</scene_description>
<character>GAIL</character>
<dialogue>No, no, please don't take her! Please, please, she's not dead!!!</dialogue>
<scene_description>Roger, Gail's grief-stricken husband, pries her away. ON CASEY, shaken. Then she catches sight of Matty in the Neilson's upstairs window. He makes eye-contact with Casey. As if the two of them shared some hidden knowledge. Casey edges away.</scene_description>
<character>DR. CALDWELL (PRELAP)</character>
<dialogue>We've gotten your lab results back and everything's fine.</dialogue>
</scene>
<scene>
<stage_direction>INT. OPHTHAMOLOGY EXAMINING ROOM - DAY</stage_direction>
<scene_description>Casey is back in Dr. Caldwell's office. He's got the results from her MRI up on a light box and is pointing at it.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>As you can see, there's no evidence of a tumor or any other kind of pathology. So we can rule out retinoblastoma.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But there was one oddity --</dialogue>
<scene_description>Dr. Caldwell reaches for a clipboard with various test results. He studies them a beat, then looks up at Casey.</scene_description>
<character>DR. CALDWELL</character>
<dialogue>Are you a twin by any chance, Ms. Bell?</dialogue>
<character>CASEY</character>
<dialogue>No. I'm an only child. \*</dialogue>
<character>DR. CALDWELL</character>
<dialogue>Hmmm. Are you familiar with the term genetic mosaicism?</dialogue>
<character>CASEY</character>
<dialogue>Uh, no.</dialogue>
<character>DR. CALDWELL</character>
<dialogue>It's a medical condition in which an individual has two or more genetically-distinct cell populations. For instance, a person might have more than one blood type, which happens to be the case with you. You're predominantly type-A, but then you've got a little B as well.</dialogue>
<character>CASEY</character>
<dialogue>How is that possible?</dialogue>
<character>DR. CALDWELL</character>
<dialogue>Well, occasionally, when you're dealing with twins, the placentas can become fused and a certain amount of blood will be exchanged back and forth. If you did have a twin, I suppose the emerging pigmentation in your affected iris could be a result of that foreign genetic strand.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I don't think it's anything you need to worry about. But you may want to see a genetic counselor, just to be on the safe side.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LAW FIRM - CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Gordon is in the midst of a heated deposition for a divorce case. Sitting with him are the WIFE, her HUSBAND, his ATTORNEY, and a COURT REPORTER. The wife is upset, while the husband projects an air of hostile detachment.</scene_description>
<character>GORDON</character>
<dialogue>Now Ms. Beckett, as difficult as this may be, I need you to recount \* for us how you came upon your husband and the woman in question.</dialogue>
<character>WIFE</character>
<dialogue>I was on his computer, looking for \* a recipe online -- and I happened to check the history menu on the web navigator. There was a page for this bed and breakfast --</dialogue>
<scene_description>Someone KNOCKS. Gordon looks up, SEES his SECRETARY in the doorway. He shakes his head, trying to will her to leave.</scene_description>
<character>SECRETARY</character>
<dialogue>Sir, I'm sorry --</dialogue>
<parenthetical>(approaching, sotto)</parenthetical>
<dialogue>Your daughter's here. She's quite \* upset.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAW FIRM - GORDON'S OFFICE - DAY</stage_direction>
<scene_description>Gordon enters his well-appointed office, SEES Casey standing by the window, defensively hugging her arms.</scene_description>
<character>CASEY</character>
<dialogue>I got my test results back.</dialogue>
<scene_description>Gordon stops short, concerned.</scene_description>
<character>CASEY</character>
<dialogue>It's okay. I'm basically fine.</dialogue>
<character>GORDON</character>
<dialogue>Basically?</dialogue>
<character>CASEY</character>
<dialogue>Am I a twin, Dad?</dialogue>
<character>GORDON</character>
<dialogue>What does that have to --?</dialogue>
<character>CASEY</character>
<dialogue>It's a simple yes or no question. Am I a twin?</dialogue>
<scene_description>Casey's stern gaze gives Gordon pause. He back-tracks, shuts his office door.</scene_description>
<character>GORDON</character>
<dialogue>Yes. You had --</dialogue>
<parenthetical>(correcting himself)</parenthetical>
<dialogue>-- you would have had a brother. He died while the two of you were still in utero.</dialogue>
<scene_description>Upon hearing this, Casey's agitated demeanor deflates.</scene_description>
<character>CASEY</character>
<dialogue>How?</dialogue>
<character>GORDON</character>
<dialogue>Casey, it was a long time ago --</dialogue>
<character>CASEY</character>
<dialogue>Dad, I need to know.</dialogue>
<character>GORDON</character>
<parenthetical>(sighing)</parenthetical>
<dialogue>It was a freak thing. The placentas became fused. It's not supposed to happen with fraternal twins.</dialogue>
<character>CASEY</character>
<dialogue>And that caused him to die?</dialogue>
<scene_description>Gordon looks pained. He really doesn't want to elaborate.</scene_description>
<character>GORDON</character>
<dialogue>One of the umbilicals got twisted around his throat.</dialogue>
<scene_description>Instinctively, Casey knows what's about to come next.</scene_description>
<character>CASEY</character>
<dialogue>My cord?</dialogue>
<scene_description>Gordon nods. Casey blinks, trying to process it.</scene_description>
<character>CASEY</character>
<dialogue>Why didn't you ever tell me about this?</dialogue>
<character>GORDON</character>
<dialogue>You have to understand -- it was a difficult period for your mother and I. And then, with everything that happened afterward --</dialogue>
<scene_description>He hates having to dredge all this up again.</scene_description>
<character>GORDON</character>
<dialogue>By the time you were old enough to understand, it just didn't seem relevant anymore.</dialogue>
<character>CASEY</character>
<dialogue>Is that why Mom killed herself?</dialogue>
<scene_description>Gordon is horrified at the suggestion.</scene_description>
<character>GORDON</character>
<dialogue>Your mother was clinically depressed, Case.</dialogue>
<character>CASEY</character>
<dialogue>And losing one of her kids pushed \* her over the edge.</dialogue>
<character>GORDON</character>
<dialogue>No. See, this is exactly why I never brought any of this up. Your mother took her own life because she was mentally ill. Period. Now if you're looking to ascribe blame you could point to me. Or her parents. Or society for making her feel inadequate. Or a million other things.</dialogue>
<parenthetical>(gentler)</parenthetical>
<character>GORDON</character>
<dialogue>Or you can just accept the fact that some people come into this world less equipped for life than others.</dialogue>
<character>CASEY</character>
<dialogue>Like my brother?</dialogue>
<scene_description>Gordon shakes his head, saddened.</scene_description>
<character>GORDON</character>
<dialogue>He was never your brother, Case. It was too early in the pregnancy for that. You have to understand -- \* we hadn't fully accepted the \* reality of either of you guys.</dialogue>
<character>CASEY \*</character>
<dialogue>Did he have a name? \*</dialogue>
<character>GORDON \*</character>
<dialogue>Neither of you did yet. We just \* had nicknames for you. \*</dialogue>
<character>CASEY \*</character>
<dialogue>What were they? \*</dialogue>
<character>GORDON \*</character>
<parenthetical>(smiling at the memory)</parenthetical>
<dialogue>You were Pongo.</dialogue>
<scene_description>Something is gnawing at Casey now.</scene_description>
<character>CASEY \*</character>
<dialogue>And what was his nickname?</dialogue>
<character>GORDON</character>
<dialogue>Jumby.</dialogue>
<scene_description>Casey blanches, ice water flooding her veins. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - ATTIC CLOSET - DAY</stage_direction>
<scene_description>A light comes on, illuminating a dusty shelf. We SEE personal effects labeled "JANET'S THINGS", PHOTO ALBUMS. REVEAL Casey removing the photo albums from the shelf. Casey sits on the floor of the attic, paging through the albums by flashlight, occasionally using a magnifying glass to get a closer view. Some of the photos make her smile. THE FIRST ALBUM We SEE family vacations, childhood birthdays, school portraits of Casey. Beneath each photo is a dated caption, penned in Janet's meticulous print. Because the albums are arranged chronologically, we are moving backwards in time. THE SECOND ALBUM Baby photos of Casey, alongside her proud and happy parents. We SEE Casey as a toddler, an infant, a newborn. Then Janet is pregnant, carrying the yet-to-be-born Casey. Casey reaches a page where one photo is conspicuously absent. The date is there: "11-6-89", but the photo is gone. Casey flips through the rest of the pages, but it's nowhere. Casey returns to the closet, sweeping the flashlight around. And there, tucked near the back, is a CARDBOARD FOLIO. Casey pulls it down. Inside is a Super 8 film reel along with a SINGLE PHOTO paper-clipped to an old newspaper story. THE PHOTO On the back is a date, which corresponds to the caption of the one missing from the album. The photo depicts Janet, mid- way through her pregnancy. To her left is a mirror. Casey looks at the newspaper article entitled: "HOLOCAUST SURVIVOR REMEMBERS FOR THOSE WHO CAN'T". The article mentions an elderly woman named "SOFI KOZMA" and the name is underlined in pen. In the margins of the article is a phone number, again, penned in Janet's script. Casey sets the article aside, picking up the photo again. She pays closer attention now, focusing on the mirror to Janet's left. SOMEONE'S REFLECTION can be seen in it. Casey picks up the magnifying glass, centering it on the reflection. ENLARGED IMAGE The haunted face of the boy from her nightmares stares back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELDON ESTATES RETIREMENT RESIDENCE - DAY</stage_direction>
<scene_description>A flock of birds take wing, spreading out over a collection of brick buildings nestled within several wooded acres.</scene_description>
<character>ROMY (PRELAP)</character>
<dialogue>I can't believe I let you talk me into coming here.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - LOUNGE/NURSES STATION - DAY</stage_direction>
<scene_description>Casey and Romy make their way through a sparsely populated lounge. Romy looks around, unnerved. A few RESIDENTS play cards. Most simply sit by themselves.</scene_description>
<character>CASEY</character>
<dialogue>Look, clearly my Mom thought this woman was important. Why else would she have kept that article? Why would it be with that creepy photo?</dialogue>
<character>ROMY</character>
<dialogue>The kid from your dream.</dialogue>
<character>CASEY</character>
<dialogue>Yes.</dialogue>
<character>ROMY</character>
<dialogue>I don't know, Case. If this were me, I'd just take a Xanax and call \* it a day.</dialogue>
<character>CASEY</character>
<dialogue>So wait in the car.</dialogue>
<character>ROMY</character>
<dialogue>Oh no. No. This is gonna be way too bizarro for me to miss out on. Plus, I love the smell in here. It's like baby aspirin, mixed with old people's shit.</dialogue>
<scene_description>As they reach the nurses' station, they pass an "IN LOVING MEMORY..." obituary board with photos of the recently deceased. Nearby, a lineup of SENESCENT PATIENTS await their medication. Casey approaches the CHARGE NURSE.</scene_description>
<character>CASEY</character>
<dialogue>Hi. We're here to see Sofi Kozma?</dialogue>
<character>CHARGE NURSE</character>
<dialogue>She's on Floor Three. Room 307.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - DAY</stage_direction>
<scene_description>Casey and Romy make their way down a corridor incongruously decorated with scenes of an English fox hunt, glimpsing a variety of grim vignettes within the rooms they pass: -- PATIENTS comatose on their beds, wearing thin blue nose catheters attached to oxygen tanks. -- PATIENTS leaning on walkers, backs bent by osteoporosis. -- PATIENTS aimlessly wandering the halls, demented and lost within their fortress of memories. Near the end of the hall a slack-jawed man, ELI WALKER, sits in a wheelchair, his wrists bound to the armrests. The edges of a diaper can be seen peeking out from his sweat pants.</scene_description>
<character>ROMY</character>
<parenthetical>(a horrified whisper)</parenthetical>
<dialogue>That guy was wearing a diaper. How \* messed up is that? Jesus, I don't \* want to grow old.</dialogue>
<character>SOFI (O.S.)</character>
<dialogue>No one does.</dialogue>
<scene_description>SOFI KOZMA (70s), leans on a cane in the doorway of her room. She has fleecy white hair, a face quilted with wrinkles. But her eyes are clear, focused, and her outfit is well put together given her circumstances. She nods to the man in the wheelchair, speaking in a mild, Eastern European accent.</scene_description>
<character>SOFI</character>
<dialogue>Mr. Walker suffered a stroke. And now he is paralyzed from the waist down. But I don't think he suffers much anymore. His mind is elsewhere.</dialogue>
<scene_description>She sighs, a mixture of empathy and resigned fatalism.</scene_description>
<character>SOFI</character>
<dialogue>One of you is the young woman I spoke to?</dialogue>
<character>CASEY</character>
<dialogue>That was me, Casey Bell. This is my friend Romy.</dialogue>
<character>SOFI</character>
<dialogue>Please, come in.</dialogue>
<scene_description>Sofi steps aside, inviting them to enter.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - SOFI'S ROOM - DAY</stage_direction>
<scene_description>Sofi's room is modest, a few personal decorations helping to offset the institutional furnishings. A mezuzah has been affixed to the entryway. By the window are a number of tiny bells, hanging from a series of red strings. Sofi settles into a chair, gesturing for Casey and Romy to do the same. Sofi grasps a SILVER CHARM -- a two-thumbed downward-pointing hand contained within a Star of David and surrounded by six eyes. Known as a "HAND OF MIRIAM". Romy glances around, trying to be cheerful.</scene_description>
<character>ROMY</character>
<dialogue>It's homey in here.</dialogue>
<character>SOFI</character>
<dialogue>It's tolerable. I've certainly endured worse.</dialogue>
<scene_description>Casey notices a rectangular portion of wallpaper not as sun- faded as the rest. There are screw holes in the four corners of the area, as if something hanging had been removed.</scene_description>
<character>CASEY</character>
<dialogue>What was over there?</dialogue>
<character>SOFI</character>
<dialogue>Oh, there used to be a mirror. I had it removed.</dialogue>
<scene_description>Casey suppresses a shiver at this, riled by the coincidence. Sofi studies Casey more carefully now, pointing to her face. \*</scene_description>
<character>SOFI</character>
<dialogue>Your eyes --</dialogue>
<character>CASEY</character>
<dialogue>Yeah, it's, um -- sort of a \* hereditary thing.</dialogue>
<scene_description>Sofi nods, but she seems unsettled by Casey's appearance.</scene_description>
<character>SOFI</character>
<dialogue>Are you a twin, Ms. Bell?</dialogue>
<scene_description>The question gives Casey pause. She looks to Romy, who raises her eyebrows. That was weird.</scene_description>
<character>CASEY</character>
<dialogue>I was. I had a brother that died in childbirth. Why do you ask?</dialogue>
<character>SOFI</character>
<dialogue>I used to have a twin brother as well. I can sense it sometimes, in others. A certain kind of manner.</dialogue>
<character>CASEY</character>
<dialogue>Well, it's funny -- I just recently found out about my twin. And that's sort of what lead me here.</dialogue>
<scene_description>Casey takes the newspaper article and photo from her purse.</scene_description>
<character>CASEY</character>
<dialogue>My mother's name was Janet Bell. She passed away a few years ago, but I found this in her things --</dialogue>
<scene_description>As Sofi takes the article, we glimpse a faded concentration camp number tattooed on the inside of her wrist.</scene_description>
<character>CASEY</character>
<dialogue>Did you know my mother?</dialogue>
<character>SOFI</character>
<dialogue>No, I'm afraid not.</dialogue>
<character>CASEY</character>
<dialogue>She never tried to contact you? \*</dialogue>
<scene_description>Sofi shakes her head. Casey hands her the photo. \*</scene_description>
<character>CASEY (CONT'D) \*</character>
<dialogue>This is her. Will you just look at \* that for a moment. Make sure you've never seen her?</dialogue>
<scene_description>Sofi studies it. And we may notice that her hand is \* trembling. After a beat, she looks up again, apologetic. \*</scene_description>
<character>SOFI</character>
<dialogue>I'm sorry, dear. \*</dialogue>
<scene_description>Frustrated, Casey points to the mirror alongside her mother.</scene_description>
<character>CASEY</character>
<dialogue>What about the person here? In the reflection? Do you know who that is?</dialogue>
<scene_description>Upon registering the reflection, Sofi's face grows pale. She looks up at Casey with a mixture of fear and outrage.</scene_description>
<character>SOFI</character>
<dialogue>Get out.</dialogue>
<character>CASEY</character>
<dialogue>I'm sorry, what --?</dialogue>
<scene_description>Sofi thrusts the photo back at Casey as if it were poison.</scene_description>
<character>SOFI</character>
<dialogue>GET OUT!!! Menjen innen!</dialogue>
<scene_description>Casey backs away, shocked by Sofi's sudden transformation. Sofi rises, SCREAMING in a mixture of English and Hungarian.</scene_description>
<character>SOFI</character>
<dialogue>How dare you? Az Isten atkozzon meg a sok rosszasagodert! Go! Leave now! Menjen! MENJEN!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - DAY</stage_direction>
<scene_description>Casey and Romy retreat into the hall even as OTHER RESIDENTS wander from their rooms. Some throw accusatory glances at the girls. A FRIEND (EVELYN 60S) appears, moving to Sofi's \* side, trying to console her. Sofi is SOBBING now.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELDON ESTATES RETIREMENT RESIDENCE - PARKING LOT - DAY</stage_direction>
<scene_description>Casey and Romy are back at Casey's car. Romy paces, compulsively dragging on a lit cigarette.</scene_description>
<character>ROMY</character>
<dialogue>That was completely fucked up.</dialogue>
<character>CASEY</character>
<dialogue>How did she know I was a twin?</dialogue>
<character>ROMY</character>
<dialogue>A guess -- I don't know --</dialogue>
<parenthetical>(wanting to just drop it)</parenthetical>
<dialogue>Look, she's crazy. She's probably got Alzheimer's. \*</dialogue>
<scene_description>But Casey shakes her head, not willing to let it go.</scene_description>
<character>CASEY</character>
<dialogue>No, she knew something.</dialogue>
<character>ROMY</character>
<dialogue>Like what? Why your mother "killed herself"? Get real.</dialogue>
<scene_description>Casey reacts, surprised to find herself considering it.</scene_description>
<character>CASEY</character>
<dialogue>But what if she does know.</dialogue>
<character>ROMY</character>
<dialogue>She doesn't, Case. This whole thing is bullshit. You had some weird dreams and then this thing \* with your eye. Then you found out you would've had a brother -- and believe me, that alone would be plenty enough to send me into therapy. But that's all we're talking about here. Just a bunch of weird coincidences.</dialogue>
<character>CASEY</character>
<dialogue>What about the Neilsons' baby dying? And what Matty said?</dialogue>
<parenthetical>(emphatic)</parenthetical>
<dialogue>He said "Jumby", Romy. The nickname my parents used for my brother. Explain that.</dialogue>
<scene_description>Romy looks away. The truth is, these happenings frighten her and she's loathe to seriously consider the implications.</scene_description>
<character>CASEY</character>
<dialogue>You're the superstitious one. Tell me there's not something really going on here. Because you know there is. I'm not crazy, Romy --</dialogue>
<scene_description>Casey's eyes start to well up as the stress and worry of the last few days begins to overtake her.</scene_description>
<character>CASEY</character>
<dialogue>-- but ever since the night Matty freaked out, I feel like something's changed. I've been --</dialogue>
<parenthetical>(scared to admit this)</parenthetical>
<dialogue>-- seeing things.</dialogue>
<character>ROMY</character>
<dialogue>What kind of things?</dialogue>
<character>CASEY</character>
<dialogue>The boy from the photo. Other things --</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you believe in ghosts?</dialogue>
<character>ROMY</character>
<dialogue>You know I do.</dialogue>
<character>CASEY</character>
<dialogue>Do you think it's possible to be haunted by someone who was never even born?</dialogue>
<scene_description>The sound of a DOORBELL pre-laps from the next scene as --</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - ENTRY WAY - NIGHT</stage_direction>
<scene_description>-- Casey opens her front door. Mark is standing outside, holding an old Super 8 Bolex film projector in his arms.</scene_description>
<character>MARK</character>
<dialogue>You owe me. These things are hard to find nowadays.</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - BASEMENT - NIGHT</stage_direction>
<scene_description>Casey sits with Mark as he sets up the projector before a blank basement wall.</scene_description>
<character>MARK</character>
<dialogue>Okay, give me the film --</dialogue>
<scene_description>Casey hands Mark the Super 8 reel she found with the article and photo. He fastens it to the forward film arm, then feeds the leading end of the film into the upper sprocket shoe.</scene_description>
<character>MARK</character>
<dialogue>Alright. You sure you want to see what's on this?</dialogue>
<parenthetical>(off Casey's nod)</parenthetical>
<dialogue>Hit the lights, then.</dialogue>
<scene_description>As Casey kills the lights, Mark turns on the projector lamp. SUPER 8 FILM FOOTAGE Lots of film scratches. The footage is handheld. We are looking at the exterior of a collection of old, institutional buildings. A hospital, perhaps. Built nearly a hundred years ago. Then the footage FLARES and the image jumps to -- A CORRIDOR Within the aforementioned hospital. Long, with windows lining either side that presumably look in on rooms flanking the corridor. The footage FLARES AGAIN and we jump to -- A WOODEN DOOR At the end of the corridor. Wide and heavy-looking, with a large, tarnished brass knob. There is something ominous about this door. Casey and Mark find themselves tensing up as they watch. BACK TO THE FILM For a great many seconds, nothing happens. Then, slowly, we notice the doorknob turning (as if someone were opening it from the other side). Then the film FLARES and the reel ends. Nothing but the harsh glare of the projector lamp now. Mark turns off the projector. He and Casey sit for a beat, trying to make sense of what they've just seen.</scene_description>
<character>MARK</character>
<dialogue>Does it mean anything to you?</dialogue>
<scene_description>Casey slowly nods.</scene_description>
<character>CASEY</character>
<dialogue>That was the psychiatric hospital where my Mom died --</dialogue>
<parenthetical>(shaken)</parenthetical>
<dialogue>That door -- that's where the staff found her. That's where she hung herself.</dialogue>
</scene>
<scene>
<stage_direction>INT. ST. ANDREW'S - NIGHT</stage_direction>
<scene_description>Casey and Mark are tucked in the corner of a crowded nightclub housed in the basement of an old performance hall, trying to deaden their jangled nerves in alcohol.</scene_description>
<character>CASEY</character>
<dialogue>I feel like my Mom left all that stuff for a reason. Like she was trying to tell me something.</dialogue>
<scene_description>She stops herself, suddenly concerned by Mark's expression.</scene_description>
<character>CASEY</character>
<dialogue>You think I'm nuts, don't you?</dialogue>
<character>MARK</character>
<dialogue>No.</dialogue>
<character>CASEY</character>
<dialogue>Come on, Mark. I'd think I was nuts if I heard all this. I mean, my Mom went crazy. What if that's hereditary too?</dialogue>
<character>MARK</character>
<dialogue>You're not crazy.</dialogue>
<character>CASEY</character>
<dialogue>But I'm seeing things.</dialogue>
<scene_description>Just then, Romy and Lisa Sheridan swoop in alongside of them.</scene_description>
<character>ROMY</character>
<dialogue>Hey, kids. Are we drunk yet? \*</dialogue>
<character>MARK</character>
<dialogue>Trying.</dialogue>
<parenthetical>(setting his empty aside)</parenthetical>
<dialogue>I'm going to hit the bar for a re- fill. You guys want anything?</dialogue>
<character>ROMY</character>
<dialogue>Red Bull and vodka.</dialogue>
<character>LISA</character>
<dialogue>Me, too.</dialogue>
<scene_description>Casey shakes her head. Mark gives her a peck on the cheek and wades off into the crowd.</scene_description>
<character>ROMY</character>
<dialogue>How come I can't find a guy like that?</dialogue>
<character>LISA</character>
<dialogue>Cause you're too neurotic. It's like a perfume. Guys smell it on you. And besides, you only go for the freaks.</dialogue>
<scene_description>Elsewhere in the club, a DJ takes the stage and the MUSIC takes a darker, more aggressive turn. The house lights follow suit, dimming, becoming more stroboscopic. Casey blinks, feeling woozy. As her friends continue, their words become muted, the music progressively taking over.</scene_description>
<character>ROMY</character>
<dialogue>But I want a normal guy.</dialogue>
<character>LISA</character>
<dialogue>Please. I fixed you up with Craig Fikse and you totally blew him off. You wouldn't even talk to him.</dialogue>
<scene_description>CASEY'S POV - THE CROWDED DANCE FLOOR Her vision is warping again, becoming febrile. Faces melt and stretch, as if in a Francis Bacon painting.</scene_description>
<character>ROMY</character>
<dialogue>I can't help it. I'm shy. I get nervous.</dialogue>
<scene_description>Casey sways. She rubs her eyes, trying to clear them.</scene_description>
<character>LISA</character>
<dialogue>So maybe you're gay.</dialogue>
<character>ROMY</character>
<dialogue>I'm not gay.</dialogue>
<character>LISA</character>
<dialogue>You made out with Wendy Rockwood.</dialogue>
<scene_description>CASEY'S POV - THE DANCE FLOOR We GLIMPSE dead-eyed Barto between the writhing bodies.</scene_description>
<character>ROMY</character>
<dialogue>It was a dare! We were both totally high! \*</dialogue>
<scene_description>Lisa just shrugs, giving her an "I'm just saying" gesture.</scene_description>
<character>ROMY</character>
<dialogue>I could never go down on another woman anyway.</dialogue>
<scene_description>Casey backs up, stumbling. Romy grabs her arm to steady her.</scene_description>
<character>ROMY</character>
<dialogue>Case, you okay?</dialogue>
<character>CASEY</character>
<dialogue>Sorry, I'm just feeling sick --</dialogue>
<scene_description>Casey pushes away from them, plunging into the crowd.</scene_description>
</scene>
<scene>
<stage_direction>INT. ST. ANDREW'S - BATHROOM - NIGHT</stage_direction>
<scene_description>Casey rushes into the unoccupied bathroom -- it's old, with cracked tiling and water-damaged, graffiti-strewn walls, a gas radiator encrusted with paint. BUZZING overhead lights. Casey turns on the tap, splashing water over her face. She grabs some paper towels. Then she inspects herself in the mirror. Her afflicted iris is almost completely blue now. Casey vision warps. She's gripped by nausea and heads for -- THE NEAREST STALL Casey kneels over the toilet, heaving up the contents of her stomach. The place is disgusting, but she doesn't have the wherewithal to care. Casey finishes and flushes the toilet. Slumps back against the stall, tries to calm her spinning head. As her stomach settles down, she focuses on some graffiti in the stall: "IN THE KINGDOM OF THE BLIND, THE ONE-EYED MAN IS KING". There's a patch where the paint has bubbled and flaked away and a rust-hole has worn through the metal panel. Someone has drawn an eye around the rust-hole, with the iris placed where the negative space would be. PUSH IN ON THE RUST-HOLE EYE We hear NOISES coming from the neighboring stall. MUMBLINGS, MOANING. Then a FLUTTERING, like a bird trapped in a box. Casey looks down at the gap between the bottom of the stall panel and the floor, SEES the shadow of someone moving there. She looks back to the graffiti eye, the rust-hole. SOMETHING pokes through and wriggles about -- the tip of a tongue. Casey stiffens. Then we hear the TOILET FLUSH -- but the water starts GURGLING, like the toilet is going to overflow. A PUDDLE OF CLOUDY WATER Seeps towards Casey, with tendrils of BLOOD swirling about it. SQUIRMING POTATO BUGS are awash in the widening puddle. Casey BOLTS from her stall, flattening herself against the bathroom wall. In seconds the back-flow has increased to the extent that she won't be able to exit without crossing though the expanding puddle. The lights above her briefly FLICKER OUT, plunging the bathroom into darkness. Then they flicker back on -- The back-flow keeps coming. MORE POTATO BUGS are spilling out from under the stall now. HUNDREDS OF THEM, legs squirming as they grope frenetically about. Casey GAGS and the lights flicker out again. Having no other choice, Casey crosses through the bugs, which make sickening CRUNCHING and POPPING SOUNDS as they are crushed under foot. She reaches the door and turns the handle. It's stuck. She tries it again, more desperate. It's still stuck. Casey loses it, starts frantically tugging on the door knob. Starts POUNDING on the door.</scene_description>
<character>CASEY</character>
<dialogue>Help! HELP ME!!! PLEASE!!! SOMEBODY HELP ME!!!</dialogue>
<scene_description>The bathroom lights flicker. The tide of bugs and water and blood keeps coming. The creatures are everywhere, crawling up the walls, Casey's legs. And now the stall in question begins to open as well, the metal door slowly CREAKING outward -- A FIGURE Is rising up and out from the stall. Half-glimpsed in the stroboscopic light. Human-like, but not human. Covered from head to toe in the squirming bugs. Casey SCREAMS as the lights suddenly come back on and -- THE BATHROOM DOOR BURSTS OPEN! Mark, Romy, and Lisa are all standing there, concerned.</scene_description>
<character>MARK</character>
<dialogue>Case --?</dialogue>
<scene_description>Casey GASPS, looking around -- the bathroom is as it was before. No bugs. No blood. No nightmarish figure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELL HOME - NIGHT</stage_direction>
<scene_description>Mark's SUV pulls up to the curb. Casey climbs from the passenger seat, then turns back to Mark, who now leans across the cab and lowers the window.</scene_description>
<character>MARK</character>
<dialogue>What did you see back there?</dialogue>
<character>CASEY</character>
<dialogue>Nothing. I just had too much to drink.</dialogue>
<scene_description>Mark nods, but he doesn't look too convinced.</scene_description>
<character>MARK</character>
<dialogue>You're scaring me, Case.</dialogue>
<character>CASEY</character>
<dialogue>I know.</dialogue>
<scene_description>(trying to lighten things) \* You can send me back, if you want. I'm sure the warranty's still good.</scene_description>
<character>MARK</character>
<dialogue>But I like damaged goods.</dialogue>
<scene_description>Casey smiles at this. Mark stares at her, not really knowing how to end the conversation. Casey glances at her watch.</scene_description>
<character>CASEY</character>
<dialogue>Hey. Four sticks.</dialogue>
<character>MARK</character>
<dialogue>Make a wish.</dialogue>
<scene_description>Mark smiles back at her. Then he puts his car in drive and heads off into the night.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey is getting ready for bed. Her laptop CHIMES. She moves over to it. There's an invitation to a video iChat from Romy69: "YOU ALIVE?" Casey accepts. A view of Romy in her bedroom appears.</scene_description>
<character>CASEY</character>
<dialogue>I'm okay. Just a little wigged.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I saw him.</dialogue>
<character>ROMY</character>
<dialogue>Ghost boy?</dialogue>
<scene_description>Casey nods.</scene_description>
<character>ROMY</character>
<dialogue>You should put a pair of scissors under your pillow, with the points open.</dialogue>
<character>CASEY</character>
<dialogue>Why?</dialogue>
<character>ROMY</character>
<dialogue>That's what my grandmother used to do. It keeps evil spirits away.</dialogue>
<scene_description>Casey smiles at this.</scene_description>
<character>CASEY</character>
<dialogue>You're a freak, Romy.</dialogue>
<character>ROMY</character>
<dialogue>Isn't that why you love me?</dialogue>
<character>CASEY</character>
<dialogue>Good night.</dialogue>
<scene_description>Casey ends the iChat. After a moment's consideration, she pulls open her desk drawer and finds a pair of scissors. She opens them, places them beneath her pillow. FADE OUT.:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM - LATER</stage_direction>
<scene_description>FADE IN as Casey stirs awake, unsure of what roused her. Then she looks "upward" and her eyes widen with alarm. The CAMERA ROTATES NOW, PULLING BACK TO REVEAL -- -- that Casey is stretched out on her bedroom ceiling. She's defying gravity, pinned there like a balloon filled with helium. "Upward" is actually downward. And below Casey is -- \* -- HERSELF, asleep in bed. \* BACK TO THE CEILING as the "awake" Casey panics. She tries to get down, but \* whatever force is keeping her there is holding her fast. Her efforts are slow, as if she were struggling beneath tons of water. Then Casey notices -- -- MOVEMENT beneath the covers draped over her sleeping self. A CHILD'S HAND emerges from beneath the blanket. Slowly, the hand pulls the blanket down, revealing that -- BARTO, the boy from the nightmare, curled up next to sleeping Casey. \* He slides his hand over her nightie, exposing her belly. Then he digs his fingernails into sleeping Casey's abdomen, tearing into her flesh. BLOOD swells up -- On the ceiling, awake Casey SCREAMS, but we hear no sound. \* Barto keeps digging, sinking his entire hand into sleeping Casey's abdomen. Then he drops his head, SHOVING IT DOWN into the widening wound. Almost as if he were trying to force himself into Casey's womb. Awake Casey keeps SCREAMING and SCREAMING and --</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - LATER STILL</stage_direction>
<scene_description>We hear a cellphone on VIBRATE. Casey wakes up, disoriented, \* realizing that she was dreaming. Nevertheless, she convulsively throws off her bedclothes, checking to make sure that the nightmare boy is nowhere in sight. He's not. Relieved, Casey turns her attention to her cellphone on the dresser, the call-indicator light is BLINKING. Casey rises, checks the number on the phone display. She debates whether or not to answer it. Finally:</scene_description>
<character>CASEY</character>
<dialogue>Hello?</dialogue>
<character>SOFI'S VOICE</character>
<dialogue>I need to speak with you. Can you come to the retirement home?</dialogue>
<character>CASEY</character>
<dialogue>Sofi?</dialogue>
<character>SOFI'S VOICE</character>
<dialogue>I am sorry for what happened before. The photo gave me such a shock. I wasn't ready to face this again. But there are things you need to know. You must come.</dialogue>
<scene_description>Casey looks to the clock --</scene_description>
<character>CASEY</character>
<dialogue>It's after midnight.</dialogue>
<character>SOFI'S VOICE</character>
<dialogue>It doesn't matter. This can't \* wait. I lied about knowing your \* mother. She did come to see me. \* Just before she died -- \*</dialogue>
<scene_description>Then something clicks for Casey as she realizes: \*</scene_description>
<character>CASEY \*</character>
<dialogue>You're the one she told me about. \* You're my grandmother. \*</dialogue>
<character>SOFI'S VOICE \*</character>
<dialogue>Yes. Please come. A door has been \* opened. And now your life is in \* danger. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - UPPER HALLWAY - NIGHT</stage_direction>
<scene_description>Casey, fully dressed now, creeps down the hall, pausing at the partially open door of her father's bedroom to peer inside. Her father is sound asleep. Casey continues on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RURAL HIGHWAY - NIGHT</stage_direction>
<scene_description>A bird's eye view looking down at Casey's car as it winds along the lonely road. Isolated. The only car in sight.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - LOUNGE/NURSES STATION - NIGHT</stage_direction>
<scene_description>Casey makes her way through the empty lounge. With the exception of the nurses' station, all is dark.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - NIGHT</stage_direction>
<scene_description>A moonlit corridor. Casey rounds a corner and is startled -- A CROUCHING SILHOUETTE Framed against a window. But then we realize that it's just Mr. Walker. As before, he sits slumped in his wheelchair, wrists bound to the armrests, eyes vacant, head lolling.</scene_description>
<character>SOFI (PRELAP)</character>
<dialogue>You must understand -- this is very difficult for me. But in order for \* it to make sense, I must start at \* the beginning. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>REVEAL Casey and Sofi, each nursing a cup of tea. They are in a large, high-ceilinged room. Beyond the dining room windows, tree limbs rustle, casting skeletal shadows. Sofi clutches the silver charm, compulsively rubbing it as if it were a string of worry beads. As before, Casey holds the photograph of her mother. Sofi nods to it.</scene_description>
<character>SOFI</character>
<dialogue>The boy in the reflection -- this was the twin brother I spoke of. Barto. Your great-uncle. He died \* in 1944. When we were together in Auschwitz. \*</dialogue>
<scene_description>Sofi pauses, dreading what she's about to relate next.</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>My family was deported from Hungary. The journey took a week \* by cattle car. When the train arrived at Auschwitz there was a ramp leading down to where the guards would sort the new arrivals. \*</dialogue>
<scene_description>As Sofi continues, we begin to hear the DISTORTED SHOUTS and SOUNDS of that terrible experience. And then we are --</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUSCHWITZ-BIRKENAU - THE RAMP - NIGHT (FLASHBACK)</stage_direction>
<scene_description>-- back in the past. Chaos. Slow-motion. CROWDS OF JEWS being herded from cattle cars. The hellish glow from the crematoria smokestacks permeates the soot-shrouded gloom. Amidst the milling bodies we find SOFI (9) and her twin brother BARTO (9), hand in hand. Barto looks just as he did in Casey's nightmare, wearing a single red glove. The only difference is that his eyes are brown.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Sofi briefly closes her eyes, trying to wall herself off from pain these memories evoke. She continues:</scene_description>
<character>SOFI</character>
<dialogue>I remember hearing the guards shout "Zwillinge! Twins!</dialogue>
<character>SOFI</character>
<dialogue>We want twins!" My parents did not know if this was good or bad, to be a twin. My mother asked a guard, and he said it was good. And so \* Barto and I were separated from the others. \*</dialogue>
</scene>
<scene>
<stage_direction>EXT. AUSCHWITZ-BIRKENAU - THE RAMP - NIGHT (FLASHBACK)</stage_direction>
<scene_description>Young Sofi and Barto are led by a GUARD towards a tall, impeccably dressed SS officer holding a riding crop -- JOSEPH MENGELE (30s). Upon seeing the twins, Mengele smiles.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>We were taken to see the doctor in charge -- Joseph Mengele. He was \* very handsome. Very polite. He gave us candies. I looked back at my mother. She nodded. We thought \* we'd been rescued.</dialogue>
<scene_description>Mengele leads the twins by the hand, off through the crowd.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>But I soon learned otherwise.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Back to Sofi and Casey.</scene_description>
<character>SOFI</character>
<dialogue>The twins were housed in separate \* barracks. Because we were 'valuable', we were given more food. We were special. \*</dialogue>
<parenthetical>(with disdain)</parenthetical>
<dialogue>Uncle Mengele's children.</dialogue>
</scene>
<scene>
<stage_direction>INT. AUSCHWITZ-BIRKENAU - TWINS BARRACKS - NIGHT (FLASHBACK)</stage_direction>
<scene_description>Now we see THE CHILDREN -- twins of all ages, arranged alongside their counterparts, staring back at us from their bunks with sunken eyes and shattered spirits.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Mengele believed that twins held the \* keys to the mysteries of genetics. \* And so he conducted experiments on us. Horrible experiments.</dialogue>
</scene>
<scene>
<stage_direction>INT. AUSCHWITZ-BIRKENAU - MEDICAL LAB - NIGHT (FLASHBACK)</stage_direction>
<scene_description>A series of nightmarish images, interspersed with darkness. \* We SEE Mengele in a lab coat, assisted by OTHER TECHNICIANS. \* Darkness. We SEE young Sofi and Barto as they are forced to strip and stand naked before their tormentors. Both look frail and malnourished. Sofi hugs herself. Darkness.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Every day would bring some new horror.</dialogue>
<scene_description>We SEE various twins on examination tables, side by side, every detail of their anatomy being examined and measured. Sofi and Barto are among these. Darkness. We SEE twins having blood drawn. Being irradiated. Darkness. \*</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Among the doctor's obsessions was eye color. By trial and error he attempted to fabricate blue eyes from brown.</dialogue>
<scene_description>We SEE Mengele injecting various blue chemicals and dyes directly into the eyes of his young test subjects. Darkness.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>The injections were painful. Some caused blindness.</dialogue>
<scene_description>Later, we SEE the same subjects, having now gone blind from the injections. Among these are Barto, who now stares back at us with strangely clouded BLUE EYES. Darkness.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Some caused death.</dialogue>
<scene_description>Later still, the dead are neatly arranged under autopsy lights, ready for dissection. Barto is there. Darkness.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Barto was one of the subjects that \* died. \*</dialogue>
<scene_description>A DOCTOR draws a sheet over Barto's face. Darkness.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Two days later, he came back.</dialogue>
<scene_description>Slowly, Barto sits up, the sheet slipping from his face. The boy stares straight ahead, emotionless. His eyes are now preternaturally blue. Darkness.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Sofi grows silent, studying the spiderweb of shadows being cast from the skeletal trees outside the windows.</scene_description>
<character>SOFI</character>
<dialogue>Except that it wasn't really Barto. A doorway had been opened. Something else was now inhabiting his body.</dialogue>
<character>CASEY</character>
<dialogue>Something else?</dialogue>
<character>SOFI</character>
<dialogue>There is a belief amongst my people that our souls wander when we \* sleep. That is why we always say a \* prayer upon wakening. We give thanks to God for reuniting our souls with our bodies. And for making sure that nothing unwelcome \* has taken up residence during our absence.</dialogue>
<scene_description>Casey can't help but flash upon her recent dream -- watching herself sleeping.</scene_description>
<character>CASEY</character>
<dialogue>Like what? \*</dialogue>
<character>SOFI</character>
<dialogue>Have you ever heard of a dybbuk?</dialogue>
<scene_description>Casey shakes her heard.</scene_description>
<character>SOFI</character>
<dialogue>It's the soul of a dead person that \* has been barred from entering heaven. A soul so tainted that it has been denied even reincarnation. So it endlessly wanders the borderlands between the worlds, trying to find a new body. \*</dialogue>
<scene_description>Sofi takes a sip of her tea, pacing herself.</scene_description>
<character>SOFI</character>
<dialogue>In certain places, where great evil has taken place, the borders \* between the other world and ours become weakened. I believe \* Auschwitz was such a place.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But in other cases, the borders within people can become weakened as well.</dialogue>
<scene_description>Sofi's words strike a chord within Casey.</scene_description>
<character>CASEY</character>
<dialogue>"Some people are doorways."</dialogue>
<character>SOFI</character>
<parenthetical>(nodding)</parenthetical>
<dialogue>Especially twins. For what is a twin but another kind of mirror? And mirrors have always been doorways to the yenne velt. The Other World.</dialogue>
<scene_description>Casey stares back at Sofi, chilled by what she's hearing.</scene_description>
<character>CASEY</character>
<dialogue>What happened to your brother? \*</dialogue>
<scene_description>Sofi looks down at the Hand of Miriam amulet she clasps.</scene_description>
<character>SOFI</character>
<dialogue>From the moment he came back, I knew it wasn't Barto. A dybbuk had crossed over and taken his place. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. AUSCHWITZ-BIRKENAU - TWINS BARRACKS - NIGHT (FLASHBACK)</stage_direction>
<scene_description>The Barto dybbuk stands rigid in the corner of the barracks. The other children keep clear of him, frightened.</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>The other children knew it as well. It was his manner, his eyes. Everything about him was wrong.</dialogue>
<scene_description>Barto faces the window, staring out at the crematoriums. OUTSIDE THE WINDOW We see Barto's pale face framed in the glass, superimposed by the reflection of the red sky and flame-belching smokestacks, the piles of bodies waiting to be cremated. Darkness.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Sofi suppresses a shudder at the memory.</scene_description>
<character>SOFI</character>
<dialogue>The children killed him. And in this way, the dybbuk was driven back to the borderlands. It's been \* trying to find its way out ever \* since. \*</dialogue>
<character>CASEY \*</character>
<dialogue>Why didn't you tell me this \* earlier? \*</dialogue>
<character>SOFI \*</character>
<dialogue>I was too frightened. For sixty- \* five years I've lived in fear. \* Dreading the day I would look upon those eyes again --</dialogue>
<scene_description>She shuts her own eyes, staunching an onslaught of tears. Then she opens them again, indicating Casey's blue eye.</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>-- but when I saw you yesterday, I knew the creature had returned. \*</dialogue>
<scene_description>Sofi reaches for Casey's hand now, her eyes beseeching. As if she were seeking some kind of forgiveness. \*</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>Our family is cursed, Casey. \* That's why I gave your mother up \* for adoption. I hoped the dybbuk \* wouldn't find her. But it did. \*</dialogue>
<scene_description>Casey reacts with shock to this admission.</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>And so she sought me out. \*</dialogue>
<scene_description>She takes a breath, her voice beginning to quaver.</scene_description>
<character>SOFI</character>
<dialogue>This thing, this entity -- it had \* tried to take hold of your brother. \* And when it couldn't have him, it \* turned its gaze to the other child. \*</dialogue>
<character>CASEY \*</character>
<dialogue>(realizing) \*</dialogue>
<scene_description>Me. \*</scene_description>
<character>SOFI \*</character>
<dialogue>Your mother's suicide. She tried to \* trap the dybbuk in herself, rather \* than letting it take over you. \*</dialogue>
<character>CASEY</character>
<dialogue>But it's still coming, isn't it? \*</dialogue>
<character>SOFI</character>
<dialogue>You took its place. By living, you \* denied it entry into our world.</dialogue>
<character>CASEY</character>
<dialogue>But I wasn't even born yet. How it can it blame me for that?</dialogue>
<character>SOFI</character>
<dialogue>You cannot ascribe human motivations to it, Ms. Bell. You could no more reason with it than you could with a shark. Or a stone. It is kívülálló, an outsider. Not of this universe.</dialogue>
<character>CASEY \*</character>
<dialogue>Why now? Why didn't this start \* happening before? \*</dialogue>
<character>SOFI \*</character>
<dialogue>It takes time to find its way back \* from the other side. Decades. And \* when it arrives here, it's weak. \*</dialogue>
<scene_description>Casey doesn't want to believe what she's hearing.</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>It enters our world in stages. \* Testing. Making forays. Like a moth beating against glass, trying to reach the light. Perhaps you've witnessed such an attempt?</dialogue>
<scene_description>MEMORY FLASH Matty Neilson leaning over the crib with the mirror.</scene_description>
<character>SOFI</character>
<dialogue>Always, it inhabits the helpless creatures first, from insect to \* animal, slowly working its way up \* the ladder of life-forms. Feeding \* off them. Gaining strength. \*</dialogue>
<scene_description>MEMORY FLASH Casey cracking open the egg, the potato bug squirming within. MEMORY FLASH Casey being driven home from the eye doctor's by Mark, SEEING the bull terrier trotting alongside the road.</scene_description>
<character>SOFI</character>
<dialogue>But a living, breathing adult twin \* is what it most desires. And when it finds such a twin, it cleaves to them, attempting to permanently house itself within their form.</dialogue>
<character>CASEY</character>
<dialogue>And the twin? What happens to them?</dialogue>
<character>SOFI</character>
<dialogue>They cease to exist. They become dybbuk, just like Barto did. Their \* souls are cast into the borderland \* and the cycle begins anew.</dialogue>
<character>CASEY</character>
<dialogue>How do I stop it?</dialogue>
<character>SOFI</character>
<dialogue>It's already started, my dear. Your eyes are a clear indication of its presence. \*</dialogue>
<character>CASEY</character>
<dialogue>But there must be something I can do.</dialogue>
<scene_description>Sofi places the Hand of Miriam in Casey's palm.</scene_description>
<character>SOFI</character>
<dialogue>Take this. It's called a Hand of Miriam. It protects against the Evil Eye. It is a small thing, but --</dialogue>
<character>CASEY</character>
<dialogue>What?</dialogue>
<character>SOFI</character>
<dialogue>Stay away from mirrors.</dialogue>
<scene_description>A MEMORY FLASH Casey's previous visit with Sofi -- taking note of the blank area on the wallpaper where her mirror used to be.</scene_description>
<character>SOFI</character>
<dialogue>If you have any in your home, you must destroy them.</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - VARIOUS - DUSK</stage_direction>
<scene_description>As Sofi speaks, we SEE Casey performing the tasks as dictated, using a crowbar to SMASH every mirror she can find: -- the medicine cabinet mirror in her father's bathroom. -- the standing mirror in his bedroom. -- the mirror above the livingroom mantle. We SEE her sweeping the shattered fragments into a dustpan.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Back to Sofi and Casey.</scene_description>
<character>SOFI</character>
<dialogue>Burn the pieces of broken mirror.</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - LIVING ROOM - DUSK</stage_direction>
<scene_description>Now Casey is crouching before the fireplace, dumping mirror fragments into the already powerfully burning blaze. The mirror fragments blacken, begin to melt.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Back to Sofi and Casey.</scene_description>
<character>SOFI</character>
<dialogue>Bury what remains.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BELL HOME - BACK YARD - DUSK</stage_direction>
<scene_description>Casey dumps a dustpan of charred mirror remains into a hole she has dug. She follows that with another. And another. Casey piles earth atop the fragments, using the back of a shovel to finally tamp the earth down.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM - NIGHT</stage_direction>
<scene_description>Back to Sofi and Casey.</scene_description>
<character>SOFI</character>
<dialogue>There are signs that may betray its presence. Bells, wind chimes, these are signs that the spirit is near.</dialogue>
<scene_description>A MEMORY FLASH Casey on her previous visit with Sofi, taking note of the tiny bells hanging from red string by the window of her room. ANOTHER MEMORY FLASH Casey walking home from her run, the neighbor's WIND CHIMES.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - DUSK</stage_direction>
<scene_description>Casey affixes bells and red string above her window.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - DINING ROOM</stage_direction>
<scene_description>Back to Sofi and Casey as we hear the WIND SIGHING, the steady CREAKING of the tree limbs.</scene_description>
<character>SOFI</character>
<dialogue>You must be vigilant, Ms. Bell. It will seek to isolate you, to weaken your resolve. To tap into your \* fears. It will gnaw away at your \* strength until you can no longer resist. For a worm can only penetrate into fruit that has already begun to rot.</dialogue>
<character>CASEY</character>
<dialogue>Can it be killed?</dialogue>
<character>SOFI</character>
<dialogue>Your mother asked the same question. \*</dialogue>
<scene_description>Sofi looks away from Casey, filled with fear and remorse.</scene_description>
<character>SOFI (CONT'D) \*</character>
<dialogue>I told her about the Sefer ha- Marot, the Book of Mirrors, which includes the rites of exorcism.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I told her that in order to destroy the dybbuk for good, she would have to cross over. Through a doorway.</dialogue>
<character>CASEY</character>
<dialogue>To where?</dialogue>
<scene_description>Sofi looks back at Casey now, pointed.</scene_description>
<character>SOFI</character>
<dialogue>To the yenne velt. The Other Side.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - BASEMENT - DUSK</stage_direction>
<scene_description>CLOSE ON fingers threading Super-8 film into a Bolex projector. REVEAL Casey as she turns on the projector lamp. ON THE FILM FOOTAGE Once again, we see the hospital, the corridor, the door -- solid and unyielding. Exuding menace. Casey stares intently at the unfolding images, desperate to divine more clues. BACK TO THE FILM FOOTAGE As before, nothing happens for a great many seconds. Then, ever so slowly, we notice the doorknob slowly turning. At this point, the images FLARES briefly and Casey shifts, fully expecting the film to reel itself out -- -- but the film continues. Past where it had previously ended. Casey tenses, her mind reeling -- FILM FOOTAGE The door begins to swing open. In the slowly expanding gap beyond we see only darkness. Then briefly, though it's difficult to make out, we get a quick glimpse of a CHILD'S HAND slipping out from the opening! CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELL HOME - DUSK</stage_direction>
<scene_description>A Mini-Cooper cruises down the street. Romy is at the wheel, listening to the radio.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROMY'S COOPER - DUSK</stage_direction>
<scene_description>Through the windshield, we SEE Casey's house. But then she \* senses MOVEMENT in her peripheral vision and sees -- \* MATTY, The Neilson boy, racing down their driveway on his plastic Big Wheel. Right into the path of Romy's car! Romy GASPS, stomping on the brakes. Immediately, she unbuckles her seatbelt and bolts from the car.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELL HOME - DUSK</stage_direction>
<scene_description>Romy rushes around the front of the car, terrified by what she'll discover --</scene_description>
<character>ROMY</character>
<dialogue>OhmyGodareyoualright?!!!</dialogue>
<scene_description>-- but Matty appears unharmed, the front bumper of the Cooper a mere inch from his body. He looks up at Romy, intense. Romy kneels in front of the boy, still quite shaken.</scene_description>
<character>ROMY</character>
<dialogue>Sweetie, what are you doing? I could've killed you.</dialogue>
<scene_description>Matty continues to stare at her. Creepy. Then:</scene_description>
<character>MATTY</character>
<dialogue>He doesn't want you to help her. \*</dialogue>
<character>ROMY</character>
<dialogue>What --?</dialogue>
<character>MATTY</character>
<dialogue>If you try to help her, he'll kill you.</dialogue>
<scene_description>Romy rears back as if she'd been slapped.</scene_description>
<character>ROMY</character>
<dialogue>Fuck off, you little shit!</dialogue>
<scene_description>She stands, gets back in her Cooper. Then she backs away from Matty, veering around him and into the Bell's driveway. MOMENTS LATER, She's standing at the Bell's front door, KNOCKING. She looks back over her shoulder -- Matty is still watching her. After an eternity, the front door opens. Casey stands there in the darkened foyer, looking strung out, wary.</scene_description>
<character>ROMY</character>
<dialogue>Can I come in?</dialogue>
<scene_description>Casey nods and steps aside.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - ENTRY WAY/LIVINGROOM - DUSK</stage_direction>
<scene_description>As soon as Romy enters, Casey locks the front door again, dead-bolts it. Romy motions back towards the outside.</scene_description>
<character>ROMY</character>
<dialogue>I ran into Damien from across the street. There's something seriously wrong with that kid.</dialogue>
<scene_description>Casey nods, distracted, her face partially hidden in shadow. She's got the Hand of Miriam in her palm and she's compulsively running her fingers over it. Romy takes note of it, as well as Casey's bedraggled appearance. Then, as Casey shifts a bit more into the light, Romy SEES -- CASEY'S EYES Both irises are completely blue now.</scene_description>
<character>ROMY</character>
<dialogue>Your eyes --</dialogue>
<character>CASEY</character>
<dialogue>I know.</dialogue>
<character>ROMY</character>
<dialogue>What's going on, Case? You haven't \* been in class. You haven't been \* answering your phone -- \*</dialogue>
<scene_description>Casey wanders into the livingroom. Romy follows. It's dark in here as well. Casey has pulled all the curtains. Romy notices that the mirror above the mantle has been broken.</scene_description>
<character>ROMY (CONT'D) \*</character>
<dialogue>What happened to the mirror?</dialogue>
<character>CASEY</character>
<dialogue>I broke it.</dialogue>
<character>ROMY</character>
<dialogue>Why?</dialogue>
<scene_description>In the background, we hear the GARAGE DOOR OPEN.</scene_description>
<character>CASEY</character>
<dialogue>Because Sofi told me to.</dialogue>
<parenthetical>(making eye contact now)</parenthetical>
<dialogue>It's real, Romy. Everything that's been happening. It's real. It's some kind of ghost or --</dialogue>
<parenthetical>(struggling to define it)</parenthetical>
<dialogue>-- or demon or something. It tried \* to take over my brother. That's \* why my mother went crazy. She knew it wouldn't stop there. She knew it would eventually come for me --</dialogue>
<scene_description>Casey thrusts the heels of her palms against her eyes, as if she could pressure them back to normalcy.</scene_description>
<character>CASEY</character>
<dialogue>You need to stay away from me. It's not safe to be around me anymore.</dialogue>
<character>ROMY</character>
<dialogue>I'm your best friend. I'm not just going to abandon you.</dialogue>
<scene_description>In the nearby foyer we hear APPROACHING FOOTSTEPS.</scene_description>
<character>GORDON (O.S.)</character>
<dialogue>Case? What happened in the powder room? The mirror's broken --</dialogue>
<scene_description>REVEAL Gordon entering the livingroom. He takes in Romy, Casey -- the mantle where the mirror used to hang.</scene_description>
<character>GORDON</character>
<dialogue>What's going on here?</dialogue>
<scene_description>Romy puts her hand on Casey's shoulder, squeezes it.</scene_description>
<character>ROMY</character>
<dialogue>I'll call you.</dialogue>
<scene_description>Romy exits, leaving Casey to explain things to her father.</scene_description>
<character>GORDON</character>
<dialogue>What the hell was that? Did you guys have a fight or something?</dialogue>
<scene_description>Casey sighs, knowing there's no good way to explain it. The gulf between them is maddening.</scene_description>
<character>CASEY</character>
<dialogue>I can't really get into it right now.</dialogue>
<character>GORDON</character>
<dialogue>Well you're going to have to try.</dialogue>
<character>CASEY</character>
<dialogue>Dad, can you please just give me some space here? I know what this looks like. I know you think I've flipped. But I haven't. I just need some time to figure this out.</dialogue>
<scene_description>Casey moves to leave. Gordon follows her into the foyer.</scene_description>
<character>GORDON</character>
<dialogue>Figure what out, Case? Come on, you can't just shut me out like this. Whatever's going on, we need to get a handle on this.</dialogue>
<scene_description>Casey spins, points to her eyes.</scene_description>
<character>CASEY</character>
<dialogue>Look at my eyes, Dad. Do you \* really think this is something you \* can handle? It killed Mom, okay? \* And now it's coming for me. \*</dialogue>
<scene_description>Gordon stares at Casey, scared, confused.</scene_description>
<character>GORDON</character>
<dialogue>Casey, I don't under--</dialogue>
<character>CASEY</character>
<dialogue>I know you don't, Dad. So don't \* even try. You can't fix this. Nobody can.</dialogue>
<scene_description>Casey storms away, stomping up the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey rushes into her room, SLAMMING the door. She drops onto her bed, burying her face in her hands. A gentle RAP is \* heard at her door.</scene_description>
<character>CASEY \*</character>
<dialogue>Go away, Dad.</dialogue>
<scene_description>We hear the RAP again. Casey looks up, annoyed now. In the thin space between the bottom of her door and the floor we can just make out a SHADOW OF SOMEONE standing there. Casey rises, walking to her door. She flings it open --</scene_description>
<character>CASEY</character>
<dialogue>I said, GO AWAY!!!</dialogue>
<scene_description>-- but no one is standing in the hallway outside. Beat. Then we hear the TINKLING of bells. Casey slowly turns towards the window, regarding the BELLS strung there. With mounting dread, Casey searches her room. She focuses on her bed. Or rather, the darkened area beneath it. Casey kneels, pulls her dust ruffle up -- Nothing is there. Casey stands, looks to her closet. She opens it, turning on the light. Nothing. Casey returns to the window where the bells are strung. She unlocks it, raises the lower sash, poking her head outside. CASEY'S POV - THE BACK YARD The trees are swaying in the wind. And there, tucked amongst the pooling shadows of the far corner of the yard is -- THE BULL TERRIER, \* staring up at her. And then it's -- \* BARTO, his pale face illuminated in the moonlight. He's there for just a heartbeat, then he's gone, receding into the darkness. BACK TO CASEY, Framed by her bedroom window. We pull away from her and the safety of the house. Back into the woods and darkness. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - SOFI'S ROOM - NIGHT</stage_direction>
<scene_description>Sofi wakes with a start. She holds a hand over her heart, silencing her nerves as she WHISPERS an oft-recited prayer.</scene_description>
<character>SOFI</character>
<dialogue>I am thankful to You, Eternal King, who has mercifully returned my soul within me; your faithfulness is great. Amen.</dialogue>
<scene_description>Sofi takes a beat. What was it that wakened her? Then she \* hears it -- the TINKLING OF BELLS. She looks to the window, SEES the tiny bells swaying on their red thread. Sofi reaches to her bedside lamp, but it won't turn on. She finds the nearby CALL BUTTON, depresses it once, twice. But no voice responds from the speaker inset in the wall. Sofi rises, pulling a wrap over her nightgown. She finds a flashlight, her cane, then she ventures out into the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - NIGHT</stage_direction>
<scene_description>The corridor is dark, empty. Even the red exit sign isn't on. Sofi works her way to a light switch, tries it. But like everything else, it too appears to be not working. Sofi hears a CREAKING NOISE behind her. She looks back, SEES nothing. She heads for the stairwell and SEES a HUMAN SHAPE crouching in the stairwell, but it's just -- ELI WALKER, Slouched in his wheelchair. Eyes vacant, a rope of spittle hanging from his chin. Sofi descends, rests her hand lightly on Eli Walker's head.</scene_description>
<character>SOFI</character>
<dialogue>Did they forget to put you to bed, Eli? Don't worry. Just wait here. I'll alert the nursing staff.</dialogue>
<scene_description>Sofi descends to the next landing, trying the light switch there. But again, it appears to be inoperative. Just as Sofi is about to continue onward, we hear a THUD from the landing above. She shines her flashlight upward --</scene_description>
<character>SOFI</character>
<dialogue>Eli --?</dialogue>
<scene_description>Eli's wheelchair is empty, having turned over on its side, its uppermost wheel slowly rotating. Puzzled, Sofi directs the flashlight all around her -- but Eli is nowhere to be found. Then, sensing a presence behind her, she looks back down the stairs she just ascended -- ELI WALKER Is there, dragging the rest of his broken body up the stairs! His eyes are heterochromic, one brown iris and one blue. \* Sofi restrains a scream. And then something worse happens. \* Eli's wizened head begins to turn. And turn. And turn. We \* hear his NECK VERTEBRA CRACKING until his head is now \* nightmarishly upside-down! His mouth, where his eyes should \* be, is twisted into a rictus, making a horrible RASPING. \* On top of this, a strange kind of MOBILE BULGE, about the size of a walnut -- shifts beneath Walker's flesh. It works its way across his chest and up his neck, briefly causing his throat to balloon outward. Then it travels upward into his \* inverted head, through his nasal cavity, causing his forehead \* to protrude. The rasping, clicking SOUND seems to follow the progress of the bulge -- as if the spirit possessing Walker was actually localized within that tumour-like area. Walker's body moves unnaturally in herky-jerky lurches, his nervous system having been somehow rewired in a completely inhuman way. He claws at Sofi's robe with a skeletal hand. Sofi tears herself free, retreating up to the third floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - NIGHT</stage_direction>
<scene_description>Sofi hobbles down the corridor as quickly as she can. She pauses mid-way, looking back -- SOFI'S POV The stairwell. We HEAR Walker's shambling body first, accompanied by the hiccuping click and SPITTLE-RATTLE of his inhuman vocalizations. Then Walker himself appears -- only he's now moving in a completely unnatural way, no longer simply dragging his lower body along, but partially employing it in a crab-like crawl. He is doubled-up, a bony leg contorted and hooked over his head, so that his face and one arm scrape along the floor. Terrified, Sofi continues onward, heading for the opposite end of the corridor where an emergency stairway is located. She reaches the door, pressing the push-bar which SHOULD sound a fire alarm, but no noise issues forth. Even worse, the door itself seems to be stuck. She can't force it open! Sofi looks back the way she came -- The Walker-thing keeps coming, closing the gap between them! Sofi SOBS, repeatedly trying to force the push-bar. And just when we think she is completely trapped, the door opens --</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - EMERGENCY EXIT STAIRWELL - NIGHT</stage_direction>
<scene_description>-- spilling her into the narrow stairwell. She tumbles down the flight of stairs. In the fall she drops her flashlight, which continues bouncing down to the second floor landing. Sofi clutches at her ankle, which has been painfully twisted. Worse, she managed to drop her cane. It's back up near the top of the stairs. Near the dybbuk. We hear a SHUDDER as it reaches the door, then HAMMERS itself repeatedly against it. In agony, Sofi crawls across the floor, looking down at her flashlight. The beam is still on, illuminating a trapezoidal section of the lower landing. Sofi grasps the handrail for support and hauls herself up, hobbling down the stairs step by excruciating step, trying to shut out the horrible HAMMERING SOUNDS from above. After a harrowing stretch of seconds, she makes it to the second floor landing. But she's exhausted now. She picks up the flashlight. The beam illuminates a storage closet. Sofi makes for it, praying that the closet door is unlocked. It is. She opens the door, trying to keep the CREAKING of the hinges down to a minimum. WHAM! The door above flies open. The dybbuk is in the stairwell now!</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - STORAGE CLOSET - NIGHT</stage_direction>
<scene_description>Sofi shuts the closet door, tucking herself down amongst the cleaning supplies. She clasps the flashlight to her chest, clamping her hand over the lens so that just the tiniest amount of light leakage is now illuminating her face. Outside, we HEAR the dybbuk approach. Then the sounds stop. Is it gone? Or is it waiting just beyond the closet door? Sofi holds her breath -- and in the absence, we hear SOMEONE ELSE BREATHING now. Close, inches away. Sofi glances left -- -- Barto is just behind her, perched over her shoulder! Sofi SCREAMS. The closet door is wrenched open. The Walker dybbuk is standing there, swaying on skeletal legs. Its mouth stretches open in a HOWL, wider than any human mouth should be able to open. Then it LUNGES at Sofi.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - EMERGENCY STAIRWELL/CORRIDOR - NIGHT</stage_direction>
<scene_description>We PULL AWAY from the closet, back up the stairs. Into the empty corridor as Sofi's SCREAMS echo out over deaf ears. CUT TO:</scene_description>
<character>GORDON (PRELAP) \*</character>
<dialogue>Casey? \*</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - DAY</stage_direction>
<scene_description>Casey stirs awake. She's on her bed, still fully-clothed. She looks down -- in her open palm is the Hand of Miriam. \*</scene_description>
<character>GORDON (O.S.) \*</character>
<dialogue>Casey. \*</dialogue>
<scene_description>Casey looks, sees her father standing in the doorway, holding \* a cordless phone. \*</scene_description>
<character>GORDON (CONT'D) \*</character>
<dialogue>There's a woman on the phone. She \* says something happened to a friend \* of yours named Sofi --? \*</dialogue>
<scene_description>\*:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELDON ESTATES RETIREMENT RESIDENCE - DAY</stage_direction>
<scene_description>Casey pulls her car into the visitor lot, exits. As she heads towards the main entrance of the residence, she slows -- An AMBULANCE is parked outside the main entry way. Two police cruisers and a CSI van are there as well.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - LOUNGE</stage_direction>
<scene_description>Casey enters. The lounge is crowded with RESIDENTS and STAFF, who are being questioned by POLICE. A few of the people are crying. A sinking feeling settles over Casey.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELDON ESTATES - THIRD FLOOR CORRIDOR - DAY</stage_direction>
<scene_description>Casey exits the elevator into a similarly crowded corridor. At the corridor's end, a full-blown CRIME SCENE has been set up, with a FORENSICS TEAM scouring the area for evidence. Then Casey SEES a UNIFORMED POLICEMAN stepping out of Sofi's room with an evidence bag -- and Casey knows what's happened. Emotional free-fall. Casey slowly turns back. At the end of the hall, near the stairwell, she SEES -- ELI WALKER Once again, he's in his wheelchair, wrists velcroed to his armrests. But as Casey studies him he slowly lifts his head, making direct eye contact with her. His eyes are a bright, unnaturally blue color. And there is awareness in those eyes. Then that sub-dermal bulge briefly pulses into view, protruding his voice box outward. He bares his teeth at Casey.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELDON ESTATES RETIREMENT RESIDENCE - DAY</stage_direction>
<scene_description>As Casey heads back to her car in a daze:</scene_description>
<character>WOMAN (O.S.)</character>
<dialogue>Ms. Bell?</dialogue>
<scene_description>Casey looks up and SEES the elderly woman who had rushed to Sofi's aid. Call her Evelyn. She sits on a nearby bench beneath a tree. She makes her way over. In her hand is an envelope, which she now extends towards Casey.</scene_description>
<character>EVELYN</character>
<dialogue>It's Evelyn. I was the one who \* called? Sofi wanted you to have \* this. In case something happened. \*</dialogue>
<scene_description>Casey takes the envelope.</scene_description>
<character>CASEY</character>
<dialogue>Thank-you.</dialogue>
<scene_description>Evelyn nods and continues on her way. After a moment, Casey opens the envelope, taking out a handwritten letter. As Casey reads it, we HEAR Sofi's voice narrating:</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>Casey. If you are reading this, \* then I am already dead. But you needn't mourn for me. In the Book of Proverbs it says: "Better the day of one's death than the day of his birth." We say this because when a person is born, no one knows what will become of him, which path his life will take. But when a person dies, his path is certain. He is going home, like a ship returning to its harbor.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I was taught that when we are in the womb, our minds span the universe and we receive all the wisdom God has to offer. But at birth, an angel slaps us on the face and we forget all that we had learned. Life, then, is the journey to regain that knowledge. I have lived a great long while. And learned many things. So now my journey is complete.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But yours is just beginning. It \* has fallen upon you to finish what began in Auschwitz. Your mother \* tried to close the doorway, but it is still ajar and I fear the gap is steadily widening. You must find The Book of Mirrors. You must end this. Your grandmother, Sofi. \*</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY RESEARCH AREA - NIGHT</stage_direction>
<scene_description>Casey sits at a study carrel, researching dybbuks via a computer terminal and a stack of reference books. As she makes notes on a pad, we glimpse various phrases and images she's sifting through, hearing the words in her own VOICE: -- 15th century woodcuts of rabbis driving spirits out from people. -- translations of classic Hebrew liturgical formulas.</scene_description>
<character>CASEY</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"I adjure you by the seal which Solomon placed on the tongue of Jeremiah".</dialogue>
<scene_description>-- depictions of kabbalistic amulets like the HAND OF MIRIAM.</scene_description>
<character>CASEY</character>
<dialogue>"At the hour when the world \* requires mercy --"</dialogue>
<scene_description>-- accounts of exorcisms, snippets of phrases --</scene_description>
<character>CASEY</character>
<dialogue>"-- bind them to the souls of the \* dead --"</dialogue>
<scene_description>Faster and faster the images come, beginning to blur even as Casey's whispered voice overlaps itself. Suddenly, we pause on one particularly horrific Medieval image of a demon's hand reaching out from a victim's distended mouth. Casey SLAMS the book in question shut. ON THE COMPUTER SCREEN We see a search result page for the Sefer ha-marot/Book of Mirrors in the Library's Special Collections online catalog.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - RARE BOOK READING ROOM - NIGHT</stage_direction>
<scene_description>Deathly quiet. Sparsely populated by a few ardent researchers. A LIBRARIAN sets a box before Casey, places a pair of document gloves alongside the box. The librarian lifts the cover from the box, revealing a leather-bound 17th century manuscript housed in a protective foam and cardboard cradle.</scene_description>
<character>LIBRARIAN</character>
<dialogue>Please exercise care when handling the manuscript. Do not remove it from its cradle, do not touch it with your bare hands. To turn a page, just lift the top outermost corner and slip your fingertips down the fore-edge, alright?</dialogue>
<scene_description>Casey nods.</scene_description>
<character>LIBRARIAN</character>
<dialogue>No pens or high-lighters are allowed. If you need to take notes, use the pencils and notepads we've provided.</dialogue>
<character>CASEY</character>
<dialogue>Thank-you.</dialogue>
<scene_description>As the librarian exits, Casey studies the book. The leather is ancient, embossed with gilt-stamped Hebraic script. She slips on the gloves and carefully opens the cover. The pages are written in arcane Hebrew, with parallel Spanish text presented in a double-column format. Casey closes the manuscript. Clearly, the contents are of no immediate use to her. She looks over to -- -- a GUARD manning a desk by the reading room entrance, which is in turn secured by a walk-through metal detector. Casey rises, leaving the manuscript on the table.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - HALLWAY - NIGHT</stage_direction>
<scene_description>Casey exits the reading room. Nearby is an emergency exit with a push-bar alarm. Casey waits for the hallway to clear of people, then shoves the bar, triggering the ALARM. Then she steps back beside the door leading to the reading room. Moments later, the Guard steps out (Casey having been blocked from his view by the outward opening door). As the Guard investigates, Casey slips back into the reading room.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - RARE BOOK READING ROOM - NIGHT</stage_direction>
<scene_description>Casey returns to her previous workspace. Once again, she checks to see if anyone is watching her. But the other researchers are engrossed in their work. She lifts the book from its protective cradle. Then she brazenly approaches the walk-through metal detector, passing the book from hand to hand around the outside of it.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - MAIN ENTRANCE - NIGHT</stage_direction>
<scene_description>As Casey heads down the stairs towards the main doors, she slips the book within her coat. Then she hears:</scene_description>
<character>SHIELDS (O.S.)</character>
<dialogue>Casey!</dialogue>
<scene_description>Casey turns, SEES Mr. Shields, her professor, waving from the \* landing above. He descends, carrying an armful of books.</scene_description>
<character>SHIELDS</character>
<dialogue>I saw you upstairs. I was trying to get your attention.</dialogue>
<character>CASEY</character>
<dialogue>Sorry. I'm a little out of it.</dialogue>
<scene_description>Shields glances around, as if looking for someone.</scene_description>
<character>SHIELDS</character>
<dialogue>Was that your brother I saw?</dialogue>
<character>CASEY</character>
<dialogue>Brother?</dialogue>
<character>SHIELDS</character>
<dialogue>The little boy you were walking with.</dialogue>
<character>CASEY</character>
<dialogue>I wasn't with anyone.</dialogue>
<character>SHIELDS</character>
<dialogue>He was right beside you.</dialogue>
<scene_description>He raises his hand to about chest height.</scene_description>
<character>SHIELDS</character>
<dialogue>About this high, blond hair, blue eyes --</dialogue>
<scene_description>Casey stiffens, realizes who Shields is describing. She looks around, doesn't see Barto in view. Then she spots -- THE GUARD From the reading room, on the landing above. He's scanning the entry way, clearly looking for Casey.</scene_description>
<character>CASEY</character>
<dialogue>Sorry, but I have to go.</dialogue>
<scene_description>But even as Casey turns to exit down the last flight of steps to the outer doors, the Guard spots her.</scene_description>
<character>GUARD</character>
<dialogue>HEY!!!</dialogue>
<scene_description>Casey RUNS, KNOCKING another patron aside as she exits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETH EMETH REFORM TEMPLE - DAY</stage_direction>
<scene_description>A modern building surrounded by trees. At one end is a fenced-in playground, filled with PRESCHOOLERS. REVEAL Casey outside the playground, clutching her backpack. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. BETH EMETH TEMPLE - HALLWAY - DAY</stage_direction>
<scene_description>Casey makes her way down a hall decorated with children's \* art. We hear CHILDREN SINGING, accompanied by a MUSIC \* TEACHER who is playing PIANO: "Sing A Song About A Rainbow". \*</scene_description>
</scene>
<scene>
<stage_direction>INT. RABBI - SENDAK'S OFFICE - DAY</stage_direction>
<scene_description>An office crammed with books. RABBI SENDAK (50s), full bearded and avuncular, sits at his desk with a watch repair tool kit splayed out before him. At the moment, he's engrossed in a vintage Gruen, cleaning and oiling it via the aid of a jeweler's loupe attached to his glasses. In the distant background, we can still hear the CHILDREN SINGING. Their voices will continue throughout this scene.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>Rabbi Sendak?</dialogue>
<scene_description>Sendak looks up from his desk, SEES Casey in his doorway.</scene_description>
<character>SENDAK</character>
<dialogue>Yes?</dialogue>
<character>CASEY</character>
<dialogue>My name is Casey Bell. I, um -- I was wondering if you could maybe give me some advice --?</dialogue>
<scene_description>She pauses, nervous, unsure how to begin. Sensing her anxiety, Sendak gestures for her to take a seat.</scene_description>
<character>SENDAK</character>
<dialogue>Please, have a seat.</dialogue>
<scene_description>Casey does so, her eyes wandering to the watch repair tools. Sendak smiles, setting aside his glasses and jeweler's loupe.</scene_description>
<character>SENDAK</character>
<dialogue>Sorry, you caught me on break.</dialogue>
<parenthetical>(re: tools)</parenthetical>
<dialogue>It's a hobby of mine, repairing vintage watches. The mainspring on this Curvex is killing me right now.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>So how can I help you?</dialogue>
<scene_description>Casey reaches into her backpack, pulling out the stolen copy of The Book of Mirrors. She sets it on the desk before him.</scene_description>
<character>CASEY</character>
<dialogue>Can you read this?</dialogue>
<scene_description>Sendak takes the book, respectful of its age. He cracks open \* the leather cover, carefully leafing through the velum pages.</scene_description>
<character>SENDAK</character>
<dialogue>Well, the left-hand text is Hebrew, so yes, I can. It's from the kabbalah.</dialogue>
<parenthetical>(off her look)</parenthetical>
<dialogue>Jewish mysticism. Where did you get this?</dialogue>
<scene_description>Casey frets, knowing this will be difficult.</scene_description>
<character>CASEY</character>
<dialogue>Look, I know this is going to sound crazy, believe me --</dialogue>
<parenthetical>(diving in)</parenthetical>
<dialogue>But I need an exorcism performed.</dialogue>
<scene_description>Sendak raises his eyebrows at this.</scene_description>
<character>CASEY</character>
<dialogue>I'm being haunted by something. There was a person helping me, a Holocaust survivor -- she said the thing that was after me was a dybbuk.</dialogue>
<scene_description>Sendak takes a beat. He certainly wasn't expecting the conversation to take such a bizarre turn.</scene_description>
<character>SENDAK</character>
<dialogue>May I ask you a question? Are you Jewish, Ms. Bell?</dialogue>
<scene_description>Casey shakes her head.</scene_description>
<character>SENDAK</character>
<dialogue>Do you belong to any other particular faith?</dialogue>
<character>CASEY</character>
<dialogue>I was raised Protestant, I guess. \* But it's not like my family ever went to church or anything.</dialogue>
<character>SENDAK</character>
<dialogue>So why come to a rabbi? \*</dialogue>
<character>CASEY</character>
<dialogue>Because my friend is dead now. And I don't know where else to turn.</dialogue>
<scene_description>Sendak sighs, sitting back. He tries to phrase the following as delicately as he can, for Casey is clearly distressed. \*</scene_description>
<character>SENDAK</character>
<dialogue>There's no such thing as a dybbuk, Ms. Bell. At least not outside the realms of folklore. \*</dialogue>
<parenthetical>(elaborating further)</parenthetical>
<dialogue>You have to understand, back in the Middle Ages, things like spirits and demons were really just a catch- all for conditions people weren't capable of properly diagnosing. There wasn't any concept of ailments like schizophrenia or epilepsy. Mental illness as we know it didn't exist back then.</dialogue>
<character>CASEY</character>
<parenthetical>(defensive)</parenthetical>
<dialogue>I'm not mentally ill. What's happening to me is real.</dialogue>
<character>SENDAK</character>
<dialogue>Even assuming it is, what you're asking is outside my realm of expertise. I've never performed an exorcism before. I don't even know anyone that has.</dialogue>
<character>CASEY</character>
<parenthetical>(gesturing to the book)</parenthetical>
<dialogue>But you could read the book. It would tell you what to do.</dialogue>
<character>SENDAK</character>
<dialogue>And then what? For a religious \* ceremony to be effective, the person asking for help has to actually believe in the spiritual \* aid they're calling upon. And you \* don't believe. \*</dialogue>
<scene_description>Sendak pauses, pained by Casey's obvious distress.</scene_description>
<character>SENDAK (CONT'D) \*</character>
<dialogue>Look, maybe I could do a little research, make some calls --</dialogue>
<scene_description>Casey scribbles her phone number onto a piece of paper, slides it across the desk.</scene_description>
<character>CASEY</character>
<dialogue>Here's my phone number, then.</dialogue>
<scene_description>She rises. Sendak nods to the Book of Mirrors.</scene_description>
<character>SENDAK</character>
<dialogue>What about your book?</dialogue>
<character>CASEY</character>
<dialogue>Can you translate it? \*</dialogue>
<scene_description>Sendak hesitates. Casey steps closer, tears welling up in \* her eyes.</scene_description>
<character>CASEY</character>
<dialogue>My life depends on this. You can think I'm crazy, if you want. But if I don't find out what these words mean --</dialogue>
<parenthetical>(indicating the book)</parenthetical>
<dialogue>-- I'll die.</dialogue>
<scene_description>And with that, Casey leaves him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETARY - DAY</stage_direction>
<scene_description>Casey stands before her mother's grave. Then she kneels, holding onto the headstone for support.</scene_description>
<character>CASEY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I need help, Mom. I don't know what else to do.</dialogue>
<scene_description>MEMORY FLASH Happier times. A young and vibrant Janet Bell playing with CASEY (3) in a park, laughing, their lives full of promise. MEMORY FLASH The psychiatric hospital. Casey at age eight, holding her father's hand as they enter the room where Janet is residing. Janet sits by the window, wearing a grimy hospital gown, dead inside. A far cry from the woman she used to be. BACK TO THE CEMETERY As Casey exits. She'll find no comfort here.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BELL HOME - DUSK</stage_direction>
<scene_description>As Casey walks down the sidewalk, she slows. Her father's girlfriend, Allison, is sitting on the front porch. She looks up as Casey approaches, her face puffy from crying.</scene_description>
<character>CASEY</character>
<dialogue>Allison --?</dialogue>
<character>ALLISON</character>
<dialogue>It's your father, Casey --</dialogue>
<parenthetical>(off Casey's confusion)</parenthetical>
<dialogue>He's at the hospital. \*</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - ICU WARD - NIGHT</stage_direction>
<scene_description>Casey consults with a soft-spoken NEUROLOGIST (50s).</scene_description>
<character>NEUROLOGIST</character>
<dialogue>Your father's had what we call an ischemic stroke. A blood clot has formed and blocked arterial access to part of his brain.</dialogue>
<character>CASEY</character>
<dialogue>Will he be okay?</dialogue>
<character>NEUROLOGIST</character>
<dialogue>We won't know for a while. The good news is, we diagnosed it fairly early. We've already got him on a tPA regimen, which is a clot-busting drug that should reduce the risk of another incident. But as far as any long-term effects go, we'll just have to monitor him.</dialogue>
<character>CASEY</character>
<dialogue>Can I see him?</dialogue>
<character>NEUROLOGIST</character>
<parenthetical>(nodding)</parenthetical>
<dialogue>I need to prepare you, though. He's suffered some paralysis. And his ability to speak been significantly impaired.</dialogue>
<scene_description>Casey takes a deep breath, steeling herself.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - GORDON'S ROOM - NIGHT</stage_direction>
<scene_description>Casey enters. Gordon is awake, propped up in bed, hooked up to an IV and a variety of monitoring leads. He looks deflated, like a degraded Xerox of the man he used to be. But upon seeing Casey, he MOANS. Casey moves to his side, trying to hold back her tears.</scene_description>
<character>CASEY</character>
<dialogue>Hey, Daddy.</dialogue>
<scene_description>Gordon MOANS again, trying to communicate something.</scene_description>
<character>CASEY</character>
<dialogue>I know, I know -- they said you couldn't speak. Just try to relax.</dialogue>
<scene_description>Gordon manages to shake his head. He seems frustrated. He motions with his right hand, towards a bedside table. There's a pad of paper there. A pen.</scene_description>
<character>CASEY</character>
<dialogue>You want that?</dialogue>
<scene_description>Gordon nods. Casey sets the pad in Gordon's lap, places the pen in his right hand. He starts to write, employing every ounce of concentration -- but the script is garbled.</scene_description>
<character>CASEY</character>
<dialogue>Daddy, I'm sorry, I don't know what you're trying to say --</dialogue>
<scene_description>Tears of frustration slide down Gordon's cheeks. He tries again even as Casey attempts to decipher his message. Gordon finishes. It looks like: "I SAW HIM."</scene_description>
<character>CASEY</character>
<dialogue>You saw him?</dialogue>
<scene_description>Gordon nods, relieved his message came across.</scene_description>
<character>CASEY</character>
<dialogue>Who?</dialogue>
<scene_description>Gordon writes again, underlining two words: "THE BOY". Casey pales. Her entire world is caving in.</scene_description>
<character>CASEY</character>
<dialogue>Where, Daddy?</dialogue>
<scene_description>Suddenly, Gordon's eyes widen with fear. He MOANS. A horrible sound, much more urgent than his previous vocalizations. He frantically gestures with his good hand again, motioning at something beyond Casey. She turns -- BARTO is crouched outside the hospital room window, peering in at them. Casey SCREAMS, even as Barto darts from view -- -- but now Gordon seems to be going into some kind of cardiac arrest. His body THRASHES, his mouth foams. The EEG and EKGs begin BEEPING a warning.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - ICU WARD - NIGHT</stage_direction>
<scene_description>Casey bolts from the room, shouting to the nurse's station.</scene_description>
<character>CASEY</character>
<dialogue>Help! Please! My father --!!!</dialogue>
<scene_description>A DOCTOR and NURSE come running, pushing past Casey into Gordon's room. Casey lingers in the doorway, a hand over her mouth, trying to stem the rising tide of horror. As the staff work to stabilize Gordon, we hear Sofi's voice:</scene_description>
<character>SOFI'S VOICE</character>
<dialogue>It will seek to isolate you. It will do everything it can to gnaw away your strength. For a worm can only penetrate into fruit after it has truly begun to rot.</dialogue>
<scene_description>Casey starts to walk away, fast. Then she begins to run. It's all too much for her. She rounds a corner, nearly colliding with --</scene_description>
<character>MARK</character>
<dialogue>Casey!</dialogue>
<scene_description>-- Mark, who quickly recovers, reaching for her.</scene_description>
<character>MARK</character>
<dialogue>I just heard. Is he okay?</dialogue>
<scene_description>Casey is fully crying now, barely able to keep it together.</scene_description>
<character>CASEY</character>
<dialogue>I don't know --</dialogue>
<character>MARK</character>
<dialogue>Casey, what's going on?</dialogue>
<character>CASEY</character>
<dialogue>I can't explain. It won't make any sense --</dialogue>
<scene_description>Casey tries to extricate herself from his arms, but Mark stubbornly clings to her.</scene_description>
<character>MARK</character>
<dialogue>Casey, just tell me.</dialogue>
<scene_description>Casey looks up at Mark, in agony.</scene_description>
<character>CASEY</character>
<dialogue>I can't. I don't want it to come after you too.</dialogue>
<scene_description>Casey finally wrenches herself free of Mark's grasp. She backs away, holding up her hands as if to fend off any further attempt by him to comfort her.</scene_description>
<character>CASEY</character>
<dialogue>Please. Please, Mark. You can't be near me right now.</dialogue>
<scene_description>Casey backs a few more paces down the hall, then turns and hurries away -- -- leaving Mark feeling baffled and utterly impotent. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. RABBI - SENDAK'S OFFICE - NIGHT</stage_direction>
<scene_description>Sendak works late. He has the Book of Mirrors before him, assorted reference texts at hand. He's using a magnifying lamp, running his finger over each line as he translates:</scene_description>
<character>SENDAK</character>
<dialogue>B'shaym Adonoy Elohay yisro-ayl, mi- mini Michoa-ayl --</dialogue>
<scene_description>Sendak pauses, writing the English translation onto a legal pad, quietly mouthing some of the words. As he speaks, we notice that the lights in his office begin to dim.</scene_description>
<character>SENDAK</character>
<dialogue>In the name of Hashem, God of Israel, may Michael be at my right --</dialogue>
<scene_description>Sendak pauses. He's noticed the dimming lights too. He cocks his head, listening. Outside, we hear the distant sound of WIND CHIMES. Sendak feels uneasy, but is unable to pin-point the reason. Presently, the lights resume their full strength. Sendak shakes the feeling off and continues reading the text.</scene_description>
<character>SENDAK</character>
<dialogue>-- u-mismoli Gavri-ayl, u-milfonai U-ri-el, u-may-achorai R'fo-ayl, a'al roshi sh'chinas Ayl.</dialogue>
<scene_description>The lights dim once more, extinguishing themselves completely. Sendak rises, futilely trying a number of light switches. He reaches into a desk drawer for a flashlight.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE BETH EMETH - HALLWAY - NIGHT</stage_direction>
<scene_description>Sendak steps out into the hall, senses alert. He hears a SOUND coming from the sanctuary. But as he moves in that direction, his flashlight beam weakens and dies. He taps the flashlight, trying to jiggle it to life, but it's no good.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEMPLE BETH EMETH - SANCTUARY - NIGHT</stage_direction>
<scene_description>Sendak enters the area where prayer services are conducted. AT THE FRONT OF THE SANCTUARY is the bimah, a raised platform. Above that is the ark containing the Torah scrolls. The cabinet doors are open and the scrolls are scattered. A BULL TERRIER stands in the center of the bimah, regarding Sendak. But \* like the possessed figure of old Eli Walker, the animal's \* head is upside down -- its baleful eyes stare from below its \* muzzle. \* Sendak is frightened, but forces himself to advance. He CLAPS his hands loudly, trying to startle the beast.</scene_description>
<character>GET OUT OF HERE!!!</character>
<dialogue>The dog emits a strange, KEENING WAIL, GROWL and the ECHOLOCATION CLICKS of a slowly backs away, off the bimah, into the sanctuary. Darkness swallowing it</dialogue>
<character>GO!!!</character>
<dialogue>a fusion between a dolphin. Then the dog a shadowed corner of up.</dialogue>
<scene_description>Suddenly, the lights in the sanctuary come back on, illuminating the corner -- but the dog has vanished.</scene_description>
<character>ROMY (PRELAP)</character>
<dialogue>Maybe you should leave town.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey sits at her laptop, corresponding with Romy via iChat.</scene_description>
<character>CASEY</character>
<dialogue>It wouldn't help. It'll follow me, whereever I go. It's going to kill me, Romy.</dialogue>
<character>ROMY</character>
<parenthetical>(on video screen)</parenthetical>
<dialogue>It's not. Even if it's real, it doesn't have that kind of power.</dialogue>
<character>CASEY</character>
<dialogue>It killed my Mom.</dialogue>
<character>ROMY</character>
<parenthetical>(on video screen)</parenthetical>
<dialogue>You don't know that.</dialogue>
<character>CASEY</character>
<dialogue>Come on, Romy. Look what it did to my Dad.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROMY'S BEDROOM - NIGHT</stage_direction>
<scene_description>As Romy sits at her computer, we hear the DOORBELL.</scene_description>
<character>ROMY</character>
<dialogue>Hold on. Someone's at the door.</dialogue>
<character>CASEY</character>
<parenthetical>(on video screen)</parenthetical>
<dialogue>Don't answer it.</dialogue>
<character>ROMY</character>
<dialogue>Would you stop being so paranoid? I'll be right back.</dialogue>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>Casey waits before her laptop, watching as Romy leaves the frame of the video conference screen. Now, all Casey can see is a partial view of Romy's empty chair and bedroom. CLOSE ON THE POP-UP VIDEO WINDOW Though it's dark in Romy's bedroom, we sense MOVEMENT. Something seems to be creeping out from beneath Romy's bed. Casey leans forward, trying to discern what's happening. But it's difficult to see. Whatever's moving is at the edge of the screen. Briefly, the figure drops from view completely -- -- then it REAPPEARS, closer to camera now. It's Barto. We SEE him for just a second, then the video connection is lost. Casey just about jumps out of her skin. She reaches for her cell phone, quickly dialing Romy's number.</scene_description>
<character>CASEY</character>
<parenthetical>(under her breath)</parenthetical>
<dialogue>Come on, Romy, come on --</dialogue>
<scene_description>She gets an ERROR TONE, then an out of service message.</scene_description>
<character>CASEY</character>
<dialogue>FUCK!!!</dialogue>
<scene_description>Casey rises from her bed, pulling on a coat and shoes as she dials another number. Then we hear:</scene_description>
<character>MARK'S VOICE</character>
<dialogue>Casey?</dialogue>
<character>CASEY</character>
<dialogue>Meet me at Romy's house! Something's wrong.</dialogue>
<character>MARK'S VOICE</character>
<dialogue>What?</dialogue>
<character>CASEY</character>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MARSHALL HOUSE - FOYER - NIGHT</stage_direction>
<scene_description>The DOORBELL chimes again as Romy comes down the stairs. She tries to turn on the foyer lights, but something is wrong. They're dim -- as if they were outputting only a fraction of their capacity. And as we watch, the lights dim further. Romy moves to a peephole at the front door, looks out. ROMY'S POV (THROUGH PEEPHOLE) She doesn't see anyone on the front porch. Romy opens the door, startled to find -- MATTY NEILSON Standing there (too short to seen via the peephole).</scene_description>
<character>ROMY</character>
<dialogue>What're you --?</dialogue>
<character>MATTY \*</character>
<dialogue>The doorway is open. \*</dialogue>
<scene_description>Before Romy can reply, Matty PLUNGES a kitchen knife into her \* belly. Romy GASPS. She looks down at the knife handle protruding from her abdomen, unable to comprehend what's just happened. Matty wrenches the knife out, PLUNGES it in again -- Romy staggers, sinking against the newel post of the stairs. She clutches her midsection, blood seeping between her fingers. Matty steps across the threshold. The front door closes behind him, as if on its own accord. He starts towards -- ROMY, Who pulls herself up via the newel post. Terrified, she starts up the stairs, but she's not moving all that quickly. ON THE SECOND FLOOR LANDING, Romy STUMBLES, half-crawling, half-limping down the hall. She sinks to her knees, winded, continuing to lose blood. She tries for a doorway to her right -- -- but the doorway SLAMS shut. She tries to turn the knob, but it won't budge. Romy keeps moving. There's another doorway up ahead -- but it too SLAMS SHUT. Her bloodied hands scrabble at the door knob, to no avail. She looks back -- MATTY Has reached the top of the stairs. As he precedes down the hall, the lights continue to dim around him, his very presence sapping the luminance away. There's something unearthly about his strange, shuffling gait. It's as if he were walking underwater. Like the physics commanding his body were behaving under a different set of conditions. A BULGE works its way to the surface of Matty's head, travelling from one side of his tiny face to the other, distorting his features as it burrows. And the ACCOMPANYING SOUND issuing from his mouth is something no human vocal cords could utter. He draws close, knife ready -- Romy raises her hands to ward off the oncoming blows. The knife comes down, SLICING into the webbing between her outstretched fingers -- Then Matty is on top of her, stabbing repeatedly. Romy traps his wrist, briefly forestalling another blow. But she's weak now and even Matty's limited strength is overpowering her. CLOSE ON MATTY, his facial muscles constricted in a horrible rictus, continuing to utter that UNEARTHLY SOUND. As he struggles against Romy, he convulses, like he's COUGHING something up. Suddenly, Matty's throat bulges wider still and the fingers of a GNARLED, SPITTLE-COVERED HAND emerge from his abnormally dilated mouth! Romy SCREAMS HYSTERICALLY, can't process what she's seeing. The hand keeps coming, followed by ANOTHER CHILD'S BONY FOREARM, with a concentration camp number tattooed on the inside of the wrist! Reaching for Romy's face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMY'S HOUSE - NIGHT</stage_direction>
<scene_description>Casey's car SCREECHES into the driveway even as Mark comes RUNNING down the sidewalk on foot. As Casey BOLTS from her car and heads up to the front door, Mark joins her. Casey RINGS the doorbell, POUNDS her fist against the door.</scene_description>
<character>CASEY</character>
<dialogue>Romy! ROMY!!!</dialogue>
<scene_description>She move to a side-light adjacent to the front door, but it's too dark inside to see anything. Then we hear a SCREAM.</scene_description>
<character>CASEY</character>
<dialogue>Mark!</dialogue>
<scene_description>Mark THROWS his weight against the door, trying to force it.</scene_description>
<character>CASEY</character>
<dialogue>The back, around back!!!</dialogue>
<scene_description>Casey leaps from the porch, leading Mark around the side to -- A BACK PATIO Where glass sliders open out onto the lawn. Mark grabs a deck chair and SMASHES OPEN one of the sliders, SHATTERING it. Then he reaches for a garden fork resting nearby, using the prongs to clear the remaining glass from the frame.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROMY'S HOUSE - DOWNSTAIRS - VARIOUS - NIGHT</stage_direction>
<scene_description>Mark and Casey rush inside the darkened house. Mark still clutches the garden fork, the only immediate weapon at hand. They reach the foyer, where the dimmed lights still weakly pulse. They hurtle up the stairs, finding --</scene_description>
</scene>
<scene>
<stage_direction>INT. ROMY'S HOUSE - SECOND FLOOR LANDING - NIGHT</stage_direction>
<scene_description>-- Matty crouched atop Romy, looking back at them like the imp from Fuseli's Nightmare painting. He bares his teeth. For a second, Mark seems paralyzed -- his rational mind having a hard time coping with what he's seeing -- Then Mark DRAGS Matty off Romy, THROWING him against the wall. The knife falls from the boy's hand. Mark raises the garden fork, ready to sink into the demon-child's face, but --</scene_description>
<character>CASEY</character>
<dialogue>STOP!!!</dialogue>
<scene_description>Mark freezes, the improvised weapon still held high.</scene_description>
<character>CASEY</character>
<dialogue>It's not in him anymore.</dialogue>
<scene_description>Mark looks back at Casey, fearful.</scene_description>
<character>MARK</character>
<dialogue>How can you tell?!</dialogue>
<character>CASEY</character>
<dialogue>I just can.</dialogue>
<scene_description>Mark looks back to Matty -- the boy lies slumped against the wall now, breathing shallowly, completely out of it.</scene_description>
<character>MARK</character>
<dialogue>So where is it?!</dialogue>
<scene_description>A SOUND comes from Romy's corpse. She's clearly dead, awash in her own blood. And yet -- MOVEMENT pulses in her throat. A POTATO BUG creeps from her mouth. Then another. Romy's corpse shudders, as if some external force were trying to seize hold of her via her fading nerve impulses. Mark backs away, overcome with revulsion.</scene_description>
<character>CASEY</character>
<dialogue>Get Matty -- we have to go --</dialogue>
<scene_description>Romy's corpse convulses, flops onto its stomach. It reaches a palsied hand towards them, fingernails digging into the floorboards, dragging itself forward.</scene_description>
<character>CASEY</character>
<dialogue>Mark, let's go! COME ON!!!</dialogue>
<scene_description>Mark snaps out of it, lifting Matty from the floor. As they descend the stairs, they hear Romy's corpse HOWLING behind them. The howl becomes an EAR-SPLITTING SHRIEK as we -- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMY'S HOUSE - NIGHT</stage_direction>
<scene_description>The aftermath. The POLICE and CSI UNIT are there in force. TWO DETECTIVES question Casey and Mark. ANOTHER PAIR OF DETECTIVES and a REPRESENTATIVE from the Department of Child and Family Services are huddled with the Neilsons, who look completely shell-shocked. ON CASEY, barely able to process what the detectives are saying. She nods from time to time, replying in monotone. CASEY'S POV Matty sits in the back of an open ambulance, clutching a stuffed animal while TWO EMTs give him a thorough checkup. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DONUT SHOP - NIGHT</stage_direction>
<scene_description>An island of light amongst a commercial strip mall. Mark and Casey sit across from one another in a booth.</scene_description>
</scene>
<scene>
<stage_direction>INT. DONUT SHOP - NIGHT</stage_direction>
<scene_description>The setting is banal. Bright colors, garish signage, all laid bare beneath a harsh fluorescent glare. Aside from the ASIAN GUY behind the counter, the place is otherwise empty. ON MARK AND CASEY Mark stares at his coffee cup, in a state of shock. He still has a smudge of blood on his face.</scene_description>
<character>MARK</character>
<dialogue>I can't believe it.</dialogue>
<character>CASEY</character>
<dialogue>I couldn't either. I didn't want to. But now --</dialogue>
<scene_description>Mark looks up at Casey, lost.</scene_description>
<character>MARK</character>
<dialogue>Where did it come from?</dialogue>
<character>CASEY</character>
<dialogue>I don't know.</dialogue>
<character>MARK</character>
<dialogue>And you can sense when it's near?</dialogue>
<scene_description>Casey nods.</scene_description>
<character>CASEY</character>
<dialogue>I've been having these -- glimpses ever since my eyes changed. Shadows and things in my peripheral vision. I think I'm seeing what it sees.</dialogue>
<parenthetical>(beat, a confession)</parenthetical>
<dialogue>It's getting stronger. It can enter anything now. Anyone.</dialogue>
<scene_description>Just then, BELLS JINGLE as the front door opens. A HOMELESS MAN enters, looks at them. Is he more than he appears to be? After a beat, he shuffles towards the back.</scene_description>
<character>MARK</character>
<dialogue>So no place is safe.</dialogue>
<scene_description>A statement, not a question. Casey averts her gaze, a single tear sliding down her cheek.</scene_description>
<character>CASEY</character>
<dialogue>I don't think the world was ever safe. We were just trying to pretend that it was. You see --</dialogue>
<parenthetical>(struggling to explain)</parenthetical>
<dialogue>-- everything around us seems normal, but it's not. It's like there's this other world laid on top of ours. Like a double image or something. We can't see it, but it's there. It's always been there.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The only difference is, we're starting to notice it now.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DONUT SHOP - NIGHT</stage_direction>
<scene_description>PULL BACK from Mark and Casey framed in the glass window. Amidst the nightscape, they seem exposed and vulnerable. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHESS PARK - DAY</stage_direction>
<scene_description>FADE IN on a group of CHESS PLAYERS hunched over a series of prefab concrete tables, deeply immersed in their games. Beyond the chess area is a larger park, replete with STROLLING COUPLES, IN-LINE SKATERS, PEOPLE with their DOGS.</scene_description>
<character>SENDAK (O.S.)</character>
<dialogue>I've decided to help you.</dialogue>
<scene_description>ANGLE ON A PICNIC TABLE where Mark and Casey sit opposite Sendak and ARTHUR WYNDHAM (50s), a kind-faced Episcopal priest wearing jeans and a simple tab-collar shirt. Sendak has The Book of Mirrors with him, along with a folder of papers.</scene_description>
<character>CASEY</character>
<dialogue>You're willing to perform an exorcism? Why now?</dialogue>
<character>SENDAK</character>
<dialogue>I can't say whether I truly believe in what's afflicting you. But I think you believe. And if you're convinced that this is what you need, then who am I to turn you away?</dialogue>
<character>MARK</character>
<dialogue>Look, I may be just getting up to speed here -- but if you'd seen what I saw last night, you wouldn't have any problem believing her.</dialogue>
<character>SENDAK</character>
<dialogue>This is Arthur Wyndham. He's a good friend of mine. He's also an Episcopal priest. We compare notes from time to time and, well -- he's had a bit more experience with this kind of thing than I have.</dialogue>
<character>CASEY</character>
<dialogue>You've done exorcisms?</dialogue>
<character>WYNDHAM</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>No, but I've studied the phenomenon. I did my dissertation on the subject back in college. The Catholic Church's position on these incidents is very conservative. They regard genuine demonic possession as something that's exceedingly rare.</dialogue>
<character>CASEY</character>
<dialogue>I'm not looking for a Catholic exorcism.</dialogue>
<character>WYNDHAM</character>
<dialogue>I understand. But there are certain elements to these kinds of rites that are common amongst virtually all religions. And these elements I am familiar with. \*</dialogue>
<character>SENDAK</character>
<dialogue>I've translated what's in the book --</dialogue>
<parenthetical>(re: Book of Mirrors)</parenthetical>
<dialogue>-- so I'll be leading the invocation. Arthur and a few others will be backing me up.</dialogue>
<character>MARK</character>
<dialogue>So you're covering all bases. A rabbi and a priest.</dialogue>
<character>SENDAK</character>
<parenthetical>(good-natured)</parenthetical>
<dialogue>I figured it couldn't hurt to stack the odds.</dialogue>
<character>WYNDHAM</character>
<dialogue>Before we go any further, we need to take care of a few formalities. Can I see your IDs? We need to verify that you're both of legal age to be consenting to this.</dialogue>
<scene_description>As Casey and Mark reach for their driver's licenses, Wyndham produces two sheets of paper from the folder, then a pen.</scene_description>
<character>WYNDHAM</character>
<dialogue>These are releases. To be honest, I'm not even sure they're legally binding. We're sort of in cloudy waters here. But just in case something does goes wrong --</dialogue>
<scene_description>He shrugs, leaving the rest unsaid. Wyndham inspects the IDs as Casey and Mark sign the releases. Satisfied, he hands the IDs back.</scene_description>
<character>CASEY</character>
<dialogue>When do we do it?</dialogue>
<character>SENDAK</character>
<dialogue>Tomorrow night, the sabbath.</dialogue>
<character>CASEY</character>
<dialogue>At your synagogue?</dialogue>
<character>SENDAK</character>
<dialogue>Are you crazy? No, no way. Given how unorthodox this all is, I think we'll find another venue. Is there a place that has a particularly negative resonance with you? Somewhere where you might've incurred great pain?</dialogue>
<scene_description>Casey nods, an immediate place coming to mind. SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERVIEW PSYCHIATRIC HOSPITAL - DUSK</stage_direction>
<scene_description>Having been closed some years ago, the sprawling facility has now fallen into disrepair. The front entrance has been chained shut, while the ground floor windows have been boarded up. Many of the windows on the second and third floors have been broken and there are other signs of vandalism as well (graffiti, etc). In short, it's the kind of place that teenagers come to scare themselves and drunkenly grope one another.</scene_description>
<character>SENDAK (O.S.)</character>
<dialogue>As I said, we'll need a few others to help us. Typically, a Jewish exorcism rite involves ten people.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Why ten?</dialogue>
<scene_description>Presently, HEADLIGHTS appear on the wooded drive leading up to the main building.</scene_description>
<character>SENDAK (O.S.)</character>
<dialogue>Ten is the number of the Sephirot, which are the known attributes of God. The idea is that these ten form a protective circle around the afflicted person.</dialogue>
<scene_description>FROM OVERHEAD We SEE MORE CARS arrive, making a rough circle in parking area. PEOPLE are exiting their cars. Sendak and Wyndham are unloading supplies -- battery-powered xenon lanterns, a collapsible ambulance gurney, portable space heaters, as well as a long, leather carrying case (like the kind used to transport a musical instrument). One of the helpers, RICK HESSE (30s), climbs from a vintage Land Cruiser. He's a rough and tumble biker-type. Tall, clutching a to-go cup of coffee and a medical tackle box. He eyes the facility with skepticism, looks to Sendak.</scene_description>
<character>RICK</character>
<dialogue>Hell of a place to get religion, Rabbi.</dialogue>
<character>SENDAK</character>
<dialogue>The State has it scheduled for demolition this Spring.</dialogue>
<parenthetical>(holding up some keys)</parenthetical>
<dialogue>Luckily, I've got a friend on the Mental Health Board.</dialogue>
<scene_description>Sendak nods to Rick, introducing him to Mark and Casey.</scene_description>
<character>SENDAK</character>
<dialogue>This is Rick Hesse. He's a member of an interfaith recovery group Arthur and I moderate. He's also an EMT. I thought it'd be good to have him here, just in case.</dialogue>
<scene_description>Rick extends his hand to Mark and Casey.</scene_description>
<character>RICK</character>
<dialogue>Nice to meet you.</dialogue>
<character>SENDAK</character>
<dialogue>The others are part of the group as well. They've all been through hardship of one kind or another and they're willing to help.</dialogue>
<scene_description>Casey looks to the others -- people from all walks of life. One looks like a GRANDFATHER, another like a HOUSEWIFE. They nod back at Casey in turn, acknowledging her.</scene_description>
<character>CASEY</character>
<dialogue>Thank-you for doing this.</dialogue>
<character>SENDAK</character>
<dialogue>Once we get inside, Casey will be in the center of the circle. I'll read the original text in Hebrew, the rest of you will follow me in English, call and response format.</dialogue>
<scene_description>As Sendak speaks, Wyndham passes out pamphlets outlining each step of the ceremony.</scene_description>
<character>SENDAK</character>
<dialogue>The heart of the ceremony is Psalm 91. Yoshev B'Seter, the Psalm of Protection. At the beginning and end of the invocation, I'll sound the shofar.</dialogue>
<parenthetical>(to Casey)</parenthetical>
<dialogue>It's an animal horn used in religious ceremonies. In this case, the sound is intended to shock the spirit hiding within the victim. Once the spirit is more compliant, then we can start drawing it out.</dialogue>
<scene_description>He looks to the others now.</scene_description>
<character>SENDAK</character>
<dialogue>Any questions?</dialogue>
<character>MARK</character>
<dialogue>What's up with the gurney?</dialogue>
<character>WYNDHAM</character>
<dialogue>That's for Casey's protection. As well as ours. Sometimes, people thrash around, try to lash out. It's just a precaution.</dialogue>
<scene_description>Casey gives a nod that it's okay. \*</scene_description>
<character>SENDAK</character>
<dialogue>Alright, then. Let's get started.</dialogue>
<scene_description>The group heads towards the front entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - SICK WARD - NIGHT</stage_direction>
<scene_description>A wide open space that once housed dozens of sick beds, with a row of windows looking out onto the adjoining hallway. Some of the walls are partially torn open. The piles of plaster and debris scattered here and there, along with the occasional empty beer bottle, are further evidence of vandalism. IN A SERIES OF DISSOLVES we SEE the group set up shop. The xenon lanterns are arranged in a circle. The space heaters are turned on. The gurney is lifted and locked, the back support tilted semi- upright. Sendak opens the aforementioned carrying case, revealing a long, curlicued shofar made from the horn of a kudu. Wyndham sets up a small video camera on a tripod. Hesse, meanwhile, gives Casey a cursory medical examination, checking her pulse, blood pressure, pupil dilation. Satisfied, Casey is then helped onto the gurney.</scene_description>
<character>MARK</character>
<dialogue>You sure you want to go through with this?</dialogue>
<character>CASEY</character>
<dialogue>I just want it to end.</dialogue>
<scene_description>Wyndham starts the video camera, then walks in front of it, addressing it.</scene_description>
<character>WYNDHAM</character>
<dialogue>My name is Arthur Wyndham. This will be a video record of an attempted exorcism of Casey Bell. Everyone participating tonight, including Casey, is here of their own free will. Do you agree, Casey?</dialogue>
<character>CASEY</character>
<dialogue>Yes. This is what I want.</dialogue>
<scene_description>Wyndham and Hesse secure Casey's ankles and wrists with the gurney restraints.</scene_description>
<character>SENDAK</character>
<dialogue>Now if, and this is a big "if" -- but assuming a spirit actually manifests itself on your person, it may take the shape of a -- kind of bulge beneath the flesh. Try not to be alarmed by this. Even though we're dealing with a spiritual phenomenon, the entity still needs to be housed in some degree of physical mass. So if your body produces a reaction like that, it means what we're doing is working. Do you understand?</dialogue>
<scene_description>Casey nods. Wyndham then produces a rubber block.</scene_description>
<character>WYNDHAM</character>
<dialogue>I'm going to place this in your mouth so you don't accidentally bite your tongue.</dialogue>
<scene_description>Casey nods again. Wyndham inserts the mouthpiece between her teeth, then turns to Sendak to indicate that they're ready. At Sendak's direction, the group makes a circle around Casey. Mark is positioned by her head, Sendak near her feet. Sendak draws the shofar to his lips, emitting three short calls. Finished, he lifts up the Book of Mirrors and turns towards the North:</scene_description>
<character>SENDAK</character>
<dialogue>Yud.</dialogue>
<parenthetical>(turning to the East)</parenthetical>
<dialogue>Hay.</dialogue>
<parenthetical>(turning to the South)</parenthetical>
<dialogue>Vuv.</dialogue>
<parenthetical>(turning to the West)</parenthetical>
<dialogue>Hay.</dialogue>
<scene_description>Sendak now pivots back to face the North.</scene_description>
<character>SENDAK</character>
<dialogue>This circle is now made whole and sacred.</dialogue>
<parenthetical>(reading from the book)</parenthetical>
<dialogue>B'shaym Adonoy Elohay yisro-ayl, mi- mini Michoa-ayl, u-mismoli Gavri- ayl, u-milfonai U-ri-el, u-may- achorai R'fo-ayl, a'al roshi sh'chinas Ayl.</dialogue>
<scene_description>The group responds in English, reading from their booklets:</scene_description>
<character>GROUP</character>
<dialogue>In the name of HASHEM, God of Israel, may Michael be at my right, Gabriel at my left, Uriel before me, and Raphael behind me; and above my head the Shechina.</dialogue>
<scene_description>At this, Casey looks to the ceiling, at the pattern of shadows cast from the harsh xenon lanterns.</scene_description>
<character>SENDAK</character>
<dialogue>Yo-shayv b'sayer el-yon, b'tzayl sha-dai yis-lonon.</dialogue>
<character>GROUP</character>
<dialogue>You who dwells in the shelter of the Most High, who abides in the shadow of the Almighty --</dialogue>
<character>SENDAK</character>
<dialogue>Omar la-donoy machi-si um'tzudoi, elohai ev-tach bo. Ki hu ya- tzil'cho mi-pach yokush, mi-dever havos.</dialogue>
<character>GROUP</character>
<dialogue>I say to you of the LORD, who is my refuge and my stronghold, my God, in whom I trust, that he will save you from the fowler's snare and from the destructive pestilence.</dialogue>
<scene_description>Casey starts to sweat. Are the shadows above her lengthening? The lanterns dimming? She looks at the others, but they don't seem to notice.</scene_description>
<character>SENDAK</character>
<dialogue>B'ev-roso yosech loch v'sachas k'nofov tech-seh, tzinoh v'sochayroh amito.</dialogue>
<scene_description>Outside, the wind picks up.</scene_description>
<character>GROUP</character>
<dialogue>He will cover you with his feathers and you will find refuge under his wings; his truth will be your shield and armor.</dialogue>
<scene_description>Casey's breathing quickens. She shivers uncontrollably. It's not her imagination. The lanterns are dimming! And some kind of LIQUID now appears to be seeping through the ceiling above her. Black and tar-like.</scene_description>
<character>SENDAK</character>
<dialogue>Lo siro mi-pachad loy-soh, may- chatyz yo-uf yo-mom --</dialogue>
<scene_description>Sendak and the others look up as a VIBRATORY MOAN sounds in the hallway outside, RATTLING the windows. Surely, it's just the wind? Sendak continues, his voice faltering:</scene_description>
<character>SENDAK</character>
<dialogue>Midever bo-ofel ya-haloch, mi-ketev yoshud tzo-horoy-im.</dialogue>
<character>GROUP</character>
<dialogue>You will not fear the terror of night, nor the arrow that flies by day, nor --</dialogue>
<scene_description>The SOUND comes again, the lanterns flickering in lock-step. CASEY'S POV - THE CEILING ABOVE The black liquid continues pooling on the ceiling. Suspended droplets are forming, gaining in volume. One of them looks like its ready to slip free and fall onto Casey's face. Then Casey notices a BULGE FORMING near her clavicle. It starts working its way up into her throat, causing her mouth to involuntarily open. Casey MOANS, fighting against her restraints, tries to twist her head around and make eye contact with Mark, warn him -- -- but the WIND is causing too much commotion. It's kicked up a draft within the ward as well. Wyndham continues the recitation, RAISING HIS VOICE to spur the others onward:</scene_description>
<character>WYNDHAM</character>
<dialogue>NOR THE ARROW THAT FLIES BY DAY --</dialogue>
<scene_description>The group follows suit, with decidedly less conviction.</scene_description>
<character>GROUP</character>
<dialogue>-- nor the pestilence that stalks in the darkness, nor the plague that wasteth at noonday.</dialogue>
<scene_description>The lanterns continue to flicker and dim. The suspended droplet of black-tar liquid falls --</scene_description>
<character>SENDAK</character>
<dialogue>Yipol mi-tzid'cho elef ur'vovo mimi- necho, aylecho lo yigosh. Rak b'ay- necho sabit, v'shilumas r'sho-im tir-eh.</dialogue>
<character>GROUP</character>
<dialogue>A thousand may fall at your left side, ten thousand at your right, but it will not come near you. You need only look with your eyes, and you will see the punishment of the wicked.</dialogue>
<scene_description>The MOANING WIND reaches a crescendo, ripping pages from people's hands. Then it suddenly stops altogether, sucking itself into silence as the lanterns simultaneously go dark. Darkness, a few GASPS from the silhouetted group members.</scene_description>
<character>SENDAK</character>
<dialogue>Everyone just stay calm. Don't move.</dialogue>
<scene_description>The lanterns BUZZ, coming back on at full strength, momentarily blinding everyone. We hear a few relieved CHUCKLES, some HALF-WHISPERED COMMENTS. And then the faces of the group members go white as they fixate on -- BARTO He's standing beside Casey's left shoulder, projecting a glare of evil so palpable that it could strike a person dead! Three of the group members DROP LIKE STONES, eyes rolling to white. Two more simply RUN FOR THEIR LIVES. FLASH! The lanterns SPARK, BURST APART. The windows RATTLE, CRACK, SHATTER! FLASH! Sendak and the others back away, frozen with fear. FLASH! Barto disappears amidst the intermittent darkness. FLASH! Casey THRASHES VIOLENTLY, desperate to get free. Mark appears at her side, removing her mouthpiece, hurriedly loosening her restraints. She's SCREAMING --</scene_description>
<character>CASEY</character>
<dialogue>Get me out! GET ME OUT!!!!</dialogue>
<scene_description>FLASH! Barto now appears atop one of the fallen group members -- the housewife, who's foaming at the mouth. Then Barto is gone, INSIDE HER. THE HOUSEWIFE LURCHES from the floor, back arching unnaturally, as if she were being jerked upward by a rope. We see a BULGE travelling in a corkscrew fashion up her torso, then around her neck, then ballooning out her cheek and eye-socket. She SCREAMS, vomits out a SPRAY OF BLOOD, then crumples back to the ground in a heap. ON CASEY Even as Mark helps her to her feet, the gurney collapses beneath her on its own volition. It SPINS AWAY, flipping end over end, SMASHING Hesse back against the wall. The Book of Mirrors is TORN from Sendak's hands, some of the pages SHREDDING and FOUNTAINING around him. The shofar whirls madly about, SKEWERING ITSELF into Sendak's shoulder. Wyndham sinks to his knees, all reason escaping him. He looks upward, mouth agape -- Barto is on the ceiling, clinging spider-like. He scurries in circles at high speed, LEAPS at Wyndham. Mark DRAGS Casey towards the hallway, but she resists --</scene_description>
<character>CASEY</character>
<dialogue>THE BOOK!!!</dialogue>
<scene_description>Casey retrieves the Book, clawing up the pamphlet pages as well. As she and Mark make for the doorway -- WYNDHAM LURCHES towards them, dead-eyed, moving in a herky-jerky manner. The BULGE is travelling up Wyndham's arm, just beneath the flesh. Barto is inside him. Mark scoops up one of the fallen lanterns, SMASHES Wyndham across the face with it! Then Mark and Casey are free --</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - HALLWAY - NIGHT</stage_direction>
<scene_description>-- STUMBLING out into the hallway, making a mad dash for freedom. They round a corner, finding themselves -- IN THE CENTRAL STAIRWELL AND FOYER The front doors are just ahead. But even as Mark and Casey reach them, the doors SLAM SHUT. Mark pulls against the door handles, trying to force them back open, but it's no good. Even worse, the nearby windows are completely boarded up. Mark whirls, spotting a metal waste can. He picks it up and tries to HAMMER his way through the plywood covering the nearest window. The wood starts to splinter and give way -- -- but then we hear a CRASH coming from back the way they came.</scene_description>
<character>CASEY</character>
<scene_description>ANGLE ON HESSE, staggering towards them in FITFUL LURCHES. He'll be upon them in seconds! And if the CLICKING MOAN issuing from his slack mouth left any doubt that he's been taken over, the SHIFTING BULGE that distorts his face doesn't. Mark and Casey have no choice but to retreat up the central stairway. They take the first flight of steps two at a time -- BELOW THEM, Hesse moves with alarming speed, quickly gaining upon them. His HOWLS are ECHOING throughout the stairwell. Mark and Casey continue past the second floor landing, racing up another flight of stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - 3RD FLOOR HALL - NIGHT</stage_direction>
<scene_description>FOLLOWING Hesse's hulking form now as he emerges into the third floor hall. He looks right, SEES no sign of Mark and Casey in the moonlit corridor. He looks left, SEES no sign there as well. As he shambles off to the right --</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - 3RD FLOOR WARD - NIGHT</stage_direction>
<scene_description>-- we find Mark and Casey inside one of the treatment rooms, having just barely managed to duck out of sight. They flatten themselves against the wall, crouching down beneath the bottom of the windows looking out onto the corridor. As Hesse approaches, Mark and Casey hold their breath. We can SEE Hesse's silhouette now. He pauses, looking through the windows. His mouth sags open, issuing guttural CLICKING NOISES. Mark and Casey are just beneath his gaze. He might even see them if he casts his eyes downward -- -- but he moves on, FOOTSTEPS retreating. Silence. Mark turns to Casey, is about to whisper something -- -- when the wall beside him EXPLODES OUTWARD! Hesse's hands grasp Mark, DRAGGING him back through the newly made opening.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - 3RD FLOOR HALL - NIGHT</stage_direction>
<scene_description>Hesse THROWS Mark to the floor, BLUDGEONING him repeatedly with his fists. The blows are raining down so viciously that Mark can't even fend them off -- Casey appears in the doorway, LEAPING onto Hesse's back. He SHRUGS her off, turning towards her -- Casey winces as she sits up. Hesse steps over to her. Casey tries to scoot back, finds herself hemmed in by the wall. As Hesse bends down towards Casey, she frantically reaches to her throat, pulling out the Hand of Miriam, which now rests on a silver chain around her neck. She holds it up -- -- and Hesse actually pauses, tilting his head as an animal would. Does he find the amulet distasteful? It seems like it. He HISSES at her and -- WHAM!!! A two-by-four comes down atop Hesse's head! It's Mark, having found himself a weapon. His nose is broken, bleeding down over his chin. Nevertheless, he comes at Hesse again, swinging the two-by-four repeatedly. Hesse staggers beneath the blows, then SOMETHING SNAPS in his neck and he drops like a marionette with its strings cut. Mark keeps PUMMELING the body, wanting to make absolutely sure the man isn't getting back up. Mark stops. He sinks to his knees, chest heaving as he leans against the wall. But he still keeps his eyes on Hesse's corpse, half-expecting it to reawaken. Beat. Mark shuts his eyes, the surge of adrenaline leaving him. Casey moves to his side.</scene_description>
<character>CASEY</character>
<dialogue>You okay?</dialogue>
<character>MARK</character>
<dialogue>-- yeah, just a little banged up --</dialogue>
<parenthetical>(weaker)</parenthetical>
<dialogue>-- feel funny --</dialogue>
<scene_description>Mark absently reaches for Casey's hand, clasping it tightly.</scene_description>
<character>CASEY</character>
<dialogue>We'll get out here, get some help.</dialogue>
<scene_description>Mark nods absently. He opens his eyes again, his gaze focused on Hesse's corpse.</scene_description>
<character>CASEY</character>
<dialogue>Can you get up, sweetie?</dialogue>
<scene_description>Mark doesn't respond. Instead, his grip on Casey's hand begins to tighten.</scene_description>
<character>CASEY</character>
<dialogue>Baby, you're hurting me --</dialogue>
<scene_description>Mark's grip continues to tighten as a tremble courses through him. Casey tries to pull her hand away, but Mark resists.</scene_description>
<character>CASEY</character>
<dialogue>Mark, stop --</dialogue>
<scene_description>The trembling continues. We realize that we're witnessing a war. Mark is struggling against his own nervous system. And he's losing. His breathing begins to hiccup, like a cat trying to cough up a fur-ball. Casey WHIMPERS. She knows what's happening now. Mark turns his twitching head towards her. Because we're so close to him, we can SEE his eyes transform. The pigment in his irises is draining away, TURNING BLUE. And the nearest eyeball is ballooning up, BULGING from its socket. Casey pulls back, KICKING at Mark with all her strength. Somehow, she manages to break free of his grip. Mark is on all fours now, lifting his head towards her. Ropes of drool uncoil from his slack mouth. Casey retreats. She doesn't want to leave him, but -- Mark stands, summoning a HELLISH HOWL from the pit of his belly. He starts BASHING his head against the wall, cracking the plaster, causing chunks of it to fall away. It's awful to watch. The dybbuk is destroying Mark before Casey's eyes. Casey has no choice but to run -- FURTHER DOWN THE HALLWAY, into a wing of the hospital that is in even more disrepair. She rounds a corner, stumbling and slipping over debris. Casey SEES a door to another stairwell. She tries it, but it's locked. She moves on, having lost her precious lead. ON MARK, unstoppable now, fueled by a bottomless wellspring of rage. Casey rounds another corner, finding herself in front of -- THE DOOR FROM THE SUPER-8 FILM Wide and unyielding, with a large and tarnished brass knob. Exuding an overpowering sense of menace. But for this doorway, we are at an absolute dead-end. Casey looks back, SEES Mark's shadow approaching as he nears the corridor. She's got a half-dozen seconds at best -- Casey reaches for the door knob, turns it. The door opens.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - BORDERLAND - NIGHT</stage_direction>
<scene_description>Casey steps into a world that mirrors ours. The corridor has the same basic geometry as the one she just left, but the surface of everything is different, like a theatrical flat that's been re-skinned. We understand instinctively that we've entered the borderland. A demarcation between our universe and the yenne velt -- the place the dybbuk comes from. The corridor seems to extend forever. And the further it extends, the more reality seems to degrade, eventually fading into complete darkness. Black, tar-like liquid drips from the ceiling and walls, pools on the floor. It's viscous and sticky. Gravity seems heavier here as well. For Casey, it feels like she's walking with lead shoes, moving through a murky and oppressive body of water. Every physical action creates a fleeting, visual echo, tiny trails of motion that disperse like ripples in a pond. Sound waves behave in the same manner, propagating outward as if under water. As Casey proceeds, crossing a carpet of potato bug husks. CASEY'S POV Down at the other end of the hall, where the darkness overtakes the corridor, SOMETHING undulates towards us is slow-motion. Human-shaped, but moving in a serpentine fashion, swimming through the air as it would through water. Casey doesn't want to face whatever it is. She turns -- TO THE RIGHT is an open doorway, dim light emanating from the room within. Casey approaches, dreading what she will find inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM - BORDERLAND - NIGHT</stage_direction>
<scene_description>Casey enters. The room is empty, save for a rusty, metal chair. A WOMAN sits with her back to us, clad in a soiled hospital gown, rocking back and forth. She's hunched over, hair obscuring her face, clutching something in her hands. Casey instantly recognizes the woman.</scene_description>
<character>CASEY</character>
<dialogue>Mom?</dialogue>
<scene_description>Casey draws closer, slowly circling around. And now we SEE what Janet is holding. The jar from Casey's dream, with the little embryo floating inside. The embryo is conscious, looking up at Casey from within its tiny prison. Casey extends her hand, gently touching Janet's shoulder. The woman responds, slowly lifting her head, revealing -- ANOTHER FACE A hell-maw. No eyes or nose. Just a GAPING MOUTH extending from the lower jaw up to where the brow should be. The teeth are far too numerous, blackened with decay and worn down to nubs. As the creature BELLOWS, the maw opens wider still, offering a nightmare view of its flapping epiglottis. Casey recoils, rushing back the way she came, out into --</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - BORDERLAND - NIGHT</stage_direction>
<scene_description>-- the black tar corridor. To her right, the "Swimmer" is still coming, undulating through the heavy air. Casey turns left, RUNNING in slow-motion. She TRIPS, skidding face-first into a puddle of black goo and potato bug husks. She drops the Book of Mirrors, the scattered pages of the ceremony. She GAGS, having gotten some of the molasses- like gunk in her mouth. Then she DRAGS herself up, tries to reach for where the door should be and --</scene_description>
</scene>
<scene>
<stage_direction>INT. LANDING/STAIRWELL - BORDERLAND - NIGHT</stage_direction>
<scene_description>-- finds herself back by the grand stairwell. Or at least the other side's analog of it. Every inch of the stairwell and landing is covered in the tar-like substance. And it's flowing upwards, seeming to defy gravity. ON MARK, rearing up before us. His hand clamps around Casey's throat, SQUEEZING with inhuman strength. He lifts Casey off her feet. Casey struggles, CHOKING. Mark pulls her closer, nose to nose. He opens his mouth, extending his tongue, as if he were going to French kiss her. One side of the tongue BULGES, a kind of mobile pustule forming. And the tongue keeps coming, unfurling from its root for at least another two inches! The pustule-tip of his tongue reaches Casey's lips, probing, forcing its way between them -- Casey SQUEALS. She knows that the dybbuk is finally trying to enter her. She gives up trying to pry Mark's fingers free. Drops a hand to her chest, searching for the only weapon she has -- the Hand of Miriam strung around her neck. Her fingers close around the amulet and she RIPS it free, DRIVING the star up into Mark's jugular. Mark drops Casey. BLOOD seeps out from around the amulet, which is now wedged deep in his voice-box. On the floor, Casey COUGHS, sucking in air. She SEES the fallen Book of Mirrors and scattered pages. Her only chance. She grabs the book, hugging it to her breast. She scoops up the pages with her other hand, picking up the ceremony from where the group had left off. Her voice is weak and raw from her near-strangulation and the words come haltingly:</scene_description>
<character>CASEY</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"-- You need only look with your eyes, and you will see the punishment of the wicked --"</dialogue>
<scene_description>Mark looks down at her, unsteady on his feet. Casey continues, her voice trembling:</scene_description>
<character>CASEY</character>
<dialogue>"-- because you have said "The Lord is my shelter" and you have made the Most High your haven, no evil will befall you, no plague will come near thy dwelling. For he will command his angels in your behalf, to guard you in all your ways --"</dialogue>
<scene_description>A wind picks up. Mark leans into it. The flesh on his face ripples, his cheeks becoming rubbery -- like those of a test pilot responding to the crushing weight of 4 Gs. The black-tar substance on the walls and ceiling reacts similarly, retreating as if from the wind. Like motor oil diluting and fanning itself away from a high-pressure stream of water.</scene_description>
<character>CASEY</character>
<dialogue>"-- they will lift you up in their hands, so that you will not strike your foot against a stone. You will tread upon the lion and the cobra; you will trample the great lion and the dragon."</dialogue>
<scene_description>The dybbuk begins HOWLING. It doesn't like this. In fact, it seems to be fighting for its life now, thrashing wildly.</scene_description>
<character>CASEY</character>
<dialogue>"Because he loves me," says the LORD, "I will rescue him; I will protect him, for he acknowledges my name. "He will call upon me, and I will answer him;"</dialogue>
<scene_description>Tears stream down Casey's face as she fights to be heard over the noise.</scene_description>
<character>CASEY</character>
<dialogue>"I will be with him in trouble, I will deliver him and honor him."</dialogue>
<scene_description>The dybbuk's HOWLS cycle upward, becoming deafening as the black-tar substance continues to dilute and --</scene_description>
<character>CASEY</character>
<dialogue>"With long life will I satisfy him and show him my salvation."</dialogue>
<scene_description>-- Mark is suddenly HURLED BACKWARDS by a great force. He strikes the balustrade and topples over it, falling into the open space between the stairs, HOWLING all the way down. We HEAR his body hit, then silence. Beat. The environment has returned to normal. Casey moves to the balustrade, hazarding a look -- CASEY'S POV Mark is sprawled two stories below, his limbs twisted unnaturally. BLOOD pools beneath him. He's not moving. Casey blinks, dead inside. Slowly, she pulls herself away from the balustrade, starts down the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIVERVIEW PSYCHIATRIC HOSPITAL - GROUND FLOOR - NIGHT</stage_direction>
<scene_description>Casey descends the final few steps, keeping a distance from Mark's corpse. Somehow, more time has elapsed than Casey would have thought possible. Dawn is approaching and ambient light is beginning to seep in through the boarded up windows. ON MARK as he suddenly COUGHS, expelling bloody spittle. Miraculously, he's still alive.</scene_description>
<character>MARK</character>
<dialogue>-- Case --?</dialogue>
<scene_description>Casey cautiously approaches. Mark seems himself again, but quite scared, and in terrible pain. His breathing is shallow. Instinctively, we know the dybbuk has left him.</scene_description>
<character>MARK</character>
<dialogue>-- did --</dialogue>
<parenthetical>(weak, disoriented)</parenthetical>
<dialogue>-- did we stop it --?</dialogue>
<scene_description>Casey nods. Mark smiles. Then his brow knits with concern.</scene_description>
<character>MARK</character>
<dialogue>-- I can't -- feel anything --</dialogue>
<scene_description>Casey kneels beside him. She wants to help, but she doesn't know where to begin. She tries to cradle his head in her hands, but the back of his hair is slick with blood.</scene_description>
<character>MARK</character>
<dialogue>-- am I dying?</dialogue>
<scene_description>Casey shakes her head, tears spilling down her cheeks. She doesn't want to answer him. But it's obviously the case.</scene_description>
<character>MARK</character>
<dialogue>-- I'm dying, right?</dialogue>
<character>CASEY</character>
<parenthetical>(shushing him)</parenthetical>
<dialogue>Listen, listen -- I need to tell you something --</dialogue>
<scene_description>Mark COUGHS again, his eyes briefly closing.</scene_description>
<character>CASEY</character>
<dialogue>Sweetie, listen --</dialogue>
<scene_description>Mark's eyes flutter open again.</scene_description>
<character>CASEY</character>
<dialogue>When a baby's born -- nobody knows where his life will lead him. That's why he cries. Because he's scared --</dialogue>
<scene_description>Casey stops, hiccuping through her own tears.</scene_description>
<character>CASEY</character>
<dialogue>But when he dies, he knows. He's going home, so he's not scared anymore. You understand, baby?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You understand?</dialogue>
<scene_description>Mark's breathing becomes even more shallow. Casey lowers her head, kissing him.</scene_description>
<character>MARK</character>
<dialogue>Hey, Case --</dialogue>
<character>CASEY</character>
<dialogue>Yeah?</dialogue>
<scene_description>Mark stares past her, eyes focused on something unseen.</scene_description>
<character>MARK</character>
<dialogue>-- am I going to keep falling forever?</dialogue>
<scene_description>And Mark grows still, the last of his life leaving his body. PULL BACK A wider view of the pietà-like scene -- Casey kneeling, Mark resting in her arms, dappled with rays from the emerging dawn. Presently, a FIGURE steps into the foreground. It's Sendak, limping his way into the foyer, battered but still alive. He takes in the scene before him. After a moment, Casey glances up at him. They share a look, the kind of unspoken exchange only two survivors could ever comprehend. And that's how we leave them, with the dawn's light growing stronger, gradually bleaching the world -- TO WHITE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. WASHINGTON PARK - WOODS - DAY</stage_direction>
<scene_description>FADE IN on a gray, drizzly morning. Once again, we are gliding behind Casey as she jogs down a leaf-strewn path. Her stride is strong and measured, her thoughts quiet, numbed by the comfort a repetitive routine can instill. She reaches the point where'd she'd always sensed someone watching her, but this time she powers on, not even slowing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETARY - DAY</stage_direction>
<scene_description>Casey walks beneath a bower of tree limbs, cooling down. Presently, she finds herself at her mother's grave. She stares at it for a beat, moves on.</scene_description>
</scene>
<scene>
<stage_direction>INT. COLLEGE REGISTRAR'S OFFICE - DAY</stage_direction>
<scene_description>Casey is signing up for her Sophomore classes, one of DOZENS \* OF STUDENTS going through the process. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM - DAY</stage_direction>
<scene_description>Casey is kneeling over the toilet, just finishing being sick. She gives the toilet a flush.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BEDROOM - DAY</stage_direction>
<scene_description>Casey sits on her bed, counting backwards through the days on her pocket calendar.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHARMACY - DAY</stage_direction>
<scene_description>Casey moves down one of the aisles, picking up something for anti-nausea. Further down, she SEES a selection of home pregnancy tests. On impulse, she put one in her basket.</scene_description>
</scene>
<scene>
<stage_direction>INT. BELL HOME - CASEY'S BATHROOM - DAY</stage_direction>
<scene_description>Casey stands at the sink, studying the wand from the home pregnancy test. A PINK LINE slowly develops.</scene_description>
</scene>
<scene>
<stage_direction>INT. OB/GYN'S OFFICE - EXAMINATION ROOM - DAY</stage_direction>
<scene_description>Casey rests on an examination table as an OB/GYN slides an ultrasound transducer over her abdomen. He studies a real- time output on a nearby monitor.</scene_description>
<character>OB/GYN</character>
<dialogue>Well you're definitely pregnant. I can clearly see the gestational sac.</dialogue>
<scene_description>He continues to slide the transducer back and forth.</scene_description>
<character>OB/GYN</character>
<dialogue>And it looks like double- congratulations are in order.</dialogue>
<parenthetical>(off Casey's look)</parenthetical>
<dialogue>You're carrying twins.</dialogue>
<scene_description>Casey's face goes pale. Not the reaction the doctor was expecting. He pivots, offering her a view of the monitor. ULTRASOUND MONITOR A 3-D scan of Casey's womb. Two vague, but immediately discernible EMBRYOS can be seen nestled side by side. CUT TO BLACK.:</scene_description>
<character>THE END</character>
</scene>
</script> | Casey Beldon has nightmarish hallucinations of strange-looking dogs in the neighborhood and an evil child with bright blue eyes following her around. While babysitting Matty, her neighbor's son, she finds him showing his infant sibling its reflection in a mirror. Matty attacks Casey, smashing the mirror on her head, and tells her: "Jumby wants to be born now". She puts him to bed and leaves in shock. Casey's friend Romy tells her of a superstition that newborns should not see their reflections in the mirror for at least a year because otherwise they will die soon. Casey's eyes begin to change color; a doctor asks if she is a twin, and explains the change as tetragametic chimerism and heterochromia, and that it is completely normal. Her neighbor's infant dies, supporting the superstition. Casey's father admits that she had a twin brother years ago who died while he was in the womb when her umbilical cord strangled him, and whom he and Casey's late mother, Janet, had nicknamed "Jumby". She begins to suspect that the spirit is haunting her and this is the spirit of her unborn twin, wanting to be born so it can enter the world of the living as evil. Casey meets Sofi Kozma (whom she later learns is her grandmother). Sofi explains that as a child she had a twin brother, Barto, who died during Nazi experiments conducted by Dr. Josef Mengele in Auschwitz during World War II. A dybbuk brought the brother back to life to use as a portal into the world of the living. Kozma killed her twin to stop the spirit, and now it haunts her family for revenge, which is why Casey's mother became insane and committed suicide. Kozma gives Casey a hamsa amulet for protection, instructs her to destroy all mirrors and burn the shards, and refers her to Rabbi Joseph Sendak, who can perform a Jewish exorcism to remove the dybbuk out of her soul. Sendak does not believe Casey's story until he sees a dog with its head twisted upside-down in his synagogue. The dybbuk kills Kozma, then Romy soon after. Casey and her boyfriend Mark both see the spirit after it kills Romy and realize that it's getting stronger. Sendak, Mark, Episcopal priest Arthur Wyndham, and other volunteers begin the exorcism, but the dybbuk attacks them and several are wounded or killed. The spirit, having possessed the priest, chases Casey and Mark. Mark knocks Wyndham unconscious but gets possessed. Casey stabs Mark in the neck with the amulet. Sendak arrives, and he and Casey complete the exorcism. The rite draws the dybbuk out of the human world, but Mark falls and dies during the separation. Casey mourns her boyfriend but wonders why the dybbuk suddenly became active in her life now and why it didn't attack her earlier. She takes a pregnancy test and learns that she is pregnant with Mark's twins. |
Knock at the Cabin_2023 | tt15679400 | <script>
<scene>
<character>THE CABIN AT THE END OF THE WORLD</character>
<dialogue>by</dialogue>
<scene_description>Steve Desmond & Michael Sherman Based on the Novel by Paul Tremblay March 6, 2019 FilmNation Entertainment FADE IN: ON GRASSHOPPERS. Hopping through the underbrush. We're so close they're frightening. Black lifeless eyes. Long spindly legs. Twitchy and frantic in their movements. They hop around erratically. Trying to escape... From the HANDS swooping in to grab them. Most of the grasshoppers evade, but one is too slow and gets snatched. The hands gently dump it into a GLASS JAR with an aerated lid and some grass. The grasshopper bounces around, trapped. Surrounded by several more of its imprisoned kin.</scene_description>
<character>WEN (O.S.)</character>
<dialogue>It's okay... Relax...</dialogue>
<scene_description>The jar rises to reveal WEN, a precocious seven-year-old girl, staring at the grasshopper, her features comically distorted by the curved glass.</scene_description>
<character>WEN</character>
<dialogue>I'm not gonna hurt you. I'm just gonna study you for a little while. Is that okay?</dialogue>
<scene_description>There's a sweetness in her tone. An innocence that the real world inevitably stomps out with time. But not yet. As she lowers the jar, we see that she's Chinese, with a subtle SCAR above her lip. Playing amidst the tall grass in the front yard outside of --</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- DAY</stage_direction>
<scene_description>Old fashioned, built with logs. The perfect place to spend a long weekend. Weathered and worn, it's been through a lot over the years. But that's what gives it charm. It sits on a raised foundation, overlooking the shimmering LAKE. An SUV parked on the dirt driveway at the end of a gravel road that snakes away into the FOREST. It's incredibly peaceful out here... And isolated. Wen studies her new grasshopper as it hops around. A childish curiosity in her eyes.</scene_description>
<character>WEN</character>
<dialogue>I'm gonna name you Caroline, after my friend at school. She's really nice. But she farts in class sometimes and pretends like she didn't.</dialogue>
<character>WEN</character>
<dialogue>So please don't do that, 'cause you're sharing this jar now and the others won't like you if you smell. Okay?</dialogue>
<scene_description>The grasshoppers jump, having no say in the matter. Satisfied, Wen grabs her NOTEBOOK. She's drawn a CHART with headings - "Name" "Size" "Boy or Girl" "Energy-level." Pretty sophisticated for a seven-year-old. There are already entries for grasshoppers named Liv, Orvin, Sara, and Gita. She writes "Kerolien" in a new column and jots down notes. "6 inches" for size, obviously way off. For energy level, she thinks about it. Then writes "Hi."</scene_description>
<character>WEN</character>
<dialogue>Now there's enough grass in there for all of you, so make sure you share it. And don't bite each other either please. You're a family.</dialogue>
<scene_description>As she continues to play, we can't help but notice that she's all alone out here. No people in sight. No boats on the lake. Just snow-capped mountains in the distance. Until we hear FOOTSTEPS CRUNCHING ON GRAVEL. Wen turns to the road. And her young eyes go wide... There is a BEHEMOTH OF A MAN (30s) striding towards her. Wearing blue jeans with a white button-down shirt, neatly tucked in. A warm smile on his face. A smile that says he can be trusted. From the look on Wen's face, he must be the biggest person she has ever seen. An absolute giant compared to her.</scene_description>
<character>MAN</character>
<dialogue>Hi there!</dialogue>
<scene_description>He sounds friendly. But Wen doesn't respond, her spidey sense on high alert. Who is this guy?</scene_description>
<character>MAN</character>
<dialogue>I'm not from around here, and was hoping to make some new friends. Can I talk to you for a little while?</dialogue>
<scene_description>His smile doesn't waver.</scene_description>
<character>WEN</character>
<dialogue>I... I don't talk to strangers.</dialogue>
<character>MAN</character>
<dialogue>Of course you don't. And you shouldn't, you're very smart. But I'm here to be your friend. So hopefully we won't be strangers for long.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What's your name?</dialogue>
<scene_description>Wen hesitates... But he seems friendly enough.</scene_description>
<character>WEN</character>
<dialogue>Wenling. But everyone calls me Wen.</dialogue>
<character>MAN</character>
<dialogue>Well, it's nice to meet you, Wen. My name is Leonard.</dialogue>
<scene_description>LEONARD extends his meaty hand. After a moment, Wen shakes it, barely wrapping around a couple of his fingers.</scene_description>
<character>LEONARD</character>
<dialogue>I see that you're catching grasshoppers. Can I help you?</dialogue>
<character>WEN</character>
<dialogue>Umm... I guess so.</dialogue>
<scene_description>Leonard crouches next to her, moving his hand back and forth through the grass. Wen watches, intrigued.</scene_description>
<character>LEONARD</character>
<dialogue>I loved catching grasshoppers when I was your age.</dialogue>
<character>WEN</character>
<dialogue>Just be careful with them please.</dialogue>
<character>LEONARD</character>
<dialogue>Oh, don't worry. I'm very gentle.</dialogue>
<scene_description>A grasshopper hops and Leonard SNATCHES IT out of the air.</scene_description>
<character>WEN</character>
<dialogue>Whoa! You're really good!</dialogue>
<character>LEONARD</character>
<dialogue>Thanks Wen. Could you grab your jar for me, please?</dialogue>
<scene_description>Wen begins to unscrew the lid and the grasshoppers inside bounce around, trying to escape.</scene_description>
<character>LEONARD</character>
<dialogue>Wait, let the ones inside calm down a bit... We don't want them to panic.</dialogue>
<scene_description>He and Wen watch as the grasshoppers slow and stop jumping.</scene_description>
<character>LEONARD</character>
<dialogue>There we go...</dialogue>
<scene_description>Wen gently removes the jar's lid and Leonard drops the new one inside. Wen closes it back up. It would be such a cute moment if it was between a father and daughter. But it's not... Which makes his attitude all the more unnerving.</scene_description>
<character>LEONARD</character>
<dialogue>Did someone teach you how to catch grasshoppers? Or are you just a natural?</dialogue>
<character>WEN</character>
<dialogue>Daddy Eric taught me.</dialogue>
<character>LEONARD</character>
<dialogue>You call your dad by his first name?</dialogue>
<character>WEN</character>
<dialogue>It's so they know who I'm talking to. There's Daddy Eric and Daddy Andrew. All the other kids at school only have one dad. All the Disney Channel shows only have one dad too.</dialogue>
<character>LEONARD</character>
<dialogue>I see... Does that bother you?</dialogue>
<character>WEN</character>
<dialogue>No. Except when my guidance counselor keeps saying how 'it's so great' that I have two dads. It's like she's trying to convince me. But I already know.</dialogue>
<character>LEONARD</character>
<dialogue>You want to know what I think? I think you and your dads make a beautiful family.</dialogue>
<scene_description>That makes Wen smile. But Leonard's expression falters as he sneaks a glance at his WATCH and turns uneasily to the road behind him, as if expecting to see someone else coming down it.</scene_description>
<character>WEN</character>
<dialogue>What's wrong?</dialogue>
<scene_description>And just like that, his warmth returns.</scene_description>
<character>LEONARD</character>
<dialogue>Nothing. Nothing at all. Hey, how old are you, Wen?</dialogue>
<character>WEN</character>
<dialogue>I'll be eight in six days.</dialogue>
<character>LEONARD</character>
<dialogue>Well happy almost-birthday! In fact, it just so happens... I have something for you.</dialogue>
<scene_description>He reaches into his shirt pocket and pulls out a freshly- picked WHITE FLOWER.</scene_description>
<character>LEONARD</character>
<dialogue>I saw it and thought it was pretty, so I decided to keep it until I met someone nice... Someone like you. Consider it an early birthday present.</dialogue>
<scene_description>He holds it out to her. But Wen doesn't take it. As nice as he is, something about him still makes her uneasy.</scene_description>
<character>LEONARD</character>
<dialogue>If you don't like it, we could play a game with it instead.</dialogue>
<character>WEN</character>
<dialogue>What kind of game?</dialogue>
<character>LEONARD</character>
<dialogue>We take turns pulling off petals and asking questions. By the time we're done, we'll know each other better. We'll be better friends.</dialogue>
<scene_description>Wen stares at him, his smile so warm and inviting.</scene_description>
<character>WEN</character>
<dialogue>Okay.</dialogue>
<character>LEONARD</character>
<dialogue>Great. I'll start, just since I've played it before.</dialogue>
<scene_description>He delicately pulls off a petal. Then lets it flutter off in the breeze.</scene_description>
<character>LEONARD</character>
<dialogue>Alright. What's your favorite movie?</dialogue>
<character>WEN</character>
<dialogue>Big Hero Six.</dialogue>
<character>LEONARD</character>
<dialogue>I like that one too. It made me laugh a lot. Okay, now your turn.</dialogue>
<scene_description>Wen moves closer to him to pull off a petal.</scene_description>
<character>WEN</character>
<dialogue>Everyone always asks what your favorite food is. I want to know what your least favorite food is. The kind that makes you want to throw up.</dialogue>
<character>LEONARD</character>
<dialogue>That's easy. Broccoli. Blargh!</dialogue>
<scene_description>He pretends to vomit, making Wen giggle. Leonard pulls off another petal.</scene_description>
<character>LEONARD</character>
<dialogue>Where are you from?</dialogue>
<character>WEN</character>
<dialogue>Hong Kong. I don't remember it though. I left with my dads when I was little. But they say it's real pretty.</dialogue>
<scene_description>Wen smiles, now it's her turn. She pulls off another petal.</scene_description>
<character>WEN</character>
<dialogue>Why are you here?</dialogue>
<scene_description>A crack in Leonard's friendly facade. His eyes dart to the road again, unease growing.</scene_description>
<character>WEN</character>
<dialogue>Leonard?</dialogue>
<character>LEONARD</character>
<dialogue>Why am I here? Well, I suppose I'm here to make friends with you. And your dads too. And maybe catch some more grasshoppers.</dialogue>
<scene_description>He pulls off another petal.</scene_description>
<character>LEONARD</character>
<dialogue>How did you get that tiny scar on your lip?</dialogue>
<scene_description>Wen's expression falls. That hit a self-conscious nerve.</scene_description>
<character>LEONARD</character>
<dialogue>I'm sorry... I shouldn't have asked. That's too personal, even for this game.</dialogue>
<character>WEN</character>
<dialogue>It's okay... My lip was broken when I was born. My dads said it took a lot of doctors to fix it.</dialogue>
<character>LEONARD</character>
<dialogue>Well they did an amazing job. You're beautiful just the way you are.</dialogue>
<scene_description>The moment lingers as Wen doesn't quite believe him... It's impossible not to notice it's just the two of them out here.</scene_description>
<character>WEN</character>
<dialogue>It's not fair. You can see what's wrong with me, but I can't see what's wrong with you.</dialogue>
<character>LEONARD</character>
<dialogue>Oh, there's something wrong with me too, Wen... I may not have a scar on the outside, but if you could see inside, you'd see my heart is broken.</dialogue>
<character>WEN</character>
<dialogue>Why's it broken?</dialogue>
<character>LEONARD</character>
<dialogue>Because of what I have to do today.</dialogue>
<character>WEN</character>
<dialogue>What do you have to do?</dialogue>
<scene_description>Before Leonard can answer, Wen hears MORE FOOTSTEPS crunching up the gravel road. Leonard turns with trepidation. Wen looks past him.</scene_description>
<character>WEN</character>
<dialogue>Are there more people coming?</dialogue>
<scene_description>Leonard nods.</scene_description>
<character>WEN</character>
<dialogue>Are they your friends?</dialogue>
<scene_description>Leonard shakes his head "no."</scene_description>
<character>LEONARD</character>
<dialogue>You're my friend, Wen. No matter what happens, I want you to remember that. The others who are coming are more like my... Associates.</dialogue>
<scene_description>The footsteps get closer.</scene_description>
<character>LEONARD</character>
<dialogue>You see, the four of us have a very important job to do. In fact, it might be the most important job in the history of the world.</dialogue>
<scene_description>Then Wen's eyes widen as she sees... THREE MORE STRANGERS coming up the road, two women and one man. Like Leonard, they all wear blue jeans with tucked in, button-down shirts - one black, one pale, one red. We will soon learn their names are SABRINA (pale shirt, 20s, thin and tan), REDMOND (red shirt, 40s, lots of tattoos), and ADRIANE (black shirt, 30s, short and stocky). And in their hands are BIZARRE LONG-HANDLED WEAPONS. Shovels and rakes modified with NAILS, RAKING CLAWS, and CURVED BLADES. Medieval weapons from tools of the present. The stuff of nightmares. Wen staggers back, alarm bells ringing.</scene_description>
<character>LEONARD</character>
<dialogue>This isn't about you, Wen. Or your dads. Nothing that's going to happen is your fault.</dialogue>
<scene_description>Wen stumbles up the cabin's front steps --</scene_description>
<character>LEONARD</character>
<dialogue>WEN!</dialogue>
<scene_description>The intensity of his voice startles her. She turns back to face him. Leonard takes a breath, trying to sound friendly.</scene_description>
<character>LEONARD</character>
<dialogue>Your dads won't want to let us in. Please tell them they must. Tell them we need their help. Otherwise, we'll have to find our own way inside. Do you understand?</dialogue>
<scene_description>Wen stares back as the others approach. Redmond carries a WORN BROWN SATCHEL over his shoulder. He holds out a BRUTISH WEAPON with a SLEDGEHAMMER HEAD on one end and spikes on the other. Leonard accepts it. Then turns back to Wen.</scene_description>
<character>LEONARD</character>
<dialogue>Wen? Do you understand?</dialogue>
<scene_description>Wen stands alone on the porch of the quaint little cabin, taking in the terrifying sight of these four strangers standing together, weapons in hand. Then she yanks the door open and runs inside, slamming it shut behind her.</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN -- CONTINUOUS</stage_direction>
<scene_description>Wen tears through, panic gripping her, nearly tripping on a rug, but she catches herself and keeps running. Throws open the back door --</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PORCH, CABIN -- CONTINUOUS</stage_direction>
<scene_description>The door slams against the wall as it flies open, startling her DADS. They look up from their lounge chairs, books in hand. ERIC (30s), shaved head, conservative polo shirt. ANDREW (30s), ponytail, more casual attire.</scene_description>
<character>WEN</character>
<dialogue>You have to come inside right now! There are strangers and they want to come in and they're scary!</dialogue>
<character>ERIC</character>
<dialogue>Whoa, whoa, slow down --</dialogue>
<character>WEN</character>
<dialogue>Hurry! NOW!</dialogue>
<scene_description>She grabs their hands, tugging them both.</scene_description>
<character>ANDREW</character>
<dialogue>Okay, okay, we're coming sweetie.</dialogue>
<scene_description>They get up and she pulls them both into --</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- CONTINUOUS</stage_direction>
<scene_description>As soon as they're inside, Wen closes the back door and locks it. Breathing fast. Fighting back tears. Eric and Andrew kneel down besides her.</scene_description>
<character>ERIC</character>
<dialogue>Wen. Wen, it's okay. Listen, sweetie, what happened? What scared you?</dialogue>
<scene_description>Wen struggles to catch her breath, words flowing faster than she can control them.</scene_description>
<character>WEN</character>
<dialogue>There -- There were four of them -- The big one -- His name's Leonard -- He -- He says we have to help them -- He says they have the most important job in the history of the world.</dialogue>
<scene_description>Eric and Andrew exchange a look. What?</scene_description>
<character>ANDREW</character>
<dialogue>Jehovah's Witnesses?</dialogue>
<character>ERIC</character>
<dialogue>Great...</dialogue>
<character>WEN</character>
<dialogue>They have these weapons!</dialogue>
<scene_description>Now that gets their attention.</scene_description>
<character>ERIC</character>
<dialogue>What do you mean they have --</dialogue>
<scene_description>KNOCKING ON THE FRONT DOOR. Wen jumps and the dads' heads snap around at the sound of SEVEN POLITE KNOCKS IN RHYTHMIC SUCCESSION. Wen stares at the FRONT DOOR across the room with wide eyes. CURTAINS cover the windows on either side, OBSCURING WHAT'S OUTSIDE. But she knows what's out there.</scene_description>
<character>ANDREW</character>
<dialogue>Stay here, Wen. Stay right here.</dialogue>
<scene_description>Wen steps behind the arm of the love seat for a sense of protection as her dads cautiously approach the door. KNOCK! KNOCK! KNOCK! Wen gasps.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>Hello in there!</dialogue>
<scene_description>His voice is eerily calm and friendly.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>My name's Leonard and I'm here with some associates of mine. Could you open your door, please?</dialogue>
<scene_description>Wen vehemently shakes her head no. But she can only watch as her dads peek out the curtains.</scene_description>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>This guy is freaking huge.</dialogue>
<character>ERIC</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>What do we do?</dialogue>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I don't know. Tell them to go away nicely?</dialogue>
<scene_description>Eric takes a breath, steadying his nerves.</scene_description>
<character>ERIC</character>
<dialogue>Hi, uh, hello Leonard. We --</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>Is that Daddy Andrew or Daddy Eric? I met your delightful daughter Wen already...</dialogue>
<scene_description>Wen stiffens upon hearing her name.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>... She's so thoughtful and kind. You two should be very proud.</dialogue>
<character>ERIC</character>
<dialogue>This is Eric. Is there something we can help you with?</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>There is. Why don't you open your door. It'll be easier if we speak face to face.</dialogue>
<character>WEN</character>
<dialogue>No... Don't listen...</dialogue>
<scene_description>Eric motions with as much reassurance as he can manage. It's okay, Daddy's got this... Turns back to the door.</scene_description>
<character>ERIC</character>
<dialogue>We weren't expecting visitors. I don't want to sound rude, but we'd like to be left alone.</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>I understand, and I'm so sorry to intrude on your vacation. Especially in such a beautiful place as this. But it is vital that we talk. I cannot stress that enough.</dialogue>
<scene_description>Tears stream down Wen's face as she clings to the love seat.</scene_description>
<character>WEN</character>
<dialogue>Tell them to go away... Please make them go away...</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>You should know that this isn't easy for us either. None of us have ever been in this position before. But our situation is bigger than any of us.</dialogue>
<character>WEN</character>
<dialogue>Make them go away!</dialogue>
<scene_description>Andrew sees the terror on his daughter's face. Then grabs an old PORTABLE PHONE and dials 9-1-1.</scene_description>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>What the -- There's no dial tone!</dialogue>
<character>ERIC</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>What? I checked it when we got here. Is the battery dead?</dialogue>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>The battery's not dead. It's not dialing!</dialogue>
<scene_description>Wen watches, panic rising, as Andrew frantically fiddles with the phone.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>Like I said... We need to talk. We don't have a choice.</dialogue>
<character>ANDREW</character>
<dialogue>Yeah, well, we don't have a choice either! We're calling the cops!</dialogue>
<character>SABRINA (O.S.)</character>
<dialogue>Hey, um, we know you can't do that. None of our phones get service out here either. And sorry, we had to cut the landline.</dialogue>
<scene_description>Wen picks up a cell phone from off the coffee table. Desperately tries dialing. The "No Service" message only amplifying her building panic.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>We don't mean to rush you, but I'm afraid we're a little pressed for time. Please open the door so that we can have a real conversation.</dialogue>
<character>WEN</character>
<dialogue>If you wanna talk, then why do you have those scary weapons with you?!</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>They're not weapons, Wen... They're tools.</dialogue>
<scene_description>Wen's eyes widen. What the hell does that mean? POUND! POUND! POUND!</scene_description>
<character>REDMOND (O.S.)</character>
<dialogue>Open the goddamn door! We're coming in either way.</dialogue>
<character>ANDREW</character>
<dialogue>The hell you are! I have a gun!</dialogue>
<scene_description>Wen and Eric turn. That's news to them.</scene_description>
<character>ERIC</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>You brought it here?</dialogue>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Yes and no... It's in the safe in the back of the truck.</dialogue>
<character>REDMOND (O.S.)</character>
<dialogue>Show us what you're packing, Daddy Andrew! We all like show and tell.</dialogue>
<character>ANDREW</character>
<dialogue>You'll see it when I'm pointing it at your head, asshole!</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>We can't linger out here any longer. I'm giving you one last chance to open the door.</dialogue>
<scene_description>Wen's eyes dart between her dads as they stare at each other, trying to figure out what to do.</scene_description>
<character>WEN</character>
<dialogue>Leonard, go away! Just go away!</dialogue>
<character>LEONARD (O.S.)</character>
<dialogue>I'm sorry, Wen... I wish it didn't have to be this way.</dialogue>
<scene_description>THE LOCKED DOORKNOB RATTLES. Followed by a THUNDEROUS THUD as the door shakes! Wen lets out a shriek.</scene_description>
<character>ERIC</character>
<dialogue>Oh my God...</dialogue>
<scene_description>THUD! THUD! THUD! THEY'RE TRYING TO BREAK IN! Andrew springs to action, grabbing a CHAIR and WEDGING IT UNDERNEATH THE DOORKNOB.</scene_description>
<character>ANDREW</character>
<dialogue>Get the windows!</dialogue>
<scene_description>Wen watches, paralyzed with fear, as her dads frantically scramble about, closing all the windows, making the cabin darker and darker. Then she wipes away her tears and joins in, closing a nearby window and using all of her strength to twist the lock. Pulls the drapes shut.</scene_description>
<character>ERIC</character>
<dialogue>Good job, Wen! Keep going.</dialogue>
<scene_description>Wen rushes to the next window as Andrew and Eric wedge the COUCH at an angle up against the back door. Amidst the scramble, we get a general sense of the cabin's layout. There's ONE MAIN ROOM with TWO ADJACENT BEDROOMS, a BATHROOM, and a DOOR LEADING TO THE BASEMENT. Wen dashes to another window. Strains to pull it shut -- LEONARD MOVES BY OUTSIDE, causing her to jump back. THE WINDOW IS JUST OUT OF REACH due to the cabin's raised foundation. Wen yanks the drapes shut before he can see her. The sound of SPLINTERING WOOD. Wen turns and sees -- REDMOND'S FACE through a broken slit in the front door. He winds up and SMASHES IT AGAIN.</scene_description>
<character>WEN</character>
<dialogue>Daddy Andrew?!</dialogue>
<scene_description>Andrew picks her up with his steady hands.</scene_description>
<character>ANDREW</character>
<dialogue>I got you, baby --</dialogue>
<scene_description>CRACK! CRACK! The family turns at the sound of SOMETHING BANGING AGAINST A WINDOW. THUD! THUD! Someone trying to break down the back door. THEY'RE COMING IN FROM ALL SIDES. GLASS SHATTERS on the far side of the room. Wen screams. Eric rips open one of the drapes, throws open the window, and punches out the screen.</scene_description>
<character>ANDREW</character>
<dialogue>What are you doing?!</dialogue>
<character>ERIC</character>
<dialogue>Come on!</dialogue>
<scene_description>But Eric moves away from the window and opens the basement door, motioning them down. WEN CLINGS TO ANDREW as he carries her, Eric closing the door behind them. BASEMENT Wen clutches her little arms around Andrew's neck as he carries her through the dark space. Cobwebs and dust. Rusted shelves full of boxes.</scene_description>
<character>ERIC</character>
<dialogue>This way...</dialogue>
<scene_description>There's a DOOR LEADING OUTSIDE on the far end of the space. A glimmer of hope. Andrew carries Wen towards it -- A LOUD THUD on the door! Wen lets out a scream as the dads startle back. Someone's coming in this way too! SMASH! THE FRONT DOOR BREAKS OPEN UPSTAIRS. FOOTSTEPS creak on the wood above... They're inside now.</scene_description>
<character>WEN</character>
<dialogue>We're trapped... We're trapped...</dialogue>
<scene_description>Andrew sets Wen down and puts a finger to her mouth.</scene_description>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Listen to me... You have to be quiet baby... Stay very quiet...</dialogue>
<character>ERIC</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>We're not gonna let anything happen to you. But you have to be brave for us. Can you do that?</dialogue>
<scene_description>MORE THUDDING on the door. Wen startles. Then nods emphatically to her dads. Eric motions to Andrew. Together, they move one of the dusty shelves away from the wall, making enough space to hide. They wave Wen over, and she crouches down behind the shelf. Andrew motions to Eric to hide with her. Eric shakes his head 'no' and points to Andrew. Smash! Smash! The basement door shaking with every hit. Andrew motions again, insisting. Eric acquiesces and crouches next to Wen, holding her close to him. Smash! Smash! The wood splinters, no strength left. Andrew glances around, searching for another place to hide. Then wedges himself between the furnace and the wall -- SMASH! THE BASEMENT DOOR BREAKS OPEN -- Revealing Leonard's hulking frame, eerily silhouetted by the sunlight behind him. The weaponized sledgehammer dangling from his massive hand. He dips his head to fit through the door and steps inside, footsteps the only sound in the silent space. Searching... WEN Huddles behind the shelf next to Eric, holding her breath as Leonard moves closer... Closer... Until his footsteps slow... And Wen realizes Leonard is standing right over them. LEONARD Looks over the shelves. Brushes aside some dust... WEN Struggles not to cough as the dust drifts over them. Eric quickly covers her mouth. They hold still, clinging to one another tightly, just out of Leonard's view. The sound of the DOOR OPENING at the top of the stairwell.</scene_description>
<character>ADRIANE (O.S.)</character>
<dialogue>Are they down there?</dialogue>
<character>LEONARD</character>
<dialogue>I don't think so.</dialogue>
<character>ADRIANE (O.S)</character>
<dialogue>They might've gotten out. One of the windows is open. We're gonna go look.</dialogue>
<character>LEONARD</character>
<dialogue>Quickly. We don't have time for this.</dialogue>
<character>ADRIANE (O.S.)</character>
<dialogue>Don't worry. Redmond slashed their tires. They won't get far.</dialogue>
<scene_description>Wen sees Eric cringe upon hearing this. LEONARD Takes another look around... Then heads up the stairs. WEN Lets out a relieved breath. But the dust is still in the air. Getting into her nose. She can't stop it -- And she lets out the tiniest SNEEZE. LEONARD Snaps around, coming back down the stairs with purpose. WEN Covers her nose, trying not to cry. Not to scream. Eric holding her close. LEONARD Approaches the shelf, knowing exactly where they are.</scene_description>
<character>LEONARD</character>
<dialogue>I'm giving you a choice... Come out now. It'll be much easier for you this way.</dialogue>
<scene_description>WEN Sits tight, on the brink, as the tense seconds pass... LEONARD Lets out a disappointed sigh. Then sets down his weapon. Grabs hold of the shelf -- ANDREW LEAPS OUT from behind the furnace, PUNCHING LEONARD IN THE JAW!</scene_description>
<character>ANDREW</character>
<dialogue>Go! Go!</dialogue>
<scene_description>ERIC SHOVES THE SHELF FORWARD, tipping it and its contents ONTO LEONARD, staggering him back. Eric grabs Wen and scrambles for the door -- But SABRINA STEPS INSIDE, her razor sharp weapon on guard. Wen screams at the sight. Eric picks Wen up, carrying her up the stairs. Andrew rushes to follow -- But LEONARD SNAGS HOLD OF HIS LEG, yanking him back.</scene_description>
<character>WEN</character>
<dialogue>Daddy Andrew!</dialogue>
<character>ANDREW</character>
<dialogue>Keep going!</dialogue>
<scene_description>COMMON ROOM Eric carries Wen up the stairs -- Only to come face to face with Redmond and Adriane, holding their weapons, ready to strike.</scene_description>
<character>ADRIANE</character>
<dialogue>It doesn't have to be like this...</dialogue>
<character>REDMOND</character>
<dialogue>We just want to talk, daddy...</dialogue>
<scene_description>Eric sets Wen down, shielding her with his body. She clings to him as Redmond and Adriane step closer. Eric glances around desperately, searching for anything to protect his daughter. He snatches a FIRE POKER from the nearby fireplace. Redmond takes another step forward, raising his weapon -- And Eric swings the poker -- CLING! Metal meets metal as Redmond blocks. But ERIC KEEPS SWINGING and -- SLASH! His poker GASHES REDMOND'S FACE. Redmond steps back, seeing blood on his hand. He smirks. Eric white knuckles the poker, turning to Adriane.</scene_description>
<character>LEONARD (O.S.)</character>
<dialogue>That's enough!</dialogue>
<scene_description>Leonard emerges from the stairs, HIS BRUTISH ARMS WRAPPED AROUND ANDREW'S NECK, dragging him along. Sabrina follows.</scene_description>
<character>LEONARD</character>
<dialogue>Drop it, Eric. It's over.</dialogue>
<scene_description>Eric hesitates, locking eyes with Andrew. Andrew shakes his head 'no' as he squirms, helpless in Leonard's vice grip.</scene_description>
<character>LEONARD</character>
<dialogue>Eric, please. For Wen's sake.</dialogue>
<scene_description>Wen cries, clinging to Eric's leg. The other three intruders advance, circling them.</scene_description>
<character>ERIC</character>
<dialogue>Just stay back! Stay away!</dialogue>
<scene_description>He swings the poker, desperate, panicking.</scene_description>
<character>REDMOND</character>
<dialogue>I'm through fucking around here!</dialogue>
<scene_description>Redmond jabs his weapon at Andrew's stomach, stopping just short, a mere thrust away from stabbing him.</scene_description>
<character>REDMOND</character>
<dialogue>You've wasted enough time already! Now drop it or I'll end him!</dialogue>
<scene_description>Andrew still shakes his head 'no,' but Eric staggers back, tears filling his eyes.</scene_description>
<character>LEONARD</character>
<dialogue>Eric... Put it down...</dialogue>
<scene_description>Eric feels everyone's eyes on him. He has one hand on Wen, one hand on the poker, completely surrounded. As the intruders move in on him, step by step... What's he going to do? And in this moment... OUR PERSPECTIVE SHIFTS TO ERIC. MOVING FORWARD, WE ARE IN HIS STORY AS WE -- CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BMW -- EVENING (ERIC - 2 DAYS AGO)</stage_direction>
<scene_description>Eric sits in the driver's seat of his parked car. Wearing a sharp suit and tie. Restrained and polished. It's extremely quiet here. Just Eric. And yet, he's still tense. Weighed down by his thoughts. And that's when we see.... His hand nervously fidgeting with the WEDDING RING on his finger. He eyes it. A decision he doesn't want to make... But he does, pulling his ring off in one swift movement. He places it into his pocket. Whatever he's about to do, he doesn't want anyone to see the ring. With a fortifying breath, he opens his door and steps out into the --</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT -- CONTINUOUS</stage_direction>
<scene_description>Eric walks across the pavement with purpose... Towards a towering CATHOLIC CHURCH.</scene_description>
<character>ERIC / CONGREGANTS (PRE-LAP)</character>
<dialogue>Our Father, who art in Heaven, hallowed be Thy name...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATHOLIC CHURCH -- EVENING</stage_direction>
<scene_description>Eric stands amongst the CONGREGANTS, saying the prayer along with everyone else, blending in seamlessly.</scene_description>
<character>ERIC / CONGREGANTS</character>
<dialogue>Thy Kingdom come, Thy will be done on Earth as it is in Heaven. Give us this day our daily bread. And forgive us our trespasses as we forgive those who trespass against us.</dialogue>
<scene_description>As he mechanically recites the words, his eyes wander, taking in the other couples. Men and women holding hands. Mothers holding their children. He is decidedly alone. Separate.</scene_description>
<character>ERIC / CONGREGANTS</character>
<dialogue>And lead us not into temptation, but deliver us from evil.</dialogue>
<scene_description>Eric lingers on the last phrase, its words sinking in. Then he straightens, putting on his Catholic mask again. Listening as the Priest continues the ritual.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUV -- DAY (ERIC - EARLIER TODAY)</stage_direction>
<scene_description>Eric sits in the passenger seat, Andrew behind the wheel, Wen on a booster seat in back. All having a great time, belting out Justin Timberlake's "Can't Stop the Feeling!" and grooving in a silly fashion with the beat.</scene_description>
<character>ERIC/ANDREW/WEN</character>
<dialogue>I got that sunshine in my pocket. Got that good soul in my feet. I feel that hot blood in my body when it drops... Ooh!</dialogue>
<scene_description>As they sing, Andrew reaches over and takes Eric's hand, now with his wedding ring back on. Eric returns a loving smile.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK ROAD, FOREST -- DAY</stage_direction>
<scene_description>The music fills the air as their SUV rolls down the gravel road, driving alongside the beautiful lake, glistening in the sun. We can just make out the CABIN in the distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- DAY</stage_direction>
<scene_description>Eric and Andrew stand behind the cabin, looking out over the lake. Eric in his pressed khaki pants and button down, very out of place here. Andrew by contrast, in a vintage t-shirt and ripped cargo shorts, perfectly at home in the outdoors. Andrew takes a deep breath and exhales.</scene_description>
<character>ANDREW</character>
<dialogue>Much better than the pine scent from the car wash.</dialogue>
<character>ERIC</character>
<dialogue>Anything is better than the pine scent from the car wash.</dialogue>
<character>ERIC</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Hey Wen, come check out the view!</dialogue>
<scene_description>Wen comes scampering around the side of the cabin.</scene_description>
<character>ERIC</character>
<dialogue>How many grasshoppers did you catch?</dialogue>
<character>WEN</character>
<dialogue>Just one so far. Her name's Liv.</dialogue>
<character>ANDREW</character>
<dialogue>You see any bears yet?</dialogue>
<character>ERIC</character>
<dialogue>Andrew, I swear, don't even start.</dialogue>
<scene_description>Andrew laughs. He loves giving his husband shit.</scene_description>
<character>ANDREW</character>
<dialogue>Hey Wen, show Daddy Eric your scary bear face.</dialogue>
<scene_description>Wen stands tall, curling her hands into claws, barring her teeth, and letting out her best little girl roar.</scene_description>
<character>ERIC</character>
<dialogue>I assume you taught her that?</dialogue>
<character>ANDREW</character>
<dialogue>Of course not... But I'm very proud.</dialogue>
<character>ERIC</character>
<dialogue>Well fortunately, I came prepared. With my own specialty bear spray --</dialogue>
<scene_description>He reaches into his pocket, and when his hand comes out, he grabs Wen and tickles her. She laughs hysterically, squirming to escape. Then gets away, fleeing towards the lake, giggling the whole way.</scene_description>
<character>ANDREW</character>
<dialogue>I would pay to see you try to tickle a real bear.</dialogue>
<character>ERIC</character>
<dialogue>You know, if bears got tickled more, maybe they wouldn't be so violent.</dialogue>
<character>ANDREW</character>
<dialogue>Bears aren't violent!</dialogue>
<character>ERIC</character>
<dialogue>Hey Wen, sweetie. Not too close.</dialogue>
<scene_description>Wen steps out onto the RICKETY WOODEN DOCK that stretches over the water. It creaks beneath her.</scene_description>
<character>ERIC</character>
<dialogue>That dock might have rusty nails.</dialogue>
<scene_description>Wen slows, disappointed. Andrew smirks.</scene_description>
<character>ANDREW</character>
<dialogue>Nails my ass.</dialogue>
<scene_description>HE RACES PAST WEN, running across the dock --</scene_description>
<character>ANDREW</character>
<dialogue>CANNONBALL!</dialogue>
<scene_description>He triumphantly leaps into the water with a big SPLASH! Wen races after him with a giddy scream.</scene_description>
<character>ERIC</character>
<dialogue>Wen, don't --</dialogue>
<character>WEN</character>
<dialogue>CANNONBALL!</dialogue>
<scene_description>SPLASH! Leaving Eric alone on the shore, shaking his head.</scene_description>
<character>ANDREW</character>
<dialogue>Come on! The water's warm!</dialogue>
<character>ERIC</character>
<dialogue>You mean the cesspool of germs is warm?</dialogue>
<character>ANDREW</character>
<dialogue>Oh, Daddy Fun is so strict...</dialogue>
<character>WEN</character>
<dialogue>Come on, Daddy Fun!</dialogue>
<scene_description>Eric sighs. Pulls off his shirt. Then halfheartedly runs down the dock and jumps into the water. But he screams the moment his head emerges.</scene_description>
<character>ERIC</character>
<dialogue>Oh my God it's freezing!</dialogue>
<scene_description>Andrew laughs, and Eric splashes him in return. Wen joins in, splashing both of them, loving it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PORCH, CABIN -- DAY</stage_direction>
<scene_description>Eric and Andrew lounge on patio chairs, Eric in the shade, Andrew with his feet up, enjoying the sun. Eric sets down his book, getting a little antsy.</scene_description>
<character>ERIC</character>
<dialogue>One of us should check on Wen.</dialogue>
<scene_description>Andrew doesn't look up from his novel.</scene_description>
<character>ANDREW</character>
<dialogue>It's too late. Bears ate her by now.</dialogue>
<character>ERIC</character>
<parenthetical>(smirks)</parenthetical>
<dialogue>You're such a dick.</dialogue>
<character>ANDREW</character>
<dialogue>I'll go free the grasshoppers from her torture chamber in a few minutes. Can you just relax till then? The sun's out. It would like to tan you.</dialogue>
<character>ERIC</character>
<dialogue>Sorry... I'm trying not to hover.</dialogue>
<character>ANDREW</character>
<dialogue>Listen, you're like the best dad in the world. Give yourself a break.</dialogue>
<scene_description>Eric nods. Goes back to his book. A few moments pass... Then he sighs, setting it down.</scene_description>
<character>ERIC</character>
<dialogue>I'm just gonna check on her real quick.</dialogue>
<scene_description>Andrew sticks out his legs, blocking Eric's path.</scene_description>
<character>ANDREW</character>
<dialogue>You... Shall not... Paaaass...</dialogue>
<character>ERIC</character>
<dialogue>What are you, the world's hairiest wizard?</dialogue>
<scene_description>He pinches some of Andrew's leg hair, making him recoil.</scene_description>
<character>ANDREW</character>
<dialogue>Ow! You're such a bully!</dialogue>
<scene_description>Andrew grabs Eric and they wrestle around playfully. Until Eric winds up in Andrew's arms.</scene_description>
<character>ANDREW</character>
<dialogue>Wen's having a great time here. And so am I.</dialogue>
<scene_description>Eric smiles.</scene_description>
<character>ERIC</character>
<dialogue>Me too.</dialogue>
<scene_description>They share a sweet kiss.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- DAY (BACK TO PRESENT)</stage_direction>
<scene_description>Eric now sits at the kitchen table. Andrew beside him. Wen in between, held close by her dads. The tension hangs heavy, all of them on pins and needles as -- Sabrina, Redmond, and Adriane pace around them, lurking with their weapons. Leonard pours glasses of water from a pitcher, the sound palpable. He sets a glass in front of each family member.</scene_description>
<character>LEONARD</character>
<dialogue>Please. Drink. I'm sure you're thirsty.</dialogue>
<scene_description>None of them move. Andrew stares daggers.</scene_description>
<character>LEONARD</character>
<dialogue>Wen, at least take a sip --</dialogue>
<character>ANDREW</character>
<dialogue>Stop talking to her.</dialogue>
<scene_description>Eric motions for Andrew to calm down. Then whispers to Wen.</scene_description>
<character>ERIC</character>
<dialogue>Sweetie, if you're thirsty, it's okay.</dialogue>
<scene_description>Wen hesitantly picks up the glass and sips. Leonard nods, pleased. Then sits across from them.</scene_description>
<character>LEONARD</character>
<dialogue>I understand what you're thinking. Really, I do. But I promise you, we are not here with hate in our hearts.</dialogue>
<character>ANDREW</character>
<dialogue>Oh really. The fact that we're married men has absolutely nothing to do with why you're here.</dialogue>
<character>REDMOND</character>
<parenthetical>(scoffs)</parenthetical>
<dialogue>If it were only that simple.</dialogue>
<character>LEONARD</character>
<dialogue>We're here, Andrew, because we have to be. We don't have a choice.</dialogue>
<character>ERIC</character>
<dialogue>There's always a choice.</dialogue>
<character>LEONARD</character>
<dialogue>For you, yes... Not for us.</dialogue>
<scene_description>His words linger, the dads uncertain what he means.</scene_description>
<character>ERIC</character>
<dialogue>If you want money, you can take everything we have --</dialogue>
<scene_description>Redmond guffaws.</scene_description>
<character>LEONARD</character>
<dialogue>Redmond, please.</dialogue>
<parenthetical>(to dads)</parenthetical>
<dialogue>This is about something far more valuable than money.</dialogue>
<character>ERIC</character>
<dialogue>Then what's it about?</dialogue>
<scene_description>Leonard forces a polite smile.</scene_description>
<character>LEONARD</character>
<dialogue>I think it would be better if we began with introductions.</dialogue>
<character>REDMOND</character>
<dialogue>We don't have time to dick around, Leonard.</dialogue>
<character>LEONARD</character>
<dialogue>This is the way it's supposed to be. They deserve to know who we are.</dialogue>
<scene_description>An edge in his tone. Redmond doesn't press. Leonard takes a breath, smiling across the table at the family once again.</scene_description>
<character>LEONARD</character>
<dialogue>My name is Leonard and I like catching grasshoppers. Right, Wen?</dialogue>
<scene_description>Wen just stares back, terrified.</scene_description>
<character>LEONARD</character>
<dialogue>I'm from Chicago. I'm a second grade teacher, and I run the after-school program.</dialogue>
<scene_description>Eric and Andrew exchange a look. WTF? Sabrina forces a smile, trying to act cordial in spite of the weapon in her hand. Her voice is soft and restrained.</scene_description>
<character>SABRINA</character>
<dialogue>Hi... I'm Sabrina. I'm a post-op nurse from Southern California.</dialogue>
<scene_description>Adriane shifts her weight. Perpetually antsy and impatient.</scene_description>
<character>ADRIANE</character>
<dialogue>I'm, uh, I'm Adriane. I'm a cook at a Mexican joint in DC.</dialogue>
<scene_description>Redmond steps forward, playing with his weapon. Everything is a joke to this guy.</scene_description>
<character>REDMOND</character>
<dialogue>Is it my turn now? Great! Well hello freaked out family, my name's Redmond. When I'm not brandishing medieval death sticks, I enjoy long walks on the beach, babes, and beer. Preferably together.</dialogue>
<scene_description>He laughs, but no one else does. Leonard glares at him.</scene_description>
<character>REDMOND</character>
<dialogue>Alright, fine. I work for the gas company and I'm single, if you can believe that. Sabrina and Adriane don't seem to care though.</dialogue>
<scene_description>Sabrina rolls her eyes.</scene_description>
<character>ERIC</character>
<dialogue>Okay... Thank you for introducing yourselves. You want us to see you as people, not as intruders. I get it.</dialogue>
<scene_description>Calm and respectful. A negotiator.</scene_description>
<character>ERIC</character>
<dialogue>If you're here to recruit us for something, we're happy to listen. But we'd be much more at ease if you could please put your weapons down. You're scaring our daughter.</dialogue>
<character>LEONARD</character>
<dialogue>We're not here to recruit you, Eric. We're not a cult, if that's what you're thinking. The four of us are everyday people. Just like you.</dialogue>
<scene_description>Eric and Andrew sure don't believe that.</scene_description>
<character>ERIC</character>
<dialogue>If you're not here to recruit us, then what do you want?</dialogue>
<scene_description>Leonard hesitates, weighing his words.</scene_description>
<character>LEONARD</character>
<dialogue>It's important you know that the four of us didn't meet until earlier this morning. We didn't even know each other existed until a week ago. We're from different places. We work different jobs. And yet... We all received the same message, at the same time. We were chosen... We were called.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The four of us are here to stop the apocalypse.</dialogue>
<scene_description>Sheer bewilderment all over Eric and Andrew's faces.</scene_description>
<character>ANDREW</character>
<dialogue>Not sure we can help you with that one, Leonard.</dialogue>
<character>LEONARD</character>
<dialogue>Oh but you can... You see, whether the world ends or doesn't end is ultimately up to the three of you.</dialogue>
<character>ERIC</character>
<dialogue>What makes you think that?</dialogue>
<scene_description>Leonard takes a breath. This is hard for him to say.</scene_description>
<character>LEONARD</character>
<dialogue>The only way to stop the apocalypse is with a sacrifice... You must willingly sacrifice one of your own. After you make what I know is an impossible choice... You must kill whoever you choose before the sun sets tonight.</dialogue>
<character>ANDREW</character>
<dialogue>Whoa, whoa, whoa...</dialogue>
<character>ERIC</character>
<dialogue>Leonard, whatever you think this is, it's not real. So let's just --</dialogue>
<character>ADRIANE</character>
<dialogue>It's real.</dialogue>
<scene_description>From the looks on their faces, they all believe.</scene_description>
<character>WEN</character>
<dialogue>Leonard... Please don't kill us.</dialogue>
<character>LEONARD</character>
<dialogue>Oh Wen... If I killed anyone, it wouldn't make a difference. Your family must make the choice.</dialogue>
<character>ANDREW</character>
<dialogue>We're not hurting anyone!</dialogue>
<character>LEONARD</character>
<dialogue>If you fail to make the sacrifice before the sun sets... Then it will be the last time the sun ever sets. The three of you will live, but the rest of humanity, all seven billion, will perish. Then you will witness the horrors of the end of everything, and be left to wander the devastated planet... Alone. Knowing what you could have saved.</dialogue>
<character>ANDREW</character>
<dialogue>I don't even have words to describe how utterly psychotic that sounds.</dialogue>
<character>SABRINA</character>
<dialogue>We wouldn't have left our lives behind and come all the way out here if this wasn't real.</dialogue>
<character>ERIC</character>
<dialogue>I'm sorry... I'm trying really hard to understand this. Do you seriously expect one of us to do something... Something so horrific... Just because you told us to?</dialogue>
<character>LEONARD</character>
<dialogue>I can't imagine how hard this is for you.</dialogue>
<character>LEONARD</character>
<dialogue>But this is the way it's always been. It happens every few years. And every time, the family makes the right choice.</dialogue>
<character>ERIC</character>
<dialogue>Wait, but you said that none of you have ever been in this position. So how do you know that it's happened before?</dialogue>
<character>LEONARD</character>
<dialogue>Because the world is still spinning.</dialogue>
<scene_description>Eric and Andrew exchange a look, neither buying any of this.</scene_description>
<character>LEONARD</character>
<dialogue>We're asking you to make a choice, like many others have before you. And the sooner you make that choice, the more lives will be saved.</dialogue>
<character>REDMOND</character>
<dialogue>It's like that song, you know? He's got the whole world in his hands...</dialogue>
<character>LEONARD</character>
<dialogue>Stop it.</dialogue>
<character>ERIC</character>
<dialogue>None of us are gonna hurt each other. Not now. Not ever.</dialogue>
<scene_description>Wen vehemently nods.</scene_description>
<character>LEONARD</character>
<dialogue>Perhaps I should be more specific about what will happen if you don't choose. The four of us have been made to watch the end of times over and over again. At first, I thought it was a nightmare. But then the visions started playing in my mind every waking hour. They're unrelenting.</dialogue>
<character>ERIC</character>
<dialogue>A lot of people have visions. That doesn't make them real --</dialogue>
<character>LEONARD</character>
<dialogue>First, the oceans will rise and the cities will drown...</dialogue>
<character>ANDREW</character>
<dialogue>There's something really wrong with you if you actually believe that --</dialogue>
<character>LEONARD</character>
<dialogue>Then a terrible plague will descend and the infected will writhe with fever and pain...</dialogue>
<character>ERIC</character>
<dialogue>Leonard, let us get you help. If you let us go, I swear we'll get you --</dialogue>
<character>LEONARD</character>
<dialogue>Then the skies will fall and crash to the ground like pieces of glass. And finally... An everlasting darkness will descend upon everything.</dialogue>
<character>ERIC</character>
<dialogue>But who showed you this? Who showed you these visions?</dialogue>
<character>SABRINA</character>
<dialogue>Listen to them. They think we're nuts.</dialogue>
<character>LEONARD</character>
<dialogue>Who or what showed us the visions is beyond any of our comprehension. We are merely the messengers.</dialogue>
<character>ERIC</character>
<dialogue>Okay, so you say you saw some apocalyptic imagery. But you didn't see any of us.</dialogue>
<character>LEONARD</character>
<dialogue>We saw this cabin.</dialogue>
<scene_description>Absolute sincerity in his eyes.</scene_description>
<character>LEONARD</character>
<dialogue>It was part of our vision. It was our glimmer of hope. Your family was chosen... Just like each one of us.</dialogue>
<character>REDMOND</character>
<dialogue>How do you think we got here, guys? This is the middle of nowhere. Nobody's phones work. We didn't have an address.</dialogue>
<character>REDMOND</character>
<dialogue>Call me crazy, but I'm telling y a, I put my hands on that steering wheel and I knew exactly where to drive.</dialogue>
<character>ANDREW</character>
<dialogue>I'll just call you crazy.</dialogue>
<character>ERIC</character>
<dialogue>Everyone, please... Now if this really is the end, there's a major flaw in your reasoning. You're talking about saving the whole world... But you're all Americans. Isn't that a little nationalistic for some greater power like God?</dialogue>
<character>LEONARD</character>
<dialogue>I don't have all the answers, Eric. We've already told you everything that you need to know. Now you must make a choice.</dialogue>
<character>ERIC</character>
<dialogue>We're not choosing anything.</dialogue>
<character>LEONARD</character>
<dialogue>I told Wen that I think you're a beautiful family. And I do. But I also believe that your family was chosen because you're strong enough to do what must be done.</dialogue>
<scene_description>Redmond paces around the table, leaning down towards Andrew and Eric.</scene_description>
<character>REDMOND</character>
<dialogue>Tick, tock, tick, tock... Hurry it up boys. Everyone's countin' on ya. He's got the whole world in his hands... He's got the whole world --</dialogue>
<scene_description>Andrew suddenly grabs his water glass and SHATTERS IT ON REDMOND'S HEAD! Redmond staggers back, yelling in pain. Andrew leaps to his feet, grabbing hold of Redmond's weapon. They struggle for it as Eric joins in the melee --</scene_description>
<character>ERIC</character>
<dialogue>Wen, go! Run!</dialogue>
<scene_description>Wen is just as surprised as the others, and by the time she runs for it, Leonard is on his feet. HE SHOVES THE TABLE ASIDE AND SCOOPS HER UP. SHE SCREAMS AND FIGHTS against him. ERIC RIPS REDMOND'S WEAPON AWAY. He swings it around, keeping the others back, yelling at Leonard.</scene_description>
<character>ERIC</character>
<dialogue>Put her down! Let her --</dialogue>
<scene_description>He doesn't see ADRIANE SWING HER STAFF LOW -- IT SLAMS INTO ERIC'S KNEE, taking his leg out from under him. He falls, SMASHING HIS HEAD ON THE TABLE'S EDGE WITH A SICKENING CRACK -- CUT TO BLACK.: Darkness... Then the sound of POURING RAIN... Suddenly we're hit with a SERIES OF GROTESQUE IMAGES, flashing from one to the next with jagged intensity -- A WAVE OF WATER FLOODS BY US, filled with LIFELESS BODIES. Their DEAD EYES open, staring away. Others flail helplessly, screaming and crying as life leaves them -- An empty street, DEAD BODIES strewn about, their bloody skin covered with LESIONS, FINGERTIPS BLACKENED. Some clutching onto others in one final embrace, still more lying alone and forgotten. FLIES buzzing around their carcasses -- A RAGING STORM fills the sky, lightning cracking, thunder echoing, sheets of rain. The storm to end all storms. A lightning bolt strikes right in front of us, BLINDING US WITH LIGHT -- But as it dissipates, we realize that it's SUNLIGHT... Streaming in through a crack in the drapes --</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, CABIN -- DAY</stage_direction>
<scene_description>Eric's eyes dart about, trying to get his bearings. He's lying on a bed in the darkened room. Lights off. Drapes closed except for the streak of sunlight -- ERIC'S POV: The sunlight is SO BRIGHT IT'S BLINDING. Painful to look at. There's a PERSISTENT RINGING that makes it hard to understand the nearby voice. We can just make out a figure as our FOCUS BLURS IN AND OUT.</scene_description>
<character>SABRINA</character>
<dialogue>It's okay... You're okay...</dialogue>
<scene_description>Sabrina sits at Eric's side, wiping the GASH ON HIS FOREHEAD. Eric realizes it's her and struggles to sit up -- But pain shoots through him and he clutches his head, groaning as she helps him lay back down.</scene_description>
<character>SABRINA</character>
<dialogue>Just relax... I told you, I'm a nurse. You may not be on board with all the end of the world stuff yet, but at least trust me on that.</dialogue>
<scene_description>Eric turns away from the window, clenching his eyes shut.</scene_description>
<character>SABRINA</character>
<dialogue>Sorry, that's as dark as I could get it. Light sensitivity is common with concussions. Do you know your name?</dialogue>
<scene_description>Eric is still groggy from the blow.</scene_description>
<character>ERIC</character>
<dialogue>Er... Eric... I'm Eric.</dialogue>
<character>SABRINA</character>
<dialogue>Eric, do you know where you are?</dialogue>
<character>ERIC</character>
<dialogue>At... At the cabin.</dialogue>
<character>SABRINA</character>
<dialogue>And who am I?</dialogue>
<scene_description>He locks eyes with her. Just the two of them in here.</scene_description>
<character>SABRINA</character>
<dialogue>Yeah... You remember me.</dialogue>
<scene_description>Eric tries to move again, but Sabrina gently holds him down. He's far too weak at the moment.</scene_description>
<character>SABRINA</character>
<dialogue>Just lay still. Hurting yourself more won't help your family.</dialogue>
<character>ERIC</character>
<dialogue>Where's Wen?</dialogue>
<character>SABRINA</character>
<dialogue>Your daughter and husband are fine, I promise.</dialogue>
<scene_description>Eric tenses as Sabrina wipes his wound again.</scene_description>
<character>SABRINA</character>
<dialogue>None of us wanted it to go this way. We need you in a clear state of mind. You've got a big decision to make.</dialogue>
<character>ERIC</character>
<dialogue>Why... Why are you...</dialogue>
<scene_description>Sabrina picks up a large bandaid and opens the wrapper.</scene_description>
<character>SABRINA</character>
<dialogue>You think I'm some kind of religious freak, right? I would too. Truth is, I haven't even been to church since my grandma forced me to go when I was little. I always thought that religious stuff was so tired and boring, from a different time when people were scared of shadows.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But then the visions started...</dialogue>
<scene_description>She gently places the bandaid on his forehead.</scene_description>
<character>SABRINA</character>
<dialogue>Leonard told you what's gonna happen, but he didn't give you the details. Yeah, I saw the ocean leveling a city. My city. But that's not what got me. What got me was the bodies... All the dead bodies floating past afterwards... Limp... Eyes still open... Just bobbing in the water...</dialogue>
<character>ERIC</character>
<dialogue>Why are you telling me this?</dialogue>
<character>SABRINA</character>
<dialogue>Because I saw the look on your face when you woke up. I know you saw something too.</dialogue>
<scene_description>She meets Eric's gaze. He squints his eyes, struggling to clear the haze and put words together.</scene_description>
<character>ERIC</character>
<dialogue>That... That doesn't prove anything... You've all been going on about this crazy... Gave me a nightmare... Doesn't mean anything.</dialogue>
<character>SABRINA</character>
<dialogue>I didn't believe it at first either. But you will.</dialogue>
<character>SABRINA</character>
<parenthetical>(beat)</parenthetical>
<dialogue>When I was a kid, my dad used to tell me, 'Trust the process.' That's sorta become my mantra these past few days. No matter how hard it gets... Trust the process. I said it when I saw the visions. I said it when I built my weapon exactly the way it was shown to me. I said it over and over as I passed every freeway exit on my way out here. I said it when I walked out onto the boardwalk and saw the others, just like I'd seen them in my head. That's when I knew I wasn't alone. That all of this is real. And I'm saying it to you now, Eric... You need to trust the process. You may not want to believe it, but we're all on the same side.</dialogue>
<character>ERIC</character>
<dialogue>I'm on my family's side.</dialogue>
<character>SABRINA</character>
<dialogue>Your husband is stubborn. And Wen is way too young to understand. That means it's up to you. You're the only one who can stop this. You're the only one who can save all of us.</dialogue>
<scene_description>Eric struggles to focus on her.</scene_description>
<character>ERIC</character>
<dialogue>I could never... I could never kill.</dialogue>
<character>SABRINA</character>
<dialogue>Trust the process, Eric. Trust the process.</dialogue>
<scene_description>The door opens. Eric groans as he tilts his head to see the hulking shape of Leonard, a solemn look on his face.</scene_description>
<character>LEONARD</character>
<dialogue>It's almost time.</dialogue>
<character>SABRINA</character>
<dialogue>Can we give him a few more minutes? He's still pretty foggy.</dialogue>
<scene_description>Leonard shakes his head, no. Sabrina nods, understanding.</scene_description>
<character>ERIC</character>
<dialogue>Almost time for what?</dialogue>
<character>SABRINA</character>
<dialogue>Help me move him.</dialogue>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- DAY</stage_direction>
<scene_description>Leonard and Sabrina help Eric out of the bedroom, an arm over each of their shoulders. Eric is still in bad shape, eyes scanning to see -- Andrew sitting in a chair on the side of the room, his HANDS CUFFED BEHIND HIM. Wen crouched on the floor next to him. Other furniture pushed aside to open up the space.</scene_description>
<character>ANDREW</character>
<dialogue>Eric! Eric, you okay?</dialogue>
<scene_description>Wen races over to Eric, throwing her arms around him.</scene_description>
<character>WEN</character>
<dialogue>Daddy Eric, make them leave! Make them leave us alone!</dialogue>
<scene_description>The sight of her brings tears to Eric's eyes. Wen clings to him as Leonard and Sabrina ease him into a chair. Adriane reaches into the satchel Redmond was carrying earlier, and we see that it's filled with HANDCUFFS, ROPE, DUCT TAPE, and other items. She pulls out a pair of cuffs and uses them to LOCK ERIC'S HANDS BEHIND THE CHAIR.</scene_description>
<character>ANDREW</character>
<dialogue>Leave him alone you sick fucks! He needs to go to a hospital.</dialogue>
<character>LEONARD</character>
<dialogue>We didn't want it to be like this. We'd hoped you'd open your door so we could all talk in a civilized manner. We gave you every opportunity.</dialogue>
<character>ANDREW</character>
<dialogue>Fuck you!</dialogue>
<scene_description>Leonard ignores him and checks his watch. Sighs.</scene_description>
<character>LEONARD</character>
<dialogue>It's time.</dialogue>
<scene_description>He looks to Eric and Andrew with pity in his eyes.</scene_description>
<character>LEONARD</character>
<dialogue>You have to choose. A sacrifice must be made.</dialogue>
<character>ANDREW</character>
<dialogue>Like hell we're choosing anything.</dialogue>
<scene_description>Leonard slowly nods.</scene_description>
<character>LEONARD</character>
<dialogue>Then your first choice has been made.</dialogue>
<character>ANDREW</character>
<dialogue>What?! We didn't --</dialogue>
<scene_description>ADRIANE PICKS UP WEN, who starts screaming.</scene_description>
<character>ERIC</character>
<dialogue>No! Let her go! Don't hurt --</dialogue>
<scene_description>But Adriane places her on Eric's lap. Wen clings to him. Then Leonard, Sabrina, and Adriane PICK UP THEIR WEAPONS.</scene_description>
<character>ANDREW</character>
<dialogue>Whoa, whoa, whoa, wait! You said you wanted to talk... Let's just talk!</dialogue>
<scene_description>Andrew fights against his cuffs.</scene_description>
<character>WEN</character>
<dialogue>What are they doing? What's happening?</dialogue>
<scene_description>Eric blinks hard, trying to focus his hazy mind, as -- Leonard, Sabrina, and Adriane step away from each other, forming a triangle, their movements ritualistic -- Leaving REDMOND IN THE CENTER. Not holding his weapon. Sarcastic smile gone.</scene_description>
<character>REDMOND</character>
<dialogue>This isn't fair, Leonard... Come on, man. We wasted so much time just breaking into this damn place! I deserve a few more minutes.</dialogue>
<character>LEONARD</character>
<dialogue>This is the way it must be done.</dialogue>
<character>REDMOND</character>
<dialogue>This is bullshit!</dialogue>
<scene_description>Eric watches this unfold with a mix of confusion and terror.</scene_description>
<character>WEN</character>
<dialogue>Daddy Eric... What's happening?</dialogue>
<character>ERIC</character>
<dialogue>I don't know, baby...</dialogue>
<character>REDMOND</character>
<dialogue>We've been waiting around out here while Sabrina played nurse. Just give me a few more minutes.</dialogue>
<scene_description>He looks at Sabrina. To Adriane. But they just stare back.</scene_description>
<character>REDMOND</character>
<dialogue>Come on. Sabrina. Adriane. Come on.</dialogue>
<scene_description>They don't waver. Redmond turns to the family, desperate.</scene_description>
<character>REDMOND</character>
<dialogue>You can still stop this... But you better hurry the fuck up!</dialogue>
<scene_description>With shaking hands, he reaches into his pocket. Pulls out a THIN WHITE CLOTH. He stretches it over his face, revealing it's a MESH MASK. A truly creepy sight to behold.</scene_description>
<character>WEN</character>
<dialogue>What's he doing?</dialogue>
<scene_description>Redmond sinks to his knees before them. Eric's mouth falls open, realizing what's about to happen...</scene_description>
<character>ERIC</character>
<dialogue>Wen... Don't look...</dialogue>
<scene_description>But she keeps watching as Leonard, Sabrina, and Adriane close in around Redmond. Taking deep, steadying breaths. Hands clenching their weapons.</scene_description>
<character>REDMOND</character>
<dialogue>Please... You can stop this... Make a choice... Make a fucking choice!</dialogue>
<scene_description>The others raise their weapons... THEY CLOSE THEIR EYES, MUTTERING TO THEMSELVES... Redmond begins trembling.</scene_description>
<character>ERIC</character>
<dialogue>Oh God...</dialogue>
<character>ANDREW</character>
<parenthetical>(realizing)</parenthetical>
<dialogue>No! Don't do that! Stop!</dialogue>
<character>REDMOND</character>
<dialogue>I swear to God, this is all real! It's all real!</dialogue>
<scene_description>Behind him, the curtains flutter in the breeze, letting in a beam of BRIGHT SUNLIGHT. ERIC SQUINTS as the light flares. And through blurry vision he sees -- AN AMORPHOUS GLOWING FIGURE hovering above Redmond... Eric blinks. And just like that, THE FIGURE IS GONE. Was it actually there? Or is his concussed mind playing tricks? Then Eric refocuses on Redmond, kneeling before them.</scene_description>
<character>REDMOND</character>
<dialogue>PLEASE! YOU CAN STILL SAVE US! YOU</dialogue>
<character>CAN STILL SAVE EVERYONE!</character>
<dialogue>Adriane opens her eyes. Then she swings her staff down on Redmond --</dialogue>
<character>ANDREW</character>
<dialogue>Wen, close your eyes!</dialogue>
<scene_description>Wen buries her face in Eric's shirt just as -- ADRIANE'S RAKING CLAW SLAMS INTO REDMOND'S FACE WITH A SICKENING SPLAT! He lets out the high-pitched shriek of a wounded animal. The dads cry out in horror. Wen screams.</scene_description>
<character>ANDREW</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Sabrina swings her bladed staff at Redmond's skull -- Eric turns away, closing his eyes as WE HEAR THE GROTESQUE SOUNDS OF METAL MEETING FLESH. Adriane and Sabrina shower blow after blow upon Redmond. We don't see the impacts. But WE HEAR THEM. We hear Redmond's screams. And every time Sabrina and Adriane raise their weapons, we see more blood and gore layered on them. WE CATCH GLIMPSES of Eric and Andrew reacting, cringing, yelling. Wen crying as she holds onto Eric. All the while, Leonard just stands there. Watching. Waiting. We hear Redmond whimpering, writhing on the floor. Then, ever so stoic, Leonard raises his enormous sledgehammer over his head -- AND SLAMS IT DOWN WITH A HORRIFIC CRUNCH. BLOOD SPLATTERS ACROSS HIS FACE AND WHITE SHIRT. And Redmond whimpers no more. An unnerving silence takes hold... Holy. Fuck. Eric opens his eyes... But nothing can prepare him for the sight before him. Horrified beyond words. Andrew yells out in agony, turning his head away. But Wen slowly looks, and the sight is far too much for her young mind to even process. Redmond's body is mangled. Lying in a pool of blood that continues to grow. His white mask now crimson, with more blood oozing out of it.</scene_description>
<character>ANDREW</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Wen... Wen, I love you. I love you so much. I love you, Wenling.</dialogue>
<scene_description>But his words do little to soothe her. Eric looks where the figure of light appeared. But it's gone... If it was even there in the first place. Leonard, Sabrina, and Adriane stand over Redmond's body, taking slow breaths... In and out... Then Leonard suddenly startles, his eyes widening, as if just noticing the body in front of him. He staggers back, looking nauseated, he might puke. The sledgehammer falls from his hand, thudding loudly on the floor. Sabrina and Adriane back away as well, overcome with the horror of what they've done.</scene_description>
<character>SABRINA</character>
<dialogue>Oh God... Oh God...</dialogue>
<scene_description>Leonard's hand trembles as he checks his watch again. Then he staggers across the room.</scene_description>
<character>ANDREW</character>
<dialogue>You're sick... You're all sick... The fuck's wrong with you!</dialogue>
<scene_description>Leonard picks up the REMOTE CONTROL and turns on the TV.</scene_description>
<character>ANDREW</character>
<dialogue>What, now that your friend's dead, it's time to catch a game?</dialogue>
<character>LEONARD</character>
<dialogue>He wasn't my friend.</dialogue>
<scene_description>Leonard flips through the channels. The volume barely audible. Stops on CNN. Commercials above the news scroll.</scene_description>
<character>LEONARD</character>
<dialogue>Just watch.</dialogue>
<character>ANDREW</character>
<dialogue>Watch what?</dialogue>
<character>LEONARD</character>
<dialogue>The results of your choice.</dialogue>
<scene_description>ON SCREEN: A BREAKING NEWS BULLETIN flashes as the program returns to a NEWS ANCHOR.</scene_description>
<character>LEONARD</character>
<dialogue>It's starting...</dialogue>
<scene_description>He turns up the volume.</scene_description>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>... 6.4 earthquake that struck four hours ago in the Aleutian Islands in the Bering Sea. The US National Tsunami Warning Center has issued a cautionary advisory for the western seaboard...</dialogue>
<character>LEONARD</character>
<dialogue>We told you this would happen.</dialogue>
<character>ANDREW</character>
<dialogue>You told us what would happen?</dialogue>
<character>LEONARD</character>
<dialogue>If you didn't make a sacrifice, the oceans will rise and the cities will drown. I used those exact words. The cities will drown.</dialogue>
<character>ANDREW</character>
<dialogue>Are you even listening to what they're saying? That earthquake happened four hours ago! Long before you said that. Not exactly some big prophesy.</dialogue>
<character>LEONARD</character>
<dialogue>Just watch.</dialogue>
<scene_description>They all do so in silence as video shows several CAPSIZED BOATS in a harbor.</scene_description>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>Thus far, we've had reports of ten foot waves making landfall on the Hawaiian islands. At this time, no injuries have been reported and only minimal property damage has been sustained.</dialogue>
<character>ANDREW</character>
<dialogue>No injuries and minimal property damage. This is some doomsday.</dialogue>
<character>LEONARD</character>
<dialogue>Just wait...</dialogue>
<character>ERIC</character>
<dialogue>It's not real. None of this is real... Please, just let us go.</dialogue>
<character>LEONARD</character>
<dialogue>Wait...</dialogue>
<character>ANDREW</character>
<dialogue>At least let Eric and Wen go. Let them go and I'll stay.</dialogue>
<scene_description>Leonard doesn't look away from the screen.</scene_description>
<character>SABRINA</character>
<dialogue>I don't recognize any of this...</dialogue>
<character>LEONARD</character>
<dialogue>We're supposed to keep watching.</dialogue>
<character>ADRIANE</character>
<dialogue>There wasn't anything in my visions about watching TV.</dialogue>
<character>LEONARD</character>
<dialogue>Well how else are we supposed to know?! What other option do we have? We have to keep watching...</dialogue>
<scene_description>He's getting desperate. Unsure of himself.</scene_description>
<character>LEONARD</character>
<dialogue>It'll happen... It'll come...</dialogue>
<character>ERIC</character>
<dialogue>Leonard... Nothing's coming.</dialogue>
<character>NEWS ANCHOR (O.S.)</character>
<dialogue>Wait... Hold on...</dialogue>
<scene_description>ON SCREEN: The news report cuts back to the anchor in the studio. Finger on his ear as he listens to his earpiece.</scene_description>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>... We're getting word that another earthquake has just struck in the Pacific Ocean, registering 8.6 on the Richter scale, only seventy miles off the coast of Oregon...</dialogue>
<scene_description>An ominous sense of relief sweeps through Leonard.</scene_description>
<character>LEONARD</character>
<dialogue>This is it...</dialogue>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>The epicenter is in what's called the Cascadia subduction zone, an area scientists have long feared would produce a catastrophic quake.</dialogue>
<character>LEONARD</character>
<dialogue>This is it!</dialogue>
<character>SABRINA</character>
<dialogue>Oh my God...</dialogue>
<character>LEONARD</character>
<dialogue>You didn't make a sacrifice. So we had to make one for you. And now we must all suffer the consequences.</dialogue>
<character>NEWS ANCHOR (ON TV)</character>
<parenthetical>(listens to earpiece)</parenthetical>
<dialogue>We're getting a preliminary report that a tsunami has struck the Oregon coast...</dialogue>
<character>SABRINA</character>
<dialogue>No, no, no...</dialogue>
<scene_description>Wen cowers close to Eric, unable to watch anymore.</scene_description>
<character>WEN</character>
<dialogue>I thought it wasn't real.</dialogue>
<character>ANDREW</character>
<dialogue>It's not real, baby. It's just an earthquake. They happen all the time.</dialogue>
<character>WEN</character>
<dialogue>Daddy Eric?</dialogue>
<scene_description>Eric stares at the TV with horror. Not wanting to believe... But...</scene_description>
<character>WEN</character>
<dialogue>Daddy Eric!</dialogue>
<character>ERIC</character>
<dialogue>It's not real... Just a quake.</dialogue>
<character>LEONARD</character>
<dialogue>Your parents are wrong, Wen. It is real. It's very real.</dialogue>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>A warning to viewers... The images we're about to show are disturbing.</dialogue>
<scene_description>ON SCREEN: The broadcast cuts to SHAKY PHONE VIDEO that is chaotic and hard to make out. Then the image steadies... WATER EVERYWHERE. We're just above it. And then DEAD BODIES FLOAT PAST. So many bodies. Some bobbing face down. Others with unblinking lifeless eyes. Sounds of SCREAMING build. The injured crying out for help amidst the destruction.</scene_description>
<character>ADRIANE</character>
<dialogue>Holy shit... This is what I saw!</dialogue>
<character>SABRINA</character>
<dialogue>Me too...</dialogue>
<scene_description>Eric takes it all in with wide eyes. Then looks away, shaking his head emphatically. Trying to un-see the images. Leonard turns off the TV.</scene_description>
<character>LEONARD</character>
<dialogue>This will happen again, and again, and again, until the sun has set. Every minute you waste moves us one minute closer to another tragedy... Until we reach a permanent midnight.</dialogue>
<character>ANDREW</character>
<dialogue>Leonard. Listen to yourself. What are you talking about? Disasters happen, man. It's terrible, but they happen. This doesn't prove anything!</dialogue>
<scene_description>But Eric doesn't look so sure. And Leonard seems to recognize it.</scene_description>
<character>LEONARD</character>
<dialogue>I understand that you're all frightened. But this choice you have is a gift. Not all gifts are easy to accept. In fact, I believe the most important gifts are the ones we wish we could refuse, and only later, do we realize just how lucky we were to receive them.</dialogue>
<scene_description>He smiles reassuringly. Face and shirt splattered with blood.</scene_description>
<character>LEONARD</character>
<dialogue>We'll let you think about it for a little while. I'm afraid we've made quite the mess.</dialogue>
<parenthetical>(to Sabrina and Adriane)</parenthetical>
<dialogue>I'll take care of Redmond's body. Perhaps you two can start on the blood.</dialogue>
<scene_description>Adriane starts rummaging around the cabin, searching for cleaning supplies. But Sabrina lingers a moment longer, a hint of uncertainty shining through. Then she moves to join Adriane. Leonard grabs a BED SHEET from a nearby linen closet and drapes it over his shoulder. Picks up Redmond's weapon in one hand and grabs Redmond's collar with his other. Then begins to drag Redmond's carcass towards the front door, leaving a bloody streak in its wake. Eric stares at the black TV screen, still trying to process.</scene_description>
<character>WEN</character>
<dialogue>Daddy Eric... Are you okay? Daddy Eric?</dialogue>
<scene_description>Her voice snaps him out of his daze.</scene_description>
<character>ERIC</character>
<dialogue>Yeah baby. Daddy Eric's okay. We're all gonna be okay.</dialogue>
<scene_description>But his words are strained. Wen puts her arms around him. Eric instinctively tries to hug her back, but his cuffed hands clink on the chair. Andrew watches, pained by seeing his husband and daughter like this.</scene_description>
<character>ANDREW</character>
<dialogue>Eric... Are you really alright?</dialogue>
<character>ERIC</character>
<dialogue>My head's still ringing. But my vision's clearer.</dialogue>
<character>ANDREW</character>
<dialogue>You know that first earthquake happened four hours ago, right? Leonard's been checking his watch a thousand times. They've been timing all of this.</dialogue>
<character>ERIC</character>
<dialogue>I know.</dialogue>
<character>ANDREW</character>
<dialogue>I just don't want you to be... You know... To be spooked or anything.</dialogue>
<scene_description>Eric turns, realizing what Andrew's suggesting.</scene_description>
<character>ERIC</character>
<dialogue>You think I believe them?</dialogue>
<character>ANDREW</character>
<dialogue>No, just, you know, with your head and all, I want to make sure you're thinking straight. With how they're trying to manipulate us. How they knew about the first quake and how the second one was triggered by it.</dialogue>
<character>ERIC</character>
<dialogue>I can't believe this... You think I believe them?</dialogue>
<character>ANDREW</character>
<dialogue>No, I... I'm sorry. I'm just... I'm just scared, okay? I'm just really scared of what they're gonna do.</dialogue>
<character>ERIC</character>
<dialogue>I don't believe them.</dialogue>
<scene_description>But there's tension in his voice and Andrew recognizes it. Adriane and Sabrina return with cleaning supplies and a trash can. The dads are quiet as they begin sopping up the pool of blood. Wen looks away and closes her eyes. Though Eric can't help but notice that Sabrina's breathing is labored. She's silently crying, tears running down her cheeks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- DAY</stage_direction>
<scene_description>Leonard drags Redmond's body onto the porch, leaving a bloody trail behind him. Sets down Redmond's weapon. He sighs, taking in the remains of the human before him. And as we linger, we realize... WE'RE IN LEONARD'S PERSPECTIVE NOW. THIS IS HIS STORY. Leonard crouches down, looking at the dead man's face. One of Redmond's OPEN EYES peeks through his mesh mask. Leonard stares at it for a long moment. And we see a hint of regret on Leonard's face. A glimpse of the man behind the monster. With a shaky breath, he reaches down and gently closes the dead eye. Then the giant of a man stands up and shakes out the white bed sheet, guiding it to gently fall over Redmond's body. He gives a small nod, this is the way it's supposed to be... But then a RED BLOOD STAIN slowly spreads through the sheet. Leonard stops and stares, watching it grow and grow... The sight of it unnerving to him, as we -- CUT TO: A RED MARKER drawing a solid red circle on a white board. Then a green marker adds a leaf on top.</scene_description>
<character>LEONARD</character>
<dialogue>So we know that Tommy has two apples...</dialogue>
<scene_description>We pull out to reveal we're in --</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL CLASSROOM -- DAY (LEONARD - 1 WEEK AGO)</stage_direction>
<scene_description>Leonard looks enormous in the room full of miniature furniture for the little SECOND GRADERS. But his excitement and verve are even bigger than his body. The passionate teacher you want your child to get in school. He's drawn two apples under a stick figure boy. Points to a nearby stick figure girl.</scene_description>
<character>LEONARD</character>
<dialogue>And we know that Lilly has four more apples than Tommy. So let's start with what skill we're going to use to solve this problem.</dialogue>
<scene_description>Several hands rise around the classroom. He points.</scene_description>
<character>STUDENT</character>
<dialogue>Addition.</dialogue>
<character>LEONARD</character>
<dialogue>That's right. Addition.</dialogue>
<scene_description>Leonard gets to work drawing additional apples on the board.</scene_description>
<character>LEONARD</character>
<dialogue>We're going to take the number of apples that Tommy has and add how many apples --</dialogue>
<scene_description>WHISPERS behind Leonard. He sighs, and turns to the class.</scene_description>
<character>LEONARD</character>
<dialogue>Is there something someone would like to add to the discussion?</dialogue>
<scene_description>The students exchange confused glances. Leonard looks from student to student. But no one admits guilt.</scene_description>
<character>LEONARD</character>
<dialogue>Alright... I'll let that one go.</dialogue>
<scene_description>He goes back to drawing his red apples.</scene_description>
<character>LEONARD</character>
<dialogue>So we're going to add how many more apples Lilly has to figure out how many total apples she --</dialogue>
<scene_description>WHISPERS behind him once again, louder this time. Leonard snaps around.</scene_description>
<character>LEONARD</character>
<dialogue>If you have something to say, please raise your hand so that I can call on you.</dialogue>
<scene_description>But now the students are even more baffled, exchanging nervous glances with one another.</scene_description>
<character>ANOTHER STUDENT</character>
<dialogue>Are you okay, Mr. Travers?</dialogue>
<scene_description>Leonard sees the concern on their faces. Then the WHISPERS rise. Leonard tenses, looking around. But none of the students' lips are moving. Yet the WHISPERS PERSIST... Coming from nowhere and everywhere.</scene_description>
</scene>
<scene>
<stage_direction>INT. LEONARD'S APARTMENT -- NIGHT</stage_direction>
<scene_description>The cozy home of a man who chose to give back rather than live in luxury. But Leonard is far from comfortable as he paces around, WHISPERS COMING FROM BEHIND HIM no matter which way he turns. Surrounding him. HE CRANKS UP MUSIC, blasting classic rock. But THE WHISPERS ONLY BECOME LOUDER... Drowning out the music. We can't quite make out what they're saying. But from the looks of it, Leonard certainly can. And it's freaking him out.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, LEONARD'S APARTMENT -- NIGHT</stage_direction>
<scene_description>LEONARD IS NOW CURLED UP IN BED, hands clenched over his ears. The MUSIC BLARES from the other room. But it's no use. The WHISPERS SURROUND HIM. Overwhelming him.</scene_description>
<character>LEONARD</character>
<dialogue>Stop it... Stop it! Leave me alone!</dialogue>
<scene_description>But they're not going away.</scene_description>
<character>LEONARD</character>
<dialogue>Please... Please!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SCHOOL YARD -- DAY (LEONARD - 5 DAYS AGO)</stage_direction>
<scene_description>Leonard moves aimlessly amongst the CHILDREN playing at recess, lost in a haze. He hasn't slept in days. The children are all around him, but their laughs and yells seem to echo in the distance. Drowned out by the INCESSANT WHISPERING. Leonard tries to ignore it but can't, every second of his life now a living hell. Then his eyes widen as he sees A GIRL LYING FACE DOWN ON THE GROUND by one of the play structures, not moving. Leonard snaps back to reality.</scene_description>
<character>LEONARD</character>
<dialogue>Chelsea?! Chelsea?!</dialogue>
<scene_description>LEONARD RUNS TO HER. The whispers fading as he comes to the little girl's aid. Turns her over -- Revealing that the GIRL IS COVERED WITH PLAGUE-LIKE LESIONS, FINGERTIPS BLACKENED. Like she's been dead for days. Leonard recoils at the horrifying sight, trying to make sense of it. Then he realizes -- the school yard is suddenly silent. No sounds of kids playing. He slowly turns... The bright sun has been replaced by dark storm clouds and fog. And all around him... EVERY CHILD IS LYING DEAD ON THE GROUND, COVERED IN LESIONS, FINGERTIPS BLACKENED, FLIES BUZZING AROUND THEM. Leonard staggers, overwhelmed by the sight... But then he blinks, and suddenly -- EVERYTHING IS BACK TO NORMAL. Children frolicking about. As if nothing happened. But Leonard doesn't move. Frightened beyond words. The WHISPERS RISE again. Only this time, Leonard doesn't fight them. Instead, he takes a deep shaky breath.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOARDWALK -- DAY (LEONARD - EARLIER TODAY)</stage_direction>
<scene_description>People everywhere. Headed to the beach. Perusing shops. On carnival rides. Enjoying a summer day. Leonard moves amongst them. Now dressed in jeans with a white button-down shirt, neatly tucked in. He's tense, filled with trepidation. Transformed by his experience. His eyes dart about the commotion, passing over the tan bodies with indifference. He's searching for someone. Then his gaze steadies and he slows... Standing at the boardwalk's rail are SABRINA, ADRIANE and REDMOND, all dressed in jeans and their colored button-down shirts. STARING RIGHT AT HIM. They've been waiting. Leonard stiffens. As if he was clinging to one last shred of hope that this wasn't real. But with a steadying breath, he steels himself and approaches. He stops in front of them. For a long moment, they all just stare at each other.</scene_description>
<character>LEONARD</character>
<dialogue>Did everyone bring what they were told to?</dialogue>
<scene_description>The others nod. Leonard nods back, resolved. Then he steps to the railing, looking out over the CROWDED BEACH below. The others take in the sight with him, gazing at all the people.</scene_description>
<character>SABRINA</character>
<dialogue>There's so many of them...</dialogue>
<character>LEONARD</character>
<dialogue>That's why we're here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CABIN -- DAY (BACK TO PRESENT)</stage_direction>
<scene_description>Leonard stands alone on the front porch, looking out over the railing, surrounded by the beauty of nature. But on the horizon, DARK STORM CLOUDS LOOM. Leonard eyes them with trepidation, seeing more than just a coming storm. He glances down at his bloody hands, realizing that they're SHAKING. He wipes them on his shirt. But he can't get the blood off. The sight of it makes him shudder. He clasps his hands together. Bows his head, whispering a small prayer. When his eyes open again, his ice-cold facade has returned. And his hands are steady.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- DAY</stage_direction>
<scene_description>Leonard, Sabrina, and Adriane huddle near the front door, WHISPERING to each other. Sneaking glances at the family across the room.</scene_description>
<character>LEONARD</character>
<dialogue>We all knew this would be hard... But we have to stay the course.</dialogue>
<character>ADRIANE</character>
<dialogue>That's pretty easy to say when you're not the next one in line to get her head split open.</dialogue>
<character>SABRINA</character>
<dialogue>They think we're nuts. Hell, I'm starting to think we're nuts too.</dialogue>
<character>LEONARD</character>
<dialogue>They're going to believe us. We all know what happens if they don't.</dialogue>
<scene_description>An edge in his voice -- it's not an option. Sabrina and Adriane nod, they're all in this together. Leonard turns and approaches the family, the others right behind him.</scene_description>
<character>ANDREW</character>
<dialogue>Our answer hasn't changed, assholes.</dialogue>
<scene_description>Without a word of explanation, LEONARD GRABS WEN'S HAND AND PULLS HER AWAY as she screams and shouts in protest.</scene_description>
<character>ANDREW</character>
<dialogue>What -- Wait! What are you doing?! Wen! Wen!</dialogue>
<scene_description>At the same time, SABRINA GRABS ANDREW'S CHAIR AND DRAGS HIM towards the bedroom.</scene_description>
<character>ERIC</character>
<dialogue>Andrew! Wen! Don't hurt them!</dialogue>
<character>WEN</character>
<dialogue>DADDY ERIC!</dialogue>
<scene_description>Leonard carries her down the steps into the -- BASEMENT Wen thrashes and struggles against Leonard, her dads' voices echoing from above.</scene_description>
<character>ERIC (O.S.)</character>
<dialogue>WEN!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Don't listen to them! Don't listen!</dialogue>
<character>WEN</character>
<dialogue>DADDY ANDREW!</dialogue>
<character>LEONARD</character>
<dialogue>Shh... Calm down, Wen. Calm down. You're okay... You're okay.</dialogue>
<scene_description>He sits her down on the workbench and takes a step back, raising his hands in a non-threatening manner.</scene_description>
<character>LEONARD</character>
<dialogue>I just wanna talk, alright? I just wanna talk.</dialogue>
<scene_description>Wen's alarm diminishes, still on guard but listening. Leonard nods, pulls up a nearby stool and sits down.</scene_description>
<character>LEONARD</character>
<dialogue>Listen... I know you're scared right now. I know you probably don't like me much either. And that's okay. But I want you to know... When I said you were my friend, I meant it. No matter what happens, I'm not gonna let anything happen to you.</dialogue>
<character>LEONARD</character>
<dialogue>And I know your dads won't either. The world's a better place with you in it.</dialogue>
<scene_description>He smiles with sincerity. He means it. But she doesn't give an inch, still staring him down.</scene_description>
<character>LEONARD</character>
<dialogue>Hey, do you like reading? I bet you do.</dialogue>
<scene_description>He waits for her to respond. Feeling the pressure, Wen hesitantly nods.</scene_description>
<character>LEONARD</character>
<dialogue>Have your dads ever read you any of the really old stories?</dialogue>
<character>WEN</character>
<parenthetical>(hesitantly)</parenthetical>
<dialogue>They read me Alice in Wonderland.</dialogue>
<character>LEONARD</character>
<dialogue>I like that one a lot. But the story I'm thinking of is much older. It goes back thousands of years. It's about a dad who had to make a really hard choice. A sacrifice. Do you know what a sacrifice is, Wen?</dialogue>
<scene_description>Wen shakes her head no. Leonard speaks with the same gentle charm we heard from him in the classroom.</scene_description>
<character>LEONARD</character>
<dialogue>Sacrifice means letting go of something, or someone, that you really love... In exchange for something even greater.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You see, a long time ago... There was this man named Abraham. He was a wonderful person, thoughtful and smart. In fact, he was a lot like you, Wen. He was so perfect that God chose him to lead a whole new nation. A place where everyone would be safe and happy.</dialogue>
<scene_description>Wen listens, drawn in.</scene_description>
<character>LEONARD</character>
<dialogue>But... God needed to know if He could trust Abraham.</dialogue>
<character>LEONARD</character>
<dialogue>So God gave him a test, just like your family's being given a test. Abraham had to make a very difficult choice, just like your family does. God asked Abraham to take his son, the person he loved most in the world... And sacrifice him. So you know what Abraham did?</dialogue>
<scene_description>Wen shakes her head.</scene_description>
<character>LEONARD</character>
<dialogue>Abraham took his son up to the top of the highest mountain. Then he took out his knife and put it to his son's neck.</dialogue>
<scene_description>Wen's eyes widen. Leonard smiles.</scene_description>
<character>LEONARD</character>
<dialogue>But God told Abraham to stop. You see, Abraham passed the test. He made the right choice. He'd proven that he believed. And his son got to live. Abraham was willing to sacrifice everything to help everyone.</dialogue>
<scene_description>He leans in closer to her.</scene_description>
<character>LEONARD</character>
<dialogue>And now, thousands of years later, we still sing songs about him. He's a hero. And your family, you can be heroes too. Heroes who save the whole wide world.</dialogue>
<scene_description>Wen takes this in, realizing what he's saying.</scene_description>
<character>WEN</character>
<dialogue>But... It's just a story. It's not real.</dialogue>
<character>LEONARD</character>
<dialogue>It wasn't just a story, Wen. Abraham was chosen... Just like you and your dads have been chosen. And I believe what happened to Abraham will happen to your family too.</dialogue>
<character>WEN</character>
<dialogue>We wouldn't have to hurt anyone?</dialogue>
<character>LEONARD</character>
<dialogue>That's right. If one of your dads were to put a knife up to the other's neck... I believe God would say, that's enough. Do you think you can help convince them to do that, Wen?</dialogue>
<scene_description>Wen ponders this. It almost seems reasonable at first, but then her expression turns...</scene_description>
<character>WEN</character>
<dialogue>What if he doesn't tell us to stop?</dialogue>
<scene_description>Leonard hesitates.</scene_description>
<character>LEONARD</character>
<dialogue>Well, then... Perhaps it's not meant to stop.</dialogue>
<character>WEN</character>
<dialogue>Daddy Eric told me God was about love. But yours isn't about love. Your God is a killer.</dialogue>
<character>LEONARD</character>
<dialogue>He's not a killer. He's just... Asking for a sacrifice. And if we disobey, then others will die. That would make us the killers.</dialogue>
<character>WEN</character>
<dialogue>I don't believe you.</dialogue>
<character>LEONARD</character>
<dialogue>Wen --</dialogue>
<character>WEN</character>
<dialogue>You're not my friend. You never were.</dialogue>
<scene_description>A newfound strength in her young eyes. Leonard leans back, genuinely hurt.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- EVENING</stage_direction>
<scene_description>The sun begins its descent as the dark clouds drift towards the little cabin. A jagged bolt of lightning flashes, followed by rumbling thunder.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- EVENING</stage_direction>
<scene_description>Leonard, Sabrina, and Adriane stand over Eric and Andrew, hands cuffed behind them. Wen back in Eric's lap, glaring up at Leonard.</scene_description>
<character>LEONARD</character>
<dialogue>Once again, you have the opportunity to choose.</dialogue>
<scene_description>We don't yet know what happened in the other rooms, but Eric looks even more troubled. Whatever happened to him with Adriane, it has shaken him to the core. While Sabrina looks even more uneasy after her time with Andrew. Leonard glances at his watch as the seconds tick... Tick... Tick... Adriane tries to steady her breathing...</scene_description>
<character>LEONARD</character>
<dialogue>I don't mean to rush you... But our time is short.</dialogue>
<character>ADRIANE</character>
<dialogue>You mean my time is fucking short.</dialogue>
<scene_description>She turns to Eric. He can't meet her piercing gaze.</scene_description>
<character>ADRIANE</character>
<dialogue>Don't make me do this...</dialogue>
<scene_description>He doesn't respond. What does she mean?</scene_description>
<character>ADRIANE</character>
<dialogue>Listen man, you and us and everyone on this planet is gonna run out of chances if you don't choose right now!</dialogue>
<character>ANDREW</character>
<dialogue>He doesn't believe you. None of us believe you. Let your time run out, we're not gonna do what you want.</dialogue>
<character>ADRIANE</character>
<dialogue>Eric, this is your last chance...</dialogue>
<scene_description>Her eyes plead with him. But he remains steadfast.</scene_description>
<character>LEONARD</character>
<dialogue>Very well. Your second choice has been made.</dialogue>
<character>LEONARD</character>
<parenthetical>(to Adriane)</parenthetical>
<dialogue>I'm sorry.</dialogue>
<scene_description>Wen clings to Eric, burying her head in his chest. Knowing what's coming. Leonard picks up his weapon. The sledgehammer head still coated with Redmond's dried blood. But Sabrina hesitates.</scene_description>
<character>ANDREW</character>
<dialogue>You don't have to do this.</dialogue>
<character>LEONARD</character>
<dialogue>Sabrina...</dialogue>
<scene_description>Sabrina meets his gaze, conflicted. Then she obediently picks up her weapon.</scene_description>
<character>ANDREW</character>
<dialogue>You don't have to do this!</dialogue>
<scene_description>Leonard and Sabrina step to opposite sides of Adriane, taking deep, steadying breaths once again.</scene_description>
<character>ADRIANE</character>
<dialogue>No, no, no, wait...</dialogue>
<scene_description>We move in on her as tears well up in her eyes. AND WE ARE NOW IN ADRIANE'S PERSPECTIVE, SEEING HER STORY. She glances around, desperate, beginning to panic. Leonard and Sabrina step closer to her, weapons raised...</scene_description>
<character>ADRIANE</character>
<dialogue>Please... I don't wanna die... I don't wanna die...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ADRIANE'S HOUSE -- EVENING (ADRIANE - 1 WEEK AGO)</stage_direction>
<scene_description>Adriane dabs her eyes with a dish towel, wiping the tears away. Then goes back to CHOPPING ONIONS. She's making fajitas with the finesse of a pro. The meat and vegetables sizzling in the pan. Looks so good you can taste it. She looks like a different person here, rested and carefree.</scene_description>
<character>MANUEL (O.S.)</character>
<dialogue>Mama? Is it almost ready?</dialogue>
<scene_description>Adriane smiles as MANUEL (5) comes in the back door.</scene_description>
<character>ADRIANE</character>
<dialogue>You know it. Here, take these out.</dialogue>
<scene_description>She hands him plates and silverware.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO, ADRIANE'S HOUSE -- EVENING</stage_direction>
<scene_description>Adriane and Manuel sit at the table, eating the fajitas. It's a beautiful evening, the sky a tableau of colors. An AIRPLANE soars over them, flying low, en route to the nearby airport runway. Their modest suburban home is situated underneath the FLIGHT PATH, which for Adriane's son means constant entertainment.</scene_description>
<character>MANUEL</character>
<parenthetical>(pointing to plane)</parenthetical>
<dialogue>I bet that one's coming from... France! Or Italy!</dialogue>
<character>ADRIANE</character>
<dialogue>Nah, that's a puddle jumper. I'm thinkin'... Richmond.</dialogue>
<character>MANUEL</character>
<parenthetical>(re: the next plane)</parenthetical>
<dialogue>Okay, that one's coming from... Florida. Maybe someone brought an alligator with them!</dialogue>
<character>ADRIANE</character>
<dialogue>Actually that maple leaf probably means it's coming from Canada, home of your favorite maple syrup.</dialogue>
<character>MANUEL</character>
<dialogue>Yes! Do you think we could have waffles for dessert?</dialogue>
<character>ADRIANE</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>No, no we cannot. But how about for breakfast tomorrow. Deal?</dialogue>
<scene_description>But Manuel's not listening... Eyes focused on the sky.</scene_description>
<character>ADRIANE</character>
<dialogue>Honey?</dialogue>
<character>MANUEL</character>
<dialogue>What's wrong with it?</dialogue>
<scene_description>Adriane turns, following his gaze... Then she gasps as she recognizes the SMOKE TRAIL. AN AIRPLANE PLUMMETING TOWARDS THE GROUND in the distance.</scene_description>
<character>ADRIANE</character>
<dialogue>Oh my God...</dialogue>
<scene_description>Her jaw falls open as she sees a SECOND PLANE TRAILING SMOKE AND FALLING FROM THE SKY. Still distant, but closer to them.</scene_description>
<character>MANUEL</character>
<dialogue>What's happening to them?!</dialogue>
<character>ADRIANE</character>
<dialogue>I... I don't know --</dialogue>
<scene_description>A SHRIEK OF GRINDING METAL above them. Adriane looks up -- THERE'S A THIRD PLANE CRASHING RIGHT TOWARDS THEM. Adriane watches, paralyzed by the sight. Manuel screams -- The plane CRASHES INTO A NEARBY HOUSE, sending out an ENORMOUS FIREBALL! Adriane wraps up Manuel as the FLAMES ENGULF THEM, OVERWHELMING THEIR SCREAMS -- SMASH BACK TO: Adriane still sitting on the patio.</scene_description>
<character>MANUEL</character>
<dialogue>Mama? Mama, you okay?</dialogue>
<scene_description>He stares at her quizzically. Adriane snaps around to look at the sky. But ALL THE PLANES ARE WHERE THEY'RE SUPPOSED TO BE, on their normal flight paths towards the airport.</scene_description>
<character>ADRIANE</character>
<dialogue>It's... It's nothing. Mama's fine.</dialogue>
<scene_description>She forces herself to pick up her fork and take a bite of food. But her hand is trembling.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, ADRIANE'S HOUSE -- NIGHT</stage_direction>
<scene_description>Adriane leans against the counter, dirty dishes filling the sink in front of her, staring off in a daze. And once again, we hear the SAME WHISPERS that plagued Leonard, ECHOING AROUND HER. Adriane twitches one way. Then the other. Shakes her head, covers her ears, trying to drive the voices out.</scene_description>
<character>ADRIANE</character>
<dialogue>No... No...</dialogue>
<scene_description>But they persist... Incessant...</scene_description>
</scene>
<scene>
<stage_direction>INT. MANUEL'S ROOM, ADRIANE'S HOUSE -- NIGHT</stage_direction>
<scene_description>A nightlight projects stars across the ceiling, playing a soft lullaby. Manuel is fast asleep, curled up in bed. Adriane sits by his bedside. Gazing down at him with all of the love of a protective mother. But the whispers continue. Unrelenting. Adriane's hand trembles as she caresses Manuel's back. She blinks and tears run down her cheeks. But she sniffles hard and wipes her face. Then steadies her breathing, beginning to listen to the voices.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, CABIN -- DAY (ADRIANE - A FEW MINUTES AGO)</stage_direction>
<scene_description>Chop. Chop. Chop. Adriane slices another onion on a cutting board. She glances down at it, wiping her tears away, remembering... With a resolved breath, she sprinkles cubed onions over two restaurant-style sandwiches. Closes them up with another slice of bread and carries the plates into the -- COMMON ROOM Where Eric has been pulled up to the table, hands still cuffed behind his back.</scene_description>
<character>ADRIANE</character>
<dialogue>Didn't have a lot of options for getting creative, but I'm betting these will still be pretty good. Someday you'll have to try my fajitas. Will blow your mind.</dialogue>
<scene_description>She sets a plate down in front of Eric and sits across from him. He glares back at her.</scene_description>
<character>ADRIANE</character>
<dialogue>Eat up, man. No one makes good decisions on an empty stomach.</dialogue>
<scene_description>She picks up his sandwich and holds it out to him.</scene_description>
<character>ADRIANE</character>
<dialogue>Come on... You must be starving.</dialogue>
<scene_description>Eric turns away, refusing.</scene_description>
<character>ADRIANE</character>
<dialogue>Listen, I know you think I'm batshit crazy, but trust me, my food's top notch.</dialogue>
<parenthetical>(takes a bite herself)</parenthetical>
<dialogue>Oh yeah... That's good. Seriously, get in on this.</dialogue>
<scene_description>But he won't look at her. Adriane chews and swallows. Sets the sandwich down.</scene_description>
<character>ADRIANE</character>
<dialogue>Alright, I'm gonna level with you...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm the next one to go... I'm the next sacrifice. So I'm counting on you, man. You're like my last hope here. I...</dialogue>
<scene_description>A tinge of emotion breaks through.</scene_description>
<character>ADRIANE</character>
<dialogue>I don't wanna die like Redmond did. I don't wanna be butchered like some... Like some animal.</dialogue>
<character>ERIC</character>
<dialogue>Then maybe you should just leave.</dialogue>
<character>ADRIANE</character>
<dialogue>I can't leave. None of this can stop until you make a choice. Don't you get that already? I mean, look at me... Look at me.</dialogue>
<scene_description>She waits until he does.</scene_description>
<character>ADRIANE</character>
<dialogue>You think I wanna be here? I'm just some fucking cook. But here I am, begging you to do what has to be done, 'cause if you don't, my son's gonna die. Over the past few days, I've had to watch him die over and over and over again. I've watched my little boy burned alive as I held him in my arms. I can't get the sound of his screams out of my head, even right now. So as a mother... Believe me when I tell you that this is really happening. And it's up to you.</dialogue>
<character>ERIC</character>
<dialogue>I won't do it...</dialogue>
<character>ADRIANE</character>
<dialogue>You have to. Any moment now, Leonard's gonna come up those stairs... And then the next round will begin. Unless you stop it.</dialogue>
<scene_description>Eric breaks eye contact, defiant. Adriane sighs.</scene_description>
<character>ADRIANE</character>
<dialogue>Listen... We're not supposed to hurt any of you. We can't force you to make a choice. I saw some crazy shit, but I didn't see any visions like that...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But that doesn't mean I won't do what I have to do. You get me, Daddy Eric?</dialogue>
<scene_description>A chill down Eric's spine.</scene_description>
<character>ADRIANE</character>
<dialogue>I wanna be alive at the end of this. I wanna be alive for my boy. So if I have to hurt Andrew... Or Wen... If I have to hurt them real fucking bad to get you to do what has to be done, I'll do it.</dialogue>
<scene_description>She leans closer, whispering in his ear.</scene_description>
<character>ADRIANE</character>
<dialogue>Don't back me into a corner. 'Cause I'm telling ya, I'll fuckin' do it. If I die, one of them dies with me.</dialogue>
<scene_description>Eric takes a shaky breath. FOOTSTEPS on the stairs. Adriane turns to see Leonard coming up from the basement, dragging Wen along with him. And the sight of him makes Adriane turn pale.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- EVENING (BACK TO PRESENT)</stage_direction>
<scene_description>The sun has moved further across the sky, its light being gradually overtaken by the towering storm clouds. They're nearly upon us now...</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- EVENING</stage_direction>
<scene_description>The tears are still wet on Adriane's cheeks as she glances from side to side. Leonard and Sabrina circle in around her with their medieval weapons. Their movements precise, ritualistic. Just like before.</scene_description>
<character>ADRIANE</character>
<dialogue>Please... Oh God...</dialogue>
<scene_description>She moves towards Eric, pleading with him.</scene_description>
<character>ADRIANE</character>
<dialogue>You're just gonna let this happen?! Just gonna let thousands of more people die?!</dialogue>
<character>ANDREW</character>
<dialogue>Don't listen to her.</dialogue>
<character>ADRIANE</character>
<dialogue>Oh, he's gonna listen to me! He's gonna hear me scream and wail and choke on my own blood, and I'll just be the first of so many more!</dialogue>
<scene_description>She glances at Leonard and Sabrina lurking behind her, clenching their weapons, getting ready to strike.</scene_description>
<character>ADRIANE</character>
<dialogue>Oh, I'm sorry... You want me to put my mask on first before you slaughter me? Well, if that's how it's gotta be. Gotta abide by the visions...</dialogue>
<scene_description>She reaches into her pocket and pulls out her WHITE MASK -- But then SHE PICKS UP HER WEAPON and lunges forward. SHE YANKS WEN TO HER FEET, AND HOLDS HER WEAPON TO WEN'S THROAT.</scene_description>
<character>ERIC / ANDREW</character>
<dialogue>WEN! / LET HER GO!</dialogue>
<scene_description>But they can't stop Adriane with their hands cuffed. Wen squirms and screams, but Adriane holds her tight. Leonard and Sabrina slow their advance, not expecting this.</scene_description>
<character>SABRINA</character>
<dialogue>Adriane, stop!</dialogue>
<character>ADRIANE</character>
<dialogue>Stay back! Stay back or I'll slice her up!</dialogue>
<character>LEONARD</character>
<dialogue>You can't do this. They need to make a choice --</dialogue>
<character>ADRIANE</character>
<dialogue>Sorry, but I don't want my blood and guts spilled all over the floor!</dialogue>
<character>ERIC</character>
<dialogue>Please don't hurt her...</dialogue>
<character>ANDREW</character>
<dialogue>Leonard, fucking stop this!</dialogue>
<character>LEONARD</character>
<dialogue>Adriane, just let her go... It can't be like this... It won't stop --</dialogue>
<character>ADRIANE</character>
<dialogue>They're just gonna wait us out till we're all dead!</dialogue>
<character>LEONARD</character>
<dialogue>They'll do the right thing... You'll see...</dialogue>
<character>ADRIANE</character>
<dialogue>Then why don't we trade places right now and see if you still believe that!</dialogue>
<character>LEONARD</character>
<dialogue>You'll ruin everything --</dialogue>
<character>ADRIANE</character>
<dialogue>You're right, I'll ruin everything! I'll damn it all to hell!</dialogue>
<parenthetical>(to Eric)</parenthetical>
<dialogue>Unless you stop me right now. Come on, Daddy Eric. It's up to you. Your daughter or your husband.</dialogue>
<scene_description>Eric meets her fiery gaze, breathing fast.</scene_description>
<character>ERIC</character>
<dialogue>I... I can't...</dialogue>
<character>ADRIANE</character>
<dialogue>You have three seconds to choose!</dialogue>
<character>ERIC</character>
<dialogue>No... Please --</dialogue>
<character>ANDREW</character>
<dialogue>Someone stop her!</dialogue>
<character>ADRIANE</character>
<dialogue>Three...</dialogue>
<scene_description>Everyone begins shouting, creating a CACOPHONY OF EMOTION AND VITRIOL. Eric caught in the middle of the maelstrom.</scene_description>
<character>ADRIANE</character>
<dialogue>Two...</dialogue>
<character>ERIC</character>
<dialogue>No, no, oh please God --</dialogue>
<character>ADRIANE</character>
<dialogue>One...</dialogue>
<character>ERIC</character>
<dialogue>STOP! I'LL DO IT!</dialogue>
<scene_description>And just like that, EVERYONE GOES SILENT. Andrew turns to his husband, horrified.</scene_description>
<character>ANDREW</character>
<dialogue>Do what?</dialogue>
<scene_description>Eric doesn't answer. Can't look at him.</scene_description>
<character>ANDREW</character>
<dialogue>Eric?</dialogue>
<scene_description>Eric's gaze rises to meet the three intruders. But where he lacked conviction before, he has it now.</scene_description>
<character>ERIC</character>
<dialogue>I'll do it. But only if Wen isn't in the room.</dialogue>
<scene_description>Adriane gives a small nod and moves Wen towards the bedroom.</scene_description>
<character>WEN</character>
<dialogue>No!</dialogue>
<scene_description>She tries to resist but Adriane pulls her along.</scene_description>
<character>WEN</character>
<dialogue>No! Daddy Eric, don't do it! You can't!</dialogue>
<scene_description>Adriane pushes her into a bedroom, and closes the door, standing guard by it. Wen's cries echo from inside.</scene_description>
<character>ANDREW</character>
<dialogue>Eric... You can't be... No...</dialogue>
<scene_description>Andrew shakes his head, trying to come to grips with this.</scene_description>
<character>ANDREW</character>
<dialogue>This is crazy... You know they're crazy...</dialogue>
<scene_description>Leonard pulls a SMALL KEY out of his pocket and UNLOCKS ERIC'S HANDCUFFS.</scene_description>
<character>ANDREW</character>
<dialogue>You're my husband. I love you. Do you hear me? I love you! We're a family!</dialogue>
<scene_description>Adriane watches as Eric slowly rises from his chair. Relief sweeping through her.</scene_description>
<character>LEONARD</character>
<parenthetical>(to Sabrina)</parenthetical>
<dialogue>Give him your weapon.</dialogue>
<scene_description>Eric extends his hand towards her... But Sabrina hesitates. She looks down at the weapon in her hand, fingers locked around it in a death grip.</scene_description>
<character>ANDREW</character>
<dialogue>Don't do it. Don't do it. Please.</dialogue>
<character>ADRIANE</character>
<dialogue>Give him your fucking weapon, Sabrina!</dialogue>
<scene_description>But Sabrina doesn't move, conflict overwhelming her as she feels the weight of her choice. AND NOW WE ARE IN SABRINA'S PERSPECTIVE. THIS IS HER STORY. Sabrina looks at Andrew sitting helpless in his chair. Then at the bloody weapon in her hand... CUT TO: The same weapon being SHARPENED WITH A METAL GRINDER.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE, SABRINA'S HOUSE -- DAY (SABRINA - 5 DAYS AGO)</stage_direction>
<scene_description>Sabrina stands in front of a workbench in her NURSING SCRUBS, illuminated by the SPARKS flying from the grinder. No conflict in her eyes, just focused intensity. We can't help but notice the jarring visual contrast. A nurse building something so horrific. She takes a break, wiping the sweat off her brow. Then listens as -- The WHISPERS rise around her, unabated. She goes back to work. Then HER PHONE RINGS, sitting on the workbench nearby. Sabrina ignores it and keeps sharpening, just like she's supposed to. Ring... Ring... She glances over. "DAD" on the screen with a SMILING PICTURE of them together. Sabrina stares as it continues to ring. The WHISPERS GROW MORE INTENSE... She presses her grinder to the metal. Sparks continue to fly. Her phone chimes with a NEW VOICEMAIL. Sabrina tenses, resisting the urge. She steels herself. Then her phone chimes again. She drops the tool and grabs her phone. PLAYS THE MESSAGE.</scene_description>
<character>SABRINA'S DAD (FROM PHONE)</character>
<dialogue>Sabrina, where in the world are you?! I'm losing it here. You have to call me, please. I just talked to your boss at the hospital. She said you've missed your last four shifts and aren't returning her calls either. What's happening?</dialogue>
<scene_description>Tears well up in Sabrina's eyes as she listens.</scene_description>
<character>SABRINA'S DAD (FROM PHONE)</character>
<dialogue>I know you well enough to know that something's very wrong. You have to call me right now. If I don't hear from you in the next hour, I'm going to the airport and getting on a flight out there to find you. If you don't want to talk to me, that's fine, but I have to know that you're okay... I love you, no matter what. I love you, Sabrina.</dialogue>
<scene_description>The message ends. She lowers her phone, staring at the smiling image of her with her dad.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PORCH, SABRINA'S HOUSE -- DAY</stage_direction>
<scene_description>Sabrina steps out onto her porch. She takes deep breaths, trying to calm her anxiety as she looks out over the beach- side town and THE OCEAN IN THE DISTANCE. Hoping to find answers in its vastness. She unlocks her phone... Brings up her dad's number... Her thumb hovers over the "Call" button -- But she's interrupted by a LOW RUMBLE. THE PORCH BEGINS TO TREMBLE BENEATH HER. DISTANT SCREAMS ECHO. Sabrina's gaze rises to the ocean... And sheer horror washes over her face... An ENORMOUS TSUNAMI approaches the shore at unbelievable speed... Careening towards her town. But she can't move, petrified by the sight. People run for their lives, grabbing loved ones, screaming in terror -- And the CRASHING WATER OVERTAKES THEM. Their bodies flung about wildly, no way to survive. A moment later, SABRINA IS SWEPT AWAY IN THE DELUGE OF WATER that rips everything apart.</scene_description>
</scene>
<scene>
<stage_direction>INT. REDMOND'S TRUCK -- DAY (SABRINA - EARLIER TODAY)</stage_direction>
<scene_description>Sabrina sits in the backseat, in a daze. Staring out the window, watching the power lines go up and dip down, up and dip down. Redmond drives, Leonard and Adriane in the other seats. All dressed for their arrival at the cabin. Coldly focused. But Sabrina just stares away. Dreading what's to come.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY -- DAY</stage_direction>
<scene_description>The truck suddenly pulls over. Sabrina opens her door before it's stopped and jumps out. SHE VOMITS into the dirt. More dry heaves follow, and then subside. She gathers herself, looking back. The others stare at her from inside the truck. She hesitates. Then climbs back in. Pulling the car door closed --</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, CABIN -- DAY (SABRINA - A FEW MINUTES AGO)</stage_direction>
<scene_description>The bedroom door closes. Sabrina's hand on the knob. She stands there for a moment, troubled by her thoughts. Then lets them pass as she takes a seat on the bed, facing Andrew, his hands still cuffed behind his chair. Just the two of them in here now.</scene_description>
<character>ANDREW</character>
<dialogue>Look, I don't know what your plan is, but you're wasting your time.</dialogue>
<character>SABRINA</character>
<dialogue>Oh don't worry, I know you're too closed-minded to ever open your eyes. I'm just babysitting you while the others talk sense into Eric and Wen.</dialogue>
<character>ANDREW</character>
<dialogue>It'll never work.</dialogue>
<character>SABRINA</character>
<dialogue>We'll see.</dialogue>
<character>ANDREW</character>
<dialogue>You know, I've been wondering... What happens when the clock ticks down to sunset, and you're wrong?</dialogue>
<character>SABRINA</character>
<dialogue>What happens when the clock ticks down to sunset, and we're right?</dialogue>
<scene_description>Andrew chuckles, shaking his head.</scene_description>
<character>ANDREW</character>
<dialogue>I feel sorry for you. Not the others, but I really, truly feel sorry for you. I mean, you're a nurse, right. You're someone who's trained to catch mental illness. I mean, what the hell happened to you?</dialogue>
<scene_description>Sabrina bristles, not liking where this is going.</scene_description>
<character>ANDREW</character>
<dialogue>Your whole job is to heal people. To save lives. And now you're here.</dialogue>
<character>SABRINA</character>
<dialogue>We told you. We don't have a choice.</dialogue>
<character>ANDREW</character>
<dialogue>And you really believe that?</dialogue>
<character>SABRINA</character>
<dialogue>Yes. I do.</dialogue>
<scene_description>But her confidence is waning.</scene_description>
<character>ANDREW</character>
<dialogue>Bullshit. You're no harbinger of the apocalypse. You're a nurse with schizophrenia.</dialogue>
<character>SABRINA</character>
<dialogue>I've seen plenty of schizophrenics. There's a big difference between a delusion and a vision.</dialogue>
<character>ANDREW</character>
<dialogue>I'd call it more of a fine line. Or more likely, no line at all.</dialogue>
<character>SABRINA</character>
<dialogue>What are the chances four people had the exact same visions?</dialogue>
<character>ANDREW</character>
<dialogue>What are the chances one person had a delusion and convinced others it was real? I'd say that's a hell of a lot more plausible.</dialogue>
<character>SABRINA</character>
<dialogue>Now that's bullshit.</dialogue>
<character>ANDREW</character>
<dialogue>Then how come you never told us how you met?</dialogue>
<character>SABRINA</character>
<dialogue>We met this morning. At a boardwalk on the coast.</dialogue>
<character>ANDREW</character>
<dialogue>So you came all the way across the country from California... Randomly showed up on a boardwalk... And just happened to find three other people dressed in jeans and fancy shirts who were all ready for the apocalypse?</dialogue>
<scene_description>Sabrina averts his accusatory gaze.</scene_description>
<character>ANDREW</character>
<dialogue>You met before, didn't you?</dialogue>
<character>SABRINA</character>
<dialogue>It doesn't matter.</dialogue>
<character>ANDREW</character>
<dialogue>I'd say it matters a lot. Leonard said we deserved to know who you were.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>All I want to know is how you all first met. It's a simple question.</dialogue>
<scene_description>Sabrina hesitates.</scene_description>
<character>SABRINA</character>
<dialogue>It was... It was on a forum.</dialogue>
<character>ANDREW</character>
<dialogue>A forum? You mean, like, an internet forum? Are you fucking kidding me?</dialogue>
<character>SABRINA</character>
<dialogue>I told you it didn't matter.</dialogue>
<character>ANDREW</character>
<dialogue>Oh it matters. It matters a lot. This is all starting to make sense...</dialogue>
<character>SABRINA</character>
<dialogue>Just stop talking. I shouldn't have told you.</dialogue>
<character>ANDREW</character>
<dialogue>You were suffering, right? Seeing horrible things. Hearing horrible things. Sound familiar?</dialogue>
<scene_description>She looks away, refusing to engage.</scene_description>
<character>ANDREW</character>
<dialogue>But instead of seeking professional help, you went online. Then you found a couple others who had the same kind of delusions as you did. You became your own echo chamber, and it got worse and worse, until here we are.</dialogue>
<character>SABRINA</character>
<dialogue>That's not what happened.</dialogue>
<character>ANDREW</character>
<dialogue>It's not? Because it happens like that all the time. That's why you hear about some soldier killing people on his base because he spent all his time on a message board where everyone thought there was a shadow government stalking them.</dialogue>
<character>ANDREW</character>
<dialogue>Or why someone thought Hillary Clinton was running a pedophile ring out of a pizza parlor and decided to go shoot it up. Or a nurse comes to believe that the apocalypse is coming and she has to stop it. It's a shared delusion.</dialogue>
<character>SABRINA</character>
<dialogue>None of that has anything to do with this!</dialogue>
<character>ANDREW</character>
<dialogue>I don't think you really believe that. I think you have doubts.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I saw the tears in your eyes when you were cleaning up Redmond's blood. Not exactly the mark of a true believer.</dialogue>
<character>SABRINA</character>
<dialogue>It doesn't mean I have to like what's happening.</dialogue>
<character>ANDREW</character>
<dialogue>You're not like the others. You want to believe... But you know in your heart that what you're doing here is wrong and evil. You know it.</dialogue>
<scene_description>Sabrina doesn't respond. Can't look him in the eye.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- EVENING (BACK TO PRESENT)</stage_direction>
<scene_description>Sabrina averts everyone's gaze as she stares at the weapon in her hand. Eric opens his hand, waiting for her.</scene_description>
<character>LEONARD</character>
<dialogue>Give it to him, Sabrina.</dialogue>
<scene_description>But she's still hesitant, she doesn't want this...</scene_description>
<character>ADRIANE</character>
<dialogue>Give it to him!</dialogue>
<scene_description>Sabrina looks to Andrew, whose hands are still cuffed behind the chair.</scene_description>
<character>ANDREW</character>
<dialogue>Don't... You're better than this...</dialogue>
<scene_description>She wavers, half of her believing him... But then she extends her arm, holding out her weapon. Eric takes it and their eyes meet. She silently begs him not to go through with it... But then he moves behind Andrew, weapon in hand.</scene_description>
<character>ANDREW</character>
<dialogue>Eric, for God's sake, listen to me! You can't do this! I know you don't believe them!</dialogue>
<scene_description>Eric eyes HOW SHARP THE BLADE IS. The other three watch his every move, waiting for the inevitable.</scene_description>
<character>ANDREW</character>
<dialogue>None of this is real! They weren't called here by some shared vision. They met on a fucking online forum! They're insane!</dialogue>
<scene_description>But Eric is unaffected by the news. He tightens his grip on the weapon. Steadies his breathing, preparing himself. Sabrina looks away, unable to watch.</scene_description>
<character>ANDREW</character>
<dialogue>Please Eric, I love you! Do you hear me? I love you, Eric! You can't... You can't!</dialogue>
<character>ERIC</character>
<dialogue>I love you too... Always.</dialogue>
<scene_description>Eric lifts the weapon high... ANDREW SCREAMS AS ERIC SWINGS THE BLADE DOWN -- AND CUTS CLEAN THROUGH ANDREW'S HANDCUFF CHAIN! It snaps in two, setting him free!</scene_description>
<character>ERIC</character>
<dialogue>Get the gun! Get the gun!</dialogue>
<scene_description>For the briefest moment, everyone is too stunned to realize what just happened... THEN ALL HELL BREAKS LOOSE. ANDREW RUNS FOR THE FRONT DOOR. Eric thrusts his weapon at Leonard, HITTING HIM IN THE GUT WITH THE BLUNT END. He swings it at Adriane, nearly taking her head off. Sabrina stands frozen, watching as Andrew runs out the door. Then she races out after him --</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- CONTINUOUS</stage_direction>
<scene_description>The sunlight is fading as Sabrina comes outside. She quickly picks up REDMOND'S WEAPON off the porch and looks ahead -- Andrew is nearly to their SUV. The TIRES HAVE BEEN SLASHED, the deflated wheels sitting on the rims. Andrew yanks open the SUV's door. About to climb in -- But Sabrina closes the distance and swings her weapon, CLOBBERING THE BACK OF HIS KNEE. Andrew cries out in pain as he falls to the ground. Sabrina stands over him. She could kill him right now if she wanted to.</scene_description>
<character>SABRINA</character>
<dialogue>This is all real, no matter what you say...</dialogue>
<scene_description>Andrew clenches his teeth as he clutches his already SWELLING KNEE. She extends her hand to him.</scene_description>
<character>SABRINA</character>
<dialogue>Come on. We still need you.</dialogue>
<scene_description>Andrew raises a hand to acquiesce and cautiously moves to get to his feet -- But he suddenly throws a HANDFUL OF DIRT IN SABRINA'S FACE with his other hand. Then PUNCHES HER IN THE STOMACH, DOUBLING HER OVER. Sabrina gasps for breath, the wind knocked out of her as Andrew pulls himself into the SUV. Sabrina lunges for him -- HE CLOSES THE DOOR JUST IN TIME. She yanks on the handle but he's locked it shut. She lets out a cry of frustration and SMASHES HER WEAPON INTO THE WINDOW. The glass spiderwebs, but doesn't break. Through the cracked glass, she can see Andrew frantically digging out a GUN CASE in the cargo area. Sabrina smashes the window again with the weapon and THE GLASS SHATTERS, showering Andrew in shards. But he's focused on the gun case. Sabrina reaches in, pops the lock, and yanks the door open.</scene_description>
<character>SABRINA</character>
<dialogue>We don't have time for this!</dialogue>
<scene_description>CLINKING METAL as Andrew fumbles with bullets, trying to load his gun. SABRINA SHOVES HER WEAPON IN, JABBING ANDREW IN HIS SIDE WITH THE BLUNT END. The bullets spill out of his hand as he cries out.</scene_description>
<character>SABRINA</character>
<dialogue>Get out, now!</dialogue>
<scene_description>SABRINA JABS HIM AGAIN, but Andrew doesn't surrender, still trying to load the gun. Sabrina flips her weapon around to the sharp end --</scene_description>
<character>SABRINA</character>
<dialogue>I don't want it to be like this!</dialogue>
<scene_description>But ANDREW TURNS OVER WITH THE GUN IN HAND -- BANG! THE BULLET HITS THE CEILING JUST ABOVE SABRINA'S HEAD, the explosive sound surprising both of them. Sabrina stumbles back as Andrew steadies his grip on the gun, aiming at her.</scene_description>
<character>ANDREW</character>
<dialogue>Now you listen to me, you crazy fucking bitch. Drop that thing and back the fuck up.</dialogue>
<character>SABRINA</character>
<dialogue>Okay... Okay...</dialogue>
<character>ANDREW</character>
<dialogue>BACK THE FUCK UP!</dialogue>
<scene_description>Sabrina shuffles back, knowing the tide has turned. She lowers her weapon, but doesn't drop it. Still holding the gun, Andrew maneuvers to get out of the SUV, face contorting with pain due to his SWELLING KNEE.</scene_description>
<character>ANDREW</character>
<dialogue>Keep going! Move!</dialogue>
<scene_description>Sabrina takes another step back. And another. Andrew cringes as he moves through the broken glass -- SABRINA TURNS AND RUNS AWAY towards the forest. Andrew struggles to get out of the SUV, his KNEE ALMOST GIVING OUT UNDER HIM. He winces, aiming his gun --</scene_description>
<character>ANDREW</character>
<dialogue>Stop! Stop!</dialogue>
<scene_description>Sabrina doesn't look back. Andrew balances his weight on his good leg, taking aim -- BANG! The bullet just misses her. But the recoil from the shot causes Andrew to lose his balance and fall. He looks up just as Sabrina disappears into the trees.</scene_description>
<character>ANDREW</character>
<dialogue>Fuck!</dialogue>
<scene_description>He grimaces, clutching his swelling knee, gritting through it. NOW WE STAY WITH ANDREW. THIS IS HIS STORY. Andrew struggles to get back to his feet. Grabbing hold of the SUV and pulling himself up, every movement causing him pain. He looks out to the trees. No sign of Sabrina. He limps forward, cringing, feet crunching on broken glass. The sound makes him look down -- At the JAGGED PIECES OF GLASS scattered across the ground... CUT TO: THE CLINK OF GLASS MUGS as we find ourselves in --</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVE BAR -- NIGHT (ANDREW - 8 YEARS AGO)</stage_direction>
<scene_description>Andrew and Eric toast their beers and drink. Each of their hairstyles a little different. As they set down their mugs, they both smile elatedly.</scene_description>
<character>ERIC</character>
<dialogue>I can't believe we're actually gonna do this.</dialogue>
<character>ANDREW</character>
<dialogue>But you're excited, right?</dialogue>
<character>ERIC</character>
<dialogue>Of course. I'm over the moon.</dialogue>
<character>ANDREW</character>
<dialogue>You're freaking out, aren't you?</dialogue>
<character>ERIC</character>
<dialogue>It's just... What if some huge project comes up at work, or one of us gets laid off --</dialogue>
<character>ANDREW</character>
<dialogue>The timing's never gonna be just right. Everyone says becoming a parent is the most terrifying thing you can ever do. So I say let's be terrified together.</dialogue>
<scene_description>He takes Eric's hand, squeezing it. Eric smiles, reassured.</scene_description>
<character>DRUNK (O.S.)</character>
<dialogue>Get outta here with that shit!</dialogue>
<scene_description>Andrew and Eric turn, seeing a DRUNK (40s) holding a cheap beer bottle glaring at them.</scene_description>
<character>DRUNK</character>
<dialogue>Do your gay thing behind closed doors, you hear me? Not out here in the open. Makes us all sick.</dialogue>
<character>ERIC</character>
<dialogue>It's a free country, sir. If you'd kindly mind your own business, we'll mind ours.</dialogue>
<character>DRUNK</character>
<dialogue>It ain't a free country for faggots.</dialogue>
<character>ANDREW</character>
<dialogue>Actually it is. Unfortunately, it's also a free country for ignorant morons who waste their time getting drunk and hating others instead of fixing their own sorry ass lives.</dialogue>
<scene_description>The Drunk glares at him. But Andrew stands his ground.</scene_description>
<character>DRUNK</character>
<dialogue>Fuck you.</dialogue>
<scene_description>He turns and wanders away. Andrew smirks.</scene_description>
<character>ERIC</character>
<dialogue>You shouldn't provoke them.</dialogue>
<character>ANDREW</character>
<dialogue>I wasn't provoking. I was telling the truth. And the truth hurts sometimes.</dialogue>
<scene_description>THE DRUNK SUDDENLY SMASHES HIS BEER BOTTLE OVER ANDREW'S HEAD. Andrew collapses off his stool while Eric leaps to his aid. PATRONS grab the Drunk, pulling him away.</scene_description>
<character>ERIC</character>
<dialogue>Andrew! Andrew!</dialogue>
<scene_description>Andrew's out cold, a GASH STREAMING BLOOD on his head.</scene_description>
</scene>
<scene>
<stage_direction>INT. EMERGENCY ROOM, HOSPITAL -- NIGHT</stage_direction>
<scene_description>Andrew sits on a bed with a DOCTOR STITCHING UP THE CUT ON HIS HEAD. Eric beside him, holding his hand tight. But Andrew's brooding. A simmering resentment bubbling within him...</scene_description>
</scene>
<scene>
<stage_direction>INT. GUN STORE -- DAY</stage_direction>
<scene_description>A CLERK sets a HANDGUN on the glass counter over a display case full of GUNS. ANDREW PICKS IT UP. Tests the weight of it in his hands. Flips open the cylinder. Flips it closed. Feels good. But then he hesitates, looking at the gun in his hand. Is he really going to do this?</scene_description>
<character>ANDREW</character>
<dialogue>Yeah. I'll take this one.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANDREW & ERIC'S BEDROOM -- DAY (ANDREW - EARLIER TODAY)</stage_direction>
<scene_description>Andrew closes up two suitcases spread across the bed, all packed up for their trip to the cabin.</scene_description>
<character>ERIC (O.S.)</character>
<dialogue>You need a hand with those? I packed for every possible weather condition.</dialogue>
<character>ANDREW</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Nah, I got 'em. You just worry about capturing that rambunctious panda of ours and getting her in her car seat.</dialogue>
<scene_description>Sounds of Wen laughing and Eric chasing after her from a nearby room. Andrew chuckles as he picks up the suitcases. But he stops as a new thought comes over him. He glances back down the hall towards the sounds of Eric and Wen, but neither is in sight. He sets down the suitcases and opens the closet door. Reaches up to the top shelf and pulls out a small GUN SAFE. Looks it over, hesitating. Yeah... Just in case. He tucks it into his suitcase, out of sight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- EVENING (BACK TO PRESENT)</stage_direction>
<scene_description>Andrew clenches that SAME GUN as he limps towards the cabin, favoring his good leg. What was once a quaint vacation home now feels like a foreboding haunted house under the murky gray sky. THUNDER CRASHES as the WIND HOWLS. Andrew passes by Wen's jar of grasshoppers, still where she left it. But the grasshoppers aren't moving anymore. Andrew eyes the BLOOD SOAKED SHEET covering Redmond's carcass on the porch. A TRAIL OF BLOOD leading from the body to the front door. Pieces of broken glass and splintered wood mixed in.</scene_description>
<character>ERIC (O.S.)</character>
<dialogue>Stay back! Stay away!</dialogue>
<scene_description>Andrew forces himself to go faster. He pushes the door open, gun at the ready as he moves back into --</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMON ROOM, CABIN -- CONTINUOUS</stage_direction>
<scene_description>Where he's met with a chaotic scene. Eric swings Sabrina's weapon wildly, keeping Leonard and Adriane at a distance.</scene_description>
<character>ERIC</character>
<dialogue>Stay back!</dialogue>
<character>LEONARD</character>
<dialogue>It's okay... We just wanna talk... That's all...</dialogue>
<scene_description>Leonard raises his hands in a gesture of peace, but he continues to stalk closer to Eric. Adriane approaches from the other side, weapon in hand, ready to strike. Andrew aims his gun at Adriane --</scene_description>
<character>ANDREW</character>
<dialogue>Drop it!</dialogue>
<scene_description>Adriane and Leonard look over, surprised to see the gun.</scene_description>
<character>ANDREW</character>
<dialogue>Drop it now! Do it!</dialogue>
<character>LEONARD</character>
<dialogue>Where's Sabrina?</dialogue>
<character>ANDREW</character>
<dialogue>Drop the goddamn weapon!</dialogue>
<scene_description>Adriane makes a show of lowering her weapon to the ground, then drops it with a loud clang.</scene_description>
<character>LEONARD</character>
<dialogue>You're dooming us all, Andrew. You're dooming your husband. You're dooming your daughter --</dialogue>
<character>ANDREW</character>
<dialogue>Shut the fuck up!</dialogue>
<scene_description>He shifts aim to Leonard, who doesn't flinch.</scene_description>
<character>ANDREW</character>
<dialogue>I'm done with you! I'm not listening to another goddamn word you say!</dialogue>
<character>LEONARD</character>
<dialogue>Just wait --</dialogue>
<character>ANDREW</character>
<dialogue>Shut your mouth or I'll put a bullet through it!</dialogue>
<scene_description>His finger is on the trigger. Leonard doesn't move a muscle. Adriane watches, hands slowly lowering towards her weapon... A GUST OF WIND BILLOWS A CURTAIN to Andrew's side... He turns for the briefest moment -- ADRIANE SCOOPS UP HER WEAPON AND CHARGES TOWARDS ANDREW FROM HIS BLIND SIDE.</scene_description>
<character>ERIC</character>
<dialogue>Andrew --</dialogue>
<scene_description>Andrew spins as SHE SWINGS AT HIM -- BANG! THE BULLET HITS ADRIANE IN THE CHEST, sending her crashing onto the floor. Leonard rushes to her. Putting a hand on the wound, trying to stop the rush of blood.</scene_description>
<character>LEONARD</character>
<dialogue>Shh... Just breathe. Breathe...</dialogue>
<scene_description>Andrew looks down at her, watching as she clings to life. Her eyes meet his as she struggles to speak.</scene_description>
<character>ADRIANE</character>
<dialogue>You know... You know what the worst part is...</dialogue>
<scene_description>Her bloody hand reaches out for her fallen weapon.</scene_description>
<character>ADRIANE</character>
<dialogue>... I knew I was dead as soon as I started seeing all this shit. I knew I was dead already.</dialogue>
<scene_description>Her hand tightens around her weapon and SHE SUDDENLY SITS UP with a jolt towards Andrew -- BANG! ADRIANE'S THROAT EXPLODES IN A GEYSER OF BLOOD, spraying Leonard as she collapses. She squirms, gurgling, as blood drains out of her... Until her body is still. Andrew and Eric stand frozen, staring at her dead body. But as Leonard looks into Adriane's lifeless eyes, his breaths quicken. And we see something new in him... Rage. With a thunderous yell, he charges at Andrew -- Andrew tries to raise his gun, but LEONARD BULLDOZES INTO HIM, SLAMMING HIM AGAINST THE WALL. Leonard grabs hold of the gun, but Andrew hangs on as the two of them STRUGGLE VIOLENTLY FOR CONTROL OF IT. Eric races to Andrew's aid. But Leonard yanks the gun backwards -- CRACK! HIS ELBOW CLOBBERS ERIC IN THE JAW, dropping Eric to the ground, clutching his face. Amidst the struggle, the bedroom door opens... And WEN STEPS OUT. Andrew hangs onto the gun as Leonard tries to pry it away, pinning Andrew against the wall, smashing him into it over and over again.</scene_description>
<character>WEN</character>
<dialogue>Stop! You're hurting him! Stop!</dialogue>
<scene_description>Leonard looks back, momentarily distracted by her voice -- And Andrew drops to his knees, causing Leonard to lose his balance and fall forward, HIS HEAD COLLIDING WITH THE WALL. Andrew tightens his grip on the gun, swinging it towards Leonard. But Leonard won't let go of it.</scene_description>
<character>WEN</character>
<dialogue>Stop it! Stop!</dialogue>
<scene_description>Leonard tries to pull the gun free, yanking Andrew's arms up and down, side to side, both still clinging to the gun -- BANG! Everyone freezes in horror. Then turns as -- WEN'S SMALL BODY CRUMPLES TO THE FLOOR. Blood spilling from the bullet wound in her chest. Time seems to stand still. Disbelief all over Andrew and Eric's faces. Then the reality hits. They run to Wen, holding her in their arms, screaming, crying.</scene_description>
<character>ANDREW</character>
<dialogue>WEN! WEN! Wake up baby! You're okay, please be okay! Wen!</dialogue>
<character>ERIC</character>
<dialogue>OH GOD, NO! WEN! OH PLEASE GOD NO!</dialogue>
<scene_description>Then they're just screaming. Indiscernible moans and cries. Agony that no parent should ever feel. Leonard watches, devastated. He collapses to his hands and knees, overcome with grief.</scene_description>
<character>LEONARD</character>
<dialogue>I'm sorry... I'm so sorry...</dialogue>
<scene_description>He repeats the words again and again. Sabrina hurries back in through the open front door. But she stops in her tracks, taking in the horrific scene. Her weapon falls from her hand. She rushes to Wen's side, going into nurse mode. Checking for a pulse. Trying to stop the bleeding. But Wen's eyes remain open. Unblinking. Andrew and Eric cling to her body, screaming between sobs. Leonard forces himself to take deep breaths. Wills himself to crawl to Adriane's body. Takes her head in his hands.</scene_description>
<character>LEONARD</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>He retrieves her WHITE MASK from her pocket. Gently slides it over her face. It remains remarkably white, in spite of the pool of blood beneath her. ANDREW rises to his feet, gun still in hand. He limps towards Leonard, hatred in his eyes.</scene_description>
<character>ANDREW</character>
<dialogue>Get up. Get up!</dialogue>
<character>LEONARD</character>
<dialogue>I'm sorry... I'm sorry... I'm so --</dialogue>
<scene_description>ANDREW CRACKS LEONARD IN THE JAW WITH THE GUN, laying him out on the floor. Sabrina watches, not interfering. She can't help but look at Eric, holding little Wen in his arms, continuing to sob. Andrew grabs an upended chair and sets it upright. Points his gun at Leonard.</scene_description>
<character>ANDREW</character>
<dialogue>Get up, you son of a bitch. Sit in that chair and don't fucking move.</dialogue>
<scene_description>Leonard struggles into the chair, still dazed. Andrew grabs a pair of fallen HANDCUFFS, pulls Leonard's arms behind the chair, and cuffs his wrists. Leonard doesn't resist.</scene_description>
<character>LEONARD</character>
<dialogue>It's not your fault. It was an accident. It just went off --</dialogue>
<character>ANDREW</character>
<dialogue>Stop talking!</dialogue>
<scene_description>Andrew points his gun at Sabrina, ushering her to move.</scene_description>
<character>ANDREW</character>
<dialogue>Get in that other chair and don't move or I'll blow your head off.</dialogue>
<scene_description>Sabrina does as she's told. Andrew reaches into their satchel and pulls out another pair of HANDCUFFS. Uses them to cuff Sabrina's hands behind the chair.</scene_description>
<character>LEONARD</character>
<dialogue>You don't have to worry about me doing anything. But we have to check.</dialogue>
<character>LEONARD</character>
<dialogue>We have to check if Wen's death is enough to stop the end.</dialogue>
<scene_description>Andrew turns, becoming more incensed.</scene_description>
<character>ANDREW</character>
<dialogue>What did you just say?</dialogue>
<character>LEONARD</character>
<dialogue>It had to be a choice. A willing sacrifice. Wen's death... She might not count.</dialogue>
<character>ANDREW</character>
<dialogue>She doesn't count? She doesn't fucking count?!</dialogue>
<scene_description>Andrew presses his gun against Leonard's temple and PULLS THE TRIGGER -- CLICK. CLICK. He keeps pulling the trigger, but the gun is empty. Leonard just stares back at him, not blinking. Andrew throws the gun down. Then picks up Leonard's SLEDGEHAMMER. He steps towards Leonard and raises the sledgehammer high -- Leonard merely closes his eyes, accepting what's to come. But Andrew hesitates. He just can't bring himself to do it. The sledgehammer slides from his fingers, falling to the ground with a loud clang. Andrew breathes heavy, glaring at Leonard. Then turns, seeing Eric still holding Wen's little body in his arms. The sight almost makes Andrew break down again.</scene_description>
<character>ANDREW</character>
<dialogue>Eric, let's go. Let's get out of here and never come back.</dialogue>
<scene_description>Eric looks up, still shell-shocked.</scene_description>
<character>LEONARD</character>
<dialogue>Eric... Turn on the TV.</dialogue>
<character>ANDREW</character>
<dialogue>We're not turning it on! Eric, come on. Let's take Wen and go.</dialogue>
<scene_description>But Eric doesn't move, conflicted.</scene_description>
<character>ANDREW</character>
<dialogue>Eric?</dialogue>
<character>LEONARD</character>
<dialogue>We have to know if we stopped it. We have to know if your daughter's death was part of something greater. We need to know if she saved the world.</dialogue>
<scene_description>Andrew crouches down next to Eric, taking his hand.</scene_description>
<character>ANDREW</character>
<dialogue>Please, let's just go. Let's get out of here and bury our daughter --</dialogue>
<character>ERIC</character>
<dialogue>Oh God!</dialogue>
<scene_description>Eric begins FRANTICALLY SWATTING THE AIR OVER AND AROUND WEN'S BODY. Andrew stares at him, baffled by the sight.</scene_description>
<character>ERIC</character>
<dialogue>Get away! Get away from her!</dialogue>
<character>ANDREW</character>
<dialogue>What? What is it?</dialogue>
<character>ERIC</character>
<dialogue>I'm getting them off her! I want them off her!</dialogue>
<character>ANDREW</character>
<dialogue>Getting what off her?</dialogue>
<character>ERIC</character>
<dialogue>The flies!</dialogue>
<character>ANDREW</character>
<dialogue>The what?</dialogue>
<character>ERIC</character>
<dialogue>The flies!</dialogue>
<scene_description>Andrew looks around. THERE AREN'T ANY FLIES. Not a single one. But Eric manically waves his hands around Wen's body. What the hell is he seeing?!</scene_description>
<character>LEONARD</character>
<dialogue>Eric... Turn on the TV.</dialogue>
<character>ANDREW</character>
<dialogue>We're not turning it on! Eric, there aren't any flies. There's nothing there. Let's go!</dialogue>
<scene_description>But Eric doesn't move. Still fighting off the flies that only he can see. THUNDER CRASHES, right above them now.</scene_description>
<character>LEONARD</character>
<dialogue>Remember what I said, Eric. The oceans will rise. The cities will drown. And a plague will descend.</dialogue>
<scene_description>That clicks with Eric. He grabs the remote and TURNS ON THE TV -- ON SCREEN: CNN. Images of an Asian City - bustling markets, crowded sidewalks, packed subways.</scene_description>
<character>ANDREW</character>
<dialogue>Why'd you do that?</dialogue>
<scene_description>Eric doesn't respond.</scene_description>
<character>ANDREW</character>
<dialogue>Eric? Why'd you turn it on?</dialogue>
<scene_description>ON SCREEN: Back to a NEWS ANCHOR. A caption reads - "CITY ZERO: HONG KONG AND THE FIGHT AGAINST THE BIRD FLU."</scene_description>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>...Surging number of H5N1 bird flu cases in Hong Kong over the past four months, with a rapidly increasing mortality rate that has crossed sixty percent. Doctors believed they had the virus contained...</dialogue>
<scene_description>Eric stares in disbelief. Andrew eyes him, growing more concerned.</scene_description>
<character>NEWS ANCHOR (ON TV)</character>
<dialogue>But now an explosion of bird flu infections are being reported as far away as England, India, South Africa, and Tennessee, sparking fears of a worldwide pandemic.</dialogue>
<scene_description>ON SCREEN: Images of PATIENTS IN HOSPITAL BEDS, CROWDED NEXT TO EACH OTHER. Hooked up to every life support system available. Skin pale, eyes bloodshot. En route to death.</scene_description>
<character>LEONARD</character>
<dialogue>We didn't stop it...</dialogue>
<character>ANDREW</character>
<dialogue>Turn it off, Eric.</dialogue>
<character>ERIC</character>
<dialogue>He said there'd be a plague...</dialogue>
<character>LEONARD</character>
<dialogue>Wen's death was an accident. You didn't choose to make a sacrifice. The only way to stop it is to willingly make a sacrifice.</dialogue>
<scene_description>Sabrina watches, shaking her head in disbelief.</scene_description>
<character>SABRINA</character>
<dialogue>This isn't right...</dialogue>
<character>ANDREW</character>
<dialogue>Eric, there've been stories about the bird flu for years. This isn't a plague.</dialogue>
<character>ERIC</character>
<dialogue>But it started in Hong Kong. Of all the cities. That's where we met Wen. Hong Kong is our city.</dialogue>
<character>ANDREW</character>
<dialogue>That doesn't have anything to do with this.</dialogue>
<character>SABRINA</character>
<dialogue>None of this is right...</dialogue>
<character>ANDREW</character>
<dialogue>Eric, listen to me, we have to go right now.</dialogue>
<scene_description>But Eric doesn't move.</scene_description>
<character>ERIC</character>
<dialogue>I... I saw something after Redmond died. There was something in the light. A figure.</dialogue>
<character>ANDREW</character>
<dialogue>You have a concussion!</dialogue>
<character>ERIC</character>
<dialogue>There was a presence. And I felt it again when Adriane and Wen died.</dialogue>
<character>ANDREW</character>
<dialogue>It was a hallucination. Listen, we can't argue with each other. It's what they want. Now please, let's go.</dialogue>
<scene_description>Eric hesitates. Then MUTES THE TV, but doesn't turn it off. The horrible images continue to play.</scene_description>
<character>ERIC</character>
<dialogue>I just need a minute, okay.</dialogue>
<character>ANDREW</character>
<dialogue>Eric --</dialogue>
<character>ERIC</character>
<dialogue>Just one minute!</dialogue>
<scene_description>Eric's sharp tone catches Andrew off guard. Eric gazes at Wen with a sadness that will last forever.</scene_description>
<character>ERIC</character>
<dialogue>It has to mean something. Our little girl... It has to mean something.</dialogue>
<scene_description>Everyone watches as he holds her in his arms.</scene_description>
<character>SABRINA</character>
<dialogue>None of this is right. It should be over. What kind of god wants this? Demands this?</dialogue>
<scene_description>Her question hangs.</scene_description>
<character>LEONARD</character>
<dialogue>The one we have.</dialogue>
<character>SABRINA</character>
<dialogue>Then maybe the world should end, if it's meant to be like this.</dialogue>
<character>ANDREW</character>
<dialogue>Shut up or I'll kill you both.</dialogue>
<scene_description>Sabrina hesitates. Then looks up to him.</scene_description>
<character>SABRINA</character>
<dialogue>I know you don't trust me. But if you let me... I'll help you get out of here.</dialogue>
<scene_description>This gets everyone's attention.</scene_description>
<character>LEONARD</character>
<dialogue>Sabrina? You can't --</dialogue>
<character>SABRINA</character>
<dialogue>If a little girl dies and nothing changes, I want no part of this. I don't believe in this kind of god.</dialogue>
<character>ANDREW</character>
<dialogue>We don't need your help.</dialogue>
<character>SABRINA</character>
<dialogue>Yes you do. You can barely walk and your husband has a concussion. You won't make it far on foot, especially if you're carrying Wen. But I can take you to Redmond's truck.</dialogue>
<character>ANDREW</character>
<dialogue>We'll find it ourselves.</dialogue>
<character>SABRINA</character>
<dialogue>The keys are hidden under a rock on the side of the road. You'll never find them without me.</dialogue>
<character>LEONARD</character>
<dialogue>You can't do this. They have to make a choice. There's barely any time left!</dialogue>
<character>SABRINA</character>
<dialogue>Then we'll run out of time!</dialogue>
<parenthetical>(to Eric)</parenthetical>
<dialogue>Trust the process. Please.</dialogue>
<scene_description>Andrew turns to Eric.</scene_description>
<character>ANDREW</character>
<dialogue>If we listen to her, will you leave right now?</dialogue>
<scene_description>Eric nods. Andrew picks up the handcuff key that had fallen in the earlier melee. Steps behind Sabrina, unlocking her cuffs.</scene_description>
<character>ANDREW</character>
<dialogue>If you test me, it won't end well for you.</dialogue>
<scene_description>The cuffs click open. She doesn't make a break for it or try to attack him. She just stands up.</scene_description>
<character>SABRINA</character>
<dialogue>Grab something to wrap up your daughter.</dialogue>
<scene_description>Andrew stares at her, not knowing if he can trust her. But then he limps towards the bathroom.</scene_description>
<character>LEONARD</character>
<dialogue>Sabrina, don't do this... You can't leave... We've come too far... We've all sacrificed so much.</dialogue>
<scene_description>Andrew grabs a large towel off the rack. Brings it to where Eric and Wen are, bending down alongside them.</scene_description>
<character>LEONARD</character>
<dialogue>Once the sun sets, it's over for everyone. You know it. You know it!</dialogue>
<scene_description>Andrew and Eric gently wrap up Wen's body in the towel. It's so painful for them, more tears rising.</scene_description>
<character>LEONARD</character>
<dialogue>Sabrina, you may try to resist, but I know you still feel it. And it's not gonna go away. It's never gonna go away until they do what we were sent here for!</dialogue>
<scene_description>The sound of METAL SCRAPING against the wooden floor. Andrew and Eric look up to see -- SABRINA PICKING UP ADRIANE'S WEAPON. Leonard merely closes his eyes as SHE SWINGS IT AT HIS HEAD -- AND BLOOD SPLATTERS ACROSS SABRINA'S FACE AND SHIRT. She keeps swinging, again and again, eyes focused. All the while, Leonard remains silent. We only hear the splat of his blood and the crunch of his bones. Until Sabrina stops swinging. Her breathing steadies. She drops her weapon.</scene_description>
<character>SABRINA</character>
<dialogue>The third choice has been made.</dialogue>
<scene_description>Andrew and Eric stare at what's left of Leonard. His scalp mashed. White shirt now crimson. Sabrina digs into Leonard's pocket and pulls out his WHITE MASK. Stretches it over his bloody face. A shaky gasp escapes her. She backs away, horrified by what she's done. Another CRASH OF THUNDER rumbles through the cabin. Then she realizes something. With trembling hands, she picks up the remote, and turns up the volume. ON SCREEN: The report continues on the bird flu. But then a BREAKING NEWS BULLETIN FLASHES. Andrew's eyes widen. This can't be happening... ON SCREEN: The SMOLDERING WRECK OF AN AIRPLANE. An aerial shot of debris scattered in a suburban neighborhood as black smoke rises from billowing flames. Then the SCREEN SPLITS -- Showing MULTIPLE CRASH SITES WITH DIFFERENT SMOLDERING PLANES.</scene_description>
<character>NEWS ANCHOR (V.O.)</character>
<dialogue>We're just getting word that as many as seventeen airplanes have crashed without warning, and without issuing any distress calls...</dialogue>
<character>ERIC</character>
<dialogue>Then the skies will fall and crash to the ground like pieces of glass...</dialogue>
<scene_description>Andrew watches, jaw hanging open. This time, there's no quick retort from him.</scene_description>
<character>NEWS ANCHOR (V.O.)</character>
<dialogue>Little is known about the cause of these crashes at this time, but aviation experts are already beginning to speculate that this could possibly be a coordinated cyber attack on the planes' --</dialogue>
<scene_description>Andrew picks up Leonard's sledgehammer and lets out a yell as he SWINGS IT AT THE TV, SHATTERING THE SCREEN IN A SHOWER OF SPARKS. He turns to Eric and Sabrina. Sledgehammer in hand.</scene_description>
<character>ANDREW</character>
<dialogue>We're leaving. Now.</dialogue>
<scene_description>But Eric doesn't move. His eyes haven't drifted from where the TV used to sit.</scene_description>
<character>ERIC</character>
<dialogue>We have a choice to make...</dialogue>
<scene_description>Andrew steps in front of Eric and takes his shoulders.</scene_description>
<character>ANDREW</character>
<dialogue>Listen to me... I just want to get out of this cabin so we can bury Wen... Please, let's just bury our daughter. Make that choice with me.</dialogue>
<scene_description>Eric blinks, coming out of his daze. He looks Andrew in the eye... Then looks down at Wen's body.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABIN -- EVENING</stage_direction>
<scene_description>Sabrina steps out, followed by Eric carrying Wen's body, wrapped in the towel. Andrew limps behind them, gun in hand. They all stop on the porch, staring up at the -- VIOLENT STORM CLOUDS filling the sky. Rain falls, lightning flashes, and thunder roars. Trees creak under an onslaught of wind. ONLY A FAINT HINT OF SUNLIGHT left on the horizon. Eric moves forward with purpose, holding Wen's body tightly as he walks. Andrew limps behind. He stops at their SUV and opens the back door. Picks up several BULLETS he dropped earlier. RELOADS THE GUN as he hobbles to catch up. The three of them head down the gravel road towards the forest. IT BEGINS TO RAIN. Andrew looks up, letting the drops wash the blood from his face. He glances back -- At the cabin. Once so peaceful... And now so horrific. Then he continues after the others.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST ROAD -- EVENING</stage_direction>
<scene_description>RAIN POURS as the three of them walk down the muddy path. Andrew and Eric side by side with Sabrina ahead. Andrew looks up at the GRAY AND PURPLE STORM CLOUDS, roiling angrily. He quickly looks down and keeps walking.</scene_description>
<character>ANDREW</character>
<dialogue>How much further is it?</dialogue>
<character>SABRINA</character>
<dialogue>Not far.</dialogue>
<scene_description>Andrew eyes the blood-soaked towel in Eric's arms.</scene_description>
<character>ANDREW</character>
<dialogue>I can carry her for a bit.</dialogue>
<scene_description>Eric shakes his head no, mind swirling just like the storm clouds above.</scene_description>
<character>ANDREW</character>
<dialogue>What is it?</dialogue>
<character>ERIC</character>
<dialogue>Leonard was right. We haven't stopped it yet...</dialogue>
<character>ANDREW</character>
<dialogue>You're not thinking straight.</dialogue>
<character>ERIC</character>
<dialogue>Everything that he said would happen has happened. You just don't want to believe it.</dialogue>
<character>ANDREW</character>
<dialogue>All I want is to get to that truck and bury our daughter.</dialogue>
<scene_description>Eric stops, facing Andrew. Sabrina turns, watching them.</scene_description>
<character>ERIC</character>
<dialogue>Do you really think that everything that's happened today, everything we've seen... Do you really think it's all just a coincidence?</dialogue>
<character>ANDREW</character>
<dialogue>Do you really think that one of us killing the other would stop the end of the world?</dialogue>
<scene_description>Andrew stares at him as the rain pours around them.</scene_description>
<character>ANDREW</character>
<dialogue>Do you?</dialogue>
<character>ERIC</character>
<dialogue>You didn't answer my question.</dialogue>
<character>ANDREW</character>
<dialogue>Yes, I think it's all a coincidence! A horrible, tragic coincidence! I have to believe that, because the alternative is too horrifying to even consider! Now answer mine.</dialogue>
<scene_description>Eric just stares back.</scene_description>
<character>ANDREW</character>
<dialogue>Do you really think that one of us needs to kill the other?</dialogue>
<scene_description>Eric can't bring himself to say it... But Andrew can see it in his eyes. He does. SABRINA SCREAMING jars their attention.</scene_description>
<character>SABRINA</character>
<dialogue>NO! NO!</dialogue>
<scene_description>She puts her hands over her ears, closing her eyes, trying to drown something out, yelling to no one we can see.</scene_description>
<character>SABRINA</character>
<dialogue>I'm helping them! I'm helping them!</dialogue>
<scene_description>SHE TAKES OFF RUNNING, hands clenched over her ears.</scene_description>
<character>ANDREW</character>
<dialogue>What the... Stop! Sabrina, stop!</dialogue>
<scene_description>He raises his gun but she doesn't slow down, running into the forest. The dads follow, Andrew on guard with his gun, Eric still carrying Wen. They catch up with her and see -- Sabrina frantically rooting around in the mud, MUTTERING TO HERSELF. Words drowned out by the rain.</scene_description>
<character>ANDREW</character>
<dialogue>What are you doing?!</dialogue>
<scene_description>SHE TOSSES SOMETHING towards them. It lands at their feet. Andrew picks it up. It's the TRUCK KEYS. Then Sabrina rises, now holding a DARK VINYL BAG.</scene_description>
<character>ANDREW</character>
<dialogue>What's that?</dialogue>
<character>SABRINA</character>
<dialogue>The truck's only a little ways down the road. You can make it.</dialogue>
<character>ANDREW</character>
<dialogue>What's in the bag, Sabrina?</dialogue>
<scene_description>Sabrina opens the bag, reaches in, and lets it fall. Revealing a PISTOL in her hand that's bigger than Andrew's. Andrew tightens his aim on her. But she keeps her gun at her side. Tears in her eyes.</scene_description>
<character>SABRINA</character>
<dialogue>I didn't know it was here. Redmond must've left it. Or maybe Leonard. I just saw the keys. I swear to you both, I swear.</dialogue>
<character>ANDREW</character>
<dialogue>Just drop it! Let it fall!</dialogue>
<scene_description>Sabrina's other hand trembles as she reaches into her pocket, pulling out her WHITE MASK.</scene_description>
<character>ANDREW</character>
<dialogue>No, no, no, put that away. Put it away and drop the gun.</dialogue>
<scene_description>She roughly pulls the mask over her head with her free hand. But it's askew, covering only the top half of her face.</scene_description>
<character>SABRINA</character>
<dialogue>You have the keys. Just go! Please just go!</dialogue>
<scene_description>She begins to cry, open mouthed and silent.</scene_description>
<character>SABRINA</character>
<dialogue>I'm sorry... I wanted to help you. I wanted to help you more than this.</dialogue>
<scene_description>Eric gently sets Wen's body down in the grass. Then stands to face Sabrina, taking it all in.</scene_description>
<character>ANDREW</character>
<dialogue>Sabrina, listen to me, just --</dialogue>
<scene_description>In one swift motion, Sabrina LIFTS THE GUN TO HER OWN HEAD.</scene_description>
<character>ANDREW</character>
<dialogue>No!</dialogue>
<scene_description>She sobs as her other arm waves furiously with objection. Her will fighting against her mission. Mouth twisted in a silent scream.</scene_description>
<character>ANDREW</character>
<dialogue>Just put it down! Don't do this!</dialogue>
<scene_description>Sabrina's wide eyes lock on Eric.</scene_description>
<character>SABRINA</character>
<dialogue>You still have time to save everyone. You still have a chance. Even after. But you have to do it quick.</dialogue>
<scene_description>She frantically shakes her head, "no." But her hand holding the gun is rock solid.</scene_description>
<character>SABRINA</character>
<dialogue>Please Eric, you're our --</dialogue>
<scene_description>BANG! Her body collapses against a tree, head lolling to the side. Blood rapidly spreading in the heavy rain.</scene_description>
<character>ANDREW</character>
<dialogue>FUCK!</dialogue>
<scene_description>He turns away, hands on his knees, unable to look. But Eric hasn't moved. Eerily unshaken by Sabrina's death. He calmly moves towards her body. Kneels down next to her.</scene_description>
<character>ERIC</character>
<dialogue>She said we could still save everyone...</dialogue>
<scene_description>Then he stands up and turns back, revealing that HE NOW HAS SABRINA'S GUN IN HIS HAND, POINTING IT AT ANDREW.</scene_description>
<character>ERIC</character>
<dialogue>But we have to do it quick.</dialogue>
<scene_description>Andrew stares back at him, his gun at his side.</scene_description>
<character>ANDREW</character>
<dialogue>I could never hurt you, Eric. And I don't think you want to hurt me.</dialogue>
<scene_description>Eric's aim doesn't waver.</scene_description>
<character>ANDREW</character>
<dialogue>Forget about all the coincidences, okay? They expect us to believe Wen's death isn't a worthy sacrifice for their god. So you know what? Fuck them and their god. Fuck 'em all!</dialogue>
<scene_description>His voice cracks as a sob escapes. On the verge of breaking down as Eric keeps the gun on him.</scene_description>
<character>ERIC</character>
<dialogue>You can try to explain everything away. But I saw something that you didn't see.</dialogue>
<character>ANDREW</character>
<dialogue>You just think you saw it --</dialogue>
<character>ERIC</character>
<dialogue>I know I saw it! I felt it. And for Wen to be taken from us... That didn't just happen. He wouldn't have taken her for nothing.</dialogue>
<character>ERIC</character>
<dialogue>And now all those other fathers and daughters, and mothers and sons. It's up to us. We can still save them.</dialogue>
<scene_description>Andrew drops his gun.</scene_description>
<character>ANDREW</character>
<dialogue>So which one of us is it gonna be then?</dialogue>
<scene_description>Eric holds his gun steady. Andrew limps towards him.</scene_description>
<character>ANDREW</character>
<dialogue>Which one?</dialogue>
<character>ERIC</character>
<dialogue>Don't try to take it away.</dialogue>
<character>ANDREW</character>
<dialogue>I won't. I promise.</dialogue>
<scene_description>He takes a step forward -- And ERIC PUTS THE GUN UNDER HIS OWN CHIN. Andrew takes a sharp breath.</scene_description>
<character>ERIC</character>
<dialogue>He said we have to willingly sacrifice one of us. That's all it takes. I'll do it. You don't have to be here. Just take Wen and go.</dialogue>
<scene_description>But Andrew moves closer.</scene_description>
<character>ERIC</character>
<dialogue>Stay away from me! Don't you get it? My life's already over. I don't want to live without her.</dialogue>
<scene_description>But Andrew takes another step towards him.</scene_description>
<character>ERIC</character>
<dialogue>Stay back!</dialogue>
<character>ANDREW</character>
<dialogue>I'm sorry, but I can't do that.</dialogue>
<parenthetical>(another step)</parenthetical>
<dialogue>I'm not taking the gun. I'm just gonna take your other hand, okay.</dialogue>
<scene_description>He slowly reaches out, gently taking Eric's free hand in his, wrapping his fingers around it.</scene_description>
<character>ANDREW</character>
<dialogue>I'm not taking the gun from you. I promised I wouldn't.</dialogue>
<scene_description>With his other hand, Andrew touches Eric's wrist that's holding the gun. Eric tenses.</scene_description>
<character>ANDREW</character>
<dialogue>If you really want to do this, I'll accept it. But it can't be you.</dialogue>
<scene_description>He slowly moves Eric's arm, UNTIL THE GUN IS POINTED AT ANDREW'S CHEST.</scene_description>
<character>ANDREW</character>
<dialogue>It's gotta be me. Because I can't live without you.</dialogue>
<scene_description>Andrew lowers his hand, leaving the gun pressed against his chest. Eric's finger hovers over the trigger. Second after excruciating second passes.</scene_description>
<character>ERIC</character>
<dialogue>I... I don't know what to do.</dialogue>
<character>ANDREW</character>
<dialogue>Yes you do. You'll throw the gun down. It'll be hard, but you can do it. Then we'll take Wen and walk down that road. We'll get out of here and we'll bury her. We'll bury her like she deserves to be buried, with all of our love for her.</dialogue>
<scene_description>The storm rumbles above them.</scene_description>
<character>ERIC</character>
<dialogue>You still don't believe it, do you.</dialogue>
<character>ANDREW</character>
<dialogue>Yes, I do. I don't want to, but I do. I know something is happening here. Something horrible.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But how do you know it's God that's doing it?</dialogue>
<scene_description>Eric blinks, not following Andrew's line.</scene_description>
<character>ANDREW</character>
<dialogue>What if it isn't God making these things happen? What if it's someone else? Someone cruel and evil?</dialogue>
<character>ANDREW</character>
<dialogue>Because I know the God you believe in, the God you love, would never... Could never... Do anything like this.</dialogue>
<scene_description>The statement lingers. Eric slowly draws a breath. Glancing up at the storm above. At the towel covering Wen's precious body. Suddenly seeing everything in an entirely new light.</scene_description>
<character>ANDREW</character>
<dialogue>If you pull that trigger, you're doing exactly what he wants you to do. You're giving in to evil. You're letting him win.</dialogue>
<scene_description>Andrew slowly reaches up and takes Eric's free hand.</scene_description>
<character>ANDREW</character>
<dialogue>But you wanna know how we overcome? We overcome by showing him that we love each other. And that bond is too strong to break.</dialogue>
<character>ERIC</character>
<dialogue>We can't go on... After all this... We can't go on.</dialogue>
<character>ANDREW</character>
<dialogue>We will go on. We have to. It's all we can do. We'll go on.</dialogue>
<scene_description>Eric's hand quivers, finger on the trigger... Then he lowers the gun from Andrew's chest... And drops it. He leans into Andrew, who leans back into him. Their heads side by side, cheeks touching. Leaning onto the only support they have left in the world. Together, they lift Wen's body, holding her in their arms with so much love. Then they set off down the road, carrying their daughter. Not looking back. Eyes focused on the journey ahead. While high above, the sky is a malignant black. Bright lightning flashes, thunder echoes, and the storm rages... But these two are walking through it... They're walking through it together. CUT TO BLACK.:</scene_description>
</scene>
</script> | Seven-year-old Wen is vacationing with her fathers, Eric and Andrew, at a remote cabin in rural Pennsylvania. She is approached by a stranger named Leonard, who explains that he needs Wen and her parents' help to save the world. Three other individuals break in with makeshift weapons and tie them up. Struggling to fight them off, Eric sustains a concussion. Leonard and his companions—Sabrina, Adriane, and Redmond—claim that they have no intention of harming the family. However, in the past week, they have been driven by visions to find the family. They foresee an impending apocalypse in which oceans will rise, a pandemic will spread, and the sky will fall. The only way to prevent this is for the family to sacrifice one of their own. If they do not make a choice, they will be the last people standing. When the family refuses, the intruders sacrifice Redmond by fatally striking him with their weapons. Eric sees a figure of light as Redmond dies. On television, news reports show devastating megatsunamis. Andrew believes Redmond is Rory O'Bannon, a man who had been arrested after assaulting Andrew in a bar years prior. He thinks Rory tracked him down for revenge. Leonard, Sabrina, and Adriane grapple with guilt, but reveal that Redmond's death has unleashed the first judgment of humanity. The next day, the intruders sacrifice Adriane. Meanwhile, a deadly variation of the flu virus spreads across the world. Andrew escapes and shoots at Sabrina with his gun until she flees. As Leonard is being held at gunpoint, Sabrina breaks in and is fatally shot by Andrew. Leonard decapitates Sabrina, and afterwards Andrew finds Redmond's wallet and proves to Leonard that he was Rory. Andrew confronts Leonard in the bathroom, but Leonard overtakes him and grabs Andrew's gun. A TV broadcast reveals that hundreds of spontaneous plane crashes have occurred around the world. Realizing their time is nearly over, Leonard informs the family that after his death, they will only have a few minutes to make a decision. He then slits his throat. Upon his death, lightning causes fires and more planes to crash. Eric now believes the events are real, and that the intruders represent the Four Horsemen of the Apocalypse. Not wanting Wen to grow up in a destroyed world, he offers himself as the sacrifice and envisions an older Andrew and an adult Wen thriving in the future. He feels that their family was chosen to make the sacrifice because their love is so pure. Andrew reluctantly shoots and kills Eric. Andrew and Wen find the visitors' truck with belongings that corroborate their stories. They drive to a crowded diner, where they watch news reports confirming that the disasters have subsided. The radio plays "Boogie Shoes" by KC and the Sunshine Band, coincidentally the song that Eric had played for them before. The duo drives off. As the closing credits fade out, seven distinct loud knocks are heard at the very end of the film. |
Cold Mountain_2003 | tt0159365 | <script>
<scene>
<stage_direction>EXT. COLD MOUNTAIN TOWN, NORTH CAROLINA. DAY</stage_direction>
<scene_description>ON A BLACK SCREEN : Credits . A RAUCOUS VOICE -LRB- SWIMMER 'S -RRB- CHANTING IN THE CHEROKEE LANGUAGE . A RANGE OF MOUNTAINS SLOWLY EMERGES : shrouded in a blue mist like a Chinese water color . Below them , close to a small town , YOUNG MEN , armed with vicious sticks and stripped to the waist , come charging in a muscular , steaming pack . Their opponents , also swinging sticks , attach the pack . A ball , barely round , made of leather , emerges , smacked forwards by INMAN , who hurtles after it and collides with a stick swung by SWIMMER , a young and lithe American Indian . Inman falls , clutching his nose . The ball bobbles on the ground in front of him . He grabs it and gets to his feet , the blood pouring from his nose . His team form a phalanx around him and he continues to charge . A PRISTINE CABRIOLET pulled by an impressive horse , comes down towards the town . It has to pass across the temporary field of play , parting the teams . Some of the contestants grab their shirts to restore propriety as the Cabriolet and its two exotic passengers passes by . The driver is a man in his early fifties , dressed in the severe garb of a minister , MONROE . And next to him , a self - conscious girl in the spotless elaborate , architectural skirts of the period , is his daughter , ADA . Inman , using his shirt to staunch his battered nose , looks at Ada , astonished by her . An angel in this wild place . Now Swimmer stops chanting and begins , more hesitantly , to translate into English :</scene_description>
<character>SWIMMER’S VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You will be lonely. You will howl like a dog as you walk alone. You will carry dog shit cupped in your hands. You will be smeared with dog shit. Your spirit will wane and dwindle to blue, the colour of despair.</dialogue>
<scene_description>As the Cabriolet passes , SWIMMER takes the ball an with a whoop starts to run towards the opposing goal . The game resumes . Ada looks back as the men swarm into each other , sticks and fists flailing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN TOWN. NIGHT</stage_direction>
<scene_description>A SIDE OF BEEF turns on a huge barbecue . The battered teams eating , drinking hard liquor , rehearsing victory and defeat , illuminated by a roaring bonfire . Swimmer is sewing up a gash in Inman 's cheek as he continues to translate :</scene_description>
<character>SWIMMER</character>
<dialogue>This is your path. There is no other. That's a curse you can use on the Yankee before battle.</dialogue>
<character>INMAN</character>
<dialogue>And that works?</dialogue>
<character>SWIMMER</character>
<dialogue>You have to say it in Cherokee.</dialogue>
<character>INMAN</character>
<dialogue>You said it to me in Cherokee.</dialogue>
<scene_description>During this , Monroe and Ada have arrived , escorted by SALLY SWANGER , a local woman , middle - aged , kindly , and her husband , ESCO , a glorious curmudgeon . The Monroes are introduced to various locals . Inamn watches them , on the other side of the crowd . The Reverend Monroe , his daughter Ada . Up from Charleston , bringing God 's word to you heathens ! Is Esco 's preferred introduction . Building a church . Inman watches Ada , moves his head to keep her in view as Swimmer stitches , and winces with pain .</scene_description>
<character>SWIMMER</character>
<dialogue>So keep your head still.</dialogue>
<scene_description>Sally collects plates for the Monroes . Hands them to Ada and her father , who wait , patiently , for silverware . Esco takes a plate , picks up a skewer of meat , bites on it . Monroe pluckily follows suit .</scene_description>
<character>INMAN</character>
<parenthetical>( to Swimmer . )</parenthetical>
<dialogue>Anyway, there wo n't be any war. And if there is, they say it wo n't last a week.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. PREDAWN</stage_direction>
<scene_description>CAPTION : PETERSBURG , VIRGINIA . JULY 30TH , 1864 . IN THE FOURTH YEAR OF THE CIVIL WAR . A STAND OF TREES . The pastoral lush green Virginia . A RABBIT surfaces from its hole . Peace and beauty . A second RABBIT shakes itself from the ground , darts into open ground to confront the FORBIDDING TRENCHES OF THE CONFEDERATE AND UNION ARMIES , RANGED AGAINST EACH OTHER ON THE OUTSKIRTS OF PETERSBURG . Massive wooden barricades in the shape of crosses , rows of X 's , define the two lines . The Federals have been laying siege for months . So early and it 's already hot . The trees are an oasis of green in a world of mud between the two stark and ugly scars of the trenches . IN THE CONFEDERATE LINES , the men are rousing , boiling water for coffee or to shave , smoking , stiff from night . There 's a large gun emplacement and some men still sleep against the stub - nosed cannon . Another RABBIT is disturbed from its hole . Ears pricked up to a distant rumbling .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL. PREDAWN.</stage_direction>
<scene_description>A dark hole . Some evil place . A scraping sound . Shapes burrowing forwards at a crouch . A silent purpose .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. PREDAWN.</stage_direction>
<scene_description>Young OAKLEY , freshly recruited , approaches a group of men , like him Highlanders from Company F of the 25th North Carolina Regiment . He doles out breakfast . Inman , loading his heavy LeMats pistol , its nine rounds , is not hungry . Oakley serves another , ROURKE , last seen in the scrum at Cold Mountain . Oakley keeps his head low as he serves .</scene_description>
<character>ROURKE</character>
<dialogue>Do n't worry, son. Those Yankee boys keep store hours. They ai n't open yet.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL. PREDAWN</stage_direction>
<scene_description>Shadows and shapes . A BARREL rumbles along the tunnel . It reaches a kneeling figure , who rolls it forwards . A relay team . At the end of the tunnel , where it widens , a man , naked to the waist , crouches , stacking the barrels .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. PREDAWN</stage_direction>
<scene_description>A RABBIT , scared up , darts along the trench . Rourke sees it , beckons to another Cold Mountain boy , Butcher .</scene_description>
<character>BUTCHER</character>
<dialogue>That's fresh breakfast. Shoot him!</dialogue>
<character>ROURKE</character>
<dialogue>I'm not firing, start the damn war off.</dialogue>
<scene_description>Butcher chases after the rabbit , Rourke in raucous support .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL. PREDAWN</stage_direction>
<scene_description>The crouching man has wrapped FUZE WIRE around the last barrel , and now retreats , paying out the wire as he does so , as each man in the tunnel crawls backwards behind him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. DAWN</stage_direction>
<scene_description>Rourke weaves through the gun emplacements , laughing .</scene_description>
<character>ROURKE</character>
<dialogue>That's my rabbit!</dialogue>
<scene_description>Great sport . Inman , fifty yards away , looks over , amused , goes back to his gun .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL. DAWN</stage_direction>
<scene_description>The fuze wire is lit . It fizzes towards the barrels .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. DAWN</stage_direction>
<scene_description>Rourke is running BUT NOW THE GROUND BUCKLES UNDER HIM AND HE 'S BEING LIFTED SLOWLY INTO THE AIR , the earth swelling . AN APOCALYPTIC EXPLOSION . FOUR TONS OF DYNAMITE RIP THE GROUND OPEN IN A CRATER 135 FEET LONG , 90 FEET ACROSS , 30 FEET DEEP . HORSES , GUNS , MEN ARE BLOWN TO PIECES AND THROWN UP INTO THE AIR . INMAN DISAPPEARS UNDER DIRT AND DEBRIS . Pandemonium . The Confederates are in complete disarray . The Federals pour forwards across NO MANS LAND , through the peaceful oasis of trees , roaring the roar of attack . They flood towards the crater , hundreds of them , charging into a dense and impenetrable WALL OF SMOKE . THEN THEY 'RE INSIDE THE GREAT GASH OF CRATER AND CA N'T GET OUT AGAIN , arriving at an insurmountable wall of mud . The Confederates regroup . Orders are yelled . Chaos developing into battle . The Confederates begin firing into the crater . Guns and mortar wheel round and empty into what is becoming a terrible death trap . Inman gets to his feet . Oakley with him , and rushes through the smoke to the pit , emptying his LeMats into the crater . LATER : A BLACK REGIMENT from the Union join the attack . Bodies falling on bodies as the Federals charge in and pack their comrades even tighter . The Confederates make a pincer movement outside the Crater , forcing all the Federals in . It 's Medieval . No escape . THE CONFEDERATES jump into the pit to engage the Federals . Hand to hand fighting . Too close for rifles , just bayonets , and guns swung like clubs and Inman sliding down into that hell , tiring the nine rounds , then the shotgun charge , which does a terrible damage . Primitive . Unutterable carnage . Men killing each other in embraces , soldier crushed against soldier , desperate to survive , to kill , to live . An oozing layer cake of bodies , dead and frantically alive , drowning in slick . YOUNG OAKLEY loses his rifle and picks up a magazine case , clubbing his opponent , then slips onto him and is stuck with a bayonet , the pain of which makes him squeal . INMAN GOES AT IT . He 's a warrior , punching and stabbing and firing . A coldly efficient killer . He 's grabbed from behind and crushed , a hand gouging at his face , an almighty struggle . He falls and lands on top of Oakley , and he and his Federal opponent fight to the death with the wounded boy as their pillow . The slaughter continues over and around them , the sound , the sound of hell and madness . The boy has his arm around Inman , like lovers . LATER : The Confederates run after the retreating Union soldiers , firing , cavalry riding them down . Inman stands , the boy 's blood all over him , exhausted and appalled . The crater , behind him , an abattoir of men . The victors are yelling , pumped mad with adrenaline . Butcher comes alongside Inman .</scene_description>
<character>BUTCHER</character>
<dialogue>That was something! That's hell and we've been there! Kicked old Nick's asshole.</dialogue>
<scene_description>A WOUNDED BLACK SOLDIER sits up as Butcher celebrates . Butcher runs over , but ca n't find a charge for his musket . He looks around in the stack of corpses , pulling out weapons , tries one : not loaded , throws it down , tries another : not loaded . The wounded man ca n't get up , tries to drag himself like a crab away from Butcher . Inman yells at him , appalled .</scene_description>
<character>BUTCHER</character>
<dialogue>You got a charge?</dialogue>
<scene_description>He picks up another musket . It fires . The wounded Federal slumps back , dead .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. DUSK</stage_direction>
<scene_description>THE AFTERMATH . The dead being piled up for burial , divided into allegiance . Wounded prisoners able to walk are led away . A great deal of casual looting . Of boots , of equipment , of personal items . Inman sees a soldier in the crater , lining up wounded Federals , putting their heads in a row . THE MAN EXTRACTS A HAMMER FROM HIS BELT AND , SATISFIED HE HAS AN ECONOMIC ARRANGEMENT , PROCEEDS DOWN THE LINE , SMASHING EACH SKULL . Inman turns away , sees another Rebel , extravagantly costumed , a strange FIDDLE head protruding from his knapsack . This is STOBROD THEWES . He 's bent over a dead Federal , examining his mouth . He reaches behind his back and roots around in the knapsack , producing A PAIR OF PLIERS , WHICH HE INSERTS INTO THE CORPSE 'S MOUTH . He 's yanking away when A SWINGING BOOT connects with his head and knocks him to the ground . Startled , he looks up to see Inman hovering over him .</scene_description>
<character>STOBROD</character>
<dialogue>That's gold in his mouth he got no need for.</dialogue>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>We take his boots.</dialogue>
<scene_description>He examines his fiddle for damage . Some orderlies pass , lifting OAKLEY away on a gurney . Oakley 's pale as a maiden , the life leaking from him . Inman walks a way with him . Oakley looks up , desperate to be brave .</scene_description>
<character>OAKLEY</character>
<dialogue>I got a few. You saw?</dialogue>
<character>INMAN</character>
<dialogue>I saw.</dialogue>
<character>OAKLEY</character>
<dialogue>I know you do n't recognise me. I'm Mo Oakley's boy.</dialogue>
<parenthetical>( Inman finds this incredible . )</parenthetical>
<dialogue>It's okay. I was thirteen when you all left. Am I going to die?</dialogue>
<scene_description>Inman flicks his eyes to the Orderly , whose look confirms the boy 's wounds are certainly mortal .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIELD HOSPITAL. NIGHT</stage_direction>
<scene_description>Inman sits on the ground beside Oakley 's cot . Around them , the wounded are certainly dying , makeshift care , oil lights , groans .</scene_description>
<character>OAKLEY</character>
<dialogue>I'd like to hear some music while I go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. NIGHT</stage_direction>
<scene_description>Inman walks around the campfires . He hears some fiddle music . It 's Stobrod . Stobrod sees Inman . Inman stares , his expression an instruction , the turns and walks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIELD HOSPITAL. NIGHT</stage_direction>
<scene_description>Stobrod stands over Oakley . Consults with Inman .</scene_description>
<character>STOBROD</character>
<dialogue>What about Bonaparte's Retreat? That's one I play.</dialogue>
<character>OAKLEY</character>
<dialogue>Play me something sweet. Like a girl's waiting for me.</dialogue>
<scene_description>Stobrod looks at Inman , confused .</scene_description>
<character>OAKLEY</character>
<dialogue>Play me something like there's nothing to fear from a merciful Lord.</dialogue>
<character>INMAN</character>
<parenthetical>( to Stobrod . )</parenthetical>
<dialogue>You heard him.</dialogue>
<character>STOBROD</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>I only know a couple of tunes.</dialogue>
<character>OAKLEY</character>
<dialogue>Like when you're thirsty up at Bishop's Creek and the water is so cool.</dialogue>
<scene_description>Inman glares at Stobrod . And Stobrod starts to play . Hesitant , then with gathering confidence , improvising , increasingly expansive , as if he 's as surprised as everyone else . Oakley 's lips move . A whisper . Inman leans in .</scene_description>
<character>OAKLEY</character>
<dialogue>I'm reaching Cold Mountain before you.</dialogue>
<scene_description>Stobrod plays . It 's wrenching . Oakley stills . Inman abruptly puts his hand on the neck of the fiddle , stopping Stobrod . The boy is dead . Inman gets to his feet and walks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFEDERATE TENT. NIGHT</stage_direction>
<scene_description>A dozen men in the tent . Inman has a BOOK , its cover gone , rolled up and tied with a leather strap . His bookmark is A FADED TINTYPE PHOTOGRAPH of a solemn young woman . He unwraps the book carefully and reads a page by the sickly light next to his bedroll . An OFFICER comes into the tent , approaches Inman , who makes a stand .</scene_description>
<character>OFFICER</character>
<dialogue>Do n't get up, soldier. You are mentioned tonight in my report. You are a credit to the Highlands, to North Carolina and to the Cause.</dialogue>
<character>INMAN</character>
<parenthetical>( tight . )</parenthetical>
<dialogue>Do you have news, sir, on my application for transfer?</dialogue>
<character>OFFICER</character>
<dialogue>I know. A bloody day. It's what our General said : Good thing war is so terrible else a man might end up liking it too much.</dialogue>
<character>INMAN</character>
<dialogue>Sir. It was my understanding the medical corps was desperate for volunteers.</dialogue>
<character>OFFICER</character>
<dialogue>Right now, soldier, it's me who is in need of volunteers. There's a dozen Yankees in that stand of trees between us. Stuck there from the retreat. Come daylight they can shoot us down for sport.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. NIGHT</stage_direction>
<scene_description>A beautiful night . Lots of stars . Inman and three others , including Butcher , slide over the top of the trench , far to one side of the stand of trees . The plan is to cast a wide arc that will bring them around back of the trees , closer to the enemy side than their own . The four men slither over the ground . They pause . Inman has arrived at a tangle of corpses . He slithers over them . They work their way towards the trees . THERE ARE A HALF DOZEN FEDERALS CROUCHING IN THE COVER OF THE TREES . They are dozing . Only one of them sits with a rifle surveying the Confederate lines , the others have their backs to the enemy , sitting against the trunks , grabbing a few minute 's sleep . As the four rebels approach , still crawling , one of the Federals opens his eyes , sees the attack , shifts for his rifle . INMAN IMMEDIATELY STANDS UP , FIRING INSTANTLY , killing him and two others , while Butcher throws himself at another . The exchanges are brief and savage and one of Inman 's party and all of the Federals lay dead . Then the rebels break from the trees . A FLARE goes up , then another , both from the Confederate trenches . INMAN AND HIS ACCOMPLICES ARE PICKED OUT IN A BRILLIANT GREEN LIGHT . Shots follow , from both sides , aimed at the three returning men as they zigzag towards their own lines . As they get close , voices cry out , rippling down the trench , joining their own admonitions : Do n't shoot , Hold your fire , they 're our boys , Hold your fire ! They 're almost home . Butcher is laughing , whooping . Then just as suddenly he falls , wounded . Inman stops , turns back , runs to him . Inman collects Butcher , drags him , carries him . They 're fifty yards from their lines . A BULLET CATCHES INMAN IN THE NECK . He goes down like a tree , blood pouring from his neck . Lying on the ground , he watches the phosphorescent lights slowly fade to black , all sound fading with them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHAPEL, COLD MOUNTAIN TOWN. 3 YEARS EARLIER. DAY</stage_direction>
<scene_description>A WOODEN JOIST swings across the view of the Blue Ridge . Men are swarming over the roof of an unfinished CHAPEL , below which appears the small town of COLD MOUNTAIN . Among the workers , armed with nails and hammer , knees clutching a rafter , is Inman , fresh and a whole lifetime younger . Rourke and Butcher are also there hammering , building , kidding around and Oakley , barely a teenager . Below them , women are setting up a lunch for the workers , ADA amongst them . She has the circumspect air of the blue stocking , uncomfortably aware of the dirt beneath her hem , the men 's radar for her every move . Inman watches her as Sally Swanger approaches .</scene_description>
<character>SALLY</character>
<parenthetical>( to Ada , as Monroe moves off . )</parenthetical>
<dialogue>Ada, how are you settling in? Are you liking the farm?</dialogue>
<character>ADA</character>
<dialogue>Very much. It's beautiful country.</dialogue>
<character>SALLY</character>
<dialogue>So listen - if you would say hello to one of these fools, I'll get a field cleared this weekend.</dialogue>
<character>ADA</character>
<dialogue>Anyone? Like a forfeit?</dialogue>
<character>SALLY</character>
<parenthetical>( pointing at Inman who immediately looks away . )</parenthetical>
<dialogue>No. Him in particular, up in the rafters. Been pressing me all morning.</dialogue>
<scene_description>UP ON THE ROOFBEAMS OF THE CHAPEL , the men are preoccupied with talk of secession from the Union .</scene_description>
<character>ROURKE</character>
<parenthetical>( hammering . )</parenthetical>
<dialogue>I call this nail : Northern Aggression.</dialogue>
<parenthetical>( hammering . )</parenthetical>
<dialogue>I call this nail : a free nigger.</dialogue>
<character>BUTCHER</character>
<dialogue>Show some respect - these nails are making a church.</dialogue>
<character>ROURKE</character>
<parenthetical>( hammering . )</parenthetical>
<dialogue>I call this nail : respect the church.</dialogue>
<scene_description>Ada comes over , carrying a tray of lemonade glasses . Calls up to Inman .</scene_description>
<character>ADA</character>
<dialogue>Hello.</dialogue>
<scene_description>Inman swings down . He feels the other men staring , burning a hole in his head .</scene_description>
<character>ADA</character>
<dialogue>I'm Ada Monroe.</dialogue>
<character>INMAN</character>
<dialogue>I'm Inman.</dialogue>
<character>ADA</character>
<dialogue>Inman?</dialogue>
<character>INMAN</character>
<dialogue>W. P. Inman.</dialogue>
<character>ADA</character>
<dialogue>W. P. Inman.</dialogue>
<character>INMAN</character>
<dialogue>Repeating a thing does n't improve it.</dialogue>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>People call me Inman.</dialogue>
<character>ADA</character>
<dialogue>If you were to take a glass of lemonade your friends might stop staring. Inman.</dialogue>
<character>INMAN</character>
<dialogue>They're not my friends.</dialogue>
<scene_description>He drops down to ground level , takes the lemonade , scowls at the other guys . They 're breaking for lunch and as they make their way to the trestle tables - they enjoy jostling Inman .</scene_description>
<character>INMAN</character>
<dialogue>Thank you.</dialogue>
<character>ADA</character>
<dialogue>And what do you do?</dialogue>
<character>INMAN</character>
<dialogue>I work wood. Got a piece of land. Mostly work wood.</dialogue>
<character>ADA</character>
<dialogue>Clear fields?</dialogue>
<character>INMAN</character>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>I can clear a field.</dialogue>
<character>ADA</character>
<dialogue>So, was there something in particular you wished to say to me?</dialogue>
<character>INMAN</character>
<parenthetical>( thinks about it . )</parenthetical>
<dialogue>Not that comes to me.</dialogue>
<parenthetical>( hands back the glass . )</parenthetical>
<dialogue>I'll say thank you for the lemonade.</dialogue>
<scene_description>And he turns and joins the other men gathering round the tables for lunch . Ada watches him , intrigued . Rourke and co. approach ESCO SWANGER , a known sympathizer with the North , to give him a bad time .</scene_description>
<character>ROURKE</character>
<dialogue>Esco loves the Yankees.</dialogue>
<character>ESCO</character>
<dialogue>I prefer a Yankee to a halfwit.</dialogue>
<scene_description>Inman arrives just as Rourke points a warning finger at Esco . He pushes the finger down to get by . Esco continues :</scene_description>
<character>ESCO</character>
<dialogue>What is it you think you'd be fighting for?</dialogue>
<character>ROURKE</character>
<dialogue>The South.</dialogue>
<character>ESCO</character>
<dialogue>And what's that when it's at home?</dialogue>
<scene_description>Esco 's sons , ELLIS AND ACTON , who 're working at the other end of the building , have now arrived at the table .</scene_description>
<character>ACTON</character>
<dialogue>Pop, you causing trouble?</dialogue>
<character>ESCO</character>
<dialogue>No.</dialogue>
<character>ELLIS</character>
<dialogue>That means yes.</dialogue>
<character>ESCO</character>
<dialogue>You cut the wood, you carry the water for good old King Cotton. Now you want to fight for him. Somebody has to explain it to me.</dialogue>
<character>ACTON</character>
<parenthetical>( to Rourke and the others . )</parenthetical>
<dialogue>Do n't even try.</dialogue>
<scene_description>The others are desperate to tease Inman .</scene_description>
<character>BUTCHER</character>
<dialogue>How's the lemonade? Sweet?</dialogue>
<scene_description>Ada , at the lemonade stand again , watches them laughing at Inman , who keeps his head fixed on the table .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONFEDERATE LINES. NIGHT</stage_direction>
<scene_description>INMAN , ON A GURNEY , carried , someone with a cloth to his neck , which is soaked through with blood . They start to run with him , heading for the field hospital , worried that he will die before the wound can be staunched , cauterized . Throughout , A STRANGE MUSIC PLAYS , discordant notes jangling :</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. COLD MOUNTAIN. DAY</stage_direction>
<scene_description>- from A PIANO , lashed to a cart , as it bounces along the lane , passing the Swanger Farm . Sally comes out to look . It 's Ada riding next to one of the farmhands , a second boy keeping watch over the piano . Sally goes over .</scene_description>
<character>SALLY</character>
<dialogue>That's a fine looking thing.</dialogue>
<character>ADA</character>
<dialogue>I've been missing it.</dialogue>
<character>SALLY</character>
<dialogue>Thank you, by the way.</dialogue>
<parenthetical>( from Ada 's quizzical look . )</parenthetical>
<dialogue>Inman's down in the bottom field, clearing his debt.</dialogue>
<character>ADA</character>
<dialogue>Oh dear. And then he had nothing to say.</dialogue>
<character>SALLY</character>
<dialogue>He was happy.</dialogue>
<character>ADA</character>
<dialogue>Really?</dialogue>
<character>SALLY</character>
<dialogue>Are men so different in Charleston?</dialogue>
<character>ADA</character>
<dialogue>Men? I do n't know. I do n't even know what a woman should be like. In Charleston I was called a thistle, twice, by two different men. Both of them - they were hunting for a simile, what was I like - and thistle came right to them.</dialogue>
<character>SALLY</character>
<dialogue>If you're saying you might like him, why not go down and say hello.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOTTOM FIELD, SWANGER FARM. DAY</stage_direction>
<scene_description>Inman 's working in the field , stripped to his undershirt , hot work , wielding a scythe . He hears something and looks up at the edge of the lane , ADA IS PLAYING THE PIANO , which is still strapped to the cart . She briefly raises a hand to Inman , then nods to the farmhand who sets them on their way again . Inman smiles , waves back , watching as the cart rumbles off down the track .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>It 's pouting with rain . INSIDE THE FARMHOUSE , ADA IS PLAYING THE PIANO . Men and women crowd into the parlour , in best clothes , celebrating the completion of the Chapel . Inman is outside on the porch , his coat soaked , water pouring off his hat . He looks at Ada . She finishes . Monroe steps in front of the applause , smiling . His words of thanks leak through the window to Inman , who stands , watching , listening .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR, BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Monroe circulates , with Ada . He nods at a group of men , who congregate in one part , not mingling . Their leader , TEAGUE , might be a minister himself , favouring a black dress coat , a black crow in the corner , eyes flashing . Ada does n't know them . Esco comes by . Monroe puts a hand on his arm .</scene_description>
<character>MONROE</character>
<dialogue>Esco, our friends there -.</dialogue>
<parenthetical>( indicating Teague and co . )</parenthetical>
<dialogue>- they helped build the Chapel?</dialogue>
<character>ESCO</character>
<dialogue>That's Teague and his boys. I'd recommend you kick them out except a man do n't kick a snake. One time the Teague family owned the whole of Cold Mountain. My farm, your farm, all belonged to his grand - daddy. Teague wanted this place bad. You got it. He's here sniffing out an advantage.</dialogue>
<character>MONROE</character>
<dialogue>There's no advantage here, but to celebrate a job well done. Cheers -.</dialogue>
<parenthetical>( he raises his glass . )</parenthetical>
<dialogue>- and thank you.</dialogue>
<scene_description>And Teague raises his glass across the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada appears at the door opening it onto the porch . She 's carrying a tray with drinks . Acknowledges Inman .</scene_description>
<character>ADA</character>
<dialogue>Were you planning to come inside?</dialogue>
<character>INMAN</character>
<dialogue>I'm wetter than a fish.</dialogue>
<character>ADA</character>
<dialogue>There's a good fire going.</dialogue>
<character>INMAN</character>
<dialogue>I'm all right.</dialogue>
<character>ADA</character>
<dialogue>Somebody said you were enlisting.</dialogue>
<parenthetical>( no response . )</parenthetical>
<dialogue>Are you?</dialogue>
<character>INMAN</character>
<dialogue>If there's a war we'll all fight.</dialogue>
<character>ADA</character>
<parenthetical>( unimpressed . )</parenthetical>
<dialogue>If there's a mountain we'll all climb, if there's an ocean we'll all drown.</dialogue>
<character>INMAN</character>
<dialogue>Call a thing a war makes it a challenge to some men.</dialogue>
<character>ADA</character>
<dialogue>Did you get a picture made?</dialogue>
<character>INMAN</character>
<dialogue>Say again.</dialogue>
<character>ADA</character>
<dialogue>A tintype, with your gun and your courage on display.</dialogue>
<character>INMAN</character>
<dialogue>You're laughing at me.</dialogue>
<character>ADA</character>
<dialogue>I do n't know you.</dialogue>
<character>INMAN</character>
<dialogue>You're always carrying a tray.</dialogue>
<character>ADA</character>
<dialogue>I'm taking a drink over to the negroes in the barn.</dialogue>
<character>INMAN</character>
<parenthetical>( takes the tray . )</parenthetical>
<dialogue>I'll do that. I ca n't get much wetter.</dialogue>
<scene_description>He goes into the night rain . She watches him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DAY</stage_direction>
<scene_description>A beautiful day , the farm peaceful . Inman walks up the path to the farmhouse , its borders flowering and pretty , a slave woman weeding . He knocks on the door . Monroe answers .</scene_description>
<character>MONROE</character>
<dialogue>Mr. Inman.</dialogue>
<character>INMAN</character>
<dialogue>Reverend.</dialogue>
<character>MONROE</character>
<dialogue>What can I do for you?</dialogue>
<scene_description>Inman hovers , awkward . Ada appears , awkward .</scene_description>
<character>INMAN</character>
<dialogue>I have some sheet music. Belonged to my father. No use to me.</dialogue>
<scene_description>Ada comes forward , takes the package .</scene_description>
<character>MONROE</character>
<dialogue>You must come in.</dialogue>
<character>INMAN</character>
<dialogue>I should probably get along.</dialogue>
<character>ADA</character>
<dialogue>Mr. Inman is more comfortable outdoors. Perhaps we might take a walk.</dialogue>
<character>MONROE</character>
<dialogue>A splendid idea.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DAY</stage_direction>
<scene_description>Monroe and Inman and Ada touring the farm . It 's a biggish property , over three hundred acres . And well - tended by the dozen slave farmhands who work it , some of whom are dotted about in the landscape . Rolling mountains dominate the view .</scene_description>
<character>MONROE</character>
<parenthetical>( expansive . )</parenthetical>
<dialogue>I want to get sheep into this field. A big field does n't look right without sheep. You're a lucky fellow, Mr. Inman, you've had this view all your life.</dialogue>
<character>INMAN</character>
<dialogue>I think so.</dialogue>
<character>MONROE</character>
<dialogue>It's a special view. I dragged my poor daughter to Cold Mountain from Charleston because of my Doctors - they say my heart is weak - so the air's meant to do me good. But it's the view I think heals.</dialogue>
<scene_description>Ada walking behind , comes alongside the two men , threading her arm into her father 's but , by so doing , also arriving next to Inman .</scene_description>
<character>MONROE</character>
<dialogue>I have to get on my visits. Can I offer you a ride back into town?</dialogue>
<scene_description>Inman looks at Ada . No word .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR, BLACK COVE FARM. DAY</stage_direction>
<scene_description>From the window Ada watches the Cabriolet head towards town . At the piano , she unwraps the leather lace from the package of music . Inside the first book of music , there 's a DAGUERREOTYPE OF INMAN with his LeMats , a typical Confederate pose . Some of the music has left its imprint on the picture , the notes like a melody over Inman 's face . Ada picks them out on the piano . The ebullient sound of Shape Singing . A noisy choir letting rip -</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL, COLD MOUNTAIN TOWN, MAY 20TH, 1861. DAY</stage_direction>
<scene_description>- THE WHOLE CHURCH IS SINGING , MEN TO ONE SIDE : WOMEN TO THE OTHER . Monroe conducts , sings . Inman is there , as is Ada . He fixes on her neck , the way the hair falls . The door bursts open . Young OAKLEY , apologetic nod to Monroe , sits at the back , then leans forward , as the singing continues , to say something to Rourke , who says something to Butcher , the news spreading like wildfire . Rourke gets up , leaves . Butcher gets up next , follows . Another man . Another . Depleting the male voices , until only women and some of the older men are singing and one side of the church is practically empty . Inman , remains , fixed on Ada . Who does not look round .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Those left in the congregation now spill out into what has become a melee as the NEWS OF SECESSION goes up . Enormous excitement , particularly among the boys , who now seem curiously attractive to the girls . Inman blinks out into the sun , Ada finds him . They 're awkward as they watch other sweethearts embracing .</scene_description>
<character>ADA</character>
<dialogue>Well, you have your war.</dialogue>
<scene_description>TEAGUE AND HIS MEN COME RIDING UP THE STREET , their horses clearing a path amongst the celebrating crowd . Teague reins in his horse and rides it up against Esco Swanger .</scene_description>
<character>TEAGUE</character>
<dialogue>Those who follow Lincoln, or preach abolition, best keep one eye open when they're sleeping, Old Bogey Man might get you!</dialogue>
<scene_description>Inman steps between Esco and Teague , holding the reins of Teague 's horse , easy and dangerous .</scene_description>
<character>INMAN</character>
<dialogue>Are you the law all of a sudden?</dialogue>
<scene_description>Teague produces a document , which he waves in the air .</scene_description>
<character>TEAGUE</character>
<dialogue>That's right, son. Home Guard for Haywood County. I'm the law from today. You all go fight now. We'll watch your sweethearts.</dialogue>
<scene_description>And he spurs on his horse , his fellow Home Guard falling in behind , riding on over the ridge . Inman walks to Ada .</scene_description>
<character>INMAN</character>
<dialogue>You might be safer back in Charleston.</dialogue>
<character>ADA</character>
<dialogue>But then who'll be waiting for you?</dialogue>
<scene_description>She puts a hand on his arm for a second . They both want to get to the point of declaration but do n't know how . They stand , people noisy around them , those about to leave , those about to be left .</scene_description>
<character>INMAN</character>
<dialogue>I'm going to walk back inside the Chapel.</dialogue>
<scene_description>And he does so , making his meaning clear for her to follow .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Inman walks inside . Stands with his back to the door . It opens and closes . Inman turns . It 's Monroe .</scene_description>
<character>MONROE</character>
<dialogue>Did you want a quiet word?</dialogue>
<scene_description>Now the door opens again and it 's Ada . She 's dismayed to see her father .</scene_description>
<character>INMAN</character>
<dialogue>Just some quiet.</dialogue>
<character>MONROE</character>
<dialogue>Of course Ada.</dialogue>
<scene_description>He indicates they should both leave . Inman sits at a bench .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Monroe and Ada come into town in their cabriolet . They pass under banners proclaiming the Confederate cause : Old Rip 's Awake ! Watch out Yankees ! The trap draws up by the Cold Mountain General Store . Monroe lets Ada down .</scene_description>
<character>MONROE</character>
<parenthetical>( of his appointment . )</parenthetical>
<dialogue>I'll daresay Dr. O'Brien'll want to do a test or two.</dialogue>
<character>ADA</character>
<dialogue>And then there'll be a coffee or two, a brandy or two.</dialogue>
<scene_description>Monroe smiles in acknowledgement , gets back in the trap . Ada heads into the store .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM. ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>INMAN SITS ON HIS BED , wearing pants and a vest . His room is like a monk 's cell . Nothing in it . Inman 's trunk is packed . He 's polishing his boots , in his bare feet . One hand inside the boot , the other blacking it . There 's a knock at the door . He opens it . It 's Ada . He abruptly closes the door on her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ROOMING HOUSE. COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Ada waits outside . She 's not sure what 's happening . Then Inman opens the door . He 's buttoning his shirt . His boots are on , one conspicuously dirty , one highly polished . Somebody walks up the stairs , carrying a jug and bowl . They separate as the man passes them . They 're tender , awkward .</scene_description>
<character>ADA</character>
<dialogue>I found you this book. William Bartram. They tell me it's good. I think he writes about these parts, the author, so.</dialogue>
<scene_description>Inman takes it . She has something else . Wrapped in paper .</scene_description>
<character>ADA</character>
<dialogue>And this.</dialogue>
<parenthetical>( hands it to him . )</parenthetical>
<dialogue>I'm not smiling in it. I do n't know how to do that, hold a smile, so now I'm solemn.</dialogue>
<character>INMAN</character>
<dialogue>Ada.</dialogue>
<character>ADA</character>
<dialogue>What?</dialogue>
<scene_description>HE KISSES HER , pressing into her , his arm circling her waist . Below them the sound of a MARCHING BAND . It 's the RECRUITMENT PARADE and brings Rourke and Butcher racing down the stairs . Inman pulls away from Ada as the boys hurtle for the front door .</scene_description>
<character>ROURKE</character>
<dialogue>Let's go!</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Rourke , Butcher , and then Inman appear in the doorway of the Rooming House , and then fall in with the motley crew of Volunteers AS THEY MARCH BY WITH THE BAND AND THE ENLISTED SOLDIERS . The town is out to wish them well , parents , younger brothers , sweethearts walking alongside their brave men . Ada comes to the door of the Rooming House . Inman looks back and sees her , but almost immediately loses her in the crowd . THE DRUMMERS DRUM , THE CROWD CHEERS , THE RECRUITS MARCH UP THE HILL -</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEHIND CONFEDERATE LINES, VIRGINIA. DAY</stage_direction>
<scene_description>- AND THE WOUNDED AND THE WRETCHED STRAGGLE ALONG THE RAILROAD . A TRAIN with the seriously injured snakes past the back of the Confederate lines - its suburbs of supplies , arriving and departing troops - and into peaceful country . FIDDLE PLAYS , THEN A BANJO .</scene_description>
</scene>
<scene>
<stage_direction>INT. BOX CAR. DAY</stage_direction>
<scene_description>A CROWDED WAGON . It 's a cauldron , and those able smash through the wooden walls to make a breathing hole . Some have their heads thrust out like crated poultry . INMAN IS IN THERE , neck bandaged , its ugly seepage making a bloody necklace . The light plays black and white through the boarded sides of the boxcar , flashing on Inman 's face as he drifts in and out of consciousness . He focuses and sees the strange head of STOBROD 'S FIDDLE . Stobrod is serenading him , accompanied by an angel - faced and extremely heavy child - man , PANGLE , whose grin of delight seems permanent even in this claustrophobic , grim world . Inman is panicked , puts a hand to push the fiddle away . His voice is a croak , spoiled .</scene_description>
<character>INMAN</character>
<dialogue>I'm not dying.</dialogue>
<character>STOBROD</character>
<parenthetical>( to Pangle . )</parenthetical>
<dialogue>What'd he say?</dialogue>
<character>PANGLE</character>
<dialogue>Says he ai n't about to die.</dialogue>
<character>STOBROD</character>
<parenthetical>( to Inman . )</parenthetical>
<dialogue>Truth to tell they say you are, Soldier. We'll meet again, in the better world.</dialogue>
<scene_description>He changes his tune , and the tempo , finding a foot - slapping rhythm , the two musicians grinning at each other . Inman lapses back into unconsciousness . The rhythm becomes a hammering sound .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>- AS A MAN HAMMERS A TINTYPE OF HIS SON 'S FACE into the wooden porch of the Chapel , where it joins many other portraits of those lost to the war . Monroe presides . One of the slaves from Black Cove holds the ladder for the bereaved father . Other families wait , with their own daguerreotype to mount . It 's a memorial service without bodies . Riders approach . Home Guard . Teague brings his horse up alongside Monroe at the Chapel door , tips his hat in condolence to the bereaved families . With him is a young , intensely beautiful and flamboyant rider , BOSIE , his hair long , a single fingernail bizarrely overgrown . Somehow sinister .</scene_description>
<character>TEAGUE</character>
<dialogue>My condolences to you all.</dialogue>
<parenthetical>( he considers the slave . )</parenthetical>
<dialogue>Keep an eye on the negro. They want what the white man got - all of you watch out your brave boys give their lives to war and meantime your slaves carry murder, rape and arson to your firesides.</dialogue>
<character>MONROE</character>
<dialogue>The only slaves within twenty miles labor on my farm. They're good Christians and I'll vouchsafe for them.</dialogue>
</scene>
<scene>
<stage_direction>EXT. APPROACH TO BLACK COVE FARM. DAY</stage_direction>
<scene_description>Cold Mountain at its loveliest . The CABRIOLET with Monroe and his daughter heads towards the farm . At a bend they meet a couple of riders , TWINS , from Teague 's Home Guard , riding furiously past them . Monroe reins in the trap and lets them thunder past before continuing on their way home . Monroe is intrigued by Ada , as if he 's never looked at her before .</scene_description>
<character>ADA</character>
<dialogue>What?</dialogue>
<character>MONROE</character>
<dialogue>You're looking - at this moment, I do n't know why - you're looking exactly like your mother.</dialogue>
<character>ADA</character>
<dialogue>Every time you see the doctor you get melancholy.</dialogue>
<character>MONROE</character>
<dialogue>He listens to my heart and I get emotional.</dialogue>
<character>ADA</character>
<dialogue>He gives you alcohol and you get emotional.</dialogue>
<scene_description>She squeezes his arm .</scene_description>
<character>MONROE</character>
<dialogue>We commiserate about the folly of this terrible war.</dialogue>
<parenthetical>( they ride in silence . )</parenthetical>
<dialogue>Do you worry when there's no word from him?</dialogue>
<parenthetical>( no response . )</parenthetical>
<dialogue>From Mr. Inman?</dialogue>
<character>ADA</character>
<dialogue>Yes. But then I've tried counting the number of words which passed between Mr. Inman and me.</dialogue>
<parenthetical>( looking ahead , seeing smoke . )</parenthetical>
<dialogue>Is that a bonfire? So close to the barns.</dialogue>
<scene_description>Then they see THE FAMILY OF SLAVES turn off the road as their cabriolet approaches , running away into the fields .</scene_description>
<character>ADA</character>
<dialogue>What's going on?</dialogue>
<character>MONROE</character>
<parenthetical>( shouting at the disappearing slaves . )</parenthetical>
<dialogue>Hey! Stop there! Hey!</dialogue>
<scene_description>Monroe gets out of the cabriolet and runs into the fields after the retreating family , who are carrying bundles , chairs , personal items , all loaded up . Ada has already taken the reins and has driven up to the house . THE BARN IN WHICH THE SLAVE FAMILY HAD LIVED IS ON FIRE . Monroe catches one of the women , remonstrates with her . She 's upset , distressed , one of her sons comes back , pushes Monroe to the ground . They hurry away . Monroe gets up , hurries to the fire . A FIGURE SWINGS IN THE HEAT OF THE FLAMES , HANGING FROM A BEAM . Monroe spies it as he catches up with Ada .</scene_description>
<character>MONROE</character>
<dialogue>Dear God.</dialogue>
<character>ADA</character>
<dialogue>No, Daddy, it's not real.</dialogue>
<scene_description>The figure swings round . IT 'S AN EFFIGY , A GROTESQUE CARICATURE OF A BLACK MAN .</scene_description>
<character>MONROE</character>
<parenthetical>( appalled . )</parenthetical>
<dialogue>What is wrong with us all?</dialogue>
<scene_description>Ada turns and runs off .</scene_description>
<character>ADA</character>
<dialogue>I'll get help.</dialogue>
<parenthetical>( shouting over her shoulder . )</parenthetical>
<dialogue>Keep away from the flames.</dialogue>
<scene_description>Monroe stands and considers the flames . Ada turns back once more to see him - a small man silhouetted against the blaze .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, CHARLESTON. DAY</stage_direction>
<scene_description>INMAN lies ; bandaged , eyes closed , in THE BALLROOM OF A COLONIAL MANSION , co - opted as one ward of a Confederate hospital . Rows of beds , the wounded and the dying , are lodged between some vestiges of the room 's former glory . SOME LOCAL WOMEN , conscious of their duty to the cause , are brought through by an exhausted doctor , who 's lost all his grace . The windows are open , but it 's still insufferably hot , the muslin curtains barely moving .</scene_description>
<character>DOCTOR</character>
<dialogue>Most of these men will be dead by the morning or, if they're stubborn, by nightfall. I have other men outside in the quadrangle waiting for the beds.</dialogue>
<scene_description>The women try to process this , the attitude .</scene_description>
<character>DOCTOR</character>
<dialogue>So, any kind word will be a blessing.</dialogue>
<scene_description>One woman is overpowered by the stench , gags .</scene_description>
<character>DOCTOR</character>
<dialogue>It's the heat. I'm sorry. They rot.</dialogue>
<scene_description>The women begin to approach the beds .</scene_description>
<character>DOCTOR</character>
<dialogue>Do n't pray. If they're not God fearing you can stir up a hornet's nest.</dialogue>
<scene_description>MRS. MORGAN , nervous , decent , sits next to INMAN . His mouth is moving . She does n't know what he 's saying .</scene_description>
<character>MRS. MORGAN</character>
<dialogue>I'm sorry, you want water?</dialogue>
<scene_description>She bends to him again . His voice is a faint croak .</scene_description>
<character>INMAN</character>
<dialogue>Pigeon River. Little East Fork.</dialogue>
<scene_description>The Doctor is on his exit , stops at the bed .</scene_description>
<character>MRS. MORGAN</character>
<dialogue>I'm sorry. I do n't know what he's saying.</dialogue>
<character>DOCTOR</character>
<dialogue>They ramble. Names of loved ones.</dialogue>
<character>MRS. MORGAN</character>
<parenthetical>( listening to Inman . )</parenthetical>
<dialogue>Pigeon River. Is that a place? Cold Mountain?</dialogue>
<scene_description>The Doctor shrugs , not a detective , moves on , stops at the man in the next bed . Has a brief look , calls to a nurse .</scene_description>
<character>DOCTOR</character>
<dialogue>This man is dead.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. LATE AFTERNOON</stage_direction>
<scene_description>Monroe and Ada are outside , a picnic at the summer table , autumn leaves blowing up around them . Nearby the charred skeleton of the barn . Ada gets up , clears away .</scene_description>
<character>MONROE</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( staying her for grace . )</parenthetical>
<dialogue>For your Providence, Oh lord, we thank you.</dialogue>
<character>ADA</character>
<dialogue>Amen. That was the last of the ham.</dialogue>
<character>MONROE</character>
<dialogue>It was delicious.</dialogue>
<character>ADA</character>
<dialogue>I have to learn how to cook.</dialogue>
<character>MONROE</character>
<dialogue>I was going to say something in Chapel. Perhaps some of the womenfolk will volunteer.</dialogue>
<character>ADA</character>
<dialogue>I ca n't have people coming here and cooking for me!</dialogue>
<character>MONROE</character>
<dialogue>It's my fault. I should have raised you less like a companion and more like a young woman. I'm sorry.</dialogue>
<character>ADA</character>
<dialogue>I'm not sorry, but I do n't know how we'll get through another winter.</dialogue>
<character>MONROE</character>
<dialogue>Will you play me something? Something peaceful while I look over my sermon.</dialogue>
<scene_description>Ada takes the dishes away . He gets out his papers , his pen and ink .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR, BLACK COVE FARM. DUSK</stage_direction>
<scene_description>ADA PLAYS THE PIANO . Chopin 's Prelude in E Minor . Outside in the garden , Monroe has adjourned to his striped campaign chair , and is hunched over his notes . The door of the parlour is open and the music floats over to him as he works . Ada plays . A FEW SPOTS OF RAIN appear at the window . Then the steady drumming of a summer shower .</scene_description>
<character>ADA</character>
<parenthetical>( still playing . )</parenthetical>
<dialogue>Daddy, bring the tablecloth in with you!</dialogue>
<scene_description>She plays some more . Monroe has n't come in . The rain splashes on to the window .</scene_description>
<character>ADA</character>
<dialogue>Daddy, come inside before you drown!</dialogue>
<scene_description>After a few more bars , she stops playing and , curious , goes to the door . She stands at the doorway . MONROE 'S SERMON IS CAUGHT IN THE WIND AND BLOWS AROUND HIM , THE INK RUN TO ABSTRACTIONS , his hand dropped and visible to Ada as , with dread , she approaches . SHE CATCHES THE SODDEN PAPERS , CHASING AFTER THEM , THEN REACHES HER DEAD FATHER . He 's like a fish , his face shining with the rain , and glass eyed . She leans in to him , her head to his heart , then runs , oblivious to the rain , her dress already drenched , runs down the lane .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Dear Mr. Inman.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, CHARLESTON. NIGHT</stage_direction>
<scene_description>INMAN 'S FACE as he drifts in and out of consciousness . Mrs. Morgan , the hospital volunteer , sits by Inman 's bed . She holds ADA 'S UNOPENED LETTER , badly weather damaged , the pages stuck together , the writing blurred where the ink has run .</scene_description>
<character>MRS. MORGAN</character>
<dialogue>It's come to you by way of Virginia.</dialogue>
<scene_description>There are various dates , which she decodes .</scene_description>
<character>MRS. MORGAN</character>
<dialogue>It's not too recent - written this past winter. I'm afraid I ca n't read who it's from. Dear Mr. Inman,</dialogue>
</scene>
<scene>
<stage_direction>INT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada is writing at her father 's desk . A lonely room .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>- I'm still waiting, as I promised I would, but I find myself alone and at the end of my wits -</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, CHARLESTON. NIGHT</stage_direction>
<scene_description>Mrs. Morgan reads to Inman , trying to decipher the letter :</scene_description>
<character>MRS. MORGAN</character>
<dialogue>- at the end of my wits, so now I say to you, plain as I can, come back to me. Come back to me is my request.</dialogue>
<parenthetical>( ca n't read the next bit . )</parenthetical>
<dialogue>Then something I ca n't read, something, come back to me.</dialogue>
<scene_description>Inman is very still . Then , eyes glinting with determination , gives a TINY NOD .</scene_description>
<character>OFFICIAL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>By order of Zebulon Vance, Governor of this great state of North Carolina : any soldier turned deserter is guilty of treason and shall be hunted down like a dog.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Ada walks down the hill from the Chapel . There is an absence of young people , but the older folk are gathered round the General Store where a UNIFORMED OFFICIAL is reading from a document .</scene_description>
<character>OFFICIAL</character>
<dialogue>- Any man takes in a deserter is likewise guilty of treason.</dialogue>
<scene_description>The Official is flanked by Teague , Bosey and the twins , puffed up with self - importance . Ada has to walk around him to enter the store .</scene_description>
<character>OFFICIAL</character>
<dialogue>The Home Guard is powered to enter any place it sees fit, without notice or constraint. Names of all deserters will be posted in every town, published in every newspaper.</dialogue>
</scene>
<scene>
<stage_direction>INT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>The Official continues outside as Ada enters . Ada approaches Mrs Castlereagh , the owner .</scene_description>
<character>ADA</character>
<dialogue>Is there a letter for me?</dialogue>
<character>MRS. CASTLEREAGH</character>
<dialogue>Nothing - we're getting no post through at all - although if you slip out back the material you ordered has arrived.</dialogue>
<scene_description>They go to the back of the store , to a screened - off area . Mrs. Castlereagh hands her over a packet of material . There 's another , more furtive , transaction to take place . Mrs Castlereagh hands over a second parcel as if it were narcotics . Ada tears at the wrapping . It 's a parcel of books .</scene_description>
<character>MRS. CASTLEREAGH</character>
<dialogue>If folks knew I was taking deliveries from the North.</dialogue>
<character>ADA</character>
<dialogue>I know. Thank you so much.</dialogue>
<character>MRS. CASTLEREAGH</character>
<dialogue>The sooner we lose this war the better. Already one boy gone, another with his leg took off at the knee. That's enough.</dialogue>
<character>ADA</character>
<dialogue>What do you hear?</dialogue>
<character>MRS. CASTLEREAGH</character>
<dialogue>All I know is they say not one boy in ten from these mountains is coming home again and most of them are deserters.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GENERAL STORE, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>Ada emerges , almost collides with Teague . She wriggles past him , tries to make her package invisible .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APPROACH TO BLACK COVE FARM - DAY</stage_direction>
<scene_description>IT 'S WINTER . A solitary RIDER jogs his horse through the frost , towards Black Cove farm . Ada is working at a handpump , failing to coax water from the well . She 's wrapped in blankets . The farm is somewhat unkempt and so is she . The hem of her skirt is frayed . She rips at it tearing off a strip of material , which she binds around the handle in an attempt to thaw the mechanism . Then she looks up to see the horseman approaching . It 's Teague . Ada immediately heads inside the house . Teague arrives at the house , takes a brace of RABBITS from his saddlebag . He heads for the gate . The gate needs oiling , the path is overgrown , he looks at the pump handle , the abandoned pitcher . Ada opens the door , pinning her hair .</scene_description>
<character>TEAGUE</character>
<dialogue>It's taken me too long, but I've come to pay my respects.</dialogue>
<character>ADA</character>
<dialogue>Thank you.</dialogue>
<character>TEAGUE</character>
<parenthetical>( hands over the rabbits . )</parenthetical>
<dialogue>I reckoned you might need fattening up.</dialogue>
<scene_description>Ada takes them . She is very queasy with these dead animals .</scene_description>
<character>TEAGUE</character>
<dialogue>This house must bring bad luck. Killed my granddaddy to lose it, then my daddy died on account of not having it, then your daddy died on account of getting it. We should burn it down.</dialogue>
<character>ADA</character>
<dialogue>Did n't somebody try?</dialogue>
<character>TEAGUE</character>
<dialogue>Lot to manage without help. Need a hand with that pump?</dialogue>
<character>ADA</character>
<dialogue>No.</dialogue>
<character>TEAGUE</character>
<dialogue>I'm happy to volunteer.</dialogue>
<character>ADA</character>
<dialogue>But not to volunteer for the war?</dialogue>
<character>TEAGUE</character>
<dialogue>The war? I wanted to go. But you know : too old, too literate. Plus I got no spleen. Lost it from a horse's kick.</dialogue>
<character>ADA</character>
<dialogue>You've got no spleen.</dialogue>
<character>TEAGUE</character>
<dialogue>That's the thing about an organ. You do n't know you need it till you lost it.</dialogue>
<parenthetical>( suddenly busy with a bayonet . )</parenthetical>
<dialogue>I want to clear this path. I can just as soon do it and talk as stand around and talk. Then you can say men beat a path to your door.</dialogue>
<character>ADA</character>
<dialogue>I'd really prefer it if you did n't do that.</dialogue>
<character>TEAGUE</character>
<dialogue>Would you rather I did my job?</dialogue>
<parenthetical>( scything at the path . )</parenthetical>
<dialogue>See if there's any material I should confiscate. For the war effort.</dialogue>
<character>ADA</character>
<dialogue>I was raised in the good manners of the South where a gentleman does n't enter a house with a woman alone.</dialogue>
<character>TEAGUE</character>
<parenthetical>( now he 's at the pump . )</parenthetical>
<dialogue>Good manners did n't quite make it to these mountains. If it do n't yield meat, or you ca n't sit on it, or suck on it.</dialogue>
<parenthetical>( he gets the pump going , water pours out . )</parenthetical>
<dialogue>And you're sleeping all right? These cold dark nights?</dialogue>
<character>ADA</character>
<dialogue>I'm sleeping fine.</dialogue>
<character>TEAGUE</character>
<dialogue>It's going to be a long hard winter.</dialogue>
<scene_description>He turns and stops at the gate , runs his hands through his hair and uses the grease to ease the hinge . Then steps up onto his horse , and rides away . Ada watches him . Shudders .</scene_description>
</scene>
<scene>
<stage_direction>INT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada comes into the kitchen . A weak oil - lamp reveals THE TWO RABBITS , partially covered on a plate , flies buzzing around them , a little liquid leaking from them . Ada takes a knife and contemplates skinning gutting them . Suddenly she gathers them up and runs out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>ADA BURIES THE TWO RABBITS . The wind howls . She covers the little hole with soil and stones . Pumps out water to wash her hands . Thinks she hears a noise , listens , alert to any unfamiliar sounds , then hurries back to the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada comes inside , she closes the door . Locks it . Puts a chair against it . Goes upstairs , to her bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada enters her bedroom . It 's a chaos of books , clothes , dishes . She closes the door , sets another chair against it . Then drags her armchair up against that , books and papers spilling onto the floor . She props up Inman 's portrait , on , the chair , as if he were guarding her . Sits on the bed and , desolate , begins to write :</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAY</stage_direction>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Should I imagine you are dead and, that it is to your spirit I am writing? No word from you in all this time. If you receive this please know I am here and warring, too, with a faint heart.</dialogue>
<scene_description>THERAPY FOR WOUNDED SOLDIERS . Some of those convalescing swim or are helped to paddle in the healing sea . There are rudimentary wheelchairs . Inman , a long way from home , is amongst those sitting in one of these , very still , grey and sick - but alive . He pulls at the dressing on his neck , exposing the still raw and livid wound to the sea air . Inman has his Bartram , his bookmark is the battered and foxed picture of Ada , which he considers , before continuing to read . Behind him A HUNDRED SLAVES AT WORK IN THE FIELDS , and behind them the Mansion which has become the hospital . A series of bells , of shouts , and the slaves stop working , prepare for the long walk home , congregating , then forming a line , herded by the foremen . Inman eases his position to bend over and dip his bandage in the seawater . He brings the wet bandage to his neck , considers the ocean , his fellow ragtag of wounded , the slaves , the great fields , the Mansion . The whole meaning of this war around him . A GRAVEL VOICE STARTS TO SING THE BLUES , CONTINUES AS -</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL, CHARLESTON. DUSK</stage_direction>
<scene_description>The men return to the Hospital . A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire . HE 'S SINGING AS -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHAPEL, COLD MOUNTAIN TOWN. DAY</stage_direction>
<scene_description>- A tintype of OAKLEY is added to the Chapel 's votives , hammered in alongside Rourke and Butcher . There are fifty or more images now , the paint flaking around them . The exterior of the Chapel , three years on , has taken on the burden of recording history . There is no minister , no services , just the votives , daguerreotypes or simply the names of those missing in action , accompanied by tiny vases of wildflowers . The town shrouded in mist , and quiet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. SPRING. DAY</stage_direction>
<scene_description>EVERYWHERE SIGNS OF PROFOUND NEGLECT , like a Grimm 's fairy tale of a deserted house . The fields are overgrown with weeds , the gardens abandoned . The chickens have deserted the henhouse and are wandering around the outbuildings , scuffing at the packed dirt . Sally and Esco come up the overgrown path , avoiding the chickens , and knock at the door .</scene_description>
<character>SALLY</character>
<dialogue>Ada! Ada, It's Sally.</dialogue>
<scene_description>They 're seen from ground level , through a boxwood , as their feet patrol the ground , turn away from the door , and then retreat , their voices drifting away . Ada is there , crouching in her hidey - hole , a blanket on the ground , her book . She wants to reveal herself , but is too embarrassed .</scene_description>
<character>ESCO</character>
<dialogue>Will you look at the state of this place!</dialogue>
<character>SALLY</character>
<dialogue>Poor soul. She's got nobody and nothing and three hundred acres of misery.</dialogue>
<scene_description>During this a ROOSTER , black and gold , struts into the boxwood . As the rooster approaches , Ada shudders , tries to shoo it away without alerting her presence . Ada peers through the boxwood as Sally and Esco close the gate and recede . The rooster comes at her again . She rises up , kicking out at it , while he flares his wings , spurs flaying at her . Ada runs from the boxwood , tormented by the triumphant rooster , which continues to fly and scratch , driving her into the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada dabs at the scratches , her dress rolled down to the waist to reveal her arms and shoulders . Now she shucks off the dress completely and tries to find a clean replacement . There is n't one , so she hunts through the overflowing laundry basket for something less dirty .</scene_description>
</scene>
<scene>
<stage_direction>INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada enters her father 's room , wearing undergarments . Everything as he left it and , in contrast to the rest of the house , extremely tidy . She opens a wardrobe , finds one of his coats , puts it on . It 's much too big , and she rolls up the sleeves , catches her pinched face and disheveled face in a swivel mirror . She turns the mirror away and the image swings into -</scene_description>
</scene>
<scene>
<stage_direction>EXT. GATES OF HOSPITAL, CHARLESTON. DAY</stage_direction>
<scene_description>- the figure of Inman walking , frail , grey . A kind of lurching walk , as if his balance is n't guaranteed . He gets close to the gate and interests a Guard , on the lookout for would - be deserters . A BLIND MAN IS SELLING PEANUTS which he roasts over a small fire . He 's always singing . Inman approaches . When Inman speaks , his voice is a croak .</scene_description>
<character>BLIND MAN</character>
<dialogue>Getting better all the time.</dialogue>
<character>INMAN</character>
<dialogue>Seems that way.</dialogue>
<character>BLIND MAN</character>
<dialogue>I would n't hurry. War's almost done.</dialogue>
<character>INMAN</character>
<dialogue>Where'd you take your wound?</dialogue>
<character>BLIND MAN</character>
<dialogue>Before I was born. Never saw a thing in this world, not a tree a gun or a woman. Though I put my hand on all three. Couple of things I felt back there I'd sure liked to have had a long look at.</dialogue>
<scene_description>He 's shoveling some peanuts into a twist of paper .</scene_description>
<character>INMAN</character>
<dialogue>What would you give for that? To have your eyeballs back for ten minutes?</dialogue>
<character>BLIND MAN</character>
<dialogue>Ten minutes! Would n't give an Indian head cent. I fear it might turn me hateful.</dialogue>
<character>INMAN</character>
<dialogue>That's sure what seeing's done to me.</dialogue>
<character>BLIND MAN</character>
<dialogue>That ai n't the way I meant it. You said ten minutes. It's having a thing and then the loss I'm talking about.</dialogue>
<character>INMAN</character>
<dialogue>Then we do n't agree. There's not much I would n't give for ten minutes of someplace.</dialogue>
<character>BLIND MAN</character>
<dialogue>Someplace or someone.</dialogue>
<character>INMAN</character>
<dialogue>Same difference.</dialogue>
<character>BLIND MAN</character>
<dialogue>You watch yourself. They're shooting men who take themselves a walk.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREE PROMENADE, CHARLESTON. DAY</stage_direction>
<scene_description>Inman and a bunch of other walking wounded make their way , under supervision , towards the town . The grandeur of the approach , the carriages . The sorry state of the soldiers .</scene_description>
</scene>
<scene>
<stage_direction>INT. COURTHOUSE, CHARLESTON. DAY</stage_direction>
<scene_description>TWO GREAT TRESTLE TABLES , LOADED WITH CLOTHES . Underneath the tables , boots - laced together , origins various . The charitable womenfolk are helping match clothes to recovering soldiers , some of whom are still on crutches , or in wheelchairs . Inman finds a black dresscoat , some pants , a pair of boots . He accumulates a little pile . On his way out , AN ELDERLY AND STAUNCH CONFEDERATE GENTLEMAN shakes his hand and gives him an apple from the barrel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEMPORARY BARBERSHOP, CHARLESTON. DAY</stage_direction>
<scene_description>Inman emerges from the Courthouse and joins the line for a shave at the makeshift barbershop set up outside the Courthouse . Two barbers , two chairs . A VERY ELEGANT SQUARE , SOME STUCCO - FRONTED BUILDINGS , A GLIMPSE OF THE MONEYED SOUTH IN SHARP CONTRAST TO THE MODEST TOWN OF COLD MOUNTAIN . AN AUCTION HOUSE OPPOSITE ADVERTISES SLAVES , CATTLE , LAND .</scene_description>
<character>BARBER</character>
<dialogue>Next.</dialogue>
<scene_description>Inman settles in the seat . The Barber contemplates his scraggy beard , the livid , scabbed wound on his neck .</scene_description>
<character>BARBER</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>I'll cut your hair, but I ai n't about to shave you. That thing opens up, your head's liable to falloff.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, CHARLESTON. PREDAWN</stage_direction>
<scene_description>It is almost dawn . The window by Inman 's bed is a frame giving onto the still dark world . The Night Guard passes by on its patrol of the perimeter . A CLEAN - SHAVEN INMAN IS FULLY DRESSED UNDER THE COVERS . He gets his hat , pushes his book into his knapsack and , with one step up , WALKS OUT OF THE WINDOW AND INTO THE WORLD .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OCEAN BY THE HOSPITAL, CHARLESTON. DAWN</stage_direction>
<scene_description>Inman , his footprints in the sand , as he hurries along by the edge of the ocean , away from the hospital .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>- as Ada walks , the wind kicking up around her , past the Swanger place . She 's bent and curiously dressed in her father 's coat .</scene_description>
<character>SALLY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ada.</dialogue>
<scene_description>Sally Swanger calls out from the field . She 's concerned at Ada 's gaunt , ragged appearance . Ada waits for her approach .</scene_description>
<character>SALLY</character>
<dialogue>You're skinny as a whippet, girl - you're coming indoors with me.</dialogue>
<character>ADA</character>
<dialogue>I ca n't. I'm not - I need to clean some clothes.</dialogue>
<character>SALLY</character>
<dialogue>Great God, you ever looked at my husband! I ca n't get him to wear decent Church clothes Christmas morning. Hang on to me, the wind'll blow you over.</dialogue>
<scene_description>And she folds her arm into Ada 's . They walk up the lane .</scene_description>
</scene>
<scene>
<stage_direction>INT. SWANGER FARM. AFTERNOON</stage_direction>
<scene_description>Ada eats . Esco across from her contemplating her evident appetite , the oversized man 's jacket . Sally ladles more food onto Ada 's plate .</scene_description>
<character>SALLY</character>
<dialogue>Do n't go back to that dark house. There's a bed here, least till our boys get home.</dialogue>
<character>ESCO</character>
<dialogue>That your daddy's coat?</dialogue>
<character>ADA</character>
<dialogue>I was saying to Sally, I was n't expecting to be visiting, so.</dialogue>
<character>ESCO</character>
<dialogue>Do n't suit you.</dialogue>
<scene_description>He starts to chuckle , then Ada , too , then Sally .</scene_description>
<character>ESCO</character>
<dialogue>I ca n't get up to your place this week.</dialogue>
<parenthetical>( of Sally . )</parenthetical>
<dialogue>She's mad at me -</dialogue>
<character>ADA</character>
<dialogue>I do n't expect -</dialogue>
<character>ESCO</character>
<dialogue>- more than I can do to keep this place half - managed. I'm ready - to stop, I tell you. I just want to sit on my porch with Sal, watch my boys in the field, holler good job! every hour or so.</dialogue>
<character>SALLY</character>
<dialogue>What about your people in Charleston?</dialogue>
<character>ADA</character>
<dialogue>There are no people. And no money. My father had some bonds and investments. They're worthless now, of course, the war has. they're not worth anything.</dialogue>
<parenthetical>( they look at each other . )</parenthetical>
<dialogue>I love it here. In spite of everything.</dialogue>
<character>ESCO</character>
<dialogue>And waiting on a feller.</dialogue>
<scene_description>A look from Sally .</scene_description>
<character>ESCO</character>
<dialogue>Look down our well.</dialogue>
<parenthetical>( Sally 's disgusted with him . )</parenthetical>
<dialogue>She should! Look down our well with a mirror, you'll see the future. S'what they say.</dialogue>
<parenthetical>( to Sally . )</parenthetical>
<dialogue>You do it! Do n't make that face.</dialogue>
<character>SALLY</character>
<dialogue>I know it ai n't rightly Christian, but it's what folks do, like when they dangle a needle over the belly to see if you're carrying a boy or a girl.</dialogue>
<character>ADA</character>
<dialogue>What kind of mirror?</dialogue>
</scene>
<scene>
<stage_direction>EXT. YARD, SWANGER FARM. LATE DAY</stage_direction>
<scene_description>AN IMAGE - DISTORTED , WATERY . IT 'S HARD TO RESOLVE BUT COULD BE A CORRIDOR OF TREES . THE SUN LOW AT ONE END , THE SILHOUETTE OF A FIGURE WALKING SLOWLY FORWARDS , A SUDDEN DISTURBANCE OF CROWS . Ada is bent backwards over the well , a hand mirror glinting down into the blackness . The reflection is elusive against the bright evening sky , the sun almost set , and low .</scene_description>
<character>ESCO</character>
<dialogue>See anything?</dialogue>
<character>ADA</character>
<dialogue>I do n't know.</dialogue>
<character>SALLY</character>
<dialogue>I tried many a time, never saw a dickybird.</dialogue>
<scene_description>The image is clearer . The trees sharpen , the figure walking , the steep incline of the corridor , all fiercely black and white as if it were a carpet of snow and black hieroglyphs of trees , and crows flying . The trick of the glass and the watery disc of the well surface . A buzzing in Ada 's ears , something like a distant music . Then the figure seems to suddenly pitch forwards , but at that moment , Ada - canted over , getting dizzy has to move and the image flies away , replaced with the sky , the flash of the setting sun .</scene_description>
<character>SALLY</character>
<dialogue>You all right?</dialogue>
<scene_description>Ada 's faint . She sits up , blank , a little shaken .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yesterday I found myself crouched over a well like a mad woman, which I suppose I have become</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLANTATION. DAY</stage_direction>
<scene_description>Inman walks along an expanse of marshland . Great cranes fly heavily over him .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>- and staring down into its secrets, I thought I saw you there, walking back to me -</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. LATE AFTERNOON</stage_direction>
<scene_description>Ada is writing in her father 's campaign chair , a blanket wrapped around her , a rake propped next to her .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>- or wished I did.</dialogue>
<character>RUBY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>That cow wants milking.</dialogue>
<scene_description>Ada looks up from her writing with a start . She covers her letter , guiltily , instinctively . In front of her , at the gate , is A YOUNG RAWBONED , FERAL WOMAN , OF INDETERMINATE ORIGINS . She is barefoot , and dressed in a hand - dye _ shift of blue . Her name is RUBY .</scene_description>
<character>RUBY</character>
<dialogue>If that letter ai n't urgent, the cow is - is what I'm saying.</dialogue>
<character>ADA</character>
<dialogue>I do n't know you.</dialogue>
<character>RUBY</character>
<dialogue>Old Lady Swanger says you need some help. Here I am.</dialogue>
<scene_description>Ada is instantly defensive , intimidated .</scene_description>
<character>ADA</character>
<dialogue>I need help, I need, I do need help, but I need a laborer - there's plowing and rough work and - I think there's been a misunderstanding.</dialogue>
<character>RUBY</character>
<dialogue>What's the rake for?</dialogue>
<character>ADA</character>
<dialogue>The rake?</dialogue>
<character>RUBY</character>
<dialogue>Ai n't for gardening, that's for sure. Number one - you got a horse I can plow all day. I'm a worker. Number two there's no man better than me cause there's no man around who ai n't old or full of mischief. I know your plight.</dialogue>
<character>ADA</character>
<dialogue>My plight?</dialogue>
<character>RUBY</character>
<dialogue>Am I hard to hear cause you keep repeating everything. I'm not looking for money, never cared for it and now it ai n't worth nothing. I expect to board and eat at the same table. I'm not a servant. Do you get my meaning?</dialogue>
<character>ADA</character>
<dialogue>You're not a servant.</dialogue>
<character>RUBY</character>
<dialogue>People'll have to empty their own night jars, that's my point.</dialogue>
<character>ADA</character>
<dialogue>Right.</dialogue>
<character>RUBY</character>
<dialogue>And I'm not planning to work while you watch neither.</dialogue>
<character>ADA</character>
<dialogue>Right.</dialogue>
<character>RUBY</character>
<dialogue>Is that a yes or a no?</dialogue>
<character>ADA</character>
<parenthetical>( looks at Ruby . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>RUBY</character>
<dialogue>There's half the day yet. Let's make a start. My name's Ruby. I know your name.</dialogue>
<character>ADA</character>
<dialogue>The rake : there's a rooster devil, I'm sure of it. He's Lucifer himself. I go near him he's at me with his spurs.</dialogue>
<character>RUBY</character>
<dialogue>I despise a flogging rooster. Where is he?</dialogue>
<scene_description>Ada gets up , nods to the corner of the yard . Ruby goes over . The Rooster gathers himself up for a new opponent . IN ONE MOVEMENT SHE PICKS UP THE BIRD AND TWISTS OFF ITS HEAD .</scene_description>
<character>RUBY</character>
<dialogue>Let's put him in a pot.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNFIELDS. DAWN</stage_direction>
<scene_description>Inman 's walking on a track which passes through cornfields , the crop high and thick around him . He stops , hearing something . Riders . He wades into the field , seeking cover in the tall crop , lying in the dirt . Horses appear . HOME GUARD MEN ON PATROL , A CHAIN GANG OF PRISONERS : SLAVES , DESERTERS IN TOW , A COUPLE OF FEDERAL SOLDIERS . They have dogs , which sniff and growl , intrigued by the fields , called back by the Home Guard . Inman waits until they 're well out of sight . AS HE GETS TO HIS FEET IN THE GREAT FIELDS , ANOTHER BODY APPEARS , THEN ANOTHER , THEN ANOTHER , THEN ANOTHER , ALL SLAVES ON THE RUN DOTTED AROUND THE FIELD . He walks to the road , paying no heed to them . They assemble , paying no heed to him and move off in the opposite direction . Inman turns , looks at them .</scene_description>
<character>INMAN</character>
<dialogue>Hey!</dialogue>
<parenthetical>( they stop , turn . )</parenthetical>
<dialogue>I'd pay a dollar for an egg. A piece of cheese.</dialogue>
<scene_description>They look at him , then continue on their way .</scene_description>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN</stage_direction>
<scene_description>Ada wakes up to persistent knocking .</scene_description>
<character>RUBY</character>
<dialogue>Ada? Ada? You up?</dialogue>
<character>ADA</character>
<dialogue>Yes.</dialogue>
<parenthetical>( opening her eyes . )</parenthetical>
<dialogue>It's still dark.</dialogue>
<character>RUBY</character>
<dialogue>Tell the cows that. It's late.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN, BLACK COVE FARM. PREDAWN</stage_direction>
<scene_description>Ada enters blearily , clutching her novel . Ruby already busy .</scene_description>
<character>ADA</character>
<dialogue>I have to eat something.</dialogue>
<character>RUBY</character>
<dialogue>Then you have to get up earlier.</dialogue>
<parenthetical>( at Ada 's book . )</parenthetical>
<dialogue>What's that?</dialogue>
<character>ADA</character>
<dialogue>A novel.</dialogue>
<character>RUBY</character>
<parenthetical>( heading outside . )</parenthetical>
<dialogue>You want to carry a book carry one you can write in -</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DAWN</stage_direction>
<scene_description>Ruby emerges , followed by Ada , chewing on a tomato .</scene_description>
<character>RUBY</character>
<dialogue>- we got our own story. Called Black Cove Farm : a catastrophe.</dialogue>
<scene_description>She looks back at Ada for a reaction .</scene_description>
<character>RUBY</character>
<dialogue>I can spell it, too. C - a - t - a - s - t - r - o - phe. Learned the same place you did, in the schoolroom. That's one of the first words they taught me. Ruby Thewes, you are a ca - t - a - s - t - r - o - p - h - e.</dialogue>
<scene_description>They 're heading for the stable .</scene_description>
</scene>
<scene>
<stage_direction>INT. STABLE, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby 's already pitching hay . Turns to Ada .</scene_description>
<character>RUBY</character>
<dialogue>You mucking out?</dialogue>
<scene_description>Ada half - asleep , obedient , stunned by this energy .</scene_description>
<character>RUBY</character>
<dialogue>Three years I was in school before my daddy - saying God rest his soul is like wishing him what he had in life, cause he lived to rest, he was born tired - before my daddy decided there was better use for my backside than have it sat all day in front of a blackboard.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A FIELD OF WEEDS, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby dictates a list to Ada as they bustle along .</scene_description>
<character>RUBY</character>
<dialogue>Number One - layout a winter garden for cool season crops : turnips, onions, cabbage, greens.</dialogue>
<scene_description>Ada scribbles , walks , scribbles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARN, BLACK COVE FARM</stage_direction>
<scene_description>Ruby up a ladder , inspecting the roof .</scene_description>
<character>RUBY</character>
<dialogue>Number Two : patch the shingles on the barn roof. Do we have a maul and froe?</dialogue>
<character>ADA</character>
<parenthetical>( writing , holding the ladder . )</parenthetical>
<dialogue>Maul?</dialogue>
<character>RUBY</character>
<dialogue>M - a - u - l.</dialogue>
<character>ADA</character>
<dialogue>I have no idea.</dialogue>
</scene>
<scene>
<stage_direction>INT. COLD HOUSE, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby cleans out leaves and detritus from the stone channel , allowing the stream to flow free and cool .</scene_description>
<character>RUBY</character>
<dialogue>Number three : clay crocks for preserves. Tomatoes. Beans. Jams.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOTTOM FIELD, BLACK COVE FARM. DUSK</stage_direction>
<scene_description>Ruby doing her version of soil analysis , scrunching the earth , tasting it , spitting it out . Ada makes a face .</scene_description>
<character>RUBY</character>
<dialogue>Clear and turn this field. No harm done letting it go fallow, now we'll do well.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OUTBUILDINGS, BLACK COVE FARM. AFTERNOON</stage_direction>
<scene_description>Ruby looks up . Ada catches up with her .</scene_description>
<character>RUBY</character>
<dialogue>Number fifteen</dialogue>
<character>ADA</character>
<dialogue>Sixteen.</dialogue>
<character>RUBY</character>
<dialogue>Number sixteen : let's get a martin colony going in the Gourd House. Keep away crows. You got one thing in abundance on this farm and that's crows.</dialogue>
<character>ADA</character>
<dialogue>What's a Gourd House?</dialogue>
</scene>
<scene>
<stage_direction>EXT. APPLE ORCHARD, BLACK COVE FARM. DUSK</stage_direction>
<scene_description>Ruby , delighted , contemplates the bounty of apples .</scene_description>
<character>RUBY</character>
<dialogue>There's survival. On them trees.</dialogue>
<parenthetical>( turns to an exhausted Ada . )</parenthetical>
<dialogue>You got a cider press or would that be wishing on a blessing?</dialogue>
<character>ADA</character>
<dialogue>Actually, yes, I think we do.</dialogue>
<scene_description>Ruby whoops , jogs away . Ada , exhausted takes a bite of an apple , watches her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A BLUFF. NIGHT</stage_direction>
<scene_description>INMAN WALKS A ROCKY TRACK , FALLING AWAY TO THE RIVER AT ONE SIDE , A STEEP CLIFF TO THE OTHER , the way itself broken and precarious , bad country to meet an enemy . Inman sees A LIGHT in the distance , a torch flicking in and out of view , like a star to follow . He stops , narrows his eyes to focus on the view , listening hard . He pulls out the Lemats . A MAN , ALL IN BLACK , A HORSE IN TOW , IS AT THE EDGE OF THE GORGE . The horse has a burden - a sack or wrapped bundle draped over either side of the saddle . The attempts to heave the bundle onto his shoulders . He ca n't , and the bundle slips to the ground , cover falling enough to glimpse an arm , a head . IT IS THE BODY OF A BLACK GIRL . The man tries again to lift her . He 's clearly upset , despairing , his hat comes off to reveal long , dandy 's hair , all extravagant curls . He staggers with the weight of the girl , heading for the lip of the deep gorge . He kisses the girl again and again , cheeks , mouth , mumbling to her . He 's at the edge now and can just let her go . THEN INMAN 'S GUN IS AT HIS TEMPLE .</scene_description>
<character>INMAN</character>
<dialogue>Do n't let go. Just back up, nice and steady, do this all in reverse, you're going to end up with her draped back over your animal.</dialogue>
<character>VEASEY</character>
<dialogue>Do n't pull that trigger. I am a man of God.</dialogue>
<character>INMAN</character>
<dialogue>I've killed several of them.</dialogue>
<character>VEASEY</character>
<dialogue>I mean I am God's minister.</dialogue>
<character>INMAN</character>
<dialogue>What part of God's business is throwing a woman down a gorge.</dialogue>
<character>VEASEY</character>
<dialogue>A slave woman, can you see that in this light? She's black as a bucket of tar.</dialogue>
<scene_description>He 's retreating , on his way back to the horse .</scene_description>
<character>INMAN</character>
<dialogue>Is she dead?</dialogue>
<character>VEASEY</character>
<dialogue>Drugged her. Like you would a butterfly. And I care for her, that's the heartbreak of it.</dialogue>
<scene_description>He has the girl back on the horse . Inman brings the torch up to his face . It 's tear - stained .</scene_description>
<character>VEASEY</character>
<dialogue>She's got my bastard in her belly. What kind of pistol is that I never saw the like of it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. VEASEY TOWN. NIGHT</stage_direction>
<scene_description>Inman leads the horse , with Veasey ahead of him , hands tied behind his back , desperate for a reprieve .</scene_description>
<character>VEASEY</character>
<dialogue>I'm begging you. It's better you blowout my brains than return me to this place.</dialogue>
<character>INMAN</character>
<dialogue>Where does she live?</dialogue>
<character>VEASEY</character>
<dialogue>In our house. She sleeps in our kitchen. You do n't know me, friend, but the good Lord punished me with want. I am all appetite. That's all I do all day is want : food, the female parts.</dialogue>
<character>INMAN</character>
<dialogue>Shut your mouth. I do n't want a sermon every time I ask a question.</dialogue>
<scene_description>They 're in the town 's main drag now . There 's a Chapel and next to it , a small house .</scene_description>
<character>INMAN</character>
<dialogue>This your place?</dialogue>
<character>VEASEY</character>
<dialogue>Dear God of misery.</dialogue>
<character>INMAN</character>
<dialogue>You're going to put her back where she sleeps.</dialogue>
<character>VEASEY</character>
<dialogue>I do that the Members will lynch me. Consorting with a nigger, adultery, siring a bastard while serving as their preacher. We're a strict congregation we've churched men for picking up a fiddle on the sabbath.</dialogue>
<character>INMAN</character>
<dialogue>So you reckoned to kill her.</dialogue>
<scene_description>Disgusted , Inman approaches the front door of the house .</scene_description>
<character>VEASEY</character>
<dialogue>There's a back door. Have pity.</dialogue>
<scene_description>And he leads Inman down a side path .</scene_description>
</scene>
<scene>
<stage_direction>INT. VEASEY HOUSE. NIGHT</stage_direction>
<scene_description>Veasey comes in , now carrying the girl . Inman comes behind , the gun trained on Veasey as he sets her down by the fire .</scene_description>
<character>VEASEY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Thank you. I was going to do a grievous wrong.</dialogue>
<scene_description>He looks longing at the girl as he puts the blanket around her shoulders . He turns to Inman .</scene_description>
<character>VESEY</character>
<dialogue>You tasted dark meat? Sweet as liquorice. I think I should go back up to my wife. She wakes at the slightest noise.</dialogue>
<scene_description>Inman is incredulous that he thinks he can just go to bed .</scene_description>
<character>INMAN</character>
<dialogue>You find me some paper and a pen.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHAPEL, VEASEY TOWN. DAWN</stage_direction>
<scene_description>INMAN HAS TIED A VERY DISTRAUGHT VEASEY TO A TREE IN FRONT OF HIS CHAPEL . Inman is pinning a sheet of paper above Veasey 's head . It 's covered in handwriting . A dog barks .</scene_description>
<character>VEASEY</character>
<dialogue>You're not entitled to judge me! You're nothing but an outlier, plain as daylight!</dialogue>
<scene_description>Inman has pulled a handkerchief from Veasey 's jacket . He stuffs it into his mouth , cutting this diatribe short . And then he walks away leaving Veasey tied to the tree , cursing through the handkerchief .</scene_description>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM, BLACK COVE FARM. PREDAWN</stage_direction>
<scene_description>Ada asleep . Ruby enters , shattering the calm .</scene_description>
<character>RUBY</character>
<dialogue>Morning. Pigs : you have any loose in the woods?</dialogue>
<character>ADA</character>
<dialogue>No. What? No. We bought our hams.</dialogue>
<character>RUBY</character>
<dialogue>There's a world more to a hog than the two hams! Lard, for example, we'll need plenty -</dialogue>
<scene_description>She picks up some discarded laundry , contemplates the overflowing laundry basket .</scene_description>
<character>RUBY</character>
<dialogue>The catastrophe of Ada Monroe's laundry.</dialogue>
<parenthetical>( marching out . )</parenthetical>
<dialogue>I can feel you shutting your eyes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOTTOM FIELD. BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada and Ruby working with the horse to make the beginnings of A SPLIT RAIL FENCE . As they struggle with a heavy rail , Ruby is testing Ada .</scene_description>
<character>RUBY</character>
<dialogue>What's this wood?</dialogue>
<character>ADA</character>
<dialogue>I do n't know. Locust?</dialogue>
<character>RUBY</character>
<dialogue>Where's North?</dialogue>
<character>ADA</character>
<dialogue>North is, North is -</dialogue>
<character>RUBY</character>
<dialogue>Name me three herbs growing wild on this farm.</dialogue>
<character>ADA</character>
<parenthetical>( frustrated with Ruby and with herself . )</parenthetical>
<dialogue>I ca n't! I ca n't! All right? I can talk about farming in Latin. Will that do? I can read French. I know Harmony and Counterpoint. I know my Bible. I can name the principal rivers of Europe, but do n't ask me to name one stream in this county. I can embroider, but I ca n't darn, I can arrange cut flowers, but I ca n't grow them. If a thing has a function, if I might do something with it, it was n't considered suitable.</dialogue>
<character>RUBY</character>
<dialogue>Why?</dialogue>
<character>ADA</character>
<dialogue>Ruby, you could ask why? about pretty much everything to do with me.</dialogue>
<scene_description>They manage to get the first line of rail set down .</scene_description>
<character>ADA</character>
<dialogue>This fence is about the first thing I've ever done that'll produce an actual result.</dialogue>
<character>RUBY</character>
<dialogue>So you never wrapped your legs around this Inman?</dialogue>
<scene_description>An old - fashioned look from Ada .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNKEN FOREST. DAY</stage_direction>
<scene_description>Inman finds himself in A SUNKEN FOREST OF PINE . He moves warily , his beard longer , his figure gaunt , his clothes weathering to a uniform smudge of charcoal . He hears DOGS BARKING IN THE DISTANCE , FAINT SHOUTS . He picks up his pace , skirts round the swampy lake .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAPE FEAR RIVER. DUSK</stage_direction>
<scene_description>Inman comes to the bank of a HUGE RIVER . The water , as the light begins to go , is the color of mud , with bubbles , belching to the surface , full of ugly prominent . Inman is almost jogging now , an ear tracking his still distant pursuers . The river is too wide to contemplate swimming and now it begins to curve left , forcing him - against his judgment , to circle back . He approaches A SMALL JETTY . A sign : Ferry $ 5 . Yell Loud . On the far bank there 's A CABIN ON STILTS above the highwater mark . Inman calls out , reluctantly , his voice still a kind of growl . Then again . A TINY FIGURE steps out of the cabin and waves before jumping into a small canoe . The canoe heads against the current , the rower 's back bent with the effort . As the canoe approaches , Inman sees that the ferryman is , in fact , A YOUNG GIRL , not eighteen . She does n't look at him . He produces five dollars . She eyes the bill with contempt .</scene_description>
<character>FERRYGIRL</character>
<dialogue>For five dollars I would n't give a parched man a dipper of this riverwater.</dialogue>
<character>INMAN</character>
<dialogue>Sign says ferry, five dollars.</dialogue>
<character>FERRYGIRL</character>
<dialogue>This look like a ferry? My Daddy's dead, or gone off to the Federals, do n't matter which. I'm the way across now.</dialogue>
<character>INMAN</character>
<dialogue>What's the name of this thing?</dialogue>
<character>FERRYGIRL</character>
<dialogue>Nothing but the mighty Cape Fear River, is all.</dialogue>
<scene_description>A dog barks in the distance . Getting closer . Inman turns to the sound . The Ferrygirl is well aware of her leverage .</scene_description>
<character>FERRYGIRL</character>
<dialogue>Nobody crosses this water unless they're running from someplace. Some cross one way, some the other : makes no difference, they're all running. You want to wait for your friends?</dialogue>
<character>INMAN</character>
<dialogue>I can give you thirty dollars script.</dialogue>
<character>FERRYGIRL</character>
<dialogue>Let's go.</dialogue>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey! Hey! Wait!</dialogue>
<scene_description>Inman is astonished to see VEASEY stumble out of the trees . His head is shaved , his face bruised and swollen , his clothes castoffs and ill - fitting , cinched at the waist with rope . He stumbles towards Inman , urging him to get on with the journey .</scene_description>
<character>VEASEY</character>
<dialogue>Keep going. We're both in trouble.</dialogue>
<scene_description>He gets straight into the canoe .</scene_description>
<character>INMAN</character>
<dialogue>No. Get out.</dialogue>
<character>VEASEY</character>
<dialogue>It's Homeguard. Made me tell them all about you.</dialogue>
<character>INMAN</character>
<dialogue>I should have shot you when I had the chance.</dialogue>
<scene_description>Shouts , more barking . Inman jumps in the canoe , and they 're off . The Ferrygirl turns the boat around , rows them away from the jetty with the grace of someone doing something for the thousandth time .</scene_description>
<character>VEASEY</character>
<dialogue>I'm not looking for revenge, by the way. For what you did to me. No, I'm a Pilgrim now, like you, traveling the road, paying our dues, relying on the kindness of strangers.</dialogue>
<character>INMAN</character>
<dialogue>You're nothing like me and the last thing I want right now is a conversation.</dialogue>
<character>VEASEY</character>
<parenthetical>( to Ferrygirl . )</parenthetical>
<dialogue>You recall Job in the scriptures? I will give free utterance to my complaint. I will speak in the bitterness of my soul. That's our friend here.</dialogue>
<parenthetical>( to Inman . )</parenthetical>
<dialogue>They cut off my hair. Which was hard. I was vain about my hair.</dialogue>
<parenthetical>( to Ferrygirl . )</parenthetical>
<dialogue>I had good curls. But I deserved it. I'm the Reverend Veasey. Have I seen you in church?</dialogue>
<scene_description>Inman sits , scouring the bank for sign of his pursuers . The sun is sinking fast .</scene_description>
<character>FERRYGIRL</character>
<dialogue>I'm saving for a cowhide, and when I get it I aim to get a saddle made, and when I get me a saddle I'll save for a horse, and when I got a horse I'll throw on the saddle, and then you wo n't see my sorry ass round this swamp again.</dialogue>
<scene_description>She has no love for the river . Another gurgle of viscous bubbles around the canoe .</scene_description>
<character>VEASEY</character>
<dialogue>What's that?</dialogue>
<character>FERRYGIRL</character>
<dialogue>Catfish. ` gator. Keep your hand in the boat. Already looks like some critter chewed his neck.</dialogue>
<parenthetical>( she looks at Inman . )</parenthetical>
<dialogue>Thirty more dollars, we can go to the cabin. I'll pull this dress over my head.</dialogue>
<character>VEASEY</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Have we got thirty dollars?</dialogue>
<scene_description>A sharp sound , a tiny thwack of ball on meat . The Ferrygirl SUDDENLY SLUMPS BACK and falls into the water . Veasey grabs out at the oar , but it goes , too . The girl sinks quickly , A BLOODY GAP to the side of her head . Inman , on his knees and stretching , ca n't help her . Then a second noise as A HOLE THE SIZE OF A FIST appears in the canoe , just at waterlevel . Water pours into the canoe . Dogs bark , and now FIGURES are visible at the jetty . HOME GUARD . One of them has a sniper 's rifle and is loading for a third shot . Inman can see him sighting the rifle . They lie flat in the canoe . ANOTHER GREAT FIST OF WOOD is gouged out . Now the boat is almost full of water . Veasey spits out a foul mouthful . INMAN ROCKS THE CANOE AND LETS IT TURN OVER ONTO THEM , Veasey surfaces from under it , clutching the wood as a raft , but the canoe CATCHES INMAN A BLOW TO HIS HEAD and he sinks . Veasey hauls him to the surface and , surprisingly strong , holds him with one fist , the boat with the other , lets the current take them , pulling them under , then up , under , then up , but clinging on , as the rifle continues to deliver its assault , another shot into the boat , another into the water near to Veasey 's arm . THE GIRL 'S BODY comes by them , carried by the river , the dress billowing out almost covering her head . The sun has gone , the light fading , the canoe sliding downriver away from their aggressors .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER PART OF THE CAPE FEAR. NIGHT</stage_direction>
<scene_description>In the moonlight , the canoe drifts into the muddy bank and Veasey drags a half - drowned Inman to land , both of them retching with the vile river water . AN ALLIGATOR eases into the river not ten feet from where they lie , lungs heaving . They get up . Veasey to his feet , Inman to his knees .</scene_description>
<character>VEASEY</character>
<dialogue>You okay?</dialogue>
<scene_description>Inman nods , coughs . And Veasey AIMS A KICK at Inman 's head , knocking him back into the mud .</scene_description>
<character>INMAN</character>
<dialogue>Jesus, god!</dialogue>
<character>VEASEY</character>
<dialogue>I figure that righteous, given our history. Otherwise I'd bear a grudge on our journey.</dialogue>
<character>INMAN</character>
<dialogue>There's nowhere I'm going with you except to Hellfire!</dialogue>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM. BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada , her hair plaited in a new and simpler configuration , is working on Ruby 's hair , while Ruby experiments with some earrings . A pile of Ada 's jewelry on the bed beside them .</scene_description>
<character>ADA</character>
<dialogue>Agricola poetis viam non monstrat.</dialogue>
<character>RUBY</character>
<dialogue>Which means?</dialogue>
<character>ADA</character>
<dialogue>The farmer does not point out the road to a poet.</dialogue>
<character>RUBY</character>
<dialogue>Which means? Should be the other way round</dialogue>
<character>ADA</character>
<dialogue>Which means, I suppose, which means the poet should know where he's going.</dialogue>
<character>RUBY</character>
<parenthetical>( of Ada 's hairdressing . )</parenthetical>
<dialogue>It's no wonder you're helpless and hopeless if it takes this long to fix your hair.</dialogue>
<parenthetical>( of the Latin . )</parenthetical>
<dialogue>Say some more.</dialogue>
<character>ADA</character>
<dialogue>Terra mutata non mutat mores.</dialogue>
<parenthetical>( ca n't believe she knows all these phrases by heart . )</parenthetical>
<dialogue>It's appalling what's in my head.</dialogue>
<character>RUBY</character>
<dialogue>It's appalling what's in my head?</dialogue>
<character>ADA</character>
<dialogue>No, it means : A change of place does not change a character.</dialogue>
<character>RUBY</character>
<dialogue>Well that's surely true even in English.</dialogue>
<character>ADA</character>
<dialogue>You can keep those earrings.</dialogue>
<character>RUBY</character>
<dialogue>We ca n't keep anything.</dialogue>
<character>ADA</character>
<dialogue>I have to keep the bangles. They were my mother's.</dialogue>
<character>RUBY</character>
<dialogue>Well that's all. The rest is for trading. Else they can bury you in your finery.</dialogue>
<character>ADA</character>
<parenthetical>( of her hair . )</parenthetical>
<dialogue>You're done.</dialogue>
<scene_description>There 's a small mirror on a stand . It has Inman 's picture stuck in it . She picks it up , removing the tintype , and holding it up for Ruby to see her hairstyle .</scene_description>
<character>RUBY</character>
<dialogue>Good God! Okay.</dialogue>
<scene_description>She takes the mirror and shows Ada her simple plait .</scene_description>
<character>ADA</character>
<dialogue>I like it.</dialogue>
<character>RUBY</character>
<dialogue>Takes two minutes. That's what I like.</dialogue>
<scene_description>She puts the earrings back in the pile .</scene_description>
<character>RUBY</character>
<dialogue>How much do you love that piano?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DUSK</stage_direction>
<scene_description>THE PIANO jangles down the rutted lane on the back of Mr. Roy 's cart . Ada watches , A SMALL FLOCK of sheep milling around her in the path . Ruby is dragging a big sow towards the yard . Ada picks up one of two sacks and staggers towards the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, BLACK COVE FARM. DUSK</stage_direction>
<scene_description>Ada arrives in the kitchen . They 've got it under control now , scrubbed and orderly . She puts the sack down next to another one . Her hands are calloused , the finger nails cracked and ruined , stripes of earth under them . Ruby comes in , struggling with the last sack , pleased .</scene_description>
<character>RUBY</character>
<dialogue>We're careful we'll get through the winter now. I made old man Roy give me ten of those sheep on account of I said they were so small put together they were no bigger than six proper sheep.</dialogue>
<character>ADA</character>
<dialogue>My father always wanted sheep on this land.</dialogue>
<character>RUBY</character>
<dialogue>I'm sorry you had to lose your piano. I cut off my hair once, for money. My daddy got two dollars for it. Made a wig for a rich feller in Raleigh.</dialogue>
<scene_description>They 're working as they talk , taking the sacks into the larder , putting out stuff for the evening meal .</scene_description>
<character>RUBY</character>
<dialogue>Stobrod called himself a musician - my daddy - he could play six tune on a fiddle. Got himself shot dead at Petersburg. I was like his goat or some creature tethered to a post. He left me once, up the mountains. I was eight. He was gone over two weeks.</dialogue>
<character>ADA</character>
<dialogue>Oh Ruby.</dialogue>
<character>RUBY</character>
<parenthetical>( defiant . )</parenthetical>
<dialogue>I was all right! He'd walk forty miles for liquor and not forty inches for kindness.</dialogue>
<character>ADA</character>
<dialogue>And your mother?</dialogue>
<character>RUBY</character>
<dialogue>Never met her. We're the same in that regard. He said she was - he told me a thousand stories - she was a wolf or an indian or a donkey. Do n't say much for him, except you know he'd be fast to work up a sweat on a tree if he thought there was pleasure in it.</dialogue>
<scene_description>There 's a pause . Ruby not easy with her emotions . Abruptly she jumps up .</scene_description>
<character>RUBY</character>
<dialogue>There's cows to milk.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER, EN ROUTE TO SALISBURY. DAY</stage_direction>
<scene_description>Inman stands in the river , hoping to catch a fish , trying to concentrate . Veasey presides , complaining .</scene_description>
<character>VEASEY</character>
<dialogue>Used to be as regular as morning prayers. Matter of fact I could set my watch by my bowels. That beeswax you fed me, day before yesterday, it stops a man up. Open my gut now they'd find turds stacked up like little black twigs.</dialogue>
<scene_description>On a parallel track across the river , RIDERS . impossible to say whether Home Guard or a Federal Raiding Party . Inman splashes out of the water , pushes Veasey down , silencing him . The riders pass . Veasey spots something shining in the grass , picks it up . IT 'S A LONG TWO - HANDED SAW .</scene_description>
<character>VEASEY</character>
<dialogue>Hey! Look at this!</dialogue>
<parenthetical>( flexing it . )</parenthetical>
<dialogue>This is a good saw.</dialogue>
<character>INMAN</character>
<parenthetical>( getting up . )</parenthetical>
<dialogue>It's not yours. You take it, you make us another enemy. You're a Christian - don' t you know your commandments?</dialogue>
<character>VEASEY</character>
<dialogue>You'll find the good Lord very flexible on the subject of property. We could do a lot with this saw.</dialogue>
<scene_description>Inman is vexed , walks away . Veasey follows , experimenting with the saw 's music when flexed . Inman stalks on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEAR A FORD. DAY</stage_direction>
<scene_description>Inman way ahead , full of purpose . Veasey still has the saw , trots to catch up .</scene_description>
<character>VEASEY</character>
<dialogue>Why you in such a hurry the whole time?</dialogue>
<parenthetical>( no answer . )</parenthetical>
<dialogue>Hurry or slow the destination is always the same. It's only the journey that is different. That's either in the Good Book or I made it up.</dialogue>
<scene_description>Inman suddenly stops , scowling , puts up a hand , listens . Inman carefully scouts the track then , with great caution , edges towards the river bank . A HEAVY SET MAN labours in the water . He 's contemplating THE HUGE BLACK CARCASS OF A BULL which has slipped into the ford and died . The man is wet and exasperated .</scene_description>
<character>VEASEY</character>
<dialogue>Good day to you!</dialogue>
<scene_description>The man turns , his spirit evidently lifted by the prospect of help . His name is JUNIOR . He 's working on roping the animal .</scene_description>
<character>JUNIOR</character>
<dialogue>My old bull, wandered off and died in this here creek. Fouled up our water is how I found it.</dialogue>
<scene_description>Veasey is immediately an authority on bull removal .</scene_description>
<character>VEASEY</character>
<dialogue>This is a tricky one.</dialogue>
<scene_description>The three men contemplate the carcass , swatting away the swarms of flies . Junior offers a swig from a jug of liquor . Inman refuses , Veasey takes a long pull , shudders happily .</scene_description>
<character>VEASEY</character>
<dialogue>The name for the Bull's member is a tassel. I learned that and never forgot it.</dialogue>
<character>JUNIOR</character>
<dialogue>Reckon I need a train of mules.</dialogue>
<character>VEASEY</character>
<parenthetical>( walking away . )</parenthetical>
<dialogue>I'm getting an idea. My saw is the remedy. Let's saw up some wood and make levers.</dialogue>
<character>INMAN</character>
<dialogue>Then what?</dialogue>
<character>VEASEY</character>
<dialogue>Lever him out. This'll work!</dialogue>
<scene_description>He walks into the wood .</scene_description>
<character>JUNIOR</character>
<dialogue>Where you two sports heading?</dialogue>
<character>INMAN</character>
<parenthetical>( inscrutable . )</parenthetical>
<dialogue>I do n't know where he's heading. I'm going down the road. And I got a good way to go before nightfall.</dialogue>
<character>JUNIOR</character>
<parenthetical>( acknowledging his attitude . )</parenthetical>
<dialogue>Charitable of you to make a stop. Ai n't for me to be curious.</dialogue>
<character>VEASEY</character>
<parenthetical>( emerges from the woods . )</parenthetical>
<dialogue>How do you work this damn thing?</dialogue>
<character>INMAN</character>
<parenthetical>( to Veasey . )</parenthetical>
<dialogue>Give me that saw.</dialogue>
<parenthetical>( to Junior . )</parenthetical>
<dialogue>Come on.</dialogue>
<scene_description>He takes the saw , walks to the bull , gets on one side , indicates Junior should go to the other .</scene_description>
<character>INMAN</character>
<dialogue>Let's do this in chapters.</dialogue>
<scene_description>And they begin to SAW OFF THE BULL 'S NECK . LATER , and they 're in A VILE STEW OF BLOOD AND INNARDS . The stomach opens and its contents gush into the creek . Veasey is disgusted , draws back . The two other men haul up the rest of the animal onto the banks . They 're exhausted .</scene_description>
<character>INMAN</character>
<dialogue>You might want to leave off that water for a day or two.</dialogue>
<character>JUNIOR</character>
<dialogue>There'll be a tang, I'd imagine.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRACK APPROACHING JUNIOR'S CABIN. EVENING</stage_direction>
<scene_description>Junior , Inman and Veasey come around a bend and there 's A BIG CABIN LOOMING . It 's in such poor repair that one end has slipped from the stones which serve as it 's foundation and STANDS BADLY TILTED OVER . Junior roots up another hidden jug of liquor , which he drinks from , then hands to Veasey .</scene_description>
<character>JUNIOR</character>
<dialogue>There's my place. Hope you can stomach a yard chock - full of females. Brought my woman home, she showed up with her three so - called sisters and their brats. The noise in that place is something awful. It's why I go hunting.</dialogue>
<character>VEASEY</character>
<parenthetical>( considering the wild camber . )</parenthetical>
<dialogue>Looks a bit crooked.</dialogue>
<character>JUNIOR</character>
<dialogue>It is on a bit of a tilt. Them females. They all roll down one end each night!</dialogue>
<character>VEASEY</character>
<dialogue>- Roll me over!</dialogue>
<character>JUNIOR</character>
<dialogue>- In the clover</dialogue>
<character>VEASEY</character>
<dialogue>One good fart - that'll tip over!</dialogue>
<scene_description>They guffaw , delighted in the alcohol haze . Veasey suddenly exclaims , hand in the air , rushes into the bushes .</scene_description>
<character>VEASEY</character>
<dialogue>Oh God of my God! Hallelujah! Hallelujah!</dialogue>
<character>JUNIOR</character>
<dialogue>What's up?</dialogue>
<character>VEASEY</character>
<dialogue>The Israelites! The tribes of Israel are about to flee from the banks of Egypt! Hallelujah!</dialogue>
<character>INMAN</character>
<parenthetical>( explaining to Junior . )</parenthetical>
<dialogue>He's got a shit coming on. It's overdue.</dialogue>
<character>JUNIOR</character>
<parenthetical>( bewildered . )</parenthetical>
<dialogue>And he's a Preacher? Like a Christian?</dialogue>
<character>INMAN</character>
<dialogue>Like a Christian.</dialogue>
<character>JUNIOR</character>
<dialogue>Good God.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S CABIN. DUSK</stage_direction>
<scene_description>The three men arrive at the yard . DOGS AND CHILDREN MILL AROUND THE VISITORS . FOUR WOMEN COME OUT , one after the other each of them in simple shifts which seem to emphasis their voluptuousness , or so it seems to Veasey . They freely stare .</scene_description>
<character>JUNIOR</character>
<dialogue>These two boys is stopping for supper. They're on the road to Atonement.</dialogue>
<scene_description>The women consider the men , then disappear back inside .</scene_description>
<character>VEASEY</character>
<dialogue>Atonement is not a place.</dialogue>
<character>JUNIOR</character>
<dialogue>So what is it when it's at home?</dialogue>
<character>VEASEY</character>
<dialogue>Those are fine examples of the female.</dialogue>
<character>JUNIOR</character>
<dialogue>Take them all and leave the saw. Be a sight more use.</dialogue>
<character>SHYLA</character>
<parenthetical>( reappearing . )</parenthetical>
<dialogue>If they want to get in a tub there's an hour before food.</dialogue>
<character>JUNIOR</character>
<dialogue>They love to scrub a man.</dialogue>
<parenthetical>( to Shyla . )</parenthetical>
<dialogue>Put the water on the boil.</dialogue>
<parenthetical>( back to the men . )</parenthetical>
<dialogue>It's my liquor, gets their titties swinging.</dialogue>
<character>VEASEY</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>God damn!</dialogue>
<parenthetical>( to Inman . )</parenthetical>
<dialogue>I was right about sheep droppings those stools - like rock hard. Quite astonishing.</dialogue>
</scene>
<scene>
<stage_direction>INT. SMOKEHOUSE AT JUNIOR'S CABIN. DUSK</stage_direction>
<scene_description>No real furniture . Veasey is shaving . Inman stows his knapsack behind the woodburning stove , on which a big kettle of boiling water steams away . Then he gets in the tub , his back to the door . Shyla comes in , brings the kettle over to the tub , pours in the steaming water . She appraises Inman . It 's intensely sexual .</scene_description>
<character>SHYLA</character>
<dialogue>That's battered flesh.</dialogue>
<parenthetical>( of his neck wound . )</parenthetical>
<dialogue>I could work a finger in there.</dialogue>
<character>VEASEY</character>
<dialogue>He's a hero. Took that wound at Petersburg.</dialogue>
<character>INMAN</character>
<dialogue>He does n't know what I am.</dialogue>
<parenthetical>( uncomfortable with her stare . )</parenthetical>
<dialogue>Thanks.</dialogue>
<character>SHYLA</character>
<parenthetical>( to Veasey . )</parenthetical>
<dialogue>He's shy, ai n't he?</dialogue>
<character>VEASEY</character>
<dialogue>Wait up a few minutes, I'll be in that tub, then we'll see who's a shy one.</dialogue>
<character>SHYLA</character>
<dialogue>I want to poke my thumb in his holes.</dialogue>
<scene_description>A second woman comes to the door . Dolly .</scene_description>
<character>DOLLY</character>
<dialogue>Lila says supper's up.</dialogue>
</scene>
<scene>
<stage_direction>INT. JUNIOR'S CABIN, NIGHT</stage_direction>
<scene_description>LILA , JUNIOR 'S WIFE , spoons out stew from a vast pot . The table crammed with customers - her three sisters , the three men , the herd of dogs and filthy children . Nobody speaks . Each time Lila bends over to spoon out of the pot , her cleavage strains against the flimsy fabric of her dress . Veasey 's mesmerized . Inman is also getting drunk , his eyes increasingly glazed . When Lila makes to sit down next to Junior , he slides a hand up her dress , exposing a naked buttock , which he strokes and pinches as he pulls away .</scene_description>
<character>LILA</character>
<dialogue>Hey!</dialogue>
<scene_description>Junior grins , looks over at Inman , then nudges Veasey .</scene_description>
<character>JUNIOR</character>
<dialogue>He's gone now. Look! His eyes have gone.</dialogue>
<character>INMAN</character>
<parenthetical>( vaguely , drunk . )</parenthetical>
<dialogue>What?</dialogue>
<character>VEASEY</character>
<dialogue>Dolly?</dialogue>
<character>DOLLY</character>
<dialogue>S'me.</dialogue>
<character>VEASEY</character>
<dialogue>Dolly, Lila, Shyla and Mae. That's a poem. That's a poem.</dialogue>
<scene_description>He begins to recite , has a verse in his mind .</scene_description>
<character>VEASEY</character>
<dialogue>Dolly, Lila, Shyla and Mae.</dialogue>
<parenthetical>( but he can ' t summon it . )</parenthetical>
<dialogue>Da - da da - da da - da dae.</dialogue>
<parenthetical>( vague . )</parenthetical>
<dialogue>. there's a poem there.</dialogue>
<character>JUNIOR</character>
<dialogue>I'm leaving soon as I'm full.</dialogue>
<character>VEASEY</character>
<dialogue>Really. Goodbye.</dialogue>
<character>JUNIOR</character>
<dialogue>Got a bunch of traps needs visiting. I'll be back tomorrow, before dark. You'll still be here?</dialogue>
<character>VEASEY</character>
<dialogue>That's my fervent prayer.</dialogue>
<character>JUNIOR</character>
<dialogue>My house is your house.</dialogue>
<character>INMAN</character>
<parenthetical>( suddenly . )</parenthetical>
<dialogue>Like to wash their hands and pray.</dialogue>
<character>VEASEY</character>
<dialogue>Say again?</dialogue>
<character>INMAN</character>
<dialogue>Dolly, Lila, Shyla and Mae.</dialogue>
<character>VEASEY</character>
<dialogue>That's Job. Do n't say much but even liquored up there's a preacher in him.</dialogue>
<scene_description>Inman gets up suddenly , sways .</scene_description>
<character>INMAN</character>
<dialogue>I'll say my goodbyes, got miles and miles to go before sunset.</dialogue>
<parenthetical>( head spinning . )</parenthetical>
<dialogue>I'll just quickly lie down.</dialogue>
<scene_description>And he stumbles over to the fire where he instantly curls up .</scene_description>
<character>VEASEY</character>
<dialogue>I'm heading for that smokehouse and I'm ready to be washed clean of my dirt.</dialogue>
<scene_description>He gets up , wanders out of the door . Junior 's eyes glint . He jerks his head towards the girls then in the direction of the smokehouse .</scene_description>
<character>JUNIOR</character>
<dialogue>You go tend to him.</dialogue>
<parenthetical>( to Lila . )</parenthetical>
<dialogue>I'll be seeing you.</dialogue>
<scene_description>He picks up his gun and leaves Dolly gathering up the children and herding them out .</scene_description>
<character>DOLLY</character>
<dialogue>Come on you - get!</dialogue>
<scene_description>Shyla stays , Mae having gone off after Veasey . Lila waits until the children have gone . They consider Inman supine by the fire .</scene_description>
<character>LILA</character>
<dialogue>He's mine. You can go rub yourself off on the Preacher.</dialogue>
<parenthetical>( of Inman . )</parenthetical>
<dialogue>Gon na make him hug me till I grunt.</dialogue>
<scene_description>Lila shepherds Shyla out , shuts the door , swigs from the jug , walks over to Inman , then turns to the big table and pushes pots and plates way down to one end to make a playing field . Then she bends over the prostrate Inman .</scene_description>
<character>LILA</character>
<dialogue>Hey!</dialogue>
<scene_description>Inman stirs , glazed .</scene_description>
<character>LILA</character>
<parenthetical>( kneeling down to him . )</parenthetical>
<dialogue>You want to see what Mamma's got for you?</dialogue>
<scene_description>SHE SLIPS A SLEEVE OF HER DRESS TO REVEAL A FULL BREAST . Inman is drunk , does n't think he 's awake . She takes her breast to his mouth , and Inman suckles . Then she puts his hands under the dress which rides up as his hands move between her legs . She 's naked .</scene_description>
<character>LILA</character>
<dialogue>That's good. Ai n't that sweet?</dialogue>
<scene_description>SHE PULLS INMAN TO HIS FEET , KISSES HIM , THEN TURNS HER BACK AND LIES FACE DOWN ON THE TABLE , HER BARE ASS UNDULATING IN THE AIR .</scene_description>
<character>LILA</character>
<dialogue>You just get on and ride me all the way to China.</dialogue>
<scene_description>He does n't move , except to sway , eyes glazed . She turns .</scene_description>
<character>LILA</character>
<dialogue>You shy? You need a hand?</dialogue>
<parenthetical>( goes to his buttons . )</parenthetical>
<dialogue>Let's have a look see what we can muster.</dialogue>
<scene_description>She 's kneeling now , her dress hunched up around her middle , working the front of Inman 's pants . He 's in a swoon , surrendering to her , getting aroused , his hand cupping her head . ON CUE , THE DOOR CRASHES OPEN AND HE 'S STARING DOWN THE BARREL OF JUNIOR 'S SHOTGUN . As Lila turns , Junior KICKS HER violently in the head , knocking her over .</scene_description>
<character>JUNIOR</character>
<dialogue>You little bitch! Look at you! Cover yourself up!</dialogue>
<scene_description>NEXT HE SWINGS THE SHOTGUN BARREL AGAINST THE SIDE OF INMAN 'S HEAD . Inman falls back . Junior goes to the door and whistles . AND WITH THAT THE ROOM FILLS UP WITH A GROUP OF HOME GUARD BRISTLING WITH WEAPONS AND PURPOSE . THEY SEIZE INMAN , DRAG HIM OUT AS JUNIOR SPITS AND KICKS AT HIM .</scene_description>
</scene>
<scene>
<stage_direction>INT. SMOKEHOUSE AT JUNIOR'S CABIN. NIGHT</stage_direction>
<scene_description>Lila enters the smokehouse , hand to her bruised head . VEASEY 'S ON THE FLOOR , WITH DOLLY ASTRIDE HIM , HIS ARM CRUSHING A NAKED MAE INTO AN EMBRACE . He considers Lila , beams :</scene_description>
<character>VEASEY</character>
<dialogue>I had a special prayer you'd come visit.</dialogue>
<scene_description>THREE MEN BURST IN BEHIND HER , RIFLES RAISED .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S CABIN. NIGHT</stage_direction>
<scene_description>Veasey led out , a CHAIN GANG waiting - a bedraggled collection of prisoners , slaves , deserters - and now INMAN . Veasey is joined to the line . It starts to rain .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>Ruby and Ada at the door of the Swanger house . They both wear Monroe 's clothes by now , like two little men . THEY 'RE CARRYING A SMALL SACK , A PIE UNDER A CLOTH . Ruby hammers at the door , a little impatient . Sally Swanger opens it , has to decode who it is under the clothes , the hats .</scene_description>
<character>SALLY</character>
<dialogue>Ada Monroe and Ruby Thewes! Look at you both!</dialogue>
<character>RUBY</character>
<dialogue>Look at us both what?</dialogue>
<character>SALLY</character>
<dialogue>Like a coupla scarecrows after a thunderstorm.</dialogue>
<character>RUBY</character>
<dialogue>We need a scarecrow, birds eating up half our winter garden.</dialogue>
<character>ADA</character>
<dialogue>Sally's right. We should both stop toiling and stand a while with our arms stretch out. I'll volunteer.</dialogue>
<character>RUBY</character>
<dialogue>We got something for you.</dialogue>
<character>ADA</character>
<dialogue>For all your kindness. Coffee. And a pie.</dialogue>
<character>RUBY</character>
<dialogue>That's real coffee. It ai n't hickory and dirt.</dialogue>
<character>SALLY</character>
<parenthetical>( taking the gifts . )</parenthetical>
<dialogue>Thank you both.</dialogue>
<parenthetical>( of the pie . )</parenthetical>
<dialogue>Ruby, I look forward to this. We all do. Esco and me.</dialogue>
<character>RUBY</character>
<parenthetical>( grinning at Ada . )</parenthetical>
<dialogue>She made it.</dialogue>
<character>ADA</character>
<dialogue>I made it.</dialogue>
<character>SALLY</character>
<dialogue>Good God in Heaven.</dialogue>
<character>RUBY</character>
<parenthetical>( by way of recommendation . )</parenthetical>
<dialogue>I'm still alive.</dialogue>
<scene_description>Sally 's strangely awkward , lingering at the door , staring at the gifts .</scene_description>
<character>RUBY</character>
<dialogue>We'll be getting along.</dialogue>
<character>SALLY</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>I know Esco's going to be real sorry he missed you. You all take care.</dialogue>
<scene_description>They all kiss , then the girls walk back down the path . Ruby is vexed .</scene_description>
<character>RUBY</character>
<dialogue>That strike you as odd?</dialogue>
<character>ADA</character>
<dialogue>What?</dialogue>
<character>RUBY</character>
<dialogue>Stood at her front door?</dialogue>
<character>ADA</character>
<dialogue>Sally?</dialogue>
<character>RUBY</character>
<dialogue>Number one - I know that woman all my life. I never stood outside her house - she'd invite a wolf inside if it knocked on the door.</dialogue>
<character>ADA</character>
<dialogue>Perhaps, I do n't know, perhaps she was busy.</dialogue>
<character>RUBY</character>
<dialogue>Number two - Old Man Swanger was inside that house : I could smell his pipe burning. Number three - look at these fields.</dialogue>
<character>ADA</character>
<dialogue>What about them?</dialogue>
<scene_description>She contemplated the stubble fields they 're passing .</scene_description>
<character>RUBY</character>
<dialogue>We came by here a week ago, they were waist high in hay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A PATH. DRIVING RAIN. NIGHT</stage_direction>
<scene_description>The Home Guard ride , bent under their oilskins , as the rain tips down . Between the horses , unprotected and drenched , their prisoners trudge along the muddy path . Inman and Veasey among them . Veasey has grown some beard . AN OLDER MAN COLLAPSES , lies where he falls , not moving . There 's a domino effect and so Inman falls on top of him . He picks himself up , then tries to pull up the older man . He does n't move .</scene_description>
<character>INMAN</character>
<dialogue>He's dead.</dialogue>
<scene_description>The horses plough on . Inman shouts to BROWN , the leader .</scene_description>
<character>INMAN</character>
<dialogue>This man's dead!</dialogue>
<scene_description>Nobody pays any attention . He has to drag the body .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VEASEY TOWN. DAY</stage_direction>
<scene_description>THE HOME GUARD ESCORT THE PRISONERS PAST VEASEY 'S OLD CHURCH . More days have gone by and taken their toll on the prisoners , Veasey and Inman are haggard and filthy and reduced . The Home Guards stop for food , a wash , a break , chain the prisoners to a horse rail . Citizens go by , Veasey knows them all . Some of them spit contemptuously at the Deserters . None of them recognise Veasey .</scene_description>
<character>VEASEY</character>
<dialogue>Am I so altered that they do n't see me?</dialogue>
<scene_description>Somebody walks by with a young child . Veasey looks at Inman .</scene_description>
<character>VEASEY</character>
<dialogue>I christened that child.</dialogue>
<scene_description>The child stops , looks without recognizing , is tugged away from the chain gang by his mother . One of the other prisoners , SHEFFIELD , leans in to Inman , his voice low .</scene_description>
<character>SHEFFIELD</character>
<dialogue>I'm looking to get out of this. They drag us back to fight - we're just target practice for the Federal boys.</dialogue>
<character>INMAN</character>
<dialogue>You run, we're all running with you, the lame and the stupid, of which we number both.</dialogue>
<character>SHEFFIELD</character>
<dialogue>Either way we're fucked. Run or do n't run.</dialogue>
<character>INMAN</character>
<dialogue>Just give me some warning so I can tell the guard - I'm not getting shot again for some cause I do n't believe in.</dialogue>
<scene_description>A GROUP OF SLAVES ARE WALKING BY , CARRYING SACKS . One of the women is pregnant . Veasey studies the group , sees the pregnant woman , recognizes her .</scene_description>
<character>VEASEY</character>
<parenthetical>( mesmerized . )</parenthetical>
<dialogue>That's Rebecca. That's Rebecca.</dialogue>
<parenthetical>( he hisses . )</parenthetical>
<dialogue>Rebecca!</dialogue>
<scene_description>In daylight it 's apparent that Rebecca is a real beauty . She turns at the sound of her name , stops , is confused . She sees Veasey and approaches , appalled at his condition .</scene_description>
<character>REBECCA</character>
<dialogue>Mas?</dialogue>
<character>VEASEY</character>
<dialogue>Is it well with you?</dialogue>
<parenthetical>( Rebecca nods . )</parenthetical>
<dialogue>I've been repenting for what I did. I've walked the road of atonement.</dialogue>
<character>REBECCA</character>
<dialogue>Your curls is all gone.</dialogue>
<scene_description>THE GUARD KICKS HIM .</scene_description>
<character>GUARD</character>
<dialogue>Hey!</dialogue>
<character>VEASEY</character>
<parenthetical>( holding his head , to Rebecca . )</parenthetical>
<dialogue>God Bless you.</dialogue>
<scene_description>Rebecca , reluctant , rejoins the other slaves , walks away with them , but then turns back to look at Veasey . She clearly cares about him . And seeing her has somehow broken his heart . He turns away from Inman , towards Sheffield .</scene_description>
<character>VEASEY</character>
<dialogue>I'm with you. I got a baby coming.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACK. DAY</stage_direction>
<scene_description>THE CHAIN GANG TRUDGES DOWN THE TRACK , horses on either side of them , steep banks forming a V for the railroad . A TRAIN IS COMING . Brown rides up to the prisoners , herds them off the track . The train approaches quite slowly - the boxcars full of wounded soldiers . Some of the Home Guard dismount , take out pipes . The prisoners wait , one of them sits down . Sheffield says something to Veasey , who casually yanks up the sitting prisoner . Inman suddenly understands what 's going to happen . The train is almost on them .</scene_description>
<character>INMAN</character>
<dialogue>No!</dialogue>
<scene_description>But it 's too late . SHEFFIELD JERKS FORWARD IN FRONT OF THE TRAIN , PULLING ALL THE OTHERS WITH HIM , their reluctance tempered by the possibility of being crushed by the oncoming train . SOMEHOW THE CHAIN GANG GETS ACROSS THE TRACK , stumbling and chaotic , the chains yanking tight , then loose , the tight causing a collapse , the loose a recovery . They run alongside the train , blocking themselves from the fire of the Guard , Sheffield screaming tactics - and then , as the train starts to pull past them , they run up the bank , now all as a unit scrambling to the steep summit . ON THE OTHER SIDE OF THE TRAIN THE HOME GUARD HAVE REMOUNTED THEIR HORSES AND ARE RIDING HARD ALONGSIDE IT . Then they have sight of the escaping prisoners silhouetted at the top of the bank like a line of paper dolls stretched out along the ridge . Sheffield 's yelling with adrenaline , Veasey joins in , elated . One of the guards raises a rifle , steadies himself on his horse , FIRES . He catches Veasey , who crumples , spinning round and falling down the bank , until Inman uses all his strength and practically lifts him in the air . The chain recovers and works back up the bank . But then A SECOND BULLET catches another prisoner and this time the effect is catastrophic - THE WHOLE GANG JUST FLIPS OVER AND PLUMMETS DOWN THE BANK . The Home Guard approach , firing randomly at the bodies as they tumble into the ditch by the side of the track . Until all movement ceases . Inman has a wound to his head which bleeds profusely , almost completely covering his face . Brown arrives , considers the carnage .</scene_description>
<character>BROWN</character>
<dialogue>Get these sacks of shit under the ground.</dialogue>
</scene>
<scene>
<stage_direction>INT. BARN, BLACK COVE FARM. DAWN</stage_direction>
<scene_description>Ada 's milking . It 's barely daylight . She 's slowly becoming a country girl . Ruby appears in the doorway .</scene_description>
<character>RUBY</character>
<dialogue>Someone's been in the corncrib.</dialogue>
<character>ADA</character>
<dialogue>You sure?</dialogue>
<character>RUBY</character>
<dialogue>It's a coon or possum. Scratched out a fist hole in the side. This place! I'm telling you - we grow, others eat. I'll go into town, take the last of the cider and trade for a trap.</dialogue>
</scene>
<scene>
<stage_direction>INT. MONROE'S BEDROOM, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada is in Monroe 's bedroom , looks out as Ruby goes off to town , jugs of cider swung either side of the horse . Ada goes over to Monroe 's closet , pulls out some clothes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WINTER GARDEN, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada buttons Monroe 's dress coat and completes the SCARECROW she 's spent the day making , save for the hat , which she now fixes on , pushing in a hat pin to secure it . She 's made a stern black thing and steps back to consider it . Horsemen come riding along the lane . It 's Teague and his men . He does n't stop but raises his hat to Ada .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada looks out at the Winter Garden . From that distance it really does look like her father out in the field , arms outstretched as if waiting for her to run to him . She finds it unbearable , her tears coming , runs out into the fields , attacks the scarecrow , pulling off the hat , the clothes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACK. MORNING</stage_direction>
<scene_description>THE SOUND OF TINY BELLS . A misty drizzle . A GOAT snuffles around in the freshly turned dirt : A hand , pale and wet , protrudes from the thin layer of earth covering the bodies of the murdered Chain Gang . SOMETHING SHIFTS UNDER THE DIRT , breaking the surface . Inman wedged under three or four corpses - their limbs and chains wrapped around him , has regained consciousness . He coughs , ca n't breathe properly , tries to work himself some air , spitting out dirt . He makes a noise to distract the goat , rattling the chains . Inman rears up , the bodies slithering off him , but even then the animal only retreats a yard or two . VEASEY SLIDES FACE UP , A BULLET IN HIS FOREHEAD LIKE A MYSTICAL THIRD EYE . Inman feels a surprising loss and tenderness . He heaves again , groaning with the pain of new and old wounds .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD MILL, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Ruby rides back from town along the river . An ugly looking trap tied over the horses and three or four bulging sacks . By an abandoned mill she sees the Home Guard under the trees . She slows up .</scene_description>
<character>TEAGUE</character>
<dialogue>What you looking to catch?</dialogue>
<character>RUBY</character>
<dialogue>What?</dialogue>
<character>TEAGUE</character>
<dialogue>With that trap.</dialogue>
<character>RUBY</character>
<dialogue>We got some critter stealing our corn.</dialogue>
<character>TEAGUE</character>
<dialogue>Still but the two of you up there, is it?</dialogue>
<character>RUBY</character>
<dialogue>You know it.</dialogue>
<character>TEAGUE</character>
<dialogue>When we get a cold night, camped out, trying to keep the rule of law, protecting girls like you from Federals and deserters, that's a thought warms us.</dialogue>
<parenthetical>( to his men . )</parenthetical>
<dialogue>ai n't it? - the two of you up there on my Grand - daddy's farm, dressed in men's clothes. Warms us right up. What you got in the sacks?</dialogue>
<parenthetical>( to the men . )</parenthetical>
<dialogue>Looks like human heads! Eh? Looks like a bunch of heads. We got competition!</dialogue>
<scene_description>Ruby rides on . She rides around the bend - she 's not far from the Swanger farm .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACK. DAY</stage_direction>
<scene_description>Goats , their bells tinkling , munch around the tracks . One of them turns at a noise - a GROTESQUE VISION - A MOVING , SEETHING MOUND OF DIRT . It 's Inman , inching along the embankment , the chain of dead bodies in tow , a macabre tug of war . He considers the goats , they consider him . He rears up and finds himself STARING DOWN THE BARREL OF A SHOTGUN .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>Sally is pinning out white sheets , they 're filling out like sails in the afternoon wind . Ruby rides up . Sally seems a little vexed to see her . She walks down to the gate .</scene_description>
<character>SALLY</character>
<dialogue>Ruby.</dialogue>
<character>RUBY</character>
<dialogue>I'm not stopping, Sally. I'm not snooping neither. Just you should know Teague and his boys are lurking down by Pigeon River, the old mill.</dialogue>
<character>SALLY</character>
<parenthetical>( after a beat . )</parenthetical>
<dialogue>You tell Ada that was a good pie.</dialogue>
<scene_description>Ruby rides off . Sally watches , then goes inside the house , her energy changing immediately , as if she might faint .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADDY'S CARAVAN. AFTERNOON</stage_direction>
<scene_description>HARSH WHISTLES . A secret place , in the heart of a forest . There 's the answering sound of SMALL BELLS , a chorus of them . Inman is dragged into view on a makeshift litter . Goats appear , they herd around the figure dragging the litter . IT 'S AN OLD WOMAN , silver haired , her face a leather map , her clothes leather , everything about her like old leather . HER NAME IS MADDY . She and Inman round a bend and there 's Maddy 's house - AN OLD CARAVAN , long grown into the ground and plaited with vines and creepers . Inman tries to sit up . An old whiskered BILLYGOAT butts up against Inman , knocks him down . Maddy pays no attention to the struggle , heads inside her caravan .</scene_description>
<character>MADDY</character>
<dialogue>Mind that Billy, he's the jealous kind.</dialogue>
<scene_description>She emerges , with a bowl of water , rags , washes his face , pushing back his hair to look at his wound , puts a finger to the gash on his neck professional in her appraisal . Inman is barely conscious , he groans , trying to defend himself .</scene_description>
<character>MADDY</character>
<dialogue>Pay no attention to me. What happened to your head?</dialogue>
<character>INMAN</character>
<dialogue>Fighting.</dialogue>
<character>MADDY</character>
<dialogue>And your neck?</dialogue>
<character>INMAN</character>
<dialogue>Different fighting.</dialogue>
<character>MADDY</character>
<dialogue>You're the color of a cadaver. I'll fix you. I can fix you up.</dialogue>
<character>INMAN</character>
<parenthetical>( speaking of his spirit . )</parenthetical>
<dialogue>Mister - you could fix me I'd be in your everlasting debt.</dialogue>
<character>MADDY</character>
<dialogue>Debts, fighting - them words do n't mean much round here. For the record, I'm a female of the species.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOTTOM FIELD, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby rides up to the farm . She rides past the winter garden , admires THE SCARECROW - WHICH NOW PARODIES ADA , the same outfit she once wore to visit Inman , the same dress , same hat . Ruby grins as Ada comes over from the field .</scene_description>
<character>RUBY</character>
<dialogue>The hat's a nice touch.</dialogue>
<scene_description>Ruby gets off the horse , and they start unloading sacks .</scene_description>
<character>RUBY</character>
<dialogue>You're quiet.</dialogue>
<character>ADA</character>
<dialogue>I cried for my Daddy. I dressed up the scarecrow in his suit and he came back, his arms out, said you never cried enough, you never cried enough.</dialogue>
<character>RUBY</character>
<dialogue>Well now you did.</dialogue>
<character>ADA</character>
<dialogue>Then I thought, it's not my Daddy, it's my sweetheart. I saw him once that way, when I looked down Sally's well. So I dressed the scarecrow in the dress I wore the day he left. In case his spirit flies over looking out for me.</dialogue>
<parenthetical>( of the vicious looking trap . )</parenthetical>
<dialogue>That looks terrible.</dialogue>
<scene_description>Ruby opens the sacks .</scene_description>
<character>ADA</character>
<dialogue>Cabbages.</dialogue>
<character>RUBY</character>
<dialogue>I bargained like Lucifer. We can make all kinds of good eating.</dialogue>
<character>ADA</character>
<dialogue>Such as?</dialogue>
<character>RUBY</character>
<dialogue>Cabbage. Slaw, sauerkraut, cabbage soup, fried cabbage, stuffed cabbage.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>TEAGUE 'S MEN RIDE UP TO THE FARM . Esco 's out in the field , labouring away , but with his shotgun by him . Teague stops alongside the field , the rail between him and Esco . Esco stops working , picks up his shotgun and goes over . Teague has four men with him . MO and JO , the twins , huge , and with the appearance of having less than one brain between the two of them , GRAYLING , a reluctant - looking man , funereal in his bearing , and BOSIE .</scene_description>
<character>TEAGUE</character>
<dialogue>Afternoon.</dialogue>
<scene_description>The riders slowly fan out , almost as if choreographed .</scene_description>
<character>ESCO</character>
<dialogue>Do n't spread out. Why they spreading out?</dialogue>
<character>TEAGUE</character>
<dialogue>I'm not spreading out. I'm sitting here.</dialogue>
<scene_description>Esco comes over the rail fence , his gun loose in his hands .</scene_description>
<character>TEAGUE</character>
<dialogue>Never knew a man worked in his field with a shotgun.</dialogue>
<character>ESCO</character>
<dialogue>There's a war on.</dialogue>
<character>TEAGUE</character>
<dialogue>Got to watch out for the Bogey Man.</dialogue>
<scene_description>He starts to fish out a tobacco pouch . Esco 's gun swings up . Teague shows him the leather pouch , shrugs , starts to make a cigarette .</scene_description>
</scene>
<scene>
<stage_direction>INT. SWANGER FARM. DAY</stage_direction>
<scene_description>From inside the house , Sally watches everything . Her view impaired by the sheets .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>Mo dismounts . Ambles past Esco , looks behind the sheets . ESCO KICKS OUT AT HIM , the shotgun rigid and pointing .</scene_description>
<character>ESCO</character>
<dialogue>Get off my land.</dialogue>
<scene_description>Mo examines his breeches for a dust mark , wipes it off , retreating in a turkey walk of examining and dusting .</scene_description>
<character>TEAGUE</character>
<dialogue>Your boys come back.</dialogue>
<character>ESCO</character>
<dialogue>Ai n't seen my boys in four years. They're fighting other boys, not old men and women.</dialogue>
<character>TEAGUE</character>
<parenthetical>( to his men . )</parenthetical>
<dialogue>He means us. He's referring there to us.</dialogue>
<parenthetical>( to Esco . )</parenthetical>
<dialogue>So you wo n't care if we take a look around?</dialogue>
<character>ESCO</character>
<dialogue>What I got ta give you? A chicken? A lamb?</dialogue>
<character>TEAGUE</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Sure.</dialogue>
<character>ESCO</character>
<dialogue>Right then.</dialogue>
<character>TEAGUE</character>
<dialogue>Thing is - you got one barrel and there's five of us. Not a fair fight.</dialogue>
<scene_description>BOSIE SUDDENLY DROPS OFF HIS HORSE , ROLLS ON THE GROUND .</scene_description>
<character>BOSIE</character>
<dialogue>Bogey Man! Bogey Man!</dialogue>
<scene_description>Esco is momentarily distracted and , in that instant , Mo kicks out at him , knocking the gun from his hands , which fires into the air , a shocking sound .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby and Ada digging a trench by the smokehouse , laying in the pale heads of cabbage . They hear the distant shot .</scene_description>
<character>RUBY</character>
<dialogue>What's that?</dialogue>
<scene_description>They stop . Listen . Look at each other , start running .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>Jo sets on Esco , knocking him - backwards into a sheet , where it gets twisted , while Jo kicks and punches , little spots of blood staining the sheet with each blow . MO PULLS OUT HIS SABRE AND RUNS ESCO THROUGH , LEAVES THE SABRE IN DEEP , PINNING ESCO TO THE SHEET , THEN SPINNING HIM ROUND IN THE SHEET SO THAT IT TIGHTENS . A stain grows out from the blade , huge and spreading . Teague walks to Esco .</scene_description>
<character>TEAGUE</character>
<dialogue>You're harbouring deserters. I can confiscate every animal on this farm, every plate, every sheet, every little pellet of chicken shit - I can confiscate your old lady's asshole, so do n't offer me a bird.</dialogue>
<scene_description>Sally runs out , screaming . She tries to pull out the sabre . MO REVERSES HIS RIFLE AND CLUBS HER TO THE GROUND .</scene_description>
<character>TEAGUE</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>Hey!</dialogue>
<scene_description>Mo backs away . Sally is screaming . She watches , helpless , as Esco dies in front of her , the sheet growing a darker red .</scene_description>
<character>TEAGUE</character>
<dialogue>You got your bait. Set it on the hook.</dialogue>
<scene_description>BOSIE , SMILING , FETCHES A ROPE FROM HIS HORSE , ALREADY NOOSED AT ONE END . HE FLIPS THE LOOP OVER SALLY 'S HEAD .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN, SWANGER FARM. DAY</stage_direction>
<scene_description>ELLIS AND ACTON SWANGER emerge from their hiding places , unable to bear the sound of their mother 's screams . They 're carrying an axe , a pitchfork , mad for revenge .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DAY</stage_direction>
<scene_description>BOSIE IS DOING SOME SORT OF DANCE ALONG THE FENCE RAIL . He 's very graceful , his hair flying , his hands out , one finger nail extremely long , his boots stamping down on the fence . UNDER HIS STOMPING FEET , THE RAIL POST IS PRESSED ON SALLY SWANGER 'S THUMBS . She ca n't scream any longer , because the noose has practically strangled her . The rope 's tied off to Bosie 's horse , which yanks on the noose with every slight movement . Sally is prostrate in the dirt . Her two boys come running from the barn . TEAGUE CASUALLY , SHOOTS ELLIS WITH HIS RIFLE . BOSIE LETS ACTON GET ALL THE WAY TOWARDS HIM AND THEN SHOOTS HIM FROM A YARD AWAY , THE GUN SUDDENLY SPRINGING INTO HIS HAND . AS ACTON FALLS , BOSIE DOES A FLIP TO DIVE OFF THE POST AND LAND ON HIS FEET NEXT TO ACTON 'S BODY .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. DUSK</stage_direction>
<scene_description>Ada and Ruby , riding together on the horse , arrive at the Swangers . SALLY IS STILL PINNED UNDER THE FENCE POST . The noose around her neck has been tied off to the post so that she ca n't move . There 's a bloody sheet draped over the edge of the well . Blood on the ground . Ruby heaves at the fence .</scene_description>
<character>RUBY</character>
<dialogue>I ca n't get this damn thing off her.</dialogue>
<character>ADA</character>
<parenthetical>( at the well , looking down . )</parenthetical>
<dialogue>Dear Lord in heaven.</dialogue>
<character>RUBY</character>
<dialogue>Ada, I ca n't get this off her!</dialogue>
<scene_description>Ada runs over . They struggle , ca n't lift it . Sally 's lips are moving .</scene_description>
<character>RUBY</character>
<dialogue>What darling? What?</dialogue>
<scene_description>She bends down , listens to her . Looks up at Ada .</scene_description>
<character>RUBY</character>
<dialogue>She's saying do n't bother.</dialogue>
<character>ADA</character>
<dialogue>Wait!</dialogue>
<scene_description>She grabs a thick log off the stack , staggers back and in a second they 've inserted it into the fence and levered it up and away from Sally 's hands . They fall back onto the dirt . Ruby cradles Sally . Ada nods towards the well .</scene_description>
<character>ADA</character>
<dialogue>There's someone down there. I think it's Esco.</dialogue>
<scene_description>Ruby looks over at the well , then at Ada .</scene_description>
<character>RUBY</character>
<dialogue>This world wo n't stand long. God wo n't let it stand this way long.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADDY'S CARAVAN. DAY</stage_direction>
<scene_description>An exotic interior , many crocks and jars , bunches of herbs , wrapped papers of dried things , like a woodland apothecary store . Inman wakes up . He finds himself in a small cot , wrapped in blankets , a poultice at his neck . He does n't know where he is or how long he 's been there .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADDY'S CARAVAN. DAY</stage_direction>
<scene_description>Maddy 's sitting on a stool . There 's a circle of stones where her fire lives and she sets the tinder to it . Inman emerges from the caravan . He 's pale and unsteady .</scene_description>
<character>INMAN</character>
<dialogue>How long have I been sleeping?</dialogue>
<character>MADDY</character>
<dialogue>Not long enough.</dialogue>
<character>INMAN</character>
<dialogue>I ca n't stop here. I'm a deserter. They find me here things could be bad for you.</dialogue>
<character>MADDY</character>
<dialogue>What they going to do? Cut short my young life? Sit down before you fall down.</dialogue>
<scene_description>She calls over a little goat . It ambles over affectionately and nuzzles into her hand . She strokes it and scratches under the chin . The creature gets increasingly tranquil .</scene_description>
<character>INMAN</character>
<dialogue>How long you been up here?</dialogue>
<character>MADDY</character>
<dialogue>What year are we?' 63?</dialogue>
<character>INMAN</character>
<dialogue>Last time I checked it was' 64.</dialogue>
<character>MADDY</character>
<dialogue>I'd say twenty six years.</dialogue>
<character>INMAN</character>
<dialogue>Twenty six years!</dialogue>
<character>MADDY</character>
<dialogue>I could move on anytime. I've seen most of the world anyway, Richmond in the North, south almost to Charleston. You're going somewhere or you are somewhere, what's the difference?</dialogue>
<scene_description>She 's still stroking the goat . It looks as if it 's asleep .</scene_description>
<character>MADDY</character>
<dialogue>I've learned a person can survive off pretty much of a goat. I ca n't abide a chicken, but a goat gives you company and milk and cheese and then, when you need it, good meat.</dialogue>
<scene_description>In a single motion she has a knife in her hand and has SLIT THE THROAT OF THE GOAT , putting the bowl underneath its neck to catch the blood , still stroking the goat , which blinks as if it were only surprised and not dying .</scene_description>
<character>MADDY</character>
<dialogue>So you've been fighting?</dialogue>
<character>INMAN</character>
<parenthetical>( as if he might break . )</parenthetical>
<dialogue>I could be at killing for days sometimes, in the hand to hand, my feet against the feet of my enemy and I always killed him and he never killed me.</dialogue>
<character>MADDY</character>
<dialogue>He gave it a try, to look at you.</dialogue>
<character>INMAN</character>
<dialogue>I guess he did.</dialogue>
<character>MADDY</character>
<dialogue>See I think there's a plan. There's a design. For each and every one of us.</dialogue>
<scene_description>During this she 's shucked the skin off the goat with the authority of someone who 's done this a thousand times .</scene_description>
<character>MADDY</character>
<dialogue>You look at nature, a bird flies somewhere, picks up a seed, shits the seed out, a plant grows. Bird's got a job, seed's got a job.</dialogue>
<scene_description>And the goat is now thin and pink , eyes bulging , a piece of meat .</scene_description>
</scene>
<scene>
<stage_direction>INT. MADDY'S CARAVAN. EVENING</stage_direction>
<scene_description>A woodburning stove with a single cooking plate - on which pieces of the goat meat , sprinkled with herbs , are sizzling in a pan . INMAN IS EATING LIKE A MAN POSSESSED , WRAPPING THE MEAT IN CORN FRITTERS AND PUSHING THEM INTO HIS MOUTH . Maddy watches him , adds another mound of meat to his plate . Inman nods in thanks , but - does n't look up . She opens a jar and takes out a handful of dried poppy heads , puts them near the stove , then dips into another jar and pulls out what look like old cheroot stubs .</scene_description>
<character>MADDY</character>
<dialogue>Take one of these now with your food.</dialogue>
<scene_description>Inman is circumspect , views the stub lozenge with suspicion .</scene_description>
<character>MADDY</character>
<dialogue>Swallow it. If you die I'll give you your money back.</dialogue>
<scene_description>Inman puts it in his mouth , gags at the taste of it . She hands him a beaker with milk to wash it down .</scene_description>
<character>MADDY</character>
<dialogue>Our minds are n't made to hold on to the particulars of pain, the way we do bliss.</dialogue>
<scene_description>She starts steaming the poppies .</scene_description>
<character>INMAN</character>
<dialogue>It's true.</dialogue>
<character>MADDY</character>
<dialogue>What is?</dialogue>
<character>INMAN</character>
<dialogue>What you remember.</dialogue>
<character>MADDY</character>
<dialogue>What's her name?</dialogue>
<character>INMAN</character>
<dialogue>Ada.</dialogue>
<parenthetical>( At the food . )</parenthetical>
<dialogue>- Sometimes I think I'm crazy when I'm just hungry -.</dialogue>
<parenthetical>( another mouthful . )</parenthetical>
<dialogue>Ada Monroe.</dialogue>
<character>MADDY</character>
<dialogue>And is she waiting for you?</dialogue>
<character>INMAN</character>
<dialogue>She was. I do n't know. Or if she'd know me. I'm like the boy who goes out in winter for firewood comes back in the spring with a whistle.</dialogue>
<scene_description>Maddy pricks open the poppies and collects their opium , then hands Inman the liquid .</scene_description>
<character>MADDY</character>
<dialogue>Now drink this. It visits the pain. And you'll sleep.</dialogue>
<scene_description>He drinks the laudanum she 's made .</scene_description>
<character>INMAN</character>
<dialogue>I've had to put myself in the way of people's kindness.</dialogue>
<character>MADDY</character>
<dialogue>I hope you found it.</dialogue>
<scene_description>She dips a cloth in the steaming water , unbuttons his shirt . She has a crock of what looks like treacle and vaseline . She smears this salve over the neck wound and into his scalp . Inman surrenders to the drug .</scene_description>
<character>INMAN</character>
<dialogue>The passenger pigeons fly south, the berries ripen. Whether I see them or not, whether a man dies, or a war is won.</dialogue>
<character>MADDY</character>
<dialogue>That's the laudanum getting to you. That's good. Say something more.</dialogue>
<parenthetical>( she kneels to his leg . )</parenthetical>
<dialogue>Raise that up for me.</dialogue>
<scene_description>He obliges . She grimaces at the state of it , where the chain has chewed into the flesh . Gets to work .</scene_description>
<character>INMAN</character>
<dialogue>She gave me a book. Ada Monroe. Man by the name of Bartram. Wrote about his travels. I carried that book through every battle. I left it someplace, got to get it back. Sometimes just reading the name of a place near home - Sorell Cove, Fire Scale Ridge - was enough to bring me to tears. Thing is I've been thinking - those places belonged to people before us, to the Indian - and he had a different name. What did he call Sorell Cove? How can a name not even the real name break your heart? It's her, she's the place I'm heading. And I hardly know her. So how can a person who's maybe not even a real person - I do n't know what I'm talking about - I have to close my eyes.</dialogue>
<scene_description>He slides off the stool and lays on the floor . Maddy goes over to her cot and pulls off a blanket which she drapes over him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ada in the henhouse , collecting eggs , is confident now among the birds . She emerges to find Ruby walking out of the backdoor with the shotgun and a determined look .</scene_description>
<character>RUBY</character>
<dialogue>It's a man.</dialogue>
<character>ADA</character>
<dialogue>What is?</dialogue>
<character>RUBY</character>
<dialogue>Raiding our corn. Got him in the trap. That's him yelping.</dialogue>
<character>ADA</character>
<dialogue>You're not going to shoot him!</dialogue>
<character>RUBY</character>
<dialogue>I do n't want him to shoot me.</dialogue>
<parenthetical>( of the gun . )</parenthetical>
<dialogue>Can you fire this thing?</dialogue>
<character>ADA</character>
<parenthetical>( making it clear she ca n't . )</parenthetical>
<dialogue>Yes.</dialogue>
<scene_description>They head towards the corn crib , bundled up against the cold . A MAN IS KNEELING AT THE CORN CRIB , perfectly caught in the art of stealing , his head forced away from view . Ruby hands Ada the gun and approaches , warily .</scene_description>
<character>RUBY</character>
<dialogue>Listen up - you got a barrel trained on your rear - end.</dialogue>
<character>STOBROD</character>
<dialogue>Get me out of this dang thing. My fist's about to drop off.</dialogue>
<character>RUBY</character>
<dialogue>You got a weapon?</dialogue>
<character>STOBROD</character>
<dialogue>No ma'am. I'm begging you. I'm already on my knees, otherwise I'd get down on them.</dialogue>
<character>RUBY</character>
<parenthetical>( suddenly recognises the voice . )</parenthetical>
<dialogue>Unbelievable! Stobrod Thewes.</dialogue>
<character>STOBROD</character>
<dialogue>Ruby? God damn!</dialogue>
<character>ADA</character>
<dialogue>What?</dialogue>
<character>RUBY</character>
<parenthetical>( to Ada , disgusted . )</parenthetical>
<dialogue>That's my daddy.</dialogue>
<scene_description>She walks up to him and KICKS HIM HARD AS SHE CAN ON HIS BACKSIDE .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, BLACK COVE FARM. DAY</stage_direction>
<scene_description>A strip of fabric , homemade bandage , being wrapped around Stobrod 's badly gashed hand . Ada is tending to him . Ruby is cooking at the range , not remotely warm towards her prodigal father , who looks rather comfortable . Stobrod looks at her .</scene_description>
<character>STOBROD</character>
<dialogue>Just so's you know - I can eat while she's doing this - in case you're holding off.</dialogue>
<character>RUBY</character>
<dialogue>Just so's you know - you're not eating inside. Number One - they hang people round here for taking in deserters. Number two - even if they gave out prizes - you'd still eat outside.</dialogue>
<character>STOBROD</character>
<dialogue>You're scarred.</dialogue>
<character>RUBY</character>
<dialogue>I'm what?</dialogue>
<character>STOBROD</character>
<dialogue>Your heart. Scarred. I did wrong to you.</dialogue>
<character>RUBY</character>
<dialogue>You'd be scarred. You'd be really scarred if I had n't wrapped them trap teeth in sacking. Which was her idea.</dialogue>
<character>STOBROD</character>
<dialogue>I hurt you.</dialogue>
<character>RUBY</character>
<dialogue>Good God!</dialogue>
<character>STOBROD</character>
<dialogue>I wrote fifty tunes with you in mind. Ruby this, Ruby that, Ruby with the eyes that sparkle.</dialogue>
<character>RUBY</character>
<dialogue>Hey! Let's agree : you beat me, you abandoned me, you ignored me, you beat me some more - all of that is better than Ruby with the eyes that sparkle!</dialogue>
<character>STOBROD</character>
<dialogue>I'm changed. People change. War changes people something terrible.</dialogue>
<parenthetical>( to Ada . )</parenthetical>
<dialogue>Ruby's told you - I've no doubt - I was n't always the best.</dialogue>
<character>RUBY</character>
<dialogue>You were an asshole.</dialogue>
<character>STOBROD</character>
<dialogue>I ca n't disagree with that. I was.</dialogue>
<character>RUBY</character>
<dialogue>Get him out of here!</dialogue>
<character>STOBROD</character>
<dialogue>Music's changed me. I'm full of music, darling. I wish I'd brung my fiddle Hey Ruby! Got a new fiddle - it's got a little snake's rattle in the body - took it off a dead federal in Virginia. That's a beautiful fiddle. It's full of tunes, Ruby. Do n't know if it's from that little rattle locked up in it, or from something untied my heart.</dialogue>
<scene_description>Ruby walks over with a crock , wrapped in a cloth .</scene_description>
<character>RUBY</character>
<dialogue>You're all set.</dialogue>
<character>STOBROD</character>
<parenthetical>( sincerely . )</parenthetical>
<dialogue>Bless you both.</dialogue>
<scene_description>He goes to the door .</scene_description>
<character>RUBY</character>
<dialogue>Ai n't you got a proper coat?</dialogue>
<character>STOBROD</character>
<dialogue>Darling, I'm fine. And you just say the word, I wo n't come back neither. I do n't want to put either you or your mistress here in any bother.</dialogue>
<character>ADA</character>
<dialogue>I'm not Ruby's employer.</dialogue>
<character>STOBROD</character>
<dialogue>Oh, okay, who is?</dialogue>
<character>RUBY</character>
<dialogue>Nobody.</dialogue>
<parenthetical>( Stobrod digests this . )</parenthetical>
<dialogue>I'll make up food for you, you come Sundays before it's light, I'll leave it behind the Old Frazier Mill.</dialogue>
<character>STOBROD</character>
<dialogue>Do you know who really needs a coat, darling, is my partner, fat boy name of Pangle. We're hiding up in the caves and he feels the cold like a thin man, but ai n't no coat'll fit him.</dialogue>
<parenthetical>( leaving . )</parenthetical>
<dialogue>I love you, Ruby. In case the sky falls on our head. You're a good girl.</dialogue>
<scene_description>And he 's gone . Ruby scowls . FIDDLE MUSIC BEGINS .</scene_description>
<character>RUBY</character>
<dialogue>He is so full of manure, that man, we could lay him on the dirt and grow another one just like him.</dialogue>
<character>ADA</character>
<dialogue>So that's Stobrod Thewes.</dialogue>
<character>RUBY</character>
<dialogue>It is and that's the last you'll see of him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MADDY'S CARAVAN. DUSK</stage_direction>
<scene_description>THE FIDDLE CONTINUES , A BANJO JOINS IN . Maddy is loading up Inman for his journey . She hands him a bulging goatskin satchel .</scene_description>
<character>MADDY</character>
<dialogue>That's medicine and goatmeat. You're sick of both.</dialogue>
<character>INMAN</character>
<dialogue>I have a deal to thank you for.</dialogue>
<scene_description>She hands him an ancient flintlock pistol .</scene_description>
<character>MADDY</character>
<dialogue>And that's just for show, or - if you can get close enough - a wild turkey.</dialogue>
<scene_description>She turns , abruptly , mingles in with her goats . Inman nods , knows that she does n't want a fuss , although he wants to make one , and turns himself , heads away from the caravan .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS. DAY</stage_direction>
<scene_description>THE MUSIC CONTINUES . A TURKEY calls . And again . JUNIOR is hunting . He creeps through this clearing , eyes peeled for the turkey , gun at the ready . His dog growls , and he puts a hand over its mouth . He listens . Another call . Junior moves , without sound , in its direction , stops for several seconds under a tree , listening . He looks up . INMAN IS PERCHED IN THE TREE . THE PISTOL FLASHES IN HIS HAND .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S CABIN. DAY</stage_direction>
<scene_description>THE MUSIC CONTINUES . Inman drags Junior 's corpse in to the yard . The dogs whine and slobber over the body . Inman goes straight into the Smoke House .</scene_description>
</scene>
<scene>
<stage_direction>INT. SMOKE HOUSE AT JUNIOR'S CABIN. DAY</stage_direction>
<scene_description>THE MUSIC CONTINUES . Inman reaches behind the stove and retrieves his bag . He checks for the LeMats , for the Bartram , opens it , locating the tintype of Ada , which he considers , as the dogs howl outside , joined with another wailing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNIOR'S CABIN. DAY</stage_direction>
<scene_description>THE MUSIC CONTINUES . Inman emerges with his bag , LeMats at the ready . The women are all keening over the corpse , as it a saint had passed away . Dogs , women all howling . A chicken bobs in , investigates the glob of blood on Junior 's skull . Inman walks away , does n't look at the women , who do n't look at him .</scene_description>
</scene>
<scene>
<stage_direction>INT. RUBY'S ROOM, BLACK COVE FARM. DAWN</stage_direction>
<scene_description>THE MUSIC CONTINUES . Ruby wakes up . Looks out of the window . Ada , also woken , comes into Ruby 's room . STOBROD IS OUTSIDE WITH PANGLE , VIOLIN AND BANJO . Ruby opens the window , scowling . Stobrod beams , stops playing , holds up the food , points at Pangle in his new coat . Pangle waves .</scene_description>
<character>RUBY</character>
<dialogue>Get on back where you came from!</dialogue>
<scene_description>Stobrod and Pangle smile and hurry away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATH IN HILL COUNTRY. DAY</stage_direction>
<scene_description>WINTER SETTING IN . Inman , increasingly a stick figure in the landscape , wasted and fragile , trudges along through fallen leaves . He still limps from the leg irons . No shelter anywhere . He unwraps a paper containing some scraps of goat meat and corn bread . He walks and eats , fishes out a lozenge , tries to swallow it , washes it down with a drink from his flask . Opens the crock of salve and rubs the treacly grease into his neck and ankle . The path splits . He does n't know which way to go , A CROW repeatedly caws off to the left and , taking it as a sign , Inman goes in that direction .</scene_description>
<character>ADA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My love for Heathcliff resembles the eternal rocks beneath</dialogue>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM, BLACK COVE FARM. NIGHT</stage_direction>
<scene_description>Ada in the bed , reading to Ruby from Wuthering Heights .</scene_description>
<character>ADA</character>
<dialogue>- a source of little visible delight, But necessary.</dialogue>
<character>RUBY</character>
<dialogue>She ai n't gon na marry Linton, is she? She said - whatever our souls are made of his and mine are the same. You ca n't say that and then marry Linton.</dialogue>
<character>ADA</character>
<dialogue>We'll find out.</dialogue>
<character>RUBY</character>
<dialogue>Okay.</dialogue>
<character>ADA</character>
<dialogue>Tomorrow.</dialogue>
<character>RUBY</character>
<dialogue>I'm not waiting until tomorrow.</dialogue>
<character>ADA</character>
<dialogue>Ruby, I'm falling asleep.</dialogue>
<scene_description>She lies back in her bed . Ruby takes the book , lies across the bottom of the bed , as Ada goes to sleep .</scene_description>
<character>RUBY</character>
<dialogue>Little visible delight, but necessary. I like that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SMALL WOOD. NIGHT</stage_direction>
<scene_description>DRIVING RAIN . Inman shelters under a huge tree , whose split trunk provides a mean shelter . He inserts himself into the cleft of it , a black thing in a black tree , like a troll . He stands , shivers , sodden , desolate .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>A LITTLE CABIN . Its lights coming through square windows like a chinese lantern . Inman considers it , the risk versus the shelter . The sleet still pelts down on him and he decides to approach . Closer he can hear a sound coming from the house . IT 'S A BABY 'S INCESSANT CRY . HE SEES A YOUNG WOMAN WALKING ROUND AND ROUND IN THE ROOM , CLUTCHING THE BABY WRAPPED UP IN A QUILT . Inman knocks hard on the door . The light from the lamp goes out , although the fire still gives the room a clear glow .</scene_description>
<character>INMAN</character>
<dialogue>I'm one man alone. I'm a Confederate soldier on furlough. I have no bad intention. I need shelter and food.</dialogue>
<scene_description>THE TINY SOUND OF THE DOOR BEING BOLTED .</scene_description>
<character>INMAN</character>
<dialogue>Can I at least sleep in the corn crib - just for some shelter? I'll be on my way come morning.</dialogue>
<scene_description>No answer . Inman accepts this as a rebuttal , and trudges back towards the road .</scene_description>
<character>SARA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I've got a rifle.</dialogue>
<scene_description>Inman turns . A gap in the door appears , the figure barely seen .</scene_description>
<character>INMAN</character>
<dialogue>Fair enough.</dialogue>
<scene_description>The baby 's crying behind her .</scene_description>
<character>SARA</character>
<dialogue>There's some beans and corn pone, all I got. You better come in.</dialogue>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>Inman enters the cabin . It 's a single room . A big fire . The baby on the bed , a rudimentary crib unoccupied next to it . The woman is already at the little stove . She turns to him . She 's painfully beautiful . But sad and fragile . Inman , despite himself , is mesmerized .</scene_description>
<character>INMAN</character>
<dialogue>Thank you.</dialogue>
<character>SARA</character>
<dialogue>I'm alone here, as you can see, with my baby. I need to believe you mean no harm.</dialogue>
<scene_description>Inman takes out his gun . She starts , terrified .</scene_description>
<character>INMAN</character>
<dialogue>No, I mean to give it to you.</dialogue>
<scene_description>He turns it handle forwards and offers it to her .</scene_description>
<character>SARA</character>
<dialogue>I do n't want it. I had my way they'd take metal altogether out of this world. Every blade, every gun.</dialogue>
<character>INMAN</character>
<dialogue>Is your baby sick?</dialogue>
<character>SARA</character>
<dialogue>He cries. I do n't know. He cries a lot. My man is dead. He took his wound at Fredericksburg. Never saw his boy.</dialogue>
<scene_description>She never once looks at him . Her eyes on the floor or the food or the baby .</scene_description>
<character>INMAN</character>
<dialogue>I'm sorry.</dialogue>
<character>SARA</character>
<dialogue>It's pretty much what you'll get if you knock on any door of this war. Man dead, woman left.</dialogue>
<scene_description>She hands him a plate of steaming beans . An onion perched on top .</scene_description>
<character>SARA</character>
<dialogue>It's mean food but it's hot.</dialogue>
<scene_description>She goes over to the bed and picks up her baby and starts the same business of walking him , singing the while , an odd lament . Inman eats , looks at her , at the child and the fire . He picks up the onion , bites into it . Sara looks across .</scene_description>
<character>INMAN</character>
<parenthetical>( ashamed of his hunger . )</parenthetical>
<dialogue>There's no hunting on the road, just cress and -</dialogue>
<scene_description>He takes another bite . Sara picks up the baby .</scene_description>
<character>SARA</character>
<dialogue>I need to feed this man, if you could look away.</dialogue>
<scene_description>Inman , embarrassed , turns his back to her . He sits finishing the food while she puts the baby to her breast , slipping the shoulder from her dress . While the baby feeds .</scene_description>
<character>SARA</character>
<dialogue>Used to have a cow, few goats. Raiders took them. Made me kill our own dog on the porch. That poor creature watched over me. Nothing left now save a hog and couple of chickens to live off till spring. I'll have to kill that hog and make sense of the flesh and divisions which is something I never did.</dialogue>
<character>INMAN</character>
<dialogue>I could do that for you in the morning.</dialogue>
<character>SARA</character>
<dialogue>I'm not asking.</dialogue>
<character>INMAN</character>
<dialogue>It's what I'd gladly do for you for what you're gladly doing for me. I'm Inman by the way. That's my name.</dialogue>
<character>SARA</character>
<dialogue>I'm Sara. My baby's Ethan.</dialogue>
<character>INMAN</character>
<dialogue>Glad to know you both.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>Sara walks ahead of Inman . She carries a pile of clothing , a pair of boots . It 's still wretched outside , she hugs the house , the porch barely offering shelter . INMAN FOLLOWS , with a bowl of steaming water and a small towel over his arm . She hands him the clothes .</scene_description>
<character>SARA</character>
<dialogue>You look about his size. He was another man straight up and down.</dialogue>
<scene_description>There 's a palpable attraction between them , so that every exchange seems to contain a promise , a sexual charge .</scene_description>
<character>SARA</character>
<dialogue>I do n't even have a blanket.</dialogue>
<character>INMAN</character>
<dialogue>I got a blanket.</dialogue>
<character>SARA</character>
<dialogue>I'll leave you the lamp.</dialogue>
<scene_description>By the dim light , Inman peels off his clothes , sets to work with the bar of soap and the cloth to scrub himself clean . He can be seen from the window and finds himself turning away to pull off his pants .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>Sara sits at the cot , still singing to the baby , then gets up , goes to the window , sees Inman dressing , walks to the door , lets it open a little , but not so as she can be seen .</scene_description>
<character>SARA</character>
<dialogue>They fit?</dialogue>
<character>INMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Pretty much. These boots are good boots.</dialogue>
<character>SARA</character>
<dialogue>I'll say good night.</dialogue>
<character>INMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Good night.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>Inman settles down into the corncrib . He 's cold and everything is damp and lumpy and uncomfortable . He pulls his thin blanket around him . The wind is howling . He levers himself up , looks at the house with its warm invitation , can almost feel Sara in there . He reluctantly settles down again . HE HEARS A NOISE , STEPS APPROACHING . HE REACHES FOR THE LEMATS UNDER THE BLANKETS .</scene_description>
<character>SARA</character>
<dialogue>Will you come inside?</dialogue>
<scene_description>She stands in a shift , a blanket over her shoulders . Her body under the cotton very clear to him . She turns and goes back inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. NIGHT</stage_direction>
<scene_description>Inman comes in . Sara is sitting on her bed . Long silence .</scene_description>
<character>SARA</character>
<dialogue>Could you do something for me? Do you think you could lie here, next to me, and not need to go further?</dialogue>
<character>INMAN</character>
<dialogue>I do n't know. I'll try.</dialogue>
<scene_description>He sits on the bed as she slips under the covers , and then removes the boots , his shirt , gets under the covers . There 's an electric space between them . Then Sara begins to cry , pulls his arm to open up so that she can be folded into him . SHE SOBS , SHUDDERING IN THE BED .</scene_description>
<character>INMAN</character>
<dialogue>I'll go. I'll go, shall I?</dialogue>
<character>SARA</character>
<dialogue>I do n't want you to.</dialogue>
<scene_description>They lie , staring up at the ceiling , her tears falling . A FIDDLE PLAYS HEAVY WITH YEARNING .</scene_description>
</scene>
<scene>
<stage_direction>INT. OLD MILL, COLD MOUNTAIN. CHRISTMAS DAY. NIGHT</stage_direction>
<scene_description>THE MUSIC CONTINUES . Stobrod is playing the fiddle , his bowing hand still lightly taped and a fingerless mitten covering it . They 're in the abandoned Mill , a derelict space , which has been cheered up with some rudimentary Christmas decorations . Ada , Ruby and Sally Swanger , her hair now almost completely white . Some token presents . Pangle is picking at a banjo , his grin infectious , and a third player , GEORGIA , with a harmonica . As they play :</scene_description>
<character>PANGLE</character>
<parenthetical>( of Sally . )</parenthetical>
<dialogue>She do n't speak.</dialogue>
<character>STOBROD</character>
<dialogue>She ca n't speak. I told you.</dialogue>
<character>PANGLE</character>
<parenthetical>( smiles at Sally . )</parenthetical>
<dialogue>Is she feeble then?</dialogue>
<character>STOBROD</character>
<dialogue>No.</dialogue>
<parenthetical>( to Sally . )</parenthetical>
<dialogue>Do n't mind him.</dialogue>
<parenthetical>( to Ruby . )</parenthetical>
<dialogue>Hey Ruby : what about this?</dialogue>
<scene_description>He starts the tune of Wayfaring Stranger . Ruby groans .</scene_description>
<character>STOBROD</character>
<dialogue>Do n't make that face - you listen : c'mon Georgia.</dialogue>
<scene_description>And he starts up again , but this time GEORGIA BEGINS TO SING . He 's like a pale angel and sings with a soft , true voice . Ruby finds herself taken by this boy 's voice and by Stobrod 's extraordinary invention as he takes the tune off on a wild journey . Ruby sits next to Ada , fiddles with her bracelets , slips one from Ada 's wrist and slides it over her own .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD MILL, COLD MOUNTAIN. EVENING</stage_direction>
<scene_description>They 're all outside now , shaking hands .</scene_description>
<character>GEORGIA</character>
<dialogue>There's snow in the air.</dialogue>
<character>RUBY</character>
<dialogue>Do n't sleep here.</dialogue>
<character>STOBROD</character>
<dialogue>We wo n't.</dialogue>
<character>ADA</character>
<dialogue>It's bitter, they could stop one night.</dialogue>
<character>RUBY</character>
<dialogue>They stop one night, they'll want to stop two.</dialogue>
<character>PANGLE</character>
<dialogue>This coat's warm.</dialogue>
<character>STOBROD</character>
<dialogue>What about next Sunday? That'll be the New Year. It's gon na be a better one.</dialogue>
<character>RUBY</character>
<dialogue>Maybe.</dialogue>
<character>GEORGIA</character>
<dialogue>The war's over in a month.</dialogue>
<character>RUBY</character>
<dialogue>He said that a month ago.</dialogue>
<character>ADA</character>
<parenthetical>( shaking Stobrod 's hand in goodnight . )</parenthetical>
<dialogue>It started off being over in a month.</dialogue>
<character>STOBROD</character>
<dialogue>Miss Ada. Merry Christmas.</dialogue>
<character>ADA</character>
<dialogue>Merry Christmas. Pangle. Georgia.</dialogue>
<character>GEORGIA</character>
<dialogue>` Night.</dialogue>
<character>PANGLE</character>
<dialogue>` Night now.</dialogue>
<scene_description>The three women walk down the lane , the three men watch .</scene_description>
<character>STOBROD</character>
<dialogue>That's my Ruby.</dialogue>
<character>GEORGIA</character>
<dialogue>She's an original.</dialogue>
<character>STOBROD</character>
<dialogue>You think the Good Lord would forgive an old cold fool if he changed his mind? Ada said it herself it was bitter.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SWANGER FARM. NIGHT</stage_direction>
<scene_description>The three women head towards Sally 's house .</scene_description>
<character>RUBY</character>
<dialogue>What kind of name's Georgia?</dialogue>
<character>ADA</character>
<dialogue>It's where he comes from, it's not his name.</dialogue>
<character>RUBY</character>
<dialogue>I know that's meant to be the ugliest state under the heavens.</dialogue>
<character>ADA</character>
<dialogue>Why do you care what his name is?</dialogue>
<character>RUBY</character>
<parenthetical>( a funny look , then . )</parenthetical>
<dialogue>What's that cluster of Stars?</dialogue>
<character>ADA</character>
<dialogue>Orion.</dialogue>
<character>RUBY</character>
<dialogue>What about them shaped like a wishbone?</dialogue>
<character>ADA</character>
<dialogue>That's Taurus the bull, and that's Gemini and that's Orion's big dog, Canis Major.</dialogue>
<character>RUBY</character>
<dialogue>Listen to her, Sal. She's turned into a highland girl.</dialogue>
<character>ADA</character>
<dialogue>I could always name the stars, Ruby, that was never my problem.</dialogue>
<scene_description>They all three have linked arms . Ada imitates Stobrod .</scene_description>
<character>ADA</character>
<dialogue>I love you darling. In case that big old sky falls on our heads. And I love you, too. Sal.</dialogue>
<character>RUBY</character>
<dialogue>It's sad, Sal. It's a c - a - t - a - s - t - r - o - p - h - e.</dialogue>
</scene>
<scene>
<stage_direction>INT. ADA'S BEDROOM, BLACK COVE FARM. MORNING</stage_direction>
<scene_description>Ada at the window as , outside , SNOW FLAKES BEGIN TO FALL .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD MILL, COLD MOUNTAIN. MORNING</stage_direction>
<scene_description>Stobrod opens the door of the Mill . The SNOW FLAKES dissuade him from venturing further . He goes back inside .</scene_description>
<character>STOBROD</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No sense setting off in snow.</dialogue>
<scene_description>THE DOOR SHUTS , FIDDLE MUSIC LEAKS THROUGH THE DOOR , FOLLOWED BY BANJO AND HARMONICA .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. EARLY</stage_direction>
<scene_description>Sara , dressed , agitated - the baby already complaining - is urgently shaking Inman . Hissing at him :</scene_description>
<character>SARA</character>
<dialogue>Get out of here, quick!</dialogue>
<scene_description>Inman surfaces from deep sleep .</scene_description>
<character>SARA</character>
<dialogue>Federals are coming. They find you here it'll go bad on all of us.</dialogue>
<scene_description>Inman is up , grabbing clothes , boots , his gun .</scene_description>
<character>INMAN</character>
<dialogue>I can try and fight them.</dialogue>
<character>SARA</character>
<dialogue>No, my baby. Please no! Just get.</dialogue>
<scene_description>She pulls up the window in back of the cabin . Inman throws things out into the freezing morning . He has his pants on , but is otherwise naked . He swings over the window and down onto the frosty ground .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. EARLY</stage_direction>
<scene_description>Inman picks up his stuff and , at a crouch , runs for cover to the wood which borders the property . He can hear horses and a commotion at the front of Sara 's cabin , but does n't look round until he 's sheltered by the trees . FEDERAL SOLDIERS , a raiding party , have dismounted and are already wrangling with Sara . Inman watches , pulling on his shirt , shivering , then his boots . Sara is standing in front of the hogpen , as if to protect the animal , but one of the soldiers , PISTOL , barges her to one side , toppling her , and opens the gate , starts herding the hog out into the yard . A second soldier , NYM , emerges from the cabin , carrying Ethan . Sara starts up , struggles with him , is again knocked down . INMAN HAS TO WATCH AS THEY DRAG HER OVER TO A FENCE POST AND ROPE HER TO IT THEN SLIP THE BLANKET OFF THE BABY AND LAY IT ON THE GROUND IN THE MIDDLE OF THE YARD . Then Sara starts to scream . Inman is dressed . Boots on . He looks back at the yard . The men sitting , smoking , prepared to wait , their breath coming out in gusts in the freezing air . Flakes of snow fall .</scene_description>
<character>PISTOL</character>
<dialogue>We got all day.</dialogue>
<character>SARA</character>
<dialogue>My baby's sick! Cover him up! He's shaking! Have some pity.</dialogue>
<scene_description>A third Federal , BARDOLPH , chases after the chickens , gathers them up .</scene_description>
<character>SARA</character>
<dialogue>I got nothing. I swear.</dialogue>
<scene_description>Nym gets close to her , putting his rifle to her chest .</scene_description>
<character>NYM</character>
<dialogue>That ai n't necessarily so.</dialogue>
<character>SARA</character>
<dialogue>Yes! Take me inside! Let's all go inside! Take my baby inside and then we'll do whatever you want.</dialogue>
<scene_description>Nym unties her . Pistol has a rope around the hog and now leads it towards the horses .</scene_description>
<character>SARA</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>There's nothing! You take that hog I'm as good as dead. Cover up my boy!</dialogue>
<scene_description>She 's wailing , an unbearable ululation . NYM SLAPS HER , TWICE , HARD .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. DAY</stage_direction>
<scene_description>The door is kicked open . Nym pushes Sara inside , kicks the door shut , REVEALING INMAN STANDING BEHIND IT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. DAY</stage_direction>
<scene_description>Bardolph , a chicken in his arms , goes over to the baby .</scene_description>
<character>BARDOLPH</character>
<dialogue>This is ready to get a fit going. It's shuddering. It's gone blue.</dialogue>
<character>PISTOL</character>
<parenthetical>( to Nym . )</parenthetical>
<dialogue>How long does he want? Hey! Leave some for the rest of us.</dialogue>
<scene_description>Pistol heads towards the cabin . As he approaches the door , Bardolph rearranges the blankets to , cover the baby . Pistol opens the door . Nym is on top of Sara . Pistol laughs , enters , and is clubbed down by Inman , who steps out onto the porch , while SARA SHRUGS OFF THE BODY OF NYM , HIS THROAT CUT . Bardolph looks up to see Inman walking towards him . Bardolph has left his weapon by the fence .</scene_description>
<character>INMAN</character>
<dialogue>Move away from the baby.</dialogue>
<scene_description>Bardolph obeys , terrified . Sara runs out , collects Ethan , gives a little moan of anguish , runs back inside the cabin .</scene_description>
<character>BARDOLPH</character>
<dialogue>Do n't shoot.</dialogue>
<character>INMAN</character>
<dialogue>Take off your boots.</dialogue>
<parenthetical>( Bardolph does so . )</parenthetical>
<dialogue>Take off your pants, and your shirt.</dialogue>
<character>BARDOLPH</character>
<dialogue>Do n't shoot me, please. We're starving. We have n't eaten.</dialogue>
<character>INMAN</character>
<dialogue>You'd better get running before you catch your death of cold.</dialogue>
<character>BARDOLPH</character>
<parenthetical>( nods , terrified . )</parenthetical>
<dialogue>Thanks, thank you. I will.</dialogue>
<scene_description>AND THEN A SHOT RINGS OUT AND HE CRASHES TO THE GROUND , DEAD . Behind Inman , Sara stands with a rifle .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SARA'S CABIN. LATE DAY</stage_direction>
<scene_description>THERE 'S A HUGE FIRE GOING , WITH A CAULDRON HUNG OVER IT . THE HOG HANGS UPSIDE DOWN FROM A TREE , BLOOD DRIPPING INTO A BOWL . There 's a sense of ritual and order : the chapters of transforming the hog into food . Sara is inside the cabin , the door open onto the yard . She holds the baby by the fireplace , swaddled up tight . She tries to put him to her breast , but he wo n't feed . She puts Ethan back in his crib , comes outside . Now Inman is butchering the hog , chopping down either side of the spine to make two sides of meat . Now Sara is holding up a sheet of hog fat , as if it were a lace shawl . Now she 's rendering the fat into lard . Now Inman 's salting the two hams . Now Sara 's washing the intestine . She sings all the while - I dreamed that my bower was full of red swine and my bride bed full of blood - they do n't really converse . Inman continues to work . Sara goes back inside to Ethan 's crib . Inman glances back , but can hardly bear to , her anxiety so palpable . THE BABY IS DEAD . She looks at it . She takes it up in her arms . Kisses its forehead . Makes a strange stifling noise . Inman does n't look at her . She comes out again , shovels some of the food into a plate , serves it up to Inman , gently touching him as she does so . Then serves out food for herself . Inman starts to eat .</scene_description>
<character>SARA</character>
<dialogue>Good?</dialogue>
<scene_description>Inman nods . She collects up the knapsacks , including Inman 's , and goes back inside the house with them . Inman squats , eating , glancing back towards the cabin . There 's the sudden shocking report of a revolver . Inman , knowing what it is , goes slowly towards the house and its two dead bodies . His own face is a rictus , the eyes thin slits . If he gave into his grief it would never cease .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARA'S CABIN. DUSK</stage_direction>
<scene_description>From the house , the silhouette of Inman working outside in the day 's dying light , snow falling around him . He 's digging a grave . Inside the house , TWO BUNDLES , the small body wrapped in a blanket , the other wrapped in the bed 's patchwork quilt .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CABBAGE PATCH, BLACK COVE FARM. DUSK</stage_direction>
<scene_description>Still snowing . Ruby trudges past Ada who is digging out a couple of heads of the buried cabbages .</scene_description>
<character>ADA</character>
<dialogue>Do you think he's dead?</dialogue>
<character>RUBY</character>
<dialogue>Who?</dialogue>
<character>ADA</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>This snow. Is n't it supposed to fall with bad news?</dialogue>
<character>RUBY</character>
<dialogue>Bad news is girls get working. I'm going to round up the animals.</dialogue>
<parenthetical>( squints up at the snow . )</parenthetical>
<dialogue>This'll settle.</dialogue>
<scene_description>She walks past . Ada stares into the distance where</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILD COUNTRY. LAST LIGHT</stage_direction>
<scene_description>- the snow falls down on Inman . He 's hardly visible in its gusting waves . Just a thin black question mark , hunched over the elements , moving slowly forwards .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD MILL, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>THE SNOW HAS STOPPED . It 's left a carpet on the ground . Stobrod , Pangle and Georgia emerge from the Old Mill . THEY MAKE HEAVY FOOTPRINTS as they set off up the hill towards the mountain .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATH IN THE MOUNTAINS. DAY</stage_direction>
<scene_description>Inman comes sliding down a crumbling slate hill and onto the path . He cornea to a place where the path suddenly drops away to reveal a view of the geography . And there , finally , in the distance , Inman can see the blue ridge . Somewhere in there is home , is Ada . He goes on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SLOPES OF COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Pangle walks too close to Stobrod and steps on the back of his boot which promptly detaches itself from Stobrod 's foot . Stobrod turns - and with a raised finger - pushes Pangle . PANGLE FALLS IN THE SNOW , ARMS SPREADEAGLED , AND SMILES .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGEON RIVER BEHIND THE OLD MILL. DAY</stage_direction>
<scene_description>SOME HORSES CLUSTER around the Stobrod party 's footprints . Bosie swings acrobatically over his horse , to hang over the tracks , then up again into his saddle , looks at Teague . The Home Guard plod slowly forward in the direction of the tracks .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. EVENING</stage_direction>
<scene_description>A CLEARING , fringed by poplars . Stobrod is making a fire . Pangle appears with an armful of firewood , his big grin a fixture . Then Georgia appears . He 's carrying A SMALL BUCK , frozen and covered with snow .</scene_description>
<character>GEORGIA</character>
<dialogue>What d'you reckon? Think we could eat this?</dialogue>
<character>STOBROD</character>
<dialogue>You cook something long enough you can eat anything.</dialogue>
<character>PANGLE</character>
<parenthetical>( prodding it . )</parenthetical>
<dialogue>It's frozen. How long it been there for?</dialogue>
<character>STOBROD</character>
<dialogue>You hungry?</dialogue>
<character>PANGLE</character>
<dialogue>Yeah.</dialogue>
<character>STOBROD</character>
<dialogue>Not very long.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SLOPES OF COLD MOUNTAIN. EVENING</stage_direction>
<scene_description>Teague examines the snow 's imprinted silhouette of Pangle .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>STOBROD SINGS AND COOKS . PANGLE ACCOMPANIES HIM ON BANJO , Georgia joins in the chorus . Stobrod pulls one of the hickory stick skewers out of the fire , blows on the , meat , smells , smells again , looks at Georgia , takes a bite . Chews .</scene_description>
<character>STOBROD</character>
<dialogue>Edible.</dialogue>
<scene_description>Pangle takes another stick , burns his fingers .</scene_description>
<character>PANGLE</character>
<dialogue>Ow!</dialogue>
<character>GEORGIA</character>
<parenthetical>( takes a bite from his skewer . )</parenthetical>
<dialogue>Do n't taste much like venison.</dialogue>
<character>PANGLE</character>
<dialogue>It's good. I think it's good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND. COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>The three men are asleep . The fire still burning . They 're lying like petals of a flower around it . Suddenly Georgia sits bolt upright , grimaces , gets up stumbles away from the fire , toward a stand of trees , from which come the vivid sounds of violent nausea .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>GEORGIA IS KNEELING IN THE SNOW , his head in the snow , when he A HALF DOZEN RIDERS TROT PAST approaching the sleeping Stobrod and Pangle . Georgia has to vomit again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Teague rides up to the fire , the other riders with him - Mo , Jo , Bosie , Grayling . Stobrod wakes , sits up , Pangle sleeps .</scene_description>
<character>TEAGUE</character>
<dialogue>Evening. Hope we did n't disturb you.</dialogue>
<character>STOBROD</character>
<dialogue>You're all right.</dialogue>
<character>TEAGUE</character>
<dialogue>Name's Teague. Do I know you?</dialogue>
<character>STOBROD</character>
<dialogue>Thewes.</dialogue>
<scene_description>Teague slides off his horse , approaches the fire .</scene_description>
<character>TEAGUE</character>
<dialogue>You a deserter? - do n't mind if I just warm up at your fire.</dialogue>
<parenthetical>( of the sleeping Pangle . )</parenthetical>
<dialogue>That your wife?</dialogue>
<character>STOBROD</character>
<dialogue>Who? That's a he!</dialogue>
<character>TEAGUE</character>
<dialogue>He your wife?</dialogue>
<character>STOBROD</character>
<dialogue>We're musicians. He picks the banjo, I got a fiddle.</dialogue>
<character>TEAGUE</character>
<parenthetical>( to his men . )</parenthetical>
<dialogue>Look pretty romantic by the fire. Do n't they?</dialogue>
<parenthetical>( to Stobrod . )</parenthetical>
<dialogue>Your boyfriend's got a nice bit of flesh on him. Close your eyes slip inside that shirt get two good handfuls - dark enough I'd be willing. I'm just kidding.</dialogue>
<parenthetical>( to his men . )</parenthetical>
<dialogue>Tell him, I'm just kidding.</dialogue>
<character>BOSIE</character>
<dialogue>He's just kidding.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Georgia squints through the trees . Does n't know what to do .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<character>TEAGUE</character>
<dialogue>Did you answer my question - about your military status?</dialogue>
<character>STOBROD</character>
<dialogue>Discharged. Took a wound at Petersburg.</dialogue>
<character>TEAGUE</character>
<dialogue>Oh, so like a hero's discharge.</dialogue>
<character>STOBROD</character>
<dialogue>I guess.</dialogue>
<character>TEAGUE</character>
<dialogue>And your boyfriend?</dialogue>
<character>STOBROD</character>
<dialogue>The military would n't take him. He ca n't fight. He's simple. He's got a mind no bigger'n a pickled walnut.</dialogue>
<character>TEAGUE</character>
<dialogue>I'm sorry - he's fat, he's simple and got titties - but you're insisting he ai n't a woman. God damn! Do n't that sausage smell outstanding.</dialogue>
<character>STOBROD</character>
<parenthetical>( he 's very nervous . )</parenthetical>
<dialogue>Miqhty outstanding.</dialogue>
<character>TEAGUE</character>
<dialogue>Mighty outstanding! There's a new phrase. Mighty outstanding. Listen, do n't tell me - you left your papers somewhere.</dialogue>
<character>STOBROD</character>
<dialogue>Which papers?</dialogue>
<character>TEAGUE</character>
<dialogue>Your hero's discharge. For mighty outstanding valour.</dialogue>
<character>STOBROD</character>
<dialogue>They're, they're, they're at my house.</dialogue>
<character>TEAGUE</character>
<parenthetical>( enjoying himself . )</parenthetical>
<dialogue>And where, where, where is your house?</dialogue>
<character>STOBROD</character>
<dialogue>Down the mountain.</dialogue>
<character>TEAGUE</character>
<dialogue>But you're up the mountain.</dialogue>
<character>STOBROD</character>
<dialogue>Hunting. Drinking.</dialogue>
<character>TEAGUE</character>
<dialogue>On honeymoon.</dialogue>
<parenthetical>( to his men . )</parenthetical>
<dialogue>I'm pretty fucking funny tonight.</dialogue>
<character>BOSIE</character>
<dialogue>Is he going to play?</dialogue>
<parenthetical>( to Stobrod . )</parenthetical>
<dialogue>You gon na play that fiddle?</dialogue>
<character>STOBROD</character>
<dialogue>Sure. Sure.</dialogue>
<parenthetical>( kicks Pangle . )</parenthetical>
<dialogue>Hey, wake up!</dialogue>
<scene_description>Pangle surfaces , blinks , grins at everybody .</scene_description>
<character>TEAGUE</character>
<dialogue>Evening, Mrs.</dialogue>
<character>PANGLE</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Where's Georgia?</dialogue>
<character>TEAGUE</character>
<parenthetical>( interested . )</parenthetical>
<dialogue>Where's Georgia?</dialogue>
<scene_description>In the trees , Georgia ducks , retches .</scene_description>
<character>STOBROD</character>
<dialogue>He do n't know what he's saying. We were talking about Georgia early on - maybe heading down there.</dialogue>
<character>TEAGUE</character>
<dialogue>Georgia's like my armpit. Worse, it's like yours.</dialogue>
<parenthetical>( to Pangle . )</parenthetical>
<dialogue>Want some sausage?</dialogue>
<character>PANGLE</character>
<dialogue>Thanks. You is Home Guard?</dialogue>
<character>TEAGUE</character>
<dialogue>Yes, ma'am.</dialogue>
<character>PANGLE</character>
<dialogue>You is Teague?</dialogue>
<character>TEAGUE</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>I'm known!</dialogue>
<character>STOBROD</character>
<dialogue>He do n't know what he's saying.</dialogue>
<character>PANGLE</character>
<parenthetical>( quoting . )</parenthetical>
<dialogue>That bastard Teague.</dialogue>
<character>TEAGUE</character>
<dialogue>Really.</dialogue>
<character>PANGLE</character>
<dialogue>Bad words. Folk always put the curse words in front of your name.</dialogue>
<character>STOBROD</character>
<dialogue>Mr. Teague wants us to play.</dialogue>
<character>PANGLE</character>
<dialogue>Okay.</dialogue>
<character>TEAGUE</character>
<dialogue>We heard there were deserters in these parts. Hiding out in a big cave.</dialogue>
<character>STOBROD</character>
<dialogue>Not come to my ears.</dialogue>
<character>TEAGUE</character>
<dialogue>You do n't know where this cave is?</dialogue>
<character>STOBROD</character>
<dialogue>No, sir.</dialogue>
<character>PANGLE</character>
<dialogue>You do, Stobes! He means -</dialogue>
<character>STOBROD</character>
<dialogue>Right, right! he means, there is a cave, right, it's up over the other side, big cave, we played some music up there, never occurred to me they were deserters. Near Bearpen Branch.</dialogue>
<character>PANGLE</character>
<dialogue>Ai n't nowhere near Bearpen Branch! It's this side! He's always getting lost. That cave - we live there! - it's over on Big Stomp. Tell you how I always find it. There's a big old locust tree fell down across the path, that points straight at it, like a finger, always a dozen squirrels round that tree. You gets to the tree, sit on it, and there's your entrance, straight in front of you, tree points at it. Come right to your hand, them squirrels -.</dialogue>
<parenthetical>( makes a chirping sound . )</parenthetical>
<dialogue>- Chrrrpppp! Chrrrrppp!</dialogue>
<character>TEAGUE</character>
<dialogue>Sounds good. Okay, let's eat, let's hear some music.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TREES NEAR KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Georgia watches as the music starts , Stobrod playing and singing , Pangle joining in at the chorus . Their improvising is wild , profound , Stobrod chording the fiddle , Pangle following him , then , finishing with another verse and ending with the title declaimed by Stobrod .</scene_description>
<character>STOBROD</character>
<dialogue>I call this tune : Ruby's Lament.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Something like compassion has flickered over Teague 's face . Mo and Jo nod to the music 's secret rhythms . Only Bosie seems detached , contemplating his long fingernail . The music finishes . The Home Guard applaud .</scene_description>
<character>PANGLE</character>
<dialogue>What'd you make of that?</dialogue>
<character>BOSIE</character>
<dialogue>Heartbreaking.</dialogue>
<character>TEAGUE</character>
<dialogue>Stand over by that tree.</dialogue>
<character>STOBROD</character>
<dialogue>Me?</dialogue>
<character>TEAGUE</character>
<dialogue>Over by that tree. Over there. Take your boyfriend.</dialogue>
<scene_description>Stobrod gets up , carrying his fiddle , heads over to a big old poplar . Nods at Pangle .</scene_description>
<character>STOBROD</character>
<dialogue>Come on.</dialogue>
<scene_description>Pangle gets up , banjo in his hand . Puts his arm around Stobrod as if they were about to be photographed . The Home Guard gather around them . From the trees Georgia watches , helpless . Pangle grins at Teague .</scene_description>
<character>TEAGUE</character>
<dialogue>Do n't smile.</dialogue>
<character>PANGLE</character>
<dialogue>What?</dialogue>
<character>TEAGUE</character>
<dialogue>Quit smiling.</dialogue>
<character>STOBROD</character>
<dialogue>He always smiles. He do n't mean nothing by it. I told him this world's got nothing worth a smile.</dialogue>
<character>TEAGUE</character>
<dialogue>Put your hat over your face.</dialogue>
<character>PANGLE</character>
<dialogue>What do you mean?</dialogue>
<character>TEAGUE</character>
<dialogue>Cover your face with your hat.</dialogue>
<scene_description>PANGLE TALES OFF HIS HAT , HOLDS IT OVER HIS FACE . THE MOMENT HE OBLIGIES , TEAGUE 'S CARBINE SPRINGS UP IN HIS HAND AND BLOWS THE HAT AWAY SEVERAL OTHER SHOTS FOLLOW . STOBROD FALLS UNDER PANGLE , THE BULLETS FLYING .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREES NEAR THE KILLING GROUND, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Georgia lies prostrate in the snow , shuddering under the report of each bullet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOTTOM FIELD, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby working in the snow , in the field , clipping a sheep 's feet , the animal on its back between Ruby 's knees . She looks up to see GEORGIA RUNNING ACROSS THE FIELD TOWARDS HER , calling out her name . From the kitchen window , Ada looks on as he reaches Ruby , the story pouring from him . Ada emerges from the house , walks towards the bad news .</scene_description>
</scene>
<scene>
<stage_direction>INT. STOREROOM, BLACK COVE FARM. DAY</stage_direction>
<scene_description>Ruby sorting out a kit of shovels , blankets . Ada comes in does n't know how to help her friend , who shows no emotion .</scene_description>
<character>ADA</character>
<dialogue>I told Georgia he can stop here, sleep in the barn. He's got nothing inside him. He'd walk out of here and die in the snow.</dialogue>
<character>RUBY</character>
<dialogue>He can milk the cows. I was worrying about that. It'll be dark in a couple of hours. I's ten hours climb from here. He's drawn a map.</dialogue>
<character>ADA</character>
<dialogue>Okay.</dialogue>
<character>RUBY</character>
<parenthetical>( boiling . )</parenthetical>
<dialogue>You know these fools stayed the night in the Mill? That's Stobrod - he ca n't do one good thing without adding the bad. Left tracks in the snow all the way up for them Home Guards to follow. That's a sign says shoot me!</dialogue>
<character>ADA</character>
<dialogue>Ruby, I'm so sorry.</dialogue>
<scene_description>Ada moves towards her , puts her arms around her . Ruby is rigid . Ada stops embracing her .</scene_description>
<character>RUBY</character>
<dialogue>We should get going.</dialogue>
<scene_description>She 's tying up the kit . She does n't know how to grieve .</scene_description>
<character>RUBY</character>
<dialogue>Every piece of this is a man's bullshit. They call this a war a cloud over the land, but they made the weather. Then they stand in the rain and say : shit! It's raining!</dialogue>
<parenthetical>( tears welling . )</parenthetical>
<dialogue>If I cry one tear for my Daddy I stole it off a crocodile.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN. EVENING</stage_direction>
<scene_description>THE SNOW IS FALLING HEAVILY . RUBY AND ADA TRUDGE UP THE MOUNTAIN , dressed in Monroe 's clothes , hats pulled down , leading the horse , which is loaded up with tools and supplies . A choice of paths . They start up one , then Ruby decides against it , consults the map , and they reverse , pulling the horse back and then yanking it up the other path .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PI STRUCTURE, COLD MOUNTAIN. NIGHT</stage_direction>
<scene_description>Ruby and Ada have made a fire . They sleep under a stone structure , which forms a natural pi shape , the fire in the entrance , the snow caught in its light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. MORNING</stage_direction>
<scene_description>Ada and Ruby arrive at the scene of murder . Pangle is keeled over at the old Poplar , snow covering him . Only his girth and a glimpse of coat identify him . Ada brushes some of the snow from his face , revealing the death wound , then lays a hand in blessing on his head .</scene_description>
<character>ADA</character>
<dialogue>I do n't understand.</dialogue>
<character>RUBY</character>
<dialogue>Maybe Teague's took him. They did that with the Swanger boys - did n't, they? - dragged them into town, then strung them up as warning. it's snowed since, so I ca n't read the story on the ground.</dialogue>
<scene_description>Ada fishes out Pangle 's banjo from the snow . It 's broken and the strings hang slack .</scene_description>
<character>RUBY</character>
<dialogue>Let's dig.</dialogue>
<scene_description>LATER - and RUBY FINISHES OFF THE GRAVE , hammering in a stone to mark the place . Ada walks away towards the creek , to wash her hands . She bends and rinses her face . As she looks up SHE SEES STOBROD ON THE OTHER SIDE OF THE CREEK ; half - in , half out of the water , slumped against a tree , blood everywhere , staining the crust of snow which covers him .</scene_description>
<character>ADA</character>
<dialogue>Ruby! Ruby!</dialogue>
<scene_description>Ruby arrives at Ada , looks to where she 's looking , walks straight into the creek , all her love contained in the urgency with which she hurtles to her father , oblivious to the freezing water . She puts a head to his chest , seeks out a pulse at his wrist . Calls back to Ada .</scene_description>
<character>RUBY</character>
<dialogue>He's still breathing!</dialogue>
<parenthetical>( to Stobrod . )</parenthetical>
<dialogue>God damn! Daddy ; Daddy - it's Ruby. Do n't you die on me again.</dialogue>
<parenthetical>( to Ada . )</parenthetical>
<dialogue>He's still breathing!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. AFTERNOON</stage_direction>
<scene_description>A mean fire burns by the creek . RUBY TURNS A KNIFE IN THE FLAMES . Stobrod 's back is exposed . Just by the shoulder blade is an ugly grey and purple bulge the size of a crabapple . Ruby turns to Ada , who is helping .</scene_description>
<character>RUBY</character>
<dialogue>Pack a pan full of snow. I need good clean water, boiled up.</dialogue>
<scene_description>She cuts the skin and prises out a slug which she drops in the snow and rolls around to clean . Stobrod does n't move . He could be dead . Ada loads the pan with snow .</scene_description>
<character>ADA</character>
<dialogue>Let's get him home. We have herbs there and it's warm.</dialogue>
<character>RUBY</character>
<dialogue>He'll die first. He's got hardly no blood left in him.</dialogue>
<character>ADA</character>
<dialogue>He'll die lying here.</dialogue>
<character>RUBY</character>
<dialogue>There's a place further on up. Used to be. Old Cherokee place. There's good water right by it.</dialogue>
<scene_description>Ada puts the snow - packed pan on the fire .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BY THE OUTLIER'S CAVE, COLD MOUNTAIN. AFTERNOON</stage_direction>
<scene_description>Squirrels frolic . Teague sits on the trunk of a fallen tree . He feeds the squirrels , looking straight ahead where the mouth of a cave winks back at him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. AFTERNOON</stage_direction>
<scene_description>THE TWO WOMEN EMERGE FROM A STEEP TUNNEL OF TREES IN A CHESTNUT GROVE . There 's a stream and , up on the bank , A CLUSTER OF BLACK CONICAL HUTS , made up of chestnut logs , abandoned and slightly sinister looking . They approach one of the huts , its door long lost . The snow has drifted in . A second hut has a door which they pry open . It 's dark and cold , but apparently still weatherproof . They get Stobrod off the horse and carry him inside , then come out again to unload the horse of its remaining load .</scene_description>
<character>ADA</character>
<dialogue>This horse is weary. He's ready to give up the ghost.</dialogue>
<scene_description>Ruby picks up the blankets and provisions and goes back inside to her father . Ada takes the horse to another hut and , despite his great reluctance , pushes him inside .</scene_description>
<character>ADA</character>
<dialogue>Good boy.</dialogue>
<parenthetical>( she blows into his nostrils , calming him . )</parenthetical>
<dialogue>That's warmer, is n't it.</dialogue>
<scene_description>Ada would n't even recognize this practical , hardy woman she 's become . Stringy and of few words . She sets off towards the tree tunnel , passing Stobrod 's hut .</scene_description>
<character>ADA</character>
<dialogue>I'm getting firewood.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE KILLING GROUND, COLD MOUNTAIN. DUSK</stage_direction>
<scene_description>Inman approaches the Killing Ground . He studies the ground , finds Pangle 's grave . Blood has left its black writing in the snow and he finds first where Stobrod has been , where the bullet had been removed , then the journey away , still tiny , telltale spatters of blood , and the hoof prints and boot prints of two walkers and one loaded horse . He puts his hand into the ashes of Ruby 's fire , ca n't feel any warmth . It 's getting dark . He takes a drink from the stream , shudders at the cold .</scene_description>
</scene>
<scene>
<stage_direction>INT. STOBROD'S HUT, CHEROKEE VILLAGE. NIGHT</stage_direction>
<scene_description>The fire burns , a pall of smoke . Stobrod lies on the ground , swathed in blankets . Coughs . Ruby sits next to him , wipes the hair from his forehead . Ada opens her eyes , looks , closes them , listens to the fire , a strange squeaking as it burns .</scene_description>
<character>ADA</character>
<dialogue>That wood - that sound when it burns that mean more snow?</dialogue>
<character>RUBY</character>
<dialogue>Yes, it do, country girl.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRACK, COLD MOUNTAIN. DAWN</stage_direction>
<scene_description>First light . The sun creeps up , a red streak of dawn . Inman walking , his head bent to the tracks . He walks quickly , even as the terrain gets more steep . As he bends to the snow - where a spot of blood has fallen into a hoof print - A FLAKE OF SNOW LANDS ON HIS HAND . Then a second . He looks up . The snow falls . He starts to move more quickly , racing the snow as it seeks to erase the tracks . The snow thickens .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING</stage_direction>
<scene_description>In the Chestnut Grovel A DOZEN WILD TURKEYS pick their way across the snow . A shotgun lines up its sight at one of them . The trigger is squeezed . An explosion of feathers .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THREE WAY CROSSING, COLD MOUNTAIN. MORNING</stage_direction>
<scene_description>Inman hears the shot . Then a second , the sound ricocheting around him . He ca n't quite identify its source but he runs again , heading for the Chestnut trees he can see above him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TREE TUNNEL NEAR CHEROKEE VILLAGE. MORNING</stage_direction>
<scene_description>Ada collects the two turkeys , the first creatures she 's ever shot . Does n't quite know how to hold them . She straightens up and sees , at the other end of the tree tunnel , backlit by the morning sun , THE SILHOUETTE OF A MAN . She drops the turkeys tires to reload the shotgun . Inman comes down the tunnel , approaching the hunter he sees through the snow at the other end of it .</scene_description>
<character>ADA</character>
<dialogue>Turn round and go back where you came from.</dialogue>
<scene_description>Inman is bewildered by this woman 's voice in a man 's outfit , keeps walking , peering through the snow . Ada fires a warning shot . Inman , still some distance , suddenly understands .</scene_description>
<character>INMAN</character>
<dialogue>Ada? Ada Monroe?</dialogue>
<character>ADA</character>
<dialogue>I do not know you.</dialogue>
<scene_description>After all this time , all this way , Inman could give up the ghost .</scene_description>
<character>INMAN</character>
<dialogue>Then I believe I made a mistake.</dialogue>
<scene_description>He turns , walks heavily away from her . Then he turns again , completely lost , without compass .</scene_description>
<character>INMAN</character>
<dialogue>If I knew where to go I'd go there.</dialogue>
<character>ADA</character>
<parenthetical>( finally recognising him . )</parenthetical>
<dialogue>Inman?</dialogue>
<scene_description>He nods . They do n't know how to speak to each other , just stand awkwardly , some distance apart , the emotion stones in their throats . Eventually -</scene_description>
<character>ADA</character>
<dialogue>You'd better come with me.</dialogue>
<scene_description>And with that , she starts to sob , and sob . VERY HIGH ANGLE : Inman walks towards Ada . They embrace .</scene_description>
</scene>
<scene>
<stage_direction>INT. STOBROD'S HUT, CHEROKEE VILLAGE. MORNING</stage_direction>
<scene_description>Ada enters , Inman behind her . Ruby looks up from Stobrod .</scene_description>
<character>ADA</character>
<dialogue>Ruby, this is Inman.</dialogue>
<scene_description>Ruby digests this . Considers this ghost of a man .</scene_description>
<character>RUBY</character>
<dialogue>Congratulations, I should send you out with a shotgun more often. He looks as he needs sleep.</dialogue>
<character>INMAN</character>
<dialogue>I may need to.</dialogue>
<character>RUBY</character>
<dialogue>Be my guest. You shot or something?</dialogue>
<character>INMAN</character>
<dialogue>Not lately.</dialogue>
<character>RUBY</character>
<dialogue>Hungry?</dialogue>
<parenthetical>( Inman nods , Ruby to Ada . )</parenthetical>
<dialogue>He woke up.</dialogue>
<character>ADA</character>
<dialogue>Stobrod?</dialogue>
<character>RUBY</character>
<dialogue>Said - your mommy's name was Grace then closed his eyes again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHEROKEE VILLAGE. DAY</stage_direction>
<scene_description>Ada comes out of Stobrod 's hut , a glimpse of Inman sleeping on the floor , heads for another hut which Ruby is sweeping out . The snow has stopped . Ada stands in the door , watches Ruby . Ruby 's resistance to Inman is palpable .</scene_description>
<character>ADA</character>
<dialogue>He's asleep. They both are.</dialogue>
<character>RUBY</character>
<dialogue>I'm not surprised. Your man looks played out.</dialogue>
<character>ADA</character>
<dialogue>I saw him. I realize now.</dialogue>
<character>RUBY</character>
<dialogue>Saw him when?</dialogue>
<character>ADA</character>
<dialogue>In Sally Swanger's well. A tunnel of trees. The man like a black smudge in the snow, the sun behind him.</dialogue>
<character>RUBY</character>
<dialogue>Well there you are.</dialogue>
<character>ADA</character>
<dialogue>Funny thing is it was n't the same. The image. It was n't snowing. And in the well, he was, as if he were falling.</dialogue>
<character>RUBY</character>
<dialogue>You probably do n't remember it right.</dialogue>
<character>ADA</character>
<dialogue>I remember it exactly. There were crows, these black crows flying towards me. I thought I was seeing him fall. Instead I was seeing him come back to me. All this while I've been packing ice around my heart. How will I make it melt?</dialogue>
<character>RUBY</character>
<dialogue>Better get a fire going.</dialogue>
<parenthetical>( goes to the fireplace . )</parenthetical>
<dialogue>I've got big plans for that farm. Got a vision in my mind of how that Cove needs to be.</dialogue>
<character>ADA</character>
<dialogue>I know you have.</dialogue>
<character>RUBY</character>
<dialogue>There's not a thing we ca n't do ourselves.</dialogue>
</scene>
<scene>
<stage_direction>INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT</stage_direction>
<scene_description>THE FIRE BURNS . Ada lies awake . Ruby sleeping . Ada gets up , steps out into the snow , her blanket around her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT</stage_direction>
<scene_description>Inman is outside his cabin . Only the light escaping from the cabin , fire lights them , almost silhouettes .</scene_description>
<character>INMAN</character>
<dialogue>I'm sorry. I was trying to be quiet.</dialogue>
<character>ADA</character>
<dialogue>I could n't sleep.</dialogue>
<character>INMAN</character>
<dialogue>- I got no appetite left to be in a room with wounded men.</dialogue>
<character>ADA</character>
<dialogue>I ca n't see your face.</dialogue>
<character>INMAN</character>
<dialogue>It's not a face you recognised.</dialogue>
<character>ADA</character>
<dialogue>Did you get my letters?</dialogue>
<character>INMAN</character>
<dialogue>I got three letters. Carried them in that book you gave me. The Bertram.</dialogue>
<character>ADA</character>
<dialogue>I must have sent 100. Did you write to me?</dialogue>
<character>INMAN</character>
<dialogue>Whenever I could. If you never got them I can summarize.</dialogue>
<character>ADA</character>
<dialogue>No, it's -</dialogue>
<character>INMAN</character>
<dialogue>I pray you're well. I pray I'm in your thoughts. You are all that keeps me from sliding into some dark place.</dialogue>
<character>ADA</character>
<dialogue>But how did I keep you? We barely knew each other. A few moments.</dialogue>
<character>INMAN</character>
<dialogue>A thousand moments. They're like a bag of tiny diamonds glittering in a black heart. Do n't matter if they're real or things I made up. The shape of your neck. The way you felt under my hands when I pulled you to me.</dialogue>
<character>ADA</character>
<dialogue>Your boots, one polished, one not yet polished.</dialogue>
<character>INMAN</character>
<dialogue>You're playing a piano and I'm standing outside.</dialogue>
<character>ADA</character>
<dialogue>I'm playing a piano and you're standing outside.</dialogue>
<character>INMAN</character>
<dialogue>That kiss - which I've kissed again every day of my walking.</dialogue>
<character>ADA</character>
<dialogue>Every day of my waiting.</dialogue>
<character>INMAN</character>
<dialogue>Maybe you ca n't see my face, but if you could see my inside, my whatever you want to name it, my spirit, that's the fear I have deeper than any gash on my neck. I think I'm ruined. They kept trying to put me in the ground, but I was n't ready, no ma'am, no more ready than that scoundrel in there's not ready to die on us. But if I had goodness, I lost it. If I had anything tender in me I shot it dead.</dialogue>
<scene_description>Ruby stomps out of the hut .</scene_description>
<character>RUBY</character>
<dialogue>Number one - shut this door, it's freezing.</dialogue>
<parenthetical>( goes over to Stobrod 's hut . )</parenthetical>
<dialogue>Number two - shut that door, it's freezing.</dialogue>
<parenthetical>( turns to them . )</parenthetical>
<dialogue>I'm laying on my back, with my fingers poked in my ears trying to shut out who's got a bag of diamonds and who's got boots needs polishing, If you want to get three feet up a bull's ass listen to what sweethearts whisper to each other.</dialogue>
<scene_description>She 's at the door to Stobrod 's hut . She contemplates them .</scene_description>
<character>RUBY</character>
<dialogue>In fact, if you're going to wimble all night I'm going to sleep in with him.</dialogue>
<scene_description>And with that she enters Stobrod 's hut , slamming the door .</scene_description>
<character>ADA</character>
<dialogue>Now I ca n't see anything.</dialogue>
<scene_description>A long pause .</scene_description>
<character>INMAN</character>
<dialogue>I'll say goodnight.</dialogue>
<character>ADA</character>
<dialogue>I do n't think Ruby's vacating my hut so that you can sleep in a different one.</dialogue>
</scene>
<scene>
<stage_direction>INT. ADA AND RUBY HUT, CHEROKEE VILLAGE. NIGHT</stage_direction>
<scene_description>Ada puts logs onto the fire . After a few moments a knock .</scene_description>
<character>ADA</character>
<dialogue>Come in.</dialogue>
<scene_description>Inman enters . They do n't know the rules for this .</scene_description>
<character>ADA</character>
<dialogue>Whatever comes to pass between you and me, I want Ruby to stay in Black Cove.</dialogue>
<character>INMAN</character>
<dialogue>Right.</dialogue>
<character>ADA</character>
<dialogue>As long as she wants. And if she never leaves I'll be glad.</dialogue>
<character>INMAN</character>
<dialogue>More a question could she put up with me.</dialogue>
<character>ADA</character>
<dialogue>And you understand she's my friend, she's not a hired hand and she does n't empty a night jar unless it's her own.</dialogue>
<character>INMAN</character>
<dialogue>Sure.</dialogue>
<character>ADA</character>
<dialogue>This war's made some things pointless. It's hard to imagine a wedding. I think even my father would recognize that.</dialogue>
<character>INMAN</character>
<dialogue>Ada, I want to marry you. If you'll have me.</dialogue>
<character>ADA</character>
<dialogue>Is n't there's some religion where you just have to say I marry you, three times, and then you're man and wife.</dialogue>
<character>INMAN</character>
<dialogue>I marry you. I marry you. I marry you.</dialogue>
<scene_description>Ada laughs , unsettling Inman .</scene_description>
<character>INMAN</character>
<dialogue>Why's that funny?</dialogue>
<character>ADA</character>
<dialogue>No, I think it's I divorce you three times and then you're not married anymore.</dialogue>
<character>INMAN</character>
<dialogue>I can wait for you.</dialogue>
<character>ADA</character>
<dialogue>You waited enough. I certainly did. I marry you. I marry you. I marry you.</dialogue>
<scene_description>And they kiss , tentative , then more urgent .</scene_description>
<character>ADA</character>
<dialogue>I'm sorry about the way I look. In these clothes.</dialogue>
<parenthetical>( Inman shakes his head . )</parenthetical>
<dialogue>And there are so many buttons.</dialogue>
<parenthetical>( starts to undress . )</parenthetical>
<dialogue>Will you turn your back?</dialogue>
<character>INMAN</character>
<dialogue>Not for all the gold dollars in the Federal Bank.</dialogue>
<scene_description>She stands holding her clothes in front of her to cover herself . He takes them from her , drops them to the floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHEROKEE VILLAGE. MORNING</stage_direction>
<scene_description>A crisp , cold beautiful morning . They 're packing up , all their clothes in layers . Inman prepares the horse . Ruby and Ada carrying bundles out of the huts . Inman approaches Ruby .</scene_description>
<character>INMAN</character>
<dialogue>You go ahead. I'll follow with the horse at a pace your daddy can tolerate.</dialogue>
<character>ADA</character>
<dialogue>We can all go together.</dialogue>
<character>INMAN</character>
<dialogue>It's safer this way. No one has quarrel with you.</dialogue>
<character>RUBY</character>
<dialogue>He's right.</dialogue>
<character>INMAN</character>
<parenthetical>( to Ruby . )</parenthetical>
<dialogue>I gather I need permission if I reckon on living at Black Cove.</dialogue>
<scene_description>Ruby gives a curt nod , goes over to Stobrod 's hut . Inman gets close to Ada .</scene_description>
<character>INMAN</character>
<dialogue>We'll get to you by nightfall.</dialogue>
<character>ADA</character>
<dialogue>You be safe.</dialogue>
<scene_description>She puts her hand to his mouth which creases into a smile .</scene_description>
<character>INMAN</character>
<dialogue>Your Mr. Bartram speaks about some category of fly born on the hide of a cow. It flies up into a tree and waits and waits until it smells cow. It can wait a year, two years, I do n't know, maybe longer. Then a cow comes along and it wakes up, flies down, lays its eggs on the cow. There's purpose for you.</dialogue>
<character>ADA</character>
<dialogue>And am I the fly in this story, or the cow?</dialogue>
</scene>
<scene>
<stage_direction>INT. STOBROD'S HUT, CHEROKEE VILLAGE. DAY</stage_direction>
<scene_description>Ruby is wrapping a fragile Stobrod for the journey .</scene_description>
<character>STOBROD</character>
<dialogue>You come up the mountain for me, darling, I'd be dead otherwise, dead and gone.</dialogue>
<character>RUBY</character>
<dialogue>You'd have found some other fool to rescue you.</dialogue>
<character>STOBROD</character>
<dialogue>He's sweet on you, that Georgia boy.</dialogue>
<scene_description>He coughs for a long time .</scene_description>
<character>RUBY</character>
<dialogue>If you say a thing and then cough it's a lie. Daddy, stay on that horse, and do n't lose him or sell him. We'll need him on the farm.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHEROKEE VILLAGE. MORNING</stage_direction>
<scene_description>And then the two women are off , little men in their outfits , tramping off in the snow . Inman watches .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRACK NEAR THREE WAY CROSSING, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Ruby and Ada walk .</scene_description>
<character>RUBY</character>
<dialogue>I hope that Georgia boy's been seeing to the animals.</dialogue>
<character>ADA</character>
<dialogue>I thought you were thinking on him!</dialogue>
<character>RUBY</character>
<dialogue>I was not. I was thinking on swollen udders - and before you say same difference.</dialogue>
<character>ADA</character>
<dialogue>I'm saying nothing.</dialogue>
<scene_description>Ruby elbows her .</scene_description>
<character>RUBY</character>
<dialogue>Miss lovey - dovey!</dialogue>
<scene_description>Ada elbows her back .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THREE WAY CROSSING, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Inman has roped Stobrod to the horse which he pulls down a steep slope . Behind him , their hooves muffled by the snow , A GROUP OF RIDERS JOIN THE TRAIL , IN SLOW BUT STEADY PURSUIT . Inman walks on , apparently oblivious to who 's behind him . He and Stobrod are some distance from broken ground , a fringe of trees .</scene_description>
<character>INMAN</character>
<parenthetical>( quietly to Stobrod . )</parenthetical>
<dialogue>Do n't look round.</dialogue>
<character>STOBROD</character>
<dialogue>Got it.</dialogue>
<character>INMAN</character>
<dialogue>How many men does he have?</dialogue>
<character>STOBROD</character>
<dialogue>There were five. You ca n't reason with that man.</dialogue>
<character>INMAN</character>
<parenthetical>( takes off his gloves . )</parenthetical>
<dialogue>I got a conversation stopper.</dialogue>
<parenthetical>( they 're getting closer . )</parenthetical>
<dialogue>Closer we get to that broken ground the better.</dialogue>
<scene_description>Inman opens his coat . Stobrod looks at the Lemats . They 're at the edge of the trees .</scene_description>
<character>INMAN</character>
<dialogue>You hold on tight, do you hear? When I say three, look round, nice and slow.</dialogue>
<character>STOBROD</character>
<dialogue>Okay.</dialogue>
<character>INMAN</character>
<dialogue>One, two, three.</dialogue>
<scene_description>Stobrod looks round . Inman does n't . Teague has some new bodies in his entourage but they 're all dead . A SPARE HORSE HAS THREE CORPSES HUNG OVER IT , ANOTHER HORSE DRAGS A MAKESHIFT LITTER WITH A COUPLE MORE , SOUVENIRS OF THEIR CAVE VISIT . Teague waves .</scene_description>
<character>TEAGUE</character>
<dialogue>God damn! You're a hard fucker to put down.</dialogue>
<parenthetical>( they approach . )</parenthetical>
<dialogue>Good directions to that cave from the fat boy - saw the squirrels, sat on the tree made some friends, brought some back with me.</dialogue>
<scene_description>His riders begin , quite casually , to fan out . IN ONE MOVEMENT , INMAN SLAPS THE FLANK OF THE HORSE . WHICH CAREERS DOWN THE TRACK , THEN TURNS AND FIRES , TWICE , BEFORE PITCHING HIMSELF INTO A ROLL TOWARDS THE TREES . HIS FIRST SHOT KNOCKS JO FROM HIS HORSE , THE SECOND MO , WHO FALLS INTO THE SNOW , BLEEDING FROM THE GROIN AND SCREAMING . The riderless horse gets tangled up with the others . Inman is in the trees , shots around him . He does n't move away from , but towards the riders inside the line of trees . Grayling charges him , riding into the trees . INMAN SHOOTS HIM , THEN RUSHES FROM THE TREES , FIRING , MISSING BOSIE , WHO RIDES AWAY , EVIDENTLY NOT RELISHING THE FIGHT , AND THROWS HIMSELF AT TEAGUE , WHOSE HORSE IS BUCKING WILDLY . Teague 's carbine fires an involuntary shot into the air . Inman yanks the gun from his hand with his own left hand and lets go the shotgun barrel of the Lemats with the other , the big pistol almost leaping from his hand with the recoil . TEAGUE 'S CHEST OPENS OUT AS HE 'S THROWN OFF THE HORSE . Mo is still screaming . Inman walks over and shoots him in the head , then walks to Teague , who is saying something , the blood blotting the snow under him . Inman studies him , picks up the Spencer carbine , turns to look where Bosie has gone , steps up onto Teague 's horse , reins the horse in , and trots it over to the prostrate Teague , LEANS OVER AND SHOOTS HIM DEAD . He turns the horse in the direction Bosie had headed . He ca n't see horse or rider , but in the stand of Hickory Trees ahead , THE GUSTS OF STEAMING BREATH betray them both . He rides slowly towards the stand of trees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Ada and Ruby walking . They hear the shots . Ada turns and starts to run through the snow , her hat flying from her head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STAND OF HICKORY TREES, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Inman 's horse is parallel to Bosie , who is deep inside the trees but also riding , slowly . It 's like a dance .</scene_description>
<character>INMAN</character>
<dialogue>Come out of there.</dialogue>
<character>BOSIE</character>
<dialogue>No, sir. Here's fine.</dialogue>
<character>INMAN</character>
<dialogue>I just have to shoot the horse from under you.</dialogue>
<character>BOSIE</character>
<dialogue>Shoot her. She's not mine. You riding Mr Teague's mare?</dialogue>
<character>INMAN</character>
<dialogue>I am.</dialogue>
<character>BOSIE</character>
<dialogue>He dead?</dialogue>
<character>INMAN</character>
<dialogue>I hope so.</dialogue>
<parenthetical>( wearily , as he brings his horse inside the trees . )</parenthetical>
<dialogue>Look, how old are you? Give me your gun and ride home, I'm done fighting. I'm sick of it.</dialogue>
<character>BOSIE</character>
<dialogue>I give you my gun you'll shoot me dead.</dialogue>
<character>INMAN</character>
<dialogue>I will not shoot you, but nor am I walking down that mountain looking over my shoulder for you.</dialogue>
<character>BOSIE</character>
<dialogue>That's what they call a conundrum. I tell you what I've got on my side.</dialogue>
<character>INMAN</character>
<dialogue>What have you got on your side?</dialogue>
<character>BOSIE</character>
<dialogue>The confidence of youth.</dialogue>
<scene_description>And in that second HE PRODUCES HIS GUN AND FIRES . INMAN HAS ALREADY FIRED THE LEMATS AND THE BOY , SHOT IN THE HEAD , FALLS . CAUGHT BY ONE STIRRUP THE HORSE BOLTING . INMAN WATCHES , STOCK STILL , THEN MAKES A COUGH , AS IF CLEARING HIS THROAT , AND A THIN MIST OF BLOOD SPRAYS FROM HIS MOUTH .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIDGE, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Ada and Ruby running . THEY REACH STOBROD , HIS HORSE STOPPED , DRINKING FROM THE CREEK . Stobrod , barely conscious , hanging halfway down its flank , held on by the ropes . Ada hurries on , taking the shotgun from Ruby , who tends to her father .</scene_description>
</scene>
<scene>
<stage_direction>EXT. A GROVE OF TREES, COLD MOUNTAIN. DAY</stage_direction>
<scene_description>Ada runs past the horse dragging the cave corpses . She hardly stops to look at the bodies , just rushes on . THE GROUND SIMPLIFIES AND SHE 'S AT THE BOTTOM OF A GROVE . A STEEP INCLINE , THE SUN LOW AND IN FRONT OF HER . SHE SEES A BRILLIANT FRAME OF BLACK TREES , AND THEN A SUDDEN FLURRY OF ANGRY CROWS FLYING TOWARDS HER . AT THE TOP OF THE HILL IS A SMALL HIEROGLYPH OF A MAN . FINALLY , THE IMAGE FROM THE SWANGER WELL EXACTLY AS SHE FIRST SAW IT . THE FIGURE RAISES A HAND , BRIEFLY , THEN PITCHES FORWARD INTO THE SNOW . She runs , her heart broken , towards the body of Inman . He 's dead , the red flag of his life ebbed , away in the snow . Ada falls to her knees and pulls him over , the snow crusted on his face , which she wipes away with great tenderness , then sits , his head in her lap , as Ruby slowly comes up the hill towards them . A VIOLIN PLAYS , quite raucous .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, BLACK COVE FARM, EASTER. DAY</stage_direction>
<scene_description>A GIRL , about five or six , with Ada 's curls , sits at the table cradling a tiny lamb , which wo n't feed from the nippled bottle she offers it . She tries again . Ada comes in suddenly , takes a knife from the kitchen , and hurries out .</scene_description>
<character>ADA</character>
<dialogue>You bring that lamb outside.</dialogue>
<scene_description>The girl gets up , carries the lamb out into the field .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD, BLACK COVE FARM. DAY</stage_direction>
<scene_description>THE SOUND OF THE FIDDLE CONTINUING , JOINED BY A BANJO , It 's a glorious spring morning , Black Cove Farm at its most luxuriant , the path edged with brilliant flowers . There are more animals in evidence . The girl emerges from the house and sees Ada in the field , surrounded by sheep . She hurries over . ADA IS EXPERTLY SKINNING A STILLBORN LAMB . The little girl is horrified .</scene_description>
<character>GRACE</character>
<dialogue>What are you doing!</dialogue>
<character>ADA</character>
<dialogue>He came out dead, love.</dialogue>
<scene_description>She has the skin off the lamb , which lies like a little pink cat on the ground . She approaches Grace , takes the live lamb from her arms , the girl resistant , frightened .</scene_description>
<character>GRACE</character>
<dialogue>Do n't kill him!</dialogue>
<character>ADA</character>
<dialogue>I'm not going to kill him. But we have to try something or else he's going to die.</dialogue>
<scene_description>She takes the skin and wraps it round Grace 's lamb . Then puts the covered lamb into the pen with the dead lamb 's mother . It goes to the sheep and , after a few false starts , starts to feed , accepted as a surrogate .</scene_description>
<character>ADA</character>
<dialogue>Is n't that a small mercy.</dialogue>
<scene_description>And A VOICE joins in with the fiddle and banjo .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK COVE FARM. DAY</stage_direction>
<scene_description>STOBROD is playing , on his repaired fiddle . His hair is now completely grey . GEORGIA is playing the banjo and singing , although . A SMALL CHILD with Georgia 's reddish coloring keeps invading his picking hand trying to join in . RUBY HAS ANOTHER GEORGIA CHILD IN HER ARMS , but is also trying to serve food . She passes Georgia and touches the top of his head . SALLY SWANGER is pouring water from a jug , Ada emerges from the kitchen , with a big pie , racing to the table .</scene_description>
<character>ADA</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Hot hot hot hot hot!</dialogue>
<scene_description>From behind her , Grace appears , carrying a jug of milk , puts it on the groaning board of the table . Grace has a full plate in front of her , picks up a fork to spear some meat .</scene_description>
<character>ADA</character>
<dialogue>Grace Inman, nobody said eat.</dialogue>
<parenthetical>( then to Stobrod . )</parenthetical>
<dialogue>Mr. Thewes.</dialogue>
<scene_description>The music stops . And there 's quiet except for the sound of animals : lowing , barking , braying , bleating .</scene_description>
<character>ADA</character>
<dialogue>For good friends, good food, good family : for all our blessings - Oh Lord we thank thee. Amen.</dialogue>
<character>ALL</character>
<dialogue>Amen!</dialogue>
<scene_description>And they eat . THE END</scene_description>
</scene>
</script> | When North Carolina secedes from the Union on May 20, 1861, the young men of Cold Mountain hurry to enlist in the Confederate States Army. Among them is W.P. Inman, a carpenter who has fallen in love with Ada Monroe, a preacher's daughter who had come from Charleston, South Carolina to care for her ailing father. Their whirlwind courtship is interrupted by the war, but they share their first kiss the day Inman leaves for the army. Before parting ways, Ada promises Inman that she will wait for him. Three years later, Inman fights in the Battle of the Crater and survives; he then comforts a dying acquaintance from Cold Mountain, while fellow soldier Stobrod Thewes plays a tune on his fiddle. Inman is later wounded in a skirmish; as he lies in a hospital near death, a nurse reads him a letter from Ada, who pleads for Inman to come home to her. Inman recovers and deserts, embarking on a long trek back to Cold Mountain. Inman encounters a corrupt preacher named Veasey, who is about to drown his pregnant slave lover. Inman stops Veasey, and leaves him tied up to face the town's justice. Exiled from his parish, Veasey later joins Inman on his journey. They help a young man named Junior dispose of a bull cadaver, and then join him and his sordid family for dinner. Junior leaves and returns with the Confederate Home Guard, who take Inman and Veasey away along with other deserters. During a skirmish with Union cavalry, Veasey and the group are killed while Inman is left for dead; an elderly hermit living in the woods finds Inman and nurses him back to health. Inman eventually meets a grieving young widow named Sara and her infant child Ethan, and stays the night at her cabin. The next morning, three Union soldiers arrive demanding food; they take Sara and Ethan hostage, forcing Inman to kill two of them, while an enraged Sara fatally shoots the last one trying to flee. Back in Cold Mountain, Ada's father has died, leaving her with no money and few means to run their property's farm in Black Cove. She survives on the kindness of her neighbors, particularly Esco and Sally Swanger, who eventually send for Ruby Thewes—Stobrod's daughter—to help. Ruby moves in and together they bring the farm to working order, becoming close friends. Meanwhile, Ada writes constant letters to Inman in hopes of meeting him again and renewing their romance. Ada has several tense encounters with Captain Teague, the leader of the local Home Guard who covets Ada and her property, and whose grandfather had once owned much of Cold Mountain. One day, Teague and his men kill Esco, and then torture Sally to coax her deserter sons out of hiding and kill them as well. Ada and Ruby rescue Sally, who is traumatized and rendered mute. The women celebrate Christmas with Stobrod, who has deserted and arrived to Cold Mountain with traveling companions Pangle, a simple-minded banjo player, and Georgia, a mandolin player to whom Ruby is attracted. While camping in the woods one night, Stobrod and Pangle are cornered by Teague and the Guard while Georgia watches from hiding; Pangle unintentionally reveals the musicians are deserters, and the Guard shoot Pangle and Stobrod. Georgia escapes and informs Ruby and Ada, who return to the scene to find Pangle dead and Stobrod badly wounded. The women remove a bullet from Stobrod's back, and they take shelter in an abandoned Cherokee camp. Ada goes hunting for food and is reunited with Inman, who has finally returned to Cold Mountain. They return to the camp, and spend the night consummating their love for one another. Leaving Inman and Stobrod to hide at the camp, Ada and Ruby are surrounded by Teague and his men, having captured and tortured Georgia for their whereabouts. Inman arrives and kills Teague and most of his band in a gunfight. He then chases Teague's lieutenant, Bosie, and exchanges fast draws; Bosie is killed, but Inman is mortally wounded. Ada finds and comforts Inman, who dies in her arms. Years later, it is revealed that Ada's night with Inman had produced a daughter, Grace Inman, and that Ruby has married Georgia bearing two children. With Stobrod and Sally, the family celebrates Easter together at Black Cove. |
Chronicle_2012 | tt1706593 | <script>
<scene>
<character>CHRONICLE</character>
<dialogue>Written by</dialogue>
<dialogue>Max Landis</dialogue>
<scene_description>Based on a story by Josh Trank and Max Landis FROM ANDREW'S FIRST CAMERA. CUT - to indicate time lapses within a scene</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>The room is dingy. Unkempt. The camera sits on the bed, on its side, facing the door. We can hear someone moving around off screen. The door handle clicks; someone's trying it. Then nothing. Then, suddenly, loud pounding on the door. Andrew's voice is scratchy and prone to cracking. He speaks with a rushed mix of fear and anxiety.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>What do you want, I'm getting ready for school-</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>Why is the door locked, unlock this fucking door right now.</dialogue>
<scene_description>The bed stirs as Andrew sits down.</scene_description>
<character>MR. DETMER (O.S.)</character>
<dialogue>I said unlock this door. UNLOCK THE DOOR. OPEN THE DOOR, NOW.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You're drunk-</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>Listen, you don't tell me- IF I'M DRUNK, OR-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>It's seven thirty. In the AM. You're drunk, dad, that's crazy-</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>What're you doing in there.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm filming this.</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>What?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I bought a camera. I'm filming all your shit from now on.</dialogue>
<scene_description>There's a beat, and then we can hear Mr. Detmer moving away from the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - SANDRA DETMER'S ROOM</stage_direction>
<scene_description>Equally dingy. SANDRA DETMER, gaunt and sickly, is sat up in bed. Andrew's filming her. She's clearly very ill, speaking in a weak rasp. Andrew now holds the camera.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Mom? Will you say hi to the camera?</dialogue>
<character>SANDRA DETMER</character>
<dialogue>Who's the audience?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>The millions of people watching at home.</dialogue>
<character>SANDRA DETMER</character>
<dialogue>Hello world. Do I look awful?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, you look great.</dialogue>
<character>SANDRA DETMER</character>
<dialogue>I've been looking a little better, yeah?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oh yeah, definitely.</dialogue>
<character>SANDRA DETMER</character>
<dialogue>It's a nice camera.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLARK STREET - MORNING</stage_direction>
<scene_description>Clark Street is a slummy mess; dead lawns, potholes in the street in a downtrodden suburb of Portland Oregon. Andrew carries the camera loosely at his side before getting into the passenger side of a car. In the driver's seat is MATT Garrety, 17, with messy hair. He's disaffected, and more than a little cynical; the reasoned demeanor of an unpretentious high-school intellectual.</scene_description>
<character>MATT</character>
<dialogue>I got you egg salad.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oh, yeah, thanks.</dialogue>
<scene_description>CUT.: They're driving.</scene_description>
<character>MATT</character>
<dialogue>So...Should I ask about the camera, or-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm filming things now. I'm filming everything.</dialogue>
<character>MATT</character>
<dialogue>You're filming everything.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>For my mom. I'm trying to get custody of her from my dad. She's getting worse, and he's not...helping, and this way, in case something goes down-</dialogue>
<character>MATT</character>
<dialogue>He gets violent or whatever-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Right, it'd be evidence.</dialogue>
<character>MATT</character>
<dialogue>Evidence. But you're not with him right now, but you're filming this.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Well, yeah, to add context.</dialogue>
<character>MATT</character>
<dialogue>Context. Andrew, you are...a weird dude.</dialogue>
<scene_description>CUT.:</scene_description>
<character>MATT</character>
<dialogue>Did you ever read any Auguste Comte?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What is that?</dialogue>
<character>MATT</character>
<dialogue>He's this philosopher I'm reading.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>For school?</dialogue>
<character>MATT</character>
<dialogue>He's just like- his whole thing is about being positive and like, taking up for yourself. You should read him, maybe, it might make you feel- you know, improve your outlook.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah, right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BENJAMIN FRANKLIN HIGH - PARKING LOT</stage_direction>
<scene_description>Andrew's getting out of the car, but then ducks back in to see Matt lighting a pipe.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Are you not coming in?</dialogue>
<character>MATT</character>
<dialogue>I'm gonna blaze a little first, yeah?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You're going to miss first period-</dialogue>
<scene_description>Matt turns on the radio, loud.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Okay, okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENJAMIN FRANKLIN HIGH - HALLWAY</stage_direction>
<scene_description>Andrew's filming himself putting stuff in his locker, and does a quick sweep of the crowded school hallway.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>This is my school, I guess. This is the hallway-</dialogue>
<character>GIRL</character>
<dialogue>Vote "Kaz!"</dialogue>
<scene_description>A girl suddenly approaches, awkwardly handing Andrew a flyer.</scene_description>
<character>GIRL</character>
<dialogue>Vote Steve Kazinsky for Senior class president!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...yeah-</dialogue>
<character>GIRL</character>
<dialogue>Every vote counts.</dialogue>
<scene_description>Andrew films the flyer for a moment, brightly colored and featuring a picture of a smiling Steve Kazinsky, before something yanks the camera away. For the first time we see ANDREW Detmer, 17, pale, awkward and gangly, with long, stringy hair and thin, scraggly beard. He looks anxious, if not afraid.</scene_description>
<character>BRYCE (O.S.)</character>
<dialogue>Yo this camera is a piece of shit. It's like from 2004 or some shit.</dialogue>
<scene_description>WAYNE, 17, big and hateable in his Ed Hardy T-shirt, appears wrapping his arm roughly around Andrew.</scene_description>
<character>WAYNE</character>
<dialogue>Hey, how do I look?</dialogue>
<parenthetical>(starts muscle posing)</parenthetical>
<dialogue>Like this? Ooh, that's good. Like this? That's sexy, right?</dialogue>
<character>ANDREW</character>
<dialogue>Bryce, gimme my camera back-</dialogue>
<character>BRYCE (O.S.)</character>
<dialogue>Fuck you Andrew, shut up. This camera's a piece of shit.</dialogue>
<character>WAYNE</character>
<dialogue>You got me, let's go.</dialogue>
<scene_description>Wayne turns and knocks everything out of Andrew's locker. Bryce starts to walk away with the camera.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Hey, Bryce, come on, give it back-</dialogue>
<scene_description>The camera is set down on the ground, and then abruptly kicked back to Andrew. He picks it up, checking on it.</scene_description>
<character>ANDREW</character>
<parenthetical>(quietly, sad)</parenthetical>
<dialogue>Oh come on...</dialogue>
</scene>
<scene>
<stage_direction>EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD</stage_direction>
<scene_description>A view from the bleachers as the soccer team practices. The cheerleaders are practicing too. We cut: a different view, lower.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>This is where I eat lunch, out here on the bleachers.</dialogue>
<character>CUT.</character>
<dialogue>LATER.</dialogue>
<scene_description>The camera's next to Andrew as he's eating, down on the bench. A CHEERLEADER approaches.</scene_description>
<character>CHEERLEADER</character>
<dialogue>Hi.</dialogue>
<character>ANDREW</character>
<dialogue>Hey-</dialogue>
<character>CHEERLEADER</character>
<dialogue>Could you not videotape us, please? It's really fucking creepy.</dialogue>
<character>ANDREW</character>
<dialogue>I wasn't, videotaping you, so much as I was just-</dialogue>
<character>CHEERLEADER</character>
<dialogue>Just don't videotape-</dialogue>
<character>ANDREW</character>
<dialogue>-you know, filming what I do during the-</dialogue>
<character>CHEERLEADER</character>
<dialogue>Don't videotape us, okay, or we'll call security. We see you watching us, we're not stupid, and it's sketchy, so back off.</dialogue>
<character>ANDREW</character>
<dialogue>...okay.</dialogue>
<character>CHEERLEADER</character>
<dialogue>Is it on right now?</dialogue>
<character>ANDREW</character>
<dialogue>Yes.</dialogue>
<character>CHEERLEADER</character>
<dialogue>Turn it off.</dialogue>
<scene_description>Andrew turns off the camera.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR</stage_direction>
<scene_description>Matt's driving. Andrew's filming from the passenger seat.</scene_description>
<character>MATT</character>
<dialogue>There's a party tonight. A barn party at Haven Hills.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I thought Haven Hills was closed.</dialogue>
<character>MATT</character>
<dialogue>It's abandoned, yeah. That's why it's a good place for a party. Two kegs.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Why are you telling me?</dialogue>
<character>MATT</character>
<dialogue>You wanna go? I don't wanna go alone.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...Nah...</dialogue>
<character>MATT</character>
<dialogue>When was the last time you went to a party?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't like parties.</dialogue>
<character>MATT</character>
<dialogue>You're a senior. Just come, you'll have fun.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'll think about it.</dialogue>
<character>MATT</character>
<dialogue>Okay, right. Andrew, can I give you like, a pro tip?</dialogue>
<character>ANDREW</character>
<dialogue>Yeah?</dialogue>
<character>MATT</character>
<dialogue>Keep the camera at home. It's weird.</dialogue>
<character>ANDREW</character>
<dialogue>It has a purpose-</dialogue>
<character>MATT</character>
<dialogue>I'm trying to be a good cousin, here. This is me being your friend, yeah? Okay?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DETMER RESIDENCE</stage_direction>
<scene_description>Andrew is filming as he walks along towards his house.</scene_description>
<character>HOWARD (O.S.)</character>
<dialogue>Hey, what you doing?</dialogue>
<character>COSTLY (O.S.)</character>
<dialogue>Hey nice camera bitch, gimme your fuckin camera!</dialogue>
<scene_description>The camera pans up to reveal HOWARD and COSTLY, moron hoodlums, along with several friends, over by a car on the other side of the road, drinking forties.</scene_description>
<character>HOWARD</character>
<dialogue>Hey don't film me nigga, don't film me.</dialogue>
<character>COSTLY</character>
<dialogue>Hey fuck off, you better run to your house, bitch. Run to your house and lock the door.</dialogue>
<scene_description>Andrew just stands there filming them. Howard hurls his forty at Andrew, who doesn't move; it shatters very near to him.</scene_description>
<character>HOWARD</character>
<dialogue>The fuck, fuck you faggot-</dialogue>
<scene_description>Howard quickly starts crossing the street, and Andrew turns and runs back towards his house.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>The camera lays on Andrew's bed again, filming the room. Andrew is on his laptop at a desk, working.</scene_description>
<character>ANDREW</character>
<dialogue>I'm uploading what I shot today...you have to keep a back-up, you know.</dialogue>
<scene_description>The door suddenly opens, revealing MR. Adrian DETMER, 40s, Andrew's father. He doesn't look as white trash as you'd expect. Andrew looks up at him, and then goes back to working. Detmer goes over to Andrew and slaps him out of his chair.</scene_description>
<character>MR. DETMER</character>
<dialogue>When I say open this door, you open this fucking door.</dialogue>
<scene_description>Mr. Detmer leaves, slamming the door on his way out. Andrew sits on the floor in silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAVEN HILLS FARM - NIGHT</stage_direction>
<scene_description>We're in Matt's car, driving on a dark dirt road, past an old fence and rusted out farm equipment.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Are you sure it's here?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Are you sure it's here, this all looks closed-</dialogue>
<character>MATT</character>
<dialogue>It's here, calm down. Listen.</dialogue>
<scene_description>We can faintly hear party music.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Oh yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAVEN HILLS FARM - BARN</stage_direction>
<scene_description>Cars are parked outside a big abandoned barn as Matt and Andrew approach. We see Christmas lights strung up, and there's clearly a party going on inside the barn. Kids are milling about outside, too, drinking, fucking around.</scene_description>
<character>MATT</character>
<dialogue>Hey dude, don't follow me around all night.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What?</dialogue>
<character>MATT</character>
<dialogue>Don't follow me around all night, okay?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What am I supposed to do? I thought you said you didn't want to go alone-</dialogue>
<character>MATT</character>
<dialogue>Talk to people? Have a beer, I don't know.</dialogue>
<scene_description>MONTAGED:</scene_description>
<character>FOOTAGE...</character>
<dialogue>Andrew skulks around the party, which is clearly in full swing. Lots of bad footage of people talking, drinking, girls dancing sexy, guys joking around. Andrew is silent and detached, just filming. He sees a girl, CASEY Letter, 16, filming as well. They shout over the music.</dialogue>
<character>CASEY</character>
<dialogue>Hey, what are you filming for?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oh, I don't- just filming.</dialogue>
<character>CASEY</character>
<dialogue>What? I'm filming for my blog!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What?</dialogue>
<character>CASEY</character>
<dialogue>I have a video blog! Why are you filming?</dialogue>
<scene_description>Andrew simply backs away. More footage of the party. AUSTIN, 18, in an Ed Hardy shirt, comes out of nowhere. He's clearly a little drunk.</scene_description>
<character>AUSTIN</character>
<dialogue>Hey, were you filming my girlfriend? Yes or no, were you filming my girlfriend?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, I wasn't filming anyone specific, just filming the party.</dialogue>
<character>AUSTIN</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Okay, good, because I don't wanna have to beat your ass.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Okay.</dialogue>
<character>AUSTIN</character>
<dialogue>Don't talk back to me. Don't get smart, okay, I'm being nice here. I'm being nice to you.</dialogue>
<character>AUSTIN</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Say okay.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Okay-</dialogue>
<character>AUSTIN</character>
<dialogue>Cause I know you were filming my girlfriend dancing. I should break your fucking nose, you know that? You know that, I should beat your ass right now, but I'm trying to be nice. Fuck you.</dialogue>
<scene_description>Austin abruptly throws his beer on Andrew, getting some on the camera, and then spits on him. Andrew backs up, shocked, lowering the camera.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAVEN HILLS FARM - EDGE OF THE WOODS</stage_direction>
<scene_description>Andrew's out alone in a field now, furiously cleaning the lens of the camera, obstructing our view. Cut to a few moments later; the camera now resting in his lap or on the ground. We can see the barn, the party still going on. After a few moments, we can faintly hear Andrew crying.</scene_description>
<character>STEVE (O.S.)</character>
<parenthetical>(loud, sudden)</parenthetical>
<dialogue>Are you Andrew?</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(startled)</parenthetical>
<dialogue>What-</dialogue>
<character>STEVE</character>
<dialogue>Are you Andrew-with-the-camera?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Matt's cousin, Matt said you had a camera?</dialogue>
<scene_description>The camera is picked up to reveal STEVE "Kaz" Kazinksy, 17, approachably handsome and in great shape, with an easygoing, instantly likeable charisma. He's a little drunk and giddy.</scene_description>
<character>STEVE</character>
<dialogue>Dude, are you okay?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm Andrew.</dialogue>
<character>STEVE</character>
<dialogue>I'm Steve Kazinsky-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, I know.</dialogue>
<character>STEVE</character>
<dialogue>...yeah?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Everybody knows who you are.</dialogue>
<character>STEVE</character>
<dialogue>Haha, yes, that is true. Listen, come on, bring the camera.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What? I don't-</dialogue>
<character>STEVE</character>
<dialogue>Come on.</dialogue>
<scene_description>Steve starts off, but Andrew hesitates.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I don't-</dialogue>
<character>STEVE</character>
<dialogue>Dude, come on, we found something.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAVEN HILLS FARM - FIELD</stage_direction>
<scene_description>Steve is walking ahead in the field of tall grass, toward woods. It's rather dark.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Look, I don't think we're supposed to-</dialogue>
<character>STEVE</character>
<dialogue>Is there a light on that? On your camera?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oh, I don't- Hm, I don't know-</dialogue>
<scene_description>The camera goes down for a moment while Andrew futzes with it. The light clicks on, illuminating Steve.</scene_description>
<character>STEVE</character>
<dialogue>Awesome.</dialogue>
<scene_description>CUT.: They've reached the woods, and Steve is climbing over the remains of a fence. The light bounces around wildly.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>What were you guys doing out here? This is way out-</dialogue>
<character>STEVE</character>
<dialogue>Me and your cousin were blazing a little.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Matt's out here?</dialogue>
<character>STEVE</character>
<dialogue>A bunch of people were out here, but I think they've all gone back, now, cause we're like, obsessed with the thing.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>The what?</dialogue>
<scene_description>CUT.: They're in the woods now, thick and dizzying. It's near silent but their feet crushing the Fall leaves on the ground. Steve walks out ahead.</scene_description>
<character>STEVE</character>
<dialogue>Andrew Detmer, that's right. I remember you from homeroom, Freshman year.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You remember that?</dialogue>
<character>STEVE</character>
<dialogue>Yeah, I have a memory for faces. I'm gonna go into politics, which is ironic because I'm soooo fucking high right now- probably shouldn't be letting you videotape this-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm gonna be so rich when you're president, you have no idea-</dialogue>
<character>STEVE</character>
<dialogue>Yeah, video footage of me luring you into the woods for gay sex- wait, hey- HEY, MATT, IS THIS IT?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Down here!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Matt?</dialogue>
<scene_description>The camera turns to reveal Matt, standing next to some kind of craggy hole in the ground, at the base of a hill in the woods. It's big, but the darkness beyond is impenetrable to the camera. It looks like a big black spot.</scene_description>
<character>STEVE</character>
<dialogue>There we go. There it is.</dialogue>
<scene_description>CUT.: Andrew and Steve are now down with Matt by the hole. Andrew is keeping the camera fixed squarely on the murky blackness, nervous.</scene_description>
<character>STEVE (V.O.)</character>
<dialogue>Where is everybody?</dialogue>
<character>MATT</character>
<dialogue>They all left.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>We're not supposed to be out here.</dialogue>
<character>STEVE</character>
<dialogue>Is it still making the sound?</dialogue>
<character>MATT</character>
<dialogue>Yeah. Did you tell Andrew?</dialogue>
<character>STEVE</character>
<dialogue>Oh, Andrew, it's making a sound-</dialogue>
<character>MATT</character>
<dialogue>Here, listen.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Guys-</dialogue>
<character>STEVE</character>
<dialogue>You've got to get really close to</dialogue>
<dialogue>hear it.</dialogue>
<scene_description>Andrew takes a tentative step towards the hole.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Guys, just don't like- don't push me, or do anything like that-</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>You've got to go closer. Like almost inside it.</dialogue>
<scene_description>There's a beat.</scene_description>
<character>MATT</character>
<dialogue>We're not going to push you, we just wanna get it on tape.</dialogue>
<scene_description>Another pause. Andrew moves towards the hole. Even with Nightvision, it's completely dark in there. A beat.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Do you hear it?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...It's like, whispering?</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Listen.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Singing?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Ooooh shiiiiit-</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>That is so fucking creepy!</dialogue>
<scene_description>Andrew turns the camera back to Matt and Steve.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>What is that?</dialogue>
<character>STEVE</character>
<dialogue>We didn't dig the hole, man.</dialogue>
<character>MATT</character>
<dialogue>Is the sound on the camera?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't know, probably...I mean, it's- it's kinda loud, right?</dialogue>
<scene_description>Matt looks to Steve.</scene_description>
<character>STEVE</character>
<dialogue>Do you guys wanna go in and have a look, or what-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, I don't- I mean, I won't do th-</dialogue>
<character>STEVE</character>
<dialogue>Hold your nose.</dialogue>
<scene_description>Steve suddenly goes right into the hole, vanishing into the darkness.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Hey, wait-</dialogue>
<character>STEVE (FROM THE DARK)</character>
<parenthetical>(faintly)</parenthetical>
<dialogue>Come on!</dialogue>
<character>MATT</character>
<dialogue>Steve, come on, we don't know if it's stable in there- It's probably just the wind, we should-</dialogue>
<scene_description>Andrew abruptly goes into the cave.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>Andrew, hey, come on! Don't...shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE HOLE</stage_direction>
<scene_description>It's almost pitch black, but we can hear Andrew breathing. It's claustrophobic in here. Eerily quiet. The camera searches around, but the walls are tight in here, and low.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Hello-</dialogue>
<character>STEVE</character>
<dialogue>(suddenly appearing)</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Aah!</dialogue>
<scene_description>I'm right here.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Does it go down much deeper, or-</dialogue>
<character>STEVE</character>
<dialogue>Yeah, really far. It's not a cave, it's like a tunnel- do you hear how loud that's getting?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Do you think it could be like wind, or-</dialogue>
<character>STEVE</character>
<dialogue>Come on, man. Come on.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Then what do you think it is?</dialogue>
<character>STEVE</character>
<dialogue>Huh. I dunno. I don't believe in ghosts.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Who said anything about ghosts.</dialogue>
<scene_description>Steve laughs, and turns, going back into the darkness. Andrew follows. CUT.: Matt's face is suddenly in front of the camera.</scene_description>
<character>MATT</character>
<dialogue>-shouldn't have come in here.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Steve's up ahead-</dialogue>
<character>MATT</character>
<dialogue>At first I thought this was a solutional cave, but now...I dunno, it's like a lava tube, or something.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't know what you're talking about.</dialogue>
<character>MATT</character>
<dialogue>Look at the walls. Look at how smooth they are. It's just straight shot down, I mean, we must've already gone forty or fifty</dialogue>
<dialogue>feet-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Don't talk about it, you're making me nervous.</dialogue>
<character>MATT</character>
<dialogue>You ever hear of Plato's allegory of the cave?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No.</dialogue>
<character>MATT</character>
<dialogue>Nevermind.</dialogue>
<scene_description>CUT.: Walking. Darkness. The cave is even tighter now. The light flickers, some kind of electrical disturbance, then goes out completely We hear Andrew curse, fumbling with it, and the nightvision mode comes on. CUT.: The nightvision is scrambling badly. All the forms are distorted and then-</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Can you believe this, this is NUTS-</dialogue>
<scene_description>The nightvision is turned off, revealing Matt. They've come into a larger chamber in the cave, one somehow lit from within; the boys are bathed in a softly pulsing turquoise glow. They speak loudly, clearly talking over something we can't hear.</scene_description>
<character>MATT</character>
<dialogue>Is that, is that showing up on the camera?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't wanna film it, it's messing with the camera-</dialogue>
<scene_description>Matt forcibly turns the camera, to reveal Steve standing next to some kind of massive crystalline rock structure growing from, or maybe embedded in, the wall. Around it, and him, float wispy little clouds of light, turquoise and beautiful. Steve is clearly entranced, sweeping his hands through the light.</scene_description>
<character>STEVE</character>
<dialogue>Touch one!</dialogue>
<scene_description>We see Matt, now also surrounded by the little aurora borealis like clouds, touch one; it comes apart in a silent little explosion of light, beautiful.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Guys maybe...maybe we shouldn't...</dialogue>
<scene_description>A light cloud passes in front of Andrew, and we sees his hand to extend to touch it. The subsequent little light burst badly warps the camera, clearly permanent damage. CUT.: Andrew is now very near to the crystalline structure; viewed up close, it's almost arachnid, organic somehow. The light clouds have turned yellow. Matt is practically inside the structure, pressing it with his palms.</scene_description>
<character>MATT</character>
<dialogue>-changes color, see? It must be reacting to the heat, some kind of exothermic reaction-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>WHAT? I can't hear you over the- you know-</dialogue>
<character>STEVE</character>
<dialogue>Make it change again! This is awesome!</dialogue>
<scene_description>Matt presses with his palms. There's a low sustained hiss as the light clouds turn an angry shade of red. A stream of them is released from beneath the structure. The camera jerks suddenly, revealing Steve, who's clutching his ears.</scene_description>
<character>STEVE</character>
<dialogue>AGHHHHH!</dialogue>
<scene_description>Blood has begun to rapidly pour out of his eyes, ears, mouth and nose, and he buckles forwards; the camera spins wildly and we see Matt seemingly FLUNG out of the crystalline structure. It pulses, and seems to rapidly blossom and spread apart, revealing a blinding light within which EXPLODES OUTWARD; we can suddenly hear an OVERWHELMING CHOIR OF VOICES, and the camera sent rocketing backwards, flipping backwards up the tunnel-</scene_description>
<character>CRACK.</character>
<dialogue>CODE.</dialogue>
<character>DIGITAL</character>
<dialogue>BLACK SCREEN.</dialogue>
<scene_description>HOLD ON BLACK.: FROM ANDREW'S SECOND CAMERA.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MATT'S BACKYARD - AFTERNOON</stage_direction>
<scene_description>The camera turns on; from the quality of the picture, it's immediately evident that this is a newer, better camera. It's on a tripod, and Matt stands across a well manicured backyard; his hair is a little different, time has passed.</scene_description>
<character>MATT</character>
<dialogue>Ready?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Rolling, yeah.</dialogue>
<character>MATT</character>
<dialogue>Okay, ball test. Take one.</dialogue>
<scene_description>A baseball comes flying in from behind the camera, nailing Matt in the face; he drops like a rock.</scene_description>
<character>MATT</character>
<dialogue>OW FUCK! WHAT THE FUCK STEVE!</dialogue>
<character>UNDERHAND!</character>
<dialogue>Steve comes in from off camera to help Matt, laughing; we can hear Andrew laughing behind the camera, too.</dialogue>
<character>STEVE</character>
<dialogue>I'm sorry, oh shit, I'm sorry-</dialogue>
<scene_description>CUT.: Now it's Steve who stands on the yard.</scene_description>
<character>STEVE</character>
<dialogue>Go.</dialogue>
<scene_description>A baseball comes in from off camera, slower. It comes down towards Steve, but at the last second makes a bizarre, impossible course correction, FLIES UP AND HITS STEVE IN THE FACE.</scene_description>
<character>AGH!</character>
<dialogue>Matt rushes on, doing a victory lap, one hand holding an ice-</dialogue>
<character>HEY, MATT, NOT COOL!</character>
<dialogue>pack to his face. Again, we hear Andrew laughing.</dialogue>
<character>MATT</character>
<scene_description>CUT.: Andrew's out across the yard. He looks a little better; he's gotten rid of the ridiculous nerd beard, and his hair is a little better kept. He nods. In flies the baseball. It abruptly stops in the air, a foot and a half from Andrew's face. Steve and Matt let out a cheer, and the camera is yanked off the tripod, taken to show a closer view of the impossibly suspended baseball and Andrew. Andrew smiles, and points to the suspended ball. A trickle of blood comes out of his nose.</scene_description>
<character>ANDREW</character>
<dialogue>Ah, shit.</dialogue>
<scene_description>CUT.: The camera's on a tripod up on the back porch, filming Andrew, Steve and Matt standing a triangle. They are playing catch...no hands. The ball simply flies from guy to guy. They drop it a few times in some cuts, but shout encouragement, and are clearly having a good time. Finally, they get the ball going EXTREMELY fast. Matt looks up.</scene_description>
<character>MATT</character>
<dialogue>Is-</dialogue>
<scene_description>Matt gets nailed in the balls, and drops as Steve and Andrew rush to him, laughing.</scene_description>
<character>STEVE</character>
<dialogue>`In the- penis- the penis-</dialogue>
<character>MATT</character>
<dialogue>I thought I heard my dad...UGHHH WHY ME AGAAAAIN!?</dialogue>
</scene>
<scene>
<stage_direction>INT. MATT'S KITCHEN</stage_direction>
<scene_description>Steve is very intently using his newfound powers to make a peanut butter and jelly sandwich, knife shakily moving over bread. The camera is set down on the counter, Matt and Andrew watching.</scene_description>
<character>ANDREW</character>
<dialogue>The trick is to pretend like it's on a plate. You get it on the plate and then you wrap the plate around it, and you can move it however you want.</dialogue>
<character>STEVE</character>
<dialogue>Mhm.</dialogue>
<character>MATT</character>
<dialogue>I've been pretending I was like, holding it in a fist, like a floating hand.</dialogue>
<character>ANDREW</character>
<dialogue>Yeah? Plate's easier for me.</dialogue>
<character>STEVE</character>
<dialogue>Guys, check it out.</dialogue>
<scene_description>Steve has a glob of jelly and a glob of peanut butter floating freely. They slap together and then down onto the bread, which slaps closed.</scene_description>
<character>STEVE</character>
<dialogue>Ha!</dialogue>
<parenthetical>(notices his bloody nose)</parenthetical>
<dialogue>Shit, shit-</dialogue>
</scene>
<scene>
<stage_direction>INT. MATT'S ROOM - LATER</stage_direction>
<scene_description>Matt's room is covered in band posters, kind of a mess. Matt's sitting on the floor by a desk, slowly assembling a LEGO set with his telekinetic abilities. Andrew's filming from the bed, where he's laying down.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Try to imagine that your squeezing the entire piece in your hand.</dialogue>
<character>MATT</character>
<dialogue>That's what I'm doing, it's just, it's hard. You're better at this than me, you do it.</dialogue>
<character>ANDREW</character>
<parenthetical>(mocking)</parenthetical>
<dialogue>Really?</dialogue>
<scene_description>Andrew points at the lego set, and it flies together.</scene_description>
<character>MATT</character>
<parenthetical>(wowed, laughing)</parenthetical>
<dialogue>Dude, holy shit!</dialogue>
<scene_description>CUT.: Andrew and Matt are laughing as Steve enters, holding out his cell phone.</scene_description>
<character>STEVE</character>
<dialogue>Guys, listen, listen. Samantha.</dialogue>
<scene_description>Steve puts his voice-mail on speaker. SAMANTHA Pezon, 16, sounds a bit frustrated.</scene_description>
<character>SAMANTHA (ON PHONE)</character>
<dialogue>I know you're over at that guy Matt's house right now, okay, cause they said you didn't show up for soccer practice, but you said the only reason you couldn't come see Bound By Love with me was because of soccer practice, so...You know, I just, I don't know what to think. I feel like we never hang out anymore, you've just been hanging out with those two guys for the last like three weeks, and I...ugh, call me back.</dialogue>
<character>STEVE</character>
<dialogue>What would you suggest, as like, a course of action for me, here?</dialogue>
<character>MATT</character>
<dialogue>Why are you asking US for advice on girls?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Because we're his mistress.</dialogue>
<scene_description>Steve laughs.</scene_description>
</scene>
<scene>
<stage_direction>INT. STEVE'S CAR - NIGHT</stage_direction>
<scene_description>Steve is driving Andrew home.</scene_description>
<character>STEVE</character>
<dialogue>-new camera's working out for you, that's good.</dialogue>
<character>CUT.</character>
<dialogue>STEVE</dialogue>
<scene_description>I have to admit, though, I don't understand the filming thing.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I told you, it's just my thing for right now.</dialogue>
<character>STEVE</character>
<dialogue>You don't feel like it's a little weird? Like it puts a barrier between you and everything?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Maybe I want a barrier.</dialogue>
<character>STEVE</character>
<dialogue>Okay. I respect that.</dialogue>
<scene_description>CUT.:</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>My dad is actually a fireman, or was, I don't know. He got injured like two years ago, and now they just pay him out of, like, insurance. He doesn't do anything, I mean he goes out during the day, but I don't know where. He drinks a lot.</dialogue>
<character>STEVE</character>
<dialogue>So how do you pay for your shit?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I do computer repair, and stuff. I actually make a lot of money...</dialogue>
<character>STEVE</character>
<dialogue>What about your mom.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>My mom has spinal meningitis, she's- she can't work or anything, and the insurance doesn't cover all of her medicine, so a lot of my money has to go into that. I figure if I get enough on camera, maybe I can, I dunno, get custody of her or something.</dialogue>
<scene_description>Steve mulls this over. CUT.:</scene_description>
<character>STEVE</character>
<dialogue>I've actually been having some problems with my parents, too.</dialogue>
<character>ANDREW (V.O.)</character>
<dialogue>Yeah?</dialogue>
<character>STEVE</character>
<dialogue>Nothing like yours, though. Not- Never mind.</dialogue>
<scene_description>There's a long beat.</scene_description>
<character>STEVE</character>
<dialogue>They've just been fighting a lot. I think my mom is cheating on my dad.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...That's intense.</dialogue>
<character>STEVE</character>
<dialogue>Yeah. I know. I'm actually, yeah, I'm sure my mom is cheating on my dad.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>How-</dialogue>
<character>STEVE</character>
<dialogue>I just, you know, I saw some stuff. It's weird, you don't think about your parents as like...people, or whatever. I don't know.</dialogue>
<scene_description>The two guys drive in silence.</scene_description>
<character>STEVE</character>
<dialogue>Don't tell anybody about that-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Haha no of course, no way.</dialogue>
<character>STEVE</character>
<dialogue>Good.</dialogue>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>It's dark. We can hear shouting from elsewhere in the house; "useless bitch," "carry your ass long enough," etc. Andrew reaches over and turns off the camera.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD - BLEACHERS</stage_direction>
<scene_description>Matt, Andrew and Steve are eating lunch on the bleachers.</scene_description>
<character>MATT</character>
<dialogue>See last night, alone, I got my whole bed off the ground. No nosebleed.</dialogue>
<character>STEVE</character>
<dialogue>Yeah, I was doing weights, too.</dialogue>
<character>MATT</character>
<dialogue>Weights, like-</dialogue>
<character>STEVE</character>
<dialogue>Free-weights, a barbell. I got up to two hundred pounds before I bled.</dialogue>
<character>MATT</character>
<dialogue>So it's, yeah, this is my theory- it's like a vagina. Like it's elastic, but if you stretch it too far too quick it'll tear-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Ew-</dialogue>
<character>MATT</character>
<dialogue>And that's why we're getting better. We're loosening up.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Couldn't that metaphor just be for any muscle in the human body, like working out or-</dialogue>
<character>STEVE</character>
<dialogue>No, I like braingina. Braingina is the shiiiiit.</dialogue>
<scene_description>Steve floats up a bunch of chips from his bag, and then rapid fires them into his mouth.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I think it's time we took this out of the backyard.</dialogue>
<scene_description>Matt and Steve look confused.</scene_description>
</scene>
<scene>
<stage_direction>INT. STEVE'S CAR</stage_direction>
<scene_description>Steve is driving, Matt's shotgun, Andrew's filming from the back.</scene_description>
<character>STEVE</character>
<dialogue>If anyone criticizes you, just call them a hater. It's like calling someone a racist, they'll just drop whatever they're complaining about and be like "I'M NOT A HATER." Nobody wants to be a hater.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAL-MART</stage_direction>
<scene_description>Matt and Steve are walking in, Andrew lagging behind filming.</scene_description>
<character>STEVE</character>
<dialogue>Just stay back a little ways, yeah-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I got it.</dialogue>
</scene>
<scene>
<stage_direction>INT. WAL-MART</stage_direction>
<scene_description>The guys are trying to stay out of sight, looking down an aisle where shoppers stand.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>That girl, with the cart.</dialogue>
<scene_description>A frumpy woman with a shopping cart suddenly starts pulling on the cart. It suddenly breaks away from her, and goes careening down the aisle by itself, her chasing after it. We can hear the guys cracking up, trying to stay quiet.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>She's chasing- she's chasing it-</dialogue>
<scene_description>CUT.: Toy aisle. A toddler is looking at teddy bears.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I got this.</dialogue>
<scene_description>One of the teddy bears suddenly comes to life, waving at the little boy. The little boy is wowed. The teddy bear suddenly takes off and flies through the air. Again the stifled laughter.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Oh my god Andrew, look-</dialogue>
<scene_description>Andrew pans up to reveal a woman at the end of the aisle; she saw everything, and is looking around, wide eyed. CUT.: They're by the check out.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>See that guy chewing gum?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Umm...</dialogue>
<parenthetical>(camera finds the guy)</parenthetical>
<dialogue>Got him.</dialogue>
<character>MATT</character>
<dialogue>I'm gonna get the gum right out of his mouth- watch this.</dialogue>
<scene_description>There's suddenly a little air ripple in front of the man's mouth, and he's yanked face first into the gum and candy rack, which all crashes apart. The guys all crack up and start running.</scene_description>
<character>STEVE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>GUYS, WHY ARE WE RUNNING!? We don't need to run, we don't need to run!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIELD - SUNSET</stage_direction>
<scene_description>Matt sits on the hood of a car. He and Andrew are flinging rocks with their powers.</scene_description>
<character>MATT</character>
<dialogue>That was a good one, you got that one far.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Hey Matt.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you like me?</dialogue>
<character>MATT</character>
<dialogue>What?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Sure, yeah. I mean, I didn't, always-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Why not?</dialogue>
<character>MATT</character>
<dialogue>Don't get mad, I mean, I like you now, I like you a lot. You're just, you're not super easy to talk to. You've got a lot of-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You're an asshole.</dialogue>
<character>MATT</character>
<dialogue>See, that's what I'm saying.</dialogue>
<dialogue>You're hostile, man.</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, you...If you hadn't invited me to that party, none of this would've happened.</dialogue>
<character>MATT</character>
<dialogue>Yeah.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Thanks.</dialogue>
<scene_description>Matt laughs.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR - AFTERNOON - WAL-MART PARKING LOT</stage_direction>
<scene_description>None of the guys are visible. They're filming a woman park her car.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>I just always feel like I miss stuff.</dialogue>
<character>MATT (O.S.)</character>
<dialogue>We were just sitting around throwing rocks, it was nothing.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah, until all those chicks showed up.</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>What? Shut up.</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Okay, here we go, here we go.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Are you sure there's no one around-</dialogue>
<character>MATT (O.S.)</character>
<dialogue>There's no one, I just looked, just go, ready?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Ready?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Okay, Andrew, remember, get under</dialogue>
<dialogue>it, you're the strongest, Steve get the sides, I'll get the front and back, we gotta do this quick. Countdown. Three. Two. One. GO.</dialogue>
<scene_description>The car the woman parked shakily lifts off, and immediately dips right.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>Steve Steve Steve-</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Got it, got it.</dialogue>
<scene_description>Silence, and we watch as the car gets to about twelve feet in the air, makes a full 180 degree rotation, and then wobbles through the air over to a spot several spaces away, and then sets down, neatly in place.</scene_description>
<character>STEVE</character>
<dialogue>FUCK YEAH! BOOYAH!</dialogue>
<character>MATT (O.S.)</character>
<dialogue>YES! FUCK YES! OH SHIT, blood-</dialogue>
</scene>
<scene>
<stage_direction>EXT. WAL-MART - PARKING LOT - SHORTLY THEREAFTER</stage_direction>
<scene_description>Matt is sitting against the car with a wad of kleenex on his nose, soaked with blood. Steve is leaning nearby, with a brown paper napkin.</scene_description>
<character>MATT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>My braingina is having like a...face period.</dialogue>
<character>STEVE</character>
<dialogue>Yeah, you got some from your ears, too. You've gotta start working it out more, Matt.</dialogue>
<character>MATT</character>
<dialogue>Yeah man, in between my yoga.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You just need focus, Matt.</dialogue>
<character>MATT</character>
<dialogue>Ha.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You're lucky you got the kleenex, I'm stuck with the taco bell wrapper.</dialogue>
<scene_description>Andrew holds out said wrapper in front of the camera.</scene_description>
<character>MATT</character>
<dialogue>That's like, at least twice as much blood as I usually see on a taco bell wrapper.</dialogue>
<character>STEVE</character>
<dialogue>Guys, guys. Look.</dialogue>
<scene_description>The camera moves around to show the woman returning to the space where her car was parked. She stops, baffled, and looks around. We hear the guys stifle laughter. She notices her car parked up ahead and walks over to it, looking around. Andrew tries to get a better angle, and she notices him, and stares.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Ignore us!</dialogue>
<character>MATT (O.S.)</character>
<dialogue>We're</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Mormons!</dialogue>
<scene_description>The woman stares a moment longer, and goes to her car.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR - MOMENTS LATER</stage_direction>
<scene_description>Matt's driving, Steve's shotgun, Andrew filming from the back. It's raining.</scene_description>
<character>MATT</character>
<dialogue>-sfucking insane, we just changed her life. We did-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Her face, I can't get her face out of my head.</dialogue>
<character>STEVE</character>
<dialogue>That was fucking great. I mean, this just gives me so many ideas, already, stuff we could do-</dialogue>
<scene_description>There's honking from outside.</scene_description>
<character>MATT</character>
<dialogue>Oh come on, what is this?</dialogue>
<character>STEVE</character>
<dialogue>He's like right on your bumper, too.</dialogue>
<scene_description>Matt rolls down the window and gives the signal to pass. More honking.</scene_description>
<character>MATT</character>
<dialogue>Can you fucking believe this guy?</dialogue>
<character>STEVE</character>
<dialogue>He's just some asshole redneck, look at him. He's fucking with us.</dialogue>
<scene_description>They are driving out over a bridge in the woods.</scene_description>
<character>MATT</character>
<dialogue>I don't know what to do, what should I-</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Here, take the camera, take the camera.</dialogue>
<scene_description>He hands off the camera to Steve; now we see Andrew sitting in the back seat. Behind him, through the back window, we can see a pick-up truck, honking, way too close.</scene_description>
<character>ANDREW</character>
<dialogue>Abracadabra.</dialogue>
<scene_description>Andrew flicks his hand at the truck. The effect is instantaneous: THE FRONT OF THE TRUCK CAVES IN LIKE IT JUST HIT A BRICK WALL, WHAM, AND SENDING IT CRASHING OFF THE BRIDGE, OUT AND DOWN AND INTO THE WATER.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>...I...what...</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BRIDGE</stage_direction>
<scene_description>The camera is being held loosely at Steve's side; everything's upside-down, and we can't see anything, but can hear the guys are clearly freaked out.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>What the fuck did you do, man, what the fuck-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I didn't mean to, I didn't-</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Fuck! SHIT! What's wrong with you, look at this, fuck!</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Is he still in there? If he's in there we have to get him out-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Guys, just calm down, I'm sorry, okay-</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Fuck that, take your fucking camera.</dialogue>
<scene_description>The camera is shoved to Andrew's chest, and lingers there a moment before he brings it up to show a view off the bridge; the truck is already sinking in the water fifteen or so feet below. We tilt up to see Steve taking off his jacket.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>You don't have to- I mean I can-</dialogue>
<scene_description>Andrew raises out a hand, trying to telekinetically lift the car. It rattles, and then Andrew groans in pain.</scene_description>
<character>MATT</character>
<dialogue>Andrew, just stop, just stop doing things.</dialogue>
<scene_description>Steve dives off the side of the bridge. Andrew films him for a moment, swimming to the car.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR - MOMENTS LATER</stage_direction>
<scene_description>Andrew's filming Matt, who looks angry as he drives very quickly.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Are you mad?</dialogue>
<character>MATT</character>
<dialogue>Stop, just stop.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER SIDE ROAD</stage_direction>
<scene_description>Matt and Andrew pull up to see Steve dragging the REDNECK ASSHOLE out of the water. They hurry out of the car. CUT.: Steve has the guy on the shore. He's dazed and bleeding.</scene_description>
<character>REDNECK ASSHOLE</character>
<dialogue>-what happened, cause...I don't know....my truck, my truck...</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Is he okay?</dialogue>
<scene_description>Steve just stares directly at Andrew. Andrew pans to reveal Matt, on a cell phone.</scene_description>
<character>MATT</character>
<dialogue>Yes, just past White Crescent bridge. Down by the- yes-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Is that the cops, are you calling the cops?</dialogue>
<character>MATT</character>
<parenthetical>(ignoring him)</parenthetical>
<dialogue>Yeah, just come- no, I don't know. I don't know, maybe internal bleeding, or-</dialogue>
<scene_description>CUT.: Later. The cops and an ambulance have arrived. An officer is talking to Matt, Steve and Andrew; the camera is held low.</scene_description>
<character>LOCAL OFFICER</character>
<dialogue>-looks like he'll be okay. Lucky you guys were here. Is that on? You can go ahead and turn that off.</dialogue>
<scene_description>The camera shuts off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STADIUM PARKING LOT - NIGHT</stage_direction>
<scene_description>Matt looks FURIOUS, while Steve just looks uncomfortable and freaked out. Matt's car is parked nearby.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I don't see how you guys can be so angry-</dialogue>
<character>MATT</character>
<dialogue>You don't see how we can be angry? You put a man in the hospital for fucksakes. You put a man in the hospital, you hurt somebody-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>He was being an asshole- he- I didn't mean to-</dialogue>
<character>MATT</character>
<dialogue>Which part of that do you mean, do you mean he was being an asshole, or was it an accident? Was it an accident, Andrew, cause you're the strongest. Listen, with this, we can't fuck around, ever.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Then what've we been doing, we've been fucking around-</dialogue>
<character>MATT</character>
<dialogue>NOT LIKE THAT, ANDREW. That's- you can't use it on people, or hurt people like- Steve, help me out.</dialogue>
<scene_description>Steve seems lost for words.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I-</dialogue>
<character>MATT</character>
<dialogue>We need rules, okay. Rule #1, you can't use it on living things. Rule #2, you can't use it when you're angry-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You can't just declare rules, you're not-</dialogue>
<character>MATT</character>
<dialogue>I will fucking declare rules, okay? If we keep going, and getting</dialogue>
<dialogue>stronger, we need rules. We need rules.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Damn it Andrew turn off the cam-</dialogue>
<scene_description>SNAP TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>It's morning. The camera lays on the bed. Andrew can be heard breathing.</scene_description>
<character>CUT.</character>
<dialogue>36.</dialogue>
<character>LATER.</character>
<dialogue>The camera moves, and is picked up, following a spider as it moves across the floor. It crawls up onto the side of the bed, then onto the sheets. Andrew's finger points at it.</dialogue>
<dialogue>The spider is telekinetically lifted into the air. It hangs struggling there for a moment, then becomes rigid.</dialogue>
<dialogue>He spreads his fingers, and the spider abruptly separates into all of its component parts. They stop moving, hanging lifeless.</dialogue>
<dialogue>Andrew's home phone rings, and he drops the spider. Rings again.</dialogue>
<character>MR. DETMER (O.S.)</character>
<parenthetical>(from downstairs)</parenthetical>
<dialogue>Andrew! Answer the fucking phone!</dialogue>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR - STEVE'S STREET</stage_direction>
<scene_description>Andrew's filming Matt from shotgun.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Did he say what it was about? When he called, what did he say?</dialogue>
<scene_description>Matt's quiet.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Are you still mad at me?</dialogue>
<character>MATT</character>
<dialogue>I'm not mad.</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(beat)</parenthetical>
<dialogue>You seem mad.</dialogue>
<character>MATT</character>
<dialogue>...Power corrupts, is all I'm saying, man.</dialogue>
<character>ANDREW</character>
<dialogue>What does that even mean?</dialogue>
<character>MATT</character>
<dialogue>I just mean that we have to think about things more now, okay? We can't just DO things, we have to think first.</dialogue>
<character>ANDREW</character>
<dialogue>...I understand.</dialogue>
<character>MATT</character>
<dialogue>It's just- nah, nevermind, we're here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STEVE'S HOUSE - MORNING</stage_direction>
<scene_description>The house is big and nice, somewhat isolated. Matt is walking up ahead of Andrew to the door.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Hey kids.</dialogue>
<scene_description>Matt stops, and both Matt and Andrew look around.</scene_description>
<character>MATT</character>
<dialogue>Steve? Where are you?</dialogue>
<scene_description>CUT.: Steve is atop a power line pole, thirty feet in the air. Andrew and Matt look up at him from the ground.</scene_description>
<character>STEVE</character>
<dialogue>Just try it, it's easy.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>That doesn't look easy.</dialogue>
<character>STEVE</character>
<dialogue>You throw yourself at the ground. You just fall, and catch yourself, and then it's easy, I swear. Don't try to jump or you'll flip yourself.</dialogue>
<scene_description>CUT.: Matt hurls himself at the ground, WHAM. Cut, and again, WHAM. Cut, and this time he flips himself BAM WHAM.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Let me try-</dialogue>
<character>MATT</character>
<dialogue>Yeah. I'm done for now.</dialogue>
<scene_description>CUT.: Matt's now holding the camera, showing Andrew. He checks the street for cars.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>No cars, no cars, go.</dialogue>
<scene_description>Andrew throws himself forward. And stops, hanging in mid air.</scene_description>
<character>ANDREW</character>
<dialogue>Whoaaaamygod...whoaaa...</dialogue>
<scene_description>Matt moves in for a closer look at floating Andrew, and gives a glance up at Steve, who's cheering on the telephone pole.</scene_description>
<character>MATT</character>
<dialogue>HOLY SHIT DUDE! HOLY SHIT, DUDE,</dialogue>
<character>HOLY SHIT! HOLY...SHIT DUDE, HOLY</character>
<scene_description>CUT.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY</stage_direction>
<scene_description>At first it's not clear what we're looking at, just blue sky. Wind is very loud. The camera pans down to reveal we're FIVE THOUSAND FEET IN THE AIR, in a clearing between two larger cloudbanks. The camera pans all the way down to show Andrew's dangling feet, and below them, the impossibly far drop. We can hear Andrew laugh. CUT.: We can see Steve and Matt, nearby, now wearing winter-coats and hats to keep warm. They're playing catch with a football. Steve tosses it to Andrew, who actually goes into a short dive to catch it. He looks up to see Steve and Matt distantly cheering and waving their approval. CUT.: Steve's holding the camera, filming Andrew attempting a few fancy moves, but he's a clumsy flier. Matt does a few neater tricks in some clips.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Hey Matt, you're finally good at something!</dialogue>
<character>MATT</character>
<parenthetical>(loud)</parenthetical>
<dialogue>What? The wind!</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>I said you're an idiot!</dialogue>
<scene_description>Matt gives the thumbs up, and Steve laughs.</scene_description>
<character>MATT</character>
<dialogue>It's about aerodynamics! If I put a barrier just in front of me, I can go way faster, cause it cuts wind resistance!</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>I can't hear a damn thing you're saying!</dialogue>
<character>MATT</character>
<dialogue>Yeah! Definitely!</dialogue>
<scene_description>CUT.: Steve and Matt are seen flying around, Steve further away, near a large cloud bank. Matt is using his abilities to shape cloud fluff into an M. There is a humming, rattling sound, slightly audible even over the deafening wind.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Guys, do you hear that?</dialogue>
<scene_description>Neither of the guys can hear him. Steve however stops in the distance, looking around. He shouts something, inaudible.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>What? I can't hear you!</dialogue>
<scene_description>Steve pantomimes, pointing at his ear and shrugging. A BOEING 737 BLOWS OUT OF THE CLOUDBANK BEHIND STEVE. He's spun like a top in its wake, and drops like a rock. Suddenly we're launched downwards, and after a moment, the camera disconnects from Andrew, and we see him zooming ahead. The camera, in free-fall, spins wildly, then suddenly it swims through the air dizzily and lands relatively gently in some tall grass. Less than a second later, Andrew and Steve come falling down into the grass and roll roughly, splitting apart. They lay there, breathing hard. Andrew sits up, coughing; his eyes, nose and mouth bleeding. Steve suddenly leaps up.</scene_description>
<character>STEVE</character>
<dialogue>WOO! HOLY FUCKING FUCK! I COULDA</dialogue>
<character>DIED, MAN! I ALMOST FUCKING DIED!</character>
<dialogue>Steve grabs Andrew, shaking and hugging him.</dialogue>
<character>STEVE</character>
<dialogue>You saved my life, dude! Andrew, you saved my fucking life! Is that- Holy shit is that the camera?! You</dialogue>
<character>AND THE CAMERA!?</character>
<dialogue>caught me</dialogue>
<character>ANDREW</character>
<parenthetical>(exhausted)</parenthetical>
<dialogue>Y- yeah-</dialogue>
<character>STEVE</character>
<dialogue>FUCKIN' AMAZING!</dialogue>
<scene_description>Matt touches down behind them, frantic.</scene_description>
<character>MATT</character>
<dialogue>What happened, are you-</dialogue>
<character>STEVE</character>
<dialogue>Ahhhhh!</dialogue>
<scene_description>Steve joy-tackles Matt to the ground.</scene_description>
<character>MATT</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>What the hell, what the hell-</dialogue>
<scene_description>Andrew, laughing tiredly, rolls over and grabs the camera. CUT.: They're all standing in the field; Steve is still wigging out.</scene_description>
<character>STEVE</character>
<dialogue>This is what people have wanted forever, since like caveman times! Do you understand, I mean do you- jesus christ, I can't even- Everything is fucking great! I CAN FLY! Matt, listen, just say it!</dialogue>
<character>MATT</character>
<dialogue>...I can fly.</dialogue>
<character>STEVE</character>
<dialogue>Shout it out man!</dialogue>
<character>MATT</character>
<dialogue>I CAN FLY.</dialogue>
<parenthetical>(realizes it feels good)</parenthetical>
<character>I CAN FLY!</character>
<dialogue>Matt stands, shouting out at the field.</dialogue>
<character>MATT</character>
<dialogue>I CAN FUCKING FLY!</dialogue>
<scene_description>Andrew cheers from behind the camera, and Steve laughs.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I CAN FLY!</dialogue>
<character>FUCK.</character>
<dialogue>YES.</dialogue>
<scene_description>HOLD ON BLACK: FOR A MOMENT.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STEVE'S HOUSE - POOL - NIGHT</stage_direction>
<scene_description>Steve, Matt and Andrew are sitting around the pool outside of Steve's house; empty beers are all around. All three are at least tipsy. Matt is up.</scene_description>
<character>MATT</character>
<dialogue>Yo Andrew, Andrew, gimme a beat.</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(flatly)</parenthetical>
<dialogue>No.</dialogue>
<scene_description>All three crack up.</scene_description>
<character>MATT</character>
<dialogue>That's cold, you're so cold! MY OWN COUSIN! DJ Steve, dial me up-</dialogue>
<scene_description>Steve immediately starts beatboxing.</scene_description>
<character>MATT</character>
<dialogue>Okay, yo, yeah, yo, you say you wanna get high you ain't high as me, you chillin' at yo mom's house I'm at four thousand feet, cauuuse I got those tight muscles, in my, braingina, and you better believe I'm a, frequent flyer, and you know I don't need no turbines, ladies fly first class on Garrety airlines, my DJ is senior class, president, straight outta Oregon, gotta, represent, Matt Garrety bitches, I'm the young Clark Kent.</dialogue>
<scene_description>Steve and Andrew cheer and Matt takes a bow. CUT.: The guys have broken open glowsticks, and Steve is filming as Andrew and Matt manipulate snakes of the glowing fluid at each other; it's beautiful. CUT.: We cut between three sing alongs; "Shake That" by Nate Dogg and Eminem (which Andrew protests too, as he doesn't know the lyrics), "How You Remind Me" by Nickelback, and "Macho Man" by The Village People.</scene_description>
</scene>
<scene>
<stage_direction>INT. STEVE'S HOUSE - LIVING ROOM - LATER</stage_direction>
<scene_description>The guys are in that sleepy mode, now. Andrew's filming, but not really focusing on anything. Matt's sprawled out on a couch opposite him. Steve's in a chair nearby.</scene_description>
<character>MATT</character>
<dialogue>But how does she not notice?</dialogue>
<character>STEVE</character>
<dialogue>Well, I mean, she notices that it's gotten better, definitely. You just have to be subtle.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>That's so cool. Doesn't that count as breaking rule #1 though?</dialogue>
<character>STEVE</character>
<dialogue>Pfff, technicalities.</dialogue>
<character>MATT</character>
<dialogue>Man, I haven't had sex since like...a year.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I haven't had sex since ever.</dialogue>
<character>STEVE</character>
<dialogue>Ugh, man, you guys...how are you so cool?</dialogue>
<character>MATT</character>
<dialogue>Liquid nitrogen.</dialogue>
<scene_description>CUT.: Later. Drowsier. Light's coming from the TV. The camera is laying haphazardly on Andrew. They're all nearly asleep, drowsy drunk.</scene_description>
<character>MATT</character>
<dialogue>Hey guys, are you up?</dialogue>
<character>STEVE</character>
<dialogue>Yeah.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>YO.</dialogue>
<character>MATT</character>
<dialogue>Today was like...the best day of my life. Like I was thinking and I can't think of any day I liked better than today.</dialogue>
<scene_description>There's a silence.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah.</dialogue>
<character>STEVE</character>
<dialogue>Unanimous. Yes.</dialogue>
<character>MATT</character>
<dialogue>Okay...good.</dialogue>
<scene_description>Beat. Silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAVEN HILLS FARM - THE CLEARING - MORNING</stage_direction>
<scene_description>Time has passed; maybe two weeks. It's early. The hole is clearly caved in; the entire area is slumped downwards.</scene_description>
<character>STEVE</character>
<dialogue>Well that answers that.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I feel stupid now that I was scared to come back.</dialogue>
<character>MATT</character>
<dialogue>Nah man, we were all- I mean, I was, definitely, yeah.</dialogue>
<scene_description>A POLICE OFFICER appears.</scene_description>
<character>POLICE OFFICER</character>
<dialogue>Hey, you kids can't be here, okay? You gotta move on out.</dialogue>
<character>MATT</character>
<dialogue>What?</dialogue>
<character>POLICE OFFICER</character>
<dialogue>The ground is unstable, we're cordoning the whole place off.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINER - MORNING</stage_direction>
<scene_description>Steve is filming Andrew and Matt across the table.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>I'm live on scene here with Matt and Andrew, boys, can you tell us what's happening?</dialogue>
<character>ANDREW</character>
<dialogue>Well, uh, it would appear that a Virgin Mary has appeared in the maple syrup on a young local man's pancake.</dialogue>
<character>MATT</character>
<dialogue>In a second it will, wait...</dialogue>
<scene_description>Matt focuses, and we see his syrup form a Virgin Mary.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>That is, that is some very uh, definitely supernatural shit, going on there.</dialogue>
<scene_description>CUT.:</scene_description>
<character>MATT</character>
<dialogue>Well, when I was really little, I wanted to be police officer.</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Oh, no shit?</dialogue>
<character>ANDREW</character>
<dialogue>Fuck you, pig.</dialogue>
<character>MATT</character>
<dialogue>No, I just really got into on the idea of altruism, you know?</dialogue>
<character>ANDREW</character>
<dialogue>What's that mean?</dialogue>
<character>MATT</character>
<dialogue>Like making things better for everyone.</dialogue>
<character>ANDREW</character>
<dialogue>So what, you wanna do like, a charity? That's lame.</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Why is that lame?</dialogue>
<character>ANDREW</character>
<dialogue>I dunno.</dialogue>
<character>MATT</character>
<dialogue>I mean, I'm not gonna- it doesn't matter, you know. I'm never gonna get out of this piece of shit town. You know, we're all just little pieces. One person can't really make a difference. I used to think- I don't know. I don't know.</dialogue>
<scene_description>Matt telekinetically lifts a spoon and rockets it at the camera; it plinks off.</scene_description>
<character>AAH!</character>
<dialogue>DOUCHEBAG!</dialogue>
<scene_description>CUT.: Now Matt has the camera, filming Steve.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>So what's it feel like to be good at everything?</dialogue>
<character>STEVE</character>
<dialogue>I'm not good at everything-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Name something you're bad at.</dialogue>
<character>STEVE</character>
<dialogue>I'm not GOOD at everything, I just do my best at everything. That's what it's about. I mean you talk about philosophy and shit all the time, but you never really do anything. Have you even applied to colleges yet?</dialogue>
<character>MATT</character>
<dialogue>I'll get to it-</dialogue>
<character>STEVE</character>
<dialogue>You could use some of that, man, I'm just saying.</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Oh yeah? Well you could use some shut the fuck up.</dialogue>
<character>STEVE</character>
<dialogue>You lack initiative.</dialogue>
<character>MATT</character>
<dialogue>You lack...a dick.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD - LATER</stage_direction>
<scene_description>The guys are walking along. Andrew's holding the camera loosely, not really caring, they're chatting, it's chill. Matt gets a text.</scene_description>
<character>MATT</character>
<dialogue>Shit man, I got my mom's birthday, I gotta go.</dialogue>
<character>ANDREW</character>
<dialogue>Say hi for me.</dialogue>
<character>STEVE</character>
<dialogue>Later dude.</dialogue>
<scene_description>Matt turns and casually rockets off into the sky.</scene_description>
<character>STEVE</character>
<dialogue>What're you doing, where are you going now?</dialogue>
<character>ANDREW</character>
<dialogue>Well I don't wanna go home yet. You wanna go into the city?</dialogue>
<character>STEVE</character>
<dialogue>Ah, dude, it's rush hour.</dialogue>
<character>ANDREW</character>
<dialogue>So?</dialogue>
<scene_description>There's a beat, and then Steve laughs.</scene_description>
<character>STEVE</character>
<dialogue>Hell yeah, dude.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PORTLAND - THE ROOF OF THE KOIN CENTER - SUNSET</stage_direction>
<scene_description>They're 46 stories up, chillin' with milkshakes. It's fucking awesome. The city is beautiful.</scene_description>
<character>STEVE</character>
<dialogue>I wish I could bring Samantha up here. She'd love this.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You still haven't told her?</dialogue>
<character>STEVE</character>
<dialogue>Nah, no way. She'd freak out.</dialogue>
<scene_description>CUT.:</scene_description>
<character>STEVE</character>
<dialogue>Mom's like, never home anymore. I mean, you saw how my dad is, he's just quiet. Sits around. I don't know. And talking to him about it is just pointless. He's got nothing to say.</dialogue>
<scene_description>CUT.:</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>And it's bad, because her pain gets real bad, you know, and we can't afford the good meds anymore. When I was little it wasn't as bad, but even then dad was still, you know, the way he is. I don't know. I don't know anymore. I don't know how to feel.</dialogue>
<scene_description>CUT.:</scene_description>
<character>STEVE</character>
<dialogue>It'll be fine, dude. You'll figure it out.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I hope so.</dialogue>
<character>STEVE</character>
<dialogue>Hey, I wanted to ask you, winter break's coming up...You wanna do the talent show with me? Get you out there, you know, meet some new people.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, I- I mean, no, that's not- I'm really shy, and I don't have any talents, or-</dialogue>
<character>STEVE</character>
<dialogue>Yes you do, you have a talent, you have a talent.</dialogue>
<character>ANDREW (O.S.)</character>
<parenthetical>(getting it)</parenthetical>
<dialogue>...Oh, no way. No way-</dialogue>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - SANDRA DETMER'S ROOM</stage_direction>
<scene_description>Sandra's in bed, sicker than ever.</scene_description>
<character>SANDRA DETMER</character>
<dialogue>You look handsome.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah, Steve chose my clothes, he's gonna do my hair.</dialogue>
<character>SANDRA DETMER</character>
<dialogue>I'm glad you are spending so much time with your friends.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oh yeah, me too.</dialogue>
<character>CUT.</character>
<dialogue>Andrew's camera is down at his side.</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>-getting to school?</dialogue>
<character>ANDREW</character>
<dialogue>I don't know what you mean-</dialogue>
<character>MR. DETMER (O.S.)</character>
<dialogue>Don't bullshit me idiot. Matt doesn't come, he don't drive up. You leave the house, and who the fuck is giving you rides to school?</dialogue>
<character>ANDREW</character>
<dialogue>Matt.</dialogue>
<character>MR. DETMER</character>
<dialogue>No, wrong. Something's fucking going on with you, you can't hide it. Think you can slink around, sneaking- sneaking around the house, smiling, I know your shit. And we ain't got no more fucking money for your mother's pain medication, either.</dialogue>
<character>ANDREW</character>
<dialogue>...I'm sorry, I'll try to-</dialogue>
<character>MR. DETMER</character>
<dialogue>Sorry isn't good enough, fuck up! You're a fuck up. You fuck everything up. Put that fucking camera away-</dialogue>
</scene>
<scene>
<stage_direction>INT. BENJAMIN FRANKLIN HIGH - AUDITORIUM</stage_direction>
<scene_description>At first, it's just a shot off Matt's feet, the camera pointing down, and we can hear hub-bub all around. It goes to nightvision for a moment, then over-exposes, then back to normal.</scene_description>
<character>MATT (O.S.)</character>
<parenthetical>(grumbling)</parenthetical>
<dialogue>Fuck...the stupid...</dialogue>
<scene_description>The camera is levelled, showing a high-school auditorium's stage. A group of kids are playing screamo music. Cut, a little later. A girl is singing. Cut. Casey, the girl with the videoblog from the barn party, is doing hip-hop booty dancing. She's good. The camera lingers on her.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>...s'fuckin awesome...</dialogue>
<scene_description>CUT.: It's a few minutes later. "Techno-Syndrome" (MORTAL KOMBAT!) begins to play. There's a beat, and then Steve, in a tuxedo, rushes out onto stage. The applause is DEAFENING, girls screaming, etc. He raises his hands for silence, and then "presents" Andrew, also in a tuxedo. Mixed reaction from the crowd. Andrew's carrying a deck of cards; he fumbles them, they spill onto the floor. Audience laughter; Steve throws up his arms in exasperation. Andrew shrugs, and all the cards leap back up into his hands. There's a beat, and then the audience goes APESHIT.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>Yes! Fuck yes!</dialogue>
<scene_description>CUT.: Andrew is juggling, six balls at once. Steve is drinking a soda, and offers Andrew the soda. Andrew is annoyed. Steve pantomimes joy at not having to give up his soda. Andrew stops juggling, leaving all the balls hanging in the air, and snatches away Steve's soda. Steve lunges after him and gets back his soda, only to have all the balls drop out of the air and hit him. The audience is LOSING THEIR FREAKING MINDS. CUT.: People around Matt are buzzing about how awesome it is. Andrew is transporting buckets of water across the stage, spilling water everywhere. Steve is pantomiming anger at the shoddy job he's doing. Andrew pantomimes "Well, you try." Steve tries, but trips and falls, sending the contents of the bucket flying out over the audience- -only for it to seemingly REWIND back into the bucket! The place GOES BERZERK. CUT.: Steve and Andrew take their bows to overwhelming cheers, separately. Andrew bows again, and people freak out. We hear Matt cheering behind the camera.</scene_description>
</scene>
<scene>
<stage_direction>INT. MATT'S CAR - NIGHT</stage_direction>
<scene_description>Andrew's filming from shotgun.</scene_description>
<character>MATT</character>
<dialogue>Just amazing dude-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You really think so-</dialogue>
<character>MATT</character>
<dialogue>Are you fucking kidding, I've never seen a reaction like that in the auditorium, you guys- it was fucking like- it shook the building. You guys are rockstars.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah, it did- it did feel like that. All the girls screaming-</dialogue>
<character>MATT</character>
<dialogue>Ah, see, here's the first stage of your downfall, hubris.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What's that?</dialogue>
<character>MATT</character>
<dialogue>What?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What's "hubris?"</dialogue>
<character>MATT</character>
<dialogue>Seriously?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What "seriously," fuck you seriously!</dialogue>
<character>MATT</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>I'm sorry, I'm sorry-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Hey Matt.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What's "seriously" mean?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE PARTY</stage_direction>
<scene_description>It's a house party, raging. Steve's out on the porch with his girlfriend SAMANTHA, 16, super hot, of course.</scene_description>
<character>SAMANTHA</character>
<dialogue>AAAH ANDREW!</dialogue>
<scene_description>Samantha runs down and embraces Andrew, knocking around the camera.</scene_description>
<character>SAMANTHA</character>
<dialogue>Hi Matt!</dialogue>
<character>MATT</character>
<dialogue>Hi Samantha!</dialogue>
<character>SAMANTHA</character>
<dialogue>Everybody's freaking out, you've gotta come in here-</dialogue>
<scene_description>CUT.: We see shots of the house party, which is rocking. People keep coming up to Andrew and telling him "That was awesome!" Or "You fucking rock!" Andrew sheepishly acknowledges this. Finally, a very hot girl with pink hair and a monroe piercing is talking. This is MONICA, 16. She's a little drunk.</scene_description>
<character>MONICA</character>
<dialogue>Just fucking amazing. Magic is so hot. Do you know, me and my mom, in Vegas, went to a magic show, but they didn't have anything like that.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Yeah, well, we spend a lot of time practicing-</dialogue>
<character>MONICA</character>
<dialogue>Do you not remember me, at all?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What?</dialogue>
<character>MONICA</character>
<dialogue>We took American History together.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Oooh, oh yeah, your hair was different; it was blue, right?</dialogue>
<character>MONICA</character>
<dialogue>Yeah!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Monica, yeah-</dialogue>
<character>MONICA</character>
<dialogue>Yeah! Hiiii!</dialogue>
<scene_description>CUT.: More shots of the party, of Monica talking. She entreats Andrew to join her on a beer-pong team. A little tipsy, Andrew agrees, setting down the camera on a couch. It lays there. SOME GUY picks it up.</scene_description>
<character>SOME GUY</character>
<dialogue>And now, you get a special treat, I'm gonna film myself taking a piss.</dialogue>
<scene_description>Matt snatches away the camera from him. CUT.: Matt's walking around with the camera now he films people dancing, talking, a people taking shots. Casey passes, filming for her video blog. Matt's camera follows her, but then goes back to Steve, who's cheering on Andrew and Monica, who are of course dominating at beer-pong. But they take shots anyway. CUT.:</scene_description>
<character>STEVE</character>
<parenthetical>(drunk)</parenthetical>
<dialogue>Matt, you have the camera yeah? You have the camera, cause, don't let him forget the camera, okay? That's Andrew's camera.</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Right on.</dialogue>
<scene_description>CUT.: Matt wanders the party; a stoner comes up.</scene_description>
<character>STONER</character>
<dialogue>Hey Matt, wanna blaze?</dialogue>
<character>MATT (O.S.)</character>
<parenthetical>(beat)</parenthetical>
<dialogue>No, I'm good. I'm just filming for Andrew.</dialogue>
<character>STONER</character>
<dialogue>Andrew? He's upstairs in the bedroom hooking up with that,</dialogue>
<scene_description>whatshername, hair girl.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>Yeah, I'm a little drunk though. Movies! Makin movies.</dialogue>
<scene_description>The stoner wanders off.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>I'm making an experimental film.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSE PARTY - PORCH</stage_direction>
<scene_description>Matt turns the camera around to film himself.</scene_description>
<character>MATT</character>
<dialogue>Hey Andrew, hope you're seeing this. Congratulations, sir. I'm drunk, sorry. I was really worried about you, like, before everything, but I do feel like...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I feel like this will get better for you, man. I'm sorry I haven't been there for you as much, you know, when we were growing up, because, I know you could be an angry...be an angry dude. But I love you, you know. Detmer-Garrety extended family for liffffeeeeee.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But listen when did I become the one who's...who's out alone filming myself, with the camera-</dialogue>
<character>CASEY</character>
<dialogue>Hey Matt.</dialogue>
<scene_description>The camera spins to reveal her, and then immediately drops to Matt's side.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>What were you filming?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Just a thing, it's nothing like- you know, Eye Of The Storm or anything-</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>You watch my blog?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>I- yeah, a lot of people do. I've actually been stalking you since like, sophomore year- sorry, use of the word stalking-</dialogue>
<character>CASEY</character>
<dialogue>Stockings are why I love Christmas. You wanna get outta here? This place is too loud for me.</dialogue>
<character>MATT</character>
<dialogue>Yeah, I- YES- yeah, just gotta drop off the cam-</dialogue>
<scene_description>Matt fumbles with the camera, turning it off. BLACK SCREEN.: HOLD ON BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM - MORNING</stage_direction>
<scene_description>We can hear it raining hard outside. The camera is laying on its side on the floor, and turns on when Andrew fumbles with it. There's screaming from downstairs; long and low, real pain sounds. Andrew drops the camera and rushes out the door. The camera lays on the floor. Time passes.</scene_description>
<character>ANDREW (O.S.)</character>
<parenthetical>(faintly)</parenthetical>
<dialogue>Mom, it's going to be okay, okay? Just try to get through, it's going to be okay.</dialogue>
<scene_description>Mr. Detmer enters, and notices the camera. He reaches down and picks it up.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - LIVING ROOM</stage_direction>
<scene_description>In the squalid living room of the Detmer residence. The camera is being held off at an angle by Mr. Detmer, as Andrew tries to get it back. It moves around a bit, so Andrew and his father are both on/off screen.</scene_description>
<character>MR. DETMER</character>
<dialogue>-think you can fucking use me, you're abusive, you're a fucking user little piece of shit. I went through your camera.</dialogue>
<character>ANDREW</character>
<dialogue>What'd you...You- what'd you see?</dialogue>
<character>MR. DETMER</character>
<dialogue>Just you fucking being a drunk mess, spending my money, drinking with your fucking friends-</dialogue>
<character>ANDREW</character>
<dialogue>I didn't spend any of your money, RICHARD-</dialogue>
<character>MR. DETMER</character>
<dialogue>Cause I don't have any fucking money to spend, it all goes to school for you, for medication for your mother-</dialogue>
<character>ANDREW</character>
<dialogue>School doesn't cost any money, I go to public school you idiot-</dialogue>
<character>MR. DETMER</character>
<dialogue>-now we can't afford your mother's pain meds anymore, up there screaming- did you just- what THE FUCK DID YOU JUST CALL ME? CALL ME A FUCKING IDIOT?</dialogue>
<scene_description>Mr. Detmer hurls the camera directly into Andrew's face. It knocks him down and clatters to the floor.</scene_description>
<character>ANDREW</character>
<parenthetical>(clutching his face)</parenthetical>
<dialogue>You asshole, you fucking crazy asshole-</dialogue>
<character>MR. DETMER</character>
<dialogue>GET OUT OF MY HOUSE! YOU'RE DONE</dialogue>
<character>LIVING HERE, GET OUT!</character>
<dialogue>Detmer rushes up to Andrew and slaps him, and again, and again, and again, and WHAM! Andrew backhands Detmer HARD, flooring him. Andrew turns and picks up the camera, leveling it coolly on his father as he tries to stand.</dialogue>
<dialogue>Andrew's arm snakes out and grabs Detmer by his throat, lifting him easily and slamming him against the wall.</dialogue>
<character>MR. DETMER</character>
<dialogue>I can't- can't move-</dialogue>
<character>ANDREW</character>
<dialogue>I COULD CRUSH YOU. YOU KNOW THAT, I CAN FUCKING CRUSH YOU. I CAN KILL YOU WITHOUT EVEN FUCKING TOUCHING YOU.</dialogue>
<character>MR. DETMER</character>
<dialogue>Get- off- let me go- you're hurting me-</dialogue>
<scene_description>Andrew turns and flings Mr. Detmer into the sofa, which flips on the impact. We can hear Andrew's gasping sobs, panicked, as he turns, runs out of the house, and LAUNCHES INTO THE AIR.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THUNDERSTORM</stage_direction>
<scene_description>Andrew's just below the clouds, massive dark and ominous above him. It's clearly not safe, rain and wind whipping his body, lightning crackling inside the clouds. We can hear him breathing hard. He touches the bottom of a cloud, and gets a powerful electric shock, forcing him to back off a tiny bit.</scene_description>
<character>HEY!</character>
<dialogue>HEY ASSHOLE!</dialogue>
<scene_description>The camera turns, showing Steve, in a rainslicker, flying up to meet Andrew.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Where's Matt?</dialogue>
<character>STEVE</character>
<dialogue>We have to get down from here right now, Andrew! This isn't safe!</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Where's Matt?</dialogue>
<character>STEVE</character>
<dialogue>Hung over, dude! You should be too! Let's just-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No!</dialogue>
<character>STEVE</character>
<dialogue>What the fuck are you doing?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm filming the storm, no one's ever filmed a storm like this up close bef-</dialogue>
<character>STEVE</character>
<dialogue>No, we're getting the fuck down, now. This is fucking crazy, Andrew- what- what happened to your face?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...My dad-</dialogue>
<character>STEVE</character>
<dialogue>Your dad fucking beat the shit out you! Come on, we'll go to the cops, let's get out of here. He can't do that Andrew.</dialogue>
<character>STEVE</character>
<dialogue>This is not the way you handle it, we'll go together, let's go, he can't do that-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You don't give a shit, stop acting like you care!</dialogue>
<character>STEVE</character>
<dialogue>I don't fucking care!? You're my best friend, idiot!</dialogue>
<character>ANDREW</character>
<dialogue>...What?</dialogue>
<character>STEVE</character>
<dialogue>I hang out with you and Matt practically every fucking day! You think I talk to anyone else about my parents, or my feelings on shit, are you that fucking insecure?</dialogue>
<character>ANDREW</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>I'm an idiot. I'm sorry Steve, oh god, I'm sorry-</dialogue>
<character>STEVE</character>
<dialogue>Dude, it's okay. You just need help, okay?</dialogue>
<character>ANDREW</character>
<dialogue>Yeah, yes, I don't know what I'm doing-</dialogue>
<character>STEVE</character>
<dialogue>It'll be fine. But we've- ...Do you hear that? I hear...singing.</dialogue>
<scene_description>A BLINDING FLASH OF LIGHTNING STRIKES STEVE, BLASTING HIM OUT OF THE SKY. The boom of thunder is deafening. For a moment, all we can see is the stormscape, and then we hear Andrew's rushed, panicked breathing. DIGITAL: DISTORTION TO: BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETARY - DAY</stage_direction>
<scene_description>It's a gray, dark day. A funeral is in progress; we're filming from within the mourning party. A large picture of Steve is on a stand as the priest reads a eulogy. Andrew's camera movements are rigid again, tight and confined, back to how they were when we first started. We see Steve's mother and father. His mother is sobbing. His father simply looks shellshocked, staring at the casket. Steve's mother leans on his father, and he pushes her away. There's Samantha, crying uncontrollably. The camera passes Matt... Who's staring directly at us. CUT.: Andrew walks along in the cemetary, filming tombstones.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>What are you doing? Filming graves, I don't get it.</dialogue>
<scene_description>The camera looks up at Matt. He's keeping his distance.</scene_description>
<character>MATT</character>
<dialogue>You're not returning my calls, why aren't you returning my calls.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I've been busy.</dialogue>
<character>MATT</character>
<dialogue>No you haven't. Why aren't you returning my calls. Turn off the camera.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>...No.</dialogue>
<character>MATT</character>
<dialogue>Turn off the camera.</dialogue>
<scene_description>Silence.</scene_description>
<character>MATT</character>
<dialogue>I had a missed call from you, that morning. And from Steve. I listened to your voicemail. No voicemail from Steve.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I was upset.</dialogue>
<character>MATT</character>
<parenthetical>(long beat)</parenthetical>
<dialogue>How do you get struck by lightning during a storm with no recorded lightning strikes?</dialogue>
<parenthetical>(waits, nothing)</parenthetical>
<dialogue>You can look that up online, you know, they keep track of it. I looked it up. Zero. And they find him out in a field, why would Steve go out in the middle of a field during a lightning storm?</dialogue>
<scene_description>The camera shifts a little.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I don't know-</dialogue>
<character>MATT</character>
<dialogue>What?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't know-</dialogue>
<character>MATT</character>
<dialogue>No, no, you do know, you do know, I think you do know.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't.</dialogue>
<character>MATT</character>
<dialogue>What happened, Andrew. Just stop, stop lying to me, and tell me-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm not lying, I don't know what happened-</dialogue>
<character>MATT</character>
<dialogue>I don't believe you, okay! I don't believe you, I want you to- put the fucking camera down.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, why-</dialogue>
<character>MATT</character>
<dialogue>Because I want to talk to you. Put it down- put it down, Andrew, please- put it down, turn it off, put the fucking-</dialogue>
<scene_description>Matt, very upset, suddenly advances on Andrew, trying to pull the camera away. He's suddenly shoved backwards; Matt recovers himself before he falls, staring at Andrew. The camera hangs limply for a moment.</scene_description>
<character>MATT</character>
<parenthetical>(breaking down a little)</parenthetical>
<dialogue>What did you do, Andrew? What am I supposed to do? Who am I supposed to tell, about this, man? Who do I tell? I mean- I don't, I don't know how I'm supposed to- Why won't you just tell me what happened?</dialogue>
<scene_description>The camera and Andrew suddenly launch into the air, rocketing away from Matt.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>The camera is on Andrew's dresser, near his mirror. Andrew suddenly appears, holding a kitchen knife.</scene_description>
<character>ANDREW</character>
<parenthetical>(addressing the camera)</parenthetical>
<dialogue>-wanted to show you what I was talking about.</dialogue>
<scene_description>Andrew takes the camera, and angles it down at his arm. He takes the kitchen knife, and presses the tip into the flesh of his wrist. He drags the blade down hard, all the way to his elbow...but no cut appears. He then violently jabs himself several times...but no penetration.</scene_description>
<character>ANDREW</character>
<dialogue>See, it's- I put a little sheet between myself and the knife, and the barrier, the sheet, is too strong. The knife can't cut it. I mean like, what I'm saying is if I concentrate, I can't be hurt. I can't be injured. Because of the little sheet.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BENJAMIN FRANKLIN HIGH - FOOTBALL FIELD</stage_direction>
<scene_description>Andrew sits alone on the bleachers. The cheerleaders are practicing. The camera zooms in on Samantha. She sits alone on the sidelines, watching numbly.</scene_description>
</scene>
<scene>
<stage_direction>INT. BENJAMIN FRANKLIN HIGH - HALLWAY</stage_direction>
<scene_description>Andrew is putting his stuff away in his locker. He's suddenly shoved into the locker roughly. The camera turns, revealing Wayne walking away. The camera scans the mostly empty hallway quickly, then goes back to Wayne, now almost twenty feet away.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>Hey Wayne!</dialogue>
<character>WAYNE</character>
<dialogue>What, you got a probl-</dialogue>
<scene_description>One of Andrew's hands flicks out, and Wayne's mouth suddenly gushes blood. Wayne screams, falling, and is immediately tended to by other students.</scene_description>
</scene>
<scene>
<stage_direction>INT. BENJAMIN FRANKLIN HIGH - BATHROOM STALL</stage_direction>
<scene_description>Andrew has laid out three small bloody objects on the back of the toilet, and presents each one to the camera one by one. They're Wayne's bloody teeth.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>See, this one, I got clean, cause I did a little lasso around the root, but these two, they're broken cause I think I pulled them from the middle. Matt was always better at the little, the intricate stuff, he got good at that. See how broken it is, ugh, sloppy.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENJAMIN FRANKLIN HIGH - GUIDANCE COUNSELOR'S OFFICE</stage_direction>
<scene_description>Mike FERNANDEZ, 30s, serious but warm, sits across the desk from Andrew. The concern in his voice is very real.</scene_description>
<character>FERNANDEZ</character>
<dialogue>Could you put the camera away?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>No, I'm filming this. I film everything.</dialogue>
<character>FERNANDEZ</character>
<dialogue>I understand that things have been very hard for you recently, Andrew, but the camera kind of- it alienates a little, you know?</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>What did you want to talk about?</dialogue>
<character>FERNANDEZ</character>
<parenthetical>(beat)</parenthetical>
<dialogue>There's concern for your grades, Andrew. And as far as I know you've yet to apply to any colleges, so-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>It's not doable. Financially, they're not- I mean, my dad didn't go to college either.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Well, yes, but I still think it's worth thinking about. There are three different community colleges locally that offer great programs for-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I don't need college, Mr. Fernandez.</dialogue>
<character>FERNANDEZ</character>
<parenthetical>(beat)</parenthetical>
<dialogue>I think that's a very close-minded attitude, Andrew. I know that you come from a difficult background, and I know how horrible the pain can be when you lose a friend. But I don't think you should let this make you lose hope. I mean, this is your future. You don't want to compromise your future.</dialogue>
<parenthetical>(long beat)</parenthetical>
<dialogue>Andrew?</dialogue>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM</stage_direction>
<scene_description>The camera is sitting on the floor. We can hear screaming from downstairs. Andrew picks up the camera, and goes to the mirror, filming himself filming. After a beat, he steps out from behind the camera, leaving it hanging in the air. He stands looking at himself, and then the camera. The camera turns to face Andrew. He doesn't look good, but gives a weak smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - MS. DETMER'S ROOM</stage_direction>
<scene_description>We're peeking in through the door. We can see Sandra Detmer writhing around in agony in the bed, moaning in pain. She lets out a long scream, and then seems to notice us watching.</scene_description>
<character>SANDRA DETMER</character>
<dialogue>Richard is that you? Richard, you have to let me have my medicine, I can't...Andrew? Who is that? Look, please come in here, I need</dialogue>
<scene_description>help to turn over. It hurts, please, Andrew, you have to tell your father...tell your father to get my medicine... Sandra, her eyes closed in pain, is lifted and rolled onto her side.</scene_description>
<character>SANDRA DETMER</character>
<dialogue>Andrew...thank you Andrew...was that you? Did you-</dialogue>
<scene_description>The door closes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNKYARD - NIGHT</stage_direction>
<scene_description>The junkyard is filled with junked cars, metal garbage, old equipment. The camera sits awkwardly on the hood of a wrecked car as Andrew fidgets to get it mounted. The area is lit by lights from the main building, not too far away, but you can tell he's not supposed to be in here. CUT.: Andrew moves out in front of the camera. He telekinetically pulls an old car forward, and lifts it easily. He moves it left, moves it right, rolls it, sets it back down. CUT.: Andrew is sitting, resting, tired. He speaks directly to the camera.</scene_description>
<character>ANDREW</character>
<dialogue>I've been doing a lot of reading, like you know, online, about evolution, and the way it works, and you know, natural selection. The uh...</dialogue>
<parenthetical>(cut)</parenthetical>
<dialogue>The strongest animals will always survive, and they're the ones that you know, will prosper, or grow, and survive, by feeding on the smaller animals. And as humans we- see, there's...uh-</dialogue>
<parenthetical>(cut)</parenthetical>
<dialogue>There's this thing called an Apex Predator, and basically what that</dialogue>
<dialogue>is the most powerful predator in an ecosystem. And humans, you know, we're the apex predator, because there's nothing that preys on us, cause of weapons and stuff. But if something could, I bet it would. I...</dialogue>
<parenthetical>(cut)</parenthetical>
<dialogue>I mean, what I'm trying to say is, a lion doesn't feel guilty when it kills a gazelle. You don't feel guilty when you squash a fly, you know- I think that means something. I think it really means something.</dialogue>
<scene_description>CUT.: Andrew's back out with the car. He lifts it again, then makes a quick "squeezing" motion. As he does this, the car violently compresses down to the size of a basketball. Andrew flings the ball of metal into a scrap pile, which collapses loudly. Andrew falls down onto his butt, a little exhausted, but as he gets up he is abruptly attacked by a guard dog, which bites him twice before he's able to fling it off. The dog recovers, and rushes Andrew, who raises a hand, blasting the dog across the yard, killing it instantly. Andrew turns and looks at the camera, and it turns off. FROM CASEY'S CAMERA. Everything is crisper, cleaner, brighter. Higher resolution.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASEY'S HOUSE - BATHROOM</stage_direction>
<scene_description>We're looking at the door to a bathroom, only a crack open. It's pushed open, revealing Matt, shirtless, brushing his teeth.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>AHHHH!</dialogue>
<scene_description>Casey runs up and hugs Matt from behind, startling him.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASEY'S HOUSE - KITCHEN - MORNING</stage_direction>
<scene_description>Matt is cooking; he's got four different things on the stove.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>How'd the interviews go?</dialogue>
<character>MATT</character>
<dialogue>I told you how the interviews went.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>But now we do it for the camera.</dialogue>
<character>MATT</character>
<dialogue>UGHHHHHH-</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Come on.</dialogue>
<character>MATT</character>
<dialogue>UCONN not so good, Columbia was good, University of Miami was really good, Arizona State was okay.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Who ended up paying for all of the airfare? Did your parents-</dialogue>
<character>MATT</character>
<dialogue>Haha, no, I told you they wouldn't.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Did you pay?</dialogue>
<character>MATT</character>
<dialogue>Nope. Nobody. I flew myself. I needed the exercise.</dialogue>
<character>CASEY (O.S.)</character>
<parenthetical>(beat)</parenthetical>
<dialogue>You are a man of mystery.</dialogue>
<scene_description>Matt smiles.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>God, how do you always cook so many things-</dialogue>
<scene_description>Matt snatches the camera away from her, turning it to reveal that she's topless; Casey has already covered up with her arms.</scene_description>
<character>CASEY</character>
<parenthetical>(running away)</parenthetical>
<scene_description>CUT.: They're at the breakfast table. Matt's eating, and Casey, filming, is talking between bites.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>You have to do at least one of your tricks for the camera, though.</dialogue>
<character>MATT</character>
<dialogue>I am so sick of being filmed, you have no idea, Casey-</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>No I know, but I'm not going to use any of this. I just want you to do a trick, one of your good ones.</dialogue>
<character>MATT</character>
<dialogue>When do your parents get back from Spain?</dialogue>
<character>CASEY</character>
<dialogue>A week.</dialogue>
<character>MATT</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Okay, if you don't film me for one week-</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Ahhhh-</dialogue>
<character>MATT</character>
<dialogue>One week, I'll show you my new trick. I guarantee you will shit bricks. Yeah?</dialogue>
<character>CASEY</character>
<dialogue>...Ughhhh.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASEY'S HOUSE - CASEY'S BEDROOM</stage_direction>
<scene_description>Matt's asleep in bed on a different day. Casey's filming from next to him.</scene_description>
<character>CASEY (O.S.)</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I'm filming you and you don't know. I'm terrible. I'm gonna show you this later and you're gonna be like "whaaaaaaaaaat!"</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASEY'S HOUSE - BACKYARD</stage_direction>
<scene_description>Matt runs out ahead of the camera, and does a little shuck- and-jive boxer dance.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>You ready?</dialogue>
<character>MATT</character>
<dialogue>I'm ready!</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Are you sure-</dialogue>
<character>MATT</character>
<dialogue>Let's do it! Woo!</dialogue>
<scene_description>Casey raises a paintball gun out ahead of the camera. She fires. Matt's arm whips out, impossible fast. He holds up the caught paintball.</scene_description>
<character>CASEY (O.S.)</character>
<parenthetical>(awed)</parenthetical>
<dialogue>Holy shit, Matt.</dialogue>
<character>COME ON!</character>
<dialogue>BRING IT ON!</dialogue>
<scene_description>Casey fires several more shots, Matt catches them effortlessly, then hurls them all into the air. Mid-air, they all pop, some of the paint landing on the camera and Casey.</scene_description>
<character>CASEY (O.S.)</character>
<parenthetical>(laughing, awed)</parenthetical>
<dialogue>Matt, oh my god, oh my god!</dialogue>
</scene>
<scene>
<stage_direction>INT. CASEY'S HOUSE - CASEY'S BEDROOM - NIGHT</stage_direction>
<scene_description>It's dark; the camera turns on, then the light, revealing Matt, groggy, half awake.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>What happened?</dialogue>
<character>MATT</character>
<dialogue>Ughhhh camera...I had that dream again.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Tell me.</dialogue>
<character>MATT</character>
<dialogue>It's like I'm...I'm not me, I'm something else. And I'm out in this...out in space. And stars are all around me, and I'm zooming past them; everything is really like three-D, I can see the shape of the stars. I'm looking for somewhere to sleep, or something, and I see earth, and I go down to earth. And then...I don't know, just the main part is that I'm out and there are the stars and they just look like millions of little points of light...And Steve is there.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Steve is there?</dialogue>
<character>MATT</character>
<dialogue>Yeah but he feels like he's not part of it. Like he's there separately, inside my head. Andrew is there too. I don't know. I'm worried about Andrew.</dialogue>
<parenthetical>(beat, slyly)</parenthetical>
<dialogue>Why don't you put the camera away?</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Oh yeah? What's gonna happen to me if I put the camera away-</dialogue>
<character>MATT</character>
<dialogue>Oh I think you know. I think you know what's going down.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>We could leave the camera on.</dialogue>
<character>MATT</character>
<dialogue>You arrrrreeee...C'mere. Matt advances on Casey, and the camera falls off to the side of the bed. We can hear her giggling, which is abruptly muffled by kissing.</dialogue>
<scene_description>DIGITAL: DISTORTION TO: BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMETARY - DAY</stage_direction>
<scene_description>The camera is aimed at Steve's tombstone. There are still flowers and memorials spread around. Some are rotting. The camera moves around a little, then back to Steve's tombstone.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM - NIGHT</stage_direction>
<scene_description>Screaming from Sandra's bedroom. The heater rattling. The TV from downstairs. There's a knock on the window. The camera is picked up, to reveal Matt floating outside, looking around nervously. After a moment, Andrew opens the window. CUT.: Matt stands fidgeting, clearly uncomfortable, as Andrew films him.</scene_description>
<character>MATT</character>
<dialogue>You haven't been returning my calls, so I thought I'd just...you know, ambush.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>That's rude.</dialogue>
<character>MATT</character>
<dialogue>I just- I've been getting, you know, bad vibes or whatever.</dialogue>
<scene_description>Andrew is silent.</scene_description>
<character>MATT</character>
<dialogue>I know you stopped coming to school, and my mom said you guys are having a lot of problems with money. I'm worried about you.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>Why? Your life's great-</dialogue>
<character>MATT</character>
<dialogue>Dude, don't be like that, okay-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You don't need to worry about me. I'm stronger than ever now. I can lift a whole car by myself. I could fucking crush this entire house, I'm fine.</dialogue>
<character>MATT</character>
<dialogue>That doesn't- that actually sounds like the opposite of fine. Andrew, come on, let's get out of here, your room's a mess, it smells like a Denny's bathroom in here.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>So what?</dialogue>
<character>MATT</character>
<dialogue>You're my cousin. You're my friend- it's my responsibility to take care of you.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I think you should go. I have to pick up my mom's medication.</dialogue>
<character>MATT</character>
<dialogue>...Are you going to break the rules?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We're too strong now, Andrew. We're too strong for that. If you did that, you know I'd have to-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>You'd have to what. You were always the weakest. You couldn't do shit to me.</dialogue>
<character>MATT</character>
<dialogue>...Andrew-</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm not gonna break your stupid fucking rules, just fuck off and stay out of my life.</dialogue>
<scene_description>Matt stands staring at Andrew. The camera fidgets uncomfortably. Matt shakes his head, and the camera follows him as he goes to the window, gives Andrew one last look, and then rockets off into the sky. The camera sits in silence, pointed at the window.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHARMACY</stage_direction>
<scene_description>The camera approaches the counter.</scene_description>
<character>PHARMACIST</character>
<dialogue>Hello, how can I help you.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>I'm here to pick up a prescription for Sandra Detmer.</dialogue>
<character>PHARMACIST</character>
<dialogue>Um, yes, hold on. That's Imuran, Baclofen, Glatiramer and Vicodin.</dialogue>
<character>ANDREW (O.S.)</character>
<dialogue>That's right.</dialogue>
<character>PHARMACIST</character>
<dialogue>Okay, and the copay on that is...Seven hundred and fifteen dollars, eighty three cents.</dialogue>
<scene_description>Silence.</scene_description>
<character>ANDREW (O.S.)</character>
<dialogue>I have to come back.</dialogue>
<character>PHARMACIST</character>
<dialogue>Okay, we'll hold it for you.</dialogue>
</scene>
<scene>
<stage_direction>INT. DETMER RESIDENCE - ANDREW'S ROOM - LATER</stage_direction>
<scene_description>Andrew is filming out his window, watching his father leave. His stereo plays David Bowie. Once his dad's car is gone, Andrew sets down the camera on the dresser opposite the mirror, and leaves the room. Time passes, and Andrew reappears, now dragging a crate. He opens it, and pulls out his father's fireman's uniform. We do short-space time cuts as he takes out the jacket, looks at it, and turns it inside out, so that the metallic fireproof inner lining is exposed. "Ziggy Stardust" comes on Andrew's stereo. Andrew, wearing the jacket, looks at himself in the mirror, his back to the camera. He reaches down, and picks something up, looking at it, then pulls it over his head. It's a gas mask. He stands there staring at the surreal, hard edged, faceless figure in the mirror. Looks right. Looks left. Adjusts the mask. Then turns and whips out his hand; the camera is abruptly yanked across the room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUN-DOWN HOUSE - SUNSET</stage_direction>
<scene_description>It's a run-down house in Andrew's neighborhood. The streetlights and the setting sun give everything light in yellow orange haze. Howard, Costly, and some other thugs are chilling on the porch, laughing loudly, smoking a blunt. They clearly haven't noticed Andrew, who's filming from out by the street. He reaches down, and picks up a rock, then hurls it at the house. It flies up and breaks a window. Costly, Howard and the thugs immediately mobilize, swearing and posturing as they rapidly surround Andrew. He doesn't react.</scene_description>
<character>HOWARD</character>
<dialogue>You are about to get fucking stomped, you know that right? You hear me son? Come to my house, it's late, I don't see any fucking police officers or some shit, I don't know what you you think you're doing throwing shit at my house-</dialogue>
<character>COSTLY</character>
<dialogue>No, wait, what the fuck. What the fuck are you dressed up like that for. Are you high?</dialogue>
<character>HOWARD</character>
<dialogue>Lil' Andrew's straight up tripping right now, I don't even know, I'ma give your ass a wake up call-</dialogue>
<scene_description>Howard starts towards Andrew, who raises a hand out in front of the camera. He makes the "gun sign."</scene_description>
<character>HOWARD</character>
<dialogue>Oh you got a gat? I got a gat too bitch-</dialogue>
<scene_description>Howard starts to pull a gun from the back of his pants.</scene_description>
<character>ANDREW (O.S.)</character>
<parenthetical>(firing the finger gun)</parenthetical>
<dialogue>Bang.</dialogue>
<scene_description>Howard's body abruptly FOLDS BACKWARDS with a sickly loud chorus of cracks, and then is FLUNG ASIDE. The thugs, shocked, don't have a second to react before Andrew telekinetically BLOWS ONE OF THEM BACKWARDS, sending him smashing headfirst through the windshield of his car. Costly and the remaining thug start running, and the remaining thugs legs suddenly flip up out from under him, breaking, bending and twisting like a rag doll, before he's propelled face first into the ground, WHAM. Andrew launches into the air, coming down just in front of Costly, who skids to a halt.</scene_description>
<character>COSTLY</character>
<dialogue>-no, no-</dialogue>
<scene_description>Costly is shoved to the street and ground back and forth as though under the weight of a giant thumb, leaving a glistening smear of clothes, blood and skin, before he falls across the curb. We can hear the men screaming and groaning in agony, but other than that, the night is silent. Andrew raises a hand, and all of their wallets and loose money lift away from them, flying to him. There's a beat, and then Andrew launches into the air.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RADIOTOWER - 80 FEET UP - TWILIGHT</stage_direction>
<scene_description>Andrew sits under one of the red airplane spotter lights on one of the strut supports. The camera sits nearby, watching the expressionless figure as it counts the money. There's a beat and he hangs his head. We can hear muffled noises of frustration from under the mask. Something that sounds like a low, angry scream. Very suddenly, he dives off the tower. A second later, the camera is yanked after him, zooming out into freefall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION</stage_direction>
<scene_description>Andrew, holding the camera, touches down just outside the gas station. He waits a beat, and then starts to walk towards it. We transition to... FROM GAS STATION SECURITY CAMERAS. Black and white, a slightly grainy feed, with no audio. We watch from the camera by the pumps as the bizarre figure in the coat and the gas mask, holding the camera out in front of it, strides past people pumping gas, into the station store.</scene_description>
</scene>
<scene>
<stage_direction>INT. GAS STATION</stage_direction>
<scene_description>The wall mounted security camera shows us the whole store. Andrew enters, turning to the clerk behind the register, who says something, looking concerned. He's suddenly blown out of frame. After a beat, the register rips itself free from the counter, and floats over to Andrew. Andrew turns and walks out, the register floating with him; as he does, a second clerk rushes out, panicked, yelling. He goes behind the counter, and grabs a shotgun.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION</stage_direction>
<scene_description>Andrew exits the gas station, as does the clerk, who yells, raising the shotgun. Andrew whips an arm out towards him, and the clerk fires as he's hit by a wave of energy. The shotgun blast goes wild, striking the stacked tanks of propane next to the garage. The effect is instantaneous; a blinding white flash of fire envelopes the clerk and floors Andrew, the camera we look through jerking awkwardly, the feed breaking down. FROM ANDREW'S SECOND CAMERA. The camera lays awkwardly on its side, the distorted audio from its damaged microphone SUDDEN AND PIERCING. It's been flung a good deal away from Andrew, who lays motionless, burning. The clerk is dead, and a nearby gas station customer is horribly injured and screaming. His gas pump lays on the ground, pumping out gas onto the asphalt. Andrew slowly shifts, unable to move properly, and forces himself to roll over. The fire on his body touches the fire on the asphalt, and spreads lightning fast to the gas pump. The resulting explosion engulfs the entire station. The camera is spun violently out into the street- VIOLENT: DISTORTION AND: CRASH TO BLACK.: FROM SECURE ROOM VIDEO FEED</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>The camera is color, with crackly, strange, somewhat distorted audio. The image is a little blown out. Andrew on a bed. His entire right side is absolutely scorched; the flesh looks like bloody, cracked paper, blackened and red. The parts of him that are bandaged are already soaked through with blood. He is barely breathing, hooked up to various machines. Andrew is not going anywhere anytime soon. This is ensured by the handcuff on his left wrist. The machines beep. Andrew doesn't move. The door opens, and Mr. Detmer enters, speaking to a POLICE DETECTIVE on the other side of the door.</scene_description>
<character>MR. DETMER</character>
<dialogue>-come down to the city, cause his mother's all alone right now. She's got MS, I had to leave her at the house all a fucking alone.</dialogue>
<character>POLICE DETECTIVE</character>
<dialogue>I understand, Mr. Detmer.</dialogue>
<character>MR. DETMER</character>
<dialogue>Shit. Jesus, look at this. Can I have a moment with my son.</dialogue>
<character>POLICE DETECTIVE</character>
<dialogue>Yeah I- I'll be outside the door, yeah?</dialogue>
<character>MR. DETMER</character>
<dialogue>Okay.</dialogue>
<scene_description>The officer closes the door, and Mr. Detmer goes and sits down in a chair next to the bed. He sits there staring at Andrew, clearly horrified and upset, and buries his head in his hands. We SPEED UP THE RECORDING, and Detmer just sits like that. After five minutes of speed up, we slow down.</scene_description>
<character>MR. DETMER</character>
<dialogue>I want you to apologize to me.</dialogue>
<scene_description>Andrew is comatose.</scene_description>
<character>MR. DETMER</character>
<dialogue>I said I want you to apologize to me. I know you can hear me. So I want you to sit up and apologize to me. I want you to stop this bullshit right now.</dialogue>
<scene_description>Andrew is comatose.</scene_description>
<character>MR. DETMER</character>
<dialogue>Do you know how much this shit is going to cost me? Do you know what you've done to your family?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You don't even care, do you? You just don't give a fuck, you've got your fucking morphine, don't you.</dialogue>
<scene_description>There's a beat, and then Detmer suddenly slaps Andrew's burnt shoulder. Andrew flinches badly, and his pulse speeds up on the monitor.</scene_description>
<character>MR. DETMER</character>
<dialogue>Stop it. I'm not buying this shit, you can't just play this off like a fucking</dialogue>
<parenthetical>(slap)</parenthetical>
<dialogue>Game, this is real. You really fucked me, me and your mother you know that, you little</dialogue>
<parenthetical>(slap)</parenthetical>
<dialogue>Shit.</dialogue>
<scene_description>Andrew no longer flinches, but the slaps leave red, bleeding molten welts. Detmer stands up, clearly upset, and takes a quick pace forward and back.</scene_description>
<character>MR. DETMER</character>
<dialogue>Goddamn it, goddamn it!-</dialogue>
<scene_description>Detmer goes to slap Andrew again, and Andrew's arm jerks up. Mr. Detmer floats is telekinetically lifted into the air. He hangs screaming and struggling for a moment, then becomes rigid. Andrew spreads his fingers, and his father abruptly separates into all of his component parts. They stop moving, hanging lifeless, then drop to the ground in a bloody mess. Andrew's eyes open, revealing black-red eightball hemorrhages, and he seizes badly, letting out a scream of agony, and then another, tearing at his IV. The police detectives rush the room, reacting with horror to the gore that was Andrew's father. They barely have time to scream out when Andrew snaps his cuff free of the bed, and lets out AN ENORMOUS CONCUSSIVE BLAST, blowing apart everything in the room including the camera. SMASH CUT TO: FROM CASEY'S CAMERA.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASEY'S HOUSE - LIVING ROOM</stage_direction>
<scene_description>All of Casey's family is present, along with lots of little kids. Everyone's gathered around Casey's little brother, who's being presented with a birthday cake. Matt looks happy.</scene_description>
<character>EVERYONE</character>
<dialogue>-appy birthday to you!</dialogue>
<scene_description>Everyone let's out a cheer, including Casey, but then she notices Matt abruptly duck out. She follows him to the bathroom... CUT.: ...where he's holding his nose, which is bleeding badly.</scene_description>
<character>CASEY</character>
<dialogue>Matt-</dialogue>
<character>MATT</character>
<dialogue>Do you hear that, how can you not hear that?</dialogue>
<scene_description>In the background, we can hear the house phone ring. Then cell phones.</scene_description>
<character>CASEY</character>
<dialogue>Matt, what hap-</dialogue>
<character>MATT</character>
<dialogue>The singing, how can you not hear that!? Something's wrong, okay, something's wrong with Andrew, or-</dialogue>
<character>CASEY</character>
<dialogue>Matt, please, okay, you're scaring me, are you okay-</dialogue>
<character>MATT</character>
<dialogue>No, something's wrong, something's wrong.</dialogue>
<scene_description>Matt pushes past her, running upstairs. Casey starts to follow, but then stops, lowering the camera.</scene_description>
<character>CASEY'S MOM (O.S.)</character>
<dialogue>Casey, you have to come in here.</dialogue>
<character>CASEY</character>
<dialogue>Mom, Matt is-</dialogue>
<character>CASEY'S MOM</character>
<dialogue>Come in here right now. Come in here right now.</dialogue>
<scene_description>CUT.: Casey's filming the big screen TV, which is showing the news.</scene_description>
<character>REPORTER</character>
<dialogue>-going to have a feed live on the scene in the second, we apologize for the delay but as of right now every news helicopter in the greater Multnomah County is headed to Portland- again, right now we have very little information, but the word is that the bombings started just over nine minutes ago, and haven't subsided yet, with- okay, here's the feed from NBC Chopper 5.</dialogue>
<scene_description>We get a helicopter view from over downtown Portland, everything seems okay, and then something streaks by, crashing headlong into the side of a building. The impact is like a wrecking ball, office furniture blowing out into the air along with glass, steel and concrete, WHAM.</scene_description>
<character>FIELD REPORTER (O.S.)</character>
<dialogue>Wait, that was- that was not a bomb- I repeat, not bombings, it's something else-</dialogue>
<scene_description>The camera turns as Matt rushes down the stairs, now in his winter parka, his nose plugged with kleenex. We hear another of those jarring, shattering impacts, and the camera goes back to the TV, revealing the big MADE IN OREGON sign in Old Town toppling down into the street.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>I need your car.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>What? Matt, look, what's happening, look at what's happening-</dialogue>
<character>MATT</character>
<dialogue>I see, I know, I have to go, okay-</dialogue>
<character>CASEY (V.O.)</character>
<dialogue>Don't leave, don't leave me-</dialogue>
<character>MATT</character>
<dialogue>Give me your keys.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>I- Matt-</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASEY'S HOUSE - MOMENTS LATER</stage_direction>
<scene_description>Casey is chasing Matt across the lawn to her car, her voice filling with panic, the camera being held offhanded now, unimportant.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>Please don't leave, don't go-</dialogue>
<scene_description>We hear helicopters pass low overhead.</scene_description>
<character>MATT</character>
<dialogue>I have to go to the city.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>NO MATT PLEASE, PLEASE-</dialogue>
<character>MATT</character>
<dialogue>I can't fly if there are all these helicopters in the air, I just have to drive there, or, listen, I have to figure this out, Andrew's in trouble. This is my fault.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Andrew? What are you talking ab-</dialogue>
<scene_description>Matt gets in the car and starts it. Casey's breaking down, openly crying now.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>Matt please! MATT PLEASE, PLEASE DON'T GO, I'M AFRAID! MATT I'M SCARED, PLEASE!</dialogue>
</scene>
<scene>
<stage_direction>INT. CASEY'S CAR - MOMENTS LATER</stage_direction>
<scene_description>Casey's sitting shotgun as Matt drives. His face is unreadable. They're driving on the I-5. More helicopters. Downtown Portland is visible now, as are some fires. Casey is quietly crying, the camera held loosely in her lap.</scene_description>
<character>MATT</character>
<dialogue>This is all my fault.</dialogue>
<character>CASEY</character>
<dialogue>No! No it isn't! It isn't your fault!</dialogue>
<scene_description>We hear and see the lights of ambulances and police cars as they zoom past, but Casey keeps the camera on Matt.</scene_description>
<character>CASEY</character>
<dialogue>Matt, it's not safe. It's not safe. What's going on. What's happening. Why are we doing this, Matt, please. Please take me home. You don't have your license, you can't drive without your license.</dialogue>
<scene_description>CUT.: They're getting into downtown now. We can hear sirens. Casey is filming out the window, everything looks normal, until there's a loud crash; then Casey swishes the camera to reveal that a police car, its siren still moaning, has landed on top of a newstand, apparently dropped from the sky.</scene_description>
<character>CASEY</character>
<dialogue>How- how is that possible, that's not possible-</dialogue>
<scene_description>There's an explosion from nearby and shattered glass rains down onto the car. Matt slams on the brakes, looking up through the windshield, searching the sky.</scene_description>
<character>MATT</character>
<dialogue>Where are you, man?</dialogue>
<scene_description>There's a beat, and then a police officer abruptly appears on the passenger's side, next to Casey.</scene_description>
<character>POLICE OFFICER</character>
<dialogue>Listen, you can't be here, I need you to turn this car around right now and-</dialogue>
<scene_description>The police officer is yanked upwards, disappearing from sight for a moment before coming crashing down thirty feet away. Casey screams.</scene_description>
<character>CASEY</character>
<dialogue>What's...What is...What's...Matt please, please-</dialogue>
<scene_description>The car SUDDENLY ROCKETS INTO THE AIR, straight up, flipping end over end, past the tops of the buildings, and then comes to a stop, hanging at about two hundred feet. Casey's breathing is painfully short and sharp. Matt stares out into the night sky. He flicks on the brights. There's Andrew, in his hospital gown, floating a dozen feet out, his flesh charred and twisted, his body clearly wracked with agonizing pain. A news helicopter circles past out of sight, and for a moment, Andrew is framed in the chopper's spotlight. His eyes flash to the car.</scene_description>
<character>ANDREW</character>
<parenthetical>(screaming)</parenthetical>
<character>WHAT ARE YOU DOING HERE!?</character>
<dialogue>The windshield is TORN OUT, and seconds later MATT IS RIPPED OUT OF THE CAR AS THOUGH YANKED BY A GIANT HOOK, taking his seatbelt with him.</dialogue>
<character>CASEY</character>
<dialogue>No NO NO</dialogue>
<scene_description>The car goes into freefall, no longer important to Andrew, plummeting down, down, down. Casey's screams are barely audible over the rushing of the wind as the buildings rush past outside, her camera frozen in place as she plummets to her death. And then suddenly, so suddenly it's completely disorienting, the side of the car bursts apart and we're flying, blurred views of buildings, the sky, the side of some jeans... Stillness. Casey's camera is pointed down, showing her adidas...and Matt's high-tops.</scene_description>
<character>MATT (O.S.)</character>
<dialogue>Stay here, okay? You have to stay here.</dialogue>
<character>CASEY (O.S.)</character>
<parenthetical>(barely coherent)</parenthetical>
<dialogue>You can fly?</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Stay here. I have to talk to</dialogue>
<dialogue>Andrew.</dialogue>
<character>CASEY (O.S.)</character>
<dialogue>Matt..what...</dialogue>
<character>MATT (O.S.)</character>
<dialogue>Casey, I'm sorry, I'm so sorry.</dialogue>
<scene_description>Matt's feet suddenly go out of frame.</scene_description>
<character>CASEY (O.S.)</character>
<dialogue>Matt wait! WAIT PLEASE! MATT!</dialogue>
<scene_description>NOTE: In the following sequence, everything is seen in glimpses and glances, never lingering too long on one thing. Much of what happens should be seen through implication, rather than direct effect. Everything happens very fast, and none of the cameras can fully keep track. FROM SEVERAL HELICAMS. The feed is crisp and clear, but without the satellite audio, meaning no narration from the reporter. There are several chopper's flying at different distances from the action, and we intercut as necessary.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN PORTLAND</stage_direction>
<scene_description>The news chopper at first shows Casey's destroyed car laying in the street, then pans back up to show Andrew, who's floating hunched over, vomiting. Matt flies up behind him, and tries to help him, but Andrew shoves him away. We're too far away to hear anything that's said. Matt tries again, and Andrew yells something. Matt, clearly upset, replies. Andrew, talking fast and jerky, gestures towards his burns. Matt tries to reply several times, but Andrew isn't hearing it. Matt smiles nervously at the destruction, and says something gently. Andrew replies, and whatever is said here, it causes a radical shift in Matt's demeanor. He's no longer concerned; he seems repulsed. Andrew says more, clearly SCREAMING at Matt. Matt seems to beg Andrew for something and Andrew relents. Matt continues, more forcefully, and then notices something to his right. A BUS SMASHES HIM OUT OF THE AIR, SWATTING HIM LIKE A BUG INTO THE SIDE OF AN APARTMENT COMPLEX. Andrew suddenly turns, flailing an arm at us in the chopper; a mailbox comes CRASHING UP INTO THE CAMERA. FROM MICHAEL ERNESTO'S CAMERA. MICHAEL ERNESTO is, along with several other people from his building, out on his roof. He watches in horror as the helicopter Andrew hit goes out of control, falling out of frame. Moments later, we hear the explosion as it crashes.</scene_description>
<character>MICHAEL ERNESTO (O.S.)</character>
<dialogue>Oh, oh no, those people, man, those people, oh god-</dialogue>
<character>ERNESTO'S NEIGHBOR (O.S.)</character>
<dialogue>Where's the other guy?</dialogue>
<character>MICHAEL ERNESTO (O.S.)</character>
<dialogue>He's fucking dead man, you saw- oh shit oh shit-</dialogue>
<scene_description>Andrew comes toppling down out of the sky like a wounded bird, crashing into the roof. He vomits again, mostly bile; everyone around him is in shock, frozen, as he screams in pain and rolls over. He's bleeding badly from the nose and ears.</scene_description>
<character>ANDREW</character>
<parenthetical>(agonized, crying)</parenthetical>
<dialogue>No one's gonna help me...No one's gonna help me now...</dialogue>
<scene_description>We get some shots from other people's cameras, video phones, etc on the roof. Some people scream and try to run past Andrew, and he blasts them off the roof like bowling pins, which leads to more screaming. Andrew stands shakily, looking directly at Michael Ernesto.</scene_description>
<character>MICHAEL ERNESTO (O.S.)</character>
<dialogue>Please man, please, I don't know you man-</dialogue>
<character>ANDREW</character>
<parenthetical>(mumbled)</parenthetical>
<dialogue>What type of camera is that?</dialogue>
<character>MICHAEL ERNESTO (O.S.)</character>
<parenthetical>(breaking down)</parenthetical>
<dialogue>What? I don't know, I don't know you man, I didn't- please okay, please-</dialogue>
<scene_description>Andrew starts to raise an arm, when he's suddenly NAILED BY MATT, blasting by at well over eighty miles an hour. FROM BANK SECURITY CAMERA. The inside of the bank is quiet and peaceful, when MATT AND ANDREW COME CRASHING THROUGH THE ROOF. FROM POLICE CAR DASHBOARD CAM. The police car rockets up the street, but has to screech to a halt when MATT AND ANDREW COME EXPLODING OUT OF THE FRONT OF THE BANK. The two of them brawl in the street for a moment; it's not impressive martial arts, or even super powered, just two guys fighting for their lives. Matt gets the upperhand, decking Andrew and driving him to the ground, and suddenly the cop car (our POV), lifts off. WE GO FLYING INTO MATT, crashing out the camera as he turns and creates a telekinetic wall. FROM CALA PRENTI'S CAMERA. CALA, filming from her apartment window, watches in shock and horror as the police car, carried by its momentum, is sent FLIPPING INTO THE AIR, and we glimpse it as it passes her window, lights still flaring. Her sister rushes up, looking out the window.</scene_description>
<character>CALA (O.S.)</character>
<dialogue>Sissy stay away from the window!</dialogue>
<character>SISSY</character>
<dialogue>What's happening what's happening-</dialogue>
<character>CALA (O.S.)</character>
<dialogue>They're right out there fighting! They're-</dialogue>
<scene_description>Andrew and Matt come BLASTING UP THROUGH THE FLOOR IN THE KITCHEN OFF TO THE RIGHT, AND THEN OUT THROUGH THE CEILING. FROM KPR-PORTLAND'S HELICAM. The two boys come smashing up through the roof of the apartment building. Andrew flies low, and Matt gives chase. Andrew turns, beginning to telekinetically lob everything at street level at Matt; traffic lights, parking meters, trees, etc... ...But Matt's too good a flyer. What he doesn't block he simply dips and weaves around. Andrew, clearly still woozy, is distracted and smashes into a street-light, wiping out on the asphalt.</scene_description>
<character>CAMERA-MAN</character>
<dialogue>They're down. One of them just went down. Jesus christ.</dialogue>
<scene_description>Matt slowly lands nearby. The camera zooms in and hits them both with a spotlight, causing Matt to shield his eyes and look up, scared, as Andrew struggles to stand. We get a good look at the toll this is taking on him; Matt's face is a crimson mask of blood from his nose, eyes, mouth and ears. He's limping badly, his clothes torn, visibly covered with injuries. He looks like he's been in a car wreck.</scene_description>
<character>CAMERA-MAN</character>
<dialogue>Oh shit, look at him.</dialogue>
<scene_description>He approaches Andrew, talking again, more fervently. Andrew just shakes his head, falling repeatedly as he tries to stand, like a wounded dog. Two cop cars skid to a halt nearby, the officers unloading and taking cover. One of them advances on Matt and Andrew, gun raised. Matt goes out in front of Andrew, protective, pleading, raising his hands. The cop is clearly panicked. He fires a shot. Matt's arm whips out, impossible fast; he buckles and screams in pain, holding his hand, which is gushing blood. Andrew blasts the Matt falls, screaming, and Andrew stands. officers backwards.</scene_description>
<character>CAMERA-MAN</character>
<dialogue>OH SHIT! Oh jesus christ!</dialogue>
<scene_description>Andrew approaches Matt, screaming and looking absolutely terrifying. Matt turns and ROCKETS OFF INTO THE SKY, Andrew following a second later, tackling Matt out of the air. FROM KPR-PORTLAND'S LIVE-ON-THE-SCENE. We're at street level in downtown, people are absolutely everywhere, wandering out into the street, baffled, scared and looking for answers. A FIELD REPORTER fixes herself, preparing to speak.</scene_description>
<character>FIELD REPORTER</character>
<dialogue>Are we...Okay, yeah, gimme- two, one- We're live on the scene on Parson Boulevard just south of the center of downtown, and-</dialogue>
<scene_description>There's a rushing, screeching sound from around the corner. The camera jerks, and moves towards the corner, the cameraman man running to see what the sound is.</scene_description>
<character>FIELD REPORTER</character>
<dialogue>Shawn, wait, you're unplugged. Shawn-</dialogue>
<scene_description>Something around the corner explodes, and Matt comes flying past overhead, slightly on fire, before Andrew comes lunging at Matt, catching him, twisting out and over the camera man, SLAMMING HIM INTO THE SIDE OF A SKYSCRAPER ON THE STREET. Andrew lifts Matt up high into the air, scraping him against buildings on either side of the street, bouncing like a pinball until- FROM ABC 5'S HELICAM. -Matt struggles, and there's a visible ripple in the air; a massive concussive burst, sending both of them rocketing downwards as though shot out of a cannon. They strike the massive bronze statue of "Portlandia," a trident wielding demigoddess, in front of the Michael Graves building, uprooting it from its pedestal before crashing to the ground. Matt's body accordions brutally when he lands, and he flops down at a broken, dead angle. Andrew lands nearly as badly, lays still for a moment, and then begins twitching and screaming when the chopper's spotlight hits him. FROM MICHAEL GRAVES' BUILDING EXTERIOR SECURITY CAMERA The statue of Portlandia lays awkwardly in the street. Andrew writhes. Matt is motionless, blood pooling around him, his back broken. FROM POLICE DASHBOARD CAMS, HELICOPTER CAMERAS, HANDHELDS FROM WINDOWS, EVERYTHING. A bunch of squad cars and emergency units converge around the front of the Michael Graves building and downed statue. Matt and Andrew's bodies are painted by spotlights as police and news helicopters hang overhead. Police unload en-mass, guns out, immediately forming a perimeter and pushing in. We're with them as they approach; the mood is of barely controlled panic, officers shouting back and forth to each other. Andrew and Matt are polka-dotted by red-laser sight dots. Andrew suddenly stands up, and several officers fire; the bullets spark off an invisible barrier in front of him, and he shakily raises both hands. The all of the police officers, firemen and paramedics are telekinetically lifted into the air. They hang struggling for a moment, and then all of their limbs go rigid. We've seen this before. Andrew screams, and then...It all happens in under two seconds: Matt swings an arm, blinding fast; the triton wielding arm of Portlandia bends jaggedly, bringing down the pitchfork hard, first through Andrew, then into the pavement. Andrew stands impaled, a look of shock on his face, and then Matt flails up his hand; the bullet lodged inside fires out, striking Andrew in the head, killing him instantly. All of the floating people drop, dazed. Matt collapses. After a moment, the police advance. CUT TO BLACK.: FROM CLEAN ROOM CAMS. The clean room cams are incredibly hi-def, crisp and clear, with all manner of data and time codes scrolling all over the top and bottom of the screens. Matt lays on the floor of a perfectly white room. At the far end is a blackened out two way mirror. There's a camera on the inside of this too, and we can see resolute men in suits reflected on the inner glass, watching with unreadable expressions. There is a chair and a table, but he's clearly fallen out of the chair. It's maybe an hour after the scene in front of the Michael Graves building, and he's received no medical attention. To this end, Matt is suffering from, among other things, massive blood-loss, multiple broken bones, dozens of gashes and cuts, presumed internal bleeding, and a broken back. He can barely move, sliding around on the floor in his own blood as he dies, watched by the compassionless eyes of the cameras. He is barely coherent, screeching in agony.</scene_description>
<character>MATT</character>
<dialogue>Please...Help me. Help me, HELP ME, please...I'm sorry! I'm so sorry, I tried- help me, help me, I'm dying, I'm dying. Stars- I see stars, somebody- It hurts, please. I'm- the blood...I tried...</dialogue>
<scene_description>Two men in contamination suits enter the room, wielding some kind of radiation sensors. They go over to Matt, scanning him.</scene_description>
<character>MATT</character>
<dialogue>Listen, help me, help me. I'm dying, you have to help me, don't just let me- PLEASE I'M SORRY! I'm SORRY! HELP ME! I-</dialogue>
<scene_description>The men ignore him as Matt makes some gasping sounds, his eyes going wide.</scene_description>
<character>MATT</character>
<dialogue>I can...I can hear the singing.</dialogue>
<scene_description>Matt entirely stops moving. He lays there, not breathing, completely still. And then suddenly the two men are flung backwards, as is the table and the chair. There are a series of grotesque popping and snapping sounds from Matt's body, and he jerks, and writhes, pushing himself up onto his hands and knees. The security cams track and zoom, and as Matt stands, we realize a startling truth: his cuts are closing themselves. His broken bones have already molded back into place. His bruises are shrinking away to nothing. The blacked out glass suddenly shatters, and falls out of its frame, revealing a shocked, frightened room of high ranking military personnel, along with several men in civilian clothes. Matt stares at them. They stare back at him.</scene_description>
<character>4-STAR GENERAL</character>
<parenthetical>(terrified)</parenthetical>
<dialogue>Listen...Son, you don't- I mean...</dialogue>
<scene_description>Matt raises a finger to his lips, and the general trails off. Matt smile weakly for a moment, then stops.</scene_description>
<character>MATT</character>
<dialogue>Would you please...turn off the fucking cameras.</dialogue>
<scene_description>CUT TO BLACK.: HOLD ON BLACK: FOR A MOMENT.: SMALL TITLE: (2: YEARS LATER): FROM INTERNATIONAL NEWS BROADCASTS. We see a variety of international reporters covering a breaking story, but only see little clips of each, in multiple languages. Behind them are various shots of a huge hydroelectric dam in South Korea.</scene_description>
<character>REPORTERS</character>
<dialogue>-expected to burst at any moment- City officials blame the malfunctions on the terrorist bombing that occurred at the dam's control center last March.- Botched evacuation has left thousands of the Kyo-lee Valley's</dialogue>
<dialogue>residents trapped, with only one major roadway leading in or out. A roadway that has not been repaired in over ten years- Again, the scale here is just unprecedented. Our hearts are with people of Kyo-Lee tonight.</dialogue>
<scene_description>FROM KIM HAI-SU'S CAMERA.</scene_description>
</scene>
<scene>
<stage_direction>INT. KIM HAI-SU'S HOUSE</stage_direction>
<scene_description>Kim Hai-Su, 17, is behind the camera filming his father, 40s, as his father hurries to gather his things into a duffle. Kim Hai-Su's younger brother, 8, wanders into the room, crying loudly, and Kim's father screams at him to put down the camera. CUT.: They're in the car, driving fast through town. All around we can see people panicking, and we see two cars collide on the road up ahead. CUT.: They pull up onto an on-ramp, and are immediately trapped into gridlocked, dead-end traffic. Kim Hai-Su's father begins shrieking, and banging on the dashboard, which triggers his younger brother crying again. Kim shouts to calm down. CUT.: Kim is climbing out of the car; people all around are getting out of their cars, hopelessly trapped. Someone screams, and Kim turns to reveal an enormous dam several miles away. Rubble is falling off the side of an gigantic crack, which splits further. Kim yells in fear. The crack widens, an enormous tidal gush of water bursts through, gushing down the side of the hills into the valley. Kim's father embraces him, and they have a brief exchange, when suddenly there's the sound of a sonic boom overhead. All around them people EXPLODE into cheers. It's not fear, but rather a kind of frantic ovation. The camera sweeps up, panning the empty blue sky excitedly, finally coming to rest on Matt Garrety. Looking fucking great as he floats above the freeway. He pantomimes "yeah, bring it on, cheer louder!" This gets the intended response, and he pumps a fist shouting "FUCK YEAH KOREA!" He turns, pretending to notice the oncoming flood for the first time, mouths "Oh shit!" Points at the flood casually as it closes in: "I should deal with this." Another huge ovation, and Matt smiles widely nods his head "yeahhhhhh!" and turns. There's a sonic boom as he goes from zero to mach 4 in less than a second, rattling the cars on the freeway, disappearing into the distance over the flood. After a moment, the impossibly huge onrush of water seems to stop, slowing and freezing in place, and then...SLOWLY BEGINS TO REWIND TOWARDS THE DAM. The camera jerks around wildly as the crowd goes insane, embracing, kissing, screaming, jumping on their cars. Kim's father has collapsed into tears of joy next to the car, and Kim himself is hooting and hollering from the bottom of his lungs. The camera comes up to show his little brother, who is going positively ape-shit on the hood of their car, jumping up and down, screaming, smiling... An unearthly, angelic, vibrating chorus of voices starts to rise, rise, singing and we- SLAM TO TITLE ON: BLACK:</scene_description>
<character>CHRONICLE.</character>
</scene>
</script> | Seattle outcast teenager Andrew Detmer is bullied at school and abused by his alcoholic father Richard, while also coping with his mother Karen's battle with cancer. His only friend is his cousin, Matt Garetty. Inspired by Matt's on-and-off girlfriend Casey, Andrew buys a camera to make a video diary about his life. Matt invites Andrew to a party to help him mingle, but he leaves after his filming causes an altercation with another attendee. Popular student Steve Montgomery approaches Andrew and asks him to record a large hole he and Matt discovered in the woods. The three journey down the hole where they discover a glowing crystalline object. The object suddenly begins to react violently and the camera shorts out. Weeks later, Andrew, Matt, and Steve have developed telekinetic abilities, though they suffer nosebleeds when they overexert themselves. Unable to revisit the hole after it is closed off by police, they start using their abilities to play pranks on people, but it goes too far when Andrew telekinetically pushes a rude motorist off the road into a nearby pond. After the trio manages to save the man from drowning, Matt insists they restrict the use of their powers, particularly against living beings. After Steve discovers they can have flight abilities, the trio agrees to fly around the world together following graduation, with Andrew, in particular, desiring to visit Tibet. Steve encourages Andrew to use his powers for a magic act in the school talent show, which amazes their peers. Andrew relishes his newfound popularity at a house party, but the night ends in disaster when he drunkenly vomits on a classmate he had intended to have sex with, and Steve accidentally offends him while trying to lighten the mood. Richard confronts Andrew after finding his camera and beats him. Andrew uses his powers to violently repel him and flees the house. In the middle of a lightning storm, Steve flies out to console him, but as Andrew becomes increasingly frustrated, Steve is suddenly struck by lightning and killed. Andrew denies responsibility when questioned by Matt at the funeral, but later privately begs forgiveness at Steve's grave. Andrew is once again ostracized at school following the incident at the party. After telekinetically ripping teeth from a bully's mouth, Andrew begins to identify as an apex predator and rationalizes that he should not feel guilty for using his powers to hurt those weaker than him. Desperate to pay for his mother's medication, Andrew disguises himself with his father's firefighter gear and uses his powers to rob a gang and a gas station, inadvertently causing an explosion that puts him in the hospital and police custody. At his bedside, a distraught Richard informs an unconscious Andrew that Karen has died after spending the day searching for him. Richard berates Andrew for allegedly causing his mother's death and prepares to strike him, but Andrew abruptly awakens and blows out the wall of the room. Matt experiences a severe nosebleed and realizes Andrew is in trouble after seeing a news alert on TV about a mysterious explosion downtown. He and Casey head to the hospital to find Andrew unleashing his rage all over downtown. Matt fights Andrew, crashing through buildings, hurling vehicles, and landing at Space Needle while the police surround them. Matt tries to reason with Andrew, but he is too far gone and threatens other bystanders, so Matt reluctantly kills him with a spear from a nearby statue. Matt flies away before the police can reach him. Sometime later, Matt lands in Tibet with Andrew's camera, apologizing to him while vowing to use his powers for good and discover the truth about what happened to them. He points the camera at a Tibetan monastery in the distance before flying away, leaving the camera behind. |
Ma Rainey's Black Bottom_2020 | tt10514222 | <script>
<scene>
<scene_description>MA RAINEY'S BLACK BOTTOM Screenplay by Ruben Santiago-Hudson Based on the play by August Wilson Directed by George C. Wolfe IN BLACK WE HEAR: A RAW, GUTTERAL, BLUES MOAN...GROAN...GROWL. THE BLACK COMES IN TO FOCUS TO REVEAL- The blue-black, full moon-of-a-face of MA RAINEY. The source of this ethereal sound. She opens her mouth to wail and her imperfect gold teeth sparkle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHOW TENT - GOD'S POV</stage_direction>
<scene_description>We look down on a huge "show tent". People from every direction, drawn to the magic of Ma Rainey's sound like flies to stank, make their way to the event. - People piled inside busted up jalopies. - Riding on "buckboard wagons". - Dressed in their Sunday best, and even if they don't have a Sunday best, it's been starched and pressed within an inch of its life. AT THE ENTRANCE: The sign reads "The Mother Of The Blues Madame Gertrude "Ma" Rainey and her Georgia Smart Set". We see black hands passing money to other black hands. Day laborers digging deep into their pockets pulling out their hard-earned cash.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOW TENT</stage_direction>
<scene_description>The place is packed with levee camp workers, cotton pickers, preachers, gamblers, and share croppers. Hard working Negro's feeling no pain. Sanctified by her blues, shouting "Well", "Tell the truth", "Go on Ma!" And center stage, illuminated by the rickety footlights, is MADAME RAINEY wringing the mess out of them blues. Her necklace of $5, $10 and $20 gold pieces shining bright. She and her Jug Band working their number.</scene_description>
<character>MA RAINEY</character>
<parenthetical>(sings)</parenthetical>
<dialogue>My bell rang this morning, didn't know which way to go / My bell rang this morning, didn't know which way to go. / I had the blues so bad / I sat right down on my floor...</dialogue>
<scene_description>Sweat pours down the ebony faces of the people. Whether laughter or tears it doesn't matter. It's Saturday night and these folks are colored and there ain't no better place or thing to be.</scene_description>
<character>MA RAINEY</character>
<dialogue>I felt like going on a mountain, jumping over in the sea / I felt like going in a mountain, jumping over in the sea / When my daddy stay out late he don't care a thing for me... Daddy, Daddy, please come home to me. / Daddy, daddy, please come home to me. / I'm on my way, crazy as I can be.</dialogue>
<scene_description>The bellow of Ma Rainey's powerful voice blends into a train whistle.</scene_description>
<character>MA RAINEY</character>
<dialogue>Mmmmnn, mmmn / Mmmmnn, mmmn...</dialogue>
<scene_description>MONTAGE: A SERIES OF ARCHIVAL IMAGES FROM THE GREAT MIGRATION. -Black folk on train cars packed to the gills. -Beat up pick-up trucks, buckboard wagons stacked with families, a chicken or two and a bunch of hopes and dreams. -All traveling past Negroes working in the fields. Their heads pop up, watching their friends and kin leaving the rich soil of the south for something better up north far away from Jim Crow. -The field workers watch the trucks and wagons disappear up the road fueled by Ma Rainey's song. - We see a couple of men hopping aboard a moving freight train. Doesn't matter where it's going, so long as it's headed north. SMASH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHICAGO'S GRAND THEATER</stage_direction>
<scene_description>The blinding footlights of Chicago's Grand Theater as MA RAINEY slays the crowd! The place packed with Northern Colored people (formerly Southern Colored people).</scene_description>
<character>MA RAINEY</character>
<dialogue>Daddy, daddy, please come home to me. / Daddy, daddy, please come home to me. / I'm on my way, crazy as I can be.</dialogue>
<scene_description>MA RAINEY with her band and show girls are tearing up the stage, as LEVEE, young and brash, Ma's trumpet player, boldly snatches a solo. MA RAINEY cuts her eye at LEVEE and snatches back her blues..</scene_description>
<character>MA RAINEY</character>
<dialogue>Hey! Hey Daddy! / Please come home to me. / Hey! Oh yeah! / I'm on my way, crazy as I can be.</dialogue>
<scene_description>Her chorus girls begin to dance an exuberant "Charleston". MA RAINEY joins them, stretching out! IN THE WINGS: DUSSIE MAE, early 20'S, A bronze beauty, Ma's gal, dances the show girls routine. She and LEVEE trade looks. The blue lights hit Ma Rainey's black sequined dress, she shimmies and shakes and the crowd roars as the number ends.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRONZEVILLE - CHICAGO. 1927.</stage_direction>
<scene_description>A SCORCHING HOT SUMMER SUN LOOMS OVER BRONZEVILLE BEARING DOWN ON THE HEADS AND FACES OF NEGRO FACTORY WORKERS AND DAY LABORERS HUSTLING TO WORK. ACROSS TOWN--:</scene_description>
</scene>
<scene>
<stage_direction>EXT. AN INDUSTRIAL NEIGHBORHOOD</stage_direction>
<scene_description>WHITE shop owners with their customers handling their business in the sweltering heat. Finding shade in their doorways and under their awnings as the sun continues to pound.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - BOOTH</stage_direction>
<scene_description>STURDYVANT, White, 60'S, the manager of the studio, works the knobs and dials. Preoccupied with money, his prefers to deal with the colored performers at arms length. He looks down at IRVIN, White, 40's, Ma's manager, a tall, fleshy man who prides himself on his knowledge of colored artists and his ability to deal with them.</scene_description>
<character>IRVIN</character>
<dialogue>Testing, one, two, three...Testing, one, two, three.</dialogue>
<character>STURDYVANT</character>
<dialogue>You got that list?</dialogue>
<character>IRVIN</character>
<dialogue>I got it. Don't worry about...</dialogue>
<character>STURDYVANT</character>
<parenthetical>(over the horn)</parenthetical>
<dialogue>You keep her in line. I'm holding you responsible. I'm not putting up with any shenanigans. You hear, Irv?</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - CONTINUOUS.</stage_direction>
<character>IRVIN</character>
<dialogue>Okay, okay, Mel...let me handle it.</dialogue>
<scene_description>IRVIN crosses over to the piano and mindlessly runs his fingers over her keys.</scene_description>
<character>STURDYVANT</character>
<parenthetical>(over the horn)</parenthetical>
<dialogue>I'm just not gonna stand for it. I want you to keep her in line. Irv? Irv?</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDUSTRIAL NEIGHBORHOOD</stage_direction>
<scene_description>We hear the metal wheels of the "L" rattle along the tracks. THREE COLORED MUSICIANS descend the "L" platform stairs toting their instruments. They find themselves in an all White working class neighborhood. An ICE TRUCK passes as they hurry across the street trying to ignore the stares and awkward glances aimed their way. Clearly, hauling those instruments in the bruising summer heat has been kicking their asses. They are- SLOW DRAG, hauling a bass fiddle. CUTLER, carrying a trombone case. TOLEDO, a newspaper under his arm.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>STUDYVANT enters from the control booth.</scene_description>
<character>STURDYVANT</character>
<dialogue>I'm not putting up with any Royal Highness...Queen of the Blues bullshit.</dialogue>
<character>IRVIN</character>
<dialogue>Mother of the Blues, Mel. Mother of the Blues.</dialogue>
<character>STURDYVANT</character>
<dialogue>I don't care what she calls herself...I'm not putting up with it. I just want to get her in here...record those songs on that list...and get her out. Just like clockwork, huh?</dialogue>
<character>IRVIN</character>
<dialogue>Like clockwork, Mel.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING - ALLEY</stage_direction>
<scene_description>The three musicians turn down an alley to the side entrance of the building.</scene_description>
<character>CUTLER</character>
<dialogue>You ought to have heard Levee at the club last night, Toledo. Trying to talk to that gal Ma had with her.</dialogue>
<character>TOLEDO</character>
<dialogue>You ain't got to tell me. I know how Levee do.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee tried to talk to that gal and got his feelings hurt.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>Door buzzer sounds. IRVIN is immediately on the move to answer it, STURDYVANT on his tail.</scene_description>
<character>STURDYVANT</character>
<dialogue>...and that horn player...the one who gave me those songs, is he gonna be here today? I want to hear more of that sound.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING - ALLEY</stage_direction>
<scene_description>IRVIN snatches open the door.</scene_description>
<character>IRVIN</character>
<dialogue>How you boys doing, Cutler?</dialogue>
<character>CUTLER</character>
<dialogue>Oh, fine, Mr. Irvin.</dialogue>
<character>IRVIN</character>
<parenthetical>(stepping into the alley)</parenthetical>
<dialogue>Where's Ma? Is she with you?</dialogue>
<character>CUTLER</character>
<dialogue>I don't know Mr. Irvin. She told us to be here at one o'clock. That's all I know.</dialogue>
<character>IRVIN</character>
<dialogue>Where's...uh...the horn player?</dialogue>
<character>CUTLER</character>
<dialogue>Levee's supposed to be here same as we is. I reckon he'll be here in a minute.</dialogue>
<character>IRVIN</character>
<dialogue>Well, come on in. I'll show you the band room. I'll get you fed and ready to make some music.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>IRVIN heads down the dimly lit back Hallway, the men behind him. STURDYVANT hovering nearby.</scene_description>
<character>STURDYVANT</character>
<dialogue>Where's Ma? How come she isn't with the band?</dialogue>
<character>IRVIN</character>
<parenthetical>(on the move)</parenthetical>
<dialogue>She'll be here.</dialogue>
<scene_description>IRVIN stops at the top of THE BASEMENT STAIRS THAT LEAD TO THE REHEARSAL ROOM and hits the light switch.</scene_description>
<character>IRVIN</character>
<dialogue>Cutler, here's the list of songs we're gonna record.</dialogue>
<scene_description>Cutler's hands are full. Irvin stuffs the paper in his jacket pocket as the FELLAS head down the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>Darkness. The door swings open. CUTLER, backlit by the stairway light, steps in and fumbles around for the light switch. He mashes the "on" button. IT IS A WINDOWLESS SUBTERRANEAN ROOM. ONCE A STORAGE ROOM. NO AIR. NO LIGHT. A BENCH, LOCKERS, SOME FOLDING CHAIRS AND CRATES. BUT THANK GOD THERE IS A CEILING FAN. The FELLAS ease into the hot ass room. CUTLER takes off his jacket and hands TOLEDO the song list.</scene_description>
<character>CUTLER</character>
<dialogue>What we got there, Toledo?</dialogue>
<scene_description>CUTLER goes over and pulls the cord of the ceiling fan. Nothing happens.</scene_description>
<character>TOLEDO</character>
<dialogue>We got..."Prove It On Me"..."Hear Me Talking To You"..."Ma Rainey's Black Bottom" and "Moonshine Blues"</dialogue>
<character>CUTLER</character>
<dialogue>Them ain't the songs Ma told me.</dialogue>
<scene_description>CUTLER pulls the fan cord again and the fan begins sloooowly turning. Barely enough to stir the air.</scene_description>
<character>SLOW DRAG</character>
<dialogue>I wouldn't worry about it if I was you, Cutler. Ma will get it straightened out.</dialogue>
<character>CUTLER</character>
<dialogue>"Moonshine Blues." That's one of Bessie's songs.</dialogue>
<character>TOLEDO</character>
<dialogue>Slow Drag's right. Let them straighten it out.</dialogue>
<character>CUTLER</character>
<dialogue>Levee know what time he supposed to be here?</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee gone out to spend your four dollars.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BRONZEVILLE BUSINESS STREET</stage_direction>
<scene_description>A MAN stands on the corner of 44th & S State St, holding a trumpet. Clearly, a stranger in a new land. He is "country boy sharp". His flamboyance is sometimes subtle and sneaks up on you. His temper is rakish and bright. He lacks fuel for himself and is somewhat of a buffoon. But it is an intelligent buffoonery, clearly calculated to shift control of the situation to where he can grasp it. He is enthralled by the citified Negroes stylishly dressed, until he turns and sees a SHOE STORE.</scene_description>
<character>SLOW DRAG (V.O.)</character>
<dialogue>He left the hotel this morning talking about he was gonna go buy some shoes. Say it's the first time he ever beat you shooting craps.</dialogue>
<scene_description>A DOOR BUZZER SOUNDS and--</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<character>CUTLER</character>
<dialogue>I ain't thinking about no four dollars.</dialogue>
<character>TOLEDO</character>
<dialogue>Let me get a hit of that, Slow Drag.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee sure was thinking about it. That four dollars liked to burn a hole in his pocket.</dialogue>
<character>CUTLER</character>
<dialogue>Well, he's supposed to be here at one o'clock.</dialogue>
<character>TOLEDO</character>
<dialogue>That's some good Chicago bourbon!</dialogue>
<scene_description>The door swings open and LEVEE strides in. He drops his trumpet case on top of the piano, aggravating TOLEDO.</scene_description>
<character>LEVEE</character>
<dialogue>Look here Cutler...I got me some shoes!</dialogue>
<character>CUTLER</character>
<dialogue>Nigger, I ain't studying you.</dialogue>
<scene_description>LEVEE ceremoniously pulls the shoes out of the box as if they were the crown jewels and starts to put them on.</scene_description>
<character>TOLEDO</character>
<dialogue>How much you pay for something like that, Levee?</dialogue>
<character>LEVEE</character>
<dialogue>Eleven dollars. Four dollars of it belong to Cutler.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee say if it wasn't for Cutler...he wouldn't have new shoes.</dialogue>
<character>CUTLER</character>
<dialogue>I ain't thinking about Levee or his shoes. Come on... let's get ready to rehearse.</dialogue>
<character>SLOW DRAG</character>
<parenthetical>(gets a grip on his bass)</parenthetical>
<dialogue>I'm with you on that score, Cutler. I don't want to be around here all night.</dialogue>
<character>TOLEDO</character>
<dialogue>Ain't but four songs on the list. Last time we recorded six.</dialogue>
<scene_description>The "proud rooster" struts about.</scene_description>
<character>LEVEE</character>
<dialogue>Yeah! Now I'm ready! I can play some good music now!</dialogue>
<scene_description>He sees a side door and goes over to let some air into the room. He yanks on it but the door is sealed tight.</scene_description>
<character>LEVEE</character>
<dialogue>Damn! They done changed things around. Don't never leave well enough alone.</dialogue>
<scene_description>TOLEDO takes LEVEE'S trumpet off of the piano and plops it down on the floor. SLOW DRAG tunes his bass. Note: The thumping and sliding of the bass strings underscore LEVEE and TOLEDO's debate. An intricate trio.</scene_description>
<character>TOLEDO</character>
<dialogue>Everything changing all the time. Even the air you breathing change. You got, monoxide, hydrogen... changing all the time. Skin changing...different molecules and everything.</dialogue>
<character>LEVEE</character>
<dialogue>Nigger, what is you talking about? I'm talking about the room. I ain't talking about no skin and air. I'm talking about something I can see! I ain't talking about no molecules or nothing.</dialogue>
<character>TOLEDO</character>
<dialogue>Hell, I know what you talking about. I just said everything changing. I know what you talking about but you don't know what I'm talking about.</dialogue>
<character>LEVEE</character>
<dialogue>That door! Nigger, you see that door? That's what I'm talking about. The door wasn't there before.</dialogue>
<scene_description>CUTLER takes out some papers and starts to roll a reefer.</scene_description>
<character>CUTLER</character>
<dialogue>Levee, you wouldn't know your right from your left...and damn if that door wasn't there. Now, if you talking about they done switched rooms, you right. But don't go telling me that damn door wasn't there!</dialogue>
<character>SLOW DRAG</character>
<dialogue>Damn the door and let's do this. I wanna get out of here.</dialogue>
<character>LEVEE</character>
<dialogue>Toledo started all that about the door. I'm just saying that things change.</dialogue>
<character>TOLEDO</character>
<dialogue>What the hell you think I was saying? Things change. The air and everything. Now you gonna say you was saying it. You gonna fit two propositions on the same track, run them into each other, and because they crash, you gonna say it's the same train.</dialogue>
<character>LEVEE</character>
<dialogue>Now this nigger talking about trains! We done went from the air to the skin to the door...and now trains. Toledo, I'd just like to be inside your head for five minutes. Just to see how you think. You done got more shit piled up and mixed up in there than the devil got sinners. You been reading too many goddamn books.</dialogue>
<scene_description>LEVEE, checking himself out in the broken full length mirror, admiring his shoes.</scene_description>
<character>TOLEDO</character>
<dialogue>What you care about how much I read? I'm gonna ignore you 'cause you ignorant.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Come on, let's rehearse the music.</dialogue>
<character>LEVEE</character>
<dialogue>You ain't gotta rehearse that... Ain't nothing but old jug-band music. They need one of them jug bands for this.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Don't make me no difference. Long as we get paid.</dialogue>
<character>LEVEE</character>
<dialogue>That ain't what I'm talking about, nigger. I'm talking about art!</dialogue>
<character>SLOW DRAG</character>
<dialogue>What's drawing got to do with it?</dialogue>
<character>LEVEE</character>
<dialogue>Where you get this nigger from Cutler? He sound like one of them Alabama niggers.</dialogue>
<character>CUTLER</character>
<dialogue>Slow Drag, all right. It's you talking all that weird shit about art. Just play the piece, nigger. If you wanna be one of them...what you call...virtuoso or something, you in the wrong place. You ain't no Buddy Bolden or King Oliver... you just an ol' trumpet player come a dime a dozen. Talking about art.</dialogue>
<character>LEVEE</character>
<dialogue>What is you? I don't see your name in lights.</dialogue>
<character>CUTLER</character>
<dialogue>I just play the piece. Whatever they want. I don't go criticizing other people's music.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't like you, Cutler. I got talent!</dialogue>
<scene_description>He opens his case and takes out his silver plated trumpet.</scene_description>
<character>LEVEE</character>
<dialogue>Me and this horn, we's tight. If my daddy knowed I was gonna turn out like this, he would've named me Gabriel.</dialogue>
<scene_description>He hits a couple riffs.</scene_description>
<character>LEVEE</character>
<dialogue>I'm gonna get me a band and make me some records. I done give Mr. Sturdyvant some of my songs I wrote and he say he's gonna let me record them when I get my band together.</dialogue>
<scene_description>LEVEE grabs his sheet music from the trumpet case.</scene_description>
<character>LEVEE</character>
<dialogue>I just gotta finish the last part of this song. I knows how to play real music, not this old jug-band shit. I got style!</dialogue>
<character>TOLEDO</character>
<dialogue>Everybody got style. Style ain't nothing but keeping the same idea from beginning to end. Everybody got it.</dialogue>
<character>LEVEE</character>
<dialogue>But everybody can't play like I do. Everybody can't have their own band.</dialogue>
<character>CUTLER</character>
<dialogue>Well, until you get your own band where you can play what you want, you just play the piece and stop complaining. I told you when you came on here, this ain't none of them hot bands. This is an accompaniment band. You play Ma's music when you here.</dialogue>
<character>LEVEE</character>
<dialogue>I got sense enough to know that. Hell, I can look at you all and see what kind of band it is. I can look at Toledo and see what kind of band it is.</dialogue>
<character>TOLEDO</character>
<dialogue>Toledo ain't said nothing to you now. Don't let Toledo get started.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Is you all gonna rehearse this music or ain't you?</dialogue>
<character>LEVEE</character>
<dialogue>How many times you done played them songs? What you gotta rehearse for?</dialogue>
<character>SLOW DRAG</character>
<dialogue>This a recording session. I want to get it right the first time and get on out of here.</dialogue>
<character>LEVEE</character>
<dialogue>You all go and rehearse then. I got to finish this song for Mr. Sturdyvant.</dialogue>
<scene_description>LEVEE pulls out a pencil and starts working on his masterpiece.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING</stage_direction>
<scene_description>IRVIN, paces, checks his watch. A pack of white kids runs past, stolen apples and candy in their hands, a sweat-drenched, whistle-blowing POLICEMAN in pursuit.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>TOLEDO, CUTLER and SLOW DRAG have their instruments in hand, ready to play.</scene_description>
<character>CUTLER</character>
<dialogue>Come on, Levee...I don't want no shit now. You rehearse like everybody else. You in the band like everybody else. Mr. Sturdyvant just gonna have to wait. You got to do that on your own time. This is the band's time.</dialogue>
<character>LEVEE</character>
<dialogue>Hell, I'm ready if you wanna rehearse.</dialogue>
<scene_description>He picks up his trumpet.</scene_description>
<character>LEVEE</character>
<dialogue>I just say there ain't no point in it. Ma ain't here. What's the point in it?</dialogue>
<character>CUTLER</character>
<dialogue>"Ma Rainey's Black Bottom." Ah- One...Ah-two...you know what to do.</dialogue>
<scene_description>TOLEDO plays a short intro and the band strikes up.</scene_description>
<character>LEVEE</character>
<dialogue>Nawh! Nawh! We ain't doing it that way. We doing my version.</dialogue>
<scene_description>They come to a raggedy stop.</scene_description>
<character>LEVEE</character>
<dialogue>That's what Mr. Irvin told me...say it's on the list he gave you.</dialogue>
<character>CUTLER</character>
<dialogue>Let me worry about what's on the list.</dialogue>
<character>LEVEE</character>
<dialogue>What kind of sense it make to rehearse the wrong version of the song?</dialogue>
<character>SLOW DRAG</character>
<dialogue>You supposed to rehearse what you gonna play. That's the way they taught me.</dialogue>
<character>LEVEE</character>
<dialogue>That's what I'm trying to tell the man.</dialogue>
<character>CUTLER</character>
<dialogue>You trying to tell me what we is and ain't gonna play. And that ain't none of your business. Your business is to play what I say.</dialogue>
<character>LEVEE</character>
<dialogue>Oh, I see now. You done got jealous 'cause Mr. Irvin using my version.</dialogue>
<character>CUTLER</character>
<dialogue>What the hell I got to be jealous of you about? The day I get jealous of you I may as well lay down and die.</dialogue>
<character>TOLEDO</character>
<dialogue>Levee started all that 'cause he too lazy to rehearse.</dialogue>
<character>LEVEE</character>
<dialogue>Where's the paper? Look at the paper! See what it say. Gonna tell me I'm too lazy to rehearse.</dialogue>
<character>CUTLER</character>
<dialogue>We ain't talking about the paper. We talking about you understanding where you fit in when you around here. You just play what I say.</dialogue>
<character>LEVEE</character>
<dialogue>I don't care what you play! Mr. Irvin gonna straighten it up! I don't care what you play.</dialogue>
<scene_description>IRVIN barges in.</scene_description>
<character>IRVIN</character>
<dialogue>Any of you boys know what's keeping Ma?</dialogue>
<character>CUTLER</character>
<dialogue>Can't say, Mr. Irvin. She'll be along directly, I reckon.</dialogue>
<character>IRVIN</character>
<dialogue>Well, you boys go ahead.</dialogue>
<character>CUTLER</character>
<dialogue>Mr. Irvin, about these songs...Levee say...</dialogue>
<character>IRVIN</character>
<dialogue>Whatever's on the list, Cutler.</dialogue>
<character>CUTLER</character>
<dialogue>I'm asking about this "Black Bottom"...</dialogue>
<character>IRVIN</character>
<dialogue>It's on the list.</dialogue>
<character>CUTLER</character>
<dialogue>Yessir, I know it's on the list. I want to know what version. We got two versions of that song.</dialogue>
<character>IRVIN</character>
<dialogue>Oh. Levee's arrangement. We're using Levee's arrangement.</dialogue>
<scene_description>LEVEE sits taller, anointed by those words.</scene_description>
<character>CUTLER</character>
<dialogue>Ok. I got that straight. Now this "Moonshine Blues"...</dialogue>
<character>IRVIN</character>
<dialogue>We'll work it out with Ma, Cutler. Just rehearse whatever's on the list.</dialogue>
<scene_description>IRVIN exits. LEVEE leaps up.</scene_description>
<character>LEVEE</character>
<dialogue>See, I told you! It don't mean nothing when I say it. You got to wait for Mr. Irvin to say it. Well, I told you the way it is.</dialogue>
<character>CUTLER</character>
<dialogue>Levee, the sooner you understand it ain't what you say, or what Mr. Irvin say...it's what Ma say that counts.</dialogue>
<character>LEVEE</character>
<dialogue>Look, I don't care what you play! All right? It don't matter to me.</dialogue>
<character>LEVEE</character>
<dialogue>Mr. Irvin gonna straighten it up! I don't care what you play.</dialogue>
<character>CUTLER</character>
<dialogue>Thank you...Let's play this "Hear Me Talking to You" till we find out what's happening with the "Black Bottom". Ah-One...Ah-Two...You know what to do.</dialogue>
<scene_description>WE INTERCUT: THE BAND PLAYING "HEAR ME TALKING TO YOU" WITH MA RAINEY'S JOURNEY TO THE RECORDING STUDIO.</scene_description>
</scene>
<scene>
<stage_direction>INT. COLORED ONLY HOTEL - LOBBY</stage_direction>
<scene_description>GERTRUDE "MA" RAINEY DRESSED LIKE SHOWBIZ NEGRO ROYALTY, MAKING HER WAY THROUGH THE LOBBY OF A COLORED ONLY HOTEL. PASSING NORTHERN HIGH YELLA'S TOSSING AN ATTITUDE AT MA WHO TOSSES IT RIGHT BACK.</scene_description>
<character>SLOW DRAG</character>
<dialogue>Don't nobody say when it comes to Ma. She's gonna do what she wants to do.</dialogue>
<character>LEVEE</character>
<dialogue>Hell, he the one putting out the record!</dialogue>
<character>SLOW DRAG</character>
<dialogue>And he gonna put out what Ma want him to put out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLORED ONLY HOTEL</stage_direction>
<scene_description>MA RAINEY EXPLODES THROUGH THE LOBBY DOORS OF THE HOTEL, DUSSIE MAE IN TOW. SYLVESTER, 16, MA'S NEPHEW, HUSTLING TO KEEP UP. AS THE BAND PLAYS--</scene_description>
<character>LEVEE</character>
<dialogue>You know how many records she sold in New York? Huh? And you know what's in New York? Harlem. Harlem's in New York.</dialogue>
<character>SLOW DRAG</character>
<dialogue>We packed them in, in Memphis, Birmingham, Atlanta...</dialogue>
<character>LEVEE</character>
<dialogue>We ain't in Memphis. We's in Chicago. We at a recording session. Mr. Sturdyvant and Mr. Irvin say what's gonna be here!</dialogue>
<character>CUTLER</character>
<dialogue>Levee's confused about who the boss is. He don't know Ma's the boss.</dialogue>
<character>LEVEE</character>
<dialogue>Ma's the boss on the road!</dialogue>
<scene_description>MA USHERS A NERVOUS SYLVESTER TO THE DRIVERS SIDE OF THE CAR, A BELLMAN OPENS THE DOOR. SHE SASHAYS AROUND TO THE PASSENGER SIDE, INSTRUCTING SYLVESTER TO TIP THE BELLMAN WHO HOLDS THE DOOR FOR HIM, USHERS HIM INSIDE THEN SLAMS THE DOOR SHUT. Which brings LEVEE and the band to a stop. END INTERCUT.</scene_description>
<character>LEVEE</character>
<dialogue>You heard what the man told you..."Ma Rainey's Black Bottom", Levee's arrangement. There you go! That's what he told you. I don't know why you all want to pick with me about it, shit! I'm with Slow Drag..lets go on and get it rehearsed.</dialogue>
<character>CUTLER</character>
<dialogue>All right. All right."Ma Rainey's Black Bottom", Levee's version.</dialogue>
<character>TOLEDO</character>
<dialogue>How that first part go again, Levee?</dialogue>
<character>LEVEE</character>
<dialogue>It go like this.</dialogue>
<scene_description>LEVEE plays his rollicking intro.</scene_description>
<character>LEVEE</character>
<dialogue>That's to get the people's attention. That's when you and Slow Drag come in with the rhythm part. Me and Cutler play on the breaks. Now we gonna dance. We gonna play it like...</dialogue>
<character>CUTLER</character>
<dialogue>The man ask you how the first part go.</dialogue>
<character>CUTLER</character>
<dialogue>He don't wanna hear all of that! Ma Rainey's Black Bottom. Levee's Version. Ah-One...Ah-Two...You know what to do.</dialogue>
<scene_description>LEVEE plays his intro but the band drops in their version.</scene_description>
<character>LEVEE</character>
<dialogue>You all got to keep up now! You playing in the wrong time.</dialogue>
<character>CUTLER</character>
<dialogue>Nigger, will you let us play this song? I was playing music before you was born. Gonna tell me how to play. All right. Let's try it again. Ah-One...Ah-two...</dialogue>
<character>SLOW DRAG</character>
<dialogue>Cutler, wait till I fix this. This string starting to unravel.</dialogue>
<parenthetical>(dripping with sarcasm)</parenthetical>
<dialogue>And you know I want to play Levee's music right.</dialogue>
<scene_description>SLOW DRAG begins removing his broken string.</scene_description>
<character>LEVEE</character>
<dialogue>If you was any kind of a musician you'd take care of your instrument. Keep it in tip-top order. If you was any kind of musician...I'd let you be in my band.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Shhiit!</dialogue>
<scene_description>SLOW DRAG crosses to get a new string passing by LEVEE brushing his shoe.</scene_description>
<character>LEVEE</character>
<dialogue>Damn, Slow Drag! Watch them big-ass shoes you got.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Boy ain't nobody done nothing to you.</dialogue>
<character>LEVEE</character>
<dialogue>You done stepped on my shoes.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Move them the hell out the way then. You was in my way...I wasn't in your way.</dialogue>
<scene_description>CUTLER crosses over and opens and closes the door trying to create a breeze.</scene_description>
<character>CUTLER</character>
<dialogue>Any man who takes a whole week's pay and puts it on some shoes-you understand what I mean, what you walk around on the ground with-is a fool! And I don't mind telling him.</dialogue>
<character>LEVEE</character>
<dialogue>What difference it make to you, Cutler!?</dialogue>
<character>SLOW DRAG</character>
<dialogue>Ain't nothing wrong with having nice shoes. Look at Toledo.</dialogue>
<character>TOLEDO</character>
<dialogue>What about Toledo?</dialogue>
<character>LEVEE</character>
<dialogue>Nigger got them clod-hoppers! Old brogans! He ain't nothing but a sharecropper.</dialogue>
<scene_description>SLOW DRAG and CUTLER get a kick out of this.</scene_description>
<character>LEVEE</character>
<dialogue>Play something for me, Slow Drag.</dialogue>
<scene_description>SLOW DRAG starts swinging a version of JELLY ROLL MORTON'S DOCTOR JAZZ. LEVEE begins prancing and dancing, "barnyard style".</scene_description>
<character>LEVEE</character>
<dialogue>A man got to have some shoes to dance like this! You can't dance like this with them clod-hoppers Toledo got.</dialogue>
<character>TOLEDO</character>
<dialogue>That's the trouble with colored folks always wanna have a good time. Good times done got more niggers killed than God got ways to count.</dialogue>
<character>LEVEE</character>
<parenthetical>(singing)</parenthetical>
<dialogue>When the world goes wrong and I got the blues... / He's the man who makes me get on both my dancing shoes.</dialogue>
<character>TOLEDO</character>
<dialogue>What the hell having a good time mean? That's what I wanna know.</dialogue>
<scene_description>LEVEE keeps right on dancing, RESPONDING TO TOLEDO THROUGH HIS TRUMPET.</scene_description>
<character>TOLEDO</character>
<dialogue>There's more to life than having a good time. If there ain't...then this is a piss poor life we're having...if that's all there is to be got out of it.</dialogue>
<scene_description>LEVEE riffs. "Man, shut the hell up."</scene_description>
<character>CUTLER</character>
<dialogue>Niggers been having a good time before you was born, and they gonna keep having a good time after you gone.</dialogue>
<scene_description>He riffs. "That's right."</scene_description>
<character>TOLEDO</character>
<dialogue>Yeah, but what else they gonna do? Ain't nobody talking about making the lot of the colored man better for him here in America. Everybody worried about having a good time. Ain't nobody thinking about what kind of world they gonna leave their young'ns. "Just give me a good time, that's all I want." It just makes me sick.</dialogue>
<scene_description>LEVEE spits a riff at TOLEDO. "Nigger, please!"</scene_description>
<character>SLOW DRAG</character>
<dialogue>Good times is what makes life worth living.</dialogue>
<character>TOLEDO</character>
<dialogue>I know how to have a good time as well as the next man. I said, there's got to be more to life than having a good time.</dialogue>
<character>TOLEDO</character>
<dialogue>I said the colored man ought to be doing more than just trying to have a good time all the time.</dialogue>
<scene_description>He puts a period on it. BLOP! "Enough."</scene_description>
<character>LEVEE</character>
<dialogue>Well, what is you doing, nigger? Talking all them highfalutin' ideas about making a better world for the colored man. What is you doing to make it better? You playing the music and looking for your next piece of pussy same as we is. What is you doing?</dialogue>
<character>TOLEDO</character>
<dialogue>It ain't just me, fool! It's everybody! What you think...I'm gonna solve the colored mans problems by myself? I said, we. You understand that? We. That's every living colored man in the world got to do his share. Got to do his part. I ain't talking about what I'm gonna do...or what you or Cutler or Slow Drag or anybody else. I'm talking about all of us together. What all of us is gonna do. That's what I'm talking about, nigger!</dialogue>
<scene_description>LEVEE considers this...</scene_description>
<character>LEVEE</character>
<dialogue>Well, why didn't you just say that then?</dialogue>
<scene_description>TOLEDO, goes back to his newspaper.</scene_description>
<character>CUTLER</character>
<dialogue>Toledo, I don't know why you waste your time on this fool.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't gonna be too many more of your fools.</dialogue>
<character>CUTLER</character>
<dialogue>Boy, ain't nobody studyin' you.</dialogue>
<character>LEVEE</character>
<dialogue>All right, I ain't nobody. Don't pay me no mind. I ain't nobody.</dialogue>
<character>TOLEDO</character>
<dialogue>Levee, you ain't nothing but the devil.</dialogue>
<character>LEVEE</character>
<dialogue>There you go! That's who I am. I'm the devil. I ain't nothing but the devil.</dialogue>
<character>SLOW DRAG</character>
<dialogue>I know a man sold his soul to the devil. Name of Eliza Cotter. Lived in Tuscaloosa County, Alabama. The devil came by and he done upped and sold him his soul.</dialogue>
<character>CUTLER</character>
<dialogue>How you know the man done sold his soul to the devil, nigger? You talking that old-woman foolishness.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Everybody know. It wasn't no secret. He went around working for the devil and everybody knowed it. Carried him a bag...one of them carpet bags. Folks say he carried the devil's papers and what not where he put your fingerprint on the paper with blood.</dialogue>
<character>LEVEE</character>
<dialogue>Where he at now? That's what I want to know. He can put my whole handprint if he want to!</dialogue>
<scene_description>SLOW DRAG takes charge.</scene_description>
<character>SLOW DRAG</character>
<dialogue>Showed up one day all fancied out with just the finest clothes you ever seen on a colored man. Had a pocketful of money, just living the life of a rich man. Had him a string of women he run around with and throw his money away on. One of the fellows of them gals he was messing with got fixed on him wrong and Eliza killed him.</dialogue>
<scene_description>LEVEE leans in.</scene_description>
<character>SLOW DRAG</character>
<dialogue>And he laughed about it. Sheriff come and arrest him, and then let him go. Trial come up, and the judge cut him loose. Cut him loose and give him a bottle of whiskey! Folks ask what done happened to make him change, and he'd tell them straight out he done sold his soul to the devil and asked them if they wanted to sell theirs 'cause he could arrange it for them.</dialogue>
<character>CUTLER</character>
<dialogue>Well, whatever happened to this fellow? What come of him? That's what I want to know.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Last I heard, he headed up north with that bag of his handing out hundred dollar bills on the spot to whoever wanted to sign on with the devil.</dialogue>
<character>LEVEE</character>
<dialogue>I sure wish I knew where he went. He wouldn't have to convince me long. Hell, I'd even help him sign people up.</dialogue>
<character>CUTLER</character>
<dialogue>Nigger, God's gonna strike you down with that blasphemy you talking.</dialogue>
<character>LEVEE</character>
<dialogue>Oh, shit! God don't mean nothing to me. Let him strike me! Here I am standing right here. What you talking about he's gonna strike me? Here I am! Let him strike me! I ain't scared of him. Talking that stuff to me.</dialogue>
<character>CUTLER</character>
<dialogue>All right. You gonna be sorry. You gonna fix yourself to have bad luck. Ain't nothing gonna work for you.</dialogue>
<scene_description>LEVEE prowls around the room.</scene_description>
<character>LEVEE</character>
<dialogue>Bad luck? What I care about bad luck? You talking simple. I ain't had nothing but bad luck all my life. Couldn't get no worse. What the hell I care about some bad luck? Hell, I eat it everyday for breakfast! You dumber than I thought you was...talking about bad luck.</dialogue>
<scene_description>DOOR BUZZER sounds upstairs in the distance.</scene_description>
<character>CUTLER</character>
<dialogue>All right, nigger, you'll see! Can't tell a fool nothing. You'll see.</dialogue>
</scene>
<scene>
<stage_direction>INT. MA RAINEY'S CAR</stage_direction>
<scene_description>MA rides, not so relaxed, in the passenger seat. One eye on the street signs of this foreign landscape the other on SYLVESTER who is nervously white knuckling the steering wheel. DUSSIE MAE sits in the back, ramrod straight, watching SYLVESTER navigate this beast to their destination. SUDDENLY: A cacophony of horns...then BAM!</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - HALLWAY</stage_direction>
<scene_description>IRVIN opens the door. A delivery boy stands with a box of sandwiches.</scene_description>
<character>IRVIN</character>
<parenthetical>(calls out)</parenthetical>
<dialogue>Cutler...you boys' sandwiches are up here...Cutler?</dialogue>
<character>STURDYVANT</character>
<parenthetical>(shouting from his office door)</parenthetical>
<dialogue>Irv, what's happening?</dialogue>
<scene_description>IRVIN steps out to pay for the sandwiches when he sees...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING</stage_direction>
<scene_description>MA RAINEY and a WHITE POLICE OFFICER (the sweaty one we saw chasing the kid earlier) in the middle of the street roaring at each other. DUSSIE MAE and SYLVESTER, MA'S "amen corner", right behind. IRVIN, dashes up to the fracas. And like a referee in a prize fight, works to keep them apart.</scene_description>
<character>MA RAINEY</character>
<dialogue>Irvin, you better tell this man who I am! You better get him straight!</dialogue>
<character>IRVIN</character>
<dialogue>Ma, what the hell happened?!</dialogue>
<character>MA RAINEY</character>
<dialogue>Tell the man who he's messing with!</dialogue>
<character>IRVIN</character>
<parenthetical>(to the policeman)</parenthetical>
<dialogue>What's going on here? Officer, what's the matter? What's the problem?</dialogue>
<character>POLICEMAN</character>
<dialogue>Well...when I walked up on the incident...</dialogue>
<character>DUSSIE MAE</character>
<dialogue>Sylvester wrecked Ma's car.</dialogue>
<character>SYLVESTER</character>
<dialogue>I d-d-did not! The m-m-man ran into me!</dialogue>
<character>POLICEMAN</character>
<parenthetical>(To Irvin)</parenthetical>
<dialogue>Look, buddy...if you want it in a nutshell, we got her charged with assault and battery.</dialogue>
<character>MA RAINEY</character>
<dialogue>Assault and what for what!</dialogue>
<character>DUSSIE MAE</character>
<parenthetical>(to Irvin)</parenthetical>
<dialogue>See...Sylvester was driving and he don't know...</dialogue>
<character>MA RAINEY</character>
<dialogue>Wait a minute! I'll tell you if you wanna know what happened. Now, that's Sylvester. That's my nephew. He was driving my car...</dialogue>
<character>POLICEMAN</character>
<dialogue>Lady, we don't know who's car he was driving.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>That's Ma's car!</dialogue>
<character>SYLVESTER</character>
<dialogue>That's Ma's car!</dialogue>
<character>MA RAINEY</character>
<dialogue>What you mean you don't know whose car it is? I bought and paid for that car.</dialogue>
<character>POLICEMAN</character>
<dialogue>That's what you say, lady...We still gotta check.</dialogue>
<scene_description>STURDYVANT hurriedly pays the delivery boy and passes the sandwiches onto Toledo, before flying down the alley. The crowd of white onlookers thickening.</scene_description>
<character>STURDYVANT</character>
<dialogue>Irv, what's the problem...what's going on? Officer?!</dialogue>
<character>IRVIN</character>
<dialogue>Let me handle it, Mel, huh?!</dialogue>
<scene_description>IRVIN turns STURDYVANT back toward the recording studio and quickly bounces back to the officer.</scene_description>
<character>POLICEMAN</character>
<dialogue>The guy said the kid ran a stoplight.</dialogue>
<character>SYLVESTER</character>
<dialogue>What you mean? The man c-c-come around the corner and hit m-m-me!</dialogue>
<character>POLICEMAN</character>
<dialogue>While I was calling a paddy wagon to haul them to the station, to straighten it all out, she gets aggressive with the other driver...</dialogue>
<character>MA RAINEY</character>
<dialogue>He got ugly with me!</dialogue>
<character>POLICEMAN</character>
<dialogue>...causing a disturbance...</dialogue>
<character>MA RAINEY</character>
<dialogue>I don't know why you wanna' tell that lie.</dialogue>
<character>POLICEMAN</character>
<dialogue>Look lady...will you let me tell the story?!</dialogue>
<character>MA RAINEY</character>
<dialogue>Go 'head and tell it then. But tell it right!</dialogue>
<character>POLICEMAN</character>
<dialogue>Like I said...as I'm waiting on the paddy wagon, I turn to hear this guys side of the story and she won't let him get a word in edgeways. He steps in front of her to explain his side of the situation...and she knocks him down.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>She ain't hit him! He just fell!</dialogue>
<character>SYLVESTER</character>
<dialogue>...s-s-slipped!</dialogue>
<character>POLICEMAN</character>
<dialogue>He claims she knocked him down...</dialogue>
<character>MA RAINEY</character>
<dialogue>If that don't beat all to hell. I ain't touched the man!</dialogue>
<character>IRVIN</character>
<dialogue>Okay. Okay...I got it straight now, Ma. You didn't touch him.</dialogue>
<character>MA RAINEY</character>
<dialogue>The man was trying to block my path...I got things to do...he bumped into me and fell down.</dialogue>
<character>IRVIN</character>
<dialogue>All right, Ma... Officer, can I see you for a minute?</dialogue>
<scene_description>They step to the side for a private conversation.</scene_description>
<character>MA RAINEY</character>
<dialogue>Flopping on the ground like a rag doll...I ain't touched the man!</dialogue>
<scene_description>A disapproving white crowd watches MA, watching IRVIN and the POLICEMAN negotiate. IRVIN discreetly passes him a wad of bills. The POLICEMAN pockets the money. He turns to the crowd waving the gawkers away.</scene_description>
<character>POLICEMAN</character>
<dialogue>Okay...move along! Let's go...come on folks, let's move it...</dialogue>
<scene_description>IRVIN hurries over to MA RAINEY and her entourage, escorting them down the recording studio alley. Passing STURDYVANT along the way.</scene_description>
<character>STURDYVANT</character>
<dialogue>What's going on Ma? What'd you do?</dialogue>
<character>MA RAINEY</character>
<dialogue>Sturdyvant, get on away from me! That's the last thing I need...to go through some of your shit!</dialogue>
<scene_description>Pushes past him and into-</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>MA RAINEY marches in like she owns the place. DUSSIE MAE prances in examining the surroundings. SYLVESTER, still shaken, ambles over to the piano admiring it. IRVIN scurries in behind them.</scene_description>
<character>IRVIN</character>
<dialogue>Here, Ma let me take your things.</dialogue>
<parenthetical>(to Sylvester)</parenthetical>
<dialogue>I don't believe we've met.</dialogue>
<character>MA RAINEY</character>
<dialogue>That's my nephew Sylvester, and that there's Dussie Mae.</dialogue>
<character>IRVIN</character>
<dialogue>Hello.</dialogue>
<scene_description>MA notices TOLEDO standing there holding the sandwiches.</scene_description>
<character>MA RAINEY</character>
<dialogue>Everybody here?</dialogue>
<character>TOLEDO</character>
<dialogue>Yeah, they down in the band room</dialogue>
<character>IRVIN</character>
<dialogue>Listen, Ma, just sit there and relax.</dialogue>
<character>MA RAINEY</character>
<dialogue>I ain't for no sitting.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>Where's the bathroom?</dialogue>
<character>IRVIN</character>
<dialogue>It's down that hall.</dialogue>
<character>MA RAINEY</character>
<dialogue>Irvin, call down there and see about my car. I want my car fixed today. And why ya'll keep it so hot in here? You all want to make some records, you better get a fan on in here.</dialogue>
<character>IRVIN</character>
<parenthetical>(as he goes)</parenthetical>
<dialogue>I got it. I'll take care of everything, Ma.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - BATHROOM</stage_direction>
<scene_description>DUSSIE MAE primps in the mirror-fixes herself up-checks her stockings, her garters.</scene_description>
</scene>
<scene>
<stage_direction>INT. STURDYVANTS OFFICE</stage_direction>
<scene_description>IRVIN struggles to unplug a portable fan.</scene_description>
<character>IRVIN</character>
<dialogue>I talked to her last night. I got everything straight, Mel. You just stay out of the way and let me handle it.</dialogue>
<character>STURDYVANT</character>
<dialogue>Yeah...yeah...you handled it last time remember? She marches in here like she owns the damn place...complains about the building being cold...trips over the mic wire and then threatens to sue me...</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>MA RAINEY sits fanning herself. She takes off her shoes, rubs her feet. DUSSIE MAE wanders around.</scene_description>
<character>DUSSIE MAE</character>
<dialogue>I ain't never been in no recording studio before. Where's the band at?</dialogue>
<character>MA RAINEY</character>
<dialogue>They off somewhere rehearsing. Come here...let me see that dress.</dialogue>
<scene_description>DUSSIE MAE comes over. MA RAINEY pulls her in close.</scene_description>
<character>MA RAINEY</character>
<dialogue>That dress looks nice. I'm gonna take you tomorrow and get you some more things before I take you down to Memphis. They got clothes up here you can't get in Memphis. I want you to look nice for me. If you gonna travel with the show you got to look nice.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>I need me some more shoes. These hurt my feet.</dialogue>
<character>MA RAINEY</character>
<dialogue>Don't you be messing around with no shoes that pinch your feet. Ma know something about bad feet. Hand me my slippers out my bag over yonder.</dialogue>
<scene_description>DUSSIE MAE fetches Ma Rainey's slippers from her tote bag. MA drinking in her every move.</scene_description>
<character>MA RAINEY</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Oh, Lord, these dogs of mine / They sure do hurt me all the time / The reason why I don't know...</dialogue>
<scene_description>Dussie Mae brings the slippers over.</scene_description>
<character>MA RAINEY</character>
<dialogue>Lord, I beg to be excused / I can't wear me no sharp toed shoes / I went for a walk / I stopped to talk / Oh, how my corns sure did bark...</dialogue>
<character>DUSSIE MAE</character>
<dialogue>I just want to get a pair of those yellow ones. About a half size bigger.</dialogue>
<character>MA RAINEY</character>
<dialogue>We'll get you whatever you need. Sylvester, too...I'm gonna get him some more clothes.</dialogue>
<scene_description>SYLVESTER slouches on the piano bench.</scene_description>
<character>MA RAINEY</character>
<dialogue>Sylvester, tuck your clothes in. Straighten them up and look nice. Look like a gentleman.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>Look at Sylvester with that hat on.</dialogue>
<character>MA RAINEY</character>
<dialogue>Sylvester, take your hat off inside.</dialogue>
<scene_description>SYLVESTER bangs on the piano.</scene_description>
<character>MA RAINEY</character>
<dialogue>Come on over here and leave that piano alone.</dialogue>
<character>SYLVESTER</character>
<dialogue>I ain't d-d-doing nothing to the p- p-piano. I'm just l-l-looking at it.</dialogue>
<scene_description>We hear faint sounds of the band rehearsing.</scene_description>
<character>MA RAINEY</character>
<dialogue>Well. Come on over here and sit down. As soon as Mr. Irvin comes back, I'll have him take you down and introduce you to the band...</dialogue>
<scene_description>SYLVESTER comes over.</scene_description>
<character>MA RAINEY</character>
<dialogue>...have Culter show you how your part go. And when you get your money, you gonna send some of it home to your mama. Let her know you doing all right.</dialogue>
<scene_description>IRVIN enters with the portable fan.</scene_description>
<character>IRVIN</character>
<dialogue>Ma, I called down to the garage and checked on your car. It's just a scratch.</dialogue>
<character>IRVIN</character>
<dialogue>They'll have it ready for you this afternoon. Send it over with one of their fellows.</dialogue>
<character>MA RAINEY</character>
<dialogue>They better have my car fixed right too. I ain't going for that. Brand- new car...they better fix it like new.</dialogue>
<scene_description>DUSSIE MAE peeks out the door. The sound of the band rehearsing echos through the halls.</scene_description>
<character>MA RAINEY</character>
<dialogue>Irvin, what is that I hear? I know they ain't rehearsing Levee's "Black Bottom." I know I ain't hearing that?</dialogue>
<character>IRVIN</character>
<dialogue>Ma, listen...that's what I wanted to talk to you about. Levee's version of that song...It really picks it up...</dialogue>
<character>MA RAINEY</character>
<dialogue>I ain't studying Levee nothing. I know what he done to that song and I don't like to sing it that way. I'm doing it the old way. That's why I brought my nephew to do the voice intro.</dialogue>
<character>IRVIN</character>
<dialogue>Ma, that's what people want now. They want something they can dance to. Levee's arrangement gives the people what they want. It gets them excited...makes them forget about their troubles.</dialogue>
<character>MA RAINEY</character>
<dialogue>I don't care what you say, Irvin. Levee ain't messing up my song. If he got what the people want, let him take it somewhere else. I'm singing Ma Rainey's song. I ain't singing Levee's song. Now that's all there is to it. Carry my nephew on down there and introduce him to the band. I promised my sister I'd look out for him and he's gonna do the voice intro on the song...my way.</dialogue>
<character>IRVIN</character>
<dialogue>Ma, we just figured that...</dialogue>
<character>MA RAINEY</character>
<dialogue>Who's this we? What you mean "we"? Come talking this "we" stuff. Who's "we"?</dialogue>
<character>IRVIN</character>
<dialogue>Me and Sturdyvant. We decided that it would...</dialogue>
<character>MA RAINEY</character>
<dialogue>You decided, huh? I'm just a bump on the log. I'm gonna go which ever way the river drift. Is that it? You and Sturdyvant decided.</dialogue>
<character>IRVIN</character>
<dialogue>Ma, it was just that we thought-</dialogue>
<character>MA RAINEY</character>
<dialogue>I ain't got good sense. I don't know nothing about music. I don't know what's a good song and what ain't. You know more about my fans than I do.</dialogue>
<character>IRVIN</character>
<dialogue>It's not that, Ma. It's just more of what the people want.</dialogue>
<character>MA RAINEY</character>
<dialogue>I'm gonna tell you something, Irvin...and you go on up there and tell Sturdyvant. What you all say don't count with me. You understand? Ma listen to her heart. Ma listen to the voice inside her. That's what counts with Ma. Now, you carry my nephew on down there and tell Cutler he's gonna do the voice intro on that "Black Bottom" song and that Levee ain't messing up my song with none of his music shit. Now, if that don't set right with you and Sturdyvant then I can carry my black bottom on back down South to my tour, 'cause I don't like it up here no ways.</dialogue>
<character>IRVIN</character>
<dialogue>O'kay Ma...I don't care. I just thought-</dialogue>
<character>MA RAINEY</character>
<dialogue>Damn what you thought! What you look like telling me how to sing my song? This Levee and Sturdyvant shit...I ain't going for it! Sylvester, go on down there and introduce yourself. I'm through playing with Irvin.</dialogue>
<character>SYLVESTER</character>
<dialogue>Which way you go? Where they at?</dialogue>
<character>MA RAINEY</character>
<dialogue>Here...I'll carry you down there myself.</dialogue>
<scene_description>She puts on her shoes and starts out in a huff.</scene_description>
<character>DUSSIE MAE</character>
<dialogue>Can I go? I wanna see the band.</dialogue>
<character>MA RAINEY</character>
<dialogue>You stay your behind up here. Ain't no cause in you being down there. Come on Sylvester.</dialogue>
<scene_description>DUSSIE MAE flops down in a chair.</scene_description>
<character>IRVIN</character>
<dialogue>Okay, Ma. Have it your way. We'll be ready to go in fifteen minutes.</dialogue>
<character>MA RAINEY</character>
<dialogue>We'll be ready to go when Madame says we're ready. That's the way it goes around here.</dialogue>
<scene_description>She marches out, SYLVESTER close behind.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>MA RAINEY and SYLVESTER enter and the band stops. LEVEE defiantly plays a few more licks. MA dives in, ignoring him.</scene_description>
<character>MA RAINEY</character>
<dialogue>Cutler, this here is my nephew Sylvester. He's gonna do that voice intro on the "Black Bottom" song using the old version.</dialogue>
<character>LEVEE</character>
<dialogue>What you talking about? Mr. Irvin say he's using my version. What you talking about?</dialogue>
<character>MA RAINEY</character>
<dialogue>Levee, I ain't studying you or Mr. Irvin. Cutler, get him straightened out on how to do his part. I ain't thinking about Levee. These folks done messed with the wrong person this day. Sylvester, Cutler gonna teach you your part. You go ahead and get it straight. Don't worry about what nobody else say.</dialogue>
<scene_description>MA RAINEY cuts LEVEE half-n-two with a look as she exits. LEVEE stands there fuming. CUTLER soldiers on.</scene_description>
<character>CUTLER</character>
<dialogue>Well, come on in, boy. I'm Cutler. You got Slow Drag...Toledo...and that's Levee over there. Sylvester, huh?</dialogue>
<character>SYLVESTER</character>
<dialogue>Sylvester Brown.</dialogue>
<character>LEVEE</character>
<dialogue>I done wrote a version of that song what picks it up and sets it down in the people's lap! Now she come talking this! You don't need that old circus bullshit! I know what I'm talking about. You gonna mess up the song, Cutler, and you know it.</dialogue>
<character>CUTLER</character>
<dialogue>I ain't gonna mess up nothing. Ma say...</dialogue>
<character>LEVEE</character>
<dialogue>I don't care what Ma say! I'm talking about what the intro gonna do to the song. The peoples in the North ain't gonna buy all that tent- show nonsense. They wanna hear some music!</dialogue>
<character>CUTLER</character>
<dialogue>Nigger, I done told you time and again...Ma says what to play!</dialogue>
<character>CUTLER</character>
<dialogue>Not you! You ain't here to be doing no creating. You play whatever Ma says!</dialogue>
<character>LEVEE</character>
<dialogue>I might not play nothing! I might quit!</dialogue>
<character>CUTLER</character>
<dialogue>Nigger, don't nobody care if you quit. Whose heart you gon' break?</dialogue>
<character>TOLEDO</character>
<dialogue>Levee ain't gonna quit. He got to make some money to keep him in shoe polish.</dialogue>
<scene_description>The FELLA'S crack up, all but SYLVESTER, a boy caught in the middle of a "grown folks" situation.</scene_description>
<character>LEVEE</character>
<dialogue>I done told you all...you all don't know me. You don't know what I'll do.</dialogue>
<character>CUTLER</character>
<dialogue>I don't think nobody too much give a damn.</dialogue>
<scene_description>CUTLER gets to work.</scene_description>
<character>CUTLER</character>
<dialogue>Sylvester look here, here's the way your part go. The band plays the intro...I'll tell you where to come in. The band plays the intro and then you say, "All right, boys, you done seen the rest...Now I'm gonna show you the best. Ma Rainey's gonna show you her black bottom." You got that?</dialogue>
<scene_description>SYLVESTER nods.</scene_description>
<character>CUTLER</character>
<dialogue>Let me hear you say it one time.</dialogue>
<character>SYLVESTER</character>
<dialogue>"All right, boys, you done s-s-seen the rest n-n-now I'm gonna show you the best. M-m-m-m-Ma Rainey's gonna s-s-show you her black b-b-bottom."</dialogue>
<character>LEVEE</character>
<dialogue>What kind of...All right, Cutler! Let me see you fix that! You straighten that out! You hear that shit, Slow Drag? How in the hell the boy gonna do the part and he can't even talk!</dialogue>
<character>SYLVESTER</character>
<parenthetical>(swelling up)</parenthetical>
<dialogue>W-w-w-who's you to tell me what to do, nigger! This ain't your band! Ma tell me to d-d-do it and I'm gonna do it. You can go to hell, n- n-n-nigger!</dialogue>
<character>LEVEE</character>
<dialogue>B-b-b-boy, ain't nobody studying you. You go on and fix that one, Cutler. You fix that one and I'll...I'll shine your shoes for you. You go on and fix that one!</dialogue>
<scene_description>LEVEE sits, smiling like a Cheshire Cat.</scene_description>
<character>TOLEDO</character>
<dialogue>You say you Ma's nephew, huh?</dialogue>
<character>SYLVESTER</character>
<dialogue>Yeah. So w-w-what that mean?</dialogue>
<character>TOLEDO</character>
<dialogue>Oh, I ain't meant nothing...I was just asking.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Well, come on and let's rehearse so the boy can get it right.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't rehearsing nothing! You just wait till I get my band. I'm gonna record that song and show you how it supposed to go!</dialogue>
<character>CUTLER</character>
<dialogue>We can do it without Levee. Let him sit on over there. Sylvester, you remember your part?</dialogue>
<character>SYLVESTER</character>
<dialogue>I remember it pretty g-g-g-good.</dialogue>
<scene_description>The FELLA'S share a look.</scene_description>
<character>CUTLER</character>
<dialogue>Well come on, let's do it then. Levee!</dialogue>
<scene_description>LEVEE doesn't move. SYLVESTER takes his spot. The band strikes up. STURDYVANT enters. LEVEE jumps up, trumpet in hand, like he was rehearsing.</scene_description>
<character>STURDYVANT</character>
<dialogue>Good...you boys are rehearsing, I see.</dialogue>
<character>LEVEE</character>
<dialogue>Yessir! We rehearsing. We know them songs real good.</dialogue>
<character>STURDYVANT</character>
<dialogue>Good! Say, Levee, did you finish that song?</dialogue>
<character>LEVEE</character>
<dialogue>Yessir, Mr. Sturdyvant. I got it right here.</dialogue>
<scene_description>LEVEE grabs the sheet music from his case.</scene_description>
<character>LEVEE</character>
<dialogue>I wrote that other part just like you say. It go like:</dialogue>
<parenthetical>(singing with gusto)</parenthetical>
<dialogue>You can swing it, you can bring it you can dance at any hall / You can slide across the floor you'll never have to stall / Oh my jelly roll Oh my jelly roll / My jelly roll Please, baby, let me have it all.</dialogue>
<scene_description>The FELLA'S watch the "skinnin' and grinnin'".</scene_description>
<character>LEVEE</character>
<dialogue>Then I put that part in there for the other people to dance, like you say, for them to forget about their troubles.</dialogue>
<character>STURDYVANT</character>
<dialogue>Good! Good! I wanna see you about your songs as soon as I get the chance.</dialogue>
<character>STURDYVANT</character>
<parenthetical>(takes the sheet music)</parenthetical>
<dialogue>Let me take this.</dialogue>
<character>LEVEE</character>
<dialogue>Yessir! As soon as you get the chance, Mr. Sturdyvant.</dialogue>
<scene_description>STURDYVANT exits. Everyone busts out laughing, even SYLVESTER.</scene_description>
<character>CUTLER</character>
<dialogue>You hear, Levee? You hear this nigger? "Yessuh, we's rehearsing, boss."</dialogue>
<character>SLOW DRAG</character>
<dialogue>I heard him. Seen him, too. Shuffling them feet.</dialogue>
<character>TOLEDO</character>
<dialogue>Aw, Levee can't help it none. He's spooked up with the white man. Ain't had the time to study him.</dialogue>
<character>LEVEE</character>
<dialogue>I studies the white man. I got him studied good. The first time one fixes on me wrong, I'm gonna let him know just how much I studied. Come telling me I'm spooked up with the white man. You let one of them mess with me, I'll show you how spooked up I am.</dialogue>
<character>CUTLER</character>
<dialogue>The man come in here, call you a boy, tell you to get up off your ass and rehearse, and you ain't had nothing to say to him except, "Yessir!"</dialogue>
<character>LEVEE</character>
<dialogue>I can say "yessir" to whoever I please. What you got to do with it? I know how to handle white folks. I been handling them for thirty-two years, and now you gonna tell me how to do it. Just 'cause I say "yessir" don't mean I'm spooked up with him. I know what I'm doing. Let me handle him my way.</dialogue>
<character>CUTLER</character>
<dialogue>Well, go on and handle it then.</dialogue>
<character>LEVEE</character>
<dialogue>Toledo, you always messing with somebody! Always agitating somebody with that old philosophy bullshit you be talking. You stay out of my way about what I do and say. I'm my own person. Just let me alone.</dialogue>
<character>TOLEDO</character>
<dialogue>You right, Levee. I apologize. It ain't none of my business that you spooked up by the white man.</dialogue>
<character>LEVEE</character>
<dialogue>All right! See! That's the shit I'm talking about. You all back up and leave Levee alone.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Aw, Levee, we was all just having fun. Toledo ain't said nothing about you he ain't said about me. You just taking it all wrong.</dialogue>
<character>TOLEDO</character>
<dialogue>I ain't meant nothing by it Levee.</dialogue>
<character>LEVEE</character>
<dialogue>Levee got to be Levee! And he don't need nobody messing with him about the white man...'Cause you don't know nothing about me. You don't know Levee. You don't know nothing about what kind of blood I got! What kind of heart I got beating here!</dialogue>
<scene_description>He pounds his chest. NOTE: AS LEVEE TELLS THIS STORY WE SEE FLASHES THROUGHOUT. SNIPPETS OF LEVEE'S MEMORY THAT ARE NOW HIS REALITY. AS MUCH OR AS LITTLE AS WE NEED TO PAINT WITH. QUICK PIECES. AS GRAPHIC, VIVID OR OBSCURE AS NEED BE. NO FACES. ALL CONVEYED WITH HANDS, FINGERS, ARMS, TORSOS: i.e. A NOOSE, HAND SHAKES ON THE CHURCH STEPS, A HUNTING KNIFE, BLOOD DRIPPING ON THE FLOOR, BULLETS ON TABLE...THE REMAINS OF A CHARRED BLACK BODY.</scene_description>
<character>LEVEE</character>
<dialogue>I was eight years old when I watched a gang of white mens come into my daddy's house and have to do with my mama any way they wanted.</dialogue>
<scene_description>He pauses.</scene_description>
<character>LEVEE</character>
<dialogue>We was living in Jefferson County, about eighty miles outside of Natchez. My daddy's name was Memphis...Memphis Lee Green...had him near fifty acres of good farming land. I'm talking about good land! Grow anything you want! He done gone off of shares and bought this land from Mr. Hallie's widow woman after he done passed on. Folks called him and uppity nigger 'cause he done saved and borrowed to where he could buy this land and be independent.</dialogue>
<scene_description>Pauses.</scene_description>
<character>LEVEE</character>
<dialogue>It was coming on planting time and</dialogue>
<scene_description>my daddy went into Natchez to get him some seed and fertilizer. Called me, say, "Levee, you the man of the house now. Take care of your mama while I'm gone." I wasn't but a little boy, eight years old. Pauses.</scene_description>
<character>LEVEE</character>
<dialogue>My mama was frying up some chicken when them mens come in that house. Must have been eight or nine of them. She standing there frying that chicken and them mens come and took hold of her just like you take hold of a mule and make him do what you want.</dialogue>
<scene_description>Pauses.</scene_description>
<character>LEVEE</character>
<dialogue>There was my mama with a gang of white mens.</dialogue>
<character>LEVEE</character>
<dialogue>She tried to fight them off, but I could see where it wasn't gonna do her any good. I didn't know what they were doing to her...but I figured whatever it was they may as well do to me, too. My daddy had a knife that he kept around there for hunting and working and whatnot. I knew where he kept it and I went and got it. I'm gonna show you how spooked up I was by the white man. I tried my damndest to cut one of them's throat! I hit him on the shoulder with it. He reached back and grabbed hold of that knife and whacked me across the chest with it.</dialogue>
<scene_description>LEVEE raises his shirt to show a long ugly scar.</scene_description>
<character>LEVEE</character>
<dialogue>That's what made them stop. They was scared I was gonna bleed to death. My mama wrapped a sheet around me and carried me two miles down to the Furlow place and they drove me up to Doc Albans. He was waiting on a calf to be born, and say he ain't had time to see me. They carried me up to Miss Etta, the midwife, and she fixed me up. My daddy came back and acted like he done accepted the facts of what happened. But he got the names of them mens from mama. He found out who they was and then we announced we was moving out of that county. Said good-bye to everybody...all the neighbors. My daddy went and smiled in the face of one of them crackers who had been with my mama. Smiled in his face and sold him our land. We moved over with relations in Caldwell. He got us settled in and then he took off one day. I ain't never seen him since. He sneaked back, hiding up in the woods, laying to get them eight or nine men.</dialogue>
<scene_description>Pauses.</scene_description>
<character>LEVEE</character>
<dialogue>He got four of them before they got him. They tracked him down in the woods. Caught up with him and hung him and set him afire</dialogue>
<scene_description>Pauses.</scene_description>
<character>LEVEE</character>
<dialogue>My daddy wasn't spooked up by the white man. No sir! And that taught me how to handle them. I seen my daddy go up and grin in this cracker's face...smile in his face and sell him his land. All the while he's planning how he's gonna get him and what he's gonna do to him. That taught me how to handle them. So you all just back up and leave Levee alone about the white man. I can smile and say "yessir" to whoever I please. I got my time coming to me. You all just leave Levee alone about the white man.</dialogue>
<scene_description>There is a long pause, then- CLOSE ON: TOLEDO'S long, black fingers softly land on the piano keys and begin a blues/spiritual lament- "If I Had My Way" as we see-</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRONZEVILLE</stage_direction>
<scene_description>A BLAZING HOT SUN MOVING TOWARD EARLY AFTERNOON. ILLUMINATING, PENETRATING, THE BROWN, BLACK, COPPERTONE FACES OF COLORED PEOPLE TREDGING THROUGH THE NEIGHBORHOOD. (MAYBE OUT OF TIME) THE NORTH HAS NOT BEEN SO KIND TO THESES BLACK PEOPLE. LEANING OUT OF TENEMENT WINDOWS, SITTING ON STOOPS, LISTLESS, STIFLED BY POVERTY, HEAT AND FALSE HOPE.</scene_description>
<character>TOLEDO (V.O.)</character>
<dialogue>You see... everybody come from different places in Africa, right? Come from different tribes and things.</dialogue>
<scene_description>INTERCUT: Close shots of STURDYVANT and IRVIN'S hands, fingers, getting everything prepared to capture MA RAINEY'S voice on disc.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<character>TOLEDO</character>
<parenthetical>(as he plays)</parenthetical>
<dialogue>Soonawhile they began to make one big stew. You had the carrots, the peas, and potatoes and whatnot over here. And over there you had the meat, the nuts, the okra, corn...and then you mix it up and let it cook right through to get the flavors flowing together...then you got one thing. You got a stew.</dialogue>
<scene_description>-HANDS SELECT A RECORDING DISC.</scene_description>
<character>TOLEDO</character>
<dialogue>Now you take and eat the stew. You take and make your history with that stew. All right. Now it's over. Your history's over and you done ate the stew.</dialogue>
<scene_description>-HANDS WIPING OFF THE DISC.</scene_description>
<character>TOLEDO</character>
<dialogue>But you look around and you see some carrots over here, some potatoes over there. That's stew's still there. You done made your history and it's still there. You can't eat it all. So what you got? You got some leftovers.</dialogue>
<scene_description>-FINGERS FIDDLE WITH THE KNOBS AND DIALS.</scene_description>
<character>TOLEDO</character>
<dialogue>That's what it is. You got leftovers and you can't do nothing with it. You already making you another history...cooking you another meal, and you don't need them leftovers no more. What to do?</dialogue>
<scene_description>-FINGERS TAP THE BOOTH'S MICROPHONE, TESTING.</scene_description>
<character>TOLEDO</character>
<dialogue>See, we's the leftovers. The colored man is the leftovers. Now, what's the colored man gonna do with himself? That's what we waiting to find out. But first we gotta know we the leftovers.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - BOOTH</stage_direction>
<scene_description>There is a soft tap on the door.</scene_description>
<character>IRVIN</character>
<dialogue>Yes?!</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - HALLWAY - CONTINUOUS</stage_direction>
<character>CUTLER</character>
<dialogue>Mr. Irvin, I ain't got nothing to do with it, but the boy can't do the part. He stutters right through it every time.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>The BAND and ENTOURAGE all gathered in the studio. SLOW DRAG and TOLEDO going over the music. MA RAINEY , shoeless, singing softly to herself. SYLVESTER, nervous, is in the corner quietly practicing his part. CUTLER joins TOLEDO and SLOW DRAG. DUSSIE MAE saunters in, "dolled up", and sits, crossing those big fine pretty legs, fanning herself. Her dress "scooched up" a little too high. LEVEE blows into his mouthpiece, eyeing her.</scene_description>
<character>MA RAINEY</character>
<dialogue>Cutler!</dialogue>
<character>CUTLER</character>
<dialogue>Ma'am?</dialogue>
<character>MA RAINEY</character>
<dialogue>Levee's got his eyes in the wrong place. You better school him, Cutler.</dialogue>
<character>CUTLER</character>
<dialogue>Come on, Levee...let's get ready to play! Get your mind on your work!</dialogue>
<scene_description>NOTE: all of the dialogue from the booth comes over the horn unless otherwise indicated.</scene_description>
<character>IRVIN</character>
<dialogue>Okay, boys...we're gonna do "Moonshine Blues" first. "Moonshine Blues", Ma.</dialogue>
<character>MA RAINEY</character>
<dialogue>I ain't doing no moonshine nothing. I'm doing the "Black Bottom" first. Come on, Sylvester. Where's Sylvester's mic? You need a mic for Sylvester. Irvin...get him a mic.</dialogue>
<character>IRVIN</character>
<dialogue>Uh...Ma...the boys say he can't do it.</dialogue>
<character>MA RAINEY</character>
<dialogue>Who say he can't do it? What boys say he can't do it?</dialogue>
<scene_description>IRVIN glances down to CUTLER, who avoids his look.</scene_description>
<character>IRVIN</character>
<dialogue>The band, Ma...the boys in the band.</dialogue>
<character>MA RAINEY</character>
<dialogue>What band? The band work for me!</dialogue>
<character>IRVIN</character>
<dialogue>He stutters, Ma. They say he stutters.</dialogue>
<character>MA RAINEY</character>
<dialogue>I don't care if he do. I promised the boy he could do the part...and he's gonna do it! That's all there is to it. He don't stutter all the time. Get a microphone down here for him.</dialogue>
<character>IRVIN</character>
<dialogue>Ma...we don't have time. We can't...</dialogue>
<character>MA RAINEY</character>
<dialogue>If you wanna make a record you gonna find time. I ain't playing with you, Irvin. I can walk out of here and go back to my tour. I don't need to go through all of this. Just go and get the boy a microphone.</dialogue>
<character>IRVIN</character>
<dialogue>All right, Ma...we'll get him a microphone.</dialogue>
<scene_description>STURDYVANT enters and swiftly hooks up a mic for SYLVESTER.</scene_description>
<character>MA RAINEY</character>
<dialogue>Levee...I know you had something to do with this. You better watch yourself.</dialogue>
<character>LEVEE</character>
<dialogue>It was Cutler!</dialogue>
<character>SYLVESTER</character>
<dialogue>It was you! You the only one m-m- mad about it.</dialogue>
<character>LEVEE</character>
<dialogue>The boy stutter. He can't do the part. Everybody see that.</dialogue>
<character>MA RAINEY</character>
<dialogue>Well, can or can't...he's gonna do it! You ain't got nothing to do with it!</dialogue>
<character>LEVEE</character>
<dialogue>I don't care what you do! He can sing the whole got-damn song for all I care!</dialogue>
<character>MA RAINEY</character>
<dialogue>Well, all right. Thank you.</dialogue>
<character>STURDYVANT</character>
<dialogue>He's only getting one chance...the cost...</dialogue>
<character>MA RAINEY</character>
<dialogue>Damn the cost! You always talking about the cost. I make more money for this outfit than anybody else you got put together. If he messes up he'll just do it till he gets it right.</dialogue>
<scene_description>STURDYVANT zips back up to the booth. She ushers SYLVESTER to his microphone.</scene_description>
<character>MA RAINEY</character>
<dialogue>Come on, Sylvester. You just stand here and hold your hands like I told you. Don't worry about messing up. If you mess up we'll do it again. Play it for him, Cutler.</dialogue>
<character>CUTLER</character>
<dialogue>Ah-One. Ah-Two. You know what to do.</dialogue>
<scene_description>THE BAND strikes up "MA RAINEY'S BLACK BOTTOM". SYLVESTER braces himself clasping his hands tight in front of his chest. CUTLER gives him a nod.</scene_description>
<character>SYLVESTER</character>
<dialogue>All right, boys, you d-d-d-done s-s- s-seen the best...</dialogue>
<scene_description>LEVEE stops playing.</scene_description>
<character>SYLVESTER</character>
<dialogue>...now I'm gonna show you the rest...Ma Rainey's gonna show you her b-b-black b-b-bottom.</dialogue>
<scene_description>The rest of the band staggers to a halt.</scene_description>
<character>MA RAINEY</character>
<dialogue>That's real good. You take your time, you'll get it right.</dialogue>
<character>IRVIN</character>
<dialogue>Okay, Ma. We're all set up to go up here. Ma Rainey's Black Bottom, boys.</dialogue>
<character>MA RAINEY</character>
<dialogue>Where's my Coke. I need a Coke. Hot as it is. Where's my Coke?</dialogue>
<character>IRVIN</character>
<dialogue>What's the matter Ma?</dialogue>
<character>MA RAINEY</character>
<dialogue>Where's my Coke? I need a cold Coca- Cola.</dialogue>
<character>IRVIN</character>
<dialogue>Uh...Ma...look...I forgot the Coke, huh? Let's do it without it, huh? Just this one song. What say, boys?</dialogue>
<character>MA RAINEY</character>
<dialogue>Damn what the band say! You supposed to have Coca-Cola. Irvin knew that. I ain't singing nothing without my Coca-Cola!</dialogue>
<scene_description>She walks away from her microphone and switches on the portable fan. SYLVESTER is left just staring at his mic. LEVEE leans against the piano enjoying this. STURDYVANT bursts in.</scene_description>
<character>STURDYVANT</character>
<dialogue>Now, just a minute here, Ma. You come in an hour late...we're way behind schedule as it is...</dialogue>
<character>MA RAINEY</character>
<dialogue>Sturdyvant, get out of my face.</dialogue>
<scene_description>IRVIN enters.</scene_description>
<character>MA RAINEY</character>
<dialogue>Irvin, I told you keep him away from me.</dialogue>
<character>STURDYVANT</character>
<dialogue>I'm tired of her nonsense, Irv. I'm not going to put up with this!</dialogue>
<character>IRVIN</character>
<parenthetical>(to Sturdyvant)</parenthetical>
<dialogue>Let me.</dialogue>
<scene_description>IRVIN turns to Ma Rainey.</scene_description>
<character>IRVIN</character>
<dialogue>Look, Ma...I'll call down to the deli and get you a Coke. But let's get started, huh? Sylvester's standing there ready to go...the band's set up...let's do this one song, huh?</dialogue>
<character>MA RAINEY</character>
<dialogue>If you are too cheap to buy me a Coke...I'll buy my own. Slow Drag!</dialogue>
<scene_description>SLOW DRAG is immediately on point.</scene_description>
<character>MA RAINEY</character>
<dialogue>Sylvester, go with Slow Drag and get me three bottles of Coca-Cola. Ice cold.</dialogue>
<character>SYLVESTER</character>
<dialogue>Yes, ma'am.</dialogue>
<scene_description>MA RAINEY pulls out a little pouch she keeps close to her breast.</scene_description>
<character>MA RAINEY</character>
<dialogue>Get ya'll something too and keep the change.</dialogue>
<scene_description>SYLVESTER and SLOW DRAG make a B-line for the door. IRVIN digs into his pocket to offer Ma Rainey her money back.</scene_description>
<character>MA RAINEY</character>
<dialogue>Get out of my face, Irvin. You all just wait until I get my Coke. It ain't gonna kill you.</dialogue>
<character>IRVIN</character>
<dialogue>Okay, Ma. Get your Coke... (under his breath) ...for Chrissakes. Get your Coke!</dialogue>
<scene_description>Exasperated, IRVIN and STURDYVANT exit. TOLEDO, LEVEE and CUTLER head on back to the BAND ROOM.</scene_description>
<character>MA RAINEY</character>
<dialogue>Cutler.</dialogue>
<scene_description>He stops, the other two men keep on stepping.</scene_description>
<character>MA RAINEY</character>
<dialogue>Come here a minute. I want to talk to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORNER DELI</stage_direction>
<scene_description>SYLVESTER and SLOW DRAG enter and stop in their tracks as the STORE OWNER and all his white customers turn and stare.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>Warily, CUTLER ambles over.</scene_description>
<character>MA RAINEY</character>
<dialogue>What's all this about "the boys in the band say"? I tells you what to do. I says what the matters is with the band. I say who can and who can't do what.</dialogue>
<character>CUTLER</character>
<dialogue>We just say 'cause the boy stutter...</dialogue>
<character>MA RAINEY</character>
<dialogue>I know he stutters. Don't you think I know he stutters. This is what's gonna help him.</dialogue>
<character>CUTLER</character>
<dialogue>We just thought it be easier to go on and let Levee do it like we planned.</dialogue>
<character>MA RAINEY</character>
<dialogue>He's doing the part and I don't wanna hear anymore of this shit about what the band says. And I want you to find somebody to replace Levee when we get to Memphis. Levee ain't nothing but trouble.</dialogue>
<character>CUTLER</character>
<dialogue>Levee's all right. He plays good music when he puts his mind to it. He knows how to write music, too.</dialogue>
<character>MA RAINEY</character>
<dialogue>I don't care what he know. He ain't nothing but bad news. Find somebody else. I know it was his idea about who to say who can do what.</dialogue>
<scene_description>DUSSIE MAE wanders over to were they are sitting.</scene_description>
<character>MA RAINEY</character>
<dialogue>Dussie Mae! Go sit your behind down somewhere and quit flaunting yourself around.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>I ain't doing nothing.</dialogue>
<character>MA RAINEY</character>
<dialogue>Well, just go on somewhere and stay out of the way.</dialogue>
<scene_description>DUSSIE MAE finds her way into the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>TOLEDO sits, reading his tattered newspaper. LEVEE plays a phrase on his horn then makes a notation on his sheet music.</scene_description>
<character>LEVEE</character>
<parenthetical>(singing)</parenthetical>
<dialogue>You can shake it, you can break it. / You can dance at any hall / You can slide across the floor / You'll never have to stall / My jelly, my roll...</dialogue>
<scene_description>The door eases open and DUSSIE MAE peeks in. LEVEE perks up.</scene_description>
<character>LEVEE</character>
<dialogue>...sweet mama don't you let it fall.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>Oh, hi! I just wanted to see what it look like down here.</dialogue>
<scene_description>TOLEDO lifts his eyes up off of his newspaper.</scene_description>
<character>LEVEE</character>
<dialogue>Well, come on in...I don't bite.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>I didn't know you could really write music. I thought you was just jiving me at the club last night.</dialogue>
<character>LEVEE</character>
<dialogue>Nawh, baby...I knows how to write music. I done give Mr. Sturdyvant some of my songs and he say he's gonna let me record them. I'm gonna have my own band!</dialogue>
<scene_description>TOLEDO knows trouble when he sees it and heads for the door.</scene_description>
<character>LEVEE</character>
<dialogue>Toledo...ain't I give Mr. Sturdyvant some of my songs I wrote?!</dialogue>
<character>TOLEDO</character>
<dialogue>Don't get Toledo mixed up in nothing.</dialogue>
<scene_description>He exits.</scene_description>
<character>DUSSIE MAE</character>
<dialogue>You gonna get your own band sho' nuff?</dialogue>
<character>LEVEE</character>
<dialogue>Levee Green and His Footstompers.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>That's real nice.</dialogue>
<character>LEVEE</character>
<dialogue>A man what's gonna get his own band need to have a woman like you.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>A woman like me wants somebody to bring it and put it in my hand. I don't need nobody wanna get something for nothing and leave me standing in my door.</dialogue>
<character>LEVEE</character>
<dialogue>That ain't Levee's style, sugar. I knows how to treat a woman. Buy her presents and things...treat her like she want to be treated.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>That's what they all say...'til it come time to be buying the presents.</dialogue>
<scene_description>LEVEE catches her hand.</scene_description>
<character>LEVEE</character>
<dialogue>When we get down to Memphis, I'm gonna show you what I'm talking about. I'm gonna take you out and show you a good time. Show you Levee know how to treat a woman.</dialogue>
<scene_description>LEVEE slips his arm around her waist and pulls her closer. She lets him get just enough of a "rub" to keep him in her web.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<character>CUTLER</character>
<dialogue>Ma, This Moonshine Blues...that's one of them songs Bessie Smith sang, I believes.</dialogue>
<character>MA RAINEY</character>
<dialogue>Bessie what? Ain't nobody thinking about Bessie. I taught Bessie. She ain't doing nothing but imitating me. What I care about Bessie? I don't care if she sell a million records. She got her people and I got mine. I don't care what nobody else do. Ma was the first and don't you forget it!</dialogue>
<character>CUTLER</character>
<dialogue>Ain't nobody said nothing about that. I just said that's the same song she sang.</dialogue>
<character>MA RAINEY</character>
<dialogue>I been doing this a long time. Ever since I was a little girl. I don't care what nobody else do. That's what gets me so mad with Irvin. White folks try to be put out with you all the time. Too cheap to buy me a coca cola. I lets them know it though. Ma don't stand for no shit. Wanna take my voice and trap it in them fancy boxes with all them buttons and dials...and then too cheap to buy me a coca cola. And it don't cost but a nickel a bottle.</dialogue>
<scene_description>Pause.</scene_description>
<character>MA RAINEY</character>
<dialogue>They don't care nothing about me. All they want is my voice. Well, I done learned that and they gonna treat me like I want to be treated no matter how much it hurt them. They back there now calling me all kinds of names...calling me everything but a child of God. But they can't do nothing else. They ain't got what they wanted yet. As soon as they get my voice down on them recording machines, then it's just like if I'd be some whore and they roll over and put their pants on...ain't got no use for me then. I know what I'm talking about. You watch. Irvin right there with the rest of them. He don't care nothing about me either.</dialogue>
<character>MA RAINEY</character>
<dialogue>He's been my manager for six years and the only time he had me in his house was to sing for some of his white friends.</dialogue>
<character>CUTLER</character>
<dialogue>I know how they do.</dialogue>
<scene_description>TOLEDO slips into the room.</scene_description>
<character>MA RAINEY</character>
<dialogue>If you colored and can make them some money then you all right with them. Otherwise you just a dog in the alley. I done made this company more money from my records than all the other recording artists they got put together. And they wanna balk about how much this session is costing them.</dialogue>
<character>CUTLER</character>
<dialogue>I don't see where it's costing them all what they say.</dialogue>
<character>MA RAINEY</character>
<dialogue>It ain't! I don't pay that kind of talk no mind.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>LEVEE and DUSSIE MAE sit close as Siamese twins.</scene_description>
<character>LEVEE</character>
<dialogue>I done got my fella's already picked out. Getting me some good fella's know how to play real sweet music.</dialogue>
<scene_description>LEVEE slyly places his hand on her thigh. She promptly removes it.</scene_description>
<character>DUSSIE MAE</character>
<dialogue>When you get your own band maybe we can see about this stuff you talking.</dialogue>
<character>LEVEE</character>
<dialogue>I just want to show you I know what the women like. They don't call me Sweet Lemonade for nothing.</dialogue>
<scene_description>LEVEE tries to kiss her. DUSSIE MAE resists...somewhat.</scene_description>
<character>DUSSIE MAE</character>
<dialogue>Stop it now, somebody gonna come in here.</dialogue>
<character>LEVEE</character>
<dialogue>Naw, they ain't. Look here, sugar...what I wanna know is...can I introduce my red rooster to your brown hen?</dialogue>
<character>DUSSIE MAE</character>
<dialogue>You get your band then we'll see if your rooster know how to crow.</dialogue>
<scene_description>LEVEE leans in for another kiss and this time DUSSIE MAN lets him in. Their lips finally part and suddenly she bolts into the stairway. Like a lion on a gazelle, LEVEE is right behind her.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT STAIRWAY</stage_direction>
<scene_description>LEVEE backs her up against the wall and kisses her passionately, she returns the passion and "It's on"!</scene_description>
<character>LEVEE</character>
<dialogue>Damn, baby! Now I know why my grandpappy sat on the back porch with his straight razor when my grandma hung out the wash.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>Nigger, you crazy!</dialogue>
<scene_description>LEVEE'S hand slides down DUSSIE MAE'S body and he grips her firm backside. He pulls her back into-</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>DUSSIE MAN snatches LEVEE in and lays one on him. They stumble back against the lockers in a "liplock".</scene_description>
<character>LEVEE</character>
<dialogue>I bet you sound like the midnight train from Alabama when it crosses the Mason Dixon line.</dialogue>
<character>DUSSIE MAE</character>
<dialogue>How'd you get so crazy?</dialogue>
<character>LEVEE</character>
<dialogue>It's women like you drives me so... Good God! Happy birthday to the lady with the cakes</dialogue>
<scene_description>LEVEE grabs a chair and jams it under the door knob. DUSSIE MAE looks at LEVEE. Fire raging in her eyes and in her loins. Suddenly she pushes him down on the bench, hikes up her dress and straddles him. There's only so much a woman can take.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<character>MA RAINEY</character>
<dialogue>It sure done got quiet in here. I never could stand no silence. I always got to have some music going on in my head somewhere. It keeps things balanced. Music will do that. It fills things up. The more music you got in the world, the fuller it is.</dialogue>
<character>CUTLER</character>
<dialogue>I can agree with that. I got to have my music too</dialogue>
<character>MA RAINEY</character>
<dialogue>White folks don't understand about the blues. They hear it come out but they don't know how it got there. They don't understand that's life's way of talking. You don't sing to feel better. You sing 'cause that's a way of understanding life. The blues help you get out of bed in the morning. You get up knowing you ain't alone. There's something else in the world. Something's been added by that song. This be an empty world without the blues. I take that emptiness and try to fill it up with something. I ain't started the blues way of singing. The blues always been here. But if they wanna call me the Mother of the Blues, that's all right with me. It don't hurt none.</dialogue>
<scene_description>SLOW DRAG and SYLVESTER enter with the Coca Cola's.</scene_description>
<character>MA RAINEY</character>
<dialogue>It sure took you long enough. Sylvester, go and find Mr. Irvin and tell him we ready to go.</dialogue>
<character>SLOW DRAG</character>
<dialogue>I'll grab Levee.</dialogue>
<scene_description>SYLVESTER goes one way, SLOW DRAG the other.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT STAIRWAY</stage_direction>
<scene_description>SLOW DRAG hurries down the stairs and tries the door. Curiously, it's jammed. He knocks.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>LEVEE and DUSSIE MAE jump up hurriedly straightening out they clothes.</scene_description>
<character>SLOW DRAG (O.S.)</character>
<dialogue>Ma got her Coke, Levee. We 'bout ready to start.</dialogue>
<scene_description>After a beat, LEVEE opens the door and peeks out. The coast clear, he signals DUSSIE MAE who scurries out.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>MA RAINEY drinks her Coke. Everybody else standing by. NOTE: IRVIN and STURDYVANT dialogue comes over the HORN in the recording studio unless otherwise indicated.</scene_description>
<character>IRVIN</character>
<dialogue>Okay, boys. "Ma Rainey's Black Bottom." Take one.</dialogue>
<character>CUTLER</character>
<dialogue>Ah-One. Ah-Two. You know what to do.</dialogue>
<scene_description>TOLEDO plays his intro and THE BAND strikes up. SYLVESTER braces himself.</scene_description>
<character>SYLVESTER</character>
<dialogue>All right boys, you d-d-d-done s-s- seen...</dialogue>
<scene_description>JUMP CUT TO: STURDYVANT breaks the recording disc and replaces it.</scene_description>
<character>IRVIN</character>
<dialogue>Okay. Take Two.</dialogue>
<scene_description>The Band strikes up again.</scene_description>
<character>SYLVESTER</character>
<dialogue>All right boys, you done seen the rest...now I'm gonna show you the best. Ma Rainey's g-g-g-gonna...</dialogue>
<parenthetical>(rushing to the end)</parenthetical>
<dialogue>Show you her black bottom.</dialogue>
<scene_description>JUMP CUT: STURDYVANT, changing the disc again.</scene_description>
<character>IRVIN</character>
<dialogue>Take three. Ma, let's just...</dialogue>
<scene_description>MA RAINEY shoots a look up to the booth. JUMP CUT: A broken recording disc lands in the garbage pale.</scene_description>
<character>IRVIN</character>
<dialogue>Take Seven.</dialogue>
<scene_description>The Band strikes up.</scene_description>
<character>SYLVESTER</character>
<dialogue>All right boys, you done seen the rest...now, I'm gonna show you the best. Ma Rainey's gonna show you her black bottom.</dialogue>
<scene_description>IRVIN and STURDYVANT arms raised in a silent cheer. SYLVESTER looks at MA RAINEY, amazed, she casts her gold tooth smile on him, steps up to the microphone and "works her number".</scene_description>
<character>MA RAINEY</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Way down south in a Alabamy / I've got a friend they call Dancin' Sammy / Who's crazy 'bout all the latest dances / Black Bottom Stomps and the new baby prances / The other night at a swell affair / Soon as the boys found out that I was there /</dialogue>
<character>MA RAINEY</character>
<dialogue>They said, come on Ma, let's go to the cabaret / When I got there they began to say...</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - BOOTH</stage_direction>
<scene_description>STURDYVANT fiddles with the knobs as the recording equipment flattens the power of MA RAINEY"S extraordinary sound.</scene_description>
<character>MA RAINEY</character>
<dialogue>I want to see that dance they call the black bottom / I want to learn that dance / want to see the dance you call your big black bottom / It'll put you in a trance...</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<character>MA RAINEY</character>
<dialogue>All the boys in the neighborhood / They say / your black bottom is really good / Come on and show me your / your black bottom / I want to learn that dance / I want to see the dance they call the black bottom...</dialogue>
<scene_description>DUSSIE MAE and SYLVESTER dancing as MA RAINEY slays the tune.</scene_description>
<character>MA RAINEY</character>
<dialogue>I want to learn that dance / want to see you do the dance you call your big black bottom / It'll put you in a trance / Early one morning 'bout the break of day / Grandpa told my Grandma, I heard him say / Get on up and show your old man your black bottom / I want to learn that dance...yes sir I want to learn that dance...</dialogue>
<character>STURDYVANT</character>
<dialogue>Okay, that's good, Ma. That sounded great. Good job, boys.</dialogue>
<scene_description>The recording light goes off. Jubilation all around. MA RAINEY "bearhugs" SYLVESTER.</scene_description>
<character>MA RAINEY</character>
<dialogue>See! I told you. I knew you could do it. You just have to put your mind to it. Didn't he do good, Cutler? Sound real good. I told you that you could do it.</dialogue>
<character>CUTLER</character>
<dialogue>He sure did. He did it better than I thought he was gonna do.</dialogue>
<scene_description>IRVIN slides in and quickly pulls Sylvester's microphone to the side.</scene_description>
<character>IRVIN</character>
<dialogue>Okay, boys...Ma...let's do Moonshine Blues next, huh? Moonshine Blues, boys.</dialogue>
<scene_description>IRVIN starts out but-</scene_description>
<character>STURDYVANT</character>
<parenthetical>(over the horn)</parenthetical>
<dialogue>Irv...something happened. We don't have the goddamn song recorded!</dialogue>
<scene_description>Heavy moans and groans from everyone.</scene_description>
<character>STURDYVANT</character>
<dialogue>Check that mic, huh, Irv.</dialogue>
<scene_description>IRVIN crosses over and taps on Ma's mic.</scene_description>
<character>IRVIN</character>
<dialogue>One...one...one, two...testing, one...</dialogue>
<character>STURDYVANT</character>
<dialogue>No, it's the kid's mic.</dialogue>
<character>IRVIN</character>
<dialogue>Christ almighty! Ma, we didn't record the song.</dialogue>
<character>MA RAINEY</character>
<dialogue>What you mean you didn't record it? What was you and Sturdyvant doing up there?</dialogue>
<scene_description>IRVIN goes to Sylvester's microphone, tracing the chord back to the connection box.</scene_description>
<character>IRVIN</character>
<dialogue>Here...Levee must have kicked the plug out.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't kicked nothing!</dialogue>
<character>SLOW DRAG</character>
<dialogue>If Levee had his mind on what he was doing...</dialogue>
<character>MA RAINEY</character>
<dialogue>Levee, if it ain't one thing it's another. You better straighten yourself up!</dialogue>
<character>LEVEE</character>
<dialogue>Hell...it ain't my fault. I ain't done nothing!</dialogue>
<character>IRVIN</character>
<dialogue>It's the cord, Mel. The cord's all chewed up. We need another cord.</dialogue>
<character>MA RAINEY</character>
<dialogue>This is the most disorganized...</dialogue>
<scene_description>MA RAINEY marches across the room to get her things. SYLVESTER and DUSSIE MAE in her tail wind.</scene_description>
<character>STURDYVANT</character>
<dialogue>Where's she going?</dialogue>
<scene_description>STURDYVANT is up and out of the booth in a flash.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO HALLWAY.</stage_direction>
<scene_description>MA RAINEY, not breaking stride heads to the exit door followed by a desperate IRVIN.</scene_description>
<character>IRVIN</character>
<dialogue>Ma...Ma...listen. Fifteen minutes. All I ask is fifteen minutes.</dialogue>
<character>STURDYVANT</character>
<dialogue>Ma...if you walk out of this studio...</dialogue>
<character>IRVIN</character>
<dialogue>Fifteen minutes, Ma!</dialogue>
<character>STURDYVANT</character>
<dialogue>You'll be through...washed up!</dialogue>
<character>IRVIN</character>
<dialogue>Mel, for Chrissakes!!</dialogue>
<scene_description>In an instant he's right behind her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING - ALLEY</stage_direction>
<scene_description>MA makes her way up the alley, IRVIN hurries to get in front of her. She finally stops and stands there fuming.</scene_description>
<character>IRVIN</character>
<dialogue>Ma, listen. These records are gonna be hits! They're gonna sell like crazy! Hell, even Sylvester will be a star. Fifteen minutes. That's all I'm asking! Fifteen minutes.</dialogue>
<scene_description>After a good strong beat.</scene_description>
<character>MA RAINEY</character>
<dialogue>Fifteen minutes! You hear me, Irvin? Fifteen minutes...and then I'm gonna take my black bottom on back down to Georgia. Fifteen minutes. Then Madame Rainey is leaving!</dialogue>
<scene_description>IRVIN jubilantly kisses MA RAINEY on the cheek. She promptly wipes it off as Irvin jets off back into the studio.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>IRVIN followed by STURDYVANT burst in. The FELLA'S are packing up.</scene_description>
<character>IRVIN</character>
<dialogue>You boys go ahead and take a little break. Fifteen minutes and we'll be ready to go.</dialogue>
<scene_description>CUT TO: A GIANT BLOOD ORANGE LATE AFTERNOON SUN. THE HEAT OF ITS RELENTLESS RAYS ENGULF THE RECORDING STUDIO BUILDING.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>The room is like an oven by now with no air circulating in the stifling summer heat. TOLEDO and CUTLER share Slow Drag's moonshine. LEVEE is stretched out on the bench, fanning himself with his sheet music, his trumpet on his chest.</scene_description>
<character>SLOW DRAG</character>
<dialogue>Don't make no difference to me if she leave or not. I was kinda hoping she would leave.</dialogue>
<character>TOLEDO</character>
<dialogue>If I was Mr. Irvin, I'd best go on and get them cords and things hooked up right.</dialogue>
<character>CUTLER</character>
<dialogue>If Levee had his mind on his work we wouldn't be in this fix. We'd be up there finishing up. Now we got to go back and see if that boy get that part right. Ain't no telling if he ever get that right again in his life. Nigger, don't you know that's Ma's gal?</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee up there got one eye on the gal, the other on his trumpet.</dialogue>
<character>LEVEE</character>
<dialogue>I don't care who's gal it is. I ain't done nothing to her. I just talk to her like I talk to anybody else.</dialogue>
<character>CUTLER</character>
<dialogue>Your ass gonna be out here scraping the concrete looking for a job if you keep messing with her.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't done nothing to the gal. I just asked her name. Now, if you telling me I can't do that...then Ma will just have to go to hell.</dialogue>
<character>CUTLER</character>
<dialogue>I'm through with it. Try and talk to a fool...</dialogue>
<character>TOLEDO</character>
<dialogue>Some mens got it worse than others...this foolishness I'm talking about. Some mens is excited to be fools. That excitement is something else. I knows about it. I done experienced it. It makes you feel good to be a fool. But it don't last long. It's over in a minute. Then you got to tend with the consequences.</dialogue>
<character>LEVEE</character>
<dialogue>That's the best sense you made all day. Talking about being a fool. That's the only sensible thing you said today. Admitting you was a fool.</dialogue>
<character>TOLEDO</character>
<dialogue>I admits it, all right. Ain't nothing wrong with it. I done been a little bit of everything. Gonna be a bit more things before I'm finished with it. But I ain't never been the same fool twice. That's where we part ways.</dialogue>
<character>LEVEE</character>
<dialogue>But you been a fool. That's what counts. Talking about I'm a fool for asking the gal her name and here you is one yourself.</dialogue>
<character>TOLEDO</character>
<dialogue>I married a woman. A good woman. To this day I can't say she wasn't a good woman. I married that woman with all the good graces and intentions of being hooked up and bound to her for the rest of my life. I was looking for her to put me in my grave. But you see it ain't all the time what your intentions and wishes are. She went out and joined the church. There ain't nothing wrong with that. But she got up there, got to seeing them good Christian mens and wondering why I ain't like that.</dialogue>
<character>TOLEDO</character>
<dialogue>Soon she figure she got a heathen on her hands. So she left... And I sat down and figured out that I was a fool not to see that she needed something that I wasn't giving her. Else she wouldn't have been up there at the church in the first place. So yeah, Toledo been a fool about a woman. That's part of making life.</dialogue>
<character>CUTLER</character>
<dialogue>Toledo, what you call a fool, and what I call a fool, is two different things. A fool is responsible for what happens to him. A fool cause it to happen. Like Levee...if he keep messing with Ma's gal and his feet be out there scraping the ground. That's a fool.</dialogue>
<character>LEVEE</character>
<dialogue>Ain't nothing gonna happen to Levee. Levee ain't gonna let nothing happen to him.</dialogue>
<character>SLOW DRAG</character>
<dialogue>You just better not let Ma see you ask her. That's what the man's trying to tell you.</dialogue>
<character>LEVEE</character>
<dialogue>I don't need nobody to tell me nothing.</dialogue>
<character>CUTLER</character>
<dialogue>Toledo, all I gots to say is from the looks of it, from your story...I don't think life did you fair.</dialogue>
<character>TOLEDO</character>
<dialogue>Oh, life is fair...It's just...</dialogue>
<character>LEVEE</character>
<dialogue>Life ain't shit. You can put it in a paper bag and carry it around with you. It ain't got no balls. Now, death...death got some style! Death will kick your ass and make you wish you never been born! That's how bad death is! But you can rule over life.</dialogue>
<character>LEVEE</character>
<dialogue>Life ain't nothing... Nigger talking about life is fair. And ain't got a pot to piss in.</dialogue>
<scene_description>LEVEE jumps up and tries to muscle the exit door again.</scene_description>
<character>TOLEDO</character>
<dialogue>See, now, I'm gonna tell you something. A nigger gonna be dissatisfied no matter what.</dialogue>
<character>LEVEE</character>
<parenthetical>(struggling with the door)</parenthetical>
<dialogue>Niggers got a right to be dissatisfied. Is you gonna be satisfied with a bone somebody done throwed you when you see them eating the whole hog?</dialogue>
<character>TOLEDO</character>
<dialogue>You lucky they let you be an entertainer. You lucky and don't even know it.</dialogue>
<character>LEVEE</character>
<dialogue>I'm talking about being satisfied with a bone somebody done throwed you. That's what's the matter with you all. You satisfied...sitting in one place. You got to move on down the road from where you sitting. As soon as I get my band together and make them records like Mr. Sturdyvant done told me I can make, I'm gonna be like Ma and tell the white man just what he can do. Ma tell Mr. Irvin she leavin'...and Mr. Irvin get down on his knees and beg her to stay! That's the way I'm gonna be! Make the white man respect me!</dialogue>
<character>CUTLER</character>
<dialogue>The white man don't care nothing about Ma. The colored folks made Ma a star. White folks don't care nothing about who she is...what kind of music she make.</dialogue>
<character>SLOW DRAG</character>
<dialogue>You let her go down to one of them white folks hotels and see how big she is.</dialogue>
<character>CUTLER</character>
<dialogue>Hell, she can't even get a cab up here in the North. I'm gonna tell you something. Reverend Gates... You know Reverend Gates?... Slow Drag know who I'm talking about.</dialogue>
<scene_description>CUTLER takes the floor.</scene_description>
<character>CUTLER</character>
<dialogue>Reverend Gates was coming from Tallahassee to Atlanta, going to see his sister who was sick at that time with the consumption. The train come up through Thomasville, then past Moultrie, and stopped in this little town called Sigsbee...</dialogue>
<character>LEVEE</character>
<dialogue>You can stop telling that right there! Ain't but one train. Ain't but one train come out of Tallahassee heading north to Atlanta and it don't stop at Sigsbee. The only train that stops at Sigsbee is the Santa Fe, and you have to transfer at Moultrie to get it!</dialogue>
<character>CUTLER</character>
<dialogue>Well, hell, maybe that's what he done! I don't know! I'm just telling you the man got off the train at Sigsbee!</dialogue>
<character>LEVEE</character>
<dialogue>All right...you telling it. Tell it your way. Just make up anything.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Levee, leave the man alone and let him finish.</dialogue>
<character>LEVEE</character>
<dialogue>Go on tell it your way.</dialogue>
<scene_description>LEVEE walks out of the band room and into the stairway.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT STAIRWAY</stage_direction>
<scene_description>LEVEE flops down on the stairs finding his own space but CUTLER words follow him.</scene_description>
<character>CUTLER (O.S.)</character>
<dialogue>Anyway...Reverend Gates got off this train in Sigsbee, figured he'd check the schedule to be sure he arrive in time for somebody to pick him up.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<character>CUTLER</character>
<dialogue>All right. While he's there, it come upon him that he had to go to the bathroom. The only colored restroom is an outhouse they got sitting way back two hundred yards or so from the station. All right. He in the outhouse and the train go off and leave him there. He don't know nothing about this town...in fact, ain't never even heard of it before.</dialogue>
<character>LEVEE (O.S.)</character>
<parenthetical>(calls out)</parenthetical>
<dialogue>I heard of it! And he ain't got off no train coming out of Tallahassee in Sigsbee!</dialogue>
<character>CUTLER</character>
<parenthetical>(ignoring him)</parenthetical>
<dialogue>The man standing there trying to figure out what he's gonna do... Where this train done left him in this strange town. It started getting dark. He sees where the sun's getting low in the sky and he's trying to figure out what he's gonna do, when he noticed a couple of white fellas standing across the street from this station. Just standing there, watching him. And then two or three more come up and joined the other one. He look around, ain't seen no colored folks nowhere. He didn't know what was getting in these here fellows' minds, so he commence to walking. He ain't knowed where he was going. He just walking down the railroad tracks when he hear, "Hey, nigger!" Just like that...</dialogue>
<scene_description>BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT STAIRWAY</stage_direction>
<scene_description>LEVEE's brow tightens.</scene_description>
<character>CUTLER (O.S.)</character>
<dialogue>See, just like that. "Hey, nigger!"</dialogue>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<character>CUTLER</character>
<dialogue>He kept on walking. They call him some more and he just keep walking. And then he heard a gunshot. He stopped then, you know. They crowded around him. He's standing there, got his cross around his neck and his little bible with him what he carry all the time. They ask who he is. He told them he was Reverend Gates and that he was going to see his sister who was sick and the train left without him. And they said, "Yeah, nigger...but can you dance?" He looked at them and commenced to dancing. One of them reached up and tore his cross off his neck. Said he was committing a heresy by dancing with a cross and a bible. Took his Bible and tore it up and had him dancing till they got tired of watching him. That's the only way he...</dialogue>
<scene_description>LEVEE thrusts himself back in the room.</scene_description>
<character>LEVEE</character>
<dialogue>What I wants to know is....if he's a man of God...then where the hell was God when all of this was going on? Why didn't God strike down them crackers with some of this lightning you talking about to me?</dialogue>
<character>CUTLER</character>
<dialogue>Levee, you gone burn in hell.</dialogue>
<character>LEVEE</character>
<dialogue>Why didn't God strike some of them crackers down? Tell me that! That's the question! Don't come telling me this burning-in-hell shit! He a man of God...</dialogue>
<character>LEVEE</character>
<dialogue>why didn't God strike some of them crackers down? I'll tell you why! I'll tell you the truth! God ain't never listened to no nigger's prayers. God take a nigger's prayers and throw them in the garbage. God don't pay niggers no mind. In fact... God hate niggers! Hate them with all the fury in his heart. Jesus don't love you, nigger! Jesus hate your black ass! Come talking that shit to me. Talking about burning in hell! God can kiss my ass.</dialogue>
<scene_description>CUTLER can stand no more. He jumps up and punches LEVEE in the mouth. The force of the blow knocks LEVEE down and CUTLER jumps on him.</scene_description>
<character>CUTLER</character>
<dialogue>You worthless...that's my God! That's my God! That's my God! You wanna blaspheme my God!</dialogue>
<scene_description>TOLEDO and SLOW DRAG grab CUTLER and try to pull him off LEVEE.</scene_description>
<character>SLOW DRAG</character>
<dialogue>Come on Cutler...let it go! It don't mean nothing!</dialogue>
<scene_description>CUTLER has LEVEE down on the floor and pounds him with a fury.</scene_description>
<character>CUTLER</character>
<dialogue>Wanna blaspheme my God! You worthless... talking about my God!</dialogue>
<scene_description>TOLEDO and SLOW DRAG succeed in pulling CUTLER off LEVEE, who is bleeding at the nose and mouth.</scene_description>
<character>LEVEE</character>
<dialogue>Naw, let him go! Let him go!</dialogue>
<scene_description>He pulls out a knife.</scene_description>
<character>LEVEE</character>
<dialogue>That's your God, huh? That's your God, huh? Is that right? Your God, huh? All right. I'm gonna give your God a chance. I'm gonna give your God a chance. I'm gonna give him a chance to save your black ass.</dialogue>
<scene_description>LEVEE circles CUTLER with the knife. CUTLER picks up a chair to protect himself.</scene_description>
<character>TOLEDO</character>
<dialogue>Come on, Levee...put that knife up!</dialogue>
<character>LEVEE</character>
<dialogue>Stay out of this Toledo.</dialogue>
<character>TOLEDO</character>
<dialogue>That ain't no way to solve nothing.</dialogue>
<character>SLOW DRAG</character>
<dialogue>Watch him, Cutler! Put that knife up, Levee!</dialogue>
<scene_description>LEVEE alternately swipes at CUTLER during the following.</scene_description>
<character>LEVEE</character>
<dialogue>I'm calling Cutler's God! I'm talking to Cutler's God! You hear me? Cutler's God! I'm calling Cutler's God. Come on and save this nigger! Strike me down before I cut his throat!</dialogue>
<character>CUTLER</character>
<dialogue>You gonna burn in hell, nigger!</dialogue>
<character>LEVEE</character>
<parenthetical>(to Cutler)</parenthetical>
<dialogue>I'm calling your God! I'm gonna give him a chance to save you! I'm calling your God! We gonna find out whose God he is! Cutler's God! Come on and save this nigger! Come on and save him like you did my mama! Save him like you did my Mama! I heard her when she called you! I heard her when she said, "Lord have mercy! Jesus help me! Please God have mercy on me, Lord! Jesus help me!" And did you turn your back? Did you turn your back, motherfucker? Did you turn your back?</dialogue>
<scene_description>LEVEE becomes so caught up in his dialogue with God that he forgets about CUTLER and begins to stab upward in the air, trying to reach God.</scene_description>
<character>LEVEE</character>
<dialogue>Come on! Come on and turn your back on me! Turn your back on me!</dialogue>
<character>LEVEE</character>
<dialogue>Come on! Where is you? Come on and turn your back on me! Turn your back on me, motherfucker! I'll cut your heart out! Come on, turn your back on me! Come on! What's the matter? Where is you? Come on and turn your back on me! Come on, what you scared of? Turn your back on me! Come on! Coward, motherfucker!</dialogue>
<scene_description>LEVEE folds his knife and stands triumphantly.</scene_description>
<character>LEVEE</character>
<dialogue>Your God ain't shit, Cutler.</dialogue>
<scene_description>THE SOUND OF THE L TRAIN VIOLENTLY ROARING, GIVES WAY TO A TRUMPET'S WAIL--</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>THEY ARE IN SESSION, SWINGING THE END OF "HEAR ME TALKING TO YOU". DUSSIE MAE DANCES AROUND SEDUCTIVELY AS MA RAINEY WORKS HER BIG FINISH.</scene_description>
<character>MA RAINEY</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Hello Central / Give me 609 What it takes / to get it in these hips of mine You hear me talking to you / I don't bite my tongue You want to be my man / you better bring it with you when you come You want to be my man / bring it with you when you come.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO - BOOTH</stage_direction>
<scene_description>STURDYVANT lifts the recording needle. IRVIN checks the recording. Everyone below still, with anticipation.</scene_description>
<character>IRVIN</character>
<parenthetical>(into the the mic)</parenthetical>
<dialogue>Good! Wonderful! We have that, boys. Good session. That's great, Ma. We've got ourselves some winners.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>The FELLA's start packing up.</scene_description>
<character>MA RAINEY</character>
<dialogue>Slow Drag, where you learn to play the bass at? You had it singing! I heard you! Had that bass jumping all over the place.</dialogue>
<character>SLOW DRAG</character>
<dialogue>I was following Toledo. Nigger got them long fingers...striding all over the piano. I was trying to keep up with him.</dialogue>
<character>TOLEDO</character>
<dialogue>That's what you supposed to do, ain't it? Play the music.</dialogue>
<character>MA RAINEY</character>
<dialogue>Cutler, you hear Slow Drag on that bass? Spank it just like you spank a baby.</dialogue>
<scene_description>LEVEE strokes his horn with a cloth, cutting his eye at DUSSIE MAE. Blowing spit from the valve.</scene_description>
<character>MA RAINEY</character>
<dialogue>Levee...what is that you was doing? Why you playing all them notes? You play ten notes for every one you supposed to play. It don't call for that.</dialogue>
<character>LEVEE</character>
<dialogue>You supposed to improvise on the theme. That's what I was doing.</dialogue>
<character>MA RAINEY</character>
<dialogue>You supposed to play the song the way I sing it. The way everybody else play it.</dialogue>
<character>LEVEE</character>
<dialogue>I was playing the song. I was playing it the way I felt it.</dialogue>
<character>MA RAINEY</character>
<dialogue>I'm trying to sing the song and you up there messing up my ear. Call yourself playing music.</dialogue>
<character>LEVEE</character>
<dialogue>Hey...I know what I'm doing. You all back up and leave me alone about my music.</dialogue>
<character>CUTLER</character>
<dialogue>I done told you...it ain't about your music. It's about Ma's music.</dialogue>
<character>MA RAINEY</character>
<dialogue>That's all right, Cutler. I done told you what to do.</dialogue>
<character>LEVEE</character>
<dialogue>What I care what you or Cutler do? Go ahead and fire me. I don't care. I'm gonna get my own band anyway.</dialogue>
<character>MA RAINEY</character>
<dialogue>You keep messing with me.</dialogue>
<character>LEVEE</character>
<dialogue>Ain't nobody studyin' you.</dialogue>
<character>MA RAINEY</character>
<dialogue>All right, nigger...you fired!</dialogue>
<character>LEVEE</character>
<dialogue>You think I care about being fired? I don't care nothing about that. You doing me a favor.</dialogue>
<character>MA RAINEY</character>
<dialogue>Cutler, Levee's out! He don't play in my band no more!</dialogue>
<character>LEVEE</character>
<dialogue>I'm fired...good! Best thing that ever happened to me. I don't need this shit!</dialogue>
<scene_description>He exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>LEVEE burst through the door and crosses into the pressure cooker of a room. Feeling trapped and humiliated, he rushes to the side exit door, and pounds it with his fists, yanking at the knob. It gives way and Levee snatches it open and bolts outside, looking for air. Nothing. He stands there, trapped in the tiny, barren, enclosed space with high walls. No air. A pit.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO HALLWAY</stage_direction>
<scene_description>IRVIN pops out of Sturdyvant's office sees CUTLER standing there.</scene_description>
<character>IRVIN</character>
<dialogue>Mel is on his way with your money in a minute.</dialogue>
<character>CUTLER</character>
<dialogue>That's cash money, Mr. Irvin. I don't want no check.</dialogue>
<character>IRVIN</character>
<parenthetical>(as he goes)</parenthetical>
<dialogue>I'll see what I can do. I can't promise you nothing.</dialogue>
<character>CUTLER</character>
<dialogue>As long as it ain't no check. I ain't got no use for a check.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO</stage_direction>
<scene_description>IRVIN enters.</scene_description>
<character>IRVIN</character>
<dialogue>Ma, listen, I talked to Sturdyvant, and he said...now, I tried to talk him out of it...he said the best he can do is take twenty-five dollars of your money and give it to Sylvester.</dialogue>
<character>MA RAINEY</character>
<dialogue>Take what and do what?</dialogue>
<scene_description>SYLVESTER tunes in.</scene_description>
<character>MA RAINEY</character>
<dialogue>If I wanted the boy to have twenty- five dollars of my money, I'd give it to him! He supposed to get his own money. He's supposed to get paid like everybody else. And you go on up there and tell Sturdyvant he better pay the boy his own money.</dialogue>
<character>IRVIN</character>
<dialogue>Ma...I talked to him...he said...</dialogue>
<character>MA RAINEY</character>
<dialogue>Go talk to him again! Tell him if he don't pay that boy he'll never make another record of mine again. Tell him that! You supposed to be my manager. Always talking about sticking together. Start sticking! Go on up there and get that boy his money!</dialogue>
<scene_description>She turns away, dismissing him.</scene_description>
<character>IRVIN</character>
<dialogue>Okay, Ma...I'll talk to him again. I'll see what I can do.</dialogue>
<scene_description>IRVIN heads right back out. MA RAINEY picks up her purse and sits, a monument, waiting for her pay. IRVIN re-enters this time with STURDYVANT.</scene_description>
<character>STURDYVANT</character>
<dialogue>Ma, is there something wrong? Is there a problem?</dialogue>
<character>MA RAINEY</character>
<dialogue>Sturdyvant, I want you to pay that boy his money.</dialogue>
<character>STURDYVANT</character>
<dialogue>Sure, Ma. I got it right here. Two hundred for you and twenty-five for the kid, right?</dialogue>
<scene_description>STURDYVANT hands the money to IRVIN, who hands it to MA and SYLVESTER.</scene_description>
<character>STURDYVANT</character>
<dialogue>Irvin misunderstood me. It was all a mistake. Irv made a mistake.</dialogue>
<character>MA RAINEY</character>
<dialogue>A mistake, huh?</dialogue>
<character>IRVIN</character>
<dialogue>Sure, Ma. I made a mistake. He's paid, right? I straightened it out.</dialogue>
<character>MA RAINEY</character>
<dialogue>The only mistake was when you found out I hadn't signed the release forms. That was the mistake! Dussie, Sylvester, let's go.</dialogue>
<scene_description>And she's off, DUSSIE MAE and SYLVESTER in her tailwind.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECORDING STUDIO HALLWAY - CONTINUOUS</stage_direction>
<scene_description>IRVIN and STURDYVANT scramble to keep up.</scene_description>
<character>STURDYVANT</character>
<dialogue>Hey, Ma...come on sign the forms, huh?</dialogue>
<character>IRVIN</character>
<dialogue>Ma...come on now.</dialogue>
<scene_description>MA RAINEY makes her way to the exit door and snatches it open.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING - ALLEY</stage_direction>
<scene_description>MA RAINEY and her ENTOURAGE march up the alley.</scene_description>
<character>MA RAINEY</character>
<dialogue>Irvin, where's my car?</dialogue>
<character>IRVIN</character>
<dialogue>It's right out front, Ma. Here...I got the keys right here. Come on, sign the forms, huh?</dialogue>
</scene>
<scene>
<stage_direction>EXT. RECORDING STUDIO BUILDING/STREET - EARLY EVENING</stage_direction>
<scene_description>They finally reach the car. MA RAINEY inspects it.</scene_description>
<character>MA RAINEY</character>
<dialogue>Irvin, give me my car keys!</dialogue>
<character>IRVIN</character>
<dialogue>Sure, Ma...just sign the forms, huh?</dialogue>
<scene_description>IRVIN presents the contract to her along with the keys. MA RAINEY snatches the keys and hands them to SYLVESTER.</scene_description>
<character>MA RAINEY</character>
<parenthetical>(to Irvin)</parenthetical>
<dialogue>Send them to my address and I'll get around to them.</dialogue>
<scene_description>SYLVESTER quickly opens her door. IRVIN nudges past SYLVESTER.</scene_description>
<character>IRVIN</character>
<dialogue>Come on, Ma...I took care of everything, right? I straightened everything out.</dialogue>
<scene_description>MA RAINEY stops and takes a beat...</scene_description>
<character>IRVIN</character>
<dialogue>Ma...please...</dialogue>
<scene_description>She snatches the pen.</scene_description>
<character>MA RAINEY</character>
<dialogue>You tell Sturdyvant...one more mistake like that and I can make my records someplace else.</dialogue>
<scene_description>MA RAINEY signs with a flourish.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>CUTLER gathers his instruments and sets them by the door.</scene_description>
<character>CUTLER</character>
<dialogue>I know what's keeping him so long. He up there writing out checks. You watch. I ain't gonna stand for it. He ain't gonna bring me no check down here. Man give me a check last time...you remember...we went all over Chicago trying to get it cashed. See a nigger with a check, the first thing they think is he done stole it someplace.</dialogue>
<character>LEVEE</character>
<dialogue>I ain't had no trouble cashing mine.</dialogue>
<character>CUTLER</character>
<dialogue>I don't visit no whore houses</dialogue>
<character>LEVEE</character>
<dialogue>You don't know about my business. So don't start nothing. I'm tired of you as it is. I ain't but two seconds off your ass noway.</dialogue>
<character>TOLEDO</character>
<dialogue>Don't you all start nothing now.</dialogue>
<character>CUTLER</character>
<dialogue>What the hell I care what you tired of. I wasn't even talking to you. I was talking to this man right here.</dialogue>
<scene_description>STURDYVANT bursts in.</scene_description>
<character>STURDYVANT</character>
<dialogue>Boys, I got your pay. Mr. Irvin told me you boys prefer cash, and that's what I have for you.</dialogue>
<scene_description>STURDYVANT pulls out his wad and starts peeling off some bills.</scene_description>
<character>STURDYVANT</character>
<dialogue>That was a good session you boys put in...</dialogue>
<parenthetical>(to Cutler)</parenthetical>
<dialogue>...that's twenty-five for you.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Yessir, you boys really know your business and we are going to...</dialogue>
<parenthetical>(to Slow Drag)</parenthetical>
<dialogue>...twenty-five for you...</dialogue>
<scene_description>SLOW DRAG immediately heads to his locker and grabs his hat.</scene_description>
<character>STURDYVANT</character>
<dialogue>We are going to get you back in here real soon...</dialogue>
<parenthetical>(to Levee)</parenthetical>
<dialogue>...twenty-five...</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>...and have another session so you can make some more money...</dialogue>
<parenthetical>(to Toledo)</parenthetical>
<dialogue>...and twenty-five for you.</dialogue>
<scene_description>STURDYVANT heads out of the room into the STAIRWAY. LEVEE quickly on his heels.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT STAIRWAY - CONTINUOUS</stage_direction>
<character>LEVEE</character>
<dialogue>Mr. Sturdyvant, sir.</dialogue>
<scene_description>STURDYVANT stops. LEVEE pulls the door shut behind him for some privacy.</scene_description>
<character>LEVEE</character>
<dialogue>About them songs I give you?</dialogue>
<character>STURDYVANT</character>
<dialogue>Oh, yes...uh...Levee. I've thought about it and I just don't think the people will buy them...they're not the type of songs we're looking for.</dialogue>
<scene_description>LEVEE steps in closer.</scene_description>
<character>LEVEE</character>
<dialogue>Mr. Sturdyvant, sir...I done got my band picked out and they're real good fella's. They knows how to play real good. I know if the peoples hear the music, they'll buy it.</dialogue>
<character>STURDYVANT</character>
<dialogue>Well, Levee...I'll be fair with you...but they're just not the right songs.</dialogue>
<character>LEVEE</character>
<dialogue>Mr. Sturdyvant, the people is tired of jug band music. The people in big cities want something with some fire to it. Harlem, Detroit, DC...</dialogue>
<character>STURDYVANT</character>
<dialogue>Okay, Levee. I'll tell you what I'll do. I'll give you five dollars a piece for them.</dialogue>
<character>LEVEE</character>
<dialogue>I don't want five dollars, Mr. Sturdyvant. I wants to record them songs like you say.</dialogue>
<character>STURDYVANT</character>
<dialogue>Well, Levee, like I say...they just aren't the kind of songs we're looking for.</dialogue>
<character>LEVEE</character>
<dialogue>Mr. Sturdyvant, you asked me to write them songs. Now, why didn't you tell me that before when I first give them to you? You told me you was gonna let me record them. What's the difference between then and now?</dialogue>
<character>STURDYVANT</character>
<dialogue>Well, look...I'll pay you for your trouble...</dialogue>
<character>LEVEE</character>
<dialogue>What's the difference, Mr. Sturdyvant? That's what I want to know.</dialogue>
<character>STURDYVANT</character>
<dialogue>I had my fellows play your songs...and when I heard</dialogue>
<dialogue>them...They just didn't sound like the kind of songs I'm looking for right now.</dialogue>
<character>LEVEE</character>
<dialogue>You got to hear me play them, Mr. Sturdyvant! You ain't heard me play them. That's what's gonna make them sound right.</dialogue>
<character>STURDYVANT</character>
<dialogue>Well, Levee, I don't doubt that really. It's just that...well, I don't think they'd sell like Ma's records. But I'll take them off your hands for you.</dialogue>
<character>LEVEE</character>
<dialogue>Mr. Sturdyvant, sir. I don't know what fellows you had playing them songs...but if I could play them! I'd set them down in the people's lap! Now, you told me I could record them songs!</dialogue>
<character>STURDYVANT</character>
<dialogue>Well, there's nothing I can do about that. Like I say, it's five dollars a piece. That's what I'll give you. I'm doing you a favor.</dialogue>
<character>STURDYVANT</character>
<dialogue>Now, if you write any more, I'll help you out and take them off your hands. The price is five dollars a piece. Just like now</dialogue>
<scene_description>LEVEE, stares blankly at STURDYVANT. Finally, STURDYVANT stuffs the money in LEVEE's breast pocket, turns his back on him and is gone in a flash.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>LEVEE comes back into the room seething. THE FELLA'S avoid eye contact with him. It's clear to LEVEE that they heard it all. They silently gather up their belongings. CUTLER crosses to get his instruments. SLOW DRAG takes a little nip from his bottle. TOLEDO heads over to the piano for his things. LEVEE storms over to get his trumpet and collides with TOLEDO.</scene_description>
<character>LEVEE</character>
<dialogue>Hey! Watch it...shit! You stepped on my shoe!</dialogue>
<character>TOLEDO</character>
<dialogue>Excuse me there, Levee.</dialogue>
<scene_description>LEVEE takes out his hanky and begins to furiously wipe his shoe.</scene_description>
<character>LEVEE</character>
<dialogue>Look at that! Look at that! Nigger, you stepped on my shoe. What you do that for?</dialogue>
<character>TOLEDO</character>
<dialogue>I said I'm sorry</dialogue>
<scene_description>TOLEDO turns his back to his business.</scene_description>
<character>LEVEE</character>
<dialogue>Nigger gonna step on my goddamn shoe! You done fucked up my shoe! Look at that! Look at what you done to my shoe, nigger! I ain't stepped on your shoe! What you wanna step on my shoe for?</dialogue>
<character>CUTLER</character>
<dialogue>The man said he's sorry.</dialogue>
<character>LEVEE</character>
<dialogue>Sorry! How the hell he gonna be sorry after he done ruint my shoe? Come talking about sorry! Nigger, you stepped on my shoe! You know that!</dialogue>
<scene_description>LEVEE snatches his shoe off his foot and holds it up for Toledo to see.</scene_description>
<character>LEVEE</character>
<dialogue>See what you done done?</dialogue>
<character>TOLEDO</character>
<dialogue>What you want me to do about it?! It's done now. I said excuse me.</dialogue>
<character>LEVEE</character>
<dialogue>Wanna go and fuck up my shoe like that. I ain't done nothing to your shoe. Look at this!</dialogue>
<scene_description>TOLEDO turns and continues to gather up his things. LEVEE spins him around by his shoulder.</scene_description>
<character>LEVEE</character>
<dialogue>Naw...naw...look what you done!</dialogue>
<scene_description>He shoves the shoe in TOLEDO's face.</scene_description>
<character>LEVEE</character>
<dialogue>Look at that! That's my shoe! Look at that! You did it! You did it! You fucked up my shoe! You stepped on my shoe with them raggedy-ass clodhoppers!</dialogue>
<character>TOLEDO</character>
<dialogue>Nigger, ain't nobody studying you and your shoe! I said excuse me. If you can't accept that...then the hell with it. What you want me to do?</dialogue>
<scene_description>LEVEE is in a near rage, breathing hard. He is trying to get a grip of himself, as even he senses, or perhaps only he senses, he is about to lose control. He looks around, uncertain of what to do. TOLEDO has gone back to packing, as have CUTLER and SLOW DRAG. They purposefully avoid looking at LEVEE in hopes he'll calm down if he doesn't have an audience. All the weight in the world suddenly falls on LEVEE and he rushes at TOLEDO with his knife in his hand.</scene_description>
<character>LEVEE</character>
<dialogue>Nigger, you stepped on my shoe!</dialogue>
<scene_description>He plunges the knife into TOLEDO's back up to the hilt. TOLEDO lets out a sound of surprise and agony. CUTLER and SLOW DRAG freeze. TOLEDO falls backward with LEVEE, his hand still on the knife, holding him up. LEVEE is suddenly faced with the realization of what he has done. He shoves TOLEDO forward and takes a step back. TOLEDO slumps to the floor.</scene_description>
<character>LEVEE</character>
<dialogue>He...he stepped on my shoe. He did. Honest. Cutler, he stepped on my shoe. What he do that for? Toledo, what you do that for? Cutler...help me. He stepped on my shoe. Cutler!</dialogue>
<scene_description>He turns his attention to TOLEDO.</scene_description>
<character>LEVEE</character>
<dialogue>Toledo! Toledo, get up!</dialogue>
<scene_description>He crosses to TOLEDO and tries to pick him up.</scene_description>
<character>LEVEE</character>
<dialogue>It's okay, Toledo. Come on, I'll help you. Come on, stand up now. Levee'll help you.</dialogue>
<scene_description>TOLEDO is limp heavy and awkward. He slumps back to the floor. LEVEE gets mad at him.</scene_description>
<character>LEVEE</character>
<dialogue>Don't...Don't look at me like that...don't look at me like that...</dialogue>
</scene>
<scene>
<stage_direction>INT. MA RAINEYS CAR</stage_direction>
<scene_description>CLOSE ON: MA RAINEY. STOIC, PENSIVE. THE EARLY EVENING, MERCILESS, SUN ILLUMINATING HER MOIST FACE. STRIPPED OF HER POWER BUT DESPERATELY HOLDING ON TO HER PRIDE. SHE RIDES.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAND ROOM - BASEMENT</stage_direction>
<scene_description>GOD'S POV: LEVEE on his knees holding TOLEDO'S lifeless body. LEVEE kneels and desperately pulls TOLEDO tighter into his arms, cradles him like a small child and rocks him. CLOSE ON HANDS: -Selecting a record disc. -Wiping it off. -Making the final adjustments to the equipment. AS THE CREDITS BEGIN TO ROLL: An all White Jazz Band lead by a Paul Whiteman-esque conductor, slightly rotund with a pencil thin mustache, plays a sanitized rendition of Levee's song.</scene_description>
<character>WHITE SINGER</character>
<parenthetical>(smiles and sings)</parenthetical>
<dialogue>You can swing it, you can bring it / You can dance at any hall / You can slide across the floor / You'll never have to stall / Oh my jelly roll / Oh my jelly roll / Oh my jelly roll / Please, baby, let me have it all. You can break it, you can shake it / you can move and I will crawl / you can leap across the floor / I'll never let you fall / Oh my jelly roll / Oh my jelly roll / Oh my jelly roll / Please, baby, let me have it all.</dialogue>
<character>END</character>
</scene>
</script> | Ma Rainey is a highly regarded, strong-willed blues singer who has recently been contracted by white producers. The story takes place on July 2, 1927, when a recording session is scheduled for Ma by her manager Irvin to take place at Paramount's Recording Studios in Chicago. Seasoned Georgia Jazz Band members Toledo, Cutler, and Slow Drag arrive on time without Ma which frustrates her producer, Mel Sturdyvant. They are soon joined by Levee Green, the band's overconfident trumpeter, who has shown Sturdyvant his original compositions in the hopes of breaking away from Ma and getting his own record deal. The rest of the band disapproves of this. Teased by the rest of the band about his ability to deal with white men, Levee relates how his mother was gang-raped by white men. His father exacted revenge on the assailants, killing four of them before being lynched and then burned. Ma arrives an hour late with her lady friend, Dussie Mae, and her nephew, Sylvester. Immediately, she clashes with Sturdyvant and her manager Irvin, making numerous demands. Insulted that the Coca-Cola she requested has not been provided, Ma refuses to begin the recording session; assigning Slow Drag and Sylvester to get her one. Later, she insists to Sturdyvant that the opening words of the album be spoken by Sylvester, who has a pronounced stutter. As a result, the group has to do multiple takes of the song “Ma Rainey’s Black Bottom," much to everyone's frustration. Ma confides to Cutler that her white bosses are only interested in her voice, and would otherwise regard her as "just a dog in the alley" which he understands and sympathizes with. Meanwhile, Levee and Dussie Mae have sex in the practice room before being interrupted by Slow Drag. The group finally manages to get through the first track after multiple takes, but discovers an equipment failure has caused it not to be recorded. The band blames Levee, who they think tripped over a wire while eyeing Dussie Mae, though it is revealed to have been damaged already. Their argument leads the religious Cutler to tell a story about a preacher he once knew who got stranded in a small town and was humiliated by a group of white men who tore up his Bible and forced him to dance. Levee brushes off the story; saying that if there was a God, he would care for black people, which He never has. Cutler attacks Levee in anger, leading Levee to pull out a knife in retaliation while still mocking Cutler and his beliefs. The group finally finishes recording, but Ma fires Levee soon afterward; believing his reckless ambition and uncompromising attitude to be detrimental to the band. Levee meets with Sturdyvant about his original songs, but discovers that he will only purchase the songs, insisting they only have room for one black singer. Levee subsequently suffers a mental breakdown and, after Toledo accidentally steps on his new shoes, Levee fatally stabs him in the back with the knife. Cutler and Slow Drag leave in horror as Levee cradles Toledo's corpse. Later, Sturdyvant records Levee's songs with a band consisting entirely of white musicians (supposedly Paul Whiteman's Orchestra). |
While She Was Out_2008 | tt0887971 | <script>
<scene>
<stage_direction>MAP GRIDS</stage_direction>
<scene_description>From the pages of a Thomas guide converge , overlap and re - configure across the screen . The endlessly ironic names of American suburbs parade before us , their violet territories marching forward like a bruise into dark green patches of forest and wilderness . Closer in on one last map grid which fades into a transparency of itself overlaid across the actual location of the suburb . The name of this housing development is `` Pleasant Valley '' . The transparency fades out to reveal :</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY BOULEVARD - EVENING</stage_direction>
<scene_description>From a sign reading `` Pleasant Valley Dream Homes '' , a picture postcard boulevard of mini mansions curves into infinity . Each home is brand new . Each has the same size lawn , the same shrubs , the same satellite dish . Each has an indistinguishable car parked in the driveway . All the homes have Christmas decorations , Christmas trees with baubles , lights and Christmas stars sitting proudly at the top . The doors have Christmas wreaths . The sheen of a recent rainfall makes all the surfaces glimmer in the lights . We halt outside one house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DELLAS'S HOUSE - EVENING</stage_direction>
<scene_description>This home too seems perfect until we notice the Christmas star has fallen from the top of the tree and lies reflecting itself in a puddle on the wet lawn . Suddenly we hear the sound of wings fluttering and see an owl among the branches of the Christmas tree . It rises from the tree then swoops down to the lawn where it sweeps a mouse from the grass . The owl then soars off , casting a magnified shadow of her wings across the house , and disappears with it 's prey into the woods behind . Curtains part at a downstairs window . The silhouette of a man appears bathed in the blue glow of a computer screen . He draws the curtains once again and disappears .</scene_description>
</scene>
<scene>
<stage_direction>INT. DELLA'S HOUSE/ KENNETH'S MEDIA ROOM - EVENING</stage_direction>
<scene_description>We sneak between curtain and window ledge into a home office fitted out with a flat screen TV and a computer . KENNETH , a forty something ex - jock with a once handsome face , pours a beer into a crystal brandy glass . Kenneth 's eyes are glued to the computer screen where stock numbers scroll endlessly down . He highlights a set of numbers and stands up abruptly from his chair elated .</scene_description>
<character>KENNETH</character>
<dialogue>Yes!</dialogue>
<scene_description>Steps back onto a A CHILD 'S DOLL , crushing it underfoot . His ebullient mood changes quickly .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Damn! DELLA!</dialogue>
<scene_description>The sound of footsteps are followed by the door opening . DELLA peers into the room . She 's a diminutive blonde in her thirties with fine features and a fading Southern accent . She 's pulling a coat on over a white shirt and jeans . She sees the broken doll .</scene_description>
<character>DELLA</character>
<dialogue>SHOOT, KENNETH! That's Tammi's favorite doll.</dialogue>
<scene_description>She walks in , picks up the doll and tries to fix its squashed face . He turns back to the computer guiltily , takes a sip of beer .</scene_description>
<character>KENNETH</character>
<dialogue>You should just swear properly and get it over with. Do you think the kids do n't know what you mean?</dialogue>
<scene_description>Close up , his face is ruddy - the face of someone who drinks too much . He turns back towards her . She ignores him , continues to try fix the doll . His eyes linger on her coat .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Going out again? What is it tonight? Auto Mechanics for Dummies? The bored housewives' reading group?</dialogue>
<scene_description>He averts his eyes back to the screen then turns back to look at her once more .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I got a new one for you.</dialogue>
<scene_description>He smiles sardonically .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Group therapy for women who always have the curse. There's a Tuesday night class at the Pleasant Valley Episcopalian.</dialogue>
<scene_description>Kenneth clearly thinks he 's funny . Della glares a warning at him and bites her lip to stop a vitriolic response escaping from her mouth .</scene_description>
<character>DELLA</character>
<dialogue>I'm going to the mall for wrapping paper.</dialogue>
<scene_description>A trail of kids mess in the hallway behind Della catches Kenneth 's eye .</scene_description>
<character>KENNETH</character>
<dialogue>What do you do all day, Della honey? Cause it sure is n't keeping house. This place is an eyesore. I'm mortgaged up to the eyeballs for this?</dialogue>
<scene_description>His sad eyes meet hers in confrontation . Della , determined not to engage , averts hers . Kenneth , unable to contain himself , faces her .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I mean it's not like you're at some salon fancying up your hair or nails like the other men's wives.</dialogue>
<scene_description>He lifts a strand of her limp fair hair and lets it drop , looks right in her tired face .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The last time I saw you wearing something sexy was our engagement party. God, Della, you used to be hot!</dialogue>
<scene_description>She bites her lip again , but this time to try stop the tears . He turns away , in an attempt to conceal his own sadness . She walks away clutching the doll .</scene_description>
<character>DELLA</character>
<dialogue>Put the twins to bed by eight. Give them a chocolate cookie with their milk.</dialogue>
<character>KENNETH</character>
<dialogue>Jesus, Della. Della honey, I'm sorry.</dialogue>
<scene_description>But she 's already left the room . He watches her pick up a set of car keys from a dresser in the dimly lit hallway . Her knuckles are white as she clenches her fingers around them . Kenneth turns back to his computer .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRS - EVENING</stage_direction>
<scene_description>Della climbs the stairs . Framed photographs on the wall tell the public story of her life . The engagement to Kenneth , their wedding , the birth of the twins , Kenneth 's graduation , Kenneth as a sixth grade football star , Della on the farm in Ohio with her horse , a really young Della playing baseball with her father . We linger on a photo of a very pretty twenty something Della in a little black dress .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TWINS BEDROOM - EVENING</stage_direction>
<scene_description>TERRI and TAMMI are seven year old twins with the delicate blue eyed blonde looks of their Mother . Della stands in the doorway and watches them . Tammi is lying on her girlish bed drawing with crayons . Terri 's toy dinosaurs are destroying Tammi 's heirloom dolls house , starting with the furniture . She steps into the room .</scene_description>
<character>TAMMI</character>
<dialogue>Mommy can I get an American Girl for Christmas?</dialogue>
<character>TERRI</character>
<dialogue>I want a raptor dinosaur, Mommy.</dialogue>
<character>DELLA</character>
<dialogue>You better leave Santa a note. It's only three days until Christmas.</dialogue>
<scene_description>She gives them each a kiss , breathing in their scent she loves so much .</scene_description>
<character>TAMMI</character>
<dialogue>Where are you going, Mommy?</dialogue>
<character>DELLA</character>
<dialogue>The Mall. One chocolate cookie each and then Daddy will read you a bedtime story.</dialogue>
<character>TAMMI</character>
<dialogue>Daddy's stories are lame. I want you to read us a story.</dialogue>
<character>TERRI</character>
<dialogue>Yeah Mommy, the one about the pirates.</dialogue>
<character>TAMMI</character>
<dialogue>No, the cowgirls. Diamond Lil and Slingshot Kitty.</dialogue>
<character>DELLA</character>
<dialogue>Tomorrow night I'll read you the best bedtime story in the whole world. I promise.</dialogue>
<scene_description>Della gives them a little wave and turns to leave .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll check in on you both when I get back.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>To make sure you're sleeping.</dialogue>
<scene_description>She smiles . Terri 's already turned back to his dinosaurs . Tammi runs toward her and gives her the drawing she 's been working on . It 's a drawing of a stick figure family holding hands . The words `` Mommy , we love you '' are written across a cloudy night sky like big stars .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thank you, Tammi, it's wonderful.</dialogue>
<scene_description>Della does n't have time to look at it properly so she folds the drawing up and puts it in her pocket . She kisses Tammi again and turns to leave . Tammi 's eyes follow her mother as she walks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY - EVENING</stage_direction>
<scene_description>Della checks her watch and hurries down the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - EVENING</stage_direction>
<scene_description>She sits on the bottom stair to pull on a pair of boots . The boots are well worn but polished to a gleam . Behind her , an antique grandfather clock strikes seven p.m. . The sound of gun shots fades in from the TV in Kenneth 's office .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - EVENING</stage_direction>
<scene_description>Della collects a packet of cookies from a cabinet . She looks at the pile of dirty dinner dishes in the sink then looks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY - EVENING</stage_direction>
<scene_description>Della leaves the cookies at the bottom of the stairs and opens the front door . The TV blares out some action flick from Kenneth 's ajar door . TITLE - `` WHILE SHE WAS OUT ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. DELLA'S HOUSE - EVENING</stage_direction>
<scene_description>Della is met by a blast of cold evening air and the eerie silence of the suburbs . She closes the door softly behind her and rushes along the path to the driveway where the family 's black Ford Explorer is parked . She CHIRPS the remote and quickly climbs in .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della inserts the key and turns it in the lock . The car sputters in defiance against the cold night .</scene_description>
<character>DELLA</character>
<dialogue>Frick!</dialogue>
<scene_description>The car sputters again .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>C'MON.</dialogue>
<scene_description>With a massive exertion , the car engine turns over and the vehicle starts . She sighs with relief . She turns the heat up high and warms her hands at the vent , pauses to look at her home through the car window . For a second , in an upstairs window , she sees a reflection of Tammi . She smiles , then looks at the house and lawn and the Christmas tree . She notices the fallen star , is about to get out of the car to retrieve it , but decides it 's too cold . A shadow creeps across her face as she pulls the stick into reverse and backs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY BOULEVARD - EVENING</stage_direction>
<scene_description>We follow her as she backs up , pushes into drive and heads slowly down the boulevard . The road is empty . All the cars are neatly tucked away in their driveways and it looks like no one 's out tonight . She makes a right turn onto .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY CRESCENT - EVENING</stage_direction>
<scene_description>She follows the road as it curves around a long row of endlessly monotonous houses . In the distance , we can see the gates of Pleasant valley gated community .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She slows down , rolls down her window and swipes a chub card against the security panel . The gates slowly open . She drives through . The gates close behind her . She rolls the window up and makes a left turn onto .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY DRIVE - EVENING</stage_direction>
<scene_description>The road is wider and framed on either side by the high walls of gated communities . A Ford Explorer just like hers passes in the opposite direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della smiles mysteriously , reaches into the glove compartment with her free hand . She pushes aside a bunch of car papers , a flare , pulls out a check wallet hidden underneath - her secret hiding place for : A nice pack of Marlboros . She smiles again - the smile of the secret smoker . She presses the cigarette lighter into the dashboard . The lighter pops out . She tips out a cigarette , sees a sticky note attached to the interior foil . Scrawled in messy handwriting are the words - YOU ARE SUPPOSED TO BE QUITTING DELLA HONEY . XOXO KENNETH .</scene_description>
<character>DELLA</character>
<dialogue>I'll get right on that Kenneth honey. AFTER you stop drinking.</dialogue>
<scene_description>She rips the note off , stuffs it in her purse , lights the cigarette . She inhales deeply . We see the pleasure written across her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY DRIVE - EVENING</stage_direction>
<scene_description>A few cars pass Della in the night . Their lights are like torches in the suburban wilderness .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER/ EXT. PLEASANT VALLEY DRIVE - EVENING</stage_direction>
<scene_description>There is the familiar ring of a cellular phone . Della has programmed one of those `` oh so cute '' recognizable tunes into it , like the `` William Tell overture '' . Della holds the wheel with one hand and fumbles through her purse with the other . She eventually locates the phone .</scene_description>
<character>DELLA</character>
<dialogue>Hello?</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Della, it's Mary Messina.</dialogue>
<scene_description>Della rolls her eyes . This is not a welcome call .</scene_description>
<character>DELLA</character>
<dialogue>Oh, hey.</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You okay sweetie?</dialogue>
<character>DELLA</character>
<dialogue>Sure. How are you?</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm well.</dialogue>
<character>DELLA</character>
<dialogue>How'd you get my cell number?</dialogue>
<scene_description>Della balances the phone while she drags on her cigarette .</scene_description>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I called Kenneth at the house.</dialogue>
<scene_description>Oh great . She exhales sharply .</scene_description>
<character>DELLA</character>
<dialogue>And how'd that go? Did he give you an earful for disturbing his ninety ninth viewing of Lethal Weapon Four?</dialogue>
<scene_description>Mary giggles .</scene_description>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh Della. Kenneth is always charming. At least to me.</dialogue>
<scene_description>The car flashes past the decorated sign for a local school . Before Della can stop herself , the words are out .</scene_description>
<character>DELLA</character>
<dialogue>Well, with the way you flaunt your double D boob job at the free fun PTA events that's hardly a surprise.</dialogue>
<scene_description>Fortunately for her the phone happens to make a deep metallic distortion at that moment .</scene_description>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What was that?</dialogue>
<character>DELLA</character>
<dialogue>Oh nothing, Mary.</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You got lucky with that one. Patricia Ellis says he's the best looking guy in Pleasant Valley.</dialogue>
<character>DELLA</character>
<dialogue>Well that would n't be hard. Mary, do you need something? Cause I got ta go.</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yes, are you going to Tool School tomorrow?</dialogue>
<scene_description>Mary giggles at her own joke . Della sighs . THIS is why she is having her serenity interrupted ?</scene_description>
<character>DELLA</character>
<dialogue>TOOL SCHOOL?, Ouch, Mary. Do It Yourself Mechanics is without a doubt the most interesting thing in my life right now.</dialogue>
<parenthetical>( Smiles . )</parenthetical>
<dialogue>I carry my beloved toolbox in the trunk at all times.</dialogue>
<scene_description>The desolate road disappears behind Della . She passes a roadside memorial .</scene_description>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm just joking, Della. You know me. I pre - paid ten classes and only made it to two. If you are going I could use a ride. I'd hate to miss another class.</dialogue>
<scene_description>If Della was going before , she 's not now .</scene_description>
<character>DELLA</character>
<dialogue>Sorry, Mary, I'm skipping this week. Kenneth's parents are coming to stay for Christmas. You know how it is.</dialogue>
<scene_description>A red light looms ahead . Della slows .</scene_description>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh that's too bad. Maybe Patricia Ellis will be going.</dialogue>
<character>DELLA</character>
<dialogue>You check with her, Mary.</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Merry Christmas. God bless you and your family.</dialogue>
<scene_description>Christmas lights outline a few distant houses .</scene_description>
<character>DELLA</character>
<dialogue>You too.</dialogue>
<parenthetical>( Under her breath . )</parenthetical>
<dialogue>Bah Humbug.</dialogue>
<character>MARY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Pardon?</dialogue>
<character>DELLA</character>
<dialogue>Bye, Mary.</dialogue>
<scene_description>Della stops at the red light . She clicks off the phone and lets it lay on her lap . She rakes about among a bunch of kids stuff in the back seat , casts aside , an anorak , mittens , a sock . She finds what she 's looking for , a bottle of water , caught on the bar under the passenger seat . It 's only a third full but she takes a sip , recoils from its coldness . The light changes . She throws the bottle into the back seat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT VALLEY DRIVE - EVENING</stage_direction>
<scene_description>Christmas lights : reindeer , stars , even the American flag dot the black night .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING/ EXT CROSSROADS</stage_direction>
<scene_description>Della picks up the phone and pushes a few keys . She has not dialed enough to make a full phone call when we hear the phone RING on the other side .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Cellular 411 connect. How may I direct your call?</dialogue>
<character>DELLA</character>
<dialogue>The Learning Academy. Spring Street.</dialogue>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Please hold for that number.</dialogue>
<scene_description>Della slows down for another red light . She 's at a wide crossroads where the housing development abruptly ends and a wasteland of deforestation begins . A billboard for another new housing development announces : `` GREEN STREET DREAM HOMES - Investment Opportunities '' . Waiting for the light at the opposite side of the road from Della is a car with an animal cadaver strapped to the roof . Della tries not to look at it . A recording breaks into the moment just as the light ahead changes to green .</scene_description>
<character>OPERATOR</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<parenthetical>( recording . )</parenthetical>
<dialogue>Press your pound key now to connect with your request.</dialogue>
<scene_description>Della presses the pound key and drives straight ahead .</scene_description>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Learning Academy, this is Meghan.</dialogue>
<character>DELLA</character>
<dialogue>Hi Meghan. It's Della Myers.</dialogue>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh hey. You calling about Spanish for Beginners? You know that Tom cancelled'cause of New Year's.</dialogue>
<character>DELLA</character>
<dialogue>Yes I knew.</dialogue>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Can you hold, I have another call?</dialogue>
<character>DELLA</character>
<dialogue>Okay.</dialogue>
<scene_description>Frustrated , Della turns on the radio . It is some innocuous local ad .</scene_description>
<character>LOCAL AD</character>
<dialogue>Pleasant Valley Dream Homes. The lowest crime rate in the US. Call 1 - 800 - SAFE.</dialogue>
<scene_description>Della switches stations trying to find something she likes . She gives up and waits for Meghan to return . The car flashes past construction road signs .</scene_description>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sorry Della.</dialogue>
<character>DELLA</character>
<dialogue>Can you leave word for Mike. I'm going to miss tomorrow's Mechanic's class. It's just the one time.</dialogue>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Everyone misses that class at least once.</dialogue>
<character>DELLA</character>
<dialogue>I guess some people find it boring.</dialogue>
<character>MEGHAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We'll see you the first week in January then?</dialogue>
<character>DELLA</character>
<dialogue>Yes you will. unless I run off and become an outlaw or something.</dialogue>
<scene_description>Meghan giggles . We hear the familiar beep of another call coming in .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I have to go.</dialogue>
<character>MEGHAN</character>
<dialogue>Merry Christmas</dialogue>
<character>DELLA</character>
<dialogue>You too.</dialogue>
<scene_description>Della clicks the phone over to the incoming call .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hello?</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hi Della. it's Cassie.</dialogue>
<scene_description>Cassie 's voice is almost lost in the din of her surroundings .</scene_description>
<character>DELLA</character>
<dialogue>Where are you? Grand Central Station?</dialogue>
<character>CASSIE</character>
<dialogue>Hold on, I'll take the phone outside.</dialogue>
<scene_description>A loud noise appears out of nowhere .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER/EXT. RAILWAY CROSSING - EVENING</stage_direction>
<scene_description>The car SCREECHES to a halt . Della almost did n't see it . She is at a railroad crossing , the third car in line , and she almost rear - ended the car in front of her .</scene_description>
<character>DELLA</character>
<dialogue>FRICK!</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Just a minute, Della.</dialogue>
<character>DELLA</character>
<dialogue>I almost rear - ended a car. Cassie?</dialogue>
<scene_description>The phone cuts out . The train starts to go laboriously past . Carriage after carriage of brand name building materials for new housing developments . Della lights another cigarette . She turns on the radio again , finds a station playing `` The Sound of Silence '' . The crossing gates go up . The cars ahead of her start . Della shifts into drive . The phone rings its special tune again . Della turns the volume of the radio down .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's up, Cassie?</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'm over at Southeast Plaza. What was it we need to get for Pilates?</dialogue>
<character>DELLA</character>
<dialogue>Huh? One of those rubber balls, I think. I'm headed over there now. Ran out of Christmas wrapping paper. Would you believe it?</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's hell here tonight. Everyone and their uncle is at the mall.</dialogue>
<scene_description>Della 's phone makes a loud , distorted noise .</scene_description>
<character>DELLA</character>
<dialogue>Aw shoot. My cell battery's dying.</dialogue>
<scene_description>She rifles about in the passenger seat , leans over to the back , and rifles about there among the kids toys , gives up .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Damn, I must have left the charger in the other car.</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You want me to pick up something for you while I'm here?</dialogue>
<scene_description>Cassie 's kind offer almost reduces Della to tears .</scene_description>
<character>DELLA</character>
<dialogue>No. I'm just. I mean I'm. Oh nothing.</dialogue>
<scene_description>The phone beeps again .</scene_description>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Your phone's breaking up Della. I'm not joking when I say it's packed over here.</dialogue>
<character>DELLA</character>
<dialogue>It ca n't be that bad?</dialogue>
<scene_description>The light up ahead turns amber then red . Della stops .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Why do n't we meet somewhere for a drink?</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sure, but a latte's about the best they can do in this mall.</dialogue>
<character>DELLA</character>
<dialogue>A latte's fine. Let's meet at the fountain opposite Victoria's Secret.</dialogue>
<scene_description>The light changes and Della drives up and over a hill .</scene_description>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Sounds good.</dialogue>
<scene_description>The phone beeps again .</scene_description>
<character>DELLA</character>
<dialogue>My battery's going. I'm a block away. See you in five minutes.</dialogue>
<character>CASSIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Okay but I wo n't be able to wait very.</dialogue>
<scene_description>The phone beeps again . It 's over . Della lets it drop onto her lap . She opens the window and flicks out the remains of her cigarette . She waves her hands to fan away the smoke . She closes the window again . She 's about to hide her cigarettes again when she changes her mind and stuffs them directly into her purse . As the car approaches the cusp of the hill she slows down to stare ahead .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT ENTRANCE - EVENING</stage_direction>
<scene_description>Southeast Plaza . The day before Christmas Eve . Hell on Earth . A large , sprawling parking lot full of cars . Nothing but cars . A sea of cars .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>For a second , Della contemplates turning around and leaving . The guy in the SUV behind her beeps . She steps on the gas .</scene_description>
<character>DELLA</character>
<dialogue>Okay, okay!</dialogue>
<scene_description>Her car careens slowly down hill to the lot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT/INT. FORD - EVENING</stage_direction>
<scene_description>The road spits her out in front of the Mall entrance where revellers and shoppers are entering and exiting . Della follows several cars down the first long row of parked cars . The asphalt is wet from the recent rainfall . Puddles gather in its dents and hollows . She passes car after densely parked car . There is n't a space in sight . She reaches the end of the row and indicates left , turns down the next row , ploughs through a rain puddle which splashes up onto a MOTHER who 's walking her little GIRL and BOY back to their car . The woman shouts at Della .</scene_description>
<character>MOTHER</character>
<dialogue>Watch where you're going!</dialogue>
<scene_description>Della rolls down her window .</scene_description>
<character>DELLA</character>
<dialogue>Sorry!</dialogue>
<scene_description>The Mother 's weighed down with shopping bags . She glares at Della and drags her kids across the aisle in front of her . Della sighs , drives down the second aisle . An Escape midway down the row blocks traffic . It 's waiting for a Subaru to pull out so it can take the spot .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<character>DELLA</character>
<dialogue>Lucky son of a.</dialogue>
<scene_description>The Subaru exits the spot slowly . Della taps her impatient fingers against the steering wheel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>The Subaru pulls away and the Escape snaps into the empty space . Della continues her journey down to the end of the row . There are no spaces .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>It dawns on her that parking up close to the entrance just is n't going to happen . She takes the last puff from the cigarette burning out in the ashtray .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Using the side aisle she scoots past row three and four as they all flow one way . At the end of this row a confrontation is brewing . Several cars block each other . Horns blast . An angry DRIVER screams at another .</scene_description>
<character>ANGRY DRIVER</character>
<dialogue>If you think you're gon na steal my spot, think again, asshole!</dialogue>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER/EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Della looks on for a moment at the confrontation . She grinds out the stub of her cigarette into the ashtray , slams it closed . Della shakes her head and turns left into row five . Jesus ! Are there really this many cars in Pleasant Valley ? It 's a brand new Mall and the only one around for miles but this is ridiculous . Della reaches the end of row five quickly . She guessed there would n't be a spot so she 's driving faster . She notices a portly middle aged RENT - A - COP directing traffic ahead . She lowers her window .</scene_description>
<character>DELLA</character>
<dialogue>Hello?</dialogue>
<scene_description>The Rent - a - Cop stops directing and approaches the car .</scene_description>
<character>RENT-A-COP</character>
<dialogue>Can I help you?</dialogue>
<character>DELLA</character>
<dialogue>Do you know where I can definitely find parking?</dialogue>
<character>RENT-A-COP</character>
<dialogue>There's nothing close by. Even the valet's backed up. You might want to try further out.</dialogue>
<scene_description>He points off into the distance through the sea of cars .</scene_description>
<character>RENT-A-COP</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But be willing to walk.</dialogue>
<scene_description>A car waiting behind Della honks its horn loudly and the Rent - A - Cop saunters away . Della guns the Ford down row eight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>At the end of this row , Della decides to take the Rent - A - Cop 's advice . She makes another left at the aisle and skips several more rows . She heads down to the third from last row .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER/EXT MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Cars . cars . If she never sees another car it will be too soon . Della spies a spot , halfway down the row .</scene_description>
<character>DELLA</character>
<dialogue>Yes!</dialogue>
<scene_description>She guns the engine , gets ready to pull in and is DENIED . Somebody has parked an enormous old gold Plymouth so badly it 's taking up TWO spaces .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Unbelievable!</dialogue>
<scene_description>She brakes in the nick of time and sighs deeply . She 's starting to lose her patience now .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>With no options left , Della heads down to the very last row . More cars fill the spaces . And then - two spots . The last two spots in the car park . They overlook undeveloped land just beyond the mall . Small concrete bumps signify the end of each space .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della whips the car into the first one . She sighs with relief as she straightens the car up into the spot . She sits for a second trying to calm herself down but it is n't working . She reaches for another cigarette , then , talks herself out of it . She fastens her coat , grabs her purse and opens the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Steps down from the Ford right into a puddle . The dirty water splashes up onto her pants .</scene_description>
<character>DELLA</character>
<dialogue>GREAT!</dialogue>
<scene_description>She shakes the boot off and looks over at the mall . It 's at least a half mile away , glimmering in the distance . She sets off marching across the lot , taking what seems to be the most direct route . Maybe she can shake off this mood by the time she gets inside . She passes the Plymouth , turns , stares back at it . The car is dirty gold and riddled with rust holes with a vinyl roof that 's almost peeled away . She walks up close , tries to decipher the plate , but it 's caked with mud . Annoyance rises like bile in her throat . She finds herself reaching into her purse , rummaging for a small notebook , then a sharpie . She leans on the car as she writes . DEAR JERK , IT 'S GREAT YOU COULD USE UP TWO PARKING SPACES ON A NIGHT LIKE THIS . EVER HEAR OF THE JOY OF SHARING ? SIGNED , A CONCERNED FRIEND . She scans her words . Pretty good ! Della rips the piece of paper from the notebook , folds the note several times and slides it under the Plymouth 's windshield wipers . The driver ca n't miss it . She smiles . That felt good ! Head held high she marches on towards the Mall . The CAMERA pulls up so we can see the mall , see Della marching across the lot , see the crowds of shoppers entering and exiting the mall , and get the feeling that maybe somebody just saw her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL ENTRANCE - EVENING</stage_direction>
<scene_description>Shoppers are buying freshly felled Christmas trees from a vendor . Della squeezes past and pushes through the mall doors .</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL - EVENING</stage_direction>
<scene_description>A wave of heat and Christmas lights hits Della . A wave of nausea follows as she is swallowed by the crowd of last minute shoppers . Distorted muzak versions of Christmas songs seep from invisible speakers . Della gets caught up in a line of children waiting to see Santa in his grotto . She squeezes through and makes her way towards the fountain outside of Victoria 's Secret . En route she is stopped by a perfume sales lady who sprays her wrist with perfume before she has time to protest .</scene_description>
<character>PERFUME SALES LADY</character>
<dialogue>It's a classic revival of Chanel No. 5. We have a wonderful Christmas Special on offer at Macy's.</dialogue>
<scene_description>She hands Della a sample and flyer .</scene_description>
<character>DELLA</character>
<dialogue>Thanks.</dialogue>
<scene_description>Della arrives at the fountain . A piddling jet of dirty water gurgles from the mouth of a bored mermaid and streams down into the shallow pool full of nickels and dimes . She scans the crowd but there 's no sign of Cassie . Della sits at the edge of the fountain . She checks her watch then checks out the people milling around in front of Victoria 's Secret , where mannequins in skimpy festive underwear are propped seductively in the window displays . Still no sign of Cassie . She 's about to make a wish and throw a quarter into the fountain when a Red Cross worker shakes her `` Save the Children '' tin at her . Della sticks the quarter into the tin instead .</scene_description>
</scene>
<scene>
<stage_direction>INT. VICTORIA'S SECRET - EVENING</stage_direction>
<scene_description>Della wanders the aisles of festive colored undies watching men pick out slinky lingerie for their partners and women examine slim fit underpants and padded bras . She notices a pure silk black teddy , very classic , no frills . She lifts it from the rail and holds it against herself in front of the mirror , tries to imagine herself in it . A young SALES ASSISTANT approaches .</scene_description>
<character>SALES ASSISTANT</character>
<dialogue>It's pure silk, the last one in our classic black label collection. Would you like me to fix you a changing room?</dialogue>
<scene_description>Della checks the size tag . It reads 36C , two sizes too big . And the price tag next to it . Ouch ! It 's expensive for Victoria 's Secret .</scene_description>
<character>DELLA</character>
<dialogue>No thanks. Not my size.</dialogue>
<scene_description>She gestures to her small boobs , smiles and hands the teddy to the sales assistant . She quickly leaves the shop .</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL - EVENING</stage_direction>
<scene_description>Della checks one last time at the fountain for Cassie . She tries to dodge the crowd as she makes her way toward a generic coffee shop . Maybe Cassie will be there .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - EVENING</stage_direction>
<scene_description>Harried women and a few men , clutching bags full of gifts and impatient children , stand on line for their favorite drug . Della squeezes past them to look for Cassie . Every seat at every booth is full but there 's no sign of her friend . Della joins the line . She finds herself biting at her nails , a bad habit since childhood . A woman in front of her places an order then moves on to the pick up area . Della moves up to the counter to where an OVERWEIGHT SALES ASSISTANT waits on her .</scene_description>
<character>DELLA</character>
<dialogue>A latte please?</dialogue>
<scene_description>She notices some chocolate covered biscotti on the counter .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And a chocolate biscotti.</dialogue>
<scene_description>She catches sight of herself in the mirror behind the counter . Kenneth 's right about one thing , she looks awful .</scene_description>
<character>OVERWEIGHT SALES ASSISTANT</character>
<dialogue>Bitter or Milk chocolate?</dialogue>
<scene_description>Seeing herself in the mirror changes her mind about the biscotti .</scene_description>
<character>DELLA</character>
<dialogue>Forget it, just the coffee.</dialogue>
<character>OVERWEIGHT SALES ASSISTANT</character>
<dialogue>Name?</dialogue>
<character>DELLA</character>
<dialogue>Della, two L's.</dialogue>
<character>OVERWEIGHT SALES ASSISTANT</character>
<dialogue>Four dollars and seventy nine cents.</dialogue>
<scene_description>Della pushes the money towards her and waits for her coffee . When it finally shows up her name is spelled DELA . She sighs and checks the line for Cassie as she leaves the shop .</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL - EVENING</stage_direction>
<scene_description>She passes a hair salon and presses her face to the steamy windows . Inside , women are getting their hair styled and their nails manicured at the same time . Della looks down at her bitten nails but just ca n't bring herself to go inside .</scene_description>
<character>LYNN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Della, is that you?</dialogue>
<scene_description>She turns around to see LYNN MONROE , a pretty , well groomed redhead about her age .</scene_description>
<character>DELLA</character>
<dialogue>Lynn Monroe!</dialogue>
<character>LYNN</character>
<dialogue>I knew it was you, Della. I have n't seen you since college. You left to marry some handsome jock and we never heard from you again.</dialogue>
<character>DELLA</character>
<dialogue>Something like that. Do you live around here now?</dialogue>
<character>LYNN</character>
<dialogue>David and I just bought this divine house in Pleasant Valley. Do you know it? Great for the kids.</dialogue>
<scene_description>Della nods but Lynn keeps speaking . Della sips on her latte .</scene_description>
<character>LYNN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's the first time I've left the doors unlocked since I was a child growing up in the Midwest. David's been promoted to VP of United Motors so it's all happening for us. But enough of me. How are you?</dialogue>
<character>DELLA</character>
<dialogue>Oh, we have two kids. Twins, Tammi and Terri.</dialogue>
<scene_description>Lynn becomes distracted , focusing on her perfect reflection in the steamy glass .</scene_description>
<character>LYNN</character>
<dialogue>Why that's fantastic. Listen Della, it's been great talking to you but I have to go get my hair done! David and I are going out tomorrow night for a romantic dinner. I just bought this gorgeous teddy from Victoria's Secret.</dialogue>
<scene_description>She opens the bag and Della sees it 's the black teddy she eyed earlier . Della smiles .</scene_description>
<character>LYNN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hope we bump into each other again soon, sweetie. Merry Christmas</dialogue>
<scene_description>She gives Della a fake kiss and rushes into the salon . Della chucks her half finished coffee into a nearby trash can and walks on through the Mall .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHARMACY - EVENING</stage_direction>
<scene_description>Della enters a pharmacy . She locates the wrapping paper aisle . She sweeps up a bunch of rolls at three for ninety nine cents . She feels the texture of the paper , it 's thin and looks gaudy so she puts them all back . Instead she selects some expensive gold paper with silver embossed stars and matching silver ribbon . She then finds some jolly children 's wrapping with Christmas tree designs and a great big red bow . She browses through the aisles of cards . She sees some cute cards for the twins and then arrives at the `` To my Darling Husband at Christmas '' section . She opens some of the cards and recoils from the sentiments contained inside . She catches a groomed BLONDE HOUSEWIFE staring at her and corrects her facial expression from one of revulsion to a complicit Stepford smile .</scene_description>
<character>DELLA</character>
<dialogue>It's a pity they do n't have any `` To a bastard at Christmas'' cards.</dialogue>
<scene_description>The woman looks at Della like she 's a lunatic . Della chuckles to herself . She finds the feminine hygiene aisle and picks up a pack of regular tampax . She gathers her stuff and carries it to the checkout where a TIRED MAN and his TWO KIDS wait before her on the line . The man tries to remove a snow globe , with a tiny house and Christmas tree inside , from the clutches of his young son . The child starts bawling . The man ends up buying the snow globe to placate the child . It 's Della 's turn . The PHARMACY SALES ASSISTANT smiles .</scene_description>
<character>PH SALES ASSISTANT</character>
<dialogue>Perfect timing!</dialogue>
<character>DELLA</character>
<dialogue>God planned it for Christmas Day just to tick me off.</dialogue>
<character>PH SALES ASSISTANT</character>
<dialogue>Thirty dollars and sixty nine cents</dialogue>
<scene_description>She packs Della 's stuff into paper bags . Della hands her visa card over .</scene_description>
<character>DELLA</character>
<dialogue>Thanks.</dialogue>
<character>PH SALES ASSISTANT</character>
<dialogue>Merry Christmas.</dialogue>
</scene>
<scene>
<stage_direction>INT. MALL - EVENING</stage_direction>
<scene_description>It 's a lot less crowded now . The melancholy `` Home for Christmas '' plays . She follows the ladies sign to the entrance to the bathroom , only to find an `` Out of Order '' sign on the door . She sees a cleaning lady in the corridor .</scene_description>
<character>DELLA</character>
<dialogue>How come the ladies' bathroom is out of order on a night like this?</dialogue>
<character>CLEANING LADY</character>
<dialogue>The one at the other side of the mall is open, Ma'am.</dialogue>
<scene_description>The cleaning lady disappears through the bathroom door with her cart of cleaning utensils . Della looks down the length of the huge mall and decides she 's not even going to try to find the other bathroom . She can wait until she gets home . She makes her way towards the exit , pulls her coat in tight and braces herself for the cold front outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL ENTRANCE - EVENING</stage_direction>
<scene_description>A group of CAROL SINGERS sing `` Silent Night '' .</scene_description>
<character>CAROL SINGERS</character>
<dialogue>Silent Night. Holy Night. All is calm. All is bright.</dialogue>
<scene_description>Della listens for a moment . Their voices are clear and bright . Behind them she can see the Christmas tree vendor bag up the left over trees . Della 's hands start to pinch with the cold . She gathers her bags of wrapping paper and sets off across the emptying lot . The last of the shoppers rush across the car park to find their cars . It 's pretty dark between the dim pole lamps and the car lights . She slows down at the second aisle for a car to pass , then another . Marches on . A man and his little girl walk past . He nods . Della 's eyes linger on the little girl . She really wants to get home to the kids . The singers ' voices echo faintly through the night .</scene_description>
<character>CAROL SINGERS</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Holy infant so tender and mild.</dialogue>
<scene_description>She walks faster , almost at a dash . Where is her car ? Even further out than she remembered , that 's for sure . A car alarm goes off in the distance . The alarm stops at last as Della approaches the outer section of the parking lot .</scene_description>
<character>CAROL SINGERS</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Shepherds quake at the sight. Glories beam from heaven afar.</dialogue>
<scene_description>She cuts between some of the cars in row eight . Zigzags across aisle nine . Notices the Plymouth still parked ahead . She stops for a split second . Then approaches . Glances at the windshield . The note is gone . Maybe it fell off . She checks the ground around the car . No sign of it . She shrugs , who cares anyway ? She cuts across the next aisle . It 's almost empty . And the one after that . Her Explorer is sandwiched between two cars in this otherwise empty row .</scene_description>
<character>CAROL SINGERS</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Silent Night. Holy Night</dialogue>
<scene_description>She chirps the remote twice and pops the trunk , places the bags inside . She slams the trunk closed and hurries to the drivers ' side , climbs in , pulling the door closed behind her .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della turns the key in the ignition and presses in the lighter . She lights a cigarette and inhales as she lets the car warm up for 30 seconds . She rests the cigarette in the ashtray while she releases the hand brake and slips the gear into reverse . The interior of her car is suddenly flooded with light from another car 's headlights . She glances in the rear view mirror . A car is blocking her .</scene_description>
<character>DELLA</character>
<dialogue>Good Lord! What now?</dialogue>
<scene_description>She steps on the brake and waits for the car to move . But it does n't . Its headlights flick to full beam blinding her view in her car mirrors . She honks her horn . The car still does n't move . Della 's really angry now . She slips the gearshift into park and steps out of her car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Della squints in the blinding headlights . The front of the car looks familiar . It 's the gold Plymouth ! Two unseen car doors click open and clunk shut again . The lights abruptly go out . Della blinks , her eyes try to adjust to the dim mercury illumination from a pole lamp a few car lengths away . She uneasily turns back to her car .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I got a gun.</dialogue>
<scene_description>It 's a young male voice . The statement stops Della dead in her tracks .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>How's about I aim it at your pussy first?</dialogue>
<scene_description>The words are emphasized by another boy 's shrill giggling . Della freezes . This ca n't be happening ! Her eyes are adjusting . The glare phantoms drift out to the limit of her peripheral vision and vanish . She sees three boys in front of her , then a fourth , but she does n't see any gun .</scene_description>
<character>DELLA</character>
<dialogue>What the hell are you playing at?</dialogue>
<character>HUEY</character>
<dialogue>Trust the nigga, we not playin'.</dialogue>
<scene_description>HUEY is a sweet - faced African - American decked out in a hip hop style . He 's small and skinny and ca n't be more than eighteen . He 's playing to CHUCKIE who 's twenty - one and looks like a marine gone AWOL . Bracketing them is VINH , a nineteen year old Asian punk and TOMAS , twenty , a Latino runaway in an American Idol T - shirt . Della 's eyes drift across the group . She suppresses a hysterical giggle but ca n't resist smarting off .</scene_description>
<character>DELLA</character>
<dialogue>What are you? The world's first homeless United Nations Boy Band?</dialogue>
<character>HUEY</character>
<dialogue>Hell, yeah. We just wan na do shows and bone hoes.</dialogue>
<scene_description>Huey messes with his zipper .</scene_description>
<character>HUEY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We got a song fo' yo. It's called `` shut up bitch and eat a dick''.</dialogue>
<scene_description>Huey and Tomas snigger . Vinh stares at the asphalt .</scene_description>
<character>TOMAS</character>
<dialogue>And when yo done eating we gon na staple that bitch mouth closed.</dialogue>
<scene_description>Chuckie nudges Huey and Tomas , steps towards Della .</scene_description>
<character>CHUCKIE</character>
<dialogue>Now, now, my little brothers.</dialogue>
<scene_description>The boys fall silent . Vinh lights a cigarette . Huey shivers .</scene_description>
<character>HUEY</character>
<dialogue>It gitting cold, Chuckie. Game's not worth the dime.</dialogue>
<character>DELLA</character>
<parenthetical>( incredulous . )</parenthetical>
<dialogue>Chuckie? At least your parents have a sense of humor.</dialogue>
<character>CHUCKIE</character>
<dialogue>Parents? I ai n't got no parents. I named myself.</dialogue>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Huey . )</parenthetical>
<dialogue>Grab my parka from the back seat.</dialogue>
<scene_description>He pinches Huey 's cheeks .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And smile, playa. The dopes game and the game's dope.</dialogue>
<scene_description>Chuckie leads Huey a few steps to the Plymouth . Huey ducks into the back seat . Chuckie keeps his eyes fixed on Della .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You got a beef with us, Mrs. Podunk?</dialogue>
<scene_description>Della looks defiantly back without answering . Chuckie runs his fingers along the hood of the rusty gold Plymouth .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>First you put yo hands on my ride! Now, I do n't know how you was raised but, in my world, laying your hands on someone else's shit is crossing their line! Then, you go slipping an incendiary note up under my windscreen wipers. Well, that'd be an invitation to war to me and my ghetto soldiers.</dialogue>
<character>DELLA</character>
<dialogue>What? If you had n't parked like an asshole, we would n't be arguing about it right now.</dialogue>
<scene_description>Vinh inhales sharply from his cigarette .</scene_description>
<character>VINH</character>
<dialogue>Whoah Lady!</dialogue>
<character>TOMAS</character>
<dialogue>Keep right on talking that gang a shit, chinga. Yo crimes against the click are digging yo grave deep.</dialogue>
<scene_description>Della 's eyes quickly scan the group for sign of the gun . She ca n't see one so she gambles they 're just mouthing off and makes her move .</scene_description>
<character>DELLA</character>
<dialogue>Go to hell!</dialogue>
<scene_description>Della turns towards her car . Huey steps out of the shadows wearing Chuckie 's parka hood up covering his face , startles Della .</scene_description>
<character>HUEY</character>
<dialogue>We already in hell.</dialogue>
<scene_description>Della sidesteps him , reaches the back of her car .</scene_description>
<character>RENT-A-COP</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Any trouble here, ma'am?</dialogue>
<scene_description>Everyone turns to see a Rent - a - Cop , puffed up like a pigeon in his fur trimmed jacket and Russian style cap . It 's the same guy Della approached earlier when she was looking for spaces except this time his hand is laying casually across the unsnapped holster flap at his hip .</scene_description>
<character>DELLA</character>
<dialogue>Not if these delinquents move their barge so I can back up.</dialogue>
<character>RENT-A-COP</character>
<dialogue>How about it, boys?</dialogue>
<scene_description>Chuckie smiles and nudges Tomas who starts dancing in a real mocking manner imitating the Rent - a - Cop . Chuckie pulls a gun from deep in his army jacket pocket and points it straight at the Rent - a - Cop 's face .</scene_description>
<character>CHUCKIE</character>
<dialogue>Nah. We not in the mood.</dialogue>
<scene_description>Chuckie looks at his friends for approval . Huey laughs again , shrill . Tomas grins . Vinh hunches and looks around . The Rent - a - Cop backs away .</scene_description>
<character>RENT-A-COP</character>
<dialogue>For Jesus' sake.</dialogue>
<scene_description>Tomas takes off a small crucifix from around his neck and dangles it in front of the Rent - a - Cop .</scene_description>
<character>TOMAS</character>
<dialogue>Say yo prayers old man.</dialogue>
<scene_description>Chuckie grins at Della while keeping the gun pointed straight at the Rent - a - Cop .</scene_description>
<character>CHUCKIE</character>
<dialogue>These Rent - a - Pig companies are too lame to give their foot soldiers any ammo. Liability laws and all that. Tough shit!</dialogue>
<scene_description>The Rent - a - Cop goes for his pistol anyway . Chuckie shoots him in the face . THIS MOMENT CHANGES EVERYTHING . We thought Della was in trouble but now we know she is . The bullet hits the Rent - A - Cop in the forehead . Blood spurts from the exit wound . He slumps to the asphalt like a marionette whose strings have just been cut . Bullet smoke hangs in the air where he once stood . Smoke too blackens the bullets entry wound . Blood puddles out from the back of his head .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Fuck!</dialogue>
<scene_description>It 's clear that Chuckie 's been acting harder than he is . The hand that holds the gun is trembling . The color drains from his face . All stand riveted in shock . A deathly silence follows . The carol singers can be heard in the distance faintly finishing up Silent Night .</scene_description>
<character>CAROL SINGERS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Sleep in heavenly peace. Sleep in heavenly peace.</dialogue>
<scene_description>Chuckie looks to his friends for support but none is forthcoming . The Rent - A - Cop 's body twitches . Chuckie hesitates then raises the gun . He aims and fires . The shot shatters the top of the Rent - A - Cop 's head . Chuckie flinches , closes his own eyes in reflex . Della swallows . If she started screaming now , she may never stop . She spins instead and makes for her car door . She 's dead if she does n't get out of here and she knows it .</scene_description>
<character>VINH</character>
<dialogue>She's busting a move!</dialogue>
<scene_description>Chuckie opens his eyes . Vinh points to Della . Chuckie looks over and sees Della disappear through the door of her Explorer . Agitation overwhelms him .</scene_description>
<character>CHUCKIE</character>
<dialogue>She ai n't going nowhere. We got her Ford blocked in, right?</dialogue>
<scene_description>He looks at Vinh who nods then at Huey .</scene_description>
<character>HUEY</character>
<dialogue>I do n't know nothing.</dialogue>
<scene_description>Chuckie looks back at Vinh then over at Tomas .</scene_description>
<character>TOMAS</character>
<parenthetical>( muttering . )</parenthetical>
<dialogue>Dar candela por el culo!</dialogue>
<character>CHUCKIE</character>
<dialogue>I can just put one through her windshield, right?</dialogue>
<scene_description>No one answers . Chuckie turns once more to the Rent - a - Cop whose body still twitches in some final death throe .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Will you just DIE?!</dialogue>
<scene_description>He raises the gun . Another shot explodes into the night .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della flinches but no bullet tears through the back of her skull . She slams into the driver 's seat and punches the door lock switch . She hits the four wheel drive button and presses the accelerator pedal to the metal . The Explorer barely protests as its front tires claw and bounce over the six inch concrete row barrier . The barrier screeches along the underside of the frame . There is a loud SCRAAAAAPE noise as the car heaves over the barrier . Then , the rear wheels bounce and claw over . The car fishtails momentarily .</scene_description>
<character>DELLA</character>
<dialogue>Please God. Do n't overcorrect.</dialogue>
<scene_description>She releases the pressure on the accelerator . The Explorer straightens .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT - EVENING</stage_direction>
<scene_description>Tomas screams at Chuckie .</scene_description>
<character>TOMAS</character>
<dialogue>Chinga tu madre. She making her getaway.</dialogue>
<scene_description>All except Chuckie turn to look as Della accelerates across the unfinished outskirts of the car park behind them . Vinh tugs at Chuckie 's sleeve .</scene_description>
<character>VINH</character>
<dialogue>Chuckie!</dialogue>
<scene_description>But Chuckie 's staring at the bloody mess he made , with a faraway look in his eyes , like he 's disassociating . Vinh throws down the stub of his cigarette , follows Tomas into the Plymouth . Tomas guns the engine .</scene_description>
<character>HUEY</character>
<dialogue>She on her cell right now calling the pigs.</dialogue>
<scene_description>Huey 's almost hysterical .</scene_description>
<character>HUEY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We going down for this!</dialogue>
<scene_description>Chuckie turns on him .</scene_description>
<character>CHUCKIE</character>
<dialogue>You gone buck wild, nigga? We ai n't going down for shit.</dialogue>
<character>HUEY</character>
<dialogue>You ai n't earned the right to call me a nigga. And that goes for all you haters.</dialogue>
<scene_description>Behind him Della 's car turns onto the mall 's outer perimeter service road in the distance .</scene_description>
<character>CHUCKIE</character>
<dialogue>Easy my G. Easy.</dialogue>
<scene_description>Chuckie cajoles Huey .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The world is our bitch, right?</dialogue>
<scene_description>Huey calms down . Chuckie gently pushes him into the Plymouth back seat beside Vinh .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get in my fallen soldier.</dialogue>
<scene_description>Chuckie opens the driver door .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shove over Tomas. You know I front the ride.</dialogue>
<scene_description>Tomas shuffles over to the passenger seat . Chuckie climbs into driver side . Doors slam . The Plymouth screeches across the parking lot and exits onto the service road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SERVICE ROAD - EVENING</stage_direction>
<scene_description>Della speeds down the long dark empty service road which skims the deserted warehouses at the back of the Mall . Between the warehouses are dark patches of undeveloped land - No Mans land . Not a car nor a person in sight . It starts to rain .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She shakes the cell phone trying to revive its dead battery . Types 911 in anyway . No connection . No response . She shakes it some more . Gives up . She relentlessly checks the rearview and side mirrors as she races into the rainy night . The driving conditions are not good , poor visibility ahead . Too bad . She speeds anyway . The road has to connect to a main road soon ! Another glance in the rearview . Nothing . Side mirror . Still clear . Once more in the rearview . Headlights !</scene_description>
<character>DELLA</character>
<dialogue>No!</dialogue>
<scene_description>Side mirror . It 's the Plymouth . She presses the accelerator down harder . The engine revs . In the rearview there 's a sudden flash above her rear left headlight . And another .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Jesus!</dialogue>
<scene_description>They 're shooting at her ! Della steps the accelerator to the floor praying the Explorer wo n't skid out . The engine struggles , catches up . The sudden speed causes a small silver love heart , hanging on a silver chain necklace from the rearview mirror , to crash against the window . The catch bursts open to reveal two tiny photos of the twins inside . The necklace flies back and forth against the window as the Explorer races onwards .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SERVICE ROAD - EVENING</stage_direction>
<scene_description>The Plymouth accelerates behind blasting rap . Its thick tires plow along the wet asphalt , gripping to the road below in steady pursuit . Its windows are all steamed up . The front passenger window is open , a hand and a gun muzzle stick through .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Another flash and Della 's left side mirror shatters . She swerves in panic . Her car almost hits the ditch . This ca n't be happening . Not to her . She reclaims the steering wheel . Straightens up . Hits the accelerator again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SERVICE ROAD - EVENING</stage_direction>
<scene_description>The Plymouth swerves behind on the skid that Della created , corrects itself just before the ditch . Della gains speed . The Plymouth lags . A stop sign appears ahead . The road 's ending .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Right or left , Della ? Make a choice .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SERVICE ROAD - EVENING</stage_direction>
<scene_description>There is no choice . A barrier blocks the left hand turn . A big sign reads `` LOT FULL '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMPTY HOUSING ESTATE ROAD - EVENING</stage_direction>
<scene_description>Della swings right instead . The streetlights recede behind her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMPTY HOUSING ESTATE - EVENING</stage_direction>
<scene_description>Nothing but the darkness of a housing complex under construction ahead . But she seems to have shaken off her pursuers . She speeds down the road , looking intently for any sign of life . But there 's nothing but half - built houses , empty houses , houses just like hers .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEVEN ELEVEN MINI MALL - EVENING</stage_direction>
<scene_description>A Seven Eleven sign appears . She slows down . But it may as well be a mirage , it 's an unfinished building with only the sign , in an unfinished mini - mall .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Close to screaming now she speeds up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMPTY HOUSING ESTATE - EVENING</stage_direction>
<scene_description>More empty houses in varying stages of construction . No sign of life .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FILLING STATION - EVENING</stage_direction>
<scene_description>Then , what looks like a filling station , one light on in the kiosk .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Hope . She pulls in and dims her lights , drives right up to the kiosk door . Hope dashed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FILLING STATION - EVENING</stage_direction>
<scene_description>It 's in its final stages of installation but definitely not functioning . And there 's no one there .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMPTY HOUSING ESTATE - EVENING</stage_direction>
<scene_description>Back onto the road and she sees far behind her , car headlights that can only belong to the Plymouth , following her through the darkness . She dims her lights to just the side lights . Hurtles along the dark road which is getting rougher and rougher . Potholes filled with mud and rain water splash against the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Her wipers struggle to cope . She can hardly see through the front window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH ROAD - EVENING</stage_direction>
<scene_description>The potholes yawn deeper . The asphalt ends . Gravel deteriorates to dirt .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She steers the Ford blindly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH ROAD - EVENING</stage_direction>
<scene_description>A wooden barrier with reflective stripes looms suddenly ahead .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She guns the engine and ducks sideways as her car PLOWS into the barrier . There 's a sickening crack as shattered windshield sprays around her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>The Explorer SLAMS through and VEERS towards a clump of trees .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della tries to sit upright but the auto 's spinning too fast .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>The car swings , then CRASHES right into a Pine tree .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>The Car stalls out . SILENCE . A prolonged moment . Then Della crawls out from under the dashboard , sweeping pine needles and glass from her hair . She reaches up and hits the light switch . Pine branches protrude through the broken windshield . Using the sleeve of her coat she sweeps broken glass from the driver 's seat and sits down . She slides the gear into park , turns the key . The engine groans like a dying animal , then gives up . She takes a deep breath . She tries again . The engine groans again , another death rattle . It just wo n't catch . She switches off the interior light and pushes the driver door open . She steps out of the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>She closes the door behind her so 's not to trigger the light switch . Finds her legs are giddy . Holds onto the door frame for a moment to steady herself . It looks like she 's crashed at the very end of the housing development - where it cuts like a knife edge into an old forest . The dirt road stretches ahead beyond the barrier , into the midst of the forest . Behind her , shrouded in darkness , houses in different stages of development dot the deforested landscape . Land moving trucks sit on recently flattened land , waiting to tear into the next layer of forest . Patches of leftover snow and puddles of rain catch the light from the moon which hides in an overcast sky . Jesus ! She 's driven all the way from the Mall only to find herself in the middle of nowhere with a bunch of psychopaths on her tail . This must be some sick joke . Speaking of which , where are these little bastards ? Her eyes scan the darkness for a sign . Nothing . That does n't mean they 're not close by . She checks out the damage to the car by feel . The driver 's side is scratched and dented . The front is wedged into the tree . The only way out is for her to back up the car . She climbs back in for another try .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Della turns the key . It barely even groans this time . Just a faint gurgle . Then gone . She rifles in the glove compartment and pulls out the flare , sticks it in her pocket . She leans under the dash and manually pops the trunk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>Della runs outside to the back of the car and feels about in the trunk . She throws carrier bags full of wrapping paper to the side as she searches . Pulls out a lug wrench from underneath and then a small tool box . She hears the screech of a car 's wheels spinning in mud .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH ROAD - EVENING</stage_direction>
<scene_description>Della turns to see headlights in the distance on the road behind , pointing upwards .</scene_description>
<character>DELLA</character>
<dialogue>Huh!</dialogue>
<scene_description>The Plymouth must have skidded and got stuck in the mud .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>She closes the trunk softly then runs to the front of the car , clutching the toolbox and the wrench . She reaches back into the car and unlatches the hood from underneath the dash . Pop . She softly closes the door again . Punches her way through the branches . Slides her fingers under the hood , pries up the lever . It pops up only a few inches .</scene_description>
<character>DELLA</character>
<dialogue>Damn!</dialogue>
<scene_description>She tries to manually lift it . But it 's heavy with the weight of pine branches . Voices drift towards her .</scene_description>
<character>TOMAS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Keep hitting on the gas and you gon na dig them wheels into a dirt grave.</dialogue>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Save yo talk and get out and push.</dialogue>
<scene_description>The sound of car doors opening , feet squishing into the mud and cussing . The boys materialize in the light from the headlights .</scene_description>
<character>TOMAS</character>
<dialogue>Hell, no.</dialogue>
<character>HUEY</character>
<dialogue>Shit!</dialogue>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What's aggravating you now?</dialogue>
<character>HUEY</character>
<dialogue>Our new sneakers are stuck up in the dirt like they was last years.</dialogue>
<scene_description>Doors slam and two sets of footsteps join the others .</scene_description>
<character>CHUCKIE</character>
<dialogue>Soon as we taken care o' Mrs. Podunk you and the Spanish dancer can hit the next mall. But first you fakers best haul this rider out of the filth.</dialogue>
<character>VINH</character>
<dialogue>Stupid ass car got nowhere else to go. There's nothing but trees up ahead.</dialogue>
<character>TOMAS</character>
<dialogue>Screw the car, Chuckie. Case you forgot we got a witness on the loose! I ai n't want to end up in the clink as some chimp's prison pillow.</dialogue>
<character>CHUCKIE</character>
<dialogue>Trust me dog, hoe's going down execution style before we see the other side o' them bars.</dialogue>
<scene_description>Della drops the hood . It makes a faint squeak but does n't slam down , seems it 's stuck open these last few inches .</scene_description>
<character>TOMAS</character>
<dialogue>Yo talk a real mob threat, Chuckie. But what if she gone already?</dialogue>
<scene_description>Chuckie 's eyes scan the housing estate .</scene_description>
<character>CHUCKIE</character>
<dialogue>She ai n't gone.</dialogue>
<scene_description>Della frantically sweeps pine branches and cones from the hood . But some larger branches are jammed , wedged by the broken tree . When she looks back over for the boys she sees the car headlights are off and there 's no sign of them . She stands stock still , listening , scanning the landscape for a sign of them . The sound of glass shattering breaks the silence . Della jumps out of her skin , spins around . Her eyes settle on a light in the distance .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH ROAD - EVENING</stage_direction>
<scene_description>The light illuminates the small cabin of an earth moving truck . The cabin glows like a box in the darkness . There 's a figure inside : it 's Chuckie . He 's inspecting a powerful construction flashlight . He switches settings from broad light to concentrated beam . He points the beam through the broken glass window onto Tomas , who 's standing on a truck tyre knocking out the rest of the glass with his elbow . Chuckie leaps down through the broken window , pleased with his find . He switches it to broad beam , whistles .</scene_description>
<character>CHUCKIE</character>
<dialogue>Wo n't be long before we find her now. This baby could spot a needle in a haystack!</dialogue>
<scene_description>The light dances around illuminating each of their faces for seconds at a time . Eerie distorted glimpses . They 're traipsing along the rough road , through the mud , towards Della . Their voices grow louder .</scene_description>
<character>HUEY</character>
<dialogue>We caught up in this bitch's life like a soap opera. We could just bail, blast out of town like we was never here.</dialogue>
<character>CHUCKIE</character>
<dialogue>This boy loves weed so much he tried to marry Juana.</dialogue>
<character>HUEY</character>
<dialogue>Ai n't no one cares about the Rent - a - Pig. He just collateral damage to the peeps at the mall.</dialogue>
<scene_description>Chuckie pushes Huey half playfully , half annoyed .</scene_description>
<character>CHUCKIE</character>
<dialogue>Listen up skippy : SHE THE ONLY WITNESS.</dialogue>
<character>HUEY</character>
<dialogue>But if we hit the road now we'll be five hundred miles away before they find him. we could be drinking cold beer and swimmin' in the Atlantic. just like you promised.</dialogue>
<scene_description>Huey stares off into space like he 's having a vision .</scene_description>
<character>CHUCKIE</character>
<dialogue>We got ta take care of her. When she gone. The problem gone. Right? We'll head off then, Huey, just like I said.</dialogue>
<scene_description>Huey shakes his head in disbelief .</scene_description>
<character>HUEY</character>
<dialogue>We ai n't gon na make it, are we Chuckie? I ai n't never gon na see it. It's over for that, is n't it Chuckie? Just say it.</dialogue>
<scene_description>Chuckie is taken aback by what Huey is saying . He walks away , turns his concentration back to the flashlight . Huey calls after him .</scene_description>
<character>HUEY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She was just some stupid housewife mouthin' off.</dialogue>
<character>CHUCKIE</character>
<dialogue>GET REAL Huey! And shut the fuck up about the stupid ocean.</dialogue>
<scene_description>Chuckie gets right up in Huey 's face .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I ever break a promise to you? I ever let you down?</dialogue>
<scene_description>Huey takes his time to answer .</scene_description>
<character>HUEY</character>
<dialogue>No Chuckie, you ai n't.</dialogue>
<scene_description>Chuckie puts his hand on Hueys shoulder and gently pushes him along the road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS - EVENING</stage_direction>
<scene_description>Della tries once more to lift the hood . It still wo n't budge . When she looks up the flashlight is dancing towards her . Vinh sees the car .</scene_description>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>There's her Ford.</dialogue>
<scene_description>Della grabs the lug wrench and toolbox and ducks behind the trees . Della sees them approach her car .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>There's broken glass everywhere.</dialogue>
<scene_description>Huey , now resigned to their mission , comments sadly .</scene_description>
<character>HUEY</character>
<dialogue>Someone call her mama tell her to lay out her black dress.</dialogue>
<scene_description>Della creeps softly along the edge of the trees . She holds her breath . If she makes a sound , she 's dead .</scene_description>
<character>TOMAS</character>
<dialogue>Is she dead already?</dialogue>
<scene_description>The boys kick around the Explorer .</scene_description>
<character>VINH</character>
<dialogue>Musta gone been thrown through the windshield.</dialogue>
<scene_description>Della skims the trees , constantly checking behind her , to where her antagonists check out the Ford wreck . Chuckie points to some footprints .</scene_description>
<character>CHUCKIE</character>
<dialogue>She ai n't dead. Look! Her footprints are all around.</dialogue>
<scene_description>When there 's enough distance between them and her , she darts from the forest 's edge into the development and hides behind a half finished house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNFINISHED HOUSE 1 - EVENING</stage_direction>
<scene_description>She leans against a recently bricked wall , finally takes a breath . The smell of fresh cement and putty fills her nostrils . Rain gathers and drips from a nearby ledge She peers around the side of the house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF WOODS/CONSTRUCTION SITE - EVENING</stage_direction>
<scene_description>Beyond the rows of plots of land with their sold signs , she sees the boys still pacing and debating beside her Ford , illuminated by the sweeping light rays of their flashlight . Her eyes drift across the landscape of house foundations and structures to the distant neon lights of the shopping mall . When she looks back over for the boys , she sees that the flashlight and the boys are gone . She strains her eyes . Guesses that must mean they 're off looking for her in another direction . She clutches the tool box and silently creeps between the houses . If she could just track along the edge of the development she could maybe make it back to the Shopping Mall , to the twins . An owl hoots from the trees behind . She freezes , eyes sweeping the immediate area for danger . She waits a moment , silence , then makes her way once more between the edge of the development and the edge of the trees . She 's trying desperately not to make a sound , praying to be invisible , eyes darting around , evaluating every shape and form . On one side the dense wood of trees , predominantly pine , with thick ancient trunks and tangled branches . On the other , plots and structures of homes to be . She keeps trudging on , skirting the edge of the trees , following the lights in the distance . She hears a loud thudding noise . Stops . Stops breathing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLANKS IN TARP - EVENING</stage_direction>
<scene_description>Ahead , piles of planks wrapped in black tarp block her view . She braces herself , peers cautiously around , sees nothing . She clutches the lug wrench and toolbox and steps forwards . Rain water from the branches of a nearby tree is dripping down and collecting in a puddle in the middle of the tarp causing the sound . She breathes a sigh of relief .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CEMENT PILES - EVENING</stage_direction>
<scene_description>Heaps of damp shingle and cement cause her to back up and around past them and a cement mixer . She loses sight of the neon mall lights . She panics .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE - EVENING</stage_direction>
<scene_description>She runs between the foundations of two houses . She stops suddenly when she sees a giant shadow looming across her path . She ducks down the side of a half finished house . Sees that it is the shadow of an earth moving truck . She keeps going , between the houses , looking for a sign of the mall lights . She stops . Just ahead , a flurry of footprints . They 're her footprints !</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNFINISHED HOUSE 1 - EVENING</stage_direction>
<scene_description>She finds herself back where she started , at the same house . The mall lights flicker in the distance as far away as they always were . The Ford 's still there ahead . And then she sees the flashlight sweeping towards her .</scene_description>
<character>DELLA</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>NO! OH NO.</dialogue>
<scene_description>She bites back a sob .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE - EVENING</stage_direction>
<scene_description>Della shrinks backwards between the houses . She ducks into an unfinished doorway and watches the boys pass ahead . She runs into the house and out through the far side . Skirts a row of plots of land . Then , she hears Chuckie 's mocking voice , echoing through the building site .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>DELLA!</dialogue>
<scene_description>Della recoils . Did she just hallucinate ? How the hell do they know her name ? Can they see her ? Or is he just shouting her name randomly into the night ? Her eyes dart right then left then back again . Nothing . She runs down a row of house foundations .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Della!</dialogue>
</scene>
<scene>
<stage_direction>INT. UNFINISHED HOUSE 2 - EVENING</stage_direction>
<scene_description>Della dives into an unfinished house , hides behind a space where a window will eventually be , looks out across the building site . All is dark outside . And then she sees the light several rows down , weaving between the houses . She makes for another window at the opposite end of the house . She sees the mall lights and decides to head once more towards them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE -EVENING</stage_direction>
<scene_description>She creeps out of the house and crosses several rows of houses , then several more , heading towards the neon lights in the distance .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FENCE -EVENING</stage_direction>
<scene_description>She stops dead in her tracks . Straight ahead , a truly chilling sight - her kids stuff from the car : Terri 's little anorak , Tammi 's socks , mittens , strung along a short stretch of wire fence . Her feet start to sink into wet mud . She covers her mouth to stop herself crying out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE -EVENING</stage_direction>
<scene_description>Suddenly the development is illuminated by a huge construction light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MUD -EVENING</stage_direction>
<scene_description>Della ducks down , tries to run . The mud cloys at her feet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLANK BETWEEN TWO HOUSES -EVENING</stage_direction>
<scene_description>She steps up onto a plank that stretches between the first floors of two houses . She starts to cross when she sees their silhouettes .</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. UNFINISHED HOUSE 3 -EVENING</stage_direction>
<scene_description>They 're searching the house next door .</scene_description>
<character>TOMAS</character>
<dialogue>Where'd little red riding hood git to?</dialogue>
<character>VINH</character>
<dialogue>She ai n't leaving any bread crumbs that's for sure.</dialogue>
<character>HUEY</character>
<dialogue>When a nigga hungry, Imma wolf.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLANK BETWEEN TWO HOUSES - EVENING</stage_direction>
<scene_description>She backs up , slips , slides off the plank , falls into the mud , catches herself on some barbed wire .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What was that?</dialogue>
<scene_description>The wire drives through her coat and into her right shoulder . She jerks away but the length of loose barbed wire follows . She bites her lip to prevent a pained response . She 's caught in its spiral like a trapped animal . She spins around and physically pulls the wire from her back , tearing her coat . She casts the wire away from her . Winces .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNFINISHED HOUSE 4 (FOUNDATION) -EVENING</stage_direction>
<scene_description>She crawls into the foundations of a nearby house , underneath the floorboards which are lain roughly across to form a first floor . She huddles in a dark corner . It 's very quiet and cramped . She tries not to move , not to breathe . The smell of the wet earth underneath makes her feel nauseous . A moment passes . It feels like an infinity . She starts to creep along towards a gap in the planks to see if she can see anything above . Just as she approaches the gap she hears . The sound of footsteps above her . She freezes . The footsteps make erratic rhythms across the planks . She silently undoes the catch of the toolbox . Her hands are shaking . She lifts the lid . She rakes around inside for tools , comes across several kids toys instead ! In shock , she rakes around some more , trying to find something else , something more dangerous , anything . To her surprise the only tools inside are a pathetic little screwdriver and a small crescent wrench . The kids must have borrowed the other tools replacing them with the toys . She gives up , closes over the lid . Then suddenly : BOOM</scene_description>
</scene>
<scene>
<stage_direction>INT. UNFINISHED HOUSE 4 -EVENING</stage_direction>
<scene_description>The whole house is illuminated . She looks up to see four faces looking down at her . Chuckie points the gaze of a powerful flashlight directly into her eyes . The beam almost blinds her . She tries to look away but Chuckie focuses it right in her eyes .</scene_description>
<character>CHUCKIE</character>
<dialogue>Peek a boo!</dialogue>
<scene_description>She shrinks back towards the wall . Her mouth feels dry , so dry . Tomas lifts several planks up and casts them away so they can see her . She 's cornered . Chuckie then lowers the flashlights direction and sweeps it voyeuristically down across her body . The light lingers on her breasts . Huey whistles appreciatively , picks the game back up from the parking lot .</scene_description>
<character>HUEY</character>
<dialogue>Yo left without yo goodbye kiss.</dialogue>
<scene_description>The light sweeps past Huey 's hips . The sound of a zipper . The light sweeps back up onto Della .</scene_description>
<character>CHUCKIE</character>
<dialogue>You a window shopper little brother. You ai n't never even done the old in and out before.</dialogue>
<scene_description>Waves of pain spasm through Della 's shoulder . The boys snigger .</scene_description>
<character>HUEY</character>
<dialogue>Imma just a young playa tryin' to put my bid in.</dialogue>
<scene_description>Tomas leans down towards Della . Chuckie moves the flashlight to illuminate them both . Tomas drains the last dregs from a bottle of Bud , tosses the empty bottle down into the foundations . It rolls into the darkness . Della shudders . She clutches the lug wrench against her coat behind the tool box and tries to disappear into the wall .</scene_description>
<character>TOMAS</character>
<dialogue>Do n't worry, when we done wit you we send yo back in yo trunk to Mr. Podunk.</dialogue>
<scene_description>Tomas reaches down and pulls Della up to standing by the coat collar . He then yanks the coat down over her shoulder . The white shirt she wears underneath is damp with sweat making the form of her breasts very clear . Chuckie keeps the light focused right on her . Tomas slides his index finger down across Della 's neck towards her breasts . Della claws at Tomas ' face with the nails of her free hand . He staggers to the side holding his cheek and cursing . Her chewed nails have n't left any dents , but she stunned him . The others laugh . She shrugs the coat back over her shoulders and pulls it tight across herself , once again clasping the toolbox close to her side .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't want to play nice? Puta!</dialogue>
<scene_description>He moves towards her , face twisted with hate , arm raised .</scene_description>
<character>CHUCKIE</character>
<dialogue>Back off five minutes, my Ghetto brother.</dialogue>
<scene_description>Tomas glares at Della , then lowers his arm . Spits on the ground instead . Turns back to the boys . Chuckie moves forwards and focuses on Della 's box ?</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's with the man size crast?</dialogue>
<scene_description>Della does n't answer .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You running with the family jewels?</dialogue>
<scene_description>Della still does n't answer .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You rob a bank this morning, Della?</dialogue>
<scene_description>Della remains determinedly mute .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Least yo learned something tonight Della honey?</dialogue>
<character>VINH</character>
<dialogue>Yeah, like how to quit mouthing if you wan na avoid drama.</dialogue>
<character>CHUCKIE</character>
<dialogue>You must be wondering how we come to know your name.</dialogue>
<scene_description>Chuckie giggles . Della shivers .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You screwed up Della Myers. Left your purse in the Ford.</dialogue>
<scene_description>Chuckie holds up her driving licence and examines it .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What a shitty photo!</dialogue>
<scene_description>Chuckie nods to Vinh . Vinh passes his lighter to Chuckie . Chuckie lights the licence on fire . The plastic burns black and toxic . The flame annihilates Della 's name , her date of birth , her face . Pieces of plastic unfurl and drift up through the empty windows and doors of the unfinished house .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Guess you wo n't be needing it no more.</dialogue>
<scene_description>Della stares defiantly , fighting back the internal nausea caused by this symbolically brutal act . Chuckie maneuvers the light back in her eyes then right back on his own menacing face . Then , back again on her face . She becomes disoriented .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So what's in the box?</dialogue>
<scene_description>Della remains mute , looks away from the beam .</scene_description>
<character>HUEY</character>
<dialogue>Yo think she carrying the big notes, maybe some ice?</dialogue>
<character>CHUCKIE</character>
<dialogue>Nah, it ai n't about to rain diamonds, Huey. But maybe she cashed in her life savings. Planned to take off, start a new life.</dialogue>
<scene_description>Della tries to swallow but her throat is too dry .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That right Della?</dialogue>
<character>TOMAS</character>
<dialogue>You got enough scratch in there to grease us up with?</dialogue>
<scene_description>She knows there is nothing that would buy them off and the knowledge sinks like a stone deep into her gut . Chuckie follows her face with the beam . She tries to dodge its glare in her eyes . But he maneuvers it like a surveillance camera . His voice takes on a meanness that makes the back of her neck tingle .</scene_description>
<character>CHUCKIE</character>
<dialogue>Open it.</dialogue>
<scene_description>They crowd closer toward her . Dark forms with eyes glinting . Their voices echoing .</scene_description>
<character>VINH</character>
<dialogue>Open the box else we put you in trauma.</dialogue>
<character>CHUCKIE</character>
<dialogue>OPEN IT!</dialogue>
<scene_description>Della all but screams .</scene_description>
<character>DELLA</character>
<dialogue>Okay! I'll open it.</dialogue>
<scene_description>Della 's brain races . Her hands move slowly . She rests the lug wrench in her left palm under the base of the tool box and with her right hand unsnaps the catch . She holds the far end of the lid up to shield her right hand from the beam as she slips it inside the box . A prayer plays silently across her lips as her fingers feel the cool steel and shape of the small crescent wrench . She curls them around its handle and grips tight . A surge of nervous energy courses through her veins .</scene_description>
<character>TOMAS</character>
<dialogue>She ai n't got nuthin'. Let's just take that pussy and git going.</dialogue>
<scene_description>He moves towards her . In a flash , she withdraws the crescent wrench . She cocks her wrist back and hurls the tool , snaps it just like her daddy taught her to play baseball . The wrench flies up and across the house . With a CRUNCH , it catches Chuckie right in the collar bone , right side . He screams . Drops the flashlight . Drops to his knees holding his throat . Della snaps the tool box shut and makes a run for it . She throws herself up onto the first floor and darts between Tomas and Huey . Huey lunges for her but trips over a loose plank , lands with his face down , biting on the plank 's edge . Della catches a peripheral glimpse of Tomas leaping towards her , but his leading foot slams down instead onto the back of Huey 's neck . Grinds Huey 's face into the plank with a hideous THUD . Huey 's neck SNAPS back smiley style . Huey 's scream gurgles into the night . Huey 's body falls through the space in the floorboards landing with a thud in the foundations below . Tomas falls away , cursing in horror .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Maricon!</dialogue>
<scene_description>Della makes a run for the doorway . She jumps down onto the muddy lot and heads off across the development . The darkness quickly swallows her . Behind her , Vinh slumps through the house .</scene_description>
<character>VINH</character>
<dialogue>What the fuck, niggaz?</dialogue>
<character>CHUCKIE</character>
<dialogue>Shut up.</dialogue>
<character>VINH</character>
<dialogue>You hurt?</dialogue>
<character>CHUCKIE</character>
<dialogue>SHUT THE FUCK UP.</dialogue>
<scene_description>Chuckie slides down to be beside Huey in the foundations .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And do n't be using the N word. You ai n't representing. GOT IT. That right Huey? HUEY. Get up Huey. HUEY GET UP!</dialogue>
<scene_description>Tomas staggers up to standing .</scene_description>
<character>TOMAS</character>
<dialogue>Jesus hijo de maria el virgene.</dialogue>
<character>VINH</character>
<dialogue>What?</dialogue>
<scene_description>Vinh moves towards Chuckie who is crouched over Huey .</scene_description>
<character>CHUCKIE</character>
<dialogue>My little brother.</dialogue>
<scene_description>Tomas approaches . He pushes Chuckie gently out of the way so he can see . He stares down at Huey 's bloody meshed face . Tomas staggers backwards and crosses himself .</scene_description>
<character>TOMAS</character>
<dialogue>Mamacita! Madre de Dios!</dialogue>
<scene_description>Chuckie punches Tomas ' leg .</scene_description>
<character>CHUCKIE</character>
<dialogue>You tread on my boy's face. YOU KILLED HIM.</dialogue>
<character>TOMAS</character>
<dialogue>I did n't kill him. I did n't kill no one.</dialogue>
<scene_description>Tomas pushes Chuckie backwards .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She did it. She killed him.</dialogue>
<scene_description>Chuckie and Tomas stare at each other .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm gon na cross that bitch out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS - EVENING</stage_direction>
<scene_description>Della runs for her life . She makes straight for the cover of the trees . She hesitates for just a moment after the first layer of Pines . It 's pitch black beyond . Then she steps in . She follows her breath into the icy blackness . Branches and foliage scratch against her face . She grapples about , looking for hiding places between the dark shapes and forms . Steps between tree roots and shrubs . Her eyes begin to adjust . She can now make out the difference between the clumps of darkness and tell , looking back , where the edge of the woods begins . A construction light shines behind like a distant moon . She pushes between the branches of indistinguishable trees , some thick and knotted , others slight and brittle . Only the evergreens still have their foliage . Looking back constantly to the edge of the trees for a sign of the boys . Fear drives her further into the woods towards where the trees grow even more densely together . Where there just may be the right place to hide . She stops for a second to catch her breath . The handle of the toolbox has chaffed her right palm . She changes hands . God , that boy Huey ! He really died back there . She heard the sound of it . The horrific sound of him dying a stupid pointless death . It could have been her . There has to be some way out of this nightmare . Ahead , a dead tree with spectral branches blocks her path . She steps around its huge trunk and tangle of roots .</scene_description>
<character>CHUCKIE</character>
<dialogue>DELLA!</dialogue>
<scene_description>Chuckie 's voice drifts towards her . She ducks down among the roots . Her eyes scan the darkness . No moving shapes nor forms . No sound . No flashlight . Just shadowy clumps of trees . Should she stay put or should she run ? Then she sees it . The flashlight weaving through the pines ahead . She pushes further in among the roots , tries to make herself invisible . The flashlight beam sweeps across the forest floor towards her . One set of footsteps crunches through the foilage . She holds still , terrified . The flashlight pauses on the dead tree , the roots . Della stops breathing . Then , the light sweeps past and on into the woods . She waits until it disappears before stepping out of her hiding place . She creeps back in the opposite direction , figuring if they 're in the woods now she should get out . Her eyes search for the construction light , which indicates the edge of the wood . She heads in the direction of the light , painfully aware that one noisy footfall could alert her pursuers . She steps between leaves and roots as delicately as a ballet dancer . The construction light grows closer . The light abruptly goes out . She stops , eyes desperately searching the trees . She resumes in the direction she was headed . Tries to keep calm . But the woods are impenetrable . Layers of trees and shrubs , and then more trees . Deep in the cold dark places there are patches of left over snow . She 's losing her bearings .</scene_description>
</scene>
<scene>
<stage_direction>EXT. X'D TREES - EVENING</stage_direction>
<scene_description>Ahead , the chilling sight of four luminous Xs glowing in the dark forest almost makes her heart stop . She realizes the crosses are painted on the trunks of several trees , marking them for death . She shivers .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS -EVENING</stage_direction>
<scene_description>She backs up , starts off in the opposite direction . And there it is again . The flashlight sweeping through the trees in the distance . She stops , close to screaming , then when the flashlight disappears , runs off in yet another direction . She slows to take a breath , notices the butts of several cigarettes still smoking in the dirt close to her feet .</scene_description>
<character>DELLA</character>
<parenthetical>( muttering to herself . )</parenthetical>
<dialogue>Shit! Oh Shit!</dialogue>
<scene_description>She trudges on , pushing between the branches , no clue where she is headed . The further she treads , the quieter it becomes . So quiet she can hear her own footfalls and the sound of the trees breathing . Then , she spots the light again , in the distance , shining out over the forest . Thank God ! She trudges up a slope ahead , clinging onto branches and shrubs to help pull herself up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LEDGE - EVENING</stage_direction>
<scene_description>The light grows closer . She climbs up onto a ledge . A loud noise startles her . It 's music . Rap music . Blasting . Della pushes her way through to the edge of the trees . Sees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLEARING - EVENING</stage_direction>
<scene_description>The woodland ahead slopes down into a clearing , where a huge ghetto blaster sits on a pile of felled trees . Young pines about to become Christmas trees . It 's blasting out a hip hop anthem for a dead homie . A construction light illuminates the clearing . A ghostly Vinh , head hung low , moves to the music , bottle of beer in hand . Propped up against a tree stump sits the body of Huey , arms crossed over his torso , hood pulled up to cover his face . The scene is so surreal that Della is drawn closer . She creeps along the edge of the trees . As she moves , she kicks back on some dirt . It tumbles downhill into the gulch . She freezes . But nobody notices . She slips invisibly between the trees and watches as Tomas enters the clearing . Tomas stops and watches Vinh . Vinh continues to get into the music in his solemn Japanese punk style . The juxtaposition between the hard core rap music and the serious vibe that Vinh is sending out shows us that this is really important music to him . It 's a theatrical tableau - Della overhead , looking down on the clearing . Vinh transfixed by the music . Tomas stone silent , watching Vinh . It plays out for a poignant moment . Like they 're all part of some spiritual rite about to be consummated . Vinh pours some beer onto the ground at Huey 's feet . A small tear runs down his stoic face . Then CLICK . The blaster is abruptly turned off by Chuckie who appears out of the shadows behind it . He stares a beat at Vinh like he ca n't believe what he 's been seeing . Vinh keeps on moving like he 's in a trance .</scene_description>
<character>CHUCKIE</character>
<dialogue>What the fuck you doing?</dialogue>
<scene_description>Vinh does n't reply . Stares down at the ground , keeps on with his weird dance . Chuckie moves towards him . Tomas grabs Chuckie , tries to stop him from going for Vinh , but Chuckie shrugs him off . Chuckie reaches out and shakes Vinh . No response . He shakes him again .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I asked you what your deal is, sand dancer?</dialogue>
<scene_description>The second shake sort of breaks Vinh out of his trance . He shivers .</scene_description>
<character>VINH</character>
<dialogue>It's a tribute. A gesture.</dialogue>
<character>CHUCKIE</character>
<dialogue>A what?</dialogue>
<scene_description>Vinh stares down at the dirt at his feet .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your brain even smaller than'em slits for eyes?</dialogue>
<scene_description>Vinh slouches defiantly over to the blaster and presses track 8 replay .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Keep on banging out that ghetto ass shit and you'll alert every cop in Podunk county.</dialogue>
<character>VINH</character>
<dialogue>It's for Huey. Our dead homie.</dialogue>
<scene_description>The song starts again . Chuckie looks at him incredulously , shouts above the music .</scene_description>
<character>CHUCKIE</character>
<dialogue>You checked out, right?</dialogue>
<character>VINH</character>
<dialogue>He loved that track.</dialogue>
<scene_description>Vinh snorts back a sob . He hugs himself into a hunch and starts dancing again . Chuckie loses it . He slaps Vinh .</scene_description>
<character>CHUCKIE</character>
<dialogue>Get a grip, skippy.</dialogue>
<scene_description>Vinh rubs his face . He 's getting a grip all right . Chuckie slams off the blaster .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Huey's DEAD. And ai n't no requiem gon na resurrect his ass. He down under the ground now with the real men of respect.</dialogue>
<scene_description>The three boys stand somberly in silence , each paying internal homage to their dead friend . Chuckie hardens his heart against the tears that threaten to flow . Tomas trembles , mumbles .</scene_description>
<character>TOMAS</character>
<dialogue>I did n't mean it. I did n't do it. I did n't mean to kill him.</dialogue>
<scene_description>This breaks the moment . Chuckie snaps back .</scene_description>
<character>CHUCKIE</character>
<dialogue>Well he dead. That's it for him. OVER. But we still here. Hell, yeah. Payback's gon na be a real bitch for a real bitch.</dialogue>
<scene_description>Vinh wipes away his tears .</scene_description>
<character>VINH</character>
<dialogue>She probably gone by now.</dialogue>
<character>CHUCKIE</character>
<dialogue>You best hope not, genius. She gone, we gone.</dialogue>
<scene_description>Chuckie paces around the circumference of the clearing .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>DELLA!</dialogue>
</scene>
<scene>
<stage_direction>EXT. LEDGE - EVENING</stage_direction>
<scene_description>Della 's been watching the scene unfold , a captive audience , attentive and terrified . Slowly she tears her eyes away from the boys . She backs away from the edge and right into the sharp branch of a big old tree . The branch digs into that point in her shoulder she hurt earlier on the barbed wire . She reaches up to feel it and pulls her hand away bloody . She reaches into her coat pockets for a tissue . Nothing . Feels something in her pants pocket . She pulls out not a tissue but a sheet of folded paper . She unfolds it . It 's Tammi 's drawing . The one from the beginning . The stick figure family holding hands and `` Mommy - We love you '' written in stars . Della 's lost in the drawing . Her eyes drink in every mark and color and word . She sees that the male figure is slightly separate . That the children stick figures have frightened eyes and cling to the female . That the sky is turbulent . The stars clear and bright . The words . A tear escapes from underneath her eyelid . Then another . A sob . She might never see her kids again . Another sob . She heaves with the release of emotion . More tears escape . Another sob . She tries to bite it back . Wills herself to stop . Finds that rage takes sorrow 's place . Rage and self recrimination . Goddamit ! She 's gon na be raped and killed because of some stupid note ! And God knows what will become of the kids . Kenneth always told her she had a temper . That she reacts without thinking of the consequences . This time the bastard was right . She looks again at the picture . Chuckie 's voice booms out into the night .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>D - E - L - L - A, H - O - N - E - Y.</dialogue>
<scene_description>She folds the picture up carefully and puts it back in her pocket . Della edges further into the trees and disappears into the darkness . There 's rustling in the darkness . Tomas pushes through the edge of the trees , making animal calls with his right hand curled around his mouth . The flashlight illuminates him from behind . Chuckie follows him operating the light in a mockery of classic noir style . Vinh slouches behind them . Tomas heads along the ledge , straight past the spot where Della stood only moments before . Tomas doubles back . Thomas stops , sniffs .</scene_description>
<character>TOMAS</character>
<dialogue>I can smell her Bulgari.</dialogue>
<scene_description>Chuckie 's behind him surveying the area with the flashlight . He finds several footprints by the tree .</scene_description>
<character>CHUCKIE</character>
<dialogue>She was right here. Must a saw your dumb ass tribute and everything.</dialogue>
<scene_description>Vinh glares at Chuckie . Chuckie grins at Tomas .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Bulgari? She looks more like she rocks that number five shit.</dialogue>
<character>TOMAS</character>
<dialogue>It Bulgari, dude. My Dad's bitch bathes in it.</dialogue>
<scene_description>Chuckie points the flashlight towards where the ledge ends and a steep incline begins .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STEEP INCLINE - EVENING</stage_direction>
<scene_description>The flashlight illuminates a set of prints descending down the incline .</scene_description>
<character>CHUCKIE</character>
<dialogue>There more of her footprints.</dialogue>
<scene_description>Tomas and Vinh just stand like zombies . Chuckie pushes Vinh .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What you waiting on? Jackie Chan?</dialogue>
<scene_description>Vinh plods clumsily down the incline , followed by Tomas . Chuckie sweeps the flashlight across the gulch looking for a sign of Della . Chuckie shifts his focus to climb down the steep slope . As the light sweeps back across the gulch we catch a glimpse of Della between some rocks at the far side . But the boys ' eyes are elsewhere , focused on the steep incline ahead of them . Della quickly ducks , draws her toolbox in tight and crouches low between the rocks . She watches the boys carefully as they climb down the gulch . There 's the sound of a stumble followed by a splash .</scene_description>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>SHIT!</dialogue>
<character>TOMAS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What now, cabron?</dialogue>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Fell in a frozen ass stream.</dialogue>
<scene_description>Chuckie sweeps the flashlight towards them . Della sees Vinh trudging out of the stream , Tomas descending the last few feet of the other side of the gulch and Chuckie midway up . Vinh jumps up and down trying to kick the water out of his sneakers .</scene_description>
<character>CHUCKIE</character>
<dialogue>Zipperhead!</dialogue>
<character>VINH</character>
<dialogue>Kon ` aro Kusotare.</dialogue>
<character>CHUCKIE</character>
<dialogue>You know we do n't speak the Chinky.</dialogue>
<character>VINH</character>
<dialogue>What's your game, Chuckie? We left stumbling around in the dark while you hog the flashlight.</dialogue>
<character>CHUCKIE</character>
<dialogue>I stole it. I get to use it. That's how it works. That right Tomas?</dialogue>
<character>TOMAS</character>
<dialogue>Right on, dog.</dialogue>
<scene_description>Chuckie jumps down from the last rock and joins Vinh and Tomas at the edge of the stream .</scene_description>
<character>VINH</character>
<dialogue>What if I steal it from you?</dialogue>
<character>CHUCKIE</character>
<dialogue>There you go, bro.</dialogue>
<scene_description>He hands the flashlight over to Vinh . Vinh reaches for it . Chuckie pulls it away .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>April Fool. Naw, wait a minute, it ai n't April. Must be Christmas fool.</dialogue>
<scene_description>Tomas smirks . Vinh hangs his head down . They search for more prints , ca n't find any in the immediate area . Chuckie shines the flashlight at the foot of a big rock .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Her footprints disappear at the big rock.</dialogue>
<scene_description>A beat . Della clutches the lug wrench in her right hand . Vinh shivers violently .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Head on up and search the slope. I'll guide your way with the flashlight.</dialogue>
<scene_description>Chuckie sweeps the flashlight across the gulch . Della ducks . Della needs to get out of there and fast . They begin to ascend the rocks . Chuckie keeps the flashlight slightly ahead of them . Della crawls stealthily between and behind the rocks , keeping as low as she can . Dodging the approaching light . The boys crawl across and up and between the rocks with the dexterity of animals . Della 's so low she 's scraping her knees and hands to shreds . She can see ahead where the rocks end and the trees begin . What was she thinking hiding here ? It was too exposed .</scene_description>
<character>TOMAS</character>
<dialogue>We gon na put yo ass on ice, bitch!</dialogue>
<scene_description>God please help her make it back into the cover of the trees . Della almost vomits . Her hand grasps the last rock at the top of the gulch . She pushes the toolbox up on the ledge . Her strength is ebbing but she tries to hoist herself up . The flashlight sweeps by . She lets go of the ledge and ducks . The flashlight sweeps by again . She huddles in behind a rock . Waits a beat .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You going home in a casket tonight.</dialogue>
<scene_description>Oh shit , they 're approaching fast . She tries again to hoist herself up . She 's almost up when the flashlight sweeps by again . This time , it catches her .</scene_description>
<character>CHUCKIE</character>
<dialogue>THERE SHE IS, TOP OF THE GULCH!</dialogue>
<scene_description>She practically throws herself over the ledge . Tomas scurries to the top faster than lightening , catches her leg as she crawls from the edge . THUD . She kicks him in the face . Della grabs the toolbox . Makes a run for it .</scene_description>
<character>TOMAS</character>
<dialogue>AHHHHHEEEEEEHHHHH!</dialogue>
<scene_description>Tomas falls back from the gulch - side , loosening several rocks . The rocks tumble downhill , hit Vinh .</scene_description>
<character>VINH</character>
<dialogue>AHHHHHHH!</dialogue>
<scene_description>Chuckie scales the gulch behind them . Vinh rubs his head . Sees something between the trees . Thinks it 's Huey .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Huey?</dialogue>
<scene_description>He starts towards the brush .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is that you, homie?</dialogue>
<scene_description>Chuckie catches up with Vinh , breathless from climbing fast . Vinh points into the brush .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I saw Huey, there in the brush.</dialogue>
<character>CHUCKIE</character>
<dialogue>What?</dialogue>
<scene_description>Chuckie looks around , hoping against hope that Vinh may be right , that Huey may just be alive . Vinh becomes perplexed .</scene_description>
<character>VINH</character>
<dialogue>I saw him.</dialogue>
<character>CHUCKIE</character>
<dialogue>Sure you did, bro.</dialogue>
<scene_description>Chuckie puts his arm around Vinh and helps him up the rock side . Vinh is shivering so hard he 's almost sobbing . Just ahead Tomas pulls himself up and over the ledge .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - EVENING</stage_direction>
<scene_description>Tomas catches up with Della , chases her into the trees . Behind him Vinh hoists himself up over the ledge , then Chuckie . Della runs . Faster than she 's ever run before . Practically flies through the trees . Her breath comes hard . His too , just behind her . Their footfalls crash into the foliage . It 's dark , so dark . She 's running blindly . And they 're right behind her . Tomas swipes at her . He just misses . He swipes again . A twisted shape looms ahead , almost blocks her path . She runs right up to it then darts left at the last moment , setting up Thomas who 's right behind her . Tomas runs into the stump of a big old tree trunk , hits himself at groin level . He doubles over in pain .</scene_description>
<character>TOMAS</character>
<dialogue>CONEJO! AI N'T NUTHIN' CAN SAVE YO ASS NOW.</dialogue>
<scene_description>Della races on . Thomas gathers himself together , picks up the chase . But that moment 's delay has bought her some time . Her adrenaline pumps hard . Eyes darting for a hiding place among the dark shapes and planes of the woods .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEADWOOD PILE - EVENING</stage_direction>
<scene_description>There it is , a deadwood pile . She throws herself down into its midst . The dried branches jag and tear at her hands and face . She burrows down low , so low she 's right in the dirt . She peers between the branches . Tomas 's feet run by and disappear . She hears him circle the area then turn back towards her . A moment passes . She picks the next . Rises slowly and softly from between the jagged branches clutching the lug wrench . And then there he is . Diving out of the trees towards her . Della raises the lug wrench . In the clouded moonlight it 's an almost biblical image : a woman rising from the brush wielding an iron black cross . Tomas crashes towards her . Della swings the lug wrench , hard , intensely , directly at Tomas 's face . There is a THUD as the sharp arm of the lug wrench catches him up under the chin . It sends him reeling . He goes down face first . Della gasps in horror , watches as : Tomas pulls himself up onto his feet , comes towards her once more . Della swings the lug wrench back and strikes him across the head . He spins , clutches at his head , then reaches towards her AGAIN . She loses it . She swings the lug wrench towards him . All the years of pent up rage finally find their release . The wrench catches up under his nose with a sickening CRUNCH . It drives the cartilage up and into his face . Blood spurts from the wound . He staggers backwards . A shocked scream escapes from Della 's mouth .</scene_description>
<character>DELLA</character>
<dialogue>Awwwrgh!</dialogue>
<scene_description>As she staggers backwards in the opposite direction . Tomas tries to cry out but can only utter in pain .</scene_description>
<character>TOMAS</character>
<dialogue>Unnh! Unnh! Unnh!</dialogue>
<scene_description>He tries to pull the lug wrench out of his face . Spins . Stumbles . The flashlight beam travels past them .</scene_description>
<character>TOMAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Unnh!</dialogue>
<scene_description>Tomas crashes back into a tree . He loses consciousness . His body slumps slowly down the tree trunk to the dirt . Blood gushes from where the wrench meets his face . He looks like he 's dressed for Halloween . Della just stares . Stares at Tomas , at what she did , what she had to do . Tomas ' eyes are wide open , staring too , at nothing , dead . The horror of having killed someone overwhelms Della . She starts shaking with shock . Vinh cries out for Tomas</scene_description>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>TOMAS!</dialogue>
<scene_description>The sound of footfalls crashing through the brush follows .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Curb the squealing. You a gangsta or a boy scout?</dialogue>
<scene_description>Vinhs voice is breathless and jittery .</scene_description>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Tomas's gone, Chuckie. I can feel it.</dialogue>
<scene_description>Della tears herself away from Tomas 's body and staggers into the deadwood to collect the toolbox . It glints , even in the darkness . She grabs it and runs for cover behind a tree . Behind her in the near distance the chaotic sweeps of the flashlight illuminates Vinh and Chuckie as they march through the woods searching for Tomas .</scene_description>
<character>CHUCKIE</character>
<dialogue>Tomas is one hard son of a bitch. He got her strung up from a tree by now and you know it.</dialogue>
<scene_description>But Chuckie does n't look so sure . Vinh charges ahead into the darkness . Della flashes briefly into shot , running between the trees . The flashlight sweeps by .</scene_description>
<character>VINH</character>
<dialogue>There's something over here.</dialogue>
<scene_description>Chuckie walks towards Vinh . Vinh takes the flashlight from Chuckie and shines it towards a thick shape between three trees .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It looks like a body.</dialogue>
<scene_description>They close in on a muddle of shapes , bush and spidery tree trunks . The flashlight illuminates a tree trunk long and thick as a body .</scene_description>
<character>CHUCKIE</character>
<dialogue>It's a big old tree trunk, you paranoid gook.</dialogue>
<scene_description>Chuckie tries to take the flashlight back from Vinh but Vinh wo n't give it . Chuckie does n't persist . Vinh keeps going , shivering and blustering . Vinh senses something . He shines the flashlight behind the tree trunk . Still nothing . Sweeps back . Della darts between the evergreens behind them . She conceals herself in between the trunks and branches . Braces herself , waits for the right moments , the ones when they 're not looking , to run between the trees . Cognizant enough to know they just want to find Tomas right now . She seems to be on autopilot , becoming numb as the minutes stretch on . She watches Vinh plod forward and through the brush . He hits every inch of it with the flashlight . Sighs . Doubles back to follow Chuckie . Then , the flashlight catches a glimpse of something . Sweeps back , illuminates Tomas 's dead body , splayed out on the mud at the foot of the tree , eyes staring wide , bloody , ghastly . Tomas 's Catholic cross pendant glimmers in the flashlight . Silence until Vinh falls to his knees in front of Tomas , tries to speak but only a whisper comes out .</scene_description>
<character>VINH</character>
<dialogue>Tomas. IYAH!</dialogue>
<scene_description>Chuckie realizes from Vinh 's demeanor that something really is wrong . He hesitates a moment , then rushes over to Vinh , stares too at Tomas 's body , gulps back the desire to scream . He punches his fist hard into the tree behind Tomas ' body instead . A shower of pine needles rains down on them . Chuckie grabs the flashlight and sweeps it away from the body , grabs Vinh 's arm , grounding him . Vinh sobs and shakes .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She gon na kill you and me next. We're all gon na die here. God knows what other tools she got in that box.</dialogue>
<character>CHUCKIE</character>
<dialogue>It was a stupid ass accident killed Huey. You know that. And Tomas.</dialogue>
<scene_description>Chuckie chokes up despite himself . He stands up , brushes the pine needles off his tee shirt . He paces back and forth . He pulls the gun out from deep in his jeans . Della creeps between the trees behind them . She appears for a second or two , like a ghost , behind the next tree . Chuckie defiantly fights back tears .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I promise you this.</dialogue>
<scene_description>He kisses the gun .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This baby's gon na cancel her Christmas.</dialogue>
<scene_description>Della darts between the trees , faster now . Their voices follow her .</scene_description>
<character>VINH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Ai n't no gun can kill a ghost gone bad.</dialogue>
<scene_description>She staggers deeper and deeper into the forest , into the darkness .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You in America now, dude, where the ghosts bleed.</dialogue>
<scene_description>She hears a faint gurgle . She slows , listens . It 's the burble of a stream . She listens hard . Traces the sound . Treads towards it . There it is . Glistening , even in the dark .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREAM THROUGH WOODS - EVENING</stage_direction>
<scene_description>She steps between rocks , walks straight into the stream below . She stands ankle deep in the icy water with her eyes closed clutching the toolbox . The water gurgles faintly below her , so cold it almost sounds like glass breaking . The ghastly images of what just happened play out behind her eyes like an inerasable movie of the psyche to be remembered for all time . She 's talking to herself in a whisper .</scene_description>
<character>DELLA</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>All she knows is that she just killed a boy . It may have been in self defense but she killed him .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm so sorry!</dialogue>
<scene_description>The grief overcomes her silently . Her face crumples . Her stomach muscles spasm and wrack through her body . A grief so deep tears would be a relief .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where are you, God?</dialogue>
<scene_description>She falls to her knees in the stream . Holding herself and rocking . The freezing water seeps up into her clothes , her hair .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Please, I just want to see my babies again.</dialogue>
<scene_description>Her rocking slows until it stops . There 's a loud crunch close by . She rises reflexively from the stream . Raises the toolbox . She looks around . A branch has broken from a tree and drags down into the stream behind her . This seems to bring her back to herself . She realizes it 's only a matter of time before they come looking for her . She needs to get moving . She sets off downstream . She trudges through the shallow water . Her wet coat drags heavily . The stream must end somewhere , likely at the other edge of the woods . She trudges onwards , sweeping aside the branches of stooping trees , stepping around rocky obstacles in the stream . Forging ahead . She now needs to pee . GREAT . Her temper surges up . She looks for the right place to do it , realizes it 's probably best to pee in the stream , so all trace of it will be dispersed . A leafless willow trails its dried up branches into the stream . She makes her way toward it . She lays the toolbox down and disappears between the branches . We see glimpses of her lifting her coat , pulling down her pants , pushing the crotch of her underpants to the side . We hear her shiver and the faint tinkle of water meeting the stream . More glimpses of her pulling up her underpants and pants , smoothing down her coat . She hoists her coat up again around her waist and picks up the toolbox . She plows down stream once more . Longing to see the light that will tell her she 's at the edge of the woods , closer to the mall lights , closer to home . She swallows another wave of grief . The stream loops around ahead then splits into two . She follows it , picks the left fork . And then she hears it , the terrible sound of feet thundering down into the stream behind her . She does n't even turn to see them . Just runs . Runs for her life . The glare of the flashlight blasts against her back . Freezing water splashes up her legs , soaking through her pants . Her feet slip and slide over wet rocks . But she keeps running . Vinh 's behind her . She can feel his breath , the swipe of his hands as he grabs for her and misses . She runs even faster . She leaps over tree trunks that cross the stream . They leap behind her . She pushes through the hanging branches of several trees . Pushes them forward hard then lets them go as she passes , right into Vinh 's face . He tries to duck but they hit him right in the eyes . He cries out , covers his eyes .</scene_description>
<character>VINH</character>
<dialogue>Aaaarrhh.</dialogue>
<scene_description>This buys her a moment or two to get ahead . The stream bends right ahead . She opts to stay in it . Chuckie leaps out , runs along the banks , hoping to outrun and trap her . But the stream then bends left , giving her an advantage . He leaps back across the stream to the other side . But she 's outrunning him . He charges back into the stream behind her . Della keeps on running through the stream , somehow trusting its direction . Vinh catches up with Chuckie . The boys are maybe twenty - five feet behind her . A SHOT rings out . Then a bullet races past her ear . Lodges in a tree just ahead of her . She almost loses her footing . She 'd forgotten for just a moment , that they had a gun . Another shot blasts off into the night , skims her shoulder , hits the muddy bank of the stream . She flinches , braces herself , keeps going , adrenalin pumping harder than ever . The stream winds around a bunch of rocks ahead . For just a moment she 's invisible to them . She uses it . When she reaches the rocks , she dives out , ducking below the glare of Chuckie 's flashlight , down behind the rocks .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMBANKMENT - EVENING</stage_direction>
<scene_description>She creeps up the muddy embankment hiding deep in the shadows of some wiry shrubs , as close to the mud as her back will allow . The boys stop by the rocks . Chuckie sweeps the flashlight up the muddy embankment , looking for a footprint , a sign of her . She tries to creep through the midst of the brush to avoid leaving prints . Tries to stay quiet as a mouse . Stops when she sees the flashlight sweep by . If she can get to the top , she can make another run for it . All of a sudden , it grows dark . The boys must have switched the flashlight off or maybe the battery 's dead . She listens hard for their footfalls . Nothing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PINE TREE - EVENING</stage_direction>
<scene_description>She sees that she is in the shadows of a big old Pine tree . She creeps behind its massive gnarled trunk and silently slides open the toolbox , fumbles around for the screwdriver . She removes it from the box and grasps it tight . Della rises slowly , remaining concealed behind the tree . She reaches up and softly places the toolbox deep in the junction of the first sturdy branch and the tree trunk . She pulls herself up onto the branch and edges in close to the trunk . She peeks between the branches . No sign of the boys . She pulls herself further up into the tree , branch by branch . The thin stiff outer branches , fringed with sharp little needles , fall like a jagged veil around her . She waits . She 's high enough up to have a clear view of the landscape below despite the darkness . She makes out the faint echo of voices , strains to hear .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREAM THROUGH WOODS - EVENING</stage_direction>
<scene_description>Vinh and Chuckie are arguing in whispers . Vinh 's pale and shivering hard .</scene_description>
<character>VINH</character>
<dialogue>I do n't feel good, Chuckie. You think I got the hypothermia?</dialogue>
<character>CHUCKIE</character>
<dialogue>Nah, yo got the yellow fever.</dialogue>
<scene_description>Vinh sulks .</scene_description>
<character>VINH</character>
<dialogue>I'm telling you, it ai n't natural how she gets away every time.</dialogue>
<scene_description>Chuckie clicks the flashlight back on . Sweeps it up , across and back down the embankment to the stream , illuminating the banks .</scene_description>
<character>CHUCKIE</character>
<dialogue>She got to be hiding up on the slope? You head up first and I'll follow with the flashlight.</dialogue>
<scene_description>The light sweeps past her . Della shrinks further into the branches of the tree . She crunches her foot against a branch . SHIT ! The boys freeze , then resume talking in whispers .</scene_description>
<character>VINH</character>
<dialogue>I ai n't going up there without the gun. End of story.</dialogue>
<character>CHUCKIE</character>
<dialogue>Never would've pegged you as a pussy, Vinh. Even when Huey and Tomas called it, I always defended your ass.</dialogue>
<character>VINH</character>
<dialogue>Ai n't no one never said I was a pussy.</dialogue>
<character>CHUCKIE</character>
<dialogue>She a skinny ass bitch, too. Ca n't be weighing in at more than one twenty.</dialogue>
<character>VINH</character>
<dialogue>Tomas an Huey never called me a pussy.</dialogue>
<character>CHUCKIE</character>
<dialogue>I ai n't speaking ill o' the dead.</dialogue>
<character>VINH</character>
<dialogue>You already did.</dialogue>
<scene_description>Vinh 's shivering so hard his teeth are knocking .</scene_description>
<character>CHUCKIE</character>
<dialogue>Anyways, when you ever shot a gun? Probably miss and shoot yourself in the foot.</dialogue>
<scene_description>Vinh paces , braces himself to head up after Della .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMBANKMENT - EVENING</stage_direction>
<scene_description>Vinh starts to ascend the embankment .</scene_description>
<character>CHUCKIE</character>
<dialogue>That's the spirit gangsta. Holler if you see her and I'll shoot.</dialogue>
<scene_description>Vinh glares back at Chuckie .</scene_description>
<character>VINH</character>
<dialogue>Faito!</dialogue>
<scene_description>Della watches Vinh plough through the brush . The flashlight sweeps and darts with his movements , up ahead of him , up the embankment . Vinh pushes through several trees , slips , regains his footing . He plods past the tree . She slips the screwdriver up her sleeve . Prays he wo n't stop . She pulls herself further up the tree . A sudden commotion of swaying branches startles her , followed by a shower of pine needles . Her heart stops . A moment later the sound of fluttering wings is followed by the squawking of angry birds . She 's disturbed a bird 's nest . She sees the silhouette of four large crows as they burst through the branches above and up into the patch of sky between . The crows circle the patch of sky above , like a Greek chorus . She looks back down for a sign of Vingh . Sees nothing . Inches along a branch to see better . The light sweeps back and up through the trees into her eye line , disorienting her . She hears footfalls so close by they must be under the tree . Her eyes have barely readjusted when she sees him : Vinh standing under the tree scanning the area for a sign of her . She stares down at him , frozen , holding her breath . The flashlight illuminates the whole tree , then sweeps away up the embankment . But Vinh 's seen something . He makes out her footprints under the tree . He leans down to check , then rises , looks up through the branches . Their eyes meet . He opens his mouth to shout for Chuckie . She LEAPS down through the branches . Lands THUD on his back .</scene_description>
<character>VINH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>CHUUUCCKKKKIEEE!</dialogue>
<scene_description>She silences his yell with a choke hold . Wraps her legs around his torso . He bites her arm but she holds tight .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Vinh?</dialogue>
<scene_description>Panic has crept into Chuckie 's voice .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>VINH?</dialogue>
<scene_description>Vinh topples to the mud , dragging Della with him . They roll as he desperately tries to disengage her . The flashlight frantically searches the area for them . Della frees the screwdriver she 'd stuffed up her sleeve . She DRIVES the screw driver up into the base of Vinh 's skull . Vinh screams . She thrusts and twists the tool . All the while she 's tightly wound around him , intertwined , intimate as a lover . She drives the screw driver deeper in until she feels her knuckles dig into his stiff hair . Vinh 's scream becomes a high keening wail . The screwdriver pierces the base of Vinh 's skull . It protrudes through his mouth , knocking several teeth out in a stream of blood . His scream cracks into a death rattle as hers begins . They roll downstream . His arms are wrapped in a death grip around her . They roll until they crash full into a tree about two thirds of the way down . She feels his grip loosen and his body slump over hers . He becomes so heavy he almost crushes her underneath as he dies right there on top of her . She 's trapped , suffocating underneath him , until she finds the strength to push him off . She crawls out from under his body . Pushing him away , sets him off rolling again . She tries to stand up but her legs are unsteady . Her head hurts so bad it 's about to burst . The world around her shifts into a migraine zone . Trails follow trees , rocks , brush . The desire to close her eyes , to close it all out almost overwhelms her . Her shoulder aches too and there 's a new pain in her arm where Vinh bit her . She sees blood has matted her sleeve , and rolls it up to find a nasty bite mark . There 's a loud crash . Della freezes and moves only her eyes , looks around . It 's Vinh 's body hitting the stream below . Where was the light at the edge of the woods ? Nowhere to be seen now that 's for sure . She staggers along the slope , clutching onto tree trunks and roots as she goes . Della grabs for a shrub to help her cross a patch of muddy slope . Pulls it clean out by the roots . Loses her footing , reaches for the roots of an old tree . She pulls herself up . Plods once more along the slope , heading upwards in a diagonal through the darkness . She arrives at the top of the slope only to be met by more darkness . But there 's a strange calm about her now . Like she 's reached the eye of a terrible storm .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Della?</dialogue>
<scene_description>When she hears his voice drifting faintly towards her , she almost smiles . She knows he 's coming for her and there 's nothing she can do about it . Della shivers as she sees a surreal tableau ahead : four huge felled trees wrapped in white plastic . Their sad stumps are only feet away . It 's the funeral parlour of the forest .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Delllaaa?</dialogue>
</scene>
<scene>
<stage_direction>EXT. FELLED TREES WRAPPED IN PLASTIC - EVENING</stage_direction>
<scene_description>Della sinks down behind the large trunk of a plastic wrapped tree . She listens hard , tries to fathom which direction he 's coming from . His voice drifts in and out of proximity like he 's pacing around in circles . His voice has changed - he 's dropped the gangster schtick .</scene_description>
<character>CHUCKIE</character>
<dialogue>There's only you and me, now.</dialogue>
<scene_description>Maybe , if he wanders into the right position , she can sneak up on him from behind . She rakes about in the dirt looking for a rock or a stick . Then she remembers something , sticks her hand in her pocket , half smiles .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I saw a little trail of your blood back there. You must be hurt.</dialogue>
<scene_description>Della checks out the bite mark on her arm to find it 's still bleeding .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm hurting too. I think you busted up my collarbone.</dialogue>
<scene_description>His black silhouette appears ahead between the gray trees .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know you can hear me, Della.</dialogue>
<scene_description>Chuckie sniffs .</scene_description>
<character>CHUCKIE</character>
<dialogue>I can smell your blood, your sweat. I know you're close.</dialogue>
<scene_description>Chuckie 's eyes glint in the darkness .</scene_description>
<character>CHUCKIE</character>
<dialogue>After what went down tonight, we got a special bond.</dialogue>
<scene_description>Della listens , transfixed . His dark shape beckons to her .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>May as well come out now, Della.</dialogue>
<scene_description>She does n't move . She watches him pace around trying to work out where she is . He pulls out a pack of cigarettes , taps one out , lights it . Inhales . Exhales .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll save one for you, for when you decide to come out.</dialogue>
<scene_description>He inhales again , exhales . He laughs admiringly .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're one tough bitch.</dialogue>
<scene_description>The tone of his voice begins to change .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that's hot, hell yeah.</dialogue>
<scene_description>Frustration breaks through his voice . She can see his shadowy form moving through the darkness towards her . He stops .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And they're really cute.</dialogue>
<scene_description>Chuckie clicks on the flashlight , shines it straight ahead - right in between the plastic wrapped trees . Della freezes . They ? Chuckie 's eyes penetrate the darkness .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Twins huh? Terri and Tammi.</dialogue>
<scene_description>Della does n't move . Terrified .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I bet you could use that cigarette now Della honey?</dialogue>
<parenthetical>( he chuckles . )</parenthetical>
<dialogue>A woman's purse can tell her whole life story!</dialogue>
<scene_description>Della stares petrified as he unfolds her purse from deep in his jacket . He empties the contents out onto the dirt .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now I know where they are living, I'm thinking I may stop by after and say hello.</dialogue>
<scene_description>Della wants to run at him so bad she almost hyperventilates . But she also knows that 's what he wants and she refuses to give him the satisfaction . We move in closer on Chuckie . He 's looking right at where she 's hiding , pure malevolence hardening his face to a mask .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They would n't know a damn thing about what happened to Mommy while she was out, would they, Della?</dialogue>
<scene_description>We move in on Della . Her knuckles are blue white and her eyes are blazing . Rage explodes in her . She does n't even realize that she is shouting till she 's done .</scene_description>
<character>DELLA</character>
<dialogue>I'M GOING TO KILL YOU.</dialogue>
<scene_description>Chuckie waltzes towards her hiding place .</scene_description>
<character>CHUCKIE</character>
<dialogue>I figured that would help you find your voice!</dialogue>
<scene_description>Della crouches further in behind the felled trees . Why the hell did she shout ? She could have been hiding anywhere . Now he must know for sure where she is .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't worry. I would never touch them. It's wrong to hurt kids! Right, Della?</dialogue>
<scene_description>She clamps her mouth closed . Chuckie continues waltzing toward her , stops about twelve feet away . He stares in between the felled trees like he has x - ray vision .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The game's over.</dialogue>
<scene_description>Chuckie laughs .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You won!</dialogue>
<scene_description>Sadness creeps into his voice .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You took him from me. He was only seventeen years old. And all he ever wanted to do was see the ocean. And he never saw it. No, he never got to go.</dialogue>
<scene_description>Chuckie 's grief sits like a stone in his throat .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They're all gone now.</dialogue>
<scene_description>Chuckie coughs , a dry laboured cough . He hocks long and deeply in his throat . But whatever it is he ca n't spit it out . He rubs his throat and collarbone gingerly .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You know the movie `` Clockwork Orange''?</dialogue>
<scene_description>Della looks puzzled . Yeah , and ?</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, they were my droogies, Della.</dialogue>
<scene_description>Chuckie sighs .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Chances are they would of turned on me anyway, just like in the movie.</dialogue>
<scene_description>Chuckie paces around , deep in thought .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>None of them was real ass outlaw. No, not in the way you are. You're the real deal, lady.</dialogue>
<scene_description>He stops .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I was already thinking about cutting some of em loose, getting a new style posse together.</dialogue>
<scene_description>Della 's head is spinning .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How's about it, you and me?</dialogue>
<scene_description>This ca n't be real . Has he lost his mind ? She utters under her breath .</scene_description>
<character>DELLA</character>
<dialogue>Give me a break.</dialogue>
<scene_description>Chuckie reaches down , retrieves her diary from the dirt . She cringes .</scene_description>
<character>CHUCKIE</character>
<dialogue>Monday night mechanics. Tuesday Pilates. Wednesday Spanish. Thursday, I wish.</dialogue>
<scene_description>He closes the diary .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Face it, Della. You ai n't no suburban housewife.</dialogue>
<scene_description>Chuckie 's eyes dart around in the darkness .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So you bought into the big lie, even tried to live it. Who could blame you? Husband, kids, security, every woman's dream, but not yours, Della. You know there ai n't no such thing as security.</dialogue>
<scene_description>He coughs some more .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But I'm betting you did n't really know who you were until tonight. I reckon I know what you've been dreaming about though, what you've been aching for, through all these lonely, wasted years. Blasting out of Podunk without never looking back. Feeling the wind in your hair and the dirt of life between your fingers. Doing all the things they told you you ai n't supposed to do. Taking what YOU want from life. And wasting anyone who stands in your way. Right, Della?</dialogue>
<scene_description>She closes her eyes like she 's seeing it all behind them .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't say you ai n't thought about it. If it's in your blood, it's in your blood for all time.</dialogue>
<scene_description>A longing sigh sneaks out .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You had yourself fooled, Della.</dialogue>
<scene_description>A single tear runs down her cheek .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit, lady, you took my whole crew out with nothing but a bunch of them tools.</dialogue>
<scene_description>She opens her eyes .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You ca n't go back to your old life. No way. It's all over for that. Kaboom.</dialogue>
<scene_description>She does n't know what to say .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hooking up with me's about the best chance you got.</dialogue>
<scene_description>He sounds deadly serious , seductive even . She 's lost in some kind of trance , looking like she just might believe him . Can she possibly be believing this ?</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I bet you're on the outs with your old man.</dialogue>
<scene_description>She inhales sharply .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When we pick up your kids, we can waste him if you like.</dialogue>
<scene_description>She holds the breath in .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I can do it. Or you can if you're ready.</dialogue>
<scene_description>Della exhales , responds . She seems lost to us .</scene_description>
<character>DELLA</character>
<dialogue>I want.</dialogue>
<scene_description>But she does n't finish the sentence . She rises slowly from between the plastic wrapped trees . A momentary grimace of pain crosses her face . Then , their eyes meet , like for the first time . It catches them both by surprise . He smiles .</scene_description>
<character>CHUCKIE</character>
<dialogue>Leave the tools.</dialogue>
<character>DELLA</character>
<dialogue>I already did.</dialogue>
<scene_description>He shines the flashlight on her path so that she can see where she is walking . Della steps around the plastic wrapped trees and between the stumps . She heads towards him , slowly , deliberately . Chuckie 's hands are by his sides . She stops a few feet away from him . She can see him up close . The clearest view of him yet . They both look like they 've been to hell .</scene_description>
<character>CHUCKIE</character>
<dialogue>Hell of a night, huh?</dialogue>
<scene_description>He lays the flashlight on the ground and turns the lens to point up through the trees and into the sky between them .</scene_description>
<character>DELLA</character>
<dialogue>I was only going to the mall for some Christmas wrapping paper.</dialogue>
<scene_description>Chuckie smiles .</scene_description>
<character>CHUCKIE</character>
<dialogue>Shit happens.</dialogue>
<scene_description>They stare at one another , all alone in the night . A knowing moment stretches between them . She notices the gash of matted blood and bruising on his collarbone .</scene_description>
<character>DELLA</character>
<dialogue>What now?</dialogue>
<scene_description>Chuckie smiles , brings his teeth back into a scary , feral grin .</scene_description>
<character>CHUCKIE</character>
<dialogue>I wanted to look you in the eye before I kill you.</dialogue>
<scene_description>Della does n't react . He brings up his hand , gun clutched , pointed and ready . Della surprises him and us .</scene_description>
<character>DELLA</character>
<dialogue>That's what I figured.</dialogue>
<scene_description>She nods her head , points her chin over his shoulder .</scene_description>
<character>DELLA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Huey there, going to help?</dialogue>
<scene_description>Chuckie is puzzled .</scene_description>
<character>CHUCKIE</character>
<dialogue>Huey? Huey's.</dialogue>
<scene_description>He glances to the side for a split second , turns the gun as he turns his head . It 's enough . Della slips the flare out of her pocket and opens it in his face . Before he even has time to react she LEAPS at him with all the spring left in her legs . Her fingers close around the wrist with the gun . The flare falls aside casting its fiery glow across them . She crashes her good shoulder into the spongy place where his collar bone is broken . It makes the ugly noise of sinew tearing .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>CHRIST!</dialogue>
<scene_description>She tumbles him down to the December ground and wraps her legs tight around him . Tight like a lover . She grinds her chin deep and forcefully into the area of his broken collarbone , exacerbating the wound . He cries out , thrashes about . She keeps her body melded to his , grinding her chin even deeper . He wraps his arms tightly around her and pulls her even closer , wrenches her chin up and away from his collarbone . They roll across the dirt . He whispers , low and close to her .</scene_description>
<character>CHUCKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're even better than I thought.</dialogue>
<scene_description>He pushes his mouth hard up against hers to stop her chin returning to the wound . She tries to pull away but he only presses harder . Neither can break away . It 's unclear who 's got the gun . They roll until she suddenly pulls away , sits up . But he has her and she has him in a fatal leg lock . And she has the gun . They look at each other . He smiles . He makes for the gun . She fires into his chest , just once , it 's enough . His legs release . He slumps back . Blood darkens his shirt . Gun smoke coils from the dark bullet wound . Blood seeps below him from the exit wound , spreading out in a dark puddle . His body surrenders to death . She stares down at him . A queasy silent moment passes . She stares at the gun in her hands . It feels so heavy , so unreal . His dead eyes stare . She reaches over and closes them gently . And she 's light - headed , so light - headed she could just float away . Somehow she stands up . She looks back down at the body , not quite believing he could be dead . She sees her silver locket lying beside him in the pool of blood . She retrieves it . Uses her sleeve to wipe the blood away from its exterior . Inside the photos of her kids are still there ; tiny photos of Tammis little thoughtful face and Terri 's mischievous one look back at her . She snaps the locket closed . She searches the area for the rest of her belongings , finds her wallet , her purse , her diary , her lighter , her tampax box , a lipstick in the dirt . She sticks everything in her purse . She almost misses her pack of cigarettes . We see them half buried under the dirt . She scans the area once more finds them . The pack is empty but she takes it anyway . It 's time to go home .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - EVENING</stage_direction>
<scene_description>Without really thinking about it , Della slips the gun into her pocket and starts running . Tree after tree disappears behind her until she sees the light ahead . That place where the rest of the world meets the woods . She peers through the last layer of trees like she would a curtain to her other reality , the one she almost left behind . The housing development is still there and not more than a hundred feet away is her car . She hears the sound of distant sirens .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PERIPHERAL WOODS - EVENING</stage_direction>
<scene_description>She hurries across the clearing towards her car . Sees the trunk is open . Sees sheets of wrapping paper blowing about . Sees the big red bow tangled around a pine . She quickly gathers them , stuffs them in her purse . A moment of trepidation as she reaches her car . What if it 's locked ? What if the keys are gone ? She presses the Ford 's driver door handle and much to her relief , it opens . She sees the keys still dangling from the ignition .</scene_description>
</scene>
<scene>
<stage_direction>INT. EXPLORER- EVENING</stage_direction>
<scene_description>She climbs into the driver 's seat and turns the key . No connection . No surprises there !</scene_description>
</scene>
<scene>
<stage_direction>EXT. PERIPHERAL WOODS - EVENING</stage_direction>
<scene_description>She steps back out of the car and looks nervously around like nothing good could ever possibly happen to her again . The hood is still ajar by a few inches , the weight of pine branches still pressing upon it . She uses the last of her strength to try push them away . A few smaller branches give way but the bigger one wo n't budge . She reaches under the hood for the bar and pulls hard . It scrapes along the inner surface of the hood as she forces it to prop the hood open to its maximum , about fifteen inches . The hood buckles but there 's enough room for her to reach in . She fumbles about and finds the positive wire has come loose from its attachment to the battery . She re - attaches the wire and , Presto , the car lights up and the keys start to ping . She almost smiles as she forces the bar back down . The hood slams down after it .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD - EVENING</stage_direction>
<scene_description>She quickly climbs back into the car and turns the keys . The engine sputters but does n't fully catch . She turns the keys again - another wimpy sputter . Again , this time the sputter gathers momentum , catches for a second , gives up . She tries again , the sputter gathers momentum and catches for real . Della looks over her shoulder and backs up , pulls out of the tree , up and past the broken barrier and onto the road . She makes a tight U - Turn , sticks the car into four wheel drive and plows down the rough gravely road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH ROAD - EVENING</stage_direction>
<scene_description>She passes the Plymouth on her way . Sees its wheels lodged deep in the mud . Keeps going .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMPTY HOUSING ESTATE - EVENING</stage_direction>
<scene_description>She drives right on through the ghostly housing estate , slowing only to change back into drive as the road improves . Empty houses flash past like a movie in rewind . The lights of the mall grow closer .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER- EVENING</stage_direction>
<scene_description>She passes that stop sign , sighs . The barrier is open and the road up to the mall stretches freely ahead . She slowly inches out on to the road and commits to her return to `` civilization '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL ROAD - EVENING</stage_direction>
<scene_description>The road 's empty .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She punches the accelerator , drives just over the speed limit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL ROAD - EVENING</stage_direction>
<scene_description>The concrete blocks of the mall rise from the wastelands ahead on her left . She slows , ahead there 's a small traffic jam at the entrance to the Mall road .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She hears the siren before she sees the police car . God , she hopes they do n't notice her smashed up windscreen , the fucked up side of the Ford .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL ROAD - EVENING</stage_direction>
<scene_description>She edges slowly up to meet the line of cars . Watches as the police car circumvents the traffic and pulls into the Mall road , to join a police car that already has the Mall entrance road blocked off .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>Of course . How long has it been ? That poor security guard . She checks the car clock . It 's only 85 minutes since she left the house ! Hard to believe . Feels like another lifetime . Another cop car whizzes past the line . How long before they come for her ? She 's got to get back to the kids . Della adjusts the rearview mirror . Her gaunt bloody face looks back .</scene_description>
<character>DELLA</character>
<dialogue>Oh my.</dialogue>
<scene_description>She looks at her hands , they 're ingrained with mud and blood . And her clothes ! While waiting for the traffic to start moving again she fumbles on the passenger seat , finds some kleenex . She wipes her hands , her face , using the rearview mirror , some Kleenex and the rest of the water . She looks only slightly better . The line starts moving . Della follows . She passes the police cars , steals a cursory glance . She keeps checking her face in the mirror . The cars soon start to disperse in different directions . The Mall disappears behind her . She turns left onto an almost empty road . She ca n't wait to see her babies , make sure they 're okay . How could anyone expect her to go the speed limit at a time like this . She hits forty , forty - five , fifty . Takes it all the way up to sixty . Runs a light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAILWAY ROAD - EVENING</stage_direction>
<scene_description>As long as the roads empty she 's gon na own it .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>At sixty - five she races across the railway track . She slows down to just above speed limit when she sees a car ahead on the adjoining road . With one hand guiding the wheel she grabs the lipstick from her purse . She carefully applies it in the rearview but her mouth is so parched it just cakes into her chapped lips . She wipes it away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CROSSROADS - EVENING</stage_direction>
<scene_description>She drives through the crossroads .</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD EXPLORER - EVENING</stage_direction>
<scene_description>She applies some lipstick to her cheeks to give her some color . But she just looks odd . She ends up wiping it away with the back of her hand . Gosh , this car in front is really taking its sweet time . She decides to overtake . She accelerates to sixty . As she passes the driver stares at her car . She slows down so as not to arouse any more suspicion . She passes the familiar sign for `` Pleasant Valley Drive '' . The road 's empty ahead so she guns it to sixty - five . The closer she gets to home , the faster she wants to go . She tries to resist but ca n't . The speedometer hits seventy . The car hurtles into the night . Oh No , a red light ahead . And a car waiting to go in the opposite direction . She decides to slow for this one . Barely makes it - screeches to a halt . The driver in the forward facing car checks her out . She attempts to smile and look like a normal housewife .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLEASANT DRIVE - EVENING</stage_direction>
<scene_description>She waits for the car to pass , then hits the accelerator again . She signals right , turns abruptly into meet the gates of Pleasant valley Dream Homes . She rakes about in her purse for her chub card , ca n't find it . She presses the intercom . No one answers . She presses again . Still no answer . She backs out hard onto Pleasant Valley Drive . Luckily for her , the car she overtook a few minutes earlier pulls in . She tails the car tightly through the gates which scrape shut against her back bumpers . But she 's in . She guns it along Pleasant Valley Crescent and slows as she approaches the sign for Pleasant Valley Boulevard . Checks herself in the mirror . Pulls into the boulevard . When she sees her house ahead a huge sob engulfs her . She snorts it back . Not yet . Her face hurts so bad with repressed emotion that it feels like it 's made of stone . She pulls into the driveway . Smooths her coat . She glances at the gun , which lies on the passenger seat . She turns off the ignition . She looks back at the gun . She removes the car keys from the ignition . She glances at the gun . She looks at the house ; it all looks normal . She takes a deep breath . She moves to get out of the car . She leans over , grabs the gun and sticks it in her purse . She finds her chub card inside . She sighs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DELLA'S HOUSE - EVENING</stage_direction>
<scene_description>She remembers her shoulder hurts when she climbs out of the car . That her arm hurts when she pushes the car door closed behind her . That her heart hurts when she sees the star of the tree still lying there in the snow . The whole side of the car is scratched to hell and the windshield is shattered . She makes her way down the path to the front door . She kicks off her wrecked muddy boots on the front step . Turns the adjoining key , on the car key chain , in the front door lock . Pushes open the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. DELLAS'S HOUSE - EVENING</stage_direction>
<character>KENNETH</character>
<dialogue>Where the hell have you been?</dialogue>
<scene_description>Kenneth 's voice meets her as she steps into the house . Nice welcome . She does n't respond . Closes the door behind her . Walks into the house . There he is ahead , leaning against the office door . Beer in one hand , remote in the other . The TV blaring behind him .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I said.</dialogue>
<scene_description>He 's about to begin shouting again when he notices something 's not right about her .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Della?</dialogue>
<scene_description>He switches the TV volume down using the remote .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Della honey are you all right?</dialogue>
<scene_description>She stares back at him coldly .</scene_description>
<character>DELLA</character>
<dialogue>Please do n't call me that. Do n't ever call me that again.</dialogue>
<character>KENNETH</character>
<dialogue>What?</dialogue>
<scene_description>She steps slowly towards him . Sees a violent adventure flick wrapping up behind him on TV . The end credits scroll down the screen .</scene_description>
<character>DELLA</character>
<dialogue>I just wanted to get home to my babies.</dialogue>
<scene_description>Kenneth can not understand her garbled words . He sees the dried blood on her chin , matted mud on her coat .</scene_description>
<character>KENNETH</character>
<dialogue>What happened to you?</dialogue>
<scene_description>She just stares .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Was there an accident?</dialogue>
<scene_description>She keeps staring , looks at him with a cold odd expression . She needs to be held like a child but he does n't even move towards her . Just stands there like a jerk , unsure of what to do , so he takes a swig of beer .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you hurt?</dialogue>
<scene_description>That swig of beer turns what was left of her love for him to stone . A beat .</scene_description>
<character>DELLA</character>
<dialogue>Are they okay?</dialogue>
<scene_description>Without waiting for an answer .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY - EVENING</stage_direction>
<scene_description>She turns and races up the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TWINS BEDROOM - EVENING</stage_direction>
<scene_description>She opens the door softly . The night light casts a pale glow out low across the carpet . There they are , all tucked up in their quilts , breathing gently , little faces flushed with sleep . She sighs , closes her eyes with relief , softly closes the door behind her .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWAY - EVENING</stage_direction>
<scene_description>Walks back downstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - EVENING</stage_direction>
<scene_description>Kenneth is pacing about the kitchen , opening another beer .</scene_description>
<character>KENNETH</character>
<dialogue>Sound asleep, huh?</dialogue>
<scene_description>Kenneth , unsure what to do , tries to make a joke .</scene_description>
<character>KENNETH</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So. What'd you bring me from the mall?</dialogue>
<scene_description>Della sighs , calmly pulls out the gun from her pocket , looks him right in the eye , points the barrel at his face . He shrinks back , silent for once , blind panic playing across his face . But not hers . She 's cold , cold as the icy night . She pulls the trigger at point blank range . CLICK He recoils . But no bullet disengages from the barrel . Nothing . She knew there were no bullets left . But the click echoes throughout the silent house .</scene_description>
<character>DELLA</character>
<dialogue>Nothing.</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | On Christmas Eve, suburban housewife Della Myers gets into an argument with her abusive husband Kenneth. After putting her two children to bed, she drives to the mall to buy some wrapping paper and cards. At the mall, she can't find a parking space for a while and angrily leaves a note on the window of a car that is parked using up two parking spaces. She leaves the store as the mall is closing, and the parking lot is nearly deserted. She notices the note is gone from the 'offending' car. As she enters her own car, the car on which she had left the note pulls up behind her. She confronts the car, and four young men emerge—Huey, Vingh, and Tomás—led by Chuckie. They threaten to rape her. Della insults Chuckie, and a security guard intervenes, but he is shot dead by Chuckie. As the gang realizes that they have committed a murder, Della manages to start her car and drive away. They follow her, intending to kill her, as she is the only witness. As they pursue her some distance, she eventually crashes her car in a deserted area where homes are under construction. She takes a road flare and a toolbox out of her car and hides behind a backhoe. Della runs through the buildings under construction to hide as they search for her. After some time, the thugs corner and threaten her by name, as they had found her drivers license in her purse in her car. As they have her open the toolbox, she hits Chuckie with a crescent wrench, and escapes again into some nearby woods. In the process of chasing her, Tomás accidentally steps on Huey, who falls through a construction site and dies from a broken neck. After some hide and seek in the woods, Della beats and finally kills Tomás with a lug wrench. She flees through a creek, pursued by Chuckie and Vingh. Della sneaks up on Vingh and kills him with a screwdriver and hides behind a fallen tree. Chuckie tries to persuade Della to give up; he talks about her kids, saying that he is going to pay them a visit. He tells her what he thinks of her, that she lives a boring life she doesn't want, mistreated by her husband. He finds her, touches, and teases her face. She holds his hand, pulls him down and they kiss. He draws his weapon as they engage in foreplay. She tells him to have sex with her, and as he is distracted she ignites the road flare and blinds him, takes his weapon, and kills him. Della returns home. Her husband Kenneth complains she was out late and is tracking mud throughout the house, but Della ignores him. She goes upstairs to check on her children who are both sleeping. The drunk Kenneth asks what she brought him from the mall, and she replies, "Nothing", and points the gun at him. |
The Iron Giant_1999 | tt0129167 | <script>
<scene>
<character>THE IRON GIANT</character>
<dialogue>Written by</dialogue>
<scene_description>Tim McCanlies and Brad Bird Screen Story by Brad Bird Inspired by the book by Ted Hughes July 11, 1997 Draft FADE IN: DEEP SPACE Stars blaze against the blackness of deep space. One star begins to move, coming closer, moving toward... EARTH, in space: blue seas, fleecy white clouds. BEEP-BEEP- BEEP: a retro-satellite, Sputnik, tumbles past. Below, near New England, black storm clouds swirl in silence. Flashes, LIGHTNING FLICKERS. A SHIP ON A STORM-TOSSED SEA - NIGHT The wind HOWLS, the storm RAGES in the chill waters off the rocky coast of Maine. Giant waves tower overhead, then CRASH over the decks of a fishing ship where desperate FISHERMEN fight to stay alive. The CAPTAIN YELLS orders no one can hear in the deafening ROAR.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHIP'S MAIN CABIN - NIGHT</stage_direction>
<scene_description>The FIRST MATE yells into the radio, their only hope:</scene_description>
<character>FIRST MATE</character>
<dialogue>Mayday! Mayday! This is fishing ship "Annabelle"! We're floundering and taking on water! Mayday! Mayday!</dialogue>
<scene_description>An enormous WAVE smashes against the bow of the ship, throwing everyone in the cabin off balance. A glass shatters. The Captain enters, the two lock eyes: it looks bad.</scene_description>
<character>CAPTAIN</character>
<dialogue>What's our position?</dialogue>
<character>SAILOR #1</character>
<parenthetical>(grim)</parenthetical>
<dialogue>I don't know.</dialogue>
<character>CAPTAIN</character>
<dialogue>If you don't know where we are then you don't know where we're going!! You could be running us right into the rocks!!</dialogue>
<scene_description>Then: a VOICE breaks through the static on the radio.</scene_description>
<character>RADIO</character>
<dialogue>Coast Guard Portland Station to Annabelle: Do you read me?</dialogue>
<scene_description>As the mate starts to answer, lightning STRIKES the huge mast. It CRASHES through the pilothouse window, SMASHING the radio. Glass, radio parts FLY. The Captain's shoulders slump: now they're done for. ON THE DECK - NIGHT The Captain comes out on deck: his men stare at him, eyes full of fear, desperation. Then, impossibly... the WINDS TRAIL OFF. In seconds, the sea flattens into a sheet of glass. All is DEAD CALM. It's eerie. Ropes CREAK. The men ERUPT in celebration, CHEERING, hugging each other: it's over! The angry Captain YELLS:</scene_description>
<character>CAPTAIN</character>
<dialogue>It's not over, you idiots! It's just the eye of the storm!</dialogue>
<scene_description>The men look around: far off on the horizon, the raging storm still surrounds the ship... but overhead, stars appear. It's eerie, strange.</scene_description>
<character>FISHERMAN</character>
<dialogue>Look!</dialogue>
<scene_description>Overhead, a new, brilliant star appears... and it's quickly growing larger. The blazing light speeds toward the startled sailors, impossibly fast, intensely bright, blinding, all goes white... KAWHOOSH! The light CRASHES into the sea. Water flies, the sea BOILS, CHURNING, ROARING, the water green-lit from below. Great clouds of steam BILLOW and HISS. Then, without warning, the raging storm ROARS back with a vengeance, a huge wave SLAMS into the ship. Again the fishermen fight for their lives. But then a dim light appears, far off in the rain: a barely visible beam sweeps back and forth in the storm.</scene_description>
<character>CAPTAIN</character>
<dialogue>The lighthouse! Head for it!</dialogue>
<scene_description>The desperate men struggle to steer their limping ship toward the light. Then, CLANG! The ship shudders, stops instantly: the ship has SLAMMED into... a wall! A solid wall, a wall made of... iron? The sailors freeze, speechless: they look up the wall, up, up... flashes of lightning illuminate: a face! Twin beams of light comes from what look to be... eyes, in an enormous face. A giant?! Made of metal! THUNDER BOOMS. The impossible face seems to turn downward... and looks at the men. The men quake. A HUGE WAVE CRASHES over the ship and throws the men overboard, into the sea. The ship begins sinking fast. IN THE WATER, NEAR THE CLIFFS - NIGHT Men surface, cling to ship debris. Two men in a lifeboat pull their comrades from the chill waters. A wave WASHES over rocks, leaves behind a limp fisherman, clinging to the rocks. Barely alive, whipped by wind and rain, he sees lightning-brief glimpses of the giant thing as it moves off in the HOWLING storm and dissapears. The VIEW MOVES up, up the rocky cliff to the lighthouse perched atop the cliff. The brilliant beam tries in vain to penetrate the RAGING storm...</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGARTH'S HOUSE - THAT NIGHT - ESTABLISHING</stage_direction>
<scene_description>We push through the storm towards an upstairs window, and into...</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>A flashlight beam illustrates the STORM SMASHING against a window. A WIDE-EYED NINE-YEAR-OLD BOY, HOGARTH, GRIPS THE FLASHLIGHT. AS THE STORM RAGES, HOGARTH EXPLORES HIS ROOM BY FLASHLIGHT. THE MOVING BEAM GIVES LIFE TO THE ROOM FULL OF TOYS AND MEMORABILIA, THE WINDS HOWL GROWS LOUDER. GLASS SHATTERS and a cold wind whips into the room.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Hogarth....?!!</dialogue>
<scene_description>The door flies open and Hogarth's mother ANNIE is there. Late twenties, attractive.</scene_description>
<character>ANNIE</character>
<dialogue>Are you alright, honey?</dialogue>
<character>HOGARTH</character>
<dialogue>Yeah, Mom, I'm okay...</dialogue>
<scene_description>Annie turns to the shattered window pane, then pushes Hogarth's bookshelf in front of it to block the wind. Hogarth stares at his monther. She looks spooked.</scene_description>
<character>HOGARTH</character>
<dialogue>... are you?</dialogue>
<character>ANNIE</character>
<dialogue>I hate when the power goes out. But... yes, I'm fine.</dialogue>
<scene_description>Outside, the wind howls.</scene_description>
<character>HOGARTH</character>
<dialogue>Wanna stay up with me for a while?</dialogue>
<parenthetical>(coaxing)</parenthetical>
<dialogue>I could tell you a story...</dialogue>
<scene_description>Annie smiles, touched.</scene_description>
<character>ANNIE</character>
<dialogue>A story, huh? What have you got for me this time?</dialogue>
<character>HOGARTH</character>
<dialogue>Well, it's a story about...</dialogue>
<scene_description>Hogarth scans the toys and souvenirs on his bedside table. With a sudden flash of inspiration, he grabs a baseball card.</scene_description>
<character>HOGARTH</character>
<dialogue>Mickey Mantle. He had a magic bat, Mom. Everybody says so.</dialogue>
<scene_description>As Annie watches Hogarth with motherly adoration, Hogarth picks up a plastic dinosaur.</scene_description>
<character>HOGARTH</character>
<dialogue>Anyway, this is the story of Mickey's adventures with the stegosaurus. It's got action and romance. And the best part is, it's all true.</dialogue>
<scene_description>Annie laughs and touches a fingertip on Hogarth's forehead.</scene_description>
<character>ANNIE</character>
<dialogue>You've got a lot going on in there, don't you, Hogarth?</dialogue>
<character>ANNIE</character>
<parenthetical>(wistfully)</parenthetical>
<dialogue>Just like your father...</dialogue>
<scene_description>For a moment Hogarth beams. He looks over at a framed photo that sits on his nightstand, that shows a handsome man dressed in an army uniform. And as he stares at the photo, a sad, pensive look comes over Hogarth's face. Annie sees it.</scene_description>
<character>HOGARTH</character>
<dialogue>I can't wait 'til he comes back.</dialogue>
<character>ANNIE</character>
<parenthetical>(gently)</parenthetical>
<dialogue>We've been through this before, honey...</dialogue>
<character>HOGARTH</character>
<dialogue>They found his plane, mom. They didn't find him. He's gonna come back.</dialogue>
<scene_description>Annie sees the resolute look in her son's eyes and decides to change tack.</scene_description>
<character>ANNIE</character>
<dialogue>So what could he do with that magic bat of his?</dialogue>
<character>HOGARTH</character>
<parenthetical>(lost in thought)</parenthetical>
<dialogue>Huh?</dialogue>
<character>ANNIE</character>
<dialogue>Mickey Mantle. Could he cast spells with it, like a magician?</dialogue>
<character>HOGARTH</character>
<dialogue>Oh...</dialogue>
<parenthetical>(brightening)</parenthetical>
<dialogue>Yeah. Yeah that's exactly what he could do. And that's why he was known as the Wizard of Sherwood Forest.</dialogue>
<character>ANNIE</character>
<parenthetical>(amused)</parenthetical>
<dialogue>Sherwood Forest, huh?</dialogue>
<character>HOGARTH</character>
<dialogue>Right. And then one day, this Stegosaurus shows up. And he says--</dialogue>
<parenthetical>(deep voice)</parenthetical>
<character>HOGARTH</character>
<dialogue>"Who thinks he is mightier than me, the mighty thunder lizard?"</dialogue>
<character>ANNIE</character>
<dialogue>And this is all true, now?</dialogue>
<character>HOGARTH</character>
<dialogue>Every word, Mom -- I wouldn't make this up. So Mickey says, "I'm the two time American League batting champ. I was MVP of the All-Star game three times running. I go anywhere I please in this forest..."</dialogue>
<scene_description>We DRIFT BACK from mother and son, hunkered down in a pool of warm flashlight, surrounded by darkness...</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL - THE NEXT MORNING</stage_direction>
<scene_description>The sun has risen on a beautiful Maine morning. The camera starts HIGH in a tall tree, where a bird is repairing its storm-damaged nest, and pans down from this literal bird's-eye view to the streets of Rockwell, where stoic New Englanders are doing repairs of their own. Down the middle of the street comes Hogarth, on a bike. In the wire bike-basket in front of him is a shoebox with holes punched in the lid. A couple of LOCALS are clearing a felled tree. We hear their conversation as they drift across the screen in Hogarth's travelling POV.</scene_description>
<character>FIRST LOCAL</character>
<dialogue>Strangest storm I ever seen. Swept away my best iron wheelbarrow. But left the handles behind...</dialogue>
<scene_description>Now Hogarth passes a pair of WOMEN who gossip as they rake up leaves and branches.</scene_description>
<character>FIRST WOMAN</character>
<dialogue>My husband spoke to one of those fishermen this morning. Fellow wouldn't talk about the shipwreck at all. Said we'd all think he was mad.</dialogue>
<character>SECOND WOMAN</character>
<dialogue>Now what do you think he meant by that?</dialogue>
<character>FIRST WOMAN</character>
<dialogue>Well, I'm sure I don't know.</dialogue>
<parenthetical>(lowers her voice)</parenthetical>
<dialogue>But it wouldn't surprise me if the communists are involved.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE "CHAT `N´ CHEW" DINER - DAY</stage_direction>
<scene_description>The "Chat `n´ Chew" diner sits near the docks and the town square: the center of all social life in the village. Hogarth arrives, at last, and parks his bike. He takes the shoebox out of his bike basket, opens it a little and speaks to whatever is inside.</scene_description>
<character>HOGARTH</character>
<dialogue>Remember -- be charming.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINER - DAY</stage_direction>
<scene_description>The diner is packed. EVERYBODY is here--FARMERS, FISHERMEN - - all swapping storm-stories. It's LOUD. And there's no empty table, no place to sit. Hogarth enters and looks around. He spots Annie, now dressed as a waitress and serving coffee from behind the counter. Hogarth puts on a big smile and waves at her.</scene_description>
<character>HOGARTH</character>
<dialogue>Hey, Mom! You won't believe our good luck! Look what I found...</dialogue>
<scene_description>He makes his way through the coffee shop to the counter. As he passes by, various local ladies -- THE BUSYBODIES -- look up from their breakfasts, mouths downcast and eyes half- lidded -- ever ready to cast judgement, should the precious opportunity arise. Hogarth arrives at the counter opens the shoebox for Annie. A baby squirrel pokes its head out. Annie rolls her eyes.</scene_description>
<character>HOGARTH</character>
<dialogue>His tree musta gotten knocked down in the storm! Can I keep him?</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth, we've been through this. No pets...</dialogue>
<character>HOGARTH</character>
<dialogue>But he's not a pet, Mom. He's a friend. You're always saying I should have more friends come over, right? Well now I've got one.</dialogue>
<parenthetical>(selling it)</parenthetical>
<character>HOGARTH</character>
<dialogue>You gotta admit I'm making sense here.</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth, if there's one thing we've learned from your many pets, it's that claws and furniture do not mix.</dialogue>
<character>HOGARTH</character>
<dialogue>I know but--</dialogue>
<character>ANNIE</character>
<dialogue>No "buts." We have got to rent a room this year if we're going to make ends meet...</dialogue>
<scene_description>Nearby a Busybody perks up her ears, elbows her neighbor, and raises her eyebrows significantly.</scene_description>
<character>ANNIE (CONT'D)</character>
<dialogue>...and no one wants to live in a place with shredded upholstery.</dialogue>
<character>HOGARTH</character>
<dialogue>You'll never know he's there. I'll keep him in a cage--</dialogue>
<character>ANNIE</character>
<dialogue>-until you feel sorry for him and "set him free" in the house. Remember the raccoon, Hogarth? God, I remember the raccoon...</dialogue>
<character>HOGARTH</character>
<dialogue>Please, mom. At least look at him...</dialogue>
<character>ANNIE</character>
<parenthetical>(softening)</parenthetical>
<dialogue>Alright, where is this guy...?</dialogue>
<scene_description>Hogarth grins and reaches down for his box... then notices there's nothing inside it. The squirrel has escaped. Hogarth looks back at Annie, hiding his desperation.</scene_description>
<character>HOGARTH</character>
<dialogue>I... will go get him... okay?</dialogue>
<scene_description>Hogarth turns, his eyes darting around frantically. Finally he spies a FURRY TAIL disappearing under a four-person table with a single occupant, hidden behind a newspaper.</scene_description>
<character>HOGARTH</character>
<dialogue>Excuse me...? Excuse me...</dialogue>
<scene_description>No response. Behind the paper, smoke rises.</scene_description>
<character>HOGARTH</character>
<dialogue>Sir?</dialogue>
<scene_description>Still no response. Hogarth is getting exasperated.</scene_description>
<character>HOGARTH</character>
<dialogue>Sir...? Sir? Sir! EXCUSE ME, S--</dialogue>
<scene_description>Hogarth STOPS with sudden realization. He slowly pushes down the top of the paper, revealing that the person he's talking to ... ...is ASLEEP. A lit cigarette with an impossibly long ash dangles precariously from his lips. This is DEAN McCOPPEN. sporting sunglasses, handsome in a rumpled sort of way. Unshaved, uncombed, unusual. A beatnik. Here. Hogarth's heard of them, but this is the first one he's seen up close. The beatnik's head lolls... ...and his cigarette drops in his lap. He WAKES.</scene_description>
<character>DEAN</character>
<dialogue>I was snoring, right? Sorry, man. I'm just not a morning person...</dialogue>
<character>HOGARTH</character>
<dialogue>Please don't move, sir. My pet's under your table--don't look--if you make a scene my mom won't let me keep him.</dialogue>
<character>DEAN</character>
<dialogue>Don't worry sonny, I'm cool as a cucumb-</dialogue>
<scene_description>(SHRIEK OF PAIN) He LEAPS up, HOLLERING, SLAPPING at his smoking pants.</scene_description>
<character>ON ANNIE</character>
<dialogue>as she turns to watch the COMMOTION from across the room. The busybodies are all abuzz. Who is the weird guy with Hogarth?</dialogue>
<scene_description>RESUME DEAN & HOGARTH as Dean finally gets under control. He looks around. The whole joint is staring at him. He picks up his cigarette butt and holds it as he addresses the other diners.</scene_description>
<character>DEAN</character>
<dialogue>Had a little cigarette mishap. It's under control. Show's over. Cool yourselves and resume breakfasting, people.</dialogue>
<parenthetical>(sitting, to Hogarth)</parenthetical>
<dialogue>What kind of pet, kid?</dialogue>
<character>HOGARTH</character>
<dialogue>A squirrel. Don't worry, he's friendly.</dialogue>
<character>ANNIE</character>
<dialogue>Is my son bothering you, sir?</dialogue>
<scene_description>Dean stares at Annie, smiling strangely.</scene_description>
<character>DEAN</character>
<dialogue>Yes. No. Call me Dean.</dialogue>
<scene_description>As Dean and Annie size each other up, the three Busybodies whisper cattily back and forth.</scene_description>
<character>FIRST BUSYBODY</character>
<dialogue>Oh! I don't know why they let such people in here.</dialogue>
<character>SECOND BUSYBODY</character>
<dialogue>She ought to ignore him.</dialogue>
<character>THIRD BUSYBODY</character>
<dialogue>You forget how single she is, dear.</dialogue>
<scene_description>The busybodies exchange smug, catty grins.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL STREET - DAY</stage_direction>
<scene_description>The camera is very low, as an official-looking car pulls up, and comes to a stop in front of us, its front grille filling the screen. The words "U.S. GOVERNMENT" are printed boldly across the top of the license plate. THE CAMERA PULLS OUT And the driver's side car door opens. A well dressed man in his mid-thirties, KENT MANSLEY, steps out, puffs on his pipe and surveys his surroundings with a steely-eyed, square- jawed gaze. Now a troubled look comes over him, as he notices the US COVERNMENT decal on his car door is peeling off. He presses it flat -- it curls up again. He presses it flat -- it curls. He licks his fingers, rubs it on the decal and presses it hard -- and it holds. Kent's look of confidence returns. He slams the car door with authority; one side of the license plate unhinges and hangs at an angle. Kent sighs with defeat, and walks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINER - DAY</stage_direction>
<scene_description>Annie speaks gently to Hogarth.</scene_description>
<character>ANNIE</character>
<dialogue>Hogarth. I thought you were getting your pet, honey.</dialogue>
<character>HOGARTH</character>
<dialogue>I will, mom. After I finish talking to-</dialogue>
<character>DEAN</character>
<parenthetical>(still smiling strangely)</parenthetical>
<dialogue>Dean.</dialogue>
<character>HOGARTH</character>
<dialogue>--Dean.</dialogue>
<scene_description>Annie shrugs, exits. Hogarth looks at Dean curiously.</scene_description>
<character>DEAN</character>
<dialogue>I found your pet.</dialogue>
<character>HOGARTH</character>
<dialogue>Where?</dialogue>
<character>DEAN</character>
<parenthetical>(maintaining clenched smile)</parenthetical>
<dialogue>Up my leg, man. Squirrel's in my pants, Hogarth. I'm tryin' not to wig out here.</dialogue>
<character>HOGARTH</character>
<dialogue>Don't wig out.</dialogue>
<character>DEAN</character>
<parenthetical>(quietly, skin crawling)</parenthetical>
<dialogue>Okay... he's heading north. (finally)</dialogue>
<scene_description>I'm sorry, kid... Dean stands spastically, again addresses the room.</scene_description>
<character>DEAN</character>
<dialogue>I'd like to apologize to everyone in advance for this.</dialogue>
<scene_description>He unzips his fly and out pops the squirrel. There is a collective GASP, then a series of shrieks as the squirrel scampers around the diner. Dean zips up and sits back down.</scene_description>
<character>DEAN</character>
<dialogue>Check, please.</dialogue>
<scene_description>Annie GLARES at a sheepish Hogarth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COFFEE SHOP - DAY</stage_direction>
<scene_description>Kent now holds a clipboard, taking notes as he talks to an OLD FARMER. Nearby stands a tractor with a bite taken out of it.</scene_description>
<character>KENT</character>
<dialogue>And did you see any strange lights in the sky last night? Any saucer- shaped flying objects?</dialogue>
<character>FARMER</character>
<dialogue>No...</dialogue>
<character>KENT</character>
<dialogue>Were any of your live stock disoriented this morning? Did your cows appear anxious or depressed?</dialogue>
<character>FARMER</character>
<dialogue>No...</dialogue>
<parenthetical>(getting suspicious)</parenthetical>
<dialogue>...who did you say you worked for again?</dialogue>
<scene_description>Kent puffs himself up a little bit.</scene_description>
<character>KENT</character>
<dialogue>Frankly I'm not at liberty to reveal the particulars of the agency I work for.</dialogue>
<scene_description>He leans in confidentially.</scene_description>
<character>KENT</character>
<dialogue>But between you and me, I represent the United States Government. U.P.D. The Unexplained Phenomena Department.</dialogue>
<scene_description>The Farmer also leans in confidentially. C.I.A.?</scene_description>
<character>KENT</character>
<dialogue>Huh? Oh, uh... no. Our scope is less limited than the CIA. Unexplained Phenomena, my friend -- that could be anything.</dialogue>
<character>FARMER</character>
<dialogue>You work out of the Pentagon, then?</dialogue>
<character>KENT</character>
<dialogue>Well, sure, we work near the Pentagon, yes. You know Radcliffe Street?</dialogue>
<character>FARMER</character>
<dialogue>No.</dialogue>
<character>KENT</character>
<dialogue>Well, trust me, it's pretty much Pentagon adjacent. And all that that implies.</dialogue>
<character>FARMER</character>
<dialogue>So, what do you think got to my tractor? Something the commies built? Some kind of monster? Something from outer space?</dialogue>
<scene_description>Kent thinks for a moment, then deflates a little.</scene_description>
<character>KENT</character>
<dialogue>No, it's probably something else.</dialogue>
<parenthetical>(sighs wearily)</parenthetical>
<dialogue>It's always something else.</dialogue>
<scene_description>He makes a note on his clipboard. In the background, Dean approaches and hooks up the tractor to his tow truck and hauls it away.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE - THAT NIGHT</stage_direction>
<scene_description>Hogarth comes home. The phone RINGS, and he picks it up.</scene_description>
<character>HOGARTH</character>
<parenthetical>(automatic, without inflection)</parenthetical>
<dialogue>Hello this is Hogarth Hughes speaking who's calling please.</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth, honey... I'm really sorry, but I need to work late tonight. There's some cold chicken in the ice box. You can have that and some carrots--</dialogue>
<character>HOGARTH</character>
<dialogue>I'm already on it, Mom.</dialogue>
<scene_description>He pulls a box of twinkies from a cupboard.</scene_description>
<character>ANNIE</character>
<dialogue>Good. I'll make it up to you, okay?</dialogue>
<character>HOGARTH</character>
<dialogue>Okay.</dialogue>
<character>ANNIE</character>
<dialogue>I love you honey. And Hogarth? No scary movies, no late snacks, in bed by eight. Got it?</dialogue>
<character>HOGARTH</character>
<dialogue>Got it.</dialogue>
<scene_description>THE CLOCK is at 8:47... lit up by the ghostly flickering light of the television. We hear CREEPY MUSIC filtered through the tinny t.v. speaker. CAMERA DRIFTS to:</scene_description>
<character>HOGARTH</character>
<dialogue>... taking a TWINKIE from a package. He SHAKES up a can of whipped cream, jams it into the flat side of the Twinkie, INFLATING it with additional whipped cream. He CRAMS the twinkie in into his mouth, never taking his eyes off the screen.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE LIVING ROOM - NIGHT</stage_direction>
<scene_description>Lit by the light of a black and white TV, Hogarth has moved furniture and piled up cushions, making a TV watching fortress. There's a NOISE OUTSIDE. Hogarth jumps. Listens. Must have been the TV. ON the TV, a scientist and his assistant are involved in some kind of drama that includes a murderous brain. ANOTHER NOISE OUTSIDE, louder this time. Hogarth freezes: that didn't come from the TV.... ROAR! The TV screen goes white with DEAFENING STATIC.</scene_description>
<character>HOGARTH</character>
<dialogue>No! Not now!</dialogue>
<scene_description>He SMACKS the TV: no effect. He cranks the big channel knob: THUNK-THUNK-THUNK. All channels are static.</scene_description>
<character>HOGARTH</character>
<dialogue>Stupid antenna...!</dialogue>
<scene_description>Hogarth stares at the screen, gathers his nerve. He hefts his flashlight and warily heads upstairs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ROOF - A LOFT WINDOW - NIGHT</stage_direction>
<scene_description>Hogarth peers out. All quiet, just a WHISPER of wind. He crawls out onto the roof, his flashlight beam follows the flat TV wire up the roof toward its peak... and stops: the antenna is gone, literally torn off the roof!</scene_description>
<character>HOGARTH</character>
<dialogue>Gone.</dialogue>
<scene_description>Now Hogarth pauses and cocks his head, listening. In the distance he hears a heavy "BOOM." And then another. He peers off into the woods. In the distance he seems to see something moving, just above the level of the trees. Something enormous.</scene_description>
<character>HOGARTH</character>
<dialogue>Whoa...</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BEDROOM - NIGHT</stage_direction>
<scene_description>Hogarth hurriedly equips himself: he tapes a flashlight onto a toy BB-gun; puts on a football helmet. Finally, he looks in the mirror and salutes himself.</scene_description>
<character>HOGARTH</character>
<dialogue>Hogarth Hughes. Ready for action.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGARTH'S HOUSE - NIGHT</stage_direction>
<scene_description>Hogarth hurries out, runs up to the first massive depression in the grass. Hogarth places his tiny foot beside the car- size depression, and very nearly loses his nerve. He takes a deep breath and hurries into the woods.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE WOODS - NIGHT</stage_direction>
<scene_description>A dark night, fog drifts through trees. Spooky. At the forest's edge, Hogarth looks up, sees broken branches where something entered the woods... something big. Hogarth darts from bush to bush, follows the trail. TIME DISSOLVE: Hogarth creeps on, the forest is now dense. More and more, the tree-damage begins to take shape, a tall tunnel formed by broken limbs, until... Hogarth GASPS: the tunnel forms a perfect outline of a HUGE man-shaped THING. He SHIVERS, considers turning back... but he can't. He creeps on. Hogarth hears a deep RHYTMIC HUMMING that VIBRATES the ground. It sounds strange... alien. He creeps on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUSHES NEAR THE POWER STATION - NIGHT</stage_direction>
<scene_description>The HUMMING is LOUD. Hogarth slowly parts bushes to see... a power station: "DANGER - HIGH VOLTAGE". Tall power lines towers march through the woods. SPARKS SNAP. THUMP! A giant metal foot SLAMS into the ground right in front of Hogarth, he YELPS. THUMP! THUMP! THUMP! Two huge feet become two huge legs. Hogarth looks up, up... A GIANT. Made of metal! Forty feet tall, maybe fifty! Hogarth can't believe his eyes... The giant stares at the metal towers, makes a METALLIC GRUNT that sounds... hungry. It reaches out and SNAPS off a thick piece of metal, pops it in his mouth, CHEWS NOISILY, and SWALLOWS. BURP. Mmmm good!</scene_description>
<character>HOGARTH</character>
<dialogue>Wow... it eats metal. Cool.</dialogue>
<scene_description>Hogarth sits, hidden in the bushes, and watches, fascinated, as the giant "grazes" the metal towers. SPARKS fly from now- loose flailing powerlines. The giant's eaten all the tower arms: he TUGS at a solid metal base: it's stuck. So the giant bends down to EAT his way down the tall metal tower: CHOMP CHOMP CHOMP. Hogarth realizes the giant is CHOMPING toward a mass of thick power cables that HUMM and SPARK.</scene_description>
</scene>
<scene>
<stage_direction>QUICK INTERCUTS: EXT./INT. HOGARTH'S HOUSE AND POWER</stage_direction>
<scene_description>STATION</scene_description>
<character>- NIGHT</character>
<dialogue>Annie grabs a flashlight by the door, illuminates the living room... what a mess! And... no Hogarth.</dialogue>
<scene_description>KA-ZAPPP! Electricity races up and down the giant's metal, it jerks, flies backward, trailing SPARKING POWERLINES that wrap around him as he stumbles into a tangle of more power- lines: KA-ZAP! It panics, flailing, SCREECHING, tries to free itself, gets more entangled. Annie searches through the house by flashlight, for her son, becoming more and more frantic.</scene_description>
<character>ANNIE</character>
<dialogue>Hogarth...? Hogarth! HOGARTH!!</dialogue>
<scene_description>SPARKS SNAP AND FLY as the giant SHRIEKS in agony. A tower totters and falls... smashing into the ground just as Hogarth jumps clear. Electricity arcs up and down the Giant's body. The giant ROARS, an AWFUL METAL SOUND, falls to its knees, eyes SPARKING, SHORTING OUT. Hogarth looks around, desperate: he's got to save him! He sees a panel: "EMERGENCY CUT-OFF SWITCH". Hogarth runs toward it, sparks raining all around him. He grabs the panel... locked. He swings his BB-gun like a club: CRASH! The gun breaks, the panel door pops open. Hogarth grabs the huge switch and throws all his weight against it. CLUNK. The SPARKS slowly die away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE DEEP, DARK WOODS - NIGHT</stage_direction>
<scene_description>The dazed giant, looks around, dizzy... he stands, sways, easily SNAPS free of the wires holding him. His eyes focus down (way down) on Hogarth. The boy and the Giant stare at each other for a long time. Now what?</scene_description>
<character>ANNIE (O.S.)</character>
<dialogue>(CALLING) Hogarth!</dialogue>
<scene_description>Hogarth turns: down the hill, through the fog, he sees a light floating through the trees.</scene_description>
<character>HOGARTH</character>
<dialogue>Mom!</dialogue>
<scene_description>Hogarth runs down the hill towards the light... then stops, turns back toward the giant.... ...but back where the giant stood, seconds before, is now only dangling SPARKLING power lines. He's gone. Hogarth stares: baffled. Annie rushes up.</scene_description>
<character>ANNIE</character>
<dialogue>Hogarth!</dialogue>
<scene_description>She grabs him by his shoulders, tightly, more out of fear than anger.</scene_description>
<character>ANNIE (CONT'D)</character>
<dialogue>What do you think you're doing?!! Don't you know better than to wander off at night, alone?? What if something happened to you???</dialogue>
<character>HOGARTH</character>
<dialogue>I'm sorry, mom...</dialogue>
<scene_description>Annie throws her arms around him, hugging him tight, desperately happy to know that her boy is safe.</scene_description>
<character>ANNIE</character>
<dialogue>Don't ever do that to me again, Hogarth. I was so scared, I thought I'd lost you...</dialogue>
<scene_description>A long moment passes with Annie just holding him and rocking... then--</scene_description>
<character>HOGARTH</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Mom, you won't believe it. Some- thing ate our t.v. antenna.</dialogue>
<character>ANNIE</character>
<dialogue>Oh, Hogarth...</dialogue>
<character>HOGARTH</character>
<dialogue>No, I'm serious! And I went out to see what it was--</dialogue>
<character>ANNIE</character>
<parenthetical>(losing patience)</parenthetical>
<dialogue>Hogarth... please...</dialogue>
<character>HOGARTH</character>
<dialogue>--and it was a Giant metal--</dialogue>
<character>ANNIE</character>
<dialogue>HOGARTH! Stop it! I'm not in the mood.</dialogue>
<parenthetical>(gentle, but firm)</parenthetical>
<dialogue>Come on. Let's go home.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANNIE'S TRUCK - MOMENTS LATER</stage_direction>
<scene_description>Hogarth sits in silence as Annie starts the ignition. As they drive away, Hogarth can't help but look back over his shoulder. Backlit by the moon, he can just make out the outline of the Giant, half-hidden by the trees... watching them go... DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FOREST TREES - THE NEXT MORNING</stage_direction>
<scene_description>The North Maine woods, the trees sway, holding their secret deep within.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEMENTARY SCOOL - DAY</stage_direction>
<scene_description>The TEACHER is quizzing her students. Hogarth is the smallest one in the class. On the chalkboard are written the words "RUSSIA" and "POLAND."</scene_description>
<character>TEACHER</character>
<dialogue>And who can name another country that is part of the U.S.S.R.?</dialogue>
<scene_description>Hogarth raises his hand.</scene_description>
<character>TEACHER</character>
<dialogue>Anyone besides Hogarth?</dialogue>
<scene_description>Hogarth lowers his hand. No response from the others.</scene_description>
<character>TEACHER</character>
<dialogue>Anyone actually listening to me other than Hogarth? Hogarth, are we going to have to move you up another grade? Or should we move the rest of the class down? Alright, that's it. Everyone in the class except Hogarth can write me a five page essay. Call it "Allies and Enemies of the United States of America." It's due tomorrow.</dialogue>
<scene_description>The class groans. A big kid turns around to Hogarth, points at him, and gives him the "slit throat" sign. Hogarth WILTS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POWER STATION - DAY</stage_direction>
<scene_description>Workers swarm over the towers, repairing the damage. Kent is there, smoking a pipe as he talks to a foreman.</scene_description>
<character>FOREMAN</character>
<dialogue>Yeah, sometimes a line'll snap if the weather's bad, sure. But for a whole tower to get twisted up like that? (SCRATCHES HIS HEAD) I tell you, it's got me beat.</dialogue>
<character>KENT</character>
<dialogue>And not a single witness...</dialogue>
<character>FOREMAN</character>
<dialogue>'Fraid not, sir.</dialogue>
<character>KENT</character>
<dialogue>Could this have been caused by a giant metal monster, perhaps?</dialogue>
<character>FOREMAN</character>
<dialogue>Pardon me, sir?</dialogue>
<character>KENT</character>
<dialogue>Nothing. Just repeating a yarn I heard from some fishermen...</dialogue>
<scene_description>Just then, something catches Kent's eye.</scene_description>
<character>KENT</character>
<dialogue>Excuse me.</dialogue>
<scene_description>He walks a few steps away, and hunkers down beside a portion of the rubble. A trapezoidal piece of wood is sticking out from beneath it. Kent pulls it out. It's the handle of a B.B. gun. On Kent's look we cut to...</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLASSROOM - DAY</stage_direction>
<scene_description>Students pour out of Hogarth's classroom, followed at last by Hogarth, who is a full head smaller than any of them. Now Hogarth's face brightens, as a few kids his size pass by. Hogarth hurries to catch up with them.</scene_description>
<character>HOGARTH</character>
<dialogue>Hey guys!</dialogue>
<scene_description>The kids turn to Hogarth without much enthusiasm.</scene_description>
<character>FIRST KID</character>
<dialogue>Hey, Hogarth.</dialogue>
<character>HOGARTH</character>
<dialogue>Listen, you're not going to believe what happened to me last night. I went walking into the forest, and I saw this... giant!</dialogue>
<scene_description>The kids exchange glances.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>It was made out of metal! And it tore apart the power station.</dialogue>
<scene_description>For a moment, the kids stare at Hogarth blankly. Finally, one of them speaks.</scene_description>
<character>FIRST KID</character>
<dialogue>You know what I just remembered? I'm suppose to help some people do some stuff way over in some other place right now.</dialogue>
<character>SECOND KID</character>
<dialogue>Oh those people? Yeah, I'm suppose to do that too.</dialogue>
<character>FIRST KID</character>
<dialogue>Nice seeing you, Hogarth.</dialogue>
<scene_description>As the kids walk away, Hogarth hears one of them speak quietly to the other.</scene_description>
<character>FIRST KID</character>
<dialogue>Boy, I hope they never skip me a grade.</dialogue>
<character>SECOND KID</character>
<dialogue>He's gotten really desperate.</dialogue>
<scene_description>A determined look comes over Hogarth's face we cut to... THE WOODS - THAT DAY Hogarth marches purposefully into the forest with a camera slung over his shoulder, and a sheet of metal in one hand.</scene_description>
<character>HOGARTH</character>
<dialogue>Hellllllooo! Come ouuut!</dialogue>
<scene_description>DISSOLVE TO: DEEPER INTO THE WOODS - A LITTLE LATER The woods are denser now, with shafts of autumn sun punctuating the darkened light. Hogarth bangs the metal loudly as he walks.</scene_description>
<character>HOGARTH</character>
<dialogue>Hey, big metal guy!! It's me, the kid who turned off the power for ya!</dialogue>
<scene_description>A CLEARING IN THE FOREST Hogarth sets the metal down, then retreats a safe distance...</scene_description>
<character>HOGARTH</character>
<dialogue>Metal! Delicious metal! Come and get it!</dialogue>
<scene_description>...and settles in behind a large log. He aims the camera, and waits. And waits. And waits. This is clearly not as exciting as Hogarth expected. He rubs his eyes, yawns, and lays his head on his arm. And the next thing he knows, he's waking up. The afternoon light has given way to the long shadows of early evening. Hogarth looks towards the clearing -- the piece of metal is gone. He gasps. He reaches behind him for the camera, as he scans the forest, left and right. Suddenly he pauses. His hand is not finding the camera. He turns and looks for it. It's gone. Above him a flashbulb pops. A moment later, a roll of film drops from the sky and lands at his feet. Hogarth picks up the film, and swallows hard. He looks up, a long way up, and sees the Giant standing over him, its jaw moving, and a crunching sound coming from its mouth.</scene_description>
<character>HOGARTH</character>
<dialogue>Aaaaagh!</dialogue>
<scene_description>Hogarth runs as fast as his legs will carry him. He covers twenty feet or so, when -- BOOM! An enormous metal foot touches down in front of him. He runs faster, faster, but with a single step, the Giant covers all the distance between them. Suddenly -- WHACK! Hogarth catches a tree limb across the chin, and is sent sprawling to the ground. The Giant looms over him. Hogarth sits up, his eyes wide with fear, and shouts at the fifty-foot metal monster.</scene_description>
<character>HOGARTH</character>
<dialogue>What do you want from me?!!</dialogue>
<scene_description>The Giant sits down with a thud. Then he reaches toward Hogarth with a closed fist, turns it palm-upward and opens his fingers. There, in his hand, is the four-foot metal handle with "EMERGENCY SHUT-OFF" printed along its length.</scene_description>
<character>HOGARTH</character>
<dialogue>The shut-off switch...</dialogue>
<scene_description>Hogarth looks from the handle to the Giant, in awe.</scene_description>
<character>HOGARTH</character>
<dialogue>You saw me save you.</dialogue>
<scene_description>As boy and Giant stare into each other's eyes, we cut to...</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - DAY</stage_direction>
<scene_description>Some of the BUSYBODIES sit around sipping coffee and gossiping.</scene_description>
<character>FIRST BUSYBODY</character>
<dialogue>Well, in my opinion, it's a woman's obligation to re-marry. If not for herself, than for her child.</dialogue>
<scene_description>The Busybodies murmur their assent.</scene_description>
<character>SECOND BUSYBODY</character>
<dialogue>Do you know she left her little boy all alone last night? My son heard he went wandering around all by himself. Near the power plant...</dialogue>
<scene_description>At the mention of this word, a figure at a nearby booth lowers his newspaper, and narrows his eyes. It's Kent.</scene_description>
<character>THIRD BUSYBODY</character>
<dialogue>Tsk-tsk. On the very night those power lines came down? The poor child could have been killed.</dialogue>
<scene_description>The Busybodies gasp in shock and disapproval.</scene_description>
<character>FIRST BUSYBODY</character>
<dialogue>It just goes to prove my point. She ought to provide him with a father figure, if she cares about the boy.</dialogue>
<character>ANNIE (O.S.)</character>
<dialogue>She does care about her boy, for your information.</dialogue>
<scene_description>Annie enters, tying on an apron. The Busybodies blush and fan themselves nervously.</scene_description>
<character>ANNIE (CONT'D)</character>
<dialogue>And she thanks you so much for your concern.</dialogue>
<parenthetical>(then wearily)</parenthetical>
<dialogue>More coffee, anyone?</dialogue>
<character>KENT (O.S.)</character>
<dialogue>I'd love some.</dialogue>
<scene_description>Annie turns. Kent gives her his best smile. Annie pours coffee, we see Kent studying her with a thoughtful, almost sinister look. He glances at her name tag.</scene_description>
<character>KENT</character>
<dialogue>Annie. What a very lovely name...</dialogue>
<scene_description>Annie smiles.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODS - DAY</stage_direction>
<scene_description>The Giant and Hogarth sit facing each other, each staring at the other with curiosity.</scene_description>
<character>HOGARTH</character>
<dialogue>So... what are you?</dialogue>
<scene_description>The Giant tilts his head curiously but says nothing.</scene_description>
<character>HOGARTH</character>
<dialogue>Do you talk?</dialogue>
<scene_description>The Giant continues staring, puzzled.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>"Talk." You know, words? "Blah- blah- blah," like that. Can you do that -- "Blah-blah-blah?"</dialogue>
<scene_description>The Giant opens and closes his mouth in imitation of Hogarth. A series of deep metallic rumblings and clangings come out of his mouth.</scene_description>
<character>HOGARTH</character>
<dialogue>Well, you get the concept, anyway. But we need to work on your vocabulary. Let's see.</dialogue>
<scene_description>Hogarth looks around, sees a rock, and picks it up.</scene_description>
<character>HOGARTH</character>
<dialogue>See this? This is called a rock. "Rock." Try it. "Rooock."</dialogue>
<character>GIANT</character>
<dialogue>Kraaan-chunk.</dialogue>
<character>HOGARTH</character>
<dialogue>"Rooock."</dialogue>
<character>GIANT</character>
<dialogue>Kroooonk.</dialogue>
<character>HOGARTH</character>
<parenthetical>(patiently)</parenthetical>
<dialogue>Rock.</dialogue>
<character>GIANT</character>
<dialogue>Rog.</dialogue>
<character>HOGARTH</character>
<dialogue>Good! See? This is a... rock.</dialogue>
<scene_description>A look of dawning understanding comes over the Giant. He looks at the rock in Hogarth's hand.</scene_description>
<character>GIANT</character>
<dialogue>Rog.</dialogue>
<scene_description>He picks up a nearby boulder.</scene_description>
<character>GIANT</character>
<dialogue>Rog?</dialogue>
<character>HOGARTH</character>
<dialogue>Yes!</dialogue>
<scene_description>The Giant pulls a tree out of the ground.</scene_description>
<character>GIANT</character>
<dialogue>Rog!</dialogue>
<character>HOGARTH</character>
<dialogue>No, no. That is a tree. Tree. (POINTS AT ROCK) Rock. (POINTS AT TREE) Treeeee.</dialogue>
<scene_description>The Giant's mouth hangs open in awe.</scene_description>
<character>GIANT</character>
<dialogue>Rog... Treeee-(SOUND OF A TRUCK BEEING</dialogue>
<scene_description>CRUSHED IN A METAL COMPACTOR)</scene_description>
<character>HOGARTH</character>
<dialogue>Get it? Everything has a different name. Rock. Tree...</dialogue>
<scene_description>The giant's mouth hangs open in awe... SAME SHOT - HOURS LATER A very tired Hogarth is still seated (uncomfortably now) in front of a still awe-struck Giant. The Giant picks up a piece of wood.</scene_description>
<character>HOGARTH</character>
<parenthetical>(tired)</parenthetical>
<dialogue>Branch.</dialogue>
<character>GIANT</character>
<dialogue>Braaannch.</dialogue>
<scene_description>The Giant picks up another piece of wood.</scene_description>
<character>HOGARTH</character>
<dialogue>Yeah, that's a branch, too.</dialogue>
<character>GIANT</character>
<dialogue>Braaannch.</dialogue>
<parenthetical>(picks up a rock)</parenthetical>
<dialogue>Rog?</dialogue>
<character>HOGARTH</character>
<dialogue>Look, we've pretty much covered everything in the forest. And if I don't get home soon, mom's gonna wonder where I am.</dialogue>
<parenthetical>(gets on his feet)</parenthetical>
<dialogue>You stay here, okay? I'll come back tomorrow.</dialogue>
<scene_description>Hogarth waves to the Giant and EXITS. Now Hogarth hears a BOOM behind him. He turns to see the Giant following him.</scene_description>
<character>HOGARTH</character>
<dialogue>And don't follow me, either.</dialogue>
<scene_description>The Giant continues following, happily.</scene_description>
<character>HOGARTH</character>
<dialogue>I said don't. Don't follow me. Stay. Go home. I mean it!</dialogue>
</scene>
<scene>
<stage_direction>EXT. RAILROAD TRACKS NEAR HOGARTH'S HOME - DAY</stage_direction>
<scene_description>A fog is settling in, as Hogarth leaves the forest and crosses a set of railroad tracks. He points to the house at the bottom of the hill.</scene_description>
<character>HOGARTH</character>
<dialogue>Look. That's where I live, okay? I'm going there, and you're not, understand? So goodbye. Hey...</dialogue>
<scene_description>He turns to see the Giant kneeling curiously beside the railroad tracks. He pokes at them.</scene_description>
<character>GIANT</character>
<parenthetical>(HUNGRY SOUND)</parenthetical>
<character>HOGARTH</character>
<dialogue>Hey, wait a minute--</dialogue>
<scene_description>Too late. The Giant bites down on the twin strands of railroad track and rips them loose like spaghetti. WHAT DO YOU THINK YOU'RE DOING?!! The Giant freezes, puzzled, long strings of railroad track dangling from his month.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Put them back!</dialogue>
<scene_description>Now the Giant looks confused and guilty. DING DING DING! The crossing signal blares, red lights flash. The Giant stares at the pretty lights, entranced. Hogarth GASPS, looks down the tracks. He hears a distant whistle blow: WOO-WOOO.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Oh no... .(HE RUNS TO THE GIANT) Put them back RIGHT NOW!!!</dialogue>
<scene_description>The Giant stares, puzzled. Hogarth GROANS, runs to a piece of track sticking up and pushes down on it with all his weight... it doesn't budge.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Like this. Help me!</dialogue>
<scene_description>The Giant sees Hogarth struggling with the curled tracks, takes one index finger, and helpfully pushes on them: KA- BLAM! They're down.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Good! That's it!</dialogue>
<scene_description>The Giant grunts, pleased with himself... Hogarth HEARS the train, close now. And then he sees-- the pieces of track don't meet up.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Put them together! Like this!</dialogue>
<scene_description>Hogarth pantomimes. The Giant lines up one track--</scene_description>
<character>HOGARTH</character>
<dialogue>Now the other one... hurry!</dialogue>
<scene_description>-- then tries to line up the other side, but it's tricky, the two chewed-on rails stubbornly resist lining up. Finally, the giant gets them close.</scene_description>
<character>HOGARTH</character>
<dialogue>Good enough! Come on!</dialogue>
<scene_description>Hogarth takes off, racing like the wind to get out of there. He STOPS, looks back...</scene_description>
<character>THE GIANT</character>
<dialogue>is still fussing with the tracks, trying to get them perfect.</dialogue>
<character>HOGARTH</character>
<dialogue>No! Come on! The train's coming!</dialogue>
<scene_description>The Giant is intent on his puzzle: CLICK. CLICK. Almost. Now we see the headlight of a big freight train coming out of the fog. The Giant continues to fuss.</scene_description>
<character>HOGARTH</character>
<dialogue>The train!</dialogue>
<scene_description>The Giant finally SNAPS the track into place. CLICK. He grins. A train whistle SHRIEKS! The startled Giant looks up as Hogarth hits the dirt and-- KA-BLOOM!</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST NEAR POWER STATION - CONTINUOUS</stage_direction>
<scene_description>Kent examines the broken branches. Hears the BOOM of the train wreck. RESUME TRAIN CROSSING - CONTINUOUS Steam flies. The EXPLOSION dies away. Hogarth looks up. The Giant is gone. The train, its front end smashed, coasts down the track, breaks squealing. Hogarth looks around... Then, THUMP! The Giant's head lands beside him. An arm falls here, a leg there. A hand flies down the hill, toward Hogarth's house.</scene_description>
<character>HOGARTH</character>
<dialogue>Oh no...</dialogue>
<scene_description>Hogarth sees the giant lying around in big pieces. He touches the Giant's hand gently, a look of pain and sadness on his face.</scene_description>
<character>HOGARTH</character>
<parenthetical>(WHIMPERS)</parenthetical>
<dialogue>And then, behind him, the Giant's head, still attached to its torso, sits up. Hogarth YELPS. The Giant's eyes spark, flash and click on. He looks around, dazed, at his scattered parts.</dialogue>
<character>HOGARTH</character>
<dialogue>You're alive!</dialogue>
<scene_description>The torso has one leg and most of one arm attached. The other pieces seem to come alive and scamper around as if confused. An antenna rises out of the top of the Giant's head and begins to "signal". All the pieces SNAP to attention. They crawl toward the Giant, who gathers them up in his arm and looks at Hogarth, confused. Just then we hear voices coming from the fog.</scene_description>
<character>VOICE</character>
<dialogue>Hello? Is anyone out there? Are you alright?</dialogue>
<scene_description>Hogarth squints into the fog.</scene_description>
<character>HOGARTH</character>
<dialogue>The train Conductor. Oh, we're in trouble now...</dialogue>
<character>HOGARTH</character>
<parenthetical>(turns to Giant)</parenthetical>
<dialogue>Okay, look. I've changed my mind. You can follow me home.</dialogue>
<scene_description>He hurries off down the hill, with the one-legged Giant hopping along behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BARN - DAY</stage_direction>
<scene_description>Hogarth enters the barn, with the hopping Giant behind him.</scene_description>
<character>HOGARTH</character>
<dialogue>You can stay here for now.</dialogue>
<scene_description>The Giant takes a seat and sets his body parts down beside him. The Giant's arm parts dutifully line up, the arm first. He picks it up and jams it into its socket.</scene_description>
<character>HOGARTH</character>
<dialogue>And try to keep it quiet okay? My mom's not too big on me having any pets right now. "Shhhh" -- get it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRAIN TRACKS - CONTINUOUS</stage_direction>
<scene_description>The train ENGINEER and a CONDUCTOR are examining the tracks in the swirling fog.</scene_description>
<character>CONDUCTOR</character>
<dialogue>Whatever we hit, it was something big. A tractor, maybe.</dialogue>
<character>ENGINEER</character>
<dialogue>More like a tank, I'd say.</dialogue>
<character>CONDUCTOR</character>
<dialogue>So where the heck did it go?</dialogue>
<scene_description>Out of the fog comes Kent, pipe in hand. He casts a glance at the Conductor and the Engineer, then turns and looks down the hill towards Hogarth's house.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Annie enters from the kitchen, wiping her hands on her apron.</scene_description>
<character>ANNIE</character>
<dialogue>Dinner's been on the table for twenty minutes now. Where have you been all afternoon?</dialogue>
<character>HOGARTH</character>
<dialogue>I could tell you, Mom. But I really don't think you'd believe me.</dialogue>
<character>ANNIE</character>
<dialogue>Somehow, I don't doubt that.</dialogue>
</scene>
<scene>
<stage_direction>INT. BARN - CONTINUOUS</stage_direction>
<scene_description>The Giant finishes attaching his leg, and is now all together save for a missing HAND. He looks around the barn for it.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE - THAT NIGHT</stage_direction>
<scene_description>Annie and Hogarth sit at the dinner table.</scene_description>
<character>ANNIE</character>
<dialogue>Would you say grace, please?</dialogue>
<scene_description>Hogarth folds his hands together, and starts to bow his head when he STOPS: behind Annie, the Giant's hand crawls across the kitchen floor like a tarantula. OH MY GOD! Annie looks up. Hogarth rolls his eyes to heaven.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Oh my God, we thank you for the... uh, food that Mom has put in front of us and--</dialogue>
<scene_description>STOP!!! Hogarth jumps up. The curious hand-- now standing up on two fingers and reaching for an antique vase-- reacts to Hogarth's tone and shrinks back. Hogarth sees Annie staring at him. Again, he covers --</scene_description>
<character>HOGARTH</character>
<dialogue>-the Devil from doing bad things... and--</dialogue>
<character>(TO HAND)</character>
<dialogue>GET OUTTA HERE!...uh, Satan. GO! GO! So that we may live in peace. Amen.</dialogue>
<character>ANNIE</character>
<dialogue>Amen. That was...</dialogue>
<parenthetical>(words fail her)</parenthetical>
<dialogue>...really unusual, Hogarth.</dialogue>
<character>HOGARTH</character>
<parenthetical>(leaps to his feet)</parenthetical>
<dialogue>Gotta use the bathroom.</dialogue>
<character>ANNIE</character>
<dialogue>Well... (HE'S ALREADY GONE) Okay.</dialogue>
<scene_description>LIVING ROOM - FRONT ENTRANCE Hogarth runs up to the hand, blocking it from going to the cellar. He takes one of the enormous fingers with both hands, and leads it like a baby elephant to the front door. He opens the door revealing-- --KENT, startled, about to knock. He smiles his most charming smile. Hogarth GASPS, SLAMS the door. He breathes hard, panicking. But when he turns around, the hand is GONE. The doorbell RINGS. Not knowing what to do, Hogarth opens it. Kent's still there, smiling, as before.</scene_description>
<character>KENT</character>
<dialogue>Hey there, Scout... Kent Mansley. I work for the government. Your parents home?</dialogue>
<character>HOGARTH</character>
<dialogue>We're eating.</dialogue>
<character>KENT</character>
<dialogue>What's wrong, Scout? You seem a little jumpy.</dialogue>
<character>ANNIE</character>
<dialogue>Who is it, Hogarth?</dialogue>
<scene_description>Annie has entered the living room. Kent REACTS.</scene_description>
<character>KENT</character>
<dialogue>Why, hello there! Annie, isn't it? From the diner?</dialogue>
<character>ANNIE</character>
<dialogue>That's right! Mr. Mansley?</dialogue>
<character>KENT</character>
<dialogue>Please. Call me Kent.</dialogue>
<parenthetical>(wheels turning)</parenthetical>
<dialogue>So this is your house...</dialogue>
<parenthetical>(to Hogarth)</parenthetical>
<dialogue>...then you must be Hobo!</dialogue>
<character>HOGARTH</character>
<dialogue>Hogarth.</dialogue>
<character>KENT</character>
<dialogue>Hobart.</dialogue>
<scene_description>HOGARTH & ANNIE HOGARTH.</scene_description>
<character>KENT</character>
<dialogue>Yes indeed. I'm terribly sorry to bother you at this hour, but I'm looking into a little train accident that happened nearby and-- my goodness! Is there a blue- ribbon pie in the oven, or have I died and gone to Heaven?</dialogue>
<character>ANNIE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>We've just sat down to dinner, Mr. Mansley. Would you care to join us?</dialogue>
<character>KENT</character>
<dialogue>If it's not too much trouble, I'd be delighted!</dialogue>
<scene_description>He flashes her a thousand-dollar smile. As Annie turns her back to lead them into the dining room, Kent's smile fades into a calculating look. Hogarth sees it all, and glares as Kent walks past him. Kent doffs his hat, places it over Hogarth's head as he advances into the living room.</scene_description>
<character>KENT</character>
<dialogue>Here. Pretend you're a gangster.</dialogue>
<scene_description>The hat covers Hogarth's head. He stands there, looking ridiculous.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S DINING ROOM - A LITTLE LATER</stage_direction>
<scene_description>Hogarth, Annie and Kent are seated at the dinner table. Kent is pouring on the charm to Annie, as Hogarth continues to eye him suspiciously. Kent pats his stomach.</scene_description>
<character>KENT</character>
<dialogue>Well! It certainly is true what they say; the hospitality in these parts is second to none.</dialogue>
<character>HOGARTH</character>
<dialogue>Which parts would those be, sir?</dialogue>
<character>KENT</character>
<dialogue>Well, you know, uh... Maine.</dialogue>
<character>HOGARTH</character>
<dialogue>I never heard anyone say that about Maine. Have you, Mom?</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth...</dialogue>
<character>KENT</character>
<dialogue>Oh, it's alright. He's a bright boy. I like bright boys...</dialogue>
<scene_description>He lights his pipe and studies Hogarth closely.</scene_description>
<character>KENT (CONT'D)</character>
<dialogue>So tell me, Hogarth. What do you think of all the goings-on around here lately?</dialogue>
<scene_description>Hogarth plays innocent.</scene_description>
<character>HOGARTH</character>
<dialogue>Goings-on?</dialogue>
<character>KENT</character>
<dialogue>You know, the power plant being destroyed and all.</dialogue>
<character>ANNIE</character>
<dialogue>Careful, Mr. Mansley... he's got a powerful imagination.</dialogue>
<character>KENT</character>
<dialogue>Please. Call me Kent. I like to be on a first-name basis with first- class chefs.</dialogue>
<scene_description>Annie smiles. Hogarth rolls his eyes.</scene_description>
<character>HOGARTH</character>
<dialogue>If it's alright with everybody, I think I'll be excused now.</dialogue>
<character>KENT</character>
<dialogue>But you haven't answered my question, Hogarth.</dialogue>
<scene_description>Kent leans in toward Hogarth menacingly.</scene_description>
<character>KENT</character>
<dialogue>The powerplant.</dialogue>
<parenthetical>(leans closer)</parenthetical>
<dialogue>The train.</dialogue>
<parenthetical>(even closer)</parenthetical>
<dialogue>Surely you must have a theory, Hogarth. A bright boy like you. Surely you must have an inkling --</dialogue>
<character>HOGARTH</character>
<parenthetical>(blurting it out)</parenthetical>
<dialogue>There's a monster out there!</dialogue>
<character>KENT</character>
<dialogue>What???</dialogue>
<character>HOGARTH</character>
<dialogue>It's a hideous creature, five stories tall, and if you go out looking for it you won't come back alive!</dialogue>
<scene_description>There's a moment of stunned silence. Then...</scene_description>
<character>KENT</character>
<dialogue>You're... kidding.</dialogue>
<character>ANNIE</character>
<dialogue>Of course he's kidding.</dialogue>
<character>HOGARTH</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I'm a kid. That's what we do.</dialogue>
<scene_description>Suddenly, a toilet flushes upstairs. A puzzled expression comes over Hogarth's face, then Annie's, then Kent's.</scene_description>
<character>KENT</character>
<dialogue>Do you have a guest?</dialogue>
<character>ANNIE</character>
<dialogue>No...</dialogue>
<scene_description>Hogarth leaps from his seat and dashes out of the room. Kent raises an eyebrow. Annie looks puzzled.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM</stage_direction>
<scene_description>Hogarth yanks open the door, revealing: The giant hand, which crouches on the sink as it unrolls a pile of toilet paper into a pile on the floor. Hogarth shuts the door behind him, startling the hand, which leaps to the floor with a THUD! BACK TO THE:</scene_description>
<character>DINNER TABLE</character>
<dialogue>Kent and Annie react to the sound, and stare at the ceiling.</dialogue>
<character>ANNIE</character>
<dialogue>Excuse me.</dialogue>
<scene_description>She exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM</stage_direction>
<scene_description>Hogarth labors as he pulls the giant hand toward the open window. The hand resists mildly, like a distracted child--</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY OUTSIDE BATHROOM</stage_direction>
<scene_description>Annie stands outside the door. She knocks.</scene_description>
<character>ANNIE</character>
<dialogue>Hogarth? Are you alright?</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - CONTINUOUS</stage_direction>
<scene_description>Kent turns his attention to the sounds coming from upstairs. He exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM</stage_direction>
<scene_description>Using his whole body, Hogarth tries to shove the giant hand out the open window. (GRUNTING SOUNDS)</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY OUTSIDE BATHROOM</stage_direction>
<scene_description>Kent has joined Annie, and the two of them listen together. (LOUDER GRUNTING)</scene_description>
<character>KENT</character>
<dialogue>This sort of thing is why it's so important to really chew your food...</dialogue>
<scene_description>Annie shoots Kent a disapproving look.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS BATHROOM - CONTINUOUS</stage_direction>
<scene_description>With a mighty shove, he finally manages to get the hand out the window.</scene_description>
<character>HOGARTH</character>
<dialogue>--rrrrrgggggghhhhh!</dialogue>
<scene_description>The hand lands with a terrific crash, Hogarth tumbles to the ground, and Annie and Kent burst in through the door to</scene_description>
<character>REVEAL--</character>
<dialogue>Hogarth... sheepishly standing there in a large PILE of unrolled toilet paper.</dialogue>
<character>ANNIE</character>
<dialogue>Good lord, you've been acting strange lately.</dialogue>
<scene_description>Kent looks from Hogarth to the open window. In the darkness outside, he seems to see a shadowy figure moving in the dark. He turns to Annie, and gives her his patented smile.</scene_description>
<character>KENT</character>
<dialogue>Do you have a telephone I could use?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S LIVING ROOM - A LITTLE LATER</stage_direction>
<scene_description>Kent, hunkered into a corner in an attempt at privacy, speaks into a telephone in a loud whisper. Kent peers around cautiously, making sure he's not observed.</scene_description>
<character>KENT</character>
<dialogue>--let me put it bluntly, sir. I'm onto something big in Rockwell, Maine.</dialogue>
<character>CHIEF</character>
<parenthetical>(tired)</parenthetical>
<dialogue>What is it this time, Kent?</dialogue>
<character>KENT</character>
<dialogue>This time -- well, this time it's a giant, that's roaming around the town destroying things.</dialogue>
<character>CHIEF</character>
<dialogue>Uh-huh. Well, you be sure to file us a report, and we'll be sure to process it.</dialogue>
<scene_description>KENT Excellent, sir. And in the meantime, I'd like to call in my team. CHIEF Your... team? KENT My backup, my support squad. Half a dozen men are all I need to start... CHIEF Kent, I know this will come as a shock to you, but we can't just give a team to anyone who asks.</scene_description>
<character>KENT</character>
<parenthetical>(puffing himself up)</parenthetical>
<dialogue>Forgive my saying so, sir, but I'm not just anyone, and I've never asked. Before. Until now.</dialogue>
<parenthetical>(there is a long silence)</parenthetical>
<dialogue>Sir?</dialogue>
<scene_description>CHIEF You haven't really found something, have you? KENT I think I have, sir, yes.</scene_description>
<character>CHIEF</character>
<dialogue>You think. Do you have proof?</dialogue>
<scene_description>KENT Sir, I've got a feeling about this one, a gut feeling... CHIEF That's lovely, Kent. But let me try to explain how this works. If you called to tell me you'd found, say, a giant footprint, I might send over an expert to make a plaster cast of it. If you saw an CHIEF (CONT'D) actual giant with your own eyes, I might even send you the team you're asking for. Heck, you go so far as to get me a photograph, I could probably get the U.S.</scene_description>
<character>CHIEF (CONT'D)</character>
<dialogue>Army over there to Rockwell, Maine. But you tell me you've got a feeling--</dialogue>
<character>KENT</character>
<parenthetical>(temper rising)</parenthetical>
<dialogue>Alright then, fine. You want evidence? I'll get your evidence...</dialogue>
<character>CHIEF</character>
<dialogue>(TIRED) That sounds swell, Kent.</dialogue>
<character>KENT</character>
<dialogue>And when I do, I'm going to want a memo distributed! And I'm going to want that memo carbon copied and -- and re-distributed and --</dialogue>
<scene_description>The Chief hangs up. As Kent stands with the phone receiver in his hand, a look of dark determination comes over his face. And then we pan up through the ceiling above Kent, into Hogarth's room. Hogarth also holds a phone receiver, with one hand cupped over the mouthpiece. He looks worried.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGARTH'S HOUSE - THE NEXT MORNING</stage_direction>
<scene_description>Annie says goodbye to Hogarth at the front door.</scene_description>
<character>ANNIE</character>
<dialogue>Bye, Honey! Have a good day at school.</dialogue>
<character>HOGARTH</character>
<dialogue>(WAVING) Bye, Mom.</dialogue>
<scene_description>Hogarth pedals his bike away until he's out of sight of the front house, then zips around the side of the house, ditches his bike and grabs a little red wagon. IN A QUICK: MONTAGE: Hogarth pulls the wagon around, collecting metal. He finds some cans, an old car muffler, a fallen street sign, etc.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BARN - A LITTLE LATER</stage_direction>
<scene_description>Hogarth enters and finds the Giant sleeping.</scene_description>
<character>HOGARTH</character>
<dialogue>Ahem...</dialogue>
<scene_description>The Giant opens his eyes. He sees the wagon full of metal and looks delighted.</scene_description>
<character>GIANT</character>
<parenthetical>(HUNGRY SOUND)</parenthetical>
<character>HOGARTH</character>
<dialogue>It wasn't easy to fill this wagon. So try to not to eat it all at once- -</dialogue>
<scene_description>The Giant picks the wagon up, and dumps its entire contents into his mouth. Hogarth is speechless.</scene_description>
<character>HOGARTH</character>
<dialogue>Do you have any idea what it took to find that metal??? I scoured the neighborhood! I had to ditch school! I've never done that before, I--</dialogue>
<scene_description>The Giant picks up the wagon and eats that too. Hogarth sighs and takes a seat.</scene_description>
<character>HOGARTH</character>
<dialogue>So... now that we've eaten, how shall we spend the rest of our day?</dialogue>
<scene_description>The Giant looks at him, not understanding.</scene_description>
<character>HOGARTH</character>
<dialogue>Okay. I'll teach you more words.</dialogue>
<scene_description>Hogarth stands up and points at his house.</scene_description>
<character>HOGARTH</character>
<dialogue>That is my "home." That's where I come from . My...</dialogue>
<parenthetical>(points at himself)</parenthetical>
<dialogue>home...</dialogue>
<scene_description>Hogarth points to his house. The Giant looks at it.</scene_description>
<character>GIANT</character>
<dialogue>(METALLIC CLANKING THAT</dialogue>
<character>SOUNDS SOMETHING LIKE</character>
<dialogue>"HOME")</dialogue>
<character>HOGARTH</character>
<dialogue>Right. Now where is...</dialogue>
<parenthetical>(points at giant)</parenthetical>
<dialogue>...your home?</dialogue>
<scene_description>The Giant looks at Hogarth's house, then follows Hogarth's pointing hand, and looks at himself. Then a look of deep sadness comes over his face. His shoulders shrug, and his hands turn palm-upward in a puzzled gesture.</scene_description>
<character>GIANT</character>
<dialogue>(PUZZLED, ANGUISHED</dialogue>
<character>SOUND)</character>
<dialogue>HOGARTH</dialogue>
<scene_description>You mean... you don't know where you came from?</scene_description>
<character>GIANT</character>
<dialogue>(ANGUISHED, INARTICULATE</dialogue>
<character>GIANT SOUNDS)</character>
<dialogue>HOGARTH</dialogue>
<scene_description>Wow. You poor guy... Now we hear a deep rumbling sound. The Giant looks down at his stomach hungrily.</scene_description>
<character>HOGARTH</character>
<dialogue>I know, I know.</dialogue>
<parenthetical>(thinks for a moment)</parenthetical>
<dialogue>Okay, I know a place where it's all you can eat. But not until after dark.</dialogue>
<scene_description>The Giant stares at him, uncomprehending.</scene_description>
<character>HOGARTH</character>
<dialogue>Let me put it this way.</dialogue>
<scene_description>He points at through the window at the sun.</scene_description>
<character>HOGARTH</character>
<dialogue>"Sun."</dialogue>
<character>GIANT</character>
<dialogue>"Suuughn."</dialogue>
<character>HOGARTH</character>
<dialogue>When the sun goes down...</dialogue>
<scene_description>Hogarth mimes the sun arcing down the sky to sunset. The he taps on the Giant's iron belly.</scene_description>
<character>HOGARTH</character>
<dialogue>Feeding time. Get it?</dialogue>
<character>GIANT</character>
<parenthetical>(COMPREHENDING SOUND)</parenthetical>
<character>HOGARTH</character>
<dialogue>Good!</dialogue>
<scene_description>Hogarth starts to leave, then pauses and turns back to look at the Giant.</scene_description>
<character>HOGARTH</character>
<dialogue>You're smarter than you look, aren't you?</dialogue>
<character>GIANT</character>
<parenthetical>(puzzled sound)</parenthetical>
<character>HOGARTH</character>
<parenthetical>(exiting)</parenthetical>
<dialogue>Never mind.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL</stage_direction>
<scene_description>In a time-lapse, we see the sun arc across the sky and set over picturesque Rockwell, Maine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGARTH'S BARN - NIGHT</stage_direction>
<scene_description>Two silhouettes creep into the night -- one small, one enormous.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OPEN COUNTRY - NIGHT</stage_direction>
<scene_description>A ways off, Hogarth relaxes.</scene_description>
<character>HOGARTH</character>
<dialogue>Come on. Let's go!</dialogue>
<scene_description>Hogarth starts walking. The Giant moves past him- BOOM BOOM BOOM! -and with a half dozen strides, is almost out of sight.</scene_description>
<character>HOGARTH</character>
<dialogue>STOP!</dialogue>
<scene_description>On the horizon, the giant turns, looks puzzled: now what?</scene_description>
<character>HOGARTH</character>
<dialogue>Not that fast! Sheesh! Come back here!</dialogue>
<scene_description>BOOM! BOOM! BOOM! In two seconds, the giant stands at Hogarth's side and looks down at him, confused.</scene_description>
<character>HOGARTH</character>
<dialogue>Pick me up, OK?</dialogue>
<scene_description>The giant does as he's told, lowers his huge hand to the ground. Hogarth climbs up on it. The giant carefully raises up his hand, with Hogarth on it. Hogarth grabs onto a finger, and points toward the northwest.</scene_description>
<character>HOGARTH</character>
<dialogue>Okay, now. March!</dialogue>
<scene_description>Hogarth hangs on for dear life as the giant quickly accelerates. Hogarth looks down, and GASPS: they're really moving!</scene_description>
</scene>
<scene>
<stage_direction>EXT. POWER PLANT - NIGHT</stage_direction>
<scene_description>Kent is hunting around the power plant with a flashlight, muttering to himself.</scene_description>
<character>KENT</character>
<parenthetical>(scornful)</parenthetical>
<dialogue>"Evidence". I'll get your evidence...</dialogue>
<scene_description>He scans the vast expanse of forest with his flashlight, and sags hopelessly.</scene_description>
<character>KENT</character>
<dialogue>...somewhere...</dialogue>
</scene>
<scene>
<stage_direction>EXT. HILLS OUTSIDE ROCKWELL - LATER</stage_direction>
<scene_description>Hogarth and the Giant are marching along a back road on the hills outside town. FROM HOGARTH'S POV It's like a magic carpet ride, as the moon-lit countryside below sails past his vantage point, fifty feet above the ground. Hogarth points at a church steeple.</scene_description>
<character>HOGARTH</character>
<dialogue>Church. Churrrch.</dialogue>
<character>GIANT</character>
<dialogue>Churrr-(CRUNCH)</dialogue>
<character>HOGARTH</character>
<dialogue>Yes. People pray there.</dialogue>
<parenthetical>(points at another building)</parenthetical>
<dialogue>School. Can you say that? Schooool...</dialogue>
<character>GIANT</character>
<dialogue>Skooo...</dialogue>
<character>HOGARTH</character>
<dialogue>Schooool suuuucks...</dialogue>
<character>GIANT</character>
<dialogue>Skoooo saauuugz...</dialogue>
<character>HOGARTH</character>
<dialogue>Very good. And that's all you need to know about school.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS</stage_direction>
<scene_description>Kent has wandered some distance from the power plant now. His flashlight beam sweeps across the ground.</scene_description>
<character>KENT</character>
<dialogue>Nothing. Nothing...</dialogue>
<scene_description>Just then, he hears a noise behind him. He stops. Wheels around -- and the beam of his flashlight catches-- --a MOOSE. Huge. Enormous antlers. Looking right at him. The moose SNORTS. Kent backpedals, stumbles backward into a ditch-</scene_description>
<character>KENT</character>
<dialogue>Whooooa!</dialogue>
<scene_description>--loudly enough to scare off the moose. He gets up, dusts himself off, shines his flashlight around and discovers what he's standing in is not a ditch at all, but a-- GIANT FOOTPRINT, perfectly preserved in a patch of dried mud. Kent GASPS. The gasp becomes a sound of delight. He begins to laugh... And then a single rain drop falls on head. Kent looks up. Another drop falls. The laughter ceases.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS</stage_direction>
<scene_description>Hogarth is still riding on the Giant's shoulder. Rain has begun to drizzle down now.</scene_description>
<character>HOGARTH</character>
<dialogue>And that building there is the coffee shop.</dialogue>
<character>GIANT</character>
<dialogue>Kau-(CLANG) shawww...</dialogue>
<character>HOGARTH</character>
<dialogue>That's where my mom works. Sometimes she has to stay late, to make extra money 'cause... well, my Dad's away. You know what a "dad" is? A "father?"</dialogue>
<character>GIANT</character>
<dialogue>"Fa-grrr?"</dialogue>
<character>HOGARTH</character>
<dialogue>Yeah. It's like me...</dialogue>
<parenthetical>(points at himself)</parenthetical>
<dialogue>Only bigger.</dialogue>
<scene_description>He raises a hand indicating somone taller.</scene_description>
<character>HOGARTH</character>
<dialogue>He used to take me to baseball games. This one time, we brought binoculars, and we tried to figure out what pitch the catcher was calling! One year we want to go to every home game! I mean-- we wanted to...</dialogue>
<scene_description>The Giant stops walking and swivels his enormous head to face Hogarth. For a moment, they stare at each other in silence, with the rain pouring down around them. Then Hogarth bursts out, almost angrily.</scene_description>
<character>HOGARTH</character>
<dialogue>Aw, what am I even talking to you for? You can't understand a word I'm saying!</dialogue>
<scene_description>The Giant continues staring.</scene_description>
<character>HOGARTH</character>
<dialogue>Can you?</dialogue>
<scene_description>The Giant speaks --and somewhere within the metal clanging of his voice, there seems to be a note of sympathetic sadness.</scene_description>
<character>GIANT</character>
<dialogue>"Fa-grrrr."</dialogue>
<scene_description>Hogarth sighs, and pats the Giant on the side of the head.</scene_description>
<character>HOGARTH</character>
<dialogue>Well, I guess it's better than talking to myself.</dialogue>
<scene_description>The Giant looks pleased by this. They continue on their way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS</stage_direction>
<scene_description>Kent, soaked to the bone, is sitting on the edge of the Giant footprint, which has become a soggy, nondescript mess.</scene_description>
<character>KENT</character>
<dialogue>God hates me...</dialogue>
<scene_description>He pulls out his pipe, and tries to light it, but his soggy matches won't strike.</scene_description>
<character>KENT</character>
<dialogue>Damnation!</dialogue>
<parenthetical>(shouting heavenward)</parenthetical>
<dialogue>Can't a guy get a break around here?!!</dialogue>
<scene_description>Suddenly the rain lets up. Kent looks surprised. Then pleased. He lights his pipe. Then turns to heaven again.</scene_description>
<character>KENT</character>
<dialogue>Thank you. Waaagh!</dialogue>
<scene_description>He does a huge double take as he looks up to see the Giant's smiling head looming above him. The Giant picks up Kent's metal flashlight, eats it, and in three strides is gone from sight, leaving the terrified and exhilarated Kent behind. UNDER THE GIANT'S CHIN...</scene_description>
</scene>
<scene>
<stage_direction>..Hogarth PEEKS OUT, breathing hard.</stage_direction>
<character>HOGARTH</character>
<dialogue>That can't be good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEAN'S JUNKARD - NIGHT</stage_direction>
<scene_description>A metal graveyard, sprawling as far as the eye can see.</scene_description>
<character>HOGARTH (O.S.)</character>
<dialogue>This is it.</dialogue>
<scene_description>The Giant's metal hand sets Hogarth down into frame.</scene_description>
<character>HOGARTH</character>
<dialogue>All you can eat.</dialogue>
<scene_description>The Giant surveys the metal in all directions: MOANING happily as he spies a huge stack of cars. He selects one, and slowly... carefully... bites into it...</scene_description>
<character>GIANT</character>
<parenthetical>(DELIGHTED SOUND)</parenthetical>
<dialogue>He selects another car, picks it up and bites into it like a gourmand tasting a fine chocolate.</dialogue>
<character>GIANT (CONT'D)</character>
<dialogue>Mmmm...</dialogue>
<scene_description>He tastes another.</scene_description>
<character>GIANT (CONT'D)</character>
<dialogue>Ooooooh...</dialogue>
<scene_description>--causing the CAR HORN TO BLAST!</scene_description>
<character>HOGARTH</character>
<dialogue>SHHHH!! Turn it off, turn it OFF!!!</dialogue>
<scene_description>The giant looks around nervously, helplessly, beginning to PANIC. He tries shaking it, then sitting on it... but nothing works; the horn is STUCK. Hogarth looks back toward the house-- AT THE FAR END OF THE JUNKYARD A light goes on in a little house. Finally, the Giant takes a monster chomp and snaps the car in half. The horn strangles into silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNKYARD HOUSE</stage_direction>
<scene_description>Dean reaches the door, opens it: a GASPING, out-of-breath Hogarth stands on his doorstep. Dean studies Hogarth for a moment. Then breaks into a smile.</scene_description>
<character>DEAN</character>
<dialogue>Hey, I know you. Squirrel boy.</dialogue>
<character>HOGARTH</character>
<dialogue>Hogarth.</dialogue>
<character>DEAN</character>
<dialogue>By night known as Hogarth. Got it. Well, come inside kid. Hell, it's raining out there, isn't it?</dialogue>
</scene>
<scene>
<stage_direction>INT. DEAN'S HOUSE</stage_direction>
<scene_description>Jazz is playing on the hi-fi of this distinctly bohemian pad. Dean presses an espresso.</scene_description>
<character>HOGARTH</character>
<dialogue>Listen, you're not going to call my mom are you? She doesn't know I'm out. I could get in trouble.</dialogue>
<character>DEAN</character>
<dialogue>Don't worry, kid. It's not my style to report a guy to the authorities.</dialogue>
<scene_description>He brings over two espresso cups and hands one to Hogarth.</scene_description>
<character>DEAN</character>
<dialogue>Espresso for me, Bosco for you. But I thought you'd dig the little cup.</dialogue>
<scene_description>Hogarth looks pleased.</scene_description>
<character>HOGARTH</character>
<dialogue>Thanks.</dialogue>
<character>DEAN</character>
<dialogue>My name's Dean. I'm a nobody. And you are...?</dialogue>
<character>HOGARTH</character>
<dialogue>Hogarth. I'm... kind of a nobody, too.</dialogue>
<character>DEAN</character>
<dialogue>So what brings you all the way up here, Hogarth? You riding some kind of crazy inspiration?</dialogue>
<character>HOGARTH</character>
<dialogue>I've been riding something alright...</dialogue>
<scene_description>The record finishes, and in the silence: LOUD CRUNCHING NOISES from outside. Dean jumps up.</scene_description>
<character>DEAN</character>
<dialogue>Did you hear that???</dialogue>
<scene_description>He grabs a crowbar, runs to the door; Hogarth jumps up.</scene_description>
<character>HOGARTH</character>
<dialogue>No, wait! Stop!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEAN'S HOME - NIGHT</stage_direction>
<scene_description>The door flies open, Dean leaps out, YELLS:</scene_description>
<character>DEAN</character>
<dialogue>Who's out there?!</dialogue>
<scene_description>He hears a metallic GASP. He looks up, up, up and sees the gargantuan Giant, tailpipes sticking out of his mouth, frozen, a guilty "caught!" look on its face. Dean YELPS...</scene_description>
<character>DEAN</character>
<dialogue>--my god! RUN KID, RUN!!!!</dialogue>
<character>HOGARTH</character>
<parenthetical>(rolls his eyes)</parenthetical>
<dialogue>It's OK...!</dialogue>
<scene_description>But the heroic Dean seizes Hogarth and turns to duck inside-- --which the giant immediately interprets as a threat and-- --SLAMS his massive hand in front of the door, blocking it as Hogarth tries to break free of Dean, to explain--</scene_description>
<character>HOGARTH</character>
<dialogue>The giant isn't--let GO!</dialogue>
<scene_description>as the giant GRABS DEAN, hoisting him high in the air. DON'T SQUASH HIM!! DO NOT SQ-- The giant STOPS--looks down at Hogarth, puzzled.</scene_description>
<character>HOGARTH</character>
<dialogue>...squash.... him. Good boy.</dialogue>
<parenthetical>(beat, heavy sigh, then-)</parenthetical>
<dialogue>His name is Dean. We like Dean. Dean good. Put him down.</dialogue>
<character>THE GIANT</character>
<dialogue>Dean.</dialogue>
<scene_description>The giant grins at Dean; he sways, shocked, overwhelmed.</scene_description>
<character>HOGARTH</character>
<dialogue>Dean, meet a friend of mine. Dean, giant. Giant, Dean.</dialogue>
<scene_description>The giant grins, and kind of "waves". Dean stands there, pale, completely overwhelmed.</scene_description>
<character>HOGARTH</character>
<dialogue>More coffee...?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEANS HOUSE - SOME TIME LATER</stage_direction>
<scene_description>Dean stares, stunned, at the huge, impassive giant.</scene_description>
<character>DEAN</character>
<dialogue>So... where'd he come from?</dialogue>
<character>HOGARTH</character>
<dialogue>He doesn't remember. He's like a little kid...</dialogue>
<character>DEAN</character>
<dialogue>Little.</dialogue>
<parenthetical>(mirthless laugh)</parenthetical>
<dialogue>Yeah. Huh.</dialogue>
<character>HOGARTH</character>
<dialogue>He needs food. And shelter.</dialogue>
<scene_description>Dean stares at Hogarth in expressionless shock. Then slowly stands, pours out his coffee, goes inside, locking the door behind him. SAME SHOT - 37 MINUTES LATER The blinds have been pulled. Hogarth stands at the Dean's front door, pleading.</scene_description>
<character>HOGARTH</character>
<dialogue>You got plenty of room here! This place is perfect!</dialogue>
<character>DEAN</character>
<parenthetical>(from inside, muffled)</parenthetical>
<dialogue>Go away.</dialogue>
<character>HOGARTH</character>
<dialogue>I can have him push the door down. You know I can.</dialogue>
<scene_description>Pause. The door opens and there's Dean, looking annoyed.</scene_description>
<character>DEAN</character>
<dialogue>Hogarth! I can't hide it here!</dialogue>
<character>HOGARTH</character>
<dialogue>Him. Not it. Him.</dialogue>
<character>DEAN</character>
<dialogue>Whatever! You don't even know where he came from! Or what the hell he is!</dialogue>
<character>HOGARTH</character>
<parenthetical>(stubbornly)</parenthetical>
<dialogue>He's ...my friend.</dialogue>
<scene_description>Dean stares at immovable Hogarth. Behind him, dawn breaks.</scene_description>
<character>DEAN</character>
<parenthetical>(low mutter)</parenthetical>
<dialogue>Yeah. What am I, am I your friend? Bring some frankenbot with out of state plates over here and make me change my tune... don't like that jazz... God, I'm tired...</dialogue>
<scene_description>Dean gives up, stands, worn-out, exhausted.</scene_description>
<character>HOGARTH</character>
<dialogue>So! He can stay?!</dialogue>
<character>DEAN</character>
<dialogue>Tonight. Tomorrow, I don't know...</dialogue>
<parenthetical>(wanders inside, muttering)</parenthetical>
<dialogue>...figure something out....</dialogue>
<scene_description>Dean stumbles toward his home. Hogarth grins, and looks at the now-tired giant, YAWNING.</scene_description>
<character>HOGARTH</character>
<dialogue>Let's get you tucked in....</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEAN'S JUNKYARD - NIGHT</stage_direction>
<scene_description>Hogarth smiles to himself, as he watches the giant sleep, now covered with a layer of junk, a camouflage-comforter. And then he hears a BEEPING NOISE. Hogarth looks up and sees an ARMY PLANE, flying towards him. The BEEPING gets louder. Hogarth realizes it's coming from the Giant. Suddenly: WHIR, a panel on the giant's arm slides open. A strange device pops out and starts tracking the plane overhead. Hogarth panics: as the plane comes nearer the BEEPING becomes more insistent, the strange device tracks the plane: it looks very retro-advanced and scary. The giant starts MOANING, thrashing in his sleep as if caught in a bad dream. Suddenly he wakes up and ka-CHUK!-- the device withdraws. The plane disappears over the trees. Hogarth looks at the giant, stunned. The giant, unaware, looks at Hogarth, puzzled.</scene_description>
<character>HOGARTH</character>
<dialogue>It's okay. Go back to sleep. It was just a bad dream.</dialogue>
<scene_description>The giant nods, comforted, and drops off into sleep. Hogarth walks away, deeply troubled.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE</stage_direction>
<scene_description>Hogarth creeps upstairs to his room, pulls back the covers, and is just about to dive in... when Annie enters; spies Hogarth up and dressed.</scene_description>
<character>ANNIE</character>
<dialogue>You're up already?</dialogue>
<scene_description>Hogarth tiredly replaces the bedcovers.</scene_description>
<character>HOGARTH</character>
<dialogue>...just making the bed....</dialogue>
<character>ANNIE</character>
<dialogue>That's nice. Come downstairs. I have a surprise for you...</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE LIVING ROOM - LIVING ROOM</stage_direction>
<scene_description>An exhausted Hogarth shuffles downstairs, and into the kitchen.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>He sits down sleepily at the breakfast table and then GASPS: sitting across from him, reading the paper and looking quite at home in a fatherly way is --</scene_description>
<character>HOGARTH</character>
<dialogue>Kent...?</dialogue>
<character>KENT</character>
<dialogue>Morning, sport. Sleep well?</dialogue>
<scene_description>He feels Kent's knowing eyes boring into him.</scene_description>
<character>HOGARTH</character>
<dialogue>Moooooooom!</dialogue>
<scene_description>Annie appears, carrying a plate of waffles. She sets a plate down and leans in towards Hogarth, beaming.</scene_description>
<character>ANNIE</character>
<dialogue>Isn't it wonderful, Hogarth? We finally got a border!</dialogue>
<character>HOGARTH</character>
<dialogue>(PANICKED) Oh no...</dialogue>
<scene_description>Kent looks at his watch.</scene_description>
<character>KENT</character>
<dialogue>You know, I meant to wake up bright and early this morning. But from the look of those waffles, I'm still in bed dreaming!</dialogue>
<character>ANNIE</character>
<dialogue>Oh, Mr. Mansley--</dialogue>
<parenthetical>(Kent wags a finger)</parenthetical>
<dialogue>-- Kent.</dialogue>
<scene_description>Kent and Annie share a meaningful look. Hogarth looks ill.</scene_description>
<character>HOGARTH</character>
<dialogue>Uh... I'm not very hungry.</dialogue>
<scene_description>He exits. Kent watches him go, then picks up the fork that Hogarth was holding, and surreptitiously drops it in a little plastic evidence bag.</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - DAY</stage_direction>
<scene_description>Hogarth strolls in and takes a seat at the counter next to a man reading a newspaper. A bored waitress approaches.</scene_description>
<character>HOGARTH</character>
<dialogue>Chocolate malted, please.</dialogue>
<parenthetical>(she exits)</parenthetical>
<dialogue>I've never been in here. Mom says the coffee's weak and they put meat extender in the hamburger.</dialogue>
<character>MAN BEHIND NEWSPAPER</character>
<dialogue>It ain't the diner, sparky. But it's more private.</dialogue>
<scene_description>The man lowers the paper to reveal his face. It's Dean. He glances around cautiously to make sure they're not being watched.</scene_description>
<character>DEAN</character>
<dialogue>So. Your friend's got quite an appetite.</dialogue>
<character>HOGARTH</character>
<dialogue>Yeah. When I found him, he was trying to eat the power station.</dialogue>
<character>DEAN</character>
<dialogue>So where does he come from?</dialogue>
<character>HOGARTH</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>He doesn't know.</dialogue>
<character>DEAN</character>
<dialogue>You can talk to him???</dialogue>
<character>HOGARTH</character>
<dialogue>Kinda. He can't say a lot of words yet, but he understands things pretty good.</dialogue>
<character>DEAN</character>
<dialogue>I wonder if he had something to do with the meteorite that splashed down here the other day. Then again, maybe he was the meteorite...</dialogue>
<character>HOGARTH</character>
<dialogue>That's what I was thinking! He came from outer space!!</dialogue>
<character>DEAN</character>
<dialogue>Maybe. Or maybe he was launched into space from earth.</dialogue>
<character>HOGARTH</character>
<dialogue>Hey, maybe the commies made him! You know, in one of their secret labs.</dialogue>
<character>DEAN</character>
<dialogue>Or maybe we built him in one of ours. Our government has secrets, too you know.</dialogue>
<character>HOGARTH</character>
<parenthetical>(getting into it)</parenthetical>
<dialogue>Or maybe he comes from underground, you know? Like, he's this undiscovered species, that evolved from minerals or something, while we were evolving out of monkeys.</dialogue>
<character>DEAN</character>
<dialogue>Maybe, kid. And then, again, maybe the monkeys evolved from us.</dialogue>
<scene_description>Dean laughs and puts his hands behind his head, and strikes a philosophical pose.</scene_description>
<character>HOGARTH</character>
<dialogue>I wish we knew why he was here.</dialogue>
<character>DEAN</character>
<dialogue>Hey, I wish I knew why I was here.</dialogue>
<scene_description>Hogarth puts his hands behind his head and strikes a philosophical pose, too. He seems to be enjoying the adult conversation.</scene_description>
<character>HOGARTH</character>
<dialogue>Yeah.</dialogue>
<character>DEAN</character>
<dialogue>I mean if you think about it, nobody really knows where they came from, why they're here, or where they're going. We believe. We hope. But we don't know.</dialogue>
<character>HOGARTH</character>
<dialogue>Right, right...</dialogue>
<character>DEAN</character>
<dialogue>And some cats, that scares 'em, you know?</dialogue>
<character>HOGARTH</character>
<dialogue>You're telling me.</dialogue>
<character>DEAN</character>
<dialogue>They race around, play the game, chase money, chase power...</dialogue>
<character>HOGARTH</character>
<dialogue>Just so they won't have to wonder what life's all about.</dialogue>
<character>DEAN</character>
<dialogue>Exactly.</dialogue>
<parenthetical>(beat, suddenly impressed)</parenthetical>
<dialogue>Hey...</dialogue>
<scene_description>Dean lifts his coffee cup, saluting Hogarth. They sit in silence for a moment, happily contemplating the universe.</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK LABORATORY</stage_direction>
<scene_description>As Kent looks on, an AGENT in a lab coat studies a spoon -- now dusted with white powder -- under a microscope. After a moment, he looks up, and gestures at the BB-gun, also dusted with powder, which lies on the table nearby. The Agent turns to the man in shadow standing over him.</scene_description>
<character>LAB-COAT AGENT</character>
<dialogue>It's the same fingerprint.</dialogue>
<scene_description>A match is struck. We follow it up to the man's pipe, already in his mouth. As the match flares it lights up Kent's face. He smiles diabolically.</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - DAY</stage_direction>
<scene_description>Hogarth contentedly slurps the last of his malted through a plastic straw. Dean works on a slab of apple pie.</scene_description>
<character>HOGARTH</character>
<dialogue>Hey, Dean?</dialogue>
<character>DEAN</character>
<dialogue>Yeah?</dialogue>
<character>HOGARTH</character>
<dialogue>What is life all about? For you, I mean.</dialogue>
<character>DEAN</character>
<dialogue>For me? Well...</dialogue>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I guess I'd like to prove there's something pure in me, you know? They say the soul is part angel and part monster. Sometimes I think life is a chance to set the angel free.</dialogue>
<character>HOGARTH</character>
<dialogue>The Giant looks like a monster. But inside he's good. I can tell.</dialogue>
<character>DEAN</character>
<dialogue>I hope you're right, kid. The world could use an angel that size.</dialogue>
<character>HOGARTH</character>
<dialogue>You won't tell anybody about him, will you?</dialogue>
<character>DEAN</character>
<dialogue>Nah. He's an outsider. I've got a soft spot for outsiders.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGARTH'S HOUSE - DAY</stage_direction>
<scene_description>Hogarth comes riding home on his bike. He parks it at the side of the house, and starts to go inside, then hesitates. He holds out a hand, and feels a drop of rain, looks up at the clouds... then takes his bike and wheels it toward the barn instead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARN - DAY</stage_direction>
<scene_description>Hogarth opens the barn door, and GASPS.</scene_description>
<character>HOGARTH'S POV:</character>
<dialogue>Kent and the labcoat AGENT sit at a small, improvised lab table. Nearby are four OTHER AGENTS in suits and ties; studying maps, monitoring listening equipment, generating artist conceptions of the giant. They look up, aghast.</dialogue>
<character>HOGARTH</character>
<dialogue>Moooom!</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - A LITTLE LATER</stage_direction>
<scene_description>Kent and the agents sit stoically at the breakfast table. Annie stands facing them with folded arms. Hogarth stands nearby, scowling.</scene_description>
<character>ANNIE</character>
<dialogue>So you work for the government?</dialogue>
<character>KENT</character>
<dialogue>That's right.</dialogue>
<scene_description>A long PAUSE...</scene_description>
<character>ANNIE</character>
<dialogue>Our government?</dialogue>
<character>KENT</character>
<dialogue>Of course. Annie, please, let me explain. Every once in a while things happen to people that just can't be rationalized in a conventional way. The Unexplained Phenomena Department was created to respond to the bizarre, the strange, the--well, unexplainable events that happen every day all across this great land. From the mountains to the prairies, to the oceans--</dialogue>
<character>ANNIE</character>
<parenthetical>(interrupts)</parenthetical>
<dialogue>Do you actually work in Washington?</dialogue>
<character>KENT</character>
<dialogue>Yes indeed. Washington D.C...</dialogue>
<scene_description>As Kent begins to wax on about his work, we CUT TO: FLASHBACK: WASHINGTON D.C. - MORNING Kent strides briskly through the crisp morning air, making his way through many equally ambitous go-getters on their way to do the nations work. Familiar Washington monuments fill the background.</scene_description>
<character>KENT (V.O.,</character>
<dialogue>...if you're of a mind to be a mover and a shaker, it's the only place to be.</dialogue>
<scene_description>FLASHBACK: GOVERNMENT BUILDING - LOBBY - CONTINUOUS Kent enters an impressive government building. While most of the workforce heads up the massive marble stairs, Kent heads down the narrow stairs off to the side.</scene_description>
<character>KENT (V.O.,</character>
<dialogue>A place where an individual with pluck and ambition can really get ahead...</dialogue>
<scene_description>FLASHBACK: GOVERNMENT BUILDING SUBLEVEL - NARROW HALLWAY Kent walks down the endless row of identical doors, stopping in front of one labeled "UNEXPLAINED PHENOMENA DEPT." Kent unlocks the door and enters a sparse, windowless office not much larger than the desk in the center of it.</scene_description>
<character>KENT (V.O.,</character>
<dialogue>...safe in the knowledge that the vast resources of the U.S. Government are at ones disposal.</dialogue>
<scene_description>FLASHBACK: KENT'S OFFICE Kent sits idly at his desk, evenly spacing a row of sharpened pencils across the desktop. Clearly there's no action here.</scene_description>
<character>KENT (V.O.,</character>
<dialogue>Although we're simply inundated with calls, we limit ourselves to only the most demanding cases. It's a challenge, I won't deny it.</dialogue>
<scene_description>The phone finally RINGS and Kent SEIZES it hungrily... FLASHBACK: APPALACHIAN MOUNTAINS - DAY A couple of slack-jawed yokels gape as Kent pulls a large deflated baloon down from a tree, "U.S. WEATHER SERVICE" stenciled on its side. Kent displays it to them, glaring. They grin sheepishly.</scene_description>
<character>KENT (V.O.,</character>
<dialogue>I could tell you many strange stories, but unfortunately, all of them are classified.</dialogue>
<scene_description>RESUME ANNIE'S KITCHEN - KENT & COMPANY Kent leans back in his chair, his story told.</scene_description>
<character>KENT</character>
<dialogue>I hope that helps to calm some of your worries, Annie. And you, too, Hogarth. Hogarth?</dialogue>
<scene_description>The Agents all look around. Hogarth is nowhere to be seen.</scene_description>
<character>KENT</character>
<dialogue>You're supposed to be watching him!</dialogue>
<scene_description>The Agents hustle out of the room.</scene_description>
<character>KENT</character>
<parenthetical>(then smiling, to Annie)</parenthetical>
<dialogue>For his own good, of course.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ENORMOUS GATES OF IRON - DAY</stage_direction>
<character>HOGARTH</character>
<dialogue>Open the blast doors!</dialogue>
<scene_description>The massive gates open: Hogarth, wearing a space helmet and carrying a plastic ray gun, walks through. WIDEN TO REVEAL: the gates are actually the giant's two hands.</scene_description>
<character>HOGARTH</character>
<dialogue>Level two. Commander Thruster to base... I have found the escape vehicle.</dialogue>
<scene_description>The giant's hand takes him up, up... to a junk car atop a big junk pile. Hogarth climbs in, grabs the wheel.</scene_description>
<character>HOGARTH</character>
<dialogue>Main engines: 1, 2, and 3! Blast off!</dialogue>
<scene_description>The giant grabs the car and "flies" it around. ANGLE ON - DEAN'S HOUSE Dean sits on his porch, watching. BACK TO - THE:</scene_description>
<character>GIANT</character>
<dialogue>Hogarth's face compresses from the G-forces. He looks green.</dialogue>
<character>HOGARTH</character>
<dialogue>We're landing... we're landing!</dialogue>
<scene_description>From his porch Dean watches, grins. The car "lands", Hogarth stumbles out, dizzy. The giant CHORTLES.</scene_description>
<character>HOGARTH</character>
<dialogue>Only one creature could create such destruction. The hideous, man- eating killing machine... ROBOTRON!</dialogue>
<scene_description>Hogarth waits. The Giant just stands there, staring at him.</scene_description>
<character>HOGARTH</character>
<parenthetical>(impatienly)</parenthetical>
<dialogue>Robotron...</dialogue>
<character>GIANT</character>
<dialogue>Roarrrr....</dialogue>
<character>HOGARTH</character>
<dialogue>No, no, no. Bigger...!</dialogue>
<scene_description>ROOAARRRR!!!!!</scene_description>
<character>HOGARTH</character>
<dialogue>Good! Okay, Robotron... take THIS!!!</dialogue>
<scene_description>He whips his toy gun out, aims it at the Giant and pulls the trigger. It WHINES and sparks. Suddenly the Giant freezes. His eyes lock on the gun, and a reddish glow comes into his eyes.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>When I zap you, you're supposed to fall down. Remember? Like I told you...</dialogue>
<scene_description>With his eyes still glowing, the Giant reaches out both hands, zombie-like, towards Hogarth.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Hey...</dialogue>
<scene_description>The hands begin closing around Hogarth, who is beginning to panic.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Wait a minute! It's me, Hogarth...</dialogue>
<scene_description>He sees that the Giant is staring at his gun, and quickly slips it behind his back.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Your friend!</dialogue>
<scene_description>The Giant freezes. The red fades from his eyes. Then he looks at his hands which are closed threateningly around Hogarth.</scene_description>
<character>GIANT</character>
<dialogue>(GASP OF SHOCK) HOGARTH</dialogue>
<scene_description>Hey, it's okay. I know you didn't mean it. But, uh, maybe that's enough playing for now. Hogarth gets up and heads for Dean's house. As he turns away from the Giant, we see that he wears a look of deep concern.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEAN'S HOUSE</stage_direction>
<scene_description>Hogarth takes a seat on the porch beside Dean, who is scanning the hills with binoculars.</scene_description>
<character>DEAN</character>
<dialogue>You're sure you weren't followed?</dialogue>
<character>HOGARTH</character>
<dialogue>Yeah. It's not too hard to lose those guys.</dialogue>
<character>DEAN</character>
<dialogue>Don't get cocky. Even guys in suits can learn.</dialogue>
<character>HOGARTH</character>
<dialogue>Why do they want to get him, anyway? Just because he's different?</dialogue>
<character>DEAN</character>
<dialogue>That's generally all it takes.</dialogue>
<character>HOGARTH</character>
<dialogue>They don't even know him, and they just assume he's dangerous.</dialogue>
<scene_description>They stare out at the Giant, as he opens a car hood, plucks out the engine, eats it, and throws away the "shell."</scene_description>
<character>DEAN</character>
<dialogue>Yeah. I just hope they're wrong.</dialogue>
<character>HOGARTH</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>DEAN</character>
<dialogue>Look, I saw what happened out there just now. When you drew a gun on him, he got a look in his eye...</dialogue>
<character>HOGARTH</character>
<dialogue>It's not his fault! He can't help it.</dialogue>
<character>DEAN</character>
<dialogue>That's what worries me. We don't know what he's capable of. On the surface he may be gentle, but on the inside he could be a killer.</dialogue>
<scene_description>The Giant looks up curiously. Hogarth shushes Dean.</scene_description>
<character>HOGARTH</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Don't use that word around him!</dialogue>
<character>DEAN</character>
<dialogue>Why not?</dialogue>
<character>HOGARTH</character>
<dialogue>Because he cares. I can't explain it, but... he cares about what he is. He's getting so he can understand all kinds of stuff now. If he hears you use that word around him...</dialogue>
<character>DEAN</character>
<dialogue>Okay, okay. I'm just saying, be careful.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>So... have we got a plan here? I mean, he can't stay here forever.</dialogue>
<character>HOGARTH</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>I know...</dialogue>
<character>DEAN</character>
<dialogue>The longer he stays, the better their chance of finding him. We've got to get him out of here, Hogarth.</dialogue>
<character>HOGARTH</character>
<dialogue>How? He's a little too big to smuggle out in a suitcase.</dialogue>
<character>DEAN</character>
<dialogue>We could do it in pieces.</dialogue>
<character>HOGARTH</character>
<dialogue>You mean take him apart?</dialogue>
<character>DEAN</character>
<dialogue>You think he'd go for that? I've got a junk-truck -- I'm always hauling scrap. In half a dozen trips, we could get him to Canada. There are places in the Yukon, old mining sites, no one around, plenty of metal. He could roam the earth and live off the land... sounds pretty good, actually.</dialogue>
<scene_description>Hogarth thinks about it.</scene_description>
<character>HOGARTH</character>
<dialogue>When?</dialogue>
<character>DEAN</character>
<dialogue>The sooner the better. Tonight if possible.</dialogue>
<character>HOGARTH</character>
<dialogue>Tonight??? But I only just met him a couple days ago!</dialogue>
<parenthetical>(pleading)</parenthetical>
<dialogue>At least wait until tomorrow...</dialogue>
<scene_description>Dean looks at the Giant, lounging peacefully in the junkyard.</scene_description>
<character>DEAN</character>
<dialogue>Alright, I guess one more day won't make a difference.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BEDROOM - NIGHT</stage_direction>
<scene_description>R&B; BLARES: Little Richard. Hogarth draws pictures of the giant, they're good. He hides the pictures from view, carefully covering them with a book before EXITING the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Hogarth sharpens some pencils with the sharpener mounted on the inside of the broom closet.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BEDROOM</stage_direction>
<scene_description>Hogarth returns, goes to his desk, stops stunned: the giant drawings are uncovered. Eyes wide, Hogarth looks around his room: everything looks slightly askew, as if it's been... searched. Hogarth's neck-hair tingles. He stares at the his bedroom door, slowly pulls it toward him... REVEALING: KENT standing behind it... smiling.</scene_description>
<character>KENT</character>
<dialogue>Surprise.</dialogue>
<character>HOGARTH</character>
<dialogue>Kent. What are you doing in my room?</dialogue>
<scene_description>He holds up a 45 RPM record, still in its sleeve.</scene_description>
<character>KENT</character>
<dialogue>Just being friendly. And all that that implies. I know how you kids like rocky roll, so-</dialogue>
<scene_description>He goes to the phonograph, and puts it on the platter...</scene_description>
<character>HOGARTH</character>
<dialogue>Pat Boone...?</dialogue>
<character>KENT</character>
<dialogue>Yeah, baby. It's got that jungle rhythm, but you can understand the words...</dialogue>
<character>HOGARTH</character>
<dialogue>Uh.... thanks.</dialogue>
<scene_description>Kent starts to undulate awkwardly to the music...</scene_description>
<character>KENT</character>
<dialogue>Come on, Hogarth. Let's do the happy monkey. You know the one I mean...</dialogue>
<scene_description>Hogarth edges toward the door, Kent follows, still dancing...</scene_description>
<character>KENT (CONT'D)</character>
<dialogue>Friends, Hogarth, that's what we ought to be. But friends don't keep secrets from each other.</dialogue>
<character>HOGARTH</character>
<dialogue>I don't know what you're talking about...</dialogue>
<character>KENT</character>
<dialogue>You don't. Well, let me tell you a little story. Your mom says you like 'em.</dialogue>
<scene_description>Kent steps in front of the doorway, his smile now chilling.</scene_description>
<character>KENT</character>
<dialogue>Once there was a boy who walked into a forest. He wanted to take a picture of a metal-eating giant -- but lo and behold, the giant ate his camera alllll up!!</dialogue>
<scene_description>Hogarth looks baffled.</scene_description>
<character>HOGARTH</character>
<dialogue>How did you -- ?</dialogue>
<character>KENT</character>
<dialogue>Because in the process, the Giant snapped a picture of himself.</dialogue>
<parenthetical>(holds up a roll of film)</parenthetical>
<dialogue>And the little boy brought the film home.</dialogue>
<scene_description>Hogarth lunges for the roll of film.</scene_description>
<character>HOGARTH</character>
<dialogue>Give it back!</dialogue>
<scene_description>Kent dangles the film over Hogarth's head for a moment, then drops it into Hogarth's hands. Hogarth looks at it.</scene_description>
<character>HOGARTH</character>
<dialogue>Empty...</dialogue>
<scene_description>Kent slips a black-and-white photo from his coat, and hands it to Hogarth. It shows the Giant's face, its mouth wide open.</scene_description>
<character>KENT</character>
<dialogue>The Army arrives in twenty-four hours, Hogarth. Just thought you'd like to know.</dialogue>
<scene_description>Kent dances out of the room. Hogarth stares, helpless.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Kent puffs on his pipe, as Annie knits. Hogarth sits in a chair studying them. Kent breaks the silence.</scene_description>
<character>KENT</character>
<dialogue>Well, isn't this a fine way to spend an evening? We're like one big happy family...</dialogue>
<scene_description>Hogarth looks up, staring darkly at Kent.</scene_description>
<character>HOGARTH</character>
<dialogue>You're not family. And when my Dad finds out you sat in his chair, he'll hunt you down like a dog--</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth!</dialogue>
<scene_description>Kent turns to Annie. He makes a half-hearted gesture of getting out of his chair.</scene_description>
<character>KENT</character>
<parenthetical>(starting to rise)</parenthetical>
<dialogue>I'm sorry, should I...?</dialogue>
<character>ANNIE</character>
<dialogue>No, no, don't get up. My husband -- Hogarth's father -- he's... he was an Air Force Pilot in Korea. A casualty.</dialogue>
<character>HOGARTH</character>
<dialogue>He's coming back.</dialogue>
<scene_description>Ignoring Hogarth, Kent puts on a look of deep sympathy, and turns to Annie.</scene_description>
<character>KENT</character>
<dialogue>I'm so sorry.</dialogue>
<character>HOGARTH</character>
<dialogue>No you're not!</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth!</dialogue>
<character>HOGARTH</character>
<dialogue>But, Mom, this guy doesn't care about anything -- cats like him race around, play the game, chase money, chase power...but he keeps buttering you up so you won't see that!</dialogue>
<character>ANNIE</character>
<dialogue>Hogarth, that is enough! I think you owe our guest an apology.</dialogue>
<character>KENT</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Oh, now, there's no need for that. Hogarth is right in a way. I'm certainly ambitious. Yes...</dialogue>
<parenthetical>(looks pointedly at Annie)</parenthetical>
<dialogue>Ambitious, career-minded, stable --</dialogue>
<character>HOGARTH</character>
<dialogue>He's doing it again!</dialogue>
<scene_description>Kent gives Hogarth a patronizing smile.</scene_description>
<character>KENT</character>
<dialogue>Hogarth. I would have thought a good American boy like yourself would have more respect for the work I do. The world has become a dangerous place, you know. The balance of power is delicate. I gather information. And the side that has the information is the side that will win.</dialogue>
<scene_description>Hogarth fixes his eyes on Kent with an intensity that's unnerving.</scene_description>
<character>HOGARTH</character>
<dialogue>They say the soul is part angel and part monster. One look at you and I know the monster is gonna win.</dialogue>
<character>ANNIE</character>
<dialogue>That's it. You either apologize or go right up to bed right now!</dialogue>
<scene_description>Hogarth throws up his hands and marches out of the room.</scene_description>
<character>ANNIE</character>
<dialogue>Honestly, I don't know where he's getting these wild ideas. He's starting to talk like that beatnik...</dialogue>
<character>KENT</character>
<dialogue>Beatnik...?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S BEDROOM - NIGHT</stage_direction>
<scene_description>Hogarth is in bed, the lights are out. Annie appears in his doorway, silhouetted by the light in the hall. She lingers for a moment, thoughtful...</scene_description>
<character>ANNIE</character>
<dialogue>Have you been out at the junkyard, Hogarth?</dialogue>
<character>HOGARTH</character>
<parenthetical>(after a long pause)</parenthetical>
<dialogue>Which junkyard?</dialogue>
<character>ANNIE</character>
<dialogue>The only junkyard. Dean's junkyard.</dialogue>
<character>HOGARTH</character>
<parenthetical>(another pause)</parenthetical>
<dialogue>If I had ...would you be mad at me?</dialogue>
<character>ANNIE</character>
<dialogue>No...</dialogue>
<parenthetical>(more quietly)</parenthetical>
<dialogue>...no.</dialogue>
<parenthetical>(sad smile)</parenthetical>
<dialogue>Tell him "hi" for me.</dialogue>
<scene_description>She EXITS. Hogarth stares at the ceiling... and sighs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN - NEXT DAY</stage_direction>
<scene_description>A convoy of Army vehicles is pouring into town. Kent watches them enter, euphoric. He glances at his watch, and remembering an appointment, rushes off.</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - DAY</stage_direction>
<scene_description>An Army General sits at a booth, studying a map. Kent sits across from his, positively glowing with pride.</scene_description>
<character>GENERAL</character>
<dialogue>Hills, valleys, woods, ravines. Lot of places to hide, around here.</dialogue>
<character>KENT</character>
<dialogue>Yes, it's remarkable isn't it, sir?</dialogue>
<scene_description>Kent looks around at the various coffee-shop Busybodies, and speaks loudly, for their benefit.</scene_description>
<character>KENT</character>
<dialogue>That one man, working alone, could have single-handedly found a monster in a place like this?</dialogue>
<scene_description>The Busybodies coo and murmum amongst themselves.</scene_description>
<character>GENERAL</character>
<parenthetical>(still studying map)</parenthetical>
<dialogue>Hard to know where to start, really...</dialogue>
<character>KENT</character>
<dialogue>Well, sir, perhaps I can be of some help in that regard. You see, I've had my eye on an odd little boy who seems to be connected to the creature in question. And I have reason to believe he's been spending some time at a local scarpyard.</dialogue>
<scene_description>From behind the counter, Annie looks sharply at Kent, finally understanding his attentions.</scene_description>
<character>GENERAL</character>
<dialogue>Can you take me there?</dialogue>
<character>KENT</character>
<dialogue>But of course, sir.</dialogue>
<parenthetical>(loudly, for the busybodies)</parenthetical>
<character>KENT</character>
<dialogue>When a five-star general needs my help, I'm only too eager to oblige.</dialogue>
<scene_description>Annie comes by and refills their coffee.</scene_description>
<character>ANNIE</character>
<dialogue>I'm the mother of that "odd" little boy.</dialogue>
<character>KENT</character>
<parenthetical>(uncomfortable)</parenthetical>
<dialogue>Oh yes, ahem.</dialogue>
<character>ANNIE</character>
<dialogue>And if you're going up to the junkyard, I'm coming along.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEAN'S STUDIO - DAY</stage_direction>
<scene_description>Dean is welding a sculpture of a hooded executioner. Instead of an axe, the executioner wields a flag -- part Hammer and Sickle, part Stars and Stripes. There's a knock at his door.</scene_description>
<character>DEAN</character>
<dialogue>Come in.</dialogue>
<scene_description>In walks the General and Kent followed by a few soldiers. Annie comes in last. Dean takes off his welding goggles, and studies all the uniforms.</scene_description>
<character>DEAN</character>
<dialogue>I assume you're here for the Lenny Bruce albums.</dialogue>
<character>KENT</character>
<dialogue>Watch the wise cracks, Beatnik. We represent America.</dialogue>
<character>DEAN</character>
<dialogue>We all represent America, man.</dialogue>
<character>GENERAL</character>
<dialogue>Sir, my name is General Shannon Rogard. We have reason to believe you are harboring a large...</dialogue>
<parenthetical>(finding this hard to swallow)</parenthetical>
<dialogue>... creature whose interest run counter to those of the United States. Do you deny it?</dialogue>
<character>DEAN</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Hey, man, if a cat needs to flop, my pad springs eternal.</dialogue>
<scene_description>The General and the Soldiers exchange puzzled glances. One of them leans towards the General and speaks in hushed tones.</scene_description>
<character>SOLDIER</character>
<dialogue>As I understand it, sir, a "cat" is a member of the counter-culture.</dialogue>
<character>GENERAL</character>
<dialogue>What rank?</dialogue>
<character>SOLDIER</character>
<dialogue>Well...</dialogue>
<scene_description>As the General and the Soldiers continue to confer, Annie steps forward and speaks to Dean.</scene_description>
<character>ANNIE</character>
<dialogue>Is Hogarth here? Is he alright? These people say he may be in some kind of trouble.</dialogue>
<character>DEAN</character>
<dialogue>He's not here, Annie. But he is alright.</dialogue>
<parenthetical>(then, gently)</parenthetical>
<dialogue>Believe me, I would never let anything happen to that little guy.</dialogue>
<scene_description>Annie and Dean share a look. Kent sees this and loses his cool.</scene_description>
<character>KENT</character>
<dialogue>Alright, I've had enough!</dialogue>
<scene_description>He turns to the soldiers.</scene_description>
<character>KENT</character>
<dialogue>You and you! Start rummaging around! Tip some tables over! Kick open doors! Break stuff! You know the drill!</dialogue>
<scene_description>Kent claps his hands. The soldiers don't move.</scene_description>
<character>DEAN</character>
<parenthetical>(to Kent)</parenthetical>
<dialogue>We all hear you yacking, daddy-o, but no one's listening.</dialogue>
<scene_description>Kent seethes.</scene_description>
<character>KENT</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Not yet. Not yet.</dialogue>
<scene_description>Annie looks from one to the other, comparing.</scene_description>
</scene>
<scene>
<stage_direction>INT. WOODS - DAY</stage_direction>
<scene_description>The Giant strolls through the forest, with Hogarth on his shoulder.</scene_description>
<character>HOGARTH</character>
<dialogue>I know this is hard for you to understand, but...well, it might be a real long time before we get to hang out like this again.</dialogue>
<scene_description>The Giant is oblivious to anything but the beauty of the day. He turns his face up towards the sun as it ours through the trees. Birds are singing. All is peaceful. (CONTENTED SOUND):</scene_description>
<character>HOGARTH</character>
<dialogue>Yeah, it is beautiful, isn't it?</dialogue>
<scene_description>Through a patch in the trees, they spot a deer. (CURIOUS SOUND):</scene_description>
<character>HOGARTH</character>
<dialogue>It's a deer. "Deeeer."</dialogue>
<character>GIANT</character>
<dialogue>Deeeer...</dialogue>
<scene_description>The Giant takes a step towards it. It darts away. Hogarth points.</scene_description>
<character>HOGARTH</character>
<dialogue>That way!</dialogue>
<scene_description>Full of childlike curiosity, the Giant follows, and a game of hide and seek begins. Hogarth laughs happily, as they dart in and out of the trees. At last he finds the deer grazing in a clearing. The Giant is FASCINATED.</scene_description>
<character>HOGARTH</character>
<parenthetical>(whisper)</parenthetical>
<dialogue>Shhhhh... let's get closer...</dialogue>
<scene_description>The Giant tries to sneak nearer, leaning on a pair of tall trees, which begin to teeter. He grabs one, and as he quietly pushes it back into place... the other crashes to the ground. The treetop lands near the deer, who bolts away from it and directly toward the Giant--almost into the Giant's foot. The deer STOPS, puzzled by the strange metal obstacle. He looks up... right to the Giant's face. The Giant SMILES-- --which SPOOKS the deer, who darts off in the other direction. The Giant reaches out and catches it, in one huge hand, like a kid trapping a butterfly.</scene_description>
<character>HOGARTH</character>
<dialogue>You caught it!</dialogue>
<scene_description>The Giant laughs and opens his hand. The deer lies motionless. The Giant and Hogarth look stunned. The Giant tenderly lays the deer down on the ground, kneels, and nudges the deer with a big finger. Nothing. It doesn't move.</scene_description>
<character>HOGARTH</character>
<dialogue>It's... dead.</dialogue>
<character>GIANT</character>
<dialogue>Deh...?</dialogue>
<scene_description>There is a long silence. The Giant nudges the deer again.</scene_description>
<character>HOGARTH</character>
<parenthetical>(suddenly vehement)</parenthetical>
<dialogue>Don't do that! It's dead. Okay?? That means it's not going to move! It's gone! And it's not coming back, understand??</dialogue>
<parenthetical>(softly, tears flowing)</parenthetical>
<dialogue>It's not ever going to come back...</dialogue>
<scene_description>It begins to snow, softly. From high above, through the trees, the boy and the giant stare down at the lifeless deer. They bow their heads in sorrow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNKYARD - LATER</stage_direction>
<scene_description>The snow falls harder now. The depressed giant sits on a hillside, snow piling up on his motionless bulk, staring out into the forest. Dean and Hogarth watch him, worried.</scene_description>
<character>DEAN</character>
<dialogue>This is bad. This is very bad. The Army's on it's way. We've got to get him out of here!</dialogue>
<character>HOGARTH</character>
<dialogue>He doesn't know how to think about it.</dialogue>
<character>DEAN</character>
<dialogue>You've got talk to him. You've got to get through to him.</dialogue>
<character>HOGARTH</character>
<dialogue>Me? I don't know about this stuff...</dialogue>
<character>DEAN</character>
<dialogue>You know as much as anyone does, kid. And he trusts you. Speak from your heart. It's the only chance we've got.</dialogue>
<scene_description>Hogarth looks at the Giant.</scene_description>
<character>HOGARTH</character>
<dialogue>Alright. I'll try.</dialogue>
<scene_description>He walks over to the Giant, climbs up his leg, and sits on his knee. The Giant turns and looks at Hogarth, with weary eyes. Hogarth sighs.</scene_description>
<character>HOGARTH</character>
<dialogue>It wasn't your fault.</dialogue>
<scene_description>No response from the Giant.</scene_description>
<character>HOGARTH</character>
<dialogue>Things die. It's part of life.</dialogue>
<scene_description>Hogarth reaches for the overhanging branch of a nearby tree and picks two leaves -- a brown on and a green one. He holds up the green leaf.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Life...</dialogue>
<scene_description>He holds up the brown leaf.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>...and death...</dialogue>
<scene_description>He gestures at the forest around him.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>...they're part of the way things are.</dialogue>
<scene_description>He points at the Giant and shakes his head.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>You didn't make it that way. Do you understand? It's not your fault.</dialogue>
<scene_description>The Giant gazes at Hogarth for a beat, then takes the leaves from the boy's hands and studies them. Hogarth hops down and stands by Dean.</scene_description>
<character>DEAN</character>
<dialogue>What's he doing?</dialogue>
<character>HOGARTH</character>
<dialogue>He's thinking. It's not an easy thing to understand.</dialogue>
<scene_description>Dean looks at Hogarth with empathy.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE ARMY'S TEMPORARY COMMAND CENTER - DAY</stage_direction>
<scene_description>Kent is on the phone with the chief. He's visably PALE. (INTERCUT the following with the CHIEF in Washington, D.C.)</scene_description>
<character>KENT</character>
<dialogue>But Sir... you're making a big mistake! We're close... I have a real gut fee--</dialogue>
<character>CHIEF</character>
<parenthetical>(CUTTING HIM OFF)</parenthetical>
<dialogue>Mansley, if I hear about your gut feelings one more time I'm going to vomit through the phone lines!! The press has got ahold of this thing and now I'm a laughing stock for spending tax dollars on your IDIOTIC plan! I'm pulling those troops out THIS MINUTE! Before MY career is as dead as YOURS!!</dialogue>
<scene_description>The Chief SLAMS the receiver down so hard, it hurts Kent's hand in Maine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEAN'S JUNKYARD - DAY</stage_direction>
<scene_description>The Giant still ponders. Just then, a pair of Army planes comes into view. We hear a beeping sound.</scene_description>
<character>HOGARTH</character>
<dialogue>Oh no...</dialogue>
<character>DEAN</character>
<dialogue>What is it?</dialogue>
<scene_description>The panels on the Giant's arms slide open, and the strange tracking device pops out again.</scene_description>
<character>HOGARTH</character>
<dialogue>I was going to tell you...</dialogue>
<scene_description>The Giant looks confused as another panel opens, and what appears to be a rocket launcher pokes out, tracking the planes. As they pass, the weapons recede and the panels close. The Giant looks distressed.</scene_description>
<character>DEAN</character>
<dialogue>Good God, Hogarth he's armed??! How could you keep this from me?</dialogue>
<character>HOGARTH</character>
<dialogue>Would you have let him stay?</dialogue>
<character>DEAN</character>
<dialogue>No!</dialogue>
<character>HOGARTH</character>
<dialogue>That's why.</dialogue>
<character>DEAN</character>
<dialogue>Oh, man. Oh man, Hogarth! This is serious! What are we doing?? He's not some lost puppy...he's a weapon!!</dialogue>
<scene_description>Dean is pointing at the Giant now. Hogarth sees the Giant watching Dean with eyes wide.</scene_description>
<character>HOGARTH</character>
<dialogue>Dean, shh--</dialogue>
<character>DEAN</character>
<dialogue>He's a machine, Hogarth! He was made, designed--to kill!</dialogue>
<scene_description>The Giant stands up. He looks at himself, and then at Dean. And then, with a terrible roar, he runs away. Dean and Hogarth share a look of panic.</scene_description>
<character>DEAN</character>
<dialogue>This is bad.</dialogue>
<character>HOGARTH</character>
<dialogue>We gotta find him!</dialogue>
<character>DEAN</character>
<dialogue>Come on!</dialogue>
<scene_description>They run for his house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL - SAME TIME</stage_direction>
<scene_description>Kent watches in despair as the ARMY pulls out of Rockwell, taking his credibility, and hopes for the future, with them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE - DAY</stage_direction>
<scene_description>The Giant wanders through the falling snow, deeply disturbed and depressed, not knowing, or caring, where he's going.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEAN'S GARAGE</stage_direction>
<scene_description>He wheels a motorcycle out. Hogarth jumps in the sidecar.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE DEEP WOODS - DAY</stage_direction>
<scene_description>The Giant blindly marches on, agitated, grieving.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEAN'S MOTORCYCLE - MOVING - DAY</stage_direction>
<scene_description>Dean and Hogarth speed into the driving snow, following the Giant's quickly filling footprints.</scene_description>
<character>DEAN</character>
<dialogue>He's headed right toward town.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE OUTSKIRTS OF TOWN - EVENING</stage_direction>
<scene_description>FILLING THE SCREEN: a woman SCREAMS. LOUD. REVERSE: the Giant peers down at a tiny woman, her TINY SCREAM barely heard from his viewpoint. He waves meekly. BACK TO: the woman SCREAMS... runs in, SLAMS the door. The Giant wonders... He looks behind him, is something back there...? Nope.... He shrugs. He wanders on, the streets largely deserted, the snow falls heavily. LOOKING IN A SECOND-STORY WINDOW A TODDLER watches a TV monster movie. Bored, he looks out the window... and sees a real monster. He blinks, isn't sure whether to be scared or not. The Giant sees the kid staring at him. The Giant smiles, and waves. The kid grins, waves back. The kid HOLLERS, in silence. TWO OLDER KIDS join him at the window, look out, see a waving giant. They look stunned, and wave back. One YELLS a silent "MOM!". MOM appears at the window. The Giant waves. She turns white, SCREAMS silently, YANKS down the window shade. The Giant blinks, disturbed. BOW-WOW-WOW! He looks down: a tiny TERRIER BARKS ferociously at him, then NIPS at his foot... and YELPS in pain.</scene_description>
<character>GIANT</character>
<dialogue>Rock.</dialogue>
<scene_description>The giant reaches down for the terrier: it YIPES and runs away. The giant looks disappointed. He looks up: nearby, several VILLAGERS stand in the falling snow, staring up at him. He waves. The villagers run inside, SLAM their doors. The giant MOANS, depressed. WITH DEAN AND HOGARTH - MOVING In the snow, Dean drives flat-out. In the side-car, Hogarth hangs on for dear life. They blow past-- KENT... going the other way. Kent SLAMS on his breaks, his suspicions aroused, and hangs a U-TURN, almost colliding with the last of the TROOPS. Their truck screeches to a stop. Kent jumps out, waving his arms as he runs up to the driver.</scene_description>
<character>KENT</character>
<dialogue>STOP! I know this'll sound crazy, but--</dialogue>
<scene_description>THE MIDDLE OF TOWN A scene out of a 50's horror movie: a dozen VILLAGERS run SCREAMING from a huge giant behind them.... But this giant just stands there, his shoulders droop, heartsick. He realizes that everyone is terrified of him... and he doesn't understand why. If the Iron Giant could cry, he would. SIRENS sound in the distance, getting closer. The giant turns around and heads back out of town, toward the junkyard and home. SHREEEEEK! Right in front of him, A WOMAN SCREAMS, her hands fly up... releasing her baby carriage which rolls right up against the giant's feet. The giant looks down... sees an INFANT inside. The baby COOS and waves at the giant, who grins and waves back. At last, a friendly face! Two police cars SCREECH up, TWO COPS leap out and fumble out their guns. The mother SCREAMS.</scene_description>
<character>MOTHER</character>
<dialogue>It's got my baby!</dialogue>
<scene_description>The cops stare, stunned, at the Giant towering over the baby. One cop RADIOS for help. Annie exits the diner, sees the scene, joins the crowd, terrified, watching: The Giant seems to be... making faces at the baby. The fascinated giant CHORTLES and leans way down to look closer at the GIGGLING infant: which looks threatening to onlookers. The mother SCREAMS.</scene_description>
<character>MOTHER</character>
<dialogue>Shoot it!</dialogue>
<scene_description>Alarmed, the cops raise their guns. Dean and Hogarth SCREECH up on Dean's motorcycle....</scene_description>
<character>HOGARTH</character>
<dialogue>No!</dialogue>
<scene_description>The cops FIRE. The bullets bounce off the Giant's sides. The Giant turns: what was that? His eyes zero in on the cop's guns--and turn BRIGHT RED. With a heavy machinery WHIRR ...</scene_description>
</scene>
<scene>
<stage_direction>.. a FUTURISTIC WEAPON springs up out of the Giant's right arm, which he instinctively swings toward the police car. Cops and soldiers leap aside as a GREEN RAY shoots and--</stage_direction>
<scene_description>KA-THOOOOOOM! --the police car EXPLODES in an unearthly blast that sends a blue fireball roiling into the sky. The Giant's arm jerks round, catching the helpless cops and soldiers in its cross- hairs... ...but the Giant's eyes suddenly clear: alarmed, he knocks his arm aside before it FIRES: KA-THOOOOOOM! The RAY rips through the air, destroying a grove of trees on the far side of town. The Giant RECOILS, horrified by his own destructive power. He forces the gun back into his arm and rushes away, vanishing into the night. Dean and Hogarth exchange glances. They turn to go and--- --run straight into KENT and a group of SOLDIERS. They've seen the whole thing, and Kent has never looked more SMUG.</scene_description>
<character>KENT</character>
<parenthetical>(to soldiers)</parenthetical>
<dialogue>Seize them.</dialogue>
<scene_description>The soldiers do as they're told, grabbing Dean and Hogarth.</scene_description>
<character>HOGARTH</character>
<dialogue>Hey! Get your hands off! Let go of me! You're hurting me! Help!!</dialogue>
<scene_description>As they pass through frame we see that KENT is holding a MICROPHONE, and recording Hogarth's protestations on a tape recorder. He SMILES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - DUSK</stage_direction>
<scene_description>The Giant hides, anxious and watchful. Then he hears a distant sound echoing through the trees, a voice...</scene_description>
<character>HOGARTH</character>
<dialogue>Let go of me! You're hurting me! Help!!</dialogue>
<scene_description>That's all the Giant needs to hear. He's off... moving swiftly through the dark forest in the sounds direction.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL - DUSK</stage_direction>
<scene_description>The Giant moves to the edge of the forest, and pauses distrustfully. The town is oddly still. Hogarth's voice can still be heard calling for help. Then the Giant spies-- HOGARTH-- gagged and tied to the top of a radio tower on the roof of the five story Cross building, the tallest in Rockwell. He squirms. The moment the Giant starts to move toward the building the Army (camouflaged) OPENS FIRE. Suddenly the Giant is being hit from all sides (rifles, machine guns, bazookas): ARMOR (which we haven't seen before) slides out of his body and locks into a covering around him. A stray shot takes out of chunk of the base of the tower that Hogarth is tied to, and it starts to TOPPLE. The Giant SEES THIS and rushes directly into the line of fire to SHIELD Hogarth from being crushed by the tower. The Giant pulls the tower loose, sliding Hogarth into his metal hand.</scene_description>
<character>GENERAL</character>
<dialogue>He's got the boy!! HOLD YOUR FIRE!</dialogue>
<character>KENT</character>
<dialogue>It's KILLED the boy!! Don't let it get away!!</dialogue>
<scene_description>A wall of artillery closes the entrance to town... and begins to fire away at Giant. The Giant looks toward the sea- -but sees armed ships out there, their guns pointed toward land. Once again, various weapons begin to pop out of the Giant's arms. He presses them back in. He turns, and RUNS straight at the wall of Artillery. And JUMPS OVER IT. Everyone stares gape-jawed, then quickly tries to swivel their guns in the opposite direction. But the GIANT is already GONE. The general calls to the AIR FORCE.</scene_description>
<character>GENERAL</character>
<dialogue>This is General Rogard! Code red! Repeat-- code red!</dialogue>
<scene_description>COUNTRYSIDE - MOVING WITH THE GIANT The Giant, carrying Hogarth, hustles through the snow, slipping occassionally, but moving with surprising swiftness. Behind them, JET FIGHTERS appear on the far horizon. And in a moment they're on top of them... strafing the ground with machine gun fire, launching rockets, etc... The Giant bursts through the trees, and suddenly finds himself on a two-lane highway--about to step on cars and the terrified people driving them! The Giant SIDESTEPS to avoid them, losing his balance at full run and SLAMMING into the snowy ground --SLIDING thunderously for the better part of a mile, and cutting a very large swath through whatever happens to be in the way.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL STREET - DAY</stage_direction>
<scene_description>Annie struggles with two Agents, who hustle her into a car.</scene_description>
<character>ANNIE</character>
<dialogue>Let me go! I have to get to my son! What is going on?</dialogue>
<character>AGENT #1</character>
<dialogue>I'm afraid that's classified, ma'am.</dialogue>
<character>ANNIE</character>
<dialogue>Classified? What do you mean?</dialogue>
<scene_description>She tries the door. It won't open. She pounds on the window.</scene_description>
<character>ANNIE</character>
<dialogue>Open this door! Hey!</dialogue>
<scene_description>And then she notices that she's not alone in the car. Beside her is Dean, who sits with his head in his hands.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE</stage_direction>
<scene_description>The Giant tries to swat at the fighter planes as they fly overhead, but they are just out of his reach. He grabs a fallen tree, swinging it like a club, clipping off most of one fighters' WINGS. The pilot EJECTS just before the jet plows into the earth, bursting into a fireball. More and more fighters appear --too many-- BLASTING away at the Giant. He veers toward a high cliff--and JUMPS--- --INTO THE SEA UNDERWATER - CONTINUOUS Imagine a five story building smashing into the sea and you might conjure the explosion of bubbles caused by the Giant... only moments before the fighters swoop the waters surface, strafing it with machine gun fire. The bullets pull- up short, impotently. The Giant feels safe. Then he looks to his hand-- Hogarth is drowning. The Giant is stuck; he can't surface because of the jets, but he can't let Hogarth drown. He reaches up with his other hand, cupping it above the waters surface, and pulls it down below, allowing Hogarth to breathe in the pocket of air. Just then-- A SUB catch the Giant in their sights. They launch torpedoes. The Giant dodges them, but they explode into the base of the cliffs not far away--causing an avalanche of rock to splash into the ocean--which the Giant has to dodge while still holding Hogarth in his pocket of air. More ships appear and they launch DEPTH CHARGES, which explode around the fleeing giant, convincing him he'd best take his chances above water.</scene_description>
</scene>
<scene>
<stage_direction>INT. AGENT'S CAR</stage_direction>
<scene_description>Annie stares out the window. Dean slumps in his seat.</scene_description>
<character>DEAN</character>
<dialogue>It's my fault. I should've done something... something different...</dialogue>
<character>ANNIE</character>
<dialogue>I know the feeling.</dialogue>
<character>DEAN</character>
<dialogue>I just thought the kid could use a friend.</dialogue>
<character>ANNIE</character>
<dialogue>You were right, Dean. You were right.</dialogue>
<character>THE CLIFFS</character>
<dialogue>With great difficulty, the Iron Giant climbs the rocky, crumbling cliff face one-handed as the military keeps the heat on. Finally, unable to find purchase on the cliff face, the Giant stays on a small outcropping, turning to face the onslaught.</dialogue>
<scene_description>Military helicopters descend into view, shining blindingly bright spotlights on the Giant, who is now showing a lot of wear and tear. Weapons break out like hives all over the Giant's body; it's clear that the Army is about to get the worst end of the deal. CLOSE - THE GIANT'S FACE Something changes in the Giant; he WILLS the weapons to retreat back into his body, and--haltingly--they DO.</scene_description>
<character>INSIDE CHOPPER</character>
<dialogue>The pilot trains his weapons on the Giant and shouts into his radio.</dialogue>
<character>PILOT</character>
<dialogue>We have him in our sights sir!</dialogue>
</scene>
<scene>
<stage_direction>EXT. TOWN STREET</stage_direction>
<scene_description>Kent is rabid.</scene_description>
<character>KENT</character>
<parenthetical>(to General)</parenthetical>
<dialogue>What're you waiting for?? FIRE!!</dialogue>
<scene_description>THE CLIFF FACE The Giant turns-- but he's surrounded. It looks bad. Then...</scene_description>
</scene>
<scene>
<stage_direction>.. a low RUMBLING SOUND BEGINS... and BUILDS to a ROAR...</stage_direction>
<character>HOGARTH</character>
<dialogue>What's happening...?</dialogue>
<character>THE GIANT</character>
<parenthetical>(PUZZLED SOUND)</parenthetical>
<dialogue>Both look down; the Giant's feet begin to flame like rockets as he BLASTS OFF INTO THE NIGHT SKY!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE GIANT FLYING THROUGH THE AIR - NIGHT</stage_direction>
<scene_description>The Giant and HOGARTH are FLYING... kind of. They BLAST along, out of control, the Giant's arms flailing.</scene_description>
<character>HOGARTH</character>
<dialogue>Steer that way!</dialogue>
<scene_description>(MORE PUZZLED SOUNDS)</scene_description>
<character>HOGARTH</character>
<dialogue>I don't know!! Point your arms, maybe-- like Superman!</dialogue>
<scene_description>The Giant does as he's told... and they fly (more or less) in that direction. The Giant grins.</scene_description>
<character>HOGARTH</character>
<dialogue>OK! Now land!</dialogue>
<parenthetical>(Giant looks blank)</parenthetical>
<dialogue>Uh... drop your arms!</dialogue>
<scene_description>The Giant lowers his arms to his sides... and the ROCKETS SPUTTER out. The two PLUMMET to the ground. KA-THUMP!</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WOODS - DAY</stage_direction>
<scene_description>HOGARTH and the Giant, dazed from their "landing", collect their wits. And here come the spotter planes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFF - DAY</stage_direction>
<scene_description>Hogarth and the Giant stand together, and watch the Army close in.</scene_description>
<character>HOGARTH</character>
<dialogue>It's no good. There's too many of them. We'll never get away.</dialogue>
<scene_description>He sits down in despair. The Giant sits down too.</scene_description>
<character>HOGARTH</character>
<dialogue>They're going to take you away, Giant. There's nothing we can do.</dialogue>
<scene_description>For a long moment they sit in silence. Finally the Giant speaks.</scene_description>
<character>GIANT</character>
<dialogue>Rock.</dialogue>
<character>HOGARTH</character>
<parenthetical>(looks up)</parenthetical>
<dialogue>Huh?</dialogue>
<character>GIANT</character>
<dialogue>Roooock. Treeee...</dialogue>
<scene_description>Hogarth smiles.</scene_description>
<character>HOGARTH</character>
<dialogue>Yeah. Remember when I taught you that?</dialogue>
<character>GIANT</character>
<dialogue>Churrrrch. Skoooo saauuugz.</dialogue>
<character>HOGARTH</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>That was a great night, too.</dialogue>
<character>GIANT</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Faa-grrrr...</dialogue>
<character>HOGARTH</character>
<dialogue>Yeah...</dialogue>
<character>GIANT</character>
<dialogue>Deeer.</dialogue>
<character>HOGARTH</character>
<parenthetical>(tearfully)</parenthetical>
<dialogue>I know. We've been through a lot together, haven't we?</dialogue>
<scene_description>He puts his hand in the Giant's hand.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>I'm going to miss you so much.</dialogue>
<scene_description>SUBMARINE PERISCOPE POV Through a long periscope lens, as the sub rounds the point, we see the cliff and the Giant come into view.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBMARINE</stage_direction>
<scene_description>The first mate looks up from the periscope--</scene_description>
<character>FIRST MATE</character>
<dialogue>I've got a visual on the monster, sir!</dialogue>
<character>CAPTAIN</character>
<dialogue>Do we have a clear shot?</dialogue>
<character>FIRST MATE</character>
<dialogue>Not yet, sir.</dialogue>
<character>CAPTAIN</character>
<dialogue>Get closer! Don't surface until the last minute!</dialogue>
</scene>
<scene>
<stage_direction>INT. NAVAL CRUISER - BRIDGE - SAME TIME</stage_direction>
<character>SPOTTER</character>
<dialogue>Monster sighted off the port bow!</dialogue>
<character>CAPTAIN</character>
<dialogue>We'll only get one shot!! Full speed ahead!</dialogue>
<scene_description>UNDERWATER - THE BAY - CONTINUOUS The sub begins to RISE to the surface, unaware that the cruiser is speeding toward the same position. The cruiser SWERVES to avoid collision, but it's too late; the cruiser CLIPS the submarine aft, causing a fatal BREACH that splits the sub. INSIDE THE SUB CHAOS! The ocean RUSHES IN, as electricity ARCS up the severed wiring of the sub's MISSLE SYSTEM. It FIRES--!!</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL - MAIN STREET - CONTINUOUS</stage_direction>
<scene_description>THREE POLARIS MISSILES break the water surface, one of which sports a large GASH in its side, its circuitry sparking; clearly malfunctioning. Their second stage rockets fire, causing several clusters of townsfolk to turn to watch, mouths agape, as the missiles climb up into the night sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFF - DAY</stage_direction>
<scene_description>Hogarth and the Giant watch the missiles streak into the sky.</scene_description>
<character>HOGARTH</character>
<dialogue>What's happening-- ?</dialogue>
<scene_description>Hogarth looks out at the sea. On the decks of one of the warships, he can see people panicking.</scene_description>
<character>HOGARTH</character>
<dialogue>There must be some mistake.</dialogue>
<scene_description>He looks up at the sky again. A look of fear comes over him. He begins to pace.</scene_description>
<character>HOGARTH</character>
<dialogue>Oh no... oh no...</dialogue>
<scene_description>In his voice is a note of desperation we've never heard before. The Giant seems to notice. He looks at Hogarth puzzled, trying to understand. Hogarth points at the sky.</scene_description>
<character>HOGARTH</character>
<dialogue>The missiles. Missiles! They're nuclear. Nu-cle-ar. When they come down...</dialogue>
<scene_description>He mimes a missile coming down and exploding.</scene_description>
<character>HOGARTH (CONT'D)</character>
<dialogue>Death...</dialogue>
<scene_description>The Giant reacts. Hogarth gestures at the town around him.</scene_description>
<character>HOGARTH</character>
<dialogue>...everything...</dialogue>
<scene_description>The Giant looks at the sky, then at the town, and after a moment, back at Hogarth. He picks up two leaves, one green and one brown. He gives Hogarth the green leaf, keeping the brown one for himself.</scene_description>
<character>HOGARTH</character>
<dialogue>What? What do you mean? I don't understand!</dialogue>
<scene_description>The Giant looks at Hogarth, gently touching the side of his face with a massive finger. And with that, the Giant blasts off into the sky. Hogarth looks at his leaf again, and a look of dawning comprehension comes over him</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - UPPER ATMOSPHERE OVER EASTERN U.S. COAST</stage_direction>
<scene_description>The Giant BLASTS ALONG at full power to catch up. His radar tracking, the giant spots the missiles. Suddenly TWO of the missles' rockets fire, sending them off toward separate targets on the earth's surface... ...while the DAMAGED MISSLE just FIZZLES, and slowly starts to drop straight down toward Maine far below.</scene_description>
</scene>
<scene>
<stage_direction>INT. AGENT'S CAR</stage_direction>
<scene_description>Annie and Dean look out the back window.</scene_description>
<character>ANNIE</character>
<dialogue>What is it?</dialogue>
<character>DEAN</character>
<dialogue>Polaris missile, I think.</dialogue>
<character>ANNIE</character>
<dialogue>Shouldn't we get to a shelter?</dialogue>
<character>DEAN</character>
<dialogue>It wouldn't matter.</dialogue>
<scene_description>They look at each for a long, silent beat. Then he reaches out and takes her hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL</stage_direction>
<scene_description>A deathly HUSH has fallen over all assembled. Kent, looking ASHEN, starts slowly backing toward the jeep, and escape. Without turning around, the General barks loudly at Kent.</scene_description>
<character>GENERAL</character>
<dialogue>This is your party, Mansley. Don't even think about leaving early. Lieutenant??</dialogue>
<scene_description>The Lieutenant pulls his sidearm and levels it at Kent. Kent WINCES, caught.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - UPPER ATMOSPHERE</stage_direction>
<scene_description>The Giant takes off after the first missile. He concentrates, and the panel on his arm opens up, revealing the now familiar weapon. He FIRES at the distant glare of the missile rockets ... igniting the warhead on the second shot. There is a blinding FLASH, followed by a shockwave, but the Giant remains intact. He doubles back in pursuit of the second missle. Sighting it, he FIRES --and MISSES repeatedly, losing valuable time as he moves closer and closer to the missile. Finally he hits it. It EXPLODES too near him, pummeling him, throwing him back. The Giant recovers and tries to shoot the remaining missile.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFF</stage_direction>
<scene_description>Several jeeps pull up beside Hogarth who is staring at the sky. The General and a group of soldiers jump out. Kent, flanked by soldiers with pistols on him, sits silently in the back of the jeep. The Captain scoops up Hogarth in his arms and stares at the sky as well. IN SPACE - ABOVE THE ATLANTIC OCEAN The Giant spots the third missile arcing down toward Maine and his beloved Rockwell. He CUTS IN HIS AFTERBURNERS, zooms toward it. The giant catches up to the third missile, but his weapons are CHARRED, unable to fire. There's only one option left... WITH THE GIANT The ROAR of his engines fades into silence as a look of peace falls over his iron face. He wraps his arms around the nose of the missile, closing his eyes... ...and slams his fist into the tip of the bomb--</scene_description>
<character>FROM EARTH</character>
<dialogue>The blackness of the night sky goes brilliant WHITE.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL - NIGHT</stage_direction>
<scene_description>Lining the streets, the town people see the brilliant white sky darken, turn back into night... as one, the crowd CHEERS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTER SPACE OVER ASIA - NIGHT</stage_direction>
<scene_description>Pieces of the giant rain all over the Eastern Hemisphere, in a spectacular display.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFF</stage_direction>
<scene_description>The General gets the word over his headset:</scene_description>
<character>GENERAL</character>
<dialogue>He did it!</dialogue>
<scene_description>The soldiers cheer. The General approaches Kent, still flanked by military officers.</scene_description>
<character>GENERAL</character>
<dialogue>As you for you, Mansley. You're under arrest... "and all that that implies".</dialogue>
<scene_description>Kent visably WITHERS.</scene_description>
<character>HOGARTH</character>
<dialogue>But... the giant...</dialogue>
<scene_description>The General looks at Hogarth with great sadness... and shakes his head. Hogarth hides his face and SOBS. The CHEERS TRAIL OFF, as the soldiers, realize the great sacrifice that the big metal monster has made for them... and mankind. The General looks at his men.</scene_description>
<character>GENERAL</character>
<dialogue>Let's go home.</dialogue>
<scene_description>The General carries Hogarth to the Jeep. Hogarth stares at the GREEN LEAF in his hand. We CLOSE ON on the leaf and... MATCH CUT TO: THE SAME LEAF It is now brown. We pull out to reveal that we're in...</scene_description>
<character>HOGARTH'S BEDROOM</character>
<dialogue>Where the leaf sits on Hogarth's bookshelf beside the picture of his father. We pan out the window to Rockwell itself. It's springtime. And everything old is new again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROCKWELL STREETS - DAY</stage_direction>
<scene_description>Dean and Annie walk hand in hand with Hogarth alongside. Everyone smiles and waves. All three are now celebrities, and even Dean seems well-liked and respected. The busybodies spot the trio, and whisper to each other.</scene_description>
<character>MYRTLE</character>
<dialogue>Why, don't they make a lovely family!</dialogue>
<scene_description>Dean and Annie exchange a smile. This time Hogarth smiles and nods, too. Then something on the ground catches his eye: A scorched piece of iron. Hogarth picks it up, examines it, a bittersweet expression on his face. Hogarth carefully puts the piece in his pocket, and looks up into the sky....</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTHERN INDIA - NIGHT</stage_direction>
<scene_description>A lonely kid from India, SASHI, a tinkerer, sits in his room working on an electronics project. It's a poor but well- kept home. Out a window, a METEOR plows into their field: KABOOM! THE METEOR CRATER Ropes lead down into the crater; PULL BACK TO REVEAL Sashi has an elephant pulling out the meteor.</scene_description>
<character>SASHI</character>
<dialogue>Pull!</dialogue>
<scene_description>The elephant strains, pulls: it's the head of the Giant. The boy leaps into the air, shouting, overjoyed.</scene_description>
</scene>
<scene>
<stage_direction>INT. A "BARN" IN INDIA - EVENING</stage_direction>
<scene_description>In an India-version of Hogarth's barn, Sashi cleans the giant head. But it looks dead.</scene_description>
<character>INDIA MOTHER</character>
<dialogue>Shashi! Dinner!</dialogue>
<character>SHASI</character>
<dialogue>Coming!</dialogue>
<scene_description>Sashi walks out... then CRACKLE! Lights flicker in the Giant's eyes... and the eyes light up. The Giant looks around, comes to his senses, sees his predicament... and the antenna rises up out of his head. ANGLES: ALL OVER THE WORLD --giant parts, wherever they've fallen, suddenly snap to attention. Several NUTS and BOLTS dig themselves up out of sand. The pieces start hopping away. Part of a FINGER surfaces in the sea and WORMS toward shore. A sign by an ocean liner reads "India". Several parts sneak up the gangplank.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGARTH'S ROOM - NIGHT</stage_direction>
<scene_description>Hogarth is awakened by a RATTLING SOUND. He looks to see the scorched PIECE OF IRON on his dresser as it drops to the floor and starts moving toward his window. Hogarth BEAMS... ...and opens his window to release it. MUSIC SOARS as the boy watches the piece of metal GO, his mind swimming with new possibilities. ABOVE THE PLANET The Giant's scorched HAND orbits listlessly. Suddenly it WAKENS... and slowly turns away from us. Burning as it hits the atmosphere, the hand reaches toward earth... FADE EVERYTHING TO BLACK... except the tiny flaming dot...</scene_description>
<character>THE END</character>
</scene>
</script> | An object from space crashes in the ocean just off the coast of Maine and then enters the forest near the town of Rockwell. Nine-year-old Hogarth Hughes investigates and finds the object, which is a 50-foot-tall extraterrestrial robot; he runs away but then returns to save the robot when he gets electrocuted while trying to eat the transmission lines of an electrical substation. Hogarth encounters the Giant again and the Giant befriends Hogarth because the Giant witnessed Hogarth saving him. The Giant is docile and curious. The train collides with him and derails; Hogarth leads the Giant away from the area, and discovers that he can self-repair. Hogarth shows the Giant comic books and compares him to the hero Superman. Hogarth also learns that the Giant is unable to recall his origins or reasons for coming to Earth, which Hogarth suspects is because of damage the Giant received while landing. The incidents lead a paranoid U.S. government agent named Kent Mansley to Rockwell. He suspects Hogarth's involvement after talking with him and his widowed mother and rents a room in their house to keep an eye on him. Hogarth evades Mansley and leads the Giant to a junkyard owned by beatnik artist Dean McCoppin, who reluctantly agrees to keep him. Hogarth enjoys his time with the Giant but is compelled to explain the concept of death to the Giant after he witnesses hunters killing a deer. The deer encounter causes the giant to have a nightmare that shows the background of who he was; a war machine built to conquer worlds by an evil alien civilization that destroyed itself in a civil war. Hogarth is interrogated by Mansley when he discovers evidence of the Giant after finding a photo of him next to Hogarth and summons a U.S. Army contingent led by General Shannon Rogard to the scrapyard to prove the Giant's existence, but Dean tricks them by pretending that the Giant is one of his art pieces. Hogarth inadvertently activates the Giant's defensive system, who fires a laser beam in the process. Dean yells at him for nearly killing Hogarth, and the guilt-ridden Giant runs away with Hogarth giving chase. Dean quickly realizes that the Giant was only acting in self-defense and catches up to Hogarth as they follow the Giant. The Giant saves two boys falling from a roof when he arrives, which wins over the townspeople. Mansley spots the Giant in the town while leaving Rockwell and informs Rogard, who sends the Army to attack the Giant after he has picked up Hogarth, which forces the two to flee together. They initially evade the military by using the Giant's flight system, but the Giant is shot down and crashes to the ground. Hogarth is knocked unconscious, but the Giant gives in to his defensive system in a fit of rage and grief by transforming into a war machine, which makes it attack and chase the military all the way back to Rockwell as they return fire. Rogard is nonetheless unnerved at Mansley's insistence on countering the Giant with a nuclear missile launch from the USS Nautilus, but orders Nautilus to stand by as the military's conventional firepower proves ineffective. Hogarth awakens and returns in time to calm the Giant while Dean clarifies the situation to Rogard. Rogard stands down his remaining forces and prepares to order the Nautilus to abort the launch order, but a hysterical Mansley impulsively orders the missile launch anyways, because he is convinced that the Giant remains a threat. The missile is targeted to hit Rockwell, where it will destroy the town upon impact in the resulting nuclear explosion. Rogard stoically accepts the situation, but a panicked Mansley steals a jeep and attempts to flee. The Giant blocks and disables the jeep, and Mansley is held at gunpoint and arrested on Rogard's orders. The Giant bids farewell to Hogarth and flies off to intercept the missile. The Giant remembers Hogarth's words and declares himself "Superman" as he collides with the missile, which explodes high in the atmosphere, which saves Rockwell and the military forces nearby. The Giant is presumably destroyed, which leaves Hogarth and Rogard devastated. Dean and Annie have a chat at a memorial of the Giant made by Dean, that was standing in Rockwell. Hogarth receives a box containing a single screw from the Giant, which was the only remnant recovered. Dean adds that General Rogard sent it, because he believed Hogarth should have it. Hogarth finds the screw trying to move on its own and happily allows the screw to leave. The screw joins many other parts as they converge on the Giant's head on the Langjökull glacier in Iceland, and the Giant smiles as he begins reassembling himself. |
Disclosure_1994 | tt0109635 | <script>
<scene>
<character>DISCLOSURE</character>
<dialogue>by</dialogue>
<scene_description>Paul Attanasio Based on the novel, Disclosure, by Michael Crjchton Baltimore Pictures FIRST DRAFT March 21, 1994 "No act is so private it does not seek applause." --John Updike</scene_description>
<character>WHITE TITLES</character>
<dialogue>MONDAY</dialogue>
<character>ON BLACK--</character>
<dialogue>CUT TO:</dialogue>
</scene>
<scene>
<stage_direction>INT. DAY. SANDERS' HOUSE--DEN</stage_direction>
<character>CLOSE ON--A COMPUTER MONITOR</character>
<dialogue>A high-resolution screen, as th(! E HAIL ICOl1 blinks. Then changes color as someone CLICKS on it. Then:</dialogue>
<scene_description>FROM: ARTHUR KAHN DIGIC0!-1/KUhlA LUMPUR TO: TOM SANDERS DIGICOM/SEATTLE (AT HOME) PRODUCT NAME: "DIANA" CD-IZOM TOM: CONSIDERING THE MERGEI{, I THOUGHT YOU SHOULD GET THIS AT HOHE: "DIANA" PRODUCTION LIUES RUNllING AT 29% DESPITE ALL EFFORTS. SPOT CHECKS ON DRIVES SHOW SEEK TIMES 40-60 MSEC OFF SPECS. POWER FLICKER ON SCREENS AL~;o NOT YET SOLVED. SPEAKING OF THE MERGEI·:, ARE YOU RICH AND FAMOUS YET? CONGRATULATIONS IN ADVANCE ON YOUR PROMOTION. ARTHUR</scene_description>
<character>OVER THIS</character>
<dialogue>VOICES and the music of NINTENDO filter down from upstairs-- PULLING BACK ELIZA, 8, cute but chubby, wet hair, wanders away from the computer, into the living room and then out of view •.•</dialogue>
<character>SUSAN ( 0. C . )</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>What if he goes out and buys a Lear jet?</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>1 CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>(listens) Well, I did t~a~k you down in Paris, Bernie. (listens) I'm not being a pain in the ass, I'm being a lawyer. (listen3) Well, I think there's a difference.</dialogue>
<character>SANDERS ( 0. C. )</character>
<dialogue>No more Nintendo, Mati.. Tim,1 for school. (calling) He:,.·, 'Liz,), where are you?</dialogue>
<character>ELIZA</character>
<parenthetical>(calling)</parenthetical>
<dialogue>You got a email, Dad.</dialogue>
<scene_description>She reaches on tiptoe for a cart.on of milk. It wobbles, like it's going to fall ... Then she guts it. Pours herself a glass.</scene_description>
<character>MATT ( 0. C.)</character>
<dialogue>I have to get killed or kill somebody.</dialogue>
<character>SANDERS ( 0 �C � )</character>
<dialogue>Matt, just pause it. You can finish later.</dialogue>
<character>MATT (O.C.)</character>
<dialogue>Mommydoesn't like me to pause it all day.</dialogue>
<character>SANDERS ( 0. C:. )</character>
<parenthetical>(relenting)</parenthetical>
<dialogue>You ready to go as soon as you finish? Did you pee?</dialogue>
<character>MATT ( O.C.)</character>
<dialogue>Yes.</dialogue>
<character>SANDERS ( 0. C. )</character>
<dialogue>Did you brush your te£th? Go brush your teeth.</dialogue>
<parenthetical>(calling)</parenthetical>
<dialogue>'Lize, get up here ri9ht now!</dialogue>
<scene_description>1 CONTINUED: (2)</scene_description>
<character>SUSAN (O.C.)</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>.•. we need some kind of</dialogue>
<scene_description>protection on what he spends-- (caught in a mistake) I don't see why it matters if I brought it up earlier or-- (listens) I should've. You're right, I'm a bad lawyer. (covers phone) Shit--Tom? Matt's go~ tooth?aste all over himself.</scene_description>
<character>SANDERS ( 0. ·:. )</character>
<dialogue>Oh, Jesus, Matt.</dialogue>
<character>SUSAN ( 0. C. )</character>
<parenthetical>(covers phone)</parenthetical>
<dialogue>If you can't .take car•1 of it, don't say you'll take care of it.</dialogue>
<character>SANDERS (O.,:.)</character>
<dialogue>You're welcome.</dialogue>
<character>SUSAN (0 �C � )</character>
<dialogue>· (to phone)</dialogue>
<scene_description>Yeah I'm here. (covers phone) And ·, Liza ne~ds a jac}~et.</scene_description>
<character>SANDERS (O.C.)</character>
<dialogue>I know she needs a jacket.</dialogue>
<parenthetical>(calling)</parenthetical>
<dialogue>'Liza!</dialogue>
<character>ELIZA</character>
<dialogue>A jacket doesn't SQ, Dad.</dialogue>
<character>SUSAN (O.C.)</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Bernie, quit breaking my balls. (listens) I have several pairs. I collect them, like scalps.</dialogue>
<character>SANDERS ( 0 .C.}</character>
<dialogue>Matt, put on a sweatshirt.</dialogue>
<character>MATT (O.C.)</character>
<dialogue>That's for girls, a white sweatshirt.</dialogue>
<character>SANDERS (0 .C.)</character>
<dialogue>Since when? (calling) 'Lize!</dialogue>
<parenthetical>( COllTINUEO)</parenthetical>
<dialogue>.l CONTINUED: ( 3)</dialogue>
<character>ELIZA</character>
<dialogue>Dad, leave me alone.</dialogue>
<scene_description>Eliza goes to the computer. Hits PRINT. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY. KITCHEN</stage_direction>
<scene_description>SUSAN HENDLER, late J0s, an empty mug in her hand, pulls on a sweater on as she enters. Her eyes shine with a skeptical intelligence. She puts her mug down. Goes to MATT, a cute five year old zips his sweatshirt. TOM SANDERS, 41 years old, suit and tie, an ID BADGEon his pocket, confronts his daughter, her jacket in his fist. The smile of a ladies' man. The build of a varsity athlete. Still something of the high school hero about him.</scene_description>
<character>SANDERS</character>
<dialogue>I am the father. When your father says put on a jacket, you put on this jacket.</dialogue>
<character>ELIZA</character>
<dialogue>Ariel doesn't have a father. She has two mothers.</dialogue>
<scene_description>SANDERS r\ Oh, really? \) ~ \J</scene_description>
<character>SUSAN \) \)~</character>
<dialogue>He's sitting in the H~tel Crill~ 1</dialogue>
<scene_description>with his secretary patched in \J from New York and I'm brushing the Cheerios out of mJ file folders. It's insanity. She takes the jacket from sanders. Hands it to Eliza.</scene_description>
<character>SUSAN</character>
<parenthetical>(with jacket)</parenthetical>
<dialogue>'Lize, put this on, sweetie.</dialogue>
<character>ELIZA</character>
<dialogue>No.</dialogue>
<character>SUSAN</character>
<dialogue>Eliza.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You can take it off when you get to school.</dialogue>
<scene_description>2 CONTINUED:. Eliza obediently takes the jack~t. Puts it on.</scene_description>
<character>SANDERS</character>
<parenthetical>(to Eliza)</parenthetical>
<dialogue>And when I tell you t0 listen to your mother, you listen to your mother.</dialogue>
<character>SUSAN</character>
<dialogue>Matt, did you pee?</dialogue>
<character>MATT</character>
<dialogue>Yes.</dialogue>
<scene_description>She pours herself another half-~up of coffee.</scene_description>
<character>SUSAN</character>
<dialogue>I don't understand wh; you agree to take the kids when you have a big day like today--.</dialogue>
<character>SANDERS</character>
<dialogue>I'll tell ydu what I don't understand.</dialogue>
<character>SUSAN</character>
<dialogue>--with this promotion--</dialogue>
<character>SANDERS</character>
<dialogue>I don't understand whv Chau-Minh has to get the day off for her birthday. She has a birthday every two months. It's like she's from the planet Mercury.</dialogue>
<character>ELIZA</character>
<dialogue>Dad, you got a e-mail.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DAY. SANDERS' HOUSE</stage_direction>
<scene_description>Susan climbs behind the wheel of a FORD TAURUSWAGON. Sanders straps Matt in, climbs into the passenger seat.</scene_description>
<character>SANDERS</character>
<dialogue>Hey, did you call for me about those Disneyland tickets?</dialogue>
<character>SUSAN</character>
<dialogue>Oh, Tom, with everything I have to do today--</dialogue>
<parenthetical>(COtlTINUED)</parenthetical>
<scene_description>3 CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>C'mon. It's one phon9 call. I thought you had a connection.</dialogue>
<character>SUSAN</character>
<dialogue>Who are these for again?</dialogue>
<character>SANDERS</character>
<dialogue>Mohammed Jafar--he's :)Ur foreman in Malaysia. I promi3ed him.</dialogue>
<character>SUSAN</character>
<dialogue>You're the only person I know who sucks up to people below you.</dialogue>
<character>SANDERS</character>
<dialogue>Matt, don't kick the 3eat.</dialogue>
<scene_description>Susan puts the car in gear ... Se•:!S some thing on Sanders' tie.</scene_description>
<character>SUSAN</character>
<dialogue>What's that on your tie?</dialogue>
<character>SANDERS</character>
<dialogue>I don't have time. G). Toothpaste. Let's go.</dialogue>
<scene_description>Sanders dials "C-H-A" into his c:ellular phone. The name types out on the digital display: CHANG, CINDY. A preprogrammed series of BEEPS as the phone autodials ...</scene_description>
<character>SUSAN</character>
<dialogue>The one day you wear a ti~ it shouldn't look like a bib.</dialogue>
<scene_description>Susan backs out of the driveway. Puts the car in drive .••</scene_description>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Hi, Cindy. What's up? (beat) Garvin? Garvin came down to my office?</dialogue>
<parenthetical>(to Matt)</parenthetical>
<dialogue>Hey, Matt, what did I say?</dialogue>
<parenthetical>(to phone)</parenthetical>
<dialogue>Surprised I was late today? What the hell does that mean?</dialogue>
<character>MATT</character>
<dialogue>I have to pee.</dialogue>
</scene>
<scene>
<stage_direction>3 CONTINUED: (2)</stage_direction>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>He said it in passing or he said it like he was saying something?</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. TAURUS</stage_direction>
<scene_description>The kids have been dropped off at school. Susan races for the ferry. Sanders looks at his watch.</scene_description>
<character>SANDERS</character>
<dialogue>Why the hell's Garvin coming by my office at eight in the morning?</dialogue>
<character>SUSAN</character>
<dialogue>To congratulate you.</dialogue>
<character>SANDERS</character>
<dialogue>That's not his style. You know Garvin--he treats everybody like dirt except--</dialogue>
<character>SUSAN</character>
<dialogue>--the top guys.</dialogue>
<scene_description>Sanders thinks a beat--\_now, with the promotion, that· means him. He and Susan share a smile.</scene_description>
<character>SANDERS</character>
<dialogue>Yeah.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>If we merge with Conley-White and they spin off our group, we're gonna be rich, you know.</dialogue>
<character>SUSAN</character>
<dialogue>We're already rich, if you ask me.</dialogue>
<character>SANDERS</character>
<dialogue>I mean really rich.</dialogue>
<character>SUSAN</character>
<parenthetical>(musing)</parenthetical>
<dialogue>My grandmother used to have this expression. Don't climb up there too close to God--he might shake the tree.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DAY. FERRY</stage_direction>
<scene_description>A FERRY full of commuters revs i.n the dock, about to leave BAINBRIDGE ISLAND as the Taurus pulls up. Sanders runs out with his briefcuse. Susan claml1ers out of the car.</scene_description>
<character>SUSAN</character>
<dialogue>Tom? Thanks for this morninq.</dialogue>
<scene_description>Sanders turns, takes a beat. Then rJoes to her. Grabs her and KISSES HER Back onto the hood of the car ... APPLAUSEfrom the commuters. She watches as he runs, lec1ps al>oard the ferry.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DAY. FERRY</stage_direction>
<scene_description>On the upper deck of the f(.?rry, Sander~; DIALS his tiny CELLULAR PHONE. Plugs in a NAMECODE. INSERT--DISPLAY As it types out,: L-A-R ... Then fills in from its memory: LARSON, EDDIE. A string of preprogrammed BEEPS. FRED PRICE, SO~, . sidles up. A face. like crockery that's be,~ll"\ · glued too many times. rhe Ghost of Computers Past. \J\JV ·. PRICE ~ \Jg . ( off phone) ~\) Smaller faster cheaper better. Remember the first ones? The way you lugged it around ....</scene_description>
<character>SANDERS</character>
<dialogue>Yep.</dialogue>
<character>PRICE</character>
<dialogue>People were amazed. It was like showing a Polaroid to a Bushman. Now they get the red ass if it's bigger than a credit card. Too inconvenient.</dialogue>
<scene_description>sanders smiles politely. Rings through.</scene_description>
<character>SANDERS</character>
<dialogue>Keeps you on your toes.</dialogue>
<parenthetical>(to phone)</parenthetical>
<dialogue>Hi, Eddie. It's Tom. Cindy said you called? .•. Yeah, I'll hold.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>6 CONTINUED:</scene_description>
<character>SANDERS</character>
<parenthetical>(to Price)</parenthetical>
<dialogue>Hey, how's the job search?</dialogue>
<character>PRICE</character>
<dialogue>I can't believe I was with IBM twenty-eight years--did I ever tell you what they told me? I was "surplused". You ever hear that word?</dialogue>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>What's going on down there, Eddie? (listens) That's crazy.</dialogue>
<character>PRICE</character>
<dialogue>If they wanted a euphemism they should've said "sodomized."</dialogue>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>We're not selling the Austin plant. It's a rumor. C'mon. There's always these rumors floating around. Especially at a time like this.</dialogue>
<character>PRICE</character>
<dialogue>You don't see it coming. You're going right along, then one day, there's no room. Boom. There's no room for you. Smaller faster cheaper better.</dialogue>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Don't use names over the--I'm on the cellular. No names. Look, it's not true. It's a rumor.</dialogue>
<character>PRICE</character>
<dialogue>I was making one-fifty a year. Big money. Boom. That's probably what you make, huh? One- fifty?</dialogue>
<scene_description>Sanders turns to Price. Gives him his card. ~ CONTINUED: (2)</scene_description>
<character>SANDERS</character>
<parenthetical>( to phorn~)</parenthetical>
<dialogue>Hold on a sec.</dialogue>
<parenthetical>(to Price)</parenthetical>
<dialogue>Look, call Cindy, mak•~ an ap~ointment. There's som~ things going on. Maybe I can help you.</dialogue>
<parenthetical>(to phone)</parenthetical>
<dialogue>We're not selling Aus':in. Eddie, if we were selling Au:;tin, don't you think I'd know?</dialogue>
<character>PRICE</character>
<dialogue>Cindy? Pretty name. We used to have fun with the girls. Nowadays, she probably wants your job.</dialogue>
<character>CUT</character>
<dialogue>7</dialogue>
<character>TO:</character>
<dialogue>INT.</dialogue>
<scene_description>Sanders hustles out of the elevutor, past the ORANGEDIGICOM LOGO. Out of the corner of his eye he sees a sexy WOMAN in an Armani suit walking the other w.iy. He turns. Great ass. He smiles, turns, continues on. She turns: MEREDITHJOHNSON, 33, with a .look that says she's earned every stripe in that suit. Larger than life. Glittering with amorality. She watches Sanders from behind as he walks towarq....\_ his office. Great ass. She smi.les, turns, continues on. r\ ~ \)</scene_description>
<character>,.....</character>
<dialogue>n \\_;.</dialogue>
<scene_description>CUT TO: ~ ~y\.) \j 7)</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY. DIGICOM</stage_direction>
<scene_description>Sanders walks briskly past CINDY CHANG, 20s, his sexy-without- trying Chinese-American SECRETARY.</scene_description>
<character>SANDERS</character>
<dialogue>What'd Garvin say? He want me to come up?</dialogue>
<character>CINDY</character>
<dialogue>He didn't say. He seemed pissed.</dialogue>
<character>SANDERS</character>
<dialogue>He didn't say anything?</dialogue>
<character>CINDY</character>
<dialogue>He growled.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>Yeah? Maybe he was flirting. You get Arthur'?</dialogue>
<scene_description>Sanders takes out the printout of his e-mail. Eliza has scrawled a smiley face on it. I LOVE YOU, DADDY. Sanders smiles. Cindy hands him his mocning coffee.</scene_description>
<character>CINDY</character>
<dialogue>He's coming in on the DVL. The lunch with the Conley-White people got pushed up to noon.</dialogue>
<scene_description>ON THE DIRECT VIDEO LINKUP -As it boots up ... FIFTEEN SECONDSTO DIRECT VIDEO: LINKUP DC/S-DC/KL SEN: T.:</scene_description>
<character>SANDERS REC: A.</character>
<dialogue>SANDERS</dialogue>
<character>KAHN</character>
<dialogue>Conley-White, we'll probably have those sandwiches with the crusts cut off.</dialogue>
<character>CINDY</character>
<dialogue>Why do you say that?</dialogue>
<character>SANDERS</character>
<dialogue>That whole East Coast publishing thing. They all got their jaws wired shut at the sam~ prep school.</dialogue>
<character>CINDY</character>
<dialogue>The merger's still going through, isn't it?</dialogue>
<character>SANDERS</character>
<dialogue>Why? Did you hear something?</dialogue>
<character>CINDY</character>
<dialogue>No, just--. What's that on your tie?</dialogue>
<character>SANDERS</character>
<dialogue>Garvin didn't' say anything about my promotion?</dialogue>
<character>CINDY</character>
<dialogue>I thought you were coming in early today.</dialogue>
<scene_description>8 CONTINUED: (2)</scene_description>
<character>SANDERS</character>
<dialogue>Did the people from Father of the Year call?</dialogue>
<character>CINDY</character>
<parenthetical>(blank)</parenthetical>
<dialogue>No.</dialogue>
<character>SANDERS</character>
<dialogue>That's a joke, Cind.</dialogue>
<scene_description>Sanders sits. Turns to the video camera. Fluffs his hair ...</scene_description>
<character>CINDY</character>
<dialogue>You want me to close your door?</dialogue>
<character>SANDERS</character>
<dialogue>Cindy, when do I ever ask you to close my door?</dialogue>
<character>'ON THE SCREEN</character>
<dialogue>Appears ARTHURKAHN, 40s, Vegas from the 'Seventies--Porsche- frame 9lasses, Fila sweatsuit. He has a HACKINGCOUGH. The video image lags seconds behind the audio. With the time difference, it's the middle of the night in Malaysia.</dialogue>
<character>ARTHUR</character>
<dialogue>Torn, you look frighteningly awake.</dialogue>
<character>SANDERS</character>
<dialogue>What's wrong with "Diana", Arthur?</dialogue>
<character>ARTHUR</character>
<dialogue>The drives are just very slow. We're getting seek times in the one-forty, one-sixty range.</dialogue>
<character>SANDERS</character>
<dialogue>One-forty isn't a sexy CD player anymore. One-forty is the same as Toshiba's.</dialogue>
<character>ARTHUR</character>
<dialogue>My guys think there's a compatibility problem between the controller chip and the driver</dialogue>
<scene_description>·software.</scene_description>
<character>SANDERS</character>
<dialogue>You think the chips are bad?</dialogue>
<scene_description>9 CONTINUED: (3}</scene_description>
<character>ARTHUR</character>
<dialogue>Either they're bad or there's a bug in the code. We ::an' t-- 1</dialogue>
<character>SANDERS</character>
<dialogue>If it's the chip that puts us back a year.</dialogue>
<character>ARTHUR</character>
<dialogue>Then there's this thing with the screen--the current c11ts in and out. It's something in the hinge connectors. I think it's a design problem.</dialogue>
<character>SANDERS</character>
<dialogue>What do you mean, a d•1sign problem? Every laptop in the world has that design.</dialogue>
<character>ARTHUR</character>
<dialogue>I sent you some drives OHL. You should get them by tha end of the day.</dialogue>
<character>SANDERS</character>
<dialogue>This.is bad, Arthur. I don't know what to do about th~s.</dialogue>
<scene_description>AR'rHUR You gonna bury it till after merger?</scene_description>
<character>SANDERS</character>
<dialogue>Don't YQY. say anything. Does anyone else know about this?</dialogue>
<character>ARTHUR</character>
<dialogue>I'm a grave, what, are you kidding, Tom? Look, I still think "Diana" will be a major-- maior--hit.</dialogue>
<character>SANDERS</character>
<dialogue>I'll talk to you after I get the drives.</dialogue>
<character>ARTHUR</character>
<dialogue>Tom, did you get those macadamia nuts that I--</dialogue>
<scene_description>Sanders disappears Arthur from the screen. Gathers his folders ••• Cindy follows with her clipboard •.. 8 CONTINUED: (4)</scene_description>
<character>CINDY</character>
<dialogue>The Monday morning with the group got pushed up to ten.</dialogue>
<character>SANDERS</character>
<dialogue>Pushed up?</dialogue>
<character>CINDY</character>
<dialogue>Do you know a Meredith Johnson?</dialogue>
<character>SANDERS</character>
<dialogue>Meredith? Years ago.</dialogue>
<character>CINDY</character>
<dialogue>She's up from The Valley for the lunch.</dialogue>
<character>SANDERS</character>
<dialogue>Jesus, is the whole company invited to this lunch?</dialogue>
<character>CINDY</character>
<dialogue>She wanted to see you. Bad day- in laws in town-take a rain check?</dialogue>
<scene_description>Sanders smiles.</scene_description>
<character>SANDERS</character>
<dialogue>I going to see Lewyn, the keypads stick on the 900s. And get that worried look off your face. If it was bad news, Garvin would've sent Phil Blackburn.</dialogue>
<scene_description>He gives her an affectionate whack on the butt with his folders as he heads out.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. ELEVATOR</stage_direction>
<scene_description>Sanders waits for the elevator. Joining him: PHIL BLA1.KBURN, late 40s, the general counsel. The manners of a clergyman.</scene_description>
<character>BLACKBURN</character>
<dialogue>Hey, Tom sanders?</dialogue>
<character>SANDERS</character>
<dialogue>Phil Blackburnl Hey!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You weren't, ah, coming to see mg, were you?</dialogue>
</scene>
<scene>
<stage_direction>9 CONTINUED:</stage_direction>
<character>BLACKBURN</character>
<dialogue>No. Why?</dialogue>
<character>SANDERS</character>
<dialogue>Nothing. How are you?</dialogue>
<character>BLACKBURN</character>
<dialogue>Jesus, how are you, 'lorn? You look all beat up.</dialogue>
<character>SANDERS</character>
<dialogue>I do?</dialogue>
<scene_description>The elevator arrives. It's empty. They climb aboard.</scene_description>
<character>BLACKBURN</character>
<dialogue>You're letting it get to you. Don't. It's pure Garvin. You can't take it personally.</dialogue>
<character>SANDERS</character>
<dialogue>Take what p~rsonallyi</dialogue>
<character>BLACKBURN</character>
<dialogue>Look, maybe it's just a rumor.</dialogue>
<character>SANDERS</character>
<dialogue>What rumor, Phil?</dialogue>
<scene_description>BLACKBURN f\ \J I don't want to be spreading ~\J rumors. That's how these things ir'\ (\ ~ get started. ~ \J \J</scene_description>
<character>SANDERS ~</character>
<dialogue>What, about Austin?</dialogue>
<character>BLACKBURN</character>
<dialogue>Who said something about Austin?</dialogue>
<character>SANDERS</character>
<dialogue>Phil, what haven't I heard?</dialogue>
<character>BLACKBURN</character>
<dialogue>I can't believe he didn't tell you. He's so perverse.</dialogue>
<scene_description>The elevator stops. Two PROGRAMMERS climb aboard.</scene_description>
<character>SANDERS</character>
<dialogue>Didn't tell me what?</dialogue>
<scene_description>Blackburn glances to the programmers. Finger to his lips. ) I</scene_description>
<character>CONTINUED: (2)</character>
<dialogue>BLACKBURN</dialogue>
<parenthetical>(brightly)</parenthetical>
<dialogue>so, how's Susan?</dialogue>
<character>SANDERS</character>
<dialogue>She's good, Phil. HOA'S Lonnie?</dialogue>
<character>BLACKBURN</character>
<dialogue>Great. Did you know she got tenure? Well, here's my stop.</dialogue>
<scene_description>Sanders follows Blackburn off the elevator. They continue to walk ... Head down a back- s tu.irca3e ...</scene_description>
<character>BLACKBURN</character>
<dialogue>I have tried to explaLn to Garvin ... You know what he's like-- he's like a child. Fuck your feelings if they get Ln the way of his big surprise.</dialogue>
<character>SANDERS</character>
<dialogue>What big surprise?</dialogue>
<character>BLACKBURN</character>
<dialogue>The rumor is you're g8tting passed over.</dialogue>
<character>SANDERS</character>
<dialogue>I'm not getting the veepee job,</dialogue>
<character>BLACKBURN</character>
<dialogue>That's the rumor. That's all can tell you.</dialogue>
<character>SANDERS</character>
<dialogue>Don't call it a rumor. Rumors are always true.</dialogue>
<character>BLACKBURN</character>
<dialogue>Garvin hasn't said anything to you?</dialogue>
<character>SANDERS</character>
<dialogue>He came by my office this morning, I was late. Susan had a conference call.</dialogue>
<character>BLACKBURN</character>
<dialogue>You were late today?</dialogue>
<scene_description>Three MARKETINGEXECS head up the stairs the other way •.•</scene_description>
<character>CONTINUED: ( J )</character>
<dialogue>EXEC #1</dialogue>
<scene_description>Hey, Phil Blackburn! WI1.:i t br .ings you up to Seattle?</scene_description>
<character>BLACKBURN</character>
<dialogue>Good to see you again.</dialogue>
<parenthetical>(resuming)</parenthetical>
<dialogue>Somebody tells Garvin I was talking to you, man, he'll have my nuts for breakfast. You know how he is about leaks.</dialogue>
<character>SANDERS</character>
<dialogue>This is a leak? I th0ught this was a rumor.</dialogue>
<character>BLACKBURN</character>
<dialogue>It was different when we were all down in The Valley toqether, Tom. I could watch your ba:k.</dialogue>
<character>SANDERS</character>
<dialogue>Who's getting it?</dialogue>
<character>BLACKBURN</character>
<dialogue>The rumor is he's going outside the group. You'd still head up Manufacturing, presumably.</dialogue>
<character>SANDERS</character>
<dialogue>Wait a minute--I might be out of a job?</dialogue>
<character>BLACKBURN</character>
<dialogue>Don't get paranoid all of a sudden.</dialogue>
<character>SANDERS</character>
<dialogue>I'm a fast learner.</dialogue>
<character>BLACKBURN</character>
<dialogue>You wouldn't make somebody veepee and then take away their power to appoint their own team. How would that look?</dialogue>
<character>SANDERS</character>
<dialogue>Phil--am I out of a job?</dialogue>
<character>BLACKBURN</character>
<dialogue>Hey, c'mon, Tom. I'm already out on a limb.</dialogue>
<parenthetical>(more)</parenthetical>
<character>9 'CONTINUED: (4)</character>
<dialogue>BLACKBURN</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You gonna be okay? Y0u want a Prozac?</dialogue>
<character>SANDERS</character>
<dialogue>I'm fine. You know, I'm disappointed. I'm fine.</dialogue>
<character>BLACKBURN</character>
<dialogue>You sure?</dialogue>
<character>SANDERS</character>
<dialogue>Hey, don't worry abou::. me, Phil, I'm a stockholder, right? Whatever's best for the company.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. DIGICOM</stage_direction>
<scene_description>B'lackburn and Garv in talk on th,1 phone.</scene_description>
<character>BLACKBURN</character>
<dialogue>•.• Obviously, he's disappointed.</dialogue>
<character>GARVIN</character>
<dialogue>But he took it well?</dialogue>
<character>BLACKBURN</character>
<dialogue>Overall, I'd say yes.</dialogue>
<character>GARVIN</character>
<dialogue>I don't want any bumps before this merger is announced Friday. Just one big happy fa1:-iily.</dialogue>
<character>BLACKBURN</character>
<dialogue>I have to tell you--going down to see him this morning was a masterstroke. It really put him on the defensive.</dialogue>
<character>GARVIN</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Yeah. The minute I hoard he was late I ran right down there.</dialogue>
<character>BLACKBURN</character>
<dialogue>I'll just have to keep an eye on him.</dialogue>
<character>CONTINUED:</character>
<dialogue>GARVIN</dialogue>
<scene_description>He'll got on the program. Whon push comes to shove, lie doesn't have the guts.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS' OFFICE</stage_direction>
<scene_description>Sanders dials. Gets an ANSWERit1GMACHINE.</scene_description>
<character>SUSAN (O.C.)</character>
<dialogue>Hello, we're not home right now, but if you'll--</dialogue>
<scene_description>He hangs up. Dials another number.</scene_description>
<character>OPERATOR(O.C.)</character>
<dialogue>The mobile customer you are trying to reach--</dialogue>
<scene_description>Sanders hangs up. Presses "REDIAL." The bleeps rattle off ...</scene_description>
<character>OPERATOR( 0. C. )</character>
<dialogue>The mobile customer you are trying to reach is away from the phone, or beyond our service area. Please call again later. \) \)</dialogue>
<scene_description>cu~~9\) \\ (j</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY. DIGICOM</stage_direction>
<scene_description>Sanders comes out of his office. Goes to Cindy's desk.</scene_description>
<character>SANDERS</character>
<dialogue>Let me ask you something. You know Susan. If I heard a rumor about the future of the company, my future-- you know, not a crazy rumor, a real rumor--what do you think Susan would say? Do iou think she'd say go see Garvin?</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. DIGICOM</stage_direction>
<scene_description>Sanders hustles off the elevator toward Garvin's office. 1 CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>Is he in?</dialogue>
<character>SECRETARY</character>
<dialogue>He's in a meeting.</dialogue>
<character>SANDERS</character>
<dialogue>Could you tell him I'm here?</dialogue>
<scene_description>The Secretary types onto the Amtel. Then the door opens: JOHN CONLEY, late 30s, a privileged Connecticut WASP (but Armani down to the glasses), em~rges with JIM CHASE, early 40s, his investment banker and tennis partner. Behind them: BOB GARVIN, sos, profane, peremptory and predatory, in a Turnbull & Asser shirt and bespoke suit.</scene_description>
<character>GARVIN</character>
<parenthetical>(off Sanders)</parenthetical>
<dialogue>Hey! Here's a guy you should meet. Tom Sanders--h~ heads up our manufacturing.</dialogue>
<parenthetical>(introducing)</parenthetical>
<dialogue>Jim Chase, with crescGnt Capital. And John Conley.</dialogue>
<character>SANDERS ~\)</character>
<dialogue>You're John Conley? '\)9~</dialogue>
<character>CONLEY ()~\)</character>
<dialogue>Junior. Dad's coming out Friday with the members of the board.</dialogue>
<parenthetical>(to Garvin)</parenthetical>
<dialogue>Catch you at the lunch.</dialogue>
<scene_description>Conley and Chase exit. Garvin beckons Sanders inside.</scene_description>
<character>GARVIN</character>
<dialogue>Tom, come on in. You wanted to see me about something?</dialogue>
<character>SANDERS</character>
<dialogue>Sorry about this morning. You know how it is, with the kids and--</dialogue>
<character>GARVIN</character>
<parenthetical>(he doesn't)</parenthetical>
<dialogue>Yeah. (resuming) Have you ever met Meredith Johnson, Tom?</dialogue>
<scene_description>Sanders enters Garvin's office. Meredith sits relaxed on the couch. Those great legs.</scene_description>
</scene>
<scene>
<stage_direction>1 CONTINUED: (2)</stage_direction>
<character>SANDERS</character>
<dialogue>Hi, Meredith.</dialogue>
<character>MEREDITH</character>
<dialogue>What's the matter, Sander3? That's a hello you'd 0ivo to a rash.</dialogue>
<character>SANDERS</character>
<dialogue>I'm just a little preoccupied. It has nothing to do with you.</dialogue>
<character>MEREDITH</character>
<parenthetical>(to Garvin)</parenthetical>
<dialogue>Sanders and I go way back. He broke my heart.</dialogue>
<character>SANDERS</character>
<dialogue>She's making that up.</dialogue>
<character>MEREDITH</character>
<dialogue>If I were bullshittin you'd1\]</dialogue>
<dialogue>never know it. It's one of the\_ few things I'm good at.</dialogue>
<scene_description>Garvin fixes himself a coffee from a service on a sideboard.</scene_description>
<character>GARVIN</character>
<dialogue>I thought your heart was made out of that plastic football helmets.</dialogue>
<scene_description>they use for \J\) nn~gG MEREDITH {,j\J \J (to Sanders) Remember what a bimbo I was? I had that whole "Dynasty" look going.</scene_description>
<character>SANDERS</character>
<dialogue>I don't know--! didn't think of you that way.</dialogue>
<character>MEREDITH</character>
<dialogue>No, you didn't. You used to tell me I could be anything I wanted.</dialogue>
<character>GARVIN</character>
<dialogue>Well, he got that right.</dialogue>
<character>MEREDITH</character>
<dialogue>It was a line, Bob.</dialogue>
<character>SANDERS</character>
<dialogue>It wasn't a line.</dialogue>
<scene_description>J CONTINUED: (J)</scene_description>
<character>GARVIN</character>
<dialogue>Coffee, Tom?</dialogue>
<character>SANDERS</character>
<dialogue>No thanks.</dialogue>
<character>GARVIN</character>
<dialogue>I had no idea you two knew each other.</dialogue>
<character>MEREDITH</character>
<dialogue>What's that line of Wilde's? uI like a man with a future and a woman with a past."</dialogue>
<character>SANDERS</character>
<parenthetical>(to Meredith)</parenthetical>
<dialogue>Somebody told me you're in Sales, down in The Valley?</dialogue>
<character>MEREDITH</character>
<dialogue>Oh, no. The last couple of years I've been in Special Projects, trying to clean up the mess Bob's made out of this company.</dialogue>
<character>GARVIN \)\)</character>
<dialogue>Yeah? If it's such a fucking (\~CJ mess how come I'm so fucking'"' 0i ,\_~ rich? (\\.)</dialogue>
<character>SANDERS</character>
<dialogue>Well, you know, we should get together and catch up, Meredith.</dialogue>
<character>MEREDITH</character>
<dialogue>I'd love that.</dialogue>
<scene_description>Garvin comes back, stirs his coffee.</scene_description>
<character>GARVIN</character>
<dialogue>Plenty of time for that now.</dialogue>
<parenthetical>(to Sanders)</parenthetical>
<dialogue>I remember flying back to Wyoming-- I was sure it was dead. Conley was choking on the valuation. "Blue sky-on the come-in the future"--all that crap. The spinoff was Meredith's idea.</dialogue>
<character>SANDERS</character>
<dialogue>Really.</dialogue>
<character>1 CONTINUED: (4)</character>
<dialogue>MEREDITH</dialogue>
<scene_description>Don't say it too loud. Conley thinks it was their iuea.</scene_description>
<character>GARVIN</character>
<dialogue>Lit 'em up like a Christmas tree. Meredith saved the merger.</dialogue>
<character>MEREDITH</character>
<dialogue>Not a bad idea for a 9irl, huh?</dialogue>
<scene_description>Garvin turns to Sanders.</scene_description>
<character>GARVIN</character>
<dialogue>So what was it you wanted to see me about?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. MORNING. CONFERENCE ROOM</stage_direction>
<scene_description>Sanders enters, SLAMS his folders down, paces angrily ..• The other DEPARTMENTHEADS assembled around a conference table: MARKLEWYN, 38, the head of design. Rei Kawakubo suit. Temperamental, paranoid, obsessive. MARYANNE HUNTER, 35, the nead of data t~lecommunications. Work shirt and jeans. A Southerner with a cuttin9 tongue. DON CHERRY, 24, the head of programming. The enthusiasm of a shipwreck survivor who has just reached shore. And dresses that way.</scene_description>
<character>SANDERS (J()</character>
<dialogue>Meredith fucking Johnson. Son of~\)~~ a bitch. Goddam Garvin. 0,\\ .</dialogue>
<character>LEWYN</character>
<dialogue>What happened?</dialogue>
<character>SANDERS</character>
<dialogue>I'm not getting it.</dialogue>
<character>LEWYN</character>
<dialogue>Garvin told you that?</dialogue>
<character>SANDERS</character>
<dialogue>I was just up there. He's got her installed on the couch, they're batting it back and forth like it's the fucking "Tonight Show."</dialogue>
<character>CHERRY</character>
<dialogue>Who?</dialogue>
<scene_description>\! CONTINUED:</scene_description>
<character>LEWYN</character>
<dialogue>This isn't gonna affect the spinoff, is it?</dialogue>
<character>SANDERS</character>
<dialogue>This is a technical division. Meredith Johnson wouldn't know software from a cashmere sweater.</dialogue>
<character>CHERRY</character>
<dialogue>Who's--?</dialogue>
<character>LEWYN</character>
<dialogue>What aren't you telling us?</dialogue>
<character>SANDERS</character>
<dialogue>I might lose my job, Lewyn. That's not enough? Do you know what it's like out there?</dialogue>
<character>LEWYN</character>
<dialogue>He said something about the spinoff, didn't he.</dialogue>
<character>SANDERS</character>
<dialogue>They don't even tell me about me. Do you think they tell me about the spinoff? C\ \)</dialogue>
<scene_description>(resuming) \) \J This is the worst day of my li~\)~</scene_description>
<character>CHERRY \.')\)</character>
<dialogue>Who's Meredith Johnson?</dialogue>
<character>LEWYN</character>
<dialogue>Let me guess. She's attractive?</dialogue>
<character>HUNTER</character>
<dialogue>What does that have to do with it?</dialogue>
<character>LEWYN</character>
<dialogue>Great rack? Nipples like pencil erasers?</dialogue>
<character>SANDERS</character>
<dialogue>She's attractive. She's very attractive.</dialogue>
<character>LEWYN</character>
<dialogue>You think she's sleeping with Garvin?</dialogue>
</scene>
<scene>
<stage_direction>4 CONTINUED: ( 2)</stage_direction>
<character>CHERRY</character>
<dialogue>That's why he bought t.ha t Nordic Track!</dialogue>
<character>LEWYN</character>
<dialogue>It's a curse, to be mu. Life holds no surprises.</dialogue>
<character>HUNTER</character>
<dialogue>This is such a cliche.</dialogue>
<character>LEWYN</character>
<dialogue>Hunter, how do you think a cliche becomes a cliche?</dialogue>
<character>HUNTER</character>
<dialogue>You mean like "Size doesn't matter"?</dialogue>
<character>CHERRY</character>
<dialogue>I have such a thing for you, Hunter.</dialogue>
<character>SANDERS</character>
<dialogue>I've been basically doing the job for six months, on top of my job. Nobody cares.</dialogue>
<character>HUNTER</character>
<dialogue>All I know is any woman has to be r'\. twice as good as a man and work (\ \) v twice as hard to get t~he same job I'"'\ C\ \J for less pay. <"'·\J ':J</dialogue>
<character>~() \.)</character>
<dialogue>LEWYN</dialogue>
<scene_description>Now that is a cliche.</scene_description>
<character>SANDERS</character>
<dialogue>Hey, Hunter, whose side are you on?</dialogue>
<character>HUNTER</character>
<dialogue>Well, if you assholes are gonna react this way, I'm on her side.</dialogue>
<character>CHERRY</character>
<dialogue>C'mon, Hunter. It's weird. Nobody knows her.</dialogue>
<character>SANDERS</character>
<dialogue>I do. I had a thing with her.</dialogue>
<character>LEWYN</character>
<dialogue>You're amazing.</dialogue>
<scene_description>------ -------------:</scene_description>
<character>CONTINUED: ( 3)</character>
<dialogue>SANDERS</dialogue>
<scene_description>It was years ago.</scene_description>
<character>LEWYN</character>
<dialogue>If you knew any more women you would be a census.</dialogue>
<character>HUNTER</character>
<dialogue>Well, maybe now you can sleep your way to a better job.</dialogue>
<character>SANDERS</character>
<parenthetical>(off watch)</parenthetical>
<dialogue>Could we get some work done today? We're having ~roblems with "Diana."</dialogue>
<character>LEWYN</character>
<parenthetical>(automatically)</parenthetical>
<dialogue>It's not the design.</dialogue>
<character>CHERRY</character>
<dialogue>It's not the code.</dialogue>
<character>HUNTER</character>
<dialogue>Wait a minute. Why? Why her and not Sanders? He's not attractive?</dialogue>
<scene_description>CHERRY t"\ Because men and women are n'uV different. \.~v</scene_description>
<character>HUNTER (\ ~ \) )</character>
<dialogue>Not in any way that'd ~atter to you.</dialogue>
<character>CHERRY</character>
<parenthetical>(nervous laugh)</parenthetical>
<dialogue>What are you saying, I'm a virgin?</dialogue>
<character>HUNTER</character>
<dialogue>Why not? Did you part on good terms?</dialogue>
<character>SANDERS</character>
<dialogue>I came home early one day and found her fucking the UPS guy. Evidently I broke her heart.</dialogue>
<character>LEWYN</character>
<dialogue>You broke up with her over that?</dialogue>
<character>4 CONTINUED: (4)</character>
<dialogue>\</dialogue>
<character>CHERRY</character>
<dialogue>I can't believe Lhis. Wt10 said I'm a virgin?</dialogue>
<character>HUNTER</character>
<dialogue>This is your big shot, Sanders.</dialogue>
<character>SANDERS</character>
<dialogue>I'd just as soon slee? with Garvin.</dialogue>
<character>LEWYN</character>
<dialogue>Well, you're a little late.</dialogue>
<scene_description>Sanders at the WINDOWnow, look3 down to the ATRIUM... SANDERS' POV Garvin tours Conley, Chase, FURILLO, 60s, the Conley-White CFO, and other CONLEYEXECS through the building, Meredith all but pirouetting to their delight ...</scene_description>
<character>SANDERS</character>
<dialogue>Meanwhile, you want to know what</dialogue>
<scene_description>· he said about. the spinoff? He said the spinoff was her idea. (beat) LEWYN ~ \J<;)Cl So when do we get to meet\~~~-. t CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. EXECUTIVE LUNCHROOM</stage_direction>
<scene_description>The DigiCom and Conley-White EXECUTIVESsit at round tables as white-coated WAITERS serve lunch. Garvin addresses the group from a small PODIUM in the corner.</scene_description>
<character>GARVIN</character>
<dialogue>It's always a pleasure to come up to Seattle and spend time with the Advanced Products Group. I feel a special warmth for the people here ••.</dialogue>
<scene_description>STEPHANIE KAPLAN, early 50s, the Stealth Bomber, like a librarian, reading glasses on a cord, slips into the seat beside Sanders. She is the CFO of DigiCom.</scene_description>
<character>STEPHANIE</character>
<dialogue>Is this seat taken?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>How are you, Stephani(:?</dialogue>
<character>STEPHAHIE</character>
<dialogue>I'm sorry about your rJromotion.</dialogue>
<character>SANDERS</character>
<dialogue>How long have you knO\·m?</dialogue>
<scene_description>She gives him a Sphinxlike smile. says nothing.</scene_description>
<character>SANDERS</character>
<dialogue>Really. That long.</dialogue>
<scene_description>BACK ON--GARVIN As he winds up his introduction ...</scene_description>
<character>GARVIN</character>
<dialogue>... Whenever I· ve wantl1d to</dialogue>
<scene_description>promote a woman, to break the glass ceiling, it's always been the same story. "But Bob." neut Bob." Always somethin9. I've thought about it often, since my daughter's death--that in today's climate, had she lived, it would ('\ ~ be extremely rare that she woul<:I·0. \J \J ever get to :r;un a company. So .1.P\,, ~· - has a special meaning for me r'itf~h.: , I tell you that I've finally'done it. This Friday, when we announce the merger, we will also announce that the new Vice President for Advanced Operations and Planning here in Seattle will be Meredith Johnson. Meredith? Meredith enters dramatically from a nearby doorway. LEWYNAND CHERRY As their jaws drop ... BACK ON--PODIUM Garvin sits down. Meredith takes his place at the podium.</scene_description>
<character>MEREDITH</character>
<dialogue>Thank you, Bob. Could I have the lights, please?</dialogue>
</scene>
<scene>
<stage_direction>5 CONTINUED: (2)</stage_direction>
<scene_description>The lights dim. A screen descends. A computer-animated GRAPHIC DISPLAY projects on the screen. A pumping red HEART in four pieces, each representing a division ... The four pieces pull apart, then coalesce into a spinning globe ...</scene_description>
<character>MEREDITH</character>
<dialogue>The Advanced Products Group has been the heart of DigiCom and its impressive expansion over the last ten years ...</dialogue>
<character>BACK ON--SANDERS</character>
<dialogue>As he whispers asides to Stephanie.</dialogue>
<character>SANDERS</character>
<dialogue>You seem to be spending more time up here.</dialogue>
<character>STEPHANIE</character>
<dialogue>My son's a freshman at the university. This way I get to see more of him.</dialogue>
<character>SANDERS</character>
<dialogue>I would've guessed it was the merger. It seems like this. merger is everything to Garv in. ~ \) \)</dialogue>
<character>STEPHANIE ('\ ~~</character>
<dialogue>Give a man a hundred millio9',~V dollars and rou create a \J frustrated billionaire.</dialogue>
<character>BACK ON--MEREDITH</character>
<dialogue>-As she continues her talk, the computer-generated images</dialogue>
<scene_description>spinning madly behind her •..</scene_description>
<character>MEREDITH</character>
<parenthetical>(really fast)</parenthetical>
<dialogue>Without going all technical on you, the new compression algorithms should shift the industry standard to full-res digitized video at sixty fields ~er second, with platform- independent RISC processors supported by 32-bit color active- matrix displays and portable hard copy at 1200 DPI.</dialogue>
<parenthetical>(more)</parenthetical>
</scene>
<scene>
<stage_direction>5 CONTINUED: (J)</stage_direction>
<character>MEREDITH</character>
<dialogue>Combine that with an autonomous virtual database and I think we can agree we are looking at a very exciting future.</dialogue>
<character>BACK ON--TABLE</character>
<dialogue>Stephanie leans into Sanders ...</dialogue>
<character>STEPHANIE</character>
<dialogue>Conley is a conservative company-- selling textbooks to school boards in Texas and Ohio and Tennessee ... Is Meredith conservative?</dialogue>
<character>SANDERS</character>
<dialogue>I don't know.</dialogue>
<character>STEPHANIE</character>
<dialogue>I thought y~u knew her.</dialogue>
<character>SANDERS</character>
<dialogue>Is there anything you don't know, Stephanie?</dialogue>
<character>BACK ON--MEREDITH</character>
<dialogue>As she winds up her talk ...</dialogue>
<character>MEREDITH</character>
<dialogue>What we are selling is freedom. That is our commodity. we offer through technology what religion and revolution have promised but never delivered--freedom from the physical body. Freedom from race and gender, from nationality and personalitr, from place and time. Communicating by cellular phone, handheld computer or PDA and built-in fax modem, we can relate to each other as pure consciousness--not person to person but idea to idea. That person you meet out in cyberspace could be a man, or a woman, or a woman pretending to be a man. Black or white, crippled but graceful, old or an old soul, young or young at heart.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>') MEREDITH (Cont'd} On the other end of the glob but 1; inside your mind. (beat} Get ready to leave your old self behind. CUT TO: 16 INT. LATER. EXECUTIVE LUNCHROOM A mingle after lunch. Stephani0 and Sanders watch as Meredith says hello in succession to Cherry, to Hunter, to Lewyn ...</scene_description>
<character>STEPHANIE</character>
<dialogue>She's smart, touching base with all the division heads. Especially since she didn't name them in her speech.</dialogue>
<character>SANDERS</character>
<dialogue>You think that means something?</dialogue>
<character>STEPHANIE</character>
<dialogue>Only if she plans to make changes.</dialogue>
<character>SANDERS</character>
<dialogue>Phil said she wasn't planning any.</dialogue>
<scene_description>That Stephanie smile. She drifts off as Meredith approaches.</scene_description>
<character>MEREDITH</character>
<dialogue>What was the Stealth Domber bending your ear about the whole lunch?</dialogue>
<character>SANDERS</character>
<dialogue>Stephanie? Nothing. Small talk.</dialogue>
<character>MEREDITH</character>
<dialogue>What are you saying, all of a sudden there's Stephanie Lite?</dialogue>
<character>SANDERS</character>
<dialogue>It was all about her son at the university.</dialogue>
<character>MEREDITH</character>
<dialogue>I'm sorry I didn't get a chance to mention you, Sanders. Bob asked me to keep it short.</dialogue>
</scene>
<scene>
<stage_direction>.,5 CONTINUED:</stage_direction>
<character>SANDERS</character>
<dialogue>No, no. Forget it.</dialogue>
<character>MEREDITH</character>
<dialogue>Look, I'm jammed all uay. Why don't you come up for a drink, say around seven? We can do a little business and catch up.</dialogue>
<character>SANDERS</character>
<dialogue>Great.</dialogue>
<character>MEREDITH</character>
<dialogue>I remember how you liked good wine. I'll get a nice bottle.</dialogue>
<scene_description>She moves along to talk to the Conley people. Lewyn, who has overheard this exchange, sidles up, looks over at Meredith.</scene_description>
<character>LEWYN</character>
<dialogue>She fucked the UPS guy so you married Susan?</dialogue>
<character>SANDERS</character>
<dialogue>Would you call me on the phone so I can hang up on you?</dialogue>
<character>LEWYN</character>
<dialogue>Why's she want to see you at seven?</dialogue>
<character>SANDERS</character>
<dialogue>Probably "Diana." We all have to be in sync when the Conley people start asking questions.</dialogue>
<character>LEWYN</character>
<dialogue>Are you telling me this woman doesn't give you a boner? She gives me a boner.</dialogue>
<parenthetical>(to Cherry)</parenthetical>
<dialogue>Doesn't she give you a boner?</dialogue>
<character>SANDERS</character>
<dialogue>I'll call you tonight, tell you what the company line is.</dialogue>
<character>LEWYN</character>
<dialogue>You have a sexual urge every twenty minutes--that's a physiological fact. It's hard- wired into the limbic brain. Why fight it? Live!</dialogue>
<parenthetical>(more)</parenthetical>
</scene>
<scene>
<stage_direction>, CONTINUED: ( 2)</stage_direction>
<character>LEWYN</character>
<dialogue>In ten more years, you couldn't get a hard-on with a splint.</dialogue>
<scene_description>Sanders looks across the room at Meredith as she laughs, smiles, moves, gestures ... In an incredibly attractive way.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS'S OFFICE</stage_direction>
<scene_description>The end of the day. Sanders talks on the phone.</scene_description>
<character>SANDERS</character>
<dialogue>... Where were you all day? ...</dialogue>
<scene_description>Well, I didn't 9et it. He went outside the division, somebody from "Special Projects" ... I guess that means I've been working on ordinary projects all these years ... Hey, did you get those Disneyland tickets? It's just-- Susan, I promised the guy ... okay. Don't wait dinner for me. I might run late ... I love you too. He hangs up. ~sently, Sanders clicks his .E-MAIL I\_CON. ON THE COMPUTER</scene_description>
<character>NUMBER OF MESSAGES: FIVE.</character>
<dialogue>WANTTO READ THEMNOW?</dialogue>
<character>DO YOU</character>
<dialogue>Various condolence messages appear on the screen. "SORRY YOU DIDN'T GET THE JOB," etc. Then:</dialogue>
<scene_description>rs YOURCOCK HARDNOW? sanders"clicks the REPLY button on the screen.</scene_description>
<character>CAN'T REPLY--SENDER ADDRESSNOT</character>
<dialogue>AVAILABLE.</dialogue>
<scene_description>Sanders sits up, nervous. He types in "SYSTEM."</scene_description>
<character>WHATLEVEL?</character>
<dialogue>He types "SYSOP."</dialogue>
<character>SORRY, YOURPRIVILEGES DO NOT</character>
<dialogue>INCLUDE SYSOP CONTROLAT THIS</dialogue>
<character>LEVEL.</character>
<dialogue>7 CONTINUED:</dialogue>
<scene_description>He types more ...</scene_description>
<character>SORRY, SENDERADDRESS NOT</character>
<dialogue>AVAILABLE.</dialogue>
<scene_description>Sanders broods. Then shrugs. Probably a prank. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. HEN'S ROOM</stage_direction>
<scene_description>Sanders fluffs his hair in the mirror. Straightens his tie. Buttons his jacket over the stain on his tie ... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. EVENING. MEREDITH'S OFFICE</stage_direction>
<scene_description>As Sanders arrives with his FILE FOLDERS, Meredith is on the phone. She works at a temporary desk. A rolled-up CARPET. CARTONSof files and books. Loose WIRES for telephones and computers. She waves him in.</scene_description>
<character>MEREDITH</character>
<dialogue>... Are there any asset sale</dialogue>
<scene_description>triggers which would force redemption? In the indenture. (gestures to wine) Sanders--do me a favor-- (resuming) Uh huh uh huh. Look, Alex, Brown will go two-fifty on this, easy. I'm thinking we take the cash-- right. Just do the thing as a top down recap. That's a good idea for a girl, huh? (laughs) Let's talk first thing. 'Bye.</scene_description>
<character>SANDERS</character>
<parenthetical>(off wine)</parenthetical>
<dialogue>The '91 Pahlmeyer. How did you know? I've been trying to track it down.</dialogue>
<character>MEREDITH</character>
<dialogue>You're special, Sanders. You deserve a little special attention.</dialogue>
<scene_description>sanders uncorks the wine. Meredith sits on the rolled-up carpet. A carton in front of it, like a coffee table. She ~estures for Sanders to sit next to her. 9 CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>I brought up some matnrials. We have to go over "Dianu.."</dialogue>
<character>MEREDITH</character>
<dialogue>Let me see your pictures.</dialogue>
<character>SANDERS</character>
<dialogue>The diagrams?</dialogue>
<character>MEREDITH</character>
<dialogue>Your family. Don't you have pictures?</dialogue>
<scene_description>Sanders takes out his wallet. Takes out his FAMILYPHOTOS. Lays them out on the carton ...</scene_description>
<character>SANDERS</character>
<dialogue>That's Matthew. That's Susan with the kicls at Halloween.</dialogue>
<character>MEREDITH</character>
<dialogue>She looks like she always has food in the refrigerator.</dialogue>
<character>SANDERS</character>
<dialogue>You know, she never really lost the weight from the and then--</dialogue>
<scene_description>first baby, \) \):</scene_description>
<character><'</character>
<character>MEREDITH</character>
<dialogue>I didn't refrigerator. home for you. home I have two bottles</dialogue>
<character>C\ \) \)</character>
<dialogue>say she looks like a r'\ I mean she made a\' In my fridge back of</dialogue>
<scene_description>champagne and an orange.</scene_description>
<character>SANDERS</character>
<dialogue>Isn't Eliza pretty?</dialogue>
<character>MEREDITH</character>
<dialogue>She looks like Susan.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, that's why I can trust you. You have much more to lose than I do.</dialogue>
<scene_description>Sanders looks at her. She looks at him.</scene_description>
<character>SANDERS</character>
<dialogue>Well, anyway, I wanted to get you up to speed on uoiana"--</dialogue>
<scene_description>,.- 9 CONTINUED: (2)</scene_description>
<character>MEREDITH</character>
<parenthetical>(with a cigarettn.)</parenthetical>
<dialogue>Could you grab my ligt1ter?</dialogue>
<scene_description>Sanders gets up. Finds her cig~rette lighter on the desk ...</scene_description>
<character>MEREDITH</character>
<dialogue>You always had a nice ass, Sanders. Nice and hard.</dialogue>
<character>SANDERS</character>
<dialogue>Meredith ...</dialogue>
<character>MEREDITH</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Like algebra.</dialogue>
<character>SANDERS</character>
<dialogue>Hey, Meredith ...</dialogue>
<character>MEREDITH</character>
<dialogue>You can tell me I have a nice ass. It's just like telling me I have a nice Stairmaster. Which is how I got it.</dialogue>
<character>SANDERS</character>
<dialogue>Maybe we should just talk about "Diana."</dialogue>
<character>MEREDITH</character>
<dialogue>What, you're a ~rude now? Remember the things you used to say to me?</dialogue>
<scene_description>Sanders hands her the lighter. Organizes his folders .•.</scene_description>
<character>SANDERS</character>
<dialogue>That was a long time ago.</dialogue>
<character>MEREDITH</character>
<dialogue>You don't say those things to Susan'?</dialogue>
<character>SANDERS</character>
<dialogue>It's different.</dialogue>
<character>MEREDITH</character>
<dialogue>Oh, God, don't tell me. Holding hands and "spooning." Sanders, Sanders, sanders ...</dialogue>
<scene_description>CONTINUED: ( 3 )</scene_description>
<character>SANDERS</character>
<dialogue>You're my boss now. I work for you.</dialogue>
<character>MEREDITH</character>
<dialogue>Okay, then. Get to work.</dialogue>
<character>SANDERS</character>
<dialogue>There's real problems on the line in KL with uDiana".</dialogue>
<character>MEREDITH</character>
<dialogue>Rub my shoulders and I'll listen to "Diana."</dialogue>
<scene_description>He rubs her shoulders ...</scene_description>
<character>SANDERS</character>
<dialogue>The specs on the seek times call for a hundred milliseconds-- that's what we have on the prototypes. But the drives coming off the line--</dialogue>
<scene_description>MEREDITH t"\ \) Do you have the drives here? \)'u</scene_description>
<character>SANDERS ~</character>
<dialogue>~~</dialogue>
<scene_description>Either.it's the.chip, or therEi"\\_~ a bug in the driver software--'-)</scene_description>
<character>MEREDITH</character>
<dialogue>Sanders, just answer my question.</dialogue>
<character>SANDERS</character>
<dialogue>I'm trying to. Do you understand the controller chip is what positions the split optics? Let me show you the schematic--</dialogue>
<scene_description>Sanders moves to get the diagrams ...</scene_description>
<character>MEREDITH</character>
<dialogue>Rub.</dialogue>
<scene_description>sanders goes back to rubbing her shoulders ..•</scene_description>
<character>SANDERS</character>
<dialogue>You can't really understand the depth of the problem unless--</dialogue>
<character>MEREDITH</character>
<dialogue>Do you have the drives?</dialogue>
<scene_description>(CONTINUED}: ·.9 CONTINUED: ( 4 )</scene_description>
<character>SANDERS</character>
<dialogue>Arthur sent five units OHL, they were supposed to come at the end of the day but--</dialogue>
<character>MEREDITH</character>
<dialogue>Then no.</dialogue>
<character>SANDERS</character>
<dialogue>They should be here tomorrow morning at the latest. The problem is--</dialogue>
<character>MEREDITH</character>
<dialogue>It's bullshit. It's bullshit if you don't have the units. Why are you fighting me?</dialogue>
<character>SANDERS</character>
<dialogue>If it's the chip, it could be a rear. And with "Diana" being so important to the merger I just--</dialogue>
<scene_description>A KNOCKat the door, and MRS. ROSS, late 40s, red wig, (\ Meredith's alcoholic SECRETARY, sticks her head in. '0,\J J</scene_description>
<character>MEREDITH (\ ~</character>
<dialogue>Did .I say no calls? \'\~) ~</dialogue>
<character>~·</character>
<dialogue>MRS. ROSS</dialogue>
<scene_description>It's Mr. Garvin.</scene_description>
<character>MEREDITH</character>
<dialogue>Okay, but after that, nobody.</dialogue>
<character>MRS. ROSS</character>
<dialogue>Okay if I call it a day? I'll forward your calls to voice mail.</dialogue>
<character>MEREDITH</character>
<dialogue>Fine, Mrs. Ross.</dialogue>
<scene_description>Mrs. Ross exits. As she leaves, she LOCKS THE DOOR Sanders notices this, puzzled. Meredith goes to her·desk.</scene_description>
<character>SANDERS</character>
<dialogue>Meredith, I just think--</dialogue>
<scene_description>~ CONTINUED: (5)</scene_description>
<character>MEREDITH</character>
<dialogue>You'd rather talk about a million different things than answer my question. Because the answer is you don't know. You don't know what the problem is, so you don't know if there even really is a problem. But you can't say it. You can't say I don't know, because in your mind, that means I lose. I'm worthless. I'm a faggot. Men. What were you planning to tell the people from Conley?</dialogue>
<character>SANDERS</character>
<dialogue>Well, I can't lie to them.</dialogue>
<character>MEREDITH</character>
<dialogue>Did it ever occur to you to talk about the prototypes? The prototypes work. Focus on the positives. That's just basic salesmanship.</dialogue>
<character>SANDERS</character>
<dialogue>The line's up. It's not about the prototypes.</dialogue>
<character>MEREDITH \.}\) \J</character>
<dialogue>They don't want a lot of mumbo- n \) ~ jumbo. They just want to kno""h<;)\.J that you're confident you can \J build the thing.</dialogue>
<character>SANDERS</character>
<dialogue>I realize that, but--</dialogue>
<character>MEREDITH</character>
<dialogue>Do you have a problem working for me, Sanders?</dialogue>
<character>SANDERS</character>
<dialogue>No, I--. No.</dialogue>
<character>MEREDITH</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Hi, Bob ••• You don't want to hear about my hard day, you still have dinner with the Conley people. Now that's work ..• Hold on, let me get my dox together.</dialogue>
<scene_description>·9 CONTINUED: (6) Meredith puts Garvin on hold. Talks to Sanders while she finds her documents, a legal pad and pencil ..</scene_description>
<character>SANDERS</character>
<dialogue>Meredith--</dialogue>
<character>MEREDITH</character>
<parenthetical>(to Sanders)</parenthetical>
<dialogue>Let me tell you something. This merger isn't about "Diana". It's about people. They're comfortable with me and Bob. We're comfortable with them. Period. If they ask you you tell them what you know. And what you know is you don't know.</dialogue>
<character>SANDERS</character>
<dialogue>Fine.</dialogue>
<character>MEREDITH</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Hi, Bob, I'm here ... Yeah, I had an idea about that ... Go ahead.</dialogue>
<scene_description>Sanders, feeling rattled, gets up. Walks over to the window. Fumbles with his CELLULARPHONE, punches in a name code.</scene_description>
<character>SANDERS . ("\</character>
<dialogue>( to phone) C'\ \) \.J</dialogue>
<scene_description>Lewyn, it ' s Sanders . I 've C'\.~ \.J discussed "Diana" with Meredithn ~ \J She says don't say anything t~\J the Conley people about the problems till we know for a fact what the ~roblems are. That's the position for the eight a.m. tomorrow. If there's any significant change-- Suddenly, Meredith's hand is on his, pushing the phone away ..• Placing a kiss where the phone was ... with her free hand, she unbuttons her blouse ...</scene_description>
<character>SANDERS</character>
<dialogue>Meredith, hey. Hold on.</dialogue>
<character>MEREDITH</character>
<dialogue>A.re you saying you're not turned on by me anymore?</dialogue>
<character>SANDERS</character>
<dialogue>It's not that, it's--</dialogue>
<character>9</character>
<dialogue>(</dialogue>
<character>CONTINUED:</character>
<dialogue>MEREDITH</dialogue>
<scene_description>You know why you came up ller•1. She kisses his neck. His phone DROPS onto the windowsill ...</scene_description>
<character>SANDERS</character>
<dialogue>C'mon, Meredith. Hey.</dialogue>
<character>MEREDITH</character>
<dialogue>Wouldn't you like it--to just lie back and get fucked? Not have to do all that work--put in twelve hours here and then ~,rry about her orgasm? I could have anyone and I picked you. No,, yo11 hc1ve the power. You have :;omething 1 want. Doesn't that f•?el good? Just let me.</dialogue>
<character>SANDERS</character>
<dialogue>Meredith, no. Stop.</dialogue>
<scene_description>She slides down his body ...</scene_description>
<character>MEREDITH</character>
<dialogue>Don't worry, I'm not qoing bite.</dialogue>
<character>SANDERS</character>
<dialogue>Oh, God. Meredith, s·.op.</dialogue>
<scene_description>The sounds of his belt unbuckli11g, his zipper unzipping ...</scene_description>
<character>MEREDITH</character>
<dialogue>Shhh. You just lie back and let me be the boss. Let 1:1edo whatever I want.</dialogue>
<character>SANDERS</character>
<dialogue>Oh, God. Meredith. neredith.</dialogue>
<scene_description>He lies back, his thoughts race as she unbuttons his shirt ••• ANGERwells up in him ai: being pushed around ... HE GRABS HER By the hair, lifts her off ...</scene_description>
<character>MEREDITH</character>
<dialogue>No?</dialogue>
<scene_description>He grabs her by her blouse, tearing it as he lifts her, shoves her down hard ••. ( · •.• CONTINUED: ( 8)</scene_description>
<character>SANDERS</character>
<dialogue>Who the fuck do you think you are? Hah? You want 1.0 be fucked?</dialogue>
<character>MEREDITH</character>
<dialogue>Just stay hard. Stay--</dialogue>
<scene_description>He ~ulls her skirt up. He tears away her panties ... His fingers inside her ... Kneels to pull his shorts down, and looks at her. Sees himself, reflected in the windows ... THE FAMILY PICTURES Susan and the kids, smiling up .:it him.</scene_description>
<character>SANDERS</character>
<dialogue>Oh, Christ, look at Uf:.</dialogue>
<character>MEREDITH</character>
<dialogue>You can't stop now.</dialogue>
<scene_description>sanders pulls up his pants, zip~; them.</scene_description>
<character>SANDERS (\ <) '</character>
<dialogue>Nothing's happened. I.et' s stop r <~~ V now before--</dialogue>
<scene_description>\)\)\j'.J</scene_description>
<character>MEREDITH</character>
<dialogue>You can't just stop.</dialogue>
<character>SANDERS</character>
<dialogue>It's not right.</dialogue>
<character>MEREDITH</character>
<dialogue>You put your dick in my mouth and then you get an attack of morality?</dialogue>
<scene_description>He covers up as she hits him. He grabs her by the wrists. She rips a hand free, SCRATCHEShim across his chest. He shoves her .•. She sprawls down against the cartons and a wine glass breaks. He gathers his folders, his pictures ... Finds his cellular phone on the windowsilJ ...</scene_description>
<character>SANDERS</character>
<dialogue>It didn't happen.</dialogue>
<scene_description>She starts to laugh .•. Reaches tc, light up a cigarette .•.</scene_description>
<character>MEREDITH</character>
<dialogue>You never used to be this way.</dialogue>
</scene>
<scene>
<stage_direction> 9 CONTINUED: (9)</stage_direction>
<scene_description>\</scene_description>
<character>SANDERS</character>
<dialogue>I have a family.</dialogue>
<character>MEREDITH</character>
<dialogue>A family made you stupid?</dialogue>
<character>SANDERS</character>
<dialogue>Leave me alone, Mered.'.th. Go home to your two bott:es of champagne. Maybe the::' 11 fuc:k you.</dialogue>
<character>MEREDITH</character>
<dialogue>You come back and finsh what. you started.</dialogue>
<scene_description>He exits the office. She climb:; up, rushes after him.</scene_description>
<character>MEREDITH</character>
<dialogue>Did you hear me~? You com<? b.tck here and finish or yo1t're deadl You're fucking dead!</dialogue>
<scene_description>Meredith exits her office. Loo 1:s for :,anders. But sees instead •.• the.CLEANING WOMAN,who look3 away. Meredith gathers her blouse. Returns inside and closes the door.</scene_description>
<character>('\ \\</character>
<dialogue>CUT TO: \:IQf· '·-'</dialogue>
<scene_description>{~~(j</scene_description>
</scene>
<scene>
<stage_direction>EXT. NIGHT. FERRY</stage_direction>
<scene_description>Sanders climbs aboard, confused by what just happened. It's late, and nearly deserted. He sees Price, ALONE--like the ghost on a ghost ship. Then he ducks behind a corner. Punches a number into his phone. But n•Jthing comes up. It's DEAD.</scene_description>
<character>SANDERS</character>
<dialogue>Dead. That's just pe~fect.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS' HOME</stage_direction>
<scene_description>Susan works in bed, her files and legal pads scattered over the covers, a cup of tea on the nightstand. Sanders enters.</scene_description>
<character>SUSAN</character>
<dialogue>I didn't hear you come in.</dialogue>
<character>SANDERS</character>
<dialogue>Hiya, honey. I gonna go take a shower.</dialogue>
<scene_description>1 CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>No kiss?</dialogue>
<character>SANDERS</character>
<dialogue>I--I feel shitty. I'm just--</dialogue>
<character>SUSAN</character>
<dialogue>Screw them. They don't deserve you.</dialogue>
<character>SANDERS</character>
<dialogue>Could you go downstairs and grab me a beer? I'm gonna take a quick shower. I'll b·3 right out.</dialogue>
<scene_description>Susan takes her cup to go to th-~ kitchen. Sanders moves IN THE BATHROOM Sanders pulls off his tie, his shirt. Looks at the welted SCRATCHESon his chest. Smells the shirt. Digs into the laundry hamper, puts the shirt ,1t the bottom ... Steps INTO THE SHOWER A box with GLASS WALLS. Just as Susan enters with his beer. He tries to keep his back to her--to .hide the scratch~s •..</scene_description>
<character>SANDERS</character>
<parenthetical>(\ Q;,)</parenthetical>
<dialogue>Do me a favor, battery</dialogue>
<scene_description>would'ja? in my phone died. The () ~' () (Jg. Susan finds Sanders's CELLULARPHONEon the bathroom counter. Takes the BATTERYout and puts it in the CH.l\RGER.</scene_description>
<character>SUSAN</character>
<dialogue>I thought these were 3upposed to last all day.</dialogue>
<character>SANDERS</character>
<dialogue>Probably another thinJ I'll get blamed for.</dialogue>
<scene_description>Susan looks suspiciously at the battery before she puts it in the charger.</scene_description>
<character>SUSAN</character>
<dialogue>Who's Meredith Johnson?</dialogue>
<character>SANDERS</character>
<parenthetical>(can't hear)</parenthetical>
<dialogue>What?</dialogue>
<scene_description>1 CONTINUED: ( 2)</scene_description>
<character>SUSAN</character>
<dialogue>Meredith Johnson. Sh•1 ca lle•j just before you got h•Jme.</dialogue>
<character>SANDERS</character>
<dialogue>Meredith called?</dialogue>
<character>SUSAN</character>
<dialogue>Like ten minutes ago. She said the eight a.m. got pushed back to eight-thirty. Who is she?</dialogue>
<scene_description>Susan gets suspicious ... She c ir•:les th9 glass box ... Sanders turns to hide his scratches ...</scene_description>
<character>SANDERS</character>
<dialogue>She' s the one. The n 1w veep~e.</dialogue>
<character>SUSAN</character>
<dialogue>She's the one7</dialogue>
<character>S.;NDERS</character>
<dialogue>They brought her up from The Valley.</dialogue>
<character>SUSAN ·</character>
<dialogue>How old is she? , \) \j (J</dialogue>
<scene_description>SANDERS \) () c;, I don't know. Thirty-three~)~</scene_description>
<character>SUSAN</character>
<dialogue>Jesus. That's young for that job. Had you ever he~rd of her?</dialogue>
<character>SANDERS</character>
<dialogue>She's a face guy. Shn made the merger happen and now she's Garvin's fair-haired whatever.</dialogue>
<character>SUSAN</character>
<dialogue>But I don't understarul--where did she come from?</dialogue>
<character>SANDERS</character>
<dialogue>Could you get me my robe?</dialogue>
<scene_description>Susan exits to the WALK-IN CLOSET•.. sanders looks over his shoulder to watch her as she exi.ts •.. SANDERS' POV The scratches across his chest ... ( CotlTINUED)</scene_description>
<character>:1 CONTINUED: (3)</character>
<dialogue>\</dialogue>
<character>SUSAN</character>
<dialogue>Does she have u.11y technical background?</dialogue>
<character>SANDERS</character>
<dialogue>No. It's this merger. It'f; changed everything.</dialogue>
<scene_description>Susan returns with a ROBE... Tosses it so it folds over the top of the door. Sanders pulls it on, folds the collar high across his chest ... Goes into the WALK-INCLOSET...</scene_description>
<character>SUSAN</character>
<dialogue>If you ask me you shc,uld just quit.</dialogue>
<character>SANDERS</character>
<dialogue>Were you listening tc· me this morning?</dialogue>
<character>SUSAN</character>
<dialogue>I don't care about the stock options.</dialogue>
<character>SANDERS</character>
<dialogue>I might be out of a job, Susan. Do you know what it's like out there?</dialogue>
<character>SUSAN</character>
<dialogue>So what? I'll go back to full-time.</dialogue>
<character>SANDERS</character>
<dialogue>I am fully capable of supporting this family.</dialogue>
<character>SUSAN</character>
<dialogue>I'm just trying to help, Torn. I hate it when people do this to you. You're too nice sometimes.</dialogue>
<scene_description>sanders reappears in a T-shirt and boxer shorts.</scene_description>
<character>SANDERS</character>
<dialogue>I do not need you to fight my battles for me, Susan, thank you very much.</dialogue>
<scene_description>He exits. She follows him into the bedroom. (</scene_description>
<character>1 CONTINUED: (4)</character>
<dialogue>ON THE TELEVISION</dialogue>
<dialogue>"THE APARTMENT"--a scene betwee,1 Fr,ed MacMu.rray, as Sheldrake, and Shirley MacLaine, as Fran.</dialogue>
<character>FRAN</character>
<dialogue>And just think--right now th~re's some lucky girl in th•1 building who's going to come aeter me--</dialogue>
<character>SHELDRAKE</character>
<dialogue>Okay, okay, Fran. I ,le serve that. But just ask y,mrs,;ilf--why does a man run around with a lot of girls? Because he's unhappy at home-- because he':; lonely, that's why ...</dialogue>
<character>BACK ON--SANDERS</character>
<dialogue>As he climbs into bed.</dialogue>
<character>SUSAN</character>
<dialogue>Why are you wearing a T-shirt? You never wear a T-sh.Lrt to bed.</dialogue>
<character>SANDERS</character>
<dialogue>I don't know. I'm a little chilly.</dialogue>
<scene_description>She snuggles up to him.</scene_description>
<character>SUSAN</character>
<dialogue>What are you going to do?</dialogue>
<character>SANDERS</character>
<dialogue>Grin and bear it. Story of my life.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And hope it doesn't g,.?t worse.</dialogue>
</scene>
<scene>
<stage_direction>INT. MORNING. DIGICOM</stage_direction>
<scene_description>Sanders walks onto the elevator. Garvin is there.</scene_description>
<character>GARVIN</character>
<dialogue>Good morning.</dialogue>
<character>SANDERS</character>
<dialogue>Morning, Bob.</dialogue>
<character>\2 CONTINUED:</character>
<dialogue>The doors close. They're alone in the elevator ...</dialogue>
<character>GARVIN</character>
<dialogue>That's a nice suit.</dialogue>
<character>SANDERS</character>
<dialogue>Thanks.</dialogue>
<character>GARVIN</character>
<dialogue>Nice fabric. Can I f•\]el it?</dialogue>
<character>SANDERS</character>
<dialogue>sure.</dialogue>
<character>GARVIN</character>
<dialogue>What is that, like a tropical wool?</dialogue>
<character>SANDERS</character>
<dialogue>With a little viscose.</dialogue>
<character>GARVIN</character>
<dialogue>Yeah?</dialogue>
<character>SANDERS</character>
<dialogue>That's how you get th~t nice drape to the trousers.</dialogue>
<scene_description>Garvin runs his hand along Sand~rs' shoulder, and down. his arm. Squeezes his bicep. · ~ l'\ () I"\\'·'\:</scene_description>
<character>\ \ ..</character>
<dialogue>GARVIN</dialogue>
<scene_description>You work out,</scene_description>
<character>SANDERS</character>
<dialogue>You know, when I can.</dialogue>
<scene_description>Tom? Things've</scene_description>
<character>~-~\}\).</character>
<dialogue>been pretty busy lately.</dialogue>
<scene_description>Sanders, nervous, presses the button again. But the elevator just keeps going ... Garvin caresses Sanders' hair ...</scene_description>
<character>GARVIN</character>
<dialogue>I've always liked you, Tom.</dialogue>
<character>SANDERS</character>
<dialogue>Hey, Bob--</dialogue>
<character>GARVIN</character>
<dialogue>Now you have the power. Now you have something I want.</dialogue>
<character>SANDERS</character>
<dialogue>Bob, c'mon.</dialogue>
<scene_description>Garvin leans over to kiss him ... SANDERS' POV Garvin's mouth moving towards hirn .•• His tongue ...</scene_description>
<character>CUT TO:</character>
<dialogue>23 INT. NIGHT. BEDROOM</dialogue>
<scene_description>Sanders JUMPS off his pillow, startles awake.</scene_description>
<character>SANDERS</character>
<dialogue>Aaaugh!</dialogue>
<character>CUT TO:</character>
<dialogue>WHITE TITLES ON BLACK--</dialogue>
<character>TUESDAY</character>
<dialogue>CUT TO:</dialogue>
<character>~~\)</character>
<dialogue>24 INT. MORNING. DIGICOM ~ \\. 0i</dialogue>
<scene_description>Sanders emerges from the elevator. TurrG corner ... Sees the</scene_description>
<character>~</character>
<dialogue>CONFERENCEROOM. Through the v,indows, he can see that NO ONE'S THERE. He checks his watch. INTO THE CONFERENCEROOM A CUTAWAY of the "Diana" drive and a SCHEMATICof the ASSEMBLY LINE on one wall. LEGAL PADS with NOTES already scribbled. Sanders hustles outside. Corrals a SECRETARY.</dialogue>
<character>SANDERS</character>
<dialogue>Where is everybody?</dialogue>
<character>SECRETARY</character>
<dialogue>They left fifteen minutes ago. Don Cherry's demo-ing The Corridor for the Conley people.</dialogue>
<character>SANDERS</character>
<dialogue>I thought the meeting got pushed back to eight-thirty.</dialogue>
<character>SECRETARY</character>
<dialogue>Seven-thirty. It didn't get pushed back, it got pushed up.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>'4 CONTINUED: SECRETl\RY Nobody told you? CUT TO: 25 INT. LATER. VIRTUAL INFORMATI0:1 EtrVIRONHENT (VIE} Conley and Chase laugh up on WA~KERPADS, composed of tightly- packed RUBBERBALLS--like a multi-directional treadmill. WIRES lea:d from their HEADSETSand GL)VES to the system. A MONITOR replicates what they see inside their headsets. Meredith, Garvin, Lewyn and Hunter smile -1s Cherry leads. the demonstration. His overworked PROGRAMt-1ERS look on proudly. Furillo and the other CONLEYEX~CS look on amazed.</scene_description>
<character>CHERRY</character>
<dialogue>... The computer takes the</dialogue>
<scene_description>information coming fr•)m the database and constructs a virtual environment which is projected inside the ~eadset. When the user walks on the pad, you feel like you' re walking d•:,wn a corridor lined with drawers. The user can stop anywher~, open any file drawer with his hand, and thumb through data. 'The laser scanners are for body representation. If you're ~- walking down The Corridor with \)'-.) somebody else, you can turn and f'\ C"\\J look at them and you'll see th~~'u\J'":J</scene_description>
<character>CONLEY "\J</character>
<dialogue>Amazing!</dialogue>
<character>CHERRY</character>
<dialogue>If somebody logs on with a regular computer, you'll see a model of thern--with a photo pulled up out of the files.</dialogue>
<scene_description>Cherry logs onto a computer. While Conley sees a detailed representation of Chase, he only sees a black and white photo· of Cherry, atop a kind of mannequin. Then •.• SANDERS ENTERS There's no convenient way for him to cross the room and join everyone else. He stands awkwardly by the door. Lewyn and Meredith turn to give him looks--where were you? (CONTINUED}: ,,-·? CONTINUED:</scene_description>
<character>CHERRY</character>
<parenthetical>(resuming)</parenthetical>
<dialogue>We've also built in vLrtu~l help. Users always need onlLne help. So we've made an angel to help you.</dialogue>
<character>CONLEY</character>
<dialogue>Angel, how do I open ~his drawer?</dialogue>
<scene_description>Conley listens, reaches forward in the air with his hand.</scene_description>
<character>FURILLO</character>
<dialogue>What's the angel saying?</dialogue>
<character>CHERRY</character>
<dialogue>That's between him and his angel. He hears it through tlle headphones.</dialogue>
<parenthetical>(resumes)</parenthetical>
<dialogue>We don't see The CorrLdor as a product in the marketplace. It's f"\ ~ just something we wort~ed up to f\. (~ \J demonstrate the poten::ial of the ('\ \\""" virtual reality technology. (.\'J,)</dialogue>
<scene_description>Conley closes his fingers, as iE gripping something, and pulls back--like someone opening a f i.Le drawer ... ON THE MONITOR A virtual file drawer slids out from the wall of the corridor. Inside the drawer are neatly-ar;~anged files. BACK ON--CONLEY As he fingers one of the file labels. The file pops out of the drawer and.opens, apparently haaging in midair.</scene_description>
<character>CHERRY</character>
<dialogue>We have to break the metaphor sometimes. Because u:;ers only have one hand. And yl)u can't open a regular file with one hand.</dialogue>
<scene_description>Conley moves his hand through tl1e air--turning pages; .• ON THE MONITOR we see what Conley is looking ai:--a series of spreadsheets.</scene_description>
<character>GARVIN</character>
<dialogue>Hold on--what is that?</dialogue>
<scene_description>- ,5 CONTINUED: (2) I</scene_description>
<character>CONLEY</character>
<dialogue>I believe it's all o\[ your financial records, Bot,.</dialogue>
<character>GARVIN</character>
<dialogue>Turn that damn thing cff.</dialogue>
<scene_description>GALES of laughter from the Conlty people.</scene_description>
<character>CHERRY</character>
<dialogue>In the final system, ~e'll have safeguards built in tc, contro1 access.</dialogue>
<scene_description>Garvin turns, sees Sanders for the first time.</scene_description>
<character>GARVIN</character>
<dialogue>Tom! So glad you could join us.</dialogue>
<scene_description>CUT TO: 26 I~T. LATER. HALLWAY</scene_description>
<character>. ~()</character>
<dialogue>Garvin and Meredith lead the Cor.ley peo~le back to t~~O. ~ conference room. Lewyn and Sanders trail with ~~~~liars ...</dialogue>
<character>LEWYN</character>
<dialogue>.•. You were supposed to call me after your meeting with Meredith, remember?</dialogue>
<character>SANDERS</character>
<dialogue>I called you from her office. I left a message on your machine.</dialogue>
<character>LEWYN</character>
<dialogue>There wasn't anything on my machine. And then you're late again •.• Thank God Meredith took over the discussion.</dialogue>
<scene_description>Lewyn blows past Sanders up the hall ... AT THE CONFERENCEROOM Garvin leads the Conley people inside. Meredith lags behind at the door so she can take Sanders aside as he arrives.</scene_description>
<character>MEREDITH</character>
<dialogue>Didn't you get my message?</dialogue>
<scene_description>'6 CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>You told Susan the mc•~ti11'1 w.1~; moved to eight-thirty.</dialogue>
<character>MEREDITH</character>
<dialogue>I said seven-thirty. The Conley people have to be bac in Ne·.., 1</dialogue>
<character>-:</character>
<dialogue>York for a dinner tonLght.</dialogue>
<scene_description>Garvin beckons from inside.</scene_description>
<character>GARVIN</character>
<dialogue>Meredith?</dialogue>
<scene_description>They file into the conference r~om. Take their places. SANDERS follows her inside. He looks acound--all the chairs are taken. A SECRETARYdrags in an ARMCHAIi{.</scene_description>
<character>SECRETARY</character>
<dialogue>Here you go, Mr. Sand•1rs. Full house today, huh?</dialogue>
<character>,\</character>
<dialogue>SANDERS</dialogue>
<scene_description>Thanks. Sanders sits.· The armchair is ·.vay too short for the table.</scene_description>
<character>CONLEY</character>
<dialogue>Meredith's been getting us up to speed on "Diana". Now that you' re here, we'd lik•3 your read on it. uoiana" is your baby, right?</dialogue>
<character>SANDERS</character>
<dialogue>Well, the ~rototypes ceally rip. They're twice as fast as the drives coming out of Japan.</dialogue>
<character>CONLEY</character>
<dialogue>Prototypes? I thought you were in production.</dialogue>
<scene_description>sanders looks at Meredith. She stares right back at him ...</scene_description>
<character>SANDERS</character>
<dialogue>We're still in the early stages.</dialogue>
<character>CONLEY</character>
<dialogue>I thought you were in production for two months.</dialogue>
<scene_description>1 CONTINUED: (2)</scene_description>
<character>SANDERS</character>
<dialogue>Eight weeks.</dialogue>
<character>CONLEY</character>
<dialogue>If some of your product cycl,.2s are as short as nine i:1onths, wouldn't two months bi1 pretty far along?</dialogue>
<character>SANDERS</character>
<dialogue>Nine would be the shortest.</dialogue>
<character>CONLEY</character>
<dialogue>Is there a problem--?</dialogue>
<parenthetical>(to Garvin)</parenthetical>
<dialogue>This isn't an inquisi1.ion, Bob. This is like .pulling 1~eeth.</dialogue>
<character>GARVIN</character>
<dialogue>John just want~; to ge 1. a handle on the problems with 1.he line.</dialogue>
<character>SANDERS</character>
<dialogue>I don't know, is the Iler.est answer.,</dialogue>
<character>CONLEY</character>
<dialogue>Didn't you just say "I>iana" your baby?</dialogue>
<scene_description>Sanders looks again to Meredith ... She stares right back ,at him again .•. Is that a smile on her lips?</scene_description>
<character>SANDERS</character>
<dialogue>There's always some glitches at this stage in the gamu.</dialogue>
<character>CONLEY</character>
<dialogue>Meredith told· us then?' s real problems. That you might have to go back to the drawinc J board.</dialogue>
<character>SANDERS</character>
<dialogue>I hope I haven't conveyed the wrong iml?ression to MHredith. I'm confident we can 1,1anufacture the drives.</dialogue>
<character>CONLEY</character>
<dialogue>How many of the drive~, coming off the line meet specs?</dialogue>
<parenthetical>( COtJTINUED)</parenthetical>
</scene>
<scene>
<stage_direction>6 CONTINUED: ( 3)</stage_direction>
<character>SANDERS</character>
<dialogue>I don't have those fiJuros with me.</dialogue>
<character>CHASE</character>
<dialogue>Meredith told us the Line's running at twenty-nin•:l per cent. Is that approximately right?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>CONLEY</character>
<parenthetical>(reading)</parenthetical>
<dialogue>The seek times are ru;rning forty to sixty milliseconds off specs ... There's a pow•\]r flicker in the screen ...</dialogue>
<parenthetical>(looking U\[))</parenthetical>
<dialogue>Right?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>CONLEY</character>
<dialogue>But you're confident.</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>CONLEY</character>
<dialogue>I wish I had your confidence. I might even beat Chase at tennis.</dialogue>
<scene_description>Appreciative laughter around tho table ..</scene_description>
<character>M.EREDITH</character>
<dialogue>I may be a bit at fault here. When I spoke with Tom, he told me the problems with "Dinna" were serious.</dialogue>
<character>SANDERS</character>
<dialogue>They're serious. And they're not serious.</dialogue>
<character>CONLEY</character>
<dialogue>Oh.</dialogue>
<character>MEREDITH</character>
<dialogue>I didn't want to be covering anything up here.</dialogue>
<scene_description>6 CONTINUED: (4)</scene_description>
<character>SANDERS</character>
<dialogue>I'm not covering anytl1ing up.</dialogue>
<character>MEREDITH</character>
<dialogue>Not at all. We're ju;t looking for a translation int,) layman's terms of just where ~l are.</dialogue>
<character>CHASE</character>
<dialogue>Give us worst case.</dialogue>
<character>SANDERS</character>
<dialogue>Worst case, we go bacl-: to th•~ drawin9 board~ Maybe it puts us back nine months.</dialogue>
<character>CONLEY</character>
<dialogue>Nine months? Meredith said six weeks.</dialogue>
<character>SANDERS</character>
<dialogue>I think six weeks is ,1 more likely estimate, but--</dialogue>
<character>CONLEY \) <)\)</character>
<dialogue>What if in nine months Sony has t\ \) ~ an eighty millisecond drive? ~~ 1</dialogue>
<character>U</character>
<dialogue>uoiana" technology was a majorU factor in this merger.</dialogue>
<character>GARVIN</character>
<dialogue>I don't know where tho hell Ile</dialogue>
<scene_description>got nine months· from.</scene_description>
<character>CONLEY</character>
<dialogue>Just so I'm clear--you don't know what the problem is?</dialogue>
<character>SANDERS</character>
<dialogue>Look, nobody likes to go back to the boards, but sometimes there's an advantage.</dialogue>
<character>CONLEY</character>
<dialogue>Wait a minute. You'rethe head of manufacturing, "Diana" is your baby, there's problems with it that could take nine months to fix, which I assume means at least a year, and the bottom line is you don't know?</dialogue>
<scene_description>Meredith raises her eyebrows, looks down at her papers. '6 CONTINUED: (5) And smiles to herself. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS' OFFICE</stage_direction>
<scene_description>Sanders, fuming, blows past a worried-looking Cindy.</scene_description>
<character>SANDERS</character>
<dialogue>Goddarnit. Goddammit. She set me up.</dialogue>
<scene_description>He enters his office. Blackburn waits for him there.</scene_description>
<character>BLACKBURN</character>
<dialogue>Tom.</dialogue>
<character>SANDERS</character>
<dialogue>Good. You're just who I want to see. It is not going to work out with Meredith.</dialogue>
<character>BLACKBURN</character>
<dialogue>Evidently not.</dialogue>
<character>SANDERS</character>
<dialogue>Do you know what she just did? ~ In front of Garvin and Conley· and r\ \) ' everyone? () \) ~1 "-'</dialogue>
<character>BLACKBURN ()\></character>
<dialogue>Torn, why don't you sit do;.m? On the couch?</dialogue>
<character>SANDERS</character>
<dialogue>What? What's going on?</dialogue>
<scene_description>Blackburn gestures. Sanders complies,· sits on the couch. Blackburn closes Sanders' door. Turns to him.</scene_description>
<character>BLACKBURN</character>
<dialogue>Meredith told me about your meeting last night.</dialogue>
<scene_description>sanders takes a beat.</scene_description>
<character>SANDERS</character>
<dialogue>What? What did she tell you?</dialogue>
<scene_description>7 CONTINUED:</scene_description>
<character>BLACKBURN</character>
<dialogue>She wants to handle the intervention internally, which is best for everyone. She still cares about you-- we all do.</dialogue>
<character>SANDERS</character>
<dialogue>Wait a minute--what did she say?</dialogue>
<character>BLACKBURN</character>
<dialogue>Not to put too fine a point on it, she said you sexually harassed her.</dialogue>
<character>SANDERS</character>
<dialogue>I sexually harassed hE·.£?</dialogue>
<character>BLACKBURN</character>
<dialogue>Well, what would you call it?</dialogue>
<character>SANDERS</character>
<dialogue>Phil, she jumped me in her office.</dialogue>
<scene_description>Blackburn sm.i~es, shakes his head.</scene_description>
<character>BLACKBURN</character>
<dialogue>You have a problem, Tom. You're, f in denial. That's typic'al. ,.·' : ·</dialogue>
<character>SANDERS</character>
<dialogue>She did everything but rape me.</dialogue>
<character>BLACKBURN</character>
<dialogue>I don't mean to be judgemental in any way, but--don't you think that's a little implausible? Look, maybe you lost control. That's natural--I mean, look at her. But we just can't have this kind of thing going on anymore. This isn't 1950.</dialogue>
<character>SANDERS</character>
<dialogue>Wait a minute--don't you want. to know my side of the s1.ory?</dialogue>
<scene_description>Sanders loosens his tie. Unbut1.ons his shirt.</scene_description>
<character>BLACKBURN</character>
<dialogue>You need hell?, Tom. You havH to take responsibility ...</dialogue>
<character>:7 CONTINUED: ( 2)</character>
<dialogue>SANDERS</dialogue>
<parenthetical>(with scratches)</parenthetical>
<dialogue>There--what's that?</dialogue>
<character>BLACKBURN</character>
<dialogue>It looks to me like she was forced to defend herself. I'm sur~rised she wasn't injured more seriously.</dialogue>
<character>SANDERS</character>
<dialogue>Oh, bullshit. She's an hour on the Stairmaster every morning, she could probably beat the shit out o! both of us.</dialogue>
<character>BLACKBURN</character>
<dialogue>What I'm saying is, let's keep this quiet. Your wife doesn't have to know. Your kids ...</dialogue>
<character>SANDERS</character>
<dialogue>I didn't harass her. She harassed me.</dialogue>
<character>BLACKBURN</character>
<dialogue>It may have seemed that way at</dialogue>
<scene_description>\ the time, but--</scene_description>
<character>SANDERS</character>
<dialogue>That's the truth. Don't you about the truth?</dialogue>
<character>BLACKBURN</character>
<dialogue>I came down here as y~ur friend.</dialogue>
<character>SANDERS</character>
<dialogue>Friend my ass. Listen to me--</dialogue>
<character>BLACKBURN</character>
<dialogue>No, rou listen to me. When Garvin finds out about this he'll want to throw you out on your ass and never look back. I'm offering you a second chance. A chance to make a new life, keep your family out of this mess, keep your job--obviously, with some kind of lateral move ..•</dialogue>
<character>SANDERS</character>
<dialogue>Lateral? What do you mean, lateral? You mean out of the division?</dialogue>
<character>7 CONTINUED: (3)</character>
<dialogue>BLACKBURN</dialogue>
<scene_description>Well, you can't stay ltere, Tnm. She's scared out of hur wits.</scene_description>
<character>SANDERS</character>
<dialogue>I'm not leaving this division. I put in ten years of my life here--I built this plc1ce. And now with the spinoff ~bout to--</dialogue>
<character>BLACKBURN</character>
<dialogue>We're thinking, you know, Austin.</dialogue>
<character>SANDERS</character>
<dialogue>Austin?</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. DIGICOM</stage_direction>
<scene_description>Garvin and Blackburn talk on th•? phone.</scene_description>
<character>BLACKBURN</character>
<dialogue>... He says she harass•~d h.im.</dialogue>
<character>GARVIN</character>
<dialogue>What? He denied it? ,</dialogue>
<character>BLACKBURN</character>
<dialogue>You know how it is with these \) \) things--the man always denies it. <).\)</dialogue>
<character>GARVIN</character>
<dialogue>Is</dialogue>
<character>0'J\)~</character>
<dialogue>he crazy?</dialogue>
<character>BLACKBURN</character>
<dialogue>I offered him a latertil move to Austin.</dialogue>
<character>GARVIN</character>
<dialogue>That's like a duck making a lateral move to l'orange. He's too smart for that.</dialogue>
<character>BLACKBURN</character>
<dialogue>We just have to hope he's smart enough to see he doesn't have any options.</dialogue>
<character>GARVIN</character>
<dialogue>You better take care of this, Phil. Do you understand?</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>:8 CONTINUED: GARVIN (Cort'd) Be.~cause this is a qoccla,n hon1h we're sitt.ing on thal c1n bJow everything sky-high.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. OFFICE</stage_direction>
<scene_description>Sanders at his desk, stares into space.·. Notices his E-MAIL ICON blinking. Curious, he cljcks on it. ON THE COMPUTER The Seattle Post-Intellioencer. March 8, 1994. Page J.</scene_description>
<character>AFRIEND</character>
<dialogue>.SANDERS</dialogue>
<dialogue>Puzzled, as he hits the SENDER INFO bt:tton .•. ON THE COMPUTER A giant block of TEXT appears ...</dialogue>
<character>CHARONTUE JUN 16 04:43:31</character>
<dialogue>FROMDCCSYS RECEIVED: FROMUUPSlS BY DCCSYS.DCC.COt-1ID AA02599 TUE,</dialogue>
<character>P£MOTE</character>
<dialogue>. (\ n. f\\.:V</dialogue>
<character>16 JUN 4: 42: 19 PST RECEIVED: FROM \) C\ \J</character>
<dialogue>UWA.PCM.COM.EDU BY UL'S.PSI.COM . (\ \.> ..1</dialogue>
<dialogue>(S.65B/4.0.071791-PSI/PSINE'l' •.• \) J</dialogue>
<scene_description>Sanders scowls. Clears his screen. 1ypes to go on-line with the Seattle Post-Intelligencer ... ON THE SCREEN As he types ••• The front page ot the March 8 paper comes up. Sanders scrolls to page 3:</scene_description>
<character>MILLION-DOLLARSEXUALHARASSMENT</character>
<dialogue>VERDICT RAISES QUESTIONS FOR</dialogue>
<character>LOCAL COMPANIES</character>
<dialogue>Beneath this, a block of text and a PHOTOof LOUISE FERNANDEZ, with the caption:</dialogue>
<character>9 CONTINUED:</character>
<dialogue>Plaintiff's lawyer LO1fISE FERNNJDEZ, after her ·1ict0ry: "Zero tolerance is th•! only policy for this behav.i.or."</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. OFFICE BUILDING</stage_direction>
<scene_description>An '20s-vintage skyscraper. Sanders rides in an elevator with an ATTENDANT. Through the GLAS!1DOORSof the elevator, he watches the floors whip by, pun1:tuated by st.retches of black.</scene_description>
<character>ATTENDANT</character>
<dialogue>Fourteenth floor.</dialogue>
<scene_description>Sanders steps out. On the wall, FERNANDEZ,SHAPIRO & HOAGin brass letters. 31 INT .• DAY. FERNANDEZ, SHAPIRO & HOAG LOUISE FERNANDEZ, late 30s, a GUNSLINGERin a Donna Karan suit. Her walls are full of framed NE\·1SPAPER CLIPPINGS and TENtTIS TROPHIES. She coolly appraises Sanders from her desk. CHANCE GEER, late 20s, a handsome black ASSOCIATE, questions Sanders from the couch.</scene_description>
<character>GEER</character>
<dialogue>There were no witnessc!S?</dialogue>
<character>SANDERS</character>
<dialogue>No. Her assistant left for the night. There was a cleaning woman outside the office. I don't know how much she heard.</dialogue>
<scene_description>Fernandez makes a note with a fat Mont Blanc pen.</scene_description>
<character>GEER</character>
<dialogue>Did you report this to anyone?</dialogue>
<character>SANDERS</character>
<dialogue>This morning.</dialogue>
<character>GEER</character>
<dialogue>And what was the company's response?</dialogue>
<parenthetical>( CotlTINUED)</parenthetical>
<dialogue>1 ·coNTINUED:</dialogue>
<character>SANDERS</character>
<dialogue>They believe hei. Thly suggested that I transfer to Austin.</dialogue>
<character>FERNANDEZ</character>
<dialogue>I heard they were selling Austin.</dialogue>
<character>GEER</character>
<dialogue>Did you call anyone after the incident?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>GEER</character>
<dialogue>Did you tell your wife?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Hoo boy.</dialogue>
<character>GEER</character>
<dialogue>Why. not?</dialogue>
<character>SANDERS</character>
<dialogue>I t\_hought it would upset her. felt guilty\_ for putting myself that situation.</dialogue>
<character>GEER</character>
<dialogue>How would you charact.erize Ms. Johnson physically?</dialogue>
<character>.SANDERS</character>
<dialogue>She's very attractivE·. She was Miss Teenage Connecti.cut or something.</dialogue>
<character>GEER</character>
<parenthetical>(off notes)</parenthetical>
<dialogue>So you were kissing?</dialogue>
<character>SANDERS</character>
<dialogue>Then she started, uh, well, rubbing me.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Rubbing you where?</dialogue>
<character>SANDERS</character>
<dialogue>You know .••</dialogue>
<scene_description>.l CONTINUED: ( 2)</scene_description>
<character>FERNANDEZ</character>
<dialogue>Your renis?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>FERNANDEZ</character>
<dialogue>And?</dialogue>
<character>SANDERS</character>
<dialogue>I'm not comfortable t,Llking about this.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Because I'm a woman?</dialogue>
<character>SANDERS</character>
<dialogue>Because it seems like a g~me to you.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Mr. Sanders, why are you hero?</dialogue>
<character>SANDERS</character>
<dialogue>I want to know what my options are.</dialogue>
<scene_description>'\ FERNANDEZ What your options are?</scene_description>
<character>SANDERS</character>
<dialogue>I just want to know if I can her for sexual harassc~nt.</dialogue>
<character>GEER</character>
<dialogue>You're asking a jury ~o believe you were in a room alone with Miss Teenage Connecticut and you said no.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Sexual harassment is not about sex. It's about power. She has it. You don't. If you sue they'll fire you. If you don't they'll bury you in Austin. If rou sue it's news. If you don't it's gossip. If you Bue, nobody'll believe you. If you don't, your wife won't. Did I mention a lawsuit will cost you a hundred thousand dollars and three years of your life?</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>:1 CONTINUED: (J) FERNANDEZ { •:ont 'd) {beat) It's not a game to yo11, Mr. Sanders? It's a game to them. How do you feel abo~t losing? CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. FOURTEENTHFLOOR</stage_direction>
<scene_description>Sanders paces--sees his REFLECT.CO?! in the glass of the elevators. Suddenly, he gets a;1 idea. Returns to the. reception area. Where he finds Fernandez.</scene_description>
<character>SANDERS</character>
<dialogue>They said she wasn't ,JOinrJ t,) press charges.</dialogue>
<character>FERNANDEZ</character>
<dialogue>What?</dialogue>
<character>SANDERS</character>
<dialogue>Why? It doesn't make any sense. C"\(} \) She already accused mi:\]. Why stoa (\ 9V there? Why not press charge~\)'J \J</dialogue>
<character>FERNANDEZ</character>
<dialogue>To keep it quiet.</dialogue>
<character>SANDERS</character>
<dialogue>But why? I'm popular in the company. It would be much botter to make it official. Unluss--</dialogue>
<character>FERNANDEZ</character>
<dialogue>Unless what?</dialogue>
<character>SANDERS</character>
<dialogue>Unless she has some other problem. Meredith dirln' t press charges because she C•)uldn' t.</dialogue>
<scene_description>Fernandez thinks. Realizes that Sanders is onto something. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER~ FERNANDEZOFFICE</stage_direction>
<scene_description>Sanders, Fernandez and Geer meet again in her office. {CONTINUED): \ SANDERS DigiCom is planning a mcr1er with Conley-White--they're an East Coast publishing comp~ny, very conservative. They think DigiCom is basically the same way. It's all supposed to happen Friday. If there was a scandal like this .•. Conley thinks ~hey're going to bed with Katie Courie and they'd wake up with Madonna. And Bob Garvin would be out a hundred million dolla~s.</scene_description>
<character>FERNANDEZ</character>
<parenthetical>(to Geer)</parenthetical>
<dialogue>I think we might make a plaintiff out of this guy yet.</dialogue>
<character>SANDERS</character>
<dialogue>Not a plaintiff. A p:)tential plaintiff. I don't h~ve to sue. I just threaten to su8.</dialogue>
<character>FERNANDEZ</character>
<dialogue>That's a dangerous game. You're sure you're willing to play it?</dialogue>
<character>SANDERS</character>
<dialogue>Fuck them.</dialogue>
<scene_description>Fernandez smiles at him.</scene_description>
<character>FERNANDEZ</character>
<dialogue>Now you're talking my language.</dialogue>
<character>34</character>
<dialogue>Blackburn</dialogue>
<character>INT. LATER.</character>
<dialogue>meets</dialogue>
<character>GARVIN</character>
<dialogue>••• Call security, throw him out on the sidewalk.</dialogue>
<character>BLACKBURN</character>
<dialogue>We have to appear to be impartial. Keep him in his job, keep paying him, no h1ssles.</dialogue>
<scene_description>14 CONTINUED:</scene_description>
<character>GARVIN</character>
<dialogue>I made 'l'om Sanders. Wh0 lhE· hell is he to sue me?</dialogue>
<character>BLACKBURN</character>
<dialogue>Sexual harassment under Title Seven. He says he'll file with the state Human Rights Commission tomorrow morning if ....,-edon't fire Meredith and give hi~ his job back.</dialogue>
<character>MEREDITH</character>
<dialogue>No free trip to Disneyland?</dialogue>
<character>GARVIN</character>
<dialogue>If he files, it becomes public. It'd blow the deal.</dialogue>
<character>MEREDITH</character>
<dialogue>I realize that, Bob. Obviously, so does he. He's blackmailing us.</dialogue>
<character>GARVIN</character>
<dialogue>This is America, goddam.it. The legal system is supposed to protect people like me.</dialogue>
<character>BLACKBURN</character>
<dialogue>It 9ets worse. His lawyer is Louise Fernandez.</dialogue>
<character>GARVIN</character>
<dialogue>Oh, great.</dialogue>
<character>MEREDITH</character>
<dialogue>Who's that?</dialogue>
<character>GARVIN</character>
<dialogue>She'd change her name to T.V. Listings just to get it in the paper.</dialogue>
<character>BLACKBURN</character>
<dialogue>I'm trying to get them to mediate. Keep it quiet.</dialogue>
<character>GARVIN</character>
<dialogue>Mediate? I want you to cut his balls off.</dialogue>
<scene_description>· 4</scene_description>
<character>\</character>
<dialogue>CONTINUED: ( 2)</dialogue>
<character>STEPHANIE</character>
<parenthetical>(drily)</parenthetical>
<dialogue>Did he say "mediate" or ":.;pl.i.t the difference"?</dialogue>
<character>BLACKBURN</character>
<dialogue>I'm just hoping he'll agree. Fernandez'll tell him not to.</dialogue>
<character>MEREDITH</character>
<dialogue>He' 11 agree. He doesi1' t want this out in the open <1.nymor,2 than we do.</dialogue>
<character>BLACKBURN</character>
<dialogue>We pushed him too hard. lie has nothing to lose.</dialogue>
<character>MEREDITH</character>
<dialogue>Oh really? He hasn't told hLs wife yet.</dialogue>
<character>GARVIN</character>
<dialogue>Who told you that?</dialogue>
<character>MEREDITH</character>
<dialogue>I know Sanders. Remember?</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. DIGICOM</stage_direction>
<scene_description>Sanders goes into his office. Grabs a folder. Comes out.</scene_description>
<character>CINDY</character>
<dialogue>Where were you?</dialogue>
<character>SANDERS</character>
<dialogue>I had a long lunch. Walk with me. I gotta go down to Diagnostics. Lewyn and Cherry are pulling apart "Diana."</dialogue>
<scene_description>They walk and talk through the halls to the elevator ...</scene_description>
<character>CINDY</character>
<dialogue>John Levin called.</dialogue>
<character>SANDERS</character>
<dialogue>John Levin with Semat~ch?</dialogue>
</scene>
<scene>
<stage_direction> 15 CONTINUED:</stage_direction>
<character>CINDY</character>
<dialogue>John Levin. He said it was important.</dialogue>
<character>SANDERS</character>
<dialogue>Why the hell didn't those drives come in this morning like they were supposed to?</dialogue>
<character>CINDY</character>
<dialogue>Susan called to remind you--you have that benefit with the Lewyns tonight.</dialogue>
<character>SANDERS</character>
<dialogue>Shit. See if we can't--</dialogue>
<character>CINDY</character>
<dialogue>She said don't even think about cancelling. You"ve cancell8d on them three times alre·ady.</dialogue>
<scene_description>He enters the elevator.</scene_description>
<character>SANDERS</character>
<dialogue>Call her, tell her I can't get C'\ \) \J0 home first, I'll just meet her ~\) \)~ . the museum.</dialogue>
<character>~:</character>
<dialogue>The elevator doors close ..•</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. LAB</stage_direction>
<scene_description>Cherry and Lewyn, each wearing MAGNIFYINGGLASSES, work with PROBES and tiny SCREWDRIVERSunder bright HALOGENLIGHTS. Three "DIANA" DRIVES, with an Eimbossect logo of The Huntress, lie in pieces on the table. Sanders hovers over them.</scene_description>
<character>SANDERS</character>
<dialogue>•.. Arthur is killing me. I have to have this "Diana" thing licked by the big meeting with Conley, and you guys don't ge·t the drives till an hour ago.</dialogue>
<character>LEWYN</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Arthur.</dialogue>
<scene_description>16 CONTINUED:</scene_description>
<character>CHERRY</character>
<dialogue>{shaking his heaJ)</dialogue>
<scene_description>Arthur.</scene_description>
<character>LEWYN</character>
<dialogue>The whole manufacturing department, actually.</dialogue>
<character>CHERRY</character>
<dialogue>They say a fish rots from th8 head.</dialogue>
<character>SANDERS</character>
<dialogue>Just lay off about this morning, okay? I have enough 9roblems.</dialogue>
<character>LEWYN</character>
<dialogue>The metal rods that m1ke the contact with the clip3. They're supposed to be fifty-Eour millimeters, they' re. fifty-t·.-10, fifty-three.-</dialogue>
<character>SANDERS</character>
<dialogue>That's why we're getting the power flicker?</dialogue>
<character>LEWYN (\ ~</character>
<dialogue>What the hell's Arthur doin9 over <J~> there? He's spending all his {"\\J 9 time sending everyone macadalt)-\{} '-· nuts. \)</dialogue>
<character>CHERRY</character>
<parenthetical>(feeling left out)</parenthetical>
<dialogue>He sent you rnacadamia nuts?</dialogue>
<character>SANDERS</character>
<parenthetical>(to Cherry)</parenthetical>
<dialogue>What's slowing her up?</dialogue>
<character>CHERRY</character>
<dialogue>He was right, there's a compatibility problem with the controller chip. That's why we're getting the slow seek times.</dialogue>
<character>SANDERS</character>
<dialogue>You think there's a bug?</dialogue>
<character>CHERRY</character>
<dialogue>Don Cherry debugged "Diana". There are no bugs in "Diana".</dialogue>
<parenthetical>( COllTINUED)</parenthetical>
<scene_description>16 CONTINUED: (2)</scene_description>
<character>SANDERS</character>
<dialogue>Then what is this--a F.abrLcation problem?</dialogue>
<scene_description>Lewyn gives the drive a good ba1g with a wrench. Cherry gives Lewyn a horrified look.</scene_description>
<character>LEWYN</character>
<dialogue>What?</dialogue>
<character>CHERRY</character>
<dialogue>That is a sophisticat•!d p.Leco of electronics, not a p~:kup truck.</dialogue>
<scene_description>Lewyn shrugs. Lewyn' s ASSISTAN'C enters. Bf~ckons to him from the doorway. Lewyn exits towar,J th•:? AssistiJ.nt.</scene_description>
<character>SANDERS</character>
<dialogue>Don, how bad is this? We've already run off four ':hou:;an.J--wa have to junk them all!</dialogue>
<character>CHERRY</character>
<dialogue>I told Arthur to send me ten units in heat-sealed plastic bags. Right off the line. It's a hunch I have.</dialogue>
<character>SANDERS</character>
<dialogue>Do whatever you have t.o up against it on this.</dialogue>
<character>AT THE DOOR</character>
<dialogue>As Lewyn approaches his Assistant.</dialogue>
<character>LEWYN</character>
<dialogue>What's ..up?</dialogue>
<character>ASSISTANT</character>
<dialogue>Mr. Garvin wants to soe you. He said not to tell anyone.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS' OFFICE</stage_direction>
<scene_description>sanders returns to his office.</scene_description>
<character>CINDY</character>
<dialogue>I've got a Louise Fernandez on two.</dialogue>
<scene_description>( COHTINUED: )·: · "1</scene_description>
<character>7</character>
<dialogue>SANDERS</dialogue>
<character>CONTINUED:</character>
<dialogue>Great. Hey, Cind? 00 me a favor. Close my door.</dialogue>
<character>ON CINDY</character>
<dialogue>As she closes the door, TROUBLED. Sanders never says uclose my door." BACK ON--SANDERS As he sits at his desk, talks on the phone.</dialogue>
<character>SANDERS</character>
<dialogue>If they want to mediate, I think we should agree. I d·:Jn't want this whole thing to g~t out either.</dialogue>
<scene_description>The E-MAIL ICON on his computer bl.inks. Sanders clicks it while he listens to Fernandez. ON THE COMPUTER</scene_description>
<character>WHYDON'T YOU JUST AD,UT YOUARE</character>
<dialogue>GAY?</dialogue>
<scene_description>Sanders presses the "REPLY" button. ON THE COMPUTER</scene_description>
<character>CAN'T REPLY--SENDER ADDRESS</character>
<dialogue>AVAILABLE</dialogue>
<character>BACK ON--SANDERS</character>
<dialogue>As he cradles the phone with his chin, types ...</dialogue>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>No, that's what I'm saying. I can wrap this whole thing up by the end of the week and even my wife doesn't have to know.</dialogue>
<scene_description>(listens) No, I don't want to tell her. Why should I upset her if I don't have to? Sanders types ••. ON THE COMPUTER</scene_description>
<character>SORRY, YOUR PRIVILEGES DO NOT</character>
<dialogue>r'NCLUDESYSOP CONTROL</dialogue>
<scene_description>,7 CONTINUED: (2) As Sanders types ...</scene_description>
<character>SHOW PRIVILEGES</character>
<dialogue>The computer answers ...</dialogue>
<character>PRIOR USER LEVEL: 5 (3YSOP)</character>
<dialogue>CURRENT USER LEVEL: 0 ( Et1TRY)</dialogue>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Wait--hold on a sec--</dialogue>
<scene_description>Suspicious, he opens up his desk drawers-- THEY'RE EMPTY Swivels in his chair, opens a flle drawer-- EMPTY</scene_description>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Guess what? They locked me out of the system and cleaned out my files. I guess it's starting, t'\ huh? \J\) V</dialogue>
<character>CUT(\~'\'>~</character>
</scene>
<scene>
<stage_direction>INT. LATER. GARVIN'S OFFICE</stage_direction>
<scene_description>Lewyn fid9ets outside, waiting. Then Garvin appears at the door, a big smile on his face.</scene_description>
<character>GARVIN</character>
<dialogue>Marc, come on in! You're sure I'm not interrupting unything?</dialogue>
<character>LEWYN</character>
<dialogue>No, not at all, sir.</dialogue>
<scene_description>He puts his arm around Lewyn as he ushers him inside •.•</scene_description>
<character>GARVIN</character>
<parenthetical>(to Secretary)</parenthetical>
<dialogue>No calls.</dialogue>
<scene_description>He closes the door •.•</scene_description>
<character>CUT TO:</character>
</scene>
<scene>
<stage_direction>'9 INT. LATER. ELEVATOR</stage_direction>
<scene_description>The end of the day. Sanders waLts for the elevator. The doors open. Sanders takes a step, se•!S M!:?redith inside.</scene_description>
<character>MEREDITH</character>
<dialogue>Come on in, Sanders. Don't tell me you're scared of m,!?</dialogue>
<scene_description>Sanders thinks cJ. beat. Then st•!l?S .i.nside. The doors close.</scene_description>
<character>MEREDITH</character>
<dialogue>I didn't want it to~! this way.</dialogue>
<character>SANDERS</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>Just think--we could be screwing our brains out in thii; elevator.</dialogue>
<character>MEREDITH</character>
<dialogue>I really do think of you ns a friend, you know.</dialogue>
<character>SANDERS</character>
<dialogue>Wait a minute--you're the one who pressed charges.</dialogue>
<character>MEREDITH \J~</character>
<dialogue>Only to beat you to the punch. C\~ It's the only card you have. '"'f<:::, knew you'd play it. f\ \\ \}</dialogue>
<character>SANDERS</character>
<dialogue>I'm not "playing a card."</dialogue>
<character>MEREDITH</character>
<dialogue>Oh, come on. You'd have a great job. The merger would make you a millionaire. So we have a little fun. It's not like it's breaking rocks.</dialogue>
<character>SANDERS</character>
<dialogue>You just don't get it, do you?</dialogue>
<character>MEREDITH</character>
<dialogue>Poor Sanders. You have no idea what you're up against, as usual. This time tomorrow you'll wish you took that Austin job.</dialogue>
<character>SANDERS</character>
<dialogue>We'll see.</dialogue>
<scene_description>They emerge from the elevator into the lobby ... ( CO?lTINUED) 19 CONTINUED:</scene_description>
<character>MEREDITH</character>
<dialogue>Sanders?</dialogue>
<character>SANDERS</character>
<dialogue>What?</dialogue>
<character>MEREDITH</character>
<dialogue>I have a car outside. Can I give you a lift?</dialogue>
<character>SANDERS</character>
<dialogue>No, you can't give me a lift.</dialogue>
<character>MEREDITH</character>
<dialogue>Sanders?</dialogue>
<character>SANDERS</character>
<dialogue>What?</dialogue>
<scene_description>Meredith approaches him ... Seduc~ive in her walk, her voice .••</scene_description>
<character>MEREDITH</character>
<parenthetical>(deadp"3.n)</parenthetical>
<dialogue>There 's a pubic hair •Jn my Coke can.</dialogue>
<scene_description>Then she smiles. He watches her as she walks off. t'\\j CUT T~ (\ (\-.:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. MUSEUM</stage_direction>
<scene_description>A benefit for the museum. The party flows inside and out. sanders, Susan, Lewyn and ADELE LEWYN, late 30s, ex-rock and roller in all black, carry plat•~s with food, move from the buffet toward the patio ... ANGLEON--LEWYN As he watches Sanders, stews .•• :.iomething on his mind •••</scene_description>
<character>SUSAN</character>
<parenthetical>(to Adele)</parenthetical>
<dialogue>I'm trying to figure out whether to get a fat Barbie for Eliza.</dialogue>
<character>ADELE</character>
<dialogue>Mattel makes a fat Barbie?</dialogue>
<character>SUSAN</character>
<dialogue>They don't call it Fat Barbie. They call it Happy to Be Me Barbie.</dialogue>
<scene_description>'.) CONTINUED:</scene_description>
<character>ADELE</character>
<dialogue>Does she come with flaPl?Y to nc Fucking the Other Barine Ken?</dialogue>
<character>SUSAN</character>
<dialogue>I'm serious. I don't know which one is more stigmatizing.</dialogue>
<character>SANDERS</character>
<dialogue>What the hell is stigrnati::ing about Barbie?</dialogue>
<character>ADELE</character>
<dialogue>It's that whole male 36-24-36 image of beauty. Women are oppressed. It's a fact of life.</dialogue>
<character>SANDERS</character>
<dialogue>If women are so o~pre:,sed, how come men commit eighty per ccmt of the suicides? How come we have the heart attack:;?</dialogue>
<character>ADELE</character>
<dialogue>You're not as tough.</dialogue>
<character>SANDERS</character>
<dialogue>We fight the wars.</dialogue>
<character>ADELE</character>
<dialogue>You start the wars.</dialogue>
<character>SANDERS</character>
<dialogue>Where's our Crisis Hot Line?</dialogue>
<scene_description>�:</scene_description>
<character>ADELE</character>
<dialogue>You're really taking this Meredith Johnson thin<J well, huh?</dialogue>
<character>SANDERS</character>
<dialogue>That has nothing to do with it.</dialogue>
<character>SUSAN</character>
<dialogue>What's today's rumor--she was once a man?</dialogue>
<character>LEWYN</character>
<dialogue>Why don't you just tell her?</dialogue>
<character>SANDERS</character>
<dialogue>Tell her what?</dialogue>
<scene_description>') CONTINUED: ( 2)</scene_description>
<character>LEWYN</character>
<dialogue>You know, there's a l0t of us who have worked just as h•1rd as you have, and you're gonn~ screw up this merger for all oE us just because you fucked up.</dialogue>
<character>ADELE</character>
<dialogue>What happened?</dialogue>
<character>SANDERS</character>
<dialogue>I don't know who the !\ell got to you, but--</dialogue>
<character>LEWYN</character>
<dialogue>Nobody "got" to me.</dialogue>
<character>ADELE</character>
<dialogue>Marc, what happened?</dialogue>
<character>LEWYN</character>
<dialogue>Who the hell ever knows what happened with these tilings? The old girlfriend, the bottle of wine, the late meetin~ ...</dialogue>
<character>ON SUSAN</character>
<dialogue>As she retreats into some steely side</dialogue>
<character>SANDERS</character>
<dialogue>Shut up, Marc.</dialogue>
<character>LEWYN</character>
<dialogue>You're like one of these goddam women. "I thought we were going back to his hotel room drunk at two in the morning to watch HBO."</dialogue>
<character>SUSAN</character>
<dialogue>For your information, Marc, Tom told me everything. Everything that happened. And I support him one hundred per cent.</dialogue>
<character>LEWYN</character>
<dialogue>Well, I don't think--</dialogue>
<character>SUSAN</character>
<dialogue>I don't think we should talk about it. Now could we please have dinner?</dialogue>
<character>~ CONTINUED: (3)</character>
<dialogue>She says it in a way that brook:; no discussion. Sanders, guilty, can't look Susan in the eye.</dialogue>
<character>41</character>
<dialogue>Susan</dialogue>
<character>INT. LATER.</character>
<dialogue>and Sanders</dialogue>
<character>SUSAN</character>
<dialogue>... That is not our marriage, Tom. That is someone else'!; marriage. Hiding, and secrets ...</dialogue>
<character>SANDERS</character>
<dialogue>Meredith Johnson says I snxuc1lly harassed her.· Okay?</dialogue>
<character>SUSAN</character>
<dialogue>Did you?</dialogue>
<character>SANDERS</character>
<dialogue>Hey, whose side are you on?</dialogue>
<character>SUSAN</character>
<dialogue>I don't know, Tom--you tell me.</dialogue>
<scene_description>..\_ . (beat) I can't believe everyone knows this but me.</scene_description>
<character>SANDERS ~</character>
<dialogue>Everyone doesn't know. ~~</dialogue>
<character>SUSAN \ (\~</character>
<dialogue>You're so naive. Of course tfle9 '· know. I feel like such an idiot.</dialogue>
<character>SANDERS</character>
<dialogue>I'm taking care of it.</dialogue>
<character>SUSAN</character>
<dialogue>She's an old girlfriend of yours? Like I'm surprised. ·rhat's about as exclusive a club a~ the White Pages.</dialogue>
<character>SANDERS</character>
<dialogue>we had a thing. Back in The Valley. It was years ago.</dialogue>
<character>SUSAN</character>
<dialogue>I cannot believe you. Jesus. What does she look like?</dialogue>
</scene>
<scene>
<stage_direction>1 CONTINUED:</stage_direction>
<character>I</character>
<dialogue>SANDERS</dialogue>
<scene_description>She's attractive.</scene_description>
<character>SUSAN</character>
<dialogue>God. What does the company say?</dialogue>
<character>SANDERS</character>
<dialogue>They're backing her up. They want me to transfer to Austin and go into therapy or some fucking thing.</dialogue>
<character>SUSAN</character>
<dialogue>Austin? I'm not moving to Austin.</dialogue>
<character>SANDERS</character>
<dialogue>You don't have to move to Austin.</dialogue>
<character>SUSAN</character>
<dialogue>Texas? They've never even seen someone like me. Except maybe on a silhouette at the rifle range.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. FERRY</stage_direction>
<scene_description>Susan and Sanders, alone in a corner.</scene_description>
<character>SANDERS ~~</character>
<dialogue>... Nothing happened. o,\)</dialogue>
<scene_description>n0</scene_description>
<character>SUSAN '""-'-) .</character>
<dialogue>Well, obviously, something ~ \) happened. Did you have sex with her, Tom?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>SUSAN</character>
<dialogue>Think before you answer. Because if you lie to me it i!; over between us.</dialogue>
<character>SANDERS</character>
<dialogue>I said no.</dialogue>
<scene_description>(beat) . She kissed me. She unzipped my pants and ... ·.~ 2 CONTINUED: \</scene_description>
<character>!</character>
<dialogue>SUSAN</dialogue>
<scene_description>And?</scene_description>
<character>SANDERS</character>
<dialogue>Nothing happened. Th~t was it.</dialogue>
<character>SUSAN</character>
<dialogue>I'm so old-fashioned. I greet my subordinates with a handshake.</dialogue>
<character>SANDERS</character>
<dialogue>The next thing I know she's saying I harassed her.</dialogue>
<character>SUSAN</character>
<dialogue>She had her hand in your pants? How did it get that far?</dialogue>
<character>SANDERS</character>
<dialogue>Susan--nothing happen'1.Q.</dialogue>
<character>SUSAN</character>
<dialogue>You didn't encourage this?</dialogue>
<character>SANDERS</character>
<dialogue>What--you don't believe me? ~~</dialogue>
<character>SUSAN ~\)</character>
<dialogue>It's not a question of who :t\_~\) bel~eve. Even Marc d::>esn'A\) believe you. \'</dialogue>
<character>SANDERS</character>
<dialogue>Marc has stock options on the brain. The symptoms include sudden fits of backstabbing.</dialogue>
<character>SUSAN</character>
<dialogue>Especially you, with your reputation. Everybod¥'s sure you're having an affa1r with Cindy.</dialogue>
<character>SANDERS</character>
<dialogue>I am not having an affair.</dialogue>
<character>SUSAN</character>
<dialogue>How could you let this happen?</dialogue>
<character>SANDERS</character>
<dialogue>I'm sorry.</dialogue>
</scene>
<scene>
<stage_direction>. 2 CONTINUED: ( 2)</stage_direction>
<character>SUSAN</character>
<dialogue>I was wondering when /0tt'd1</dialogue>
<scene_description>g8t around to that.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. TAURUS</stage_direction>
<scene_description>Sanders and Susan drive home from the ferry.</scene_description>
<character>SUSAN</character>
<dialogue>... When is she going to file?</dialogue>
<character>SANDERS</character>
<dialogue>Susan, I'm pressing charges.</dialogue>
<character>SUSAN</character>
<dialogue>What? For what?</dialogue>
<character>SANDERS</character>
<dialogue>Sexual harassment. W.:?'re going to mediation. Tomorrow morning.</dialogue>
<character>SUSAN</character>
<dialogue>Are you out of your mind? What if the mediation goes against you?</dialogue>
<character>SANDERS</character>
<dialogue>Then we fight it out.</dialogue>
<character>SUSAN</character>
<dialogue>They'll try to destroy you.</dialogue>
<character>SANDERS</character>
<dialogue>It's not going to--</dialogue>
<character>SUSAN</character>
<dialogue>It'll take over our whole life. Depositions and whisp8ring and legal fees and some public spectacle--</dialogue>
<character>SANDERS</character>
<dialogue>Susan--</dialogue>
<character>SUSAN</character>
<dialogue>And for what? Some goddam personal vindication--</dialogue>
<character>SANDERS</character>
<dialogue>It's not going to get that far.</dialogue>
<character>--~------ ---</character>
<dialogue>, 3 CONTINUED:</dialogue>
<character>.\</character>
<dialogue>SUSAN</dialogue>
<scene_description>--and in the end all ~nyone remembers is that you were involved in something sleazy. (beat) ) Do you have a lawyer?</scene_description>
<character>SANDERS</character>
<dialogue>Louise Fernandez</dialogue>
<character>SUSAN</character>
<dialogue>Oh, great. When do w~ all get to be on "Hard Copy"?</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. HOUSE</stage_direction>
<scene_description>Sanders and Susan enter the hou:5e, arguing in strangled . whispers.</scene_description>
<character>SANDERS</character>
<dialogue>... I'd like to see wh-1t you would say if this had happened to you.</dialogue>
<character>SUSAN (\~40.</character>
<dialogue>Do you know how many ~imes this r-. (). has happened to me?</dialogue>
<scene_description>(\ (\. 0': \:</scene_description>
<character>SANDERS</character>
<dialogue>Wait a minute--you never said--</dialogue>
<character>SUSAN</character>
<dialogue>You're so goddam narci.ssistic. Nothing happens until it happens to you.</dialogue>
<character>SANDERS</character>
<dialogue>If somebody did this to you you should do something about it.</dialogue>
<character>SUSAN</character>
<dialogue>I do what women have always done, Tom. I deal with it. I don't make a Federal case out of it. You go in tomorrow and work it out.</dialogue>
<character>SANDERS</character>
<dialogue>You know what? You'ra right. Maybe I'll just shut up and fuck her. What the hell.</dialogue>
<scene_description>4 CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>Just apologize. Apolagizg and 9et your job back and get on with it.</dialogue>
<character>SANDERS</character>
<dialogue>Apologize?</dialogue>
<scene_description>CHAU-MINH, 30s, the Vietnamese t·JAlnlY, enters.</scene_description>
<character>CHAU-MINH</character>
<dialogue>Shhh. Children are asleep.</dialogue>
<character>SANDERS</character>
<dialogue>No, I have an even better idea. I'll admit it. I'll just be that guy--that evil white male you're all complaining about. It sounds like fun. I'll fuck 8verybody.</dialogue>
<character>SUSAN</character>
<dialogue>Tom, stop it.</dialogue>
<character>SANDERS</character>
<dialogue>C'mon, Chau-Minh. I need to exercise some domination.</dialogue>
<character>SUSAN</character>
<dialogue>You•re scaring her.</dialogue>
<parenthetical>(usher~ Chau-Minh)</parenthetical>
<dialogue>Chau-Minh, just go home.</dialogue>
<character>SANDERS</character>
<dialogue>I need that patriarchal rush.</dialogue>
<character>SUSAN</character>
<dialogue>Tom--the children.</dialogue>
<character>SANDERS</character>
<dialogue>MYchildren. MYchildren. Who I provide for and Q.rn\_tect. That they can come into my home, between me and my wife, move my family, take away my job and the place I built for mysalf--and I apologize? Call me a rapist and I apologize? It's like some kind of a joke. Sexual harassment is about power. When the hell did I ever have any power?</dialogue>
<scene_description>Sanders SLAMS out the door. Matt enters. Susan and Chau-Minh '.4 CONTINUED: ( 2) and Matt stand in the kitchen, silent, desolate.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIGHT. BAR</stage_direction>
<scene_description>Mrs. Ross drinks in a booth. H•~r wig is slightly askew.</scene_description>
<character>MRS. ROSS</character>
<dialogue>MY boss? She had one Monday night. An assignatio~. The meeting after hours, the chilled chardonnay ... I leave early, and lock the door on the way out.</dialogue>
<character>REVERSE ANGLE</character>
<dialogue>It's Chance Geer, from Fernande~·s office.</dialogue>
<character>GEER</character>
<dialogue>What ever happened to rornunce?</dialogue>
<parenthetical>(gestures)</parenthetical>
<dialogue>Want another drink?</dialogue>
<scene_description>~~~:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIGHT. SANDERS' HOME ~%'-~</stage_direction>
<character>,,\\</character>
<dialogue>Sanders returns. Goes into the kitchen to get a beer. crosses throu9h the living room to the den. Stops. The E-MAIL light is blinking. Suspicious, he clicks on the e-mail icon .•• ON THE COMPUTER</dialogue>
<scene_description>TRUST NOBODY.:</scene_description>
<character>AFRIEND</character>
<dialogue>CUT TO:</dialogue>
<scene_description>WEDNESDAY:</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY. MEDIATION CENTER</stage_direction>
<scene_description>A cathedral without God, all gluss, overlooking the city. Sanders at a table with Fernandez beside him. -:.7 CONTINUED:</scene_description>
<character>'</character>
<dialogue>Meredith opposite with her lawy,?r, BEN HELLER, 50s, a hit man with a Yale tie. Susan and Bla•:kbu rn sit along the wallr;. JUDGE BARBARAMURPHY, 50s, an intellectual with a dry wit, chairs the meeting. A CLERK ta c~es not,1s.</dialogue>
<character>JUDGE MURPW{</character>
<dialogue>Good morning, I'm Jud• Je Murphy. This is a mediation, not a court of law--our proceedin•JS will not be recorded, and they should remain confidential. I urge you to maintain a civil and courteous tone. our goal is to determine the nature of the dispute between the parties, and how best to resolve it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The parties have agreqd that Mr. Sanders will speak first, and then be cross-examined by Mr. Heller. Ms. Johnson will speak next, and will be crciss-examined by Ms. Fernandez. Any questions?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Then let's get s ta rte, l. Mr. Sanders, why don't you tell me. ~ w~at happened, V l.eW.</dialogue>
<scene_description>from your point of ~rj</scene_description>
<character>\.\</character>
<scene_description>TI~~~TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. MEDIATION ROOM</stage_direction>
<character>SANDERS</character>
<dialogue>... ! had my cellular phone with me. While she was talking to Garvin, I called Marc Le~n, our head of design, to give him the upshot of our meeting.</dialogue>
<character>FERNANDEZ</character>
<dialogue>That's when she approached you.</dialogue>
<character>SANDERS</character>
<dialogue>She pushed the phone away and began to kiss me.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Where?</dialogue>
<character>SANDERS</character>
<dialogue>On the neck. The mouth. She had her tongue in my mouth.</dialogue>
</scene>
<scene>
<stage_direction>, 8 CONTINUED:</stage_direction>
<character>\</character>
<dialogue>ANGLE ON--SUSAN</dialogue>
<dialogue>It's hard for her to listen to this ...</dialogue>
<character>FERNANDEZ</character>
<dialogue>Did she stop when you asked her?</dialogue>
<character>SANDERS</character>
<dialogue>No. She unzipped my pants and she massaged my penis.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Were you aroused?</dialogue>
<character>SANDERS</character>
<dialogue>Yes. Then she slid down and put my penis in her mouth.</dialogue>
<character>ANGLE ON--SUSJ\N</character>
<dialogue>As something breaks inside her ...</dialogue>
<character>FERNANDEZ</character>
<dialogue>Did you climax?</dialogue>
<character>SANDERS</character>
<dialogue>No. I got angry at that point. ~<"\ t'\ I felt like I was being pushed \J\J llOO~. ~</dialogue>
<scene_description>('\(\:</scene_description>
<character>FERNANDEZ (\ \.</character>
<dialogue>So what did you do? (\</dialogue>
<character>SANDERS</character>
<dialogue>I wrestled my way on top of her and took off her panties.</dialogue>
<character>FERNANDEZ</character>
<dialogue>You were going to havo sex with her?</dialogue>
<character>SANDERS</character>
<dialogue>At that moment, yes.</dialogue>
<character>FERNANDEZ</character>
<dialogue>But you didn't?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>FERNANDEZ</character>
<dialogue>So when you stopped things, how did Ms. Johnson react?</dialogue>
<character>-----·~-~ ·-- - ------</character>
<dialogue>,</dialogue>
<scene_description>a CONTINUED: ( 2)</scene_description>
<character>'</character>
<dialogue>SANDER~~</dialogue>
<scene_description>She got very angry. :;he {?unched me and scratched at ID-:!. Fernandez hands PHOTOGRAPHS of the scratches on Sanders' chest to Judge Murphy, who looks at them.</scene_description>
<character>FERNANDEZ</character>
<dialogue>And what did you.do?</dialogue>
<character>SANDERS</character>
<dialogue>I tried to get her to sto{?--to defend myself. Finally I grabbed her by the wrists and threw her down on the ground. I just wanted to get out of there.</dialogue>
<character>FERNANDEZ</character>
<dialogue>What did Ms. Johnson do at that point?</dialogue>
<character>SANDERS</character>
<dialogue>She threatened me. Sl1e told me I was dead. That she would kill me in the company. The next day. Mr. Blackburn told me that she had accused me of sexual harassment.</dialogue>
<character>JUDGE MURPHY</character>
<dialogue>Mr. Heller?</dialogue>
<character>HELLER</character>
<dialogue>Mr. Sanders, would you like a break?</dialogue>
<character>SANDERS</character>
<dialogue>No, I'm fine.</dialogue>
<character>HELLER</character>
<dialogue>Mr. Sanders, you say the bottle of wine was Ms. Johnson's idea?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>When you were living with Ms. Johnson, didn't you discover wines together on trips to the Napa Valley?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>·: 8 CONTINUED: ( 3)</character>
<dialogue>i</dialogue>
<character>HELLER</character>
<dialogue>Romantic trips?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>But you weren't expecting anything romantic when you went up to her office?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>HELLER</character>
<dialogue>How would you characterize your relationship with Ms. Johnson in those days--highly sexual?</dialogue>
<character>SANDERS .</character>
<dialogue>I'm not sure I could .rate it.</dialogue>
<character>HELLER</character>
<parenthetical>(reads from notes)</parenthetical>
<dialogue>Every day? Sometimes twice a day? Sex in ~ublic places. Sodomy. Viewing of pornography. Vibrators and other mechanical devices ...</dialogue>
<character>ANGLE ON--SUSAN</character>
<dialogue>Watching this behind Sanders ... It's all so humiliating ...</dialogue>
<character>SANDERS</character>
<dialogue>We also sat on the couch and watched television.</dialogue>
<character>HELLER</character>
<dialogue>But when you became reacquainted with Ms. Johnson you no longer saw her that way--as a sex object. She was just your boss now.</dialogue>
<character>SANDERS</character>
<dialogue>That's right.</dialogue>
<character>HELLER</character>
<dialogue>Although you admit you had an erection.</dialogue>
<scene_description>·"--·'</scene_description>
</scene>
<scene>
<stage_direction> 18 CONTINUED: (4)</stage_direction>
<character>SANDERS</character>
<dialogue>She had her top off. It's an involuntary reflex.</dialogue>
<character>HELLER</character>
<dialogue>Reflex? Do you think Ms. Johnson's gynecologist gets an erection when he examines her breasts?</dialogue>
<character>SANDERS</character>
<dialogue>That's completely difierent.</dialogue>
<character>HELLER</character>
<dialogue>You admit you put you~ erect penis in her mouth.</dialogue>
<character>SANDERS</character>
<dialogue>She did that.</dialogue>
<character>HELLER</character>
<dialogue>Oh, I forgot.</dialogue>
<parenthetical>(off notes)</parenthetical>
<dialogue>You "resisted."</dialogue>
<parenthetical>(resuming)</parenthetical>
<dialogue>Mr. Sanders, there was one moment in your rather fantasLic testimony that rang true. You said, and I quote,</dialogue>
<parenthetical>(reads from notes)</parenthetical>
<dialogue>"I got angry. I felt like I was being pushed around." Correct?</dialogue>
<character>SANDERS</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>The truth is you felt that way all dar, isn't it? You'd been expecting a promotion and she got it instead-- isn't that true? And you were angry about it.</dialogue>
<character>SANDERS</character>
<dialogue>I felt I deserved the job. That doesn't mean--</dialogue>
<character>HELLER</character>
<dialogue>And you took that anger up to her office with you. You were going to show her who's boss.</dialogue>
<character>SANDERS</character>
<dialogue>No. That's not true.</dialogue>
</scene>
<scene>
<stage_direction>8 CONTINUED: ( 5 )</stage_direction>
<scene_description>I</scene_description>
<character>HELLER</character>
<dialogue>Mr. Sanders, did you tell your wife you had a meeting with Ms. Johnson at seven o'clock?</dialogue>
<character>SANDERS</character>
<dialogue>I told her I had a meeting and it might run late.</dialogue>
<character>HELLER</character>
<dialogue>You expected it to run late?</dialogue>
<character>SANDERS</character>
<dialogue>That's what I always say. If I get home early it's a pleasant surprise.</dialogue>
<character>HELLER</character>
<dialogue>So you make it a rule to lie to your wife?</dialogue>
<character>SANDERS</character>
<dialogue>No. That's not it at all.</dialogue>
<character>HELLER</character>
<dialogue>When you called your wife, did you tell her Ms. Johnson was a former lover of yours?</dialogue>
<character>SANDERS</character>
<dialogue>No.</dialogue>
<character>HELLER</character>
<dialogue>When you went home--did you tell her what happened?</dialogue>
<character>SANDERS</character>
<dialogue>No. I was hoping it would just go away.</dialogue>
<character>HELLER</character>
<parenthetical>(gestures to his ear)</parenthetical>
<dialogue>I'm sorry--. You were hoping you would get away with it?</dialogue>
<character>JUDGE MURPHY</character>
<dialogue>Mr. Heller, you are advised not to debunk the illusion that this dispute might be resolved amicably.</dialogue>
<scene_description>'8 CONTINUED: (6) l</scene_description>
<character>HELLER</character>
<dialogue>That's okay. I hc1ve no further questions.</dialogue>
<character>TIME</character>
<dialogue>49</dialogue>
<character>CUT</character>
<dialogue>INT. LATER.</dialogue>
<scene_description>Meredith tells her side of the story.</scene_description>
<character>MEREDITH</character>
<dialogue>..• I asked to see the pictures of</dialogue>
<scene_description>his family. I thought if we put thin9s on that basis he might realize that things had changed between us. JUDGE MURPH·c Mr. Sanders, do you h,1ve those pictures with you nowl I'd like to have them Xeroxed for the file. Sanders produces his family photos. The CLERK puts them into c1 clear plastic EVIDENCE ENVELOPE.</scene_description>
<character>MEREDITH</character>
<dialogue>He made a remark about how his wife hadn't lost the weight she ('\ f\ ~ gained having children. I said \J\.J his children were bea11tiful. He C\ ~ said the¥ made him feul old. C"\\) \J · That seeing me after all these ~\J years reminded him of what it was-' to be roung. That he still fantasized about me.</dialogue>
<character>HELLER</character>
<dialogue>Go on.</dialogue>
<character>MEREDITH</character>
<dialogue>My assistant, Mrs. Ross, came in and asked if she could go home. I wanted her to stay, bec~use of the way Tom was behaving, but I felt guilty--I'd been keeping her late for weeks,. preparing for my new job.</dialogue>
<character>HELLER</character>
<dialogue>And then you got a call from Bob Garvin?</dialogue>
<character>(COUTINUED)</character>
<dialogue>•.·.9 CONTINUED:</dialogue>
<scene_description>''</scene_description>
<character>MEREDITH</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>Where was Mr. Sanders at this point?</dialogue>
<character>MEREDITH</character>
<dialogue>He began to rub my shoulders.</dialogue>
<character>HELLER</character>
<dialogue>And you let him?</dialogue>
<character>MEREDITH</character>
<dialogue>I didn't feel I had a choice. I figured I'd finish up my phone call and then deal with Tom.</dialogue>
<character>HELLER</character>
<dialogue>So when you finished your phone call--?</dialogue>
<character>MEREDITH</character>
<dialogue>That was when he began to kiss me. I tried to get up out of my chair and he grabbed me. I struggled with him and told him to stop.</dialogue>
<character>HELLER</character>
<dialogue>Did he stop?</dialogue>
<dialogue>No. He said,</dialogue>
<character>MEREDITH</character>
<dialogue>"I know you want</dialogue>
<character>. ~\.)</character>
<dialogue>~~</dialogue>
<character>"~</character>
<dialogue>it." That I had been coming on~b'- him all day. Giving him loo~. I realized he was drunk.</dialogue>
<character>HELLER</character>
<dialogue>Did he attack you physically?</dialogue>
<character>MEREDITH</character>
<dialogue>Yes. He grabbed my wrists and threw me down. He's verr strong. He played football in co lege. He climbed on top of me, with his knees on my arms, and grabbed me by the ears and •..</dialogue>
<scene_description>Heller slides photos of Meredith's bruised wrists over to Judge Murphy.</scene_description>
<character>HELLER</character>
<dialogue>He put his penis in your mouth?</dialogue>
<scene_description>----~·- -- ·--:</scene_description>
</scene>
<scene>
<stage_direction>·.9 CONTINUED: ( 2)</stage_direction>
<character>MEREDITH</character>
<dialogue>This is making me very uncomfortable.</dialogue>
<character>HELLER</character>
<dialogue>would you like some water?</dialogue>
<character>MEREDITH</character>
<dialogue>Thank you.</dialogue>
<parenthetical>(SiJ?S water)</parenthetical>
<dialogue>He put his penis in my mouth and then he said he was going to ...</dialogue>
<character>HELLER</character>
<dialogue>To fuck you? Were those his words?</dialogue>
<character>MEREDITH</character>
<dialogue>Yes. He reached down and tore off my panties.</dialogue>
<character>HELLER</character>
<dialogue>And then what did you do?</dialogue>
<character>MEREDITH</character>
<dialogue>He sort of lifted himself up, to undo his belt. And I kneed him in the groin.</dialogue>
<character>HELLER</character>
<dialogue>And that was the end of it?</dialogue>
<character>MEREDITH</character>
<dialogue>Well, it's strange. I would've thought that my instinct would be to run. But I became very angry. I yelled at him and called him names. I told him I would kill him. A lot of stuff like that. Just yelling.</dialogue>
<character>HELLER</character>
<dialogue>And how did he react?</dialogue>
<character>MEREDITH</character>
<dialogue>He seemed to realize what he had done. He pulled his pants back up and he ran out.</dialogue>
<character>HELLER</character>
<dialogue>Did you call anyone afterwards?</dialogue>
<scene_description>9 CONTINUED: (3)</scene_description>
<character>MEREDITH</character>
<dialogue>No. I didn't know what to do. I kept going over the day in my head, trying to figure out if this whole thing was somehow my fault.</dialogue>
<scene_description>Meredith breaks down a little. Heller gives her an avuncular pat on the hand.</scene_description>
<character>HELLER</character>
<dialogue>So you reported it th8 next morning?</dialogue>
<character>MEREDITH</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>But you didn't bring a formal charge? Why not?</dialogue>
<character>MEREDITH</character>
<dialogue>I went to talk to Phil Blackburn. I knew he was a friend of Tom's. I didn't want to destroy Tom's marriage, or his career. But it was clear that we couldn't work to9ether. I would be too (.~f\. frightened. I'm frightened just ('\ ..J\J sitting here. ~~ \..></dialogue>
<scene_description>Heller gives her another avuncular pat on i-.~.c-~. lry ,-'h~nd.</scene_description>
<character>JUDGE MURPHY</character>
<dialogue>Ms. Fernandez?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Ms. Johnson, I just want to make sure I'm clear about this. Mr. Sanders suggested the bottle of wine?</dialogue>
<character>MEREDITH</character>
<dialogue>That's right.</dialogue>
<character>FERNANDEZ</character>
<dialogue>But you bought the wine.</dialogue>
<character>MEREDITH</character>
<dialogue>Yes. I sent my assistant, Mrs.</dialogue>
<scene_description>Ross, out to get a bottle.</scene_description>
<character>FERNANDEZ</character>
<dialogue>That afternoon?</dialogue>
<character>·9 CONTINUED: (4)</character>
<dialogue>MEREDITH</dialogue>
<scene_description>Yes.</scene_description>
<character>FERNANDEZ</character>
<dialogue>Did you tell her what kind of wine?</dialogue>
<character>MEREDITH</character>
<dialogue>I just told her to get a nice chardonnay. I remembered that Tom liked white wine.</dialogue>
<character>FERNANDEZ</character>
<dialogue>From those trips to Napa--that he was a sort of amateur wine connoisseur, and would be impressed by a nice bottle.</dialogue>
<character>MEREDITH</character>
<dialogue>Yes.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Do you remember the wine?</dialogue>
<character>MEREDITH</character>
<dialogue>No.</dialogue>
<character>FERNANDEZ</character>
<dialogue>The '91 Pahlmeyer?</dialogue>
<character>MEREDITH</character>
<dialogue>Yes. That's right.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Do you know where your assistant got it?</dialogue>
<character>MEREDITH</character>
<dialogue>I assume the liquor store down the block.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Would it surprise you, Ms. Johnson,· to know that there isn't a single liquor store in Seattle that carries that bottle?</dialogue>
<scene_description>Caught in a lie. But her reaction is almost imperceptible ..•</scene_description>
<character>MEREDITH</character>
<dialogue>Mrs. Ross is very resourceful.</dialogue>
<scene_description>---~</scene_description>
</scene>
<scene>
<stage_direction>.·</stage_direction>
</scene>
<scene>
<stage_direction>9 CONTINUED: (S)</stage_direction>
<scene_description>)</scene_description>
<character>FERNANDEZ</character>
<dialogue>Isn't it true, Ms. Johnson, that you told Mrs. Ross three weeks ago you wanted a special bottle of chardonnay for your meeting with Mr. Sanders?</dialogue>
<character>MEREDITH</character>
<dialogue>No. That's not true.</dialogue>
<character>FERNANDEZ</character>
<dialogue>That's not what she says.</dialogue>
<character>JUDGE MURPHY</character>
<dialogue>Ms. Fernandez, do you have testimony from Ms. Johnson's assistant?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Yes I do.</dialogue>
<character>JUDGE MURPHY</character>
<dialogue>Ms. Johnson?</dialogue>
<scene_description>Meredith takes- a beat.</scene_description>
<character>MEREDITH</character>
<dialogue>The .fact is, Mrs. Ross has some ~ personal problems. She's been in C"\~ and out of rehab twice since she (\ ~ \J started working for me. Her C"\\)\J family is very prominent, and ~\J she's ... well, a failure in their eyes. She tends to make up stories so she'll seem more important. Less of a failure. I told Mrs. Ross to get a bottle of wine after Tom asked for it, at the Conley-White lunch. For all I know, she had that bottle at home.</dialogue>
<character>JUDGE MURPHY</character>
<dialogue>Ms. Fernandez, any more questions?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Not for now.</dialogue>
<scene_description>Judge Murphy looks at her watch. ·9 CONTINUED: (6)</scene_description>
<character>JUDGE MURPHY</character>
<dialogue>Obviously, what we have here are two basically incompat.ible accounts of the incidtmt.</dialogue>
<parenthetical>(off notes)</parenthetical>
<dialogue>Certain facts are con~;istcnt in both stories. The parties had a previous sexual histo~y. Wine was drunk by both par1..1.es. Hr. Sanders rubbed Ms. Johnson's shoulders. There was kissinq. Mr. Sanders' penis wai: in Ms. Johnson's mouth. Mr. Sanders removed Ms. Johnson's pantie~;. Sexual intercourse dicl not occur.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I think this is a good time 1:0 take a break.</dialogue>
<scene_description>CU'l.' TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. COURTYARD</stage_direction>
<scene_description>Susan and Sanders hiss at each other in an alcove.</scene_description>
<character>SUSAN</character>
<dialogue>.•. You told me you dicln' t have sex with her.</dialogue>
<character>SANDERS</character>
<dialogue>I didn't.</dialogue>
<character>SUSAN</character>
<dialogue>What about--</dialogue>
<character>SANDERS</character>
<dialogue>I thought you meant s~x.</dialogue>
<character>SUSAN</character>
<dialogue>I forgot. She's trying to quit smoking.</dialogue>
<character>SANDERS</character>
<dialogue>Susan, I'm telling th~ truth.</dialogue>
<character>SUSAN</character>
<dialogue>You go up to see this woman alone, who you apparentlf once revised the Kama Sutra with. You had a little wine, a back rub, you kissed, then this ... non-sex sex thing.</dialogue>
<parenthetical>(more)</parenthetical>
</scene>
<scene>
<stage_direction>0 CONTINUED:</stage_direction>
<character>SUSAN {</character>
<dialogue>Then you took of E her pantie:;. Those are the facts. ThaL's what the judge just said.</dialogue>
<character>SANDERS</character>
<dialogue>So?</dialogue>
<character>SUSAN</character>
<dialogue>So you were willing. Those things don't happen unless the man wants them to.</dialogue>
<character>SANDERS</character>
<dialogue>She had me in a corneJ:. Hhat was I supposed to do?</dialogue>
<character>SUSAN</character>
<dialogue>You let it happen. Every niqht we lock the doors. Wei set. the alarm. We close our· circle against the world. 'Wei turn on the television and wa1.ch t.he!3e things happen to othe:: people. How could you do this? How could you let this woman into our lives?</dialogue>
<scene_description>Fernandez approaches.</scene_description>
<character>FERNANDEZ</character>
<dialogue>Ten of her subordinates transferred out suddenly in the last five years. How's that for a red flag. But so far, nobody's willing to talk.</dialogue>
<character>SANDERS</character>
<dialogue>Goddamit.</dialogue>
<character>FERNANDEZ</character>
<dialogue>You want to go get lunch?</dialogue>
<character>SANDERS</character>
<dialogue>No. I have to run back to the office.</dialogue>
<character>FERNANDEZ</character>
<parenthetical>(to Susan)</parenthetical>
<dialogue>How about you, Mrs. S,1nders? Hungry?</dialogue>
<character>CUT TO:</character>
<dialogue>- -------------</dialogue>
<character>~1 INT. LATER. OFFICE</character>
<dialogue>./ Sanders hustles inside. Cindy eollows him.</dialogue>
<character>CINDY</character>
<dialogue>John Levin called agaLn.</dialogue>
<character>SANDERS</character>
<dialogue>Find out what it's about.</dialogue>
<character>CINDY</character>
<dialogue>He said he had to tall: to you personally.</dialogue>
<character>SANDERS</character>
<dialogue>I don't have time. Call Cherry. Tell him to meet me in Diagnostics.</dialogue>
<character>CINDY</character>
<dialogue>Tom, could I talk to you?</dialogue>
<character>SANDERS</character>
<dialogue>Not now, Cind, okay?</dialogue>
<scene_description>He checks his computer. Sees his EMAIL ICON blinking. He clicks it on. ON THE COMPUTER</scene_description>
<character>YOU'RE PLAYING HER GANE. PLJ\Y</character>
<dialogue>YOURGAME.</dialogue>
<character>SOLVE THE PROBLEM.</character>
<dialogue>AFRIEND</dialogue>
<character>BACK ON-SANDERS</character>
<dialogue>As he turns to Cindy.</dialogue>
<character>SANDERS</character>
<dialogue>Do me a favor. This message is coming from somewhere on the Internet. Print out the address for me, would'ja?</dialogue>
<scene_description>He hustles out. Cindy watches him, concerned.</scene_description>
<character>CUT TO:</character>
<dialogue>52 INT. LATER. PUBLIC MARKET</dialogue>
<scene_description>Susan and Fernandez talk while ~hey walk ... ~2 CONTINUED:</scene_description>
<character>,,</character>
<dialogue>FERNANDEZ</dialogue>
<scene_description>... You're worried she might be telling the truth, a.r•.rn' t you?</scene_description>
<character>SUSAN</character>
<dialogue>He admitted he wanted to do it. He took off her panti·~s.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Out of weakness.</dialogue>
<character>SUSAN</character>
<dialogue>I don't see what the ,jif f•~rence is.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Why? Because he's a :nan? That's why we have the law--!.:o protect the weak. She broke the law. That's the diffecence.---</dialogue>
<character>SUSAN</character>
<dialogue>Ms. Fernandez, forty-•~ight hours ago my husband's peni.; wa3 in . another woman's mouth. I don't think there's anythin1 in the law that's going to help me deal with \)</dialogue>
<scene_description>I. that. ·, ~)\J CUTT~~~~: (\:</scene_description>
<character>53</character>
<dialogue>Cherrr has eight of the drives lined plastic wrappers. Two of the o~hers Sanders hovers over him.</dialogue>
<character>INT.</character>
<dialogue>up in their heat-sealed have been unwrapped.</dialogue>
<character>SANDERS</character>
<dialogue>How long have you had these?</dialogue>
<character>CHERRY</character>
<dialogue>They came in an hour ago. By the way, Garvin had me send The Corridor over to the Four seasons for Conley to play with.</dialogue>
<character>SANDERS</character>
<dialogue>It's in his hotel room?</dialogue>
<character>CHERRY</character>
<dialogue>Yeah. I hooked it into his database.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>·- 3 CONTINUED:</scene_description>
<character>CHERRY</character>
<dialogue>You know, they were h,:iving such a good time with it yestecday--</dialogue>
<character>SANDERS</character>
<dialogue>You getting anywhere ·,,ith these drives?</dialogue>
<character>CHERRY</character>
<dialogue>I don't know where to start. This thing's put together like an Erector Set.</dialogue>
<character>SANDERS</character>
<dialogue>I'm counting on you, Don.</dialogue>
<scene_description>Cherry looks around furtively.</scene_description>
<character>CHERRY</character>
<dialogue>Look, I have some hun,;hcs.</dialogue>
<character>SANDERS</character>
<dialogue>Well, what is it?.</dialogue>
<character>CHERRY</character>
<dialogue>I don't know.</dialogue>
<character>. SANDERS</character>
<dialogue>Well, what's.your hunch?</dialogue>
<character>CHERRY</character>
<dialogue>I don't know.</dialogue>
<scene_description>Sanders thinks a beat. Realizes ...</scene_description>
<character>SANDERS</character>
<dialogue>Oh my God ..</dialogue>
<character>CHERRY</character>
<dialogue>What do you expect? 'rhey' re stronger, they're smarter and they don't fight fair. That's the next step in human evolution. Like the Amazons-- keep a few of us around for the sperm and kill off the rest.</dialogue>
<character>SANDERS</character>
<dialogue>Just tell me what you have.</dialogue>
<parenthetical>( CotlTINUED)</parenthetical>
<scene_description>-3 CONTINUED: (2)</scene_description>
<character>CHERRY</character>
<dialogue>If I know something fer a fact, I'm not going to hide it. But I'm not going out one. limb. It's just too intense around here right now. I'm twenty-three. I don't want to wake up tomorrow and find I'm out of tte computer business.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. XEROX ROOM</stage_direction>
<scene_description>The CLERK places Sanders' FAMILY PHOTOS on a color Xerox machine. Closes the top. Seen from below, the scalding light of the scanner as it plays acroEs them. Then the Xerox plops out. Like a freeze-dried vestige of happiness.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. DIGICOM</stage_direction>
<scene_description>Sanders waits at the elevator, then steps on as it arrives. Across the glass-and-brick expanse of.the Digicom building ~LACKBURN WATCHES Gets on his cellular phone.</scene_description>
<character>BLACKBURN</character>
<dialogue>He's getting on the</dialogue>
</scene>
<scene>
<stage_direction>EXT. LATER. DIGICOM</stage_direction>
<scene_description>sanders exits. Garvin pulls up in his big Jaguar XJ12.</scene_description>
<character>GARVIN</character>
<dialogue>You heading back to the mediation?</dialogue>
<character>SANDERS</character>
<dialogue>I have to get back, it starts--</dialogue>
<character>GARVIN</character>
<dialogue>Come on--I'll give you a lift!</dialogue>
</scene>
<scene>
<stage_direction>· .7 INT. LATER. JAGUAR</stage_direction>
<scene_description>An amiable Garvin drives. Sand,1rs alongside him, suspicious.</scene_description>
<character>GARVIN</character>
<dialogue>Remember when we s tar1:ed? Nobody wore a tie, nobody pu11ched a clock. The chutzpah--we wer8 going to take on IBM--we couldn't even beat them in sof 1:ball.</dialogue>
<character>SANDERS</character>
<dialogue>The company's come a long way.</dialogue>
<character>GARVIN</character>
<dialogue>So have you, Tom. Yo11're vital to our future. You know it. I know it. Meredith knows it. Now, as I understand .i.t, you've both had a chance to <Jet it off your chest, your versi.on of what happened. Now I want it to ~top.</dialogue>
<character>SANDERS</character>
<dialogue>What I have to get ofJ: my chost isn't a uversion" of what happened.</dialogue>
<character>GARVIN</character>
<dialogue>It's always somebody':1 version. · C\ That's the legacy of the modern . ('\ ~ \J age. We have information but not I,"\~ \J truth--little flashes of ("\')~\ electrons in a grain of sanct,. '-"'</dialogue>
<character>SANDERS</character>
<dialogue>I'm telling the truth, Bob.</dialogue>
<character>GARVIN</character>
<dialogue>You have to try to look at this thing from all sides.</dialogue>
<character>SANDERS</character>
<dialogue>How many sides are th1)re?</dialogue>
<character>GARVIN</character>
<dialogue>Let's say she made a rnistc1ke. So what? She made a pasH--that's all. She put her hand on your knee--you could've ju~t taken it off. You could've decided it was flattering. You could've handled it any number of ways. But this vindictiveness, Torn--I have to tell you I'm surprised.</dialogue>
<character>(COUTINUED)</character>
<dialogue>i:;7 CONTINUED:</dialogue>
<character>SANDERS</character>
<dialogue>It's against the law, Bob. I'm her employee. I work for her.</dialogue>
<character>GARVIN</character>
<dialogue>You work for me. Tha~·s really my point. Allof our years together-- why didn't you come to me? Not to go hire t :1.1.swoman, this lawyer ...</dialogue>
<character>SANDERS</character>
<dialogue>Maybe I should've.</dialogue>
<character>GARVIN</character>
<dialogue>Why can't you just fo~get it? Work together like ci~ilized adults and then everybody makes a pile of money down ·:he lirn~. What's wrong w.1.th tha•.?</dialogue>
<character>SANDERS</character>
<dialogue>Things have gone too ~ar.</dialogue>
<character>GARVIN</character>
<dialogue>Things can go back.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. MEDIATIONCENTER</stage_direction>
<scene_description>Sanders walks with Fernandez.</scene_description>
<character>SANDERS</character>
<dialogue>••. Why would he offer to settle? Why now?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Maybe you were right all along-- he's worried about th~ merger.</dialogue>
<character>SANDERS</character>
<dialogue>But why now? Why not yesterday? They had us on the rur, all morning. There must t,e some weakness--some vulnerability we don't know about ...</dialogue>
<character>FERNANDEZ</character>
<dialogue>By the way, you shoulci never talk to anyone from the company without a lawyer presEnt.</dialogue>
<character>---- ----------</character>
<dialogue>-: 8 CONTINUED:</dialogue>
<character>\</character>
<dialogue>"-·' Sanders takes a COMPUTERPIUNTOIJTOU t of his jacket pocket.</dialogue>
<character>SANDERS</character>
<dialogue>I'm still getting tho;e messages from "AFRIEND". I prLnted out the address. Maybe o:1e of your investigators could tr.ack it down.</dialogue>
<character>FERNANDEZ</character>
<dialogue>If the company doesn't find him first. You know that cleaning lady?</dialogue>
<character>SANDERS</character>
<dialogue>Yeah?</dialogue>
<character>FERNANDEZ</character>
<dialogue>She went out of town. llobody knows where, or when ~ho's coming back. The Bahamas, pcobably, with Mrs. Ross on the next plane to join her. These g11ys play hardball, Tom.</dialogue>
<scene_description>They enter the mediation room. Sanders sees CINDY sitting at the table.</scene_description>
<character>59</character>
<dialogue>Cindy,</dialogue>
<character>INT. LATER.</character>
<dialogue>clearly</dialogue>
<character>HELLER</character>
<dialogue>••. Does Mr. Sanders ever touch you in a way that mak~s you uncomfortable?</dialogue>
<character>CINDY</character>
<dialogue>I don't think he's aware of it.</dialogue>
<character>HELLER</character>
<dialogue>Just answer the question, please.</dialogue>
<character>CINDY</character>
<dialogue>Yes.</dialogue>
<character>HELLER</character>
<dialogue>How does he touch you!</dialogue>
<scene_description>·. 9 CONTINUED:</scene_description>
<character>)</character>
<dialogue>CINDY</dialogue>
<scene_description>He' 11 pat me on thc--111y brihi11d. Or rub my shouldGrs when I'm sitting at my desk--</scene_description>
<character>HELLER</character>
<dialogue>Rub your shoulders?</dialogue>
<character>CINDY</character>
<dialogue>I don't think he mean!; anything by it.</dialogue>
<character>HELLER</character>
<dialogue>But you don't like it.</dialogue>
<character>CINDY</character>
<dialogue>I just feel it's inappro~1.-ia1:e.</dialogue>
<character>HELLER</character>
<dialogue>Because it's sexual.</dialogue>
<character>CINDY</character>
<dialogue>I don't know.</dialogue>
<character>FERNANDEZ</character>
<dialogue>I'm not sure l: see the! relewmce of this witness.</dialogue>
<character>HELLER</character>
<dialogue>Obviously, we're trying to establish a pattern of behavior here. Sexual harassers gnnerally \) t';, follow a pattern. ( 0,</dialogue>
<character>(\ ~\ ~</character>
<dialogue>I'll</dialogue>
<character>JUDGE· MURPHY</character>
<dialogue>allow it. \ " '.</dialogue>
<character>HELLER</character>
<dialogue>You don't have any kind of chiropractic ~roblem, do you? Any problem with your neck, or your back?</dialogue>
<character>CINDY</character>
<dialogue>No.</dialogue>
<character>HELLER</character>
<dialogue>Then you would characLerize it as flirting. or sexual.</dialogue>
<character>CINDY</character>
<dialogue>I suppose so.</dialogue>
<character>9 CONTINUED: (2)</character>
<dialogue>HELLER</dialogue>
<scene_description>But you never said anything.</scene_description>
<character>CINDY</character>
<dialogue>He's my boss.</dialogue>
<character>HELLER</character>
<dialogue>You never reported it?</dialogue>
<character>CINDY</character>
<dialogue>No.</dialogue>
<character>HELLER</character>
<dialogue>He's your boss--I understand. A job at stake. The ru1:1.ors. Whether people would uven believe you. All the reasons womGn never report these things.</dialogue>
<parenthetical>(resuming)</parenthetical>
<dialogue>And if I asked you if :(OU ev,!r had sexual relations with Mr. Sanders-- same answer·:</dialogue>
<character>CINDY</character>
<dialogue>No, I didn't .</dialogue>
<character>HELLER</character>
<dialogue>Didn't report it?</dialogue>
<character>CINDY</character>
<dialogue>It never happened.</dialogue>
<character><':>~</character>
<dialogue>~ ·</dialogue>
<scene_description>Heller gives her an avuncular</scene_description>
<character>HELLER</character>
<dialogue>pat on the</dialogue>
<scene_description>(':</scene_description>
<character>('</character>
<dialogue><,'\'.</dialogue>
<scene_description>handt'\. O..</scene_description>
<character>-</character>
<dialogue>I understand.</dialogue>
<scene_description>{to Judge Murphy) No further questions.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LATER. PARKING LOT</stage_direction>
<scene_description>Susan in her Taurus. sanders lnans in the window. Hands her the plastic EVIDENCE ENVELOPE with the FAMILY PHOTOS She tosses it onto the seat beside her--the faces look out through the plastic.</scene_description>
<character>(COUTINUED}</character>
<dialogue>1 CONTINUED:</dialogue>
<character>SUSAN</character>
<dialogue>Barbara called. Abou1. tho Disneyland tickets fo1 Hoharruaed what's-his...:name.</dialogue>
<character>SANDERS</character>
<dialogue>Jafar.</dialogue>
<character>SUSAN</character>
<dialogue>They're going to comp him on the rides and upgrade his room.</dialogue>
<character>SANDERS</character>
<dialogue>Thanks. I appreciate it.</dialogue>
<scene_description>They look at each other. There's just nothing for either one of them to say.</scene_description>
<character>SUSAN</character>
<dialogue>Well. See you Liter~</dialogue>
<character>SANDERS</character>
<dialogue>See you later.</dialogue>
<scene_description>Susan squeezes his hand. Starts her car and drives off. Leaves Sanders in the parking lot ALONE</scene_description>
</scene>
<scene>
<stage_direction>EXT. LATER. COMPUTER STORE</stage_direction>
<scene_description>Sanders walks aimlessly through downtown--trying to get his head clear. He peers wistfully into the window of a computer store. Computers, modems, etc., by Apple, IBM, DigiCom. He puts his hand up to the glass, as if to touch the life he's about to leave behind. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT.· LATER. FERNANDEZ OFFICE</stage_direction>
<scene_description>Sanders, depressed, sunk in the couch. Fernandez at her desk.</scene_description>
<character>FERNANDEZ</character>
<dialogue>So what do you want to do?</dialogue>
<character>SANDERS</character>
<dialogue>What?</dialogue>
<scene_description>- I '</scene_description>
<character>FERNANDEZ</character>
<dialogue>Their offer ends midn:ght.</dialogue>
<parenthetical>(off Sanders' lo< ,k)</parenthetical>
<dialogue>Same as what Garvin told you. You get your job back. SIie' ~; your boss. Everybody goe~; bi1ck to work. Period.</dialogue>
<scene_description>Sanders sits a beat, shellshock£:d.</scene_description>
<character>SANDERS</character>
<dialogue>And we' re out of bullt~ts?</dialogue>
<character>FERNANDEZ</character>
<dialogue>We can still file and make i1: public. They'll fire you and counterclaim against you. Then we fight it out in cot,rt for the next three years.</dialogue>
<character>SANDERS</character>
<dialogue>What about "AFRIEND"? Diel you</dialogue>
<scene_description>ever find that add res~: on th(i Internet?</scene_description>
<character>FERNANDEZ</character>
<dialogue>Oh, reah. Dr. Arthur Friend, a chemistry professor at the C\.\) University of Washington. Who <J\J happens to be trekking in Nepal "' <\C\ - for the last three weE·ks. YoU"'\vg '· been getting messages from a(\\) locked office.</dialogue>
<character>SANDERS</character>
<dialogue>Oh. (ironic) I'm glad that's finally cleared up.</dialogue>
<scene_description>They sit a beat. Then he remembers something. Takes out his cellular phone.</scene_description>
<character>SANDERS</character>
<dialogue>What time is it? I have to call Marc Lewyn. The driv8s we're having a problem with came in from Malaysia today.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Only you, Sanders.</dialogue>
<character>SANDERS</character>
<dialogue>What?</dialogue>
<scene_description>~2 CONTINUED: (2):</scene_description>
<character>FERNANDEZ</character>
<dialogue>Anybody else wouid be dreaming up ways to sabotage the company.</dialogue>
<character>SANDERS</character>
<dialogue>What can I tell you--it's my job, and I'm going to do mJ job till they lock me out of tile o.f fice. That's just who I am.</dialogue>
<scene_description>Sanders presses "L-E-W". "Lewyn, M,1rc'' comes up on the display. The phone rings and tl1en a l-Ll\CHINE comes on.</scene_description>
<character>ADELE ( 0. C. )</character>
<dialogue>Hi, it's Adele and Mace. We're not home now. Leave ,1 me3sage and we'll-- .</dialogue>
<scene_description>Sanders presses "END". Som8thi·1g about that message ...</scene_description>
<character>SANDERS</character>
<dialogue>Wait a minute ...</dialogue>
<character>FERNANDEZ</character>
<dialogue>What?</dialogue>
<character>SANDERS</character>
<dialogue>It's his wife's voice on the ~\J</dialogue>
<scene_description>·~---~·' machine. But I know I remember \\ a man;s voice when I called Le~n(\() Monday night. And thon the next' day he said he never <JOt tha ..I message. I must've d.Laled the wrong number that night.</scene_description>
<character>ON THE CELLULAR</character>
<dialogue>Sanders types L-E-L onto the diqital display. No number flashes up. L-E-M. Again, nothing. L-E-S. Nothing ...</dialogue>
<character>FERNANDEZ</character>
<dialogue>So?</dialogue>
<character>SANDERS</character>
<parenthetical>(thinking aloud)</parenthetical>
<dialogue>That's why the battery was dead when I got home.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Tom--what're you talking about?</dialogue>
</scene>
<scene>
<stage_direction>..\_\_\_\_\_</stage_direction>
</scene>
<scene>
<stage_direction>-::2 CONTINUED: (J)</stage_direction>
<character>SANDERS</character>
<dialogue>That's why Garvin wani.ed t:o make a deal--they must've qottun ahold of my phone records--il for.ty minute bill for the t.(me I w,1s in Meredith's office. Dun't you see? Meredith knocked thu pltone out of my hand. When I W<lS in her off ice, I cal led d •,,;rong number and never hung up t:he phone. The line stay1?d open. The whole thing is on somcbouy's phone machine.</dialogue>
<character>ON THE KEYPAD</character>
<dialogue>Then L-E-V. Flashing across thu diyital display: Levin, John.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NIGHT. FERRY</stage_direction>
<scene_description>JOHN LEVIN, a nerdy computer exE.:cutive in his late 30s, meets surreptitiously with Sanders on the dock.</scene_description>
<character>LEVIN</character>
<dialogue>I've. been trying to get you all week. What do I have to call-- 976--SANDERS?</dialogue>
<character>SANDERS</character>
<dialogue>You have the tape?</dialogue>
<scene_description>Levin looks around furtively. !:'.lips the tape to Sanders.</scene_description>
<character>LEVIN</character>
<dialogue>I have to tell you, I got worried about you, buddy. I ~ot a call in the middle of the ~ight from some creepy guy who knew everything about me--my TRW, phone records, bank records •.. I came into my office today and everything was turned upside down. My files. My drawers .••</dialogue>
<character>SANDERS</character>
<dialogue>I'm not surprised. DigiCom knows about the tape.</dialogue>
<scene_description>-3 CONTINUED:</scene_description>
<character>LEVIN</character>
<dialogue>It's a good thing I b:·ought i.t home.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I listened to it a co11ple of times, you know, with my girlfriend •..</dialogue>
<character>SANDERS</character>
<dialogue>It's all there?</dialogue>
</scene>
<scene>
<stage_direction>INT. NIGHT. SANDERS' HOUSE</stage_direction>
<scene_description>Sanders enters late at night, t.tpe .i.n hand, excited. Runs up the stairs. Turns the corner i11to his bedroom. IN THEIR BED Both children sleep with Susan. Sanders senses immediately that something is wrong. Puts 1:he tape in his pocket. Looks at his family, huddled together agains1: the world. DOWNSTAIRS Sanders finds a pillow and a bl":mket in the linen closet. Goes to the couch. Hears something. Turns. It's Susan. She's holding herself, as if to keep from falling apart.</scene_description>
<character>SUSAN \J\J</character>
<dialogue>Eliza came home--at school today, ("\\\ one of the children--Lhey said <"\\)'".J something about you. ~(J~'</dialogue>
<character>CLOSE ON--SANDERS</character>
<dialogue>Guilty, enraged, powerless. This is all coming home.</dialogue>
<character>CUT TO:</character>
<dialogue>WHITE TITLES ON BLACK--</dialogue>
<character>THURSDAY</character>
</scene>
<scene>
<stage_direction>INT. LATER. MEDIATION CENTER</stage_direction>
<scene_description>sanders and Fernandez arrive at the mediation center, wait for the elevator. Meredith and Heller arrive at the same time. Meredith looks over--sees that ~ernandez carries -5 CONTINUED:</scene_description>
<character>A TAPE</character>
<dialogue>They all the tape</dialogue>
<character>RECORDER</character>
<dialogue>climb into recorder.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. MEDIATIONCENTER</stage_direction>
<scene_description>A TAPE RECORDERplays in the middle of the mediation table. An EMPTYCHAIR where Susan sat yes1.erday.</scene_description>
<character>MEREDITH(O.C.)</character>
<dialogue>•.. You come back and j inish \-:hat you started. (beat) 11id you hear me? You come back here and finish or you're dead! You're fucking dead!</dialogue>
<scene_description>Fernandez turns off the tape.</scene_description>
<character>HELLER</character>
<dialogue>we believe in any judicial t;>roceeding this tape v·ould be inadmissible.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Inadmissible? I'm worried I'll drive to work some morning and hear it on Howard Stern.</dialogue>
<character>HELLER</character>
<dialogue>If you are threatening to release that tape--</dialogue>
<character>FERNANDEZ</character>
<dialogue>Hey, I don't know how many copies of this tape are floating around out there. I would never give it out. I hate publicity.</dialogue>
<character>HELLER</character>
<dialogue>All that tape demonstrates is consensual sex between two adults-- however it may have appeared the morning after. Mr. Sanders' regret is not my client's harassment.</dialogue>
<character>JUDGEMURPHY</character>
<dialogue>Ms. Johnson, is that your position today?</dialogue>
<character>MEREDITH</character>
<dialogue>Yes, it is.</dialogue>
<character>JUDGE MURPEY</character>
<dialogue>Ms. Fernandez?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Ms. Johnson--just so I'm clear on what today's story is--how would you define "consensual sex"?</dialogue>
<character>MEREDITH</character>
<dialogue>Sex where both partiEs are willing participants.</dialogue>
<character>FERNANDEZ</character>
<dialogue>How many times did Mr. Sanders say "no" on the tape we just heard?</dialogue>
<character>MEREDITH</character>
<dialogue>I was too busy listening to my underwear being torn off.</dialogue>
<character>FERNANDEZ</character>
<dialogue>Four. Doesn't "no" nBan no, Ms. Johnson?</dialogue>
<character>MEREDITH</character>
<dialogue>-sometimes "no" means that person</dialogue>
<scene_description>wants to be taken. Ovenvhelmed. Dominated. But we can't talk about that. The way you're supposed to have sex nowadays, you'd need the UN to supervise it. 0</scene_description>
<character>FERNANDEZ</character>
<dialogue>"No" means no. Isn't that what we tell women?·</dialogue>
<character>MEREDITH</character>
<dialogue>When he really wanted to stop, he didn't seem to have any problems doing it, did he?</dialogue>
<scene_description>Meredith lights a cigarette.</scene_description>
<character>FERNANDEZ</character>
<dialogue>And that's when you got angry.</dialogue>
<character>MEREDITH</character>
<dialogue>Of course I got angry. So would anyone.</dialogue>
<character>~6 CONTINUED: (2)</character>
<dialogue>\</dialogue>
<character>FERNANDEZ</character>
<dialogue>Don't we tell women y'Ju can stop at any point?</dialogue>
<character>MEREDITH</character>
<dialogue>You never said "no" and meant yes, Ms. Fernandez?</dialogue>
<character>FERNANDEZ</character>
<dialogue>Up to the moment of a•:tua 1 penetration--</dialogue>
<character>MEREDITH</character>
<dialogue>The point is he was willing. That tape doesn't change anything.</dialogue>
<character>FERNANDEZ</character>
<parenthetical>(heated)</parenthetical>
<dialogue>You controlled this m•?eting. You set the time. You ordered the wine. You locked the door. You demanded service and you got angry when he didn't provide it. Ms. Johnson, you have proven that a woman in power can be every bit as abusive as a man.</dialogue>
<character>MEREDITH</character>
<parenthetical>(right back)</parenthetical>
<dialogue>You want to put me on trial here, at least be honest about what it's for. I'm a sexually aggressive woman. I like it. Tom knew it. And you can't\_ handle it. It's just the same damn thing since the begining of time--veil it, hide it, lock it up or cut it off. We expect a woman to do a man's job and make a man's money but theil walk around with a parasol and lie down for a man to fuc~~ you, like it was still a hundre< I years ago. No thank you.</dialogue>
<scene_description>A beat while nobody says anything.</scene_description>
<character>JUDGE</character>
<dialogue>How about</dialogue>
<character>MURPH"{</character>
<dialogue>we take</dialogue>
<scene_description>CUT TO: • r</scene_description>
</scene>
<scene>
<stage_direction>-7 INT. LATER. MEDIATION CENTER</stage_direction>
<scene_description>Sanders sits on a fountain in tile coun:yard. Fernandez joins him, shaking her heud.</scene_description>
<character>FERNANDEZ</character>
<dialogue>Well, you' re not goin, r to believe this.</dialogue>
<character>SANDERS</character>
<dialogue>Why? What did Phil s.ty?</dialogue>
<character>FERNANDEZ</character>
<dialogue>You get your job back. A hundred grand in pain and suf·ering. I get fees and expenses. Total and complete capitulation.</dialogue>
<character>SANDERS</character>
<dialogue>And Meredith?</dialogue>
<scene_description>fERNJ\NDEZ She staysthrough the mer<Jer. Then next week they' L'. announce that she needs to takE! a medical leave. She's out. (beat) I think that Howard s1.ern thing really got to them.</scene_description>
<character>SANDERS</character>
<dialogue>This is for r~al?</dialogue>
<character>FERNANDEZ</character>
<dialogue>They' re the ones who \·Iant the papers drawn up and signed by tonight.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It's over.</dialogue>
</scene>
<scene>
<stage_direction>INT. LATER. SANDERS' OFFICE</stage_direction>
<scene_description>Sanders behind his desk. Blackburn sits with Fernandez. She reads through a weighty CONTRAC':.'and SETTLEMENTAGREEMENT.</scene_description>
<character>BLACKBURN</character>
<dialogue>.•• Garvin's up there breaking it</dialogue>
<scene_description>to her right now. It won't be easy.</scene_description>
<character>SANDERS</character>
<dialogue>Really? I thought Bob enjoyed that sort of thing.</dialogue>
<scene_description>(COUTINUED):</scene_description>
<character>------------------- -- --</character>
<dialogue>CONTINUED:</dialogue>
<character>BLACKBURN</character>
<dialogue>You can't blame Garvin, Tom. You go after one of his p(ioplE.!, his last instinct is to cut and run. You have to admire thilt. Once you made your case, tlie company has behaved strictly appropriately. Would11' t you say so, Louise?</dialogue>
<character>FERNANDEZ</character>
<dialogue>You don't want to knO\! •,;hnt I think, Phil.</dialogue>
<scene_description>Sanders glances over at his corn1,u ter. Sees the E MAIL ICON blink. He clicks it. ON THE COMPUTER IT'S NOT OVER. · HOTHil!G It; WIIAT IT SEEMS. SOLVE THE PROBLEM. BACK ON--SANDERS: ', "~,.\_,. Deeply concerned ••.</scene_description>
<character>BLACKBURN</character>
<dialogue>Tom?</dialogue>
<character>SANDERS</character>
<dialogue>Yeah?</dialogue>
<character>BLACKBURN</character>
<dialogue>We' re want you to makl· a little presentation on "Dian,t" at the merger announcement, tomorrow morning at nine. Nothing technical-- a Sunday drive on the information superhighHay. Three or four minutes. In clnd out.</dialogue>
<character>SANDERS</character>
<dialogue>Yeah, sure. Fine.</dialogue>
<character>BLACKBURN</character>
<dialogue>And Tom? I want to a1~logize personally for this wl1ole damn episode.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>-9 CONTINUED: (2)</scene_description>
<character>BLACKBURN</character>
<dialogue>I~' s te;-rible, the way a t.hi11g 11.ke this can te,u a c-omrany apart. I've told Bob we ~eally need to look at it.</dialogue>
<scene_description>Blackburn offers his hand. Sanciers sh.:1kes it.</scene_description>
<character>SANDERS</character>
<dialogue>See you tomorrow, Phi\].</dialogue>
<scene_description>Blackburn exits. Fernandez puti thf: contracts in her briefcase.</scene_description>
<character>FERNANDEZ</character>
<dialogue>. I still want to read these over</dialogue>
<scene_description>again.</scene_description>
<character>SANDERS</character>
<dialogue>Well, I'll be here a.Jittle while. I have to get this presentation together~</dialogue>
<character>FERNANDEZ</character>
<dialogue>If not, I'll have somEone run them by your house later.</dialogue>
<scene_description>She moves to leave.</scene_description>
<character>SANDERS</character>
<dialogue>Let me ask you something. Did you ever wonder why Meredith did this?</dialogue>
<character>FERNANDEZ</character>
<dialogue>What do you mean--do irresistible?</dialogue>
<character>SANDERS</character>
<dialogue>You saw her in action. How cool she is. Smart. Always in control. Why would she do this on the first day? With this merger coming up, and Conley as touchy as they are? ~hy7</dialogue>
<character>FERNANDEZ</character>
<dialogue>I'm sure she thought you would go along.</dialogue>
<character>SANDERS</character>
<dialogue>It's too risky. I keep thinking there must've been sow.e other reason ..•</dialogue>
<scene_description>~8 CONTINUED: (3)</scene_description>
<character>FERNANDEZ</character>
<dialogue>Sanders, you think too much. Go home. Open some champagne, make up with your wife. And get some sleep. It's over.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. STAIRWELL</stage_direction>
<scene_description>Sanders heads down the stairs to the diagnostics lab. Runs into Stephanie Kaplan, heading the other way.</scene_description>
<character>SANDERS</character>
<dialogue>Hi, Stephanie.</dialogue>
<scene_description>He continues past her. Then he hears:</scene_description>
<character>STEPHANIE</character>
<dialogue>It must be difficult. So much 9oing on, and nobody giving you information.</dialogue>
<character>SANDERS</character>
<dialogue>It's been a tough week.</dialogue>
<character>STEPHANIE</character>
<dialogue>I remember I had a friend, she was one of the first women to move really high-up. You know t"\ what it's like at the higher t"'\\J levels--every day is putting out n(\V fires. But it turned out her jo~ ('\\\":"l wasn't anything she thought itn\\\) was. And she was looking the \' · wrong way when they fired her.</dialogue>
<character>SANDERS</character>
<dialogue>That's interesting.</dialogue>
<character>STEPHANIE</character>
<dialogue>The truth usually is, once you get to it.</dialogue>
<scene_description>She smiles that Sphinxlike smile. Continues on. Sanders shakes his head, continues down the stairs. CUT TO:</scene_description>
<character>1</character>
<dialogue>Sanders in a hurry ... A cof f<~e cup half- Eull, still SECURITY</dialogue>
<dialogue>finds the lab oddly a ciga.ret te burned in the ashtray GUARD enters.</dialogue>
<character>SECURITY GUARD</character>
<dialogue>Oh, it's you, Mr. San•lers.</dialogue>
<character>SANDERS</character>
<dialogue>Where is everybody?</dialogue>
<character>SECURITY GUARD</character>
<dialogue>Mr. Garvin came down an hour ago. Said they was all wor:~ing too hard. Sent everybody home.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do me a favor, lock u;J when you leave.</dialogue>
<scene_description>Sanders puzzles over this. Con~inuas to the rear of the lab. Flicks on the bright quartz ligl1ts. ON THE TABLE Three of the drives have been opened. Seven remain in the heat- sealed plastic ••• ON THE BLACKBOARDS As Sanders examines them. A FLOWCHART A. Contr. Incompat. VLSI? pwr? B. Optic Dysfunct--? voltage reg?/arm?/servo? C. Laser R/O (a,b,c) D. >. Mechanical VY E. Gremfins</scene_description>
<character>BACK ON--SANDERS</character>
<dialogue>As he picks up one of the wrapp•:?d drives. Finds a NEEDLE PUNCTUREin the plastic. Then sees a MEDICAL SYRINGE and an OPEN NOTEBOOK. ON THE PAGE A row of FIGURES:</dialogue>
<character>PPU 7 11(!)</character>
<dialogue>BACK ON--SANDERS As he</dialogue>
<character>5 2</character>
<dialogue>looks</dialogue>
<scene_description>CUT TO: -···' --------------- ----- --:</scene_description>
</scene>
<scene>
<stage_direction>-1 INT. LATER. DIGICOM</stage_direction>
<scene_description>Sanders runs out of the lab, turns a corner. Sees Blackburn and Meredith HUDDLEDin a dimly-lit CONFERENCEROOM. He stops, turns back. Did they see me? Then he EAVESDROPS ...</scene_description>
<character>MEREDITH</character>
<parenthetical>(heated)</parenthetical>
<dialogue>And what if Sanders dJesn't bring it up?</dialogue>
<character>BLACKBURN</character>
<dialogue>Shhh. He will.</dialogue>
<character>MEREDITH</character>
<dialogue>You're sure he doesn't ... that the ...</dialogue>
<character>BLACKBURN</character>
<dialogue>No, he •.. no idea.</dialogue>
<character>MEREDITH</character>
<dialogue>So when he ... r will say that this is a ...</dialogue>
<character>BLACKBURN</character>
<dialogue>Exactly ... incompetent ..</dialogue>
<character>MEREDITH</character>
<dialogue>so.,.want me to ...</dialogue>
<character>BLACKBURN</character>
<dialogue>Kneecap him ... Bob wants.</dialogue>
<character>MEREDITH</character>
<dialogue>••. backfire.</dialogue>
<character>BLACKBURN</character>
<dialogue>... Bob's counting on you.</dialogue>
<character>MEREDITH</character>
<dialogue>•.. delete •.• database ... just in case •.•</dialogue>
<scene_description>Suddenly, Sanders' phone RINGS. He JUMPS. Blackburn and Meredith look out, suspicious. Then resume their talk. sanders answers it as he hustles in the other direction.</scene_description>
<character>SANDERS</character>
<parenthetical>(to phone)</parenthetical>
<dialogue>Sanders. (interrupts) Louise, what does the contract say about firin9 me? (listens) But they can fire me for cause, can't they? For incompetence?</dialogue>
<parenthetical>(more)</parenthetical>
</scene>
<scene>
<stage_direction> -. 1 CONTINUED:</stage_direction>
<scene_description>Si\NDERS {Co1 t t 'd) (listens) The. problem:; wil.h "Diana" aren't dr:?sign prol.Jlems. They're not programming problems. They're problems with the production line. And the production line is my responsibility. The "hole thing tomorrow--they' re set1.ing me up. CUT TO:</scene_description>
<character>72 INT. LATER. SANDERS' OFFICE</character>
<dialogue>Sanders runs to his desk. Logs onto his computer. ON THE COMPUTER As Sanders types •..</dialogue>
<scene_description>SEARCH: DIGICOM/t-lALAY~:</scene_description>
<character>IA SA +</character>
<dialogue>REVISIONS</dialogue>
<scene_description>The computer answers •.. SORRY, YOURPRIVILEGE~ DO NO'l' INCLUDE ACCESS AT THI~: LE'i/EL Sanders stops, thinks. FRUSTRATED. Then He runs out of his office ... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. FOUR SEASONS IIOTEL--LOBDY</stage_direction>
<scene_description>Conley, Chase, Garvin, Furillo and a couple of other Conley Executives have drinks in the lobby. They're all laughing it up. Garvin turns to Conley.</scene_description>
<character>GARVIN</character>
<dialogue>When does your Dad arrive?</dialogue>
<character>CONLEY</character>
<dialogue>Midnight. They had to stop in Dallas.</dialogue>
<character>GARVIN</character>
<dialogue>I'd love for him to get a chance to see The Corridor.</dialogue>
<scene_description>..,.3 CONTINUED:</scene_description>
<character>CONLEY</character>
<dialogue>I was up late last night, fooling around with it, up in my room. It's really incredible.</dialogue>
<character>RACK FOCUS</character>
<dialogue>Sanders watches from across the lobby. Hustles across to the elevators ... They don't see him. He picks up a HOUSE PHONE.</dialogue>
<character>SANDERS</character>
<dialogue>Hi, this is Mr. Conley. Is this housekeeping? Could you make up my room? Yeah. Right away, please?</dialogue>
<scene_description>CUT TO:</scene_description>
<character>.74 INT. SAME TIME. MEREDITH'S OFF\[CE</character>
<dialogue>Meredith puts her briefcase on the couch. Takes off her jacket. Sits at her desk. Log3 on to her computer.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>\ 'S INT. LATER. FOUR SEASONS</stage_direction>
<character>"--..-</character>
<dialogue>A housekeeping truck, mops and ,::leaning s~pplies, parkech..fo ~he hall outside Conley's suite. s~nders walks through t;.b~bpen door. A MAID turns down his be1. Sanders tips hem..\\</dialogue>
<character>'\'\\)--~'.\ .</character>
<dialogue>SANDERS</dialogue>
<scene_description>That'll be all, thankl. The Maid exits. Sanders closes the door behind her. Moves to the living room. Where the Corridor is set up. Sanders finds the master switch. The equipme~t HUMS. Puts on the.headset, the glove. Steps on the walker. A FLASH OF LASER LIGHT As the system maps Sanders. SANDERS' POV A big blue screen in front of his face. At the bottom of the screen, BOXES that read "ON" and "OFF." BACK ON--SANDERS As he lifts his finger to click "ON". Selects various menu items ••. ,, ( COIITINUED): ------~ ~~ ------- -: ,7 5 CONTINUED:</scene_description>
<character>ON THE SCREEN</character>
<dialogue>The lettering of the menu and the blue screen fade ... The floor turns to veined marble ... The walls turn to wood paneling ... Drawers and cabinets a~pear in the walls ... Other hallways to other corridors ... 1hrough the headphones, he hears his footsteps click on the marble ... A JUNCTION</dialogue>
<scene_description>With hallways leading in differen~ directions: "ACCOUNTING". "HUMAN RESOURCES". "MARKETING". "OPERATIONS". Sanders turns .the corner to head down the "OFERATIONS" aisle. STARTLES at what he sees ... ·IT'S MEREDITH A black-and-white PHOTOGRAPH at:>1? a kind of mannequin--Meredith is not on the virtual system ... Sanders can see her but she can't see him. SANDERS MOVES Behind her, looks over her shoulder. MEREDITH Pulls a file marked OPERATIONS REVIEW UNIT/MALAYSIA. Sudd~~ A THREE-DIMENSIONAL MODEL C~~</scene_description>
<character>(\~</character>
<dialogue>Of the factory pops up. Like a detailed doll's ~~e. The assembly line ... The conveyor belt ... The "Diana" dt:ives ... Then suddenly .•. ZAP1</dialogue>
<dialogue>It disappears.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME TIME. MEREDITH'S OFFICE</stage_direction>
<scene_description>Meredith at her desk ... ON THE COMPUTER</scene_description>
<character>THE DETAIL FILES ON OPERATIONS</character>
<dialogue>REVIEW UNIT/MALAYSIA HAVE BEEN</dialogue>
<character>SUCCESSFULLY DELETED.</character>
<character>..,6 CONTINUED:</character>
<dialogue>.\_\_\_, The word "DELETED" blinks. She types to find another file ...</dialogue>
<character>77</character>
<dialogue>Conley</dialogue>
<character>INT. SAME TIME.</character>
<dialogue>signs</dialogue>
<character>CONLEY</character>
<dialogue>Why don't we all go U? to my suite? Give my colle3gues here a chance to try out ~he Corridor?</dialogue>
<character>GARVIN</character>
<dialogue>Greatl Let's go!</dialogue>
<scene_description>They all get up ...</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME TIME. THE CORRIDOR</stage_direction>
<scene_description>Sanders on the walker pad. Goes through a drawer. Find+~ file marked: \)~:</scene_description>
<character>COST CONTAINMENT</character>
<dialogue>HANDLERS</dialogue>
<character>REVIEW: AIR</character>
<dialogue>~<::)<::)</dialogue>
<scene_description>He pops it open. Starts to read •..</scene_description>
<character>SANDERS</character>
<dialogue>••. Reduction of air handling capacity •.. from number seven air handlers to a more ap~ropriate and cost-effective number five ...</dialogue>
<scene_description>ZAP! And the file DISAPPEARS. Sanders reaches for the drawer and ZAP! the entire drawer DISAPPEARS•..</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME TIME. FOUR SEASONS</stage_direction>
<scene_description>Garvin, Conley and his coterie ride up in the elevator ••.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. SUITE</stage_direction>
<scene_description>Sanders anxious ... Thinking ...</scene_description>
</scene>
<scene>
<stage_direction>..,0 CONTINUED:</stage_direction>
<character>SANDERS</character>
<dialogue>Angel? I need help.</dialogue>
<character>SANDERS' POV</character>
<dialogue>An ANGELwith a flickering candle appears.</dialogue>
<character>ANGEL</character>
<dialogue>Help is here.</dialogue>
<character>SANDERS</character>
<dialogue>Angel, show me all communications from Malaysia in the last three weeks.</dialogue>
<character>ANGEL</character>
<dialogue>Do you wish telephone or video links?</dialogue>
<character>SANDERS</character>
<dialogue>Video.</dialogue>
<character>ANGEL</character>
<dialogue>Press v.</dialogue>
<scene_description>A SHEET unfurls in front of his face ... A long list of VIDEO LINKS between Arthur and Meredith, with dates and times ...</scene_description>
<character>SANDERS</character>
<dialogue>Angel, show me the video link f'\..~ from last Sunday. Hurry up. <::::,</dialogue>
<character>"V</character>
<dialogue>He looks over Meredith's should•ff as she pulls a file,...zrlu~ed VIDEO LINKS ••. Suddenly, .Mereditn and Arthur appear cm~~ VIDEO SPLIT SCREEN. (~'\J</dialogue>
<character>ARTHUR</character>
<dialogue>It's only a matter of time before Tom figures out about the changes at the plant. He's not stupid, you know.</dialogue>
<character>MEREDITH</character>
<dialogue>Tom will be out oft~~ picture by Tuesday. Trust me.</dialogue>
<character>ARTHUR</character>
<dialogue>I don't like to gambl8--I mean, I love Tahoe, but--</dialogue>
<scene_description>~O CONTINUED: (2)</scene_description>
<character>MEREDITH</character>
<dialogue>Tom and I huve a history. Everyone in the compally know:.; that. If any problem comes up, nobody will believe h.L.m. He's married. He has a fai:,il y. Ile' 11 have no choice but to take whatever settlement h!?' s offered and leave.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAME TIME. HALLWAY</stage_direction>
<scene_description>Conley fumbles with his KEYCARDin the slot.</scene_description>
<character>CONLEY</character>
<dialogue>These things are so goddarn complicated ...</dialogue>
<character>FURILLO</character>
<dialogue>I think you have it upside down, John.</dialogue>
<character>CONLEY</character>
<dialogue>I knew that. I was testing you.</dialogue>
<scene_description>Laughter from the group •..</scene_description>
</scene>
<scene>
<stage_direction>INT. SAME TIME. SUITE</stage_direction>
<character>~~</character>
<dialogue>Sanders hears the laughter ... Ta~~es one of the headphon~C~ off .•• Listens to Arthur and Meredith with the other~0,</dialogue>
<character>ARTHUR</character>
<dialogue>And then we say Sande~s made the \' \' changes at the plant? He'll deny that he did.</dialogue>
<character>MEREDITH</character>
<dialogue>He won't even know. llemember? He'll be gone by then, Arthur.</dialogue>
<character>ARTHUR</character>
<dialogue>And if he isn't--?</dialogue>
<scene_description>ZAP! Meredith and Arthur disappear. A message flashes up: (COUTINUED):</scene_description>
</scene>
<scene>
<stage_direction>~ 2 CONTINUED:</stage_direction>
<character>THE VIDEO FILES ON OP:·:RAT \[ON:.,</character>
<dialogue>REVIEW UNIT/MALAYSIA IIAVt: BE,m DELETED. AUTHORIZATI<)N DC/C/5905</dialogue>
<scene_description>Sanders looks over Meredith's s:1oulder. She takes out another file. ZAP! It disappears. Th•!n the :.;ound of Conley ancl the others entering the bedroom ... IN THE BEDROOM Conley and the others enter, tu:n on the li0hts. Move INTO THE LIVING ROOM Sanders is gone. But the system is st.i.11 on ...</scene_description>
<character>CONLEY</character>
<dialogue>Huh. I must've left 1:he system on.</dialogue>
<scene_description>Garvin picks up the headset. Tllrns to the others ...</scene_description>
<character>GARVIN</character>
<dialogue>Okay. Who's first?</dialogue>
<scene_description>CUT TO: d3 INT. LATER. BAR Sanders sits with Fernandez.</scene_description>
<character>SANDERS</character>
<dialogue>•.. It was Meredith. It was</dialogue>
<scene_description>Meredith all along. T1.nd now there's no way I can prove it.</scene_description>
<character>CUT</character>
<dialogue>84</dialogue>
<character>TO:</character>
<dialogue>INT. LATER.</dialogue>
<scene_description>Sanders enters, exhausted and demoralized. Gets a beer in the kitchen. Suddenly, the phone rings.</scene_description>
<character>SANDERS</character>
<dialogue>Hello?</dialogue>
<character>JAFAR ( 0. C. )</character>
<dialogue>Tom! It's Mohammed Jafar!</dialogue>
<character>SANDERS</character>
<dialogue>Oh, hi, Mohammed--</dialogue>
<parenthetical>( CotlTINUED)</parenthetical>
<scene_description>1 4 CONTINUED:</scene_description>
<character>JAFAR (O.C.)</character>
<dialogue>Look, I don't</dialogue>
<scene_description>mean to b1JCJ you, Tom, but we are departing Kuala Lumpur on Monday and~-</scene_description>
<character>SANDERS</character>
<dialogue>No, no. My fault. LJok, you're all set for Disneylanj. Susan got you comped on the rides. And they're going to upgr~de you at the hotel.</dialogue>
<character>J AFAR (0 �C� )</character>
<dialogue>Magnficent! I can't wait to tell my wife--she said you were full of shit. You know ho..r women are.</dialogue>
<character>SANDERS</character>
<dialogue>Heh heh. Do I?</dialogue>
<character>JAFAR (O.C.)</character>
<dialogue>Hal I miss your face, Tom.</dialogue>
<character>SANDERS</character>
<dialogue>Ask Arthur. He sees it all the time, on the VOL--</dialogue>
<scene_description>Sanders stops as an idea hits him.</scene_description>
<character>JAFAR (O.C.)</character>
<dialogue>Tom? (beat) Hello?</dialogue>
<character>SANDERS</character>
<dialogue>Hey, Mohammed. You know, on this end we store our video links in the main system. Do you store that stuff on your end?</dialogue>
<character>CUT TO:</character>
<dialogue>WHITE TITLES ON BLACK--</dialogue>
<character>FRIDAY</character>
</scene>
<scene>
<stage_direction>INT. MORNING. SANDERS' OFFICE</stage_direction>
<scene_description>PAGES roll out of the fax machine. Sanders in the office with Fernandez. -Cindy comes in. 15 CONTINUED:</scene_description>
<character>CINDY</character>
<dialogue>I can't believe that's still coming in. It starteJ at seven. And this just came across.</dialogue>
<scene_description>She puts a DAT CARTRIDGEon his desk.</scene_description>
<character>SANDERS</character>
<dialogue>Cindy?</dialogue>
<character>CINDY</character>
<dialogue>Tom, about the other day--I didn't mean--</dialogue>
<character>SANDERS</character>
<dialogue>No, you did. And I'rn sorry. And thanks.</dialogue>
<scene_description>She smiles.</scene_description>
<character>CINDY</character>
<dialogue>I accept.</dialogue>
<scene_description>She whacks him on the butt with her files. Exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. AUDITORIUM</stage_direction>
<scene_description>The auditorium is packed with SHAREHOLDERS,PRESS, and DigiCom EMPLOYEES--Fernandez sits among them. A table at the front, with the DIGICOM EXECUTIVES along one side, the CONLEY-WHITE EXECUTIVES along the other. Meredith chairs the meeting. JOHN CONLEY, SR., 60s, a George Bush type, sits at the other end of the long table.</scene_description>
<character>MEREDITH</character>
<dialogue>•.• Tom Sanders heads our manufacturing department. 'I'om, I wonder if you could review for us the revolutionary new product we call "Diana".</dialogue>
<scene_description>sanders stands.</scene_description>
<character>SANDERS</character>
<dialogue>Sure, Meredith. "Diana" is our name for a stand-alone CD-ROM drive player. For CD-ROMto be effective, it has to be portable--</dialogue>
<scene_description>He holds up one of the "Diana" drives, then hands it to a Conley-White executive, who then passes it along ... 96 CONTINUED:</scene_description>
<character>SANDERS</character>
<dialogue>And it has to be fast. "Oianan is twice as fast as any CD-ROM drive in the world. We've in production now. We've had some early problems, but ~e're solving them.</dialogue>
<character>MEREDITH</character>
<dialogue>And the ~roblems we've had--were they design problems?</dialogue>
<character>SANDERS</character>
<dialogue>What we have is a fabrication problem involving the production line in Malaysia.</dialogue>
<character>MEREDITH</character>
<dialogue>What sort of problems?</dialogue>
<character>SANDERS</character>
<dialogue>For example, we should be using automatic chip installers to lock the controller chip on the board, but.the Mala¥s on the line have been installing the chips by hand. Literally pushing them in with their thumbs. And .the air. in the plan~ is dirty. The PPU-- particulates per unit--is running as high as eleven. It should be zero. We should have level-seven air handlers, but we only have level-five air handlers instead. And we should be ordering <:) components like hinge rods and \)\J clips from our usual Singapore ~ supplier. The <?nes v,e 're getting <"J are less expensive, reliable.</dialogue>
<scene_description>but less r,~ 0 r~\·</scene_description>
<character>MEREDITH</character>
<dialogue>I'm confused here. You set up this line, Tom. You didn't anticipate these problems?</dialogue>
<character>SANDERS</character>
<dialogue>The line was changed. The specifications were altered.</dialogue>
<character>MEREDITH</character>
<dialogue>How is that possible? I mean, we all know you as a highly competent manager.</dialogue>
<scene_description>'6 CONTINUED: (2)</scene_description>
<character>SANDERS</character>
<dialogue>Well, you should kno~, Meredith. You ordered the chang~s.</dialogue>
<character>MEREDITH</character>
<dialogue>I don't know where you got that idea.</dialogue>
<character>SANDERS</character>
<dialogue>You didn't go to Kuala Lumpur last year?</dialogue>
<character>MEREDITH</character>
<dialogue>To settle a labor dispute. I had nothing to do with the line--I've never even seen the line.</dialogue>
<character>ON THE SCREEN</character>
<dialogue>Behind Meredith, over the stage, an IMAGE projects ... A Malaysian NEWSCASTERgives the ne•.4s.•. Behind him, the DigiCom plant in Malaysia •.. Then Meredith ... The camera moves in on Meredith as she chats with one of the workers ...</dialogue>
<character>SANDERS</character>
<dialogue>You haven't seen the line?</dialogue>
<character>MEREDITH</character>
<dialogue>No. I don't know who could have told you such a thing.</dialogue>
<scene_description>A MURMURand then LAUGHTER ... Meredith spins around.</scene_description>
<character>SANDERS</character>
<dialogue>That's Malaysian Channel Three.</dialogue>
<character>MEREDITH</character>
<dialogue>Perhaps instead of digging up Malaysian video clips, we should discuss the problems that are sitting right in front of us. Problems in your department. With the line you set up.</dialogue>
<scene_description>Cindy enters. Distributes FILE FOLDERS around the table.</scene_description>
<character>SANDERS</character>
<dialogue>The first memo in your file, signed by Meredith Johnson, states that automated chip installers will not be used. That made the Malay government happy.</dialogue>
<parenthetical>(more)</parenthetical>
<scene_description>""8 CONTINUED:</scene_description>
<character>GARVIN</character>
<dialogue>we have long felt that the loss ofthe rest of corpor.ite America was our gain. So I t,1ke special pride in announcing tile appointment of a speci.al woman as our new Vice President for Advanced Operations and Planning here in Seattle-- Ste8hanie Kaplan. "</dialogue>
<scene_description>Stephanie Kaplan gets up to applause. Sanders looks at her. Looks over at Spencer. Looks b~ck at Stephanie.</scene_description>
<character>SANDERS</character>
<dialogue>At the university--yo·1 wouldn't know a professor name,j Arthur Friend, would you?</dialogue>
<character>SPENCER</character>
<dialogue>I'm his research assi:;tant.</dialogue>
<character>BACK ON--GARVIN</character>
<dialogue>As Stephanie Kaplan Joins him at the podium. Shakes hands with Gar.vin. Nods to the applause ... BACK ON--SANDERS Watching her ..•</dialogue>
<character>SANDERS</character>
<dialogue>Your mother is a rema.rkable woman.</dialogue>
<scene_description>Spencer gives Sanders his mother's Sphinxlike smile. -r:::::,\J~ CUT TO: r:\_0~ \.,,: -:</scene_description>
</scene>
<scene>
<stage_direction>INT. LATER. MEREDITH'S OFFICE</stage_direction>
<scene_description>Meredith packs her boxes. Sanders knocks on the door.</scene_description>
<character>MEREDITH</character>
<dialogue>Why did you come up hore? To gloat?</dialogue>
<character>SANDERS</character>
<dialogue>Well, gloating is underrated.</dialogue>
<character>--- --- -~---------~ -- ·-- --</character>
<dialogue>MEREDITH</dialogue>
<scene_description>Well, so are you. some very smart people underrat~d you, Sanders.</scene_description>
<character>SANDERS</character>
<dialogue>Thank you.</dialogue>
<character>MEREDITH</character>
<dialogue>I'm not including myself. The truth is, I beat you, Sanders. Beat you fair and square. I saw your wife's face in the hearing when Heller said "sodomy". It was over--she would never have let you file. Garvin lost his nerve. He came up with this brilliant idea about firing you for incompetence--him and Phil. And I'm the one who g,1ts fired.</dialogue>
<character>SANDERS</character>
<dialogue>You never saw yourself as a victim before, Meredith. It was probably your only good quality.</dialogue>
<character>MEREDITH</character>
<dialogue>I played the game the' way you guys set it u~ and now I'm being punished for it. Fine. The truth is I've had ten headhunters call me with job offers in the last hour. Don't be surprised if I'm back in ten years to buy the place.</dialogue>
<scene_description>Sanders watches Meredith a beat while she packs her boxes.</scene_description>
<character>SANDERS</character>
<dialogue>Did it ever occur to you, Meredith, set you up?</dialogue>
<scene_description>that I was the one who (~~</scene_description>
<character>~<?\)</character>
<dialogue>This stops Meredith. Sanders smiles enigmatical~\:'Exits.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AFTERNOON. BAINBRIDGE BEACH</stage_direction>
<scene_description>sanders, Susan and the kids walk along the shore, collecting seashells. 10 CONTINUED:</scene_description>
<character>SUSAN</character>
<dialogue>I can't believe it's over.</dialogue>
<character>SANDERS</character>
<dialogue>It's over.</dialogue>
<scene_description>She looks at him. Punches him on the arm.</scene_description>
<character>SANDERS</character>
<dialogue>ouch! What was that for?</dialogue>
<character>SUSAN</character>
<dialogue>Don't you ever do that again.</dialogue>
<scene_description>They hold hands, walk a little. Eliza runs up to Sanders with a SEASHELL.</scene_description>
<character>ELIZE</character>
<dialogue>Daddy, look at this one!</dialogue>
<scene_description>She hands it to him. Runs to find more •..</scene_description>
<character>SANDERS</character>
<dialogue>Stephanie offered me the veepee job.</dialogue>
<character>SUSAN</character>
<dialogue>She offered you her job?</dialogue>
<character>SANDERS</character>
<dialogue>Apparently, Conley's CFO is set to retire in a couple of rears. She figures she'll take his place in New York, and then I'll take her spot here.</dialogue>
<character>SUSAN</character>
<dialogue>You're kidding! That's great!</dialogue>
<character>SANDERS</character>
<dialogue>I turned her down. I'd have to wear a suit, get on a ~lane every week ••• Change my life in a lot of ways. I like things just the way they are.</dialogue>
<scene_description>They exchange a look. Smile. Hold each other as they walk down the beach.</scene_description>
<character>FADE TO BLACK:</character>
</scene>
</script> | Bob Garvin, founder and CEO of DigiCom, a computer technology company, plans to retire when his company merges with a larger company. Production line manager, Tom Sanders, expects to be promoted to run the CD-ROM division. Instead, Meredith Johnson, Tom's former girlfriend, is brought on to handle the merger, as Garvin wanted to "break the glass ceiling". Late one evening, Meredith calls Tom into her office, ostensibly to discuss problems with CD-ROM drives that are manufactured in Malaysia. However, upon arrival, Meredith seduces him. Tom initially allows her to perform oral sex, but rebuffs her attempts for sexual intercourse. As Tom abruptly leaves, Meredith follows, angrily threatening him. Tom later discovers that Meredith has filed a sexual harassment complaint against him with the help of legal counsel Phillip Blackburn. To save the merger from a scandal, causing Garvin to lose $100 million if the deal falls through, DigiCom officials demand that Tom accept reassignment to another state. If Tom accepts, he will lose his stock options in the new company, his career will be ruined, and he will be left jobless in turn, as the other location will be sold following the merger. When all seems lost, Tom receives an anonymous e-mail from "A Friend". It directs him to Catherine Alvarez, an attorney specializing in sexual harassment cases. Tom decides to sue DigiCom, alleging Meredith harassed him, though this causes animosity with his wife and colleagues. At the initial mediation, a tearful Meredith repeatedly lies and blames Tom. Garvin, believing the merger will fail without Meredith, proposes if Tom drops the lawsuit, he will not be transferred. Tom suspects that Meredith's accusations are vulnerable. He remembers mis-dialing a number on his cell phone during the encounter with Meredith, but not hanging up, thus capturing the entire event on a colleague's voicemail. Tom rejects Garvin's proposal and plays the recording at the next meeting, discrediting Meredith. DigiCom agrees to a settlement calling for Meredith to be quietly eased out after the merger. As Tom celebrates his apparent victory, he receives another e-mail from "A Friend" warning him that all is not what it seems. Tom overhears Blackburn telling Meredith that although they lost the sexual harassment suit, they will make Tom look incompetent at the next morning's merger conference since Tom is unaware of what is causing the CD-ROM drive issues Meredith alluded to earlier. Since the production line in Malaysia is Tom's responsibility, he can be fired for cause. Tom attempts to find clues in the company database, but his access privileges have been revoked. He remembers that the merging company's executives have a virtual reality demonstration device in a nearby hotel that has access to the company database. As Tom accesses DigiCom's files, he sees that Meredith is already deleting them. Fortunately, Tom's Malaysian colleague is able to fax him copies of incriminating memos and videos. They show that Meredith, and one of the heads of operations in Malaysia, changed Tom's production specifications without his knowledge to gain the Malaysian government's favor, and cut costs to make DigiCom appear more profitable in order to complete the merger. Because Meredith lacked the technical expertise and knowledge, the production changes she ordered caused the problems with the Malaysian CD-ROMs line. To avoid accountability, protect the merger, and save her career, Meredith (with Blackburn's support) staged the sexual encounter with Tom to falsely accuse him of sexual harassment, forcing him out of DigiCom and covering for her mistakes. When Tom makes his presentation at the conference, Meredith immediately brings up the production problems. Tom publicly shows the evidence that exposes her direct involvement in causing the hardware defects. Meredith angrily accuses Tom of being an incompetent manager and erroneously believed that the merging company had prioritized profitability, rather than the actual products being produced. Garvin, realizing the full extent of Meredith's incompetence, fires her. Garvin subsequently announces the merger's completion and then names Stephanie Kaplan to head up the Seattle operation, a decision Tom supports. Tom then asks Stephanie's son, Spencer, a University of Washington student, if he knows "A Friend". Spencer confirms he is Professor Arthur Friend's research assistant at the university. Tom realizes that Spencer would have had access to Friend's email account, enabling Stephanie (via her son) to warn Tom as "A Friend", as she knew what was happening involving the CD-ROM drives and Meredith. A grateful Tom happily resumes his position as head of manufacturing. |
Inventing the Abbotts_1997 | tt0119381 | <script>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET (HALEY, ILLINOIS) - DAY (LATE SPRING, 1957)</stage_direction>
<scene_description>OPENING CREDITS ROLL over a TENT MONTAGE - ASSORTED ANGLES of a group of men hard at work erecting a large striped `` big - top '' style canvas tent , INCLUDING : The long steel stakes being sledge - hammered into the lawn , practiced hands rapidly rigging the lines , the tall center poles being leveraged upright , the heavy rolled - up sections of canvas being maneuvered into position , and ENDING WITH the canvas being hoisted up the poles as the tent assumes its full and finished form . NEW ANGLE - TENT - on the front yard of the Abbott mansion . The residence is on Main Street , four blocks from where the commercial district begins . The mature , over - arching trees makes this street of prosperous houses a grand promenade .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - DAY</stage_direction>
<scene_description>JACEY HOLT and DOUG HOLT walk along the sidewalk on their way to school . Jacey is seventeen ; he 's as handsome and seemingly self - confident as his younger brother is rumpled and impulsive . Doug is fifteen , a popular culture chameleon who takes on the colors and affectations of whomever his `` hero '' is at the moment -LRB- which presently happens to be Elvis Presley -RRB- . Jacey stops and stares with open - faced misery at the tent on the Abbott 's front yard -LRB- the installation of the tent indicates that the Abbott 's are having yet another of the many parties they throw every year -RRB- .</scene_description>
<character>DOUG</character>
<dialogue>Did n't get invited, huh?</dialogue>
<character>JACEY</character>
<dialogue>Go to hell.</dialogue>
<character>DOUG</character>
<dialogue>Who cares? I'm not going and I got invited.</dialogue>
<character>JACEY</character>
<dialogue>Who invited you?</dialogue>
<character>DOUG</character>
<dialogue>Pam, I guess. I do n't know. Did n't open the envelope. I mean, come on, every time an Abbott girl gets her period they have some party.</dialogue>
<character>JACEY</character>
<dialogue>Oh, shut up.</dialogue>
<character>DOUG</character>
<dialogue>Kotex parties, Kotex party hats, pin the Kotex on the.</dialogue>
<character>JACEY</character>
<dialogue>Shut up!</dialogue>
<scene_description>Jacey swats Doug 's school books out from under his arm - Doug charges his brother to retaliate but they are rudely interrupted by a CAR HORN . They scurry out of the way as LLOYD ABBOTT pulls his 1957 Cadillac out of the driveway and cruises down the street . Lloyd is a well - dressed - and - fed man in his mid - forties . A Midwestern burgher , he exudes the status he enjoys as one of the preeminent pillars of this community . Doug is embarrassed by Lloyd 's passing , but Jacey evidently experiences a deeper humiliation - he gives Doug a glance of betrayal , turns and walks down the block .</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGH SCHOOL - CORRIDOR - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>ELEANOR ABBOTT gathers some books from her locker . Eleanor is sixteen , outgoing , sarcastic , and very popular . She is the middle of the three Abbott daughters . Eleanor closes her locker , turns and discovers Jacey standing behind her . He follows her down the busy hall .</scene_description>
<character>JACEY</character>
<dialogue>I tried to call you last night but the line was busy.</dialogue>
<character>ELEANOR</character>
<dialogue>No it was n't.</dialogue>
<character>JACEY</character>
<dialogue>It was busy all night.</dialogue>
<character>ELEANOR</character>
<dialogue>Maybe you had the wrong number?</dialogue>
<character>JACEY</character>
<dialogue>Are you mad at me?</dialogue>
<character>ELEANOR</character>
<dialogue>No. Are you mad at me?</dialogue>
<character>JACEY</character>
<dialogue>No. Who said I was?</dialogue>
<character>ELEANOR</character>
<dialogue>I did.</dialogue>
<character>JACEY</character>
<dialogue>I just wanted to talk to you last night.</dialogue>
<character>ELEANOR</character>
<dialogue>We can talk tonight at the party.</dialogue>
<character>JACEY</character>
<dialogue>I was n't invited.</dialogue>
<character>ELEANOR</character>
<dialogue>Yes, you were.</dialogue>
<character>JACEY</character>
<dialogue>No, I was n't.</dialogue>
<character>ELEANOR</character>
<dialogue>Well, now you are. But if you're mad at me you do n't have to come.</dialogue>
<scene_description>She gives him a sultry smile , turns and glides into a classroom as the BELL RINGS . The corridor is quickly vacated by all but Jacey - he savors the aftertaste of Eleanor 's smile .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - EVENING (MAGIC HOUR)</stage_direction>
<scene_description>ESTABLISHING ANGLE of the modest two - story clapboard house in a working class neighborhood . A home - made ping - pong table takes up so much room in the detached garage that it forced the eviction of the family car , a 1950 Plymouth coupe , which is parked nearby on the driveway . The garage doors are open and the garage light is on . We hear -LRB- V.O. -RRB- DOUG SINGING bits and pieces of `` Heartbreak Hotel '' in his best Elvis fashion .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - BATHROOM - EVENING (MAGIC HOUR)</stage_direction>
<scene_description>Doug stands in front of the bathroom mirror -LRB- wearing a coat and tie -RRB- still singing `` Heartbreak Hotel '' while he carefully draws sideburns on his face with a wide - nib pen and a bottle of India ink . Jacey 's reflection appears in the mirror behind Doug - he 's wearing a coat and tie too . Jacey does a pained take on Doug 's handiwork :</scene_description>
<character>JACEY</character>
<dialogue>Oh, Christ!</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - EVENING (MAGIC HOURMINUTES LATER)</stage_direction>
<scene_description>HELEN HOLT is seated at the dining table . She was grading a stack of spelling tests with a red pencil when Jacey and Doug came in to ask her to adjudicate the matter at hand . She is an attractive but unostentatious woman without interest in appearing to be anything other than what she is : a forty - one - year - old widow raising two teenage sons on a school teacher 's salary . -LRB- She teaches second grade at Haley Elementary School . -RRB-</scene_description>
<character>JACEY</character>
<dialogue>He has to wash it off, Mother. You can not let him go to the party unless he washes it off.</dialogue>
<character>DOUG</character>
<dialogue>It'll look worse if I wash it. It's India ink, it'll turn gray, it'll look like dirt.</dialogue>
<character>JACEY</character>
<dialogue>He looks like such a clown and he does n't even know it! He does n't get how things work in this town. I thought you were n't even going to the party?</dialogue>
<character>DOUG</character>
<dialogue>Changed my mind.</dialogue>
<character>HELEN</character>
<dialogue>Doug, you do understand that you may be the only person at this party with artificial sideburns?</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<character>HELEN</character>
<dialogue>You do understand that your sideburns do n't look real?</dialogue>
<scene_description>Doug was hoping they did n't look that phony , but he conceals his disappointment and nods :</scene_description>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<character>HELEN</character>
<dialogue>That they look, really, as though you'd drawn them on?</dialogue>
<character>DOUG</character>
<parenthetical>( swallows , then shrugs . )</parenthetical>
<dialogue>Yeah.</dialogue>
<scene_description>She looks hard at Doug for a beat , then turns to Jacey .</scene_description>
<character>HELEN</character>
<dialogue>Well, darling, it seems he does understand. Why do n't you just go on to the party and ignore Doug. Just have a good time and pretend you do n't even.</dialogue>
<scene_description>Jacey curses under his breath and storms out the front door before his mother can finish her sermon .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME/TENT - STREET - LATER THAT NIGHT</stage_direction>
<scene_description>The curb is lined with parked cars . We hear a dance band playing `` QUE SERA '' and the sounds of the party as Doug lopes up the sidewalk sporting his India ink sideburns and smoking a cigarette . He flicks the cigarette into the street with well - rehearsed ease as he turns and walks up the long driveway towards the glowing `` big - top '' tent . Doug trails his hand over Lloyd Abbott 's Cadillac , caressing it from hood - to - trunk as he ambles by .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME/TENT - NIGHT</stage_direction>
<scene_description>Doug enters the tent and surveys the gathering - a tuxedoed ten - piece band plays on the bandstand . Despite his mother 's advice , a nauseated grimace falls over Jacey 's face when he sees that his younger brother has arrived . He is dancing with Eleanor . They dance past a group of young men on the sidelines -LRB- Jacey 's senior classmates -RRB- , they are all edgy with envy , waiting like predators for their chance to dance with Eleanor .</scene_description>
<character>ELEANOR</character>
<dialogue>I'm going out to the lake tomorrow. Sandy wants to show - off her dad's new boat. Why do n't you come?</dialogue>
<character>JACEY</character>
<dialogue>I have to work.</dialogue>
<character>ELEANOR</character>
<dialogue>Well, I guess you'll just have to write me a letter.</dialogue>
<character>JACEY</character>
<dialogue>What do you mean?</dialogue>
<character>ELEANOR</character>
<dialogue>You said you wanted to talk to me in private.</dialogue>
<character>JACEY</character>
<dialogue>I meant. just. we never get a chance to be together, alone, you know?</dialogue>
<scene_description>STEVE -LRB- one of the envious classmates -RRB- makes his move and cuts in on Jacey and dances away with Eleanor . Jacey handles it with aplomb but his true irritation at being separated from the object of his desire reveals itself as he observes Eleanor flirting with her new dance partner .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME/TENT - BUFFET TABLE - DOUG</stage_direction>
<scene_description>- sampling the hors d'oeuvres . He places the ones he does n't like back onto the platter . PAMELA ABBOTT steps over to Doug . She is his age -LRB- fifteen -RRB- , the youngest of the Abbott girls , and the least stuck - up .</scene_description>
<character>PAMELA</character>
<dialogue>Hi. u DOUG Hi.</dialogue>
<scene_description>She points at Doug 's chest .</scene_description>
<character>PAMELA</character>
<dialogue>Like your tie.</dialogue>
<scene_description>Doug glances down at his tie and Pam flips her index finger up across the tip of his nose . Doug scowls and points at her bust .</scene_description>
<character>DOUG</character>
<dialogue>Can I borrow a Kleenex?</dialogue>
<character>PAMELA</character>
<dialogue>Greaser.</dialogue>
<character>DOUG</character>
<parenthetical>( mouth full of food . )</parenthetical>
<dialogue>Got any smokes around here?</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - BACK YARD - NIGHT</stage_direction>
<scene_description>Doug and Pam smoke their cigarettes in the back yard . The tent can be seen in the b.g. . The band is playing `` MONA LISA . ''</scene_description>
<character>DOUG</character>
<dialogue>So, is this Peter guy Alice is gon na marry rich?</dialogue>
<character>PAMELA</character>
<dialogue>Of course. He's one of the Atlas Steel Vanlaninghams. Pittsburgh. He's a bully.</dialogue>
<character>DOUG</character>
<dialogue>So how come Alice's marrying him?</dialogue>
<character>PAMELA</character>
<dialogue>Because my parents want her to and Alice is afraid of my parents. It's practically an arranged marriage. They think Alice has peanut shells for brains or something, so they sort of suggested that maybe it was time to tie the old knot and they sort of suggested that Peter was the one to do it with.</dialogue>
<character>DOUG</character>
<dialogue>Jeez, no one can be that much of a pushover.</dialogue>
<character>PAMELA</character>
<dialogue>Look, Alice is the good daughter, Eleanor is the bad one, and I'm the one who sort of gets off the hook. That's just the way it works. Which one are you?</dialogue>
<character>DOUG</character>
<dialogue>You mean, which kind of brother am I? You got me? The little brother, I guess.</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME/TENT - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>The band improvises a FANFARE as Lloyd Abbott and his wife , JOAN ABBOTT , step up onto the bandstand . Joan has the practiced poise of a former beauty queen -LRB- as if her smile had been surgically sewn onto her face -RRB- . She has a tendency to smoke and drink a bit too much and eat and sleep a bit too little .</scene_description>
<character>LLOYD</character>
<dialogue>Ladies and Gentlemen - I'd like to propose a toast in honor of our cause for celebration tonight - the engagement of our daughter, Alice, to Mister Peter Vanlaningham.</dialogue>
<scene_description>He gestures to ALICE ABBOTT and her fiance PETER VANLANINGHAM . Alice is nineteen , the eldest and the prettiest and seemingly most conventional of the three sisters . Peter is the scion of a wealthy Pittsburgh family . He and his bride - to - be smile and acknowledge the applause and AD - LIBBED toasts . The band strikes up `` I Got the World on a String '' and Joan whispers something to Alice - Alice goes over to Lloyd and -LRB- despite his mock - protest -RRB- pulls him out onto the dance floor . The guests applaud their uninspired box - step ; neither father nor daughter appear comfortable at such close quarters .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - DRIVEWAY & TENT - NIGHT</stage_direction>
<scene_description>The party is going full swing as Doug wanders out of the tent and walks down the driveway . He 's had enough of high society for tonight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDEWALK (HALEY) - NIGHT</stage_direction>
<scene_description>Doug strolls along the sidewalk -LRB- in a residential neighborhood -RRB- softly singing `` You Ai n't Nothin ' but a Hound Dog . '' He pauses beside a rubbish can on the curb , strikes a wooden match , and sets the trash on fire . As he nonchalantly continues down the sidewalk we see several trash cans on fire in the near distance .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - BACK YARD - NIGHT</stage_direction>
<scene_description>Eleanor necks with Steve -LRB- Jacey 's rival -RRB- on the glider in the gazebo in the distant corner of the yard . The sounds of the PARTY can be heard in the b.g. -LRB- the band is playing `` In Old Monterey '' -RRB- . Jacey stands in the shadows of the shrubbery spying on them with pure heartache .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET (HALEY) - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>Jacey walks home with his eyes brimming with bitter tears - past the smoldering rubbish cans along the curb .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - SIDEWALK & GARAGE - NIGHT (MINUTES LATER)</stage_direction>
<scene_description>As Jacey turns up the driveway , a light snaps on in the garage . The garage doors are open , Doug sits on the edge of the ping - pong table smoking a cigarette with his hand still on the light fixture pull chain .</scene_description>
<character>DOUG</character>
<dialogue>Three out of five?</dialogue>
<character>JACEY</character>
<dialogue>Two out of three. You serve.</dialogue>
<scene_description>Jacey and Doug pick up their paddles and begin a game of ping - pong . They are expert players and fierce competitors .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEXACO GAS STATION (DOWNTOWN HALEY) - NEXT DAY</stage_direction>
<scene_description>Lloyd Abbott pulls his -LRB- 1957 -RRB- Cadillac up to the pumps . The DING - DING of the BELL HOSE summons Jacey . He wears a Texaco uniform complete with bow tie and cap .</scene_description>
<character>JACEY</character>
<dialogue>` Morning.</dialogue>
<character>LLOYD</character>
<dialogue>Fill ` er up. Hi - test.</dialogue>
<scene_description>Jacey sets the pump nozzle on automatic and cleans the windshield . Lloyd slips the ashtray out of the dash , climbs out of the car , and empties the ashtray in the trash can .</scene_description>
<character>JACEY</character>
<dialogue>That was a nice party last night.</dialogue>
<character>LLOYD</character>
<dialogue>You were there?</dialogue>
<character>JACEY</character>
<dialogue>Yes, sir. Eleanor invited me.</dialogue>
<character>LLOYD</character>
<dialogue>Did she? Did n't see you.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>You going to be an engineer like your dad was?</dialogue>
<character>JACEY</character>
<dialogue>I want to be an architect.</dialogue>
<character>LLOYD</character>
<dialogue>Hmmm. I guess some people care more about having ideas that they do about making money.</dialogue>
<character>JACEY</character>
<dialogue>I care about making money.</dialogue>
<scene_description>Lloyd idly examines the mechanism on the ashtray that enables it to slide in - and - out of the dash .</scene_description>
<character>LLOYD</character>
<dialogue>That full suspension file drawer your dad invented is still in production, did you know that? We'll ship thirty - maybe - forty thousand of those file cabinets this year. Hell, that drawer put Midwest Steel Desk on the map.</dialogue>
<character>JACEY</character>
<dialogue>Yes, sir. I know.</dialogue>
<character>LLOYD</character>
<dialogue>An architect, huh?</dialogue>
<scene_description>The GAS NOZZLE CLICKS OFF , Jacey hangs up the nozzle , and replaces the gas cap . Lloyd pulls out his wallet .</scene_description>
<character>LLOYD</character>
<dialogue>You want some free advice?</dialogue>
<character>JACEY</character>
<dialogue>Sure.</dialogue>
<character>LLOYD</character>
<dialogue>Do n't waste your life making other people rich. Keep the change.</dialogue>
<scene_description>He hands Jacey a five - spot and gets into his car . Lloyd drives away in his Cadillac . Jacey crumbles the five dollar bill into a ball . As he returns to the office he catches his reflection in the mirror of the cigarette machine . He frowns and pulls off his cap and bow tie .</scene_description>
</scene>
<scene>
<stage_direction>INT. BOATHOUSE (LAKE) - LATER THAT DAY</stage_direction>
<scene_description>The abandoned boathouse is a dilapidated structure situated on an isolated shore of the large lake . Doug strikes a wooden match , shepherds the flame , leans over , holds the match to his ass and lights a fart . The amorphous blue flame flares and almost instantly disappears as the gas is consumed . VICTOR , Doug 's partner in crime and best friend , is impressed . -LRB- Victor is fifteen , too . -RRB-</scene_description>
<character>VICTOR</character>
<dialogue>Jeez Louise! How'd you do that?</dialogue>
<character>DOUG</character>
<dialogue>Intestinal gas - produced by bacterial metabolism of food residues in the colon. A mixture of oxygen, hydrogen, carbon dioxide, and methane. That's the secret ingredient.</dialogue>
<character>VICTOR</character>
<dialogue>What's so secret about it?</dialogue>
<character>DOUG</character>
<dialogue>Not everyone can produce methane. It's genetic, that means it's inherited. There's a lot of methane in my family.</dialogue>
<character>VICTOR</character>
<dialogue>You're full of shit.</dialogue>
<character>DOUG</character>
<dialogue>Look it up, it's all in the encyclopedia.</dialogue>
<character>VICTOR</character>
<dialogue>They do n't got farts in the encyclopedia.</dialogue>
<character>DOUG</character>
<dialogue>Hey, they got ` vagina' in the dictionary, they got farts in the encyclopedia.</dialogue>
<scene_description>The ROAR of a PASSING SPEEDBOAT attracts Doug 's interest .</scene_description>
<character>VICTOR</character>
<parenthetical>( incredulous . )</parenthetical>
<dialogue>Vagina is in the dictionary?</dialogue>
<character>DOUG</character>
<dialogue>A canal leading from the uterus to the vulva'.</dialogue>
<character>VICTOR</character>
<dialogue>You sure read a lot, man.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>A canal?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BOATHOUSE DOCK (LAKE) - CONTINUOUS ACTION - DAY</stage_direction>
<scene_description>Doug steps out of the boathouse onto the sagging dock and sees a fast speedboat cutting across the lake towing a male water skier . -LRB- Another young man is driving the boat with two young women in bathing suits as passengers . -RRB- Victor comes out as the speedboat 's wake rocks the old dock .</scene_description>
<character>VICTOR</character>
<dialogue>Assholes!</dialogue>
<character>DOUG</character>
<dialogue>It's Jacey - that's him skiing. He must've skipped out on work.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAKE - ANGLE ON SPEEDBOAT</stage_direction>
<scene_description>- with Jacey skiing behind it . STEVE is at the helm . Eleanor and SANDY lounge in their bathing suits . As they pass a ski ramp Steve points to it . Jacey gives him a thumb 's up gesture and Steve circles the boat around for the approach .</scene_description>
<character>SANDY</character>
<dialogue>No way! He's never done the ramp.</dialogue>
<character>STEVE</character>
<dialogue>He wants to do it.</dialogue>
<scene_description>Steve lines up the approach and pushes the throttle open . Jacey swings out on the end of the tow - rope and pops over the wake . Eleanor leans over to Steve .</scene_description>
<character>ELEANOR</character>
<dialogue>You know you're going too fast?</dialogue>
<character>STEVE</character>
<parenthetical>( grins . )</parenthetical>
<dialogue>Yeah, I know.</dialogue>
<scene_description>The boat zips by the ramp and Jacey 's skis contact the slippery surface and his skis go out from under him . He takes a hard bounce , loses hold of the tow - rope , and goes tumbling over the apex of the ramp into the water .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - BATHROOM - THAT NIGHT</stage_direction>
<scene_description>Jacey is soaking in the bathtub . Doug enters without knocking .</scene_description>
<character>DOUG</character>
<dialogue>Time to eat.</dialogue>
<scene_description>Doug washes his hands . Jacey climbs out of the tub and fetches a towel . And Doug reacts to .</scene_description>
<character>DOUG</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Jacey 's back and buttocks are severely bruised . Jacey wraps the towel around his waist and turns to his brother .</scene_description>
<character>JACEY</character>
<dialogue>Do n't tell Mom.</dialogue>
<character>DOUG</character>
<dialogue>Oh, shit.</dialogue>
<character>JACEY</character>
<parenthetical>( cutting him off . )</parenthetical>
<dialogue>Just do n't tell Mom. All right?</dialogue>
<character>DOUG</character>
<dialogue>Yeah, okay, all right.</dialogue>
<scene_description>Jacey walks out of the bathroom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEXACO STATION (DOWNTOWN HALEY) - DAY (SUMMER 1957)</stage_direction>
<scene_description>Lloyd Abbott 's 1957 Cadillac pulls up to the pumps . Lloyd is behind the wheel , Joan sits next to him , Eleanor and Pamela are in the back seat . The DING - DING of the BELL HOSE summons .</scene_description>
</scene>
<scene>
<stage_direction>INT. TEXACO STATION - JACEY</stage_direction>
<scene_description>- sticks the mop he 's been using into a pail and goes to answer the bell . He hesitates as he sees the Abbotts and lets another attendant wait on them . He retreats into the garage and resumes mopping the floor .</scene_description>
<character>ELEANOR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hi.</dialogue>
<scene_description>Jacey finds Eleanor standing in the garage doorway .</scene_description>
<character>ELEANOR</character>
<dialogue>Congratulations.</dialogue>
<character>JACEY</character>
<dialogue>For what?</dialogue>
<character>ELEANOR</character>
<dialogue>I heard you got accepted to Penn..</dialogue>
<character>JACEY</character>
<dialogue>Oh. Yeah. Thanks.</dialogue>
<character>ELEANOR</character>
<dialogue>How'd you swing an Ivy League school like that?</dialogue>
<character>JACEY</character>
<dialogue>My grandfather went there. I had the grades, so.</dialogue>
<character>ELEANOR</character>
<dialogue>It stinks in here.</dialogue>
<character>JACEY</character>
<dialogue>I dropped something.</dialogue>
<character>ELEANOR</character>
<dialogue>Yeah, me.</dialogue>
<character>JACEY</character>
<dialogue>I just thought you and Steve.</dialogue>
<character>ELEANOR</character>
<dialogue>Well, that's what you thought. I think Steve is. I do n't even know what I think about Steve, I never think about him. I just do things. And let other people figure them out. That's what parents are for. They're real good at doing all the thinking. Why should I?</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Alice is going to have a baby. She and Kilroy did n't waste any time. He's already talking about having another, and Alice is up - chucking every hour on the hour. She's got morning - noon - and - night sickness. I've got the feeling she'll be barefoot and puking for years to come. Wallpaper patterns - that's all she talks about. She and my mother spend hours looking at wallpaper pattern books. That's another thing I never think about. wallpaper.</dialogue>
<parenthetical>( another beat . )</parenthetical>
<dialogue>Well, I think this is called the silent treatment. I get enough of that from my father, I do n't need it from you. Good luck at Penn..</dialogue>
<scene_description>She starts to walk away , but Jacey pulls her back and kisses her fiercely - Eleanor responds with equal heat . They do n't see Pamela enter the garage . Pam studies them for an imperturbable beat , then :</scene_description>
<character>PAMELA</character>
<dialogue>Come on, Eleanor - Dad's waiting.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TEXACO STATION - DAY (MOMENTS LATER)</stage_direction>
<scene_description>The Abbotts drive away . Jacey stands in the garage in the b.g. . He watches the Cadillac disappear into traffic .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN HALEY - INSIDE CADILLAC</stage_direction>
<scene_description>- with Lloyd behind the wheel , Joan in the front passenger seat , and Eleanor and Pam in the back seat . Lloyd says to Eleanor :</scene_description>
<character>LLOYD</character>
<dialogue>Stay away from him.</dialogue>
<character>ELEANOR</character>
<dialogue>Who?</dialogue>
<character>LLOYD</character>
<dialogue>Jacey.</dialogue>
<character>ELEANOR</character>
<dialogue>Why?</dialogue>
<character>LLOYD</character>
<dialogue>Because I said so.</dialogue>
</scene>
<scene>
<stage_direction>EXT. IRON SKILLET RESTAURANT - DAY (TWO WEEKS LATER)</stage_direction>
<scene_description>A family - style restaurant in the center of town . It 's a sweltering , hot July day . Heat shimmers off the sidewalk .</scene_description>
</scene>
<scene>
<stage_direction>INT. IRON SKILLET RESTAURANT - DAY</stage_direction>
<scene_description>The decor is mock - Colonial . Victor and Doug -LRB- in their bus boy uniforms -RRB- are stocking a waitress station with silverware , coffee cups , and water glasses .</scene_description>
<character>VICTOR</character>
<dialogue>We should have a party out at the boathouse, man. That's what we should do.</dialogue>
<character>DOUG</character>
<dialogue>Sure.</dialogue>
<character>VICTOR</character>
<dialogue>You know, invite some girls.</dialogue>
<character>DOUG</character>
<dialogue>Right.</dialogue>
<character>VICTOR</character>
<dialogue>Get some beer, go swimming. Look up a few words in the dictionary.</dialogue>
<character>DOUG</character>
<dialogue>Yeah, like ` boring' or ` eunuch.'</dialogue>
<character>VICTOR</character>
<dialogue>Eunuch? What's that?</dialogue>
<character>DOUG</character>
<dialogue>It's Latin for bus boy.</dialogue>
<scene_description>WEBB CROSBY , the proprietor of the restaurant , steps over .</scene_description>
<character>WEBB</character>
<dialogue>Business is a little light today, too damn hot. Which one of you knuckle - heads wants to get off early?</dialogue>
<character>DOUG & VICTOR</character>
<parenthetical>( in unison . )</parenthetical>
<dialogue>Me. I do.</dialogue>
<character>WEBB</character>
<parenthetical>( takes out a coin . )</parenthetical>
<dialogue>Call it in the air.</dialogue>
</scene>
<scene>
<stage_direction>EXT. IRON SKILLET RESTAURANT - DAY (MINUTES LATER)</stage_direction>
<scene_description>Doug bicycles away -LRB- he won the coin toss -RRB- .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - KITCHEN - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>Doug sails through the back door . He gets a bowl out of the cupboard and fetches the ice cream scoop from a drawer .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - GARAGE - CONTINUOUS ACTION - DAY</stage_direction>
<scene_description>Doug enters with the bowl and ice cream scoop in hand . He lifts the lid of the freezer , reaches for a carton of ice cream and something startles him . He cocks his head to listen and slowly lowers the freezer lid . He peers into the silvery , dim light and sees Jacey and Eleanor naked on an old daybed near the coal bin in the back of the garage . She is on top of Jacey , riding him rhythmically . Eleanor is facing Doug . She reacts without alarm or shame when she notices Doug staring at her . She coolly returns his stare . Doug tries , but he 's unable to avert his eyes . Eleanor only shifts her gaze when distracted by her orgasm , which triggers Jacey 's - as she recovers her composure she says :</scene_description>
<character>ELEANOR</character>
<dialogue>Hi, Doug.</dialogue>
<scene_description>Jacey bolts upright , throwing her off of him , and shouts :</scene_description>
<character>JACEY</character>
<dialogue>Get out!</dialogue>
<scene_description>Doug drops the bowl and scoop and charges out of the garage .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - STREET - DAY (SECONDS LATER)</stage_direction>
<scene_description>Doug races away from the house on his bicycle - pumping furiously and sweating profusely .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>Doug dives into the lake in his underpants , then surfaces . The water has cooled his body , but not his mind .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - JACEY'S BEDROOM - DAY (EARLY FALL 1957)</stage_direction>
<scene_description>Helen assists Jacey as he packs his bags in preparation for his departure to college the next day .</scene_description>
<character>HELEN</character>
<dialogue>Oh, we forgot an umbrella.</dialogue>
<character>JACEY</character>
<dialogue>I'll buy a new one in Philadelphia.</dialogue>
<character>HELEN</character>
<dialogue>And do n't forget your sport coat.</dialogue>
<character>JACEY</character>
<dialogue>Yeah, I'll go pick it up.</dialogue>
<character>HELEN</character>
<dialogue>Take Doug with you.</dialogue>
<character>JACEY</character>
<dialogue>I'm just going to the cleaners.</dialogue>
<character>HELEN</character>
<dialogue>Take him along for the ride. Go have a root beer at the Dog'n' Suds.</dialogue>
<character>JACEY</character>
<dialogue>I got ta finish packing.</dialogue>
<character>HELEN</character>
<dialogue>I'll finish up. Doug's going to miss you.</dialogue>
<character>JACEY</character>
<dialogue>Baloney.</dialogue>
<character>HELEN</character>
<dialogue>I think he will.</dialogue>
<character>JACEY</character>
<dialogue>Not much.</dialogue>
<character>HELEN</character>
<dialogue>Oh, dammit, Jacey, please - take your brother with you.</dialogue>
<character>JACEY</character>
<dialogue>Yes, ma'am.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS OF HALEY - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>Jacey -LRB- behind the wheel -RRB- and Doug drive into town in the Plymouth coupe . After a long silence :</scene_description>
<character>JACEY</character>
<dialogue>If Mom starts having problems with the car stalling just change the fuel filter. It gets clogged up when she lets the gas tank get too low.</dialogue>
<character>DOUG</character>
<dialogue>Okay.</dialogue>
<character>JACEY</character>
<dialogue>And every - once - in - a - while take her to the movies so she does n't just sit around the house all the time reading.</dialogue>
<character>DOUG</character>
<dialogue>She likes to read.</dialogue>
<character>JACEY</character>
<dialogue>She reads too much.</dialogue>
<character>DOUG</character>
<dialogue>Okay, I'll take her to the movies.</dialogue>
<character>JACEY</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>You want to go have a beer?</dialogue>
<character>DOUG</character>
<dialogue>Root beer?</dialogue>
<character>JACEY</character>
<dialogue>No, a beer.</dialogue>
<character>DOUG</character>
<dialogue>A beer beer?</dialogue>
<character>JACEY</character>
<dialogue>Yeah.</dialogue>
<character>DOUG</character>
<dialogue>Where are we gon na get beer?</dialogue>
<character>JACEY</character>
<dialogue>The bait shop. If you go in alone and nobody else is in the store, Ernie'll sell you a couple of bottles.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DIRT ROAD (COUNTRYSIDE) - DAY</stage_direction>
<scene_description>The Plymouth is parked on a dirt lane separating two cornfields . Jacey sits on the fender of the car nursing on a bottle of beer . Doug urinates between two rows of corn .</scene_description>
<character>DOUG</character>
<dialogue>Remember that time I got my dick caught in my zipper?</dialogue>
<scene_description>Jacey gives Doug a quizzical look .</scene_description>
<character>DOUG</character>
<dialogue>You know, when I was in first grade. At school? In the boys' room? Remember I would n't let Mrs. Horton help me, so she went and got Mom out of her classroom, but I would n't let Mom help me either. I told her to go get you. Remember?</dialogue>
<character>JACEY</character>
<dialogue>Yeah, I remember.</dialogue>
<scene_description>Doug retrieves his beer from the roof of the car . A semi - trailer drives past with `` Midwest Steel Desk , Inc. . - Haley , Illinois '' painted on its sides .</scene_description>
<character>JACEY</character>
<dialogue>We should own that company.</dialogue>
<character>DOUG</character>
<dialogue>What do you mean?</dialogue>
<character>JACEY</character>
<dialogue>Midwest Steel Desk. Dad's file cabinet drawer. Lloyd Abbott screwed mom out of Dad's patent after he died.</dialogue>
<character>DOUG</character>
<dialogue>Says who?</dialogue>
<character>JACEY</character>
<dialogue>It's true.</dialogue>
<character>DOUG</character>
<dialogue>Mom's not stupid.</dialogue>
<character>JACEY</character>
<dialogue>I did n't say she was stupid. Lloyd's pretty smooth. That's why he owns the company.</dialogue>
<character>DOUG</character>
<dialogue>He owns the company'cause he married the boss's daughter.</dialogue>
<character>JACEY</character>
<dialogue>He owns the company'cause that patent saved the company's ass after the war, when all the war contracts dried up.</dialogue>
<character>DOUG</character>
<dialogue>Well, maybe Mom sold it'cause we needed the money.</dialogue>
<character>JACEY</character>
<dialogue>What money? We never had any money. Money had nothing to do with it.</dialogue>
<character>DOUG</character>
<dialogue>Then why did she sell the patent?</dialogue>
<character>JACEY</character>
<dialogue>She just did, that's all that matters. And that's why we're driving this car and not that one.</dialogue>
<scene_description>Jacey gestures to '57 Thunderbird convertible speeding past them . He finishes off his beer , then :</scene_description>
<character>JACEY</character>
<dialogue>I guess you'll just have to be real careful zipping up your pants while I'm gone.</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUS DEPOT (DOWNTOWN HALEY) - NEXT DAY</stage_direction>
<scene_description>Helen stands on the curb waving good - bye as the Greyhound bus carrying Jacey away to Philadelphia departs . Doug hangs back , leaning against the Plymouth 's fender .</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGH SCHOOL - LIBRARY - DAY (SPRING, 1958)</stage_direction>
<scene_description>Doug steals lustful looks at Eleanor from behind his book . She is seated across the table from him . The library is filled with students poring over their assignments . Eleanor is seemingly oblivious to Doug 's probing eyes . Doug allows his pencil to roll off the edge of the table . He ducks under the table to retrieve his pencil and his ruse is revealed as he stares up Eleanor 's skirt at the soft triangle that her white panties cover between her parted legs . Eleanor 's hand lowers a piece of notebook paper beneath the table , on it she has written : `` Hi Doug ! '' Doug starts with panic , rears back , cracks his head on the bottom of the table , and then , as his head rebounds from the blow , he accidentally impales himself in his chin with the sharp pencil . Doug scrambles up from under the table with the pencil dangling from his chin , knocking over his chair in the process . The tranquility of the library is destroyed by the flabbergasted reactions of the students . Eleanor is momentarily concerned about his welfare , but she can not help but laugh , too .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OF HALEY - LATER THAT DAY</stage_direction>
<scene_description>Doug morosely slouches along the sidewalk on his way home from school . He sports a Band - aid on his chin . Pamela Abbott pulls up alongside Doug and tails him in her 1958 Dodge Custom Royal Lancer convertible -LRB- with the top down -RRB- .</scene_description>
<character>PAMELA</character>
<dialogue>How's your chin?</dialogue>
<character>DOUG</character>
<dialogue>Drop dead.</dialogue>
<character>PAMELA</character>
<dialogue>You want a ride?</dialogue>
<character>DOUG</character>
<dialogue>Nope.</dialogue>
<character>PAMELA</character>
<dialogue>You can drive.</dialogue>
<character>DOUG</character>
<dialogue>I do n't have my license yet.</dialogue>
<character>PAMELA</character>
<dialogue>I do n't care.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD - COUNTRYSIDE - DAY</stage_direction>
<scene_description>The convertible speeds along the two - lane blacktop with Doug behind the wheel and Pamela sitting next to him .</scene_description>
<character>PAMELA</character>
<dialogue>How come you never ask me out?</dialogue>
<character>DOUG</character>
<dialogue>What for?</dialogue>
<character>PAMELA</character>
<dialogue>For like a date, block - head.</dialogue>
<character>DOUG</character>
<dialogue>I see you all the time.</dialogue>
<character>PAMELA</character>
<dialogue>I do n't mean hanging out.</dialogue>
<character>DOUG</character>
<dialogue>Come on.</dialogue>
<character>PAMELA</character>
<dialogue>You scared of me or something?</dialogue>
<character>DOUG</character>
<dialogue>Hell, no. I got ta job, I got school, I do n't have time for dates and all that stuff.</dialogue>
<character>PAMELA</character>
<dialogue>Then forget it.</dialogue>
<character>DOUG</character>
<dialogue>It's not like we're. you know. like I'm your boyfriend or.</dialogue>
<character>PAMELA</character>
<parenthetical>( cutting him off . )</parenthetical>
<dialogue>I said forget it, so forget it.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - GARAGE - LATER THAT NIGHT</stage_direction>
<scene_description>Doug sits on the ping pong table gazing at the daybed as he smokes a cigarette . His reverie is broken by Helen 's voice calling him :</scene_description>
<character>HELEN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Doug? Dinner!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DINING ROOM - NIGHT</stage_direction>
<scene_description>Helen and Doug are at the dinner table .</scene_description>
<character>HELEN</character>
<dialogue>I wish you would n't smoke in the garage, darling.</dialogue>
<character>DOUG</character>
<dialogue>I do n't smoke in the garage.</dialogue>
<character>HELEN</character>
<dialogue>There's lots of old stuff out there, I do n't want anything to catch on fire.</dialogue>
<character>DOUG</character>
<dialogue>I do n't smoke, Mom.</dialogue>
<character>HELEN</character>
<dialogue>Well, just the same, I'd prefer it if you'd smoke in the backyard.</dialogue>
<character>DOUG</character>
<dialogue>Yes, ma'am.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I got ta go, gon na be late.</dialogue>
<character>HELEN</character>
<dialogue>Late where?</dialogue>
<scene_description>He rises from the table and fidgets with his napkin .</scene_description>
<character>DOUG</character>
<dialogue>I. have a date, kind of. It's Friday night, you know?</dialogue>
<character>HELEN</character>
<dialogue>Yes, I know. Well, have fun.</dialogue>
<character>DOUG</character>
<dialogue>You too.</dialogue>
<scene_description>Doug walks out of the dining room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOUSE - FRONT DOOR - NIGHT</stage_direction>
<scene_description>Doug waits nervously for the doorbell to be answered . He 's wearing a jacket and tie . Pamela opens the door and reacts with surprise .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Jesus. what do you want?</dialogue>
<character>DOUG</character>
<dialogue>What are you doing tonight? You want to go out?</dialogue>
<character>PAMELA</character>
<dialogue>I do n't believe you. You're crazy. I'm baby - sitting. My folks went out to dinner with Peter and Alice and I got tricked into watching the baby.</dialogue>
<character>DOUG</character>
<dialogue>Oh. Where's Eleanor?</dialogue>
<character>PAMELA</character>
<dialogue>I thought you came over to ask me out?</dialogue>
<character>DOUG</character>
<dialogue>I did.</dialogue>
<character>PAMELA</character>
<dialogue>Good,'cause Eleanor is n't here.</dialogue>
<character>DOUG</character>
<dialogue>Can I come in?</dialogue>
<character>PAMELA</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>Why not?</dialogue>
<character>PAMELA</character>
<dialogue>Because, you know, my parents are n't here.</dialogue>
<character>DOUG</character>
<dialogue>Well. maybe some other time.</dialogue>
<scene_description>Alice 's BABY starts CRYING O.S. and Pamela grimaces .</scene_description>
<character>PAMELA</character>
<dialogue>Oh, hell. Okay, but just for a little while.</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - DEN - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>An episode of `` Death Valley Days '' with commercials for 29 Mule Team Borax AIRS on the deluxe console TV . Doug sits on the sofa smoking a cigarette . Pamela sits at the opposite end of the sofa .</scene_description>
<character>PAMELA</character>
<dialogue>You're not like Jacey.</dialogue>
<character>DOUG</character>
<dialogue>Why not?</dialogue>
<character>PAMELA</character>
<dialogue>He's so. so trig and polished.</dialogue>
<character>DOUG</character>
<dialogue>What's ` trig' mean?</dialogue>
<character>PAMELA</character>
<dialogue>You know. handsome, sexy, sophisticated. Pipe - smokers.</dialogue>
<character>DOUG</character>
<dialogue>Oh. I do n't think Jacey smokes a pipe.</dialogue>
<character>PAMELA</character>
<dialogue>Well, you do n't have to smoke a pipe to be trig.</dialogue>
<character>DOUG</character>
<dialogue>Oh.</dialogue>
<character>PAMELA</character>
<dialogue>You think I'm. different than Eleanor?</dialogue>
<character>DOUG</character>
<dialogue>Sure.</dialogue>
<character>PAMELA</character>
<dialogue>Like. how?</dialogue>
<character>DOUG</character>
<dialogue>Like. you're smarter.</dialogue>
<character>PAMELA</character>
<dialogue>Yeah, real smart, that's why I'm baby - sitting and she's out having fun.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Eleanor's smart.</dialogue>
<character>DOUG</character>
<dialogue>So how come she flunked biology?</dialogue>
<character>PAMELA</character>
<dialogue>Well, you're no Albert Einstein.</dialogue>
<character>DOUG</character>
<dialogue>I got a three - point - two average.</dialogue>
<character>PAMELA</character>
<dialogue>Does n't mean you know my sister.</dialogue>
<character>DOUG</character>
<dialogue>Oh yeah? You might be surprised.</dialogue>
<character>PAMELA</character>
<dialogue>About what? What? What?</dialogue>
<character>DOUG</character>
<dialogue>Why are we talking about Eleanor?</dialogue>
<character>PAMELA</character>
<dialogue>I did n't bring her up.</dialogue>
<character>DOUG</character>
<dialogue>Look, either you're mad at me'cause you're mad at me - or you're mad at me'cause you like me.'Cause that's how girls act. I do n't know much, but I know that. So like which is it?</dialogue>
<character>PAMELA</character>
<dialogue>Both.</dialogue>
<scene_description>Doug exhales with bewilderment , stubs out his cigarette , then awkwardly slides down the sofa to Pamela . She holds perfectly still as Doug slowly moves his mouth to hers and kisses her . Then he concludes the kiss to check her reaction ; she timidly smiles . He kisses her again with greater fervor . Doug creeps his hand up her blouse and massages her breast . Pamela struggles to suppress her surprise , which he mistakes as a sign of her approval . Emboldened by her lack of resistance , he slips his hand under her bra . Pam is shocked by the pleasure of the sensation , then alarmed by the pace of their passion .</scene_description>
<character>PAMELA</character>
<dialogue>Doug.</dialogue>
<scene_description>Doug kisses her again and as they kiss he stares at a framed photograph of Eleanor amongst an assortment of family photos on the long table behind the sofa . It is Eleanor that he is thinking of - in his mind 's eye it is Eleanor 's breast that he is fondling . Pamela pulls her lips from his :</scene_description>
<character>PAMELA</character>
<dialogue>Do you love me, Doug? Do you?</dialogue>
<scene_description>He kisses her with such ardor that she interprets his answer to be yes , when in reality Doug is only trying to silence her . He pulls his hand out of her blouse and slips it under her skirt . Pam lurches back into the sofa :</scene_description>
<character>PAMELA</character>
<dialogue>Jesus.</dialogue>
<scene_description>He tries to kiss her again but she twists her head away .</scene_description>
<character>PAMELA</character>
<dialogue>Stop it. stop it!</dialogue>
<scene_description>She shoves him away and jumps off the sofa . Doug looks at her with breathless confusion . She turns away from him and tries to button her blouse , but she ca n't see the buttons for her tears . She begins to sob and runs out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - ENTRY HALL AND STAIRCASE - CONTINUOUS ACTION</stage_direction>
<scene_description>Pamela dashes up the stairs . Doug comes out of the den looking for her . He is quite shaken :</scene_description>
<character>DOUG</character>
<dialogue>Pam? Hey.</dialogue>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Oh, dammit.</dialogue>
<scene_description>He slowly mounts the stairs , wary of invading Pamela 's privacy anymore than he already has .</scene_description>
<character>DOUG</character>
<dialogue>Pam?</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - SECOND-FLOOR HALLWAY - CONTINUOUS ACTION</stage_direction>
<scene_description>Doug finds Pamela weeping in the dark hallway , still fastening the buttons on her blouse .</scene_description>
<character>DOUG</character>
<dialogue>I'm sorry. I'm really sorry.</dialogue>
<character>PAMELA</character>
<dialogue>I'm not Eleanor. I ca n't go so fast.</dialogue>
<scene_description>They are both seized with fright as they hear the front DOOR OPEN below and Peter 's angry voice :</scene_description>
<character>PETER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Every time we go out you have to tell that same goddamn story!</dialogue>
<scene_description>Pam pushes Doug down the hall away from the front stairs and whispers urgently :</scene_description>
<character>PAMELA</character>
<dialogue>Get out of here! Get out!</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - ENTRY HALL AND STAIRS - CONTINUOUS ACTION</stage_direction>
<scene_description>Peter and Alice are taking off their coats .</scene_description>
<character>ALICE</character>
<dialogue>Accidentally brushing your teeth with Brylcreme is a funny story.</dialogue>
<character>PETER</character>
<dialogue>Will you shut up about the fucking Brylcreme!</dialogue>
<character>ALICE</character>
<dialogue>It comes in a red - and - white tube just like a tube of Pepsodent.</dialogue>
<character>PETER</character>
<dialogue>Do you hear me, Alice?! Shut up!</dialogue>
<scene_description>Their BABY begins to CRY -LRB- O.S. -RRB- and they find Pamela standing at the top of the stairs .</scene_description>
<character>PAMELA</character>
<dialogue>The baby's crying.</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - BACK STAIRWAY AND KITCHEN - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>Doug sneaks down the back stairs and enters the kitchen as Lloyd and Joan enter from the garage pulling off their coats . Doug ducks back into the stair landing unseen .</scene_description>
<character>LLOYD</character>
<dialogue>Just stay out of it, Joan.</dialogue>
<character>JOAN</character>
<dialogue>Alice meant no harm, I think.</dialogue>
<character>LLOYD</character>
<parenthetical>( cutting her off . )</parenthetical>
<dialogue>It does n't matter what you think, it's their business. Alice is a spoiled brat, but she's Peter's problem now. So just take one of your pills and go watch Jack Paar, see what he's crying about tonight.</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - SECOND FLOOR HALLWAY - NIGHT</stage_direction>
<scene_description>Doug sticks his head out of the back stairwell and spots Peter pounding on a locked bedroom door .</scene_description>
<character>PETER</character>
<dialogue>I'm warning you, Alice! Open the damn door! Alice?! Dammit!</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - STAIRWELL - DOUG</stage_direction>
<scene_description>Trapped in the stairwell . He hisses under his breath :</scene_description>
<character>DOUG</character>
<dialogue>Oh, shit! Let me out of here.</dialogue>
<scene_description>He notices a small window in the stairwell .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - WINDOW - NIGHT</stage_direction>
<scene_description>Doug squeezes out of the small window , his legs dangling six feet above a large rose bush directly under him .</scene_description>
</scene>
<scene>
<stage_direction>INT. HIGH SCHOOL - CORRIDOR - DAYS LATER</stage_direction>
<scene_description>Doug makes his way along the crowded corridor showing a few of his wounds from his emergency landing in the rose bush . He slows as he nears Pamela at her locker . She 's aware of him , but pretends that she is n't . Doug hesitates as if he might say something to her , but loses his nerve and continues to mope along the hallway . Pam 's disappointment is plain to see . Doug does n't notice Eleanor and a few of her girl friends approaching in the opposite direction . As they pass him Eleanor smiles brightly and says :</scene_description>
<character>ELEANOR</character>
<dialogue>Hi, Doug!</dialogue>
<scene_description>The girls giggle , `` Hi , Doug ! '' has become a running punchline to them . Doug is so undone by their laughter that he walks into an open door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUS DEPOT (DOWNTOWN HALEY) - DAY (SUMMER, 1958)</stage_direction>
<scene_description>Jacey collects his suitcase from the bus driver . He 's become very much the Ivy League man . Doug waits for him beside the Plymouth across the street . As Jacey starts across the street a CAR full of young women , including Eleanor and Sandy , HONKS , and stops beside him . Jacey hops into the car and calls out to Doug :</scene_description>
<character>JACEY</character>
<dialogue>Hey, Doug! Get my suitcase!</dialogue>
<scene_description>The car pulls away and Doug irritably fetches Jacey 's bag .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - DRIVEWAY - DAY</stage_direction>
<scene_description>The hood on the Plymouth is propped open . Doug assists Jacey as he replaces the fuel filter .</scene_description>
<character>DOUG</character>
<dialogue>How do you know when a girl's. ready?</dialogue>
<character>JACEY</character>
<dialogue>What do you mean, ` ready'? Ready for what. sex?</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<character>JACEY</character>
<dialogue>They're all ready for sex.</dialogue>
<character>DOUG</character>
<dialogue>They are?</dialogue>
<character>JACEY</character>
<dialogue>They might not be willing but they're ready. Just have to make them think you're the only one around who has what they need.</dialogue>
<character>DOUG</character>
<dialogue>How do you do that?</dialogue>
<character>JACEY</character>
<dialogue>Find out what's making them itch and scratch it. If they're scared, be dependable. If they're bored, be exciting. If they're on the rebound, catch them.</dialogue>
<character>DOUG</character>
<dialogue>What if you're not very dependable or exciting, you know?</dialogue>
<character>JACEY</character>
<dialogue>Pretend you are.</dialogue>
<character>DOUG</character>
<dialogue>You mean, it's all just fake?</dialogue>
<character>JACEY</character>
<dialogue>The sex is real. They pretend they do n't want it. You pretend that you care. Everybody gets what they want.</dialogue>
<character>DOUG</character>
<dialogue>But what if you really feel something for someone? Really care for them?</dialogue>
<character>JACEY</character>
<dialogue>I thought you were talking about getting laid?</dialogue>
<character>DOUG</character>
<dialogue>I guess. I do n't know what I'm talking about.</dialogue>
<character>JACEY</character>
<dialogue>No shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOVIE THEATER (DOWNTOWN HALEY) - NIGHT</stage_direction>
<scene_description>The marquee reads : TONY CURTIS - JANET LEIGH - `` THE PERFECT FURLOUGH '' - CINEMASCOPE - AIR - CONDITIONED . It 's Friday night - a long queue has formed at the box office window , mostly teenagers , but some adults , too . Jacey cruises past the theater in the Plymouth , looking for . Eleanor . She chats with a group of friends standing in line . She sees Jacey , skips over , and gets into the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TEXACO GAS STATION (DOWNTOWN HALEY) - NIGHT</stage_direction>
<scene_description>Lloyd Abbott opens a bottle of Coke that he just purchased from the vending machine . His -LRB- 1958 -RRB- Cadillac is being fueled at the gas pumps . As he returns to his car he sees Eleanor and Jacey drive by the station in the Plymouth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER POINT PARK - WOODS (HALEY) - NIGHT</stage_direction>
<scene_description>Jacey and Eleanor are copulating on a blanket beneath a canopy of tall trees near the river . Jacey is on top , Eleanor has her legs clenched around his hips .</scene_description>
<character>ELEANOR</character>
<dialogue>Come on, come on, come on.</dialogue>
<scene_description>Her encouragement inspires their mutual orgasms .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER POINT PARK - ROAD - LATER THAT NIGHT</stage_direction>
<scene_description>Jacey and Eleanor approach the parked Plymouth . Jacey has the blanket rolled up under his arm . Suddenly they are captured by a pair of headlights . Lloyd Abbott climbs out of his parked -LRB- 1958 -RRB- Cadillac .</scene_description>
<character>ELEANOR</character>
<dialogue>Hi, Daddy.</dialogue>
<character>LLOYD</character>
<dialogue>What are you doing out here?</dialogue>
<character>ELEANOR</character>
<dialogue>Fucking Jacey.</dialogue>
<scene_description>Lloyd absorbs this information without surrendering his composure - but Jacey can not conceal his shock .</scene_description>
<character>LLOYD</character>
<dialogue>Get in the car.</dialogue>
<character>ELEANOR</character>
<parenthetical>( to Jacey . )</parenthetical>
<dialogue>` Night.</dialogue>
<scene_description>Jacey does n't respond to the kiss Eleanor gives him , but when she places her hand on his crotch , he yanks her hand off . Eleanor walks over and gets into the car . Lloyd gazes at Jacey for a beat , then gets in the car and drives away .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DINING ROOM - NEXT AFTERNOON</stage_direction>
<scene_description>Doug is at the table doing homework . The DOORBELL RINGS . Doug starts to get up as Helen comes out of the kitchen .</scene_description>
<character>HELEN</character>
<dialogue>I'll get it.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. HOLT FRONT DOOR/FRONT YARD - CONTINUOUS ACTION DAY</stage_direction>
<scene_description>Helen opens the screen door and finds a well - dressed woman standing in the yard with her face turned away .</scene_description>
<character>HELEN</character>
<dialogue>Hello?</dialogue>
<scene_description>The woman turns - it is Joan Abbott . Helen is momentarily caught off balance by Joan 's bristling presence .</scene_description>
<character>HELEN</character>
<dialogue>Joan. How are you?</dialogue>
<character>JOAN</character>
<dialogue>May I have a word with you, Helen?</dialogue>
<character>HELEN</character>
<dialogue>Of course, come in.</dialogue>
<character>JOAN</character>
<dialogue>No. no, I do n't have time. thank you.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLT DINING ROOM AND FRONT DOOR - CONTINUOUS ACTION</stage_direction>
<scene_description>Doug spies on Joan and Helen and their curious exchange through a dining room window . Unable to hear their words he can only witness how their words are spoken .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - DOUG'S POV</stage_direction>
<scene_description>Helen steps off the porch and approaches Joan , who is doing most of the talking - but Joan seems to require a certain distance from Helen and works her way to her Chrysler Town & Country station wagon parked at the curb . Joan grows more and more agitated as she talks .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - ENTRYWAY</stage_direction>
<scene_description>Eager to hear what is being said , Doug dashes through the living room to the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - HOLT HOME - DAY</stage_direction>
<scene_description>Joan has the driver 's door to her station wagon open now . Helen is on the sidewalk . Her demeanor is measured , purposefully matter - of - fact .</scene_description>
<character>HELEN</character>
<dialogue>I do n't think that's necessary.</dialogue>
<character>JOAN</character>
<dialogue>Well, if I were you I would talk to him and tell him.</dialogue>
<character>HELEN</character>
<parenthetical>( cutting her off . )</parenthetical>
<dialogue>No, I'm sorry, Joan, I will not do that. If you have something to say to my son, then you'll have to say it to him yourself.</dialogue>
<character>JOAN</character>
<dialogue>I just thought you would like to know what he's done.</dialogue>
<character>HELEN</character>
<dialogue>And why on earth should I believe anything you say, Joan?</dialogue>
<scene_description>Joan is unable to find a quick retort , she gets into her station wagon and drives away . Helen notices a baseball lying in the gutter , she picks it up and cleans it off with her apron . As she turns to go back to the house , she finds Doug standing on the porch steps . Without warning , she expertly pitches the baseball across the yard to Doug - it makes his hand sting when he catches it . Helen walks up to the porch .</scene_description>
<character>HELEN</character>
<dialogue>I'm going to ask you one question, Doug, and if you have no idea, or do n't want to answer, just tell me.</dialogue>
<character>DOUG</character>
<dialogue>Okay.</dialogue>
<character>HELEN</character>
<dialogue>Is there any sense, you think, in which Jacey has. oh, I do n't know, it sounds ridiculous. corrupted Eleanor Abbott? Led her astray?</dialogue>
<scene_description>Doug 's mind works in several directions at once as he tries to figure out how much he should or could tell her .</scene_description>
<character>DOUG</character>
<dialogue>Well. jeez. I know that he's. that he's slept with her. But not because he's talked about it. I mean. Eleanor has lots of boyfriends. I think Jacey likes her more than she likes him.</dialogue>
<character>HELEN</character>
<parenthetical>( long beat . )</parenthetical>
<dialogue>I see.</dialogue>
<parenthetical>( another beat . )</parenthetical>
<dialogue>Go finish your homework.</dialogue>
<scene_description>Doug lobs the baseball back to her and goes inside . Helen sits on the porch steps and now the true toll that Joan 's visit has taken on Helen becomes apparent - a bone - weary sadness falls over her . Her `` tranquility '' is not borne of happiness , it is only a means of coping with the sadness that is at the core of her being .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE - ROAD - DAY (ONE WEEK LATER)</stage_direction>
<scene_description>A drab , four - door Chevrolet sedan with Wisconsin license plates speeds away from town . Incongruously , the unassuming vehicle is chauffeured by an African - American DRIVER . There are two passengers in the back seat : a conservatively - dressed , middle - aged WOMAN and Eleanor Abbott . There is nothing telling about Eleanor 's countenance , neither happiness nor sadness can be found on her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - DAY (WEEKS LATER)</stage_direction>
<scene_description>Doug walks home from summer school . He pauses to watch the workmen erecting the party tent in the Abbott 's front yard .</scene_description>
<character>PAMELA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>How come you're going to summer school?</dialogue>
<scene_description>Doug turns to find Pam at the driveway gate .</scene_description>
<character>DOUG</character>
<dialogue>I got an incomplete in U.S. History.</dialogue>
<character>PAMELA</character>
<dialogue>How did you manage to do that?</dialogue>
<character>DOUG</character>
<dialogue>Mrs. Bates caught me drawing boobs on a picture of Mamie Eisenhower.</dialogue>
<character>PAMELA</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Why do you do things like that?</dialogue>
<character>DOUG</character>
<dialogue>I wish I knew. I just ca n't seem to help it sometimes.</dialogue>
<character>PAMELA</character>
<dialogue>Are you coming to the party?</dialogue>
<scene_description>Doug shakes his head no .</scene_description>
<character>PAMELA</character>
<dialogue>It's my birthday, you know?</dialogue>
<character>DOUG</character>
<dialogue>Happy birthday.</dialogue>
<character>PAMELA</character>
<dialogue>Everybody's going to be here.</dialogue>
<character>DOUG</character>
<dialogue>I do n't know. Maybe.</dialogue>
<character>PAMELA</character>
<dialogue>Just come, okay? Please.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TEXACO STATION (DOWNTOWN HALEY) - THAT NIGHT</stage_direction>
<scene_description>Doug pulls the Plymouth up to the pumps . He 's neatly dressed in a jacket and tie . Jacey comes out of the office and leans in the car window .</scene_description>
<character>DOUG</character>
<dialogue>Fill ` er up.</dialogue>
<character>JACEY</character>
<parenthetical>( frowns . )</parenthetical>
<dialogue>Nice tie.</dialogue>
<character>DOUG</character>
<dialogue>Oh - mind if I borrow it?</dialogue>
<scene_description>Jacey puts the nozzle in the car as Doug climbs out .</scene_description>
<character>JACEY</character>
<dialogue>I thought you did n't like those parties at the Abbott's?</dialogue>
<character>DOUG</character>
<dialogue>I do n't.</dialogue>
<character>JACEY</character>
<dialogue>Then why are you going?</dialogue>
<character>DOUG</character>
<dialogue>Just doing someone a favor. How come you're not going?</dialogue>
<character>JACEY</character>
<dialogue>I'm persona non grata.</dialogue>
<character>DOUG</character>
<dialogue>What's that mean?</dialogue>
<character>JACEY</character>
<dialogue>You know what it means.</dialogue>
<character>DOUG</character>
<dialogue>What happened with you and Eleanor?</dialogue>
<character>JACEY</character>
<dialogue>Nothing. I just outlived my usefulness, that's all.</dialogue>
<character>DOUG</character>
<dialogue>How were you ` useful' to her?</dialogue>
<character>JACEY</character>
<dialogue>Christ, use your imagination.</dialogue>
<scene_description>Doug has no reply to that .</scene_description>
<character>JACEY</character>
<dialogue>Eleanor was just looking for a way out. A way out of the whole Abbott world. And it turns out that it takes a lot to get away. It's not enough that you sleep around with boys from your world, you have to fuck boys from the wrong side of the tracks.</dialogue>
<character>DOUG</character>
<dialogue>What do you mean? Like guys from Fountain Park?</dialogue>
<character>JACEY</character>
<dialogue>No, I mean me. She was fucking me.</dialogue>
<character>DOUG</character>
<dialogue>We're not from the wrong side of the tracks.</dialogue>
<scene_description>Jacey hangs up the nozzle and screws the gas cap back on .</scene_description>
<character>JACEY</character>
<dialogue>I would n't go to that party if I were you.</dialogue>
<character>DOUG</character>
<dialogue>Well, you're not me. We're just as good as the Abbotts.</dialogue>
<scene_description>Doug hands Jacey a few dollars . Jacey heads for the office .</scene_description>
<character>JACEY</character>
<dialogue>You still do n't know, do you?</dialogue>
<character>DOUG</character>
<dialogue>Know what?</dialogue>
</scene>
<scene>
<stage_direction>INT. TEXACO STATION (DOWNTOWN HALEY) - OFFICE CONTINUOUS ACTION</stage_direction>
<scene_description>Doug follows Jacey inside as he rings up the sale .</scene_description>
<character>DOUG</character>
<dialogue>Know what?</dialogue>
<character>JACEY</character>
<dialogue>After Dad died. Mom. had an affair with Lloyd Abbott. That's how he got Dad's patent away from her.</dialogue>
<character>DOUG</character>
<dialogue>I do n't believe you.</dialogue>
<character>JACEY</character>
<dialogue>Believe it or not. I do n't care.</dialogue>
<character>DOUG</character>
<dialogue>You're full of shit.</dialogue>
<character>JACEY</character>
<dialogue>Then why do n't you go ask Mom? Ask her what happened - ask her why she does n't have any friends - ask her why she's never invited to the Abbott's - ask her which side of the tracks we live on?</dialogue>
<scene_description>Jacey shoves the cash register drawer shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - TENT - NIGHT</stage_direction>
<scene_description>The party is well underway , it 's a younger crowd tonight . The band plays `` Fly Me To The Moon . '' Doug stands apart from the others . He 's ill - at - ease . His conversation with Jacey resonates within him . As he looks over the gathering , he 's pained to discover how easy it is to see things the way Jacey does : Lloyd holding court with a group of men in tuxedos . Joan Abbott propelling a reluctant Alice towards a group of guests Alice 's age -LRB- Alice and Peter have separated -RRB- . and , finally , Pamela dancing with a handsome young man -LRB- TED -RRB- . She is the belle of the ball , radiant and suddenly mature in her beautiful gown . She smiles as she sees Doug , excuses herself , and comes over to him .</scene_description>
<character>PAMELA</character>
<dialogue>How long have you been here?</dialogue>
<character>DOUG</character>
<dialogue>A while.</dialogue>
<character>PAMELA</character>
<dialogue>Are you okay?</dialogue>
<character>DOUG</character>
<dialogue>I'm fine. Having fun?</dialogue>
<character>PAMELA</character>
<dialogue>Yes, I am. Come on, dance with me.</dialogue>
<scene_description>She pulls him towards the dance floor .</scene_description>
<character>DOUG</character>
<dialogue>You did n't tell me I had to dance.</dialogue>
<character>PAMELA</character>
<dialogue>Just one dance and we'll be even. I wo n't have to be mad at you anymore and you wo n't have to be so sorry.</dialogue>
<character>DOUG</character>
<dialogue>What am I supposed to be so sorry about?</dialogue>
<character>PAMELA</character>
<dialogue>Oh, you're not sorry?</dialogue>
<character>DOUG</character>
<dialogue>All right, yeah, I'm sorry.</dialogue>
<character>PAMELA</character>
<dialogue>Sorry about what?</dialogue>
<character>DOUG</character>
<dialogue>You always do this to me.</dialogue>
<character>PAMELA</character>
<dialogue>You said you were n't sorry and now you say you are. So maybe I'm not sure what you're sorry about?</dialogue>
<character>DOUG</character>
<dialogue>I'm sorry for what I'm supposed to be sorry about. Okay?</dialogue>
<character>PAMELA</character>
<dialogue>You're sorry for feeling me up?</dialogue>
<character>DOUG</character>
<parenthetical>( embarrassed . )</parenthetical>
<dialogue>Oh, shit, come on, Pam. Dammit. For crying out loud. Forget it.</dialogue>
<character>PAMELA</character>
<dialogue>I accept your apology. Let's dance.</dialogue>
<scene_description>Doug allows Pam to pull him out onto the dance floor . He feels like a dolt , but she arranges his hands on her and they begin to dance . She gazes into his eyes and smiles :</scene_description>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<scene_description>Pam is in love with Doug , she has been since they were children . Doug is mellowed by his tender feelings for her . For a golden minute they are in pleasurable bubble of true affinity . But their bubble begins to deflate as Doug sees Joan Abbott staring at them . Her disapproval is unmistakable . Doug steers Pam around the dance floor to avoid Joan 's eyes , but then he sees Lloyd Abbott . Lloyd 's stare is even more discomforting . Pamela senses the change in Doug 's mood , but she is unaware of the cause .</scene_description>
<character>PAMELA</character>
<dialogue>Is Jacey home for the summer or is he just here for a visit?</dialogue>
<scene_description>The mention of his brother 's name at this exact moment sends a chill down Doug 's spine .</scene_description>
<character>DOUG</character>
<dialogue>Home for the summer.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>It's cheaper if he stays here for the summer. He can save more money for school,'cause he does n't have to pay rent. Money's tight, you know, we're sort of poor.</dialogue>
<character>PAMELA</character>
<dialogue>You're not poor, are you?</dialogue>
<character>DOUG</character>
<dialogue>Hell - you kidding? Even with Jacey working summers, my mom had to borrow against the house so he could go to Penn.. I do n't know where the money'll come from for me to go to college.</dialogue>
<scene_description>Doug sees Joan Abbott prompting Ted to cut in on his dance with Pamela . Doug 's bitterness swells .</scene_description>
<character>DOUG</character>
<dialogue>I hear Alice and Peter are getting a divorce.</dialogue>
<character>PAMELA</character>
<dialogue>They're just separated.</dialogue>
<character>DOUG</character>
<dialogue>What's the difference?</dialogue>
<character>PAMELA</character>
<dialogue>I do n't know, you'll have to ask them.</dialogue>
<character>DOUG</character>
<dialogue>So, where's Eleanor tonight?</dialogue>
<character>PAMELA</character>
<dialogue>Eleanor's. just not here.</dialogue>
<character>DOUG</character>
<dialogue>Is she pregnant?</dialogue>
<character>PAMELA</character>
<dialogue>No! Who said that?</dialogue>
<character>DOUG</character>
<dialogue>I do n't know, everybody in town is saying something different - she got knocked up, she ran away, your old man kicked her out. So, which is it?</dialogue>
<scene_description>Ted steps over and taps Doug on the shoulder .</scene_description>
<character>DOUG</character>
<dialogue>Fuck off.</dialogue>
<scene_description>Ted is taken aback . Pamela 's eyes fill with tears .</scene_description>
<character>PAMELA</character>
<dialogue>Why do you hate me so much?</dialogue>
<character>TED</character>
<dialogue>Excuse me, asshole, but.</dialogue>
<scene_description>Doug spins and slugs Ted in the jaw - sending him reeling into the other dancers . Everyone pulls away from Doug and Pam . Doug massages his fist and looks helplessly at Pamela :</scene_description>
<character>DOUG</character>
<dialogue>I do n't hate you.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DOUG'S BEDROOM - LATER THAT NIGHT</stage_direction>
<scene_description>The hall light is on but the bedroom is dark . Doug lies on his bed -LRB- still dressed -RRB- . Jacey appears in the doorway .</scene_description>
<character>JACEY</character>
<dialogue>You asleep?</dialogue>
<character>DOUG</character>
<dialogue>Nope.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - GARAGE - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>Doug and Jacey play another hard fought game of ping - pong in the garage . In the midst of a volley Doug says :</scene_description>
<character>DOUG</character>
<dialogue>I'm gon na go to Penn like you.</dialogue>
<scene_description>Jacey snorts with incredulous laughter .</scene_description>
<character>JACEY</character>
<dialogue>You're gon na what?</dialogue>
<character>DOUG</character>
<dialogue>I'm going to the University of Pennsylvania. I think I'm going to be an architect, too.</dialogue>
<character>JACEY</character>
<dialogue>Like hell you are.</dialogue>
<character>DOUG</character>
<dialogue>Why not? Maybe we can be roommates in Philadelphia?</dialogue>
<character>JACEY</character>
<dialogue>You're nuts. You'll never get accepted to Penn.. Besides, Mom could n't afford it anyway.</dialogue>
<character>DOUG</character>
<dialogue>I'll get a scholarship.</dialogue>
<character>JACEY</character>
<dialogue>I had a four - point - 0 grade average and I could n't get a scholarship - so, I say you got your head up your ass.</dialogue>
<scene_description>Jacey skillfully manipulates the volley and wins the game with a savage return that Doug is unable to counter . Jacey smiles , puts his paddle down , and walks out of the garage . Doug quickly picks up a ping - pong ball and hits it into the back of Jacey 's head . Jacey turns and shoots a perturbed look at Doug - Doug smiles :</scene_description>
<character>DOUG</character>
<dialogue>` Night.</dialogue>
</scene>
<scene>
<stage_direction>INT. WOMEN'S APPAREL STORE (DOWNTOWN HALEY) - DAY (WINTER, 1958)</stage_direction>
<scene_description>Helen looks over the merchandise . Doug absent - mindedly trails after his mother as he studies a large brochure about the University of Pennsylvania .</scene_description>
<character>DOUG</character>
<dialogue>What's ` scenic design'?</dialogue>
<character>HELEN</character>
<dialogue>In what context?</dialogue>
<character>DOUG</character>
<dialogue>What a minute - it's theatre.</dialogue>
<character>HELEN</character>
<dialogue>Mmmm?</dialogue>
<character>DOUG</character>
<parenthetical>( re : brochure . )</parenthetical>
<dialogue>` The Howard Lambert Scholarship in Scenic Design for the Theatre.' It's a full ride, four years. Pays everything almost. Hell, I could do that. Just have to figure out what scenic design is.</dialogue>
<scene_description>Doug looks up from the brochure and comes face - to - face with a mannequin wearing a bra , girdle , and stockings . He almost flinches with surprise and blushes profusely :</scene_description>
<character>DOUG</character>
<dialogue>I'll wait for you outside, Ma.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LADIES APPAREL STORE (DOWNTOWN HALEY) - MOVIE THEATER - SIDEWALK - DAY (MINUTES LATER)</stage_direction>
<scene_description>It 's snowing - Doug paces to keep warm . He momentarily forgets the cold as he sees Pam and three of her girl friends come out of the drugstore across the street . The girls are in high spirits as they get into Pam 's car . Two well - dressed townswomen -LRB- MURIEL and DORIS -RRB- encounter Helen on their way into the apparel shop as she steps out onto the sidewalk .</scene_description>
<character>HELEN</character>
<dialogue>Hello, Muriel. Doris.</dialogue>
<scene_description>The women pass by Helen with obvious reserve . Helen is seemingly unruffled by their distant responses . She observes Doug as he watches Pam and her friends drive off . Helen and Doug walk up sidewalk -LRB- towards the movie theater - the marquee reads : KIM NOVAK - JEFF CHANDLER - JEANNE EAGELS -RRB- :</scene_description>
<character>HELEN</character>
<dialogue>Why do n't you drop me off at home and take the car and go out with your friends. Go have some fun.</dialogue>
<character>DOUG</character>
<dialogue>Why do n't you?</dialogue>
<character>HELEN</character>
<dialogue>Why do n't I what? Go hang out at the Dog'n' Suds?</dialogue>
<character>DOUG</character>
<dialogue>No, go out - play bridge or whatever adults do for fun.</dialogue>
<character>HELEN</character>
<dialogue>I read for fun.</dialogue>
<character>DOUG</character>
<dialogue>You read too much.</dialogue>
<character>HELEN</character>
<dialogue>You sound like your brother.</dialogue>
<character>DOUG</character>
<dialogue>Come on - let's go see a movie.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER (DOWNTOWN HALEY) - DAY</stage_direction>
<scene_description>Doug and Helen share a bag of popcorn as they wait for the feature to begin .</scene_description>
<character>HELEN</character>
<dialogue>Came here on my very first date with Charlie. Saw Rosalie with Nelson Eddy and. not Jeanette MacDonald. oh. Eleanor Powell.</dialogue>
<character>DOUG</character>
<dialogue>Did Dad kiss you?</dialogue>
<character>HELEN</character>
<parenthetical>( gives Doug a `` look '' . )</parenthetical>
<dialogue>No.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I kissed him.</dialogue>
<character>DOUG</character>
<parenthetical>( grins . )</parenthetical>
<dialogue>All right, Mom.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL - PLAYING FIELD - GYMNASIUM - DAY (SUMMER, 1959)</stage_direction>
<scene_description>The commencement exercises are being held in the sweltering gym to accommodate the large crowd of proud parents and family members . Doug , hot and uncomfortable in his cap and gown , is seated among his fellow graduates behind the podium . The PRINCIPAL -LRB- at the podium -RRB- announces the names of the graduates as he calls them forward to receive their diplomas .</scene_description>
<character>PRINCIPAL</character>
<dialogue>Pamela Louise Abbott.</dialogue>
<scene_description>Pamela rises from her seat and takes her diploma . Lloyd and Joan Abbott applaud their daughter . Joan stands to take a snapshot . Alice is occupied with her restless and fussy eighteen - month - old daughter , Susan . Doug watches Pam return to her seat ; she avoids his eyes . Helen is all smiles , this is a very special day for her . The chair next to her is empty . She glances behind her and sees Jacey standing in the back of the gym . Jacey idly surveys the gathering with irritable boredom . He is only there at his mother 's insistence . His eyes settle on . Alice Abbott . Alice tries to quiet her CRYING eighteen - month - old daughter -LRB- SUSAN -RRB- . Lloyd makes a reprimanding aside to Alice and she rises and carries Susan up the aisle . Jacey 's eyes follow Alice - she notices his stare as she passes by with Susan in her arms .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL - PARKING LOT - LATER THAT DAY</stage_direction>
<scene_description>Commencement is over - the parking lot is a sea of cars slowly negotiating through the mob of celebrating graduates , beaming parents , and rambunctious siblings . As Helen slips through the crowd she is pleasantly ambushed by three -LRB- second grade -RRB- students of hers . She has a brief exchange with the children and then moves on . Helen finds herself face - to - face with Lloyd Abbott as they both attempt to pass through a narrow space between two parked vehicles . They are both caught off - guard - there is no graceful way for them to squeeze past each other .</scene_description>
<character>LLOYD</character>
<dialogue>Congratulations, Helen.</dialogue>
<character>HELEN</character>
<dialogue>Thank you. Congratulations to you, too. Where's Pam going to school?</dialogue>
<character>LLOYD</character>
<dialogue>Hmm. Christ, I forgot. Bryn Mawr. I should be able to remember that. It costs enough.</dialogue>
<character>HELEN</character>
<dialogue>She'll do well there - a very bright girl.</dialogue>
<character>LLOYD</character>
<dialogue>And Doug - he's going to?</dialogue>
<character>HELEN</character>
<dialogue>He got a scholarship to the University of Pennsylvania - scenic design - theater.</dialogue>
<character>LLOYD</character>
<dialogue>Same school as.</dialogue>
<character>HELEN</character>
<parenthetical>( filling in blank . )</parenthetical>
<dialogue>Jacey.</dialogue>
<character>LLOYD</character>
<dialogue>Right. Well. Congratulations.</dialogue>
<character>HELEN</character>
<dialogue>Thank you, Lloyd.</dialogue>
<scene_description>They pass each other and head their separate ways . Their chance meeting has not gone unobserved : Joan Abbott has been watching them from the front seat of Lloyd 's brand - new 1959 Cadillac . She pretends to repair her lipstick with her compact mirror as Lloyd slips behind the wheel . And Helen finds Jacey frowning at her . He opens the door so that she can get into the Plymouth -LRB- Doug is already in the back seat -RRB- . Jacey glares at Lloyd as he walks around the car and gets in behind the wheel . Lloyd flips down his sun visor -LRB- to block Jacey 's glare -RRB- and pulls out of his parking spot .</scene_description>
</scene>
<scene>
<stage_direction>INT. IRON SKILLET RESTAURANT - THAT NIGHT</stage_direction>
<scene_description>A waitress walks across the busy diner to Helen , Jacey , and Doug at their table . Helen and Doug are eating their desserts - Jacey is content to brood over his cup of coffee . The waitress puts their bill on the table and steps away . As Helen starts to open her purse Webb Crosby appears and picks up the bill .</scene_description>
<character>WEBB</character>
<dialogue>It's on the house.</dialogue>
<character>HELEN</character>
<dialogue>Oh, Webb, really - that's not necessary.</dialogue>
<character>WEBB</character>
<dialogue>How many restaurants got an Ivy League busboy? That's worth a free meal. Charlie'd be real proud of these two highbrows.</dialogue>
<character>HELEN</character>
<dialogue>Yes, he would. He'd be extremely proud.</dialogue>
<character>WEBB</character>
<parenthetical>( to Jacey . )</parenthetical>
<dialogue>You take good care of your little brother in Philadelphia, you hear me?</dialogue>
<character>JACEY</character>
<dialogue>Yes, sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>The Holt family drives home from the restaurant - Jacey driving , Helen in front , and Doug in the back seat .</scene_description>
<character>HELEN</character>
<dialogue>What a wonderful night. What a wonderful day. My two Ivy League boys.</dialogue>
<scene_description>This is torture for Jacey . Doug looks out the window at the striped tent in the Abbott 's front yard as they pass by . A party for the `` Class of 1959 '' is underway -LRB- as a banner on the tent proclaims -RRB- . The street is lined with parked cars and busy with late - coming guests . Doug checks the rearview mirror for Jacey 's reaction , but his brother keeps his eyes on the road .</scene_description>
<character>HELEN</character>
<dialogue>I never understood that tent. I wonder if they own it? I'm surprised they do n't just leave it up all year long.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Lloyd's mother was a tough old bird. She sold eggs. They had a place way out on Ditch Road near County Line. That was ages ago. Poor Lloyd had to walk all that way in to school and then back everyday. Charlie used to call Lloyd ` Egg - head' and he did n't mean smart.</dialogue>
<parenthetical>( another beat . )</parenthetical>
<dialogue>I'm in the mood for ice cream.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - FRONT PORCH - LATER THAT NIGHT</stage_direction>
<scene_description>Jacey and Doug sit on the porch steps eating bowls of ice cream . Helen rises from the porch swing and takes her empty bowl inside the house .</scene_description>
<character>HELEN</character>
<dialogue>I think I'll have one more scoop.</dialogue>
<character>DOUG</character>
<dialogue>Ping - pong?</dialogue>
<character>JACEY</character>
<dialogue>Too hot.</dialogue>
<character>DOUG</character>
<dialogue>You want to go out to the lake and get a couple beers?</dialogue>
<character>JACEY</character>
<dialogue>No, I do n't want to go out to the.</dialogue>
<parenthetical>( exhales . )</parenthetical>
<dialogue>Goddammit. Goddammit! Look, I do n't want you in Philadelphia. I do n't need you around to remind everybody that I come from Hicksville, U.S.A.. So if you're going to go to Philadelphia, you're on your own, dip shit. I do n't need you riding my coat tails. Christ - why do n't you get your own life? Stop being my fucking shadow.</dialogue>
<scene_description>Doug digests Jacey 's insult , then scoops a ball of ice cream out of his bowl with his spoon and flings the gooey ice cream into the side of Jacey 's face . Doug rises and goes to the front door .</scene_description>
<character>DOUG</character>
<dialogue>Screw you.</dialogue>
<character>JACEY</character>
<dialogue>You little prick!</dialogue>
<scene_description>Jacey hurls his BOWL at Doug - it misses and SHATTERS on the wall .</scene_description>
<character>DOUG</character>
<dialogue>Missed me, peckerhead.</dialogue>
<scene_description>As Doug opens the screen door Jacey dives into him - they fall into the porch swing with such force that its chains rip out of the porch ceiling and Doug , Jacey , and the swing go overboard off the end of the porch into the shrubs .</scene_description>
<character>HELEN</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( inside house . )</parenthetical>
<dialogue>Doug? Jacey? What was that?</dialogue>
<scene_description>Doug and Jacey scramble to their feet , their clothes are ripped and disheveled .</scene_description>
<character>JACEY</character>
<dialogue>You're dead, dip shit!</dialogue>
<character>DOUG</character>
<dialogue>You got ta catch me first, asshole!</dialogue>
<scene_description>Doug takes off with Jacey in hot pursuit . A few beats later , Helen steps out onto the front porch and discovers her sons and the porch swing missing .</scene_description>
<character>HELEN</character>
<dialogue>Jacey? Doug?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME AND STREET - NIGHT</stage_direction>
<scene_description>Jacey races up a driveway - Doug is nowhere to be seen .</scene_description>
<character>JACEY</character>
<dialogue>Come on, weasel dick! Come on out, you chicken shit!</dialogue>
<scene_description>A collection of GARBAGE CANS EXPLODE in all directions as Doug pops up from behind them and bolts down the driveway . Jacey chases after him , following him across the street . They pay no heed to Helen -LRB- in the b.g. -RRB- standing in their front yard , calling out to them :</scene_description>
<character>HELEN</character>
<dialogue>Douglas Lee! John Charles!</dialogue>
<scene_description>NEIGHBORHOOD - HOLT HOME Porch lights are turning on up and down the block and the neighborhood DOGS begin to HOWL as Doug leads Jacey between two houses . NEIGHBORHOOD - HOLT HOME Doug jumps up onto a tall wooden fence . He gets halfway over when Jacey leaps up and grabs him and the fence collapses , dumping them into a back yard vegetable garden . NEIGHBORHOOD - HOLT HOME Doug and Jacey wrestle and grapple in the muddy soil , cursing each other and crushing the rows of green crops . MRS. PORTER appears at her back door brandishing a broom .</scene_description>
<character>MRS. PORTER</character>
<dialogue>Git! Stop that! You two git!</dialogue>
<scene_description>She sails into combat with her broom swinging . But Doug and Jacey are unwilling to give up the fight - they are finally separated by a strong blast of water . They sputter for breath and discover that Helen is holding the hose .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS. PORTER'S HOUSE - DAY (NEXT DAY)</stage_direction>
<scene_description>Helen sits in a lawn chair in the back yard wearing a large straw hat and reading a book . Doug and Jacey are repairing and painting the fence . Helen looks up from her book :</scene_description>
<character>HELEN</character>
<dialogue>That board does n't look straight, Jacey. Come on, Doug, you've been painting the same spot for the last five minutes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - GARAGE - NIGHT</stage_direction>
<scene_description>Doug and Jacey clean their hands with turpentine . Doug picks up a ping - pong paddle and bounces the ball on it , trying to see how long he can keep it bouncing . Jacey finishes cleaning up , picks up a paddle , and then , without a word , Doug serves the ball and they begin to volley .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD (COUNTRYSIDE) - DAY</stage_direction>
<scene_description>The Plymouth drives along the two - lane blacktop past the fields of tall , green corn . Doug is driving , Helen sits beside him . She reacts to something in the distance :</scene_description>
<character>HELEN</character>
<dialogue>Is n't that Pamela Abbott?</dialogue>
<scene_description>In the distance Pamela struggles with a jack as she tries to remove a flat tire on her convertible . Doug grimaces as he recognizes her .</scene_description>
<character>HELEN</character>
<dialogue>It is Pam. Pull over.</dialogue>
<scene_description>Doug reluctantly pulls over beside Pam 's car . She 's no more pleased to see Doug than he is to see her .</scene_description>
<character>HELEN</character>
<dialogue>Hi, Pam. Do you need some help?</dialogue>
<character>PAMELA</character>
<dialogue>Hi, Mrs. Holt. It's so darn hot the stupid jack just keeps sinking into the pavement.</dialogue>
<character>HELEN</character>
<dialogue>Well, maybe Doug can give you a hand?</dialogue>
<scene_description>Doug frowns and slowly climbs out of the Plymouth .</scene_description>
<character>DOUG</character>
<dialogue>Where's the thing that goes on the bottom of the jack?</dialogue>
<character>PAMELA</character>
<dialogue>What thing?</dialogue>
<character>DOUG</character>
<dialogue>The thing, the base that the jack fits into?</dialogue>
<parenthetical>( finds it in her open trunk . )</parenthetical>
<dialogue>This.</dialogue>
<character>PAMELA</character>
<dialogue>Oh, I thought that was just the ` spare - tire - holder - on - er.'</dialogue>
<character>DOUG</character>
<dialogue>Read your manual.</dialogue>
<scene_description>Pamela would slug him if his mother was n't present . Doug releases the load on the jack and strains to extract it from the molten pavement .</scene_description>
<character>HELEN</character>
<dialogue>Pam, would you mind running Doug home? I'd like to get to the bank before they close.</dialogue>
<character>DOUG</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>Mom.</dialogue>
<character>PAMELA</character>
<dialogue>Sure, Mrs. Holt, I'll drive him home. Thanks for stopping.</dialogue>
<character>HELEN</character>
<dialogue>Of course. Bye - bye.</dialogue>
<scene_description>Helen slides over behind the wheel and drives away . Doug fumes silently while he reassembles the jack .</scene_description>
</scene>
<scene>
<stage_direction>INT. IRON SKILLET RESTAURANT - DAY</stage_direction>
<scene_description>Jacey sits at the counter at the rear of the busy diner sipping an iced tea . He sees Alice Abbott enter - she pulls a dollar bill out of her purse as she approaches the cash register near the front door . She calls out to a waitress who is fetching an order from the grill .</scene_description>
<character>ALICE</character>
<dialogue>Excuse me - could I get change for a dollar?</dialogue>
<scene_description>The waitress is too distracted to take notice of Alice and Alice herself does n't notice Jacey as he steps up behind her .</scene_description>
<character>JACEY</character>
<dialogue>Can I help you?</dialogue>
<character>ALICE</character>
<dialogue>Yes, I need change for.</dialogue>
<parenthetical>( turns to him . )</parenthetical>
<dialogue>Oh. you do n't work here, do you?</dialogue>
<character>JACEY</character>
<dialogue>No. I was just thinking about you. I was going to call you tonight.</dialogue>
<character>ALICE</character>
<parenthetical>( rattled . )</parenthetical>
<dialogue>What? Why?</dialogue>
<character>JACEY</character>
<dialogue>There's a picnic out at River Point on Sunday - I wanted to invite you.</dialogue>
<character>ALICE</character>
<dialogue>I could n't.</dialogue>
<character>JACEY</character>
<dialogue>Bring Susan, kids love picnics.</dialogue>
<character>ALICE</character>
<parenthetical>( re : the dollar bill . )</parenthetical>
<dialogue>I need change for the parking meter.</dialogue>
<character>JACEY</character>
<dialogue>Here.</dialogue>
<scene_description>Jacey opens his palm and reveals the correct change . Alice nervously exchanges the dollar bill for the coins .</scene_description>
<character>ALICE</character>
<dialogue>Oh, thanks.</dialogue>
<character>JACEY</character>
<dialogue>Do you have time for an ice tea?</dialogue>
<character>ALICE</character>
<dialogue>My mother's waiting by the car so I wo n't get a ticket.</dialogue>
<character>JACEY</character>
<dialogue>Maybe she'd like an ice tea, too?</dialogue>
<character>ALICE</character>
<dialogue>No.</dialogue>
<character>JACEY</character>
<dialogue>No harm asking.</dialogue>
<character>ALICE</character>
<dialogue>No. Do n't do that.</dialogue>
<character>JACEY</character>
<dialogue>Why not?</dialogue>
<character>ALICE</character>
<dialogue>You know why.</dialogue>
<character>JACEY</character>
<dialogue>Then I'll make you a deal.</dialogue>
<character>ALICE</character>
<dialogue>I just came in to get some change.</dialogue>
<character>JACEY</character>
<dialogue>Come to the picnic on Sunday and I'll wait here and let you leave first, so your mother wo n't see me.</dialogue>
<character>ALICE</character>
<dialogue>I do n't care if my mother sees you.</dialogue>
<character>JACEY</character>
<parenthetical>( heads for the door . )</parenthetical>
<dialogue>Then you wo n't care if I ask her if she'd like to join us for an ice tea?</dialogue>
<character>ALICE</character>
<dialogue>No! Wait.</dialogue>
<scene_description>Jacey turns to her .</scene_description>
<character>ALICE</character>
<dialogue>I do n't know if I can. I'll try. It just depends.</dialogue>
<scene_description>Alice goes out the door - as she passes by Jacey he says :</scene_description>
<character>JACEY</character>
<dialogue>Sunday. River Point. Around noon.</dialogue>
<scene_description>Jacey watches through the window as Alice returns to the Town & Country station wagon and puts a few coins into the meter . Joan waits impatiently beside the car with Susan in hand . As the Abbott women walk down the sidewalk -LRB- away from the diner -RRB- , Alice glances back and sees Jacey smiling at her from the diner window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD (COUNTRYSIDE) - DAY</stage_direction>
<scene_description>Pamela sits behind the wheel of her convertible listening to PAT BOONE sing `` April Love '' on the car RADIO . Doug drips with sweat as he tightens the lugs on the spare tire . Pamela climbs out and inspects his progress .</scene_description>
<character>PAMELA</character>
<dialogue>You think you'll finish sometime today? I'm getting sun stroke.</dialogue>
<character>DOUG</character>
<dialogue>Put the top up.</dialogue>
<character>PAMELA</character>
<dialogue>Stop acting like Jacey. What makes you think you're so. cool?</dialogue>
<character>DOUG</character>
<dialogue>Because - I know all the answers on ` The $ 64,000 Question,' because I have X - ray vision and I can sing better than Pat Boone. And because I'm really a negro, but do n't tell anyone around here,'cause you know what would happen to me.</dialogue>
<character>PAMELA</character>
<dialogue>God, I ca n't even talk to you.</dialogue>
<scene_description>She starts to get back into the car , then turns to him :</scene_description>
<character>PAMELA</character>
<dialogue>Name one bad thing I've ever done to you.</dialogue>
<character>DOUG</character>
<dialogue>Why?</dialogue>
<character>PAMELA</character>
<dialogue>Go on, name one bad thing.</dialogue>
<character>DOUG</character>
<dialogue>What's the point?</dialogue>
<character>PAMELA</character>
<dialogue>You tell me, because I do n't get it! Look, I'm not rich, my father is. And I did n't pick my father. And if I had a choice between having tons of money or having another father, I'd be absolutely delighted to be poor! But unfortunately life is not a cafeteria!</dialogue>
<character>DOUG</character>
<dialogue>Life is not a cafeteria?</dialogue>
<character>PAMELA</character>
<dialogue>You know what I mean!</dialogue>
<character>DOUG</character>
<dialogue>Shit, I'm supposed to feel sorry for you'cause you're rich?</dialogue>
<character>PAMELA</character>
<dialogue>Well, am I supposed to feel sorry for you'cause you're so poor?</dialogue>
<character>DOUG</character>
<dialogue>No.</dialogue>
<character>PAMELA</character>
<dialogue>So then just stop it!</dialogue>
<character>DOUG</character>
<dialogue>Stop what?!</dialogue>
<character>PAMELA</character>
<dialogue>Stop treating me like an Abbott!</dialogue>
<character>DOUG</character>
<dialogue>Well, how am I supposed to treat you?</dialogue>
<character>PAMELA</character>
<dialogue>Like you used to. Like just plain Pam.</dialogue>
<scene_description>Doug exhales as if he 's winding up to apologize .</scene_description>
<character>PAMELA</character>
<dialogue>And you do n't have to say you're sorry, and you do n't have to look like somebody just ran over your dog. You just make me want to scream sometimes.</dialogue>
<scene_description>Doug stares at her as if he 's never seen her before .</scene_description>
<character>PAMELA</character>
<dialogue>What are you looking at?</dialogue>
<character>DOUG</character>
<dialogue>You.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER POINT PARK - DAY (FOLLOWING SUNDAY)</stage_direction>
<scene_description>Jacey lounges on top of a blanket beside a cooler .</scene_description>
<character>ALICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Where is everyone?</dialogue>
<scene_description>Jacey sits up and finds Alice standing behind him . She carries a picnic basket . Other than a few children skipping rock into the river they are alone .</scene_description>
<character>JACEY</character>
<dialogue>We are everyone.</dialogue>
<character>ALICE</character>
<dialogue>But you said.</dialogue>
<character>JACEY</character>
<parenthetical>( overlapping . )</parenthetical>
<dialogue>No, I did n't. I just said a picnic. I did n't say if anyone else was coming.</dialogue>
<scene_description>Alice walks away . Jacey jumps up and runs after her .</scene_description>
<character>JACEY</character>
<dialogue>Where are you going?</dialogue>
<character>ALICE</character>
<dialogue>I'm sorry. I thought.</dialogue>
<character>JACEY</character>
<parenthetical>( blocking her way . )</parenthetical>
<dialogue>You did n't come here to see everybody else. You came here to see me. Did n't you? That's why you did n't bring Susan along.</dialogue>
<character>ALICE</character>
<dialogue>I'm married.</dialogue>
<character>JACEY</character>
<dialogue>I thought you were getting a divorce?</dialogue>
<character>ALICE</character>
<dialogue>I am, but it's not final yet. Besides, I'm two years older than you.</dialogue>
<character>JACEY</character>
<dialogue>Good, if the cops come around we'll tell'em you bought the beers in the cooler.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVERPOINT PARK - ANOTHER PART OF PARK LATER THAT DAY</stage_direction>
<scene_description>Jacey and Alice wander along a path on the riverbank .</scene_description>
<character>ALICE</character>
<dialogue>I knew he would hit me. Peter's a real hot - head. I knew if he hit me hard enough, hurt me enough, that even my father would n't stand for it. Then one night I put too much soap in the washing machine and it overflowed. That did it. He punched me. Broke my front tooth.</dialogue>
<character>JACEY</character>
<dialogue>Bastard.</dialogue>
<character>ALICE</character>
<dialogue>So. what do you hear from Eleanor?</dialogue>
<character>JACEY</character>
<dialogue>I do n't. Do you?</dialogue>
<character>ALICE</character>
<dialogue>No. Did you love her?</dialogue>
<character>JACEY</character>
<dialogue>We were n't in love, we were in heat.</dialogue>
<scene_description>Alice blushes .</scene_description>
<character>JACEY</character>
<dialogue>Did you love Peter?</dialogue>
<character>ALICE</character>
<dialogue>No.</dialogue>
<character>JACEY</character>
<dialogue>Then why did you marry him?</dialogue>
<character>ALICE</character>
<dialogue>Because.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVERPOINT PARK - ROAD - LATER THAT DAY</stage_direction>
<scene_description>Jacey holds open the driver 's door as Alice climbs in behind the wheel -LRB- of her mother 's Town & Country station wagon -RRB- . He closes the door .</scene_description>
<character>JACEY</character>
<dialogue>Which tooth was it?</dialogue>
<scene_description>She points to a front tooth . He leans over to look at it .</scene_description>
<character>ALICE</character>
<dialogue>This one. I had it capped. You ca n't really tell, can you?</dialogue>
<character>JACEY</character>
<dialogue>No. It's a beautiful mouth.</dialogue>
<character>ALICE</character>
<dialogue>Are you going to kiss me?</dialogue>
<character>JACEY</character>
<dialogue>I do n't want to scare you.</dialogue>
<character>ALICE</character>
<dialogue>I ca n't see you again, Jacey.</dialogue>
<character>JACEY</character>
<dialogue>Sure you can. There are ways.</dialogue>
<character>ALICE</character>
<dialogue>Oh, God. why you? Why am I telling all these things to you?</dialogue>
<character>JACEY</character>
<dialogue>Because there's no one else you can tell them to. Because I'm the only person you know who will admit to your face that your father's a bag of shit. The biggest bag of shit in this town.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Better head home. Should n't be gone too long.</dialogue>
<scene_description>Alice drives away . Jacey smiles - he 's won .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD (OUTSIDE HALEY) - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>The Plymouth cruises back toward town . Jacey drinks a bottle of beer and happily contemplates the possibilities of a relationship with Alice . He approaches a billboard that reads : `` MIDWEST STEEL DESK , INC. . - Welcomes You to Haley , Illinois . '' Jacey drains the last of the beer and hurls the empty bottle at the billboard as he drives past it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED FARMHOUSE - DAY (WEEKS LATER LATE AFTERNOON)</stage_direction>
<scene_description>Pam 's convertible is parked in a weed - choked yard . Pam and Doug hurl rocks at the windows , trying to break what is left of the shattered windows on the weather - beaten , two - story farmhouse .</scene_description>
<character>PAMELA</character>
<dialogue>Who do you look like more, your father or your mother?</dialogue>
<character>DOUG</character>
<dialogue>Hell, I do n't know.</dialogue>
<character>PAMELA</character>
<dialogue>Well, what did your father look like?</dialogue>
<character>DOUG</character>
<dialogue>Like a photograph. I never knew him. He died like a month before I was even born. Jacey probably looks more like him than I do. Jacey's named after him. That's how he got to be called ` Jacey,' after his initials, John Charles, J.C.</dialogue>
<character>PAMELA</character>
<dialogue>He died in a car wreck, right?</dialogue>
<character>DOUG</character>
<dialogue>You never heard about that?</dialogue>
<character>PAMELA</character>
<dialogue>About what?</dialogue>
<character>DOUG</character>
<dialogue>Well, it was sort of a car wreck. He drowned, or froze to death, or both, I do n't know. He was trying to drive out to Mud Island.</dialogue>
<character>PAMELA</character>
<dialogue>Mud Island's in the middle of the lake.</dialogue>
<character>DOUG</character>
<dialogue>It was winter time, the lake was froze over.</dialogue>
<character>PAMELA</character>
<dialogue>Jesus, that's pretty stupid.</dialogue>
<parenthetical>( catches herself . )</parenthetical>
<dialogue>Sorry.</dialogue>
<character>DOUG</character>
<dialogue>It's all right, it is stupid. Real stupid. He did it on a bet. He bet someone twenty bucks that he could do it. He made it all the way out there, too. He went through the ice on his way back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ABANDONED FARMHOUSE - ROOF - SUNSET</stage_direction>
<scene_description>Doug and Pamela sit on the ridge of the farmhouse roof -LRB- they climbed out of a dormer window from the attic -RRB- .</scene_description>
<character>DOUG</character>
<dialogue>I think my dad was like Jacey is. Some guys are just dare - devils. I bet Jacey once that he could n't do a back - flip off the garage roof into a big pile of leaves. And he did it.</dialogue>
<character>PAMELA</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>One time Eleanor and I snuck out and walked around the yard naked.</dialogue>
<character>DOUG</character>
<dialogue>You did?</dialogue>
<character>PAMELA</character>
<dialogue>Yeah. It was sort of a dare, too. She dared me, I dared her, so we both did it.</dialogue>
<character>DOUG</character>
<dialogue>Was this day or night?</dialogue>
<character>PAMELA</character>
<dialogue>Night.</dialogue>
<character>DOUG</character>
<dialogue>Was there a full moon?</dialogue>
<character>PAMELA</character>
<dialogue>I do n't remember.</dialogue>
<character>DOUG</character>
<dialogue>You walked around the yard or did you like run from tree to tree?</dialogue>
<character>PAMELA</character>
<dialogue>We just walked around the yard.</dialogue>
<character>DOUG</character>
<dialogue>Front yard or back yard?</dialogue>
<character>PAMELA</character>
<dialogue>Back yard.</dialogue>
<character>DOUG</character>
<dialogue>Oh.</dialogue>
<character>PAMELA</character>
<dialogue>Does it matter?</dialogue>
<character>DOUG</character>
<dialogue>Yeah. Back yard nudity is hypocritical. It's insincere. People should do and say exactly what they feel or think and not try to hide things.</dialogue>
<character>PAMELA</character>
<dialogue>Okay.</dialogue>
<character>DOUG</character>
<dialogue>Okay.</dialogue>
<scene_description>Their conversation is stifled by this new standard of absolute honesty . The sunset provides a convenient excuse for their silence . But then Pam realizes he is staring at her .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>You look pretty.</dialogue>
<character>PAMELA</character>
<dialogue>Really?</dialogue>
<character>DOUG</character>
<dialogue>Yup.</dialogue>
<scene_description>Pamela takes his hand , gently unfolds it , and with her index finger she writes on his palm , `` I love you . '' Telling him took all the nerve she could muster , she has n't the stamina for a disappointing response - she places her fingers on his lips to silence him . Doug leans over and kisses her , sweetly and tenderly , and for a long time . They will always remember this kiss .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOVIE THEATRE (DOWNTOWN HALEY) - NIGHT</stage_direction>
<scene_description>The marquee reads : `` FRANK SINATRA - EDW . G. ROBINSON - ' A HOLE IN THE HEAD ' - CINEMASCOPE - AIR CONDITIONED . '' Alice Abbott buys a ticket at the box office .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATRE - NIGHT (MINUTES LATER)</stage_direction>
<scene_description>The movie has already begun . Alice enters the sparsely peopled theatre and pauses to allow her eyes to adjust to the darkness . A hand reaches out and takes her hand - it is Jacey . He 's seated beside the door . He rises and leads her across the row of empty seats to the exit .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATRE - BALCONY - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>Jacey guides Alice to two seats deep in the shadows of the otherwise unoccupied balcony . They gaze at the screen for a few moments , then he moves his mouth to her ear and nibbles on her lobe . She turns her lips to his and they kiss passionately . Jacey slides his hand under her skirt . Alice presses herself against his hand and whispers :</scene_description>
<character>ALICE</character>
<dialogue>Do n't tell. do n't tell anyone what we're doing. do n't tell anyone. no one can know, Jacey. no one.</dialogue>
</scene>
<scene>
<stage_direction>INT. TEXACO STATION (DOWNTOWN HALEY) - NIGHT (WEEKS LATER)</stage_direction>
<scene_description>The station is closed and locked up for the night . Jacey and Alice are naked in the back seat of a car parked inside the dark service bay . It is a hot and humid night . They are slippery with sweat .</scene_description>
<character>JACEY</character>
<dialogue>Marry me.</dialogue>
<character>ALICE</character>
<dialogue>Impossible.</dialogue>
<character>JACEY</character>
<dialogue>Nothing's impossible.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUS DEPOT (HALEY) - DAY</stage_direction>
<scene_description>Helen leans out a bus window and calls to Doug , who is perched on the front fender of the Plymouth , which is parked nearby with Jacey behind the wheel .</scene_description>
<character>HELEN</character>
<dialogue>Do n't forget to water my tomatoes!</dialogue>
<character>DOUG</character>
<dialogue>Okay, Mom, okay.</dialogue>
<scene_description>The bus pulls away . Doug waves as the bus goes down the street - then he leaps with surprise as an impatient Jacey leans on the CAR HORN .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - LIVING ROOM - NIGHT (WEEKS LATER)</stage_direction>
<scene_description>Doug and Pamela lounge on opposite ends of the sofa with his bare feet pressed against hers in a gentle shoving match . They are watching an episode of `` Sea Hunt '' on the TELEVISION .</scene_description>
<character>PAMELA</character>
<dialogue>How long is your mom gone?</dialogue>
<character>DOUG</character>
<dialogue>Two weeks. She goes up every summer to see this friend she went to college with.</dialogue>
<character>PAMELA</character>
<dialogue>Eleanor lives in Chicago.</dialogue>
<character>DOUG</character>
<dialogue>She does?</dialogue>
<character>PAMELA</character>
<dialogue>Yeah. She's going to stewardess school.</dialogue>
<character>DOUG</character>
<dialogue>What do they teach you at stewardess school?</dialogue>
<character>PAMELA</character>
<dialogue>I do n't know. How to wiggle your bottom.</dialogue>
<character>DOUG</character>
<dialogue>Maybe you should go there instead of Bryn Mawr?</dialogue>
<scene_description>She pushes harder against his feet and her foot slips off his and clobbers him in the crotch . He moans and sits up .</scene_description>
<character>DOUG</character>
<dialogue>Oww! Damn!</dialogue>
<character>PAMELA</character>
<dialogue>Sorry.</dialogue>
<character>DOUG</character>
<dialogue>Watch it.</dialogue>
<character>PAMELA</character>
<dialogue>It was an accident. Do n't be crabby.</dialogue>
<scene_description>She pulls him down on top of her . She kisses the tip of his nose then blows his bangs off his forehead .</scene_description>
<character>DOUG</character>
<dialogue>You want to. go upstairs?</dialogue>
<character>PAMELA</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>I just thought maybe you were tired of just kissing?</dialogue>
<character>PAMELA</character>
<dialogue>I'm not tired of kissing. Are you?</dialogue>
<character>DOUG</character>
<dialogue>No, but touching is nice.</dialogue>
<character>PAMELA</character>
<dialogue>We are touching.</dialogue>
<character>DOUG</character>
<dialogue>I just. you know. would like to see what you look like without any clothes on.</dialogue>
<character>PAMELA</character>
<dialogue>Doug!</dialogue>
<character>DOUG</character>
<dialogue>Are n't you curious?</dialogue>
<character>PAMELA</character>
<dialogue>No, I know what I look like without any clothes on - I look naked.</dialogue>
<character>DOUG</character>
<dialogue>Can I touch your breasts?</dialogue>
<character>PAMELA</character>
<dialogue>Jesus.</dialogue>
<character>DOUG</character>
<dialogue>Just on the outside?</dialogue>
<character>PAMELA</character>
<dialogue>No. You can kiss me. I like lips.</dialogue>
<character>DOUG</character>
<dialogue>You like lips?</dialogue>
<character>PAMELA</character>
<dialogue>I like your lips, block - head. I like being here like this. But I'm not taking my clothes off,'cause if we do that, you know what we'll do. And I'm too. I do n't want to be like my sisters. Not if I can help it.</dialogue>
<scene_description>They kiss but are almost instantly interrupted by the SLAM of the SCREEN DOOR . Doug looks up and does a surprised take as he sees Alice going up the stairs followed by Jacey .</scene_description>
<character>DOUG</character>
<dialogue>Shit.</dialogue>
<character>PAMELA</character>
<dialogue>Who is it?</dialogue>
<character>DOUG</character>
<dialogue>My brother. He just went upstairs with your sister.</dialogue>
<character>PAMELA</character>
<dialogue>With Eleanor?</dialogue>
<character>DOUG</character>
<dialogue>Alice.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - STREET - NIGHT</stage_direction>
<scene_description>Pamela rushes out of the house with her shoes in her hand . Doug chases after her in his bare feet .</scene_description>
<character>DOUG</character>
<dialogue>Hey. hold up!</dialogue>
<character>PAMELA</character>
<dialogue>Why did n't you tell me?</dialogue>
<character>DOUG</character>
<dialogue>Hell, I did n't know. What does this got to do with us?</dialogue>
<character>PAMELA</character>
<dialogue>My God. what is she doing?</dialogue>
<character>DOUG</character>
<dialogue>Why is it okay for you to sneak around with me, but it's not all right for Alice to sneak around with Jacey?</dialogue>
<character>PAMELA</character>
<dialogue>Because I'm not Alice! And you're not Jacey! Alice is. is like my mom, they both get hurt so easy, they're like turtles without shells.</dialogue>
<character>DOUG</character>
<dialogue>Come on, take it easy.</dialogue>
<character>PAMELA</character>
<dialogue>You do n't know my father. You do n't know how he is about Jacey. He blames him for everything that happened with Eleanor.</dialogue>
<character>DOUG</character>
<dialogue>Eleanor fooled around with lots of guys, it's not Jacey's fault your dad kicked her out.</dialogue>
<character>PAMELA</character>
<dialogue>Oh, Jesus! He did n't kick her out, he put her in a nut house! He shipped her off to this clinic in Wisconsin.</dialogue>
<character>DOUG</character>
<parenthetical>( taken aback . )</parenthetical>
<dialogue>But. I thought you said she's in Chicago?</dialogue>
<character>PAMELA</character>
<dialogue>She is now. They let her out a month ago.</dialogue>
<character>DOUG</character>
<dialogue>Oh, shit.</dialogue>
<character>PAMELA</character>
<dialogue>Yeah. Shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - LATER THAT NIGHT</stage_direction>
<scene_description>The Plymouth approaches - Jacey turns off the headlights and KILLS the MOTOR and coasts to a stop in front of the house next door to the Abbotts ' . Alice gets out of the car , Jacey hurries after her , following her into her front yard .</scene_description>
<character>JACEY</character>
<dialogue>Alice. wait!</dialogue>
<character>ALICE</character>
<dialogue>Go away.</dialogue>
<character>JACEY</character>
<dialogue>It's the truth, you know it is.</dialogue>
<character>ALICE</character>
<dialogue>No, no, it's all just. screwing.</dialogue>
<character>JACEY</character>
<dialogue>It's called making love.</dialogue>
<character>ALICE</character>
<dialogue>Do n't.</dialogue>
<character>JACEY</character>
<dialogue>Do n't what?</dialogue>
<character>ALICE</character>
<dialogue>Do n't follow me.</dialogue>
<scene_description>He grabs her arm and stops her .</scene_description>
<character>JACEY</character>
<dialogue>What's wrong?</dialogue>
<character>ALICE</character>
<dialogue>I spend all day, every day, just waiting and waiting to be with you, waiting to forget everything, you make me forget. but then when I get dressed and I come home, you. just. leak out of me. Leak away. I go into the bathroom and I wash you off of me and I remember everything.</dialogue>
<character>JACEY</character>
<dialogue>Remember what?</dialogue>
<character>LLOYD</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Alice?! Is that you?</dialogue>
<scene_description>Lloyd 's voice paralyzes them .</scene_description>
<character>LLOYD</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Alice?</dialogue>
<scene_description>Alice steps out of the shadows and finds Lloyd standing at the front door .</scene_description>
<character>ALICE</character>
<dialogue>Yes, Daddy.</dialogue>
<character>LLOYD</character>
<dialogue>Who are you talking to?</dialogue>
<character>PAMELA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>She's talking to me, Daddy.</dialogue>
<scene_description>Pamela rises from a wrought iron bench in another part of the yard - she strolls over to Alice .</scene_description>
<character>PAMELA</character>
<dialogue>Just girl talk.</dialogue>
<character>LLOYD</character>
<dialogue>You can talk inside. It's late.</dialogue>
<scene_description>Pamela and Alice go inside the house . Jacey exhales , he is ashen .</scene_description>
</scene>
<scene>
<stage_direction>EXT. IRON SKILLET RESTAURANT - NEXT DAY</stage_direction>
<scene_description>Doug hoses down the sidewalk in front of the restaurant . Pamela pulls up in her car and gets out .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>What's up?</dialogue>
<character>PAMELA</character>
<dialogue>I've been thinking - maybe we should n't see each other right now.</dialogue>
<character>DOUG</character>
<dialogue>Oh, yeah? Why?</dialogue>
<character>PAMELA</character>
<dialogue>Well. if my father. I do n't really care what would happen to me if he found out I was seeing you, but I have to take care of Alice and my mother and Eleanor, and. well, it would be hard for me to do that if I were in the doghouse, too. You know?</dialogue>
<character>DOUG</character>
<dialogue>Christ, why do you have to take care of them?</dialogue>
<character>PAMELA</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>No one else will.</dialogue>
<scene_description>He struggles to hold his anger and frustration in check .</scene_description>
<character>DOUG</character>
<dialogue>Okay. Sure. See you around.</dialogue>
<scene_description>Pam 's composure begins to weaken , but she quickly returns to the car before she can lose control . Doug turns the hose back on . He does n't look up as she drives away .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - KITCHEN - DAY (TWO WEEKS LATER)</stage_direction>
<scene_description>Helen rinses off some just - picked vegetables . She turns off the faucet , then pauses in reaction to something .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. HOLT HOME - STAIRS/FRONT PORCH - DAY</stage_direction>
<scene_description>Helen approaches the foot of the stairs drying her hands with a dish towel . She listens for a beat , then steps out on the front porch . Doug is brushing a coat of green enamel on the repaired porch swing .</scene_description>
<character>HELEN</character>
<dialogue>Who's upstairs with Jacey?</dialogue>
<character>DOUG</character>
<dialogue>Alice Abbott.</dialogue>
<character>HELEN</character>
<parenthetical>( long beat . )</parenthetical>
<dialogue>How long is she likely to stay?</dialogue>
<character>DOUG</character>
<dialogue>I do n't know, but I would n't hold up dinner.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - KITCHEN - NIGHT (EARLY EVENING)</stage_direction>
<scene_description>Doug rinses the dirty dinner dishes in the sink .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DINING ROOM - NIGHT</stage_direction>
<scene_description>Helen hears the SCREEN DOOR SLAM as she fetches a clean tablecloth from the buffet . She puts the tablecloth on the table , starts for the kitchen , then hesitates .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - FRONT PORCH - NIGHT</stage_direction>
<scene_description>Jacey stands on the porch watching the taillights of Alice 's car disappear into the night . Helen appears behind the screen door .</scene_description>
<character>HELEN</character>
<dialogue>Do you want dinner?</dialogue>
<character>JACEY</character>
<dialogue>No, thanks.</dialogue>
<character>HELEN</character>
<dialogue>Do n't sit on the swing - Doug just painted it.</dialogue>
<character>JACEY</character>
<dialogue>I know.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I had to bring her here today. She could n't see me tonight and there was nowhere else we could go.</dialogue>
<character>HELEN</character>
<dialogue>I can appreciate that, Jacey, but.</dialogue>
<character>JACEY</character>
<dialogue>I love her, Mother. I'm going to marry her.</dialogue>
<character>HELEN</character>
<dialogue>Do her parents know about this?</dialogue>
<character>JACEY</character>
<dialogue>Of course not.</dialogue>
<character>HELEN</character>
<dialogue>Do n't you think they should?</dialogue>
<character>JACEY</character>
<dialogue>I do n't give a damn about them.</dialogue>
<character>HELEN</character>
<dialogue>Does Alice feel the same as you do?</dialogue>
<character>JACEY</character>
<dialogue>She loves me.</dialogue>
<character>HELEN</character>
<dialogue>Has she agreed to marry you?</dialogue>
<character>JACEY</character>
<dialogue>She will. She needs time. She's frightened. It's not easy for her.</dialogue>
<character>HELEN</character>
<dialogue>How does hiding it from her family make it any easier?</dialogue>
<character>JACEY</character>
<dialogue>We do n't have any choice.</dialogue>
<character>HELEN</character>
<dialogue>Alice is a grown woman, she's a mother with a child of her own ; if she really loves you then she should.</dialogue>
<character>JACEY</character>
<parenthetical>( cutting her off . )</parenthetical>
<dialogue>All that matters is that I get her away from them before they find out.</dialogue>
<character>HELEN</character>
<dialogue>I ca n't be a party to that, Jacey.</dialogue>
<character>JACEY</character>
<dialogue>I do n't need your help. I'm not asking for it.</dialogue>
<character>HELEN</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>You'll have to find somewhere else to take Alice - I ca n't have you bringing her here again. I'm sorry.</dialogue>
<scene_description>She steps away from the screen door .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - ENTRY HALL AND STAIRCASE - NIGHT</stage_direction>
<scene_description>Alice comes in the front door and goes up the stairs .</scene_description>
<character>JOAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Alice? Where have you been? Susie cut her finger on the piano pedal. They're as sharp as razor blades.</dialogue>
<scene_description>Joan steps into the entry hall .</scene_description>
<character>JOAN</character>
<dialogue>Alice? Did you hear me? Susan cut her finger on the piano pedal.</dialogue>
<scene_description>Alice disappears at the top of the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - ENTRYWAY - LATE THAT NIGHT</stage_direction>
<scene_description>It is almost two o'clock in the morning . Helen has dozed off in her chair with a book on her lap . She is startled awake by a loud BANGING at the front door . Helen hurries to the door and opens it . Pamela is on the porch . She is out of breath and very distraught . Her CAR is parked in the middle of the street with its lights on and MOTOR RUNNING .</scene_description>
<character>HELEN</character>
<dialogue>Pamela, are you all right?</dialogue>
<character>PAMELA</character>
<dialogue>I need to talk to.</dialogue>
<scene_description>Jacey comes down the stairs , pulling on his bathrobe . Doug appears on the stairs behind him .</scene_description>
<character>JACEY</character>
<dialogue>What's wrong?</dialogue>
<character>PAMELA</character>
<dialogue>Alice took some pills, some of my mother's pills.</dialogue>
<character>JACEY</character>
<dialogue>Oh, Jesus, no.</dialogue>
<character>PAMELA</character>
<dialogue>She's all right, we took her to the hospital.</dialogue>
<character>JACEY</character>
<dialogue>I'll get dressed.</dialogue>
<character>PAMELA</character>
<dialogue>No!</dialogue>
<character>JACEY</character>
<dialogue>I have to see her.</dialogue>
<character>PAMELA</character>
<dialogue>No. That's why she sent me, she does n't want you to come, she was afraid you would if you heard from someone else. She's all right. They just want her to rest tonight, they said they might let her come home in a day or two. She just needs to rest. I've got to go, I'm supposed to be on my way home from the hospital.</dialogue>
<character>JACEY</character>
<dialogue>But I have to see her.</dialogue>
<character>PAMELA</character>
<dialogue>Dammit, no! I'm warning you, just wait! I'll let you know just as soon as she can see you. Please, do n't make things worse. Do n't.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME</stage_direction>
<scene_description>Pamela dashes back to her car . as Jacey walks down the remainder of the stairs and watches Pamela speed away .</scene_description>
<character>JACEY</character>
<dialogue>Jesus.</dialogue>
<scene_description>Helen closes the front door and turns to say something to Jacey , but he cuts her off :</scene_description>
<character>JACEY</character>
<dialogue>Leave me alone, just leave me alone.</dialogue>
<scene_description>Helen climbs the stairs , collects Doug at the top landing , and leads him away . Jacey punches his fist through a glass pane of the sheer - curtained sidelight beside the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - STREET - YARD - DAY (FIVE DAYS LATER)</stage_direction>
<scene_description>Doug is mowing the front lawn .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - JACEY'S BEDROOM - DAY</stage_direction>
<scene_description>The DRONE of the LAWN MOWER accompanies Jacey 's pacing . His face is haggard and unshaven . He glances out the window and sees something that sends him bolting out of his bedroom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - STREET - FRONT YARD - DAY (MOMENTS LATER)</stage_direction>
<scene_description>Pam 's convertible barely comes to a halt at the curb before Jacey comes charging out of the house to Pam . Doug is occupied with the lawn mower ; he does n't notice Pam and Jacey at first . -LRB- Jacey and Pam have to speak over the din of the LAWN MOWER . -RRB-</scene_description>
<character>JACEY</character>
<dialogue>How is she?</dialogue>
<character>PAMELA</character>
<dialogue>She's all right.</dialogue>
<character>JACEY</character>
<dialogue>Can I see her?</dialogue>
<character>PAMELA</character>
<dialogue>At the boathouse - at the lake.</dialogue>
<scene_description>Jacey turns and dashes up the driveway . Doug watches Jacey jump into the Plymouth and speed down the driveway and then up the street . Doug SHUTS OFF the LAWN MOWER and walks over to Pam .</scene_description>
<character>DOUG</character>
<dialogue>What's going on?</dialogue>
<scene_description>She looks at Doug with tears in her eyes .</scene_description>
<character>PAMELA</character>
<dialogue>I had to. for Alice's sake.</dialogue>
<character>DOUG</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>Had to what? What?</dialogue>
<character>PAMELA</character>
<dialogue>Tell Jacey I'm sorry.</dialogue>
<scene_description>Pam drives away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOATHOUSE (LAKE) - DAY</stage_direction>
<scene_description>The PLYMOUTH SKIDS to a stop behind the Abbott 's Town & Country station wagon . Jacey jumps out of his car and rushes into the boathouse .</scene_description>
</scene>
<scene>
<stage_direction>INT. BOATHOUSE - DAY</stage_direction>
<scene_description>Jacey discovers Lloyd Abbott waiting for him .</scene_description>
<character>LLOYD</character>
<dialogue>I have plans for my daughters, Mr. Holt, and they do n't include you. I know you. I know you better than you know me. I know all there is to know about screwing your way into a wealthy family. I'll never let you screw your way into mine.</dialogue>
<character>JACEY</character>
<dialogue>Where is she? Where's Alice?</dialogue>
<scene_description>Jacey turns and rushes out of the boathouse .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOATHOUSE - PLYMOUTH - DAY</stage_direction>
<scene_description>Jacey hops into the PLYMOUTH and PEELS OUT as he speeds away . Lloyd Abbott steps out of the boathouse and approaches the station wagon .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLYMOUTH (STREETS OF HALEY) - DAY</stage_direction>
<scene_description>Jacey speeds recklessly back into town .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - DRIVEWAY - DAY (MINUTES LATER)</stage_direction>
<scene_description>Jacey skids into the driveway and leaps out of the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - ENTRY HALL AND STAIRS - DAY</stage_direction>
<scene_description>Jacey bursts through the front door and cries out .</scene_description>
<character>JACEY</character>
<dialogue>Alice! Alice!</dialogue>
<scene_description>Joan Abbott rushes into the entry hall .</scene_description>
<character>JOAN</character>
<dialogue>Dear God!</dialogue>
<character>JACEY</character>
<dialogue>Where is she?! Alice! Alice!</dialogue>
<character>JOAN</character>
<dialogue>Who do you think you are?</dialogue>
<character>JACEY</character>
<dialogue>Dammit, where is she?!</dialogue>
<character>JOAN</character>
<dialogue>Get out!</dialogue>
<character>JACEY</character>
<dialogue>Alice!</dialogue>
<character>JOAN</character>
<dialogue>Get out of here!</dialogue>
<character>JACEY</character>
<dialogue>Alice!</dialogue>
<scene_description>Lloyd Abbott steps in the front door and drops his car keys into the silver bowl on the hall table .</scene_description>
<character>LLOYD</character>
<dialogue>Call the police, Joan.</dialogue>
<scene_description>Joan hurries away .</scene_description>
<character>JACEY</character>
<dialogue>You son - of - a - bitch! Where is she?!</dialogue>
<character>LLOYD</character>
<dialogue>Behind you, Mr. Holt.</dialogue>
<scene_description>Jacey turns and sees Alice standing at the top of the stairs . She is pale and drawn and wearing a bathrobe .</scene_description>
<character>JACEY</character>
<dialogue>Come with me. Please, Alice, just come with me now, right now.</dialogue>
<character>ALICE</character>
<dialogue>I told you. I ca n't.</dialogue>
<scene_description>She walks OUT OF VIEW . Lloyd steps up behind Jacey and says softly but with piercing intensity :</scene_description>
<character>LLOYD</character>
<dialogue>Now, get out of here, you runt stud. And keep your poor - boy dick out of my daughters.</dialogue>
<scene_description>Jacey turns and stares at Lloyd - then brushes past him on his way out the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - JACEY'S BEDROOM - LATER THAT DAY</stage_direction>
<scene_description>Jacey haphazardly packs his suitcases . His emotions have been spent . Helen stands in the doorway .</scene_description>
<character>HELEN</character>
<dialogue>Why spend all night and half the day tomorrow waiting in Chicago for the Philadelphia bus? Why not just wait and take the morning bus to Chicago?</dialogue>
<character>JACEY</character>
<dialogue>Because. the sooner I get out of this fucking town the better.</dialogue>
<character>HELEN</character>
<parenthetical>( slight beat ; stung . )</parenthetical>
<dialogue>Suit yourself.</dialogue>
</scene>
<scene>
<stage_direction>EXT./INT. ROAD/BUS (OUTSIDE HALEY) - EVENING (MAGIC HOURSHORT TIME LATER)</stage_direction>
<scene_description>Jacey does n't look out the window as the bus -LRB- on its way out of town -RRB- drives past the illuminated billboard that reads : `` MIDWEST STEEL DESK , INC. . - Welcomes You to Haley , Illinois . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DINING ROOM - LATER THAT NIGHT</stage_direction>
<scene_description>Doug and Helen sit across from each other , neither one has much of an appetite . They eat in silence for a few moments , then :</scene_description>
<character>DOUG</character>
<dialogue>Dammit. why ca n't he just leave them alone?</dialogue>
<character>HELEN</character>
<dialogue>Who?</dialogue>
<character>DOUG</character>
<dialogue>The Abbotts. I do n't know why. why could n't he just forget'em? Just pretend they did n't even exist?</dialogue>
<character>HELEN</character>
<dialogue>If the Abbotts did n't exist, Jacey would've had to invent them, one way or another. There are no ends of Abbotts in the world, if that's what you need. And he just needs that somehow. Well, actually, I know how.</dialogue>
<scene_description>She rises and picks up her plate .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - KITCHEN - CONTINUOUS ACTION - NIGHT</stage_direction>
<scene_description>Helen carries her plate to the sink . Doug follows her in .</scene_description>
<character>DOUG</character>
<dialogue>What do you mean, how do you know?</dialogue>
<scene_description>She sits at the kitchen table and sighs as if coming around to some central , hard truth .</scene_description>
<character>HELEN</character>
<dialogue>I was just a wreck when Charlie died. Jacey was almost two and I was eight months pregnant with you and. well, some mornings I'd be crying before I even woke up. Then you were born. And Jacey just got lost in there. I did n't have anything for him. Mother took him over. He'd cry or call for me, and then I'd hear Mother answer him, and I'd go back to sleep.</dialogue>
<parenthetical>( sighs bitterly . )</parenthetical>
<dialogue>I should've taken us away from here, gone somewhere else.</dialogue>
<character>DOUG</character>
<dialogue>Why?</dialogue>
<character>HELEN</character>
<dialogue>After Charlie died Lloyd Abbott started dropping by on his way home from work. He felt so bad about that bet Charlie made with him at the lake. That foolish, idiotic bet. Poor Lloyd - I felt sorry for him. He'd have a cup of coffee with Mother and me. If a doorknob had come off he'd fix it. He'd carry the garbage cans to the curb. Someone dies, people try to be helpful. But he was by here so often that people started to talk. It was fairly obvious that he wanted something more from me than just a cup of coffee. I suggested that he did n't need to stop by here so often, but. then one afternoon I was at Woolworth's, having lunch at the counter. All of sudden Joan Abbott was standing there - screaming and yelling at me to stop sleeping with her husband, with Lloyd. I was speechless. She was gone before I could find my tongue.</dialogue>
<character>DOUG</character>
<parenthetical>( stunned ; almost ill . )</parenthetical>
<dialogue>Christ.</dialogue>
<character>HELEN</character>
<dialogue>I went to see Joan, I tried to talk to her, to put her mind at ease, but.</dialogue>
<character>DOUG</character>
<dialogue>Dammit, why did n't Lloyd tell her that nothing had happened?</dialogue>
<character>HELEN</character>
<dialogue>I'm sure he did, but men always say that, darling. Besides, Lloyd was always having affairs. He's that type of man.</dialogue>
<character>DOUG</character>
<dialogue>Ahhh, Jesus. but why? Why did everyone in town believe Joan Abbott?</dialogue>
<character>HELEN</character>
<dialogue>Because she's Joan Abbott. If you cross Joan you do n't get invited to her parties - and the Abbotts have the best parties in town. The only parties.</dialogue>
<character>DOUG</character>
<dialogue>I hate this town. I hate the Abbotts.</dialogue>
<scene_description>He slaps the back of a chair and knocks it over .</scene_description>
<character>HELEN</character>
<dialogue>I'm sorry, Doug, I should n't have told you.</dialogue>
<character>DOUG</character>
<dialogue>I already knew.</dialogue>
<character>HELEN</character>
<dialogue>People still talk about it?</dialogue>
<character>DOUG</character>
<dialogue>No, I've never heard anyone talk about it. Not to me.</dialogue>
<character>HELEN</character>
<dialogue>Then how did?</dialogue>
<character>DOUG</character>
<dialogue>Jacey.</dialogue>
<character>HELEN</character>
<dialogue>Oh, Lord. he knows too?</dialogue>
<character>DOUG</character>
<dialogue>Yeah. But he thinks it really happened.</dialogue>
<scene_description>Helen is overcome with tears . Doug stares at her helplessly . He 's never seen his mother weep before .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE ROAD - DAY</stage_direction>
<scene_description>The bus cruises along the two - lane blacktop . Doug stares out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHILADELPHIA STREET - NIGHT (EARLY FALL 1959)</stage_direction>
<scene_description>Partygoers enter building .</scene_description>
</scene>
<scene>
<stage_direction>INT. JACEY'S APARTMENT</stage_direction>
<scene_description>A vintage , third - floor , railroad flat - sparsely furnished and neat as a pin . Jacey is hosting a party . A TONY BENNETT record -LRB- `` When Somebody Breaks Your Heart '' -RRB- plays on the hi - fi . The apartment is elbow - to - elbow with Penn men and attractive coeds from Radcliffe , Mt. Hollyoke , and Byrn Mawr . Doug sits in the middle of the sofa wedged between two coeds having separate , but equally animated conversations with two of Jacey 's classmates -LRB- who are perched on the arms of the sofa -RRB- . Doug wears a jacket and tie but his knack at looking out of place is intact . Jacey is apart from the others wooing a gorgeous CO - ED in a tight cashmere sweater .</scene_description>
<character>JACEY</character>
<dialogue>Airplanes, bridges, skyscrapers, bras, all utilize the same fundamentals of structural design.</dialogue>
<scene_description>With his finger he traces the back strap of her bra beneath her sweater .</scene_description>
<character>JACEY</character>
<dialogue>A stable foundation that resists compression.</dialogue>
<scene_description>His finger trails the shoulder strap of her bra .</scene_description>
<character>JACEY</character>
<dialogue>Carefully calculated suspension.</dialogue>
<scene_description>He draws his fingertip around the outside of her breast to the lower front of her bra .</scene_description>
<character>JACEY</character>
<dialogue>And cantilevered elements to provide support.</dialogue>
<scene_description>The Co - ed is bothered but none - the - less bewitched .</scene_description>
<character>CO-ED</character>
<dialogue>Ahh. you know, I'm engaged.</dialogue>
<character>JACEY</character>
<dialogue>So am I.</dialogue>
<character>CO-ED</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>You are?</dialogue>
<character>JACEY</character>
<dialogue>I'm engaged in conversation with you.</dialogue>
<scene_description>Jacey smiles and then kisses her . Doug is spying on them from the safety of the crowd . Jacey winks at Doug . Doug shakes his head in wonder .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPUS - SIDEWALK (UNIVERSITY OF PENNSYLVANIA, PHILADELPHIA) - DAY (MONTHS LATERLATE FALL, 1959)</stage_direction>
<scene_description>Doug walks along the sidewalk towards the entrance of the theater carrying some rolled - up plans under his arm . He reacts as he sees :</scene_description>
<character>DOUG</character>
<dialogue>Hey! Hey! Pam!</dialogue>
<scene_description>Pamela Abbott walks across the quad . Pam is 19 years old now , her beauty in full bloom . Doug jogs over to her .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>What are you up to?</dialogue>
<character>PAMELA</character>
<dialogue>I come down to use the library sometimes or go shopping.</dialogue>
<character>DOUG</character>
<dialogue>How's Bryn Mawr?</dialogue>
<character>PAMELA</character>
<dialogue>Very. Bryn. I got to catch the bus back.</dialogue>
<character>DOUG</character>
<dialogue>Just have to drop off these set designs - you want to go get something to eat?</dialogue>
<character>PAMELA</character>
<dialogue>I ca n't. Sorry.</dialogue>
<character>DOUG</character>
<dialogue>Why not? It's been a long time.</dialogue>
<character>PAMELA</character>
<dialogue>You seem taller.</dialogue>
<character>DOUG</character>
<parenthetical>( re : her figure . )</parenthetical>
<dialogue>And you seem. not so plain.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>So, dinner, okay?</dialogue>
<character>PAMELA</character>
<dialogue>I ca n't. I have to go to this party.</dialogue>
<character>DOUG</character>
<dialogue>What party?</dialogue>
<scene_description>The traffic light changes and the other pedestrians cross the street .</scene_description>
<character>PAMELA</character>
<dialogue>Just a party I got roped into going. Maybe some other time, okay? I mean it, really.</dialogue>
<character>DOUG</character>
<dialogue>Just call - I'm at Reed Hall.</dialogue>
<character>PAMELA</character>
<dialogue>Okay. Bye.</dialogue>
<character>DOUG</character>
<dialogue>Bye.</dialogue>
<scene_description>Doug watches her cross the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. REED HALL - DOUG'S DORM ROOM - THAT NIGHT</stage_direction>
<scene_description>Doug is revising a set design - deeply concentrating on his task . He 's startled by a KNOCK on the door .</scene_description>
<character>MALE STUDENT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, Holt! You got a visitor downstairs!</dialogue>
</scene>
<scene>
<stage_direction>INT. REED HALL - LOBBY - NIGHT (MINUTES LATER)</stage_direction>
<scene_description>Doug comes down the wide stairs with a puzzled look on his face . He stops at the front desk and the student clerk points to another part of the lobby . Doug walks across the cavernous lobby and finds Pamela Abbott slumped in a chair .</scene_description>
<character>DOUG</character>
<dialogue>Did you miss the bus?</dialogue>
<scene_description>Pam laughs and Doug suddenly realizes :</scene_description>
<character>DOUG</character>
<dialogue>Damn, you're drunk. Awww, man. I better get you out of here before the Puritans tar - and - feather you. Can you walk?</dialogue>
<scene_description>Pam awkwardly rises and Doug guides her to the door .</scene_description>
<character>DOUG</character>
<dialogue>Listen to me - go out the front door, turn right, go around to the side of the building and wait for me by the fire escape. Okay? Just wait.</dialogue>
</scene>
<scene>
<stage_direction>EXT. REED HALL - FIRE ESCAPE - NIGHT (MINUTES LATER)</stage_direction>
<scene_description>Pamela leans against the side of the building as the fire escape ladder descends to the pavement . Doug climbs down .</scene_description>
<character>DOUG</character>
<dialogue>Come on - up we go. Pam?</dialogue>
<scene_description>Pam keels over and vomits .</scene_description>
</scene>
<scene>
<stage_direction>INT. REED HALL - DOUG'S DORM ROOM - NIGHT</stage_direction>
<scene_description>Pam sits on the bed as Doug pulls her stained turtleneck sweater off over her head -LRB- she 's wearing a bra -RRB- .</scene_description>
<character>DOUG</character>
<dialogue>What were you drinking, Sterno?</dialogue>
<character>PAMELA</character>
<dialogue>I'm cold.</dialogue>
<character>DOUG</character>
<dialogue>Hold on, we got to get your pants too. Can you stand up.</dialogue>
<parenthetical>( as she collapses on the bed . )</parenthetical>
<dialogue>. -RRB- No, you ca n't stand up. All right.</dialogue>
<scene_description>He undoes the waist of her pants and tugs on her pant legs , but her panties start to slide off along with her pants .</scene_description>
<character>DOUG</character>
<dialogue>Nope, nope, let's keep the panties on, okay? Pam? Can you hold on to your underpants?</dialogue>
<parenthetical>( she 's out . )</parenthetical>
<dialogue>I'll hold on to your underpants.</dialogue>
<scene_description>He holds her panties in place while he struggles to get her pants over her hips .</scene_description>
</scene>
<scene>
<stage_direction>INT. REED HALL - RESTROOM - NIGHT</stage_direction>
<scene_description>Doug rinses out Pam 's clothes in a sink .</scene_description>
</scene>
<scene>
<stage_direction>INT. REED HALL - DOUG'S DORM ROOM - NIGHT</stage_direction>
<scene_description>Pam 's wet clothes have been draped over the radiator . Pam is passed out , tucked in under the covers . Doug sits on the edge of the bed gently cleaning her face with a damp washcloth .</scene_description>
</scene>
<scene>
<stage_direction>INT. DOUG'S DORM ROOM - NEXT MORNING</stage_direction>
<scene_description>Doug stirs from his sleeping spot on the floor -LRB- he slept with his clothes on -RRB- . He notices that Pam 's clothes have been removed from the radiator . He sits up and finds that the bed is empty . She 's gone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRYN MAWR - DORMITORY - TWO DAYS LATER</stage_direction>
<scene_description>Pamela approaches her dorm carrying an armload of books . She starts up the steps then stops when she sees Doug .</scene_description>
<character>DOUG</character>
<dialogue>You're welcome.</dialogue>
<character>PAMELA</character>
<dialogue>I'm sorry, Doug.</dialogue>
<character>DOUG</character>
<dialogue>Shit. That's it? You're sorry?</dialogue>
<character>PAMELA</character>
<parenthetical>( suddenly alarmed . )</parenthetical>
<dialogue>Oh Jesus. did we?</dialogue>
<character>DOUG</character>
<dialogue>Oh - Jesus - did - we what?</dialogue>
<character>PAMELA</character>
<dialogue>Did we. do it?</dialogue>
<character>DOUG</character>
<dialogue>What do you think?</dialogue>
<character>PAMELA</character>
<dialogue>I. do n't. remember.</dialogue>
<character>DOUG</character>
<dialogue>Goddammit. Well, I know you might find this hard to believe, but I do n't sleep with drunks.</dialogue>
<scene_description>He walks away . She calls after him .</scene_description>
<character>PAMELA</character>
<dialogue>Doug? Hey!</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. DOUG'S DORM ROOM/FIRE ESCAPE - THAT NIGHT</stage_direction>
<scene_description>Doug lounges on his bed reading a textbook . It is raining outside . He is startled by a TAPPING on the windowpane . Pamela is outside on the fire escape . He ignores her .</scene_description>
<character>PAMELA</character>
<dialogue>Doug! Open the window! Come on, I'm freezing. Doug!</dialogue>
<scene_description>He gets out of bed , unlatches the window , then returns to the bed and his book . Pamela opens the window -LRB- with difficulty -RRB- and climbs in . She drapes her wet coat over the radiator and sits in the desk chair .</scene_description>
<character>DOUG</character>
<dialogue>If you feel like you're gon na puke use the wastebasket there.</dialogue>
<character>PAMELA</character>
<dialogue>I'm sorry. I am so sorry. I was embarrassed. I did n't know where I was when I woke up. I felt like I was dying, so, I just. I was going to call you.</dialogue>
<scene_description>Doug does n't respond - he turns the page of his book .</scene_description>
<character>PAMELA</character>
<dialogue>I do n't know. I was blotto. I mean, I was so happy to see you. Then I just got sad. I got sad. And stupid. It happens, you know?</dialogue>
<scene_description>Doug snaps his book shut .</scene_description>
<character>DOUG</character>
<dialogue>You want to hear something stupid?</dialogue>
<character>PAMELA</character>
<dialogue>What?</dialogue>
<character>DOUG</character>
<dialogue>When I was cleaning you up, wiping the puke off your face, I suddenly realized how much I miss you - how much I love you. How's that for stupid?</dialogue>
<scene_description>Pam is stung by his flippancy , she begins to cry .</scene_description>
<character>DOUG</character>
<dialogue>What are you crying for?</dialogue>
<character>PAMELA</character>
<dialogue>I love you. But it's too late.</dialogue>
<character>DOUG</character>
<dialogue>Why?</dialogue>
<character>PAMELA</character>
<dialogue>Everything's too screwed up.</dialogue>
<scene_description>Doug kneels in front of her and anxiously tries to console her .</scene_description>
<character>DOUG</character>
<dialogue>No, no, it's not too late. It's perfect timing. We're on our own now. No Jacey and Eleanor or Jacey and Alice. That's what stinks about being the youngest, we have to sweep up after everybody else. But now it's just us. It's our turn.</dialogue>
<character>PAMELA</character>
<dialogue>How can you be in love with me?</dialogue>
<character>DOUG</character>
<dialogue>How can you be in love with me?</dialogue>
<character>PAMELA</character>
<dialogue>'Cause I've always have been. You. block - head.</dialogue>
<scene_description>He kisses her , then he gazes at her and strokes her hair .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>You want to see something?</dialogue>
<character>PAMELA</character>
<dialogue>What?</dialogue>
<character>DOUG</character>
<dialogue>Come on.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THEATER - SIDEWALK (UNIVERSITY OF PENNSYLVANIA, PHILADELPHIA) - NIGHT</stage_direction>
<scene_description>Doug and Pam hurry along the rain - swept sidewalk towards the theater .</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>The large theater is dark except for a single work light standing on the bare stage . Doug leads Pam by the hand down the aisle from the lobby .</scene_description>
<character>PAMELA</character>
<dialogue>What are we doing here?</dialogue>
<character>DOUG</character>
<dialogue>I want to show you something.</dialogue>
<scene_description>He escorts her up a short flight of steps and positions her center stage near the footlights .</scene_description>
<character>DOUG</character>
<dialogue>Just stand right there.</dialogue>
<scene_description>He takes the work light with him as he walks off stage . Then with a METALLIC CLANK everything goes dark .</scene_description>
<character>PAMELA</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>Doug!</dialogue>
<character>DOUG</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's all right - do n't move! Stay put.</dialogue>
<scene_description>There 's the RUMBLE and SQUEAK of a piece of SCENERY being rolled onto stage - then the SWOOSH of a backdrop being lowered from the fly loft .</scene_description>
<character>DOUG</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Almost, almost. hold on.</dialogue>
<scene_description>We hear Doug RUNNING somewhere backstage then a beautiful sunset slowly illuminates the stage - creating the perfect mood for the modestly scaled stylized set that Doug has put into place : It is the roof of a weathered farmhouse with a dormer window and a tall brick chimney . Doug steps on stage , he 's a bit winded from his quick - change routine .</scene_description>
<character>PAMELA</character>
<dialogue>Oh, Doug, it's beautiful.</dialogue>
<character>DOUG</character>
<dialogue>The senior acting class does scenes from different plays, they invite everybody, it's a real big deal. So, there's this competition among all the theater design students to do the sets. And - anyway - I'm the one whose design got picked.</dialogue>
<character>PAMELA</character>
<dialogue>What scene is it for? What play?</dialogue>
<character>DOUG</character>
<parenthetical>( a tad embarrassed . )</parenthetical>
<dialogue>Umm. Romeo and Juliet. It's something different, I think that's why they picked it. Everybody else was doing castles and stuff. Rooftop Romeo and Juliet by Douglas L. Holt.</dialogue>
<character>PAMELA</character>
<dialogue>You're really good at this.</dialogue>
<character>DOUG</character>
<dialogue>It's like building models when I was a kid. It's fun. It's. make - believe.</dialogue>
<character>PAMELA</character>
<dialogue>You know, they tore that old farmhouse down?</dialogue>
<character>DOUG</character>
<dialogue>Oh, no. Did they?</dialogue>
<character>PAMELA</character>
<dialogue>Yeah.</dialogue>
<character>DOUG</character>
<dialogue>They always tear down the wrong stuff.</dialogue>
<character>PAMELA</character>
<dialogue>Oh, Jesus, I missed you - so much.</dialogue>
<character>DOUG</character>
<dialogue>Missed you, too.</dialogue>
<scene_description>They kiss - then Pamela pulls away . Doug studies her , then :</scene_description>
<character>DOUG</character>
<dialogue>You have a boyfriend, right?</dialogue>
<character>PAMELA</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>Well, what? You worried what your old man would think?</dialogue>
<character>PAMELA</character>
<dialogue>He does n't care what I do, as long as I do n't do it in Haley.</dialogue>
<character>DOUG</character>
<dialogue>Then what's the problem?</dialogue>
<character>PAMELA</character>
<dialogue>I ca n't. do this.</dialogue>
<character>DOUG</character>
<dialogue>Why not? I mean. okay. We do n't have to go so fast. Shit, I'm sorry. I blew it again, huh?</dialogue>
<character>PAMELA</character>
<dialogue>No, I did.</dialogue>
<character>DOUG</character>
<dialogue>How?</dialogue>
<scene_description>Pam climbs down off the stage and starts up the aisle .</scene_description>
<character>PAMELA</character>
<dialogue>I'm on probation. They pulled a bed - check the night I was here. I have to be back in the dorm by ten. Got ta go.</dialogue>
<character>DOUG</character>
<dialogue>What about tomorrow? I could come up in the afternoon and.</dialogue>
<character>PAMELA</character>
<dialogue>No! It's just too late. It's all messed up. I ca n't seem to make things all right. The more I try the worse everything gets. I'm sorry.</dialogue>
<scene_description>Pam walks up the aisle and disappears through a door to the lobby .</scene_description>
<character>DOUG</character>
<dialogue>Pam! It's not too late!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRYN MAWR DORMITORY - LOBBY - LATER THAT NIGHT</stage_direction>
<scene_description>Pam enters the lobby . A female student CLERK -LRB- # 1 -RRB- displays a message as Pam passes by the front desk .</scene_description>
<character>CLERK #1</character>
<dialogue>Pam - some guy named Doug keeps calling for you.</dialogue>
<scene_description>Pam ignores the Clerk and the message and goes upstairs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRYN MAWR DORMITORY - DAY</stage_direction>
<scene_description>Pamela approaches her dorm . She stops as she sees Doug waiting beside the entrance . She turns and walks away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRYN MAWR DORMITORY - NIGHT</stage_direction>
<scene_description>Doug still waiting beside the entrance for some sign of Pam . He 's tired , cold , and hungry . He grinds out his cigarette with his heel and walks away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JACEY'S APT. (PHILADELPHIA STREET) - DAY (SUNDAY)</stage_direction>
</scene>
<scene>
<stage_direction>INT. JACEY'S APARTMENT</stage_direction>
<scene_description>Jacey sits in his favorite armchair reading the Sunday newspaper . Doug sits in the middle of the sofa . Jacey scrutinizes his brooding younger brother .</scene_description>
<character>JACEY</character>
<dialogue>What's wrong with you?</dialogue>
<character>DOUG</character>
<dialogue>Nothing.</dialogue>
<scene_description>A boiling water KETTLE starts to WHISTLE -LRB- O.S. -RRB- - Jacey goes into the kitchen to tend to it . There is a soft KNOCK on the front door . Doug goes to answer it . He opens the door and finds Pamela standing there with her coat in her hand . He is pleasantly surprised ; Pam is distant , slightly off - balance .</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<character>DOUG</character>
<dialogue>How did you know I was here?</dialogue>
<character>JACEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You want another cup of.</dialogue>
<scene_description>Jacey steps out of the kitchen and frowns when he sees Pam .</scene_description>
<character>JACEY</character>
<dialogue>I told you not to come by on Sundays.</dialogue>
<character>PAMELA</character>
<dialogue>I forgot.</dialogue>
<scene_description>The breath goes out of Doug as if he 'd been struck in the stomach .</scene_description>
<character>JACEY</character>
<dialogue>Dammit, why did n't you call first?</dialogue>
<character>PAMELA</character>
<dialogue>Did n't have any nickels.</dialogue>
<character>JACEY</character>
<dialogue>Well, I did n't expect to see you again. You want to fuck? I mean, that's why you came over, right?</dialogue>
<character>PAMELA</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Sure.</dialogue>
<character>JACEY</character>
<dialogue>Then take off your clothes.</dialogue>
<scene_description>Pamela drops her coat on the floor . She pulls her sweater off over her head . Doug 's anguish is as great as Pamela 's humiliation . He can not bear any more if this - he walks out the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JACEY'S APARTMENT (PHILADELPHIA) - SIDEWALK - DAY</stage_direction>
<scene_description>Doug comes out of the apartment house and walks up the sidewalk . Tears begins to stream down his face . He begins to run and run as fast as he can .</scene_description>
</scene>
<scene>
<stage_direction>INT. REED HALL (PHILADELPHIA) - LOBBY AND STAIRS THAT NIGHT</stage_direction>
<scene_description>Doug enters the dormitory and starts up the stairs .</scene_description>
<character>JACEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Doug.</dialogue>
<scene_description>Doug turns and finds Jacey at the foot of the stairs .</scene_description>
<character>DOUG</character>
<dialogue>Fuck you.</dialogue>
<scene_description>Doug continues up the stairs - Jacey pursues him .</scene_description>
<character>JACEY</character>
<dialogue>I did n't know.</dialogue>
<character>DOUG</character>
<dialogue>You did n't know what?!</dialogue>
<character>JACEY</character>
<dialogue>How you felt about Pam.</dialogue>
<character>DOUG</character>
<dialogue>Fuck you.</dialogue>
<character>JACEY</character>
<dialogue>I'm sorry.</dialogue>
<character>DOUG</character>
<dialogue>Apologize to her, you asshole!</dialogue>
<character>JACEY</character>
<dialogue>I did.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I ran into her a few weeks ago at a party. She was drinking and I. it was easy. She felt guilty about telling her father about Alice and me. Actually, I made her feel guilty, I made her feel like she had betrayed Alice.</dialogue>
<character>DOUG</character>
<dialogue>She did n't betray Alice! She was just trying to get rid of you so Alice would n't try to kill herself again. Jesus Christ, you shit - head, Alice could n't marry you!</dialogue>
<character>JACEY</character>
<dialogue>I know. I mean, I do now.</dialogue>
<character>DOUG</character>
<dialogue>Then what the hell did Pam ever do to deserve your revenge?</dialogue>
<character>JACEY</character>
<dialogue>Nothing.</dialogue>
<character>DOUG</character>
<dialogue>Just your way of evening the score with Lloyd Abbott, right?</dialogue>
<character>JACEY</character>
<dialogue>Right.</dialogue>
<scene_description>Doug spins and delivers a wild , roundhouse punch that lands brutally on the side of Jacey 's face - the impact knocks him down onto the steps . Jacey 's eyebrow has split open , he is blinded by blood .</scene_description>
<character>DOUG</character>
<dialogue>I do n't know you! I do n't know who the fuck you are! You fuck everything. You fuck everything up! Why did you have to fuck Pam, too?!</dialogue>
<scene_description>Doug walks away , leaving Jacey sitting on the steps , clutching a banister for support . He presses his palm to his eyebrow to squelch the flow of blood .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRYN MAWR DORMITORY - DAY</stage_direction>
<scene_description>Doug approaches Pam 's dormitory .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRYN MAWR DORMITORY - LOBBY - DAY</stage_direction>
<scene_description>Doug steps up to the female student CLERK -LRB- # 2 -RRB- at the front desk .</scene_description>
<character>DOUG</character>
<dialogue>Pamela Abbott, please. Tell her Doug is here.</dialogue>
<character>CLERK #2</character>
<dialogue>She's not here.</dialogue>
<character>DOUG</character>
<dialogue>I'll wait.</dialogue>
<character>CLERK #2</character>
<dialogue>But she left.</dialogue>
<character>DOUG</character>
<dialogue>What do you mean?</dialogue>
<character>CLERK #2</character>
<dialogue>She left. last night.</dialogue>
<character>DOUG</character>
<dialogue>Where did she go?</dialogue>
<character>CLERK #2</character>
<dialogue>I do n't know.</dialogue>
<character>DOUG</character>
<dialogue>Well, did she go home?</dialogue>
<character>CLERK #2</character>
<dialogue>No one seems to know. She just took some clothes and left.</dialogue>
<character>DOUG</character>
<parenthetical>( lost . )</parenthetical>
<dialogue>Oh, God. no.</dialogue>
<scene_description>His pain is so clear that it spurs the Clerk 's sympathy .</scene_description>
<character>CLERK #2</character>
<dialogue>Look, I'm not supposed to do this, but. well, I can give you her home address.</dialogue>
<character>DOUG</character>
<parenthetical>( explodes with irony . )</parenthetical>
<dialogue>Shit! Yeah, right.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I mean. thanks. Thanks anyway. I know her home address.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - DAY (DECEMBER, 1959)</stage_direction>
<scene_description>The Abbott house is decked with snow . Doug sits behind the wheel of the Plymouth . He 's parked down the street . He smokes a cigarette and stares at the house - the pavement outside the driver 's window is littered with butts .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHOP (DOWNTOWN HALEY) - DAY</stage_direction>
<scene_description>Alice comes out on the street laden with packages and shopping bags . She 's startled by Doug when he falls in beside her and follows her down the sidewalk .</scene_description>
<character>DOUG</character>
<dialogue>Where's Pam?</dialogue>
<character>ALICE</character>
<dialogue>I do n't know.</dialogue>
<character>DOUG</character>
<dialogue>Is she with Eleanor?</dialogue>
<character>ALICE</character>
<dialogue>I do n't know.</dialogue>
<character>DOUG</character>
<dialogue>In Chicago?</dialogue>
<character>ALICE</character>
<dialogue>I do n't know.</dialogue>
<character>DOUG</character>
<dialogue>I could n't find Eleanor's name in the Chicago phone book.</dialogue>
<character>ALICE</character>
<dialogue>Maybe it's unlisted.</dialogue>
<character>DOUG</character>
<dialogue>Well, do you know Eleanor's address?</dialogue>
<character>ALICE</character>
<dialogue>No. I do n't know her address, I do n't know her phone number. You'd have to ask my father for it. All right?</dialogue>
<scene_description>Alice turns and steps into another shop - leaving Doug behind on the sidewalk .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - LIVING ROOM - NIGHT (CHRISTMAS, 1959)</stage_direction>
<scene_description>PERRY COMO SINGS `` The Little Drummer Boy '' ON the TELEVISION . Doug rises from the sofa .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - KITCHEN - CONTINUOUS ACTION - NIGHT</stage_direction>
<scene_description>Helen is peeling apples to make a pie . Doug enters and studies her for a beat .</scene_description>
<character>DOUG</character>
<dialogue>Are you okay?</dialogue>
<character>HELEN</character>
<dialogue>I'm fine.</dialogue>
<character>DOUG</character>
<dialogue>You look. tired.</dialogue>
<character>HELEN</character>
<dialogue>Just a cold.</dialogue>
<character>DOUG</character>
<dialogue>You sure?</dialogue>
<character>HELEN</character>
<dialogue>I do wish Jacey had come home for Christmas. Maybe that's what's wrong with me.</dialogue>
<character>DOUG</character>
<dialogue>I guess that free - lance drafting job was too good for him to turn down.</dialogue>
<character>HELEN</character>
<dialogue>I do n't think that's why he did n't come home. I wrote him a letter, you know. About Lloyd and me. Has he mentioned it to you?</dialogue>
<character>DOUG</character>
<dialogue>No.</dialogue>
<scene_description>Doug wants to avoid the topic of Jacey . He opens the refrigerator .</scene_description>
<character>DOUG</character>
<dialogue>When did you start drinking beer?</dialogue>
<character>HELEN</character>
<dialogue>Oh. I bought those for you. I had them in the basement ; I kept forgetting to bring them up.</dialogue>
<scene_description>He does a bemused take on her .</scene_description>
<character>HELEN</character>
<dialogue>Good heavens, I know you drink beer.</dialogue>
<scene_description>Doug takes out two bottles of beer and opens them .</scene_description>
<character>DOUG</character>
<dialogue>Here. Have one with me.</dialogue>
<character>HELEN</character>
<dialogue>I bought those for you, honey.</dialogue>
<character>DOUG</character>
<dialogue>It's not good to drink alone, Mom.</dialogue>
<character>HELEN</character>
<dialogue>Do n't be silly.</dialogue>
<character>DOUG</character>
<dialogue>Come on. Sit down. Have a beer.</dialogue>
<scene_description>He pulls out a chair for her . She reluctantly comes over and sits down . Doug sits and proposes a toast .</scene_description>
<character>DOUG</character>
<dialogue>Merry Christmas.</dialogue>
<character>HELEN</character>
<dialogue>Merry Christmas.</dialogue>
<parenthetical>( takes a sip . )</parenthetical>
<dialogue>It's beer.</dialogue>
<character>DOUG</character>
<dialogue>Let's drink'em all.</dialogue>
<scene_description>Helen laughs girlishly .</scene_description>
<character>HELEN</character>
<dialogue>Charlie was always trying to get me to drink beer.</dialogue>
<character>DOUG</character>
<dialogue>Why do you always call him Charlie?</dialogue>
<character>HELEN</character>
<dialogue>That was his name.</dialogue>
<character>DOUG</character>
<dialogue>Why do n't you ever say ` your father'?</dialogue>
<character>HELEN</character>
<dialogue>Sometimes I do, do n't I? I do n't know. When I think of him, I think of ` Charlie.'</dialogue>
<character>DOUG</character>
<dialogue>Did you ever. meet anybody else?</dialogue>
<character>HELEN</character>
<dialogue>You mean another man?</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<character>HELEN</character>
<dialogue>Well, everyone always thinks things are more possible than they are. I mean, single men do n't stay in Haley if they have any starch. The only eligible man around was Drew Carter, but he smells like his dog.</dialogue>
<scene_description>Her remark cracks Doug up - Helen laughs , too .</scene_description>
<character>HELEN</character>
<dialogue>I wish I'd remembered the beers sooner. It's nice to see you smiling.</dialogue>
<character>DOUG</character>
<dialogue>Sorry.</dialogue>
<character>HELEN</character>
<dialogue>Do n't be. Everyone has sad times.</dialogue>
<scene_description>Doug dissolves into tears . He lowers his head and shields his eyes with his hand . Helen leans over and strokes his hair . After a few moments , he rises and wipes away his tears with a dish towel .</scene_description>
<character>HELEN</character>
<dialogue>I'll tell you a secret. I did have a friend. A man in Chicago. I used to see him when I went up to Chicago to visit Bea during summer vacations.</dialogue>
<character>DOUG</character>
<dialogue>` Used to see him' - you do n't see him anymore?</dialogue>
<character>HELEN</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>Did you like him?</dialogue>
<character>HELEN</character>
<dialogue>He was a wonderful man. A little boring, but really, very wonderful.</dialogue>
<character>DOUG</character>
<dialogue>How long did this go on?</dialogue>
<character>HELEN</character>
<dialogue>About eight years or so, it was when you boys were still at home.</dialogue>
<character>DOUG</character>
<dialogue>That's a long time. Did you ever think about marrying him?</dialogue>
<character>HELEN</character>
<dialogue>He proposed. But, well, obviously, I said no.</dialogue>
<character>DOUG</character>
<dialogue>Why?</dialogue>
<character>HELEN</character>
<dialogue>Because I'm in love with. your father. With my memory of him. He was the one for me. Oh, I do n't know. there's different kinds of love, darling. Some people you love no matter what. Other people you love if the situation is right. To me the best kind of love is the ` no matter what' kind.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Well, I am a cheap drunk, are n't I?</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRYSIDE - ROAD - DAYS LATER</stage_direction>
<scene_description>The bus cruises along the narrow ribbon of pavement . INSIDE BUS - ANGLE ON DOUG - sitting by himself ; there 's not many passengers today . We hear the VOICES of rambunctious CHILDREN .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALEY ELEMENTARY SCHOOL - CLASSROOM - DAY (LATE SPRING, 1960)</stage_direction>
<scene_description>The second - grade students are in the midst of an art project where they make a design by gluing various sorts of dried beans to colored paper - but the beans are being thrown about the room and other beans have been spilled on the floor . Helen wearily attempts to rein in the unruly children :</scene_description>
<character>HELEN</character>
<dialogue>Too much noise, please. Let's finish up. Keep the glue on the paper. Sam, Lillian, Jack - in your seats, please.</dialogue>
<scene_description>Helen suddenly loses her energy and interest in policing the children . Their hijinks continue as she steps out of the classroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALEY ELEMENTARY SCHOOL CORRIDOR - CONTINUOUS ACTION</stage_direction>
<scene_description>Helen steps over to a window and stares out - lost in her own thoughts and oblivious to the NOISE from her classroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. UNIVERSITY OF PENNSYLVANIA - THEATER - DAY (LATE SPRING, 1960)</stage_direction>
<scene_description>Doug is on a cat - walk in the fly loft high over the stage floor . He strains as he drops 20 pound slabs of pig - iron onto a counterweight carriage , then he releases the line and flies a canvas backdrop up into the loft . He locks off the line , wipes his brow , turns , and finds Jacey standing behind him .</scene_description>
<character>DOUG</character>
<dialogue>What - the - hell do you want?</dialogue>
<character>JACEY</character>
<dialogue>Mom.</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT TERMINAL (PHILADELPHIA) - THAT NIGHT</stage_direction>
<scene_description>Doug sits in an almost empty terminal waiting to catch a red - eye flight to Chicago . A group of just arrived stewardesses pass by chatting with a captain and other flight officers . Eleanor Abbott does a take on Doug , steps away from her co - workers , and doubles back to him .</scene_description>
<character>ELEANOR</character>
<dialogue>Hi, Doug!</dialogue>
<scene_description>Doug almost does n't recognize her . She is twenty years old now and very grown - up , very stylish in her stewardess uniform . She smiles at him .</scene_description>
<character>ELEANOR</character>
<dialogue>How's your chin?</dialogue>
<parenthetical>( as he does n't respond . )</parenthetical>
<dialogue>Remember. the pencil?</dialogue>
<character>DOUG</character>
<dialogue>Yeah. I have a little scar.</dialogue>
<character>ELEANOR</character>
<dialogue>You going home? Back to Hole - in - the - Ground, Illinois.</dialogue>
<character>DOUG</character>
<dialogue>My mother died.</dialogue>
<character>ELEANOR</character>
<parenthetical>( taken aback . )</parenthetical>
<dialogue>Oh God. Oh no. Oh, Doug, I'm sorry.</dialogue>
<character>DOUG</character>
<dialogue>She had cancer. I just saw her Christmas. She was tired, but I thought she just had the flu or something. She did n't tell us. The hospital told Jacey when they called him.</dialogue>
<character>ELEANOR</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>How is Jacey?</dialogue>
<character>DOUG</character>
<dialogue>He had to stay to take his state board exams. He's coming back the day after tomorrow.</dialogue>
<character>ELEANOR</character>
<dialogue>He's an architect?</dialogue>
<character>DOUG</character>
<dialogue>If he passes his exams. He will.</dialogue>
<character>ELEANOR</character>
<dialogue>I'm so sorry, Doug.</dialogue>
<character>DOUG</character>
<dialogue>You know, I tried to find your phone number a couple of months ago.</dialogue>
<character>ELEANOR</character>
<dialogue>It's in my roommate's name, I've got to fix that.</dialogue>
<character>DOUG</character>
<dialogue>I was wondering if you knew where Pam was?</dialogue>
<character>ELEANOR</character>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>No. I do n't.</dialogue>
<character>DOUG</character>
<dialogue>She left school.</dialogue>
<character>ELEANOR</character>
<dialogue>I know. My father called me. He was looking for her. I do n't know where she is. I got ta run - I'll miss my ride to the hotel.</dialogue>
<character>DOUG</character>
<dialogue>Tell Pam I love her.</dialogue>
<scene_description>Eleanor looks at him .</scene_description>
<character>DOUG</character>
<dialogue>Tell her. just tell her that.</dialogue>
<scene_description>Eleanor does n't reply . She turns and walks away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FUNERAL HOME (HALEY) - ALLEY - DAYS LATER</stage_direction>
<scene_description>The distance between Jacey and Doug is telling , as is the difference in their behavior . Doug leans against a wall with his hands in his pockets , his eyes cast down on his shoes . Jacey roams the alley unable to stand still for grief . He lights a fresh cigarette off the butt of another .</scene_description>
<character>JACEY</character>
<dialogue>Why? Why did n't she tell us?</dialogue>
<scene_description>The FUNERAL DIRECTOR appears in the back door :</scene_description>
<character>FUNERAL DIRECTOR</character>
<dialogue>Gentlemen.</dialogue>
</scene>
<scene>
<stage_direction>INT. FUNERAL HOME (HALEY) - DAY (MINUTES LATER)</stage_direction>
<scene_description>Helen 's closed casket is surrounded by floral tributes . Doug and Jacey enter from a door near the casket - they pause in reaction to the crowded parlor , it overflows with mourners . Jacey explodes under his breath , so that only Doug can hear :</scene_description>
<character>JACEY</character>
<dialogue>Fucking hypocrites - every one of'em.</dialogue>
<scene_description>Jacey turns and walks out through the door they came in . Doug walks over to his seat in the front row - he hesitates when he sees Lloyd Abbott standing in the back of the parlor .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - DINING ROOM - NEXT DAY</stage_direction>
<scene_description>Doug sits at the table wrapping dishes in newspaper . Jacey comes in with a framed photograph of their grandmother .</scene_description>
<character>JACEY</character>
<dialogue>Do you want this picture of Grandma?</dialogue>
<character>DOUG</character>
<dialogue>You can have it.</dialogue>
<character>JACEY</character>
<dialogue>You sure?</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jacey steps out of the dining room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLT HOME - HELEN'S BEDROOM - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>Jacey is packing Helen 's things . Doug steps in the doorway .</scene_description>
<character>DOUG</character>
<dialogue>I'm starving. You want to go get something to eat?</dialogue>
<scene_description>Jacey is caught a bit off - guard by Doug 's invitation , then :</scene_description>
<character>JACEY</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. IRON SKILLET - NIGHT</stage_direction>
<scene_description>Jacey and Doug are seated in a window booth . They eat in silence , then :</scene_description>
<character>DOUG</character>
<dialogue>You do n't have to stick around. I can handle things here.</dialogue>
<character>JACEY</character>
<dialogue>What about school?</dialogue>
<character>DOUG</character>
<dialogue>I hate Penn.. Always have. You were right.</dialogue>
<character>JACEY</character>
<dialogue>About what?</dialogue>
<character>DOUG</character>
<dialogue>I should live my own life. Stop being your shadow. I'm not like you, Jacey - I do n't want to be like you.</dialogue>
<character>JACEY</character>
<dialogue>You going to stay here? In Haley?</dialogue>
<character>DOUG</character>
<dialogue>No. I was thinking New York. If I'm going to really learn how to design sets, that's the place to do it.</dialogue>
<character>JACEY</character>
<parenthetical>( long beat . )</parenthetical>
<dialogue>I'm sorry.</dialogue>
<character>DOUG</character>
<dialogue>I know you are.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>Did you have to get stitches?</dialogue>
<character>JACEY</character>
<dialogue>Hmmm?</dialogue>
<character>DOUG</character>
<dialogue>Your eyebrow.</dialogue>
<character>JACEY</character>
<dialogue>My eyebrow - yeah, ten stitches.</dialogue>
<character>DOUG</character>
<dialogue>Sorry.</dialogue>
<scene_description>Doug takes an envelope out of his coat pocket and puts it on the table .</scene_description>
<character>DOUG</character>
<dialogue>Found this in one of the boxes in the basement.</dialogue>
<character>JACEY</character>
<dialogue>What is it?</dialogue>
<character>DOUG</character>
<dialogue>A letter of agreement between Lloyd Abbott and Dad. Dad sold him the file drawer patent - not Mom.</dialogue>
<scene_description>Jacey opens the envelope and studies the yellowed document .</scene_description>
<character>JACEY</character>
<parenthetical>( re : document . )</parenthetical>
<dialogue>A car?</dialogue>
<character>DOUG</character>
<dialogue>Yup.</dialogue>
<character>JACEY</character>
<dialogue>Jesus Christ. he sold the patent for a used car?</dialogue>
<character>DOUG</character>
<dialogue>Used cars were the only kind of cars around. The war was on - everything was mobilized. They stopped making new cars, they were making tanks and bombers in Detroit. And even Midwest Steel was n't making desks, they were making ammo boxes and mortar shells.</dialogue>
<character>JACEY</character>
<dialogue>How did you get to be such an expert on World War Two?</dialogue>
<character>DOUG</character>
<dialogue>U.S. History - high school. I should be an expert, I had to take the damn class twice. I guess Dad needed a car and he figured who - the - hell needed a full - suspension file drawer?</dialogue>
<character>JACEY</character>
<parenthetical>( reading aloud . ) '</parenthetical>
<dialogue>1937 Desoto coupe convertible as is.'</dialogue>
<character>DOUG</character>
<dialogue>Wonder whatever happened to it?</dialogue>
<character>JACEY</character>
<dialogue>He parked it at the bottom of the lake.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUS DEPOT (DOWNTOWN HALEY) - NEXT DAY</stage_direction>
<scene_description>Doug follows Jacey to the door of the bus . Neither one of them knows how to say good - bye , after an awkward beat :</scene_description>
<character>JACEY</character>
<parenthetical>( fighting back tears . )</parenthetical>
<dialogue>Do me a favor. Do n't stand here and wave good - bye. it makes me think of Mom.</dialogue>
<character>DOUG</character>
<dialogue>Okay. See you.</dialogue>
<scene_description>Doug turns and walks away . Jacey climbs onto the bus .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBOTT HOME - STREET - DAY</stage_direction>
<scene_description>Doug drives home from the bus depot in the old Plymouth . He slows as he sees . the party tent in the Abbotts ' front yard -LRB- with its canvas sides rolled up -RRB- . Susan 's third birthday party is underway , dozens of well - dressed children and their parents are in attendance . Alice -LRB- who is very pregnant -RRB- and Peter Vanlaningham and Lloyd and Joan Abbott watch Susan riding her new pony , a gift from her grandparents . A new generation of Abbott parties has begun .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOLT HOME - DRIVEWAY - DAY</stage_direction>
<scene_description>A `` For Sale '' sign has been placed on the front yard . Doug pulls up the driveway in the Plymouth . He turns OFF the ENGINE but does n't get out of the car . Then he STARTS the CAR again and backs out of the driveway .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOME - TENT - DAY (SHORT TIME LATER)</stage_direction>
<scene_description>Despite it being a birthday party for a three - year - old , this is very much a grown - up affair . The band is playing , the adults are dancing , Joan Abbott is flitting from guest - to - guest , Alice is dutifully silent while Peter dominates the talk at their table , Lloyd is with his cronies . Doug enters the tent - one - by - one the guests take notice of him as he works his way across the tent - and all are very aware of his uninvited presence by the time he reaches Lloyd Abbott . Lloyd scrutinizes Doug , then :</scene_description>
<character>LLOYD</character>
<dialogue>What do you want?</dialogue>
<character>DOUG</character>
<dialogue>I want to talk to you.</dialogue>
</scene>
<scene>
<stage_direction>INT. ABBOTT HOUSE - DEN - DAY</stage_direction>
<scene_description>Doug follows Lloyd into the dark - paneled room .</scene_description>
<character>LLOYD</character>
<dialogue>Shut the door.</dialogue>
<scene_description>Doug closes the door . Lloyd lights a cigarette .</scene_description>
<character>LLOYD</character>
<dialogue>Smoke?</dialogue>
<character>DOUG</character>
<dialogue>No thanks.</dialogue>
<character>LLOYD</character>
<dialogue>Sit down.</dialogue>
<character>DOUG</character>
<dialogue>I do n't want to.</dialogue>
<character>LLOYD</character>
<dialogue>Then do n't.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I'm sorry about your mother.</dialogue>
<character>DOUG</character>
<dialogue>Sorry about what?</dialogue>
<character>LLOYD</character>
<dialogue>You did n't know your mother at all if you think someone like me would've ever stood a chance with someone like her. That just goes to show you how stupid this town is - that they'd believe she slept with me. That'd make Charlie laugh. Your old man was my best friend. He used to call me ` Egg - head' - hell, everybody did. And back then everybody knew that Egg - head Abbott did n't stand a snowball's chance in hell with Helen Riley. Of course, that was all before I became Lloyd Abbott - Mr. Abbott. That was back when I still had chicken shit on my shoes and twelve cents in my pocket. Charlie Holt was the only one good enough for Helen. I used to spy on'em - yup, I did.</dialogue>
<parenthetical>( fixes a drink . )</parenthetical>
<dialogue>Used to watch them sit on the front porch of her house - your house - and watch'em talk. And talk. I never knew what to say to a girl. Never could just talk. Could dance, could listen to the radio. But I could n't talk. except with your mother, except with Helen. I talked more to her after your dad died than I'd ever talked to any woman before then - or since then. Jesus, I talked. Just like this. Just like right now. Just pouring out. Helen would listen and whatever I said, she'd never make me feel bad or ignorant or guilty. I mean. for Christ's sake, she never blamed me for what happened at the lake, for letting Charlie drive out on that ice. She never did anything but try to make me hurt less and I.</dialogue>
<scene_description>Lloyd is startled by Joan as she opens the door .</scene_description>
<character>JOAN</character>
<dialogue>Lloyd?</dialogue>
<character>LLOYD</character>
<dialogue>Get out of here!</dialogue>
<character>JOAN</character>
<dialogue>It's time for Susie's birthday cake.</dialogue>
<character>LLOYD</character>
<parenthetical>( exploding . )</parenthetical>
<dialogue>Goddammit, Joan, go way! Get the hell out of here! Leave me alone!</dialogue>
<scene_description>He hurls his GLASS at her and it SHATTERS on the door jamb . Joan recoils in dumb - founded shock and backs out of the doorway . Lloyd fumes over and slams the door shut in her face . He leans against the door and catches his breath .</scene_description>
<character>LLOYD</character>
<dialogue>I wanted sons - is n't that funny? I wanted sons and I got three daughters. I wanted a woman I could talk to and I got a woman whose ears are stuffed full of money and Percodan. But I got the chicken shit off my shoes. My shoes are clean.</dialogue>
<parenthetical>( slight beat . )</parenthetical>
<dialogue>I know that's what Jacey thinks. I could always tell by the way he looked at me - even when he was a little boy - like I owed him something. But, goddammit, he's wrong. That bet was your father's idea and I never meant your mother any harm. I would've done anything for her - anything. I loved her. But the only thing she ever wanted from me was just for me to leave her alone.</dialogue>
<scene_description>He pours himself a fresh drink , then turns to Doug :</scene_description>
<character>LLOYD</character>
<dialogue>So, what do you want?</dialogue>
<character>DOUG</character>
<dialogue>I want to find Pam - and you're going to tell me where she is.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROWNSTONE APARTMENT BUILDING (CHICAGO) - THAT NIGHT</stage_direction>
<scene_description>Doug navigates the busy sidewalk to the entrance of the building . He checks the number over the door to the address on the scrap of paper in his hand .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING DOORWAY - ELEANOR'S APARTMENT NIGHT (MINUTES LATER)</stage_direction>
<scene_description>Doug knocks on the door . Eleanor opens it , she 's dressed for work in her stewardess uniform . She 's obviously surprised to find Doug on her doorstep , but she greets him with a warm smile .</scene_description>
<character>DOUG</character>
<dialogue>Where is she?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEPARTMENT STORE DISPLAY WINDOW (CHICAGO) SIDEWALK - NIGHT (SHORT TIME LATER)</stage_direction>
<scene_description>Pamela dresses a mannequin in the display window . As she moves behind the mannequin to fasten a garment she sees Doug standing on the other side of the glass watching her from the sidewalk . Doug writes a message on the plate glass window with his index finger -LRB- printing the letters in reverse so that the message is legible from Pam 's POV -RRB- ; his message reads : `` I love you . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEPARTMENT STORE ENTRANCE - SIDEWALK - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>Pamela comes out of the store via the revolving door and finds Doug waiting for her on the sidewalk .</scene_description>
<character>PAMELA</character>
<dialogue>How can you?</dialogue>
<character>DOUG</character>
<dialogue>How can I what?</dialogue>
<character>PAMELA</character>
<dialogue>Ever. forgive me?</dialogue>
<character>DOUG</character>
<dialogue>You always loved me no matter what I did, right?</dialogue>
<character>PAMELA</character>
<dialogue>Yeah.</dialogue>
<character>DOUG</character>
<dialogue>Maybe that's how I love you - no matter what. That's the best kind of love, you know?</dialogue>
<character>PAMELA</character>
<dialogue>But. oh, Jesus. how do we start all over again?</dialogue>
<scene_description>Pam 's eyes fill with tears . Doug steps over to her and embraces her tenderly , holding her close .</scene_description>
<character>DOUG</character>
<dialogue>There. We're doing it.</dialogue>
<character>PAMELA</character>
<parenthetical>( through her tears . )</parenthetical>
<dialogue>Doing what?</dialogue>
<character>DOUG</character>
<dialogue>Starting over. So, what are you doing tonight? You want to go out?</dialogue>
<character>PAMELA</character>
<dialogue>You're crazy.</dialogue>
<character>DOUG</character>
<dialogue>Some people never change.</dialogue>
<scene_description>He wipes her tears from her cheeks with his fingers , then gives a short , but sweet , kiss . Then he smiles :</scene_description>
<character>DOUG</character>
<dialogue>Hi.</dialogue>
<character>PAMELA</character>
<dialogue>Hi.</dialogue>
<scene_description>FADE OUT . THE END</scene_description>
</scene>
</script> | The lives of two closely linked families dangerously intersect in a small Illinois town in the 1950s. Two brothers, Jacey and Doug Holt are growing up in Haley, Illinois, sons of a working single mother. Their father, a reckless risk-taker, has lost his life via a bet with Lloyd Abbott (Will Patton), his business partner. Abbott eventually becomes one of the town's foremost, wealthiest and most-admired citizens. The lives of the Holts and the Abbotts are intertwined through various entanglements. Lloyd Abbott and his distant wife, Joan, are the parents of three beautiful daughters, Alice, Eleanor and Pamela. Because of a misunderstanding of the circumstances surrounding his father's death (a supposed bet with Abbott that took the elder Holt's life), Jacey (Billy Crudup) seeks revenge on the Abbotts through the calculated seduction of the Abbott daughters. At first, Jacey cannot wait to escape the suffocating life in Haley; later in the film, however, he is pulled back as he idolizes the Abbott family, and obsesses about the oldest daughter, Alice (Joanna Going), thus seeking to jockey his way into the Abbott family. At first, Doug (Joaquin Phoenix), the younger brother, admires and worships his brother's libertine lifestyle. However, as he matures, he discovers that all that glitters is not gold. He eventually falls in love with the youngest, virginal Abbott, Pamela (Liv Tyler), who protests his early, fumbling sexual advances, and she forces him to appreciate her for who she is, not what she may offer up to him. Meanwhile, Eleanor (Jennifer Connelly) is sent away to stewardess school after she and Jacey are caught by Lloyd Abbott, who cannot keep them apart. After two years of being apart from each other, Doug and Pamela meet again by chance while they are in college in Philadelphia. However, Doug and Jacey are brought back to Haley after their mother's death. They also find a letter from their late father that says he has sold their patent for a 1937 DeSoto Coupe convertible. Despite the obstacles that Lloyd Abbott places in the way of any of the Holt brothers ever seeing his daughters again, Doug convinces Abbott at the end of the story of his true love for Pamela and receives his blessing on a future relationship. |
The Big Lebowski_1998 | tt0118715 | <script>
<scene>
<stage_direction>THE BIG LEBOWSKI</stage_direction>
<scene_description>We are floating up a steep scrubby slope . We hear male voices gently singing `` Tumbling Tumbleweeds '' and a deep , affable , Western - accented voice - Sam Elliot 's , perhaps :</scene_description>
<character>VOICE-OVER</character>
<dialogue>A way out west there was a fella, fella I want to tell you about, fella by the name of Jeff Lebowski. At least, that was the handle his lovin' parents gave him, but he never had much use for it himself. This Lebowski, he called himself the Dude. Now, Dude, that's a name no one would self - apply where I come from. But then, there was a lot about the Dude that did n't make a whole lot of sense to me. And a lot about where he lived, like - wise. But then again, maybe that's why I found the place s ` durned innarestin'.</dialogue>
<scene_description>We top the rise and the smoggy vastness of Los Angeles at twilight stretches out before us .</scene_description>
<character>VOICE-OVER</character>
<dialogue>They call Los Angeles the City of Angels. I did n't find it to be that exactly, but I'll allow as there are some nice folks there. ` Course, I ca n't say I seen London, and I never been to France, and I ai n't never seen no queen in her damn undies as the fella says. But I'll tell you what, after seeing Los Angeles and thisahere story I'm about to unfold - wal, I guess I seen somethin' ever' bit as stupefyin' as ya'd see in any a those other places, and in English too, so I can die with a smile on my face without feelin' like the good Lord gypped me.</dialogue>
</scene>
<scene>
<stage_direction>INTERIOR RALPH'S</stage_direction>
<scene_description>It is late , the supermarket all but deserted . We are tracking in on a fortyish man in Bermuda shorts and sunglasses at the dairy case . He is the Dude . His rumpled look and relaxed manner suggest a man in whom casualness runs deep . He is feeling quarts of milk for coldness and examining their expiration dates .</scene_description>
<character>VOICE-OVER</character>
<dialogue>Now this story I'm about to unfold took place back in the early nineties - just about the time of our conflict with Sad'm and the Eye - rackies. I only mention it'cause some - times there's a man - I wo n't say a hee - ro,'cause what's a hee - ro? - but sometimes there's a man.</dialogue>
<scene_description>The Dude glances furtively about and then opens a quart of milk . He sticks his nose in the spout and sniffs .</scene_description>
<character>VOICE-OVER</character>
<dialogue>And I'm talkin' about the Dude here - sometimes there's a man who, wal, he's the man for his time'n place, he fits right in there - and that's the Dude, in Los Angeles.</dialogue>
<scene_description>CHECKOUT GIRL She waits , arms folded . A small black - and white TV next to her register shows George Bush on the White House lawn with helicopter rotors spinning behind him .</scene_description>
<character>GEORGE BUSH</character>
<dialogue>This aggression will not stand. This will not stand!</dialogue>
<scene_description>The Dude , peeking over his shades , scribbles something at the little customer 's lectern . Milk beads his mustache .</scene_description>
<character>VOICE-OVER</character>
<dialogue>and even if he's a lazy man, and the Dude was certainly that - quite possibly the laziest in Los Angeles County.</dialogue>
<scene_description>The Dude has his Ralph 's Shopper 's Club card to one side and is making out a check to Ralph 's for sixty - nine cents .</scene_description>
<character>VOICE-OVER</character>
<dialogue>which would place him high in the runnin' for laziest worldwide - but sometimes there's a man. sometimes there's a man.</dialogue>
</scene>
<scene>
<stage_direction>EXTERIOR RALPH'S</stage_direction>
<scene_description>Long shot of the glowing Ralph 's . There are only two or three cars parked in the huge lot .</scene_description>
<character>VOICE-OVER</character>
<dialogue>Wal, I lost m ` train of thought here. But - aw hell, I done innerduced him enough.</dialogue>
<scene_description>The Dude is a small figure walking across the vast lot . Next to him walks a Mexican carry - out boy in a red apron and cap carrying a small brown bag holding the quart of milk . The two men 's footsteps echo in the still of the night . After a beat of walking the Dude offhandedly points .</scene_description>
<character>DUDE</character>
<dialogue>It's the LeBaron.</dialogue>
<scene_description>DUDE 'S HOUSE The Dude is going up the walkway of a small Venice bungalow court . He holds the paper sack in one hand and a small leatherette satchel in the other . He awkwardly hugs the grocery bag against his chest as he turns a key in his door . INSIDE The Dude enters and flicks on a light . His head is grabbed from behind and tucked into an armpit . We track with him as he is rushed through the living room , his arm holding the satchel flailing away from his body . Going into the bedroom the outflung satchel catches a piece of doorframe and wallboard and rips through it , leaving a hole . The Dude is propelled across the bedroom and on into a small bathroom , the satchel once again taking away a piece of doorframe . His head is plunged into the toilet . The paper bag hugged to his chest explodes milk as it hits the toilet rim and the satchel pulverizes tile as it crashes to the floor . The Dude blows bubbles .</scene_description>
<character>VOICE</character>
<dialogue>We want that money, Lebowski. Bunny said you were good for it.</dialogue>
<scene_description>Hands haul the Dude out of the toilet . The Dude blubbers and gasps for air .</scene_description>
<character>VOICE</character>
<dialogue>Where's the money, Lebowski!</dialogue>
<scene_description>His head is plunged back into the toilet .</scene_description>
<character>VOICE</character>
<dialogue>Where's the money, Lebowski!</dialogue>
<scene_description>The hands haul him out again , dripping and gasping .</scene_description>
<character>VOICE</character>
<dialogue>WHERE'S THE FUCKING MONEY, SHITHEAD!</dialogue>
<character>DUDE</character>
<dialogue>It's uh, it's down there somewhere. Lem me take another look.</dialogue>
<scene_description>His head is plunged back in .</scene_description>
<character>VOICE</character>
<dialogue>Do n't fuck with us. If your wife owes money to Jackie Treehorn, that means you owe money to Jackie Treehorn.</dialogue>
<scene_description>The inquisitor hauls the Dude 's head out one last time and flops him over so that he sits on the floor , back against the toilet . The Dude gropes back in the toilet with one hand . Looming over him is a strapping blond man . Beyond in the living room a young Chinese man unzips his fly and walks over to a rug .</scene_description>
<character>CHINESE MAN</character>
<dialogue>Ever thus to deadbeats, Lebowski.</dialogue>
<scene_description>He starts peeing on the rug . The Dude 's hand comes out of the toilet bowl with his sunglasses .</scene_description>
<character>DUDE</character>
<dialogue>Oh, man. Do n't do -</dialogue>
<character>BLOND MAN</character>
<dialogue>You see what happens? You see what happens, Lebowski?</dialogue>
<scene_description>The Dude puts on his dripping sunglasses .</scene_description>
<character>DUDE</character>
<dialogue>Look, nobody calls me Lebowski. You got the wrong guy. I'm the Dude, man.</dialogue>
<character>BLOND MAN</character>
<dialogue>Your name is Lebowski. Your wife is Bunny.</dialogue>
<character>DUDE</character>
<dialogue>Bunny? Look, moron.</dialogue>
<scene_description>He holds up his hands .</scene_description>
<character>DUDE</character>
<dialogue>You see a wedding ring? Does this place look like I'm fucking married? All my plants are dead!</dialogue>
<scene_description>The blond man stoops to unzip the satchel . He pulls out a bowling ball and examines it in the manner of a superstitious native .</scene_description>
<character>BLOND MAN</character>
<dialogue>The fuck is this?</dialogue>
<scene_description>The Dude pats at his pockets , takes out a joint and lights it .</scene_description>
<character>DUDE</character>
<dialogue>Obviously you're not a golfer.</dialogue>
<scene_description>The blond man drops the ball which pulverizes more tile .</scene_description>
<character>BLOND MAN</character>
<dialogue>Woo?</dialogue>
<scene_description>The Chinese man is zipping his fly .</scene_description>
<character>WOO</character>
<dialogue>Yeah?</dialogue>
<character>BLOND MAN</character>
<dialogue>Was n't this guy supposed to be a millionaire?</dialogue>
<character>WOO</character>
<dialogue>Uh?</dialogue>
<scene_description>They both look around .</scene_description>
<character>WOO</character>
<dialogue>Fuck.</dialogue>
<character>BLOND MAN</character>
<dialogue>What do you think?</dialogue>
<character>WOO</character>
<dialogue>He looks like a fuckin' loser.</dialogue>
<scene_description>The Dude pulls his sunglasses down his nose with one finger and peeks over them .</scene_description>
<character>DUDE</character>
<dialogue>Hey. At least I'm housebroken.</dialogue>
<scene_description>The two men look at each other . They turn to leave .</scene_description>
<character>WOO</character>
<dialogue>Fuckin' waste of time.</dialogue>
<scene_description>The blond man turns testily at the door .</scene_description>
<character>BLOND MAN</character>
<dialogue>Thanks a lot, asshole.</dialogue>
<scene_description>BOWLING PINS Scattered by a strike . Music and head credits play over various bowling shots - pins flying , bowlers hoisting balls , balls gliding down lanes , sliding feet , graceful releases , ball return spinning up a ball , fingers sliding into fingerholes , etc. . The music turns into boomy source music , coming from a distant jukebox , as the credits end over a clattering strike . A lanky blonde man with stringy hair tied back in a ponytail turns from the strike to walk back to the bench .</scene_description>
<character>MAN</character>
<dialogue>Hot damn, I'm throwin' rocks tonight. Mark it, Dude.</dialogue>
<scene_description>We are tracking in on the circular bench towards a big man nursing a large plastic cup of Bud . He has dark worried eyes and a goatee . Hairy legs emerge from his khaki shorts . He also wears a khaki army surplus shirt with the sleeves cut off over an old bowling shirt . This is Walter . He squints through the smoke from his own cigarette as he addresses the Dude at the scoring table . The Dude , also holding a large plastic cup of Bud , wears some of its foam on his mustache .</scene_description>
<character>WALTER</character>
<dialogue>This was a valued rug.</dialogue>
<scene_description>He elaborately clears his throat .</scene_description>
<character>WALTER</character>
<dialogue>This was, uh -</dialogue>
<character>DUDE</character>
<dialogue>Yeah man, it really tied the room together -</dialogue>
<character>WALTER</character>
<dialogue>This was a valued, uh.</dialogue>
<scene_description>Donny , the strike - scoring bowler , enters and sits next Walter .</scene_description>
<character>DONNY</character>
<dialogue>What tied the room together, Dude?</dialogue>
<character>WALTER</character>
<dialogue>Were you listening to the story, Donny?</dialogue>
<character>DONNY</character>
<dialogue>What -</dialogue>
<character>WALTER</character>
<dialogue>Were you listening to the Dude's story?</dialogue>
<character>DONNY</character>
<dialogue>I was bowling -</dialogue>
<character>WALTER</character>
<dialogue>So you have no frame of reference, Donny. You're like a child who wanders in in the middle of a movie and wants to know -</dialogue>
<character>DUDE</character>
<dialogue>What's your point, Walter?</dialogue>
<character>WALTER</character>
<dialogue>There's no fucking reason - here's my point, Dude - there's no fucking reason -</dialogue>
<character>DONNY</character>
<dialogue>Yeah Walter, what's your point?</dialogue>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>What's the point of - we all know who was at fault, so what the fuck are you talking about?</dialogue>
<character>WALTER</character>
<dialogue>Huh? No! What the fuck are you talking - I'm not - we're talking about unchecked aggression here -</dialogue>
<character>DONNY</character>
<dialogue>What the fuck is he talking about?</dialogue>
<character>DUDE</character>
<dialogue>My rug.</dialogue>
<character>WALTER</character>
<dialogue>Forget it, Donny. You're out of your element.</dialogue>
<character>DUDE</character>
<dialogue>This Chinaman who peed on my rug, I ca n't go give him a bill so what the fuck are you talking about?</dialogue>
<character>WALTER</character>
<dialogue>What the fuck are you talking about?! This Chinaman is not the issue! I'm talking about drawing a line in the sand, Dude. Across this line you do not, uh - and also, Dude, Chinaman is not the preferred, uh. Asian - American. Please.</dialogue>
<character>DUDE</character>
<dialogue>Walter, this is not a guy who built the rail - roads, here, this is a guy who peed on my -</dialogue>
<character>WALTER</character>
<dialogue>What the fuck are you -</dialogue>
<character>DUDE</character>
<dialogue>Walter, he peed on my rug -</dialogue>
<character>DONNY</character>
<dialogue>He peed on the Dude's rug -</dialogue>
<character>WALTER</character>
<dialogue>YOU'RE OUT OF YOUR ELEMENT! This Chinaman is not the issue, Dude.</dialogue>
<character>DUDE</character>
<dialogue>So who -</dialogue>
<character>WALTER</character>
<dialogue>Jeff Lebowski. Come on. This other Jeffrey Lebowski. The millionaire. He's gon na be easier to find anyway than these two, uh. these two. And he has the wealth, uh, the resources obviously, and there is no reason, no FUCKING reason, why his wife should go out and owe money and they pee on your rug. Am I wrong?</dialogue>
<character>DUDE</character>
<dialogue>No, but -</dialogue>
<character>WALTER</character>
<dialogue>Am I wrong!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, but -</dialogue>
<character>WALTER</character>
<dialogue>Okay. That, uh.</dialogue>
<scene_description>He elaborately clears his throat . That rap really tied the room together , did it not ?</scene_description>
<character>DUDE</character>
<dialogue>Fuckin' A.</dialogue>
<character>DONNY</character>
<dialogue>And this guy peed on it.</dialogue>
<character>WALTER</character>
<dialogue>Donny! Please!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, I could find this Lebowski guy -</dialogue>
<character>DONNY</character>
<dialogue>His name is Lebowski? That's your name, Dude!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, this is the guy, this guy should compensate me for the fucking rug. I mean his wife goes out and owes money and they pee on my rug.</dialogue>
<character>WALTER</character>
<dialogue>Thaaat's right Dude ; they pee on your fucking Rug.</dialogue>
<scene_description>CLOSE ON A PLAQUE We pull back from the name JEFFREY LEBOWSKI engraved in silver to reveal that the plaque , from Variety Clubs International , honors Lebowski as ACHIEVER OF THE YEAR . Reflected in the plaque we see the Dude entering the room with a YOUNG MAN . We hear the two men talk :</scene_description>
<character>YOUNG MAN</character>
<dialogue>And this is the study. You can see the various commendations, honorary degrees, et cetera.</dialogue>
<character>DUDE</character>
<dialogue>Yes, uh, very impressive.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Please, feel free to inspect them.</dialogue>
<character>DUDE</character>
<dialogue>I'm not really, uh.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Please! Please!</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<scene_description>We are panning the walls , looking at various citations and certificates unrelated to the ones being discussed offscreen :</scene_description>
<character>YOUNG MAN</character>
<dialogue>That's the key to the city of Pasadena, which Mr. Lebowski was given two years ago in recognition of his various civic, uh.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>YOUNG MAN</character>
<dialogue>That's a Los Angeles Chamber of Commerce Business Achiever award, which is given - not necessarily given every year! Given only when there's a worthy, somebody especially -</dialogue>
<character>DUDE</character>
<dialogue>Hey, is this him with Nancy?</dialogue>
<character>YOUNG MAN</character>
<dialogue>That is indeed Mr. Lebowski with the first lady, yes, taken when -</dialogue>
<character>DUDE</character>
<dialogue>Lebowski on the right?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Of course, Mr. Lebowski on the right, Mrs. Reagan on the left, taken when -</dialogue>
<character>DUDE</character>
<dialogue>He's handicapped, huh?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Mr. Lebowski is disabled, yes. And this picture was taken when Mrs. Reagan was first lady of the nation, yes, yes? Not of California.</dialogue>
<character>DUDE</character>
<dialogue>Far out.</dialogue>
<character>YOUNG MAN</character>
<dialogue>And in fact he met privately with the President, though unfortunately there was n't time for a photo opportunity.</dialogue>
<character>DUDE</character>
<dialogue>Nancy's pretty good.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Wonderful woman. We were very -</dialogue>
<character>DUDE</character>
<dialogue>Are these.</dialogue>
<character>YOUNG MAN</character>
<dialogue>These are Mr. Lebowski's children, so to speak -</dialogue>
<character>DUDE</character>
<dialogue>Different mothers, huh?</dialogue>
<character>YOUNG MAN</character>
<dialogue>No, they -</dialogue>
<character>DUDE</character>
<dialogue>I guess he's pretty, uh, racially pretty cool -</dialogue>
<character>YOUNG MAN</character>
<dialogue>They're not his, heh - heh, they're not literally his children ; they're the Little Lebowski Urban Achievers, inner - city children of promise but without the -</dialogue>
<character>DUDE</character>
<dialogue>I see.</dialogue>
<character>YOUNG MAN</character>
<dialogue>- without the means for higher education, so Mr. Lebowski has committed to sending all of them to college.</dialogue>
<character>DUDE</character>
<dialogue>Jeez. Think he's got room for one more?</dialogue>
<character>YOUNG MAN</character>
<dialogue>One - oh! Heh - heh. You never went to college?</dialogue>
<character>DUDE</character>
<dialogue>Well, yeah I did, but I spent most of my time occupying various, um, administration buildings -</dialogue>
<character>YOUNG MAN</character>
<dialogue>Heh - heh -</dialogue>
<character>DUDE</character>
<dialogue>- smoking thai - stick, breaking into the ROTC -</dialogue>
<character>YOUNG MAN</character>
<dialogue>Yes, heh -</dialogue>
<character>DUDE</character>
<dialogue>- and bowling. I'll tell you the truth, Brandt, I do n't remember most of it. - Jeez! Fuck me!</dialogue>
<scene_description>Our continuing track and pan have brought us onto a framed Life Magazine cover which is headlined ARE YOU A LEBOWSKI ACHIEVER ? Oddly , the Dude 's sunglassed face is on it ; we realize that , under the magazine 's logo and headline , the display is mirrored . We hear the door open and the whine of a motor . The Dude , wearing shorts and a bowling shirt , turns to look . So does Brandt , the young man we 've been listening to . He wears a suit and has his hands clasped in front of his groin . Entering the room is a fat sixtyish man in a motorized wheelchair - Jeff Lebowski .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Okay sir, you're a Lebowski, I'm a Lebowski, that's terrific, I'm very busy so what can I do for you?</dialogue>
<scene_description>He wheels himself behind a desk . The Dude sits facing him as Brandt withdraws .</scene_description>
<character>DUDE</character>
<dialogue>Well sir, it's this rug I have, really tied the room together -</dialogue>
<character>LEBOWSKI</character>
<dialogue>You told Brandt on the phone, he told me. So where do I fit in?</dialogue>
<character>DUDE</character>
<dialogue>Well they were looking for you, these two guys, they were trying to -</dialogue>
<character>LEBOWSKI</character>
<dialogue>I'll say it again, all right? You told Brandt. He told me. I know what happened. Yes? Yes?</dialogue>
<character>DUDE</character>
<dialogue>So you know they were trying to piss on your rug -</dialogue>
<character>LEBOWSKI</character>
<dialogue>Did I urinate on your rug?</dialogue>
<character>DUDE</character>
<dialogue>You mean, did you personally come and pee on my -</dialogue>
<character>LEBOWSKI</character>
<dialogue>Hello! Do you speak English? Parla usted Inglese? I'll say it again. Did I urinate on your rug?</dialogue>
<character>DUDE</character>
<dialogue>Well no, like I said, Woo peed on the rug -</dialogue>
<character>LEBOWSKI</character>
<dialogue>Hello! Hello! So every time - I just want to understand this, sir - every time a rug is micturated upon in this fair city, I have to compensate the -</dialogue>
<character>DUDE</character>
<dialogue>Come on, man, I'm not trying to scam anybody here, I'm just -</dialogue>
<character>LEBOWSKI</character>
<dialogue>You're just looking for a handout like every other - are you employed, Mr. Lebowski?</dialogue>
<character>DUDE</character>
<dialogue>Look, let me explain something. I'm not Mr. Lebowski ; you're Mr. Lebowski. I'm the Dude. So that's what you call me. That, or Duder. His Dudeness. Or El Duderino, if, you know, you're not into the whole brevity thing -</dialogue>
<character>LEBOWSKI</character>
<dialogue>Are you employed, sir?</dialogue>
<character>DUDE</character>
<dialogue>Employed?</dialogue>
<character>LEBOWSKI</character>
<dialogue>You do n't go out and make a living dressed like that in the middle of a weekday.</dialogue>
<character>DUDE</character>
<dialogue>Is this a - what day is this?</dialogue>
<character>LEBOWSKI</character>
<dialogue>But I do work, so if you do n't mind -</dialogue>
<character>DUDE</character>
<dialogue>No, look. I do mind. The Dude minds. This will not stand, ya know, this will not stand, man. I mean, if your wife owes -</dialogue>
<character>LEBOWSKI</character>
<dialogue>My wife is not the issue here. I hope that my wife will someday learn to live on her allowance, which is ample, but if she does n't, sir, that will be her problem, not mine, just as your rug is your problem, just as every bum's lot in life is his own responsibility regardless of whom he chooses to blame. I did n't blame anyone for the loss of my legs, some chinaman in Korea took them from me but I went out and achieved anyway. I ca n't solve your problems, sir, only you can.</dialogue>
<scene_description>The Dude rises .</scene_description>
<character>DUDE</character>
<dialogue>Ah fuck it.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Sure! Fuck it! That's your answer! Tattoo it on your forehead! Your answer to everything!</dialogue>
<scene_description>The Dude is heading for the door .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Your `` revolution'' is over, Mr. Lebowski! Condolences! The bums lost!</dialogue>
<scene_description>As the Dude opens the door .</scene_description>
<character>LEBOWSKI</character>
<dialogue>My advice is, do what your parents did! Get a job, sir! The bums will always lose - do you hear me, Lebowski? THE BUMS WILL ALWAYS -</dialogue>
<scene_description>The Dude shuts the door on the old man 's bellowing to find himself -</scene_description>
<character>HALLWAY</character>
<dialogue>- in a high coffered hallway. Brandt is approaching.</dialogue>
<character>BRANDT</character>
<dialogue>How was your meeting, Mr. Lebowski?</dialogue>
<character>DUDE</character>
<dialogue>Okay. The old man told me to take any rug in the house.</dialogue>
<scene_description>WALKWAY A houseman with a rolled - up carpet on one shoulder goes down a stone walk that winds through the back lawn , past a swimming pool to a garage . Brandt and the Dude follow .</scene_description>
<character>BRANDT</character>
<dialogue>Manolo will load it into your car for you, uh, Dude.</dialogue>
<character>DUDE</character>
<dialogue>It's the LeBaron.</dialogue>
<scene_description>DUDE 'S POINT OF VIEW Tracking toward the pool . A young woman sits facing it , her back to us , leaning forward to paint her toenails . Beyond her a black form floats in an inflatable chair in the pool .</scene_description>
<character>BRANDT</character>
<dialogue>Well, enjoy, and perhaps we'll see you again some time, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Yeah sure, if I'm ever in the neighborhood, need to use the john.</dialogue>
<scene_description>CLOSER TRACK Arcing around the woman 's foot as she finishes painting the nails emerald green . THE DUDE Looking . WIDER The young woman looks up at him . She is in her early twenties . She leans back and extends her leg toward the Dude .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Blow on them.</dialogue>
<scene_description>The Dude pulls his sunglasses down his nose and peeks over them .</scene_description>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<scene_description>She waggles her foot and giggles .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>G'ahead. Blow.</dialogue>
<scene_description>The Dude tentatively grabs hold of her extended foot .</scene_description>
<character>DUDE</character>
<dialogue>You want me to blow on your toes?</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Uh - huh. I ca n't blow that far.</dialogue>
<scene_description>The Dude looks over at the pool .</scene_description>
<character>DUDE</character>
<dialogue>You sure he wo n't mind?</dialogue>
<scene_description>The man bobbing in the inflatable chair is passed out . He is thin , in his thirties , with long stringy blond hair . He wears black leather pants and a black leather jacket , open , shirtless , exposing fine blond chest hair and pale skin . One arm trails off into the water ; next to it , an empty whiskey bottle bobs .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Dieter does n't care about anything. He's a nihilist.</dialogue>
<character>DUDE</character>
<dialogue>Practicing?</dialogue>
<scene_description>The young woman smiles .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>You're not blowing.</dialogue>
<scene_description>Brandt nervously takes the Dude by the elbow .</scene_description>
<character>BRANDT</character>
<dialogue>Our guest has to be getting along, Mrs. Lebowski.</dialogue>
<scene_description>The Dude grudgingly allows himself to be led away , still looking at the young woman .</scene_description>
<character>DUDE</character>
<dialogue>You're Bunny?</dialogue>
<character>BUNNY</character>
<dialogue>I'll suck your cock for a thousand dollars.</dialogue>
<scene_description>Brandt releases a gale of forced laughter :</scene_description>
<character>BRANDT</character>
<dialogue>Ha - ha - ha - ha! Wonderful woman. Very free - spirited. We're all very fond of her.</dialogue>
<character>BUNNY</character>
<dialogue>Brandt ca n't watch though. Or he has to pay a hundred.</dialogue>
<character>BRANDT</character>
<dialogue>Ha - ha - ha - ha - ha! That's marvelous.</dialogue>
<scene_description>He continues to lead away the Dude , who looks back over his</scene_description>
<character>DUDE</character>
<dialogue>I'm just gon na find a cash machine.</dialogue>
<scene_description>BOWLING PINS Scattered by a strike . THE BOWLERS Donny calls out from the bench :</scene_description>
<character>DONNY</character>
<dialogue>Grasshopper Dude - They're dead in the water!</dialogue>
<scene_description>As the Dude walks back to the scoring table he turns to another team in black bowling shirts - the Cavaliers - that shares the lane .</scene_description>
<character>DUDE</character>
<dialogue>Your maples, Carl.</dialogue>
<scene_description>Walter , just arriving , is carrying a leatherette satchel in one hand and a large plastic carrier in the other .</scene_description>
<character>WALTER</character>
<dialogue>Way to go, Dude. If you will it, it is no dream.</dialogue>
<character>DUDE</character>
<dialogue>You're fucking twenty minutes late. What the fuck is that?</dialogue>
<character>WALTER</character>
<dialogue>Theodore Herzel.</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>WALTER</character>
<dialogue>State of Israel. If you will it, Dude, it is no -</dialogue>
<character>DUDE</character>
<dialogue>What the fuck're you talking about? The carrier. What's in the fucking carrier?</dialogue>
<character>WALTER</character>
<dialogue>Huh? Oh - Cynthia's Pomeranian. Ca n't leave him home alone or he eats the furniture.</dialogue>
<character>DUDE</character>
<dialogue>What the fuck are you -</dialogue>
<character>WALTER</character>
<dialogue>I'm saying, Cynthia's Pomeranian. I'm looking after it while Cynthia and Marty Ackerman are in Hawaii.</dialogue>
<character>DUDE</character>
<dialogue>You brought a fucking Pomeranian bowling?</dialogue>
<character>WALTER</character>
<dialogue>What do you mean `` brought it bowling''? I did n't rent it shoes. I'm not buying it a fucking beer. He's not gon na take your fucking turn, Dude.</dialogue>
<scene_description>He lets the small yapping dog out of the carrier . It scoots around the bowling table , sniffing at bowlers and wagging its tail .</scene_description>
<character>DUDE</character>
<dialogue>Hey, man, if my fucking ex - wife asked me to take care of her fucking dog while she and her boyfriend went to Honolulu, I'd tell her to go fuck herself. Why ca n't she board it?</dialogue>
<character>WALTER</character>
<dialogue>First of all, Dude, you do n't have an ex, secondly, it's a fucking show dog with fucking papers. You ca n't board it. It gets upset, its hair falls out.</dialogue>
<character>DUDE</character>
<dialogue>Hey man -</dialogue>
<character>WALTER</character>
<dialogue>Fucking dog has papers, Dude. - Over the line!</dialogue>
<scene_description>Smokey turns from his last roll to look at Walter .</scene_description>
<character>WALTER</character>
<dialogue>Smokey Huh?</dialogue>
<character>WALTER</character>
<dialogue>Over the line, Smokey! I'm sorry. That's a foul.</dialogue>
<character>SMOKEY</character>
<dialogue>Bullshit. Eight, Dude.</dialogue>
<character>WALTER</character>
<dialogue>Excuse me! Mark it zero. Next frame.</dialogue>
<character>SMOKEY</character>
<dialogue>Bullshit. Walter!</dialogue>
<character>WALTER</character>
<dialogue>This is not Nam. This is bowling. There are rules.</dialogue>
<character>DUDE</character>
<dialogue>Come on Walter, it's just - it's Smokey. So his toe slipped over a little, it's just a game.</dialogue>
<character>WALTER</character>
<dialogue>This is a league game. This determines who enters the next round - robin, am I wrong?</dialogue>
<character>SMOKEY</character>
<dialogue>Yeah, but -</dialogue>
<character>WALTER</character>
<dialogue>Am I wrong!?</dialogue>
<character>SMOKEY</character>
<dialogue>Yeah, but I was n't over. Gim me the marker, Dude, I'm marking it an eight.</dialogue>
<scene_description>Walter takes out a gun .</scene_description>
<character>WALTER</character>
<dialogue>Smokey my friend, you're entering a world of pain.</dialogue>
<character>DUDE</character>
<dialogue>Hey Walter -</dialogue>
<character>WALTER</character>
<dialogue>Mark that frame an eight, you're entering a world of pain.</dialogue>
<character>SMOKEY</character>
<dialogue>I'm not -</dialogue>
<character>WALTER</character>
<dialogue>A world of pain.</dialogue>
<scene_description>A manager in a bowling - shirt style uniform is running for a phone .</scene_description>
<character>SMOKEY</character>
<dialogue>Look Dude, I do n't hold with this. This guy is your partner, you should -</dialogue>
<scene_description>Walter primes the gun and points it at his head .</scene_description>
<character>WALTER</character>
<dialogue>HAS THE WHOLE WORLD GONE CRAZY? AM I THE ONLY ONE HERE WHO GIVES A SHIT ABOUT THE RULES? MARK IT ZERO!</dialogue>
<scene_description>The Pomeranian is excitedly yapping at Walter 's elbow , making high body - twisting tail - wagging leaps .</scene_description>
<character>DUDE</character>
<dialogue>Walter, they're calling the cops, put the piece away.</dialogue>
<character>WALTER</character>
<dialogue>MARK IT ZERO!</dialogue>
<character>SMOKEY</character>
<dialogue>Walter -</dialogue>
<character>WALTER</character>
<dialogue>YOU THINK I'M FUCKING AROUND HERE? MARK IT ZERO!</dialogue>
<character>SMOKEY</character>
<dialogue>All right! There it is! It's fucking zero!</dialogue>
<scene_description>He points frantically at the score projected above the lane .</scene_description>
<character>SMOKEY</character>
<dialogue>You happy, you crazy fuck?</dialogue>
<character>WALTER</character>
<dialogue>This is a league game, Smokey!</dialogue>
<scene_description>PARKING LOT Walter and the Dude walk to the Dude 's car . The Pomeranian trots happily behind Walter who totes the empty carrier .</scene_description>
<character>DUDE</character>
<dialogue>Walter, you ca n't do that. These guys're like me, they're pacificists. Smokey was a conscientious objector.</dialogue>
<character>WALTER</character>
<dialogue>You know Dude, I myself dabbled with pacifism at one point. Not in Nam, of course -</dialogue>
<character>DUDE</character>
<dialogue>And you know Smokey has emotional problems!</dialogue>
<character>WALTER</character>
<dialogue>You mean - beyond pacifism?</dialogue>
<character>DUDE</character>
<dialogue>He's fragile, man! He's very fragile!</dialogue>
<scene_description>As the two men get into the car :</scene_description>
<character>WALTER</character>
<dialogue>Huh. I did not know that. Well, it's water under the bridge. And we do enter the next round - robin, am I wrong?</dialogue>
<character>DUDE</character>
<dialogue>No, you're not wrong -</dialogue>
<character>WALTER</character>
<dialogue>Am I wrong!</dialogue>
<character>DUDE</character>
<dialogue>You're not wrong, Walter, you're just an asshole.</dialogue>
<scene_description>They watch a squad car take a squealing turn into the lot .</scene_description>
<character>WALTER</character>
<dialogue>Okay then. We play Quintana and O'Brien next week. They'll be pushovers.</dialogue>
<character>DUDE</character>
<dialogue>Just, just take it easy, Walter.</dialogue>
<character>WALTER</character>
<dialogue>That's your answer to everything, Dude. And let me point out - pacifism is not - look at our current situation with that camelfucker in Iraq - pacifism is not something to hide behind.</dialogue>
<character>DUDE</character>
<dialogue>Well, just take' t easy, man.</dialogue>
<character>WALTER</character>
<dialogue>I'm perfectly calm, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Yeah? Wavin' a gun around?!</dialogue>
<character>WALTER</character>
<parenthetical>( smugly . )</parenthetical>
<dialogue>Calmer than you are.</dialogue>
<scene_description>- his irritates the Dude further .</scene_description>
<character>DUDE</character>
<dialogue>Just take it easy, man!</dialogue>
<scene_description>Walter is still smug .</scene_description>
<character>WALTER</character>
<dialogue>Calmer than you are.</dialogue>
<scene_description>DUDE 'S HOUSE A large , brilliant Persian rug lies beneath the Dude 's beat - up old furniture . At the table next to the answering machine the Dude is mixing kalhua , rum and milk .</scene_description>
<character>VOICE</character>
<dialogue>Dude, this is Smokey. Look, I do n't wan na be a hard - on about this, and I know it was n't your fault, but I just thought it was fair to tell you that Gene and I will be submitting this to the League and asking them to set aside the round. Or maybe forfeit it to us -</dialogue>
<character>DUDE</character>
<dialogue>Shit!</dialogue>
<character>VOICE</character>
<dialogue>- so, like I say, just thought, you know, fair warning. Tell Walter.</dialogue>
<scene_description>A beep .</scene_description>
<character>ANOTHER VOICE</character>
<dialogue>Mr. Lebowski, this is Brandt at, uh, well - at Mr. Lebowski's office. Please call us as soon as is convenient.</dialogue>
<scene_description>Beep .</scene_description>
<character>ANOTHER VOICE</character>
<dialogue>Mr. Lebowski, this is Fred Dynarski with the Southern Cal Bowling League. I just got a, an informal report, uh, that a uh, a member of your team, uh, Walter Sobchak, drew a loaded weapon during league play -</dialogue>
<scene_description>We hear the doorbell . THE DOOR It swings open to reveal a short , hairy , muscular but balding middle - aged man in a black T - shirt and black cut - off jeans .</scene_description>
<character>DUDE</character>
<dialogue>Hiya Allan.</dialogue>
<character>ALLAN</character>
<dialogue>Dude, I finally got the venue I wanted. I'm Performing my dance quintet - you know, my cycle - at Crane Jackson's Fountain Street Theatre on Tuesday night, and I'd love it if you came and gave me notes.</dialogue>
<scene_description>The Dude takes a swig of his kalhua .</scene_description>
<character>DUDE</character>
<dialogue>Sure Allan, I'll be there.</dialogue>
<character>ALLAN</character>
<dialogue>Dude, uh, tomorrow is already the tenth.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, yeah I know. Okay.</dialogue>
<character>ALLAN</character>
<dialogue>Just, uh, just slip the rent under my door.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, okay.</dialogue>
<scene_description>BACK IN THE LIVING ROOM The voice continues on the machine .</scene_description>
<character>VOICE</character>
<dialogue>- serious infraction, and examine your standing. Thank you. Beep.</dialogue>
<character>VOICE</character>
<dialogue>Mr. Lebowski, Brandt again. Please do call us when you get in and I'll send the limo. Let me assure you - I hope you're not avoiding this call because of the rug, which, I assure you, is not a problem. We need your help and, uh - well we would very much like to see you. Thank you. It's Brandt.</dialogue>
<scene_description>TRACKING We are pushing Brandt down the high - ceilinged hallway . Distantly , we hear a dolorous soprano . Brandt talks back over</scene_description>
<character>BRANDT</character>
<dialogue>We've had some terrible news. Mr. Lebowski is in seclusion in the West Wing.</dialogue>
<character>DUDE</character>
<dialogue>Huh.</dialogue>
<scene_description>Brandt throws open a pair of heavy double doors . The music washes over us as we enter a great study where Jeffrey Lebowski , a blanket thrown over his knees , stares hauntedly into a fire , listening to Lohengrin . BRANDT ANNOUNCES , AMBIGUOUSLY :</scene_description>
<character>BRANDT</character>
<dialogue>Mr. Lebowski.</dialogue>
<scene_description>Jeffrey Lebowski waves the Dude in without looking around .</scene_description>
<character>LEBOWSKI</character>
<dialogue>It's funny. I can look back on a life of achievement, on challenges met, competitors bested, obstacles overcome. I've accomplished more than most men, and without the use of my legs. What. What makes a man, Mr. Lebowski?</dialogue>
<character>DUDE</character>
<dialogue>Dude.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>I do n't know, sir.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Is it. is it, being prepared to do the right thing? Whatever the price? Is n't that what makes a man?</dialogue>
<character>DUDE</character>
<dialogue>Sure. That and a pair of testicles.</dialogue>
<scene_description>Lebowski turns away from the Dude with a haunted stare , lost in thought .</scene_description>
<character>LEBOWSKI</character>
<dialogue>You're joking. But perhaps you're right.</dialogue>
<scene_description>The Dude thumps at his chest pocket .</scene_description>
<character>DUDE</character>
<dialogue>Mind if I smoke a jay?</dialogue>
<character>LEBOWSKI</character>
<dialogue>Bunny.</dialogue>
<scene_description>He turns back around and the firelight shows teartracks on his cheeks .</scene_description>
<character>DUDE</character>
<dialogue>` Scuse me?</dialogue>
<character>LEBOWSKI</character>
<dialogue>Bunny Lebowski. She is the light of my life. Are you surprised at my tears, sir?</dialogue>
<character>DUDE</character>
<dialogue>Fuckin' A.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Strong men also cry. Strong men also cry.</dialogue>
<scene_description>He clears his throat .</scene_description>
<character>LEBOWSKI</character>
<dialogue>I received this fax this morning.</dialogue>
<scene_description>Brandt hastily pulls a flimsy sheet from his clipboard and hands it to the Dude .</scene_description>
<character>LEBOWSKI</character>
<dialogue>As you can see, it is a ransom note. Sent by cowards. Men who are unable to achieve on a level field of play. Men who will not sign their names. Weaklings. Bums.</dialogue>
<scene_description>WE HAVE BUNNY . GATHER ONE MILLION DOLLARS IN UNMARKED NON - CONSECUTIVE TWENTIES . AWAIT INSTRUCTIONS . NO FUNNY STUFF .</scene_description>
<character>DUDE</character>
<dialogue>Bummer.</dialogue>
<scene_description>Lebowski looks soulfully at the Dude .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Brandt will fill you in on the details.</dialogue>
<scene_description>He wheels his chair around to once again gaze into the fire . Brandt tugs at the Dude 's shirt and points him back to the hall . HALLWAY The soprano 's singing is once again faint . Brandt 's voice is hushed :</scene_description>
<character>BRANDT</character>
<dialogue>Mr. Lebowski is prepared to make a generous offer to you to act as courier once we get instructions for the money.</dialogue>
<character>DUDE</character>
<dialogue>Why me, man?</dialogue>
<character>BRANDT</character>
<dialogue>He suspects that the culprits might be the very people who, uh, soiled your rug, and you're in a unique position to confirm or, uh, disconfirm that suspicion.</dialogue>
<character>DUDE</character>
<dialogue>So he thinks it's the carpet - pissers, huh?</dialogue>
<character>BRANDT</character>
<dialogue>Well Dude, we just do n't know.</dialogue>
<scene_description>BOWLING PINS CRASH - scattered by a strike , in slow motion . WIDER Still in slow motion . We are looking across the length of the bowling alley at a tall , thin , Hispanic bowler displaying perfect form . He wears an all - in - one dacron - polyester stretch bowling outfit with a racing stripe down each side . FAST TRACK IN On the Dude , sitting next to Walter in the molded plastic chairs . The Dude is staring off towards the bowler .</scene_description>
<character>DUDE</character>
<dialogue>Fucking Quintana - that creep can roll, man -</dialogue>
<scene_description>BACK TO THE BOWLER Displaying great slow - motion form as the Dude and Walter 's conversation continues over .</scene_description>
<character>WALTER</character>
<dialogue>Yeah, but he's a fucking pervert, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>WALTER</character>
<dialogue>The man is a sex offender. With a record. Spent six months in Chino for exposing himself to an eight - year - old.</dialogue>
<scene_description>FLASHBACK We see Quintana , in pressed jeans and a stretchy sweater , walking up a stoop in a residential neighborhood and zinging the bell . The VOICE - OVER conversation continues .</scene_description>
<character>DUDE</character>
<dialogue>Huh.</dialogue>
<character>WALTER</character>
<dialogue>When he moved down to Venice he had to go door - to - door to tell everyone he's a pederast.</dialogue>
<scene_description>The door swings open and a beer - swilling middle - aged man looks dully out at Quintana , who looks hesitantly up .</scene_description>
<character>DONNY</character>
<dialogue>What's a pederast, Walter?</dialogue>
<character>WALTER</character>
<dialogue>Shut the fuck up, Donny.</dialogue>
<scene_description>PINS scattered by a strike . QUINTANA wheeling and thrusting a black gloved fist into the air . Stitched above the breast pocket of his all - in - one is his first name , `` Jesus '' . BACK TO WALTER AND THE DUDE They have been joined by Donny .</scene_description>
<character>WALTER</character>
<dialogue>Anyway. How much they offer you?</dialogue>
<character>DUDE</character>
<dialogue>Twenty grand. And of course I still keep the rug.</dialogue>
<character>WALTER</character>
<dialogue>Just for making the hand - off?</dialogue>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<scene_description>He slips a little black box out of his shirt pocket .</scene_description>
<character>DUDE</character>
<dialogue>They gave Dude a beeper, so whenever these guys call -</dialogue>
<character>WALTER</character>
<dialogue>What if it's during a game?</dialogue>
<character>DUDE</character>
<dialogue>I told him if it was during league play -</dialogue>
<scene_description>Donny has been watching Quintana .</scene_description>
<character>DONNY</character>
<dialogue>If what's during league play?</dialogue>
<character>WALTER</character>
<dialogue>Life does not stop and start at your convenience, you miserable piece of shit.</dialogue>
<character>DONNY</character>
<dialogue>What's wrong with Walter, Dude?</dialogue>
<character>DUDE</character>
<dialogue>I figure it's easy money, it's all pretty harmless. I mean she probably kidnapped herself.</dialogue>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DONNY</character>
<dialogue>What do you mean, Dude?</dialogue>
<character>DUDE</character>
<dialogue>Rug - peers did not do this. I mean look at it. Young trophy wife. Marries a guy for money but figures he is n't giving her enough. She owes money all over town -</dialogue>
<character>WALTER</character>
<dialogue>That. fucking. bitch!</dialogue>
<character>DUDE</character>
<dialogue>It's all a goddamn fake. Like Lenin said, look for the person who will benefit. And you will, uh, you know, you'll, uh, you know what I'm trying to say -</dialogue>
<character>DONNY</character>
<dialogue>I am the Walrus.</dialogue>
<character>WALTER</character>
<dialogue>That fucking bitch!</dialogue>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<character>DONNY</character>
<dialogue>I am the Walrus.</dialogue>
<character>WALTER</character>
<dialogue>Shut the fuck up, Donny! V.I. Lenin! Vladimir Ilyich Ulyanov!</dialogue>
<character>DONNY</character>
<dialogue>What the fuck is he talking about?</dialogue>
<character>WALTER</character>
<dialogue>That's fucking exactly what happened, Dude! That makes me fucking SICK!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, well, what do you care, Walter?</dialogue>
<character>DONNY</character>
<dialogue>Yeah Dude, why is Walter so pissed off?</dialogue>
<character>WALTER</character>
<dialogue>Those rich fucks! This whole fucking thing - I did not watch my buddies die face down in the muck so that this fucking strumpet -</dialogue>
<character>DUDE</character>
<dialogue>I do n't see any connection to Vietnam, Walter.</dialogue>
<character>WALTER</character>
<dialogue>Well, there is n't a literal connection, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Walter, face it, there is n't any connection. It's your roll.</dialogue>
<character>WALTER</character>
<dialogue>Have it your way. The point is -</dialogue>
<character>DUDE</character>
<dialogue>It's your roll -</dialogue>
<character>WALTER</character>
<dialogue>The fucking point is -</dialogue>
<character>DUDE</character>
<dialogue>It's your roll.</dialogue>
<character>VOICE</character>
<dialogue>Are you ready to be fucked, man?</dialogue>
<scene_description>They both look up . Quintana , on his way out , looks down at them from the lip of the lanes . Over his polyester all - in - one he now wears a windbreaker with a racing stripe and `` Jesus '' stitched on the breast . He is holding a fancy black - and - red leather ball satchel -LRB- perhaps a Sylvia Wein -RRB- . Behind him stands his partner , O'Brien , a short fat Irishman with tufted red hair .</scene_description>
<character>QUINTANA</character>
<dialogue>I see you rolled your way into the semis. Deos mio, man. Seamus and me, we're gon na fuck you up.</dialogue>
<character>DUDE</character>
<dialogue>Yeah well, that's just, ya know, like, your opinion, man.</dialogue>
<scene_description>Quintana looks at Walter .</scene_description>
<character>QUINTANA</character>
<dialogue>Let me tell you something, bendeco. You pull any your crazy shit with us, you flash a piece out on the lanes, I'll take it away from you and stick it up your ass and pull the fucking trigger til it goes `` click''.</dialogue>
<character>DUDE</character>
<dialogue>Jesus.</dialogue>
<character>QUINTANA</character>
<dialogue>You said it, man. Nobody fucks with the Jesus.</dialogue>
<scene_description>Jesus walks away . Walter nods sadly .</scene_description>
<character>WALTER</character>
<dialogue>Eight - year - olds, Dude.</dialogue>
<scene_description>DUDE 'S BUNGALOW We are looking down at the Dude who is prone on the rug . His eyes are closed . He wears a Walkman headset . Leaking tinnily through the headphones we can just hear an intermittent clatter . In his outflung hand lies a cassette case labeled VENICE BEACH LEAGUE PLAYOFFS 1987 . The Dude absently licks his lips as we faintly hear a hall rumbling down the lane . On its impact with the pins , the Dude opens his eyes . He screams . A blonde woman looms over him . Next to her a young man in paint - spattered denims stoops and swings something towards the carrier . The sap catches the Dude on the chin and sends his head thunking back onto the rug . A million stars explode against a field of black . We hear the `` La - la - la - la '' of The Man in Me . The black field dissolves into the pattern of the rug . The rug rolls away to reveal an aerial view of the city of Los Angeles at twilight , moving below us at great speed . The Dude is flying over the city , his arms thrown out in front of him , the wind whipping his hair and billowing his bowling shirt . He looks up . Ahead the mysterious blonde woman wings away , riding on the Dude 's rug like a sheik on a magic carpet . She is outpacing us , growing smaller . The Dude does a couple of lazy crawl strokes and then notices that a bowling ball has materialized in his forward hand . His bemusement turns to concern over the aerodynamic implications just as the ball seems to suddenly assume its weight , abruptly snapping his arm down , and him after it . He is falling . From a high angle we see the Dude hurtling down toward the city , dragged by the ball . A reverse looking up shows the Dude hurtling toward us out of the inky sky , his eyes wide with horror . Led by the bowling ball , he zooms past the camera leaving us in black . We hear a distant rumble , like thunder . Dull reflections materialize in the darkness . They are glints off the shiny surface of an oncoming bowling ball . We pull back to reveal that the blackness was the inside of a ball return , and the gleaming bowling ball is being regurgitated up at us , overtaking us . The Dude looks up , up , up at the looming ball , its mass rolling a huge shadow across his face . The gleaming ball shows three dead black holes rolling toward us - finger holes . The largest - thumb - hole rolls directly over us , engulfing us once again in black . The black rolls away and we are spinning - spinning down a bowling lane - our point of view that of someone trapped in the thumbhole of the rolling ball . We see the receding bowler spinning away . It is the blonde woman , performing her follow - through . Floor spins up at us and then away ; ceiling spins up and away ; the length of the alley with pins at the end ; floor ; ceiling ; approaching pins ; again and again . We hit the pins and clatter into blackness . We hear pins spin , hit each other and drop . We hear an irritating , insistent beeping . FADE IN We are close on the Dude , upside down . As the picture fades in the bowling noises continue , but filtered and faint . They come from the Dude 's Walkman , the headset of which is now askew , with one arm off his ear . As the Dude opens his eyes we spiral slowly upward to put him right side around . His head is now resting against hardwood floor , not rug .</scene_description>
<character>DUDE</character>
<dialogue>Oh man.</dialogue>
<scene_description>He raises himself onto his elbows and massages the red lump on his jaw . The beeper on his belt is blinking red in sync with the continuing irritating beeps . WIDE ON THE ROOM An end table is upset , but otherwise the furniture is in place . The rug is gone . The Dude looks around . The bowling sounds continue . The beeps continue . The phone starts to jangle . TRACK We push Brandt down the familiar marble hallway . Again there is a distant aria . Brandt throws out a wrist to look at his watch .</scene_description>
<character>BRANDT</character>
<dialogue>They called about eighty minutes ago. They want you to take the money and drive north on the 4 5. They'll call you on the portable phone with instructions in about forty minutes. One person only or I'd go with you. They were very clear on that : one person only. What happened to your jaw?</dialogue>
<character>DUDE</character>
<dialogue>Oh, nothin', you know.</dialogue>
<scene_description>They have reached the little desk outside of the big Lebowski 's office ; Brandt opens its bottom drawer with a key and takes out an attache case . He hands this to the Dude along with a cellular phone in a battery - pack carrying case .</scene_description>
<character>BRANDT</character>
<dialogue>Here's the money, and the phone. Please, Dude, follow whatever instructions they give.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>BRANDT</character>
<dialogue>Her life is in your hands.</dialogue>
<character>DUDE</character>
<dialogue>Oh, man, do n't say that.</dialogue>
<character>BRANDT</character>
<dialogue>Mr. Lebowski asked me to repeat that : Her life is in your hands.</dialogue>
<character>DUDE</character>
<dialogue>Shit.</dialogue>
<character>BRANDT</character>
<dialogue>Her life is in your hands, Dude. And report back to us as soon as it's done.</dialogue>
<scene_description>DUDE 'S CAR We pan off the Dude , driving , to his point of view through the front windshield . The headlights play over Walter standing waiting in front of the storefront of SOBCHAK SECURITY . Though he is wearing khaki shorts and shirt , the fact that he holds a battered brown briefcase makes him look oddly like a commuter . He also holds an irregular shape bundled in brown wrapping paper . The car stops in front of him and he opens the Dude 's door and hands in the briefcase .</scene_description>
<character>WALTER</character>
<dialogue>Take the ringer. I'll drive.</dialogue>
<scene_description>The Dude takes the briefcase and slides over .</scene_description>
<character>DUDE</character>
<dialogue>The what?</dialogue>
<character>WALTER</character>
<dialogue>The ringer! The ringer, Dude! Have they called yet?</dialogue>
<scene_description>The Dude opens the briefcase and paws bemusedly through it as the car starts rolling .</scene_description>
<character>DUDE</character>
<dialogue>What the hell is this?</dialogue>
<character>WALTER</character>
<dialogue>My dirty undies. Laundry, Dude. The whites.</dialogue>
<character>DUDE</character>
<dialogue>Agh -</dialogue>
<scene_description>He closes the briefcase .</scene_description>
<character>DUDE</character>
<dialogue>Walter, I'm sure there's a reason you brought your dirty undies -</dialogue>
<character>WALTER</character>
<dialogue>Thaaaat's right, Dude. The weight. The ringer ca n't look empty.</dialogue>
<character>DUDE</character>
<dialogue>Walter - what the fuck are you thinking?</dialogue>
<character>WALTER</character>
<dialogue>Well you're right, Dude, I got to thinking. I got to thinking why should we settle for a measly fucking twenty grand -</dialogue>
<character>DUDE</character>
<dialogue>We? What the fuck we? You said you just wanted to come along -</dialogue>
<character>WALTER</character>
<dialogue>My point, Dude, is why should we settle for twenty grand when we can keep the entire million. Am I wrong?</dialogue>
<character>DUDE</character>
<dialogue>Yes you're wrong. This is n't a fucking game, Walter -</dialogue>
<character>WALTER</character>
<dialogue>It is a fucking game. You said so yourself, Dude - she kidnapped herself -</dialogue>
<character>DUDE '</character>
<dialogue>Yeah, but -</dialogue>
<scene_description>The phone chirps . Dude grabs it .</scene_description>
<character>DUDE</character>
<dialogue>Dude here.</dialogue>
<character>VOICE</character>
<parenthetical>( German accent . )</parenthetical>
<dialogue>Who is this?</dialogue>
<character>DUDE</character>
<dialogue>Dude the Bagman. Where do you want us to go?</dialogue>
<character>VOICE</character>
<dialogue>Us? DUDE</dialogue>
<scene_description>Shit . Uh , yeah , you know , me and the driver . I 'm not handling the money and driving the car and talking on the phone all by my fucking -</scene_description>
<character>VOICE</character>
<dialogue>Shut the fuck up.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Hello?</dialogue>
<character>DUDE</character>
<dialogue>Yeah?</dialogue>
<character>VOICE</character>
<dialogue>Okay, listen -</dialogue>
<scene_description>Walter looks over at the Dude and bellows :</scene_description>
<character>WALTER</character>
<dialogue>Dude, are you fucking this up?</dialogue>
<character>VOICE</character>
<dialogue>Who is that?</dialogue>
<character>DUDE</character>
<dialogue>The driver man, I told you -</dialogue>
<scene_description>Click . Dial tone .</scene_description>
<character>DUDE</character>
<dialogue>Oh shit. Walter.</dialogue>
<character>WALTER</character>
<dialogue>What the fuck is going on there?</dialogue>
<character>DUDE</character>
<dialogue>They hung up, Walter! You fucked it up! You fucked it up! Her life was in our hands!</dialogue>
<character>WALTER</character>
<dialogue>Easy, Dude.</dialogue>
<character>DUDE</character>
<dialogue>We're screwed now! We do n't get shit and they're gon na kill her! We're fucked, Walter!</dialogue>
<character>WALTER</character>
<dialogue>Dude, nothing is fucked. Come on. You're being very unDude. They'll call back. Look, she kidnapped her -</dialogue>
<scene_description>The phone chirps .</scene_description>
<character>WALTER</character>
<dialogue>Ya see? Nothing is fucked up here, Dude. Nothing is fucked. These guys are fucking amateurs -</dialogue>
<character>DUDE</character>
<dialogue>Shutup, Walter! Do n't fucking say peep when I'm doing business here.</dialogue>
<character>WALTER</character>
<parenthetical>( patronizing . )</parenthetical>
<dialogue>Okay Dude. Have it your way.</dialogue>
<scene_description>The Dude unclips the phone from the battery pack .</scene_description>
<character>WALTER</character>
<dialogue>But they're amateurs.</dialogue>
<scene_description>The Dude glares at Walter . Into the phone :</scene_description>
<character>DUDE</character>
<dialogue>Dude here.</dialogue>
<character>VOICE</character>
<dialogue>Okay, vee proceed. But only if there is no funny stuff.</dialogue>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<character>VOICE</character>
<dialogue>So no funny stuff. Okay?</dialogue>
<character>DUDE</character>
<dialogue>Hey, just tell me where the fuck you want us to go.</dialogue>
<scene_description>A HIGHWAY SIGN : SIMI VALLEY ROAD It flashes by in the headlights of the roaring car .</scene_description>
<character>DUDE</character>
<dialogue>That was the sign.</dialogue>
<scene_description>Walter wrestles the car onto the two - lane road .</scene_description>
<character>WALTER</character>
<dialogue>Yeah. So as long as we get her back, nobody's in a position to complain. And we keep the baksheesh.</dialogue>
<character>DUDE</character>
<dialogue>Terrific, Walter. But you have n't told me how we get her back. Where is she?</dialogue>
<character>WALTER</character>
<dialogue>That's the simple part, Dude. When we make the handoff, I grab the guy and beat it out of him.</dialogue>
<scene_description>He looks at the Dude .</scene_description>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>Yeah. That's a great plan, Walter. That's fucking ingenious, if I understand it correctly. That's a Swiss fucking watch.</dialogue>
<character>WALTER</character>
<dialogue>Thaaat's right, Dude. The beauty of this is its simplicity. If the plan gets too complex something always goes wrong. If there's one thing I learned in Nam -</dialogue>
<scene_description>The phone chirps .</scene_description>
<character>DUDE</character>
<dialogue>Dude.</dialogue>
<character>VOICE</character>
<dialogue>You are approaching a vooden britch. When you cross it you srow ze bag from ze left vindow of ze moving kar. Do not slow down. Vee vatch you.</dialogue>
<scene_description>Click . Dial tone .</scene_description>
<character>DUDE</character>
<dialogue>FUCK.</dialogue>
<character>WALTER</character>
<dialogue>What'd he say? Where's the hand - off?</dialogue>
<character>DUDE</character>
<dialogue>There is no fucking hand - off, Walter! At a wooden bridge we throw the money out of the car!</dialogue>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>We throw the money out of the moving car!</dialogue>
<scene_description>Walter stares dumbly for a beat .</scene_description>
<character>WALTER</character>
<dialogue>We ca n't do that, Dude. That fucks up our plan.</dialogue>
<character>DUDE</character>
<dialogue>Well call them up and explain it to'em, Walter! Your plan is so fucking simple, I'm sure they'd fucking understand it! That's the beauty of it Walter!</dialogue>
<character>WALTER</character>
<dialogue>Wooden bridge, huh?</dialogue>
<character>DUDE</character>
<dialogue>I'm throwing the money, Walter! We're not fucking around!</dialogue>
<character>WALTER</character>
<dialogue>The bridge is coming up! Gim me the ringer, Dude! Chop - chop!</dialogue>
<character>DUDE</character>
<dialogue>Fuck that! I love you, Walter, but sooner or later you're gon na have to face the fact that you're a goddamn moron.</dialogue>
<character>WALTER</character>
<dialogue>Okay, Dude. No time to argue. Here's the bridge -</dialogue>
<scene_description>There is the bump and new steady of the car on the bridge . The Dude is twisting around to pull the money briefcase from the back seat . Walter reaches one arm across Dude 's body to grab the laundry . And there goes the ringer . He flings it out the window .</scene_description>
<character>DUDE</character>
<dialogue>Walter!</dialogue>
<character>WALTER</character>
<dialogue>Your wheel, Dude! I'm rolling out!</dialogue>
<character>DUDE</character>
<dialogue>What the fuck?</dialogue>
<character>WALTER</character>
<dialogue>Your wheel! At fifteen em - pee - aitch I roll out! I double back, grab one of'em and beat it out of him! The uzi!</dialogue>
<character>DUDE</character>
<dialogue>Uzi?</dialogue>
<scene_description>Walter points across the seat at the paper - wrapped bundle .</scene_description>
<character>WALTER</character>
<dialogue>You did n't think I was rolling out of here naked!</dialogue>
<character>DUDE</character>
<dialogue>Walter, please -</dialogue>
<scene_description>Walter has flung open his door and is leaning halfway out over the road .</scene_description>
<character>WALTER</character>
<dialogue>Fifteen! This is it, Dude! Let's take that hill!</dialogue>
<scene_description>Walter rolls out with his parcel , giving a loud grunt as he hits the pavement . The car swerves and lurches and the Dude , cursing , takes the wheel . OUTSIDE Walter tumbles onto the shoulder and - RAT - TAT - TAT - TAT ! - muzzle flashes tear open the wrapping paper . INSIDE THE CAR The car rocks and the Dude wrestles with the wheel . OUTSIDE The car clunks and screams around in a skid . INSIDE The Dude is thrown forward as the car hits something . OUTSIDE As the Dude struggles out holding the satchel of money . The front of his car is crumpled into a tree . The car body saps back to the left , where the rear wheel has been shot out . WALTER is just rising from the ground massaging an injured knee . The Dude runs up the road toward the bridge , frantically waving the satchel in the air .</scene_description>
<character>DUDE</character>
<dialogue>WE HAVE IT! WE HAVE IT!</dialogue>
<scene_description>There is a distant engine roar . A motorcycle bumps up onto the road from the ravine under the bridge and , tires squealing , skids around to speed away in the opposite direction . It is closely followed by two more roaring motorcycles .</scene_description>
<character>DUDE</character>
<dialogue>WE HAVE IT!. We have it!</dialogue>
<scene_description>The Dude and Walter stand in the middle of the road , watching the three red tail lights fishtail away .</scene_description>
<character>WALTER</character>
<dialogue>Ahh fuck it, let's go bowling.</dialogue>
<scene_description>BOWLING LANE A ball rumbles in to scatter ten pins . WALTER . He turns from the lane to where the Dude sits in the nook of molded plastic chairs . The Dude listlessly holds the portable phone in his lap . It is ringing .</scene_description>
<character>WALTER</character>
<dialogue>Aitz chaim he, Dude. As the ex used to say.</dialogue>
<character>DUDE</character>
<dialogue>What the fuck is that supposed to mean? What the fuck're we gon na tell Lebowski?</dialogue>
<character>WALTER</character>
<dialogue>Huh? Oh, him, yeah. Well I do n't see, um - what exactly is the problem?</dialogue>
<scene_description>The portable phone stops ringing .</scene_description>
<character>DUDE</character>
<dialogue>Huh? The problem is - what do you mean what's the - there's no - we did n't - they're gon na kill that poor woman -</dialogue>
<character>WALTER</character>
<dialogue>What the fuck're you talking about? That poor woman - that poor slut - kidnapped herself, Dude. You said so yourself -</dialogue>
<character>DUDE</character>
<dialogue>No, Walter! I said I thought she kidnapped herself! You're the one who's so fucking certain -</dialogue>
<character>WALTER</character>
<dialogue>That's right, Dude, 1 % certain -</dialogue>
<scene_description>Donny is trotting excitedly up .</scene_description>
<character>DONNY</character>
<dialogue>They posted the next round of the tournament -</dialogue>
<character>WALTER</character>
<dialogue>Donny, shut the f - when do we play?</dialogue>
<character>DONNY</character>
<dialogue>This Saturday. Quintana and -</dialogue>
<character>WALTER</character>
<dialogue>Saturday! Well they'll have to reschedule.</dialogue>
<character>DUDE</character>
<dialogue>Walter, what'm I gon na tell Lebowski?</dialogue>
<character>WALTER</character>
<dialogue>I told that fuck down at the league office - who's in charge of scheduling?</dialogue>
<character>DUDE</character>
<dialogue>Walter -</dialogue>
<character>DONNY</character>
<dialogue>Burkhalter.</dialogue>
<character>WALTER</character>
<dialogue>I told that kraut a fucking thousand times I do n't roll on shabbas.</dialogue>
<character>DONNY</character>
<dialogue>It's already posted.</dialogue>
<character>WALTER</character>
<dialogue>WELL THEY CAN FUCKING UN - POST IT!</dialogue>
<character>DUDE</character>
<dialogue>Who gives a shit, Walter? What about that poor woman? What do we tell -</dialogue>
<character>WALTER</character>
<dialogue>C'mon Dude, eventually she'll get sick of her little game and, you know, wander back -</dialogue>
<character>DONNY</character>
<dialogue>How come you do n't roll on Saturday, Walter?</dialogue>
<character>WALTER</character>
<dialogue>I'm shomer shabbas.</dialogue>
<character>DONNY</character>
<dialogue>What's that, Walter?</dialogue>
<character>DUDE</character>
<dialogue>Yeah, and in the meantime what do I tell Lebowski?</dialogue>
<character>WALTER</character>
<dialogue>Saturday is shabbas. Jewish day of rest. Means I do n't work, I do n't drive a car, I do n't fucking ride in a car, I do n't handle money, I do n't turn on the oven, and I sure as shit do n't fucking roll!</dialogue>
<character>DONNY</character>
<dialogue>Sheesh.</dialogue>
<character>DUDE</character>
<dialogue>Walter, how -</dialogue>
<character>WALTER</character>
<dialogue>Shomer shabbas.</dialogue>
<scene_description>The Dude gets to his feet with the portable phone .</scene_description>
<character>DUDE</character>
<dialogue>That's it. I'm out of here.</dialogue>
<character>WALTER</character>
<dialogue>For Christ's sake, Dude.</dialogue>
<scene_description>Walter and Donny join the Dude as he walks out of the bowling alley . Hell , you just tell him - well , you tell him , uh , we made the hand - off , everything went , uh , you know -</scene_description>
<character>DONNY</character>
<dialogue>Oh yeah, how'd it go?</dialogue>
<character>WALTER</character>
<dialogue>Went alright. Dude's car got a little dinged up -</dialogue>
<character>DUDE</character>
<dialogue>But Walter, we did n't make the fucking hand - off! They did n't get, the fucking money and they're gon na - they're gon na -</dialogue>
<character>WALTER</character>
<dialogue>Yeah yeah, `` kill that poor woman.''</dialogue>
<scene_description>He waves both arms as if conducting a symphony orchestra .</scene_description>
<character>WALTER</character>
<dialogue>Kill that poor woman.</dialogue>
<character>DONNY</character>
<dialogue>Walter, if you ca n't ride in a car, how d'you get around on Shammas -</dialogue>
<character>WALTER</character>
<dialogue>Really, Dude, you surprise me. They're not gon na kill shit. They're not gon na do shit. What can they do? Fuckin' amateurs. And meanwhile, look at the bottom line. Who's sitting on a million fucking dollars? Am I wrong?</dialogue>
<character>DUDE</character>
<dialogue>Walter -</dialogue>
<character>WALTER</character>
<dialogue>Who's got a fucking million fucking dollars parked in the trunk of our car out here?</dialogue>
<character>DUDE</character>
<dialogue>`` Our'' car, Walter?</dialogue>
<character>WALTER</character>
<dialogue>And what do they got, Dude? My dirty undies. My fucking whites - Say, where is the car?</dialogue>
<scene_description>The three bowlers , stopped at the edge of the lot , stare out at an empty parking space .</scene_description>
<character>DONNY</character>
<dialogue>Who has your undies, Walter?</dialogue>
<character>WALTER</character>
<dialogue>Where's your car, Dude?</dialogue>
<character>DUDE</character>
<dialogue>You do n't know, Walter? You seem to know the answer to everything else!</dialogue>
<character>WALTER</character>
<dialogue>Hmm. Well, we were in a handicapped spot. It, uh, it was probably towed.</dialogue>
<character>DUDE</character>
<dialogue>It's been stolen, Walter! You fucking know it's been stolen!</dialogue>
<character>WALTER</character>
<dialogue>Well, certainly that's a possibility, Dude -</dialogue>
<character>DUDE</character>
<dialogue>Aw, fuck it.</dialogue>
<scene_description>The Dude walks away across the lot . The portable phone starts ringing again .</scene_description>
<character>DONNY</character>
<dialogue>Where you going, Dude?</dialogue>
<character>DUDE</character>
<dialogue>I'm going home, Donny.</dialogue>
<character>DONNY</character>
<dialogue>Your phone's ringing, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Thank you, Donny.</dialogue>
<scene_description>DUDE 'S LIVING ROOM The Dude is slumped disconsolately back in his easy chair , fingers of one hand cupped over his sunglasses . Facing him on the couch are two uniformed policeman , one middle - aged , the other a fresh - faced rookie . At the cut the portable phone , in the Dude 's lap , is chirping . The Dude waits for the rings to end . When they do :</scene_description>
<character>DUDE</character>
<dialogue>1972 Pontiac LeBaron.</dialogue>
<character>YOUNGER COP</character>
<dialogue>Color?</dialogue>
<character>DUDE</character>
<dialogue>Green. Some brown, or, uh, rust, coloration.</dialogue>
<character>YOUNGER COP</character>
<dialogue>And was there anything of value in the car?</dialogue>
<character>DUDE</character>
<dialogue>Huh? Oh. Yeah. Tape deck. Couple of Creedence tapes. And there was a, uh. my briefcase.</dialogue>
<character>YOUNGER COP</character>
<dialogue>In the briefcase?</dialogue>
<character>DUDE</character>
<dialogue>Papers. Just papers. You know, my papers. Business papers.</dialogue>
<character>YOUNGER COP</character>
<dialogue>And what do you do, sir?</dialogue>
<character>DUDE</character>
<dialogue>I'm unemployed.</dialogue>
<character>OLDER COP</character>
<dialogue>Most people, we're working nights, they offer us coffee.</dialogue>
<scene_description>There is silence . Dude continues to stare at a spot on the floor . The older cop stares at him .</scene_description>
<character>DUDE</character>
<dialogue>Me, I do n't drink coffee. But it's nice when they offer.</dialogue>
<character>DUDE</character>
<dialogue>Also, my rug was stolen.</dialogue>
<character>YOUNGER COP</character>
<dialogue>Your rug was in the car.</dialogue>
<scene_description>The Dude taps the floor with his foot .</scene_description>
<character>DUDE</character>
<dialogue>No. Here.</dialogue>
<character>YOUNGER COP</character>
<dialogue>Separate incidents?</dialogue>
<scene_description>The Dude stares at the floor . Silence .</scene_description>
<character>OLDER COP</character>
<dialogue>Snap out of it, son.</dialogue>
<scene_description>The home phone starts ringing - a ring distinct from the chirp of the portable . The Dude makes no move to answer it . Finally the rings stop as an answering machine kicks on .</scene_description>
<character>DUDE</character>
<dialogue>You find them much? Stolen cars?</dialogue>
<scene_description>Dude 's Voice on Machine The Dude 's not in . Leave a message after the beep . It takes a minute .</scene_description>
<character>YOUNGER COP</character>
<dialogue>Sometimes. I would n't hold out much hope for the tape deck though. Or the Creedence tapes.</dialogue>
<character>DUDE</character>
<dialogue>And the, uh, the briefcase?</dialogue>
<scene_description>Beep .</scene_description>
<character>FEMALE VOICE ON MACHINE</character>
<dialogue>Mr. Lebowski, I'd like to see you. Call when you get home and I'll send a car for you. My name is Maude Lebowski. I'm the woman who took the rug.</dialogue>
<scene_description>Beep . Dial tone .</scene_description>
<character>OLDER COP</character>
<dialogue>Well, I guess we can close the file on that one.</dialogue>
<scene_description>TRACKING FORWARD We are moving through the open living area of a large downtown L.A. loft . A huge unfinished canvas , lit by standing industrial lights , dominates one wall . The furnishings are spare given the space . On the floor is the Dude 's brilliant rug . We hear a rumble like an approaching bowling ball . The Dude , standing in the middle of the loft , looks into the murky depths of the cavernous space . Something huge and white hurtles towards the Dude 's head . As it roars overhead he ducks , and spins to watch it pass . We see the backside of a naked woman in a sling suspended from a ceiling track rumbling over a canvas that lies on the floor . She is holding a paint bucket in one hand and a brush in the other , with which she flicks paint down at the canvas . The Dude turns again as he hears running footsteps . Two young men in paint - spattered shorts , T - shirts and sneakers reach the sling shortly after it reaches the end of its track and haul it back for another push .</scene_description>
<character>VOICE</character>
<dialogue>I'll be with you in a minute, Mr. Lebowski.</dialogue>
<scene_description>She rumbles by in another pass . All right , we 'll do the blue tomorrow . Elfranco . Pedro . Help me down . The two men help Maude out of her sling . She is naked except for leather harness straps which ring her breasts and wrap her thighs and give her something of a dominatrix look . Does the female form make you uncomfor - table , Mr. Lebowski ?</scene_description>
<character>DUDE</character>
<dialogue>Is that what that's a picture of?</dialogue>
<character>MAUDE</character>
<dialogue>In a sense, yes. Elfranco, my robe. My art has been commended as being strongly vaginal. Which bothers some men. The word itself makes some men uncomfortable. Vagina.</dialogue>
<character>DUDE</character>
<dialogue>Oh yeah?</dialogue>
<character>MAUDE</character>
<dialogue>Yes, they do n't like hearing it and find it difficult to say. Whereas without batting an eye a man will refer to his `` dick'' or his `` rod'' or his `` Johnson''.</dialogue>
<character>DUDE</character>
<dialogue>`` Johnson''?</dialogue>
<character>MAUDE</character>
<dialogue>Thank you.</dialogue>
<scene_description>This to Elfranco , who has handed her a robe . All right , Mr. Lebowski , let 's get down to cases . My father told me he 's agreed to let you have the rug , but it was a gift from me to my late mother , and so was not his to give . Now . As for this . `` kidnapping '' -</scene_description>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>MAUDE</character>
<dialogue>Yes, I know about it. And I know that you acted as courier. And let me tell you something : the whole thing stinks to high heaven.</dialogue>
<character>DUDE</character>
<dialogue>Right, but let me explain something about that rug -</dialogue>
<character>MAUDE</character>
<dialogue>Do you like sex, Mr. Lebowski?</dialogue>
<character>DUDE</character>
<dialogue>Excuse me?</dialogue>
<character>MAUDE</character>
<dialogue>Sex. The physical act of love. Coitus. Do you like it?</dialogue>
<character>DUDE</character>
<dialogue>I was talking about my rug.</dialogue>
<character>MAUDE</character>
<dialogue>You're not interested in sex?</dialogue>
<character>DUDE</character>
<dialogue>You mean coitus?</dialogue>
<character>MAUDE</character>
<dialogue>I like it too. It's a male myth about feminists that we hate sex. It can be a natural, zesty enterprise. But unfortunately there are some people - it is called satyriasis in men, nymphomania in women - who engage in it compulsively and without joy.</dialogue>
<character>DUDE</character>
<dialogue>Oh, no.</dialogue>
<character>MAUDE</character>
<dialogue>Yes Mr. Lebowski, these unfortunate souls can not love in the true sense of the word. Our mutual acquaintance Bunny is one of these.</dialogue>
<character>DUDE</character>
<dialogue>Listen, Maude, I'm sorry if your stepmother is a nympho, but I do n't see what it has to do with - do you have any kalhua?</dialogue>
<character>MAUDE</character>
<dialogue>Take a look at this, sir.</dialogue>
<scene_description>She is aiming a remote at a projection TV . The screen flickers to life . A title card : JACKIE TREEHORN PRESENTS KARL HUNGUS AND BUNNY LAJOYA IN LOGJAMMIN ' The Dude is at the bar , a bottle of kalhua frozen halfway to his glass . From the television set we hear a doorbell ring , and then a door opening . On the TV screen the door opens to reveal a sallow - faced man in blue coyer - alls . It is Dieter , the floater in Lebowski 's pool .</scene_description>
<character>DIETER</character>
<dialogue>Hello. Nein dizbatcher says zere iss problem mit deine kable.</dialogue>
<character>DUDE</character>
<dialogue>Shit, I know that guy. He's a nihilist.</dialogue>
<character>MAUDE</character>
<dialogue>And you recognize her, of course.</dialogue>
<scene_description>The girl answering the door is Bunny Lebowski . Bunny The TV is in here .</scene_description>
<character>DIETER</character>
<dialogue>Za, okay, I bring mein toolz.</dialogue>
<scene_description>Bunny This is my friend Shari . She just came over to use the shower .</scene_description>
<character>MAUDE</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>The story is ludicrous.</dialogue>
<character>DIETER</character>
<dialogue>Mein nommen iss Karl. Is hard to verk in zese clozes -</dialogue>
<scene_description>Maude switches off the set .</scene_description>
<character>MAUDE</character>
<dialogue>Lord. You can imagine where it goes from here.</dialogue>
<character>DUDE</character>
<dialogue>He fixes the cable?</dialogue>
<character>MAUDE</character>
<dialogue>Do n't be fatuous, Jeffrey. Little matter to me that this woman chose to pursue a career</dialogue>
<scene_description>in pornography , nor that she has been `` banging '' Jackie Treehorn , to use the parlance of our times . However . I am one of two trustees of the Lebowski Foundation , the other being my father . The Foundation takes youngsters from Watts and -</scene_description>
<character>DUDE</character>
<dialogue>Shit yeah, the achievers.</dialogue>
<character>MAUDE</character>
<dialogue>Little Lebowski Urban Achievers, yes, and proud we are of all of them. I asked my father about his withdrawal of a million dollars from the Foundation account and he told me about this `` abduction'', but I tell you it is preposterous. This compulsive</dialogue>
<scene_description>fornicator is taking my father for the proverbial ride .</scene_description>
<character>DUDE</character>
<dialogue>Yeah, but my -</dialogue>
<character>MAUDE</character>
<dialogue>I'm getting to your rug. My father and I do n't get along ; he does n't approve of my lifestyle and, needless to say, I do n't approve of his. Still, I hardly wish to make my father's embezzlement a police matter, so I'm proposing that you try to recover the money from the people you delivered it to.</dialogue>
<character>DUDE</character>
<dialogue>Well - sure, I could do that -</dialogue>
<character>MAUDE</character>
<dialogue>If you successfully do so, I will compensate you to the tune of 1 % of the recovered sum.</dialogue>
<character>DUDE</character>
<dialogue>A hundred.</dialogue>
<character>MAUDE</character>
<dialogue>Thousand, yes, bones or clams or whatever you call them.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, but what about -</dialogue>
<character>MAUDE</character>
<dialogue>- your rug, yes, well with that money you can buy any number of rugs that do n't have sentimental value for me. And I am sorry about that crack on the jaw.</dialogue>
<scene_description>The Dude fingers his jaw , where the lump from the sap has all but disappeared .</scene_description>
<character>DUDE</character>
<dialogue>Oh that's okay, I hardly even -</dialogue>
<character>MAUDE</character>
<dialogue>Here's the name and number of a doctor who will look at it for you. You will receive no bill. He's a good man, and thorough.</dialogue>
<character>DUDE</character>
<dialogue>That's really thoughtful but I -</dialogue>
<character>MAUDE</character>
<dialogue>Please see him, Jeffrey. He's a good man, and thorough.</dialogue>
<scene_description>LIMO The Dude sits in back holding a White Russian , listening to the chauffeur , a man of about the same age from whose livery cap a ponytail emerges .</scene_description>
<character>DRIVER</character>
<dialogue>- So he says, `` My son ca n't hold a job, my daughter's married to a fuckin' loser, and I got a rash on my ass so bad I ca n't hardly siddown. But you know me. I ca n't complain.''</dialogue>
<character>DUDE</character>
<dialogue>Fuckin' A, man. I got a rash. Fuckin' A, man. I got ta tell ya Tony.</dialogue>
<scene_description>He takes a sip of a freshly - mixed White Russian , which leaves milk on his mustache . I was feeling really shitty earlier in the day , I 'd lost a little money , I was down in the dumps .</scene_description>
<character>TONY</character>
<dialogue>Aw, forget about it.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, man! Fuck it! I ca n't be worrying about that shit. Life goes on!</dialogue>
<scene_description>The limo has rolled to a stop . The Dude gets out , still holding his drink .</scene_description>
<character>TONY</character>
<dialogue>Home sweet home, Mr. L. Who's your friend in the Volkswagon?</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<scene_description>His eyes on the rearview mirror , Tony jerks a thumb over his shoulder . He followed us here . The Dude turns to look . HIS POV Halfway up the block a Volkswagon bug has pulled over to the curb . In the driver 's seat we see a fat man 's shape . THE DUDE He scowls .</scene_description>
<character>DUDE</character>
<dialogue>When did he -</dialogue>
<scene_description>The Dude is grabbed from behind and muscled away in a half - nelson by another uniformed chauffeur .</scene_description>
<character>SECOND CHAUFFEUR</character>
<dialogue>Into the limo, you sonofabitch. No arguments.</dialogue>
<scene_description>As he is frog - marched towards another limo the Dude holds his drink away from his chest and cups a hand underneath it .</scene_description>
<character>DUDE</character>
<dialogue>Fuck, man! There's a beverage here!</dialogue>
<scene_description>The waiting limo 's back door is flung open . INSIDE The Dude is shoved in and awkwardly takes a seat facing the rear . The door is slammed behind him .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Start talking and talk fast you lousy bum!</dialogue>
<character>BRANDT</character>
<dialogue>We've been frantically trying to reach you, Dude.</dialogue>
<scene_description>Brandt sits catty - corner from the Dude ; directly across from the Dude is the big Lebowski , a comforter across his knees .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Where's my goddamn money, you bum?!</dialogue>
<character>DUDE</character>
<dialogue>Well we - I do n't -</dialogue>
<character>LEBOWSKI</character>
<dialogue>They did not receive the money, you nitwit! They did not receive the goddamn money. HER LIFE WAS IN YOUR HANDS!</dialogue>
<character>BRANDT</character>
<dialogue>This is our concern, Dude.</dialogue>
<character>DUDE</character>
<dialogue>No, man, nothing is fucked here -</dialogue>
<character>LEBOWSKI</character>
<dialogue>NOTHING IS FUCKED! THE GODDAMN PLANE HAS CRASHED INTO THE MOUNTAIN!</dialogue>
<scene_description>The Dude takes a hurried sip from his drink .</scene_description>
<character>DUDE</character>
<dialogue>C'mon man, who're you gon na believe? Those guys are - we dropped off the damn money -</dialogue>
<character>LEBOWSKI</character>
<dialogue>WHAT?!</dialogue>
<character>DUDE</character>
<dialogue>I - the royal we, you know, the editorial - I dropped off the money, exactly as per - Look, I've got certain information, certain things have come to light, and uh, has it ever occurred to you, man, that given the nature of all this new shit, that, uh, instead of running around blaming me, that this whole thing might just be, not, you know, not just such a simple, but uh - you know?</dialogue>
<character>LEBOWSKI</character>
<dialogue>What in God's holy name are you blathering about?</dialogue>
<character>DUDE</character>
<dialogue>I'll tell you what I'm blathering about! I got information - new shit has come to light and - shit, man! She kidnapped herself!</dialogue>
<scene_description>Lebowski stares at him , dumbstruck . The Dude is encouraged .</scene_description>
<character>DUDE</character>
<dialogue>Well sure, look at it! Young trophy wife, I mean, in the parlance of our times, owes money all over town, including to known pornographers - and that's cool, that's cool - but I'm saying, she needs money, and of course they're gon na say they did n't get it'cause she wants more, man, she's got ta feed the monkey, I mean - has n't that ever occurred to you? Sir?</dialogue>
<character>LEBOWSKI</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>No. No Mr. Lebowski, that had not occurred to me.</dialogue>
<character>BRANDT</character>
<dialogue>That had not occurred to us, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Well, okay, you're not privy to all the new shit, so uh, you know, but that's what you pay me for. Speaking of which, would it be possible for me to get my twenty grand in cash? I got ta check this with my accountant of course, but my concern is that, you know, it could bump me into a higher tax -</dialogue>
<character>LEBOWSKI</character>
<dialogue>Brandt, give him the envelope.</dialogue>
<character>DUDE</character>
<dialogue>Well, okay, if you've already made out the check. Brandt is handing him a letter - sized envelope which is distended by something inside.</dialogue>
<character>BRANDT</character>
<dialogue>We received it this morning.</dialogue>
<scene_description>The Dude , frowning , untucks its flap , takes out some cotton wadding and unrolls it .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Since you have failed to achieve, even in the modest task that was your charge, since you have stolen my money, and since you have unrepentantly betrayed my trust.</dialogue>
<scene_description>The wadding , undone , reveals a smaller wad of gauze taped up inside . The Dude undoes the tape with his fingernails and starts to unroll the inner package .</scene_description>
<character>LEBOWSKI</character>
<dialogue>I have no choice but to tell these bums that they should do whatever is necessary to recover their money from you, Jeffrey Lebowski. And with Brandt as my witness, tell you this : Any further harm visited upon Bunny, shall be visited tenfold upon your head.</dialogue>
<scene_description>Between thumb and forefinger the Dude holds up the contents of the package - a little toe , with emerald green nail polish .</scene_description>
<character>LEBOWSKI</character>
<dialogue>By God sir. I will not abide another toe.</dialogue>
<scene_description>COFFEE SHOP The Dude and Walter sit at the counter , both staring off into space , both absently stirring their coffee with little clinking noises .</scene_description>
<character>WALTER</character>
<dialogue>That was n't her toe.</dialogue>
<character>DUDE</character>
<dialogue>Whose toe was it, Walter?</dialogue>
<character>WALTER</character>
<dialogue>How the fuck should I know? I do know that nothing about it indicates -</dialogue>
<character>DUDE</character>
<dialogue>The nail polish, Walter.</dialogue>
<character>WALTER</character>
<dialogue>Fine, Dude. As if it's impossible to get some nail polish, apply it to someone else's toe -</dialogue>
<character>DUDE</character>
<dialogue>Someone else's - where the fuck are they gon na -</dialogue>
<character>WALTER</character>
<dialogue>You want a toe? I can get you a toe, believe me. There are ways, Dude. You do n't wan na know about it, believe me.</dialogue>
<character>DUDE</character>
<dialogue>But Walter -</dialogue>
<character>WALTER</character>
<dialogue>I'll get you a toe by this afternoon - with nail polish. These fucking amateurs. They send us a toe, we're supposed to shit our - selves with fear. Jesus Christ. My point is -</dialogue>
<character>DUDE</character>
<dialogue>They're gon na kill her, Walter, and then they're gon na kill me -</dialogue>
<character>WALTER</character>
<dialogue>Well that's just, that's the stress talking, Dude. So far we have what looks to me like a series of victimless crimes -</dialogue>
<character>DUDE</character>
<dialogue>What about the toe?</dialogue>
<character>WALTER</character>
<dialogue>FORGET ABOUT THE FUCKING TOE!</dialogue>
<scene_description>A waitress enters .</scene_description>
<character>WAITRESS</character>
<dialogue>Could you please keep your voices down - this is a family restaurant.</dialogue>
<character>WALTER</character>
<dialogue>Oh, please dear! I've got news for you : the Supreme Court has roundly rejected prior restraint!</dialogue>
<character>DUDE</character>
<dialogue>Walter, this is n't a First Amendment thing.</dialogue>
<character>WAITRESS</character>
<dialogue>Sir, if you do n't calm down I'm going to have to ask you to leave.</dialogue>
<character>WALTER</character>
<dialogue>Lady, I got buddies who died face - down in the muck so you and I could enjoy this family restaurant!</dialogue>
<character>DUDE</character>
<dialogue>All right, I'm leaving. I'm sorry ma'am.</dialogue>
<character>WALTER</character>
<dialogue>Do n't run away from this, Dude! Goddamnit, this affects all of us!</dialogue>
<scene_description>The Dude has left frame ; Walter calls after him :</scene_description>
<character>WALTER</character>
<dialogue>Our basic freedoms!</dialogue>
<scene_description>He looks defiantly around .</scene_description>
<character>WALTER</character>
<dialogue>I'm staying. Finishing my coffee.</dialogue>
<scene_description>He stirs the coffee , bopping his head in time to the Muzak , affecting nonchalance .</scene_description>
<character>WALTER</character>
<dialogue>Finishing my coffee.</dialogue>
<scene_description>DUDE 'S BATHROOM A dripping noise . The Dude sits in the bathtub , staring stuporously , a joint pinched in one hand , a washcloth draped over his head . We hear the phone ringing in the other roam . The Dude is staring at his toes , which protrude from the soapy water , splayed against the far side of the tub . After the Dude 's outgoing message we hear :</scene_description>
<character>VOICE THROUGH MACHINE</character>
<dialogue>Mr. Lebowski, this is Duty Officer Rolvaag of the L.A.P.D.</dialogue>
<scene_description>The Dude looks stuporously up , his head swaying .</scene_description>
<character>VOICE THROUGH MACHINE</character>
<dialogue>We've recovered your vehicle. It can be claimed at the North Hollywood Auto Circus there on Victory.</dialogue>
<character>DUDE</character>
<dialogue>Far out. Far fuckin' out.</dialogue>
<character>MESSAGE</character>
<dialogue>You'll just need to present a -</dialogue>
<scene_description>The message is interrupted by loud smashing sounds , as of someone applying a baseball bat to the answering machine .</scene_description>
<character>DUDE</character>
<dialogue>Hunh?</dialogue>
<scene_description>He looks blearily at the open doorway . A tall man dressed in black leather with a cricket paddle is striding across the living room towards the bathroom .</scene_description>
<character>DUDE</character>
<dialogue>Hey! This is a private residence, man!</dialogue>
<scene_description>The man has entered the bathroom and , in stride , swings the cricket paddle up to smash the overhead light . Two other men are entering behind him . The room is dark now except for spill from the living room ; the men are backlit shapes . One of them holds a string at the other end of which a small animal skitters excitedly about the floor . The Dude looks curiously at the small , nattering animal .</scene_description>
<character>DUDE</character>
<dialogue>Nice marmot.</dialogue>
<scene_description>The man with the string scoops up the marmot and tosses it , screaming , into the bathtub . The Dude screams . The marmot splashes frantically , biting at the Dude in a frenzy of fearful aggression .</scene_description>
<character>FIRST MAN</character>
<dialogue>Vee vant zat money, Lebowski.</dialogue>
<scene_description>The Dude , screaming , grabs the lip of the tub and starts to hoist himself up but the first man lays a palm on top of his head and squishes him back into the water .</scene_description>
<character>SECOND MAN</character>
<dialogue>You think veer kidding und making mit de funny stuff?</dialogue>
<character>THIRD MAN</character>
<dialogue>Vee could do things you only dreamed of, Lebowski.</dialogue>
<character>SECOND MAN</character>
<dialogue>Ja, vee could really do it, Lebowski. Vee belief in nossing.</dialogue>
<scene_description>He scoops the marmot out of the water . It shakes itself off , spraying the Dude .</scene_description>
<character>DUDE</character>
<dialogue>Jesus!</dialogue>
<character>DIETER</character>
<dialogue>Vee belief in nossing, Lebowski! NOSSING!</dialogue>
<scene_description>The marmot , back on the floor , is skittering around , shaking itself and convulsing in little sneezes .</scene_description>
<character>DUDE</character>
<dialogue>Jesus Christ!</dialogue>
<character>FIRST MAN</character>
<dialogue>Tomorrow vee come back und cut off your chonson.</dialogue>
<character>DUDE</character>
<dialogue>Excuse me?</dialogue>
<character>FIRST MAN</character>
<dialogue>I SAY VEE CUT OFF YOUR CHONSON!</dialogue>
<scene_description>The three men turn to leave . Over their retreating backs :</scene_description>
<character>SECOND MAN</character>
<dialogue>Just sink about zat, Lebowski.</dialogue>
<character>FIRST MAN</character>
<dialogue>Ja, your viggly penis, Lebowski.</dialogue>
<character>SECOND MAN</character>
<dialogue>Ja, und maybe vee stamp on it und skvush it, Lebowski!</dialogue>
<scene_description>NORTH HOLLYWOOD AUTO CIRCUS A policeman with a clipboard is leading the Dude through a large parking lot .</scene_description>
<character>POLICEMAN</character>
<dialogue>You're lucky she was n't chopped, Mr. Lebowski. Must've been a joyride situation ; they abandoned the car once they hit the retaining wall.</dialogue>
<scene_description>They have reached the Dude 's car . The driver 's side exterior has been scraped raw . The policeman hands the Dude a door handle and an exterior rear - view mirror .</scene_description>
<character>POLICEMAN</character>
<dialogue>These were on the road next to the car. You'll have to get in on the other side.</dialogue>
<scene_description>The Dude climbs in the passenger side .</scene_description>
<character>DUDE</character>
<dialogue>My fucking briefcase! It's not here!</dialogue>
<character>POLICEMAN</character>
<dialogue>Yeah, sorry, I saw that on the report. You're lucky they left the tape deck though.</dialogue>
<character>DUDE</character>
<dialogue>My fucking briefcase! Jesus - what's that smell?</dialogue>
<character>POLICEMAN</character>
<dialogue>Uh, yeah. Probably a vagrant, slept in the car. Or perhaps just used it as a toilet, and moved on.</dialogue>
<scene_description>The Dude tries to roll down the driver 's window but it will not go ; he bellows through the glass :</scene_description>
<character>DUDE</character>
<dialogue>When will you find these guys? I mean, do you have any promising leads?</dialogue>
<scene_description>The policeman laughs , agreeing broadly .</scene_description>
<character>POLICEMAN</character>
<dialogue>Leads, yeah. I'll just check with the boys down at the Crime Lab. They've assigned four more detectives to the case, got us working in shifts.</dialogue>
<scene_description>The Dude looks sadly through his window at the policeman rocking back on his heels , his raucous laughter muffled by the glass . BOWLING ALLEY BAR The Dude , Walter and Donny sit at the bar , the Dude with a White Russian , Walter with a beer , and Donny eating beer nuts .</scene_description>
<character>DONNY</character>
<dialogue>And then they're gon na stamp on it?!</dialogue>
<character>WALTER</character>
<dialogue>Oh for Christ - will you shut the fuck up, Donny.</dialogue>
<character>DUDE</character>
<dialogue>I figure my only hope is that the big Lebowski kills me before the Germans can cut my dick off.</dialogue>
<character>WALTER</character>
<dialogue>Now that is ridiculous, Dude. No one is going to cut your dick off.</dialogue>
<character>DUDE</character>
<dialogue>Thanks Walter.</dialogue>
<character>WALTER</character>
<dialogue>Not if I have anything to say about it.</dialogue>
<character>DUDE</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>Yeah, thanks Walter. That gives me a very secure feeling.</dialogue>
<character>WALTER</character>
<dialogue>Dude -</dialogue>
<character>DUDE</character>
<dialogue>That makes me feel all warm inside.</dialogue>
<character>WALTER</character>
<dialogue>Now Dude -</dialogue>
<character>DUDE</character>
<dialogue>This whole fucking thing - I could be sitting here with just pee - stains on my rug.</dialogue>
<scene_description>Walter sadly shakes his head .</scene_description>
<character>WALTER</character>
<dialogue>Fucking Germans. Nothing changes. Fucking Nazis.</dialogue>
<character>DONNY</character>
<dialogue>They were Nazis, Dude?</dialogue>
<character>WALTER</character>
<dialogue>Come on, Donny, they were threatening castration!</dialogue>
<character>DONNY</character>
<dialogue>Uh - huh.</dialogue>
<character>WALTER</character>
<dialogue>Are you gon na split hairs?</dialogue>
<character>DONNY</character>
<dialogue>No -</dialogue>
<character>WALTER</character>
<dialogue>Am I wrong?</dialogue>
<character>DONNY</character>
<dialogue>Well -</dialogue>
<character>DUDE</character>
<dialogue>They're nihilists.</dialogue>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>They kept saying they believe in nothing.</dialogue>
<character>WALTER</character>
<dialogue>Nihilists! Jesus.</dialogue>
<scene_description>Walter looks haunted . Say what you like about the tenets of National Socialism , Dude , at least it 's an ethos .</scene_description>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<character>WALTER</character>
<dialogue>And let's also not forget - let's not forget, Dude - that keeping wildlife, an amphibious rodent, for uh, domestic, you know, within the city - that is n't legal either.</dialogue>
<character>DUDE</character>
<dialogue>What're you, a fucking park ranger now?</dialogue>
<character>WALTER</character>
<dialogue>No, I'm -</dialogue>
<character>DUDE</character>
<dialogue>Who gives a shit about the fucking marmot!</dialogue>
<character>WALTER</character>
<dialogue>- We're sympathizing here, Dude -</dialogue>
<character>DUDE</character>
<dialogue>Fuck your sympathy! I do n't need your sympathy, man, I need my fucking Johnson!</dialogue>
<character>DONNY</character>
<dialogue>What do you need that for, Dude?</dialogue>
<character>WALTER</character>
<dialogue>You got ta buck up, man, you ca n't go into the tournament with this negative attitude -</dialogue>
<character>DUDE</character>
<dialogue>Fuck the tournament! Fuck you, Walter!</dialogue>
<scene_description>There is a moment of stunned silence .</scene_description>
<character>WALTER</character>
<dialogue>Fuck the tournament?!</dialogue>
<scene_description>SAD ; QUIET :</scene_description>
<character>WALTER</character>
<dialogue>Okay Dude. I can see you do n't want to be cheered up. C'mon Donny, let's go get a lane.</dialogue>
<scene_description>They leave the Dude sitting morosely at the bar . As he stares</scene_description>
<character>DUDE</character>
<dialogue>Another Caucasian, Gary.</dialogue>
<character>VOICE</character>
<dialogue>Right, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Friends like these, huh Gary.</dialogue>
<character>GARY</character>
<dialogue>That's right, Dude.</dialogue>
<scene_description>The pop song on the jukebox has ended ; someone puts on `` Tumbling Tumbleweeds . '' A man saunters up to the bar to take the stool that Walter vacated . He is middle - aged , amiable , craggily handsome - Sam Elliot , perhaps . He has a large Western - style mustache and wears denims , a yoked shirt and a cowboy hat .</scene_description>
<character>MAN</character>
<dialogue>D'ya have a good sarsaparilla?</dialogue>
<scene_description>We recognize the voice of The Stranger whose narration opened the movie .</scene_description>
<character>BARTENDER</character>
<dialogue>Sioux City Sarsaparilla.</dialogue>
<scene_description>The Stranger nods .</scene_description>
<character>THE STRANGER</character>
<dialogue>That's a good one.</dialogue>
<scene_description>Waiting for his drink , he looks amiably around the bar . His crinkled eyes settle on the Dude .</scene_description>
<character>THE STRANGER</character>
<dialogue>How ya doin' there, Dude?</dialogue>
<scene_description>The Dude , still staring down at his drink , shakes his head .</scene_description>
<character>DUDE</character>
<dialogue>Ahh, not so good, man.</dialogue>
<character>THE STRANGER</character>
<dialogue>One a those days, huh. Wal, a wiser fella than m ` self once said, sometimes you eat the bar and sometimes the bar, wal, he eats you.</dialogue>
<character>DUDE</character>
<parenthetical>( absently . )</parenthetical>
<dialogue>Uh - huh. That some kind of Eastern thing?</dialogue>
<character>THE STRANGER</character>
<dialogue>Far from it.</dialogue>
<character>DUDE</character>
<dialogue>Mm.</dialogue>
<scene_description>The bartender puts a brown bottle and a frosted glass on the bar in front of The Stranger , who touches his hat brim .</scene_description>
<character>THE STRANGER</character>
<dialogue>Much obliged.</dialogue>
<scene_description>He looks back at the Dude .</scene_description>
<character>THE STRANGER</character>
<dialogue>I like your style, Dude.</dialogue>
<scene_description>THE DUDE LOOKS UP , ABSENTLY :</scene_description>
<character>DUDE</character>
<dialogue>Well I like your style too, man. Got a whole cowboy thing goin'.</dialogue>
<character>THE STRANGER</character>
<dialogue>Thankie. Just one thing, Dude. D'ya have to use s ` many cuss words?</dialogue>
<scene_description>The Dude looks at The Stranger as if just now noticing how out of place the cowpoke is .</scene_description>
<character>DUDE</character>
<dialogue>The fuck are you talking about?</dialogue>
<scene_description>The Stranger chuckles indulgently and pushes off from the bar .</scene_description>
<character>THE STRANGER</character>
<dialogue>Okay, have it your way.</dialogue>
<scene_description>He brushes his hat brim with a fingertip .</scene_description>
<character>THE STRANGER</character>
<dialogue>Take it easy, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Yeah. Thanks man.</dialogue>
<scene_description>He is gone . `` Tumbling Tumbleweeds '' is ending as we hear an offscreen voice , breaking the spell :</scene_description>
<character>VOICE</character>
<dialogue>Dude! Dude!</dialogue>
<scene_description>Tony , the unformed limo driver , is at the door of the bar , beckoning . MAUDE 'S LOFT She strides toward us , naked under a robe which she is just cinching shut . Paint flecks her skin .</scene_description>
<character>MAUDE</character>
<dialogue>Jeffrey, you have n't gone to the doctor.</dialogue>
<character>DUDE</character>
<dialogue>No it's fine, really, uh -</dialogue>
<character>MAUDE</character>
<dialogue>Do you have any news regarding my father's money?</dialogue>
<character>DUDE</character>
<dialogue>I, uh. money, yeah, I got ta respecfully, 69 you know, tender my resignation on that matter,'cause it looks like your mother really was kidnapped after all.</dialogue>
<character>MAUDE</character>
<dialogue>She most certainly was not!</dialogue>
<character>DUDE</character>
<dialogue>Hey man, why do n't you fucking listen occasionally? You might learn something. Now I got -</dialogue>
<character>MAUDE</character>
<dialogue>And please do n't call her my mother.</dialogue>
<character>DUDE</character>
<dialogue>Now I got -</dialogue>
<character>MAUDE</character>
<dialogue>She is most definitely the perpetrator and not the victim.</dialogue>
<character>DUDE</character>
<dialogue>I'm telling you, I got definitive evidence -</dialogue>
<character>MAUDE</character>
<dialogue>From who?</dialogue>
<character>DUDE</character>
<dialogue>The main guy, Dieter -</dialogue>
<character>MAUDE</character>
<dialogue>Dieter Hauff?</dialogue>
<character>DUDE</character>
<dialogue>Well - yeah, I guess -</dialogue>
<character>MAUDE</character>
<dialogue>Her `` co - star'' in the beaver picture?</dialogue>
<character>DUDE</character>
<dialogue>Beaver? You mean vagina? - I mean, you know him?</dialogue>
<character>MAUDE</character>
<dialogue>Dieter has been on the fringes of - well, of everything in L.A., for about twenty years. Look at my LP's. Under ` Autobahn.'</dialogue>
<scene_description>The Dude fingers through the albums filling one bookshelf .</scene_description>
<character>MAUDE</character>
<dialogue>That was his group - they released one album in the mid - seventies.</dialogue>
<scene_description>The Dude stops between two albums .</scene_description>
<character>DUDE</character>
<dialogue>Roy Orbison. Pink Floyd.</dialogue>
<character>MAUDE</character>
<dialogue>Huh? Autobahn. A - u - t - o. Their music is a sort of - ugh - techno - pop.</dialogue>
<scene_description>The Dude pulls out an album with a worn sleeve . On it is the group 's name , Autobahn , the album name , Nagelbett , and a picture OF THREE YOUNG GERMANS , THEIR FOREHEADS LOOMING BELOW SLICKED - back hair , gazing upward in thin - lipped epiphany . They are wearing severe but modishly retro suits . Each has his name under his picture - Dieter , Kieffer ; and Franz . A bed of nails is the only set dressing on the cyc .</scene_description>
<character>DUDE</character>
<dialogue>Jeez. I miss vinyl.</dialogue>
<character>MAUDE</character>
<dialogue>Is he pretending to be the abductor?</dialogue>
<character>DUDE</character>
<dialogue>Well. yeah -</dialogue>
<character>MAUDE</character>
<dialogue>Look, Jeffrey, you do n't really kidnap someone that you're acquainted with. You ca n't get away with it if the hostage knows who you are.</dialogue>
<character>DUDE</character>
<dialogue>Well yeah. I know that.</dialogue>
<character>MAUDE</character>
<dialogue>So Dieter has the money?</dialogue>
<character>DUDE</character>
<dialogue>Well, no, not exactly. It's a complicated case, Maude. Lotta ins. Lotta outs. And a lotta strands to keep in my head, man. Lotta strands in old Duder's -</dialogue>
<character>MAUDE</character>
<dialogue>Do you still have that doctor's number?</dialogue>
<character>DUDE</character>
<dialogue>Huh? No, really, I do n't even have the bruise any more, I -</dialogue>
<scene_description>She is scribbling .</scene_description>
<character>MAUDE</character>
<dialogue>Please Jeffrey. I do n't want to be responsible for any delayed after - effects.</dialogue>
<character>DUDE</character>
<dialogue>Delayed after - eff -</dialogue>
<character>MAUDE</character>
<dialogue>I want you to see him immediately.</dialogue>
<scene_description>She is picking up a telephone .</scene_description>
<character>MAUDE</character>
<dialogue>I'll see if he's available. He's a good man, and thorough.</dialogue>
<scene_description>CLOSE SHOT THE DUDE His eyes are closed , a headset on , his shirt off . Leaking tinnily through the headset we hear the opening bars of `` Comin ' Up Around the Bend . '' Behind him , cropped so that we see only a little of his torso , a white - smocked figure taps at the Dude 's back . After a moment the figure circles to one side , out of frame . His hand reaches in to pull one arm of the headset away from the Dude 's ear , and as he does so the music issues more strongly .</scene_description>
<character>VOICE</character>
<dialogue>Could you slide your shorts down please, Mr. Lebowski?</dialogue>
<scene_description>The Dude 's eyes open .</scene_description>
<character>DUDE</character>
<dialogue>Huh? No, she, she hit me right here.</dialogue>
<character>VOICE</character>
<dialogue>I understand sir. Could you slide your shorts down please?</dialogue>
<scene_description>DUDE 'S CAR The Dude is driving home . A Creedence tape plays . The Dude is sucking down a joint . He glances at the rear - view mirror - and , noticing something , looks again . HIS POV A Volkswagon bug is following , a lone fat man driving . THE DUDE His eyes still on the mirror , he absently takes the joint between thumb and forefinger of his right hand and flicks it out the driver 's window - except that the window is not open . The butt bounces off the glass and around the car , showering sparks . DUDE 'S CROTCH The glowing butt rolls down the car seat between his legs . The Dude screams . THE STREET The car careens wildly as the surrounding traffic veers off to , make way , horns blaring . The car finally spins and comes to rest with its passenger side wrapped into a telephone poll . INSIDE THE CAR The Dude frantically grabs at his door , which wo n't open , and then slides over to push at the passenger door , which also wo n't open .</scene_description>
<character>DUDE</character>
<dialogue>Fuck Me.</dialogue>
<scene_description>But he is sitting on the passenger side now , away from the lit butt . He looks around for it . Smoke is wisping up from between the Driver 's seat cushion and back cushion .</scene_description>
<character>DUDE</character>
<dialogue>Fuckola, man.</dialogue>
<scene_description>He takes his beer and pours it in between the cushions . There is a hissing sound . But there is a piece of paper sticking out from between the cushions . The Dude pulls it out . It is lined spiral notebook paper , slightly singed and dripping beer , covered with handwriting . In the upper right - hand corner is the name Lawrence Sellers , and under that , Mrs. Jamtoss 5th Period . The theme is titled `` The Louisiana Purchase . '' In red ink is a large circled D and some handwritten marginal comments ; misspelled words are circled in red throughout . CRANE JACKSON 'S FOUNTAIN STREET THEATER We are behind Walter , the Dude , and Donny , facing the stage in the background where Allan , the Dude 's balding landlord , is performing a dance moderne . As Walter talks to the Dude he leans in to him , his voice hushed , so as not to disturb the rest of the very sparse audience .</scene_description>
<character>WALTER</character>
<dialogue>He lives in North Hollywood on Radford, near the In - and - Out Burger -</dialogue>
<character>DUDE</character>
<dialogue>The In - and - Out Burger is on Camrose.</dialogue>
<character>WALTER</character>
<dialogue>Near the In - and - Out Burger -</dialogue>
<character>DONNY</character>
<dialogue>Those are good burgers, Walter.</dialogue>
<character>WALTER</character>
<dialogue>Shut the fuck up, Donny. This kid is in the ninth grade, Dude, and his father is - are you ready for this? - Arthur Digby Sellers.</dialogue>
<character>DUDE</character>
<dialogue>Who the fuck is that?</dialogue>
<character>WALTER</character>
<dialogue>Huh?</dialogue>
<character>DUDE</character>
<dialogue>Who the fuck is Arthur Digby Sellers?</dialogue>
<character>WALTER</character>
<dialogue>Who the f - have you ever heard of a little show called Branded, Dude?</dialogue>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<character>WALTER</character>
<dialogue>All but one man died? There at Bitter Creek?</dialogue>
<character>DUDE</character>
<dialogue>Yeah yeah, I know the fucking show Walter, so what?</dialogue>
<character>WALTER</character>
<dialogue>Fucking Arthur Digby Sellers wrote 156 episodes, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>WALTER</character>
<dialogue>The bulk of the series.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>WALTER</character>
<dialogue>Not exactly a lightweight.</dialogue>
<character>DUDE</character>
<dialogue>No.</dialogue>
<character>WALTER</character>
<dialogue>And yet his son is a fucking dunce.</dialogue>
<character>DUDE</character>
<dialogue>Uh.</dialogue>
<character>WALTER</character>
<dialogue>Yeah, go figure. Well we'll go out there after the, uh, the.</dialogue>
<scene_description>He waves a hand vaguely toward the stage .</scene_description>
<character>WALTER</character>
<dialogue>What have you. We'll, uh -</dialogue>
<character>DONNY</character>
<dialogue>We'll be near the In - and - Out Burger.</dialogue>
<character>WALTER</character>
<dialogue>Shut the fuck up, Donny. We'll, uh, brace the kid - he'll be a pushover. We'll get that fucking money, if he has n't spent it already. Million fucking clams. And yes, we'll be near the, uh - some burgers, some beers, a few laughs. Our fucking troubles are over, Dude.</dialogue>
<scene_description>RESIDENTIAL AREA The Dude and Walter are pulling up in front of a dilapidated house sitting on a scrubby lot . Parked incongruously in front of the house is a brand new red Corvette .</scene_description>
<character>DUDE</character>
<dialogue>Fuck me, man! That kid's already spent all the money!</dialogue>
<character>WALTER</character>
<dialogue>Hardly Dude, a new ` vette? The kid's still got, oh, 96 to 97 thousand, depending on the options. Wait in the car, Donny.</dialogue>
<scene_description>THE FRONT DOOR Walter rings the bell . It is opened by a matronly Spanish woman .</scene_description>
<character>WOMAN</character>
<dialogue>Jace?</dialogue>
<character>WALTER</character>
<dialogue>Hello, Pilar? My name is Walter Sobchak, we spoke on the phone, this is my associate Jeffrey Lebowski.</dialogue>
<character>WOMAN</character>
<dialogue>Jace.</dialogue>
<character>WALTER</character>
<dialogue>May we uh, we wanted to talk about little Larry. May we come in?</dialogue>
<character>WOMAN</character>
<dialogue>Jace.</dialogue>
<scene_description>They enter a dim living room and stand , looking about , as Pilar</scene_description>
<character>PILAR</character>
<dialogue>Larry! Sweetie! Dat mang is here!</dialogue>
<scene_description>There is a rhythmic compressor sound ; Walter places it and nudges the Dude . At the other end of the living room a man lies on something that looks like a hospital gurney with its midsection enclosed by a motorized stainless - steel bubble . It is an iron lung , artificially breathing with distinct hisses in and out .</scene_description>
<character>WALTER</character>
<dialogue>That's him, Dude.</dialogue>
<character>VIVA VOCE</character>
<dialogue>And a good day to you, sir.</dialogue>
<character>PILAR</character>
<dialogue>See down, please.</dialogue>
<character>WALTER</character>
<dialogue>Thank you, ma'am.</dialogue>
<scene_description>He and the Dude sit on a sagging green sofa . In a lowered voice , to Pilar :</scene_description>
<character>WALTER</character>
<dialogue>Does he, uh. Is he still writing?</dialogue>
<character>PILAR</character>
<dialogue>No, no. He has healt' problems.</dialogue>
<character>WALTER</character>
<dialogue>Uh - huh.</dialogue>
<character>WALTER</character>
<dialogue>I just want to say, sir, that we're both enormous - on a personal level, Branded, especially the early episodes, has been a source of, uh, inspir -</dialogue>
<scene_description>There are footsteps on the stairs . Larry , a fifteen - year - old , looks at the two men .</scene_description>
<character>PILAR</character>
<dialogue>See down, Sweetie. These are the policeman -</dialogue>
<character>WALTER</character>
<dialogue>No ma'am, I did n't mean to give the impression that we're police exactly. We're hoping that it will not be necessary to call the police.</dialogue>
<scene_description>He adopts his command voice in turning to Larry :</scene_description>
<character>WALTER</character>
<dialogue>But that is up to little Larry here. Is n't it, Larry?</dialogue>
<scene_description>Walter pops the latches on his attache case and takes out the homework , which is now in a ziploc bag . He holds it out at arm 's length , displaying it to Larry .</scene_description>
<character>WALTER</character>
<dialogue>Is this your homework, Larry?</dialogue>
<scene_description>Larry does not respond .</scene_description>
<character>WALTER</character>
<dialogue>Is this your homework, Larry?</dialogue>
<character>DUDE</character>
<dialogue>Look, man, did you -</dialogue>
<character>WALTER</character>
<dialogue>Dude, please!. Is this your homework, Larry?</dialogue>
<character>DUDE</character>
<dialogue>Just ask him if he - ask him about the car, man!</dialogue>
<scene_description>Walter is still holding out the homework .</scene_description>
<character>WALTER</character>
<dialogue>Is this yours, Larry? Is this your homework, Larry?</dialogue>
<character>DUDE</character>
<dialogue>Is the car out front yours?</dialogue>
<character>WALTER</character>
<dialogue>Is this your homework, Larry?</dialogue>
<character>DUDE</character>
<dialogue>We know it's his fucking homework, Walter! Where's the fucking money, you little brat?</dialogue>
<scene_description>Throughout Walter has been staring at Larry with the homework extended towards him .</scene_description>
<character>WALTER</character>
<dialogue>Look, Larry. Have you ever heard of Vietnam?</dialogue>
<character>DUDE</character>
<dialogue>Oh, for Christ's sake, Walter!</dialogue>
<character>WALTER</character>
<dialogue>You're going to enter a world of pain, son. We know that this is your homework. We know you stole a car -</dialogue>
<character>DUDE</character>
<dialogue>And the fucking money!</dialogue>
<character>WALTER</character>
<dialogue>And the fucking money. And we know that this is your homework, Larry.</dialogue>
<scene_description>No answer .</scene_description>
<character>WALTER</character>
<dialogue>You're gon na KILL your FATHER, Larry!</dialogue>
<scene_description>FINALLY , IN DISGUST :</scene_description>
<character>WALTER</character>
<dialogue>Ah, this is pointless.</dialogue>
<scene_description>As he shoves the homework back in the attache case :</scene_description>
<character>WALTER</character>
<dialogue>All right, Plan B. You might want to watch out the front window there, Larry.</dialogue>
<scene_description>He is heading for the door . The Dude , puzzled , rises to follow him .</scene_description>
<character>WALTER</character>
<dialogue>This is what happens when you FUCK a STRANGER in the ASS, Larry.</dialogue>
<scene_description>OUTSIDE Walter is striding down the lawn with his attache case like an enraged encyclopedia salesman . Without looking back at , the Dude , who follows :</scene_description>
<character>WALTER</character>
<dialogue>Fucking language problem, Dude.</dialogue>
<scene_description>He pops the Dude 's trunk , flings in the briefcase and takes out a tire iron .</scene_description>
<character>WALTER</character>
<dialogue>Maybe he'll understand this.</dialogue>
<scene_description>He is walking over to the Corvette .</scene_description>
<character>WALTER</character>
<dialogue>YOU SEE WHAT HAPPENS, LARRY!</dialogue>
<scene_description>CRASH ! He swings the crowbar into the windshield , which shatters .</scene_description>
<character>WALTER</character>
<dialogue>YOU SEE WHAT HAPPENS?!</dialogue>
<scene_description>CRASH ! He takes out the driver 's window .</scene_description>
<character>WALTER</character>
<dialogue>THIS IS WHAT HAPPENS WHEN YOU FUCK A STRANGER IN THE ASS!</dialogue>
<scene_description>Lights are going on in houses down the street . Distant dogs bark .</scene_description>
<character>WALTER</character>
<dialogue>HERE'S WHAT HAPPENS, LARRY!</dialogue>
<scene_description>CRASH !</scene_description>
<character>WALTER</character>
<dialogue>HERE'S WHAT HAPPENS! FUCK A STRANGER IN THE ASS!</dialogue>
<scene_description>CRASH ! A man in a sleeveless T - shirt and boxer shorts has run over behind Walter and grabbed him from behind on a backswing of the crowbar .</scene_description>
<character>MAN</character>
<dialogue>WHAT THE FUCK JOO DOING, MANG?!</dialogue>
<scene_description>He wrestles the crowbar away from the startled Walter .</scene_description>
<character>MAN</character>
<dialogue>I JUS' BAWDEEZ FUCKEEN CAR LASS WEEK!</dialogue>
<scene_description>Walter cringes before the enraged Mexican .</scene_description>
<character>WALTER</character>
<dialogue>Hunh?</dialogue>
<scene_description>The man looks about , wildly .</scene_description>
<character>MAN</character>
<dialogue>I KILL JOO, MANG! I - I KILL JOR FUCKEEN CAR!</dialogue>
<scene_description>He runs over to the Dude 's car .</scene_description>
<character>DUDE</character>
<dialogue>No! No! NO! THAT'S NOT -</dialogue>
<scene_description>CRASH ! CRASH !</scene_description>
<character>MAN</character>
<dialogue>I FUCKEEN KILL JOR FUCKEEN CAR!</dialogue>
<scene_description>CRASH !</scene_description>
<character>MAN</character>
<dialogue>I KILL JOR FUCKEEN CAR!</dialogue>
<scene_description>INSIDE THE CAR Glass rains in on a terrified , cringing , Donny .</scene_description>
<character>MAN</character>
<dialogue>I KILL JOR FUCKEEN CAR!</dialogue>
<scene_description>THE DUDE 'S CAR We are looking into the car through the broken windshield as it rattles down the freeway . Wind whistles through the caved - in windows . The Dude drives , his jaw clenched , staring grimly out at the road . Walter , beside him , and Donny in the back seat , munch ` on In - and - Out Burgers . Creedence music plays above the bluster of wind . DUDE 'S BUNGALOW As the Dude talks on the phone he is hammering a two - by - four into the floor just inside , and parallel to , the front door .</scene_description>
<character>DUDE</character>
<dialogue>I accept your apology. No I, I just want to handle it myself from now on. No. That has nothing to do with it. Yes, it made it home, I'm calling from home. No, Walter, it did n't look like Larry was about to crack.</dialogue>
<scene_description>He finishes hammering , rises and grabs a straightbacked chair that stands nearby .</scene_description>
<character>DUDE</character>
<dialogue>Well that's your perception. Well you're right, Walter, and the unspoken Message is FUCK YOU AND LEAVE ME THE FUCK ALONE. Yeah, I'll be at practice.</dialogue>
<scene_description>He hangs up and has just finished sliding the chair into place with its top under the doorknob and its legs braced against the two - by - four , thus wedging the door closed , when the door is opened - outwards . The chair clatters to the floor .</scene_description>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<scene_description>Woo and the blond man who earlier peed on the rug stride in , kicking the chair away .</scene_description>
<character>WOO</character>
<dialogue>Pin your diapers on, Lebowski. Jackie Treehorn wants to see you.</dialogue>
<character>BLOND MAN</character>
<dialogue>And we know which Lebowski you are, Lebowski.</dialogue>
<character>WOO</character>
<dialogue>Yeah. Jackie Treehorn wants to talk to the deadbeat Lebowski.</dialogue>
<character>BLOND MAN</character>
<dialogue>You're not dealing with morons here.</dialogue>
<scene_description>BLACKNESS Out of the blackness something is falling toward us . It is a woman , falling in slow motion , her limbs flailing , her mouth contorted by either fear or ecstasy . She is topless . She falls past the camera , leaving blackness , then after a beat reappears , rising into the night sky . MALIBU BEACH A crowd of mostly tanned middle - aged men with blow - dried hair , wearing jogging outfits and other expensively casual attire , are blanket - tossing the squealing young woman in nightmarish slow motion . WIDER It is a party , lit by festive beach lights and standing kerosene heaters . 1960 's mainstream jazz , of the Mancini - Brubeck school , has been piped down to speakers on the beach ' . In long shot now the woman rises , squealing , disappears into darkness , descends into light , rises again . A man walks towards the camera through the pools of beach light . He is handsome , fiftyish , wearing cotton twill pants and a Turnbull & Asher shirt with a foulard knotted at the neck . Behind him , the woman rises and falls , appears and disappears .</scene_description>
<character>MAN</character>
<dialogue>Hello Dude, thanks for coming. I'm Jackie Treehorn.</dialogue>
<scene_description>INSIDE THE BEACH HOUSE The Dude is looking around at the ' 60 's modern decor .</scene_description>
<character>DUDE</character>
<dialogue>This is quite a pad you got here, man. Completely unspoiled.</dialogue>
<character>TREEHORN</character>
<dialogue>What's your drink, Dude?</dialogue>
<character>DUDE</character>
<dialogue>White Russian, thanks. How's the smut business, Jackie?</dialogue>
<character>TREEHORN</character>
<dialogue>I would n't know, Dude. I deal in publishing, entertainment, political advocacy, and -</dialogue>
<character>DUDE</character>
<dialogue>Which one was Logjammin'?</dialogue>
<character>TREEHORN</character>
<dialogue>Regrettably, it's true, standards have fallen in adult entertainment. It's video, Dude. Now that we're competing with the amateurs, we ca n't afford to invest that little extra in story, production value, feeling.</dialogue>
<scene_description>He taps his forehead with one finger .</scene_description>
<character>TREEHORN</character>
<dialogue>People forget that the brain is the biggest erogenous zone -</dialogue>
<character>DUDE</character>
<dialogue>On you, maybe.</dialogue>
<scene_description>He hands him the drink .</scene_description>
<character>TREEHORN</character>
<dialogue>Of course, you do get the good with the bad. The new technology permits us to do exciting things with interactive erotic software. Wave of the future, Dude. 100 % electronic.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh. Well, I still jerk off manually.</dialogue>
<character>TREEHORN</character>
<dialogue>Of course you do. I can see you're anxious for me to get to the point. Well Dude, here it is. Where's Bunny?</dialogue>
<character>DUDE</character>
<dialogue>I thought you might know, man.</dialogue>
<character>TREEHORN</character>
<dialogue>Me? How would I know? The only reason she ran off was to get away from her rather sizable debt to me.</dialogue>
<character>DUDE</character>
<dialogue>But she has n't run off, she's been -</dialogue>
<scene_description>Treehorn waves this off .</scene_description>
<character>TREEHORN</character>
<dialogue>I've heard the kidnapping story, so save it. I know you're mixed up in all this, Dude, and I do n't care what you're trying to take off her husband. That's your business. All I'm saying is, I want mine.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, well, right man, there are many facets to this, uh, you know, many interested parties. If I can find your money, man - what's in it for the Dude?</dialogue>
<character>TREEHORN</character>
<dialogue>Of course, there's that to discuss. Refill?</dialogue>
<character>DUDE</character>
<dialogue>Does the Pope shit in the woods?</dialogue>
<character>TREEHORN</character>
<dialogue>Let's say a 10 % finder's fee?</dialogue>
<character>DUDE</character>
<dialogue>Okay, Jackie, done. I like the way you do business. Your money is being held by a kid named Larry Sellers. He lives in North Hollywood, on Radford, near the In - and - Out Burger. A real fuckin' brat, but I'm sure your goons'll be able to get it off him, mean he's only fifteen and he's flunking social studies. So if you'll just write me a check for my ten per cent. of half a million. fifty grand.</dialogue>
<scene_description>He is getting to his feet , but sways woozily .</scene_description>
<character>DUDE</character>
<dialogue>I'll go out and mingle. - Jesus, you mix a hell of a Caucasian, Jackie.</dialogue>
<scene_description>The Dude shakes his head , tries to focus .</scene_description>
<character>TREEHORN</character>
<dialogue>A fifteen - year - old? Is this your idea of a joke?</dialogue>
<scene_description>Jackie Treehorn 's image starts to swim . He is joined on either side by Woo and the blond man , all three men looking grimly down at the Dude .</scene_description>
<character>DUDE</character>
<dialogue>No funny stuff, Jackie. the kid's got it. Hiya, fellas. kid just wanted a car. All the Dude ever wanted. was his rug back. not greedy. it really.</dialogue>
<scene_description>He squints at Jackie Treehorn , who swims in and out of focus . Tied the room together . He tips forward , spilling his drink off the table . FROM UNDER THE GLASS COFFEE TABLE Looking up at the Dude as his face hits the glass and squishes . FAST FADE OUT BLACK</scene_description>
<character>THE STRANGER'S VOICE</character>
<dialogue>Darkness warshed over the Dude - darker'n a black steer's tookus on a moonless prairie night. There was no bottom.</dialogue>
<scene_description>We hear a thundering bass . JACKIE TREEHORN PRESENTS THE DUDE AND MAUDE LEBOWSKI IN GUTTERBALLS The title logo is a suggestively upright bowling pin flanked by a pair of bowling balls . The bending bass sound turns into the lead - in to Kenny Rogers and the First Edition 's `` Just Dropped In . '' The Dude is walking down a long corridor dressed as a cable repairman . The Dude 's face is washed with a brilliant light as the corridor opens onto a gleaming bowling alley . In the center of the alley stands Maude Lebowski , singing operatic harmony to the Kenny Rogers song . She wears an armored breastplate and Norse headgear , has braided pigtails , and holds a trident . The Dude stands behind her and , pressed up against her , helps her with her follow - through as she releases a bowling ball . The lane is straddled by a line of chorines in spangly mini - skirts , their arms akimbo , Busby - Berkley style , their legs turning the lane into a tunnel leading to the pins at the end . But it is no longer a bowling ball rolling between their legs - it is the Dude himself , levitating inches off the lane , the tools from his utility belt swinging free . He is face down , his arms , torpedolike , pressed against his sides . His point of view shows the lane rushing by below , the little ball - guide arrows zipping by . The Dude twists his body around , performing a barrel - roll so that he is now gliding along the lane face - up . Now his point of view looks up the dresses of the passing chorines . The Dude smiles dreamily and does a backstroke motion so that he is once again gliding face - down . He looks forward and his forward momentum blows back his hair . Coming at us , as we go through the last few pairs of legs , are the approaching pins . We hit the pins , scattering them , and rush on into black . A body drops down into the blackness in slow motion - a topless woman , squealing , her legs kicking . As she drops out of frame , leaving blackness again , three men are entering from the background , emerging into a pool of light . It is the Germans , advancing ominously , wielding oversized shears which they menacingly scissor . The Dude , now standing in a field of black , reacts to the advancing Germans . He turns and runs , fists pumping . The scissoring sound of the shears turns into the whoosh of car - bys . The field of black is punctured by headlights . The Dude is running blearily down the middle of the Pacific Coast Highway . Cars rush by on either side , horns blaring . With the BLOO - WHUP of a short siren blast , a squad car with flashing gumballs pulls up . SQUAD CAR The Dude sits in the back seat , his head lolling with the motion of the car as he blearily sings the theme of Branded :</scene_description>
<character>DUDE</character>
<dialogue>He was innocent. Not a charge was true. And they say he ran awaaaaaay.</dialogue>
<scene_description>CHIEF 'S OFFICE The Dude is hurled against the chief 's desk , which he bounces off of , to come to rest more or less seated in a facing chair . His wallet is tossed onto the desk . The chief leans forward , takes the wallet and sorts through it with disgusted incredulity .</scene_description>
<character>CHIEF</character>
<dialogue>This is your only I.D?</dialogue>
<scene_description>He is looking at the Ralph 's Shopper 's Club card .</scene_description>
<character>DUDE</character>
<dialogue>I know my rights.</dialogue>
<character>CHIEF</character>
<dialogue>You do n't know shit, Lebowski.</dialogue>
<character>DUDE</character>
<dialogue>I want a fucking lawyer, man. I want Bill Kunstler.</dialogue>
<character>CHIEF</character>
<dialogue>What are you, some kind of sad - assed refugee from the fucking sixties?</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>CHIEF</character>
<dialogue>Mr. Treehorn tells us that he had to eject you from his garden party, that you were drunk and abusive.</dialogue>
<character>DUDE</character>
<dialogue>That guy treats women like objects, man.</dialogue>
<character>CHIEF</character>
<dialogue>Mr. Treehorn draws a lot of water in this town, Lebowski. You do n't draw shit. We got a nice quiet beach community here, and I aim to keep it nice and quiet. So let me make something plain. I do n't like you sucking around bothering our citizens, Lebowski. I do n't like your jerk - off name, I do n't like your jerk - off face, I do n't like your jerk - off behavior, and I do n't like you, jerk - off - do I make myself clear?</dialogue>
<scene_description>The Dude stares .</scene_description>
<character>DUDE</character>
<dialogue>I'm sorry, I was n't listening.</dialogue>
<scene_description>The Chief hurls his steaming mug of coffee at the Dude . It hits him in the forehead with a thud , the scalding coffee splashing everywhere . The Chief is already up off his chair , rounding the desk .</scene_description>
<character>DUDE</character>
<dialogue>- Ow! Fucking fascist!</dialogue>
<scene_description>The Chief slaps him twice .</scene_description>
<character>CHIEF</character>
<dialogue>Stay out of Malibu, Lebowski!</dialogue>
<scene_description>He kicks the chair out from under the Dude , and then starts kicking at him .</scene_description>
<character>CHIEF</character>
<dialogue>Stay out of Malibu, deadbeat! Keep your ugly fucking goldbricking ass out of my beach community!</dialogue>
<scene_description>CAB The Dude , in the back seat of a taxicab that rocks and squeaks with every bump , is gingerly touching at sore spots on his face and scalp . `` Peaceful Easy Feeling '' is on the radio . DUDE 'S POV The back of the driver , a large black man with rasta dreds under a knit cap .</scene_description>
<character>DUDE</character>
<dialogue>Jesus, man, can you change the station?</dialogue>
<character>DRIVER</character>
<dialogue>Fuck you man! You do n't like my fucking music, get your own fucking cab!</dialogue>
<character>DUDE</character>
<dialogue>I've had a -</dialogue>
<character>DRIVER</character>
<dialogue>I pull over and kick your ass out, man!</dialogue>
<character>DUDE</character>
<dialogue>- had a rough night, and I hate the fucking Eagles, man -</dialogue>
<character>DRIVER</character>
<dialogue>That's it! Outta this fucking cab!</dialogue>
<scene_description>THE STREET The cab screeches over towards the curb . Another car , oncoming , its radio blaring Metallica , speeds by . INSIDE THE OTHER CAR It is a red convertible . The driver , singing loudly and badly along with the radio , her hair blowing in the wind , a dreamy smile on her face as she speeds along , higher than a kite , is Bunny Lebowski . THE FOOTWELL On the accelerator her right foot , in an open - toed bright red high - heeled shoe , has five painted toes . When she downshifts her left foot enters to engage the clutch . Five more toes . DUDE 'S BUNGALOW The Dude staggers in the open front door , one hand pressed to a lump on his forehead , and looks around .</scene_description>
<character>DUDE</character>
<dialogue>Jesus.</dialogue>
<scene_description>The place is a wreck . Furniture has been overturned , upholstery slashed , drawers dumped . Quiet . The door to the bedroom starts to creak open . The Dude cringes . Maude emerges from the bedroom . She is wearing a bathrobe .</scene_description>
<character>MAUDE</character>
<dialogue>Jeffrey.</dialogue>
<character>DUDE</character>
<dialogue>Maude?</dialogue>
<scene_description>She pulls open the bathrobe as she approaches .</scene_description>
<character>MAUDE</character>
<dialogue>Love me.</dialogue>
<scene_description>The Dude is stupefied .</scene_description>
<character>DUDE</character>
<dialogue>That's my robe.</dialogue>
<scene_description>THOOMP ! ON THE EMBRACE WE CUT TO : BLACK After a beat , a long sigh , and then a voice from the blackness :</scene_description>
<character>MAUDE</character>
<dialogue>Tell me a little about yourself, Jeffrey.</dialogue>
<character>DUDE</character>
<dialogue>Well, uh. Not much to tell.</dialogue>
<scene_description>A match is dragged across a headboard ; the Dude is lighting himself a joint . He shakes the match out to restore blackness except for the glowing tip of the joint .</scene_description>
<character>DUDE</character>
<dialogue>I was, uh, one of the authors of the Port Huron Statement. - The original Port Huron Statement.</dialogue>
<character>MAUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>DUDE</character>
<dialogue>Not the compromised second draft. And then I, uh. Ever hear of the Seattle Seven?</dialogue>
<character>MAUDE</character>
<dialogue>Mmnun.</dialogue>
<scene_description>Click - the Dude turns on a bedside lamp . He and Maude lie next to each other in bed .</scene_description>
<character>DUDE</character>
<dialogue>And then. let's see, I uh - music business briefly.</dialogue>
<character>MAUDE</character>
<dialogue>Oh?</dialogue>
<character>DUDE</character>
<dialogue>Yeah. Roadie for Metallica. Speed of Sound Tour.</dialogue>
<character>MAUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>DUDE</character>
<dialogue>Bunch of assholes. And then, you know, little of this, little of that. My career's, uh, slowed down a bit lately.</dialogue>
<character>MAUDE</character>
<dialogue>What do you do for fun?</dialogue>
<character>DUDE</character>
<dialogue>Oh, you know, the usual. Bowl. Drive around. The occasional acid flashback.</dialogue>
<scene_description>He climbs out of bed but Maude remains in it . She wedges a pillow into the small of her back and clasps a hand on each kneecap . She pulls her knees in toward her chest to keep her pelvis raised .</scene_description>
<character>MAUDE</character>
<dialogue>What happened to your house?</dialogue>
<character>DUDE</character>
<dialogue>Jackie Treehorn trashed the place. Wanted to save the finder's fee.</dialogue>
<character>MAUDE</character>
<dialogue>Finder's fee?</dialogue>
<character>DUDE</character>
<dialogue>He thought I had your father's money, so he got me out of the way while he looked for it.</dialogue>
<character>MAUDE</character>
<dialogue>It's not my father's money, it's the Foundation's. Why did he think you had it? And who does?</dialogue>
<character>DUDE</character>
<dialogue>Larry Sellers, a high - school kid. Real fucking brat.</dialogue>
<scene_description>He picks a White Russian off the bedside table .</scene_description>
<character>MAUDE</character>
<dialogue>Jeffrey -</dialogue>
<character>DUDE</character>
<dialogue>It's a complicated case, Maude. Lotta ins, lotta outs. Fortunately I've been adhering to a pretty strict, uh, drug regimen to keep my mind, you know, limber. I'm real fucking close to your father's money, real fucking close. It's just -</dialogue>
<character>MAUDE</character>
<dialogue>I keep telling you, it's the Foundation's money. Father does n't have any.</dialogue>
<character>DUDE</character>
<dialogue>Huh? He's fucking loaded.</dialogue>
<character>MAUDE</character>
<dialogue>No no, the wealth was all Mother's.</dialogue>
<character>DUDE</character>
<dialogue>But your father - he runs stuff, he -</dialogue>
<character>MAUDE</character>
<dialogue>We did let Father run one of the companies, briefly, but he did n't do very well at it.</dialogue>
<character>DUDE</character>
<dialogue>But he's -</dialogue>
<character>MAUDE</character>
<dialogue>He helps administer the charities now, and I give him a reasonable allowance. He has no money of his own. I know how he likes to present himself ; Father's weakness is vanity. Hence the slut.</dialogue>
<character>DUDE</character>
<dialogue>Huh. Jeez. Well, so, did he - is that yoga?</dialogue>
<scene_description>Throughout , Maude has been lying on her back with her knees pulled in .</scene_description>
<character>MAUDE</character>
<dialogue>It increases the chances of conception.</dialogue>
<scene_description>The Dude spits some White Russian .</scene_description>
<character>DUDE</character>
<dialogue>Increases?</dialogue>
<character>MAUDE</character>
<dialogue>Well yes, what did you think this was all about? Fun and games?</dialogue>
<character>DUDE</character>
<dialogue>Well. no, of course not -</dialogue>
<character>MAUDE</character>
<dialogue>I want a child.</dialogue>
<character>DUDE</character>
<dialogue>Yeah, okay, but see, the Dude -</dialogue>
<character>MAUDE</character>
<dialogue>Look, Jeffrey, I do n't want a partner. In fact I do n't want the father to be someone I have to see socially, or who'll have any interest in rearing the child himself.</dialogue>
<character>DUDE</character>
<dialogue>Huh.</dialogue>
<scene_description>Something occurs to him .</scene_description>
<character>DUDE</character>
<dialogue>So. that doctor.</dialogue>
<character>MAUDE</character>
<dialogue>Exactly. What happened to your face? Did Jackie Treehorn do that as well?</dialogue>
<scene_description>The Dude is staring off into space , thinking . His answer is absent .</scene_description>
<character>DUDE</character>
<dialogue>No, the, uh, police chief of Malibu. A real reactionary. So your father. Oh man, I get it!</dialogue>
<character>MAUDE</character>
<dialogue>What?</dialogue>
<scene_description>The Dude is leaving the bedroom .</scene_description>
<character>DUDE</character>
<dialogue>Yeah, my thinking about the case, man, it had become uptight. Yeah. Your father -</dialogue>
<scene_description>LIVING ROOM The Dude finishes punching a number into the phone .</scene_description>
<character>PHONE VOICE</character>
<dialogue>This is Walter Sobchak. I'm not in ; leave a message after the beep.</dialogue>
<character>MAUDE'S VOICE</character>
<dialogue>What're you talking about?</dialogue>
<scene_description>Beep .</scene_description>
<character>DUDE</character>
<dialogue>Walter, if you're there, pick up the fucking phone. Pick it up, Walter, this is an emergency. I'm not -</dialogue>
<character>WALTER</character>
<dialogue>Dude?</dialogue>
<character>DUDE</character>
<dialogue>Walter, listen, I'm at my place, I need you to come pick me up -</dialogue>
<character>WALTER</character>
<dialogue>I ca n't drive, Dude, it's erev shabbas.</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>WALTER</character>
<dialogue>Erev shabbas. I ca n't drive. I'm not even supposed to pick up the phone, unless it's an emergency.</dialogue>
<character>DUDE</character>
<dialogue>It is a fucking emergency.</dialogue>
<character>WALTER</character>
<dialogue>I understand. That's why I picked up the phone.</dialogue>
<character>DUDE</character>
<dialogue>THEN WHY CA N'T YOU - fuck, never mind, just call Donny then, and ask him to -</dialogue>
<character>WALTER</character>
<dialogue>Dude, I'm not supposed to make calls -</dialogue>
<character>DUDE</character>
<dialogue>WALTER, YOU FUCKING ASSHOLE, WE GOT TA GO TO PASADENA! COME PICK ME UP OR I'M OFF THE FUCKING BOWLING TEAM!</dialogue>
<character>MAUDE'S VOICE</character>
<dialogue>Jeffrey?</dialogue>
<scene_description>THE DUDE He emerges on his front stoop , pulling on a shirt . His attention is caught by something down the street . HIS POV A car is parked halfway down the block . We can see the shape of a fat man in the driver 's seat . THE DUDE Striding purposefully down the street . HIS POV The fat man leans forward and we hear the sound of the car 's ignition coughing , but the engine will not turn over . More whines and coughs ; no start . The man hurriedly fumbles in front of him . He brings up a newspaper , which he holds before his face . THE DUDE As he gets to the car . He reaches through the open driver 's window and grabs the newspaper and hurls it to the ground . He is revved with nervous energy .</scene_description>
<character>DUDE</character>
<dialogue>Get out of that fucking car, man!</dialogue>
<scene_description>The man nervously complies . The Dude flinches at the man 's movement as he gets out . The man cringes , reacting to the Dude 's flinch . He is wearing a cheap blue serge suit . He is bald with a short fringe and a mustache . The Dude shouts to cover his fear :</scene_description>
<character>DUDE</character>
<dialogue>Who the fuck are you, man! Come on, man!</dialogue>
<character>MAN</character>
<dialogue>Relax, man! No physical harm intended!</dialogue>
<character>DUDE</character>
<dialogue>Who the fuck are you? Why've you been following me? Come on, fuckhead!</dialogue>
<character>MAN</character>
<dialogue>Hey, relax man, I'm a brother shamus.</dialogue>
<scene_description>The Dude is stunned .</scene_description>
<character>DUDE</character>
<dialogue>Brother Shamus? Like an Irish monk?</dialogue>
<character>MAN</character>
<dialogue>Irish m - What the fuck are you talking about? My name's Da Fino! I'm a private snoop! Like you, man!</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>DA FINO</character>
<dialogue>A dick, man! And let me tell you something : I dig your work. Playing one side against the other - in bed with everybody - fabulous stuff, man.</dialogue>
<character>DUDE</character>
<dialogue>I'm not a - ah, fuck it, just stay away from my fucking lady friend, man.</dialogue>
<character>DA FINO</character>
<dialogue>Hey hey, I'm not messing with your special lady -</dialogue>
<character>DUDE</character>
<dialogue>She's not my special lady, she's my fucking lady friend. I'm just helping her conceive, man!</dialogue>
<character>DA FINO</character>
<dialogue>Hey, man, I'm not -</dialogue>
<character>DUDE</character>
<dialogue>Who're you working for? Lebowski? Jackie Treehorn?</dialogue>
<character>DA FINO</character>
<dialogue>The Gundersons.</dialogue>
<character>DUDE</character>
<dialogue>The? Who the fff -</dialogue>
<character>DA FINO</character>
<dialogue>The Gundersons. It's a wandering daughter job. Bunny Lebowski, man. Her real name is Fawn Gunderson. Her parents want her back.</dialogue>
<scene_description>He is fumbling in his wallet .</scene_description>
<character>DA FINO</character>
<dialogue>See?</dialogue>
<scene_description>The Dude looks at the picture . It is probably a school portrait , unmistakably Bunny , but fresh - faced , much younger looking , with a corn - fed smile and straight Partridge Family hair and bangs .</scene_description>
<character>DUDE</character>
<dialogue>Jesus fucking Christ.</dialogue>
<character>DA FINO</character>
<dialogue>Crazy, huh? Ran away a year ago.</dialogue>
<scene_description>He is holding out another picture . The Gundersons told me to show her this when I found her . The family farm . A bleak farmhouse and silo are the only features on a flat snow - swept landscape . Outside of Moorhead , Minnesota . They think it 'll make her homesick .</scene_description>
<character>DUDE</character>
<dialogue>Boy. How ya gon na keep'em down on the farm once they seen Karl Hungus.</dialogue>
<scene_description>He hands back the picture . She 's been kidnapped , Da Fino . Or maybe not , but she 's definitely not around .</scene_description>
<character>DA FINO</character>
<dialogue>Fuck, man! That's terrible!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, it sucks.</dialogue>
<character>DA FINO</character>
<dialogue>Well maybe you and me could pool our resources - trade information - professional courtesy - compeers, you know -</dialogue>
<scene_description>We hear distant yapping , growing louder with the hum of an approaching car .</scene_description>
<character>DUDE</character>
<dialogue>Yeah, I get it. Fuck off, Da Fino. And stay away from my special la - from my fucking lady friend.</dialogue>
<scene_description>The Dude steps out to meet Walter 's car as it pulls up , its passenger window open and the pomeranian leaning out and yapping . DENNY 'S Four people sit at a booth : Dieter , Kieffer , Franz , all in black leather , and a young woman with long stringy blonde hair , wearing torn and patched jeans and a ribbed sleeveless tee - shirt , worn thin with age . She is apparently braless , and is teutonically pale with birthmarks on her face and arms . Notable is her camera - side leg , which ends in a bandage - swaddled foot . Dried rust - colored blood stains the tip of the bandage . The four are arguing , loudly , in German . They seem very unhappy . A waitress enters with a checkpad and pen .</scene_description>
<character>WAITRESS</character>
<dialogue>You folks ready?</dialogue>
<scene_description>The German shouting stops . Dieter looks sourly up .</scene_description>
<character>DIETER</character>
<dialogue>I haff lingenberry pancakes.</dialogue>
<character>KIEFFER</character>
<dialogue>Lingenberry pancakes.</dialogue>
<character>FRANZ</character>
<dialogue>Sree picks in blanket.</dialogue>
<scene_description>The woman speaks to Dieter in German . He nods .</scene_description>
<character>DIETER</character>
<dialogue>Lingenberry pancakes.</dialogue>
<scene_description>WALTER 'S CAR Walter 's eyes are on the road as he listens , driving , to the Dude , whose speech is occasionally punctuated by yaps from the back seat .</scene_description>
<character>DUDE</character>
<dialogue>I mean we totally fucked it up, man. We fucked up his pay - off. And got the kidnappers all pissed off, and the big Lebowski yelled at me a lot, but he did n't do anything. Huh?</dialogue>
<character>WALTER</character>
<dialogue>Well it's, sometimes the cathartic, uh.</dialogue>
<character>DUDE</character>
<dialogue>I'm saying if he knows I'm a fuck - up, then why does he still leave me in charge of getting back his wife? Because he fucking does n't want her back, man! He's had enough! He no longer digs her! It's all a show! But then, why did n't he give a shit about his million bucks? I mean, he knew we did n't hand off his briefcase, but he never asked for it back.</dialogue>
<character>WALTER</character>
<dialogue>What's your point, Dude?</dialogue>
<character>DUDE</character>
<dialogue>His million bucks was never in it, man! There was no money in that briefcase! He was hoping they'd kill her! You throw out a ringer for a ringer!</dialogue>
<character>WALTER</character>
<dialogue>Yeah?</dialogue>
<character>DUDE</character>
<dialogue>Shit yeah!</dialogue>
<character>WALTER</character>
<dialogue>Okay, but how does all this add up to an emergency?</dialogue>
<character>DUDE</character>
<dialogue>Huh?</dialogue>
<character>WALTER</character>
<dialogue>I'm saying, I see what you're getting at, Dude, he kept the money, but my point is, here we are, it's shabbas, the sabbath, which I'm allowed to break only if it's a matter of life and death -</dialogue>
<character>DUDE</character>
<dialogue>Walter, come off it. You're not even fucking Jewish, you're -</dialogue>
<character>WALTER</character>
<dialogue>What the fuck are you talking about?</dialogue>
<character>DUDE</character>
<dialogue>You're fucking Polish Catholic -</dialogue>
<character>WALTER</character>
<dialogue>What the fuck are you talking about? I converted when I married Cynthia! Come on, Dude!</dialogue>
<character>DUDE</character>
<dialogue>Yeah, and you were -</dialogue>
<character>WALTER</character>
<dialogue>You know this!</dialogue>
<character>DUDE</character>
<dialogue>And you were divorced five fucking years ago.</dialogue>
<character>WALTER</character>
<dialogue>Yeah? What do you think happens when you get divorced? You turn in your library card? Get a new driver's license? Stop being Jewish?</dialogue>
<character>DUDE</character>
<dialogue>This driveway.</dialogue>
<character>WALTER</character>
<dialogue>I'm as Jewish as fucking Tevye</dialogue>
<character>DUDE</character>
<dialogue>It's just part of your whole sick Cynthia thing. Taking care of her fucking dog. Going to her fucking synagogue. You're living in the fucking past.</dialogue>
<character>WALTER</character>
<dialogue>Three thousand years of beautiful tradition, from Moses to Sandy Koufax - YOU'RE GODDAMN RIGHT I LIVE IN THE PAST! I - Jesus. What the hell happened?</dialogue>
<scene_description>He is looking off as the car slows . The Dude looks where Walter is looking . THE LEBOWSKI MANSION Walter 's car pulls up the drive into the foreground and he and the Dude get out . Both are gaping off at the front lawn .</scene_description>
<character>WALTER</character>
<dialogue>Jesus Christ.</dialogue>
<scene_description>THEIR POV Tire treads lead across the manicured front lawn to where a little red sports car rests with its hood crumpled into a palm trunk . TRACKING DOWN THE GREAT HALLWAY Through the French doors at its far end we can see Bunny , naked , briefly bouncing on the diving board before splashing into the illuminated pool outside . Heavy metal music filters in from a boom box by the pool . Brandt , approaching , stoops and straightens , stoops and straightens , picking up the discarded clothes that run the length of the hall .</scene_description>
<character>BRANDT</character>
<dialogue>He ca n't see you, Dude.</dialogue>
<scene_description>We pull the Dude and Walter as they approach the doors to the great study . Walter 's dog follows , stiffly waving its tail .</scene_description>
<character>DUDE</character>
<dialogue>Where'd she been?</dialogue>
<character>BRANDT</character>
<dialogue>Visiting friends of hers in Palm Springs. Just picked up and left, never bothered to tell us.</dialogue>
<character>DUDE</character>
<dialogue>But I guess she told Dieter.</dialogue>
<character>WALTER</character>
<dialogue>Jesus, Dude! He never even kidnapped her.</dialogue>
<character>BRANDT</character>
<dialogue>Who's this gentleman, Dude?</dialogue>
<character>WALTER</character>
<dialogue>Who'm I? I'm a fucking VETERAN!</dialogue>
<character>BRANDT</character>
<dialogue>You should n't go in there, Dude! He's very angry!</dialogue>
<scene_description>BANG - the Dude and Walter push through the double doors into - THE GREAT ROOM The big Lebowski turns at the sound of the door . His wheelchair hums as he spins it around .</scene_description>
<character>LEBOWSKI</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>Well, she's back. No thanks to you.</dialogue>
<character>DUDE</character>
<dialogue>Where's the money, Lebowski?</dialogue>
<character>WALTER</character>
<dialogue>A MILLION BUCKS FROM FUCKING NEEDY LITTLE URBAN ACHIEVERS! YOU ARE SCUM, MAN!</dialogue>
<scene_description>The dog yaps .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Who the hell is he?</dialogue>
<character>WALTER</character>
<dialogue>I'll tell you who I am! I'm the guy who's gon na KICK YOUR PHONY GOLDBRICKING ASS!</dialogue>
<character>DUDE</character>
<dialogue>We know the briefcase was empty, man. We know you kept the million bucks yourself.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Well, you have your story, I have mine. I say I entrusted the money to you, and you stole it.</dialogue>
<character>WALTER</character>
<dialogue>AS IF WE WOULD EVER DREAM OF TAKING YOUR BULLSHIT MONEY!</dialogue>
<character>DUDE</character>
<dialogue>You thought Bunny'd been kidnapped and you could use it as a pretext to make some money disappear. All you needed was a sap to pin it on, and you'd just met me. You thought, hey, a deadbeat, a loser, someone the square community wo n't give a shit about.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Well? Are n't you?</dialogue>
<character>DUDE</character>
<dialogue>Well. yeah.</dialogue>
<character>LEBOWSKI</character>
<dialogue>All right, get out. Both of you.</dialogue>
<character>WALTER</character>
<dialogue>Look at that fucking phony, Dude! Pretending to be a fucking millionaire!</dialogue>
<character>LEBOWSKI</character>
<dialogue>I said out. Now.</dialogue>
<character>WALTER</character>
<dialogue>Let me tell you something else. I've seen a lot of spinals, Dude, and this guy is a fake. A fucking goldbricker.</dialogue>
<scene_description>He is crossing to Lebowski .</scene_description>
<character>WALTER</character>
<dialogue>This guy fucking walks. I've never been more certain of anything in my life!</dialogue>
<character>LEBOWSKI</character>
<dialogue>Stay away from me, mister!</dialogue>
<scene_description>Walter reaches around from behind and hoists the big Lebowski out of the wheelchair by his armpits .</scene_description>
<character>WALTER</character>
<dialogue>Walk, you fucking phony!</dialogue>
<scene_description>The big Lebowski waggles helplessly , his rubbery feet grazing the floor like a Raggedy Ann 's . The pomeranian gaily leaps and yaps .</scene_description>
<character>LEBOWSKI</character>
<dialogue>Put me down, you son of a bitch!</dialogue>
<character>DUDE</character>
<dialogue>Walter!</dialogue>
<character>WALTER</character>
<dialogue>It's all over, man! We call your fucking bluff!</dialogue>
<character>DUDE</character>
<dialogue>WALTER, FOR CHRIST'S SAKE! HE'S CRIPPLED! PUT HIM DOWN!</dialogue>
<character>WALTER</character>
<dialogue>Sure, I'll put him down, Dude. RAUSS! ACHTUNG, BABY!</dialogue>
<scene_description>He shoves the big Lebowski forward and he crumples to the floor , weeping .</scene_description>
<character>WALTER</character>
<dialogue>Oh, shit.</dialogue>
<character>LEBOWSKI</character>
<parenthetical>( sobbing . )</parenthetical>
<dialogue>You're bullies! Cowards, both of you!</dialogue>
<scene_description>Walter is abashed . The Big Lebowski flails about on the floor .</scene_description>
<character>WALTER</character>
<dialogue>Oh, shit.</dialogue>
<character>DUDE</character>
<dialogue>He ca n't walk, Walter!</dialogue>
<character>WALTER</character>
<dialogue>Yeah, I can see that, Dude.</dialogue>
<character>LEBOWSKI</character>
<dialogue>You monsters!</dialogue>
<character>DUDE</character>
<dialogue>Help me put him back in his chair.</dialogue>
<scene_description>Walter moves to comply .</scene_description>
<character>WALTER</character>
<dialogue>Shit, sorry man.</dialogue>
<character>LEBOWSKI</character>
<dialogue>Stay away from me! You bullies! You and these women! You wo n't leave a man his fucking balls!</dialogue>
<character>DUDE</character>
<dialogue>Walter, you fuck!</dialogue>
<character>WALTER</character>
<dialogue>Shit, Dude, I did n't know. I would n't've done it if I knew he was a fucking crybaby.</dialogue>
<character>DUDE</character>
<dialogue>We're sorry, man. We're really sorry.</dialogue>
<scene_description>The Dude has picked up the Big Lebowski 's plaid lap warmer and is frantically tucking it back in around his waist and batting the dog away .</scene_description>
<character>DUDE</character>
<dialogue>There ya go. Sorry man.</dialogue>
<scene_description>Walter , puzzled , hands on hips , stands over the big Lebowski .</scene_description>
<character>WALTER</character>
<dialogue>Shit. He did n't look like a spinal.</dialogue>
<scene_description>TEN PINS Scattered at the cut . DUDE AND WALTER Each with a beer at the scoring table .</scene_description>
<character>WALTER</character>
<dialogue>Sure you'll see some tank battles. But fighting in desert is very different from fighting in canopy jungle.</dialogue>
<character>DUDE</character>
<dialogue>Uh - huh.</dialogue>
<character>WALTER</character>
<dialogue>I mean ` Nam was a foot soldier's war whereas, uh, this thing should be a fucking cakewalk. I mean I had an M16, Jacko, not an Abrams fucking tank. Just me and Charlie, man, eyeball to eyeball.</dialogue>
<character>DUDE</character>
<dialogue>Yeah.</dialogue>
<character>WALTER</character>
<dialogue>That's fuckin' combat. The man in the black pyjamas, Dude. Worthy fuckin' adversary.</dialogue>
<character>DONNY</character>
<dialogue>Who's in pyjamas, Walter?</dialogue>
<character>WALTER</character>
<dialogue>Shut the fuck up, Donny. Not a bunch of fig - eaters with towels on their heads tryin' to find reverse on a Soviet tank. This is not a worthy -</dialogue>
<character>VOICE</character>
<dialogue>HEY!</dialogue>
<scene_description>The Dude and Walter look . Quintana is bellowing from the lip of the lane , and is restrained by O'Brien .</scene_description>
<character>QUINTANA</character>
<dialogue>What's this `` day of rest'' shit, man?!</dialogue>
<scene_description>Walter looks at him innocently .</scene_description>
<character>QUINTANA</character>
<dialogue>What is this bullshit, man? I do n't fucking care! It do n't matter to Jesus! But you're not fooling me! You might fool the fucks in the league office, but you do n't fool Jesus! It's bush league psych - out stuff! Laughable, man! I would've fucked you in the ass Saturday, I'll fuck you in the ass next Wednesday instead!</dialogue>
<character>QUINTANA</character>
<dialogue />
<scene_description>He makes hip - grinding coital motions as O'Brien leads him away .</scene_description>
<character>QUINTANA</character>
<dialogue>You got a date Wednesday, man!</dialogue>
<scene_description>Walter , his head cocked , and the Dude , peeking over his shades , watch him go .</scene_description>
<character>WALTER</character>
<dialogue>He's cracking.</dialogue>
<scene_description>BOWLING ALLEY PARKING LOT Donny , Walter and the Dude emerge from the alley , each holding his leatherette ball satchel .</scene_description>
<character>WALTER</character>
<dialogue>A tree of life, Dude. To all who cling to it.</dialogue>
<scene_description>They react to the droning synthesizer - based technopop coming from a boom box . REVERSE Dieter , Kieffer and Franz , in shiny black leather , stand in a line facing them in the all - but - deserted lot . Behind them orange flames lick gently at the Dude 's car , which has been put to the torch . The orange flames glow on the men 's creaking leather . Next to the car are three motorcycles , parked in a neat row . The Dude looks sadly at the burning car .</scene_description>
<character>DUDE</character>
<dialogue>They finally did it. They killed my fucking car.</dialogue>
<character>DIETER</character>
<dialogue>Vee vant zat money, Lebowski.</dialogue>
<character>KIEFFER</character>
<dialogue>Ja, uzzervize vee kill ze girl.</dialogue>
<character>FRANZ</character>
<dialogue>Ja, it seems you forgot our little deal, Lebowski.</dialogue>
<character>DUDE</character>
<dialogue>You do n't have the fucking girl, dipshits. We know you never did. So you've got nothin' on my Johnson.</dialogue>
<character>DUDE</character>
<dialogue />
<scene_description>The men in black , stunned , confer amongst themselves in German . Under his breath :</scene_description>
<character>DONNY</character>
<dialogue>Are these the Nazis, Walter?</dialogue>
<scene_description>Walter answers , also sotto voce , his eyes still on the three men :</scene_description>
<character>WALTER</character>
<dialogue>They're nihilists, Donny, nothing to be afraid of.</dialogue>
<scene_description>The Germans stop conferring .</scene_description>
<character>DIETER</character>
<dialogue>Vee do n't care. Vee still vant zat money or vee fuck you up.</dialogue>
<character>KIEFFER</character>
<dialogue>Ja, vee still vant ze money. Vee sreaten you.</dialogue>
<scene_description>He pulls an uzi from under his coat . It glints in the firelight .</scene_description>
<character>WALTER</character>
<dialogue>Fuck you. Fuck the three of you.</dialogue>
<character>DUDE</character>
<dialogue>Hey, cool it Walter.</dialogue>
<scene_description>Walter ignores the Dude , addresses the Germans :</scene_description>
<character>WALTER</character>
<dialogue>There's no ransom if you do n't have a fucking hostage. That's what ransom is. Those are the fucking rules.</dialogue>
<character>DIETER</character>
<dialogue>Zere ARE no ROOLZ!</dialogue>
<character>WALTER</character>
<dialogue>NO RULES! YOU CABBAGE - EATING SONS - OF - BITCHES -</dialogue>
<character>KIEFFER</character>
<dialogue>His girlfriend gafe up her toe! She sought we'd be getting million dollars! Iss not fair!</dialogue>
<character>WALTER</character>
<dialogue>Fair! WHO'S THE FUCKING NIHILIST HERE! WHAT ARE YOU, A BUNCH OF FUCKING CRYBABIES?!</dialogue>
<character>DUDE</character>
<dialogue>Hey, cool it Walter. Listen, pal, there never was any money. The big Lebowski gave me an empty briefcase, man, so take it up with him.</dialogue>
<character>WALTER</character>
<dialogue>AND I'D LIKE MY UNDIES BACK!</dialogue>
<scene_description>The Germans confer again , in German . Donny is visibly frightened .</scene_description>
<character>DONNY</character>
<dialogue>Are they gon na hurt us, Walter?</dialogue>
<scene_description>WALTER 'S TONE IS GENTLE :</scene_description>
<character>WALTER</character>
<dialogue>They wo n't hurt us, Donny. These men are cowards.</dialogue>
<character>DIETER</character>
<dialogue>Okay. Vee take ze money you haf on you und vee call it eefen.</dialogue>
<character>WALTER</character>
<dialogue>Fuck you.</dialogue>
<scene_description>The Dude is digging into his pocket .</scene_description>
<character>DUDE</character>
<dialogue>Come on, Walter, we're ending this thing cheap.</dialogue>
<scene_description>Walter 's eyes , burning with hatred , are locked on Dieter 's .</scene_description>
<character>WALTER</character>
<dialogue>What's mine is mine.</dialogue>
<character>DUDE</character>
<dialogue>Come on, Walter!</dialogue>
<scene_description>Louder , to the Germans , as he looks in his wallet :</scene_description>
<character>DUDE</character>
<dialogue>Four dollars here!</dialogue>
<scene_description>He inspects the change in his palm .</scene_description>
<character>DUDE</character>
<dialogue>Almost five!</dialogue>
<character>DONNY</character>
<parenthetical>( tremulously . )</parenthetical>
<dialogue>I got eighteen dollars, Dude.</dialogue>
<character>WALTER</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>What's mine is mine.</dialogue>
<scene_description>With a ring of steel , Dieter produces a glinting saber .</scene_description>
<character>DIETER</character>
<dialogue>VEE FUCK YOU UP, MAN! VEE TAKE YOUR MONEY!</dialogue>
<character>WALTER</character>
<parenthetical>( coolly . )</parenthetical>
<dialogue>Come and get it.</dialogue>
<character>DIETER</character>
<dialogue>VEE FUCK YOU UP, MAN!</dialogue>
<character>WALTER</character>
<dialogue>Come and get it. Fucking nihilist.</dialogue>
<character>DIETER</character>
<dialogue>I FUCK YOU! I FUCK YOU!</dialogue>
<character>WALTER</character>
<dialogue>Show me what you got. Nihilist. Dipshit with a nine - toed woman.</dialogue>
<scene_description>In a rage , Dieter charges .</scene_description>
<character>DIETER</character>
<dialogue>I FUCK YOU! I FUCK YOU!</dialogue>
<scene_description>WALTER hurls his leather satchel . KIEFFER Watching Dieter 's charge , is caught off - guard . The bowling ball thuds into his chest and lifts him off his feet . He falls back , his uzi clattering away . WALTER twists away as Dieter reaches him ; grabs Dieter 's head in both hands ; draws Dieter 's head up to his mouth , which closes on Dieter 's ear . DUDE He rushes Franz but draws up short as Franz sends out karate kicks , his leather pants squeaking and popping . Franz gives a loud cry with each kick ; the Dude leans back , throwing his arms up , evading the kicks . WALTER His jaw is still clamped on Dieter 's ear . Dieter draws his saber against Walter 's side , drawing blood . Walter does n't react to the wound . Growling as Dieter screams , he worries his ear , waggling his head with his jaws clamped . THE SABER Dieter drops it . DUDE Awkwardly circling , evading Franz 's kicks . WALTER still worrying the ear . With a tearing sound his head and Dieter 's separate . DIETER , EARLESS , SCREAMS :</scene_description>
<character>DIETER</character>
<dialogue>I FUCK YOU! YOU CAN NOT HURT ME! I BELIEF IN NUSSING!</dialogue>
<scene_description>Walter spits his ear into his face . DUDE The Dude and Franz , both now panting heavily , have yet to establish body contact . Franz continues to kick .</scene_description>
<character>FRANZ</character>
<dialogue>VEAKLING!</dialogue>
<scene_description>WALTER draws back his fist .</scene_description>
<character>DIETER</character>
<dialogue>NUSSING!</dialogue>
<character>WALTER</character>
<dialogue>ANTI - SEMITE!</dialogue>
<scene_description>Bam ! - A powerhouse blow to the middle of his face drops Dieter for the count . DUDE AND FRANZ With a piercing shriek Franz finally summons the nerve to charge the Dude , hands raised to deliver karate blows . As he reaches the Dude - WHHAP - the boom box swings into frame to smash him in the face . Its volume shoots up . Walter bashes him a few more times over the head . The music screeches to static , then quiet . Laid out now , Franz too is quiet . All quiet . Walter , panting , looks around .</scene_description>
<character>WALTER</character>
<dialogue>We've got a man down, Dude.</dialogue>
<scene_description>With a hand pressed to his bleeding side he trots over to Donny , who lies gasping on the ground . The Dude , also panting , rises and trots over .</scene_description>
<character>DUDE</character>
<dialogue>Hy God! They shot him, Walter!</dialogue>
<character>WALTER</character>
<dialogue>No Dude.</dialogue>
<character>DUDE</character>
<dialogue>They shot Donny!</dialogue>
<scene_description>Donny gasps for air . His eyes , wide , go from the Dude to Walter . One hand still clutches his eighteen dollars .</scene_description>
<character>WALTER</character>
<dialogue>There were n't any shots.</dialogue>
<character>DUDE</character>
<dialogue>Then what's.</dialogue>
<character>WALTER</character>
<dialogue>It's a heart attack.</dialogue>
<character>DUDE</character>
<dialogue>Wha.</dialogue>
<character>WALTER</character>
<dialogue>Call the medics, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Wha. Donny -</dialogue>
<character>WALTER</character>
<dialogue>Hurry Dude. I'd go but I'm pumping blood. Might pass out.</dialogue>
<scene_description>The Dude runs into the lanes . Walter lays a reassuring hand on Donny 's shoulder .</scene_description>
<character>WALTER</character>
<dialogue>Rest easy, good buddy, you're doing fine. We got help choppering in.</dialogue>
<scene_description>FADE OUT HOLD IN BLACK THE DUDE AND WALTER - They sit side by side , forearms on knees , in a nondescript waiting area . Walter bounces the fingertips of one hand off those of the other . They sit . They wait . A tall thin man in a conservative black suit enters . He eyes the Dude 's bowling attire and sunglasses and Walter 's army surplus , but does n't make an issue of it .</scene_description>
<character>MAN</character>
<dialogue>Hello, gentlemen. You are the bereaved?</dialogue>
<character>DUDE</character>
<dialogue>Yeah man.</dialogue>
<character>MAN</character>
<dialogue>Francis Donnelly. Pleased to meet you.</dialogue>
<character>DUDE</character>
<dialogue>Jeffrey Lebowski.</dialogue>
<character>WALTER</character>
<dialogue>Walter Sobchak.</dialogue>
<character>DUDE</character>
<dialogue>The Dude, actually. Is what, uh.</dialogue>
<character>DONNELLY</character>
<dialogue>Excuse me?</dialogue>
<character>DUDE</character>
<dialogue>Nothing.</dialogue>
<character>DONNELLY</character>
<dialogue>Yes. I understand you're taking away the remains.</dialogue>
<character>WALTER</character>
<dialogue>Yeah.</dialogue>
<character>DONNELLY</character>
<dialogue>We have the urn.</dialogue>
<scene_description>He nods through a door . Another man in a black suit enters to carefully deposit a large silver urn on the desktop .</scene_description>
<character>DONNELLY</character>
<dialogue>And I assume this is credit card?</dialogue>
<scene_description>He is vaguely handing a large leather folder across the desk to whomever wants to take it .</scene_description>
<character>WALTER</character>
<dialogue>Yeah.</dialogue>
<scene_description>He takes it , opens it , puts on reading glasses that sit halfway down his nose , and inspects the bill with his head pulled back for focus and cocked for concentration . Silence . The Dude smiles at Donnelly . Donnelly gives back a mortician 's smile . At length Walter holds the bill towards Donnelly , pointing .</scene_description>
<character>WALTER</character>
<dialogue>What's this?</dialogue>
<character>DONNELLY</character>
<dialogue>That is for the urn.</dialogue>
<character>WALTER</character>
<dialogue>Do n't need it. We're scattering the ashes.</dialogue>
<character>DONNELLY</character>
<dialogue>Yes, so we were informed. However, we must of course transmit the remains to you in a receptacle.</dialogue>
<character>WALTER</character>
<dialogue>This is a hundred and eighty dollars.</dialogue>
<character>DONNELLY</character>
<dialogue>Yes sir. It is our most modestly priced receptacle.</dialogue>
<character>DUDE</character>
<dialogue>Well can we -</dialogue>
<character>WALTER</character>
<dialogue>A hundred and eighty dollars?!</dialogue>
<character>DONNELLY</character>
<dialogue>They range up to three thousand.</dialogue>
<character>WALTER</character>
<dialogue>Yeah, but we're -</dialogue>
<character>DUDE</character>
<dialogue>Can we just rent it from you?</dialogue>
<character>DONNELLY</character>
<dialogue>Sir, this is a mortuary, not a rental house.</dialogue>
<character>WALTER</character>
<dialogue>We're scattering the fucking ashes!</dialogue>
<character>DUDE</character>
<dialogue>Walter -</dialogue>
<character>WALTER</character>
<dialogue>JUST BECAUSE WE'RE BEREAVED DOES N'T MEAN WE'RE SAPS!</dialogue>
<character>DONNELLY</character>
<dialogue>Sir, please lower your voice -</dialogue>
<character>DUDE</character>
<dialogue>Hey man, do n't you have something else you could put it in?</dialogue>
<character>DONNELLY</character>
<dialogue>That is our most modestly priced receptacle.</dialogue>
<character>WALTER</character>
<dialogue>GODDAMNIT! IS THERE A RALPH'S AROUND HERE?!</dialogue>
<scene_description>POINT DUME - DAY It is a high , wind - swept bluff . Walter and the Dude walk towards the lip of the bluff . Parked in the background is one lonely car , Walter 's . Walter is carrying a bright red coffee can with a blue plastic lid . When they reach the edge the two men stand awkwardly for a beat . Finally :</scene_description>
<character>WALTER</character>
<dialogue>I'll say a few words.</dialogue>
<scene_description>The Dude clasps his hands in front of him . Walter clears his throat .</scene_description>
<character>WALTER</character>
<dialogue>Donny was a good bowler, and a good man. He was. He was one of us. He was a man who loved the outdoors, and bowling, and as a surfer explored the beaches of southern California from Redondo to Calabassos. And he was an avid bowler. And a good friend. He died - he died as so many of his generation, before his time. In your wisdom you took him, Lord. As you took so many bright flowering young men, at Khe San and Lan Doc and Hill 364. These young men gave their lives. And Donny too. Donny who. who loved bowling.</dialogue>
<scene_description>Walter clears his throat .</scene_description>
<character>WALTER</character>
<dialogue>And so, Theodore - Donald - Karabotsos, in accordance with what we think your dying wishes might well have been, we commit your mortal remains to the bosom of.</dialogue>
<scene_description>Walter is peeling the plastic lid off the coffee can .</scene_description>
<character>WALTER</character>
<dialogue>the Pacific Ocean, which you loved so well.</dialogue>
<character>WALTER</character>
<dialogue>Goodnight, sweet prince.</dialogue>
<scene_description>The wind has blown all of the ashes into the Dude , standing just to the side of and behind Walter . The Dude stands , frozen . Finished eulogizing , Walter looks back .</scene_description>
<character>WALTER</character>
<dialogue>Shit, I'm sorry Dude.</dialogue>
<scene_description>He starts brushing off the Dude with his hands .</scene_description>
<character>WALTER</character>
<dialogue>Goddamn wind.</dialogue>
<scene_description>Heretofore motionless , the Dude finally explodes , slapping Walter 's hands away .</scene_description>
<character>DUDE</character>
<dialogue>Goddamnit Walter! You fucking asshole!</dialogue>
<character>WALTER</character>
<dialogue>Dude! Dude, I'm sorry!</dialogue>
<scene_description>The Dude is near tears .</scene_description>
<character>DUDE</character>
<dialogue>You make everything a fucking travesty!</dialogue>
<character>WALTER</character>
<dialogue>Dude, I'm - it was an accident!</dialogue>
<scene_description>The Dude gives Walter a furious shove .</scene_description>
<character>DUDE</character>
<dialogue>What about that shit about Vietnam!</dialogue>
<character>WALTER</character>
<dialogue>Dude, I'm sorry -</dialogue>
<character>DUDE</character>
<dialogue>What the fuck does Vietnam have to do with anything! What the fuck were you talking about?!</dialogue>
<scene_description>Walter for the first time is genuinely distressed , almost lost .</scene_description>
<character>WALTER</character>
<dialogue>Shit Dude, I'm sorry -</dialogue>
<character>DUDE</character>
<dialogue>You're a fuck, Walter!</dialogue>
<scene_description>He gives Walter a weaker shove . Walter seems dazed , then wraps his arms around the Dude .</scene_description>
<character>WALTER</character>
<dialogue>Awww, fuck it Dude. Let's go bowling.</dialogue>
<scene_description>THE LANES THE DUDE AND WALTER BOWLING We watch each of them glide across the floor , release , follow through - gracefully . We have never seen them bowl before . They are quite good . Each wears a black armband on his bowling shirt . BAR AREA The Dude walks up to the bar .</scene_description>
<character>DUDE</character>
<dialogue>Two oat sodas, Gary.</dialogue>
<character>GARY</character>
<dialogue>Right. Good luck tomorrow.</dialogue>
<character>DUDE</character>
<dialogue>Thanks, man.</dialogue>
<character>GARY</character>
<dialogue>Sorry to hear about Donny.</dialogue>
<character>DUDE</character>
<dialogue>Yeah. Well, you know, sometimes you eat the bear, and, uh.</dialogue>
<scene_description>`` Tumbling Tumbleweeds '' has come up on the jukebox , and The Stranger ambles up to the bar .</scene_description>
<character>THE STRANGER</character>
<dialogue>Howdy do, Dude.</dialogue>
<character>DUDE</character>
<dialogue>Oh, hey man, how are ya? I wondered if I'd see you again.</dialogue>
<character>THE STRANGER</character>
<dialogue>Would n't miss the semis. How things been goin'?</dialogue>
<character>DUDE</character>
<dialogue>Ahh, you know. Strikes and gutters, ups and downs.</dialogue>
<scene_description>The Stranger 's eyes crinkle merrily .</scene_description>
<character>THE STRANGER</character>
<dialogue>Sure, I gotcha.</dialogue>
<scene_description>The bartender has put two gleaming beers on the counter .</scene_description>
<character>DUDE</character>
<dialogue>Thanks, Gary. Take care, man, I got ta get back.</dialogue>
<character>THE STRANGER</character>
<dialogue>Sure. Take it easy, Dude - I know that you will.</dialogue>
<scene_description>THE DUDE , LEAVING , NODS :</scene_description>
<character>DUDE</character>
<dialogue>Yeah man. Well, you know, the Dude abides.</dialogue>
<scene_description>Gazing after him , The Stranger drawls , savoring the words :</scene_description>
<character>THE STRANGER</character>
<dialogue>The Dude abides.</dialogue>
<scene_description>He gives his head a shake of appreciation , then looks into the camera .</scene_description>
<character>THE STRANGER</character>
<dialogue>I do n't know about you, but I take comfort in that. It's good knowin' he's out there, the Dude, takin' her easy for all us sinners. Shoosh. I sure hope he makes The finals. Welp, that about does her, wraps her all up. Things seem to've worked out pretty good for the Dude'n Walter, and it was a purt good story, dontcha think? Made me laugh to beat the band. Parts, anyway. Course - I did n't like seein' Donny go. But then, happen to know that there's a little Lebowski on the way. I guess that's the way the whole durned human comedy keeps perpetuatin' it - self, down through the generations, westward the wagons, across the sands a time until - aw, look at me, I'm ramblin' again. Wal, uh hope you folks enjoyed yourselves.</dialogue>
<scene_description>He brushes his hat brim with a fingertip as we begin to pull back .</scene_description>
<character>THE STRANGER</character>
<dialogue>Catch ya further on down the trail.</dialogue>
<scene_description>As we pull away The Stranger swivels in to the bar . As his voice fades :</scene_description>
<character>THE STRANGER</character>
<dialogue>Say friend, ya got any more a that good sarsaparilla?</dialogue>
</scene>
</script> | In 1991 Los Angeles, Jeffrey "The Dude" Lebowski, a middle-aged bachelor with a penchant for cannabis and bowling, is assaulted by two goons hired by pornographer Jackie Treehorn, demanding money owed by the wife of another Jeffrey Lebowski (the eponymous "Big Lebowski"). Realizing they have the wrong man, they leave after one of them urinates on the Dude's rug. On the advice of his bowling partners Donny Kerabatsos and Vietnam veteran Walter Sobchak, the Dude seeks compensation from the other Lebowski, a wealthy philanthropist who refuses his request. Leaving Lebowski’s mansion, the Dude takes a valuable rug and meets Bunny, Lebowski's young trophy wife. Days later, the Dude is told that Bunny has been kidnapped, and Lebowski wants the Dude to deliver the ransom money. That night, another pair of thugs knock the Dude unconscious and take his new rug. The kidnappers arrange a meeting, and Walter accompanies the Dude with a plan to give them another briefcase, containing Walter's "dirty undies", so he and the Dude can keep the ransom money. Taking the briefcase, the kidnappers escape on motorcycles. After another game of bowling, the Dude's car is stolen with the real briefcase inside. Lebowski's daughter Maude calls the Dude, explaining that she took the rug and inviting him to visit her. She plays him a pornographic video revealing Bunny was one of Treehorn's actresses. Believing Bunny staged her own abduction, Maude asks the Dude to recover the ransom which her father withdrew from the family's personal foundation. Lebowski confronts the Dude, angry that he failed to deliver the ransom, and shows him a severed toe presumed to be Bunny's. Three German nihilists threaten the Dude, identifying themselves as the kidnappers; Maude says they are friends of Bunny. The Dude's car is recovered by police, minus the briefcase, but inside the Dude finds the homework of a high school student named Larry Sellars. Walter and the Dude confront Larry at his family’s home, and Walter uses a crowbar to wreck a new sports car parked outside which he believes Larry bought with the stolen money. The car’s real owner rushes outside and wrecks the Dude's car in revenge, thinking it to be Walter's. The Dude is forcibly brought to Treehorn, who is seeking Bunny and the money she owes him. Treehorn drugs the Dude's white Russian cocktail, causing him to dream about starring in a Treehorn film about bowling with Maude. Awakening in police custody, the Dude is assaulted by the Malibu police chief. After being kicked out of a cab, the Dude is unknowingly passed by Bunny, revealed to still have all of her toes. The Dude returns home to find his bungalow ransacked by Treehorn's goons. He is seduced by Maude, who hopes to conceive a child but wishes him to have no involvement in its upbringing. She explains that her father has no money of his own, as her late mother left everything to the family charity. Having had an epiphany, the Dude has Walter drive him to the Lebowski estate, where Bunny has returned, and the truth of her disappearance is revealed: When Bunny left town on an unannounced trip, her nihilist friends faked her kidnapping to extort money from her husband; Lebowski, who hated his wife, withdrew the ransom from the foundation but kept it for himself, instead giving the Dude a briefcase containing phone books. Walter and the Dude confront Lebowski, who refuses to admit responsibility, so Walter picks him up and throws him out of his wheelchair, thinking he is also faking his paralysis. The Dude and his friends return to the bowling alley, where they are confronted by the nihilists. Learning there was never any money, the nihilists try to rob them but Walter violently fends them off. During the scuffle, Donny suffers a fatal heart attack. Delivering an informal eulogy to Donny at the beach, Walter accidentally scatters Donny's ashes onto the Dude. They go bowling, and the Dude encounters the film's cowboy narrator, who tells the audience that Maude is pregnant with a "little Lebowski" and hopes that the Dude and Walter will win their upcoming bowling tournament. |
Live by Night_2016 | tt2361317 | <script>
<scene>
<scene_description>Live by Night by Ben Affleck Based on the novel Live by Night By Dennis Lehane This script is confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission. WARNER BROS. THIRD DRAFT 4000 Warner Boulevard May 6, 2013 Burbank, California 91522 WARNER BROS. All rights reserved BLACK Daguerreotype photographs. Macro. FACES. Young soldiers. World War I. We hear a voice. Slight Boston accent.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I was in the great war-- where they told us if we captured we couldn't be prosecuted because if you're a soldier, it's legal to kill the enemy.</dialogue>
<scene_description>Trenches. Prisoners. Death.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Nine million people died. It achieved nothing. Ended nothing. It was a lie and the rules we lived by were lies, meant to march men to their death. The day I came home, all I knew was how to shoot and that the rules don't apply to those who make their own-- and are smart enough to get others to play by them.</dialogue>
<scene_description>K street manors. The nice part of South Boston.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I picked up a gun and believed that whatever life I wanted had to be taken. But the day that made the most difference in my life was when I met Emma Gould.</dialogue>
<scene_description>Title: Part I. South Boston. 1927-1929.</scene_description>
</scene>
<scene>
<stage_direction>INT. GAMING ROOM, SOUTH BOSTON SPEAKEASY - EARLY MORNING</stage_direction>
<scene_description>We see EMMA GOULD (20's) as she serves drinks. She has winter eyes and skin so pale you can almost see underneath.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We were told it was a bunch of Greeks who were harmless and would hand over the poker money without a problem.</dialogue>
<scene_description>Joe (30's) and the BARTOLO BROTHERS, faces MASKED by kerchiefs and low drawn HATS, trade a look and SMASH OPEN THE DOOR-- entering the room. CONTINUED: We reveal EMMA serving FIVE MEN who are playing cards at a table, drinking Canadian whiskey in front of a mound of cash.</scene_description>
<character>JOE (VO)</character>
<dialogue>None of them were Greek. And none of them were harmless.</dialogue>
<scene_description>The guys RAISE THEIR WEAPONS. No one, including Emma, looks impressed.</scene_description>
<character>CARD PLAYER #1</character>
<dialogue>You know whose fucking place this is?</dialogue>
<scene_description>We see BRENDAN LOOMIS, a hulking GUN THUG among the card players.</scene_description>
<character>JOE</character>
<dialogue>Do as you're told and no one gets hurt.</dialogue>
<character>LOOMIS</character>
<dialogue>I asked if you know whose game this was, you fucking dunce. You ever hear of Albert White?</dialogue>
<scene_description>Dion PISTOL WHIPS Loomis.</scene_description>
<character>DION</character>
<dialogue>Keep talking.</dialogue>
<scene_description>Joe turns to the girl.</scene_description>
<character>JOE</character>
<dialogue>Come over here miss.</dialogue>
<scene_description>She crosses to Joe as the Bartolo brothers relieve the thugs of their weapons.</scene_description>
<character>EMMA</character>
<dialogue>You want a drink to go with your robbery?</dialogue>
<scene_description>She is close to Joe, seeming utterly nonplussed. He throws the bags on the table.</scene_description>
<character>JOE</character>
<dialogue>Just the money.</dialogue>
<scene_description>She crosses to the table, SWEEPS the money into the bags. Emma walked back to Joe. She hands him the money, looking through him.</scene_description>
<character>JOE</character>
<dialogue>What's your name?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>Emma Gould. What's yours?</dialogue>
<scene_description>He pulls a SOCK from his bag--it is being used as a gag and the Bartolos have almost finished putting them on the GUN THUGS.</scene_description>
<character>EMMA</character>
<dialogue>You're gonna put a sock in my mouth?</dialogue>
<character>JOE</character>
<dialogue>Yes.</dialogue>
<character>EMMA</character>
<dialogue>A sock.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>In my mouth.</dialogue>
<character>JOE</character>
<dialogue>Never been used before. Wouldn't lie to you.</dialogue>
<character>EMMA</character>
<dialogue>That's what all the liars say.</dialogue>
<scene_description>Joe PUSHES THE SOCK IN HER MOUTH and wraps it with twine.</scene_description>
<character>JOE</character>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR ZOOMING TOWARD SOUTH BOSTON - MOMENTS LATER</stage_direction>
<scene_description>The three guys take their masks off and look through the money. Paulo drives.</scene_description>
<character>DION</character>
<dialogue>You ask the fucking girl her name?</dialogue>
<character>JOE</character>
<dialogue>Making conversation.</dialogue>
<character>PAULO</character>
<dialogue>I seen her before.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>PAULO</character>
<dialogue>I don't know but I seen her.</dialogue>
<character>JOE</character>
<parenthetical>(to Paulo)</parenthetical>
<dialogue>Why don't you slow down and stop driving like we did something?</dialogue>
<character>DION</character>
<dialogue>I know where he seen her.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>DION</character>
<dialogue>At the Shoelace. She came in with Albert.</dialogue>
<character>PAULO</character>
<dialogue>Jesus. She's Albert White's girlfriend.</dialogue>
<character>JOE</character>
<dialogue>So what's she doin' serving drinks at a card game?</dialogue>
<character>PAULO</character>
<dialogue>She's a party girl. What else is she gonna do? Retire? He's married.</dialogue>
<scene_description>Joe looks out the window.</scene_description>
<character>DION</character>
<dialogue>She's Albert's girl.</dialogue>
<character>JOE</character>
<dialogue>It's his place, too. What's he gonna do? Kill us twice?</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOELACE SPEAKEASY - NIGHT</stage_direction>
<scene_description>The place is booming with customers. An AFRICAN-AMERICAN WOMAN sings. We see Joe at a table, alone, surveying the place. He doesn't share the festive mood. ALBERT WHITE (50's) enters the bar, a couple of BODYGUARDS with him. He walks effortlessly through the place like he owns it--which he more or less does. Albert approaches Joe. We can't tell if it's deliberate.</scene_description>
<character>ALBERT</character>
<dialogue>You got a light?</dialogue>
<scene_description>Joe lights his cigarette. Albert smiles and nods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOSTON STREETS - NIGHT</stage_direction>
<scene_description>Joe walks the streets.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The next night I played a hunch. One of the few places that would hire a woman for a decent wage was Gillette.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GILLETTE FACTORY - NIGHT</stage_direction>
<scene_description>Women getting off work pour out of the factory. Some head toward South Station, others toward a barge turned speakeasy down on the dock.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Somehow I already felt connected to her. She was Albert White's girl--but still I thought it might be fate.</dialogue>
<scene_description>EMMA emerges from the crowd of women. Joe follows her.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Then fate proved me right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SOUTH STATION - MOMENTS LATER</stage_direction>
<scene_description>Joe follows Emma into South Station and onto a train.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN, TRAVELING THROUGH THE CITY - CONTINUOUS</stage_direction>
<scene_description>It clacks along. Joe looks at Emma from afar. She gets off at her stop--SAVIN HILL, DORCHESTER.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Savin Hill. No wonder she hadn't gotten rattled with a gun pointed at her. Over here they stirred their coffee with the barrel of a .38.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DORCHESTER STREETS - LATER</stage_direction>
<scene_description>Joe follows her from a discrete distance. She turns into the doorway on the LOWER LEVEL OF A BUILDING. Joe observes a SLAT OPENING and she says something he can't make out. The door opens and she is let in. Joe comes to the door, knows he can't get in without whatever code word she said, the place is clearly a speakeasy. Joe HIDES NEXT TO THE DOOR and waits. Along comes a disheveled looking man to the door. The slat opens.</scene_description>
<character>DISHEVELED MAN</character>
<parenthetical>(into slat)</parenthetical>
<dialogue>Blacksmith.</dialogue>
<scene_description>The door opens. CONTINUED: Joe waits a beat, looks both ways, seeing no one he approaches the door and knocks. The SLAT OPENS. A BALD MAN WITH A CAULIFLOWER NOSE appears.</scene_description>
<character>BALD MAN</character>
<dialogue>What?</dialogue>
<character>JOE</character>
<dialogue>Blacksmith.</dialogue>
<scene_description>The door opens.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPEAKEASY - CONTINUOUS</stage_direction>
<scene_description>This is an unfinished basement with a wood bar in the center of a dirt floor. Joe sits down at the bar. Pulling a kerchief over her head, EMMA EMERGES FROM THE BACK.</scene_description>
<character>EMMA</character>
<dialogue>You want a beer?</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<scene_description>She pulls out a beer. They don't seem to have anything else. The place is a dump.</scene_description>
<character>EMMA</character>
<parenthetical>(gives him beer)</parenthetical>
<dialogue>Who told you about the place?</dialogue>
<character>JOE</character>
<dialogue>Dinny Cooper.</dialogue>
<scene_description>Joe instantly regrets that poor choice of first name.</scene_description>
<character>EMMA</character>
<dialogue>Dinny?</dialogue>
<parenthetical>(squints)</parenthetical>
<dialogue>Don't know him.</dialogue>
<character>JOE</character>
<dialogue>He's from Everett.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Said you served good beer.</dialogue>
<character>EMMA</character>
<dialogue>Now I know you're lying.</dialogue>
<character>JOE</character>
<dialogue>Because he said the beer was good?</dialogue>
<character>EMMA</character>
<dialogue>Butter doesn't melt on your tongue, does it?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>I'm not lying miss, but if you want me to leave it's not a problem.</dialogue>
<character>EMMA</character>
<dialogue>Now I'm supposed to be impressed that you said you'll leave and put you as a clear-talk-Charlie?</dialogue>
<character>JOE</character>
<dialogue>Nope.</dialogue>
<character>EMMA</character>
<dialogue>Come here.</dialogue>
<scene_description>She beckons him closer and talks in his ear.</scene_description>
<character>EMMA</character>
<dialogue>See those guys over in the corner? They're my cousins. Know what they do for work?</dialogue>
<character>JOE</character>
<dialogue>Nope.</dialogue>
<character>EMMA</character>
<dialogue>They find guys like Dinny Cooper and beat the life out of 'em. Then they throw them in the river.</dialogue>
<character>JOE</character>
<dialogue>Nice occupation.</dialogue>
<character>EMMA</character>
<dialogue>Beats robbing poker games.</dialogue>
<scene_description>Joe is frozen.</scene_description>
<character>EMMA</character>
<dialogue>Say something clever. About putting things in my mouth.</dialogue>
<scene_description>Joe is still not moving, assessing the situation now.</scene_description>
<character>EMMA</character>
<dialogue>They're watching us right now. If I pull my earlobe you don't make it out the door.</dialogue>
<character>JOE</character>
<dialogue>What if I pull this trigger?</dialogue>
<scene_description>We see Joe has produced a GUN and is holding it between them. She holds her look to him for a nice long while. CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>I get off at midnight.</dialogue>
</scene>
<scene>
<stage_direction>INT. EMMA'S APARTMENT - LATER</stage_direction>
<scene_description>Joe and Emma make out in a rather ordinary working class flat in 1927.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>As soon as I kissed her, there was nothing I wouldn't do.</dialogue>
<scene_description>MONTAGE Joe and Emma- Joe and Emma have sex in the closed speakeasy.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>When I wasn't with her, all I could think about was when I would be.</dialogue>
<scene_description>Emma with Albert, at a table with a bunch of men.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The other nights she was with him. Which, quickly became intolerable.</dialogue>
<scene_description>Joe and Emma out at a bar.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We only went out in public when he was out of town.</dialogue>
<scene_description>Her crummy apartment --they have sex</scene_description>
<character>JOE (V.O.)</character>
<dialogue>When her parents and sister were out of the apartment they shared...</dialogue>
<scene_description>In the car.</scene_description>
<character>JOE (VO)</character>
<dialogue>In the car.</dialogue>
<scene_description>In a stand of trees on a hill.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>On a freezing hill by the Mystic River.</dialogue>
<scene_description>They make love on a beach in Dorchester.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>On the beach by Savin Hill.</dialogue>
<scene_description>CONTINUED: Close on them, inside, moving through positions, wrapping around one another, hard to tell who is who and what is what.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Inside, outside. If we had an hour together we filled it with as many tricks as we could find. If we had a few minutes, a few minutes would do.</dialogue>
<scene_description>Close on his face, in love past all reason.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>She was caged in a way that kept who she was locked inside her. But in those moments her eyes would open and I could see whatever dreams she had get free from those dark walls.</dialogue>
<scene_description>Lovemaking over.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>And then it was gone...</dialogue>
<scene_description>He lies with her.</scene_description>
<character>JOE</character>
<dialogue>I finally knew who I wanted to be. I wanted to be that man that Emma Gould put all her faith in.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. TIM HICKEY'S BOARDINGHOUSE CASINO - DAY</stage_direction>
<character>TIM HICKEY</character>
<dialogue>You got a girl, kid?</dialogue>
<scene_description>Joe is talking to TIM HICKEY (50-65). He is a trim man with a fine head of white hair and the sad, helpless eyes of a death row chaplain.</scene_description>
<character>TIM HICKEY</character>
<dialogue>You been out every night this week.</dialogue>
<scene_description>Joe doesn't see the point in lying.</scene_description>
<character>JOE</character>
<dialogue>I do. Yeah.</dialogue>
<character>TIM HICKEY</character>
<dialogue>She nice?</dialogue>
<scene_description>Joe nods. CONTINUED:</scene_description>
<character>TIM HICKEY</character>
<dialogue>You got yourself a blood sticker, huh?</dialogue>
<scene_description>Mimes putting a needle in his arm.</scene_description>
<character>TIM HICKEY</character>
<dialogue>I can see it. You don't get very many shots at the good ones. Not in our line.</dialogue>
<scene_description>Joe nods.</scene_description>
<character>TIM HICKEY</character>
<dialogue>You all set on the Pittsfield thing.</dialogue>
<character>JOE</character>
<dialogue>Long drive. You don't have anything else?</dialogue>
<character>TIM HICKEY</character>
<dialogue>This one's prime as they come. And easy. Trust me.</dialogue>
<character>JOE</character>
<dialogue>I trusted you last time.</dialogue>
<character>TIM HICKEY</character>
<dialogue>Be careful if you start mistrusting me. The first termite that gets into a house is just as much to blame as the last.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROOMFIELD HOTEL - NIGHT</stage_direction>
<scene_description>Snow falls lightly outside this stately hotel.</scene_description>
<character>JOE (PRE-LAP)</character>
<dialogue>Dad, this is Emma Gould.</dialogue>
</scene>
<scene>
<stage_direction>INT. VENETIAN GARDEN RESTAURANT, BROOMFIELD HOTEL - NIGHT</stage_direction>
<scene_description>Joe and Emma meet THOMAS (60) Joe's father. THOMAS COUGHLIN (60), Joe's father, shakes hands with Emma. Thomas takes her hand.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>A pleasure, Miss Gould.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where are you from?</dialogue>
<character>EMMA</character>
<dialogue>Dorchester.</dialogue>
<scene_description>CONTINUED: Joe looks over at his father.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>No, I mean before you came here. You're clearly Irish. Do you know where your ancestors are from?</dialogue>
<character>EMMA</character>
<dialogue>My grandmother is from Cork.</dialogue>
<scene_description>Thomas' interest sparks.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Really? What's her maiden name? Your grandmother.</dialogue>
<character>EMMA</character>
<dialogue>I don't know.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>You don't know?</dialogue>
<character>EMMA</character>
<dialogue>She's dead.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>But it's your heritage.</dialogue>
<scene_description>She doesn't react.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>How long have you known my son?</dialogue>
<character>EMMA</character>
<dialogue>Few months.</dialogue>
<scene_description>Thomas lights a cigarette.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>So what is it you do?</dialogue>
<character>EMMA</character>
<dialogue>I work at Papadakis furniture.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Did my son pilfer a couch? Is that how you met?</dialogue>
<scene_description>Emma lights a cigarette. Some tension. She looks around.</scene_description>
<character>EMMA</character>
<dialogue>This is a real swank place.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I'm aware of how my son earns a living.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>I can only assume that if you've come into contact with him it was either during a crime or in an establishment populated by rough characters.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Are these questions making you feel uncomfortable?</dialogue>
<character>EMMA</character>
<dialogue>I don't know what you're on about and to be honest, I don't really care.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I'm on about you being the type of lass who consorts with criminals. The fact that the criminal is my son isn't the issue. It's that my son is still my son and I have feelings that cause me to question the wisdom of consorting with the type of woman who knowingly consorts with criminals.</dialogue>
<parenthetical>(coffee down)</parenthetical>
<dialogue>Did you follow all that?</dialogue>
<scene_description>Joe rises.</scene_description>
<character>JOE</character>
<dialogue>Bye, Dad.</dialogue>
<character>EMMA</character>
<dialogue>My uncle mentioned a copper on his payroll, name of Coughlin. That you?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>This uncle would be your uncle Robert--who everyone knows as Bobo.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The police officer you refer to is Elmore Conklin. He's stationed in Savin Hill and collects shakedowns from illegal establishments like Bobo's. I rarely get over to Dorchester but as deputy superintendant I would be happy to take a greater interest in Bobo.</dialogue>
<scene_description>She holds his look. No one says a word. Then:</scene_description>
<character>EMMA</character>
<dialogue>I need to powder.</dialogue>
<scene_description>She rises and steps away from the table. CONTINUED: Thomas removes his PRIZED WATCH from his pocket and idly flips through it.</scene_description>
<character>JOE</character>
<dialogue>Was that necessary?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I didn't start the fight, Joseph. So don't criticize how I finished it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've been a police officer for thirty seven years. If I've learned one thing above all, do you know what it is?</dialogue>
<character>JOE</character>
<dialogue>Crime doesn't pay. Unless you're a cop.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>No, what I've learned is that violence procreates, Joseph, violence breeds violence. What you put out in this world will always come back to you.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But it never comes back how you predict.</dialogue>
<character>JOE</character>
<dialogue>I'm sure it doesn't.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Yes, confidence you haven't earned always has the brightest glow.</dialogue>
<scene_description>Thomas sees Emma hand her ticket to the COAT CHECK GIRL.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>She's quite easy on the eyes.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Outside of that, I fail to grasp what you see in her.</dialogue>
<character>JOE</character>
<dialogue>Because she's from Dorchester?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Well, that doesn't help. Her father was a pimp and her uncle killed two men. But I could overlook all that Joseph if she weren't so...</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Dead inside.</dialogue>
<scene_description>Thomas rises to go.</scene_description>
<character>JOE</character>
<dialogue>She's not dead, she just doesn't pretend to be something she isn't.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Maybe she's just asleep.</dialogue>
<scene_description>Emma returning with their coats.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Whatever it is, son, it never wakes up again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET OUTSIDE RESTAURANT - MOMENTS LATER</stage_direction>
<scene_description>Snow falls lightly as Joe and Emma walk to their car, both preoccupied.</scene_description>
<character>JOE</character>
<dialogue>You could have been a bit more...</dialogue>
<character>EMMA</character>
<dialogue>What?</dialogue>
<character>JOE</character>
<dialogue>Social.</dialogue>
<character>EMMA</character>
<dialogue>Maybe you should climb under his covers tonight.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>EMMA</character>
<dialogue>He looks at me like I'm trash?</dialogue>
<scene_description>She stands on the sidewalk, shaking. Tears fall from her eyes.</scene_description>
<character>EMMA</character>
<dialogue>We're not people. We're just the Goulds from Dorchester. We tat the lace for your fucking curtains.</dialogue>
<scene_description>He reaches out to her.</scene_description>
<character>JOE</character>
<dialogue>What is this?</dialogue>
<character>EMMA</character>
<dialogue>Don't fucking touch me.</dialogue>
<parenthetical>(beat)</parenthetical>
<scene_description>CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>My whole life I got the high hat and the icy mitt from people like your father. We're not less than you.</dialogue>
<character>JOE</character>
<dialogue>I didn't say you were.</dialogue>
<character>EMMA</character>
<dialogue>He did.</dialogue>
<scene_description>He wraps her up in his arms, the rest of the tears trickle down. He doesn't know what to say except:</scene_description>
<character>JOE</character>
<dialogue>I love you.</dialogue>
<character>EMMA</character>
<dialogue>You think love is easy.</dialogue>
<character>JOE</character>
<dialogue>It can be.</dialogue>
<character>EMMA</character>
<parenthetical>(wiping eyes)</parenthetical>
<dialogue>I don't cry in front of people.</dialogue>
<character>JOE</character>
<dialogue>You can with me.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What do you want?</dialogue>
<character>EMMA</character>
<dialogue>For things to be different than they are.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BARBER SHOP, DORCHESTER - NEXT MORNING</stage_direction>
<scene_description>Brendan walks in. TIM HICKEY is getting a shave. Loomis stands over him.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The last termite came for Tim Hickey the next day.</dialogue>
<scene_description>Loomis BLOWS HICKEY'S SKULL ALL OVER THE BARBER SHOP. Loomis stands there for a beat. Turns around and walks out.</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLIARDS ROOM OFF CASINO - MORNING</stage_direction>
<scene_description>Joe shoots pool alone. In walks ALBERT WHITE and BRENDAN LOOMIS. They head straight for Joe. He rises from his crouch over the table. CONTINUED:</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I've found that when you think your life is about to end, you suddenly feel very calm.</dialogue>
<character>ALBERT</character>
<dialogue>You must be Joe.</dialogue>
<scene_description>He extends his hand.</scene_description>
<character>JOE</character>
<dialogue>Joe Coughlin, nice to meet you.</dialogue>
<character>ALBERT</character>
<dialogue>Good to put a face to the name.</dialogue>
<parenthetical>(turns to Brendan)</parenthetical>
<dialogue>This is Brendan Loomis. Friend of mine.</dialogue>
<scene_description>Loomis shakes Joes hand.</scene_description>
<character>ALBERT</character>
<parenthetical>(looking him over)</parenthetical>
<dialogue>I've seen you before.</dialogue>
<character>JOE</character>
<dialogue>Don't think so.</dialogue>
<character>ALBERT</character>
<dialogue>Bren have you seen him before?</dialogue>
<scene_description>Loomis' dead eyes.</scene_description>
<character>BRENDAN LOOMIS</character>
<dialogue>No.</dialogue>
<scene_description>Albert sobers.</scene_description>
<character>ALBERT</character>
<dialogue>I run this house now.</dialogue>
<scene_description>Albert pours himself a drink from Tim's decanter.</scene_description>
<character>ALBERT</character>
<dialogue>You're too smart for the stuff you been pulling. Nickel and diming with two dumb guineas. They're your friends but they're stupid and they're WOPs and they won't live to see forty. Take your time. But you can't work on your own. Not in this town.</dialogue>
<scene_description>Joe watches them go.</scene_description>
<character>EMMA (PRE-LAP)</character>
<dialogue>We could leave...</dialogue>
</scene>
<scene>
<stage_direction>INT. EMMA'S APARTMENT - NIGHT</stage_direction>
<scene_description>Emma and Joe can see their breath, no heat. The apartment's only virtue is being empty tonight.</scene_description>
<character>JOE</character>
<dialogue>And go where?</dialogue>
<character>EMMA</character>
<dialogue>Somewhere warm.</dialogue>
<character>JOE</character>
<dialogue>My brother Danny's out in California.</dialogue>
<character>EMMA</character>
<dialogue>Where?</dialogue>
<character>JOE</character>
<dialogue>I haven't seen him in ten years.</dialogue>
<character>EMMA</character>
<dialogue>I'd go to California.</dialogue>
<character>JOE</character>
<dialogue>I don't know much about honest work.</dialogue>
<character>EMMA</character>
<dialogue>Who says it needs to be honest? We do what we want to do. Go where we want to go. Sleep by day, live by night.</dialogue>
<scene_description>He looks at her, won over.</scene_description>
<character>JOE</character>
<dialogue>We got this job on Saturday. You free Saturday?</dialogue>
<character>EMMA</character>
<dialogue>To leave?</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>EMMA</character>
<dialogue>I have to see you-know-who on Saturday.</dialogue>
<character>JOE</character>
<dialogue>Fuck him.</dialogue>
<character>EMMA</character>
<dialogue>That's the idea.</dialogue>
<scene_description>Quiet. CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>What's the alternative. You want me to end up in the Charles?</dialogue>
<scene_description>Joe says nothing.</scene_description>
<character>EMMA</character>
<dialogue>I'm supposed to meet him at the Statler on Saturday. Turns him on to see me when his wife's on his arm. After that he's going to Detroit for a week. Can you clean yourself up and get to the Statler by seven?</dialogue>
<character>JOE</character>
<dialogue>I should be done by then.</dialogue>
<character>EMMA</character>
<dialogue>Sure?</dialogue>
<character>JOE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>I wouldn't lie to you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PITTSFIELD BANK - SATURDAY MORNING</stage_direction>
<scene_description>The Bartolo Brothers come CRASHING OUT THE DOOR TO THE BANK and jump in Joe's waiting GETAWAY CAR.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>It's true I was thinking about her. But I was always thinking about her-- so it's possible I would have fucked up, anyway.</dialogue>
<scene_description>Joe tries to put it in drive but instead BACKS UP and SMASHES INTO A LAMPPOST.</scene_description>
<character>DION</character>
<dialogue>Fuck!</dialogue>
<scene_description>Joe drives FORWARD as a GUARD emerges from the bank. He extends his arm and Joe can see it jumping in the rear view. The side mirror SHATTERS and the glass falls to the dirt street. Joe picks up speed. Turns east into an alley and turns again parallel to the railroad tracks. Joe crosses the tracks and pulls up to a burned out FOUNDRY. TWO CARS ARE WAITING.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUNDRY - CONTINUOUS</stage_direction>
<scene_description>The guys all jump out. Dion TURNS ON JOE, GRABS HIM.</scene_description>
<character>DION</character>
<dialogue>What the fuck is wrong with you?</dialogue>
<character>JOE</character>
<dialogue>Get your hands off me.</dialogue>
<character>DION</character>
<dialogue>You're fucking up.</dialogue>
<scene_description>Joe takes the HATS and KERCHIEFS AND GUNS and puts them in A BAG. He puts the bag in the back of the ESSEX COACH.</scene_description>
<character>JOE</character>
<dialogue>I know.</dialogue>
<scene_description>FOUR POLICE CARS EMERGE FROM A WALL OF BROWN WEEDS behind the foundry revealing a SMALL TENT COMMUNITY behind them. Joe jumps into the Essex and takes off. The Bartolo brothers take off in the Cole, back end sliding as they hit dry dirt. Dirt covers Joe's windshield. When he leans out to wipe it off he feels a BITE on his ear. When he leans back into the car he reaches up to feel that his EAR HAS BEEN NICKED. Blood starts to run down his jacket. PINGS and THUNKS hit the back window. The WINDSHIELD BLOWS OUT. From inside a cruiser a TOMMY GUN SHOOTING OUT. The cruiser on his right TURNS TOWARD HIM, hits something and RISES UP LIKE LIFTED BY A GUST and lands on its side. The cruiser behind RAMS HIM. He sees a BOULDER in front of him. Joe CRASHES INTO THE BOULDER and is THROWN FROM THE CAR. He SLIDES FIFTY FEET ACROSS CONCRETE, passing out. Joe lies there, covered in glass and pine needles and blood. SMOKE rises through the trees, black and oily. He sees the CRUISER lying on its side. Joe comes across a SERIES OF BURNING TREES. He follows along with them and comes to a POND.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POND - CONTINUOUS</stage_direction>
<scene_description>He see steam curl along the edges. The POLICE CRUISER had ENTERED THE POND ON FIRE. CONTINUED: It now sits in the middle of the pond, water up to the windowsills, the rest of it charred, flames still dancing on the roof. The DRIVER hangs out his door. The only thing not charred black about him are his eyes. Joe approaches the car. Looks in. No one else there. He turns and sees behind the car THE OTHER POLICEMAN. Charred and dead, halfway crawled out from the pond. His arm reaches out.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>He pointed at me like an accusation. The last termite.</dialogue>
</scene>
<scene>
<stage_direction>EXT. K STREET, SOUTH BOSTON, COUGHLIN FAMILY HOME - NIGHT</stage_direction>
<character>JOE (V.O.)</character>
<dialogue>I stole a car in Lenox and replaced it with a Dodge 126 I found in Dorchester. Drove it to my childhood home and considered my options.</dialogue>
<scene_description>The Coughlin home is stately. Joe furtively gets out of a car and walks toward it.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>A woman once asked me how I could come from such a magnificent home. I told her, I came from a magnificent house, not a magnificent home.</dialogue>
<scene_description>CLOSE ON: NEWSPAPER HEADLINES: 3 MASS OFFICERS BRUTALLY SLAIN 3 SUSPECTS, next to which are startlingly accurate renditions of Joe and the Bartolo brothers.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>It was in all the late editions.</dialogue>
</scene>
<scene>
<stage_direction>INT. COUGHLIN FAMILY HOME, FOYER - CONTINUOUS</stage_direction>
<scene_description>Joe PUTS DOWN THE NEWSPAPERS on a piece of furniture.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The real reason those cops were dead was that one of them had been stupid enough to fire a Tommy gun bouncing across open ground.</dialogue>
<scene_description>Joe heads upstairs. In a series of shots we see him: CONTINUED: CHANGING WASHING PUTTING ON A NEW SUIT</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The third dead cop was a trooper who pulled someone over near the state forest. Shot once in the stomach and twice in the skull. Had to be Dion.</dialogue>
</scene>
<scene>
<stage_direction>INT. THOMAS COUGHLIN'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Joe enters goes right for a PLACE ON THE FLOOR. He PULLS UP THE RUG.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>My father would have seen the pictures by now. He would have seen his son. Party to a cop killing.</dialogue>
<scene_description>Joe opens the safe. We reveal BRICKS AND BRICKS OF MONEY.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Years of kickback and graft. My father was more of a criminal than I would ever be. I let him know: I knew where the money was--but I wouldn't take it.</dialogue>
<scene_description>Instead Joe STUFFS his ragged dirty clothes in the safe, closes it and rises.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARLINGTON STREET, BOSTON - NIGHT</stage_direction>
<scene_description>Joe pulls up, gets out of his car, leaving it. The streets are full, the downtown set out on the town.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOSTON STREETS, ALLEY BEHIND HOTEL - NIGHT</stage_direction>
<scene_description>Joe moves through an alley toward an OPEN DOOR that is the EMPLOYEES ENTRANCE. He heads into the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATLER HOTEL KITCHEN - CONTINUOUS</stage_direction>
<scene_description>The contrast is immediate. The place is bright and TEEMING with people. What seem like HUNDREDS of KITCHEN WORKERS stream in and out. Joe heads into the flow toward the lobby.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATLER HOTEL LOBBY - CONTINUOUS</stage_direction>
<scene_description>The Statler was the first hotel in the world to offer in- room radio. It has an extraordinarily baroque lobby. Champagne flows from a fountain in the lobby. The lobby is filled with every dignitary Boston has to offer. Joe sees ALBERT WHITE and his WIFE. EMMA is just below them, scanning the crowd subtly. She sees him and her eyes light up. She TILTS HER HEAD toward the side of the lobby. Joe heads there immediately. He LOSES her in the crowd. And a guy with a HERALD EXAMINER BADGE seems to recognize Joe as he passes him moving through the crowd.</scene_description>
<character>REPORTER</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>Excuse me. Excuse me!</dialogue>
<scene_description>At the bottom of the stairs he MEETS UP WITH EMMA. It's all he can do not to wrap her up in his arms.</scene_description>
<character>JOE</character>
<dialogue>Keep going.</dialogue>
<scene_description>They walk more intently now, pushing their way through.</scene_description>
<character>EMMA</character>
<dialogue>There's a service elevator up here.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I can't believe you came.</dialogue>
<character>JOE</character>
<dialogue>What else was I gonna do?</dialogue>
<character>EMMA</character>
<dialogue>Run.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>EMMA</character>
<dialogue>I don't know. It's what people do.</dialogue>
<character>JOE</character>
<dialogue>It's not what I do.</dialogue>
<scene_description>They turn the corner, from lobby into the SERVICE AREA.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATLER HOTEL SERVICE AREA - CONTINUOUS</stage_direction>
<scene_description>More waiters and workers moving quickly. Joe and Emma make their way through.</scene_description>
<character>EMMA</character>
<dialogue>Left, left.</dialogue>
<scene_description>CONTINUED: They go a few more steps and reach the entrance to the service elevator.</scene_description>
<character>EMMA</character>
<parenthetical>(pushing buttons)</parenthetical>
<dialogue>Shit, shit, shit.</dialogue>
<scene_description>The door finally opens and they get in the elevator.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>As soon as the doors close they grab one another, kissing groping, releasing of all the fear and pent-up energy. He sees tears coming down her face.</scene_description>
<character>JOE</character>
<dialogue>Why are you crying?</dialogue>
<character>EMMA</character>
<dialogue>Because I love you.</dialogue>
<character>JOE</character>
<dialogue>Then smile.</dialogue>
<character>EMMA</character>
<dialogue>I can't.</dialogue>
<scene_description>THE ELEVATOR HAS STOPPED. Joe is confused, then it dawns on him.</scene_description>
<character>JOE</character>
<dialogue>No--</dialogue>
<scene_description>The door is PULLED OPEN BY BRENDAN LOOMIS who yanks JOE OUT BY HIS TIE and REMOVES HIS GUN. Brendan starts HITTING JOE IN THE FACE so mercilessly it's hard to watch. CRUNCH, we hear Joe's nose break. Loomis keeps hitting him. He drops Joe on the floor and KICKS HIM IN THE STOMACH repeatedly, the he walks around behind him and KICKS HIM IN THE BALLS. Joe vomits, lying there helpless. He looks up to see ALBERT WHITE.</scene_description>
<character>ALBERT</character>
<dialogue>I'm sure as you die you'll tell yourself you did it for love. No, you feel guilty about what you do. So you spent your life hoping someone will punish you for your sins. Well... here I am.</dialogue>
<scene_description>CONTINUED: Albert smiles. Joe rolls on his side in broken agony. When he looks up, he sees something that he wishes he hadn't: EMMA GOULD on the arm of ALBERT WHITE.</scene_description>
<character>EMMA</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I'm sorry.</dialogue>
<character>ALBERT</character>
<dialogue>She's sorry. We're all sorry.</dialogue>
<parenthetical>(gestures to someone)</parenthetical>
<dialogue>Take her out of here.</dialogue>
<character>EMMA</character>
<parenthetical>(being escorted)</parenthetical>
<dialogue>You said you wouldn't kill him.</dialogue>
<scene_description>Albert says nothing.</scene_description>
<character>EMMA</character>
<dialogue>Albert, that was the deal.</dialogue>
<character>ALBERT</character>
<dialogue>Don't worry.</dialogue>
<character>EMMA</character>
<dialogue>I would never have brought him here if I--</dialogue>
<scene_description>Albert SMACKS EMMA ACROSS THE FACE.</scene_description>
<character>ALBERT</character>
<dialogue>You think I'm going to be humiliated by a whore? You been replaced. Get me? Someone comes to me, says this asshole's putting horns on my fucking head? You're lucky I didn't cut your tits off and put you in the fucking dump.</dialogue>
<parenthetical>(indicates)</parenthetical>
<dialogue>Put her in the fucking car, Donnie. Now.</dialogue>
<scene_description>She kicks and scratches at Donnie's head.</scene_description>
<character>EMMA</character>
<dialogue>Joe I'm sorry!</dialogue>
<scene_description>And she's gone. A moment of silence.</scene_description>
<character>JOE</character>
<dialogue>Who told you about us?</dialogue>
<character>ALBERT</character>
<dialogue>You should be more worried about what I'm going to do with you.</dialogue>
<character>JOE</character>
<dialogue>What about her?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ALBERT</character>
<dialogue>With her? Fuck do you care. She just sold you down the river.</dialogue>
<scene_description>Loomis picks up Joe, they make their way to the DOOR.</scene_description>
<character>ALBERT</character>
<dialogue>I told her if she delivered you to us, I wouldn't kill you. But we both know I have to kill you, don't we Joe.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And then I'm gonna kill her too.</dialogue>
<scene_description>They open the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STATLER HOTEL ALLEY - CONTINUOUS</stage_direction>
<scene_description>Light floods the alley. WHITE KLEIG LIGHTS from police cars. Loomis DROPS JOE.</scene_description>
<character>ALBERT</character>
<dialogue>SHIT! GO! GO GO!</dialogue>
<scene_description>We are with Joe in his POV, crashing to the ground, lights flashing, hearing the sounds of the police. The SOUNDS OF ALBERT'S CREW ESCAPING. SHOTS, TIRES SCREECH. Quiet. THOMAS walks toward Joe, a confident silhouette.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>So, you're a copkiller now, Joseph?</dialogue>
<character>JOE</character>
<dialogue>I didn't kill anybody.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Looks like your accomplices were about to take you on the dead man's drive.</dialogue>
<scene_description>Some of the POLICEMEN have already REMOVED THEIR BILLY CLUBS.</scene_description>
<character>JOE</character>
<dialogue>They're gonna kill her.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Well, we won't kill you, Joseph. But some of my co-workers would like a word.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Dad listen to me, she's--</dialogue>
<scene_description>Thomas SPITS IN HIS FACE.</scene_description>
<character>THOMAS COUGHLIN</character>
<parenthetical>(to his men)</parenthetical>
<dialogue>He's all yours.</dialogue>
<scene_description>Thomas walks away.</scene_description>
<character>JOE</character>
<dialogue>She's in the car with Donnie!</dialogue>
<scene_description>The first BLOW from a truncheon quiets Joe, the second is to his temple and, mercifully, knocks him out. BLACK</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I was in a coma for two weeks. When I came out they said they didn't know what my skull was made of but it wasn't bone.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL HALLWAY - DAY</stage_direction>
<scene_description>Thomas Coughlin and Jack Jarvis wait outside Joe's room. It is guarded by a patrol man.</scene_description>
<character>JARVIS</character>
<dialogue>I can't get him off.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>How long?</dialogue>
<character>JARVIS</character>
<dialogue>Ten years would be my guess.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>There'll be nothing left of him.</dialogue>
<scene_description>A DOCTOR exits Joe's room, approaches Thomas.</scene_description>
<character>DOCTOR</character>
<dialogue>No cranial bleeding. No loss of memory or speech disability. His nose and half his ribs are broken and it will be a long time before he doesn't see any blood in the bowl but...</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Thank you doctor.</dialogue>
<scene_description>The doctor nods. Thomas turns to Jarvis-- CONTINUED:</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Give us five minutes.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
<scene_description>Light streams through the windows. Joe's looks terrible. Thomas stands by the bedside. The conversation is in progress.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>They caught up to Paulo Bartolo in St. Albans, ten miles from the border. A number of officers gave chase. He was struck by at least fourteen rounds. Low for a cop killer.</dialogue>
<character>JOE</character>
<dialogue>What about Dion?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>It's possible he made the border.</dialogue>
<scene_description>Joe tries not to show his relief.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Donnie Gishler's car went off the road and into the ocean at nine twenty.</dialogue>
<scene_description>Silence.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>An officer from Bevery dove in looking for them and was in the hospital a week with hypothermia.</dialogue>
<character>JOE</character>
<dialogue>No body, she might not be dead.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>She is son. There are no bodies from the Titanic but those poor souls are no longer with us.</dialogue>
<character>JOE</character>
<dialogue>I don't believe it.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>She was Albert White's moll. She betrayed you.</dialogue>
<character>JOE</character>
<dialogue>She did.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>And?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>I'm crazy about her.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Crazy isn't love.</dialogue>
<character>JOE</character>
<dialogue>I saw your marriage for eighteen years. That wasn't love.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>No. It wasn't. But either way, she's gone. As dead as your mother, God rest her. She's gone.</dialogue>
<character>JOE</character>
<dialogue>No. She's not.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Listen to yourself.</dialogue>
<scene_description>He looks at his son, battered.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>I was wrong. And sure there's no excuse for it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I should have done it myself.</dialogue>
<character>JOE</character>
<dialogue>If you did it I might be dead.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>You were the child that was supposed to fix the distance between me and your mother. Were you aware of that?</dialogue>
<character>JOE</character>
<dialogue>I was aware of the distance.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>People don't fix each other. And they never become anything but what they've always been. All we get, sometimes, is a little luck. Don't waste yours pining for a dead girl.</dialogue>
<character>JOE</character>
<dialogue>You make your own luck.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Sometimes. And sometimes it makes you.</dialogue>
<scene_description>The DOOR OPENS and Thomas nods to Jack Jarvis who enters. CONTINUED:</scene_description>
<character>JARVIS</character>
<dialogue>Afternoon.</dialogue>
<character>JOE</character>
<dialogue>Who are you?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>He's your lawyer.</dialogue>
<character>JACK JARVIS</character>
<dialogue>John Jarvis.</dialogue>
<character>JOE</character>
<dialogue>How am I doing?</dialogue>
<character>JACK JARVIS</character>
<dialogue>Your father and I have discussed the what the likeliest outcome is in court. I think we might be wise to work some back channels first.</dialogue>
<parenthetical>(turns to Thomas)</parenthetical>
<dialogue>Thomas, you know the state prosecutor, don't you?</dialogue>
</scene>
<scene>
<stage_direction>INT. CALVIN BONDURANT'S OFFICE, KIRBY STREET - DAY</stage_direction>
<scene_description>Thomas is in a luxurious, old-world apartment sitting across from Bondurant.</scene_description>
<character>CALVIN BONDURANT</character>
<dialogue>If he pleads to reckless endangerment and robbery I'll recommend twelve.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Five.</dialogue>
<character>CALVIN BONDURANT</character>
<dialogue>There are three dead police officers.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>And he didn't kill them. Five.</dialogue>
<character>CALVIN DURANT</character>
<dialogue>No chance.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>If I were you, I would reconsider.</dialogue>
<character>CALVIN BONDURANT</character>
<dialogue>Let me disabuse you of a notion or two, Deputy Superintendant.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Chief Inspector. I was demoted yesterday.</dialogue>
<scene_description>CONTINUED: A glint of a smile in Bondurant.</scene_description>
<character>CALVIN DURANT</character>
<dialogue>Then we can leave unsaid the notion I was going to dispel for you.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I have no illusions. I'm a practical man.</dialogue>
<scene_description>Thomas REMOVES A PHOTOGRAPH from his pocket.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>That photograph is of a door with a number on it. It is the door to a row house in back bay. Where you have been keeping time with a young man of Mexican descent.</dialogue>
<parenthetical>(look)</parenthetical>
<dialogue>If you move the location of you liaisons I'll know within the hour.</dialogue>
<scene_description>Bondurant looks at the picture for a long while.</scene_description>
<character>CALVIN BONDURANT</character>
<dialogue>I'll see what I can do.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Seeing what you can do is of little interest to me.</dialogue>
<character>CALVIN BONDURANT</character>
<dialogue>I'm one man.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Five years.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SUFFOLK PRISON, ANCIENT AND FOREBODING - DAY</stage_direction>
<scene_description>We see the old jail and the city in a grey, misty fog.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I pled guilty to abetting armed robbery and received a sentence of five years and four months.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OCEAN OFF NORTH SHORE - DAY</stage_direction>
<scene_description>A fisherman PULLS IN HIS NET, looks twice.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>A fisherman found a femur in his net. The coroner said it came from a white woman in her twenties.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUFFOLK PRISON, HALLWAY - LATER</stage_direction>
<scene_description>Joe walks the halls, handcuffed, escorted by two OFFICERS and his father, who gives him his parting wisdom, sotto voce.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Someone will threaten you the first week. You'll see what he wants in his eyes. Someone else will stand up for you. He'll back the other man down and offer you protection. That's the man you hurt. You hurt him so he can't gets strong enough to hurt you.</dialogue>
<character>JOE</character>
<dialogue>And then they leave me alone?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>When will it stop?</dialogue>
<scene_description>Thomas looks straight ahead. Avoiding Joe.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>Never.</dialogue>
<character>JOE (V.O.)</character>
<dialogue>The next day I would be transferred to the most notorious prison in the country.</dialogue>
</scene>
<scene>
<stage_direction>INT. PRISON BUS - DAY</stage_direction>
<scene_description>The bus rambles along. Four PRISONERS are shackled to the floor. A fat RUSSIAN, a BLACK MAN, Joe and a SOFT KID named NORMAN who talks out loud, nervous.</scene_description>
<character>NORMAN</character>
<dialogue>I been reading the Bible and it says there's good in even the lowest man so I wouldn't be surprised to find more good behind these walls that outside but I--</dialogue>
<scene_description>The bus PULLS INTO THE GATES OF THE PRISON. The bus stops and a GUARD, MR. HAMMOND gets on and begins unshackling the men.</scene_description>
<character>MR. HAMMOND</character>
<dialogue>My name is mister Hammond. You will all be housed in the east wing except the nigger who will be in the south with his kind. Never look a guard in the eye.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MR. HAMMOND</character>
<dialogue>Never touch yourselves or others in an unwholesome manner--</dialogue>
<scene_description>Norman starts to shiver and bubble, tears rolling off his face like sweat.</scene_description>
<character>JOE</character>
<dialogue>Don't do that.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON CORRIDOR - LATER</stage_direction>
<scene_description>Joe walks down a row in the worst prison you've ever seen. We see DEGENERATES in their cells as Joe passes by. He reaches his cell and the GUARD opens the door. We reveal three CELL MATES: OLIVER, EUGENE and TOOMS.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Oliver and Eugene were stickup men and we knew enough people in common not to try to turn me out to make a statement.</dialogue>
<scene_description>Joe looks around as his cell mates stare, puts his stuff on a lower bunk. Sits, it sags. He sees a BUCKET FULL OF PISS AND SHIT.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Tooms was one of those, you let him be and hoped he did you the same.</dialogue>
<scene_description>Tooms staring blankly at Joe, then turns away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON YARD - DAY</stage_direction>
<scene_description>Joe walks through the yard. Hundreds of CONVICTS mill around. They entirely avoid Joe. Whoever he walks towards moves off in another direction. He sees NORMAN approaching. Both his eyes are black and his nose looks broken. Joe is about to say something to him when Norman ATTACKS. He throws a punch to Joe's neck. Then another and another. It becomes a full out brawl.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>My ribs were still broken and every shot they took it felt like fire.</dialogue>
<scene_description>Above we see guards with rifles watching. Norman hits Joe again in the ribs. Joe brings his foot down on Norman's knee and turns it at an odd angle. CONTINUED: Joe brings in down on his knee again and the whole yard hears it CRACK. Norman lies there crying and wailing.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I could have helped him up but that would have been seen as weakness.</dialogue>
<scene_description>We see other convicts eyeing Joe.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Norman was nothing. Norman was a warm up.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S CELL CHARLESTOWN PRISON - LATER</stage_direction>
<scene_description>Joe returns to his cell to find it EMPTY. He turns to the guard.</scene_description>
<character>JOE</character>
<dialogue>Where'd they go?</dialogue>
<character>GUARD</character>
<dialogue>They went.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON, SHOWER LINE - DAY</stage_direction>
<scene_description>Joe is standing in line with a bunch of other inmates when he sees a KID come toward him. When he gets close he reveals a POTATO PEELER that he carries in his right hand. He SWINGS IT at Joe and STABS HIM in the thigh. Pulling it out he goes for the groin. Joe grabs the kids HEAD and SLAMS IT AGAINST THE GRANITE THREE OR FOUR TIMES. No one else reacts.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I'd never seen the kid before in my life.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON CAFETERIA - DAY</stage_direction>
<scene_description>Joe, bandages on his thigh, stands in line for food. Joe hears a VOICE from behind him.</scene_description>
<character>MASO</character>
<dialogue>Do you ever think they'll run out of men to fight you?</dialogue>
<scene_description>The man, MASO, bald, a bit of silver on the sides.</scene_description>
<character>JOE</character>
<dialogue>I doubt it. Lot of candidates.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MASO</character>
<dialogue>Won't you get tired?</dialogue>
<character>JOE</character>
<dialogue>Sure. But I'll go as long as I can.</dialogue>
<character>MASO</character>
<dialogue>You're very fast.</dialogue>
<character>JOE</character>
<dialogue>I'm fast. I'm not very fast.</dialogue>
<character>MASO</character>
<dialogue>I've seen both your fights. You're so fast those men don't even know you're protecting your ribs.</dialogue>
<character>JOE</character>
<dialogue>I'm not protecting shit.</dialogue>
<character>MASO</character>
<dialogue>In another life, I promoted a few boxers. I know when a man is protecting his ribs.</dialogue>
<scene_description>Joe smiles.</scene_description>
<character>JOE</character>
<dialogue>Few months ago I broke six ribs.</dialogue>
<character>MASO</character>
<dialogue>Leaves you a few months.</dialogue>
<character>JOE</character>
<dialogue>That right?</dialogue>
<character>MASO</character>
<dialogue>Broken ribs are like broken hearts. Take six months to heal. What do they call you?</dialogue>
<character>JOE</character>
<dialogue>Joe.</dialogue>
<character>MASO</character>
<dialogue>Never Joseph?</dialogue>
<character>JOE</character>
<dialogue>Just my father.</dialogue>
<scene_description>Maso exhales a stream of smoke.</scene_description>
<character>MASO</character>
<dialogue>This is such a hopeless place. It eats men. Doesn't even spit them back out.</dialogue>
<scene_description>Joe gets his food and moves on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON YARD - DAY</stage_direction>
<scene_description>Again, Joe is walking the yard alone. A BIG CONVICT comes toward him. We see on Joe's face that this might be his last fight. He TIGHTENS his shirt around his ribs as the guy approaches. He takes a swing that Joe DUCKS but the next one hits him square in the body. And another. Joe sees stars. He tries to fight defensively but another SHOT from the big guy staggers him back. The big guy approaches when he is BLIND SIDED. Two HUGE ITALIANS hit the big guy high and low. Six or seven shots make short work of him. They walk off as if nothing happened. Joe is panting, barely on his feet.</scene_description>
<character>MASO</character>
<dialogue>Joseph?</dialogue>
<character>JOE</character>
<dialogue>Joe.</dialogue>
<character>MASO</character>
<dialogue>My name is Thomas Pescatore but everyone calls me Maso.</dialogue>
<scene_description>He puts his ARM AROUND JOE. People in the yard clock this.</scene_description>
<character>MASO</character>
<dialogue>Consider yourself under my care. Do you know who I am?</dialogue>
<character>JOE</character>
<dialogue>Maso Pescatore. You run the North End and liquor coming up from Florida. Your only real rival is Albert White.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And I didn't ask to be under your care.</dialogue>
<character>MASO</character>
<dialogue>How many things, good or bad, come to us whether we ask for them or not?</dialogue>
<scene_description>He removes his arm, Joe sees cunning in Maso's eyes.</scene_description>
<character>MASO</character>
<dialogue>Call me mister Pescatore from now on, Joseph. And give this to your father.</dialogue>
<scene_description>Maso walks away leaving Joe looking down at the paper. It reads: 1417 Blue Hill Ave.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON VISITING ROOM - DAY</stage_direction>
<scene_description>Joe sits across from his father, obvious discomfort.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>What happened?</dialogue>
<character>JOE</character>
<dialogue>Guy stabbed me in the leg.</dialogue>
<scene_description>Joe SLIDES HIS HAND ACROSS THE TABLE. Thomas sees the PIECE OF PAPER in it. He covers it with his own hand. He takes the piece of paper and places it in his own pocket.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>I'm to do someone's bidding?</dialogue>
<scene_description>Joe looks up at his father.</scene_description>
<character>JOE</character>
<dialogue>Maso Pescatore's.</dialogue>
<scene_description>Thomas squints.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>You're asking me to get under the thumb of a bunch of Dagos one step removed from a cave.</dialogue>
<character>JOE</character>
<dialogue>They said its a one time thing.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I would be wedded to the Pescatore mob for life. A people that had brought to the shores of this country anarchism and bombings-- and who had overtaken by force the business of illegal liquor. I'm supposed to work for them? Kiss their Dago rings?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON - LATER</stage_direction>
<scene_description>Thomas makes his way out the gates. Smoke rises from factory stacks.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>My father knew. You went in a man and left a beast. If you left at all. 1417 Blue Hill was a storage center for the Jew mobs who worked for Albert White in Mattappan. Maso wanted them destroyed.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON VISITING ROOM</stage_direction>
<scene_description>Joe looks out the window while he is shackled for his return to the cell.</scene_description>
</scene>
<scene>
<stage_direction>EXT. K STREET, SOUTH BOSTON, COUGHLIN FAMILY HOME - DAY</stage_direction>
<scene_description>Thomas is up on a ladder, fixing some shutters on the second floor of the house. A BLOND FELLOW strolls down the street. He stops at the base of Thomas' ladder and puts his hand on it.</scene_description>
<character>BLOND MAN</character>
<dialogue>Sorry. I'm a bit lost.</dialogue>
<scene_description>Thomas' instincts tell him something isn't right. He sees the man's HAND holding the ladder.</scene_description>
<character>BLOND MAN</character>
<dialogue>Do you know where the bathhouse is?</dialogue>
<scene_description>Thomas can see the bathhouse from his vantage, it's a block away.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>End of the street.</dialogue>
<character>BLOND MAN</character>
<dialogue>Thanks. Sometimes I can't get out of my own way. You know what I mean?</dialogue>
<scene_description>Thomas waits, holding the look.</scene_description>
<character>BLOND MAN</character>
<dialogue>They won't kill him.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Excuse me?</dialogue>
<character>BLOND MAN</character>
<dialogue>They'll make him wish they did, though. Every day of his life.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>He'll think about suicide. But they'll keep him alive by promising to kill you. And every day they'll think of a new thing to try on him.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Afternoon.</dialogue>
<scene_description>And he strolls away, leaving Thomas to look after him.</scene_description>
</scene>
<scene>
<stage_direction>INT. K STREET, SOUTH BOSTON, COUGHLIN FAMILY HOME - DAY</stage_direction>
<scene_description>Thomas is on the phone, holding the PAPER. We don't see the other side of the conversation.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>1417 Blue Hill Avenue. Supposed to be a warehouse for gaming parlors.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>To the last bottle.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MATTAPAN LIQUOR WAREHOUSE - DAY</stage_direction>
<scene_description>POLICE STORM IN, SMASHING HUNDREDS OF BOTTLES OF LIQUOR. The workers stand by and watch it happen. The violence segues to:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON - NIGHT</stage_direction>
<scene_description>A FULL SCALE RIOT is taking place under the aegis of a protest. Signs: "free Sacco and Vanzetti" and crowds roar.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON JOE'S CELL - SAME</stage_direction>
<scene_description>Joe lies in bed. He can hear the throng. Then the lights DIM and CRACKLE and SNAP OFF on a number of tiers. Over Joe's V.O. we see: 1. An inmate getting jumped and having someone STUFF MATERIAL IN HIS EYES. 2. A dead inmate, riddled with stab wounds, hung up like a crucifixion. 3. A young man running like a terrified rat, two LARGER men corner him.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The penitentiary spilled blood on itself that summer. A guy stabbed so much they perforated his liver.. Another had shards of glass stuffed in his eyes. And you could hear the rapes upstairs at night.</dialogue>
<scene_description>These images play along with the voice over. 1. Albert White, running his empire. 2. Rum trucks burn like Viking funeral boats. 3. A man has a shotgun put to his jaw-- the trigger is pulled. CONTINUED: 4. A GUARD sits on a park bench, throat slit. Frozen in a death mask. 5. A BUTCHER SHOP EXPLODES, taking the buildings next door with it-- a hairdressers and a haberdashery. 6. A man is HURLED FROM THE ROOF of a building.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>There was a war going. Over rum. Albert White, deiced to go after Maso while he was in prison. It was the deadliest summer in the history of Boston. They shot it out in town and along the Canadian border. One of White's drivers sassed one of Maso's guys and they blew off his jaw at the hinge. White's gang set fire to trucks. One night a guard on Maso's payroll went home with a girl no one had seen before. Maso responded by taking care of Albert's butcher shop front on Morton street.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>No winner. Just a lot of mess.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON ROOFTOP - DUSK</stage_direction>
<scene_description>The sun is setting and we see an orange moon, as big as the sky itself, is on the rise over the factory smokestacks and fields of ash and black poison. Joe and Maso walk across the roof, Maso's privilege is to walk the rooftops in the evening-- a small measure of quiet. Joe is his guest tonight. Maso HANDS JOE A PIECE OF PAPER. Joe takes it and furtively tucks it into his coat.</scene_description>
<character>MASO</character>
<dialogue>Open it.</dialogue>
<scene_description>Joe looks at him. Takes the paper out. Reads it. There are two words: Brendan Loomis.</scene_description>
<character>MASO</character>
<dialogue>He was arrested last night. Beat a man. They both wanted the same coat. He's Albert's right hand. I don't want it returning to Albert's right wrist.</dialogue>
<character>JOE</character>
<dialogue>I know him.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MASO</character>
<dialogue>You hate him?</dialogue>
<character>JOE</character>
<dialogue>Yes.</dialogue>
<character>MASO</character>
<dialogue>Good. Give that note to your father.</dialogue>
<character>THOMAS COUGHLIN (PRE-LAP)</character>
<dialogue>No.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON VISITING ROOM - DAY</stage_direction>
<scene_description>Joe sits across from Thomas.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>I don't do murder for hire, Joseph.</dialogue>
<character>JOE</character>
<dialogue>That's not what they're asking.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>If they give you the name of a man in police custody, they want him found hanging in his cell or shot in the back trying to escape.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Joseph I need you to hear exactly what I have to say.</dialogue>
<scene_description>Joe senses a change come over his father.</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>I will not take the life of another without cause.</dialogue>
<character>JOE</character>
<dialogue>Even a killer?</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Even a killer.</dialogue>
<character>JOE</character>
<dialogue>He's responsible for the death of the woman I loved.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>I thought she was still alive.</dialogue>
<character>JOE</character>
<dialogue>That's not the point.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>THOMAS COUGHLIN</character>
<dialogue>No, the point is, I don't engage in murder, certainly not for that Dago devil you've sworn your allegiance to.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Will they kill you?</dialogue>
<character>JOE</character>
<dialogue>Yes.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Then I'll die of a broken heart. But I won't murder for you. Kill for you, yes. Murder, never.</dialogue>
<character>JOE</character>
<dialogue>I guess that's all there is to say.</dialogue>
<scene_description>Thomas reaches in his pocket and removes a FANCY WATCH.</scene_description>
<character>JOE</character>
<dialogue>No.</dialogue>
<character>THOMAS COUGHLIN</character>
<dialogue>Take it. Buy your life. You hear me? You give it to that Dago devil and buy your life.</dialogue>
<scene_description>Joe closes his hand over the watch, still warm from his father's pocket.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON CAFETERIA - DAY</stage_direction>
<scene_description>Joe sits with a couple of minor Pescatore figures, ERNIE ROWLAND and HIPPO FASINI. The guys suddenly MOVE ASIDE and MASO SITS DOWN in their place.</scene_description>
<character>MASO</character>
<dialogue>Joseph, when will it happen.</dialogue>
<scene_description>Just this slightest of hesitations.</scene_description>
<character>JOE</character>
<dialogue>This week.</dialogue>
<character>MASO</character>
<dialogue>This week when?</dialogue>
<character>JOE</character>
<dialogue>This week. That's all I know.</dialogue>
<scene_description>Maso holds his look for a beat and then they all eat in silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON JOE'S CELL - LATER</stage_direction>
<scene_description>Joe walks down the corridor and turns into his cell. What he sees makes him STOP. The beds are gone and all the mattresses are on the floor. Three men play cards on the floor. Two are grungy nobodies and the third is BASIL CHIGGIS (30).</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The guy in the middle was named Basil Chiggis. He ate the fingers of a kid he killed in Weymouth. He would die in prison. The other two I'd never seen before.</dialogue>
<scene_description>The men are playing poker with CHICKEN BONES boiled white. "Raise" and "fold" are accompanied by the click- clack of the bones.</scene_description>
<character>GUARD</character>
<dialogue>Lights out!</dialogue>
<scene_description>CHUNK! The lights go out in the cell. Each man lies on his mattress. They lie there, breathing. As Joe's eyes adjust to the dark, he can see all three men STARING AT HIM.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Even if I had a shank I couldn't kill all three of them. If I said anything I would be begging. And they would just laugh before they killed me.</dialogue>
<scene_description>In a flash the three of them move toward Joe, producing SHANKS and holding him down. Knives to his throat. Joe doesn't move. The door to the cell opens and EMIL LAWSON comes in.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Emil Lawson. He was the ringleader of the rape parties upstairs.</dialogue>
<character>EMIL LAWSON</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>They said you were pretty.</dialogue>
<scene_description>He looks down at Joe, frozen with a shank to his neck.</scene_description>
<character>EMIL LAWSON</character>
<dialogue>What's your daddy supposed to do?</dialogue>
<scene_description>Joe is silent. CONTINUED:</scene_description>
<character>EMIL LAWSON</character>
<dialogue>Answer me or I'll pluck out an eye and feed it to Basil.</dialogue>
<scene_description>A long beat.</scene_description>
<character>JOE</character>
<dialogue>Brendan Loomis.</dialogue>
<character>EMIL LAWSON</character>
<dialogue>You're gonna tell the first Pescatore hood that you know when Loomis is going to be taken care of and he also found out where Albert White is sleeping. And you got the address but you only want to give it to him. Face to face.</dialogue>
<scene_description>Emil Lawson handed Joe something wrapped in an oilcloth. He unwraps it to reveal a long SHANK.</scene_description>
<character>EMIL LAWSON</character>
<dialogue>When you get close enough to Pescatore, you drive that through his fucking brain.</dialogue>
<character>JOE</character>
<dialogue>I thought you worked for him.</dialogue>
<character>EMIL LAWSON</character>
<dialogue>I did some jobs for him but now someone else is paying.</dialogue>
<character>JOE</character>
<dialogue>Albert White.</dialogue>
<character>EMIL LAWSON</character>
<dialogue>He's my boss. And now he's your boss, too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. K STREET, COUGHLIN HOME, BACK YARD - DAY</stage_direction>
<scene_description>Thomas walks through his garden and takes a seat in his chair. He looks out over the things that have grown in his garden. He feels something and sets down his drink.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON YARD - DAY</stage_direction>
<scene_description>Joe has found Hippo on the yard. His English is bad.</scene_description>
<character>JOE</character>
<dialogue>He gave me an address.</dialogue>
<character>HIPPO</character>
<dialogue>Whose?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Albert White.</dialogue>
<character>HIPPO</character>
<dialogue>So give it to me.</dialogue>
<character>JOE</character>
<dialogue>Tell Maso I'll bring it to the wall tonight.</dialogue>
<scene_description>Hippo looks at him and Joe walks away across the yard.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON JOE'S CELL - LATER</stage_direction>
<scene_description>Joe is now alone in his cell. He THROWS UP.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I had the shank tied to my arm and was supposed to move it to between my ass cheeks for the search.</dialogue>
<scene_description>We hear a GUARD come to the cell.</scene_description>
<character>GUARD</character>
<dialogue>Coughlin. You have a visitor.</dialogue>
<character>JOE</character>
<dialogue>Who?</dialogue>
<character>GUARD</character>
<dialogue>Said he was your brother.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON VISITING ROOM - LATER</stage_direction>
<scene_description>Joe's brother, DANNY (mid 40's), enters the room. He wears a battered three piece suit and looks like a man who had been on the road a while. He sits.</scene_description>
<character>DANNY</character>
<dialogue>You look like shit.</dialogue>
<character>JOE</character>
<dialogue>I'm in prison. What's your excuse.</dialogue>
<character>DANNY</character>
<dialogue>Still beat your ass.</dialogue>
<character>JOE</character>
<dialogue>I don't know. Learned how to fight dirty in here.</dialogue>
<scene_description>Danny has a small smile, he HUGS HIS BROTHER. These men clearly love one another very much.</scene_description>
<character>GUARD</character>
<scene_description>CONTINUED: Danny sits back down. Holds a look at Joe. Exhales.</scene_description>
<character>DANNY</character>
<dialogue>He's gone Joe.</dialogue>
<scene_description>Joe knows who but he asks anyway.</scene_description>
<character>JOE</character>
<dialogue>Who?</dialogue>
<character>DANNY</character>
<dialogue>Dad. He's gone.</dialogue>
<character>JOE</character>
<dialogue>How?</dialogue>
<character>DANNY</character>
<dialogue>Heart attack.</dialogue>
<character>JOE</character>
<dialogue>Were you there?</dialogue>
<character>DANNY</character>
<dialogue>I found him.</dialogue>
<character>JOE</character>
<dialogue>Sure there was no...</dialogue>
<character>DANNY</character>
<dialogue>Foul play? What the fuck are they doing to you in here? No, Joe, it was a heart attack.</dialogue>
<character>JOE</character>
<dialogue>How do you know?</dialogue>
<character>DANNY</character>
<dialogue>He was smiling.</dialogue>
<scene_description>A moment of quiet.</scene_description>
<character>JOE</character>
<dialogue>Nora?</dialogue>
<character>DANNY</character>
<dialogue>We're still together.</dialogue>
<character>JOE</character>
<dialogue>Kids?</dialogue>
<character>DANNY</character>
<dialogue>You think I'd let you walk around an uncle without me telling you?</dialogue>
<character>JOE</character>
<dialogue>I haven't seen you once in ten years. I don't know what you'd do.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DANNY</character>
<dialogue>Me and Nora have been in California.</dialogue>
<character>JOE</character>
<dialogue>I know. We got your one postcard. It was a big hit. Didn't say what you were doing.</dialogue>
<character>DANNY</character>
<dialogue>Making shows.</dialogue>
<character>JOE</character>
<dialogue>Shows?</dialogue>
<character>DANNY</character>
<dialogue>Movies, flickers. That's what they call them.</dialogue>
<character>JOE</character>
<dialogue>You work in movies?</dialogue>
<character>DANNY</character>
<dialogue>Nora started it. She got a job with this company Silver Frame. Jews but they're decent guys.</dialogue>
<character>JOE</character>
<dialogue>You work in movies?</dialogue>
<character>DANNY</character>
<dialogue>It gets better. I met one of her bosses and he asks me if I ever did stunts.</dialogue>
<character>JOE</character>
<dialogue>Fuck are stunts?</dialogue>
<character>DANNY</character>
<dialogue>You see an actor fall off a horse? It ain't him. It's a stunt man. Guy like me.</dialogue>
<character>JOE</character>
<dialogue>How many movies have you been in?</dialogue>
<character>DANNY</character>
<dialogue>I'm guessing seventy five.</dialogue>
<character>JOE</character>
<dialogue>Holy shit.</dialogue>
<character>DANNY</character>
<dialogue>Even wrote a few of the shorts.</dialogue>
<character>JOE</character>
<dialogue>You wrote? How many?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DANNY</character>
<dialogue>Five so far but Herm thinks I got a knack for it. Wants me to become a scenarist.</dialogue>
<character>JOE</character>
<dialogue>What the fuck is a scenarist?</dialogue>
<character>DANNY</character>
<dialogue>Guy who writes movies, genius.</dialogue>
<character>JOE</character>
<dialogue>So where's Nora?</dialogue>
<character>DANNY</character>
<dialogue>California. I just came back to see Dad. Hell, I didn't know when I'd see you again.</dialogue>
<character>JOE</character>
<dialogue>I'm happy for you.</dialogue>
<character>DANNY</character>
<dialogue>You should come.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>DANNY</character>
<dialogue>When you get out of here. Come join us. I'm serious. Fall off a horse. Pretend to get shot for money. Swim in a pool.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It's only a two week train ride.</dialogue>
<scene_description>Joe laughed, picturing it.</scene_description>
<character>DANNY</character>
<dialogue>I could train you. It's honest work.</dialogue>
<character>JOE</character>
<dialogue>I know.</dialogue>
<character>DANNY</character>
<dialogue>You could stop looking over your shoulder all the time.</dialogue>
<character>JOE</character>
<dialogue>It's not about that.</dialogue>
<character>DANNY</character>
<dialogue>What's it about?</dialogue>
<character>JOE</character>
<dialogue>The night. Got it's own set of rules.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DANNY</character>
<dialogue>Day's got rules, too.</dialogue>
<character>JOE</character>
<dialogue>Oh, I know. But I don't like them.</dialogue>
<character>DANNY</character>
<dialogue>I don't understand.</dialogue>
<character>JOE</character>
<dialogue>I know you don't. You buy into all the stuff about good guys and bad guys. A loan shark breaks a guy's leg--banker throws him out of his house. You think there's a difference. The banker should be where I am now. I don't mind the loan shark because he doesn't pretend to be anything else. I'm not gonna live some life where I pay my fucking taxes, fetch the boss lemonade and die at my fucking desk.</dialogue>
<character>DANNY</character>
<dialogue>But that's life.</dialogue>
<character>JOE</character>
<dialogue>That's a life. You want to play bu those rules, go ahead. I say there are no rules but what a man makes for himself.</dialogue>
<character>DANNY</character>
<dialogue>Wow. Did you ever grow up.</dialogue>
<character>JOE</character>
<dialogue>Didn't have much choice.</dialogue>
<character>DANNY</character>
<dialogue>Pity.</dialogue>
<scene_description>Joe looks at the clock on the wall.</scene_description>
<character>JOE</character>
<dialogue>I gotta go, Danny.</dialogue>
<character>DANNY</character>
<dialogue>You got somewhere to be?</dialogue>
<scene_description>Joe looks at the SHANK ON HIS WRIST.</scene_description>
<character>JOE</character>
<dialogue>Something like that.</dialogue>
<scene_description>Joe rises.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON CORRIDOR - NIGHT</stage_direction>
<scene_description>We start TIGHT ON THE TOP OF THE CRACK OF JOE'S ASS. A SHANK BOBBING BACK AND FORTH, HELD THERE WHILE HE WALKS. Joe is being led by the same GUARD, who seems in a hurry and keeps getting ahead of Joe. He sees each cell being mopped by a CONVICT-TRUSTEE.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I started wondering where all the guards were. On nights when Maso walked the walls they kept it light up here but not every guard was on Maso's payroll.</dialogue>
<scene_description>We see a CLOSER LOOK AT THE CONVICT-TRUSTEES. They are the KILLERS who attacked Joe in his room.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Basil's pointy head tipped me. And the guy pushing the bucket in the tenth cell was Don Pulaski, who burned his wife and kids alive in their fruit cellar.</dialogue>
<scene_description>At the end of the hall Joe encounters MASO's MEN, Hippo and Naldo Aliente.</scene_description>
<character>NALDO</character>
<dialogue>Hands up. I gotta frisk you.</dialogue>
<scene_description>He pats Joe down. We see the HANDLE OF THE SHANK peeking up. Nalso GRAZES it. Doesn't seem to notice.</scene_description>
<character>NALDO</character>
<dialogue>He's clean.</dialogue>
<scene_description>Joe goes to pass Hippo, who stops him.</scene_description>
<character>HIPPO</character>
<dialogue>Your life goes as the old man's goes. Understand?</dialogue>
<character>JOE (V.O.)</character>
<dialogue>Whatever happened to me and Pescatore, these men were in the final moments of their life, right now.</dialogue>
<scene_description>Naldo opens a door, behind which is a SPIRAL STAIRCASE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON ROOF - NIGHT</stage_direction>
<scene_description>Joe emerges from the trap door. He raises an ARM. The spotlight scans him, then goes left, then goes right. All clear. CONTINUED: Joe sees Maso twenty feet away. He transfers the SHANK into his hand. Joe walks up to Maso who is smoking a cigarette and looking away from him.</scene_description>
<character>MASO</character>
<dialogue>I'm sorry about your father.</dialogue>
<scene_description>This stops Joe cold.</scene_description>
<character>JOE</character>
<dialogue>What are you sorry about?</dialogue>
<character>MASO</character>
<dialogue>No man should ever be asked to do what's against his nature. Joseph. Even to help a loved one. But what's fucking fair in this world?</dialogue>
<scene_description>He took a long drag on his cigarette.</scene_description>
<character>MASO</character>
<dialogue>I won't ask anything so hard of you or your father again. I promise you that.</dialogue>
<character>JOE</character>
<dialogue>Sure you will, Maso.</dialogue>
<character>MASO</character>
<dialogue>Mr. Pescatore, Joseph.</dialogue>
<character>JOE</character>
<dialogue>My apologies.</dialogue>
<scene_description>With that Joe GRABS MASO'S ANKLES, FORCING MASO OUT OVER THE LEDGE.</scene_description>
<character>JOE</character>
<dialogue>You scream, I drop you.</dialogue>
<scene_description>He stops struggling.</scene_description>
<character>JOE</character>
<dialogue>Do you have any weapons on you?</dialogue>
<character>MASO</character>
<dialogue>Yes.</dialogue>
<character>JOE</character>
<dialogue>How many?</dialogue>
<character>MASO</character>
<dialogue>Just one.</dialogue>
<scene_description>Joe DROPS him a little. Maso WAVES HIS ARMS like he's going to take flight. Then he whimpers. CONTINUED:</scene_description>
<character>MASO</character>
<dialogue>Two.</dialogue>
<character>JOE</character>
<dialogue>Where?</dialogue>
<character>MASO</character>
<dialogue>Razor at my ankle, nails in my pocket.</dialogue>
<scene_description>Joe yanks the razor out and tosses it. He pulls a set of BRASS KNUCKLES WITH NAILS out of Maso's pocket.</scene_description>
<character>JOE</character>
<dialogue>Maso, if I open my fingers, you're just another dead Guinea.</dialogue>
<character>MASO</character>
<dialogue>I...I saved you.</dialogue>
<character>JOE</character>
<dialogue>So you could get to my father.</dialogue>
<character>MASO</character>
<dialogue>What do you want?</dialogue>
<scene_description>His voice is starting to flutter from lack of oxygen.</scene_description>
<character>JOE</character>
<dialogue>You ever hear of Emma Gould?</dialogue>
<character>MASO</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Albert White killed her.</dialogue>
<character>MASO</character>
<dialogue>I never heard of her.</dialogue>
<scene_description>He PULLS Maso up and flips him on his back. Maso lies there, panting.</scene_description>
<character>JOE</character>
<dialogue>My father died today. Heart attack. I blame myself. I blame you, too though.</dialogue>
<character>MASO</character>
<dialogue>So kill me.</dialogue>
<character>JOE</character>
<dialogue>That's what they want me to do.</dialogue>
<character>MASO</character>
<dialogue>Who?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Lawson. He's got Basil, Chiggis, all his carny freaks. Your guys are tits up by now.</dialogue>
<character>MASO</character>
<dialogue>You think they'll let you live?</dialogue>
<character>JOE</character>
<dialogue>I know Albert. This was his peace offering. Kill Maso and get back on the team.</dialogue>
<character>MASO</character>
<dialogue>Why don't you?</dialogue>
<character>JOE</character>
<dialogue>I don't want to kill you. I want to kill him.</dialogue>
<character>MASO</character>
<dialogue>You have my blessing.</dialogue>
<character>JOE</character>
<dialogue>Don't need it.</dialogue>
<character>MASO</character>
<dialogue>So, how do we get back down there?</dialogue>
<character>JOE</character>
<dialogue>Any of the tower guards faithful to you?</dialogue>
<character>MASO</character>
<dialogue>The one above us. The other two are faithful to the money.</dialogue>
<character>JOE</character>
<dialogue>All right. Let's do it the dirty way.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON AREA, NEAR STAIRWELL - MOMENTS</stage_direction>
<scene_description>LATER Emil and his guys smoke and bullshit. We see the BODIES of MASO'S GUYS piled near the stairs. We hear a BANGING coming from up top.</scene_description>
<character>JOE</character>
<parenthetical>(calling down)</parenthetical>
<dialogue>It's done.</dialogue>
<character>BASIL CHIGGIS</character>
<dialogue>You hurt?</dialogue>
<character>JOE</character>
<dialogue>No. Gonna need clean clothes though.</dialogue>
<scene_description>CONTINUED: They laugh.</scene_description>
<character>BASIL CHIGGIS</character>
<dialogue>Come down.</dialogue>
<character>JOE</character>
<dialogue>I need help carrying him.</dialogue>
<character>BASIL CHIGGIS</character>
<dialogue>Christ.</dialogue>
<scene_description>They move toward the stairs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLESTOWN PRISON ROOFTOP, BY TRAP DOOR -</stage_direction>
<scene_description>CONTINUOUS Joe lies on the ground near the trapdoor. We see MASO LYING PRONE in the distance. Polaski CLIMBS OUT.</scene_description>
<character>JOE</character>
<dialogue>Hurry, it'll take more of you to drag him. My ribs are busted.</dialogue>
<scene_description>Polaski calls back down.</scene_description>
<character>POLASKI</character>
<dialogue>Two more guys.</dialogue>
<scene_description>Up comes Basil Chiggis, followed by a WEASELY FELLOW.</scene_description>
<character>BASIL CHIGGIS</character>
<dialogue>Where's the body?</dialogue>
<scene_description>When Joe POINTS, GUNFIRE ERUPTS. It is coming from the towers, HIGH POWERED RIFLES tear apart the three men standing. After a beat, Maso WAVES and gets up. Joe rises as well. The light SNAPS OFF.</scene_description>
<character>MASO</character>
<dialogue>Wipe your face. It's a mess.</dialogue>
<scene_description>He lights a cigarette.</scene_description>
<character>MASO</character>
<dialogue>Think I was going to kill you?</dialogue>
<character>JOE</character>
<dialogue>Crossed my mind.</dialogue>
<character>MASO</character>
<dialogue>I'm a low end WOP from Endicott Street. I don't know what fork to use but I never double cross.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MASO</character>
<dialogue>I come right at you just like you came at me.</dialogue>
<scene_description>Joe indicates bodies.</scene_description>
<character>JOE</character>
<dialogue>We double crossed them pretty good.</dialogue>
<character>MASO</character>
<dialogue>They had it coming.</dialogue>
<scene_description>Maso brushes himself off.</scene_description>
<character>MASO</character>
<dialogue>What if I told you I could get you out of here? Make some money on the outside?</dialogue>
<character>JOE</character>
<dialogue>I'd say it depends what I have to do.</dialogue>
<character>MASO</character>
<dialogue>Albert White is making a run at our rum operation in central Florida. I need someone who is committed to putting an end to Mr. White.</dialogue>
<character>JOE</character>
<dialogue>I'd say you found your man.</dialogue>
<character>MASO</character>
<dialogue>Your duty would always have to be to the Pescatore family first and yourself second. Can you abide that?</dialogue>
<character>JOE</character>
<dialogue>If that's what it takes.</dialogue>
<scene_description>Maso extends his hand.</scene_description>
<character>MASO</character>
<dialogue>Okay, then.</dialogue>
<scene_description>Someone calls up from below.</scene_description>
<character>PESCATORE THUG</character>
<dialogue>Mr. Pescatore?</dialogue>
<character>MASO</character>
<dialogue>Coming.</dialogue>
<parenthetical>(to Joe)</parenthetical>
<dialogue>Let's go, Joseph.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Mr. Pescatore, it's Joe. Only my father calls me Joseph.</dialogue>
<scene_description>Maso starts heading down the ladder.</scene_description>
<character>MASO</character>
<dialogue>Funny thing about fathers. You can go out and be king of the United States-- you'll always be in his shadow. And you can't escape it.</dialogue>
<scene_description>Joe following.</scene_description>
<character>JOE</character>
<dialogue>Don't want to.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLESTOWN PRISON JOE'S CELL - DAY</stage_direction>
<scene_description>We come up on Joe, alone in his cell. We can see it is NICELY FURNISHED NOW.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Officially, Albert White's three soldiers were shot on the roof trying to escape.</dialogue>
<scene_description>1. A man is STABBED IN THE YARD. 2 A MAN IS HURLED FROM A TIER</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Maso consolidated his power. Mickey Baer was shanked and a White bookmaker took a suicide throw and his head busted open like a watermelon.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CEDAR GROVE CEMETERY, DORCHESTER - DAY</stage_direction>
<scene_description>A LARGE FUNERAL PROCESSION lays Thomas Coughlin to rest. There are DIGNITARIES in abundance and miles of cops. Blue hats and blue uniforms fill this graveyard along the banks of the Neponset river.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>They buried my father in Dorchester. Two ex-mayors, a governor and hundreds of cops from as far away as Delaware were there.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S CELL CHARLESTOWN PRISON - DAY</stage_direction>
<scene_description>Joe sits in a chair. Maso is opposite him, flanked by two thugs. We see Joe's STUFF IS PACKED.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>It took Maso three months but he managed to buy out my sentence.</dialogue>
<character>MASO</character>
<dialogue>It's hot down there.</dialogue>
<character>JOE</character>
<dialogue>I don't mind hot.</dialogue>
<character>MASO</character>
<dialogue>You ain't never felt hot like this hot. But judges don't come cheap. You have to work that off.</dialogue>
<character>JOE</character>
<dialogue>Why don't we call it even for not killing you?</dialogue>
<scene_description>Maso narrows his eyes.</scene_description>
<character>MASO</character>
<dialogue>Our friend Mr. White is in Miami. He wants the whole state. I want to take it back from him. I want you to get the rum running again and get a piece of the narcotics. Starting in Tampa.</dialogue>
<character>JOE</character>
<dialogue>Lou Orimo runs Tampa.</dialogue>
<character>MASO</character>
<dialogue>He's gonna decide he doesn't need the headache.</dialogue>
<character>JOE</character>
<dialogue>When's he gonna decide that?</dialogue>
<character>MASO</character>
<dialogue>Ten minutes after you get there.</dialogue>
<character>JOE</character>
<dialogue>Look, I need someone I can trust down there.</dialogue>
<character>MASO</character>
<dialogue>Who?</dialogue>
<scene_description>Joe looks at Maso.</scene_description>
<character>MASO</character>
<dialogue>You sure.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>I'll vouch for him.</dialogue>
<scene_description>Maso takes a beat. Considering... okay.</scene_description>
<character>MASO</character>
<dialogue>Where is he?</dialogue>
<character>JOE</character>
<dialogue>Montreal is what I heard.</dialogue>
<scene_description>Maso nods.</scene_description>
<character>MASO</character>
<dialogue>You go down there, make it right, spend the rest of your life living like a king.</dialogue>
<character>JOE</character>
<dialogue>So, if I take over are we equal partners?</dialogue>
<character>MASO</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>But Lou Orimo's an equal partner.</dialogue>
<character>MASO</character>
<dialogue>Look what's gonna happen to him.</dialogue>
<character>JOE</character>
<dialogue>I want thirty percent.</dialogue>
<character>MASO</character>
<dialogue>Twenty.</dialogue>
<character>JOE</character>
<dialogue>Okay. Twenty five.</dialogue>
<character>MASO</character>
<dialogue>You know there's only two ways to fuck this up. Get killed or try to get funny and get killed.</dialogue>
<character>JOE</character>
<dialogue>I'm the most loyal guy you'll ever have. 'Cause even if you make me hate you, I'll always hate him more.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You live with an Irishman in your crew?</dialogue>
<character>MASO</character>
<dialogue>I'm in prison. I've lived with worse.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CEDAR GROVE CEMETARY, AUTUMN - DAY</stage_direction>
<scene_description>The cemetary is now completely empty, in contrast to the multitude of mourners we saw before. Joe stands quietly before a stone we can't read.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>My father was gone. And I was no longer a son.</dialogue>
<scene_description>BLACK TITLE: Part II. Ybor. 1929-1933</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAMPA UNION STATION - DAY</stage_direction>
<scene_description>We can feel the SWELTERING HEAT. People on the platform are covered in sweat. JOE steps off the train. He looks around. He sees an incredibly beautiful woman (GRACIELA) walk past him, she is an exquisite mix of ethnicity-- Latin and Afro-Cuban.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Maybe it was the two years in prison but I was slower than usual and she caught me looking.</dialogue>
<scene_description>She sees him and then looks away.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I wanted to tell her she had nothing to fear from me. I was out of the heartbreak business.</dialogue>
<scene_description>Joe is LIFTED in the AIR, spun around and put down. He knows who it is before he lands.</scene_description>
<character>JOE</character>
<dialogue>Dion.</dialogue>
<scene_description>There stands his old partner, Dion, wearing a lavender shirt and a three-piece suit.</scene_description>
<character>DION</character>
<dialogue>Joseph.</dialogue>
<scene_description>Dion SQUEEZES him again-- so hard Joe fears for his spine.</scene_description>
<character>DION</character>
<parenthetical>(whispered)</parenthetical>
<dialogue>Sorry about your father.</dialogue>
<character>JOE</character>
<dialogue>Sorry about Paulo.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>Thank you.</dialogue>
<scene_description>Dion grabs Joe's bags and they head toward the parking lot.</scene_description>
<character>DION</character>
<dialogue>When Lefty Downer found me in Montreal and told me the Pescatores wanted me to come work for them I thought it was a straight bamboozle.</dialogue>
<scene_description>Joe smiles.</scene_description>
<character>DION</character>
<dialogue>Then I thought if anyone could charm the devil, it was my old partner.</dialogue>
<parenthetical>(slaps Joe's shoulder)</parenthetical>
<dialogue>Good to have you back.</dialogue>
<character>JOE</character>
<dialogue>Good to be out.</dialogue>
<character>DION</character>
<dialogue>Was it what they say?</dialogue>
<character>JOE</character>
<dialogue>It's like the war. I don't think about it and I'm not too big on going back.</dialogue>
<scene_description>They get to a MARMON 34. Dion opens the door for Joe.</scene_description>
<character>JOE</character>
<dialogue>Get the fuck out of here...</dialogue>
<character>DION</character>
<dialogue>I work for you now. Boss Joe Coughlin.</dialogue>
<scene_description>Joe sits in. Dion gets in the driver's side.</scene_description>
<character>DION</character>
<dialogue>Reach under your seat and you'll find a friend.</dialogue>
<scene_description>Joe REACHES DOWN AND DISCOVERS A GUN UNDER THE SEAT-- a Savage .32 Automatic.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YBOR CITY STREETS - DAY</stage_direction>
<scene_description>Joe and Dion cruise Ybor City. Florida is striking for how empty it is. CONTINUED: Streets that will one day be filled with strip malls and choked with traffic now look almost like uninhabited jungle by comparison, though the white sky is smeared by factory smoke.</scene_description>
<character>DION</character>
<dialogue>Cigars built this place.</dialogue>
<scene_description>He points to brick buildings with smokestacks.</scene_description>
<character>DION</character>
<dialogue>What you're smelling now is probably bolos or empanadas. Rest of the city leaves us alone. Far as they're concerned we're a bunch of dirty spics and wops and we can fuck off and do what we need to do if we leave them alone.</dialogue>
<scene_description>They turn on to 7th avenue, a main street. Clapboard sidewalks and second stories with wrought iron.</scene_description>
<character>DION</character>
<dialogue>You'd think we'd all get along but it don't work out that way. The Italians and the Cubans keep to themselves. But the black Cubans hate the white Cubans and the white Cubans look at the nigger Cubans like they're niggers and the both of 'em high hat everyone else. All Cubans hate the Spaniards and the Spaniards think all Cubans are uppity coons who forget their place since America freed them in '98. The Cubans and the Spanish look down on the Puerto Ricans and everyone shits on the Dominicans. The Italians only respect you if you came off the boat and the white people think anyone gives a shit what they think.</dialogue>
<scene_description>The pull up to a PORT.</scene_description>
<character>DION</character>
<dialogue>Port of Tampa.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PORT OF TAMPA - MOMENTS LATER</stage_direction>
<scene_description>Dion and Joe walk toward some nondescript buildings. They reach a door and Dion puts his hand on a beam. He pushes on it and it gives way. Dion knocks. A voice from inside replies. CONTINUED:</scene_description>
<character>VOICE</character>
<dialogue>Who is it?</dialogue>
<character>DION</character>
<dialogue>Fireplace.</dialogue>
<scene_description>The door opens to reveal a SKINNY COWBOY WITH A SIX GUN. He waves at them as they move past.</scene_description>
</scene>
<scene>
<stage_direction>INT. NARROW SPEAKEASY CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Joe walks behind Dion down a corridor so narrow, their shoulders touch the walls. The ceiling drips and the floor is little more than mud. He opens the locks and throws back the bars.</scene_description>
</scene>
<scene>
<stage_direction>INT. DISTILLERY - CONTINUOUS</stage_direction>
<scene_description>Joe and Dion step in, looking around. It's empty of people but full of fermenters, extractors, Bunsen burners, beakers, vats and skimming utensils.</scene_description>
<character>JOE</character>
<dialogue>Who owns this?</dialogue>
<character>DION</character>
<dialogue>Ormino did.</dialogue>
<character>JOE</character>
<dialogue>Did?</dialogue>
<character>DION</character>
<dialogue>You didn't read the paper? Ormino sprung a few leaks the other day.</dialogue>
<scene_description>Dion walks by some THERMOMETERS.</scene_description>
<character>DION</character>
<dialogue>Best money can buy. Gotta keep it at 186 Fahrenheit. Like to keep people from dying when they drink your hooch.</dialogue>
<character>JOE</character>
<dialogue>We made a lot of toilet booze in prison. And I don't see the two things that are essential for making rum.</dialogue>
<character>DION</character>
<dialogue>Which are?</dialogue>
<character>JOE</character>
<dialogue>People and molasses.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>Yeah, we got a problem.</dialogue>
</scene>
<scene>
<stage_direction>INT. RESTAURANT KITCHEN - MOMENTS LATER</stage_direction>
<scene_description>Dion and Joe come through a door and enter a kitchen bustling with activity.</scene_description>
<character>DION</character>
<dialogue>Our distributor is coming up empty.</dialogue>
<character>JOE</character>
<dialogue>I can see that. Why?</dialogue>
<character>DION</character>
<dialogue>Boats have been sinking.</dialogue>
<character>JOE</character>
<dialogue>Who's the distributor again?</dialogue>
<character>DION</character>
<dialogue>Gary L Smith.</dialogue>
<scene_description>They come into the dining room of the restaurant.</scene_description>
</scene>
<scene>
<stage_direction>INT. RESTAURANT DINING ROOM - CONTINUOUS</stage_direction>
<scene_description>Joe and Dion walk in.</scene_description>
<character>JOE</character>
<dialogue>Gary Ellsmith?</dialogue>
<character>DION</character>
<dialogue>No. L Smith. Its a middle initial. He wants people to use it. It's a southern thing.</dialogue>
<character>JOE</character>
<dialogue>Not just an asshole thing?</dialogue>
<character>DION</character>
<dialogue>Both.</dialogue>
<character>JOE</character>
<dialogue>Where does Gary L. live?</dialogue>
</scene>
<scene>
<stage_direction>INT. GARY L. SMITH'S OFFICE - LATER</stage_direction>
<scene_description>Joe and Dion are entering Gary's office. MISS ROE, the secretary closes the door. The room has plantation shutters and is cast in a bourbon glow.</scene_description>
<character>GARY L. SMITH</character>
<parenthetical>(to secretary)</parenthetical>
<dialogue>Thank you, Miss Roe.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GARY L. SMITH</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>So, you're Maso's new find?</dialogue>
<scene_description>Gary dresses the southern gentleman; white suit, white shirt, black tie. He pushes a HUMIDOR across to them.</scene_description>
<character>GARY L. SMITH</character>
<dialogue>Help yourselves.</dialogue>
<scene_description>Joe waves them off but Dion takes FOUR CIGARS, putting three in his pocket and biting the tip off the fourth.</scene_description>
<character>GARY L. SMITH</character>
<dialogue>What brings you by?</dialogue>
<character>JOE</character>
<dialogue>I've been asked to look over Lou Ormino's affairs for a little bit.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Well, I hope that's not permanent. No offense.</dialogue>
<character>JOE</character>
<dialogue>None taken. Why is that?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Folks around here like dealing with who they know. And no one knows you.</dialogue>
<character>JOE</character>
<dialogue>I see. Who would you suggest?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>I have no ambitions for it but to keep continuity I would consider doing it for a term.</dialogue>
<character>JOE</character>
<dialogue>That's not a bad idea.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Only if you think I could be right for the job.</dialogue>
<character>JOE</character>
<dialogue>We need to know why the last three supply runs were hit.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Bad luck, best I can figure.</dialogue>
<character>JOE</character>
<dialogue>Why have the boat runs been so erratic.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GARY L. SMITH</character>
<dialogue>Oh that's the Cubans. You've got various suppliers, they might be dealing with a sugar supplier who had himself a strike. Guy who drives the boat gets sick...</dialogue>
<character>JOE</character>
<dialogue>Then you go to another supplier.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Not that simple.</dialogue>
<character>JOE</character>
<dialogue>Why?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>Because they're all paying tribute to the Suarez family.</dialogue>
<character>JOE</character>
<dialogue>The Cubans who own the Tropicale on seventh?</dialogue>
<scene_description>Gary nods.</scene_description>
<character>JOE</character>
<dialogue>We're gonna need to meet with them.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>I'm afraid you don't understand how things are done here. I deal with Mr. Suarez and his sister.</dialogue>
<scene_description>Joe reaches into his pocket, pulls out his cigarettes, his father's watch and his .32. Gary picks up the phone, dials and says a few words in Spanish.</scene_description>
<character>GARY L. SMITH</character>
<dialogue>You have a table for nine o'clock.</dialogue>
<character>JOE</character>
<dialogue>Thank you. Now, Gary, are you working directly for Albert White or is there an intermediary we should know about?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>What?</dialogue>
<character>JOE</character>
<dialogue>We marked your bottles.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>You what?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>If you distilled it, we marked it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>All those supply runs that didn't make it? Just about every one of them ended up in Albert White's speaks. Can you explain that?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>I don't understand.</dialogue>
<character>JOE</character>
<dialogue>I had Dion drive me by your place on the way over here. You got a nice house.</dialogue>
<scene_description>Joe scratches his head with the .32.</scene_description>
<character>JOE</character>
<dialogue>You're gonna have to pack it up. Send the stuff wherever you're going.</dialogue>
<scene_description>Smith tries to maintain the illusion that he has some control. He laughs a little laugh.</scene_description>
<character>GARY L. SMITH</character>
<dialogue>Where am I going?</dialogue>
<character>JOE</character>
<dialogue>You fucking her?</dialogue>
<character>GARY L. SMITH</character>
<dialogue>What? Who?</dialogue>
<character>JOE</character>
<parenthetical>(points to door)</parenthetical>
<dialogue>Miss Roe.</dialogue>
<character>GARY L. SMITH</character>
<dialogue>What??</dialogue>
<character>JOE</character>
<dialogue>He's fucking her.</dialogue>
<character>DION</character>
<dialogue>Without question.</dialogue>
<character>JOE</character>
<dialogue>I bet that's nice.</dialogue>
<parenthetical>(reaches into pocket)</parenthetical>
<dialogue>Here are two train tickets. I don't care who you take, but you're gonna be on the eleven o'clock Seabord tonight, Gary L.</dialogue>
<scene_description>Gary laughed a short laugh. CONTINUED:</scene_description>
<character>GARY L. SMITH</character>
<dialogue>I don't think you--</dialogue>
<scene_description>Joe SLAPS HIM VERY HARD ACROSS THE FACE so hard he leaves his chair and bangs his head on the radiator. They wait for him to get off the floor. He rights his chair. All the blood is gone from his face.</scene_description>
<character>JOE</character>
<dialogue>You either put yourself on that train, Gary L -- or we'll put you under it.</dialogue>
<scene_description>They get up and go.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARY L. SMITH HOME - CONTINUOUS</stage_direction>
<scene_description>As they make their way to the front door, pulling with them, under his breath Dion mutters:</scene_description>
<character>DION</character>
<dialogue>If he doesn't get on the train, you prepared to kill him?</dialogue>
<scene_description>This irks Joe.</scene_description>
<character>JOE</character>
<dialogue>No. Men who work for us will. What am I, a fucking field hand?</dialogue>
<scene_description>A beat of silence.</scene_description>
<character>DION</character>
<dialogue>When did you mark the bottles?</dialogue>
<character>JOE</character>
<dialogue>I haven't gotten around to it.</dialogue>
<scene_description>Smile.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAMPA STREETS - LATER</stage_direction>
<scene_description>Joe rides while Dion drives. They are baking in a CONVERTIBLE. A sign on a store reads, "NO DOGS OR LATINS." Another reads, "NO DAGOS."</scene_description>
<character>JOE</character>
<dialogue>You must be popular.</dialogue>
<scene_description>They pass a SKINNY JUNKIE.</scene_description>
<character>DION</character>
<dialogue>You need any heroin? Morphine?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Gave 'em up for Lent.</dialogue>
<character>DION</character>
<dialogue>Well, me and you are about the only ones.. Tampa, Florida-- illegal narcotics capital of the South.</dialogue>
<character>JOE</character>
<dialogue>How's the Sheriff feel about that?</dialogue>
<character>DION</character>
<dialogue>You can ask him.</dialogue>
<parenthetical>(turns)</parenthetical>
<dialogue>He wants you to come to him so he won't have to come to you.</dialogue>
<character>JOE</character>
<dialogue>What's he like?</dialogue>
<character>DION</character>
<dialogue>Well, he's a copper, so he's an asshole. Beyond that he's okay.</dialogue>
<scene_description>The car pulls to a stop.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF FIGGIS OFFICE, TAMPA POLICE HEADQUARTERS -</stage_direction>
<scene_description>CONTINUOUS Close on: PHOTOGRAPHS A middle aged man, a wife, a son and a daughter. They have beautiful, fresh scrubbed faces. Joe is looking at the photos while Dion stands by. We see we are in the office of the Sheriff. Sheriff IRVING FIGGIS (50s) enters. He keeps his grey hair trimmed to his scalp.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>Please sit down.</dialogue>
<scene_description>Joe and Dion sit.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>I won't insult you by asking the nature of your business. So you won't have to insult me by lying. Fair?</dialogue>
<scene_description>Joe nods.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>True you're a police captain's son?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Yes, sir.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Serve overseas?</dialogue>
<character>JOE</character>
<dialogue>France.</dialogue>
<character>CHIEF FIGGIS</character>
<parenthetical>(a salute)</parenthetical>
<dialogue>Tell it to the Marines.</dialogue>
<scene_description>This was a popular propaganda slogan. Joe nods.</scene_description>
<character>JOE</character>
<dialogue>Yeah. They told it to us.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>I fought in Cuba. How I come to settle here. I was a soldier and then a US Marshall. I've killed seven men in my lifetime.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I killed them because it was my job. Truth be told, their faces haunt me most nights. But if I had to kill an eighth tomorrow to protect this city I would do so with a steady arm and clear eye.</dialogue>
<scene_description>Chief Figgis rises and goes to a map on the wall.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>If you keep your business north of second, south of twenty seventh and east of Nebraska, you and I will have little in the way of discord.</dialogue>
<character>JOE</character>
<dialogue>Sounds good.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>I have no illusions. I know we live in a fallen world. But just because I breathe corrupt air and rub elbows with corrupt men-- never make the mistake of thinking I am corruptible.</dialogue>
<character>JOE</character>
<dialogue>I won't make that mistake.</dialogue>
<scene_description>Just then the OFFICE DOOR OPENS. Joe and Dion RISE as LORETTA FIGGIS, the Chief's (21) year old daughter walks in. She is as stunning as she is innocent. CONTINUED:</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Oh father I'm sorry. I thought you were alone.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>That's all right, Loretta. These gentlemen were leaving. Your manners?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Yes, father. I'm sorry.</dialogue>
<scene_description>She does a little curtsy to Joe and Dion.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Miss Loretta Figgis, gentlemen.</dialogue>
<character>JOE</character>
<dialogue>Joe Coughlin, miss. Pleasure to meet you.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Loretta is taking the train on a long journey today.</dialogue>
<character>DION</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>That's going around...</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>California.</dialogue>
<character>JOE</character>
<dialogue>Is that right?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Going to be a star in Hollywood.</dialogue>
<scene_description>Though he isn't one to approve of 'Hollywood' he can't hide how proud he is of his daughter.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Oh, Daddy, It's only a screen test.</dialogue>
<parenthetical>(false modesty)</parenthetical>
<dialogue>We had a screen agent who came and picked a few girls.</dialogue>
<character>JOE</character>
<dialogue>That's swell. My brother's out there.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Your brother's in Hollywood?</dialogue>
<character>JOE</character>
<dialogue>Last I heard. Falling off horses.</dialogue>
<scene_description>Joe smiles at Loretta and she smiles back, CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. VEDADO TROPICALE - NIGHT</stage_direction>
<scene_description>This restaurant/nightclub is alive inside and out. It is a warm evening and the streets are full.</scene_description>
<character>ESTEBAN (PRE-LAP)</character>
<dialogue>This way.</dialogue>
</scene>
<scene>
<stage_direction>INT. VEDADO TROPICALE - CONTINUOUS</stage_direction>
<scene_description>ESTEBAN SUAREZ, slim and unblemished, tea-colored skin wearing a dinner jacket and black silk bow tie. His eyes are pale yellow and his hair is slicked back. This is a back area with a small table surrounded by four high wingback armchairs. On the table is a BOTTLE OF RUM and several glasses.</scene_description>
<character>ESTEBAN</character>
<dialogue>Please, sit down.</dialogue>
<scene_description>He passes a glass of rum to Joe and Dion.</scene_description>
<character>ESTEBAN</character>
<dialogue>I never agreed with the Spanish that the lighter rums were superior. Of course, we Cubans went along because of our obsession that lighter is better in all things.</dialogue>
<scene_description>GRACIELA (the woman from the train depot) enters. Joe and Dion SHOOT up out of their chairs.</scene_description>
<character>ESTEBAN</character>
<dialogue>Dion and Joseph, this is my sister Graciel--</dialogue>
<character>GRACIELA</character>
<dialogue>We've met.</dialogue>
<character>JOE</character>
<dialogue>Have we? I'm not sure--</dialogue>
<character>GRACIELA</character>
<dialogue>Yes you are. Sit down.</dialogue>
<scene_description>Joe and Dion share a furtive look and sit back down. Graciela sits.</scene_description>
<character>JOE</character>
<dialogue>This rum is incredible.</dialogue>
<scene_description>Dion takes a sip.</scene_description>
<character>DION</character>
<dialogue>Be nice if we could sell it up north.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GRACIELA</character>
<dialogue>When you're country treats you like adults.</dialogue>
<character>JOE</character>
<dialogue>No hurry. We'd be out of a job.</dialogue>
<scene_description>Small laughter. Joe notices the walls are COVERED IN BLACK AND WHITE PHOTOGRAPHS. Graciela follows his gaze.</scene_description>
<character>GRACIELA</character>
<dialogue>My brother takes them.</dialogue>
<character>ESTEBAN</character>
<dialogue>The working people of Miami. It's a hobby.</dialogue>
<character>JOE</character>
<dialogue>They're good.</dialogue>
<character>ESTEBAN</character>
<dialogue>Maybe someday I'll photograph you, Mr. Coughlin.</dialogue>
<character>JOE</character>
<dialogue>Afraid I'm with the Indians on that.</dialogue>
<scene_description>Esteban laughs.</scene_description>
<character>ESTEBAN</character>
<dialogue>Speaking of captured souls, my friends tell me that mister Gary L. Smith was seen boarding the Seabord Limited with his wife in one Pullman and his puta maestra in the other.</dialogue>
<character>JOE</character>
<dialogue>Sometimes a change of scenery gives a man a new lease on life.</dialogue>
<character>GRACIELA</character>
<dialogue>And you, is that why you came to Ybor? For a new life?</dialogue>
<character>JOE</character>
<dialogue>I've come to distill and distribute the demon rum. But I'm going to have a hard time doing that with an erratic import schedule.</dialogue>
<character>GRACIELA</character>
<dialogue>We don't control the tides.</dialogue>
<character>JOE</character>
<dialogue>The tides haven't slowed the boats to Miami.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GRACIELA</character>
<dialogue>We know nothing of the boats to Miami.</dialogue>
<character>JOE</character>
<dialogue>No. Nestor Famosa does. And he assures me the seas this summer have been calm.</dialogue>
<character>ESTEBAN</character>
<dialogue>And you use Senor Famosa's name so I worry you could overtake my supply routes.</dialogue>
<character>JOE</character>
<dialogue>I want to deal with you directly. For that you can raise the price.</dialogue>
<character>GRACIELA</character>
<dialogue>What would we receive?</dialogue>
<character>JOE</character>
<dialogue>I have Lou Ormino's cops and judges-- most of whom won't talk to you because you're Cuban. What you receive is access to them.</dialogue>
<character>ESTEBAN</character>
<dialogue>You would want exclusive access to our molasses?</dialogue>
<character>JOE</character>
<dialogue>No. But you can't sell to the White operation.</dialogue>
<character>ESTEBAN</character>
<dialogue>Albert White is a good customer.</dialogue>
<character>JOE</character>
<dialogue>Can he offer you what we're offering?</dialogue>
<character>ESTEBAN</character>
<dialogue>It's possible this could bring bloodshed.</dialogue>
<character>JOE</character>
<dialogue>It will definitely bring bloodshed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JOE'S HOTEL - LATER</stage_direction>
<scene_description>A bottle SMASHES into the porch. Reveal it was thrown by Dion, who walks next to Joe. Joe still has some rum left in his and he swings up onto the porch and sits in a chair. CONTINUED: Joe hears something moving under the netting just off the porch.</scene_description>
<character>DION</character>
<dialogue>Reptiles.</dialogue>
<scene_description>We see ALLIGATORS moving in the dark. Joe is transfixed.</scene_description>
<character>JOE</character>
<dialogue>What the fuck are we doing in a place with alligators?</dialogue>
<character>DION</character>
<dialogue>They're everywhere. Waiting for some fucking dumb Yankee to take a dip.</dialogue>
<scene_description>There is a beat. Joe senses Dion STARING at him. He looks back. Neither of them says a word but Joe feels an entire conversation pass between them.</scene_description>
<character>DION</character>
<dialogue>How'd you know it was me?</dialogue>
<character>JOE</character>
<dialogue>Who else could it be?</dialogue>
<character>DION</character>
<dialogue>Could've been my brother.</dialogue>
<character>JOE</character>
<dialogue>Rest his soul but your brother couldn't double cross a street.</dialogue>
<scene_description>Dion looks out. The rain has stopped falling and the dragonflies have returned.</scene_description>
<character>DION</character>
<dialogue>You get me down here from Montreal.... For what?</dialogue>
<character>JOE</character>
<dialogue>Why'd you do it?</dialogue>
<scene_description>A moment passes, something aching in Dion.</scene_description>
<character>DION</character>
<dialogue>She just had you so fucked up. You were gonna get us into something we couldn't get out of and my brother was gonna be the one to die. Because he was slow.</dialogue>
<scene_description>Tears roll down his face in beads. CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>It occur to you Albert might kill me?</dialogue>
<character>DION</character>
<dialogue>I was gonna tell you after Pittsfield. Make sure you had time to split town.</dialogue>
<character>JOE</character>
<dialogue>You ever think he might kill her?</dialogue>
<character>DION</character>
<dialogue>He was more sprung than you were. He just would have put a lock on her.</dialogue>
<character>JOE</character>
<dialogue>Still work for him?</dialogue>
<character>DION</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Why would you tell the truth?</dialogue>
<scene_description>Dion removes a switchblade from his boot. He puts in on the table and follows it with TWO .38 LONGBARRELS and a SNUB NOSE .32 Then adds a LEAD SAP and BRASS KNUCKLES.</scene_description>
<character>DION</character>
<dialogue>After I'm gone, ask around about a guy named Brucie Blum. Used to work for Albert. Now he shuffles around with a cup, talks funny, pisses himself. Last thing he did-- comes up to me and says, "Albert needs to talk to you or else, see?" I chose 'or else' and beat his fucking head in. So no, I don't work for Albert. Just ask Brucie Blum.</dialogue>
<scene_description>Joe sips his rum.</scene_description>
<character>DION</character>
<dialogue>You gonna do it yourself or get someone else?</dialogue>
<character>JOE</character>
<dialogue>I'll kill you myself.</dialogue>
<character>DION</character>
<dialogue>Okay.</dialogue>
<character>JOE</character>
<dialogue>If I do it.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>I appreciate if you make your mind up about it.</dialogue>
<character>JOE</character>
<dialogue>Don't give a fuck what you'd appreciate.</dialogue>
<scene_description>Now Dion is silent.</scene_description>
<character>JOE</character>
<dialogue>Emma's dead. My father's dead. Your brother's dead. You're the only person I know anymore.</dialogue>
<character>DION</character>
<dialogue>You still miss her?</dialogue>
<character>JOE</character>
<dialogue>Every day.</dialogue>
<character>DION</character>
<dialogue>Jesus. Once she came into the picture you were gone. I'll never understand it. She wasn't no different than a million other dames.</dialogue>
<character>JOE</character>
<dialogue>She was.</dialogue>
<character>DION</character>
<dialogue>How?</dialogue>
<character>JOE</character>
<dialogue>Before I met her there was a hole right in my chest--</dialogue>
<parenthetical>(touches his chest)</parenthetical>
<dialogue>She filled it.</dialogue>
<character>DION</character>
<dialogue>From where I was sitting, she was the hole.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S HOTEL ROOM - LATER</stage_direction>
<scene_description>Joe enters to see several white SLIPS OF PAPER on the floor. He picks them up and looks at them. Moves to the phone. Picks it up.</scene_description>
<character>JOE</character>
<dialogue>Four one oh two oh four.</dialogue>
<scene_description>He waits.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASO'S HOUSE, NAHANT, MASSACHUSETTS - SAME</stage_direction>
<scene_description>Maso picks up the phone.</scene_description>
<character>JOE</character>
<dialogue>It's me.</dialogue>
<scene_description>Intercut as necessary between the two.</scene_description>
<character>MASO</character>
<dialogue>You get your answer?</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>MASO</character>
<dialogue>And?</dialogue>
<character>JOE</character>
<dialogue>It wasn't Dion who told Albert. It was his brother.</dialogue>
<scene_description>Maso takes a beat. The silence seems to suggest consent.</scene_description>
<character>MASO</character>
<dialogue>I keep hearing how much powder is coming through there. Are we getting our piece?</dialogue>
<character>JOE</character>
<dialogue>Don't worry. We'll get our piece.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER - DAY</stage_direction>
<scene_description>Joe and Graciela, Esteban and Dion take a ride on a BOAT. They travel down an exquisite marsh that becomes a beach, and then a marsh again. Wild animals are in abundance; herons, cranes, alligators, flamingoes and dolphins. It's extraordinary, wild land.</scene_description>
<character>JOE</character>
<parenthetical>(to Dion)</parenthetical>
<dialogue>Maybe we should buy some land down here?</dialogue>
<character>DION</character>
<dialogue>Who the fuck would buy land in Florida?</dialogue>
<scene_description>The boat slows as they approach a waterside speakeasy/dance club/restaurant Cuban dance hall.</scene_description>
<character>ESTEBAN</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>This, I think you will enjoy.</dialogue>
<scene_description>TIME CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CUBAN DANCE HALL - LATER</stage_direction>
<scene_description>Men and women are DANCING. The music is loud, night is falling outside. Esteban is an incredible dancer, he dances on the floor. Dion watches from a corner, unmoving and overdressed. Joe watches Graciela. She dances and smiles but there is a seriousness to her that he is struck by. She takes a break, walks out onto the dock. Joe gets up and follows her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCK OUTSIDE CLUB - CONTINUOUS</stage_direction>
<scene_description>Graciela walks out to get some air. Joe behind her.</scene_description>
<character>GRACIELA</character>
<dialogue>If you corner the rum market. You will be a king.</dialogue>
<character>JOE</character>
<dialogue>Still gotta deal with Albert White.</dialogue>
<character>GRACIELA</character>
<dialogue>Is this what you've always wanted?</dialogue>
<character>JOE</character>
<dialogue>No. But it's what I want now.</dialogue>
<character>GRACIELA</character>
<dialogue>Well, then, congratulations.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But how will you hold the power when you have it.</dialogue>
<character>JOE</character>
<dialogue>Think I'm not strong enough?</dialogue>
<character>GRACIELA</character>
<dialogue>I don't know if you're cruel enough.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And if you are, then that will be sad.</dialogue>
<character>JOE</character>
<dialogue>Powerful men don't have to be cruel.</dialogue>
<character>GRACIELA</character>
<dialogue>But they usually are.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Who is she?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Who?</dialogue>
<character>GRACIELA</character>
<dialogue>The woman you love.</dialogue>
<character>JOE</character>
<dialogue>She's gone.</dialogue>
<character>GRACIELA</character>
<dialogue>She left you?</dialogue>
<character>JOE</character>
<dialogue>She died.</dialogue>
<scene_description>She waits a beat. Maybe he is putting her on? No.</scene_description>
<character>GRACIELA</character>
<dialogue>I'm sorry.</dialogue>
<character>JOE</character>
<dialogue>I'm told liquor is only your side business.</dialogue>
<character>GRACIELA</character>
<dialogue>Is that so?</dialogue>
<character>JOE</character>
<dialogue>Some people say you give it all away. Some in Cuba...</dialogue>
<character>GRACIELA</character>
<dialogue>Do you think that's foolish?</dialogue>
<character>JOE</character>
<dialogue>No. It's just not my cause.</dialogue>
<character>GRACIELA</character>
<dialogue>What is your cause?</dialogue>
<character>JOE</character>
<dialogue>Rum. And that no man should rule another's life.</dialogue>
<character>GRACIELA</character>
<dialogue>You do not want to be a good person?</dialogue>
<character>JOE</character>
<dialogue>I've seen good in bad people and bad in good and seen 'em both die in the mud.</dialogue>
<character>GRACIELA</character>
<dialogue>Do you think there is such a thing as a noble man?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>I got nothing against noble people. But they rarely live past forty.</dialogue>
<character>GRACIELA</character>
<dialogue>Neither do gangsters.</dialogue>
<character>JOE</character>
<dialogue>Well then I've got a few more years. Plus, I'm not a gangster. I'm an outlaw.</dialogue>
<character>GRACIELA</character>
<dialogue>Do you know what my favorite poem is?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>"We can make our lives sublime and in departing, leave footprints on the sands of time."</dialogue>
<character>JOE</character>
<dialogue>You write that?</dialogue>
<character>GRACIELA</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>But you want to be noble?</dialogue>
<character>GRACIELA</character>
<dialogue>My nobility is that I love my country. Simple.</dialogue>
<character>JOE</character>
<dialogue>I love my country too, but...</dialogue>
<character>GRACIELA</character>
<dialogue>Yes. But your country is something you see out your window. My country is something inside of me. And I love it like you love that dead girl.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLUB - CONTINUOUS</stage_direction>
<scene_description>Dion watches Esteban dance as Joe and Graciela return.</scene_description>
<character>DION</character>
<dialogue>I never seen anyone move like that.</dialogue>
<character>GRACIELA</character>
<dialogue>He was a professional dancer in Havana. Very good.</dialogue>
<scene_description>Dion throws Joe a furtive look. CONTINUED:</scene_description>
<character>DION</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>I knew it.</dialogue>
<scene_description>She pulls Joe's hands, urging him toward the dance floor.</scene_description>
<character>GRACIELA</character>
<dialogue>Tonight, everybody dances.</dialogue>
<scene_description>Joe smiles and RELENTS. TIME CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CLUB - LATER</stage_direction>
<scene_description>Dion is dancing with TWO WOMEN simultaneously, swinging them over his broad back and under his stubby legs-- not without dexterity. Esteban, covered in sweat, dances with elegance. Joe and Graciela collapse into a booth. After a beat.</scene_description>
<character>GRACIELA</character>
<dialogue>We will never be lovers.</dialogue>
<character>JOE</character>
<dialogue>Why's that?</dialogue>
<character>GRACIELA</character>
<dialogue>We love other people.</dialogue>
<character>JOE</character>
<dialogue>Well, mine's dead.</dialogue>
<character>GRACIELA</character>
<dialogue>Mine may as well be.</dialogue>
<character>JOE</character>
<dialogue>Oh.</dialogue>
<character>GRACIELA</character>
<dialogue>He lives in Cuba. He is not a noble man.</dialogue>
<character>JOE</character>
<dialogue>Where does that leave us?</dialogue>
<character>GRACIELA</character>
<dialogue>We both love ghosts.</dialogue>
<character>JOE</character>
<dialogue>Yes.</dialogue>
<character>GRACIELA</character>
<dialogue>Which makes us ghosts.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>You're drunk.</dialogue>
<scene_description>She laughs and points across the table.</scene_description>
<character>GRACIELA</character>
<dialogue>You're drunk.</dialogue>
<character>JOE</character>
<dialogue>No argument.</dialogue>
<character>GRACIELA</character>
<dialogue>We will not be lovers.</dialogue>
<character>JOE</character>
<dialogue>You said that.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GRACIELA'S HOUSE - LATER</stage_direction>
<scene_description>Joe and Graciela come crashing into frame, kissing, pulling at one another's clothes. When he moves inside her, she bites down on his shoulder. Love like a car crash. DISSOLVE</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRACIELA'S HOUSE - SUNRISE</stage_direction>
<scene_description>Joe sits in a chair looking out at the sunrise. Graciela sleeps across his body.</scene_description>
<character>GRACIELA</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>It will be an arrangement.</dialogue>
<character>JOE</character>
<dialogue>An arrangement?</dialogue>
<character>GRACIELA</character>
<dialogue>We will fill this need in each other until such time...</dialogue>
<character>JOE</character>
<dialogue>Such time? That's very good. Such time as what?</dialogue>
<character>GRACIELA</character>
<dialogue>As I return to my husband in Cuba.</dialogue>
<scene_description>No one says anything for a moment or two.</scene_description>
<character>JOE</character>
<dialogue>Okay. You return to the husband. What do I get?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GRACIELA</character>
<dialogue>You get to be the King of Tampa.</dialogue>
<character>JOE</character>
<dialogue>That's like the world's tallest midget.</dialogue>
<character>GRACIELA</character>
<dialogue>The prince of Tampa.</dialogue>
<character>JOE</character>
<dialogue>That's worse.</dialogue>
<character>GRACIELA</character>
<dialogue>You can be my outlaw prince.</dialogue>
<character>JOE</character>
<dialogue>That's good.</dialogue>
<scene_description>We start a slow push on them and after a moment we hear Joe's V.O.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>She never mentioned a husband again. For a year I lived better than I ever had. We cornered the rum market and lived like kings. Banks collapsed, jobs dried up but vice, it seemed, was depression proof.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROADS - DAY</stage_direction>
<scene_description>Trucks STREAM down the road, full of BOOZE.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The Suarez Coughlin partnership created a rare stability.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE, DUSTY - DAY</stage_direction>
<scene_description>A group of depression era, Dorthea Lange type, MEN mill on the side of the road. A GANGSTER'S CAR pulls up. The men gather around the passenger window. We see envelopes being passed out.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We paid every dixie gang on the road from Tampa to Miami. They paid off the local laws and arrests dropped by seventy percent.</dialogue>
<scene_description>The GANGSTER CAR pulls away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA BUSH - DAY</stage_direction>
<scene_description>Joe, Dion and PORFIRIO DIAZ stand around. Porfirio is gesturing with energy. Speaking Spanish.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We made so much money, guys started getting carried away.</dialogue>
<character>DION</character>
<dialogue>He wants to get a plane.</dialogue>
<character>JOE</character>
<dialogue>He wants to buy a plane?</dialogue>
<character>DION</character>
<dialogue>To spot the Coast Guard.</dialogue>
<scene_description>Most gesturing and talking from Porfirio.</scene_description>
<character>DION</character>
<dialogue>He thinks we can put a machine gun in the plane.</dialogue>
<character>JOE</character>
<dialogue>Is that what he thinks?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Ask him if we should get a tank.</dialogue>
<parenthetical>(to Porfirio)</parenthetical>
<dialogue>Go home.</dialogue>
<character>DION</character>
<parenthetical>(to Porfirio in Spanish)</parenthetical>
<dialogue>He says maybe.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RITZ HOTEL - AERIAL</stage_direction>
<scene_description>As the sun sets on east Florida, we see a half finished hotel, alone on a pristine beach.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Maso sent down his son, Digger, to take a look at the casino option I was working on. Digger was one of the dumber sacks of shit but he was the boss' kid so everyone pretended he knew what the fuck he was talking about.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RITZ HOTEL - SUNSET</stage_direction>
<scene_description>Joe and Dion walk towards a bluff that overlooks the casino. DIGGER PESCATORE, large and dumb, stands with them as well as FOUR BODYGUARDS. CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>The Volstead Act won't last forever. When it's over, what do you do? Gambling. We use the connections we put together to get it legalized and we're the only ones in place to run it.</dialogue>
<character>DIGGER</character>
<dialogue>This is it?</dialogue>
<character>JOE</character>
<dialogue>That's it. Ritz Longboat Key, I sat down with the owners in Sarasota.</dialogue>
<character>DIGGER</character>
<dialogue>Why do they let us in?</dialogue>
<character>JOE</character>
<dialogue>Because they can't get gambling legal and they can't run a casino. They own the property, we run the casino. Fifty fifty chop on profits.</dialogue>
<character>DIGGER</character>
<dialogue>Do we have a magic stick for changing laws?</dialogue>
<parenthetical>(grin)</parenthetical>
<dialogue>I hear you got Bingo legal.</dialogue>
<character>JOE</character>
<dialogue>It's a prerequisite. You can't get gambling legalized without--</dialogue>
<character>DIGGER</character>
<dialogue>Good. Your grandmother can come down and play in the church.</dialogue>
<scene_description>A few subtle looks exchanged acknowledging what an idiot Digger is.</scene_description>
<character>JOE</character>
<dialogue>I got bagmen buying inspectors in Tallahassee and Sarasota. We got men going after Senators and IRS agents who gamble. We get gambling legal we're rich and legit for the long fucking haul.</dialogue>
<scene_description>Digger MEAN MUGS Joe, then breaks into a smile.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We were lying to Maso about the drugs but the casino thing was square.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Men were desperate for jobs all over the US and we had a six million dollar a year business. So what Maso thought didn't bother me. What did bother me is that we hadn't heard a thing from Albert.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPEAKEASY - NIGHT</stage_direction>
<scene_description>The place is half full, mostly African-Americans of Latin descent. There is a small window on the door to the outside. It catches Joe's attention as it starts to GLOW RED. Joe and Dion head outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPEAKEASY - NIGHT</stage_direction>
<scene_description>Joe walks out to see a CROSS BURNING and several KU KLUX KLAN riders in white robes, riding horses and adorned with red and white emblems. They all hold rifles. Joe steps forward into the light of the burning cross. Slowly puts his hand in his waist.</scene_description>
<character>KLAN MEMBER (RD PRUITT)</character>
<dialogue>Ya'll been warned!!</dialogue>
<scene_description>And the gallop off, leaving Joe in the glow of the burning cross.</scene_description>
</scene>
<scene>
<stage_direction>INT. BODEGA, TWENTY SEVENTH ST. - DAY</stage_direction>
<scene_description>It's a small speakeasy where a HOLD UP is in progress. A man wearing a mask (RD PRUITT 36) is gesturing with a GUN for everyone to get on the ground.</scene_description>
<character>RD PRUITT</character>
<dialogue>Git on the floor!</dialogue>
<scene_description>He reaches in and RIFLES THROUGH THE TILL. He takes what money there is. Starts to go.</scene_description>
<character>RD PRUITT</character>
<dialogue>We all be watchin'. So we best not see no law!!</dialogue>
<scene_description>He makes a dash for the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODEGA, TWENTY SEVENTH ST - LATER</stage_direction>
<scene_description>Joe and Dion walk and talk in the robbed speakeasy.</scene_description>
<character>JOE</character>
<dialogue>Who the fuck would call the cops when a speakeasy got robbed?</dialogue>
<scene_description>CONTINUED: Dion shakes his head.</scene_description>
<character>JOE</character>
<dialogue>Can't we just find this asshole and put him down?</dialogue>
<character>DION</character>
<dialogue>He's in the Klan.</dialogue>
<character>JOE</character>
<dialogue>Who gives a shit? So are five million other guys in this country.</dialogue>
<character>DION</character>
<dialogue>The Klan has a lot of juice.</dialogue>
<character>JOE</character>
<dialogue>They're a bunch of inbreds with fourth grade educations.</dialogue>
<character>DION</character>
<dialogue>Not the bosses. They got twelve cops, a ton of newspaper men...</dialogue>
<character>JOE</character>
<dialogue>They'll love me. Catholic who works with Latins and Niggers and lives with a Cuban.</dialogue>
<character>DION</character>
<dialogue>Bigger problem is RD's brother in law.</dialogue>
<character>JOE</character>
<dialogue>Who's that?</dialogue>
<character>DION</character>
<dialogue>Chief Figgis.</dialogue>
</scene>
<scene>
<stage_direction>INT. TROPICALE ON SEVENTH - DAY</stage_direction>
<scene_description>Chief Figgis looks out over seventh street and sips his coffee. There is something off about him. Joe and Dion sit opposite him at a table.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>You hear the Perez factory is closing?</dialogue>
<character>JOE</character>
<dialogue>Shit, that's got what, four hundred workers?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>Five hundred people. No jobs. Five hundred idle hands waiting to do the devil's handiwork.</dialogue>
<character>JOE</character>
<dialogue>Shame.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Damn shame.</dialogue>
<scene_description>They drink. The door JINGLES and they look up. RD PRUITT walks in the door wearing a tan knicker suit with wide lapels and two tone oxfords. He approaches their table. Joe looks up. Dion's hand slides under the table. Figgis stiffens but RD just calmly walks over to the table and sits down. Joe offers his hand.</scene_description>
<character>RD PRUITT</character>
<dialogue>Don't shake hands with Papists. No offense.</dialogue>
<character>JOE</character>
<dialogue>Help if I said I hadn't been in church half my life?</dialogue>
<scene_description>RD chuckled and shook his head.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>Now, RD, word is you're causing trouble down here in Ybor.</dialogue>
<scene_description>He looks at his brother-in-law, eyes wide and innocent.</scene_description>
<character>RD PRUITT</character>
<dialogue>How's that?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>We hear you're sticking up places.</dialogue>
<character>RD PRUITT</character>
<dialogue>What kind of places?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Speakeasies.</dialogue>
<character>RD PRUITT</character>
<dialogue>Oh. Mean them places that don't exist in a law-abiding town?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>That'd be them, yeah.</dialogue>
<character>RD PRUITT</character>
<dialogue>I don't know a damn thing about that.</dialogue>
<scene_description>RD lets out an odd sigh. Then: CONTINUED:</scene_description>
<character>RD PRUITT</character>
<dialogue>I'm just playin' with you. You all know that!</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>RD, this is a businessman who is here to do business. I suggest you do it with him.</dialogue>
<character>RD PRUITT</character>
<parenthetical>(points at Joe)</parenthetical>
<dialogue>This man is a bootlegger and a fornicator with niggers. He is to be tarred and feathered, not done business with.</dialogue>
<parenthetical>(looks at Joe, breaks)</parenthetical>
<dialogue>I'm just playin'! You take a joke, right?</dialogue>
<character>JOE</character>
<dialogue>I can take a joke.</dialogue>
<character>RD PRUITT</character>
<dialogue>Long as you don't become one, right?</dialogue>
<scene_description>Joe scans RD for a longish beat.</scene_description>
<character>JOE</character>
<dialogue>I hear you like the Parisian?</dialogue>
<character>RD PRUITT</character>
<dialogue>And if I was?</dialogue>
<character>JOE</character>
<dialogue>I would cut you in on ten percent of the house take?</dialogue>
<character>RD PRUITT</character>
<dialogue>You'd do that?</dialogue>
<character>JOE</character>
<dialogue>Sure.</dialogue>
<character>RD PRUITT</character>
<dialogue>Well, I ought to be worth more than ten percent.</dialogue>
<character>JOE</character>
<dialogue>What were you thinking?</dialogue>
<character>RD PRUITT</character>
<dialogue>I was thinking sixty.</dialogue>
<character>JOE</character>
<dialogue>You want sixty percent of one of the most successful clubs in the city?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RD PRUITT</character>
<dialogue>That's right.</dialogue>
<character>JOE</character>
<dialogue>For what, exactly?</dialogue>
<character>RD PRUITT</character>
<dialogue>My friends might look on you less kindly.</dialogue>
<character>JOE</character>
<dialogue>Who are your friends?</dialogue>
<character>RD PRUITT</character>
<dialogue>Sixty percent.</dialogue>
<character>JOE</character>
<dialogue>Son, I'm not giving you sixty percent.</dialogue>
<character>RD PRUITT</character>
<dialogue>Ain't your son. Ain't nobody's son.</dialogue>
<character>JOE</character>
<dialogue>That'll save your father some embarrassment.</dialogue>
<character>RD PRUITT</character>
<dialogue>What's that?</dialogue>
<character>JOE</character>
<dialogue>Fifteen percent.</dialogue>
<character>RD PRUITT</character>
<parenthetical>(whispered)</parenthetical>
<dialogue>I will beat you to death.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>RD PRUITT</character>
<dialogue>You know, that does sound like a fair arrangement. You go to twenty?</dialogue>
<character>JOE</character>
<dialogue>I think fifteen's about as good as it gets for a job you don't even have to show up for.</dialogue>
<character>RD PRUITT</character>
<dialogue>Well, that's a fair deal. And I'm pleased to agree to it.</dialogue>
<scene_description>He smiles.</scene_description>
<character>RD PRUITT</character>
<dialogue>How do I pick up my cut?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>At the Parisian, second Tuesday at seven.</dialogue>
<scene_description>He SLAPS the table and rise. Tips his hat.</scene_description>
<character>RD PRUITT</character>
<dialogue>A pleasure Mr. Coughlin. Irv.</dialogue>
<parenthetical>(turns back)</parenthetical>
<dialogue>One more thing, that girlfriend, folks seen you with. Is she light nigger or dark spic?</dialogue>
<scene_description>He smiles and turns back to go.</scene_description>
<character>RD PRUITT</character>
<dialogue>Never mind.</dialogue>
<scene_description>He exits. A beat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ESTEBAN'S PLACE - NIGHT</stage_direction>
<scene_description>A PHOTO is hung on the wall-- in contrast to the ones at the Figgis', this one is like Dorthea Lange in Miami. Reveal Esteban hanging it while Joe watches.</scene_description>
<character>ESTEBAN</character>
<dialogue>You have a confused woman on your hands.</dialogue>
<character>JOE</character>
<dialogue>This I know.</dialogue>
<character>ESTEBAN</character>
<dialogue>Do you know why she is confused?</dialogue>
<character>JOE</character>
<dialogue>No. She can have anything she wants, go to the best restaurants--</dialogue>
<character>ESTEBAN</character>
<dialogue>--that allow Latins.</dialogue>
<character>JOE</character>
<dialogue>There's nothing for her to worry about. We can grow old together.</dialogue>
<character>ESTEBAN</character>
<dialogue>Perhaps you will.</dialogue>
<character>JOE</character>
<dialogue>She won't divorce Shithead.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ESTEBAN</character>
<dialogue>I could live a thousand years and never understand the hold that pendejo has over her.</dialogue>
<character>JOE</character>
<dialogue>Have you seen him?</dialogue>
<character>ESTEBAN</character>
<dialogue>Every time I walk down the worst block in Havana, he sits there in one of the bars, drinking her money.</dialogue>
<character>JOE</character>
<dialogue>Our money.</dialogue>
<character>ESTEBAN</character>
<dialogue>I would reconsider.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>ESTEBAN</character>
<dialogue>Killing him. Better, perhaps, that he does it himself. If you did it, some part of her would never forgive you.</dialogue>
</scene>
<scene>
<stage_direction>INT. PARISIAN SPEAKEASY - SEVEN PM</stage_direction>
<scene_description>RD Walks in and picks up an ENVELOPE from a WOMAN AT THE BAR. He leaves and envelope of his own. The woman picks it up.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>It was addressed to Sir Joseph Coughlin, nigger fucker.</dialogue>
<scene_description>She opens it.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Inside was a two word note: Sixty percent.</dialogue>
<scene_description>Just then a BOMB COMES THROUGH THE WINDOW AND EXPLODES. Smoke and damage...</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Wasn't much of a bomb but it didn't have to be. A drummer lost his hand and never played again and a waitress hired the week before got killed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. YBOR CITY STREETS - DAY</stage_direction>
<scene_description>Joe's guys crawl through the neighborhood in new cars, looking out windows.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I sent out crews day and night to find him. But he went hard to the ground.</dialogue>
</scene>
<scene>
<stage_direction>INT. EAST SIDE SPEAKEASY - NIGHT</stage_direction>
<scene_description>An active club, filled mostly with black Cubans, is in full-swing. Musicians play, people drink and laugh. RD walks in and starts SHOOTING PEOPLE AT RANDOM. He shots FOUR PEOPLE, the crowd fleeing and screaming. He turns around, PUTS A NOTE ON THE BAR, and walks back out the door.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Same note. Same message.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHIEF FIGGIS HOME, FRONT PORCH - DAY</stage_direction>
<scene_description>Joe, alone, sits on the porch opening and closing his father's watch. Chief Figgis pulls up, gets out and heads up his walk towards Joe.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>Want a beer? It's near beer but it ain't bad.</dialogue>
<character>JOE</character>
<dialogue>Love one.</dialogue>
<scene_description>Figgis goes into the house, Joe waits, he comes back out with a beer.</scene_description>
<character>JOE</character>
<dialogue>I need to get to RD.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>I expect you would feel that way.</dialogue>
<character>JOE</character>
<dialogue>You know how this ends if you don't help me?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>No. I don't.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>More bodies. More writing about cigar city slaughter and you get pushed out.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>You, too.</dialogue>
<character>JOE</character>
<dialogue>Maybe.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Difference is, when you get pushed out, someone does it a bullet to the back of your ear.</dialogue>
<character>JOE</character>
<dialogue>If he goes away, the war ends.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>I'm not selling out my wife's brother.</dialogue>
<scene_description>Joe looks out on the street.</scene_description>
<character>JOE</character>
<dialogue>I don't want to do this.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Do what?</dialogue>
<character>JOE</character>
<dialogue>What you're about to make me do.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>I'm not making you do anything.</dialogue>
<character>JOE</character>
<dialogue>Yeah. You are.</dialogue>
<scene_description>Joe removes a BATCH OF PHOTOS. Figgis looks at Joe, then quickly down at the photos and then back up.</scene_description>
<character>JOE</character>
<dialogue>She didn't make it to Hollywood. She only made it to Los Angeles.</dialogue>
<scene_description>Figgis looks at the second photo then shuts his eyes tight. We see a glimpse of some pornography in the photo.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>That's not right.</dialogue>
<scene_description>Then he puts his hands over his face.</scene_description>
<character>JOE</character>
<dialogue>We've got her with a special doctor.</dialogue>
<scene_description>CONTINUED: He lowers his hands, revealing red eyes.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>What kind of doctor?</dialogue>
<character>JOE</character>
<dialogue>Kind that gets people off Heroin, Irv.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Do not ever call me by my Christian name. You will call me Chief Figgis for whatever years or days remain in our acquaintance, are we clear?</dialogue>
<character>JOE</character>
<dialogue>I didn't do this to her.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Name your price. For telling me where my daughter is.</dialogue>
<scene_description>He turns and looks at Joe.</scene_description>
<character>JOE</character>
<dialogue>In a clean facility.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I can't tell you where.</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>Until?</dialogue>
<scene_description>Joe holds his look. Figgis gets up slowly and GOES INSIDE. From outside we HEAR:</scene_description>
<character>CHIEF FIGGIS</character>
<parenthetical>(on phone)</parenthetical>
<dialogue>RD, you're gonna meet with this boy again and there ain't another discussion be to had on the matter.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Yeah, I'll come too.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Longboat key, by the Ritz tonight at ten.</dialogue>
<scene_description>He walks back out.</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>When do I get her location?</dialogue>
<character>JOE</character>
<dialogue>When I walk out from this meeting alive.</dialogue>
<scene_description>Joe gets up and walks to his car. CONTINUED:</scene_description>
<character>CHIEF FIGGIS</character>
<dialogue>Do it yourself.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>CHIEF FIGGIS</character>
<dialogue>If you're going to kill him be man enough to pull the trigger. Ain't no pride in having other people do what you're too weak to do yourself.</dialogue>
<character>JOE</character>
<dialogue>In my experience, you don't have to be much of anything to pull a trigger.</dialogue>
<scene_description>Joe walks down, gets in his car and drives away.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The thing about this business was that every time you sold a piece of yourself the easier it got.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RITZ HOTEL - NIGHT</stage_direction>
<scene_description>The Hotel is still being assembled, construction halted at night. The place takes on an eerie, abandoned air. And the last shot reveals JOE, walking toward camera in the night. We see his POV: RD and TWO MORE MEN stand waiting for him. A bit of an OK corral feel. The two men are SHINE RUNNERS for RD. They have short ties on short collar shirts and wool trousers held up by suspenders.</scene_description>
<character>JOE</character>
<dialogue>Hey, RD.</dialogue>
<character>RD PRUITT</character>
<dialogue>Where's my brother in law?</dialogue>
<character>JOE</character>
<dialogue>He didn't come.</dialogue>
<character>RD PRUITT</character>
<parenthetical>(calls to his guys)</parenthetical>
<dialogue>Boys, this the one here is rat tricky. Take your eyes off that pea shooter, I promise it'll be in his hands.</dialogue>
<scene_description>Shine runner #1 holds a rifle on Joe.</scene_description>
<character>SHINE RUNNER #1</character>
<dialogue>Not likely.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RD PRUITT</character>
<parenthetical>(to Joe)</parenthetical>
<dialogue>You a man of your word?</dialogue>
<character>JOE</character>
<dialogue>Depends on who I give it to.</dialogue>
<character>RD PRUITT</character>
<dialogue>So you ain't come alone like I ordered?</dialogue>
<character>JOE</character>
<dialogue>No. I ain't come alone.</dialogue>
<scene_description>RD laughs.</scene_description>
<character>RD PRUITT</character>
<dialogue>We been waitin' out here.</dialogue>
<character>JOE</character>
<dialogue>Trust me. I'm not alone.</dialogue>
<scene_description>RD walks a little to his left.</scene_description>
<character>RD PRUITT</character>
<dialogue>Where they at?</dialogue>
<character>JOE</character>
<dialogue>Shit, RD. That would spoil the fun.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know this could be the biggest casino in the United States. Once prohibition ends--</dialogue>
<character>RD PRUITT</character>
<dialogue>It ain't gonna end prohibition in a God fearing country.</dialogue>
<character>JOE</character>
<dialogue>Yes it will. Whole country's in the tank, banks going under, cities are bankrupt--</dialogue>
<character>RD PRUITT</character>
<dialogue>'Cause we got a communist President--</dialogue>
<character>JOE</character>
<dialogue>Lost too much money in taxes on liquor-- and that's why they'll allow this state to legalize gambling. And you can be part of that, RD--</dialogue>
<character>RD PRUITT</character>
<dialogue>I don't want to be part of nothin' with you.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>How much is he paying you for this?</dialogue>
<character>RD PRUITT</character>
<dialogue>Who?</dialogue>
<character>JOE</character>
<dialogue>Albert White. How much is he paying you. I hope it's a lot, considering all the work you've done for him shooting up my speaks.</dialogue>
<scene_description>RD considers this, then gives in.</scene_description>
<character>RD PRUITT</character>
<dialogue>Yeah. I took his Catholic money. Do you know why? 'Cause I'd a done it for free. You are a pestilence. You and your nigger whore girlfriend and your dirty dago friends. I'm a take the Parisian. Not sixty percent. The whole thing. I'm a take all your clubs. I'm a take everything you got. Might even go by your house and tear off a piece of that nigger girl 'fore I cut her throat.</dialogue>
<scene_description>He laughs a little, getting emboldened.</scene_description>
<character>RD PRUITT</character>
<dialogue>You ain't got this yet but you leavin' town, boy. You just forgot to pack your bags.</dialogue>
<character>JOE</character>
<parenthetical>(looks them over)</parenthetical>
<dialogue>All right. Go ahead.</dialogue>
<scene_description>JOE PULLS HIS GUN AND FIRES. The others FIRE BACK. DINO AND A COUGHLIN THUG STEP FROM A CONCEALED PLACE AND RIDDLE RD AND HIS MEN WITH MACHINE GUN FIRE. Dion and the Gun Thug, step forward and inspect the dead Klansmen. One seems to be moving. Dion FIRES A ROUND IN THE MAN'S HEAD. We see Joe.</scene_description>
<character>JOE</character>
<dialogue>I hope I didn't interrupt you guys.</dialogue>
<character>DION</character>
<dialogue>You said wait 'till you gave us the sign.</dialogue>
<scene_description>CONTINUED: Joe FALLS DOWN unceremoniously on his ass. Dion and the Gun Thug run over. Joe's FACE IS WHITE. He looks down at his abdomen, which is covered in blood.</scene_description>
<character>JOE</character>
<dialogue>Shit.</dialogue>
<character>DION</character>
<dialogue>It's all right. We'll get you to a doc.</dialogue>
<scene_description>Joe falls back, starting to get faint.</scene_description>
<character>JOE</character>
<dialogue>Fuck. It hurts.</dialogue>
<character>DION</character>
<dialogue>It hurts but it's not gonna kill you.</dialogue>
<scene_description>Joe is fading.</scene_description>
<character>JOE</character>
<dialogue>I shouldn't have shown him the pictures.</dialogue>
<character>DION</character>
<dialogue>What?</dialogue>
<character>JOE</character>
<dialogue>Figgis.</dialogue>
<character>DION</character>
<dialogue>Christ. We had to put this prick down.</dialogue>
<character>JOE</character>
<dialogue>It's gonna make a great casino.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
<scene_description>Joe lies in a hospital bed, asleep but alive.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Five weeks in a hospital bed.</dialogue>
<scene_description>We see KLAN RIDERS OUTSIDE, it's night. We see DION smoking in a car outside, out of focus TORCHES off in the distance.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>When they left Dion sent men to follow them home.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE (V.O.)</character>
<dialogue>And just before dawn, unknown assailants broke into eight homes and beat those men nearly to death.</dialogue>
<scene_description>Various HOME INVASIONS, where masked men break in, beat and pistol whip a series of KLANSMEN.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>That effectively ended the power of the KKK in Tampa.</dialogue>
<scene_description>Smoke rising the next day. Dion standing, watching.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The bullet had been deflected by my father's pocket watch, so it missed my kidney.</dialogue>
<scene_description>Joe gingerly walks up the steps to Graciela's home.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Shellfish, nuts, Cuban food, alcohol and sex were forbidden.</dialogue>
</scene>
<scene>
<stage_direction>INT. GRACIELA'S HOUSE - LOW SUN</stage_direction>
<scene_description>Sun coming up (or going down)--Joe lies in Graciela's arms on a love seat overlooking the view.</scene_description>
<character>GRACIELA</character>
<parenthetical>(Spanish)</parenthetical>
<dialogue>There will never be another.</dialogue>
<character>JOE</character>
<dialogue>What's that?</dialogue>
<character>GRACIELA</character>
<parenthetical>(Spanish)</parenthetical>
<dialogue>Man. You are my man until death.</dialogue>
<character>JOE</character>
<dialogue>What about your husband?</dialogue>
<character>GRACIELA</character>
<parenthetical>(Spanish)</parenthetical>
<dialogue>Adnan is not a man. You, my love, are a man.</dialogue>
<character>JOE</character>
<dialogue>But you'll always be married to him.</dialogue>
<character>GRACIELA</character>
<dialogue>In name only.</dialogue>
<character>JOE</character>
<dialogue>What's in a name?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>GRACIELA</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Agreed.</dialogue>
<scene_description>Tears are forming at the corners of her eyes.</scene_description>
<character>GRACIELA</character>
<dialogue>You are my husband. Siempre.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE'S HOUSE - ANOTHER DAY</stage_direction>
<scene_description>Light streaming into the house, Graciela carrying champagne and a bag of food.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>And when the doctors cleared us. We closed the shutters, filled the icebox with food and champagne and confined ourselves to the canopy bed for two days.</dialogue>
<scene_description>Joe and Graciela make love-- more careful and self aware than the lovemaking scenes with Emma Gould. The two of them are naked but not in an exploitative way, vulnerable. They lie in the red dusk, shutters re-opened with the ceiling fan cooling their bodies.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNION STATION - DAY</stage_direction>
<scene_description>Chief Figgis takes LORETTA off the train, she is SHROUDED HEAD TO TOE IN BLACK.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>That was the summer Loretta returned to Tampa.</dialogue>
<scene_description>We see the FIGGIS HOME. Slowly push on it.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Irv's wife moved out and took their son with him. No one saw Loretta for the whole season.</dialogue>
<scene_description>Inside the FIGGIS HOME. Loretta in on her knees, in front of a bed. He father WHIPS her backside, unrelentingly. A fervor in his eyes.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Irv taught her to pray on her knees. He made her a supplicant and beat the devil from her morning to night.</dialogue>
<scene_description>Loretta in so much pain, she is nearly in a trance.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - EVENING</stage_direction>
<scene_description>Joe is in the tub, scars almost healed. Graciela comes in, slips off a robe and gets in across from him. He looks at her.</scene_description>
<character>GRACIELA</character>
<dialogue>Can I take your name?</dialogue>
<character>JOE</character>
<dialogue>You want to marry me?</dialogue>
<character>GRACIELA</character>
<dialogue>I cannot marry you in a church.</dialogue>
<character>JOE</character>
<dialogue>Okay.</dialogue>
<character>GRACIELA</character>
<dialogue>We are married, are we not?</dialogue>
<character>JOE</character>
<dialogue>Yes.</dialogue>
<character>GRACIELA</character>
<dialogue>So I would like to call myself by your surname.</dialogue>
<character>JOE</character>
<dialogue>Graciella Isabella Lunes Martes Miercoles Jueves Coughlin.</dialogue>
<scene_description>She laughs, splashes water at him.</scene_description>
<character>GRACIELA</character>
<dialogue>I don't have that many names.</dialogue>
<scene_description>He kisses her.</scene_description>
<character>JOE</character>
<dialogue>Graciella Coughlin?</dialogue>
<character>GRACIELA</character>
<dialogue>I would be honored.</dialogue>
<scene_description>They kiss.</scene_description>
<character>GRACIELA</character>
<dialogue>I have bought some buildings.</dialogue>
<character>JOE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>You bought some buildings? We get married, right away you start spending my money?</dialogue>
<scene_description>He is teasing. She looks at him innocently. CONTINUED:</scene_description>
<character>GRACIELA</character>
<dialogue>Three. By the Perez factory.</dialogue>
<character>JOE</character>
<dialogue>Oh, so just three buildings?</dialogue>
<character>GRACIELA</character>
<dialogue>I would like to give shelter there to abandoned wives and their children.</dialogue>
<character>JOE</character>
<dialogue>What happened to Cuban politics for a cause?</dialogue>
<character>GRACIELA</character>
<dialogue>I fell in love with you. You restrict my mobility.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FLORIDA BUSH, AERIAL - DAY</stage_direction>
<scene_description>We come off the ocean over a jungle--- and arrive at a small cluster of CASITAS built by Graciela.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASITAS - DAY</stage_direction>
<scene_description>Graciella walks Joe through the tent city, teeming with extremely POOR WOMEN AND CHILDREN.</scene_description>
<character>GRACIELA</character>
<dialogue>The men go up to get milk, they hear a rumor of work and they never come back. Without men to protect them, these women--</dialogue>
<scene_description>She gestures around her.</scene_description>
<character>GRACIELA</character>
<dialogue>Are raped or turned to basement prostitution. The children enter the streets and news that returns of them is seldom good.</dialogue>
<scene_description>Joe looks out over the dismal scene.</scene_description>
<character>GRACIELA</character>
<dialogue>This can be a model of good to the rest of the world--</dialogue>
<character>JOE</character>
<dialogue>I've seen some of the world. No one was looking for good.</dialogue>
<character>GRACIELA</character>
<dialogue>Men can be good and just in this world. Why not?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Greed.</dialogue>
<scene_description>She looks at him, not understanding.</scene_description>
<character>JOE</character>
<dialogue>Look how we live.</dialogue>
<character>GRACIELA</character>
<dialogue>Yes. I have become like those who my parents worked for. But we give back. Look what you gave the Suarez clinic.</dialogue>
<character>JOE</character>
<dialogue>They saved my life.</dialogue>
<character>GRACIELA</character>
<dialogue>You built a library the year before.</dialogue>
<character>JOE</character>
<dialogue>So I could learn to read.</dialogue>
<character>GRACIELA</character>
<dialogue>The books are in Spanish.</dialogue>
<character>JOE</character>
<dialogue>Learn to read Spanish.</dialogue>
<character>GRACIELA</character>
<dialogue>Your Spanish is abominable.</dialogue>
<character>JOE</character>
<dialogue>I guess we need another library.</dialogue>
<scene_description>She smiles. They walk farther along. It's not all wide- eyed innocents, many of the people look rough.</scene_description>
<character>JOE</character>
<dialogue>Do you think, if you had nothing, any of these people would take you in?</dialogue>
<character>GRACIELA</character>
<parenthetical>(genuine)</parenthetical>
<dialogue>Why does it matter?</dialogue>
<character>JOE</character>
<dialogue>I don't know. It does to me.</dialogue>
<character>GRACIELA</character>
<dialogue>I would like to leave some footprints in the sand.</dialogue>
<character>JOE</character>
<dialogue>I know you do. Look you want to rescue these women and their kids? Good. I love you for that.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>But some people aren't gonna want to let them go.</dialogue>
<character>GRACIELA</character>
<dialogue>I know that. That's why I'll need a couple of your men.</dialogue>
<character>JOE</character>
<dialogue>My men?</dialogue>
<character>GRACIELA</character>
<dialogue>Four for starters. But, mi amado,</dialogue>
<parenthetical>(smiles at him)</parenthetical>
<dialogue>they have to be the toughest ones that you have.</dialogue>
</scene>
<scene>
<stage_direction>INT. SMALL CHURCH - DAY</stage_direction>
<scene_description>Loretta, dressed all in white, preaches to a small congregation while a PASTOR looks on approvingly.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Loretta found God. She spoke at local churches.</dialogue>
<character>LORETTA FIGGIS</character>
<parenthetical>(in a quiet voice)</parenthetical>
<dialogue>We must remove, if we want to live close to god, the temptation-- that is likely to tease the sinner in each of us. Alcohol releases those guards we've built against our lesser selves, the narcotic eats at the soul.</dialogue>
<scene_description>She BARES HER TRACK MARKS. A few inspired calls from the congregation. Calls of encouragement ring out.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>And what are the rolling dice but the idolatrous tumbling of a false god, the allure of a fast road to the rewards that God tells us only come from hard work. It is when the gambler's children are starving, and the drunkards, that they see the sinfulness in which they have marinated themselves. The only road to salvation is through repentance.</dialogue>
<character>JOE (V.O.)</character>
<dialogue>The show was a hit. Which wouldn't have been a problem except it seemed her visions of Tampa burned black by sin didn't include a casino. That and she kept getting more popular.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FAIRGROUNDS - NIGHT</stage_direction>
<scene_description>A large rally led by Loretta. Throngs of people have turned out to hear Loretta preach, while she wears a nearly see-through dress, exposing her silhouette. Dion and Joe, semi-camouflaged among farmers and various workers, listening rapt.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>In my darkest hours I know I'm too weak. The siren song of sin preys on that which is most appealing to you. Life is full of pain and sinfulness is a false balm to soothe it. But the only true healing comes from God. It is not enough to have the demon rum flowing in our cities, now men would seek to build a house of gambling on our waterfront. Is our virtue that cheap?</dialogue>
<scene_description>Dion and Joe look at one another. He rubs his forehead. This isn't going to go away.</scene_description>
<character>DION</character>
<dialogue>My virtue's always been pretty cheap.</dialogue>
<character>JOE</character>
<dialogue>What virtue?</dialogue>
<character>DION</character>
<dialogue>Sarasota is going to fucking hate this.</dialogue>
<character>JOE</character>
<dialogue>Let me deal with it.</dialogue>
<character>DION</character>
<dialogue>They don't need this shit. Casino is two percent of their business they don't need to be the people turning white Christians into junkies.</dialogue>
<character>JOE</character>
<dialogue>Just let me deal with it.</dialogue>
</scene>
<scene>
<stage_direction>INT. REVIVAL TENT, BACKSTAGE - LATER</stage_direction>
<scene_description>Joe and Dion enter. Loretta is there, along with a small retinue of others. There is an, "after the show," concert feel. She notices them come in. Smiles broadly. CONTINUED:</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Mr. Coughlin!</dialogue>
<scene_description>Joe takes her hand.</scene_description>
<character>JOE</character>
<dialogue>Ms. Figgis. Great show tonight. I appreciate you taking the time to talk.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Of course. What can I do for you?</dialogue>
<character>JOE</character>
<dialogue>Well, we'd like to talk about the Ritz.</dialogue>
<scene_description>She smiles with a hint of condescension.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>My father says there was once a good man in you.</dialogue>
<character>JOE</character>
<dialogue>I wasn't aware he'd departed.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>You do quite a bit for the people here but we both know your good works are mitigated by your evil deeds.</dialogue>
<character>JOE</character>
<dialogue>How's that?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>You profit from the illegal addictions of others-- their weakness and sloth and libidinous behavior. But you can free yourself of that.</dialogue>
<character>JOE</character>
<dialogue>I don't want to.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Of course you do.</dialogue>
<character>JOE</character>
<dialogue>Miss Figgis, you seem like a lovely woman and I hear the flock is up threefold since you took over.</dialogue>
<scene_description>A PASTOR holds up five fingers. It's quintupled. CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>I sell a product people enjoy so much that an amendment to the US constitution will be overturned within a year.</dialogue>
<character>PASTOR</character>
<dialogue>That's not true.</dialogue>
<character>JOE</character>
<dialogue>More booze was drunk in the last ten years than ever before in this country. Because people didn't want to be told they couldn't do it.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>The same could be said of fornication. People want it and they don't want to be told they can't have it.</dialogue>
<character>JOE</character>
<dialogue>Nor should they.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>I'm sorry?</dialogue>
<character>JOE</character>
<dialogue>If people want to fornicate I see no reason to stop them, Miss Figgis.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>And if they wish to lie down with animals?</dialogue>
<character>JOE</character>
<dialogue>Do they?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>I'm sorry?</dialogue>
<character>JOE</character>
<dialogue>Do people want to lie down with animals?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Some do. And their sickness will spread if you have your way.</dialogue>
<character>JOE</character>
<dialogue>I'm not sure I see a correlation between drinking and lying down with animals.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>There is a correlation across all sin.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>It is all against the wishes of God and thus all equally offensive.</dialogue>
<character>JOE</character>
<dialogue>We hoped maybe you would be amenable to omitting the casino issue in your sermons- so we can go forward with a business that will bring a lot of jobs, which will reduce the sinfulness that comes with poverty and idle hands-- and we would be willing to give to the church generously, hell we'd even build some churches.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Roman soldiers gambled for Jesus' bloodied robes at the crucifixion. What does that tell you? If God re- writes the bible to cast gambling as virtuous, I will refrain from speaking against it, until then-- we don't get to pick our sins, Mr. Coughlin.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FAIRGROUNDS, EMPTY AUDIENCE AREA - LATER</stage_direction>
<scene_description>Joe and Dion walk through the rubbish left from the show; hay, paper cups, general trash-- but few people around.</scene_description>
<character>DION</character>
<dialogue>I like how you dealt with it.</dialogue>
<character>JOE</character>
<dialogue>Yeah. I'm good.</dialogue>
<character>DION</character>
<dialogue>She's gotta go.</dialogue>
<character>JOE</character>
<dialogue>You don't think I've thought about it?</dialogue>
<character>DION</character>
<dialogue>It's not thinking about it. It's getting it done.</dialogue>
<character>JOE</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>I can't do it.</dialogue>
<character>DION</character>
<dialogue>She's gonna fuck up the whole deal.</dialogue>
<character>JOE</character>
<dialogue>I know. And no one touches her.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>That's a mistake.</dialogue>
<character>JOE</character>
<dialogue>No shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SARASOTA, LONGBOAT KEY - DAY</stage_direction>
<scene_description>Joe and Dion walk out of a building and toward their car, they slow to appreciate the water as it glistens.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Two days later the boys in Sarasota told us they were gonna hold on to the Ritz, wait out the dip in the economy. Climate wasn't right.</dialogue>
<character>JOE</character>
<dialogue>It would have been a great casino.</dialogue>
<character>DION</character>
<dialogue>You'll have another chance. Things swing back around.</dialogue>
<character>JOE</character>
<dialogue>Not all things.</dialogue>
<character>DION</character>
<dialogue>Farucco still thinks we should get a plane.</dialogue>
<character>JOE</character>
<dialogue>I got enough problems without crazy Farucco Diaz putting a machine gun in an airplane.</dialogue>
<character>DION</character>
<dialogue>He just thinks be better at spotting the coast guard.</dialogue>
<character>JOE</character>
<dialogue>Jesus Christ. You want to buy a fucking plane, Dion? Go ahead. You won't need it too long.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUSTIC FLORIDA HIGHWAY - AFTERNOON</stage_direction>
<scene_description>They drive home in a GANGSTER'S CAR through a Florida so rural, so rustic, so empty and so beautiful, it is unrecognizable to the modern eye.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>They announced it on the radio, just when we got back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. YBOR CITY STREETS - SUNSET</stage_direction>
<scene_description>FIREWORKS! A street party, people running, exultant. A city celebrates in the streets. Openly drinking under the flickering candles exploding in the sky. Everyone is thrilled except Joe. On him, 48 fps as he is the only stoic face among celebrants.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>President elect Roosevelt promised to sign the Cullen-Harrison act the minute he was elected; effectively ending prohibition.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>No booze. No casino. It was over.</dialogue>
</scene>
<scene>
<stage_direction>INT. NINO'S COFFEE SHOP - NEXT MORNING</stage_direction>
<scene_description>Joe walks across the street and enters the diner. He turns and sees LORETTA FIGGIS sitting there.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Mr. Coughlin please, sit.</dialogue>
<character>JOE</character>
<dialogue>You're not wearing white?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>It's almost white.</dialogue>
<scene_description>She gives a small, vulnerable smile.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>Why does my father hate you so much.</dialogue>
<character>JOE</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I'm a criminal. He's chief of police.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>No he liked you. He said you were the mayor of Ybor.</dialogue>
<character>JOE</character>
<dialogue>He said that?</dialogue>
<scene_description>There is a longer pause.</scene_description>
<character>JOE</character>
<dialogue>How was it?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>What?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Women's National Hospital for Inebriates and Opium Eaters.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>It was a hospital room. It was clean.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What did you do?</dialogue>
<character>JOE</character>
<dialogue>I paid for the room.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>To him.</dialogue>
<scene_description>Quiet, then, simply:</scene_description>
<character>JOE</character>
<dialogue>We had photographs.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>And you showed them to him?</dialogue>
<character>JOE</character>
<dialogue>I showed him two.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>How many did you have?</dialogue>
<character>JOE</character>
<dialogue>Dozens.</dialogue>
<scene_description>She looks into her saucer.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>We're all going to hell.</dialogue>
<character>JOE</character>
<dialogue>I don't think you are.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Without those of us who bought the drug and banished the liquor, where would you people be?</dialogue>
<character>JOE</character>
<dialogue>We created and destroyed one another, it seems.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>You know what I've learned, as I've been thrusting my soul out to God?</dialogue>
<character>JOE</character>
<dialogue>No.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>This is heaven. Right here. We're in it now.</dialogue>
<character>JOE</character>
<dialogue>Then how come it looks like hell.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Because we fucked it all up.</dialogue>
<scene_description>She smiles at his small reaction. She's seen and said and done worse.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>After my...trials, I slept in the bed of my childhood. I felt it again. The way I felt as a child. That I would always have my mommy and my daddy and the world would look just like Tampa and everyone would know my name and wish good things for me. I felt certain again. And I had missed it, more than any drug. I missed it more than the god who bequeathed it to me. Certainty, Mr. Coughlin, is the most gorgeous lie of all.</dialogue>
<scene_description>A refill comes.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>My mother passed away last week, did you know that?</dialogue>
<character>JOE</character>
<dialogue>I hadn't heard, Loretta, I'm sorry.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>She told my father he didn't love God. He loved the idea of being special to him.</dialogue>
<scene_description>A bell tinkles as a couple enter the store.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>I don't know if there is a God. I certainly hope there is. And I hope he's kind. Wouldn't that be swell Mr. Coughlin?</dialogue>
<character>JOE</character>
<dialogue>I'd say so.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>You seem not to despair, Mr. Coughlin. Do you have a secret?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>No. Just my wife. I hope there's a God as much as you-- but if there isn't, she's enough.</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>But what if you lose her?</dialogue>
<scene_description>Joe isn't going to address that.</scene_description>
<character>JOE</character>
<dialogue>What are you going to do now?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>What do you mean?</dialogue>
<character>JOE</character>
<dialogue>You beat me. You stopped the casino. The law couldn't do it. The Klan couldn't. But you did.</dialogue>
<character>LORETTA FIGGIS</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>I didn't get rid of alcohol.</dialogue>
<character>JOE</character>
<dialogue>No, but you killed gambling and before you came along it was a lock.</dialogue>
<scene_description>She looks up with an actual smile.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>I did do that, didn't I?</dialogue>
<character>JOE</character>
<dialogue>And what's your father going to do?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Sit in his chair. Blind with rage that men touched his daughter the way he used to touch his wife. And worse.</dialogue>
<scene_description>She rubs some sugar on the table with her index finger.</scene_description>
<character>LORETTA FIGGIS</character>
<dialogue>He walks around the house whispering one word over and over.</dialogue>
<character>JOE</character>
<dialogue>What word?</dialogue>
<character>LORETTA FIGGIS</character>
<dialogue>Repent.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Repent. Repent. Repent.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Well...Give him time.</dialogue>
<scene_description>We watch her, stirring her coffee, looking out over the budding boulevard.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>She went back to wearing white. Kept packing them in. Added some new tricks, spoke in tongues. Frothed at the mouth. I saw a picture of her in the paper and almost didn't recognize her. But I wasn't prepared for it when I heard.</dialogue>
<character>ESTEBAN (PRE-LAP)</character>
<dialogue>She killed herself.</dialogue>
</scene>
<scene>
<stage_direction>INT. ESTEBAN'S PLACE - AFTERNOON</stage_direction>
<scene_description>Joe and Esteban in the darkened back area of his club. Esteban's PHOTOS line the walls.</scene_description>
<character>JOE</character>
<dialogue>Who?</dialogue>
<character>ESTEBAN</character>
<dialogue>Loretta Figgis.</dialogue>
<scene_description>Joe is taken aback, wind gone out of him.</scene_description>
<character>JOE</character>
<dialogue>Why?</dialogue>
<character>ESTEBAN</character>
<dialogue>Who can say?</dialogue>
<character>JOE</character>
<dialogue>How?</dialogue>
<character>ESTEBAN</character>
<dialogue>It must have taken, really, tremendous fortitude. Strength.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>ESTEBAN</character>
<dialogue>She cut out her vagina. And then cut her windpipe.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Can you imagine what it would take to castrate yourself?</dialogue>
<character>JOE</character>
<dialogue>No.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ESTEBAN</character>
<dialogue>I am too much of a coward.</dialogue>
<character>JOE</character>
<dialogue>Where did she do it?</dialogue>
<character>ESTEBAN</character>
<dialogue>In her father's bed.</dialogue>
<character>JOE</character>
<dialogue>My god.</dialogue>
<character>ESTEBAN</character>
<dialogue>Do you blame yourself? She went west, as so many girls do. And she was preyed upon. And not by you.</dialogue>
<character>JOE</character>
<dialogue>No. But by men like us. The booze pays for the girls and the girls pay for the drugs. We give the drugs to the girls so we can pimp them out. That pays for the booze and one hand washes the other.</dialogue>
<character>ESTEBAN</character>
<dialogue>We're not our brother's keeper. In fact, it's an insult to our brother to imagine that we are.</dialogue>
<scene_description>Esteban rises and points to some of his photos on the wall.</scene_description>
<character>ESTEBAN</character>
<dialogue>Look at these people, if this man, say--</dialogue>
<scene_description>He points to an old man in the photo.</scene_description>
<character>ESTEBAN</character>
<dialogue>Dies from drunkenness is it our fault?</dialogue>
<scene_description>Joe doesn't respond.</scene_description>
<character>ESTEBAN</character>
<dialogue>No?</dialogue>
<character>JOE</character>
<dialogue>When was that picture taken?</dialogue>
<character>ESTEBAN</character>
<dialogue>A month ago.</dialogue>
<character>JOE</character>
<dialogue>You're sure?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ESTEBAN</character>
<dialogue>I took this photograph myself a month and three days ago. Why?</dialogue>
<scene_description>He points at the picture.</scene_description>
<character>JOE</character>
<dialogue>Because that woman died in 1927.</dialogue>
<scene_description>We see in the photo three quarters of a face, a woman standing next to TWO WORKING MEN. There is no question. It's EMMA GOULD. Title up: Part III Tampa 1933-1935</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA BEACH - AFTERNOON</stage_direction>
<scene_description>Joe watches Graciela from afar. She walks through the shallow water. Waves lap over her feet as they break softly on the sand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA BEACH - LATER</stage_direction>
<scene_description>Graciela sits in front of Joe. His arms are wrapped around her. Clearly deep in thought. He says, quietly in her ear:</scene_description>
<character>JOE</character>
<dialogue>There has never been anyone like you in my life.</dialogue>
<character>GRACIELA</character>
<dialogue>Almost.</dialogue>
</scene>
<scene>
<stage_direction>INT. TROPICALE - DAY</stage_direction>
<scene_description>The place is closed, intimate. Dion looks at a PICTURE. Dion looks at a photograph in silence. It's the one of Emma.</scene_description>
<character>DION</character>
<dialogue>You sure it's her.</dialogue>
<scene_description>He doesn't answer.</scene_description>
<character>DION</character>
<dialogue>You tell Graciela?</dialogue>
<character>JOE</character>
<dialogue>No.</dialogue>
<character>DION</character>
<dialogue>Why not?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>You tell your women everything?</dialogue>
<character>DION</character>
<dialogue>I don't tell 'em shit. But you're more of a Nance than me.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Just say, look, sorry hon'. That girl I been bent out of shape over for a decade, she's not dead. She's in Miami. Don't make a big fucking thing out of it.</dialogue>
<scene_description>He starts laughing, heartily. Then slows--</scene_description>
<character>DION</character>
<dialogue>When you going?</dialogue>
<character>JOE</character>
<dialogue>Going where?</dialogue>
<character>DION</character>
<dialogue>You found out this girl you used to be bugs for is sixty miles away. When are you going?</dialogue>
<character>JOE</character>
<dialogue>When the meeting with Maso is over.</dialogue>
<character>DION</character>
<dialogue>Good. Give you something to live for.</dialogue>
</scene>
<scene>
<stage_direction>INT. DISTILLERY TUNNELS - DAY</stage_direction>
<scene_description>Joe and Dion walk through the narrow tunnel, ultimately arriving in the distillery.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Whenever they wanted to kill you, there was always a tell. It was always a break in routine.</dialogue>
<character>DION</character>
<dialogue>Him and his guys are taking over half a train to get down here. That's a big entourage.</dialogue>
<character>JOE</character>
<dialogue>We do eleven and a half million. From a fucking cow town. And that's just rum. I know he'd cut my throat for a nickel but there's no percentage in killing me. All we've done is sent bags of money up to his mansion in Nahant.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>I just don't like the signs.</dialogue>
<character>JOE</character>
<dialogue>What fucking signs?</dialogue>
<character>DION</character>
<dialogue>We lost the casino. We never moved on narcotics... and you're Irish in a world where there ain't much of a shortage in guineas.</dialogue>
<scene_description>Joe thinks this over. He's right.</scene_description>
<character>DION</character>
<dialogue>You're walking into a building where he bought up every room. I can't hide a weapon, nothing. You're going in blind and we'll be outside.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOE AND GRACIELA'S HOUSE - DAY</stage_direction>
<character>JOE</character>
<dialogue>I need you to go to Miami for a while.</dialogue>
<scene_description>She feels both stung and as if she expected this.</scene_description>
<character>GRACIELA</character>
<dialogue>For how long do you want me to go for a while?</dialogue>
<character>JOE</character>
<dialogue>Not long. But I want you to go. And I don't want you to tell me where you are. Tell Dion. He won't tell anyone but me.</dialogue>
<character>GRACIELA</character>
<dialogue>So you can find out if you are as cruel as you need to be.</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>GRACIELA</character>
<dialogue>Joseph, even if you win today's battle, there is so much violence in what you do, it must come back to you.</dialogue>
<scene_description>He says nothing.</scene_description>
<character>GRACIELA</character>
<dialogue>Don't leave me to raise a child on my own.</dialogue>
<scene_description>CONTINUED: A look on Joe's face. Is she pregnant? Is she talking about a theoretical future. He doesn't ask. He doesn't want to know.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA ROADS - DAY</stage_direction>
<scene_description>Joe and Dion cruise in an incredible gangster car along a stretch of highway. Just open road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROMERO HOTEL, ESTABLISHING - DAY</stage_direction>
<scene_description>Joe and Dion pull up. A BELL HOP hops to. Gets their keys.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROMERO HOTEL, LOBBY - CONTINUOUS</stage_direction>
<scene_description>Joe and Dion are being escorted by ADOMO and GINO VALOCCO.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I knew Gino from back home. His brother Adomo was a gun monkey for Maso. They weren't muscle and they weren't brains. They were killers.</dialogue>
<character>JOE</character>
<dialogue>Where you living now?</dialogue>
<character>GINO</character>
<dialogue>Naponset.</dialogue>
<character>JOE</character>
<dialogue>You settled down?</dialogue>
<character>GINO</character>
<dialogue>Two kids. Whole thing. You got any?</dialogue>
<character>JOE</character>
<dialogue>No.</dialogue>
<character>GINO</character>
<dialogue>There's never a right time.</dialogue>
<character>JOE (V.O.)</character>
<dialogue>Italians. Four guys walking to an elevator. Two with machine guns asking about the wife and kids.</dialogue>
<scene_description>They get to the elevator and leave the Vacco brothers behind.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>They get on and are greeted by an OPERATOR, ILLARIO NOBLE.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Illario Nobile. Yellow from the hep and he can put a rifle shot through a flea's ass in a solar eclipse.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TENTH FLOOR HALLWAY - CONTINUOUS</stage_direction>
<scene_description>The elevator doors open. Joe and Dion are greeted by FAUSTO SCARFONE. He wordlessly escorts them down the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. MASO'S SUITE - MOMENTS LATER</stage_direction>
<scene_description>The DOOR OPENS TO REVEAL MASO.</scene_description>
<character>MASO</character>
<dialogue>How are you, my son?</dialogue>
<character>JOE</character>
<dialogue>Fine.</dialogue>
<character>MASO</character>
<dialogue>Fausto, see if Dino needs anything.</dialogue>
<scene_description>This is a way of saying Dino waits outside. Joe walks in.</scene_description>
</scene>
<scene>
<stage_direction>INT. GASPRILLA SUITE - CONTINUOUS</stage_direction>
<scene_description>This is the nicest suite in the hotel. Maso kisses Joe on both sides. Kisses his forehead. Pats his back, an elaborate show. Maso moves over to a table and chairs. Pours Joe a cup of coffee.</scene_description>
<character>MASO</character>
<dialogue>Salud.</dialogue>
<character>JOE</character>
<dialogue>Salud.</dialogue>
<character>MASO</character>
<dialogue>How've you been?</dialogue>
<character>JOE</character>
<dialogue>Good, you?</dialogue>
<character>MASO</character>
<dialogue>More good days than bad.</dialogue>
<scene_description>CONTINUED: Joe sees DIGGER, silently standing off to the side in the room. Maso looks out the window onto the water. We can hear waves crashing in the far off distance.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>For such a violent business it was populated with a surprising number of guys who were just putting food on the table.</dialogue>
<scene_description>Digger pops an orange slice.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Digger wasn't one of those guys.</dialogue>
<scene_description>Maso produces a NEWSPAPER. The cover of which reads DEATH OF A MADONNA. There is a photo of Loretta Figgis.</scene_description>
<character>MASO</character>
<dialogue>This the philly who fucked up the whole casino thing?</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>MASO</character>
<dialogue>Why didn't you clip her then?</dialogue>
<character>JOE</character>
<dialogue>Too much blowback.</dialogue>
<character>MASO</character>
<dialogue>That's not it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You're not a killer, Joseph. And that's the problem.</dialogue>
<character>JOE</character>
<dialogue>Since when?</dialogue>
<character>MASO</character>
<dialogue>You're not a gangster. You're a bandit in a suit. That's why you didn't kill that puttana pazo. Now I hear you're thinking of going legitimate?</dialogue>
<character>JOE</character>
<dialogue>Thinking about it.</dialogue>
<character>MASO</character>
<dialogue>Then you won't mind if I replace you down here?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>When I got here this outfit did a million a year. You know where we are now?</dialogue>
<character>MASO</character>
<dialogue>Yes, but that's all rum. You neglected the girls and the narcotics.</dialogue>
<character>JOE</character>
<dialogue>Bullshit.</dialogue>
<character>MASO</character>
<dialogue>Excuse me?</dialogue>
<character>JOE</character>
<dialogue>I focused on the rum because it was the most profitable but I added four houses since in my time here.</dialogue>
<character>MASO</character>
<dialogue>Yes but you could have added more. And the girls claim they are rarely beaten.</dialogue>
<character>JOE</character>
<dialogue>Maso, I--</dialogue>
<character>MASO</character>
<dialogue>--Mr. Pescatore.</dialogue>
<scene_description>Joe lets out a smile sigh. He sees the road turning.</scene_description>
<character>MASO</character>
<dialogue>I'm making a change. I want Italians and only Italians down here now.</dialogue>
<character>JOE</character>
<dialogue>I ran Ybor. I ran all of Tampa. Did you ever have a problem?</dialogue>
<character>MASO</character>
<dialogue>You did more than that. You ran the whole coast. You boxed out Albert, put him in a little piss corner of Miami. I been through the books. You made us a force down here.</dialogue>
<character>JOE</character>
<dialogue>But now no Irish need apply? What can I be?</dialogue>
<scene_description>Digger pipes up. CONTINUED:</scene_description>
<character>DIGGER</character>
<dialogue>What I fucking tell you to be. Before you get a fucking pop in the mouth.</dialogue>
<scene_description>Maso gives Joe a don't mind him look.</scene_description>
<character>MASO</character>
<dialogue>Consigliere. You teach Digger the ropes. Meet people. Teach him to fish.</dialogue>
<scene_description>Digger stares at him.</scene_description>
<character>MASO</character>
<dialogue>But you need to take a haircut.</dialogue>
<character>JOE</character>
<dialogue>What kind of haircut?</dialogue>
<character>MASO</character>
<dialogue>Digger gets your take.</dialogue>
<character>JOE</character>
<dialogue>Maso, I think Digger taking over is a great idea. We'll run Florida and take over Cuba. But my cut needs to stay close to what it is now. And there's no power in being crew boss and shaking down longshoremen.</dialogue>
<character>DIGGER</character>
<dialogue>You ever think maybe that's the point?</dialogue>
<character>JOE</character>
<dialogue>I built this. You need me.</dialogue>
<character>MASO</character>
<dialogue>We could use you. But I'm sensing a lack of gratitude.</dialogue>
<character>DIGGER</character>
<dialogue>So am I.</dialogue>
<character>MASO</character>
<dialogue>You work for me. Not the spics and niggers you hang out with. If I tell you to clean the shit out of my toilet, guess what you do?</dialogue>
<scene_description>Maso smiles, his voice soft.</scene_description>
<character>MASO</character>
<dialogue>I'll kill your cunt girlfriend and burn your house to embers if I feel like it.</dialogue>
<scene_description>CONTINUED: He pats Joe's face.</scene_description>
<character>MASO</character>
<dialogue>So you want to be crew boss or clean the shit out of my toilet? I'm accepting applications for both.</dialogue>
<character>JOE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Crew boss.</dialogue>
<character>MASO</character>
<parenthetical>(patting him)</parenthetical>
<dialogue>My boy.</dialogue>
<scene_description>They rise.</scene_description>
<character>JOE</character>
<dialogue>Dinner tonight? We have a few nice spots set aside.</dialogue>
<character>MASO</character>
<dialogue>Wonderful. And make sure your friend is dead by then.</dialogue>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>MASO</character>
<dialogue>The heavy one.</dialogue>
<character>JOE</character>
<dialogue>He hasn't done anything.</dialogue>
<character>MASO</character>
<dialogue>You lied to me, Joseph. It wasn't his brother who ratted you out. It was him.</dialogue>
<scene_description>This catches Joe off guard.</scene_description>
<character>MASO</character>
<dialogue>There's a disrespect. It needs to be answered for.</dialogue>
<scene_description>The door behind him opened and ALBERT WHITE WALKES INTO THE ROOM. The first thing Joe notices is that Albert looks older. The second was is he has a THOMPSON in his hand. It has a grove worn in near the trigger.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>Sal Urso's gun. His wedding ring wore a groove in the side. There was no possibility that someone else had his weapon and he was still alive.</dialogue>
<scene_description>CONTINUED: Albert approaches Joe.</scene_description>
<character>ALBERT</character>
<dialogue>You see my fortunes have changed a little bit. Me and Maso patched things up. Just made sense. Then I'm telling him a funny story about how you got beat to within an inch of your life because Dino told me you were screwing around. Little bit of a shock. Turns out you are the lying prick everyone thought you were. He always gave you the benefit but now-- you can't expect Mr. Pescatore to work with someone he can't trust.</dialogue>
<scene_description>Albert REMOVES JOE'S WEAPON FROM HIS WAIST.</scene_description>
<character>MASO</character>
<dialogue>The thing about Mr. White that you probably should have grasped is that he knows Tampa.</dialogue>
<character>DIGGER</character>
<dialogue>Which means nobody needs you, dumb fuck.</dialogue>
<scene_description>Oddly, Albert, Maso and Digger keep turning toward the window. Albert raises his gun, admires it, looks to Joe.</scene_description>
<character>ALBERT</character>
<dialogue>Nice piece. I understand you know the owner.</dialogue>
<character>JOE</character>
<parenthetical>(a trace of sadness)</parenthetical>
<dialogue>I did.</dialogue>
<scene_description>Just then, Joe's guy SAL FLIES BY THE WINDOW, NOOSE AROUND HIS NECK. The noose PULLS TAUT, BREAKING SAL'S NECK. He dangles a story below their window.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>They fucked up the length of the noose. They wanted Sal to hang right in front of me. But Sal had the last word.</dialogue>
<scene_description>ANOTHER BODY FALLS INTO FRAME OUTSIDE THE WINDOW. It's another Coughlin crew member, LEFTY. He dangles in front of them for a good fifteen seconds before he dies.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>They got the length right with Lefty.</dialogue>
<scene_description>CONTINUED: Out the windows, down on the street GUNFIRE RANG OUT. They look down to see MASO'S MEN CHASING AND GUNNING DOWN JOE'S CREW. Shooting them in the street like rabid animals. Some of Joe's men seem to ESCAPE. Albert steps a bit closer to the window, looking concerned. The PESCATORE men are looking around, a bit confused.</scene_description>
<character>ALBERT</character>
<dialogue>Where's the rest of them?</dialogue>
<character>MASO</character>
<dialogue>Joseph. Tell me.</dialogue>
<character>JOE</character>
<dialogue>Don't call me Joseph.</dialogue>
<scene_description>Maso SLAPS him across the face.</scene_description>
<character>MASO</character>
<dialogue>What happened to them?</dialogue>
<scene_description>Joe looks Maso in the eye. Takes a beat:</scene_description>
<character>MASO</character>
<dialogue>Where the fuck are they!!?</dialogue>
<character>ALBERT</character>
<dialogue>Shit. The fucking tunnels.</dialogue>
<character>MASO</character>
<dialogue>What tunnels?</dialogue>
<character>ALBERT</character>
<dialogue>The ones running underneath this neighborhood. Its how they get the booze in.</dialogue>
<character>DIGGER</character>
<dialogue>So put men in the tunnels.</dialogue>
<scene_description>Albert restrains himself.</scene_description>
<character>ALBERT</character>
<dialogue>No one knows where they are.</dialogue>
<parenthetical>(points to Joe)</parenthetical>
<dialogue>This asshole's a genius, right.</dialogue>
<scene_description>He raises his gun.</scene_description>
<character>ALBERT</character>
<dialogue>Not anymore.</dialogue>
<scene_description>He brings his gun down with savage strength on JOE'S HEAD. BLACK CONTINUED: Slowly sound comes up. A motor, the slap of waves on a hull. The black slowly lifts to reveal some detail, very close on woven burlap. He is wearing a hood. We hear:</scene_description>
<character>PESCATORE THUG</character>
<dialogue>He's awake. Someone get Albert.</dialogue>
<scene_description>The hood is PULLED AWAY.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TUG BOAT AT SEA ON THE GULF OF MEXICO - DAY</stage_direction>
<scene_description>Joe is tied to a chair. He is on the deck of a TUG BOAT. Hoods wander the deck, armed with weapons. Albert approaches Joe. Joe is blinded momentarily by the sun. The first thing he sees is his father's WATCH, which Albert is holding up. TWO MEN DRAG A TUB OVER TO JOE.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>The first thing I thought was, "God, I wish there was some beer in that fucking tub."</dialogue>
<scene_description>But it isn't filled with beer. Just CEMENT. The guys DROP JOE'S FEET IN THE CEMENT.</scene_description>
<character>ALBERT</character>
<dialogue>Takes longer than you would think to get hard. Like me.</dialogue>
<scene_description>He laughs. Genuinely happy. He takes out JOE'S FATHER'S WATCH, checks it. Shakes his head.</scene_description>
<character>ALBERT</character>
<parenthetical>(re: watch)</parenthetical>
<dialogue>Slow. Costs all the money in the world. Can't keep the time right. Piece of shit.</dialogue>
<scene_description>He THROWS IT IN THE OCEAN.</scene_description>
<character>ALBERT</character>
<dialogue>We don't get in this game to place second. Back the wrong horse...</dialogue>
<parenthetical>(snaps)</parenthetical>
<dialogue>That's it. Thought you would be eating tomorrow? Looking at the fucking sun? You won't. So take a last look. Because you die now.</dialogue>
<character>JOE</character>
<dialogue>Albert, listen to me. I have something. If you don't see it, you will regret it your whole life.</dialogue>
<scene_description>CONTINUED: Albert considers this.</scene_description>
<character>ALBERT</character>
<dialogue>Go ahead uncuff him. He's not going anywhere.</dialogue>
<scene_description>Joe removes a PHOTO from his pocket and hands it to Albert. At first Albert's smug grin remains on his face as he searches the picture. It slowly gives way to something between shock and fury. Some of the men notice a DISTANT TRIANGLE SHAPE far away on the horizon. Albert staring at the photograph.</scene_description>
<character>ALBERT</character>
<dialogue>She's dead.</dialogue>
<character>JOE</character>
<dialogue>She look dead to you?</dialogue>
<character>ALBERT</character>
<dialogue>Where is she?</dialogue>
<character>JOE</character>
<dialogue>In the fucking picture, Albert.</dialogue>
<scene_description>ALBERT SLAMS HIS FIST INTO JOE'S HEAD. He topples. Gino Valocco points to something off the starboard bow and calls out. A second BOAT appears, emerging from a spoil bank four hundred yards away.</scene_description>
<character>ALBERT</character>
<dialogue>Where is she?</dialogue>
<character>JOE</character>
<dialogue>Love to tell you. Love not to drown more.</dialogue>
<character>ALBERT</character>
<dialogue>It's an old one. You just folded up an old one.</dialogue>
<character>JOE</character>
<dialogue>Yeah I thought that, too. But look at the guy in the corner.</dialogue>
<scene_description>The MAN IN THE PHOTO holds a NEWSPAPER. Although the paper is upside down, we can make out the headline: PRESIDENT-ELECT ROOSEVELT SURVIVES ASSASSINATION ATTEMPT.</scene_description>
<character>JOE</character>
<dialogue>That was last month.</dialogue>
<scene_description>The two boats are now within 350 yards. CONTINUED:</scene_description>
<character>ALBERT</character>
<parenthetical>(seeing boats)</parenthetical>
<dialogue>They're half our size and we have the high ground. We'll kill every fucking one of them.</dialogue>
<scene_description>Albert's men KNELT ALONG THE GUNWALES, WEAPONS DRAWN. They await the coming boats. He raises his gun at Joe.</scene_description>
<character>ALBERT</character>
<dialogue>Tell me where she is, I'll make it quick.</dialogue>
<scene_description>Ilario and Fausto pull up a TRIPOD and mount a .30-.06 -- a massive MACHINE GUN. As Ilario pulls our rolls of ammunitions, Fausto pulls from the crate a 1903 GATLING gun and rests it on the rail.</scene_description>
<character>ALBERT</character>
<dialogue>Just tell me.</dialogue>
<scene_description>The MEN BEGIN SHOUTING, changing positions as the runabouts began to MOVE ERRATICALLY.</scene_description>
<character>ALBERT</character>
<parenthetical>(whispers, desperate)</parenthetical>
<dialogue>Please. I love her.</dialogue>
<character>JOE</character>
<dialogue>I loved her, too.</dialogue>
<character>ALBERT</character>
<dialogue>Like you love that woman?</dialogue>
<character>JOE</character>
<dialogue>Yeah.</dialogue>
<character>ALBERT</character>
<dialogue>Is she nigger or spic?</dialogue>
<character>JOE</character>
<dialogue>Both.</dialogue>
<character>ALBERT</character>
<dialogue>And that doesn't bother you?</dialogue>
<character>JOE</character>
<dialogue>Why does it matter?</dialogue>
<scene_description>ACTION STARTS There is a tremendous amount of fire back and forth-- reminiscent of a seventeenth century cannon battle between warships-- but these are lined with machine guns. CONTINUED: Ilario and Fausto man the now FULLY MOUNTED MACHINE GUNS, bands of ammunition across their laps like a blanket-- looking every bit the Spanish-American war veterans that they are.</scene_description>
<character>ALBERT</character>
<parenthetical>(gun forward)</parenthetical>
<dialogue>Tell me.</dialogue>
<character>JOE (V.O.)</character>
<dialogue>No one heard the fourth engine until it was too late.</dialogue>
<scene_description>A small AIRPLANE comes in high but dives fast. It's FARUCCO DIAZ'S plane. The side door in open-- wherein we see DION HOLDING A MACHINE GUN. Ilario turns to his left and bullets pass though his ear and INTO HIS NECK like a scythe. Bullets strike Fausto. His arms dance in the air by his head and he tips over, spitting red. The men all start SHOOTING AT THE PLANE. It BANKS UPWARD, STEEP. The men keep shooting, STEEPER after the plane-- until they are shooting almost STRAIGHT UP. They stop as the plane gets too far away and after a beat ALL THE BULLETS RAIN BACK DOWN-- tearing up the deck, striking men, causing panic. The SMALLER BOATS with JOE'S MEN are now close enough to be fired upon but all of ALBERT'S GUNNERS HAVE TURNED THEIR BACKS TO SHOOT AT DION'S PLANE. JOE'S MEN ON THE APPROACHING BOATS OPEN FIRE. Gunshots rip into Albert's men, taken completely off guard, hitting the hips and knees and abdomen of a third of the men on the boat. They make the kind of noises men make when they are shot in the hips and abdomen and come slapping the floor. The PLANE RETURNS FOR A SECOND PASS, Dion is working the machine gun like a fireman's hose. Men fire from the boats. One man puts his hand on the machine gun barrel, which is so HOT the skin on the man's hand SLIDES OFF. The boats exchanging fire while the plane returns several times to strafe-- and absorb fire itself. The churning, shredding of wood, overheating of metal and the way men react when shot should feel uncomfortably real. Both thrilling and offering a terrible view of what violence is like between men of brutality when it reaches its climax. When the dust settles, literally, we see several of JOE'S GUYS board the boat. PETER WALLACE and CARMINE set to work on the CEMENT with AXES. The cement hadn't hardened completely-- a combined six swings FREES JOE. CONTINUED: The plane has LANDED IN THE WATER and it TAXIS TO THE TUG. Dion gets off, along with several more soldiers, and he approaches Joe.</scene_description>
<character>DION</character>
<dialogue>How you doing?</dialogue>
<character>JOE</character>
<dialogue>I told you not to get that fucking plane.</dialogue>
<scene_description>Joe's men begin the process of KILLING ALBERT'S WOUNDED SOLDIERS. We hear them BEG FOR THEIR LIVES, MOANING AND CALLING OUT until their voices are silences by sporadic CRACKS. Dino and Joe stand on the deck, neither speaks, watching the men go methodically through the boat. Fassani flips over Gino (Maso's guy who walked Joe into the hotel). He is gurlging and crying.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I wondered what they would tell his son.</dialogue>
<scene_description>Gino holds his hands in front of his face.</scene_description>
<character>GINO</character>
<dialogue>Wait!</dialogue>
<scene_description>Fasani shoots him in the heart. Kicks him into the gulf.</scene_description>
<character>DION</character>
<parenthetical>(sees Joe thinking)</parenthetical>
<dialogue>They would have killed every last one of us. Hunted us down. You know that.</dialogue>
<parenthetical>(Joe doesn't respond)</parenthetical>
<dialogue>They didn't expect to see old age. Neither do I.</dialogue>
<scene_description>Carmine steps to a WOUNDED MAN who BEGS FOR HIS LIFE IN ITALIAN. Carmine fires, silencing the man. He looks around.</scene_description>
<character>CARMINE</character>
<parenthetical>(in Italian)</parenthetical>
<dialogue>That's it.</dialogue>
<character>JOE</character>
<dialogue>It never ends.</dialogue>
<character>DION</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Starting to wear me out.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DION</character>
<dialogue>I can see it.</dialogue>
<scene_description>Fasani and Wallace drag ALBERT WHITE ACROSS THE DECK. They dump him in front of Joe. Albert is long gone. Half his face is missing. A black crevice around where his upper left torso should be. Joe looks at him.</scene_description>
<character>JOE</character>
<parenthetical>(to Dion)</parenthetical>
<dialogue>I had a thing I was gonna say to him. "You thought you were gonna get me but I got you." But I thought it might be too corny.</dialogue>
<scene_description>Dion looks at Joe's pocket, where the watch should be.</scene_description>
<character>DION</character>
<dialogue>What happened to your watch?</dialogue>
<character>JOE</character>
<parenthetical>(looking at Albert)</parenthetical>
<dialogue>Gone.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GULF OF MEXICO - LATER</stage_direction>
<scene_description>The BOATS make their way back to shore. The plane BUZZES them and peels off. On one boat, Joe stands by Dino, wind whipping past them.</scene_description>
<character>JOE</character>
<parenthetical>(to Dion)</parenthetical>
<dialogue>Either he's north on 41 or it's a train. That's the problem when you make an enemy out of a son. He knows you too well.</dialogue>
</scene>
<scene>
<stage_direction>EXT. UNION STATION ESTABLISHING SHOT - EVENING</stage_direction>
<scene_description>We see the train station from above.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD NEAR UNION STATION - LATER</stage_direction>
<scene_description>Digger and Maso are in the back seat of an Auburn sedan in a field just west of Union Station. From the car we can see the red brick and white trim of the station, five tracks emerging from the back and splaying out like veins, aiming to carry cars all over the country. A DRIVER/BODYMAN is in the front seat. CONTINUED:</scene_description>
<character>MASO</character>
<dialogue>Should have gotten into fucking railroads, when there was still a chance back in the teens.</dialogue>
<character>DIGGER</character>
<dialogue>We got cars.</dialogue>
<character>MASO</character>
<dialogue>You don't think they'll notice a bunch of WOPS with swell cars and black hats driving through the fucking orange groves?</dialogue>
<character>DIGGER</character>
<dialogue>Go at night.</dialogue>
<character>MASO</character>
<dialogue>By now that Irish cocksucker has roadblocks on every road all the way to Jacksonville.</dialogue>
<character>DIGGER</character>
<dialogue>Well, they're sold out on the train pop-- I can get a plane out of Orlando--</dialogue>
<character>MASO</character>
<dialogue>I ain't gonna fly on one of those fucking deathtraps.</dialogue>
<character>DIGGER</character>
<dialogue>Pop, they're safe. They're safer than--</dialogue>
<character>MASO</character>
<dialogue>--than trains??</dialogue>
<scene_description>Just then we hear a DISTANT BOOM. Digger takes a stab at what it might be.</scene_description>
<character>DIGGER</character>
<dialogue>Duck hunting?</dialogue>
<scene_description>Maso takes a minute.</scene_description>
<character>MASO</character>
<dialogue>It's a hard thing when a man this stupid is your smartest child.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You see any ducks around here?</dialogue>
<character>DIGGER</character>
<dialogue>So what is it?</dialogue>
<character>MASO</character>
<dialogue>He just blew up the tracks.</dialogue>
<parenthetical>(to driver)</parenthetical>
<dialogue>The hotel.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MASO</character>
<parenthetical>(to Digger)</parenthetical>
<dialogue>You get your retard from your mother, by the way. Woman couldn't win a game of checkers against a bowl of fucking soup.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAMPA HOTEL, TENTH FLOOR - CONTINUOUS</stage_direction>
<scene_description>Maso, Seppe and Joe get off the elevator and walk down the hall and are met by ANTHONY SERVIDONE, another soldier.</scene_description>
<character>MASO</character>
<parenthetical>(to Anthony)</parenthetical>
<dialogue>You clear the room?</dialogue>
<character>ANTHONY</character>
<dialogue>Everything. Whole floor.</dialogue>
<character>MASO</character>
<dialogue>Okay.</dialogue>
<parenthetical>(to Seppe)</parenthetical>
<dialogue>Give it another look.</dialogue>
<scene_description>Seppe goes into the room. Anthony has something to share.</scene_description>
<character>ANTHONY</character>
<dialogue>They spotted Coughlin down at the Romero with a bunch of his guys.</dialogue>
<character>MASO</character>
<dialogue>He even get a scratch?</dialogue>
<character>ANTHONY</character>
<dialogue>Cut on the head.</dialogue>
<character>MASO</character>
<dialogue>I don't suppose we can wait for him to die of blood poisoning?</dialogue>
<character>DIGGER</character>
<dialogue>I don't think we got that kind of time.</dialogue>
<scene_description>Maso closes his eyes. Digger heads down the hall. Seppe emerges from the room.</scene_description>
<character>SEPPE</character>
<dialogue>All clear, boss.</dialogue>
<scene_description>Maso heads into his room, calling over to the two men--</scene_description>
<character>MASO</character>
<dialogue>I want you covering the door and the elevator like fucking centurions.</dialogue>
<scene_description>CONTINUED: They nod their assent.</scene_description>
</scene>
<scene>
<stage_direction>INT. TAMPA HOTEL, TENTH FLOOR, MASO'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Maso walks in. Walks over to a RADIO and turns the dial. It SQUELCHES and some music starts. He walks over to some crystal liquor bottles on a tray and starts to pour a drink.</scene_description>
<character>JOE (O.C.)</character>
<dialogue>Pour me one, will ya?</dialogue>
<scene_description>Reveal JOE, sitting in a chair, holding a silenced .32 Maso isn't surprised. Not even a little.</scene_description>
<character>MASO</character>
<dialogue>Where were you hiding?</dialogue>
<character>JOE</character>
<dialogue>Hiding?</dialogue>
<character>MASO</character>
<dialogue>When Seppe cleared the room?</dialogue>
<character>JOE</character>
<dialogue>I was sitting on the bed right there. I asked him if he wanted to be working for someone who would be alive tomorrow.</dialogue>
<character>MASO</character>
<dialogue>That's all it took?</dialogue>
<character>JOE</character>
<dialogue>It took you wanting to put a dunce like Digger in charge. We had a good thing here. And you fuck it up in one day.</dialogue>
<character>MASO</character>
<dialogue>That's human nature isn't it?</dialogue>
<character>JOE</character>
<dialogue>Fixing what ain't broke?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know how many people died because of you. You and your simple wop bullshit?</dialogue>
<character>MASO</character>
<dialogue>Maybe someday you'll have a son and you'll understand.</dialogue>
<character>JOE</character>
<dialogue>What will I understand?</dialogue>
<scene_description>CONTINUED: It's not something Maso can put into words.</scene_description>
<character>MASO</character>
<dialogue>How is my son?</dialogue>
<character>JOE</character>
<dialogue>Dead.</dialogue>
<scene_description>Maso does very little but we feel the echoes of grief come from somewhere inside him.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>He pictured his son lying facedown. A bullet in his head, blood pooling in the carpet. He was surprised how fast the grief overtook him.</dialogue>
<character>MASO</character>
<dialogue>I always wanted you for a son.</dialogue>
<character>JOE</character>
<dialogue>Funny. I never wanted you for a father.</dialogue>
<character>JOE (V.O.)</character>
<dialogue>The last thing he saw was his own blood falling in a glass of anisette.</dialogue>
<scene_description>Joe SHOOTS Maso and the bullet goes through his NECK. As promised, a few drops fall into his drink and he looks down and he topples over onto the floor. Joe stands up and shoots Maso one more time through the top of the head. Just to be sure.</scene_description>
</scene>
<scene>
<stage_direction>INT. TAMPA HOTEL, TENTH FLOOR, HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>Joe walks out the door, sees Seppe. Neither says a word. Joe turns to Anthony Servidone. Joe's men APPEAR.</scene_description>
<character>JOE</character>
<dialogue>I don't want to kill anyone. You want to die?</dialogue>
<character>ANTHONY</character>
<dialogue>No, Mr. Coughlin.</dialogue>
<scene_description>Dion exits Digger's room. More file out.</scene_description>
<character>JOE</character>
<dialogue>Anyone?</dialogue>
<scene_description>Solemn head shakes. No one wants to die. CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>If you want to go back to Boston you have my blessing. You want to stay down here where the sun is, where the girls are pretty, we got some jobs for you.</dialogue>
<parenthetical>(he looks around)</parenthetical>
<dialogue>But I'm finished. If you want the boss, go to him.</dialogue>
<scene_description>Joe indicates Dion.</scene_description>
<character>JOE</character>
<dialogue>He runs things now.</dialogue>
<scene_description>Dion doesn't know what to say. There is a moment between these two old friends-- seeing that this is where the road divides.</scene_description>
<character>JOE</character>
<dialogue>Any confusion?</dialogue>
<scene_description>Mumbled assent. He HANDS DION HIS GUN. Dion hands Joe the ADDRESS OF GRACIELA'S SAFE HOUSE. Joe walks down the hall, leaving them behind. Men with machine guns watch him move past them down the hall. He moves down the hall past all the</scene_description>
<character>JOE (V.O.)</character>
<dialogue>I never saw Dion again. He ran the crew for eight years. He didn't see old age.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MIAMI FLORIDA, AERIAL/VFX - MORNING</stage_direction>
<scene_description>The sun comes up and we glide over Miami in the 1930's.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MIAMI STREET, WHOREHOUSE - DAY</stage_direction>
<scene_description>Joe smokes a cigarette. His suit is rumpled, bandages on the cut over his eye. It's almost over. The reverse reveals a WOMAN. The years haven't been horrible to her but they haven't been kind, either. She looks like a beautiful woman whose vices have failed to love her back. She has crow's feet and lines on her face. Her hair is brittle, even in the humidity. We now recognize EMMA GOULD. She sprays the street and, still looking down: CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>Say what you have to say.</dialogue>
<character>JOE</character>
<dialogue>You want to look at me?</dialogue>
<scene_description>She tilts her head up a bit but keeps her eyes down.</scene_description>
<character>JOE</character>
<dialogue>So what? You had the wreck and thought you'd make the best of it?</dialogue>
<scene_description>She shakes her head.</scene_description>
<character>EMMA</character>
<dialogue>No.</dialogue>
<character>JOE</character>
<dialogue>Then what?</dialogue>
<character>EMMA</character>
<dialogue>Once the coppers started chasing me I told the driver the only way to get away was to drive off the bridge but he wouldn't listen.</dialogue>
<character>JOE</character>
<dialogue>So?</dialogue>
<character>EMMA</character>
<dialogue>So I shot him. We went in the water and I swam out. I ran to the closest house with a light on. He was a fisherman and he was happy to take me in.</dialogue>
<character>JOE</character>
<dialogue>You didn't want to reach me?</dialogue>
<character>EMMA</character>
<dialogue>If I put my head up they would have killed me.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I didn't owe you.</dialogue>
<character>JOE</character>
<dialogue>I loved you.</dialogue>
<character>EMMA</character>
<dialogue>Try being a girl in this world. I had to get out from under or live that way forever.</dialogue>
<scene_description>Joe is taken aback. This is not what, in all the versions of this encounter he imagined, was even a possibility.</scene_description>
<character>JOE</character>
<dialogue>My apologies. For being in love with you.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>You didn't love me. You wanted to own me. Like a nice suit. Show off to your friends. Ain't she a dish. I ain't a fucking dish. And no one owns me. I own.</dialogue>
<character>JOE</character>
<dialogue>I mourned you. For years.</dialogue>
<character>EMMA</character>
<dialogue>Tell me how bad I'm supposed to feel for you.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You think you ran your own game. Maybe if I had a police chief father from a nice part of Ireland but I just had to make do.</dialogue>
<character>JOE</character>
<dialogue>What about the body parts they found?</dialogue>
<character>EMMA</character>
<dialogue>Remember Albert talking about how he got himself a new girl?</dialogue>
<character>JOE</character>
<dialogue>Not really.</dialogue>
<character>EMMA</character>
<dialogue>Well, he did. She was in the car. Never got her name.</dialogue>
<character>JOE</character>
<dialogue>You kill her, too?</dialogue>
<character>EMMA</character>
<dialogue>Her head hit the back of the front seat. I don't know when she died but I didn't stick around to find out.</dialogue>
<character>JOE</character>
<dialogue>Did you ever love me?</dialogue>
<character>EMMA</character>
<dialogue>We had a laugh, Joe. There were moments. But you had to make it something it wasn't.</dialogue>
<character>JOE</character>
<dialogue>Which was that.</dialogue>
<character>EMMA</character>
<dialogue>A lie. Like love was easy. We're not God's children. Not fairy tale people in a true love book.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>EMMA</character>
<dialogue>We dance like motherfuckers so the grass can't grow underfoot.</dialogue>
<scene_description>She lights a cigarette.</scene_description>
<character>EMMA</character>
<dialogue>You don't think I know who you are now? You don't think I've been wondering? Either you show up here, or its a guinea in a suit doing it for you.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>I'm free, Joseph. You want to come by now? You got an open invitation. We always had a lotta laughs.</dialogue>
<scene_description>This is the saddest part of all. Does she mean it? Is she prostituting herself to him? Does she know the difference anymore?</scene_description>
<character>JOE</character>
<dialogue>I don't want to be free.</dialogue>
<character>EMMA</character>
<dialogue>That's all we ever wanted.</dialogue>
<character>JOE</character>
<dialogue>That's what you wanted. And now you have it.</dialogue>
<parenthetical>(turns)</parenthetical>
<dialogue>Good bye, Emma.</dialogue>
<scene_description>DISSOLVE.</scene_description>
</scene>
<scene>
<stage_direction>INT. MIAMI, SAFE HOUSE - LATER</stage_direction>
<scene_description>Joe sits at a table, light like a Vermeer painting bisects his face. Graciela enters and sees him. She crosses to him and holds him. He lets go. Title card: South Florida, 1935.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASITAS - DAY</stage_direction>
<character>JOE (V.O.)</character>
<dialogue>No matter how fast we built casitas over the next few years, we never ran out of women who needed a place to stay.</dialogue>
<scene_description>Joe sits walks through another development. Graciela walks with him along with their son, toddling along, his features and her skin color. CONTINUED:</scene_description>
<character>JOE</character>
<dialogue>Tomás, ven aca por favor.</dialogue>
<scene_description>Tomás, Spanish for Thomas. His father's name. The kid keeps wandering. Graciela scoops him up. Clotheslines draped with laundry flutter in the wind.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE AND GRACIELA'S MIAMI HOME - DAY</stage_direction>
<scene_description>Tomás runs across a wood floor, past Graciela, leading us to Joe. He leans over to pick something up and looks out the window, when he looks back one of the panes POPS. Then something else BREAKS, and there the sound of more GLASS BREAKING. Joe is stunned. The next SHOT is accompanied by a louder BANG and we and Joe realize simultaneously that someone is SHOOTING INTO THE HOME. Joe falls to the ground, moves across the floor to a CABINET in the hall. He awkwardly struggles opening it. He reaches in and retrieves an EAGLE RADOM PISTOL Wz .35 and puts in the clip. We hear YELLING from outside.</scene_description>
<character>CHIEF FIGGIS</character>
<parenthetical>(from outside)</parenthetical>
<dialogue>Repent!</dialogue>
<scene_description>Joe opens the front door. He sees FIGGIS, looking twenty years older. Figgis sees him and starts firing. Despite his promise of a steady arm and clear eye, his shots are wide to the right. Joe FIRES while walking toward Chief Figgis who gets more intense.</scene_description>
<character>CHIEF FIGGIS</character>
<parenthetical>(screaming, eyes of rage)</parenthetical>
<dialogue>Repent! Repent! Re--</dialogue>
<scene_description>Silenced by a shot to the heart. One more to the head. Two more to the body. Figgis falls over and Joe empties the rest of the clip into him. Joe stands over his body, chest heaving. Fifteen seconds ago he was playing with his son... Joe turns back to look at the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE AND GRACIELA'S MIAMI HOME - CONTINUOUS</stage_direction>
<scene_description>Joe enters. Walks across the floor, broken glass crunches under foot. CONTINUED: Low angle on Joe, booming up as he approaches. Something in his face tells us that the reverse is--- GRACIELA LIES DEAD ON THE FLOOR. An errant round entered her skull above the eye, killing her instantly. Tomás walks in.</scene_description>
<character>TOMÁS</character>
<dialogue>Mama.</dialogue>
<scene_description>On Joe. Joe's son starts to cry. DISSOLVE Title: Miami, 1939</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - MORNING</stage_direction>
<scene_description>Mist settled onto the sea, shrouding the horizon. Silhouettes of two figures, a man and a SIX YEAR OLD boy. Walking slowly, the boy animated, the man slow and deliberate.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>When they talked about me in Ybor, it was said I had grown old very fast. Or that I walked with a limp, though I had no injury. Most agreed I had become dead inside.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MIAMI STREET - YEARS LATER</stage_direction>
<scene_description>Joe stands in a line of people, slowly shuffling forward. He is now FORTIES. His holds his son by the hand, though by now, at eight, it isn't necessary-- but he keeps him close.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER - LATER</stage_direction>
<scene_description>Joe, and Tomás sit in the theater, watching. A NEWSREEL comes up. Hitler on the march.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>There was talk about this little guy in Europe who was going to threaten the peace we built. I didn't think so. There was no percentage in it.</dialogue>
<scene_description>The main feature, RIDERS OF THE EASTERN RIDGE comes up. Screenplay CONTINUED: Daniel Coughlin Joe is stunned.</scene_description>
<character>JOE</character>
<parenthetical>(barely aloud)</parenthetical>
<dialogue>My brother.</dialogue>
<scene_description>His son sits rapt and hasn't heard him. We watch Joe and his son as the light from the movie plays across their faces. We see the 1930's western. Shoot outs. Heroes.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>My son loved the show. It was about an honest sheriff in a dirty town. All he could talk about was getting a six belt when he grew up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHARF VISTA ONTO THE SEA - SUNSET</stage_direction>
<scene_description>From behind we see Joe fishing with his son.</scene_description>
<character>JOE (V.O.)</character>
<dialogue>We fished at sunset when the snook and the redfish would bite. Sometimes he would ask me if we could see where his mother came from. I always said the same thing, "almost."</dialogue>
<scene_description>He puts his arm around Tomás, leans in to his ear. Points out to sea. THE END</scene_description>
</scene>
</script> | In 1926, Joe Coughlin, an Irish-American World War I veteran and the prodigal son of Boston police captain Thomas Coughlin, falls in love with Emma Gould, the mistress of notorious gangster Albert White, the boss of the Irish Gang of Boston who Joe and his friends have been targeting in a series of robberies. Thomas objects to the relationship and advises Joe against his criminal activities, warning him that his wrongdoing will catch up with him eventually. White's rival, Italian Mafia boss Maso Pescatore, finds out about their affair and blackmails Joe to kill White. Joe refuses, and instead he and Emma decide to flee to California. To fund the trip, Joe commits a bank heist with his partner Dion Bartolo and another man, during which three police officers are killed in an ensuing chase. When Joe goes to meet Emma, he discovers that she betrayed him to White. Joe is brutally beaten by White's men and nearly killed before Thomas and the police arrive and arrest Joe for the policemen's murders. Thomas tells Joe that Emma drowned while being pursued by police. He also blackmails Chief Inspector Calvin Bondurant to ensure that Joe is indicted on a relatively minor charge rather than murder, and he is given only a three-year sentence. Two weeks before Joe's release, Thomas dies of a heart attack. Wanting revenge against White, Joe volunteers his services to Pescatore and is recruited as an enforcer for the latter's rum empire in Ybor City in Tampa, Florida, which is under attack by White. Joe brings Dion along and together they protect Pescatore's business in the area; the boss then sends orders for them to bring gambling and drugs into Tampa. Joe also develops a relationship with Graciela Corrales, the sister of a local Cuban businessman who supplies most of the rum, and they are soon married. Joe befriends Sheriff Irving Figgis to get police protection for his bootlegging. Irving's daughter Loretta heads to Hollywood to become an actress but instead becomes a heroin-addicted prostitute. Irving's brother-in-law, R. D. Pruitt, a member of the local chapter of the Ku Klux Klan who blames Joe for bringing more non-white immigrants into Tampa, starts bombing Joe's businesses and killing his men. Joe promises Irving to help get Loretta off drugs and back to Ybor City in exchange for betraying Pruitt. Joe kills Pruitt personally and has his men hunt down and kill all of Tampa's KKK members in a string of brutal assassinations. With Prohibition coming to an end, Pescatore orders Joe to switch to selling narcotics, which he disagrees with, instead planning to build a mob casino near Sarasota. He intends to persuade the state government to legalize gambling, but Loretta, who has become a devout Christian under her father's strict and punishing discipline, begins preaching that alcohol and gambling are against God's word. Her ministry is popular enough that the government decides not to legalize gambling. Joe recognizes that Pescatore will be enraged, particularly since Joe still refuses to invest in narcotics. During a private meeting in a restaurant to settle their differences, Loretta confides to Joe that she does not truly believe in God and her sins cannot be forgiven. The next day, Joe is despondent to learn that Loretta committed suicide. While visiting his brother-in-law, an amateur photographer, Joe finds a recent picture of Emma, whom he believed to be dead. He decides to pursue her, but only after informing Graciela first, much to Dion's dismay. Pescatore orders Joe to meet with him at a local hotel, where he reveals he has reconciled with White and given him the honor of killing Joe for his failures, planning to replace him with his son Digger. Anticipating Pescatore's betrayal, Joe distracts White by showing him Emma's picture, as White also believed her to be dead. Dion and his men ambush Pescatore's gang through a series of tunnels Joe had previously used to move rum into the hotel. In the ensuing gunfight, White, Pescatore and Digger are all killed, eliminating all of Joe's enemies in one stroke. He names Dion as his successor before locating Emma at the brothel she now works at. She relates how she faked her death to escape from White and enjoys her newfound freedom, and claims she never reciprocated Joe's love for her. Satisfied, Joe returns to Graciela. Joe and Graciela move to Miami, where they have a son, Tommy, and devote their time to building houses for the impoverished. Driven insane by Loretta's death, Figgis tracks them down and shoots up their house, killing Graciela before being fatally shot by Joe. Joe arranges for Graciela to be buried in her homeland in Cuba and spends the rest of his days dedicated to charity and to raising Tommy, who soon voices his desire to become a police officer. |
Beautiful Boy_2018 | tt1226837 | <script>
<scene>
<scene_description>Beautiful Boy Screenplay by Luke Davies & Felix van Groeningen based on the books Beautiful Boy by David Sheff and Tweak by Nic Sheff April 3,2017 Copyright 2017 AMAZON.COM, INC OR ITS AFFILIATES. All Rights Reserved. This material is the exclusive property of AMAZON.COM, INC. OR ITS AFFILIATES and is intended solely for the use of its personnel. No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of AMAZON.COM, INC. OR ITS AFFILIATES.</scene_description>
</scene>
<scene>
<stage_direction>INT. MEDICAL OFFICE AT UCLA - DAY</stage_direction>
<scene_description>DAVID SHEFF - in his 40's and still a great looking guy - is seated with DR. BROWN (62), a passionate amiable man. We stay close on David.</scene_description>
<character>DR BROWN (O.S.)</character>
<dialogue>So this is for The New York Times Magazine?</dialogue>
<character>DAVID</character>
<dialogue>No. I'm sorry... I freelance, I write for different magazines but this is a personal matter.</dialogue>
<character>DR BROWN (O.S.)</character>
<dialogue>A personal matter?</dialogue>
<character>DAVID</character>
<dialogue>Yes. I'm sorry, is that okay?</dialogue>
<character>DR BROWN (O.S.)</character>
<dialogue>That's absolutely okay. May I ask what this is regarding?</dialogue>
<character>DAVID</character>
<dialogue>It's about my son.</dialogue>
<character>DR BROWN (O.S.)</character>
<dialogue>Okay how can I help?</dialogue>
<character>DAVID</character>
<dialogue>There are moments that I look at him, this kid that I raised who I thought that I knew inside and out, and I wonder who he is? He's been doing all sorts of drugs, but he's addicted to crystal meth, which seems to be the worst of all of them. And I guess I am here because I just want to know all that I can about all of it. Know your enemies right? So... my two big questions are, what is it doing to him and what can I do to help him?</dialogue>
<scene_description>FADE TO BLACK.: TEXT ON SCREEN: one year earlier FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David is walking in the hallway and peeks inside his son NIC's (18) room. The bed is made, Nic is not there. David turns off the light and closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David can't sleep. He looks at the clock, it's 1 am. Silently he gets out of bed to not wake his wife.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>Restless, David walks downstairs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>From the surrounding woods, we see a light on the first floor turn on.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David is on the phone in his workspace. It's ringing.</scene_description>
<character>HOSPITAL FRONT DESK (O.S.)</character>
<dialogue>Marin General Hospital, how may I help you?</dialogue>
<scene_description>David's study is the kind of space you'd love to live a creative life. David is a senior writer for Rolling Stone, Playboy, Wired, Vanity Fair. On the walls, artwork mixed with family photos - Nic at various ages - mixed with framed magazine covers, including David's own holy grail, the Playboy-cover featuring John Lennon's final interview from</scene_description>
<character>DAVID</character>
<dialogue>Hi, my son went missing and I wanted to check if he was maybe brought in. Maybe an accident happened or...</dialogue>
<character>HOSPITAL FRONT DESK (O.S.)</character>
<dialogue>Can I have name and a description, sir?</dialogue>
<character>DAVID</character>
<dialogue>Nicholas Sheff. S-H-E-F-F. He's 18 years old, just over six feet tall. About 130 pounds.</dialogue>
<character>DAVID</character>
<dialogue>Maybe less, I'm not sure. He has shoulder length brown hair and green eyes.</dialogue>
<character>HOSPITAL FRONT DESK (O.S.)</character>
<dialogue>Thank you, please hold.</dialogue>
<character>DAVID</character>
<dialogue>Okay.</dialogue>
<scene_description>As he waits it is excruciating. He looks around the room. At the old photos of Nic. It takes forever.</scene_description>
<character>HOSPITAL FRONT DESK (O.S.)</character>
<dialogue>Mr. Sheff?</dialogue>
<character>DAVID</character>
<dialogue>Yes.</dialogue>
<character>HOSPITAL FRONT DESK (O.S.)</character>
<dialogue>There is no one by that name, sir.</dialogue>
<character>DAVID</character>
<dialogue>Okay. Thank you.</dialogue>
<scene_description>David hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David enters Nic's room. Turns on the light. What is he looking for? He doesn't really know. A little nervous he goes through some stuff, opens the drawers and checks them. He sits at Nic's desk and studies his drawings and writing tacked to the wall. On Nic's desk he sees a couple of books. He takes one, 'The Beautiful And The Damned', by Fitzgerald. He takes the book and flips it open at some random places, reads snippets here and there.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David is walking around with his phone in the garden.</scene_description>
<character>DAVID</character>
<dialogue>He...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>He's been gone for two days.</dialogue>
<scene_description>He is speaking to VICKI, Nic's mom. They separated a long time ago, and Vicki is always a little uneasy when confronted with David.</scene_description>
<character>VICKI (O.S.)</character>
<dialogue>What?! What do you mean, he's gone? What's going on?</dialogue>
<character>DAVID</character>
<dialogue>Well, I don't know.</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>Two days? Why didn't you tell me sooner?</dialogue>
<character>DAVID</character>
<dialogue>I didn't want to worry you I guess. I just--</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>I'm his mother, David.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Didn't you see this coming?</dialogue>
<character>DAVID</character>
<dialogue>Uh, no.</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<parenthetical>(a little upset)</parenthetical>
<dialogue>No. I didn't see it coming.</dialogue>
<parenthetical>(even more)</parenthetical>
<dialogue>If I had seen it coming I would have done something.</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>It was just a question David. You, know I haven't been talking a lot with him lately.</dialogue>
<scene_description>In a split-second this conversation has turned into a fight, as many times before, probably.</scene_description>
<character>DAVID</character>
<dialogue>Well, maybe that's why you shouldn't be giving me advice on parenting, right? Fuck, Vicki. Could we just not blame each other right now? Thanks.</dialogue>
<character>VICKI</character>
<dialogue>Who's blaming who here? If I hardly ever see him, it's because he's supposed to come to LA for the holidays, but always finds a reason not to come.</dialogue>
<character>DAVID</character>
<dialogue>Well that's not my fault, is it?</dialogue>
<scene_description>They both hang up. David watches his wife KAREN through the windows of her studio. She is the mother of their 2 younger kids, JASPER (7) and DAISY (5), and the stepmother of Nic. Together they also have two dogs, BRUTUS and MOONDOG. She is a beautiful and artistic woman, self assured and a little neurotic at the same time. She's wearing a colorful paint stained overall. Karen notices David, they look at each other. Karen stops painting and walks to David. They hug.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY (FLASHBACK)</stage_direction>
<scene_description>A younger David hands Nic (12) little wrapped-in- BABY JASPER. Nic stares at his little brother. A younger Karen watches Nic and Jasper.</scene_description>
<character>DAVID</character>
<dialogue>Nic. Here's your brother.</dialogue>
<character>NIC</character>
<dialogue>Hi Jasper. This is amazing, dad.</dialogue>
<scene_description>Nic touches Jasper's little hands. Karen and David watch them. CUT TO: David takes his jacket. He and Nic have to go. Karen and Nic hug and say goodbye.</scene_description>
<character>KAREN</character>
<dialogue>Bye mister. I'll miss you this summer. Write me.</dialogue>
<character>NIC</character>
<dialogue>Write me back.</dialogue>
<character>KAREN</character>
<dialogue>And work on your french.</dialogue>
<character>NIC</character>
<dialogue>Oui madame.</dialogue>
<scene_description>A little laugh.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEPARTURES, SF AIRPORT - DAY (FLASHBACK CONTINUED)</stage_direction>
<scene_description>David and Nic are in the departures hall, among other MINORS that will fly unaccompanied and their PARENTS, dropping them off. The minors are wearing pink paper badges with names written in Magic Marker. A couple of FLIGHT ATTENDANTS usher the kids to board the plane.</scene_description>
<character>DAVID</character>
<dialogue>Have a great summer. Say hi to your Mom.</dialogue>
<scene_description>David is a little nervous. He kisses Nic on the forehead. They hug.</scene_description>
<character>DAVID</character>
<dialogue>Everything.</dialogue>
<character>NIC</character>
<dialogue>Everything.</dialogue>
<scene_description>CUT TO: David watches through the glass, as the plane pulls back. He looks sadder than before. (he was putting on a show for Nic) The plane takes off. David walks away.</scene_description>
</scene>
<scene>
<stage_direction>I/E. FAMILY CAR / ROADS TO INVERNESS/ DRIVEWAY, SHEFF HOUSE -</stage_direction>
<scene_description>DAY Present time. David is driving the family car, the kids are in the back. David watches them being goofy but his mind is somewhere else. They come home, David sees a Volvo parked on the driveway. He parks behind it, gets out and takes a closer look at the Volvo. Nobody in the car. The front headlight is cracked. Daisy and Jasper get out of the car too, but don't notice the car being home as something special. They enter the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David approaches Nic's bedroom door. It's closed. He opens it.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David sees Nic curled up in his bed. A moment of relief. He watches him, goes nearby, sits down next to him. Nic looks pretty bad. He's shivering.</scene_description>
<character>DAVID</character>
<dialogue>Hey. Where have you been?</dialogue>
<scene_description>Nic opens his eyes.</scene_description>
<character>NIC</character>
<dialogue>I just need to sleep.</dialogue>
<character>DAVID</character>
<dialogue>What have you been doing?</dialogue>
<character>NIC</character>
<dialogue>I just need to sleep, alright? Leave me alone.</dialogue>
<scene_description>David notices Jasper and Daisy standing in the door and watching. They see Nic who looks really wasted.</scene_description>
<character>DAVID</character>
<dialogue>Guys, could you go downstairs? I'll be there in a minute.</dialogue>
<scene_description>They hesitate a little, want to see what is going on.</scene_description>
<character>DAVID</character>
<dialogue>Please.</dialogue>
<scene_description>They back off. David looks at Nic again, his eyes are closed again. Nic is calmer now. David looks at him for a moment...</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / INVERNESS ROADS - DAY</stage_direction>
<scene_description>A tiny Volvo in a wide landscape. The car drives towards us. David is driving. Nic feels sick. David pulls over. We stay close on David. From outside the car we hear the sounds of throwing up. Nic reenters the car. David gently rubs his back.</scene_description>
</scene>
<scene>
<stage_direction>INT. VOLVO / GOLDEN GATE BRIDGE - DAY</stage_direction>
<scene_description>David and Nic are driving. Nic watches the road and the clouds. He still feels sick. They cross the Golden Gate bridge.</scene_description>
</scene>
<scene>
<stage_direction>INT. VOLVO / ENTERING SAN FRANCISCO - DAY</stage_direction>
<scene_description>David and Nic enter San Francisco, they drive up a typical steep hill.</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / OHLHOFF REHAB - DAY</stage_direction>
<scene_description>They arrive at a driveway to the rehab centre. David parks.</scene_description>
<character>NIC</character>
<dialogue>Dad I'm sorry. I fucked up and it was a mistake but it was a one time mistake. I learned my lesson. I don't want to go through this shit again.</dialogue>
<scene_description>David looks at Nic, feels for him.</scene_description>
<character>DAVID</character>
<dialogue>Let's just go inside.</dialogue>
<character>NIC</character>
<dialogue>No.</dialogue>
<character>DAVID</character>
<dialogue>They are professionals. Let's just listen to what they have to say.</dialogue>
<scene_description>In a split-second Nic just changes and becomes angry and aggressive. He screams out of frustration.</scene_description>
<character>NIC</character>
<dialogue>Look I'm 18! You can't force me.</dialogue>
<scene_description>David is taken aback. Nic's right, he no longer has a legal right to force Nic into rehab.</scene_description>
<character>DAVID</character>
<dialogue>This got out of hand, right? Don't you think? Come on.</dialogue>
<character>NIC</character>
<dialogue>Okay. I'm doing it for you.</dialogue>
<scene_description>He looks at David one more time and exits the car.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OHLHOFF REHAB - DAY</stage_direction>
<scene_description>They walk towards the building. SOME GUYS - presumable addicts or ex-addicts - are smoking on the stairs leading to the entrance. Nic looks at them. They look back.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM, OHLHOFF REHAB - DAY</stage_direction>
<scene_description>Nic sits in an austere waiting room.</scene_description>
</scene>
<scene>
<stage_direction>INT. ADMISSIONS OFFICE, OHLHOFF REHAB - DAY</stage_direction>
<scene_description>David is seated with the DIRECTOR of the program, an imposing woman.</scene_description>
<character>DIRECTOR</character>
<dialogue>He needs treatment and fast. There are still a lot of drugs in his system and worst of all, he is in denial.</dialogue>
<scene_description>David is watching Nic through the glass of the door.</scene_description>
<character>DAVID</character>
<dialogue>Can you help him?</dialogue>
<character>DIRECTOR</character>
<dialogue>Oh yeah. A lot of the people here are not here by choice and they have just as much a chance as anybody.</dialogue>
<scene_description>OK. Although all of this is alarming, David stays cool. 'We will fix this'.</scene_description>
<character>DIRECTOR</character>
<dialogue>We have one free bed, so if you want I can check him in for our 28 day treatment. Then we evaluate.</dialogue>
<character>DAVID</character>
<dialogue>Um. What is your success rate?</dialogue>
<character>DIRECTOR</character>
<dialogue>On the high end, 80 percent. On the low end 25 percent?</dialogue>
<scene_description>David nods.</scene_description>
<character>DIRECTOR</character>
<dialogue>Look, he will have daily consultations with staff physicians and a psychiatrist. We have daily AA and NA meetings. He'll be monitored very closely, ok?</dialogue>
<scene_description>David thinks, nods. CUT TO: Papers need to be filled in / Social security numbers / Credit card information / Nic enters, he needs to sign too. CUT TO: David takes Nic in his arms, looks him straight in the eyes:</scene_description>
<character>DAVID</character>
<dialogue>Everything.</dialogue>
<scene_description>Clearly some reference loaded with history - though we don't know what it means. Nic looks at David. A little grumpy, ashamed too.</scene_description>
<character>NIC</character>
<dialogue>Everything.</dialogue>
<scene_description>Nic looks away, and walks off with a NURSE. The director and David watch them walk away.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, OHLHOFF REHAB - MORNING</stage_direction>
<scene_description>Nic, in PJ's, looking really bad and down, steps into the rehab dining room and kitchen. 15 or so other Ohlhoff CLIENTS are serving themselves breakfast. All kinds of different people. Men, boys, women, girls. Some look as down as Nic, others are pretty up. It's a mixed atmosphere. Nic sits at a table and pours himself a glass of orange juice. He takes a sip and looks up at the man eating next to him, JOHNNY, 40-ish, who has lost most of his teeth. Nic studies him and then looks back down.</scene_description>
<character>DAVID (PRE-LAP)</character>
<dialogue>Why are you always in this room? You hardly ever come out of here. It's like you're a vampire.</dialogue>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - DAY (FLASHBACK)</stage_direction>
<scene_description>Nic is on the floor writing in his notebook.</scene_description>
<character>NIC</character>
<dialogue>I read. I draw.</dialogue>
<scene_description>David is standing at Nic's desk.</scene_description>
<character>DAVID</character>
<dialogue>You know what we should do? We should go surfing.</dialogue>
<scene_description>Nic looks up from his notebook and smiles at David.</scene_description>
<character>NIC</character>
<dialogue>Yeah?</dialogue>
<character>DAVID</character>
<dialogue>Does that sound good?</dialogue>
<character>NIC</character>
<dialogue>Yeah, well. I'm into other things now.</dialogue>
<character>DAVID</character>
<dialogue>Reading misanthropes and seriously depressed writers...</dialogue>
<character>NIC</character>
<dialogue>Ah, cmon. They're kinda great though, right?</dialogue>
<scene_description>David smiles, he is reminded of his own young years.</scene_description>
<character>DAVID</character>
<dialogue>I get it. It'll pass, though.</dialogue>
<scene_description>Silence.</scene_description>
<character>DAVID</character>
<dialogue>It always does.</dialogue>
<scene_description>Nic looks back down at his notebook.</scene_description>
<character>NIC</character>
<dialogue>What does?</dialogue>
<character>DAVID</character>
<dialogue>The feeling of being alienated and isolated.</dialogue>
<scene_description>Nic chuckles.</scene_description>
<character>NIC</character>
<dialogue>That really helps. Thanks for the advice.</dialogue>
<scene_description>David understands Nic wants to be alone. OK. He exits Nic's room.</scene_description>
<character>NIC</character>
<dialogue>Sorry, dad, that was stupid. It came out wrong, I'm sorry.</dialogue>
<scene_description>A little smile. He closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, OHLHOFF - DAY</stage_direction>
<scene_description>Present time. David and Karen sit with the director. The door opens. VINCE - one of the Ohlhoff counselors - and Nic enter. He looks a little better.</scene_description>
<character>DAVID</character>
<dialogue>Hey.</dialogue>
<character>NIC</character>
<dialogue>Hi dad.</dialogue>
<scene_description>David and Karen stand up and hug Nic. It's a little awkward. Vince takes some chairs, they all have a seat. Vince starts talking to break the ice.</scene_description>
<character>VINCE</character>
<dialogue>So, we feel he's made great progress. Right Nic?</dialogue>
<character>NIC</character>
<dialogue>Yes.</dialogue>
<character>DAVID</character>
<dialogue>That's great.</dialogue>
<character>KAREN</character>
<dialogue>That's great, Nic.</dialogue>
<scene_description>David pats Nic on the shoulder and leaves his hand there.</scene_description>
<character>VINCE</character>
<dialogue>So we should maybe talk about the coming weeks. Nic?</dialogue>
<character>NIC</character>
<dialogue>Yes.</dialogue>
<scene_description>David is surprised: where is this leading to? Nic takes a moment, then turns to David and Karen.</scene_description>
<character>NIC</character>
<dialogue>I think I need a little bit more time in rehab. So if it was alright with you guys I was wondering if I could stay in the halfway house here.</dialogue>
<scene_description>David and Karen look to Vince.</scene_description>
<character>VINCE</character>
<dialogue>The halfway house is an open living facility, with follow-up every night. And we would help him find a job.</dialogue>
<scene_description>A beat. David is trying to figure out what this means... He looks at Nic.</scene_description>
<character>NIC</character>
<dialogue>I don't want to go to college right now, dad.</dialogue>
<scene_description>David didn't see this one coming, doesn't understand. Takes his time to let it sink in.</scene_description>
<character>DAVID</character>
<dialogue>Oh. OK. And do what?</dialogue>
<character>NIC</character>
<parenthetical>(takes his time, soft)</parenthetical>
<dialogue>I think I need to be independent. Dad, I'm telling you this is... it's going to be good.</dialogue>
<scene_description>David doesn't know what to say. A long silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. VOLVO - DAY</stage_direction>
<scene_description>David is angry. He and Karen sit in the front.</scene_description>
<character>DAVID</character>
<dialogue>What is he gonna do? Make coffees the rest of his life?</dialogue>
<scene_description>Outside a strong wind plays with the branches of the trees aligning the street.</scene_description>
<character>KAREN</character>
<dialogue>Frederic told me they have friends that have a son who did a 4 week program, but it wasn't enough. He's doing a year program now.</dialogue>
<scene_description>David thinks about it... Knows she's right, but can't admit it.</scene_description>
<character>DAVID</character>
<parenthetical>(stung)</parenthetical>
<dialogue>I wish you wouldn't talk to everybody about it.</dialogue>
<character>KAREN</character>
<dialogue>What's that got to do with it?</dialogue>
<character>DAVID</character>
<dialogue>To protect Nic you know. At some point he's gonna want to get on with his life, and maybe it's best that not everybody knows about this.</dialogue>
<scene_description>Karen thinks about it, OK, point taken. OK. But can we not make this about me? (back to the issue at hand) Look, Nic needs some more time. And that's fine. OK? David nods. OK. OK?</scene_description>
<character>DAVID</character>
<dialogue>Yeah. OK.</dialogue>
<scene_description>He takes her hand. A beat. She lays her hand on his hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>In the backyard Karen is body painting Daisy as an Indian. Jasper is running around in red socks and red underpants and already bodypainted as SPIDERMAN.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David is preparing food. The phone rings, and immediately the dogs start barking very loud. David, a bit annoyed, looks around but cannot find the portable phone, so it keeps on ringing, and the dogs keep on barking. Finally he finds the phone and answers.</scene_description>
<character>DAVID</character>
<dialogue>David Sheff.</dialogue>
<scene_description>One last bark by Moondog.</scene_description>
<character>DAVID</character>
<dialogue>Shhht.</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>Hi Mr. Sheff. This is Annie Goldblum from the Ohlhoff Center.</dialogue>
<character>DAVID</character>
<dialogue>Oh, yes. Hi, hello.</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>I'm sorry to disturb you, but I need to inform you about Nic.</dialogue>
<scene_description>OK?</scene_description>
<character>DIRECTOR (O.S.)</character>
<dialogue>He left the facility today, during some free time, and he has not returned since.</dialogue>
<character>DAVID</character>
<dialogue>Oh no.</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>I'm sorry Mr. Sheff. But please don't despair, this happens.</dialogue>
<character>DAVID</character>
<dialogue>But, I thought you said he was doing so well?</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>You should think of this as part of the process. Relapse is a part of recovery.</dialogue>
<character>DAVID</character>
<dialogue>Relapse is part of recovery?</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>It's part of Nic's learning process.</dialogue>
<character>DAVID</character>
<dialogue>That's... that's like saying crashing is part of pilot training.</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>Look, he'll be back. Probably really quick.</dialogue>
<character>DAVID</character>
<dialogue>Is somebody out looking for him?</dialogue>
<character>DIRECTOR (O.S.)</character>
<dialogue>It's not our responsibility once he leaves the facility. But he's welcome to come back.</dialogue>
<scene_description>Of course. David hangs up angry. He watches the rest of his family outside for a while, who are still oblivious. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / PARKING AND ALLEYWAYS, SAN RAFAEL - DAY</stage_direction>
<scene_description>David is driving through San Rafael. The rain is pouring down. David has opened his window and is looking left and right, then turns and drives up on a parking lot... INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>E/I. ROADS NEAR THE OCEAN/ VOLVO - DAY (FLASHBACK)</stage_direction>
<scene_description>Younger David is driving with younger Nic. The intro to "Territorial Pissings" by Nirvana is playing: very wild drums, very wild guitar. Nic knows it by heart and shouts along.</scene_description>
<character>KURT COBAIN + NIC</character>
<dialogue>When I was an alien... !!!</dialogue>
<scene_description>David watches Nic, it's funny. Nic continues to head-bang and scream along with the song. It's really wild. David is having fun, Nic too... (although he's screaming along so wild, it becomes a little scary).</scene_description>
</scene>
<scene>
<stage_direction>E/I. MIDDLE SCHOOL / VOLVO - DAY (FLASHBACK</stage_direction>
<scene_description>The song continues over young people exiting middle school. David is waiting near his Volvo for Nic. Surfboards in the back of the car. David spots Nic. 12-year-old Nic looks like a typical nineties teen: grungy, a Primus T-shirt that is way too big, long hair covering his eyes, some pimples. Nic stands out, because the guys who are walking next to him all seem just a little older, they all have short hair, everybody is dressed the same. BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / PARKING AND ALLEYWAYS, SAN RAFAEL - DAY</stage_direction>
<scene_description>David pulls up to a KITCHEN HELP smoking outside at the back door of a restaurant under an umbrella. The music softens.</scene_description>
<character>DAVID</character>
<dialogue>Excuse me, have you seen a kid hanging around here?</dialogue>
<scene_description>The guy shakes his head.</scene_description>
<character>DAVID</character>
<dialogue>No? OK. Thank you.</dialogue>
<scene_description>David closes his window. He can't see a lot because of the rain. He drives towards an alley. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>E/I. MIDDLE SCHOOL / VOLVO - DAY (FLASHBACK</stage_direction>
<scene_description>Nic and David walk through the parking lot. Nirvana now blaring, drowning out their conversation so we can't hear.</scene_description>
<character>DAVID</character>
<dialogue>Hey... how 'd it go?</dialogue>
<character>NIC</character>
<dialogue>OK, I guess.</dialogue>
<character>DAVID</character>
<dialogue>Yeah? Tell me.</dialogue>
<character>NIC</character>
<dialogue>Well, just different compared to San Francisco. The kids there were more into drawing and art and reading and stuff. It's not really cool here to be smart. But that's ok. I'll just get worse grades.</dialogue>
<scene_description>David laughs as they get into the car. BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / PARKING AND ALLEYWAYS, SAN RAFAEL - DAY</stage_direction>
<scene_description>David looks left and right, then slows down as he sees a shape appear. It's Nic. He's in jeans and T-shirt and is soaking wet. He looks bad, has bruises on his face. David walks over to Nic and when he reaches him, Nic almost goes limp in David's arms. He half carries him, opens the passenger door, drops him in the seat, closes the door. David gets in at the other side, looks at Nic for a moment - he's shivering, almost passed out. What to do, what to say? Nic turns and vomits, soiling himself and the seat. The music STOPS. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR/ GROCERY STORE - DAY (FLASHBACK)</stage_direction>
<scene_description>David and late teen's Nic just got some groceries in the local grocery store. The atmosphere is good, Nic's talking freely, David is enjoying. David is about to start the car, and reverse...</scene_description>
<character>NIC</character>
<dialogue>Hey dad, do you want to smoke this?</dialogue>
<scene_description>Nic takes out a joint.</scene_description>
<character>DAVID</character>
<dialogue>Hey! Woah, wait. What? Stop.</dialogue>
<scene_description>David nervously laughs.</scene_description>
<character>DAVID</character>
<dialogue>Put that away.</dialogue>
<character>NIC</character>
<dialogue>I think we should smoke this together.</dialogue>
<scene_description>Nic keeps eyeing David.</scene_description>
<character>DAVID</character>
<dialogue>This is crazy. No.</dialogue>
<character>NIC</character>
<dialogue>I know you smoke.</dialogue>
<character>DAVID</character>
<dialogue>Yeah... No, no...</dialogue>
<character>NIC</character>
<dialogue>You know what? You're right, I'll just light it here alone.</dialogue>
<scene_description>Nic doesn't get a yes or a no, as David is too surprised, so Nic puts it to his lips and takes out a lighter.</scene_description>
<character>DAVID</character>
<dialogue>Don't! Stop it. Occasionally from time to time I will have a hit or two at a party but it has been awhile...</dialogue>
<character>NIC</character>
<dialogue>Just have a celebratory joint with your son.</dialogue>
<scene_description>They laugh and David starts the car, backs up.</scene_description>
<character>DAVID</character>
<dialogue>Oh, god. Come on.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD LEADING TO POINT REYES LIGHTHOUSE - DAY (FLASHBACK</stage_direction>
<scene_description>CONTINUED) The car is parked at a road with a spectacular view over the ocean and magnificent windswept trees. They sit on the hood of the car. Sunset. Nic takes a hit from the joint...</scene_description>
<character>DAVID</character>
<dialogue>You're amazing, Nic. You applied to 6 colleges and were accepted to all of them! Stop doubting yourself? Look at you. Gimme that.</dialogue>
<scene_description>Passes it to David. He takes a couple of hits. Nic laughs.</scene_description>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>NIC</character>
<dialogue>That was a nice hit.</dialogue>
<scene_description>David exhales and they laugh together. He hands the joint back to Nic.</scene_description>
<character>NIC</character>
<dialogue>Thank you, this is nice... thing to do.</dialogue>
<parenthetical>(intrigued, asking something he never asked before)</parenthetical>
<dialogue>You did a lot of drugs, right?</dialogue>
<character>DAVID</character>
<dialogue>I did my share. Sure. I experimented with different kinds of drugs. And had fun sometimes. I did.</dialogue>
<scene_description>David chuckles.</scene_description>
<character>DAVID</character>
<dialogue>But not harmless, I had a friend that...</dialogue>
<character>NIC</character>
<dialogue>Is this the lecture part?</dialogue>
<scene_description>It makes David smile.</scene_description>
<character>NIC</character>
<dialogue>You worry too much. Everyone does it.</dialogue>
<character>DAVID</character>
<dialogue>Yeah, well... Just be careful.</dialogue>
<character>NIC</character>
<dialogue>It's just pot. It's just once in a while. I'm just partying a little. I worked hard this year... I deserve to party a little now.</dialogue>
<scene_description>Nic is laughing, a bit stoned. David watches Nic with a smile. He's also a bit stoned, we notice now.</scene_description>
<character>DAVID</character>
<dialogue>Deserve to party...</dialogue>
<scene_description>Nic takes a last hit of the joint, throws the butt away.</scene_description>
<character>NIC</character>
<dialogue>It just takes the edge off things, you know. Of stupid all day reality.</dialogue>
<scene_description>David thinks about this. All of a sudden changes his attitude. Instead of the pot-smoking buddy, he's the worrying father again (but also, slightly stoned).</scene_description>
<character>DAVID</character>
<dialogue>What is stupid about reality?</dialogue>
<scene_description>Nic looks at David, wants to argue...</scene_description>
<character>NIC</character>
<dialogue>Well you know, like daily stupid things, that don't matter...</dialogue>
<character>DAVID</character>
<dialogue>Come on Nic, you cannot say dumb shit like that or you'll start believing it.</dialogue>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Back to present time. David is at his computer. He's pulling up websites, gathering information, writing. On the screen: "Crystal meth - is a very addictive stimulant drug..." Another website: "Meth can make a person's mood change quickly. For example, someone using meth might become angry and violent." David stops writing. He stares at the computer. He looks exhausted.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, ST. CELINE REHAB - DAY</stage_direction>
<scene_description>Nic enters his bedroom followed by David and Karen. It's a simple, clean, white room with twin single beds and night- stands. David and Karen look around. Nic puts down a pile of folded clothes in a laundry bag.</scene_description>
<character>NIC</character>
<dialogue>Thanks for bringing this, Karen.</dialogue>
<scene_description>Nic puts up his arms.</scene_description>
<character>NIC</character>
<dialogue>This is my home.</dialogue>
<scene_description>David looks at Nic, then looks out of the window, vineyard view. Karen notices an 'Alcoholics Anonymous Big Book' on Nic's bedside table. CUT TO: David and Nic sit on the beds and face each other. David watches Nic for a moment.</scene_description>
<character>DAVID</character>
<dialogue>A couple of weeks ago you told me that you had only done crystal meth once but the story has to be bigger than that, right?</dialogue>
<scene_description>Nic nods.</scene_description>
<character>DAVID</character>
<dialogue>There's more to it?</dialogue>
<scene_description>David's mood changes.</scene_description>
<character>DAVID</character>
<parenthetical>(firm)</parenthetical>
<dialogue>Yeah?</dialogue>
<character>KAREN</character>
<dialogue>David.</dialogue>
<character>DAVID</character>
<dialogue>We need to know.</dialogue>
<scene_description>A beat. Nic is thinking, where to start?</scene_description>
<character>NIC</character>
<dialogue>I think I always liked it.</dialogue>
<character>DAVID</character>
<dialogue>What?</dialogue>
<character>NIC</character>
<dialogue>Anything.</dialogue>
<scene_description>Karen takes a seat next to Nic on the bed. He's opening up.</scene_description>
<character>NIC</character>
<dialogue>Pot. Alcohol. Ecstasy. Cocaine. LSD.</dialogue>
<scene_description>A beat.</scene_description>
<character>DAVID</character>
<dialogue>And you've been doing all that, for what, years?</dialogue>
<character>NIC</character>
<dialogue>A couple of years, yeah.</dialogue>
<character>DAVID</character>
<dialogue>And crystal meth?</dialogue>
<character>NIC</character>
<dialogue>Just a couple months.</dialogue>
<character>DAVID</character>
<dialogue>But why?</dialogue>
<character>NIC</character>
<dialogue>I don't know... When I tried it, I felt, I felt better than I ever had... So I kept on doing it.</dialogue>
<character>DAVID</character>
<dialogue>I was worried that you were smoking too much pot meanwhile you're out doing every drug on the planet?</dialogue>
<scene_description>Nic doesn't know what to answer. David is coming a little too strong at him. David goes on.</scene_description>
<character>DAVID</character>
<dialogue>And hiding it and lying. And why? Tell me.</dialogue>
<character>NIC</character>
<dialogue>I don't know.</dialogue>
<character>DAVID</character>
<dialogue>Why? Tell me why!</dialogue>
<character>KAREN</character>
<dialogue>Ease up.</dialogue>
<character>NIC</character>
<dialogue>I don't know!</dialogue>
<scene_description>Nic starts crying. Karen is comforting Nic.</scene_description>
<character>DAVID</character>
<dialogue>I thought we were close. Closer than most fathers and sons.</dialogue>
<scene_description>Nic tries to defend himself...</scene_description>
<character>NIC</character>
<dialogue>I feel like you're just always disappointed in me. You're disappointed I don't go to college, you're...</dialogue>
<scene_description>...but this makes David really angry.</scene_description>
<character>DAVID</character>
<dialogue>Well can you blame me? Not too long ago you were reading and you were writing and you were on the waterpolo team. And look at us now! This isn't us. This is not who we are!</dialogue>
<character>KAREN</character>
<dialogue>Guys, please stop this. Dave, calm down! Stop it.</dialogue>
<scene_description>Nic starts sobbing. David does calm down. He takes a moment to reset himself. Silence.</scene_description>
<character>NIC</character>
<dialogue>Dad, I'm really sorry about everything.</dialogue>
<scene_description>Another silence.</scene_description>
<character>NIC</character>
<dialogue>I'm really sorry, dad.</dialogue>
<character>DAVID</character>
<dialogue>Nic, what you have you are going to find it again. You're going to get it back.</dialogue>
<scene_description>Nic looks up. They look at each other. David takes Nic half in his arms. Nic lets it happen. Karen takes Nic's hand, strokes it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David sits in the yard playing catch with the dogs but his mind is clearly somewhere else.</scene_description>
</scene>
<scene>
<stage_direction>EXT. REMOTE BEACH - LATE AFTERNOON (FLASHBACK)</stage_direction>
<scene_description>David and Nic paddle out into the ocean with surfboards into a pretty wild ocean. It's a bit foggy. In the distance we see rocks and big cliffs. Nic paddles away as David gets hit by a big wave. David struggles to get back onto his board and starts paddling as fast as he can, but gets hit by another big wave. He gets thrown towards the beach. A bit out of breath, David stands up and grabs his board. He watches over the ocean. We see his POV: big breaking waves, no Nic. David panics a little. He looks left and right.</scene_description>
<character>DAVID</character>
<dialogue>Nic? Nic?!</dialogue>
<scene_description>In the distance we see a surfboard? Or something? A wave crashes onto it. David steps further into the ocean, knee- deep, waist-deep, holding his surfboard, challenging big walls of whitewater coming in. More panic. David starts paddling again. Again paddling hard, fighting against the waves coming in.</scene_description>
<character>DAVID</character>
<dialogue>Fuck.</dialogue>
<scene_description>Finally he paddles and gets behind the point where the wave breaks. He sighs. Looks around again, still breathing hard. Meanwhile it's darker, and there's more fog. He pushes himself up his board to try and spot Nic again. And all of a sudden there is Nic, standing atop a wave, and carving up and down. Coming into David's direction and hooting for joy.</scene_description>
<character>NIC</character>
<dialogue>Woo-hoo!</dialogue>
<scene_description>David watches Nic. Wow, he looks amazing.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM, OHLHOFF REHAB - NIGHT</stage_direction>
<scene_description>Back to the present. Nic on his cell phone.</scene_description>
<character>NIC</character>
<dialogue>Hey dad. How's New York?</dialogue>
<character>DAVID (O.S.)</character>
<dialogue>Fine. Good interview today. How are you?</dialogue>
<character>NIC</character>
<dialogue>Oh I'm doing good.</dialogue>
<scene_description>Nic fidgets with a glass of water. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AMBASSADOR HOTEL - NIGHT - CONTINUOUS</stage_direction>
<scene_description>David is sitting in a fancy hotel room on the other end of the phone.</scene_description>
<character>DAVID</character>
<dialogue>Yeah? You sure?</dialogue>
<scene_description>David stands. He paces.</scene_description>
<character>NIC (O.S.)</character>
<dialogue>Yes I am.. It's just... Uhm...</dialogue>
<character>DAVID</character>
<dialogue>What's going on?</dialogue>
<scene_description>David becomes a little nervous. He stares through the large window overlooking the NY skyline.</scene_description>
<character>NIC (O.S.)</character>
<dialogue>We had this great group session and one of the guys here was saying he would do anything for a chance to go to college but he can't.</dialogue>
<scene_description>OK.</scene_description>
<character>NIC</character>
<dialogue>And we were talking later and he said you can still go to college. Don't be an idiot. Go to college.</dialogue>
<scene_description>David walks up to the window. INTERCUT BETWEEN DAVID AND NIC FROM HERE ON</scene_description>
<character>NIC</character>
<dialogue>I don't know. It's just crazy. I realized I don't think I should stay behind. I love writing and I feel like I'm good at it and I do it a lot but obviously there's still a lot for me to learn.</dialogue>
<scene_description>David smiles.</scene_description>
<character>NIC</character>
<dialogue>Anyway, I would love to give it a go... if it's alright with you guys.</dialogue>
<scene_description>A beat. We see David's excitement reflected in the window, which he doesn't express audibly to Nic.</scene_description>
<character>DAVID</character>
<dialogue>Yeah. I'll talk to Karen. And to your mom.</dialogue>
</scene>
<scene>
<stage_direction>INT. PLANE - DAY</stage_direction>
<scene_description>Nic takes a seat in a crowded plane. David stands in the aisle, looks at his boarding pass.</scene_description>
<character>DAVID</character>
<dialogue>Oh, I'm further down. I'll ask to switch.</dialogue>
<scene_description>A STEWARD comes by in a rush, closing the overhead bins.</scene_description>
<character>NIC</character>
<dialogue>I'll be fine.</dialogue>
<scene_description>David walks further and takes his seat. Nic waves and smiles. David smiles back and settles in his seat. Between the seats he sees Nic, he watches him for a while, he looks way better. Nic is talking enthusiastically to the person next to him.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic is getting settled in his room, unpacking. In the HALLWAY we sense other FRESHMEN KIDS and their FAMILIES. David sits at a desk, takes the space in, looks at Nic. Silence for a while. Nic sits at the other desk.</scene_description>
<character>DAVID</character>
<dialogue>Have you met your roommate yet?</dialogue>
<character>NIC</character>
<dialogue>Yeah, he seems nice. He was just in the hall.</dialogue>
<character>DAVID</character>
<dialogue>I feel for you, though.</dialogue>
<scene_description>David is looking through a stack of CD's. We notice George Michael, Celine Dion, Steve Miller Band.</scene_description>
<character>DAVID</character>
<dialogue>Ouch.</dialogue>
<scene_description>They both laugh.</scene_description>
<character>NIC</character>
<dialogue>No worries, I'll educate him. Before you know it he'll be listening to John Zorn.</dialogue>
<scene_description>David puts the CD's back.</scene_description>
<character>DAVID</character>
<dialogue>You know, I better get going.</dialogue>
<scene_description>David gets up. They look at each other for a moment. Big moment. They hug.</scene_description>
<character>NIC</character>
<dialogue>Everything.</dialogue>
<character>DAVID</character>
<dialogue>Everything.</dialogue>
<scene_description>MUSIC RISES David walks out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EAST HAMPSHIRE COLLEGE GROUNDS - DAY</stage_direction>
<scene_description>Nic - backpack over his shoulders - is gliding on a skateboard across the lovely campus grounds. Pale autumn sunlight. He seems carefree and confident.</scene_description>
</scene>
<scene>
<stage_direction>INT. TUTORIAL ROOM, EAST HAMPSHIRE COLLEGE - MONTAGE</stage_direction>
<scene_description>20 STUDENTS (19, 20) and a PROFESSOR (woman, 40) around a table. Nic is a little shy amidst all these new people.</scene_description>
<character>NIC</character>
<dialogue>So, this is a poem by Charles Bukowski. This man saved my life multiple times.</dialogue>
<scene_description>Some laugh. As Nic begins to read INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. ROLLING STONE MAGAZINE - MEETING ROOM - DAY</stage_direction>
<scene_description>David in a meeting room talking and laughing with a couple of editors.</scene_description>
<character>NIC (O.S.)</character>
<dialogue>I changed jobs and cities, I hated holidays, babies...</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Karen painting a tree in their garden in very uplifting colors.</scene_description>
<character>NIC (O.S.)</character>
<dialogue>History, newspapers, museums...</dialogue>
</scene>
<scene>
<stage_direction>INT. TUTORIAL ROOM, EAST HAMPSHIRE COLLEGE</stage_direction>
<scene_description>Eyes on Nic as he continues.</scene_description>
<character>NIC</character>
<dialogue>Grandmothers, marriage, movies, spiders...</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>The kids and David throwing balloons with paint towards a canvas. With every word of the poem another balloon splash.</scene_description>
<character>NIC (O.S.)</character>
<dialogue>Garbagemen, English accents, Spain, France, Italy, walnuts, and the color of range.</dialogue>
<scene_description>Karen joins in on the family fun. BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. TUTORIAL ROOM, EAST HAMPSHIRE COLLEGE</stage_direction>
<scene_description>People are listening, sometimes chuckling. JULIA (18, a sweet girl) thinks Nic is cool. Nic notices, goes on.</scene_description>
<character>NIC</character>
<dialogue>Algebra angered me, opera sickened me, Charlie Chaplin was a fake and flowers were for pansies.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EAST HAMPSHIRE COLLEGE GROUNDS - DAY</stage_direction>
<scene_description>Nic and Julia sit on the lawn, they're talking, Nic is wildly explaining things to Julia. They seem in love and to only have eyes for each other, while masses of people stream by them, going from one class to the next.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic sits at a computer. Typing. Focused.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EAST HAMPSHIRE COLLEGE GROUNDS - DAY</stage_direction>
<scene_description>Julia runs her hands through Nic's hair. They kiss and playfully roll on the lawn.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic and Julia sit in the library. As they have to be silent, they write little notes to each other. They giggle.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, JULIA'S HOUSE - DUSK</stage_direction>
<scene_description>They're sitting at the table, having dinner. JULIA'S MOTHER and FATHER and 2 younger BROTHERS, an OLDER SISTER and JULIA'S UNCLE. They're all really nice and the atmosphere is pretty relaxed, yet we get the sense Nic doesn't fit 100% in this average middle class family, with his wild hair, torn jeans, worn sneakers. Julia's family is chit-chatting away, going back and forth, LOUDER and LOUDER. Nic is trying to follow the conversation and wants to make a good impression, but it all makes him pretty nervous actually.</scene_description>
<character>NIC</character>
<parenthetical>(to Julia)</parenthetical>
<dialogue>Can I use the bathroom?</dialogue>
<parenthetical>(she didn't catch it)</parenthetical>
<dialogue>Hey is there a bathroom I can use?</dialogue>
<scene_description>Julia's mother heard it.</scene_description>
<character>JULIA'S MOTHER</character>
<dialogue>Of course honey. Come, I'll show you.</dialogue>
<scene_description>Nic gets up.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, JULIA'S HOUSE - DUSK</stage_direction>
<scene_description>Nic enters a bathroom. He takes a moment for himself, then takes a piss. While he is slowly washing his hands he sees a couple of medication bottles in the bathroom cabinet. He goes through them, sees a bottle of Percocet. He stares at it. He dries his hands. He closes the cabinet.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, JULIA'S HOUSE - LATER</stage_direction>
<scene_description>Back at the table. It's after dinner, everybody still chatting quite loud, Nic is more relaxed.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S DORM ROOM, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic is on his bed on campus, a little passed out. His cell phone rings, it says 'DAD'. Nic wakes up, and quickly gets up. He takes a moment to gather himself before answering the phone.</scene_description>
<character>NIC</character>
<dialogue>Hey dad!</dialogue>
<character>DAVID (O.S.)</character>
<dialogue>Hey Nic. How you doing? What's going on?</dialogue>
<character>NIC</character>
<dialogue>Everything is going great. Hey, thanks for sending me that money. I really appreciate that.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIBRARY, COLLEGE - DAY</stage_direction>
<scene_description>Nic sits at a computer and is surfing the web. We see a website that shows how to shoot yourself up. He looks over his shoulder to make sure no one is watching.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S DORM ROOM, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic is fighting with Julia.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S DORM ROOM, EAST HAMPSHIRE COLLEGE - DAY</stage_direction>
<scene_description>Nic is preparing the drugs, making it liquid, getting it in the syringe, prepping his arm. It's all a bit clumsy as he's never done this.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EAST HAMPSHIRE COLLEGE GROUNDS - NIGHT</stage_direction>
<scene_description>It's cold outside, people are wearing warm winter jackets and caps. We spot Nic, zoned out, only wearing a T-shirt. He's really high. He stops, stands still. Closes his eyes.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Some time later. Nic is arriving back home for the holidays. He is carrying a bag and enters the living room. David is behind him and talking.</scene_description>
<character>DAVID</character>
<dialogue>And Patrick and Phil are going hiking tomorrow. I told them we might join. They definitely want to see you.</dialogue>
<scene_description>They hear gentle shrieks of laughter. Nic looks around the living room, nobody there. David and Nic pretend to keep on talking while looking for the kids who've hidden themselves. Nic discovers banners made by the kids to welcome him. One is a hedgehog saying 'BOOHOO I MISS NIC'. Nic is moved by it and expresses that to David inaudibly. Nic then discovers where the kids are hiding but continues to play it cool.</scene_description>
<character>NIC</character>
<dialogue>Are Jasper and Daisy here?</dialogue>
<character>DAVID</character>
<dialogue>They're not here.</dialogue>
<character>NIC</character>
<dialogue>No? Oh they didn't want to see me?</dialogue>
<character>DAVID</character>
<dialogue>Nope, they didn't want to see you.</dialogue>
<character>NIC</character>
<dialogue>Oh that's tough to hear. I'll just have a seat on this couch and think about that.</dialogue>
<scene_description>Nic sits down and then rips off the cover revealing the kids. They now jump on Nic, he takes 'em both in his arms. They kinda crawl all over him. He holds them tight. Karen enters the living room too, and smiles.</scene_description>
<character>NIC</character>
<dialogue>You've grown so big guys! This is amazing!!! I can hardly hold you.</dialogue>
<scene_description>But he does hold them and then starts turning around his axis, like a human merry-go-round. Nic starts going faster and faster as the kids are cheering. David and Karen don't know whether to laugh, because it's so funny, or to try and stop them, because it does look a little dangerous. But they're all laughing so loud. When Nic slows down he almost starts losing balance, he's a little dizzy. Nic smiles and hugs and kisses Karen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - DUSK</stage_direction>
<scene_description>The Sheffs are having a nice dinner outside. Enjoying great food. So much to talk about. After dinner they play a wordgame. When someone snaps the other person has to tell the next line of the story. Nic starts.</scene_description>
<character>NIC</character>
<parenthetical>(storytelling voice)</parenthetical>
<dialogue>Denmark, 1632.</dialogue>
<scene_description>Snap.</scene_description>
<character>DAVID</character>
<dialogue>We like to look back at the history of hula hoops.</dialogue>
<scene_description>Snap. The little ones laughing uncontrollably.</scene_description>
<character>NIC</character>
<dialogue>So important to the culture of peace and wisdom.</dialogue>
<scene_description>Snap. More laughter.</scene_description>
<character>DAVID</character>
<dialogue>A man named George--</dialogue>
<scene_description>A quick snap.</scene_description>
<character>NIC</character>
<dialogue>Hoop Hula was--</dialogue>
<scene_description>Snap.</scene_description>
<character>DAVID</character>
<dialogue>Thought I'm going to develop something...</dialogue>
<scene_description>The family loses it. The kids barely containing their joy.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>Nic turns out the light in Jaspers bedroom. He closes the door. Alone in the hallway, he scratches his skin.</scene_description>
<character>DAVID (O.S.)</character>
<dialogue>Hey.</dialogue>
<character>NIC</character>
<dialogue>Oh hey.</dialogue>
<scene_description>Suddenly David is there.</scene_description>
<character>NIC</character>
<dialogue>Hey, um, I was wondering if I could use the car? I still want to go to a meeting tonight.</dialogue>
<character>DAVID</character>
<dialogue>You have a meeting tonight? Yeah, sure.</dialogue>
<scene_description>David leans on the banister. He takes a long look at Nic.</scene_description>
<character>DAVID</character>
<dialogue>You good?</dialogue>
<scene_description>Nic motions towards the kid's door and laughs to dodge the question.</scene_description>
<character>NIC</character>
<dialogue>Yeah... They're crazy.</dialogue>
<character>DAVID</character>
<dialogue>They're really excited you are home.</dialogue>
<scene_description>Nic puts his hands in his pockets.</scene_description>
<character>NIC</character>
<dialogue>I'll see you in the morning I guess.</dialogue>
<scene_description>OK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. VOLVO/ROADS HOME TO INVERNESS - NIGHT</stage_direction>
<scene_description>Nic is driving. He's shivering. Feels bad. He puffs a joint. While he is driving, he dials a number. A car passes. Muffled sounds. Image becomes blurry. Music blasts. Headlights on the winding roads.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic wakes up with a huge hangover. It takes a while before he realizes where he is, in his bed. He hears the kids fighting in the room next door.</scene_description>
<character>JASPER (O.S.)</character>
<dialogue>Where is it? Where is it?</dialogue>
<scene_description>We hear Daisy crying.</scene_description>
</scene>
<scene>
<stage_direction>INT. KID'S BEDROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Big drama.</scene_description>
<character>JASPER</character>
<dialogue>Give it back!</dialogue>
<character>DAISY</character>
<dialogue>I don't have it!</dialogue>
<scene_description>They push each other around a little. More crying. David enters the room.</scene_description>
<character>DAVID</character>
<dialogue>What is going on here?</dialogue>
<character>JASPER</character>
<dialogue>I had 8 dollars. Daisy took it.</dialogue>
<scene_description>Jasper holds his plastic mini-vault in his hands. It's empty.</scene_description>
<character>DAISY</character>
<dialogue>I didn't!!</dialogue>
<character>DAVID</character>
<dialogue>Calm down guys. Please calm down. Daisy, can you go down to your mom please?</dialogue>
<character>DAISY</character>
<dialogue>I didn't take it, daddy.</dialogue>
<character>DAVID</character>
<dialogue>OK, please go down.</dialogue>
<scene_description>Daisy goes down. David turns to Jasper.</scene_description>
<character>DAVID</character>
<dialogue>Are you sure it was in there?</dialogue>
<character>JASPER</character>
<dialogue>Yes. I had it yesterday.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic sits at the table and does not look great. David stares hard at him, and sees his trembling hands, his gyrating jaw. It looks like David hasn't slept a lot either.</scene_description>
<character>DAVID</character>
<dialogue>Jasper's savings disappeared.</dialogue>
<character>NIC</character>
<dialogue>Yeah? That's weird.</dialogue>
<character>DAVID</character>
<dialogue>Did you take his 8 dollars?</dialogue>
<character>NIC</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<dialogue>You heard me.</dialogue>
<character>NIC</character>
<dialogue>Why would I?</dialogue>
<character>DAVID</character>
<dialogue>Well, it disappeared, so someone must have done it.</dialogue>
<character>NIC</character>
<dialogue>Right, so it's me?</dialogue>
<scene_description>Nic slams down his juice.</scene_description>
<character>NIC</character>
<dialogue>This is fucking ridiculous!</dialogue>
<scene_description>He stands up.</scene_description>
<character>DAVID</character>
<dialogue>Nic, are you using again?</dialogue>
<character>NIC</character>
<dialogue>Am I using again?? No.</dialogue>
<scene_description>David examines him.</scene_description>
<character>DAVID</character>
<dialogue>Are you high right now?</dialogue>
<character>NIC</character>
<dialogue>What the fu... No... fuck you.</dialogue>
<scene_description>David is boiling.</scene_description>
<character>DAVID</character>
<dialogue>Fuck you? Don't talk to me that way.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Are you high right now?</dialogue>
<character>NIC</character>
<dialogue>No.</dialogue>
<character>DAVID</character>
<dialogue>You're not using right now? Are you using??</dialogue>
<character>NIC</character>
<dialogue>No Dad I'm not fucking high right now!</dialogue>
<scene_description>OK. He looks down. This is hard.</scene_description>
<character>DAVID</character>
<dialogue>Listen it was a gamble to send you to college. Everybody supported it. I'm glad that you went. Relapse is a part of recov--</dialogue>
<scene_description>He can barely get the words out.</scene_description>
<character>DAVID</character>
<dialogue>Relapse is a part of recovery. So--</dialogue>
<character>NIC</character>
<dialogue>I'd better leave.</dialogue>
<scene_description>Nic heads off to his room. David doesn't know what to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic sits on his bed motionless, thinking for a moment. Suddenly he starts filling a suitcase and his duffel-bag with clothes. Grabs some stuff that is lying on his desk. He takes his guitar and walks out.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic - with suitcase, duffel bag and guitar - sees David and Karen standing in the doorway.</scene_description>
<character>DAVID</character>
<dialogue>Hey, just... where are you going to go? You can't just leave. This is ridiculous. Come on.</dialogue>
<character>KAREN</character>
<dialogue>Can you talk to us? We just want to talk to you.</dialogue>
<scene_description>She takes a step towards him.</scene_description>
<character>DAVID</character>
<dialogue>Please, try to help us understand.</dialogue>
<character>KAREN</character>
<dialogue>Or just let us help you.</dialogue>
<scene_description>This makes Nic freak out.</scene_description>
<character>NIC</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>I don't want your fucking help. Don't you understand that? No you don't? Jesus Christ, what the fuck is wrong with you then, huh? What the hell is wrong with you people?</dialogue>
<scene_description>Very aggressively he pushes David away.</scene_description>
<character>NIC</character>
<dialogue>You people suffocate me!! You fucking suffocate me!!</dialogue>
<scene_description>And now David loses it. He not only panics, but becomes furious.</scene_description>
<character>DAVID</character>
<dialogue>Oh, it's us? We're the problem? No!!</dialogue>
<scene_description>Nic runs out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David chases out after him.</scene_description>
<character>DAVID</character>
<dialogue>You are the one who is doing it!!! You're the one causing it and you're the only one who can stop it and FUCKING solve it!!!</dialogue>
<scene_description>David closes his eyes. Fuck, so stupid.</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David enters Nic's room. Everything is still the way it was when Nic left in a fury. Some clothes scattered around. He sits on the bed, takes the room in. He turns on a lamp on Nic's night-stand as we CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - (FLASHBACK)</stage_direction>
<scene_description>Just earlier. Nic storms into his room right after the 8 dollar fight in the kitchen. He wildly knocks books off of his desk, pounds the wall and screams, before grabbing his bags to pack and leave. BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S BEDROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David sees a notebook laying on the ground. He picks it up and flips through it. We see it's a journal, with short, and longer very personal writings. Close on David as he starts to read. He flips another page. Scribbles, hard to read what is there. Another page. We read what he reads: 1 1/2 grams speed / Klonopin / Codeine / Valium / Hard to find meth here. Scored some heroin instead. He flips to the next page, which is filled with chaotic small written text. David looks closer at the nervous, crazy handwriting. This is the Disease talking. As if he can experience his son being changed by the drugs. He reads a last sentence: So all I can do is move forward... and don't look back. He closes the notebook. David looks terrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. VOLVO / GOLDEN GATE BRIDGE - DAY</stage_direction>
<scene_description>David drives by himself back to Los Angeles.</scene_description>
</scene>
<scene>
<stage_direction>INT. MEDICAL OFFICE AT UCLA - DAY</stage_direction>
<scene_description>David is seated with DR. BROWN. We have arrived back at the opening scene.</scene_description>
<character>DR BROWN</character>
<dialogue>So this is for the New York Times Magazine?</dialogue>
<character>DAVID</character>
<dialogue>No. I'm sorry... I write, I freelance for different magazines but this is a personal matter.</dialogue>
<character>DR BROWN (O.S.)</character>
<dialogue>A personal matter?</dialogue>
<character>DAVID</character>
<dialogue>Yes. I'm sorry, is that okay?</dialogue>
<character>DR BROWN (O.S.)</character>
<dialogue>That's absolutely okay. May I ask what this is regarding?</dialogue>
<character>DAVID</character>
<dialogue>It's about my son.</dialogue>
<character>DR BROWN</character>
<dialogue>Okay...</dialogue>
<scene_description>As David begins to talk we INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. HAIGHT STREET - DUSK</stage_direction>
<scene_description>David on the famous Haight Street in San Francisco, looking for Nic. We see the colorful shops. Kids with dreadlocks and dogs. Tourists with dyed hair. Tattoos. Older hippies.</scene_description>
<character>DAVID (O.S.)</character>
<dialogue>He has been doing all sorts of drugs but is addicted to crystal meth, which seems to be the worst of all of them. And I guess I am here because I just want to know all that I can about all of it.</dialogue>
<scene_description>Dr. Brown is now extremely precise in his use of language.</scene_description>
<character>DR BROWN</character>
<dialogue>So crystal meth gives the user a feeling of instant euphoria, at least when he takes it. But when it wears off with a depletion of as much as 60 percent of the dopamine the user has to up the doses.</dialogue>
<scene_description>David walking on Haight Street. Still looking.</scene_description>
<character>DR BROWN (O.S.)</character>
<dialogue>Double it, triple it. Just to feel something.</dialogue>
<scene_description>Back at UCLA.</scene_description>
<character>DR BROWN</character>
<dialogue>Causing even more nerve damage which increases the compulsion to use. Horrible cycle.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David sitting in the dark at the computer. Karen walks in.</scene_description>
<character>KAREN</character>
<dialogue>What's up?</dialogue>
<scene_description>She rests her hands on his shoulders. His eyes stay fixed on the screen.</scene_description>
<character>DAVID</character>
<dialogue>Just doing some research.</dialogue>
<scene_description>BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HAIGHT STREET - DUSK</stage_direction>
<scene_description>David hesitates then walks up to a girl DIANE (19), she shields her eyes, takes him in. He looks closely at Diane, she's still really young, but has clearly been damaged by the drug abuse too.</scene_description>
<character>DAVID</character>
<dialogue>Hey, I... Are you hungry? You want to get something?</dialogue>
<character>DIANE</character>
<dialogue>Most guys just ask me for a blowjob.</dialogue>
<character>DAVID</character>
<dialogue>Yeah, well, I just want to offer you something to eat. And talk a little. If you're up for it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MEDICAL OFFICE AT UCLA - DAY</stage_direction>
<scene_description>Dr. Brown and David are now watching a screen with brain scans. We see a lateral cross-section of a brain, with blue patches and yellow and red areas. The doctor points out the red areas.</scene_description>
<character>DR BROWN</character>
<dialogue>The meth changes the brain physically. Here we see the loss of dopamine receptors in a meth user's brain. Now I want to show you something else here. Do you see these two large red spots right here? What that shows is hyperactivity in the amygdala. The amygdala is a region of the brain that is linked with anxiety and fear. Here, the amygdala is screaming. What this shows us is that there is a biological basis that meth users may be unable, not un-willing, but unable to participate in normal treatment plans.</dialogue>
</scene>
<scene>
<stage_direction>INT. OLD DINER - DUSK</stage_direction>
<scene_description>David and Diane are sitting in a booth. Diane slurps her Sprite.</scene_description>
<character>DIANE</character>
<dialogue>I was in rehab too. 3 times. Ran away every time.</dialogue>
<scene_description>A waiter brings two burgers. Diane starts eating.</scene_description>
<character>DAVID</character>
<dialogue>Why?</dialogue>
<character>DIANE</character>
<dialogue>It was hell, I wanted to die.</dialogue>
<character>DAVID</character>
<dialogue>Why was it hell?</dialogue>
<character>DIANE</character>
<dialogue>All that God shit. Also, you just don't know how good it gets when it gets good.</dialogue>
<scene_description>David is listening intently.</scene_description>
<character>DIANE</character>
<dialogue>It's hard to explain. It feels like cocaine but multiply it by 1000... Or like a million.</dialogue>
</scene>
<scene>
<stage_direction>INT. MEDICAL OFFICE AT UCLA</stage_direction>
<scene_description>David and Dr Brown are still at the computer.</scene_description>
<character>DAVID</character>
<dialogue>What does this mean for Nic?</dialogue>
<character>DR BROWN</character>
<dialogue>Look Mr. Sheff, I don't know who promised you what, but success percentage is in the single digits.</dialogue>
<scene_description>David looks down. OK.</scene_description>
</scene>
<scene>
<stage_direction>INT. OLD DINER</stage_direction>
<character>DAVID</character>
<dialogue>What about your parents?</dialogue>
<scene_description>No reaction.</scene_description>
<character>DIANE</character>
<dialogue>What about 'em?</dialogue>
<character>DAVID</character>
<dialogue>Don't you think they're worried about you? Shouldn't you let them know...</dialogue>
<character>DIANE</character>
<dialogue>They don't care...</dialogue>
<character>DAVID</character>
<dialogue>I think they do.</dialogue>
<character>DIANE</character>
<dialogue>What the fuck do you know?</dialogue>
<scene_description>She stares at him. He stares back. It becomes uncomfortable. David realizes that she's right, what does he know? Diane stands up.</scene_description>
<character>DIANE</character>
<dialogue>I gotta go.</dialogue>
<character>DAVID</character>
<dialogue>Oh. Ok. I'm...</dialogue>
<scene_description>And before he can say...</scene_description>
<character>DAVID</character>
<dialogue>Thanks.</dialogue>
<scene_description>...she's off. David looks at his untouched burger.</scene_description>
</scene>
<scene>
<stage_direction>I/E. VOLVO / SAN FRANCISCO STREET/TENDERLOIN - NIGHT</stage_direction>
<scene_description>It's dark now. David drives through the Tenderloin, an area with strip clubs and cheap monthly hotel rooms, homeless people, hustlers, dealers and junkies. He cruises the streets and looks left and right. Heavy. He can't believe his son might be here? Hard to grasp it. David parks his car and exits. He approaches to some junkies huddled on the sidewalk.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David sits at his desk for a while. He stares at his wallet. He opens it up and takes out: crystalline powder. He watches it for a long time. His adversary. What is it with that shit? He takes a credit card out of his wallet. Clumsy he cuts the drug a little. He takes a dollar bill and rolls it up. He snorts the meth, stares in front of him. We stay on his face. For a long time. He closes his eyes and tries to feel and understand what this drugs is doing to him. His HEART is BEATING like hell. He feels as if Roman candles have been lit in his skull. We hear bits and pieces of MUSIC. And SOUNDS everywhere in the house. He hears a CAR PASSING by the house. He opens his eyes. He starts typing some thoughts. Another sound. A garden light equipped with a motion detector flashes on. David gets up. Looks outside. Nothing. David back at his desk. It's a mess. Papers and pictures and books all over. The sun rises outside. David is on his back on the floor in his study. He opens his eyes, feels miserable, tries to get back to his senses, crawls up.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, SHEFF HOUSE - MORNING</stage_direction>
<scene_description>Birds are chirping. David looks out the window. He was awake the entire night.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE - AFTERNOON</stage_direction>
<scene_description>David alone at the window seat at Caffe Trieste in San Francisco (landmark coffee shop in North Beach). The empty coffee cup and glass of water suggest he's been there a while. David looks outside. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE - AFTERNOON (FLASHBACK)</stage_direction>
<scene_description>A younger David and Nic (6 years old) settle in at a table. Nic is asking questions all the time. David lavishes his full attention on Nic. He answers Nic with great dedication.</scene_description>
<character>DAVID</character>
<dialogue>I'm going to try some Klingon on you.</dialogue>
<scene_description>He speaks in Klingon. Nic interprets.</scene_description>
<character>NIC</character>
<dialogue>Can I have a Coca-Cola?</dialogue>
<character>DAVID</character>
<dialogue>Exactly! That's exactly what I asked.</dialogue>
<character>NIC</character>
<dialogue>Can I have a Coca-Cola?</dialogue>
<character>DAVID</character>
<dialogue>If you ask me in Klingon maybe I'll get you a Coke.</dialogue>
<scene_description>Nic tries but it mostly sounds like gibberish. It's cute. BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE - AFTERNOON</stage_direction>
<scene_description>At length Nic appears, chalk-white, like a ghostly Egon Schiele self-portrait, debauched, wasted. They hug. Nic sits. His fingers tremble, his jaw gyrates, he grinds his teeth. David looks at Nic. Nic can't look David in the eyes so he looks anywhere else.</scene_description>
<character>NIC</character>
<dialogue>This place hasn't changed at all.</dialogue>
<scene_description>David gets right to it.</scene_description>
<character>DAVID</character>
<dialogue>So how ya doing?</dialogue>
<character>NIC</character>
<dialogue>I'm doing great. OK. I'm just doing what needs to be done.</dialogue>
<scene_description>A pause. David doesn't believe it's true, it just can't be.</scene_description>
<character>DAVID</character>
<dialogue>What does that mean?</dialogue>
<character>NIC</character>
<dialogue>Being responsible for myself. I've quit on my own. I've got five days now.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>I feel like I'm doing well but I just need a few hundred bucks though.</dialogue>
<scene_description>It breaks David's heart. Ok, so that's why he called. But David swallows his pride, needs to find a way to get through to Nic. He stares at Nic, who can't seem to look in David's eyes. Nic now stares outside. David fiddles with his cutlery.</scene_description>
<character>DAVID</character>
<dialogue>Nic, I can't give you any money.</dialogue>
<character>NIC</character>
<dialogue>It's just a few hundred bucks. I just need to get some shit together. I want to go to New York.</dialogue>
<character>DAVID</character>
<dialogue>New York?</dialogue>
<character>NIC</character>
<dialogue>I need to get out of San Francisco, too many bad vibes here.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I just need a few hundred bucks.</dialogue>
<character>DAVID</character>
<dialogue>Why don't we just have lunch. And talk. We can do that, can't we?</dialogue>
<scene_description>This makes Nic a little mad and fidgety. He calms down. He switches between being the old sweet Nic, and this unreasonable junkie.</scene_description>
<character>NIC</character>
<dialogue>How are Karen... and the kids?</dialogue>
<character>DAVID</character>
<dialogue>OK. They ask about you.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Next week is their step-up ceremony. I'm sure they'd love you to be there. I'd love you to be there...</dialogue>
<character>NIC</character>
<dialogue>See, you're guilt-tripping me... Look, dad, I already feel horrible about myself.</dialogue>
<character>DAVID</character>
<dialogue>I know they wanted you to be there. That's all.</dialogue>
<character>NIC</character>
<dialogue>I'm sorry, dad, I just need some fucking money alright. So please...</dialogue>
<character>DAVID</character>
<dialogue>And then what? Where does this end?</dialogue>
<character>NIC</character>
<dialogue>I don't know. It's kinda working out for me right now. You know, I gotta see this through. I got five days sober...</dialogue>
<character>DAVID</character>
<dialogue>It doesn't look like it's working.</dialogue>
<character>NIC</character>
<dialogue>Oh it doesn't look like it's working out? So what then? Therapy?</dialogue>
<character>DAVID</character>
<dialogue>You can come home. We'll make it work. Please Nic. Please.</dialogue>
<character>NIC</character>
<dialogue>That wouldn't... No.</dialogue>
<character>DAVID</character>
<dialogue>I've been doing some research.</dialogue>
<character>NIC</character>
<dialogue>Been doing fucking research?! You've gotta be kidding me, dad!</dialogue>
<character>DAVID</character>
<dialogue>You think you have this under control and I understand how scared you are.</dialogue>
<scene_description>Nic gets mad.</scene_description>
<character>NIC</character>
<dialogue>I understand why I do things. It doesn't make me any different. I'm attracted to craziness and you're just embarrassed because I was like this amazing thing, like your special creation or something, and you don't like who I am now.</dialogue>
<scene_description>David looks at Nic... wondering where Nic is heading...</scene_description>
<character>DAVID</character>
<dialogue>Yeah? And who are you Nic?</dialogue>
<character>NIC</character>
<parenthetical>(defiant)</parenthetical>
<dialogue>This is me. Here. This is who I am. You don't like what you see?</dialogue>
<parenthetical>(a long pause)</parenthetical>
<dialogue>You know, the more I think about it, Mom should have gotten custody. Because you always got to be fucking controlling everything all the time.</dialogue>
<character>DAVID</character>
<dialogue>Nic, you're allowed to be mad at me. I made mistakes. I wish I hadn't, but I did. But what you are saying right now... it doesn't make any sense.</dialogue>
<character>NIC</character>
<dialogue>You're doing it right now!!! You are controlling me right now!!!</dialogue>
<scene_description>David stayed calm until now, but loses his cool here...</scene_description>
<character>DAVID</character>
<dialogue>This is not you. This is not you Nic. This is the drugs talking.</dialogue>
<character>NIC</character>
<dialogue>What does that even fucking mean?</dialogue>
<character>DAVID</character>
<dialogue>Psychological terror! It's what addicts do.</dialogue>
<character>NIC</character>
<dialogue>Yeah? And what the fuck are you doing right now, huh? What is this? What are you doing?</dialogue>
<scene_description>A pause. David looks at Nic, Nic doesn't dare to look back.</scene_description>
<character>NIC</character>
<dialogue>I didn't want it to go like this.</dialogue>
<parenthetical>(another beat)</parenthetical>
<dialogue>Alright. I should go dad.</dialogue>
<scene_description>David puts his hands up. A peace offering, 'please wait'.</scene_description>
<character>DAVID</character>
<dialogue>Let me book you a room at a hotel for a couple of nights?</dialogue>
<character>NIC</character>
<dialogue>No dad. No.</dialogue>
<character>DAVID</character>
<dialogue>Why don't we just go get some food?</dialogue>
<scene_description>Nic puts on his hat.</scene_description>
<character>NIC</character>
<dialogue>I gotta go.</dialogue>
<scene_description>He turns away from David...</scene_description>
<character>DAVID</character>
<dialogue>Will you say goodbye at least?</dialogue>
<character>NIC</character>
<dialogue>Bye, dad.</dialogue>
<scene_description>Nic rushes out of the cafe. David stays behind. Suddenly aware that a lot of people are watching him.</scene_description>
</scene>
<scene>
<stage_direction>INT. KID'S BEDROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David and Jasper lay on the floor. Jasper's head resting on David's chest.</scene_description>
<character>JASPER</character>
<dialogue>Where does he sleep?</dialogue>
<character>DAVID</character>
<dialogue>Don't worry about that sweetie. He's fine.</dialogue>
<character>JASPER</character>
<dialogue>Maybe he has a friend and he sleeps there?</dialogue>
<character>DAVID</character>
<dialogue>Maybe.</dialogue>
<scene_description>On the couch Karen stops reading to Daisy and looks over to the boys.</scene_description>
<character>JASPER</character>
<dialogue>Can I call him?</dialogue>
<character>DAVID</character>
<dialogue>I tried. His phone is disconnected.</dialogue>
<character>JASPER</character>
<dialogue>Can I send him a message? Maybe he'll get it when he turns his phone back on.</dialogue>
<character>DAVID</character>
<dialogue>Yes. That's a great idea. Let's try that.</dialogue>
<scene_description>David takes out his phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David sits at the computer. Karen is there too, sipping tea. She offers it to him. He declines. Starts reading. CUT TO: The next day. David types into a word document, filling the page. He pauses for a moment to take a sip of coffee and review his work.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David stands by the fireplace. He hears the sound of a car nearby. He looks out the window. The car passes by without stopping.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David sits on the couch, stares blankly in front of him.</scene_description>
<character>KAREN (O.S.)</character>
<dialogue>Dave, we're coming out. Close your eyes!</dialogue>
<scene_description>OK! He closes his eyes. We hear some noises, Karen and the kids are entering the living room.</scene_description>
<character>KAREN</character>
<dialogue>OK! You can open them!</dialogue>
<scene_description>He opens his eyes and sees his kids, all dressed up. Jasper in white oxford, Daisy in a cute little dress.</scene_description>
<character>DAVID</character>
<dialogue>Oh wow... Amazing guys!</dialogue>
<scene_description>He smiles, while the kids make funny poses.</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM, ELEMENTARY SCHOOL - DAY</stage_direction>
<scene_description>We're mid-ceremony of the "step-up" ceremony, a long-standing tradition at Jasper and Daisy's elementary school. All the CHILDREN are dressed up and standing in front of their chairs. The kids are singing and depicting the lyrics to "Catch a Falling Star" with simple movements. It's beautiful. David stares straight ahead. He's emotional - struggling not to break down.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID AND KAREN'S BEDROOM - NIGHT</stage_direction>
<scene_description>The phone rings, louder and louder. It's deep in the night. David slowly rolls over, awake, confused. He looks at the phone on the bedside table - ringing, glowing - like it's the most evil thing in the world. He knows what this call is, of course. He answers.</scene_description>
<character>DAVID</character>
<dialogue>Hello.</dialogue>
<character>VOICE ON PHONE (O.S.)</character>
<dialogue>This is Julie Ford. I'm the admissions nurse at Bellevue Hospital, New York. Is Nic Sheff your son?</dialogue>
</scene>
<scene>
<stage_direction>E/I. DRIVEWAY / LIVING ROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David drives off in a hurry. Karen - from the living room - watches him drive away.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEPARTURES, SF AIRPORT - NIGHT</stage_direction>
<scene_description>David sits at the gate with his arms crossed. Still staring straight ahead. There's hardly anyone there at this time.</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANE BEFORE TAKEOFF - SOON AFTER</stage_direction>
<scene_description>David is in his seat, the plane almost fully boarded. He is on the phone.</scene_description>
<character>BELLEVUE DOCTOR (O.S.)</character>
<dialogue>Mr. Sheff, sorry we missed each other earlier. So Nic is still experiencing some respiratory depression but his vital signs are returning.</dialogue>
<scene_description>A flight attendant comes to reprimand David, as the doors are closed.</scene_description>
<character>FLIGHT ATTENDANT</character>
<dialogue>Sir? Sir! We are ready for departure.</dialogue>
<character>DAVID</character>
<dialogue>OK. Okay...</dialogue>
<parenthetical>(to the Doctor)</parenthetical>
<dialogue>May I talk to him?</dialogue>
<character>BELLEVUE DOCTOR (O.S.)</character>
<dialogue>No I'm sorry but that won't be possible. He's sleeping right now and we shouldn't wake him up. Try again in a few hours.</dialogue>
<character>FLIGHT ATTENDANT</character>
<dialogue>Sir I need you to turn off your phone.</dialogue>
<scene_description>David holds his hand up...</scene_description>
<character>DAVID</character>
<dialogue>Okay.</dialogue>
<character>FLIGHT ATTENDANT</character>
<dialogue>Sir!</dialogue>
<character>DAVID</character>
<parenthetical>(to the Doctor)</parenthetical>
<dialogue>Would you please let him know that I'm on my way.</dialogue>
</scene>
<scene>
<stage_direction>INT. NY ST. AUGUSTUS HOSPITAL, NEW YORK - HOURS LATER (DAY)</stage_direction>
<scene_description>Nervous David walks to a NURSE at a busy nurses' station.</scene_description>
<character>NURSE</character>
<dialogue>I'm sorry sir. He checked out. Against doctors orders.</dialogue>
<character>DAVID</character>
<dialogue>What? No. No! He OD'ed.</dialogue>
<character>NURSE</character>
<dialogue>I'm sorry sir. He pulled out the IV and catheter and left.</dialogue>
<character>DAVID</character>
<dialogue>How long ago?</dialogue>
<character>NURSE</character>
<dialogue>Ten, fifteen minutes. I'm sorry sir.</dialogue>
<scene_description>Damn. David sighs. What now?</scene_description>
</scene>
<scene>
<stage_direction>INT. JFK - DUSK</stage_direction>
<scene_description>David is waiting at a nearly empty gate. Again. His phone rings. He answers.</scene_description>
<character>DAVID</character>
<dialogue>Yes...?</dialogue>
<scene_description>All we hear on the other end is a quivering voice.</scene_description>
</scene>
<scene>
<stage_direction>INT. DONUT SHOP - NIGHT</stage_direction>
<scene_description>David enters a rundown donut shop. He sees Nic sitting at a table inside, almost falling asleep, unaware of David. He looks the worst we've ever seen him. David watches him for a moment, then takes a seat opposite Nic, who opens his eyes. David doesn't know what to say. Tears come down on Nic's cheek. David feels for him, he looks sad and vulnerable.</scene_description>
<character>NIC</character>
<dialogue>Look, I've thought about it and I'm done with drugs. Finished. This is it. I'm telling you dad, I'm done.</dialogue>
<scene_description>David thinks it's bullshit, but doesn't show it. He pauses. Instead he tries to find a way to get through to Nic.</scene_description>
<character>DAVID</character>
<dialogue>And how would that work? I mean, after what just happened.</dialogue>
<scene_description>Nic thinks about it, realizes his fantasy, starts crying.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - NIGHT</stage_direction>
<scene_description>A bland hotel room. The TV on local news. David on the phone with Vicki. Meanwhile Nic lays on the floor in his underwear. The rest of his clothes scattered across the room. On the desk we see remnants of a pizza ordered in the room.</scene_description>
<character>DAVID</character>
<dialogue>So at 3 there is a conference call with the intake people of Mississippi. And 3:30 one in New Mexico. At 4 the one in Oregon.</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>I did some research on the New Mexico one.</dialogue>
<character>DAVID</character>
<dialogue>Yeah?</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>They charge $40,000 a month.</dialogue>
<character>DAVID</character>
<dialogue>You know, it's not even that well rated. We'll just skip that one.</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>Listen, if a spot opens up here in Los Angeles maybe that's the best solution for now. I'll hear back from them in an hour.</dialogue>
<scene_description>David looks over at Nic on the floor.</scene_description>
<character>VICKI (O.S.)</character>
<dialogue>Give it a rest David. Why don't you let me take over for now.</dialogue>
<scene_description>The phone call now over, David covers Nic with a blanket. He looks at him on the floor. His thin and frail body. The marks on his arms. He rubs his hair, 'good night'. MATCH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S OLD BEDROOM - NIGHT (FLASHBACK)</stage_direction>
<scene_description>A younger David rubbing 4-year-old Nic's hair as he lies in his bed and is almost sleeping. David closes a book, just finished telling a story. Nic's eyelids are dropping.</scene_description>
<character>NIC</character>
<dialogue>Daddy?</dialogue>
<character>DAVID</character>
<dialogue>Yes?</dialogue>
<character>NIC</character>
<dialogue>Will you check on me every 15 minutes?</dialogue>
<scene_description>David smiles, tucks Nic in.</scene_description>
<character>DAVID</character>
<dialogue>Yes.</dialogue>
<scene_description>Nic - perfectly safe - closes his eyes, drifts away in his sleep. Then, in his beautiful, slightly off-key, imperfect singing voice, David sings the John Lennon song "Beautiful Boy" -</scene_description>
<character>DAVID</character>
<dialogue>Close your eyes, Have no fear, The monster's gone, He's on the run And your daddy's here. Beautiful, beautiful, beautiful - Beautiful Boy Before you cross the street, Take my hand, Life is just what happens to you While you're busy making other plans. Beautiful, beautiful, beautiful - Beautiful Boy. \[etc.\]</dialogue>
<scene_description>David's singing continues as we CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. NIC'S OLD BEDROOM - DAY (FLASHBACK, CONT.)</stage_direction>
<scene_description>Where he and Nic are now packing a Hello Kitty suitcase. Clothes and toys. Now Nic is silent, and David is talking all the time.</scene_description>
<character>DAVID</character>
<dialogue>Didn't you want to take your trolls?</dialogue>
<scene_description>Nic shakes his head. (in the background, David's singing is now backed by the original John Lennon track) David walks to Nic's bookcase.</scene_description>
<character>DAVID</character>
<dialogue>How about a book?</dialogue>
<scene_description>Nic is pretty quiet. He shakes his head no.</scene_description>
</scene>
<scene>
<stage_direction>INT. DEPARTURES, SF AIRPORT - DAY (FLASHBACK</stage_direction>
<scene_description>David and Nic are at the gate. Nic is wearing a pink paper badge with his name written in Magic Marker. A Delta flight attendant is waiting while David is saying goodbye to Nic. Other UNACCOMPANIED MINORS start to board. David kneels to say goodbye to Nic. Nic is sulking. The song softens in the background.</scene_description>
<character>DAVID</character>
<dialogue>Can I get a hug?</dialogue>
<scene_description>Nic shakes his head.</scene_description>
<character>DAVID</character>
<dialogue>What, no? No hug? Why not?</dialogue>
<scene_description>Indeed, no hug.</scene_description>
<character>DAVID</character>
<dialogue>Are you mad at me? Cos you have to go?</dialogue>
<scene_description>An angry yes. The music fades.</scene_description>
<character>DAVID</character>
<dialogue>OK. But you'll be happy to see your mommy, right?</dialogue>
<scene_description>Also a yes. But also close to tears.</scene_description>
<character>DAVID</character>
<dialogue>I want you to know something, when you come back I'm going to be here. I'm going to be right here for you. OK? And call me when you miss me and I'll call you.</dialogue>
<scene_description>Nic nods.</scene_description>
<character>DAVID</character>
<dialogue>Do you know how much I love you?</dialogue>
<scene_description>Nic shakes his head hesitantly. The airline attendant is watching, a little nervous, they need to go, but she doesn't want to come in between.</scene_description>
<character>DAVID</character>
<dialogue>If you could take all the words in the language, it still wouldn't describe how much I love you. And even if I could gather all those words together, that still wouldn't describe what I feel for you. What I feel for you means everything. I love you more than everything.</dialogue>
<character>NIC</character>
<dialogue>Everything?</dialogue>
<character>DAVID</character>
<dialogue>Everything.</dialogue>
<scene_description>Nic hugs David now. Then gets up. The airline attendant takes Nic's hand. David nods. Nic walks away with the airline attendant.</scene_description>
</scene>
<scene>
<stage_direction>INT. REHAB 3 - DAY</stage_direction>
<scene_description>Vicki walks into a new rehab. Less fancy this time. She finds Nic - looking just a little better - having breakfast with a couple of timid YOUNGER GUYS. Nic is a rehab sophomore now. He looks up, sees Vicki standing there. She smiles when he sees her.</scene_description>
<character>NIC</character>
<dialogue>Hey! That's my mom.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, REHAB 3 - DAY</stage_direction>
<scene_description>Nic and Vicki sit in sofas and are drinking tea. They're both pretty relaxed actually, considering the circumstances.</scene_description>
<character>VICKI</character>
<dialogue>I'm really glad you came to LA. You know that right?</dialogue>
<scene_description>She looks Nic straight in the eyes before speaking through sobs.</scene_description>
<character>VICKI</character>
<dialogue>You just don't know what it is to be a parent.</dialogue>
<scene_description>Nic stares straight ahead.</scene_description>
<character>NIC</character>
<dialogue>Please don't do this mom.</dialogue>
<scene_description>She fights to hold back her tears and pull it together.</scene_description>
<character>VICKI</character>
<dialogue>All I could think about was you.</dialogue>
<character>NIC</character>
<dialogue>I know this must sound meaningless, but I'm sorry. I really am.</dialogue>
<character>VICKI</character>
<dialogue>Oh Nicky...</dialogue>
<scene_description>She puts her arm around him and pulls him in closer.</scene_description>
<character>VICKI</character>
<dialogue>You're such a darling. You know that, right?</dialogue>
<scene_description>Nic shakes his head. He doesn't believe it. She kisses his forehead 3 times, short, longer, longest. MUSIC RISES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADS, TOPANGA CANYON - DAY</stage_direction>
<scene_description>Nic appears in the distance, riding his 10-speed through Topanga Canyon. Although he is drenched in sweat and grunting he looks pretty great actually. MUSIC is BIG now. Changing gears, up a hill, down a hill. We now see he is chasing SPENCER (40's), his sponsor. He's pushing it 200%. As they arrive at a steep hill, Nic, younger and lighter, overtakes Spencer.</scene_description>
<character>NIC</character>
<dialogue>Come on old man!</dialogue>
<character>SPENCER</character>
<parenthetical>(playful)</parenthetical>
<dialogue>You are being so disrespectful!</dialogue>
<scene_description>Spencer catches up to him.</scene_description>
<character>SPENCER</character>
<dialogue>I'm coming for ya! You about to look at my ass!</dialogue>
<character>NIC</character>
<dialogue>Motherfucker!</dialogue>
<scene_description>CLOSE on Nic who's in pain but does not give up. PRIMAL AGONY, pedalling HARD:</scene_description>
<character>NIC</character>
<dialogue>Aaaaaarrrrgggghhhhhhhhh!!</dialogue>
<scene_description>Nic reaches the top. In the background Spencer falls over in defeat. Nic wins. They stop, laugh at each other. Nic rides back to Spencer and helps him up.</scene_description>
<character>SPENCER</character>
<dialogue>So that's what I get for helping you out? Thanks man.</dialogue>
<character>NIC</character>
<dialogue>Sorry old man. I'm ruthless!</dialogue>
<scene_description>Puffing. They enjoy the view.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARDEN NIC'S STUDIO - DAY</stage_direction>
<scene_description>Vicki and Nic are carrying Nic's stuff towards his studio, which is located above a garage in the back of a garden of a large house.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDIO NIC - DAY</stage_direction>
<scene_description>They enter the studio. Drop the stuff. Nic looks at his new place. It's not huge, but his own. Nic opens a window and looks outside. When done, Nic sits down and watches his shelf with all his stuff. Vicki watches him.</scene_description>
<character>VICKI</character>
<dialogue>How does this feel?</dialogue>
<scene_description>He smiles.</scene_description>
<character>NIC</character>
<dialogue>Like I'm a real human being.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>A 12-step meeting. Quite a lot of people. Lots of young and hip people in LA. Nic looks good. He takes in the space and speaks to the group.</scene_description>
<character>NIC</character>
<dialogue>One day I tried methamphetamine and I thought, this is what's been missing. I felt complete. And I've been chasing that high ever since. No matter how much meth or whatever else I can find to shoot up into my body, I knew it's never enough. I went to a couple of rehabs, a detox, we would talk about disease. Sure. But it never clicked. Until one day I woke up in a hospital and someone asked me, what's your problem? I said I'm an alcoholic and an addict and he said no that's how you've been treating your problem.</dialogue>
<scene_description>People nod 'that's right'. We see Vicki and Spencer seated together in the back. Vicki watching. Spencer nodding.</scene_description>
<character>NIC</character>
<dialogue>I know now I need to find a way to fill this big black hole in me. Anyway. I'm 14 months clean. I have a job at a rehab, and it's fulfilling to help other people get sober. I have a sponsor, Spencer, he shows me how great my life can be sober. I still have a family. My mom has been amazing. My dad has been amazing too... I want them to be proud of me.</dialogue>
</scene>
<scene>
<stage_direction>I/E. MAZDA / VARIOUS LOCATIONS - DAY</stage_direction>
<scene_description>Nic is driving a $500 Mazda on Inverness roads. "Heart of Gold" by Neil Young plays. He opens the window and hangs his arm outside. Enjoys this so so much.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM, HOUSE KAREN'S PARENTS - DAY (FLASHBACK)</stage_direction>
<scene_description>A younger David is getting dressed, suit and bowtie. Nic, 8 years old here, sits on the bed, he is wearing a shirt that is slightly too big, blue trousers and All Stars. Nic is dangling his legs up and down.</scene_description>
<character>DAVID</character>
<dialogue>You alright? What's wrong? Are you nervous.</dialogue>
<character>NIC</character>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TERRACE, HOUSE KAREN'S PARENTS - DUSK (FLASHBACK</stage_direction>
<scene_description>David, Karen and Nic stand on a terrace, where they have gathered with some friends and family for a cosy wedding. The terrace has a great view of hills and trees. It's a beautiful day. Karen wears a simple white dress.</scene_description>
<character>KAREN</character>
<parenthetical>(to David)</parenthetical>
<dialogue>Thank you for marrying me. Thank you for being a perfect partner in an imperfect world. Thank you for introducing me to your amazing son. I'm here for you and I'm here to stay.</dialogue>
<scene_description>People cheer.</scene_description>
<character>DAVID</character>
<parenthetical>(to Karen)</parenthetical>
<dialogue>Karen, thank you for loving me.</dialogue>
<scene_description>David looks at Nic.</scene_description>
<character>DAVID</character>
<dialogue>And thank you for loving him.</dialogue>
<scene_description>They kiss. Karen gestures Nic to come in between them. Nic holds hands with both of them. He smiles, although still nervous. They kiss again. Cheering! CUT TO: Drinks afterwards. It's joyful and informal. A couple of musicians are playing music on their acoustic instruments. Talking, laughing. David is talking to a friend about Nic who stands a few feet away dancing to the music. The friend laughs. David and Karen look over at Nic. Still dancing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Back to the present. Nic arrives home. He parks on the driveway. Steps out of the car. David appears. Then Jasper, Daisy, Karen. Everybody is excited but also nervous. The dogs are BARKING LOUD, a little aggressive. Nic hugs everybody separately.</scene_description>
<character>NIC</character>
<dialogue>Dad. Good to see you.</dialogue>
<scene_description>CUT TO:</scene_description>
<character>NIC</character>
<dialogue>Dayze.</dialogue>
<scene_description>CUT TO:</scene_description>
<character>NIC</character>
<dialogue>Jazzy Jeff. I missed you more than the sun misses the moon at night.</dialogue>
<scene_description>Jasper hugs him back, but is a little silent. They haven't seen each other for such a long time.</scene_description>
<character>NIC</character>
<dialogue>Hi Karen.</dialogue>
<character>KAREN</character>
<dialogue>Hey.</dialogue>
<scene_description>Somehow it's really tense when Nic and Karen hug. They both have tiny tears.</scene_description>
<character>NIC</character>
<dialogue>Thank you for inviting me. Seriously.</dialogue>
</scene>
<scene>
<stage_direction>INT. NIC'S OLD BEDROOM, SHEFF HOUSE - DUSK</stage_direction>
<scene_description>Nic enters his bedroom, which has been transformed into an adjunct playroom with lots of LEGO-creations, easels, and art projects. He puts his bag on the floor, sits on his bed, looks at all the toys. Nic takes his laptop out of his backpack, and opens it. He starts typing hesitantly, sometimes going back, correcting, then continuing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>A glorious, sunny day. A lush green garden. A garden sprinkler starts spraying water up in the air. It moves from left to right. Nic, Jasper, and Daisy run and play around it. They come close to it, yet try to avoid to get wet. Laughter. Shrieks. Of course they get wet. Bright colors, sunlight piercing the ropes of water splashing through the air, the children's skin glistening. David sits in a deck chair. He is trying to read the New Yorker, but keeps looking up at his kids with a big smile. Nic picks up Jasper in one arm and then Daisy in the other. He spins them both through the sprinkler, the kids laugh as hard as they can. David calls out.</scene_description>
<character>DAVID</character>
<dialogue>Hey! Easy.</dialogue>
<scene_description>But he can't help but laugh too.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David is reading an e-mail to Karen.</scene_description>
<character>DAVID</character>
<dialogue>'... If the marker is depleted in meth addicts' brains, it's likely that there is a loss of nerve terminals, and the brain damage is irreversible. However, when I tested for V-MAT2, I found normal levels.'</dialogue>
<character>KAREN</character>
<dialogue>So there is cause for optimism?</dialogue>
<character>DAVID</character>
<dialogue>Normal levels is optimistic. Yes.</dialogue>
<scene_description>Karen looks at him.</scene_description>
<character>KAREN</character>
<dialogue>I was just checking!</dialogue>
<scene_description>He continues.</scene_description>
<character>DAVID</character>
<dialogue>Basically Nic's 'fried' nerve endings can grow back. They say it can take two years.</dialogue>
<character>KAREN</character>
<dialogue>Two years. Well, that's great David.</dialogue>
<scene_description>Tiny smile from David.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David sits at the fire place. He has a book in his hands but isn't really reading. He hears a car stopping in front of the house. He looks up. CUT TO: Nic walks in. Takes a seat. Watches David.</scene_description>
<character>DAVID</character>
<dialogue>You're pretty late.</dialogue>
<character>NIC</character>
<dialogue>Yeah. It was a great meeting. After we went to this speaker's house and watched a video. Some of my sober sponsoring bro's were there.</dialogue>
<scene_description>David puts his book down.</scene_description>
<character>DAVID</character>
<dialogue>No phone?</dialogue>
<character>NIC</character>
<dialogue>My cell was dead.</dialogue>
<character>DAVID</character>
<parenthetical>(hates to ask)</parenthetical>
<dialogue>Would you be OK to do a drug test?</dialogue>
<scene_description>Nic becomes silent and angry too, but swallows his pride.</scene_description>
<character>NIC</character>
<dialogue>Yeah. Sure dad.</dialogue>
<scene_description>David stands up, goes to the kitchen, takes a plastic cup, gives it to Nic.</scene_description>
<character>DAVID</character>
<dialogue>You understand why, right?</dialogue>
<character>NIC</character>
<dialogue>I should've called to let you know. So...</dialogue>
<character>DAVID</character>
<dialogue>I trust you, but we just need to have some kind of proof, ok?</dialogue>
<scene_description>Nic is a little down.</scene_description>
<character>NIC</character>
<dialogue>That's about as contradictory as it gets. But I know. I'll do it, no worries, nothing to hide.</dialogue>
<scene_description>A beat.</scene_description>
<character>DAVID</character>
<dialogue>Hey. You're doing great.</dialogue>
<character>NIC</character>
<dialogue>Yeah...</dialogue>
<character>DAVID</character>
<dialogue>You really are. By my count you're at 485 days clean.</dialogue>
<scene_description>Nic nods.</scene_description>
<character>NIC</character>
<dialogue>I'll just leave it in the bathroom.</dialogue>
<scene_description>Nic walks away waving his plastic cup in his hands. He stops and hugs David.</scene_description>
<character>NIC</character>
<dialogue>Goodnight dad. I love you.</dialogue>
<character>DAVID</character>
<dialogue>I love you too.</dialogue>
<scene_description>Nic disappears in the dark.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David checks the drug test. He turns off the light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. REMOTE BEACH - DAY</stage_direction>
<scene_description>The family is walking on a path that leads to a beautiful remote beach. Everybody is carrying something, stuff they brought to spend a couple of hours there. Jasper and Nic are carrying a surfboard. They're both really excited and teasing each other as they walk. They arrive at the beautiful beach, look at the pretty big waves out there. Jasper and Nic run towards the water and play a little in the water in the incoming waves. Meanwhile, David and Karen install themselves on the beach. Karen looks a little worried. Nic and Jasper are strapping the leg ropes of their surfboards on and making their way to go in the water and surf.</scene_description>
<character>NIC</character>
<dialogue>Alright Jasper, you ready?</dialogue>
<character>JASPER</character>
<dialogue>Yep.</dialogue>
<character>NIC</character>
<dialogue>Let's go, let's go, let's go!</dialogue>
<scene_description>They run towards the water. Karen chases after them.</scene_description>
<character>KAREN</character>
<dialogue>Hey no, no, wait! Jasper I don't want you to go out there.</dialogue>
<character>JASPER</character>
<dialogue>Mom, we won't go far. I swear!</dialogue>
<character>KAREN</character>
<dialogue>The waves are too big. It's too dangerous.</dialogue>
<character>JASPER</character>
<dialogue>But I'm a great swimmer. I've been in waves that were way bigger than this.</dialogue>
<character>KAREN</character>
<dialogue>Yes I know that but--</dialogue>
<scene_description>Nic joins the conversation, he is sweet.</scene_description>
<character>NIC</character>
<dialogue>I'll stay close...</dialogue>
<character>JASPER</character>
<dialogue>Nic will stay close, you see?</dialogue>
<scene_description>Karen is emotional about it, primal fear kicks in. David is watching and senses it. He gets up from his seat.</scene_description>
<character>NIC</character>
<dialogue>Karen, I'm going to stay close.</dialogue>
<character>KAREN</character>
<dialogue>Nic can go in. That's fine, but you, no. And that is final.</dialogue>
<character>JASPER</character>
<parenthetical>(jokingly)</parenthetical>
<dialogue>We'll see about that!</dialogue>
<character>KAREN</character>
<dialogue>Hey!</dialogue>
<scene_description>David takes a few step closer towards the boys. Nic tries to stay positive.</scene_description>
<character>NIC</character>
<dialogue>Ok, it's fine. It's fine.</dialogue>
<scene_description>They all just stand there and look at the waves. They are indeed quite big.</scene_description>
<character>NIC</character>
<parenthetical>(to Jasper)</parenthetical>
<dialogue>Shall we play a game instead? Yeah?</dialogue>
<scene_description>Jasper is taken aback a little. He nods.</scene_description>
<character>JASPER</character>
<dialogue>Yeah.</dialogue>
<scene_description>Nic playfully bumps his head into Jasper's chest to cheer him up. They head back up the beach. CUT TO: A little later. Karen, Daisy and David are building a castle. Jasper and Nic are laying on the beach, face to face, playing a wordgame.</scene_description>
<character>NIC</character>
<dialogue>Are you a hurfboard? No? Are you a hicycle?</dialogue>
<scene_description>It makes Jasper laugh. He shakes his head.</scene_description>
<character>NIC</character>
<dialogue>OK, uhm, are you edible?</dialogue>
<character>JASPER</character>
<dialogue>Not really.</dialogue>
<character>NIC</character>
<dialogue>Not really?</dialogue>
<character>JASPER</character>
<dialogue>Not really.</dialogue>
<character>NIC</character>
<dialogue>So sort of... Are you a house?</dialogue>
<character>JASPER</character>
<dialogue>Yes. How did you know?</dialogue>
<character>NIC</character>
<dialogue>Just, you know, I can read your mind.</dialogue>
<scene_description>Jasper laughs. Nic sees David is following their conversation.</scene_description>
<character>NIC</character>
<dialogue>Hey... I know you're a great swimmer. I'm going to be there to cheer for you at your next swim meet. How does that sound?</dialogue>
<scene_description>Jasper smiles. A silence. Nic looks at Jasper.</scene_description>
<character>NIC</character>
<dialogue>Hey is it weird to see me after such a long time or no?</dialogue>
<character>JASPER</character>
<dialogue>I guess it was at first. I thought maybe you might be different. But you're the same old Nic.</dialogue>
<scene_description>Now Nic smiles. MUSIC RISES.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Next morning. Bright sun through the windows. Nic walks in and hugs David.</scene_description>
<character>NIC</character>
<dialogue>Thanks. It was a great weekend.</dialogue>
<character>DAVID</character>
<dialogue>Take care.</dialogue>
<scene_description>Nic nods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic steps into his Mazda. The family gathers at the door. While Nic drives off, they wave. David is watching Nic drive off. And, isn't there a sad look on Nic's face?</scene_description>
</scene>
<scene>
<stage_direction>I/E. MAZDA / INVERNESS ROADS - DAY</stage_direction>
<scene_description>Nic is driving on the Inverness roads.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARIN VALLEY SCHOOL, SAN RAFAEL - DAY (FLASHBACK)</stage_direction>
<scene_description>It's Nic's graduating class on the lovely grounds of Marin Valley School. A BRASS BAND starts playing. YOUNG STUDENTS start to walk up the grounds in a row. PARENTS, FRIENDS, LOVED ONES are taking seats on the bleachers. Amongst them the whole Sheff-family. David, Karen, Jasper, Daisy. David is talking to the FATHER of one of Nic's fellow students. Karen, Daisy and Jasper are trying to spot Nic among the students. David and the whole family cheer now as Nic goes towards the stage. Even other people are cheering for Nic. Little Daisy is enraptured. David is really really proud.</scene_description>
<character>DAVID</character>
<dialogue>Go get'em!</dialogue>
<scene_description>Nic steps up - kisses the Principal - looks out and grins wickedly to his family. David laughs. While making his way down the stage, Nic shakes hands with teachers standing in line with a big smile, he even hugs one of them, the teacher is surprised. As other student's names are called, OTHER FAMILIES are cheering too. For David it feels like everybody is cheering for Nic. Before he steps off the stage, Nic waves to his family one more time.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>And we cut back to the moment when Nic gets in his Mazda and drives off from the Sheff house. Nic does look a little sad. He watches the family wave in his rearview mirror.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MAZDA / FREEWAY - DAY</stage_direction>
<scene_description>Nic is driving on the freeway. He's nervous. He takes an exit.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MAZDA / PARKING - DAY</stage_direction>
<scene_description>Nic sits in his car, close to the freeway, cars passing by in the background. He's out of sorts. He takes his phone and dials a number.</scene_description>
<character>SPENCER (O.S.)</character>
<dialogue>One day at a time, man. Congratulations. Welcome to the real world, I'm glad you made it.</dialogue>
<character>NIC</character>
<dialogue>I don't want to live in the real world. I'm so sick of living in the real world.</dialogue>
<character>SPENCER (O.S.)</character>
<dialogue>Bullshit. That's your disease talking, man. Wanting to isolate you, so it can kill you.</dialogue>
<character>NIC</character>
<dialogue>I don't feel like I have a disease, Spencer. This is not like fucking cancer. This is my fucking choice. I put myself here.</dialogue>
<character>SPENCER (O.S.)</character>
<dialogue>Yeah you did. You did put yourself here. Now are you going to let me talk? Or what?</dialogue>
<scene_description>A beat.</scene_description>
<character>SPENCER (O.S.)</character>
<dialogue>OK. You're a writer, right? So write. You're good at it. This is your day--</dialogue>
<scene_description>Nic puts down the phone. He is struggling. He picks it back up.</scene_description>
<character>SPENCER (O.S.)</character>
<dialogue>Once you get high though, you lose everything. So you've gotta keep choosing the right way.</dialogue>
<scene_description>Nic exits the car. He stands hunched over the open door.</scene_description>
<character>NIC</character>
<dialogue>Right.</dialogue>
<scene_description>He clenches his teeth.</scene_description>
<character>SPENCER (O.S.)</character>
<dialogue>That's right. Choose the right way.</dialogue>
<scene_description>Nic seems relieved.</scene_description>
<character>NIC</character>
<dialogue>Hey listen, I'm going to give you a call a little later, alright? I feel like I'm going to do alright.</dialogue>
<character>SPENCER (O.S.)</character>
<dialogue>You blowing me off now? Don't waste my time. I'm here for you man. You know what, I'm having some steaks tonight. Why don't you come over for dinner?</dialogue>
<character>NIC</character>
<dialogue>That sounds great. I'll see you then. Yessir. I'll see you then.</dialogue>
<scene_description>Nic's lips start quivering, as if he's about to cry. Spencer can feel him teetering in the silence on the phone.</scene_description>
<character>SPENCER (O.S.)</character>
<dialogue>Nic. Nic! Nic--</dialogue>
<character>NIC</character>
<dialogue>Alright, bye-bye.</dialogue>
<scene_description>Nic hangs up, but starts crying again. He closes the car door and paces back and forth, swaying in every direction. We now see where he is, he's at a parking lot overlooking the Golden Gate Bridge and San Francisco.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAZDA / HAIGHT STREET - NIGHT</stage_direction>
<scene_description>Nic sits on the hood of his Mazda, parked in the colorful Haight Street. A sixpack on the passenger seat, Nic takes a can of beer and opens it. His eyes are on fire. He drinks. He's smoking a cigarette. This is obviously just the beginning, the beast is loose. He downs the can of beer. Opens the next. He is looking at his arms, making a fist, making his veins stand out. He notices LAUREN walking by on the sidewalk (19, thin, fragile girl). He knows her, but where from? She notices him, and recognizes him too. She comes towards him.</scene_description>
<character>LAUREN</character>
<dialogue>Nic Sheff!</dialogue>
<character>NIC</character>
<dialogue>Hi... Lauren...!</dialogue>
<scene_description>There's something strange about her, but she's also really cute.</scene_description>
<character>LAUREN</character>
<dialogue>God it's been a long time. What are you doing here?</dialogue>
<character>NIC</character>
<dialogue>Well...</dialogue>
<scene_description>Nic is thinking. Should he tell the truth?</scene_description>
<character>LAUREN</character>
<dialogue>What?</dialogue>
<character>NIC</character>
<dialogue>I've been sober for a while, but I'm seriously looking to party right now.</dialogue>
</scene>
<scene>
<stage_direction>I/E. MAZDA / SAN FRANCISCO STREETS - MONTAGE</stage_direction>
<scene_description>Nic drives while Lauren drinks a beer in the passenger. They cruise through the shady Tenderloin. Nic parks. He takes out another cigarette as two DEALERS walk over to the car. He rolls down the window.</scene_description>
<character>DEALER</character>
<dialogue>I got what you need!</dialogue>
<scene_description>The dealer shakes two baggies. Nic reaches for both.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, LAUREN'S PARENTS HOUSE - NIGHT</stage_direction>
<scene_description>Nic and Lauren enter Lauren's house. A fancy place overlooking Baker Beach. Nic sits on the couch and immediately throws two syringes onto a glass coffee table.</scene_description>
<character>NIC</character>
<dialogue>Can you get me a cup of water and a spoon?</dialogue>
<character>LAUREN</character>
<dialogue>Mmmhmm.</dialogue>
<scene_description>She exits. Nic sits and looks around the room, fiddling with a baggie in his hand. She returns. He smiles.</scene_description>
<character>LAUREN</character>
<dialogue>Here you go.</dialogue>
<scene_description>She hands him the water and puts the spoon on the table. Nic prepares the drugs like a pro. Crushing the meth, heating it up. Pulling it up a syringe. And another one, with a little less. Lauren is watching, a little nervous. Nic finds a vein and shoots up. He coughs, almost choking. (happens when the chemicals reach the brain). His eyes water up. His breathing intensifies.</scene_description>
<character>NIC</character>
<dialogue>Goddamn.... Godddamn.</dialogue>
<scene_description>CUT TO: Now Nic shoots up Lauren.</scene_description>
<character>NIC</character>
<dialogue>There it is. That's it.</dialogue>
<scene_description>She coughs too. A lot. Hard breathing.</scene_description>
<character>LAUREN</character>
<dialogue>Wow.</dialogue>
<scene_description>Nic smiles at her.</scene_description>
<character>NIC</character>
<dialogue>You see? I told ya.</dialogue>
<scene_description>They sit there staring at each other. Not saying a word. He starts kissing her. She kisses him back. He kisses her harder.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM, LAUREN'S PARENTS HOUSE - NIGHT</stage_direction>
<scene_description>They have sex in the shower. It's wild and sexy. Nic looks cool. They go on for a long time. Kissing, moaning, fucking. Lauren comes. Nic keeps on going. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, LAUREN'S PARENTS HOUSE - DAY</stage_direction>
<scene_description>Nic is sitting on the couch in his underwear next to his belt still tied in a loop for his arm. He looks bad. He's been throwing up. He looks out at the coffee table. It's a huge mess. Bottles of wine. Drug paraphernalia layed out. Crystal meth. Heroin. Not much left. He starts to cry. He curls into the fetal position and grabs hold of the nearest pillow. While he cries we hear David leaving him a voice-mail.</scene_description>
<character>DAVID (O.S.)</character>
<dialogue>It's dad again. I feel like you might have been a little down when you left, Nic. So I'm here to talk if you need to.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David hangs up the phone. He sits in his study. Thinking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David is on the phone. Making another call.</scene_description>
<character>DAVID</character>
<dialogue>So you have no idea where he is?</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>Spencer told me he heard from him. He was having a difficult time but was pulling through. But, yeah, he's not at work. Not at home. Unreachable on his cell.</dialogue>
<character>DAVID</character>
<dialogue>Damn, Vicki. He left here two days ago... Why haven't you checked on him since? You're supposed to be taking care of him, right?</dialogue>
<scene_description>\[INTERCUT WITH VICKI IN HER OFFICE IN LA\] Vicki looks out of sorts.</scene_description>
<character>VICKI</character>
<dialogue>What the fuck, David. Who's been taking care of him the last year?</dialogue>
<character>DAVID</character>
<dialogue>You could've checked on him! What the fuck is your problem?</dialogue>
<character>VICKI</character>
<dialogue>What do you think I do all day? And besides that, we can't run surveillance on him 24/7.</dialogue>
<character>DAVID</character>
<parenthetical>(not listening to Vicki)</parenthetical>
<dialogue>I think you need to go to the police right now and file a missing persons report. OK?!</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>Stop YELLING at me!!</dialogue>
<character>DAVID</character>
<dialogue>No I'm not going to stop yelling at you! Because you are just... what are you even doing there!</dialogue>
<character>VICKI (O.S.)</character>
<dialogue>You're being unfair David.</dialogue>
<character>DAVID</character>
<dialogue>Listen to me!</dialogue>
<scene_description>Vicki is grasping for air, it's too much for her. She starts crying. She hangs up. ON DAVID: his eyes like black saucers of rage. All of a sudden he flings his phone across the lawn, into the trees beyond the yard. FUCK. CUT TO: David angrily rummages around in the foliage, looking for his phone. Karen finds him.</scene_description>
<character>KAREN</character>
<dialogue>Dave?</dialogue>
<scene_description>David turns and sees her.</scene_description>
<character>DAVID</character>
<parenthetical>(anguished)</parenthetical>
<dialogue>Can you call my phone, please?</dialogue>
<character>KAREN</character>
<dialogue>What's going on?</dialogue>
<character>DAVID</character>
<dialogue>He's gone.</dialogue>
<scene_description>David is shaking his head. Karen too. What now? David starts looking for his phone again. Karen too.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM DAVID & KAREN, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David is throwing UNDERWEAR, SHIRTS, a TOILETRIES POUCH and other items into a TRAVEL BAG. Karen enters, giving David the a 'what's-going-on'-look.</scene_description>
<character>KAREN</character>
<dialogue>How do we even know he's in LA? I mean he could be in San Francisco. He could be in fucking Mexico for all we know.</dialogue>
<character>DAVID</character>
<dialogue>I need to go.</dialogue>
<character>KAREN</character>
<dialogue>And I need you to stay.</dialogue>
<character>DAVID</character>
<dialogue>I told you, Vicki can't handle it.</dialogue>
<character>KAREN</character>
<dialogue>I don't care about Vicki. This isn't about Vicki!!</dialogue>
<character>DAVID</character>
<dialogue>Why don't you just relax and try to be reasonable.</dialogue>
<character>KAREN</character>
<dialogue>What? You be reasonable!</dialogue>
<character>DAVID</character>
<dialogue>I am being reasonable.</dialogue>
<scene_description>IS THIS REASONABLE?</scene_description>
<character>DAVID</character>
<dialogue>NO IT'S NOT! How can I be? My son is out there somewhere and I don't know what he's doing. I don't know how to help him!</dialogue>
<scene_description>YOU CAN'T! David lets that sink in. It hurts but it might be true. Karen is silent for a moment. Then sits on the bed. Jasper enters their room in his PJ's, still sleepy.</scene_description>
<character>KAREN</character>
<dialogue>Hey big man. What's up?</dialogue>
<character>JASPER</character>
<dialogue>I can't sleep.</dialogue>
<scene_description>She picks him up and carries him out of the room.</scene_description>
<character>JASPER (O.S.)</character>
<dialogue>Good night daddy.</dialogue>
<character>DAVID</character>
<dialogue>Good night.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROAD LEADING TO POINT REYES LIGHTHOUSE - DAY - MONTAGE</stage_direction>
<scene_description>David is walking his dogs at the beautiful vista where he once shared a joint with Nic.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Daisy and Jasper play on the swings. Carefree.</scene_description>
</scene>
<scene>
<stage_direction>INT. KAREN'S STUDIO - NIGHT</stage_direction>
<scene_description>Karen focuses on her work. Looking for the next brush stroke.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David types and edits his work. Focused.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David can't sleep. He picks LEGO's up off of the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. KID'S BEDROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Karen gets the kid's dressed, ready to go out.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROLLING STONE MAGAZINE - MEETING ROOM - DAY</stage_direction>
<scene_description>David in a meeting room with a couple of editors. David is trying his best to not constantly check his phone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATHWAY LEADING TO INVERNESS AQUATICS CENTER - DAY</stage_direction>
<scene_description>David, Karen, Daisy and Jasper just parked the car and walk to the entrance of the swimming pool. A lot of kids and parents are arriving and entering. Both Daisy and Jasper have a bag with their bathing suits.</scene_description>
<character>JASPER</character>
<dialogue>I thought Nic was gonna be here today.</dialogue>
<character>DAVID</character>
<dialogue>Something came up.</dialogue>
<character>JASPER</character>
<dialogue>Can I call him?</dialogue>
<character>DAVID</character>
<dialogue>That's not going to be possible.</dialogue>
<character>JASPER</character>
<dialogue>Why not?</dialogue>
<character>DAVID</character>
<dialogue>Because it's not.</dialogue>
<scene_description>Silence. Jasper hesitates.</scene_description>
<character>JASPER</character>
<dialogue>Is Nic back on drugs again?</dialogue>
<scene_description>Wow. Karen looks at David. They both don't know what to say. A long silence. Karen is honest.</scene_description>
<character>KAREN</character>
<dialogue>We don't know, honey.</dialogue>
<scene_description>Jasper nods. He walks off, takes Daisy along.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>The phone rings throughout the house. No answer. It clicks through to an answer machine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic and Lauren arrive at the front door, Nic lifts a pot plant, nothing there. He tries another pot, again nothing. It makes him angry. He throws the pot to the floor. He kicks the solid door, nothing happens.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - DAY</stage_direction>
<scene_description>Nic goes around the back. He creeps along different doors and windows, and checks if one of them is open. He starts banging and pounding on a back door, until it breaks open and he slams to the ground. He bounces right back up. If he weren't high, his limbs would hurt after this.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHEFF HOUSE - DAY</stage_direction>
<scene_description>We follow Nic who walks through the house and gathers stuff he can take along. In a storage he takes a jacket, a Nintendo console, some bottles of wine. An old laptop. From the kitchen a bottle of Vodka. He dumps some stuff into a woven laundry basket. Meanwhile Lauren is looking at art books, etc.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic enters David's study. He opens drawers of his desk, looking for stuff he can take. He's progressively angrier and angrier. On David's desk Nic sees print-outs of stuff David is writing. He looks at it, his own name appears quite a few times. He reads the top line: Nic didn't come home last night. Then the last: Have you seen my son? Have you seen my beautiful boy? Tell him I miss him.</scene_description>
</scene>
<scene>
<stage_direction>INT. INVERNESS AQUATICS CENTER - DAY</stage_direction>
<scene_description>The competition is on. BOYS and GIRLS of all ages in their bathing suits. Different TEAMS, amongst them Jasper's team 'Angry Tuna'. Jasper is just about to get on a starting block, while David and Karen stand to the side of the pool. Karen waves, but Jasper doesn't see her. Behind Jasper we notice a large banner from the local swim team that says: 'Nothing in life is so complicated that it cannot be achieved by discipline and hard work'. And GOOOOOOOO! Jasper dives into the water, and swims as fast as he can. Karen is watching and cheering. David looks pretty stressed out. A little later, David walks out checking his phone. Karen sees him walking out. She's angry. She focuses on Jasper again.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, SHEFF HOUSE - DAY</stage_direction>
<scene_description>Nic is watching the basket and the stuff he wanted to take with him . . . What a stupid idea. At that moment we hear a car pull up in the driveway. He rushes to a window. It's the family arriving. Nic, instant panic mode.</scene_description>
<character>NIC</character>
<dialogue>Oh fuck.</dialogue>
<parenthetical>(loud whisper)</parenthetical>
<dialogue>Hey Lauren.</dialogue>
<character>LAUREN</character>
<dialogue>What's going on?</dialogue>
<character>NIC</character>
<dialogue>Let's go. We gotta go.</dialogue>
<scene_description>They rush out of the back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>In the driveway David, Karen, and the kids all get out of the car. Jasper is wearing a medal around his neck. The back of the car is filled with bags of groceries. David and Karen pick them up and carry them.</scene_description>
<character>KAREN</character>
<dialogue>Honeys, can you help us out here?</dialogue>
<scene_description>They all take something - David the bulk. They walk to the front door, Karen opens it. They enter.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM AND KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>They pass the living room. Dump the groceries in the kitchen. Karen starts unpacking. Jasper takes a banana and starts eating it, just hanging a little in the kitchen. Daisy goes up the stairs to her room. David heads back outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>As David enters the house again with the last groceries, he notices the broken plant pot at the entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM AND KITCHEN, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David enters again with the last groceries.</scene_description>
<character>JASPER</character>
<dialogue>I think I just saw Nic...</dialogue>
<character>KAREN</character>
<dialogue>What hon?</dialogue>
<character>JASPER</character>
<dialogue>I think I just saw Nic and a girl. Running away.</dialogue>
<scene_description>Dumbstruck for a moment... David rushes outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE / AND STREETS SURROUNDING- DAY</stage_direction>
<scene_description>David runs onto the street, sees Nic and Lauren, but they're pretty far away. They're running.</scene_description>
<character>DAVID</character>
<dialogue>Nic, Nic!</dialogue>
<scene_description>CUT TO: Nic, white as a sheet, sprinting. Lauren beside him. They go around a corner into a bush.</scene_description>
<character>NIC</character>
<dialogue>Fuck! Fuck!</dialogue>
<scene_description>CUT TO: David runs on the street now, but doesn't see Nic anymore. Karen, Daisy and Jasper run to the front door. Daisy calls out.</scene_description>
<character>DAISY</character>
<dialogue>Nic!</dialogue>
<scene_description>Karen spins around.</scene_description>
<character>KAREN</character>
<dialogue>No! Stay inside. I am not kidding.</dialogue>
<scene_description>She shuts the door. CUT TO: Nic and Lauren clamber into the Mazda, try to be as quiet as possible, though they're gasping for breath.</scene_description>
<character>LAUREN</character>
<dialogue>What do we do?</dialogue>
<scene_description>He kisses her and tries to calm her down.</scene_description>
<character>NIC</character>
<dialogue>It's alright. It's alright.</dialogue>
<scene_description>Through the bush they see David running past them.</scene_description>
<character>NIC</character>
<dialogue>Oh fuck.</dialogue>
<scene_description>They wait just a little more until David is further along. Nic starts the engine, hits the gas and rushes into the other direction. CUT TO: David turns around as he sees and hears the Mazda drive off in the other direction.</scene_description>
<character>DAVID</character>
<dialogue>Oh no...</dialogue>
<scene_description>Nic has to drive past the house. Nic sees Karen. She is distraught. She looks at Nic, wild and scared at the same time. Close on Karen: what now? She jumps in the car, starts the engine.</scene_description>
<character>JASPER</character>
<parenthetical>(from inside)</parenthetical>
<dialogue>Mom?</dialogue>
<scene_description>Karen simply gestures again - Stay there! - as she reverses it onto the street, takes off, disappears. It's wild and loud and scary. CUT TO: Back to David, who is walking back - out of breath - and now sees Karen in the car speeding off, going after Nic...</scene_description>
<character>DAVID</character>
<dialogue>No! No!</dialogue>
<scene_description>David loses it, everything just seems to slip out of his hands.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MAZDA / STREETS OF INVERNESS - DAY</stage_direction>
<scene_description>Nic driving, looking behind him. And then there's Karen in the distance gaining ground.</scene_description>
<character>NIC</character>
<dialogue>Ah, no!</dialogue>
<scene_description>He floors it. Nic turns a corner. Karen not far behind it.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MAZDA / STREETS AROUND INVERNESS - DAY</stage_direction>
<scene_description>On a stretch of Marin County road, Nic powers along.</scene_description>
<character>LAUREN</character>
<parenthetical>(looking behind)</parenthetical>
<dialogue>I think we're losing her...</dialogue>
<scene_description>Karen way back there.</scene_description>
</scene>
<scene>
<stage_direction>I/E. CAR, STREETS AROUND INVERNESS - DAY</stage_direction>
<scene_description>Karen is slowing down. Suddenly realizing this is crazy. She comes to a stop in the middle of the road. She watches the Mazda ahead in the distance. Stares blankly. Motionless. And suddenly: she's weeping. It all comes out, floods of tears, huge gulping sobs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY, SHEFF HOUSE - DAY</stage_direction>
<scene_description>David walks up to the driveway. Daisy is crying. Jasper is consoling her.</scene_description>
<character>DAVID</character>
<dialogue>I'm sorry guys.</dialogue>
<scene_description>David looks at them... doesn't know what to do anymore. He comes closer to his kids. Sits on the ground near them.</scene_description>
<character>DAVID</character>
<dialogue>I'm so sorry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PORTRERO HILL, SF - NIGHT</stage_direction>
<scene_description>Nic is taking a walk and smoking a cigarette by himself. He drops the butt and walks over to his Mazda on a quiet street on a hill. In the distance we see the city of San Francisco.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAZDA - NIGHT</stage_direction>
<scene_description>Nic steps into his Mazda. As the light turns on, we see Lauren is lying in the passenger seat, passed out. Nic watches her a little closer, is she OK? He shakes her.</scene_description>
<character>NIC</character>
<dialogue>Lauren?</dialogue>
<scene_description>She actually looks a little blue.</scene_description>
<character>NIC</character>
<dialogue>Lauren?!</dialogue>
<scene_description>He checks a pulse. None. He slaps her face.</scene_description>
<character>NIC</character>
<dialogue>Lauren!</dialogue>
<scene_description>He panics, searches her phone, finds it, dials 911. Meanwhile tilts the backseat, and starts to do some CPR. Mouth to mouth. Chest compressions.</scene_description>
<character>NIC</character>
<parenthetical>(in phone)</parenthetical>
<dialogue>Hello. Yeah, I'm with a friend. She just OD'd. I need an ambulance. We need some help!</dialogue>
<character>911 VOICE (O.S.)</character>
<dialogue>Sir, do you know CPR?</dialogue>
<character>NIC</character>
<dialogue>I'm doing it. Please come quick. You have to send an ambulance.</dialogue>
<character>911 VOICE (O.S.)</character>
<dialogue>What is your location?</dialogue>
<character>NIC</character>
<dialogue>I don't know. Trace the call.</dialogue>
<scene_description>Nic drops the phone, keeps on doing chest compressions. All of a sudden: Lauren gasps, and jerks awake. She blinks twice and bursts into tears. Nic is relieved. He holds her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORTRERO HILL, SF - NIGHT</stage_direction>
<scene_description>An ambulance has now arrived and routine examinations have been done.</scene_description>
<character>EMT</character>
<dialogue>We need to take you to the ER.</dialogue>
<character>LAUREN</character>
<dialogue>I don't want to. I'm fine.</dialogue>
<character>EMT</character>
<parenthetical>(firm)</parenthetical>
<dialogue>We need to take you to the ER.</dialogue>
<character>NIC</character>
<dialogue>Can't you hear what she's saying? She doesn't want to go.</dialogue>
<character>EMT</character>
<dialogue>Otherwise I need to inform the police. Up to you.</dialogue>
<character>NIC</character>
<dialogue>Godammit.</dialogue>
<scene_description>Nic and Lauren look at each other. They don't want police.</scene_description>
<character>LAUREN</character>
<dialogue>You're going to come meet me right? You promise?</dialogue>
<character>NIC</character>
<dialogue>Yes.</dialogue>
<scene_description>Nic nods. Lauren is crying.</scene_description>
<character>LAUREN</character>
<dialogue>I love you. Come get me, Nic.</dialogue>
<character>NIC</character>
<dialogue>I love you too.</dialogue>
<character>LAUREN</character>
<dialogue>Please come get me. You promise?</dialogue>
<scene_description>Nic gets angry.</scene_description>
<character>NIC</character>
<dialogue>Yes I said I will! What do you fucking want from me?</dialogue>
<scene_description>Nic can't look Lauren in the eyes. This is the end, but Lauren is too fucked up to see that. CUT TO: The ambulance drives off. Nic feels miserable. Worn out, fucked up, done. Nic still has Lauren's phone. He dials a number. It's ringing.</scene_description>
<character>DAVID (O.S.)</character>
<dialogue>David Sheff...</dialogue>
<character>NIC</character>
<dialogue>Hey dad. It's me.</dialogue>
<character>DAVID (O.S.)</character>
<dialogue>Nic.</dialogue>
<scene_description>Nic is crying. Standing in the middle of the street.</scene_description>
<character>NIC</character>
<dialogue>Please don't hate me, dad. I know what I did wrong. I... Listen, I want to stop. But please, please, please no rehab. Let me come home. I realized I actually need to be home. You guys will give me the strength to stop. Alright?</dialogue>
<scene_description>A beat.</scene_description>
<character>DAVID (O.S.)</character>
<dialogue>That's not going to happen.</dialogue>
</scene>
<scene>
<stage_direction>INTERCUT WITH INT. LIVING ROOM, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David is seated on the edge of the couch. This breaks David's heart.</scene_description>
<character>DAVID</character>
<dialogue>I wish I could help, but I can't do that. I can't.</dialogue>
<character>NIC</character>
<dialogue>Please help me dad. I just need a little bit of help.</dialogue>
<parenthetical>(crying, pleading)</parenthetical>
<dialogue>Please help me. I want to come home.</dialogue>
<character>DAVID</character>
<dialogue>All I can tell you is what you already know. Call your sponsor.</dialogue>
<character>NIC</character>
<dialogue>I don't want to talk to my sponsor. I want to talk to you.</dialogue>
<character>DAVID</character>
<dialogue>Get help. I love you and I hope you get your life together.</dialogue>
<character>NIC</character>
<dialogue>I love you too.</dialogue>
<scene_description>David hangs up. We stay on David's face for a while.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORTRERO HILL, SF - NIGHT</stage_direction>
<scene_description>Nic looks out at the city. Alone.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S STUDY, SHEFF HOUSE - NIGHT</stage_direction>
<scene_description>David enters his study. It's a mess, papers everywhere. Books, printouts, etc. He starts cleaning up his desk. Makes it all neat and tidy. He looks around and watches the pictures hanging on the wall. We've seen them a couple of times now. David walks to the wall. Looks at the picture of him and Nic, 12 years old, both in wetsuits. He takes it down. He then takes down a couple of other pictures with Nic in them too. He steps to his desk, opens a lower-down desk drawer. He puts the photos in there. He closes the drawer. He walks out and switches the light off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEAR VALLEY TRAIL, ARCH ROCK - DAY</stage_direction>
<scene_description>David, Karen, Daisy and Jasper together with ANOTHER FAMILY WITH KIDS are walking over the Bear Valley Trail. They arrive near the ocean. It's really beautiful. Daisy, Jasper and the other kids are playing pretty wild, running and jumping. As they arrive closer to the edge of the cliffs Karen is a little worried about it, but she let's them be. David too. David's phone buzzes. Caller ID says 'Vicki'. David distances himself a little from the rest of the gang and takes the call.</scene_description>
</scene>
<scene>
<stage_direction>INTERCUT WITH INT. HOUSE VICKI LA - DAY</stage_direction>
<character>DAVID</character>
<dialogue>Hello?</dialogue>
<character>VICKI</character>
<dialogue>Nicolas called. He sounds desperate. He is going to die if we don't do anything.</dialogue>
<scene_description>David takes a deep breath.</scene_description>
<character>DAVID</character>
<dialogue>And he's going to die even if we do. Nothing we do has any effect on him.</dialogue>
<scene_description>A beat. Karen looks back at David.</scene_description>
<character>DAVID</character>
<dialogue>I failed.</dialogue>
<character>VICKI</character>
<dialogue>I know you feel ashamed. OK? So do I.</dialogue>
<scene_description>Silence. Vicki takes a deep breath and starts talking, takes her time to make her point.</scene_description>
<character>VICKI</character>
<dialogue>But you have done great, David. And Karen too. So thank you for that. You were up for it, when I wasn't. And I'm not giving up now. Never. But I can't do this alone. I need your help.</dialogue>
<scene_description>David thinks about it. It hurts.</scene_description>
<character>DAVID</character>
<dialogue>I don't think you can save people, Vicki.</dialogue>
<scene_description>A beat.</scene_description>
<character>VICKI</character>
<dialogue>No, but you can be there for them. Can't you?</dialogue>
<scene_description>David let's it sink in, breathes heavily. He watches Karen and the other couple. He watches the cliffs and the rocks and the ocean.</scene_description>
<character>DAVID</character>
<dialogue>I'm done. OK?</dialogue>
<scene_description>Vicki is crying. Crushed. She hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE - DUSK</stage_direction>
<scene_description>Nic sits in Caffe Trieste, again. He is writing some stuff in a notebook. His eyes look like he has cried for hours.</scene_description>
</scene>
<scene>
<stage_direction>INT. AL-ANON MEETING, CHURCH BASEMENT - NIGHT</stage_direction>
<scene_description>David and Karen enter a dingy room. Neon tubes flicker, a fan is ticking in a corner. A dozen people are there, serving themselves coffee and donuts. The meeting is called to order, people take seats in plastic chairs set in a circle. David and Karen too. We see people talking, but don't hear them. David and Karen are listening while also checking out the people. What to think of this? Do they belong there? David reads an AL ANON sign that reads the AL ANON THREE C's: 'You didn't cause it, you can't cure it, you can't control it.' CUT TO: Mid-meeting.</scene_description>
<character>MEETING LEADER</character>
<dialogue>Rose, would you like to share?</dialogue>
<scene_description>A woman, clearly distraught, sits up straighter in her seat.</scene_description>
<character>ROSE</character>
<dialogue>Thank you. I'm Rose.</dialogue>
<character>THE GROUP</character>
<dialogue>Hi, Rose.</dialogue>
<character>ROSE</character>
<dialogue>I, well... I had a rough week. Some of you know, some of you don't. I lost my Frances this week -</dialogue>
<scene_description>- a real gasp of dismay in the room -</scene_description>
<character>ROSE</character>
<dialogue>- she died of an overdose on Sunday.</dialogue>
<scene_description>She herself alternates between being very matter-of-fact and having great trouble holding it together.</scene_description>
<character>ROSE</character>
<dialogue>I guess that means I'm in mourning. But I realized something else. I've actually been in mourning for years. Cos even when she was alive, she wasn't there.</dialogue>
<scene_description>Her friends continue to stroke her. Some PEOPLE are in tears. David is listening but not looking. Karen closes her eyes. INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE - NIGHT</stage_direction>
<scene_description>Nic stops writing, gets up and walks to the bathroom. He leaves his notebook on the table.</scene_description>
</scene>
<scene>
<stage_direction>INT. AL-ANON MEETING, CHURCH BASEMENT - NIGHT</stage_direction>
<scene_description>Rose continues.</scene_description>
<character>ROSE</character>
<dialogue>You mourn for the living. That's a hard way to live. So in a way, it's better, I guess. She was a dear, dear young woman. I always felt I needed to stay strong. There'd be some future event, and I'd need all my strength for it. But there are no events after this one. I hope she's not in pain now. Oh, my Frances.</dialogue>
<scene_description>And now Rose weeps, and weeps. It's a full-fledged weeping, the kind you don't often see, even in meetings. But the room just lets it happen. Lets it flow. Lets her be. David takes Karen's hand. Karen let's it happen. She's cried, she doesn't look at David.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFFE TRIESTE</stage_direction>
<scene_description>Nic's injecting himself in the bathroom. As it comes on it's not slow motion, but it might as well be. Nic, jaws slack, eyes closed, unfurls backwards in his own SLOW-MO. In a beautiful, haunted arc of ballet he fully reclines, until his head slowly touches the ground as if it's a feather-down mattress. PEACE descends. His lips are turning blue.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR / WINDING ROADS INVERNESS - DAWN</stage_direction>
<scene_description>David is driving the winding roads. As he drives through the woods it's pretty dark outside. Focusing on the road, he looks blank-faced. Frozen. Conflicted. As he takes a turn, and exits the woods, he arrives in an open valley, where the sun manages to shine its first rays of light. He watches the gentle hills of Marin.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, RECOVERY HOUSE - DAY</stage_direction>
<scene_description>David walks into a white hallway.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM, RECOVERY HOUSE - DAY</stage_direction>
<scene_description>David sees Vicki sitting in a chair.</scene_description>
<character>DAVID</character>
<dialogue>Hey.</dialogue>
<character>VICKI</character>
<dialogue>Hi.</dialogue>
<scene_description>They hug. Holding on for an extra beat before letting go.</scene_description>
<character>DAVID</character>
<dialogue>How is he doing?</dialogue>
<character>VICKI</character>
<dialogue>The doctor is with him right now.</dialogue>
<scene_description>She chuckles.</scene_description>
<character>VICKI</character>
<dialogue>He said it's close to a miracle that Nic survived, with all the drugs in his body.</dialogue>
<scene_description>David breathes deep in, and out again. Looks at Vicki. Takes her hand and holds it for a moment.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR, RECOVERY HOUSE - DAY</stage_direction>
<scene_description>David supports Nic under one arm as they trundle along a corridor. Nic holding onto David with one arm. From behind, it looks like the way a younger man would support his frail, doddering father. But it's the opposite.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - DAY</stage_direction>
<scene_description>David and Nic sit on plastic chairs in a nondescript empty inner courtyard with a view onto the back of a blank wall that's evidently not been painted in twenty years. Side-by-side, looking at the small pebbled courtyard with its sickly potted palms. They look at each other. Nic tries to smile. But starts crying. A little later David too. David hugs Nic. FADE TO BLACK.: CARDS: Drug overdoses are now the leading cause of death for Americans under 50. Through an incredible amount of support and hard work, Nic has been sober for 8 years - one day at a time. While addiction treatment is massively under-funded and under- regulated, there are those working tirelessly in all communities to combat this epidemic. The help is out there - for those struggling with the disease, their loved ones, and for those who grieve. ROLL CREDITS.</scene_description>
</scene>
</script> | New York Times writer David Sheff's teenage son Nicolas "Nic" Sheff goes missing, reappearing in their home two days later. Seeing obvious signs of drug use, David takes Nic to a rehab clinic. Progress is made, and Nic transfers to a halfway house, with the agreement of Nic's doctors. Days later, Nic disappears, and David finds him in the streets. Back at the rehab facility, Nic reveals that he has been taking numerous drugs, including crystal meth. Nic eventually completes his rehab program, and seeing his improvements, combined with wishful thinking, David allows him to go away to college on his own, to become a writer. Nic's newfound freedom and sobriety start well, as he becomes a good student, and starts a relationship with his classmate, Julia. During a happy family dinner at his girlfriend's parents' house, Nic finds a bottle of pills in their medicine cabinet and swallows one. After this incident, he slowly relapses, causing Julia to break up with him, and his substance use to escalate until he eventually purchases heroin. Around this time, beginning to become suspicious of his slowly changing behavior, David decides to read Nic's diary. To his horror, Nic has filled half the pages by colorfully describing his growing addictions through worrying words and disturbing cartoons. On one of the last pages, Nic writes of his difficulty obtaining meth in college, but that he managed to score some heroin. Returning home, David senses that Nic is using again, and Nic leaves of his own accord, feeling claustrophobic from his dad's suspicions about his drug use. David and Nic finally meet up, and Nic asks his dad for money, so he can go to New York. Knowing the money will almost certainly go towards drugs, David declines, and Nic angrily leaves. David later gets a call from a New York hospital saying Nic has overdosed. David flies there to retrieve him, and after talking to his ex-wife and Nic's mother Vicki, he decides Nic should be sent to live with her in Los Angeles. Nic has a fresh start in Los Angeles. He attends 12 step meetings, spends time with his sponsor Spencer, and even works at a drug clinic to help newer patients overcome their addiction. Fourteen months sober, Nic drives to visit David and his family. Seeing Nic back to his old self, interacting happily with his two younger half-siblings, David is proud of his son's newfound sobriety, as is his wife Karen. As he departs from their home, however, Nic has a sudden surge of depression, resents his sobriety, and fears relapsing. Spencer gives Nic moral support over the phone, but to little avail. Later that night, Nic drives into San Francisco, where he runs into Lauren, a fellow drug addict from his past, and confesses his desire to "party," despite having been clean for quite some time. The two buy various drugs in the streets, which they proceed to inject together at Lauren's place, where they have sex. When he learns Nic has gone missing again, David prepares to look for him, but Karen protests that he has done everything he can for Nic, and he cannot do anything to fix his addiction, which David heartbrokenly accepts. One day Nic and Lauren break into the home while David and his family are not there, and retrieve some valuable items. The family come home, and the two quickly depart. At first, they go undetected, but David's other son Jasper notices Nic, and both David and Karen go to find them. Karen chases them in their car but stops and lets them drive off. Lauren overdoses, but is revived by Nic and is sent to the hospital. Nic tearfully calls David and asks for permission to come home, which his father declines. Nic continues to plead, but David hangs up and breaks down in tears. Despairing, Nic overdoses, but he survives. David and Vicki visit him in the hospital, and David and Nic tearfully embrace. Closing credits reveal Nic has been sober for 8 years, and it would not have been possible without the love and support of his family and friends. During the credits, Nic recites 'Let It Enfold You' by Charles Bukowski. |
K-PAX_2001 | tt0272152 | <script>
<scene>
<scene_description>Rev. 11/03/00 {Blue) {Pages) Rev. 11/08/00 {Pink) (Pages) Rev. 11/12/00 {Yellow) (Pages) Rev. 11/14/00 (Green) (Pages) Rev. 11/15/00 (Goldenrod) (Pages) Rev. 11/20/00 (Buff) (Pages) Rev. 11/28/00 (Salmon) (Pages) Rev. 12/07/00 (Cheny) (Pages) Rev. 12/08/00 (Tan) (Pages) Rev. 12/11/00 (Grey) (Pages) Rev. 01/09/01 (Ivory) (Pages) Rev. 01/16/01 (2nd Blue) (Pages) Rev. 01/22/01 (2nd Pink) (Pages) Rev. 02/06/01 (2nd Yellow) (Pages) Rev. 02/12/01 (2"' Green) (Pages) Rev. 02/27/01 (2nd Goldenrod) (Pages) Rev. 07/17/01 (2nd Buff) (Pages) Rev. 07/20/01 (2nd Salmon) (Pages) Rev. 07/26/01 (2nd Cheny) (Pages) Rev. 07/30/01 (2n' Tan) (Pages)</scene_description>
<character>K·PAX</character>
<dialogue>Screenplay</dialogue>
<scene_description>By Charles Leavitt (Based on the novel "K-PAX" by Gene Brewer) Shooting Draft White October 24, 2000</scene_description>
<character>1</character>
<dialogue>New immigrant families stand in ticket pierced teens. of them English. down and out, hard luck and New York on 5 dollars Witness to it sits with his</dialogue>
<character>INT. GR1INDCENTRALSTATION - NEWYORK- DAY</character>
<dialogue>lines next to body-· Dozens of languages This is the crossroads a day crowd. all is a grey-bearded prosthetic leg parked</dialogue>
<character>VET</character>
<dialogue>Dollar fo' a homeless vet. Help out a homeless vet.</dialogue>
<parenthetical>(as a student with a duffel. bag hurries past)</parenthetical>
<dialogue>C'mon, 1.i'l man - I fought the war with your Daddy. P'nam Pen. Y'all ain't paid me for this leg yet!</dialogue>
<scene_description>A young, SWEDISHCOUPLEwith backpacks catch his eye.</scene_description>
<character>VET</character>
<dialogue>Yo, Swiss Miss - let's see that smi.le ! How 'bout you Fritz? I know y'all got a wallet in that backpack. Freeloadin' mother-</dialogue>
<parenthetical>( stops mi.dword, as an Asian family with many ) bundles passes by)</parenthetical>
<dialogue>Heyyy - Jackie Chan! Shanghai Noon! I take traveler's checks. Yeah, arrigato to you, too!</dialogue>
<scene_description>He pauses for a moment, with a curious expression, as someone else catches his eye ... A BEAMOF HAZY SUNLIGHTshines down through one of the high arched windows of the terminal building •.. onto a MllN. or an apparition. The VET squints, closely .•• as the FIGURE seems to emerge from the sunlight. Dark, wraparound SUNGLASSESmark his placid face. He wears corduroy pants, a faded denim shirt. And though he carries no luggage, his cheap canvas shoes look like they've got some miles on them. We will come to know this "man" as PROT. For now, he just stands there, taking everything in with the fascination of a tourist, as the crowd bustles around him. Suddenly - in front of the rest rooms - TWOYOUNGTHUGSbump into a middle-aged RUSSIAN WOMAN. One wrenching her SUITCASE away - the other knocking her down.</scene_description>
<character>CONTINUED</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>As she screams for help, they run off - shoving past PROT and into the crowd. Prot watches them for a moment ... as if unsure whether to register anger or caution. Then, he turns to the woman. She is on the ground, dazed and sobbing, while everyone steps quickly around her. Prot approaches her. The vet keeping a careful eye on him. Prot stops, standing over the woman. She looks up at his dark glasses, stocky shoulders, fearfully. But as he holds his hand out, and offers a smile ... her fear is strangely allayed.</scene_description>
<character>PROT</character>
<dialogue>Here, let me help you.</dialogue>
<scene_description>The CRACKLEof WALKIE-TALKIESinterrupt, as two TRANSIT COPS hurry over.</scene_description>
<character>1ST OFFICER</character>
<dialogue>Hold it right there!</dialogue>
<character>VET</character>
<dialogue>Oh, man - he ain't done nothin'.</dialogue>
<scene_description>The OFFICERS nevertheless regard Prot with suspicion.</scene_description>
<character>1ST OFFICER</character>
<dialogue>Step away from her.</dialogue>
<character>PROT</character>
<dialogue>This woman is hurt.</dialogue>
<character>2ND OFFICER</character>
<dialogue>Ma'am, what happened?</dialogue>
<scene_description>The woman struggles with limited English.</scene_description>
<character>WOMAN</character>
<dialogue>Eh - take bag •.. eh - hit.</dialogue>
<character>2ND OFFICER</character>
<dialogue>Who took your bag and hit you? This man?</dialogue>
<scene_description>The vet shakes his head at the cops, sorrily.</scene_description>
<character>VET</character>
<dialogue>No, no. Couple a punks. They ran ran off. Y'always comin' around too late - askin' what? Where? How? This brother ·just tryin' to help her.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/15/00 (Goldenrod) 3 ....</dialogue>
<scene_description>1 CONTINUED: (2)</scene_description>
<character>WOMAN</character>
<parenthetical>(one eye on Prot, trying to explain, unable to)</parenthetical>
<dialogue>Yes - he - he - he.</dialogue>
<scene_description>The 1st officer speaks into his radio:</scene_description>
<character>1ST OFFICER</character>
<dialogue>Four-eight, this is Romano. Robbery and assault victim with facial wound at West Forty-Second entrance.</dialogue>
<parenthetical>(then, to Prot)</parenthetical>
<dialogue>Sir, I'd like you to just stand right there, answer a couple of questions for me. Standard procedure.</dialogue>
<scene_description>The 2nd officer carefully handcuffs Prot. Prot gives both officers a curious smile, as if discerning a foreign custom.</scene_description>
<character>PROT</character>
<dialogue>Of course.</dialogue>
<character>1ST OFFICER</character>
<dialogue>Are you travelling somewhere?</dialogue>
<character>PROT</character>
<dialogue>I've arrived. My travels are over for \* the time being. \*</dialogue>
<character>1ST OFFICER</character>
<dialogue>Where's your luggage?</dialogue>
<character>PROT</character>
<dialogue>Luggage? \*</dialogue>
<character>1ST OFFICER \*</character>
<dialogue>Your bags. \*</dialogue>
<character>PROT \*</character>
<dialogue>I don't require luggage. \*</dialogue>
<scene_description>The officer takes a good, hard look at Prot. His sunglasses, canvas low-tops, general appearance. Outside, an ambulance pulls up with a whoop. An M.T. enters the station, starts tending to the woman.</scene_description>
<character>1ST OFFICER</character>
<parenthetical>(pressing Prot)</parenthetical>
<dialogue>Do you have a ticket?</dialogue>
<scene_description>(off Prot's look) \* A train ticket. A ticket stub. \*</scene_description>
<character>PROT \*</character>
<dialogue>I didn't arrive by train. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/15/00 (Goldenrod) 4.</dialogue>
<scene_description>1 CONTINUED: (3) l</scene_description>
<character>1ST OFFICER</character>
<dialogue>Then, what are you doing in the train \* station, sir?</dialogue>
<character>PROT \*</character>
<dialogue>It seems a likely place to begin.</dialogue>
<scene_description>The officers glance at each other, this is beginning to sound familiar.</scene_description>
<character>VET \*</character>
<dialogue>Name! Rank! Serial number! All you \* got to give 'em, my man! \*</dialogue>
<character>1ST OFFICER</character>
<dialogue>Freddy, chill. \*</dialogue>
<scene_description>(back to Prot) \* Would you remove your sunglasses for • me, please?</scene_description>
<character>PROT</character>
<dialogue>I'd rather not. Of course, they \* warned me abqut the photokinetic \* energy from star G-643, or as you \* would call it, the sun, but, I mean, \* wow! Your planet is really bright! \*</dialogue>
<scene_description>A wry understanding moves across both officers' faces.</scene_description>
<character>1ST OFFICER</character>
<dialogue>I see ...</dialogue>
<parenthetical>( into his radio)</parenthetical>
<dialogue>West Forty-Two. We have an E.D.P.</dialogue>
<character>2ND OFFICER</character>
<parenthetical>(to Prot, politely)</parenthetical>
<dialogue>I'm going to ask you to come with us.</dialogue>
<character>PROT</character>
<parenthetical>(polite in return)</parenthetical>
<dialogue>Certainly.</dialogue>
<scene_description>As Prot is led away, the VET straps on his leg and gets himself up. For some strange reason he feels an affinity with Prot.</scene_description>
</scene>
<scene>
<stage_direction>A2 EXT. GRAND CENTRAL STATION - DAY A2</stage_direction>
<scene_description>As Prot is led outside. His dark glasses take in the noisy chaos of New York, with amazement. The VET hobbles out the doors, as PROT is placed in a POLICE CAR. The 1st officer comes back over to the vet.</scene_description>
<character>1ST OFFICER</character>
<dialogue>You see this fella come out of a gate?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/15/00 (Goldenrod) 4A\*.</dialogue>
<scene_description>A2 CONTINUED: A2 The vet leans closer, with import, to the officer:</scene_description>
<character>VET</character>
<dialogue>Didn't come from no gate. Brother just came outta nowhere. You know what I'm sayin'?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 5.</dialogue>
<character>A2 CONTINUED: (2) A2</character>
<dialogue>The officer considers the vet a moment, smelling the alcohol on his breath.</dialogue>
<character>1ST OFFICER</character>
<dialogue>Yeah, Freddy. I know what you're saying.</dialogue>
<character>B2 EXT. MANHATTAN- DAY - QUICK CUTS: B2</character>
<dialogue>Steam. Metal sheet on road clatters as POLICE CAR speeds over it ... pan down through grill over bridge of POLICE CAR speeding underneath us. POV from inside police car of metal lattice work on bridge strobing past. The reflection of a skyscraper ... becomes a SYRINGE.</dialogue>
</scene>
<scene>
<stage_direction>B2A EXT. MANHATTANPSYCHIATRIC INSTITUTE (MPI) - DAY B2A\*</stage_direction>
<scene_description>Establish hospital. Powell walks to entrance. \*</scene_description>
</scene>
<scene>
<stage_direction>C2 INT. MANHATTANPSYCHIATRIC INSTITUTE (MPI) - DAY C2</stage_direction>
<scene_description>LOOKING OUT THE WINDOWof DR. POWELL'S OFFICE onto the TRAFFIC on 112th and Amsterdam below. Horns honk, drivers cuss. Superimpose: One Month Later</scene_description>
<character>ERNIE (V.O.)</character>
<dialogue>I - I don't want to go outside ... Because, you know . . . there's things ... that can kill you.</dialogue>
<character>2 INT. DR. POWELL'S OFFICE - SAME 2</character>
<dialogue>DR. MARK POWELL, who has been staring out his window, closes it, shutting out the noisy world. ERNIE sits in a comfortable chair. Pale, nervous, he wears rubber gloves and speaks through a surgical mask.</dialogue>
<character>ERNIE</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Thank you. I mean you breathe all those chemicals out there. Not to mention the cosmic rays and that -· that West Nile virus - and the other one! The new airborne pigeon disease nobody wants to talk about!</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) SA\*.</dialogue>
<scene_description>CONTINUED: POWELL, late--forties, takes his seat. He rolls a gold Montblanc pen in his fingers as he listens to Ernie covering his tedium with the studied patience of a man who's been at his job a long time. Perhaps, too long.</scene_description>
<character>CONTINUED</character>
<dialogue>) 2 CONTINUED: 2</dialogue>
<character>POWELL</character>
<dialogue>Pigeon disease -· I've heard of that.</dialogue>
<character>ERNIE</character>
<dialogue>And - and another thing that's been bothering me - is the food. The cafeteria serves lukewarm food - full of germs! You need to do something about that, Doctor Powell. Heat is the only thing that kills the germs. Heat!</dialogue>
<character>POWELL</character>
<dialogue>Point taken.</dialogue>
<parenthetical>(pretends to seriously jot it down on his pad)</parenthetical>
<dialogue>We'll look into that right away. In the meantime - I want you to start taking your medication again.</dialogue>
<parenthetical>(reminding him)</parenthetical>
<dialogue>It's liquid now, so you can't choke on it. It'll help you sleep. And you need to sleep, Ernie. Sleep is good.</dialogue>
<scene_description>Ernie shakes his head vehemently.</scene_description>
<character>ERNIE</character>
<dialogue>Sleep!? You - you - you know what happens when you sleep? You can swallow your tongue - or - or fall out of bed, break your neck.</dialogue>
<parenthetical>(slumps in the chair, a hopeless knot of worry)</parenthetical>
<dialogue>Or ..• or burst a blood vessel in your head. Never even wake up •..</dialogue>
<scene_description>Powell's BEEPER goes off, much to hi.s relief. He glances at the clock on the wall, presses a buzzer by his chair.</scene_description>
<character>ERNIE</character>
<dialogue>Is •.. is our time up?</dialogue>
<scene_description>Powell addresses the fear on Ernie's face with a rushed smile.</scene_description>
<character>POWELL</character>
<dialogue>Only for today, Ernie.</dialogue>
<scene_description>He barely waits for the attendant, SIMMS, to come in and escort Ernie out, before speaking into a hand held RECORDER:</scene_description>
<character>POWELL</character>
<dialogue>Patient one-five-six, Ernie Coleman. Suggest slightly increased dosage of anafronil.</dialogue>
<scene_description>Rev. 02/22/01 (2nd Goldenrod) 7.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OUTER OFFICE - IN A MINUTE</stage_direction>
<scene_description>As Powell gets his jacket from the coat rack. \* JOYCE TREXLER sits at her computer. Pictures of her husband, \* a policeman, and her grown children grace her desk. As well as a knit affirmation that reads: "There is a Rest of Your Life." She keeps her eyes on her screen, · her voice pleasant:</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Two calls. Your wife, bring home a bottle of wine. And Doctor Chakraborty - transfer from Bellevue he wants you to take a look at.</dialogue>
<scene_description>Joyce hands him a file. \*</scene_description>
<character>POWELL</character>
<dialogue>Great. Who is it this time, Jesus or Joan of Arc?</dialogue>
<scene_description>Mrs. Trexler just raises an eyebrow to him. After fifteen years as his secretary, she's used to the sarcasm.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Doctor Chakraborty didn't say.</dialogue>
</scene>
<scene>
<stage_direction>INT. MANHATTANPSYCHIATRIC - MAIN FLOOR</stage_direction>
<scene_description>Powell navigates through NURSES, SOCIAL WORKERS, POLICE transferring homeless psychotics ... Head Nurse BETTY MCALLISTER, an unflappable woman, blocks his path with a clipboard. Beside her, two ATTENDANTS hold a disheveled SCREAMING MAN.</scene_description>
<character>MCALLISTER</character>
<dialogue>Can you admit this patient, Doctor Powell? They found him on the West Side Highway. Auditioning to be somebody's hood ornament.</dialogue>
<character>POWELL</character>
<dialogue>Why is he screaming?</dialogue>
<character>MCALLISTER</character>
<dialogue>He thinks if he stops the world will end.</dialogue>
<character>POWELL</character>
<dialogue>Not before Saturday night. I have Knicks tickets.</dialogue>
<scene_description>McAllister gives him a wry eye, as he signs the admitting \* paper. Just as he's about to escape, she hands him a second \* clipboard. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 07/20/01 {2nd Salmon) {Replacement Scenes) 8.</dialogue>
<character>4 CONTINUED: 4</character>
<dialogue>POWELL</dialogue>
<scene_description>When he calms down I want to sit down and talk to him.</scene_description>
<character>MCALLISTER</character>
<dialogue>And this is to boost Mrs. Archer's Zoloft.</dialogue>
<character>POWELL</character>
<dialogue>I don't want to boost Mrs. Archer's Zoloft. I want Mrs. Archer to get out and get some exercise.</dialogue>
<character>MCALLISTER</character>
<dialogue>With who -- her personal trainer? C'mon, Doc. I'm short-handed here.</dialogue>
<scene_description>Powell looks at the clipboard. Reluctantly writes the prescription. As yet another clipboard is slipped to him.</scene_description>
<character>MCALLISTER</character>
<dialogue>Ed. Haldol. He bit Navarro's thumb off, yesterday!</dialogue>
<character>POWELL</character>
<dialogue>I know, Betty. But Haldol' s not going to curb his appetite.</dialogue>
<scene_description>He hands her back her clipboard, leaves her with a wink.</scene_description>
<character>POWELL</character>
<dialogue>Maybe we should all start screaming.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>A5 EXT. MANHATTANPSYCHIATRIC INSTITUTE {MPI) - DAY AS\*</stage_direction>
<scene_description>Powell enters hospital. \*</scene_description>
<character>5 INT. ELEVATOR - CONTINUOUS 5</character>
<dialogue>Powell releases a harried breath against the closed door - then notices he shares the elevator with an ATTENDANT and a PATIENT. The patient, SAL, a big, puggish, middle-aged bald man gives Powell an evil eye.</dialogue>
<character>SAL</character>
<dialogue>You stink!</dialogue>
<scene_description>As the attendant waits with Sal, Powell obliges him with a brief smile. As he exits, saying:</scene_description>
<character>POWELL (</character>
<dialogue>Have a nice day, Sal.</dialogue>
<scene_description>Rev. 11/28/00 (Salmon) 9\*.</scene_description>
</scene>
<scene>
<stage_direction>A6 INT. MANHATTANPSYCHIATRIC - HALLWAY A6</stage_direction>
<scene_description>Powell moves past a ONE-WAY GLASS. Sees Protin his room for observaton, apparently looking at himself in the glass. Something about Prot -- perhaps simply his arresting appearance -- stops Powell. He stops to look at him. It is \* as if Prot is looking directly at him. \* Powell stops a puzzled beat. Prot smiles.</scene_description>
<character>CUT TO:</character>
<dialogue>6 INT. MPI - CLINIC - DAY 6</dialogue>
<scene_description>CLOSE ON several X-RAYS and MRI SCANS of a CRANIUM as they're snapped into place by DR. CHAKRABORTY, the chief Clinical Physician. Harvard School has not dulled his affable Indian accent. He turns as Powell enters.</scene_description>
<character>POWELL</character>
<dialogue>Did they change out the one-way glass in the observation room?</dialogue>
<character>CHAKRABORTY</character>
<dialogue>No. Why?</dialogue>
<character>POWELL</character>
<dialogue>Be~ause there's a guy in there -- I could swear he was watching me. What's wrong with him?</dialogue>
<character>CHAKRABORTY</character>
<dialogue>He arrived at Bellevue a month ago, suspicion of hallucinogenic intoxication - but found negative for substances of any kind. Blood values, EKG - all normal. No sign of concussion, no brain tumor, no temporal lobe epilepsy - no indication of organic abnormality whatsoever. However, after one month, amnesia and delusion have persisted.</dialogue>
<scene_description>He looks over his bifocals. \*</scene_description>
<character>CHAKRABORTY \*</character>
<dialogue>He claims to be ... not human. \*</dialogue>
<scene_description>{clarifying) , \* A visitor from another planet. \* Powell sits on a stool, studying the new transfer's FILE. \*</scene_description>
<character>POWELL</character>
<dialogue>They administered thorazine on this guy for three weeks at 300 milligrams a day - and he was unresponsive.</dialogue>
<character>{MORE)</character>
<dialogue>CONTINUED</dialogue>
<scene_description>Rev. 11/28/00 (Salmon) 91\\*. CONTINUED:</scene_description>
<character>POWELL</character>
<parenthetical>(looks up at Chakraborty, skeptical)</parenthetical>
<dialogue>How the hell can you be unresponsive to 300 milligrams of thorazine? It's impossible.</dialogue>
<scene_description>Chakraborty looks over his bifocals, at Powell.</scene_description>
<character>CHAKRABORTY</character>
<dialogue>That's why they've sent him to you.</dialogue>
<scene_description>Powell takes in Chakraborty's look for a moment. Then, with a frown, looks back down at the FILE.</scene_description>
<character>POWELL</character>
<dialogue>Terrific. No I.D. No Missing Persons reports matching his description .. .</dialogue>
<scene_description>Then, baffled, Powell lifts up from the file ... a sheet of notebook paper, handwritten in pencil, of the most astounding alien-looking HIEROGLYPHICS.</scene_description>
<character>POWELL</character>
<dialogue>What the hell is this?</dialogue>
<character>CHAKAABORTY</character>
<dialogue>He had it on him.</dialogue>
<scene_description>Powell can't help let out a wry chuckle.</scene_description>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 02/22/01 (2nd Goldenrod) 10.</scene_description>
<character>6 CONTINUED: (2) 6</character>
<dialogue>POWELL</dialogue>
<scene_description>Let's hope extraterrestrials qualify for Medicaid. A7 HALLWAYNEAR POWELL'S OFFICE A7 \* Navarro and Simms escort Prot to Powell's office. \*</scene_description>
<character>7 INT. POWELL'S OFFICE - AFTERNOON 7</character>
<dialogue>Powell speaks into his RECORDER. The file in front of him.</dialogue>
<character>POWELL</character>
<dialogue>Patient two eight seven ...</dialogue>
<parenthetical>(checking the name)</parenthetical>
<dialogue>calls himself ... "Prot."</dialogue>
<scene_description>His door BUZZES. Powell leaves the RECORDER running, gets up from his desk. He straightens his tie, puts on a professional face.</scene_description>
<character>POWELL</character>
<dialogue>Corne in.</dialogue>
<scene_description>Two attendants, NAVARRO and Simms escort ... PROT ... into the room. He wears the same denim shirt, corduroy pants and canvas shoes as we saw him in before. He smiles, from behind his dark glasses, at Powell. Navarro, a big, bearish Puerto Rican, reassures Powell with a nod, and a bandaged thumb's up.</scene_description>
<character>NAVARRO</character>
<dialogue>This one's gentle as a pussycat, Doc.</dialogue>
<scene_description>Powell, nevertheless, keeps a careful eye on Prot, who remains standing ... as Navarro and Simms exit, closing the door. Powell motions to one of two CHAIRS.</scene_description>
<character>POWELL</character>
<dialogue>Won't you have a seat.</dialogue>
<character>PROT</character>
<dialogue>Have a seat, curious expression.</dialogue>
<scene_description>As they both slowly sit, Powell probes Prot's sunglasses.</scene_description>
<character>POWELL</character>
<dialogue>Is it ... too bright in here?</dialogue>
<character>PROT</character>
<dialogue>Quite bright - one of the first things a visitor to your planet notices.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/22/01 (2nd Goldenrod) l0A\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>Ah hah. Well, let me introduce myself. I'm -</dialogue>
<scene_description>CONTINUED: CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>Doctor Mark Powell. Chief of Clinical Psychiatry of the Manhattan Psychiatric Institute.</dialogue>
<scene_description>Powell regards him a moment, surprised.</scene_description>
<character>POWELL</character>
<dialogue>Good. You know where you are.</dialogue>
<parenthetical>(has to check the file again)</parenthetical>
<dialogue>Now ..• 'Prot' is it?</dialogue>
<character>PROT</character>
<parenthetical>(correcting hi.m, pronouncing it like 'goat')</parenthetical>
<dialogue>Prot.</dialogue>
<character>POWELL</character>
<dialogue>I see. Well ••• Prot. We're here to talk. I'm going to ask you some questions. If you feel like answering them, you may.</dialogue>
<parenthetical>(as genuinely as he can)</parenthetical>
<dialogue>I want you to feel comfortable.</dialogue>
<scene_description>Prot reaches for a bowl of FRUIT on the desk beside them.</scene_description>
<character>PROT</character>
<dialogue>Thank you. May I?</dialogue>
<scene_description>Powell considers the request, a little wary.</scene_description>
<character>POWELL</character>
<dialogue>Please.</dialogue>
<scene_description>Prot picks an APPLE, admiring it.</scene_description>
<character>PROT</character>
<dialogue>Red Delicious you call this variety. My favorite.</dialogue>
<scene_description>Powell watches as Prot takes a bite with a rapturous sigh.</scene_description>
<character>POWELL</character>
<dialogue>I'd like to begin by asking if you know why you're here?</dialogue>
<character>PROT</character>
<dialogue>Of course. You think I'm crazy.</dialogue>
<scene_description>Powell stares, as Prot devours the apple, core and all.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/3/00 (Blue) 12.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>POWELL</character>
<dialogue>We prefer to use the term 'ill.'</dialogue>
<parenthetical>(forcing a smile)</parenthetical>
<dialogue>Do you think you are ... ill?</dialogue>
<character>PROT</character>
<dialogue>A little homesick, perhaps.</dialogue>
<character>POWELL</character>
<parenthetical>(careful)</parenthetical>
<dialogue>Really? And where is home?</dialogue>
<scene_description>From behind the dark wraparound glasses comes a celestial smile.</scene_description>
<character>PROT</character>
<dialogue>K-PAX.</dialogue>
<character>POWELL</character>
<parenthetical>(studying him)</parenthetical>
<dialogue>Kay-·packs?</dialogue>
<character>PROT</character>
<dialogue>Capital K- hyphen - capitals P-A-X. Roughly translated into your Roman alphabet.</dialogue>
<parenthetical>(starting in on another apple)</parenthetical>
<dialogue>K-PAX is a planet.</dialogue>
<scene_description>Powell contemplates the conviction with which this was just said. When Prot suddenly laughs:</scene_description>
<character>PROT</character>
<dialogue>Don't worry - I'm not going to leap out of your chest!</dialogue>
<character>POWELL</character>
<dialogue>Oh, I'm not worried. It's just that !'m only familiar with nine planets.</dialogue>
<character>PROT</character>
<parenthetical>(between bites)</parenthetical>
<dialogue>Actually, there are ten, but that doesn't matter - I'm not from your solar system. K-PAX is about a \* thousand of your light years from here. Near what you call your \* Constellation LYRA.</dialogue>
<character>POWELL (</character>
<parenthetical>(raising an eyebrow)</parenthetical>
<dialogue>Quite a ways. I'm curious ... how did you get to Earth?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/3/00 {Blue) 13.</dialogue>
<scene_description>CONTINUED: {3)</scene_description>
<character>PROT</character>
<dialogue>That's somewhat difficult to explain.</dialogue>
<character>POWELL</character>
<dialogue>Try me.</dialogue>
<scene_description>Prot pauses from eating, trying to think of how to put it.</scene_description>
<character>PROT</character>
<dialogue>It's a matter of harnessing the energy of light.</dialogue>
<parenthetical>(sees Powell is not going to get it)</parenthetical>
<dialogue>I know that sounds - crazy - to you. You beings are eons away from discovering light travel.</dialogue>
<scene_description>Powell watches ..• as Prot raises a hand so that his fingers touch the hazy SUNLIGHT filtering through the window blinds.</scene_description>
<character>POWELL</character>
<dialogue>You travel at the speed of light?</dialogue>
<character>PROT</character>
<dialogue>Oh, no. We can travel many times that speed, various multiples of c.</dialogue>
<scene_description>{laughs) Otherwise, the trip here would have taken me about a thousand years, now \* wouldn't it have? Powell tries to couch his puzzled amusement with seriousness.</scene_description>
<character>POWELL</character>
<dialogue>What if I were to tell you - that according to a man who lived on our planet, named Einstein, nothing can travel faster than the speed of light.</dialogue>
<scene_description>Prot looks at Powell, with an astute smile.</scene_description>
<character>PROT</character>
<dialogue>I would say you misunderstand Einstein, Doctor Powell - may I call you Mark?</dialogue>
<parenthetical>(getting chummy)</parenthetical>
<dialogue>What your Einstein said, Mark, was that nothing can accelerate to the speed of light because its mass would become infinite. Einstein said nothing about entities already traveling at the speed of light, or faster - at tachyon speeds.</dialogue>
<scene_description>Powell stares back at him, at a complete loss.</scene_description>
<character>CONTINUED</character>
<dialogue>CONTINUED: (4)</dialogue>
<character>POWELL</character>
<dialogue>Tachyon</dialogue>
<character>PROT</character>
<dialogue>Entities traveling faster than the speed of light are called tachyons. You can look it up.</dialogue>
<character>POWELL</character>
<parenthetical>(getting a little peeved)</parenthetical>
<dialogue>Thank you, I will.</dialogue>
<scene_description>Prot watches Powell jot down something with his Montblanc pen.</scene_description>
<character>PROT</character>
<dialogue>I detect a note of skepticism, Doctor Powell.</dialogue>
<character>POWELL</character>
<dialogue>Not at all. It's just that •· you speak English so well, I'm amazed.</dialogue>
<character>PROT</character>
<dialogue>It's not a very difficult language to learn. You should try speaking w:x1jqz- p!t.</dialogue>
<scene_description>Powell puts his pen down, even more amazed at the guttural clicks and sounds that just came out of Prot's mouth.</scene_description>
<character>POWELL</character>
<dialogue>I'm a little confused. Maybe you could explain to me, how it is - as a visitor from space - you look so much like me - or any other Earth person?</dialogue>
<character>PROT</character>
<parenthetical>(patiently)</parenthetical>
<dialogue>Why is a soap bubble round?</dialogue>
<character>POWELL</character>
<parenthetical>(perplexedly)</parenthetical>
<dialogue>Why is a soap bubble round?</dialogue>
<character>PROT</character>
<dialogue>For an educated person, you repeat things quite a bit, Mark. A soap bubble is round because that is the most energy-efficient configuration. Similarly, on this planet I look like you •· on K-PAX, I look like a K-PAXian.</dialogue>
<scene_description>Powell has had just about enough of this.</scene_description>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 12/07/00 (Cherry) 15-15B.</scene_description>
<character>7 CONTINUED: ( 5) 7</character>
<dialogue>POWELL</dialogue>
<scene_description>One more question - Prot. (glancing at the clock) Why did you want to come to Earth?</scene_description>
<character>PROT</character>
<parenthetical>(finishing apple #2)</parenthetical>
<dialogue>Pure curiosity. I had never been to a Class BA-3 planet.</dialogue>
<character>POWELL</character>
<dialogue>Class ... BA-3?</dialogue>
<scene_description>Prot regards Powell with a patient sigh.</scene_description>
<character>PROT</character>
<dialogue>Early stage of evolution, future uncertain.</dialogue>
<scene_description>STAY ON POWELL, as he feigns a look of understanding. 7AA OMITTED 7AA\* Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 15C-D. A8 OMITTED A8</scene_description>
</scene>
<scene>
<stage_direction>A8A EXT. POWELL HOUSE - EVENING A8A\*</stage_direction>
<scene_description>Powell enters house. \*</scene_description>
<character>8 INT. POWELL'S HOME - SUBURBAN CONNECTICUT - EVENING 8</character>
<dialogue>As Powell comes in, carrying a bottle of wine. He leaves his briefcase in the front hallway. The house is well-to-do, art on the walls, a grand piano facing a woodsy patio. Powell's daughters, NATALIE, 6, and GABBY, 9, sit trancelike in front of their PlayStation on a giant TV screen. Powell scratches their heads, in greeting ...</dialogue>
<character>POWELL</character>
<dialogue>Gabby, you do your homework?</dialogue>
<scene_description>Gabby nods, barely looking up. While Natalie presents her father with a grin, displaying a new gap in her teeth.</scene_description>
<character>NATALIE</character>
<dialogue>I lost another tooth.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 16.</dialogue>
<character>R8 CONTINUED: RB</character>
<dialogue>POWELL</dialogue>
<scene_description>Good. Maybe the tooth fairy will come tonight. He leaves her with that, and a .little smile, heads on toward \* the kitchen. Natalie, watching him go. \*</scene_description>
<character>NATALIE</character>
<dialogue>There is no tooth fairy. There's just \* you and Morn.</dialogue>
</scene>
<scene>
<stage_direction>RA9 INT. KITCHEN - CONTINUOUS RA9</stage_direction>
<scene_description>Powell carries the wine into the kitchen. Where RACHEL POWELL \* is busy taking the components of a reheated dinner from the \* oven, and placing it on the kitchen table which she has set \* for two. She is a vibrant woman, and it's clear she has taken \* pains with the meal. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>Kids already ate. \*</dialogue>
<scene_description>She stops to kiss Powell. A deep, committed kiss. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>How was your day? \*</dialogue>
<character>POWELL \*</character>
<dialogue>Train was late. \*</dialogue>
<scene_description>He turns to the counter, rolls up his sleeves, goes about \* uncorking the wine. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 17.</dialogue>
<scene_description>RA9 CONTINUED: RA9</scene_description>
<character>POWELL \*</character>
<dialogue>Six-fifteen didn't leave the station \* until almost six-thirty. \*</dialogue>
<scene_description>(pours two glasses, \* remarking to himself, \* with half amusement) \* Should've caught the nearest beam of \* light. \* She finishes tossing the salad, regards him, curiously. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>You caught what? \*</dialogue>
<character>POWELL \*</character>
<dialogue>Never mind. \*</dialogue>
<scene_description>He places a glass of wine in front of her, with a smile. He's \* really filled it to the top. \*</scene_description>
<character>POWELL \*</character>
<dialogue>How was your day? \*</dialogue>
<scene_description>She watches him gulp down half his glass of Pinot Blanc and \* turn his attention to the mail on the counter. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>Well -· I sent in the deposit for the \* house on the Cape for the last two \* weeks of August - which works out \* perfectly, since Gabby gets out of \* camp on the fifteenth - \*</dialogue>
<scene_description>Powell regards her a moment, at a loss. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Sent in a deposit? Damnit, Rache, \* that wasn't a definite. We were just \* talking - I said maybe. Maybe some \* time in August looked clear. \*</dialogue>
<scene_description>A dispirited look crosses her pretty eyes ... as he turns back \* to the mail, finding the new Journal of Psychiatry in the \* stack. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>Maybe we should start paying you for \* your time. Do you have a family rate? \*</dialogue>
<character>POWELL \*</character>
<dialogue>Oh, look. They published my letter. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>I had a talk with Natalie about being \* in the after school program next year, \* in case I go back to teaching. \* (</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 17A/18\*.</dialogue>
<scene_description>RA9 CONTINUED: ( 2) RA9</scene_description>
<character>RACHEL</character>
<dialogue>(then feeling like she's \* talking to herself) \*</dialogue>
<scene_description>And ... this morning ... my head fell \* off, but I was able to sew it back on \* with dental floss. Waxed, of course. \* Powell stops flipping through the journal, turns to her. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Dental floss? What? \*</dialogue>
<scene_description>(then, realizing, \* apologizing) \* I'm sorry, honey - I wasn't listening. \* She just takes a sip of wine. Hungry, having waited for him. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>I know. Come on, let's eat. \*</dialogue>
<scene_description>He sits down, brings the wine with him. Tries to make things \* good again with a smile and a sigh. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Train was late. I'm tired. And to \* top it off, the city's dumping \* patients on us ... \*</dialogue>
<scene_description>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 18A.</scene_description>
<character>9 INT. BATHROOM- EVENING 9</character>
<dialogue>Powell turns off the water, sits on the tub's edge, sleeve wet. Natalie, in the bubble bath, gives him the silent treatment. As Powell tries to get her to look at him, he thinks a moment, laughs to himself, adopting a mock seriousness:</dialogue>
<character>POWELL</character>
<dialogue>Did you know ... that we live on a Class BA-3 planet?</dialogue>
<scene_description>Natalie finally meets his eyes, with a bewildered kid's brow.</scene_description>
<character>NATALIE</character>
<dialogue>Why are you talking crazy?</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD 2 - DAY ROOM - MORNING</stage_direction>
<scene_description>CLOSE ON HOWIE, 30 years old, unkempt hair, thick wire-rim glasses covered with grime. He reads a dog-·eared volume of the Time/Life Nature Library, eyes racing across the pages. Ernie sits with him at the same table. About him, in the large DAY ROOM, we see the other charges of the ward. BESS, a skinny, dread-locked black woman with the saddest face, sits in front of the TV, watching a snowboarding segment. Russell is walking around with his bible. Sal sits alone coloring.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 {2nd Yellow) 18B.</dialogue>
<scene_description>CONTINUED: Prot sits by himself, jotting notes into a GREEN NOTEBOOK. \*</scene_description>
<character>ERNIE \*</character>
<dialogue>Howie, I think you should talk to him. \* Go on -- Go on. \*</dialogue>
<scene_description>Howie, who has been stealing glances at Prot, slides over to \* Prot and brings him the pencil sharpener. Prot looks at it \* and uses it to sharpen his pencil. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 19.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>HOWIE</character>
<dialogue>You're really from</dialogue>
<parenthetical>(points)</parenthetical>
<dialogue>... up there?</dialogue>
<scene_description>Prot turns his dark glasses to the ceiling, but really beyond it, then back to Howie, with a discerning smile.</scene_description>
<character>PROT</character>
<dialogue>Indeed. I'm from K-PAX.</dialogue>
<scene_description>Howie presses him further. \*</scene_description>
<character>HOWIE</character>
<dialogue>What what sort of place is it?</dialogue>
<character>PROT \*</character>
<dialogue>Well K-PAX is somewhat bigger than your planet.. It is ... a beautiful world, as is Earth of course, with its infinite color and variety of life \* and we are circled by seven purple \* moons.</dialogue>
<scene_description>Sal, nearby, overhearing, comments to himself as he walks to \* art room. \*</scene_description>
<character>SAL \*</character>
<dialogue>Bullshit. Bull bull bull shit. \*</dialogue>
<scene_description>Ernie mutters the word "K-PAX" to himself, and again, trying \* it on for size. \* Howie's thick glasses remain intent on Prot. \*</scene_description>
<character>HOWIE \*</character>
<dialogue>Go on. Please go on. \*</dialogue>
<scene_description>Prot regards Howie's expectant face, obliging. \*</scene_description>
<character>PROT \*</character>
<dialogue>Well ... K-PAX is especially lovely \* when K-MON and K-RIL are in \* conjunction. Those are our two suns, \* what you call AGAPE and SATORI - \*</dialogue>
<scene_description>Sal, with a laugh of derision, to himself: \*</scene_description>
<character>SAL \*</character>
<dialogue>Man, whatever they got you on -- I \* want a dose. \*</dialogue>
<character>HOWIE \*</character>
<dialogue>(repeating to himself, as \* if storing the \* information) \*</dialogue>
<scene_description>Agape. Satori. Two suns. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 20.</dialogue>
<scene_description>CONTINUED: (3) Sal, still painting, makes a face at Protas Prot heads to \* .library for a book. \*</scene_description>
<character>SAL \*</character>
<dialogue>Obiwan Loonobie. \*</dialogue>
<scene_description>Russell, who has been "preaching" as he paces. \*</scene_description>
<character>RUSSELL</character>
<dialogue>Take heed ... that no man deceiveth ... \* for many shall come in my name ... \*</dialogue>
<scene_description>Prot brings a book about astronomy to Howie. \* Russell pauses from his babbling, looks toward Prot. \*</scene_description>
<character>SAL</character>
<dialogue>(directed at Russell) \*</dialogue>
<scene_description>Satan, Lord, Satan, Lord -- fire and \* hell, fire and hell. Satansatansatan! \* Stink! Stink! Stinkeroo! \* Prot gives Howie book. \* Howie, ignoring Sal, intent on Prot, points to the alien \* hieroglyphics. \*</scene_description>
<character>HOWIE \*</character>
<dialogue>What's that? What language is that? \* K-PAX? \*</dialogue>
<character>PROT \*</character>
<dialogue>K-PAXian, yes. \*</dialogue>
<character>SAL \*</character>
<dialogue>Gotta know every little thing, don't \* you? Stink! Stink! STINK! \*</dialogue>
<scene_description>Now Ernie joins in. \*</scene_description>
<character>CONTINUED</character>
<dialogue>CONTINUED: (.3)</dialogue>
<scene_description>Howie suddenly bolts for a BOOKSHELF. Flinging aside a World Atlas, he grabs an old Time/Life.Book of S~ace, and starts rifling through it. Repeating "Agape • • • a l:ori ... n</scene_description>
<character>SAL</character>
<dialogue>Don't mind him, he stinks, too. Gotta know everything.</dialogue>
<scene_description>Now, Ernie, who has been sitting fearfully on the far side of his bench, slides closer to Prot.</scene_description>
<character>ERNIE</character>
<dialogue>Does - does it rain there? on ••. K ... K-PAX? Because I don't like rain.</dialogue>
<character>PROT</character>
<dialogue>We have very little water, compared to earth - no oceans, no rivers, very little precipitation at all.</dialogue>
<character>ERNIE</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>That's good ••. I don't like water. You can drown in water.</dialogue>
<character>SAL</character>
<dialogue>Scared to death. He'd shit at his own shadow.</dialogue>
<character>ERNIE</character>
<dialogue>I'm - I'm scared of death. That's why I'm here. I know that. At least I'm not a real -</dialogue>
<parenthetical>(makes a •cuckoo' sound)</parenthetical>
<dialogue>-· like - like you!</dialogue>
<character>SAL</character>
<dialogue>Yeah? You know how bad you smell?</dialogue>
<character>PROT</character>
<dialogue>Gentlemen, gentlemen.</dialogue>
<scene_description>His calm voice gets their attention.</scene_description>
<character>PROT</character>
<dialogue>I have been studying your planet. And I must say this form of communication you call "shouting" yields no results. It is a primitive behavioral trait left over from your forest dwelling ancestors. Most advanced beings in the Galaxy abandoned this type of behavior millions of years ago.</dialogue>
<scene_description>Sal and Ernie look at Prot, then each other. Suddenly feeling strangely ashamed.</scene_description>
<character>(</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 21.</dialogue>
<scene_description>CONTINUED: (4)</scene_description>
<character>ERNIE</character>
<dialogue>Does - does it rain there? On ... K ... K-PAX? Because I don't like rain.</dialogue>
<scene_description>Prot smiles at Ernie, seeing his fear. \*</scene_description>
<character>PROT</character>
<dialogue>We have very little water, compared to earth - no oceans, no rivers, very little precipitation at all.</dialogue>
<character>ERNIE</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>That's good ... I don't like water. You can drown in water.</dialogue>
<character>SAL</character>
<dialogue>(to himself) \*</dialogue>
<scene_description>Scared to death. He'd shit at his own shadow. ·</scene_description>
<character>ERNIE</character>
<dialogue>I'm - I'm scared of death. I know \* what I am. That's why I'm here. At \* least I'm not a real -</dialogue>
<parenthetical>(makes a 'cuckoo' sound)</parenthetical>
<dialogue>- like - like you!</dialogue>
<character>SAL</character>
<dialogue>Yeah? You know how bad you smell? \* You smell. \*</dialogue>
<scene_description>Sal looks at the book. Prot gets up, walks over to put it \* back in the bookshelf. But stops by Sal. \*</scene_description>
<character>PROT</character>
<dialogue>(whispers in Sal's ear) \*</dialogue>
<scene_description>I have been studying your planet. And I must say this form of communication you call "shouting" is a primitive \* behavioral trait left over from your forest dwelling ancestors. Most advanced beings in the Galaxy abandoned this type of behavior millions of years ago as it yields no \* results. \* His calm voice has made Sal's demeanor change. Suddenly, Sal \* is feeling strangely ashamed. \* Prot goes to the TV room and watches Bess looking at TV. \* Prot then sits in a chair outside the room and writes in his \* green book. \* Rev. 12/07/00 (Cherry) 22.</scene_description>
<character>11 INT. WARD- NURSE'S STATION - SAME TIME 11</character>
<dialogue>Powell wears a mild frown, judging Prot through the WINDOW. As Nurse McAllister prepares her morning MEDICATIONCART.</dialogue>
<character>MCALLISTER</character>
<dialogue>I don't see any meds for two-eight- seven - Prot.</dialogue>
<character>POWELL</character>
<dialogue>I haven't concluded whether it's psychotic or psychogenic. So ... nothing for now.</dialogue>
<character>MCALLISTER</character>
<parenthetical>(looks into the day room)</parenthetical>
<dialogue>He certainly has a way about him. Even up on 3 and 4 this morning, don't ask me how news spreads, everyone wants to meet the "a.lien patient."</dialogue>
<scene_description>Powell gives her a ridiculous look.</scene_description>
<character>POWELL</character>
<dialogue>Alien patient.</dialogue>
<character>12 OMITTED 12</character>
<dialogue>Al3 INT. CONFERENCEROOM- DAY A13\*</dialogue>
<scene_description>DR. CLAUDIAVILLERS, Director of the Hospital, chairs a \* meeting of the senior staff, including Powell, Betty \* McAllister, Chakraborty and DR. WALTERFLEEN, as well as \* several RESIDENTS. \*</scene_description>
<character>POWELL \*</character>
<dialogue>... It just seems glib to call him a \* psychotic. That's a wastebasket \* diagnosis. \*</dialogue>
<character>FLEEN \*</character>
<dialogue>He thinks he comes from outer space. \* W.hat do you think's wrong with him -- \* jet lag? \*</dialogue>
<character>POWELL \*</character>
<dialogue>How come he didn't respond to the \* Haldol? \*</dialogue>
<character>VILLERS \*</character>
<dialogue>Haldol can make you more psychotic. \* It's rare, but it happens. \*</dialogue>
<character>FLEEN \*</character>
<dialogue>I'd say try him on a newer, better \* agent. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 12/07/00 {Cherry) 23\*.</dialogue>
<scene_description>A13 CONTINUED: A13</scene_description>
<character>POWELL \*</character>
<dialogue>They've already tried Risperidal. \*</dialogue>
<character>FLEEN</character>
<dialogue>Maybe Zyprexa. \*</dialogue>
<character>POWELL \*</character>
<dialogue>We don't even have a history on him. \* Look, I'm not saying that medication \* can't be a useful tool to help someone \* like this, but -- \*</dialogue>
<character>FLEEN \*</character>
<dialogue>He might be a good subject for the \* betazine protocol. The drug is in a \* clinical trial here \*</dialogue>
<character>POWELL \*</character>
<dialogue>You want to experiment on him before \* we have a diagnosis .. \*</dialogue>
<character>FLEEN \*</character>
<dialogue>You have some better idea? \*</dialogue>
<character>POWELL \*</character>
<dialogue>He's not a danger to anyone. How \* about getting to know him first? \*</dialogue>
<character>FLEEN \*</character>
<dialogue>You know, Mark, I think on some level \* it pisses you off that it's become so \* easy to actually help people. \*</dialogue>
<character>VILLERS \*</character>
<dialogue>The clinical trial requires consent, \* which means locating the patient's \* family. \*</dialogue>
<scene_description>(gestures to files) \* How are we going to reach his family, \* Mark -- the Hubble telescope? In the \* meantime, we have ten new transfers to \* take care of this morning. \* As everyone turns to a new file, Villers shoots Powell a look. \* As she turns to her file, Powell looks at her. \*</scene_description>
<character>POWELL \*</character>
<dialogue>You know, Claudia, maybe what's wrong \* with him is that he is. \*</dialogue>
<character>VILLERS \*</character>
<dialogue>Is what? \*</dialogue>
<character>POWELL \*</character>
<dialogue>From the planet K-PAX. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/22/01 (2nd Goldenrod) 24.</dialogue>
<scene_description>A13 CONTINUED: (2) A13 Villers looks at Powell. The sly look in Powell's eyes betrays him. Villers laughs. Everyone laughs. Then Powell joins in.</scene_description>
</scene>
<scene>
<stage_direction>B13 EXT. MANHATTANPSYCHIATRIC - PARKING LOT - EVENING B13</stage_direction>
<character>(PREVIOUSLY SHOT AS SCENE 7AA)</character>
<dialogue>Grey, brick institution behind wrought iron gates. Powell \* follows Villers to her car.</dialogue>
<character>VILLERS</character>
<dialogue>I know that look, Mark.</dialogue>
<character>POWELL \*</character>
<dialogue>Come on, Claudia. We don't even know \* what meds to feed him. He's not \* textbook amnesia, he's not textbook \* delusional - he's not textbook \* anything. \*</dialogue>
<character>VILLERS \*</character>
<dialogue>I read the police report on him, \* E.D.P., possibly violent. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Oh, so now the police have credentials? \*</dialogue>
<character>VILLERS \*</character>
<dialogue>I'm just being an administrator. I \* like it when things run smoothly, \* especially my hospital. I sleep \* better at night. \*</dialogue>
<scene_description>She gets into her car. Then looks back up at him. Lets out \* a breath. \*</scene_description>
<character>VILLERS \*</character>
<dialogue>He better not be a problem. You watch \* him. \*</dialogue>
<scene_description>Powell smiles at her, shows his thumbs. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Don't worry. So far the only thing \* he's bitten into is an apple. \*</dialogue>
<character>CUT TO: \*</character>
<dialogue>(</dialogue>
<scene_description>Rev. 02/22/01 (2nd Goldenrod) 25. Cl3 INT./EXT. THE 6:15 METRO NORTH - EVENING C13</scene_description>
<character>(PREVIOUSLY SHOT AS SC. AB) \*</character>
<dialogue>Powell, clutching his bottle of WINE in its paper bag, sits with the other COMMUTERS. Talking on CELL PHONES or absorbed with their PALM PILOTS ... Nobody acknowledging another's existence ...</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) A25-A\*.</dialogue>
<scene_description>Cl3 CONTINUED: Cl3 Powell looks out the train window •.. Cars clogging the \* Bruckner Expressway ... Boarded-up high-rises in the Bronx \* Graffiti ... Giant lips on a dot-com billboard. \* Powell looks at the GIRL beside him -- a sexy girl in her \* twenties, boppiing to the loud music on her WALKMANas she \* gazes out the window. \*</scene_description>
<character>POWELL (V.O.) \*</character>
<dialogue>You know, I'd really like to kiss you. \* Let's face it, you have an \* unbelievable mouth ... I know it seems \* unlikely, but what is sex, anyway? \* It's always a gamble. You know what \* they use to call the dice at the craps \* table? Bones. That's what sex is. \* A roll of the bones. \*</dialogue>
<scene_description>The girl can't hear him ... An elderly WOMANsitting behind \* Powell leans forward to eavesdrop ... \*</scene_description>
<character>POWELL (V.O.) \*</character>
<dialogue>Of course it would break my wife's \* heart and probably destroy what's left \* of my marriage. I'd just wind up \* feeling guilty and terrible. \*</dialogue>
<scene_description>Then Powell says out loud: \*</scene_description>
<character>POWELL \*</character>
<dialogue>But I'd do it. Let's do it! \*</dialogue>
<scene_description>(beat) \* Just to feel ... something. \* The girl turns. Looks at Powell. Lifts off her headphones. \*</scene_description>
<character>GIRL \*</character>
<dialogue>What? \*</dialogue>
<character>POWELL \*</character>
<dialogue>Nothing. \*</dialogue>
<character>CUT TO: \*</character>
<scene_description>A14 OMITTED A14 AND AND</scene_description>
<character>14 14</character>
<dialogue>Rev. 11/12/00 (Yellow) 25B\*.</dialogue>
<scene_description>A15 CONTINUED: Al5</scene_description>
<character>POWELL</character>
<dialogue>What makes it unpleasant?</dialogue>
<character>PROT</character>
<parenthetical>(searching for just how to say it)</parenthetical>
<dialogue>It's a ..• painful procedure.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>A15</character>
<dialogue>POWELL</dialogue>
<character>CONTINUED:</character>
<parenthetical>(feigning seriousness)</parenthetical>
<dialogue>Is the pain associated with intercourse itself, with ejaculation, or with becoming aroused?</dialogue>
<character>PROT</character>
<dialogue>It is associated with the entire process. I am aware these activities result in pleasurable sensations for you humans. But for us, the effect is quite the opposite. This applies for both the males and females of our species - and incidentally - for most other beings around the Galaxy.</dialogue>
<character>POWELL</character>
<dialogue>Can you compare the effect to anything I might be able to understand ·- like a toothache, or - ?</dialogue>
<character>PROT</character>
<dialogue>It's more like having your gonads caught in a vice, except we feel it all over. To make matters worse, the sensation is associated with something</dialogue>
<scene_description>) like your nausea, accompanied by a very bad smell. The moment of climax is like being kicked in the stomach and falling into a pool of mot shit. Powell can't believe he's going along with this.</scene_description>
<character>POWELL</character>
<dialogue>Mot shit.</dialogue>
<character>PROT</character>
<dialogue>A mot is a being much like your skunk, only far more potent.</dialogue>
<character>POWELL</character>
<dialogue>If the experience is so terrible, how do you reproduce?</dialogue>
<character>PROT</character>
<dialogue>Like your porcupines. As carefully as possible. Needless to say, ove:cpopulation is not a problem for us.</dialogue>
<scene_description>Prot laughs. Then, as Powell watches, incredulous, Prot pulls a pencil and a little RED NOTEBOOKfrom his shirt pocket and starts jotting a note of his own.</scene_description>
<character>POWELL</character>
<dialogue>What - what are you doing?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 27.</dialogue>
<scene_description>Al5 CONTINUED: (2) Al5</scene_description>
<character>PROT</character>
<dialogue>You have reminded me of something to include in my report.</dialogue>
<character>POWELL</character>
<dialogue>Your - report?</dialogue>
<character>PROT</character>
<dialogue>It's my custom to compile descriptions of the various places and beings I encounter throughout the galaxy.</dialogue>
<scene_description>Powell just sits there •.• puts his own pen down.</scene_description>
<character>15 INT. WARD2 - MORNING 15</character>
<dialogue>WE FOLLOWPROT, as he moves cheerfully through the ward. He greets Nurse McAllister, who is readying her medication cart.</dialogue>
<character>PROT</character>
<dialogue>Good morning, Betty!</dialogue>
<character>MCALLISTER</character>
<parenthetical>(with a look of surprise)</parenthetical>
<dialogue>Good morning .•. Prat.</dialogue>
<scene_description>He moves on, greeting Navarro, who is escorting a BABBLINGMAN.</scene_description>
<character>PROT</character>
<dialogue>Good morning, Raul! Good morning, Mr. Friedman!</dialogue>
<scene_description>Navarro gives him a cautious look.</scene_description>
<character>NAVARRO</character>
<dialogue>S'up.</dialogue>
<scene_description>Prat continues down the hallway, passing Maria, who wears a red dress today, her hair teased up.</scene_description>
<character>PROT</character>
<dialogue>Good morning, Maria!</dialogue>
<character>MARIA</character>
<parenthetical>(sultry accent)</parenthetical>
<dialogue>I'm Vanessa.</dialogue>
<scene_description>Prot takes his notebook out, makes a curious note of this. Then heads into the DAY ROOMwhere Bess sits, with her blank \* expression, in front of the TV. \*</scene_description>
<character>PROT \*</character>
<dialogue>Good morning, Bess! \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 27A.</dialogue>
<scene_description>CONTINUED: Bess remains staring at the TV. Prot waits, expecting her to \* reply. When she doesn't, he is not sure what to do. \*</scene_description>
<character>ERNIE \*</character>
<dialogue>She never talks to anybody. Afraid \* smoke'll come out of her mouth. Been \* here since she was a little girl. \*</dialogue>
<scene_description>(eyes Bess) \* Shouldn't play with matches. Very \* dangerous. \*</scene_description>
<character>HOWIE \*</character>
<dialogue>(admonishing Ernie) \*</dialogue>
<scene_description>It was an electrical fire. Don't make \* up stories. \* Prot's dark glasses linger on Bess ... as she remains oblivious. \* He gives her a polite smile, and continues on. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 28.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>SIMMS</character>
<dialogue>Come on, Doris, you know you have to \* see the doctor. Look what I brought \* just for you! All we have to do is go see the doctor ...</dialogue>
<scene_description>A HAND appears from the room, takes the cake, flings it at Simms.</scene_description>
<character>SIMMS</character>
<dialogue>God damnit! Do that again and you go up to Three!</dialogue>
<character>MRS. ARCHER (FROM ROOM)</character>
<dialogue>Oh, poo, poo, poo!</dialogue>
<scene_description>Simms, wiping frosting from his face, sees Prot.</scene_description>
<character>SIMMS</character>
<dialogue>Never ever comes out of her room. Ran \* down Park Avenue naked as a jaybird when her husband left her. Poor S.O.B. I don't know how he put up with her.</dialogue>
<scene_description>As Simms walk off, Prot, intrigued, moves closer to the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. MRS. ARCHER'S ROOM - CONTINUOUS</stage_direction>
<scene_description>MRS. ARCHER, a once glamorous society belle, sits at a table next to her bed. She wears a bathrobe and sips tea from a plastic cup, as if it were fine china. With impatience, she rings a little silver bell. Just as Prot peeks in her doorway.</scene_description>
<character>MRS. ARCHER</character>
<dialogue>The service here is atrocious!</dialogue>
<character>PROT</character>
<dialogue>Good morning, you are Mrs. Archer. Doris.</dialogue>
<scene_description>Mrs. Archer stares at him, his dark glasses, his smile.</scene_description>
<character>MRS. ARCHER</character>
<dialogue>You aren't the help ...</dialogue>
<parenthetical>(flustered, fixing her hair)</parenthetical>
<dialogue>I wasn't expecting any gentleman callers until this afternoon.</dialogue>
<scene_description>In a state, she checks herself in a silver compact, adding some blush to her cheeks. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 29.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT \*</character>
<dialogue>You have set a place for two ... \*</dialogue>
<scene_description>Mrs. Archer looks back at her table straightening it, a little \* defensive. \*</scene_description>
<character>MRS. ARCHER \*</character>
<dialogue>I'm expecting someone. \*</dialogue>
<scene_description>Prot regards her, strangely, looks around again, curious brow. \*</scene_description>
<character>PROT \*</character>
<dialogue>Have you been waiting a long time? \*</dialogue>
<scene_description>Mrs. Archer remains staring at him. Then clears her throat, \* politely. Hiding a vulnerable hitch in her voice. \*</scene_description>
<character>MRS. ARCHER \*</character>
<dialogue>Eleven years. \*</dialogue>
<scene_description>(then, head high again) \* Some "·- around here -- might call that \* crazy. I prefer ... to call it romantic. \*</scene_description>
<character>PROT \*</character>
<dialogue>Romantic ... \*</dialogue>
<character>MRS. ARCHER \*</character>
<dialogue>(sees his expression of \* unfamiliarity) \*</dialogue>
<scene_description>Like a waltz in the moonlight? A \* candlelight dinner? A sunset? \* Prot smiles. \*</scene_description>
<character>PROT \*</character>
<dialogue>Ah, yes. On K-PAX, we have two suns. \* They rise together only once every two \* hundred years. \*</dialogue>
<scene_description>(as if faraway a moment) \* Now that is a sight ... \* An enchanted smile cracks across Mrs. Archer's makeup. She \* pours him some tea in a plastic cup. \*</scene_description>
<character>MRS. ARCHER \*</character>
<dialogue>Won't you ... won't you sit down? \*</dialogue>
</scene>
<scene>
<stage_direction>INT. CLINIC - MORNING</stage_direction>
<scene_description>Chakraborty, a strange look on his face, hands Prot's EYE CHART to Powell.</scene_description>
<character>CHAKRABORTY (</character>
<dialogue>He most definitely has a sensitivity to white light. But ...</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 29A\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHAKRABORTY</character>
<dialogue>it is his range I think you will find interesting.</dialogue>
<scene_description>Powell takes a disagreeably stiff sip of c6ffee, puts it down, taking the chart. Trying to decipher it.</scene_description>
<character>POWELL</character>
<dialogue>What am I looking at?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/22/01 (2nd Goldenrod) 30.</dialogue>
<character>17 CONTINUED: (2) 17</character>
<dialogue>CHAKRABORTY</dialogue>
<parenthetical>(pointing to the numbers)</parenthetical>
<dialogue>He can detect light at a wavelength of three hundred to four hundred angstroms. Ultra-violet.</dialogue>
<scene_description>Powell looks at Chakraborty with some confusion. He peers at Chakraborty, hoping for some kind of explanation from him. Chakraborty hesitates:</scene_description>
<character>CHAKRABORTY</character>
<dialogue>Of course ... Prot's explanation is that ... due to his planet's peculiar quality of light caused by its two suns, K-PAXians are used to light conditions much like our twilight most of the time.</dialogue>
<character>POWELL</character>
<dialogue>What the hell are you saying, Chak? I didn't think human beings could see ultra-violet light.</dialogue>
<character>CHAKRABORTY</character>
<dialogue>They can't.</dialogue>
<scene_description>Powell, utterly bewildered, looks at Prot's eye CHART in his hand. He tries to think. He squints up - at the lights in Chak's office. It's bright in here. A18 HALLWAYNEAR POWELL'S OFFICE Al8\* Powell walks down hallway toward his office. Worker opening \* "mushroom lights" from boxes in hall. \*</scene_description>
<character>18 INT. POWELL'S OFFICE - DAY 18</character>
<dialogue>Powell, with an intent look, unscrews a light bulb from a lamp, replacing it with a dim NIGHT LIGHT BULB. He goes to his other lamp, does the same. Then he closes his window blinds. He looks around, satisfied. The room is dark ... like twilight. Mrs. Trexler watches him, strangely, as she files in the OUTER OFFICE. She does not see Navarro leave Prat off at the door, behind her. Prat walks in, unescorted.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 31.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>Good afternoon, Joyce. That is a lovely configuration you are wearing.</dialogue>
<scene_description>Mrs. Trexler whirls around, startled. After a moment, she allows herself to glance down at her frumpy sweater, skirt, Dr. Scholl's shoes.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Thank you.</dialogue>
<parenthetical>(an uneasy smile)</parenthetical>
<dialogue>Macy's.</dialogue>
<scene_description>Powell comes out of his office, puts on a friendly face.</scene_description>
<character>POWELL</character>
<dialogue>Come in, Prot, come in.</dialogue>
<scene_description>He exchanges a glance with Trexler, leading Prot into his office, closing the door. She stands there a moment, then fixes her sweater.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Prot stands there, surprised at first by the dark lighting i.n the room. Then ... with a wide, pleasant sigh ••. As Powell observes him, intently Prot reaches up and slowly removes his GLASSES.</scene_description>
<character>PROT</character>
<dialogue>This is much better. A lot li.ke home.</dialogue>
<scene_description>Powell peers, for the first time ... at Prot's EYES. They shine in the dim light, very much human - yet - very much like some nocturnal animal. He plucks a papaya from the f~uit basket and takes a bite, sitting down, comfortably. As Powell remains staring ... Prot takes out his red notebook. \*</scene_description>
<character>PROT \*</character>
<dialogue>I wonder i.f we might begin by my \* asking you a question. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Please. \*</dialogue>
<character>PROT \*</character>
<dialogue>Bess. She does not speak. Why is \* that? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 32.</dialogue>
<scene_description>CONTINUED: Powell takes a moment, interested by the question. Interested \* that Prat would ask it. Prat tilts his head, curiously, as if \* trying to understand. Powell decides to stay with this, \* sensing he may be onto something •.. \*</scene_description>
<character>POWELL \*</character>
<dialogue>You see, on our planet ••• sometimes \* things happen to people and they just \* shut down. But enough about Bess ..• \*</dialogue>
<scene_description>Prat sits there a moment. He thinks about jotting something \* down in his notebook. But then, just closes it, tucks it away. \* Powell moves over to his window, peeks out the blinds at the \* snarl of traffic on Amsterdam Avenue, people hustling here and \* there. He brings an eye back to Prat. \*</scene_description>
<character>POWELL</character>
<dialogue>I wonder if you might tell me more \* about your home? \*</dialogue>
<character>PROT \*</character>
<dialogue>What would you like to know? \*</dialogue>
<character>POWELL</character>
<dialogue>Well did you have a job on K-PAX?</dialogue>
<character>PROT</character>
<parenthetical>(finding this funny)</parenthetical>
<dialogue>No one has a "job" on K-PAX. Really, Mark, is it that difficult to understand? On K-PAX, if something needs to be done, you do it.</dialogue>
<character>POWELL</character>
<dialogue>There must be jobs people don't want \* to do. Hard labor, cleaning public \* toilets? I mean, that's only human \* nature.</dialogue>
<character>PROT</character>
<dialogue>There are no humans on K-PAX.</dialogue>
<character>POWELL</character>
<dialogue>Ah, I forgot.</dialogue>
<character>PROT</character>
<dialogue>Besides, there's nothing that needs to be done that is really unpleasant. Look, you defecate, don't you?</dialogue>
<scene_description>Powell gi.ves him a ridiculous look. \*</scene_description>
<character>POWELL</character>
<dialogue>Not as often as I'd</dialogue>
<character>\*</character>
<dialogue>like.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 32A\*.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>PROT \*</character>
<dialogue>Do you find it unpleasant? \*</dialogue>
<character>POWELL \*</character>
<dialogue>(finding this even more \* ridiculous) \*</dialogue>
<scene_description>Sometimes. \*</scene_description>
<character>PROT \*</character>
<dialogue>Do you get someone to do it for you? ·\*</dialogue>
<character>POWELL \*</character>
<dialogue>I would if I could. \*</dialogue>
<character>PROT \*</character>
<dialogue>But you don't, and you don't think \* twice about it. You just do it. And \* it does have its rewards, right? \*</dialogue>
<scene_description>Powell resists the temptation to laugh. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Okay, look, let's move on. Do you \* have family on K-PAX? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 33.</dialogue>
<scene_description>CONTINUED: (3) Prot finishes the papaya, licks his fingers. Sensing Powell \* is up to something. \*</scene_description>
<character>PROT</character>
<dialogue>Things are not the same on K-PAX as they are on Earth, Mark. We don't have "families" as you know them. The idea of a 'family' would be a non sequitur on our planet - and most others, I might add.</dialogue>
<character>POWELL</character>
<parenthetical>(tries to see past the smile)</parenthetical>
<dialogue>Are you saying that ••. as a child, you had no home to go to?</dialogue>
<character>PROT</character>
<dialogue>Exactly, now\_you've got it.</dialogue>
<character>POWELL</character>
<dialogue>In other words, you never knew your parents.</dialogue>
<character>PROT</character>
<dialogue>On K-PAX, children are not raised by their biological parents, but by everyone. They circulate among us, learning from one, then another ..•</dialogue>
<character>POWELL</character>
<parenthetical>(pressing him)</parenthetical>
<dialogue>What about brothers and sisters?</dialogue>
<character>PROT</character>
<dialogue>No one on K-PAX has more than one child. There is little reason to, since the average lifespan of a K-PAXian is a thousand of your years.</dialogue>
<character>POWELL</character>
<dialogue>Do you have a child?</dialogue>
<character>PROT</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>No.</dialogue>
<character>POWELL</character>
<dialogue>Do you have a wife waiting for you back on K-PAX?</dialogue>
<scene_description>Prot releases a tedious breath, as if not carip.g for the direction of this conversation.</scene_description>
<character>(</character>
<dialogue>CONTINUED</dialogue>
<scene_description>Rev. 11/28/00 (Salmon) 34. CONTINUED: (3)</scene_description>
<character>PROT</character>
<dialogue>Mark, Mark, Mark. You haven't been listening. We don't have marriage on K-PAX - no husbands, no wives, no families - get it? To put it more correctly, the entire population is one big family.</dialogue>
<character>POWELL</character>
<dialogue>I see. What about a societal structure then? ·· Government?</dialogue>
<character>PROT</character>
<dialogue>There is no need for one.</dialogue>
<character>POWELL</character>
<dialogue>What about laws?</dialogue>
<character>PROT</character>
<dialogue>No laws, no lawyers.</dialogue>
<character>POWELL</character>
<dialogue>Well then how does one know what's right and wrong on K-PAX?</dialogue>
<character>PROT</character>
<parenthetical>(as if this were a stupid question)</parenthetical>
<dialogue>Every being knows what's right and wrong. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) .35\*.</dialogue>
<scene_description>CONTINUED: (5)</scene_description>
<character>POWELL</character>
<dialogue>But what if someone did do something \* wrong? Committed a murder? Rape? \*</dialogue>
<character>PROT \*</character>
<dialogue>Let me tell you something, Marko. \* Most humans subscribe to the policy of \* "an eye for an eye," "a life for a \* life." Most of your religions are \* famous for this formula, known \* throughout the Universe for its \* stupidity. Your Christ and your \* Buddha had a different vision, but \* nobody paid any attention to them, not \* even the Christians and Buddhists. \* So, no. On K-PAX beings do not kill \* other beings, but if they did there'd \* be no punishment. Apparantly this is \* impossible for Earth beings to \* understand, but it's the secret of \* life, believe me. \*</dialogue>
<character>POWELL \*</character>
<dialogue>No crime, brutality, violence on K-PAX? \*</dialogue>
<character>PROT</character>
<dialogue>You humans. Sometimes it's hard to imagine how you've made it this far. \* Crime is less popular than sex, even. \* There's simply no need for it. \*</dialogue>
<character>CONTINUED</character>
<dialogue>• 19</dialogue>
<character>CONTINUED: (5)</character>
<dialogue>Powell remains staring reality slipping</dialogue>
<scene_description>at Prot •.• away again ••• EXT. POWELLBACKY.l\.RD feeling</scene_description>
<character>- CONNECTICUT- MEMORIALDAY</character>
<dialogue>the thread of</dialogue>
<character>CHICKEN, HOT DOGSAND CORNSIZZLING ON AN OUTDOORGRILL.</character>
<dialogue>A swing hangs from a giant spruce. Natalie and Gabby are being chased by their cousin, JOSH, 10, arO\md the big yard. Powell, lost in thought, watches over the grill. As Rachel comes up, snaps her fingers in front of his face, playfully. Then gives him a kiss.</dialogue>
<character>RACHEL</character>
<dialogue>Where were you just now?</dialogue>
<scene_description>Powell just gives her a frustrating smile, and puts the corn on a platter, handing it to her.</scene_description>
<character>RACHEL</character>
<dialogue>Kids! Wash up!</dialogue>
<scene_description>Powell knocks back his glass of wine, leaves it by the grill. And follows her across the yard, with a second platter heaped with hot dogs and chicken - almost tripping over SHASTA, a golden retriever, who is being chased under the back porch.</scene_description>
<character>POWELL</character>
<dialogue>Josh, don't tease the dog!</dialogue>
<scene_description>He sets the platter down on a PATIO TABLE - at which sit his sister ABBY, late-thirties, and her husband, STEVE, a burly, bearded fellow.</scene_description>
<character>POWELL(CONTI D)</character>
<dialogue>Here we are.</dialogue>
<scene_description>Napkins are opened, and hungry "Ooohs" evoked. The kids join them at the table. As they all sit down and start eating, Abby and Rachel eye each other, before Abby addresses her brother.</scene_description>
<character>ABBY</character>
<dialogue>I'm not taking sides here but we're going to kidnap you to get you up to the Cape.</dialogue>
<character>POWELL</character>
<parenthetical>(to Abby, but with a smile to Rachel)</parenthetical>
<dialogue>I see my wife has been talking.</dialogue>
<character>CONTINUED</character>
<dialogue>20</dialogue>
<dialogue>Rachel</dialogue>
<character>CONTINUED:</character>
<dialogue>gives</dialogue>
<character>POWELL</character>
<parenthetical>(changing the subject)</parenthetical>
<dialogue>Steve, how was the drive from Princeton'?</dialogue>
<scene_description>Steve wipes corn off his mouth, his voice a friendly Tennessee drawl.</scene_description>
<character>STEVE</character>
<dialogue>Not too bad.</dialogue>
<character>ABBY</character>
<dialogue>We stopped off to see Michael.</dialogue>
<scene_description>Powell meets Abby's eyes. There is tension between brother and sister.</scene_description>
<character>POWELL</character>
<dialogue>That was nice of you. Quite a detou.r.</dialogue>
<character>ABBY</character>
<dialogue>It was his birthday.</dialogue>
<character>POWELL</character>
<dialogue>I know it was his birthday. I sent</dialogue>
<scene_description>) him a card with a nice, big check. As usual. Abby exchanges a glance with Rachel, who stays out of it. Abby looks back at her brother, lets a beat pass, can't help herself:</scene_description>
<character>ABBY</character>
<dialogue>You know, it wouldn't kill you to pick up a phone once in a while and talk to your own son.</dialogue>
<scene_description>Powell catches a look from his two young daughters.</scene_description>
<character>POWELL</character>
<dialogue>Thank you, Abby. By the way, I put him through Dartmouth - he knows how to pick up a phone, too.</dialogue>
<character>RACHEL</character>
<parenthetical>(trying to diffuse things)</parenthetical>
<dialogue>I was thinking of inviting him for Christmas.</dialogue>
<character>POWELL</character>
<dialogue>He goes to his mother's for Christmas. He won't come here.</dialogue>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 11/3/00 (Blue) 38. CONTINUED: (2)</scene_description>
<character>ABBY</character>
<dialogue>How do you know? When was the last time you asked him?</dialogue>
<character>POWELL</character>
<dialogue>Am I on the couch, here, sis?</dialogue>
<scene_description>Abby says no more. And Powell does not give her the satisfaction of taking this any further. They continue eating. After a moment, Powell turns to Steve, thoughtfully.</scene_description>
<character>POWELL ( CONT' D)</character>
<dialogue>Steve, I have an unusual favor to ask.</dialogue>
<character>STEVE</character>
<dialogue>What can I do you for, Doctor B.</dialogue>
<character>POWELL</character>
<dialogue>Well I have a patient who seems to know something about your field.</dialogue>
<character>RACHEL</character>
<dialogue>You have a patient who's an astronomer?</dialogue>
<character>ABBY</character>
<parenthetical>(puts her arms proudly around Steve's girth)</parenthetical>
<dialogue>I beg your pardon, Full Professor of Astrophysics as of next month.</dialogue>
<character>RACHEL</character>
<dialogue>Steve - congratulations!</dialogue>
<character>POWELL</character>
<dialogue>Congratulations, Steve.</dialogue>
<character>STEVE</character>
<dialogue>Thank you, thank you.</dialogue>
<parenthetical>(then, curious)</parenthetical>
<dialogue>So who's this patient of yours?</dialogue>
<character>POWELL</character>
<parenthetical>(wipes corn off his hands)</parenthetical>
<dialogue>He claims to come from a planet he calls "K-PAX."</dialogue>
<character>NATALIE</character>
<dialogue>KayPacks?</dialogue>
<scene_description>The KIDS laugh, repeating the funny name several times.</scene_description>
<character>POWELL</character>
<dialogue>Says it's a thousand light years from \* here, near the constellation Lyra. \*</dialogue>
<scene_description>CONTINUED: CONTINUED: (3)</scene_description>
<character>STEVE</character>
<dialogue>Big head, green'? About this high'?</dialogue>
<parenthetical>(puts his hand at 3 feet)</parenthetical>
<dialogue>I think I know the guy.</dialogue>
<scene_description>As they all laugh, Powell remains mildly serious.</scene_description>
<character>POWELL</character>
<dialogue>No, no - he's very convincing.</dialogue>
<scene_description>Rachel, Abby, Steve, and the kids stare at him. Powell views them, with an embarrassed laugh.</scene_description>
<character>POWELL</character>
<dialogue>I mean - of course, he's hwnan! He's just •.• the most convincing delusional I've ever come across.</dialogue>
<parenthetical>(to Steve)</parenthetical>
<dialogue>And I'd like to prove to him that this - K-PJ\X - is a figment of his imagination.</dialogue>
<parenthetical>(pours himself some lemonade)</parenthetical>
<dialogue>If I can do that •.. then, maybe I can find out who he really is.</dialogue>
<character>ABBY</character>
<dialogue>Am I hearing right? The great Doctor Powell needs help with a patient?</dialogue>
<scene_description>Powell just gives his sister a tired look. Steve scratches his bushy beard.</scene_description>
<character>STEVE</character>
<dialogue>constellation Lyra, hmmm. Sure - I can give you a whole bunch of questions to ask your fella.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD- MORNING</stage_direction>
<scene_description>As Powell hurries down the hallway with Nurse McAllister.</scene_description>
<character>MCALLISTER</character>
<dialogue>I don• t know what• s wrong. All his books and papers and everything are spread out over his desk, like always. But he's just -</dialogue>
<scene_description>They get to the ONE-WAYMIRROR, look into the DAY ROOM, to see HOWIE, just sitting calmly, gazing out a window. (:</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 4 0.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MCALLISTER</character>
<dialogue>- sitting there.</dialogue>
<scene_description>Powell stares at the peaceful Howie, in utter amazement.</scene_description>
<character>POWELL</character>
<dialogue>Did someone change his medication?</dialogue>
<character>MCALLISTER</character>
<dialogue>No. I gave him his regular, Anafranil, point two hundred fifty \* milligrams.</dialogue>
<character>POWELL</character>
<dialogue>Well, something's wrong with him. An obsessive compulsive doesn't just sit there looking out the window.</dialogue>
</scene>
<scene>
<stage_direction>INT. DAY ROOM - CONTINUOUS</stage_direction>
<scene_description>As Powell enters. Slowly approaching Howie, he notices that Howie's glasses are, for the first time, clean. And through them, Howie remains gazing, with fixed purpose, out the window.</scene_description>
<character>POWELL</character>
<dialogue>Howie?</dialogue>
<character>HOWIE</character>
<dialogue>Good morning, Doctor Powell.</dialogue>
<scene_description>Powell leans down to squint out the window with him.</scene_description>
<character>POWELL</character>
<dialogue>Howie ... what are you looking for?</dialogue>
<character>HOWIE</character>
<dialogue>The bluebird.</dialogue>
<character>POWELL</character>
<parenthetical>(takes a moment with this)</parenthetical>
<dialogue>The bluebird?</dialogue>
<character>HOWIE</character>
<dialogue>Bluebird of happiness. Prot told me to find the bluebird of happiness.</dialogue>
<scene_description>Powell's expression changes.</scene_description>
<character>POWELL</character>
<dialogue>Prot ... told you?</dialogue>
<scene_description>Howie nods, his eyes not leaving the gardens and brick walls of the gated hospital grounds outside.</scene_description>
<character>CONTINUED</character>
<dialogue>• 22 CONTINUED:</dialogue>
<scene_description>It's yet.</scene_description>
<character>HOWIE</character>
<dialogue>a task, the first</dialogue>
<scene_description>He'll tell me. (smiles, proudly) of three. don't know what the other two are, I: If I complete all three, I'll be cured. Powell's look tightens.</scene_description>
<character>23</character>
<dialogue>Shrubs and flowers line the high, old brick walls.</dialogue>
<character>EXT. HOSPITAL - GROUNDS- DAY</character>
<dialogue>A fountain</dialogue>
<scene_description>bubbles. Attendants slowly walk patients along the paths. Ernie stands under a tree, taking deep breaths. As Prot coaches him, reassuringly.</scene_description>
<character>PROT</character>
<dialogue>Maintain breathing. That's it. You see? There are none of these "ammonia particles" you are worried about. For one thing, I would be able to see them - and I don't.</dialogue>
<scene_description>Ernie, breathing, manages a nervous smile - then spies Powell marching across the grass toward them.</scene_description>
<character>ERNIE</character>
<dialogue>Uh-oh. Winged monkey at two o'clock.</dialogue>
<scene_description>Prot turns, curiously, as Powell marches up.</scene_description>
<character>POWELL</character>
<dialogue>Excuse us for a moment, Ernie.</dialogue>
<scene_description>Ernie looks from Prot to Powell. Then, fearfully, up at the sky. He scrambles backwards across the lawn, up the veranda steps, and into the refuge of the hospital. While Powell views Prot with an aggravated breath.</scene_description>
<character>POWELL</character>
<dialogue>It's one thing to take an interest in your fellow patients - it's quite another to make them think you can cure them!</dialogue>
<scene_description>Prot regards Powell, baffled at his angry tone.</scene_description>
<character>PROT</character>
<dialogue>You seem overly upset, Mark. To borrow a phrase from Raul - you need to "chill."</dialogue>
<character>CONTINUED (</character>
<scene_description>• 23 CONTINUED:</scene_description>
<character>PROT</character>
<parenthetical>(with a smile)</parenthetical>
<dialogue>For your information the capability</dialogue>
<scene_description>- every being has to cure themselves. This is something we have known on K-PAX for millions of years.</scene_description>
<character>POWELL</character>
<dialogue>Listen to me! On this planet, I am a doctor. You are a patient.</dialogue>
<character>PROT</character>
<dialogue>Doctor - patient. Curious human distinction.</dialogue>
<character>POWELL</character>
<parenthetical>(in a burst of anger)</parenthetical>
<dialogue>It is not your job to cure Howie or Ernie or Maria or anyone. It's mine!</dialogue>
<character>PROT</character>
<dialogue>Then, why haven't you cured them yet?</dialogue>
<scene_description>As Powell stares at Prot, fishing for a reply - Prot carefully takes out several folded NOTEBOOKPAGES, hands them to him.</scene_description>
<character>PROT</character>
<dialogue>By the way, he:c·e are the answers to the questions you gave me. I hope you fi.nd them to your satisfaction.</dialogue>
<scene_description>Powell, left with nothing to say, just takes the pages.</scene_description>
<character>24</character>
<dialogue>- NEWJERSEY</dialogue>
<character>INT. PRINCETONUNIVERSITY OBSERVATORY</character>
<dialogue>24</dialogue>
<scene_description>Steve scratches his beard, mystified, as he looks over Prot's NOTEBOOK PAGES. Behind him, we see a giant telescope and a vast ar:cay of digital instruments and computers. He speaks on the phone:</scene_description>
<character>STEVE</character>
<dialogue>I don't know what to say, Mark. Thi.s is •.• p:cetty wild stuff.</dialogue>
<character>25</character>
<dialogue>Powell</dialogue>
<character>INT. POWELL'S OFFICE - SAME</character>
<dialogue>leans</dialogue>
<character>POWELL</character>
<dialogue>Gibberish, huh?</dialogue>
<scene_description>Rev. 11/3/00 {Blue) 4 3.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRINCETON OBSERVATORY - SAME</stage_direction>
<scene_description>Steve's expression says otherwise, as he examines Prot•s neat HANDWRITING on the pages spread out before him.</scene_description>
<character>STEVE</character>
<dialogue>Well ... not exactly. See - your patient indicates his planet "K-PAX" orbiting an eclipsing binary star system, Agape and Satori, near the \* constellation Lyra.</dialogue>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - SAME</stage_direction>
<scene_description>Powell straightens up in his chair, skeptical, phone to ear.</scene_description>
<character>POWELL</character>
<dialogue>Okay, so he coulq have read about it somewhere.</dialogue>
</scene>
<scene>
<stage_direction>INT. OBSERVATORY - SAME</stage_direction>
<character>STEVE</character>
<dialogue>That's the funny thing, Mark. Not really. You see ... except for my boss, Duncan Flynn, who's one of the foremost astrophysicists in the world, and maybe - two or three of his colleagues - nobody knows much about \* the possibility of planets in this \* star system yet. It hasn't even been reported in any journals.</dialogue>
<scene_description>He looks around the observatory, lowering his voice into the phone, with a shrewd smile:</scene_description>
<character>STEVE</character>
<dialogue>Tell me, honestly. Duncan put you up to this? You know, like a joke?</dialogue>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - SAME</stage_direction>
<scene_description>STAY ON POWELL - as he holds the phone. He attempts a little laugh, unwilling to believe what he's hearing, then glances into the outer office at Mrs. Trexler, who looks up from her work at him, oddly.</scene_description>
<character>POWELL</character>
<dialogue>It's ... no joke, Steve.</dialogue>
<scene_description>{then, grasping) You wouldn't happen to know of any ( missing astrophysicists would you? Rev. 11/28/00 (Salmon) 44.</scene_description>
</scene>
<scene>
<stage_direction>INT. OBSERVATORY - SAME</stage_direction>
<scene_description>Steve shakes his head, laughs.</scene_description>
<character>STEVE</character>
<dialogue>Can't say I do.</dialogue>
<parenthetical>(then, seriously)</parenthetical>
<dialogue>But there's one or two around here who'd sure like to meet this fella of yours.</dialogue>
</scene>
<scene>
<stage_direction>INT. POWELL HOUSE - STUDY - EVENING</stage_direction>
<scene_description>Powell scribbles on a pad, stymied, as he listens over headphones to a CASSETTE RECORDER. He ejects a tape, puts i.n another. We see that i.t is labelled Prat - Session 7. Thick MEDICAL VOLUMES lay open around him ... Psychodenic and Retrograde Amnesia, Amnesia/Historical Case Book, an the bible of clinical psychiatry - the DSM, Diagnostic and Statistical Manual of Mental Disorders. Powell £lips through the DSM. Pausing a moment at the chapter on Post- Traumatic Stress Disorder. He runs his finger over the CASE HISTORIES ... THE PIANO DRIFTS IN from the doorway. He rubs his temple, distracted by it. He gets up.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SAME</stage_direction>
<scene_description>Rachel and Natalie sit at the piano. Natalie tenuously plunking out London Bridge is Falling Down, while Rachel, with a teacher's patience, guides her along.</scene_description>
<character>RACHEL</character>
<dialogue>A - D - B - G - repeat -</dialogue>
<scene_description>They both glance up, seeing the study door shut. Rachel's eyes stay on it for a thoughtful moment ...</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY - SAME</stage_direction>
<scene_description>Powell sits back down. Puts his headphones back on. Finally, he just punches the tape machine off, rips his headphones off. Closes all the big books. In utter frustration. \* Then, his eye catches - the TELESCOPE standing by his picture window. He stares at it. And from the TELESCOPE OMITTED Rev. 11/3/00 (Blue) 4 5 \*.</scene_description>
</scene>
<scene>
<stage_direction>A35 INT. TAXICAB - NIGHT A35\*</stage_direction>
<scene_description>C.U. ON the back of the TAXI DRIVER'S HEAD ... IN THE REAR VIEW MIRROR - WE SEE PROT, flanked by Chakraborty and Navarro. Powell is in the front seat.</scene_description>
<character>35 EXT. HAYDEN PLANETARIUM AND SPACE SCIENCE CENTER - NIGHT .35 \*</character>
<dialogue>As the TAXICAB drives up, dwarfed by the six-story SPHERE. A gleaming wonder of glass and metal that faces Central Park.</dialogue>
</scene>
<scene>
<stage_direction>A37 INT. HAYDEN SPACE CENTER - CONTINUOUS A37\*</stage_direction>
<scene_description>As they enter. The place is empty. The visitors have long \* departed. A giant mobile of the solar system hangs four \* stories high. There are meteorites, and displays of space \* exploration and giant, backlit PHOTOS from the Hubble ··- \* GALAXIES, NEBULAS, the now-famous GAS PILLARS at the edge of \* the known universe. \* Nav~rro, amazed, never having seen anything like this himself, \* gives Prot a sly, little look. \*</scene_description>
<character>NAVARRO \*</character>
<dialogue>This your neighborhood, huh? \*</dialogue>
<scene_description>Prot takes it all in ... with a laugh of both wonder and \* familiarity. \*</scene_description>
<character>37 INT. SPACE CENTER - UPSTAIRS HALLWAY- IN A FEW MINUTES 37</character>
<dialogue>Powell, a little anxious, shakes hands with the three astronomers Steve has brought. DUNCANFLYNN, distinguished, white-haired, with a pipe - and two others, DAVID PATEL and STUART HESSLER. They wear the intense eyes of men who have spent their lives looking to the heavens.</dialogue>
<character>POWELL</character>
<dialogue>Thank you, gentlemen, for doing this.</dialogue>
<character>FLYNN</character>
<dialogue>Thank you, Doctor Powell.</dialogue>
<parenthetical>(holding up Prot's pages)</parenthetical>
<dialogue>We'd like to get to the bottom of these notes as much as you would. (</dialogue>
<character>POWELL</character>
<dialogue>I'll bring him right up.</dialogue>
<scene_description>Rev. 11/3/00 (Blue) 45A\*.</scene_description>
</scene>
<scene>
<stage_direction>INT. HAYDEN PLANETARIUM - IN A FEW MINUTES</stage_direction>
<scene_description>As Prot enters through the double doors, with Navarro and Chakraborty. We are in a HUGE, DOMEDROOM. Empty stadium seats all around. A formidable camera/computer projector rises from the center of the floor. Navarro, amazed, has never seen anything like this himself. \* He takes a seat by the doors, with Chakraborty. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/3/00 (Blue) 4 6\*.</dialogue>
<scene_description>CONTINUED: Letting Prat walk slowly ... toward a semi-circular conference table hooked up with two state-of-the-art FLAT-SCREEN MONITORS \* at which sit Steve, Flynn, Patel and Hessler. \* The men stare at Prat, not really knowing what to expect. Powell quietly takes a seat by Chakraborty and Navarro. He catches Steve's eye, gives him a little nod.</scene_description>
<character>STEVE</character>
<dialogue>It's a pleasure to meet you, Prot. Won't you ..• have a seat.</dialogue>
<scene_description>Prot looks around, takes the chair in the center of the room by the projector, facing them.</scene_description>
<character>STEVE ( CONT' D)</character>
<dialogue>I'm ... Doctor Becker. This is Dr. Flynn, Doctors Patel and Hessler.</dialogue>
<character>PROT</character>
<dialogue>How many doctors are there are on this planet?</dialogue>
<scene_description>Steve laughs, looks at his colleagues. He likes this guy. Flynn motions to Steve, who walks over to the planetarium \* console and presses a button. The lights go dim. And on the \* DOME above them all is projected ... an astonishing SPLASH OF STARS. It fills our senses, as if we are actually there. Chakraborty and Navarro lean back in their chairs. Navarro's eyes now as wide as his mouth, as he utters:</scene_description>
<character>NAVARRO</character>
<dialogue>Shit ... \*</dialogue>
<scene_description>Powell looks from the stars to Prot ... As Prot takes his glasses off ... gazing up - and around - at the IMAGE ... with a wide, breathless smile ••. and a laugh, of both wonder and familiarity.</scene_description>
<character>STEVE</character>
<parenthetical>(smiles at Prat)</parenthetical>
<dialogue>Feel at home?</dialogue>
<scene_description>Flynn clears his throat, trying as hard as he can to treat Prat seriously.</scene_description>
<character>FLYNN (</character>
<dialogue>We have found your notes quite interesting .•. Prat.</dialogue>
<character>CONTINUED</character>
<dialogue>CONTINUED: (2)</dialogue>
<character>FLYNN</character>
<dialogue>And we'd like to ask you some questions - i.f that's all right.</dialogue>
<character>PROT</character>
<dialogue>Be my guest.</dialogue>
<character>FLYNN</character>
<dialogue>Good. Then I'll jump right in.</dialogue>
<character>PROT</character>
<dialogue>Make sure you can swim.</dialogue>
<scene_description>Flynn attempts an awkward .little laugh, looks at the others. By the doors, Navarro, amused, repeats "make sure you can swim" to Powell and Chakraborty, in case they didn't get it.</scene_description>
<character>FLYNN</character>
<dialogue>Yes, well. Let's start with this idea of light travel, shall we? What can you tell us about that?</dialogue>
<character>PROT</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Nothing.</dialogue>
<scene_description>The scientists give each other dubious glances.</scene_description>
<character>PROT</character>
<dialogue>If I told you, you'd blow yourselves up. Or worse, someone e.lse. You'd be surprised how much energy there i.s in a beam of light.</dialogue>
<scene_description>They respond to this with tentati.ve laughter. Steve takes over, being friendly.</scene_description>
<character>STEVE</character>
<dialogue>Well, then, I wonder if you could show us how thi.s light travel works.</dialogue>
<character>PROT</character>
<dialogue>How about a demonstration?</dialogue>
<scene_description>Powell's expression becomes uncertain. He catches a wary sidelong glance from Chakraborty.</scene_description>
<character>STEVE</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>That would be ... fine.</dialogue>
<character>PROT</character>
<dialogue>Adios ! Aloha!</dialogue>
<scene_description>He sits there with a wide grin.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/8/00 (Pink) 48.</dialogue>
<scene_description>CONTINUED: (3) St.eve views him with uncertainty.</scene_description>
<character>STEVE</character>
<dialogue>When are you going to</dialogue>
<character>PROT</character>
<dialogue>I'm already back.</dialogue>
<scene_description>The scientists can't help let out a couple of belly laughs. Steve regards Prot, shrewdly.</scene_description>
<character>STEVE</character>
<dialogue>Where I come from, that's called the fastest gun in the West routine.</dialogue>
<character>PROT</character>
<parenthetical>(imitates his Tennessee drawl, with equal candor)</parenthetical>
<dialogue>Well, I don't come from where you come from, Dr. Becker.</dialogue>
<scene_description>More laughter. Powell has to smile, a bit sadly, as he regards Prot, seeing what a farce this is becoming. When Flynn attempts to be.serious again, perusing Prot's notebook PAGES in front of him.</scene_description>
<character>FLYNN</character>
<dialogue>Prot, you've indicated in your - notes - that your planet K-PAX orbits the twin stars Agape and Satori near the constellation Lyra. Frankly, we're a bit mystified as to how you gained knowledge of such a planetary system around these stars.</dialogue>
<scene_description>At the planetarium console, Steve presses another button - and a huge INSERT OF A MAGNIFIED STAR SYSTEMAPPEARS projected against the dome of stars.</scene_description>
<character>FLYNN</character>
<dialogue>This was taken from the Hubble. We computer enhanced it, based on Doctor Patel's readings from telescopes in Chile and Hawaii. It is the clearest picture we have of -</dialogue>
<parenthetical>(checks himself, regards his colleagues)</parenthetical>
<dialogue>- where you come from. What we'd like</dialogue>
<scene_description>•.. is if you could diagram on your li.ghtpad, the orbital pattern your \* planet takes around this system.</scene_description>
<character>CONTINUED (</character>
<dialogue>Rev. 11/3/00 (Blue) 4 9.</dialogue>
<scene_description>CONTINUED: (4)</scene_description>
<character>PROT</character>
<parenthetical>(delighted)</parenthetical>
<dialogue>My pleasure.</dialogue>
<scene_description>He gets up, goes over to the lightpad, picks up the stylus \* there. Unsure, he looks back at the scientists. They nod, Prot makes a mark on the lightpad over the projector. He \* looks up. It appears as a scribble across the STAR SYSTEM. He shakes his head, erases it, then starts again, animated, looking up to the stars with every mark he makes. The scientists lean back in their chairs with bafflingly amused expressions. But as Prot's scribbles take shape up ABOVE THEM ... their expressions begin to change ..• For there ... projected over the STARS ... emerges a cogent, detailed DIAGRAM of what looks like a 4-PLANET SOLAR SYSTEM \* around the two brightest stars. Complete with a grid of \* ANGLES and FORMULAS of relative distances. Prot looks up, puts down the stylus, satisfied. \* Flynn, slowly, takes the pipe out of his mouth.</scene_description>
<character>FLYNN</character>
<dialogue>Steven ... could you input that</dialogue>
<character>STEVE</character>
<dialogue>Already on it.</dialogue>
<scene_description>Steve has the Princeton Observatory database on line. As multiple STAR CHARTS and theoretical CHARTS appear on his MONITOR, he hurriedly inputs Prot's information from the DOME. \* Powell looks from Prot's diagram to the scientists, confused.</scene_description>
<character>POWELL</character>
<dialogue>What - what's going on?</dialogue>
<character>NAVARRO</character>
<parenthetical>(admiring Prot's work)</parenthetical>
<dialogue>Looks like the real thing to me.</dialogue>
<scene_description>Flynn, Patel and Hessler get up from their chairs to crowd around Steve's laptop.</scene_description>
<character>POWELL</character>
<dialogue>Somebody want to tell me what the hell's going on?</dialogue>
<scene_description>The scientists watch, agog, as the monitor displays an exact \* replica of Prot's solar system. \*</scene_description>
<character>CONTINUED</character>
<dialogue>.38 CONTINUED: (5) 38</dialogue>
<scene_description>Prot observes them, with a knowing chuckle.</scene_description>
<character>PROT</character>
<dialogue>I take it my calculations help explain the perturbations you've been seeing in the rotation pattern of your binary star - but have been previously unable to explain.</dialogue>
<scene_description>For a long beat, the scientists just stare at Prat, speechless.</scene_description>
<character>FLYNN</character>
<dialogue>How ..• how could you know this? How could you .••</dialogue>
<character>PROT</character>
<dialogue>Every K-PAXian knows this. Doesn't every school child on Earth know your planet orbits your sun in an ellipse?</dialogue>
<scene_description>Flynn and his colleagues look at each other, stupidly •</scene_description>
</scene>
<scene>
<stage_direction>.39 EXT. HAYDENPLANETARIUM</stage_direction>
<character>- STREET - IN A SHORTWHILE 39</character>
<dialogue>Prat sits waiting i.n the TAXI with Navarro and Chakraborty. Powell and Steve stand on the sidewalk.</dialogue>
<character>POWELL</character>
<dialogue>What happened in there, Steve? I mean - he could be a savant. There are savants who have painted flawless copies of Rembrandts who couldn't even remember their own names. Steve, you don't believe this guy do you!?</dialogue>
<scene_description>Steve, with a look toward the taxi, confides to Powell:</scene_description>
<character>STEVE</character>
<dialogue>I don't know what I believe, Mark. But, I know what I saw. Tell you what I'm going to do •.• I'm going to computer generate a star chart of the ni~ht sky as seen from the position of this planet K-PAX. Ask your man to draw one from memory. Then send it to me. If his matches mine - I guarantee you the government would take him off your hands.</dialogue>
<scene_description>Powell just stares, maddeningly, at his brother-in-law. f Rev. 11/20/00 (Buff) 51.</scene_description>
<character>40 EXT. POWELL'S PATIO - NIGHT 40</character>
<dialogue>Powell sits in the dark. With an empty Scotch glass. Gazing up, troublingly, at the sparse Connecticut stars. Prot's planetarium DIAGRAM rests in his lap. He turns, to gaze at his wife through the glass doors ... She sits playing the piano very softly, as the kids are long asleep. He admires her back, her lithe beauty, the way she tucks a strand of hair back and turns the music page. He gets up, comes into the ..-</dialogue>
</scene>
<scene>
<stage_direction>A42 INT. HOUSE - CONTINUOUS - NIGHT A42</stage_direction>
<scene_description>Rachel hears the patio door slide open, turns. They regard each other for a beat. \*</scene_description>
<character>POWELL</character>
<dialogue>Don't stop. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>It's okay. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Please. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>There's a key stuck. \*</dialogue>
<character>POWELL \*</character>
<dialogue>We'll have to get that fixed. \*</dialogue>
<scene_description>He sits beside her on the bench. She shows him ... \*</scene_description>
<character>RACHEL</character>
<dialogue>G below middle C. \*</dialogue>
<character>POWELL \*</character>
<dialogue>That's probably an important one, huh. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>My old teacher -- I've told you about \* her -- \*</dialogue>
<character>POWELL \*</character>
<dialogue>Hilda. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Right. \*</dialogue>
<scene_description>Powell smiles. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/20/00 (Buff) 52\*.</dialogue>
<scene_description>A42 CONTINUED: A42</scene_description>
<character>POWELL \*</character>
<dialogue>Hilda from the City Opera. With the \* yellow teeth and the cat with the \* stomach trouble. Who would fart in \* four/four time. \*</dialogue>
<scene_description>Rachel laughs. Powell laughs. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>Yes. \*</dialogue>
<character>POWELL \*</character>
<dialogue>With his tail going. Like a metronome. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Shut up. She was a very good teacher. \*</dialogue>
<character>POWELL \*</character>
<dialogue>As long as you like cats. \*</dialogue>
<scene_description>Their laughter subsides. Rachel looks away from Powell for an \* introspective beat. Then turns to him. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>She used to tell me, don't play the \* notes. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Don't play the notes? \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Yeah. If you just play the notes, \* you'll miss it. \*</dialogue>
<scene_description>They look at each other. On Powell, \*</scene_description>
<character>CUT TO: \*</character>
<dialogue>Rev. 11/28/00 (Salmon) 52A.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD2 - DAY ROOM - DAY 42 \*</stage_direction>
<scene_description>CLOSE ON HOWIE. Seated at his post by the window. His eyes \* suddenly widen. And a smile of immeasurable joy spreads \* across his face. \*</scene_description>
<character>HOWIE \*</character>
<dialogue>Bluebird ... \*</dialogue>
<scene_description>Erhie and Sal look up from a checker game. Russell stops \* muttering a Bible passage. Only Bess remains disinterested, \* in front of the TV. \* As Howie jumps out of his chair \*</scene_description>
<character>HOWIE \*</character>
<dialogue>Bluebird!! \*</dialogue>
<scene_description>He starts running from window to window -- jumping over \* tables, knocking over chairs. \*</scene_description>
<character>HOWIE \*</character>
<dialogue>Bluebird! Bluebird! \*</dialogue>
<scene_description>AT THE NURSE'S STATION - McAllister spots him from the one-way \* glass. She hastens into the DAY ROOM. \*</scene_description>
<character>MCALLISTER \*</character>
<dialogue>Howie? \*</dialogue>
<scene_description>.He runs up to her, dances her giddily in a circle, over to the \* window. Where she looks out, surprised. \*</scene_description>
<character>MCALLISTER \*</character>
<dialogue>Oh, my •.. \*</dialogue>
<scene_description>He bounds out of the day room -- and down the CORRIDOR \* Shouting from ROOM to ROOM at the top of his lungs: .\*</scene_description>
<character>HOWIE \*</character>
<dialogue>Bluebird! Bluebird! \*</dialogue>
<scene_description>Patients peek out of doorways with wide eyes and medicated \* smiles. \* BACK IN THE DAY ROOM - Ernie turns fearfully to Sal. \*</scene_description>
<character>ERNIE \*</character>
<dialogue>Do -- do bluebirds bite? \*</dialogue>
<character>SAL \*</character>
<dialogue>No, they don't bike, stinkhead! \*</dialogue>
<character>BACK DOWNTHE HALLWAY \*</character>
<dialogue>Howie, like a barefoot dervish twirls up onto a windowsill. \* He puts his face to the BARS shouting out, freely, \* euphoric, with all his might -- as sunlight kisses his face: \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/28/00 (Salmon) 52B\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>HOWIE \*</character>
<dialogue>BLUEBIRRRRRRRD!</dialogue>
<character>! \*</character>
<dialogue>Rev. 11/20/00 (Buff) 53.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MANHATTANPSYCHIATRIC INSTITUTE - CONTINUOUS</stage_direction>
<scene_description>MOVING UP - from Howie's shouting face, and WIDENING - to take in the other WARDS on the floors above. As pale FACES, some with shaved heads and hollow eyes come to the WINDOWS, looking out with suspicion and wonder ...</scene_description>
</scene>
<scene>
<stage_direction>INT. WARD 2 - IN A FEW MINUTES</stage_direction>
<scene_description>Navarro and Simms step off the elevator - into pandemonium. Patients running out of rooms, up and down the corridors, some half naked, shouting "Bluebird! Bluebird!" Navarro whips the walkie-talkie out of his belt, speaks quickly into it:</scene_description>
<character>NAVARRO</character>
<dialogue>Disturbance is on Two!</dialogue>
</scene>
<scene>
<stage_direction>� 45 INT. CORRIDOR- IN A MINUTE</stage_direction>
<scene_description>Powell barrels up with him. through two SWINGINGDOORSand runs down the CORRIDOR, Chakraborty and the overweight Fleen trying to keep They hear CHANTINGcoming from down the hall .•.</scene_description>
<character>POWELL</character>
<dialogue>What the hell?</dialogue>
<scene_description>We FOLLOWTHEMinto the DAY ROOM- where the entire ward has erupted into an ecstatic chorus of "BLUEBIRD, BLUEBIRD, BLUEBIRD!" Patients are crowded around the windows, jumping up and down, some standing on tables to get a better look. Fleen looks shaken.</scene_description>
<character>FLEEN</character>
<dialogue>It's mass hysteria</dialogue>
<scene_description>Powell eyes him, ridiculously. Nevertheless, trying to catch sight of somebody, anybody, in charge.</scene_description>
<character>POWELL</character>
<dialogue>Betty! What's going on?</dialogue>
<scene_description>McAllister turns from the window. She knows it's silly, but she wipes a tear and smiles, pointing out.</scene_description>
<character>MCALLISTER</character>
<dialogue>Look.</dialogue>
<scene_description>Powell regards her bafflingly - when Howie suddenly grabs him by the arm.</scene_description>
<character>HOWIE</character>
<dialogue>Doctor Powell! Come, see!</dialogue>
<scene_description>Disinclined, Powell lets himself be led to the WINDOW- to see, indeed - a beautiful, common BLUE JAY. It flits, majestically, from tree to tree, chirping and pecking. Finally settling on a branch. As Powell gazes upon it, in profound astonishment - Villers now wends her way through the commotion.</scene_description>
<character>VILLERS</character>
<dialogue>What's going on here, Mark?</dialogue>
<parenthetical>(craning her neck to see)</parenthetical>
<dialogue>What on earth is out there?</dialogue>
<character>POWELL</character>
<dialogue>Just a blue jay</dialogue>
<scene_description>She gives him a nonsensical look.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/28/00 (Salmon) 55.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>VILLERS</character>
<dialogue>A blue jay?</dialogue>
<scene_description>Powell opens his mouth to say something more. But instead, looks from the window - around, slowly - witnessing the unbounded hope and excitement on every patient's FACE.</scene_description>
<character>POWELL</character>
<dialogue>Just a blue jay.</dialogue>
<scene_description>He turns ... catching sight Of Prot, who stands observing from the day room doorway. Their eyes lock for a moment. Prot smiles at him. And then ... Powell, to his absolute amazement, sees Mrs. Archer come into the day room! She looks around at the commotion with wide eyes, and the smile of a little girl. Taking hold of Prot's arm .•. Then Ernie approaches Powell. \*</scene_description>
<character>ERNIE \*</character>
<dialogue>Doctor Powell, can we go outside and \* look at it? \*</dialogue>
<scene_description>Powell takes a beat. \*</scene_description>
<character>POWELL \*</character>
<dialogue>You want to go outside, Ernie? \*</dialogue>
<character>ERNIE \*</character>
<dialogue>To look at it. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Okay. Let's go outside. \*</dialogue>
<scene_description>Powell puts his arm around Ernie. As they head outside, he \* and Prot exchange a last look. On Prot, \* OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. GRAND CENTRAL STATION - EVENING</stage_direction>
<scene_description>STAYING ON POWELL, as he stands with all the other COMMUTERS on the Metro North PLATFORM, waiting for the 6:15 to Connecticut. Across the tracks on another platform, he watches a FATHER kid around with a young SON. They are obviously on their way to a ball game, both wearing Mets caps. The father with a food cooler, the boy with a mit.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/28/00 (Salmon) 55A\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT (V .0.)</character>
<dialogue>First of all, Mark . . . we make no distinction between 'childhood' and adulthood' on K-PAX - you can check your notes ...</dialogue>
<scene_description>A fleeting, wistful look crosses Powell's eyes, as he watches father and son board a train. Prot's WORDS filling his head:</scene_description>
<character>PROT (CONT'D; V.O.)</character>
<dialogue>On Earth, children are encouraged to play all the time. That's because you believe they should remain innocent of theiz· approaching adulthood for as long as possible, apparently because the latter is so distasteful ...</dialogue>
<scene_description>Powell opens his briefcase, takes his CELL PHONE from its pocket. He ponders it. Then fumbles through his wallet for a phone number.</scene_description>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 02/06/01 (2nd Yellow) 56. CONTINUED: (2)</scene_description>
<character>PROT (CONT'D; V.O.)</character>
<dialogue>But on K-PAX, children and adults are all part of the same thing ...</dialogue>
<scene_description>With indecision, he dials the number. Gets an annoying NO SERVICE BEEP. He moves back, up the crowded stairs. Tries again. Hand over his ear.</scene_description>
<character>PROT (CONT'D; V.O.)</character>
<dialogue>On our planet li.fe .is fun and interesting. There is no need for mindless games, either for children or adults. No need for lying, for escape into game shows, football, alcohol, or other drugs ...</dialogue>
</scene>
<scene>
<stage_direction>INT. AN APARTMENT - SAME TIME - EVENING</stage_direction>
<scene_description>Has the look of being just moved into. Milk crate furniture, an electric guitar and amp, bicycle hanging up on the wall. A 21-YEAR OLD with a still boyish face looks up from the TV - as the phone rings. He puts down his McDonalds dinner. His hair is cropped short, bleached. His eyebrow is pierced. The phone rings again. He gets up, walks over to it, answers it.</scene_description>
<character>YOUNG MAN</character>
<dialogue>Hello ... ?</dialogue>
</scene>
<scene>
<stage_direction>INT. TRAIN TERMINAL STAIRS - SAME TIME</stage_direction>
<scene_description>Powell calls on pay phone at Grand Central Station. \*</scene_description>
<character>MICHAEL \*</character>
<dialogue>Hello. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Michael. Happy birthday. I forgot to \* call. \*</dialogue>
<character>MICHAEL \*</character>
<dialogue>Dad? Hey, how you doing? \*</dialogue>
<character>POWELL \*</character>
<dialogue>Good -- you? \*</dialogue>
<character>MICHAEL \*</character>
<dialogue>All right. \*</dialogue>
<character>POWELL \*</character>
<dialogue>That's good. How's your mother? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 56A-C\*</dialogue>
<character>49 CONTINUED: 49</character>
<dialogue>MICHAEL \*</dialogue>
<scene_description>Fine. I saw her 'bout a week ago. \* She asked about you. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Did she? Tell her I said hi. Listen, \* my train's about to leave. I \* just ... wanted to say happy birthday. \*</dialogue>
<character>MICHAEL \*</character>
<dialogue>Okay. Take care. Thanks for calling. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Okay. You too. \*</dialogue>
<character>MICHAEL \*</character>
<dialogue>All right. 'Bye, Dad. \*</dialogue>
<scene_description>CUT TO: \*: AND AND</scene_description>
<character>51 51</character>
<dialogue>Rev. 11/14/00 (Green) 57.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD2 ""PROT'S ROOM- NIGHT 52 \*</stage_direction>
<scene_description>A narrow bed and a small metal table are the only fixtures. Prot sits at the TABLE in front of his grilled WINDOW,his glasses resting beside him. He .looks up ... to a few STARS twinkling through the grill. PROT'S POV. The stars visibly move across the cloudy heavens. Their faraway light fills his face. He closes his eyes, concentrating ... and starts drawing DOTS, fast and furious, on the blank SHEET OF PAPER in front if him. IN THE HALLWAY - Bess, roaming the halls, stops. In front of Prot' s door. Through its small window ... she watches him. Her eyes silent, piercing.</scene_description>
<character>BESS</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I know who you are</dialogue>
<scene_description>IN HIS ROOM- Prot stops drawing for a moment, as if sensing her presence. Without turning around, he offers Bess a smile. IN THE HALLWAY - Bess keeps staring at him. She doesn't smile. But there is an intent belief in her quiet voice.</scene_description>
<character>BESS</character>
<dialogue>You're the bluebird.</dialogue>
<character>53 INT. WARD2 - HALLWAY</character>
<dialogue>- MORNING 53</dialogue>
<scene_description>As Prot walks down the hallway. Maria stands there in a white nurse's cap and gloves. He greets her with palpable good cheer.</scene_description>
<character>PROT</character>
<dialogue>How are we, today?</dialogue>
<character>MARIA</character>
<parenthetical>(cheerfully)</parenthetical>
<dialogue>Just fine.</dialogue>
<scene_description>Prot walks on, pointing a finger at Navarro, who points a finger back at him.</scene_description>
<character>NAVARRO</character>
<dialogue>My man.</dialogue>
<scene_description>A furtive Sal gets his attention, with a "Pssst." Curious, Prot comes over. Sal glances up and down the hallway to make sure no one's watching, motions Prot into the ART ROOM. A54 INT . ART ROOM- CONTINUOUS A54 Patient artwork is all over the walls. Sal draws Prot closer, keeps his voice low.</scene_description>
<character>SAL</character>
<dialogue>About that light travel thing. I was wonderin' •.• if you could maybe show me how to do that?</dialogue>
<parenthetical>(with desperation)</parenthetical>
<dialogue>I've put up with the stink in here for ten years. I sure would like to get out •.. know what I'm sayin'?</dialogue>
<character>PROT</character>
<parenthetical>(puzzled)</parenthetical>
<dialogue>Why have you stayed here so long, Sal, if this - stink - bothers you?</dialogue>
<character>SAL</character>
<dialogue>Ain't exactly my choice. My wife put me in here.</dialogue>
<scene_description>Sal picks up a brush, pretends to paint just to look busy - as he makes his voice even lower, eyes searching for any prying ears.</scene_description>
<character>SAL</character>
<dialogue>See, I was the doorman at the Plaza.</dialogue>
<character>PROT</character>
<dialogue>The Plaza?</dialogue>
<scene_description>A54 CONTINUED: A54</scene_description>
<character>SAL</character>
<dialogue>Hotel. Fifteen years. I opened the doors for some of the fattest cats in the world. Movie stars, financiers, politicians, the movers and shakers. You know the type. After fifteen years ... that's when I started to notice it .•.</dialogue>
<character>PROT</character>
<parenthetical>(considers Sal, unclear)</parenthetical>
<dialogue>Notice what?</dialogue>
<scene_description>Sal pulls him closer, expression changing, nose scrunching -</scene_description>
<character>SAL</character>
<dialogue>The smell ••. the smell!</dialogue>
<parenthetical>(almost unbearable for him)</parenthetical>
<dialogue>God! What putrid, disgusting stenches! No one could smell a thing - except for me! I tried to tell people - I tried! But nobody would listen. Not even my wife. Not even my kids.</dialogue>
<parenthetical>(whispering now)</parenthetical>
<dialogue>That's why they put me in here. Because nobody wants to hear the truth! And this place ... stinks worst of all!</dialogue>
<scene_description>He looks right into Prot's dark glasses, with a sense of close camaraderie.</scene_description>
<character>SAL</character>
<dialogue>Except for you. That's why I knew ..• you'd be able to help me.</dialogue>
<scene_description>As Sal's lip trembles, Prot's own expression changes, as if dwelling on Sal's plight. Then, his voice soothing:</scene_description>
<character>PROT</character>
<dialogue>You must smell the yort blossoms on my planet, in a gentle breeze. Very much like your sugar plums. Now that is a sweet smell.</dialogue>
<scene_description>Sal views Prot's smile, hungrily.</scene_description>
<character>SAL</character>
<dialogue>I'd like to smell that. I'd like to</dialogue>
<scene_description>go there. To your planet.</scene_description>
<character>PROT</character>
<dialogue>I'm afraid I can only take one person back with me.</dialogue>
<character>CONTINUED</character>
<dialogue>• A54 CONTINUED: (2)</dialogue>
<scene_description>Sal stares thrilled, at him. His tough, clandestine smile. I read</scene_description>
<character>SAL</character>
<dialogue>you, pal.</dialogue>
<scene_description>rowid face breaking into a</scene_description>
<character>A54</character>
<dialogue>Prat looks at him, sincerely.</dialogue>
<character>PROT</character>
<dialogue>Thanks, pal.</dialogue>
<character>54</character>
<dialogue>Prat As Powell approaches, something clearly observes Prot for a few beats,</dialogue>
<character>EXT. HOSPITAL GROUNDS- DAY</character>
<dialogue>sits, on his mind. before sitting</dialogue>
<scene_description>on the stone bench.</scene_description>
<character>POWELL</character>
<dialogue>I had my weekly session with Sal today. He says you're taking him to K-PAX.</dialogue>
<scene_description>{lets Prot absorb this) In fact, I've heard from most of the patients on Ward Two. They all tell me they're going to K-PAX. I wonder if that's a wise thing to be promising patients in a psychiatric facility. Prat knits his brow, with a problematic sigh.</scene_description>
<character>PROT</character>
<dialogue>No, no, no. I told them all very clearly. I would only be able to take ~ person with me when I return.</dialogue>
<scene_description>Powell blinks, not sure he's heard correctly.</scene_description>
<character>POWELL</character>
<dialogue>Return</dialogue>
<character>PROT</character>
<dialogue>No offense, Mark. I mean you've been very hospitable. Hospital - "hospitable" - get it? But my time here is almost up, and I can't wait to get back.</dialogue>
<character>POWELL</character>
<dialogue>Back ..• to K-PAX?</dialogue>
<character>PROT</character>
<dialogue>Where else?</dialogue>
<character>CONTINUED (</character>
<dialogue>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 61-63A\*.</dialogue>
<character>54 CONTINUED: (2) 54</character>
<dialogue>POWELL</dialogue>
<scene_description>You're planning to return to K-PAX.</scene_description>
<character>PROT</character>
<dialogue>You are repeating yourself, Mark. Yes. I am planning to return to K-PAX.</dialogue>
<scene_description>Powell sits there, at a momentary loss for words. He lets out a flummoxed laugh.</scene_description>
<character>POWELL</character>
<dialogue>You'll have to forgive me, this comes as a bit of a surprise. But - when are you - planning on - ?</dialogue>
<character>PROT</character>
<dialogue>Well, first, I have to take a short trip up to some of your north lands Greenland, Iceland, Labrador -- to complete my report.</dialogue>
<parenthetical>(consumes another strawberry)</parenthetical>
<dialogue>Then, I'll be departing on July 27th.</dialogue>
<scene_description>Powell stares at him, stunned by the finality of these words. Trying to collect himself, he helps himself to a strawberry.</scene_description>
<character>POWELL</character>
<dialogue>Why - why July 27th?</dialogue>
<character>PROT</character>
<dialogue>Safety reasons. You see, I can go anywhere on Earth without fear of bumping into anyone traveling at superlight speed. But beings are corning and going from K-PAX all the time. It has to be coordinated -</dialogue>
<character>POWELL</character>
<dialogue>You're telling me you're "beaming" back to K-PAX on July 27th?</dialogue>
<scene_description>Prot just turns back to the fountain, with a smile of certainty.</scene_description>
<character>PROT</character>
<dialogue>At 5:51 a.rn. Eastern time.</dialogue>
<scene_description>THRU THRO</scene_description>
<character>59 59</character>
<dialogue>\*</dialogue>
<scene_description>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 64.</scene_description>
</scene>
<scene>
<stage_direction>A60 INT. POWELL'S BEDROOM- CONNECTICUT - NIGHT A60 \*</stage_direction>
<scene_description>As Powell wakes up in the dark, with a gasp, heart beating. Rachel sits up beside him.</scene_description>
<character>RACHEL</character>
<dialogue>Mark, honey, you were dreaming!</dialogue>
<scene_description>She smooths his face, puzzled. He turns to her, still breathing hard. Then, suddenly, jumps out of bed, wrestles on some pants, and hurries out of the bedroom. Rachel quickly puts on a robe, following after him -</scene_description>
<character>RACHEL</character>
<dialogue>Mark. Mark, you're worrying me.</dialogue>
<scene_description>ON THE LANDING - Natalie comes blearily out of her room, having been woken up, sees her father bound down the stairs.</scene_description>
<character>NATALIE</character>
<dialogue>Where is Daddy going?</dialogue>
<character>RACHEL</character>
<dialogue>He just has an upset stomach, honey. Go back to bed.</dialogue>
<scene_description>Natalie, not convinced, watches her mother bound down the stairs after him.</scene_description>
</scene>
<scene>
<stage_direction>B60 INT. DOWNSTAIRS STUDY - IN A MOMENT B60</stage_direction>
<scene_description>As Powell turns on the desk lamp and rifles through the cassette TAPES - until he finds the one he wants. Rachel. watches him, with mounting confusion. As he pops the tape into the machine, dons headphones, rewinding - forwarding - until -</scene_description>
<character>POWELL</character>
<dialogue>Listen, listen - here it is!</dialogue>
<scene_description>He unplugs the headphones, so she can hear. As Rachel listens, she keeps her eyes, di.sturbi.ngly, on her husband. His hai.r is wild, his eyes fixated.</scene_description>
<character>POWELL (ON TAPE)</character>
<dialogue>When did you arrive here on Earth?</dialogue>
<scene_description>(:</scene_description>
<character>59 CONTINUED: 59</character>
<dialogue>POWELL</dialogue>
<scene_description>Steve .•. listen to me ... just sit on it ••• please .•• I need .•• I need a li.ttle more time •.•</scene_description>
</scene>
<scene>
<stage_direction>AGO INT. POWELL'S BEDROOM</stage_direction>
<character>- CONNECTICUT- NIGHT A60</character>
<dialogue>As Powell wakes up in the dark, with a gasp, heart beating. Rachel sits up beside him.</dialogue>
<character>RACHEL</character>
<dialogue>Mark, honey, you were dreaming!</dialogue>
<scene_description>She smooths his face, puzzled. He turns to her, still breathing hard. Then, suddenly, jumps out of bed, wrestles on some pants, and hurries out of the bedroom. Rachel quickly puts on a robe, following after him -</scene_description>
<character>RACHEL</character>
<dialogue>Mark. Mark, you're worrying me.</dialogue>
<scene_description>ON THE LANDING- Natalie comes blearily out of her room, having been woken up, sees her father bound down the stairs.</scene_description>
<character>NATALIE</character>
<dialogue>Where is Daddy going'?</dialogue>
<character>RACHEL</character>
<dialogue>He just has an upset stomach, honey. Go back to bed.</dialogue>
<scene_description>Natalie, not convinced, watches her mother bound down the stairs after him.</scene_description>
</scene>
<scene>
<stage_direction>B60 INT. DOWNSTAIRSSTUDY- IN A MOMENT B60</stage_direction>
<scene_description>As Powell turns on the desk lamp and ri.fles through the cassette TAPES - until he finds the one he wants. Rachel watches him, with mounting confusion. As he pops the tape into the machine, dons headphones, rewinding - forwarding - until -</scene_description>
<character>POWELL</character>
<dialogue>Listen, l.isten - here it is!</dialogue>
<scene_description>He unplugs the headphones, so she can hear. As Rachel listens, she keeps her eyes, disturbingly, on her husband. Hi.s hair is wild, his eyes fixated.</scene_description>
<character>POWELL (ON TAPE)</character>
<dialogue>When did you arrive here on Earth'?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/28/00 (Salmon) 65.</dialogue>
<scene_description>B60 CONTINUED: 360</scene_description>
<character>PROT (ON TAPE)</character>
<dialogue>Four years and nine months ago. Your years that is.</dialogue>
<scene_description>Powell turns off the tape, looks at her.</scene_description>
<character>POWELL</character>
<dialogue>Four years and nine months ago! That will be five years to the date, on July 27th!</dialogue>
<parenthetical>(seeing she doesn't understand)</parenthetical>
<dialogue>The date he's leaving to go back to K-PAX!</dialogue>
<scene_description>She's more worried about her husband, than trying to understand.</scene_description>
<character>RACHEL</character>
<dialogue>Mark what is the matter with you?</dialogue>
<character>POWELL</character>
<parenthetical>(impatient with her)</parenthetical>
<dialogue>Don't you see, Rachel? \*</dialogue>
<scene_description>Natalie and Gabby now join her in the doorway, viewing their father with uncertainty.</scene_description>
<character>RACHEL</character>
<dialogue>Mark ... it's two o'clock in the morning. What is this patient doing \* to you?</dialogue>
<scene_description>He looks at her, looks at his daughters, as if the answer was evident.</scene_description>
<character>POWELL</character>
<dialogue>He's telling me that five years ago on July 27th - something terrible \* happened to him ... some horrible trauma. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>What are you afraid of? \*</dialogue>
<character>POWELL \*</character>
<dialogue>That he's planning to do something \* violent. To himself or someone else. \* I've got to get to him before that \* date. \*</dialogue>
<scene_description>Powell's family just remain staring at him ...</scene_description>
<character>I</character>
<dialogue>Rev. 1.1/28/00 (Salmon) 65A\*.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POWELL HOME ·- 4TH OF JULY - DAY</stage_direction>
<scene_description>A sunny day, the trees brilliant green. A flag flies above the front portico. Abby helps Rachel spread a tablecloth across a long picnic table. Steve pops a beer, smiles at the day. Natalie runs barefoot around the yard with festive streamers. Powell stands at the top of his drive, looking.up and down the street. As Gabby comes up to him, with a skeptic's brow.</scene_description>
<character>CONTINUED</character>
<dialogue>• 60 CONTINUED:</dialogue>
<character>GABBY</character>
<dialogue>Is the spaceman here</dialogue>
<dialogue>Hush!</dialogue>
<character>POWELL</character>
<dialogue>Do not call him that.</dialogue>
<scene_description>yet? A CAR comes down the tree-lined street.</scene_description>
<character>POWELL</character>
<dialogue>Here they are ..• everybody just act like yourselves, be normal.</dialogue>
<parenthetical>(Natalie and Josh squeal past him)</parenthetical>
<dialogue>Kids - settle down!</dialogue>
<scene_description>As the CAR pulls into the drive, Rachel views it, cautiously, from the yard. She comes over to her husband. Keeps her eyes on it, as it rolls toward them •••</scene_description>
<character>RACHEL</character>
<dialogue>Gabby, why don't you take your sister in the house .••</dialogue>
<character>GABBY</character>
<dialogue>Why, is he going to zap us with his laser gun?</dialogue>
<character>RACHEL</character>
<dialogue>Just do it, young lady.</dialogue>
<scene_description>Gabby gives both her parents a pitiful look. As the car approaches the head of the drive ...</scene_description>
<character>RACHEL ( CONT' D)</character>
<dialogue>I can't believe 1 agreed to this.</dialogue>
<character>POWELL</character>
<dialogue>I've tried everything else. I want him to spend the Fourth of July with us, see if a normal family environment might bring something out of him.</dialogue>
<character>RACHEL</character>
<parenthetical>(an eye to him)</parenthetical>
<dialogue>Since when did we become a normal family?</dialogue>
<character>POWELL</character>
<dialogue>Rach - please.</dialogue>
<character>RACHEL</character>
<dialogue>I just feel ••. uncomfortable.</dialogue>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>• 60 CONTINUED: (2)</scene_description>
<character>POWELL</character>
<dialogue>Not to worry. Mrs. Trexler' s oldest is a high school varsity And Betty McAllister's black belt.</dialogue>
<scene_description>wrestler. husband is a So, I think we're covered. Rachel puts on her best face, as the CAR comes to a stop A big, muscle-bound 18-YEAR-OLD OLD with a buzzcut steps out first, followed by Mrs. Trexler.</scene_description>
<character>RACHEL</character>
<dialogue>Joyce, how good to see you!</dialogue>
<parenthetical>(they hug)</parenthetical>
<dialogue>And can this be Danny?</dialogue>
<scene_description>Next out of the car are Nurse McAllister and her husband, DOM, a real New York Italian.</scene_description>
<character>RACHEL</character>
<dialogue>Betty - I don't think I've ever seen you out o.f uniform.</dialogue>
<character>MCALLISTER</character>
<dialogue>That's because I .look like a Weight Watchers "before" shot. This is my husband, Dominic.</dialogue>
<character>DOMINIC</character>
<dialogue>Dom.</dialogue>
<scene_description>Trexler and McAllister look into the backseat of the car, beckoning someone else out. A beat. Slowly ••• hesitantly ••• Prot climbs out of the car. He stands there. The trees reflected in his dark glasses. Rachel stares at him. As Natalie, Josh and Gabby run up, she grabs their hands tight, to hold them back.</scene_description>
<character>JOSH</character>
<dialogue>Wow, he looks like Data!</dialogue>
<character>NATALIE</character>
<parenthetical>(rolling her eyes)</parenthetical>
<dialogue>Oh, that's ri.ght, embarrass him.</dialogue>
<scene_description>Powell shushes them, furiously.</scene_description>
<character>POWELL</character>
<dialogue>Welcome, Prot. This is my wife -</dialogue>
<character>PROT</character>
<parenthetical>(smiles at her)</parenthetical>
<dialogue>Rachel. Thank you for inviting me here.</dialogue>
<character>CONTINUED</character>
<dialogue>• 60 CONTINUED: (.3)</dialogue>
<scene_description>Rachel remains staring at his dark glasses. whether to extend her hand. Instead, How do you do.</scene_description>
<character>RACHEL</character>
<dialogue>She doesn't know</dialogue>
<scene_description>she just smiles back. Suddenly - the DOGruns out from under the house, and barrels straight for Prot.</scene_description>
<character>POWELL</character>
<dialogue>Shasta! No! Shasta!</dialogue>
<scene_description>But to Powell's surprise, Shasta wags her tail, flattening herself against Prot's leg as if he were a trusted friend. In the next instant, to everyone's surprise, Prat falls to the ground, rolling, playing, even barking with Shasta. Abby eyes Steve, who comes up behind her, utterly amazed.</scene_description>
<character>STEVE</character>
<parenthetical>(mutters to her)</parenthetical>
<dialogue>Damn dog's never liked anyone.</dialogue>
<scene_description>Before anyone can stop them, Natalie and Josh run over to join in the fray. ) RACHEL AND ABBY (simultaneous, horrified) Kids! Prat sits down on the grass, moves the kids onto his knees. He regards them, happily, and with gentle fascination. Powell signals Rachel and Abby with his eyes, to relax.</scene_description>
<character>PROT</character>
<parenthetical>(to kids)</parenthetical>
<dialogue>Watch this.</dialogue>
<scene_description>Prat begins to "talk" to Shasta in remarkably accurate dog whelps. Even more remarkable, Shasta starts howling back.</scene_description>
<character>PROT</character>
<dialogue>She says she does not like it when you hide her favorite shoe or sneak up on her left side - because she can no longer hear well in that ear.</dialogue>
<scene_description>The kids stare at him, in open-mouth disbelief.</scene_description>
<character>NATALIE</character>
<dialogue>No way.</dialogue>
<scene_description>Even Gabby the skeptic has to laugh in amazement.</scene_description>
<character>CONTINUED</character>
<dialogue>60</dialogue>
<dialogue>As Prat amused. Dom, watching Prat, gives McAll,ister guy is the biggest wingnut I've ever</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>resumes "talking" He catches Rachel's a look that says "this seen."</dialogue>
<scene_description>with a nudge.</scene_description>
<character>61</character>
<dialogue>The grill sizzles. Everyone is seated around the PICNIC</dialogue>
<character>EXT. BACKYARD- DAY</character>
<dialogue>TABLE. As food is passed around, Rachel places a giant FRUIT SALADon the table in front of Prat.</dialogue>
<character>RACHEL</character>
<dialogue>Mark tells me you don't eat meat. I thi.nk that's very heal thy.</dialogue>
<character>POWELL</character>
<dialogue>Speak for yourself.</dialogue>
<character>RACHEL</character>
<dialogue>So, I made this fruit salad especially for you.</dialogue>
<scene_description>Prat just sits there, admiring the beautiful fruit. Then looks at Rachel, with such deep appreciation he does not know ) what to say. His reaction gets to her for a moment, she doesn't know why.</scene_description>
<character>RACHEL</character>
<dialogue>Go on, take as much as you like.</dialogue>
<scene_description>Prat digs in, taking spoonful, after spoonful - after spoonful. Until there is a heaping mountain of i,t on his plate. As EVERYONEstares. The kids hold their hands over their mouths to not laugh. Prat glances up, gives them all a smile. Everyone takes this as a cue to start eating, food is passed around. Dom, putting ketchup on his burger, pauses self- consciously a moment, as he watches Prat shovel in fruit salad.</scene_description>
<character>DOM</character>
<dialogue>So - what do they eat on K-PAX?</dialogue>
<scene_description>McAllister gives her husband a kick under the table.</scene_description>
<character>PROT</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>K.r:ees, likras mainly. But my favorites are our grains, drak, thon and adro - has a nutty flavor much like your cashew.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/20/00 (Buff) 70.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DOM</character>
<dialogue>{with an eye to</dialogue>
<scene_description>McAllister) I see ... Rachel gives Powell a poignant glance. She's never heard anything so outlandish said so convincingly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. YARD - AS THE MAGICAL SUMMERDAY MOVES ON</stage_direction>
<scene_description>Prot, lemonade in hand, walks across the yard, a tail-wagging Shasta at his side. WE SEE things through his DARK GLASSES now ... almost in moving snapshots ... Abby, pulling a prickler from Gabby's bare foot ... Mrs. Trexler smelling a flower ... Dom, giving McAllister a little smooch. Prot absorbs them all, smiling at -everyone as he wanders through the open patio doors, and into the HOUSE. McAllister shoots Powell a look. Powell considers a moment, then gives her a nod. McAllister follows Prat ...</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S HOUSE - LATER 63 \*</stage_direction>
<scene_description>Prat wanders into Powell's den. Finds FAMILY PHOTOGRAPHS \* there. Picks one up. It is a PHOTO of Powell's son, Michael, \* from a previous marriage. Rachel enters. Finds Prat there. \*</scene_description>
<character>PROT \*</character>
<dialogue>There is a picture of a young man \* where your other pictures are. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>That's Michael. Mark's son. From his \* first marriage. \*</dialogue>
<character>PROT \*</character>
<dialogue>How many marriages has he had? \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Just the two, so far. \*</dialogue>
<character>PROT \*</character>
<dialogue>So far? \*</dialogue>
<character>RACHEL \*</character>
<dialogue>I mean he's not out to set a world \* record. \*</dialogue>
<character>PROT \*</character>
<dialogue>(with photo) \*</dialogue>
<scene_description>He is not here today? \* !</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/20/00 (Buff) 71.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RACHEL</character>
<dialogue>No. He doesn't live with us, you \* know, he's away at college, and ... \*</dialogue>
<scene_description>(beat) \* Well, the truth is he and Mark don't \* talk to each other. I don't know why \* I'm telling you this. \*</scene_description>
<character>PROT \*</character>
<dialogue>Because I'm a locked-up lunatic, so \* what could the harm be? \*</dialogue>
<character>RACHEL \*</character>
<dialogue>(chuckling) \*</dialogue>
<scene_description>Maybe. Maybe that's it. \* Prot smiles. Then looks at the photo again and turns suddenly \* reflective ... \*</scene_description>
<character>PROT</character>
<dialogue>Doctor Powell has been trying to teach me this importance you humans place on your "biological connections."</dialogue>
<character>RACHEL \*</character>
<dialogue>(ruefully) \*</dialogue>
<scene_description>Do you think he means it? \*</scene_description>
<character>PROT \*</character>
<dialogue>You don't? \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Do you know what a family is? You \* worry. They don't tell you that when \* you decide to leave your single life \* behind ... When they're throwing the \* rice and dancing the tarantella ... That \* there is no "biological connection" -- \* not the way you say it, like it's \* something concrete -- like a rope or \* a ligament. There's just this \* desperate effort to hold on -- to hold \* onto them. And when you see someone \* you love falling away -- falling \* and you can't hold on anymore ... \*</dialogue>
<character>PROT \*</character>
<dialogue>Then·? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/20/00 (Buff) 72.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>RACHEL \*</character>
<dialogue>You don't have a family? \*</dialogue>
<character>PROT \*</character>
<dialogue>We don't have families on K-PAX. \*</dialogue>
<character>RACHEL \*</character>
<dialogue>Then you don't know what you're \* missing. \*</dialogue>
<character>PROT \*</character>
<dialogue>What? Or who? \*</dialogue>
<scene_description>They exchange a look. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>Let me get you another lemonade. \*</dialogue>
<scene_description>On Prot, as he watches Rachel,exit. Then he notices a \* TELESCOPE in the study. Moves to it. Considers it a moment. \* Then he bends down. Lifts his sunglasses. Squints through \* the eyepiece. As he does, he lowers his scope. Focusing on \* something earthbound out the window ... \* And we see that it is Powell, at the far edge of the yard, \* that he has in his sights. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD- IN A MINUTE</stage_direction>
<scene_description>As Prot walks over to Powell. They stand there together under the trees. Powell takes a sip of beer. Prot noisily slurps his lemonade.</scene_description>
<character>POWELL</character>
<dialogue>Fourth of July.</dialogue>
<parenthetical>(reminiscing)</parenthetical>
<dialogue>I remember when Michael was a young boy, I'd take him to the fairground.</dialogue>
<parenthetical>(another sip of beer, as the memory takes him someplace)</parenthetical>
<dialogue>We'd spend the evening ... eating apple pie, watching the fireworks.</dialogue>
<scene_description>Prot turns his dark glasses to Powell.</scene_description>
<character>PROT</character>
<dialogue>Thank you for inviting me here, Mark.</dialogue>
<character>POWELL</character>
<dialogue>You're most welcome, Prot.</dialogue>
<character>(</character>
<dialogue>Just then, Natalie runs up, grabbing Prot's hand.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/20/00 (Buff) 72A\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>NATALIE</character>
<dialogue>Push me on the swing!</dialogue>
<scene_description>As she leads Prat off to the TREE SWING, Powell watches, circumspectly ... as Prot's fingers close so naturally and tenderly around hers. Rachel comes out of the house, also watching ... carefully. Prat picks Natalie up, sits her down on the swing. Making sure her hands grip the ropes.</scene_description>
<character>PROT</character>
<dialogue>Hold on tight now.</dialogue>
<scene_description>He pushes her, gently - playfully - a little higher, now. He ducks under the swing - comes back up. Making Natalie laugh. Her buoyant laughter bringing a big smile to his face. As Prot walks over to Powell. They stand there together under the trees. Pow CONTINUED: CONTINUED: ON POWELL••. as he watches, struck.by how familiar Prat is with Natalie ••• as if he's pushed a swing many times. Just then - Josh dashes out of the house in a bathing suit, and turns on the LAWNSPRINKLERS - the water hissing up in jets around the swing - The SOUNDof it suddenly makes Prat stiffen. He looks around - vi.sibly shaken - at the harmless spray of water. The hissing taking on an ominous quality. Powell regards Prat, strangely, noticing the change in him. Abby runs after Josh, angrily grabbi.ng his hand.</scene_description>
<character>ABBY</character>
<dialogue>Why did you do that!?</dialogue>
<scene_description>Natalie slides off the swing, gleefully.</scene_description>
<character>NATALIE</character>
<dialogue>Let's run through the water!</dialogue>
<character>PROT</character>
<dialogue>No .•• wait •.•</dialogue>
<scene_description>He grabs her arm.</scene_description>
<character>NATALIE</character>
<parenthetical>(frightened now)</parenthetical>
<dialogue>Let go!</dialogue>
<character>RACHEL</character>
<dialogue>NATALIE!</dialogue>
<scene_description>Natalie breaks free, runs for her mother. Around his DARKGLASSES, Prat' s face fill.s with pain and dread watching Natalie run off.</scene_description>
<character>PROT</character>
<dialogue>No ••• don't go ••.</dialogue>
<scene_description>He starts after her</scene_description>
<character>RACHEL</character>
<dialogue>MARK!</dialogue>
<character>POWELL</character>
<dialogue>Prat!</dialogue>
<scene_description>At the same time Powell runs for him, Dom and Danny quickly take their cues. They rush Prat, bringing him down. But he struggles like a wild animal. His voice choked and inarticulate, as he keeps tryi.ng to reach for Natalie.</scene_description>
<character>CONTINUED</character>
<dialogue>• 64 CONTINUED: (2)</dialogue>
<scene_description>Gabby watches, Ddddddddd horrified,</scene_description>
<character>PROT</character>
<dialogue>Nnnnnnnnnn! as •••</dialogue>
<scene_description>Danny, 180 pounds of varsity wrestler, is flung off. Leaving Dom, Powell - and now Steve - straining to hold Prat down.</scene_description>
<character>DOM</character>
<dialogue>God, he's strong as an ox!</dialogue>
<character>POWELL</character>
<dialogue>Betty, quick!</dialogue>
<scene_description>McAllister goes for her purse, uncaps a syringe. Mrs. Trexler helps Danny up, viewing Prat with a mixture of fear and pity - as the others try and keep him down.</scene_description>
<character>POWELL</character>
<dialogue>Turn off the goddamn sprinklers!</dialogue>
<scene_description>In the struggle, Prot's GLASSES get knocked off. With a moan, he buries his face in his hands. Abby finally gets the spri.nklers off. Rachel clutches Natalie. Powell, Dom and Steve stand up, slowly, carefully, dripping wet. Prat remains on his knees, head to the ground. His shoulders shaking. Shasta licks him, whimpering. He gropes on the grass, finding his glasses. Puts them on. Then lifts his head, a little disoriented. He gets up, brushes himself off. Bewildered by all the unnerved FACES staring back at him. Natalie, now afraid, hi.des behind Rachel. Prat just smiles, sniffs the air -</scene_description>
<character>PROT</character>
<dialogue>Is that apple pie I smell?</dialogue>
<scene_description>He walks, unsteadily, towards the picnic table. He sits, serves himself a slice of APPLE PIE. Starts devouring it. Rachel comes up to Powell, angrily.</scene_description>
<character>RACHEL</character>
<dialogue>Happy? I think you got through to him, don't you? I think you made your dent!</dialogue>
<scene_description>She throws the towel at him she has just dried Natalie off with, and walks away.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 12/11/00 (Grey) 75.</dialogue>
<scene_description>CONTINUED: (4) Leaving Powell standing there. He stares at Prot ••. not without excitement.</scene_description>
</scene>
<scene>
<stage_direction>INT. VILLERS' OFFICE - DAY</stage_direction>
<scene_description>Powell paces in front of Villers, at her desk.</scene_description>
<character>POWELL</character>
<dialogue>•.• He was pushing my daughter on a swing like he'd done it a hundred times before. Not like some alien from K-PAX. I saw him. He was connecting with something. Some kind of normal life ...</dialogue>
<character>VILLERS</character>
<dialogue>That's not enough.</dialogue>
<character>POWELL</character>
<dialogue>You can't transfer him to the fourth floor. It'll kill him. Not now -- when I'm actually making some progress with him.</dialogue>
<character>VILLERS</character>
<dialogue>This is a viol€nt patient.</dialogue>
<character>POWELL</character>
<dialogue>He's not violent. I think something \* violent happened to him. Prot wasn't \* going after Natalie to harm her. He was trying to protect her.</dialogue>
<character>VILLERS</character>
<dialogue>From the sprinklers?</dialogue>
<character>POWELL</character>
<dialogue>I don• t know from what.</dialogue>
<character>VILLERS</character>
<dialogue>I need more to go on than a hunch. Otherwise--</dialogue>
<character>POWELL</character>
<dialogue>We need to regress him. Take him back into the past. Find out what happened and force him to confront it.</dialogue>
<character>VILLERS</character>
<dialogue>Hypnotize him? When did you last \* conduct a hypnosis session? Med \* school? Do you have any idea how \* risky it is to regress a patient like this one?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 12/11/00 (Grey) 76.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>It's his only chance.</dialogue>
<character>VILLERS</character>
<dialogue>Push him too hard and he could wind up switching to an alter or worse.</dialogue>
<character>POWELL</character>
<dialogue>He has to be pushed. There's no time. He says he's going back to K-PAX on July 27th. That's three weeks away. I think he could become \* violent on that day hurt himself or someone else --</dialogue>
<character>VILLERS</character>
<dialogue>You know what the problem is, Mark? You're too close to this patient. Everyone can see it but you.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm transferring him to the fourth floor. That's final.</dialogue>
<scene_description>Powell thinks a beat.</scene_description>
<character>POWELL</character>
<dialogue>Then you help me do it.</dialogue>
<character>VILLERS</character>
<dialogue>Me?</dialogue>
<character>POWELL</character>
<dialogue>You were right. What do I know about hypnosis? A six-hour course \* when I was a resident. You can do this. You're the expert. There's \* nobody better.</dialogue>
<character>VILLERS</character>
<dialogue>That's exactly why I won't do it. I've seen what can happen.</dialogue>
<character>POWELL</character>
<dialogue>Please, Claudia. \*</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>That's the whole point of seeing a shrink, isn't it? -- that no matter how crazy or screwed up your world is, at least you're not alone.</dialogue>
<parenthetical>(off her look)</parenthetical>
<dialogue>I can't do it on my own -- I'm too close -- fine, I admit it. Doesn't he deserve at least one person on his side.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 12/11/00 (Grey) 77.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>VILLERS</character>
<dialogue>Mark, why choose this one to save?</dialogue>
<scene_description>He looks at her. It takes him a moment to say this.</scene_description>
<character>POWELL</character>
<dialogue>Because I feel like maybe .•. somehow he \* chose me.</dialogue>
<scene_description>On Villers, as she considers a beat,</scene_description>
</scene>
<scene>
<stage_direction>INT. WARD 2 - MORNING</stage_direction>
<scene_description>Powell stands in the doorway of PROT'S EMPTY ROOM. Navarro and Simms stand there with him.</scene_description>
<character>POWELL</character>
<dialogue>What do you mean - he's gone!?</dialogue>
<scene_description>Navarro and Simms eye each other, extremely embarrassed, but extremely stumped.</scene_description>
<character>NAVARRO</character>
<dialogue>He's just ... gone.</dialogue>
<scene_description>Powell shakes his head, unwilling to hear this. He marches over to a SECURITY MONITOR by the nurse's station, Navarro and Simms following on his heels. A SECURITY GUARD is already rewinding the night's surveillance video for them. They all watch the MONITOR .•• on it, Prot appears walking down the hallway, and into his room.</scene_description>
<character>NAVARRO</character>
<dialogue>That's around six-thirty, after dinner. He goes in ...</dialogue>
<scene_description>Powell keeps his eyes glued to Prot's door in the time-stamped video, as it is fast-forwarded. We SEE what Navarro relays:</scene_description>
<character>NAVARRO</character>
<dialogue>He never comes out. Seven o'clock this morning. He ain't there.</dialogue>
<character>POWELL</character>
<dialogue>Wait, wait - what was that? Go back.</dialogue>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 11/28/00 (Salmon) 78.</scene_description>
<character>66 CONTINUED: 66</character>
<dialogue>The security guard rewinds - plays - three seconds of STATIC appear on the screen - then the picture comes back.</dialogue>
<character>SECURITY GUARD</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>Happens sometimes with these old cameras. Or, could be the tape.</dialogue>
<character>NAVARRO</character>
<dialogue>He just - disappeared</dialogue>
<character>. .</character>
<dialogue>Powell looks at Navarro.</dialogue>
<character>POWELL</character>
<dialogue>That's bullshit!</dialogue>
</scene>
<scene>
<stage_direction>A67 INT. DAY ROOM A67\*</stage_direction>
<scene_description>He marches into the DAY ROOM, looks around.</scene_description>
<character>POWELL</character>
<dialogue>Has anyone seen Prot!?</dialogue>
<scene_description>Sal keeps his eyes on the checkers between him and Ernie.</scene_description>
<character>SAL</character>
<dialogue>He went up north for a few days.</dialogue>
<character>POWELL</character>
<parenthetical>(squints at him)</parenthetical>
<dialogue>North . . . !?</dialogue>
<scene_description>Howie lifts his head, casually, from a book.</scene_description>
<character>HOWIE</character>
<dialogue>Greenland, Iceland, you know. He had a few more countries left to visit, before he could finish his report.</dialogue>
<character>ERNIE</character>
<dialogue>Don't - don't worry, Doctor Powell. He'll be back.</dialogue>
<character>POWELL</character>
<parenthetical>(peering at Ernie)</parenthetical>
<dialogue>How do you know?</dialogue>
<scene_description>Mrs. Archer gives Powell an obvious smile, over her Japanese fan.</scene_description>
<character>MRS. ARCHER</character>
<dialogue>Because he took his glasses with him, darling. When he returns to K-PAX - he won't need them.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/28/00 (S~lmon) 78A\*.</dialogue>
<scene_description>A67 CONTINUED: A67 Powell views them all, ludicrously.</scene_description>
<character>AS WE SMASH CUT TO:</character>
<dialogue>(</dialogue>
</scene>
<scene>
<stage_direction>INT. A STORAGETUNNEL- LATE AFTERNOON</stage_direction>
<scene_description>We're in the bowels of the hospital. It's pitch dark, save for the beams of several flashlights. Powell, wearing an obsessed expression, plays his beam over broken Xerox machines and corroding file cabinets. A young SECURITY GUARDgives him a weary look.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>We've checked every inch of this hospital, Doctor Powell. Nobody ever comes down here.</dialogue>
<scene_description>A 2ND BEEFIER SECURITY GUARD, down on his belly, flashes his beam into the last corner of the tunnel - illuminating a brick wall. He looks back at Powell, shaking his head. Powell looks at them both, wipes a cobweb from his face.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCEROOM, EMERGENCY</stage_direction>
<character>STAFF MEETING - LATE DAY</character>
<dialogue>McAllister, As Villers</dialogue>
<character>68</character>
<dialogue>Chakraborty, stares - incredulous</dialogue>
<character>VILLERS</character>
<dialogue>Patients don't just escape from this institution. They don't just escape!</dialogue>
<character>POWELL</character>
<parenthetical>(knowing how bad it sounds)</parenthetical>
<dialogue>There's no evidence of escape ••. but, obviously, I've notified the poli.ce, social services. They're taking it as a low priority since he has no clear record of being a public threat</dialogue>
<character>VILLERS</character>
<parenthetical>(having heard enough)</parenthetical>
<dialogue>I'm going to have a great time explaining this to the state board. We have psychotics up on Ward Four packing their sneakers because they think they're all going to K-PAX. Find him, Doctor Powell!</dialogue>
<scene_description>Powell nods, there's nothing he'd like better.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - NIGHT</stage_direction>
<scene_description>Bleary-eyed, Powell sits at his desk, on the phone.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 11/3/00 (Blue) 80.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>What about the city shelters? Have you checked no ... no, I'm not telling you how to do your job thank you.</dialogue>
<scene_description>He hangs up, looks through the doorway to his outer office - where Mrs. Trexler still sits. Curiously, he gets up, shirt rumpled, tie loose. He walks over, observing her diligent face - as she scrolls through windows of lists and information on her COMPUTER.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Phil's old partner down at the 4th Precinct - who's now a detective - gave me a password to search their radio log.</dialogue>
<parenthetical>(shaking her head)</parenthetical>
<dialogue>No police reports of anybody fitting Prot's description being picked up.</dialogue>
<character>POWELL</character>
<dialogue>Joyce, it's eleven o'clock at night and you're still here. I know why I'm still here - but why are you still here?</dialogue>
<scene_description>She laughs, as if this were a silly question, eyeing her DAY CALENDAR ... which already says JULY 17. \*</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Doctor Powell, do you know how long it takes to search a database like this?</dialogue>
<character>POWELL</character>
<dialogue>That doesn't answer my question.</dialogue>
<scene_description>She turns from his pointed gaze, back to her computer. Then, pauses, to regard the PHOTO of her HUSBAND on her desk, fondly.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>The other day ... when Prot came in, he asked me about Phil.</dialogue>
<parenthetical>(beat, still hard for her)</parenthetical>
<dialogue>I said ... my husband was killed in the line of duty ten years ago. Prot looked at me with that, you know, alien, curious look. And asked me why I still keep a picture of him.</dialogue>
<parenthetical>(a little quaver in her voice)</parenthetical>
<dialogue>I told him ... because it reminds me of all the happiness we had together.</dialogue>
<character>CONTINUED</character>
<dialogue>Bl.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>MRS. TREXLER (CONT'DJ</character>
<parenthetical>(beat, smiles)</parenthetical>
<dialogue>The next morning there were the most beautiful carnations on my desk.</dialogue>
<scene_description>She wipes a tear from her cheek, looks up at Powell, in amazement.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>Now how did Prot know those were my favorite flowers?</dialogue>
<scene_description>Powell looks at her', not even knowing how to respond.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - EARLYMORNING</stage_direction>
<scene_description>Powell, asleep, his head on his desk. A finger of SUNLIGHT streams in across the desk .•. kisses his face. He squints, stirring, wakes up. Realizes he's been there all night. He sits there a moment. Then, puts his hand into the beam of sunlight .•• a funny sensation coming over him. He gets up, quickly, follows the BEAM- out his office - into the HALLWAY. To a window. He peers out - to the hospital grounds, below. Birds chirp in the early morning sun, dew is still on the grass. And on the bench by the fountain ••. sits a solitary FIGURE. Powell can tell from the back - that it is Prot.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL GROUNDS- IN A QUICK MINUTE</stage_direction>
<scene_description>As Powell, tie loose, suit wrinkled, hair disheveled, races across the grounds to Prot, who hears him coming up, behind.</scene_description>
<character>PROT</character>
<dialogue>Doctor Powell, I presume.</dialogue>
<character>POWELL</character>
<dialogue>Where the hell have you been!?</dialogue>
<character>PROT</character>
<dialogue>Newfoundland, Labrador, Greenland, Iceland -</dialogue>
<character>POWELL</character>
<dialogue>Cut the crap! We've been searching for you for three days!</dialogue>
<scene_description>Prot regards Powell, not a little put off by his attitude.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 82.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>I believe I mentioned my taking a trip up north in one of our sessions, Mark. You really should keep track.</dialogue>
<character>POWELL</character>
<dialogue>Taking a trip!?</dialogue>
<parenthetical>(looks around, with a mad laugh, then back to Prot)</parenthetical>
<dialogue>You're a patient here! You don't get out of here without a discharge. Nobody does! Nobody has, nobody ever will! And don't, don't give me that beam of light shit. Because I don't buy it!</dialogue>
<scene_description>Prot shifts his glasses away, somewhat confused and disturbed. As Powell sits down next to him. Powell's eyes remain, intently, on him.</scene_description>
<character>POWELL</character>
<dialogue>What would you say - if I were to tell you that I don't believe you took any trip to Iceland, Greenland, or any place? That I don't believe you're from K-PAX. That I believe you are as human as I am.</dialogue>
<character>PROT</character>
<dialogue>I would say you were in need of a thorazine drip, Doctor.</dialogue>
<scene_description>Powell walked right into that one.</scene_description>
<character>POWELL</character>
<dialogue>Then, I appeal to your intelligence. Can't you at least admit the possibility that I 11L1.ght be right?</dialogue>
<character>PROT</character>
<dialogue>I will admit the possibility. If you will admit the possibility that I am from K·-PAX.</dialogue>
<scene_description>Powell realizes, at this moment, just how much this "being" has gotten under his skin. It is also, at this moment, he senses his opportunity:</scene_description>
<character>POWELL</character>
<dialogue>Well, there is ... one way you could convince me beyond any doubt. Of \* course, I'd need your consent. \*</dialogue>
<character>CONTINUED</character>
<dialogue>(</dialogue>
<scene_description>Rev. 01/22/01 (2nd Pink) 83. CONTINUED: (2) Prot's glasses meet Powell's eyes, unsurely.</scene_description>
<character>POWELL</character>
<dialogue>It's called hypnosis. It's more \* like \*</dialogue>
<character>PROT</character>
<dialogue>I'm familiar with the term, Mark. \* After all, I have read most of your \* medical books during my time here. \*</dialogue>
<scene_description>(beat, resistant) \* I do not see the point. \*</scene_description>
<character>POWELL</character>
<dialogue>Well, let me tell you what your alternative is. A trip to a place where they'll stick a needle in your ass every morning, which may - or may not - leave you with a stupid grin on your face for the rest of your days here on Earth. Is that what you'd like? Because - believe me - I'll be \* forced to sign a transfer before July \* 27th!</dialogue>
<scene_description>For a long moment, Prot is silent. He looks, disquietly, out at the birds and the trees and the high brick wall. Powell's voice becomes gentle, earnest. \*</scene_description>
<character>POWELL \*</character>
<dialogue>I want to help you, Prot. \*</dialogue>
<character>PROT \*</character>
<dialogue>(smiles) \*</dialogue>
<scene_description>You have. You've provided me with a \* place to stay while I write my report. \* You've fed me. The fruit is \* wonderful \*</scene_description>
<character>POWELL \*</character>
<dialogue>I don't mean that kind of help. \*</dialogue>
<scene_description>The resistance on Prot's brow begins to cave, as he struggles \* with Powell's request. \*</scene_description>
<character>PORTER \*</character>
<dialogue>Let me help you, Prot. \*</dialogue>
<scene_description>A long beat. Prot brings his eyes back to Powell. \* Rev. 01/09/01 (Ivory) 83A.</scene_description>
<character>71 CONTINUED: (3) 71</character>
<dialogue>PROT</dialogue>
<scene_description>Nobody needs. Nobody wants. Nobody on K-·Pl\X misses me --·· there would be no reason to. But when I leave here, I will be missed. (beat) A strange feeling.</scene_description>
<character>POWELL</character>
<dialogue>You don't have to leave, Prot. I'm sure there must be some way for me to help you ...</dialogue>
<parenthetical>(off Prot's look)</parenthetical>
<dialogue>..• to stay. As one of us.</dialogue>
<scene_description>Prot looks at Powell. Squeezes his knee.</scene_description>
<character>PROT</character>
<dialogue>I'll miss you, Doctor Powell.</dialogue>
<scene_description>Prot exits. On Powell, as he watches Prot enter the hospital.</scene_description>
</scene>
<scene>
<stage_direction>A72 INT. MONITORINGROOM- BEHIND A ONE-WAY-MIRROR</stage_direction>
<character>- DAY A72</character>
<dialogue>Chakraborty, wearing headphones with a mouthpiece, sits at a \* heart and pulse MONITOR. A pulse rate beeps on it. WE MOVETHROUGHTHE ONE-WAYMIRROR INTO -- \*</dialogue>
<character>72 INT. SPECIAL EXAMININGROOM- DAY 72 \*</character>
<dialogue>Windowless, subdued lighting. Prot is reclined in a special CHAIR. His dark glasses rest on his lap. A wire monitor is patched to one wrist, and another to his chest, beneath his \* shirt. Despite this, he looks comfortable. More so than Powell, who, wearing a tiny EARPHONE, sits facing \* him. Nevertheless, Powell keeps his voice calm. \*</dialogue>
<character>POWELL</character>
<dialogue>What we're going to be doing, Prot, is kind of like - daydreaming. When you daydream - you go into a natural trance.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink} 83A\*.</dialogue>
</scene>
<scene>
<stage_direction>A72 INT. MONITORING ROOM - BEHIND A ONE-WAY-MIRROR - DAY A72</stage_direction>
<scene_description>Chakraborty, wearing headphones with a mouthpiece, sits at a heart and pulse MONITOR. A pulse rate beeps on it. WE MOVE THROUGH THE ONE-WAY MIRROR INTO --</scene_description>
<character>72 INT. SPECIAL EXAMINING ROOM - DAY 72</character>
<dialogue>Windowless, subdued lighting. Prot is reclined in a special CHAIR. His dark glasses rest on his lap. A wire monitor is patched to one wrist, and another to his chest, beneath his shirt. Despite this, he looks comfortable. More so than Powell, who, wearing a tiny EARPHONE, sits facing him. Nevertheless, Powell keeps his voice calm.</dialogue>
<character>POWELL</character>
<dialogue>What we're going to be doing, Prot, is kind of like - daydreaming. When you daydream - you go into a natural trance.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/16/01 (2nd Blue) 84.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>We're just going to help induce that trance. Kind of daydream together. Are you ready?</dialogue>
<character>PROT</character>
<dialogue>When you are.</dialogue>
<character>POWELL</character>
<dialogue>Good. I want you to keep your anns at \* your sides and your legs uncrossed. \* Focus your attention on the white spot \* in front of you. Do you see it? \*</dialogue>
<scene_description>Prot looks at the bright CIRCLE on the otherwise bare wall.</scene_description>
<character>PROT</character>
<dialogue>Of course ...</dialogue>
<character>POWELL</character>
<dialogue>Good .•• I want you to keep your eyes on that spot ... don't take your eyes off of it. You don't have to use any effort to keep focused on that spot ... it's easy ..• so just relax, keep your eyes on that spot ••. and keep listening to my voice ..• Do you \* understand? \*</dialogue>
<scene_description>Prot's clear, dark eyes are fixed on the white circle. His voice getting more relaxed.</scene_description>
<character>PROT</character>
<dialogue>Mark, you are talking to a K-PAXIAN ••.</dialogue>
<character>POWELL</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>I'm going to count from one to five. \* At the count of three your eyes will \* close and you will find yourself in a \* very nice, deep, comfortable, relaxed \* state of hypnosis. One, your eyes are \* starting to feel heavy now. Two, I \* want you to use your imagination. \* Imagine small lead weights on your \* eyelids making them heavier and \* heavier. Three, keep your eyes closed \* and let yourself go way, way down \* deep. \*</dialogue>
<scene_description>Prot's breathing becomes deeper, eyelids getting droopy, head beginning to tilt ...</scene_description>
</scene>
<scene>
<stage_direction>A73 INT. MONITORINGROOM- SAME A73</stage_direction>
<scene_description>Chakraborty eyes his monitors, carefully. Into his mouthpiece.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/16/01 (2nd Blue) 84A\*.</dialogue>
<scene_description>A73 CONTINUED: A73</scene_description>
<character>CHAKRABORTY</character>
<dialogue>Pulse forty bpm. \*</dialogue>
<parenthetical>(attempting levity)</parenthetical>
<dialogue>I'd be concerned if he were human.</dialogue>
<character>73 OMITTED 73</character>
<dialogue>74 INT. EXAMINING ROOM - SAME 74</dialogue>
<scene_description>Powell stays fixed on Prot.</scene_description>
<character>POWELL</character>
<dialogue>Four, let a wave of relaxation move \* all through your body starting at the \* top of your head pushing all the \* tension before it as it moves down \* your arms, through your hands and out \* your fingertips. Down your legs, \* through your feet and out your toes \* into the air. All of your tensions \* leaving your body as you go down even \* deeper and deeper. And five, going \* way iay way down deep. You are now in \* a re axed hypnotic state and you can \* hear everything I say. \*</dialogue>
<scene_description>Prot's shoulders slump. Eyes closed. Expression blank. \* Rev. 01/09/01 (Ivory) 85.</scene_description>
</scene>
<scene>
<stage_direction>INT. MONITORINGROOM- SAME</stage_direction>
<scene_description>Prot's pulse beeps slow and steady on the monitor. \* Chakraborty rubs his chin, stares at Prot through the one-way \* glass. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. EXAMININGROOM- SAME</stage_direction>
<scene_description>Powell stares at the hypnotized Prot, waits a beat:</scene_description>
<character>POWELL</character>
<dialogue>Can you hear me?</dialogue>
<scene_description>A moment passes. Another. Then, Prot speaks •.. lucidly, clearly, but as if through a long distance.</scene_description>
<character>PROT</character>
<dialogue>Yes.</dialogue>
<character>POWELL</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Good. \*</dialogue>
<scene_description>(then, carefully) \* I'm going to count to three. When I \* get to three I want you to open your \* eyes. But you will remain relaxed. \* One ... two three. \* Prot's eyes open. They are as blank as the rest of his \* expression. \*</scene_description>
<character>POWELL \*</character>
<dialogue>How do you feel? \*</dialogue>
<character>PROT \*</character>
<dialogue>Like ..• nothing. \*</dialogue>
<character>POWELL \*</character>
<dialogue>That's exactly how you should feel. \* Now •.• I want you to go back in time \* • • . it is no longer the present. You \* are becoming younger. Younger ... and \* younger \*</dialogue>
<scene_description>Prot's brow knits. His eyes move, as if watching something. \*</scene_description>
<character>POWELL \*</character>
<dialogue>(watching, closely) \*</dialogue>
<scene_description>What do you see? \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/16/01 (2nd Blue) 85.</dialogue>
</scene>
<scene>
<stage_direction>INT. MONITORING ROOM - SAME</stage_direction>
<scene_description>Prot's pulse beeps slow and steady on the monitor. Chakraborty rubs his chin, stares at Prot through the one-way glass.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXAMINING ROOM - SAME</stage_direction>
<scene_description>Powell stares at the hypnotized Prot, waits a beat:</scene_description>
<character>POWELL</character>
<dialogue>Can you hear me?</dialogue>
<scene_description>A moment passes. Another. Then, Prot speak? ... lucidly, clearly, but as if through a long distance.</scene_description>
<character>PROT</character>
<dialogue>Yes.</dialogue>
<character>POWELL</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Good. \*</dialogue>
<scene_description>Prot's eyes open. They are as blank as the rest of his expression.</scene_description>
<character>POWELL</character>
<dialogue>How do you feel?</dialogue>
<character>PROT</character>
<dialogue>Like .•. nothing.</dialogue>
<character>POWELL</character>
<dialogue>That's exactly how you should feel. Now ... I want you to go back in time ... it is no longer the present. You are becoming younger. Younger • • • and younger</dialogue>
<scene_description>Prot's brow knits. His eyes move, as if watching something.</scene_description>
<character>POWELL</character>
<parenthetical>(watching, closely)</parenthetical>
<dialogue>I want you to recall the first \* experience you remember. What do you \* see? \*</dialogue>
<scene_description>Prot makes a slight movement. \*</scene_description>
<character>POWELL \*</character>
<dialogue>What was that? What do you see? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 86.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>I see •.. a casket. Silver .•. with a blue lining ••.</dialogue>
<scene_description>IN THE MONITORINGROOM- Chakraborty sits forward, with avid \* interest.</scene_description>
<character>POWELL</character>
<dialogue>Whose casket is it?</dialogue>
<character>PROT</character>
<dialogue>A man's.</dialogue>
<character>POWELL</character>
<dialogue>Who is the man?</dialogue>
<scene_description>Prat hesitates a moment.</scene_description>
<character>POWELL</character>
<dialogue>Don't be afraid. You can tell me.</dialogue>
<character>PROT</character>
<dialogue>It is the father of a friend of mine.</dialogue>
<character>POWELL \*</character>
<dialogue>What is his name? \*</dialogue>
<scene_description>Prot's voice comes out soft, sing-song, like a little boy. \*</scene_description>
<character>PROT \*</character>
<dialogue>Not telling. \*</dialogue>
<scene_description>Powell regards him, confused, attempting:</scene_description>
<character>POWELL</character>
<dialogue>Is your friend a boy or a girl? \*</dialogue>
<character>PROT</character>
<parenthetical>(squirming in the chair)</parenthetical>
<dialogue>A boy.</dialogue>
</scene>
<scene>
<stage_direction>INT. MONITORINGROOM- SAME</stage_direction>
<scene_description>Chakraborty, watching, in amazement. \*</scene_description>
<character>CHAKRABORTY \*</character>
<dialogue>He's regressed \*</dialogue>
<scene_description>INT . EXAMININGROOM- SAME Powell, realizing he's talking to a child now, proceeds:</scene_description>
<character>POWELL</character>
<dialogue>How old is he?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 87.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>Six.</dialogue>
<character>POWELL</character>
<dialogue>How old are you?</dialogue>
<scene_description>Prot makes an "I don't know" face, scratches his head. His entire body language has become that of a little boy.</scene_description>
<character>POWELL</character>
<dialogue>What is your name?</dialogue>
<scene_description>Prot shrugs, again, as if not knowing.</scene_description>
<character>POWELL</character>
<dialogue>Do you live with the boy?</dialogue>
<character>PROT</character>
<parenthetical>(rubbing his nose)</parenthetical>
<dialogue>Nope.</dialogue>
<character>POWELL</character>
<dialogue>Visiting him?</dialogue>
<scene_description>Prot nods vigorously with a wide, childlike smile.</scene_description>
<character>POWELL</character>
<dialogue>Where do you live?</dialogue>
<character>PROT</character>
<dialogue>Way, far away. \*</dialogue>
<character>POWELL</character>
<parenthetical>(trying another tack)</parenthetical>
<dialogue>Do you know how your friend's father died?</dialogue>
<character>PROT</character>
<parenthetical>(looking sad)</parenthetical>
<dialogue>He had an accident •.. where he worked.</dialogue>
<character>POWELL</character>
<dialogue>He was killed in an accident?</dialogue>
<parenthetical>(as Prot shakes his head no)</parenthetical>
<dialogue>He was hurt and died later?</dialogue>
<parenthetical>(as Prot nods)</parenthetical>
<dialogue>Where did he work?</dialogue>
<character>PROT</character>
<dialogue>At a place where they kill cows.</dialogue>
<scene_description>Powell cannot hide his excitement, knows he's onto something. \*</scene_description>
<character>POWELL</character>
<dialogue>A slaughterhouse?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 88.</dialogue>
<character>78 CONTINUED: (2) 78</character>
<dialogue>PROT</dialogue>
<scene_description>A place where they kill cows. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Where is this place? \*</dialogue>
<scene_description>Prat begins to fidget uneasily in his seat. \*</scene_description>
<character>79 INT. MONITORINGROOM- SAME 79</character>
<dialogue>Chakraborty checks the monitor. \*</dialogue>
<character>CHAKRABORTY \*</character>
<dialogue>(heedfully) \*</dialogue>
<scene_description>Pulse just shot up ten bpm. \*</scene_description>
</scene>
<scene>
<stage_direction>ABO INT. EXAMININGROOM- SAME ABO\*</stage_direction>
<scene_description>Powell slows down, voice calm. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Do you know ..• where this place is? \*</dialogue>
<scene_description>Prat scratches his head again, fidgets, gives another "I don't \* know" shrug. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Okay. I'd like you to move forward in \* time now •.• \*</dialogue>
<scene_description>Before Powell can say another word, Prot's eyes are already \* moving ..• as if his whole body is in motion. He sits up \* straighter, older, demeanor changing. \*</scene_description>
<character>POWELL \*</character>
<dialogue>(watching him, intently) \*</dialogue>
<scene_description>Where are you? \*</scene_description>
<character>PROT \*</character>
<dialogue>Night time. We're in his house. \*</dialogue>
<character>POWELL \*</character>
<dialogue>The other boy's house? \*</dialogue>
<character>PROT \*</character>
<dialogue>Yeah. 1 want him to come outside. \*</dialogue>
<character>POWELL \*</character>
<dialogue>Why? \*</dialogue>
<scene_description>Prat lifts his eyes to the ceiling, with an expansive smile. \*</scene_description>
<character>(</character>
<dialogue>PROT \*</dialogue>
<scene_description>To look at the stars. That's where I \* came from, you know. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) BSA\*.</dialogue>
<scene_description>ABO CONTINUED: ABO A long, slow look of discouragement comes over Powell's \* features. It is all he can do to hold it in. But then \* his expression changes, suddenly undersanding. He takes a \* stab: \*</scene_description>
<character>POWELL \*</character>
<dialogue>Is your name •.• Prat? \*</dialogue>
<character>PROT \*</character>
<dialogue>Wow! How did you know. \*</dialogue>
</scene>
<scene>
<stage_direction>B80 INT. MONITORINGROOM- SAME B80\*</stage_direction>
<scene_description>Chakraborty, too, understands. Whispers into his mouthpiece. \*</scene_description>
<character>CHAKRABORTY \*</character>
<dialogue>Of course, Prot is an imaginary \* friend - invented by this young boy! \*</dialogue>
<scene_description>Rev. 01/09/01 (Ivory) 89.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXAMININGROOM- SAME</stage_direction>
<scene_description>Powell, energized by the realization, continues:</scene_description>
<character>POWELL</character>
<dialogue>Where do you come from, Prot?</dialogue>
<character>PROT</character>
<dialogue>From the planet K-PAX. It's in the constellation Lyra.</dialogue>
<character>POWELL</character>
<dialogue>You know all the constellations?</dialogue>
<character>PROT</character>
<dialogue>Yup. Most of 'em.</dialogue>
<character>POWELL</character>
<dialogue>Does your friend know them too?</dialogue>
<character>PROT</character>
<dialogue>Sure. After his Dad was hurt at work and had to stay home? They got a telescope. His Dad taught him all about the constellations. Only -</dialogue>
<parenthetical>(with a big sigh)</parenthetical>
<dialogue>- he's not interested in 'em right now.</dialogue>
<character>POWELL</character>
<dialogue>Why not?</dialogue>
<scene_description>Prat starts to fidget again, uncomfortable, squirming in his \* seat. \*</scene_description>
<character>PROT</character>
<dialogue>Something happened. That's why he called me. He calls me whenever something bad happens.</dialogue>
<character>POWELL</character>
<parenthetical>(understanding)</parenthetical>
<dialogue>Like when his father died.</dialogue>
<character>PROT</character>
<dialogue>That's right.</dialogue>
<character>POWELL</character>
<dialogue>What happened today?</dialogue>
<character>PROT</character>
<parenthetical>(lip trembling a little)</parenthetical>
<dialogue>His dog was run over by a truck.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 90.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>I'm sorry to hear that. How does he call you'? How do you know to come'?</dialogue>
<character>PROT</character>
<dialogue>Dunno. I just sorta know it.</dialogue>
<character>POWELL</character>
<dialogue>How did you get to Earth'?</dialogue>
<character>PROT</character>
<dialogue>Dunno. I just came.</dialogue>
<character>81 OMITTED 81</character>
<dialogue>82 OMITTED 82</dialogue>
<character>83 INT. MONITORINGROOM- SAME 83</character>
<dialogue>Chakraborty, understanding •.. \*</dialogue>
<character>CHAKRABORTY \*</character>
<dialogue>He's too young to have figured out \* light travel yet. \*</dialogue>
</scene>
<scene>
<stage_direction>A84 INT. EXAMININGROOM- SAME A84\*</stage_direction>
<scene_description>Powell watches as Prat really starts twisting impatiently. \*</scene_description>
<character>PROT \*</character>
<dialogue>Can I go outside now'? \*</dialogue>
</scene>
<scene>
<stage_direction>B84 INT. MONITORINGROOM- SAME B84\*</stage_direction>
<character>CHAKRABORTY \*</character>
<dialogue>(cautioning) \*</dialogue>
<scene_description>Read his body language, Mark. I don't \* think he wants to talk any more, today. \*</scene_description>
<character>84 INT. EXAMININGROOM- SAME 84</character>
<dialogue>Powell hides his disappointment with a pleasant voice.</dialogue>
<character>POWELL</character>
<dialogue>Okay ... Prat, I want you to stay \* relaxed. Think about the stars. I'm \* going to start counting backwards now, \* from five to one. As I count .•• you \* will become more and more alert. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/16/01 (2nd Blue) 90A\*.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>On the count of one, I'll snap my \* fingers and you will be wide awake, \* and feeling refreshed. Five ·~- you' re \* starting to come out of it now. \* Four -- you're becoming more alert. \* Three -- you're even more alert. \* Two -- you're starting to wake ... And \* one ..• \*</dialogue>
<scene_description>(snaps his fingers) \* Prot's head bobs, like someone who's suddenly realized he's fallen asleep. His eyes blink.</scene_description>
<character>PROT</character>
<dialogue>When do we begin?</dialogue>
<character>POWELL</character>
<dialogue>It's already over.</dialogue>
<scene_description>Prot eyes him, slyly.</scene_description>
<character>PROT</character>
<dialogue>The old fastest gun in the West routine.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/22/01 {2nd Goldenrod) 91.</dialogue>
<scene_description>CONTINUED: (2) Powell just blows imaginary smoke from his fingers.</scene_description>
<character>PROT {</character>
<dialogue>{smiles)</dialogue>
<scene_description>Well, I hope it was helpful.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - LATE DAY</stage_direction>
<scene_description>Powell hovers around Mrs. Trexler, who is at her computer. His thoughts are racing ahead of him.</scene_description>
<character>POWELL</character>
<dialogue>Let's find the locations of all slaughterhouses operating in the United States. I mean, how many can there be?</dialogue>
<character>MRS. TREXLER</character>
<parenthetical>(not having the foggiest)</parenthetical>
<dialogue>I ... I don't know</dialogue>
<character>POWELL</character>
<dialogue>Eliminate the ones in or near large cities. Concentrate on small towns, rural areas -</dialogue>
<scene_description>{as if imagining it) Someplace where you can see the stars. (beat) ,Joyce He looks at her. And she can see that there is a desperation beginning to show in his eyes.</scene_description>
<character>POWELL</character>
<dialogue>We've only got six days.</dialogue>
<scene_description>A86 HALLWAYON POWELL'S FLOOR A86\* Powell walks down hallway. Mushroom lights stand in hall. \*</scene_description>
<character>86 INT. WARD 2 - PROT'S ROOM - DAY 86</character>
<dialogue>As Prot gives Howie a nod and a smile, then turns back to writing in his red notebook. Howie, with a purposeful smile, marches down the HALLWAY. He carries a stack of BLANK PAPER and a bunch of fat pencils.</dialogue>
<scene_description>Rev. 02/22/01 (2nd Goldenrod) 91A\*.</scene_description>
</scene>
<scene>
<stage_direction>INT. WARD 2 - DAY ROOM - SAME</stage_direction>
<scene_description>There is an unspoken tension in the air. Sal plays solitaire, distractedly. Ernie sits, sneaking glances at the others around the room. Mrs. Archer comes in, holds up two plastic CUPS, in a quandary.</scene_description>
<character>{</character>
<dialogue>CONTINUED</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>MRS. ARCHER</character>
<dialogue>Should I bring the crystal or leave it here? I suppose I won't really need it on K-PAX. I don't even know what they drink.</dialogue>
<character>SAL</character>
<dialogue>Dream on, sister. He can only take one of us with him. Why the hell would he take a stinker like you. He's taking~-</dialogue>
<character>MRS. ARCHER</character>
<dialogue>How dare you! I do not stink.</dialogue>
<character>MARIA</character>
<parenthetical>(i.n street girl voice)</parenthetical>
<dialogue>Fo'get i.t, ho. I'm the one's goin'!</dialogue>
<character>ERNIE</character>
<parenthetical>(to Maria, with a timid but derisive snicker)</parenthetical>
<dialogue>Yeah? Which - which one of you?</dialogue>
<scene_description>Howie suddenly plops the PAPER and PENCILS down on a table. He looks around, keenly, through his wi.re-rim glasses.</scene_description>
<character>HOWIE</character>
<dialogue>I've proposed an essay contest. To decide who will go with Prot. I've spoken with him. And he's agreed to read them all by July 27th.</dialogue>
<scene_description>There is the screeching of chairs as everyone comes over to grab a sheet of paper. Everyone except Russell and Bess.</scene_description>
<character>HOWIE</character>
<dialogue>Russell?</dialogue>
<scene_description>Russell stands there, wringing his stringy beard, torn between his Bible and the stack of paper. He tentati.vely takes a sheet.</scene_description>
<character>HOWIE</character>
<dialogue>Bess?</dialogue>
<scene_description>Bess turns slowly from the TV. Vi.ews the stack of paper, then her fellow inmates. For the first time, as she smiles, we see the depth of sadness and dejection in her eyes.</scene_description>
<character>BESS</character>
<dialogue>K-PAX sounds like too good a pl.ace. They wouldn't take somebody like me</dialogue>
<scene_description>She turns back to the TV.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/12/01 (2nd Green) 93.</dialogue>
<character>87 CONTINUED: (2) 87</character>
<dialogue>HOWIE</dialogue>
<scene_description>Suit yourself. Everyone suddenly shuts up, looks nonchalant - as Prat enters. He takes note of them all, warmly, like they were family. Russell, fingering his dog-eared Bible, slowly approaches.</scene_description>
<character>RUSSELL</character>
<dialogue>Would I ... would I get to take my Bible to K-PAX?</dialogue>
<scene_description>Prat considers him. Sees how deeply the question is etched on Russell's tormented brow. He gives Russell an assuring smile.</scene_description>
<character>PROT</character>
<dialogue>Of course, Russell.</dialogue>
<scene_description>Russell's features quiver with elation.</scene_description>
</scene>
<scene>
<stage_direction>ASS INT. EXAMINING ROOM - DAY ASS\*</stage_direction>
<scene_description>Powell positions several orb-like LAMPS around the room. He \* does so carefully, with purpose, as if setting a stage. He \* turns them all on. Then goes over and flicks off the sterile \* room lights. \* He takes stock of the darkened room. Satisfied. \*</scene_description>
</scene>
<scene>
<stage_direction>B88 INT. MONITORING ROOM - SAME B88\*</stage_direction>
<scene_description>Chakraborty views the lights, and Powell, through the window. \* Figuring there must be a method to his madness. \*</scene_description>
<character>88 INT. MPI - EXAMINING ROOM - DAY 88</character>
<dialogue>Prat stares beyond the white circle, already in a hypnotic trance. Powell begins, calmly, but with a hint of more urgency.</dialogue>
<character>POWELL</character>
<dialogue>Last time you told me about your Earth friend and his father's death. Do you remember?</dialogue>
<character>PROT</character>
<dialogue>Of course.</dialogue>
<character>POWELL</character>
<dialogue>Good. Now, I want you to think back again ... but not so far back as last time.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/12/01 (2nd Green) 93A\*.</dialogue>
<scene_description>CONTINUED: Prot slouches in the chair, limbs becoming gangly, adopting a teenager's insouciance. He chews imaginary gum. Then starts acting as if he's conversing with someone</scene_description>
<character>POWELL</character>
<parenthetical>(witnessing this transformation, venturing)</parenthetical>
<dialogue>Is your friend there with you now?</dialogue>
<character>PROT</character>
<dialogue>Yeah.</dialogue>
<character>POWELL</character>
<dialogue>Can he hear us?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 94.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<dialogue>What do you think? He's not deaf.</dialogue>
<character>POWELL</character>
<parenthetical>(attempting)</parenthetical>
<dialogue>May I speak with him?</dialogue>
<character>PROT</character>
<dialogue>He doesn't want to.</dialogue>
<character>POWELL</character>
<dialogue>Will he tell me his name, at least?</dialogue>
<character>PROT</character>
<dialogue>No way.</dialogue>
<scene_description>Powell hides his frustration behind his smile.</scene_description>
<character>POWELL</character>
<dialogue>Well, we have to call him something. How about - Pete?</dialogue>
<character>PROT</character>
<dialogue>That's not his name, but whatever thrills you.</dialogue>
<scene_description>MONITORING ROOM - Chakraborty can't help a little chuckle.</scene_description>
<character>POWELL</character>
<dialogue>What year is it?</dialogue>
<character>PROT</character>
<dialogue>Nineteen eighty-four. \*</dialogue>
<character>POWELL</character>
<dialogue>How old are you?</dialogue>
<character>PROT</character>
<dialogue>A hundred and seventy-five.</dialogue>
<character>POWELL</character>
<parenthetical>(getting an idea)</parenthetical>
<dialogue>And how old is Pete?</dialogue>
<character>PROT</character>
<dialogue>Seventeen.</dialogue>
<character>POWELL</character>
<parenthetical>(making light of it)</parenthetical>
<dialogue>And he's still okay hanging around with someone from K-PAX? I mean, what do his friends think?</dialogue>
<character>PROT</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>They don't know about me.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 94A\*.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>POWELL \*</character>
<dialogue>Tell me about Pete. \*</dialogue>
<scene_description>Prot pauses, as if conjuring Pete inside him. He puts on a \* complicated frown. \*</scene_description>
<character>POWELL \*</character>
<dialogue>What happened? Is there a problem? \*</dialogue>
<scene_description>(discerning) \* Is that why he called you? \* Prot nods. \*</scene_description>
<character>POWELL \*</character>
<dialogue>What's the problem? \*</dialogue>
<character>PROT \*</character>
<dialogue>He has a girlfriend. \*</dialogue>
<scene_description>Powell searches Prot's face. It is the pinched face of a \* worried seventeen-year-old. \*</scene_description>
<character>POWELL \*</character>
<dialogue>The problem is with his girlfriend? \*</dialogue>
<scene_description>Prot sighs, his frown intensifies. \*</scene_description>
<character>PROT \*</character>
<dialogue>She• s . . . pregnant. \*</dialogue>
<scene_description>(lamentably) \* He can see what's coming. Get \* married, have a bunch of kids, take \* the same job that killed his dad. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Does he blame her for this? \*</dialogue>
<character>PROT \*</character>
<dialogue>(taken aback) \*</dialogue>
<scene_description>No, no. He loves her. He just \* hates the chains people shackle \* themselves with. We don't have all \* that crap on K-PAX. \* Powell sits back, stymied, presses on. \*</scene_description>
<character>POWELL \*</character>
<dialogue>All right . .Listen carefully I'm \* going to ask you to come forward in \* time again ••• say two weeks ... \*</dialogue>
<scene_description>Prot sheds the worried seventeen-year-old face for a wide \* smile of solace. \*</scene_description>
<character>POWELL \*</character>
<dialogue>What do you see? \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/06/01 (2nd Yellow) 94B.</dialogue>
<scene_description>CONTINUED: (3)</scene_description>
<character>PROT</character>
<dialogue>A forest with lots of soft places to lie down, and fruit trees ... and all kinds of wonderful beings</dialogue>
<character>POWELL</character>
<parenthetical>(realizes, vexingly)</parenthetical>
<dialogue>You're on K-PAX?</dialogue>
<character>PROT</character>
<dialogue>It's good to be home</dialogue>
<character>POWELL</character>
<parenthetical>(with frustration)</parenthetical>
<dialogue>All right - let's come forward in time again. A year •.. two years ...</dialogue>
<character>PROT</character>
<parenthetical>(as if seeing it)</parenthetical>
<dialogue>On the planet Tersipion in what you would call the constellation Taurus. Orange and green everywhere ..•</dialogue>
<character>POWELL</character>
<dialogue>Prot - what I'd like - is for you to come forward in time to your next visit to Earth.</dialogue>
<scene_description>Prot appears to be traveling through his head.</scene_description>
<character>PROT</character>
<dialogue>Of course. Uh, let's see ... no, still on Tersipion ... no, back on K-PAX. March.</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>Yes, your March. That delightful time in your Northern Hemisphere when the ice on the streams is melting.</dialogue>
<character>POWELL</character>
<dialogue>This is March ... of what year?</dialogue>
<character>PROT</character>
<dialogue>Ninety. According to your Earth \* calendar.</dialogue>
<character>POWELL</character>
<dialogue>And your friend Pete called you?</dialogue>
<character>PROT</character>
<dialogue>Not for anything in particular. He just wants someone to talk things over with now and then.</dialogue>
<character>POWELL</character>
<dialogue>Tell me about him now</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 94C\*.</dialogue>
<scene_description>CONTINUED: (4) Powell watches, in amazement, as Prat transforms his entire \* persona to reflect a lumbering docility. \*</scene_description>
<character>PROT \*</character>
<dialogue>He works. Same place his father and \* grandfather did. \*</dialogue>
<character>POWELL \*</character>
<dialogue>The slaughterhouse. \*</dialogue>
<character>PROT \*</character>
<dialogue>Yessir, the old butchery. \*</dialogue>
<scene_description>(in disgust) \* He' s a knocker. \*</scene_description>
<character>POWELL \*</character>
<dialogue>A knocker? \*</dialogue>
<character>PROT \*</character>
<dialogue>The guy who knocks the cows in the \* head so they don't struggle when their \* throats are slit. I know, barbaric, \* isn't it'? \*</dialogue>
<scene_description>Powell considers him with a deep look, :imagining this. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Does he still live in the same town? \*</dialogue>
<character>PROT \*</character>
<dialogue>outside of town. An old place he \* fixed up. It's not much, but it's got \* a couple of acres ..• and trees, and \* a river. \*</dialogue>
<scene_description>(smiles, :imagining it) \* Reminds me a little of K-PAX, except \* for the river. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Tell me . . • did he marry that pregnant \* girl? \*</dialogue>
<character>PROT \*</character>
<dialogue>What a memory! Yes, they're married. \* But she's no longer pregnant. That \* was six years ago. \*</dialogue>
<character>POWELL \*</character>
<dialogue>I've forgotten her name. \*</dialogue>
<character>PROT \*</character>
<dialogue>s \*</dialogue>
<scene_description>(stops, wary) \* I never told you her name. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 94D-98\*.</dialogue>
<character>88 CONTINUED: (5) 88</character>
<dialogue>POWELL \*</dialogue>
<scene_description>(taking a chance) \* Can you tell me now? \*</scene_description>
<character>89 INT. MONITORINGROOM- SAME 89</character>
<dialogue>Chakraborty sits forward, not knowing what to expect. He \* watches Prot's PULSE RATE beep steady \*</dialogue>
<character>90 INT. EXAMININGROOM- SAME 90</character>
<dialogue>Prat sits there, shoulders rising and falling with several \* thoughtful breaths. Finally, quietly, he says: \*</dialogue>
<character>PROT \*</character>
<dialogue>Sarah. \*</dialogue>
<scene_description>ON POWELL, barely concealing his elation. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Did they have a son or daughter? \*</dialogue>
<scene_description>Prot's eyelids squinch, fondly. Then, in a soft, tender \* breath: \*</scene_description>
<character>PROT \*</character>
<dialogue>Rebecca her birthday's next week. \*</dialogue>
<scene_description>STAY ON Powell a moment •.• moved by this. \* THRO THRU</scene_description>
<character>96 96</character>
<dialogue>Rev. 01/09/01 (Ivory) 99.</dialogue>
</scene>
<scene>
<stage_direction>INT. POWELL'S BEDROOM- LATE NIGHT</stage_direction>
<scene_description>Powell lies in bed, wide awake. He looks over at Rachel, asleep, curled away from him. A knit on her brow. He leans over, kisses her, softly enough that she doesn't waken ... OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. MPI CLINIC - EVENING</stage_direction>
<scene_description>As Powell and Villers hurry off the elevator -· Chakraborty is \* waiting for them. They head for the EMERGENCY ROOM. \*</scene_description>
<character>VILLERS \*</character>
<dialogue>What happened? \*</dialogue>
<character>CHAKRABORTY \*</character>
<dialogue>Howie tried to kill Ernie. \*</dialogue>
<character>POWELL \*</character>
<dialogue>What!? \*</dialogue>
<scene_description>They enter the EMERGENCY ROOM- to find Ernie sitting up in a \* BED, hands behind his head. A beatific smile on his fee. \*</scene_description>
<character>CHAKRABORTY</character>
<parenthetical>(reassuring him)</parenthetical>
<dialogue>Not to worry. He is very fine.</dialogue>
<character>ERNIE</character>
<dialogue>I feel wonderful, Doctor Powell, absolutely wonderful!</dialogue>
<character>POWELL</character>
<dialogue>For God's sake, Ernie, what happened!?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 100.</dialogue>
<character>99 CONTINUED: 99</character>
<dialogue>ERNIE ....</dialogue>
<scene_description>My good friend strangled Howie just me to death. about</scene_description>
<character>..</character>
<dialogue>Villers and Powell stare at Howie, throws his head back with a laugh,</dialogue>
<scene_description>at a complete loss. the red abrasion As he on his ..\* neck clearly visible. \*</scene_description>
<character>ERNIE</character>
<dialogue>That old son-of-a-bitch, I love him!</dialogue>
<character>VILLERS</character>
<dialogue>(looks from Ernie to Chak) \*</dialogue>
<scene_description>I don't understand. \*</scene_description>
<character>ERNIE</character>
<dialogue>Oh, you should've seen it! \*</dialogue>
<parenthetical>(excitedly)</parenthetical>
<dialogue>I was asleep. You know - the way I like, with my hands tied and everything? He wrapped something around my neck, handkerchief or something - and tightened it up -</dialogue>
<parenthetical>(with a crazy giggle)</parenthetical>
<dialogue>- and there wasn't a goddamn thing I could do about it!</dialogue>
<scene_description>(then, almost trembling \* with excitement) \* Well, when I stopped breathing -- he \* lifted me onto a gurney and ran me up \* here. They got me going again in a \* hurry - and when I woke up -- \* Ernie grabs Powell, with a look of revelation.</scene_description>
<character>ERNIE</character>
<dialogue>You know what I realized, Doctor Powell? Dying - is something you have no control over. So why waste your life being afraid of it?</dialogue>
<scene_description>Powell sees the confidence in Ernie's eyes •.• and begins to \* get an uneasy feeling as to who's really behind this. \*</scene_description>
<character>ERNIE</character>
<dialogue>From now on? I'm gonna sleep on my stomach. I'll eat fish with bones - I'll - I'll swallow the biggest pill you can find! Bring it ON, BABY!</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD4 - SECLUSION ROOM- EVENING</stage_direction>
<scene_description>Windowless, padded walls. As the heavy door opens, Powell and \* Villers step inside .•• they wear serious, careful expressions. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory} 101\*.</dialogue>
<character>100 CONTINUED: 100</character>
<dialogue>But Howie, sitting in the corner, calmly - cuts Powell a wide, proud smile.</dialogue>
<character>HOWIE</character>
<dialogue>I cured him. Didn't I? Prot says one more task and I'll be cured, too.</dialogue>
<scene_description>(a big twinkle in his eye} And then it's ... bon voyage! Villers' expression changes. \* AlOl INT. WARD4 - HALLWAY - IN A COUPLEOF MINUTES AlOl As an ATTENDANTlocks back the seclusion cell door and walks \* away. Leaving Powell and Villers standing there. \* Powell brings his eyes to her. yillers' look is harsh, the \* weight of her authority behind it. \*</scene_description>
<character>POWELL \*</character>
<dialogue>The hypnosis is working, Claudia. I \* know it. I'm this close. I just \* need - \*</dialogue>
<character>VILLERS \*</character>
<dialogue>This isn't just about Prot any more, \* Mark. It's about all the patients. \*</dialogue>
<scene_description>His eyes stay on her. Doesn't want to admit she's right. \*</scene_description>
<character>VILLERS \*</character>
<dialogue>Ultimately, they're my patients. So, \* now, I'm going to make a decision. \* And here it is. You've run out of \* ti.me. \*</dialogue>
<character>101 INT. WARD2 ART ROOM- NIGHT 101</character>
<dialogue>Powell stands in the ART ROOM, alone. He looks around, taking in all the paintings and the clay sculptures. Every single one of them ... depicts space travel. There are crazy planets</dialogue>
<scene_description>•.• bursts of stars ..• and spaceships ..• and beams of light ...</scene_description>
<character>102 INT. POWELL'S OFFICE - EARLYMORNING 102</character>
<dialogue>Powell tears JOLY 23 off his desk calendar - revealing JULY 24TH. He considers the new date, soberly. Crumpling the old one up, tightly, in his hand. He stares at the diplomas on hi.s wall •.• Then comes into his OUTEROFFICE. Above Mrs. Trexler' s desk, on the wall ·- is a MAP of the United States. RED PINS show the locations of slaughterhouses.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 102.</dialogue>
<scene_description>CONTINUED: He stares at the dozens and dozens of red pins ... a flicker of fear in his eyes. Fear of failure.</scene_description>
<character>POWELL</character>
<dialogue>Tell me your name ... darnnit, tell me your name!</dialogue>
</scene>
<scene>
<stage_direction>INT. EXAMINING ROOM - DAY</stage_direction>
<scene_description>Prot sits hypnotized once more, a peaceful, blank expression on his face. But Powell wears the weight of determination on his.</scene_description>
<character>POWELL</character>
<dialogue>I'm going to give you a specific date ... and I want you to remember where you were and what you were doing on that day. Do you understand?</dialogue>
<character>PROT</character>
<dialogue>Perfectly, my dear sir.</dialogue>
<scene_description>Powell takes a moment, prepares himself for what he is about to do.</scene_description>
<character>POWELL</character>
<dialogue>The date is July 27th. Nineteen ninety-six. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. MONITORING ROOM - SAME</stage_direction>
<scene_description>Chakraborty checks the monitors, beeping steady.</scene_description>
</scene>
<scene>
<stage_direction>INT. EXAMINING ROOM - SAME</stage_direction>
<scene_description>There is no hint of shock or emotion on Prot's face. He only smiles.</scene_description>
<character>PROT</character>
<dialogue>I'm on K-PAX ...</dialogue>
<scene_description>Powell closes his eyes, ready to burst with frustration.</scene_description>
<character>POWELL</character>
<dialogue>Are you sure?</dialogue>
<character>PROT</character>
<dialogue>Quite sure, guv'nor. I am harvesting kropins for a meal. That is a fungi, something like your truffles. Big truffles. Delicious. Do you like truffles?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 103.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<parenthetical>(brow knitting)</parenthetical>
<dialogue>Wait •.. there it is</dialogue>
<scene_description>Powell regards him, keener now.</scene_description>
<character>POWELL</character>
<dialogue>What? Is it Pete?</dialogue>
<character>PROT</character>
<dialogue>Yes •.• I feel that he needs me.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Now I am on Earth. I am with him.</dialogue>
<character>POWELL</character>
<dialogue>With Pete?</dialogue>
<character>PROT</character>
<dialogue>Yes.</dialogue>
<character>POWELL</character>
<dialogue>Where are you? What are you doing?</dialogue>
<scene_description>Prot's face becomes blank, expressionless, almost alien-like. His voice that of an outside observer</scene_description>
<character>PROT</character>
<dialogue>By a river in back of his house. It is dark. He is taking off his clothes.</dialogue>
<character>POWELL</character>
<parenthetical>(trying to follow)</parenthetical>
<dialogue>Why is he doing that?</dialogue>
<scene_description>Prot's features tremble, as if a shiver passes through him.</scene_description>
<character>PROT</character>
<dialogue>He •.•</dialogue>
<scene_description>IN THE MONITORINGROOM, the monitors beep steady .•.</scene_description>
<character>POWELL</character>
<dialogue>He what? What is he doing?</dialogue>
<character>PROT</character>
<dialogue>He ..• is trying to kill himself.</dialogue>
<scene_description>A look of revelation comes on Powell's face.</scene_description>
</scene>
<scene>
<stage_direction>INT. MONITORINGROOM- SAME</stage_direction>
<scene_description>Chakraborty, stunned, sits back in his seat. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 104.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHAKRABORTY \*</character>
<dialogue>Jesus •.• \*</dialogue>
<scene_description>(then, into his \* mouthpiece) \* Jesus, Mark .•. we're not prepared for \* this. I think .•. I think you should \* calm him down and bring him back. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. EXAMININGROOM- SAME</stage_direction>
<scene_description>Powell hears, but chooses to ignore, too intent on getting \* through to Prat, now.</scene_description>
<character>CHAKRABORTY</character>
<dialogue>(OVER POWELL'S EARPIECE) \*</dialogue>
<scene_description>Mark, do you hear me? \* Powell stares at Prat. His whisper intended for Chakraborty. \*</scene_description>
<character>POWELL</character>
<dialogue>Not now ..• \*</dialogue>
</scene>
<scene>
<stage_direction>INT. MONITORINGROOM- SAME</stage_direction>
<character>CHAKRABORTY \*</character>
<dialogue>Mark, with all due respect ••• I have \* to speak in an official capacity now. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. EXAMININGROOM- SAME</stage_direction>
<scene_description>Powell remains fixed on Prat. Knowing he's about to cross the \* line. \*</scene_description>
<character>POWELL</character>
<dialogue>Why does he want to kill himself?</dialogue>
<scene_description>IN THE MONITORINGROOM, Chakraborty can't believe this. He \* braces himself. \*</scene_description>
<character>PROT</character>
<dialogue>Because ..• something terrible has happened. \*</dialogue>
<character>POWELL</character>
<dialogue>Has he done something, Prat? Has he \* done something ..• he shouldn't have? \*</dialogue>
<character>PROT</character>
<dialogue>He doesn't want to talk about it. \*</dialogue>
<character>POWELL</character>
<dialogue>Do you know what happened? \*</dialogue>
<character>PROT \*</character>
<dialogue>No. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 105.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>POWELL</character>
<dialogue>No? Doesn't he tell you everything that happens to him?</dialogue>
<character>PROT</character>
<dialogue>Not any more ••.</dialogue>
<character>POWELL</character>
<dialogue>Prot, I'm trying to help him! I can't \* help him, unless he tells me what \* happened. \*</dialogue>
<character>PROT</character>
<dialogue>He knows that.</dialogue>
<character>POWELL \*</character>
<dialogue>Then why won't he tell me? \*</dialogue>
<scene_description>Prot's breathing grows heavy, fighting a visible shudder of remorse. IN THE MONITORINGROOM- Prot's pulse monitor starts beeping \* rapidly. \* Prot's voice becomes a sober whisper, as if glimpsing the \* secret in the deepest place of his soul. \*</scene_description>
<character>PROT \*</character>
<dialogue>Because then .•. you would know what \* even he doesn't want to know ... \*</dialogue>
<character>POWELL \*</character>
<dialogue>Then you have to help him, Prot! Help \* him tell me what happened. \*</dialogue>
<character>PROT \*</character>
<dialogue>He doesn't want to talk about it. Are \* you fucking deaf!? \*</dialogue>
<character>POWELL \*</character>
<dialogue>But time is running out for him! \*</dialogue>
<character>PROT \*</character>
<dialogue>Time is running out for everyone. \*</dialogue>
<scene_description>(grimly) \* He jumps in. He is floating ..• \* Prot's eyelids flutter, as if trying to keep a dispassionate \* distance from what he is seeing. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. MONITORINGROOM</stage_direction>
<scene_description>Chakraborty, with alarm, watches Prot's pulse rate keep rising. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) 105A.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CHAKRABORTY \*</character>
<dialogue>Pulse is up to a hundred and ten, \* respiration's up to twenty-five! For \* God's sake, Mark - BRING HIM BACK!! \*</dialogue>
</scene>
<scene>
<stage_direction>INT. EXAMININGROOM</stage_direction>
<character>POWELL \*</character>
<dialogue>Save him, Prat! You are his friend, \* you can save him. \*</dialogue>
<character>PROT \*</character>
<dialogue>I am his friend. That is why I won't \* interfere \*</dialogue>
<character>POWELL \*</character>
<dialogue>Save him! \*</dialogue>
<character>PROT \*</character>
<dialogue>No! There is no chance •.• the \* current is too strong .•• \*</dialogue>
<scene_description>He starts coughing, as if full of water. Slowly as Powell \* watches, riveted ••• Prat slips out of his chair and onto his \* knees ..• putting his arms around himself. \*</scene_description>
<character>PROT \*</character>
<dialogue>I ... cannot .•• \*</dialogue>
<scene_description>He is shivering now. Shivering so violently that the shivers \* come out his nose in snorts. \* IN THE MONITORINGROOM- Chakraborty stands, spellbound. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Listen to me, Prat. Listen to me •.. \* you've helped a lot of patients here. \* You helped Mrs. Archer, you helped \* Howie, and Ernie. I'm going to ask \* you to help cure Pete. Let's call it \* a -· task. I want you ••. to let me \* speak to him. \*</dialogue>
<scene_description>Prat, kneeling there, shivering, snorting, shakes his head in \* stiff resistance. \*</scene_description>
<character>POWELL \*</character>
<dialogue>If he's listening, I want him to know \* he can trust me. I want him to know \* •.. that if it was ••• Sarah - or \* Rebecca - he did something bad to - \*</dialogue>
<scene_description>Suddenly, Prat opens his eyes. He shakes his head, horrified, \* as if Powell doesn't understand. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/09/01 (Ivory) lOSB-106</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT \*</character>
<dialogue>N-n-·n-n-n··n. No. He - he - he - \*</dialogue>
<scene_description>As Powell watches, in alarm now - Prot's features transform \* from horror into seething murderous rage -- into bottomless \* anguish. \*</scene_description>
<character>PROT \*</character>
<dialogue>Oh, God - Oh, God - Oh, God - Oh, \* God - Ohhhhhhh GOOOOOOOOOOOOODl! \*</dialogue>
<scene_description>IN THE MONITORING ROOM - Chakraborty tears his headphones off. \* Presses a CODE RED BUTTON on the wall. \* Prot's SCREAM continues - tapering off into a sobbing animal- \* like wail. He kneels there, pressing his fists to his head, \* inconsolable. \* Powell watches •.. his alarm turning to a painful look, and \* finally, to one of profound compassion. He kneels down, picks \* Prot's glasses up from the floor. And Prot's notebook and \* pencil. Then •.. puts his arm around Prot. \*</scene_description>
<character>POWELL \*</character>
<dialogue>It's okay, it's okay. \*</dialogue>
<scene_description>As McAllister rushes into the room, with a needle ready. And \* Navarro and Simms, with leather restraints. Powell, keeping \* hold of Prot, motions them back. \*</scene_description>
<character>POWELL \*</character>
<dialogue>(to Prot) \*</dialogue>
<scene_description>It's okay •.. \* Prot reaches out for Powell's arm, taking hold of it, taking \* his glasses \*</scene_description>
<character>PROT \*</character>
<dialogue>Yes, yes. It's okay. \*</dialogue>
<scene_description>Shakily, he puts the glasses on. And to everyone's surprise \* ..• raises himself, ragaining his breath, looking around. \*</scene_description>
<character>PROT \*</character>
<dialogue>Five .•. four ••• three •.• two .•• \* one. Yes, feeling fine. Feeling \* refreshed. \*</dialogue>
<scene_description>Powell just stares at him \* 112 OMITTED 112\* AND AND Rev. 01/09/01 (Ivory) 107. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. LATE TRAIN TO CONNECTICUT- DAY</stage_direction>
<scene_description>Long gone are the Wall Street commuters. In fact, the only two souls on the deserted train car are Powell and a HOMELESS MAN. Powell, wrung out, rides with an aimless look. The HOMELESSMAN jabbers to himself, in a plastic Star Wars helmet and pink tights. Under a soiled trenchcoat, a faded sweatshirt reads: "Beam Me Up" .•• As Powell stares at him ••• caught in the crazy loneliness of the man's babble .•• his own full sense of failure hits him. Seized by the desire to do something, he fishes out his wallet to gives the fellow a dollar. But as he does - PROT'S PENCIL falls out of his pocket - onto the train floor. Powell looks down at it, surprised. A beat. His eyes narrowing ••. The pencil is blue ... whittled down almost to nothing from use. Powell reaches down, picks it up. Curious ••• then ..• with an inconceivable look .•• On the side of the pencil, almost worn out, is a word and a half "The Salva ... " And underneath it, what looks like an area code . • • "505." All the rest has been long sharpened away.</scene_description>
<character>115 CONTINUED: 115</character>
<dialogue>POWELL</dialogue>
<scene_description>I'm a son-of-a - He scrambles to open his briefcase, goes for his cell phone - but the phone pocket is empty. He searches madly through the briefcase, checks his own jacket pockets. Must have left the damn phone at the office.</scene_description>
<character>POWELL</character>
<dialogue>Shit!</dialogue>
<scene_description>As the train squeals to a stop, Powell squints out the window with unfamiliarity. No matter. He just gets off - Al16 EXT. RAISED TRAIN PLATFORM- CONTINUOUS All6 Graffiti covers the platform. Powell has gotten off at 125th Street. He looks around for a pay phone. None. He runs down the metal stairs to the - ··</scene_description>
<character>116 EXT. STREET UNDERNEATH</character>
<dialogue>- CONTINUOUS 116</dialogue>
<scene_description>This is Harlem. A radio booms rap from a Buick LeSabre on the corner. Several tou9h looking HOMIEShang around it. They view the white man with the briefcase, warily. Powell doesn't care. He makes a B-line for the - PAY PHONEin front of an all-night grocery. He fishes coins out of his pocket, puts them in the phone. Holds the PENCIL up to the light to read the area code on it, and punches in a number . . . waits</scene_description>
<character>LONGDISTANCE OPERATOR(OVER PHONE)</character>
<dialogue>What city please?</dialogue>
<character>POWELL</character>
<dialogue>Yes, yes -· where is this!? Where am I calling - where are you?</dialogue>
<character>OPERATOR(OVERPHONE)</character>
<parenthetical>(carefully)</parenthetical>
<dialogue>You've reached long distance information in New Mexico, sir.</dialogue>
<character>POWELL</character>
<parenthetical>(can't believe it)</parenthetical>
<dialogue>New Mexico! New Mexico!</dialogue>
<scene_description>The homies on the corner eye each other, not knowing what to make of Powell.</scene_description>
<character>OPERATOR(OVERPHONE)</character>
<dialogue>What city please?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/16/01 (2nd Blue) 109.</dialogue>
<scene_description>CONTINUED: Powell looks at the pencil, mouthing the letters to himself S-A-L-V-A ... then, realizing.</scene_description>
<character>POWELL</character>
<dialogue>The Salvation Army .••</dialogue>
<character>OPERATOR(OVER PHONE)</character>
<dialogue>I'm sorry sir, what city?</dialogue>
<scene_description>A wild SHOUT escapes Powell. He hangs up. Thrusts more coins into the phone. Punches in another number, eyeing his watch, which says 11:30 p.m.</scene_description>
<character>POWELL</character>
<dialogue>Joyce! Can you meet me in the office \* in 45 minutes? \*</dialogue>
<scene_description>INT, POWELL'S OFFICE - LATE NIGHT Mrs. Trexler, hastily put together, sits at her computer. Powell looking over her shoulder.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>There are a dozen Salvation Army \* stores in New Mexico -- Albuquerque, \* Las Cruces, Roswell -- wait a minute. \* There's one in Santa Rosa. \*</dialogue>
<scene_description>She looks up to her wall, at the MAP of slaughterhouses. Powell is right with her. As she moves her finger - to one of three RED PINS in New Mexico. The one stuck in a small town named Guelph.</scene_description>
<character>POWELL</character>
<parenthetical>(squinting at the map)</parenthetical>
<dialogue>Guelph, New Mexico. Looks pretty damn close to Santa Rosa. \*</dialogue>
<parenthetical>(to Trexler, excited)</parenthetical>
<dialogue>What's the biggest local newspaper for that region. Can we find that?</dialogue>
<scene_description>Trexler gets out of one web site - onto another, exploring. Her fingers flying. Powell's eyes glued to her screen. Then . . . an amazed smile from Trexler.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>The Guadalupe County Observer - covering Guadalupe County.</dialogue>
<character>POWELL</character>
<parenthetical>(on a mission)</parenthetical>
<dialogue>Bring it up.</dialogue>
<character>CONTINUED</character>
<dialogue>CONTINUED:</dialogue>
<character>MRS� TREXLER</character>
<parenthetical>(working as fast as she can)</parenthetical>
<dialogue>It's a long shot.</dialogue>
<character>POWELL</character>
<dialogue>It's our only shot.</dialogue>
<scene_description>In a moment, before them, on the screen appears The Guadalupe County Observer.</scene_description>
<character>MRS. TREXLER</character>
<dialogue>We're lucky. They go back five years.</dialogue>
<character>POWELL</character>
<parenthetical>(incredibly grateful)</parenthetical>
<dialogue>Son-of-a-bitch. Let's go to July 27th, nineteen ninety-five.</dialogue>
<scene_description>It takes her a few interminable moments, but she gets to the front page of the JULY 27TH, 1995 edition. They scan down the FRONT PAGE HEADLINESon the computer screen ••. nothing.</scene_description>
<character>POWELL</character>
<dialogue>Swap meet, forest fire, livestock sale. Damn. Wait -</dialogue>
<parenthetical>(thinking)</parenthetical>
<dialogue>Go to the 28th.</dialogue>
<scene_description>Mrs. Trexler punches up the 28th. The front page appears. Powell puts his finger on the screen -</scene_description>
<character>POWELL</character>
<dialogue>There!</dialogue>
<scene_description>Guadalupe County Observer, front page, July 28th, 1995, reads: "DEADLYATTACKLEADS TO MURDER,SUICIDE FOR GUELPHMAN". Mrs. Trexler puts her hand to her mouth.</scene_description>
<character>POWELL</character>
<parenthetical>(reading it)</parenthetical>
<dialogue>Robert Porter drowned ...</dialogue>
<scene_description>He lets out an incredible laugh. Plants a kiss on a startled Mrs. Trexler's cheek.</scene_description>
<character>POWELL</character>
<dialogue>His name is Robert Porter!</dialogue>
<scene_description>Mrs. Trexler looks back, troublingly, at the head.line on the screen . . . MURDER, SUICIDE • • • not entirely sure. Rev. 11/3/00 (Blue) 111.</scene_description>
<character>118 INT. POWELL HOME - MORNING 118</character>
<dialogue>Rachel, worried, hasn't slept, buttering Natalie's waffle and pouring herself some coffee - when the phone rings. She picks it up, quickly. Greatly relieved.</dialogue>
<character>RACHEL</character>
<dialogue>Mark, I've been so worried, where -</dialogue>
<parenthetical>(incomprehensibly)</parenthetical>
<dialogue>You're flying ... to New Mexico?</dialogue>
<character>119 EXT. ALBUQUERQUEAIRPORT - DAY 119</character>
<dialogue>As a JET comes smoothly in for a landing ...</dialogue>
<scene_description>Al20 EXT. GUELPH, NEW MEXICO - DAY A120 Powell drives from airport to Guelph in alien landscape of New \* Mexico. \*</scene_description>
<character>120 INT. SHERIFF'S OFFICE - GUELPH, NEW MEXICO - DAY 120</character>
<dialogue>The SHERIFF, who walks with the gut and gait of a man used to his small town badge, flips through an old squeaky file cabinet. While Powell sits against the edge of a desk, briefcase and coat in hand, waiting. The slow pace here is maddening. He can't help glance at the Cattleman's Bank DAY CALENDAR on the wall ... July 26th.</dialogue>
<character>SHERIFF</character>
<dialogue>I remember the case, all right. Just about the biggest thing ever happened in these parts.</dialogue>
<parenthetical>(eyes Powell, wryly)</parenthetical>
<dialogue>We're not from New York City, you know.</dialogue>
<scene_description>He finds the file.</scene_description>
<character>SHERIFF</character>
<dialogue>Porter. Robert Porter. Here it is.</dialogue>
<scene_description>He looks through it, remembering, with a regrettable shake of his head. Walks over to let Powell take a look.</scene_description>
<character>SHERIFF</character>
<dialogue>Quiet type, I remember. Strong as a horse, though. Worked as a knocker. Lived 'bout twenty miles outside a' town, with his wife and child, sweet little girl. Wife was Indian.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Pretty much kept to themselves.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 11/3/00 (Blue) lllA\*.</dialogue>
<scene_description>CONTINUED: Powell is amazed by something he finds in the file.</scene_description>
<character>POWELL</character>
<dialogue>Sarah. His wife's name was Sarah.</dialogue>
<character>CONTINUED</character>
<dialogue>CONTINUED:</dialogue>
<character>SHERIFF</character>
<dialogue>That's right. Good lookin' woman, too. Damn shame ••• what happened.</dialogue>
<scene_description>He reaches for his hat on a hook, regards Powell.</scene_description>
<character>SHERIFF</character>
<dialogue>Got time to take a ride?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SLAUGHTERHOUSE</stage_direction>
<character>- DAY 121</character>
<dialogue>As Powell stares up at the tall wooden STRUCTURE. It stands like a hellish, grinding furnace against the stark blue sky. But to Powell, it is an affirmation of the truth. And as he lets out a silent laugh of awe, we WIDEN- to take in the expanse of mooing ANGUSSTEERS. Literally acres of them. The smell practically in our nostrils. The Sheriff comes up, stands beside him.</dialogue>
<character>SHERIFF</character>
<dialogue>Yes, sir .•. the old butchery.</dialogue>
<scene_description>Powell turns to him, astounded, at .hearing that phrase.</scene_description>
<character>SHERIFF</character>
<dialogue>C'mon. I'll take you by the house.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PORTERHOUSE-· DAY</stage_direction>
<scene_description>As the Sheriff's CAR comes up a dirt road, to stop •.• at the RUINS of what was once an idyllic small farm. Powell climbs out of the car, slowly. Lets the place seep into his senses. The Sheriff comes around the car, viewing the ruins, solemnly.</scene_description>
<character>SHERIFF</character>
<dialogue>Been empty. Nobody comes anywhere near here since ..• all that happened. No living next of kin for the place to go to, anyway.</dialogue>
<scene_description>He takes his hat off, almost respectfully, and walks up the overgrown path. Powell following him - up stone steps - into a HOUSE that is little more than pillars in the open air.</scene_description>
<character>CONTINUED</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>A loveseat taken over by weeds, shards of dishes, a mirror, clumps of what were once books, toys ••. is all that is left to testify that a family once lived here. Powell's eyes fall, a moment, on the broken hammers of what was once a piano sound board .•. as the Sheriff begins, grimly, quietly:</scene_description>
<character>SHERIFF</character>
<dialogue>Had detectives come from Albuquerque try an' piece this one together. Accordin' to the official story ... Porter was at work ..• when this drifter, a Daryl Walker, came by the house. Two-time parolee, lookin' for trouble. Know what I'm sayin'? Started out as a robbery. Wife and daughter were out back •.•</dialogue>
<scene_description>CLOSERON POWELL•.• he gazes out past the hinges of what once was a back door. He hears Prot's VOICE calling .•. "Becky? Sarah?" .!\ND BE FLASHES ON: PROT'S FACE. But it is now ROBERTPORTER'S FACE. A happy, ti.red humanity on it as he gets out of his truck, overalls stained after a hard day's work. He waits for his daughter to run out of the house and into his arms. Waits ... But he i.s met with an eerie silence. Perplexed, he heads up the stone path - and into the HOUSE.</scene_description>
<character>SHERIFF (V.O.)</character>
<dialogue>What we gather ... from forensics and all, was that - this Walker - brought both women back in the house at gunpoint.</dialogue>
<scene_description>FOLLOWINGPORTER - his boots trudge up the stair·s, face growing worried at the silence.</scene_description>
<character>PORTER</character>
<dialogue>Becca . . . Saree?</dialogue>
<scene_description>His breathing becomes quicker, panicked, as he moves down the narrow hallway . . . sees a doll on the floor . . . an overturned watering can ••• he comes to the bedroom</scene_description>
<character>AS WE COMEBACKTO:</character>
<dialogue>POWELL'S EYES, wide, shaken, listening to the Sheri.ff</dialogue>
<character>SHERIFF (V.0.)</character>
<dialogue>Raped the wife. Then shot them both.</dialogue>
<character>CONTINUED</character>
<dialogue>CONTINUED: (2)</dialogue>
<character>POWELLFLASHES ON:</character>
<dialogue>THE BEDROOM... blood everywhere ... hands tied to bedposts . . . naked legs splayed • . • bare feet dangling over the sides of a bed. ON PORTER ... witnessing this, eyes frozen. He wears the look of a man whose universe has, in one instant, shattered. And left him in the airless blackness of space. From deep within him comes a choking sound •..</dialogue>
<character>SHERIFF (V. 0. J</character>
<dialogue>Porter must've come home, found Walker still here •.•</dialogue>
<scene_description>Porter staggers back into the hallway - to see WALKER. Who, scared, takes out a gun. Dazed, but with an animal-like reflex, Porter knocks it out of his hand. They struggle for the gun, like two grunting beasts until Porter .•. with an inhuman strength, grabs Walker's wrists, and pins him to the wall. Then raises his other fist .•• a savage look coming into his eyes. A look built up over a lifetime of meekness. 1\ND WE STAY ON PORTER'S FACE - as, with a final savagery - he sends the side of his fist into Walker's neck •.•</scene_description>
<character>SHERIFF (V.O.)</character>
<dialogue>And then knocked the son'n'bitch like an Angus steer •••</dialogue>
<character>BACK</character>
<dialogue>POWELL- as he closes</dialogue>
<character>TO</character>
<dialogue>his</dialogue>
<character>POWELL</character>
<dialogue>God all mighty •..</dialogue>
<character>SHERIFF</character>
<dialogue>Snapped a grown man's neck like it was a twig.</dialogue>
<parenthetical>(looks tightly at Powell)</parenthetical>
<dialogue>Can't say I wouldn't've done the same.</dialogue>
<scene_description>The Sheriff puts his hat on, walks out, down the rubble of back steps. Powell follows him -</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORTER HOUSE - OUT BACK - DAY</stage_direction>
<scene_description>As the Sheriff continues on, toward the trees, Powell lingers a moment. To view a withered vegetable garden. He approaches it, astonished •.• to see ... the remains of a LAWNSPRINKLER somehow saved from fire. It sits there in the grip of weeds, attached to a blackened hose.</scene_description>
<character>CONTINUED</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>Along with the scorched handles of what's left of a child's jump rope. And as Powell stares at it ... AN IMAGEFLASHESACROSSHIS EYES: A beautiful young woman, long black hair shining in the sun ..• and a little girl, much like Natalie. They jump rope barefoot, innocently, happily, in the spray of water. THENANOTHERIMAGE: Dusk. Robert Porter, staggering out of the house. He kneels down, trying to wash the blood off his hands in the sprinkler, sees the jumprope ... As Powell blinks the images from his mind ••• A FINAL ONE COMESTO HIM: NIGHT . . . Porter stands on the bank of a rushing RIVER. He stares, as if into nothing. Overalls spattered with the dried blood of both man and slaughtered cows. With one hand ••• he rips off the straps, lets the overalls fall. off him. With the other hand, he tears the shirt off his chest. Naked now ••• devoid of any human expression • . . he drops into the water ..• letting it carry him away •..</scene_description>
<character>SHERIFF (V. 0.)</character>
<dialogue>We found his clothes here. Probably where he jumped in •..</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER - DAY</stage_direction>
<scene_description>Powell stares into the rushing white water. He and the Sheriff standing, carefully, on the bank. As the Sheriff continues, loudly, above the sound of rapids:</scene_description>
<character>SHERIFF</character>
<dialogue>This river's pretty treacherous, even in July. Got a hell of a current.</dialogue>
<scene_description>He looks downstream, thoughtfully, for a couple moments.</scene_description>
<character>SHERIFF</character>
<dialogue>Sti.11 . . . I s 'pose it might' ve been a mistake, officially, to list it as a drowning. Since the body was never found.</dialogue>
<parenthetical>(beat, turns to Powell)</parenthetical>
<dialogue>If that boy you got out there in New York is really Robert Porter ••• I'd just as soon not know about it. You know what I mean?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 116.</dialogue>
<character>124 CONTINUED: 124</character>
<dialogue>Powell considers the Sheriff. Then the river. With a deep, poignant gaze.</dialogue>
<character>124A INT. AIRPLANE - EVENING 124A</character>
<dialogue>The last glow of the western sun shines through a plane window ... onto Powell's scotch and peanuts. He sits there, looking through a copy of the Sheriff's FILE bearing the label: "Porter" ... There are grizzly photos of the crime scene ... driver's license photo of Robert Porter ... mug shots of Walker. Glimpses of words from the report: "Forced entzy 25 cm gash . . . thorax to abdomen • • . blood ••• semen . . . the deceased: Sarah Porter, Rebecca Porter ..• Beside Powell, resting on his briefcase, is also an old high school YEARBOOK ... from Guadalupe High School. 1985. Powell closes the file, with sober reflection, and looks out his window ... at the first stars twinkling in the darkening sky.</dialogue>
<scene_description>Al25 EXT. POWELL HOUSE ·· NIGHT Al25 As a taxi stops infront. And Powell steps out, with nothing but his briefcase. The clothes on his back stick to him. He is bone-weary. But the sight of his home fills him with emotion.</scene_description>
</scene>
<scene>
<stage_direction>AB125 INT. GIRLS' BEDROOM- UPSTAIRS AB125</stage_direction>
<scene_description>Powell stands there in the doorway. Gazing upon his \* DAUGHTERS. Their angelic faces, as they sleep ... \* He also notices Prot's star map ... the girls have tacked it \* up on their wall. It seems to fit right in with the twinkling \* moon and star wallpaper. \*</scene_description>
<character>B125 INT. POWELL'S HOME - IN A FEW MOMENTS B125</character>
<dialogue>Powell steps quietly. The house is in some disarray. \* Rachel lies on the couch in exhausted sleep, knots of worry on \* her brow. \* He kneels down, and just drinks her in with his eyes. Takes \* phone from her hand, which has fallen, and gently lifts it \* back onto the couch. Not wanting to let her hand go. He gets \* up. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 116A\*.</dialogue>
<scene_description>B125 CONTINUED: B125 She awakens, surprised that she'd fallen asleep. That tired. \* But when she sees him, she doesn't care. He's here now. \*</scene_description>
<character>RACHEL</character>
<dialogue>Mark ...</dialogue>
<scene_description>He holds her tight.</scene_description>
<character>POWELL</character>
<dialogue>Shhh, let me just hold you ...</dialogue>
<character>RACHEL</character>
<dialogue>I called Joyce - you didn't come home - you didn't call - don't ever do this again.</dialogue>
<character>POWELL</character>
<parenthetical>(whispers into her hair)</parenthetical>
<dialogue>I won't, I won't.</dialogue>
<scene_description>She wipes tears of relief from her face, then collects herself, anxious to hear -</scene_description>
<character>RACHEL</character>
<dialogue>What happened?</dialogue>
<scene_description>Powell sits up with her. \* She looks up, at her husband. Sees the conflict on his face.</scene_description>
<character>POWELL</character>
<dialogue>I found what I was looking for. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 116B.</dialogue>
<scene_description>B125 CONTINUED: (2) B125</scene_description>
<character>POWELL</character>
<parenthetical>(beat)</parenthetical>
<dialogue>To be truthful, Rachel ... I wish I hadn't.</dialogue>
<scene_description>He looks at her.</scene_description>
<character>POWELL</character>
<dialogue>Twenty-five years of practice under my belt. Never thought I'd say that.</dialogue>
<scene_description>It is then, he sees a NOTE by the mobile phone. He picks it \* up, curiously ... It says ... "Call Steve - Important". \* B125 (ALT) INT. POWELL'S HOME - IN A FEW MOMENTS Bl25\* Powell steps quietly. The house is in some disarray. \* Takes in Rachel. She lies on the couch in exhausted sleep, knots of worry on her brow. \* He comes over, gently takes the mobile phone out of her hand. He holds onto that hand. Doesn't want to let go of it ... It is then, he sees a NOTE by the mobile phone. He picks it \* up, curiously ... It says ... "Call Steve - Important". \* Cl25 INT. PRINCETON OBSERVATORY- CONFERENCE ROOM - DAY Cl25\*</scene_description>
<character>(PREVIOUSLY SHOT AS SCENE 56) \*</character>
<dialogue>Steve turns on a SPEAKER PHONE, around which sit Flynn, Patel \* and Hessler. Behind them are an array of COMPUTER SCREENS \* displaying STAR MAPS. \*</dialogue>
<character>STEVE \*</character>
<dialogue>I'm puttin' you on speaker phone, \* Mark. I've got the boys here. \*</dialogue>
<scene_description>Flynn takes the pipe from his mouth, leans toward the phone. \*</scene_description>
<character>FLYNN \*</character>
<dialogue>We've been admiring your patient's \* star map, Doctor Powell. \*</dialogue>
<scene_description>He looks down at Prot's hand-drawn STAR MAP. It looks like \* like scribbles and dots and swirls. A crude little arrow in \* the middle of the map points to a position labelled "Earth". \*</scene_description>
<character>FLYNN \*</character>
<dialogue>To be honest, at first it looked like \* just a bunch of scribbles and dots. \*</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 116C\*.</dialogue>
<scene_description>C125 CONTINUED: Cl25</scene_description>
<character>FLYNN</character>
<dialogue>(studying it as he speaks) \*</dialogue>
<scene_description>But then, we noticed - two spiraling \* smudges in the left quadrant - in \* relation to the position he indicates \* for Earth.</scene_description>
<character>\*</character>
<dialogue>He turns to another COMPUTER SCREEN on which Steve brings up \* a real STAR MAP. \*</dialogue>
<character>FLYNN (CONT'D) \*</character>
<dialogue>On our map, that's supposed to be the position of a neutron star called A45, \* that we estimate is several times \* smaller than our sun. Are you with me</dialogue>
<character>\*</character>
<dialogue>so far? \*</dialogue>
<character>\*</character>
<dialogue>Dl25 OMITTED Dl25\*</dialogue>
</scene>
<scene>
<stage_direction>E125 EXT. POWELL'S PATIO - NIGHT E125\*</stage_direction>
<scene_description>Powell stands, mobile phone to his ear, unsteadily ... \*</scene_description>
<character>POWELL \*</character>
<dialogue>Uh ...</dialogue>
<character>\*</character>
<dialogue>F125 INT. OBSERVATORY - SAME Fl25\*</dialogue>
<character>(PREVIOUSLY SHOT AS SCENE 58PT)</character>
<dialogue>\*</dialogue>
<scene_description>Now Steve leans over to the phone again.</scene_description>
<character>\*</character>
<dialogue>STEVE \*</dialogue>
<scene_description>See, Mark, the chart I generated was \* for the night sky as we see it from \* Earth - only transposed one thousand \* light years to where K-PAX is supposed to be. But ... I made a mistake. You \* see, from one thousand light years - \* we'd have a slightly different view of \* A45. \*</scene_description>
<character>\*</character>
<dialogue>He holds PROT'S MAP next to yet another SCREEN .•. on which \* there is a very large white star that seems to coincide ·- \* exactly - with Prot's TWO SMUDGES.</dialogue>
<character>\*</character>
<dialogue>STEVE</dialogue>
<scene_description>We've analyzed Prot's map and compared \* the coordinates to the known star \* field. Where we thought there was \* only a neutron star, he has drawn what \* appears to be a star and an accretion \* disc. \*</scene_description>
<character>\*</character>
<dialogue>Rev. 07 /30/01 (2nd Tan) (Replacement Scenes) 116D\*.</dialogue>
<scene_description>Gl25 EXT. POWELL'S PATIO - NIGHT Gl25\* Powell squints up at the night sky, then, into the phone. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Accretion disc? \*</dialogue>
<character>FLYNN \*</character>
<dialogue>The data related to the stars in this \* area suggests the existence of a body \* of enourmous mass. \*</dialogue>
</scene>
<scene>
<stage_direction>AH125 INT. OBSERVATORY ·- SAME AH125</stage_direction>
<scene_description>(PREVIOUSLY SHOT AS SCENE 58PT) \*:</scene_description>
<character>STEVE \*</character>
<dialogue>No, we're going to double-check with \* the Keck in Hawaii - but I'm pretty \* sure your boy just confirmed the \* existence of a suspected black hole. \*</dialogue>
<scene_description>Flynn moves closer to the phone, attempting: \*</scene_description>
<character>FLYNN \*</character>
<dialogue>Believe me, Doctor Powell, I know how \* crazy this sounds ... but, there is no \* way someone could guess this, or \* intuit a map like this - \*</dialogue>
<scene_description>(no other way to say it) \* - unless he had actually been there \* ... to this planet K-PAX. \* Hl25 EXT. POWELL'S PATIO - SAME - NIGHT Hl25\* Powell, dazed. He lowers the phone for a moment. Even as we \* hear Steve talking through it - \*</scene_description>
<character>STEVE (V.O.) \*</character>
<dialogue>We can't sit on this, Mark. There are \* a lot of other labs that would love to \* make this announcement. You \* understand. \*</dialogue>
<scene_description>Powell raises the phone again. Doesn't know what to say into \* it, except - \*</scene_description>
<character>POWELL �</character>
<dialogue>Steve, please don't do anything for a \* couple of days. I really appreciate \* that. Thank you for your input. \*</dialogue>
<scene_description>Powell looks at the starry night. \*</scene_description>
<character>(</character>
<dialogue>Rev. 07 /30/01 (2nd Tan) (Replacement Scenes) 116E\*.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - WARD2 - EVENING</stage_direction>
<scene_description>ERNIE, wearing a PARTY HAT, blows a NOISEMAKER. There are streamers everywhere. A festive BANNER strung across the day room reads: "BON VOYAGE, PROT!" The entire WARDis in party hats. At a table, Howie is busy collecting "Why I Want To Go To K- PAX" ESSAYS. We see the handwritten titles, some in crayon, as they are put in a pile. Howie looks up, surprised - as Navarro slips him an essay.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - EVENING</stage_direction>
<scene_description>Powell looks down at the dog-eared cover of an old Guadalupe HIGH SCHOOL YEARBOOK, 1985. From Guadalupe County, New Mexico. It sits on his desk. He looks at it, thinking hard. Then takes out a bottle of SCOTCH and two tumblers. Places them beside the yearbook. He pours himself a tumbler. Downs it. And just stands there, preparing himself, waiting In a couple moments, his door opens. And Prot enters. Powell puts on a smile.</scene_description>
<character>POWELL</character>
<dialogue>Have a seat.</dialogue>
<scene_description>Prot eyes him, carefully, sitting.</scene_description>
<character>POWELL</character>
<dialogue>All packed? Ready to go?</dialogue>
<character>PROT</character>
<dialogue>Quite ready. I travel light.</dialogue>
<parenthetical>(beat, smiles perplexedly)</parenthetical>
<dialogue>That's a joke. You humans have no sense of humor.</dialogue>
<scene_description>Powell lets out a delayed "I get it" laugh. Then, pours both glasses of Scotch. Prot, watches, with uncertainty, sensing Powell has something up his sleeve.</scene_description>
<character>POWELL</character>
<dialogue>I doubt Freud ever tried this. But - when someone's going away, we usually like to send them off with a toast. Scotch okay? Or would you care for something more - fruity?</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 117.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PROT</character>
<parenthetical>(eyeing him)</parenthetical>
<dialogue>I will try Scotch.</dialogue>
<scene_description>Powell picks up both glasses - leaving the yearbook there on his desk. He comes over, hands Prot a glass. Still unsure, Prot gets up, takes it from him. They stand there.</scene_description>
<character>POWELL</character>
<dialogue>Well ... here's to a safe trip.</dialogue>
<scene_description>Prot watches Powell drink. Then, after a moment's hesitation, does the same. Letting out a whistle.</scene_description>
<character>POWELL</character>
<dialogue>To tell you the truth, K-PAX does sound like a beautiful place.</dialogue>
<parenthetical>(muses, pours himself a little more)</parenthetical>
<dialogue>I'd like to see it some day. Think there's a chance?</dialogue>
<character>PROT</character>
<dialogue>You should see more of your world.</dialogue>
<character>PROT \*</character>
<dialogue>Mark ... I want to tell you something. \*</dialogue>
<scene_description>(beat) \* Something you don't know yet. \* Powell waits, eyes riveted on Prot. \*</scene_description>
<character>PROT</character>
<dialogue>But we K-PAXians have been around long \* enough to have discovered ... \*</dialogue>
<scene_description>As Powell's look turns unclear ... Prot peers into his empty \* Scotch glass, with a solemn fatalism. \*</scene_description>
<character>PROT</character>
<dialogue>The Universe will expand, then \* collapse back on itself -- then expand \* again. It will repeat this process \* again and again, forever. What you \* don't know •.. is that ... when the \* Universe expands again, everything \* will be as it was before. Whatever \* mistakes you make this time around, \* you will live through again on the \* next pass. \*</dialogue>
<scene_description>(a choke in his voice) \* You will live through those mi.stakes \* again and again, over and over and \* over. Forever. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 117A\*.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>PROT</character>
<dialogue>(looks up at Powell) \*</dialogue>
<scene_description>So, my friend, make sure you never \* make a mistake you will regret \* forever. As a matter of fact, you \* should see more of your own family, Mark. Invite your son for Christmas. Powell, in surprise, swallows some more Scotch, coming around, to sit - in his patient's chair.</scene_description>
<character>POWELL</character>
<dialogue>I just may do that, Prot.</dialogue>
<character>PROT \*</character>
<dialogue>You know what I've learned about \* Earth? How much you take it for \* granted. There's enough life on earth \* to fill fifty planets. Plants, \* animals, people, fungi, viruses, all \* jostling to find their place. \* Bouncing off each other. Feeding off \* each other ... \*</dialogue>
<scene_description>(beat) \* Connected. \*</scene_description>
<character>POWELL \*</character>
<dialogue>You don't have that kind of connection \* on K-PAX? \*</dialogue>
<character>PROT \*</character>
<dialogue>Nobody needs. Nobody wants. Nobody \* on K-PAX misses me -- there would be \* no reason to. But when I leave here, \* I will be missed. \*</dialogue>
<scene_description>(beat) \* A strange feeling. \*</scene_description>
<character>POWELL \*</character>
<dialogue>I want to help you, Prot. \*</dialogue>
<character>PROT \*</character>
<dialogue>Thank you, Mark, but I don't need your \* help. I'm going home. \*</dialogue>
<scene_description>Prot pauses for a moment. \*</scene_description>
<character>POWELL \*</character>
<dialogue>You don't have to leave, Prot. I'm \* sure there must be some way for me to \* help you ... \*</dialogue>
<scene_description>(off Prot's look) \* ... to stay. As one of us. \* Prot looks at Powell. Squeezes his knee. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 117B\*.</dialogue>
<scene_description>CONTINUED: (3)</scene_description>
<character>PROT \*</character>
<dialogue>I'll miss you, Doctor Powell. \*</dialogue>
<scene_description>They sit there, looking straight into each other for a beat. Powell, sensing the moment has come, glances over at the yearbook on his desk. Then back at Prot. \* Prot tries to read his expression ... \* Powell hesitates, just a moment too long ... \* Prot puts down the Scotch glass, stands up, burps. \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 01/22/01 (2nd Pink) 118.</dialogue>
<scene_description>CONTINUED: (4)</scene_description>
<character>PROT</character>
<dialogue>Oh - I have to finish my report.</dialogue>
<parenthetical>(patting his pockets)</parenthetical>
<dialogue>And I seem to have lost my pencil.</dialogue>
<scene_description>Powell regards him. \* The YEARBOOK sits on the desk ... \* They stare at each other. There are two ways Powell could go \* here. But ... something inside him makes him ... just ... take the \* gold Montblanc pen from his own pocket ... and holds it out to \* Prot. \*</scene_description>
<character>POWELL</character>
<dialogue>Here, take mine.</dialogue>
<scene_description>Prot takes it, admiring it, grateful.</scene_description>
<character>PR'OT</character>
<dialogue>A much more efficient writing tool. Thank you.</dialogue>
<character>POWELL</character>
<dialogue>Consider it a going away present.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/26/01 (2nd Cherry) (Replacement Scenes) 119.</dialogue>
<scene_description>CONTINUED: (6)</scene_description>
<character>PROT</character>
<dialogue>Adios, my friend.</dialogue>
<scene_description>Powell watches him walk to the door. He senses the moment has \* come. It ' s now or never. \*</scene_description>
<character>POWELL \*</character>
<dialogue>I want to show you something, Prot. \*</dialogue>
<scene_description>He hastens over to his desk, grabs the manila envelope. \* Prot's expression grows more unsure, as Powell opens the \* envelope, and takes out ... the Guadalupe High School Yearbook \* 1985. \* He shows it to Prot.</scene_description>
<character>\*</character>
<dialogue>CLOSE ON PROT ... he stares at the Yearbook \* Powell watches Prot, intensely, waiting for a reaction \* We, too, are waiting for a reaction. \* An expression of immense sadness takes hold of Prot ... \* followed by immediate calm. \*</dialogue>
<character>PROT \*</character>
<dialogue>That is Robert Porter ... my dear \* Earth friend. You found him. I knew \* you would. Good work, Doctor Powell. \*</dialogue>
<character>POWELL \*</character>
<dialogue>(earnestly) \*</dialogue>
<scene_description>It's you, Prot. You and Robert Porter \* are the same person. \*</scene_description>
<character>PROT \*</character>
<dialogue>(with a laugh) \*</dialogue>
<scene_description>That is patently absurd. I am not \* even human. \*</scene_description>
<character>POWELL \*</character>
<dialogue>(trying) \*</dialogue>
<scene_description>At least admit the possibility. \*</scene_description>
<character>PROT \*</character>
<dialogue>I will admit the possibility. If you \* will admit the possibility that I am \* from K-PAX. \*</dialogue>
<scene_description>Powell has no reply to this. \*</scene_description>
<character>PROT \*</character>
<dialogue>Now, if you'll excuse me. I have a \* beam of light to catch. \* I</dialogue>
<scene_description>i Powell can only watch him walk to the door ... \*</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 07/26/01 (2nd Cherry) (Replacement Scenes) A119- .A\*.</dialogue>
<scene_description>CONTINUED: (7) But, just as Prot is about to walk out, he pauses, looks back \* at Powell. Leaving him with a wise little smile. \*</scene_description>
<character>PROT \*</character>
<dialogue>Mark ... now that you've found him. \* Take care of him. \*</dialogue>
<scene_description>And with that he walks out the door. \* Powell stands there. A look comes into his eyes, half \* understanding. He finishes his Scotch ... \*</scene_description>
</scene>
<scene>
<stage_direction>INT. WARD 2 - NIGHT</stage_direction>
<scene_description>The Bon Voyage PARTY is in full swing. Cake frosting rings every patient's mouth, as a rousing "For He's a Jolly Good Fellow" is sung to Prot.</scene_description>
</scene>
<scene>
<stage_direction>INT. NURSES STATION - SAME</stage_direction>
<scene_description>Powell stands at the WINDOW, watching the festivities. As Villers comes up, briefcase in hand, joins him there.</scene_description>
<character>VILLERS</character>
<dialogue>I'm transferring him to Stonybrook tomorrow. I'm sorry, Mark. There's just no way I could explain this to the state board review. The only reason I didn't do it sooner is - well, look -</dialogue>
<scene_description>She shakes her head at the spectacle.</scene_description>
<character>VILLERS</character>
<dialogue>- it would have upset the rest of them too much ...</dialogue>
<scene_description>And with that, she just walks away, to the elevator, gets on.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 02/12/01 (2nd Green) 120.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>MCALLISTER</character>
<dialogue>Don't worry - he's not going anywhere. Now, get some rest.</dialogue>
<scene_description>Powell regards the clock on the wall: 10:56 P.M. He draws a \* reluctant breath.</scene_description>
<character>POWELL</character>
<dialogue>We've got seven hours, Betty. I'll be \* up in four.</dialogue>
<scene_description>He turns, tired, to the elevator.</scene_description>
</scene>
<scene>
<stage_direction>INT. DAY ROOM - SAME</stage_direction>
<scene_description>As the SONG finishes with a loud cheer, Howie comes' up, and with an air of formality, presents Prot with the ESSAYS. As everyone remains clapping - Sal suddenly rips off his party hat. His face angry, desperate. He shouts:</scene_description>
<character>SAL</character>
<dialogue>I can't stand this!</dialogue>
<scene_description>The room turns instantly quiet. Ernie, Maria, Howie, the others - all put their party whistles down, to look at him.</scene_description>
<character>SAL</character>
<parenthetical>(addressing Prot)</parenthetical>
<dialogue>I demand to know. Which one of us is going with you.</dialogue>
<scene_description>Prot looks around. Seeing that Sal speaks for all. He smiles, as if he will miss every one of them.</scene_description>
<character>PROT</character>
<dialogue>I will tell you this.</dialogue>
<parenthetical>(holding up the essays)</parenthetical>
<dialogue>There's extra points for the one who goes to sleep first.</dialogue>
<scene_description>There is a mad scramble, as everyone dashes for their rooms. Maria leaves Prot with a tearful embrace. In a few moments, Howie is the only one left. He walks over, eyeing Prot through his wire-rims. He clears his throat.</scene_description>
<character>HOWIE</character>
<dialogue>You never gave me my last task. What's my last task?</dialogue>
<scene_description>Prot tucks the essays away, whispers to Howie, significantly.</scene_description>
<character>PROT</character>
<dialogue>Stay here ..• and bP. prepared for anything \* (</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 02/12/01 (2nd Green) 120A\*.</dialogue>
<scene_description>CONTINUED: Howie is crestfallen. But as Prot pats him on the shoulder \* with a nod of implicit trust ... something, slowly, comes into \* Howie's eyes. And he stands a little straighter, a little \* more important, with a measure of self-worth. \* Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 121.</scene_description>
</scene>
<scene>
<stage_direction>R130 INT. POWELL'S OFFICE - NIGHT R130</stage_direction>
<scene_description>Powell enters. Emotionally and physically exhausted. It is \* then, he notices - \* Rachel, sitting there on his couch. A couple of TAKE-OUT \* CARTONS in front of her. His surprise is so complete, he \* doesn't know what to say. \*</scene_description>
<character>RACHEL</character>
<dialogue>Chow fun. \*</dialogue>
<scene_description>At this moment, she is the most beautiful sight he has ever \* seen. \*</scene_description>
<character>POWELL</character>
<dialogue>(realizing) \*</dialogue>
<scene_description>From the place on Broadway -- with the \* ugly lanterns in the window. \* She pats the seat next to her. He doesn't resist. She spoon \* feeds him a bite, and another. \*</scene_description>
<character>RACHEL</character>
<dialogue>The waiter always shouted at us. \*</dialogue>
<character>POWELL</character>
<dialogue>The fortune cookies never had any \* fortunes in them.</dialogue>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>They share a laugh. Then, Rachel gives him a deep smile, \* holding up another bite. \*</scene_description>
<character>RACHEL \*</character>
<dialogue>We didn't need any. I knew my fortune \* that night. He was sitting right \* across from me. \*</dialogue>
<scene_description>Their eyes remain on each other. And Powell realizes how much \* this woman means to him. \*</scene_description>
<character>POWELL \*</character>
<dialogue>I hope he still is. \*</dialogue>
<scene_description>Rachel puts down the food. Leans forward. Kisses him. \* As Powell's eyelids start to close, she gently lies him down, \* puts a couch pillow under his head ... \*</scene_description>
<character>(</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 122.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD2 - PROT'S ROOM- MUCHLATER 131\*</stage_direction>
<scene_description>Prot sits straight and quiet, arms folded in his lap, holding his red notebook. His bed is neatly made, the room tidy. He just sits there as if waiting for a plane.</scene_description>
</scene>
<scene>
<stage_direction>INT. POWELL'S OFFICE - SAME TIME</stage_direction>
<scene_description>Powell, asleep, Rachel snuggled up to him. His wristwatch BEEPS. He wakes up with a start. Waking her up. He tries to squint at his watch. Can't see it. Turns to his desk clock: .5:42 A.M.</scene_description>
<character>POWELL</character>
<dialogue>Shit!</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD2 - SAME</stage_direction>
<scene_description>Navarro sits in the hallway, posted outside Prot's door. An oxygen tank and respiration equipment stand with him. He turns to Simms, posted at the fire escape door, and holds up a twenty dollar bill.</scene_description>
<character>NAVARRO</character>
<dialogue>Twenty says he goes.</dialogue>
<scene_description>At the SECURITY STATION - the guard checks his three MONITORS: Prot, sitting in his room. Hallway, Navarro stationed. Stairwell, empty. He glances up at the CLOCK. As it turns to 5:49 A.M. Then looks over to the nurses station.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Two minutes. Wonder where Doctor Powell is?</dialogue>
<scene_description>McAllister closes the book she's been reading, getting a little fidgety now. She picks up the phone.</scene_description>
<character>MCALLISTER</character>
<dialogue>I' 11 buzz him.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - EMPTYHALLWAY</stage_direction>
<character>- SAME 134</character>
<dialogue>Powell comes skidding around a corner, running as he puts his jacket on. He hits the elevator button. As he waits, he is drawn to a window. He looks out, up - at the SKY. There is an electricness about it. A lone star twinkles in the dark purple pre-light of dawn. Powell punches the button again, frantically. Then, just takes the STAIRS.</dialogue>
</scene>
<scene>
<stage_direction>INT. WARD- SAME</stage_direction>
<scene_description>The security guard eyes the clock: 5:50 A.M.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>One minute.</dialogue>
<scene_description>On one of his MONITORS, Powell appears dashing down the stairwell.</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Here comes Doctor Powell.</dialogue>
<scene_description>PROT, IN HIS ROOM- stands up. Takes his dark glasses off. NAVARRO,IN THE HALLWAY - looks through Prot's door.</scene_description>
<character>NAVARRO</character>
<dialogue>He ' s movin • !</dialogue>
<scene_description>MCALLISTERcomes out from behind the nurses station, alert. PROT folds his glasses, sets them on his table. He faces his window • • . as the first light of dawn comes through it. Just as - POWELLbursts onto the WARD, from the stairwell door. He runs, whispering under his breath -</scene_description>
<character>POWELL</character>
<dialogue>Prot!</dialogue>
<scene_description>PROT'S ROOM- the rising SUN sends its first sharp RAY through Prot's window - and into Prot's EYES. SECURITY STATION - the security guard glances at the clock, as the numbers turn to .•• 5:51 A.M. AND NOW, EVERYTHINGHAPPENSAT ONCE Mrs. Archer runs out of her room -·</scene_description>
<character>MRS. ARCHER</character>
<dialogue>Wait for me, you fucker!</dialogue>
<scene_description>She collides with Powell, knocking them both down. CONTINUED: Navarro turns away from Prot's door, to the commotion. As Powell lifts Mrs. Archer back up, he looks past her - to see a blinding orange BEAMOF SUNLIGHTshining through the window of Prot's door. The security guard looks to the MONITORof Prat' s room. Whi.ch has now ·gone to static •••</scene_description>
<character>SECURITY GUARD</character>
<dialogue>What the hell?</dialogue>
<scene_description>POWELLgrabs Navarro's KEY RING. Runs for Prot's DOOR. Blinded by the sunbeam coming through its window, he fUlllbles for the right key - gets it in the lock - opens the door - STAY ON POWELL'S FACE - as his eyes search the room - the window - the table - walls - every corner. No trace of Prat.</scene_description>
<character>POWELL</character>
<dialogue>Son of a -</dialogue>
<scene_description>For an instant, a smile of disbelief flashes across Powell's features. Then his eyes lower</scene_description>
<character>POWELL</character>
<dialogue>Oh, God.</dialogue>
<scene_description>He kneels down •.• to the BODYcrumpled underneath the bed i.n a fetal position. Barely conscious, eyes half open with a dead, vacant look.</scene_description>
<character>POWELL</character>
<dialogue>Oh, God</dialogue>
<scene_description>Navarro and McAllister hurry into the room.</scene_description>
<character>NAVARRO</character>
<dialogue>Oh, man</dialogue>
<scene_description>136 - IN A FEWMINUTES</scene_description>
<character>INT. HALLWAY</character>
<dialogue>THE PATIENTS, who have now woken up, gather in the hallway, murmuring curiously - as Prat is carried</dialogue>
<character>136</character>
<dialogue>out of his room, past</dialogue>
<scene_description>them, on a gurney. His eyes remain vacant, body rigid.</scene_description>
<character>ERNIE</character>
<dialogue>Who's that?</dialogue>
<character>SAL</character>
<dialogue>Beat's me. How'd he get in here?</dialogue>
<character>MARIA</character>
<dialogue>That's not Prat.</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/20/01 (2nd Salmon} {Replacement Scenes) 125.</dialogue>
<character>136 CONTINUED: 136</character>
<dialogue>HOWIE</dialogue>
<scene_description>Definitely not Prat. Ernie notices the sun streaming through the day room windows. He smiles.</scene_description>
<character>ERNIE</character>
<dialogue>Certainly not. Prot's gone.</dialogue>
<scene_description>Maria looks around, as if sensing someone else is missing.</scene_description>
<character>MARIA</character>
<dialogue>Where's Bess?</dialogue>
<scene_description>The patients look at each other, then all around.</scene_description>
<character>ERNIE</character>
<dialogue>Where - where is Bess?</dialogue>
<scene_description>R137 INT. BESS'S ROOM - IN A MOMENT Rl37 As the patients all converge in her open doorway, staring ..• A pair of hospital slippers sit neatly by Bess's bed. And her HOSPITAL BRACELET, left neatly on her pillow.</scene_description>
<character>SAL</character>
<dialogue>{devastated)</dialogue>
<scene_description>He chose Bess. Mrs. Archer's face trembles with envy.</scene_description>
<character>MRS. ARCHER</character>
<dialogue>Bitch.</dialogue>
<scene_description>An ebullient smile spreads across Ernie's face.</scene_description>
<character>ERNIE</character>
<dialogue>He took Bess .•.</dialogue>
<scene_description>Howie nods. It's true.</scene_description>
<character>HOWIE</character>
<dialogue>He took Bess.</dialogue>
<character>MARIA</character>
<dialogue>Good fo' you, homegirl!</dialogue>
<scene_description>Howie makes his way over to the bed. Picks up ... a piece of \* paper from Bess's pillow. On it ... is a crude, simple \* drawing of flames shooting out of a house. And a bluebird, \* flying away from the fire. And the WORDS: "I Have No Home". \*</scene_description>
<character>HOWIE</character>
<dialogue>{happily}</dialogue>
<scene_description>Bess went to K-PAX. \* Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 125A\*.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY- SAME</stage_direction>
<scene_description>As Navarro and Simms solemnly pull the GURNEY into the ELEVATOR. And the elevator doors close ...</scene_description>
<character>POWELL (V.O.)</character>
<dialogue>Patient two eight seven. Robert Porter ...</dialogue>
</scene>
<scene>
<stage_direction>INT. POWELL'S STUDY - DAY</stage_direction>
<scene_description>Powell leans back in his chair, staring at the small recorder on his desk.</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 126.</dialogue>
<character>139 CONTINUED: 139</character>
<dialogue>POWELL (V.O.)</dialogue>
<scene_description>How I wish I could say that Robert sat up one fine day and said "I'm hungry - got any fruit?" He looks down at Prot's RED NOTEBOOK, opens it to a title page, which reads, in pencil: "Preliminary Observations on B-TIK (Earth)." Then, his eyes take him out his study window - where Rachel, Gabby and Natalie are planting a rose bush in the garden.</scene_description>
<character>POWELL (V.O.)</character>
<dialogue>Like most catatonics ... he probably hears every word we say, but refuses, or is unable to respond. Perhaps with patience on our part he will recover, in time.</dialogue>
<scene_description>Rl40 EXT. CENTRAL PARK - CACTUS GARDEN - DAY R140</scene_description>
<character>WIDE SHOT, MOVING IN SLOWLY ... \*</character>
<dialogue>on ROBERT PORTER, who sits in a WHEELCHAIR, blanket wrapped \* around him, hair rustling in a breeze. Powell, seated on a \* bench, reads a LETTER, aloud, to him ... \*</dialogue>
<character>POWELL \*</character>
<dialogue>(having trouble reading \* Howie's handwriting) \*</dialogue>
<scene_description>I like my new job at the library very \* much ... I like helping people find \* things ... except when they get \* impatient with me. \*</scene_description>
<character>AS WE COME IN CLOSE NOW ... \*</character>
<dialogue>Powell looks at Porter, whose gaze remains vacant. He \* continues reading the letter, anyway -- \*</dialogue>
<character>POWELL (CONT'D) \*</character>
<dialogue>I went and visited Ernie yesterday at \* his Mom's house. Did you know, Doctor \* Powell, that Ernie's taking a test to \* be a crisis counselor? \*</dialogue>
<scene_description>(laughs at the thought of \* this) \* Imagine that. \* Porter remains mute. \*</scene_description>
<character>POWELL \*</character>
<dialogue>Look, Howie sent a picture. \*</dialogue>
<character>CONTINUED '</character>
<dialogue>!</dialogue>
<scene_description>Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 126A\*. Rl40 CONTINUED: R140 With a smile, he holds up a PHOTOGRAPHto Porter. Porter's \* eyes move, slowly, to the smiling picture of Howie and Ernie. \* But he registers no reaction. \* Powell takes it back, tries to keep a smile. He goes back to \* reading the letter -- \*</scene_description>
<character>POWELL</character>
<dialogue>Say hello to all my friends ... I miss \* them. And please let me know when \* Bess comes back because I want to know \* all about K - \*</dialogue>
<character>\*</character>
<dialogue>He stops himself. Reflective a moment. Glances at Porter, troubling. Then, just folds up the letter, puts it in his \* pocket. \*</dialogue>
<character>\*</character>
<dialogue>CONTINUED</dialogue>
<scene_description>Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 127. Rl40 CONTINUED: (2) Rl40</scene_description>
<character>POWELL \*</character>
<dialogue>That's</dialogue>
<scene_description>... Bess. one thino we need to talk about • ; .::: - Really worried about Bess. \* We've checked shelters, halfway homes,</scene_description>
<character>\*</character>
<dialogue>\*</dialogue>
<scene_description>the police as if she ... have come up empty ... just disappeared. it's • (looks cannily at Robert) \* July twenty-seventh. You wouldn't \* happen to want to tell me anything \* about that, would you, Robert? \*</scene_description>
<character>\*</character>
<dialogue>He's searching Porter's expressionless EYES.</dialogue>
<character>\*</character>
<dialogue>POWELL \*</dialogue>
<scene_description>No? (with an earnest smile) \* Well, maybe it'll come to you.</scene_description>
<character>\*</character>
<dialogue>Whenever you're ready. I'll be \* waiting. \*</dialogue>
<character>\*</character>
<dialogue>He gets up, gives Porter a pat on the shoulders. And takes the handles of the wheelchair. Pushing Porter on, along the</dialogue>
<character>\*</character>
<dialogue>path, through the park. \*</dialogue>
<character>\*</character>
<dialogue>POWELL \*</dialogue>
<scene_description>Doctor, patient. Curious human \* distinction</scene_description>
</scene>
<scene>
<stage_direction>INT. WARD 2 - DAY</stage_direction>
<scene_description>WE TAKE IN THE DAY ROOM. As Maria gazes out a window. And Russell mumbles to himself, Bible in hand. And Sal and Mrs. Archer play a contentious game of fish.</scene_description>
<character>POWELL (V.0.)</character>
<dialogue>By his own calculations, he is due again soon.</dialogue>
<scene_description>WE MOVE ON ... into the ART ROOM. Where Navarro, setting a new patient down at some watercolors, pauses, respectfully - to look at PROT'S GLASSES, which rest on a pedestal, like a shrine, facing the window.</scene_description>
<character>POWELL (CONT'D; V.O.)</character>
<dialogue>The patients in Ward Two have no doubts whatsoever, nor some of the staff ...</dialogue>
<scene_description>AND WE LOOK OUT THROUGH THOSE DARK GLASSES ... into the dancing sunlight ...</scene_description>
<character>POWELL (V.O.)</character>
<dialogue>As for me ... well ... maybe Prot left me Robert Porter. (</dialogue>
<character>CONTINUED</character>
<dialogue>Rev. 07/26/01 (2nd Cherry) (Replacement Scenes) 127A\*.</dialogue>
<character>141 CONTINUED: 141</character>
<dialogue>The SUNGLASS LENSES NOW FILLING THE SCREEN ... and the pinpoints of sunlight playing like a thousand twinkling stars ...</dialogue>
<character>POWELL (V. 0. )</character>
<dialogue>And a couple of other tasks.</dialogue>
<scene_description>Rl41 (ALT) INT. WARD 2 - ART ROOM - DAY Rl41 Powell walks, slowly ... toward PROT'S SUNGLASSES, which rest \* on a pedestal, like a shrine, with a "Do Not Disturb, Be Back \* Soon" sign. They face the window. \* Powell stares at them for a long beat. \* Then, looking around, seeing no one else is there, he bends \* down . . . to LOOK THROUGH THEM ... \* And as he does, WE SEE THROUGHTHEM into the dancing \* sunlight ... the SUNGLASS LENSES NOW FILLING THE SCREEN \* and the pinpoints of sunlight playing like a thousand \* twinkling stars ... \*</scene_description>
</scene>
<scene>
<stage_direction>A142 INT. GRAND STATION A:142</stage_direction>
<scene_description>AND WE ARE BACK with the OUT-OF-FOCUS CROWDS of Grand Central Station ... the FIGURES resolve into PEOPLE, rushing here and there .. .</scene_description>
<character>CONTINUED</character>
<dialogue>Rev. 07/17/01 (2nd Buff) (Replacement Scenes) 128\*.</dialogue>
<scene_description>A142 CONTINUED: Al42 And now CLOSE ON POWELL, standing with his briefcase, \* searching for someone in the crowds ... \* We hear Prat, O.S. \*</scene_description>
<character>PROT (V.O.) \*</character>
<dialogue>Mark we KPAXians have been around \* long enough to have discovered a \* little something about the origins of \* the Universe that you don't know yet. \* But, I'll tell you. \*</dialogue>
<scene_description>Powell moves his eyes over the nameless faces, more intently, \* searching \*</scene_description>
<character>PROT (V.O.; CONTINUING) \*</character>
<dialogue>The Universe will expand, then \* collapse back on itself -- then expand \* again. It will repeat this process \* again and again, forever. What you \* don't know ... is that .•. when the \* Uni.verse expands again, everything \* will be as i.t was before. Whatever \* mistakes you make this time around, \* you will live through again. Over and \* over, forever. \*</dialogue>
<scene_description>A smile seizes Powell, as he's found who he's searching for ... \*</scene_description>
<character>PROT (V.O.;</character>
<dialogue>So, my advice right this time ...</dialogue>
<character>CONTINUING)</character>
<dialogue>to yo~ is to get it this time around. is all you have.</dialogue>
<scene_description>And WE SEE MICHAEL. Coming out of a gate, duffle bag over his shoulder. Pierced eyebrow. He looks around, unsurely. Until \* he spies his father. He smiles, tentative. \* They approach each other, through the CROWDS. Stand there, \* facing each other. Powell initiates a hug, halting at first, \* then warm, gripping his son around the shoulders. \* And as the CAMERA PULLS BACK ... they walk off together, \* through a SHAFT OF SUNLIGHT streaming down from one of the \* high, station windows ... and on ... to the Metro North \* gates ... \* 142 OMITTED 142\*</scene_description>
<character>FADE OUT: \*</character>
<dialogue>THE END \*</dialogue>
</scene>
</script> | After claiming he is an extraterrestrial from the planet 'K-PAX', 1,000 light years away in the Lyra constellation, prot (not capitalized and pronounced with a long O, rhyming with boat) is committed to the Psychiatric Institute of Manhattan. There, psychiatrist Dr. Mark Powell attempts to cure him of his apparent delusions. However, prot is unwavering in his ability to provide cogent answers to questions about himself, K-PAX, and its civilizations. His medical examination only reinforces his story, as prot can see ultraviolet light and he is completely resistant to the effects of Thorazine. Powell introduces him to a group of astrophysicists who are befuddled when prot displays a highly detailed level of knowledge about his claimed star system that was unknown to them. prot also wins over the other patients at the Institute, each of whom believes unquestioningly that he is indeed from K-PAX. prot, who claims to have journeyed to Earth by means of "faster-than-light travel," explains that he can take one person with him when he returns. Thereafter, most of the patients at the Institute ask prot to take them with him. Upon learning that many of his patients expect to leave Earth on July 27, Powell confronts prot, who explains that it is a predetermined date. However, Powell believes this to be a significant date in prot's life, a day on which he suffered a severe psychological trauma. Powell decides to subject prot to regression hypnosis, which works well. Using information gained from these sessions, Powell figures out that prot may simply be an alter ego of Robert Porter, a man from New Mexico who worked as a 'knocker' (animal slaughterer) in a local abattoir, who attempted suicide in 1996 after his wife and child were murdered by a drifter. Powell tries to confront prot with this knowledge, showing him a photo of Robert Porter in a high school yearbook and stating that it is in fact prot himself; but prot's reaction is one of bemusement, and he cryptically tells Powell that he hopes he will take good care of Robert now that he has found him. On July 27 as the hospital staff watch, the camera in prot's room cuts to static at the precise time prot said he would leave Earth. Powell finds Porter lying on the floor in his room, catatonic, prot having apparently left Porter's body for the light travel back to K-PAX. As Robert is being wheeled out of the room, the other patients do not recognize him as prot and say that prot has gone. In addition, one of the patients is missing: Bess, a woman who had remained mute since her home was destroyed in a fire and who had been among the patients that asked to go to K-PAX with prot. She is never found. The other patients believe that prot has taken her to K-PAX. Powell continues to take care of the catatonic Porter and tells him about how the patients he helped have gone on to live normal lives again, but Robert does not respond. Powell is left with no absolute answer as to whether prot was in fact an alien entity or just a coping mechanism of the traumatized Porter, but seems far from convinced that Porter's behavior was a delusion. In a final voiceover, prot explains to Powell that the people of K-PAX have discovered that our universe will repeat its events again and again, so the mistakes we make will be repeated forever. prot encourages Powell to make this time count, as it is the only chance we have. Inspired, Powell begins a new, better life by reconciling with his estranged son Michael. |
The Time Machine_2002 | tt0268695 | <script>
<scene>
<stage_direction>INT. COLUMBIA UNIVERSITY - LECTURE HALL - DAY</stage_direction>
<scene_description>Darkness . Then a sound . Click - clack , click - clack , click - clack . The familiar sound of chalk writing on a blackboard . Fade up to see . A hand zooming across a blackboard at incredible speed , forming an endless algebraic equation . Amazingly , when the writer reaches the end of the blackboard he does not lift the chalk and return to the left side to begin a new line - instead he simply loops around and continues writing , right to left , upside down . The college students in his class - all male and dressed in late Victorian clothes - smile at this familiar peculiarity and tilt their heads to try and read the endless equation , copying furiously into notebooks . The hand continues to zoom along the blackboard . and then slows . and then stops . the students wait . the hand taps the chalk on the blackboard for a moment and we finally see . ALEXANDER HARTDEGEN , a handsome young man not much older than his students , standing at the blackboard . He is gazing out a window , looking at a bird on a tree branch . He smiles . The students glance to one another . Alexander remembers himself and turns back to the blackboard , his hand again flying as :</scene_description>
<character>ALEXANDER</character>
<dialogue>So - length, width, breadth - formulate the area and of course we arrive at solid mass. But imagine if we continue the equation as I've done - ca n't we begin to recognize another dimension beyond the first three? I theorize we begin to find duration - the object's place in time. Let's note that as `` D'' here.</dialogue>
<scene_description>Alexander reaches the left side of the blackboard and loops around again in an unbroken line to continue the equation from left to right again . The students are hopelessly lost . They finally stop copying and just watch Alexander work , admiring his brilliant innovation . Meanwhile , a man watches from the back of the lecture hall . He is DAVID PHILBY , Alexander 's closest friend , a bit older .</scene_description>
<character>ALEXANDER</character>
<dialogue>If we accept the theoretical possibility of duration as a fourth dimension we find that our equation might - no, that's not right -</dialogue>
<scene_description>He erases some numbers quickly with his hand , sending up a cloud of chalk dust , he coughs .</scene_description>
<character>ALEXANDER</character>
<dialogue>- there, that looks more like it.</dialogue>
<scene_description>He continues to scribble at lightning speed . Then . He begins humming to himself . The students watch , amused . Philby smiles . Alexander finally stops humming and writing . Steps back and looks at the equation . Then he turns to his students .</scene_description>
<character>ALEXANDER</character>
<dialogue>Does this make any sense to you?</dialogue>
<scene_description>The students are confused . One offers :</scene_description>
<character>STUDENT</character>
<dialogue>Sir, if I may, would n't it be easier if you applied a Fibonacci sequence to the differential coefficient?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>It's not supposed to be easy, it's supposed to be beautiful. All of you think about that tonight and we'll press on tomorrow. Good afternoon.</dialogue>
<scene_description>The students begin to rise , class over . They leave the classroom talking eagerly about Alexander 's theories , inspired . A sudden new angle : from above we see Alexander going to Philby , leaving the classroom talking with him . We are in the upper balcony of the classroom . A solitary figure looks down , watching them . This new figure is a thin man with pale skin , dry like parchment . Somehow ominous .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLUMBIA - HALLWAY - DAY</stage_direction>
<scene_description>Alexander walks with Philby :</scene_description>
<character>ALEXANDER</character>
<dialogue>The point is I know it will work once the, um, numbers and such are in order.</dialogue>
<character>PHILBY</character>
<dialogue>Do you know you were humming?</dialogue>
<character>ALEXANDER</character>
<dialogue>I was not.</dialogue>
<character>PHILBY</character>
<dialogue>Somewhere around `` D +2 xy something something.''</dialogue>
<character>ALEXANDER</character>
<dialogue>Damned if I can keep her out of my equations.</dialogue>
<character>PHILBY</character>
<dialogue>Tonight's the night?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( checking pocket watch . )</parenthetical>
<dialogue>God, and I'm running late -</dialogue>
<scene_description>A PRIM WOMAN appears before them :</scene_description>
<character>PRIM WOMAN</character>
<dialogue>Dr. Hartdegen, Dr. Philby. Dean Fulton would like to see you.</dialogue>
<scene_description>Alexander and Philby exchange a look . Gulp . They follow the prim woman .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLUMBIA - DEAN FULTON'S OFFICE - DAY</stage_direction>
<scene_description>They follow the prim woman , Dean Fulton 's secretary , into his dark , paneled office .</scene_description>
<character>PRIM WOMAN</character>
<dialogue>He's outside.</dialogue>
<scene_description>Alexander and Philby move through the office and out to a garden courtyard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLUMBIA - GARDEN COURTYARD - DAY</stage_direction>
<scene_description>Oddly , chickens are clucking about the courtyard . The thin man we saw before , DEAN FULTON , is casually tossing down feed for the chickens . With his other hand he carries an umbrella to protect himself from the sun . He does not look up .</scene_description>
<character>DEAN FULTON</character>
<dialogue>Gentlemen, watch your step.</dialogue>
<scene_description>Alexander and Philby stop . Dean Fulton looks up and smiles , benevolent .</scene_description>
<character>DEAN FULTON</character>
<dialogue>My fowl have polluted the yard.</dialogue>
<character>PHILBY</character>
<dialogue>Dean Fulton.</dialogue>
<scene_description>Dean Fulton continues to lazily scatter feed for his chickens .</scene_description>
<character>DEAN FULTON</character>
<dialogue>Dr. Philby, Dr. Hartdegen. I received the most extraordinary letter last week. From a parent. We are always pleased to receive letters from parents. They are our employers, after all. This gentleman's son is in your class, Dr. Hartdegen.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( knows what 's coming . )</parenthetical>
<dialogue>I see.</dialogue>
<character>DEAN FULTON</character>
<dialogue>As I recall the syllabus the name of your tutorial is `` Applied Mathematics and Engineering'', am I correct?</dialogue>
<character>ALEXANDER</character>
<dialogue>Exactly correct, sir.</dialogue>
<scene_description>Dean Fulton stops scattering feed and gazes at Alexander with a smile . This is an old game between them and they both rather enjoy it . To a point .</scene_description>
<character>DEAN FULTON</character>
<dialogue>Well, just as I thought. Surely it's all been a terrible mistake. This parent actually suggested that your freshman course in applied mathematics has somehow become a seminar on theoretical physics!</dialogue>
<character>ALEXANDER</character>
<dialogue>Imagine that.</dialogue>
<character>DEAN FULTON</character>
<dialogue>But I know that none of my faculty would ever deviate from the assigned curriculum.</dialogue>
<character>ALEXANDER</character>
<dialogue>Well. perhaps I have `` deviated'' the tiniest bit.</dialogue>
<character>DEAN FULTON</character>
<dialogue>Might I ask why?</dialogue>
<character>ALEXANDER</character>
<dialogue>Because the assigned curriculum is boring.</dialogue>
<scene_description>Philby groans very quietly .</scene_description>
<character>ALEXANDER</character>
<dialogue>Sir, that curriculum is forty years out of date. The students today are looking toward the new century - they want to be challenged and inspired, not spoon - fed dusty old equations that have been proved a thousand times. They want to explore.</dialogue>
<character>DEAN FULTON</character>
<dialogue>Do they?</dialogue>
<scene_description>Dean Fulton smiles and then begins to scatter feed again .</scene_description>
<character>DEAN FULTON</character>
<dialogue>What are these animals, gentlemen?</dialogue>
<scene_description>Alexander and Philby exchange a look .</scene_description>
<character>PHILBY</character>
<dialogue>Um, your chickens, sir.</dialogue>
<scene_description>Alexander helpfully offers :</scene_description>
<character>ALEXANDER</character>
<dialogue>And roosters.</dialogue>
<character>DEAN FULTON</character>
<dialogue>No, Dr. Hartdegen, they are not just chickens and roosters. They are science. Perhaps they are n't `` inspiring'' to you. Perhaps they do n't `` challenge'' you -</dialogue>
<character>ALEXANDER</character>
<dialogue>No, sir -</dialogue>
<character>DEAN FULTON</character>
<dialogue>Animal husbandry is science, Dr. Hartdegen. I have been breeding these fowl for fourteen years. I have filled a library with information on their feeding patterns, social behavior and breeding. Empirical, exacting, quantifiable records.</dialogue>
<character>ALEXANDER</character>
<dialogue>Sir -</dialogue>
<scene_description>Dean Fulton looks up at him , his eyes cold :</scene_description>
<character>DEAN FULTON</character>
<dialogue>`` Duration'' is not a dimension. Scientists do not imagine the world around them. They do not wool - gather or cloud - spin. They prove. They demonstrate. Columbia University does not teach fantasy.</dialogue>
<scene_description>Philby shoots Alexander a warning look , but Alexander ca n't help himself :</scene_description>
<character>ALEXANDER</character>
<dialogue>With respect, sir, would we have the telegraph without fantasy? Would we have radium and X - rays without someone first dreaming we could?</dialogue>
<character>DEAN FULTON</character>
<dialogue>The advances you speak of were the result of countless years of study and empirical experimentation, a careful evolutionary process, not chalkboard parlor - tricks.</dialogue>
<character>ALEXANDER</character>
<dialogue>My equations are not parlor - tricks!</dialogue>
<character>DEAN FULTON</character>
<dialogue>Abstract mathematics, relativity of dimensions, geometrical `` durations'' - even allowing for the uses of speculation, what is the point?</dialogue>
<character>ALEXANDER</character>
<dialogue>Because it's a new way of seeing the world! Of seeing our place in it!</dialogue>
<character>PHILBY</character>
<dialogue>Sir, if I may -</dialogue>
<character>DEAN FULTON</character>
<parenthetical>( with finality , to Alexander . )</parenthetical>
<dialogue>Young man, we have a way of doing things here. Radical theorizing is not acceptable. Have I made myself understood?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes, sir.</dialogue>
<character>DEAN FULTON</character>
<dialogue>Very good. Now if you will excuse us for a moment.</dialogue>
<scene_description>Alexander goes back into the office .</scene_description>
<character>PHILBY</character>
<dialogue>If I might explain, sir -</dialogue>
<character>DEAN FULTON</character>
<dialogue>You supported his application, Dr. Philby. You are his senior, advisor. I depend upon you to restrain his. excesses. Any repetition of the behavior I witnessed in his classroom today and there will be consequences for you both.</dialogue>
<character>PHILBY</character>
<dialogue>Yes, sir.</dialogue>
<character>DEAN FULTON</character>
<dialogue>Now you are upsetting my fowl. Please go.</dialogue>
<scene_description>Philby extricates himself from a chicken pecking at his shoe and goes .</scene_description>
<character>ALEXANDER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>He's a dinosaur. He's already extinct, he just does n't know it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETCAR - DAY</stage_direction>
<scene_description>Alexander and Philby are in an open horse - drawn streetcar , heading downtown . Everywhere around them , the massive city bustles . New York City at the end of the 19th Century . It is vibrant to the point of frenzy ; reaching for the future in a furious upheaval of construction . Title : NEW YORK CITY - MAY 12 , 1895 - 5:17 p.m.</scene_description>
<character>ALEXANDER</character>
<dialogue>One day he'll be discovered by some future archeologists and they wo n't know what to make of him. The thick brow, so lacking in imagination. The dim little eyes, devoid of curiosity.</dialogue>
<character>PHILBY</character>
<dialogue>You know generally teachers are supposed to teach real equations that add up to real numbers.</dialogue>
<character>ALEXANDER</character>
<dialogue>Where's the challenge in that?</dialogue>
<character>PHILBY</character>
<dialogue>Alex, this is your first year as an associate professor. You might want to play things a little more conservatively.</dialogue>
<character>ALEXANDER</character>
<dialogue>You sound like my father.</dialogue>
<scene_description>Alexander points to the masses of grey businessmen , all in identical bowler hats , marching along the sidewalk :</scene_description>
<character>ALEXANDER</character>
<dialogue>Look at them, Philby, all alike, everyone in an identical bowler hat. Do you want your students to turn out like them?</dialogue>
<character>PHILBY</character>
<dialogue>I want my students to emerge with theoretical and practical knowledge.</dialogue>
<character>ALEXANDER</character>
<dialogue>I do n't. I want them to run along this street and knock off every bowler they see.</dialogue>
<character>PHILBY</character>
<dialogue>You may not like it, but this is the world we live in, Alex. Little grey men with little grey hats.</dialogue>
<character>ALEXANDER</character>
<dialogue>But should n't it be better? Should n't we be teaching our students to imagine a world beyond all this?</dialogue>
<scene_description>Alexander points to a new building going up , a complex spider 's web of steel girders .</scene_description>
<character>ALEXANDER</character>
<dialogue>Look at that, Philby. A steel frame building. Ten years ago it was unheard of. No little grey man thought of that. The new Century belongs to men who are willing to imagine the impossible.</dialogue>
<scene_description>Their streetcar passes a few huddled beggars on the curb . The businessmen ignore them . Alexander watches them , his eyes sad .</scene_description>
<character>ALEXANDER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>In the future, we'll be better.</dialogue>
<character>PHILBY</character>
<dialogue>What?</dialogue>
<character>ALEXANDER</character>
<dialogue>Nothing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALEXANDER'S HOUSE - EVENING</stage_direction>
<scene_description>Alexander 's sprawling Victorian house sits on a quiet street . There is a quaint shop right across the street . The shop features a window showing a female mannequin dressed in period clothes . The sign above the shop : BRANSON 'S APPAREL AND HABERDASHERY . Alexander and Philby hurry into his house .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - EVENING</stage_direction>
<scene_description>Alexander 's house is a lovely world of Victorian elegance constantly at war with his erratic and creative enterprises . Everywhere Alexander 's scientific passions are evident : animal skulls rest alongside leather - bound tomes ; mechanical inventions in various states of completion rest atop heavy mahogany tables ; test tubes and microscopes are spread out on an unused piano . The one facet that most immediately reflects Alexander is aural : the ticking of scores of clocks ; a steady metronomic cadence . Alexander bounds in , Philby following .</scene_description>
<character>ALEXANDER</character>
<dialogue>MRS. WATCHIT! MRS. WATCHIT!</dialogue>
<scene_description>MRS. WATCHIT , Alexander 's housekeeper , troops down the stairs . She is a wry and commanding British woman in her 60 's .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>Oh huzzah, the master's home.</dialogue>
<character>ALEXANDER</character>
<dialogue>Do you have it?!</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>Hello, Mr. Philby.</dialogue>
<character>PHILBY</character>
<dialogue>Hello, Mrs. Watchit. You're looking in the pink.</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>Must be all the exercise I get scampering up and down these stairs like a wee lamb.</dialogue>
<character>ALEXANDER</character>
<dialogue>Do n't torture me - do you have it?</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>I have it, but do n't you think for one moment I'll be letting you go out in that filthy coat - now go upstairs and change. I've laid out your green coat.</dialogue>
<character>ALEXANDER</character>
<dialogue>What's the matter with -?</dialogue>
<parenthetical>( he notes he is covered in chalk dust . )</parenthetical>
<dialogue>- What would I do without you, Mrs. Watchit?</dialogue>
<scene_description>He bounds up the stairs . Phiby follows .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>And change your tie!</dialogue>
<scene_description>She bustles off , grumbling happily .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S BEDROOM - EVENING</stage_direction>
<scene_description>Charles Darwin stares at us . Imposing . Inspiring . Challenging . A bust of Darwin looms over Alexander 's bedroom . Alexander , in a new coat , is trying to work a complicated knot in his tie . His eyes study the problem in a mirror .</scene_description>
<character>ALEXANDER</character>
<dialogue>Emma actually likes chalk dust - says it smells like me.</dialogue>
<character>PHILBY</character>
<dialogue>How romantic.</dialogue>
<scene_description>Philby goes to Alexander , helps him with his tie .</scene_description>
<character>PHILBY</character>
<dialogue>The most able inventor I know and you ca n't tie a simple four - in - hand.</dialogue>
<character>ALEXANDER</character>
<dialogue>That's how I knew we were destined to be together. When I met her parents for the first time I came right from class and I was covered in chalk. They sniffed and snorted, but she just smiled. At that moment - I just knew. How did you know with Molly?</dialogue>
<character>PHILBY</character>
<dialogue>She made the best Shepherd's pie I ever tasted.</dialogue>
<character>ALEXANDER</character>
<dialogue>Do you have a romantic bone in your body?</dialogue>
<character>PHILBY</character>
<parenthetical>( completing the tie . )</parenthetical>
<dialogue>No, I'm all bowler hat, remember?</dialogue>
<scene_description>Alexander quickly goes to his old coat and transfers his pocket watch , journal and many loose scraps of paper covered in equations to the new coat as :</scene_description>
<character>PHILBY</character>
<dialogue>Alex, really. good luck tonight. She's a fine girl, and she's done wonderful things for you.</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh?</dialogue>
<character>PHILBY</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>She's gotten into your equations.</dialogue>
<scene_description>Alexander stops , looks at him . Smiles .</scene_description>
<character>ALEXANDER</character>
<dialogue>I guess she has.</dialogue>
<scene_description>He glances at his pocket watch .</scene_description>
<character>ALEXANDER</character>
<dialogue>I've got to hurry.</dialogue>
<scene_description>He hurries out , Philby following .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - STAIRS - EVENING</stage_direction>
<scene_description>Alexander races down the stairs , tucking the watch into his vest . They pass a series of clocks of every size and shape that run down the wall along the stairway .</scene_description>
<character>PHILBY</character>
<dialogue>All these clocks - how can you constantly be running late?!</dialogue>
<character>ALEXANDER</character>
<dialogue>Perseverance.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - ENTRY HALL - EVENING</stage_direction>
<scene_description>Mrs. Watchit waits . Alexander and Philby appear down the stairs .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>Now that's more like it. You look a proper gentlemen for once.</dialogue>
<character>ALEXANDER</character>
<dialogue>Then if Emma turns me down will you marry me?</dialogue>
<character>MRS. WATCHIT</character>
<parenthetical>( dry . )</parenthetical>
<dialogue>Oh, I'm already swooning.</dialogue>
<character>ALEXANDER</character>
<dialogue>Ouch - all right, wish me luck.</dialogue>
<scene_description>He begins to sprint out the door - Mrs. Watchit stops him with :</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>You might be wanting this?</dialogue>
<scene_description>She holds up a velvet ring box . He takes the box .</scene_description>
<character>ALEXANDER</character>
<dialogue>Oh - Thanks. Well.</dialogue>
<parenthetical>( a wink to Philby . )</parenthetical>
<dialogue>. Time's a wastin'!</dialogue>
<scene_description>With that he is out the door . Mrs. Watchit and Philby stand for a moment , catching their breath after Alexander 's tornado of enthusiasm .</scene_description>
<character>PHILBY</character>
<dialogue>I wonder if that poor girl has any idea what she's in for?</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>For our sake, I hope not.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIFTH AVENUE - NIGHT</stage_direction>
<scene_description>The many luxurious horse - drawn carriages glide along Fifth Avenue with stately dignity . Rich pedestrians stroll along the sidewalk . Alexander leaps out of a carriage and begins to stride toward an entrance to Central Park . He passes a Flower Seller .</scene_description>
<character>FLOWER SELLER</character>
<dialogue>Have some flowers, sir?</dialogue>
<character>ALEXANDER</character>
<dialogue>Not tonight, thanks.</dialogue>
<scene_description>He continues on toward the entrance to the Park - stops .</scene_description>
<character>ALEXANDER</character>
<dialogue>No - I promised her flowers.</dialogue>
<scene_description>He turns around and hurries back toward the Flower Seller . But . A sudden mechanical clanking sound makes him stop dead in his tracks . The Siren 's song . He turns . Pulled over to the curb is a magnificent Stanley Steamer automobile . It is a glorious collection of bronze and copper and steel and wooden dashboard and leather upholstery and groaning steam tank and clanking engine . Alexander stares , transfixed . Alexander glances at his watch - running late - but he just ca n't resist this new marvel . Flowers forgotten , Alexander steps to the MOTORIST , currently tinkering with the car 's engine .</scene_description>
<character>ALEXANDER</character>
<dialogue>It's spectacular.</dialogue>
<character>MOTORIST</character>
<dialogue>Thanks. Old Nell's my girl all right. Al least when she decides to move, stubborn beast.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( walking around the car , admiring . )</parenthetical>
<dialogue>I've only read about them - and the new internals.</dialogue>
<character>MOTORIST</character>
<dialogue>Now that's what I call plain crazy - internal combustion is just too dangerous, all those little explosions, never catch on.</dialogue>
<character>ALEXANDER</character>
<dialogue>How do you keep the water temperature stable?</dialogue>
<character>MOTORIST</character>
<dialogue>There's a cantilevered gasket on the -</dialogue>
<scene_description>Suddenly - the car lurches forward dangerously - Alexander instantly grabs the brake lever and hauls it back - the car screeches to a stop .</scene_description>
<character>MOTORIST</character>
<dialogue>God - could have killed me - bad girl, Nell! How did you know to do that?</dialogue>
<character>ALEXANDER</character>
<dialogue>I just love mechanical things.</dialogue>
<character>MOTORIST</character>
<dialogue>Well, much obliged - I'm always forgetting the confounded brake - say, if you wait until I get her up and running I'll give you a perambulation. Tell you all about her.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( pained . )</parenthetical>
<dialogue>Ahhh. I'm afraid I've got a prior commitment.</dialogue>
<character>MOTORIST</character>
<dialogue>Next time then. We perambulate here most every night.</dialogue>
<character>ALEXANDER</character>
<dialogue>You have my word.</dialogue>
<parenthetical>( he takes a last , longing look at the car . )</parenthetical>
<dialogue>. She's just a beauty.</dialogue>
<scene_description>He sprints off into Central Park .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAVILION - CENTRAL PARK - NIGHT</stage_direction>
<scene_description>A full moon shines in the night sky . Gentle period music from a band , glowing lanterns hanging down and the swaying shapes of dancers . We are at a beautiful pavilion in Central Park . A magical antique setting of ease and grace . White linen suits and straw boaters . Parasols and high - button shoes . A beautiful woman stands with her back to us watching the dancers . she slowly turns . EMMA smiles . Alexander stands , just watching her , bewitched . Then they come together and kiss lightly , as befits 1895 decency .</scene_description>
<character>EMMA</character>
<dialogue>You're late.</dialogue>
<character>ALEXANDER</character>
<dialogue>Got here as soon as I could.</dialogue>
<character>EMMA</character>
<dialogue>Dance with me.</dialogue>
<character>ALEXANDER</character>
<dialogue>You know I ca n't.</dialogue>
<character>EMMA</character>
<dialogue>Trust me.</dialogue>
<scene_description>She takes his hand and they dance . She is a natural dancer , smooth and gentle . He does his best , following her minute cues with great sensitivity . As they dance :</scene_description>
<character>EMMA</character>
<dialogue>You promised me flowers.</dialogue>
<character>ALEXANDER</character>
<dialogue>What?</dialogue>
<character>EMMA</character>
<dialogue>You promised me flowers tonight, do n't you even remember?</dialogue>
<character>ALEXANDER</character>
<dialogue>Sorry. I was distracted.</dialogue>
<character>EMMA</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Well there's something new.</dialogue>
<character>ALEXANDER</character>
<dialogue>I need to. um. talk to you.</dialogue>
<character>EMMA</character>
<dialogue>Talk away, Professor.</dialogue>
<character>ALEXANDER</character>
<dialogue>Not here. alone. May we? Please?</dialogue>
<scene_description>She leads him from the dance floor .</scene_description>
<character>EMMA</character>
<dialogue>Let's walk through the park.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK - PATH - NIGHT</stage_direction>
<scene_description>Alexander and Emma walk through the park , arm in arm , enjoying the exquisite night . Flickering gaslights provide a dim illumination on the path they follow as it winds through the dark foliage .</scene_description>
<character>EMMA</character>
<parenthetical>( looking at constellations . )</parenthetical>
<dialogue>. Orion's belt, pointing to the earth. You see it over the rocks there? Sailors consider that an omen of good fortune ; the hunter watching over them on their travels. Are you listening to me, Alex?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( glancing up . )</parenthetical>
<dialogue>What? Yes - Orion - good fortune - sailors.</dialogue>
<character>EMMA</character>
<dialogue>All right, what is it now?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>Emma, you know I have great. admiration for you.</dialogue>
<character>EMMA</character>
<dialogue>Admiration? My my.</dialogue>
<character>ALEXANDER</character>
<dialogue>I mean. well. affection.</dialogue>
<character>EMMA</character>
<dialogue>You're getting warmer.</dialogue>
<scene_description>He stops .</scene_description>
<character>ALEXANDER</character>
<dialogue>Oh dammit, I love you! I ca n't eat, I ca n't sleep, I ca n't think, all I do is moon over you and - hum, apparently.</dialogue>
<character>EMMA</character>
<parenthetical>( mock seriously . )</parenthetical>
<dialogue>And what do you propose, Professor? Shall we hold a seminar to study the problem?</dialogue>
<scene_description>A beat . He takes a huge gulp of air and then commits himself - he dramatically drops to one knee - and then in a great rush of words :</scene_description>
<character>ALEXANDER</character>
<dialogue>Marry me. I'll do everything I can to make you happy and build a life and have babies and make you proud and be worthy of you and. ah. make you happy, did I say that?</dialogue>
<scene_description>She looks down at him , tears of joy coming to her eyes .</scene_description>
<character>EMMA</character>
<dialogue>Oh, Professor.</dialogue>
<scene_description>He leaps up and embraces her . A long , joyous embrace . He stops -</scene_description>
<character>ALEXANDER</character>
<dialogue>Wait, I have something for you.</dialogue>
<scene_description>He searches through his many pockets - coat , vest , pants - begins plucking out the loose scraps of paper covered with equations - but ca n't seem to find the jewelry box . She watches him for a moment , amused , loving him all the more for his befuddlement .</scene_description>
<character>EMMA</character>
<dialogue>You know, the moment is rather dying here.</dialogue>
<character>ALEXANDER</character>
<dialogue>Hold on. I know I have it.</dialogue>
<scene_description>He finally finds the velvet jewelry box . Snaps it open . Inside is a lovely moonstone ring . The gem is a pale , translucent blue mirroring the full moon above .</scene_description>
<character>ALEXANDER</character>
<dialogue>I know it's not a diamond but -</dialogue>
<character>EMMA</character>
<dialogue>A moonstone.</dialogue>
<character>ALEXANDER</character>
<dialogue>Your birth stone. I thought -</dialogue>
<scene_description>She holds a finger to his lips .</scene_description>
<character>EMMA</character>
<dialogue>You thought right.</dialogue>
<scene_description>He slips the ring on her finger . She holds it up to the moonlight , deeply moved .</scene_description>
<character>EMMA</character>
<dialogue>Look, it matches the moon.</dialogue>
<scene_description>Then . A low voice from the thick trees next to them .</scene_description>
<character>VOICE</character>
<dialogue>I just might cry.</dialogue>
<scene_description>Alexander and Emma turn to see a tall THIN MAN stepping from the trees . His hands are buried deep in his overcoat pockets .</scene_description>
<character>THIN MAN</character>
<dialogue>Could n't help but overhearing. Two fine young people starting out on the road of life. I wish you the very best.</dialogue>
<character>ALEXANDER</character>
<dialogue>Thank you.</dialogue>
<character>THIN MAN</character>
<dialogue>I hope it's a happy journey for you both - and much as I hate to do this, moved as I am by your protestations of love, I'll be needing your money now.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Sir?</dialogue>
<character>THIN MAN</character>
<dialogue>And your jewelry too. I guess we could consider this your first little bump on the road to married bliss.</dialogue>
<character>ALEXANDER</character>
<dialogue>I do n't understand.</dialogue>
<scene_description>The Thin Man removes a hand from his pocket . He holds a small revolver .</scene_description>
<character>THIN MAN</character>
<dialogue>Now do n't make a scene. there's no cause for that. Just hand over your wallet, will you?</dialogue>
<scene_description>He holds the gun up , lethal , a sudden glint as the barrel shines in the moonlight .</scene_description>
<character>THIN MAN</character>
<dialogue>Did you hear me, lad?</dialogue>
<character>ALEXANDER</character>
<dialogue>All right, all right - here - everything -</dialogue>
<scene_description>Alexander swiftly gives the man his billfold .</scene_description>
<character>THIN MAN</character>
<dialogue>And the watch.</dialogue>
<scene_description>Alexander hands over his pocket watch as the Thin Man eyes Emma 's ring .</scene_description>
<character>THIN MAN</character>
<dialogue>And the ring.</dialogue>
<character>EMMA</character>
<dialogue>No -</dialogue>
<character>THIN MAN</character>
<dialogue>I'm afraid so, darling. Maybe he'll buy you a diamond now.</dialogue>
<character>ALEXANDER</character>
<dialogue>Please, not that - look -</dialogue>
<scene_description>The Thin Man pulls back the hammer of the revolver . Click .</scene_description>
<character>THIN MAN</character>
<dialogue>Give me the ring.</dialogue>
<character>EMMA</character>
<dialogue>No.</dialogue>
<scene_description>The Thin Man suddenly lurches forward and grabs Emma 's arm - trying to wrench the ring violently from her finger - Alexander instantly springs to her defense - a struggle - The gun fires - the flash of cruel , phosphorous light momentarily illuminating them all starkly - Emma recoils to Alexander - Alexander looks at the Thin Man , disbelieving - The Thin Man glares at him -</scene_description>
<character>THIN MAN</character>
<dialogue>Why did you do that?! It's only a ring!</dialogue>
<scene_description>The Thin Man races away into the darkness . Alexander holds Emma , she clings to him , blood flowing over his fingers . He snatches her up and carries her - running urgently through some trees to a carriage path beyond - Carriages filled with young lovers float past .</scene_description>
<character>ALEXANDER</character>
<dialogue>HELP ME! PLEASE!</dialogue>
<scene_description>An empty carriage finally stops - Alexander lurches into the carriage with Emma -</scene_description>
</scene>
<scene>
<stage_direction>INT./ EXT. CARRIAGE - CENTRAL PARK - NIGHT</stage_direction>
<scene_description>- Alexander holds Emma in the back of a carriage . He urgently screams to the driver :</scene_description>
<character>ALEXANDER</character>
<dialogue>GET TO COLUMBUS HOSPITAL! NOW!</dialogue>
<scene_description>The driver whips his horses and the carriage takes off .</scene_description>
<character>ALEXANDER</character>
<dialogue>PLEASE HURRY! WE'VE NO TIME!</dialogue>
<character>CARRIAGE DRIVER</character>
<dialogue>I'M TRYING SIR -!</dialogue>
<scene_description>Emma clings to Alexander , her hand clasped tight to his vest , blood flowing out of her , pooling . Her dying eyes just watching him .</scene_description>
<character>ALEXANDER</character>
<dialogue>GOD HURRY PLEASE - JUST GET OUT OF THE PARK -</dialogue>
<scene_description>And then the carriage slows - stops - Alexander stabs his head out the window and sees - A long line of carriage ahead of them . A traffic jam . Pairs of lovers enjoying the beautiful night , gazing up at the stars .</scene_description>
<character>ALEXANDER</character>
<dialogue>Oh God.</dialogue>
<scene_description>A distant bell begins to toll . Time inexorably , cruelly moving on .</scene_description>
<character>ALEXANDER</character>
<dialogue>PLEASE - HURRY!</dialogue>
<scene_description>The driver whips the horse - tries to maneuver the carriage through the traffic jam - a jumble of horses - their horse shies - ca n't get through . Emma 's hand clutches Alexander 's vest , fingers moving slightly . The bell continues to toll . Time running out . Her lips move noiselessly , her eyes stare up at him , praying for one parting glance . He continues to shout to the driver , fighting time , not looking at her :</scene_description>
<character>ALEXANDER</character>
<parenthetical>( desperate . )</parenthetical>
<dialogue>FOR GOD SAKE DO SOMETHING! - JUST - GET OFF THE PATH!</dialogue>
<character>CARRIAGE DRIVER</character>
<dialogue>I'm trying, sir! - I ca n't get through!</dialogue>
<scene_description>Alexander glances down to Emma . She is dead . Her eyes open . He stares at her . Not wanting to believe . The bell continues to toll . Fade to Black . And then a strange sound in the darkness . The roar of a tiger - distorted , echoing . Then another sound . Click - clack , click - clack , click - clack . Chalk racing across a blackboard . Title : FOUR YEARS LATER . Fade up to .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - LAB - DAY</stage_direction>
<scene_description>An endless equation - Alexander 's hand speeds across a blackboard - manic , ferocious . We pull back to reveal . An enormous blackboard , floor to ceiling , two stories high , filling one wall - and two other blackboards , filling two other walls , also covered with equations . A shocking flash of Alexander 's fevered mind . He stands with his back to us , perched high on a rolling library ladder , his hand violently scrawling numbers in a frenzied rush . He pulls the ladder along as he works , totally absorbed . Title : AUGUST 7 , 1899 - 5:23 p.m. . The drapes around the room are drawn tight against any hint of the day outside . Windows sealed . In the flickering gaslight we see a cacophony of scientific equipment and experiments filling every inch of the chamber below him , two stories filled with beakers and test tubes ; microscopes and coils ; engineering blueprints and gyroscopes ; and the huge chalkboards crowded with layers upon layers of intense calculus and geometry and equations . There is another large part of the lab , jutting off from the house . A closed curtain conceals this part of the lab . And all the clocks have stopped . The steady metronomic cadence that was the aural life of Alexander 's house is no more . We see a number of clocks around the lab . All have been allowed to run down . A knock at the door - Alexander ignores it - another knock . He finally turns from the blackboard .</scene_description>
<character>ALEXANDER</character>
<dialogue>What?!</dialogue>
<scene_description>And we see him - Alexander is very different now : cadaverous and intense , a face that looks as if it has not seen the sun in years . And eyes marked by tragedy . Mrs. Watchit enters . The years of dealing with his heartbreak have taken a toll on her as well .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>Sir, Mr. Philby is here.</dialogue>
<character>ALEXANDER</character>
<dialogue>Here?</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>Yes, sir, he -</dialogue>
<character>ALEXANDER</character>
<dialogue>Tell him to go away -</dialogue>
<scene_description>Philby pushes past Mrs. Watchit . He wears an overcoat and a bowler hat .</scene_description>
<character>PHILBY</character>
<dialogue>I wo n't go away, Alex.</dialogue>
<scene_description>Alexander stares down at Philby . Philby is shocked at the change in his friend .</scene_description>
<character>ALEXANDER</character>
<dialogue>All right, Mrs. Watchit. You can go.</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>May I get you some -</dialogue>
<character>ALEXANDER</character>
<dialogue>That'll be all.</dialogue>
<scene_description>She leaves the lab .</scene_description>
<character>PHILBY</character>
<dialogue>My God, Alex, what's happened to you?</dialogue>
<scene_description>Alexander climbs down the ladder as :</scene_description>
<character>ALEXANDER</character>
<dialogue>I've been working.</dialogue>
<character>PHILBY</character>
<dialogue>I came by the house every day after the funeral. And then every week. Then every other month. Then I stopped coming. Did you even notice?</dialogue>
<character>ALEXANDER</character>
<dialogue>I'm sorry, David.</dialogue>
<character>PHILBY</character>
<dialogue>It hurt me, Alex. Very much.</dialogue>
<character>ALEXANDER</character>
<dialogue>Then why are you here?</dialogue>
<scene_description>Alexander proceeds to obsessively tidy the lab , almost hiding things from Philby . Philby is increasingly disturbed by this behavior , as :</scene_description>
<character>PHILBY</character>
<dialogue>It's my Jamie's birthday today. Your godson. He's nine years old. At his party he asked me if Uncle Alex was coming. I told him no. Then he asked me if you did n't like him anymore.</dialogue>
<character>ALEXANDER</character>
<dialogue>For God's Sake, David -</dialogue>
<character>PHILBY</character>
<dialogue>There are some things I need to say to you. You may not like hearing them, but I do n't know if I'll ever get another chance -</dialogue>
<character>ALEXANDER</character>
<dialogue>You care for me. And you're concerned. And I have to start living my life again. I hear it from Mrs. Watchit every day.</dialogue>
<character>PHILBY</character>
<dialogue>But you wo n't listen. You wo n't see me, you wo n't see anyone. What would you like me to tell Jamie? That Uncle Alex is busy? That Uncle Alex is hiding up there in his laboratory -</dialogue>
<character>ALEXANDER</character>
<dialogue>Hiding?</dialogue>
<character>PHILBY</character>
<dialogue>You know that's what it is. Mrs. Watchit tells me you're here at all hours - day and night -</dialogue>
<character>ALEXANDER</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>That's because I'm working. You remember that? You used to care about your work.</dialogue>
<character>PHILBY</character>
<dialogue>I care more about my life. And yours.</dialogue>
<scene_description>A difficult beat .</scene_description>
<character>PHILBY</character>
<dialogue>Alex. Alex, please stand still and look at me.</dialogue>
<scene_description>Alexander stops . Looks at Philby .</scene_description>
<character>PHILBY</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>What happened to Emma will never go away. It's part of you now and it always will be. But you have to learn to live with it.</dialogue>
<character>ALEXANDER</character>
<dialogue>I live with it every minute of every day.</dialogue>
<character>PHILBY</character>
<dialogue>I know that -</dialogue>
<character>ALEXANDER</character>
<dialogue>You do n't know that. You could n't possibly. If I'd only done this, or that, if I'd arrived ten minutes earlier, or later. If we'd taken a different path or I had n't fought the man for the ring. You have no idea what it is to relive every moment of that night - consider every action you made - and every one of them wrong.</dialogue>
<character>PHILBY</character>
<dialogue>It was n't your fault, Alex.</dialogue>
<character>ALEXANDER</character>
<dialogue>Was n't it? I have a dream almost every night now. The Lady and the Tiger, you remember that story? In the dream I'm alone in a huge chamber with a thousand doors. Behind every door, save one, is a tiger. I have to make the decision. Which door conceals Emma? And I just stand there. looking at the doors.</dialogue>
<character>PHILBY</character>
<dialogue>Do you find her?</dialogue>
<scene_description>Alexander does n't answer . A beat .</scene_description>
<character>PHILBY</character>
<dialogue>Alex, nothing will ever change what happened, but -</dialogue>
<character>ALEXANDER</character>
<dialogue>That's where you're wrong. I will change it.</dialogue>
<scene_description>A beat . Philby looks at him . Alexander offers nothing more , continues to scurry around the lab .</scene_description>
<character>ALEXANDER</character>
<dialogue>David. I appreciate your concern, I do. But I ask you to have faith in me. Just for a little while longer. I'm working on something now. Something. extraordinary.</dialogue>
<character>PHILBY</character>
<dialogue>What is it?</dialogue>
<character>ALEXANDER</character>
<dialogue>You would n't believe me.</dialogue>
<character>PHILBY</character>
<dialogue>I would.</dialogue>
<character>ALEXANDER</character>
<dialogue>I'll tell you what. come by for dinner in a week and I'll show you.</dialogue>
<character>PHILBY</character>
<dialogue>Why do n't you come to our house instead?</dialogue>
<character>ALEXANDER</character>
<dialogue>I ca n't do that -</dialogue>
<character>PHILBY</character>
<dialogue>When's the last time you were outside this house -.</dialogue>
<parenthetical>( notes a disheveled cot in the corner . )</parenthetical>
<dialogue>- or this room?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( tense . )</parenthetical>
<dialogue>I ca n't leave when I'm so close.</dialogue>
<character>PHILBY</character>
<dialogue>There are trains leaving Grand Central every then minutes. A dozen liners leaving the harbor. Get on one of them. Go to Singapore, Scotland, Manchuria, anywhere, just away from here -</dialogue>
<character>ALEXANDER</character>
<dialogue>That's absurd -</dialogue>
<character>PHILBY</character>
<dialogue>You're dying here. Do n't you see that?!</dialogue>
<scene_description>A tense beat .</scene_description>
<character>ALEXANDER</character>
<dialogue>You wo n't say that in a week.</dialogue>
<character>PHILBY</character>
<dialogue>I pray to God that in a week you're not here.</dialogue>
<scene_description>A beat .</scene_description>
<character>PHILBY</character>
<dialogue>All right. I'll come for dinner. And in the meantime. you'll think about what we discussed?</dialogue>
<character>ALEXANDER</character>
<dialogue>In a week. we will never have had this conversation.</dialogue>
<scene_description>Philby looks at him , mystified and concerned .</scene_description>
<character>ALEXANDER</character>
<dialogue>Good night, David.</dialogue>
<character>PHILBY</character>
<dialogue>Good night, Alex.</dialogue>
<scene_description>Philby turns to go .</scene_description>
<character>ALEXANDER</character>
<dialogue>Still wearing that bowler hat.</dialogue>
<scene_description>Philby stops . Turns back .</scene_description>
<character>PHILBY</character>
<dialogue>It's raining outside. Open the drapes and you might know that.</dialogue>
<scene_description>He goes . Alexander stands for a moment .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - LAB - NIGHT</stage_direction>
<scene_description>Alexander sits , drinking a glass of brandy . He is staring at the curtain concealing the other part of the lab . We notice that all the chalkboards have been wiped clean . He drains the glass of brandy . Bon voyage . Then he rises and moves to the curtain . He pulls the curtain back and reveals . The magnificent creation itself : The Time Machine . We take in this beautiful creation of curving brass and thick velvet , elegant lines and a hopeful feeling of Victorian futurism , as Alexander moves to the windows by the machine . He slowly pulls back all the drapes on the windows . The Time Machine sits in an area of the lab that juts off , like a greenhouse with windows offering a generous view of the world around him : his quiet garden and the small dress shop across the street . Alexander moves to the Time Machine . He sits , nervously settling in . The brass control panel ahead of him has a simple display showing the year and date - AUGUST 7 , 1899 - and a control lever that moves forward and back . A beat . He takes a deep breath and then . reaches for the control lever -</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAVILION - CENTRAL PARK - NIGHT</stage_direction>
<scene_description>All is as it was . Gentle period music from a band , glowing lanterns hanging down and the swaying shapes of dancers . A beautiful woman stands with her back to us watching the dancers . she slowly turns . Emma smiles . Alexander stands , just watching her , his eyes wide , incredibly moved . We note that Alexander wears the clothes he was wearing when he got into the Time Machine . It is the older Alex , pale and thin . She goes to him and kisses him .</scene_description>
<character>EMMA</character>
<dialogue>You're late.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( with difficulty . )</parenthetical>
<dialogue>Got here as soon as I could.</dialogue>
<character>EMMA</character>
<dialogue>Dance with me.</dialogue>
<character>ALEXANDER</character>
<dialogue>You know I ca n't.</dialogue>
<character>EMMA</character>
<dialogue>Trust me.</dialogue>
<scene_description>She takes his hand and they dance . She is , again , a natural dancer , smooth and gentle . He tries to follow her minute cues but the experience of holding her in his arms again is almost too much for him . He is overcome with emotion .</scene_description>
<character>EMMA</character>
<dialogue>Alex, what is it?</dialogue>
<character>ALEXANDER</character>
<dialogue>Holding you. again.</dialogue>
<character>EMMA</character>
<dialogue>Darling.</dialogue>
<character>ALEXANDER</character>
<dialogue>I need. to talk to you.</dialogue>
<character>EMMA</character>
<dialogue>All right.</dialogue>
<character>ALEXANDER</character>
<dialogue>Not here. alone. Please.</dialogue>
<scene_description>She leads him from the dance floor .</scene_description>
<character>EMMA</character>
<dialogue>Let's walk through the park.</dialogue>
<character>ALEXANDER</character>
<dialogue>No. let's walk through the city.</dialogue>
<character>EMMA</character>
<parenthetical>( a little mystified . )</parenthetical>
<dialogue>All right.</dialogue>
<scene_description>He takes her hand and leads her away from the pavilion - Then he stops , sees he must lead her through one of a number of tree - lined paths out of the park . The gaping darkness of the park is strangely ominous . Behind each door a tiger .</scene_description>
<character>EMMA</character>
<dialogue>Alex, what is it?</dialogue>
<character>ALEXANDER</character>
<dialogue>Nothing - let's just get out of the park.</dialogue>
<scene_description>He takes her arm and makes his decision - he pulls her quickly down one of the paths .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK - PATH - NIGHT</stage_direction>
<scene_description>Alexander pulls Emma toward an exit to the city , going as quickly as he can . His eyes dart nervously into the dark trees around them .</scene_description>
<character>EMMA</character>
<dialogue>Alex?!</dialogue>
<character>ALEXANDER</character>
<dialogue>Shhh. Let's just hurry on here. We do n't have to talk, all right?</dialogue>
<scene_description>She stops , pulling him .</scene_description>
<character>EMMA</character>
<dialogue>Why do we have to race for heaven's sake?!</dialogue>
<character>ALEXANDER</character>
<parenthetical>( looking around , alert . )</parenthetical>
<dialogue>I want to get into the light, that's all. Please.</dialogue>
<scene_description>He pulls her along .</scene_description>
<character>EMMA</character>
<dialogue>This running along is all well for you - you're not wearing a corset.</dialogue>
<scene_description>Then a sound stops him - an unholy echo through the night , tormenting him from his nightmares - the roar of a tiger .</scene_description>
<character>ALEXANDER</character>
<dialogue>My God.</dialogue>
<character>EMMA</character>
<dialogue>Alex, it's just the zoo.</dialogue>
<scene_description>He grabs her and pulls more quickly , a little desperate .</scene_description>
<character>ALEXANDER</character>
<dialogue>Please, Emma, it's just a little further.</dialogue>
<scene_description>He hurries her along . They finally reach the exit and emerge from Central Park to Fifth Avenue .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIFTH AVENUE - PARK EXIT - NIGHT</stage_direction>
<scene_description>He stops , looks around , sees lots of pedestrians and carriages and gaslight . Safety . Victory . He breathes deeply and smiles . He offers her his arm .</scene_description>
<character>EMMA</character>
<dialogue>Oh, now you're all gallant.</dialogue>
<scene_description>She shakes her head and then takes his arm . They stroll .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIFTH AVENUE - NIGHT</stage_direction>
<scene_description>A bit later . Alexander and Emma make their way down this most magnificent of boulevards . He holds her arm tightly , as if in fear of losing her again .</scene_description>
<character>EMMA</character>
<dialogue>You're so pale. I hope you're not coming down with something.</dialogue>
<character>ALEXANDER</character>
<dialogue>No, I'm fine. I'm.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>. wonderful. Just walking down the street with you again.</dialogue>
<character>EMMA</character>
<dialogue>We took a walk three days ago.</dialogue>
<character>ALEXANDER</character>
<dialogue>Not like this. Never like this. Emma, I swear to you - if I've learned one thing, it's that moments like this are rare. And I will thank God for them every moment of every day.</dialogue>
<scene_description>She is confused at his strange intensity , but respects his seriousness .</scene_description>
<character>EMMA</character>
<dialogue>They are rare.</dialogue>
<parenthetical>( she glances up at the constellations above . )</parenthetical>
<dialogue>. Orion's belt, pointing to the earth -</dialogue>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>The sailor's omen of good fortune. The hunter watching over him on his travels.</dialogue>
<character>EMMA</character>
<dialogue>So it's astronomy now, is it?</dialogue>
<scene_description>They are passing by the Stanley Steamer at the curb Alexander saw earlier . The Motorist is still tinkering with the engine .</scene_description>
<character>EMMA</character>
<dialogue>Heavens, look at that now!</dialogue>
<character>ALEXANDER</character>
<dialogue>I've seen it.</dialogue>
<scene_description>He continues escorting her along .</scene_description>
<character>EMMA</character>
<dialogue>Now I know you're ill - passing up the chance to explore some new gadget.</dialogue>
<character>ALEXANDER</character>
<dialogue>It's only a machine.</dialogue>
<scene_description>She stops . Genuinely concerned now .</scene_description>
<character>EMMA</character>
<dialogue>Alexander. tell me what's going on. Is something wrong?</dialogue>
<scene_description>He looks at her deeply :</scene_description>
<character>ALEXANDER</character>
<dialogue>No, Emma. Everything is finally right. Tonight we're going to start all over again. And this time. I'm never going to let you go.</dialogue>
<scene_description>He kisses her deeply . She is shocked at this public display of affection , pulling back slightly .</scene_description>
<character>EMMA</character>
<dialogue>Alex. people are staring.</dialogue>
<character>ALEXANDER</character>
<dialogue>Let them.</dialogue>
<scene_description>He kisses her again .</scene_description>
<character>EMMA</character>
<dialogue>Let them.</dialogue>
<character>ALEXANDER</character>
<dialogue>I have something for you.</dialogue>
<scene_description>He pats his pockets , feels the jewelry box , smiles . Then he notes the Flower Seller he saw before .</scene_description>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Wait - I want to do it right this time - stay here, do n't move.</dialogue>
<scene_description>Emma stands , mystified , as he goes to the Flower Seller .</scene_description>
<character>FLOWER SELLER</character>
<dialogue>Have some flowers, sir?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes, as many as you have!</dialogue>
<scene_description>A sudden sound makes him spin back - A frenzy of movement - on the curb , the Stanley Steamer suddenly lurches forward - the brake not set - the Motorist jumps out of the way - the Steamer slams forward to the street full of horse - drawn carriages - a horse rears and bolts - panic , screams - the horse lurches to the curb - toward Emma - the carriage topples over - Burying Emma in a violent crash . Alexander races to Emma - too late . A crowd begins to form . Alexander folds himself over her in wordless torment .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - LAB - NIGHT</stage_direction>
<scene_description>Alexander sits in his lab , glaring at the Time Machine . Tormented . Eyes haunted . Drinking a glass of brandy . Not his first . He glares at the Time Machine , his fury building - then he bolts up - flings the brandy glass away from him - it shatters - strides across the lab - throws himself into the Machine .</scene_description>
<character>ALEXANDER</character>
<dialogue>Time heals all wounds - then let it!</dialogue>
<scene_description>He SLAMS the control lever forward violently - in fury - a high - pitched whine - building - the world undulating around Alexander - Suddenly all the silent clocks in Alexander 's lab begin to tick - TIME TRAVEL Alexander 's spine immediately arches back - he screams in pain - The molecules of his body revolt as they are torn forward through time - as time tears through him - his whole body suffers as he bends and floats and rips through time - when he turns his head his whole face seems to elongate - He 's going too fast - he eases back on the control lever - the pain receding somewhat - And the world around him changes - The sun rises and then sets and then rises ; in his garden snails zoom past flowers that bloom and die in an instant ; apples grow ripe and then fall and decay in his garden ; a complicated spider 's web grows in a corner of his laboratory in seconds - The sun and moon now shoot through the sky , a strobe - like flashing of day and night , finally settling into a strange , perpetual grey light . He begins to control the lever a bit more - it is sensitive to his touch - soon he can glance around a bit without absolute agony - and then with no pain at all - In the window of the dress shop across the street he watches a female mannequin as she is redressed , her clothes morphing from style to style , a swirl of styles and outfits . And new buildings spring up across the street as the seasons pass in a blur , summer - fall - winter - spring - summer - fall - winter - spring . His journey is accompanied by a strange symphony - sound bending around him ; voices , music , period radio news reports , industry . Sounds that float and flit through his consciousness , distorted , barely recognizable . And bizarre shapes move through his world as well - ghost like apparitions - strange and eerie as they bend and morph through space - people . He can almost control the appearance of the people as he gently modulates his speed with the control lever - he sees Mrs. Watchit bending through time - Philby , concerned - then people he does n't know , architects with blueprints , pointing - Then the world directly around him is changing - his lab changing - walls being torn down - His lab is now a GARAGE - a series of swiftly morphing cars denoting the passing time as years spin by on his control panel display in a dizzying blur : 1905 . 1919 . 1924 . In the distance he sees New York City expanding - the Chrysler Building -LRB- 1930 -RRB- and the Empire State Building -LRB- 1931 -RRB- shoot up . Then the garage is torn down around him - another construction going up - larger - a RESTAURANT . He modulates the control lever - controlling the ebb and flow of time - the patrons of the restaurant huddled around a radio , a news report , FDR 's voice . `` December 7 . A day that will live in infamy . '' He notes a store going up next to the dress shop : a newspaper shop - sees banner headlines as the years sweep past - D - DAY ! - VE DAY ! - VJ DAY ! - an enormous celebration in the street . The years spin by on his control panel : 1946 . 1953 . 1957 . The strange aural symphony continues as he hears music and news , the music evolving from swing to early rock . The restaurant dissolves around him and a HOUSE grows up - he is in a den - a black - and - white TV on - Alexander gapes - slowly , slightly . On the TV : JFK 's funeral . in the den he sees the shape of a family nestled together , watching the funeral , weeping . He presses on . The years spin by on his control panel : 1963 . 1966 . 1969 . On the new color TV in the den : news reports of the Apollo 11 , Neil Armstrong stepping on the moon . `` One small step for man . '' Alexander stares , amazed . The aural and visual symphony continues . rock segueing to disco , Vietnam news . He is shocked to see the mannequin in a miniskirt ! He sees the dress shop becoming a department store and the newspaper store becoming a high tech electronics shop - On a bank of TVs in the electronics shop window he sees Nixon leaving the White House for the last time , August 9 , 1974 , walking to the helicopter , the ferocious victory `` V '' . Then Alexander is suddenly outside as the house is demolished - quickly eroding around him - he is in a VACANT LOT . He is stunned to see the towers of the World Trade Center looming in the distance - the rollerskaters with boom boxes swirling past with the grace of ballet dancers - and something so fantastical that Alexander can only gape . An airplane soaring above . The years zip by on his control panel : 1979 . 1985 . 1989 . More disjointed sounds and images , TV reports and radio news and music : oil crisis , plop - plop - fizz - fizz - oh - what - a - relief it - is , Ronald Reagan , punk rock , Gulf War , Clinton . Then order from the chaos - the overgrown vacant lot is landscaped - becoming a beautiful PARK . He slows a bit , almost stopping - intrigued by a transformation across the street : the banks of TV screens are replaced by an informational kiosk of some kind . The control panel display clicks more slowly . February 2005 . April 2005 . May 2005 . Alexander continues to stare at the information kiosk as he comes to a stop , briefly , at : MAY 24 , 2005</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK (2005) - DAY</stage_direction>
<scene_description>Alexander sits unnoticed in the Time Machine as he watches a group of schoolchildren and their teacher gathering around the informational kiosk . It is a public information booth with a video screen showing the word VOX . A glowing red blip within the `` O '' . The Vox kiosk is activated when the TEACHER steps in front of a sensor eye .</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>May I help you?</dialogue>
<character>TEACHER</character>
<dialogue>Yes, please. tell us about the terraforming.</dialogue>
<scene_description>The children watch , delighted , as images of the moon and renderings and videos of some massive engineering project appear on the Vox screen .</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The joint United Nations/Microsoft terraforming operation began nine months ago with the Moon Base Alpha landings. After establishing Plymouth Center the terraformers began colony construction. Can I tell you more?</dialogue>
<character>CHILD</character>
<dialogue>What are they doing now?</dialogue>
<scene_description>Alexander watches , stunned . A machine that converses with people .</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Currently, the terraformers are preparing the first excavation demolitions for the subterranean chambers. It is projected that the first lunar colonists should be landing within the decade. Can I tell you more?</dialogue>
<scene_description>Alexander gapes at the Vox kiosk . Magnificent renderings of a vast underground metropolis . People living on the moon . He must see this grand adventure out . He presses on . TIME TRAVEL But almost immediately the Time Machine is lurching and buffeting - a strange darkness spreading over it as air raid sirens scream - Alexander is alarmed - he begins to pull back on the control lever - the date on the display clicks to : AUGUST 26 , 2007 . And Alexander and the Time Machine suddenly topple over as the ground lurches below them -</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK (2007) - DAY</stage_direction>
<scene_description>Alexander looks up from the grass . Right into the eyes of a small albino alligator . The alligator blinks at him and then slithers off , a brood of other alligators with it . Alexander glances to the street - sees an enormous pack of rats emerging from a sewer drain - a thick , undulating carpet of rats - And Alexander feels the vibrations . The earth , a steady rumble . His eye is drawn to a small puddle of water near him . The water swirls around strangely and then - whoosh - forms into a vortex and spirals away into the sky - Alexander follows the water with his eyes and finally sees it . The Moon . Filling the sky as if it were falling toward the Earth . Parts of the moon are beginning to sheer off - violently peeling away like the skin of an onion - as it impacts the gravitational Roche Limit , 7,300 miles above the Earth . -LRB- The moon is currently 230,000 miles above the Earth . -RRB- The people on the street race around , tense and desperate , flowing along the streets and sidewalks . National Guard soldiers are trying to retain order , urgent voices into megaphones - Alexander hauls himself up - and races into the mob -</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET (2007) - DAY</stage_direction>
<scene_description>He grabs a man -</scene_description>
<character>ALEXANDER</character>
<dialogue>What's going on -?!</dialogue>
<scene_description>The Man pulls away from him , terrified - Alexander is bustled along the sidewalk in the mass of people - He turns to a woman :</scene_description>
<character>ALEXANDER</character>
<dialogue>Please tell me - what's happening?!</dialogue>
<scene_description>She ignores him - he is buffeted along in the mob of people - then , a voice , remarkably calm in the chaos , a familiar voice :</scene_description>
<character>CALM VOICE</character>
<dialogue>May I help you? May I help you? May I help you?</dialogue>
<scene_description>Alexander pushes his way through the frenzy of people toward the voice . Finds himself at . The front steps of the Fifth Avenue New York Public Library . The twin stone lions looming over the chaos on the street . The calm voice is coming from another Vox kiosk , an upgrade of the one he saw previously . Alexander unintentionally activates the unit by stepping in front of a red sensor eye .</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>May I help you?</dialogue>
<character>ALEXANDER</character>
<dialogue>I - what are you?!</dialogue>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I am the Fifth Avenue Public Library informational kiosk. VOX registration NY - 114. May I help you?</dialogue>
<character>ALEXANDER</character>
<dialogue>What's happening to the moon?!</dialogue>
<scene_description>Informational videos appear on the screen , showing the cause and horror of the moon 's fall , as :</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The 2005 terraforming demolitions for the lunar excavations sent the moon into a diminishing retrograde orbit resulting in global gravitational fluctuations, increased seismic activity and tidal anomalies. Can I tell you more?</dialogue>
<character>ALEXANDER</character>
<dialogue>No - wait - the moon's falling out of orbit - that's not possible!</dialogue>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, considering it is, in fact, happening, I would assume it's possible. The retrograde orbit began in 2005 when the demolitions for the lunar colonies -</dialogue>
<character>ALEXANDER</character>
<dialogue>Why is it - breaking up?</dialogue>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I was getting to that. The moon has reached the gravitational Roche Limit, 7,300 miles above the surface of the Earth. This has created pressure on the lunar stratum beyond gravitational tolerances. It might be helpful to know that the nearest public evacuation shelters can be found at Grand Central Station, Madison Square Garden -</dialogue>
<scene_description>Then - behind Alexander - the entire street EXPLODES up - the asphalt twisting crazily - people tossed through the air - And Hell has come to earth . The earth begins to shake and quake and undulate violently - as if gravity itself is rebelling . Above - a huge part of the moon breaks away - Alexander gapes around - horrified to see violent seismic and gravitational upheavals - the tectonic plates shifting wildly , jutting up at harsh angles - the East River swirling into a twisting cyclone of water spiraling into the sky - And most shocking of all : a volcanic mountain BURSTING up through Manhattan . A National Guard soldier races to him -</scene_description>
<character>SOLDIER</character>
<dialogue>Underground - we have to -!</dialogue>
<scene_description>His words are drowned out by a DEAFENING BLAST - the reverberation sending SHOCK WAVES down the street - people are thrown through the air , blood streaming from some punctured eardrums - In the distance , the volcano is ERUPTING - The soldier hustles a mass of people toward a subway entrance - they scurry down - Alexander spins around and races back , towards the Time Machine . As the Vox Kiosk continues its lonely chore :</scene_description>
<character>VOX KIOSK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>May I help you? May I help you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET (2007) - DAY</stage_direction>
<scene_description>Alexander sprints down the street , passing horrific flashes of the end : - Looters , lighting fires and taking nihilistic joy in their useless treasures . - A family , kneeling in prayer , holding hands . - Doomsday cultists , celebrating the end . A macabre Dance of Death as the city dies . - A man standing quite calmly , trying to use his cell phone . - A taxi trying to drive through the mayhem , desperate people attacking the taxi , trying to get in , trying to get away . Then - the earth HEAVES violently and Alexander is thrown to the ground - in the distance , but much closer , another VOLCANO BLASTS UP - THRUSTING through the earth - RIPPING aside the Empire State Building and most of midtown Manhattan - Alexander barely has time to pull himself to his feet before it happens again - The THUNDEROUS explosion - the cascading SHOCK WAVE - Alexander is hurled through the air - He SMASHES into a parked car , shattering the windshield - he rolls off the car , his coat shredded , a gaping wound in his side - As the new , closer volcano ERUPTS in a torrent of spewing lava - great rivers and explosions of lava everywhere - JETS of lava SHOOT through the air - incinerating everything in sight - Gasping through his pain , Alexander rises and hurries down the street - he tosses off his shredded coat - his injury slows him , but he goes as quickly as he can - But a vast TIDAL WAVE OF LAVA is careening after him - burning everything - And then he see it . the park . the Time Machine . It is a race against time as Alexander sprints for the Time Machine - the lava closer and closer - Alexander leaps to the Time Machine and hauls it to its upright position - the lava is almost on him - he dives into the Time Machine and SLAMS the lever forward - A high - pitched whine - building - the world undulating around Alexander - JUST as the tidal wave of lava ROARS over him - TIME TRAVEL Alexander lurches back in agony - quickly slows the Time Machine 's momentum - he pants for breath as the red , molten lava glows and then quickly cools into - Darkness . The eerie blue glow from the Time Machine 's control panel is the only light . Alexander is now inside a mountain , the perfect sphere of time - energy around the Machine his only salvation . He pushes the lever forward more - the years spin by on his control panel in a blur - he grits his teeth in pain - the rapid bending through time assaulting him - Time passes . Alexander is having real trouble breathing now - The years continue to spin past on his control panel in a dizzying blur . Time passes . Alexander is in agony - his body writhes from the assault of time - every movement is torture - his skin vibrates and stretches bizarrely - and he is almost out of air , panting for breath - He takes one last deep gasp of air - And holds the breath - the seconds tick away - the years shoot past on his control panel , truly a race against time - He 's not going to make it - he ca n't hold his breath a second longer - Suddenly - a flash of blinding sunlight - The mountain around the Time Machine begins to erode - quickly wearing away - Alexander immediately pulls back on the control lever - reducing his momentum and the assault on his body - he takes a deep , gasping breath - The date on the display quickly clicks forward and finally stops at : JULY 12 , 802,701 . Alexander looks at the date , stunned , gasps for breath , fainting . Fade to black .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE - VISIONS - DAY/NIGHT</stage_direction>
<scene_description>Visions as Alexander fades in and out of consciousness . - Night . Candles . - Night . Emma 's face . close , concerned . a beautiful angel welcoming him to death . No , not Emma . Another woman . - Day . Hands , dressing the wound on his side . Tender . - Day . A room . In a pleasant , rustic house . - Night . The woman again . Not Emma . But close , concerned .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - SUNSET</stage_direction>
<scene_description>Alexander awakes . Looks around . A simple room in a simple house . He sees his wound has been dressed and cared for . He slowly rises and pulls on his shirt and vest . Goes to the door of the house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELOI VILLAGE - SUNSET</stage_direction>
<scene_description>Alexander emerges from the house . And finds himself in a village built around a large central square . All the buildings are unadorned and designed with architectural simplicity . It has an agrarian and peaceful feeling . And it is totally deserted . The entire village is enclosed by a great , wooden wall . Large gates open to the world beyond . Everywhere beyond this barricade is lovely mountainous and forest scenery . Alexander wanders to the square .</scene_description>
<character>ALEXANDER</character>
<dialogue>Hello?</dialogue>
<scene_description>Nothing . His word echoes around the eerily empty village . He notes that several tables are waiting in the square . Set for dinner . Plates and cups and utensils . No food .</scene_description>
<character>ALEXANDER</character>
<dialogue>Is anyone here?</dialogue>
<scene_description>Again . Nothing . He goes to the open gates and steps out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE THE ELOI VILLAGE - SUNSET</stage_direction>
<scene_description>A path leads away from the village , cutting through a magnificent forest with lush foliage . He begins to follow the path - then stops when a curious squirrel scampers onto the path . The squirrel looks at him , large eyes , tilting inquisitive head . Alexander smiles at seeing something so familiar in this strange time .</scene_description>
<character>ALEXANDER</character>
<dialogue>Hello.</dialogue>
<scene_description>The startled squirrel turns and scampers away - and Alexander is shocked to see a flash of vermillion scales on its back . Not a squirrel at all . Alexander continues on for a bit . Most of the lush vegetation is alien to him : enormous fruit hanging on colorful vines ; gentle petals and dandelion - like wisps that float on the breezes . It is an untamed wilderness exploding with verdant beauty . And then he hears something . Voices . He stops , alert . Then he sees figures , heading up the path towards him . And Alexander sees the ELOI . About two hundred of them are trooping up the path . They are completely human - looking . Very healthy . Simple clothing , not unlike what Alexander is wearing . And not one is over the age of 30 . Alexander braces himself , not sure what to expect . The Eloi see him . And go to him enthusiastically . Alexander instinctively steps back . No need . The beautiful woman who was tending his wounds , MARA , is first to him .</scene_description>
<character>MARA</character>
<dialogue>You're up! You must be feeling better -</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<scene_description>More Eloi crowd around him , all very friendly . A slightly older Eloi , late 20 's , KORUS , steps to him .</scene_description>
<character>KORUS</character>
<dialogue>And hungry, I'd say. You had such a long journey.</dialogue>
<character>ALEXANDER</character>
<dialogue>I did.</dialogue>
<character>KORUS</character>
<dialogue>Well, we're happy you're here. Come inside.</dialogue>
<character>MARA</character>
<dialogue>We want to hear all about it.</dialogue>
<scene_description>Korus and Mara lead Alexander back toward the village . KALEN , Mara 's nine - year - old son , grabs Alexander 's hand . Alexander is surprised . The Eloi are seemingly a bit more tactile than we are .</scene_description>
<character>KALEN</character>
<dialogue>How did you get hurt?</dialogue>
<character>MARA</character>
<dialogue>Kalen.</dialogue>
<character>KALEN</character>
<parenthetical>( eagerly . )</parenthetical>
<dialogue>I found you. I saved your life. You were bleeding all over the place!</dialogue>
<character>MARA</character>
<dialogue>That's quite enough, Kalen.</dialogue>
<scene_description>Korus claps an arm around Alexander 's shoulders enthusiastically , Alexander rocks from the hearty embrace .</scene_description>
<character>KORUS</character>
<dialogue>Let the poor man eat first, then he can tell us the whole story!</dialogue>
<scene_description>He leads the befuddled Alexander back toward the village .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELOI VILLAGE - NIGHT</stage_direction>
<scene_description>The gates to the village are now securely locked , a heavy crossbar in place . Alexander and the Eloi are eating dinner , the tables now full of fruits and vegetables . Braziers burn around the central square . Everyone strains to see and hear Alexander . Mara watches him particularly closely from across the table , her cautious eyes never leaving him .</scene_description>
<character>ALEXANDER</character>
<dialogue>`` Eloi''?</dialogue>
<character>KORUS</character>
<dialogue>What are your people called?</dialogue>
<character>ALEXANDER</character>
<dialogue>Well, I guess you'd call us. New Yorkers.</dialogue>
<character>KORUS</character>
<parenthetical>( savoring the words . )</parenthetical>
<dialogue>New Yorkers.</dialogue>
<character>MARA</character>
<dialogue>How long did you travel?</dialogue>
<character>ALEXANDER</character>
<dialogue>Well it seems like a long time - but it was n't really. It's rather hard to explain.</dialogue>
<character>KALEN</character>
<dialogue>It must have been hard, leaving your work.</dialogue>
<character>ALEXANDER</character>
<dialogue>The journey is part of my work.</dialogue>
<character>KORUS</character>
<dialogue>You can work with us as soon as you're feeling better. Looks like a climber to me.</dialogue>
<scene_description>The Eloi agree . Definitely a `` climber . ''</scene_description>
<character>KORUS</character>
<dialogue>We had another visitor from beyond the valley about four years ago. His name was Moren. Do you know him?</dialogue>
<character>ALEXANDER</character>
<dialogue>No.</dialogue>
<character>KORUS</character>
<dialogue>He said he traveled for two months.</dialogue>
<character>ALEXANDER</character>
<dialogue>I took a different route.</dialogue>
<character>KALEN</character>
<dialogue>What did you do at night?</dialogue>
<character>MARA</character>
<parenthetical>( a bit quickly . )</parenthetical>
<dialogue>What's it like where you come from?</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh, very different. But not entirely. I mean we have lots of, um, trees and such. But not everywhere. And more roads. And buildings.</dialogue>
<character>KORUS</character>
<dialogue>Why?</dialogue>
<character>ALEXANDER</character>
<dialogue>To live in. There's a lot of us. beyond the valley.</dialogue>
<character>KORUS</character>
<dialogue>New Yorkers.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. I hope you wo n't take this the wrong way but is there someone older I could talk to? An elder or patriarch of some kind?</dialogue>
<scene_description>The Eloi look at him a little oddly .</scene_description>
<character>KORUS</character>
<dialogue>I am the oldest.</dialogue>
<character>ALEXANDER</character>
<dialogue>No, I mean someone considerably older. Your father perhaps?</dialogue>
<character>KORUS</character>
<dialogue>My father has gone to a better place.</dialogue>
<character>ALEXANDER</character>
<dialogue>I'm sorry, I did n't mean to.</dialogue>
<character>KORUS</character>
<dialogue>Of course. You're just tired. Mara, will you look after Alexander tonight?</dialogue>
<character>MARA</character>
<dialogue>Yes.</dialogue>
<character>ALEXANDER</character>
<dialogue>Thank you.</dialogue>
<character>KORUS</character>
<parenthetical>( stands , toasting . )</parenthetical>
<dialogue>Friends, join me in welcoming our brother from beyond the valley, Alexander.</dialogue>
<scene_description>The Eloi stand and toast . Applause and good fellowship . Before Alexander can open his mouth to respond the Eloi are clearing the table . A bit abruptly . Mara and Kalen go to Alexander , they head back to their house .</scene_description>
<character>KALEN</character>
<dialogue>Now how did you get hurt?</dialogue>
<character>ALEXANDER</character>
<dialogue>I had an accident.</dialogue>
<character>KALEN</character>
<dialogue>I figured that. What kind of accident?</dialogue>
<character>MARA</character>
<dialogue>Kalen, do n't be morbid.</dialogue>
<scene_description>Kalen grabs Alexander 's hand and pulls him along .</scene_description>
<character>KALEN</character>
<dialogue>What do you do on the towers?</dialogue>
<character>ALEXANDER</character>
<dialogue>On the towers?</dialogue>
<character>KALEN</character>
<dialogue>I'm training to be a high climber.</dialogue>
<character>MARA</character>
<dialogue>We'll see about that.</dialogue>
<character>KALEN</character>
<dialogue>I am. Are you a climber?</dialogue>
<character>ALEXANDER</character>
<dialogue>Ah. no.</dialogue>
<character>KALEN</character>
<dialogue>Do n't tell me you're a mud carrier.</dialogue>
<character>ALEXANDER</character>
<dialogue>` Fraid so. Just a regular old. mud carrier.</dialogue>
<scene_description>Kalen is disappointed .</scene_description>
<character>MARA</character>
<dialogue>That's all right, Kalen.</dialogue>
<parenthetical>( a wry glance to Alexander . )</parenthetical>
<dialogue>. Mud carriers are important too.</dialogue>
<scene_description>They continue on toward their house .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - NIGHT</stage_direction>
<scene_description>Alexander sits with Kalen and Mara . The boys 's eyes alive with wonder .</scene_description>
<character>ALEXANDER</character>
<dialogue>Thousands and thousands of people. And sometimes we live in great buildings that reach up five or ten stories.</dialogue>
<character>KALEN</character>
<dialogue>And everyone looks like us?</dialogue>
<character>ALEXANDER</character>
<dialogue>Exactly like you. Well, maybe not as healthy.</dialogue>
<character>MARA</character>
<dialogue>Is there a lot of illness?</dialogue>
<character>ALEXANDER</character>
<dialogue>Some. But I mean we are n't all so. handsome.</dialogue>
<character>KALEN</character>
<dialogue>I want to see your home. Will you take me?</dialogue>
<character>MARA</character>
<dialogue>Kalen, right now you need to go up to bed. You're exhausting Alexander.</dialogue>
<character>KALEN</character>
<dialogue>You'll tell me more tomorrow?</dialogue>
<character>ALEXANDER</character>
<dialogue>I will. Good night.</dialogue>
<scene_description>Kalen kisses his mother and then kisses Alexander . He goes up the stairs , disappearing to another part of the house .</scene_description>
<character>ALEXANDER</character>
<dialogue>His curiosity is amazing.</dialogue>
<character>MARA</character>
<dialogue>Mm.</dialogue>
<scene_description>A beat . Mara gazing at Alexander .</scene_description>
<character>MARA</character>
<dialogue>Come to the roof. We can talk there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARA AND KALEN'S HOUSE - ROOF - NIGHT</stage_direction>
<scene_description>Alexander and Mara emerge from a stairway to the flat roof of the house . Alexander stops , looking up . The moon - or what 's left of the moon - shines in the night . Oddly shaped shards are spread out in uneven intervals . It is bizarrely beautiful .</scene_description>
<character>ALEXANDER</character>
<dialogue>My God.</dialogue>
<scene_description>Mara notes his reaction as she sits at the edge of the roof by a large brazier . She lights a fire in the brazier as :</scene_description>
<character>MARA</character>
<dialogue>Sit with me.</dialogue>
<scene_description>He goes to her and sits . He notices that other Eloi are also sitting on their roofs all around the village , braziers burning like campfires through the night .</scene_description>
<character>MARA</character>
<dialogue>Kalen will tire you out if you let him. He's always been curious. His father was firm with him but. it's just his way.</dialogue>
<character>ALEXANDER</character>
<dialogue>Your husband is dead?</dialogue>
<character>MARA</character>
<dialogue>He's gone to a better place.</dialogue>
<scene_description>He looks over the peaceful night .</scene_description>
<character>ALEXANDER</character>
<dialogue>It's hard for me to imagine a better place. Where I come from there's so much. frenzy. Day and night. It seems we're all running faster and faster.</dialogue>
<parenthetical>( he smiles . )</parenthetical>
<dialogue>. All in identical bowler hats.</dialogue>
<character>MARA</character>
<dialogue>You're not from beyond the valley.</dialogue>
<character>ALEXANDER</character>
<dialogue>What makes you say that?</dialogue>
<scene_description>She reaches into her clothing and pulls out his pocket watch . She holds it up .</scene_description>
<character>MARA</character>
<dialogue>We do n't have anything like this. Or the machine where Kalen found you. And I doubt they do beyond the valley. Now where do you come from?</dialogue>
<character>ALEXANDER</character>
<dialogue>You might find the truth rather hard to understand.</dialogue>
<character>MARA</character>
<parenthetical>( dry . )</parenthetical>
<dialogue>Then you can speak slowly.</dialogue>
<scene_description>He smiles . Fair enough .</scene_description>
<character>ALEXANDER</character>
<dialogue>All right. I'm from here. Around here anyway. The machine where you found me allowed me to travel through time. I'm from the past.</dialogue>
<scene_description>She looks at him .</scene_description>
<character>MARA</character>
<dialogue>Oh, that explains everything.</dialogue>
<character>ALEXANDER</character>
<dialogue>I know it's hard to believe, but it's true.</dialogue>
<character>MARA</character>
<dialogue>That machine -</dialogue>
<character>ALEXANDER</character>
<dialogue>Allowed me to travel from my time to yours.</dialogue>
<character>MARA</character>
<dialogue>How long ago?</dialogue>
<character>ALEXANDER</character>
<dialogue>More than 800,000 years.</dialogue>
<scene_description>She looks at him . She looks at his pocket watch . Then back at him .</scene_description>
<character>MARA</character>
<dialogue>Why?</dialogue>
<character>ALEXANDER</character>
<dialogue>Why not?</dialogue>
<character>MARA</character>
<dialogue>Why would you do that?</dialogue>
<scene_description>Alexander does n't respond .</scene_description>
<character>MARA</character>
<dialogue>I might find the truth rather hard to understand? Can you go back?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. Or forward into the future. I suppose I really should check on the machine, see that it has n't been damaged.</dialogue>
<character>MARA</character>
<dialogue>I'll take you tomorrow. You must have seen a lot on your journey.</dialogue>
<character>ALEXANDER</character>
<dialogue>For a time it was astounding. I saw the years spinning by, I was in the years spinning by. We made such advances. I do n't understand half of them. There was a machine that talked to me and others that flew through the sky. We must have been incredible thinkers and artists -</dialogue>
<scene_description>A sudden scream cuts through the night - Kalen - Mara bolts up , races down into the house , Alexander following -</scene_description>
</scene>
<scene>
<stage_direction>INT. KALEN'S ROOM - NIGHT</stage_direction>
<scene_description>Kalen is sitting up in bed , eyes wide , screaming - Mara runs to him , holds him closely - Alexander stands in the doorway .</scene_description>
<character>MARA</character>
<dialogue>Kalen, it's all right, I'm here -</dialogue>
<character>KALEN</character>
<parenthetical>( terror . )</parenthetical>
<dialogue>They're here! They're inside the house -!</dialogue>
<character>MARA</character>
<dialogue>No, you're safe -</dialogue>
<character>KALEN</character>
<dialogue>They're inside -</dialogue>
<character>MARA</character>
<parenthetical>( calming . )</parenthetical>
<dialogue>Kalen, look at me. There's no one here but us. You see. I'm here, you're here, Alexander's here. There are no Morlocks. It was just a dream.</dialogue>
<scene_description>She holds him closely , he is weeping uncontrollably .</scene_description>
<character>MARA</character>
<dialogue>You're safe.</dialogue>
<scene_description>Alexander moves away , allowing them their privacy .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARA AND KALEN'S HOUSE - ROOF - NIGHT</stage_direction>
<scene_description>Alexander sits , looking over the night . He notes that most of the Eloi have gone in , but , oddly , their fires still burn on the rooftops . He glances up at the stars , gazing at the dazzling mosaic of beautiful lights .</scene_description>
<character>MARA'S VOICE</character>
<dialogue>He's asleep.</dialogue>
<scene_description>Alexander turns . Mara is standing at the entrance to the roof .</scene_description>
<character>ALEXANDER</character>
<dialogue>Is he all right?</dialogue>
<character>MARA</character>
<dialogue>Just a dream. You should sleep too. You're still not well.</dialogue>
<scene_description>A beat .</scene_description>
<character>MARA</character>
<dialogue>I'm going to sit with Kalen. Keep the fire burning if you can.</dialogue>
<character>ALEXANDER</character>
<dialogue>I will.</dialogue>
<scene_description>A beat . She does n't move .</scene_description>
<character>MARA</character>
<dialogue>I'll take you to your machine tomorrow.</dialogue>
<character>ALEXANDER</character>
<dialogue>Thank you.</dialogue>
<scene_description>A beat . She does n't move .</scene_description>
<character>MARA</character>
<dialogue>You seem fascinated by the stars.</dialogue>
<character>ALEXANDER</character>
<dialogue>You can see so many here.</dialogue>
<character>MARA</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Do n't then have stars where you come from?</dialogue>
<character>ALEXANDER</character>
<dialogue>Not like this. They do n't seem so bright with all the city lights. I never really noticed them much.</dialogue>
<scene_description>A beat . He is on the verge of asking her to join him in enjoying the night .</scene_description>
<character>MARA</character>
<dialogue>Good night, then.</dialogue>
<character>ALEXANDER</character>
<dialogue>Good night.</dialogue>
<scene_description>She turns to go .</scene_description>
<character>ALEXANDER</character>
<dialogue>Mara. what's a `` Morlock''?</dialogue>
<scene_description>She stops .</scene_description>
<character>MARA</character>
<dialogue>A child's nightmare, that's all.</dialogue>
<scene_description>She goes into the house . He sits for a moment , looking over the beautiful night . He glances up at the shards of the moon . O Brave New World .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DREAMSCAPE - DAY/SUNSET</stage_direction>
<scene_description>We are moving through the Eloi world . Through lush jungles and glades and forests . Everywhere around us there are fascinating geological and botanical wonders to behold . Bucolic and beautiful . Idyllic . And then the landscape is more mountainous , rocks and the beginning of a splendid desert . the sun is setting . the desert sand burns red in the sunset . still beautiful . And then a shape appears in the distance - we sweep toward it - it is hulking - predatory - terrifying - sparkling red as if the setting sun is reflecting from shinning metal -</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - DAY</stage_direction>
<scene_description>- Alexander bolts awake . Unsettled by the dream .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST PATH - HILL - DAY</stage_direction>
<scene_description>Alexander and Mara are making their way up an ascending path through the forest with the rest of the Eloi . Kalen is ahead of them with some other children . Korus comes to them :</scene_description>
<character>KORUS</character>
<dialogue>Good morning, Alexander. Feeling up to some work?</dialogue>
<character>ALEXANDER</character>
<dialogue>I suppose so.</dialogue>
<character>MARA</character>
<dialogue>I'm going to take him to where Kalen found him first.</dialogue>
<character>KORUS</character>
<dialogue>And then you'll join us?</dialogue>
<character>MARA</character>
<dialogue>Yes.</dialogue>
<character>KORUS</character>
<dialogue>Good. We'll see you later then.</dialogue>
<scene_description>He moves ahead , walking briskly . Excited about a day of work .</scene_description>
<character>ALEXANDER</character>
<dialogue>Mara, I had a strange dream last night. I was here, walking through a forest very much like this, and then.</dialogue>
<character>MARA</character>
<dialogue>Then you came to a desert and mountains.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<character>MARA</character>
<dialogue>And you saw a shape ahead of you.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes!</dialogue>
<character>MARA</character>
<dialogue>We all have that dream.</dialogue>
<character>ALEXANDER</character>
<dialogue>All of you?</dialogue>
<character>MARA</character>
<dialogue>Every night.</dialogue>
<character>ALEXANDER</character>
<dialogue>You share dreams? That's incredible.</dialogue>
<character>MARA</character>
<dialogue>We share everything.</dialogue>
<scene_description>He slows , looking ahead , amazed . In the distance , just over the crest of the hill he sees a strange point , like the top of a high steeple , jutting up to the sky . They approach the crest of the hill .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLTOP - DAY</stage_direction>
<scene_description>Alexander stands , utterly staggered , looking down into a valley . And he sees . A city . not exactly . s sculpture . no . Imagine Monument Valley . Man - made . Twisting spires and towers and monoliths shoot up for a hundred feet , swirling multicolored constructions of sand and stone . They are mammoth creations that bend and twist and soar , filling the valley . There is a bizarre sort of architectural order to the creation , yet it is also inspired and mad and emotional .</scene_description>
<character>MARA</character>
<dialogue>Our work.</dialogue>
<scene_description>They begin to descend into the valley with the rest of the Eloi .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VALLEY - ELOI CREATIONS - DAY</stage_direction>
<scene_description>Among the towers now , Alexander sees the fabulous detail to the constructions . They are beautiful , soaring combinations of mud and stone sculpture ; fabric and wood ; sand and flowers . It is ethereal pyramid building : primitive creation of stunning artistic courage and clarity . Already the Eloi are busy . Like a race of master builders , they climb wooden scaffoldings and scale ropes - swarming busily around the towers like insects - unified in their task of amazing artistic creation . Alexander and Mara move through the towers .</scene_description>
<character>ALEXANDER</character>
<dialogue>This is magnificent.</dialogue>
<character>MARA</character>
<dialogue>Thank you.</dialogue>
<character>ALEXANDER</character>
<dialogue>And this is your `` work''?</dialogue>
<character>MARA</character>
<dialogue>Yes.</dialogue>
<scene_description>They pass some Eloi carrying mud from a nearby river to the towers .</scene_description>
<character>MARA</character>
<parenthetical>( dry . )</parenthetical>
<dialogue>The mud carriers.</dialogue>
<character>ALEXANDER</character>
<dialogue>I can see Kalen's point.</dialogue>
<character>MARA</character>
<dialogue>Want to be a high climber now, do you?</dialogue>
<character>ALEXANDER</character>
<dialogue>What you need is an engineer. If you set up a system of pulleys and counterweights, some basic block and tackle mechanism, you could to this a lot more easily.</dialogue>
<character>MARA</character>
<dialogue>It's not supposed to be easy, it's supposed to be beautiful.</dialogue>
<character>ALEXANDER</character>
<dialogue>What's it all for?</dialogue>
<character>MARA</character>
<dialogue>I do n't understand.</dialogue>
<character>ALEXANDER</character>
<dialogue>I mean, why do you do it? What purpose does it serve?</dialogue>
<character>MARA</character>
<dialogue>It has no purpose. It's just beautiful. Does everything have a purpose where you come from?</dialogue>
<character>ALEXANDER</character>
<dialogue>Most things. We're very high on purpose.</dialogue>
<character>MARA</character>
<dialogue>It's always been this way here. We work on the towers all our lives. When we're young we train to be planners or climbers or sculptors.</dialogue>
<character>ALEXANDER</character>
<dialogue>Or mud carriers.</dialogue>
<character>MARA</character>
<dialogue>And there's no shame to that. It's all the same here. Everyone has an important job to do. We all work together and could n't survive without each other.</dialogue>
<character>ALEXANDER</character>
<dialogue>What are you?</dialogue>
<character>MARA</character>
<dialogue>I'm a planner. I help decide where the new towers go and what they should look like.</dialogue>
<character>ALEXANDER</character>
<dialogue>How do you decide?</dialogue>
<character>MARA</character>
<dialogue>I try to imagine how they'll look when they're done. I try to imagine how we'll fit in with them. our place in the world.</dialogue>
<scene_description>Alexander is impressed with her quiet words , so much like his own creative passion . He stops , taking in the communal activity everywhere around him for a moment . Enjoying the warm sunshine and peaceful surroundings . Paradise . He continues to gaze at the towers , smiling . Mara looks at him , almost on the verge of saying something . She decides against it .</scene_description>
<character>MARA</character>
<dialogue>We should go if you want to see your machine.</dialogue>
<scene_description>They continue on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NEAR SUNSET</stage_direction>
<scene_description>The first stars are beginning to shine in the night sky as Alexander and Mara make their way across an open field .</scene_description>
<character>ALEXANDER</character>
<dialogue>It was a great city. The greatest city in the world.</dialogue>
<character>MARA</character>
<dialogue>You liked it there.</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh, very much.</dialogue>
<parenthetical>( he points . )</parenthetical>
<dialogue>. I used to work somewhere in that direction, I think. A huge university where we taught everything from botany to history to literature.</dialogue>
<character>MARA</character>
<dialogue>Learning was important?</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh very. Learning, commerce, the arts - the whole place was buzzing all the time. Night and day.</dialogue>
<character>MARA</character>
<dialogue>Did you have fires at night?</dialogue>
<character>ALEXANDER</character>
<dialogue>Only to keep warm. For illumination we had gaslights on most of the streets and a new invention called electrical lighting that made it seem like daylight all through the night.</dialogue>
<character>MARA</character>
<dialogue>It must have been safe.</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh, it was.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. Most of the time.</dialogue>
<character>MARA</character>
<dialogue>It sounds like a wonderful place to live.</dialogue>
<character>ALEXANDER</character>
<dialogue>Looking back. I suppose it was. I did n't quite realize it at the time but.</dialogue>
<scene_description>Alexander stops , frozen . Staring up .</scene_description>
<character>MARA</character>
<dialogue>Alexander?</dialogue>
<character>ALEXANDER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Orion's belt.</dialogue>
<scene_description>The constellation gleams in the sky . The string of three stars pointing to the earth . Exactly as it was on the night Emma died . Alexander looks around , amazed , getting his bearings :</scene_description>
<character>ALEXANDER</character>
<dialogue>Those rocks, over there. they're the same. this is. Central Park.</dialogue>
<character>MARA</character>
<dialogue>You know this?</dialogue>
<character>ALEXANDER</character>
<dialogue>Over there was Fifth Avenue - and the Plaza Hotel was there. this is. the carriage path. We're on the carriage path.</dialogue>
<scene_description>A stunning realization for Alexander . The stars and rock formations confirming his thoughts .</scene_description>
<character>ALEXANDER</character>
<dialogue>The whole world is different. But this never changes.</dialogue>
<scene_description>A long beat as he looks around , his eyes full of pain .</scene_description>
<character>ALEXANDER</character>
<dialogue>This is where my journey started. right here.</dialogue>
<character>MARA</character>
<dialogue>You lost someone.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<character>MARA</character>
<dialogue>Someone you loved very much.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. After her death, it was intolerable for me here. The future had to be better.</dialogue>
<character>MARA</character>
<dialogue>Is it?</dialogue>
<character>ALEXANDER</character>
<dialogue>If you only knew.</dialogue>
<scene_description>A beat . He looks at her deeply .</scene_description>
<character>ALEXANDER</character>
<dialogue>You've welcomed me into your home. Into your lives. Everyone has. For the first time in a long time it does n't hurt quite so much. I thank you for that.</dialogue>
<character>MARA</character>
<dialogue>I know what it is to lose someone. When my husband was taken from us. I thought the pain would never end.</dialogue>
<scene_description>She gently touches his face .</scene_description>
<character>MARA</character>
<dialogue>But time helps.</dialogue>
<scene_description>A beat . She breaks the moment , turning :</scene_description>
<character>MARA</character>
<dialogue>Now let's see this amazing machine of yours.</dialogue>
<scene_description>She moves off . He takes one final glance at Orion 's belt , and then follows . One of the squirrel - like creatures scampers after them and then stops - and something bizarre happens - the squirrel 's jaws distend unnaturally - and it vomits forth an eyeball - The human - looking eyeball oscillates on a thick mechanical tendril . Watching Alexander and Mara . Spying .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - SUNSET</stage_direction>
<scene_description>The Time Machine awaits . It sits at the edge of some thick jungle foliage . Alexander goes to it . Mara following . He circles the machine , checking it .</scene_description>
<character>ALEXANDER</character>
<dialogue>Good - it looks fine. We had quite a ride together.</dialogue>
<character>MARA</character>
<dialogue>It's undamaged?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. a little scorching on the upholstery but otherwise all ship - shape.</dialogue>
<character>MARA</character>
<dialogue>So you can use it now?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. I suppose so.</dialogue>
<character>MARA</character>
<dialogue>Go back to your own time?</dialogue>
<character>ALEXANDER</character>
<dialogue>I could.</dialogue>
<scene_description>Suddenly , she is a different person - she takes his arm firmly , her eyes burning into his :</scene_description>
<character>MARA</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>Alexander, take my son away. Take him back to your time. Will you do that?</dialogue>
<character>ALEXANDER</character>
<dialogue>Mara -</dialogue>
<character>MARA</character>
<dialogue>Please, I beg you. Take him away from here -</dialogue>
<scene_description>And then . A mournful wailing stabs through the night . A distant horn . Mara freezes . Her eyes wide in horror .</scene_description>
<character>MARA</character>
<dialogue>Kalen.</dialogue>
<character>ALEXANDER</character>
<dialogue>Mara?</dialogue>
<character>MARA</character>
<dialogue>No!</dialogue>
<scene_description>She turns and bolts , racing away from him .</scene_description>
<character>ALEXANDER</character>
<dialogue>Mara!?</dialogue>
<scene_description>He runs after her - leaving the Time Machine behind -</scene_description>
<character>ALEXANDER</character>
<dialogue>Wait - tell me -!</dialogue>
<scene_description>Then a frenzy of movement draws his attention back to the Time Machine for a moment - He just sees the Time Machine as it is DRAGGED AWAY - amazingly quickly - something violently hauling it into the darkness of the jungle in an instant - the jungle swallowing it up - Alexander slams to a stop - amazed - and then turns to follow Mara -</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - SUNSET</stage_direction>
<scene_description>Alexander and Mara race through the deep forest - she is running flat out - he struggles to keep up -</scene_description>
<character>ALEXANDER</character>
<dialogue>Mara - what -?!</dialogue>
<character>MARA</character>
<dialogue>Kalen - we have to get Kalen -!</dialogue>
<scene_description>A building thunder in the forest behind them - Something approaching - a crashing cacophony of something thrashing quickly through the trees - closer and closer - the earth vibrating , something pounding after them - Another horn call , closer - Dark shapes sweeping through the forest behind them -</scene_description>
</scene>
<scene>
<stage_direction>EXT. VALLEY - ELOI CREATIONS - SUNSET</stage_direction>
<scene_description>Alexander and Mara speed into the valley from the darkness of the forest - The Eloi ahead of them are just standing . Waiting . A terrible moment of stasis , terror in their eyes . The world coiled .</scene_description>
<character>MARA</character>
<dialogue>Kalen -!</dialogue>
<scene_description>An EXPLOSION of horror as the MORLOCKS appear - They erupt from the dark forest into the valley - The Morlocks are horrible , muscular creatures with unnaturally long and distended jaws and ferocious , huge claws like those of a mole - And they ride horribly mutated horses and let out ferocious , animal roars . About twenty mounted Morlocks sweep into the valley - the Eloi scatter in terror . It is a hunt . The Eloi race in panic , so utterly unlike the beatific calm of the rest of their lives - and everywhere the Morlocks pursue - weaving in and out of the Eloi towers and swinging heavy nets - capturing Eloi and dragging them away - The Eloi scramble desperately to protect their children - the Morlocks are brutal - great claws slamming Eloi aside or snatching them up - nets swinging - the Eloi never really resist - once they are captured they allow the Morlocks to pull them away - By now the sun is fully setting and it is an unearthly spectacle in the blood red dusk , made even more bizarre by the glowing red eyes of the Morlocks - Mara and Alexander race through the mammoth constructions .</scene_description>
<character>MARA</character>
<dialogue>KALEN! - KALEN!</dialogue>
<scene_description>Everywhere around them the Morlocks are netting Eloi and dragging them away - But it is not random . The Morlocks seem to target particular Eloi . A Morlock spins on his horse , his glowing red eyes fasten on Mara . He spurs his horse and gallops toward Mara and Alexander . Alexander sees the Morlock pursuing -</scene_description>
<character>ALEXANDER</character>
<dialogue>This way!</dialogue>
<scene_description>He pulls Mara towards one of the towers - The Morlock gallops toward them - swinging his net - the net traps Mara - Alexander spins around and grabs the net - he yanks at it violently and pulls the Morlock from his horse - The Morlock slams to the ground - the horse bolts off - the Morlock snarls and slashes at Alexander quickly and then , to his absolute shock , the Morlock dives into the earth - he tunnels away with his huge claws in a frenzy of movement - disappearing into the ground - Alexander pulls Mara from the net and hauls her up - He pulls her to one of the towers and begins climbing , hauling her after him , away from the Morlocks - Another Morlock fastens his crimson eyes on Mara , gallops toward them - swings his net up - ca n't reach them . He glares up at Alexander and Mara and then snaps open his huge jaws , screeching in frustration - Then the Morlock below VAULTS from his horse and scales up the tower after Alexander and Mara - he climbs very quickly , his great jaws snapping - they scramble to keep above him , desperately climbing - the Morlock is almost on them when - They see Kalen - lost amidst the panic below - the Morlock horses pounding around him - a frenzy of horror -</scene_description>
<character>ALEXANDER</character>
<dialogue>KALEN! -.</dialogue>
<parenthetical>( to Mara . )</parenthetical>
<dialogue>- GO GET HIM -!</dialogue>
<scene_description>Alexander instantly leaps down on the Morlock pursing them - allowing Mara to scale down after Kalen - The Morlock grapples with Alexander briefly - essentially tossing him aside - Alexander falls and then lands hard on a scaffolding below - As Mara leaps down and begins racing through the chaos for Kalen - The Morlock on the tower spins around and scales down after her quickly - But Alexander sees that Mara is almost to Kalen - When SUDDENLY the ground ERUPTS directly before Mara - a Morlock BURST up from the hole and LEAPS on Mara like a lion on a gazelle - He grabs her with his great claws - Alexander watches , impotent - as the Morlock drags Mara down the hole , amazingly quickly - Then from the forest - another blast of the horn . And everything abruptly stops . The Morlock instantly stop pursuing - the Eloi stop running . A frozen moment and then . The horn call ends . The Morlock spin their horses and gallop into the dark forest , disappearing with their prey . The Eloi look around , slightly dazed , their panic ended as if someone flipped a switch . Alexander sees Kalen 's face . It is too painful . Alexander closes his eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELOI VILLAGE - NIGHT</stage_direction>
<scene_description>Alexander stands , frustrated , with Korus and a few Eloi . Braziers burn around the village .</scene_description>
<character>ALEXANDER</character>
<dialogue>Where do they take them?!</dialogue>
<character>KORUS</character>
<dialogue>We do n't know.</dialogue>
<character>ALEXANDER</character>
<dialogue>We have to go after them, find where -!</dialogue>
<character>KORUS</character>
<dialogue>Alexander, I know you're trying to help. But they do n't come back.</dialogue>
<character>ALEXANDER</character>
<dialogue>What do you mean?!</dialogue>
<character>KORUS</character>
<dialogue>They've gone to a better place.</dialogue>
<character>ALEXANDER</character>
<dialogue>You know that's not true.</dialogue>
<character>KORUS</character>
<dialogue>We choose to believe it.</dialogue>
<character>ALEXANDER</character>
<dialogue>My God! How can you just do nothing!? They're your friends, your family. You all knew Mara. You ate with her and worked with her. Your work in the valley, what is that for if not to -</dialogue>
<character>ELOI MAN</character>
<dialogue>To find our place in the world and -</dialogue>
<character>ALEXANDER</character>
<dialogue>No - it's more than that. When you create something you say to the world : I was here. I mean something. How can you just let that be taken away from you?!</dialogue>
<character>KORUS</character>
<dialogue>This is out life, Alexander. It's a hard life but it is how we have always lived.</dialogue>
<character>ALEXANDER</character>
<dialogue>Then it's time to change that -</dialogue>
<character>KORUS</character>
<parenthetical>( firm . )</parenthetical>
<dialogue>We are what we are.</dialogue>
<scene_description>A tense beat .</scene_description>
<character>ALEXANDER</character>
<dialogue>You wo n't even try?</dialogue>
<character>KORUS</character>
<dialogue>We ca n't change the day and the night, Alexander. This is the world.</dialogue>
<scene_description>Alexander sees Kalen standing at the door to his house .</scene_description>
<character>ALEXANDER</character>
<dialogue>Why do n't you try telling him that?</dialogue>
<scene_description>He strides off toward Kalen .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - NIGHT</stage_direction>
<scene_description>Alexander sits across from Kalen . Silence . Kalen goes to him . Sits next to him . Strangely comforting .</scene_description>
<character>KALEN</character>
<dialogue>This is how things happen. It happened to my father. My mother said if we remember him every day he'll always be here and we'll feel better.</dialogue>
<scene_description>A beat .</scene_description>
<character>KALEN</character>
<dialogue>I remember him before I go to sleep. We built a table once. I remember that.</dialogue>
<scene_description>He leans his head on Alexander 's shoulder . Both remembering .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DREAMSCAPE - SUNSET</stage_direction>
<scene_description>More of the shared Eloi dream we saw before . We are moving through the desert . the sun is setting . the desert sand burns red in the sunset . And then a shape appears in the distance - we sweep forward - it is hulking - predatory - sparkling red as if the setting sun is reflecting from shining metal - Glowing red - a great bird of prey - blazing in the sunset now - enormous coiled shoulders - sharp talons - strangely metallic - Then the huge head lunges forward - the curved beak snapping open - devouring us -</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - DAY</stage_direction>
<scene_description>Alexander bolts awake - sweating - terrified .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARA AND KALEN'S HOUSE - LATER</stage_direction>
<scene_description>Alexander stands at the doorway , watching the Eloi troop off to work .</scene_description>
<character>KALEN'S VOICE</character>
<dialogue>You're thinking about her.</dialogue>
<scene_description>Alexander turns , Kalen is standing in the room .</scene_description>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<scene_description>Kalen goes to him .</scene_description>
<character>KALEN</character>
<dialogue>She did n't want me to be a climber. She wanted me to be a planner like her.</dialogue>
<character>ALEXANDER</character>
<dialogue>I'm so sorry, Kalen.</dialogue>
<scene_description>They watch the Eloi troop off to work for a moment .</scene_description>
<character>ALEXANDER</character>
<dialogue>How can they just go back to work as if nothing happened?</dialogue>
<character>KALEN</character>
<dialogue>What else can they do?</dialogue>
<character>ALEXANDER</character>
<dialogue>Kalen. Do you have any idea where they take them?</dialogue>
<character>KALEN</character>
<dialogue>We're not supposed to think about it. But I dream about it sometimes.</dialogue>
<scene_description>Kalen is deep in thought . He finally comes out with it , hesitant .</scene_description>
<character>KALEN</character>
<dialogue>There's a place that might help. we could try going there.</dialogue>
<character>ALEXANDER</character>
<dialogue>Where?</dialogue>
<character>KALEN</character>
<dialogue>The Hall of Books.</dialogue>
<character>ALEXANDER</character>
<dialogue>You have books?! Kalen, you've got to take me there. There might be history. Records. Something to help us find where the Morlocks took -</dialogue>
<character>KALEN</character>
<dialogue>I should n't have mentioned it. We ca n't go there.</dialogue>
<character>KALEN</character>
<dialogue>Why?</dialogue>
<scene_description>Kalen looks at him . Deadly serious .</scene_description>
<character>KALEN</character>
<dialogue>Because it's haunted.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNGLE - DAY</stage_direction>
<scene_description>Alexander and Kalen are making their way through a dense jungle path , long overgrown .</scene_description>
<character>KALEN</character>
<dialogue>No one ever comes here. My mother told me stories about it late at night. They tell all the children.</dialogue>
<character>ALEXANDER</character>
<dialogue>What kind of stories?</dialogue>
<character>KALEN</character>
<dialogue>About the voice in the darkness. About the ghosts.</dialogue>
<scene_description>They push through some tangled vines . A gaping tunnel opens into the earth ahead of them . They stop . Kalen considers the dark opening . He bravely steels himself .</scene_description>
<character>KALEN</character>
<dialogue>Climbers should go first.</dialogue>
<scene_description>Then he continues on , Alexander following . They begin to go down into the tunnel , pushing aside overgrown vines and foliage . No one has been this way for a great many years .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY</stage_direction>
<scene_description>They descend the dank tunnel . Here and there shafts of sunlight shoot down from holes above .</scene_description>
<character>KALEN</character>
<dialogue>I had a friend who came here once. Sort of a dare.</dialogue>
<character>ALEXANDER</character>
<dialogue>What happened?</dialogue>
<character>KALEN</character>
<dialogue>He came back screaming. He never talked about it after that. I do n't think he even got this far.</dialogue>
<scene_description>Not even noticing , they pass by an imposing figure buried deep in the sediment of the tunnel wall . A stone lion , its great head just protruding from the rock . It is one of the lions from the entrance to the Fifth Avenue New York City Public Library .</scene_description>
</scene>
<scene>
<stage_direction>INT. READING ROOM - DAY</stage_direction>
<scene_description>Alexander and Kalen slowly walk into a cavernous chamber - shrouded in dust , spiderwebs and cobwebs - filthy , abandoned and echoing . Eerie . Around the edges we can just glimpse a sense of something familiar , of our time . They are , in fact , standing in the sad remains of the reading room of the New York City Public Library . Massive walls of books . A dazzling shaft of sunlight shoots straight down from a hole above , creating a pillar of light . Everything else is darkness . Except for a tiny red glow in a far corner of the room . Then a voice , echoing from the red glow :</scene_description>
<character>VOICE</character>
<dialogue>May I help you?</dialogue>
<scene_description>Alexander and Kalen stop .</scene_description>
<character>VOICE</character>
<dialogue>It has been one thousand, three hundred and seven years since I have seen a living soul.</dialogue>
<scene_description>The glowing red light approaches , ominous .</scene_description>
<character>VOICE</character>
<dialogue>And you are alive. I can feel your pulse from here.</dialogue>
<scene_description>The glowing red light approaches .</scene_description>
<character>VOICE</character>
<dialogue>If I had known you were coming.</dialogue>
<scene_description>The glowing red light stops just short of the ray of sunlight from above .</scene_description>
<character>VOICE</character>
<dialogue>I would have baked something.</dialogue>
<scene_description>And VOX steps into the pillar of light . He is a truly horrifying sight . A human - shaped robot of sorts . A twisting , hideous collection of circuits and wires , pistons and metal . A gaping face - plate . Bits of ashen skin grafted uneasily to rubber and metal . And one very human eye peering from his wretched visage . The glowing red light comes from deep within his incomplete chest cavity . A power source of some kind . He has the same voice as the informational kiosk Alexander spoke to earlier . Vox moves with the strange , jerky gait of a machine well past his prime . He lurches about , but with a bizarre sort of elegance .</scene_description>
<character>VOX</character>
<dialogue>My manners have become deplorable through lack of use. The spiders and the scorpions do n't care much, I'm afraid.</dialogue>
<scene_description>He smiles , a truly ghastly sight , and perambulates to a bookcase .</scene_description>
<character>VOX</character>
<dialogue>What can I get you, let's see.</dialogue>
<parenthetical>( he flips through some books . )</parenthetical>
<dialogue>. Henry James? No, too dreary. Hemingway, perhaps? No, too sweaty. Plato? Proust? Poe? Pinter? Pound? No, something else. ahhhh. I have it.</dialogue>
<parenthetical>( he hold up a book . )</parenthetical>
<dialogue>. Jules Verne.</dialogue>
<scene_description>He turns to Alexander .</scene_description>
<character>VOX</character>
<dialogue>Right up your alley, I would think. You are from the past, yes?</dialogue>
<character>ALEXANDER</character>
<dialogue>How did you know?!</dialogue>
<character>VOX</character>
<dialogue>I can smell carcinogens and industrial pollutants on your skin that have not been known here for -.</dialogue>
<parenthetical>( he leans forward and smells Alexander . )</parenthetical>
<dialogue>- 800,000 years perhaps. Do n't keep me in suspense. What year?</dialogue>
<character>ALEXANDER</character>
<dialogue>1899.</dialogue>
<character>VOX</character>
<dialogue>I must say, you look remarkably good. You do n't want a book then?</dialogue>
<character>ALEXANDER</character>
<dialogue>What are you?</dialogue>
<character>VOX</character>
<dialogue>I'm the librarian. I've always been the librarian.</dialogue>
<character>ALEXANDER</character>
<dialogue>I know you - you're an automaton of some sort that -</dialogue>
<character>VOX</character>
<dialogue>An `` automaton''?! Please! I'm a biomechanical organism. Well, what's left of one. What's left of all of them, actually. I am the last.</dialogue>
<parenthetical>( he sweeps his arms to take in the whole chamber . )</parenthetical>
<dialogue>. And `` these fragments I have shored against my ruins.'' T.S. Eliot. You would n't know him yet but you'll just love him, he's divine, if a little dour. Very shy though. hiding over here.</dialogue>
<scene_description>He jerks away toward another bookcase .</scene_description>
<character>ALEXANDER</character>
<dialogue>Sir. have you a name?</dialogue>
<character>VOX</character>
<dialogue>I am called Vox.</dialogue>
<parenthetical>( he jerks quickly to Kalen . )</parenthetical>
<dialogue>. Now you are Eloi.</dialogue>
<character>KALEN</character>
<parenthetical>( terrified . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>VOX</character>
<dialogue>Do n't be frightened, Vox is here to help. To serve. How may I serve you, child?</dialogue>
<scene_description>He leans very close to Kalen . Then quietly and rather cruelly baaa 's like a sheep .</scene_description>
<character>ALEXANDER</character>
<dialogue>Please, we need your help. The Morlocks have taken -</dialogue>
<character>VOX</character>
<parenthetical>( jerking at the word . )</parenthetical>
<dialogue>Morlocks -</dialogue>
<character>ALEXANDER</character>
<dialogue>You know of them?</dialogue>
<character>VOX</character>
<dialogue>Who does n't know the Morlocks?</dialogue>
<character>ALEXANDER</character>
<dialogue>Do you know where they live?</dialogue>
<character>VOX</character>
<dialogue>Oh yes. They found our knowledge useful for a time. They used us much as your people did. Then they decided they had learned enough so they tore us up for spare parts.</dialogue>
<character>ALEXANDER</character>
<dialogue>But you escaped.</dialogue>
<character>VOX</character>
<dialogue>I was lucky. The others were n't.</dialogue>
<character>ALEXANDER</character>
<dialogue>How have you survived so long?</dialogue>
<scene_description>Vox touches the red glow in his chest cavity :</scene_description>
<character>VOX</character>
<dialogue>Regenerating fission reactor, you would n't understand. It's power is well beyond your neanderthal cranial capacity.</dialogue>
<character>ALEXANDER</character>
<dialogue>Can you show us where they live?</dialogue>
<character>KALEN</character>
<dialogue>Please. it's important.</dialogue>
<character>VOX</character>
<dialogue>An Eloi who would seek out the Morlocks? Are n't you a plucky little thing?</dialogue>
<scene_description>He stares at Kalen , gauging him . Kalen bravely returns his stare .</scene_description>
<character>ALEXANDER</character>
<dialogue>We need your help.</dialogue>
<character>VOX</character>
<parenthetical>( with rising passion . )</parenthetical>
<dialogue>Why should I help you? You primates - you great, lumbering, hairy animals, drenched in blood from the moment of your hideous conception - what have you ever used knowledge for but destruction and bloodshed! A little bit of learning and you lay waste to the world! You're no better than the Morlocks!</dialogue>
<character>KALEN</character>
<dialogue>They took my mother!</dialogue>
<character>VOX</character>
<dialogue>THEY TOOK MY ENTIRE RACE!</dialogue>
<scene_description>His thundering words echo around the chamber . A beat . Vox calms down . Takes in his massive walls of books .</scene_description>
<character>VOX</character>
<dialogue>But all that's ancient history. I'm safe here. Now I live in serene contemplation. I commune with the great minds of history. Socrates, Aristotle, Shakespeare, Martha Stewart. Why should I risk all of that to help you?</dialogue>
<scene_description>A beat .</scene_description>
<character>ALEXANDER</character>
<dialogue>Because you'll never die.</dialogue>
<character>VOX</character>
<dialogue>Excuse me?</dialogue>
<character>ALEXANDER</character>
<dialogue>You'll live like this forever. Alone. You were meant to help. To be with people. Not like this.</dialogue>
<scene_description>A long beat .</scene_description>
<character>VOX</character>
<parenthetical>( darkly . )</parenthetical>
<dialogue>So, Relic, you want to open Pandora's box, do you? See all the mysteries exposed?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<character>VOX</character>
<dialogue>And if the truth is so horrible that it will haunt your dreams for all time?</dialogue>
<character>ALEXANDER</character>
<dialogue>I'm used to that.</dialogue>
<scene_description>Vox stares at Alexander for a long beat .</scene_description>
<character>VOX</character>
<dialogue>All right, Dorothy, let's go and see the Wizard.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>Alexander , Vox and Kalen are making their way down a forest path . Kalen a bit ahead . Vox talks quietly to Alexander :</scene_description>
<character>VOX</character>
<dialogue>When was his mother taken?</dialogue>
<character>ALEXANDER</character>
<dialogue>Last night.</dialogue>
<character>VOX</character>
<dialogue>Send him away.</dialogue>
<character>ALEXANDER</character>
<dialogue>What?</dialogue>
<character>VOX</character>
<dialogue>Send him home. You do n't want him to see it.</dialogue>
<character>ALEXANDER</character>
<dialogue>Kalen. hold on a minute.</dialogue>
<scene_description>Kalen stops . Alexander kneels by him .</scene_description>
<character>ALEXANDER</character>
<dialogue>I think we should go on by ourselves.</dialogue>
<character>KALEN</character>
<dialogue>No.</dialogue>
<character>ALEXANDER</character>
<dialogue>Please, just listen to me. Your mother would be very cross with me if you got hurt. I'll find her.</dialogue>
<character>KALEN</character>
<dialogue>But you're only a mud carrier.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>I'll be all right. You go back to the village and light the fire. So we can find our way home.</dialogue>
<scene_description>A beat .</scene_description>
<character>KALEN</character>
<dialogue>I'll wait for you.</dialogue>
<scene_description>He hugs Alexander , tightly . And then goes . A beat . Vox watches Alexander , actually moved .</scene_description>
<character>ALEXANDER</character>
<dialogue>Come on.</dialogue>
<scene_description>He rises and they continue down the path .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT - DAY</stage_direction>
<scene_description>Alexander and Vox are staring up , gazing at something ahead of them . An odd shadow falling across them .</scene_description>
<character>ALEXANDER</character>
<dialogue>My God. I saw this.</dialogue>
<character>VOX</character>
<dialogue>It frightens you.</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<character>VOX</character>
<dialogue>It was meant to.</dialogue>
<scene_description>And then we see it . like a vision from the shared Eloi dream . a great metallic bird of prey . coiled muscles . shining red in the light . It is , in fact , one of the gargoyles from the Chrysler Building . The top of the building towers up from the sand . Shattered and desolate , looming at an odd angle .</scene_description>
<character>VOX</character>
<dialogue>So, do we go on?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes.</dialogue>
<character>VOX</character>
<dialogue>Are n't you a plucky little -?</dialogue>
<character>ALEXANDER</character>
<dialogue>Oh, shut up.</dialogue>
<scene_description>He bravely moves past the top of the Chrysler Building , keeping an eye on the frozen gargoyle as he passes . Vox smiles and follows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFFS - DAY</stage_direction>
<scene_description>Great cliffs soar up like dragon 's teeth . Alexander and Vox approach the tallest , sharpest cliff . Like a knife cutting into the sky .</scene_description>
<character>VOX</character>
<dialogue>The Morlocks never bother me. Why should they? I'm obsolete. Where's the danger in a book no one wants to read?</dialogue>
<scene_description>Vox notes one of the little squirrel - like creatures . He calmly crushes it under his foot . Alexander is surprised but says nothing . Then Vox stops at the great cliff , gazing up , a complex tornado of emotions flashing across his one human eye .</scene_description>
<character>VOX</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I have not seen this place for 120,000 years. Very well, Relic. Here's the way in.</dialogue>
<scene_description>Alexander stares at the wall of impenetrable stone .</scene_description>
<character>VOX</character>
<dialogue>It's not what you think. Touch it.</dialogue>
<scene_description>Alexander slowly reaches forward - his hand passes through the stone .</scene_description>
<character>VOX</character>
<dialogue>It's what they want you to see.</dialogue>
<character>ALEXANDER</character>
<dialogue>This is the way in?</dialogue>
<character>VOX</character>
<dialogue>Yes. Are you sure you want to do this?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. But you've done enough. Thank you for your help. I hope someday people read your books again.</dialogue>
<scene_description>And then Alexander takes a breath and . steps through the wall . Disappearing . Vox stands for a moment . Thinking . And follows Alexander through the wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - DAY</stage_direction>
<scene_description>Alexander turns .</scene_description>
<character>VOX</character>
<dialogue>In for a penny, in for a pound. Do you know that saying?</dialogue>
<character>ALEXANDER</character>
<dialogue>Yes. Thank you.</dialogue>
<scene_description>And they turn to face . The lair of the Morlocks . It is a serpentine network of tunnels that shoot off dramatically in all directions . Some of the tunnels are rough and natural , stalagmites and stalactites gaping like teeth . Others are smooth and architectural , seeming almost man - made . In the rocks around them , we can just glimpse relics from the Old World - buried under thousands of years of rock formation and evolution - treasures deep in the sediment . Bit of New York - a building - a car - a soda machine - twisting subway tracks arching into the darkness . And in the background a steady inhalation and exhalation - a constant rasping and hollow moaning - as if the Earth itself was breathing . And the low thrum of machinery .</scene_description>
<character>ALEXANDER</character>
<dialogue>Machines?</dialogue>
<character>VOX</character>
<dialogue>Yes.</dialogue>
<character>ALEXANDER</character>
<dialogue>Do you know which way?</dialogue>
<scene_description>Vox stands frozen . his nightmares coming back to haunt him .</scene_description>
<character>ALEXANDER</character>
<dialogue>Vox?</dialogue>
<character>VOX</character>
<dialogue>This way.</dialogue>
<scene_description>They begin to move through a tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - SUBWAY TUNNEL - DAY</stage_direction>
<scene_description>Although he does n't know it - and such a thing would be unknown to him anyway - Alexander and Vox are traveling down the remains of a decaying New York City subway tunnel . They pass bits of crumbling tile on the wall - the letters `` I.R.T. '' and `` 42nd Street '' are just visible through years of grime and geological growth . They move toward the next chamber , the source of the strange breathing and mechanical sounds seems to be coming from this new chamber . They emerge on a ledge high above .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - MACHINERY CAVERN - DAY</stage_direction>
<scene_description>Alexander and Vox peer down , hidden . If Alexander had the knowledge of its existence he would know he is above the sunken remains of Madison Square Garden . The whole Garden has fallen in on itself at some points , at others the cathedral of metal girders support the ceiling high above . The air around them vibrates and whooshes , the breathing sound roaring . And at last Alexander can see the source . Machines . Towering , sweating , industrial . A network of enormous pipes and electrical cables and air channels like the circulator system of a body that twist off in every direction . A sweatshop Hell . A mechanized Dante 's Inferno of wood and leather and steel . And the Morlocks are working . All the machines are powered by the brute strength of the Morlocks alone . They labor among the hellish machines - slowly turning great wheels and pulling at enormous bellows and hauling ropes and grinding levers . They are nightmare figures of a Bosch painting . Alexander looks down in amazement .</scene_description>
<character>ALEXANDER</character>
<dialogue>What's it all for?</dialogue>
<character>VOX</character>
<dialogue>The air. the power.</dialogue>
<character>ALEXANDER</character>
<dialogue>Why did they built it?</dialogue>
<character>VOX</character>
<dialogue>The Morlocks did n't build this.</dialogue>
<scene_description>Alexander looks at him .</scene_description>
<character>VOX</character>
<dialogue>Alexander. Listen to me, it was wrong to bring you. You're not going to find what you're looking for.</dialogue>
<character>ALEXANDER</character>
<dialogue>What do you mean?</dialogue>
<character>VOX</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>Trust me. You do n't want to see any more.</dialogue>
<scene_description>A beat .</scene_description>
<character>ALEXANDER</character>
<dialogue>Show me.</dialogue>
<scene_description>Vox looks at him for a moment . And leads him down another tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - HALL OF BONES - DAY</stage_direction>
<scene_description>The tunnel gradually opens out , getting wider and wider , opening to a vast chamber . And as the tunnel opens out , they get a stunning perspective of the whole . Bones . Skeletons . The entire chamber is a vast necropolis . They are standing in an enormous hall entirely made up of Eloi bones and skulls and rib cages and complete skeletons . Some buried deep into the sediment - some reaching out for them like grisly nightmare images - an entire sweeping wall of skulls on one side . At other places the bones glisten wetly , fresh kill . Here and there around the chamber holes drop away to blackness , gaping chasms . A silent beat as they take in the horror everywhere around them .</scene_description>
<character>VOX</character>
<dialogue>The slaughterhouse.</dialogue>
<scene_description>Alexander looks around , shattered .</scene_description>
<character>VOX</character>
<dialogue>They raise them like cattle. Feed them until they're ready and then hunt them.</dialogue>
<character>ALEXANDER</character>
<dialogue>No.</dialogue>
<character>VOX</character>
<parenthetical>( a whisper . )</parenthetical>
<dialogue>How are your dreams now?</dialogue>
<scene_description>His words hang in the air for a moment as Alexander takes in the gruesome chamber .</scene_description>
<character>ALEXANDER</character>
<dialogue>This has to end.</dialogue>
<character>VOX</character>
<dialogue>End?</dialogue>
<character>ALEXANDER</character>
<dialogue>This has to end.</dialogue>
<scene_description>Vox looks at him .</scene_description>
<character>VOX</character>
<dialogue>May I help you?</dialogue>
<scene_description>Before Alexander can respond - The ground beside them suddenly EXPLODES up - bones fly - Morlocks ERUPT up from the ground - Alexander tries to resist - but he is quickly overpowered - A Morlock grabs Vox and BRUTALLY flings him aside - Vox falls into a gaping hole - sailing down - SLAMMING against the sides of the abyss - his body RECOILING grotesquely like a rag doll , shattered - he CRASHES to the bottom of the chasm , lies still - Above , a Morlock leans over the defeated Alexander , he opens his enormous jaws wide and screeches down at Alexander , inches away , Alexander can see into his throat .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - EVOLVING TUNNEL - DAY</stage_direction>
<scene_description>Two Morlocks are leading Alexander down a long , sloping tunnel , deeper and deeper and deeper . But this tunnel is different . It evolves from the natural subterranean and bone caves of the Morlocks to rough walls and then walls with decaying frescos and tapestries . It is as if Alexander is walking through a microcosm of man 's development . A tall figure is waiting ahead of them in the deep darkness of the tunnel . The Morlocks stop , Alexander as well . Alexander peers at the figure , trying to see . Too dark . Then a voice . Surprisingly gentle .</scene_description>
<character>GENTLE VOICE</character>
<dialogue>I wo n't be what you expect.</dialogue>
<scene_description>A beat .</scene_description>
<character>GENTLE VOICE</character>
<dialogue>We're not really so different, you and I.</dialogue>
<scene_description>Then a light . A pulsing bio - electric glow radiates from the figure , illuminating it from within , and Alexander sees . The UBER - MORLOCK OVERLORD . The Uber - Morlocks are strange creatures . The centuries of living deep underground without any physical activity have left them anemic and enervated . They are fragile , weak , elongated creatures . Their skin is almost translucent - like bizarre mutations of a man and a silverfish . A beat as Alexander takes in this eerie figure . The Overlord bears a disturbing resemblance to Dean Fulton .</scene_description>
<character>OVERLORD</character>
<dialogue>It's bio - electric illumination. Like certain deep sea creatures from your own time.</dialogue>
<scene_description>He moves to Alexander . The Uber - Morlocks move slowly , almost having lost ambulatory power . The Overlord stops close . Studies Alexander . Then smiles .</scene_description>
<character>OVERLORD</character>
<dialogue>Come. see your future.</dialogue>
<scene_description>He ushers Alexander into .</scene_description>
</scene>
<scene>
<stage_direction>INT. UBER-MORLOCK CHAMBERS - DAY</stage_direction>
<scene_description>A breathtaking cacophony of the past and the future . A serpentine honeycomb of chambers that combine a Victorian Jules Verne sense of the `` future '' with artifacts from our world : obelisks of cars and computers ; towers of scientific equipment alongside rotting advertising posters and preserved animals floating in huge tanks . Mammoth columns of decaying books soaring up like monoliths . Vast towers of enormous tomes of every description . Here and there in the murky darkness of the network of rooms we see flickering lights - decaying power cables - the hum and sputter of some machinery in the shadows . The Overlord slowly leads Alexander through the network of chambers , past the amazing artifacts .</scene_description>
<character>OVERLORD</character>
<dialogue>What's your name?</dialogue>
<character>ALEXANDER</character>
<dialogue>Alexander.</dialogue>
<character>OVERLORD</character>
<dialogue>Well, Alexander, as a fellow scientist I know you have a thousand questions -</dialogue>
<character>ALEXANDER</character>
<dialogue>You came underground when the world was ending above. And you evolved. Some into the Morlocks and others -</dialogue>
<character>OVERLORD</character>
<dialogue>No, we created the Morlocks.</dialogue>
<character>ALEXANDER</character>
<dialogue>Created?</dialogue>
<character>OVERLORD</character>
<dialogue>You would n't understand. We genetically engineered the Morlock class to serve our needs.</dialogue>
<character>ALEXANDER</character>
<dialogue>As slaves.</dialogue>
<character>OVERLORD</character>
<dialogue>To work the machines and build the tunnels. You ca n't imagine what it was like when it all started. We survived for millennia, scraping the lichen and microscopic organisms from the rock with our teeth and digging for water with our nails. Endlessly. For generations. And we. became.</dialogue>
<scene_description>The Overlord continues to lead Alexander through the chambers , the two Morlocks following . Alexander can see that the Morlocks are clearly terrified by the Overlord . A few other Uber - Morlocks lurk in the darkness of the corners and high walls of the chambers .</scene_description>
<character>OVERLORD</character>
<dialogue>And centuries later when we tried to emerge into the sun again, we could n't. Our adaptation was too successful. We survived. we endured. for this.</dialogue>
<character>ALEXANDER</character>
<dialogue>How do you control the Morlocks?</dialogue>
<character>OVERLORD</character>
<dialogue>We make them see what we wish.</dialogue>
<character>ALEXANDER</character>
<dialogue>How?</dialogue>
<character>OVERLORD</character>
<dialogue>As our bodies atrophied our minds. compensated.</dialogue>
<scene_description>The two Morlocks following suddenly stop - mind control from the Overlord freezing them in their tracks . The Overlord continues to walk with Alexander .</scene_description>
<character>ALEXANDER</character>
<dialogue>And what of the Eloi?</dialogue>
<character>OVERLORD</character>
<dialogue>They survived above. Became what they are.</dialogue>
<character>ALEXANDER</character>
<dialogue>No. they did n't survive only to be your food. You did that.</dialogue>
<character>OVERLORD</character>
<dialogue>I'm afraid your indignation is lost here. I have no more `` human'' response to the Eloi then you would have to a carrot. It's just how we live now.</dialogue>
<character>ALEXANDER</character>
<dialogue>But this is barbaric! Have you completely lost all sense of -</dialogue>
<character>OVERLORD</character>
<parenthetical>( stops , calm . )</parenthetical>
<dialogue>And who are you, Alexander? Who are you to question thousands of years of evolution? This is the world now. I am fact.</dialogue>
<character>ALEXANDER</character>
<dialogue>It ca n't all be like this.</dialogue>
<scene_description>They continue walking .</scene_description>
<character>OVERLORD</character>
<dialogue>Underground and above. Light and dark. Predator and prey. There is nothing else. There is not even a desire for anything else. We have finally arrived at. stasis. Which brings us to the problem of you. You can see that you have no place here. Your blood, your offspring, your ideas just do n't belong anymore. So.</dialogue>
<scene_description>They round a corner to another chamber . And the Time Machine is sitting before them .</scene_description>
<character>OVERLORD</character>
<dialogue>You're free to go.</dialogue>
<scene_description>A stunning bell tower looms through the sediment just above the Time Machine . It is a huge clock face from the front of some long lost building . The huge bell silent . The hands still for generations .</scene_description>
<character>ALEXANDER</character>
<dialogue>What?</dialogue>
<character>OVERLORD</character>
<dialogue>Go back to where you came from. Or die here.</dialogue>
<character>ALEXANDER</character>
<dialogue>Why would you let me go back?</dialogue>
<character>OVERLORD</character>
<dialogue>Because the past is immutable. Frozen. Dead. And you are the past.</dialogue>
<scene_description>A beat as the Overlord gazed at Alexander dispassionately .</scene_description>
<character>ALEXANDER</character>
<dialogue>Say I just come back again?</dialogue>
<character>OVERLORD</character>
<dialogue>Alexander, yours is a world of brocade and velvet, not tooth and claw. Why would you come back to this? To save a few cattle? No.</dialogue>
<character>ALEXANDER</character>
<dialogue>I could tell them. Warm them of what's to come.</dialogue>
<scene_description>The Overlord gazed at him deeply . Then with strange poignancy .</scene_description>
<character>OVERLORD</character>
<dialogue>Please, warn them. No one will ever believe. we have come to this.</dialogue>
<scene_description>Then a weak voice , echoing from the darkness down the corridor .</scene_description>
<character>MARA'S VOICE</character>
<dialogue>Alexander.</dialogue>
<scene_description>Alexander spins around - races across the chamber - the Overlord slowly follows - And Alexander discovers Mara , almost lost in the incredibly Baroque chaos of the chamber . She is hanging on a wall , leather straps holding her in place . Filthy plastic IV tubes connect her to some chugging medical equipment . Alexander reaches up to grasp her hand , can just reach her .</scene_description>
<character>ALEXANDER</character>
<dialogue>Mara.</dialogue>
<scene_description>Mara weakly raises her head - a shocking sight - already her skin is becoming strangely translucent , her veins beginning to show through .</scene_description>
<character>ALEXANDER</character>
<dialogue>No.</dialogue>
<scene_description>Mara tries to speak , can not . Alexander stands for a beat , holding her hand . Then , without turning :</scene_description>
<character>ALEXANDER</character>
<dialogue>Why?</dialogue>
<character>OVERLORD</character>
<dialogue>We have lost the capacity to reproduce. But the species must continue.</dialogue>
<character>ALEXANDER</character>
<dialogue>So you take their best.</dialogue>
<character>OVERLORD</character>
<dialogue>When a creature shows too much independent thought we remove them from the gene pool. We're breeding them for submission. Soon they will be fully domesticated.</dialogue>
<character>ALEXANDER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>You took her because she helped me.</dialogue>
<character>OVERLORD</character>
<dialogue>Yes. Initiative and daring are not desirable traits in the Eloi. But you should be happy for her. She wo n't remember the creature she was. She will. become.</dialogue>
<scene_description>A beat . Alexander looks up at Mara deeply .</scene_description>
<character>OVERLORD</character>
<dialogue>She wo n't remember you. None of them will. You will be forgotten. That is how history works.</dialogue>
<character>ALEXANDER</character>
<dialogue>A man can change his history.</dialogue>
<character>OVERLORD</character>
<dialogue>After all you've seen. after man's entire journey. you still believe that?</dialogue>
<scene_description>Alexander slowly turns to the Overlord , his eyes burning , his fury mounting .</scene_description>
<character>OVERLORD</character>
<dialogue>Now will you go?</dialogue>
<character>ALEXANDER</character>
<dialogue>No.</dialogue>
<scene_description>Alexander steps towards the Overlord , threatening .</scene_description>
<character>ALEXANDER</character>
<dialogue>This has to end.</dialogue>
<scene_description>The Overlord steps back . A frail creature , he is no match for Alexander . He has no defense . But for one .</scene_description>
<character>OVERLORD</character>
<dialogue>Her name. was Emma.</dialogue>
<scene_description>Alexander stops .</scene_description>
<character>OVERLORD</character>
<dialogue>If I can only find the right door. the lady or the tiger.</dialogue>
<character>ALEXANDER</character>
<dialogue>No.</dialogue>
<character>OVERLORD</character>
<dialogue>It's always the tiger for you, Alexander, have n't you learned that by now?</dialogue>
<scene_description>He glances to Mara , strapped to the wall , her head hanging limp .</scene_description>
<character>OVERLORD</character>
<dialogue>It was n't possible then and it is n't possible now.</dialogue>
<scene_description>The Overlord slowly moves to Alexander , his eyes burning into Alexander 's , his voice low and steady , hypnotic .</scene_description>
<character>OVERLORD</character>
<dialogue>Past. present. future. it's all the same ribbon. You ca n't change a thing. Not a moment. Not a molecule. You never could.</dialogue>
<scene_description>The Overlord is very close . A whisper :</scene_description>
<character>OVERLORD</character>
<dialogue>You came 800,000 years not to relive it. But you are reliving it. How can you watch it again?</dialogue>
<scene_description>Alexander looks at him , pain in his eyes .</scene_description>
<character>OVERLORD</character>
<dialogue>Go. before it's too late. Accept what is destined to be. Go back to your own time. The future's finished for you.</dialogue>
<scene_description>Alexander looks at Mara . Then he slowly turns his back on her and steps to the Time Machine .</scene_description>
<character>OVERLORD</character>
<dialogue>That's right. go back. Tell them of your journey. Of your destiny. This was all. meant to be.</dialogue>
<scene_description>Alexander stands at the Time Machine . Then he reaches forward and gently throws the Time Machine 's control lever - The Overlord is stunned - Alexander withdraws his hand and turns to the Overlord .</scene_description>
<character>ALEXANDER</character>
<dialogue>Not this time.</dialogue>
<scene_description>A high - pitched whine - building - the world undulates around the Time Machine - And then it is gone . The Overlord gapes at Alexander .</scene_description>
<character>OVERLORD</character>
<dialogue>That was a foolish thing to do.</dialogue>
<character>ALEXANDER</character>
<dialogue>I'm a foolish man.</dialogue>
<scene_description>Alexander begins to circle the Overlord .</scene_description>
<character>OVERLORD</character>
<dialogue>I could have a hundred Morlocks here in thirty seconds.</dialogue>
<character>ALEXANDER</character>
<dialogue>I know.</dialogue>
<character>OVERLORD</character>
<dialogue>Does this prove something to you? Have you made some great stand of which I'm unaware?</dialogue>
<scene_description>Alexander continues to circle , the Overlord matching him .</scene_description>
<character>ALEXANDER</character>
<dialogue>I'm tired of running.</dialogue>
<character>OVERLORD</character>
<dialogue>Oh, you wo n't be running for long.</dialogue>
<scene_description>Alexander stops . The Overlord stops as well . The Overlord is now standing where the Time Machine was . A tense stand off .</scene_description>
<character>OVERLORD</character>
<dialogue>But you've earned a reward for your valor. I think you should become. You'll like it here. Once you get used to the darkness.</dialogue>
<character>ALEXANDER</character>
<dialogue>I do n't think that's going to happen.</dialogue>
<character>OVERLORD</character>
<dialogue>And why not?</dialogue>
<character>ALEXANDER</character>
<dialogue>Because.</dialogue>
<scene_description>He smiles .</scene_description>
<character>ALEXANDER</character>
<dialogue>Time's up.</dialogue>
<scene_description>Before the Overlord can react - a buzzing sound - the world undulating around him - his eyes shoot wide with realization - And the Time Machine reappears - appearing through the Overlord - the Overlord is torn apart - the Time Machine forcing it 's way through his body - Splat . The spacial and auditory vibration caused by the reappearance of the Time Machine cascades through the chamber - and the great clock face above suddenly shifts - its bell tolling loudly - the bell swaying back and forth unsteadily - Alexander races to Mara - urgently tearing her from the wall - she collapses down into his arms - As the huge clock begins to crumble from the wall - Alexander turns to see - The great clock face finally falling - On top of the Time Machine . Smashing it to pieces . Alexander gathers Mara up and begins racing out of the chamber . Another Uber - Morlock reaches for them from the shadows - Alexander easily knocks the anemic creature aside and continues on .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - HALL OF BONES - DAY</stage_direction>
<scene_description>Alexander is carrying Mara quickly through the grisly Hall of Bones , trying to remember his way out - Then a hulking figure appears ahead of him . And another . Two Morlocks . Alexander quickly sets Mara down and snatches up a bone to use as a weapon . The two Morlocks circle him , almost toying with him - then they attack - Alexander fights them but is almost immediately overpowered - they roughly shove him to his knees , preparing to dispatch him when - A voice , Vox :</scene_description>
<character>VOX</character>
<dialogue>That's quite enough of that, you great bloated ticks.</dialogue>
<scene_description>The Morlocks spin to Vox , surprised - he stands proudly a few feet away - Alexander instantly drives up and SLAMS into one of the Morlocks - The other springs for Vox - jaws snapping - Vox thrusts up an arm - the Morlock crashes into him - clamping his jaws down on Vox 's forearms - they fall to the ground - Alexander fights with his Morlock as best he can - but he is woefully overpowered - the Morlock slashes at him - The other Morlock continues to bite down on Vox 's forearm - Vox smiles -</scene_description>
<character>VOX</character>
<dialogue>That's titanium, you idiot.</dialogue>
<scene_description>He powers forward with his other hand and grabs the Morlock 's throat , squeezing the life out of him as the Morlock slashes at him brutally - Meanwhile , Alexander is having a bad time of it - the Morlock springs away from him into the darkness of the chamber - clinging to the walls and scaling along them quickly like a spider - and then vaults back and slashes at Alexander - Alexander spins - wounded - falls . The Morlock hunches , coiling for the kill - Alexander rolls over , pulling something from his vest - a box of matches - the Morlock races forward to destroy him - Alexander desperately strikes a match - a sudden phosphorescent flare from the match - the Morlock stops , stunned , blinded for a moment - And then the Morlock jerks , stiffens - amazed - as Vox 's titanium arm shoots through him from behind - Vox 's fist explodes through the Morlock 's chest . Vox jerks his hand free as the Morlock falls . Then a look of surprise passes across Vox 's face . he sinks to his knees .</scene_description>
<character>ALEXANDER</character>
<dialogue>Vox -</dialogue>
<character>VOX</character>
<dialogue>Imagine that. seems that little devil got my power relays.</dialogue>
<scene_description>Viscous fluid begins to trickle down his face plate .</scene_description>
<character>VOX</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Takes a licking but keeps on ticking.</dialogue>
<parenthetical>( his head jerks oddly . )</parenthetical>
<dialogue>. For a while anyway.</dialogue>
<character>ALEXANDER</character>
<dialogue>What can I do? Tell me what to do.</dialogue>
<character>VOX</character>
<dialogue>Nothing to do, I'm afraid. I'm just a librarian after all. Was n't exactly made for all this swashbuckling. Very Byronic end, though. I appreciate that. Do you know Byron?</dialogue>
<character>ALEXANDER</character>
<dialogue>Vox.</dialogue>
<character>VOX</character>
<dialogue>I'm babbling. Good to have someone to talk to for a change. But you need to go. Take her out of here.</dialogue>
<parenthetical>( he jerks again , in pain . )</parenthetical>
<dialogue>. I do n't have long.</dialogue>
<character>ALEXANDER</character>
<dialogue>I wo n't leave you like this.</dialogue>
<character>VOX</character>
<dialogue>Go back to the light. You were n't made for this. I was. I was made for this moment.</dialogue>
<character>ALEXANDER</character>
<dialogue>I do n't understand.</dialogue>
<character>VOX</character>
<dialogue>I'm going to end it, Alexander. As we discussed.</dialogue>
<scene_description>He touches the red glow of the reactor in his chest .</scene_description>
<character>VOX</character>
<dialogue>It'll only take a moment. One interrupted circuit, a few atoms smashing together and this will all be history. I'll give you as much time as I can. help me up.</dialogue>
<scene_description>Alexander helps Vox to his feet .</scene_description>
<character>VOX</character>
<dialogue>Now get out of my sight, you hideous primate.</dialogue>
<character>ALEXANDER</character>
<dialogue>I'll never forget this.</dialogue>
<character>VOX</character>
<dialogue>I should hope not.</dialogue>
<parenthetical>( he jerks again in pain . )</parenthetical>
<dialogue>. Alexander. Make them read my books. Tell them who they are. Who they could be.</dialogue>
<character>ALEXANDER</character>
<dialogue>I will.</dialogue>
<scene_description>A difficult beat .</scene_description>
<character>VOX</character>
<dialogue>Tick - tick - tick - better scamper along now.</dialogue>
<scene_description>Alexander picks up Mara and sprints off . Vox slowly turns toward the Machinery Cavern .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - SUBWAY TUNNEL - DAY</stage_direction>
<scene_description>Alexander makes his way with Mara up the decaying subway tunnel . Meanwhile -</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - MACHINERY CAVERN - DAY</stage_direction>
<scene_description>The Morlocks are absorbed in their mindless toil , as they have been for generations . Slaving and sweating at the great machines . Vox slowly limps into the chamber . He is near the end , fluid flowing down his face , moving with difficulty . The Morlocks notices him , surprised . Vox just continues to limp into the center of the cavern . The Morlocks begin to surround him , circling him , predatory . Vox looks at the Morlocks surrounding him . He smiles .</scene_description>
<character>VOX</character>
<dialogue>May I help you?</dialogue>
<scene_description>Then he reaches deep into his gaping chest cavity - And the world explodes - A terrific reaction - a cascading shock wave that tears through the chamber - the entire cavern begins to implode from the violent percussions -</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - HALL OF BONES - DAY</stage_direction>
<scene_description>The shock wave from the explosion rips through the slaughterhouse - destroying everything -</scene_description>
</scene>
<scene>
<stage_direction>INT. UBER-MORLOCK CHAMBERS - DAY</stage_direction>
<scene_description>The shock wave tears through the chambers . The entire Uber Morlock world crumbles , burying the artifacts of man 's past in an avalanche of rock .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORLOCK CAVES - SUBWAY TUNNEL - DAY</stage_direction>
<scene_description>Alexander hears the shock wave nearing - the world dissolving as the caverns collapse behind him - he sprints forward with Mara - the subway tunnels twist and writhe and implode behind him - Alexander sees sunlight ahead - the way out - he speeds toward the light -</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLIFFS - DAY</stage_direction>
<scene_description>Alexander races with Mara into the blinding sunlight - emerging from the gaping tunnel leading to the Morlock 's caves - Just as the final tunnels collapse behind them . Alexander sinks to his knees and looks back . Dust and boulders and earth . Vox has done it . The Morlock world is no more .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELOI VILLAGE - NIGHT</stage_direction>
<scene_description>Fires burn through the night . The Eloi are standing , amazed , not believing what they see . Alexander and Mara . Alive . They walk through the stunned Eloi without a word . Kalen emerges from his house and runs to them . Slow fade to .</scene_description>
</scene>
<scene>
<stage_direction>INT./ EXT. FIELD/ALEXANDER'S HOUSE - DAY/NIGHT</stage_direction>
<scene_description>Alexander walks with Mara and Kalen across a green , grassy field .</scene_description>
<character>ALEXANDER</character>
<dialogue>Well, you wanted to see it.</dialogue>
<character>KALEN</character>
<dialogue>This is it?</dialogue>
<character>ALEXANDER</character>
<dialogue>Around here.</dialogue>
<scene_description>He stops .</scene_description>
<character>ALEXANDER</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Yes. Just about here.</dialogue>
<character>KALEN</character>
<dialogue>But there's nothing here.</dialogue>
<character>MARA</character>
<dialogue>It was different then.</dialogue>
<character>ALEXANDER</character>
<dialogue>My laboratory was about. here. And the kitchen was over there, where that tree is. Mrs. Watchit would n't allow me in much. but, yes, this is about the kitchen.</dialogue>
<scene_description>They continue to move around the world that was Alexander 's house as we become aware of something else . Almost like ghosts at first . Philby and Mrs. Watchit . Moving around Alexander 's house in 1899 . Then we see the house and the field simultaneously . The same space , centuries apart .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>I do n't know what to tell you, sir. He's been gone this whole week.</dialogue>
<character>PHILBY</character>
<dialogue>And you've no idea where he went?</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>No, sir.</dialogue>
<scene_description>Philby smiles . They move into the study .</scene_description>
<character>ALEXANDER</character>
<dialogue>And this would be my study. There was an elm tree outside the window then.</dialogue>
<character>PHILBY</character>
<dialogue>I'm glad.</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>Sir?</dialogue>
<character>PHILBY</character>
<dialogue>I'm glad he's gone. Maybe he's finally found a place where he can be happy.</dialogue>
<character>ALEXANDER</character>
<dialogue>This. was my home.</dialogue>
<character>PHILBY</character>
<dialogue>His home.</dialogue>
<scene_description>Alexander puts an arm around Mara . At peace with his past . And his future .</scene_description>
<character>ALEXANDER</character>
<dialogue>Long ago.</dialogue>
<scene_description>Alexander , Mara and Kalen and their time slowly disappear as we fully come to .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALEXANDER'S HOUSE - NIGHT</stage_direction>
<scene_description>Mrs. Watchit leads Philby to the front door .</scene_description>
<character>PHILBY</character>
<dialogue>You know, Molly and I were talking about engaging a nanny for Jamie. Someone to live with us and take care of the boy. Would you be interested?</dialogue>
<scene_description>They stop at the front door . Mrs. Watchit looks back at the empty house for a moment . Then turns to Philby .</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>I think I might be. But there'll be some changes made. I run a tight house.</dialogue>
<character>PHILBY</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>I have no doubt of that. I'll come by in the morning and we'll arrange it. Goodnight, Mrs. Watchit.</dialogue>
<character>MRS. WATCHIT</character>
<dialogue>Goodnight, Mr. Philby.</dialogue>
<scene_description>He goes . Mrs. Watchit gently closes the door and turns back to the empty house . She stands for a moment and then , quietly :</scene_description>
<character>MRS. WATCHIT</character>
<dialogue>Godspeed, my fine lad, Godspeed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALEXANDER'S HOUSE - NIGHT</stage_direction>
<scene_description>Philby walks away from the house , stops , takes one look back . And he looks up at the moon for a moment . Then he takes his bowler hat off and flings it away . He smiles . And continues away . FADE OUT .</scene_description>
</scene>
</script> | In 1899, Dr. Alexander Hartdegen is an inventor teaching at Columbia University in New York City. Unlike his friend David Philby, Alexander would rather do pure research than work in the world of business. After a mugger kills his fiancée, Emma, he devotes himself to building a time machine that will allow him to travel back in time to save her. When he completes the machine in 1903, he travels back to 1899 and prevents her murder, only to see her killed again when a horseless carriage frightens the horses of a horse-drawn vehicle. Alexander realizes that any attempt to save Emma will result in her death through other circumstances. Distraught, Alexander travels to 2030 to discover whether science has been able to solve his question of how to change the past. At the New York Public Library, a holographic sentient librarian called Vox 114 insists that time travel to the past is impossible and is the realm of fictional authors such as Isaac Asimov and H.G. Wells. Alexander looks up himself and learns that he was reported missing in 1903 and dismissed as a crackpot. Alexander travels to 2037, when the accidental destruction of the Moon by the lunar colonists' demolition team has begun rendering the Earth virtually uninhabitable. While restarting the time machine, he is knocked unconscious and travels to the year 802,701 before reawakening. When Alexander comes to, he learns that Earth has now healed and the human race has reverted to a primitive lifestyle. Some survivors, called "Eloi", live on the sides of cliffs of what was once Manhattan. Alexander is nursed back to health by a woman named Mara, one of the few Eloi who speak English. He observes the broken moon and suggests that maybe his teachings led to this future. One night, Alexander and Mara's young brother Kalen dream of a frightening, jagged-toothed face and a creature calling their name. Alexander informs Mara of the dream, and she tells him they all have that dream and notices that his watch is missing. The next day, the Eloi are attacked and Mara is dragged underground by ape-like monsters called "Morlocks" that hunt the Eloi for food. In order to rescue her, Kalen leads Alexander to Vox 114, which is still functional after 800,671 years. After learning from Vox how to find the Morlocks, Alexander enters their underground lair through an opening that resembles the face in his nightmare. He is captured and thrown into an area where Mara sits in a cage. Alexander meets the Über-Morlock, who explains that Morlocks are the descendants of the humans who went underground after the Moon broke apart, while the Eloi are descended from those who remained on the surface. The Über-Morlocks are a caste of telepaths who rule the other Morlocks. The Über-Morlock explains that Alexander cannot alter Emma's fate, because her death is what drove him to build the time machine in the first place: saving her would be a virtual impossibility due to temporal paradox. He then reveals that the Morlocks have brought the time machine underground, and tells Alexander to return home after he gives Alexander his watch and the answer of why can't he change the past. Alexander gets into the machine, but pulls the Über-Morlock in with him, carrying them into the future as they fight. The Über-Morlock dies by rapidly aging when Alexander pushes him outside of the machine's temporal bubble. Alexander arrives at the year 635,427,810, revealing a harsh, rust-colored sky over a wasteland of Morlock caves. Accepting that he cannot save Emma, Alexander travels back to rescue Mara. After freeing her, he starts the time machine and jams its gears with his watch, creating a violent distortion in time. Pursued by the Morlocks, Alexander and Mara escape to the surface as the time distortion explodes, killing the Morlocks and destroying their caves along with the time machine. Alexander begins a new life with Mara and the Eloi, while Vox 114 becomes a teacher to the Eloi children. Back in 1903, Philby and Alexander's housekeeper Mrs. Watchit are in his laboratory discussing his absence. Philby tells Mrs. Watchit he is glad that Alexander has gone to a place where he can find peace, then tells her that he would like to hire her as a housekeeper, which she accepts until Alexander returns. Mrs. Watchit bids Alexander farewell and Philby leaves, looking toward the laboratory affectionately, then throws his bowler hat away in tribute to Alexander's distaste for conformity. |
Avengers: Endgame_2019 | tt4154796 | <script>
<scene>
<character>F O R Y O U R C O N S I D E R AT I O N</character>
<dialogue>BEST ADAPTED SCREENPLAY</dialogue>
<scene_description>Christopher Markus & Stephen McFeely</scene_description>
<character>AVENGERS: ENDGAME</character>
<dialogue>Adapted Screenplay</dialogue>
<scene_description>Written by Christopher Markus and Stephen McFeely</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARTON HOME - DAY</stage_direction>
<scene_description>CLOSE ON: A HOUSE-ARREST ANKLE BRACELET.</scene_description>
<character>CLINT BARTON (O.S.)</character>
<dialogue>Okay, you see where you're going? Let's work on how to get there.</dialogue>
<scene_description>Pan up to find...CLINT BARTON, with his daughter, LILA, coaching her as she notches an arrow in her bow.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Okay, good...tip down...bow arm out...three fingers-</dialogue>
<character>LILA BARTON</character>
<dialogue>Why three?</dialogue>
<character>CLINT BARTON</character>
<dialogue>'Cause two's not enough and four's too much-</dialogue>
<character>LAURA BARTON (O.S.)</character>
<dialogue>You guys want mustard or mayo, or both?</dialogue>
<scene_description>CLINT TURNS. IN THE FIELD BEHIND THEM, his wife, LAURA BARTON sets up a picnic as COOPER and NATHANIEL play soccer.</scene_description>
<character>LILA BARTON</character>
<dialogue>Who puts mayo on a hot dog?</dialogue>
<character>CLINT BARTON</character>
<dialogue>We'll both have mustard, hon!</dialogue>
<parenthetical>(to Lila)</parenthetical>
<dialogue>Okay. Draw back, deep breath...</dialogue>
<scene_description>She lets loose. THUD! HER ARROW HITS NEAR THE BULLS-EYE.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Good job, Hawkeye. Go get your arrow.</dialogue>
<character>LAURA BARTON (O.S.)</character>
<dialogue>Enough murder practice! Soup's on!</dialogue>
<character>CLINT BARTON</character>
<dialogue>One sec, babe. Be right there! We're gonna kill some hot dogs. We're hungry.</dialogue>
<scene_description>But when he turns back...LILA IS GONE. The bow and arrow lie at his feet. He stares.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Lila? Babe, did you see Lila-</dialogue>
<scene_description>He turns to his wife, BUT SHE'S GONE. So are the boys. The soccer ball rolls to a stop near the picnic blanket. NO ONE CAN BE SEEN FOR A HUNDRED YARDS IN ALL DIRECTIONS.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Guys? Guys, come on...</dialogue>
<scene_description>Clint walks toward the field, dread growing.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Laura?</dialogue>
<scene_description>Clint breaks into a panicked run.</scene_description>
<character>CLINT BARTON</character>
<scene_description>CLINT MELTS DOWN, SPINNING AROUND, FRANTIC... MARVEL FLIP</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - NIGHT</stage_direction>
<scene_description>BLACKNESS. TITLE: "TWENTY-TWO DAYS LATER." Soon, THE BENATAR tumbles past, adrift...</scene_description>
</scene>
<scene>
<stage_direction>INT. BENATAR, GALLEY - NIGHT</stage_direction>
<scene_description>TONY STARK and NEBULA play table-top football. She wins.</scene_description>
<character>TONY</character>
<parenthetical>(offering his hand)</parenthetical>
<dialogue>Good sport. Have fun?</dialogue>
<scene_description>Nebula studies his hand, confused. Finally she shakes.</scene_description>
<character>NEBULA</character>
<dialogue>It was fun.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - NIGHT</stage_direction>
<scene_description>Tony, thin and haggard, kneels in front of HIS BROKEN IRON MAN HELMET. He hits a switch. A light blinks. TONY'S RECORDING: he stares directly into the "camera."</scene_description>
<character>TONY</character>
<dialogue>This thing on? Hey, Ms. Potts. Pep. If you find this recording, don't post it on social media. It's going to be a real tearjerker.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - NIGHT</stage_direction>
<scene_description>THE BENATAR sparks, adrift.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>I don't know if you're ever going to see these. I don't even know if you're still...God, I hope so. Today's day twenty-one, no...twenty- two.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, GALLEY - FLASHBACK</stage_direction>
<scene_description>NEBULA lasers shut Tony's infected wound.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>You know, if it wasn't for the existential terror of staring into the literal void of space, I'd say I'm feeling a little better today. Infection's run its course, thanks to the Blue Meanie back there. You'd like her. She's very practical. And only a tiny bit sadistic.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, GALLEY - FLASHBACK</stage_direction>
<scene_description>TONY AND NEBULA MEND THE EMPTY FUEL CELLS UNDER THE FLOOR.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>The fuel cells were cracked during battle, but we figured out a way to reverse the ion charge. Bought ourselves about 48 hours of flight time. Problem is that was about...49 hours ago.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - NIGHT</stage_direction>
<scene_description>FROM HIGH OVERHEAD, WE WATCH THE BENATAR DRIFT IN SPACE.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Which means, we're dead in the water. A thousand light years from the nearest 7-11.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, GALLEY - FLASHBACK</stage_direction>
<scene_description>Tony hands Nebula the last of A PURPLE POWDER. She pushes it back to him.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Most of the quote-unquote 'food' and potable water ran out two weeks ago.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - NIGHT</stage_direction>
<scene_description>Tony stands on the flight deck, one hand resting on the glass, staring into the unknown.</scene_description>
<character>TONY</character>
<dialogue>Pep, I know I said no more surprises. But, I gotta say, I was really hoping to pull off one last one. But it looks like...well, you know what it looks like.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - NIGHT</stage_direction>
<scene_description>Back to now. Tony records his thoughts into his helmet.</scene_description>
<character>TONY</character>
<dialogue>Don't feel bad about this. I mean, actually, if you grovel for a couple weeks, and then move on with enormous guilt...I should probably lie down for a minute, rest my eyes. Please know, when I drift off, it will be like every day lately. I'm fine, totally fine. I'm going to dream about you. It's always you.</dialogue>
<scene_description>Tony switches the helmet off. TIME CUT: NEBULA finds TONY SPRAWLED ON THE FLOOR. TIME CUT: Nebula helps Tony into Quill's chair. Tony slumps, completely still. Nebula gives him his privacy. Move in on Tony's face as...A LIGHT SLOWLY GROWS BRIGHTER. Soon, the entire flight deck glows as bright as a sun. Nebula appears from the galley, shading her eyes. Tony's eyelids flutter. Finally, he opens them to see... CAPTAIN MARVEL (CAROL DANVERS) hovering in space.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, BATHROOM - NIGHT</stage_direction>
<scene_description>STEVE ROGERS shaves. He studies himself in the mirror, exhausted. He's about to tap his razor in the sink's standing water, when... THE WATER RIPPLES. Steve stares a beat, puzzled. Then the lamp catches his eye...SWAYING GENTLY. Just then, a sound roars overhead. Steve turns...</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND - NIGHT</stage_direction>
<scene_description>THE MOON HANGS HUGE OVER THE EARTH. Then the silhouette of THE BENATAR races past, propelled by CAROL DANVERS. Below...STEVE ROGERS, BRUCE BANNER, AND NATASHA ROMANOV watch a flying woman guide the ship to the ground. Behind them, PEPPER POTTS walks up to the group. TIME CUT: Steve races up as NEBULA helps Tony down the ramp.</scene_description>
<character>TONY</character>
<dialogue>I couldn't stop him.</dialogue>
<character>STEVE</character>
<dialogue>Neither could we.</dialogue>
<character>TONY</character>
<dialogue>I lost the kid.</dialogue>
<character>STEVE</character>
<parenthetical>(unable to say it all)</parenthetical>
<dialogue>We...lost...</dialogue>
<character>TONY</character>
<dialogue>Is Pepper...?</dialogue>
<scene_description>JUST THEN, PEPPER POTTS THROWS HERSELF INTO TONY'S ARMS.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>Stay here, you stay right here-</dialogue>
<character>TONY</character>
<dialogue>I'm not going anywhere.</dialogue>
<scene_description>NEARBY, NEBULA watches the sad humans. ROCKET SITS BESIDE HER, GRATEFUL. She rests a hand on his furry head.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>RHODEY, TONY, STEVE, NATASHA, AND CAROL watch... A HOLO-DISPLAY ROTATING THROUGH FACES OF PEOPLE WE'VE LOST: WANDA. VISION. BUCKY. T'CHALLA. MARIA HILL.</scene_description>
<character>RHODEY</character>
<dialogue>It's been twenty-three days since Thanos came to Earth.</dialogue>
<scene_description>TONY, weak, sits in a hi-tech wheelchair, IV dripping into his arm. He stares, taking in the loss: SAM WILSON. SECRETARY ROSS. SHARON CARTER. SCOTT LANG. HOPE VAN DYNE. HANK PYM. NICK FURY. At Fury, Carol bites back emotion.</scene_description>
<character>NATASHA</character>
<dialogue>World governments are in pieces, as you can imagine. But the parts that still work are trying to take a census. It looks like he did what he said he was going to do.</dialogue>
<scene_description>JANE FOSTER. ERIK SELVIG. WONG. DR. STRANGE. THE BARTON FAMILY. QUILL. DRAX. MANTIS. GROOT. PETER PARKER. Finally, Tony looks away. RHODEY turns it off.</scene_description>
<character>NATASHA</character>
<dialogue>Thanos wiped out fifty percent of all the living creatures on Earth.</dialogue>
<character>CAROL DANVERS</character>
<dialogue>Not just Earth.</dialogue>
<character>RHODEY</character>
<dialogue>You sure about that?</dialogue>
<character>CAROL DANVERS</character>
<dialogue>You never have to ask me that.</dialogue>
<character>TONY</character>
<dialogue>Where is he now?</dialogue>
<character>STEVE</character>
<dialogue>We don't know. He just opened a portal and walked through.</dialogue>
<scene_description>Tony looks out to see...THOR on the patio.</scene_description>
<character>TONY</character>
<dialogue>What's his deal?</dialogue>
<character>ROCKET (O.S.)</character>
<dialogue>He's pissed.</dialogue>
<scene_description>Tony turns to see Rocket for the first time.</scene_description>
<character>ROCKET</character>
<dialogue>He thinks he failed. Which, of course, he did. But there's a lot of that going around, ain't there?</dialogue>
<character>TONY</character>
<dialogue>Until this second, I literally thought you were a Build-a-Bear.</dialogue>
<character>STEVE</character>
<dialogue>We've been hunting Thanos for three weeks - deep space scans, satellites - we got nothing. Tony, you fought him-</dialogue>
<character>TONY</character>
<dialogue>Who told you that? I didn't fight him, he wiped my face with a planet while a Bleecker Street magician gave away the store. There was no fight because he's not beatable.</dialogue>
<character>STEVE</character>
<dialogue>Did he give you anything to go on? Clues, coordinates-</dialogue>
<scene_description>Tony stares, lost, barely acknowledging Steve.</scene_description>
<character>TONY</character>
<dialogue>I saw this coming, few years back. Didn't wanna believe. I thought I was dreaming...</dialogue>
<character>STEVE</character>
<dialogue>Tony, I need you to focus-</dialogue>
<character>TONY</character>
<dialogue>And I needed you, as in past tense. That trumps what you need. It's too late, buddy. You know what I need?</dialogue>
<scene_description>Tony turns to everyone, slightly unstable.</scene_description>
<character>TONY</character>
<dialogue>I need a shave and a burger, not a bowl of soup.</dialogue>
<parenthetical>(stands)</parenthetical>
<dialogue>And I believe I remember telling all of you, alive and otherwise, that we needed a suit of armor around the world, whether it impacted our precious freedoms or not-</dialogue>
<character>STEVE</character>
<dialogue>But that didn't work out, did it?</dialogue>
<character>TONY</character>
<dialogue>I said we'd lose, you said we'd "do that together, too." Guess what, Cap, we lost, and you weren't there. But that's what we do, right? Our best work after the fact? We're the "Avengers", not the "Pre-vengers-"</dialogue>
<character>RHODEY</character>
<dialogue>Tony, take it easy...</dialogue>
<character>TONY</character>
<dialogue>I've got nothing for ya, Cap. No coordinates, no clues, no strategies, no options. Zero, zip, nada. No trust.</dialogue>
<parenthetical>(rips out RT)</parenthetical>
<dialogue>Here. You take this. You find him, you put this on, and hide.</dialogue>
<parenthetical>(drops to his knees)</parenthetical>
<dialogue>I'm fine!</dialogue>
<scene_description>Tony COLLAPSES. Rhodey catches him.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, CORRIDOR - DAY</stage_direction>
<scene_description>CAROL, STEVE, AND NATASHA stare through GLASS DOORS at TONY IN A HOSPITAL BED, PEPPER AND BANNER AT HIS SIDE. RHODEY STEPS OUT OF THE HOSPITAL ROOM.</scene_description>
<character>RHODEY</character>
<dialogue>Bruce gave him a sedative. Should be out the rest of the day.</dialogue>
<character>CAROL DANVERS</character>
<parenthetical>(heading for the lab)</parenthetical>
<dialogue>Take care of him. When I come back, I'll bring a bottle of Xorrian elixir.</dialogue>
<character>STEVE</character>
<dialogue>Where are you going?</dialogue>
<character>CAROL DANVERS</character>
<dialogue>To kill Thanos.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>NATASHA catches up to CAROL IN THE WORKSHOP.</scene_description>
<character>NATASHA</character>
<dialogue>Hey, hey, hang on. We're sort of a team here. Between you and me, morale's a little fragile.</dialogue>
<character>CAROL DANVERS</character>
<dialogue>Oh, I'm sorry. My fault.</dialogue>
<scene_description>Carol sees Steve and Rhodey catch up. She claps her hands.</scene_description>
<character>CAROL DANVERS</character>
<dialogue>All right, team! I'm going to go kill Thanos. Message me if you get any intel that can help. Otherwise, I'll report back when he's dead. Great work, everybody.</dialogue>
<character>STEVE</character>
<dialogue>Look, we realize "up there's" more your territory, but this is our fight, too.</dialogue>
<character>RHODEY</character>
<dialogue>Do you even know where he is?</dialogue>
<character>CAROL DANVERS</character>
<dialogue>I know people who might-</dialogue>
<character>NEBULA (O.S.)</character>
<dialogue>Don't bother.</dialogue>
<scene_description>They all turn to see NEBULA in THE LIVING AREA DOORWAY.</scene_description>
<character>NEBULA</character>
<dialogue>I can tell you where Thanos is.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, LIVING AREA - DAY</stage_direction>
<scene_description>STEVE, NATASHA, RHODEY, BANNER, ROCKET, THOR, and CAROL gather. NEBULA studies her robotic hand.</scene_description>
<character>NEBULA</character>
<dialogue>Thanos spent a long time trying to...perfect me. When he worked, he talked. About his Great Plan. Even disassembled, I wanted to please him. I'd ask, where would we go once his plan was complete? His answer was always the same: "To the Garden."</dialogue>
<character>RHODEY</character>
<dialogue>You're saying Thanos had a retirement plan.</dialogue>
<character>STEVE</character>
<dialogue>Where's this garden?</dialogue>
<scene_description>ROCKET brings up EARTH on A HOLO-MAP. A BRIGHT SURGE OF ENERGY ENVELOPS THE PLANET (EMANATING FROM WAKANDA).</scene_description>
<character>ROCKET</character>
<dialogue>When Thanos snapped his fingers, Earth become ground zero for a power surge of ridiculously cosmic proportions. No one's seen anything like it.</dialogue>
<scene_description>He shifts the map, crossing billions of light years, to...AN IDENTICAL SURGE ENVELOPING A MYSTERIOUS, ORANGE PLANET.</scene_description>
<character>ROCKET</character>
<dialogue>Until two days ago.</dialogue>
<character>NATASHA</character>
<dialogue>You're saying he snapped his fingers again. Where?</dialogue>
<scene_description>Rocket zooms the holo-image toward a cluster of stars...</scene_description>
<character>NEBULA</character>
<dialogue>Planet is unnamed, but inhabitable. Rich atmosphere, good soil-</dialogue>
<character>STEVE</character>
<dialogue>A garden.</dialogue>
<character>BRUCE BANNER</character>
<dialogue>Thanos is there. And he just used the stones.</dialogue>
<scene_description>Steve eyes everyone. THOR FINALLY LOOKS UP.</scene_description>
<character>BRUCE BANNER</character>
<parenthetical>(thinking of himself)</parenthetical>
<dialogue>You know, we'd be going short- handed.</dialogue>
<character>RHODEY</character>
<dialogue>Because he killed all our friends.</dialogue>
<character>ROCKET</character>
<dialogue>Are we saying they're dead? We're using that word now?</dialogue>
<character>RHODEY</character>
<dialogue>He's still got the stones.</dialogue>
<character>CAROL DANVERS</character>
<dialogue>So, we take them. And we use them to bring everybody back.</dialogue>
<character>BRUCE BANNER</character>
<dialogue>Just like that?</dialogue>
<character>STEVE</character>
<dialogue>Yeah. Just like that.</dialogue>
<scene_description>No one speaks. Finally...</scene_description>
<character>NATASHA</character>
<dialogue>If there's even the smallest chance we can undo this, then we owe it to everyone who's not sitting here to try.</dialogue>
<scene_description>Everyone looks around the room...AGREED.</scene_description>
<character>BRUCE BANNER</character>
<dialogue>If we do this...why would it end any differently than it did before?</dialogue>
<character>CAROL DANVERS</character>
<dialogue>Because before you didn't have me.</dialogue>
<character>RHODEY</character>
<dialogue>Hey, new girl. All of us in here are about that superhero life. Where've you been all this time?</dialogue>
<character>CAROL DANVERS</character>
<dialogue>There's a lot of people in the universe. And they didn't all have you.</dialogue>
<scene_description>THOR STANDS. He crosses to Carol and holds out his hand. STORMBREAKER WHIPS PAST HER HEAD, RUFFLING HER HAIR. Carol doesn't flinch. Thor smiles.</scene_description>
<character>THOR</character>
<dialogue>I like this one.</dialogue>
<scene_description>Steve stares at the planet a long, deciding moment. Then...</scene_description>
<character>STEVE</character>
<dialogue>Let's go get that son of a bitch.</dialogue>
<scene_description>SLAM TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - DAWN</stage_direction>
<scene_description>EVERYONE settles into their seats on the Benatar's flight deck. STEVE WATCHES EARTH GROW SMALLER THROUGH THE WINDOW.</scene_description>
<character>CAROL DANVERS</character>
<dialogue>Trust me. You get used to it.</dialogue>
<scene_description>ROCKET looks around from the pilot's chair.</scene_description>
<character>ROCKET</character>
<dialogue>Okay, who here hasn't been to space?</dialogue>
<scene_description>STEVE, NATASHA, and RHODEY half-raise their hands.</scene_description>
<character>ROCKET</character>
<dialogue>Oh, you're gonna hate this.</dialogue>
<character>NEBULA</character>
<dialogue>Approaching jump in three, two...</dialogue>
<scene_description>STEVE'S FINGERS TIGHTEN on the arm rest as...</scene_description>
</scene>
<scene>
<stage_direction>EXT. BENATAR - DAWN</stage_direction>
<scene_description>WHOOSH! THE BENATAR WARPS, LEAPING INTO JUMP SPACE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - DAY</stage_direction>
<scene_description>WHOOSH! THE BENATAR ARRIVES ABOVE AN OMINOUS, ORANGE PLANET. As the ship maintains orbit, CAROL flies toward the planet.</scene_description>
<character>CAROL DANVERS</character>
<dialogue>I'll head down for recon. If I'm not back in fifteen, you'll know I found him.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - SPACE</stage_direction>
<scene_description>OUR HEROES wait on the flight deck, tense. NATASHA looks at STEVE, who's staring at...A COMPASS: PEGGY CARTER'S YELLOWED PHOTO STILL RESTS INSIDE.</scene_description>
<character>NATASHA</character>
<dialogue>This is going to work, Steve.</dialogue>
<character>STEVE</character>
<dialogue>I know it will.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Because I don't know what I'm going to do if it doesn't.</dialogue>
<scene_description>JUST THEN, CAROL FLIES UP TO THE OTHER SIDE OF THE GLASS.</scene_description>
<character>CAROL DANVERS (OVER COM)</character>
<dialogue>No satellites, no ships, no armies. No ground defenses of any kind. It's just him.</dialogue>
<character>NEBULA</character>
<dialogue>That's enough.</dialogue>
<scene_description>The Avengers exchange a look.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TITAN-2 - DAY</stage_direction>
<scene_description>SMOKE CURLS FROM THE CHIMNEY OF A SOLITARY LODGE.</scene_description>
</scene>
<scene>
<stage_direction>INT. THANOS' LODGE - DAY</stage_direction>
<scene_description>A POT BOILS OVER A FIRE. Then...THANOS LIMPS TOWARD IT, LEFT SIDE PARALYZED, arm blackened. A shell of his former self. He stirs the pot. Suddenly, AN ARMORED HAND BURSTS FROM THE FIRE, GRABBING THANOS' GAUNTLET... PREVENTING THANOS FROM CLOSING HIS FIST. Thanos jerks back as HULKBUSTER SPRINGS INSIDE. CAROL AND RHODEY BASH THROUGH THE ROOF, PINNING THANOS' ARMS. THOR crashes through the door, followed by the others. HE SWINGS STORMBREAKER...CUTTING OFF THANOS' HAND. The Gauntlet lands at Rocket's feet. He picks it up...and his face goes slack. He turns the glove toward the others. And we now realize...THE INFINITY STONES ARE GONE.</scene_description>
<character>STEVE</character>
<dialogue>Where are they?</dialogue>
<scene_description>Thanos doesn't answer. CAROL PRESSES HIM TO HIS KNEES.</scene_description>
<character>CAROL DANVERS</character>
<dialogue>Answer the question!</dialogue>
<character>THANOS</character>
<dialogue>The universe required correction. After that, the stones served no purpose beyond temptation.</dialogue>
<character>BRUCE BANNER</character>
<dialogue>You murdered trillions.</dialogue>
<character>THANOS</character>
<dialogue>You should be grateful.</dialogue>
<character>NATASHA</character>
<dialogue>Where are the stones?</dialogue>
<character>THANOS</character>
<dialogue>Gone. Reduced to atoms.</dialogue>
<character>BRUCE BANNER</character>
<dialogue>You used them two days ago!</dialogue>
<character>THANOS</character>
<dialogue>I used the stones to destroy the stones. It nearly killed me. But the work is done. It always will be.</dialogue>
<scene_description>That lands, sickening. ROCKET SEARCHES, FRANTIC, NEAR TEARS.</scene_description>
<character>ROCKET</character>
<dialogue>No...they can't be gone...</dialogue>
<character>RHODEY</character>
<dialogue>He's lying.</dialogue>
<character>NEBULA</character>
<dialogue>My father is many things. A liar is not one of them.</dialogue>
<character>THANOS</character>
<dialogue>Thank you, daughter. Perhaps I've treated you-</dialogue>
<scene_description>SWOOSH. THOR'S AXE SEVERS THANOS' HEAD FROM HIS BODY. IT HITS THE FLOOR, FOLLOWED BY THE THUD OF HIS HUGE FRAME.</scene_description>
<character>ROCKET</character>
<dialogue>What did you do?</dialogue>
<scene_description>Thor just stares, his long journey a failure.</scene_description>
<character>THOR</character>
<dialogue>I went for the head.</dialogue>
<scene_description>As Thor walks away, Steve looks at Thanos' head on the ground. IT'S OVER. THEY LOST. FADE TO BLACK.: OVER BLACK: "FIVE YEARS LATER."</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORT OF NEW YORK - DAY</stage_direction>
<scene_description>A CAR CRUSHER flattens an Audi. THOUSANDS MORE NEVER-DRIVEN CARS LIE STACKED ON THE DOCKS, WAITING THEIR TURN.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK - DAY</stage_direction>
<scene_description>A HUGE TARP flaps over the shuttered LINCOLN CENTER.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHEA STADIUM - DAY</stage_direction>
<scene_description>A TEENAGE GIRL rides her skateboard, alone in a weed-filled parking lot. Pull back to see THE EMPTY STADIUM BEHIND HER.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROOKLYN COMMUNITY CENTER - NIGHT</stage_direction>
<scene_description>A POSTER SHOWS A SINGLE FIGURE STARING AT A GROUP OF SHADOWS. IT READS, "WHERE DO WE GO, NOW THAT THEY'RE GONE?" The bottom reads, "BROOKLYN SUPPORT GROUP, TUESDAYS 8PM." A GRIEVING MAN speaks in A RECOVERY GROUP.</scene_description>
<character>GRIEVING MAN</character>
<dialogue>So, I went on a date the other day.</dialogue>
<character>JIMMY</character>
<dialogue>Good job, Bobby. Back in the game.</dialogue>
<character>GRIEVING MAN</character>
<dialogue>Thank you, Jimmy.</dialogue>
<parenthetical>(to the group)</parenthetical>
<dialogue>First in five years. I sat there at dinner thinking, what are we even supposed to talk about?</dialogue>
<scene_description>STEVE ROGERS, thinner, older, LISTENS INTENTLY.</scene_description>
<character>STEVE</character>
<dialogue>What did you talk about?</dialogue>
<character>GRIEVING MAN</character>
<dialogue>Same old crap. How much things have changed. How much we miss the Mets. My job, his job. Then it got kind of quiet. He cried during the salads.</dialogue>
<character>OLDER MAN</character>
<dialogue>What about you?</dialogue>
<character>GRIEVING MAN</character>
<dialogue>I cried just before dessert. But I'm seeing him again tomorrow. So...</dialogue>
<character>STEVE</character>
<dialogue>That's great. You've already done the hardest part. You took a jump, didn't know where you'd come down. And that's it, those little brave baby steps we've gotta take. To try to make us feel whole again, to find a purpose...</dialogue>
<parenthetical>(to everyone)</parenthetical>
<dialogue>I went into the ice right after I met the love of my life. Woke up seventy years later and...had to keep going.</dialogue>
<scene_description>The group takes this in.</scene_description>
<character>STEVE</character>
<dialogue>The world's been left in our hands. If we don't do something with it...then Thanos might as well have killed all of us.</dialogue>
<scene_description>People nod, but Steve seems unconvinced by his own words.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO - DAY</stage_direction>
<scene_description>THE CAMERA ROTATES down from the sky onto a strangely quiet San Francisco, until it finds...A STORAGE WAREHOUSE.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE WAREHOUSE, UNIT 277 - DAY</stage_direction>
<scene_description>LUIS' VAN sits in a storage unit, surrounded by boxes: "S. LANG, KITCHEN, S. LANG, CLOTHES." THROUGH THE VAN WINDOWS, we see...HANK PYM'S QUANTUM TUNNEL. A MEANDERING RAT CRAWLS ONTO THE CONTROLS. IT ACCIDENTALLY STEPS ON A TOGGLE SWITCH and...A LIGHT GOES GREEN. FLASH. THE BACK DOORS OF THE VAN BLOW OPEN, revealing...SCOTT LANG, ANT-MAN suit shorting. He retracts his helmet, gasping.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE WAREHOUSE, SECURITY OFFICE - DAY</stage_direction>
<scene_description>A GUARD reads THE TERMINAL BEACH, by J.G. Ballard. He looks up at a monitor: SCOTT LANG holds up a sign, "HELP."</scene_description>
</scene>
<scene>
<stage_direction>EXT. STORAGE WAREHOUSE - DAY</stage_direction>
<scene_description>A dented WAGON rolls over a speed-bump. Scott, in his old clothes, slowly wheels his belongings away. The Guard watches him go, puzzled.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO, STREET - DAY</stage_direction>
<scene_description>Scott walks A STREET OF ABANDONED HOMES.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Hello?</dialogue>
<scene_description>He hears A CLACKING. A KID on a bicycle rides by, playing card wedged between his spokes. Scott waves him down. The kid stops.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Hey. Kid. What happened here?</dialogue>
<scene_description>The kid says nothing. He just stares at Scott with a haunted look. Then he stands on his pedal and keeps riding. CLACK-CLACK-CLACK-CLACK-CLACK-CLACK-CLACK...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO, GOLDEN GATE PARK - DAY</stage_direction>
<scene_description>STONE MONUMENTS loom in a park. A small crowd mills. Reveal Scott looking over the monuments, lost. TIME CUT: Scott walks up to the obelisks. At the top, they read: "THE VANISHED." Hundreds of names line the stones. He scans the "L's," finally finding, "SCOTT LANG."</scene_description>
<character>SCOTT LANG</character>
<dialogue>What?</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Cassie...</dialogue>
</scene>
<scene>
<stage_direction>EXT. MAGGIE LANG'S HOUSE - DAY</stage_direction>
<scene_description>A winded Scott races up the sidewalk toward his old house. He leaps a bush, banging on the front door.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Cassie! Cassie!</dialogue>
<scene_description>SOON, A TEEN GIRL opens the door, shocked. A very long beat.</scene_description>
<character>CASSIE LANG</character>
<dialogue>Dad?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Peanut?</dialogue>
<scene_description>Scott wraps his arms around CASSIE LANG (14), now five years older than when he last saw her. She hugs him, CRYING.</scene_description>
<character>CASSIE LANG</character>
<dialogue>I thought you were gone.</dialogue>
<character>SCOTT LANG</character>
<dialogue>I'm sorry. I'm back...I'm back...I'm back...</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, FRONT GATE - DAWN</stage_direction>
<scene_description>Avengers Compound stands amidst overgrown grass. Rusty chains lock the gate. Faded signs warn: "RESTRICTED AREA. KEEP OUT."</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, LIVING AREA - NIGHT</stage_direction>
<scene_description>NATASHA SITS SURROUNDED BY HOLO-SCREENS FEATURING CAROL DANVERS, RHODEY, ROCKET AND NEBULA, AND OKOYE.</scene_description>
<character>ROCKET (HOLO)</character>
<dialogue>We boarded that "highly suspect warship" Danvers pinged.</dialogue>
<character>NATASHA</character>
<dialogue>And?</dialogue>
<character>NEBULA (HOLO)</character>
<dialogue>It was an infectious garbage scow.</dialogue>
<character>ROCKET (HOLO)</character>
<dialogue>So thanks for the hot tip-</dialogue>
<character>CAROL DANVERS (HOLO)</character>
<dialogue>You were closer.</dialogue>
<character>ROCKET (HOLO)</character>
<dialogue>And now we smell like garbage-</dialogue>
<character>NATASHA</character>
<parenthetical>(to Okoye)</parenthetical>
<dialogue>You get a reading on those tremors?</dialogue>
<character>OKOYE (HOLO)</character>
<dialogue>Minor subduction in the African plate.</dialogue>
<character>NATASHA</character>
<dialogue>Do we have a visual? How are you handling it?</dialogue>
<character>OKOYE (HOLO)</character>
<dialogue>Nat. It was a mild earthquake. In the ocean. We handle it by not handling it.</dialogue>
<scene_description>Natasha looks burdened. Rhodey steps in.</scene_description>
<character>RHODEY (HOLO)</character>
<dialogue>I can have NASA redirect a satellite, do a sweep just to make sure.</dialogue>
<character>NATASHA</character>
<dialogue>Thanks. Carol, you're still coming our way next month?</dialogue>
<character>CAROL DANVERS (HOLO)</character>
<dialogue>Not likely.</dialogue>
<character>ROCKET (HOLO)</character>
<dialogue>Getting another haircut?</dialogue>
<character>CAROL DANVERS (HOLO)</character>
<dialogue>Listen, fur-face, I'm covering a lot of territory out here. The things that have been happening on Earth have been happening everywhere else. On thousands of planets. You might not see me for a long time.</dialogue>
<character>NATASHA</character>
<dialogue>All right. Everybody keep keeping their eyes open. This channel's always active. Anything goes sideways, anyone makes trouble where they shouldn't, it comes through me.</dialogue>
<scene_description>They ad lib their goodbyes as they sign off, except Rhodey.</scene_description>
<character>NATASHA</character>
<dialogue>What's up? Where are you?</dialogue>
<character>RHODEY (HOLO)</character>
<dialogue>Mexico. Got some news.</dialogue>
<character>NATASHA</character>
<dialogue>Okay...</dialogue>
<character>RHODEY</character>
<dialogue>Federalés found a room full of bodies outside Juarez. Cartel guys. Guns still in their pants.</dialogue>
<character>NATASHA</character>
<dialogue>Could be a rival hit-</dialogue>
<character>RHODEY</character>
<dialogue>But it wasn't. Same MO as Marseille. And Kiev.</dialogue>
<character>RHODEY</character>
<parenthetical>(beat)</parenthetical>
<dialogue>It's definitely Barton.</dialogue>
<scene_description>She nods, grim, reluctantly accepting.</scene_description>
<character>RHODEY</character>
<dialogue>What he's done here...what he's been doing...I got to tell you, part of me doesn't want to find him.</dialogue>
<scene_description>Natasha just stares a long beat.</scene_description>
<character>NATASHA</character>
<dialogue>Find out where's he going next.</dialogue>
<scene_description>Rhodey nods, signing off. Natasha sits there, THEN CRUMPLES. After a long beat...</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>I'd offer to cook you dinner but you seem sad enough already.</dialogue>
<scene_description>Natasha turns to see STEVE in the doorway.</scene_description>
<character>NATASHA</character>
<dialogue>Come by to do your laundry?</dialogue>
<character>STEVE</character>
<dialogue>And see a friend.</dialogue>
<character>NATASHA</character>
<dialogue>Your friend's fine.</dialogue>
<character>STEVE</character>
<dialogue>She leave the house today?</dialogue>
<character>NATASHA</character>
<dialogue>Nothing out there I particularly want to see.</dialogue>
<character>STEVE</character>
<dialogue>I spotted a pod of whales coming over the bridge.</dialogue>
<character>NATASHA</character>
<parenthetical>(dubious)</parenthetical>
<dialogue>In the Hudson.</dialogue>
<character>STEVE</character>
<dialogue>Fewer ships, cleaner water. Just saying, there's still a world out there.</dialogue>
<character>NATASHA</character>
<dialogue>If you're about to tell me to look on the bright side, I'm about to hit you with a peanut butter sandwich.</dialogue>
<scene_description>Steve relents, LETTING DOWN HIS FACADE.</scene_description>
<character>STEVE</character>
<dialogue>Sorry. Force of habit.</dialogue>
<character>NATASHA</character>
<dialogue>I don't know how you do it.</dialogue>
<scene_description>Steve bites into the uneaten half of her sandwich.</scene_description>
<character>STEVE</character>
<dialogue>I guess I don't know how not to.</dialogue>
<character>NATASHA</character>
<dialogue>Me, neither.</dialogue>
<scene_description>After a long moment, Steve looks up at her, honest.</scene_description>
<character>STEVE</character>
<dialogue>I keep telling them, move on. Grow past it. And some of them actually do. But not us.</dialogue>
<character>NATASHA</character>
<dialogue>If I move on, who does this?</dialogue>
<character>STEVE</character>
<dialogue>Maybe it doesn't need to be done.</dialogue>
<scene_description>Natasha takes that in. Steve is thinking of giving up. She looks around at Avengers Compound.</scene_description>
<character>NATASHA</character>
<dialogue>I used to have nothing. Then I got this. This job, this family. And I was better because of it.</dialogue>
<scene_description>She chokes slightly, collecting herself.</scene_description>
<character>NATASHA</character>
<dialogue>And even though they're gone, I'm still trying to be...better.</dialogue>
<character>STEVE</character>
<dialogue>I think we both need to get a life.</dialogue>
<character>NATASHA</character>
<dialogue>You first.</dialogue>
<scene_description>They stare at each other a long, melancholy moment. THEN, WE HEAR A PING. NATASHA SWIPES TO A CCTV DISPLAY: SCOTT LANG'S FACE FILLS A SCREEN, LUIS' VAN BEHIND HIM.</scene_description>
<character>SCOTT LANG (ON SCREEN)</character>
<dialogue>Hello? Is anyone home? This is, uh, Scott Lang? We met a few years ago. At the airport?</dialogue>
<character>STEVE</character>
<dialogue>This an old message?</dialogue>
<character>NATASHA</character>
<parenthetical>(stunned)</parenthetical>
<dialogue>It's the front gate.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - NIGHT</stage_direction>
<scene_description>SCOTT paces, mumbling to himself.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Scott, are you okay?</dialogue>
<character>SCOTT LANG</character>
<dialogue>What? Yes.</dialogue>
<scene_description>He turns to STEVE and NATASHA.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Have either of you guys ever studied quantum physics?</dialogue>
<character>NATASHA</character>
<dialogue>Only to make conversation.</dialogue>
<scene_description>Steve glances at her. She shrugs.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Well, five years ago, just before this Thanos guy...I went into a place called the Quantum Realm. It's like its own microscopic universe. You can only get there if you're incredibly small. Hope, she's my...she was supposed to pull me out. But then Thanos happened. And I was stuck in there.</dialogue>
<character>NATASHA</character>
<dialogue>I'm sorry. It must've been a long five years.</dialogue>
<character>SCOTT LANG</character>
<parenthetical>(getting excited)</parenthetical>
<dialogue>Okay, but that's the thing. It wasn't. For me, it was only five hours. The rules in the Quantum Realm aren't like out here. They're completely unpredictable. Is anybody gonna eat that sandwich?</dialogue>
<character>STEVE</character>
<dialogue>Scott, what are you talking about?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Time works differently in the Quantum Realm.</dialogue>
<scene_description>Steve and Natasha share a look.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Problem is, right now, it's chaos, there's no way to navigate it. But what if we could figure out a way to enter the Quantum Realm at a certain point in time...and come out in another. Like, before Thanos-</dialogue>
<character>STEVE</character>
<dialogue>Wait...wait. Scott. Are you talking about a time machine?</dialogue>
<character>SCOTT LANG</character>
<dialogue>No, not a machine. More like a...</dialogue>
<parenthetical>(searches, then gives up)</parenthetical>
<dialogue>Yeah, like a time machine. I know it sounds crazy...</dialogue>
<character>NATASHA</character>
<dialogue>Scott, I get emails from a raccoon. Nothing's crazy anymore.</dialogue>
<character>SCOTT LANG</character>
<dialogue>So, who do we talk to about this?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, UPSTATE NEW YORK - DAY</stage_direction>
<scene_description>LLAMAS and FARM ANIMALS GRAZE A RUSTIC-TECH ECO-COMPOUND.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, WOODS - DAY</stage_direction>
<scene_description>TONY approaches A WOODED GLADE near the house.</scene_description>
<character>TONY</character>
<dialogue>Morgan H. Stark. Chow time. Want some lunch?</dialogue>
<scene_description>Silence. Then MORGAN STARK (4) steps out of her play tent, wearing A PURPLE-BLUE IRON MAN HELMET (RESCUE).</scene_description>
<character>MORGAN STARK</character>
<dialogue>Define lunch or be disintegrated.</dialogue>
<character>TONY</character>
<dialogue>You should not be wearing that. It's part of a special anniversary gift I made for Mom. You thinking about lunch?</dialogue>
<scene_description>Tony gently takes the helmet off, revealing A YOUNG GIRL.</scene_description>
<character>TONY</character>
<dialogue>Where'd you find this?</dialogue>
<character>MORGAN STARK</character>
<dialogue>Garage.</dialogue>
<scene_description>Tony picks her up, walking toward the house.</scene_description>
<character>TONY</character>
<dialogue>You like going in the garage? So does Daddy. It's all right. Mommy never wears what I buy her.</dialogue>
<scene_description>TIME CUT: Tony and Morgan exit the woods. Suddenly, Tony stops. In the driveway, STEVE ROGERS stares at him. NATASHA AND SCOTT GET OUT OF THE CAR BEHIND HIM.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, PORCH - DAY</stage_direction>
<scene_description>STEVE, SCOTT, and NATASHA sit with TONY.</scene_description>
<character>TONY</character>
<dialogue>I just want to thank you folks for dropping by. It's not every day one gets to contemplate biting it on an inter-dimensional timescape.</dialogue>
<character>NATASHA</character>
<dialogue>You've got some objections to the plan.</dialogue>
<character>TONY</character>
<dialogue>So you're calling it a plan. To me, it sounds like an exotic suicide method. Not to mention, it's impossible.</dialogue>
<character>SCOTT LANG</character>
<dialogue>We know what it sounds like.</dialogue>
<character>STEVE</character>
<dialogue>Tony, after what you've seen, is anything really impossible?</dialogue>
<character>TONY</character>
<dialogue>Quantum fluctuation kinda messes with the Planck Scale, which then triggers the Deutsch Proposition, can we agree on that?</dialogue>
<parenthetical>(offering more tea)</parenthetical>
<dialogue>Chai?</dialogue>
<parenthetical>(back on message)</parenthetical>
<dialogue>In layman's terms, it means you can cancel your Netflix subscription because you're not coming home.</dialogue>
<character>SCOTT LANG</character>
<dialogue>I did.</dialogue>
<character>TONY</character>
<dialogue>Which was a billion-to-one cosmic fluke. Now you want to pull a- What are you calling it?</dialogue>
<character>SCOTT LANG</character>
<dialogue>A time heist.</dialogue>
<character>TONY</character>
<dialogue>Oh, of course, a time heist, why didn't we think of this before? Right, because it's a pipe dream. Who are you again?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Still Scott...</dialogue>
<character>STEVE</character>
<dialogue>Tony, the Stones exist in the past. We could get them and bring them here.</dialogue>
<character>NATASHA</character>
<dialogue>We can snap our own fingers. We can bring everybody back.</dialogue>
<character>TONY</character>
<dialogue>Or screw it up worse than he already has.</dialogue>
<character>STEVE</character>
<dialogue>I don't believe we would.</dialogue>
<scene_description>Tony stares at Steve, a lot of water under the bridge.</scene_description>
<character>TONY</character>
<dialogue>Gotta say it. Sometimes I've missed that giddy optimism. Sadly, all your high hopes won't help me if there's no logical, tangible way for me to safely execute said "time heist." I believe the most likely outcome would be our collective demise.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Not if we strictly follow the rules of time travel. No talking to our past selves. No betting on sporting events-</dialogue>
<character>TONY</character>
<dialogue>Stop, Scott. Stop. Are you telling me that your plan to save the universe is more than loosely based on Back to the Future?</dialogue>
<character>SCOTT LANG</character>
<parenthetical>(meaning "yes")</parenthetical>
<dialogue>No...</dialogue>
<character>TONY</character>
<dialogue>Good. Because that would be horseshit. Scientifically speaking, your brother's picture doesn't disappear just 'cause you went to the dance with your mom. That's not how quantum physics works.</dialogue>
<character>NATASHA</character>
<dialogue>We have to take a stand.</dialogue>
<character>TONY</character>
<dialogue>We did stand. And yet here we are.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Look, Stark- Can I call you Tony?</dialogue>
<character>TONY</character>
<dialogue>Please don't-</dialogue>
<character>SCOTT LANG</character>
<dialogue>Tony-</dialogue>
<character>TONY</character>
<dialogue>Fine.</dialogue>
<character>SCOTT LANG</character>
<dialogue>I get that you've got a lot on the line, here. You've got a wife. A daughter. But I lost someone very important - a lot of us did - and now we have a chance to save her, and everyone else, and you won't even-</dialogue>
<character>TONY</character>
<dialogue>No, Scott. I won't. Even.</dialogue>
<scene_description>Suddenly, MORGAN walks onto the porch.</scene_description>
<character>MORGAN STARK</character>
<dialogue>Mommy told me to come save you.</dialogue>
<scene_description>Tony takes Morgan into his arms and heads inside.</scene_description>
<character>TONY</character>
<dialogue>Good job. I'm saved.</dialogue>
<parenthetical>(to Steve)</parenthetical>
<dialogue>I wish you were coming here to ask me something else. I'm honestly happy to see you. If you want to stay-</dialogue>
<scene_description>Steve tries one last time.</scene_description>
<character>STEVE</character>
<dialogue>Tony, I get it. And I'm happy for you. I am. But this is a second chance.</dialogue>
<character>TONY</character>
<dialogue>Yeah, well, I got my second chance right here. I can't roll the dice on it. The table is set for six. If you don't talk shop, you're welcome to stay for lunch.</dialogue>
<scene_description>He exits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND - DAY</stage_direction>
<scene_description>Steve, Natasha, and Scott walk toward the car.</scene_description>
<character>NATASHA</character>
<dialogue>He's scared.</dialogue>
<character>STEVE</character>
<dialogue>He's not wrong.</dialogue>
<character>SCOTT LANG</character>
<dialogue>What are we gonna do? We need him. You want to stop?</dialogue>
<character>STEVE</character>
<dialogue>No. I want to do it right.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We're going to need a really big brain.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Bigger than his?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DINER - NIGHT</stage_direction>
<scene_description>ONLOOKERS crowd a diner window, trying to peek inside.</scene_description>
<character>SCOTT LANG (O.S.)</character>
<dialogue>I'm confused.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINER - NIGHT</stage_direction>
<scene_description>SMART HULK ROLLS UP A PIZZA AND EATS IT LIKE A BURRITO. SCOTT, STEVE, AND NATASHA SIT ACROSS FROM HIM.</scene_description>
<character>SMART HULK</character>
<dialogue>These are confusing times.</dialogue>
<character>SCOTT LANG</character>
<dialogue>No, that's not what I'm-</dialogue>
<character>SMART HULK</character>
<dialogue>I'm kidding, I get it. It's crazy. I wear shirts now!</dialogue>
<character>SCOTT LANG</character>
<dialogue>But ---</dialogue>
<scene_description>why?</scene_description>
<character>SMART HULK</character>
<dialogue>Five years ago, we got our asses kicked, right?</dialogue>
<scene_description>Smart Hulk eats a stack of pancakes in two bites.</scene_description>
<character>STEVE</character>
<dialogue>He's heard.</dialogue>
<character>SMART HULK</character>
<dialogue>It was worse for me. Because I lost twice. First Hulk lost. Then Banner lost. Then we all lost.</dialogue>
<character>NATASHA</character>
<dialogue>No one blamed you, Bruce.</dialogue>
<character>SMART HULK</character>
<dialogue>I did- I feel like I'm the only one eating. Here, try some.</dialogue>
<scene_description>He holds out a pizza. They decline. He shrugs.</scene_description>
<character>SMART HULK</character>
<dialogue>Thing is, I kept thinking, it didn't have to be that way. That the best of Banner and best of Hulk, if they'd worked together, maybe they could've stopped Thanos.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Okay. But how did...this happen?</dialogue>
<character>SMART HULK</character>
<dialogue>For years I treated the Hulk like a disease, something to get rid of. But when I started treating him like the cure...</dialogue>
<scene_description>Smart Hulk MESHES HIS FINGERS together.</scene_description>
<character>SMART HULK</character>
<dialogue>Eighteen months in the Gamma Lab. I put the brains and the brawn together. And now look at me. Best of both worlds.</dialogue>
<scene_description>TWO KIDS amble up to the booth.</scene_description>
<character>KID</character>
<dialogue>Mr. Hulk? Can we get a picture?</dialogue>
<character>SMART HULK</character>
<dialogue>100%, little lady.</dialogue>
<scene_description>The kid hands a phone to Steve. SMART HULK makes a duck face as Steve sheepishly snaps the pic, handing the phone back.</scene_description>
<character>SMART HULK</character>
<parenthetical>(to the fan)</parenthetical>
<dialogue>Thanks, pal. Hulk out!</dialogue>
<character>STEVE</character>
<dialogue>So, Bruce, about what we said-</dialogue>
<character>SMART HULK</character>
<dialogue>The time travel do-over? I don't know, that's kind of outside my field of expertise...</dialogue>
<scene_description>Natasha nods at his Smart Hulk-ness, history between them.</scene_description>
<character>NATASHA</character>
<dialogue>You pulled this off. I remember a time that was impossible, too.</dialogue>
<scene_description>He considers, then finally relents, pulling out his phone.</scene_description>
<character>SMART HULK</character>
<dialogue>I'm supposed to be on Oprah next week, but I guess I could move things around.</dialogue>
</scene>
<scene>
<stage_direction>INT. STARK ECO-COMPOUND, KITCHEN - NIGHT</stage_direction>
<scene_description>TONY STARK DOES DISHES. He rinses with the sprayer. It goes everywhere. He wipes down the counter, including... A PICTURE OF PETER PARKER. He stares.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK ECO-COMPOUND, SIDE PORCH - NIGHT</stage_direction>
<scene_description>Tony builds HOLO MODELS: Penrose diagrams, wormholes. He studies a STAR-SHAPED CAPACITOR, intrigued.</scene_description>
<character>TONY</character>
<dialogue>Friday, you up?</dialogue>
<character>FRIDAY</character>
<dialogue>Yes, sir.</dialogue>
<character>TONY</character>
<dialogue>I've had a mild inspiration, like to see if it checks out. I would like to run one last sim before we pack it in for the night. This time, in the shape of a Mobius Strip, inverted.</dialogue>
<character>FRIDAY</character>
<dialogue>Processing.</dialogue>
<scene_description>The model forms.</scene_description>
<character>TONY</character>
<dialogue>All right, give me the eigenvalue of that particle, factoring in spectral decomp. Run it. That'll take a second. And don't worry if it doesn't pan out, I'm just kind of...</dialogue>
<scene_description>THE CAPACITOR GLOWS. A HOLO-MAN DRIFTS INTO A CIRCULAR WORMHOLE, LOOPING...RETURNING TO THE PLACE IT FIRST LEFT.</scene_description>
<character>FRIDAY</character>
<dialogue>Model rendered.</dialogue>
<character>TONY</character>
<parenthetical>(in awe)</parenthetical>
<dialogue>Shit.</dialogue>
<character>MORGAN STARK (O.S.)</character>
<dialogue>Shit.</dialogue>
<scene_description>Tony turns to see HIS DAUGHTER in the doorway.</scene_description>
<character>TONY</character>
<dialogue>What are you doing up?</dialogue>
<character>MORGAN STARK</character>
<dialogue>Shit.</dialogue>
<character>TONY</character>
<dialogue>First of all, that's a Mommy word, she coined it.</dialogue>
<character>MORGAN STARK</character>
<dialogue>Why are you up?</dialogue>
<character>TONY</character>
<dialogue>I just had something on my mind.</dialogue>
<character>MORGAN STARK</character>
<dialogue>Was it juice pops?</dialogue>
<character>TONY</character>
<dialogue>Correct. Great minds think alike. What kind do you want?</dialogue>
</scene>
<scene>
<stage_direction>INT. STARK ECO-COMPOUND, MORGAN'S ROOM - NIGHT</stage_direction>
<scene_description>Morgan eats A JUICE POP in bed. Tony watches.</scene_description>
<character>TONY</character>
<dialogue>You done?</dialogue>
<parenthetical>(finishing her popsicle)</parenthetical>
<dialogue>Now you are.</dialogue>
<character>MORGAN STARK</character>
<dialogue>Tell me a story.</dialogue>
<character>TONY</character>
<dialogue>Once upon a time, Maguna went to bed. The end.</dialogue>
<character>MORGAN STARK</character>
<dialogue>That was a bad story.</dialogue>
<scene_description>He runs his hand over her hair.</scene_description>
<character>TONY</character>
<dialogue>Love you tons.</dialogue>
<character>MORGAN STARK</character>
<dialogue>Love you three thousand.</dialogue>
<character>TONY</character>
<dialogue>Wow, that's a lot.</dialogue>
<scene_description>Tony turns out the light, exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK ECO-COMPOUND, LIVING ROOM - NIGHT</stage_direction>
<scene_description>PHOTOS crowd a side table: Pepper, Morgan, Tony. Even one of HOWARD STARK, PEGGY CARTER & HANK PYM UNDER A SHIELD SYMBOL. Find...PEPPER, curled up on the couch reading. Then...</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Out like a light. Don't know how much she loves you but she loves me three thousand.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>That's up there.</dialogue>
<character>TONY</character>
<dialogue>What're you reading?</dialogue>
<character>PEPPER POTTS</character>
<dialogue>A book about composting-</dialogue>
<character>TONY</character>
<dialogue>I think I solved it.</dialogue>
<scene_description>Pepper looks up.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>Just so we're both talking about the same thing-</dialogue>
<character>TONY</character>
<dialogue>Time travel.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>That's amazing.</dialogue>
<character>TONY</character>
<dialogue>Yeah.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>And terrifying.</dialogue>
<character>TONY</character>
<dialogue>To say the least.</dialogue>
<scene_description>He sits beside her. She stares, SHARING IN HIS DILEMMA.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>We got really lucky-</dialogue>
<character>TONY</character>
<dialogue>I know-</dialogue>
<character>PEPPER POTTS</character>
<dialogue>Not everybody did.</dialogue>
<character>TONY</character>
<dialogue>I can't help everybody.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>Except, it sort of seems like you can.</dialogue>
<character>TONY</character>
<dialogue>Not if I stopped right here.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>Tony, trying to get you to stop is one of the few failures of my life.</dialogue>
<character>TONY</character>
<dialogue>I could just lock the lab, put it in a trunk, sink it to the bottom of the lake, and go to bed.</dialogue>
<character>PEPPER POTTS</character>
<dialogue>But could you rest?</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>SCOTT WAITS IN HIS ANT-MAN 2 QUANTUM SUIT IN FRONT OF THE OPEN VAN DOORS.</scene_description>
<character>SCOTT LANG</character>
<dialogue>You're sure these modifications are safe?</dialogue>
<scene_description>He looks over to...SMART HULK, WEARING READING GLASSES, MAKING ADJUSTMENTS TO A NEW CONTROL PANEL.</scene_description>
<character>SMART HULK</character>
<dialogue>I reran my calculations three times-</dialogue>
<character>SCOTT LANG</character>
<dialogue>Because the guy who invented this thing is pretty much a genius-</dialogue>
<character>SMART HULK</character>
<dialogue>I have seven PhD's, an MD, the Hans Bethe Award for Physics, and I'm personal friends with Bill Nye the Science Guy. We're good.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Yeah. And you look like that on purpose.</dialogue>
<scene_description>STEVE and NATASHA enter from outside.</scene_description>
<character>STEVE</character>
<dialogue>Breakers are set, emergency generator's on stand-by.</dialogue>
<character>SMART HULK</character>
<dialogue>Good. If we blow the grid, I don't want to lose Tiny back in the '50's.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Excuse me?</dialogue>
<character>NATASHA</character>
<dialogue>He was kidding.</dialogue>
<character>SMART HULK</character>
<dialogue>I was kidding.</dialogue>
<character>NATASHA</character>
<parenthetical>(to Hulk)</parenthetical>
<dialogue>You were kidding, right?</dialogue>
<character>SMART HULK</character>
<dialogue>Honestly, I have no idea. We're attempting time travel. Either it's all a joke, or none of it is.</dialogue>
<parenthetical>(loudly to Scott)</parenthetical>
<dialogue>We're good! Helmet on.</dialogue>
<scene_description>Scott puts on his helmet, slightly dubious.</scene_description>
<character>SMART HULK</character>
<dialogue>Okay. I'm going to send you back one week, give you an hour to look around, then bring you back in ten seconds. Make sense?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Perfectly not confusing.</dialogue>
<character>STEVE</character>
<dialogue>Good luck, Scott. You've got this.</dialogue>
<character>SCOTT LANG</character>
<parenthetical>(inspired)</parenthetical>
<dialogue>Yes, I do, Captain America. Yes, I-</dialogue>
<scene_description>SMART HULK PULLS A LEVER. SCOTT SHRINKS TO NOTHING.</scene_description>
<character>SMART HULK</character>
<dialogue>Counting down from three, two, one...</dialogue>
<scene_description>SUDDENLY SCOTT REAPPEARS...BUT HE'S 12-YEARS-OLD.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Uh, guys? This doesn't feel right.</dialogue>
<character>NATASHA</character>
<dialogue>Is that Scott?</dialogue>
<character>SMART HULK</character>
<dialogue>Probably...?</dialogue>
<scene_description>He scrambles, hitting buttons. SCOTT SHRINKS TO NOTHING.</scene_description>
<character>STEVE</character>
<dialogue>Get him back!</dialogue>
<scene_description>Smart Hulk flips a switch. SCOTT REAPPEARS...AT AGE 93.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Oh, my back!</dialogue>
<character>NATASHA</character>
<dialogue>Bruce! Get it under control. What the hell is going on?</dialogue>
<character>SMART HULK</character>
<dialogue>I got it, I know exactly what's going on. Pretty much.</dialogue>
<scene_description>SCOTT SHRINKS TO NOTHING AGAIN. HULK TYPES FRANTICALLY with A PENCIL, fingers too big for the keys. 2-YEAR OLD SCOTT APPEARS.</scene_description>
<character>NATASHA</character>
<dialogue>Oh, my God.</dialogue>
<character>STEVE</character>
<dialogue>It's a baby.</dialogue>
<character>SMART HULK</character>
<dialogue>It's Scott.</dialogue>
<character>STEVE</character>
<dialogue>As a baby!</dialogue>
<scene_description>Smart Hulk hits a button. Baby Scott disappears.</scene_description>
<character>SMART HULK</character>
<dialogue>When I tell you, kill the power!</dialogue>
<parenthetical>(throwing a switch)</parenthetical>
<dialogue>Now!</dialogue>
<scene_description>NATASHA KILLS THE POWER. Normal Scott stumbles off the pad.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Somebody peed my pants. I don't know if it was baby-me or old-me. Or just me-me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>Steve leans on the wall, discouraged. Then he hears AN ENGINE ROAR. AN AUDI races up the drive. It stops, the window rolling down to reveal...TONY.</scene_description>
<character>TONY</character>
<dialogue>Why the long face? Wild guess, he turned into a baby?</dialogue>
<character>STEVE</character>
<dialogue>Among other things.</dialogue>
<character>TONY</character>
<parenthetical>(getting out of the car)</parenthetical>
<dialogue>EPR Paradox. Instead of pushing Lang through time, you were pushing time through Lang. It's dangerous. I probably should've cautioned you against it.</dialogue>
<character>STEVE</character>
<dialogue>You did.</dialogue>
<character>TONY</character>
<dialogue>Thank god, I'm here. Regardless, I fixed it.</dialogue>
<scene_description>He holds up...HIS STAR-SHAPED CAPACITOR.</scene_description>
<character>TONY</character>
<dialogue>That is a fully-functioning, time- space GPS. I just want peace. Resentment is corrosive. I hate it.</dialogue>
<character>STEVE</character>
<dialogue>Me, too.</dialogue>
<scene_description>Something eases between them, for the first time in years.</scene_description>
<character>TONY</character>
<dialogue>We've got a shot at the Stones. I just need you to know my priorities. Bring back everyone we lost, hopefully. Keep what I found, definitely. And, let's not die trying.</dialogue>
<scene_description>Steve looks at Tony. Finally, he offers his hand.</scene_description>
<character>STEVE</character>
<dialogue>Sounds like a deal.</dialogue>
<scene_description>They shake. This is a long time coming. Finally...</scene_description>
<character>TONY</character>
<dialogue>But wait, there's more. Act now, and it comes with a bonus offer.</dialogue>
<scene_description>Tony pops the trunk. Steve stares, moved, at...HIS SHIELD.</scene_description>
<character>STEVE</character>
<dialogue>Tony, I don't know-</dialogue>
<character>TONY</character>
<dialogue>What's to know? He made it for you. Plus, I gotta get it out of the garage before Morgan takes it sledding.</dialogue>
<scene_description>Steve finally picks up the shield, SLIDING IT ONTO HIS ARM.</scene_description>
<character>STEVE</character>
<dialogue>Thank you, Tony.</dialogue>
<scene_description>Tony chokes up, then covers by slamming the trunk.</scene_description>
<character>TONY</character>
<dialogue>Just don't flaunt it. I didn't bring enough for the whole team. We are getting the whole team, right?</dialogue>
<character>STEVE</character>
<dialogue>We're trying.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>SCOTT sits on a bench, eating a hardshell taco. THEN A MASSIVE EXHAUST WIND BLASTS HIM, blowing his taco away. THE BENATAR lands outside AVENGERS COMPOUND. NEBULA AND ROCKET EMERGE. Rocket waits at the end of the gangway.</scene_description>
<character>ROCKET</character>
<dialogue>Hey, Humie. Where's Big Green?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Um, kitchen, I think.</dialogue>
<scene_description>Scott tries a smile at Nebula. She just hits her COM:</scene_description>
<character>NEBULA (INTO COM)</character>
<dialogue>Rhodey, careful on re-entry. There's an idiot in the landing zone.</dialogue>
<scene_description>She goes in. THEN, WHAM, WAR MACHINE LANDS, STARTLING SCOTT.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Oh, my God!</dialogue>
<character>RHODEY</character>
<dialogue>What's up, Regular-Sized Man?</dialogue>
<scene_description>Rhodey goes inside as SMART HULK walks out, carrying an overnight bag. He hands Scott some tacos.</scene_description>
<character>ROCKET</character>
<dialogue>Finally. I ain't got all day.</dialogue>
<character>SMART HULK</character>
<dialogue>I call shotgun!</dialogue>
<scene_description>As he walks up the Benatar's gangway, PRE-LAP A METALLIC SCRAPING SOUND.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW ASGARD - DAY</stage_direction>
<scene_description>The scraping goes on as we see...A NORWEGIAN FISHING VILLAGE. Tilt to a sign: "NEW ASGARD," in English and ASGARDIAN RUNES. A PICK-UP passes, scraping the pavement: SMART HULK AND ROCKET SIT IN BACK, WEIGHING DOWN THE TRUCK.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW ASGARD, VILLAGE - DAY</stage_direction>
<scene_description>SMART HULK AND ROCKET WALK THROUGH TOWN. ASGARDIANS IN EARTHLY CLOTHES EYE THEM WITH SUSPICION.</scene_description>
<character>ROCKET</character>
<dialogue>What the heck are they looking at?</dialogue>
<character>SMART HULK</character>
<dialogue>I'm kind of famous...</dialogue>
<character>ROCKET</character>
<dialogue>Yeah, I'm sure that's it. Kind of a step down from golden palaces and magic hammers...</dialogue>
<character>SMART HULK</character>
<dialogue>They lost Asgard, then half their people. Maybe they're just happy to have a home.</dialogue>
<character>VALKYRIE (O.S.)</character>
<dialogue>You shouldn't have come.</dialogue>
<scene_description>VALKYRIE approaches from the pier. Smart Hulk GRINS.</scene_description>
<character>SMART HULK</character>
<dialogue>Hey, Valkyrie! Great to see you!</dialogue>
<scene_description>He goes for a hug...VAL DOESN'T. She studies the new him.</scene_description>
<character>VALKYRIE</character>
<dialogue>Uh huh. I liked you better either of the other ways.</dialogue>
<character>SMART HULK</character>
<dialogue>This is Rocket.</dialogue>
<character>ROCKET</character>
<dialogue>Hey.</dialogue>
<character>VALKYRIE</character>
<dialogue>Hey.</dialogue>
<parenthetical>(to both)</parenthetical>
<dialogue>He won't see you.</dialogue>
<character>SMART HULK</character>
<dialogue>We didn't say we were here to see-</dialogue>
<character>VALKYRIE</character>
<dialogue>Great, then you can hose out the gut buckets-</dialogue>
<character>ROCKET</character>
<dialogue>We're definitely here to see him.</dialogue>
<character>VALKYRIE</character>
<dialogue>He can't give you what you need.</dialogue>
<character>SMART HULK</character>
<dialogue>It's that bad?</dialogue>
<character>VALKYRIE</character>
<dialogue>We only see him once a month. When he comes in for "supplies."</dialogue>
<scene_description>She nods to A DOZEN BEER KEGS STACKED OUTSIDE A PUB.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW ASGARD, CABIN - DAY</stage_direction>
<scene_description>Smart Hulk and Rocket knock on the door of A CABIN. Nothing.</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW ASGARD, CABIN - DAY</stage_direction>
<scene_description>SMART HULK opens the door. PIZZA BOXES and LIQUOR BOTTLES litter the floor. Rocket recoils.</scene_description>
<character>ROCKET</character>
<dialogue>Something died in here.</dialogue>
<character>SMART HULK</character>
<dialogue>Hello...? Thor...?</dialogue>
<character>THOR (O.S.)</character>
<dialogue>Are you here about the cable?</dialogue>
<scene_description>We hear a HEAVY SHUFFLING as someone approaches.</scene_description>
<character>THOR</character>
<dialogue>Cinemax went out two days ago, and the sports are all...fuzzy...</dialogue>
<scene_description>THOR enters, CONFUSED, A LITTLE DRUNK, SHIRTLESS...AND TREMENDOUSLY FAT. Rocket and Hulk stare.</scene_description>
<character>SMART HULK</character>
<dialogue>Thor?</dialogue>
<character>THOR</character>
<dialogue>BROS! Bring it in!</dialogue>
<scene_description>Thor hugs Smart Hulk. He turns to Rocket, who steps back.</scene_description>
<character>ROCKET</character>
<dialogue>Yeah, I'm good.</dialogue>
<character>THOR</character>
<dialogue>Hulk, you know my boys, Korg and Miek, right?</dialogue>
<scene_description>KORG and MIEK sit on the couch, playing Playstation 4.</scene_description>
<character>KORG</character>
<dialogue>Beer's in the bucket. Feel free to log on to the WiFi.</dialogue>
<character>SMART HULK</character>
<dialogue>Hey, guys. Long time no-</dialogue>
<character>KORG</character>
<dialogue>Thor! This kid on the TV just called me a dickhead!</dialogue>
<character>THOR</character>
<dialogue>Noobmaster again?</dialogue>
<character>KORG</character>
<dialogue>NoobMaster69 called me a dickhead-</dialogue>
<scene_description>Thor snatches KORG'S HEADSET and hisses into the mic.</scene_description>
<character>THOR</character>
<dialogue>Noobmaster, this is Thor, again. God of Thunder. This is your last warning. Log off this game or I will come to your basement, rip off your arms and shove them up your butt.</dialogue>
<parenthetical>(handing the headset back)</parenthetical>
<dialogue>Right, who wants a drink?</dialogue>
<scene_description>SMART HULK AND ROCKET JUST STARE. Thor pulls a beer from the fridge, and whacks the cap against STORMBREAKER.</scene_description>
<character>SMART HULK</character>
<dialogue>Hey, buddy, are you all right?</dialogue>
<character>THOR</character>
<dialogue>Don't I look all right?</dialogue>
<character>ROCKET</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>You look like melted ice cream-</dialogue>
<character>THOR</character>
<dialogue>So, what's up? Just here for a hang?</dialogue>
<character>SMART HULK</character>
<dialogue>We need your help. There's a chance we can fix everything.</dialogue>
<character>THOR</character>
<dialogue>Like the cable? It's driving me bananas.</dialogue>
<character>SMART HULK</character>
<dialogue>Like Thanos.</dialogue>
<scene_description>THOR GRABS HULK'S SHIRT, INTENSE. KORG RISES FROM THE COUCH.</scene_description>
<character>THOR</character>
<dialogue>Don't say that name.</dialogue>
<character>KORG</character>
<dialogue>Yeah, we don't say that name in here.</dialogue>
<scene_description>Smart Hulk looks down at THOR'S HAND STILL ON HIS SHIRT.</scene_description>
<character>SMART HULK</character>
<dialogue>Please take your hand off me.</dialogue>
<scene_description>Thor looks into Hulk's eyes...and gently removes his hand.</scene_description>
<character>SMART HULK</character>
<dialogue>Now, I know the thought of...that guy might scare you-</dialogue>
<character>THOR</character>
<dialogue>Scared? Why would I be scared of that guy? I'm the one who killed that guy, remember?</dialogue>
<parenthetical>(looking around)</parenthetical>
<dialogue>Anyone else here kill that guy?</dialogue>
<character>THOR</character>
<dialogue>Didn't think so. Korg, tell everyone who chopped Thanos' head off.</dialogue>
<character>KORG</character>
<dialogue>Stormbreaker?</dialogue>
<scene_description>Thor uncaps a whiskey bottle. BLAM, IT SHATTERS IN HIS HAND. Reveal...ROCKET, BLASTER SMOKING.</scene_description>
<character>THOR</character>
<dialogue>Not. Cool. Man.</dialogue>
<character>ROCKET</character>
<dialogue>Don't. Care. Dude.</dialogue>
<character>SMART HULK</character>
<dialogue>Look, I get it. You're in a rough patch. I've been there. But you know who helped me out of it?</dialogue>
<character>THOR</character>
<dialogue>Was it Natasha?</dialogue>
<character>SMART HULK</character>
<dialogue>It was you. You helped me. And I need you to help me again.</dialogue>
<character>THOR</character>
<dialogue>Ask the Asgardians down there how much "my help" is worth.</dialogue>
<character>ROCKET</character>
<dialogue>At least they're alive-</dialogue>
<character>THOR</character>
<dialogue>They were gods! Now they're fisherpeople!</dialogue>
<parenthetical>(sagging into a chair)</parenthetical>
<dialogue>The ones that are left, anyway.</dialogue>
<character>SMART HULK</character>
<dialogue>That's the thing. I think we can bring them back.</dialogue>
<scene_description>Thor's tempted, but shakes his head.</scene_description>
<character>THOR</character>
<dialogue>Stop. Stop. I know you think I'm down here, wallowing in my own self- pity, waiting to be rescued. But I'm fine. I'm happy. Whatever it is you're offering, don't care. Couldn't care less.</dialogue>
<scene_description>Hulk and Rocket stare at Thor.</scene_description>
<character>SMART HULK</character>
<dialogue>Come on, pal. We need you.</dialogue>
<scene_description>He still can't meet their gaze. Finally...</scene_description>
<character>ROCKET</character>
<dialogue>There's beer in the ship.</dialogue>
<character>THOR</character>
<parenthetical>(beat)</parenthetical>
<dialogue>What kind?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TOKYO - NIGHT</stage_direction>
<scene_description>A KARAOKE BAR LIES IN RUINS AS A TINNY POP SONG PLAYS. BLOOD POOLS BENEATH DEAD YAKUZA THUGS, UZIS JUST OUT OF REACH OF THEIR TATTOOED HANDS. TITLE: "TOKYO." AS WE PULL BACK...THE MUSIC FADES, REPLACED BY A SOFT CRYING. A TERRIFIED HOSTESS DARTS FROM COVER, WIPING AWAY THE CHYRON. KEEP PULLING BACK...PAST A CAR SMASHED THROUGH THE FRONT WINDOW, TATTOOED DRIVER SLUMPED OVER THE WHEEL, GUN IN HAND. WE HEAR RAIN, A REVVING ENGINE, AND THEN GUNFIRE. PULL ONTO THE SIDEWALK, TURNING JUST AS A MOTORCYCLE CRASHES, RIDER TUMBLING PAST US IN A WHITE MOHAWKED HELMET. ANOTHER MOTORCYCLE RACES TOWARD US, BUT... WHFT-WHFT, TWO ARROWS SEND THE RIDER SKIDDING INTO A WALL, TIRES SQUEALING AS THE BIKE SPINS HELPLESSLY ON ITS SIDE. CAMERA TURNS TOWARD AN ALCOVE, WHERE A YAKUZA THUG TUMBLES OFF THE STAIRS AS... A MASKED FIGURE HEADS UP, STOPPING MOMENTARILY TO DRAW HIS TELESCOPING BLADE. BEHIND THE SMOKED GLASS OF SECOND FLOOR WINDOWS, THE FIGURE FIGHTS ANOTHER THUG. THEN... CRASH, THE THUG COMES SMASHING THROUGH THE WINDOW. THUD. WHIP THROUGH THE RAIN TO THE UPPER FLOORS OF THE BUILDING. GUNFIRE FLASHES AS THE FIGHT CONTINUES PAST THREE WINDOWS... SUDDENLY, THE FOURTH WINDOW SHATTERS AS A YAKUZA BOSS, AKIHIKO, LEAPS OVER THE SIDEWALK... LANDING ON THE METAL AWNING OF A NOODLE SHOP. HE ROLLS TO THE WET STREET, LANDING HARD ON HIS ANKLE. THE MYSTERIOUS FIGURE GRACEFULLY LEAPS AFTER HIM, BOUNCING OFF THE AWNING AND DROPPING TO THE STREET BELOW. RACK UP TO GET OUR BEST LOOK YET AT...RONIN. HARD-SET EYES STARE AT AKIHIKO THROUGH A BLACK MASK. THEY BATTLE.</scene_description>
<character>AKIHIKO</character>
<parenthetical>(Japanese, subtitled)</parenthetical>
<dialogue>Why are you doing this? We never did anything to you!</dialogue>
<character>RONIN</character>
<parenthetical>(Japanese, subtitled)</parenthetical>
<dialogue>You survived. Half the planet didn't. They got Thanos. You get me.</dialogue>
<scene_description>Akihiko attacks. Ronin slashes him across the middle.</scene_description>
<character>RONIN</character>
<parenthetical>(Japanese, subtitled)</parenthetical>
<dialogue>You're done hurting people.</dialogue>
<scene_description>Akihiko gestures at the bodies in the street.</scene_description>
<character>AKIHIKO</character>
<dialogue>We -- hurt people? You're crazy.</dialogue>
<scene_description>Ronin slashes Akihiko's throat. The man drops to his knees.</scene_description>
<character>AKIHIKO</character>
<dialogue>Wait! Help me! I'll give you anything! What do you want?</dialogue>
<character>RONIN</character>
<dialogue>What I want...you can't give me.</dialogue>
<scene_description>Ronin finishes him off. AKIHIKO GOES STILL. SIRENS WAIL. Ronin removes his mask, revealing... CLINT BARTON, haggard. He hears A FOOTFALL. He whirls, katana raised...then stops. His face goes slack as... NATASHA STEPS INTO A POOL OF LIGHT, A LARGE BLACK UMBRELLA KEEPING HER FROM THE RAIN. They stare at each other. Clint hasn't seen her in years. She hasn't seen what he's become.</scene_description>
<character>CLINT BARTON</character>
<dialogue>You shouldn't be here.</dialogue>
<character>NATASHA</character>
<dialogue>Neither should you.</dialogue>
<character>CLINT BARTON</character>
<dialogue>I've got a job to do.</dialogue>
<character>NATASHA</character>
<dialogue>That what you're calling this?</dialogue>
<scene_description>She moves even closer. He stiffens.</scene_description>
<character>NATASHA</character>
<dialogue>Killing these people isn't going to bring your family back.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>We found something. A chance, maybe...</dialogue>
<character>CLINT BARTON</character>
<dialogue>Don't.</dialogue>
<character>NATASHA</character>
<dialogue>Don't what?</dialogue>
<character>CLINT BARTON</character>
<dialogue>Give me hope.</dialogue>
<character>NATASHA</character>
<dialogue>I'm just sorry I couldn't give it sooner.</dialogue>
<scene_description>CLINT DISSOLVES, sagging into her arms.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>THOR STANDS WITH A BEER IN A COZY, staring at A NEW QUANTUM TUNNEL (2.0), AFFIXED WITH TONY'S CAPACITOR.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Out of the way, Lebowski.</dialogue>
<scene_description>Thor shuffles aside as Tony blows past.</scene_description>
<character>TONY</character>
<dialogue>Hey, Ratchet, you get lost in there?</dialogue>
<character>ROCKET (O.S.)</character>
<dialogue>It's Rocket, and shut up. You're only a genius on Earth, pal.</dialogue>
<character>TONY</character>
<dialogue>And you're only in there because you have tiny hands.</dialogue>
<scene_description>ROCKET, COVERED IN GREASE, WRIGGLES OUT A HATCH.</scene_description>
<character>ROCKET</character>
<dialogue>Fixed it.</dialogue>
<character>TONY</character>
<dialogue>Thank you.</dialogue>
<character>ROCKET</character>
<dialogue>Get used to saying that.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>SMART HULK fits SCOTT with A BRAND NEW TIME SUIT. NEBULA ASSISTS. RHODEY enters the workshop, eyeing the suit.</scene_description>
<character>RHODEY</character>
<dialogue>Time travel suit, I like it.</dialogue>
<scene_description>SMART HULK awkwardly tries to fit a pair of RED TEST TUBES INTO THE TIME SUIT'S BELT.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Easy, easy. Careful with those.</dialogue>
<character>SMART HULK</character>
<dialogue>I'm being very careful-</dialogue>
<character>SCOTT LANG</character>
<dialogue>You're being very Hulky-</dialogue>
<scene_description>Scott takes the tubes from him and inserts them, himself.</scene_description>
<character>SCOTT LANG</character>
<dialogue>These are Pym Particles. You can't shrink to the Quantum Realm without them, and since Hank Pym got snapped out of existence, we can't make any more. I told you. We've only got enough for one round trip each, no do-overs.</dialogue>
<scene_description>Scott gently clicks the tubes into their housing.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Plus two test runs-</dialogue>
<scene_description>SUDDENLY, SCOTT SHRINKS INTO NOTHING, THEN GROWS BACK. He takes that in...</scene_description>
<character>SCOTT LANG</character>
<dialogue>One test run.</dialogue>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Okay, maybe I'm not ready.</dialogue>
<character>CLINT BARTON (O.S.)</character>
<dialogue>I'm game.</dialogue>
<scene_description>They turn to see CLINT leaning in the doorway.</scene_description>
<character>CLINT BARTON</character>
<dialogue>I'll do it.</dialogue>
<scene_description>TIME CUT: NOW, CLINT WEARS THE TIME SUIT. Scott looks on, sulky. SMART HULK, RHODEY, and NEBULA attach the Pym housing.</scene_description>
<character>SMART HULK</character>
<dialogue>Okay, Clint, you might feel a little disoriented when you chronoshift-</dialogue>
<character>RHODEY</character>
<dialogue>Hang on, I've got to ask, if we can do this, why don't we just go find baby Thanos and, you know...</dialogue>
<scene_description>Rhodey makes a STRANGLING GESTURE.</scene_description>
<character>SMART HULK</character>
<dialogue>Uh, one, because that's horrible. And, two, killing baby Thanos doesn't kill adult Thanos. Time doesn't work like that. You can't change the future by changing the past.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Sure, we can. We take the stones before Thanos gets them, then he doesn't have them. Problem solved.</dialogue>
<character>NEBULA</character>
<dialogue>That's not how it works.</dialogue>
<character>CLINT BARTON</character>
<dialogue>I don't know. That is kind of what I've heard-</dialogue>
<character>SMART HULK</character>
<dialogue>Heard from who?</dialogue>
<character>RHODEY</character>
<dialogue>Star Trek. Terminator. Bill and Ted's Excellent-</dialogue>
<character>SMART HULK</character>
<dialogue>WHY DOES EVERYONE THINK THIS?</dialogue>
<character>THAT'S NOT TRUE. IF YOU TRAVEL TO</character>
<dialogue>THE PAST, THEN THAT PAST HAS BECOME</dialogue>
<character>YOUR PRESENT, AND YOUR FORMER</character>
<dialogue>PRESENT HAS BECOME THE PAST, WHICH</dialogue>
<character>NOW CAN'T BE CHANGED BY YOUR NEW</character>
<dialogue>FUTURE!</dialogue>
<character>NEBULA</character>
<dialogue>Exactly.</dialogue>
<character>RHODEY</character>
<dialogue>Excuse me?</dialogue>
<scene_description>Scott leans over, whispering:</scene_description>
<character>SCOTT LANG</character>
<dialogue>Apparently, Back to the Future is bullshit.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Look, are we doing this or not?</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>CLINT WAITS ALONE ON THE PLATFORM, WEARING THE TIME SUIT. SMART HULK readies THE QUANTUM CONSOLE as ROCKET, RHODEY, NEBULA, THOR, and STEVE look on.</scene_description>
<character>SMART HULK</character>
<dialogue>Okay, Clint. Starting in three, two, one...</dialogue>
<scene_description>Clint nods over at them, determined. SUDDENLY, HE STRETCHES, SHRINKS, AND VANISHES. WHOOSH.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARTON HOME, BARN - DAY</stage_direction>
<scene_description>Through the slats of a barn, we see a tractor. ENERGY FLARES, REVEALING CLINT BARTON IN A TIME SUIT. He walks to the open door, staring at...HIS OLD HOME.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. BARTON HOME, FRONT PORCH - DAY</stage_direction>
<scene_description>Clint climbs the porch. He accidentally kicks...A BASEBALL MITT. Then he hears VOICES. He stares into the house through THE SCREEN DOOR. From the sounds of it, LAURA and THE KIDS are making dinner. HIS DAUGHTER LAUGHS. Clint's face crumples. Just then...HIS QUANTUM CUFF VIBRATES. A SCREEN COUNTS DOWN: 0:03.</scene_description>
<character>CLINT BARTON</character>
<dialogue>No. Not yet...</dialogue>
<parenthetical>(opening the door)</parenthetical>
<scene_description>BUT HIS BODY STARTS TO GLOW. 0.01- CLINT VANISHES. THE SCREEN DOOR SLAMS. After a moment, LILA runs in.</scene_description>
<character>LILA BARTON</character>
<dialogue>Dad?</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>CLINT APPEARS ON THE PAD, SHAKEN. TONY and NATASHA approach.</scene_description>
<character>NATASHA</character>
<dialogue>Are you all right? Hey, look at me. You okay?</dialogue>
<character>TONY</character>
<dialogue>Tell me something good...</dialogue>
<scene_description>Clint looks up, tearful. He holds out THE BASEBALL MITT.</scene_description>
<character>CLINT BARTON</character>
<dialogue>It worked. It worked.</dialogue>
<scene_description>Reveal Steve, Smart Hulk, Nebula, Rhodey, Scott, Thor, and Rocket, looking on.</scene_description>
<character>ROCKET</character>
<dialogue>Holy crap. We're freaking time travelers.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, LIVING AREA, DAY 1 - DAY (MOCO)</stage_direction>
<scene_description>On a HOLO-BOARD: "MIND, SPACE, TIME, POWER, REALITY, SOUL." Above each word hovers...ITS ARTIFACT: LOKI'S SCEPTER, THE TESSERACT, THE EYE OF AGAMOTTO, THE ORB, THE AETHER CONTAINER, AND A QUESTION MARK.</scene_description>
<character>STEVE</character>
<dialogue>Okay. Now that we've got how, we're going to need where and when.</dialogue>
<scene_description>NEBULA, TONY, RHODEY, SCOTT, SMART HULK, ROCKET, NATASHA, and CLINT look on.</scene_description>
<character>STEVE</character>
<dialogue>Most folks here have encountered at least one of the six Infinity Stones-</dialogue>
<character>TONY</character>
<dialogue>I think you mean nearly been killed by one of the six Infinity Stones.</dialogue>
<character>SCOTT LANG</character>
<dialogue>I haven't.</dialogue>
<parenthetical>(off their looks)</parenthetical>
<dialogue>Just...saying.</dialogue>
<character>SMART HULK</character>
<dialogue>Regardless, we've only got enough Pym Particles for one round trip, each. And the Stones have been in a lot of places throughout history.</dialogue>
<character>TONY</character>
<dialogue>Our history. Not all of them are going to be a fun drop-in.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Which means we've got to pick our targets.</dialogue>
<character>STEVE</character>
<dialogue>Exactly.</dialogue>
<parenthetical>(he taps "REALITY")</parenthetical>
<dialogue>Let's start with the Aether. Thor, what do we know?</dialogue>
<scene_description>Everyone looks toward...THOR, slumped over.</scene_description>
<character>NATASHA</character>
<dialogue>Is he asleep?</dialogue>
<character>RHODEY</character>
<dialogue>I'm pretty sure he's dead.</dialogue>
<scene_description>DISSOLVE TO: THOR sulks, looking at the Aether Container Holo: "REALITY" Locations are listed: "SVARTALFHEIM, KNOWHERE, LONDON."</scene_description>
<character>THOR</character>
<dialogue>The Aether's not a stone, it's more of an angry sludge. My grandfather hid it from Dark Elves in a rock between dimensions that can only be accessed every 5000 years.</dialogue>
<scene_description>HIS ROBOTIC EYE drifts off in the wrong direction. Thor bangs his head, resetting his eye.</scene_description>
<character>THOR</character>
<dialogue>Or...by Jane. She stuck her hand in a rock. Then the Aether stuck itself inside her. Then I took her to Asgard. We were dating...</dialogue>
<parenthetical>(depressed)</parenthetical>
<dialogue>We're not anymore.</dialogue>
<scene_description>Everyone stares. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, LIVING AREA, DAY 2 - DAY (MOCO)</stage_direction>
<scene_description>CLOSE ON a holo image of THE ORB: "POWER." Locations are listed: "MORAG ?-2014, KYLN 2014, XANDAR 2014-2018." FIND ROCKET AS HE SLURPS FROM A CONTAINER OF LO MEIN.</scene_description>
<character>ROCKET</character>
<dialogue>Quill said he stole the Power Stone from Morag.</dialogue>
<scene_description>He paces on top of the table, past SMART HULK EATING A PINT OF "HUNKA HULKA BURNING FUDGE."</scene_description>
<character>SMART HULK</character>
<dialogue>That's a person?</dialogue>
<character>ROCKET</character>
<dialogue>It's a planet. Quill was a person.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Wait, like a planet...in space?</dialogue>
<scene_description>Rocket pinches Scott's cheek.</scene_description>
<character>ROCKET</character>
<dialogue>Aw, look. It's like a puppy, all happy and everything.</dialogue>
<character>ROCKET</character>
<dialogue>You want to go to space, puppy? I'll take you to space.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, SITTING AREA - DAY</stage_direction>
<scene_description>Scott, Steve, Natasha, Clint, Rocket, and Smart Hulk sit quietly, listening to Nebula.</scene_description>
<character>NEBULA</character>
<dialogue>Thanos found the Soul Stone on Vormir.</dialogue>
<character>NATASHA</character>
<dialogue>And that is...?</dialogue>
<character>NEBULA</character>
<dialogue>A dominion of death at the very center of celestial existence.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It's the place where Thanos murdered my sister.</dialogue>
<scene_description>That hangs heavily. A moment passes. Then...</scene_description>
<character>SCOTT LANG</character>
<dialogue>Not it.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, OFFICE - DAY, EARLY</stage_direction>
<scene_description>Tony, Natasha, and Smart Hulk hash it out.</scene_description>
<character>NATASHA</character>
<dialogue>So this 'Time Stone' guy...what kind of doctor was he?</dialogue>
<character>SMART HULK</character>
<dialogue>Strange?</dialogue>
<character>TONY</character>
<dialogue>Cross between ear-nose-and-throat and rabbit-from-hat.</dialogue>
<character>SMART HULK</character>
<dialogue>Had a nice place in the Village.</dialogue>
<character>TONY</character>
<dialogue>Yeah. Sullivan Street.</dialogue>
<character>SMART HULK</character>
<dialogue>Bleecker.</dialogue>
<character>TONY</character>
<dialogue>Sullivan and Bleecker. They're cross streets.</dialogue>
<character>NATASHA</character>
<dialogue>Wait, he lived in New York? Guys, pick the right year and there were three stones in New York.</dialogue>
<character>SMART HULK</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Shut the front door...</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, LIVING AREA, DAY 3 - DAY</stage_direction>
<scene_description>STEVE blocks our view.</scene_description>
<character>STEVE</character>
<dialogue>Okay, we have a plan. Six stones, three teams, one shot.</dialogue>
<scene_description>He steps away, revealing the board... EVERYONE EYES THE TANGLE OF LINES CONNECTING SIX STONES TO FOUR LOCATIONS TO TWO YEARS TO TEN HEROES. IT'S INSANE.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAWN</stage_direction>
<scene_description>DAWN RISES OUTSIDE HUGE WINDOWS. OUR HEROES MARCH PAST IN THEIR TIME SUITS.</scene_description>
<character>STEVE (O.S.)</character>
<dialogue>Five years ago, we lost. All of us.</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>THE HEROES GATHER ON THE QUANTUM PLATFORM.</scene_description>
<character>STEVE</character>
<dialogue>We lost friends. We lost family. We lost a part of ourselves.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But today we have a chance to take it all back.</dialogue>
<scene_description>Steve takes in the groupings of heroes: RHODEY & NEBULA, NAT & CLINT, THOR & ROCKET, TONY & SCOTT.</scene_description>
<character>STEVE</character>
<dialogue>You have your teams and you have assignments. Get your stone, and get back here. One round trip each. No mistakes. No do-overs.</dialogue>
<scene_description>He grips HIS SHIELD.</scene_description>
<character>STEVE</character>
<dialogue>Most of us are going back to places we know. That doesn't mean we know what to expect. Be careful. Look out for each other. Improvise, if you have to.</dialogue>
<parenthetical>(looking around)</parenthetical>
<dialogue>This is the fight of our lives. And we're going to win.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Whatever it takes.</dialogue>
<scene_description>The platform stays quiet. Rocket WHISPERS to Scott:</scene_description>
<character>ROCKET</character>
<dialogue>He's pretty good at that...</dialogue>
<scene_description>Scott nods enthusiastically.</scene_description>
<character>TONY</character>
<parenthetical>(to Smart Hulk)</parenthetical>
<dialogue>All right, you heard the man. Stroke those keys, Jolly Green.</dialogue>
<scene_description>Smart Hulk taps in commands with HIS PENCIL. LIGHTS ILLUMINATE EACH PAD.</scene_description>
<character>SMART HULK</character>
<dialogue>Tracking beacons engaged.</dialogue>
<scene_description>Clint checks his pocket: A SHRUNKEN BENATAR sits inside.</scene_description>
<character>ROCKET</character>
<dialogue>You promise to bring that thing back in one piece?</dialogue>
<character>CLINT BARTON</character>
<dialogue>Yeah, sure thing. I'll do my best.</dialogue>
<character>ROCKET</character>
<dialogue>That's pretty lame, as far as promises go.</dialogue>
<scene_description>SMART HULK STEPS ONTO THE PLATFORM, COMPLETING THE LINEUP. THE PLATFORM BEGINS TO VIBRATE. NATASHA LOOKS AROUND.</scene_description>
<character>NATASHA</character>
<dialogue>See you in a minute.</dialogue>
<character>SMART HULK</character>
<dialogue>Actually, it'll be closer to seven or eight microseconds, give or-</dialogue>
<scene_description>SUDDENLY, THEY STRETCH AND VANISH, SHRINKING AWAY. WHOOSH. THE QUANTUM CONSOLE STOPS VIBRATING. HULK'S PENCIL SLOWLY ROLLS TOWARD THE EDGE...AND DROPS OFF-</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK CITY - DAY (AVENGERS 1)</stage_direction>
<scene_description>TITLE: NEW YORK, 2012 THE BATTLE OF NEW YORK RAGES. IN THE MIDDLE OF IT ALL, THE AVENGERS GATHER IN A CIRCLE, FACING IMPOSSIBLE ODDS. At the same time, just a block away...</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK CITY, ALLEY - CONTINUOUS (AVENGERS 1)</stage_direction>
<scene_description>FLASH! STEVE, SMART HULK, TONY, and SCOTT arrive at the mouth of an alley, just out of sight.</scene_description>
<character>TONY</character>
<dialogue>Okay, Park Avenue's that way. Let's huddle up. Suits off.</dialogue>
<scene_description>They all touch their cuffs, RETRACTING THEIR TIME SUITS.</scene_description>
<character>STEVE</character>
<dialogue>We've all got our assignments. Two stones uptown, one stone down. Stay low, keep an eye on time-</dialogue>
<scene_description>Just then, A1 HULK BOUNDS DOWN THE STREET SMASHING THINGS.</scene_description>
<character>STEVE</character>
<dialogue>And Bruce? Maybe smash a few things along the way. For appearances.</dialogue>
<character>SMART HULK</character>
<parenthetical>(taking off his shirt)</parenthetical>
<dialogue>All right, but I have to say, it seems gratuitous.</dialogue>
<scene_description>He half-heartedly smashes a few cars.</scene_description>
<character>SMART HULK</character>
<dialogue>Grrr...grrr...</dialogue>
</scene>
<scene>
<stage_direction>EXT. SANCTUM SANCTORUM, ROOF - DAY (AVENGERS 1)</stage_direction>
<scene_description>THE BATTLE OF NEW YORK RAGES. CHITAURI CHARIOTS ZOOM OVER THE VILLAGE. SUDDENLY...BOOM, THE CHARIOTS EXPLODE. ON ONE SIDE OF THE SANCTUM ROOF, A TINY, HOODED FIGURE hurls jagged mandalas into the sky. ON THE OTHER SIDE OF THE ROOF...SMART HULK LANDS. He heads for a door, but...</scene_description>
<character>ANCIENT ONE (O.S.)</character>
<dialogue>I'd be careful going that way...</dialogue>
<scene_description>He turns to find...THE ANCIENT ONE STARING AT HIM.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>We just had the floors waxed.</dialogue>
<scene_description>SMART HULK THINKS, THEN GROWLS, TRYING TO INTIMIDATE HER.</scene_description>
<character>SMART HULK</character>
<dialogue>Hulk...does what...Hulk want?</dialogue>
<character>ANCIENT ONE</character>
<dialogue>Yes, I suppose that would be the case-</dialogue>
<scene_description>JUST THEN, ON THE ROOF OPPOSITE, A1 HULK TACKLES A CHITAURI CHARIOT, RIPPING IT IN HALF. HE ROARS, LEAPING AWAY. Smart Hulk blinks, sheepish. The Ancient One looks at him.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>Care to explain?</dialogue>
<character>SMART HULK</character>
<dialogue>I'm looking for Dr. Strange.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>You're about five years too early. Stephen Strange is currently performing surgery, 20 blocks that way. What do you want with him?</dialogue>
<scene_description>He finally notices THE EYE OF AGAMOTTO HANGING FROM HER NECK.</scene_description>
<character>SMART HULK</character>
<dialogue>Well, that, actually.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>Ah. I'm afraid not.</dialogue>
<character>SMART HULK</character>
<dialogue>I'm seriously sorry but...I wasn't asking.</dialogue>
<scene_description>Smart Hulk cracks his knuckles and moves in. She smiles.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>You don't want to do this.</dialogue>
<character>SMART HULK</character>
<dialogue>You're right, I don't. But I need that stone, and I don't have a lot of time to debate it-</dialogue>
<scene_description>He reaches for it. THE ANCIENT ONE SLAMS HER PALM INTO HIS CHEST AND BLASTS BRUCE BANNER RIGHT OUT OF SMART HULK. "ASTRAL BANNER" hangs in the air, staring at his frozen Smart Hulk body. He looks at his human hands, overwhelmed.</scene_description>
<character>ASTRAL BANNER</character>
<dialogue>No, no, no-</dialogue>
<scene_description>She topples Smart Hulk's body with one finger. Whump.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>Now. Let's start over, shall we?</dialogue>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, CORRIDOR - DAY (THOR 2)</stage_direction>
<scene_description>TITLE: ASGARD, 2013 AN ASGARDIAN MAIDEN stands at JANE'S ROOM, handing over A GREEN DRESS.</scene_description>
<character>MAIDEN (O.S.)</character>
<dialogue>For you, Lady Jane.</dialogue>
<character>JANE FOSTER (O.S.)</character>
<dialogue>Um, do you have anything with...pants?</dialogue>
<character>MAIDEN (O.S.)</character>
<dialogue>Pants?</dialogue>
<character>JANE FOSTER (O.S.)</character>
<dialogue>It's okay. Nevermind.</dialogue>
<scene_description>Pull back to...ROCKET AND THOR, WATCHING from behind a crypt. Rocket holds a syringe-like EXTRACTION DEVICE.</scene_description>
<character>THOR</character>
<dialogue>That's Jane.</dialogue>
<character>ROCKET</character>
<dialogue>Okay, here's the deal. You're going to charm her, and I'm going to poke her with this thing, extract the Reality Stone, and get gone lickety-split.</dialogue>
<scene_description>Thor looks off in the other direction, anxious.</scene_description>
<character>THOR</character>
<dialogue>Um, I'll be right back. The wine cellar is just down here. My father used to have this barrel of Aakonian ale. Felt like getting hit in the face with a poleaxe. I'll see if the scullery has a couple of to-go cups-</dialogue>
<scene_description>They hear SOMEONE APPROACHING. Rocket yanks Thor back as...FRIGGA AND HER HANDMAIDENS ENTER THE CORRIDOR.</scene_description>
<character>FRIGGA</character>
<dialogue>Send Loki some soup. I don't think he's eating. And ask our librarians to pull some volumes from the astronomy shelves. He won't read them, but at least they'll keep him company.</dialogue>
<scene_description>Thor watches Frigga and her coterie disappear down the hall.</scene_description>
<character>ROCKET</character>
<dialogue>Who's the fancy broad?</dialogue>
<character>THOR</character>
<dialogue>My mother. She dies today.</dialogue>
<character>ROCKET</character>
<dialogue>Oh, jeez.</dialogue>
<scene_description>Thor starts to sweat.</scene_description>
<character>THOR</character>
<dialogue>I can't do this. This is a bad idea. I can't do this...</dialogue>
<scene_description>Rocket climbs onto a marble monument.</scene_description>
<character>ROCKET</character>
<dialogue>Come here.</dialogue>
<scene_description>Thor steps closer. ROCKET SLAPS HIM ACROSS THE FACE.</scene_description>
<character>ROCKET</character>
<dialogue>You think you're the only one who's lost people? What do you think we're doing here? I lost the only family I ever had. Quill, Groot, Drax, the chick with the antenna. All gone. I've lived five meaningless years without them, and every minute has blown Aaskvarian gornads. I get you miss your mom. But she's gone. Really gone. There are plenty of people who are only kind of gone. And you can help them. So, is it too much to ask that you brush the crumbs out of your beard, make shmoopy talk to Prettypants, and when she's not looking, suck out the Infinity Stone, and help me get my family back?</dialogue>
<scene_description>Thor stares at him a long moment. He wipes his tears away.</scene_description>
<character>THOR</character>
<dialogue>I guess not.</dialogue>
<character>ROCKET</character>
<dialogue>Good.</dialogue>
<character>THOR</character>
<dialogue>Thank you. I can do this.</dialogue>
<character>ROCKET</character>
<dialogue>Great.</dialogue>
<scene_description>As Rocket scurries to Jane's door, Thor murmurs to himself.</scene_description>
<character>THOR</character>
<dialogue>I can do this...I can do this...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I can't do this...</dialogue>
<character>ROCKET</character>
<parenthetical>(peering through keyhole)</parenthetical>
<dialogue>All right, heartbreaker. This is our shot...</dialogue>
<scene_description>Rocket turns to find...THOR NOWHERE TO BE SEEN.</scene_description>
<character>ROCKET</character>
<dialogue>Thor?</dialogue>
<parenthetical>(holding his temples)</parenthetical>
<character>ROCKET</character>
<dialogue>I can kill him, and say the Elves did it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MORAG - DAY (GUARDIANS)</stage_direction>
<scene_description>TITLE: MORAG, 2014 STIFF WINDS PELT THE SURFACE OF MORAG. RHODEY STEERS NEBULA AS SHE LOWERS THE ESCAPE POD FROM THE NOW FULL-SIZED BENATAR.</scene_description>
<character>RHODEY</character>
<dialogue>That's it, right on that line, Blue. Keep dropping it.</dialogue>
<scene_description>Nearby, CLINT SURVEYS THE PLANET. GEYSERS EXPLODE. CLIFFS LOOM. AN ORLONI bites NATASHA's boot. She kicks it away.</scene_description>
<character>CLINT BARTON</character>
<parenthetical>(to Rhodey)</parenthetical>
<dialogue>Hey, can we hurry it up?</dialogue>
<character>NATASHA</character>
<dialogue>Yeah, come on, chop chop, we're on the clock, here.</dialogue>
<character>RHODEY</character>
<dialogue>All that? Really helpful!</dialogue>
<scene_description>TIME CUT: Clint and Natasha board the Benatar. Rhodey and Nebula remain on the planet's surface.</scene_description>
<character>NATASHA</character>
<dialogue>Take care of yourself.</dialogue>
<character>RHODEY</character>
<dialogue>Get that stone and come back. No messing around. You guys watch each other's six.</dialogue>
<scene_description>TIME CUT: BESIDE THE POD, RHODEY AND NEBULA WATCH THE BENATAR TAKE OFF.</scene_description>
<character>NEBULA</character>
<dialogue>Coordinates for Vormir are laid in. All they have to do is not fall out.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - DAY (GUARDIANS)</stage_direction>
<scene_description>Clint laughs, watching Natasha expertly pilot a spaceship.</scene_description>
<character>NATASHA</character>
<dialogue>What?</dialogue>
<character>CLINT BARTON</character>
<dialogue>Nothing. Just...we're a long way from Budapest.</dialogue>
<character>NATASHA</character>
<parenthetical>(pushing the throttle)</parenthetical>
<dialogue>Further every second.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MORAG - DAY (GUARDIANS)</stage_direction>
<scene_description>RHODEY SCANS THE LANDSCAPE.</scene_description>
<character>RHODEY</character>
<dialogue>So, all we have to do is hang out, wait for this Quill guy, and follow him to the Power Stone, right?</dialogue>
<character>NEBULA</character>
<dialogue>Let's take cover. We're not the only ones in this reality looking for the stones.</dialogue>
<character>RHODEY</character>
<dialogue>Hey, who are you talking about right now? Who else is looking for the stones?</dialogue>
<character>NEBULA</character>
<dialogue>My father. My sister. And me.</dialogue>
<scene_description>MOVE IN ON RHODEY, CONCERNED.</scene_description>
<character>RHODEY</character>
<dialogue>You? Where are you?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BATTLEFIELD, ALIEN PLANET - DAY</stage_direction>
<scene_description>BAD NEBULA CUTS DOWN A KORBINITE SOLDIER WITH DUAL BLADES. She leads Thanos' troops onward as they lay waste to the Korbinite home world. JUST THEN... BLAM! A GRENADE KNOCKS BAD NEBULA TO HER KNEES. TWO KORBINITE RIFLEMEN BEAR DOWN ON HER. Suddenly, A GREEN BLUR LEAPS IN, SLICING THE RIFLEMEN'S THROATS. THE TWO HUGE SOLDIERS DROP... REVEALING GAMORA looking down at her sister. Beat.</scene_description>
<character>GAMORA</character>
<dialogue>You're welcome?</dialogue>
<character>BAD NEBULA</character>
<dialogue>I didn't ask for your help.</dialogue>
<character>GAMORA</character>
<dialogue>And yet you always need it. Father wants us back on the ship.</dialogue>
<scene_description>Gamora offers her hand. Bad Nebula stands on her own.</scene_description>
<character>BAD NEBULA</character>
<dialogue>Why?</dialogue>
<character>GAMORA</character>
<dialogue>He's found an Infinity Stone.</dialogue>
<scene_description>Off Bad Nebula's intrigued look...</scene_description>
</scene>
<scene>
<stage_direction>INT. Q-SHIP - DAY</stage_direction>
<scene_description>BAD NEBULA and GAMORA study a holo-map.</scene_description>
<character>BAD NEBULA</character>
<dialogue>Where?</dialogue>
<character>GAMORA</character>
<dialogue>On a planet called "Morag."</dialogue>
</scene>
<scene>
<stage_direction>EXT. BATTLEFIELD, ALIEN PLANET - DAY</stage_direction>
<scene_description>A DARK FIGURE ADVANCES ACROSS THE SMOKY FIELD, RELENTLESS.</scene_description>
<character>BAD NEBULA (O.S.)</character>
<dialogue>Father's plan is finally in motion.</dialogue>
<character>GAMORA (O.S.)</character>
<dialogue>One stone isn't six.</dialogue>
<scene_description>ALIENS RUN FOR COVER, SCREAMING. SOMETHING CUTS THEM DOWN...</scene_description>
<character>BAD NEBULA (O.S.)</character>
<dialogue>It's a start. If he gets them all...</dialogue>
<scene_description>THANOS steps from the smoke, armored, wielding A HUGE BLADE.</scene_description>
<character>GAMORA (O.S.)</character>
<dialogue>We'll never have to do this again.</dialogue>
<scene_description>THREE ALIENS CHARGE HIM. THANOS CUTS THEM DOWN. He wipes blood from his face, and SMILES.</scene_description>
<character>BAD NEBULA (O.S.)</character>
<dialogue>He'll miss it.</dialogue>
<scene_description>A SMALL FIGHTER FLIES IN, STRAFING HIM. NEVER BREAKING STRIDE, THANOS SLICES IT IN TWO. He looks up to his ship. A BEAM BATHES HIM IN LIGHT...</scene_description>
</scene>
<scene>
<stage_direction>INT. Q-SHIP - DAY</stage_direction>
<scene_description>Bad Nebula and Gamora turn as THANOS ENTERS THE FLIGHT DECK.</scene_description>
<character>THANOS</character>
<dialogue>Ronan has located the Power Stone. I'm dispatching you to his ship.</dialogue>
<character>GAMORA</character>
<dialogue>He won't like it.</dialogue>
<scene_description>Thanos wipes the blood from his blade.</scene_description>
<character>THANOS</character>
<dialogue>His alternative is death. Ronan's obsession clouds his judgement. After Loki, I'm taking no chances.</dialogue>
<character>BAD NEBULA</character>
<dialogue>We will not fail you, father.</dialogue>
<scene_description>Thanos finally lays his eyes on her.</scene_description>
<character>THANOS</character>
<dialogue>No. You won't.</dialogue>
<character>BAD NEBULA</character>
<dialogue>I swear I will make you proud-</dialogue>
<scene_description>SUDDENLY, BAD NEBULA STAGGERS, hand to the wall.</scene_description>
<character>GAMORA</character>
<dialogue>Sister, what's-</dialogue>
<scene_description>Thanos watches, curious, as NEBULA DROPS TO A KNEE. SUDDENLY, A HOLO-PROJECTION OF RHODEY BEAMS FROM HER EYE.</scene_description>
<character>RHODEY (HOLO)</character>
<dialogue>So, all we have to do is hang out, wait for this Quill guy, and follow him to the Power Stone, right?</dialogue>
<character>NEBULA (HOLO) (O.S)</character>
<dialogue>Let's take cover. We're not the only ones in this reality looking for the stones.</dialogue>
<scene_description>BAD NEBULA SLUMPS, breaking the projection. Gamora goes to her, trying to prop her up.</scene_description>
<character>GAMORA</character>
<dialogue>Who was that?</dialogue>
<character>BAD NEBULA</character>
<dialogue>I...don't know. My head...splitting...</dialogue>
<scene_description>Bad Nebula winces. Gamora looks to Thanos.</scene_description>
<character>GAMORA</character>
<dialogue>Her synaptic drive was probably damaged in battle-</dialogue>
<character>THANOS</character>
<dialogue>Sshhh...</dialogue>
<scene_description>Thanos looks down at Bad Nebula. He gently lifts her head with his blade. Something's not right.</scene_description>
<character>THANOS</character>
<dialogue>Bring her to my ship.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STARK TOWER, PENTHOUSE - DAY (AVENGERS 1)</stage_direction>
<scene_description>Tony swoops onto the helipad outside the wrecked penthouse.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, PENTHOUSE - DAY (AVENGERS 1)</stage_direction>
<scene_description>THE MIND STONE GLOWS IN LOKI'S SCEPTER. Pull back to see it's in A1 NATASHA'S HANDS, as she stands with... A1 THOR, A1 STEVE, A1 TONY, A1 HULK, AND A1 CLINT (THE ICONIC SHOT FROM AVENGERS 1), all staring down at...LOKI.</scene_description>
<character>LOKI</character>
<dialogue>If it's all the same to you...I'll have that drink now.</dialogue>
<scene_description>From behind cover, TONY PEERS AT THE BACK SIDE OF THE AVENGERS TABLEAU.</scene_description>
<character>TONY (INTO COM)</character>
<dialogue>Cap, I've got to say that outfit does nothing for your ass.</dialogue>
<character>STEVE (OVER COM)</character>
<dialogue>No one asked you to look, Tony.</dialogue>
<scene_description>REVEAL TINY SCOTT ON TONY'S SHOULDER.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>I think you look great, Cap. As far as I'm concerned, that's America's ass.</dialogue>
<character>A1 NATASHA</character>
<dialogue>Who gets the magic wand?</dialogue>
<character>A1 STEVE</character>
<dialogue>SHIELD's coming up now.</dialogue>
<character>TONY</character>
<dialogue>Ball's in play. Head's up, Cap.</dialogue>
<scene_description>From hiding, Tony eyes A1 NATASHA WITH LOKI'S SCEPTER. INTERCUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, HALLWAY - DAY</stage_direction>
<scene_description>STEVE negotiates an empty hallway, head on a swivel. He heads for AN ELEVATOR.</scene_description>
<character>TONY (OVER COM)</character>
<dialogue>Mind Stone's on the move.</dialogue>
<character>STEVE (INTO COM)</character>
<dialogue>I'm in position.</dialogue>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, PENTHOUSE - DAY (AVENGERS 1)</stage_direction>
<scene_description>A1 NATASHA hands LOKI'S SCEPTER to...AGENT SITWELL. He's about to touch the tip when...</scene_description>
<character>A1 NATASHA</character>
<dialogue>Careful with that.</dialogue>
<scene_description>A1 CLINT pours himself A DRINK at Tony's bar.</scene_description>
<character>A1 CLINT BARTON</character>
<dialogue>Unless you want your mind erased. And not in the fun way.</dialogue>
<scene_description>Sitwell carries the scepter to THE SERVICE ELEVATOR...WHERE A STRIKE TEAM WAITS. BROCK RUMLOW hits "down."</scene_description>
<character>BROCK RUMLOW</character>
<dialogue>We promise to be extra careful.</dialogue>
<scene_description>Scott stares at Sitwell and Rumlow.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Who are these guys?</dialogue>
<character>TONY</character>
<dialogue>SHIELD. Actually, Hydra. But we didn't know that yet.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Seriously? 'Cause it's kind of obvious they're bad guys.</dialogue>
<character>TONY</character>
<dialogue>You're small but you're talking loud.</dialogue>
<scene_description>A1 THOR WALKS LOKI PAST A1 STEVE.</scene_description>
<character>A1 STEVE (INTO COM)</character>
<dialogue>I'm on my way down to coordinate search and rescue.</dialogue>
<scene_description>Loki rolls his eyes...AND TRANSFORMS INTO A COPY OF STEVE.</scene_description>
<character>LOKI/STEVE</character>
<dialogue>"I'm on my way down to coordinate search and rescue." I mean, really, how do you keep your food down?</dialogue>
<scene_description>Thor slaps A MUZZLE on Loki, who REVERTS TO HIS OWN FORM.</scene_description>
<character>A1 THOR</character>
<dialogue>Yes, that's much better.</dialogue>
<scene_description>He steers his brother into THE MAIN ELEVATOR.</scene_description>
<character>A1 THOR</character>
<dialogue>You coming, Stark?</dialogue>
<scene_description>Nearby, A1 TONY uses his gauntleted hand to place THE TESSERACT into AN ALUMINUM ATTACHE CASE.</scene_description>
<character>A1 TONY</character>
<dialogue>One sec, just packing my lunch.</dialogue>
<character>TONY</character>
<dialogue>All right, you're up, Little Buddy. There's our stone</dialogue>
<scene_description>A1 Tony crosses to the elevator. Scott takes position, readying himself.</scene_description>
<character>SCOTT LANG</character>
<dialogue>All right. Flick me.</dialogue>
<scene_description>Tony flicks Scott with a finger, sending him sailing into the ATTACHE CASE. TONY leaps out the window, Bleeding Edge armor forming around him as he falls. A1 Tony joins the others in the elevator. Then... A1 HULK steps up to THE ALREADY CROWDED ELEVATOR. Avengers smile awkwardly. There's no room.</scene_description>
<character>A1 HULK</character>
<parenthetical>(angrily)</parenthetical>
<dialogue>Hulk take stairs.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STARK TOWER - DAY</stage_direction>
<scene_description>Tony circles around the building...PASSING THE DESCENDING SERVICE ELEVATOR, CROWDED WITH RUMLOW'S STRIKE TEAM.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Okay, Cap, I make ten of them, just passing the 80th floor.</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Got it. Head to the lobby.</dialogue>
<character>TONY (O.S.)</character>
<dialogue>Already on my way.</dialogue>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, SERVICE ELEVATOR - DAY (AVENGERS 1)</stage_direction>
<scene_description>Sitwell, Rumlow, and the STRIKE TEAM descend.</scene_description>
<character>AGENT SITWELL (INTO PHONE)</character>
<dialogue>Evidence secured, we are en route to Dr. List...No, no hitches at all, Mr. Secretary...</dialogue>
<scene_description>The car stops. The doors open...AND OUR STEVE GETS ON.</scene_description>
<character>AGENT SITWELL</character>
<dialogue>Captain, I thought you were coordinating search and rescue?</dialogue>
<character>STEVE</character>
<dialogue>Change of plans.</dialogue>
<scene_description>Steve glances at Rumlow, who's holding THE SCEPTER.</scene_description>
<character>BROCK RUMLOW</character>
<dialogue>Cap.</dialogue>
<character>STEVE</character>
<dialogue>Rumlow.</dialogue>
<scene_description>The doors close. Everyone rides in silence. Tension mounts.</scene_description>
<character>STEVE</character>
<dialogue>I got a call from the Secretary's office. I'm going to be running point on the scepter.</dialogue>
<scene_description>Behind him, Sitwell and Rumlow exchange a glance.</scene_description>
<character>AGENT SITWELL</character>
<dialogue>Sir? I don't understand-</dialogue>
<character>STEVE</character>
<dialogue>We've had word there might be an attempt to steal it.</dialogue>
<scene_description>Steve reaches for the scepter, but Rumlow holds tight.</scene_description>
<character>BROCK RUMLOW</character>
<dialogue>Afraid we can't allow that, Cap.</dialogue>
<character>AGENT SITWELL</character>
<parenthetical>(pulling out his phone)</parenthetical>
<dialogue>I'll have to check with the Director-</dialogue>
<character>STEVE</character>
<dialogue>No. Trust me. It's okay...</dialogue>
<scene_description>Steve leans in, drawing them all close. Then he whispers:</scene_description>
<character>STEVE</character>
<dialogue>Hail Hydra.</dialogue>
<scene_description>THEIR EYES GO WIDE.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, 10TH FLOOR - DAY (AVENGERS 1)</stage_direction>
<scene_description>The elevator OPENS. Steve steps out with THE SCEPTER. Sitwell and Rumlow stare after him, amazed. THE DOORS CLOSE. STEVE SMILES TO HIMSELF.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, STAIRWELL - DAY (AVENGERS 1)</stage_direction>
<scene_description>A1 HULK lumbers down the stairs, taking chunks out of corners in the tiny stairwell. He snorts, growing more pissed off.</scene_description>
<character>A1 HULK</character>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, LOBBY - DAY (AVENGERS 1)</stage_direction>
<scene_description>A1 TONY carries the TESSERACT CASE through THE LOBBY, followed by A1 THOR and LOKI. SWAT TROOPERS clear a path. ONE TURNS ASIDE, RAISING HIS MASK, REVEALING...OUR TONY.</scene_description>
<character>TONY (INTO COM)</character>
<dialogue>Okay, Thumbelina, you're a go.</dialogue>
<scene_description>MOVE IN CLOSE on A1 TONY to see...SCOTT, HIDING IN HIS HAIR.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>Bombs away.</dialogue>
<scene_description>SCOTT DROPS BENEATH TONY'S BLACK SABBATH SHIRT.</scene_description>
</scene>
<scene>
<stage_direction>INT. TONY STARK'S SHIRT - CONTINUOUS (AVENGERS 1)</stage_direction>
<scene_description>SCOTT slides down Tony's clavicle to the RT. He sniffs.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>Is that...Axe body spray?</dialogue>
<character>TONY (OVER COM)</character>
<dialogue>Yeah, I had a can in the desk for emergencies. Can we focus, please?</dialogue>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>I'm going inside you...NOW.</dialogue>
<scene_description>SCOTT SQUEEZES BETWEEN A1 TONY'S SKIN AND THE RT.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, LOBBY - DAY (AVENGERS 1)</stage_direction>
<scene_description>A1 TONY, A1 THOR, and LOKI approach the door. ALEXANDER PIERCE intercepts them with a team of SHIELD AGENTS.</scene_description>
<character>ALEXANDER PIERCE</character>
<dialogue>Mind if I ask where you're going?</dialogue>
<character>A1 THOR</character>
<dialogue>We were thinking lunch, then Asgard. And you are?</dialogue>
<character>A1 TONY</character>
<dialogue>Alexander Pierce. He's the guy behind the guys behind Fury, so don't mess.</dialogue>
<character>ALEXANDER PIERCE</character>
<dialogue>My friends call me Mr. Secretary.</dialogue>
<parenthetical>(to Thor)</parenthetical>
<dialogue>I have to ask you to turn the prisoner over to me.</dialogue>
<character>A1 THOR</character>
<dialogue>Loki will answer to Odin, himself.</dialogue>
<character>ALEXANDER PIERCE</character>
<dialogue>No, he'll answer to us. "Odin" can have what's left.</dialogue>
<parenthetical>(to Tony)</parenthetical>
<dialogue>And we'll need the case back, too. That's been SHIELD property for over seventy years.</dialogue>
<character>A1 TONY</character>
<dialogue>I'm not gonna argue who has authority here but jurisdictionally speaking, we are on Stark property. That is my name on the glass...</dialogue>
<character>ALEXANDER PIERCE</character>
<dialogue>Just give me the case.</dialogue>
<scene_description>Across the lobby, TONY OBSERVES FROM BEHIND HIS SWAT HELMET.</scene_description>
<character>TONY (INTO COM)</character>
<dialogue>Move it, Stuart Little. Things are getting dicey out here.</dialogue>
<scene_description>INTERCUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. TONY STARK'S RT - DAY (AVENGERS 1)</stage_direction>
<scene_description>Scott studies A TANGLE OF COPPER WIRING.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>This place is a mess.</dialogue>
<parenthetical>(finding a wire)</parenthetical>
<dialogue>You promise you won't die?</dialogue>
<character>TONY (OVER COM)</character>
<dialogue>You're only giving me a minor cardiac dysrhythmia-</dialogue>
<character>SCOTT LANG</character>
<dialogue>That doesn't actually sound minor-</dialogue>
<scene_description>Tony sees PIERCE reaching for A1 TONY'S CASE.</scene_description>
<character>TONY</character>
<dialogue>Window's closing. Pull my plug.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Here goes...</dialogue>
<scene_description>SCOTT YANKS THE WIRE OUT OF ITS SOCKET. IN THE LOBBY, A1 TONY GRIPS HIS CHEST.</scene_description>
<character>ALEXANDER PIERCE</character>
<dialogue>Stark?</dialogue>
<scene_description>A1 Tony SEIZES, dropping. THE TESSERACT CASE CLATTERS TO THE GROUND. PIERCE and A1 THOR kneel to assist.</scene_description>
<character>ALEXANDER PIERCE</character>
<dialogue>MEDIC!</dialogue>
<character>A1 THOR</character>
<dialogue>Stark? Somebody get some help! Is it your chest machine?</dialogue>
<scene_description>THE LOBBY BUZZES, SHIELD AGENTS RUNNING EVERYWHERE. In the bustle, SCOTT SLIDES OUT OF A1 TONY'S SLEEVE. He SHOVES THE TESSERACT CASE HARD. It SPINS across the floor... RIGHT INTO TONY'S HAND. Tony walks toward a side door.</scene_description>
<character>TONY (INTO COM)</character>
<dialogue>Meet me in the alley. I'm just gonna grab a slice at Famous Ray's-</dialogue>
<scene_description>BUT AS TONY PASSES THE STAIRWELL DOOR...HULK BANGS IT OPEN, SMASHING TONY IN THE FACE, SENDING HIM TUMBLING. A1 HULK BASHES HIS WAY THROUGH THE LOBBY. The Tesseract Case hits the floor, popping open. THE TESSERACT FALLS OUT, spinning past Tiny Scott... STOPPING AT LOKI'S FEET. Loki stares at it in disbelief. He glances at A1 Thor and Pierce giving A1 Tony first aid. THEN LOKI CALMLY REACHES DOWN WITH HIS MANACLED HANDS, GRASPS THE TESSERACT...AND TELEPORTS AWAY. Scott stares, stunned.</scene_description>
<character>SCOTT LANG</character>
<dialogue>That wasn't supposed to happen, was it?</dialogue>
<scene_description>A1 THOR LOOKS UP, REALIZING...</scene_description>
<character>A1 THOR</character>
<scene_description>SHIELD TEAMS FAN OUT, ON ALERT.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK TOWER, 14TH FLOOR - DAY (AVENGERS 1)</stage_direction>
<scene_description>STEVE heads down a hall, SCEPTER IN HAND.</scene_description>
<character>SECURITY (OVER SPEAKER)</character>
<dialogue>Building-wide alert, all units. Target Loki, maximum force.</dialogue>
<character>STEVE (INTO COM)</character>
<dialogue>Tony? What's going on? Tell me you got that cube-</dialogue>
<character>A1 STEVE (O.S.)</character>
<dialogue>Strike Teams, clear Forty, then work down.</dialogue>
<scene_description>Before Steve can hide...A1 STEVE ROUNDS THE CORNER.</scene_description>
<character>STEVE</character>
<dialogue>Oh, great.</dialogue>
<character>A1 STEVE (INTO COM)</character>
<dialogue>Disregard. I have eyes on Loki, Fourteenth Floor.</dialogue>
<scene_description>STEVE GENTLY LAYS THE SCEPTER DOWN, AND PULLS OFF HIS SHIELD.</scene_description>
<character>STEVE</character>
<dialogue>I'm not Loki. And I don't want to hurt you.</dialogue>
<scene_description>A1 STEVE PULLS HIS SHIELD OFF HIS BACK.</scene_description>
<character>A1 STEVE</character>
<dialogue>You're not going to get the chance-</dialogue>
<scene_description>A1 STEVE KICKS STEVE IN THE FACE. Steve stumbles.</scene_description>
<character>STEVE</character>
<dialogue>Forgot about that one.</dialogue>
<scene_description>They grapple. Both their shields fall to the ground... THEY BOTH STAMP ON THEM, simultaneously flipping the shields back to their arms. A1 Steve looks impressed. A1 STEVE SWINGS. STEVE DUCKS, HAMMERING HIM. A1 Steve wipes the blood from his lip, squaring off.</scene_description>
<character>A1 STEVE</character>
<dialogue>I can do this all day-</dialogue>
<character>STEVE</character>
<dialogue>Yeah, I know...</dialogue>
<scene_description>They battle on. A1 Steve tackles Steve, knocking his shield aside, RIPPING OPEN ONE OF STEVE'S BELT COMPARTMENTS: THE COMPASS FALLS OUT, OPENING TO REVEAL PEGGY'S PICTURE. A1 Steve goes cold. He picks up the compass, FLABBERGASTED.</scene_description>
<character>A1 STEVE</character>
<dialogue>Where'd you get this?</dialogue>
<character>STEVE</character>
<dialogue>PX. Camp Lehigh. 1943.</dialogue>
<scene_description>A1 Steve stares at Steve, eyes narrowing.</scene_description>
<character>A1 STEVE</character>
<dialogue>You've got a lot of nerve.</dialogue>
<scene_description>HE HAMMERS STEVE ACROSS THE HALL. Steve goes skidding. He groans, looking up to see...HE'S INCHES FROM THE SCEPTER. A1 STEVE moves in. STEVE whips around, touching THE SCEPTER to A1 Steve's chest. A1 STEVE'S EYES GO BLACK. HE FREEZES. Steve stares, panting. Finally, he picks up the compass from the floor, then considers A1 STEVE'S ASS.</scene_description>
<character>STEVE</character>
<dialogue>That is America's ass.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SANCTUM SANCTORUM, ROOF - DAY (AVENGERS 1)</stage_direction>
<scene_description>SMART HULK'S BODY lies slumped on an Adirondack chair, a floppy sun hat covering his face.</scene_description>
<character>ANCIENT ONE (O.S.)</character>
<dialogue>I wish I could help you, Bruce...</dialogue>
<scene_description>THE ANCIENT ONE waters a rooftop garden. She looks to ASTRAL BANNER, who's only just getting used to being see-through.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>But if I were to give up the Time Stone to help your reality, I'd be dooming my own.</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>Yeah, with all due respect, I'm not sure the science supports that.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>And yet, you're the one currently standing in the middle of my hydrangeas.</dialogue>
<scene_description>Banner looks down to see, indeed, he has phased through the middle of the hydrangeas. He steps out of it.</scene_description>
<character>ASTRAL BANNER</character>
<dialogue>Lady, I just want to borrow your necklace-</dialogue>
<character>ANCIENT ONE</character>
<dialogue>At what cost?</dialogue>
<scene_description>SHE CONJURES A MAGICAL PROJECTION OF THE INFINITY STONES, SPINNING IN UNISON. A TUNNEL OF GOLDEN LIGHT POURS FORTH.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>The Infinity Stones create the experience you know as the flow of time. Remove one of the stones, and the flow splits.</dialogue>
<scene_description>She plucks the GREEN TIME STONE out of the array: A SMALLER, BLACKENED RIVER BRANCHES OFF FROM THE FIRST.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>Now, your timeline might benefit. My new one...would definitely not.</dialogue>
<scene_description>SHE GESTURES. OUR CAMERA ZOOMS INTO THE BLACKENED TUNNEL... TUNNEL POV: HUNDREDS OF PEOPLE RUN AS WE FLY OVER A CROWDED STREET, UP TO...THE BURNING HONG KONG SANCTUM.</scene_description>
<character>ANCIENT ONE (O.S.)</character>
<dialogue>In this new branch reality, without our chief weapon against the forces of darkness, our world would be overrun...</dialogue>
<scene_description>MOVE UP TO SEE DORMAMMU IN THE SKY. HE OPENS HIS MOUTH... BACK ON THE ROOF...THE ANCIENT ONE PLUCKS MORE STONES FROM THE GOLDEN RIVER, CREATING FIVE MORE BLACKENED TRIBUTARIES.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>For each stone you remove, you'll create a new, vulnerable timeline. Millions will suffer.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Now tell me, Doctor. Can your science prevent all that?</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>No. But it can erase it.</dialogue>
<scene_description>Astral Banner reaches in and grabs THE VIRTUAL TIME STONE.</scene_description>
<character>ASTRAL BANNER</character>
<dialogue>Because once we're done with the stones, we can return each one to its own timeline. At the moment it was taken. So chronologically, in that reality, the stone never left.</dialogue>
<scene_description>HE PUTS THE TIME STONE BACK. THE BLACK TIMELINE DISAPPEARS.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>You're leaving out the most important part, though. In order to put the stones back, you'd have to survive.</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>We will. I will. I promise.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>I can't risk this reality on a promise.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>It is the duty of the Sorcerer Supreme to protect the Time Stone-</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>Yeah? Then why the hell did Strange give it away?</dialogue>
<scene_description>The Ancient One freezes.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>What did you say?</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>Strange gave Thanos the Time Stone.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>Willingly? Why?</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>Don't know. Maybe he made a mistake.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>Or I did.</dialogue>
<scene_description>The Ancient One looks out over a recovering NYC.</scene_description>
<character>ANCIENT ONE</character>
<dialogue>Strange is meant to be the best of us.</dialogue>
<character>ASTRAL BANNER</character>
<dialogue>Then he must have had a reason.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>I fear you may be right...</dialogue>
<scene_description>Finally, she waves her hand and...WHOOSH! HE REINTEGRATES INTO THE SMART HULK BODY. Smart Hulk gets up, WOOZY. SHE REMOVES THE TIME STONE FROM THE EYE, HANDING IT TO HIM.</scene_description>
<character>SMART HULK</character>
<dialogue>Thank you.</dialogue>
<character>ANCIENT ONE</character>
<dialogue>I'm counting on you, Bruce.</dialogue>
<parenthetical>(re. the city behind her)</parenthetical>
<dialogue>We all are.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SANCTUARY 2 - DAY</stage_direction>
<scene_description>THE SANCTUARY-2 LOOMS.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANCTUARY 2 - DAY</stage_direction>
<scene_description>BAD NEBULA HANGS SUSPENDED. CABLES travel from her "brain" to a GLOWING WALL OF DATABANKS, which silhouettes... THANOS. He regards her for a moment. Then...</scene_description>
<character>THANOS</character>
<dialogue>Run diagnostics. Show me her memory file.</dialogue>
<scene_description>At the console, EBONY MAW SCANS NEBULA'S INFORMATION. NEBULA'S BODY TWITCHES. GAMORA WATCHES, TORN. SOON...AN ALERT FLASHES.</scene_description>
<character>EBONY MAW</character>
<dialogue>Sir, the file appears...entangled. It was a memory, but not hers.</dialogue>
<parenthetical>(dawning on him)</parenthetical>
<dialogue>There's another consciousness sharing her network. Another Nebula.</dialogue>
<character>THANOS</character>
<dialogue>Impossible.</dialogue>
<character>EBONY MAW</character>
<dialogue>This duplicate carries a time stamp...from nine years in the future.</dialogue>
<character>THANOS</character>
<dialogue>Where is this "other Nebula?"</dialogue>
<character>EBONY MAW</character>
<dialogue>In our solar system. On Morag.</dialogue>
<character>THANOS</character>
<dialogue>Can you access her?</dialogue>
<character>EBONY MAW</character>
<dialogue>Yes. The two are linked.</dialogue>
<scene_description>THANOS PEERS INTO BAD NEBULA'S GLASSY EYES...</scene_description>
<character>THANOS</character>
<dialogue>Search the duplicate's memory for Infinity Stones.</dialogue>
<scene_description>Maw works the console. Thanos steps aside as BAD NEBULA'S BODY QUIVERS. AFTER A BEAT, A BEAM SHOOTS OUT OF HER EYE... PROJECTING AN IMAGE OF AVENGERS COMPOUND: STEVE, TONY, RHODEY, SCOTT, SMART HULK, ROCKET, NATASHA, CLINT, AND THOR GATHER IN THE LIVING AREA.</scene_description>
<character>SMART HULK (HOLO)</character>
<dialogue>-the Stones have been in a lot of places throughout history.</dialogue>
<character>TONY (HOLO)</character>
<dialogue>Our history. Not all of them are going to be a fun drop-in.</dialogue>
<character>CLINT BARTON (HOLO)</character>
<dialogue>Which means we've got to pick our targets.</dialogue>
<character>STEVE (HOLO)</character>
<dialogue>Exactly. Let's start here-</dialogue>
<character>THANOS</character>
<dialogue>Freeze image.</dialogue>
<scene_description>THE IMAGE FREEZES. THANOS STARES, RECOGNIZING THEM.</scene_description>
<character>GAMORA</character>
<dialogue>Terrans?</dialogue>
<character>THANOS</character>
<dialogue>Avengers. Unruly wretches.</dialogue>
<scene_description>He gestures to A BLURRY REFLECTION WITHIN THE HOLOGRAM.</scene_description>
<character>THANOS</character>
<dialogue>What's this reflection. Amplify this, Maw.</dialogue>
<scene_description>EBONY MAW ZOOMS IN, REVEALING...A REFLECTION OF NEBULA.</scene_description>
<character>GAMORA</character>
<dialogue>I don't understand. Two Nebulas?</dialogue>
<scene_description>Thanos walks into the hologram, studying the faces.</scene_description>
<character>THANOS</character>
<dialogue>No. The same Nebula. From two different times.</dialogue>
<parenthetical>(to Ebony Maw)</parenthetical>
<dialogue>Set course for Morag. And scan the duplicate's memories.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I want to see everything...</dialogue>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, CORRIDOR - DAY (THOR 2)</stage_direction>
<scene_description>Frigga walks down a corridor, alone. THOR SNEAKS FROM COLUMN TO COLUMN, FOLLOWING HER. She PAUSES, sensing something. Thor HIDES. When he peers again, FRIGGA IS GONE. Then he turns around to find FRIGGA STANDING BESIDE HIM. Thor jumps.</scene_description>
<character>FRIGGA</character>
<dialogue>What are you doing?</dialogue>
<character>THOR</character>
<dialogue>Mother! What? Nothing. Hello.</dialogue>
<character>FRIGGA</character>
<dialogue>You're better off leaving the sneaking to your brother.</dialogue>
<parenthetical>(re. his bathrobe)</parenthetical>
<dialogue>What are you wearing?</dialogue>
<character>THOR</character>
<dialogue>I always wear this. It's one of my favorites.</dialogue>
<character>FRIGGA</character>
<dialogue>And what's wrong with your eye?</dialogue>
<character>THOR</character>
<dialogue>Oh, that. You remember the...Battle of Harokin. I took a...broadsword to the face?</dialogue>
<scene_description>He trails off, at a loss, staring at his dead mom. Frigga gently lays her hand on his cheek...READING HIM.</scene_description>
<character>FRIGGA</character>
<dialogue>Oh. You're not the Thor I know at all, are you?</dialogue>
<character>THOR</character>
<dialogue>Yes, I am-</dialogue>
<character>FRIGGA</character>
<dialogue>I was raised by witches, boy. I see with more than eyes, you know that.</dialogue>
<parenthetical>(eyeing him)</parenthetical>
<dialogue>I can see the future hasn't been kind to you, has it?</dialogue>
<character>THOR</character>
<dialogue>I didn't say I was from the future...</dialogue>
<character>FRIGGA</character>
<dialogue>Thor...</dialogue>
<scene_description>Frigga gives her son a stern, "don't lie to me" look. Thor stares at his mom a long moment. Then, he cracks:</scene_description>
<character>THOR</character>
<dialogue>I'm totally from the future.</dialogue>
<character>FRIGGA</character>
<dialogue>Yes, you are.</dialogue>
<character>THOR</character>
<dialogue>I need to talk to you.</dialogue>
<character>FRIGGA</character>
<dialogue>We can talk.</dialogue>
<scene_description>Frigga GRABS Thor by the cloak and yanks him away.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, JANE FOSTER'S CHAMBER - DAY (THOR 2)</stage_direction>
<scene_description>CLOSE ON A PAIR OF MODERN BOOTS BENEATH AN ASGARDIAN GOWN. TILT UP TO FIND...JANE FOSTER. She studies the outfit. Behind her, ROCKET RAISES THE EXTRACTION DEVICE OVER HIS HEAD, ABOUT TO JAB...</scene_description>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, FRIGGA'S CHAMBER - DAY (THOR 2)</stage_direction>
<scene_description>FRIGGA sits with THOR in her chambers.</scene_description>
<character>THOR</character>
<dialogue>...and then it was done. His head over there. Body over there. And me in the middle. Just an idiot with an axe.</dialogue>
<character>FRIGGA</character>
<dialogue>You're no idiot. You're here, aren't you? Seeking counsel from the smartest person in Asgard?</dialogue>
<character>THOR</character>
<dialogue>Yeah, I guess.</dialogue>
<character>FRIGGA</character>
<dialogue>An idiot, no. A failure, absolutely.</dialogue>
<character>THOR</character>
<dialogue>That's a little harsh-</dialogue>
<character>FRIGGA</character>
<dialogue>Quite a colossal one, by the sound of it.</dialogue>
<character>THOR</character>
<dialogue>Okay, maybe just stop talking.</dialogue>
<character>FRIGGA</character>
<dialogue>And you know what that makes you? Just like everyone else.</dialogue>
<character>THOR</character>
<dialogue>I'm not supposed to be like everyone else, though.</dialogue>
<character>FRIGGA</character>
<dialogue>Everyone fails at "who they're supposed to be," Thor. The measure of a person, of a hero, is how well they succeed at being who they are.</dialogue>
<scene_description>Thor stares at her, biting back emotions.</scene_description>
<character>THOR</character>
<dialogue>I've really missed you, Mum.</dialogue>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, CORRIDOR - DAY (THOR 2)</stage_direction>
<scene_description>ROCKET TEARS DOWN THE HALL, EXTRACTION DEVICE IN HAND.</scene_description>
<character>ROCKET</character>
<dialogue>I got it I got it I got it!</dialogue>
<scene_description>A TROOP OF EINHERJAR CHASE AFTER HIM.</scene_description>
</scene>
<scene>
<stage_direction>INT. ASGARD, PALACE, FRIGGA'S CHAMBER - DAY (THOR 2)</stage_direction>
<scene_description>THOR looks at THE OBSERVATORY: Dark Elves will soon attack.</scene_description>
<character>THOR</character>
<dialogue>Mum, I have to tell you something-</dialogue>
<character>FRIGGA</character>
<dialogue>No, son. You don't. You've come to repair your future, not mine.</dialogue>
<character>THOR</character>
<dialogue>But your future-</dialogue>
<character>FRIGGA</character>
<dialogue>Is none of my business.</dialogue>
<scene_description>Thor stares at her, torn. THEN ROCKET RACES INTO THE ROOM.</scene_description>
<character>ROCKET</character>
<parenthetical>(to Frigga)</parenthetical>
<dialogue>Hi. You must be Mom.</dialogue>
<parenthetical>(to Thor, re. the device)</parenthetical>
<dialogue>I got the thing. Come on, we gotta move-</dialogue>
<scene_description>Thor looks to Frigga.</scene_description>
<character>THOR</character>
<dialogue>I wish we had more time-</dialogue>
<character>FRIGGA</character>
<dialogue>This was a gift. Now, go be the man you're meant to be.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And eat a salad.</dialogue>
<scene_description>Thor smiles. He and Rocket activate their time suits.</scene_description>
<character>ROCKET</character>
<dialogue>Three...two-</dialogue>
<character>THOR</character>
<dialogue>No. Wait.</dialogue>
<scene_description>THOR DRAMATICALLY HOLDS OUT HIS HAND. A long moment passes.</scene_description>
<character>ROCKET</character>
<dialogue>What am I looking at?</dialogue>
<character>FRIGGA</character>
<dialogue>Sometimes it takes a second.</dialogue>
<scene_description>Then...MJOLNIR SAILS INTO HER SON'S HAND. She grins, proud.</scene_description>
<character>THOR</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Still worthy.</dialogue>
<scene_description>Mother and son look at each other for the last time.</scene_description>
<character>THOR</character>
<dialogue>Goodbye, Mum.</dialogue>
<character>FRIGGA</character>
<dialogue>Goodbye, Son.</dialogue>
<scene_description>THEN, WHOOSH! THOR AND ROCKET DISAPPEAR. Suddenly...THE PALACE RUMBLES. Frigga looks to the window, WHERE A DARK ELF WARSHIP DECLOAKS. SHE REACHES FOR A SWORD. PRELAP: "COME AND GET YOUR LOVE," BY REDBONE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MORAG, ABANDONED CITY - DAY (GUARDIANS)</stage_direction>
<scene_description>PETER QUILL, in RED, PLEATHER TRENCH COAT AND HEADPHONES, dances through the ruins of an alien city. PULL BACK TO...NEBULA AND RHODEY WATCHING FROM BEHIND A ROCK.</scene_description>
<character>RHODEY</character>
<dialogue>So, he's an idiot.</dialogue>
<character>NEBULA</character>
<dialogue>Yes.</dialogue>
<scene_description>Quill spins, arms out, eyes shut. When the horizon finally settles...he sees A METAL MAN STANDING THERE WAITING FOR HIM.</scene_description>
<character>QUILL</character>
<dialogue>Oh, fu-</dialogue>
<scene_description>BAM! RHODEY DECKS QUILL IN THE FACE. Quill drops, out cold.</scene_description>
<character>RHODEY</character>
<dialogue>Sorry about that. I know you guys were teammates and everything.</dialogue>
<character>NEBULA</character>
<dialogue>Do you hear me complaining?</dialogue>
<scene_description>Nebula rifles through Quill's sack. She pulls out AN ELECTRONIC LOCK PICK.</scene_description>
<character>RHODEY</character>
<dialogue>What is that?</dialogue>
<character>NEBULA</character>
<dialogue>The tool of a thief. Come on.</dialogue>
<scene_description>They set out toward the RUINED CITY.</scene_description>
</scene>
<scene>
<stage_direction>INT. MORAG, TEMPLE VAULT - DAY (GUARDIANS)</stage_direction>
<scene_description>WHIR, CLICK. TWO HUGE, STONE DOORS SLIDE OPEN, REVEALING NEBULA AND RHODEY. SHE STEPS IN. RHODEY TRIES TO STOP HER.</scene_description>
<character>RHODEY</character>
<dialogue>Hang on. This would be about the time the spikes come out, you know, with the skeletons still on them?</dialogue>
<character>NEBULA</character>
<dialogue>What are you talking about?</dialogue>
<character>RHODEY</character>
<dialogue>I'm just saying, when you break into a place called, "The Temple of the Power Stone", there are usually...</dialogue>
<scene_description>Ahead, they see...THE POWER STONE ORB HOVERING ABOVE ITS PEDESTAL, SURROUNDED BY A WEB OF LASER THREADS.</scene_description>
<character>RHODEY</character>
<dialogue>Traps and stuff.</dialogue>
<parenthetical>(Nebula steps inside)</parenthetical>
<dialogue>Okay, don't say I didn't warn you.</dialogue>
<scene_description>Rhodey scans the laser web, strategizing.</scene_description>
<character>RHODEY</character>
<dialogue>These are photovoltaic lasers on a constantly shifting matrix. Gonna be damn near impossible to neutralize unless we-</dialogue>
<scene_description>SUDDENLY, NEBULA REACHES HER CYBERNETIC ARM THROUGH THE WEB. SHE GRABS THE ORB...BUT THE WEB GRIPS HER, FRYING HER ARM. She pulls out the orb, but sees Rhodey staring at HER BLACKENED CLAW.</scene_description>
<character>NEBULA</character>
<dialogue>I wasn't always like this.</dialogue>
<scene_description>He sees actual emotion somewhere inside her. Favor his exoskeletal leg braces as he softens.</scene_description>
<character>RHODEY</character>
<dialogue>Yeah, me either. I guess we do the best with what we've got, huh?</dialogue>
<scene_description>SHE HANDS HIM THE ORB WITH JUST THE GHOST OF A SMILE.</scene_description>
<character>RHODEY</character>
<dialogue>Let's get out of here. Place gives me the creeps. Sync up. Three... two...one...</dialogue>
<scene_description>RHODEY TAPS HIS CUFF, SHRINKING AWAY. Nebula goes for hers...BUT HER EYES ROLL BACK. SHE COLLAPSES, SEIZING VIOLENTLY, THEN GOING STILL. Her eyes snap open, projecting a hologram of...THANOS.</scene_description>
<character>THANOS (HOLO)</character>
<dialogue>What's wrong?</dialogue>
</scene>
<scene>
<stage_direction>INT. SANCTUARY-2, INTERROGATION CELL - DAY</stage_direction>
<scene_description>BACK IN THE INTERROGATION CELL, BAD NEBULA'S EYE BEAMS: IN THANOS' LODGE, THE AVENGERS SURROUND A ONE-ARMED THANOS. THANOS STUDIES HIS HOLO-FUTURE-SELF, WATCHING HIS DESTINY PLAY OUT IN FRONT OF HIM.</scene_description>
<character>BRUCE BANNER (HOLO)</character>
<dialogue>You murdered trillions.</dialogue>
<character>THANOS (HOLO)</character>
<dialogue>You should be grateful.</dialogue>
<character>NATASHA (HOLO)</character>
<dialogue>Where are the stones?</dialogue>
<scene_description>THANOS SMIRKS, PUTTING THE PIECES TOGETHER.</scene_description>
<character>THANOS (HOLO)</character>
<dialogue>Gone. Reduced to atoms.</dialogue>
<character>BRUCE BANNER (HOLO)</character>
<dialogue>You used them two days ago!</dialogue>
<character>THANOS (HOLO)</character>
<dialogue>I used the stones to destroy the stones. The work is done. It always will be...</dialogue>
<scene_description>HE STEPS FORWARD, FINISHING HIS OWN THOUGHT.</scene_description>
<character>THANOS (HOLO)</character>
<dialogue>I AM INEVITABLE-</dialogue>
<character>THANOS</character>
<dialogue>I AM INEVITABLE.</dialogue>
<scene_description>Thanos nods to Maw, who freezes the program. THANOS WALKS THROUGH THE HOLOGRAM, STUDYING THE HEROES.</scene_description>
<character>GAMORA</character>
<dialogue>What did you do to them?</dialogue>
<character>THANOS</character>
<dialogue>Nothing. Yet.</dialogue>
<parenthetical>(piecing it together)</parenthetical>
<character>THANOS</character>
<dialogue>They're not trying to stop something I'm going to do in our time. They're trying to undo something I've already done in theirs.</dialogue>
<character>GAMORA</character>
<parenthetical>(uneasy)</parenthetical>
<dialogue>The stones.</dialogue>
<character>THANOS</character>
<dialogue>I found them all. I won. Tipped the cosmic scales to balance.</dialogue>
<character>EBONY MAW</character>
<dialogue>Sire. This is your future?</dialogue>
<character>THANOS</character>
<dialogue>My destiny.</dialogue>
<scene_description>He stares, mind whirling. He nods. THE MEMORY RESUMES.</scene_description>
<character>RHODEY (HOLO)</character>
<dialogue>He's lying.</dialogue>
<character>NEBULA (O.S.)</character>
<dialogue>My father is many things. A liar is not one of them.</dialogue>
<character>THANOS (HOLO)</character>
<dialogue>Thank you, daughter. Perhaps I've treated you too-</dialogue>
<scene_description>WHUMP. THOR CUTS OFF THANOS' HEAD. THE VIEW LINGERS AS "NEBULA" STARES AT HER DEAD FATHER. THANOS STUDIES HIS SEVERED HEAD...AND SMILES.</scene_description>
<character>THANOS</character>
<dialogue>And that is destiny fulfilled.</dialogue>
<scene_description>Gamora stares, torn. But Ebony Maw fumes on Thanos' behalf.</scene_description>
<character>EBONY MAW</character>
<dialogue>Sire. Your daughter is a traitor.</dialogue>
<scene_description>EBONY MAW GESTURES: CABLES WRAP AROUND NEBULA'S NECK. SHE AWAKENS, PANICKED. She looks up at Thanos.</scene_description>
<character>BAD NEBULA</character>
<parenthetical>(choking)</parenthetical>
<dialogue>No. Please, father. That's not me. I would never betray you. Please-</dialogue>
<scene_description>Thanos UNWRAPS the cord. He touches his daughter's face.</scene_description>
<character>THANOS</character>
<dialogue>Ssh, child. I know. And you'll have the chance to prove it...</dialogue>
</scene>
<scene>
<stage_direction>INT. MORAG, TEMPLE VAULT - DAY (GUARDIANS)</stage_direction>
<scene_description>ZZZT. ON THE FLOOR, NEBULA'S EYES SNAP OPEN, HORRIFIED.</scene_description>
<character>NEBULA</character>
<dialogue>He knows...</dialogue>
</scene>
<scene>
<stage_direction>EXT. MORAG - DAY (GUARDIANS)</stage_direction>
<scene_description>BOOTS POUND ACROSS THE ROCKS. NEBULA RUNS FLAT OUT, DESPERATE, HEADING FOR THE ESCAPE POD.</scene_description>
</scene>
<scene>
<stage_direction>INT. ESCAPE POD - DAY (GUARDIANS)</stage_direction>
<scene_description>NEBULA rushes to the console and opens A COMMUNICATION LINK.</scene_description>
<character>NEBULA (INTO COM)</character>
<dialogue>Barton, Romanoff, come in. We have a problem. Thanos knows! Thanos-</dialogue>
<scene_description>Suddenly, A SHADOW falls over the Pod. Nebula looks out the cockpit window... AS A TRACTOR BEAM PULLS THE ENTIRE POD SKYWARD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK CITY, ALLEY - (AVENGERS 1)</stage_direction>
<scene_description>IN THE ALLEY, Steve drops down from the building. He hears A WHISTLE. TONY waves from behind a crashed car.</scene_description>
<character>TONY</character>
<dialogue>We've got a problem.</dialogue>
<scene_description>TIME CUT: STEVE huddles with TONY and SCOTT.</scene_description>
<character>STEVE</character>
<dialogue>How could you lose it?</dialogue>
<character>TONY</character>
<dialogue>What do you want? I got hit in the head with a Hulk!</dialogue>
<character>SCOTT LANG</character>
<dialogue>You said we only had one shot. This was our shot. We shot it. It was six stones or nothing! Six stones-</dialogue>
<character>TONY</character>
<dialogue>You're not helping-</dialogue>
<character>SCOTT LANG</character>
<dialogue>You ruined the Time Heist!</dialogue>
<character>TONY</character>
<dialogue>Okay, okay, Loki's from Asgard, he's comfortable there. Knows the restaurants. It's a safe bet he visits home. If we can just grab This-Thor and explain the situation, he and I can fly-</dialogue>
<character>STEVE</character>
<dialogue>Loki could be anywhere in the universe. We'd be old men before we found him.</dialogue>
<scene_description>As Steve and Scott debate, MOVE IN ON TONY, MIND WHIRLING...</scene_description>
<character>STEVE</character>
<dialogue>What other options did we have on the Tesseract?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Whoa, whoa. We don't have any other options. We can't go to any other times. No do-overs! We've only got one particle left, each. Use it now, that's it, bye-bye, we don't come home.</dialogue>
<character>STEVE</character>
<dialogue>But if we don't try, nobody else comes home, either.</dialogue>
<character>TONY</character>
<dialogue>I got it! There's another way to re-take the Tesseract, and acquire new particles.</dialogue>
<parenthetical>(to Steve)</parenthetical>
<dialogue>Military installation, Garden State.</dialogue>
<scene_description>Steve eyes Tony, BEGINNING TO UNDERSTAND.</scene_description>
<character>STEVE</character>
<dialogue>When were they both there?</dialogue>
<character>TONY</character>
<dialogue>I have a vaguely exact idea.</dialogue>
<character>STEVE</character>
<dialogue>How vague?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Hang on, what's in New Jersey?</dialogue>
<character>TONY</character>
<dialogue>I know they were there, and I know how I know.</dialogue>
<scene_description>STEVE STUDIES TONY A LONG MOMENT...</scene_description>
<character>STEVE</character>
<dialogue>Looks like we're improvising.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Wait! What are you improvising?</dialogue>
<scene_description>STEVE HANDS SCOTT THE STAFF.</scene_description>
<character>STEVE</character>
<dialogue>Scott, take this back to the Compound.</dialogue>
<character>TONY</character>
<dialogue>All right, suits on. Try these coordinates. 04-07-19-70...</dialogue>
<character>SCOTT LANG</character>
<dialogue>Steve- Cap- Captain America, if you do this and he's wrong...you're not coming back.</dialogue>
<scene_description>Steve and Tony let the weight of that sink in. He's right. Even so, Tony turns to Steve.</scene_description>
<character>TONY</character>
<dialogue>You trust me?</dialogue>
<character>STEVE</character>
<dialogue>I do.</dialogue>
<scene_description>THEY STARE AT EACH OTHER, THEN...CLICK. THEY BOTH HIT THEIR CUFFS. TONY AND STEVE SHRINK TO NOTHING...</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW JERSEY WOODS - DAY (1970)</stage_direction>
<scene_description>CUE MUSIC: "HEY LAWDY MAMA," STEPPENWOLF. A 1970 Oldsmobile motors down a wooded road. The bumper sticker reads: "NUFF SAID." At the wheel, STAN LEE (48), LONG HAIR, MOUSTACHE, OPEN SHIRT, sings along to the radio, TWO LADIES at his side. He passes by AN ARMY BASE, throwing a peace sign to A GUARD.</scene_description>
<character>STAN LEE</character>
<dialogue>Make love, not war, baby!</dialogue>
<scene_description>He roars off, passing A FADED SIGN: "U.S. ARMY - CAMP LEHIGH - BIRTHPLACE OF CAPTAIN AMERICA." MOVE INTO THE BASE...</scene_description>
<character>TONY (O.S.)</character>
<dialogue>You weren't actually born here, right?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAMP LEHIGH - DAY (1970)</stage_direction>
<scene_description>SOLDIERS MARCH PAST AS... Tony and Steve round the corner, TONY IN A LAB COAT and STEVE IN GREEN KHAKIS, LOW-PULLED CAP, AND MIRRORED SUNGLASSES.</scene_description>
<character>STEVE</character>
<dialogue>The idea of me was.</dialogue>
<character>TONY</character>
<parenthetical>(looking around)</parenthetical>
<dialogue>All right. If I was SHIELD and I wanted to hide my quasi-fascistic black site, where would I hide it?</dialogue>
<character>STEVE</character>
<dialogue>In plain sight.</dialogue>
<scene_description>Steve nods at A MAN IN A GRAY SUIT approaching a building, "MUNITIONS." He opens the door with a retro-tech PUNCH CARD. TONY TOUCHES HIS GLASSES: HE X-RAYS INTO THE GROUND, ILLUMINATING...TWENTY FLOORS OF SECRET, UNDERGROUND BASE.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, ELEVATOR - DAY (1970)</stage_direction>
<scene_description>Muzak plays as STEVE and TONY ride down with A FEMALE SHIELD AGENT. She stares awkwardly at Tony. Steve keeps his hat down. Ding. The doors open. Tony exits, then turns back to Steve.</scene_description>
<character>TONY</character>
<dialogue>Good luck with that mission, Captain.</dialogue>
<character>STEVE</character>
<dialogue>Good luck with your project, Doctor.</dialogue>
<scene_description>Tony ducks out. The doors close. The Agent turns to Steve.</scene_description>
<character>FEMALE SHIELD AGENT</character>
<dialogue>You new here?</dialogue>
<character>STEVE</character>
<dialogue>Not exactly.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, ARCHIVES - DAY (1970)</stage_direction>
<scene_description>TONY searches HIGH, CROWDED ARCHIVE SHELVES.</scene_description>
<character>TONY</character>
<dialogue>Come on, you little hexahedron, where are you hiding?</dialogue>
<scene_description>Finally, he spots A HIGH TECH SAFE. He grabs a briefcase, then NANOS A GAUNTLET, FRYING THE SAFE'S LOCK. It opens revealing...THE TESSERACT. Tony smiles.</scene_description>
<character>TONY</character>
<dialogue>You may not know it now, but someday you're going to be a real pain-in-the-ass.</dialogue>
<scene_description>Just then...THE ARCHIVE DOOR OPENS.</scene_description>
<character>HOWARD STARK (O.S.)</character>
<dialogue>Hey, Arnim, you in here?</dialogue>
<scene_description>TONY LOCKS THE CUBE IN THE BRIEFCASE JUST BEFORE... HOWARD STARK (49) APPEARS, carrying ROSES AND A CAN OF SAUERKRAUT. TONY STARES, STUNNED.</scene_description>
<character>HOWARD STARK</character>
<dialogue>Hey, I'm looking for Dr. Zola. You seen him?</dialogue>
<character>TONY</character>
<dialogue>No. Haven't seen a soul.</dialogue>
<scene_description>Tony stands in front of his father, overwhelmed. Howard looks at him, a bit suspicious.</scene_description>
<character>HOWARD STARK</character>
<dialogue>I know you?</dialogue>
<scene_description>From his pocket, TONY GENERATES A BADGE OUT OF NANO-TECH. He holds it out.</scene_description>
<character>TONY</character>
<dialogue>No, sir. Just visiting from MIT.</dialogue>
<character>HOWARD STARK</character>
<dialogue>That so? Got a name?</dialogue>
<character>TONY</character>
<dialogue>Howard...</dialogue>
<character>HOWARD STARK</character>
<dialogue>Easy to remember-</dialogue>
<character>TONY</character>
<dialogue>Potts.</dialogue>
<character>HOWARD STARK</character>
<dialogue>I'm Howard Stark.</dialogue>
<parenthetical>(shaking hands)</parenthetical>
<dialogue>You seem a little green around the gills, Potts. Need some air?</dialogue>
<character>TONY</character>
<dialogue>That'd be swell.</dialogue>
<scene_description>Tony distractedly walks away, leaving the briefcase.</scene_description>
<character>HOWARD STARK</character>
<dialogue>Need the briefcase?</dialogue>
<scene_description>PRE-LAP A RINGING PHONE...</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, PYM'S LAB - DAY (1970)</stage_direction>
<scene_description>CLOSE ON: AN ANT. A phone continues to ring. Then...</scene_description>
<character>HANK PYM (O.S.)</character>
<dialogue>Hello?</dialogue>
<scene_description>PULL BACK: THE ANT CRAWLS IN AN ANTFARM ON A LAB SHELF.</scene_description>
<character>STEVE (OVER PHONE)</character>
<dialogue>Dr. Pym?</dialogue>
<character>HANK PYM (O.S.)</character>
<dialogue>That would be the number you called, yes.</dialogue>
<scene_description>PAN across the shelf to A CHART OF WASP MATURATION.</scene_description>
<character>STEVE (OVER PHONE)</character>
<dialogue>This is Captain Stevens, from shipping. We have a package for you.</dialogue>
<scene_description>KEEP PANNING to A PROTOTYPE ANT-MAN HELMET.</scene_description>
<character>HANK PYM (O.S.)</character>
<dialogue>So bring it up.</dialogue>
<character>STEVE (OVER PHONE)</character>
<dialogue>That's the thing, sir, we can't.</dialogue>
<scene_description>ARRIVE ON...HANK PYM (20's), in brown hair and lab coat.</scene_description>
<character>HANK PYM</character>
<dialogue>Maybe I'm confused. Isn't that your job?</dialogue>
<character>STEVE (OVER PHONE)</character>
<dialogue>It's just...sir, the box is glowing. And to be honest, a couple of our mail guys aren't feeling great-</dialogue>
<character>HANK PYM</character>
<dialogue>They didn't open it, did they?!</dialogue>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, HALLWAY - DAY (1970)</stage_direction>
<scene_description>A DOOR MARKED, "DR. HENRY PYM," flies open. Hank exits, fuming, brushing past...STEVE. Steve watches Hank stalk off...THEN DUCKS INTO HANK'S LAB.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, ELEVATOR - DAY (1970)</stage_direction>
<scene_description>HOWARD and TONY step onto AN ELEVATOR. The doors shut.</scene_description>
<character>TONY</character>
<dialogue>Sauerkraut and a bouquet...big night planned?</dialogue>
<character>HOWARD STARK</character>
<parenthetical>(lifting one at a time)</parenthetical>
<dialogue>My wife's expecting. And too much time at the office.</dialogue>
<scene_description>Tony puzzles the dates out in his head...</scene_description>
<character>TONY</character>
<dialogue>Congratulations.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Thanks.</dialogue>
<character>TONY</character>
<dialogue>How far along is she?</dialogue>
<character>HOWARD STARK</character>
<dialogue>Gee, I suppose...</dialogue>
<parenthetical>(indicating)</parenthetical>
<dialogue>...this far. She's at the point where she can't stand the sound of my chewing. So I guess I'll be eating in the pantry again.</dialogue>
<character>TONY</character>
<dialogue>I have a little girl.</dialogue>
<scene_description>TONY SMILES. He's talking about the man-he's-talking-to's granddaughter, fifty years before she's born.</scene_description>
<character>HOWARD STARK</character>
<dialogue>A girl would be nice. Less chance she'd turn out exactly like me.</dialogue>
<character>TONY</character>
<dialogue>Would that be so bad?</dialogue>
<character>HOWARD STARK</character>
<dialogue>Let's just say the greater good hasn't always outweighed my own self interest.</dialogue>
<scene_description>The elevator doors open.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, PYM'S LAB - DAY (1970)</stage_direction>
<scene_description>STEVE searches Hank's lab, finally opening the fridge to find...A TRAY OF BRAND NEW PYM PARTICLES.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, HALLWAY - DAY (1970)</stage_direction>
<scene_description>Steve exits Hank's lab and heads for the elevator. But it opens, revealing THE FEMALE AGENT FROM EARLIER, WITH AN M.P.</scene_description>
<character>M.P.</character>
<dialogue>You've never seen either of these men before?</dialogue>
<character>FEMALE SHIELD AGENT</character>
<dialogue>No. But I have an eye for this. Something looked fishy.</dialogue>
<character>M.P.</character>
<dialogue>Describe 'fishy'.</dialogue>
<character>FEMALE SHIELD AGENT</character>
<dialogue>One of them had a hippie beard.</dialogue>
<character>M.P.</character>
<dialogue>We talking Bee Gees or Mungo Jerry?</dialogue>
<character>FEMALE SHIELD AGENT</character>
<dialogue>Definitely Mungo Jerry.</dialogue>
<character>M.P.</character>
<parenthetical>(over walkie-talkie)</parenthetical>
<dialogue>This is Chesler. We need every available agent to sub-level 6. We have a potential breach.</dialogue>
<scene_description>Steve ducks through the nearest door...</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMP LEHIGH, SHIELD FACILITY, PEGGY'S OFC. - DAY (1970)</stage_direction>
<scene_description>Steve enters a darkened office. A glass wall separates it from another bullpen. Then he sees something on the desk. He stares, stunned, at two photos: one features PEGGY CARTER STANDING WITH JFK. THE OTHER IS OF SKINNY STEVE. Steve turns the desk nameplate around: "MARGARET CARTER." Steve realizes that even twenty-five years later, Peggy never forgot about him. Just then, THE BULLPEN DOOR FLIES OPEN. LIGHTS SNAP ON, revealing PEGGY CARTER (49), talking to someone in the hall.</scene_description>
<character>PEGGY CARTER</character>
<dialogue>So, send them in.</dialogue>
<character>MALE AGENT</character>
<dialogue>They're trying, ma'am, but Braddock's unit has been stopped by lightning strikes.</dialogue>
<character>PEGGY CARTER</character>
<dialogue>Oh, for the love of- I'll find the weather projections. You call Braddock and tell him to shelter in place. Assuming he's bright enough to come out of the rain.</dialogue>
<character>MALE AGENT (O.S.)</character>
<dialogue>Yes, ma'am.</dialogue>
<scene_description>Steve stares at her from the darkness, STUNNED. Peggy rifles through a file cabinet.</scene_description>
<character>PEGGY CARTER</character>
<dialogue>Here we are...</dialogue>
<scene_description>She flips through a file, reading. In the darkness behind her, Steve approaches. Peggy reads something disturbing.</scene_description>
<character>PEGGY CARTER</character>
<dialogue>Crikey O'Reilly.</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>Sergeant? Hang up and call Air Command. Braddock needs back up, immediately.</dialogue>
<character>MALE AGENT</character>
<dialogue>Ma'am?</dialogue>
<character>PEGGY CARTER</character>
<dialogue>Those aren't lightning strikes he's looking at...</dialogue>
<scene_description>She slaps the file closed and hurries out. Steve stares after her a long moment.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMP LEHIGH - DAY (1970)</stage_direction>
<scene_description>Howard and Tony approach a WAITING LIMO.</scene_description>
<character>TONY</character>
<dialogue>Got any names, yet?</dialogue>
<character>HOWARD STARK</character>
<dialogue>If it's a boy, my wife likes Elmonzo.</dialogue>
<character>TONY</character>
<dialogue>You might let that stew a while. You've got time.</dialogue>
<character>HOWARD STARK</character>
<dialogue>What are you, couple years older than me?</dialogue>
<character>TONY</character>
<dialogue>Yeah. I guess.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Let me ask you a question. When your kid was born...were you nervous?</dialogue>
<character>TONY</character>
<dialogue>Wildly.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Did you feel qualified? Like you had any idea how to successfully operate that thing?</dialogue>
<character>TONY</character>
<dialogue>I pieced it together as I went along. I thought about what my dad did...</dialogue>
<character>HOWARD STARK</character>
<dialogue>My old man never met a problem he couldn't solve with a belt.</dialogue>
<character>TONY</character>
<dialogue>I tried to hold onto the good stuff. Dad dropped the odd pearl, here and there.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Like what?</dialogue>
<character>TONY</character>
<dialogue>"No amount of money ever bought a second of time."</dialogue>
<character>HOWARD STARK</character>
<dialogue>That's good. Smart guy.</dialogue>
<character>TONY</character>
<dialogue>He did his best.</dialogue>
<character>HOWARD STARK</character>
<dialogue>I tell you, this kid's not even here yet, but there's nothing I wouldn't do for him.</dialogue>
<scene_description>Tony takes this in, GRATIFIED. Just then...EDWIN JARVIS (56) opens the limo door.</scene_description>
<character>HOWARD STARK</character>
<dialogue>Besides, if I fall down on the fathering job, old Jarvis is ready to pick up the slack. Isn't that right?</dialogue>
<character>EDWIN JARVIS</character>
<dialogue>Indeed, sir. I shall endeavor to teach the lad the rudiments of judo.</dialogue>
<scene_description>Tony smiles at his old friend. As Jarvis gets in the car, Tony notices...STEVE WAITING BEHIND A JEEP. TIME TO GO. Howard turns to shake Tony's hand.</scene_description>
<character>HOWARD STARK</character>
<dialogue>Well, good to meet you, Potts.</dialogue>
<character>TONY</character>
<dialogue>You're going to do fine, Howard.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Thanks. See you around?</dialogue>
<character>TONY</character>
<dialogue>Count on it...</dialogue>
<scene_description>As he gets into his car, Howard looks to Jarvis.</scene_description>
<character>HOWARD STARK</character>
<dialogue>Have we met him before?</dialogue>
<character>EDWIN JARVIS</character>
<dialogue>We've met a lot of people, sir.</dialogue>
<character>HOWARD STARK</character>
<dialogue>Seems very familiar.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Weird beard.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SANCTUARY 2 - SPACE</stage_direction>
<scene_description>The Sanctuary-2 cruises ominously through space.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANCTUARY-2, PRISON CELL - DAY</stage_direction>
<scene_description>WHACK! NEBULA GOES TUMBLING ACROSS THE FLOOR. She gets to her knees, looking up at...BAD NEBULA, GLARING DOWN AT HER.</scene_description>
<character>BAD NEBULA</character>
<dialogue>You're weak.</dialogue>
<character>NEBULA</character>
<dialogue>I'm you-</dialogue>
<character>BAD NEBULA</character>
<dialogue>Shut up!</dialogue>
<scene_description>BAD NEBULA PUNCHES GOOD NEBULA DOWN. GOOD NEBULA GROANS AS BAD NEBULA RIPS OFF HER TIME-SPACE GPS. THEN GAMORA ENTERS. Nebula softens, taking in her (once dead) sister.</scene_description>
<character>NEBULA</character>
<dialogue>You could stop this. You know you want to.</dialogue>
<parenthetical>(off Gamora's look)</parenthetical>
<dialogue>Did you see what happens in the future? Thanos finds the Soul Stone.</dialogue>
<scene_description>MOVE IN ON GAMORA, WHEELS TURNING...</scene_description>
<character>NEBULA</character>
<dialogue>You want to know how he does that? You want to know what he does to you-</dialogue>
<character>BAD NEBULA</character>
<scene_description>BAD NEBULA SMACKS HER THE HARDEST YET, THEN LEANS IN WITH A JAGGED INSTRUMENT OF TORTURE.</scene_description>
<character>BAD NEBULA</character>
<dialogue>You disgust me...but that doesn't mean you're useless.</dialogue>
<scene_description>SHE PRIES OFF THE ORANGE PANEL FROM GOOD NEBULA'S HEAD. Gamora takes in this new development...</scene_description>
</scene>
<scene>
<stage_direction>INT. SANCTUARY-2, THRONE ROOM - DAY</stage_direction>
<scene_description>Bad Nebula enters to find Thanos on his throne. She hands him Good Nebula's TIME-SPACE GPS. He smiles. Bad Nebula affixes Good Nebula's orange panel onto her head.</scene_description>
<character>BAD NEBULA</character>
<dialogue>How do I look?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BENATAR - SPACE</stage_direction>
<scene_description>THE BENATAR approaches Vormir. TITLE: VORMIR, 2014</scene_description>
</scene>
<scene>
<stage_direction>INT. BENATAR, FLIGHT DECK - SPACE</stage_direction>
<scene_description>NATASHA and CLINT stand on the flight deck, staring at THE MAJESTIC, PURPLE PLANET.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Under different circumstances, this would be totally awesome.</dialogue>
</scene>
<scene>
<stage_direction>EXT. VORMIR - DAY</stage_direction>
<scene_description>Clint and Natasha eye THE BENATAR resting on a sand dune. Clint fires a Pym Particle. WHOOSH, THE ENTIRE SHIP DISAPPEARS. CLINT lifts THE SHRUNKEN BENATAR and tucks it in his pocket. CLINT AND NATASHA TREK ACROSS THE DUNES OF VORMIR, TOWARD...THE MOUNTAIN.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VORMIR, MIDWAY UP THE MOUNTAIN - DAY</stage_direction>
<scene_description>Natasha and Clint climb, ragged. They approach AN ARCHWAY.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Really starting to regret my choice here.</dialogue>
<character>NATASHA</character>
<dialogue>Yeah. I'm gonna bet the raccoon didn't have to climb a mountain.</dialogue>
<character>CLINT BARTON</character>
<dialogue>I don't think technically he's a raccoon...</dialogue>
<character>NATASHA</character>
<dialogue>Whatever. He eats garbage-</dialogue>
<scene_description>THEY HEAR SOMETHING. THEY WHIRL, WEAPONS UP. A HOODED FIGURE APPROACHES.</scene_description>
<character>HOODED FIGURE</character>
<dialogue>I assure you, you have nothing to fear from me.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Creepy.</dialogue>
<character>HOODED FIGURE</character>
<dialogue>Welcome Natasha, daughter of Ivan. Clint, son of Edith.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Creepier.</dialogue>
<character>NATASHA</character>
<dialogue>Who are you?</dialogue>
<character>RED SKULL</character>
<dialogue>Consider me a guide. To you, and to all who seek the Soul Stone.</dialogue>
<character>NATASHA</character>
<dialogue>Great. You show us where it is, and we'll be on our way.</dialogue>
<scene_description>The figure removes his hood, revealing...THE RED SKULL.</scene_description>
<character>RED SKULL</character>
<dialogue>Oh, liebchen. If only it were that easy...</dialogue>
</scene>
<scene>
<stage_direction>EXT. VORMIR, MOUNTAIN TOP - DAY</stage_direction>
<scene_description>START ON JAGGED ROCKS. TILT UP TO SEE SKULL, NATASHA, and CLINT staring down from the ALTAR.</scene_description>
<character>RED SKULL</character>
<dialogue>What you seek lies in front of you. As does what you fear.</dialogue>
<character>NATASHA</character>
<dialogue>The Stone is down there?</dialogue>
<character>RED SKULL</character>
<dialogue>For one of you. For the other...</dialogue>
<parenthetical>(smiling it away)</parenthetical>
<dialogue>The Stone demands a sacrifice. In order to take it, you must leave behind that which you love.</dialogue>
<scene_description>SKULL POINTS A BONY FINGER DOWN THE WELL.</scene_description>
<character>RED SKULL</character>
<dialogue>A soul for a soul.</dialogue>
<scene_description>Natasha and Clint stare down the well, stunned. TIME CUT: RED SKULL STARES DOWN THE WELL, robes whipping in the wind.</scene_description>
<character>CLINT BARTON (O.S.)</character>
<dialogue>Maybe he's full of shit.</dialogue>
<scene_description>FIFTY FEET AWAY, AT THE MONOLITHS, NATASHA AND CLINT HUDDLE.</scene_description>
<character>NATASHA</character>
<dialogue>I don't think so.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Why, because he knew your daddy's name?</dialogue>
<character>NATASHA</character>
<dialogue>I didn't.</dialogue>
<parenthetical>(off his look)</parenthetical>
<dialogue>Thanos left here with the stone, and without his daughter. You really think that's a coincidence?</dialogue>
<scene_description>They both look out at the well, heavy.</scene_description>
<character>NATASHA</character>
<parenthetical>(under her breath)</parenthetical>
<dialogue>Whatever it takes...</dialogue>
<character>CLINT BARTON</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Whatever it takes...</dialogue>
<scene_description>Natasha goes to Clint, resolved.</scene_description>
<character>NATASHA</character>
<dialogue>If we don't get the stone, billions of people are going to stay dead.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Then I guess we both know who it has to be.</dialogue>
<character>NATASHA</character>
<dialogue>Yeah. Guess we do.</dialogue>
<scene_description>They take each other's hand. A long goodbye beat. Except...</scene_description>
<character>CLINT BARTON</character>
<dialogue>I'm starting to think we don't mean the same person.</dialogue>
<character>NATASHA</character>
<dialogue>For the last five years, I've been trying to do one thing -- get to right here. This is all it's been about. Bringing everybody back.</dialogue>
<character>CLINT BARTON</character>
<dialogue>Do not get all decent on me-</dialogue>
<character>NATASHA</character>
<dialogue>You think I want to do it? I'm trying to save your life, you idiot-</dialogue>
<character>CLINT BARTON</character>
<dialogue>And I don't want you to.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Nat. You know what I've done. What I am now. Your life's worth ten of mine-</dialogue>
<character>NATASHA</character>
<dialogue>I don't judge people by their worst mistakes-</dialogue>
<character>CLINT BARTON</character>
<dialogue>Maybe you should-</dialogue>
<character>NATASHA</character>
<dialogue>You --- didn't.</dialogue>
<scene_description>That stops him. He looks in her eyes, then down, giving in.</scene_description>
<character>CLINT BARTON</character>
<dialogue>You're a pain in my ass, you know that?</dialogue>
<scene_description>She relaxes for the briefest moment. Just then, CLINT SWEEPS OUT HER LEGS, PINNING HER DOWN.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Tell my family I love them.</dialogue>
<scene_description>SHE REVERSES, SENDING HIM TUMBLING.</scene_description>
<character>NATASHA</character>
<dialogue>Tell them yourself.</dialogue>
<scene_description>SHE FIRES A WIDOW'S BITE INTO HIS CHEST AND MAKES A BREAK FOR THE CLIFF. SHE'S HALFWAY THERE WHEN... BOOM! AN EXPLODING ARROW KNOCKS HER OFF HER FEET. Clint races past her...leaping off edge of the cliff. Just as he falls... NATASHA TACKLES HIM IN MID-AIR. They drop, but NATASHA SHOOTS HER GRAPPLING LINE INTO THE CLIFF. THEY SLAM INTO THE CLIFFSIDE. She attaches the other end of her grappling line to Clint's belt...saving his life. She slides, but he reaches out and grabs her...saving hers.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Damn you.</dialogue>
<scene_description>They hang there a long, terrible moment. CLINT'S GRASP STARTS TO LOOSEN. Finally, she looks him in the eye.</scene_description>
<character>NATASHA</character>
<dialogue>Let me go.</dialogue>
<character>CLINT BARTON</character>
<dialogue>No. Please no...</dialogue>
<scene_description>The two friends stare at each other, a lifetime between them.</scene_description>
<character>NATASHA</character>
<dialogue>It's okay...</dialogue>
<character>CLINT BARTON</character>
<dialogue>Natasha, no-</dialogue>
<scene_description>Then Natasha Romanoff kicks off the cliff wall, yanking out of Clint's grasp. She falls... Clint dangles from the grappling hook, staring down, helpless, stifling his scream. WHOOSH! THE WHOLE WORLD GOES WHITE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VORMIR, BOTTOM OF THE MOUNTAIN - DAY</stage_direction>
<scene_description>When the light fades, CLINT LIES FLOATING IN SPACE. The camera rotates until we see...IT'S A REFLECTION OF THE SKY. CLINT LIES IN THE POOL AT THE BASE OF THE MOUNTAIN. He sits up and opens his hand to see THE SOUL STONE. His eyes well.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>THE PENCIL FINALLY CLATTERS TO A STOP AS... WHOOSH, CLINT GROWS INTO THE PRESENT ALONGSIDE THE OTHERS: SMART HULK HOLDS THE EYE OF AGAMOTTO, SCOTT HAS THE SCEPTER, RHODEY THE ORB, ROCKET & THOR THE EXTRACTION DEVICE, AND TONY & STEVE THE TESSERACT. NEBULA RETRACTS HER TIME SUIT. Everyone looks around, exhausted. Amazed.</scene_description>
<character>RHODEY</character>
<dialogue>Are you telling me that actually worked?</dialogue>
<character>SMART HULK</character>
<dialogue>Did we get them all?</dialogue>
<scene_description>CLINT DROPS TO HIS KNEES. Steve turns, concerned.</scene_description>
<character>STEVE</character>
<dialogue>Clint? Are you okay?</dialogue>
<scene_description>Clint stares, haunted. SMART HULK realizes...</scene_description>
<character>SMART HULK</character>
<dialogue>Where's Nat?</dialogue>
<parenthetical>(everyone stares)</parenthetical>
<character>WHERE'S NAT?!</character>
<dialogue>Clint looks up at them, eyes glassy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, RIVER - DAWN</stage_direction>
<scene_description>SMART HULK, eyes red, stands beside a bench on the dock. Behind him, STEVE, TONY, THOR, AND CLINT STARE OUT, GRIEVING.</scene_description>
<character>TONY</character>
<dialogue>Do we know if she had family?</dialogue>
<character>STEVE</character>
<dialogue>Yeah. Us.</dialogue>
<scene_description>Thor turns, thrown.</scene_description>
<character>THOR</character>
<dialogue>Why are you doing that?</dialogue>
<character>TONY</character>
<dialogue>I'm just asking a question-</dialogue>
<character>THOR</character>
<dialogue>Why are we talking as if she's dead? We have the stones. Bring her back. C'mon, stop this shit.</dialogue>
<scene_description>Clint squeezes away tears.</scene_description>
<character>CLINT BARTON</character>
<dialogue>We can't get her back.</dialogue>
<character>THOR</character>
<dialogue>What's he talking about? Of course, we can.</dialogue>
<character>CLINT BARTON</character>
<dialogue>It can't be undone. That's why.</dialogue>
<character>THOR</character>
<dialogue>No offense, but you're...a very earthly being. We're talking about space magic, here. "Can't" seems a little definitive, don't you think?</dialogue>
<character>CLINT BARTON</character>
<dialogue>Well, I know I'm a little outside my pay grade here, but, she still isn't here, is she?</dialogue>
<character>THOR</character>
<dialogue>That's my point-</dialogue>
<character>CLINT BARTON</character>
<dialogue>It can't be undone. At least that's what the red, floating guy said. But why don't you go talk to him, okay? Why don't you grab your hammer and fly to that place and talk to him. IT CAN'T BE UNDONE.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It was supposed to be me. She sacrificed her life for that goddamn stone. She bet her life on it.</dialogue>
<scene_description>That lands heavily on all of them. A moment passes. THEN SMART HULK HURLS THE BENCH INTO THE WATER. It skips across the surface like a stone.</scene_description>
<character>SMART HULK</character>
<dialogue>She's not coming back. We have to make it worth it. We have to.</dialogue>
<character>STEVE</character>
<dialogue>We will.</dialogue>
<scene_description>PULL BACK, LEAVING OUR MOURNERS IN TABLEAU...</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>ALL SIX INFINITY STONES rest behind safety glass. SOON, ROBOTIC ARMS ENTER FRAME, PLUCKING UP THE POWER STONE. TONY operates the arms as ROCKET and SMART HULK watch. The robot arms swing the stone over to...A NEW IRON MAN GAUNTLET. NANO-TECH SHIFTS AND SLIDES, HOLDING IT IN PLACE. Smart Hulk releases a deep breath. TIME CUT: THE COMPLETED GAUNTLET sits in a cradle, SIX INFINITY STONES EMBEDDED IN THE BACK. Pull back to find... SCOTT, THOR, CLINT, RHODEY, and STEVE watching TONY AND ROCKET FINE TUNE THE GLOVE.</scene_description>
<character>ROCKET</character>
<dialogue>All right. The glove's ready. Question is, who's gonna snap their freaking fingers?</dialogue>
<scene_description>Everyone stares a beat. Then, THOR REACHES FOR THE GAUNTLET.</scene_description>
<character>THOR</character>
<dialogue>I'll do it.</dialogue>
<character>TONY</character>
<dialogue>Whoa, whoa, what are you doing-</dialogue>
<character>STEVE</character>
<dialogue>Thor, we haven't decided who's putting that on.</dialogue>
<character>THOR</character>
<dialogue>Oh. Were all of you just waiting for the right opportunity?</dialogue>
<character>ROCKET</character>
<dialogue>Maybe I was getting around to it-</dialogue>
<character>SCOTT LANG</character>
<dialogue>We should at least discuss it-</dialogue>
<character>THOR</character>
<dialogue>Staring at the thing isn't going to bring everybody back, is it? Look, I'm the strongest Avenger. It's my responsibility. Fate wills it so.</dialogue>
<character>TONY</character>
<dialogue>Hold on, hold on-</dialogue>
<character>THOR</character>
<dialogue>Stop it! Let me do this. Let me do something good. Something right-</dialogue>
<character>TONY</character>
<dialogue>That thing is channeling enough energy to light up a continent. You're in no condition-</dialogue>
<character>THOR</character>
<dialogue>What do you think is coursing through my veins right now?</dialogue>
<character>RHODEY</character>
<dialogue>Cheez Whiz?</dialogue>
<character>THOR</character>
<dialogue>Lightning.</dialogue>
<scene_description>Smart Hulk steps toward the Gauntlet.</scene_description>
<character>SMART HULK</character>
<dialogue>Lightning won't help you, pal. It's gotta be me.</dialogue>
<parenthetical>(approaching)</parenthetical>
<dialogue>You saw what those stones did to Thanos. They almost killed ---</dialogue>
<scene_description>him. None of you could survive.</scene_description>
<character>STEVE</character>
<dialogue>And how do we know you can?</dialogue>
<character>SMART HULK</character>
<dialogue>We don't. But the radiation's mostly gamma.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>It's like I was made for this...</dialogue>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>THE QUANTUM TUNNEL LIES IN DARKNESS. Then, clack, the lights come on, revealing... NEBULA, STARING UP AT THE WAITING MACHINE.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>SMART HULK STUDIES THE GAUNTLET. The moment of truth.</scene_description>
<character>TONY</character>
<dialogue>Good to go?</dialogue>
<character>SMART HULK</character>
<dialogue>Let's do it.</dialogue>
<character>TONY</character>
<dialogue>Okay, remember, everyone Thanos snapped away five years ago, you're just bringing them back...to today. Don't change anything from the last five years. Got it?</dialogue>
<character>SMART HULK</character>
<dialogue>Got it.</dialogue>
<scene_description>PAN AROUND as the Avengers ready themselves: STEVE steps forward, shield on his arm. SCOTT deploys his helmet. RHODEY readies his repulsors. ROCKET covers his raccoon junk and hides behind THOR. TONY armors up, then nanos a shield to protect CLINT beside him.</scene_description>
<character>TONY</character>
<dialogue>Friday, why don't you go ahead and activate Barn Door Protocol?</dialogue>
<scene_description>STEEL DOORS SLIDE SHUT ALL AROUND THE WORKSHOP. FINALLY, SMART HULK HOLDS UP THE GAUNTLET.</scene_description>
<character>SMART HULK</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Everybody's coming home...</dialogue>
<scene_description>HE SLOWLY SLIPS HIS HAND IN THE GLOVE. SUDDENLY, HE SPASMS, TAKING IN THE POWER AS THANOS DID IN ML1. HE STRUGGLES.</scene_description>
<character>THOR</character>
<dialogue>What's happening? Take it off, take if off!</dialogue>
<character>STEVE</character>
<dialogue>Bruce, you okay?</dialogue>
<character>TONY</character>
<dialogue>Talk to me, Banner.</dialogue>
<character>SMART HULK</character>
<dialogue>I'm...okay...</dialogue>
<scene_description>THEN SMART HULK REACHES OUT HIS HAND...AND SNAPS HIS FINGERS. CRAAAACK! THE STONES FLARE. A BRIGHT SURGE OF ENERGY RACES UP SMART HULK'S ARM. HE ROARS AS HIS EYES BLAZE GREEN. A BLAST WHITES OUT THE SCREEN.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, HANGAR - DAY</stage_direction>
<scene_description>NEBULA studies THE QUANTUM CONSOLE. She takes off her glove, revealing A PERFECTLY INTACT ARM. THIS IS BAD NEBULA. SHE OPENS A PANEL IN HER ARM, SNAKES OUT A CABLE...AND JACKS INTO THE CONSOLE. THE QUANTUM TUNNEL boots up. AS SHE HURRIES AWAY...</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND - DAY</stage_direction>
<scene_description>FROM HIGH OVERHEAD, WE SEE THE TIME ENERGY SIGNATURE SHOOT FROM THE HANGAR. AN OMINOUS RIPPLE WARPS ACROSS THE SKY...</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, WORKSHOP - DAY</stage_direction>
<scene_description>WHOOSH! EVERYTHING COMES BACK INTO VIEW. THE GAUNTLET FALLS OFF, ROLLING ACROSS THE FLOOR. SMART HULK COLLAPSES, ARM WITHERED, SIDE BURNT BLACK. EVERYONE RUSHES OVER. Steve checks Smart Hulk's pulse.</scene_description>
<character>STEVE</character>
<dialogue>Bruce!</dialogue>
<character>TONY</character>
<dialogue>Don't move him!</dialogue>
<scene_description>Then THE BLAST DOORS OPEN, revealing the sound of...CHIRPING. SCOTT walks toward the courtyard. Smart Hulk's eyes clear. He grasps Steve's arm.</scene_description>
<character>SMART HULK</character>
<dialogue>Did it work?</dialogue>
<scene_description>They pause, as if it only just now occurred to them. JUST THEN...A CELL PHONE BUZZES. A STUNNED CLINT TURNS AND APPROACHES HIS PHONE. On the home screen, we see A PHOTO OF HIS WIFE: "LAURA CALLING." CLINT FINALLY PUTS THE PHONE TO HIS EAR.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Honey?</dialogue>
<scene_description>AT THE WINDOW, SCOTT STARES AT A BIRD FEEDER. DOZENS OF CARDINALS AND FINCHES NIBBLE ON THE SEED.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Guys, I think it-</dialogue>
<scene_description>BOOM! THE BUILDING EXPLODES. DEBRIS SWALLOWS THE CAMERA.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND - DAY</stage_direction>
<scene_description>A MUSHROOM CLOUD BILLOWS OVER AVENGERS COMPOUND.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - DAY</stage_direction>
<scene_description>Nothing moves. The smoke clears, revealing...A BOMBED OUT CRATER A MILE WIDE. Avengers Compound has been destroyed. Then the light changes...AND THE SANCTUARY-2 parts the clouds. It hovers over the ruins like a vulture. AN ENERGY BEAM drops to the ground, releasing... THANOS, FLANKED BY A SQUAD OF OUTRIDERS. The Mad Titan looks around at the devastation he has wrought.</scene_description>
<character>THANOS (INTO COM)</character>
<dialogue>Daughter?</dialogue>
<character>BAD NEBULA (OVER COM)</character>
<dialogue>Yes, father...</dialogue>
<scene_description>OUT OF THE SMOKE WALKS "BAD" NEBULA. Bruised and dirty.</scene_description>
<character>THANOS</character>
<dialogue>So this is the future. Well done.</dialogue>
<scene_description>She tears off THE ORANGE HEAD-PLATE.</scene_description>
<character>BAD NEBULA</character>
<dialogue>Thank you, Father. They suspected nothing.</dialogue>
<character>THANOS</character>
<dialogue>The arrogant never do.</dialogue>
<scene_description>Thanos takes off his helmet, staring up at the crater's edge.</scene_description>
<character>THANOS</character>
<dialogue>Go. Find the stones. Bring them to me.</dialogue>
<character>BAD NEBULA</character>
<dialogue>What will you do?</dialogue>
<character>THANOS</character>
<dialogue>Wait.</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND GARAGE, RUINS - DAY</stage_direction>
<scene_description>THE UNDERGROUND GARAGE LIES HALF-COLLAPSED. SMART HULK GRITS HIS TEETH, HOLDING UP THE CEILING WITH ONE GOOD ARM, HIS OTHER ARM BURNED AND LIFELESS. BELOW... RHODEY LIES IN THE RUBBLE, WAR MACHINE SUIT SPARKING.</scene_description>
<character>RHODEY</character>
<dialogue>Canopy! Canopy!</dialogue>
<scene_description>Rhodey's suit RATCHETS OPEN. HE HAULS HIMSELF FREE to see...ROCKET TRAPPED UNDER RUBBLE. AS HE CRAWLS TO HIM... THE CEILING RUMBLES. SMART HULK WAVERS, MUSCLES QUIVERING.</scene_description>
<character>RHODEY (INTO COM)</character>
<dialogue>Mayday! Tony. Cap. Does anybody hear me?!</dialogue>
<scene_description>HE FINALLY REACHES ROCKET. Rocket wheezes, in pain.</scene_description>
<character>RHODEY</character>
<dialogue>Hang on!</dialogue>
<scene_description>RHODEY WEDGES A PIECE OF REBAR INTO THE DEBRIS. HE HEAVES, finally managing to lever it off of Rocket. THEN... THE CRACKED CEILING GIVES WAY. A MILLION GALLONS OF RIVER WATER RUSH IN. RHODEY TRIES TO KEEP HIS HEAD ABOVE WATER.</scene_description>
<character>RHODEY (INTO COM)</character>
<dialogue>Mayday! Mayday! We are taking on water!</dialogue>
</scene>
<scene>
<stage_direction>INT. TOOL SHOP, RUINS - DAY</stage_direction>
<scene_description>CLOSE ON SCOTT LANG lying on a SILVER, METAL FLOOR.</scene_description>
<character>RHODEY (OVER COM)</character>
<dialogue>...anyone...Mayday...Mayday-</dialogue>
<scene_description>Scott groans, coming to.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Wait, what...?</dialogue>
<scene_description>REVEAL, TINY SCOTT LYING IN THE RUINS OF THE ARMORY...ON THE IRON PATRIOT HELMET.</scene_description>
<character>ROCKET (OVER COM)</character>
<dialogue>Tell 'em to...hurry...asses up-</dialogue>
<character>RHODEY (OVER COM)</character>
<dialogue>...trapped...drowning...no time...</dialogue>
<scene_description>Scott jumps to his feet.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>No! Wait, I'm here!</dialogue>
<scene_description>Scott spots WATER TRICKLING THROUGH THE CRACKED FLOOR.</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCESS TUNNEL - DAY</stage_direction>
<scene_description>WATER DRIPS FROM A HOLE IN THE ROOF OF AN ACCESS TUNNEL...ONTO CLINT BARTON, LYING FACEDOWN. He groans. He opens his hand to find HIS CELLPHONE: HIS WIFE SMILES ON THE SCREEN. "LAURA, ONE MISSED CALL." Clint stares, amazed. He winces, finding he's been lying atop...THE GAUNTLET. It's bashed out of shape, BUT ALL SIX STONES STILL GLEAM.</scene_description>
<character>CLINT BARTON (INTO COM)</character>
<dialogue>Cap? Stark? Anyone?</dialogue>
<scene_description>STATIC. Then, he hears...A SCRAPING SOUND, TALONS ON CEMENT. He peers down a darkened tunnel, then unshoulders his bow. HE LOOSES A FLARE ARROW, revealing... DOZENS OF OUTRIDERS SCRABBLING ALONG THE WALLS AND CEILING. CLINT GRABS THE GAUNTLET AND RUNS. THE CREATURES GIVE CHASE.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. AVENGERS COMPOUND, LAB, RUINS - DAY</stage_direction>
<scene_description>FIRES SMOULDER BENEATH THE COLLAPSED CEILING. MOVE THROUGH SMOKE TO FIND...STEVE, out cold. SOMEONE SHAKES HIM. He wakes to see TONY, HOLDING HIS SHIELD.</scene_description>
<character>TONY</character>
<dialogue>You lose this again, I'm keeping it.</dialogue>
<character>STEVE</character>
<dialogue>What happened?</dialogue>
<character>TONY</character>
<dialogue>Told you. We messed with time. Time messed back.</dialogue>
<scene_description>Woozy, Steve follows Tony through the ruins of the lab.</scene_description>
<character>STEVE</character>
<dialogue>Where are the others?</dialogue>
<character>TONY</character>
<dialogue>I read life signs, maybe 800 feet down, but it's hard to tell.</dialogue>
<scene_description>They reach the edge of the crater where THOR LOOKS DOWN AT...THANOS. Sitting on a rock. Waiting.</scene_description>
<character>TONY</character>
<dialogue>What's he been doing?</dialogue>
<character>THOR</character>
<dialogue>Absolutely nothing.</dialogue>
<scene_description>The three of them stare a long moment. Then, as if sensing them, Thanos turns his head...AND LOOKS THEIR WAY.</scene_description>
<character>STEVE</character>
<dialogue>Son of a bitch.</dialogue>
<character>TONY</character>
<dialogue>Yeah.</dialogue>
<character>STEVE</character>
<dialogue>Where are the stones?</dialogue>
<character>TONY</character>
<dialogue>Somewhere under all of this. All I know is...he doesn't have 'em.</dialogue>
<character>STEVE</character>
<dialogue>So we keep it that way.</dialogue>
<scene_description>That lands. This is their chance.</scene_description>
<character>THOR</character>
<dialogue>You know it's a trap.</dialogue>
<scene_description>TONY DEPLOYS HIS ARMOR.</scene_description>
<character>TONY</character>
<dialogue>Don't think I care.</dialogue>
<character>THOR</character>
<dialogue>Just so we're all in agreement.</dialogue>
<scene_description>Thor holds out his hand: MJOLNIR FLIES INTO IT. He holds out his other hand: STORMBREAKER SLAPS INTO HIS PALM. CRACK! LIGHTNING STRIKES AS HE'S COVERED IN CAPE AND ARMOR.</scene_description>
<character>THOR</character>
<dialogue>Let's kill him properly this time.</dialogue>
<scene_description>STEVE TIGHTENS HIS SHIELD, LEADING THEM INTO THE CRATER...</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - DAY</stage_direction>
<scene_description>Thanos sits on his rock, contemplative.</scene_description>
<character>THANOS</character>
<dialogue>You could not live with your own failure. And where did that bring you? Right back to me.</dialogue>
<scene_description>TONY APPROACHES, WARY, AS IF SNEAKING UP ON A RABID DOG. STEVE AND THOR FAN OUT ON EITHER SIDE.</scene_description>
<character>THANOS</character>
<dialogue>I thought by eliminating half of life, the other half would thrive. But you've shown me that's impossible.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Life clings to the past with bloody fingernails. As long as there are those who remember what was, there will be those unable to accept what can be. They will resist.</dialogue>
<character>TONY</character>
<dialogue>Yep. We're all kinds of stubborn.</dialogue>
<character>THANOS</character>
<dialogue>I'm thankful. Because now I know what I must do.</dialogue>
<scene_description>Thanos reaches for his helmet.</scene_description>
<character>THANOS</character>
<dialogue>I will shred this universe down to its last atom.</dialogue>
<character>THANOS</character>
<dialogue>And then, with the stones you've collected for me, create a new one, teeming with life that knows not what it has lost, but only what it has been given. A grateful universe.</dialogue>
<character>STEVE</character>
<dialogue>Born out of blood.</dialogue>
<scene_description>Thanos studies Steve as if seeing him for the first time.</scene_description>
<character>THANOS</character>
<dialogue>They'll never know it.</dialogue>
<scene_description>THANOS DRAWS A BLADE OFF HIS BACK, TOWERING OVER THEM.</scene_description>
<character>THANOS</character>
<dialogue>Because you won't be alive to tell them.</dialogue>
<scene_description>Tony glances over at Steve. Ready? Steve nods... JUST AS THOR CHARGES THANOS. WHAM! ALL THREE AVENGERS ATTACK, USING THEIR SKILLS IN CONCERT. THANOS STUMBLES, ON HIS HEELS. THE HEROES PUNISH HIM, RELENTLESS. PULL UP THROUGH THE HAZE, TO THE SANCTUARY-2...</scene_description>
</scene>
<scene>
<stage_direction>INT. SANCTUARY-2, INTERROGATION CELL - DAY</stage_direction>
<scene_description>NEBULA huddles alone in A PRISON CELL. After a beat...THE DOORS RATCHET OPEN. She stares into the shadows.</scene_description>
<character>NEBULA</character>
<dialogue>What do you want?</dialogue>
<scene_description>GAMORA STEPS INTO THE CELL. THE TWO SISTERS FROM DIFFERENT ERAS STARE AT EACH OTHER.</scene_description>
<character>GAMORA</character>
<dialogue>In the future...what happens to you and me?</dialogue>
<character>NEBULA</character>
<dialogue>I try to kill you. Several times. But, eventually...we become friends. We become sisters.</dialogue>
<character>GAMORA</character>
<dialogue>That's hard to believe.</dialogue>
<character>NEBULA</character>
<dialogue>A lot of things that happen will be hard to believe.</dialogue>
<scene_description>Gamora nearly smiles. She takes a long look at Nebula. Finally...SHE HOLDS OUT HER HAND.</scene_description>
<character>GAMORA</character>
<dialogue>Come on. We can still stop him.</dialogue>
<scene_description>Nebula takes a deciding moment. Then SHE GRABS GAMORA'S HAND. One sister pulls the other to her feet.</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND GARAGE, RUINS - DAY</stage_direction>
<scene_description>SMART HULK STRAINS AGAINST THE CEILING. RHODEY HANGS ONTO A PIPE AS THE WATER RISES.</scene_description>
<character>SMART HULK</character>
<dialogue>Rhodey. Rocket. Get out of here. Save yourselves.</dialogue>
<scene_description>ROCKET SURFACES FROM BELOW, GASPING.</scene_description>
<character>ROCKET</character>
<dialogue>No good. Couldn't even...find a hole...small enough to abandon you through.</dialogue>
<scene_description>Suddenly, Smart Hulk snarls in pain as THE CEILING DROPS A FOOT. His legs buckle as he struggles against the weight. Finally he sets his jaw...AND STRAIGHTENS HIS LEGS.</scene_description>
<character>SMART HULK</character>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - CONTINUOUS</stage_direction>
<scene_description>THE BUILDING RIGHTS ITSELF, LEVELING OUT.</scene_description>
</scene>
<scene>
<stage_direction>INT. AVENGERS COMPOUND, RUINS - DAY</stage_direction>
<scene_description>A RAGING RIVER ROARS THROUGH THE RUINS. AFTER A BEAT...SCOTT LANG ZOOMS PAST, RIDING A PLASTIC BOTTLE CAP.</scene_description>
<character>MAYDAY!</character>
<dialogue>MAYDAY!</dialogue>
<character>HANG ON!</character>
<dialogue>INT. ACCESS TUNNEL - DAY</dialogue>
<character>I'M COMING!</character>
<dialogue>SHRIEKING OUTRIDERS CHASE BARTON THROUGH THE TUNNELS. CLINT</dialogue>
<scene_description>AFFIXES ARROW-CHARGES TO THE WALLS AS HE RUNS. Just as the Outriders are about to overtake him, Clint hits a button on his bow, DETONATING THE CHARGES... BRINGING THE ROOF DOWN ON TOP OF THE OUTRIDERS. Clint rolls, coming up directly underneath A VERTICAL SHAFT. A cluster of Outriders escape the collapse, lunging for him. Clint shoots a grappling arrow up the shaft, ascending...BUT SO DO THE OUTRIDERS, skittering up the sides. Clint draws his katana, slashing the aliens just as...</scene_description>
</scene>
<scene>
<stage_direction>INT. ACCESS TUNNEL, UPPER CHAMBERS - CONTINUOUS</stage_direction>
<scene_description>HE TUMBLES INTO THE UPPER CHAMBER. He gasps, safe. Then he looks up to see (BAD) NEBULA, LOOMING OVER HIM.</scene_description>
<character>CLINT BARTON</character>
<dialogue>Oh, hey. I know you.</dialogue>
<scene_description>She gently takes the Gauntlet.</scene_description>
<character>BAD NEBULA (INTO COM)</character>
<dialogue>Father. I have the stones.</dialogue>
<character>CLINT BARTON</character>
<dialogue>What-</dialogue>
<scene_description>Clint tries to get up, but Nebula puts a boot in his chest and A BLASTER TO HIS HEAD...</scene_description>
<character>GAMORA (O.S.)</character>
<dialogue>Stop.</dialogue>
<scene_description>COVERING CLINT, BAD NEBULA TURNS TO SEE...GAMORA, GUN RAISED.</scene_description>
<character>BAD NEBULA</character>
<dialogue>You're betraying us?</dialogue>
<character>GAMORA</character>
<dialogue>Not you.</dialogue>
<scene_description>GOOD NEBULA steps from the shadows, hands raised, placating. Bad Nebula stares at her future self.</scene_description>
<character>NEBULA</character>
<dialogue>You don't have to do this.</dialogue>
<character>BAD NEBULA</character>
<dialogue>I am this.</dialogue>
<character>GAMORA</character>
<dialogue>No. You're not.</dialogue>
<scene_description>Good Nebula takes a tiny step forward. She taps her head.</scene_description>
<character>NEBULA</character>
<dialogue>You've seen what we become-</dialogue>
<character>GAMORA</character>
<dialogue>Sister, listen to her-</dialogue>
<character>BAD NEBULA</character>
<dialogue>Shut up. You're a traitor!</dialogue>
<character>NEBULA</character>
<dialogue>You can change.</dialogue>
<scene_description>Bad Nebula struggles, her face a twisted grimace.</scene_description>
<character>BAD NEBULA</character>
<dialogue>He won't let me.</dialogue>
<scene_description>BAD NEBULA FIRES AT GAMORA, JUST AS GOOD NEBULA DRAWS A GUN AND SHOOTS HER DOWN. BAD NEBULA DROPS. Good Nebula stares at her dead younger self, conflicted. Clint picks up the gauntlet, very confused.</scene_description>
<character>CLINT BARTON</character>
<dialogue>I'm not even gonna ask.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - DAY</stage_direction>
<scene_description>TONY'S HUD: TONY GLARES RIGHT AT US, AS... THOR SMASHES HIS HAMMERS TOGETHER, HURLING LIGHTNING INTO THE BACK OF THE IRON MAN SUIT. TONY SENDS THE RESULTING OVERLOAD AT THANOS...BUT THANOS PROPELLERS HIS BLADE, HOLDING BACK THE BLAST. THOR USES STORMBREAKER TO BAT MJOLNIR AT THANOS... THANOS SNATCHES TONY BY THE ANKLE AND USES HIM AS A SHIELD AGAINST THE ONCOMING HAMMER. WHACK! MJOLNIR PLOWS INTO THE DIRT. TONY GOES TUMBLING, OUT COLD. TONY'S HUD: FRIDAY TRIES TO REVIVE HIM.</scene_description>
<character>FRIDAY (O.S.)</character>
<dialogue>Boss? Wake up!</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND GARAGE, RUINS - DAY</stage_direction>
<scene_description>ROCKET, RHODEY, AND SMART HULK GULP AIR, INCHES FROM THE CEILING, FACING THE END. RHODEY GLANCES OVER AT SMART HULK.</scene_description>
<character>RHODEY</character>
<dialogue>See you on the other side, man.</dialogue>
<scene_description>They take a last breath, THEN THE WATER HITS THE CEILING.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - DAY</stage_direction>
<scene_description>Steve slashes at Thanos. The Titan brutally bats him aside. Thor attacks, but Thanos drives him through walls of debris. THANOS SMASHES HIS FIST INTO THOR'S FACE, OVER AND OVER. Thor calls for Stormbreaker, but Thanos intercepts it. He presses the blade into Thor's chest, trying to drive it home. Then, across the field...MJOLNIR RISES INTO THE AIR. THANOS GRINS, ABOUT TO FINISH THOR OFF, WHEN...MJOLNIR FLIES IN, KNOCKING THE AXE OUT OF HIS HAND. Follow the hammer as it flies back to the only other man worthy enough to wield it...STEVE ROGERS. Half-conscious, THOR SEES STEVE HOLDING MJOLNIR.</scene_description>
<character>THOR</character>
<dialogue>I...knew...it...</dialogue>
<scene_description>STEVE ATTACKS, CRACKING THANOS IN THE JAW. THANOS TUMBLES. BEFORE THE TITAN CAN GET UP, STEVE CALLS DOWN THE LIGHTNING AND SENDS IT CRACKLING INTO THANOS' BODY. Steve leaps, trying to finish Thanos off...BUT THANOS ROLLS ASIDE, HEAD-BUTTING STEVE BACKWARDS. THANOS GETS TO HIS FEET, A FAINT SMILE ON HIS FACE. HE WHIPS OFF HIS HELMET AND ATTACKS STEVE WITH HIS BLADE. BLOW AFTER BLOW. IT'S ALL STEVE CAN DO TO GET HIS SHIELD UP. THANOS HACKS THE SHIELD TO PIECES, FINALLY KNOCKING STEVE ACROSS THE FIELD. Steve lies beaten, half a shield still attached to his arm.</scene_description>
<character>THANOS</character>
<dialogue>In all my years of conquest...</dialogue>
<scene_description>Thanos looks out at the tiny human struggling to stand.</scene_description>
<character>THANOS</character>
<dialogue>Of violence and slaughter...it was never personal.</dialogue>
<scene_description>Thanos gestures behind him as A RUMBLE ECHOES. THOUSANDS OF ALIENS RING THE LIP OF THE CRATER: THE BLACK ORDER LEADS A PLATOON OF CHITAURI, SAKAARANS, AND OUTRIDERS.</scene_description>
<character>THANOS</character>
<dialogue>But I'll tell you now, the things I'm about to do to your stubborn, annoying, little planet...</dialogue>
<scene_description>Q-SHIPS, DROPSHIPS, NECROCRAFT, AND LEVIATHANS BUZZ ABOVE.</scene_description>
<character>THANOS</character>
<dialogue>I'm going to enjoy it. Very, very much.</dialogue>
<scene_description>Steve stares at Thanos and his army. And even in the face of such overwhelming odds...he gets to his feet. THANOS stares, almost sad, as Steve tightens the broken shield on his arm...AND STARTS WALKING TOWARD HIM. One man against thousands. All alone. But just then, Steve's COM CRACKLES. He strains to hear. The com crackles again. We can make out A MUFFLED VOICE.</scene_description>
<character>MUFFLED VOICE (ON COM)</character>
<dialogue>-ap-...-comin-...-ot-</dialogue>
<scene_description>Steve shakes his head, trying to clear it. Slowly, SOUND RETURNS...AND THE WORDS RING CLEAR:</scene_description>
<character>SAM WILSON (O.S.)</character>
<dialogue>Cap. On your left.</dialogue>
<scene_description>PULL BACK...TO SEE A PORTAL OPENING IN THE DISTANCE. OUT OF IT FLIES...SAM WILSON. Steve watches Sam soar over the field, then turns AS EVEN MORE PORTALS OPEN. FROM ONE: DR. STRANGE, PETER QUILL, DRAX, MANTIS, PETER PARKER...AND KRAGLIN AND THE RAVAGERS. FROM ANOTHER: T'CHALLA, OKOYE, SHURI, M'BAKU, WANDA, BUCKY, GROOT...AND THE WAKANDAN ARMY. FROM A THIRD: VALKYRIE, KORG, MIEK...AND AN ASGARDIAN ARMY. FROM A FOURTH: PEPPER POTTS (IN RESCUE ARMOR), HOPE VAN DYNE, AND WONG LEADING A SQUAD OF SORCERERS. THOR gets to his feet, calling Stormbreaker to his hand as...TONY regains consciousness, staring out at the cavalry. Wong and Strange quickly find each other.</scene_description>
<character>DR. STRANGE</character>
<dialogue>Is that everyone?</dialogue>
<character>WONG</character>
<dialogue>You wanted more?!</dialogue>
<scene_description>JUST THEN, THE GROUND SHAKES AND RUBBLE EXPLODES UPWARDS AS...GIANT-MAN BURSTS FROM BELOW.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Top floor, everybody out!</dialogue>
<scene_description>HE OPENS HIS HUGE HAND, RELEASING ROCKET, SMART HULK, AND RHODEY, NOW IN HIS COSMIC IRON PATRIOT ARMOR. STEVE TAKES IN HIS REINFORCEMENTS, THEN STARES OUT AT THANOS. PAN ACROSS OUR HEROES AS STEVE CALLS MJOLNIR TO HIS HAND.</scene_description>
<character>STEVE</character>
<dialogue>Avengers...assemble.</dialogue>
<scene_description>THOR LETS LOOSE A BATTLE CRY AS HE CHARGES! EVERYONE FOLLOWS SUIT AS OUR HEROES FLOOD THE FIELD. ACROSS THE WAY, THANOS SMILES AND POINTS HIS BLADE. TWO MIGHTY ARMIES RACE TOWARD EACH OTHER UNTIL...CLASH! GIANT-MAN SLUGS A LEVIATHAN IN THE JAW. DRAX launches himself onto a CULL currently choking the life out of KORG. TONY blasts overhead. RESCUE joins him. Together, they strafe the field. STEVE and THOR fight together. Both hold out their hands. Stormbreaker returns to Steve, Mjolnir to Thor, who frowns.</scene_description>
<character>THOR</character>
<dialogue>No. You take the little one.</dialogue>
<scene_description>Elsewhere, TONY BATTLES SEVERAL CULLS. One knocks him into an Outrider, who's about to rip his armor off when... THWIP. PETER PARKER webs the Outrider, yanking him into the path of...GIANT-MAN'S FOOT. SQUISH. Tony stares at Peter, emotional. They retract their helmets.</scene_description>
<character>PETER PARKER</character>
<dialogue>Mr. Stark. Holy cow, you would not believe what's been going on. Do you remember when we were in space? And I got all dusty? I must've passed out, because I woke up and you weren't there, but Dr. Strange was, and he was like, "it's been five years, they need us." And he started doing that yellow sparkly thing he does-</dialogue>
<scene_description>But Tony just wraps his arms around him, smashing Peter's face into his chest plate.</scene_description>
<character>PETER PARKER</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Oh. This is nice.</dialogue>
<scene_description>ACROSS THE FIELD...QUILL flies, firing down on Sakaaran soldiers. One leaps off an outcropping... TACKLING QUILL INTO A WRECKED FUSELAGE, WHERE ANOTHER SAKAARAN WAITS. Quill drops one, but the other raises his weapon to strike. THEN BLAM! The Sakaaran drops dead on top of Quill. He pushes the body off to see...GAMORA, BLASTER STILL SMOKING. Quill stares, amazed.</scene_description>
<character>QUILL</character>
<dialogue>Gamora?</dialogue>
<scene_description>HE APPROACHES, OVERWHELMED, EMOTIONAL.</scene_description>
<character>QUILL</character>
<dialogue>I thought I lost you.</dialogue>
<scene_description>He tenderly strokes her face...and she knees him in the nuts. Twice. He goes down, gasping.</scene_description>
<character>QUILL</character>
<dialogue>You missed the first time...then you got 'em both the second time.</dialogue>
<scene_description>She stares down at him as...NEBULA JOINS HER.</scene_description>
<character>GAMORA</character>
<dialogue>This is the one? Seriously?</dialogue>
<character>NEBULA</character>
<dialogue>Your choices were him or a tree.</dialogue>
<scene_description>ACROSS THE FIELD...CLINT RUNS WITH THE GAUNTLET, PURSUED BY A CHITAURI APE. Just before the ape tramples Clint... SAM WILSON SWOOPS IN, CUTTING THE CREATURE DOWN. Clint runs on. The heroes confer over coms.</scene_description>
<character>CLINT BARTON</character>
<dialogue>What do you want to do with this thing?</dialogue>
<character>STEVE</character>
<dialogue>Get those stones as far away as possible!</dialogue>
<character>SMART HULK</character>
<dialogue>No! We need to send them back where they came from.</dialogue>
<character>TONY</character>
<dialogue>There's no way to send them back. Thanos destroyed our time machine.</dialogue>
<character>SCOTT LANG</character>
<dialogue>Hold on!</dialogue>
<parenthetical>(shrinking to normal size)</parenthetical>
<dialogue>That wasn't our only time machine.</dialogue>
<scene_description>He clicks the KEYS TO LUIS' VAN. From a distance, we hear, "LA CUCARACHA." Steve immediately gets it.</scene_description>
<character>STEVE</character>
<dialogue>Does anyone see an ugly, brown van out there?</dialogue>
<scene_description>ABOVE, VALKYRIE SCANS THE FIELD FROM HER PEGASUS.</scene_description>
<character>VALKYRIE</character>
<dialogue>Yeah. But you're not going to like where it's parked.</dialogue>
<scene_description>LUIS' VAN SITS SURROUNDED BY THOUSANDS OF ALIENS, DEEP BEHIND ENEMY LINES. STEVE SURVEYS THE FIELD: AN ARMY STANDS BETWEEN THEM AND THE VAN, AIR AND GROUND CHOKED WITH ENEMIES.</scene_description>
<character>TONY (INTO COM)</character>
<dialogue>Scott, how long do you need to get that thing working?</dialogue>
<character>SCOTT LANG</character>
<dialogue>Uh, maybe ten minutes.</dialogue>
<character>STEVE</character>
<dialogue>Get it started. We'll get the stones to you.</dialogue>
<character>HOPE VAN DYNE</character>
<dialogue>We're on it, Cap.</dialogue>
<scene_description>SCOTT glances at her. Cap? THEY SHRINK DOWN AND FLY AWAY. TONY FLIES UP TO DR. STRANGE, HOVERING.</scene_description>
<character>TONY</character>
<dialogue>Doc. You said we win one in 14 million. Is this how it goes down?</dialogue>
<character>DR. STRANGE</character>
<dialogue>If I tell you what happens, it won't happen.</dialogue>
<character>TONY</character>
<dialogue>You better be right.</dialogue>
<scene_description>Tony rockets away. Strange coolly watches him go. ACROSS THE FIELD...EBONY MAW RUSHES TO THANOS.</scene_description>
<character>EBONY MAW</character>
<dialogue>Sire, the stones!</dialogue>
<scene_description>THANOS TURNS TO SEE...CLINT FIGHTING THROUGH THE HORDE, CARRYING THE GAUNTLET. A CULL HAMMERS CLINT, BUT THEN...T'CHALLA SLASHES THE CULL.</scene_description>
<character>T'CHALLA</character>
<dialogue>Clint, give it to me.</dialogue>
<scene_description>CLINT HANDS THE GAUNTLET TO T'CHALLA, WHO TUCKS IT AND RUNS. ACROSS THE FIELD...SCOTT AND HOPE FLY OVER A LONG PLATOON OF CHITAURI, TOWARD LUIS' VAN.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT LUIS' VAN - CONTINUOUS</stage_direction>
<scene_description>They GROW TO NORMAL SIZE in the front seat. Out the windshield, THANOS' HORDE CHARGES AT THEIR FRIENDS.</scene_description>
<character>SCOTT LANG</character>
<parenthetical>(digging around)</parenthetical>
<dialogue>Ignition's broken. I'll hotwire it-</dialogue>
<character>HOPE VAN DYNE</character>
<dialogue>Wait, you know how to do that?</dialogue>
<scene_description>Scott splices wires. Sparks fly.</scene_description>
<character>SCOTT LANG</character>
<dialogue>I was in prison. I know how to do a lot of things.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, CRATER - DAY</stage_direction>
<scene_description>T'CHALLA RACES THROUGH THE HORDE...BUT THEN THANOS KNOCKS HIM OFF HIS FEET. THE GAUNTLET GOES TUMBLING. AS THANOS MOVES IN ON T'CHALLA...ALL AROUND, WRECKAGE BEGINS TO FLOAT. THANOS LOOKS UP TO SEE... WANDA, HOVERING IN THE AIR, WAITING FOR HIM.</scene_description>
<character>WANDA</character>
<dialogue>You took everything from me.</dialogue>
<scene_description>Thanos takes THE BLADE off his back.</scene_description>
<character>THANOS</character>
<dialogue>I don't even know who you are.</dialogue>
<character>WANDA</character>
<dialogue>You will.</dialogue>
<scene_description>WANDA UNLEASHES A STORM OF RED ENERGY, HURLING WRECKAGE AT HIM. AS THANOS FIGHTS HIS WAY THROUGH IT... T'CHALLA DIVES FOR THE FALLEN GAUNTLET. SUDDENLY...EBONY MAW MANIPULATES THE EARTH, PULLING THE GAUNTLET TOWARD HIM. T'CHALLA WRAPS HIMSELF AROUND THE GLOVE, GETTING DRAGGED.</scene_description>
<character>PETER PARKER (O.S.)</character>
<scene_description>T'CHALLA TURNS TO SEE PETER WHIZZING PAST. HE HURLS THE GAUNTLET...THWIP! Peter snatches it out of the air. HE LANDS, ONLY TO FIND HIMSELF SURROUNDED BY OUTRIDERS.</scene_description>
<character>PETER PARKER</character>
<dialogue>Activate instant kill!</dialogue>
<scene_description>His robotic arms slash with expert precision. ACROSS THE FIELD...WANDA LIFTS THANOS INTO THE AIR, RIPS HIS ARMOR OFF IN PIECES, THEN SLAMS HIM BACK TO THE GROUND. Thanos groans, outmatched.</scene_description>
<character>THANOS (INTO COM)</character>
<dialogue>Rain fire. Wipe them all out.</dialogue>
<scene_description>CORVUS GLAIVE FIGHTS GROOT.</scene_description>
<character>CORVUS GLAIVE</character>
<dialogue>But, sire, our troops-</dialogue>
<character>THANOS (INTO COM)</character>
<dialogue>Just do it!</dialogue>
<scene_description>HIGH ABOVE...THE SANCTUARY-2 DESCENDS, CANNONS OPENING UP. BELOW...WANDA looks up, raising a force field just as... THE SANCTUARY-2 FIRES DOWN WITH EVERYTHING IT HAS. SAKAARANS AND JABARI ALIKE GO FLYING AS EVERY SQUARE INCH GETS HIT. THE BARRAGE HAMMERS THE RIVERBANK. CRACKS FORM. PEPPER CUTS DOWN AN ALIEN, THEN SPOTS SOMETHING OFF SCREEN.</scene_description>
<character>PEPPER POTTS (INTO COM)</character>
<dialogue>Um, is anyone else seeing this?</dialogue>
<scene_description>TONY, SMART HULK, AND GAMORA turn to see...WATER GUSHING AS THE RIVERBANK THREATENS TO COLLAPSE. SUDDENLY... STRANGE AND WONG CONJURE TWO HUGE RUNE SHIELDS TO SHORE UP THE BANK. MORE WIZARDS JOIN, CREATING A HUGE "RUNE LEVEE." THE SANCTUARY-2 MAINTAINS ITS BARRAGE. ACROSS THE FIELD...STEVE spots PETER PARKER gradually being overwhelmed by Outriders.</scene_description>
<character>PETER PARKER</character>
<dialogue>I got this...I got this...I don't got this.</dialogue>
<character>STEVE</character>
<dialogue>Hey, Queens! Heads up!</dialogue>
<scene_description>STEVE HURLS MJOLNIR OVER THE THRONG. PETER WEBS ON...LETTING THE HAMMER PULL HIM OUT OF DANGER. A MORTAR BLAST KNOCKS HIM OUT OF THE SKY, BUT PEPPER POTTS RESCUES HIM.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>Hang on, kid. I've got you.</dialogue>
<scene_description>She drags him above the fray, then tosses him to...VALKYRIE FLYING PAST. PETER PERCHES ATOP PEGASUS.</scene_description>
<character>PETER PARKER</character>
<dialogue>Hey, nice to meet you-aaaaarg!</dialogue>
<scene_description>VALKYRIE SPURS INTO HIGH GEAR, DODGING CANNON FIRE... BUT NOT FAST ENOUGH. A BLAST KNOCKS PETER TO THE GROUND. HE GASPS, COVERED IN DEBRIS, STILL CLUTCHING THE GAUNTLET. ALL AROUND THE FIELD, THE RELENTLESS BARRAGE PINS DOWN OUR HEROES. ALL HOPE IS LOST. Rocket and Groot dive for cover. Groot wraps his branches around them both.</scene_description>
<character>ROCKET</character>
<dialogue>At least we're going out together this time...</dialogue>
<scene_description>SUDDENLY, EVERYTHING GOES SILENT. ROCKET PEERS OUT FROM COVER TO SEE...THE CANNONS SWIVELING UP TOWARD THE CLOUDS. SAM WILSON flies overhead.</scene_description>
<character>SAM WILSON</character>
<dialogue>What the hell is this?</dialogue>
<scene_description>TONY'S HUD: TONY FLIES OVERHEAD, SEARCHING UPWARD.</scene_description>
<character>TONY</character>
<dialogue>Friday, what are they firing at?</dialogue>
<character>FRIDAY (O.S.)</character>
<dialogue>Something just entered the upper atmosphere.</dialogue>
<scene_description>Rocket looks up at...A COMET HEADING STRAIGHT FOR EARTH.</scene_description>
<character>GROOT</character>
<parenthetical>(nervous)</parenthetical>
<dialogue>I am Groot.</dialogue>
<scene_description>Rocket grins, knowing what's coming.</scene_description>
<character>ROCKET</character>
<dialogue>Just wait for it.</dialogue>
<scene_description>SUDDENLY, THE COMET VEERS...RIGHT TOWARD THE SHIP. BOOM! THE COMET TEARS THROUGH THE SANCTUARY-2, RIGHT OUT THE OTHER SIDE, REVEALING...CAROL DANVERS.</scene_description>
<character>ROCKET</character>
<dialogue>Oh, yeah!</dialogue>
<scene_description>CAROL GLOWS BRIGHTER AS SHE GOES BINARY, ROCKETING AGAIN THROUGH THE HULL. BOOM! THE SHIP LISTS, ENGINES EXPLODING. CAROL EYES THE BATTLEFIELD, EXHAUSTED, LIGHT FADING.</scene_description>
<character>STEVE (OVER COM)</character>
<dialogue>Danvers! We're gonna need an assist down here!</dialogue>
<character>CAROL DANVERS (INTO COM)</character>
<parenthetical>(under ragged breath)</parenthetical>
<dialogue>Roger...Rogers...</dialogue>
</scene>
<scene>
<stage_direction>INT. VAN - DAY</stage_direction>
<scene_description>Scott twists wires on the Quantum Tunnel, hotwiring it.</scene_description>
<character>SCOTT LANG (INTO COM)</character>
<dialogue>I'm almost there. Where's the glove?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CRATER - DAY</stage_direction>
<scene_description>CAROL LANDS IN FRONT OF A DAZED PETER PARKER, WHO STILL HOLDS THE GAUNTLET TIGHT. HE LOOKS UP, CONFUSED.</scene_description>
<character>PETER PARKER</character>
<dialogue>Uh, hey. I'm Peter Parker.</dialogue>
<character>CAROL DANVERS</character>
<dialogue>Hey, Peter Parker. You got something for me?</dialogue>
<scene_description>Peter hands it over, staring out at the approaching horde.</scene_description>
<character>PETER PARKER</character>
<dialogue>I don't know how you're gonna get it through all that-</dialogue>
<character>WANDA (O.S.)</character>
<dialogue>Don't worry, kid...</dialogue>
<scene_description>Peter turns to see... WANDA, OKOYE, GAMORA, NEBULA, VALKYRIE, HOPE, AND SHURI WAITING. Wanda's hands begin to glow.</scene_description>
<character>OKOYE</character>
<dialogue>She's got help.</dialogue>
<scene_description>Carol glances at PEPPER and MANTIS, then tucks the gauntlet under her arm AND LEADS THEM OUT. AT THE RIDGE...Thanos spots THE WOMEN OF MARVEL BLASTING THROUGH HIS TROOPS. HE TRACKS THEIR PATH TO...THE VAN. SCOTT KICKS THE REAR DOORS OPEN, EXPOSING THE QUANTUM TUNNEL.</scene_description>
<character>SCOTT LANG</character>
<dialogue>Thirty seconds!</dialogue>
<scene_description>Thanos understands immediately. HE GRABS PROXIMA'S SPEAR FROM HER, AND STARTS RUNNING... ACROSS THE FIELD...EBONY MAW SENDS WANDA TUMBLING, BUT SHURI BLASTS HIM OUT OF THE SKY. CULL OBSIDIAN HAMMERS VALKYRIE, BUT NEBULA TAKES HIM OUT. CAROL KEEPS GOING, GAUNTLET TUCKED UNDER HER ARM, GETTING CLOSER AND CLOSER TO... THE VAN...WHERE THE QUANTUM TUNNEL BURSTS TO LIFE. ACROSS THE FIELD...GROUNDED HEROES LOOK UP TO SEE CAROL NOW JUST YARDS AWAY FROM THE GOAL. SHE PUTS HER HEAD DOWN, FLYING FOR ALL SHE'S WORTH. BUT JUST AS SHE REACHES THE GAPING VAN DOORS... THANOS THROWS THE SPEAR... BOOM! THE VAN EXPLODES, SENDING SCOTT AND CAROL FLYING, TAKING OUT SOME OF THE WIZARDS HOLDING BACK THE RIVER. THANOS CATCHES PROXIMA'S RETURNING SPEAR. TIME SLOWS AS...STEVE, THOR, AND TONY SPOT...THE GAUNTLET, LYING UNGUARDED IN THE DIRT. The problem is...SO DOES THANOS. TIME RESUMES AS...THEY ALL SCRAMBLE FOR THE STONES. THEY COLLIDE. THANOS SNATCHES UP THE GAUNTLET, KICKING THOR DOWN. THANOS KNOCKS TONY ASIDE, THEN SQUEEZES THE CRUSHED GAUNTLET, POPPING IT OPEN...JUST WIDE ENOUGH TO PUT HIS HAND INSIDE. STEVE LUNGES, BUT THANOS THROTTLES HIM. FINALLY CLEAR, THANOS SLIPS ON THE GAUNTLET. BUT BEFORE HE CAN SNAP... CAROL ARRIVES. SHE GRABS THE GLOVE, PREVENTING HIM FROM CLOSING HIS FIST. HE HEADBUTTS HER...BUT SHE DOESN'T MOVE. CAROL PRESSES THANOS DOWN, BUT BEFORE HE FALLS... THANOS PULLS THE POWER STONE FROM ITS HOUSING AND PUNCHES CAROL, SENDING HER FLYING. THE FIELD GOES QUIET. NOW, NOTHING STANDS IN THANOS' WAY. Tony gets to his knees, realizing... The Avengers are going to lose. ACROSS THE FIELD...WATER STARTS TO SPILL INTO THE CRATER. STRANGE TRIES TO HOLD IT BACK...BUT IT'S A LOSING BATTLE. He looks to Tony... Tony meets his eye. And in that moment, all Strange can do is hold up a single finger. "One." ACROSS THE FIELD...THANOS RETURNS THE POWER STONE TO THE GAUNTLET. JUST AS THE ENERGY SURGES THROUGH HIM... TONY LUNGES FOR THE GAUNTLET IN THANOS' HAND, NANO-CLAMPING IT IN A VISE. THANOS KNOCKS HIM ASIDE. HE LIFTS HIS HAND IN THE AIR, TRIUMPHANT.</scene_description>
<character>THANOS</character>
<dialogue>I am...inevitable.</dialogue>
<scene_description>THANOS SNAPS HIS FINGERS. But nothing happens. Confused, Thanos turns the glove over to find...THE STONES ARE GONE. He looks to see...TONY, NANO-PARTICLES SLIDING AND SHIFTING, FORMING A NEW GAUNTLET ON HIS OWN WRIST: COMPLETE WITH SIX INFINITY STONES. POWER SURGES THROUGH TONY, EXCRUCIATING, BUT HE STILL LIFTS HIS HAND...</scene_description>
<character>TONY</character>
<dialogue>And I...am Iron Man.</dialogue>
<scene_description>SNAP! WHOOSH. THE TIDAL WAVE EVAPORATES INTO MIST. ALL AROUND THE FIELD, SAKAARANS AND OUTRIDERS FOLD IN ON THEMSELVES, ATOMS DISINTEGRATING. THANOS LOOKS AROUND, WATCHING HIS TROOPS DISAPPEAR. SHIPS VANISH FROM THE SKY. CULLS, CHITAURI, ALL BLOW AWAY... LEAVING THANOS STANDING ALONE. AFTER A LONG MOMENT, HE SITS DOWN ON A ROCK...AND ACCEPTS HIS FATE. He watches as... HIS ATOMS DISSOLVE. FINALLY, THANOS DISAPPEARS. ACROSS THE FIELD, QUILL turns to GAMORA...BUT FINDS HER GONE.</scene_description>
<character>QUILL</character>
<dialogue>Babe? Gamora?</dialogue>
<scene_description>ACROSS THE FIELD...TONY STARK FALLS BACK AGAINST THE UPTURNED ROOTS OF A TREE, ARMOR SMOKING, ARM WITHERED AND BLACKENED. Dying. RHODEY RUSHES TO HIM, BUT WITH ONE LOOK, HE KNOWS IT'S TOO LATE. TONY EXHALES, ALMOST LETTING GO. Then... PETER PARKER lands, kneeling, taking Tony's hand.</scene_description>
<character>PETER PARKER</character>
<dialogue>Mr. Stark...Tony...it's okay, it's okay...Mr. Stark, we won. You did it, sir...</dialogue>
<scene_description>But Tony gazes past him. Rhodey puts his hand on Peter's shoulder, guiding him away... AS PEPPER ARRIVES. She kneels, heartsick.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>Hey, Friday, what've we got?</dialogue>
<character>FRIDAY (O.S.)</character>
<dialogue>Life functions critical.</dialogue>
<scene_description>Pepper stares into her husband's eyes...and knows.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>Tony, look at me. We're going to be okay...</dialogue>
<scene_description>He stares at her, tears welling. I'm sorry. She touches his face, then leans in to kiss him.</scene_description>
<character>PEPPER POTTS</character>
<dialogue>You can rest now.</dialogue>
<scene_description>When she pulls back, she sees his eyes, fixed and glassy. Everything goes quiet. All around, OUR HEROES GATHER, the full weight of what's happened dawning on them. Tony Stark is gone. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL NEW YORK CITY - NIGHT</stage_direction>
<scene_description>PETER PARKER enters a hallway teeming with students. He searches the crowd, finally finding...NED LEEDS. As they embrace...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO - NIGHT</stage_direction>
<scene_description>Fireworks explode over the skyline of San Francisco.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Everybody wants a happy ending. But it doesn't always roll that way. Maybe this time.</dialogue>
<scene_description>On Cassie's porch, SCOTT watches with HOPE and CASSIE, all of them grinning.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARTON HOME, FRONT PORCH - DAY</stage_direction>
<scene_description>TWO BIKES lean on the porch of THE BARTON FARM HOUSE. Then the front door opens...and COOPER and LILA BARTON step out.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>I'm hoping if you play this back, it's in celebration.</dialogue>
<character>TONY (O.S.)</character>
<dialogue>I hope families are reunited, I hope we get it back and something like a normal version of the planet has been restored. If there ever was such a thing.</dialogue>
<scene_description>She looks up at...A QUINJET descending from the sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WAKANDA - SUNSET</stage_direction>
<scene_description>ON THE PALACE BALCONY...T'CHALLA embraces his mother, RAMONDA. Shuri turns from them to the magnificent sunset.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>God, what a world. Universe, now. If you'd told me ten years ago that we weren't alone, let alone to this extent, I probably wouldn't have been surprised. But come on...</dialogue>
<scene_description>EXT BARTON HOME - DAY The Quinjet touches down. The rear jump door opens, revealing CLINT. He stares at Lila and Cooper, overwhelmed.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>Who knew what epic forces of dark and light would come into play? For better or worse, that's the reality our children get to grow up in.</dialogue>
<scene_description>They throw themselves into his arms. He kisses their heads, tears in his eyes. Finally, he looks up to see... LAURA BARTON, beaming, tearful, holding THREE YEAR-OLD NATHANIEL'S HAND. Clint gathers them all into a hug.</scene_description>
</scene>
<scene>
<stage_direction>INT. STARK ECO-COMPOUND, LIVING ROOM - DAY</stage_direction>
<scene_description>A HOLOGRAM of TONY STARK projects from an IRON MAN HELMET on the table.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>That's why I thought I'd probably better record a little greeting, in the case of…an untimely death on my part.</dialogue>
<character>TONY (O.S.)</character>
<dialogue>I mean, death at any time is untimely, but...this "time travel" thing we're going to try to pull off tomorrow has me scratching my head about the "survivability" of it all. But that's the hero gig, right? Part of the journey is the end.</dialogue>
<scene_description>REVERSE to find PEPPER, MORGAN, HAPPY HOGAN, RHODEY, THOR, STEVE, SMART HULK, and CLINT, all dressed in black, watching.</scene_description>
<character>TONY</character>
<dialogue>What am I even tripping for? Everything is going to work out exactly the way it's supposed to.</dialogue>
<scene_description>HOLO TONY seems to look out at the gathered heroes...and Morgan in particular.</scene_description>
<character>TONY</character>
<dialogue>I love you 3000.</dialogue>
<scene_description>He switches off the camera, vanishing. Tears streaming, Pepper kisses Morgan's forehead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, BACK STAIRS - DAY</stage_direction>
<scene_description>PEPPER and MORGAN slowly descend the stairs, carrying an RT RINGED WITH FLOWERS. The Avengers follow, somber.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, LAKESIDE - DAY</stage_direction>
<scene_description>PEPPER RESTS THE FLOWERS ON THE WATER. CLOSE ON THE RT: "Proof That Tony Stark Has A Heart." Pull back, past Morgan and HAPPY HOGAN... PAST STEVE, SAM, RHODEY, AND WANDA... PAST CLINT, LAURA, LILA, COOPER, and NATHANIEL... PAST THOR AND SMART HULK... PAST SCOTT, HOPE, HANK PYM, and JANET VAN DYNE... PAST PETER PARKER and AUNT MAY... PAST T'CHALLA, OKOYE, and SHURI, PAST STRANGE and WONG... PAST QUILL, NEBULA, GROOT, MANTIS, and ROCKET... PAST BUCKY BARNES... PAST SECRETARY ROSS and HARLEY KEENER... PAST MARIA HILL, CAROL DANVERS, and, finally, NICK FURY. THE MOURNERS MOVE TO THE EDGE OF THE LAKE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, LAKESIDE - DAY</stage_direction>
<scene_description>LATER...CLINT looks out at the lake. WANDA approaches.</scene_description>
<character>CLINT BARTON</character>
<dialogue>I just wish there were some way I could let her know that we won. That we did it.</dialogue>
<character>WANDA</character>
<dialogue>She knows. They both do.</dialogue>
<scene_description>Clint puts his arm around her. They stare out at the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STARK ECO-COMPOUND, PORCH/BACK STAIRS- DAY</stage_direction>
<scene_description>ON THE PORCH, HAPPY HOGAN HOLDS MORGAN'S HAND.</scene_description>
<character>HAPPY HOGAN</character>
<dialogue>How are you doing, squirt? You hungry?</dialogue>
<character>MORGAN STARK</character>
<dialogue>Uh, huh.</dialogue>
<character>HAPPY HOGAN</character>
<dialogue>What do you want?</dialogue>
<character>MORGAN STARK</character>
<dialogue>Cheeseburgers?</dialogue>
<scene_description>Happy takes a beat, choked up. Like father like daughter.</scene_description>
<character>HAPPY HOGAN</character>
<dialogue>Did you know your dad liked cheeseburgers?</dialogue>
<character>MORGAN STARK</character>
<dialogue>No, I didn't know that.</dialogue>
<character>HAPPY HOGAN</character>
<dialogue>I'm going to get you all the cheeseburgers you want.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEW ASGARD, HILLSIDE - DAY</stage_direction>
<scene_description>THOR and VALKYRIE look down on NEW ASGARD.</scene_description>
<character>VALKYRIE</character>
<dialogue>So when can we expect you back?</dialogue>
<character>THOR</character>
<dialogue>About that...</dialogue>
<character>VALKYRIE</character>
<dialogue>Thor, your people need a king.</dialogue>
<character>THOR</character>
<dialogue>They already have one. And she's a far better king than I could ever be.</dialogue>
<character>VALKYRIE</character>
<dialogue>Are you serious?</dialogue>
<character>THOR</character>
<dialogue>It's time to be who I am, rather than who I'm supposed to be. And a leader is who you are.</dialogue>
<scene_description>She processes this. Does she want it? She does.</scene_description>
<character>VALKYRIE</character>
<dialogue>You know, I'd make a lot of changes around here.</dialogue>
<character>THOR</character>
<dialogue>I'm counting on it, Your Majesty.</dialogue>
<scene_description>Emotional, Val finally SHAKES HIS HAND.</scene_description>
<character>VALKYRIE</character>
<dialogue>What will you do?</dialogue>
<character>THOR</character>
<dialogue>I'm not entirely sure. For the first time in a thousand years, I have no path.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But I do have a ride.</dialogue>
<scene_description>REVEAL...THE BENATAR parked behind them, Rocket alongside.</scene_description>
<character>ROCKET</character>
<dialogue>Move it or lose it, Hairbag.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENATAR - DAY</stage_direction>
<scene_description>THOR drops his duffle bag on the deck of the Benatar. QUILL, MANTIS, DRAX, NEBULA, and ROCKET ready the engines.</scene_description>
<character>THOR</character>
<dialogue>Home sweet home. Tree! Good to see you. The Asgardians of the Galaxy, together again.</dialogue>
<scene_description>He settles beside Quill, who holomaps their course.</scene_description>
<character>THOR</character>
<dialogue>All right, where first?</dialogue>
<scene_description>He swipes through images on the screen.</scene_description>
<character>QUILL</character>
<dialogue>You know, I'm still in charge, here, right?</dialogue>
<character>THOR</character>
<dialogue>Of course. Of course...</dialogue>
<scene_description>Thor swipes the map again.</scene_description>
<character>QUILL</character>
<dialogue>See, when you keep swiping my map, that sounds kind of like, "of course, I know you think you're still in charge-"</dialogue>
<character>THOR</character>
<dialogue>Quail, that's your own insecurities bubbling up.</dialogue>
<character>DRAX</character>
<dialogue>You should fight one another for the honor of leadership.</dialogue>
<character>NEBULA</character>
<dialogue>Sounds fair.</dialogue>
<character>QUILL</character>
<dialogue>That's not necessary...</dialogue>
<character>ROCKET</character>
<dialogue>I've got some blasters right here. Unless you want to use knives.</dialogue>
<character>MANTIS</character>
<dialogue>Oh, yes, please, use knives-</dialogue>
<character>QUILL</character>
<dialogue>No one's using knives!</dialogue>
<character>GROOT</character>
<dialogue>I am Groot!</dialogue>
<scene_description>Quill and Thor exchange nervous laughter.</scene_description>
<character>THOR</character>
<dialogue>There'll be no knifing young Quail today. Everyone knows who's in charge.</dialogue>
<scene_description>A long awkward moment passes.</scene_description>
<character>QUILL</character>
<dialogue>Me.</dialogue>
<parenthetical>(sotto, to Thor)</parenthetical>
<dialogue>Right?</dialogue>
<scene_description>Thor just smiles...</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW ASGARD, HILLSIDE - DAY</stage_direction>
<scene_description>The ship rises. WHOOSH. IT MAKES THE JUMP AND DISAPPEARS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AVENGERS COMPOUND, RUINS - DAY</stage_direction>
<scene_description>CONSTRUCTION CREWS REMOVE RUBBLE FROM AVENGERS COMPOUND. A COMMAND TENT stands in a clearing beside... A NEW QUANTUM TUNNEL (3.0). As STEVE, SAM, and BUCKY wait, SMART HULK makes last minute adjustments. He finally opens A CASE: THE SIX INFINITY STONES GLOW INSIDE.</scene_description>
<character>SMART HULK</character>
<dialogue>Remember, you'll have to return the stones to the exact moment they were taken. Otherwise, we're still looking at a whole bunch of nasty alternate realities.</dialogue>
<character>STEVE</character>
<dialogue>Got it. I'll clip all the branches.</dialogue>
<scene_description>Steve takes the case.</scene_description>
<character>SMART HULK</character>
<dialogue>You know, I tried. When I had the gauntlet. I really tried to bring her back.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I miss her.</dialogue>
<character>STEVE</character>
<dialogue>Me, too.</dialogue>
<character>SMART HULK</character>
<dialogue>You'd better get going. We're almost ready for you.</dialogue>
<scene_description>Steve and Sam approach the platform.</scene_description>
<character>SAM WILSON</character>
<dialogue>You look a little nervous going by yourself. Ask nicely, I'll go with you.</dialogue>
<character>STEVE</character>
<dialogue>You're a good man, Sam. But this one's on me.</dialogue>
<scene_description>When Steve reaches the platform, BUCKY stops him, pointed.</scene_description>
<character>STEVE</character>
<dialogue>Don't do anything stupid 'til I get back, okay?</dialogue>
<character>BUCKY BARNES</character>
<dialogue>How can I? You're taking all the stupid with you.</dialogue>
<scene_description>Steve grins. Bucky gives him a long hug.</scene_description>
<character>BUCKY BARNES</character>
<dialogue>Gonna miss you, buddy.</dialogue>
<character>STEVE</character>
<dialogue>It's going to be okay, Buck.</dialogue>
<scene_description>Steve picks up Mjolnir and takes his place on the platform. SAM LOOKS TO SMART HULK AT THE CONSOLE.</scene_description>
<character>SAM WILSON</character>
<dialogue>How long's this gonna take?</dialogue>
<character>SMART HULK</character>
<dialogue>For him, as long as he needs. For us, five seconds.</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>Ready, Cap? You're good to go. Meet you right back here, okay?</dialogue>
<scene_description>Steve glances at Bucky as he answers.</scene_description>
<character>STEVE</character>
<dialogue>You bet.</dialogue>
<character>SMART HULK</character>
<dialogue>Going Quantum in three, two, one.</dialogue>
<scene_description>STEVE TAPS HIS CUFF AND SHRINKS TO NOTHING.</scene_description>
<character>SMART HULK</character>
<dialogue>Aaand, returning in five... four...three...two...one-</dialogue>
<scene_description>Silence. Nothing happens.</scene_description>
<character>SAM WILSON</character>
<dialogue>Where is he?</dialogue>
<character>SMART HULK</character>
<dialogue>I don't know. He blew past our time stamp. He should be here.</dialogue>
<character>SAM WILSON</character>
<dialogue>Get him back!</dialogue>
<character>SMART HULK</character>
<dialogue>I'm trying.</dialogue>
<character>SAM WILSON</character>
<dialogue>Get him the hell back-</dialogue>
<character>SMART HULK</character>
<dialogue>I'M TRYING!</dialogue>
<scene_description>Just then...Bucky looks out to the water.</scene_description>
<character>BUCKY BARNES</character>
<dialogue>Sam.</dialogue>
<scene_description>Sam turns... EXT AVENGERS COMPOUND, RIVERBANK - CONTINUOUS Work crews have cleared a space overlooking the river. There, AN OLD MAN sits on a bench, staring out at the Hudson. Move around him to find SAM watching from A FEW YARDS AWAY.</scene_description>
<character>SAM WILSON</character>
<dialogue>Hey, Cap.</dialogue>
<scene_description>The man turns and we now see: STEVE ROGERS, age 112.</scene_description>
<character>OLD STEVE</character>
<dialogue>Hi, Sam.</dialogue>
<character>SAM WILSON</character>
<dialogue>Something go wrong...or something go right?</dialogue>
<character>OLD STEVE</character>
<dialogue>I thought, after everything that's happened...maybe I should try out some of that life Tony always told me to get.</dialogue>
<character>SAM WILSON</character>
<dialogue>How was it?</dialogue>
<scene_description>Steve looks at the river, 112 years of emotion in his face.</scene_description>
<character>OLD STEVE</character>
<dialogue>It was beautiful.</dialogue>
<character>SAM WILSON</character>
<dialogue>I'm happy for you. Really.</dialogue>
<character>OLD STEVE</character>
<dialogue>Thanks.</dialogue>
<character>SAM WILSON</character>
<dialogue>Only thing bumming me out is now I live in a world without Captain America.</dialogue>
<scene_description>Steve pulls up A CASE from beside him, giving it to Sam.</scene_description>
<character>OLD STEVE</character>
<dialogue>That's kind of why I'm here.</dialogue>
<scene_description>Sam unzips it, revealing...A BRAND NEW SHIELD.</scene_description>
<character>SAM WILSON</character>
<dialogue>Where did you even get this?</dialogue>
<character>OLD STEVE</character>
<dialogue>I had a little time to travel.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Try it on.</dialogue>
<scene_description>Sam hesitates. He glances back at Bucky, who nods. Then Sam picks up the shield...and puts it on.</scene_description>
<character>OLD STEVE</character>
<dialogue>How does it feel?</dialogue>
<character>SAM WILSON</character>
<dialogue>Like it's someone else's.</dialogue>
<character>OLD STEVE</character>
<dialogue>It isn't.</dialogue>
<scene_description>Sam tries to check his emotion. He shakes Steve's hand.</scene_description>
<character>SAM WILSON</character>
<dialogue>Thank you. I'll try my best.</dialogue>
<scene_description>Steve rests his other hand on Sam's.</scene_description>
<character>OLD STEVE</character>
<dialogue>That's why it's yours.</dialogue>
<scene_description>Sam smiles, noticing...STEVE'S TARNISHED WEDDING RING.</scene_description>
<character>SAM WILSON</character>
<dialogue>You gonna tell me about her?</dialogue>
<scene_description>Steve smiles to himself at the end of a long, long life.</scene_description>
<character>OLD STEVE</character>
<dialogue>Nope. I don't think I will.</dialogue>
<scene_description>CUE MUSIC: "IT'S BEEN A LONG, LONG TIME," HARRY JAMES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLUMBIA HEIGHTS, WASHINGTON DC - DAY</stage_direction>
<scene_description>A PACKARD rolls down a block of WASHINGTON D.C. ROW HOUSES. TITLE: "WASHINGTON D.C., 1949." Find a red house in the middle of the block. Move up the steps to the front door...WHICH HANGS WIDE OPEN.</scene_description>
</scene>
<scene>
<stage_direction>INT. RED HOUSE, COLUMBIA HEIGHTS, WASHINGTON DC - DAY</stage_direction>
<scene_description>A TEA CUP LIES SHATTERED on the hardwood. We hear Harry James. Move into the living room...past the record player... TO WHERE STEVE DANCES WITH A WOMAN. They rock back and forth barely moving. As they turn, we see... PEGGY CARTER, tears streaming down her face. He steps on her toe. She laughs. As they turn, we get a good look at... Steve Rogers, eyes shut, finally getting the life he deserves. THE END. All rights reserved. Copyright © 2019 Marvel. No portion of this script may be performed, published, reproduced, sold or distributed by any means, or quoted or published in any medium, including any website, without the prior written consent of Marvel Studios, Inc. Disposal of this script copy does alter any of the restrictions set forth above.</scene_description>
</scene>
</script> | In 2018, twenty-three days after Thanos erased half of all life in the universe, Carol Danvers rescues Tony Stark and Nebula from deep space and they reunite with the remaining Avengers—Bruce Banner, Steve Rogers, Thor, Natasha Romanoff, and James Rhodes—and Rocket on Earth. Locating Thanos on an uninhabited planet, they plan to use the Infinity Stones to reverse his actions, only to find that Thanos has already destroyed them, thus preventing any further use. Enraged, Thor decapitates Thanos. Five years later, Scott Lang escapes from the Quantum Realm. Reaching the Avengers Compound, he explains that he experienced only five hours while trapped. Theorizing that the Quantum Realm allows time travel, they ask a reluctant Stark to help them retrieve the Stones from the past to reverse the actions of Thanos in the present. Stark, Rocket, and Banner, who has since merged his intelligence with the Hulk's strength, build a time machine. Banner notes that altering the past does not affect their present; any changes create alternate realities. Banner and Rocket travel to Norway, where they visit the Asgardian refugees' settlement New Asgard and recruit an overweight and despondent Thor. In Tokyo, Romanoff recruits Clint Barton, who became a vigilante after the erasure of his family. Banner, Lang, Rogers, and Stark time-travel to New York City during Loki's attack in 2012. At the Sanctum Sanctorum, Banner convinces the Ancient One to give him the Time Stone after promising to return the various Stones to their proper points in time. At Stark Tower, Rogers retrieves the Mind Stone from Hydra sleeper agents, but Stark and Lang's attempt to steal the Space Stone fails, allowing 2012-Loki to escape with it. Rogers and Stark travel to Camp Lehigh in 1970, where Stark obtains an earlier version of the Space Stone and encounters his father, Howard. Rogers steals Pym Particles from Hank Pym to return to the present and spies his lost love, Peggy Carter. Meanwhile, Rocket and Thor travel to Asgard in 2013; Rocket extracts the Reality Stone from Jane Foster, while Thor gets encouragement from his mother, Frigga, and retrieves his old hammer, Mjolnir. Barton, Romanoff, Nebula, and Rhodes travel to 2014; Nebula and Rhodes go to Morag and steal the Power Stone before Peter Quill can, while Barton and Romanoff travel to Vormir. The Soul Stone's keeper, Red Skull, reveals it can only be acquired by sacrificing a loved one. Romanoff sacrifices herself, allowing Barton to get the Stone. Rhodes and Nebula attempt to return to their own time, but Nebula is incapacitated when her cybernetic implants link with her past self, allowing 2014-Thanos to learn of his future self's success and the Avengers' attempt to undo it. 2014-Thanos sends 2014-Nebula forward in time to prepare for his arrival. Reuniting in the present, the Avengers place the Stones into a gauntlet that Stark, Banner, and Rocket have built. Banner, who has the most resistance to their radiation, uses the gauntlet to undo every one of Thanos's disintegrations. Meanwhile, 2014-Nebula, impersonating her future self, uses the time machine to transport 2014-Thanos and his warship to the present, which he then uses to destroy the Avengers Compound. Present-day Nebula convinces 2014-Gamora to betray Thanos, but is unable to convince 2014-Nebula and kills her. Thanos overpowers Stark, Thor and a Mjolnir-wielding Rogers, and summons his army to retrieve the Stones, intent on using them to destroy the universe and create a new one. A restored Stephen Strange arrives with other sorcerers, the restored Avengers and Guardians of the Galaxy, the Ravagers, and the armies of Wakanda and Asgard to fight Thanos's army. Danvers also arrives and destroys Thanos's warship, but Thanos overpowers her and seizes the gauntlet. Stark steals the Stones and uses them to disintegrate Thanos and his army, sacrificing his life in the process. Following Stark's funeral, Thor appoints Valkyrie as the new king of New Asgard and joins the Guardians. Rogers returns the Stones and Mjolnir to their proper timelines and remains in the past to live with Carter. In the present, an elderly Rogers passes his shield to Sam Wilson. |
The Thin Man_1934 | tt0025878 | <script>
<scene>
<stage_direction>EFFECT SHOT: THE SHADOW OF THE THIN MAN!</stage_direction>
<scene_description>The shadow , grotesquely thin , is cast by one strong light which reflects itself against a white cement wall . When we first see the shad - ow , it is standing upright , examining some - thing which it holds in its hands . Now the shadow bends down and as it does so , CAMERA PULLS BACK TO REVEAL CLYDE WYNANT in his work - shop . He is a tall , thin man of about fifty - five , with white hair . He has a fine , sensi - tive face . He is a very successful inventor . A man who is capable of sudden fits of anger which he forgets almost immediately , but which are quite terrifying while they last . Just now he is utterly absorbed in what he is doing - working on a delicately - wired part which has to do with a new form of combustion engine that he has invented . -LRB- Through the entire scene , from the first shadow effect , we hear the engine in operation as he is working over it . -RRB- Wynant is dressed in overalls , and possibly a long shade over his eyes . The shop itself is in the base - ment of a small warehouse building , in the thir - ties between First Avenue and the East River , in New York . It is a long and narrow machine shop , full of interest and character in its mechanical layout . Miniatures of engine - models of various kinds - vats of molten lead - car - bon racks - welding instruments - delicate light bulbs , and such other apparatus as com - poses a combination shop and laboratory of this machine type . WE HOLD A MOMENT on Wynant in the midst of an experiment over the combustion engine . Then from the background a workman named Tom , also dressed in overalls , a man of about thirty - five , comes in from an adjoining shop . He comes toward Wynant .</scene_description>
<character>Tom</character>
<parenthetical>( hesitant - in a mild tone . )</parenthetical>
<dialogue>Your daughter's here, Mr. Wynant.</dialogue>
<parenthetical>( then , as Wynant does n't seem to hear him , he speaks louder . )</parenthetical>
<dialogue>Mr. Wynant!</dialogue>
<scene_description>Wynant , startled out of his absorption , drops a delicate piece of metal -LRB- or whatever fragile wiring or part he would be holding -RRB- , and turns furiously on Tom .</scene_description>
<character>Wynant</character>
<dialogue>Have n't you any more sense than to shout at me like that!</dialogue>
<character>Tom</character>
<dialogue>I'm sorry. but.</dialogue>
<character>Wynant</character>
<parenthetical>( picking up the little piece - its edges are spoiled . )</parenthetical>
<dialogue>Two weeks work gone for nothing.</dialogue>
<character>Tom</character>
<dialogue>I just wanted to tell you.</dialogue>
<character>Wynant</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>I do n't care what you wanted to tell me. You're through! Get your things and get out!</dialogue>
<scene_description>The workman shrugs his shoulders and starts away . WE PAN Wynant to a bench on which there are several acetylene torches . He is examining the part as he goes , muttering and growling to himself .</scene_description>
<character>Wynant</character>
<dialogue>It's a good thing I'm going away - no peace - no quiet. Everybody interrupting me -</dialogue>
</scene>
<scene>
<stage_direction>PANNING SHOT -- DOOR TO SHOP.</stage_direction>
<scene_description>DOROTHY WYNANT comes to the door and looks in . Tom is seen taking off his overalls , prepara - tory to leaving .</scene_description>
<character>Dorothy</character>
<dialogue>Can we come in?</dialogue>
<scene_description>Tom looks up as she speaks to him .</scene_description>
<character>Dorothy</character>
<dialogue>Did you tell him?</dialogue>
<character>Tom</character>
<dialogue>Sorry, Miss Wynant. He did n't give me a chance.</dialogue>
<scene_description>Dorothy comes in , followed by ANDREW READE . She is a young girl of about twenty - one , spirited and high - tempered like her father . She has great natural beauty and distinction . the crisp pro - duct of a strict finishing school . She is dressed in smart , simple street dress , with a fur coat over it . Andrew Reade is a good - looking boy fresh from college . He gives an impression of reliability and common sense . CAMERA PANS WITH THEM as they go toward the workbench and Wynant .</scene_description>
<character>Dorothy</character>
<dialogue>Dad!</dialogue>
<scene_description>Wynant straightens up , and as he looks and sees that it is his daughter , his whole expression changes . He forgets his anger . he is delighted to see her .</scene_description>
<character>Wynant</character>
<dialogue>Why did n't they tell me you were here?</dialogue>
<scene_description>Dorothy kisses him .</scene_description>
<character>Dorothy</character>
<dialogue>I'm sorry to interrupt your work, but this is impor - tant.</dialogue>
<scene_description>Wynant looks over at Andrew standing behind Dorothy . Andrew smiles at him .</scene_description>
<character>Andrew</character>
<dialogue>How are you?</dialogue>
<character>Wynant</character>
<parenthetical>( to Dorothy - as he turns off the combustion engine . )</parenthetical>
<dialogue>Another young man.</dialogue>
<character>Andrew</character>
<dialogue>It's the same one.</dialogue>
<character>Dorothy</character>
<parenthetical>( as if she were speaking to a child who did n't remember his lessons . )</parenthetical>
<dialogue>It's been the same one for three months.</dialogue>
<character>Wynant</character>
<dialogue>Forgive me.</dialogue>
<parenthetical>( he shakes Andrew 's hand . )</parenthetical>
<dialogue>How are you?</dialogue>
<character>Dorothy</character>
<dialogue>Take a good look at him, Dad.</dialogue>
<parenthetical>( Wynant looks at Andrew and smiles . )</parenthetical>
<dialogue>Now please try to remember him.'cause he's going to be your son - in - law.</dialogue>
<scene_description>Wynant 's look changes to one of serious interest .</scene_description>
<character>Wynant</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>Well!</dialogue>
<character>Andrew</character>
<parenthetical>( to Wynant - feeling that Dorothy has spoken too bluntly . )</parenthetical>
<dialogue>That is, if it's all right with you.</dialogue>
<character>Wynant</character>
<dialogue>And if it is n't?</dialogue>
<character>Dorothy</character>
<parenthetical>( to the front ! )</parenthetical>
<dialogue>He'll still be your son - in - law!</dialogue>
<character>Wynant</character>
<parenthetical>( to Andrew , with humor . )</parenthetical>
<dialogue>You see how much we have to say.</dialogue>
<character>Dorothy</character>
<parenthetical>( puts her hand on her father 's arm . )</parenthetical>
<dialogue>Dad, this is what I really wanted to ask you.</dialogue>
<scene_description>Andrew , knowing that she wants to talk to her father alone , interrupts .</scene_description>
<character>Andrew</character>
<dialogue>Mind if I look around?</dialogue>
<character>Wynant</character>
<dialogue>Help yourself.</dialogue>
<parenthetical>( he turns and calls off . )</parenthetical>
<dialogue>Oh, Tom, show this gentleman.</dialogue>
<parenthetical>( he stops as he sees Tom is ready to leave . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>FULL SHOT -- INCLUDING TOM AT DOOR</stage_direction>
<scene_description>Tom is dressed in his street suit , ready to go out . Wynant stares at him in amazement .</scene_description>
<character>Wynant</character>
<dialogue>Where are you going?</dialogue>
<character>Tom</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>Home!</dialogue>
<character>Wynant</character>
<dialogue>Home?</dialogue>
<character>Tom</character>
<dialogue>I'm fired.</dialogue>
<character>Wynant</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>Who fired you?</dialogue>
<character>Tom</character>
<dialogue>You did.</dialogue>
<scene_description>Dorothy laughs , Wynant shamefacedly joins her .</scene_description>
<character>Wynant</character>
<dialogue>Oh, forget it - forget it. Here. show this gentleman around.</dialogue>
<scene_description>Tom beams at Wynant and starts to take his coat and hat off as he speaks to Andrew .</scene_description>
<character>Tom</character>
<dialogue>Right this way, sir.</dialogue>
<scene_description>Andrew follows him out .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT -- WYNANT AND DOROTHY</stage_direction>
<scene_description>She pulls her father down beside her on a bench , or possibly she climbs up on the long work bench - shoves the acetylene torches to a distance - and with her arms around him affec - tionately , continues :</scene_description>
<character>Dorothy</character>
<dialogue>Mother's set her heart on a big church wedding.</dialogue>
<character>Wynant</character>
<parenthetical>( parenthetically . )</parenthetical>
<dialogue>Yes, she would.</dialogue>
<character>Dorothy</character>
<dialogue>I hate all that fuss. But I'll do it on one condition - that you're there to give me away.</dialogue>
<character>Wynant</character>
<parenthetical>( chuckling . )</parenthetical>
<dialogue>What would your mother say to that?</dialogue>
<character>Dorothy</character>
<parenthetical>( obstinately . )</parenthetical>
<dialogue>This is my wedding.</dialogue>
<character>Wynant</character>
<dialogue>Would n't it be a little embarrassing. all of us there. your other and me and your stepfather?</dialogue>
<character>Dorothy</character>
<parenthetical>( she evidently has no love for her stepfather . )</parenthetical>
<dialogue>He can stay home. Please, Dad, wo n't you?</dialogue>
<character>Wynant</character>
<parenthetical>( doubtful . )</parenthetical>
<dialogue>If you think it'll be all right.</dialogue>
<scene_description>-LRB- Dorothy jumps down from the bench happily . She kisses him , delighted to have won him over -RRB-</scene_description>
<character>Wynant</character>
<dialogue>Wait a minute. When is it going to be? I'm leaving town tonight.</dialogue>
<character>Dorothy</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>Where are you going?</dialogue>
<character>Wynant</character>
<dialogue>It's a secret. I ca n't even tell you, my dear. I've got an important idea to work on.</dialogue>
<character>Dorothy</character>
<dialogue>A new invention?</dialogue>
<character>Wynant</character>
<dialogue>Yes.</dialogue>
<parenthetical>( then significantly , and with measured tone . )</parenthetical>
<dialogue>And I do n't want anybody to steal it from me.</dialogue>
<character>Dorothy</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>We were planning to be married right after Christmas.</dialogue>
<character>Wynant</character>
<dialogue>Oh, I'll be back before Christmas.</dialogue>
<character>Dorothy</character>
<parenthetical>( brightening again . )</parenthetical>
<dialogue>It's a promise?</dialogue>
<character>Wynant</character>
<dialogue>That's one thing I wo n't forget.</dialogue>
<parenthetical>( he looks at his watch . )</parenthetical>
<dialogue>Where's Macaulay? I ought to be starting.</dialogue>
<scene_description>Dorothy takes his watch while he starts to take off his overalls . There is an odd chain attached to the watch , with links of gold , copper , and silver . As he slips off the overalls , he speaks to Dorothy without looking at her , trying to keep a casual note in his voice . CAMERA IS PANNING DURING THE SCENE .</scene_description>
<character>Wynant</character>
<dialogue>How's your brother?</dialogue>
<character>Dorothy</character>
<parenthetical>( she looks at her father affectionately , sorry for him . )</parenthetical>
<dialogue>He's all right.</dialogue>
<scene_description>WE EITHER PAN NOW ON WYNANT , OR GO TO A FULL SHOT - as he goes to a washstand to clean up a bit . The basin is on the side of the room . The washstand could , if de - sired , be in a small closet , and the fol - lowing dialogue is played back and forth during this business .</scene_description>
<character>Wynant</character>
<dialogue>I'd like to see him. Why do n't you bring him down?</dialogue>
<character>Dorothy</character>
<parenthetical>( dangling the watch chain . )</parenthetical>
<dialogue>You know how it is, Dad. He's sort of under Mother's thumb.</dialogue>
<character>Wynant</character>
<parenthetical>( brushing his hair a bit . )</parenthetical>
<dialogue>I know - I know -</dialogue>
<character>Dorothy</character>
<parenthetical>( still monkeying with the watch - winding it . )</parenthetical>
<dialogue>You're not missing much. He's cuckoo.</dialogue>
<scene_description>Wynant comes back from the washstand - CAMERA MOVING UP FOR A CLOSEUP ON THE TWO .</scene_description>
<character>Wynant</character>
<dialogue>Like all the rest of us.</dialogue>
<parenthetical>( he leans closer to Dorothy , speaking humorously . )</parenthetical>
<dialogue>Has this fellow.</dialogue>
<parenthetical>( he indicates Andrew with a nod of his head . )</parenthetical>
<dialogue>. has he seen the whole family?</dialogue>
<character>Dorothy</character>
<parenthetical>( nodding and smiling . )</parenthetical>
<dialogue>And he still wants to marry me!</dialogue>
<character>Wynant</character>
<dialogue>He's a brave man.</dialogue>
<scene_description>They look off as Andrew enters the shop again .</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM SHOT -</stage_direction>
<scene_description>Andrew comes over to them with added interest and admiration .</scene_description>
<character>Andrew</character>
<parenthetical>( to Wynant . )</parenthetical>
<dialogue>I did n't know you invented that Smelting Process.</dialogue>
<character>Dorothy</character>
<parenthetical>( she holds the watch and chain toward Andrew . )</parenthetical>
<dialogue>Look - those are the first metals that came through.</dialogue>
<parenthetical>( she indicates the links in the chain . )</parenthetical>
<dialogue />
<scene_description>Andrew looks interestedly at them as she dangles the chain before him . Wynant is feeling his shin bone . He gives a little grunt of pain . Dorothy turns sympathetically to him .</scene_description>
<character>Dorothy</character>
<dialogue>Poor Dad, does that still bother you?</dialogue>
<character>Wynant</character>
<dialogue>Only in bad weather.</dialogue>
<character>Dorothy</character>
<dialogue>But it is n't bad weather now.</dialogue>
<character>Wynant</character>
<dialogue>Better get home before it is.</dialogue>
<character>Dorothy</character>
<parenthetical>( kissing Wynant . )</parenthetical>
<dialogue>Goodbye, darling. Do n't you dare forget. December 30th.</dialogue>
<character>Wynant</character>
<parenthetical>( to Andrew , with a warm friendliness . )</parenthetical>
<dialogue>Goodbye, my boy. Take care of Dorothy. Show her that there is such a thing as a happy marriage.</dialogue>
<character>Andrew</character>
<parenthetical>( sincerely . )</parenthetical>
<dialogue>I'll do my best.</dialogue>
<scene_description>Dorothy and Andrew start out , saying last goodbyes to Wynant and Tom . WE TRUCK ON THEM</scene_description>
</scene>
<scene>
<stage_direction>STAIRWAY FROM BASEMENT TO FIRST FLOOR - TRUCKING.</stage_direction>
<character>Andrew</character>
<dialogue>All settled?</dialogue>
<parenthetical>( Dorothy nods . )</parenthetical>
<dialogue>Grand!</dialogue>
<parenthetical>( then , after a second . )</parenthetical>
<dialogue>Why did your mother ever divorce him? He's swell.</dialogue>
<character>Dorothy</character>
<dialogue>Wel - l - l, it seems he has a secretary.</dialogue>
<character>Andrew</character>
<parenthetical>( understanding . )</parenthetical>
<dialogue>Oh.</dialogue>
<parenthetical>( he turns to Dorothy , smiling . )</parenthetical>
<dialogue>I'll do my own typing!</dialogue>
<scene_description>They have reached the top of the stairs now and are in a long and narrow corridor , a service elevator at one end , and a door leading to the street at the other .</scene_description>
<character>Dorothy</character>
<parenthetical>( looking to street .</parenthetical>
<parenthetical>it is snowing . )</parenthetical>
<dialogue>Dad's a good barometer.</dialogue>
<parenthetical>( she sees a taxi draw up in front of the building . )</parenthetical>
<dialogue>Quick! - Here's a cab.</dialogue>
<scene_description>They exit to street .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR STREET -- LATE AFTERNOON -- BLIZZARD</stage_direction>
<scene_description>It is a shabby , dreary street with warehouse and a deserted brewery . There is a driving snow - storm . Dorothy and Andrew come out as the cab is pulling up at the curb , and with difficulty against the wind and driving sleet , they go forward ready to take it . The cab door opens and an umbrella comes out and is opened , almost in their faces . The umbrella completely covers the upper part of the man who is carrying it . He turns to pay the driver . Dorothy recognizes Macaulay and pulls up the umbrella to speak to him under it .</scene_description>
<character>Dorothy</character>
<dialogue>Hello, there, Mr. Macaulay.</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP AT CURB -- THE GROUP</stage_direction>
<scene_description>Macaulay raises the umbrella , surprised . He is a fussy little bald - headed man of about forty , wearing glasses . He recognizes Dorothy and beams .</scene_description>
<character>Macaulay</character>
<dialogue>How are you?</dialogue>
<parenthetical>( then as the snow pelts down , he starts to hold his umbrella over her . )</parenthetical>
<dialogue>Here. Get under this.</dialogue>
<character>Dorothy</character>
<dialogue>Thanks. we're taking your cab.</dialogue>
<scene_description>Dorothy climbs into the cab . Andy follows her . She snuggles close against him , cold . Macaulay hands the driver a bill .</scene_description>
<character>Macaulay</character>
<parenthetical>( to Dorothy . )</parenthetical>
<dialogue>Is your father still in there?</dialogue>
<character>Dorothy</character>
<dialogue>He's waiting for you.</dialogue>
<character>Macaulay</character>
<dialogue>Did he tell you where he was going?</dialogue>
<character>Dorothy</character>
<dialogue>He would n't say.</dialogue>
<character>Macaulay</character>
<dialogue>Tch - tch - tch -.</dialogue>
<parenthetical>( shutting the cab door . )</parenthetical>
<dialogue>Well, goodbye, Miss Wynant.</dialogue>
<parenthetical>( then speaking to the driver as the driver is giving him his change . )</parenthetical>
<dialogue>You would n't drive slowly, so you do n't get a tip.</dialogue>
<character>Driver</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>That's okay - I took it!</dialogue>
<scene_description>He grins again and swings off , leaving Macaulay looking down at the change in his hand , indignant . THEN WE PAN WITH HIM as he enters the building .</scene_description>
</scene>
<scene>
<stage_direction>CORRIDOR FROM BASEMENT -- FULL SHOT.</stage_direction>
<scene_description>Wynant comes up the stairway and starts for the service elevator as Macaulay comes in from outside . Wynant is now in a business suit , but has no hat or overcoat on . He does n't see Macaulay . He pulls open the door of the service elevator . Macaulay starts to run to - ward Wynant with little fast steps , his bulky umbrella hanging from his arm .</scene_description>
<character>Macaulay</character>
<dialogue>Mr. Wynant. Mr. Wynant!</dialogue>
<scene_description>Wynant turns , his hand holding open the elevator door .</scene_description>
<character>Wynant</character>
<dialogue>Hello, there! Come on up with me.</dialogue>
<scene_description>Macaulay follows Wynant into the elevator , panting a little .</scene_description>
</scene>
<scene>
<stage_direction>SERVICE ELEVATOR -- WYNANT AND MACAULAY.</stage_direction>
<scene_description>Wynant pushes the button and the elevator starts slowly up . The elevator shaft is vis - ible through the wooden bars of the elevator . Wynant stands looking down at Macaulay , amused and friendly .</scene_description>
<character>Wynant</character>
<dialogue>Did you get my money?</dialogue>
<character>Macaulay</character>
<parenthetical>( he pulls a wallet out of his pocket and takes out a sheaf of new bills .</parenthetical>
<parenthetical>He talks plaintively as he does so . )</parenthetical>
<dialogue>I do wish you'd tell me where you're going.</dialogue>
<character>Wynant</character>
<dialogue>I'm not telling anyone.</dialogue>
<character>Macaulay</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>But suppose some business comes up.</dialogue>
<character>Wynant</character>
<dialogue>That's just why I'm going.</dialogue>
<scene_description>Macaulay starts to count out the bills into Wynant 's hand .</scene_description>
<character>Macaulay</character>
<dialogue>One hundred. two hundred. three.</dialogue>
<character>Wynant</character>
<parenthetical>( takes the sheaf of bills , impatient . )</parenthetical>
<dialogue>Never mind.</dialogue>
<character>Macaulay</character>
<dialogue>I wish you'd count them. There's a thousand dollars there.</dialogue>
<character>Wynant</character>
<parenthetical>( stuffing them carelessly in his pocket . )</parenthetical>
<dialogue>I trust you.</dialogue>
<character>Macaulay</character>
<dialogue>Is n't there anything else I can do for you? Have you bought your ticket?</dialogue>
<character>Wynant</character>
<dialogue>No.</dialogue>
<character>Macaulay</character>
<parenthetical>( there is a good - humored gleam in his eye .</parenthetical>
<parenthetical>He sees a chance of finding out where Wynant is going . )</parenthetical>
<dialogue>Well, let me do that for you.</dialogue>
<character>Wynant</character>
<dialogue>You might do that. Get me a ticket for.</dialogue>
<parenthetical>( he stops suddenly as he looks at Macaulay and sees the eager look in his eye - realizes that he is about to give himself away . )</parenthetical>
<dialogue>No, you do n't!</dialogue>
<scene_description>They smile at each other . The elevator has reached the third floor by this time . It stops . Wynant gets out .</scene_description>
</scene>
<scene>
<stage_direction>THIRD FLOOR CORRIDOR -- CLOSE AT ELEVATOR.</stage_direction>
<scene_description>Macaulay prepares to follow Wynant , but Wynant closes the door of the elevator , leaving him in it .</scene_description>
<character>Wynant</character>
<dialogue>Thanks, and goodbye.</dialogue>
<character>Macaulay</character>
<dialogue>What'll I do if something comes up?</dialogue>
<character>Wynant</character>
<dialogue>Settle it yourself. What have I got a lawyer for?</dialogue>
<character>Macaulay</character>
<dialogue>Is Julia going with you?</dialogue>
<character>Wynant</character>
<dialogue>No.</dialogue>
<scene_description>Wynant reaches through the bar of the elevator door and pushes the button inside . The elevator starts going down during the following dialogue . Macaulay stands inside , bewildered and worried .</scene_description>
<character>Macaulay</character>
<dialogue>But what if you need more money?</dialogue>
<character>Wynant</character>
<dialogue>I left instructions with Julia. She'll get it from you. Goodbye.</dialogue>
<scene_description>Wynant strides out of the scene . The elevator is beginning to disappear , carrying Macaulay .</scene_description>
<character>Macaulay</character>
<parenthetical>( with his face upturned , he goes on pleading until he disappears out of sight - he is calling up . )</parenthetical>
<dialogue>You do n't tell me a thing. I do n't know where you're going. I do n't know when you're coming back. I do n't know how to reach you if any business turns up!</dialogue>
<scene_description>And the elevator goes down out of sight , his voice trailing as it does so .</scene_description>
</scene>
<scene>
<stage_direction>WYNANT'S OFFICE -- TRUCKING AND PANNING ON WYNANT -</stage_direction>
<scene_description>As we pick him up leaning down in front of a small safe , opening it . He is talking to his bookkeeper , Tanner , as he does so . Tanner is a little man with a quick eye and an eager manner . He has his hat and coat on prepara - tory to leaving for the day . He is closing and locking some cabinets as the scene ensues . -LRB- Wynant 's office is of a solid rather old - fashioned type such as would be found in a building of this kind . It should , in fact , have windows through which a display room given to machinery can be seen -RRB-</scene_description>
<character>Wynant</character>
<parenthetical>( as he opens the safe . )</parenthetical>
<dialogue>My daughter's going to be married, Tanner. Nice young man. She just brought him.</dialogue>
<scene_description>Tanner listens preoccupied . He seems a little nervous about Wynant looking in the safe .</scene_description>
<character>Tanner</character>
<dialogue>Well, congratulations.</dialogue>
<character>Wynant</character>
<parenthetical>( talking right on . )</parenthetical>
<dialogue>I'm going to give her a wedding present. Thought I'd better do it now, before I forget it. I can drop them on my way to.</dialogue>
<parenthetical>( by this time Wynant has pulled out a and is puzzled to see it empty . )</parenthetical>
<dialogue>That's funny.</dialogue>
<parenthetical>( he leans down and hunts through the different papers in the safe .</parenthetical>
<parenthetical>He does n't find what he wants .</parenthetical>
<parenthetical>He turns to Tanner . )</parenthetical>
<dialogue>Where are those bonds?</dialogue>
<character>Tanner</character>
<dialogue>Bonds, sir?</dialogue>
<character>Wynant</character>
<dialogue>I know I left them there.</dialogue>
<character>Tanner</character>
<dialogue>Maybe Miss Wolf has them.</dialogue>
<character>Wynant</character>
<parenthetical>( still worried - wonders why Julia took them . )</parenthetical>
<dialogue>Maybe she has.</dialogue>
<character>Tanner</character>
<parenthetical>( picking up a baggage check from the table . )</parenthetical>
<dialogue>You're forgetting the check for your suitcase.</dialogue>
<parenthetical>( Wynant takes it from him preoccupied . )</parenthetical>
<dialogue>It's at the Grand Central.</dialogue>
<character>Wynant</character>
<parenthetical>( still preoccupied . )</parenthetical>
<dialogue>Oh, yes - yes - that's right -.</dialogue>
<parenthetical>( he goes out . )</parenthetical>
<dialogue />
<scene_description>As soon as Wynant goes out , Tanner looks after him . he seems worried . He looks apprehen - sively back toward the safe .</scene_description>
</scene>
<scene>
<stage_direction>A RADIO IN A NEW YORK APARTMENT -- CLOSEUP.</stage_direction>
<scene_description>This is Julia Wolf 's apartment , a fashionable penthouse furnished in very new modernistic style , but we do not reveal it as we dissolve in . We are merely HOLDING ON THE RADIO AND A MAN - JOE MORELLI - who sits in front of it , in his shirt sleeves . Morelli is a tough looking gangster . He has the radio on . He is looking at a copy of Vogue . A woman 's voice comes over the scene from off stage .</scene_description>
<character>Julia's Voice</character>
<dialogue>How do you want it?</dialogue>
<character>Morelli</character>
<dialogue>Straight.</dialogue>
<parenthetical>( turning a page of Vogue - holding it up to the light .</parenthetical>
<parenthetical>Through the transparent page , the corsets show through under the evening gowns . )</parenthetical>
<dialogue>Do women really wear them things?</dialogue>
<scene_description>Suddenly there is the sound of a key in the door . Morelli looks up quickly , his hand going to what we know is his gun , in his hip pocket -</scene_description>
</scene>
<scene>
<stage_direction>FULL SHOT OF THE APARTMENT -- A PENTHOUSE - PROCESS GLASS.</stage_direction>
<scene_description>WE HOLD FOR A MOMENT as Morelli rises noise - lessly and stands there , alert and ready for anyone . NOW CAMERA SWINGS RAPIDLY OVER TO THE :</scene_description>
</scene>
<scene>
<stage_direction>DOOR -- CLOSE SHOT ON WYNANT.</stage_direction>
<scene_description>As he enters , having used his own key . He still seems occupied , and does n't see Morelli as he comes through . CAMERA SWINGS RAPIDLY BACK TO :</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP ON MORELLI -- BEFORE THE RADIO.</stage_direction>
<scene_description>He stands there , quietly menacing , his hand on his hip .</scene_description>
<character>Morelli</character>
<dialogue>You're in the wrong place, mister.</dialogue>
</scene>
<scene>
<stage_direction>FLASH WYNANT -- CLOSEUP.</stage_direction>
<scene_description>Wynant looks off at him , surprised and angry .</scene_description>
<character>Wynant</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Am I?</dialogue>
</scene>
<scene>
<stage_direction>FLASH MORELLI -- CLOSEUP.</stage_direction>
<scene_description>AS WE PAN HIM FORWARD a few steps . He gives Wynant a savage double - O.</scene_description>
<character>Morelli</character>
<dialogue>What's on your mind? What do you want?</dialogue>
<character>Julia's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Who is it, Joe?</dialogue>
<character>Morelli</character>
<parenthetical>( watching Wynant . )</parenthetical>
<dialogue>That's what I want to know.</dialogue>
</scene>
<scene>
<stage_direction>MEDIUM SHOT -- THE APARTMENT.</stage_direction>
<scene_description>As Julia comes into the room , with two drinks in her hand . She is a woman of about thirty . She is in very elaborate lounging pajamas , her hair is too well waved , her nails too red , her eyebrows too delicately arched . But she has the look of a hard businesswoman under - neath it all . She looks disturbed as she sees it is Wynant .</scene_description>
<character>Julia</character>
<dialogue>We're just having a little drink.</dialogue>
<character>Wynant</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>So I see.</dialogue>
<scene_description>Morelli looks from one to the other . In Wynant 's attitude of displeased propietorship , he gets his hint of who he is . he reaches for his coat over the chair and starts to put it on .</scene_description>
<character>Julia</character>
<parenthetical>( her eyes still on Wynant . )</parenthetical>
<dialogue>See you later, Joe.</dialogue>
<scene_description>Morelli looks from one to the other , and then slowly gets his hat and starts out .</scene_description>
<character>Morelli</character>
<dialogue>Sorry. I did n't know I was talking to the boy friend. S'long.</dialogue>
<scene_description>He walks carelessly and arrogantly out of the door , slamming it after him . CAMERA MOVES IN FOR A CLOSE SHOT OF JULIA AND WYNANT . She puts the drinks down . She tries to ignore Wynant 's very evident displeasure .</scene_description>
<character>Wynant</character>
<dialogue>Who's that man?</dialogue>
<character>Julia</character>
<dialogue>He's not anybody. Just a fellow I used to know.</dialogue>
<character>Wynant</character>
<dialogue>I thought you'd given up that sort of friend.</dialogue>
<character>Julia</character>
<dialogue>This is the first time I've seen him in years. I did n't want him to think I was high - hatting him.</dialogue>
<character>Wynant</character>
<dialogue>I do n't like him.</dialogue>
<character>Julia</character>
<parenthetical>( moving over to him , trying to conciliate him . )</parenthetical>
<dialogue>Do n't worry. You wo n't see him again.</dialogue>
<parenthetical>( she tries to take Wynant 's coat and hat . )</parenthetical>
<dialogue>What happened? Did you change your mind about going?</dialogue>
<character>Wynant</character>
<dialogue>No. I just came back for a second. I wanted to get those bonds.</dialogue>
<character>Julia</character>
<parenthetical>( she controls her fear under an air of ignorance . )</parenthetical>
<dialogue>What bonds?</dialogue>
<character>Wynant</character>
<dialogue>The government bonds. The ones you took from the office safe.</dialogue>
<character>Julia</character>
<parenthetical>( smoothly lying . )</parenthetical>
<dialogue>Oh yes. Why, you told me to sell them a long time ago.</dialogue>
<character>Wynant</character>
<parenthetical>( in a level tone . )</parenthetical>
<dialogue>I'd never tell you to sell those. I bought them for my daughter.</dialogue>
<character>Julia</character>
<dialogue>Do n't you remember.</dialogue>
<character>Wynant</character>
<parenthetical>( interrupting her . )</parenthetical>
<dialogue>Now see here, Julia. You're counting a little too much on my being absent - minded. You've been taking a little here and there for some time, and I have n't said anything about it. But this is fifty thousand dollars!</dialogue>
<character>Julia</character>
<parenthetical>( flying into a temper to try to hide her guilt . )</parenthetical>
<dialogue>Do you realize that you're accusing me of.</dialogue>
<character>Wynant</character>
<dialogue>No one else had the combination of that safe. You took them. What did you do with them?</dialogue>
<character>Julia</character>
<parenthetical>( in a fury . )</parenthetical>
<dialogue>What if I did take them? I'm sick and tired of seeing you hand out thousands of dollars to that family of yours.</dialogue>
<character>Wynant</character>
<parenthetical>( cutting in . )</parenthetical>
<dialogue>That's my business.</dialogue>
<character>Julia</character>
<parenthetical>( going on without listening to him . )</parenthetical>
<dialogue>- supporting that gang of loafers! There's not one of them that cares a damn for you. A wife who threw you out the first time your foot slipped. They would n't raise a hand to help you. And I've given my whole life for you. If you kicked off tomorrow, where'd I be? Out in the gutter!</dialogue>
<parenthetical>( then defiantly . )</parenthetical>
<dialogue>Sure I took those bonds. Who has a better right -?</dialogue>
<scene_description>WE HOLD A MOMENT . There is a slight pause , then Wynant quietly , and unheeding all that she has said , starts for the phone . WE PAN HIM OVER AND HOLD as he picks up the phone -LRB- but not the receiver as yet -RRB- and speaks off to Julia :</scene_description>
<character>Wynant</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I want that money right now, or I'll hand you over to the police.</dialogue>
<character>Julia</character>
<parenthetical>( o.s. - not believing that he will do it . )</parenthetical>
<dialogue>Go ahead!</dialogue>
<character>Wynant</character>
<parenthetical>( lifts phone from receiver now - still quietly . )</parenthetical>
<dialogue>They'll be pretty rough with you. with your record.</dialogue>
<scene_description>CAMERA PULLS BACK , and Julia hurries into the scene .</scene_description>
<character>Julia</character>
<parenthetical>( contemptuous . )</parenthetical>
<dialogue>Thats a fine thing to throw up to me after all I've been to you.</dialogue>
<character>Wynant</character>
<parenthetical>( in phone . )</parenthetical>
<dialogue>Hello. give me.</dialogue>
<parenthetical>( Julia grabs the telephone from him , in a fury .</parenthetical>
<parenthetical>She puts it down .</parenthetical>
<parenthetical>Puts the re - ceiver in place .</parenthetical>
<parenthetical>They stand facing each other . )</parenthetical>
<dialogue>Well?</dialogue>
<character>Julia</character>
<parenthetical>( in a surly tone . )</parenthetical>
<dialogue>I'll give it back to you. all I've got. twenty - five thousand.</dialogue>
<character>Wynant</character>
<parenthetical>( he takes her by the wrists , gripping her hard , trying to force the truth from her . )</parenthetical>
<dialogue>You're going to return every cent of it!</dialogue>
<character>Julia</character>
<parenthetical>( flashing again . )</parenthetical>
<dialogue>I ca n't! I have n't got it!</dialogue>
<character>Wynant</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>What did you do with the rest?</dialogue>
<character>Julia</character>
<dialogue>I never had it.</dialogue>
<scene_description>The telephone rings .</scene_description>
<character>Wynant</character>
<dialogue>Then someone was in with you. Who was it? - Who was it?</dialogue>
<parenthetical>( Julia makes a move to answer the phone which rings again insistently . )</parenthetical>
<dialogue>I'll answer that -.</dialogue>
<parenthetical>( he picks up the phone . )</parenthetical>
<dialogue>Hello. hello.</dialogue>
</scene>
<scene>
<stage_direction>TELEPHONE BOOTH -- PUBLIC PAY STATION.</stage_direction>
<scene_description>A weasel - faced little man , Nunheim , is in the booth at the phone , but as he hears Wynant 's voice say `` hello '' , he very quietly pulls down the hook for the receiver and places the re - ceiver gently on it . He turns away .</scene_description>
</scene>
<scene>
<stage_direction>JULIA'S APARTMENT -- CLOSE SHOT AT PHONE AGAIN.</stage_direction>
<scene_description>Wynant is clicking the receiver up and down , as he repeats several times , sharply :</scene_description>
<character>Wynant</character>
<dialogue>Hello. hello. hello. HELLO.</dialogue>
<scene_description>Then , evidently hearing the sound of the re - ceiver being replaced , he impatiently puts the telephone down and turns back to Julia .</scene_description>
<character>Wynant</character>
<dialogue>You do n't need to tell me. I have a pretty good idea.</dialogue>
<scene_description>And with this WE PAN HIM as he puts on his hat and starts to walk out of the apartment - with determination and a menacing purpose in his face .</scene_description>
<character>Julia</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>What are you going to do?</dialogue>
<scene_description>Wynant turns at the door and smiles - a terrify - ing smile - and walks out . The CAMERA SWINGS QUICKLY BACK TO JULIA . She looks after him terrified as we</scene_description>
</scene>
<scene>
<stage_direction>A STREET AT NIGHT -- LIGHTING EFFECT.</stage_direction>
<scene_description>Wynant strides down the street , his long , lean , narrow form casting a long shadow on the snowy pavement . THE CAMERA HOLDS IN A RUNNING SHOT ON THE SHADOW as it elongates still further , and finally disappears . FADE OUT . -LRB- NOTE : We should get the above shadow effect through heavy snow , -LRB- via reflection of street lamps -RRB- . The idea and mood here of the shadow of the `` thin man '' as it strides rapidly through the night is purposely intended for a necessary effect . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>FADE IN: CLOSEUP OF A CHRISTMAS WREATH.</stage_direction>
<scene_description>The wreath is enormous , and under the conven - al greeting : `` A MERRY CHRISTMAS '' , which is in silver across it , there is a current uncon - ventional greeting also in silver , which reads : . -LRB- This slogan to come . -RRB- On sound track behind the shot an orchestra is playing gaily . Possibly an arrangement that Lombardo would make on `` JINGLE BELLS , JINGLE BELLS '' . There is also the sound of gay chat - ter and jingles of many cocktail shakers . NOW CAMERA PULLS BACK TO REVEAL THE BAR OF A SPEAKEASY , or , to be more up to date , the bar of a Biltmore or a Waldorf Astoria Hotel . It was against the glass of the bar that the Christmas wreath was first shown . It is about three o'clock in the afternoon . Almost all of the people sitting on the high stools in front of the bar are women . Several bartenders are shaking cocktails . The music , which , by the way , comes from an adjoining tea dansant room , continues . There is a holiday air about the whole place . A sophistication and a gaiety belonging to thirsty New York of the present moment . CAMERA RUNS DOWN THE LINE OF THE BAR AND HOLDS AT THE END , where a bartender is placing two cocktails on a tray held by a waiter . WE TRUCK ON THE WAITER as he takes the tray into the adjoining room . The room is quite filled with the afternoon tango crowd , and several couples are danicng on the floor . WE HOLD as the waiter stops at a small table along the wall . Dorothy and Andrew are seated there . Dorothy is looking very glum .</scene_description>
<character>Andrew</character>
<parenthetical>( putting his hand on hers . )</parenthetical>
<dialogue>Cheer up, darling.</dialogue>
<character>Dorothy</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>Dorothy tries to smile , but it 's a dreary attempt . The waiter puts down the cock - tails and leaves .</scene_description>
<character>Andrew</character>
<parenthetical>( holds up his glass . )</parenthetical>
<dialogue>Here's to us!</dialogue>
<scene_description>He drinks his cocktail . Dorothy takes a sip of hers . Andrew goes on talking , trying to get her out of the doldrums .</scene_description>
<character>Andrew</character>
<dialogue>By this time next year, we'll be two old married people. trimming the tree. hanging up the stock - ings for the children.</dialogue>
<parenthetical>( then as she looks up . )</parenthetical>
<dialogue>. well, the child, then.</dialogue>
<scene_description>Dorothy tries to smile , but she is worried , and can not enter into his fun . She puts her drink down .</scene_description>
<character>Andrew</character>
<dialogue>What's the matter, darling. not sweet enough?</dialogue>
<character>Dorothy</character>
<parenthetical>( listlessly . )</parenthetical>
<dialogue>It's all right.</dialogue>
<scene_description>-LRB- NOTE TO VAN : If you want them to get up and join the dancers , it can be done at this point . After Dorothy says , `` It 's all right '' , Andrew says , `` Come on , let 's dance . I 've got to get you out of the dumps somehow '' - and pulls her to her feet . The following scene continues now , as follows , in a PANNING SHOT OF THEM DANCING . -RRB-</scene_description>
<character>Andrew</character>
<parenthetical>( leaning forward - serious now . )</parenthetical>
<dialogue>Darling, your father's all right. He'll turn up in time.</dialogue>
<character>Dorothy</character>
<parenthetical>( turns to him - suddenly distraught . )</parenthetical>
<dialogue>But tonight is Christmas Eve!</dialogue>
<character>Andrew</character>
<dialogue>He's just forgotten. You know he forgets everything.</dialogue>
<character>Dorothy</character>
<dialogue>He's never forgotten a promise to me. I'm worried about him. I know something's happened to him.</dialogue>
<scene_description>She looks off scene toward the bar . Suddenly her attention is riveted on someone .</scene_description>
<character>Andrew</character>
<dialogue>What could happen to him, darling? You must n't worry.</dialogue>
<parenthetical>( then as he half rises , he continues . )</parenthetical>
<dialogue>What is it?</dialogue>
<character>Dorothy</character>
<dialogue>Just a minute.</dialogue>
<scene_description>She leaves the table - her eyes still fixed eagerly on the man she has seen . WE TRUCK AND PAN WITH HER as she goes forward to the bar . And as she comes in , we see her re - act eagerly as she confronts a good - looking man of about thirty - five , tall , casual , and worldly wise , who is standing in front of the bar , his face reflected in the mirror . This is NICK CHARLES .</scene_description>
<character>Nick</character>
<parenthetical>( to the bartender . )</parenthetical>
<dialogue>Another Martini -</dialogue>
<character>Dorothy</character>
<dialogue>Hello, there!</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP AT THE BAR -- NICK AND DOROTHY</stage_direction>
<scene_description>Nick Charles turns to her . He smiles at her . He has n't the faintest idea who she is , but he 's not going to discourage such a pretty girl .</scene_description>
<character>Nick</character>
<parenthetical>( very cordially . )</parenthetical>
<dialogue>Hello!</dialogue>
<parenthetical>( then over his shoulder to the bartender . )</parenthetical>
<dialogue>Make it two!</dialogue>
<parenthetical>( then back to Dorothy . )</parenthetical>
<dialogue>How are you?</dialogue>
<scene_description>Dorothy realizes that he has n't any remem - brance of her .</scene_description>
<character>Dorothy</character>
<dialogue>You know, we know each other.</dialogue>
<character>Nick</character>
<parenthetical>( heartily . )</parenthetical>
<dialogue>Of course we do! We've been friends for years.</dialogue>
<character>Dorothy</character>
<parenthetical>( inspecting him . )</parenthetical>
<dialogue>Are n't you Nick Charles?</dialogue>
<character>Nick</character>
<parenthetical>( his face changes .</parenthetical>
<parenthetical>He realizes that she does know him . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>Dorothy</character>
<dialogue>You do n't remember me. I'm Dorothy Wynant.</dialogue>
<scene_description>The bartender sets the drinks on the bar before Nick , who looks at Dorothy puzzled , trying to realize that this is the child he used to know .</scene_description>
<character>Nick</character>
<dialogue>Not that scrawny little?</dialogue>
<parenthetical>( he puts out his hand as if measuring a little girl 's height . )</parenthetical>
<dialogue />
<character>Dorothy</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>Nick</character>
<dialogue>How did you ever remember me?</dialogue>
<character>Dorothy</character>
<parenthetical>( intently . )</parenthetical>
<dialogue>I was fascinated with you. a real live detec - tive. You used to tell me the most wonderful stories. Were they true?</dialogue>
<character>Nick</character>
<dialogue>Probably not.</dialogue>
<scene_description>Andrew comes up to them . Dorothy turns to introduce him .</scene_description>
<character>Dorothy</character>
<dialogue>Andy. this is Nick Charles. He worked on a case for father.</dialogue>
<character>Nick</character>
<parenthetical>( shaking hands with Andrew . )</parenthetical>
<dialogue>Yes. Some nut who wanted to kill him.</dialogue>
<parenthetical>( then to Dorothy . )</parenthetical>
<dialogue>How is your father?</dialogue>
<character>Dorothy</character>
<dialogue>That's what I was going to ask you. he's dis - appeared!</dialogue>
<character>Nick</character>
<dialogue>Disappeared!</dialogue>
<character>Andrew</character>
<parenthetical>( to Dorothy . )</parenthetical>
<dialogue>Now do n't say that - he's just off somewhere work - ing.</dialogue>
<character>Dorothy</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>I ca n't find him. I've tried everything. I thought you might know.</dialogue>
<character>Nick</character>
<parenthetical>( chuckling . )</parenthetical>
<dialogue>I do n't know anything - I've been in California for four years. What about his lawyer? Used to be a guy named Mac - something.</dialogue>
<character>Dorothy</character>
<dialogue>Macaulay.</dialogue>
<character>Nick</character>
<dialogue>That's it. Herbert Macaulay.</dialogue>
<character>Dorothy</character>
<dialogue>I tried him once -</dialogue>
<character>Nick</character>
<dialogue>Why do n't you try him again?</dialogue>
<character>Andy</character>
<parenthetical>( digging in his pocket . )</parenthetical>
<dialogue>Here's a nickle.</dialogue>
<scene_description>Andrew gives her a nickle and she goes off . Now that she has gone Andrew drops his pretense of minimizing her father 's failure to appear . he steps up close to Nick .</scene_description>
<character>Andrew</character>
<dialogue>She's got me worrying, too.</dialogue>
<character>Nick</character>
<parenthetical>( easily , as he reaches for his cocktail . )</parenthetical>
<parenthetical>( NOTE : During the entire play , Nick is always reaching for a cocktail ! )</parenthetical>
<dialogue>Do n't start worrying about him. He's a good guy, but screwy.</dialogue>
<character>Andrew</character>
<parenthetical>( impressed by what he has just heard . )</parenthetical>
<dialogue>Why did that man want to kill him?</dialogue>
<character>Nick</character>
<dialogue>Said he stole his invention.</dialogue>
<character>Andrew</character>
<dialogue>Do you suppose?</dialogue>
<scene_description>The bartender is placing more drinks in front of Nick .</scene_description>
<character>Nick</character>
<parenthetical>( to Andrew . )</parenthetical>
<dialogue>What?</dialogue>
<character>Andrew</character>
<parenthetical>( deciding he is silly to get so worried . )</parenthetical>
<dialogue>Nothing.</dialogue>
<character>Nick</character>
<dialogue>You better take a drink.</dialogue>
<scene_description>He hands him one of the cocktails . As they start to drink , a commotion is heard offscene . a dog barking . men 's voices raised in protestation . and a a woman 's voice above it all . It is NORA , Nick 's wife .</scene_description>
<character>Nora's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Asta! Where are you going? Asta!</dialogue>
<scene_description>Bartenders , as well as Nick and Andrew , look off toward the commotion .</scene_description>
</scene>
<scene>
<stage_direction>ENTRANCE OF THE BAR -- FROM THE CLOAK ROOM OR CORRIDOR.</stage_direction>
<scene_description>NORA CHARLES , Nick 's wife , is coming through . She is a woman of about twenty - six . a tre - mendously vital person , interested in every - body and everything , in contrast to Nick 's apparent indifference to anything except when he is going to get his next drink . There is a warm understanding relationship between them . They are really crazy about each other , but undemonstrative and humorous in their compan - ionship . They are tolerant , easy - going , taking drink for drink , and battling their way to - gether with a dry humor . Just now Nora has been shopping . Her arms are full of small packages . Her hat is askew . She is pulled along bodily by a small white Sealingham on a leash . A doorman and a hat - check clerk are following her , protesting at her bringing the dog into this fashionable hotel . The dog is exitedly barking .</scene_description>
<character>Doorman</character>
<dialogue>Madame, you ca n't bring that dog in here!</dialogue>
<character>Nora</character>
<dialogue>I'm not bringing him. He's bringing me!</dialogue>
<parenthetical>( then to the dog . )</parenthetical>
<dialogue>Asta! Asta!</dialogue>
<scene_description>But the dog pays no attention . He pulls her like a streak out of the scene toward the bar . Nora 's packages are left in a trail behind her as she stumbles after him . The attendants follow after her , picking up the parcels and protesting vehemently .</scene_description>
<character>Attendants</character>
<dialogue>But Madame. dogs are n't allowed. It is n't only your dog. but if we started. Madame, you dropped your package. etc..</dialogue>
</scene>
<scene>
<stage_direction>BAR -- CLOSE SHOT</stage_direction>
<scene_description>As Asta , the dog , rushes in , still with Nora on the other end of the leash . The dog makes a bee - line for Nick , pulls away and - ker - plunk ! - he leaps clear up into Nick 's arms . He is barking with delight . He seems to have a particular desire to lick Nick 's nose . Nora , more dishevelled than ever and breathless , enters , panting . She realizes that this was Asta 's objective .</scene_description>
<character>Nora</character>
<dialogue>So it's you he was after!</dialogue>
<character>Nick</character>
<dialogue>Hello, baby.</dialogue>
<character>Nora</character>
<parenthetical>( indicating the dog . )</parenthetical>
<dialogue>He's dragged me into every gin mill on the block.</dialogue>
<character>Nick</character>
<parenthetical>( in explanation . )</parenthetical>
<dialogue>I had him out this morning.</dialogue>
<character>Nora</character>
<dialogue>I thought so. He even tried to drag me into the gentlemen's -</dialogue>
<character>Nick</character>
<parenthetical>( stopping her to introduce Andrew . )</parenthetical>
<dialogue>Oh, this is Andy -</dialogue>
<scene_description>Nora and Andy smile at each other .</scene_description>
<character>Nora</character>
<dialogue>How're you, Andy?</dialogue>
<parenthetical>( hastening to add . )</parenthetical>
<dialogue>I do n't usually look this way, but I've been Christmas shopping.</dialogue>
<scene_description>One of the attendants who followed Nora comes up . He hands Nora several of her packages .</scene_description>
<character>Attendant</character>
<dialogue>Madame, I'm afraid you'll have to.</dialogue>
<character>Nick</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>It's all right, Joe. It's my dog.</dialogue>
<parenthetical>( and as an afterthought , waving his hand at Nora . )</parenthetical>
<dialogue>. and my wife.</dialogue>
<character>Nora</character>
<dialogue>You might have mentioned me first.</dialogue>
<character>Nick</character>
<parenthetical>( to Joe . )</parenthetical>
<dialogue>He's well - trained. He'll behave himself.</dialogue>
<character>Nora</character>
<dialogue>As long as there is n't a fire hydrant. What I've gone through -</dialogue>
<character>Attendant</character>
<dialogue>He might bite someone.</dialogue>
<character>Nick</character>
<dialogue>He's all right.</dialogue>
<parenthetical>( He puts Asta down on the floor .</parenthetical>
<parenthetical>He speaks to the dog . )</parenthetical>
<dialogue>Now lie down.</dialogue>
<parenthetical>( Asta looks up at him , wagging his tail , but making no move to obey him .</parenthetical>
<parenthetical>Nick speaks with more authority . )</parenthetical>
<dialogue>Lie down!</dialogue>
<parenthetical>( still Asta looks fondly up at him , with - out obeying . )</parenthetical>
<dialogue>Well then, stand up!</dialogue>
<parenthetical>( then triumphantly to Joe . )</parenthetical>
<dialogue>See?</dialogue>
<scene_description>The attendant laughs and moves off . Dorothy comes toward them from the telephone booth . She seems a little more cheerful . Andrew watches her anxiously .</scene_description>
<character>Andrew</character>
<dialogue>Any luck?</dialogue>
<character>Dorothy</character>
<dialogue>He's just around the corner.</dialogue>
<character>Nick</character>
<dialogue>Your father?</dialogue>
<character>Dorothy</character>
<dialogue>No. The lawyer - I'm going to see him.</dialogue>
<scene_description>Nick realizes that Dorothy and his wife have not met . He makes the introduction very casually , waving his hand to indicate Nora .</scene_description>
<character>Nick</character>
<dialogue>Oh, my wife - Dorothy Wynant.</dialogue>
<scene_description>The two women smile in acknowledgment . nora looks at Dorothy with warm interest .</scene_description>
<character>Dorothy</character>
<dialogue>How do you do? I'm sorry we have to rush.</dialogue>
<character>Nick</character>
<dialogue>We're at the Normandie for a couple of weeks. Why do n't you drop around?</dialogue>
<character>Dorothy</character>
<dialogue>Thanks. We will. Goodbye.</dialogue>
<character>Andrew</character>
<dialogue>Goodbye.</dialogue>
<scene_description>The two go quickly off . Nora looks after them .</scene_description>
<character>Nora</character>
<dialogue>Pretty girl.</dialogue>
<character>Nick</character>
<dialogue>If you like'em like that.</dialogue>
<character>Nora</character>
<parenthetical>( grinning at him . )</parenthetical>
<dialogue>You got types?</dialogue>
<character>Nick</character>
<dialogue>Only you, darling. lanky brunettes with wicked jaws.</dialogue>
<character>Nora</character>
<dialogue>Who is she?</dialogue>
<character>Nick</character>
<dialogue>I was hoping I would n't have to tell you. Dorothy is really my daughter. You see, it was Spring in Venice, and I was so young. I did n't know what I was doing. We were all like that on my father's side.</dialogue>
<character>Nora</character>
<dialogue>By the way, how is your father's side?</dialogue>
<character>Nick</character>
<dialogue>Much better, thanks.</dialogue>
<character>Nora</character>
<dialogue>How many drinks have you had?</dialogue>
<character>Nick</character>
<dialogue>Six Martinis.</dialogue>
<character>Nora</character>
<parenthetical>( to the waiter , ordering . )</parenthetical>
<dialogue>Six Martinis.</dialogue>
<parenthetical>( then to Nick . )</parenthetical>
<dialogue>You're not going to have anything on me.</dialogue>
<scene_description>As she hugs the bar , her foot on the rail , in imitation of Nick</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP OF AN ICE BAG.</stage_direction>
<scene_description>Nick 's hands are screwing the cover on the ice bag . CAMERA PULLS BACK TO reveal him in the bathroom of his suite at the Normandie . He has just filled the bag from the wash basin which is full of ice . THE CAMERA TRUCKS with him as he goes into the bedroom and over to the bed .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE UP OF ASTA.</stage_direction>
<scene_description>He is sitting on the foot of the bed , his head cocked , looking anxiously at Nora at the other side of the bed .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT - AT BED.</stage_direction>
<scene_description>Nora is lying on the bed , dressed as we saw her in the last scene , except for her hat . Nick comes in and puts the ice bag on her head . Nora opens her eyes and speaks feebly to Nick .</scene_description>
<character>Nora</character>
<dialogue>What hit me?</dialogue>
<character>Nick</character>
<parenthetical>( grinning at her . )</parenthetical>
<dialogue>That last Martini.</dialogue>
<scene_description>Asta , delighted that Nora is all right , rushes to her , and licks her face .</scene_description>
<character>Nora</character>
<parenthetical>( struggling to get up . )</parenthetical>
<dialogue>I ca n't lie here. I've got to get up and trim that darned Christmas tree.</dialogue>
<character>Nick</character>
<dialogue>Take it easy.</dialogue>
<scene_description>The doorbell of the apartment rings . Nick starts into the next room . Nora looks off perturbed . She does n't feel up to visitors .</scene_description>
<character>Nora</character>
<dialogue>Who's that?</dialogue>
<character>Nick</character>
<parenthetical>( as he walks out . )</parenthetical>
<dialogue>Santa Claus.</dialogue>
</scene>
<scene>
<stage_direction>LIVING ROOM OF SUITE - (SKYLINE THROUGH WINDOWS)</stage_direction>
<scene_description>In one corner of the living room is an enor - mous Christmas tree , without any ornaments on it . The room is a mass of boxes and excelsior . Nick comes from the bedroom and opens the outer room . Macaulay stands outside , his eyes blinking behind their glasses , in friendly wel - come . CAMERA MOVES UP FOR CLOSE SHOT ON THE TWO .</scene_description>
<character>Macaulay</character>
<dialogue>How are you?</dialogue>
<character>Nick</character>
<parenthetical>( he is surprised but recognizes him after a second and is cordial . )</parenthetical>
<dialogue>Hello, Macaulay. Come in.</dialogue>
<character>Macaulay</character>
<parenthetical>( as he comes in . )</parenthetical>
<dialogue>Dorothy told me you were here. I was going to telephone but.</dialogue>
<character>Nick</character>
<dialogue>That's all right. What are you drinking?</dialogue>
<scene_description>WE PAN Nick over to a table where there are bottles of Scotch and ice and syphons of seltzer .</scene_description>
<character>Macaulay</character>
<dialogue>Nothing, thank you. Nothing.</dialogue>
<parenthetical>( Nick pours himself a drink as Macaulay sits down . )</parenthetical>
<dialogue>I wanted to see you. What's Mimi up to, Charles?</dialogue>
<character>Nick</character>
<dialogue>Mimi?</dialogue>
<parenthetical>( for a minute he does n't realize who Mimi is . )</parenthetical>
<dialogue>. Oh, Dorothy's mother. Does she have to be up to something?</dialogue>
<character>Macaulay</character>
<dialogue>She usually is. Trying one way or another to get money out of Wynant. I wanted to find out if you were er - er -.</dialogue>
<parenthetical>( he hints for the word . )</parenthetical>
<dialogue>- sleuthing for her.</dialogue>
<character>Nick</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>I have n't been a detective for four years.</dialogue>
<character>Macaulay</character>
<dialogue>You do n't say -</dialogue>
<character>Nick</character>
<parenthetical>( pressing syphon of seltzer . )</parenthetical>
<dialogue>My wife's father died and left her a lumber mill and a narrow guage railroad and a couple of other things. And I'm looking after them.</dialogue>
<character>Macaulay</character>
<dialogue>I see. I see.</dialogue>
<character>Nick</character>
<parenthetical>( coming over to him . )</parenthetical>
<dialogue>What's all the fuss about? Is he in hiding?</dialogue>
<character>Macaulay</character>
<dialogue>You know as much about it as I do. I have n't seen him in three months.</dialogue>
<character>Nick</character>
<dialogue>No word at all?</dialogue>
<character>Macaulay</character>
<dialogue>He sends word through Julia Wolf when he wants money. I give it to her and she gives it to him.</dialogue>
<scene_description>The telephone rings . Nick goes over to it , speaking to Macaulay as he goes .</scene_description>
<character>Nick</character>
<dialogue>So that's still on?</dialogue>
<parenthetical>( he picks up the phone . )</parenthetical>
<dialogue />
<character>Nora's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<parenthetical>( she has answered the phone in the next room . )</parenthetical>
<dialogue>Hello. just a minute.</dialogue>
<scene_description>Nick , who has listened on the phone , holds it out toward Macaulay .</scene_description>
<character>Nick</character>
<dialogue>It's for you.</dialogue>
<parenthetical>( Macaulay gets up and starts for the phone . )</parenthetical>
<dialogue>Your office.</dialogue>
<scene_description>Macaulay takes the telephone . Nora appears in the doorway to the bedroom . She has a box of Christmas tree ornaments in her hand . The ice bag is tied on her head , slightly askew . She is followed by Asta .</scene_description>
<character>Nora</character>
<dialogue>Is there a Mr. Macaulay in the house?</dialogue>
<parenthetical>( she looks over and sees Macaulay at the phone . )</parenthetical>
<dialogue>Oh, it's you.</dialogue>
<character>Macaulay</character>
<parenthetical>( into the telephone . )</parenthetical>
<dialogue>Yes? Then he turns to Nora. In his desire to be</dialogue>
<scene_description>polite , he almost misses both the intro - duction to Nora , and his telephone call .</scene_description>
<character>Nick</character>
<dialogue>My wife.</dialogue>
<character>Macaulay</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>How do you do?</dialogue>
<parenthetical>( he turns hastily back to the telephone .</parenthetical>
<parenthetical>Nora walks out of the scene , toward the Xmas tree . )</parenthetical>
<dialogue>What did you say? He is? Where is he? Very well.</dialogue>
<parenthetical>( he hangs up and turns to Nick . )</parenthetical>
<dialogue>He's back in town.</dialogue>
<parenthetical>( then as Nick looks mystified , he adds : . )</parenthetical>
<dialogue>Wynant. Thank heaven. He's waiting for me now.</dialogue>
<parenthetical>( then realizing that Nora does n't know what he is talking about . )</parenthetical>
<dialogue>Forgive me, Mrs. Charles. but I've been so upset. It's no joke working for a man like that. I must be off.</dialogue>
<parenthetical>( he starts for the door , which Nick opens for him . )</parenthetical>
<dialogue>Goodbye. goodbye,</dialogue>
<character>Nick</character>
<dialogue>S'long.</dialogue>
<scene_description>Macaulay shuts the door after him only to open it again . Macaulay . -LRB- sticking his head in -RRB- Merry Christmas ! He shuts the door again . During the above , Nora has started to decorate the tree . She is standing on a chair , a couple of Xmas ornaments in her hand , reach - ing toward the top or the tree .</scene_description>
<character>Nora</character>
<dialogue>If anyone says `` Merry Christmas'' once more, I'll kill'em. Nick starts to the telephone directory.</dialogue>
<character>Nick</character>
<dialogue>Iím going to telephone that poor kid.</dialogue>
<parenthetical>( he searches in the directory for a number . )</parenthetical>
<dialogue>At least she'll be glad to know he's alive.</dialogue>
<scene_description>Asta is sniffing around the bottom of the tree .</scene_description>
</scene>
<scene>
<scene_description>hand , trying to decide which to put on the top of the tree .</scene_description>
<character>Nora</character>
<dialogue>Shall I use this. or this?</dialogue>
<parenthetical>( she looks down at Asta , who is out of sight .</parenthetical>
<parenthetical>She speaks sharply . )</parenthetical>
<dialogue>Asta! Asta!</dialogue>
<parenthetical>( she returns to her trimming , muttering</parenthetical>
<dialogue />
<scene_description>indignantly -RRB- Our nice Christmas tree .</scene_description>
</scene>
<scene>
<character>Nick</character>
<dialogue>May I speak to Dorothy -</dialogue>
</scene>
<scene>
<scene_description>is at the phone . She is a slightly faded , but still very pretty woman of about forty - one or two . She is utterly feminine , with bright , little ways of talking and moving . She distrusts all women , even her daughter Dorothy , and treats all men with a flirtatious condes - cension , as if they were children . The only thing she really has any emotion about is her present husband , who she adores . She is terrified that he will leave her , knowing , although she wo n't admit it , that he married her for her money . The living room of her expensive apartment reflects her personality . It is a modernized Victorian , full or alabaster lamps , curved soft chairs and gleaming satin . Mimi is answering the telephone . Dorothy stands in the doorway , listening to her mother as she takes off her hat and coat . She is dressed in the same clothes in which we saw her at the hotel .</scene_description>
<character>Mimi</character>
<parenthetical>( as she hears that it is Nick Charles , her voice takes on a flirtatious note . )</parenthetical>
<dialogue>How are you? Oh, I'm Mrs. Jorgensen now.</dialogue>
<parenthetical>( she sees Dorothy out of the corner of her eye , but pretends that she does n't know she is there . )</parenthetical>
<dialogue>No, she is n't here.</dialogue>
<parenthetical>( Dorothy moves toward the telephone . )</parenthetical>
<dialogue>Is it about her father? Well, can I take the message?</dialogue>
<character>Dorothy</character>
<parenthetical>( taking the phone from her mother . )</parenthetical>
<dialogue>Give it to me.</dialogue>
<character>Mimi</character>
<parenthetical>( into the phone , pretending surprise . )</parenthetical>
<dialogue>Oh, here she is.</dialogue>
<scene_description>Reluctantly she gives the phone to Dorothy . She stands close to Dorothy , trying to hear the conversation .</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP NICK - PHONE.</stage_direction>
<character>Nick</character>
<dialogue>I just wanted to relieve your mind. Your father's alive and all right.</dialogue>
</scene>
<scene>
<stage_direction>JORGENSEN'S - CLOSE AT PHONE.</stage_direction>
<character>Dorothy</character>
<parenthetical>( her face lights up with relief . )</parenthetical>
<dialogue>Oh, thank heaven.</dialogue>
<character>Mimi</character>
<parenthetical>( whispering to Dorothy . )</parenthetical>
<dialogue>What is it? Has he found him?</dialogue>
<character>Dorothy</character>
<parenthetical>( into the phone , not paying attention to her mother . )</parenthetical>
<dialogue>Do you know where he's living?</dialogue>
<parenthetical>( for a moment she can not help but feel hurt . )</parenthetical>
<dialogue>Oh.</dialogue>
<parenthetical>( then she realizes how selfish her feeling is . )</parenthetical>
<dialogue>Well, at least I'm glad he's all right. Thank you for calling. Goodbye.</dialogue>
<scene_description>She hangs up . Mimi eagerly questions her ,</scene_description>
<character>Mimi</character>
<dialogue>What is it?</dialogue>
<character>Dorothy</character>
<dialogue>Nothing.</dialogue>
<scene_description>Gilbert comes into the room . He is a boy of about seventeen or eighteen . He wears spectacles . He is slight in build . The two women do n't notice him .</scene_description>
<character>Mimi</character>
<dialogue>That is n't true. It was about your father. Where is he?</dialogue>
<character>Dorothy</character>
<dialogue>He's all right. Is n't that enough?</dialogue>
<character>Mimi</character>
<dialogue>No.</dialogue>
<character>Dorothy</character>
<dialogue>You just want money - and you have n't any right to any more. He made a big settlement on you.</dialogue>
<character>Mimi</character>
<dialogue>That's gone long ago. I've got to see him. Where is he?</dialogue>
<character>Dorothy</character>
<dialogue>I wo n't have you hounding him any more for money.</dialogue>
<character>Gilbert</character>
<parenthetical>( to his mother . )</parenthetical>
<dialogue>I'll tell you.</dialogue>
<character>Dorothy</character>
<parenthetical>( turning on him acccusingly . )</parenthetical>
<dialogue>You've been listening again on that extension.</dialogue>
<character>Gilbert</character>
<parenthetical>( very simply . )</parenthetical>
<dialogue>Of course. What's an extension for?</dialogue>
<character>Mimi</character>
<parenthetical>( to Gilbert , who is evidently her favorite of the two children . )</parenthetical>
<dialogue>What is it, Gilbert? Tell mother! What did he say?</dialogue>
<character>Gilbert</character>
<dialogue>He said that father's in town. He's been seeing Julia right along.</dialogue>
<character>Mimi</character>
<parenthetical>( bitterly . )</parenthetical>
<dialogue>That woman!</dialogue>
<character>Gilbert</character>
<dialogue>She could tell you where father is.</dialogue>
<character>Dorothy</character>
<dialogue>Mother. you could n't do that. You could n't go to her.</dialogue>
<character>Mimi</character>
<dialogue>I did n't say I would. But we've got to have money.</dialogue>
<scene_description>Dorothy Did it ever occur to you that Chris might work ?</scene_description>
<character>Mimi</character>
<parenthetical>( looking fearfully off scene . )</parenthetical>
<dialogue>Shush!</dialogue>
</scene>
<scene>
<stage_direction>BACK OF A SOFA BIG CLOSEUP</stage_direction>
<scene_description>From the sofa a man rises with languid dignity . It is Chris Jorgensen . He is younger than Mimi . A very handsome man , but one whom you could know at first sight that you could not trust .</scene_description>
<character>Mimi's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Chris! Chris Jorgensen pays no attention to Mimi. He</dialogue>
<scene_description>throws Dorothy a deadly glance and walks with hurt dignity out of the room , carrying the newspaper he has been reading . CAMERA PULLS</scene_description>
</scene>
<scene>
<stage_direction>DOROTHY, MIMI AND GILBERT</stage_direction>
<scene_description>Mimi looks after Jorgensen , fearfully . She turns to Dorothy .</scene_description>
<character>Mimi</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>You've hurt his feelings!</dialogue>
<scene_description>She hurries out of the room after Jorgensen . Dorothy looks after them , disgusted . Gilbert watches Dorothy with detached , scientific interest .</scene_description>
<character>Gilbert</character>
<dialogue>You know, you have an Oedipus complex and you wo n't admit it.</dialogue>
<character>Dorothy</character>
<parenthetical>( this is the last straw . )</parenthetical>
<dialogue>Oh, please, Gilbert! She starts out of the room but Gilbert con -</dialogue>
<scene_description>tinues to talk to her , although she is not paying any attention .</scene_description>
<character>Gilbert</character>
<dialogue>The trouble with you is that you wo n't face facts. I know I have a mother fixation. but it's slight. it has n't yet reached the point of.</dialogue>
<character>Dorothy</character>
<dialogue>Oh stop it! Stop it!</dialogue>
<scene_description>Dorothy walks out . Gilbert looks after her , bewildered by her lack or scientific interest .</scene_description>
</scene>
<scene>
<stage_direction>JORGENSEN'S BEDROOM - MEDIUM</stage_direction>
<scene_description>Jorgensen is standing in front of the mirror , adjusting his tie . Mimi comes in , very much perturbed . She goes to him affectionately . Jorgensen realizes his power over her and uses it .</scene_description>
<character>Mimi</character>
<dialogue>Do n't mind what she says, Chris.</dialogue>
<character>Jorgensen</character>
<dialogue>How can I help but mind? I'm constantly humiliat - ed. just because I have n't money.</dialogue>
<character>Mimi</character>
<parenthetical>( eagerly . )</parenthetical>
<dialogue>I'll get some.</dialogue>
<character>Jorgensen</character>
<dialogue>You've said that for weeks.</dialogue>
<character>Mimi</character>
<dialogue>I know.</dialogue>
<character>Jorgensen</character>
<dialogue>Why do n't you go to see Julia? She handles his money.</dialogue>
<character>Mimi</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>Chris!</dialogue>
<character>Jorgensen</character>
<dialogue>All right. All right.</dialogue>
<character>Mimi</character>
<dialogue>I could n't go near that woman.</dialogue>
<character>Jorgensen</character>
<dialogue>I said all right!</dialogue>
<scene_description>He picks up his hat and coat from a chair . Mimi watches him anxiously .</scene_description>
<character>Mimi</character>
<dialogue>What are you going to do?</dialogue>
<character>Jorgensen</character>
<parenthetical>( easily . )</parenthetical>
<dialogue>Just what I said I'd do.</dialogue>
<character>Mimi</character>
<parenthetical>( in a panic , she pleads . )</parenthetical>
<dialogue>You would n't do that. you would n't!</dialogue>
<character>Jorgensen</character>
<parenthetical>( coldly - quietly . )</parenthetical>
<dialogue>Would n't I. Just watch me.</dialogue>
<character>Mimi</character>
<parenthetical>( almost crying . )</parenthetical>
<dialogue>Chris - Chris -!</dialogue>
<scene_description>But Jorgensen walks out .</scene_description>
</scene>
<scene>
<stage_direction>OUTSIDE JORGENSEN'S DOOR - HALL.</stage_direction>
<scene_description>Jorgensen strides out of the door and down the hall . Mimi comes to the door .</scene_description>
<character>Mimi</character>
<dialogue>Chris!</dialogue>
<scene_description>But Chris pays no attention . Mimi , distrait , goes back into his room . As she closes the door , we see Gilbert come out from behind the open door , where he has been listening .</scene_description>
</scene>
<scene>
<stage_direction>JORGENSEN'S ROOM AGAIN.</stage_direction>
<scene_description>Mimi stands irresolute for a minute , then goes to the telephone and dials a number .</scene_description>
<character>Mimi</character>
<parenthetical>( on telephone . )</parenthetical>
<dialogue>Miss Wolfe? Well this is Mrs. Jorgensen. I wonder if I may see you?</dialogue>
</scene>
<scene>
<stage_direction>JULIA'S APARTMENT - CLOSEUP AT PHONE</stage_direction>
<scene_description>Julia is evidently very much startled by Mrs. Jorgensen 's calling her .</scene_description>
<character>Julia</character>
<parenthetical>( hesitatingly . )</parenthetical>
<dialogue>Why yes. yes.</dialogue>
<scene_description>She puts down the telephone , thinking hard , worried by the idea or Mrs. Jorgensen 's impend - ing visit . Suddenly she makes up her mind and hastily dials a number .</scene_description>
</scene>
<scene>
<stage_direction>MIMI'S LIVING ROOM</stage_direction>
<scene_description>Mimi gets up from the telephone . There is a look of grim determination on her face .</scene_description>
</scene>
<scene>
<stage_direction>DESK OF JULIA WOLFE'S APARTMENT HOUSE.</stage_direction>
<scene_description>There is a clerk , standing behind the desk , and a telephone operator at a small switchboard . Mimi is standing in front of the desk .</scene_description>
<character>Mimi</character>
<dialogue>What is Miss Wolfe's apartment number?</dialogue>
<scene_description>Clerk Nine A. Mimi turns and walks across the lobby . The CAMERA TRUCKS with her . As she goes toward the elevator , Albert Nunheim is seen coming down the last steps of the stairs , out of her sight . He is a weasel - faced , little man with a long nose , weak mouth , and a shifty look in his eye . The clerk 's voice comes over the SOUND TRACK calling after Mimi .</scene_description>
<character>Clerk's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Who shall I say?</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP OF NUNHEIM ON STAIRS.</stage_direction>
<character>Mimi's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<parenthetical>( shortly . )</parenthetical>
<dialogue>Miss Wolf expects me.</dialogue>
<scene_description>As Mimi says `` Miss Wolfe '' , Nunheim stiffens and pulls back against the wall . He waits there until he hears the sound of the elevator door closing . He is evidently terrified by something that he has seen . He waits to be sure that Mimi has gone up in the elevator and then , with a furtive glance at the desk , CAMERA PULLS BACK AND PANS WITH HIM as he sneaks out and down the stairs on the other side of the elevator shaft leading down to the basement .</scene_description>
</scene>
<scene>
<stage_direction>NINTH FLOOR OF THE APARTMENT HOUSE TRUCKING SHOT.</stage_direction>
<scene_description>Mimi gets out of the elevator and goes to the door of the apartment 9 - A across the hall . She rings the doorbell . There is no response . She rings again , a lock or grim determination on her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OF BASEMENT ENTRANCE OF APT. HOUSE</stage_direction>
<scene_description>Nunheim comes out of the entrance , looks furtively up and down the street . He takes out a cigarette , lights it , and then , with a pretense of being casual , walks off down the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OF DOOR OF APT. 9-A</stage_direction>
<scene_description>Getting no response to her ringing , Mimi is knocking on the door . She is furious with Julia for not letting her in . Still getting no answer , she tries the door . She is sur - prised to find it is open . She looks up and down the hall and then decides to investigate . She walks in .</scene_description>
</scene>
<scene>
<stage_direction>LIVING ROOM OF JULIA'S APT. TRUCKING AND PANNING;</stage_direction>
<scene_description>Mimi comes into the room . She shuts the door slowly behind her . She looks curiously around the room , interested to see what kind of a place her ex - husband has furnished for Julia . Seeing no one in the room , she goes through it toward the bedroom . As she gets to the door and looks curiously in , she stiffens and screams .</scene_description>
</scene>
<scene>
<stage_direction>JULIA'S BEDROOM - FROM MIMI'S ANGLE</stage_direction>
<scene_description>On the floor of the ornate bedroom , Julia Wolfe 's dead body lies , stretched out . She has been shot . She is dressed as she was when she answered Mimi 's telephone call .</scene_description>
</scene>
<scene>
<stage_direction>REVERSE CLOSEUP - MIMI IN DOORWAY</stage_direction>
<scene_description>For a minute , Mimi stands in the doorway look - ing down at the body , rooted to the spot with horror . Then she looks around for the tele - phone , sees it beside the bed , and rushes to it , CAMERA PANNING .</scene_description>
<character>Mimi</character>
<parenthetical>( telephoning . )</parenthetical>
<dialogue>Quick! Quick! Send somebody up here right away. Something terrible has happened!</dialogue>
<scene_description>She replaces the receiver . For a second , she stands still , her back to the body . But her curiosity finally overcomes her terror , and she goes slowly back toward the body . She stands looking down at Julia , a million speculations and suspicions going through her mind . Suddenly her eye fastens on something in the dead woman 's outflung hand . Her eyes widen with horror . She makes up her mind to take the object , which we do not see . Look - ing around quickly to see if no one has come in , she reaches down , takes it from the girl 's hand , and stuffs it in her hand bag . She straightens up , CAMERA PANNING QUICKLY UP FOR :</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP OF MIMI.</stage_direction>
<scene_description>She stands clutching her bag , her eyes wide with horror at the realization of what that piece of evidence means . She is trying to formulate a plan of action as we :</scene_description>
</scene>
<scene>
<stage_direction>HOMICIDE BUREAU - POLICE HEADQUARTERS.</stage_direction>
<scene_description>Several officers are sitting around talking .</scene_description>
<character>1st Officer</character>
<dialogue>The way these dames get by with things makes me sick.</dialogue>
<scene_description>The telephone rings . Another officer answers the telephone .</scene_description>
<character>2nd Officer</character>
<dialogue>Yeah? - Julia Wolfe, 145 West 55.</dialogue>
<parenthetical>( as he hears the address he writes it down . )</parenthetical>
<dialogue />
<character>1st Officer</character>
<parenthetical>( sitting up . )</parenthetical>
<dialogue>That's me.</dialogue>
<character>2nd Officer</character>
<parenthetical>( he replaces the re - ceiver and turns to the other officer . )</parenthetical>
<dialogue>Here you are.</dialogue>
<scene_description>He gives the officer the paper .</scene_description>
<character>1st Officer</character>
<dialogue>What is it?</dialogue>
<character>2nd Officer</character>
<dialogue>A dame - murdered.</dialogue>
<scene_description>1st Officer That 's more like it . The 1st officer goes quickly out .</scene_description>
</scene>
<scene>
<stage_direction>MACAULAY'S LAW OFFICE - CLOSE SHOT.</stage_direction>
<scene_description>Macaulay is sitting at a flat desk , with some papers in front of him . A stenographer is tak - ing dictation . The inter - office communicator buzzes . Macaulay leans over pulls the switch and listens . A girl 's voice comes over the communicator .</scene_description>
<character>Girl's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Telephone, Mr. Macaulay.</dialogue>
<character>Macaulay</character>
<parenthetical>( frowning in annoyance at the interrupt - tion . )</parenthetical>
<dialogue>Who is it?</dialogue>
<character>Girl's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The police.</dialogue>
<scene_description>With a puzzled frown , Macaulay picks up the phone .</scene_description>
<character>Macaulay</character>
<dialogue>Hello.</dialogue>
<parenthetical>( then with an awed surprise . )</parenthetical>
<dialogue>Murdered! Yes, yes, I'll be right over.</dialogue>
<scene_description>He gets up .</scene_description>
</scene>
<scene>
<stage_direction>SPEAKEASY - CLOSE SHOT OF NUNHEIM AND MARIAN.</stage_direction>
<scene_description>They are in a booth at a speakeasy . Marian is a big - boned , full - fleshed , red - haired wo - man of about twenty - eight , handsome in a rather brutal , sloppy way . Nunheim has a satisfied smile on his face .</scene_description>
<character>Marian</character>
<dialogue>Where you been?</dialogue>
<scene_description>A waiter comes and puts two beers in front of them . He stands waiting to be paid .</scene_description>
<character>Nunheim</character>
<dialogue>Out making some money.</dialogue>
<character>Marian</character>
<parenthetical>( holding out her hand . )</parenthetical>
<dialogue>Let's see it.</dialogue>
<character>Nunheim</character>
<dialogue>I have n't got it yet.</dialogue>
<scene_description>Marian gives him a dirty look and takes a quarter out of her purse and throws it down to pay the waiter for the beers .</scene_description>
</scene>
<scene>
<stage_direction>HALL - OUTSIDE JULIA'S APARTMENT</stage_direction>
<scene_description>Two old wispy cleaning women in aprons with pass keys on thin belts are standing talking with their heads together outside of Julia 's apartment .</scene_description>
<character>1st Cleaning Woman</character>
<parenthetical>( almost whispering . )</parenthetical>
<dialogue />
<scene_description>What 're you goin ' to tell 'em ?</scene_description>
<character>2nd Cleaning Woman</character>
<parenthetical>( wiping her forehead with a dust cloth . )</parenthetical>
<dialogue>I guess you got to tell'em everything.</dialogue>
<character>1st Cleaning Woman</character>
<dialogue>Do you think Mr. Wynant?</dialogue>
<character>2nd Cleaning Woman</character>
<dialogue>All I know's they had an awful fight a while ago.</dialogue>
<scene_description>A police officer comes to the door of the apartment . He beckons to them .</scene_description>
<character>Police Officer</character>
<dialogue>All right, girls.</dialogue>
<scene_description>Without realizing the humor of the `` girls '' , they start in .</scene_description>
</scene>
<scene>
<stage_direction>STUDSY'S CABARET - FULL SHOT.</stage_direction>
<scene_description>It is in a flashy Broadway cabaret . On the dance floor about ten girls in practice clothes are rehearsing a new routine . A man is mechanically playing the piano for them . Several waiters are decorating the room with greens and Christmas wreaths . It is late afternoon , and the place has no customers in it . The chairs are piled on the tables . Morelli is sitting at a table . The waiter is placing a bottle of Scotch and a glass before him . Studsy comes up to the table . Studsy is a powerfully built man of about fifty who looks forty . He is a little fat now , but not soft . Morelli looks up as he comes to the table . CAMERA MOVES UP FOR CLOSE SHOT ON THEM .</scene_description>
<character>Morelli</character>
<dialogue>How ` yer, Studsy.</dialogue>
<scene_description>He starts to pour a drink .</scene_description>
<character>Studsy</character>
<parenthetical>( looking at Morelli very closely . )</parenthetical>
<dialogue>Diden you know Julia Wolfe?</dialogue>
<character>Morelli</character>
<parenthetical>( a guarded tone in his voice . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>Studsy</character>
<dialogue>Somebody just bumped her off I thought you'd like to know. Studsy walks away. Morelli slowly drinks</dialogue>
<scene_description>his liquor , his eyes fixed on space , think - ing hard .</scene_description>
</scene>
<scene>
<stage_direction>JULIA'S BEDROOM AGAIN - MEDIUM SHOT.</stage_direction>
<scene_description>The Medical Examiner , Dr. Walton , is leaning over Julia 's body . An officer is sitting in front of Julia 's desk , looking through her papers and letters and throwing them to one side as he reads them . John Guild , a burly , laconic , Special Investigator is in charge of the investigation . He is questioning Macaulay , who is sitting facing him .</scene_description>
<character>Guild</character>
<dialogue>When was the last time you gave her money for Wynant?</dialogue>
<character>Macaulay</character>
<dialogue>Yesterday. I gave her a thousand dollars.</dialogue>
<character>Guild</character>
<parenthetical>( calling over his shoulder to the other officer at the desk . )</parenthetical>
<dialogue>Seen any signs of it, Bill?</dialogue>
<character>Bill</character>
<dialogue>Nope.</dialogue>
<character>Macaulay</character>
<parenthetical>( helpfully . )</parenthetical>
<dialogue>Perhaps it was a robbery.</dialogue>
<character>Guild</character>
<dialogue>Aand her with that sparkler on her hand, and thirty dollars in her purse? Looks to me like our friend Wynant came to collect and ran into a little trouble.</dialogue>
<character>Bill</character>
<dialogue>They say downstairs they have n't seen him in three months.</dialogue>
<character>Guild</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>There's a lot of things they do n't see in this place.</dialogue>
<parenthetical>( he turns back to Macaulay . )</parenthetical>
<dialogue>And you say you have n't seen him or heard from him in that time?</dialogue>
<character>Macaulay</character>
<parenthetical>( meticulously honest . )</parenthetical>
<dialogue>I said he had n't written me.</dialogue>
<character>Guild</character>
<dialogue>Oh, then you did hear from him?</dialogue>
<character>Macaulay</character>
<parenthetical>( he hesitates to tell something which seems to incriminate Wynant . )</parenthetical>
<dialogue>Well.</dialogue>
<character>Guild</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>Well, what?</dialogue>
<character>Macaulay</character>
<dialogue>He telephoned me today.</dialogue>
<character>Guild</character>
<parenthetical>( leaning forward eagerly . )</parenthetical>
<dialogue>He did!</dialogue>
<character>Macaulay</character>
<dialogue>I was n't in. My secretary took the message. He left word for me to meet him at the Plaza.</dialogue>
<character>Guild</character>
<dialogue>When was that?</dialogue>
<character>Macaulay</character>
<dialogue>About three.</dialogue>
<character>Guild</character>
<dialogue>Did you go?</dialogue>
<character>Macaulay</character>
<dialogue>Yes. But he did n't show up.</dialogue>
<scene_description>An officer comes from the living room .</scene_description>
<character>Officer</character>
<parenthetical>( to Guild . )</parenthetical>
<dialogue>His house and his shop is closed. And he ai n't at any hotel.</dialogue>
<character>Guild</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>You're not going to stop at that, are you?</dialogue>
<character>Officer</character>
<parenthetical>( sullenly . )</parenthetical>
<dialogue>No, sir.</dialogue>
<scene_description>The officer goes out again . Guild turns back to Macaulay .</scene_description>
<character>Macaulay</character>
<parenthetical>( eagerly defending Wynant . )</parenthetical>
<dialogue>I know he'll turn up as soon as he sees this in the papers. You ca n't think he had anything to do with it, Mr. Guild. He was n't the kind of man that.</dialogue>
<character>Guild</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Do you know what they fought about that night he went away?</dialogue>
<character>Macaulay</character>
<parenthetical>( frowning as he realizes that this sounds bad . )</parenthetical>
<dialogue>I did n't know they had a fight.</dialogue>
<character>Guild</character>
<parenthetical>( dismissing Macaulay . )</parenthetical>
<dialogue>Well, thanks. We'll call you when we need you again.</dialogue>
<scene_description>Macaulay gets up to go .</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP - MEDICAL EXAMINER</stage_direction>
<scene_description>He is leaning over Julia 's body .</scene_description>
<character>Medical Examiner</character>
<dialogue>Mr. Guild, here's something very interesting.</dialogue>
<scene_description>As Guild walks into the shot , we :</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM SHOT - JORGENSEN'S LIVING ROOM.</stage_direction>
<scene_description>Mimi is in the midst of telling her experience . Gilbert , Dorothy and Jorgensen are listening . Mimi still has her hat and coat on . She has just come in . She is seated , on the edge of her chair , enjoying the recital . Jorgensen stands at the window .</scene_description>
<character>Mimi</character>
<dialogue>- and there she was lying dead. The police said she'd probably been killed about ten minutes before I got there.</dialogue>
<character>Jorgensen</character>
<parenthetical>( turning around - speaking with quiet anger . )</parenthetical>
<dialogue>I thought you said you were n't going there.</dialogue>
<character>Mimi</character>
<parenthetical>( flustered . )</parenthetical>
<dialogue>Why, you said.</dialogue>
<character>Jorgensen</character>
<parenthetical>( sharply interrupting . )</parenthetical>
<dialogue>Never mind.</dialogue>
<character>Gilbert</character>
<parenthetical>( who is tremendously interested . )</parenthetical>
<dialogue>Did they find any clues. a gun or fingerprints or anything?</dialogue>
<character>Mimi</character>
<parenthetical>( very glibly - remembering what she has in her purse . )</parenthetical>
<dialogue>Not a thing.</dialogue>
<character>Gilbert</character>
<dialogue>Was there much blood?</dialogue>
<character>Dorothy</character>
<parenthetical>( distressed . )</parenthetical>
<dialogue>Do n't. It's horrible.</dialogue>
<character>Mimi</character>
<dialogue>Nonsense! She got at she deserved.</dialogue>
<character>Gilbert</character>
<parenthetical>( to Mimi , not accusingly , but with scientific detached interest . )</parenthetical>
<dialogue>Did you kill her?</dialogue>
<character>Mimi</character>
<dialogue>Gilbert!</dialogue>
<character>Gilbert</character>
<dialogue>Why not? You had a perfectly good motive.</dialogue>
<character>Mimi</character>
<dialogue>I hope you wo n't talk that way to the police when they come here.</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP OF JORGENSEN.</stage_direction>
<scene_description>There is a guarded look of terror in his eyes .</scene_description>
<character>Jorgensen</character>
<dialogue>The police. I thought you said they'd finished with you.</dialogue>
<character>Mimi's voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>They said they'd finished for the present.</dialogue>
<scene_description>The thought that the police might come to the apartment increases his fear .</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM SHOT INCLUDING MIMI, DOROTHY AND GILBERT.</stage_direction>
<scene_description>Mimi is watching Jorgensen anxiously .</scene_description>
<character>Gilbert</character>
<dialogue>Well, I've got my alibi. I was at the Public Library.</dialogue>
<parenthetical>( To Jorgensen . )</parenthetical>
<dialogue>Where were you?</dialogue>
<character>Mimi</character>
<parenthetical>( hastily , with her eyes still on Jorgensen . )</parenthetical>
<dialogue>Children, will you go into the next room? I want to talk to Chris alone.</dialogue>
<scene_description>At that minute the front door bell rings . Mimi looks toward the door , wondering who it is .</scene_description>
<character>Gilbert</character>
<parenthetical>( going out to answer the ring . )</parenthetical>
<dialogue>I'll go.</dialogue>
<character>Jorgensen</character>
<dialogue>I'll be in my room.</dialogue>
<scene_description>He goes quickly out .</scene_description>
</scene>
<scene>
<stage_direction>HALLWAY OUTSIDE JORGENSEN APARTMENT.</stage_direction>
<scene_description>Guild and Bill are standing outside the door of the Jorgensen 's apartment . Gilbert opens the door of the apartment .</scene_description>
<character>Guild</character>
<dialogue>Is Mrs. Jorgensen in?</dialogue>
<character>Gilbert</character>
<parenthetical>( delighted to see then . )</parenthetical>
<dialogue>Yes, come right in!</dialogue>
<scene_description>The two officers go in and the door closes behind them . From a door beyond , the service door of the apartment , Jorgensen comes out , putting on his hat and coat as he comes . He does n't wait for the elevator but starts down the stairs .</scene_description>
</scene>
<scene>
<scene_description>Mimi 's delicate chairs , opposite Mimi . Gilbert is standing , listening eagerly . Dorothy sits nearby , her mind deeply occupied . Mimi is a little frightened , but she hides it under a pretense of wanting to do all she can to help . Dorothy sits listening .</scene_description>
<character>Guild</character>
<parenthetical>( as scene picks up . )</parenthetical>
<dialogue>There are a few things we want to check up on.</dialogue>
<character>Mimi</character>
<dialogue>I see.</dialogue>
<character>Guild</character>
<dialogue>You say you were in the room with the body from the time you discovered it'til we came?</dialogue>
<character>Mimi</character>
<dialogue>Why yes.</dialogue>
<character>Guild</character>
<dialogue>Did you see anything in Miss Wolfe's hand?</dialogue>
<character>Mimi</character>
<dialogue>No.</dialogue>
<character>Guild</character>
<dialogue>Are you sure you did n't leave the room. that one of the bellhops or maids might not have been in there alone?</dialogue>
<character>Mimi</character>
<parenthetical>( grabbing at the opening he has given her . )</parenthetical>
<dialogue>I do n't think so. Of course I was terribly upset. I hardly knew what I was doing.</dialogue>
<character>Guild</character>
<dialogue>The Medical Examiner seems to think that the body was touched. He says it looks as if the girl's hand had been forced open after she was killed.</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP OF DOROTHY</stage_direction>
<scene_description>She is listening intently .</scene_description>
<character>Guild's Voice</character>
<parenthetical>( o.s. continued . )</parenthetical>
<dialogue>And we just found out she had a thousand dollars the night before.</dialogue>
<scene_description>Dorothy looks toward her Mother , her eyes wide with horror .</scene_description>
<character>Mimi's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>I'm sorry I ca n't help you.</dialogue>
</scene>
<scene>
<stage_direction>MEDIUM SHOT OF GROUP</stage_direction>
<scene_description>Guild rises and starts for the door . Bill turns to follow him .</scene_description>
<character>Guild</character>
<dialogue>That's all right.</dialogue>
<parenthetical>( slight pause - His eyes swiftly scrutinize the group . )</parenthetical>
<dialogue>Well, we'll be going.</dialogue>
<character>Mimi</character>
<parenthetical>( tonelessly . )</parenthetical>
<dialogue>Goodbye.</dialogue>
<character>Guild</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>Goodbye.</dialogue>
<scene_description>Guild and the officer go out .</scene_description>
</scene>
<scene>
<stage_direction>HALLWAY OUTSIDE JORGENSEN APARTMENT</stage_direction>
<scene_description>Guild and Bill come out , followed by Gilbert . Guild goes to the elevator and rings the bell .</scene_description>
<character>Gilbert</character>
<dialogue>Could I go down and see the body? I've never seen a dead body.</dialogue>
<character>Guild</character>
<parenthetical>( for a minute he is curious , thinking there may be some reason . )</parenthetical>
<dialogue>Why do you want to?</dialogue>
<character>Gilbert</character>
<parenthetical>( very serious . )</parenthetical>
<dialogue>I've been studying psychopathic criminology. I have a theory. Perhaps this as the work of a sadist or a paranoiac. If I saw it, I might be able to tell.</dialogue>
<scene_description>The elevator comes up .</scene_description>
<character>Guild</character>
<parenthetical>( pretending to be as serious as Gilbert . )</parenthetical>
<dialogue>That's a good idea. But do n't you bother to come down. We'll bring the body right up here.</dialogue>
<parenthetical>( he gets into the elevator . )</parenthetical>
<dialogue>Come on, Bill.</dialogue>
<scene_description>They leave Gilbert , uncertain whether he is being kidded or whether they mean it .</scene_description>
</scene>
<scene>
<stage_direction>MIMI'S BEDROOM - PANNING SHOT</stage_direction>
<scene_description>The door is closed behind her . She goes to a small wall safe and opens it . Then she opens her bag and is about to put the thing she took from Julia 's hand wrapped in a handkerchief , into the safe , when she is startled by Dorothy 's voice .</scene_description>
<character>Dorothy's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue />
<scene_description>What have you got there ?</scene_description>
<character>Mimi</character>
<parenthetical>( she turns in the direction of Dorothy 's voice . )</parenthetical>
<dialogue>None of your business.</dialogue>
<scene_description>Dorothy comes up to her mother and speaks accusingly .</scene_description>
<character>Dorothy</character>
<dialogue>You took that money from Julia's hand.</dialogue>
<character>Mimi</character>
<dialogue>I did n't.</dialogue>
<character>Dorothy</character>
<dialogue>Then what are you hiding?</dialogue>
<character>Mimi</character>
<parenthetical>( with malicious relish . )</parenthetical>
<dialogue>It's a piece of evidence that's worth a great deal more than that.</dialogue>
<character>Dorothy</character>
<parenthetical>( with bitter contempt for her other . )</parenthetical>
<dialogue>You hand that over to the police.</dialogue>
<character>Mimi</character>
<dialogue>I'll do nothing of the sort.</dialogue>
<character>Dorothy</character>
<dialogue>All right, then. I'll tell them.</dialogue>
<character>Mimi</character>
<parenthetical>( very sure of her ground . )</parenthetical>
<dialogue>I do n't think you will. It's your father's.</dialogue>
<character>Dorothy</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>I do n't believe it! You're lying!</dialogue>
<character>Mimi</character>
<parenthetical>( viciously pleased at breaking Dorothy 's faith in her father . )</parenthetical>
<dialogue>There!</dialogue>
<scene_description>She holds out the broken end of the watch chain that we saw Wynant carry , wrapped in a handkerchief which is spotted with blood . Dorothy looks at it , and recognizes it with horror .</scene_description>
<character>Dorothy</character>
<parenthetical>( covering her face . )</parenthetical>
<dialogue>Oh!</dialogue>
<character>Mimi</character>
<parenthetical>( triumphantly . )</parenthetical>
<dialogue>Now do you believe me!</dialogue>
</scene>
<scene>
<stage_direction>LIVING ROOM - NICK'S APARTMENT.</stage_direction>
<scene_description>It is eight o'clock the same night . about two hours later . There is a party in full swing . It is an odd assortment of people . There is a police cap - tain there , a reminder of Nick 's old life . A little prizefight manager with a big fighter in tow . Quinn , a dissipated looking man of about thirty - five , and his wife , a rather faded woman of about thirty - two , very jealous of Friend Husband . Quinn is a broker , and the only one in evening clothes . Then there is Foster , a big fat man , who sits near the radio , a glass in his hand . With every sip , he grows more sentimental , as he lis - tens to the program of Christmas carols that are coming over the radio . There is an improvised bar with everything in the way of liquors and necessary accompaniments on it . Nick is moving among the people , seeing that they are served . Nick goes over to Mrs. Quinn , giving her one of the drinks he is carrying . Mrs. Quinn is looking around rather fearfully at the curious assortment of people in the room .</scene_description>
<character>Nick</character>
<parenthetical>( giving her a drink . )</parenthetical>
<dialogue>How are you doing?</dialogue>
<character>Mrs. Quinn</character>
<parenthetical>( looking around disapprovingly . )</parenthetical>
<dialogue>Who are they, Nick?</dialogue>
<character>Nick</character>
<parenthetical>( easily . )</parenthetical>
<dialogue>All my old friends.</dialogue>
<scene_description>He smiles and passes on to another group . Among them is a very rough looking man with a battered face . He turns to grin at Nick showing a mouth with several teeth missing .</scene_description>
<character>The man</character>
<dialogue>Hey, Nick. I think your wife's great.</dialogue>
<character>Nick</character>
<dialogue>Thanks. I wanted you to see her. and I wanted her to see you.</dialogue>
<scene_description>Nick goes on to speak to the Police Captain who is standing talking to a very distin - guished looking woman , in evening clothes .</scene_description>
<character>Police Captain</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>It's like old times, Nick. Remember the fun we used to have when we were both flat broke?</dialogue>
<character>Nick</character>
<dialogue>Do I!</dialogue>
<character>Police Captain</character>
<parenthetical>( with a sentimental sigh . )</parenthetical>
<dialogue>Those were the good old days.</dialogue>
<character>Nick</character>
<dialogue>Do n't kid yourself. These are the good old days.</dialogue>
<scene_description>Nick goes on his way to another group . The CAMERA PANS OVER TO NORA at the door . She opens it to admit Face Peppler . He is a tough - looking ex - convict . He looks eagerly around the room .</scene_description>
<character>Peppler</character>
<dialogue>Nick Charles here?</dialogue>
<character>Nora</character>
<dialogue>Yes.</dialogue>
<parenthetical>( calling Nick . )</parenthetical>
<dialogue>Nick!</dialogue>
<character>Peppler</character>
<dialogue>You his wife?</dialogue>
<character>Nora</character>
<dialogue>Yes.</dialogue>
<character>Peppler</character>
<parenthetical>( giving her an approving pat on the posterior . )</parenthetical>
<dialogue>He's a good guy.</dialogue>
<parenthetical>( his eyes are eagerly searching the room for Nick . )</parenthetical>
<dialogue>He sent me up the river once.</dialogue>
<parenthetical>( he sees Nick coming toward him , and</parenthetical>
<dialogue />
<scene_description>with the greatest good will and enthusiasm , he greets him -RRB- Hey , Nick !</scene_description>
<character>Nick</character>
<dialogue>Hello, Face!</dialogue>
<character>Peppler</character>
<dialogue>It's a long time I do n't see you.</dialogue>
<character>Nick</character>
<dialogue>A long time.</dialogue>
<character>Peppler</character>
<dialogue>Well, I needed the rest.</dialogue>
<character>Nora</character>
<parenthetical>( to Peppler - indicating Nick . )</parenthetical>
<dialogue>Was he a good detective?</dialogue>
<character>Peppler</character>
<dialogue>I would n't know. That time he caught me was a accident. I led with my right.</dialogue>
<character>Nick</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Come on. Have a drink.</dialogue>
<scene_description>He takes Peppler by the arm out of the scene as WE PAN NORA TO THE TELEPHONE . She picks up the receiver , her eyes on the odd mixture of people assembled .</scene_description>
<character>Nora</character>
<parenthetical>( in phone - philosophically . )</parenthetical>
<dialogue>Do n't bother to announce any more. Just send any - body right up.</dialogue>
<parenthetical>( then as the clerk evidently tries to protect her . )</parenthetical>
<dialogue>I know. But it's all right. They're his friends,</dialogue>
</scene>
<scene>
<stage_direction>TABLE - CLOSE SHOT</stage_direction>
<scene_description>Nick is pouring a drink for Face . The little prizefight manager comes up to him with a great hulk of a fighter in tow . -LRB- The contrast in sizes is amusing . -RRB-</scene_description>
<character>Manager</character>
<dialogue>Like to buy a piece of this pug, Nick? I'll sell you twenty - five percent of him for five grand.</dialogue>
<character>Nick</character>
<dialogue>Is he good?</dialogue>
<character>Manager</character>
<dialogue>He's been knocking'em cold. He ai n't afraid of nobody.</dialogue>
<parenthetical>( the fighter reaches for a drink .</parenthetical>
<parenthetical>The manager turns on him fiercely . )</parenthetical>
<dialogue>Drop that, or I'll slug you.</dialogue>
<scene_description>The fighter , cowed , meekly puts down the drink . Nick laughs , hands Peppler a drink .</scene_description>
<character>Nick</character>
<parenthetical>( to Peppler . )</parenthetical>
<dialogue>Here you are - it's good stuff - I got it before repeal.</dialogue>
<scene_description>The girl in very beautiful evening clothes with a string of pearls around her neck comes over to Nick and Peppler . She holds out the pearls for Nick 's attention .</scene_description>
<character>Girl</character>
<dialogue>Look, Nick. Remember? These are the ones you got back for me.</dialogue>
<scene_description>Peppler looks at them with a professionally avaricious eye .</scene_description>
<character>Peppler</character>
<dialogue>Them real?</dialogue>
<character>Nick</character>
<parenthetical>( to Peppler , warningly . )</parenthetical>
<dialogue>Ugh - ugh! This is your night off.</dialogue>
<scene_description>Suddenly the music of the radio stops as it is switched to another station . The voice of a news broadcaster comes over .</scene_description>
<character>Announcer</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>- 32 degrees below in Utica. Here's the latest news of the Julia Wolf murder.</dialogue>
<parenthetical>( Nick turns as he tears this .</parenthetical>
<parenthetical>The CAMERA TRACKS with him as he goes toward the radio .</parenthetical>
<parenthetical>The police captain is listening there .</parenthetical>
<parenthetical>he is the one who has changed the station . )</parenthetical>
<dialogue>The police have found out that the beautiful blonde secretary was once a gangster's girl. They are now looking for the gangster. Clyde Wynant, the girl's employer is still missing. This case will.</dialogue>
<parenthetical>( By this time , Nick reaches the radio .</parenthetical>
<parenthetical>He abruptly turns the switch , changing back to a musical program . )</parenthetical>
<dialogue />
<character>Nick</character>
<parenthetical>( to the captain . )</parenthetical>
<dialogue>Ca n't you fellows ever forget business?</dialogue>
<scene_description>He hands the captain a drink .</scene_description>
<character>Captain</character>
<dialogue>Good case for you, Nick.</dialogue>
<character>Nick</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Have n't you heard the news? I'm a gentleman now.</dialogue>
<character>Nora's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Nick! Reporters!</dialogue>
<scene_description>Nick turns .</scene_description>
</scene>
<scene>
<stage_direction>DOORWAY - MEDIUM SHOT</stage_direction>
<scene_description>Nora has admitted two young newspaper men who are standing in the doorway . Nick walks over to them .</scene_description>
<character>1st Reporter</character>
<dialogue>I'm from the American, Mr. Charles.</dialogue>
<scene_description>2nd Reporter Mirror .</scene_description>
<character>1st Reporter</character>
<dialogue>We wanted to know if you'd give us a statement. We hear you're here to work on the Julia Wolf case.</dialogue>
<character>Nick</character>
<dialogue>Sorry. I do n't know anything about it.</dialogue>
<scene_description>1st Reporter Come on , gim me a break .</scene_description>
<character>Nick</character>
<dialogue>I never tried to kid you reporters - I'm telling you the truth.</dialogue>
<scene_description>2nd Reporter Then why are you in town ?</scene_description>
<character>Nick</character>
<parenthetical>( confidentially . )</parenthetical>
<dialogue>My wife's on a bender. I'm trying to sober her up.</dialogue>
<scene_description>Nora sticks up her nose , laughs , goes over to the table . WE PAN as Nick leads the reporters there too . Quinn and one or two of the others also are imbibing .</scene_description>
<character>Nick</character>
<parenthetical>( as they get to the table . )</parenthetical>
<dialogue>Come on - relax -.</dialogue>
<parenthetical>( then to Nora . )</parenthetical>
<dialogue>Give them a drink.</dialogue>
<scene_description>Nora We need ice . Nick picks up a drink , already poured for himself .</scene_description>
<character>Nick</character>
<parenthetical>( looking at the glass in his hand . )</parenthetical>
<dialogue>What small glasses you have, Grandma.</dialogue>
<scene_description>He goes off toward the service pantry with the drink in his hand .</scene_description>
<character>1st Reporter</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>Listen, is n't he working on a case?</dialogue>
<character>Nora</character>
<dialogue>Sure. He's working on a case of Scotch. Pitch in and help him.</dialogue>
<scene_description>She goes off toward the service pantry . Mrs. Quinn comes up with her glass . Quinn looks appreciatingly after Nora .</scene_description>
<character>Quinn</character>
<parenthetical>( to is wife , indicating Nora . )</parenthetical>
<dialogue>Is n't she grand? I take off my hat to her.</dialogue>
<character>Mrs, Quinn</character>
<parenthetical>( acidly . )</parenthetical>
<dialogue>Your hat! You're getting conservative!</dialogue>
</scene>
<scene>
<stage_direction>SERVICE PANTRY</stage_direction>
<scene_description>It is a tiny room with cupboards , a sink and a miniature Frigidaire . Nick is getting ice cubes out of a tray . Nora comes in with a glass in her hand .</scene_description>
<character>Nora</character>
<dialogue>I'd better order some food.</dialogue>
<parenthetical>( to Nick - as she takes receiver . )</parenthetical>
<dialogue>That sounds like an interesting case. Would n't you like to take it?</dialogue>
<character>Nick</character>
<dialogue>I have n't the time. I'm much too busy seeing that you do n't lose any of the money I married you for.</dialogue>
<character>Nora</character>
<parenthetical>( to phone . )</parenthetical>
<dialogue>Room service, please -</dialogue>
<scene_description>She talks to Nick as she waits to get the connection . She watches him covertly as she she is sure that he would love to go back to `` sleuthing '' , and she 'd enjoy being in on it with him . she is trying to sound him out .</scene_description>
<character>Nora</character>
<dialogue>Sounds like a good case. Girl mysteriously murder - ed. No one knows who did it. They have n't found any clues yet - no gun - no fingerprints -</dialogue>
<character>Nick</character>
<parenthetical>( with a gleam of interest . )</parenthetical>
<dialogue>I wonder if they've -.</dialogue>
<parenthetical>( He looks at Nora and suddenly realizes that he is getting interested .</parenthetical>
<parenthetical>He jerks himself out of it . )</parenthetical>
<dialogue>I do n't want to hear anything about it.</dialogue>
<scene_description>He picks up the ice and Nora 's drink .</scene_description>
<character>Nora</character>
<dialogue>Is n't that my drink?</dialogue>
<character>Nick</character>
<dialogue>What are you drinking?</dialogue>
<character>Nora</character>
<dialogue>Rye.</dialogue>
<scene_description>Nick drains the glass and puts it down .</scene_description>
<character>Nick</character>
<dialogue>Yeah - that's yours.</dialogue>
<scene_description>He walks out as Nora turns laughing to the telephone .</scene_description>
<character>Nora</character>
<parenthetical>( in phone . )</parenthetical>
<dialogue>Listen - I want a whole flock or sandwiches -</dialogue>
</scene>
<scene>
<stage_direction>LIVING ROOM.</stage_direction>
<scene_description>Nick comes in with the ice . The doorbell rings . Nick puts down the ice and starts for the door . As the CAMERA TRUCKS with him he passes the telephone table . Foster is sitt - ing there . The radio music has put him in a sentimental mood .</scene_description>
<character>Foster</character>
<parenthetical>( at telephone - to Nick . )</parenthetical>
<dialogue>I'd like to telephone my mother. wish her a Merry Christmas.</dialogue>
<character>Nick</character>
<parenthetical>( easily . )</parenthetical>
<dialogue>Go ahead, Foster.</dialogue>
<character>Foster</character>
<dialogue>` Fraid I ca n't pay -</dialogue>
<character>Nick</character>
<dialogue>Forget it.</dialogue>
<scene_description>CAMERA CONTINUES TO PAN WITH HIM as he goes on to the door . Just as he is about to open it , he hears Foster 's voice , o.s.</scene_description>
<character>Foster</character>
<parenthetical>( to phone . )</parenthetical>
<dialogue>Long distance - give me San Francisco -</dialogue>
<scene_description>Nick looks off , winces a little , good - humored - ly . Then he opens the door and is surprised to see Dorothy Wynant standing there . She is white - lipped , miserable and desperate . Nick looks at her , a little worried by her harassed look .</scene_description>
<character>Nick</character>
<dialogue>Come on in.</dialogue>
<character>Dorothy</character>
<dialogue>I've got to see you alone!</dialogue>
<scene_description>Nick realizes that something is definitely the matter .</scene_description>
<character>Quinn</character>
<parenthetical>( voice o.s . )</parenthetical>
<dialogue>Hello, beautiful!</dialogue>
<scene_description>Nick turns as he hears Quinn 's voice .</scene_description>
</scene>
<scene>
<stage_direction>FULL SHOT -- GUESTS AND REPORTERS.</stage_direction>
<scene_description>Quinn is coming toward them , a drink in his hand . His eyes are fixed on Dorothy . The two reporters also are coming forward . Their curiosity quite different from Quinn 's , for they realize her identity and the possibili - ties of a story . Nick -LRB- rushing her toward the bedroom -RRB- Go on in there . He opens the door and she goes in . Nick is about to follow her when Quinn stops him .</scene_description>
<character>Quinn</character>
<dialogue>Who's the little blonde?</dialogue>
<character>Nick</character>
<dialogue>Used to bounce it on my knee.</dialogue>
<character>Quinn</character>
<dialogue>Which knee? Could I touch it?</dialogue>
<scene_description>Nick laughs and enters the bedroom . Quinn tries to follow , as do the reporters who have come up , but Nick shuts the door in their faces . Quinn , startled , knocks on the door .</scene_description>
<character>Quinn</character>
<parenthetical>( knocking . )</parenthetical>
<dialogue>House detective!</dialogue>
</scene>
<scene>
<stage_direction>BEDROOM.</stage_direction>
<scene_description>Dorothy is standing near the bed . She holds herself taut and stiff . She is determined that she is going to sacrifice herself to save her father . Nick comes up to her .</scene_description>
<character>Dorothy</character>
<dialogue>You heard about Julia Wolf?</dialogue>
<character>Nick</character>
<dialogue>Yes.</dialogue>
<character>Dorothy</character>
<parenthetical>( she pulls a gun from her muff . )</parenthetical>
<dialogue>There.</dialogue>
<parenthetical>( she throws it on the bed .</parenthetical>
<parenthetical>Nick looks at it , and then back at her .</parenthetical>
<parenthetical>His look is very cool and unexcited . )</parenthetical>
<dialogue />
<character>Nick</character>
<dialogue>What are you trying to tell me? That you did it?</dialogue>
<character>Dorothy</character>
<parenthetical>( she has her story all set and she speaks with very convincing fervor . )</parenthetical>
<dialogue>Yes. I hated her for coming between my mother and father. She kept me from seeing my father. I went down there to ask her where he was. She would n't tell me, and I shot her.</dialogue>
<character>Nick</character>
<parenthetical>( with sudden professional briskness . )</parenthetical>
<dialogue>Where did you hit her?</dialogue>
<character>Dorothy</character>
<parenthetical>( she hesitates . )</parenthetical>
<dialogue>Why. in the heart.</dialogue>
<character>Nick</character>
<dialogue>Pretty good shot you are. What did she do?</dialogue>
<character>Dorothy</character>
<dialogue>She fell down.</dialogue>
<character>Nick</character>
<dialogue>Did she make any sound? Did n't scream?</dialogue>
<character>Dorothy</character>
<parenthetical>( the horror of it makes her inarticulate . )</parenthetical>
<dialogue>I do n't know.</dialogue>
<character>Nick</character>
<dialogue>Which way did she fall?</dialogue>
<character>Dorothy</character>
<dialogue>She. she fell over backwards.</dialogue>
<character>Nick</character>
<dialogue>Oh, yeah? People fall toward a shot, you know. not back from it. I knew you were lying.</dialogue>
<scene_description>Dorothy breaks down , realizing that her attempt to take the blame is futile . Nick goes and holds her comfortingly in his arms .</scene_description>
<character>Nick</character>
<dialogue>Where did you get this gun?</dialogue>
<character>Dorothy</character>
<dialogue>I bought it in a pawn shop.</dialogue>
<character>Nick</character>
<dialogue>Do n't lie to me.</dialogue>
<character>Dorothy</character>
<dialogue>That's the truth.</dialogue>
<scene_description>At this point Nora enters . She holds a drink in her hand . Nick looks up - makes a little grimace at Nora . Dorothy turns and sees her . She pulls away a little .</scene_description>
<character>Dorothy</character>
<dialogue>This is awful of me - to make a nuisance of myself.</dialogue>
<character>Nora</character>
<parenthetical>( easily . )</parenthetical>
<dialogue>Do n't be a dope. Have a drink?</dialogue>
<scene_description>Dorothy tries wanly to smile .</scene_description>
<character>Dorothy</character>
<dialogue>No thanks. She fumbles in her bag to find her powder.</dialogue>
<scene_description>Nick is looking curiously at the gun , turn - ing it over in his hand .</scene_description>
<character>Nora</character>
<parenthetical>( to Dorothy - pointing to dressing table . )</parenthetical>
<dialogue>There's powder and stuff over there.</dialogue>
<scene_description>Dorothy walks toward the table .</scene_description>
<character>Nick</character>
<parenthetical>( looking up - indicating drink Nora has . )</parenthetical>
<dialogue>Make her take that.</dialogue>
<scene_description>Nora sees the gun now , is amazed .</scene_description>
<character>Nora</character>
<dialogue>Where did you get that?</dialogue>
<character>Nick</character>
<parenthetical>( indicating Dorothy . )</parenthetical>
<dialogue>She brought it in.</dialogue>
<parenthetical>( slips it into the drawer of a table . )</parenthetical>
<dialogue>Trying to make me believe she did it.</dialogue>
<character>Nora</character>
<parenthetical>( as he puts the gun away . )</parenthetical>
<dialogue>What are you going to do with it?</dialogue>
<character>Nick</character>
<dialogue>Nothing,'til I find out if it's the gun Julia Wolf was killed with.</dialogue>
<parenthetical>( he starts for the door to the living room . )</parenthetical>
<dialogue>Keep her in here, and do n't let those reporters see her. They might believe her.</dialogue>
<scene_description>He goes out the door , and closes it hastily behind him . Nora goes toward Dorothy .</scene_description>
</scene>
<scene>
<stage_direction>LIVING ROOM</stage_direction>
<scene_description>There is a hotel service table , piled high with food , in the room . The people here all eating , standing around with drinks in their hands . As soon as Nick opens the door to come out , the reporters pounce on him .</scene_description>
<character>First Reporter</character>
<dialogue>Is n't that Dorothy Wynant?</dialogue>
<character>Nick</character>
<dialogue>Yes.</dialogue>
<parenthetical>( the first reporter makes a move to go</parenthetical>
<dialogue />
<scene_description>past Nick to the bedroom , Nick bars the way -RRB- Here . here . She does n't know anything about it .</scene_description>
<character>Second Reporter</character>
<dialogue>And you said you were n't on the case.</dialogue>
<scene_description>He goes off quickly toward the telephone .</scene_description>
<character>Nick</character>
<dialogue>I'm not. I do n't know a thing about it, and I do n't care a thing about it. All I want is a drink.</dialogue>
<scene_description>Foster has at last been able to get his mother in San Francisco .</scene_description>
<character>Foster</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>Hello, Ma.</dialogue>
<scene_description>The reporter comes rapidly into the shot . He tries to take the telephone from the other man .</scene_description>
<character>Reporter</character>
<dialogue>Give me that.</dialogue>
<character>Foster</character>
<parenthetical>( holding on to it , protesting . )</parenthetical>
<dialogue>But I just got San Francisco.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>How are you, Ma?</dialogue>
<character>Reporter</character>
<parenthetical>( taking the phone from him , he speaks into it . )</parenthetical>
<dialogue>Get off the line, will you, Ma? I got some business.</dialogue>
<parenthetical>( he jiggles the hook for the operator . )</parenthetical>
<dialogue>Give me Drydock 4 - 8000.</dialogue>
</scene>
<scene>
<stage_direction>CLOSE SHOT AT TABLE</stage_direction>
<scene_description>Quinn is standing beside Nick . The doorbell rings .</scene_description>
<character>Nick</character>
<parenthetical>( to reporter over at telephone . )</parenthetical>
<dialogue>Hey, do n't do that!</dialogue>
<parenthetical>( he is pouring a drink . )</parenthetical>
<dialogue>Now do n't tell your paper that I'm working on anything,'cause I'm not.</dialogue>
<scene_description>Nick goes offscene toward the door . The bell rings again .</scene_description>
<character>Quinn</character>
<dialogue>He's just working on that little gal.</dialogue>
</scene>
<scene>
<stage_direction>FULL SHOT.</stage_direction>
<scene_description>Nick opens the door . Mimi and Gilbert are outside . Mimi instantly rushes in greets him effusively . Gilbert is left standing in the door .</scene_description>
<character>Mimi</character>
<dialogue>Oh, Nick. Nick!</dialogue>
<character>Nick</character>
<dialogue>Hello, Mimi.</dialogue>
<character>Mimi</character>
<dialogue>I want to talk to you about something very im - portant.</dialogue>
<scene_description>The first reporter has forgotten his telephone call . He is all ears . Nick looks around desperately , and takes Mimi roughly by the arm and rushes her into a doorway next to the door of the bedroom .</scene_description>
<character>Nick</character>
<dialogue>Come on in here.</dialogue>
</scene>
<scene>
<stage_direction>BATHROOM.</stage_direction>
<scene_description>As Nick brings Mimi into the bathroom , she looks around ; bewildered .</scene_description>
<character>Nick</character>
<dialogue>Sorry. This is the only place we can be alone ; Wo n't you sit down?</dialogue>
<scene_description>He waves airily off scene , presumably toward the seat , Mimi follows the line of his hand , looks , starts and gives him a cutting look .</scene_description>
</scene>
<scene>
<stage_direction>DOORWAY OF LIVING ROOM.</stage_direction>
<scene_description>Gilbert is standing hesitantly in the door - way . The first reporter suddenly sees him . He has n't noticed him before . He goes quick - ly to him .</scene_description>
<character>First Reporter</character>
<dialogue>How do you do, Mr. Wynant.</dialogue>
<parenthetical>( he takes Gilbert cordially but firmly by the arm and brings him into the room . )</parenthetical>
<dialogue>My name is Diamond. Come on in and have a drink.</dialogue>
<character>Gilbert</character>
<dialogue>I do n't drink.</dialogue>
<character>First Reporter</character>
<dialogue>As a matter - of - fact, I do n't either. I'd much rather talk.</dialogue>
<scene_description>He starts for a quiet corner -</scene_description>
</scene>
<scene>
<stage_direction>BATHROOM.</stage_direction>
<scene_description>Mimi and Nick are sitting on the edge of the tub .</scene_description>
<character>Mimi</character>
<dialogue>Clyde Wynant's crazy. absolutely crazy to stay away at a time like this. No wonder the police think he has something to do with it.</dialogue>
<character>Nick</character>
<dialogue>What do you think?</dialogue>
<character>Mimi</character>
<dialogue>Oh, I know he did n't, but I wish I could find him. I have something very important to tell him. Macaulay wo n't help at all. He thinks I just want money.</dialogue>
<character>Nick</character>
<parenthetical>( smiling at her . )</parenthetical>
<dialogue>Well, do n't you?</dialogue>
<character>Mimi</character>
<parenthetical>( choosing to regard this as a joke . )</parenthetical>
<dialogue>You're always teasing.</dialogue>
<scene_description>The door of the bathroom opens . Foster starts to come in . He stops suddenly as he sees Mimi .</scene_description>
<character>Foster</character>
<dialogue>I beg your pardon.</dialogue>
<scene_description>He backs hurriedly out . Mimi moves closer to Nick , takes his arm .</scene_description>
<character>Mimi</character>
<dialogue>Nick, you will help me find Clyde - wo n't you?</dialogue>
<character>Nick</character>
<dialogue>Now, Mimi, there are a thousand detectives in New York. Hire one of them.</dialogue>
<character>Mimi</character>
<parenthetical>( persuasively . )</parenthetical>
<dialogue>But he knows you. All you have to do is get in touch with him, and tell him that Mimi says every - thing is all right. but that I've got to see him.</dialogue>
<character>Nick</character>
<dialogue>I tell you again, I do n't want any part of it.</dialogue>
<parenthetical>( he goes and opens the door which connects with the bedroom . )</parenthetical>
<dialogue>Now you take Dorothy home and.</dialogue>
<character>Mimi</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>Dorothy! Is she here?</dialogue>
<character>Nick</character>
<parenthetical>( startled by her tone . )</parenthetical>
<dialogue>Yes.</dialogue>
<scene_description>Mimi pushes into the bedroom , past him .</scene_description>
</scene>
<scene>
<stage_direction>BEDROOM - MEDIUM GROUP</stage_direction>
<scene_description>Dorothy and Nora are sitting on the bed . Asta is between them . Dorothy is patting Asta , still looking very subdued and unhappy . Nora holds out the glass toward her .</scene_description>
<character>Nora</character>
<dialogue>If you finish this, you'll feel better.</dialogue>
<scene_description>In the mirror in back of them , we see Mimi coming toward Dorothy , a look of fury on her face . Dorothy looks up at her Mother as she comes into the scene , a little terrified by her Mother 's expression . Mimi comes right to Dorothy and stands over her . She is sure that Dorothy has told Nick about the watch chain .</scene_description>
<character>Mimi</character>
<dialogue>What did you tell him? What did you tell him?</dialogue>
<scene_description>Dorothy does n't answer . Her Mother slaps her viciously , repeating the question . Nick comes up from behind Mimi and pulls her away . Nora puts a protecting arm around Dorothy . There is a second of silence as Dorothy and Mimi face each other , all of their mutual antagonism in their eyes . Asta starts bark - ing . Nora quiets him .</scene_description>
<character>Nick</character>
<dialogue>She did n't tell me a thing.</dialogue>
<character>Nora</character>
<parenthetical>( drily to Mimi . )</parenthetical>
<dialogue>Too bad you did n't bring your whip.</dialogue>
<character>Mimi</character>
<parenthetical>( recovering herself . )</parenthetical>
<dialogue>I'm so excited I did n't know what I was doing. Come on, Dorothy, we'll go home.</dialogue>
<character>Nora</character>
<parenthetical>( sharply to Mimi . )</parenthetical>
<dialogue>She'll go home if she wants to.</dialogue>
<parenthetical>( she turns with warm affection to Dorothy . )</parenthetical>
<dialogue>You can stay here you know. There's plenty of room and we'd love to have you.</dialogue>
<character>Dorothy</character>
<dialogue>Thanks. But I'll go home.</dialogue>
<scene_description>She stands up to go . Mimi looks around .</scene_description>
<character>Mimi</character>
<dialogue>Where's Gilbert?</dialogue>
<character>Nick</character>
<parenthetical>( this is the last straw . )</parenthetical>
<dialogue>Gilbert! Is he here too?</dialogue>
<parenthetical>( he starts toward the living room . )</parenthetical>
<dialogue>We might as well be living in the lobby.</dialogue>
<scene_description>Gilbert is sitting in a corner of the room with the two reporters . They have their pencils out , taking down the rapid flow of words that come from Gil - bert .</scene_description>
<character>Gilbert</character>
<dialogue>There's a physiological as well as a psychological angle in my father's relationship with Julia Wolf that the police have overlooked. And I think it explains everything. You see, my father was a sexogenarian.</dialogue>
<character>1st Reporter</character>
<parenthetical>( deeply interested , not knowing the meaning of the word . )</parenthetical>
<dialogue>He was?</dialogue>
<character>Gilbert</character>
<dialogue>Yes. He admitted it.</dialogue>
<character>1st Reporter</character>
<parenthetical>( speaking very solemnly - thinking it is some sex perversion . )</parenthetical>
<dialogue>Sexogerarian, eh? Yes. Yes. But I ca n't put that in the paper.</dialogue>
<character>Gilbert</character>
<dialogue>Why not?</dialogue>
<character>1st Reporter</character>
<dialogue>You know how they are. sex.</dialogue>
<character>Gilbert</character>
<dialogue>Then just say he was sixty years old.</dialogue>
<character>1st Reporter</character>
<dialogue>Is that what it means?</dialogue>
<character>Gilbert</character>
<dialogue>Of course.</dialogue>
<scene_description>The reporter gets up , furious . He throws his pad to the floor . Nick comes into the scene . He goes to Gilbert .</scene_description>
<character>Nick</character>
<parenthetical>( to Gilbert - amused at the reporter 's</parenthetical>
<dialogue />
<scene_description>discomfort -RRB- Come on , son . He takes Gilbert by the arm and pushes him into the bedroom and closes the door on him . The telephone starts to ring . The two reporters follow Nick as he goes toward the telephone .</scene_description>
<character>2nd Reporter</character>
<dialogue>Come on. give me a break. You owe it to me after that.</dialogue>
<character>Nick</character>
<dialogue>I swear I have n't a thing to do with it.</dialogue>
<parenthetical>( He picks up the telephone .</parenthetical>
<parenthetical>The 2nd reporter listens , unashamed . )</parenthetical>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>BIG CLOSEUP - NUNHEIM AT A TELEPHONE.</stage_direction>
<scene_description>He is in a room telephoning . The background is not distinguishable . He is evidently talking for the effect on someone else in the room whom we do not see . He looks at the man out of the corner or his eye as he talks .</scene_description>
<character>Nunheim</character>
<dialogue>Mr. Charles, I'd like to lay a proposition before you. I ca n't discuss it over the telephone, but if you'll give me half an hour of your time. it's about the Julia Wolf. At that a hand comes in, covers the mouth -</dialogue>
<scene_description>piece , preventing any further conversation . Nunheim , still in this big closeup , looks o.s , at the invisible man and grins sardoni - cally .</scene_description>
</scene>
<scene>
<stage_direction>NICK AT THE TELEPHONE</stage_direction>
<scene_description>Nick -LRB- frowning -RRB- Hello . hello . Then as he gets no answer , he hangs up . The 2nd reporter jumps to him .</scene_description>
<character>2nd Reporter</character>
<dialogue>What was it?</dialogue>
<character>Nick</character>
<dialogue>Just a man trying to sell me insurance.</dialogue>
</scene>
<scene>
<stage_direction>WIDE ANGLE - THE ROOM</stage_direction>
<scene_description>Nora comes out of the bedroom door . Quinn comes up to her . Mrs. Quinn , starts listen - ing .</scene_description>
<character>Quinn</character>
<dialogue>Where's that girl?</dialogue>
<scene_description>Nora She 's gone .</scene_description>
<character>1st Reporter</character>
<dialogue>How'd they go?</dialogue>
<scene_description>Nora Out the back way . The two reporters , without a word , grab their hats and coats and rush out . Quinn , too , brazenly starts to breeze past his wife and follow them . Mrs. Quinn steps in front of him , slaps his face . Foster , again at the phone , whines out : `` Hello , Ma ! '' And simultaneously , during this confusion , the radio starts to play `` Silent Night , Peaceful Night '' - as the police captain , the pug , Face Peppler , and all others immediately join in with the song . They are all pretty tight by this time and sing at the top of their lungs . The effect desired is a screwy climax to what has been quite a hectic , screwy situation . CAMERA PANS WITH NORA as she takes it all in at a quick glance and walks over to Nick . She puts her arms around him . He looks down at her , amused . CAMERA MOVES UP FOR A BIG CLOSEUP OF THE TWO .</scene_description>
<character>Nora</character>
<dialogue>I love you, Nickie,'cause you know such lovely people!</dialogue>
<scene_description>As we DISSOLVE TO :</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT OF BED - EFFECT SHOT.</stage_direction>
<scene_description>It is about an hour later the bedroom is dark for a second . Then , Nora on one side of the big double bed , pulls on the light on the small table beside her . She sits up a little and looks over at Nick . He is soundly sleeping , his face toward her . She has Dorothy on her mind and ca n't sleep and she wants company .</scene_description>
<character>Nora</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Nick!</dialogue>
<parenthetical>( he does n't stir . )</parenthetical>
<dialogue>Nick!</dialogue>
<parenthetical>( he looks sleepily at her . )</parenthetical>
<dialogue>Are you asleep?</dialogue>
<character>Nick</character>
<dialogue>Yes.</dialogue>
<character>Nora</character>
<dialogue>Good. I want to talk to you.</dialogue>
<character>Nick</character>
<dialogue>That's jolly.</dialogue>
<character>Nora</character>
<dialogue>Do n't you think you'd like to go back to detecting once in a while, just for the fun of it?</dialogue>
<character>Nick</character>
<dialogue>Ca n't you get to sleep?</dialogue>
<character>Nora</character>
<dialogue>No.</dialogue>
<character>Nick</character>
<parenthetical>( sitting up in bed . )</parenthetical>
<dialogue>Maybe a drink would help you.</dialogue>
<character>Nora</character>
<dialogue>No thanks.</dialogue>
<character>Nick</character>
<dialogue>Maybe it would if I took it.</dialogue>
<scene_description>CAMERA PULLS BACK as he gets up out of bed and goes to the bureau where there is a bottle and a glass . Asta jumps down and follows him . Nick pours himself a drink . Asta stands there , licking Nick 's bare feet .</scene_description>
<character>Nora</character>
<dialogue>Everybody says you were a grand detective.</dialogue>
<character>Nick</character>
<parenthetical>( taking his drink . )</parenthetical>
<dialogue>They were kidding you.</dialogue>
<character>Nora</character>
<dialogue>I'd like to see you work.</dialogue>
<character>Nick</character>
<dialogue>Tomorrow I'll buy you a whole lot of detective stories.</dialogue>
<scene_description>Nora is determined to get Nick to help Dorothy . She tries another approach .</scene_description>
<character>Nora</character>
<dialogue>That poor girl is in a tough spot.</dialogue>
<character>Nick</character>
<parenthetical>( coming back to the bed . )</parenthetical>
<dialogue>There's nothing I can do to help her.</dialogue>
<scene_description>Asta jumps on the bed , goes and curls himself up at their feet .</scene_description>
<character>Nora</character>
<dialogue>She thinks you can. It would n't hurt you to find out if you could, would it?</dialogue>
<character>Nick</character>
<parenthetical>( getting back into the bed . )</parenthetical>
<dialogue>Darling, my guess is that Wynant killed Julia and Dorothy knows it. And the police'll catch him without my help.</dialogue>
<character>Nora</character>
<dialogue>I think I would like that drink.</dialogue>
<parenthetical>( Nick gets up again and goes to get her a drink . )</parenthetical>
<dialogue>I'll give you your Christmas present now if you'll give me mine.</dialogue>
<character>Nick</character>
<parenthetical>( pouring a drink . )</parenthetical>
<dialogue>At breakfast.</dialogue>
<scene_description>He brings her the drink . She takes it from him and he gets into bed .</scene_description>
<character>Nora</character>
<dialogue>But it's Christmas now.</dialogue>
<character>Nick</character>
<parenthetical>( briefly , as he prepares to go beck to sleep . )</parenthetical>
<dialogue>Breakfast.</dialogue>
<character>Nora</character>
<dialogue>What are you going to give me? I hope I do n't like it.</dialogue>
<character>Nick</character>
<dialogue>You'll have to keep them anyway. The man at the Aquarium said that he would n't take them back.</dialogue>
<scene_description>Nora looks over at him , disgusted . She puts down the drink and pulls out the light . After a second , there is a knock heard from the next room . Nora pulls on the light . She turns to Nick .</scene_description>
<character>Nora</character>
<dialogue>Did you hear a knock?</dialogue>
<scene_description>Nick looks up . The knock comes again . Nora gets up , takes a robe from the foot of the bed , pulls it on and goes out . As she does so , Nick reaches over , takes her drink and finishes it , then turns over again to go to sleep .</scene_description>
</scene>
<scene>
<stage_direction>DOOR OF LIVING ROOM,</stage_direction>
<scene_description>Nora has put on the lights as she came through the room . She opens the door . Joe Morelli is standing outside . He wears a black derby hat , which he does n't remove and he has his hands in the pockets of his close fitting black over - coat . Nora looks at him with lively curiosity . She is too fond of adventure as well as too brave to scream when she sees his menacing figure .</scene_description>
<character>Morelli</character>
<dialogue>Mr. Charles here?</dialogue>
<character>Nora</character>
<dialogue>Yes.</dialogue>
<character>Morelli</character>
<parenthetical>( his manner is very urgent . )</parenthetical>
<dialogue>I got ta talk to him. that's all. But I got ta do that. Nora looks at him for a second.</dialogue>
<character>Nora</character>
<dialogue>You wait here. I'll tell him.</dialogue>
<scene_description>She goes toward the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>THE BEDROOM.</stage_direction>
<scene_description>Nora enters , calling to Nick . Nora Nick ! Nick ! -LRB- Nick stirs and opens his eyes . -RRB- There 's someone to she you ,</scene_description>
<character>Nick</character>
<parenthetical>( sitting up . )</parenthetical>
<dialogue>That's great. I was afraid I'd have to go to sleep.</dialogue>
<scene_description>But as Nora moves away to get back into bed , we see Morelli has followed her into the bedroom and is standing pointing a gun directly at Nick , with a menacing intentness in his whole body .</scene_description>
</scene>
<scene>
<stage_direction>WIDE ANGLE - THE GROUP.</stage_direction>
<scene_description>Nora , entirely unconscious of Morelli 's presence and the gun in his hand , swings into bed beside Nick . Nick is looking fixedly at the gun . Nora looks at him , amused by his expression , not knowing the cause .</scene_description>
<character>Nora</character>
<dialogue>You've got the funniest look on your face.</dialogue>
<scene_description>She follows the line of Nick 's gaze , and her eyes pop with amazement as she sees Morelli with the gun .</scene_description>
</scene>
<scene>
<stage_direction>REVERSE ANGLE - CLOSEUP ON MORELLI.</stage_direction>
<scene_description>He holds the gun leveled at Nick .</scene_description>
<character>Morelli</character>
<dialogue>I got ta talk to you. I want you to tell me something and I want you to give it to me straight. Get me?</dialogue>
</scene>
<scene>
<stage_direction>REVERSE CLOSEUP - NICK AND NORA</stage_direction>
<scene_description>Nick Do you mind putting that gun away ? My wife does n't care , but I 'm in a delicate condition .</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM SHOT AGAIN - GROUP</stage_direction>
<scene_description>Nora looks at Nick , appreciating his humor in the midst of his danger .</scene_description>
<character>Nora</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>You idiot!</dialogue>
<parenthetical>( Asta begins barking at Morelli . )</parenthetical>
<dialogue />
<scene_description>Asta ! Stop that ! Get down ! -LRB- she chases him off the bed . Asta jumps down out of sight . Morelli still has his pistol pointed at Nick . -RRB- Now , stay there .</scene_description>
<character>Nick</character>
<parenthetical>( to Morelli - seeing that Asta is down . )</parenthetical>
<dialogue>All right. shoot!</dialogue>
<parenthetical>( then realizing the double meaning , he corrects himself . )</parenthetical>
<dialogue>I mean. what's on your mind?</dialogue>
<character>Morelli</character>
<dialogue>You do n't need to tell me you're tough. I heard about you.</dialogue>
<parenthetical>( He puts the gun in his overcoat pocket . )</parenthetical>
<dialogue>I'm Joe Morelli.</dialogue>
<scene_description>Nora watches the scene between the two men . She is excited , but apparently not frightened .</scene_description>
<character>Nick</character>
<dialogue>I've never heard about you.</dialogue>
<character>Morelli</character>
<dialogue>I did n't knock Julia off.</dialogue>
<character>Nick</character>
<dialogue>All right - you did n't.</dialogue>
<character>Morelli</character>
<dialogue>I have n't seen her in three months. We were all washed up.</dialogue>
<character>Nick</character>
<dialogue>Why tell me?</dialogue>
<character>Morelli</character>
<dialogue>I would n't have any reason to hurt her. She was always on the up and up with me. But that dirty little Nunheim - he got sore cause I clicked with her and he did n't, so he put the finger on me.</dialogue>
<character>Nick</character>
<dialogue>That's all swell. Only you're peddling your fish in the wrong market. I've got nothing to do with it.</dialogue>
<character>Morelli</character>
<parenthetical>( his intense excitement increasing . )</parenthetical>
<dialogue>Listen. `` Studsy'' Burke told me you used to be O.K. That's why I'm here. Do they.</dialogue>
<character>Nick</character>
<parenthetical>( in a tone of polite enquiry . )</parenthetical>
<dialogue>How is Studsy? I did n't know he was out of stir.</dialogue>
<character>Morelli</character>
<parenthetical>( conversationally . )</parenthetical>
<dialogue>He's all right. He'd like to see you. But listen. What's the law doing to me? Do they think I did it, or is it just something else to pin on me?</dialogue>
<character>Nick</character>
<dialogue>I'd tell you if I knew. But I'm not in this. Ask the police.</dialogue>
<character>Morelli</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>That'd be very smart. That'd be the smartest thing I ever did. Me that a police captain's been in a hospital three weeks on account we had an argument. The boys would like to have me come in and ask questions. They'd like it right down to the end of their blackjacks. Now I come to you on the level. Studsy says you're on the level. Be on the level.</dialogue>
<character>Nick</character>
<dialogue>I am on the level. If I knew anything I'd.</dialogue>
<scene_description>Over the SOUND TRACK there is a sound of knuckles rapping sharply on the door . Morelli 's gun is in his hand before the rapping stops . His eyes seem to move in all directions at once .</scene_description>
<character>Morelli</character>
<parenthetical>( with a snarl to Nick . )</parenthetical>
<dialogue>What's that?</dialogue>
<character>Nick</character>
<parenthetical>( shrugging his shoulders . )</parenthetical>
<dialogue>This is your party.</dialogue>
<scene_description>The sound of the knuckles come again , and someone speaks outside .</scene_description>
<character>Guild's voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Open up. Police.</dialogue>
<character>Morelli</character>
<parenthetical>( as he raises his gun to fire at Nick . )</parenthetical>
<dialogue>You two - timing -</dialogue>
<scene_description>Nick shoves Nora 's face , knocking her out of bed and across the room with his left hand , and throws a pillow at Morelli with his right just as Morelli fires . Nick sprawls out of bed , making a dive for Morelli and catching his ankle . The two men fall to the floor . Morelli clubs Nick with his revolver , and Nick fights him with his one free hand . Guild , two policemen , and the hotel manager rush into the room . They pitch in and drag Nick and Morelli apart .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT -- NORA ON FLOOR</stage_direction>
<scene_description>She is in a faint as Nick , comes quickly up to her . The hotel manager follows him and stands looking down solicitously . Nick leans down over her .</scene_description>
<character>Nick</character>
<dialogue>Nora. Nora! She does n't move.</dialogue>
<character>Hotel Manager</character>
<dialogue>What knocked her out?</dialogue>
<character>Nick</character>
<dialogue>I did. She was in the line of fire.</dialogue>
<parenthetical>( turns , points to liquor bottle . )</parenthetical>
<dialogue>Hand me that bottle.</dialogue>
<parenthetical>( turns back to Nora , begins working on her . )</parenthetical>
<dialogue>Better get a doctor.</dialogue>
<scene_description>The hotel manager goes quickly out . Nick tries to get Nora to take a drink of whisky . She opens her eyes . She puts her hand up to her cheek where Nick hit her . Then , as Nick watches her anxiously :</scene_description>
<character>Nora</character>
<parenthetical>( indignantly . )</parenthetical>
<dialogue>You darn fool - you did n't have to knock me out. I knew you'd take him, but I wanted to see you do it!</dialogue>
</scene>
<scene>
<character>Guild</character>
<dialogue>There's a gal with hair on her chest.</dialogue>
<scene_description>As Nick pulls Nora up , she looks at the coat of his pyjamas , where a streak of blood has started to come through .</scene_description>
<character>Nora</character>
<parenthetical>( for the first , time horrified . )</parenthetical>
<dialogue>Nick. you're.</dialogue>
<scene_description>Nick follows her eyes down . For the first time he realizes that the bullet has touched him .</scene_description>
<character>Nick</character>
<dialogue>It's all right. It just grazed me.</dialogue>
<character>Nora</character>
<dialogue>Someone get a doctor.</dialogue>
<character>Nick</character>
<dialogue>There's one coming.</dialogue>
<character>Nora</character>
<dialogue>Well, quick - get into bed. Are you all right?</dialogue>
<character>Nick</character>
<parenthetical>( going toward the bed . )</parenthetical>
<dialogue>Sure - I do n't even feel it.</dialogue>
<character>Nora</character>
<dialogue>I'll get some towels.</dialogue>
<parenthetical>( she goes quickly into the bathroom . )</parenthetical>
<dialogue />
<scene_description>Nick gets into bed . Guild comes over - looks at the wound . The CAMERA PANS AWAY from Morelli .</scene_description>
<character>Guild</character>
<dialogue>Well, it was close, but you're all right.</dialogue>
<character>Morelli's voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Tough luck.</dialogue>
<character>Policeman's voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Shut up!</dialogue>
<scene_description>Over the SOUND TRACK we hear the policeman slap Morelli 's mouth . Nora comes back from the bathroom with some towels . Nick puts a towel over the wound , and sits propped up in bed .</scene_description>
<character>Nick</character>
<dialogue>I'll be all right. Do n't let's fuss till the doctor comes.</dialogue>
<scene_description>Nora Want a drink ?</scene_description>
<character>Nick</character>
<dialogue>Yeah.</dialogue>
<scene_description>Nora goes out of the scene .</scene_description>
<character>Nick</character>
<parenthetical>( to Guild . )</parenthetical>
<dialogue>How'd you people happen to pop in?</dialogue>
<character>Guild</character>
<dialogue>We hear this is getting to be sort of a meeting place for the Wynant family, so we figure we'll stick around in case the old man himself shows up. Then we seen him.</dialogue>
<parenthetical>( he points to Morelli . )</parenthetical>
<dialogue>. sneak in and we decide to come up. And pretty lucky for you.</dialogue>
<character>Nick</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>Yes. I might not have been shot.</dialogue>
<character>Guild</character>
<dialogue>We were looking for this bird.</dialogue>
<character>Morelli</character>
<dialogue>That little rat Nunheim -</dialogue>
<character>Guild</character>
<dialogue>Shut up!</dialogue>
<parenthetical>( then to Nick - indicating Morelli . )</parenthetical>
<dialogue />
<scene_description>This guy a friend of yours ?</scene_description>
<character>Nick</character>
<dialogue>I never saw him before.</dialogue>
<character>Guild</character>
<dialogue>What's he want of you?</dialogue>
<character>Nick</character>
<dialogue>Wanted to tell me he did n't kill Julia Wolf.</dialogue>
<character>Guild</character>
<dialogue>What's that to you?</dialogue>
<character>Nick</character>
<dialogue>Nothing.</dialogue>
<character>Guild</character>
<dialogue>What'd he think it was to you?</dialogue>
<character>Nick</character>
<dialogue>Ask him. I do n't know.</dialogue>
<character>Guild</character>
<dialogue>I'm asking you.</dialogue>
<scene_description>Nick Keep on asking .</scene_description>
<character>Guild</character>
<parenthetical>( to one of the policemen . )</parenthetical>
<dialogue>We'll frisk the dump.</dialogue>
<character>Nick</character>
<dialogue>Not without a warrant.</dialogue>
<character>Guild</character>
<dialogue>So you say -.</dialogue>
<parenthetical>( to policeman . )</parenthetical>
<dialogue />
<scene_description>Go on , Bob . The policeman starts to search the room . Guild decides to change his tactics .</scene_description>
<character>Guild</character>
<dialogue>Listen, Mr. Charles. I guess we're both of us going about this wrong. I do n't want to get tough with you, and I guess you do n't want to get tough with me. There's just one one question I want to ask you. Are you going to swear to the complaint of him shooting you?</dialogue>
<character>Nick</character>
<dialogue>That's another one I ca n't answer right now. Maybe it was an accident.</dialogue>
<scene_description>Nora comes over with the drink for Nick . She hands it to him , as she speaks .</scene_description>
<character>Nora</character>
<parenthetical>( to Guild , indicating Bob . )</parenthetical>
<dialogue>What's that man doing in my drawers?</dialogue>
<scene_description>Nick , hearing this , chokes on his drink .</scene_description>
</scene>
<scene>
<stage_direction>BUREAU - CLOSEUP.</stage_direction>
<scene_description>Bob is searching in the drawers of the bureau . He finds the pistol that Nick left there and brings it to Guild . CAMERA PANS HIM OVER .</scene_description>
<character>Bob</character>
<dialogue>Here you are, Lieutenant.</dialogue>
<scene_description>Guild takes the gun , looks at it and turns to Nick . Nick - not knowing whether or not the gun is evidence , is slightly apprehensive . He watches Guild closely .</scene_description>
<character>Guild</character>
<dialogue>Have you got a pistol permit?</dialogue>
<character>Nick</character>
<dialogue>No.</dialogue>
<character>Guild</character>
<dialogue>Ever heard of the Sullivan Act?</dialogue>
<character>Nora</character>
<parenthetical>( a little confused about the different acts . )</parenthetical>
<dialogue>That's all right. We're married.</dialogue>
<scene_description>Guild gives her a sharp look , and turns again to Nick .</scene_description>
<character>Guild</character>
<dialogue>This gun yours?</dialogue>
<character>Nick</character>
<dialogue>No.</dialogue>
<character>Guild</character>
<dialogue>Who's is it?</dialogue>
<character>Nick</character>
<dialogue>I'll have to try to remember.</dialogue>
<character>Guild</character>
<dialogue>Oke. There's plenty of time. I guess we got to ask you a lot more questions than we counted on. We'll come up tomorrow when you're feeling better.</dialogue>
<parenthetical>( He turns to the officers and Morelli . )</parenthetical>
<dialogue>Come on.</dialogue>
<scene_description>The four men go out . CAMERA MOVES UP FOR CLOSEUP OF NICK AND NORA . She is sitting beside Nick on the bed .</scene_description>
<character>Nora</character>
<dialogue>I wish that doctor'd come. How do you feel?</dialogue>
<character>Nick</character>
<dialogue>He'll be here. Give him time to get his trousers on. Where's Asta?</dialogue>
<parenthetical>( calling . )</parenthetical>
<dialogue>Asta! Asta!</dialogue>
</scene>
<scene>
<stage_direction>FOOT OF BUREAU - PANNING ON ASTA.</stage_direction>
<scene_description>As the dog comes slowly out from under the bureau , looking a little scared and shame - faced . He comes toward Nick , jumps on the bed beside him and licks his face .</scene_description>
<character>Nick</character>
<parenthetical>( to Asta . )</parenthetical>
<dialogue>You're a fine watch dog.</dialogue>
<character>Nora</character>
<dialogue>He's got more sense than you have. Thank Heaven you're not on this case.</dialogue>
<character>Nick</character>
<dialogue>On it! I'm in it. They think I did it!</dialogue>
<scene_description>Nora Well , did n't you ? Nick throws a pillow at her . QUICK FADE .</scene_description>
</scene>
<scene>
<stage_direction>FADE IN: CLOSEUP OF CHRISTMAS TREE.</stage_direction>
<scene_description>It is noon . The sun is streaming in . Most of the bells on the Christmas tree have been broken . There is one large ball still intact . Over the SOUND TRACK we hear the pop of an air rifle . The big ball splinters . The CAMERA PULLS BACK to show Nick lying on the sofa in a dressing gown , with the air rifle in his hand . He uses only his right hand on the rifle . Across his chest , on the left , there is the indication of bandaging underneath his pajamas . On the floor beside him are piles of newspapers . The telephone is on a table near his hand . The room is littered with tissue paper and ribbon from the opened Christmas presents . There is a breakfast table at one side , with the emptied dishes covered by a napkin . Nora is sitting smoking . She is wearing a very lovely fur coat over her negligee . She is reading a tabloid newspaper , the headlines and pictures of which exploit the Julia Wolf murder .</scene_description>
<character>Nick</character>
<parenthetical>( looking fondly at the rifle . )</parenthetical>
<dialogue>This is the nicest present I ever had.</dialogue>
<scene_description>Nora puts down her paper . She comes over to Nick on the sofa . She has a bunch of holiday telegrams in her hand . She starts to pick up the newspapers which almost cover Nick . She has a very lovely wrist watch on . Nick sees it - takes her hand and examines it .</scene_description>
<character>Nick</character>
<dialogue>I never saw that before.</dialogue>
<character>Nora</character>
<dialogue>No. It's a Christmas present.</dialogue>
<character>Nick</character>
<dialogue>Who gave it to you?</dialogue>
<character>Nora</character>
<dialogue>You did.</dialogue>
<character>Nick</character>
<dialogue>You must admit I have good taste.</dialogue>
<scene_description>Nora laughs . Nora . -LRB- indicating newspapers . -RRB- Finished with these ?</scene_description>
<character>Nick</character>
<dialogue>Yes. I know all they know about the murder. And I'm a great hero. The Tribune said I was shot twice.</dialogue>
<scene_description>As he talks , Nora throws the papers to the floor and sits down at the other end of the couch , putting her slippered feet comfortably in Nick 's lap . She starts to open , the telegrams .</scene_description>
<character>Nora</character>
<dialogue>I read you were shot five times in the tabloids.</dialogue>
<character>Nick</character>
<dialogue>That's not true. He never came near my tabloids.</dialogue>
<parenthetical>( he takes aim again with his gun . )</parenthetical>
<dialogue>That's one thing I always protect. my tabloids.</dialogue>
<scene_description>As he is just ready to shoot , the CAMERA PANS over to his target . It is a large balloon that Asta is chasing around the room . We hear the `` pop '' of the rifle and the balloon ex - plodes , to Asta 's astonishment and chagrin . Asta starts looking for the lost balloon .</scene_description>
</scene>
<scene>
<stage_direction>NICK AND NORA - CLOSEUP.</stage_direction>
<scene_description>The telephone rings - Nick reaches over and picks it up .</scene_description>
<character>Nick</character>
<parenthetical>( in phone . )</parenthetical>
<dialogue>Hello. send him up.</dialogue>
<character>Nora</character>
<dialogue>Who's that?</dialogue>
<character>Nick</character>
<dialogue>Macaulay.</dialogue>
<scene_description>Nora reads the telegrams and hands them to Nick at the other end of the sofa as she finishes . He takes them as she gives them to him , and throws them on the floor without looking at them .</scene_description>
<character>Nora</character>
<parenthetical>( as she reads one . )</parenthetical>
<dialogue>Season's Greetings. The Mallorys.</dialogue>
<parenthetical>( she hands it to Nick .</parenthetical>
<parenthetical>She is distressed . )</parenthetical>
<dialogue>I forgot all about them.</dialogue>
<scene_description>She opens another telegram . Nick throws the first to the floor . He looks at Nora in her fur coat .</scene_description>
<character>Nick</character>
<dialogue>Are n't you hot in that?</dialogue>
<character>Nora</character>
<dialogue>I'm stifling, but it's so pretty.</dialogue>
<parenthetical>( she hands him another telegram . )</parenthetical>
<dialogue>The Kirbys.</dialogue>
<character>Nick</character>
<parenthetical>( taking it and dropping it on the floor . )</parenthetical>
<dialogue>Is that another Christmas present?</dialogue>
<character>Nora</character>
<parenthetical>( smiling at him . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>Nick</character>
<dialogue>Did I give it to you?</dialogue>
<character>Nora</character>
<dialogue>Yes.</dialogue>
<scene_description>Again this is news to Nick , but he takes it philosophically .</scene_description>
<character>Nick</character>
<dialogue>I'm spoiling you.</dialogue>
<scene_description>She tickles him with her foot . Then she hands him another telegram , which suffers the same fate . Nick cocks his gun again , prepar - ing to shoot . Nora has opened another tele - gram . Her manner changes .</scene_description>
<character>Nora</character>
<dialogue>Nick, listen. From Clyde Wynant!</dialogue>
<parenthetical>( Nick puts down his rifle , all attention .</parenthetical>
<parenthetical>Nora reads it aloud . )</parenthetical>
<dialogue>`` Will you take charge of investigation on Julia Wolf murder. Communicate with Herbert Macaulay''.</dialogue>
<character>Nick</character>
<parenthetical>( putting out his hand for it . )</parenthetical>
<dialogue>Let's see. Where's it from?</dialogue>
<character>Nora</character>
<parenthetical>( looking at it as she hands it over . )</parenthetical>
<dialogue>Philadelphia.</dialogue>
<parenthetical>( Nick is examining the telegram .</parenthetical>
<parenthetical>The doorbell rings .</parenthetical>
<parenthetical>Nora starts for the door , talking as she goes . )</parenthetical>
<dialogue>Then he did n't do it, did he, Nick?</dialogue>
<character>Nick</character>
<parenthetical>( thoughtfully . )</parenthetical>
<dialogue>I do n't know.</dialogue>
<character>Nora</character>
<parenthetical>( still on way to door . )</parenthetical>
<dialogue>He would n't ask you to handle it if he were guilty.</dialogue>
<character>Nick</character>
<dialogue>Your guess is as good as mine.</dialogue>
<character>Nora</character>
<dialogue>Oh take it! Please take it!</dialogue>
<scene_description>By this time she is at the door . She opens the door to Macaulay .</scene_description>
<character>Nora</character>
<dialogue>Oh, hello. Come on in.</dialogue>
<character>Macaulay</character>
<dialogue>Good morning. I'm afraid this is n't a very `` Merry Christmas'' for you.</dialogue>
<character>Nora</character>
<dialogue>Oh, he's sitting up.</dialogue>
<character>Macaulay</character>
<dialogue>Good.</dialogue>
<scene_description>Macaulay comes in and goes to Nick .</scene_description>
<character>Nick</character>
<dialogue>How are you?</dialogue>
<character>Macaulay</character>
<dialogue>I hate to bother you when you're laid up.</dialogue>
<character>Nick</character>
<dialogue>That's all right.</dialogue>
<scene_description>Asta , delighted to see a visitor , jumps all over Macaulay . Macauley is a little discon - certed by all this attention .</scene_description>
<character>Nora</character>
<dialogue>Asta! Asta! Come here.</dialogue>
<scene_description>She throws a ball and the dog chases it out of the scene . Macaulay sits down near Nick . Asta comes back into the scene . He deposits the ball near Macaulay 's chair and stands looking eagerly up at him .</scene_description>
<character>Nora</character>
<dialogue>Asta - do n't bother Mr. Macaulay.</dialogue>
<character>Macaulay</character>
<dialogue>That's all right.</dialogue>
<scene_description>He leans down and throws the ball for Asta . Beside him on the floor is a miniature fire hydrant He looks down at it .</scene_description>
<character>Macaulay</character>
<dialogue>What a delightful toy.</dialogue>
<scene_description>Nick looks down and sees it for the first time .</scene_description>
<character>Nick</character>
<dialogue>Oh, it's a fire hydrant.</dialogue>
<character>Nora</character>
<dialogue>Yes. It's Asta's Christmas present.</dialogue>
<scene_description>Macaulay , a little troubled , looks down at it , and then unostentatiously moves his leg and his chair out of the danger zone . Asta returns , playfully and affectionately , with the ball again . Macaulay , with a forced smile , throws it for him again . Then Macaulay turns to Nick , reaching in his pocket for a telegram .</scene_description>
<character>Macaulay</character>
<dialogue>I got word from Wynant this morning.</dialogue>
<character>Nora</character>
<dialogue>So did we.</dialogue>
<parenthetical>( correcting herself - indicating Nick . )</parenthetical>
<dialogue>I mean, Sherlock here.</dialogue>
<scene_description>Nick hands Macaulay his telegram from Wynant . Macaulay reads it and looks at Nick .</scene_description>
<character>Macaulay</character>
<dialogue>What are the chances of getting you to do what he wants?</dialogue>
<character>Nick</character>
<dialogue>Slim.</dialogue>
<character>Nora</character>
<dialogue>Oh, please, Nick.</dialogue>
<character>Macaulay</character>
<dialogue>Would it help any if I could persuade him to meet you?</dialogue>
<character>Nick</character>
<dialogue>It might.</dialogue>
<character>Macaulay</character>
<dialogue>He gave me a code message to insert in the Times, in case I wanted to get in touch with him.</dialogue>
<character>Nick</character>
<dialogue>It would n't hurt to put it in.</dialogue>
<scene_description>Nora beams . The telephone rings . Nick picks it up .</scene_description>
<character>Macaulay</character>
<dialogue>I've done that already. He should appear, you know. It does n't look well. his staying away at a time like this.</dialogue>
<character>Nick</character>
<parenthetical>( in telephone . )</parenthetical>
<dialogue>Hello. oh, just a minute.</dialogue>
<parenthetical>( holding out the phone to Macaulay . )</parenthetical>
<dialogue>Police departent</dialogue>
<character>Macaulay</character>
<parenthetical>( he looks surprised but takes the phone . )</parenthetical>
<dialogue>Hello.</dialogue>
<parenthetical>( his face changes .</parenthetical>
<parenthetical>he is startled . )</parenthetical>
<dialogue>Where? In Allentown.</dialogue>
<parenthetical>( he consults his watch . )</parenthetical>
<dialogue>Yes. When is the next train? Right - I'll get that.</dialogue>
<parenthetical>( he slowly puts up the phone and turns to Nick and Nora . )</parenthetical>
<dialogue>Wynant's tried to commit suicide. They want me to come down and identify him.</dialogue>
<parenthetical>( slowly he picks up his hat . )</parenthetical>
<dialogue>I guess this changes the whole story, does n't it? That looks like an admission of guilt. And I had such hopes. I thought if you got on the case, you'd be able to clear him. I thought that Mimi. the way she acted. I was sure that.</dialogue>
<parenthetical>( he sighs . )</parenthetical>
<dialogue>Oh, well, well. it's no use thinking of it now. I'm sorry to have wasted so much of your time.</dialogue>
<scene_description>He goes quickly out . Nora looks after him , and then turns to Nick . She is evidently depressed .</scene_description>
<character>Nora</character>
<dialogue>Well, that's that.</dialogue>
<parenthetical>( Nick starts to get up off the sofa . )</parenthetical>
<dialogue>Stay there, Nick!</dialogue>
<character>Nick</character>
<parenthetical>( paying no attention . )</parenthetical>
<dialogue>It's not going to hurt me to get up.</dialogue>
<character>Nora</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>Sit down!</dialogue>
<character>Nick</character>
<parenthetical>( with mock dignity . )</parenthetical>
<dialogue>You talk as if I were Asta.</dialogue>
<character>Nora</character>
<dialogue>All right, hard guy. Get up and bleed on the rugs.</dialogue>
<scene_description>Nick walks over to pour a drink . Nora sits down and Asta comes and puts his head on her knees looking sadly up at her .</scene_description>
<character>Nora</character>
<parenthetical>( patting Asta . )</parenthetical>
<dialogue>What's the trouble, Asta? Your balloon busted? So's mine.</dialogue>
<character>Nick</character>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>What's the matter with you?</dialogue>
<character>Nora</character>
<dialogue>The mystery's all gone. And I wanted you to find out who did it.</dialogue>
<character>Nick</character>
<parenthetical>( over his drink , casually , as is characteristic . )</parenthetical>
<dialogue>Maybe I will.</dialogue>
<character>Nora</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>But Wynant -?</dialogue>
<character>Nick</character>
<dialogue>I do n't believe he did it.</dialogue>
<character>Nora</character>
<dialogue>Why do n't you?</dialogue>
<character>Nick</character>
<dialogue>No reason. Just a hunch. But I'm going to find out.</dialogue>
<parenthetical>( he starts to untie his robe . )</parenthetical>
<dialogue>I'm tired of being pushed around.</dialogue>
<character>Nora</character>
<parenthetical>( feeling her jaw - standing up suddenly . )</parenthetical>
<dialogue>So am I.</dialogue>
<character>Nick</character>
<dialogue>Come on, Watson, we're going places.</dialogue>
<scene_description>As he strides into the bedroom , Nora striding in perfect imitation after him .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR ENTRANCE, NORMANDIE HOTEL.</stage_direction>
<scene_description>Nick and Nora come through the door . They have Asta on a leash . Guild steps up to them .</scene_description>
<character>Guild</character>
<parenthetical>( beaming at Nora . )</parenthetical>
<dialogue>Good morning -</dialogue>
<character>Nora</character>
<dialogue>Good morning, Lieutenant -.</dialogue>
<parenthetical>( Asta pulls her violently toward the curb .</parenthetical>
<parenthetical>She goes after him , out of the scene , calling back apologetically . )</parenthetical>
<dialogue>Sorry.</dialogue>
<scene_description>Guild and Nick follow Nora more slowly to the curb . Guild -LRB- to Nick -RRB- You ought n't to play this trick on me . Running out when I was giving you time to rest up before I asked you those questions .</scene_description>
<character>Nick</character>
<dialogue>You mean about that gun?</dialogue>
<character>Guild</character>
<dialogue>That ai n't a gun any more. The firing pin's busted - the -.</dialogue>
<parenthetical>( he breaks off . )</parenthetical>
<dialogue>Do n't waste time talking about that.</dialogue>
<scene_description>They join Nora . She listens eagerly , not taking her eyes from Nick and Guild . Through the whole scene , as they walk down the block , when Asta pulls on the leash Nora stops with him , and the two men , as a matter of course , stop and wait for Nora , none of them ever looking at Asta . -LRB- IT IS A TRUCKING SHOT ALL THE WAY -RRB-</scene_description>
<character>Guild</character>
<dialogue>Man to man, Mr. Charles, are you working on this case?</dialogue>
<character>Nick</character>
<dialogue>Man to man, I'm not.</dialogue>
<character>Nora</character>
<dialogue>But he's interested!</dialogue>
<character>Guild</character>
<dialogue>I do n't mind telling you I'd rather have you working with us than against us.</dialogue>
<character>Nick</character>
<dialogue>So would I.</dialogue>
<character>Guild</character>
<dialogue>It's a bargain then. Anything you want to know?</dialogue>
<scene_description>The leash tightens up and starts to pull Nora ahead . The two men quicken their steps to keep pace with her . -LRB- They are walking along a quiet street in the East Fifties , so that there is not much traffic , and not many people . -RRB-</scene_description>
<character>Nick</character>
<dialogue>What about the suicide?</dialogue>
<character>Guild</character>
<dialogue>Oh, that's a phoney. The men did n't even have to go down.</dialogue>
<character>Nick</character>
<dialogue>I thought it might be. From now on, they're going to think that every thin man over six feet with white hair is Wynant.</dialogue>
<scene_description>Again the leash pulls Nora over to the curb . The three , without interrupting their conversation , stand still , waiting .</scene_description>
<character>Nora</character>
<dialogue>Do you think that Wynant did it?</dialogue>
<character>Guild</character>
<dialogue>Looks like he planned, something. He shut up his apartment and his shop.</dialogue>
<character>Nick</character>
<dialogue>You've been there?</dialogue>
<character>Guild</character>
<dialogue>Yeah. Could n't find a thing. This is the way we figure it. Wynant goes to Julia's apartment. He finds Morelli there. sees she's two - timing him. They have a fight. But he figures he do n't want to do anything then. Morelli might squeal. So he goes away. He do n't let his lawyer know any - thing has happened. he lets him go ahead and and hand over money to Julia to give to him, so that Julia will think it's all blown over. Then, when she do n't expect it. he lets her have it.</dialogue>
<scene_description>Asta completes his investigation and starts off down the street again the three follow .</scene_description>
<character>Nick</character>
<dialogue>No proof?</dialogue>
<character>Guild</character>
<dialogue>Nothing yet to cinch it.</dialogue>
<character>Nick</character>
<dialogue>Fifty will get you a hundred that he did n't do it.</dialogue>
<character>Guild</character>
<dialogue>What do you mean?</dialogue>
<character>Nick</character>
<dialogue>For one thing, he was too absent - minded to hold a grudge.</dialogue>
<character>Guild</character>
<dialogue>Who's your candidate?</dialogue>
<character>Nick</character>
<dialogue>I have n't got that far yet. But I do n't think that everything points to Wynant. What about the alibis?</dialogue>
<character>Guild</character>
<dialogue>They're all O.K. Mrs. Jorgensen, the boy, Dorothy, Macaulay. even Morelli. we had to let him go.</dialogue>
<character>Nick</character>
<dialogue>What about Jorgensen?</dialogue>
<character>Guild</character>
<dialogue>I'll check on that.</dialogue>
<parenthetical>( he turns to Nora . )</parenthetical>
<dialogue>I'm afraid this is kinder dull for you.</dialogue>
<character>Nora</character>
<dialogue>Dull. I'm sitting on the edge of my chair!</dialogue>
<scene_description>Asta sees another hydrant and makes for it . But Nora is too interested to stop . She drags him on .</scene_description>
<character>Nick</character>
<dialogue>What about this Nunheim?</dialogue>
<character>Guild</character>
<dialogue>Oh, he's all right. We know all about him. He does a little stooling for us every once in a while.</dialogue>
<character>Nick</character>
<dialogue>Did you know he was hanging around Julia?</dialogue>
<character>Guild</character>
<dialogue>No.</dialogue>
<character>Nick</character>
<dialogue>He's holding out on you.</dialogue>
<character>Guild</character>
<parenthetical>( had n't thought of this . )</parenthetical>
<dialogue>Let's go and see.</dialogue>
<parenthetical>( he motions to a passing taxi . )</parenthetical>
<dialogue>Taxi!</dialogue>
<scene_description>A taxi drives up . Nora starts to get in .</scene_description>
<character>Nick</character>
<dialogue>This may be a little rough - you'd better let us go alone.</dialogue>
<character>Nora</character>
<dialogue>Catch me letting you go alone!</dialogue>
<scene_description>She climbs determinedly in , pulling Asta after her . Guild starts to follow , but Nick pulls him away . He closes the door of the taxi and speaks to the driver :</scene_description>
<character>Nick</character>
<parenthetical>( to driver . )</parenthetical>
<dialogue>Grant's Tomb.</dialogue>
<scene_description>The cab starts off . Nora shakes her fist back at Nick . Nick charmingly lifts his hat and throws her a kiss , as Guild hails another passing cab .</scene_description>
</scene>
<scene>
<stage_direction>OUTSIDE DOOR OF NUNHEIM'S APARTMENT.</stage_direction>
<scene_description>It is the fourth floor of a dark , damp building . The noise of the Sixth Avenue El can be heard even in the hallway . Guild and Nick come to the door . Guild knocks . There are sounds of hurried movement inside the room , then a voice calls , in an irritated tone .</scene_description>
<character>Nunheim's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Who is it?</dialogue>
<character>Guild</character>
<dialogue>John.</dialogue>
<scene_description>Nunheim hastily unlocks and opens the door . He has no coat on - he is evidently frighten - ed .</scene_description>
<character>Nunheim</character>
<dialogue>I was n't expecting you, Lieutenant. You said you'd phone.</dialogue>
<scene_description>Guild touches Nick 's elbow with his hand , and they go in .</scene_description>
</scene>
<scene>
<stage_direction>LIVING ROOM OF APARTMENT.</stage_direction>
<scene_description>The room is shabby and dirty , with clothing , newspapers and dirty dishes sitting around . Through an open door , the bedroom , with an unmade bed , can be seen . In an alcove there is a sink and a stove . Marian is standing there with a sizzling skillet in her hand . She is wearing a rumpled pink kimono and frayed pink mules with lop - sided bows on them . She stares sullenly at Guild and Nick as they come in . Guild does not introduce Nick to Nunheim , or even look at Marian . He keeps his hat on , and Nick , seeing him , follows his example . Guild pushes some clothing out of the way to make a place for himself at the end of the sofa .</scene_description>
<character>Guild</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Sit down.</dialogue>
<scene_description>Nick removes some newspaper from a rocking chair and sits down . Nunheim goes over to a table where there is about two inches of whiskey in a pint bottle .</scene_description>
<character>Nunheim</character>
<dialogue>Have a shot?</dialogue>
<character>Guild</character>
<dialogue>What's the idea of telling me you just knew the Wolfe girl by sight?</dialogue>
<character>Nunheim</character>
<dialogue>That's all I did, Lieutenent. That's the God's truth. Maybe I said hello to her or how are you or something like that when I saw her, but that's all I knew her. That's the truth.</dialogue>
<parenthetical>( Marian laughs once , derisively .</parenthetical>
<parenthetical>But there is no mirth in her face .</parenthetical>
<parenthetical>Nunheim</parenthetical>
<dialogue />
<scene_description>twists around to face her -RRB- All right . Put your mouth in and I 'll pop a tooth out of it .</scene_description>
<character>Marian</character>
<dialogue>Is that so!</dialogue>
<scene_description>She swings her arm around and lets the skillet fly at his head . It misses , crashing into the wall . Nunheim starts after her . Marian picks up a paring knife . Nick puts his foot out , without rising , and trips him . Nunheim falls to the floor .</scene_description>
<character>Guild</character>
<dialogue>Cut it out. We did n't come here to watch you two rough - house.</dialogue>
<scene_description>Nunheim slowly gets up . Marian starts for the bedroom without looking at any of them .</scene_description>
<character>Nunheim</character>
<dialogue>She drives me nuts. She's been ragging me all day.</dialogue>
<character>Guild</character>
<dialogue>Maybe if you quit running around after other women you would n't have so much trouble with this one.</dialogue>
<character>Nunheim</character>
<parenthetical>( for Marian 's benefit - loud . )</parenthetical>
<dialogue>That's a lie, Lieutenant. Anybody that says that is a liar.</dialogue>
<character>Guild</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Want to take a poke at him?</dialogue>
<character>Nunheim</character>
<parenthetical>( scared , to Nick . )</parenthetical>
<dialogue>I did n't mean you, Mister.</dialogue>
<scene_description>Marian goes into the bedroom and shuts the door .</scene_description>
<character>Nick</character>
<dialogue>Come on, now - she ca n't hear you -</dialogue>
<character>Nunheim</character>
<dialogue>Well.</dialogue>
<parenthetical>( looking toward the door of the bedroom . )</parenthetical>
<dialogue>You know how it is. A guy knocking around.</dialogue>
<character>Guild</character>
<dialogue>You'd done better to have told me that in the be - ginning. Where were you the afternoon she was knocked off?</dialogue>
<character>Nunheim</character>
<parenthetical>( terrified . )</parenthetical>
<dialogue>You do n't think I had anything to do with it?</dialogue>
<character>Guild</character>
<dialogue>Where were you?</dialogue>
<scene_description>Marian comes out . She is in street clothes and is carrying a suitcase .</scene_description>
<character>Nunheim</character>
<dialogue>Marian!</dialogue>
<character>Marian</character>
<dialogue>I do n't like crooks and even if I did, I would n't like crooks that are stool pigeons, and if I did like crooks that are stool pigeons, I still would n't like you.</dialogue>
<scene_description>Marian starts for the outer door . Nunheim tries to follow Marian , but Guild catches his arm . Guild Where were you ?</scene_description>
<character>Nunheim</character>
<dialogue>Marian! Marian! Do n't go! I'll behave! I'll do anything! Do n't go, Marian!</dialogue>
<scene_description>Marian goes out and shuts the door , paying no attention to Nunheim .</scene_description>
<character>Nunheim</character>
<parenthetical>( to Guild . )</parenthetical>
<dialogue>Let me go! Let me bring her back. I ca n't get along without her. I'll bring her right back and I'll tell you anything you want to know. Let me go!</dialogue>
<character>Guild</character>
<dialogue>Sit down! We did n't come here to watch you and that broad dance around a May pole. Where were you the afternoon the girl was killed?</dialogue>
<scene_description>Nunheim puts his hand over his face and be - gins to cry .</scene_description>
<character>Nunheim</character>
<dialogue>I ca n't remember offhand, Lieutenant. Maybe I was over at Charlie's shooting pool. Maybe I was here. She'd remember.</dialogue>
<character>Guild</character>
<dialogue>How'd you like to be thrown in the can on account of not remembering?</dialogue>
<character>Nunheim</character>
<dialogue>Just give me a minute. I'll remember. I'm not stalling, Lieutenant. You know I always come clean with you.</dialogue>
<parenthetical>( he has his head in his hands trying to remember .</parenthetical>
<parenthetical>Guild looks at Nick and winks .</parenthetical>
<parenthetical>Nunheim looks up , relieved .</parenthetical>
<parenthetical>He snaps his</parenthetical>
<dialogue />
<scene_description>fingers -RRB- Gee , it 'd serve me right if you had pinched me . that 's the afternoon I was . wait , I 'll show you ! He gets up and quickly goes into the bedroom . Nick goes to the telephone and starts to dial . Guild starts to search the room .</scene_description>
<character>Guild</character>
<dialogue>Well, what'd you think?</dialogue>
<character>Nick</character>
<dialogue>I think we're on the right track.</dialogue>
<character>Guild</character>
<dialogue>Who're you calling?</dialogue>
<character>Nick</character>
<dialogue>I'm calling your office so you can send out a man to trail him. I want to see where he goes.</dialogue>
<character>Guild</character>
<parenthetical>( astonished . )</parenthetical>
<dialogue>Trail him! Trail who?</dialogue>
<character>Nick</character>
<dialogue>Nunheim!</dialogue>
<scene_description>Guild looks at Nick , who is grinning . He then grasps what he means and makes a bee line for the bedroom . In a second he cones back . He takes the phone from Nick .</scene_description>
<character>Guild</character>
<parenthetical>( sharply in phone . )</parenthetical>
<dialogue>Bill, tell the boys to pick up Nunheim. He just left here - went out the fire escape.</dialogue>
<parenthetical>( then , as Bill evidently laughs , Guild speaks with hurt dignity . )</parenthetical>
<dialogue>What's funny about that?</dialogue>
<parenthetical>( he hangs up and looks sheepishly over towards Nick . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>CLOSEUP OF NUNHEIM A TELEPHONE BOOTH.</stage_direction>
<scene_description>Nunheim is talking into the telephone . As he talks , he watches the outside of the telephone booth to be sure that no one is listening . His voice is quiet but there is a menacing urgency in his tone .</scene_description>
<character>Nunheim</character>
<dialogue>Listen. They been questionin' me again. Asking me what more I know. Where I was that day. Wait a minute. I ducked out on'em. Now if you want me to play dumb, I want fi' thousand more. Fi' grand and I'll skip town today. Where? O.K. Right away. See that you're there and have it with you.</dialogue>
<scene_description>He hangs up and turns to go out .</scene_description>
</scene>
<scene>
<stage_direction>STREET IN THE WEST FORTIES.</stage_direction>
<scene_description>Nunheim jumps out of cab , pays the driver . It drives off . The street is deserted . By this time it is about five o'clock and the early winter twilight has fallen . WE TRUCK AND PAN as Nunheim looks at the numbers of the houses . A little way up the street he finds the number he has been looking for . He walks into a dark doorway . Just as he steps in , there is the crack of a pistol shot and the flash of fire from the gun . Nunheim throws up his hands , staggers forward to the street , his hand clutching his heart . Here he pitches forward - dead . The CAMERA stays on the body .</scene_description>
</scene>
<scene>
<stage_direction>INSERT -- A BUNDLE OF CLOTHES -- ALL THAT IS LEFT OF ONE ARTHUR NUNHEIM!</stage_direction>
<scene_description>The hands of Nick and Guild are examining the clothes as we come in . Nick has taken a card from the inside coat pocket .</scene_description>
<character>Nick's Voice</character>
<parenthetical>( over insert of card he holds . )</parenthetical>
<dialogue>`` Arthur Nunheim - Honorary member -''</dialogue>
<scene_description>CAMERA PULLS BACK RAPIDLY NOW TO REVEAL GUILD 'S OFFICE AT POLICE HEADQUARTERS . Guild is throwing down some letters and stuff he has extricated .</scene_description>
<character>Guild</character>
<dialogue>Not a thing.</dialogue>
<scene_description>Bob , the policeman , comes in .</scene_description>
<character>Guild</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue />
<scene_description>Find out about that bullet yet ?</scene_description>
<character>Bob</character>
<dialogue>Yes, sir. It's from the same gun that killed Julia Wolf. There is a second of silence. Guild and</dialogue>
<scene_description>Nick look at each other .</scene_description>
<character>Nick</character>
<dialogue>And how are your folks?</dialogue>
<scene_description>The telephone rings . Guild picks it up . His face beams .</scene_description>
<character>Guild</character>
<parenthetical>( in phone . )</parenthetical>
<dialogue>How are you? - No, we did n't get a thing.</dialogue>
<parenthetical>( he hands the phone to Nick . )</parenthetical>
<dialogue>It's your wife.</dialogue>
<scene_description>Nick reaches for the phone , smiling .</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP - NORA AT PHONE</stage_direction>
<scene_description>She is in the Jorgensen apartment , but in a room by herself . She speaks softly . She thinks she is still talking to Guild .</scene_description>
<character>Nora.</character>
<dialogue>says. Well, I've got something, Lieutenant. I've been doing a little detective work of my own. That flat foot I married thinks he's smart - but I'm one jump ahead of him.</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP ON NICK.</stage_direction>
<scene_description>He plays straight in his best manner .</scene_description>
<character>Nick</character>
<parenthetical>( kidding her . )</parenthetical>
<dialogue>Um?</dialogue>
<scene_description>Nora 's Voice -LRB- through receiver -RRB- Do you hear me ?</scene_description>
<character>Nick</character>
<parenthetical>( grinning . )</parenthetical>
<dialogue>How's Grant's tomb?</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP OF NORA -- PHONE.</stage_direction>
<scene_description>She starts at this , recognizing Nick 's voice . Again she sticks up her nose , a little characteristic of hers in matters concerning Nickie . Then she snaps :</scene_description>
<character>Nora</character>
<dialogue>It's lovely. I'm having a copy made for you -</dialogue>
</scene>
<scene>
<stage_direction>CLOSE TWO SHOT - NICK AND GUILD.</stage_direction>
<scene_description>Nick laughs , then - seriously :</scene_description>
<character>Nick</character>
<dialogue>What have you got?</dialogue>
<scene_description>Nora 's voice comes through , but she is evidently speaking in a low whisper and the words are inaudible .</scene_description>
<character>Nick</character>
<dialogue>Ca n't hear you - little lou -.</dialogue>
<parenthetical>( an alert look comes into his eyes as he listens closer , getting what she is saying .</parenthetical>
<parenthetical>Guild , too , is interested . )</parenthetical>
<dialogue>We'll be right up!</dialogue>
<parenthetical>( Nick puts down the phone and turns to Guild . )</parenthetical>
<dialogue>She's up at Mimi's. Jorgensen has disappeared.</dialogue>
<scene_description>The two men rise .</scene_description>
</scene>
<scene>
<scene_description>though in this opening dissolve we do not reveal him . WE HOLD ON MIMI as she speaks hysterically .</scene_description>
<character>Mimi</character>
<dialogue>Chris may be at the club - or somewhere - I do n't see that it's important -</dialogue>
<character>Nick</character>
<parenthetical>( voice o.s . )</parenthetical>
<dialogue>You should have told them he'd disappeared.</dialogue>
<scene_description>CAMERA PULLS BACK TO REVEAL THE ROOM NOW as Mimi jumps up . Nick is seated , questioning her . Dorothy hovers behind Nick .</scene_description>
<character>Mimi</character>
<parenthetical>( her manner and tone more distrait . )</parenthetical>
<dialogue>But he has nothing to do with it!</dialogue>
<character>Nick</character>
<dialogue>That's not for you to decide. Everybody's under suspicion - especially running off like this -.</dialogue>
<parenthetical>( he picks up a picture of Jorgensen from the bureau . )</parenthetical>
<dialogue>The police will want his description. Is this a picture of him?</dialogue>
<scene_description>Mimi tries to take the picture .</scene_description>
<character>Mimi</character>
<dialogue>I tell you - he did n't do it.</dialogue>
<character>Nick</character>
<dialogue>They'll want more than your word for that.</dialogue>
<character>Mimi</character>
<parenthetical>( coming forward and speaking slowly . )</parenthetical>
<dialogue />
<scene_description>All right , then - I 'll tell them who did do it !</scene_description>
<character>Dorothy</character>
<parenthetical>( with horror in her voice . )</parenthetical>
<dialogue>Mother!</dialogue>
<character>Mimi</character>
<parenthetical>( paying no attention . )</parenthetical>
<dialogue>And I'll give then proof!</dialogue>
<scene_description>Dorothy turns and goes quickly from the room .</scene_description>
</scene>
<scene>
<stage_direction>HALLWAY OF APARTMENT.</stage_direction>
<scene_description>Dorothy comes out of the bedroom , blind with horror at what her Mother is doing . For a minute she stands there , trying to collect herself . Andy comes from the living room , where he has been waiting for her . He goes to her and takes her in his arms . She looks up at him .</scene_description>
<character>Andy</character>
<parenthetical>( with tremendous pity in his voice . )</parenthetical>
<dialogue>Dorry!</dialogue>
<scene_description>For a minute she clings to him , crying ,</scene_description>
<character>Dorothy</character>
<dialogue>Oh, Andy.</dialogue>
<character>Andy</character>
<dialogue>Do n't cry.</dialogue>
<character>Dorothy</character>
<dialogue>I ca n't help it. You do n't know.</dialogue>
<character>Andy</character>
<parenthetical>( protectively . )</parenthetical>
<dialogue>Darling, you ca n't go through any more of this. Now you get together your clothes and your skates and we'll go out to my family's in the country.</dialogue>
<character>Dorothy</character>
<parenthetical>( she stops crying . )</parenthetical>
<dialogue>I ca n't.</dialogue>
<character>Andy</character>
<dialogue>You've got to get your mind off this.</dialogue>
<character>Dorothy</character>
<parenthetical>( she pulls herself together . )</parenthetical>
<dialogue>You're sweet, but the only thing that you can do for me is to go.</dialogue>
<character>Andy</character>
<dialogue>Go!</dialogue>
<character>Dorothy</character>
<dialogue>And do n't ever try to see me again.</dialogue>
<character>Andy</character>
<dialogue>What are you talking about?</dialogue>
<character>Dorothy</character>
<parenthetical>( with rising excitement . )</parenthetical>
<dialogue>Please! You ca n't get mixed up in this.</dialogue>
<character>Andy</character>
<dialogue>Do you think I care</dialogue>
<character>Dorothy</character>
<dialogue>You do n't understand. You do n't know what's going to happen.</dialogue>
<character>Andy</character>
<dialogue>I only know I want to marry you. right now, and -</dialogue>
<character>Dorothy</character>
<dialogue>I ca n't marry you! I ca n't ever marry you!</dialogue>
<character>Andy</character>
<dialogue>Dorothy!</dialogue>
<character>Dorothy</character>
<parenthetical>( hysterically . )</parenthetical>
<dialogue>How would you like to have a couple of little murderers for your children? It'd be fun, would n't it? Maybe they'd murder each other. keep it all in the family. That's what Father should have done. He should have killed me and Gilbert. then we would n't have had this to go through.</dialogue>
<character>Andy</character>
<dialogue>You're talking like a crazy person,</dialogue>
<character>Dorothy</character>
<dialogue>Why not? I am crazy. the whole family's crazy.</dialogue>
<character>Andy</character>
<dialogue>Dorothy. listen to me. I love you. Do n't you understand that? I love you.</dialogue>
<character>Dorothy</character>
<dialogue>Go away!</dialogue>
</scene>
<scene>
<stage_direction>LIVING ROOM - SHOOTING TOWARD HALL.</stage_direction>
<scene_description>Nora and Guild are waiting for Nick . Gil - bert is sitting with a large book open in his hand . Dorothy 's voice comes through . The three in the living room can not help but hear .</scene_description>
<character>Dorothy's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Go away!</dialogue>
<scene_description>A door slams . Andy is seen walking slowly past the living room door , on his way out of the apartment . Gilbert gets up and goes quickly out . Nora looks at Guild and sighs .</scene_description>
<character>Nora</character>
<dialogue>Sleuthing is n't all fun, is it? I feel so sorry for that poor girl -</dialogue>
<scene_description>Nick comes in with the photograph of Jorgen - sen , which he has taken from the frame .</scene_description>
<character>Guild</character>
<dialogue>Get anything?</dialogue>
<character>Nick</character>
<dialogue>She's ready to talk.</dialogue>
<parenthetical>( he hands Guild Jorgensen 's photograph . )</parenthetical>
<dialogue>It wo n't do any harm, though - to find out where he is.</dialogue>
</scene>
<scene>
<stage_direction>DOROTHY'S BEDROOM.</stage_direction>
<scene_description>Dorothy is lying on the bed , face down . Gilbert walks up to her , his big book still in his hand .</scene_description>
<character>Gilbert</character>
<dialogue>You know, you're wrong about all of your children being murderers. I've studied the Mendelian Law of inheritance and their experiments with sweet peas, and according to their findings. and they've been pretty conclusive. only one out of four of your children will be a murderer. So the thing for you to do would be to have just three children.</dialogue>
<parenthetical>( then as a thought comes to him . )</parenthetical>
<dialogue>. no, no. That might not work The first one might be the bad one. I'll have to look that up.</dialogue>
<scene_description>By this tine Dorothy gets up . She has a defiant look on her face .</scene_description>
<character>Dorothy</character>
<dialogue>You need n't look it up. I'm not going to get married and I'm not going to have any children. From now on, I'm just out for the ride!</dialogue>
</scene>
<scene>
<stage_direction>LIVING ROOM - MEDIUM ON GROUP.</stage_direction>
<scene_description>Mimi is showing Guild the watch chain . Nick is watching her closely . Nora is tense with interest .</scene_description>
<character>Mimi</character>
<parenthetical>( her voice quivering with forced emotion . )</parenthetical>
<dialogue>I took this from her hand. It's Mr. Wynant's watch chain.</dialogue>
<parenthetical>( Guild takes it from her . )</parenthetical>
<dialogue>I wanted to protect him.</dialogue>
<scene_description>She breaks into tears . Nick looks over at her sardonically . Guild watches her with evident sympathy . Guild gets up , putting the watch chain carefully in his handkerchief .</scene_description>
<character>Guild</character>
<dialogue>I guess that cinches it, eh, Mr. Charles? He killed them both - Julia Wolf and Nunheim.</dialogue>
<character>Nick</character>
<dialogue>Fifty will still get you a hundred.</dialogue>
<character>Guild</character>
<dialogue>This is enough for me.</dialogue>
<scene_description>115 - 119 SERIES OF QUICK DISSOLVES : . -LRB- a. -RRB- POLICE RADIO ANNOUNCER AT MICROPHONE</scene_description>
<character>Announcer</character>
<dialogue>Calling all cars - calling all cars - cover all roads leaving city - pick up Clyde Wynant - Clyde Wynant drag - net - pick up - etc..</dialogue>
<scene_description>-LRB- b -RRB- GATE - GRAND CENTRAL STATION . A policeman stands at the gate scanning the passengers as they go through . -LRB- Through this and ensuing vignettes , the dull voice of the Police Announcer continues over the flashes . Entire effect designed to ex - citingly dramatize the spreading of the net for the capture of Clyde Wynant . -RRB- -LRB- c -RRB- A PRINTING PRESS . It is running off police placards announcing the reward for the capture of Clyde Wynant . -LRB- d -RRB- TELETYPE MACHINE . Over the machine is coming :</scene_description>
<character>"Wynant wanted -- watch all</character>
<dialogue />
<character>stations -- boats and roads --</character>
<dialogue />
<character>description - thin man -- six</character>
<dialogue />
<character>feet -- white hair, etc., etc."</character>
<dialogue />
<scene_description>-LRB- e -RRB- NEWSPAPER TRUCK - STREET CORNER . Newsboys are crowded around the back of the truck . A man is hurling packs of LATE EXTRAS down to the boys . They immediately begin calling out :</scene_description>
<character>NEWSBOYS</character>
<dialogue>`` Extra - extra - Wynant wanted in second murder -'' `` Five Star Final'' - Wynant's ex - wife produces mur - der evidence -'' `` Extra - extra - double murder charge against Wynant -''</dialogue>
<scene_description>Pictures of Wynant , most of them full length -LRB- for the desired effect of the tall , thin man -RRB- cover the front pages . Second and third trucks can back into the scene , if desired . Necessary , dramatically , to kick up the idea that the chase for the killer is increasing to fever heat .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT ON NORA - AT WINDOW.</stage_direction>
<scene_description>She is at the window of their bedroom in the hotel Normandie again . We process through the window to get a background of Central Park , South . On SOUND TRACK from below we get a carry - over of the newsboys ' `` Extra ! Extra ! '' from preceding effects . One shrill voice is heard in relief against the others . It is shouting : `` Extra - extra - police hunt Wynant - '' Nora listens for a second and then shuts the window , turning away from it .</scene_description>
<character>Nora</character>
<dialogue>I wish they'd stop that. It makes me fidgety. Do you think they'll find him, Nick? He must be in New York.</dialogue>
<parenthetical>( she stops short as CAMERA PULLS BACK and she sees Nick is in his overcoat , bending over Asta with a leash . )</parenthetical>
<dialogue>Where do you think you're going?</dialogue>
<character>Nick</character>
<dialogue>I'm going to take Asta for a walk.</dialogue>
<character>Nora</character>
<dialogue>He's just been for a walk.</dialogue>
<character>Nick</character>
<dialogue>We're going sightseeing - are n't we, Asta?</dialogue>
<scene_description>He starts to go - but Nora puts a hand on a bulge in his overcoat pocket .</scene_description>
<character>Nora</character>
<dialogue>What's that?</dialogue>
<parenthetical>( she puts her hand in and pulls out a bunch of skeleton keys . )</parenthetical>
<dialogue>What are you up to?</dialogue>
<parenthetical>( she puts her hand in and and pulls out a pistol - she unconsciously holds it , pointing at him . )</parenthetical>
<dialogue />
<scene_description>Nickie - what is this ?</scene_description>
<character>Nick</character>
<parenthetical>( putting his hands up . )</parenthetical>
<dialogue>Looks like a hold - up!</dialogue>
<character>Nora</character>
<dialogue>What are you going to do?</dialogue>
<character>Nick</character>
<dialogue>I've got hunch. I'm going down to look at Wynant's shop, I want to find out why it's closed.</dialogue>
<character>Nora</character>
<dialogue>Why should n't be close it? He went away.</dialogue>
<character>Nick</character>
<dialogue>He went away lots of times when I knew him - but he never closed his shop. I've got a hunch something is up.</dialogue>
<character>Nora</character>
<dialogue>You mean, he might be hiding there?</dialogue>
<character>Nick</character>
<dialogue>I do n't know. This thing has got my goat. I've got to find out.</dialogue>
<character>Nora</character>
<dialogue>Nick - I wo n't have you going down there.</dialogue>
<character>Nick</character>
<dialogue>Say you're the one who got me in this!</dialogue>
<character>Nora</character>
<dialogue>I know but this is different. He's a crazy man. He might kill you.</dialogue>
<character>Nick</character>
<dialogue>I'll be all right. I've got Asta to protect me.</dialogue>
<character>Nora</character>
<parenthetical>( waving him out . )</parenthetical>
<dialogue>Go on - go on - see if I care. But it's a dirty trick bringing me all the way to New York just to make me a widow.</dialogue>
<character>Nick</character>
<parenthetical>( kidding her . )</parenthetical>
<dialogue>You would n't be a widow long.</dialogue>
<character>Nora</character>
<dialogue>You bet I would n't.</dialogue>
<scene_description>Nick Not with all your money !</scene_description>
<character>Nora</character>
<dialogue>You dog!</dialogue>
<character>Nick</character>
<parenthetical>( kissing her . )</parenthetical>
<dialogue>Goodbye, darling.</dialogue>
<character>Nora</character>
<parenthetical>( clinging to him and for the first time really serious . )</parenthetical>
<dialogue>Nickie, take care of yourself wo n't you?</dialogue>
<character>Nick</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>Sure I will.</dialogue>
<character>Nora</character>
<dialogue>Do n't say it that way. Say it as if you meant it.</dialogue>
<character>Nick</character>
<parenthetical>( with mock solemnity . )</parenthetical>
<dialogue>Why, I believe the little woman cares.</dialogue>
<character>Nora</character>
<dialogue>I do n't care - I'm just used to you, that's all -.</dialogue>
<parenthetical>( Nick gives her an affectionate hug and a kiss .</parenthetical>
<parenthetical>He calls to Asta .</parenthetical>
<parenthetical>Nora turns to the dog , trying to hide her emotion under a pretense of clowning . )</parenthetical>
<dialogue>If you let anything happen to him, you'll never wag that tail again!</dialogue>
</scene>
<scene>
<scene_description>street lamps is very dim . A cab drives up before the shop . The door of the cab opens and Asta jumps out , and makes a bee - line for a hydrant . Nick follows him , still in his evening clothes . He turns to pay he driver , who is looking dubiously at the neighborhood . Driver Sure this is the place you want ?</scene_description>
<character>Nick</character>
<dialogue>This is it.</dialogue>
<character>Driver</character>
<parenthetical>( looking apprehensively at the street . )</parenthetical>
<dialogue>You do n't want me to wait, do you?</dialogue>
<character>Nick</character>
<dialogue>No thanks.</dialogue>
<parenthetical>( Nick pays him . )</parenthetical>
<dialogue />
<character>Driver</character>
<parenthetical>( with a last look , he says dubiously . )</parenthetical>
<dialogue>Well. good luck!</dialogue>
<scene_description>He drives off . The street is quiet . Nick turns toward the shop . Nick stands for a second looking at the building , then turns to Asta .</scene_description>
<character>Nick</character>
<parenthetical>( to Asta . )</parenthetical>
<dialogue>Ready? Well, let's go.</dialogue>
<scene_description>He goes to the front door of the shop . He tries it . It is locked . From his pocket he takes out a ring with skeleton keys on it . Holding his flashlight on the key hole , he finally finds the key that opens it . He pushes the door slowly open . He holds it open , looking back at Asta .</scene_description>
<character>Nick</character>
<dialogue>You keep quiet now. Come on.</dialogue>
<scene_description>But Asta does n't like the looks of the place . He does n't move . Nick snaps his fingers for him to come and Asta finally , reluctantly follows him .</scene_description>
</scene>
<scene>
<stage_direction>INTERIOR BUILDING -- TRUCKING AND PANNING</stage_direction>
<scene_description>On Nick as he makes his way down the narrow little hall , guided by his flashlight . Asta trails , still reluctantly . Nick is familiar with the old building so that he does not lose time in reaching the rear , where he goes down the steps , cautiously , to the basement .</scene_description>
</scene>
<scene>
<stage_direction>MACHINE SHOP AND STOREROOM IN BASEMENT </stage_direction>
<scene_description>LONG SHOT . -LRB- This room leads to Wynant 's private work - shop as established earlier . -RRB- Nick moves stealthily through the storeroom , flashing his light here and there on crates , boxes of machinery , etc. . It is a weird scene , at any moment you must feel that Wynant , or some foe will spring from behind the objects . -LRB- His figure is mostly in silhouette during , the scene . He flashes his light in quick short flashes . -RRB- Nick sees a moving shadow . Asta starts to growl . Nick whips out his gun . The throws the light of his flashlight onto a pile of -LSB- sorry - page missing . The `` moving shadow '' turns out to be a cat . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>CONTINUED</stage_direction>
<scene_description>nothing that will help him . He is starting out , when he misses Asta . He calls him softly . We hear the dog whine .</scene_description>
<character>Nick</character>
<parenthetical>( to Asta . )</parenthetical>
<dialogue>Well, come along, then.</dialogue>
<scene_description>Still the dog does not come . We hear him whine again . Nick flashes his light around until it lights on the dog . Asta is in the center of the floor . He has his ears back . He is sniffing at the floor . Nick keeping his flashlight on Asta , comes back . He leans down to the floor , running his hand over the cement .</scene_description>
<character>Nick</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>You're not a Scottish Terrier. You're a police dog. New cement.</dialogue>
<scene_description>He gets up briskly and looks around , using his flashlight , to find a tool . He finds an iron bar . Placing the light so that it falls on the floor . Nick takes the iron bar . He pounds on the floor . Over the place where Asta was whining , the cement gives out a hollow sound . Nick takes the bar in both hands , throws his whole strength into it , trying to force it through the floor . It finally goes through . Nick leans down , and a startled , horrified look comes in his face . He puts down the bar , picks up Asta , who is flattened on the floor , watching him , takes his flashlight and goes quickly toward the stairs . He climbs rapidly .</scene_description>
</scene>
<scene>
<stage_direction>CRANE SHOT -- FLIGHT OF STAIRS LEADING TO WYNANT'S OFFICE ON SECOND FLOOR. (AS EARLIER ESTABLISHED.)</stage_direction>
<scene_description>He uses his flashlight to find his way . The stairway , being as old as the building , creaks as he walks . WE CONTINUE TO CRANE until he reaches the second floor and cautiously enters the old office .</scene_description>
</scene>
<scene>
<stage_direction>WYNANT'S OFFICE - FULL SHOT.</stage_direction>
<scene_description>All is pitch dark as he follows his flashlight to the telephone , dials the number , then extinguishes the light .</scene_description>
<character>Nick</character>
<parenthetical>( in telephone . )</parenthetical>
<dialogue>Hello, Lieutenant Guild, please. John? This is Charles. I'm up in Wynant's shop. Well, I've found something. it's a body.</dialogue>
<scene_description>He puts down the telephone . Using his flashlight , he goes to the desk and begins to look through the papers there .</scene_description>
</scene>
<scene>
<stage_direction>EFFECT SHOT -- CAMERA AT BOTTOM OF STAIRWAY, SHOOTING UP.</stage_direction>
<scene_description>On the figure of a man as it is quietly going up the same stairway that Nick took , slowly going toward the office . He has no light , but by his unhesitating steps , we gather that he is familiar with the building . The steps creak a little .</scene_description>
</scene>
<scene>
<stage_direction>WYNANT'S OFFICE - CLOSE SHOT ON NICK.</stage_direction>
<scene_description>He is still rummaging over the desk . Sudden - ly he stands rigid . He has heard a step . He puts out his flashlight and whirls around to face the door . At this instant , CAMERA</scene_description>
</scene>
<scene>
<stage_direction>THE DOOR</stage_direction>
<scene_description>As the man 's figure appears . As he starts to come in , Nick 's flashlight is thrown full on his face , blinding him . We see that it is Tanner .</scene_description>
<character>Nick's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Stick'em up!</dialogue>
<scene_description>Tanner , terrified by the light and the sharp command from the darkness , puts up his hands . Asta begins to bark . Keeping the light full on Tanner 's face , Nick swiftly searches him . Satisfied that Tanner has no gun , Nick goes to an electric light switch .</scene_description>
<character>Nick</character>
<parenthetical>( as he does this . )</parenthetical>
<dialogue>Do n't make a move or that dog will tear you to shreds!</dialogue>
<scene_description>He switches on the light . Tanner looks in , blinking amazement and fear , first at Nick , and then at -</scene_description>
</scene>
<scene>
<stage_direction>BIG CLOSEUP OF ASTA</stage_direction>
<scene_description>He has crawled under the desk and lies there , looking out fearfully .</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM ON NICK AND TANNER</stage_direction>
<scene_description>Nick grins a little at Asta 's fear and Tanner 's bewilderment .</scene_description>
<character>Nick</character>
<parenthetical>( to Asta . )</parenthetical>
<dialogue>Come on out, now. He wo n't hurt you.</dialogue>
<parenthetical>( then to Tanner , with a return of his brisk , professional tone . )</parenthetical>
<dialogue>Back to your old tricks, eh, Tanner?</dialogue>
<character>Tanner</character>
<dialogue>No, Mr. Charles.</dialogue>
<character>Nick</character>
<dialogue>How did you get in here?</dialogue>
<character>Tanner</character>
<dialogue>I had a key. I worked here. till they closed the shop.</dialogue>
<character>Nick</character>
<dialogue>You worked here?</dialogue>
<character>Tanner</character>
<dialogue>Yes, sir. Julia Wolf got me a job as bookkeeper.</dialogue>
<character>Nick</character>
<dialogue>Well, that's a hot one. You a bookkeeper! When were you ever a bookkeeper?</dialogue>
<character>Tanner</character>
<dialogue>That time you sent me up last. I learned book - keeping at Sing Sing. I figured it might be an in for me somewheres.</dialogue>
<character>Nick</character>
<dialogue>Somewheres where they might go out and leave the safe open?</dialogue>
<character>Tanner</character>
<dialogue>Honest, Mr, Charles. I never touched that safe. Them bonds that were missing. Julia took them.</dialogue>
<character>Nick</character>
<dialogue>Trying to put it off on her?</dialogue>
<character>Tanner</character>
<dialogue>Mr. Charles - she did - that's why he got sore at her and killed her. Listen, Mr. Charles -.</dialogue>
<parenthetical>( he pulls out some bills . )</parenthetical>
<dialogue>I did do a little chiseling. I come to bring it back and fix up the books. I did n't want him to find out and come after me -</dialogue>
<character>Nick</character>
<dialogue>You can save that and tell it to the police. They'll be here in a minute.</dialogue>
<character>Tanner</character>
<parenthetical>( a hunted look comes into his face . )</parenthetical>
<dialogue>Police!</dialogue>
<scene_description>He shrinks back , aghast , as at this moment we hear the sound of sirens from police cars arriving outside . Asta crawls back under the desk .</scene_description>
</scene>
<scene>
<stage_direction>EXTERIOR WYNANT'S SHOP - STREET - NIGHT.</stage_direction>
<scene_description>There is a rising crescendo of sirens as Guild 's police car , and the Medical Examiner 's car swing around the corner , accompanied by a motorcycle escort . They pull to a stop at the front of the shop . The police and Dr. Walton , with his assistant , get out of the cars and go to the door of the building . There are police photographers with them . Nick , with Tanner in his custody , is waiting at the door of the shop .</scene_description>
</scene>
<scene>
<stage_direction>WYNANT'S SHOP - BASEMENT.</stage_direction>
<scene_description>The floor is dug up more than in the last scene , so that the body is exposed enough for the photographers . Guild , Nick , Dr. Walton , Tanner and the rest of the police stand aside as the photographers take their flashlight pictures from different angles . Guild is putting on a pair of gloves . Dr. Walton is preparing to do his work . Nick , in his evening clothes and his casual air , is an incongruous note in the midst of all the professional excitement . As the photographers finish , Guild steps up to the hole in the floor . He turns to Tanner , who is watching , horrified .</scene_description>
<character>Guild</character>
<parenthetical>( to Tanner . )</parenthetical>
<dialogue>You did n't know anything about all this?</dialogue>
<character>Tanner</character>
<dialogue>No, sir.</dialogue>
<character>Guild</character>
<parenthetical>( to one of the police . )</parenthetical>
<dialogue>Take him down to the can. I'll see him later.</dialogue>
<scene_description>The policeman goes out with Tanner . Guild looks down into the hole .</scene_description>
<character>Guild</character>
<parenthetical>( he gives a low whistle . )</parenthetical>
<dialogue>I wonder what Wynant had against this one? Quick lime. Well at least the clothes were n't touched.</dialogue>
<scene_description>The Medical Examiner comes up and stands be - side him .</scene_description>
<character>Guild</character>
<dialogue>Mind if I take those out, Doc?</dialogue>
<character>Dr. Walton</character>
<dialogue>Go ahead.</dialogue>
<scene_description>Guild stoops down and takes out a bundle of clothes . The CAMERA PANS with him as he takes them over to a work table and starts to open them up . Nick strolls over and stands watching him .</scene_description>
<character>Nick</character>
<parenthetical>( looking at the bundle of clothes . )</parenthetical>
<dialogue>Just rolled them up and threw them in.</dialogue>
<character>Guild</character>
<dialogue>Lucky thing for us they were n't in that lime.</dialogue>
<character>Nick</character>
<dialogue>Extraordinarily lucky.</dialogue>
<scene_description>Guild pulls a coat from the bundle . It is a large coat , slightly eaten by the lime . Guild picks it up and examines it for a tailor 's label .</scene_description>
<character>Guild</character>
<dialogue>No - no identification -.</dialogue>
<parenthetical>( he holds the coat up . )</parenthetical>
<dialogue>Must have weighed two hundred and fifty if he weighed an ounce.</dialogue>
<character>Bob</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Here's something,</dialogue>
<scene_description>Bob comes into the scene . He hands Guild a walking stick . Guild takes it and examines it .</scene_description>
<character>Guild</character>
<parenthetical>( looking at the stick . )</parenthetical>
<dialogue>Rubber tip. He must have been lame.</dialogue>
<character>Bob</character>
<dialogue>Who would n't be. carrying that weight around.</dialogue>
<scene_description>Guild takes the trousers and stretches them out .</scene_description>
<character>Guild</character>
<parenthetical>( to Doctor . )</parenthetical>
<dialogue>Standing straight he'd be about five foot, eleven, would n't he?</dialogue>
<character>Doctor's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>About.</dialogue>
<character>There is a belt attached to the trousers -</character>
<dialogue />
<scene_description>Guild looks at it . He finds some initials engraved on the silver buckle .</scene_description>
<character>Guild</character>
<parenthetical>( reading from the buckle . )</parenthetical>
<dialogue>`` D.W.R.'' -LRB- turns to Nick. -RRB- That case you worked on. the guy who threatened to kill Wynant. what what was his name?</dialogue>
<scene_description>Nick Rosebreen .</scene_description>
<character>Guild</character>
<dialogue>Could this be him?</dialogue>
<character>Nick</character>
<dialogue>I never saw him. I do n't think anyone saw him.</dialogue>
<character>Guild</character>
<dialogue>He said Wynant tried to steal an invention.</dialogue>
<character>Nick</character>
<dialogue>Yes. But we figured it was just blackmail.</dialogue>
<character>Guild</character>
<dialogue>Just the same, Wynant would n't mind having him out of the way, would he?</dialogue>
<parenthetical>( he turns to the Doctor . )</parenthetical>
<dialogue>How long should you say this body'd been here, Doc?</dialogue>
<scene_description>The Doctor comes into the scene taking off his gloves .</scene_description>
<character>Dr. Walton</character>
<dialogue>I ca n't say offhand. At least a couple of months.</dialogue>
<character>Guild</character>
<dialogue>Couple of months. That's just when he closed the shop. The way I figure it is. he kills this guy and plants him here. Julia knows about it, so he kills her. And Nunheim caught him at that, so he he had to bump off Nunheim.</dialogue>
<parenthetical>( he makes a bundle of the clothes . )</parenthetical>
<dialogue>Well, we'll be going along.</dialogue>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>You done a swell job. You would n't like to pay me that hundred now?</dialogue>
<character>Nick</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Wait'till you catch Wynant.</dialogue>
<scene_description>Nick walks over to the Medical Examiner who is putting on his coat , preparatory to going . The Medical Examiner speaks to his assistant , indicating the wrapped up body , out of the scene .</scene_description>
<character>Dr. Walton</character>
<dialogue>You can take that out to the car.</dialogue>
<character>Nick</character>
<dialogue>Going to run him through the floroscope?</dialogue>
<character>Dr. Walton</character>
<dialogue>Yes.</dialogue>
<character>Nick</character>
<dialogue>Do you mind if I come down and see it?</dialogue>
<character>Dr. Walton</character>
<dialogue>Not at all.</dialogue>
<character>Nick</character>
<dialogue>I'm very interested in that body.</dialogue>
<scene_description>By this time Guild is ready to go . He turns to Nick , the bundle of clothes under his arm .</scene_description>
<character>Guild</character>
<dialogue>Give my best to your wife. He turns to go out, almost bumping into a</dialogue>
<scene_description>figure in the semi - darkness . It is apparently a slender boy , his coat collar high about his neck , and his hat pulled down over his eyes . Nick spies him at the same time and comes toward him . Guild speaks sharply to the boy .</scene_description>
<character>Guild</character>
<parenthetical>( to the boy . )</parenthetical>
<dialogue>What're you doing here?</dialogue>
<character>Nick</character>
<parenthetical>( to Guild - knowing who it is . )</parenthetical>
<dialogue>I'll take care of him.</dialogue>
<scene_description>Guild grunts and continues on his way . Nick takes the boy by the arm , and unceremoniously hustles him out . Nick has Asta under his other arm . 133A EXT. . OF BUILDING Nick hustles the boy into a taxicab , and follows him in , speaking to the driver as he gets in . 133B CLOSEUP OF NICK Nick is seated in the cab . He is looking with a disapproving scowl at his companion .</scene_description>
<character>Nick</character>
<dialogue>What do you think you are?</dialogue>
<scene_description>The CAMERA PANS to his companion . We see that it is Nora . She is dressed in Nick 's clothes . She has even used some of her hair to make a mustache . She looks at Nick with a twinkle in her eye , and strokes the points of her mustache in imitation of him as she speaks .</scene_description>
<character>Nora</character>
<dialogue>I'm a ` de - tect - uf'.</dialogue>
</scene>
<scene>
<stage_direction>CLOSEUP OF FLOROSCOPE. (Police Laboratory)</stage_direction>
<scene_description>The light of the floroscope comes through the skeleton of the body . The Medical Examiner 's hand comes into the shot , point - ing to a dark spot in the left side of the body , near the heart .</scene_description>
<character>Dr. Walton's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>There's the bullet he was killed with. See?</dialogue>
<scene_description>Nick 's Voice -LRB- o.s. -RRB- What 's this ? His hand comes into the shot , pointing to a smaller speck in the shin bone . THE CAMERA NOW PULLS back to show the two men in Dr. Walton 's laboratory looking at the body under the floroscope . Dr. Walton looks closer .</scene_description>
<character>Dr. Walton</character>
<dialogue>Oh, just an old piece of shrapnel.</dialogue>
<scene_description>An idea comes to Nick . He is piecing things together in his mind . Nick Shrapnel !</scene_description>
<character>Dr. Walton</character>
<parenthetical>( still inspecting . )</parenthetical>
<dialogue>Must have been in the war. That might account for the cane and his limp.</dialogue>
<scene_description>Nick -LRB- thinking of something else -RRB- Yes . yes . 135 - 139 SERIES OF EFFECT FLASHES - THIRD MURDER - POLICE DRAGNET In terrific tempo , with the elongated shadow of the Thin Man behind the flashes , we bring in , kaleidoscopically , police teletypes - radio broadcasts - telephone and telegraph - wireless - radio cars , etc. . Chief among these effects are superimposed closeups of police and detective chiefs as they talk into phones , firing their orders . By the nature of the uniforms worn by the police captains , we must achieve the idea that the man - hunt is NATION WIDE . Also superimposed are newspaper headlines , tabloids , etc. , screaming out : `` WYNANT HUNTED IN THIRD MUR - DER - '' `` WYNANT VICTIM BURIED IN BASEMENT - '' `` HORROR MURDER LAID TO WYNANT - '' `` WYNANT BODY NUMBER THREE DUG UP IN CEMENT - '' etc. , etc. . Also , on SOUND TRACK , through radio and telephone , we hear continuous voices as they report : `` WYNANT SEEN HERE - WYNANT SEEN THERE - '' etc. . These are Vorkapich shots , and conclude with thrilling flashes of automobiles being stopp - ed on roads by traffic officers , squad cars racing to and fro from headquarters , etc. .</scene_description>
</scene>
<scene>
<stage_direction>CLOSEUP OF ASTA.</stage_direction>
<scene_description>The dog is standing on a table . The CAMERA PULLS BACK to show the living room of Nick 's suite . The reporters are on Nick 's trail again . The floor is littered with newspapers . Nora , in negligee , is being interviewed by a ` sob sister ' . Nick is near the table where the drinks are surrounded by reporters . A newspaper photographer is taking Asta 's picture as he stands on the table .</scene_description>
<character>Photographer</character>
<parenthetical>( snapping his fingers down near the floor . )</parenthetical>
<dialogue>Hey. doggie, doggie. Look down at the body! Look down at the body!</dialogue>
<parenthetical>( Asta looks down at the man 's hand and the flashlight flares up .</parenthetical>
<parenthetical>The photo - grapher hurriedly goes to Nick . )</parenthetical>
<dialogue>Now, Mr. Charles -</dialogue>
<character>1st Reporter</character>
<parenthetical>( to photographer . )</parenthetical>
<dialogue>Get that out of here.</dialogue>
<character>Photographer</character>
<dialogue>Just one family group.</dialogue>
<character>Sob Sister</character>
<dialogue>It'd be lovely for the woman's page.</dialogue>
<scene_description>Nick goes to stand beside Nora , and the photographer puts Asta in Nora 's arms . The reporters follow Nick , asking him questions .</scene_description>
<character>1st Reporter</character>
<dialogue>Have the police got any idea where Wynant is?</dialogue>
<character>Nick</character>
<dialogue>No.</dialogue>
<character>2nd Reporter</character>
<dialogue>Do you think they'll I find him?</dialogue>
<character>Nick</character>
<dialogue>I know they will.</dialogue>
<scene_description>The flashlights flare again . Nick moves away .</scene_description>
<character>3rd Reporter</character>
<dialogue>Got anything else to say about the case?</dialogue>
<character>Nick</character>
<dialogue>Yes. It's put me way behind in my drinking.</dialogue>
<scene_description>He starts for the table where the liquor is .</scene_description>
<character>1st Reporter</character>
<dialogue>What about this Rosebreen?</dialogue>
<character>Nick</character>
<parenthetical>( pouring himself a drink . )</parenthetical>
<dialogue>Sorry. Do n't know a thing.</dialogue>
<character>2nd Reporter</character>
<parenthetical>( to photographer . )</parenthetical>
<dialogue>Come on, let's get it in.</dialogue>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Thanks, Nick.</dialogue>
<scene_description>The reporters all start for the door .</scene_description>
<character>1st Reporter</character>
<dialogue>What's your next step, Nick?</dialogue>
<character>Nick</character>
<dialogue>Right back to California. We've got to go home and rest up from our vacation.</dialogue>
<character>1st Reporter</character>
<dialogue>We'll see you before you go.</dialogue>
<scene_description>They all go out . CAMERA MOVES IN FOR CLOSE PANNING SHOT .</scene_description>
<character>Nora</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Back to California</dialogue>
<character>Nick</character>
<dialogue>My soul, woman. I give you three murders and you are n't satisfied.</dialogue>
<character>Nora</character>
<dialogue>I want you to stay and find Wynant.</dialogue>
<character>Nick</character>
<parenthetical>( out of a clear sky - over his highball . )</parenthetical>
<dialogue>I did find him!</dialogue>
<character>Nora</character>
<dialogue>What do you mean?</dialogue>
<character>Nick</character>
<parenthetical>( between swallows . )</parenthetical>
<dialogue>He was down in the shop.</dialogue>
<character>Nora</character>
<dialogue>Nick!</dialogue>
<character>Nick</character>
<dialogue>It was his body that was buried there.</dialogue>
<character>Nora</character>
<dialogue>Nick, you'd better lay off that liquor.</dialogue>
<character>Nick</character>
<dialogue>That's a fact.</dialogue>
<character>Nora</character>
<parenthetical>( unable to believe her ears . )</parenthetical>
<dialogue>Wynant's body?</dialogue>
<character>Nick</character>
<parenthetical>( mixing another drink . )</parenthetical>
<dialogue>Yup. Do n't you want something to eat?</dialogue>
<character>Nora</character>
<dialogue>But they all said it was Rosebreen's.</dialogue>
<character>Nick</character>
<parenthetical>( going to telephone . )</parenthetical>
<dialogue>That's what they think. Guild and all of them. They take it for granted that it's just another of Wynant's victims.</dialogue>
<parenthetical>( he takes up telephone . )</parenthetical>
<dialogue>Guild's hot - footing it around now, looking for Wynant. That's all that troubles him.</dialogue>
<character>Nora</character>
<dialogue>What makes you so sure it's Wynant's body?</dialogue>
<character>Nick</character>
<dialogue>Several things.</dialogue>
<parenthetical>( speaks into the telephone . )</parenthetical>
<dialogue>Hello, Fred. We're hungry again. Yeah, and lots of onions. Oh, and coffee.</dialogue>
<character>Nora</character>
<dialogue>Nick, you'll drive me crazy. What things?</dialogue>
<character>Nick</character>
<parenthetical>( putting up the receiver . )</parenthetical>
<dialogue>Huh?</dialogue>
<character>Nora</character>
<dialogue>What things made you so sure?</dialogue>
<character>Nick</character>
<dialogue>Oh. Well, the clothes for instance. They were carefully preserved, and the body was just as carefully destroyed. The person who killed him counted on one thing. that all skeletons look alike.</dialogue>
<character>Nora</character>
<dialogue>Well, do n't they?</dialogue>
<character>Nick</character>
<dialogue>Sure.</dialogue>
<scene_description>He takes a drink from the glass in his hand . Nora goes to him and takes his drink from him .</scene_description>
<character>Nora</character>
<dialogue>You do n't get another swallow'til you really open up.</dialogue>
<character>Nick</character>
<parenthetical>( speaking quickly , anxious to get his drink back . )</parenthetical>
<dialogue />
<scene_description>I remembered that Wynant had some shrapnel in his shin . It often bothered him . So I looked for it and I found it . -LRB- he reaches out his hand for the glass -RRB- Gim me . Nora mechanically gives him back his drink , her mind on the significance of what he has told her .</scene_description>
<character>Nora</character>
<dialogue>How long has he been dead?</dialogue>
<character>Nick</character>
<dialogue>Couple of months anyway.</dialogue>
<character>Nora</character>
<dialogue>Then he could n't have committed those other mur - ders.</dialogue>
<character>Nick</character>
<dialogue>Smart gal.</dialogue>
<character>Nora</character>
<parenthetical>( hardly able to believe it . )</parenthetical>
<dialogue>Wynant dead?</dialogue>
<parenthetical>( with a sudden thought . )</parenthetical>
<dialogue>Does Dorothy know?</dialogue>
<character>Nick</character>
<dialogue>No. Nobody but you.</dialogue>
<scene_description>Nora starts for the telephone .</scene_description>
<character>Nora</character>
<dialogue>I'm going to tell her.</dialogue>
<character>Nick</character>
<dialogue>Hey. hey.</dialogue>
<parenthetical>( Nora stops . )</parenthetical>
<dialogue />
<scene_description>Do n't do that .</scene_description>
<character>Nora</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>But the poor kid's going crazy. She'd rather know her father was dead than that.</dialogue>
<character>Nick</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>I ca n't help it. I ca n't tell a soul. I did n't even tell Guild.</dialogue>
<character>Nora</character>
<dialogue>Why not?</dialogue>
<character>Nick</character>
<dialogue>I want to lie low till I get the whole dope. I do n't want to go off half - cocked.</dialogue>
<character>Nora</character>
<dialogue>What are you going to do?</dialogue>
<character>Nick</character>
<dialogue>I'm going to get the real murderer. I've got an idea. Want to see me take him?</dialogue>
<character>Nora</character>
<parenthetical>( thrilled . )</parenthetical>
<dialogue>Yes!</dialogue>
<character>Nick</character>
<dialogue>Got a nice evening dress?</dialogue>
<character>Nora</character>
<parenthetical>( impatient . )</parenthetical>
<dialogue>Now Nick, what's that got to do with it?</dialogue>
<character>Nick</character>
<parenthetical>( insisting . )</parenthetical>
<dialogue>Got a nice evening dress?</dialogue>
<character>Nora</character>
<dialogue>I've got a lulu - why?</dialogue>
<character>Nick</character>
<dialogue>I'm going to give a party, and invite all of the suspects.</dialogue>
<character>Nora</character>
<dialogue>The suspects! They wo n't come.</dialogue>
<character>Nick</character>
<dialogue>Oh, they'll come. I'll have Guild issue the invitations.</dialogue>
<parenthetical>( he starts to telephone . )</parenthetical>
<dialogue />
<character>Nora</character>
<dialogue>Who do you think did it?</dialogue>
<character>Nick</character>
<dialogue>Mimi.</dialogue>
<character>Nora</character>
<dialogue>Mimi!</dialogue>
<character>Nick</character>
<dialogue>Mimi, Jorgensen, Morelli, Tanner.</dialogue>
<parenthetical>( to Nora . )</parenthetical>
<dialogue>What were you doing on the ninth of June?</dialogue>
<scene_description>He grins into the phone .</scene_description>
</scene>
<scene>
<stage_direction>PRIVATE DINING ROOM IN HOTEL.</stage_direction>
<scene_description>Music of a small string orchestra is com - ing from the adjoining balcony . A table is set in the background for fourteen people . The waiters are quietly putting the the last touches to the table . The head waiter is passing around a last tray of cocktails . The CAMERA TRUCKS with him as we pick up the different people . He goes first to Andrew who is standing by himself , very forlorn looking . Then to Mimi , Tanner and Gilbert who are a little isolated group . not know - ing what is going on , and looking very suspiciously at the other guests . He goes on to a group made up of Nora , Guild , Marian and Morelli . Nora is hanging on to the two men 's words . The head waiter goes on to Nick and Macaulay .</scene_description>
<character>Head Waiter</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>Shall I serve dinner now?</dialogue>
<character>Nick</character>
<dialogue>Just a minute -</dialogue>
<scene_description>Nick looks toward the door . He breaks away from Macaulay and goes to the door . The CAMERA PANS with him as he goes . A detec - tive is just coming in the door .</scene_description>
<character>Detective</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>We got'em. Picked'em up at the Pennsylvania Station.</dialogue>
<parenthetical>( he turns to the door . )</parenthetical>
<dialogue>Come on in.</dialogue>
<scene_description>Dorothy and Quinn come into the room . They have both been drinking . Quinn is angry and reluctant to come in . Quinn has a suit - case and Dorothy a little dressing - case in her hand . Dorothy is defiantly gay . She has quite thoroughly carried out her threat to go `` out for the ride '' -</scene_description>
<character>Nick</character>
<dialogue>Hello, Dorothy.</dialogue>
<parenthetical>( Nick reaches out and takes her bag . )</parenthetical>
<dialogue />
<character>Dorothy</character>
<dialogue>Hello, Nick!</dialogue>
<parenthetical>( she looks around the room . )</parenthetical>
<dialogue>And a party - celebrating father's third murder -.</dialogue>
<parenthetical>( her tone is bitter . )</parenthetical>
<dialogue />
<character>Mimi's Voice</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Dorothy!</dialogue>
<character>Dorothy</character>
<dialogue>And cocktails!</dialogue>
<scene_description>She walks toward the drinks out of the scene .</scene_description>
<character>Nick</character>
<parenthetical>( to Quinn . )</parenthetical>
<dialogue>Why the bags?</dialogue>
<character>Quinn</character>
<dialogue>None of your business.</dialogue>
<character>Detective</character>
<dialogue>They were trying to make a get - away,</dialogue>
<character>Quinn</character>
<parenthetical>( drunk and belligerent . )</parenthetical>
<dialogue>We were doing nothing of the sort. What's the idea of this?</dialogue>
<character>Nick</character>
<dialogue>Did n't he.</dialogue>
<parenthetical>( he indicates the detective . )</parenthetical>
<dialogue />
<scene_description>give you my invitation ?</scene_description>
<character>Quinn</character>
<dialogue>You ca n't get away with this.</dialogue>
<scene_description>The detective is closing in on him .</scene_description>
<character>Nick</character>
<dialogue>You're perfectly right.</dialogue>
<parenthetical>( to the detective . )</parenthetical>
<dialogue>Take the gentleman's coat and bag. The detective starts, not too gently to</dialogue>
<scene_description>take Quinn 's coat from him .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT - DOROTHY AND ANDY</stage_direction>
<scene_description>Dorothy takes a drink from the waiter . Andy starts toward her .</scene_description>
<character>Dorothy</character>
<parenthetical>( to Andy . )</parenthetical>
<dialogue>This is a pretty dead bunch, is n't it?</dialogue>
<character>Andy</character>
<dialogue>You're high enough.</dialogue>
<character>Dorothy</character>
<dialogue>Why not?</dialogue>
<scene_description>Nick comes up to her .</scene_description>
<character>Dorothy</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>You know, you interrupted me at a very important point in my life. I was about to take my first false step.</dialogue>
<parenthetical>( calling to Quinn . )</parenthetical>
<dialogue>Come on, Quinny. Let's dance -</dialogue>
<scene_description>She walks away from Andy and Nick .</scene_description>
<character>Andy</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>I'm getting out of here.</dialogue>
<character>Nick</character>
<dialogue>No - I need you here.</dialogue>
<character>Andy</character>
<parenthetical>( glowering at Quinn . )</parenthetical>
<dialogue>If I stay, I know I'll take a poke at him.</dialogue>
<character>Nick</character>
<dialogue>Then I insist that you stay.</dialogue>
</scene>
<scene>
<stage_direction>MORELLI, GUILD AND MARIAN</stage_direction>
<character>Marian</character>
<dialogue>I want some more of that tiger milk.</dialogue>
<scene_description>She starts off to get another drink . Morelli looks after her admiringly .</scene_description>
<character>Morelli</character>
<parenthetical>( to Guild . )</parenthetical>
<dialogue>I think somebody could do something with that cl -LRB-. -RRB- if they took hold of her right.</dialogue>
<character>Guild</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>Yeah - by the throat!</dialogue>
</scene>
<scene>
<stage_direction>MEDIUM SHOT NEAR TABLE.</stage_direction>
<scene_description>Nora is near the dinner table with Guild beside her . Marian , Macaulay , Mimi , Gilbert , Tanner and Morelli are nearby .</scene_description>
<character>Nora</character>
<dialogue>I think we may as well sit down.</dialogue>
<character>Guild</character>
<parenthetical>( looking around . )</parenthetical>
<dialogue>I guess all the suspects are here.</dialogue>
<scene_description>There is a second of stunned amazement on the people 's faces .</scene_description>
<character>Nora</character>
<dialogue>Mr. Guild means guests!</dialogue>
<parenthetical>( counting noses . )</parenthetical>
<dialogue>Oh, there are two more to come.</dialogue>
<character>Guild</character>
<dialogue>They'll be here. Do n't worry. My men are pick - ing them up.</dialogue>
<character>Nora</character>
<parenthetical>( beaming at him . )</parenthetical>
<dialogue>You're a great help to a hostess. I wish I always had you for my dinner parties.</dialogue>
<scene_description>Nora starts to seat the guests .</scene_description>
<character>Mimi</character>
<parenthetical>( looking toward the door . )</parenthetical>
<dialogue>Chris!</dialogue>
<scene_description>She walks rapidly out of the scene , and</scene_description>
</scene>
<scene>
<stage_direction>DOORWAY.</stage_direction>
<scene_description>Jorgensen and a woman have come in the door . She is a hard - faced , common woman , who looks as if she could handle any situation . They are standing there angry and belligerent . There are a couple or plain - clothesmen with them .</scene_description>
<character>Nick</character>
<dialogue>I'm Nick Charles. How do you do?</dialogue>
<scene_description>Mimi rushes up to Jorgensen .</scene_description>
<character>Mimi</character>
<dialogue>Chris, where have you been?</dialogue>
<scene_description>She stops as she sees the other woman . One of the plain - clothesmen speaks to Nick .</scene_description>
<character>Plain-clothesman</character>
<dialogue>Sorry we're late. But they had to break down the door.</dialogue>
<scene_description>Mimi bristles at this . She gives the woman a withering look and walks out of the scene . Nick watches with great amusement .</scene_description>
<character>Nick</character>
<parenthetical>( to Jorgensen and the woman . )</parenthetical>
<dialogue>Wo n't you come in?</dialogue>
<scene_description>The two reluctantly follow him further into the room . Nick follows them , rubbing his hands with delighted anticipation of the scene to follow . The CAMERA PANS WITH HIM as goes to the table . The people are all seated with the exception of Mimi , Jorgensen and the woman with him , and Nick . Nora is watching the new arrivals with eager interest . Nick looks at her and gives her a broad wink .</scene_description>
<character>Nick</character>
<parenthetical>( turning to Jorgensen . )</parenthetical>
<dialogue>Mr. Jorgensen, you sit next to Andrew, and Mrs. Jorgensen on your right.</dialogue>
<scene_description>Both Mimi and the woman who came in with Jorgensen , start for the chair which Jor - gensen is holding . As they find themselves both going for the same chair , Mimi draws herself up with great dignity .</scene_description>
<character>Mimi</character>
<dialogue>I'm Mrs. Jorgensen. Mimi starts to sit.</dialogue>
<character>The woman</character>
<parenthetical>( drily , as she points to an empty chair across the table . )</parenthetical>
<dialogue>Put it over there. I was Mrs. Jorgensen before you were.</dialogue>
<scene_description>Mimi looks at Jorgensen , bewildered . But he refuses to meet her eye . The other woman sits down firmly in the chair . Nick , from the head of the table , calls to Mimi .</scene_description>
<character>Nick</character>
<dialogue>Mimi. you're here on my right.</dialogue>
<scene_description>He holds her chair for her as she comes and sits down . The waiters start in immediately to serve dinner .</scene_description>
</scene>
<scene>
<stage_direction>CLOSE SHOT: NICK AND NORA.</stage_direction>
<scene_description>Nick holds Nora 's chair for her .</scene_description>
<character>Nora</character>
<dialogue>You give such charming parties, Mr. Charles.</dialogue>
<character>Nick</character>
<dialogue>Thank you, Mrs. Charles.</dialogue>
<scene_description>Nora sits - she whispers to Nick .</scene_description>
<character>Nora</character>
<dialogue>I ca n't wait any longer. Tell me, do you think one of them did it?</dialogue>
<character>Nick</character>
<dialogue>Yes.</dialogue>
<character>Nora</character>
<dialogue>I wish you'd tell me who.</dialogue>
<character>Nick</character>
<dialogue>I wish you'd tell me.</dialogue>
<scene_description>Nick sits down at the head of the table .</scene_description>
</scene>
<scene>
<stage_direction>MEDIUM SHOT: TABLE.</stage_direction>
<scene_description>NOTE : The seating of the table is as follows :</scene_description>
<character>Nick</character>
<dialogue>Mimi Nora Quinn Macaulay Dorothy Tanner Gilbert 1st Mrs. Jorgensen Morelli Jorgensen Marian Andy</dialogue>
<character>Guild</character>
<dialogue />
<scene_description>Nick looks up and down the table .</scene_description>
<character>Mimi</character>
<dialogue>This is all very pleasant but why are here?</dialogue>
<character>Nick</character>
<dialogue>I've got some very important news - I've seen Wynant.</dialogue>
<scene_description>They all turn and look at him with curiosity . Guild looks amazed . Mimi is very composed .</scene_description>
<character>Guild</character>
<dialogue>You did!</dialogue>
<character>Mimi</character>
<dialogue>That's nothing. I saw him myself.</dialogue>
<scene_description>Nick and Nora exchange looks . Nora is be - wildered .</scene_description>
<character>Nick</character>
<dialogue>You did. where?</dialogue>
<character>Mimi</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>Last night. He came to see me at my apartment.</dialogue>
<character>Nick</character>
<parenthetical>( with mock sincerity . )</parenthetical>
<dialogue>Oh, did he? What did he say?</dialogue>
<character>Mimi</character>
<dialogue>He did n't say very much. Wanted to know how I was and how the children were.</dialogue>
<character>Guild</character>
<parenthetical>( infuriated that Wynant slip - ped through his fingers . )</parenthetical>
<dialogue>What kind of clothes was he wearing?</dialogue>
<character>Mimi</character>
<dialogue>A brown suit, brown shoes and a white shirt and a grayish tie with red, or reddish brown figures on it.</dialogue>
<character>Guild</character>
<parenthetical>( over his shoulder to Bob , who is standing behind his chair . )</parenthetical>
<dialogue>Tell'em.</dialogue>
<parenthetical>( Bob goes quickly out . )</parenthetical>
<dialogue />
<character>Gilbert</character>
<dialogue>I saw him too. he was wearing a green suit with a white tie.</dialogue>
<character>Mimi</character>
<dialogue>What are you talking about, Gilbert? You were n't there!</dialogue>
<character>Gilbert</character>
<dialogue>I know. But I saw him -</dialogue>
<character>Guild</character>
<parenthetical>( to Gilbert . )</parenthetical>
<dialogue>Where did you see him?</dialogue>
<character>Gilbert</character>
<dialogue>I was gazing in my crystal.</dialogue>
<character>Nora</character>
<parenthetical>( to waiter . )</parenthetical>
<dialogue>Serve the nuts - I mean, serve the guests the nuts.</dialogue>
<character>Nick</character>
<dialogue>I'm afraid you're lying, Mimi. You see, I really did see Wynant last night.</dialogue>
<character>Guild</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>Are you kidding?</dialogue>
<character>Nick</character>
<dialogue>No.</dialogue>
<character>Guild</character>
<dialogue>Why did n't you tell me? Why did n't you hold him?</dialogue>
<character>Nick</character>
<dialogue>Because I found out for certain that he did n't commit the murders.</dialogue>
<character>Dorothy</character>
<parenthetical>( sobering . )</parenthetical>
<dialogue>He did n't do it - Nick!</dialogue>
<character>Macaulay</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>Gilbert</character>
<dialogue>Then who did?</dialogue>
<character>Tanner</character>
<dialogue>Do you mean to say? etc..</dialogue>
<character>Mimi</character>
<dialogue>That's ridiculous.</dialogue>
<character>Guild</character>
<dialogue>Let him have his say out.</dialogue>
<character>Nick</character>
<dialogue>Morelli -.</dialogue>
<parenthetical>( Morelli jumps , startled .</parenthetical>
<parenthetical>Everybody looks at him . )</parenthetical>
<dialogue>You knew Julia. Was she gypping Wynant?</dialogue>
<character>Morelli</character>
<parenthetical>( somewhat relieved . )</parenthetical>
<dialogue>She do n't say she is, but I figure she is -</dialogue>
<character>Nick</character>
<dialogue>Why do you say that?</dialogue>
<character>Morelli</character>
<dialogue>Once I wanted five grand -.</dialogue>
<parenthetical>( snaps his fingers . )</parenthetical>
<dialogue>Cash -</dialogue>
<character>Nick</character>
<dialogue>Thank you. Now I'll tell you why I know Wynant did n't commit those murders -.</dialogue>
<parenthetical>( he turns to Morelli . )</parenthetical>
<dialogue>Three months ago - the night that he caught you in Julia's apartment, he found out that Julia was cheating him, and was splitting with some man. He went to find the man. That man was. Tanner, do n't you?</dialogue>
<parenthetical>( but poor Tanner , thinking that Nick is naming him as the man , spills his soup over everything .</parenthetical>
<parenthetical>Everybody turns and looks suspiciously at him .</parenthetical>
<parenthetical>Nick sees that he has startled him and apologizes . )</parenthetical>
<dialogue>I'm sorry. Tanner, do n't you want some wine?</dialogue>
<character>Tanner</character>
<parenthetical>( turning and seeing the waiter in back of him . )</parenthetical>
<dialogue>No. no.</dialogue>
<scene_description>The waiter moves on .</scene_description>
<character>Nora</character>
<parenthetical>( to Nick . )</parenthetical>
<dialogue>You're going to drive me crazy!</dialogue>
<character>Nick</character>
<parenthetical>( returning to his subject . )</parenthetical>
<dialogue>Let's see. where was I? Oh, yes. He went to find the man. That man was desperate! He knew that he was caught dead to rights - and with prison staring him in the face, he took the only way out. He killed Wynant.</dialogue>
<parenthetical>( Nick turns to Dorothy and speaks gently , trying to soften the blow . )</parenthetical>
<dialogue>It's terrible to tell you this way but your father's dead, Dorothy.</dialogue>
<character>Dorothy</character>
<parenthetical>( at first she can not grasp it . )</parenthetical>
<dialogue>Dead?</dialogue>
<character>Nick</character>
<dialogue>He's been dead for three months.</dialogue>
<scene_description>She breaks down and cries . She gets up from the table . Nora starts to go to her . but Andy is there before her . He takes Dorothy in his arms , oblivious of the other people in the room and comforts her .</scene_description>
<character>Andy</character>
<dialogue>Darling, do n't cry. Please. I know it's terrible. But is n't it really better this way?</dialogue>
<character>Dorothy</character>
<parenthetical>( putting her arms around Andy . )</parenthetical>
<dialogue>Oh, Andy, Andy!</dialogue>
<scene_description>Nora comes to them .</scene_description>
<character>Nora</character>
<parenthetical>( to Andy . )</parenthetical>
<dialogue>You'd better take her home. Your home.</dialogue>
<scene_description>Andy looks over at Nick . Nick motions him to take her away .</scene_description>
<character>Andy</character>
<dialogue>Come on, darling.</dialogue>
<scene_description>With his arms around her , he starts out of the room . Dorothy clings to him as they go out . Quinn gets up to follow . There is a silence in the room for a minute after they go .</scene_description>
<character>Nora</character>
<parenthetical>( to Quinn . )</parenthetical>
<dialogue>If she's going wrong now, she's going wrong right.</dialogue>
<scene_description>Nick comes into the scene .</scene_description>
<character>Nick</character>
<parenthetical>( to Quinn . )</parenthetical>
<dialogue>I do n't think we need you any more now. I'm deeply sorry that I spoiled your trip.</dialogue>
<scene_description>Quinn grabs his hat and coat and bag - goes out . Nick and Nora return to the table .</scene_description>
<character>Nick</character>
<dialogue>Come on, everybody. Eat up. You're not eating. It has n't affected Mimi's appetite.</dialogue>
<character>Mimi</character>
<dialogue>Because I do n't believe that Clyde's dead! Why, you said yourself you saw him last night.</dialogue>
<character>Nick</character>
<dialogue>So I did. I saw him lying buried in his shop.</dialogue>
<character>Guild</character>
<dialogue>You mean that body -?</dialogue>
<character>Nick</character>
<dialogue>- was Wynant's.</dialogue>
<character>Mimi</character>
<dialogue>Perfectly absurd.</dialogue>
<character>Nick</character>
<dialogue>And the murderer is right here in this room to - night. he's sitting at this table.</dialogue>
<parenthetical>( to waiter . )</parenthetical>
<dialogue>You may serve the fish.</dialogue>
<scene_description>The CAMERA PANS around the table . to all the frightened faces of the people . Morelli jumps up and starts out of the door . but he is stopped by the police . Morelli You 're not going to pin this one on me .</scene_description>
<character>Plain-clothesman</character>
<dialogue>Get back there!</dialogue>
<scene_description>Morelli -LRB- sitting down -RRB- What am I ? The fall guy ?</scene_description>
<character>Nick</character>
<parenthetical>( to the table full of people . )</parenthetical>
<dialogue>I hope you wo n't let this news spoil your dinner.</dialogue>
<parenthetical>( he turns to Nora . )</parenthetical>
<dialogue>Nice food, is n't it?</dialogue>
<character>Nora</character>
<parenthetical>( all eyes . )</parenthetical>
<dialogue>It's the best diner I ever listened to -</dialogue>
<character>Gilbert</character>
<dialogue>You're not going to keep us in the dark, are you? Tell us - who is it?</dialogue>
<character>Nick</character>
<dialogue>I do n't know.</dialogue>
<parenthetical>( There is more consternation at that . )</parenthetical>
<dialogue />
<scene_description>But I thought if we all had a little get - together we might be able to find out . I 'll tell you as much as I know . Go right on eating . This murder - er is a very clever . He studied this thing out very carefully . You 'd understand that , would n't you , Gilbert ?</scene_description>
<character>Gilbert</character>
<parenthetical>( startled . )</parenthetical>
<dialogue>What? Yes - no -</dialogue>
<character>Nick</character>
<dialogue>He planned the whole thing beautifully. After he killed Wynant he wired Macaulay, using Wynant's name and told him to shut up the shop. He destroyed all of Wynant's clothes, with the ex - ception of his watch chain. He figured that some day that might come in handy. Then he took Wynant's body and buried it in the shop with another man's clothes to throw us off the track. He even put a belt buckle with an `` R'' on it, hop - ing that we'd think it was Rosebreen - an old enemy of Wynant's who dropped out of sight years ago.</dialogue>
<parenthetical>( He looks over at Morelli . )</parenthetical>
<dialogue>Morelli - would you mind holding your knife another way? You're worrying Gilbert.</dialogue>
<parenthetical>( Morelli , who has been holding his knife as if it were a dagger , gives Gilbert a disdainful look , and shifts his knife . )</parenthetical>
<dialogue />
<character>Nora</character>
<parenthetical>( softly to Nick . )</parenthetical>
<dialogue>If that knife is missing, I'll look for it in your back.</dialogue>
<character>Nick</character>
<dialogue>After our hero had killed Wynant, he got a brilliant idea. He realized that he and Julia could still collect money. Wynant was supposed to be on a trip - no one knew where - so our dinner guest wrote letters to Macaulay, signing Wynant's name, so that Macaulay would continue to send the money to Julia. He even telephoned Macaulay -.</dialogue>
<parenthetical>( to Macaulay . )</parenthetical>
<dialogue>Do you remember? the first day that you came to see me. he telephoned that he was in town?</dialogue>
<character>Macaulay</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue />
<scene_description>But it must have been Wynant . I should have known if it were n't his voice .</scene_description>
<character>Nick</character>
<dialogue>Oh he as clever about that. He called when you were out. That same afternoon, Julia telephoned to him. She said that you were coming, Mimi, to ask about Wynant. He got terrified. He was afraid that Julia would break down and tell. so he went to Julia and killed her and left Wynant's watch chain in her hand.</dialogue>
</scene>
<scene>
<stage_direction>CLOSE SHOT - NICK AND NORA.</stage_direction>
<character>Nora</character>
<parenthetical>( close - whispering . )</parenthetical>
<dialogue>Is that true?</dialogue>
<character>Nick</character>
<dialogue>I do n't know.</dialogue>
<character>Nora</character>
<dialogue>Why are you saying it?</dialogue>
<character>Nick</character>
<dialogue>It's the only way it makes sense.</dialogue>
<character>Nora</character>
<dialogue>I hope you're well.</dialogue>
</scene>
<scene>
<stage_direction>MEDIUM SHOT OF TABLE</stage_direction>
<character>Nick</character>
<dialogue>His plan was still working beautifully. Wynant was established as being in town. The watch chain was handed over.</dialogue>
<parenthetical>( with a look at Mimi . )</parenthetical>
<dialogue>. with a slight delay. to the police. The only hitch was a man named Nunheim who had found out something. Our hero paid Nunheim once to keep his mouth shut, and when Nunheim threatened him again, he bumped him off.</dialogue>
</scene>
<scene>
<stage_direction>CLOSE SHOT MORELLI AND MARIAN</stage_direction>
<character>Marian</character>
<parenthetical>( to Morelli . )</parenthetical>
<dialogue>And I do n't blame you.</dialogue>
<character>Morelli</character>
<parenthetical>( terrified . )</parenthetical>
<dialogue>What do you say that to me for?</dialogue>
<character>Guild</character>
<parenthetical>( to both . )</parenthetical>
<dialogue>Shut up.</dialogue>
<scene_description>BACK TO</scene_description>
</scene>
<scene>
<stage_direction>TABLE FULL AGAIN - GUNNING DOWN.</stage_direction>
<character>Nick</character>
<parenthetical>( to the people . )</parenthetical>
<dialogue>You see, he'd been very clever. Everybody, even our astute friend Guild, thought that Wynant was alive and that he was the murderer. But our hero had just one weak link in his chain. The telegrams, wires and telephones were all very well - but no one had seen Wynant. So he picked on poor Mimi here to strengthen his case. Mimi is the only one at the table who can tell us who the real murderer is.</dialogue>
<parenthetical>( everybody looks at Mimi . )</parenthetical>
<dialogue>Mimi, who was it that told you to say you'd seen Wynant?</dialogue>
<character>Mimi</character>
<dialogue>Nobody told me. I did see him!</dialogue>
<character>Nick</character>
<dialogue>What did he pay you, Mimi, to stick to that story?</dialogue>
<character>Mimi</character>
<dialogue>It is n't a story - it's true. I did see Wynant. He's not dead.</dialogue>
<character>Nick</character>
<dialogue>You're lying, Mimi. But then, you'd do anything for money. You're getting a good price for say - ing you saw Wynant and you figure you wo n't get anything if he's dead.</dialogue>
<character>Mimi</character>
<dialogue>I'm lot going to stay here to be insulted -.</dialogue>
<parenthetical>( she starts to go - but stops to listen to Nick as he continues . )</parenthetical>
<dialogue />
<character>Nick</character>
<parenthetical>( to Macaulay . )</parenthetical>
<dialogue>Macaulay, you drew up Wynant's will. Mimi was cut off, was n't she, if she re - married?</dialogue>
<character>Macaulay</character>
<dialogue>I have no right to answer that.</dialogue>
<character>Nick</character>
<dialogue>What about it, Tanner. Is n't that the truth?</dialogue>
<character>Tanner</character>
<dialogue>That's what Mr. Wynant said to me. If she re - married, all the money was to go to the children.</dialogue>
<character>Nick</character>
<dialogue>You should n't let that keep you from telling truth, Mimi. Mrs. Jorgensen -.</dialogue>
<parenthetical>( he speaks to the woman with Jorgensen . )</parenthetical>
<dialogue>Were you ever divorced from Chris Jorgensen?</dialogue>
<character>The Woman</character>
<dialogue>No.</dialogue>
<character>Nick</character>
<parenthetical>( the bombshell bursts . )</parenthetical>
<dialogue>So you see, Mimi, under the law, you have n't re - married. You're still one of the heirs. What are you holding out for? A few crummy dollars that that man gave you when you can get the whole estate? Remember the other two who were in with him on this. Julia and Nunheim. When he thought they might spill something he bumped them off. You ought to know damn well that he's not going to take any chances on you. What do you want to do? Be next on his list?</dialogue>
<character>Mimi</character>
<parenthetical>( furious - to Macaulay . )</parenthetical>
<dialogue>You dirty son of a b -!</dialogue>
<scene_description>A crash of china drowns out the end of her speech as Macaulay rises to his feet . Nick is on his feet in a minute . He knocks Macaulay out . Guild rises and stands look - ing down in stunned amazement at Macaulay . Nora and all the others leap up in amaze - ment as the murderer is revealed .</scene_description>
<character>Nick</character>
<parenthetical>( to Guild . )</parenthetical>
<dialogue>What do you want me to do? Wrap him in cellophane?</dialogue>
<scene_description>FAST FADE .</scene_description>
</scene>
<scene>
<stage_direction>FADE IN: CLOSE UP - FOUR CHAMPAGNE GLASSES</stage_direction>
<scene_description>A small travelling Victrola is playing a gay tune . The glasses are held up by four hands . WE DISSOLVE THROUGH them to show the drawing room of a train . Dorothy and Nora are sitting facing each other , dressed in robes and lounging pajamas , and Andy and Nick are sitting beside them , also in robes and pajamas . Nick is pouring champagne from a bottle into the four glasses . The drawing room is full of flowers . Nick puts down the bottle and holds up his glass in a toast .</scene_description>
<character>Nick</character>
<parenthetical>( speaking . )</parenthetical>
<dialogue>To you two.</dialogue>
<character>Andy</character>
<dialogue>And to you two too.</dialogue>
<scene_description>OVER THE SOUND TRACK we hear the train whistle go `` Toot - toot '' at a crossing . The four raise their glasses in a toast and drink . There is a buzz at the door . Andy Come ! A good - natured colored porter sticks his head in the door and speaks to Nick .</scene_description>
<character>Porter</character>
<dialogue>Your room's ready, sir.</dialogue>
<character>Nick</character>
<dialogue>Thanks. You can take Asta now.</dialogue>
<scene_description>-LSB- . -RSB- where Asta is lying asleep . She picks him up .</scene_description>
<character>Nora</character>
<parenthetical>( to Asta . )</parenthetical>
<dialogue>You're going to your nice little bed in the baggage car.</dialogue>
<scene_description>She hands the dog to the porter . As the por - ter is starting out , he sees Dorothy 's bridal bouquet in the bracket in the corner of the drawing room .</scene_description>
<character>Porter</character>
<parenthetical>( to Dorothy , pointing to the bridal bouquet . )</parenthetical>
<dialogue>Shall I keep them fresh for you?</dialogue>
<character>Dorothy</character>
<dialogue>Please, if you will.</dialogue>
<scene_description>The porter takes the flowers and Asta and goes out . There is a pause . Simultaneously , Andy and Nick sneak a look at the wrist watches . Andy looks up and catches Nick looking at his . Nick is embarrassed but determined to call Nora 's attention to the late hour .</scene_description>
<character>Nick</character>
<dialogue>Might as well set it ahead now.</dialogue>
<scene_description>Nick starts to set his watch . Nora leans over , is startled to see how late it is .</scene_description>
<character>Nora</character>
<dialogue>Gracious! One o'clock. We'd better go.</dialogue>
<scene_description>She leans over Dorothy and kisses her affectionately .</scene_description>
<character>Nora</character>
<dialogue>Good night.</dialogue>
<scene_description>Dorothy clings to Nora for a minute .</scene_description>
<character>Dorothy</character>
<dialogue>I can never thank you enough for all you've done.</dialogue>
<character>Nora</character>
<parenthetical>( affectionately . )</parenthetical>
<dialogue>Forget it.</dialogue>
<character>Nick</character>
<parenthetical>( to Andy and Dorothy . )</parenthetical>
<dialogue>Goodnight. Goodnight.</dialogue>
<scene_description>There are mingled `` good nights '' as Nick and Nora go out the door . As soon as the door closes , Andy takes Dorothy in his arms .</scene_description>
<character>Andy</character>
<parenthetical>( smiling - shy . )</parenthetical>
<dialogue>I thought they'd never leave.</dialogue>
<scene_description>He kisses Dorothy affectionately .</scene_description>
</scene>
<scene>
<stage_direction>NICK AND NORA'S DRAWING ROOM.</stage_direction>
<scene_description>Nick is closing the door of their room . As soon as it snaps shut . they are in each other 's arms .</scene_description>
<character>Nick</character>
<parenthetical>( smiling .</parenthetical>
<parenthetical>but not shy . )</parenthetical>
<dialogue>I thought you'd never leave.</dialogue>
<scene_description>They kiss .</scene_description>
</scene>
<scene>
<stage_direction>BAGGAGE CAR -- PANNING ON PORTER.</stage_direction>
<scene_description>As he enters , Asta on one arm , flowers in the other . He is about to put Asta down on the blanket for the night when he stops - looks o.s. CAMERA PANS OVER to show another dog of the same breed as Asta in a small crate . The dog is looking up at Asta eager - ly . And Asta 's ears go up and his tail begins to wag as he anticipates the possi - bilities of a transcontinental romance .</scene_description>
<character>Porter</character>
<parenthetical>( getting it . )</parenthetical>
<dialogue>Asta - meet Fifi -</dialogue>
<scene_description>And he puts Asta into the crate with Fifi . places the BRIDAL BOUQUET on top of the crate . turns and shuffles out as we are - FADING OUT . - THE END -</scene_description>
</scene>
</script> | Nick Charles (Powell), a retired detective, and his wife Nora (Loy) are attempting to settle down when he is pressed back into service when a friend disappears after a murder. The friend, Clyde Wynant (Ellis) (the eponymous "thin man"), has mysteriously vanished. When his former secretary and love interest, Julia Wolf, is found dead, evidence points to Wynant as the prime suspect, but his daughter Dorothy (O'Sullivan) refuses to believe that her father is guilty. She convinces Nick to take the case, much to the amusement of his socialite wife. The detective begins to uncover clues and eventually solves the mystery of the disappearance through a series of investigative steps. The murderer is finally revealed in a classic dinner-party scene that features all of the suspects. A skeletonized body, found during the investigation, had been assumed to be that of a "fat man" because it is wearing oversize clothing. The clothes are revealed to be planted, and the identity of the body is accurately determined by an old war wound to the leg. It turns out that the body belongs to a "thin man" — the missing Wynant. The double murder has been disguised in such a way as to make it seem that Wynant is the killer and still alive. The real killers are people who stole a lot of money from Wynant and killed him on the night he was last seen. |
Perfect Creature_2006 | tt0403407 | <script>
<scene>
<stage_direction>EXT. PROLOGUE ON BLACK - NIGHT</stage_direction>
<scene_description>The screen is black , music evoking religion and danger begins .</scene_description>
<character>LILLY</character>
<dialogue>For three hundred years the great plagues have swept the earth. Diseases created from the experiments of the Alchemists.</dialogue>
<scene_description>We see death tolls appear through this graphically . The plague - 5 million souls . Virulent Small Pox - 10 million . Mutated Influenza 30 Million Souls .</scene_description>
<character>LILLY</character>
<dialogue>Thinking they had discovered Gods secret code for life, the Alchemists experimented with genetic science. They had no idea what they had unleashed.</dialogue>
<scene_description>We begin to see a strange medallion sweeping through smoke , slowly revealing itself .</scene_description>
<character>LILLY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. but there was also a miracle. One of these plagues helped nature create a new kind of being. At first they were called Nosferatu, or Vampire and were feared. But they were not supernatural monsters, just a better version of ourselves. They were the Brothers, and their religion and science helped sustain us against the plagues and influenzas that have ravaged Europe and the rest of the colonies. For 300 years our two races have lived in harmony. Until now.</dialogue>
</scene>
<scene>
<stage_direction>INT. DOCTORS SURGERY - DAY</stage_direction>
<scene_description>We are very close on a bespectacled eye . It stares at us and then looks down .</scene_description>
<character>GENETIC DOCTOR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>See here. This is what you need to look for.</dialogue>
<scene_description>Cut to the object in the Genetic Doctors hand ; it is like an x - ray , yet the image looks remarkably like a DNA profile .</scene_description>
<character>GENETIC DOCTOR</character>
<parenthetical>( continuing ; off . )</parenthetical>
<dialogue>A genetic mutation, we all carry it. But we now know a virus activates it.</dialogue>
<scene_description>We reveal the genetic Doctor , sitting at his desk , smoking a cigarette . The surgery and the clothes suggest the year , yet there are small things that are different , not what you 'd expect to be around at this time . Standing next to him in the dusty haze of the room is a younger doctor ; an apprentice who looks attentive .</scene_description>
<character>GENETIC DOCTOR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This Virus plays some unknown role in the birth the Brothers. Of course the mutation occurs very rarely these days. And only in males.</dialogue>
<scene_description>The apprentice nods and then looks up . There is someone else in the room . A woman - who we now see is pregnant . There is something about her that suggests more a prisoner or psychiatric patient than a normal pregnant mother .</scene_description>
<character>GENETIC DOCTOR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Strange is n't?</dialogue>
<character>APPRENTICE DOCTOR</character>
<dialogue>Strange?</dialogue>
<character>GENETIC DOCTOR</character>
<dialogue>That God would choose such humble vehicle for a miracle. The mothers invariably come from the slums, we do n't know why.</dialogue>
<parenthetical>( to the woman . )</parenthetical>
<dialogue>This is your 7th is n't it?</dialogue>
<scene_description>We see the woman ; she 's like a hollow person , hardly aware of where she is . The Doctor shuffles papers . Finds what he wants .</scene_description>
<character>GENETIC DOCTOR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Yes, her first was successful, a Brother was born. Thereafter variously malformed offspring. We can only hope this one will be different.</dialogue>
<parenthetical>( to woman . )</parenthetical>
<dialogue>You'll have to try harder this time.</dialogue>
<scene_description>The woman now looks up . And tentatively speaks .</scene_description>
<character>WOMAN IN THE SURGURY</character>
<dialogue>Please.</dialogue>
<character>GENETIC DOCTOR</character>
<dialogue>What is it?</dialogue>
<character>WOMAN IN THE SURGURY</character>
<dialogue>Please. I want to keep my baby. They always take my babies away.</dialogue>
<character>GENETIC DOCTOR</character>
<dialogue>Do n't be stupid woman!</dialogue>
<scene_description>The woman drops her eyes . We see the Apprentice Doctor , almost pitying the poor woman .</scene_description>
<character>APPRENTICE DOCTOR</character>
<parenthetical>( to woman . )</parenthetical>
<dialogue>You wo n't have to worry. The Brotherhood will take him.</dialogue>
<scene_description>We are closer on the woman now . Tears begin to glisten in her eyes as we drift closer to her .</scene_description>
<character>APPRENTICE DOCTOR</character>
<parenthetical>( continuing ; off . )</parenthetical>
<dialogue>. raise him in the church, teach him. He's special. You should be proud. It's a blessing really, he'll want for nothing. Not like the rest of us?</dialogue>
<scene_description>We track in closer , closer , to the woman , then continue , right into her eye , through the fluid , to see the room reflected upside down at the back of the retina . This dissolves to an upside view of .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, OPERATION ROOM - DAY</stage_direction>
<scene_description>POV , baby 's view , in an operating theatre . Cut to The woman we saw earlier with the Genetic Doctor ; she has just given birth . The baby is placed on linen blankets and cleaned by a nurse . A man now enters the operating theatre ; we can tell the Doctor is uneasy . The man is dressed in a perfectly cut suit . He does not wear a surgical mask . His eyes are a piercingly clear light gray . He enters with two other men who look similar to him . By his side there is also a pristine boy ; perhaps 8 years old , the same piercing eyes . They both approach the baby . The man stares serenely at the baby , all bloody , lying on blankets .</scene_description>
<character>AUGUSTUS</character>
<dialogue>This is your brother Silus. You will teach him.</dialogue>
<scene_description>The little boy then shares a glance with the woman who has just given birth . She seems to recognize the boy .</scene_description>
<character>SILUS AS A BOY</character>
<dialogue>Is that my mother?</dialogue>
<character>AUGUSTUS</character>
<dialogue>No, not any more.</dialogue>
<scene_description>Augustus then leans forward and gently opens the baby 's mouth . We see the baby close . In the otherwise baby - like mouth we see something strange . There are two tiny fangs protruding from the otherwise smooth gums . We see Augustus smile . In his mouth too , we see two perfectly pointed teeth .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Welcome to the world little Brother.</dialogue>
<scene_description>Cut to We end close on the baby ; its piercing eyes . PRODUCTION TITLE : ON BLACK . Perfect Creature / The title fades . Then another title appears . Queen 's Imperial Winter Residence , The Pacific Colony , 100 years later .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITYSCAPE - NIGHT</stage_direction>
<scene_description>We see a city , seething with smoke from coal fires , steam from engines , alien distorted Victorian spires are silhouetted against the moody , moonlit sky which is literally filled with dirigibles and strange flying machines that seem Victorian , of the industrial revolution , but that are also strangely futuristic . It is 1969 , but not our 1969 .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>A street . The look - of the film and the night - is silver , almost metallic moonlit skies . A hazy mist hangs in the air . Wet , steel pools of water on the dark footpath where a man stands . He stares up at a zeppelin passing overhead , its shadow obscuring him briefly until it passes away . Then we see him . The man is handsome , in a perfectly cut long wool jacket ; dark gray . He wears perfectly shiny black shoes and we can see the surrounding street reflected in them ; Victorian , Gothic buildings . This man is Silus . He surveys the street . While the houses are beautiful , they 're run down . Silus - his eyes are the purest light gray you have ever seen - takes a long long inhale through his nose , his eyes closing briefly as if trying to sense/smell something . He stops the breath and opens his eyes . They are clear , full of purpose . He bends down to the footpath , runs his hand along its surface , almost caressing it . He closes his eyes . The camera moves in , to end close on Silus ' ear . As this happens the soundtrack - all the noises in the night - become amplified . We see Silus ' face , see him concentrating intently . We hear several individual noises . First a very quiet pitter patter . Cut to A cat , stealthily moving between some thorny rose bushes . Cut to Silus again ; concentrating even more . Now the distant sound of trickling water . Cut to A drain pipe , leaking . Cut to Silus once more . This time we can hear `` plop , plop , plop . '' Cut to A pool of water . Then `` plop '' as a drop hits it . The drop is not water . The drop is a red liquid , thick , now dispersing in the water . And another drop , `` plop . '' High speed CRANE UP from this pool , up up the side of a building to end on a FACE in the shadows . We can see reflective , gleaming eyes . And a mouth , with blood dripping from it . Cut to Silus again . His eyes flicking open ; we see the footpath reflected in those perfect light gray eyes . Music - brooding , ancient - begins to hum as Silus slowly rises , as if his limbs have the power to make him float , so perfect and powerful are they . A small smile has appeared on his lips ; it is the smile of a man who knows that something very dark , something very dangerous , is close by . Slowly his hand slips into his jacket . He holds it there , watching , surveying the street immediately ahead of him for the slightest movement . He sees it . On the wall of an old Georgian Mansion across the road , a shape on the side of the wall , almost imperceptible , hidden in the shadows and brickwork . A CREATURE on the side of the wall . Silus begins to move forward now , everything in perfect shining silver slow motion . As he moves forward he pulls a gun from his jacket - it is silver , organic and glass , art nouveaux styling - and points it ahead of him as he glides forward . The creature on the wall senses the movement coming towards it , moves a little and then , like a spider , scrambles along the side of the wall , heading away from us . Silus fires . A bullet of silver explodes from the gun , seems almost to hang in the air for a moment , reflecting the moon above , before hurtling at high speed towards its target . The shell explodes the wall next to the creature , who stops suddenly in the light so that we can see it . A man . With reflective animal eyes and blood on his purple lips . And teeth ; the teeth of a vampire . This creature immediately dives from the wall to the ground , just avoiding another two bullets that crash into the wall . LA as the man falls directly towards the camera . Silus now rushes forward , holding his gun out in front of him ; he moves forward gracefully . He can see the man skillfully climbing up an adjacent derelict building . Silus tries to follow but his way is blocked by wire and fencing . He raises his gun towards the man once more , but he is gone . Close on Silus ' enigmatic face . Those eyes . And in his mouth , two perfectly pointed fangs . Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAFE - NIGHT</stage_direction>
<scene_description>We are outside a cafe ; the cafe is a warm glow against the cold night . We see past the fine falling rain - through the large glass window that has swirling silver art nouveaux designs lacing across it - to a table inside , by the window , where two pristinely dressed men sit . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFE - NIGHT</stage_direction>
<scene_description>We are inside . Closer on the two men . One is SILUS . The other man is AUGUSTUS ; the man we saw in the operation theatre before . Augustus has hardly aged at all .</scene_description>
<character>AUGUSTUS</character>
<dialogue>The girl?</dialogue>
<scene_description>We see Silus . He remembers . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM, FLASHBACK - NIGHT</stage_direction>
<scene_description>Flashback from Silus ' memory ; a dead girl on a bed , blood splattered across her pillow . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. CAFE - NIGHT</stage_direction>
<scene_description>Silus ' face . Pull out to reveal we 're back in the café .</scene_description>
<character>SILUS</character>
<dialogue>It is taken care of.</dialogue>
<character>AUGUSTUS</character>
<dialogue>This is good.</dialogue>
<character>SILUS</character>
<dialogue>Augustus. We failed this girl. We asked her to help us catch him, and then we failed her.</dialogue>
<character>AUGUSTUS</character>
<dialogue>Yes. But her death served a greater good. Every trap needs bait.</dialogue>
<scene_description>Augustus lifts a beautifully designed glass and silver pipe from the onyx table at which they sit , then settles back into a fine hardwood chair . The chair 's swirling , delicate back creeks as he takes a puff on the pipe .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Are you sure you wo n't join me?</dialogue>
<scene_description>Silus shakes his head , no . The opium in the pipe crackles .</scene_description>
<character>SILUS</character>
<dialogue>Perhaps this is beyond us. Perhaps we should inform the authorities. The human beings.</dialogue>
<scene_description>Augustus places the pipe down , blows a smoke ring as a Chinese woman , dressed in a sarong , brings over two finely cut crystal glasses and sets them before the men , then leaves . Silus now lifts the glass and we see what it contains . Blood ; dark and red and viscous . Silus takes a sip , then looks over to the bar . There is a young woman there , sitting at the bar , being treated with great care by several of the elegantly dressed patrons ; the young woman laughs , enjoying the attention . Tubes run from the young woman 's arms . These tubes carry her blood into a conch shaped glass bowl . We see the Chinese waitress fill another glass from the bowl . Silus watches , blood slightly present on his ashen lips . And we see two perfectly pointed fangs hanging in his mouth .</scene_description>
<character>AUGUSTUS</character>
<dialogue>For now the Brothers feel we should deal with this ourselves.</dialogue>
<character>SILUS</character>
<dialogue>If they find out we are covering up these deaths.</dialogue>
<character>AUGUSTUS</character>
<dialogue>Which is why you must find him. Silus.</dialogue>
<scene_description>Silus now turns to Augustus , still looking unconvinced .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>For centuries we Brothers have served mankind and them us. The great union. But remember your history. 300 years ago when our kind were first born into this world they burnt our children as monsters. They had no notion of evolution. In another world we might all have been slaughtered, only to be remembered in myth, monsters to frighten the young or a puzzle for anthropologists. We must refuse to let one aberrant individual destroy the balance between the two races. The old prejudices are still there. Human beings are paranoid creatures by nature.</dialogue>
<character>SILUS</character>
<dialogue>Perhaps they have good reason.</dialogue>
<character>AUGUSTUS</character>
<dialogue>Silus. Simply concern yourself with finding Edgar. Find your Brother so that we can help him. Before he kills again.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, STREET - DAY</stage_direction>
<scene_description>Close up of a NEWSPAPER . On it we see a banner headline . `` Influenza Vaccine Shortages lead to Black Market Trade . '' We pull out to reveal the paper is lying on a foot path . Wind blows the newspaper out of shot and we tilt up to the street . The street is wet , glistening . The rain , rain rain rain . The Edwardian and Victorian buildings of the street might seem beautiful , but they are not . They are largely derelict . We see a woman standing in a doorway out of the rain . She is wrapped in a black plastic jacket that she pulls about her . A man approaches her .</scene_description>
<character>JONES</character>
<dialogue>Everyone's ready Lilly.</dialogue>
<character>LILLY</character>
<dialogue>About time.</dialogue>
<scene_description>They both move to one of the tall buildings ; a four story , ancient tenement that looks empty , almost derelict . They quietly move up the steps of the place and then pause . There is the bleep from a strange looking valve powered Walkie Talkie ; hereafter called an RT. .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>On three gents. One, two.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - DAY</stage_direction>
<scene_description>CRASH CUT to the door of the building swinging open wildly , a hand held camera on the shoulder of Lilly and Jones . A large , grubby looking woman stands in a long , grim hallway , mop in hand . At the far end of the hall another door disconnects from its hinges and collapses inwards , two men appearing out of the rain .</scene_description>
<character>JONES</character>
<parenthetical>( to the woman . )</parenthetical>
<dialogue>Do n't you move!</dialogue>
<scene_description>We see a gun in Jones ' hand as he moves towards the woman , who has her hands up and is getting down on her knees . The camera then pans wildly , left and right . Then Lilly 's foot kicks in a door to our right , revealing a dank office and a man , half naked , reaching for a gun . A woman is lying on a cot and she 's screaming . She is instantly recognizable as a prostitute .</scene_description>
<character>LILLY</character>
<parenthetical>( to the slum landlord . )</parenthetical>
<dialogue>Do n't you dare.</dialogue>
<scene_description>From this POV we see Lilly 's hand pointing a gun at the SLUM LANDLORD , who is now slowly easing back into the scummy office .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Jones!</dialogue>
<scene_description>We now finally cut to see Lilly . She is around 25 ; an intelligent , handsome 25 . The man Jones appears at her shoulder , leering . Jones is the type of guy you just know will go to seed at 40 . But that 's still 10 years away . Jones stares at the Slum Landlord who is trying to cover himself .</scene_description>
<character>JONES</character>
<dialogue>God help us. What an appalling sight.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - LATER</stage_direction>
<scene_description>The hallway again . The other two men we saw entering at the beginning are talking to the woman with the mop . One of the men is taking notes . We pan to the office , to see Lilly and Jones standing before the Slum Landlord , who is now wrapped in a towel and sitting in a chair .</scene_description>
<character>SLUM LANDLORD</character>
<dialogue />
<scene_description>do n't know nothing about it . give 'em out . Make sure everyone gets 'em .</scene_description>
<character>JONES</character>
<dialogue>That's a lie! We know you've been trading influenza vaccine in the workhouses!</dialogue>
<scene_description>Another man now approaches Lilly .</scene_description>
<character>FRANK</character>
<dialogue>Lil'. I think you should see this.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, TENEMENT, HALLWAY - CONTINUING</stage_direction>
<scene_description>Halfway down the hall there is a door , Frank opens it displaying a set of stairs leading down .</scene_description>
<character>FRANK</character>
<dialogue>I'd use the mask if I were you.</dialogue>
<scene_description>Lilly pulls a dark surgical - type mask over her face , then slowly moves down the steps into the oblivion below .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, TENEMENT BASEMENT - CONTINUING</stage_direction>
<scene_description>Cut between Lilly 's POV and her face , her eyes glimmering in the sub - light as she moves down the stairs very carefully . And finally the horror is revealed . In this basement there are 10 or 12 people , lying on the floor . Most of them are silent , but a couple moan . One , a woman , pleads to Lilly .</scene_description>
<character>WOMAN IN THE BASEMENT</character>
<dialogue>Help me. Please help.</dialogue>
<scene_description>The woman extends her arm . It is covered in sweat ; grimy . The glands at the side of the woman 's neck are distended and swollen , her eyes bloodshot .</scene_description>
<character>WOMAN IN THE BASEMENT</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Please. I'm sick. Please.</dialogue>
<scene_description>The room is a version of hell . Lilly 's eyes glisten . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, TENEMENT OFFICE - CONTINUING</stage_direction>
<scene_description>Jones has the Slum Landlord by the throat .</scene_description>
<character>JONES</character>
<dialogue>You're a fucking liar!</dialogue>
<character>SLUM LANDLORD</character>
<dialogue>No, no, I swear it, I gave'em their boosters, both of'em. I'm a responsible landlord, I swear to god. There must've been something wrong with them vaccines.</dialogue>
<scene_description>Lilly stares at the Slum Landlord ; shock in her face , and anger .</scene_description>
<character>JONES</character>
<dialogue>This is a civil health violation! You're going to the hell house for this. You can forget lovely Doris here where you're going.</dialogue>
<scene_description>We see the woman who was screaming before , the prostitute ; she makes an obscene gesture at Jones . As this is going on Frank and the other man we 've seen are tearing the place apart , looking for something . They do n't find it and Frank 's look tells Lilly so . Lilly 's face is a mask . She is watching the Slum Landlord very carefully . He keeps looking down ; strangely , nervously .</scene_description>
<character>SLUM LANDLORD</character>
<dialogue>I do n't know what you're on about. I've done nothing, I swear to god, I've done nothing.</dialogue>
<scene_description>Lilly lets her eyes drift down , all the way down to the chair legs , which rock unevenly on the floor . Lilly is staring at the scratched , worn floor boards which MOVE . Cut to Frank , prizing back the floor boards . Jones restrains the Slum Landlord . Lilly watches . Frank pulls the floor boards away easily . We see that hidden in the floor cavity are packets of something . Frank pulls them out . Rips one of the plastic bags open . In it are packets with the words `` Jamestown Borough - Civilian Influenza Vaccination . '' Frank holds it up for Lilly to see . The Slum Landlord is now looking three ways at once . Lilly slowly begins to approach the Slum Landlord .</scene_description>
<character>LILLY</character>
<dialogue>It is my pleasure to inform you that you are under arrest for trafficking influenza vaccine.</dialogue>
<character>SLUM LANDLORD</character>
<dialogue>I want my lawyer.</dialogue>
<character>LILLY</character>
<dialogue>This is a violation of the 12/10 health act, whereby you have withheld borough sponsored vaccines from your tenants.</dialogue>
<character>SLUM LANDLORD</character>
<dialogue>I want a lawyer!</dialogue>
<character>LILLY</character>
<dialogue>Anything you say will be held against you as evidence and, by endangering the public good, you are not entitled to a lawyer.</dialogue>
<scene_description>The Slum Landlord just stares at her .</scene_description>
<character>SLUM LANDLORD</character>
<dialogue>Fuck you then.</dialogue>
<scene_description>Lilly smiles grimly .</scene_description>
<character>LILLY</character>
<dialogue>There's only one other thing.</dialogue>
<scene_description>Lilly gives the Slum Landlord one almighty slap across the face that stuns him . Then Jones grabs the Slum Landlord and drags him off , but we stay on Lilly . Her face . She stoops and lifts something from the landlords desk . A public health flier saying `` Fight Influenza . Ask your landlord for your free vaccine now . '' Then from the corner of the room , the prostitute pipes up , impatiently waving a cigarette at Lilly .</scene_description>
<character>PROSTITUTE</character>
<dialogue>Oi! How about me? He promised me some of that. I earned it.</dialogue>
<scene_description>Cut to OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - TWILIGHT</stage_direction>
<scene_description>Jones is in front , Frank is driving . The car has come to a lurching halt . Some kind of cart is blocking the road .</scene_description>
<character>FRANK</character>
<parenthetical>( hitting the horn . )</parenthetical>
<dialogue>Come one!</dialogue>
<scene_description>Jones is eating some kind of pie that is an affront to culinary art .</scene_description>
<character>JONES</character>
<dialogue>Lil', you want some?</dialogue>
<scene_description>Ensconced in the back Lilly shakes her head , no .</scene_description>
<character>LILLY</character>
<dialogue>Smells terrible.</dialogue>
<scene_description>She is watching the patterns of street lights that play and flow over the wet windows of the car . Jones shrugs .</scene_description>
<character>JONES</character>
<dialogue>I'm not letting that scum put me off my food. That'd be like a moral victory.</dialogue>
<character>LILLY</character>
<dialogue>I'll get out here.</dialogue>
<character>FRANK</character>
<dialogue>You sure?</dialogue>
<scene_description>We see Lilly get out . Frank and Jones share a look .</scene_description>
<character>FRANK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What's up with her?</dialogue>
<scene_description>Jones watches Lilly move off ; something like compassion crosses his features .</scene_description>
<character>FRANK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Jones? Is she alright?</dialogue>
<character>JONES</character>
<dialogue>Yeah. Lilly's kid. It died of the influenza, did n't it.</dialogue>
<character>FRANK</character>
<dialogue>She's never said anything about a kid.</dialogue>
<character>JONES</character>
<dialogue>No. She never says anything.</dialogue>
<scene_description>Jones stares after Lilly , then starts chomping into his food .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBWAY STATION - CONTINUING</stage_direction>
<scene_description>The police car pulls out leaving Lilly outside the subway station . Lilly looks exhausted , breathes in deeply . Above , power lines blow in the wind and rain and make a clacking sound . She moves off and we crane up to see the seething smoky city beyond . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT - NIGHT</stage_direction>
<scene_description>Lilly enters her apartment . It 's nice ; not opulent , but a haven of sorts . She stands for a moment in the empty hallway . We see a hall , several doors run off it .</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, CHILDS BEDROOM - CONTINUING</stage_direction>
<scene_description>Lilly approaches a room and we see inside it . It is empty apart from a stripped bed and some boxes . Lilly flips the lid on one of the boxes . She picks up a toy ; a pink fairy princess with wings , the paint on its face worn . Lilly winds a key and the wings of the doll flutter , accompanied by the whining sound of the internal mechanics . We see Lilly 's face as she stares at the doll . Emotion fights to claw its way out from under her skin , but she does n't let it . Then in the distance we hear a child 's cries . It almost sounds like memories wafting through the air , but the stamping of feet from the apartment above makes it plain that the noises come from there ; the sound of children playing . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, BEDROOM - NIGHT</stage_direction>
<scene_description>Lilly enters her bedroom . The place is a mess . She sits on the bed . She picks up a framed photo which sits on a sideboard next to the bed . It shows Lilly , a man - Lilly 's age - and a child of 5 years who looks a lot like Lilly . She stares at the child . We hear the sound of rain pounding against the window of the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILLY'S APARTMENT, BEDROOM - NIGHT</stage_direction>
<scene_description>Pull out to reveal the exterior window . We can see through the window into Lilly 's apartment again , see Lilly lying down , hugging the photo . The rain has become a light mist .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, STREET - NIGHT</stage_direction>
<scene_description>We are close on a poster . It shows a perfect face , serenely beaming out ; it could be Silus or Augustus , except this man is dressed in religious regalia , like a priest . The poster says `` The Brotherhood loves you . You are divine . '' We begin to crane off the poster which is revealed to be stuck on a lamp post . The street is seething , the slums of Jamestown . A young boy , perhaps seven ; spiked up hair , face covered in grime , grime from dragging himself up in this hellish place . He carries a bag filled with the detritus he 's picked from the rubbish bins of the rich . He wears a distinctive red t - shirt that is several sizes too big . He moves along the street , avoiding a disinterested passersby . As he passes an alley he hears something . An animal - like growl . He stops . Down the alley he can see two figures . One is a male . He is clutching another clothed figure ; female .</scene_description>
<character>KID</character>
<dialogue>Hey?! Hey!</dialogue>
<scene_description>At that instant the man turns to the boy . There , half seen in the slick shadows , the most piercing eyes , a bloody mouth , with fangs , hissing . The creature drops the woman and scales the sheer wall of the alleyway ; clutching various handholds , up four flights , then gone . The kid , frightened , now makes to run off but bangs into a passerby . The man grabs the kid roughly .</scene_description>
<character>MAN IN THE STREET</character>
<dialogue>Where are you going in such a hurry my little ruffian? Pilfering by the look of you?</dialogue>
<scene_description>The kid struggles and the Man now sees the shape of the woman in the alleyway , slumped to the ground .</scene_description>
<character>MAN IN THE STREET</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What's going on here? What'd you do to her?</dialogue>
<character>KID</character>
<dialogue>Do n't, I did n't do nothing. It was a Brother. It was a Brother did it.</dialogue>
<scene_description>The man moves forward , dragging the kid . And he sees the woman there , deathly white in the alley . Dead eyes staring .</scene_description>
<character>MAN IN THE STREET</character>
<dialogue>Oh dear god.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. NATURAL HISTORY MUSEUM - DAY</stage_direction>
<scene_description>We track past a sign that says `` Museum of Spiritual Selection and Alchemistry . '' In the distance we can see a group of people in the hazy light . Cut to Augustus - the man we saw with Silus earlier - sitting on a chair surrounded by various objects . At his feet are a gaggle of school children , aged around ten ; affluent looking , human . Augustus points to a strange , ancient looking glass apparatus .</scene_description>
<character>AUGUSTUS</character>
<dialogue>300 years ago, with these simple instruments, the alchemist Guiseppi De Angelo discovered what we today call genetic science.</dialogue>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He deciphered that the Brothers were a new race of beings, sent by god, to serve and protect you.</dialogue>
<scene_description>We see the faces of the children , rapt .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>De Angelo formed the church of the Brotherhood. He was a great great man, but there were others, bad men, who took what De Angelo had discovered and experimented without concern for the results. The science of genetics and all its power has been banned ever since. Who can tell me what came from these bad experiments?</dialogue>
<scene_description>One child puts his hand up . Behind the child , in the distance , Augustus now sees Silus approaching ; Silus obviously wants to talk to Augustus . Augustus points to the child while looking at Silus .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>CHILD</character>
<dialogue>All the bad things. Like bad germs and flu.</dialogue>
<scene_description>Augustus nods , watching Silus ' ominous expression .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Yes. That's right.</dialogue>
<scene_description>Augustus looks at the child and tries to smile .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>All the bad things.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SLUM, STREET - DAY</stage_direction>
<scene_description>The streets are wet . High above several large Zeppelins plod across the sky . We crane down to street level to find a police car pulling up through the steam . Lilly gets out , Jones beside her , wolfing down another bun . There are cops everywhere . An alleyway is cordoned off . The dwellers of the slum have floated up and are baying like wolves , hassling the cops ; some yell obscenities , generally along the lines of `` where 's the police when you need them ? '' Jones stares at the people .</scene_description>
<character>JONES</character>
<dialogue>Someone should flatten this cesspool and start again.</dialogue>
<scene_description>Lilly and Jones move towards the police cordon . Immediately a reporter accosts them .</scene_description>
<character>STREET REPORTER</character>
<dialogue>Marm? The Tribune. Do you have any comments on the death?</dialogue>
<character>LILLY</character>
<dialogue>No.</dialogue>
<character>STREET REPORTER</character>
<dialogue>They're saying it was a Brother, is that true?</dialogue>
<scene_description>Lilly stares at the reporter , pauses for thought . She whistles to one of the cops nearby , who then approaches .</scene_description>
<character>LILLY</character>
<dialogue>Arrest her.</dialogue>
<scene_description>Jones and Lilly push past as the reporter protests at being manhandled .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing ; to Jones . )</parenthetical>
<dialogue>Find any witnesses and shut them up.</dialogue>
<scene_description>Jones nods and moves over to a policeman guarding the alley . Lilly ducks under the crime scene tape , moving into the alley .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, ALLEYWAY - DAY</stage_direction>
<scene_description>The alleyway is full of forensics personnel . Lilly moves deeper into the alleyway . We see her POV moving forward , finally revealing the body of the young woman who is surrounded by various forensics staff . Lilly talks to one .</scene_description>
<character>LILLY</character>
<dialogue>Can I step in?</dialogue>
<character>FORENSIC GUY</character>
<dialogue>With the traffic. What's it matter.</dialogue>
<scene_description>Lilly moves forward . She can now see the woman more clearly . The woman is obviously dead ; her pale white skin like wet shining alabaster in the dark alley . Flashes from photographic machines light the scene , almost blinding Lilly and briefly revealing the true horror of the scene . Lilly kneels and carefully begins to examine the body . Another man now walks up and kneels next to Lilly ; young , good looking , obviously takes pride in himself .</scene_description>
<character>DOMINIC</character>
<dialogue>Lil'.</dialogue>
<character>LILLY</character>
<dialogue>Hello Dominic.</dialogue>
<character>DOMINIC</character>
<dialogue>Have you seen it?</dialogue>
<scene_description>Dominic bends down and moves the dead woman 's head , displaying the side of her neck . A bite has torn the skin on the side of her neck . The wound extends down , the carotid artery sliced in two .</scene_description>
<character>DOMINIC</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>It's a bite. If you know what I mean?</dialogue>
<scene_description>Lilly nods , then looks down at the woman 's dead , cockeyed stare . Lilly closes the woman 's eyes .</scene_description>
<character>LILLY</character>
<dialogue>Any identification?</dialogue>
<scene_description>She is passed a bloody ID . Lilly stares at it .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Tanya Garfield.</dialogue>
<scene_description>Jones now arrives .</scene_description>
<character>JONES</character>
<parenthetical>( to forensics team . )</parenthetical>
<dialogue>Where do you get a cup of tea around here?</dialogue>
<scene_description>No one answers . Jones shrugs .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There's a kid who saw it, down there.</dialogue>
<scene_description>Lilly sees the red shirted street urchin in the distance being talked to by two uniformed policemen .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Says it was a Brother. And they've got another fellow, that's all who saw it.</dialogue>
<scene_description>Lilly nods .</scene_description>
<character>LILLY</character>
<dialogue>Alright, we'll close this down gents. None of you are to say a word, not even to your old mother.</dialogue>
<scene_description>All the police officers stare at her ; they know what she means alright .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Jones. Make sure.</dialogue>
<scene_description>Jones shrugs and nods . Lilly gets up and moves towards the street kid who is being talked to by two burly , grumpy policemen . The boy is shaking .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He saw what happened?</dialogue>
<character>POLICEMAN 1</character>
<dialogue>Now he wont talk. Did n't see anything.</dialogue>
<scene_description>Lilly looks at the boy . So young .</scene_description>
<character>LILLY</character>
<dialogue>What's your name?</dialogue>
<scene_description>The kid does n't answer and gets a whack around the ears from one of the policemen .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing ; to the policeman . )</parenthetical>
<dialogue>Stop that.</dialogue>
<scene_description>Lilly stares at the kid , as if the way he looks has keyed a memory in her . She squats and looks him straight in the eye .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What's your name then?</dialogue>
<character>KID</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>Albert.</dialogue>
<character>LILLY</character>
<dialogue>You live around here?</dialogue>
<scene_description>The kid looks nervous . Lilly moves some of the bedraggled hair out of the kid 's eyes .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I grew up 3 streets from here. Matheson Lane. The Skrummers Workhouse.</dialogue>
<character>KID</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>You did?</dialogue>
<character>LILLY</character>
<dialogue>Or should I say, I crawled out of here.</dialogue>
<scene_description>The kid smiles . Lilly focuses on him now .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>No one else will do anything about this, you know? They just think this is a slum. No one really cares what happens to the people here. Except for you. And me.</dialogue>
<scene_description>The kid stares at her ; she 's a magician and he 's a believer .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What did you see?</dialogue>
<character>KID</character>
<dialogue>A man.</dialogue>
<character>LILLY</character>
<dialogue>What kind of man?</dialogue>
<character>KID</character>
<dialogue>A Brother.</dialogue>
<character>LILLY</character>
<dialogue>You're sure it was a Brother?</dialogue>
<character>KID</character>
<dialogue>He had teeth and everything.</dialogue>
<character>LILLY</character>
<dialogue>Where did he go?</dialogue>
<scene_description>The kid turns and points to the shear wall of the alley .</scene_description>
<character>KID</character>
<dialogue>He went straight up there.</dialogue>
<scene_description>Lilly stares at the wall .</scene_description>
<character>LILLY</character>
<dialogue>Alright, you go with these men, they'll look after you. I promise.</dialogue>
<scene_description>She rises .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing ; to the Policemen . )</parenthetical>
<dialogue>Get him to describe it all. And keep him away from everyone.</dialogue>
<scene_description>The Policemen grunt and begin to lead the kid off .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing ; to the Policemen . )</parenthetical>
<dialogue>And get him some food.</dialogue>
<scene_description>Jones , now standing next to Lilly , moans .</scene_description>
<character>JONES</character>
<dialogue>Now they'll all want feeding.</dialogue>
<scene_description>Lilly looks at Jones 's callous face ; she 's not amused . Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, BUILDING ABOVE ALLEYWAY - CONTINUING</stage_direction>
<scene_description>High angle POV of Lilly and Jones moving off . Someone is watching them from the roof above . The POV belongs to Silus , who stares down at them . In particular he watches Lilly . We see Lilly pause and then look up as if feeling she 's watched . We see Lilly 's POV of the building above . There is no one there . HA of Lilly looking up . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION, HOWARD ANDERSON'S OFFICE - LATER</stage_direction>
<scene_description>A device flies toward the camera , sharp needles eject from it slamming into skin . Seated at the desk is a harassed , balding man -LRB- ANDERSON -RRB- of about 55 . He 's just finished vaccinating himself , wincing at the needle jabs on the soft skin of his arm . There are many other needle marks on his skin .</scene_description>
<character>LILLY</character>
<parenthetical>( off . )</parenthetical>
<dialogue>I've quarantined the neighborhood.</dialogue>
<scene_description>Lilly stands before the man 's large desk , which is lit by only a desk lamp .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>As far as anyone knows we have a new influenza outbreak.</dialogue>
<character>ANDERSON</character>
<dialogue>What about the telephonic companies?</dialogue>
<character>LILLY</character>
<dialogue>They're cooperating, closing all phone lines in and out except directly to us.</dialogue>
<scene_description>Anderson nods .</scene_description>
<character>ANDERSON</character>
<dialogue>Sit, sit.</dialogue>
<scene_description>She does .</scene_description>
<character>ANDERSON</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You've done well Lilly. The reporter is more of a problem. We have 2 days by law before we have to release her. Then it's out.</dialogue>
<scene_description>Anderson lays down the medi kit and stares at it as he motions for her to sit . She does .</scene_description>
<character>ANDERSON</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I hate these things. I'm like a pin cushion.</dialogue>
<character>LILLY</character>
<dialogue>It's better than the alternative, sir.</dialogue>
<scene_description>Anderson stares at her ; a moment of tension .</scene_description>
<character>ANDERSON</character>
<dialogue>I need you to stay with this, Lilly. You know Jamestown better than anyone, how to handle the people.</dialogue>
<scene_description>Lilly acknowledges the compliment .</scene_description>
<character>ANDERSON</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>The Brothers have requested to be involved with the investigation.</dialogue>
<character>LILLY</character>
<dialogue>That's nice for them.</dialogue>
<character>ANDERSON</character>
<dialogue>You have a problem with it?</dialogue>
<character>LILLY</character>
<dialogue>Not particularly.</dialogue>
<character>ANDERSON</character>
<dialogue>Good. I think they can help. And I do n't want someone working on this whose got something against the Church.</dialogue>
<character>LILLY</character>
<dialogue>How do you know I do n't?</dialogue>
<character>ANDERSON</character>
<dialogue>Lilly, you're the least prejudiced person I know. In fact, you're the only one I know. That's important. The church is powerful, but more than that, people's faith in the Brotherhood is about all they've got these days. And the government knows it. Even the Queen herself is involved. This is political.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION, COMMUNAL OFFICE - DAY</stage_direction>
<scene_description>Lilly enters , drinking a coffee . She begins to top it up from the coffee stand when Jones comes up to her .</scene_description>
<character>JONES</character>
<dialogue>Lil'. He's here.</dialogue>
<scene_description>Lilly 's expression becomes taut . She peers towards her office . She can clearly see an exceptionally well dressed man in her office with his back to us . It is Silus . A young female cop - Steph - is in there and we can see her kissing a ring on Silus ' hand and Silus placing his hand on her head as if blessing her . Steph then exits the office and approaches Lilly and Jones ; her face is flushed with excitement .</scene_description>
<character>STEPH</character>
<dialogue>Do you know who he is? That's Brother Silus. They say one day he will lead the Brotherhood. He's a great man.</dialogue>
<character>JONES</character>
<dialogue>I think I hear choir music.</dialogue>
<scene_description>Steph flashes Jones a resentful look .</scene_description>
<character>STEPH</character>
<dialogue>Do you respect anything?</dialogue>
<character>JONES</character>
<dialogue>Hey. My old mum goes to church four times a week and gives blood. She's happy as a lark. Just do n't expect me to kiss him, that's all I'm telling you.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION, LILLY'S OFFICE - CONTINUOUS</stage_direction>
<scene_description>Close on the enigmatic ring on Silus ' finger . We see Lilly is seated on one side of her desk , Silus on the other . Lilly is staring at the ring , then she studies a Photostat in front of her . There is a picture of a man , a rather perfect looking man .</scene_description>
<character>LILLY</character>
<dialogue>Senior Brother Edgar. How long have you known about this?</dialogue>
<scene_description>Silus opposite Lilly , his perfect , serene appearance an anathema in the grunge of the Jamestown police station . He watches her very carefully , listens to the way her finger taps the sheet in front of her , the sound of her chair swiveling , all the sounds very acute to him ; she has a physical ease about her .</scene_description>
<character>SILUS</character>
<dialogue>A matter of weeks.</dialogue>
<scene_description>Lilly smiles .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Is there something wrong?</dialogue>
<scene_description>Lilly stops smiling . For the first time she is still .</scene_description>
<character>LILLY</character>
<dialogue>Yes. Withholding evidence. Covering up two murders. And no one's worried. If me or one of the people in Jamestown did that they'd be in the hell house with the key thrown away. It seems the church is able to do whatever it wants.</dialogue>
<scene_description>Silus nods .</scene_description>
<character>SILUS</character>
<dialogue>You're right to not like it. It is political.</dialogue>
<scene_description>Lilly becomes more interested at this ; at the bald honesty of the statement .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We thought we could find Brother Edgar ourselves. We were wrong. But now any debate is pointless.</dialogue>
<scene_description>Lilly stares at him . There is already something between them even though they stand on opposite sides of a huge gulf . She nods , accepting his point .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>The greatest danger is if this were to become public knowledge.</dialogue>
<character>LILLY</character>
<dialogue>Would n't want anyone criticizing the church I suppose.</dialogue>
<character>SILUS</character>
<dialogue>It's more than that Captain. This is about prejudice, or rather the nature of it. As a female surely you would understand.</dialogue>
<character>LILLY</character>
<dialogue>Really.</dialogue>
<character>SILUS</character>
<dialogue>How many other Captains in this borough are female?</dialogue>
<character>LILLY</character>
<dialogue>None?</dialogue>
<character>SILUS</character>
<dialogue>How are your actions judged, the same or differently from the men.</dialogue>
<scene_description>Lilly stares at Silus ; he is an incredible being .</scene_description>
<character>LILLY</character>
<dialogue>Differently.</dialogue>
<character>SILUS</character>
<dialogue>Exactly. If a white man kills, then he is just a killer. If a black man kills, then all black men are suspect. That is the nature of prejudice. Those who are different are grouped together. If only one Brother does a bad thing then all Brothers are suspect, because we are different. And then what would this world be like, if there was no hope?</dialogue>
<scene_description>Lilly nods , acknowledging the truth of it .</scene_description>
<character>LILLY</character>
<dialogue>Alright then. So what do you suggest?</dialogue>
<character>SILUS</character>
<dialogue>First, there is something you should hear.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION, BRIEFING ROOM - LATER</stage_direction>
<scene_description>Scummy , large briefing room . There are seven cops in here , perched on desks and chairs . Jones , Dominic , Frank plus four others . Lilly is also there . So is Silus , sitting , perfectly still , calm . Several of the cops look at him suspiciously .</scene_description>
<character>LILLY</character>
<dialogue>Ok, ok, quiet down.</dialogue>
<scene_description>Everyone nods and shuts up as Lilly stands in front of the men .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Gentlemen, there's no other way to put it. We have only 2 days to find the suspect.</dialogue>
<scene_description>There are guffaws from most of the policemen .</scene_description>
<character>JONES</character>
<dialogue>There's no chance. Not a hope in hell.</dialogue>
<character>FRANK</character>
<dialogue>He's right. We do n't even know where to begin.</dialogue>
<character>LILLY</character>
<dialogue>Quiet!</dialogue>
<scene_description>Lilly is angry . There is silence in the room . Lilly seems more angry than she should be .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What you are about to hear will not leave this room. Everyone understand? Jones?</dialogue>
<scene_description>Jones shrugs .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I would suggest anyone with a weak stomach leave now.</dialogue>
<scene_description>No one moves . They all stare at Lilly .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This is Brother Silus.</dialogue>
<scene_description>She motions to Silus , who rises , watching the glares from the cops who eye him like a suspect .</scene_description>
<character>SILUS</character>
<dialogue>Thank you Captain. Could we have the plate?</dialogue>
<scene_description>An old slide projector heats up as the main lights are turned off . The projector sprays an image up on the wall . The face of a killer , before he became one , the serene gaze of a Brother .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Senior Brother Edgar. Until 3 weeks ago, he was a trusted and talented theologian and scientist.</dialogue>
<character>DOMINIC</character>
<dialogue>What'd he do?</dialogue>
<character>SILUS</character>
<dialogue>He was personally responsible for developing the most recent influenza antivirals. It is because of him that most of you are alive today. His behavior appeared normal. Next.</dialogue>
<scene_description>3 photos come up . The victims .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>The victims. John Anderson. Julie Danes. Tanya Garfield. All in their early 20's, but beyond that no obvious connection. Next.</dialogue>
<scene_description>A Map .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There is no precedent for Brother Edgar's behavior. No Brother has ever taken a human life, not in the 300 years since we began. Not one. Our role has been to preserve and maintain the human life. Not take it.</dialogue>
<character>JONES</character>
<dialogue>Next he'll be wanting an fucking medal.</dialogue>
<scene_description>Silus stares directly at Jones now . Their eyes lock . Silus continues , perfectly calm .</scene_description>
<character>SILUS</character>
<dialogue>What I am saying to you is that Brother Edgar's behavior is aberrant. We</dialogue>
<character>SILUS</character>
<parenthetical>( cont . )</parenthetical>
<dialogue>do n't understand it. And therefore it's difficult to predict. The only thing we know is where he will strike next.</dialogue>
<character>DOMINIC</character>
<dialogue>How do you know?</dialogue>
<scene_description>Silus moves to the desk next to him . He passes something to another cop who now sits at the desk . We see Lilly now . The look on her face tells us that she knows what is coming and she 's not looking forward to it . We see what Silus gave the cop . An audio tape . The cop places the tape in a tape deck . He then switches it on . He then turns the volume knob on an amplifier which now directs static hiss to two big speakers . We see the faces of the cops , all listening in the dim light coming from the slide projector . Above the level of the hissing tape there is another noise . It is a wet sound . Like a cat would make if it were lapping up milk . An another sound . Like an animal , moaning with pleasure . We see the cops ; some of them are beginning to twig . And there is another noise . It is a man ; moaning .</scene_description>
<character>MAN ON THE TAPE</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Please. Please do n't hurt me.</dialogue>
<scene_description>We see Jones and Dominic . Their glares say it all . And then another voice .</scene_description>
<character>EDGAR</character>
<parenthetical>( off , like to a lover . )</parenthetical>
<dialogue>Quiet.</dialogue>
<character>MAN ON THE TAPE</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Please.</dialogue>
<character>EDGAR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>I said shut up!</dialogue>
<scene_description>Then we hear a punch and then noises which can only be described as sounding like a dog killing something . Jones springs out of his seat .</scene_description>
<character>JONES</character>
<dialogue>Fuck!</dialogue>
<character>LILLY</character>
<dialogue>Jones, sit down.</dialogue>
<character>JONES</character>
<dialogue>Why are we listening to this?!</dialogue>
<character>LILLY</character>
<dialogue>Quiet!</dialogue>
<scene_description>Jones stands there enraged . Dominic pulls him down back into his chair . All the cops are appalled by what they have heard . And then a voice .</scene_description>
<character>EDGAR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Good. Now you're quiet.</dialogue>
<scene_description>We can hear Edgar moving around .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing ; off . )</parenthetical>
<dialogue>Did you hear that Silus? I hope so.</dialogue>
<scene_description>We see Silus , listening as intently as everyone else .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing ; off . )</parenthetical>
<dialogue>The next one will be tomorrow. There is a square, Bridge Square it's called. I will take the next one from there. You should try harder this time. Please try harder.</dialogue>
<scene_description>More moving around , then the sound on the tape cuts out . We are left with only tape hiss . Everyone stares at Silus .</scene_description>
<character>FRANK</character>
<dialogue>He sent this to you. Specifically.</dialogue>
<character>SILUS</character>
<dialogue>We share the same mother. There is a bond.</dialogue>
<scene_description>The cops all stare at Silus ' emotionless response .</scene_description>
<character>LILLY</character>
<dialogue>There will be two teams. Frank, I want you and Abernathy up in the buildings around Bridge Square.</dialogue>
<scene_description>Frank nods .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I'll lead the other team with Dominic, Jones and Queen's Imperial Guard in support. No guns, batons only.</dialogue>
<character>JONES</character>
<dialogue>What?</dialogue>
<character>LILLY</character>
<dialogue>You heard me. He's to be taken alive.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN, BRIDGE SQUARE - NIGHT</stage_direction>
<scene_description>It has rained . The small square is dimly lit . At it 's center is a small park with distorted trees . And a rundown playground . A rusty swing creaks . We see a figure there . It is Lilly . She watches the rusty swing creak . Then she looks up to the surrounding buildings . We tilt up to one of the buildings which is perhaps eight stories high ; like the others around the square it is an apartment building . There is movement at the very top . Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT</stage_direction>
<scene_description>POV from the top of the building , observing Lilly below enter a black , unmarked van . Then there is buzz from an RT. . We reveal POV belongs to Silus .</scene_description>
<character>SILUS</character>
<dialogue>Yes.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE VAN - NIGHT</stage_direction>
<scene_description>Lilly is in a police van . Jones and Dominic are there with her ; both of them trying to come to grips with the strange stun weapons they 've been given . And there are three huge , dark eyed soldiers there , dressed in the ominous black uniform of the Queen 's Imperial Guard , cocking their electric batons ; which fizz in the half light .</scene_description>
<character>LILLY</character>
<dialogue>Anything?</dialogue>
<scene_description>We cut between Lilly in the van and Silus on the roof .</scene_description>
<character>SILUS</character>
<dialogue>No.</dialogue>
<scene_description>Silus surveys the scene . He can see an Imperial Guard sniper over the square on the roof of a building . Below , in the street , we can see the silhouettes of several Brothers ; unmoving , watchful sentinels .</scene_description>
<character>LILLY</character>
<dialogue>It's getting late.</dialogue>
<character>SILUS</character>
<dialogue>He will come.</dialogue>
<character>LILLY</character>
<dialogue>Ok. We'll sit tight.</dialogue>
<scene_description>Lilly closes the com . Jones is staring at her .</scene_description>
<character>JONES</character>
<dialogue>This is a dud.</dialogue>
<scene_description>Lilly ignores Jones and talks into the RT again .</scene_description>
<character>LILLY</character>
<dialogue>Frank?</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, BRIDGE SQUARE - NIGHT</stage_direction>
<scene_description>Frank is inspecting a stairwell of the building . He has Abernathy with him . He talks into his RT. .</scene_description>
<character>FRANK</character>
<dialogue>Yeah Lil'.</dialogue>
<character>LILLY</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Anything?</dialogue>
<character>FRANK</character>
<dialogue>Not a thing.</dialogue>
<character>LILLY</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Check each floor again.</dialogue>
<scene_description>Frank motions to Abernathy , who is already sighing .</scene_description>
<character>FRANK</character>
<dialogue>You heard her. Once more for the empire.</dialogue>
<scene_description>Low Angle from the floor of the two men beginning to climb the stairs , their guns out . The shot stays where it is . We can see the stairs and the wall . We pause . The soundtrack is almost dead quiet , apart from the buzzing flouro above us . And then the CAMERA begins to advance , like a POV , heading for the wall ahead . It reaches the corner and then advances along cables running up to the roof . As it climbs we can see a ventilation shaft in the corner with no grill . The camera approaches it and moves into the shaft , continuous .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, VENTILATION SHAFT - CONTINUOUS</stage_direction>
<scene_description>The shot continues to track through the man - sized shaft . As we move through the shaft - turning corners , going up floors - we pass grills . Some of them show light coming from the apartments within . We can hear an argument in one room . A crying child in the next . A TV blaring in another -LRB- playing porno -RRB- . But mostly the rooms are dark . And as we move up and along , there is a scuttling NOISE , growing louder , as if we are approaching it . Then the NOISE stops . The camera halts , stares down the long ventilation shaft . Silence . Dead silence . The camera starts to move again and then turns a corner to run into the leering face of Edgar , the vampire , his teeth bared , his eyes reflecting in the half light . Then he smiles .</scene_description>
<character>EDGAR</character>
<dialogue>Shoo.</dialogue>
<scene_description>Cut to A rat , staring back at Edgar . The rat turns and streaks off back whence it came . A slight smile appears on Edgar 's face ; a smile that can chill the blood in your veins . Then he begins to move forward . We hear his breathing ; low , but excited . He moves with the precision and strength of an insect . His eyes glisten and reflect light like an animal 's . His skin is flesh white and milky in the metal shaft . Cut to His POV approaching a grill . A subdued light comes through it . The POV approaches and sees into the apartment below .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM, SAME BUILDING - NIGHT</stage_direction>
<scene_description>A woman , around 20 , attractive , brushing her hair . She has just had a shower . She sits . Cut to The shaft . We see Edgar 's hand enter shot . His hand grips the bottom of the grill and tries to open it . It does n't budge . Cut to Inside the room , the woman turns and looks up at the grill . She thinks she 's heard something . She stares ; waits . She gets up and moves towards the grill high above on the wall . She places a chair under it , then gets up on it , standing on tip toes , trying to see if there 's anything behind the grill . Her hand reaches out and tries the grill , to see if it 's secure . Then she leans closer to it . Her face pressed right up against it . Closer . Closer . Cut to Edgar 's white face , lurching into shot . Staring , staring . Cut to His POV . He is now looking through a different grill . This time there is a young man inside an apartment . Doing exercises . Edgar watches . And again that chilling smile . We see the man again , who gets up and preens himself in front of a mirror . Close on Edgar 's eyes , devouring the sight of this pumped up flesh . The young man exits the room , going into a bathroom . We see Edgar 's hand trying to open the grill . It moves . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, HALL - NIGHT</stage_direction>
<scene_description>Frank and Abernathy are on fifth floor , finishing a sweep of it . As they move they hear a CRASH . They stop . Then another crash , coming from the floor up . Then a SCREAM . They look at each other , then begin to run to the stairwell , as Frank talks into his RT. .</scene_description>
<character>FRANK</character>
<dialogue>Lil'! Lil'!</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE VAN - CONTINUING</stage_direction>
<character>LILLY</character>
<dialogue>Frank.</dialogue>
<character>FRANK</character>
<parenthetical>( off . )</parenthetical>
<dialogue>He's on the sixth floor! He's on the sixth floor!</dialogue>
<character>LILLY</character>
<dialogue>Let's go.</dialogue>
<scene_description>Everyone fires into action and begins to exit the van .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN, BRIDGE SQUARE, ROOF - NIGHT</stage_direction>
<scene_description>Silus watches from his vantage point . He can see Lilly and her team below rushing into the building adjacent to him . And then he sees , through one of the windows on the sixth floor , the flashes of gunfire . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, STAIR WELL - NIGHT</stage_direction>
<scene_description>Handheld camera with Lilly and her crew rushing up the stairwell ; up up . Cut to OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT</stage_direction>
<scene_description>Lilly and her crew entering the hall . They are confronted with a view of the long hall . Halfway down there is a door with blood smeared on it . We can see Abernathy , lying in a pool of blood outside the door . The cops stop . A door opens close to them . A large greasy man pokes his head out the door and gets the cops guns on him immediately . Lilly motions with her hand .</scene_description>
<character>LILLY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Police. Get back inside. Get back.</dialogue>
<scene_description>The man returns and closes the door . The Imperial Guards now swing into action . They move forward towards the room , to the closed door . Lilly and her crew follow . The Imperial Guards get ready outside the door batons ready . One of them motions for Lilly and her crew to wait . Jones is nearest them . He goes down on one knee . Dominic moves past them and positions himself on the other side . Lilly kneels where she is . Beat . Then the Imperial Guards kick open the door and enter . Lilly waits , watching . There 's no sound . Dominic begins to move forward , then enter the door to the apartment , his baton raised . Jones now moves forward , keeping his eyes on the door . There is no sound coming from the room . Cut to Lilly , kneeling in the hall . Also staring at the door . Too late to realize the door next to her is opening . Before she can react , she 's staring into the face of Edgar ; the eyes , the bloody mouth . Edgar is on her in an instant , moving with ferocious speed , whipping her like a rag doll into the room . Meanwhile Jones is edging towards the room Dominic entered . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT</stage_direction>
<scene_description>Lilly , trapped , held by Edgar , who stares at her . Then , in one swift movement , he lurches down , tearing her neck with his teeth . She cries out .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, BRIDGE SQUARE, HALL - NIGHT</stage_direction>
<scene_description>In the hall , Jones is looking into the room Dominic went into . The lights come on . The room is empty . Just the cops and Frank 's bloody corpse on the floor .</scene_description>
<character>JONES</character>
<dialogue>Lil'.</dialogue>
<scene_description>Jones turns to see Lilly , but she 's not there . The hallway is empty . He sees the door Lilly was pulled through . Then looks down . Blood is seeping from under the door .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Fuck!</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, BRIDGE SQUARE, ROOM - NIGHT</stage_direction>
<scene_description>Lilly being embraced by Edgar , she ca n't do anything . Then a loud crash on the door , as if someone is trying to break in . Edgar stops feeding , stares at Lilly . Beat .</scene_description>
<character>EDGAR</character>
<dialogue>You're so strong.</dialogue>
<scene_description>Then another crash on the door . Edgar drops Lilly . He propels himself towards a ventilation grill on the wall . Cut to Jones and the cops kicking the door in . It swings open to show Lilly on the floor . Jones stoops down .</scene_description>
<character>JONES</character>
<dialogue>Lilly!</dialogue>
<scene_description>Jones gets close to Lilly , starts squeezing the side of her neck , trying to stop the arterial blood from squirting her life away .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Oh shit shit.</dialogue>
<scene_description>Dominic enters and sees the scene . He yells into his RT. .</scene_description>
<character>DOMINIC</character>
<dialogue>Lilly's hurt. She's hurt!</dialogue>
<scene_description>The other cops are now scanning the room . Meanwhile Dominic has found the ventilation shaft , blood smeared around the opening .</scene_description>
<character>DOMINIC</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He's in the ventilation shaft!</dialogue>
<scene_description>Jones then stares down at Lilly pressing one hand against the wound . Close on Lilly , going into shock . She 's shivering .</scene_description>
<character>JONES</character>
<dialogue>She's dying! She's fucking dying!</dialogue>
<scene_description>At that moment SILUS appears at the door . Silus stares at Lilly , bleeding to death in Jones ' arms . Silus immediately bends to her . With his free hand Jones pulls out a vicious knife which he points at Silus .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Get away from her!</dialogue>
<scene_description>But Silus ignores the knife and moves closer to Lilly .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Get away or I'll stick you!</dialogue>
<character>SILUS</character>
<dialogue>Do you want me to save her?</dialogue>
<scene_description>Jones wavers .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>She is dying.</dialogue>
<scene_description>Jones backs the knife away . Silus whips his hand to the blade of the knife , slashing his wrist , blood immediately issuing from the wound . He presses his bleeding wrist to Lilly 's mouth . At first resistant , Lilly begins to suck at the wrist . Jones is appalled . Silus then leans close to Lilly and whispers in her ear . All the other noises in the soundtrack drop out .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Lilly. Stop fighting now. Fall back, fall back.</dialogue>
<scene_description>Slowly she does . Silus removes his wrist from Lilly 's mouth . She is silent , comatose . A medical team now scramble through the door , pushing past Silus and the bloody Jones and begin to work on Lilly . For a moment Silus and Jones stare at each other . Then Silus turns to the ventilation shaft in the corner . He closes his eyes . Listens .</scene_description>
<character>DOMINIC</character>
<dialogue>He's getting away!</dialogue>
<character>SILUS</character>
<dialogue>Quiet.</dialogue>
<scene_description>The cops are silent . Stare at Silus who opens his eyes .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He's going up.</dialogue>
<scene_description>We move in on Silus ' ear . Closer , closer . Into his ear .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, VENTILATION SHAFT - NIGHT</stage_direction>
<scene_description>The long shaft and in the distance Edgar approaching , his eyes reflective , moving with the speed of an insect through the shaft , his bloody mouth . Cut to Silus , now also in the shaft , his gun out , moving forward . He turns a corner . The shaft is empty . He waits , watching , listening . He hears a scuffling . Cut to Edgar , the same , turning a corner to see Silus approaching him . Silus raises his gun . A puff emits from the end of his gun . The projectile hurtles towards Edgar , who just ducks out of the way in time . Edgar turns . There is a grill next to him . He smashes it with his foot . Cut to Silus approaching the junction , turning the corner , just in time to see Edgar 's legs pass through the hole .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, HALL - CONTINUING</stage_direction>
<scene_description>We see Jones move into the hall , looking at the roof , searching . Then he looks at Lilly 's blood which covers his hands . He pockets his stun weapon and pulls out his own dangerous looking gun . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, DIFFERENT FLOOR - NIGHT</stage_direction>
<scene_description>A door bursts open . Edgar - in slow motion - crashes through the door and into the hall . The sound track is a huge driving slab of choral orchestral music . The camera tracks back as he starts to mount the wall , his momentum carrying him diving towards the camera . Cut to Silus enters the empty hall . No Edgar . Then he sees in the roof , a manhole cover , slightly ajar . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, CEILING CAVITY - NIGHT</stage_direction>
<scene_description>Silus ' POV as he climbs into the crawl space , its ceiling following the pitch of the roof . It is dark and extends for a long way . Silus squats in the sub light like a beautifully dressed animal . What he ca n't see are two blinking eyes above him in the rafters of the dark roof . It is Edgar . Edgar drops , Silus turns too late as the weight of Edgar drives into him , sending both of them through the floor of the ceiling cavity and down .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, ANOTHER HALL - NIGHT</stage_direction>
<scene_description>to fall , a dead weight , crashing down onto the floor of the hall in a hail of debris . Edgar is on top of Silus and strangling him , and then he stops and turns . He moves just in time to avoid a bullet from Jones ' gun which glances Edgar 's cheek , sending off a wisp of burnt colored smoke . Cut to Jones . Gun smoking , standing at the other end of the hall . Edgar screams the scream of something from the animal kingdom . Then turns and runs . Cut to Silus rising , pulling out his gun . Jones points his gun , but Silus is obscuring his view . Cut to Edgar runs away down the hall . Then on Silus . Very still , very silent . Close on his finger pressing the trigger . The camera zooms right into the interior of the gun to see the projectile entering the gun 's chamber and the hammer igniting it . The projectile explodes out the end of the gun . High Angle of the projectile flying towards its target , the ceiling lights above streaking past on its reflective surface , cruel mechanical claws suddenly slide out from the side of the capsule . Then Edgar , camera tracking back at high speed . Slow move in on Silus ' cool gray eyes . Then whack ! The projectile stabs into Edgar 's back , the claws springing forward to hook onto Edgar 's flesh , we see the fluid within the transparent projectile flow into Edgar , see Edgar 's eyes widen , see his POV of the approaching window then . Crash . Edgar 's head implants itself in the wall below the window , the dust and debris from the wall board drifting over Edgar 's numb stare . In the background Silus stands . Motionless . We see Jones walking forward , gun still pointing , heading towards Edgar . Silus turns and steps in front of him .</scene_description>
<character>JONES</character>
<dialogue>Get out of my way.</dialogue>
<character>SILUS</character>
<dialogue>No.</dialogue>
<scene_description>Jones stares at Silus and contemplates firing .</scene_description>
<character>JONES</character>
<dialogue>He killed Lilly.</dialogue>
<scene_description>Silus does n't move . He stares calmly at Jones . Jones points the gun in Silus ' face . Beat .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Bang.</dialogue>
<scene_description>Jones lowers his gun . We end close on Silus ' serene face . SLOW DISSOLVE OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. SFX - CONTINUING</stage_direction>
<scene_description>Black . Voices in the dark , quiet at first , then growing more frightening ; then the hint of a face , in negative - Edgar - then screams , like the screams of an animal on the hunt . And another face , alternating with Edgar 's . Silus .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, LILLY'S WARD - DAY</stage_direction>
<scene_description>High Angle of Lilly asleep , lying on a hospital bed . We drift down . Again there is rain , pounding against the window . Her body flinches ; she is in a dream , a nightmare . As we drift closer to her , her eyes open , staring straight up and then to the left . Then grim recognition . Cut to Low Angle on Silus standing above her , examining the tube that runs a clear fluid into her in a slow drip .</scene_description>
<character>LILLY</character>
<dialogue>Antibiotics. They say it's like an animal bite.</dialogue>
<scene_description>Silus nods . He slowly sits on the bed .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I want to thank you.</dialogue>
<character>SILUS</character>
<dialogue>We all caught Edgar.</dialogue>
<character>LILLY</character>
<dialogue>I do n't mean that. The blood, they say it saved my life. Is it true that people who go to church are given your blood?</dialogue>
<character>SILUS</character>
<dialogue>Sometimes the rituals call for it. Some say they have visions from it. That it restores their health.</dialogue>
<scene_description>Silus regards her and she him . She reaches out and touches his hand , almost retracts at the smooth texture of the skin .</scene_description>
<character>LILLY</character>
<dialogue>So smooth.</dialogue>
<scene_description>She turns over his hand to reveal the wrist ; the scars are almost gone from where Silus cut himself .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Healed already.</dialogue>
<character>SILUS</character>
<dialogue>In some ways my body is like a human embryo. The cells regenerate quickly. It is why we live so long. Will someone come for you? Your family?</dialogue>
<scene_description>She releases his hand .</scene_description>
<character>LILLY</character>
<dialogue>I do n't have one. Not any more.</dialogue>
<character>SILUS</character>
<dialogue>I see.</dialogue>
<character>LILLY</character>
<dialogue>Influenza. My husband was quick. But my daughter, Mary, her little body fought it for a long time. So I just waited. Hoped. But then you realize how cruel hope is. And you just want it to end. Not to stop her suffering, but to stop my own.</dialogue>
<character>SILUS</character>
<dialogue>I am sorry.</dialogue>
<character>LILLY</character>
<dialogue>Do we seem pathetic to you?</dialogue>
<character>SILUS</character>
<dialogue>No. Fragile. Worn down by nature. But you fight back.</dialogue>
<character>LILLY</character>
<dialogue>Yes. We're good at that.</dialogue>
<scene_description>Lilly stares up into Silus ' serene face . Silus smiles . Then stands .</scene_description>
<character>SILUS</character>
<dialogue>I think yours will be a good life to watch, Lilly. Goodbye.</dialogue>
<scene_description>Lilly tries to smile as Silus turns and walks off down the ward . Close on Lilly who looks grim . Then she turns to the window . Rain again , blowing hard against the pane .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL,LILLY'S WARD - CONTINUOUS</stage_direction>
<scene_description>As Silus leaves the ward he passes Jones , who 's been standing there as if he 's been watching them . A beat . Then Jones shoves a newspaper into Silus ' hands .</scene_description>
<character>JONES</character>
<dialogue>Nicely done. You're more human than I thought.</dialogue>
<scene_description>Jones unceremoniously pushes past Silus and moves into Lilly 's room . Silus reads the newspaper . The story tells of the recent deaths in Jamestown , explaining that it was an insane man who thought he was a Brother . The man 's picture is shown ; it is actually one of the victims . Through the window in the doorway Silus watches Jones approach Lilly . We are close on his enigmatic face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROTHERHOOD BUILDING, FOYER - DAY- Establisher</stage_direction>
<scene_description>We tilt down a grand building .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, FOYER - DAY</stage_direction>
<scene_description>A huge foyer , shinning marble floors . All done in perfect taste . We see Silus cross the foyer and enter an elevator . The elevator doors close .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - DAY</stage_direction>
<scene_description>Silus enters the room . There are several technicians at work at a console ; again the organic nouveaux stylings of the Brothers . Augustus is also there . Next to him , someone who is obviously human . His lack of perfection stands out ; the balding hair , dark rings under his eyes . Silus joins them .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Silus. You know Professor Liepsky.</dialogue>
<scene_description>Silus shakes the Professor 's hand . We see the hands touching , then slide apart with a wisping sound that makes the Professor wince a little .</scene_description>
<character>SILUS</character>
<dialogue>How is he?</dialogue>
<character>PROFESSOR LIEPSKY</character>
<dialogue>See for yourself.</dialogue>
<scene_description>He taps one of the men at the console on the shoulder . The man hits a button and we see that in front of the console there is a huge glass window and beyond it a room which is now lit . Edgar is in there . And Edgar is not pleased . Even from here his glowering stare penetrates everyone in the room . From this distance we ca n't make out much , beyond the fact that Edgar is seated in a chair , in an otherwise plain white room . Around his chair is a strange `` brace '' of sorts , that seems to be holding Edgar in place .</scene_description>
<character>SILUS</character>
<dialogue>Is the brace necessary?</dialogue>
<character>AUGUSTUS</character>
<dialogue>He decapitated a guard as they brought him in. Even though he was sedated. He said he will drink us all dry.</dialogue>
<character>SILUS</character>
<dialogue>Insane then.</dialogue>
<character>PROFESSOR LIEPSKY</character>
<dialogue>Not quite.</dialogue>
<scene_description>Silus now turns to the Professor .</scene_description>
<character>PROFESSOR LIEPSKY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He's become infected.</dialogue>
<character>SILUS</character>
<dialogue>With what?</dialogue>
<scene_description>The Professor looks to Augustus , as if worried he 's said to much .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Go on, Brother Silus will soon be part of the inner circle of the Brotherhood. He should know this.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, LABS - CONTINUING</stage_direction>
<scene_description>POV approaching a curved , glass and metal door . On the door we see the words `` Biological Containment Area . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, BIO CONTAINMENT WARD </stage_direction>
<scene_description>DAY - Establisher POV continues . There are 3 beds in here . In them , strapped down , 3 young woman . They are all insane , monstrous ; the whites of their eyes are blood red . We see Silus observe them , but there is no horror in his eyes , just compassion . He moves to one of the woman and slowly grasps her hand . She lurches towards him .</scene_description>
<character>PROFESSOR LIEPSKY</character>
<dialogue>If she was n't restrained she would try to kill you. Do n't worry, it's only transmissible through their blood. We designed it that way.</dialogue>
<scene_description>Silus quietly turns to the Professor .</scene_description>
<character>SILUS</character>
<dialogue>Designed?</dialogue>
<character>PROFESSOR LIEPSKY</character>
<dialogue>Genetically designed. Edgar was experimenting with the virus that created you. It was sanctioned by the government.</dialogue>
<character>SILUS</character>
<dialogue>Since when do they sanction such things?</dialogue>
<character>PROFESSOR LIEPSKY</character>
<dialogue>Since not one Brother has been born in 70 years. And never a female of your kind from which we could breed. And we need to breed more Brothers. You give the world hope. To the people you're like gods walking the earth.</dialogue>
<character>AUGUSTUS</character>
<dialogue>This is what Edgar was doing Silus. Trying to genetically control the birth of Brothers.</dialogue>
<scene_description>Silus is now turns back to the poor creature on the bed .</scene_description>
<character>PROFESSOR LIEPSKY</character>
<dialogue>And Edgar was successful. Each of these women carried a Brother, for a time. But, the virus. changed. Most of them have died and these will die soon.</dialogue>
<scene_description>Silus places his hand on the poor creature 's head , blessing her .</scene_description>
<character>PROFESSOR LIEPSKY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And Edgar may be the first Brother to ever die.</dialogue>
<character>PROFESSOR LIEPSKY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Before that, his brain will wither like these women. Containment will be the issue.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL ANTEROOM - CONTINUING</stage_direction>
<scene_description>A door slamming behind Silus , he is in a strangely , eerily lit cubicle .</scene_description>
<character>SILUS</character>
<parenthetical>( off . )</parenthetical>
<dialogue>The police officer. Lilly. Did he infect her with this?</dialogue>
<character>PROFESSOR LIEPSKY</character>
<parenthetical>( off . )</parenthetical>
<dialogue>No. She was lucky. But it is in Edgar's blood. It always will be.</dialogue>
<scene_description>and another door in front of Silus clicks , then slides open to reveal .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL - CONTINUING</stage_direction>
<scene_description>Edgar , sitting in the chair . He immediately turns to the door , his eyes burrowing straight into Silus . Silus moves forward . We track , Silus ' POV , toward Edgar and the reality of his predicament is revealed . There are metal rods extending from the cage around him . Two at the sides . Two from the front . They strategically pointed at Edgar 's chest and sides . If he was to try to get up , they would pierce him .</scene_description>
<character>SILUS</character>
<dialogue>Hello my Brother.</dialogue>
<scene_description>We can now see Edgar for the first time in something approaching a normal state . He looks similar to Silus , perhaps not quite so perfect . He radiates confident primeval power ; less a man captured than an animal waiting . Edgar is smiles . He shifts a little , we see the rods piercing his flesh .</scene_description>
<character>EDGAR</character>
<dialogue>Do you like what they've done for me Silus?</dialogue>
<scene_description>He moves again , as if enjoying it .</scene_description>
<character>SILUS</character>
<dialogue>You are sick. We will help you if we can.</dialogue>
<character>EDGAR</character>
<dialogue>Help me? I am being what I was meant to be. How can you help me from that? Or do you want to tame me? Brainwash me? Animal or vegetable, are those the two choices, Silus?</dialogue>
<scene_description>Edgar leans closer to Silus .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I want to share the feeling with you. To feel their blood flow until every last drop is yours, until that weak, pointless little pump finally stops.</dialogue>
<scene_description>They are staring at each other very intently now . Edgar smiles gently .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>The one I had, the police woman. She was so strong. I found it hard to leave her.</dialogue>
<scene_description>Edgar moves .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Is she dead?</dialogue>
<character>SILUS</character>
<dialogue>She survived.</dialogue>
<character>EDGAR</character>
<dialogue>Good. I will have her again.</dialogue>
<scene_description>For perhaps the first time , we see a real hint of anger on Silus ' face .</scene_description>
<character>SILUS</character>
<dialogue>You wo n't touch her.</dialogue>
<scene_description>Edgar looks at his brother for a moment . Edgar 's features are a paradox ; almost sympathy for Silus followed by understanding . Then he smiles .</scene_description>
<character>EDGAR</character>
<dialogue>You've chosen to watch over her. You want her do n't you? I can see it in your eyes. You are like me.</dialogue>
<scene_description>Silus ' control has returned now .</scene_description>
<character>SILUS</character>
<dialogue>I will pray for your cure, Brother.</dialogue>
<scene_description>Silus then turns and leaves .</scene_description>
<character>EDGAR</character>
<dialogue>I wont be able to forgive you for this you know? Not ever. In fact, when I get out of here.</dialogue>
<scene_description>He moves violently , blood seeping from his wounds now .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I will make you see. I will show you the way. I will see you drink your little police woman right through.</dialogue>
<scene_description>By now frightening music has hummed into existence . Silus has paused at the door to the cell . Without looking back he passes through the door , leaving Edgar to his prison . Edgar , slowly turns back to the window in front of him . He sees himself reflected in it . The Camera moves into Edgar 's eyes . The lights go out . All we are left with are his strange reflective eyes . Waiting . Waiting . OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL - NIGHT</stage_direction>
<scene_description>A smooth , white walled cell . Flash edits of Edgar . Standing , posing , balancing literally on his fingertips , doing sensuous , slow gymnastic yoga . His hair has changed so we know time has passed . Finally he stands there ; poised tensile steel . He slowly draws his finger nails against the shining floor of the cell , it almost looks like he 's sharpening them . A tube comes from his arm for taking blood samples . Then Edgar begins to run directly at the glass window of the console room and then dives for it , smashing his head against it ; blood and saliva left smeared there . Behind the glass window the console operators jump .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUI60A</stage_direction>
<character>CONSOLE OPERATOR 1</character>
<dialogue>I do n't like it when he does that.</dialogue>
<character>CONSOLE OPERATOR 2</character>
<parenthetical>( scolding Edgar ; into microphone . )</parenthetical>
<dialogue>You stop that or we'll use the gas!</dialogue>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL - CONTINUING</stage_direction>
<scene_description>We see Edgar , slowly pulling himself up , blood and bruising apparent on his face . He smiles . We zoom in close to the glass , see Edgar 's infected blood run down it until it congeals a little , caught in a tiny , almost imperceptible , hairline fracture .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN CLUBLAND, STREET - NIGHT</stage_direction>
<scene_description>Rain on the streets . A man , covered in tattoos - an affluent hood , is in a doorway snorting snuff Dominic , Jones and several other cops emerge from hiding places , pointing their guns at the man who puts his hands up . Hand held cameras follow several other cops and Lilly as they move into the building , again catching various hoods unaware . Lilly moves forward quickly , down a hallway and finds what she is looking for . In a room she discovers a harem of prostitutes , none of them older than ten years old . She stares at their doll - like faces , then lowers her gun . We see Lilly , the scars from Edgar 's attack now healed but still apparent on her neck . Her hair is shorter ; she seems more worn down . Jones appears on her shoulder .</scene_description>
<character>LILLY</character>
<dialogue>Take them away from here.</dialogue>
<scene_description>Jones nods as Lilly walks off .</scene_description>
<character>JONES</character>
<dialogue>You do n't feel like a drink?</dialogue>
<scene_description>But Lilly does n't respond , she just walks off . Jones watches her leave . Then he stares at the round faces of the children in front of him , something approaching compassion there .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Now my girls, anyone hungry?</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN CLUBLAND, STREET - CONTINUING</stage_direction>
<scene_description>Lilly exits the building into the rain , wrapping herself up against it . Then she stops , feels she 's being watched . She looks up at the surrounding buildings . But there 's nothing there . She pulls out an amulet with the symbol of the Brotherhood on it from under her jacket , and then after a beat , kisses it , a little smile comes to warms her lips against the cold . She leaves . Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN CLUBLAND, BUILDING ROOFTOP - CONTINUING</stage_direction>
<scene_description>POV looking down on Lilly as she walks away . It 's Silus , watching her quietly from the shadows , his eyes reflective orbs in the night . OMITTED OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL - CONTINUING</stage_direction>
<scene_description>Edgar 's cell is very dimly lit . Edgar is in front of the glass window to the console room . He is repeatedly banging is head against it . And his fingernails slide across the shiny surface ; has he simply gone insane ? A voice comes over the Tannoy .</scene_description>
<character>CONSOLE OPERATOR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>If you do n't stop that we'll use the gas. You hear me?</dialogue>
<scene_description>Edgar just continues to bang his forehead against the glass , it drums eerily . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT - DAY</stage_direction>
<scene_description>We track through Lilly 's apartment , silently . We enter the lounge to see Lilly sitting on a couch watching a strange looking valve powered globular Television - like device . We track ominously up behind her . Then stop .</scene_description>
<character>JONES</character>
<parenthetical>( off . )</parenthetical>
<dialogue>I knocked.</dialogue>
<scene_description>Lilly turns to Jones .</scene_description>
<character>LILLY</character>
<dialogue>You nearly gave me a heart attack.</dialogue>
<scene_description>Steph now emerges from the kitchen , dressed in a t - shirt and shorts and carrying some food . Jones looks at her coldly .</scene_description>
<character>JONES</character>
<dialogue>What's this then?</dialogue>
<scene_description>Lilly and Steph smile at the inference Jones is beginning to draw .</scene_description>
<character>STEPH</character>
<dialogue>My apartment was condemned, keep your hair on, what's left of it.</dialogue>
<scene_description>Meanwhile Lilly shushes them and turns back to the murky gray images emitting from the television .</scene_description>
<character>TV PRESENTER</character>
<dialogue>the ascension through the ranks of the Church has been fast for Brother Silus. He will now be the highest ranking cardinal outside the ruling council of the Brotherhood. This is largely seen as a reward for his handling of the last influenza pandemic.</dialogue>
<scene_description>Jones and Lilly watch as Silus is seen on the television in an interview . Steph stares at the screen with awe , she involuntarily kisses the symbol that hangs from a chain around her neck ; it resembles a Brother 's ring .</scene_description>
<character>STEPH</character>
<dialogue>Is n't he amazing?</dialogue>
<scene_description>Jones sneers under his breath .</scene_description>
<character>JONES</character>
<dialogue>A saint.</dialogue>
<character>LILLY</character>
<dialogue>Quiet.</dialogue>
<scene_description>We move over their shoulders to track closer to the black and white TV screen .</scene_description>
<character>TV PRESENTER</character>
<dialogue>You have been an opponent of those who want an easing in the ban on genetic research.</dialogue>
<character>SILUS</character>
<dialogue>Yes.</dialogue>
<character>TV PRESENTER</character>
<dialogue>They would say you're denying legitimate research into a science that would change the world.</dialogue>
<character>SILUS</character>
<dialogue>The church does not deny the potential. Only the motivations of those who want to exploit it. And the fact that we understand so little of its power.</dialogue>
<character>TV PRESENTER</character>
<dialogue>With the elimination of influenza, are we approaching a new era where disease might be a thing of the past?</dialogue>
<scene_description>As she is saying this we are now close on the TV 's speaker . We then begin tracking out . We reveal the speaker is not part of the TV , but the speaker in Edgar 's cell . Edgar , smiling coldly as he listens . As he listens he is gently gliding his finger nails against a sharp edge of the chair ; sharpening them .</scene_description>
<character>SILUS</character>
<dialogue>Disease is part of nature, it will always be a part of our lives.</dialogue>
<scene_description>Close on Edgar .</scene_description>
<character>EDGAR</character>
<dialogue>How true.</dialogue>
<character>TV PRESENTER</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Brother Silus' confirmation ceremony will be held today in the sacred Chapel of St. Augustine where all the Brotherhood will gather.</dialogue>
<scene_description>Edgar listens , smiles .</scene_description>
</scene>
<scene>
<stage_direction>INT. CEREMONIAL CHAPEL - DAY</stage_direction>
<scene_description>An ornate door ; ancient , with strange , beautiful dark symbols carved into the old wood , like something out of a castle in Prague . The doors open and we see a large chapel . And within the large dark interior , lit by great long candles , the Brotherhood have gathered . They all stare at the camera , which we reveal is Silus ' POV . We see SILUS . Unchanged , still the perfect creature he has always been . But for now the suit has gone and instead he stands draped in fine ropes , robes that carry his life on them ; achievements , his rank , which is now high . In the distance , at an alter , stands AUGUSTUS . He is also in his gowns . A gong sounds and the Brothers , in unison with the music , begin to chant ; it is eerie , it sounds like Tibetan monks .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM CONTINUING</stage_direction>
<scene_description>Professor Liepsky , looking more aged , worn , enters the control room . Alarms are sounding . At the console is a human male who looks terrified .</scene_description>
<character>CONSOLE OPERATOR</character>
<dialogue>I turned off the lights to try and calm him.</dialogue>
<scene_description>Liepsky hits a button and it floods Edgar 's cell with light . Edgar is right there , staring at them , his hands plastered over the glass window . He is covered in blood . In the background a bloody corpse on the floor . Edgar bangs his head against the glass , making Liepsky flinch . On Edgar 's forehead we see scars from this kind of repeated banging .</scene_description>
<character>CONSOLE OPERATOR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We gassed him as usual. We waited 10 minutes. He must have held his breath.</dialogue>
<scene_description>The look on Liepsky 's face says it all . We see Edgar . We had thought he was looking at the Professor . But he 's not , his gaze is focused past the Professor to the dimly seen back wall of the control room . On it is a schematic , showing this room , other rooms on the level , the elevator shaft . Edgar is talking it all in .</scene_description>
</scene>
<scene>
<stage_direction>INT. CEREMONIAL CHAPEL - DAY</stage_direction>
<scene_description>Silus , on one knee before Augustus . Augustus now places a ceremonial sword at the back of Silus ' neck , then draws it gently across the skin . Below , a Brother holds out a bowl to catch the drops of Silus ' blood .</scene_description>
<character>AUGUSTUS</character>
<dialogue>The blood flows, through them, to us and we preserve them, preserve the blood we are bound to protect.</dialogue>
<scene_description>Silus raises his head . We see his face . He takes the bowl , drinks and then stands , holding it up to the other Brothers .</scene_description>
<character>SILUS</character>
<dialogue>Let the blood be one and the two races join, as the Perfect Creature.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, CELL - DAY</stage_direction>
<scene_description>Close on Edgar , smiling . Calm .</scene_description>
<character>EDGAR</character>
<dialogue>Today my brother enters the history books, Professor.</dialogue>
<character>PROFESSOR LIEPSKY</character>
<parenthetical>( over the tannoy . )</parenthetical>
<dialogue>Move back!</dialogue>
<scene_description>After a moment , Edgar slowly walks backward in perfectly smooth movements .</scene_description>
<character>EDGAR</character>
<dialogue>Tonight all the Brothers will be with him. A perfect day for me to celebrate.</dialogue>
<scene_description>From the far wall Edgar begins to glide forward , first in slow motion then ramping up to full speed , launching himself at the glass window . He bounces off it , leaving blood and saliva there . The Professor and the console operator share an unsettled glance . Edgar slowly stands . He stares very intently at the glass window in front of him . We zoom in on the glass . The small hair line fracture we saw previously now begins to lengthen before our eyes . Edgar 's face . A smile . Then he is forward at high velocity before anything else can happen , smashing once more into the glass window , this time shattering it into a thousand tiny pieces .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, SECURITY CONTROL ROOM - CONTINUOUS</stage_direction>
<scene_description>Horrified the console operator begins to make an escape . But Edgar is on him before they 're a few paces towards the door . Edgar 's long fingers sink into his neck like the flesh and bone were clay . He screams . The Professor makes it to the door , pulls himself through and shuts it , but on Edgar 's hand . Edgar does n't flinch , but kicks the door open .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, HALL - DAY</stage_direction>
<scene_description>The Professor is now scrambling , half falling in slow motion as Edgar advances . As normal motion returns he kicks Liepsky in the head ; the sound of impact has a nasty fatality to it . Cut to Edgar . A door further down the hall is being unbolted . Edgar immediately runs towards it , then launches himself at it , his fingers extended like knives which enter the eyes of a guard who 's coming through the doorway . The guard falls back on another two guards behind him . A round from a shotgun goes off , taking a small chunk from Edgar 's side , but it 's nothing more than a bee sting to him . His speed and precision is that of a creature who knows he only has one chance . He kicks the second guard under the chin , instantly snapping his neck , while flicking the third in the eyes with his sharpened fingernails . This guard falls , his eyes leaking orbs . Beat . Edgar crouches like a dark god of destruction , a siren sounding , the lights all going off , then flicking to red emergency lights . Edgar 's eyes reflect in the half - light . Then he bares his teeth . At the end of the hallway he can hear the elevator arriving on this floor . Edgar smiles . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, FOYER - DAY</stage_direction>
<scene_description>The gleaming surfaces of the ground floor of the Brotherhood building . We hear the elevator begin to arrive . We pan off this to a desk where a receptionist sits . Cut to The Receptionist ; she 's trying desperately to place a call . We see the shadow from a figure cast over her and she turns and looks up , fear making her shake now . Cut to Edgar , staring down at her .</scene_description>
<character>EDGAR</character>
<dialogue>You wo n't be taking any more calls today.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, HALL - LATER</stage_direction>
<scene_description>Slow steadicam along the underground halls . We see the bodies of Edgar 's victims being cleaned up by personnel . We stop . In the distance we see the door to Edgar 's cell open . Cut to Silus , observing the scene . The lighting is intermittent , flickering . Augustus is standing next to Silus , the weird light of the hallway reflecting in his eyes .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Now he carries this thing out into the world. Can you imagine what will happen if he infects others? Or if the experiments were known.</dialogue>
<scene_description>We are left with Silus ' beautiful , reflective eyes .</scene_description>
<character>SILUS</character>
<dialogue>The question becomes what will he do next? He said he would kill us all. But especially the police officer. Lilly.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SUBWAY - SUNSET</stage_direction>
<scene_description>Flashing lights of subway trains screaming through subway tunnels , wheels screeching as metal grinds on metal .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SUBWAY EXIT - CONTINUING</stage_direction>
<scene_description>The streets are flooding like Bangkok in the monsoon ; rain pouring off awnings that hang out over the street . The streets are full ; prostitutes , drug peddlers , apothecary shops , the industrial revolution low down and dirty . There is a fight breaking out between two men who are dressed like punk rockers . Several people are alighting from a subway exit ; the exit has `` Jamestown/Brougham '' on a nouveaux styled sign that might remind you of a Paris or Barcelona metro , only dirtier . We see Lilly in the distance , in her dark jacket , emerge from the subway . She begins the short walk to her apartment . The streets are crowded and there are plenty of Maori people in this area , so there 's plenty of food stalls ; the air is filled with the sound of evening prayers . Lilly stops at one of the food stalls and starts picking up vegetables . A Maori man comes out and smiles and they start talking in the local dialect . She buys a live eel . Cut to Across the street , in a doorway , we see a very weedy , sick looking guy - this is Freddy . Standing next to him is a Prostitute , swaying from the effects of laudanum .</scene_description>
<character>PROSTITUTE</character>
<dialogue>Come on governor, you going to pay me or not?</dialogue>
<character>FREDDY</character>
<dialogue>Soon enough my cherub. I've not finished with you yet.</dialogue>
<scene_description>He sucks on something that looks like a ventaline inhaler , then pockets it , licks his lips and begins heading off down the street , the drunk Prostitute dragged along . Cut to Again , Lilly from a distance , walking along the street which is more deserted , now carrying a bag full of groceries . As she walks we begin to hear voices ; violent , arguing . Lilly approaches an alleyway , the raised voices becoming louder . She slowly places her bag on the ground and then pulls out a revolver . She edges into the alleyway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, ALLEYWAY - CONTINUING</stage_direction>
<scene_description>Lilly 's POV down the alleyway . It seems empty . The POV moves in a little and there in an offshoot of the alleyway we can see Freddy . He is standing over a woman who cowers ; she 's plainly a prostitute . Freddy points a gun at her head .</scene_description>
<character>FREDDY</character>
<dialogue>You've been ripping me off! I should blow your dirty little brains out!</dialogue>
<character>STEPH</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Police! Put the gun down now!</dialogue>
<scene_description>And now we see , it 's not Lilly we 've been watching , but Steph . She points her gun at Freddy . Freddy turns to Steph . He slowly raises his arms .</scene_description>
<character>FREDDY</character>
<dialogue>It's ok. I'm complying officer, see.</dialogue>
<character>STEPH</character>
<dialogue>Put the gun on the ground and step away!</dialogue>
<character>FREDDY</character>
<dialogue>I'm doing it.</dialogue>
<scene_description>Freddy puts the gun down . The Prostitute on the ground now scrambles to her feet and heads towards Steph .</scene_description>
<character>PROSTITUTE</character>
<dialogue>He's crazy! Fucking crazy!</dialogue>
<scene_description>She gives Freddy the finger then heads off .</scene_description>
<character>STEPH</character>
<parenthetical>( to the prostitute . )</parenthetical>
<dialogue>Wait!</dialogue>
<parenthetical>( to Freddy . )</parenthetical>
<dialogue>Down! Right now, down on the ground!</dialogue>
<scene_description>Freddy gets down .</scene_description>
<character>FREDDY</character>
<dialogue>I'm getting wet now.</dialogue>
<scene_description>Low Angle on Steph approaching . Behind her a FIGURE is descending the wall behind him .</scene_description>
<character>STEPH</character>
<dialogue>Shut up!</dialogue>
<scene_description>Steph is over Freddy now . He 's staring up at her . He can see that a shape has appeared behind Steph . EDGAR , his eyes gleaming . Steph pulls out some handcuffs .</scene_description>
<character>STEPH</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Put your hands behind your back.</dialogue>
<character>FREDDY</character>
<dialogue>Sure. Anything you say.</dialogue>
<scene_description>But before Steph can move forward , Edgar has her gun hand in a vice - like grip . She cries out in pain as her wrist disintegrates . As a reflex she stamps on Edgar 's foot and kicks him in the groin with her other . He does not flinch . He smashes Steph into a down pipe on the wall of the alley so that wet grit is ground into her face . We then see Edgar 's face at her shoulder .</scene_description>
<character>EDGAR</character>
<dialogue>Nice to meet you again.</dialogue>
<scene_description>Edgar pulls back the jacket at Steph 's neck to find no scars . He pulls Steph 's face towards him brutally , staring at her profile . He then smashes her head against the pipe so that she falls unconscious to the ground .</scene_description>
<character>FREDDY</character>
<dialogue>What's wrong?</dialogue>
<character>EDGAR</character>
<dialogue>You brought me the wrong one.</dialogue>
<character>FREDDY</character>
<dialogue>Does it matter, one's as good as the next?</dialogue>
<scene_description>Edgar 's stare makes Freddy shut up and avert his eyes . Edgar then turns on the tube on his arm so that blood drips into the unconscious Steph 's mouth ; making her gag .</scene_description>
<character>FREDDY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You promised me some of that.</dialogue>
<scene_description>Freddy 's licking his lips . Edgar studies Freddy , then raises his arm . Freddy just stares . We see the tube on Edgar 's arm that connects to his veins . And in a moment Freddy has latched onto it and is sucking like some kind of human leech .</scene_description>
<character>EDGAR</character>
<dialogue>What do you see Freddy. Visions? Can you see your future?</dialogue>
<scene_description>For a moment Edgar strokes Freddy 's hair , then rips the tube away .</scene_description>
<character>FREDDY</character>
<dialogue>Hey!</dialogue>
<scene_description>Freddy moves forward , but is pushed back by Edgar .</scene_description>
<character>EDGAR</character>
<dialogue>Do n't be a greedy little pig Freddy. You have to earn more.</dialogue>
<scene_description>Close on Edgar , his repellent features under the hood . He looks up . Far above , through the falling rain , past the high - rise slum around them ; we see the moon hanging like a pearly crescent in the sky . The moon is slowly obscured by clouds .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We have more to do.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN CLUBLAND, STREET - NIGHT</stage_direction>
<scene_description>We see a figure exiting the subway . This time it is Lilly , following the same path that Steph took . Making her way through the crowded street . The rain has given way to a fine mist . Then , as Lilly moves forward she senses something ; that feeling again , that she is being watched . She stands for a moment as people push past , looks up at the gothic Victorian buildings that loom out of the drifting mist . But there is nothing . Lilly begins to make her way through the drifting mist , casting glances at the odd passerby . Then , ahead of her , there is one pedestrian in particular , taller than the rest , wearing a great hooded jacket , who stands out . He is immediately suspicious to Lilly . He is slowly moving through the crowd towards her . From under the hooded jacket we see the glint of the approaching figure 's eyes ; an intense stare hidden in the shadows . The man now puts his hand in his pocket as if he 's reaching for something . Lilly now slowly slips her hand into her jacket , her gun a cold hard presence in her hand . She stares ahead at the approaching figure , who has now stopped , after bumping into a pedestrian . Lilly continues forward , closer , closer . From under the hooded jacket the glistening eyes of the man ahead catches hers for a moment . The man now begins to approach her , his hand pulling something from his jacket , going for something . A gun . Lilly immediately pulls her gun . The mist beads on the shining barrel of her gun . The man is raising his hand towards her .</scene_description>
<character>LILLY</character>
<dialogue>Police. Put your hands where I can see them!</dialogue>
<scene_description>The man now lurches forward , his hand rising towards Lilly , her finger begins to caress the trigger of her gun , as the man looms closer . And then he is gone . Cut to The man slamming against the wet wall of a building , grasping at the hands that now threaten to throttle him . And we see Silus , his hands on the man 's throat , and for only the second time , we see anger in Silus ' eyes . People in the street scatter as more Brothers emerge with guns pointed . And Lilly , shaking , pointing her gun at the man Silus is holding . On the ground , next to the man , she sees what he had in his hand . A pamphlet . Asking people to come to church service ; a picture of a Brother priest serenely beaming out from it . Meanwhile the man that Silus has is gagging on the ground , Silus ' hand still on his throat . He 's begging .</scene_description>
<character>PARISHONER</character>
<dialogue>Holy brother, please.</dialogue>
<scene_description>Lilly grabs Silus ' shoulder .</scene_description>
<character>LILLY</character>
<dialogue>Let him go.</dialogue>
<scene_description>She shows Silus the pamphlet .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He's harmless. Let him go.</dialogue>
<scene_description>The man now pulls back his hood . He is black , his large , watery eyes stare up in awe at Silus . He grabs Silus ' hand which now relaxes and draws Silus ' ring to his lips , kissing it , in tears .</scene_description>
<character>PARISHONER</character>
<dialogue>Forgive me. I've offended you.</dialogue>
<scene_description>We see Silus ' dark stare . A beat . Then Silus reaches out and places his hand on the man 's head .</scene_description>
<character>SILUS</character>
<dialogue>No. You are divine. It is the world that offends me.</dialogue>
<scene_description>Silus rises , the Parishioner just lays there in awe . Silus now turns to Lilly who is on his shoulder . And now Lilly realizes for the first time that it is Silus .</scene_description>
<character>LILLY</character>
<dialogue>Brother Silus. What's going on?</dialogue>
<scene_description>We then hear a police siren and a car pulls up through the rain . The door opens and Jones emerges , taking in both Lilly and Silus . A grim smile of realization comes to Jones ' face . He pulls something from his jacket . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, LOUNGE - NIGHT</stage_direction>
<scene_description>Steph 's ID is tossed down on a table .</scene_description>
<character>JONES</character>
<parenthetical>( off . )</parenthetical>
<dialogue>A shopkeeper heard yelling. Went to see, found this. One witness. A prostitute.</dialogue>
<scene_description>Jones tosses down a photo . It is Freddy , looking suitably scummy in a police identikit photo .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>She identified this lovely citizen. We thought maybe he had a grudge or was crazy. I guess we were wrong.</dialogue>
<scene_description>Silus stands by the window ; lights make patterns on his face .</scene_description>
<character>SILUS</character>
<dialogue>It is Edgar.</dialogue>
<character>LILLY</character>
<dialogue>And now he's got Steph. Why does he want her?</dialogue>
<character>SILUS</character>
<dialogue>She is not what he was after.</dialogue>
<scene_description>We see Lilly slowly getting it .</scene_description>
<character>LILLY</character>
<dialogue>Steph was staying with me. She was wearing my coat. It was me he was after. Was n't it?</dialogue>
<scene_description>Silus now turns , slowly moves towards her , coming out of the shadows . Lilly finds it hard to return his gaze , involuntarily touches her neck where it is scarred from Edgar 's attack . Jones is watching all this very carefully .</scene_description>
<character>SILUS</character>
<dialogue>Yes. He will come for you Lilly.</dialogue>
<character>JONES</character>
<dialogue>Right, then we put you somewhere safe and set up this place. Shooters on the roofs. And when he comes we blow his fucking brains out.</dialogue>
<character>SILUS</character>
<dialogue>He will know. He will see and hear it.</dialogue>
<scene_description>Lilly is staring at Steph 's ID .</scene_description>
<character>LILLY</character>
<dialogue>It has to be me. That's what he wants. It's the only chance Steph's got.</dialogue>
<character>JONES</character>
<dialogue>What are you talking about, she's probably dead already.</dialogue>
<character>LILLY</character>
<dialogue>Jones! And we ca n't make it too hard. He has to be able to get in. He ca n't suspect anything.</dialogue>
<scene_description>Jones is shaking his head . Silus just stares at Lilly .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>That's the way it will be. I'm the bait.</dialogue>
<scene_description>Close on Silus .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT - SUNSET</stage_direction>
<scene_description>We are in a large , derelict warehouse ; detritus and stacked and smashed wooden crates . Music is playing somewhere in the distance from a phonograph . We track through the space . Daylight comes through cracks in the blacked out windows high above , creating tiny shafts of laser light that flicker from the dust . We pass through the stacks of crates that are like a high walled maze . Music emits from a stereo , loud . We continue to move down a hall . Through the detritus , towards a door . A hand opens the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING</stage_direction>
<scene_description>In the corner of the room , huddled , chained to the floor , is Steph . She does not look good . In fact she looks very sick . There are tubes coming off her arm . Freddy stoops down and begins to check the tubes running from her arm . There are small taps on the tubes . He turns them on . Blood begins to flow from her into a cup that is already stained red . As he turns it off Steph shivers , her eyes open . The whites of her eyes are blood red ; she is sick . She speaks , weakly .</scene_description>
<character>STEPH</character>
<dialogue>Help me. Please, I'm sick. Help me.</dialogue>
<scene_description>She reaches for Freddy , but he pulls away . Freddy 's not looking too hot either .</scene_description>
<character>FREDDY</character>
<dialogue>Do n't fucking touch me.</dialogue>
<scene_description>He picks up the half filled cup and leaves . Steph stares after him . Tears welling in her eyes , beginning to shake now , moving against the chains that bind her . But they stay fast .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING</stage_direction>
<scene_description>Freddy moves into the large warehouse space , the music still echoing . Freddy looks around , searching for Edgar .</scene_description>
<character>FREDDY</character>
<dialogue>Hey!</dialogue>
<scene_description>His voice echoes through the empty space .</scene_description>
<character>FREDDY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Where've you gone now?</dialogue>
</scene>
<scene>
<stage_direction>EXT. LILLY'S APARTMENT - NIGHT</stage_direction>
<scene_description>A POV , wavering slightly , the hint of a whispering breath . We see Lilly 's apartment . The shot zooms in at high velocity , searching the windows , zooming in here to check the lock on this window , then on that . Then the shot wildly pans and twists to the street below . Again it zooms in , to the entrance of the building , to a couple walking past in the night , as if searching for any sign of something out of the ordinary . We can hear the couples voices , talking about inane things . Cut to Edgar 's face in the shadows . His eyes reflective , his whole being readied and concentrating . He closes his eyes . We move around to end close on his ear , the soundtrack becoming stark as the sounds of the night become eerily separated and distinct . One sound in particular , a kind of metal sound , scratching slightly , growing louder . Edgar 's eyes open . Cut to A zoom speeding towards Lilly 's bedroom window , then swooping at the last minute to end on an apartment one floor down . And there , gently moving in the night air , a partially open window , the latch grinding in the breeze . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT - CONTINUING</stage_direction>
<scene_description>A whiz pan POV , ending on the lounge of Lilly 's apartment ; as if we just caught the last part of someone turning their head , as if alerted . All the lights are out . We slowly begin to move forward , dipping and gliding silently , into the hallway . Slowly we approach a doorway and creep into .</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, BEDROOM - CONTINUING</stage_direction>
<scene_description>We can see Lilly lying on the bed , her skin alabaster in the moonlight that comes through the window blinds . Closer closer until we halt above her . Cut closer to see Lilly asleep ; her hand grips her service revolver which protrudes from under her pillow . We see Silus standing above her , his eyes glisten in the sub light . As he watches , Lilly moves , as if she 's having a dream , her hand grips the gun beneath her pillow . Silus slowly bends down , close to her . Watching . Then he reaches out , as if to gently wake her , then stops as Lilly stirs . She turns , curling up into the fetal position . Silus is confronted with the old scars from Edgar 's attack . For a moment Silus stares at her . Stares . Then very quietly , smoothly , he moves his head down , very close to her arm . He sniffs it , as you would something very delicate , very complex . Then he closes his eyes . We see Lilly , her arm . Silus slowly enters frame , moves his face close to Lilly , moves along her arm as if taking in her scent . Slowly her arm raises , as his face moves up her body to her neck , her hand now embracing Silus ' head . Closer as his face is near hers and still with eyes closed her face turns towards him , his dark lips and hers are close . Cut to Silus , back where he was , smelling her arm . His eyes open and he moves back a little , as if shocked by the daydream he has just indulged in . We see Lilly , as she was before , curled up in the fetal position . Then a sound . Silus immediately pivots , his gun immediately pointed at the figure who stands silhouetted in the doorway . Jones .</scene_description>
<character>JONES</character>
<dialogue>What are you doing?</dialogue>
<scene_description>The camera immediately drops , through the floor of Lilly 's apartment to the apartment below to find .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT BELOW LILLY'S - CONTINUING</stage_direction>
<scene_description>Edgar , standing in the apartment below , immediately freezing . We zoom into his ear as he listens . Flash cuts of sound and image ; a large man turning in his bed and groaning , a tap drips in an apartment , a fluorescent colored mosquito catcher vaporizing a mosquito with a zing , then a woman 's lips ; whispering .</scene_description>
<character>LILLY</character>
<dialogue>What is it? Jones?</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, BEDROOM - CONTINUING</stage_direction>
<scene_description>Silus above Lilly , his hand up to silence her , Jones stock still in the doorway . Waiting , waiting . Bang , Silus rushes to the window of the apartment , ripping it open , pointing his gun below . But there is no one there . Then Silus spots it . On the floor below the window is open , a curtain gently wafts out of the window in the breeze . Silus turns to Jones and Lilly .</scene_description>
<character>SILUS</character>
<dialogue>Stay here.</dialogue>
<scene_description>Silus immediately drops out of the window . Cut to Lilly rushes to the window and looks out expecting to see Silus dead on the pavement below , but the street is empty . And then she sees it ; the window below her apartment is open .</scene_description>
</scene>
<scene>
<stage_direction>INT. LILLY'S APARTMENT, HALLWAY - CONTINUING</stage_direction>
<scene_description>Lilly , gun extended , moving forward towards her apartment door , Jones behind her , trying to grab her .</scene_description>
<character>JONES</character>
<dialogue>Get back here, Lilly!</dialogue>
<scene_description>But Lilly shoves him off , opens the door and moves into the hall and waits . She hears more smashing from the other side of the building . She turns to Jones .</scene_description>
<character>LILLY</character>
<dialogue>Cover me.</dialogue>
<scene_description>And she 's off , smashing the apartment door in front of her with her foot and moving into the apartment , towards the window beyond . Jones can only curse , lift his gun and move after her .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT ADJACENT TO LILLY'S - CONTINUING</stage_direction>
<scene_description>Lilly 's POV crashing through the apartment and reaching the window , pulling it open to see .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILLY'S APARTMENT, REAR - CONTINUING</stage_direction>
<scene_description>Lilly 's POV of the city below . We see her search with her eyes , and then she sees it . Cut to Lilly 's POV , closer , looking down on Edgar running over a roof . Cut to Edgar running towards us as we track back , then he launches himself . Cut to Low angle , Edgar jumping from above us , to land almost on the camera , stopping himself by grabbing iron piping protruding from the side of the building . Edgar turns , smiles , thinking he 's escaped ; then shock comes across his face . Cut to Edgar 's POV as Silus flies through the air and crashes straight into the camera . Silus ' hands go straight for Edgar 's throat , stopping Edgar from falling . The two Brothers eyes lock .</scene_description>
<character>EDGAR</character>
<dialogue>You saved me.</dialogue>
<scene_description>Then Edgar 's smile . He pushes off the wall with his legs , sending both of them tumbling over the railing . We see them fall , Silus hitting a railing which sends him spinning out of control , whilst Edgar manages to clasp onto it . Cut to Silus ' POV , tumbling wildly out of control , heading for the ground , finally coming to a jarring stop , the view of the alleyway upside down . We now reveal Silus , only just conscious , caught in wire netting , hanging upside down in the alleyway . And there , landing , is Edgar , poised , watching . Edgar slowly approaches so that he is near . He bends down to Silus .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>When will you admit it. You're just like me.</dialogue>
<scene_description>Edgar 's nose is bleeding . He dabs some on his fingers , then raises his hand to Silus .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Maybe you need some encouragement.</dialogue>
<scene_description>He brings the dripping blood closer to Silus , closer . Then an explosion ; the sound of bullets whistling through the air . Then Edgar is gone . Cut to Lilly and Jones entering the alleyway to find Silus still hanging from the railing .</scene_description>
<character>LILLY</character>
<parenthetical>( to Jones . )</parenthetical>
<dialogue>Get him down.</dialogue>
<scene_description>Lilly then moves into the adjacent alleyway to search for Edgar .</scene_description>
<character>JONES</character>
<dialogue>Lilly, wait! Damn you. Lilly!</dialogue>
<scene_description>She turns and gives him a final quick look .</scene_description>
<character>LILLY</character>
<dialogue>If he escapes then Steph is dead. Just follow me when you can, hurry!</dialogue>
<scene_description>Cut to Lilly moving through a slick wet alleyway ; water plops and dribbles from leaking pipes . She swings her gun towards movement ; water crashing out of a pipe . Lilly 's shaking , terrified , but she keeps on going . And then another sound and she swings her gun to find Edgar , standing in the shadows , waiting .</scene_description>
<character>EDGAR</character>
<dialogue>The little policewoman.</dialogue>
<character>LILLY</character>
<dialogue>Do n't move!</dialogue>
<scene_description>Edgar purposely raises his hand so that she fires ; the bullet going through the flesh of Edgar 's arm ; his arm now smoking .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I said do n't move. Where is she, where's the girl?</dialogue>
<scene_description>Edgar can only smile .</scene_description>
<character>EDGAR</character>
<dialogue>Oh, I've killed her already. Essentially.</dialogue>
<scene_description>Then he moves , she fires , but he 's too fast , spinning , diving , in an instant he has the gun , twisting it and Lilly 's arm behind her back . She fires , once , twice , the bullets and smoke rising up from Edgar 's side . He twists harder , the gun then falling to the ground . Edgar is now behind her . He moves his face close to hers .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Has he tasted you yet, little policewoman?</dialogue>
<scene_description>Lilly tries to twist out of his grasp .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He's just the same as me, you know it, you can feel it too.</dialogue>
<character>LILLY</character>
<dialogue>He's nothing like you.</dialogue>
<scene_description>Edgar 's face twists into a smile .</scene_description>
<character>EDGAR</character>
<dialogue>We will see. You will be my tool.</dialogue>
<scene_description>A cat , hissing , screeching . Cut to Silus and Jones entering the alleyway , the cat tearing away from them in fright . Jones moves forward and we tilt down to see Lilly 's gun lying on the wet cobblestones , smoke wisping from the barrel . Jones stoops down and picks up the gun , then turns to Silus . After a beat , Jones throws the gun at Silus ' head . Silus dodges it easily and it clacks onto the cobblestones .</scene_description>
<character>JONES</character>
<dialogue>You happy now?</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, TOILET - DAY</stage_direction>
<scene_description>Close on Freddy 's face , looking at himself in a mirror . He 's pulling back his eyelid ; his eyes are bloodshot and he 's sweating . Freddy then pushes the mirror shut and we see Edgar , silhouetted in the bathroom doorway .</scene_description>
<character>FREDDY</character>
<dialogue>You scared the shit out of me. Hey, the police woman. She's real sick. To tell the truth I do n't feel so hot myself.</dialogue>
<scene_description>Edgar approaches , still silhouetted .</scene_description>
<character>EDGAR</character>
<dialogue>I want you to take her and put her where they'll find her.</dialogue>
<character>FREDDY</character>
<dialogue>But I'm sick. She's given me something.</dialogue>
<scene_description>Edgar moves incredibly fast , we ca n't quite see what he has done but we suspect he has just buried his hand in Freddy 's chest . We see Freddy 's face , stunned , deathly white .</scene_description>
<character>EDGAR</character>
<dialogue>What have I said to you?</dialogue>
<scene_description>Freddy falls , leaving Edgar 's hand in mid air ; we ca n't see clearly , but it likes frighteningly like he has one of Freddy 's internal organs in his hand .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I hate arguments.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, ALLEYWAY - DAY</stage_direction>
<scene_description>Close on a pendant ; the symbol of the Brothers . We pull out to reveal Steph , very sick now . Edgar is has her wrapped in a sheet and is half carrying her along a decrepit alley . Ahead of him is a street ; we can see several passersby . Edgar sits Steph up against the wall of the alley , propped up . She really is sick . She coughs . Edgar looks at her for a moment . Then after consideration , takes her hands and crosses them , and places an envelope in her limp hands . Happy with the composition he moves off . Cut to A close High Angle on Steph looking up , her bloodshot , dazed eyes staring blankly . We drift up and away from her . Already the rats are beginning to come out and sniff her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, HALLWAY - DAY</stage_direction>
<scene_description>There are several nurses running towards us , they turn and move down a hallway . We reveal Jones and Dominic . They move to the nurses station and Jones flashes his ID .</scene_description>
<character>JONES</character>
<dialogue>Stephanie Richards, you just brought her in.</dialogue>
<scene_description>And then a scream . Blood curdling ; the sound of someone insane , screaming their lungs out , hurling abuse . We see the faces of the cops and the terrified nurse in front of them who points down the hall where the noise is coming from . The Cops move off . The nurse then sees someone else arrive . She raises the pendant that hangs around her neck and kisses it .</scene_description>
<character>NURSE</character>
<dialogue>Thank god you're here.</dialogue>
<scene_description>We see who has entered . It is Silus . Near him there are several people sick . They look sick ; like Steph and Freddy looked . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, ISOLATION WARD - CONTINUING</stage_direction>
<scene_description>Jones and the Dominic move through an anteroom . Nursing staff and doctors are madly running about . The screaming we heard before punctuates the noisy clutter of medical procedures . Jones approaches a door ; it has the words `` level 4 isolation unit '' on it . A large Guard blocks his way . Jones shows his ID . A figure brushes past them and enters the door ; the figure is fully decked out in something like a spacesuit . Jones and Dominic are ushered sideways , to another room . This room has a glass viewing window which looks into the adjacent room . A middle aged Doctor stands there , his thumb nail in his mouth , looking thoughtful . When he turns towards Jones , we can see there is fear in his eyes . Jones shows his ID . Screaming from within the adjacent room draws his attention and that of Jones .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, STEPH'S ROOM - CONTINUING</stage_direction>
<scene_description>In the adjacent room two nurses are trying to put in a line to Steph 's arms which are restrained by straps . Steph lies on a bed . She looks truly sick ; her hair matted , her skin blotchy . Her eyes are also blood red , the tiny blood vessels hemorrhaging . And she is screaming abuse at the nurses and Doctors who work on her . Close of Jones , staring at the scene . Silus now enters the room . Almost immediately Steph stops screaming . She is staring directly at Silus ; even this deranged , she is still in complete awe .</scene_description>
<character>JONES</character>
<dialogue>Will she recover?</dialogue>
<scene_description>The Doctor turns to Jones ; the Doctor looks puzzled .</scene_description>
<character>DOCTOR</character>
<dialogue>No. Containment is the issue now. She is. insane. And we've had more cases, 10 in the last hour.</dialogue>
<scene_description>The Doctor leaves . Jones turns to Silus .</scene_description>
<character>JONES</character>
<dialogue>What is this? What is it?</dialogue>
<character>SILUS</character>
<dialogue>It comes from Edgar. He has shared his blood with them.</dialogue>
<character>JONES</character>
<dialogue>You're telling me that he's out there spreading this around?</dialogue>
<scene_description>Jones gets close to Silus , intimidating .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>He'll give it to Lilly!</dialogue>
<scene_description>Dominic gets in between .</scene_description>
<character>DOMINIC</character>
<dialogue>Jones! Back off.</dialogue>
<scene_description>Dominic pushes Jones back and then stares at Silus .</scene_description>
<character>DOMINIC</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This is spreading.</dialogue>
<scene_description>Silus does n't speak , just stares at Steph .</scene_description>
<character>DOMINIC</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Brother Silus?</dialogue>
<character>JONES</character>
<dialogue>That's it, Lilly's dead.</dialogue>
<character>SILUS</character>
<dialogue>No. He will keep her alive.</dialogue>
<character>DOMINIC</character>
<dialogue>Why?</dialogue>
<character>SILUS</character>
<dialogue>So that I will come for him. That's what he wants.</dialogue>
<scene_description>Dominic pulls an envelope from his jacket and passes it to Silus , who opens it to discover a beautifully handwritten letter .</scene_description>
<character>DOMINIC</character>
<dialogue>It says, `` Everything flows from me. My blood will change the world.'' What does that mean?</dialogue>
<scene_description>Silus stares at the two men . Then turns to Steph , her eyes , creepy , still locked on Silus .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM BUILDING, ROOF - NIGHT</stage_direction>
<scene_description>Jamestown , from above . We drift down so that we see the buildings , see fires breaking out , hear screams echoing through the night . We continue down towards the rooftop of one building in particular . We see one of the infected citizens of Jamestown standing on the roof , screaming out into the night like some crazed animal . We continue past the creature , then travel through a ventilation shaft on the roof . We hurtle down this , down , down to the depths of the building and out the shaft into a subterranean basement . We drift through a doorway in the wet stone wall , down a tunnel , to finally enter a room . And we see Lilly . She is covered in grime , her hands bound above her head with chains to an ancient , ornate pipes that twist through the place . She looks up at us . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING</stage_direction>
<scene_description>Edgar , now standing above Lilly . He bends down , checking the chains that bind her . His face moves close to her so that he can smell her . Hear her heart pounding . See the scars from his previous attack . Then a noise , echoing through the tunnels . The sound of the mad infected denizens of the containment zone , screaming out into the night . Edgar smiles .</scene_description>
<character>EDGAR</character>
<dialogue>It almost sounds like children playing, do n't you think?</dialogue>
<character>LILLY</character>
<dialogue>No.</dialogue>
<character>EDGAR</character>
<dialogue>I looked at your body. You have borne a child.</dialogue>
<scene_description>Lilly 's features tense .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Did you abandon it? Your kind are good at that.</dialogue>
<scene_description>Even though her position is impossible , Lilly wo n't show Edgar fear .</scene_description>
<character>LILLY</character>
<dialogue>Why do n't you just kill me?</dialogue>
<scene_description>Edgar just smiles . Lilly spits in his face and screams at him .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Kill me!</dialogue>
<scene_description>Edgar grabs her by the throat , for a moment anger boils out of Edgar , but he restrains himself .</scene_description>
<character>EDGAR</character>
<dialogue />
<scene_description>can see why he likes you . But have a better use for you . To save you , Silus will take my blood . Join me .</scene_description>
<character>LILLY</character>
<dialogue>You're insane.</dialogue>
<character>EDGAR</character>
<dialogue>The world is insane. I am better than you. But they force me to serve you. Does that happen in a sane world? Forced to watch you waste the most precious thing you have. Life.</dialogue>
<scene_description>Then Edgar 's face changes ; he stares at her with pity , for a moment we see a hint of the noble creature he used to be .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Do you know what they do to us when we are born? They take us from our mothers. Force us into a life of loneliness, and denial. Can you imagine a life like that?</dialogue>
<scene_description>Lilly senses an opening .</scene_description>
<character>LILLY</character>
<dialogue>You do n't have to do this. You can change things.</dialogue>
<scene_description>Edgar places his head in his hands , he seems to be weeping .</scene_description>
<character>EDGAR</character>
<dialogue>You have reminded me of something.</dialogue>
<scene_description>When he looks back up at her , he is terrifying to behold .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I must search out my mother, if she still lives. And kill her for what she did.</dialogue>
<scene_description>Edgar smiles quietly , rises and exits . We are left with Lilly bound to the rusty pipes . She strains , tries to pull her hands from the chains , but they wo n't move . Above her on the pipe there is a old rusty bracket . Lilly blinks through the sweat running into her eyes . She moves the chains that bind her hands closer to the bracket and begins rubbing the chains against the bracket in the vain hope that she may be able to cut her way through the chains . She strains harder and harder , fighting back the tears , the fear , she just grinds at the chain repetitively . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, STEPH'S ROOM - DAY</stage_direction>
<scene_description>Steph , in the hospital bed , her eyes staring up , hollow . A bed sheet is drawn over her dead face . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL, VARIOUS - CONTINUING</stage_direction>
<scene_description>We see Silus . Staring through a window into an office . In there we can see Jones . Jones is talking in a very animated manner to someone who is obviously a reporter . The reporter stares , like Jones , through the window towards Silus . Jones turns away , looking guilty . Cut to Bedlam in the hospital corridors . People screaming , being restrained . What is clear is that the virus Steph had has now broken out into a plague of biblical proportions . We see a DOCTOR standing in the middle of the hospital corridor , blood over his smock , in a state of pure shock . And we see Silus there . A perfect creature observing the chaos . As he stands there he can see a small child ; a girl , maybe around five . Silus stares at the child . The girl is holding her mother 's hand . Her mother lies on a cot , strapped down ; there are many other cots filling the crowded hallway . Her mother is dead . The girl 's dirty face is stained with tears . For a moment Silus wavers . Then he moves over to the girl . She stares up at him with her tear stained grimy face . Silus goes to place his hand on her forehead as blessing , but the child cringes , then jumps up and escapes down the hallway . Silus can only stare at the horror of it all . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM - DAY</stage_direction>
<scene_description>On a dirty , stained valve radio . We slowly track in on the speaker , hearing an interview coming from it .</scene_description>
<character>REPORTER</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Some say this plague is the result of genetic experimentation, by the Brothers. Do you have a comment?</dialogue>
<scene_description>Cut to DELETED</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT</stage_direction>
<scene_description>We move past road blocks .</scene_description>
<character>HEALTH OFFICIAL</character>
<parenthetical>( off . )</parenthetical>
<dialogue>We're asking everyone to stay in their homes in the sections of Jamestown now under quarantine.</dialogue>
<scene_description>Armed , gas masked guards stand with their guns at the ready . Beyond the blockade is Jamestown . Fires burn , bodies lie on the streets .</scene_description>
<character>REPORTER</character>
<parenthetical>( off . )</parenthetical>
<dialogue>There are reports of residents being shot trying to escape the quarantine zone. Is that true? They say the Queen has left the city. Is this martial law?</dialogue>
<scene_description>A figure is stumbling towards us . One of the guards fires and the figure drops . Cut to Two soldiers , wearing crude Victorian containment suits , surveying a map .</scene_description>
<character>SOLDIER</character>
<dialogue>We've blocked off this section, and here, containing the Jamestown slums.</dialogue>
<scene_description>We see the soldier outlining the Quarantine zone , marked in red .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, FOYER - DAY</stage_direction>
<scene_description>There is an angry mob , banging on the locked doors of the brotherhood building . Their placards tell the tale . `` Brothers have brought the plague . '' `` No to Genetic experimentation . ''</scene_description>
<character>EDGAR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>Do you like the world I am making for us, Silus? I have n't had your little policewoman yet. But I will soon. You'll just have to find me. You know where I am. Everything flows from me. Remember that.</dialogue>
<scene_description>Human police stand ready with guns . It 's a disaster . Silus is there . He watches the faces of the mob , baying for blood . He sees them burning the emblems of the brotherhood .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROTHERHOOD BUILDING, AUGUSTUS' OFFICE - CONTINUING</stage_direction>
<scene_description>We are in a beautifully ornate office . It is like a private chapel . We see Silus enter . He is grim . Augustus is kneeling in prayer . He senses Silus .</scene_description>
<character>AUGUSTUS</character>
<dialogue>The infection is spreading. Each day he shares his blood with more of them. Even though they are locked in their homes.</dialogue>
<character>SILUS</character>
<dialogue>He is somewhere in the quarantine zone. I will find him.</dialogue>
<scene_description>Augustus turns to Silus . Augustus moves closer to him , stares into Silus ' strange , pale eyes .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Clear. So very clear your eyes. The way they were when you were born. There will be no search.</dialogue>
<scene_description>Augustus moves off to his desk . Silus is shocked .</scene_description>
<character>SILUS</character>
<dialogue>No search?</dialogue>
<character>AUGUSTUS</character>
<dialogue>The Queen has instructed the government to evacuate the city around the quarantine zone. In another day they will take action.</dialogue>
<character>SILUS</character>
<dialogue>What kind of action?</dialogue>
<character>AUGUSTUS</character>
<dialogue>Eradication. Of everything within the area. They will burn it all. Including Edgar.</dialogue>
<character>SILUS</character>
<dialogue>And the innocents there, who are not infected?</dialogue>
<character>AUGUSTUS</character>
<dialogue>It is a necessary step. We can not let this escape.</dialogue>
<character>SILUS</character>
<dialogue>No!</dialogue>
<scene_description>Augustus looks up at Silus ; this is perhaps the first time Silus has refused anything that Augustus has decreed .</scene_description>
<character>AUGUSTUS</character>
<dialogue>Is it the policewoman? Is this affecting your thinking? There is no love for our kind Silus. Only service.</dialogue>
<character>SILUS</character>
<dialogue>We have done this. Released this thing into the world. We have betrayed their trust in us, more than once. I wo n't do it again.</dialogue>
<character>AUGUSTUS</character>
<dialogue>There is no debate. They will be sacrificed, so the rest will be pure.</dialogue>
<scene_description>Silus shakes his head .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This policeman, Jones. He talked to the press. Told them this came from Edgar.</dialogue>
<scene_description>Silus watches Augustus very carefully .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There are members of the inner circle who question the way you have handled this. Blame you for this man's actions. I have made it clear that you will fix this. That you will silence him.</dialogue>
<scene_description>Augustus moves close to Silus now . Gently touches his face .</scene_description>
<character>AUGUSTUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>These are hard things we do. But you must think of the greater good. And of your own future.</dialogue>
<scene_description>Cut to A light bulb flickering .</scene_description>
</scene>
<scene>
<stage_direction>INT. JONES APARTMENT, HALL - NIGHT</stage_direction>
<scene_description>Jones exits an elevator . The light above him flickers and dies . He stands in the dark .</scene_description>
<character>JONES</character>
<dialogue>Great.</dialogue>
<scene_description>Jones begins to stomp down the hall , towards the part of the hall that is lit . Then pop , that light goes out as well . Jones stops . He pulls out his big gun from his armpit holster . He checks over his shoulder , and then with the gun extended he moves slowly forward . He approaches an area that opens up a little . He pauses , then under his breath .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Come on then.</dialogue>
<scene_description>He launches himself around the corner and fires his gun . He 's lucky that his misses his target . A small , dirty , cowering boy with his fingers on the bank of light switches . The wall next to the boy 's head has exploded ; dust and wall board now drift down like snow . Jones can only stare at the quivering child whose dirty face blank with fright . Then Jones turns . He can make out a figure in the dark hall . A patient , quiet sentinel .</scene_description>
</scene>
<scene>
<stage_direction>INT. JONES APARTMENT - NIGHT</stage_direction>
<scene_description>Jones opens the door to his apartment and enters . Silus follows . The place is a dump . Lounge and kitchen all one area , bedroom off to one side , dishes in the sink , clothes everywhere . Jones heads into the kitchen and turns on a coffee machine , then grabs a dirty glass , pours a drink . Silus watches him . Jones comes into the lounge . He still has his gun in his hand . He stares at Silus , whose perfect outline makes Jones ' life seem even more abysmal .</scene_description>
<character>JONES</character>
<dialogue>What do you want?</dialogue>
<character>SILUS</character>
<dialogue>I want to help you. They know you talked to the press.</dialogue>
<character>JONES</character>
<dialogue>They can fuck off. For that matter, so can you.</dialogue>
<scene_description>Jones takes a slurp on his drink .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You'd be the last person I'd trust.</dialogue>
<character>SILUS</character>
<dialogue>Why?</dialogue>
<character>JONES</character>
<dialogue>I saw you. Remember. Watching Lilly, when she was asleep.</dialogue>
<scene_description>Silus does n't answer now . Jones moves forward .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Maybe you're just like your Brother. Maybe you're helping him. Now there's a thought.</dialogue>
<scene_description>Jones prods Silus ' shoulder with the gun .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Do you know where she is?</dialogue>
<scene_description>Jones prods again and finds Silus ' elegant steel fingers around his wrist . The two men face off .</scene_description>
<character>JONES</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You've changed. Not the outside. But inside. I know you. You know what, I can see myself?</dialogue>
<scene_description>Jones tries to wrench his wrist free , but Silus holds it tight . Jones swings his free arm and smashes Silus on the side of the face . For a moment Silus does n't move , then his hand is around Jones ' throat . Squeezing . Squeezing . His other hand wrenching the gun from Jones ' hand . There is silence in the room , apart from Jones ' choking gags . Then Silus pushes Jones back so that he flies into a chair . Jones stares up at Silus now , fear in his eyes . Silus watches him . Then a sound attracts his attention . Cut to Water hisses from Jones ' coffee machine in the kitchen .</scene_description>
<character>JONES</character>
<parenthetical>( continuing ; sneering . )</parenthetical>
<dialogue>Coffee's ready.</dialogue>
<scene_description>Cut to Silus , turning , listening , focusing on the water dripping from the coffee machine . Silus is concentrating . Realization comes into his eyes . We zoom close to Silus ' ear . The soundtrack becomes enhanced . Cut to The tap in Jones ' festering sink , dripping ; plop plop plop . We see the water in the bottom of the sink reflecting the room . We see Silus approaching ; reflected there . His hand enters frame and touches the water . And we hear Edgar 's voice , the words we heard him say in Augustus ' office .</scene_description>
<character>EDGAR</character>
<parenthetical>( off . )</parenthetical>
<dialogue>You know where I am. Everything flows from me.</dialogue>
<scene_description>We see Silus staring at the water . We see a giant drop of water hanging from the tap , hanging , hanging , then falling . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT - NIGHT</stage_direction>
<scene_description>We are under water , liquid drops down into the water ; red liquid , blood . We can see a figure distorted in the water ; the figure is bleeding himself into the water . It is Edgar . Cut to We see a subterranean water system . We see Edgar at the edge of a pool , bleeding himself into the water supply . Edgar looks up . His eyes reflect at us , blinking like an animal 's . Cut to Lilly in her cell , still grinding away at the chains that bind her hands . She stops , as if she 's heard something , expecting Edgar to walk through the doorway . He does n't . She begins desperately grinding away at the chains once more . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JONES APARTMENT - CONTINUING</stage_direction>
<scene_description>Back on Silus who now turns to Jones .</scene_description>
<character>SILUS</character>
<dialogue>Do you have a map?</dialogue>
<scene_description>Cut to Jones laying out a map of the city on his kitchen table ; empty booze bottles roll out of the way . Jones has a pen and he 's marking off an area .</scene_description>
<character>JONES</character>
<dialogue>There's the quarantine zone. It's a pit. Slums.</dialogue>
<character>SILUS</character>
<dialogue>The water supply. Where is it?</dialogue>
<scene_description>Jones searches and then pin points an area in the center of the quarantine zone .</scene_description>
<character>JONES</character>
<dialogue>There, all the old suburbs are supplied by their own artesian wells. Mineral springs. That's why it has n't broken out of Jamestown, it's the water. Jamestown's water.</dialogue>
<scene_description>The two men stare at each other , both reaching the same conclusion .</scene_description>
<character>SILUS</character>
<dialogue>He is there, with Lilly.</dialogue>
<scene_description>We see the Map .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT</stage_direction>
<scene_description>Cut to a crane down to reveal Silus and Jones observing the guards at the blockade .</scene_description>
<character>JONES</character>
<dialogue>You'll never get in, they've circled the whole borough.</dialogue>
<scene_description>Silus turns to Jones .</scene_description>
<character>SILUS</character>
<dialogue>I will get in. You must go to the press. Tell them about the water. Tell them what the government will do.</dialogue>
<character>JONES</character>
<dialogue>You're dead after this. You know that? Whatever happens.</dialogue>
<scene_description>Silus smiles .</scene_description>
<character>SILUS</character>
<dialogue>Watch for me, Officer Jones.</dialogue>
<scene_description>Silus exits . Jones watches him leave , then Jones leaves too .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS</stage_direction>
<scene_description>We see Silus , close . It 's as if he is meditating . We pull out to reveal he is kneeling on the roof of a building ; he looks as if he 's preparing himself for something . He then rises , all fluid concentration , and runs towards us and then the camera is on his shoulder as he jumps off the roof . Cut to Silus ' POV falling down down , falling towards a window then smashing through it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OMITTED - CONTINUING</stage_direction>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING, QUARANTINE ZONE - CONTINUOUS</stage_direction>
<scene_description>Silus exploding onto the floor of the apartment . For a moment there is silence , just glass tinkling , Silus poised . Then Silus turns and is gone . Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - CONTINUOUS</stage_direction>
<scene_description>The slums are wrapped in smoke and haze from fires that burn there ; an eerie dead zone , made all the stranger by the gothic spires that climb out of the haze . Then Silus hears something . It is the wailing of a new born child . Silus moves towards the cries , then up ahead he sees a figure , kneeling on the ground . As Silus moves through the haze he sees what it is . It is a Brother Priest , kneeling beside someone . The Brother is holding the hand of the person on the ground who is in the last throws of death . When Silus is next to him the Priest looks up at him . Tears wet his cheeks . For a moment they just stare at each other .</scene_description>
<character>PRIEST 2</character>
<dialogue>Who has done this, Brother?</dialogue>
<character>SILUS</character>
<dialogue>We have. To our shame.</dialogue>
<scene_description>The Silus hears the babies cries again . Closer now . The Priest stares at the dying creature on the ground in front of him . Drops the limp hand he was holding . Then rises and turns squarely to Silus .</scene_description>
<character>PRIEST 2</character>
<dialogue>I have something to show you.</dialogue>
<scene_description>The Priest moves off towards a building and Silus follows . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, QUARANTINE ZONE, HOVEL - CONTINUING</stage_direction>
<scene_description>We see Silus and the Priest enter . The Priest leads Silus into the dark place . As he moves forward Silus can hear a strange gurgling sound ; not of the sick or dying , this is a more innocent sound . The sounds of a newborn . We See Silus approach a filthy , roughly made crib . In it is a baby ; it 's eyes stare up at Silus with wisdom beyond their years .</scene_description>
<character>PRIEST 2</character>
<dialogue>It is a miracle my Brother. She is a female, the first of our kind.</dialogue>
<scene_description>Silus watches the baby carefully .</scene_description>
<character>SILUS</character>
<dialogue>She must be protected.</dialogue>
<scene_description>He then turns to the Priest .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I would ask for your help Brother. The Church can no longer be trusted.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, HIDEOUT - CONTINUING</stage_direction>
<scene_description>Edgar , atop the roof of the building that sits above the water treatment plant . He is watching his handiwork ; the screams in the night , the burning fires , the haze rising up , cloaking the city . Then down below , he sees a figure approaching . He knows who it is . Silus is coming to him . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING</stage_direction>
<scene_description>Lilly , in her cell . She is working the chains that bind her hands against the pipe . She 's rubbing them desperately , harder , harder . Then she stops . She can hear someone approaching . Edgar appears in the doorway ; still and poised . Then he turns , listening . A creaking echoes through the tunnels as if an iron door , somewhere above , has been opened .</scene_description>
<character>EDGAR</character>
<dialogue>He's coming little one. He's coming for you.</dialogue>
<scene_description>Edgar takes one more blinking look at Lilly and then leaves , slamming the large iron door behind him . Lilly pulls at the chains , hoping against hope that they 'll break . They do n't .</scene_description>
<character>LILLY</character>
<dialogue>No.</dialogue>
<scene_description>She now looks above . The pipe her chains are connected to runs up towards the roof , then takes a bend to disappear into the wall near the door . She bangs on the pipe . There is a little movement where it goes into the wall . Just enough to give her some hope . Lilly struggles now to her feet . She slides the chains up . To get the chains over the bend she 'll have to jump . She does , sliding the chain over the bend . Now she hangs from the pipe , the chains cutting into her wrists viciously , making her groan . She then gets her hands on the pipe and begins sliding along the pipe until she is near the door . She then reaches up with her feet and kicks at the wall , pushing , trying to dislodge the pipe . It moves , water leaks from it . But it does not give way . A desperate beat . Then she reaches down to the door with her foot . She tries to force down the door handle , her foot wet and slippery . Finally she gets the handle down , opens the door so that it clangs against the wall .</scene_description>
<character>LILLY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Hello! I'm down here. Silus.</dialogue>
<scene_description>Her hands slip from the pipe and again the chains bite into her wrist . She cries out in pain . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT - CONTINUING</stage_direction>
<scene_description>Above we see Silus , stopping . Lilly 's cries echo through the place . It is a wet maze of grease and rust , ornate twisting pipes built long ago and now decrepit . Silus waits , listens . Then something . Cut to Feet , moving fast , splashing in a pool of black water . Silus turns , just catching a movement , a flash of someone moving off through the distorted piping . He moves to where he saw the figure , to catch sight of a person moving to an open iron doorway .</scene_description>
<character>SILUS</character>
<dialogue>Lilly?</dialogue>
<scene_description>But when the woman turns it is not Lilly . It is one of the infected ; the red eyes , mad and staring at him . And both he and the creature hear it . Cries , of someone in pain . Lilly . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING</stage_direction>
<scene_description>Lilly 's cries echo up the stairwell , up towards the surface . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING</stage_direction>
<scene_description>Lilly twisting on the chains that bind her to the pipe , crying out in pain . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT</stage_direction>
<scene_description>The creature moving through the doorway towards the sounds of Lilly 's cries . Silus now moves forward to get to the creature , flying towards the doorway . We see him approaching the doorway and then from nowhere Edgar slams into Silus , sending them both careening over a railing .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, STAIRWELL - CONTINUING</stage_direction>
<scene_description>Low Angle looking directly up at the two Brothers fall , bouncing and crashing off the rails on the way down .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING</stage_direction>
<scene_description>They both hit the wet stone floor . They are in the pipe room where subterranean mineral springs rise up from deep in the earth and where the boroughs water supply is sterilized . Silus is stunned , rises , blood issuing from his mouth . Silus pulls his gun from his coat , but Edgar 's kick is too fast , whipping the gun away so that the glass instrument smashes against some dripping pipes . Edgar then squares off against Silus .</scene_description>
<character>EDGAR</character>
<dialogue>It is a maze down here. But given time, that thing will find her. Do things to her. I'll show you where she is, if you take some.</dialogue>
<scene_description>Edgar stalks forward . He holds up his arm to Silus . Silus stares at the tube coming from Edgar 's arm . Edgar moves towards Silus , twisting on the tube so that his infected blood drips onto the ground .</scene_description>
<character>EDGAR</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You're almost there anyway.</dialogue>
<scene_description>And then Silus ' face , intense , a dark smile , his hand now gripping Edgar 's hand ; surprise in Edgar 's eyes . He pulls Edgar toward him with all his might , his hand clamping onto Edgar 's throat - the power of the entwined bodies immense - then Edgar whipping his body , breaking Silus ' grip , smashing Silus on the side of the head , but then only to get a kick from Silus directly in the stomach that sends him smashing into several protruding pipes , ripping into his back . Edgar screams .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, CELL - CONTINUING</stage_direction>
<scene_description>Lilly . Half conscious now , hanging from the pipe above her , twisting . The sound of Edgar 's screams makes her groan , awaken a little , dazed . Then there is a loud clang . She cranes her head to see down the tunnel that leads to her cell . She catches sight of a shadow , movement in the tunnel .</scene_description>
<character>LILLY</character>
<dialogue>Silus.</dialogue>
<scene_description>Then the figure moves into the tunnel , shuffling , the legs not completely following the brains instructions , but doing enough to propel the person forward , then a stumble . And in a shaft of light Lilly can see a hand slapping at the wet wall . But it is less a hand than a claw . And the face that follows the hand ; the red , reflective eyes of one of the half mad , the infected . The thing catches sight of Lilly , then propels itself towards her . We see it 's POV , approaching faster , faster . And Lilly reaching out with her foot , to the door , struggling to hook it with her foot , trying to close it , almost catching the door handle , but her foot is so slippery and the thing is almost on her . Then she stretches out with her foot , just catching the door and slams it in the face of the thing that is about to attack her . The thing on the other side of the door is now screaming wildly and the door handle is jerking down as the creature tries to activate it and Lilly has her feet on it , trying desperately to keep the door shut , but her feet keep slipping . And then she realizes that the pipe from which she hangs is beginning to wobble - water is now coursing from the hole in the wall , beginning to flow faster and faster . Her feet slip more and more on the door . Lilly tries to keep the door closed , but her feet are too slippery and the thing is pushing through the door . In the dark space only its eyes and slavering mouth are clear , hands grasping for Lilly legs , scratching at them , Lilly twisting , the creature 's nails searching for purchase on her legs . Lilly hauls herself up , wrapping her legs around the pipe she 's attached to . The thing below her is groaning incoherently , reaching up , its hands grabbing at her , Lilly pulling herself just out of reach , then seeing the eyes below her , wanting her . Lilly tries to pull herself higher . And then she feels it . The pipe she 's attached to is shifting , where it joins the wall . Water is now flooding from it , the pipe jerks down , some of the old wall giving way . The creature 's fingers are now able to grasp Lilly 's t - shirt , drag at it , pull at her , screaming , the pipe grinding , water flowing and then the whole thing comes down , the pipe bursting out of the wall . Lilly and the pipe falls , right on top of the creature . For a moment neither of them move , then the creature is grabbing at Lilly 's hair , pulling her head back . In a flash Lilly pulls the pipe to which she is attached right into the face of the creature . This gives her time to stagger upright . She 's still chained around the pipe ; she can see the end of the pipe near the door . She begins to slide the chains back as the creature begins to rise and advance towards her . Lilly desperately slides the chain along the pipe . It catches on a protrusion , while the creature advances . Lilly frees it just in time , falling backwards as the creature jumps at her , Lilly lifting the chain up to hold the creature back . The creature strains to get at Lilly . Lilly now has the chain at the creature 's neck . She begins to tighten it around the creature 's neck , her only hope now . The creature changes now , from frightening to pitiful as it realizes it ca n't breath , it 's fingers desperately moving over Lilly 's face , almost pleading . Tears form in Lilly 's eyes as she tightens the stranglehold ; there is no anger there , just desperation , and behind that , pity . The creature breathes it 's last breath then collapses onto Lilly .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, HIDEOUT, STEAMROOM - CONTINUING</stage_direction>
<scene_description>Edgar and Silus stalk each other in the steam room . Edgar launches himself towards Silus , but Silus is now too quick . Silus slams Edgar sideways into a pipe , an imprint of Edgar 's face left on the pipe . Stunned Edgar releases his grip , stumbles back , Silus rising now , he has him . Again , Silus slams Edgar 's head into another pipe . And now Silus has Edgar 's throat in his fist and the look on Silus ' face tells Edgar he will not escape . We see Edgar , beginning to lose consciousness now , dying . Steam now rises all around them from broken pipes . Then behind Silus , Edgar can make something out . An old , corroded tank , steaming , with the words sterilizer on it . There are a series of long shafts connected to the sterilizer via a tube and held in position by clamps ; they look like they 're for sterilizing bottles . With a last effort Edgar propels Silus backwards onto one of the shafts , making Silus grimace and clutch his back where he 's been pierced , then slide to the ground . The piercing has operated some lever so that steam now also drifts from the wound on Silus ' back . Cut to Silus looking up , clutching his back with the pain of it . And now Edgar above him . He removes one of the sterilizer shafts from the bracket that holds it . He clutches a lever on the side which makes viciously hot steam pulse from the end of the shaft . Edgar moves slowly towards Silus . We see Silus , unable to rise , crawling back , until bang , he 's stopped by more pipes behind him . Nowhere to go . And Edgar ready to pounce . He does , driving the shaft towards Silus ' head . Silus manages to raise one hand to Edgar 's wrist to stop the shaft from piercing his skull . Now the shaft is right in Silus ' face , the lightly steaming hole staring back at Silus . Edgar 's finger moves to the lever on the side of the shaft , ready to get some steam going .</scene_description>
<character>EDGAR</character>
<dialogue>If I burn the skin from your face, I wonder how that would be. If you looked like a monster.</dialogue>
<scene_description>Cut to Edgar 's finger moving over the steaming lever . The steaming end of the shaft right in Silus ' face . Then Edgar 's face as he watches his brothers face for the last time . The blasting sound of steam and a steaming blast from the shaft drifts into our frame . Cut to Silus . His face is not scolded . Cut back to Edgar , his expression getting tighter , his face redder , the whites of his eyes becoming bloodshot . Then he goes to speak , but now words come out , only a swirling puff of steam . And then he falls and we see behind him , standing there is Lilly , one of the other sterilizing shafts in her hand ; steam still rising from the sharp end of it . Cut to Edgar , prone , on the wet floor of the pipe room ; steam rises from both his mouth and the back of his head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - NIGHT</stage_direction>
<scene_description>POV steadicaming through the streets of the Quarantine zone . The POV belongs to Lilly who moves down the street , half carrying Silus who limps . Lilly takes in the devastation . Then Silus pulls up .</scene_description>
<character>LILLY</character>
<dialogue>What is it?</dialogue>
<character>SILUS</character>
<dialogue>In there.</dialogue>
<scene_description>Silus is pointing to a fallen down building through the haze and the rain .</scene_description>
<character>LILLY</character>
<dialogue>Is there something wrong?</dialogue>
<character>SILUS</character>
<dialogue>No.</dialogue>
<scene_description>He gently touches her mud smeared face .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There is something very precious. You must take it, keep it secret. Do n't let them touch it.</dialogue>
<character>LILLY</character>
<dialogue>I do n't understand.</dialogue>
<character>SILUS</character>
<dialogue>You will.</dialogue>
<scene_description>And then they both hear it . A wail , distorted , echoing ; it sounds like a hurt animal . Lilly looks at Silus .</scene_description>
<character>SILUS</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Hurry.</dialogue>
<scene_description>Lilly turns towards the building . She slowly moves towards it , into the doorway as Silus watches her go . Silus turns to the sunrise , it reflects in his eyes . Cut to</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMESTOWN SLUM, QUARANTINE ZONE, BUILDING, NIGHT</stage_direction>
<scene_description>Lilly moves through the derelict place , past fallen beams . It seems empty . Then Lilly hears it again . A wail . This time she knows what it is ; we can tell from the way her eyes glisten . She moves forward , closer to the sound . And finally she sees the Brother Priest we saw before , who kneels in front of a crate . He looks up at her as she approaches . As Lilly moves forward she sees what lies with the crate . Wrapped in dirty sacking , there is a baby . In the corner Lilly can see a woman - the child 's mother - dead from the infection . The baby cries and Lilly can see the tiny fangs of a Brother in the baby 's mouth .</scene_description>
<character>PRIEST 2</character>
<dialogue>The first female of her kind. The first daughter given to us.</dialogue>
<scene_description>Lilly moves forward . Emotional music rises in the soundtrack ; evoking memory , the circle completing . Lilly reaches out , letting the baby girl grip her hand . Lilly reaches into the crate , drawing the baby into her arms , staring down into the baby 's face ; a face somehow already wise , already serene . Broken tears run down Lilly 's cheek as she presses the baby to herself , all the pain of the past flooding over her , the baby 's tiny hands reaching out , clasping onto her .</scene_description>
<character>PRIEST 2</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Come. Before they find her.</dialogue>
<scene_description>Cut to</scene_description>
</scene>
<scene>
<stage_direction>EXT. JAMESTOWN SLUM, QUARANTINE ZONE - DAWN</stage_direction>
<scene_description>Lilly exits the building . She looks around for Silus , but he has gone . She pauses . Through the mist and drifting smoke from the fires we can see that in the distance a tarnished sun is lighting the horizon .</scene_description>
<character>PRIEST 2</character>
<dialogue>We must go.</dialogue>
<scene_description>After a final pause Lilly moves off with the Priest , carrying the tiny bundle with her .</scene_description>
<character>LILLY</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>For me, everything has changed now. Because of Silus I see the world through new eyes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LILLY'S APARTMENT - NIGHT</stage_direction>
<scene_description>Silus , on a fire escape , in the shadows . Gone are the clothes of the Brotherhood , rather he is dressed as someone who does not want to be seen . Cut to his POV . We see Lilly 's building . We see through the window , into her apartment ; a beacon of warmth in the night . In Lilly 's bed we can see the baby , its hands happily making patterns before its eyes .</scene_description>
<character>LILLY</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Now I see hope, and I see a child, the first female of her kind.</dialogue>
<scene_description>Silus scans the apartment . He can see the lounge . Jones is there with Lilly . Lilly is dressed to go out ; to leave . Jones and Lilly hug . Then Jones picks up two suitcases and moves towards the door . Silus watches as Lilly moves into the bedroom and reaches down for the tiny baby , its tiny arms clasping onto her as she lifts it .</scene_description>
<character>LILLY</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Perhaps Edgar got what he wanted after all, because it time this child will truly change our world.</dialogue>
<scene_description>We see Silus , closer , watching . Cut to Lilly , pausing , moving to the window of her apartment , staring out into the night , almost directly toward Silus . She raises her hand , as if in a gesture of goodbye and then she leaves . Cut to Silus , close , nodding . THE END</scene_description>
</scene>
</script> | The film opens as a pregnant woman (Danielle Cormack) gives birth to a vampire. A young Brother, Silus, aged 10–13 is told this child, Edgar and he are from the same mother. Throughout this introduction, the mother is in visible emotional distress, reaching out across the room to Silus, trying to touch him. Captioned "100 Years Later." Jamestown slum has had a series of attacks on women, who are all found with their throats bitten. Lilly Squires (Saffron Burrows) is in charge of the human police investigating these cases. She states that she comes from a workhouse in this same slum, and we establish that she is one of the few cops who care what happens to these people at the bottom of the socioeconomic heap. Lilly finds a small boy who witnesses one attack, and tells her that a Brother was responsible. As the police don't want to panic the city, the string of murders is explained away as being the result of an outbreak of the rampant influenza virus. Silus (Dougray Scott) is detailed by the church cardinals to work with the human police, because the Brothers know that these attacks have been carried out by a Brother; Silus's brother Edgar (Leo Gregory). Edgar has sent Silus a recording of his last murder, challenging him to find and stop him before he kills again. Edgar provides the location of his next murder. With Silus' help, Lilly puts together a task force to stake out the area Edgar has targeted. However Edgar distracts the cops and attacks Lilly, biting her in the neck. An officer interrupts the attack and Edgar flees. To save Lilly's life, Silus tells her to drink his blood, which she does. Silus then pursues Edgar, managing to shoot him with a tranquilizing dart. Silus later visits Lilly in hospital. We establish that she has no family as they died from influenza. Lilly is having visions from drinking Silus' blood. The newspapers have published a fake story of the death of the killer; a deranged human who believed he was a Brother. Edgar is being held in a "brace", a spiked body restraint in a cell in the church basement. Because Silus is soon to be made a member of the "inner circle" he is told the full details of what happened to Edgar. The cardinals are worried that not a single Brother has been born for 70 years, and that a female vampire has never been born. Although they have publicly banned genetic research, the church has been carrying it out in secret. Edgar has been developing a virus to inject into pregnant women, to force the baby to be born a vampire. Alas the virus has mutated, and it has turned the women into violent, insane, psychopaths. Ten of Edgar's research subjects are already dead, and the last one is dying. Edgar has also become infected, and is now insane, although the effect is slower due to his strong immune system. Silus visits Edgar, who vows to escape and finish off Lilly. Edgar accuses Silus of being in love with Lilly, despite Brothers being forbidden to love. The night Silus is at a ceremony in the church for his investiture as a cardinal Edgar escapes, killing the guards and receptionist, and disappears into Jamestown. He enlists the help of a local named Freddy to help him catch Lilly. Edgar has installed a tap and tube system into his forearm, so he can turn on a flow of his own infected blood at any time. He catches a policewoman and fills her mouth with his blood. Freddy insists on getting his own share as well, not knowing it is infected. Silus is guarding Lilly at her apartment with Lilly's colleague Jones. When she is sleeping Silus shows some affection for her by imagining kissing her. Later, Silus leaves to investigate a noise downstairs and Lilly and Jones patrol around. When Lilly approaches a window, Edgar bursts through from outside and grabs her. Silus and Edgar grapple, however Silus is knocked unconscious long enough for Edgar and Lilly to disappear. The virus has spread throughout Jamestown. The government has instituted a quarantine, and soldiers shoot anybody who attempts to leave. Humans are rioting outside the churches, and throwing their rosaries back at the Brothers. Silus discovers Edgar's location is Jamestown's water source. Edgar is dripping his blood into the water supply, infecting all of Jamestown. However, each suburb has its own separate water supply. Silus is determined to go in and rescue Lilly, however another cardinal tells him that Jamestown will be burned to the ground to make sure that the virus dies, and Edgar with it. He warns Silus that his own career will be doomed if he ignores the "greater good" and breaches quarantine. Silus breaks through into Jamestown and heads to the aquifer, dodging the infected. Lilly is handcuffed to a water pipe in a locked basement. Edgar comes in and she tries to persuade him to stop but instead he challenges her about her dead child, saying that her race is good at abandoning children. Edgar finds Silus and they fight. Just as Silus is winning, Edgar throws him backwards onto the prongs of a steam injector. As Silus lies groaning, and possibly dying, on the ground, Edgar approaches with a portable steam injector. When Edgar depresses the trigger steam comes out. Edgar threatens to burn Silus's face off so that he will be more of a monster just like him. Lilly comes up behind Edgar and kills him by stabbing another steam injector into the back of his skull. Silus escorts Lilly from the water facility. He kisses Lilly and says she must do something. He gestures to a building then tells Lilly she must look after what she will find in there and keep it away from the Brotherhood. Lilly enters the building, and finds the other Brother, a dead woman, and a baby. The Brother tells Lilly the infant is the first female vampire ever born. The virus has created her and she is truly the first Perfect Creature. Silus is branded a heretic, and must stay in hiding. Meanwhile, Lilly is caring for the baby and Silus is watching over her. The movie ends with Silus saying that he is being hunted but he will always fight back, leaving scope for a second movie. |
Jackie Brown_1997 | tt0119396 | <script>
<scene>
<stage_direction>INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY</stage_direction>
<scene_description>We hear the rhythm of funky seventies SOUL MUSIC . Then SHE steps into FRAME . She is JACKIE BROWN , a stewardess dressed in her CABO AIR uniform . -LRB- A little shuttle airline that flies from Los Angeles to Cabo San Lucas . Approximate flight time : forty five minutes -RRB- Jackie stands still as a people - mover slowly inches her through the airport . The CREDITS APEAR and DISAPPEAR in front of her . Jackie Brown is a very attractive black woman in her mid forties , though she looks like she 's in her mid - thirties . The people - mover reaches the end of the line , she steps off . She breezes through Customs and we follow her with a STEDICAM as she strides through the airport . She gets to her gate disappears inside the plane for a moment comes back out sans flight bag picks up the microphone .</scene_description>
<character>JACKIE</character>
<parenthetical>( into mike . )</parenthetical>
<dialogue>Flight 710 Cabo San Lucas, now boarding Gate 12, first class only.</dialogue>
<scene_description>With a smile on her face , she collects passengers ' boarding passes as they board the plane . FADE TO BLACK TITLE CARD `` ORDELL ROBBIE ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIRING RANGE - DAY</stage_direction>
<scene_description>VIDEO A chorus line of six beautiful bikini - clad women , all holding different automatic weapons , BLASTING away . The cheap VIDEO TITLES to : `` CHICKS WHO LOVE GUNS '' Play over this image . One bikini beauty is singled out . She 's a gorgeous brunette named SIDNEY . Sidney stands facing camera holding a TEC - 9 and describing it .</scene_description>
<character>SIDNEY</character>
<parenthetical>( to camera . )</parenthetical>
<dialogue>Hi, I'm Sidney. And I love to TEC - 9. The popular TEC - 9 is advertised by its makers as being tough as the toughest customer.</dialogue>
<scene_description>SIDNEY 'S STATISTICS : Age , height , measurements , date of birth , appear at the bottom left - hand corner . As Sidney continues her sales pitch/demonstration , a BLACK MAN 'S VOICE begins talking over the video .</scene_description>
<character>BLACK MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>That's a TEC - 9. It's a cheap ass spray gun outta South Miami.</dialogue>
<scene_description>After a CLOSEUP of the TEC - 9 , Sidney FIRES the weapon .</scene_description>
<character>BLACK VOICE</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Cost three - eighty retail. I get them for two hundred and sell'em for eight.</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S BEAHC APARTMENT - NIGHT</stage_direction>
<scene_description>The Black Voice belong to forty - five - year old ORDELL ROBBIE . Ordell wears clothes nice and likes wearing nice clothes . Stylish , athletic wear -LRB- Reebok -RRB- , heavy , black leather jackets -LRB- Hugo Boss -RRB- , warm - colored berets and baseball caps to cover his balding head are Ordell 's `` look . '' At this moment Ordell 's wearing an open silk shirt . Ordell narrates the video playing on the big - screen V. -LRB- the most expensive thing in the apartment -RRB- . He holds a cocktail in one hand -LRB- screwdriver , his drink of choice -RRB- and the remote control in the other , pacing the floor in his I - can - talk - anybody - into - anything voice . LOUIS GARA , who looks like he does his shopping at the Salvation Army -LRB- dressed in a Hawaiian shirt and dungarees -RRB- , sits on the sofa staring blankly at the video , drinking Jack Daniels on ice . Louis , white , also in his mid forties , has lived over half of his life in penal institutions . The experience has affected both his body language and his thought process . While acutely aware of the rhythm of life inside a correction facility , in the real world his timing is thrown . It 's like a song he does n't know the lyrics to but attempt to sing anyway . The third person watching the video is the person who lives in this apartment , MELANIE RALSTON . Melanie , thirty - three , is a tanned , blonde , California beach bunny . Like the kind you se in the old Crown International movies from the seventies like `` Pom Pom Girls '' `` Malibu Beach '' and `` Beach Girls , '' except Melanie is older than any of those girls ever are . She 's dressed in her Melanie - uniform of stringy Levis cutoffs and a stringy bra top . So far Melanie has been able to make a living out of lying in the sun , always finding a generous , wealthy man more than willing to pay her rent and pick up her tabs . In her prime -LRB- twenty two -RRB- it was Japanese industrialists , film production guys , and Middle Eastern businessmen who kept Melanie . And it was places like the Bahamas , Acapulco , and the Virgin Islands where they kept her . But now , at thirty three , she lives in an apartment in Hermosa Beach , California that Ordell pays for an drops in and out of . She 's curled up in a reclining chair , smoking weed from a pipe , reading Movieline Magazine and paying no attention to the video .</scene_description>
<character>ORDELL</character>
<dialogue>This TEC - 9? They advertise it as being the most popular gun in American crime. Can you believe that shit? It actually says that on the little booklet that comes with it. `` Most Popular Gun in American Crime,'' like they're proud of that shit.</dialogue>
<scene_description>Ordell hits the fast - forward on his remote control . Sidney is rushed off the screen and replace by CINDY , a pretty , blonde bodybuilder clad in a red , white and blue bikini , holding a Styer Aug. .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Check out this body - builder chick. Now see what she got. That's a Styer aug.. Styer Aug's a bad motherfucker. Listen.</dialogue>
<scene_description>Ordell punches up the volume . Cindy BLASTS the Styer Aug , loud . Ordell imitates the sound of the weapon .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit's expensive, man. Comes from Austria. My customers do n't know shit about it, so there ai n't no demand.</dialogue>
<parenthetical>( to Melanie . )</parenthetical>
<dialogue>Baby, I could use some more ice.</dialogue>
<scene_description>Melanie puts down the magazine , takes his cocktail glass from him and moves to the kitchen .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But put that bad boy in a flick, every motherfucker out there want one. I'm serious as a heart attack. Them Hong Kong movies came out, every nigga got ta have a forty - five. And they do n't want one, they want two, cause nigga want to be `` The Killer.'' What they do n't know, and that movie do n't tell you is a.45 has a serious fuckin' jammin' problem. I always try and steer a customer towards a 9 - millimeter. Damn near the same weapon, do n't have half the jammin' problems. But some niggas out there, you ca n't tell them anything. They want a.45. The killer had a.45, they want a.45.</dialogue>
<scene_description>Melanie comes back , hands Ordell his screwdriver , then sits where she was .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thanks, Baby.</dialogue>
<character>LOUIS</character>
<dialogue>Who's your partner?</dialogue>
<scene_description>Ordell sits down on the couch . Melanie 's reading `` Movieline Inside '' magazine .</scene_description>
<character>ORDELL</character>
<dialogue>Mr. Walker. He runs a fishing boat in Mexico. I deliver the merchandise to him, gets it to my customers. On all my bulk sales, anyway. Nigga did n't have a pot to piss in or a window to throw it out ` fore I set'em up. Now, motherfucker's rollin' in cash. He got himself a yacht, with all kinds of high tech navigational shit on it.</dialogue>
<parenthetical>( back to video . )</parenthetical>
<dialogue>AK - 47, the very best there is.</dialogue>
<scene_description>GLORIA , a tall , Amazonian , bikini - clad , black woman faces camera and describes the AK - 47 .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When you absolutely, positively, got ta kill every motherfucker in the room, accept no substitute. That there is the Chinese one. I pay eight - fifty and double my money.</dialogue>
<scene_description>The phone rings .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get that for me, will ya baby?</dialogue>
<character>MELANIE</character>
<dialogue>You know it's for you.</dialogue>
<scene_description>Ordell just stares at her .</scene_description>
<character>ORDELL</character>
<dialogue>Girl, you better not make me go over there and put my feet to ya.</dialogue>
<scene_description>Louis keeps staring at he screen . Melanie gets up , goes over to the counter that separates the living room from the kitchen , picks up the phone , says :</scene_description>
<character>MELANIE</character>
<dialogue>Hello.</dialogue>
<scene_description>Puts the phone down and says ;</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's for you.</dialogue>
<scene_description>Before Ordell knows it , Melanie is back in the reclining chair , reclining back all the way . Ordell , pissed , looks at her a moment before taking the phone .</scene_description>
<character>ORDELL</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Yeah.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hey, Junebug, what's up</dialogue>
<scene_description>Louis sits on he couch , drinking his Jack Daniels , watching the video . Melanie lies back on the reclining chair , takes a hit off her pipe , then says in a ` holding in smoke ' voice ;</scene_description>
<character>MELANIE</character>
<parenthetical>( referring to the tape . )</parenthetical>
<dialogue>It's boring, is n't it?</dialogue>
<character>LOUIS</character>
<dialogue>I can sit through it once.</dialogue>
<character>MELANIE</character>
<dialogue>He thinks he's Joe Gunn now.</dialogue>
<character>LOUIS</character>
<dialogue>I'm impressed. He knows a lot.</dialogue>
<character>MELANIE</character>
<dialogue>He's just repeating shit he overheard. He ai n't any more a gun expert than I am.</dialogue>
<scene_description>Holding up her pipe .</scene_description>
<character>MELANIE</character>
<dialogue>Want a hit?</dialogue>
<character>LOUIS</character>
<dialogue>Sure.</dialogue>
<scene_description>Louis takes a hit off the pipe .</scene_description>
<character>MELANIE</character>
<dialogue>When did you get out of jail?</dialogue>
<character>LOUIS</character>
<dialogue>Four days ago.</dialogue>
<character>MELANIE</character>
<dialogue>Where at?</dialogue>
<character>LOUIS</character>
<dialogue>Susanville.</dialogue>
<character>MELANIE</character>
<dialogue>How long?</dialogue>
<character>LOUIS</character>
<dialogue>Two months shy of four years.</dialogue>
<character>MELANIE</character>
<dialogue>Four years?</dialogue>
<character>LOUIS</character>
<dialogue>Uh - huh.</dialogue>
<character>MELANIE</character>
<dialogue>What for?</dialogue>
<character>LOUIS</character>
<dialogue>Bank robbery.</dialogue>
<character>MELANIE</character>
<dialogue>Really, I'm impressed.</dialogue>
<scene_description>Louis takes a drink of whiskey .</scene_description>
<character>MELANIE</character>
<dialogue>Four years that's a long fuckin time.</dialogue>
<scene_description>Louis nods his head in agreement . Ordell hangs up the phone . Ordell comes back , sitting down on the other side of Louis .</scene_description>
<character>ORDELL</character>
<dialogue>See, what did I tell you? Man in New York wants a 9 millimeter Smith and Wesson Model 5946. Why does he want it? It's the gun that nigga on `` New York Undercover'' uses. Because of that nigga, I can sell it to this nigga for twelve - fifty.</dialogue>
<character>LOUIS</character>
<dialogue>What's your cost?</dialogue>
<character>ORDELL</character>
<dialogue>As low as two.</dialogue>
<character>LOUIS</character>
<dialogue>Are you serious?</dialogue>
<character>ORDELL</character>
<dialogue>That's what I been tellin' you. Start adding these motherfuckin' figures up, and you tell me this ai n't a business to be in.</dialogue>
<scene_description>The phone rings again . Ordell looks at Melanie . Melanie looks at Ordell . They have a bit of a staring contest before she gets up and gets the phone .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I got me five M - 60 machine guns. These came straight from the Gulf War. I sold me three of them so far, twenty grand a piece.</dialogue>
<character>LOUIS</character>
<dialogue>That's good money.</dialogue>
<character>ORDELL</character>
<dialogue>Louis, this is it, man. I'm gon na make me a million dollars out of this. I already got me a half - a - million sittin' in Mexico. When I do this last delivery, I'm gon na make me another half - million.</dialogue>
<character>LOUIS</character>
<dialogue>Then what?</dialogue>
<character>ORDELL</character>
<dialogue>I get out. Spend the rest of my life spending.</dialogue>
<scene_description>Melanie sits back down in he chair .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Who is it?</dialogue>
<character>MELANIE</character>
<dialogue>It's Beaumont.</dialogue>
<scene_description>KITCHEN Ordell , drink in hand , picks up the receiver .</scene_description>
<character>ORDELL</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Beaumont cents Ordell. What's the problem?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>What the fuck you doin' in jail?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>What the fuck you doin' that for?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Ai n't you got better sense than to be drivin' drunk carrying a goddam pistol?</dialogue>
<scene_description>He listens to Beaumont on the other line - it 's obvious Beaumont 's starting to freak out . Ordell changes his tone . ORDELL . -LRB- CONT'D. -RRB- - Beaumont . Beaumont . Listen to me . Number one , you need to chill out , nigga . Bad as this shit is , this shit ai n't as bad as you think it is . -LRB- pause . -RRB- Course you 're scared . That 's what these motherfuckers get paid for scarin ' the shit outta ya . That 's their job . And my job is to get you the fuck home so let me tell you what is gon na happen . May I speak ? Thank you . You gon na spend the night in jail ; it 's too late to get you out now . Tomorrow , they gon na take you into court . I 'm gon na be there . Judge gon na set your bail . I 'm gon na pay your bail , they gon na cut you loose . By tomorrow night , you 'll be back home , I promise . -LRB- pause . -RRB- So just calm your ass down , and I 'll see you tomorrow . -LRB- pause . -RRB- You owe me a helluva lot more than one , nigga . -LRB- laughs . -RRB- See you . Ordell hangs up the phone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>The store front window of Cherry Bail Bonds in Inglewood , California . The name of the business is spelled out on the window , which also includes a drawing of a fat red cherry . Ordell 's BLACK MERCEDES CONVERTIBLE pulls up . Ordell in the driver 's seat . Louis in shotgun position .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>Inside Cherry Bail Bonds , looking out through the picture window . We can read the name on the glass backwards . Ordell and Louis appears in the window and enter the building . Ordell carries a L.A. Lakers athletic bag . An unidentified MALE VOICE , obviously on the telephone , can be heard . Ordell goes toward the voice and tells Louis to `` hang back . ''</scene_description>
<character>MALE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>the judge does n't give a fuck about that. He's ready to habitualize you. Is that what you want - you wan na look at ten years?</dialogue>
<scene_description>The voice belong to MAX CHERRY , bail bondsman . Max , a regular - Joe - type white guy in his fifties , sits behind his desk talking on the phone . His eyes raise as he sees Ordell approach him .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Just overnight is all. Tomorrow I'll get you out, I promise. But it means I got ta pick you up tonight.</dialogue>
<scene_description>Ordell motion to the chair in front of Max 's desk . Max motions for Ordell to take a seat .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Reggie, there ai n't no two ways about it. You're spending the night in jail, but I already told you I'll get you out tomorrow. Now where are you?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You're at your mother's house, are n't you?</dialogue>
<scene_description>Ordell lights up a cigarette . -LRB- Viceroy -RRB- . He notices a picture on the wall of Max with his arm around a big , powerfully built black man . They 're both grinning . Louis pours himself some coffee from a coffeemaker into a small , white styrofoam cup . He picks up a jar of powdered non - dairy creamer that 's so dry he has to break off a rock . Louis adds the rock of coffeemate to his beverage .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Okay. Just stay put till I come for you.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Reggie, do yourself a really big favor and be there when I get there.</dialogue>
<scene_description>He hangs up the phone . Ordell sits in front of the desk , smiling at him and smoking .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How can I help you?</dialogue>
<character>ORDELL</character>
<parenthetical>( indicating the Viceroy . )</parenthetical>
<dialogue>Where would you like me to put my ash?</dialogue>
<scene_description>Max looks at him for a moment .</scene_description>
<character>MAX</character>
<dialogue>Use that coffee cup on the desk.</dialogue>
<scene_description>Ordell picks up the coffee cup , which still has a little bit of coffee in it , and flicks his ash .</scene_description>
<character>ORDELL</character>
<dialogue>And I need me a bond for ten thousand.</dialogue>
<scene_description>Max throws a look past Ordell to Louis .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh, that's just my white friend, Louis. He's got nothing to do with my business. We just hangin together. We're on our way to a cocktail lounge.</dialogue>
<scene_description>From across the room , Louis nods his head in Max 's direction . Max looks at him a moment , then back to Ordell .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( returning to the photo . )</parenthetical>
<dialogue>Who's that big Mandingo nigga you gotcha arm around?</dialogue>
<scene_description>Max looks at him a moment and says ;</scene_description>
<character>MAX</character>
<dialogue>That's Winston. He works here.</dialogue>
<character>ORDELL</character>
<dialogue>He's a big one. You two tight?</dialogue>
<character>MAX</character>
<dialogue>Yeah.</dialogue>
<character>ORDELL</character>
<dialogue>It was our idea to take the picture, was n't it?</dialogue>
<scene_description>Max looks at Ordell , getting his drift , then says ;</scene_description>
<character>MAX</character>
<dialogue>So, you want a ten - thousand dollar bond. What've you got for collateral?</dialogue>
<character>ORDELL</character>
<dialogue>Gon na have to put up cash.</dialogue>
<character>MAX</character>
<dialogue>You have it with you?</dialogue>
<scene_description>Ordell picks up his Lakers bag and puts it in the empty chair next to him .</scene_description>
<character>ORDELL</character>
<dialogue>It's in my bag.</dialogue>
<character>MAX</character>
<dialogue>You have cash. What do you need me for?</dialogue>
<character>ORDELL</character>
<dialogue>C'mon, you know how they do. Black man comes in with ten thousand, they wan na fuck with'em. First off, they gon na wan na know where I got it. Second, they gon na keep a big chunk of it - start talkin' that court cost shit. Fuck that shit, Jack. I'll go through you.</dialogue>
<character>MAX</character>
<dialogue>Cost you a thousand for the bond.</dialogue>
<character>ORDELL</character>
<dialogue>I know that.</dialogue>
<scene_description>Louis just stands , feeling uncomfortable , in the other room drinking coffee .</scene_description>
<character>MAX</character>
<dialogue>Who's it for? A relative?</dialogue>
<character>ORDELL</character>
<dialogue>Fella named Beaumont. They have him up at county. It started out drunk driving, but they wrote it up `` possession of a concealed weapon.'' Dumb monkey - ass had a pistol on him.</dialogue>
<character>MAX</character>
<dialogue>Ten thousand sounds high.</dialogue>
<character>ORDELL</character>
<dialogue>They ran his name and got a hit. He's been in before. Besides, Beaumont's from Kentucky, and I think they're prejudiced against black men from the South out here.</dialogue>
<character>MAX</character>
<dialogue>He takes off and I got ta go to Kentucky to bring him back, you pay the expenses.</dialogue>
<character>ORDELL</character>
<dialogue>You think you could do that?</dialogue>
<scene_description>Max taking papers out of the drawer .</scene_description>
<character>MAX</character>
<dialogue>I've done it.</dialogue>
<scene_description>picking up the pen .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's his full name?</dialogue>
<character>ORDELL</character>
<dialogue>Beaumont. That's the only name I know.</dialogue>
<scene_description>Max looks at Ordell , but does n't ask him the obvious question . Max picks up the phone .</scene_description>
<character>MAX</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Records office.</dialogue>
<scene_description>Max on hold , looks at Ordell . Ordell smiles .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( back on the line . )</parenthetical>
<dialogue>Hello, this is Max Cherry. Cherry Bail Bonds. Who's this?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hi, Vicki. Look, Vicki, I need you to look up the booking card and rough arrest on a defendant named Beaumont.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>That's all I have. I believe it's a surname but I'm not sure. Thanks.</dialogue>
<scene_description>Louis enters the area , standing over Ordell .</scene_description>
<character>LOUIS</character>
<dialogue>I'm going to wait in the car.</dialogue>
<character>ORDELL</character>
<dialogue>Sure.</dialogue>
<parenthetical>( to Max . )</parenthetical>
<dialogue>We almost done, ai n't we?</dialogue>
<character>MAX</character>
<dialogue>Getting there.</dialogue>
<character>ORDELL</character>
<dialogue>You go wait in the car. Wait a minute.</dialogue>
<scene_description>Ordell pulls out a heavy - duty keychain with a shitload of keys on it .</scene_description>
<character>ORDELL</character>
<dialogue>Take the keys, man. Listen to music.</dialogue>
<character>LOUIS</character>
<dialogue>Which one is for the car?</dialogue>
<scene_description>Ordell finds it . While he goes through the keys , Vicki comes back on the line . Max speaks with her as he fills out his papers .</scene_description>
<character>ORDELL</character>
<parenthetical>( holding a key . )</parenthetical>
<dialogue>This one's for the ignition.</dialogue>
<parenthetical>( holding a little black box . )</parenthetical>
<dialogue>. but you got ta hit this thing to shut the alarm off and unlock the door.</dialogue>
<character>LOUIS</character>
<dialogue>What do I do?</dialogue>
<character>ORDELL</character>
<dialogue>You ai n't got to do nothing. Just point at it and push the button. You'll hear the car go `` bleep.'' That means the alarm's off and the doors are open.</dialogue>
<character>LOUIS</character>
<dialogue>Okay.</dialogue>
<character>ORDELL</character>
<dialogue>Now play the volume as loud as you want but do n't touch my levels. I got them set just the way I want'em.</dialogue>
<scene_description>Louis nods and goes out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>Louis walks out of the office . He goes up to Ordell 's black Mercedes . He points the little black box at it . The car goes BLEEP . He gingerly approaches it , opens the door and climbs inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. MAX CHERRY'S OFFICE - DAY</stage_direction>
<scene_description>Max hangs up the phone .</scene_description>
<character>MAX</character>
<parenthetical>( to Ordell . )</parenthetical>
<dialogue>Beaumont Livingston.</dialogue>
<character>ORDELL</character>
<dialogue>Livingston, huh?</dialogue>
<character>MAX</character>
<dialogue>On his prior, he served nine months, and he's working on four years' probation.</dialogue>
<character>ORDELL</character>
<dialogue>You do n't say.</dialogue>
<character>MAX</character>
<dialogue>Do you know what he's on probation for?</dialogue>
<character>ORDELL</character>
<dialogue>Have n't a clue.</dialogue>
<character>MAX</character>
<dialogue>Possession of unregistered machine guns.</dialogue>
<character>ORDELL</character>
<dialogue>Will they consider this a violation of his probation?</dialogue>
<character>MAX</character>
<dialogue>They do consider this a violation of his probation. Your boy's looking at ten years, plus the concealed weapon.</dialogue>
<character>ORDELL</character>
<dialogue>Man, he wo n't like that. Beaumont do n't got a doin' time disposition.</dialogue>
<character>MAX</character>
<dialogue>I need your name and address.</dialogue>
<character>ORDELL</character>
<dialogue>Ordell Robbie. O - R - D - E - L - L. R - O - B - B - I - E. 1436 Florence Boulevard. Compton 90222.</dialogue>
<character>MAX</character>
<dialogue>House or apartment?</dialogue>
<character>ORDELL</character>
<dialogue>House.</dialogue>
<character>MAX</character>
<dialogue>Now I need you to count your money.</dialogue>
<scene_description>Ordell hands him the Lakers bag . Max takes the money out putting it on the desk .</scene_description>
<character>ORDELL</character>
<dialogue>Hope you do n't mind me askin' where you keepin' my money till I get it back. In your drawer?</dialogue>
<scene_description>Max begins counting it .</scene_description>
<character>MAX</character>
<dialogue>Across the street a Great Western. It goes in a trust account. You'll need to fill out an Application for Appearance Bond, an Indemnity Agreement, a Contingent Promissory Note. That's the one, if Beaumont skips and I go after him, you pay the expenses.</dialogue>
<character>ORDELL</character>
<dialogue>Beaumont ai n't going nowhere.</dialogue>
<parenthetical>( he takes a pen out of his pocket . )</parenthetical>
<dialogue>Where do I sign?</dialogue>
<scene_description>Max pulls the forms from his desk , and lays them in front of Ordell . Max goes back to counting the money . Ordell reads the first agreement then says ;</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( reading the form . )</parenthetical>
<dialogue>Hey, Max.</dialogue>
<character>MAX</character>
<parenthetical>( still counting money . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>ORDELL</character>
<parenthetical>( still reading form . )</parenthetical>
<dialogue>I was wondering. What if before the court date gets here, Beaumont gets hit by a bus or something and dies.</dialogue>
<parenthetical>( he puts the form down and looks at Max . )</parenthetical>
<dialogue>I get my money back, do n't I?</dialogue>
<scene_description>A BLACK FINGER Pressing a BLACK BUTTON next to the name , `` BEAUMONT LIVINGSTON '' .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEAUMONT'S APARTMENT - NIGHT</stage_direction>
<scene_description>BEAUMONT LIVINGSTON , wearing no shirt , sweatpants , and smoking a fatty answers the intercom , which buzzes loudly . We can hear JAY LENO interviewing a CELEBRITY on TV OFFSCREEN .</scene_description>
<character>BEAUMONT</character>
<parenthetical>( into the speaker . )</parenthetical>
<dialogue>Who is it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEAUMONT'S APARTMENT - NIGHT</stage_direction>
<scene_description>Ordell stands outside the security gate of Beaumont 's Hollywood apartment . EXTREME CLOSEUP - Ordell 's lips talking into the intercom speaker .</scene_description>
<character>ORDELL</character>
<dialogue>It's your benefactor, nigga. Buzz me up.</dialogue>
<scene_description>EXTREME CLOSEUP - Beaumont 's finger pressing the entry button . EXTREME CLOSEUP - The doorknob on the security gate , BUZZING . Ordell 's hand comes into frame twisting it open . Beaumont opens his apartment door , fatty between his fingers . He sees Ordell approach . Ordell greets him , arms spread out in hug mode , with a big smile across his face .</scene_description>
<character>ORDELL</character>
<dialogue>Look at you and your free ass. Come over and give me a motherfuckin' hug.</dialogue>
<scene_description>Ordell and Beaumont embrace .</scene_description>
<character>BEAUMONT</character>
<dialogue>What the fuck can I say? I'm serious, man. What the fuck can I say? Thank you. thank you. thank you.</dialogue>
<character>ORDELL</character>
<dialogue>Who was there for your ass?</dialogue>
<character>BEAUMONT</character>
<dialogue>You were there for me.</dialogue>
<character>ORDELL</character>
<dialogue>Who?</dialogue>
<character>BEAUMONT</character>
<dialogue>You.</dialogue>
<scene_description>Laughing his hustler 's laugh and bumping Beaumont 's fist hard .</scene_description>
<character>ORDELL</character>
<dialogue>You goddam right!</dialogue>
<scene_description>Beaumont laughs .</scene_description>
<character>ORDELL</character>
<dialogue>You see, ïit works like this. You get your ass in trouble, I get your ass out. That's my job. And I do n't mind tellin ya, nigga, it's steady work.</dialogue>
<character>BEAUMONT</character>
<dialogue>I'm still scared as a motherfucker, Ordell. They talkin' like they serious ` bout me doin' that machine gun time.</dialogue>
<character>ORDELL</character>
<dialogue>Naw, man. They just tryin' to put a fright in your ass.</dialogue>
<character>BEAUMONT</character>
<dialogue>If that's what they want to do, they're doin' it.</dialogue>
<character>ORDELL</character>
<dialogue>How old is that machine gun shit?</dialogue>
<character>BEAUMONT</character>
<dialogue>Three years.</dialogue>
<character>ORDELL</character>
<dialogue>Three years. That crime's old, man. They ai n't got room in prison for all the motherfuckers out there killin' people. How they gon na find room for you?</dialogue>
<character>BEAUMONT</character>
<dialogue>That's not what they're tellin' me.</dialogue>
<character>ORDELL</character>
<dialogue>That's why they call it `` fuckin' with ya.'' Now you wan na hear how we retaliate?</dialogue>
<scene_description>Beaumont takes a hit off the fatty and nods his head .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Tomorrow I pick you up, take you to Century City, meet my lawyer. Now let me tell you a little bit about my lawyer. His name is Stacin Goins and this nigga is a junkyard dog! He's my own private Johnie Cochran. In fact, he'd kick Johnie Cochran's ass. And like Johnie Cochran, dude hates fuckin' cops. I'm serious, this man lives to fuck with the police. So as a favor, I had him look at your case. Stacin told me you aint got shit to worry about. They just fuckin' wit ya. So we sic the junkyard dog on their ass, make'em -.</dialogue>
<parenthetical>( he bumps fist with Beaumont . )</parenthetical>
<dialogue>. Stop fuckin' wit ya!</dialogue>
<scene_description>Beaumont gesture inside his apartment .</scene_description>
<character>BEAUMONT</character>
<dialogue>Hey, c'mon in, man. I was just - you know - smokin' a fatty, watchin' TV.</dialogue>
<character>ORDELL</character>
<dialogue>Naw, man. I got ta be someplace. I was kinda hopin you could come with me.</dialogue>
<character>BEAUMONT</character>
<dialogue>What'd ya mean?</dialogue>
<character>ORDELL</character>
<dialogue>Look, I hate to be the kinda nigga, does a nigga a favor - then BAM - hits a nigga up for a favor in return. But I'm afraid I got ta be that kinda nigga.</dialogue>
<character>BEAUMONT</character>
<dialogue>What?</dialogue>
<character>ORDELL</character>
<dialogue>I need a favor.</dialogue>
<character>BEAUMONT</character>
<dialogue>That requires me goin out tonight?</dialogue>
<character>ORDELL</character>
<dialogue>A bit.</dialogue>
<character>BEAUMONT</character>
<dialogue>Aaaaawww man, I was n't plannin' on goin no place. It's twelve o'clock, man. I'm home, I'm high -</dialogue>
<character>ORDELL</character>
<dialogue>Why the fuck you at home? Cause I spent ten thousand dollars gittin' your ass home.</dialogue>
<parenthetical>( changes tone . )</parenthetical>
<dialogue>Look, I got ta problem. I need help, and you can help me.</dialogue>
<scene_description>This has the desired effect . WITH ORDELL WAITING OUTSIDE THE DOOR Beaumont comes out of the apartment , sporting Nikes and a Queen Latifah t - shirt . He locks his front door and walks with Ordell to his car . They talk the whole way . We STEDICAM in front of them the whole way .</scene_description>
<character>BEAUMONT</character>
<dialogue>What's the problem?</dialogue>
<character>ORDELL</character>
<dialogue>Well, it ai n't so much a problem a a situation. Remember I sold those three M - 60 machine guns outta the five I got?</dialogue>
<character>BEAUMONT</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>I'm gon na sell the other two tonight. This group of Koreans in Koreatown have started a Neighborhood Watch kinda thing. And they want a few weapons so the neighborhood niggas know they mean business. So I'm gon na sell'em my two machine guns tonight. Only problem, I aint never dealt with these Koreans before. Now I aint worried. Asians are by and large real dependable. They do n't want no trouble. You might argue about price, but you aint got ta worry about them shootin' you in the back. But I got me kind of a rule. Never do business with nobody you ai n't never done business with before without backup. That's why I need you, backup.</dialogue>
<character>BEAUMONT</character>
<dialogue>Man, I ai n't ready to be goin' out nowhere -</dialogue>
<character>ORDELL</character>
<dialogue>- Let me finish. Can I finish?</dialogue>
<character>BEAUMONT</character>
<dialogue>Go ahead.</dialogue>
<scene_description>TRUNK The trunk of a car is opened . Ordell bends down into the trunk and pulls out a pump action shotgun . Beaumont obviously does n't want any part of any Ordell game that requires a pump action shotgun as a playing piece .</scene_description>
<character>ORDELL</character>
<dialogue>Now you're gonn be in the trunk holding onto the shotgun. And I'm going to tell them I'm opening up my trunk to show'em my goods. I open up the trunk, you pop up, rack that bad boy.</dialogue>
<character>BEAUMONT</character>
<dialogue>Fuck that shit, man. I ai n't shootin' anybody.</dialogue>
<character>ORDELL</character>
<dialogue>What the fuck I tell you. You do n't hafta shoot nobody. Just hold the gun. They'll get the idea.</dialogue>
<character>BEAUMONT</character>
<dialogue>I ai n't gittin' in that trunk.</dialogue>
<character>ORDELL</character>
<dialogue>We're only goin' to Koreatown. You'll be in there - ten minutes.</dialogue>
<character>BEAUMONT</character>
<dialogue>Uh - uh. I ai n't riding in that trunk no minutes. Why do n't I just ride with you?</dialogue>
<character>ORDELL</character>
<dialogue>You ca n't ride with me. The surprise effect is ninety percent of it.</dialogue>
<character>BEAUMONT</character>
<dialogue>Well, I'm sorry, man, but I ai n't gittin' in that trunk.</dialogue>
<character>ORDELL</character>
<dialogue>I ca n't believe you do me this way.</dialogue>
<character>BEAUMONT</character>
<dialogue>I ai n't doin' you no way. I just ai n't climbin' in that trunk. I got a problem with small places.</dialogue>
<character>ORDELL</character>
<dialogue>Well, my ass has got a problem spending ten thousand dollars of my own goddam money to get ungrateful, peanut - head niggas outta jail, but I do it -</dialogue>
<character>BEAUMONT</character>
<dialogue>Look, man, I know I owe you -</dialogue>
<character>ORDELL</character>
<dialogue>- Well, if you owe me, git your ass in the trunk.</dialogue>
<character>BEAUMONT</character>
<dialogue>- I wan na help you, but I do n't wan na be locked in the trunk of no car.</dialogue>
<character>ORDELL</character>
<dialogue>You think I wanted to spend ten thousand dollars on your ass?</dialogue>
<scene_description>Beaumont starts to speak -</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Answer the question, nigga. Do you think I wanted to spend the thousand dollars on your ass? Yes or no?</dialogue>
<character>BEAUMONT</character>
<dialogue>Course you did n't.</dialogue>
<character>ORDELL</character>
<dialogue>But the only way to help you was to do that, so I did it.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Okay, how ` bout this? After we're through fuckin' with these Koreans, I take you to Roscoe's Chicken and Waffles. My treat.</dialogue>
<scene_description>Beaumont smiles . So does Ordell .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Just think, man. That Scoe's special, smothered in gravy and onions. Get a side of red beans and rice. Uuuuummmmm, that's some good eatin'.</dialogue>
<scene_description>Beaumont and Ordell laugh together . the Beaumont says ;</scene_description>
<character>BEAUMONT</character>
<dialogue>Now exactly how long I got ta be in this motherfucker.</dialogue>
<scene_description>TRUNK Beaumont in the trunk , holding the shotgun . The trunk lid is SLAMMED closed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. / INT. OLDSMOBILE - NIGHT</stage_direction>
<scene_description>Ordell walks around the car , climbs into the plush interior of the Olds and turns on the engine . It comes to life with a SOFT RUMBLE . He puts a tape in the player inside the dash . The tape is labeled `` ORDELL 'S JAMS . '' Cool , old - school R&B fills the cab . Ordell cruises , moving his head to the rhythm and mouthing the words . He drives for awhile , just groovin ' on the music . then stops . Ordell switches the engine and the music off . The cab goes black . He leans over the passenger seat , opening the glovebox . A tiny light turns on when the glovebox is opened . It 's the only light in the cab . Ordell leaves it on . In silence he takes one glove out and puts it on his right hand . Then with his gloved hand , reaches in the glovebox and pulls out a five - shot .38 snubby . He closes the glovebox . The cab goes black .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLDSMOBILE - NIGHT</stage_direction>
<scene_description>The Olds is parked out in the middle of some urban nowhere . Ordell gets out , sticks the snubby in his pants , and walks to the back of the Olds . He sticks his key in the trunk and says ;</scene_description>
<character>ORDELL</character>
<dialogue>Do n't worry. It's just me.</dialogue>
<scene_description>The trunk opens . Beaumont is hunched on his side with the shotgun .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I was wondering. Did any federal people come visit you in jail and I should be watching my ass?</dialogue>
<scene_description>Beaumont does n't say anything .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You would n't tell me if they did and I would n't blame you.</dialogue>
<scene_description>Ordell takes the snubby out of his pants . Beaumont quick - racks the pump shotgun , pulls the trigger , and hears the click you hear from an empty weapon . He racks it again , CLICK then BAM . Beaumont is shot hard in the chest . He goes back into he trunk . Ordell puts one more shot in his head , BAM , tosses the weapon on top of the dead body and closes the trunk . Ordell 's Beaumont problem is solved . He climbs back into the cab , turns on the engine . We hear the old - school R&B song come back on , but VERY LOW . Ordell drives the Olds away .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL - NIGHT</stage_direction>
<scene_description>Louis sits on a bed in a flophouse motel room , flipping from one channel to another with a remote control , drinking cocktails from a can . The phone rings . He answers it .</scene_description>
<character>LOUIS</character>
<dialogue>Hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. OLDSMOBILE (PARKED) - NIGHT</stage_direction>
<scene_description>Ordell is sitting parked in the comfy - cozy cab of the Olds , listening to soul music with his tiny cellular phone next to his ear .</scene_description>
<character>ORDELL</character>
<dialogue>Louis, my man. Watcha doin'?</dialogue>
<character>LOUIS</character>
<dialogue>Oh, I dunno. Watching TV.</dialogue>
<character>ORDELL</character>
<dialogue>Whatcha watchin'?</dialogue>
<character>LOUIS</character>
<dialogue>Nothin' really. Just kinda goin' back and forth. They had some black girl from some black show on Jay Leno. I watched that for a bit, but I kept flippin channels cause I did n't know who she was.</dialogue>
<character>ORDELL</character>
<dialogue>Guess where I am?</dialogue>
<character>LOUIS</character>
<dialogue>I dunno.</dialogue>
<character>ORDELL</character>
<dialogue>I know you do n't know. I said guess.</dialogue>
<character>LOUIS</character>
<dialogue>The moon - I dunno</dialogue>
<character>ORDELL</character>
<dialogue>I'm talkin' to you from the comfy - cozy interior of an Oldsmobile parked outside your nasty - ass welfare motel.</dialogue>
<character>LOUIS</character>
<dialogue>You're outside?</dialogue>
<character>ORDELL</character>
<dialogue>Uh - huh.</dialogue>
<character>LOUIS</character>
<dialogue>C'mon in.</dialogue>
<character>ORDELL</character>
<dialogue>Naw, man. I just told you, I'm comfortable. I ai n't about to walk into that roach motel and get uncomfortable. You bring your ass out here.</dialogue>
<character>LOUIS</character>
<dialogue>I'm in my underwear.</dialogue>
<character>ORDELL</character>
<dialogue>Then put your goddam drawers on, and get your ass out here. I got somethin' to show you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL - NIGHT</stage_direction>
<scene_description>Louis , having just thrown on some pants , walks outside his room and sees Ordell 's big , black Oldsmobile parked in front of the motel . As he approaches , the power window on the driver 's side comes down , revealing a comfortable Ordell sitting back in his seat looking up at Louis .</scene_description>
<character>ORDELL</character>
<dialogue>You know what your problem is, Louis?</dialogue>
<scene_description>Louis does n't say anything , he just puts his hands in his pockets .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You think you're a good guy. When you go into a deal you do n't go in prepared to take that motherfucker all the way. You go in looking for a way out. And it ai n't cause you're scared neither. It's cause you think you're a good guy, and you think there's certain things a good guy wo n't do. That's where we're different, me and you. Cause me, once I decide I want something, aint a goddam motherfuckin' thing gon na stop me from gittin' it. I got ta use a gun get what I want, I'm gon na use a gun. Nigga gets in my way, nigga gon na get removed. Understand what I'm saying?</dialogue>
<scene_description>CLOSEUP : KEY GOING INTO TRUNK Trunk opens showing Beaumont shot in the chest with half his head blown off . Louis looks inside , see Beaumont , looks at Ordell , then back to Beaumont . Ordell closes the trunk .</scene_description>
<character>LOUIS</character>
<dialogue>Who was that?</dialogue>
<character>ORDELL</character>
<dialogue>That was Beaumont.</dialogue>
<character>LOUIS</character>
<dialogue>Who was Beaumont?</dialogue>
<character>ORDELL</character>
<dialogue>An employee I had to let go.</dialogue>
<character>LOUIS</character>
<dialogue>What did he do?</dialogue>
<character>ORDELL</character>
<dialogue>He put himself in a situation where he was gon na have to do ten years in the penetentiary, that's what he did.</dialogue>
<parenthetical>( taking out a Viceroy and lighting it up . )</parenthetical>
<dialogue>And if you know Beaumont, you know there aint no way in hell he can do no ten years. And if you know that, you know Beaumont's gon na go any goddam thing Beaumont can to keep from doin' those ten years including telling the Federal government everything they want to know about my ass. Now that, my friend, is a clear case of him or me. And you best believe it aint gon na be me. You know what I'm sayin'? You gon na come in on this with me, you got ta be prepared to go all the way. I got me so far over a half - a - million dollars sittin' in lockboxes in a bank in Cabo San Lucas. Me and Mr. Walker make us one more delivery, I'm gon na have me over a million. You think I'm gon na let this little cheese eatin' nigga here fuck that up? Shit, you better think again. ` Fore I let this deal get fucked up, I'll shoot that nigga in the head, and ten niggas look just like em.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Understand what I'm sayin'?</dialogue>
<character>LOUIS</character>
<dialogue>Yeah.</dialogue>
<character>ORDELL</character>
<dialogue>So we on the same page then?</dialogue>
<character>LOUIS</character>
<dialogue>I follow.</dialogue>
<scene_description>Ordell smiles -LRB- not his hustler smile , but a genuine smile -RRB- . Louis grins . They both bump fists . `` JACKIE BROWN '' The sound of airplanes landing and taking off can be heard underneath this .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOS ANGELES INTERNATIONAL AIRPORT - DAY</stage_direction>
<scene_description>A SUBTITLE reads : `` LOS ANGELES INTERNATIONAL AIRPORT PARKING GARAGE '' We look down a row of cars in an enclosed parking garage at LAX . Jackie Brown , the Cabo Air stewardess from the opening credits , walks into frame . We dolly behind her as she walks down the row of cars .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Miss Brown.</dialogue>
<scene_description>She turns towards the voice/camera . Young plainclothes cop , MARK DARGUS , walks up to her , holding open his I.D. case .</scene_description>
<character>DARGUS</character>
<dialogue>Hi, I'm Detective Mark Dargus. L.A.P.D. can I ask what you have in that bag?</dialogue>
<character>JACKIE</character>
<dialogue>The usual things. I'm a flight attendant with Cabo Air.</dialogue>
<scene_description>Young plainclothes cop RAY NICOLET , enters the scene .</scene_description>
<character>NICOLET</character>
<dialogue>Can I be of some assistance?</dialogue>
<scene_description>As Jackie pulls the cigarettes -LRB- Davidoffs -RRB- from her purse , she says to Ray ;</scene_description>
<character>JACKIE</character>
<dialogue>I doubt it.</dialogue>
<parenthetical>( to Dargus . )</parenthetical>
<dialogue>Who's your friend?</dialogue>
<character>DARGUS</character>
<dialogue>This is Special Agent Ray Nicolet with Alcohol, Tobacco, and Firearms. Would you mind if we looked in that bag?</dialogue>
<scene_description>Jackie lights her cigarette with a yellow Bic lighter .</scene_description>
<character>JACKIE</character>
<dialogue>Would I mind? Do I have a choice?</dialogue>
<character>DARGUS</character>
<dialogue>You have the right to say `` no.'' And I have the right to make you wait here with Ray while I go get a warrant. And if I do n't want to go through all that trouble, I could just take you in on suspicion.</dialogue>
<character>JACKIE</character>
<dialogue>Suspicion of what?</dialogue>
<character>NICOLET</character>
<dialogue>All he wants to do is peek in your bag. I'll watch he does n't take anything.</dialogue>
<scene_description>Jackie shrugs and says ;</scene_description>
<character>JACKIE</character>
<dialogue>Go ahead.</dialogue>
<scene_description>Dargus lays the flight bag on the pavement , gets down on his haunches , and starts feeling through her things . CLOSEUP FLIGHT BAG A soiled blouse , uniform skirt , - then a manila envelope , a fat one , nine - by - twelve . Jackie watches him straighten the clasp . ENVELOPE Opens it . Out drops several packets of one hundred dollar bills secured with rubberbands . Nicolet whistles . Dargus looks up at her .</scene_description>
<character>DARGUS</character>
<dialogue>I'd say there's about, oh, fifty thousand dollars here. What would you say Ray?</dialogue>
<character>NICOLET</character>
<dialogue>That looks like fifty thousand dollars from here.</dialogue>
<scene_description>JACKIE Not saying anything at the moment .</scene_description>
<character>DARGUS</character>
<dialogue>This is your money?</dialogue>
<character>JACKIE</character>
<dialogue>If I were to tell you `` no it is n't.''</dialogue>
<scene_description>Dargus smiles .</scene_description>
<character>DARGUS</character>
<dialogue>You should know if you bring in anything over ten thousand you have to declare it. You forgot or what? You could get a two hundred and fifty thousand dollar fine, plus two years in prison. Now you want to talk to us about it, or you want to talk to Customs?</dialogue>
<character>JACKIE</character>
<dialogue>I'm not saying another word.</dialogue>
<character>NICOLET</character>
<dialogue>Listen, Jackie, Hope you do n't mind if I call you Jackie. They're a bunch of fuckin' pricks in Customs. Something about that job makes them kinda hard to get along with. Now, do you want to talk with a bunch of suspicious, disagreeable people like them, or a couple good - hearted guys like Mark and myself.</dialogue>
<scene_description>Nicolet smiles . CLOSEUP JACKIE Does n't smile back . CLOSEUP JACKIE Sitting in a chair facing the two offscreen detectives . Jackie lights up a cigarette . We do n't leave the CLOSEUP until noted .</scene_description>
</scene>
<scene>
<stage_direction>INT. DARGUS OFFICE - DAY</stage_direction>
<character>DARGUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey, this is my office. There's no smoking.</dialogue>
<character>JACKIE</character>
<dialogue>Arrest me.</dialogue>
<scene_description>Nicolet laughs O.S.</scene_description>
<character>DARGUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>We could, smart ass. or we could work out what's known as a Substantial Assistance Agreement. That is if you're willing to cooperate. Tell us who gave you the money and who you're giving it to.</dialogue>
<scene_description>Jackie does n't sat anything . she just smokes .</scene_description>
<character>NICOLET</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You got a good lawyer?</dialogue>
<character>DARGUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Can she afford a good one is the question. Otherwise she'll be in Sybill Brand three weeks easy before the Public Defender gets around to her.</dialogue>
<character>NICOLET</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Ever heard of a fella named Beaumont Livingston?</dialogue>
<scene_description>Not a word .</scene_description>
<character>NICOLET</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>Do n't know Beaumont? That's funny'cause Beaumont knows you. Well he did know you, Beaumont was found in the trunk of a car - dead. Shot twice. Once in the head and once in the chest.</dialogue>
<scene_description>Jackie , she puts the `` ool '' in `` cool . ''</scene_description>
<character>NICOLET</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>I had the chance to talk to Beaumont yesterday. You see, like you, Beaumont found himself in some hot water. He was looking at ten years he was pretty sure he did n't want to do and was understandably concerned. Now maybe you do n't know Beaumont, but Beaumont knew you, and maybe so does the guy who blew Beaumont's head off.</dialogue>
<scene_description>Not a word .</scene_description>
<character>DARGUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>If you do n't want to talk to us, I guess we'll just have to hand you over to Customs.</dialogue>
<scene_description>Jackie puts out her cigarette .</scene_description>
<character>JACKIE</character>
<dialogue>Okay, let's go.</dialogue>
<scene_description>She stares down the cops . DARGUS AND NICOLET We cut to the detective and the special agent for the first time in the scene .</scene_description>
<character>DARGUS</character>
<dialogue>You know, Miss Brown, there's basically three types of people that we come along in the performance of our duty. One is, INNOCENT PEOPLE. Victims, witnesses, innocent bystanders. You ai n't any of these. Then there's two ; CRIMINALS. These sonabitches have dedicated their lives to a life outside the law. That ai n't you either. Where you belong is the third category. The category we refer to as LOSERS.</dialogue>
<scene_description>Jackie 's eyes do n't even narrow at the insult . She just says without expression ;</scene_description>
<character>JACKIE</character>
<dialogue>I'm not a loser.</dialogue>
<character>DARGUS</character>
<dialogue>Oh, you're both? In 1985 you were flying for TWA and got busted for carrying drugs. You were carrying them for a pilot husband of yours. He did time and you got off. But that ended your career with the big airlines. Cut to thirteen years later. You're forty - four years of age. You're flying for the shittiest little shuttle - fucking piece of shit Mexican airline that there is. Where you make a whopping twelve - thousand dollars a year. That ai n't a hulluva lot to show for a twenty year career. And to top it off, you're going to jail. Now true, the judge, even with your prior, will probably only give you a year or two. But this does n't seem like the time of life you got years to throw away.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Now, we do n't like trying losers like they're criminals. But in the absence of a criminal, we will try you. Now, was n't this money given to you by an American living in Mexico by the name of Cedric Walker?</dialogue>
<scene_description>Jackie remains unmoved by this monologue . Nicolet joins back in .</scene_description>
<character>NICOLET</character>
<dialogue>You know, ol' Beaumont was n't much for talkin', either. Yeah, he told us about you and Mr. Walker, but whoever the hell it was he worked for out here, he would n't say. Could it be the same person you were supposed to deliver this money to?</dialogue>
<scene_description>Jackie just stares at them , saying nothing . Dargus sits behind his desk , with Jackie 's flight bag on it .</scene_description>
<character>DARGUS</character>
<dialogue>I'd like your permission to open this again. So we'll know exactly how much money we're talkin' about here.</dialogue>
<scene_description>Jackie gets up from her chair , walks over to the desk , unzips the bag , takes out the manila envelope and drops it on the desk .</scene_description>
<character>JACKIE</character>
<dialogue>Help yourself.</dialogue>
<character>DARGUS</character>
<dialogue>While you're at it, let me see what else is in there. You mind?</dialogue>
<scene_description>She reaches in the bag and brings out a pocketbook .</scene_description>
<character>JACKIE</character>
<dialogue>My pocketbook.</dialogue>
<character>DARGUS</character>
<dialogue>What's in it?</dialogue>
<character>JACKIE</character>
<dialogue>Beauty products.</dialogue>
<scene_description>Nicolet takes the manila envelope .</scene_description>
<character>NICOLET</character>
<dialogue>I'll count the money.</dialogue>
<scene_description>Dargus points at a clear plastic bag with pills and packets in it .</scene_description>
<character>DARGUS</character>
<dialogue>What's this?</dialogue>
<character>JACKIE</character>
<dialogue>That's my diet shit.</dialogue>
<scene_description>Nicolet takes out the bills from the envelope .</scene_description>
<character>DARGUS</character>
<dialogue>Let's see what else is in there.</dialogue>
<scene_description>Nicolet takes the bills and looks inside the envelope . His expression changes to a shit - eating grin .</scene_description>
<character>NICOLET</character>
<dialogue>Oh, Miss Brown?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah?</dialogue>
<scene_description>Nicolet pulls out a clear cellophane sandwich bag with a half - inch or so of white powder inside .</scene_description>
<character>NICOLET</character>
<dialogue>And what would this be, Sweet and Low?</dialogue>
<character>JACKIE</character>
<dialogue>What the fuck is that shit?</dialogue>
<character>NICOLET</character>
<dialogue>I know what it looks like.</dialogue>
<character>JACKIE</character>
<dialogue>You planted that shit on me.</dialogue>
<scene_description>Nicolet and Dargus laugh at that .</scene_description>
<character>JACKIE</character>
<dialogue>Look, that shit ai n't mine.</dialogue>
<character>NICOLET</character>
<parenthetical>( to Dargus . )</parenthetical>
<dialogue>It is n't enough for Trafficking, but how ` bout Posession with the Intent to Distribute?</dialogue>
<character>DARGUS</character>
<dialogue>Oh, I would n't be so sure. What with all the cash, I think I could go with Conspiracy to Traffic.</dialogue>
<character>JACKIE</character>
<dialogue>I'm tellin' you, I do n't know nothin' about that fuckin' shit.</dialogue>
<character>NICOLET</character>
<dialogue>Well then, Miss Brown. Why do n't you have a seat and tell us who might know something about this fuckin' shit.</dialogue>
<scene_description>Jackie just looks at the two grinning Cheshire cats as the balance of power rolls over on her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TORRANCE MUNICIPAL COURTHOUSE - DAY</stage_direction>
<scene_description>A Los Angeles County Jail bus pulls up behind the Torrance Court House .</scene_description>
</scene>
<scene>
<stage_direction>INT. COUNTY JAIL BUS - DAY</stage_direction>
<scene_description>Jackie , now wearing County Jail blues , sits next to another BLACK WOMAN . Their hands cuffed together . The bus stops . A rough - looking FEMALE COUNTY SHERIFF unlocks the gate that encloses the prisoners . Then explains in a you - better - do - exactly - what - I - say manner , how they 're going to leave the bus .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTY JAIL BUS - DAY</stage_direction>
<scene_description>MANY WOMEN , including Jackie , all wearing county blues and handcuffed to each other , exit the bus . The SHERIFFS lead them into the back entrance to the court house .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY COURTHOUSE - DAY</stage_direction>
<scene_description>Dargus and Nicolet confer with the PUBLIC DEFENDER , an attractive blonde woman in a nice business suit .</scene_description>
<character>DARGUS</character>
<dialogue>If she'll cooperate with us, we'll turn possession with intent into plain ol' Possession, and she can bond outta here for one thousand bucks. If she does n't help us, we'll go for the Intent and request a twenty - five - thousand dollar bond.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURTROOM - DAY</stage_direction>
<scene_description>Jackie and the Public Defender . Jackie , in her county blues ; Public Defender in her nice suit .</scene_description>
<character>JACKIE</character>
<dialogue>You tell those guys they'll have to do one helluva lot better than that before I'll even say ` hi' to them.</dialogue>
<character>PUBLIC DEFENDER</character>
<dialogue>Well, that's the State's offer. If you plead to possession and tell L.A.P.D. what they want to know, your bond will be set at one - thousand dollars. If you do n't, L.A.P.D. will request one at twenty - five thousand based on your prior record and risk of flight. If you do n't post it or do n't know anyone who can, you'll spend six to eight weeks in County before your arraignment comes up.</dialogue>
<character>JACKIE</character>
<dialogue>Who's side are you on?</dialogue>
<character>PUBLIC DEFENDER</character>
<dialogue>I beg your pardon?</dialogue>
<character>JACKIE</character>
<dialogue>What if I plead guilty?</dialogue>
<character>PUBLIC DEFENDER</character>
<dialogue>And cooperate? You might get probation.</dialogue>
<character>JACKIE</character>
<dialogue>If I do n't cooperate?</dialogue>
<character>PUBLIC DEFENDER</character>
<dialogue>With the prior? You could get anywhere from a year to five depending on the judge. You want to think about it? You got two minutes before we're up.</dialogue>
<scene_description>COURT IN SESSION It 's a full schedule in court today . Jackie sits with a bunch of other females wearing county blues in the defendant 's area -LRB- where the jury sits during a jury trial -RRB- Dargus and Nicolet sit in the courtroom . The JUDGE reads the next case .</scene_description>
<character>JUDGE</character>
<dialogue>Brown. Case number 700324.</dialogue>
<scene_description>Jackie rises amongst the other defendants . The P.D. rises . Dargus , the arresting officer , rises .</scene_description>
<character>JUDGE</character>
<dialogue>The charge is possession of Narcotics with the Intent to Distribute. How does your client plead?</dialogue>
<character>PUBLIC DEFENDER</character>
<dialogue>She wishes to stand mute, your honor.</dialogue>
<character>JUDGE</character>
<dialogue>Very well.</dialogue>
<parenthetical>( to Dargus . )</parenthetical>
<dialogue>. Detective Dargus - You're the arresting officer in his case, correct?</dialogue>
<character>DARGUS</character>
<dialogue>That's correct, your honor.</dialogue>
<character>JUDGE</character>
<dialogue>You have a recommendation for bail?</dialogue>
<character>DARGUS</character>
<dialogue>Yes, I do, your honor. Based on the defendant's prior conviction and the extreme possibility of flight due to her occupation, the State requests a bond of no less than twenty - five thousand.</dialogue>
<scene_description>The Judge looks at the report , then at Jackie .</scene_description>
<character>JUDGE</character>
<dialogue>I'll set bond at ten thousand and set the date of August 14th for the arraignment.</dialogue>
<character>JACKIE</character>
<dialogue>When is that, your honor?</dialogue>
<character>JUDGE</character>
<dialogue>That's six weeks from now, Miss Brown. We'll continue this matter then. Owens, case 72242.</dialogue>
<scene_description>Jackie sits down . Dargus sits down next to Nicolet . They smile and giggle together . Jackie sees them giggle like fifth graders . It fucking pisses her off . DIFFERENT PERSPECTIVE We go from a CLOSEUP of a boiling Jackie , to a perspective from the back of the courtroom . We see Jackie in the defendant 's area . We see the two happy detectives walk past us on their way out of the courtroom . ORDELL Sits in the back , watching the proceedings without any expression . When he 's seen enough , he stands up and out of the shot leaving an EMPTY FRAME . FADE TO BLACK TITLE CARD `` MAX CHERRY ''</scene_description>
</scene>
<scene>
<stage_direction>INT. MAX CHERRY'S OFFICE - DAY</stage_direction>
<scene_description>The bathroom door in Max 's office . We hear a toilet flush behind it . The door opens , and Max Cherry emerges , zipping up his pants with a TV guide in his hand . He looks up and stops dead . Ordell sitting oh - so comfortably in the chair in front of Max 's desk .</scene_description>
<character>ORDELL</character>
<dialogue>Unh. unh. unh. I di n't hear you wash your hands.</dialogue>
<scene_description>Max looks at Ordell , then takes his place behind his desk .</scene_description>
<character>MAX</character>
<dialogue>Comfortable?</dialogue>
<character>ORDELL</character>
<dialogue>The door was opened, so I just came right in.</dialogue>
<character>MAX</character>
<dialogue>I can see that. Why?</dialogue>
<character>ORDELL</character>
<dialogue>I got some more business for ya.</dialogue>
<character>MAX</character>
<dialogue>Oh, yeah? What did he do?</dialogue>
<character>ORDELL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>She is an airline stewardess. Got caught coming back from Mexico with some blow. They set her bond this afternoon at ten thousand. Now, what I was thinkin', you could use the ten thousand you owe me from Beaumont and move it over on to the stewardess.</dialogue>
<character>MAX</character>
<dialogue>The bond for possession is only a thousand.</dialogue>
<character>ORDELL</character>
<dialogue>They fuckin' wit' her. They callin' it Possession with Intent. A black woman in her forties gets busted with less than two ounces on her, they call that shit Intent. Same shit happened to a movie star. It's Possession.</dialogue>
<character>MAX</character>
<dialogue>It still sounds high.</dialogue>
<character>ORDELL</character>
<dialogue>She had, I believe it was. fifty grand on her, too. There was a cop at the hearing. Young guy with L.A.P.D. wanted her bond set at twenty - five thousand, saying there was a risk of flight. Jackie being a stewardess and all.</dialogue>
<character>MAX</character>
<dialogue>Before we start talking about stewardess, let's get Beaumont out of the way first.</dialogue>
<scene_description>Sitting back in the chair - almost grinning - but not quite .</scene_description>
<character>ORDELL</character>
<dialogue>Somebody already did.</dialogue>
<character>MAX</character>
<dialogue>What?</dialogue>
<character>ORDELL</character>
<dialogue>You did n't hear?</dialogue>
<character>MAX</character>
<dialogue>Hear what?</dialogue>
<character>ORDELL</character>
<dialogue>Somebody with a grudge blew Beaumont's brains out - hey, that rhymes - blew Beaumont's brains out.</dialogue>
<character>MAX</character>
<dialogue>Did the police contact you?</dialogue>
<character>ORDELL</character>
<dialogue>Very first motherfuckin' thing they did. They see I put up a big money bond on my boy, they start thinking with that where - there's - smoke - there's fire logic. They roust my ass outta bed, ten o'clock in the morning. Fuckin' scare my woman, Sherona, half to death. She thought they were gon na take my ass away for sure.</dialogue>
<character>MAX</character>
<dialogue>The stewardess. Do you know her last name?</dialogue>
<character>ORDELL</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Brown, Jackie Brown.</dialogue>
<character>MAX</character>
<dialogue>What does she do for you?</dialogue>
<character>ORDELL</character>
<dialogue>Who says she does anything for me? She's my friend. When my friends get into trouble, I like to help'em out.</dialogue>
<character>MAX</character>
<dialogue>Beaumont worked for you.</dialogue>
<character>ORDELL</character>
<dialogue>That's what the police thought. I told them I'm unemployed, how could I have anybody work for me? Now I bail out Jackie, I'm liable to have the police on me again, huh? Wanting to know was she doing things for me, was she bringing me that money!</dialogue>
<character>MAX</character>
<dialogue>Was she?</dialogue>
<character>ORDELL</character>
<dialogue>Is this, me and you, like a lawyer - client relationship? The lawyer ca n't tell nothing he hears?</dialogue>
<character>MAX</character>
<dialogue>You're not my client until you get busted and I bond you out.</dialogue>
<character>ORDELL</character>
<dialogue>If there's no - what do you call it - confidentiality between us? Why would I tell you anything?</dialogue>
<character>MAX</character>
<dialogue>Cause you want me to know what a slick guy you are. You got stewardesses bringing you fifty grand.</dialogue>
<character>ORDELL</character>
<dialogue>Why would a stewardess bring me fifty grand?</dialogue>
<character>MAX</character>
<dialogue>You want me to speculate on what you do. I'd say you're in the drug business, except the money's moving in the wrong direction. Whatever you're into, you seem to be getting away with it, so more power to you. Okay you want another bond, and you want to move over the ten thousand you put down on Beaumont to the stewardess. That means paperwork. I have to get a death certificate, present it to the court, fill out a receipt for return of bond collateral, then type up another application. An indemnity agreement -</dialogue>
<character>ORDELL</character>
<dialogue>- Jackie aint got time for all that shit -</dialogue>
<character>MAX</character>
<dialogue>- I'm telling you what I have to do. What you have to do, in case you forgot, is come up with premium of a thousand bucks.</dialogue>
<character>ORDELL</character>
<dialogue>I got it. I just do n't got it on me.</dialogue>
<character>MAX</character>
<dialogue>Well, come back when you do, and I'll bond out the stewardess.</dialogue>
<character>ORDELL</character>
<dialogue>Man, you know I'm good for it. Thousand bucks ai n't shit.</dialogue>
<character>MAX</character>
<dialogue>If I do n't see it in front of me, you're right. It ai n't shit.</dialogue>
<character>ORDELL</character>
<dialogue>Man, you need to look at this with a little compassion. Jackie ai n't no criminal. She ai n't used to this kinda treatment. I mean, gangsters do n't give a fuck - but for the average citizen, coupla nights in County fuck with your mind.</dialogue>
<character>MAX</character>
<dialogue>Ordell, this is n't a bar, an you do n't have a tab.</dialogue>
<character>ORDELL</character>
<dialogue>Just listen for a second. We got a forty - year - old, gainfully employed black woman, falsely accused -</dialogue>
<character>MAX</character>
<dialogue>Falsely accused? She did n't come back from Mexico with cocaine on her?</dialogue>
<character>ORDELL</character>
<dialogue>Falsely accused of Intent. If she had that shit - and mind you, I said `` if'' - it was just her shit to get high with.</dialogue>
<character>MAX</character>
<dialogue>Is white guilt supposed to make me forget I'm running a business?</dialogue>
<scene_description>Ordell gives up and takes an envelope out of his pocket .</scene_description>
<character>ORDELL</character>
<dialogue>Okay, man. I got your money. But do n't you ever ask me for no fuckin' favor.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX'S CADILLAC (MOVING) - NIGHT</stage_direction>
<scene_description>It 's early evening ; and Max 's powder - blue Seville is driving to the County Jail with a client , a young Hispanic woman of twenty named ANITA .</scene_description>
<character>MAX</character>
<dialogue>Tomorrow I'll talk to your probation officer. Karen's a good kid, but she's mad at you, because you lied to her. This business about your grandmother's funeral</dialogue>
<character>ANITA</character>
<dialogue>I went. I did. I took my mother and little brother.</dialogue>
<character>MAX</character>
<dialogue>But you did n't ask permission. You broke a trust. If you had asked, Karen probably would have let you. I'm sure she would.</dialogue>
<character>ANITA</character>
<dialogue>I know. That's why I went.</dialogue>
<character>MAX</character>
<dialogue>But then you told her you were home.</dialogue>
<character>ANITA</character>
<dialogue>Sure,'cause I did n't ask her if I could go.</dialogue>
<scene_description>Max gives up .</scene_description>
<character>MAX</character>
<dialogue>I do n't know. Maybe it's a language problem.</dialogue>
<parenthetical>( getting stern . )</parenthetical>
<dialogue>Anita, you ever cause this much heartache over something that could easily be avoided, I'll never write you again. You understand?</dialogue>
<character>ANITA</character>
<dialogue>I understand.</dialogue>
<character>MAX</character>
<dialogue>I mean it. I do n't care how many times your mother calls or how much she cries.</dialogue>
<scene_description>Like an exasperated teenager .</scene_description>
<character>ANITA</character>
<dialogue>I understand.</dialogue>
<character>MAX</character>
<dialogue>Then say `` Yes, Max. I understand.''</dialogue>
<character>ANITA</character>
<dialogue>Yes, Max, I understand.</dialogue>
</scene>
<scene>
<stage_direction>INT. L.A. COUNTY JAIL - NIGHT</stage_direction>
<scene_description>POV THROUGH A WIRE MESH CAGE Max and Anita , side by side . Anita 's hands are cuffed behind her back .</scene_description>
<character>MAX</character>
<dialogue>Dropping off and picking up. Dropping of Lopez, Anita. Picking up Brown, Jackie.</dialogue>
<scene_description>We 're at the admitting desk of the L.A. County Jail . Max undoes Anita 's handcuffs , while a SHERIFF waits to take her away .</scene_description>
<character>ANITA</character>
<dialogue>So you're gon na call Karen tomorrow?</dialogue>
<character>MAX</character>
<dialogue>I'll call her.</dialogue>
<character>ANITA</character>
<dialogue>Wo n't forget?</dialogue>
<character>MAX</character>
<dialogue>I wo n't forget.</dialogue>
<scene_description>She kisses Max on the cheek and the Sheriff takes her away .</scene_description>
<character>ANITA</character>
<dialogue>Thanks, Max. See you later.</dialogue>
<scene_description>Max puts the cuffs away , sits on a bench , takes out a Len Deighton paperback and begins to read . FADE TO BLACK MAX Still reading his novel . We hear offscreen , a SHERIFF 'S voice .</scene_description>
<character>SHERIFF</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Max! Here she comes.</dialogue>
<scene_description>Max puts his book down and see - Jackie being led into the Admitting Area by TWO SHERIFFS . She 's wearing her stewardess uniform and carrying a small envelope with her belongings in it and her shoes . When Max was imagining a woman in her forties , he had someone with a bit of wear and tear on them in mind . But this Jackie Brown 's a knockout . As he watches her , she steps out of the County Jail slippers she was wearing and slips into her shoes . He approaches , handing her his card .</scene_description>
<character>MAX</character>
<dialogue>Miss Brown. I'm Max Cherry. I'm your bail bondsman.</dialogue>
<scene_description>She takes the card and shakes his hand saying nothing .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I can give you a lift home if you'd like?</dialogue>
<character>JACKIE</character>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX'S CADILLAC - NIGHT</stage_direction>
<scene_description>Max puts his key in the ignition , when Jackie asks ;</scene_description>
<character>JACKIE</character>
<dialogue>Are you really a bail bondsman?</dialogue>
<character>MAX</character>
<dialogue>Who do you think I am?</dialogue>
<scene_description>She does n't answer .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I gave you my card there.</dialogue>
<character>JACKIE</character>
<dialogue>Can I see your I.D?</dialogue>
<character>MAX</character>
<dialogue>You're serious?</dialogue>
<scene_description>She waits . Max digs the case out of his pocket , hands it to her , then reaches up and turns on the light above them for her to see . MAX 'S ID : SURETY AGENT LICENSED BY THE STATE OF CALIFORNIA</scene_description>
<character>JACKIE</character>
<dialogue>Who put up my bond? Ordell?</dialogue>
<character>MAX</character>
<dialogue>In cash.</dialogue>
<scene_description>She looks straight ahead . Max shifts into drive . Max rolls down his window at the front gate . A DEPUTY comes out of the gatehouse and hands through the window Max 's .38 revolver , cylinder opened . Max hands the Deputy his pass in exchange for the gun , says `` thanks '' , then puts the .38 in his glovebox in front of Jackie . He drives on . MAX AND JACKIE -LRB- MOVING -RRB-</scene_description>
<character>JACKIE</character>
<dialogue>Can we stop for cigarettes?</dialogue>
<character>MAX</character>
<dialogue>Sure, ever been to the Riverbottom?</dialogue>
<character>JACKIE</character>
<dialogue>I do n't think so.</dialogue>
<character>MAX</character>
<dialogue>It's okay. It's a cop hangout.</dialogue>
<character>JACKIE</character>
<dialogue>Could n't we just stop at a seven - eleven?</dialogue>
<character>MAX</character>
<dialogue>I thought you might want a drink?</dialogue>
<character>JACKIE</character>
<dialogue>I'd love one, but not there.</dialogue>
<character>MAX</character>
<dialogue>We could stop at the Hilton by the airport.</dialogue>
<character>JACKIE</character>
<dialogue>Is it dark?</dialogue>
<character>MAX</character>
<dialogue>It's kind of a sports bar</dialogue>
<character>JACKIE</character>
<dialogue>That does n't sound dark.</dialogue>
<character>MAX</character>
<dialogue>Why does it need to be dark?</dialogue>
<character>JACKIE</character>
<dialogue>'Cause I look like I just got outta jail, that's why. You droppin' me off at home, right? There's a place by me.</dialogue>
<character>MAX</character>
<dialogue>Great.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE COCKATOO INN - NIGHT</stage_direction>
<scene_description>A big neon sign of a cockatoo sits on op of a red brick inn .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE COCKATOO INN - NIGHT</stage_direction>
<scene_description>CLOSEUP - A KNOB is pulled out . Jackie picks up a pack of Mild Seven 's cigarettes from the bottom of a cigarette machine . She crosses the bar to join Max , sitting at a small table waiting for her to return . The Cockatoo Inn is just what Jackie was looking for . A dark and red cocktail lounge in Hawthorne off of Hawthorne Boulevard by the apartment where the stewardess lives -LRB- about ten minutes from LAX -RRB- The clientele of the Cockatoo is an older , black crowd and an even older white crowd who 'd been coming here years before it became a black bar . A JUKEBOX plays soft , old - school R&B . Jackie and Max sit side by side at a small table , lit by a bar candle in a red glass thing . Max drinks Bushmills over crushed ice . Jackie drinks white wine . Jackie opens her Mild Sevens , offering one to Max .</scene_description>
<character>MAX</character>
<dialogue>No thanks, I quit three years ago.</dialogue>
<scene_description>As she lights her cigarette .</scene_description>
<character>JACKIE</character>
<dialogue>You gain weight?</dialogue>
<character>MAX</character>
<dialogue>Ten pounds. I lose it and put it back on.</dialogue>
<character>JACKIE</character>
<dialogue>That's why I do n't quit. If I ca n't fly anymore, I'm gon na have a bitch of a time gettin' my brand.</dialogue>
<character>MAX</character>
<dialogue>What's your brand?</dialogue>
<character>JACKIE</character>
<dialogue>Davidoffs. I get'em in Mexico. They're hard to find here. I was locked up with the last two getting legal advice from a woman who was in for bustin' her boyfriend's head open with a baseball bat.</dialogue>
<character>MAX</character>
<dialogue>Was she helpful?</dialogue>
<character>JACKIE</character>
<dialogue>She was more helpful than the fuckin' Public Defender.</dialogue>
<parenthetical>( she takes a sip of wine . )</parenthetical>
<dialogue>I do n't know - I guess what I need is a lawyer, find out what my options are.</dialogue>
<character>MAX</character>
<dialogue>You know, I figured out the other day I've written something like' fifteen thousand bonds since I've been in the business. I'd say about eighty percent of them were at least drug related. If you want, I can help you look at your options.</dialogue>
<scene_description>Jackie takes the talk in a different direction .</scene_description>
<character>JACKIE</character>
<dialogue>You're not tired of it?</dialogue>
<character>MAX</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>I am, as a matter of fact.</dialogue>
<scene_description>A moment of silence between them , they both take drinks .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What have they told you?</dialogue>
<character>JACKIE</character>
<dialogue>So far I've been told I can cooperate and get probation, maybe. Or, I can stand mute and get as much as five years. Does that sound right?</dialogue>
<character>MAX</character>
<dialogue>I'd say if you're tried and found guilty you wo n't get more than a year and a day. That's State time. Prison.</dialogue>
<character>JACKIE</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Shit.</dialogue>
<character>MAX</character>
<dialogue>But they wo n't want to take you to trial. They'll offer you simple Possession, a few months of County time, and a year or two probation.</dialogue>
<parenthetical>( pointing to her drink . )</parenthetical>
<dialogue>How ` bout another?</dialogue>
<character>JACKIE</character>
<dialogue>Sure.</dialogue>
<scene_description>Max gestures to an older black cocktail waitress named ROWEN for two more .</scene_description>
<character>MAX</character>
<dialogue>You know who put the dope in your bag?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, but that's not what this was about. They were fuckin waitin' for my ass. They knew I had that money, they even knew the amount. The one who searched my bag, from L.A.P.D., Dargus, hardly even looked at it. `` Oh, I'd say there's fifty thousand here. What would you say?'' But all they could do was threaten me and hand me over to Customs, and I could tell they did n't want to do that.</dialogue>
<character>MAX</character>
<dialogue>They wanted you to tell them what you know.</dialogue>
<character>JACKIE</character>
<dialogue>I had'em too. I burnt those two Starky and Hutch motherfuckers down. Then their asses lucked out and found that coke.</dialogue>
<character>MAX</character>
<dialogue>What did they want to know?</dialogue>
<character>JACKIE</character>
<dialogue>Who gave me the money and who I was giving it to. And some guy they found in a trunk with his head blown off. Said it was him who told them ` bout me.</dialogue>
<scene_description>The Waitress comes with the drinks .</scene_description>
<character>ROWEN</character>
<dialogue>Can I get you two some popcorn?</dialogue>
<character>MAX</character>
<dialogue>No, thanks.</dialogue>
<scene_description>Rowen exits .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That would be Beaumont Livingston.</dialogue>
<character>JACKIE</character>
<dialogue>That's him. How do you know'em?</dialogue>
<character>MAX</character>
<dialogue>I wrote him on Monday. They found him dead on Tuesday.</dialogue>
<character>JACKIE</character>
<dialogue>Ordell pick up his bond?</dialogue>
<character>MAX</character>
<dialogue>Same as you. Ten thousand.</dialogue>
<character>JACKIE</character>
<dialogue>The federal agent kinda half hinted Ordell might of done Beaumont.</dialogue>
<character>MAX</character>
<dialogue>You mentioned a guy from L.A.P.D., but you did n't mention the Federal.</dialogue>
<character>JACKIE</character>
<dialogue>I did n't?</dialogue>
<character>MAX</character>
<dialogue>No, you did n't. What branch?</dialogue>
<character>JACKIE</character>
<dialogue>Ray Nicolet with Alcohol, Tobacco, and Firearms.</dialogue>
<scene_description>Max puts it together .</scene_description>
<character>MAX</character>
<dialogue>He's the one who wants you.</dialogue>
<character>JACKIE</character>
<dialogue>It was the other guy who busted me.</dialogue>
<character>MAX</character>
<dialogue>'Cause if he busted you, you'd play hell bonding out of federal court. He does n't want you mad at him, he wants you to tell him what you know. He uses you to get a line on Ordell, make a case, then take him federal. You know what Ordell's into?</dialogue>
<character>JACKIE</character>
<dialogue>I have a pretty good idea. Ordell aint no bootlegger and I doubt he's smugglin' Cuban cigars. So that only leaves one thing an A.T.F. man would be interested in.</dialogue>
<scene_description>Jackie waits a moment before answering , weighs things in her mind and makes a decision .</scene_description>
<character>JACKIE</character>
<dialogue>I used to bring over ten thousand at a time. That's the legal limit, so I never brought more than that.</dialogue>
<character>MAX</character>
<dialogue>How many trips did you make?</dialogue>
<character>JACKIE</character>
<dialogue>With ten thousand? Nine.</dialogue>
<character>MAX</character>
<dialogue>He's got that kinda money?</dialogue>
<character>JACKIE</character>
<dialogue>It's all in lock boxes in a Mexico bank. But he's got a problem. He's - what do you call it when you got money, but do n't have cash?</dialogue>
<character>MAX</character>
<dialogue>Cash poor?</dialogue>
<character>JACKIE</character>
<dialogue>That's it. He's cash poor. He kept on me till I finally said okay. I'll bring whatever fits in a nine - by - twelve envelope. I got paid five hundred dollars, and his friend, Mr. Walker, in Mexico gave me the envelope.</dialogue>
<character>MAX</character>
<dialogue>If you knew bringing anything over ten thousand was against the law, why not pack a hundred grand?</dialogue>
<scene_description>Jackie gets exasperated .</scene_description>
<character>JACKIE</character>
<dialogue>Whatever it was had to fit in my bag and not hit you in the face if the bag was opened. This ai n't solvin' my problem. I got ta figure out a way to either keep my job or get out of trouble. I'm of today, but if I ca n't leave the country I'm out of a job. And if I do n't got a job, I ca n't hire a lawyer.</dialogue>
<character>MAX</character>
<dialogue>Ask A.T.F.. They might give you permission.</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, if I cooperate.</dialogue>
<character>MAX</character>
<dialogue>Well, Jackie, you got caught, you're gon na have to give'em something.</dialogue>
<character>JACKIE</character>
<dialogue>But if all I can give'em is Ordell's name - I do n't really know shit about what he does or how he does it - That do n't give me much to bargain with.</dialogue>
<character>MAX</character>
<dialogue>Give'em what you got. Offer to help. Show a willingness to be helpful. You want to stay out of jail, do n't you?</dialogue>
<scene_description>Max looks at Jackie thinking about something .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What ` dya think?</dialogue>
<scene_description>CLOSEUP JACKIE</scene_description>
<character>JACKIE</character>
<dialogue>I think maybe I have more options than I thought.</dialogue>
<scene_description>CLOSEUP : ORDELL Sitting in his black Mercedes , parked across the street from Jackie 's apartment building in Hawthorne . Johnny Cash is playing inside his car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JACKIE'S APARTMENT COMPLEX - NIGHT</stage_direction>
<scene_description>ORDELL 'S POV Through the windshield , he sees Max 's powder - blue Cadillac Seville pull up to Jackie 's apartment . She gets out , ten bends down and talks to him through the window of the passenger side door . Then makes a goobye gesture and turns , walking into her apartment complex . Max drives off . ORDELL While Johnny Cash continues crooning , Ordell puts on his gloves . Then opens up his glovebox , taking out a little Targa .22 pistol . He steps out of the car , slipping the pistol into his coat pocket . We STEDICAM in front of him as he walks across the street to Jackie 's apartment . Once inside the complex , Ordell passes us and WE FOLLOW BEHIND HIM , up to Jackie 's ground - floor apartment door . He gives it a soft knock with one knuckle . He waits a moment , then Jackie opens the door .</scene_description>
<character>ORDELL</character>
<dialogue>How you doing, Ms. Jackie?</dialogue>
<character>JACKIE</character>
<dialogue>I was expecting you. Come in.</dialogue>
<scene_description>Jackie holds the door open for him .</scene_description>
</scene>
<scene>
<stage_direction>INT. JACKIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Ordell steps inside . He moves over by a halogen lamp in the living room .</scene_description>
<character>ORDELL</character>
<dialogue>You got some booze?</dialogue>
<scene_description>Jackie still standing by the door . She does n't look frightened .</scene_description>
<character>JACKIE</character>
<dialogue>I got some vodka in the freezer.</dialogue>
<character>ORDELL</character>
<dialogue>Got some o.j?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Ordell turns the halogen lamp to dim .</scene_description>
<character>ORDELL</character>
<dialogue>Well, then, why do n't you be a good hostess and make me a screwdriver?</dialogue>
<character>JACKIE</character>
<dialogue>Sure.</dialogue>
<scene_description>Jackie moves into the kitchen area . Ordell follows her , hanging in the doorway , while she makes the drink . Jackie does n't turn on the light .</scene_description>
<character>ORDELL</character>
<dialogue>You gon na thank me?</dialogue>
<scene_description>Taking a glass from the cupboard .</scene_description>
<character>JACKIE</character>
<dialogue>For what?</dialogue>
<character>ORDELL</character>
<dialogue>Who you think got your ass outta jail?</dialogue>
<scene_description>Opening the freezer and filling a glass with ice cubes and taking out vodka .</scene_description>
<character>JACKIE</character>
<dialogue>The same guy who put me in, thanks a lot.</dialogue>
<character>ORDELL</character>
<dialogue>Hey, you get caught with blow, that's our business.</dialogue>
<scene_description>Opens refrigerator , light cuts into the kitchen . She takes out orange juice , then closes the door .</scene_description>
<character>JACKIE</character>
<dialogue>It was n't mine.</dialogue>
<scene_description>Ordell has to stop and think . Jackie makes screwdriver .</scene_description>
<character>ORDELL</character>
<dialogue>Oh, shit. I bet it was that present Mr. Walker was sending Melanie. Yaaaah, he's the one musta put it in there if you did n't. Oh, man, that shit's uncalled for, baby, and I apologize. I ` magine they asked you a shitload of questions about it, huh? All that money, want to know where you got it?</dialogue>
<scene_description>Jackie does n't answer . She just walks up to Ordell handing him his yellow drink in the darkness . Ordell takes it , continues to look at Jackie .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I ` magine they asked who you givin' it to, too.</dialogue>
<character>JACKIE</character>
<dialogue>They asked.</dialogue>
<character>ORDELL</character>
<dialogue>And what was your answer?</dialogue>
<character>JACKIE</character>
<dialogue>I said I wanted to talk to a lawyer.</dialogue>
<character>ORDELL</character>
<dialogue>You positive about that? You were n't nervous and let something slip by mistake? If you did, I ai n't mad, I just got ta know.</dialogue>
<scene_description>Jackie says to his face ;</scene_description>
<character>JACKIE</character>
<dialogue>You're not asking the right questions.</dialogue>
<scene_description>Then she walks past him back to the living room . She goes over to the halogen lamp , turning the light up brighter , then moves by the door , still standing and looking at Ordell in the kitchen doorway .</scene_description>
<character>JACKIE</character>
<dialogue>Beaumont Livingston.</dialogue>
<character>ORDELL</character>
<dialogue>I knew it.</dialogue>
<character>JACKIE</character>
<dialogue>And they asked if I knew Mr. Walker.</dialogue>
<scene_description>Ordell by the halogen lamp . He turns it back to dim .</scene_description>
<character>ORDELL</character>
<dialogue>Yeah?</dialogue>
<character>JACKIE</character>
<dialogue>I did n't tell'em anything.</dialogue>
<scene_description>Ordell moves slowly towards Jackie .</scene_description>
<character>ORDELL</character>
<dialogue>My name come up?</dialogue>
<scene_description>Jackie slowly shakes her head `` no . '' Ordell directly in front of Jackie , he gently places his gloved hands on her shoulders .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You say anything about me?</dialogue>
<scene_description>Jackie shakes her head `` no . ''</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, that's mighty honorable of you.</dialogue>
<scene_description>Ordell 's gloved fingertips move up her collarbone to her throat , gently touching her skin . Jackie locks eyes with his , but still shows no fear .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This fella Beaumont, they say what happened to him?</dialogue>
<character>JACKIE</character>
<dialogue>They told me.</dialogue>
<scene_description>At this moment the film becomes a : SPLIT SCREEN On the RIGHT - HAND SIDE is Ordell with his hands barely touching Jackie 's throat . On the LEFT - HAND SIDE is Max driving home in his Seville . MAX IN CAR Max drives home , an almost moony romantic look no his face . He ca n't stop thinking about Jackie . During the night she 'd have a gleam in her eyes , the look saying ; `` WE COULD HAVE FUN '' . Unless she was appraising kinda him with the look , making a judgment and what it said was ; `` I COULD USE YOU '' . Either way it was a turn - on . Max pulls into the driveway of his small house in Torrance . ORDELL AND JACKIE</scene_description>
<character>ORDELL</character>
<dialogue>Yeah, somebody musta been real mad at Beaumont. Or they were afraid of what he might say to keep from doin some time. I ` magine from time - to - time they asked you a whole shitload of questions. And you did n't give'em no answer?</dialogue>
<scene_description>Jackie shakes her head from side to side . Ordell moves his thumbs from her collarbone to the middle of her throat .</scene_description>
<character>ORDELL</character>
<dialogue>You scared of me?</dialogue>
<scene_description>Jackie shakes her head from side to side without her eyes leaving his . Reaches over the seat</scene_description>
<character>ORDELL</character>
<dialogue>You got a reason to be nervous with me?</dialogue>
<scene_description>With his hands on Jackie 's throat , staring into the woman 's eyes , from BELOW FRAME then feels something hard the fuck against his crotch . Neither break eye contact . Ordell hears a CLICK . Ca n't believe it . MAX IN CAR Max takes his keys , then to the glove box . THE GLOVE BOX The gun is gone .</scene_description>
<character>MAX</character>
<dialogue>Where is it?</dialogue>
<scene_description>A CLOSEUP OF MAX 'S GUN IN ORDELL ORDELL 'S CROTCH</scene_description>
<character>ORDELL</character>
<dialogue>Is that what I think it is?</dialogue>
<character>JACKIE</character>
<dialogue>What do you think it is?</dialogue>
<scene_description>CLOSEUP GUN IN CROTCH</scene_description>
<character>ORDELL</character>
<dialogue>I think it's a gun pressing against my dick.</dialogue>
<character>JACKIE</character>
<dialogue>You thought right. Now take your hands from around my throat, nigga.</dialogue>
<scene_description>Ordell flashes his hustler 's smile and lets go . END OF SPLIT SCREEN Jackie turns Ordell around , gun firmly in his back , and pushes him against the wall .</scene_description>
<character>ORDELL</character>
<dialogue>What the hell you doin'?</dialogue>
<character>JACKIE</character>
<dialogue>Shut your ass up and grab the wall!</dialogue>
<scene_description>Jackie has Ordell against the wall and is frisking him the way a cop would . She finds the .22 pistol in his pocket</scene_description>
<character>ORDELL</character>
<dialogue>Now, baby, that's got nothin' to do with you. I just carry that. You been listenin' to them cops too much.</dialogue>
<character>JACKIE</character>
<dialogue>The cops did n't try and strangle my ass.</dialogue>
<character>ORDELL</character>
<dialogue>Damn, Jackie, I was just playin' with you.</dialogue>
<character>JACKIE</character>
<dialogue>Well, I ai n't playin with you. I'm gon na unload both these motherfuckers, you do n't do what I tell you. Understand what I'm saying?</dialogue>
<character>ORDELL</character>
<dialogue>Baby, I ai n't come here -</dialogue>
<scene_description>She shoves both guns in Ordell 's back .</scene_description>
<character>JACKIE</character>
<dialogue>I said, you understand what I'm saying</dialogue>
<character>ORDELL</character>
<dialogue>I understand woman, damn!</dialogue>
<character>JACKIE</character>
<dialogue>Go sit over in that chair.</dialogue>
<scene_description>Ordell moves over to a chair across from the couch . Ordell still tries bullshit .</scene_description>
<character>ORDELL</character>
<dialogue>I'm tellin' you, those cops been fuckin' wit your mind. They turn black against black, that's how they do.</dialogue>
<character>JACKIE</character>
<dialogue>Shut your raggedy ass up and sit down.</dialogue>
<scene_description>Ordell sits .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Put both hands behind our head.</dialogue>
<scene_description>Ordell does .</scene_description>
<character>ORDELL</character>
<dialogue>This shits gettin silly now.</dialogue>
<scene_description>Jackie turns the halogen lamp to light .</scene_description>
<character>JACKIE</character>
<dialogue>I got ta tell you to shut up one more time, I'm gon na shut you up.</dialogue>
<scene_description>Jackie sits down on the couch , holding a gun in each hand , both pointed dead at Ordell . A coffee table lays between them . Ordell , hands behind his head , continues to mumble .</scene_description>
<character>ORDELL</character>
<dialogue>I just came here to talk.</dialogue>
<character>JACKIE</character>
<dialogue>Way I see it, me and you only got one thing to talk about. What you willing to do for me?</dialogue>
<scene_description>Ordell looks at her a moment and says ;</scene_description>
<character>ORDELL</character>
<dialogue>Well, I can get you a good lawyer -</dialogue>
<scene_description>Jackie shakes her head `` no ! ''</scene_description>
<character>JACKIE</character>
<dialogue>Let's get realistic, baby. Sooner or later they're gon na get around to offering me a plea deal, and you know that. That's why you came here to kill me.</dialogue>
<character>ORDELL</character>
<dialogue>- Baby, I did n't -</dialogue>
<character>JACKIE</character>
<dialogue>- It's okay. I forgive you. Now, let's say if I tell on you, I walk. And if I do n't, I go to jail.</dialogue>
<scene_description>Ordell , very interested .</scene_description>
<character>ORDELL</character>
<dialogue>Yeah?</dialogue>
<character>JACKIE</character>
<dialogue>One hundred thousand put in an escrow account in my name, if I'm convicted up to a year, or put on probation. If I have to do more than a year, you pay another hundred thousand.</dialogue>
<scene_description>Ordell just takes in what the woman said .</scene_description>
<character>ORDELL</character>
<dialogue>I got a problem.</dialogue>
<character>JACKIE</character>
<dialogue>All your money's in Mexico.</dialogue>
<scene_description>Ordell has to smile at the woman .</scene_description>
<character>ORDELL</character>
<dialogue>Yeah.</dialogue>
<character>JACKIE</character>
<dialogue>I been thinkin about that, too, and I got me a idea.</dialogue>
<scene_description>DOORWAY Ordell goes through FRAME , out the door , Jackie steps into FRAME , and talks with him .</scene_description>
<character>JACKIE</character>
<dialogue>I'll talk to the cops tomorrow and tell you if it's on.</dialogue>
<character>ORDELL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Talk to you tomorrow.</dialogue>
<scene_description>Ordell leaves . Jackie shuts the door , and leaves FRAME . FADE TO BLACK OVER BLACK We hear a knock - knock on the door . SAME SHOT DORWAY Except it 's day . Jackie in a bathrobe steps into FRAME and opens the door . She says to the yet - unseen - by - camera visitor ;</scene_description>
<character>JACKIE</character>
<dialogue>You want your gun, do n't you? Come in. I'll go get it.</dialogue>
<scene_description>She leaves FRAME , and Max enters it , closing the door behind him . Max stands by the door , a little surprised and a touch pissed at the nonchalantness . As he stands on the threshold to her living room , waiting for her to return with the gun , feeling foolish , he thinks about hauling her ass back to the stockade . That 'll change her expression , he 'd bet . She returns from the bedroom , gun in hand , wearing a sort of sad smile .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Max, I'm sorry. I was afraid if I asked to borrow it you'd say no. You'd have to. Would you like some coffee?</dialogue>
<scene_description>Then , as quickly as the anger rose in Max , it dissipates completely , leaving only curiosity .</scene_description>
<character>MAX</character>
<dialogue>If you're having some.</dialogue>
<character>JACKIE</character>
<dialogue>I am. Have a seat.</dialogue>
<scene_description>Jackie head to the kitchen , making the coffee . Max sits at the dining table off of the kitchen .</scene_description>
<character>MAX</character>
<dialogue>You get a chance to use it?</dialogue>
<character>JACKIE</character>
<dialogue>I felt a lot safer having it. My milk went bad when I was in jail.</dialogue>
<character>MAX</character>
<dialogue>Black's fine.</dialogue>
<scene_description>She puts a finger in the coffeemaker and starts scooping coffee in it .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You want to hang on to it awhile? It would n't be legal, but if it makes -</dialogue>
<scene_description>Jackie goes to the sink , filling the coffee pot .</scene_description>
<character>JACKIE</character>
<dialogue>Thanks, but I have my own now.</dialogue>
<character>MAX</character>
<dialogue>You went out this morning and bought a gun?</dialogue>
<scene_description>She turns off the water .</scene_description>
<character>JACKIE</character>
<dialogue>What, I could n't hear you?</dialogue>
<character>MAX</character>
<dialogue>You went out this morning and bought a gun.</dialogue>
<scene_description>Pouring water into the coffee machine .</scene_description>
<character>JACKIE</character>
<dialogue>Let's just say I got one, okay?</dialogue>
<scene_description>She turns on the coffeemaker .</scene_description>
<character>MAX</character>
<dialogue>Somebody loan it to you?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jackie leaves the kitchen . Max 's eyes follow her to the living room .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Want to hear some music?</dialogue>
<character>MAX</character>
<dialogue>Sure.</dialogue>
<scene_description>Jackie ends her knees and goes through a stack of records leaned up against the wall on the floor .</scene_description>
<character>JACKIE</character>
<dialogue>I could n't wait till I got home last night and wash my hair.</dialogue>
<character>MAX</character>
<dialogue>It looks nice.</dialogue>
<scene_description>She finds a record , takes it out of the pile , removes the album from the sleeve , and places it on her stereo turntable .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You never got into the whole CD revolution?</dialogue>
<character>JACKIE</character>
<dialogue>I got a few. But I ca n't afford to start all over again. I got too much time and money invested in my records.</dialogue>
<scene_description>The song starts ; it 's an old romantic soul music number from the early seventies .</scene_description>
<character>MAX</character>
<dialogue>Yeah, but you ca n't get new stuff on records.</dialogue>
<scene_description>Jackie picks up her cigarettes off the coffee table .</scene_description>
<character>JACKIE</character>
<dialogue>I do n't buy new stuff that often.</dialogue>
<scene_description>Jackie enters the kitchen door frame by Max . She lights a cigarette and stands . Max listens to the soul song .</scene_description>
<character>MAX</character>
<dialogue>This is pretty.</dialogue>
<character>JACKIE</character>
<dialogue>Uh - huh.</dialogue>
<character>MAX</character>
<dialogue>Who is this?</dialogue>
<character>JACKIE</character>
<dialogue>The Delfonics.</dialogue>
<character>MAX</character>
<dialogue>76?</dialogue>
<character>JACKIE</character>
<dialogue>74, I think.</dialogue>
<character>MAX</character>
<dialogue>It's nice.</dialogue>
<scene_description>They listen for a moment .</scene_description>
<character>JACKIE</character>
<dialogue>I called in sick this morning. As far as the airline knows, I'm still available.</dialogue>
<character>MAX</character>
<dialogue>Are you?</dialogue>
<character>JACKIE</character>
<dialogue>I do n't know yet.'m going to talk with Dargus and Nicolet today. Do what you suggested. Offer to help and see what happens.</dialogue>
<character>MAX</character>
<dialogue>What I meant was have a lawyer do the negotiating for you.</dialogue>
<character>JACKIE</character>
<dialogue>I want to talk to them first. I know more now about Ordell's money.</dialogue>
<character>MAX</character>
<dialogue>Well, if the A.T.F. guy is the one who wants you, that'll only interest him up to a point.</dialogue>
<character>JACKIE</character>
<dialogue>It's a lot of money. About a half - a - million dollars. All of it in Cabo in safe deposit boxes and more comin in.</dialogue>
<character>MAX</character>
<dialogue>How'd you find that out?</dialogue>
<character>JACKIE</character>
<dialogue>He told me last night.</dialogue>
<character>MAX</character>
<dialogue>He called you?</dialogue>
<character>JACKIE</character>
<dialogue>He came by.</dialogue>
<character>MAX</character>
<dialogue>What? What'd you do?</dialogue>
<character>JACKIE</character>
<dialogue>We talked.</dialogue>
<scene_description>Jackie goes back in the kitchen . Coffee 's almost there , but not quite . She pulls down two mugs from a cabinet .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He had his doubts at first. But he's always trusted me an wants more than anything to believe he still can.</dialogue>
<character>MAX</character>
<dialogue>Why?</dialogue>
<character>JACKIE</character>
<dialogue>He needs me. Without me all that money is just gon na sit over there in Cabo. Sugar?</dialogue>
<character>MAX</character>
<dialogue>No thanks. There's got ta be other ways to get it out.</dialogue>
<scene_description>She pours the coffee .</scene_description>
<character>JACKIE</character>
<dialogue>Maybe, but'm the only one he's ever used. He ca n't trust his other people. They're crooks. He can try bringing I in himself, but Ordell sure do n't want to go through no Customs line. Either he recruits another Cabo stewardess, or he continues to trust me. I made him feel he still can.</dialogue>
<scene_description>Jackie walks to the table with the two coffee mugs and sits down .</scene_description>
<character>MAX</character>
<dialogue>How do you get it out?</dialogue>
<character>JACKIE</character>
<dialogue>Same way I been don', but first they got to let me go back to work.</dialogue>
<character>MAX</character>
<dialogue>You're gon na offer to set him up?</dialogue>
<character>JACKIE</character>
<dialogue>If I get let off. Otherwise, fuck'em.</dialogue>
<character>MAX</character>
<dialogue>It's very possible Ordell's killed somebody.</dialogue>
<character>JACKIE</character>
<dialogue>I ai n't goin' to jail, and I ai n't doin' that probation thing again.</dialogue>
<scene_description>Max watches her a moment Jackie takes a drink of coffee .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How do you feel about getting old?</dialogue>
<character>MAX</character>
<dialogue>You're not old. You look great.</dialogue>
<character>JACKIE</character>
<dialogue>I'm asking how you feel. Does it bother you?</dialogue>
<character>MAX</character>
<dialogue>It's not really something I think about.</dialogue>
<character>JACKIE</character>
<dialogue>Really?</dialogue>
<character>MAX</character>
<dialogue>Okay, I'm a little sensitive about my hair. It started falling out ten years ago. So I did something about it.</dialogue>
<character>JACKIE</character>
<dialogue>How'd you feel about it?</dialogue>
<character>MAX</character>
<dialogue>I'm fine with it, or I would n't of done it, I did it to feel better about myself, and I do. When I look in the mirror it looks like me.</dialogue>
<character>JACKIE</character>
<dialogue>It's different with men.</dialogue>
<character>MAX</character>
<dialogue>You know, I ca n't really feel too sorry for you in that department.</dialogue>
<scene_description>Jackie smiles .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>In fact, I'd make a bet that except possibly for an Afro - you look exactly the same as you did at twenty nine.</dialogue>
<scene_description>Jackie smiles into her coffee .</scene_description>
<character>JACKIE</character>
<dialogue>My ass ai n't the same.</dialogue>
<character>MAX</character>
<dialogue>Bigger?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Max smiles .</scene_description>
<character>MAX</character>
<dialogue>Nothin wrong with that.</dialogue>
<scene_description>Jackie 's smile grows bigger .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Does something else worry you?</dialogue>
<character>JACKIE</character>
<dialogue>I just feel like I'm always starting over. You said how many bonds you wrote?</dialogue>
<character>MAX</character>
<dialogue>Fifteen thousand.</dialogue>
<character>JACKIE</character>
<dialogue>Well, I've flown seven million miles. And I've been waitin' on people almost twenty years. The best job I could get after my bust was Cabo Air, which is about the worst job you can get in this industry. I make about sixteen thousand, with retirement benefits, ai n't worth a damn. And now with this arrest hanging over my head, I'm scared. If I lose my job I got ta start all over again, but I got nothin to start over with. I'll be stuck with whatever I can get. And that scares me more than Ordell.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOS ANGELES POLICE DEPARTMENT - DAY</stage_direction>
<scene_description>A.T.F. man , Ray Nicolet , moves down the hallway of the big building . ten heads for the office of Mark Dargus . He reaches the closed door . raps on it .</scene_description>
<character>DARGUS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Come in.</dialogue>
<scene_description>Nicolet opens the door , revealing Dargus and Jackie Brown sitting in the office talking .</scene_description>
<character>DARGUS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Great, you're here.</dialogue>
<character>NICOLET</character>
<dialogue>Hey, Jackie.</dialogue>
<scene_description>Jackie waves . Dargus stands up and says to Jackie ;</scene_description>
<character>DARGUS</character>
<dialogue>Let me have a word outside with Agent Nicolet for a moment?</dialogue>
<character>JACKIE</character>
<dialogue>Take your time.</dialogue>
<character>DARGUS</character>
<dialogue>Thanks.</dialogue>
<character>NICOLET</character>
<dialogue>Well just be a minute.</dialogue>
<character>JACKIE</character>
<dialogue>Can I smoke?</dialogue>
<character>DARGUS</character>
<dialogue>Go ahead.</dialogue>
<scene_description>The two detectives step outside and close the door on Jackie as she pulls out her cigarettes .</scene_description>
<character>NICOLET</character>
<dialogue>What's going on?</dialogue>
<character>DARGUS</character>
<dialogue>She wants to make a deal.</dialogue>
<character>NICOLET</character>
<dialogue>She sound scared?</dialogue>
<character>DARGUS</character>
<dialogue>She almost sounds scared.</dialogue>
<character>NICOLET</character>
<dialogue>What's she want?</dialogue>
<character>DARGUS</character>
<dialogue>She wants to go back to work.</dialogue>
<character>NICOLET</character>
<dialogue>What's she willing to give us?</dialogue>
<character>DARGUS</character>
<dialogue>She has n't one into specifics yet, she's been waiting for you.</dialogue>
<character>NICOLET</character>
<dialogue>She knows it's my case?</dialogue>
<character>DARGUS</character>
<dialogue>She ai n't said it, but she's not stupid, she knows it's you who wants her.</dialogue>
<scene_description>CLOSEUP JACKIE Inside Dargus ' office , smoking a Mild Seven . Dargus and Nicolet come back inside .</scene_description>
<character>NICOLET</character>
<dialogue>Thanks for waiting, Jackie. Now tell me, what can we do for you?</dialogue>
<character>JACKIE</character>
<dialogue>I need permission to leave the country so I keep my job.</dialogue>
<character>NICOLET</character>
<dialogue>We can look into that.</dialogue>
<character>JACKIE</character>
<dialogue>I need it tomorrow. If I do n't show up for work tomorrow, I'm fired.</dialogue>
<character>NICOLET</character>
<dialogue>You know what we want.</dialogue>
<character>JACKIE</character>
<dialogue>If I'm working, I can help you.</dialogue>
<character>DARGUS</character>
<dialogue>Help us do what?</dialogue>
<character>JACKIE</character>
<dialogue>Help you get Ordell Robbie.</dialogue>
<character>NICOLET</character>
<dialogue>Oh, so now you know him?</dialogue>
<character>JACKIE</character>
<dialogue>You never asked me if I did or not.</dialogue>
<character>DARGUS</character>
<dialogue>But now you're telling us now you do.</dialogue>
<character>JACKIE</character>
<dialogue>` Course I do - I deliver money for him.</dialogue>
<character>NICOLET</character>
<dialogue>No shit. You know how he makes hi money?</dialogue>
<character>JACKIE</character>
<dialogue>He sells guns.</dialogue>
<character>NICOLET</character>
<dialogue>You ever see him sell guns?</dialogue>
<character>JACKIE</character>
<dialogue>No.</dialogue>
<character>NICOLET</character>
<dialogue>Then how do you know he sells guns?</dialogue>
<character>JACKIE</character>
<dialogue>He told me. Besides, why else would an A.T.F. man be after him?</dialogue>
<character>NICOLET</character>
<dialogue>How can you help us?</dialogue>
<character>JACKIE</character>
<dialogue>Short of wearing a wire, I'll do everything I can to help you throw his ass in jail. And in exchange for my help, I need permission to leave the country and immunity.</dialogue>
<character>DARGUS</character>
<dialogue>You do n't want much, do you?</dialogue>
<character>JACKIE</character>
<dialogue>Can you do it or not?</dialogue>
<scene_description>The two cops look at each other .</scene_description>
<character>DARGUS</character>
<parenthetical>( to Nicolet . )</parenthetical>
<dialogue>It's your call.</dialogue>
<scene_description>Nicolet looks at Jackie .</scene_description>
<character>NICOLE</character>
<dialogue>It's possible.</dialogue>
<scene_description>FADE TO BLACK `` LOUIS GARA & MELANIE '' FADE UP ON ON TV Helmut Berger slaps a woman in the face with a newspaper , proclaiming he 's the `` mad dog . '' The film is an Italian Policier from the seventies . Melanie sits in a comfy chair long - ways , bare legs hanging over the arm . As she watches the TV , she picks up a big bong with it 's own handle . He takes a hit . Melanie 's dressed in her usual Melanie - uniform of shorts and a loose top . The front door opens , and Ordell and Louis walk through it carrying shopping bags .</scene_description>
<character>ORDELL</character>
<dialogue>We're back.</dialogue>
<character>MELANIE</character>
<dialogue>` Ola!</dialogue>
<scene_description>We notice that Louis is sportin ' new duds . Louis ' new `` look '' is a retro seventies - style bowling shirt and black jeans . Melanie notices the change .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, hey, hey. I think somebody's got some new clothes.</dialogue>
<character>ORDELL</character>
<dialogue>We been shoppin'. Ca n't have my boy running around lookin' like a bum on the street.</dialogue>
<character>LOUIS</character>
<dialogue>I did n't look like a bum.</dialogue>
<character>ORDELL</character>
<dialogue>But you did have a Salvation Army - thing going.</dialogue>
<scene_description>Ordell notices the bong in her hand and the smoke in the air .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Goddam, girl. You gettin' high already. It's only two o'clock.</dialogue>
<scene_description>Melanie smiles .</scene_description>
<character>MELANIE</character>
<dialogue>It's that late?</dialogue>
<scene_description>Louis sits on the couch . He smiles at the comeback .</scene_description>
<character>ORDELL</character>
<dialogue>Ha - ha - ha. I'm serious, you smoke too much of that shit. That shit robs you of your ambition.</dialogue>
<character>MELANIE</character>
<dialogue>Not if your ambition is to get high and watch TV.</dialogue>
<scene_description>Melanie and Louis laugh . The phone rings .</scene_description>
<character>ORDELL</character>
<dialogue>You two a coupla Cheech and Chongs, ai n't ya.</dialogue>
<parenthetical>( he moves towards the phone - to Melanie . )</parenthetical>
<dialogue>Oh, that's okay, I'll get it.</dialogue>
<scene_description>He picks it up .</scene_description>
<character>ORDELL</character>
<dialogue>Hello.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hey, Jackie.</dialogue>
<parenthetical>( throwing a hard look at Melanie . )</parenthetical>
<dialogue />
<scene_description>No , Jackie , I did n't get your message .</scene_description>
<character>MELANIE</character>
<dialogue>I was gon na tell you.</dialogue>
<scene_description>Ordell gives her a `` silence '' gesture and look . Melanie trades a look with Louis like `` I 'm in trouble , '' all the while smiling like a shark . Louis smiles to himself . Melanie holds up the bong , offering him a hit . Ordell 's on the phone .</scene_description>
<character>ORDELL</character>
<dialogue>No, not on the phone, let's meet somewhere. But you got ta make sure they ai n't followin' you.</dialogue>
<scene_description>Louis has the bong in front of him . Melanie stays in her chair long - ways .</scene_description>
<character>LOUIS</character>
<dialogue>Is it ready to go?</dialogue>
<character>MELANIE</character>
<dialogue>Yeah, there's another hit left.</dialogue>
<scene_description>Louis takes it . Ordell 's on the phone .</scene_description>
</scene>
<scene>
<stage_direction>INT. COCKATOO INN</stage_direction>
<scene_description>Jackie sits at the bar talking on their phone . We see both sides .</scene_description>
<character>JACKIE</character>
<dialogue>The Cockatoo Inn.</dialogue>
<character>ORDELL</character>
<dialogue>The Cockatoo Inn? Where's that?</dialogue>
<character>JACKIE</character>
<dialogue>It's right on Hawthorne Boulevard and Manhattan Beach Boulevard. It's red brick.</dialogue>
<character>ORDELL</character>
<dialogue>Oh, wait, you mean that place that has the big sign with a rooster on it?</dialogue>
<character>JACKIE</character>
<dialogue>It's a cockatoo.</dialogue>
<scene_description>Louis exhales his smoke , does an older man cough .</scene_description>
<character>MELANIE</character>
<dialogue>You okay?</dialogue>
<character>LOUIS</character>
<dialogue>Yeah, I'm just gettin' old. I ca n't smoke or laugh now it seems without coughing.</dialogue>
<character>MELANIE</character>
<dialogue>Coughing opens up the capillaries. When you cough, you're getting air - in this case smoke - to parts of the lung that do n't normally get used. Coughing's good - gets ya higher. My dad coughs when he smokes all the time.</dialogue>
<scene_description>Ordell hangs up the phone .</scene_description>
<character>ORDELL</character>
<parenthetical>( to Louis . )</parenthetical>
<dialogue>Hey, Louis, I have to go out awhile. So since you like gettin' high so much, why do n't you stay here with Melanie, get high, and watch cartoons?</dialogue>
<scene_description>Louis with a smile .</scene_description>
<character>LOUIS</character>
<dialogue>Way ahead of you.</dialogue>
<scene_description>Melanie laughs . Ordell takes the remote control and turns the station till he finds a channel with cartoons .</scene_description>
<character>ORDELL</character>
<dialogue>So you just watch this for the next three hours, and I'll be back. Then, when I'm through with all my business, I'll get high. I get high at night. Walk me to the door, space girl.</dialogue>
<scene_description>Melanie climbs out of the chair and walks Ordell to the door , Ordell says to her in the doorway ;</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hope you do n't mind keeping him company.</dialogue>
<character>MELANIE</character>
<dialogue>No problem.</dialogue>
<character>ORDELL</character>
<dialogue>Try not to rip his clothes off'em they're new.</dialogue>
<scene_description>Melanie gives him a sarcastic , `` Oh , you 're so funny '' look . Ordell kisses her quick on the mouth , then says past her ;</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll be back in an hour, man. Just hang with Mel.</dialogue>
<scene_description>Ordell leaves and Melanie closes the door . She turns around and looks at Louis .</scene_description>
<character>MELANIE</character>
<dialogue>Want a Metrix?</dialogue>
<character>LOUIS</character>
<dialogue>What's a Metrix?</dialogue>
<scene_description>She crosses to the kitchen .</scene_description>
<character>MELANIE</character>
<dialogue>It's like this major meal in a shake you drink instead of having a big meal.</dialogue>
<character>LOUIS</character>
<dialogue>It's a diet thing?</dialogue>
<character>MELANIE</character>
<dialogue>No, it's what body builders drink to beef up.</dialogue>
<character>LOUIS</character>
<dialogue>No thanks.</dialogue>
<scene_description>She goes into the kitchen and starts making her Metrix shake . He looks around and spots something interesting . TWO SMALL PHOTOGRAPHS In a clear , plastic frame . Melanie , circa 1976 , at about sixteen wearing roller - disco skates . Melanie , in a green setting , about five years ago , wearing a pretty Oriental - style dress , with a `` smile for the camera '' look on her face . The photo was obviously a picture of Melanie with somebody else that 's been cut in half . Somebody 's disembodied arm still rests on her shoulder . Louis picks up the photo frame .</scene_description>
<character>LOUIS</character>
<dialogue>How old were you here?</dialogue>
<scene_description>She looks and sees what he 's talking about .</scene_description>
<character>MELANIE</character>
<dialogue>Which one?</dialogue>
<character>LOUIS</character>
<dialogue>The roller disco one.</dialogue>
<character>MELANIE</character>
<dialogue>Fourteen.</dialogue>
<scene_description>Louis walks over .</scene_description>
<character>LOUIS</character>
<dialogue>You're fourteen years old here?</dialogue>
<character>MELANIE</character>
<dialogue>Yeah.</dialogue>
<character>LOUIS</character>
<dialogue>I thought you were sixteen.</dialogue>
<character>MELANIE</character>
<dialogue>I was pretty much the same height now as I was then.</dialogue>
<character>LOUIS</character>
<dialogue>Were you a disco girl?</dialogue>
<character>MELANIE</character>
<dialogue>Noooo, I was a surfer girl. Besides, I was only fourteen. I could n't go to discos.</dialogue>
<character>LOUIS</character>
<dialogue>So where did you go?</dialogue>
<character>MELANIE</character>
<dialogue>The beach. Or get high, drop acid at a friend's place. I was a K.L.O.S. girl. I hated disco.</dialogue>
<scene_description>She hits Whip on her blender . It makes an infernal noise till she hits Stop ! Carrying the blender full of Metrix , she walks over and looks at the picture .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That was taken at a place called `` Flippers.'' It was in Hollywood. Were you in L.A. back then?</dialogue>
<character>LOUIS</character>
<dialogue>No.</dialogue>
<character>MELANIE</character>
<dialogue>Where were you?</dialogue>
<character>LOUIS</character>
<dialogue>Detroit.</dialogue>
<character>MELANIE</character>
<dialogue>With Ordell?</dialogue>
<character>LOUIS</character>
<dialogue>We had done time together already.</dialogue>
<scene_description>Melanie drinks her Metrix .</scene_description>
<character>MELANIE</character>
<dialogue>Were you a disco guy?</dialogue>
<character>LOUIS</character>
<dialogue>No.</dialogue>
<character>MELANIE</character>
<dialogue>C'mon, do n't lie.</dialogue>
<character>LOUIS</character>
<dialogue>I do n't like dancing.</dialogue>
<character>MELANIE</character>
<dialogue>Did you ever go I one?</dialogue>
<character>LOUIS</character>
<dialogue>I went to a few just to meet women. But I do n't like to dance, and it's so fuckin ; loud. During that whole scene I just drank in bars.</dialogue>
<parenthetical>( he points to the cut picture . )</parenthetical>
<dialogue>Who did n't make the cut?</dialogue>
<character>MELANIE</character>
<dialogue>That's a picture of me in Japan.</dialogue>
<character>LOUIS</character>
<dialogue>You been to Japan?</dialogue>
<character>MELANIE</character>
<dialogue>I lived there for about nine months.</dialogue>
<character>LOUIS</character>
<dialogue>You lived in Japan, when?</dialogue>
<character>MELANIE</character>
<dialogue>About five years ago.</dialogue>
<character>LOUIS</character>
<dialogue>Who's arm is that?</dialogue>
<character>MELANIE</character>
<dialogue>That's the guy I lived with. his name was. Hir.Hirosh.</dialogue>
<character>LOUIS</character>
<dialogue>Must of made quite an impression.</dialogue>
<character>MEALINE</character>
<dialogue>I never got to know him, really. I could n't speak Japanese, and his English was terrible. But I could n't say anything, because his English was better than my Japanese.</dialogue>
<character>LOUIS</character>
<dialogue>That sounds like a problem.</dialogue>
<character>MELANIE</character>
<dialogue>Not really. We did n't have much to say to each other anyway. I never got to know him that well, but I knew enough to know I was n't missing much. I keep that, because of all the fuckin' time I was there, that's the only picture I got of me in Japan.</dialogue>
<parenthetical>( she points beyond her shoulder . )</parenthetical>
<dialogue>That's Japan.</dialogue>
<scene_description>Melanie looks up at Louis .</scene_description>
<character>MELANIE</character>
<dialogue>Wan na fuck?</dialogue>
<character>LOUIS</character>
<dialogue>Sure.</dialogue>
<scene_description>FADE TO BLACK OVER BLACK `` THREE MINUTES LATER '' LOUIS Lies on the couch on his back and Melanie sits on top of him . They 're going at it like a couple of fuck monkeys . Almost on the fade up , Louis cums .</scene_description>
<character>MELANIE</character>
<dialogue>That was fun.</dialogue>
<scene_description>She hops off and OUT OF FRAME .</scene_description>
<character>LOUIS</character>
<dialogue>Yeah, that really hit the spot.</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Now that's over, let's get to know each other.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUSIC STORE - DAY</stage_direction>
<scene_description>CLOSEUP a rack of CDs all beginning with `` D '' are flipped through , till it stops on one CD , `` The Best of the DELFONICS . '' Max is standing in he soul music section o a music store . He lifts out the CD and turns it over . It has the song Jackie played this morning . He smiles and takes the CD up to the register . CLOSEUP the COCKATOO INN neon sign , unlit during the day .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE COCKATOO INN - DAY</stage_direction>
<scene_description>Ordell walks into the dark red cocktail lounge in the middle of the day and sees Jackie sitting at the bar drinking a white wine . Old - school soul plays on the jukebox . He sits next to her .</scene_description>
<character>ORDELL</character>
<dialogue>I got ta remember this place. This is all right. Two minutes from your crib, ten minutes from your work. Not bad.</dialogue>
<scene_description>A black bartender named FLOYD approaches Ordell .</scene_description>
<character>FLOYD</character>
<dialogue>What's your drink, brother?</dialogue>
<character>ORDELL</character>
<dialogue>Screwdriver.</dialogue>
<character>FLOYD</character>
<parenthetical>( to Jackie . )</parenthetical>
<dialogue>How you doin'?</dialogue>
<character>JACKIE</character>
<dialogue>I'm fine.</dialogue>
<character>FLOYD</character>
<dialogue>Yes, you are.</dialogue>
<scene_description>Jackie smiles . Floyd makes Ordell 's drink .</scene_description>
<character>ORDELL</character>
<dialogue>I bet you come here on a Saturday night, you need nigga repellent keep'em off your ass.</dialogue>
<character>JACKIE</character>
<dialogue>I do okay.</dialogue>
<character>ORDELL</character>
<dialogue>You a fine lookin' woman, Jackie. I bet you do a damn sight better than okay. You think anybody followed you?</dialogue>
<character>JACKIE</character>
<dialogue>I do n't think so, but it do n't really matter. They know I'm meeting you.</dialogue>
<character>ORDELL</character>
<dialogue>How the fuck they know that?</dialogue>
<character>JACKIE</character>
<dialogue>I told them.</dialogue>
<scene_description>Floyd comes back with Ordell 's screwdriver .</scene_description>
<character>FLOYD</character>
<dialogue>Three twenty - five.</dialogue>
<scene_description>Ordell digs in his pocket and gives Floyd a five .</scene_description>
<character>ORDELL</character>
<dialogue>Keep it.</dialogue>
<character>FLOYD</character>
<dialogue>Thank you, sir.</dialogue>
<scene_description>Floyd leaves .</scene_description>
<character>ORDELL</character>
<parenthetical>( to Jackie . )</parenthetical>
<dialogue>You told em? You told em it's me?</dialogue>
<character>JACKIE</character>
<dialogue>They already know it's you.</dialogue>
<character>ORDELL</character>
<dialogue>Well, shit. That do n't mean you got ta confirm it!</dialogue>
<character>JACKIE</character>
<dialogue>Look, the only way I can get permission to fly is if I agree to help them. Which is what I have to appear to be doing. So I give them something they already know. You.</dialogue>
<character>ORDELL</character>
<dialogue>Didja tell'em anything else?</dialogue>
<character>JACKIE</character>
<dialogue>I told them you got a half a million dollars in Mexico, and you want me to bring it here.</dialogue>
<scene_description>Ordell freaks .</scene_description>
<character>ORDELL</character>
<dialogue>You told them that?</dialogue>
<character>JACKIE</character>
<dialogue>It's true, is n't it?</dialogue>
<character>ORDELL</character>
<dialogue>What the fuck's that got to do with it?</dialogue>
<character>JACKIE</character>
<dialogue>They know I'm delivering for you. I mention the half - million - they do n't give a fuck about that - They want you with guns. So I say, well, if you want proof he's getting paid for selling them, let me bring the money in.</dialogue>
<character>ORDELL</character>
<dialogue>What did they say?</dialogue>
<scene_description>Jackie smiles .</scene_description>
<character>JACKIE</character>
<dialogue>Yes.</dialogue>
<scene_description>Ordell smiles . They both slap palms .</scene_description>
</scene>
<scene>
<stage_direction>INT. MELANIE'S BEACH APARTMENT - DAY</stage_direction>
<scene_description>CLOSEUP - Louis taking a hit off Melanie 's bong . Louis and Melanie are back in the living room , kicking back , taking bong hits . As Louis gets his hit , Melanie talks ;</scene_description>
<character>MELANI</character>
<dialogue>so first he tries to get into the cocaine business but realizes right away that shit's too competitive. Piss the wrong person off, you get shot. So he says, fuck that - moves over to guns. You can sell guns wherever there's a demand. No one gives a shit. He acts like he's this big international arms dealer, when, come on, the only people he ever sold to were dopers.</dialogue>
<scene_description>Louis finishes his hit and slides the bong back across the coffee table to Melanie .</scene_description>
<character>LOUIS</character>
<dialogue>He seems to be making out.</dialogue>
<scene_description>Referring to the bong .</scene_description>
<character>MELANIE</character>
<dialogue>Is it dead?</dialogue>
<character>LOUIS</character>
<dialogue>Yeah.</dialogue>
<scene_description>She starts preparing a bowl .</scene_description>
<character>MELANIE</character>
<dialogue>Well, so far he is. But you have to admit he's not too bright.</dialogue>
<character>LOUIS</character>
<dialogue>I would n't go so far as to say that.</dialogue>
<scene_description>Melanie still preparing her bowl .</scene_description>
<character>MELANIE</character>
<dialogue>He moves his lips when he reads, what does that tell ya. Let's say he's streetwise. I'll give ` im that. He's still a fuck - up.</dialogue>
<scene_description>She takes a major bong hit . holds in the smoke . then while holding in the smoke , says ;</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He killed a man worked for him the other night.</dialogue>
<character>LOUIS</character>
<dialogue>So what are you trying to tell me? I should get out of here?</dialogue>
<scene_description>Melanie lets out her stream of smoke and flashes her shark smile .</scene_description>
<character>MELANIE</character>
<dialogue>That's not what I'm saying at all.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You know where he went?</dialogue>
<character>LOUIS</character>
<dialogue>No.</dialogue>
<character>MELANIE</character>
<dialogue>He went to meet that stewardess.</dialogue>
<character>LOUIS</character>
<dialogue>Does that bother you?</dialogue>
<scene_description>Melanie lets out a sarcastic laugh .</scene_description>
<character>MELANIE</character>
<dialogue>Please.</dialogue>
<character>LOUIS</character>
<dialogue>You live with him.</dialogue>
<character>MELANIE</character>
<dialogue>I live here. He drops in and out. He tell you about that half - million dollars he's got in Mexico?</dialogue>
<character>LOUIS</character>
<dialogue>Uh - huh?</dialogue>
<character>MELANIE</character>
<dialogue>Course he did, he tells everybody who'll listen. That's what he's doin' with this stewardess. He's scheming how he can get it over here.</dialogue>
<character>LOUIS</character>
<dialogue>And your point is?</dialogue>
<character>MELANIE</character>
<dialogue>Let him and that stewardess get that money over here.</dialogue>
<character>LOUIS</character>
<dialogue>Uh - huh?</dialogue>
<character>MELANI</character>
<dialogue>and just take it from him.</dialogue>
</scene>
<scene>
<stage_direction>INT. COCKATOO INN - DAY</stage_direction>
<scene_description>Jackie explaining the plan to Ordell .</scene_description>
<character>JACKI</character>
<dialogue>I make two deliveries. The first one with ten thousand, like a dry run. They watch it. See how it works. Then we do a second delivery, when I bring in the half mill.</dialogue>
<character>ORDELL</character>
<dialogue>Naw, naw, that's too much exposure. I ai n't goin anywhere near that money.</dialogue>
<character>JACKIE</character>
<dialogue>You do n't have to. I told'em you're real careful. You never pick up money yourself. You always send someone, and I never know who it is.</dialogue>
<character>ORDELL</character>
<dialogue>That's a good idea.</dialogue>
<character>JACKIE</character>
<dialogue>If you just listen, you'll see it's a damn good idea. The first time I do it they're lurking about. They see me hand the ten thousand to someone.</dialogue>
<character>ORDELL</character>
<dialogue>Who?</dialogue>
<character>JACKIE</character>
<dialogue>I do n't know. One of your friends.</dialogue>
<character>ORDELL</character>
<dialogue>A woman.</dialogue>
<character>JACKIE</character>
<dialogue>If you want.</dialogue>
<character>ORDELL</character>
<dialogue>Yeah, I think a woman.</dialogue>
<character>JACKIE</character>
<dialogue>The next trip, when I come with all the money, it'll look like I hand it to the same one I did before.</dialogue>
<character>ORDELL</character>
<dialogue>But you do n't?</dialogue>
<character>JACKIE</character>
<dialogue>No, I give it to someone else first.</dialogue>
<character>ORDELL</character>
<dialogue>And they follow the wrong one thinkin' she's bringing it to me.</dialogue>
<character>JACKIE</character>
<dialogue>That's the idea.</dialogue>
<character>ORDELL</character>
<dialogue>So we need two people, two women.</dialogue>
<character>JACKIE</character>
<dialogue>Can you cover that?</dialogue>
<character>ORDELL</character>
<dialogue>I got the woman covered. Where you thinkin' about doin' this?</dialogue>
<character>JACKIE</character>
<dialogue>I was thinkin' the Del Amo Mall. In the food court.</dialogue>
<character>ORDELL</character>
<dialogue>I suppose you see a piece of this for yourself?</dialogue>
<character>JACKIE</character>
<dialogue>Well, it's my plan. We're in this together.</dialogue>
<character>ORDELL</character>
<dialogue>Yeah, but it's my money, and I do n't need me a partner.</dialogue>
<character>JACKIE</character>
<dialogue>I ai n't your partner, I'm your manager. I'm managing to get your money out of Mexico, into America, in your hands, and I'm managing to do all this under the nose of the cops. That makes me your manager, and managers get fifteen percent.</dialogue>
<character>ORDELL</character>
<dialogue>Managers get ten percent.</dialogue>
<character>JACKIE</character>
<dialogue>That's an agent. Manager's get fifteen percent.</dialogue>
<character>ORDELL</character>
<dialogue>I'll give ya ten.</dialogue>
<character>JACKIE</character>
<dialogue>Plus the same deal as before.</dialogue>
<character>ORDELL</character>
<dialogue>I can do that.</dialogue>
<scene_description>They clink their glasses together . CLOSEUP DIGITAL CLOCK It flips to 11:00 P.M. It 's now getting late at night . Jackie comes home . She 's dressed differently than she was at the Cockatoo . In fact , she looks like she 's coming home from a date . She walks into her bedroom . kicks off her shoes . takes her earring off , putting them on the night - stand by the bed . she sees that her answering machine is flashing . She hits play . We begin a SLOW ZOOM into the answering machine . Never seeing Jackie again . The machine voice says ;</scene_description>
<character>MACHINE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You have on message. Sent at 8:06 P.M.</dialogue>
<scene_description>Max 's voice comes out of the machine .</scene_description>
<character>MAX'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hi, Jackie. It's Max. I was just calling to find out how everything went today with A.T.F.. If you want to call me, my home number is 555 - 6788, or you can reach me at my office, which is 555 - B - A - I - L. That's also on the card I gave you when we first met - I do n't know if you still have that - but it's on it - Oh, let me give you my beeper number. It's 555 - 7839. Okay, so I'll talk to you later. Hope everything's well. Bye - bye.</dialogue>
<character>MACHINE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>End of message.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEL AMO MALL - DAY</stage_direction>
<scene_description>We se the huge Del Amo Mall from the parking area . A SUBTITLE reads : `` DEL AMO MALL TORRANCE , CALIFORNIA LARGEST INDOOR MALL IN THE WORLD ''</scene_description>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - FOOD COURT - DAY</stage_direction>
<scene_description>The Del Amo Mall on a lazy midday in the middle of the week . A few people , mostly black , mill around , but it 's not like it is on the weekend . The international food court , where fast - food versions of international cuisine are available to all the hungry Del Amo Mall shoppers . Jackie and Ordell sit at a table in the food court . She drinks an iced tea from Teriyaki Donut . A collection of Broadway shopping bags sit on the table . We join in mid - conversation .</scene_description>
<character>JACKIE</character>
<dialogue>The money's in a Broadway shopping bag. I get some food, and sit down here in the food court. Then your girl comes - you got somebody yet?</dialogue>
<character>ORDELL</character>
<dialogue>Uh - huh.</dialogue>
<character>JACKIE</character>
<dialogue>Who?</dialogue>
<character>ORDELL</character>
<dialogue>What'd you care?</dialogue>
<character>JACKIE</character>
<dialogue>Look, it's my ass facin' the penitentiary. You send some hard - headed roc whore, and she fucks things up.</dialogue>
<character>ORDELL</character>
<dialogue>I ai n't gon na send no roc whore. The woman's cool, I promise.</dialogue>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - U.A. CINEMAS - DAY</stage_direction>
<scene_description>We 're outside the Del Amo UA Cinemas , a six - screen theater that 's been in the Del Amo Mall since the early seventies . A small afternoon crowd is exiting the cinema , having just watched their matinee . Max Cherry is among them . He exits the theater , and strolls through the mall . BACK TO JACKIE AND ORDELL In the food court . Ordell rises from the table . Jackie moves a Broadway bag towards him .</scene_description>
<character>JACKIE</character>
<dialogue>Do n't forget your bag.</dialogue>
<scene_description>He takes it . We follow with Ordell out of the food court , when he stops . He see Max Cherry strolling through the mall . Ordell almost steps into a store to get out of view . `` What the fuck is Max Cherry doing here ? '' As Ordell watches , he sees Max head towards the food court .</scene_description>
<character>MAX</character>
<dialogue>walks into the food court. He stands looking a all the international fast food choices in front of him. As he tries to decide, he hears from behind him ;</dialogue>
<character>JACKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Max.</dialogue>
<scene_description>Max turns and sees Jackie siting there drinking her iced tea , smoking her Mild Seven , and smiling up at him . Max smiles back .</scene_description>
<character>MAX</character>
<dialogue>Well, hello.</dialogue>
<character>JACKIE</character>
<dialogue>Surprise.</dialogue>
<scene_description>He approaches her table .</scene_description>
<character>MAX</character>
<dialogue>I walked right past you.</dialogue>
<character>JACKIE</character>
<dialogue>I know, ignoring me. What're you up to?</dialogue>
<character>MAX</character>
<dialogue>Catching a movie.</dialogue>
<character>JACKIE</character>
<dialogue>What'd ya see?</dialogue>
<character>MAX</character>
<dialogue>`` American Prseident''</dialogue>
<character>JACKIE</character>
<dialogue>How was it?</dialogue>
<character>MAX</character>
<dialogue>Pretty good. Me and Annette Bening are goin steady.</dialogue>
<character>JACKIE</character>
<dialogue>Oh, are you? Does she know that?</dialogue>
<character>MAX</character>
<dialogue>No.</dialogue>
<parenthetical>( sitting down at the table . )</parenthetical>
<dialogue>. I do n't believe she's ever heard of me. But that does n't mean we're not going steady.</dialogue>
<scene_description>BACK TO ORDELL Watching Max sit down and make himself comfortable at Jackie 's table .</scene_description>
<character>ORDELL</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>What's up with this shit.</dialogue>
<scene_description>BACK TO MAX AND JACKIE</scene_description>
<character>MAX</character>
<dialogue>I think falling in live with movie stars is something that happens to a man as he gets older.</dialogue>
<character>JACKIE</character>
<dialogue>Does it happen to all men?</dialogue>
<character>MAX</character>
<dialogue>Well, I'd never be so bold as to speak for all men, but as or myself and a few of my friends, that's definitely the case. There's a lot of actresses out there you like, and there's some you have crushes on. But there's always one who you love. And with her it's sorta like going steady.</dialogue>
<character>JACKIE</character>
<dialogue>And Annette's it for you?</dialogue>
<character>MAX</character>
<dialogue>For now. These relationships never last too long.</dialogue>
<scene_description>With a smile on her face ;</scene_description>
<character>JACKIE</character>
<dialogue>That's a goddam man for ya. Ca n't even be faithful to a fuckin' movie star.</dialogue>
<scene_description>Max smiles .</scene_description>
<character>JACKIE</character>
<dialogue>Who was your girl before Annette?</dialogue>
<character>MAX</character>
<dialogue>Sandra Bullock. You know her?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, she's the girl who drove the bus in `` Speed.'' She's cute.</dialogue>
<character>MAX</character>
<dialogue>She's adorable. But I had to end it.</dialogue>
<character>JACKIE</character>
<dialogue>Why?</dialogue>
<character>MAX</character>
<dialogue>I'm old enough to be her father.</dialogue>
<character>JACKIE</character>
<dialogue>How old's Annette?</dialogue>
<character>MAX</character>
<dialogue>I do n't care.</dialogue>
<scene_description>Gesturing to the Broadway bags on the table .</scene_description>
<character>MAX</character>
<dialogue>What're you, a bag lady?</dialogue>
<character>JACKIE</character>
<dialogue>I go back to work tomorrow.</dialogue>
<character>MAX</character>
<dialogue>You talk them into it?</dialogue>
<character>JACKIE</character>
<dialogue>They seem to like the idea.</dialogue>
<character>MAX</character>
<dialogue>Bring the money in and they follow it?</dialogue>
<character>JACKIE</character>
<dialogue>Yea, but I'm going to dress it up. Put the money in a shopping bag and hand it to someone I meet here.</dialogue>
<character>MAX</character>
<dialogue>You do n't actually do it that way?</dialogue>
<character>JACKIE</character>
<dialogue>He always just picked it up at my place. But with A.T.F. involved, I want to stage it. You know, make it look more intriguing, like we know what the fuck we're doin'. Then it's up to Ray Nicolet, the A.T. F. guy to follow the shopping bag.</dialogue>
<character>MAX</character>
<dialogue>Make the delivery somewhere in the mall.</dialogue>
<character>JACKIE</character>
<dialogue>Right around here, in the food court.</dialogue>
<character>MAX</character>
<dialogue>Sit down, leave the bag under the table?</dialogue>
<scene_description>Jackie nods her head `` yes . ''</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Will Ordell go for that?</dialogue>
<character>JACKIE</character>
<dialogue>I'm helping him bring his money into America. He loves the idea. You just missed him.</dialogue>
<character>MAX</character>
<dialogue>He was here?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, we were goin' over everything. That's why all the bags.</dialogue>
<character>MAX</character>
<dialogue>I called you last night.</dialogue>
<character>JACKIE</character>
<dialogue>I know, I got your message. Ray wanted to have dinner. He wanted to talk about the sting we're plotting. That's what he calls it. A sting. He's being real nice to me.</dialogue>
<character>MAX</character>
<dialogue>You think he's got a thing for you?</dialogue>
<character>JACKIE</character>
<dialogue>Maybe. But I'm thinking it might be something like he wants the money for himself.</dialogue>
<character>MAX</character>
<dialogue>I do n't follow your logic. What does his being nice to you have to do with him wanting Ordell's money?</dialogue>
<character>JACKIE</character>
<dialogue>He's setting me up to make a proposition.</dialogue>
<character>MAX</character>
<dialogue>I see.</dialogue>
<character>JACKIE</character>
<dialogue>You do n't propose something like that unless you're pretty sure the other person's into it.</dialogue>
<character>MAX</character>
<dialogue>Has he hinted around?</dialogue>
<character>JACKIE</character>
<dialogue>Not really. But I knew this narcotics cop one time. Told me that in a raid, the whole package never gets back to the station. His exact words.</dialogue>
<character>MAX</character>
<dialogue>You know some interesting people.</dialogue>
<character>JACKIE</character>
<dialogue>We were n't bullshittin' either,'cause later he was suspended and forced to retire.</dialogue>
<character>MAX</character>
<dialogue>Has Nicolet told you any colorful stories like that?</dialogue>
<scene_description>She shakes her head `` no . ''</scene_description>
<character>JACKIE</character>
<dialogue>He tries to act cool.</dialogue>
<character>MAX</character>
<dialogue>No harm in that. He's a young guy havin' fun being a cop. I know the type, trust me on this. He's more interested in Ordell than the money. If he's gon na do anything suspect, it'll be cutting corners to get the conviction ; but he would n't walk off with the money. It's evidence.</dialogue>
<character>JACKIE</character>
<dialogue>What about you Max?</dialogue>
<character>MAX</character>
<dialogue>What? If I was in Nicolet's place?</dialogue>
<character>JACKIE</character>
<dialogue>No, I mean you, right now. Not it you were somebody else.</dialogue>
<character>MAX</character>
<dialogue>If I saw a way to walk off with a shopping bag full of money, would I take it?</dialogue>
<character>JACKIE</character>
<dialogue>You know where it came from. It's not like it's anybody's life savings. It would n't even be missed.</dialogue>
<character>MAX</character>
<dialogue>A half - a - million dollars will always be missed.</dialogue>
<character>JACKIE</character>
<dialogue>You're avoiding the question.</dialogue>
<character>MAX</character>
<dialogue>Okay, sure. I might be tempted. Especially now, since I'm getting out of the bail bonds business.</dialogue>
<scene_description>Jackie looks at him , `` wow , that was a statement , '' but she does n't say anything . Max continues .</scene_description>
<character>MAX</character>
<dialogue>I have to stand behind all my active bonds, but I'm not writing any new ones.</dialogue>
<character>JACKIE</character>
<dialogue>Why?</dialogue>
<character>MAX</character>
<dialogue>A lot of reasons. But the main one would be I'm tired of it.</dialogue>
<character>JACKIE</character>
<dialogue>When did you decide?</dialogue>
<character>MAX</character>
<dialogue>It's been a long time coming. I finally made up my mind - I guess it was Thursday.</dialogue>
<scene_description>A RELEASE FORM With a date on it . Jackie 's hand is signing her name . We WHIP UP and se her face , just as Max Cherry approaches her , handing her his business card .</scene_description>
<character>MAX</character>
<dialogue>Hi, I'm Max Cherry. Your bail bondsman.</dialogue>
<scene_description>BACK TO MAX AND JACKIE</scene_description>
<character>JACKIE</character>
<dialogue>The day you got me out of jail?</dialogue>
<character>MAX</character>
<dialogue>Yeah, that night I went to pick up a guy. I hear he's staying at this house, so I sneak in, wait for him to come home.</dialogue>
<character>JACKIE</character>
<dialogue>Wait a minute. After we were together you went and snuck into a guy's house?</dialogue>
<character>MAX</character>
<dialogue>Uh - huh.</dialogue>
<scene_description>FLASH ON Max is dropping off Jackie at her apartment and saying goodbye .</scene_description>
<character>MAX</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I dropped you off.</dialogue>
<scene_description>Max finding no gun in his glove box .</scene_description>
<character>MAX</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Went to my office, found out you took my gun.</dialogue>
<scene_description>Max in his office , taking another pistol from his drawer , and a stun gun .</scene_description>
<character>MAX</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Got another gun and a stun gun.</dialogue>
<scene_description>BACK TO MAX AND JACKIE</scene_description>
<character>MAX</character>
<dialogue>And went to this guy's house in El Monte, and I waited for him.</dialogue>
<character>JACKIE</character>
<dialogue>What do you do when he comes home?</dialogue>
<character>MAX</character>
<dialogue>Shoot him with the stun gun. While he's incapacitated, cuff him, take'em to County.</dialogue>
<character>JACKIE</character>
<dialogue>You do that?</dialogue>
<character>MAX</character>
<dialogue>That's my job.</dialogue>
<character>JACKIE</character>
<dialogue>Did you do it that night?</dialogue>
<character>MAX</character>
<dialogue>He never came home. But I'm sitting on the couch, in the dark, holding my stun gun and the whole house smells of mildew - So after a couple hours I think, `` What am I doing here? Nineteen years of this shit? So I made up my mind, that's it.</dialogue>
<character>JACKIE</character>
<dialogue>And is that it?</dialogue>
<character>MAX</character>
<dialogue>More or less.</dialogue>
<scene_description>Jackie takes a pause before saying ;</scene_description>
<character>JACKIE</character>
<dialogue>I'm not sure you answered my question.</dialogue>
<character>MAX</character>
<dialogue>Which one?</dialogue>
<character>JACKIE</character>
<dialogue>If you had a chance, unemployed now, to walk off with a half - million dollars, would you take it?</dialogue>
<character>MAX</character>
<dialogue>I believe I said I'd be tempted.</dialogue>
<scene_description>Jackie smiles at him behind cigarette smoke .</scene_description>
<character>MAX</character>
<dialogue>Do n't even think about it. You could get yourself killed go to prison.</dialogue>
<scene_description>CLOSEUP JACKIE</scene_description>
<character>JACKIE</character>
<dialogue>What if I've figured a way?</dialogue>
<scene_description>Hold for a few beats , then . FADE TO BLACK . `` MONEY EXCHANGE 10,000 '' Over this card , we hear an airplane landing . CLOSEUP JACKIE Back at work , standing at the exit of her plane . All the passengers are filtering out . She says goodbye .</scene_description>
<character>JACKIE</character>
<dialogue>Bye bye. Bye now. Goodbye Bye bye. Bye bye. Goodbye</dialogue>
</scene>
<scene>
<stage_direction>INT. LAX PARKING STRUCTURE - DAY</stage_direction>
<scene_description>Jackie , wearing her stewardess uniform , walks into the LAX parking structure , pulling her bad on wheels behind her . Nicolet and Dargus are waiting for her .</scene_description>
<character>NICOLET</character>
<dialogue>We got ta stop meeting this way.</dialogue>
<scene_description>Jackie smiles . They all fall in step towards Jackie 's Honda .</scene_description>
</scene>
<scene>
<stage_direction>INT. JACKIE'S HONDA - DAY</stage_direction>
<scene_description>The two cops and the black woman sit parked in her Honda . She , behind the wheel , Nicolet next to her in the passenger seat , Dargus in the backseat . Nicolet has the flight bag in his lap . He 's taking out the manila envelope with the ten thousand inside . Their demeanor is very different from the first time they met . The three now almost act like friends .</scene_description>
<character>DARGUS</character>
<dialogue>How was your flight?</dialogue>
<character>JACKIE</character>
<dialogue>Fine.</dialogue>
<character>DARGUS</character>
<dialogue>Bet you're happy to be working again.</dialogue>
<character>NICOLET</character>
<dialogue>This is A.T.F. agent Ray Nicolet, Jackie Brown, Ordell Robbie money exchange trial run. It's three p.m., July 4th 1997. The location is the parking structure at LAX.</dialogue>
<character>JACKIE</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Pointing to a small mike on his lapel .</scene_description>
<character>NICOLET</character>
<dialogue>I'm recording this.</dialogue>
<character>JACKIE</character>
<dialogue>I thought you were going to let this one through.</dialogue>
<character>DARGUS</character>
<dialogue>We are. Do n't worry about it.</dialogue>
<character>NICOLET</character>
<dialogue>Every step of this goes in my report.</dialogue>
<parenthetical>( back to report voice . )</parenthetical>
<dialogue>I am now taking a manila envelope from the subject's flight bag.</dialogue>
<scene_description>He opens it and takes out the ten thousand dollars .</scene_description>
<character>NICOLET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The envelope contains currency. all the same denomination, one - hundred - dollar bills. Now, I'm counting it.</dialogue>
<character>DARGUS</character>
<dialogue>What time do you have to be there?</dialogue>
<character>JACKIE</character>
<dialogue>Four thirty. I'm meeting a woman.</dialogue>
<character>DARGUS</character>
<dialogue>What's her name?</dialogue>
<character>JACKIE</character>
<dialogue>He would n't say. You gon na follow her?</dialogue>
<character>DARGUS</character>
<dialogue>She leaves, somebody'll be on her.</dialogue>
<character>JACKIE</character>
<dialogue>But you're not going to stop her?</dialogue>
<scene_description>Nicolet finishes counting , then hushes them up .</scene_description>
<character>NICOLET</character>
<dialogue>The envelope contains ten thousand dollars. The subject will be delivering the currency in a.</dialogue>
<character>JACKIE</character>
<dialogue>A Broadway shopping bag.</dialogue>
<scene_description>She holds it up .</scene_description>
<character>NICOLET</character>
<dialogue>A Broadway shopping bag. A large bag with handles and brown lettering.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEL AMO MALL - DAY</stage_direction>
<scene_description>The huge Del Amo Mall .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - FOOD COURT - DAY</stage_direction>
<scene_description>The Del Amo Mall on another lazy midday in the middle of the week . Max rides up an escalator in the mall . He casually strolls through the mall , goes into a cappuccino bar called `` BUSTA CAP '' across from the food court . Walking up to the counter ;</scene_description>
<character>MAX</character>
<dialogue>CafŠ mocha.</dialogue>
<character>BUSTA CAP GIRL</character>
<dialogue>You want whipped cream on that?</dialogue>
<character>MAX</character>
<dialogue>No, thanks.</dialogue>
<scene_description>Max checks his watch : 4:30 . He looks over at the food court and spots Jackie sitting at a table by herself .</scene_description>
</scene>
<scene>
<stage_direction>INT. JACKIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Jackie on the phone with Max , dressed for bed -LRB- long t - shirt and panties -RRB- .</scene_description>
<character>JACKIE</character>
<dialogue>Think of it as money that should n't even be here. I mean does anybody have a right to it?</dialogue>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - NIGHT</stage_direction>
<scene_description>Max in his office on the phone .</scene_description>
<character>MAX</character>
<dialogue>The feds. It's evidence.</dialogue>
<character>JACKIE</character>
<dialogue>It may be evidence once they get their hands on it, but right now it's only money.</dialogue>
<scene_description>BACK TO MAX AT THE MALL He ponders his words as he watches her from a distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOOD COURT - DAY</stage_direction>
<scene_description>Jackie sits at a table by herself , eating Japanese food from Teriyaki Donut and drinking an iced tea . As she eats she hears ;</scene_description>
<character>YOUNG GIRL'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Is this seat taken?</dialogue>
<scene_description>Jackie looks up and sees a skinny YOUNG GIRL , black , quite pretty , no older than twenty . She holds a tray filled with tacos , enchiladas , rice and beans and a giant - sized Coke . She also has a Broadway shopping bag hanging from her arm .</scene_description>
<character>JACKIE</character>
<dialogue>Have a seat.</dialogue>
<scene_description>The Young Girl does . Jackie looks at her tray of food .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're hungry?</dialogue>
<character>YOUNG GIRL</character>
<dialogue>Yes'm.</dialogue>
<scene_description>It would seem our Young Girl 's from the South .</scene_description>
<character>JACKIE</character>
<dialogue>Put your bag on the floor, okay? Under the table, right next to mine.</dialogue>
<scene_description>The Young Girl who has n't looked right at Jackie since sitting down , bends sideways to glance under the table .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Then when I leave, well, you know. What's your name?</dialogue>
<scene_description>She looks up .</scene_description>
<character>YOUNG GIRL</character>
<dialogue>Sherona?</dialogue>
<scene_description>then back down at her tray .</scene_description>
<character>JACKIE</character>
<dialogue>Go ahead, start eating.</dialogue>
<scene_description>Sheronda starts eating , head down , hunching close to the tray .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Would it bother you if I smoked?</dialogue>
<scene_description>Without raising her head , she shakes it from side to side . Jackie takes out a pack of Davidoffs and lights one up with her yellow Bic . As she does this she observes Sheronda eating .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sheronda, can I ask you a question? Are you and Ordell married?</dialogue>
<scene_description>Without raising her head .</scene_description>
<character>SHERONDA</character>
<dialogue>He say we like the same thing as married.</dialogue>
<character>JACKIE</character>
<dialogue>Do you live together?</dialogue>
<scene_description>Sheronda hesitates , then says without raising her head .</scene_description>
<character>SHERONDA</character>
<dialogue>Most of the times.</dialogue>
<character>JACKIE</character>
<dialogue>Not every day?</dialogue>
<scene_description>Sheronda looks up at her .</scene_description>
<character>SHERONDA</character>
<dialogue>Sometimes every day, for a while.</dialogue>
<character>JACKIE</character>
<dialogue>Then you do n't see him for a few days?</dialogue>
<scene_description>She looks back down .</scene_description>
<character>SHERONDA</character>
<dialogue>Yes'm.</dialogue>
<character>JACKIE</character>
<dialogue>You know what's in the bag you're taking?</dialogue>
<character>SHERONDA</character>
<dialogue>He say is a surprise.</dialogue>
<character>JACKIE</character>
<dialogue>Well, Sheronda, it was nice talking to you.</dialogue>
<scene_description>Jackie picks up Sheronda 's bag and leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - BUSTA CAP - DAY</stage_direction>
<scene_description>Max drinking his cafŠ mocha sans whipped cream , watches Jackie leave the Young Girl and with Broadway bag in hand , walk out of the food court . Max watches her walk down the mall when two young men in sport coats , jeans , and cowboy boots step out of a B. Dalton bookstore , stop her and begin talking . Knowing they must be Nicolet and Dargus , he watches one of them take the Broadway bag from Jackie and look inside . They talk for a minute - it would seem about nothing too serious . Jackie nods her head , listens to the two cops , nods her head again , and then walks off . As he watches her walk away from the cops . JACKIE AND MAX ON PHONE</scene_description>
<character>JACKIE</character>
<dialogue>You said it yourself. Ray wants Ordell, he do n't give a shit about the money. Money wo n't convict him, guns will. Yeah, sure, if it falls in their lap, they take it. If they know they got it, they'll look for it. but if they do n't.</dialogue>
<scene_description>BACK TO MAX AT MALL Max watches the two cops turn their attention to the young girl eating in the food court . Max watches her , too . The Young Girl continues to work her way through her Mexican food , when she turns her head to an OLDER BLACK WOMAN sitting at the next table . The older woman says something , and the younger woman hands her the ashtray Jackie was using . Max watches the Young Girl finish her food and get up from the table . She stoops down to get the Broadway shopping bag and walks out of the food court . Max watches Nicolet and Dargus let the Young Girl get a little ahead , then follow after her . They 're gone . Max turns back on the older woman all alone . She finishes the coffee she was drinking and stands up , carrying - how about that ? - A Broadway shopping bag . The woman heads out of the mall . Max follows her . The older woman walks past us . She heads straight for the exit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEL AMO MALL - PARKING LOT - DAY</stage_direction>
<scene_description>Max follows the woman outside . She walks down a line of cars , then gets in a big , tan Mercury sedan . She drives of . but not before Max writes down her license plate number . MAX AND JACKIE ON PHONE</scene_description>
<character>MAX</character>
<dialogue>You're rationalizing.</dialogue>
<character>JACKIE</character>
<dialogue>That's what you do to go through with the shit you start. You rationalize. I can do this, Max, I know I can. But I ca n't do it without you.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX'S CADILLAC - DAY</stage_direction>
<scene_description>Max climbs into his Seville , starts her up , and drives out of the parking lot . CLOSEUP MAX Driving down the street , lost in thought .</scene_description>
<character>MAX</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>It could work. If she handles the cops right, I could work.</dialogue>
<scene_description>He hits ` play ' on the dash CD player . The Delfonics fill the cab of the Caddy . BLACK A garage door is lifted open , revealing Ordell and Louis .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STORAGE FACLITY - DAY</stage_direction>
<scene_description>Ordell and Louis are at Mr. Robbie 's storage facility . A VAN is backed up nect to the opening . The facility is pitch black . Ordell ahs a big flashlight in his hand .</scene_description>
<character>ORDELL</character>
<dialogue>Check this out.</dialogue>
<scene_description>He turns on the flashlight . He shines the beam into darkness . We see the facility is filled to the gills with machine guns , shotguns , uzis , a rocket launcher , and handguns of many types .</scene_description>
<character>LOUIS</character>
<dialogue>How much is there?</dialogue>
<character>ORDELL</character>
<dialogue>Over half - million dollars worth of merchandise.</dialogue>
<scene_description>Ordell opens the back doors of the van . They start unloading machine guns and boxes of ammo .</scene_description>
<character>LOUIS</character>
<dialogue>Can I ask you about Melanie?</dialogue>
<character>ORDELL</character>
<dialogue>Sure.</dialogue>
<character>LOUIS</character>
<dialogue>What's your relationship?</dialogue>
<character>ORDELL</character>
<dialogue>She one of the women I got set up. I got Melanie in Hermosa Beach. I rent Simone a small house in Compton, and about four blocks away I got me this nineteen - year - old country girl named Sheronda. I found her waitin' for a bus two days outta Alabama, barefoot, country as a chicken coop. Took her to my house in Compton, told her it was Hollywood.</dialogue>
<character>LOUIS</character>
<dialogue>She believed you?</dialogue>
<character>ORDELL</character>
<dialogue>Hell, yeah. To her dumb country ass, Compton is Hollywood. Close as she's ever been, anyway.</dialogue>
<scene_description>They both laugh together .</scene_description>
<character>LOUIS</character>
<dialogue>Do you trust Melanie?</dialogue>
<scene_description>Ordell stops unloading .</scene_description>
<character>ORDELL</character>
<dialogue>If this is about you fucked Melanie, I do n't give a damn. I ai n't a fool. I leave you alone with a bitch like Melanie, you're gon na be fuckin' that twenty minutes after I'm out the door. So say `` thank you'' and I'll tell you, `` you're welcome.''</dialogue>
<character>LOUIS</character>
<dialogue>That's not what I meant when I asked did you trust her.</dialogue>
<scene_description>Ordell looks at him .</scene_description>
<character>ORDELL</character>
<dialogue>She tryin' to work your ass against me, ai n't she?</dialogue>
<character>LOUIS</character>
<dialogue>Yep.</dialogue>
<character>ORDELL</character>
<dialogue>You did n't even hafta say it. I know the woman.</dialogue>
<character>LOUIS</character>
<dialogue>Well, why the fuck keep her around?</dialogue>
<character>ORDELL</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>'Cause she my fine little surfer gal. She ca n't do me no harm. Fact she think she can play you against me shows how little she knows. You could teach that bitch for days how it is ` tween me an you, she never understand a damn word.</dialogue>
<character>LOUIS</character>
<dialogue>Why do you let someone know your business you ca n't trust?</dialogue>
<character>ORDELL</character>
<dialogue>I do n't hafta trust her, I know her.</dialogue>
<character>LOUIS</character>
<dialogue>What does that mean?</dialogue>
<character>ORDELL</character>
<dialogue>You ca n't trust Melanie. But you can always trust Melanie to be Melanie.</dialogue>
<scene_description>Louis starts unloading .</scene_description>
<character>LOUIS</character>
<dialogue>I still do n't understand why you keep her around.</dialogue>
<character>ORDELL</character>
<dialogue>I told you, man.</dialogue>
<parenthetical>( smiling . )</parenthetical>
<dialogue>She my fine little surfer gal.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MELANIE'S APARTMENT BUILDING - DAY</stage_direction>
<scene_description>EXTREME CLOSEUP - Jackie 's finger presses a small black button next to the handwritten name , `` M. RALSTON . '' EXTREME CLOSEUP SPEAKER BOX</scene_description>
<character>MELANIE'S VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( coming out of it . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>JACKIE Bends down to talk in the speaker .</scene_description>
<character>JACKIE</character>
<dialogue>It's Jackie.</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S APARTMENT HALLWAY - DAY</stage_direction>
<scene_description>Jackie walks down the hallway and finds the door . She rings the doorbell . The door opens , she sees Melanie -LRB- for the first time -RRB- on the other side . Melanie , dressed in a t - shirt , cut offs , does n't say a word - just turns around and walks away . Once Melanie leaves , she sees Ordell standing inside the apartment , screwdriver in hand , yelling after Melanie ;</scene_description>
<character>ORDEL</character>
<dialogue>Now she's gon na pout.</dialogue>
<scene_description>He turns his attention to Jackie .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, Jackie, c'mon in.</dialogue>
<scene_description>Jackie steps inside . She sees Louis -LRB- for the first time -RRB- sitting on the couch . Ordell says to Louis , but loud enough for Melanie in the other room to hear ;</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She gon na hafta find her sandals. find her bag. find her sunglasses. take twenty damn minutes get her ass out the door.</dialogue>
<parenthetical>( to Jackie . )</parenthetical>
<dialogue>Jackie - his is Louis, Louis - Jackie. And the chick stompin' around in the other room is Melanie.</dialogue>
<scene_description>Melanie comes out of the bedroom with her sunglasses , sandals , bag strung across her shoulders and her keys in her hand . She makes a bee - line towards the door without saying nothin ' to nobody .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have a nice time, hear?</dialogue>
<scene_description>The door SLAMS behind her . Ordell looks to Jackie , raises his screwdriver and says ;</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Drink?</dialogue>
<character>JACKIE</character>
<dialogue>I need to talk to you alone.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MELANIE'S APARTMENT - BALCONY - DAY</stage_direction>
<scene_description>Ordell and Jackie on the balcony .</scene_description>
<character>JACKIE</character>
<dialogue>I do n't want no more fuckin' surprises. We do this the way I laid it out, or we do n't do it at all.</dialogue>
<character>ORDELL</character>
<dialogue>What the hell you talkin' bout?</dialogue>
<character>JACKIE</character>
<dialogue>Sheronda passin' the money onto someone else, that's what the hell I'm talkin' ` bout.</dialogue>
<character>ORDELL</character>
<dialogue>How do you know she did that?</dialogue>
<character>JACKIE</character>
<dialogue>I was there, I saw her do it.</dialogue>
<character>ORDELL</character>
<dialogue>Well, you were n't supposed to be there.</dialogue>
<character>JACKIE</character>
<dialogue>I know, but I hung around,'cause I figured you'd try an' pull some shit like this.</dialogue>
<character>ORDELL</character>
<dialogue>Now, hold on there. I ai n't pullin' no shit. It's my money, I can do whatever the fuck I wan na do with it.</dialogue>
<character>JACKIE</character>
<dialogue>Not when it's my ass on the line you do n't. We do this my way or fuck it.</dialogue>
<scene_description>Ordell tries to stop the hostile back and forth .</scene_description>
<character>ORDELL</character>
<dialogue>Just chill the fuck out, Jackie. It ai n't no big thing. The woman you saw was my friend, Simone. She's the one gon na be receiving the money, so I just wanted her to see how it works. She'll be here any minute. Nice woman, you'll like her.</dialogue>
<scene_description>Ordell opens the sliding glass and says to Louis in the living room ;</scene_description>
<character>ORDELL</character>
<dialogue>Louis, call Simone and tell her to get her tail over here. We're waitin' on her ass.</dialogue>
<scene_description>Louis gets up to make the call . Ordell turns back to Jackie and smiles , holding up his screwdriver .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm about ready for a refill. Sure I ca n't tempt you?</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S APARTMENT - DAY</stage_direction>
<scene_description>Ordell and Jackie sit on stools around the kitchen counter/bar . Louis sits with them on the phone , silent .</scene_description>
<character>JACKIE</character>
<dialogue>Nicolet and Dargus stop me at the airport and mark the bills.</dialogue>
<character>ORDELL</character>
<dialogue>Man, I do n't like that part.</dialogue>
<character>JACKIE</character>
<dialogue>It washes off. I tell them we're doing it the same way as before. They'll follow Sheronda. I hate the idea of leaving her for a fall.</dialogue>
<character>ORDELL</character>
<dialogue>She wo n't have no problems'cause she do n't know nothin'.</dialogue>
<character>JACKIE</character>
<dialogue>Are you sure she don' know about the money?</dialogue>
<character>ORDELL</character>
<dialogue>She do n't know shit about the money.</dialogue>
<character>JACKIE</character>
<dialogue>What does she think she's gettin?</dialogue>
<character>ORDELL</character>
<dialogue>I told her this is a game us rich folks play, exchanging gifts. Like a scavenger hunt. She did n't know what that was neither.</dialogue>
<parenthetical>( to Louis . )</parenthetical>
<dialogue>No answer?</dialogue>
<scene_description>Louis shakes his head .</scene_description>
<character>LOUIS</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>Hang it up, she's on her way. You got ta listen to this. This involves you.</dialogue>
<scene_description>Louis hangs up the phone and joins the debriefing .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, you gon na give her a Robinson's / May bag this time?</dialogue>
<character>JACKIE</character>
<dialogue>Right, the one Simone gives me. Simone and I'll make the switch at Robinson's / May. She knows what I look like?</dialogue>
<character>ORDELL</character>
<dialogue>She saw you with Sheronda. So Simone goes to the dress department with her Robinson's / May bag.</dialogue>
<character>JACKIE</character>
<dialogue>Designer clothes.</dialogue>
<character>ORDELL</character>
<dialogue>She waits for you to go in the place where you try things on.</dialogue>
<character>JACKIE</character>
<dialogue>The fitting room. There's a sign over the door.</dialogue>
<character>LOUIS</character>
<dialogue>Why we doin' I there?</dialogue>
<character>JACKIE</character>
<dialogue>I have a hunch they'll be watchin' me. We ca n't risk switching bags out in the open or even in the dining area. That's why it has to be a woman,'cause we do the switch in the fitting room.</dialogue>
<character>ORDELL</character>
<dialogue>So you come out with her Robinson's / May bag, go meet Sheronda. Simone peeks out, waits for my man Louis here to give her a signal nobody's watchin'. She leaves the store, gets in her car - mission accomplished.</dialogue>
<character>JACKIE</character>
<dialogue>Where you gon na be during all this?</dialogue>
<character>ORDELL</character>
<dialogue>I'm gon na be sittin' at the titty bar In downtown L.A. till my man over here calls me and gives me the O.K. sign.</dialogue>
<scene_description>Jackie 's pager goes off . She looks at it .</scene_description>
<character>JACKIE</character>
<dialogue>I got ta go.</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S APARTMENT - HALLWAY - DAY</stage_direction>
<scene_description>Ordell walks Jackie to the elevator .</scene_description>
<character>ORDELL</character>
<dialogue>Who's paging you?</dialogue>
<character>JACKIE</character>
<dialogue>Ray, the A.T.F. guy.</dialogue>
<character>ORDELL</character>
<dialogue>That works on my nerves, you bein' so buddy - buddy with him.</dialogue>
<character>JACKIE</character>
<dialogue>If I was n't, this would n't work. Now once I deliver I'll have to trust you.</dialogue>
<character>ORDELL</character>
<dialogue>Well, I've been trusting you all this time, have n't I? We agreed on ten percent of what you bring in and that's what you gon na get.</dialogue>
<scene_description>They reach the elevator . She presses the button .</scene_description>
<character>JACKIE</character>
<dialogue>And a hundred thousand if I go to jail.</dialogue>
<character>ORDELL</character>
<dialogue>We're partners, Baby, sorta. I ai n't gon na screw you. You have n't told me where I put it for you.</dialogue>
<scene_description>The elevator arrives . Jackie steps in .</scene_description>
<character>JACKIE</character>
<dialogue>Give it to the bail bondsman, Max Cherry. He'll take care of it.</dialogue>
<character>ORDELL</character>
<dialogue>Max Cherry? You and him friends now? You tell him about this shit?</dialogue>
<character>JACKIE</character>
<dialogue>He wo n't know where the money came from. Only that it's money.</dialogue>
<scene_description>the elevator shuts . As it shuts Ordell yells ; .</scene_description>
<character>ORDELL</character>
<dialogue>Do n't you know all them bail bondsmen are crooks.</dialogue>
<scene_description>the door shuts . CLOSEUP ORDELL He does n't like the last piece of new information .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STRAND - DAY</stage_direction>
<scene_description>The Strand is the hip surfer street in downtown Hermosa Beach . Jackie leaves the apartment building . She walks to her car when she spots a funky little beach bar called , `` Sally Leroy 's . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. SALLY LEROY'S - DAY</stage_direction>
<scene_description>Sally Leroy 's is a beach bar with surfboards , different beer signs , and pictures of Marilyn Monroe , Elvis Presley , James Dean , Ann Margaret , and surfers riding monster waves all over the place . The JUKEBOX plays a loud seventies rock number . BEGINNING OF SHOT The camera picks Jackie up through the window , walking into the place and going up to the bar . A female bartender in her mid - twenties , wearing a plaid workshirt , named WANDA , goes to Jackie .</scene_description>
<character>JACKIE</character>
<dialogue>Do you have a phone?</dialogue>
<character>WANDA</character>
<dialogue>Yeah, it's in the back.</dialogue>
<character>JACKIE</character>
<dialogue>Thanks.</dialogue>
<scene_description>We follow with her to the back of the bar . the MUSIC is LOUD . the phone booth is occupied by a fat older GUY wearing surf clothes and sporting a mustache like a walrus . Jackie waits for him to finish his call . As she waits , the CAMERA MOVES BACK . until a blonde head of hair comes into the f.g . The CAMERA MOVES around to a CLOSEUP ON MELANIE , sucking on a beer , moving her head to the music , and watching Jackie . She smiles and steps OUT OF FRAME . END OF SHOT Jackie hears behind her ;</scene_description>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey!</dialogue>
<scene_description>Jackie turns and sees Melanie holding a beer , standing behind her .</scene_description>
<character>JACKIE</character>
<dialogue>Oh, hi.</dialogue>
<character>MELANIE</character>
<dialogue>Buy ya a beer?</dialogue>
<character>JACKIE</character>
<dialogue>I'm waiting for the phone.</dialogue>
<character>MELANIE</character>
<dialogue>Good luck. That guy's been in there since I got here.</dialogue>
<character>JACKIE</character>
<dialogue>Well, I guess I better look for another one, then. Thanks, anyway.</dialogue>
<scene_description>Jackie turns to leave .</scene_description>
<character>MELANIE</character>
<dialogue>I know what you and Ordell got goin'. You sit down and have a beer with me. I'll tell you a secret.</dialogue>
<scene_description>Jackie looks at her a moment .</scene_description>
<character>JACKIE</character>
<dialogue>Sure.</dialogue>
<character>MELANIE</character>
<dialogue>Great.</dialogue>
<parenthetical>( calling to the bartender . )</parenthetical>
<dialogue>. Wanda!</dialogue>
<scene_description>Wanda approaches .</scene_description>
<character>WANDA</character>
<dialogue>What?</dialogue>
<character>MELANIE</character>
<dialogue>This lady is thirsty.</dialogue>
<character>WANDA</character>
<dialogue>What do you want?</dialogue>
<character>MELANIE</character>
<dialogue>What's on tap?</dialogue>
<character>WANDA</character>
<dialogue>Coors, Sam, Rolling Rock, and Killian's Red.</dialogue>
<character>JACKIE</character>
<dialogue>Killian's.</dialogue>
<character>MELANIE</character>
<dialogue>Better get me another Sam's.</dialogue>
<parenthetical>( to Jackie . )</parenthetical>
<dialogue>Join me in a Jaeger shot?</dialogue>
<character>JACKIE</character>
<dialogue>Uh - uh.</dialogue>
<character>MELANIE</character>
<dialogue>Gim me one anyway.</dialogue>
<character>WANDA</character>
<dialogue>You got it.</dialogue>
<scene_description>Wanda goes away . Jackie and Melanie sit at the bar . The MUSIC is LOUD , and they have to talk over it . Melanie moves her head to it during the conversation .</scene_description>
<character>JACKIE</character>
<dialogue>How long you been with Ordell?</dialogue>
<character>MELANIE</character>
<dialogue>This time? Almost a year. I've known him forever.</dialogue>
<character>JACKIE</character>
<dialogue>What were you two fighting about?</dialogue>
<character>MELANIE</character>
<dialogue>He told me to go outside.</dialogue>
<parenthetical>( imitating Ordell 's voice . )</parenthetical>
<dialogue>`` You may leave us now.'' It's all part of his pathetic attempt to be `` the man.'' You know Mr. Walker do n't you?</dialogue>
<scene_description>Jackie nods `` yes . ''</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mr. Walker's my buddy. Ask him about Ordell.</dialogue>
<character>JACKIE</character>
<dialogue>That coke was yours, was n't it?</dialogue>
<scene_description>Melanie makes a face to show pain .</scene_description>
<character>MELANIE</character>
<dialogue>Oh, man, listen. I'm sorry about that. I hope they do n't come down on you on my account. Ordell shoulda told you it was in your bag.</dialogue>
<scene_description>Wanda brings the drinks .</scene_description>
<character>WANDA</character>
<dialogue>Seven dollars.</dialogue>
<scene_description>Melanie digs in her purse for the money .</scene_description>
<character>JACKIE</character>
<dialogue>He said he did n't know about it.</dialogue>
<character>MELANIE</character>
<parenthetical>( digging in her purse . )</parenthetical>
<dialogue>You believe that? Yeah, well, I guess you have to trust him.</dialogue>
<parenthetical>( pulls out a ten . )</parenthetical>
<dialogue>I'd have second thoughts on that, but then I know'em.</dialogue>
<scene_description>Melanie takes her Jaeger shot , lets it go down , then continues .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He killed a guy who works for him the other day.</dialogue>
<character>JACKIE</character>
<dialogue>Beaumont Livingston?</dialogue>
<character>MELANIE</character>
<dialogue>You already knew that?</dialogue>
<character>JACKIE</character>
<dialogue>Kinda.</dialogue>
<character>MELANIE</character>
<dialogue>So tell me. Having all that money in your flight bag - Is it tempting?</dialogue>
<scene_description>Jackie nods ` yes ' , as she sips her beer .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I tell you. If Ordell ever sent me to carry in ten thousand dollars, that would be the last motherfuckin' time he saw me. The next trip you're gon na have over half - a - million. If you thought of cutting Ordell out, I sure as hell would n't blame you.</dialogue>
<scene_description>Jackie smiles .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You think I'm kidding?</dialogue>
<character>JACKIE</character>
<dialogue>Dreaming.</dialogue>
<character>MELANIE</character>
<dialogue>You know how easy it would be? He wo n't be anywhere near that mall. Pull one more switch, up front. That's it. half - a - million dollars. Need help?</dialogue>
<character>JACKIE</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Keep it between us girls?</dialogue>
<character>MELANIE</character>
<dialogue>What's that fucker ever done for us?</dialogue>
<character>JACKIE</character>
<parenthetical>( getting off the barstool . )</parenthetical>
<dialogue>I do n't think so, but thanks for the beer.</dialogue>
<scene_description>Jackie leaves . CLOSEUP MELANIE Watches her go .</scene_description>
<character>MELANIE</character>
<parenthetical>( softly under her breath . )</parenthetical>
<dialogue>Chicken shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. STEAKHOUSE - NIGHT</stage_direction>
<scene_description>Jackie and Nicolet sit at a steakhouse eating a steak dinner . Nicolet drinks beer , Jackie drinks white wine .</scene_description>
<character>JACKIE</character>
<dialogue>Ordell has a white guy working for him named Louis.</dialogue>
<character>NICOLET</character>
<dialogue>You two meet?</dialogue>
<character>JACKIE</character>
<dialogue>This afternoon before I came here. He was with Ordell at an apartment in Hermosa Beach. I do n't know if he lives there, but I can find out.</dialogue>
<character>NICOLET</character>
<dialogue>You talk to him?</dialogue>
<character>JACKIE</character>
<dialogue>Not really.</dialogue>
<character>NICOLET</character>
<dialogue>His full name is Louis Gara. He just got out from serving four years in Susanville.</dialogue>
<character>JACKIE</character>
<dialogue>What for?</dialogue>
<character>NICOLET</character>
<dialogue>Bank robbery? Do you know what he does for Ordell?</dialogue>
<character>JACKIE</character>
<dialogue>I imagine shit needs to be done.</dialogue>
<character>NICOLET</character>
<dialogue>We've been following Mr. Gara, and he's definitely working for Ordell.</dialogue>
<scene_description>NICOLET AND DARGUS In a car , parked , on surveillance . COPS POV Louis with the van , at the storage facility .</scene_description>
<character>NICOLET</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>They served two years together almost twenty years ago in Soledad. But he does n't live in Hermosa Beach. Ordell's got him staying at a house in.</dialogue>
<scene_description>MUG SHOT SIMONE The older woman in the mall .</scene_description>
<character>NICOLET</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Compton with a fifty - six - year - old petty thief - woman named Simone Hawkins.</dialogue>
<scene_description>BACK TO BAR</scene_description>
<character>NICOLET</character>
<dialogue>Ever meet her, or they talk about her?</dialogue>
<character>JACKIE</character>
<dialogue>Not yet.</dialogue>
<character>NICOLET</character>
<dialogue>Who's the other one?</dialogue>
<character>JACKIE</character>
<dialogue>White girl named Melanie Ralston. Another girlfriend of Ordell's.</dialogue>
<character>NICOLET</character>
<dialogue>What's her story?</dialogue>
<character>JACKIE</character>
<dialogue>It was her coke I got busted with. She knows everything, but she's not part of it, and she's pissed cause she's not part of it. Ordell would n't even let her stay at the meeting. She tried to talk me into ripping off Ordell.</dialogue>
<character>NICOLET</character>
<dialogue>And splittin' with her?</dialogue>
<character>JACKIE</character>
<dialogue>I'm sure that was the idea.</dialogue>
<character>NICOLET</character>
<dialogue>What did you say?</dialogue>
<character>JACKIE</character>
<dialogue>I smiled and walked away. She also told me Ordell killed Beaumont.</dialogue>
<character>NICOLET</character>
<dialogue>She told you that?</dialogue>
<character>JACKIE</character>
<dialogue>Uh - huh.</dialogue>
<character>NICOLET</character>
<dialogue>Was she there?</dialogue>
<character>JACKIE</character>
<dialogue>She did n't say.</dialogue>
<character>NICOLET</character>
<dialogue>But she mentioned Beaumont by name?</dialogue>
<character>JACKIE</character>
<dialogue>Uh - huh.</dialogue>
<character>NICOLET</character>
<dialogue>Well, this sounds like a lady I'd like to have a word with. So everything's set for tomorrow?</dialogue>
<character>JACKIE</character>
<dialogue>Right. Everything's the same, except one change.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Max sits on the couch in Jackie 's apartment drinking white wine . Jackie paces in front of him , white wine in one hand , Davidoff in the other , going over the details of tomorrow . One could notice a slight change in Jackie . There 's a bit of an edge to Miss Brown that 's bubbling underneath her cool surface . It 's understandable . After all , she 's been the architect of this half - a - million dollars switcheroo . She 's moved heaven and earth to make all the pieces fall into place , and all the players thnk what she wants them to think . As she talks to Max she knows tomorrow all her hard work will either fail or succeed . But do n't take this difference the wrong way . This edge I 'm referring to is not one born out of fear -LRB- Jackie 's nervous , but she 's not afraid -RRB- . It 's more the edge an athlete might feel before an all - important competition .</scene_description>
<character>JACKIE</character>
<dialogue>I told them Ordell's changed the amount he's bringing in.</dialogue>
<character>MAX</character>
<dialogue>Do you think they bought it?</dialogue>
<character>JACKIE</character>
<dialogue>Oh, yeah. I got them thinking Ordell's real nervous. They love thinking he's scared of them.</dialogue>
<character>MAX</character>
<dialogue>You know, a good cop wo n't let you know he knows you're fulla shit.</dialogue>
<character>JACKIE</character>
<dialogue>All he needed was a reasonable explanation.</dialogue>
<scene_description>BACK TO JACKIE WITH NICOLET MEDIUM JACKIE</scene_description>
<character>JACKIE</character>
<dialogue>Right. Everything's the same except one change. Ordell thinks it's just too hot right now to bring in all his money. He knows you're watching him, and he's paranoid. He's keeping his stash where it is, but he wants to bring in fifty thousand for bail in case he needs it.</dialogue>
<scene_description>BACK TO JACKIE AND MAX</scene_description>
<character>MAX</character>
<dialogue>It'll be more than that.</dialogue>
<character>JACKIE</character>
<dialogue>Do n't be so literal. Ray believed it.</dialogue>
<character>MAX</character>
<dialogue>But you still have to show him the money at the airport.</dialogue>
<character>JACKIE</character>
<dialogue>Well, you know I'm not going to show him the whole amount. He'll see fifty thousand.</dialogue>
<character>MAX</character>
<dialogue>Where's the rest of it?</dialogue>
<character>JACKIE</character>
<dialogue>In the bag underneath.</dialogue>
<character>MAX</character>
<dialogue>What if he checks it?</dialogue>
<character>JACKIE</character>
<dialogue>He wo n't - I mean, he did n't the last time. He'll be expecting fifty thousand and there it is - on top.</dialogue>
<character>MAX</character>
<dialogue>You're takin' a helluva chance kid.</dialogue>
<character>JACKIE</character>
<dialogue>Not really. If he finds it, I say Mr. Walker put the money in, and I did n't know nothing about it. Like the coke.</dialogue>
<character>MAX</character>
<dialogue>Then you're out and you get nothing.</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, but I'm not in jail and I tried.</dialogue>
<character>MAX</character>
<dialogue>You're gon na have surveillance all over you.</dialogue>
<character>JACKIE</character>
<dialogue>That's why you do n't make a move till I come out of the fitting room.</dialogue>
<character>MAX</character>
<dialogue>In a dress.</dialogue>
<character>JACKIE</character>
<dialogue>Well, a suit. There's one I had my eye on.</dialogue>
<scene_description>The phone rings .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Excuse me.</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>EXTREME CLOSEUP - Ordell on the phone</scene_description>
<character>ORDELL</character>
<dialogue>It's Ordell. We got a bit of a change in plans here. Nothing to worry ` bout - everything's the same - except for one change. That bitch you saw in the mall, Simone. She was n't here today, cause she split on me.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Me an Louis went over to her place, she's gone. She's gone and all her shit's gone and so's my ten thousand dollars.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>It ai n't nothin' to worry about, girl. Everything's just like we discussed. Except when you do the switch, instead of Simone, it's gon na be Melanie.</dialogue>
<scene_description>Melanie is lying on the couch , sprawled out like a cat . Louis sits at the other end of the couch . They 're watching `` Dirty Mary and Crazy Larry '' on TV . ON TV Peter Fonda and Susan George make jokes as they 're pursued by police cars . They can hear Ordell on the phone . Melanie smiling at Louis , flirtatiously and conspiratorially lifts her bare foot and rubs his arm with it . Louis turns to her and gives her a look that says : `` I 'm not on your side , bitch . So knock it of . '' Melanie sees this and takes her foot away . Louis turns back to the television . CLOSEUP MELANIE Looks at Louis for a moment , then sighs , saying under her breath ;</scene_description>
<character>MELANIE</character>
<dialogue>Chicken shit.</dialogue>
<scene_description>FADE TO BLACK `` MONEY EXCHANGE 550,000 '' A GRAPHIC MAP With Mexico and California on it . On the Mexico side we see `` CABO SAN LUCAS '' with a big circle around it . On the California side we see `` LAX '' in a similar circle . The tiny figure of a black AIRPLANE appears in the Cabo circle . With appropriate SOUND EFFECTS it takes off from Cabo , flying towards LAX , leaving a dotted line behind it . The CAMERA moves into a CLOSEUP of the little black airplane . CLOSEUP JACKIE Looking down .</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE BATHROOM - DAY</stage_direction>
<scene_description>Rearranging her bag . The five hundred thousand inside takes up half the space . She tucks lingerie around the edges , covers the money with blouses , shoes , and skirts and ties I all down tight . Then places a fat envelope with fifty thousand right on top .</scene_description>
</scene>
<scene>
<stage_direction>INT. CABIN - AIRPLANE - DAY</stage_direction>
<scene_description>Jackie steps out of the bathroom , walks down the aisle , and is stopped by a PASSENGER .</scene_description>
<character>PASSENGER</character>
<dialogue>Listen, Miss, I'm waiting for a drink and you spend half the fuckin' flight in the can. Soon as we land I'm making a formal complaint.</dialogue>
<character>JACKIE</character>
<dialogue>Why, because I called you an asshole.</dialogue>
<character>PASSENGER</character>
<dialogue>You did n't call me that.</dialogue>
<character>JACKIE</character>
<dialogue>I did n't? Oh, well, you're an asshole.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAX PARKING STRUCTURE - DAY</stage_direction>
<scene_description>`` TIME : 3:00 '' Jackie steps into the LAX parking structure , pulling her bag on wheels behind her . Waiting for her is Ray Nicolet .</scene_description>
<character>NICOLET</character>
<dialogue>We have to stop meeting like this.</dialogue>
<scene_description>They fall into step towards her car .</scene_description>
<character>JACKIE</character>
<dialogue>You said that the last time.</dialogue>
<character>NICOLET</character>
<dialogue>Well, it's true, is n't it? After his is buttoned up we could meet someplace else. What do you think?</dialogue>
<character>JACKIE</character>
<dialogue>We could, if I'm not in jail.</dialogue>
<character>NICOLET</character>
<dialogue>Oh, that's taken care of. I called the State Attorney's Office. You were no - filed this morning in Circuit Court.</dialogue>
<scene_description>CLOSEUP JACKIE This information stops Jackie in her tracks .</scene_description>
<character>JACKIE</character>
<dialogue>Are you saying I'm off the hook?</dialogue>
<scene_description>JACKIE 'S POV Nicolet , who kept walking when Jackie stopped , looks back at Jackie .</scene_description>
<character>NICOLET</character>
<dialogue>Free as a bird. I still expect you to finish the job, though. How much do you have this time?</dialogue>
<scene_description>Jackie starts walking again</scene_description>
<character>JACKIE</character>
<dialogue>Fifty thousand, like I said. He's pretty sure he's gon na need it for bail.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKIE'S HONDA - DAY</stage_direction>
<scene_description>Jackie and Nicolet in the parked car . Ray has the flight bag in his lap . He unzips it . He sees the clothes with the envelope on top . Jackie watches all of this .</scene_description>
<character>NICOLET</character>
<dialogue>That's fifty thousand, huh? It does n't look like that much.</dialogue>
<character>JACKIE</character>
<dialogue>I was told ten thousand in each pack.</dialogue>
<character>NICOLET</character>
<dialogue>You did n't count it?</dialogue>
<character>JACKIE</character>
<dialogue>I never have. It's not my money.</dialogue>
<scene_description>He puts the envelope back in the bag and feels through the folds of a skirt .</scene_description>
<character>NICOLET</character>
<dialogue>He might have slipped some coke in here. Did you check?</dialogue>
<scene_description>Jackie , cool .</scene_description>
<character>JACKIE</character>
<dialogue>Mr. Walker promised he'd never do that again.</dialogue>
<scene_description>Nicolet 's fingers move to a pair of black heels wedged into the side . they touch the shoes . then move over to the envelope , opens the clasp and takes out five rubber - banded bond packets of loot .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ever been tempted?</dialogue>
<character>NICOLET</character>
<dialogue>What? To put one of these in my pocket?</dialogue>
<character>JACKIE</character>
<dialogue>Uh - huh.</dialogue>
<character>NICOLET</character>
<dialogue>If I did, I'd have to give you one, would n't I? Or we could take what we want. No one knows how much there is except us, right?</dialogue>
<character>JACKIE</character>
<dialogue>Yes. All those things are true.</dialogue>
<character>NICOLET</character>
<dialogue>After all, it do n't belong to nobody, right?</dialogue>
<character>JACKIE</character>
<dialogue>That would be one point of view.</dialogue>
<character>NICOLET</character>
<dialogue>Yeah, well, it's not a point of view that A.T.F. shares. Once we make it evidence, it belongs to us. You are now officially out of trouble. Do n't do nothing stupid, now.</dialogue>
<character>JACKIE</character>
<dialogue>How can I do anything if I'm being watched every second?</dialogue>
<character>NICOLET</character>
<dialogue>I'm glad you realize that. Saves me the trouble of pointing it out to you.</dialogue>
<parenthetical>( holding up the money . )</parenthetical>
<dialogue>Put this in your shopping bag. It's what I expect to find when I look in Sheronda's. Comprende?</dialogue>
<character>JACKIE</character>
<dialogue>Si.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX CHERRY'S OFFICE - DAY</stage_direction>
<scene_description>Max Cherry sits behind his desk . WINSTON POWELL , the big black guy from the photo , is at the other desk on the phone . Max looks at his watch . `` TIME : 3:30 '' Max stands up , takes the sport coat from the back of his chair , putsit on , and walks over to Winston 's desk . Winston , still on the phone , looks up .</scene_description>
<character>MAX</character>
<dialogue>I'm going out for a few hours.</dialogue>
<character>WINSTON</character>
<parenthetical>( to phone . )</parenthetical>
<dialogue>Hold on a minute.</dialogue>
<parenthetical>( to Max . )</parenthetical>
<dialogue>Where you going?</dialogue>
<character>MAX</character>
<dialogue>I'm going to Del Amo, see a movie, get something to eat.</dialogue>
<character>WINSTON</character>
<dialogue>Watcha gon na see?</dialogue>
<character>MAX</character>
<dialogue>Whatever looks best and starts the soonest.</dialogue>
<character>WINSTON</character>
<dialogue>Have fun.</dialogue>
<scene_description>Winston goes back to the phone . Max walks out of the office .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S HOFFIN BRAUR - DAY</stage_direction>
<scene_description>Sam 's Hoffin Braur -LRB- German for beer garden -RRB- is a strip joint bar in downtown L.A.</scene_description>
</scene>
<scene>
<stage_direction>INT SAM'S HOFFIN BRAUR - DAY</stage_direction>
<scene_description>Ordell 's on the pay phone . A STRIPPER strips in the b.g. `` TIME : 3:47 ''</scene_description>
<character>ORDELL</character>
<dialogue>What the fuck are you two still doing there?!</dialogue>
</scene>
<scene>
<stage_direction>INT. MELANIE'S APARTMENT - DAY</stage_direction>
<scene_description>Louis stands in the empty living room , talking to Ordell on the phone . Kate Bush plays in the b.g.</scene_description>
<character>LOUIS</character>
<dialogue>I was ready to leave ten minutes ago.</dialogue>
<scene_description>Ordell snaps at Louis , not so harsh Louis is forced to retaliate , but enough to express his loss of patience .</scene_description>
<character>ORDELL</character>
<dialogue>Well, you the one in motherfuckin' charge.</dialogue>
<character>LOUIS</character>
<dialogue>Well, she keeps saying ` in a minute.'</dialogue>
<character>ORDELL</character>
<dialogue>Go in there, snatch her by the hair, and drag her big ass out. This is my goddam money we're talking about. Get your ass out the door.</dialogue>
<scene_description>He hangs up on Louis . Louis , pissed at being hung up on and talked to like that , hangs up the phone and turns his frustration where it rightly belongs - Melanie . Louis stomps towards the bedroom where the music 's playing .</scene_description>
<character>LOUIS</character>
<dialogue>We're leaving now!</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>All right already.</dialogue>
<scene_description>MONTAGE We see a montage of the individual characters in route to the mall . JACKIE In her Honda , smoking a cigarette , looking cool as usual , driving to the mall . Her car plays seventies soul . MAX In his Cadillac Seville , cruising down Hawthorne Boulevard to the mall . He plays hid Delfonics CD . LOUIS AND MELANIE In Melanie 's Toyota drive towards the mall . Melanie drives singing along with Kate Bush on her car stereo .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEL AMO MALL PARKING LOT - DAY</stage_direction>
<scene_description>Jackie 's car pulls up to a lined parking space in the parking lot . `` TIME 3:52 '' Jackie gets out of the Honda with her flight bag . She goes to her hatchback , takes a Robinson 's / May bag , lines the first half of the bag with old paperbacks . Then takes out of the flight bag the envelope with the fifty - thousand marked dollars , takes one packet of ten thousand , and puts it in her pocket . She lines the envelope with forty thousand across the books , then fills the rest of the bag with beach towels . Then with her flight bag slung over her shoulder , carrying the Robinson 's / May bag and with all the confidence of a world champion prize fighter going into the ring , she strides toward the hugs mall .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - DAY</stage_direction>
<scene_description>Jackie enters the mall . She looks at the people buzzing around . Any one of them could be surveillance . She calmly walks down the mall , then turns into the Roinson 's / May store .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROBINSON'S/MAY - DESIGNER CLOTHES - DAY</stage_direction>
<scene_description>Jackie , in her Cabo Air uniform , walks up to a young Asian saleswoman named Amy in the Robinson 's / May designer clothing area . The saleswoman smiles when she sees Jackie .</scene_description>
<character>AMY</character>
<dialogue>Can I help you?</dialogue>
<character>JACKIE</character>
<dialogue>Yes, you have a suit I've had my eye on.</dialogue>
<scene_description>Jackie steps out of the fitting room wearing a real sharp , badass , black suit with a white blouse .</scene_description>
<character>AMY</character>
<dialogue>Oh, my God. You look so cool.</dialogue>
<scene_description>Jackie moves over to the mirror , and checks herself out .</scene_description>
<character>JACKIE</character>
<dialogue>This looks pretty good on me.</dialogue>
<character>AMY</character>
<dialogue>Are you kidding, it looks great. You wear this to a business meeting, you're the badass in the room. But you can go out dancing in this too. It's a total power suit.</dialogue>
<scene_description>Jackie studies her reflection .</scene_description>
<character>JACKIE</character>
<dialogue>I think I'm gon na just get this for today. I'm in kind of a hurry. Would you mind ringing this up while I change out of it?</dialogue>
<character>AMY</character>
<dialogue>Not a problem.</dialogue>
<character>JACKIE</character>
<dialogue>Thanks.</dialogue>
<scene_description>Jackie walks into the fitting room .</scene_description>
</scene>
<scene>
<stage_direction>INT. FITTING ROOM - DAY</stage_direction>
<scene_description>She walks down the fitting room hallway with changing cubicles on her right , enters the last one . She closes the door and sits down on the bench in between her flight bag full of money and the Robinson 's / May bag . A full - length mirror is straight I front of her . She looks at herself . when someone comes into the stall next to her . Melanie 's voice comes from the other side of the wall .</scene_description>
<character>MEALNIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Jackie?</dialogue>
<character>JACKIE</character>
<dialogue>Hi, Melanie.</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Are you getting that black suit?</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, do you like it?</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It looks good on you.</dialogue>
<character>JACKIE</character>
<dialogue>Do you got something for me?</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You betcha.</dialogue>
<scene_description>A Robinson 's / May bag , like Jackie 's , filled with towels , comes sliding underneath the stall . Jackie picks up her Robinson 's / May bag , filled with books , towels and the marked forty - thousand dollars . She takes the loose packet of ten - thousand marked dollars and lies it on top of the bag . As she does all this Melanie continues talking .</scene_description>
<character>MELANIE</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>We coulda worked this. You know that, dontcha? You would've made out a lot better than you're going to, believe me.</dialogue>
<scene_description>Jackie slides the Robinson 's / May bag with money under the stall . Melanie sees the money on top and stops talking .</scene_description>
<character>JACKIE</character>
<dialogue>I put a little cherry on top. You're right. What the hell he ever do for us?</dialogue>
<character>MELANIE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Thanks.</dialogue>
<character>JACKIE</character>
<dialogue>Now be careful with that bag. You do n't want it ripping open on you in the middle of the store.</dialogue>
<scene_description>We hear the SOUND of Melanie leaving . Jackie then transfers the half of a million dollars out of her flight bag into Melanie 's Robinson 's / May bag . She sticks her uniform in the flight bag . Then takes the towels and puts them on top of the money . She grabs her flight bag and leaves , leaving behind the Robinson 's / May bag filled with half of a million dollars .</scene_description>
</scene>
<scene>
<stage_direction>INT. DESIGNER CLOTHES - DAY</stage_direction>
<scene_description>Jackie , looking sharp in her new suit but acting a touch frantic and anxious , walks rapidly toward the sales counter where Amy waits for her .</scene_description>
<character>JACKIE</character>
<dialogue>I'm sorry, I just decided to stay in the suit - get out of that damn uniform.</dialogue>
<character>AMY</character>
<dialogue>Oh, that's not a problem.</dialogue>
<scene_description>As Jackie and the salesgirl complete their transaction the CAMERA CIRCLES them , SLOWLY at first , but more RAPIDLY each go - around . They complete the transaction and as Jackie starts to leave , she stops and says to Amy ;</scene_description>
<character>JACKIE</character>
<dialogue>Oh, somebody left a shopping bag in there. Looks like beach towels.</dialogue>
<scene_description>She leaves . We follow her .</scene_description>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - DAY</stage_direction>
<scene_description>Jackie walks out of Robinson 's / May hurriedly into the main mall . The calm , cool stride we 're used to with Jackie is completely gone . She stops , looks around , head darting from one direction to another . She looks in a panic . The CAMERA begins to twirl around her . She seems to be looking for something she does n't see . She looks helpless and on the verge of tears . As the twirling CAMERA circles her , she screams ;</scene_description>
<character>JACKIE</character>
<dialogue>Ray! Ray! I need you! Come out! She took the money.</dialogue>
<scene_description>The CAMERA stops twirling . Nicolet , Dargus , and two other plainclothes cops , come running out of a store towards Jackie . As they reach her , a frantic Jackie yells ;</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Melanie burst in the dressing room and took the money!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DEL AMO MALL - DAY</stage_direction>
<scene_description>Louis and Melanie pull up to a lined parking space in Melanie 's Toyota . `` TIME : 4:12 '' Louis is the first out of the car .</scene_description>
<character>LOUIS</character>
<dialogue>Come on, goddammit, we're late!</dialogue>
</scene>
<scene>
<stage_direction>INT. DEL AMO MALL - DAY</stage_direction>
<scene_description>We STEDICAM in front of them , Louis the rapid pacesetter , pulling Melanie behind him by the hand . Melanie carries the Robinson 's / May switch bag .</scene_description>
<character>MELANIE</character>
<dialogue>Jesus Christ, get a grip, Louis.</dialogue>
<character>LOUIS</character>
<dialogue>We shoulda been there already and we woulda been if it had n't been for your fuckin' around!</dialogue>
<scene_description>They go inside Robinson 's / May .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROBINSON'S/MAY - DAY</stage_direction>
<scene_description>We STEDICAM into Robison 's / May with them . We lose them for a moment behind racks of dresses and mannequins , but end up landing on Jackie in her black suit , looking in a mirror and talking to Amy on the Designer Clothes floor .</scene_description>
<character>AM</character>
<dialogue>You wear this to a business meeting, you're the badass in the room.</dialogue>
<scene_description>We PAN away and find Louis and Melanie by a dress rack , watching Jackie .</scene_description>
<character>MELANIE</character>
<dialogue>That's a nice outfit on her. I'm gon na go over and look at this Michi Moon display.</dialogue>
<character>LOUIS</character>
<dialogue>Just stay right fuckin' here, all right?</dialogue>
<character>MELANIE</character>
<dialogue>Are you sweating?</dialogue>
<scene_description>Louis ' hand immediately goes to his forehead and touches dampness .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Job a little too much for you?</dialogue>
<scene_description>Louis shoots Melanie a hard convict look . Melanie smiles at him , feeling the stare , but too much of a natural - born smart ass to change .</scene_description>
<character>MELANIE</character>
<dialogue>I'll be over here. You're too conspicuous.</dialogue>
<scene_description>Louis looks over at the fitting room . Jackie is going inside it , and the saleswoman is walking away towards him . He watches the saleswoman walk by him , then looks back in time to see Melanie enter the fitting room .</scene_description>
<character>LOUIS</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Goddammit, not till I tell ya.</dialogue>
<scene_description>He decides he 's watching the fitting room entrance too much , so he starts throwing his look around when he sees something that stops him cold . MAX CHERRY Max is looking at dresses , paying no attention to the fitting room . He thinks , ` what the fuck is Max Cherry doing here ? ' Max , doing what he 's doing , looks up and sees Louis staring at him across the floor . Max smiles and gives Louis a wave before turning his back to him and continues to do what he was doing . He quickly looks around the store to see anything else ; any more surprise guests , possible police surveillance . Everything looks normal . The saleswoman is behind the register ringing up Jackie 's purchase . The few customers there are doing customer stuff . Then he sees Melanie come out with a Robinson 's / May bag and head down a different aisle . He hurries down his aisle and cuts her off . Their whole fight is said tense and low .</scene_description>
<character>LOUIS</character>
<dialogue>What are you doin'?</dialogue>
<character>MELANIE</character>
<dialogue>I'm getting out of here. What do you think?</dialogue>
<character>LOUIS</character>
<dialogue>Lem me have the bag.</dialogue>
<character>MELANIE</character>
<dialogue>Fuck you. I can carry it.</dialogue>
<scene_description>She tries to push past him , and he catches her by her arm and pulls her around .</scene_description>
<character>LOUIS</character>
<dialogue>Goddam you. Gim me that bag,</dialogue>
<character>MELANIE</character>
<dialogue>Watch it, dipshit. You wan na rip the fuckin' bag?</dialogue>
<character>LOUIS</character>
<dialogue>Gim me that bag before I knock you out and take it.</dialogue>
<scene_description>Melanie realizes Louis ai n't fuckin ' kiddin ' . Not only that , this old guy looks close to buggin ' . She lets go of the bag .</scene_description>
<character>MELANIE</character>
<dialogue>Okay, okay. Take it. Jesus, what's wrong with you?</dialogue>
<scene_description>He takes it . They start walking . We STEDICAM in front of them .</scene_description>
<character>LOUIS</character>
<dialogue>I'm carrying it.</dialogue>
<character>MELANIE</character>
<dialogue>Okay, you got it. Just take a chill pill, for christ sake.</dialogue>
<scene_description>Louis has had enough of her slang and says tensely through gritted teeth ;</scene_description>
<character>LOUIS</character>
<dialogue>Fuck you with your chill pill.</dialogue>
<scene_description>In mid - walk , Melanie asks him ;</scene_description>
<character>MELANIE</character>
<dialogue>Remember where we came in?</dialogue>
<scene_description>Louis stops dead . He looks around , confused .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( like a teacher on Romper Room . )</parenthetical>
<dialogue>Nooo, that's towards Sears. We came in through Bullocks. I know where it is. Want to follow me, Lou - is?</dialogue>
<scene_description>Pissed , he leaves FRAME . Melanie , wearing her Melanie smirk , follows behind .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DEL AMO MALL - DAY</stage_direction>
<scene_description>Louis , clutching the shopping bag close to his chest , walks rapidly down an aisle of parked cars . Melanie follows close behind . We STEDICAM alongside . We walk for awhile , Louis changes direction to another aisle . WE 'RE NOW IN FRONT of him . We see he has a searching look on his face .</scene_description>
<character>MELANIE</character>
<dialogue>You have no idea where you parked, do you?</dialogue>
<scene_description>Louis does n't answer . Melanie laughs .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Jesus, but if you two are n't the biggest fuck - ups I've ever seen in my life. How did you ever rob a bank? When you robbed banks, did you have to look for your car then too? No wonder you went to jail.</dialogue>
<scene_description>Louis could kill her right now . Just take his gun out of his pants and shoot her in her snickering face . But instead of doing what he wants , he does what he should . He does n't answer of look back . -LRB- If he looked back and saw that Melanie - smirk , he could n't e responsible for what happens . -RRB- He changes directions , cuts down another aisle and hopes for both their sakes she shuts the fuck up . But our Melanie just keeps on being Melanie .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is it this aisle, Lou - is?</dialogue>
<character>LOUIS</character>
<dialogue>Yeah, down the end.</dialogue>
<character>MELANIE</character>
<dialogue>You sure?</dialogue>
<scene_description>They walk it ; it 's not it . Louis changes direction and cuts between some cars to the next one .</scene_description>
<character>MELANIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is it this aisle or the next one over?</dialogue>
<character>LOUIS</character>
<dialogue>This one.</dialogue>
<character>MELANIE</character>
<dialogue>You sure?</dialogue>
<scene_description>In between two cars , Louis spins on her .</scene_description>
<character>LOUIS</character>
<dialogue>Do n't say anything else, okay? I'm telling you, keep your mouth shut.</dialogue>
<scene_description>Melanie was surprised by the spin , but is about to say something anyway when Louis put his hand up and says ;</scene_description>
<character>LOUIS</character>
<dialogue>I mean it. Do n't say one fuckin' word.</dialogue>
<character>MELANIE</character>
<dialogue>Okay, Lou - is.</dialogue>
<scene_description>That did it ! Louis whips out the Beretta Ordell gave him , shoots her . BAM . in the belly . She bounces OFF one of the cars and goes down . BAM . Louis shoots her again on the ground . One ; to make sure . Two ; cause it felt good . Then he hurries of for his car . WE FOLLOW IN FRONT OF HIM . He looks around , then yells out ;</scene_description>
<character>LOUIS</character>
<dialogue>See, just where I fuckin' said it was!</dialogue>
<scene_description>He hops in the car , and throws it into reverse . We can se Melanie 's bare legs sticking out from a row of cars . Louis stops the Toyota alongside the dead Melanie , and yells through the passenger window ;</scene_description>
<character>LOUIS</character>
<dialogue>Hey, look. I found it!</dialogue>
<scene_description>He drives away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DEL AMO MALL - DAY</stage_direction>
<scene_description>Max Cherry 's Cadillac Seville pulls up to a lined space in the parking lot . `` TIME : 4:04 '' Max gets out of his car and casually strolls towards the Del Amo Mall .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROBINSON'S/MAY - DAY</stage_direction>
<scene_description>Max , hands in pocket , strolls unhurriedly through the Robinson 's / May store . He walks around the store , keeping one eye peeled toward the Designer Clothes section . He walks up to a jewelry counter and begins looking at he pieces in the display case , when a pretty , young SALESGIRL comes up to him .</scene_description>
<character>SALESGIRL</character>
<dialogue>Can I show you something?</dialogue>
<character>MAX</character>
<dialogue>Not right now. I'm just killing time waiting for my wife. But thanks, anyway.</dialogue>
<character>SALESGIRL</character>
<dialogue>Sure thing. If anything grabs you, do n't be shy.</dialogue>
<character>MAX</character>
<dialogue>Thanks, I wo n't.</dialogue>
<scene_description>She goes off . He looks towards Designer Clothes and sees Jackie walking out of the fitting room wearing the cool black suit .</scene_description>
<character>AMY</character>
<dialogue>Oh, my God. You look so cool.</dialogue>
<scene_description>Jackie moves over to the mirror and checks herself out . Max looks back to the jewelry display case , saying under his breath ;</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( low . )</parenthetical>
<dialogue>And away we go.</dialogue>
<scene_description>Jackie looks at her reflection in the mirror . Then she lifts her eyes , meeting Max 's across the room . Max gives her a nod of his head to show he approves . Jackie smiles and breaks contact , turning to Amy . We hear her say from a distance . `` This looks pretty good on me . '' Max hears a commotion behind him and turns to see Louis and Melanie hurriedly making their way towards Designer Clothes . He turns his attention back to browsing through dresses on a rack . He sees Louis and Melanie squabbling . He sees Jackie disappear into the fitting room . He sees Amy leaving the fitting room entrance . He watches Melanie , by herself , watch Amy leave . Melanie watches the fitting room for a few moments . Gathering her courage , then makes her move , entering the fitting room . Max smiles to himself , `` so far so good '' he thinks . He throws a look towards Louis , only to see Louis staring dead at him with an unhappy look on his face . Max returns the look with a smile and a wave then turns his back on his before he can see a reaction . Max continues his fake browsing . He sees Melanie come out of the fitting room carrying a Robinson 's / May bag close to her chest . She and Louis disappear . He sees Jackie come out of the fitting room , go over to Amy and buy the dress . Jackie goes into her act , acting agitated and distracted as she talks to Amy , pays with cash , then leaves stopping to say ;</scene_description>
<character>JACKIE</character>
<dialogue>Oh, somebody left a shopping bag in there. Looks like beach towels.</dialogue>
<scene_description>She 's gone . Amy is left alone by the cashier counter . It 's Max 's turn . As Max looks at Amy , then at the fitting room entrance , he says to himself ;</scene_description>
<character>MAX</character>
<dialogue>Max, old boy. You've spent nineteen years dealing with people who take incredible risks. You walk over to that counter, you're gon na find out what it's like.</dialogue>
<scene_description>Max takes a few moments . then walks over to Amy .</scene_description>
<character>MAX</character>
<dialogue>Excuse me, but my wife thinks she left a bag of beach towels in the fitting room?</dialogue>
<character>AMY</character>
<dialogue>Yeah, I think they're back there. Go get'em. There's nobody in there. I think they're in the last stall.</dialogue>
<character>MAX</character>
<dialogue>Thanks.</dialogue>
<scene_description>Max walks toward the fitting room , enters it , walks down the length of stalls , and stops in front of the last one . He opens the door to the stall . Sitting in the corner is the Robinson 's / May bag . He walks over to it , lifts out the towels , and sees all that money . He replaces the towels , picks up the bag and leaves . HE walks across the Designer Clothes , passes by Amy , says ;</scene_description>
<character>MAX</character>
<dialogue>Got'em, thanks.</dialogue>
<character>AMY</character>
<dialogue>Sure thing.</dialogue>
<scene_description>Max walks unhurriedly toward the door that leads to the parking lot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DEL AMO MALL - DAY</stage_direction>
<scene_description>He 's outside ; nobody 's stopped him . He keeps walking towards his blue Seville . He keeps walking unhurriedly , never looking back . He gets to his car , uses opening the car door as an excuse to look back at the mall . It 's normal . Nobody 's after him , nobody 's watching him . He made it . It worked . Max allows himself a smile , gets into his Cadillac with his half - a - million bucks and drives away .</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S HOFFIN BRAUS - DAY</stage_direction>
<scene_description>Ordell sits at the bar in Sam 's drinking a screwdriver and watching a stripper strip .</scene_description>
<character>BARTENDER</character>
<dialogue>There a Ordell here?</dialogue>
<character>ORDELL</character>
<dialogue>That's me.</dialogue>
<scene_description>The bartender hands him the phone .</scene_description>
<character>BARTENDER</character>
<dialogue>Do n't talks all day.</dialogue>
<scene_description>Ordell takes the receiver .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOYOTA (MOVING) - DAY</stage_direction>
<scene_description>A stressed Louis drives the Toyota , calling Ordell on Ordell 's tiny cellular .</scene_description>
<character>LOUIS</character>
<dialogue>It's Louis.</dialogue>
<character>ORDELL</character>
<parenthetical>( now into phone . )</parenthetical>
<dialogue>Did you get it?</dialogue>
<character>LOUIS</character>
<dialogue>I got it. Listen, there's something else I have to tell you.</dialogue>
<character>ORDELL</character>
<dialogue>When I see you. Pick me up at Sam's. You count the money?</dialogue>
<character>LOUIS</character>
<dialogue>I have n't even looked at it yet, it's still in the shopping bag.</dialogue>
<character>ORDELL</character>
<dialogue>Melanie must be dyin' to see it.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Louis.</dialogue>
<character>LOUIS</character>
<dialogue>That's what I got to talk to you about. You see, Melanie was giving me a hard time -</dialogue>
<character>ORDELL</character>
<dialogue>- Not now, pick me up.</dialogue>
<scene_description>Louis hears the phone disconnect .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAM'S HOFFIN BRAUR - DAY</stage_direction>
<scene_description>The Toyota pulls up to the back of the bar . Ordell hops in , the car takes off .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOYOTA (MOVING) - DAY</stage_direction>
<scene_description>Oredell in the passenger seat , bends over to the backseat , grabs the shopping bag , and brings it to his lap . He looks like a kid at Christmas .</scene_description>
<character>ORDELL</character>
<dialogue>You keep drivin' down Ninth, to where they got all them car dealerships. We're gon na leave this heap in a parking lot and get one the cops do n't know about.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hey, where's Melanie?</dialogue>
<character>LOUIS</character>
<dialogue>That's what I got ta tell you. She bugged me the whole time. Got pissy with me'cause I would n't let her carry the bag. Started running her fuckin' mouth. I could n't remember right away when we came out where the car was parked, so she got on me about that. `` Is it this aisle Lou - is, is it that one?'' She was totally fuckin' with my nerves.</dialogue>
<character>ORDELL</character>
<dialogue>So what, you left her there.</dialogue>
<character>LOUIS</character>
<dialogue>I shot her.</dialogue>
<scene_description>Ordell just looks at him .</scene_description>
<character>LOUIS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I expect she's dead.</dialogue>
<scene_description>Ordell still does n't say anything . then says ;</scene_description>
<character>ORDELL</character>
<dialogue>You shot Melanie?</dialogue>
<character>LOUIS</character>
<dialogue>Twice. In the parking lot.</dialogue>
<character>ORDELL</character>
<dialogue>Could n't talk to her?</dialogue>
<character>LOUIS</character>
<dialogue>You know how she is.</dialogue>
<character>ORDELL</character>
<dialogue>You could n't just hit her?</dialogue>
<character>LOUIS</character>
<dialogue>Maybe. but at that moment. I dunno.</dialogue>
<character>ORDELL</character>
<dialogue>You shot her twice?</dialogue>
<character>LOUIS</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>So you're sure she's dead.</dialogue>
<character>LOUIS</character>
<dialogue>Pretty sure.</dialogue>
<character>ORDELL</character>
<dialogue>Where did you shoot her?</dialogue>
<character>LOUIS</character>
<dialogue>In the chest and stomach.</dialogue>
<character>ORDELL</character>
<dialogue>Well, if you had to do it, you had to do it. What we do n't want is that bitch surviving on us. Anybody but that woman.</dialogue>
<scene_description>Ordell shrugs it off , and digs into the shopping bag . He pulls out the towels and sees forty - thousand dollars on top of a bunch of paperbacks . His stomach drops . He just looks inside the bag for the longest time . Louis drives , oblivious to Ordell 's dilemma .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( quiet . )</parenthetical>
<dialogue>Louis?</dialogue>
<character>LOUIS</character>
<parenthetical>( not looking at him . )</parenthetical>
<dialogue>What?</dialogue>
<character>ORDELL</character>
<dialogue>Where's the rest of it?</dialogue>
<character>LOUIS</character>
<parenthetical>( looking at him . )</parenthetical>
<dialogue>How much it there?</dialogue>
<character>ORDELL</character>
<dialogue>Maybe forty, maybe not that much.</dialogue>
<character>LOUIS</character>
<dialogue>You said five hundred and fifty!</dialogue>
<character>ORDELL</character>
<parenthetical>( calm . )</parenthetical>
<dialogue>So you light, ai n't you. You light about a half - a - million.</dialogue>
<character>LOUIS</character>
<dialogue>Look, that's the bag she came out with. She never even put her hand in it, and neither did I.</dialogue>
<character>ORDELL</character>
<dialogue>Came outta where?</dialogue>
<character>LOUIS</character>
<dialogue>The fitting room. It went down exactly the way it was supposed to.</dialogue>
<character>ORDELL</character>
<dialogue>How long was she in there?</dialogue>
<character>LOUIS</character>
<dialogue>Maybe a minute. She came right out.</dialogue>
<character>ORDELL</character>
<dialogue>Louis, You tellin' me the truth?</dialogue>
<character>LOUIS</character>
<dialogue>Look, I swear to fucking god, she came out with that bag and I took it from her.</dialogue>
<character>ORDELL</character>
<dialogue>Then what?</dialogue>
<character>LOUIS</character>
<dialogue>We went to the parking lot.</dialogue>
<character>ORDELL</character>
<dialogue>Where you shot her.</dialogue>
<character>LOUIS</character>
<dialogue>That's right.</dialogue>
<character>ORDELL</character>
<dialogue>You sure she ai n't somewhere with a half - a - million dollars I worked my ass off to earn?</dialogue>
<scene_description>Louis looks at Ordell ;</scene_description>
<character>LOUIS</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Fuck you for asking me that.</dialogue>
<character>ORDELL</character>
<dialogue>Pull the car over.</dialogue>
<scene_description>Louis pulls it over , and stops on Ninth .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What'd you shoot her with?</dialogue>
<character>LOUIS</character>
<dialogue>It's in there.</dialogue>
<scene_description>Ordell opens the glove box and takes out the Beretta . He smells the end of the barrel . He releases the magazine .</scene_description>
<character>LOUIS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's that gon na tell you'' If I was really pullin' a burn, I'd have taken two out, would n't I? I thought you trusted me.</dialogue>
<scene_description>Ordell looks at him . Louis did n't burn him . CLOSEUP ORDELL He thinks . CLOSEUP JACKIE Holding a bunch of money , looking into the camera , and saying with a smile ;</scene_description>
<character>JACKIE</character>
<dialogue>Gotcha, nigga.</dialogue>
<scene_description>DISSOLVE BACK CLOSEUP ORDELL Jackie 's gon na die . He slaps the magazine back into the Beretta .</scene_description>
<character>ORDELL</character>
<dialogue>Okay, so it was Jackie Brown.</dialogue>
<character>LOUIS</character>
<dialogue>If she's got it, why did n't she take it all?</dialogue>
<character>ORDELL</character>
<dialogue>` fore I blow that bitch's brains out, I'll ask her.</dialogue>
<character>LOUIS</character>
<dialogue>Maybe the Feds got it.</dialogue>
<character>ORDELL</character>
<dialogue>If there were nothin ; in here but towels, maybe she did n't get a chance to take it from her suitcase and A.T.F. got it. But, she put these fuckin' books in here to trick our ass.</dialogue>
<character>LOUIS</character>
<dialogue>That's why I never checked it. The bag felt right.</dialogue>
<character>ORDELL</character>
<dialogue>Then she throws forty thousand in here, to rub the shit in my face, know what I'm saying? She wants me to know she ripped me off.</dialogue>
<character>LOUIS</character>
<dialogue>I do n't know. Either she has it or the Feds.</dialogue>
<character>ORDELL</character>
<dialogue>Or.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>. she gave it to somebody else first, before Melanie went in the dressing room.</dialogue>
<scene_description>It gets real quiet in the car , as Louis remembers something .</scene_description>
<character>LOUIS</character>
<dialogue>Jesus Christ.</dialogue>
<character>ORDELL</character>
<dialogue>What?</dialogue>
<character>LOUIS</character>
<dialogue>You know who I saw in the dress department?</dialogue>
<character>ORDELL</character>
<dialogue>Tell me.</dialogue>
<character>LOUIS</character>
<dialogue>I did n't really think anything of it. No - I did wonder what he was doing there, but did n't think it had anything to do with us. You know like maybe he was there with his wife or girlfriend.</dialogue>
<character>ORDELL</character>
<dialogue>You gon na tell me who it was?</dialogue>
<character>LOUIS</character>
<dialogue>Max Cherry.</dialogue>
<scene_description>Ordell has to look away from Louis , takes a beat , then looks back .</scene_description>
<character>ORDELL</character>
<dialogue>You see Max Cherry in the dress department. We're about to be handed half - a - million dollars - Man, look at me when I'm talking to you! And you do n't think nothing of him being there!</dialogue>
<character>LOUIS</character>
<dialogue>Do Max Cherry and Jackie Brown know each other?</dialogue>
<character>ORDELL</character>
<dialogue>Hell, yes, they know each other. He bonded her out of county.</dialogue>
<character>LOUIS</character>
<dialogue>How am I supposed to know that?</dialogue>
<character>ORDELL</character>
<dialogue>You know the motherfucker's a bail bondsman, do n't ya? You know every last one of them motherfuckers is crooked as hell?</dialogue>
<character>LOUIS</character>
<dialogue>Why should I think anything's weird, if I do n't know nothin' about them knowing each other?</dialogue>
<character>ORDELL</character>
<dialogue>Man, I do n't want to hear your fuckin' excuses!</dialogue>
<scene_description>Louis gets mad .</scene_description>
<character>LOUIS</character>
<dialogue>I ai n't givin' you fuckin' excuses, I'm givin' you reasons.</dialogue>
<character>ORDELL</character>
<dialogue>Oh, you gon na tell me the reason you lost all the goddam money I got in the world! Let me tell you the reason, motherfucker! The reason is, your ass ai n't worth a shit no more!</dialogue>
<scene_description>Louis turns into the hard convict on the yard , and tells Ordell ;</scene_description>
<character>LOUIS</character>
<parenthetical>( hard . )</parenthetical>
<dialogue>You best back off.</dialogue>
<scene_description>We hear a BAM . Louis jerks . Ordell shot him . Louis falls back against the car door , eyes wide open , staring at Ordell . Ordell takes the pistol , works the barrel up higher on Louis ' side , right under him arm , and shoots him again . This time Louis ' head BANGS against the car door window . He slumps over - his life gone . Ordell looks at him .</scene_description>
<character>ORDELL</character>
<dialogue>What the fuck happened to you, man? Shit, your ass use ` ta be beautiful.</dialogue>
<scene_description>Ordell takes the bag and gets out of the car , leaving Louis ' dead body there . MEDIUM NICOLET</scene_description>
<character>NICOLET</character>
<dialogue>You did n't tell me you were gon na do some shopping.</dialogue>
</scene>
<scene>
<stage_direction>INT. NICOLET'S OFFICE (A.T.F. HEADQUARTERS) - DAY</stage_direction>
<scene_description>Jackie , still dressed in her cool black suit , sits in a chair in Nicolet 's office . Davidoff between the fingers of one hand , she holds a small , white styrofoam cup of coffee in he other . Ray stands .</scene_description>
<character>JACKIE</character>
<dialogue>I thought I did.</dialogue>
<character>NICOLET</character>
<dialogue>You did n't. I would think with all this on your mind, you'd wait till after.</dialogue>
<character>JACKIE</character>
<dialogue>I got there early. I've had my eye on this suit - Wait, let's start over. I got there early. The idea was to try on the suit, see if I liked it. If I did, get them to wrap it up, and change back into my uniform. That's what Sheronda's expecting me to wear. Go meet Sheronda, give her the bag with fifty thousand, and go home.</dialogue>
<character>NICOLET</character>
<dialogue>But you did n't do that.</dialogue>
<character>JACKIE</character>
<dialogue>Because I did n't have it. Ray, I swear, Melanie came in and grabbed it.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>And someone killed her for it.</dialogue>
<scene_description>Nicolet looks at Jackie for a moment .</scene_description>
<character>NICOLET</character>
<dialogue>Where's the bag she gave you?</dialogue>
<character>JACKIE</character>
<dialogue>She did n't give me one. I told you before, Melanie was n't part of the plan. Ordell must of told her to do it. She bursts in, grabs the shopping bag, and takes off. What am I supposed to do, go after her? I'm in my fucking underwear. I had to get dressed before I could do anything. So I put this back on'cause could put this on faster than I could my uniform.</dialogue>
<character>NICOLET</character>
<dialogue>You took the time to pay the saleswoman.</dialogue>
<character>JACKIE</character>
<dialogue>I had to. I was frantic. I did n't know what to do.</dialogue>
<character>NICOLET</character>
<dialogue>What did you do after that?</dialogue>
<character>JACKIE</character>
<dialogue>I went looking for you. I went straight to the bookstore,'cause that's where you were last time, but you were n't there. How the hell else am I supposed to let anybody know what happened? You did n't tell me how to do that, did you? I knew I was under surveillance, so when I could n't spot anybody, I started yelling.</dialogue>
<character>NICOLET</character>
<dialogue>There was a guy with Melanie?</dialogue>
<character>JACKIE</character>
<dialogue>Not in the fitting room.</dialogue>
<scene_description>A YOUNG WOMAN A.T.F SURVEILLANCE AGENT Pretends to shop . She watches Louis grab Melanie .</scene_description>
<character>NICOLET</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We had our agent on you. She sees a blonde come out of the fitting room carrying a Robinson's / May bag and tussle with a tough - looking white guy. The white guy takes the shopping bag and they go.</dialogue>
<scene_description>BACK TO OFFICE</scene_description>
<character>NICOLET</character>
<dialogue>This guy with Melanie, that was Louis Gara?</dialogue>
<character>JACKIE</character>
<dialogue>I did n't see him. I was in my underwear. If it was a white guy, it was probably Louis. He kill Melanie?</dialogue>
<character>NICOLET</character>
<dialogue>It's possible. You're saying you do n't have any idea what happened to that fifty thousand?</dialogue>
<character>JACKIE</character>
<dialogue>I have no idea.</dialogue>
<character>NICOLET</character>
<dialogue>You'd take a polygraph on it?</dialogue>
<character>JACKIE</character>
<dialogue>If it'll make you happy.</dialogue>
<character>NICOLET</character>
<dialogue>I sure hope you have n't done anything dumb Jackie.</dialogue>
<scene_description>Dargus comes to the doorway .</scene_description>
<character>DARGUS</character>
<parenthetical>( to Nicolet . )</parenthetical>
<dialogue>Can I have a word with you?</dialogue>
<character>NICOLET</character>
<dialogue>Sure.</dialogue>
<scene_description>They both leave , leaving Jackie all by herself in the room , smoking . They both come back in . Nicolet continues , Dargus takes a seat in the corner saying nothing .</scene_description>
<character>NICOLET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Louis Gara's dead. L.A.P.D. found him dead in a car on Ninth. And we've lost Ordell.</dialogue>
<character>JACKIE</character>
<dialogue>I thought you were watching him.</dialogue>
<character>NICOLET</character>
<dialogue>We were, and we lost him. He walked into a strip bar sometime around three thirty and never came out. The bar was on Ninth, less than a mile - and - a - half from where Louis was found dead. It looks like Louis's friend shot him twice at point blank range.</dialogue>
<character>JACKIE</character>
<dialogue>So what happens now?</dialogue>
<character>NICOLET</character>
<dialogue>We pick up Ordell. We've got three murders we can link him to. We have the storage unit where he keeps his guns, by tomorrow we'll have a search warrant to go in and get him. And we have you.</dialogue>
<character>JACKIE</character>
<dialogue>What about me?</dialogue>
<character>NICOLET</character>
<dialogue>What about you?</dialogue>
<character>JACKIE</character>
<dialogue>Do you think I took some of that money?</dialogue>
<character>NICOLET</character>
<dialogue>I have no evidence of your taking anything. You did n't pay for your snazzy new suit with marked bills ; I was glad to see that. You've been helping us out, you gave us Melanie and Louis. Melanie had a packet of marked bills stuffed in her shorts when they found her, which goes a long way backing up your story.</dialogue>
<scene_description>Jackie listens .</scene_description>
<character>NICOLET</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll settle for Ordell with the marked bills.</dialogue>
<character>NICOLET</character>
<dialogue>If you have something else going on you have n't told me about, it's between you and Ordell. All I got ta say is, you better hope we find him before he finds you.</dialogue>
<scene_description>CLOSEUP ORDELL On the phone .</scene_description>
<character>ORDEL</character>
<dialogue>I ca n't leave here today. Mr. Walker, I ai n't goin' nowhere till I get my money. You would n't have that fuckin' boat were n't for me. Man, I'm learnin' real fast who my friends are. Mr. Walker?</dialogue>
</scene>
<scene>
<stage_direction>INT. FILTHY APARTMENT - DAY</stage_direction>
<scene_description>Ordell turn to a glassy - eyed black female junkie nodding on the couch named RAYNELLE . The filthy apartment we 're in belongs to her .</scene_description>
<character>ORDELL</character>
<dialogue>Can you believe that shit? Motherfucker hung up on me. Ingrate nigger. Do things for people and that's how they treat you. Goddamn girl, how can you live like this?</dialogue>
<scene_description>He dials another number .</scene_description>
<character>RAYNELLE</character>
<parenthetical>( stoned . )</parenthetical>
<dialogue>Like what?</dialogue>
<character>ORDELL</character>
<dialogue>Girl, this shit is repugnant.</dialogue>
<character>WINSTON</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( on other end of phone . )</parenthetical>
<dialogue>Cherry Bail Bonds.</dialogue>
<character>ORDELL</character>
<dialogue>Let me speak to Max Cherry.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>Winston behind his desk , on the phone .</scene_description>
<character>WINSTON</character>
<dialogue>He ai n't here right now.</dialogue>
<character>ORDELL</character>
<dialogue>He leave town?</dialogue>
<character>WINSTON</character>
<dialogue>He's around.</dialogue>
<character>ORDELL</character>
<dialogue>Give me his home number.</dialogue>
<character>WINSTON</character>
<dialogue>I'll give you his beeper.</dialogue>
<scene_description>A YOUNG BLACK COMEDIAN ON TV Def Comedy Jam plays on TV , a black comedian does a nasty stand - up routine .</scene_description>
</scene>
<scene>
<stage_direction>INT. FILTHY APARTMENT - NIGHT</stage_direction>
<scene_description>Ordell and Raynelle sit on the couch watching Def Comedy Jam ; neither one is laughing . Raynelle 's too stoned . Ordell 's too tense . The phone rings , he jumps on it</scene_description>
<character>ORDELL</character>
<dialogue>Hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - NIGHT</stage_direction>
<scene_description>Max on the other end behind his desk . Winston sitting on the edge of the desk listening .</scene_description>
<character>MAX</character>
<dialogue>I've been looking for you.</dialogue>
<scene_description>Ordell 's up and off the couch pacing .</scene_description>
<character>ORDELL</character>
<dialogue>You know who this is?</dialogue>
<character>MAX</character>
<dialogue>Mister Robbie, is n't it? I have the ten thousand you put up. Is n't that why you called.</dialogue>
<scene_description>Ordell does n't say anything .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The bond collateral on Beaumont Livingston you moved over to cover Miss Brown, remember?</dialogue>
<character>ORDELL</character>
<dialogue>She got off, huh?</dialogue>
<character>MAX</character>
<dialogue>They decided to no - file. Tell me where you are and I'll bring you your money.</dialogue>
<scene_description>Ordell does n't say anything .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You still there?</dialogue>
<character>ORDELL</character>
<dialogue>Looky here, I know you helped her and I know you know what I want Jackie can tell me any story come in that pretty head of hers. Long as at the end of that story, she hands over my money. She do that, we're still friends. Now, she do n't wan na be my friend no more, tell her to think about ol' Louis. And if she tries to turn me in, I'll name her ass as my accessory. We'll go upstate together. Hand in handcuffed hand. Now that shit's a promise, understand what I'm sayin'? You tell her that, and I'll call you back.</dialogue>
<scene_description>Ordell hangs up . Back in control . He looks to the TV . One of the COMEDIANS cracks a joke . Ordell laughs . Max looks at Winston .</scene_description>
<character>MAX</character>
<dialogue>You're right, that was Ordell. You have time, you think you could find out for me where he's staying?</dialogue>
<character>WINSTON</character>
<dialogue>Cops ca n't locate him, huh?</dialogue>
<character>MAX</character>
<dialogue>They do n't have your winning personality.</dialogue>
<character>WINSTON</character>
<dialogue>Sure thing. I do n't have to know what I'm doing, long as you know.</dialogue>
<character>MAX</character>
<dialogue>I think I do. Is that good enough?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL - NIGHT</stage_direction>
<scene_description>A low - rent motel . We hear a phone ring inside one of the rooms .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction>
<scene_description>Jackie lies on a hotel bed , wearing a long t - shirt and panties , watching TV that 's chained to the wall . She answers the phone .</scene_description>
<character>JACKIE</character>
<dialogue>Hello.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX'S OFFICE - NIGHT</stage_direction>
<scene_description>Max on the phone in his office , alone .</scene_description>
<character>MAX</character>
<dialogue>I know where he is.</dialogue>
<scene_description>This gets her attention . She picks up the remote to the TV set and zaps the sound .</scene_description>
<character>JACKIE</character>
<dialogue>How'd you find out?</dialogue>
<character>MAX</character>
<dialogue>All Winston had to do was ask around. Ordell's living in Long Beach with a woman junkie.</dialogue>
<character>JACKIE</character>
<dialogue>How does Winston find him if A.T.F. and all the local Police ca n't?</dialogue>
<character>MAX</character>
<dialogue>People talk to Winston. He's street, same as them, they trust him. They get busted, they know somebody who can bond them out. I thought I might drop in on him. He'll no doubt be surprised to see me.</dialogue>
<character>JACKIE</character>
<dialogue>He's liable to shoot you.</dialogue>
<character>MAX</character>
<dialogue>On the phone I told him I have the ten thousand he put up for your bond. I could bring the money and the papers for him to sign. Walk out and call the Sheriff's department.</dialogue>
<scene_description>Jackie gets off the bed .</scene_description>
<character>JACKIE</character>
<dialogue>Ray wants him.</dialogue>
<character>MAX</character>
<dialogue>Everybody wants him, he's a homicide suspect. It does n't matter who brings him in, he's gon na name you as an accessory.</dialogue>
<scene_description>Jackie lights up a Davidoff .</scene_description>
<character>JACKIE</character>
<dialogue>That's why A.T.F.'s got ta make the case. I'm their witness. They would n't have a case without me. If it's his word against mine, who are they gon na believe?</dialogue>
<character>MAX</character>
<dialogue>It's not that simple.</dialogue>
<scene_description>Phone in one hand , smoke in the other , Jackie begins pacing back and forth .</scene_description>
<character>JACKIE</character>
<dialogue>It never was, so I'm not gon na start worrying about it now. Look, Ray more or less believes my story, and he more or less does n't care. All he really gives a shit about is getting Ordell.</dialogue>
<character>MAX</character>
<dialogue>So how do we give Ordell to Nicolet?</dialogue>
<character>JACKIE</character>
<dialogue>Get Ordell to come to your office.</dialogue>
<character>MAX</character>
<dialogue>Set him up.</dialogue>
<character>JACKIE</character>
<dialogue>Uh - huh.</dialogue>
<character>MAX</character>
<dialogue>Tell him you want to see him?</dialogue>
<character>JACKIE</character>
<dialogue>Tell him I want to give him his money.</dialogue>
<character>MAX</character>
<dialogue>Why?</dialogue>
<character>JACKIE</character>
<dialogue>I've chickened out. I'm afraid of him. He'll like that.</dialogue>
<character>MAX</character>
<dialogue>What do you tell Nicolet?</dialogue>
<character>JACKIE</character>
<dialogue>Ordell called and wants to meet me and I'm scared.</dialogue>
<character>MAX</character>
<dialogue>We get Ordell to come to my office. Nicolet - is he already there, or does he come busting in while we're chatting?</dialogue>
<scene_description>Jackie takes a drag .</scene_description>
<character>JACKIE</character>
<dialogue>He's already there.</dialogue>
<character>MAX</character>
<dialogue>What if he hears something he's not supposed to?</dialogue>
<character>JACKIE</character>
<dialogue>Well, we do n't let that happen, now do we?</dialogue>
</scene>
<scene>
<stage_direction>EXT. FILTHY APARTMENT - NIGHT</stage_direction>
<scene_description>Max at the front door or Raynelle 's apartment . He pounds on the door . Ordell throws open the door .</scene_description>
<character>ORDELL</character>
<dialogue>What the fuck you doin' knockin on the door like the goddamn police? You lookin' to get shot?</dialogue>
<character>MAX</character>
<dialogue>I thought you might be asleep.</dialogue>
<character>ORDELL</character>
<dialogue>You keep fuckin' with me, you're gon na be asleep forever.</dialogue>
<scene_description>He looks past Max .</scene_description>
<character>MAX</character>
<dialogue>I'm alone.</dialogue>
<character>ORDELL</character>
<dialogue>Git your ass in here.</dialogue>
<scene_description>Max enters , Ordell slams the door . As Ordell turns away from the door , Maxis reaching into his coat . Ordell brings his Beretta up at Max .</scene_description>
<character>ORDELL</character>
<dialogue>You better freeze, motherfucker!</dialogue>
<scene_description>Max freezes , his hand in his coat pocket .</scene_description>
<character>MAX</character>
<dialogue>You want your money? Your bond refund?</dialogue>
<scene_description>He takes his hand out , it 's holding stack of bills wrapped in a rubber band . He tosses it to Ordell , who catches it with his free hand .</scene_description>
<character>ORDELL</character>
<dialogue>That's all?</dialogue>
<character>MAX</character>
<dialogue>I have a bond receipt for you to sign.</dialogue>
<character>ORDELL</character>
<dialogue>You know what the fuck I'm talkin' about. You talk to her?</dialogue>
<character>MAX</character>
<dialogue>She wants to give you your money. If she did n't, there'd be cops batter - ramming the door right now.</dialogue>
<character>ORDELL</character>
<dialogue>How'd you find me?</dialogue>
<character>MAX</character>
<dialogue>Winston found you.</dialogue>
<character>ORDELL</character>
<dialogue>How the fuck did he find me?</dialogue>
<character>MAX</character>
<dialogue>That's what Winston does. He finds people who do n't want to be found.</dialogue>
<character>ORDELL</character>
<dialogue>Well, bully for that nigga. You say she wants to give me the money, huh?</dialogue>
<character>MAX</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>Well, give it to me then.</dialogue>
<character>MAX</character>
<dialogue>She wants to give it to you herself and collect her ten percent. She also wants to explain why she had to hold on to it.</dialogue>
<character>ORDELL</character>
<dialogue>I'd like to hear that too. Turn around and put your hands on your head.</dialogue>
<scene_description>Max does this , Ordell pats him down .</scene_description>
<character>MAX</character>
<dialogue>Jackie did n't trust Melanie. She'd already tried to get Jackie to go in with her, split the half million amongst themselves. What she did was take quite a risk to see you get your money.</dialogue>
<character>ORDELL</character>
<dialogue>Lift up your pant leg. You help her?</dialogue>
<character>MAX</character>
<dialogue>All I did was walk out with it.</dialogue>
<character>ORDELL</character>
<dialogue>And you did that to protect my interest?</dialogue>
<character>MAX</character>
<dialogue>In a way, yes.</dialogue>
<character>ORDELL</character>
<dialogue>My ass be dumb, but I'm not a dumbass. Go sit over there on the couch.</dialogue>
<scene_description>Max does .</scene_description>
<character>MAX</character>
<dialogue>This place stinks.</dialogue>
<character>ORDELL</character>
<dialogue>You get used to it after a while. Now tell me where my money's at.</dialogue>
<character>MAX</character>
<dialogue>My office.</dialogue>
<character>ORDELL</character>
<dialogue>And where's Jackie?</dialogue>
<character>MAX</character>
<dialogue>She's been there since Thursday night.</dialogue>
<character>ORDELL</character>
<dialogue>She wanted to see me, why was n't she home?</dialogue>
<character>MAX</character>
<dialogue>She was afraid.</dialogue>
<character>ORDELL</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>That I got ta see.</dialogue>
<character>MAX</character>
<dialogue>She still is. She does n't want to get shot before she can tell you what happened.</dialogue>
<character>ORDELL</character>
<dialogue>Have her bring the money here.</dialogue>
<character>MAX</character>
<dialogue>It's in the safe. She ca n't get at it.</dialogue>
<character>ORDELL</character>
<dialogue>Call her, tell her the combination.</dialogue>
<character>MAX</character>
<dialogue>I'm telling you, you got her spooked. She wo n't leave there till you have your money and you're gone.</dialogue>
<character>ORDELL</character>
<dialogue>You expect me to just walk in there?</dialogue>
<character>MAX</character>
<dialogue>If she wanted to set you up, you'd be in custody right now. When you said you'd name her as an accessory she believed you. That scares her more than anything.</dialogue>
<character>ORDELL</character>
<dialogue>That's why she's givin' up my money huh? Not that bullshit about Melanie. I did n't trust her ass neither, but I knew how to handle her. She was my blonde - headed little surfer gal. I fuckin' told Louis he could've just given her a punch in the mouth, he did n't need to shoot her. She's at your office.</dialogue>
<character>MAX</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>By herself. That big mandingo nigga Winston ai n't there, is he?</dialogue>
<character>MAX</character>
<dialogue>She's all alone.</dialogue>
<character>ORDELL</character>
<dialogue>I call your office, she better answer the phone.</dialogue>
<character>MAX</character>
<dialogue>She will.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - NIGHT</stage_direction>
<scene_description>Jackie on the phone with Ordell , sitting behind Max 's desk .</scene_description>
<character>JACKIE</character>
<dialogue>I'll be here. Se ya' in a bit.</dialogue>
<scene_description>She hangs up the phone . Then starts dialing again .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY NICOLET'S APARTMENT - NIGHT</stage_direction>
<scene_description>A STEDICAM glides through the apartment , it falls on a beeper `` beeping '' , a gun , a wallet and car keys on a dresser drawer . it leaves that and lands on a TV screen : Tom Snyder is interviewing a guest on his show . it leaves that and falls on two empty and one quarter - filled beer bottles . it leaves that and falls on a sleeping Ray Nicolet passed out in his reclining chair . The sound of Tom Snyder and the faint beeping are heard offscreen .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FILTHY APARTMENT - NIGHT</stage_direction>
<scene_description>They leave the apartment walking to Max 's car .</scene_description>
<character>ORDELL</character>
<dialogue>All the time I've known her, I never heard her sound scared like that. Ordinarily she's too cool for school. I'm driving, gim me the keys.</dialogue>
<scene_description>Max hands him the keys . They climb in .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - NIGHT</stage_direction>
<scene_description>Jackie sitting behind the desk . She opens the drawer to her right , Max 's .38 sits there . She closes the drawer .</scene_description>
</scene>
<scene>
<stage_direction>INT. CADILLAC (MOVING) - NIGHT</stage_direction>
<scene_description>Ordell behind the wheel , Max the passenger . Ordell plays the radio , he likes the song and turns it up . BACK TO JACKIE Sitting alone in the office , she gets up and turns off the lights . The office goes dark . No music . BACK TO ORDELL AND MAX The song plays LOUD . Ordell moves his head to the music slightly . Mak sits silently in the passenger seat , sneaking a look at Ordell every once in a while . BACK TO JACKIE Sitting behind Max 's desk in the dark . She takes out her Davidoffs and lights one up with her Bic . Her face is illuminated for a moment - then it 's out . She exhales a drag . No music . BACK TO ORDELL CLOSEUP ORDELL His face is ice , the music is LOUD . BACK TO JACKIE CLOSEUP JACKIE She 's cool as a breeze , smoking her brand . No music . BACK TO ORDELL AND MAX Music is LOUD . Ordell 's driving . Max says ;</scene_description>
<character>MAX</character>
<dialogue>It's the next street.</dialogue>
<character>ORDELL</character>
<dialogue>I know where it is.</dialogue>
<character>MAX</character>
<dialogue>Turn left.</dialogue>
<character>ORDELL</character>
<dialogue>I know where to turn.</dialogue>
<scene_description>BACK TO JACKIE Sitting behind Max 's desk . Headlights shine in the window . She is lit by them . She puts out her Davidoff and sits back in the chair . The light source cuts off . BACK TO ORDELL AND MAX Sitting in the parked Cadillac . Ordell has just turned off the lights and turns to Max , Beretta in hand .</scene_description>
<character>ORDELL</character>
<dialogue>My money's in that office, right?</dialogue>
<character>MAX</character>
<dialogue>Uh - huh.</dialogue>
<character>ORDELL</character>
<dialogue>She starts givin' me some bullshit about it ai n't there. It's somewhere else and we can go get it.</dialogue>
<parenthetical>( he holds up his Beretta . )</parenthetical>
<dialogue>I'm shootin' you in the head right then and there. Then I'm gon na shoot her in the kneecap, find out where my godamn money is. I go walkin' in there and that nigga Winston or anybody else is in there, you're the first man shot, understand what I'm sayin'?</dialogue>
<character>MAX</character>
<dialogue>Yeah.</dialogue>
<character>ORDELL</character>
<dialogue>Now, is there anything you want to tell me before we get out of this car?</dialogue>
<character>MAX</character>
<dialogue>No.</dialogue>
<character>ORDELL</character>
<dialogue>You sure?</dialogue>
<character>MAX</character>
<dialogue>Yes.</dialogue>
<character>ORDELL</character>
<dialogue>You better be, motherfucker.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHERRY BAIL BONDS - NIGHT</stage_direction>
<scene_description>They both get out of the Cadillac . Ordell sticks his gun in his pants .</scene_description>
<character>ORDELL</character>
<dialogue>Get ahead of me and open the door.</dialogue>
<scene_description>Max steps in front of him , puts his keys in the lock and opens the door .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Step inside easy.</dialogue>
<scene_description>Max does . Max sees ; Jackie sitting at his desk in the dark . Ordell sees this , too and moves past Max .</scene_description>
<character>ORDELL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, girl, what the hell you sitting in the goddamn dark for?</dialogue>
<scene_description>Max sees ; Ordell moves past him . then he sees the bathroom door on the left side of the desk open , throwing light into the room , onto Jackie and the figure who steps out of the bathroom . Mark Dargus . Max sees ; Ordell looks to Dargus , then back to Jackie . Then Jackie says ;</scene_description>
<character>JACKIE</character>
<dialogue>Mark.</dialogue>
<parenthetical>( raising her voice . )</parenthetical>
<dialogue>. he's got a gun!</dialogue>
<scene_description>Max sees ; Ordell almost jumps , his arm goes to the Beretta in his pants . just as Dargus raises his gun and SHOOTS him three times in the chest . Ordell drops o the ground like a sack of potatoes , he lands at Max 's feet . Max looks down and sees Ordell 's head by his shoes , look of panic still on his face , dead as fried chicken . Max sees Dargus come over , bending on one nee next to Ordell 's body . Max looks over at Jackie , still behind the desk . She looks eyes with Max for a moment , then stands and walks over to the body . Then Max sees ONE SHERIFF DEPUTY step out of the dark holding a shogun . then another . then Winston step out of the bathroom .</scene_description>
<character>DARGUS</character>
<dialogue>He's dead.</dialogue>
<scene_description>Dargus looks up at Max ;</scene_description>
<character>DARGUS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Does he have the marked bills on him?</dialogue>
<scene_description>Max still shaken ;</scene_description>
<character>MAX</character>
<dialogue>In his inside coat pocket.</dialogue>
<scene_description>Dargus reaches in and pulls out the envelope containing the forty - thousand marked dollars . Max looks at Jackie . She looks down at the dead Ordell with no expression , just light up another Davidoff . Dargus looks up at Max ;</scene_description>
<character>DARGUS</character>
<dialogue>Why were you with him?</dialogue>
<character>MAX</character>
<dialogue>I went to give him his refund, so he would n't have to come here.</dialogue>
<character>DARGUS</character>
<dialogue>How'd you know where he was?</dialogue>
<character>MAX</character>
<dialogue>I found out.</dialogue>
<character>DARGUS</character>
<dialogue>And you did n't tell the Police?</dialogue>
<character>MAX</character>
<dialogue>I told Jackie, and Jackie said you wanted him.</dialogue>
<scene_description>Dargus looks down at he man he just killed .</scene_description>
<character>JACKIE</character>
<dialogue>Remember when Ray said you hoped you'd get him before he got me?</dialogue>
<scene_description>Dargus looks up and nods his head .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, you did. Thank you.</dialogue>
<scene_description>She takes a drag on her Davidoff . FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>As opposed to the last scene late at night , it 's early morning . Max sits at his desk , filling out a report . `` TEN DAYS LATER '' Max hears someone go ;</scene_description>
<character>JACKIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Knock knock.</dialogue>
<scene_description>Max looks up and sees Jackie Brown , standing in the doorway . She smiles at him .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey.</dialogue>
<scene_description>MAX FLASHES ON Jackie behind the desk .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mark. he's got a gun!</dialogue>
<scene_description>Dargus shoots Ordell , Ordell drops . BACK TO OFFICE Max smiles back .</scene_description>
<character>MAX</character>
<dialogue>Hey, you.</dialogue>
<scene_description>Jackie walks toward him .</scene_description>
<character>JACKIE</character>
<dialogue>I got your package. It was fun getting a half - a - million dollars in the mail.</dialogue>
<character>MAX</character>
<dialogue>Less ten percent.</dialogue>
<character>JACKIE</character>
<dialogue>Yeah, your fee. I had to figure that out, since there was n't no note.</dialogue>
<scene_description>She sits in the chair in front of his desk .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Only this is n't a bail bond, Max.</dialogue>
<character>MAX</character>
<dialogue>I hesitated taking that much.</dialogue>
<character>JACKIE</character>
<dialogue>You worked for it - if you're sure that's all you want.</dialogue>
<character>MAX</character>
<dialogue>I'm sure.</dialogue>
<scene_description>Pause between them .</scene_description>
<character>JACKIE</character>
<dialogue>I'm leaving, I have my things in my car. Why do n't you walk out with me? I want to show you something.</dialogue>
<scene_description>Max hesitates .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come on, Max. I wo n't hurt you.</dialogue>
<scene_description>He smiles and gets up from the desk . As she stands , Jackie says ;</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I saw Ray the other day. Boy is he pissed he missed all the excitement.</dialogue>
<character>MAX</character>
<dialogue>What's he doing?</dialogue>
<character>JACKIE</character>
<dialogue>He's on to a new thing. He's after a guy who owns a gun shop he says is `` woefully and wantonly'' selling assault rifles to minors. He says he's gon na take him down if it's the last thing he does.</dialogue>
<character>MAX</character>
<dialogue>Did you tell him you were leaving?</dialogue>
<character>JACKIE</character>
<dialogue>I told him I might.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHERRY BAIL BONDS - DAY</stage_direction>
<scene_description>They walk outside and Max sees Ordell 's black Mercedes convertible .</scene_description>
<character>MAX</character>
<dialogue>That's Ordell's.</dialogue>
<character>JACKIE</character>
<dialogue>They've confiscated all his other stuff. But this one's sorta left over. The registration's in the glove box, the keys were under the seat. What's a matter'' have n't you ever borrowed someone's car?</dialogue>
<character>MAX</character>
<dialogue>Not after they're dead.</dialogue>
<scene_description>She walks around to the other side of the car , and looks at him across the black Mercedes .</scene_description>
<character>JACKIE</character>
<dialogue>I did n't use you, Max.</dialogue>
<character>MAX</character>
<dialogue>I did n't say you did.</dialogue>
<character>JACKIE</character>
<dialogue>I never lied to you.</dialogue>
<character>MAX</character>
<dialogue>I know.</dialogue>
<character>JACKIE</character>
<dialogue>We're partners.</dialogue>
<character>MAX</character>
<dialogue>I'm fifty - five - years old. I ca n't blame anybody for anything I do.</dialogue>
<character>JACKIE</character>
<dialogue>Do you blame yourself for helping me?</dialogue>
<scene_description>He shakes his head ` no . '</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>'d feel a whole lot better if you took some more money.</dialogue>
<character>MAX</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>You'll get over that.</dialogue>
<scene_description>Jackie smiles .</scene_description>
<character>MAX</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where're you going?</dialogue>
<character>JACKIE</character>
<dialogue>Spain.</dialogue>
<character>MAX</character>
<dialogue>Madrid or Barcelona?</dialogue>
<character>JACKIE</character>
<dialogue>Start off in Madrid. Ever been there?</dialogue>
<scene_description>He shakes his head ` no . '</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I hear they do n't eat dinner till midnight.</dialogue>
<scene_description>Max does n't say anything .</scene_description>
<character>JACKIE</character>
<dialogue>Wan na go?</dialogue>
<character>MAX</character>
<dialogue>Thanks, but you have a good time.</dialogue>
<character>JACKIE</character>
<dialogue>Sure I ca n't twist your arm?</dialogue>
<character>MAX</character>
<dialogue>Thank you for saying that, but no. My business.</dialogue>
<character>JACKIE</character>
<dialogue>I thought you were tired of your business?</dialogue>
<character>MAX</character>
<dialogue>I'm just tired in general.</dialogue>
<character>JACKIE</character>
<dialogue>Are you scared of me?</dialogue>
<scene_description>Max smiles and holds up two fingers , close to each other .</scene_description>
<character>MAX</character>
<dialogue>A little bit.</dialogue>
<scene_description>Jackie smiles back .</scene_description>
<character>JACKIE</character>
<dialogue>Come over here.</dialogue>
<scene_description>Max does . They give each other a long , tender kiss . She breaks it .</scene_description>
<character>JACKIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll send you a postcard, partner.</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | In 1995, Jacqueline "Jackie" Brown, a middle-aged flight attendant for a small Mexican airline, makes ends meet by smuggling money from Mexico into the United States for Ordell Robbie, a black-market gun runner living in the Los Angeles metropolitan area. Ordell is under close watch by the ATF, forcing him to use couriers. When he learns that another courier, Beaumont Livingston, has been arrested, he assumes that Livingston will become an informant to avoid jail time. Ordell arranges for a $10,000 bail with bondsman Max Cherry, then coaxes Livingston into a car trunk and murders him. Acting on information Livingston had already shared, ATF agent Ray Nicolette and LAPD detective Mark Dargus intercept Jackie as she returns to the United States with Ordell's cash and a small bag of cocaine (though Jackie was unaware that the latter was stashed in her luggage). Initially refusing to cut a deal, she is sent to a county jail, which alerts Ordell to the possibility that she could act as an informant. At Ordell's request the $10,000 that was to return to him, due to Livingston's death, is used to pay Jackie's bail. Max retrieves Jackie from the jail and begins to become attracted to her. Ordell arrives at Jackie's house intending to murder her, but she surprises him by pulling a gun (surreptitiously taken from the glove compartment of Max's car). Jackie negotiates a deal with Ordell to pretend to help the authorities while smuggling in $550,000 of Ordell's money, enough to allow him to retire. To carry out this plan, Ordell is counting on Sheronda, a country bumpkin girlfriend from North Carolina that he lets stay in his house in Compton, and Louis Gara, a friend and former cellmate. Unaware of Jackie and Ordell's plan to smuggle in $550,000, Nicolette and Dargus devise a sting to catch Ordell during a transfer of $50,000. Unbeknownst to all, Jackie plans to double-cross everyone and keep $500,000 for herself. She recruits Max to assist with her plan and offers him a cut. Jackie performs a trial run of the money smuggle, bringing in $10,000 marked, with Nicolette and Dargus monitoring her movements. During the trial run Max watches from afar and notices that after Jackie swaps bags with Sheronda, Sheronda swaps bags with an unknown woman. Jackie confronts Ordell about the unknown woman, who turns out to be Simone, another one of Ordell's girlfriends. However after receiving the bag of money Simone skips town. Ordell reluctantly uses another girlfriend named Melanie Raiston, a pot smoking surfer girl. After failing to seduce Gara into double crossing Ordell for the expected money Melanie begins to purposely antagonize him. On the day of the transfer, Jackie enters a dressing room in Billingsley Department Store at Del Amo Fashion Center to try on a new suit. She has told Ordell that she will swap bags there with Melanie, supposedly passing off the $550,000 under the nose of Nicolette, who has been told that the exchange is to take place in the food court. Instead, the bag she gives Melanie contains only $50,000 and she leaves the rest behind in the dressing room for Max to pick up. Jackie then feigns despair when she finds Nicolette and Dargus, claiming that Melanie took all the money and ran. In the mall parking lot, Melanie derides and annoys Louis until he loses his temper and shoots her to death. Louis later confesses this to Ordell. Ordell is livid when he discovers that most of the money is missing, and he realizes that Jackie is to blame. After Louis mentions that he saw Max Cherry in the store during the exchange but thought nothing of it, Ordell kills Louis and leaves with the bag. Nicolette and Dargus are suspicious of Jackie's role with the missing money but inform her that Melanie and Gara are dead. They partially believe Jackie's story because Melanie was found with a stack of marked bills hidden in her shorts. Ordell turns his anger toward Max, who informs him that Jackie is frightened for her life and is waiting in Max's office to hand over the money. A menacing Ordell holds Max at gunpoint as they enter the darkened office. When Jackie yells that Ordell has a gun, Nicolette jumps from a hiding place and kills him. Max pretends not to know why Ordell was trying to kill Jackie and convinces Nicolette that he only went to see Ordell to give him his bail return. The ATF drops the criminal charges against Jackie for her cooperation. Now in possession of Ordell's remaining money and his car, Jackie plans a trip to Madrid, Spain. She invites Max to join her, but he declines. Jackie tries to convince Max to take more of his share of the money, he only took 10%, for the smuggle but Max declines. Jackie shares a meaningful moment with Max, kisses him goodbye, then leaves as he takes a phone call. Moments later, Max cuts the call short and seems to contemplate his decision to stay behind as Jackie drives away. |
The Big Short_2015 | tt1596363 | <script>
<scene>
<scene_description>Screenplay By Charles Randolph and Adam McKay Based Upon the Book by Michael Lewis The most difficult subjects can be explained to the most slow- witted man if he has not formed any idea of them already; but the simplest thing cannot be made clear to the most intelligent man if he is firmly persuaded that he knows already, without a shadow of doubt, what is laid before him. Leo Tolstoy, 1897</scene_description>
</scene>
<scene>
<stage_direction>OPEN ON: INT. SOLOMON BROTHERS - 1979 - DAY</stage_direction>
<scene_description>A bunch of FAT BOND TRADERS eat deli sandwiches and smoke cigarettes on the Solomon Brothers Bond Trading floor. It's not exactly Michael Douglas in Wall Street. The voice that walks us through this is smart, too the point and slick. We'll meet him later.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>In the late seventies banking was not a job you went into to make large sums of money. It was a good stable profession like selling insurance or accounting. And if banking was boring then the bond department at a bank was downright comatose. We all know about bonds, give em to your nephew when he turns 16 and then we he's thirty he makes a hundred dollars. Yawn. Bonds were for losers. That is, until Lewis Ranieri came on the scene at Solomon Brothers...</dialogue>
<scene_description>MUSIC: Some great 70's ballad like KISS YOU ALL OVER by EXILE We see an even schlubbier version of the other Bond Traders emerge. His suit is rumpled, he has a mustard stain on his shirt from a soft pretzel he's eating and he is easily seventy pounds over weight. This is LEWIS RENIERI. And though his world is obscure, he is the shit. Our NARRATOR the MODERN TRADER passes through the scene for a second, dressed in modern clothes... Lewis greets his Bond Department with obscenities barked through his patchy beard and glasses.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>You see Lewis didn't know it yet, but he had already changed banking forever. He had just one simple idea...</dialogue>
</scene>
<scene>
<stage_direction>INT. SOLOMON BROTHERS - CONFERENCE ROOM - 1979 - DAY</stage_direction>
<scene_description>Lewis and HIS TEAM are doing a presentation to a bunch of STATE PENSION FUND MANAGERS with an old fashioned OVER HEAD PROJECTOR.</scene_description>
<character>LEWIS RANIERI</character>
<dialogue>...The mortgage backed security. Or the private label M.B.S.</dialogue>
<character>FUND MANAGER</character>
<dialogue>What is that?</dialogue>
<character>BOND TRADER</character>
<dialogue>I hope you don't say that when you look at your wife's pussy!</dialogue>
<scene_description>They all HOWL except the fund manager who looks shocked but then finally laughs to fit in.</scene_description>
<character>LEWIS RANIERI</character>
<dialogue>Here's how it works. You've got your average person's mortgage. Fixed rate, 30 years...</dialogue>
<scene_description>We see A HOUSE on the over head projector.</scene_description>
<character>LEWIS RANIERI</character>
<dialogue>Boring, safe, small pay off... Right? But when you have thousands of them all bundled together...</dialogue>
<scene_description>We see an illustration of many homes. The next illustration shows them all "bundled" together with a bow.</scene_description>
<character>LEWIS RANIERI</character>
<dialogue>Suddenly the yield goes up and the risk is still low cause it's a mortgage and who the hell doesn't pay their mortgage?</dialogue>
<character>BOND TRADER</character>
<dialogue>Dickheads and junkies.</dialogue>
<character>LEWIS RANIERI</character>
<dialogue>And because the risk is hedged these bonds allow for people with not so perfect credit to get homes. So you're making money and you're doing a good thing.</dialogue>
<character>BOND TRADER #2</character>
<dialogue>Lewie is a fucking genius.</dialogue>
<character>FUND MANAGER</character>
<dialogue>Uhm, what exactly is the credit rating on this bond? All my pension fund cares about is triple A rated risk.</dialogue>
<character>LEWIS RANIERI</character>
<dialogue>Risk? What risk? The only risk is that you get paid back too soon! Plus each of these mortgages is guaranteed by the U.S. Government. This bond gentlemen, is AAA rated.</dialogue>
<character>FUND MANAGER</character>
<dialogue>This is exactly what the Michigan State pension fund has been looking for. I'll buy 20 million...</dialogue>
<character>BOND TRADER #2</character>
<dialogue>Come on live a little!</dialogue>
<character>FUND MANAGER</character>
<dialogue>Twenty five million.</dialogue>
<character>LEWIS RANIERI</character>
<dialogue>Let's break out the paper work!</dialogue>
<scene_description>MUSIC: Something like BOOGIE OOGIE OOGIE by A TASTE OF HONEY</scene_description>
</scene>
<scene>
<stage_direction>INT. STRIP CLUB - 1979 - NIGHT</stage_direction>
<scene_description>The Bond Traders are partying at a strip club throwing dollars everywhere and boozing. It disgusting and fun as hell and none of these guys will live past 60.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>Lewis and his band of foul mouthed bond traders took a sleepy department and made it the most profitable on Wall Street. Pretty soon stocks and savings were almost inconsequential to the big banks. They were doing 50, 100, 200 billion in mortgage bonds and dozens of other securities a year.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SKYLINE OF MANHATTAN - DUSK</stage_direction>
<scene_description>TIME LAPSE: New impressive BANKING BUILDINGS SPRING UP and dot the Manhattan skyline. Chase, B of A, Morgan Stanley, Lehman Brothers etc.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>And America barely noticed as it's number one industry became boring old banking. Then one day...</dialogue>
<character>MODERN TRADER (V.O.)</character>
<dialogue>almost thirty years later... in 2008... It all came crashing down.</dialogue>
<scene_description>SMASH CUT TO BLACK</scene_description>
<character>1010 WINS ANCR (V.O.)</character>
<dialogue>Wall Street has suffered one of it's worst days in history as Lehman Brothers has declared bankruptcy.</dialogue>
<scene_description>1) TRACKING SHOT PAST HOUSING DEVELOPMENT LAWNS WITH FORECLOSED AND FOR SALE SIGNS ON ALL THEM (STOCK FOOTAGE). 2) AND THEN A LONG LINE OF APPLICANTS AT A MCDONALD'S JOB FAIR. (STOCK FOOTAGE) 3) IMAGES OF THE DOW DROPPING. (STOCK FOOTAGE)</scene_description>
<character>1010 WINS ANCR (V.O.)</character>
<dialogue>This follows the demise of Bear Stearns and a plummeting Dow Jones, down four thousand since January.</dialogue>
<character>MODERN TRADER (V.O.)</character>
<dialogue>In the end Lewis Ranieri's Mortgage Backed Security mutated into a monstrosity that collapsed the whole world economy. And none of the experts or leaders or talking heads had a clue it was coming. I'm guessing most of you still don't really know what happened. Yeah, you got a sound bite you repeat so you don't sound dumb but come on...</dialogue>
<scene_description>WE FADE TO BLACK.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>But there were some who saw it coming... While the whole world was having a big ol' party, a few outsiders and weirdos saw what no one else could. Not me, I'm not a weirdo. I'm pretty cool. We'll meet later. These outsiders saw the giant lie at the heart of the economy. And they saw it by doing something the rest of the suckers never thought to do: they looked.</dialogue>
<scene_description>TITLE: THE BIG SHORT</scene_description>
</scene>
<scene>
<stage_direction>EXT. MIDDLE SCHOOL FOOTBALL FIELD - DAY</stage_direction>
<scene_description>GRAPHIC: 1985 A MIDDLE SCHOOL football game is in progress. MICHAEL BURRY age 11 catches a ball and starts running. He's pretty good. His parents and coaches cheer him on. Cute 8th GRADE CHEERLEADERS wave their pom poms.</scene_description>
<character>PARENTS/COACH</character>
<dialogue>Thatta way Michael! Go! Go!</dialogue>
<scene_description>He is TACKLED by a few players and as Michael gets up we hear an OPPOSING PLAYER scream.</scene_description>
<character>OPPOSING PLAYER</character>
<dialogue>Ewwww! Look!</dialogue>
<scene_description>CU of a GLASS EYE on the field. Michael covers his eye with his hand.</scene_description>
<character>OPPOSING PLAYERS</character>
<dialogue>Gross! His eye fell out! He's a freak! etc.</dialogue>
<scene_description>Michael picks the eye up and walks back to the side lines still covering his one eye. Another player runs into replace him.</scene_description>
<character>PA ANCR (V.O.)</character>
<dialogue>Replacing Michael Burry at tight end, number 88, Scott Proffer!</dialogue>
<scene_description>A CUTE CHEERLEADER looks at Michael with her nose scrunched up and then looks away. His MOM and DAD meet him.</scene_description>
<character>MOM</character>
<dialogue>It's okay Michael. Let's just wash it off and put it back in.</dialogue>
<character>DAD</character>
<dialogue>You were playing so well son. I heard the coach compliment you.</dialogue>
<character>11 YR OLD MICHAEL BURRY</character>
<dialogue>Can we just go home?</dialogue>
<scene_description>He walks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. INDOOR POOL - DAY</stage_direction>
<scene_description>We see from under the water ADULT MICHAEL BURRY swimming laps. His strokes are clean and strong. Michael Burry gets out of the pool. He towels off and walks immediately to the lockers.</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>I've always been more comfortable alone. I believe it's because of my glass eye. I lost the eye from a childhood illness. It separates me from people. Most social interactions are awkward. For me, for the person. Even when I try to compliment someone it comes out wrong... The compliment, not the eye.</dialogue>
<parenthetical>(quarter beat)</parenthetical>
<dialogue>That wasn't a joke. I'm just being clear.</dialogue>
<scene_description>GRAPHIC: MICHAEL BURRY</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>The other night there was a party with some old college associates.</dialogue>
</scene>
<scene>
<stage_direction>INT. WATER FRONT RESTAURANT - NIGHT</stage_direction>
<scene_description>There is a party going on with upper class professionals drinking white wine and Heinekens. Michael stands alone between two groups of professionals talking.</scene_description>
<character>LAWYER</character>
<dialogue>We bought the house two years ago for 650 and we just sold it for 950. We put 30 thousand into it tops...</dialogue>
</scene>
<scene>
<stage_direction>EXT. WATER FRONT RESTAURANT - NIGHT</stage_direction>
<scene_description>FLASH to Michael starting his car, a Honda, and leaving.</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>After ten minutes I left and went home and researched state by state mortgage fraud rates until three in the morning.</dialogue>
</scene>
<scene>
<stage_direction>INT. MICHAEL BURRY'S FUND OFFICE - DAY</stage_direction>
<scene_description>Michael is seated behind his desk in a t-shirt and shorts.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>Did you know they're going up? Highest fraud rates since the 1930's.</dialogue>
<scene_description>We reveal he is talking to a YOUNG EAGER ANALYST in his office at the center of SCION CAPITAL, Michael Burry's fund. Michael's office is at the front enclosed in glass. There are 20 ANALYSTS working at desks in the main room outside the glass. A big white board shows the quarterly profits from Scion: +38%</scene_description>
<character>YOUNG ANALYST</character>
<dialogue>No. I didn't know that.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I'm sorry if I'm going on and on. My wife says I need to share more.</dialogue>
<character>MARCH 2005</character>
<dialogue>3 years 6 months until the crash</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>That seems healthy.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I like your hair. Did you cut it yourself?</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>What? No. I uh, paid someone.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Oh.</dialogue>
<scene_description>Beat.</scene_description>
<character>YOUNG ANALYST</character>
<dialogue>So, do I get the job? I really think I could help your fund.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>What? Oh sure. Right. Yes...um</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>David.</dialogue>
<parenthetical>(onward)</parenthetical>
<dialogue>Great! I guess I'll find a desk. Is there anything you want me to work on for starters?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Yes...</dialogue>
<scene_description>Another long beat. Michael thinks. This beat keeps going. Finally the Young Analyst starts to speak just as Michael does.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>Did you find it strange-</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>You can let me know later- I'm sorry.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Did you find it odd that when the tech bubble burst in 2001 the housing market in San Jose, the tech center of the world, went up?</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>Huh. I guess. I mean, no. It's housing. It's always AAA rated, low risk.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Yes.... That's the idea...</dialogue>
<parenthetical>(he knows what he needs now)</parenthetical>
<dialogue>I need you to get me the top 20 selling mortgage bonds.</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>So you want to know what the top 20 selling mortgage bonds are?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>No. I want to know what mortgages are in each one.</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>Wait, aren't those bonds made up of thousands and thousands of mortgages?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Yes.</dialogue>
<scene_description>The Analyst waits for Burry to complete the thought but he doesn't.</scene_description>
<character>YOUNG ANALYST</character>
<dialogue>Right away Dr. Burry.</dialogue>
<scene_description>Finally he leaves. Burry sits down at his desk and PUTS EAR BUDS IN while Googling "SEC mortgage brokerage firm violations" He gets no hits. MUSIC: Some hard-core heavy metal like BLOOD THUNDER by MASTADON An Asian American ASSISTANT walks by Burry's office window and LOOKS AT CAMERA.</scene_description>
<character>ASIAN AMERICAN ASSISTANT</character>
<dialogue>I was Michael's actual assistant for years. I know what you're thinking, a hedge fund manager with a glass eye who unwinds by listening to thrash metal, come on. But he really did do that.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION CAPITAL - MICHAEL BURRY'S OFFICE - NEXT DAY</stage_direction>
<scene_description>CU of a COMPUTER SCREEN showing THOUSANDS OF COMPLICATED LINES OF MORTGAGES from a MORTGAGE BACKED SECURITY. The lines are almost indecipherable but we see Michael Burry is reading them intently like it's a page turning mystery novel.</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<parenthetical>(his internal thought process)</parenthetical>
<dialogue>30 days late... Rate adjusts in one year... Foreclosed... Paid on time... rate adjusts in one year... Investment grade mortgage bonds full of high risk interest only adjustable rate mortgages... Do people really understand how an adjustable rate mortgage works?... Most of these are no money down loans... 105 LTV... 540 Fico score?... Why are the mortgage companies giving these people mortgages...?</dialogue>
<scene_description>Outside Burry's office we see the Analyst he just hired David at his desk talking to another ANALYST #2</scene_description>
<character>YOUNG ANALYST</character>
<dialogue>What's he doing? He hasn't moved all day.</dialogue>
<character>ANALYST #2</character>
<dialogue>He does this every few days. He hasn't spoken to me since he hired me.</dialogue>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>90 days late... 30 days late... These bonds are one of the banks' biggest revenue sources... They need more mortgages to fill them... That's why it's all adjustable rate high risk... They're giving mortgages to people who can't afford mortgages in order to fill these bonds, in order to earn fees...</dialogue>
<scene_description>As he continues to read we TIME LAPSE and see the employees start to leave at the end of day. Eventually THE MAIN ANALYST'S OFFICE IS EMPTY and THE SUN IS COMING UP OUTSIDE.</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>These mortgage bonds might fail... No one thinks they can fail, but all that subprime credit risk is real, no matter how they slice and dice it... 30 days late, rate will adjust next year... 60 days late... These bonds will fail...</dialogue>
</scene>
<scene>
<stage_direction>INT. MICHAEL'S OFFICE - THE NEXT AFTERNOON</stage_direction>
<scene_description>Michael is on the phone. He clearly hasn't slept and his clothes are rumpled. There are water bottles everywhere. Michael brushes his teeth over a garbage can with water.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>Lawrence. I found something really interesting.</dialogue>
<character>LAWRENCE FIELDS (V.O.)</character>
<dialogue>Great Michael. Whenever you find something interesting we all tend to make money. What stock are you valuing?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>No stocks. I want to short the housing market.</dialogue>
</scene>
<scene>
<stage_direction>INT. METRO CAPITAL - LAWRENCE FIELDS'S OFFICE - SAME TIME</stage_direction>
<scene_description>LAWRENCE FIELDS'S office is the opposite of Michael's. It's lavish with Manhattan views as is he.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>Haha! Really? But the housing market is rock solid. Greenspan just said bubbles are regional, defaults are rare.</dialogue>
<scene_description>FIELDS motions to his assistant through the open door.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>Tell them I'll be there in a minute...</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Greenspan's wrong.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>I don't think you mean to do it but sometimes you sound very dismissive and superior Michael. Alan Greenspan is the greatest Fed Chairman in history.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>It's a fact. Greenspan's wrong. He's too focused on being right to realize he's wrong. I don't know how else you want me to say it.</dialogue>
<scene_description>Burry spits out his coffee gargle into the garbage.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>Look, Metro Capital backed you four years ago when you were a doctor with a dinky web page and some inheritance money. And we've all done very well. Why don't you just stick with stocks?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I look for value whereever it can be found. And the fact is: mortgage backed securities are filled with extremely risky subprime adjustable rate loans.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Once the majority of adjustable rates kick in 07' they will begin to fail and when they fail above 15% the whole bond is worthless.</dialogue>
<scene_description>The scene freezes.</scene_description>
<character>MODERN TRADER (V.O.)</character>
<dialogue>Mortgage backed securities, subprime loans, tranches... Pretty confusing right? Does it make you feel bored? Or stupid? Well, it's supposed to. Wall Street loves to use confusing terms to make you think only they can do what they do. Or even better, for you to leave them the fuck alone. So here's Scarlett Johansson under a water falls to explain...</dialogue>
</scene>
<scene>
<stage_direction>EXT. SMALL WATERFALL - DAY</stage_direction>
<scene_description>SCARLETT JOHANSSON in a white T shirt and cut off jeans let's the waterfall run over her while explaining mortgage backed securities.</scene_description>
<character>SCARLETT JOHANSSON</character>
<dialogue>Basically Lewis Ranieri's Mortgage bonds were amazingly profitable for the big banks. They made billions and billions off of their 2% fee on each of these bonds they sold. But then they started running out of mortgages to put in them. After all, there's only so many homes and so many people with good enough jobs to buy them. So the banks starting doing something different. Instead of creating mortgage bonds that were guaranteed by the US government, they started creating their own private mortgage bonds. No government, no pesky standards like good credit or minimum income. And then the big banks were able to fill the bonds with riskier and riskier mortgages and keep the profit machine churning. By the way, the risky mortgages are called "subprime." Anytime you hear subprime, think shit.</dialogue>
<character>SCARLETT JOHANSSON</character>
<dialogue>Michael Burry found out these mortgage bonds that we supposedly 65% AAA were actually mostly full of shit, so now he's going to "short" the bonds, which means to "bet against." Got it? Good.</dialogue>
</scene>
<scene>
<stage_direction>INT. MICHAEL BURRY'S FUND OFFICE - CONTINUOUS</stage_direction>
<scene_description>Back to the scene.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>It's only a matter of time before someone else sees this investment. We have to act now.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>And how do you know the bonds are built on subprime crap? Aren't they filled with hundreds of pages of mortgages?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I read them.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>You read them? No one reads them. Only the lawyers who put them together read them.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I don't think they even know what they made. The whole housing market is propped up on these bad loans. It's a time bomb. And I want to short it.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>Through what instrument Michael? There are no insurance contracts or options for mortgage bonds. The bonds are too stable. No one would buy them.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I'm going to get a bank to make me one. Then I'm going to buy a ton of them.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOLDMAN SACHS - MANHATTAN - DAY</stage_direction>
<scene_description>We push in on Goldman Sachs. We see FINANCIAL NEWS on a monitor outside playing Jim Cramer's Mad Money show.</scene_description>
<character>JIM CRAMER</character>
<dialogue>Folks, this market ain't dropping! It's like the running of the bulls in Pamplona. Either get out of the way or invest, invest, invest!</dialogue>
<character>THE FEMALE SALES REP (V.O.)</character>
<dialogue>So, Dr. Burry, tell us about this trade.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - GOLDMAN SACHS - DAY</stage_direction>
<scene_description>A SALES REP (LUCY THALIA), an INDIAN NUMBERS GUY (DEEB WINSTON) all from Goldman Sachs sit across from Michael Burry. Michael looks very Men's Warehouse in a blue blazer and slacks compared to the Goldman group who looks very GQ in Prada suits.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>I want to buy swaps on mortgage bonds. A credit default swap that pays off if the underlying bond fails.</dialogue>
<character>SALES REP</character>
<dialogue>You want to bet against the housing market?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Yes.</dialogue>
<character>DEEB WINSTON</character>
<dialogue>Why? These bonds only fail if millions of Americans don't pay their mortgages. That's never happened in history. If you'll excuse me Dr. Burry, it seems like a foolish investment.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Based on prevailing sentiment of the market, the big banks and popular culture, yes, it's a foolish investment. But everyone's wrong.</dialogue>
<scene_description>There's a beat and then everyone laughs except Michael Burry who wasn't kidding.</scene_description>
<character>SALES REP</character>
<dialogue>This is Wall Street, Dr. Burry. If you offer us free money, we are going to take it.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>My one concern is that when the bonds fail I want to be certain of payment in case of solvency issues with your bank.</dialogue>
<scene_description>They are shocked.</scene_description>
<character>SALES REP</character>
<dialogue>I'm sorry. Are you for real? You want to be against the housing market the most reliable sector of the American economy and you're worried we won't pay you?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Yes. That's correct.</dialogue>
<scene_description>The Goldman people whisper amongst themselves for a beat.</scene_description>
<character>DEEB WINSTON</character>
<dialogue>We could work out a pay as we go structure that would pay out if the bond's value falls. But it would also apply to your payments if the value of the mortgage bond goes up. You'd have to pay us monthly premiums.</dialogue>
<character>SALES REP</character>
<dialogue>Is that acceptable Dr. Burry?</dialogue>
<scene_description>Mike starts pulling thick DOCUMENTS out of his backpack. He slides them across the table.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>Yes it is. Here are prospectuses on 6 mortgage-backed securities I want to short.</dialogue>
<scene_description>They scan them. They're diligent, they make us wait.</scene_description>
<character>DEEB WINSTON</character>
<dialogue>These should be fine.</dialogue>
<character>SALES REP</character>
<dialogue>We are prepared to sell you five million in credit default swaps on these mortgage bonds.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Can we do 100 million?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GOLDMAN SACHS HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>Michael Burry leaves the conference room. AS HE CLOSES THE DOOR HE HEARS THE SALES REPS AND THE NUMBERS GUY LAUGHING AND CLAPPING. He hesitates, is he hurt? But then pushes on. MUSIC: Popular Hip Hop track like GOLD DIGGER by KANYE WEST</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>Is there any way to buy 200 million?</dialogue>
</scene>
<scene>
<stage_direction>INT. DEUTSCHE BANK - THE NEXT DAY</stage_direction>
<scene_description>Michael is now across from SALES REPS from Deutsche Bank.</scene_description>
<character>DEUTSCHE SALES REP</character>
<dialogue>I, uh, I don't see why not. But are you sure?</dialogue>
<character>DEUTSCHE SALES REP #2</character>
<parenthetical>(waves off his colleague)</parenthetical>
<dialogue>Absolutely. Absolutely we can do that.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>That would be great. Here are the bonds I would like to bet against.</dialogue>
<scene_description>He pushes another bundle of papers across the table. 22 QUICK CUTS: OF BUNDLES OF HAND PICKED MICHAEL BURRY MORTGAGE BONDS BEING PUSHED ACROSS TABLES AND SIGNED AT BANK OF AMERICA, BEAR STEARNS, MORGAN STANLEY, CREDIT SUISSE ETC.</scene_description>
</scene>
<scene>
<stage_direction>INT. FAST FOOD RESTAURANT - DAY</stage_direction>
<scene_description>The MUSIC CUTS OUT and we see Michael Burry through the front window eating alone at a chain restaurant. His phone buzzes. He answers. It's a photo of his WIFE, and his 6 year old son Nicholas. Under it, it reads "We miss you!"</scene_description>
</scene>
<scene>
<stage_direction>INT. MANHATTAN NIGHT CLUB - NIGHT</stage_direction>
<scene_description>THE HIP HOP SONG KICKS BACK IN AS SOURCE. AN UPSCALE CLUB IS PACKED WITH BANKERS dancing and drinking. We focus in on the DEUTSCHE SALES REP AND COWORKERS WHO SOLD BURRY THE SWAPS. They are clearly CELEBRATING HARD.</scene_description>
<character>TRADER</character>
<dialogue>Hey Randall, what's with the Dom? Bonuses aren't for three months.</dialogue>
<character>DEUTSCHE SALES REP</character>
<dialogue>We just sold 200 million today in credit swaps for mortgage bonds! Some fund manager from California! Fucking crazy right? It's a whole new way to make money!</dialogue>
<character>TRADER</character>
<dialogue>I didn't know there were swaps on mortgages!</dialogue>
<character>DEUTSCHE SALES REP</character>
<dialogue>There are now! We made one for him. He must have gone off his zoloft!</dialogue>
<scene_description>More Dom is poured. A male and female sales rep make out. The Trader steps over to another table and taps a guy on the shoulder.</scene_description>
<character>TRADER</character>
<dialogue>Hey Jared! Did you hear about the deal Randall did with some fund manager?</dialogue>
<scene_description>For the first time we see the Modern Trader, JARED VENNETT, 32. He's smart, a bit slick with a slight Jheri curl and wears a sharp suit. HE'S OUR NARRATOR.</scene_description>
<character>JARED VENNETT</character>
<dialogue>Randall's a foot soldier. It must be a shit deal.</dialogue>
<scene_description>GRAPHIC: JARED VENNETT</scene_description>
<character>TRADER</character>
<dialogue>No, it's for real.</dialogue>
<scene_description>Jared LOOKS AT CAMERA.</scene_description>
<character>JARED VENNETT</character>
<dialogue>I told you I'd come in later.</dialogue>
<character>TRADER</character>
<dialogue>Apparently this guy wanted 200 mill in credit default swaps on mortgage bonds! Randall made the sale. Can you believe it?!</dialogue>
<character>JARED VENNETT</character>
<dialogue>Someone shorted 200 mill worth of mortgage bonds?</dialogue>
<character>TRADER</character>
<dialogue>That was just with Deutsche. Word is he hit half the town!</dialogue>
<character>JARED VENNETT</character>
<dialogue>How much total?</dialogue>
</scene>
<scene>
<stage_direction>INT. MICHAEL BURRY'S FUND OFFICE - DAY</stage_direction>
<scene_description>Michael Burry is on the phone with Lawrence Fields.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>1.3 billion.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>What?! That's pretty much all of Scion's liquidity! Michael this is highly distressing.</dialogue>
</scene>
<scene>
<stage_direction>INT. ACADEMY GALLERIA - FLORENCE</stage_direction>
<scene_description>Lawrence Fields is in Florence with the David behind him. He steps away to continue the conversation.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>It's not all of our liquidity Lawrence. I'm not certain you understand this trade. This is a certainty.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>Michael, I consider myself a mentor to you. But our company is not comfortable with this investment. Am I being clear?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I have full autonomy when it comes to investment strategy. You can read our agreement-</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>Don't throw our inception agreement in my face Michael. There was an underlying understanding that you wouldn't act like a goddamn crazy man!</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>This isn't crazy. It's all very logical.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>So now we pay out premiums on these swaps against the housing market until the mortgages fail? In other words we lose millions until something that's never happened before happens?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>That's correct.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>And you have no doubts. You're not nervous at all?</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I have no doubts. But yes, I'm nervous. It's a very large position for me to take.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>And will you please tell me what the difference between doubt and nervousness is?</dialogue>
<scene_description>Half beat.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>That is a very good question. And I'm sorry but I'll have to get back to you on that. Have a nice vacation Lawrence.</dialogue>
<scene_description>He hangs up. His computer and phone are dinging. QUICK CUTS OF EMAILS FROM MICHAEL BURRY'S INVESTORS: 1. "Have you lost your mind? I'm seriously worried about you." 2. "What the hell is a credit default swap???" 3. "I am not comfortable trying to guess what the peak of a 70 year housing spike is!" 4. "So you're telling me that rather than receiving profits on stocks I will now be paying premiums on these credit default swaps you bought? How is this in anyway good news?" And finally we push in on one last ominous email: "A LOT OF PEOPLE IN NEW YORK ARE TALKING ABOUT WITHDRAWING THEIR MONEY FROM YOUR FUND." CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNNY ROOFTOP - DAY</stage_direction>
<scene_description>CU of a cell phone on the ground. We hear a voice.</scene_description>
<character>VOICE (V.O.)</character>
<dialogue>Paul? Are you there Paul? Paul!</dialogue>
<scene_description>We FLASH out.</scene_description>
</scene>
<scene>
<stage_direction>INT. GROUP THERAPY SESSION - MANHATTAN - DAY</stage_direction>
<scene_description>A group of 7 PROFESSIONALS in suits sits in a circle with A THERAPIST leading the group session. Businessman ... I'm a nice guy all day long. Ask anyone. I'm a pleasure to work with. But the second my son screws up I'm yelling at him just like my Dad did to me- MARK BAUM, 40, moppish hair, rumpled suit, will always say what he thinks, busts into the room.</scene_description>
<character>MARK BAUM</character>
<dialogue>I'm so sorry I'm late! No cabs!</dialogue>
<scene_description>He sits down and starts right away.</scene_description>
<character>MARK BAUM</character>
<dialogue>So, yeah. I met with this retail banker yesterday and I'm supposed to be getting him to invest in our fund but instead I start grilling him about over draught penalties and how his bank lets a customer write ten, twelve checks before they tell em they're overdrawn. And this creep is making billions off of screwing over people this way-</dialogue>
<character>THERAPIST</character>
<dialogue>Mark-</dialogue>
<character>MARK BAUM</character>
<dialogue>And I'm getting madder and madder and I ask this guy how he sleeps at night knowing he's ripping off working people and he just leaves. He doesn't say a word. He just walks away from the lunch. So am I fucked up or is he?</dialogue>
<scene_description>Beat as the room catches up.</scene_description>
<character>THERAPIST</character>
<dialogue>Mark, we've talked about this numerous times. You can't come in late and hijack the entire session.</dialogue>
<character>MARK BAUM</character>
<dialogue>I didn't hijack the session.</dialogue>
<parenthetical>(to another businessman)</parenthetical>
<dialogue>Did I hijack the session.</dialogue>
<character>BUSINESSMAN #2</character>
<dialogue>Yes.</dialogue>
<character>MARK BAUM</character>
<dialogue>What'd you do?</dialogue>
<character>BUSINESSMAN #2</character>
<dialogue>I'm in commodities.</dialogue>
<character>MARK BAUM</character>
<dialogue>Of course you are.</dialogue>
<character>THERAPIST</character>
<dialogue>Mark, I know you suffered a terrible loss... Maybe we can talk about that...?</dialogue>
<character>MARK BAUM</character>
<dialogue>I don't talk about that. Hold on!</dialogue>
<scene_description>Mark's phone is buzzing.</scene_description>
<character>MARK BAUM</character>
<dialogue>Oh shit. I have to take this. So sorry.</dialogue>
<scene_description>He answers and walks out.</scene_description>
<character>MARK BAUM</character>
<parenthetical>(onto phone)</parenthetical>
<dialogue>I don't care Porter. The guy's whole business is built on ripping people off. How long can that last?</dialogue>
<scene_description>He leaves. The group is left stunned. GRAPHIC: MARK BAUM</scene_description>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREETS - LATER</stage_direction>
<scene_description>We see GIANT BILLBOARDS: for Movado watches, Mercedes SUVs, Designer jeans (with a topless woman with her back to us). We're on the streets of Manhattan and Mark's walking while talking on his phone. MUSIC: Pop song like HIPS DON'T LIE by SHAKIRA plays on monitors in the window of an electronics store. January 2006 2 years 7 months until the collapse</scene_description>
<character>MARK BAUM</character>
<dialogue>I don't want that kind of business... I'm sorry. Money's not money... That's bad money. Other than Goldman what company lasts ripping people off like that?</dialogue>
<character>JARED VENNETT(V.O.)</character>
<dialogue>Mark Baum had built a career on never assuming anyone or any company was legit without proving it. When he was a kid he excelled at studying the Talmud in Yeshiva. That was great. But one day the Rabbi told his Mom why-</dialogue>
</scene>
<scene>
<stage_direction>A30 INT. YASHIVA SCHOOL - DAY A30</stage_direction>
<scene_description>10 YEAR OLD Mark Baum and his 8 YEAR OLD BROTHER PAUL run around with kids in the hallway of a Yashiva while his MOM, 35, talks to the RABBI, 52.</scene_description>
<character>RABBI</character>
<dialogue>Paul is a fine boy. But his brother Mark... He is the best student of the Torah and the Talmud...</dialogue>
<character>MOM</character>
<dialogue>Then what's the problem Rabbi?</dialogue>
<character>RABBI</character>
<dialogue>It's the reason.. He says he studies so hard because...</dialogue>
<character>RABBI</character>
<dialogue>he is looking for inconsistencies in the word of God.</dialogue>
<scene_description>Beat.</scene_description>
<character>MOM</character>
<dialogue>So has he found any?</dialogue>
<scene_description>BACK TO MANHATTAN STREET</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Later Baum started his own fund on Wall Street. He had an amazing nose for bullshit and wasn't afraid to let everyone know when and where the bull had gone number 2. But then a tragedy happened to Mark that turned his world view dark and ready to believe the whole system was a lie.</dialogue>
<character>MARK BAUM</character>
<parenthetical>(sees he's got another call)</parenthetical>
<dialogue>I gotta go, it's Cynthia. I'll be in the office in twenty minutes.</dialogue>
<scene_description>INTERCUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT LIBRARY - PARK AVENUE - NEW YORK - DAY</stage_direction>
<scene_description>Mark's wife, CYNTHIA (35). Their TWIN DAUGHTERS (10) are on the floor on matching laptops while their SON (7) runs around.</scene_description>
<character>CYNTHIA</character>
<dialogue>Your therapist called me. You did it again.</dialogue>
<character>MARK</character>
<dialogue>There were no cabs. What was I supposed to do? At least I went.</dialogue>
<character>CYNTHIA</character>
<dialogue>I worry about you Mark. You run around like you've got to right every wrong in the world. Everyone's a creep or a crook.</dialogue>
<character>MARK BAUM</character>
<dialogue>Fine. I'm a rude guy. And I'm pissed off. But it's a shit storm out here sweetie.</dialogue>
<character>MARK BAUM</character>
<dialogue>You have no idea the crap people are pulling and the average person just walks around like they're in a goddamn Enya video.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREETS - CONTINUOUS</stage_direction>
<scene_description>MUSIC: Dreamy new-age song like ENYA'S ONLY TIME We see SLO MO people walking down the street. Some laughing. Some stressed about work. Some eating hot dogs.</scene_description>
<character>MARK BAUM</character>
<dialogue>They're all getting screwed... Credit cards, pay day lenders, car financing, fees, fees, and more fees. And what do they care about? The ball game or which actress went into rehab?</dialogue>
<scene_description>MUSIC: OUT</scene_description>
<character>CYNTHIA</character>
<dialogue>I think you should try medication.</dialogue>
<character>MARK</character>
<dialogue>Nooo. We agreed. If it interfered with work.</dialogue>
<character>CYNTHIA</character>
<dialogue>You hate Wall Street. Maybe it's time to quit.</dialogue>
<scene_description>Mark is now trying to hail a cab.</scene_description>
<character>MARK</character>
<dialogue>I love my job.</dialogue>
<character>CYNTHIA</character>
<dialogue>You hate your job.</dialogue>
<character>MARK</character>
<dialogue>I love my job!</dialogue>
<character>CYNTHIA</character>
<dialogue>You're miserable!</dialogue>
<parenthetical>(gets quieter)</parenthetical>
<dialogue>Mark. I feel sad about what happened every day. I know you must feel the same... But you never show it.</dialogue>
<scene_description>QUICK FLASH TO THE CELL PHONE ON THE GROUND.</scene_description>
<character>MARK (V.O.)</character>
<dialogue>Paul? Are you there Paul? Paul!</dialogue>
<scene_description>WE PULL UP AND SEE A MAN IN A SUIT WALK TOWARDS THE EDGE OF THE BUILDING... AND STEP OFF. WE CUT BACK TO MARK just as the man falls fully out of frame.</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT LIBRARY - PARK AVENUE</stage_direction>
<scene_description>There is silence for a beat before Cynthia speaks.</scene_description>
<character>CYNTHIA</character>
<dialogue>I know how close you were to your brother... I keep hoping you'll talk about it. But you never do. And now you're so distrustful of everything and everyone. You didn't used to be this way...</dialogue>
</scene>
<scene>
<stage_direction>EXT. MANHATTAN STREETS</stage_direction>
<scene_description>Mark is quiet. He's still unconsciously holding his arm up for a cab.</scene_description>
<character>MARK</character>
<dialogue>Please don't. I really can't do this now Cynthia.</dialogue>
<scene_description>A cab stops.</scene_description>
<character>CYNTHIA</character>
<dialogue>We should talk. Can you just think about the idea of making a change?</dialogue>
<character>MARK</character>
<dialogue>I'll think about anything. I'll think about shaving my head and joining a monastery but I can tell you the answer is no.</dialogue>
<character>CYNTHIA</character>
<dialogue>Consider it. Please. I'm not talking about joining a monastery. We could just get off the treadmill and move to Vermont and open a B&B. It could be that easy.</dialogue>
<character>MARK</character>
<dialogue>Fine, I'll consider it. But honestly, I'm okay Cynthia. I really am.</dialogue>
<parenthetical>(sees a guy try and take his cab)</parenthetical>
<dialogue>No! That's my cab!! Back off asshole!</dialogue>
<scene_description>He grabs the guy and yanks him out of the cab.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MORGAN STANLEY BUILDING - LATER</stage_direction>
<scene_description>Everyone walking in and out of the Morgan Stanley building is on their Blackberries. Mark gets out of his cab while finishing a conversation with his cab driver.</scene_description>
<character>MARK</character>
<dialogue>And remember, get out of that mutual fund you're in. They're going to rape you with fees!</dialogue>
<scene_description>He walks into the building and passes a Morgan Stanley higher up KATHY TAO.</scene_description>
<character>KATHY TAO</character>
<dialogue>Hello Mark Baum!</dialogue>
<character>MARK</character>
<dialogue>Hey Kathy. You busted me. I had an afternoon personal thing.</dialogue>
<character>KATHY TAO</character>
<dialogue>I'm not your baby sitter. If FrontPoint makes Morgan Stanley money I'm happy!</dialogue>
<character>MARK</character>
<dialogue>Hey did I hear you're expecting?</dialogue>
<character>KATHY TAO</character>
<dialogue>We're expecting to be expecting! The IVFs are cleaning us out but we're staying positive!</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT OFFICE - MORGAN STANLEY NEW YORK - LATER</stage_direction>
<scene_description>Small. Provisional. A tiny SUPPORT STAFF. There are four desks with Mark's team working at each. Mark enters, pushing open the door that reads "FrontPoint Partners."</scene_description>
<character>MARK</character>
<dialogue>Hey! Cynthia wants me to quit and open a B&B in Vermont!</dialogue>
<scene_description>VINNY DANIEL, a Queens city school graduate in a Macy's suit turns from his desk.</scene_description>
<character>VINNY DANIEL</character>
<dialogue>I'd love to see Mark Baum run a B&B. "Here's your steel cut oatmeal asshole!"</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Because he didn't kiss the ring of the people with the check books Mark Baum had to set up his fund under Morgan Stanley's umbrella. His small team reflected Mark's distrust of the system.</dialogue>
<character>MARK</character>
<dialogue>Yeah. She says this job is making me unhappy.</dialogue>
<character>VINNY DANIEL</character>
<dialogue>But you're happy when you're unhappy.</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Vinny Daniel: Mark's numbers guy. Vinny lost his Father to violent crime when he was young. Just like Mark he didn't talk about it.</dialogue>
<character>VINNY DANIEL</character>
<parenthetical>(to camera)</parenthetical>
<dialogue>I don't talk about it.</dialogue>
<scene_description>An athletic Wasp, PORTER COLLINS, 31. who wears a suit jacket and polo shirt, covers his blue tooth to chime in.</scene_description>
<character>PORTER COLLINS</character>
<dialogue>Cynthia doesn't mess around. She got me to stop eating gluten. You want me to check the residential real estate market in Vermont!?</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Porter Collins: former Olympic rower who went to Brown. He had worked with Baum at a previous firm and couldn't figure out why no one listened to Baum, the guy with all the good ideas.</dialogue>
<character>MARK</character>
<dialogue>There's no way I'm moving to Vermont. Westchester maybe, but not Vermont...</dialogue>
<scene_description>DANNY MOSES (31) Southern but moving fast towards New Yorker, a self-effacing analyst type, though he's actually their trader. HE'S FINISHING A PHONE CALL.</scene_description>
<character>DANNY MOSES</character>
<dialogue>... wait a minute. I think you have the wrong FrontPoint. There's another FrontPoint in this same building that is bonds.</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>And Danny Moses: the optimist of the bunch. And a hell of a trader, which is why they tolerated the optimism.</dialogue>
<character>DANNY</character>
<dialogue>Okay... No problem.</dialogue>
<scene_description>He hangs up.</scene_description>
<character>DANNY</character>
<dialogue>That was a weird call.</dialogue>
<character>PORTER</character>
<dialogue>Why? Did the person actually enjoy talking to you?</dialogue>
<character>DANNY</character>
<dialogue>It was this guy from Deutsche who was talking about shorting housing bonds. In the middle of the call I realize he's got the wrong FrontPoint. He wanted the one of the eighth floor.</dialogue>
<character>VINNY</character>
<dialogue>He wanted to short housing bonds? Who bets against housing?</dialogue>
<parenthetical>(due diligence)</parenthetical>
<dialogue>What's the ABX at?</dialogue>
<character>PORTER</character>
<dialogue>What's the ABX?</dialogue>
<character>VINNY</character>
<dialogue>It tracks sub-prime mortgage bond value.</dialogue>
<scene_description>Danny checks his computer.</scene_description>
<character>DANNY</character>
<dialogue>It's down... Wow. That's weird. It's down three points since last year. I haven't heard a peep about that.</dialogue>
<character>MARK</character>
<dialogue>What was this guy's name again?</dialogue>
<character>DANNY</character>
<dialogue>Jared Vennett. From Deutsche. He sounded pretty sketchy.</dialogue>
<scene_description>One of the ASSISTANTS (the real DANNY MOSES) LOOKS UP TO CAMERA.</scene_description>
<character>ASSISTANT</character>
<dialogue>This actually happened. I'm the real Danny Moses. A wrong number led us to one of the biggest leads in investment history. I still work in New York and I wasn't that much of an optimist.</dialogue>
<character>MARK BAUM</character>
<dialogue>Call him back. Tell him we want to hear his presentation..</dialogue>
<character>VINNY</character>
<dialogue>You wanna take advice from a trader we don't know -- about a market we don't understand -- cause the idiot dialed a wrong number?</dialogue>
<character>MARK BAUM</character>
<dialogue>Yeah. Why not?</dialogue>
<character>DANNY</character>
<dialogue>If he'd even show up, it'd be to screw us.</dialogue>
<character>MARK BAUM</character>
<dialogue>Probably.</dialogue>
<character>VINNY</character>
<dialogue>Definitely.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - THE NEXT DAY</stage_direction>
<scene_description>Jared Vennett, his Chinese Quantitative Analyst, TED JIANG and a Deutsche YOUNG SALES REP stand and sit in front of the room. Mark, Porter, Vinny and Danny listen to the bond trader's spiel, which is condescending and very sharp. The Deutsche Rep hands out hard copies.</scene_description>
<character>MARK BAUM</character>
<dialogue>So how many people have you talked to about this trade?</dialogue>
<character>JARED</character>
<dialogue>A few. And there's definitely some interest.</dialogue>
<scene_description>FAST CUTS: A HALF DOZEN PEOPLE THAT HE TALKED TO PREVIOUSLY SAYING "NO" "GET LOST JARED" "YOU'RE HIGH" ETC.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - CONTINUOUS</stage_direction>
<character>MARK BAUM</character>
<parenthetical>(sarcasm)</parenthetical>
<dialogue>Which is why you're here talking to us, a wrong number.</dialogue>
<character>JARED VENNETT</character>
<dialogue>Look, some people have called me in to just laugh at me on this deal. Is that what this is?</dialogue>
<character>VINNY</character>
<dialogue>That's not what this is. That's just Mark. We wanna hear this.</dialogue>
<character>JARED VENNETT</character>
<dialogue>Okay, here we go...</dialogue>
<scene_description>On the table is a JENGA GAME of stacked wooden blocks. On the side of the blocks is written the ratings of the tiers AAA, AA, BBB, BB, and B.</scene_description>
<character>JARED VENNETT</character>
<dialogue>This is a basic mortgage bond. The original ones were simple, thousands of AAA mortgages bundled together and sold with a guarantee from the US government. But the modern day ones are private and are made up of layers of tranches, with the AAA highest rated getting paid first and the lowest, B rated getting paid last and taking on defaults first.</dialogue>
<character>JARED VENNETT</character>
<dialogue>Obviously if you're buying B levels you can get paid more. Hey, they're risky, so sometimes they fail...</dialogue>
<scene_description>He throws one of the B blocks into a TRASH CAN.</scene_description>
<character>JARED</character>
<dialogue>But somewhere along the line these B and BB level tranches went from risky to dog shit. I'm talking rock bottom Fico scores, no income verification, adjustable rates... Dog shit. Default rates are already up from 1 to 4 percent. If they rise to 8 percent, and they will, a lot of these BBB's are going to zero.</dialogue>
<scene_description>Jared chucks another B block and a BB in the garbage.</scene_description>
<character>JARED</character>
<dialogue>And that, my friends, is an opportunity.</dialogue>
<character>DANNY</character>
<dialogue>You're sure of the math?</dialogue>
<scene_description>Jared gestures to his CHINESE QUANT, sitting to his right.</scene_description>
<character>JARED</character>
<dialogue>Jiang is my quant. Look at him, he doesn't even speak English. He won a national math competition in China. China. Yeah I'm sure of the math.</dialogue>
<scene_description>Ted turns to camera.</scene_description>
<character>TED JIANG</character>
<dialogue>Actually I do speak English. Jared likes to say I don't because he thinks it makes me seem more authentic. And I finished second in the national math competition. Some people at work think Jared's a dick but he's great at his job.</dialogue>
<character>VINNY</character>
<dialogue>So you're offering us the chance to short that pile of blocks? How?</dialogue>
<character>JARED</character>
<dialogue>With something called a credit default swap. It's like insurance on the bond. And if it goes bust you can make a 10 to 1, even 20 to 1 return. And it's already slowly going bust. But no one's paying attention cause all the banks are busy getting paid obscene amounts of fees selling these bonds. Basically I'm standing in front of a burning house and offering you fire insurance on it.</dialogue>
<scene_description>Danny's trying to get his head around Jared's numbers.</scene_description>
<character>DANNY</character>
<dialogue>How can the underlying bonds in these pools be as bad as you say? They wouldn't be legal.</dialogue>
<character>JARED</character>
<dialogue>No one knows what's in these bonds. I've seen some that are 65% AAA rated that are actually full of 95 percent subprime shit with Ficos below 550.</dialogue>
<character>VINNY</character>
<dialogue>Get the fuck out of here!</dialogue>
<character>JARED</character>
<dialogue>And now get ready to really have your mind blown. I just discovered this treat...</dialogue>
<character>TED JIANG</character>
<parenthetical>(to camera)</parenthetical>
<dialogue>We discovered it. But that's fine. He's on a roll.</dialogue>
<character>JARED</character>
<dialogue>...when the market deems some bond too risky to buy, what do you think happens to it? We just warehouse them on our books?! No. They get repackaged, with a whole bunch of other shit that didn't sell, into a CDO.</dialogue>
<character>MARK</character>
<dialogue>A what?</dialogue>
<scene_description>Jared takes a bunch of the BBB, BB and B rated blocks and makes a precarious NEW tower.</scene_description>
<character>JARED</character>
<dialogue>A collateralized debt obligation. A C-D-O. We put a bunch of unsold B, BB or BBB bonds together, when the pile gets large enough, the whole thing's considered diversified and the whores at the ratings agencies rate it 92, 93% AAA. No questions asked.</dialogue>
<character>MARK</character>
<dialogue>Holy hell... Say that again.</dialogue>
<scene_description>FREEZE: Mark, leaning forward completely engaged.</scene_description>
<character>JARED (V.O.)</character>
<dialogue>The Collateralized debt obligation. It's important to understand because it's what allowed a housing crisis to become a nation wide economic disaster. So here is world famous chef Anthony Bourdain to explain.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEF'S KITCHEN - DAY</stage_direction>
<scene_description>In a high end professional kitchen ANTHONY BOURDAIN opens a fridge with a bunch of fish in it.</scene_description>
<character>ANTHONY BOURDAIN</character>
<dialogue>Okay, I'm a chef on a Sunday afternoon setting the night's menu at a big restaurant. I ordered my fish on Friday which is the mortgage bond that Michael Burry shorted. But some of the fresh fish doesn't sell. I don't know why, maybe it just came out halibut has the intelligence of a dolphin. So what am I going to do, throw all this unsold old fish, which is the BBB level of the bond, in the garbage and take the loss?</dialogue>
<scene_description>Bourdain chops up the old fish and pushes it into the big pot of "SEAFOOD STEW."</scene_description>
<character>ANTHONY BOURDAIN</character>
<dialogue>No way. Being the crafty and morally onerous chef that I am, whatever crappy levels of the bond I don't sell I throw into a "sea food stew." See, it's not old fish. It's a whole new thing! And no one knows they're eating three day old halibut. That is a CDO.</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - CONTINUOUS</stage_direction>
<scene_description>BACK TO THE SCENE</scene_description>
<character>MARK</character>
<dialogue>Wait, wait, so the mortgage bonds are dog shit but the CDOs are dog shit wrapped in garbage?</dialogue>
<character>JARED</character>
<dialogue>Institutions treat these CDOs like they're as solid as treasury bonds and these things are going to zero.</dialogue>
<character>DANNY</character>
<dialogue>That can't be right. There were 500 billion in housing bonds sold last year alone.</dialogue>
<character>DANNY</character>
<dialogue>The banks, the ratings agencies, the government... They wouldn't let this happen.</dialogue>
<character>JARED</character>
<dialogue>They would and they did. My whole department is long this stuff. The pricks are calling me Chicken Little and Bubble boy. But when reality hits the idiots in my department won't be laughing.</dialogue>
<scene_description>He starts pulling blocks out of the CDO and MBS towers and throwing them in the garbage.</scene_description>
<character>JARED</character>
<dialogue>Triple B's? Zero. Double B's? Zero. B's? Zero.</dialogue>
<scene_description>On this last one, the table shakes... both towers collapses.</scene_description>
<character>JARED</character>
<dialogue>Then that happens.</dialogue>
<character>MARK</character>
<dialogue>What's that?</dialogue>
<character>JARED</character>
<dialogue>That is Aermcia's housing market.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT OFFICE - DAY</stage_direction>
<scene_description>Vinny, Danny and Porter cluster unhappily at their desk. They watch Mark say good-bye to the Deutsche Bank team at the door. He's lost in thought as he returns.</scene_description>
<character>VINNY</character>
<dialogue>He's playing us. He's dumping his position.</dialogue>
<character>MARK</character>
<dialogue>What if he's right?</dialogue>
<character>VINNY</character>
<dialogue>You want him to be right!</dialogue>
<character>MARK</character>
<dialogue>Yes, I do. When a bank offers a loan, people take it. Why? Because they assume banks know more about money than they do.</dialogue>
<character>MARK</character>
<dialogue>Banks have spent decades training us to let them handle our money and credit. How else do they get away with credit cards that keep you in debt for years? Student loan rates that you never get free of? Financing, for many Americans, is just a fancy term for getting raped. Then this guy walks in my office... tells me those same banks got greedy... lost track of the market ...and I can now profit off their stupidity? Fuck yeah, I want him to be right.</dialogue>
<character>DANNY</character>
<dialogue>Things can't be as bad as he says out there.</dialogue>
<character>MARK</character>
<dialogue>Let's find out. That's our job.</dialogue>
<character>VINNY</character>
<dialogue>Why don't you hate this guy? He's everything you taught us not to trust.</dialogue>
<character>MARK</character>
<dialogue>I can't hate him. He's so transparent in his self interest I kind of respect him. Would I buy a car from him? No way. Is he right about the mortgage market? Let's find out.</dialogue>
<parenthetical>(the others moan)</parenthetical>
<dialogue>Look, it's two very simple questions. Is there a housing bubble? And if there is, how exposed are the banks?</dialogue>
<scene_description>Mark's team can't resist him when he's in adventure mode.</scene_description>
<character>DANNY</character>
<dialogue>Yeah, okay. Fine.</dialogue>
<character>PORTER</character>
<dialogue>Sure.</dialogue>
<scene_description>Vinny pfiffs his concession.</scene_description>
<character>MARK</character>
<dialogue>And let's move fast. If Vennett's right, it's only a matter of time before every loser with a few million bucks in a fund jumps on this.</dialogue>
</scene>
<scene>
<stage_direction>INT. HIGH END DANCE CLUB - NIGHT</stage_direction>
<scene_description>MUSIC: A rap song with a great beat and attitude like GRILLZ by NELLY JAMIE SHIPLEY, 30, good looking but earnest and CHARLIE GELLER, 31, very smart and neurotic are dancing on a dance floor in a high end Chelsea club. WOMEN COME TO HANDSOME Jamie but his horrible dancing soon chases them away TO Charlie who tries to impress.</scene_description>
<character>CHARLIE</character>
<dialogue>Hey ladies! I'm Charlie! This is Jamie!</dialogue>
<scene_description>The WOMEN move away. MOMENTS LATE: Charlie and Jamie approach a table full of ATTRACTIVE MANHATTAN PROFESSIONAL WOMEN.</scene_description>
<character>CHARLIE</character>
<parenthetical>(yelling over the music)</parenthetical>
<dialogue>Hi ladies! I'm Charlie . This is Jamie!</dialogue>
<character>JAMIE</character>
<dialogue>Hi! I'm Jamie!</dialogue>
<character>ATTRACTIVE MANHATTAN PROFESSIONAL</character>
<dialogue>How can we help you?</dialogue>
<character>CHARLIE</character>
<dialogue>I'll just be straight with you. No games. The truth is, you all are very attractive and we wanted to get to know you!</dialogue>
<character>ATTRACTIVE MANHATTAN PROFESSIONAL</character>
<dialogue>Get the fuck away from us!</dialogue>
<character>CHARLIE</character>
<dialogue>Okay!</dialogue>
<scene_description>Jamie starts to sit down with them.</scene_description>
<character>CHARLIE</character>
<dialogue>No! They said fuck off.</dialogue>
<character>JAMIE</character>
<dialogue>Oh!</dialogue>
<scene_description>Jamie jumps up and they leave. GRAPHIC: CHARLIE GELLER AND JAMIE SHIPLEY</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY WAITING AREA - JP MORGAN - NEW YORK - DAY</stage_direction>
<scene_description>Charlie and Jamie sit nervous under massive Richter works.</scene_description>
<character>CHARLIE</character>
<dialogue>JP Morgan. Can you believe it?</dialogue>
<character>JAMIE</character>
<dialogue>Okay, don't make me nervous. They're just people.</dialogue>
<scene_description>Finally, they hear...</scene_description>
<character>YOUNG MAN'S VOICE</character>
<dialogue>Brownfield Fund?</dialogue>
<scene_description>They stand, straighten their suits. A BOY BANKER hurries out from behind the reception desk.</scene_description>
<character>CHARLIE</character>
<dialogue>You must be Ted!</dialogue>
<character>YOUNG BANKER</character>
<dialogue>No, I'm Chris. I'm on Ted's desk.</dialogue>
<character>CHARLIE</character>
<dialogue>Oh. I'm Charlie. Charlie Geller.</dialogue>
<character>JAMIE</character>
<dialogue>Jamie Shipley. We're excited to get set up on your trading platform.</dialogue>
<character>YOUNG BANKER</character>
<dialogue>Cool. Here, guys, have a seat a second.</dialogue>
<scene_description>He gestures to the chairs they just stood from. Not good.</scene_description>
<character>YOUNG BANKER</character>
<dialogue>Ted asked me to do some meeting prep but I couldn't find any marketing material on you.</dialogue>
<character>CHARLIE</character>
<dialogue>Oh. Sorry. We don't have any. We recently moved here from Colorado.</dialogue>
<character>YOUNG BANKER</character>
<dialogue>Got it. Can we see your offering documents?</dialogue>
<character>CHARLIE</character>
<parenthetical>(sheepish)</parenthetical>
<dialogue>Brownfield is all our own money.</dialogue>
<character>YOUNG BANKER</character>
<dialogue>Well, can you tell us how much you manage?</dialogue>
<character>CHARLIE</character>
<dialogue>Sure. It's 30 million, but we started four years ago with 110 thousand. So, our returns have been pretty phenomenal.</dialogue>
<character>JAMIE</character>
<dialogue>We want to get an ISDA agreement with JP Morgan so we can deal in long term options.</dialogue>
<character>YOUNG BANKER</character>
<dialogue>That's cool. But you're under the capital requirements for an ISDA.</dialogue>
<character>CHARLIE</character>
<dialogue>Like, by how much?</dialogue>
<character>YOUNG BANKER</character>
<dialogue>One billion four hundred seventy million.</dialogue>
<scene_description>Jamie and Charlie flinch.</scene_description>
<character>CHARLIE</character>
<dialogue>Does it make us look bad that we didn't know what the capital requirements were?</dialogue>
<character>YOUNG BANKER</character>
<dialogue>It's not great.</dialogue>
<scene_description>Awkward beat.</scene_description>
<character>YOUNG BANKER</character>
<dialogue>Have a good one guys.</dialogue>
<scene_description>He walks away.</scene_description>
<character>JAMIE</character>
<dialogue>B of A and Bear didn't return our calls and even Wachovia blew us off. 30 million means nothing to these banks. They keep calling us "high net worth individuals."</dialogue>
<character>CHARLIE</character>
<dialogue>Here's the prospectuses and brochures of all the other losers who didn't get past the lobby.</dialogue>
<scene_description>There are scattered brochures and folders with names like "The Nostradamus Fund" and "The Long Short Group." Under one is Jared Vennett's "Shorting the Housing Market."</scene_description>
<character>CHARLIE</character>
<dialogue>Look... This guy's saying the housing market is a massive bubble...</dialogue>
<scene_description>Jamie LOOKS TO CAMERA</scene_description>
<character>JAMIE</character>
<dialogue>We didn't really find Jared Vennett's housing bubble pitch in the lobby of a bank that rejected us.</dialogue>
<character>JAMIE</character>
<dialogue>The truth is, a friend told Charlie about it. And I read about it in Grant's Interest Rate Observer. But this is more fun.</dialogue>
<character>CHARLIE</character>
<dialogue>This guy says there are 10 to 1 returns on credit default swaps on mortgage backed securities. He says they whole housing market will collapse...</dialogue>
<scene_description>Freeze.</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>For Jamie and Charlie , the housing market doomsday prediction was music to their ears.</dialogue>
<scene_description>OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOULDER COLORADO - GARAGE - SUMMER DAY</stage_direction>
<scene_description>A CRAPPY GARAGE with computer paper on the wall reading "The Brownfield Fund" It's hot as Jamie and Charlie work on their lap tops. Jamie pours water over his head. A CHOCOLATE LAB sleeps on the floor.</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>They had started working out of Jamie's garage with 110 thousand Jamie had saved taking sailboats up and down the east coast. Their strategy was simple and brilliant...</dialogue>
<character>CHARLIE</character>
<dialogue>People hate to think about bad things happening so they underestimate their likelihood.</dialogue>
<character>JAMIE</character>
<dialogue>Holy shit. That's like the most brilliant thing you've ever said!</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>And Jamie and Charlie found banks will sell options very cheaply on things they think will never ever happen. When they were wrong, they were wrong small. But when they were right, they were right big. Within a a few years they had turned their 110 grand into 30 million. But then it was time to go to NYC. And so far, it wasn't going well.</dialogue>
</scene>
<scene>
<stage_direction>INT. JP MORGAN LOBBY - CONTINUOUS</stage_direction>
<character>JAMIE</character>
<dialogue>So what if it does seem interesting. No bank will give us our ISDA. We're dead in the water.</dialogue>
<character>CHARLIE</character>
<dialogue>I think we should call Ben.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RESIDENTIAL STREET - DAY</stage_direction>
<scene_description>FREEZE: WE CUT TO BEN RICKERT, 45, and the most neurotic person we've met so far, walking his dog with Jamie on A RESIDENTIAL STREET or PARK.</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Ben Rickert was a former trader in Singapore for Chase who had quit the whole game in disgust. He happened to be Jamie's neighbor when they were in Colorado and they met walking dogs. But Ben was dark. He didn't just think the whole system would fail, he thought the whole world was going down.</dialogue>
</scene>
<scene>
<stage_direction>INT. SAM'S HOUSE - NIGHT</stage_direction>
<scene_description>We see hands putting down jugs of water next to a dozen jugs of water in a kitchen. It's Jamie and Charlie.</scene_description>
<character>JAMIE</character>
<dialogue>Hey Ben! Do you think you have enough water?</dialogue>
<character>BEN (O.C.)</character>
<dialogue>Average precipitation in this region is down 2% a year for the past eight years! And Congress just cut the budget to police loose nukes!</dialogue>
<character>CHARLIE</character>
<dialogue>God he's paranoid.</dialogue>
<scene_description>Ben enters.</scene_description>
<character>BEN</character>
<dialogue>Not paranoid. Prepared.</dialogue>
<scene_description>FREEZE</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>Ben had real experience in a big bank. Jamie and Charlie had never even been in a Manhattan bank bathroom. But Ben was done with the banking world. He was very clear.</dialogue>
</scene>
<scene>
<stage_direction>INT. JP MORGAN LOBBY - CONTINUOUS</stage_direction>
<character>JAMIE</character>
<dialogue>Look, there really could be something here. But it's pretty bold, so let's do some digging before we call Ben. .</dialogue>
<character>CHARLIE</character>
<dialogue>(Still perusing the pitch). Wow. This is pretty shocking. It's like it's all hidden in plain sight...</dialogue>
<character>LOBBY SECURITY GUARD</character>
<dialogue>Seriously guys! I need you out of here! Now!</dialogue>
<scene_description>CUT TO: CU: The hilarious scowl of the MIAMI DOLPHINS LOGO.</scene_description>
</scene>
<scene>
<stage_direction>INT. TERMINAL - MIAMI AIRPORT - DAY</stage_direction>
<scene_description>Porter and Danny pass a shop with the Dolphins logo on every conceivable domestic item. They're on a mission, one they're sure is a waste of time.</scene_description>
<character>PORTER</character>
<dialogue>One time Mark sent me to Indiana for a week to check out an air conditioner factory. He thought they were using inferior materials. They weren't.</dialogue>
<character>DANNY</character>
<dialogue>Come on, it's not so bad. It's Florida. Besides, I never get to travel. Let's have fun.</dialogue>
<character>PORTER</character>
<dialogue>Don't be chipper in the face of me being miserable. Please. It makes me hate you.</dialogue>
<character>DANNY</character>
<dialogue>I wasn't being chipper.</dialogue>
<scene_description>Beat as they walk.</scene_description>
<character>DANNY</character>
<dialogue>Maybe we can get some Cuban food. I hear it's amazing in Miami.</dialogue>
<character>PORTER</character>
<dialogue>I'm serious Danny. Knock it off.</dialogue>
<character>DANNY</character>
<dialogue>How is wanting to eat chipper?</dialogue>
</scene>
<scene>
<stage_direction>EXT. UNFINISHED SUBDIVISION - DUSK</stage_direction>
<scene_description>Porter and Danny get out of a rental car and consider a FAILED DEVELOPMENT. Four model houses sit alone, closed for business, their perfect yards surrounded by cyclone fencing. STREET LIGHTS NOW COME ON ACROSS THE EMPTY AND HALF FINISHED SUBDIVISION. Danny and Porter are puzzled, and intrigued.</scene_description>
<character>DANNY</character>
<dialogue>It's like they just walked away...</dialogue>
</scene>
<scene>
<stage_direction>INT. CONFERENCE HALL - CORPORATE HOTEL - THAT NIGHT</stage_direction>
<scene_description>Two-hundred eager PARTICIPANTS attend a seminar called, "You Can Be a Real Estate Millionaire!"</scene_description>
<character>SEMINAR LEADER</character>
<dialogue>Real estate is the only entrepreneurial activity available to all Americans. Why? Simple, it doesn't require capital. That's right. Let me say that again. You don't need money to be a real estate millionaire!</dialogue>
<scene_description>In the back, Porter sips a hotel takeaway cup, stunned, appalled. Danny takes notes. An EAGER GREETER spots them. She slips out.</scene_description>
<character>GREETER</character>
<dialogue>Hello gentlemen. Are you interested in the 10 CD set? Only 2999 dollars!</dialogue>
<character>PORTER</character>
<dialogue>We're good! Thank you.</dialogue>
<scene_description>Porter and Danny slip away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - RANCH HOUSE - NEXT DAY</stage_direction>
<scene_description>Danny knocks like someone knocking for the last time. No answer. He looks in the mail slot... the house is empty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - ANOTHER RANCH HOUSE - DAY</stage_direction>
<scene_description>Covered in old newspapers. Porter checks one for a date. It's three months old.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT PORCH - YET ANOTHER RANCH HOUSE - DAY</stage_direction>
<scene_description>Danny peers in a front window. This time, the door OPENS. A sleepy MAN WITH A TATTOOED NECK rubs his eyes.</scene_description>
<character>DANNY</character>
<dialogue>Oh. Hello. I'm surveying mortgage owners who are over 90 days delinquent. I'm looking for a... Harvey Humpsey?</dialogue>
<character>TATTOOED NECK</character>
<dialogue>You want my landlord's dog?</dialogue>
<character>DANNY</character>
<dialogue>Your landlord filled out his mortgage using his dog's name?</dialogue>
<character>TATTOOED NECK</character>
<dialogue>I guess so. Hold up, has that asshole not been paying his mortgage? Cause I'm paying my rent.</dialogue>
<character>DANNY</character>
<dialogue>He is 90 days late on his payments, yes.</dialogue>
<character>TATTOOED NECK</character>
<dialogue>Seriously, am I going to have to leave?</dialogue>
<scene_description>There's fear in his eyes, the last thing Danny expected. A CHILD now appears between the big man's legs.</scene_description>
<character>TATTOOED NECK</character>
<dialogue>Cause my kid just got settled in the school.</dialogue>
<character>DANNY</character>
<dialogue>Um. I don't know. You should talk to your landlord. Sorry. Have a good day!</dialogue>
<scene_description>The man stays at the door as Danny hurries away.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - STILL YET ANOTHER RANCH HOUSE - DAY</stage_direction>
<scene_description>The door opens. Danny and Porter peer in... the place is abandoned; its few modest furnishings, covered in dust.</scene_description>
<character>PORTER</character>
<dialogue>Hello?! Anybody here?! Hola?! Yo?!</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM AND HOME OFFICE - CONTINUOUS</stage_direction>
<scene_description>Porter tries a light switch, dead. A CORKBOARD above a desk still has post-its. The carpet is covered with files, books, a box of old photos.</scene_description>
<character>PORTER</character>
<dialogue>The only thing they took was their TV!</dialogue>
<scene_description>He picks up a dusty TIME MAGAZINE with Greenspan/Summers/ Rubin on the cover. "The Committee to Save the World".</scene_description>
<character>DANNY (O.S.)</character>
<dialogue>Come here!</dialogue>
</scene>
<scene>
<stage_direction>INT. DEN AND KITCHEN - CONTINUOUS</stage_direction>
<scene_description>White bread molds in the bag. At the counter, Porter watches Danny shows the old mortgage bill: the house's owner used a black marker to circle the amount due and then wrote... SORRY!</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK YARD - CONTINUOUS</stage_direction>
<scene_description>The back yard is over grown and the pool is murky green.</scene_description>
<character>PORTER</character>
<dialogue>I think I saw three houses in the whole development with cars in the driveway.</dialogue>
<scene_description>Suddenly something swirls in the pool and they see a 10 FOOT ALLIGATOR emerge and submerge.</scene_description>
<character>DANNY</character>
<dialogue>Holy... fucking... shit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CUBAN RESTAURANT - DAY</stage_direction>
<scene_description>DANNY IS VISIBLE IN THE WINDOW OF A CUBAN RESTAURANT EATING. Porter is outside on the sidewalk on his phone.</scene_description>
<character>PORTER</character>
<dialogue>Hey Mark, you might want to get down here.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCION OFFICE - DAY</stage_direction>
<scene_description>We pan past Scion's office which is now littered with empty desks and land on the WHITE BOARD showing last quarter's returns: -9.3%. Two ANALYSTS talk to each other from their desks gossiping while Burry in his office works on his computer.</scene_description>
<character>ANALYST #2</character>
<dialogue>I heard he had a breakdown. He's letting the fund tank.</dialogue>
<character>YOUNG ANALYST</character>
<dialogue>A buddy of mine in Manhattan said Burry left his wife and is moving to Peru.</dialogue>
<scene_description>A PHONE RINGS at Burry's ASSISTANT'S DESK.</scene_description>
<character>MIKE'S ASSISTANT</character>
<parenthetical>(answers the phone) )</parenthetical>
<dialogue>Scion. Dr. Burry's office. ...He would prefer you email him...I sit twenty feet away and I email him--</dialogue>
<scene_description>The FRONT DOOR opens. Lawrence Fields and MARTIN BLAINE (45) of Metro Capital enter. 2 thousand dollar sport coats and polo shirts. They stride right for Mike's office. MIKE'S ASSISTANT starts to email Burry furiously, gives up, stands.</scene_description>
<character>MIKE'S ASSISTANT</character>
<parenthetical>(loudly)</parenthetical>
<dialogue>Mr. Fields. Mr. Blaine. Hello.</dialogue>
<scene_description>They enter Mike's office, shut the door.</scene_description>
<character>YOUNG ANALYST</character>
<dialogue>Was that Lawrence Fields? Holy shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION OFFICES - MIKE'S OFFICE - DAY</stage_direction>
<scene_description>Lawrence sits. Martin stands. They're angry. Yet, Mike, in T- shirt, shirts with no shoes, doesn't seem to even register there's any emotion here at all.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>Your big mortgage bet concerns us. We have no confidence in your ability to identify macroeconomic trends.</dialogue>
<character>MIKE</character>
<dialogue>You flew here to tell me that? Why? I mean, anyone can see there's a real estate bubble.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>Actually, no one can see a bubble... that's what makes it a bubble.</dialogue>
<character>MIKE</character>
<dialogue>That's dumb, Lawrence. There are always markers. Mortgage fraud. It's quintupled since 2000. Average take home pay is flat yet home prices are soaring. That means the homes are debt not assets.</dialogue>
<character>MARTIN BLAINE</character>
<dialogue>So, Mike Burry of San Jose, a guy who gets his hair cut at Super Cuts and doesn't wear shoes, knows more than Alan Greenspan and Hank Paulson?</dialogue>
<character>MIKE</character>
<dialogue>Dr. Mike Burry. And, yes. He does.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>Are you being sarcastic with us, Michael?</dialogue>
<character>MIKE</character>
<dialogue>I don't know how to be sarcastic. I don't know how to be funny. I don't know how to work people. I know how to read numbers.</dialogue>
<scene_description>Okay, let's talk numbers. Lawrence changes tack.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>How big's your short position? Right now?</dialogue>
<character>MIKE</character>
<dialogue>It's 1.3 billion.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>And the premiums?</dialogue>
<character>MIKE</character>
<dialogue>We pay roughly 80 to 90 million every year.</dialogue>
<parenthetical>(they wince)</parenthetical>
<dialogue>I know it's high but I was the first one to do this trade. It will pay. Watch. I may have been early, but I'm not wrong.</dialogue>
<character>MARTIN BLAINE</character>
<dialogue>It's the same thing!</dialogue>
<scene_description>Lawrence raises a finger to ask his partner for restraint.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>You're managing, what, a fund of 555 million?</dialogue>
<parenthetical>(Mike nods)</parenthetical>
<dialogue>In 6 years it'll all be gone. On one bet.</dialogue>
<character>MIKE</character>
<dialogue>Second quarter of 07' the adjustable rates will kick in and defaults will sky rocket.</dialogue>
<character>MARTIN BLAINE</character>
<dialogue>Says you.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>How much is eligible for withdrawal before they do, say in the next two quarters?</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>If your investors panic.</dialogue>
<character>MIKE</character>
<dialogue>It's 302 million.</dialogue>
<character>LAWRENCE FIELDS</character>
<dialogue>My God, Michael.</dialogue>
<character>MIKE</character>
<dialogue>No one will pull out! It'd be suicide! Yeah, I'm down 17 percent for the year, but if they trust me--</dialogue>
<character>MARTIN BLAINE</character>
<dialogue>No one trusts you.</dialogue>
<character>MIKE</character>
<dialogue>I've written several emails to the investors letting them know second quarter of 07' is when our position on housing shows returns. I've been very clear.</dialogue>
<scene_description>He sounds like a crazy man defending himself to a tree.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>There will be redemptions.</dialogue>
<character>MIKE</character>
<dialogue>Well, that would be really stupid.</dialogue>
<parenthetical>(angry)</parenthetical>
<dialogue>If the fund's capital drops too much, the swaps contracts are voided. And the banks get to keep the collateral!</dialogue>
<character>MARTIN BLAINE</character>
<dialogue>What?</dialogue>
<scene_description>They didn't know this, and it seals the deal.</scene_description>
<character>LAWRENCE FIELDS</character>
<dialogue>Give us our money back.</dialogue>
<scene_description>CLOSE ON: BUMPERSTICKER: "Pricing gets traffic, staging gets offers." The sticker's on a brand new...</scene_description>
</scene>
<scene>
<stage_direction>INT. MERCEDES SUV - UPSCALE SUBDIVISION - DAY</stage_direction>
<scene_description>Mark gets a house tour from a wealthy REAL ESTATE AGENT. MUSIC: A dreamy samba like SO NICE by BEBEL GILBERTO</scene_description>
<character>REAL ESTATE AGENT</character>
<dialogue>The market's in an itsy-bitsy little gully right now. It's like everybody said, "Okay, that was crazy. Let's all just slow down."</dialogue>
<scene_description>A YOUNGER AGENT sits in the back between Danny and Porter. Mark's engrossed by the upper-middle-class world out the window; Every driveway has a new SUV, or odd Prius. Every garage has a Winnebago, jet ski, speed boat. Complicated riding mowers. Trampolines. Plundered Ebay and Amazon boxes. And, yet, there are For Sale signs everywhere.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRACT MANSION - DAY</stage_direction>
<scene_description>An attractive brick house, exhaustively landscaped. In fact, the harried HOMEOWNER is now edging his lawn.</scene_description>
<character>REAL ESTATE AGENT (O.S.)</character>
<dialogue>I sold it the year it was built for 350.</dialogue>
</scene>
<scene>
<stage_direction>I/E. MERCEDES SUV - DAY</stage_direction>
<scene_description>The SUV has stopped at a discreet distance.</scene_description>
<character>REAL ESTATE AGENT</character>
<dialogue>Two years later for 480. Then...585 maybe... only 18 months later. This couple bought it last year for 650, he'd let it go for that.</dialogue>
<scene_description>He spots her. Come show it! She waves back. Not today!</scene_description>
<character>REAL ESTATE AGENT</character>
<dialogue>It'll break his heart, but he'll let it go.</dialogue>
<character>MARK</character>
<dialogue>Why's he selling?</dialogue>
<character>REAL ESTATE AGENT</character>
<dialogue>Neither one's working right now.</dialogue>
<character>YOUNGER AGENT</character>
<dialogue>Marlene, you'd say they're motivated, right?</dialogue>
<character>REAL ESTATE AGENT</character>
<dialogue>As much as one can be in this neighborhood.</dialogue>
</scene>
<scene>
<stage_direction>I/E. SUV - TRAVELLING - DAY</stage_direction>
<scene_description>SHOTS of the SUV driving them past big houses for sale.</scene_description>
<character>REAL ESTATE AGENT</character>
<dialogue>House on the left might be motivated...That is another quasi- motivated seller...They're probably teensy-weensy bit motivated...In her case I'd say possibly almost motivated.</dialogue>
<scene_description>Danny and Porter exchange a look. The market's in trouble.</scene_description>
<character>MARK</character>
<dialogue>A lot of homeowners seem pretty motivated.</dialogue>
<character>REAL ESTATE AGENT</character>
<dialogue>It's the gully. That's all. Just nerves.</dialogue>
<parenthetical>(faces Mark)</parenthetical>
<dialogue>So... where are we?</dialogue>
<character>MARK</character>
<dialogue>Let me talk to my wife.</dialogue>
<character>YOUNGER AGENT</character>
<dialogue>This market won't last.</dialogue>
<character>MARK</character>
<dialogue>Actually, can I talk with a mortgage broker? Anyone you like?</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BAR - SOUTH BEACH - DAY</stage_direction>
<character>BLACK</character>
<dialogue>Bitch better like me, I sent her to Cabo.</dialogue>
<scene_description>The bar's empty save Mark, Danny and Porter sitting with two overly-groomed MORTGAGE BROKERS -- their ties match their shirts: the hip one's in BLACK; his friend, MAROON. The guy in Maroon has Porter's business card.</scene_description>
<character>MAROON</character>
<dialogue>Is Morgan Stanley recruiting us?</dialogue>
<character>PORTER</character>
<dialogue>The bank owns our hedge fund but we're not really part of it. We invest in financial service companies.</dialogue>
<character>PORTER</character>
<dialogue>We're here trying to understand the residential mortgage business.</dialogue>
<dialogue>The brokers just nod, glad to be part of the conversation.</dialogue>
<character>MARK</character>
<dialogue>How many loans do you write each month?</dialogue>
<character>BLACK</character>
<dialogue>It's about 60.</dialogue>
<scene_description>Maroon nods. Me, too. Almost.</scene_description>
<character>MARK</character>
<dialogue>What was it four years ago?</dialogue>
<character>BLACK</character>
<dialogue>Ten. Maybe 15.</dialogue>
<character>MAROON</character>
<dialogue>I was a bartender.</dialogue>
<character>DANNY</character>
<dialogue>How many are adjustable rate mortgages?</dialogue>
<character>BLACK</character>
<dialogue>Most. Ninety percent. The bonuses on those sky rocketed a few years ago. Adjustable is our bread and honey.</dialogue>
<character>MARK</character>
<dialogue>These are people buying a primary residence?</dialogue>
<character>BLACK</character>
<dialogue>No, they're all cash-out refi's, or property to flip. A shitload of condos. A few primaries.</dialogue>
<character>DANNY</character>
<dialogue>Do mortgage applicants ever get turned down?</dialogue>
<scene_description>They laugh.</scene_description>
<character>BLACK</character>
<dialogue>Dude, if they get rejected I suck at my job.</dialogue>
<character>DANNY</character>
<dialogue>Even if they have no money?</dialogue>
<character>MAROON</character>
<dialogue>Well, my firm offers NINJA loans. No Income. No Job. I just leave the income section blank if I want, corporate doesn't care. And the people just want a house. So they go with the flow.</dialogue>
<character>BLACK</character>
<dialogue>We call those loans "Dorothys" cause they're magic. No credit, no income, no problem: just tap your shoes together three times and say "There's nothing like owning a home."</dialogue>
<character>MARK</character>
<dialogue>Your companies don't verify?</dialogue>
<character>BLACK</character>
<dialogue>If I write a loan on Friday afternoon, the big banks buy it by Monday lunch.</dialogue>
<character>MAROON</character>
<dialogue>Same here.</dialogue>
<character>MARK</character>
<dialogue>Can you two hold on a second?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - SECONDS LATER</stage_direction>
<scene_description>Eyeing the brokers, Mark whispers with Porter and Danny.</scene_description>
<character>MARK</character>
<dialogue>I don't get it. Why are they confessing?</dialogue>
<character>DANNY</character>
<dialogue>That's not confessing.</dialogue>
<character>PORTER</character>
<dialogue>They're bragging.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL BAR - DAY</stage_direction>
<scene_description>Mark takes an ottoman right in front of the brokers.</scene_description>
<character>MARK</character>
<dialogue>Do customers ever know what they're buying?</dialogue>
<character>MAROON</character>
<dialogue>I focus my business on immigrants. Once you tell them they're getting a home they sign where you tell them to sign, don't ask questions, don't really understand the rates.</dialogue>
<scene_description>Mark starts to say something, then turns to Black.</scene_description>
<character>MARK</character>
<dialogue>You target immigrants, too?</dialogue>
<character>MAROON</character>
<dialogue>Ha! Their credit isn't bad enough for him!</dialogue>
<character>BLACK</character>
<dialogue>I'm a yield guy. I make 2,000 on fixed-rate prime loans. I can make 10,000 on a subprime adjustable. Trust me, I would not be driving a Hummer without Strippers. Nobody on the pole has good credit. And they're all cash rich.</dialogue>
<scene_description>Porter and Danny watch Mark consider punching this punk. The last thing they expect is...</scene_description>
<character>MARK</character>
<dialogue>Can you introduce us?</dialogue>
</scene>
<scene>
<stage_direction>INT. ALCOVE - VIP ROOM - STRIP CLUB - NIGHT</stage_direction>
<scene_description>MUSIC: A sexy pop song like SEXYBACK by JUSTIN TIMBERLAKE</scene_description>
<character>DANCER</character>
<dialogue>I always get option-pay adjustables. I'm a private contractor. I need flexibility.</dialogue>
<scene_description>A DANCER does rote gyrations. Mark's indifferent to the lap dance, unashamed, occupied by his agenda.</scene_description>
<character>MARK</character>
<dialogue>You tell the mortgage company what you do?</dialogue>
<character>DANCER</character>
<dialogue>I write therapist.</dialogue>
<parenthetical>(and then)</parenthetical>
<dialogue>You can touch me.</dialogue>
<character>MARK</character>
<dialogue>Always?</dialogue>
<character>DANCER</character>
<dialogue>Only in the VIP.</dialogue>
<character>MARK</character>
<dialogue>No, you said you always do adjustables. You have more than one loan on a property?</dialogue>
<character>DANCER</character>
<dialogue>Everybody does. At least down here. That way you only put down like 5 percent.</dialogue>
<character>MARK</character>
<dialogue>But prices have leveled off.</dialogue>
<character>DANCER</character>
<dialogue>Yeah, there's a gully.</dialogue>
<character>MARK</character>
<dialogue>Can you stop moving? I'll still pay you.</dialogue>
<scene_description>She peeks out of the alcove, sees a BURLY MAN WITH A HARD FACE and keeps dancing.</scene_description>
<character>DANCER</character>
<dialogue>Sorry, (mouthing it) we're not alone.</dialogue>
<character>MARK</character>
<dialogue>Okay, look, if home prices don't rise you won't be able to refinance. You'll be stuck with whatever your monthly payment jumps to after the teaser rate expires. Plus any payments you missed. Plus interest on those payments! Your monthly could go up 200 or 300 percent!</dialogue>
<character>DANCER</character>
<dialogue>Jamie says I can always refinance.</dialogue>
<character>MARK</character>
<dialogue>He's lying. Actually, in this particular case, Jamie's probably just wrong.</dialogue>
<character>DANCER</character>
<dialogue>Two hundred percent? On all my loans?</dialogue>
<character>MARK</character>
<dialogue>What do you mean all my loans? We're talking about two loans on one house, right?</dialogue>
<scene_description>She stops and gives him a look.</scene_description>
<character>DANCER</character>
<dialogue>I have five houses. And a condo.</dialogue>
</scene>
<scene>
<stage_direction>INT. TICKETING AREA - MIAMI AIRPORT - DAY</stage_direction>
<scene_description>Full of purpose, Mark strides ahead of Porter and Danny.</scene_description>
<character>MARK</character>
<dialogue>Get the mortgage exposure and leverage ratio of every bulge bracket i-bank--</dialogue>
<parenthetical>(into his phone)</parenthetical>
<dialogue>--Hey, there's a bubble.</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>How do you know?</dialogue>
<character>MARK</character>
<dialogue>Trust me. Call Vennett. Buy 50 million in swaps on the MBS...</dialogue>
<scene_description>Danny holds out the offering doc.</scene_description>
<character>MARK</character>
<dialogue>...Garabaldi IV. Triple B.</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>You sure, Mark?</dialogue>
<character>MARK</character>
<dialogue>Yeah. It's time to call bullshit.</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>Bullshit on what?</dialogue>
<character>MARK</character>
<dialogue>Everything.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Jared Vennett is running on a treadmill when the phone rings.</scene_description>
<character>JARED</character>
<parenthetical>(on his cell)</parenthetical>
<dialogue>Is this America's angriest hedge fund?</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>How are you, JARED?</dialogue>
<scene_description>Jared steps off the treadmill to take the call.</scene_description>
<character>JARED</character>
<dialogue>Starting to believe my own hype.</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>I've got one last question.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRADING DESK - FRONTPOINT OFFICE - DAY</stage_direction>
<scene_description>Vinny on the phone.</scene_description>
<character>VINNY</character>
<dialogue>How are you fucking us?</dialogue>
<scene_description>Jared cackles.</scene_description>
<character>VINNY</character>
<dialogue>I'm serious. We'll buy your swaps. But only if you say how you're fucking us.</dialogue>
<character>JARED (O.S.)</character>
<dialogue>Hold on.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - DAY</stage_direction>
<scene_description>Jared steps away from a few guys working out.</scene_description>
<character>JARED</character>
<dialogue>Swaps are a dark market. That means I set the price. Whatever price I want. When you come back for your pay day I'll rip your eyes out and make a fortune. The good news for you is you'll make so much you won't care. Plus your boss has a big mouth and I need people to know about this trade so my superiors don't think it's an esoteric waste of time and I can keep selling it.</dialogue>
<scene_description>Static.</scene_description>
<character>VINNY (O.S.)</character>
<dialogue>Thank you.</dialogue>
<character>JARED</character>
<dialogue>Anytime.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>What's it gonna be? You want me to make you a market?</dialogue>
<character>VINNY (O.S.)</character>
<dialogue>Yeah. We'll take 50 million--</dialogue>
<scene_description>He disconnects, punches air. His casual pose evaporates. OMIT</scene_description>
</scene>
<scene>
<stage_direction>A79 EXT. WIDE SHOT OF BOULDER COLORADO - DAY A79</stage_direction>
<scene_description>Can be stock footage showing mountains and the town of Boulder. We hear a phone ringing.</scene_description>
</scene>
<scene>
<stage_direction>B79 INT. BEN RICKERT'S HOME OFFICE - BOULDER COLORADO - DAY B79</stage_direction>
<character>APRIL 2006</character>
<dialogue>2 years 4 months until the collapse</dialogue>
<scene_description>CU on a cell phone ringing on a desk. A hand fumbles for it and answers.</scene_description>
<character>BEN</character>
<dialogue>Hello?</dialogue>
<scene_description>It's Ben Rickert. His office has three computer screens showing the Japanese markets, the Dow, Nasdaq, weather satellite images and tidal charts.</scene_description>
<character>JAMIE (V.O.)</character>
<dialogue>Hey Ben. It's Jamie-</dialogue>
<character>BEN</character>
<dialogue>I told you not to call this number.</dialogue>
<scene_description>He hangs up. After a beat a satellite phone rings. Ben answers.</scene_description>
<character>BEN</character>
<dialogue>Hey.</dialogue>
<character>JAMIE (V.O.)</character>
<dialogue>I hate when you do that. No one's listening to your calls Ben. You're a retired trader.</dialogue>
<character>BEN</character>
<dialogue>Really? So the NSA has a 52 billion dollar budget and the ability to monitor 10's of millions of calls a second but they're not using it?</dialogue>
<character>JAMIE</character>
<dialogue>Okay fine. We'll call this number and I'll stop saying "Ben Rickert" and "dirty bomb" in the same conversation.</dialogue>
<character>BEN</character>
<dialogue>Seriously don't do that. That's not funny.</dialogue>
<character>CHARLIE (V.O.)</character>
<dialogue>Did you read what we sent you?! It's Charlie! I'm here too!</dialogue>
<character>BEN</character>
<dialogue>Hey guys. Yeah, I checked out what you sent me... Hold on...</dialogue>
<scene_description>Ben picks up a bootleg copy of Jared's PRESENTATION.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - GREENWICH VILLAGE - DAY</stage_direction>
<scene_description>A brick loft. Jamie and Charlie are gathered around a phone on speaker. We cut back and forth.</scene_description>
<character>JAMIE</character>
<dialogue>And?</dialogue>
<character>BEN (V.O)</character>
<dialogue>I'll be honest gentlemen... It scared the shit out me.</dialogue>
<character>CHARLIE</character>
<dialogue>So this guy Vennett's not wrong?</dialogue>
<character>BEN (V.O.)</character>
<dialogue>No... he's not.</dialogue>
<character>CHARLIE</character>
<dialogue>Yes!</dialogue>
<character>BEN (V.O)</character>
<dialogue>Tell me more about these CDOs... I feel like I opened the hood of a car and instead of an engine saw a monkey on a bike.</dialogue>
<scene_description>Ben holds up a report Jamie and Charlie did on CDOs.</scene_description>
<character>JAMIE</character>
<dialogue>Vennett mentions the CDOs but they're way worse than even he knows. We couldn't even model them.</dialogue>
<character>CHARLIE</character>
<dialogue>They don't make any sense! And they're a hundred times larger than the MBS!</dialogue>
<character>BEN (V.O.)</character>
<dialogue>And somehow they're over 90% AAA rated. The perfect scam.</dialogue>
<scene_description>FREEZE</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>I'll be honest. I don't love that these losers are saying I missed something but the truth is they're right. The CDOs were a hundred times worse than even I imagined. Let's go back to Bourdain's seafood stew so we're all on the same page.</dialogue>
</scene>
<scene>
<stage_direction>A80 INT. KICHEN -- DAY A80</stage_direction>
<scene_description>Bourdain stands over the pot of seafood stew.</scene_description>
<character>BOURDAIN</character>
<dialogue>Alright, remember how I said the CDOs are seafood stew filled with old fish stamped AAA? Well Jamie and Charlie found out the CDOs were even worse than that.</dialogue>
<character>BOURDAIN</character>
<dialogue>Turns out they were filled with shitty mortgages from different bonds that didn't even operate by the same laws. And there were also swaps and all kinds of other junk just thrown in there. Millions and millions of this garbage... So instead of just old fish our seafood stew also has... wolverine meat in it...</dialogue>
<scene_description>He puts a weird gray meat in.</scene_description>
<character>BOURDAIN</character>
<dialogue>Possum... skunk... Kimodo dragon and then a whole lot of stuff the no one even knows what it is.</dialogue>
<scene_description>Bourdain reaches into a box marked simply MEAT (?) and throws a bunch in.</scene_description>
<character>BOURDAIN</character>
<dialogue>And these CDOs were selling and selling....</dialogue>
<scene_description>Wee pull out and see dozens of pots of stew all around the kitchen.</scene_description>
<character>BOURDAIN</character>
<dialogue>Nuts, right?</dialogue>
</scene>
<scene>
<stage_direction>B80 INT. BROWNFIELD OFFICE - GREENWICH VILLAGE - DAY B80</stage_direction>
<character>BEN (V.O.)</character>
<dialogue>I saw the CDOs you want to short. The're brilliant. Worthless, total crap.</dialogue>
<character>CHARLIE</character>
<dialogue>Jamie Shipley, Ladies and Gentlemen.</dialogue>
<character>JAMIE</character>
<dialogue>I'm good at finding shit. If I can keep Charlie from trying to sneak in a little value.</dialogue>
<character>CHARLIE</character>
<dialogue>Sue me, I'm Jewish. We shorted all double BBs and triple B's. The risk is relatively low and the pay off is 25 to 1.</dialogue>
<character>BEN (V.O.)</character>
<dialogue>So why are you calling me? I don't do this anymore.</dialogue>
<scene_description>Charlie and Jamie share a careful glance.</scene_description>
<character>CHARLIE</character>
<dialogue>Look, Ben, help us get an ISDA so we can short this crap. We know you hate Wall Street but it's not like you'd be trading, you'd only be helping us get a place at the table.</dialogue>
<character>BEN (V.O.)</character>
<dialogue>That's an ugly table to be seated at.</dialogue>
<character>JAMIE</character>
<dialogue>The system fucked up in a big, big way here. And somehow we know before anyone else.</dialogue>
<character>JAMIE</character>
<dialogue>This is a once in a lifetime trade. Help us make this deal. Come on, it'll be fun.</dialogue>
<character>BEN (V.O.)</character>
<dialogue>Oh this won't be fun.</dialogue>
<scene_description>Sam's tone is less than definite, he's clearly tempted.</scene_description>
<character>JAMIE</character>
<dialogue>I didn't mean fun.</dialogue>
<character>BEN (V.O.)</character>
<dialogue>You said fun.</dialogue>
<scene_description>Beat</scene_description>
<character>BEN (V.O.)</character>
<dialogue>Okay, I'll call Deutsche Bank.</dialogue>
<scene_description>Charlie and Jamie high five.</scene_description>
<character>CHARLIE</character>
<dialogue>Thank you. What about Bear? They have some reprehensible product.</dialogue>
<character>BEN (V.O.)</character>
<dialogue>Okay. Bear will trade with anybody.</dialogue>
<scene_description>Silent air pumps.</scene_description>
<character>JAMIE</character>
<dialogue>How soon can you be out here?</dialogue>
<character>BEN (V.O.)</character>
<dialogue>I don't know... I haven't flown since they put those Chertoff body scanners in the airports. I've never been a fan of being strip searched by radiation.</dialogue>
<parenthetical>(takes a breath)</parenthetical>
<dialogue>I'll be there Tuesday.</dialogue>
<scene_description>Jamie and Charlie celebrate more. MUSIC: An popular alternative hip hop song like FEEL GOOD INC by GORILLAZ plays us into the next scene.</scene_description>
</scene>
<scene>
<stage_direction>C80 INT. KENNEDY AIRPORT TERMINAL - DAY C80</stage_direction>
<scene_description>Ben rides the long airport escalator wearing a flu mask. And holding a duffle bag. He passes an Asian man also wearing a flu mask, salutes his comrade-in-fear. The man stares back confused. At the bottom of the escalator Charlie and Jamie wait with a sign reading "Ben Rickert" Ben walks past them with out breaking stride and crumples up the sign.</scene_description>
</scene>
<scene>
<stage_direction>D80 EXT. DEUTSCHE BANK - TWO HOURS LATER D80</stage_direction>
<scene_description>Establishing</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY - DEUTSCHE BANK - DAY</stage_direction>
<scene_description>Charlie and Jamie sign an ISDA CONTRACT in the lobby. Ben waits over them. NOAH, 26, Vennett's assistant takes the contract.</scene_description>
<character>NOAH</character>
<dialogue>All right. I'll see if I can push it through.</dialogue>
<character>BEN</character>
<dialogue>Thanks, Noah. And thank Jared for us.</dialogue>
<scene_description>Charlie and Jamie stand. Noah goes. The boys exchange an unsure look. What now? Ben gestures to the exit.</scene_description>
<character>JAMIE</character>
<dialogue>You know, just once in my life, I'd like to see the inside of an investment bank.</dialogue>
<character>CHARLIE</character>
<dialogue>So that's it Ben? We're done?</dialogue>
<character>BEN</character>
<dialogue>That's it. Between Bear and Duetsche, you now officially own 12 million dollars of credit default swaps on the BBB- tranches of subprime ABS'.</dialogue>
<character>CHARLIE</character>
<dialogue>Somehow I thought it would be more dramatic.</dialogue>
<character>JAMIE</character>
<dialogue>So what'd we do now?</dialogue>
<scene_description>Ben doesn't break stride.</scene_description>
<character>BEN</character>
<dialogue>Now we wait for the world to blow up.</dialogue>
<scene_description>CUT TO: QUOTE COMES UP OVER BLACK: "THE TRUTH WILL SET YOU FREE. BUT NOT UNTIL IT IS DONE WITH YOU." -DAVID FOSTER WALLACE, INFINITE JEST CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MIDTOWN - MORGAN STANLEY BUILDING - DAY</stage_direction>
<scene_description>An electronic scroll on the side of Morgan Stanley reads: Mortgage Delinquencies Hit New High January 11, 2007 1 year 7 months until the collapse We hear snippets of business news audio:</scene_description>
<character>SNIPPETS OF BUSINESS NEWS</character>
<dialogue>Ben Bernanke calls the news a momentary market fluctuation.... Despite the disappointing housing news all other market indicators are very strong....</dialogue>
<scene_description>Mark Baum is running down the street while dialing his phone and trying to hail a cab.</scene_description>
<character>MARK</character>
<dialogue>Hello! Vinny Daniel please!</dialogue>
<scene_description>A CAB STOPS, he gets in.</scene_description>
<character>MARK</character>
<dialogue>The Morgan Stanley building. Fast.</dialogue>
<character>VINNY</character>
<parenthetical>(feint voice on the cell)</parenthetical>
<dialogue>Hello? Mark is that you?</dialogue>
<character>MARK</character>
<dialogue>Vinny! Did you see?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT PARTNERS OFFICE - DAY</stage_direction>
<scene_description>Vinny is walking through the FrontPoint offices. Danny, Porter and the rest of the staff are on the phones.</scene_description>
<character>MARK (V.O.)</character>
<dialogue>Mortgage defaults just went through the roof! Is anybody jumping off buildings?</dialogue>
<character>VINNY</character>
<dialogue>Why would they? Subprime mortgage bond prices are up.</dialogue>
<scene_description>We see emails on Vinny's screen from Duetsche notifying that the bond's value is up. "Garabaldi IV: BBB tranche"</scene_description>
<character>MARK (V.O.)</character>
<dialogue>What?!</dialogue>
<scene_description>Porter turns over his shoulder from his desk.</scene_description>
<character>PORTER</character>
<dialogue>Vennett is asking for more collateral on our swaps!</dialogue>
<character>MARK (V.O.)</character>
<dialogue>What the hell's going on?!</dialogue>
<character>VINNY</character>
<dialogue>We don't know. But Deutsche is on the phone demanding payment.</dialogue>
<character>MARK (V.O.)</character>
<dialogue>Somebody call Vennett.</dialogue>
<parenthetical>(Porter does so)</parenthetical>
<dialogue>Subprime loans go bad... but subprime bonds get more valuable?!</dialogue>
<character>VINNY</character>
<dialogue>They want another 2 million by market close.</dialogue>
<character>MARK (V.O.)</character>
<dialogue>What about the rating's agencies? Are Moody's and S&P downgrading CDOs or mortgage bonds?</dialogue>
<character>VINNY</character>
<dialogue>Nope. They're all still triple A.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB - SAME TIME</stage_direction>
<character>MARK</character>
<dialogue>Motherfuckers!</dialogue>
<scene_description>The West African CAB DRIVER looks over his shoulder.</scene_description>
<character>CAB DRIVER</character>
<dialogue>Is everything okay sir?</dialogue>
<character>MARK</character>
<dialogue>Yeah, other than the fact America is a cesspool of corruption and greed.</dialogue>
<character>CAB DRIVER</character>
<dialogue>That is very true sir! But I never hear Americans say it! Haha!</dialogue>
<character>VINNY (V.O.)</character>
<dialogue>That's not all Mark...</dialogue>
</scene>
<scene>
<stage_direction>INT. TINY SIDE OFFICE - FRONTPOINT - DAY</stage_direction>
<scene_description>Vinny peers into their Conference Room, where there are THREE RISK MANAGERS. Standing at the head of the table is a very pregnant, Kathy Tao.</scene_description>
<character>VINNY</character>
<dialogue>The Frontpoint risk guys are here. They called in Kathy Tao. They're trying to convince her to make us to sell our swaps. Apparently, tying up 6 years of insurance payments in hopes of housing Armageddon is not good investing.</dialogue>
<character>MARK (O.S.)</character>
<dialogue>What'd Kathy say?</dialogue>
<character>VINNY</character>
<dialogue>Nothing, yet. She keeps asking if this is one of your crusades.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB - DAY</stage_direction>
<scene_description>Mark on the phone.</scene_description>
<character>MARK</character>
<dialogue>When she leaves, go back in and very calmly, very politely, tell the risk assessors to fuck off.</dialogue>
<character>MARK</character>
<dialogue>Then meet me over at Standard and Poors. Let's go talk to Georgia Hale.</dialogue>
<scene_description>He hangs up.</scene_description>
<character>CAB DRIVER</character>
<dialogue>In my country they just show up and steal your children for their army. In America they are very sneaky. They take your house, your money and you still think they are your friends!</dialogue>
<character>MARK</character>
<dialogue>You want a job?</dialogue>
<character>CAB DRIVER</character>
<dialogue>No way brother! I am just the ferryman! Haha!</dialogue>
<scene_description>He drives crazy fast through traffic.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - FRONTPOINT PARTNERS - DAY</stage_direction>
<scene_description>Vinny enters. The risk managers go silent.</scene_description>
<character>VINNY</character>
<parenthetical>(calmly, politely)</parenthetical>
<dialogue>Mark said to fuck off.</dialogue>
<scene_description>The Risk Managers wait for nuance. None will be coming. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCION OFFICES - DAY</stage_direction>
<scene_description>Michael Burry writes on the big white board the quarterly returns: -11.3%. There are now only five working analysts. The rest of the desks are empty. Michael walks into his office closes the door and yells.</scene_description>
<character>MICHAEL BURRY</character>
<dialogue>Fuuuuuuuck!!!!!</dialogue>
<scene_description>Everyone in the office looks up and then after a beat, go back to working.</scene_description>
<character>WIFE (V.O.)</character>
<dialogue>Michael?</dialogue>
</scene>
<scene>
<stage_direction>INT. MICHAEL BURRY'S HOME - LIVING ROOM - DUSK</stage_direction>
<scene_description>Michael is watching Business News on the TV while his WIFE, pretty and direct, tries to talk to him. SOMEONE FROM THE TREASURY OR THE FED BEING INTERVIEWED.</scene_description>
<character>GOVERNMENT OFFICIAL(SOT)</character>
<dialogue>Yes, there's been an up tick in defaults but it's well within our models.</dialogue>
<character>WIFE</character>
<dialogue>Michael.</dialogue>
<character>GOVERNMENT OFFICIAL (SOT)</character>
<dialogue>So despite these temporary aberrant numbers we're quite pleased.</dialogue>
<character>WIFE</character>
<dialogue>Michael!</dialogue>
<scene_description>She turns off the TV.</scene_description>
<character>WIFE</character>
<dialogue>I'm trying to talk to you.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>I'm sorry. I was listening. Go on.</dialogue>
<character>WIFE</character>
<dialogue>The school says Nicholas has been having issues. He's not socializing. He isolates and doesn't communicate with the other kids.</dialogue>
<scene_description>NICHOLAS his six year old son is playing with a toy crane on the floor.</scene_description>
<character>ALEX</character>
<parenthetical>(listing parts of the crane)</parenthetical>
<dialogue>Hoist rope, lattice boom, upper sheave, gantry, harnass...</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Well I was never the most social of kids... Is that such a bad thing?</dialogue>
<character>WIFE</character>
<dialogue>They think we should take him to a specialist to get an evaluation.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Then yes, of course, let's do that.</dialogue>
<character>NICHOLAS</character>
<dialogue>Mom, Dad...</dialogue>
<scene_description>Nicholas has walked over to them holding his toy crane.</scene_description>
<character>NICHOLAS</character>
<dialogue>The crane is rotating 260 degrees. It just needed a circular base and a catch for the string.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>That's great Nicholas! Good job!</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL OFFICE - RATING AGENCY SURVEILLANCE DEPT - DAY</stage_direction>
<character>GEORGIA</character>
<dialogue>I can't see a damn thing.</dialogue>
<scene_description>GEORGIA HALE (55) is a pleasant, middle-class woman wearing EYE EXAM SUNSHADES and fussing with her blinds.</scene_description>
<character>GEORGIA</character>
<dialogue>My eye doctor's always busy. I end up taking any appointment they'll give me and then the whole morning gets shot to hell.</dialogue>
<scene_description>She goes to her desk... where Mark and Vinny wait.</scene_description>
<character>GEORGIA</character>
<dialogue>Alrighty. So. FrontPoint Partners. How can Standard and Poors help you?</dialogue>
<character>VINNY</character>
<dialogue>We don't understand why the ratings agencies aren't downgrading subprime bonds, since the underlying loans are deteriorating.</dialogue>
<character>GEORGIA</character>
<dialogue>Well, delinquency rates have people worried, but they're actually within our models.</dialogue>
<character>MARK</character>
<dialogue>Models that you share with the banks. Couldn't they be gaming them?</dialogue>
<character>GEORGIA</character>
<dialogue>I highly doubt it. These are very large banks that care a great deal about their reputations.</dialogue>
<character>MARK</character>
<dialogue>They care a lot more about their bonuses.</dialogue>
<character>GEORGIA</character>
<dialogue>I'm sure the world's banks have more nuanced incentives than abject greed, Mr. Baum.</dialogue>
<character>MARK</character>
<dialogue>You're wrong.</dialogue>
<character>GEORGIA</character>
<dialogue>Then they'll go bankrupt. The marketplace is ruthlessly efficient.</dialogue>
<scene_description>Mark considers this old saw a moment.</scene_description>
<character>MARK</character>
<dialogue>Your convinced the underlying mortgages in these bonds are solid loans?</dialogue>
<character>GEORGIA</character>
<dialogue>That's our opinion, yes.</dialogue>
<character>MARK</character>
<dialogue>Here's what I don't understand: if these mortgage bonds are so solid why are all the stocks for the mortgage brokerage companies down? These are companies issuing the loans that make up the bonds and they're tanking.</dialogue>
<scene_description>She's inscrutable behind her sunshades. But the fact she doesn't argue tells us he's shaken her confidence.</scene_description>
<character>GEORGIA</character>
<dialogue>We believe our ratings will prove accurate.</dialogue>
<character>MARK</character>
<dialogue>Have you ever refused to rate any of these bonds upper tranches AAA? Can we see the paper work on those deals?</dialogue>
<character>GEORGIA</character>
<dialogue>I'm not under any obligation to share that information with you.</dialogue>
<character>MARK</character>
<dialogue>Just answer me Georgia. Can you name one time in the past year where you checked the tape and didn't give the banks the triple AAA percentage they wanted?</dialogue>
<scene_description>Half beat.</scene_description>
<character>GEORGIA</character>
<dialogue>If we deny them the rating they'll go to Moody's.</dialogue>
<scene_description>A stunned beat. She's not supposed to say this.</scene_description>
<character>GEORGIA</character>
<dialogue>If we don't work with them, they'll go to our competitors.</dialogue>
<character>VINNY</character>
<dialogue>Holy shit. They're selling ratings for fees.</dialogue>
<scene_description>Silence. Mark didn't know it was that simple, that cynical.</scene_description>
<character>MARK</character>
<dialogue>You can afford to make less. Make less.</dialogue>
<character>GEORGIA</character>
<dialogue>It's not my decision. I have a boss.</dialogue>
<character>MARK</character>
<dialogue>Really? That's the angle you're taking? So anyone who has a boss can't be held responsible for doing shitty and illegal things? What are you, nine years old?</dialogue>
<scene_description>She takes her glasses off. Her eyes are watery, dilated.</scene_description>
<character>GEORGIA</character>
<dialogue>And what, pray tell, are your incentives?! Why are you in my office?! Is it maybe in your interest to have the ratings change?! How many credit default swaps do you own?!</dialogue>
<scene_description>She's nailed him.</scene_description>
<character>MARK</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>That doesn't make me wrong.</dialogue>
<character>GEORGIA</character>
<dialogue>No, it just makes you a hypocrite.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB - DAY</stage_direction>
<scene_description>Vinny watches Mark as they ride back uptown in a crowd. He's rattled.</scene_description>
<character>VINNY</character>
<parenthetical>(checks his blackberry)</parenthetical>
<dialogue>Vennett's coming to the office at 3.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>You okay?</dialogue>
<scene_description>Mark nods.</scene_description>
<character>MARK</character>
<dialogue>Short the rating agencies. All of them.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - NYC LOFT - DAY</stage_direction>
<scene_description>Charlie and Jamie are climbing the walls. Ben is on speaker phone.</scene_description>
<character>BEN (V.O.)</character>
<dialogue>Mortgage delinquencies went up and the CDOs got more valuable!? You gotta be kidding me!</dialogue>
<character>JAMIE</character>
<dialogue>We know. It's completely backwards. It's like 2 plus 2 equals 73.</dialogue>
</scene>
<scene>
<stage_direction>A94 INT. BEN RICKERT'S OFFICE - SAME TIME A94</stage_direction>
<scene_description>Ben sits at his desk reading the Sixth Great Extinction. We cut back and forth.</scene_description>
<character>BEN</character>
<dialogue>I just called an old friend at Bear and he didn't even know what a CDO is.</dialogue>
<character>JAMIE (V.O.)</character>
<dialogue>I had to transfer Bear and Duetsche 78 thousand dollars. It's like I bought a suit and paid for it with two suits.</dialogue>
<character>CHARLIE (V.O.)</character>
<dialogue>It's rigged. We bought into a rigged game. We're going to lose hundreds of thousands a year until it's all gone and I have to move back in with my mom.</dialogue>
<character>BEN</character>
<dialogue>Having fun yet?</dialogue>
<scene_description>Beat as Charlie catches a thought.</scene_description>
<character>CHARLIE</character>
<dialogue>Wait a minute... We know the CDOs are taking losses and yet the price is frozen or going up. Maybe they're frozen because the banks have no idea how to value them? I bet they're so toxic the banks are just guessing!</dialogue>
<parenthetical>(half beat)</parenthetical>
<dialogue>I think we should buy more swaps.</dialogue>
<character>JAMIE</character>
<dialogue>What?! No way! No.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT PARTNERS - SAME TIME</stage_direction>
<scene_description>Jared Vennett is seated in the conference room. Mark, Vinny, Danny and Porter are SCREAMING AT HIM. He is amazingly calm and even CHECKS HIS PHONE at one point.</scene_description>
<character>ALL</character>
<dialogue>You fucked us! I knew you'd fuck us!... What game are you running! I'm calling the goddamn justice department! Don't check your phone! Don't you check your fucking phone!!</dialogue>
<scene_description>Finally the group is exhausted from yelling and they run out of gas.</scene_description>
<character>JARED</character>
<dialogue>You guys done?</dialogue>
<character>DANNY</character>
<dialogue>Yeah. I think so.</dialogue>
<character>PORTER</character>
<parenthetical>(holding his side)</parenthetical>
<dialogue>Jesus. I think I pulled a muscle in my back from yelling.</dialogue>
<character>VINNY</character>
<dialogue>Mortgage defaults are way up. Yet you quote us a higher price on the bonds. Tell me why we shouldn't pull out of this trade right now?</dialogue>
<character>JARED</character>
<dialogue>Listen, I told you when we did this deal the ratings agencies, the SEC and the big banks are clueless. So now their foot's on fire and they think their steak is done and you're surprised?</dialogue>
<character>MARK</character>
<dialogue>This isn't stupidity, this is fraud.</dialogue>
<character>JARED</character>
<dialogue>Hey, if you can tell me the difference between stupid and illegal I'll have my wife's brother arrested.</dialogue>
<scene_description>Danny laughs. Everyone glares at him.</scene_description>
<character>DANNY</character>
<dialogue>I'm sorry. That was funny.</dialogue>
<character>JARED</character>
<dialogue>I just don't think you guys realize how clueless the system is.</dialogue>
<character>JARED</character>
<dialogue>Yeah, there's shady shit happening but trust me, it's all fueled by stupidity. Face it, as cynical as you all are I think you still have a shred of respect left for the powers that be.</dialogue>
<character>VINNY</character>
<dialogue>Not me.</dialogue>
<character>JARED</character>
<dialogue>Okay, except Vinny.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - NYC LOFT - SAME TIME</stage_direction>
<scene_description>Charlie is pleading to his case.</scene_description>
<character>CHARLIE</character>
<dialogue>Look, either we're wrong or we're right in a giant, giant way! If we're right I want to go all in. If we're wrong I want someone to tell us.</dialogue>
<character>JAMIE</character>
<dialogue>I'm not feeling remotely confident that we're right. And if we're wrong, who's going to tell us?</dialogue>
<character>BEN (V.O.)</character>
<dialogue>Sounds like we need to go to Vegas.</dialogue>
<character>JAMIE</character>
<dialogue>Vegas?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT PARTNERS - SAME TIME</stage_direction>
<character>JARED VENNETT</character>
<dialogue>Yeah, Vegas. The American Securitization Forum. It's next week. Every bond and CDO salesman, subprime lender and swap trader in the country will be there. I'm telling you, your bet is against dumb money. I think it's time you meet that dumb money.</dialogue>
<character>PORTER</character>
<dialogue>I hate Vegas.</dialogue>
<character>DANNY</character>
<dialogue>I hear the restaurants in Vegas have gotten really good. They have a Nobu.</dialogue>
<character>PORTER</character>
<dialogue>Fucking stop it.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VENETIAN HOTEL - STATUES - DAY</stage_direction>
<scene_description>CU The LIVING STATUES AT THE VENETIAN. The white classical statues are STILL FOR A BEAT and THEN MOVE AND LOOK INTO CAMERA. MUSIC: A hip hop or rap song that exudes attitude like TOUCH IT OR NOT by CAM'RON kicks in as soon as the statues move.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN CASINO FLOOR OF CAESAR'S PALACE - DAY</stage_direction>
<scene_description>QUICK SERIES OF IMAGES: 1) Cash being exchanged for chips 2) A SEXY WAITRESS serving drinks with a tattoo of her baby daughter on her calf 3) A MARINE is playing two slot machines smoking and drinking. 4) A poster showing happy good looking people gambling and winning.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRADE SHOW FLOOR - CAESAR'S PALACE - DAY</stage_direction>
<scene_description>A sea of sponsored booths. Familiar banks. Lots and lots of White people. A BANNER tells us it's the: American Securitization Forum Ben gives Charlie and Jamie the tour. Jamie takes photos with his cell. Charlie gets schooled.</scene_description>
<character>BEN</character>
<dialogue>And what's "midprime"?</dialogue>
<character>CHARLIE</character>
<dialogue>A loan that's between prime and subprime?</dialogue>
<character>JAMIE</character>
<dialogue>Midprime's exactly the same as subprime.</dialogue>
<character>CHARLIE</character>
<dialogue>That doesn't make sense.</dialogue>
<character>BEN</character>
<dialogue>And if a bond is "rich" it is...?</dialogue>
<character>CHARLIE</character>
<dialogue>Loaded with assets?</dialogue>
<character>JAMIE</character>
<dialogue>Overpriced and you probably lose all your money.</dialogue>
<parenthetical>(how did he know this?)</parenthetical>
<dialogue>I can't sleep on planes so I did my homework.</dialogue>
<scene_description>Ben stops, turns to his proteges.</scene_description>
<character>BEN</character>
<dialogue>Let's focus up. Now what's our goal here?</dialogue>
<character>CHARLIE</character>
<dialogue>To figure out if this is the deal of a lifetime, or if everybody knows something we don't and we're about to get royally screwed.</dialogue>
<character>BEN</character>
<dialogue>Good. Now don't lose sight of that when you're with the guys from Bear tomorrow morning. I set you up with a face-to-face.</dialogue>
<character>JAMIE</character>
<dialogue>Great!</dialogue>
<character>CHARLIE</character>
<dialogue>Where's the meeting?</dialogue>
<scene_description>Mark, Vinny, Danny and Porter enter and cross past the Brownfield Guys.</scene_description>
<character>MARK BAUM</character>
<dialogue>Five years ago securitization was a loser convention. 100, maybe 200 people would show. 500 billion dollars a year later and you get this.</dialogue>
<character>PORTER</character>
<dialogue>A lot of smug looks in this place.</dialogue>
<character>VINNY</character>
<dialogue>It's like someone hit a pinata filled with white people who suck at golf. Who are all these clowns?</dialogue>
<character>MARK BAUM</character>
<dialogue>According to Vennett, this is who we're betting against.</dialogue>
<scene_description>Vennett approaches the group with his young ASSISTANT, who hands out room keys.</scene_description>
<character>JARED</character>
<dialogue>Hello gentlemen. My assistant Chris has your room keys. I trust your travel was uneventful?</dialogue>
<character>MARK</character>
<dialogue>So when do we get face time with these charming folks?</dialogue>
<character>JARED</character>
<dialogue>They'll be plenty of face time. But remember, we're here to gather info, not advertise our short position. We don't want to spook anyone. Got it?</dialogue>
<scene_description>Mark nods. The group still checking out the crowded lobby.</scene_description>
<character>JARED</character>
<dialogue>Seriously. Mark, you've got a very loud mouth. Can you muzzle it for a few days?</dialogue>
<character>MARK</character>
<dialogue>So you don't want me warning people that the entire conference is put on to normalize the buying and selling of worthless shit?</dialogue>
<character>JARED</character>
<dialogue>Yes.</dialogue>
<character>VINNY</character>
<dialogue>Don't worry. We'll be good little boys.</dialogue>
</scene>
<scene>
<stage_direction>INT. SHOOTING RANGE - THE GUN STORE - LAS VEGAS - DAY</stage_direction>
<scene_description>RICH GUY and Reps from Bear Stearns in business casual shoot guns. Bullets rip into politically incorrect targets...a black kid attacking a sexy white woman, an Asian gangster, a big photo of Osama bin Laden. Charlie and Jamie shoot Uzi's, surprised by how much fun they're having. Clips spent, they remove headgear.</scene_description>
<character>CHARLIE</character>
<dialogue>The Beretta's great, but the Uzi... awesome!</dialogue>
<character>BEAR REP #2</character>
<dialogue>Nice shooting, Brown Holers.</dialogue>
<character>JAMIE</character>
<dialogue>Brownfield. The name of the company is Brownfield.</dialogue>
<character>BEAR REP #2</character>
<dialogue>Yeah, I know. But it's more fun to call you Brown Hole.</dialogue>
<character>CHARLIE</character>
<dialogue>I get it, wow that's really clever.</dialogue>
<scene_description>Another Bear Rep #1 is about to shoot.</scene_description>
<character>CHARLIE</character>
<dialogue>Hey, Matt right?</dialogue>
<character>BEAR REP #1</character>
<parenthetical>(removes head phones)</parenthetical>
<dialogue>What's going on?</dialogue>
<character>CHARLIE</character>
<dialogue>We were hoping we could get a little more insight on the CDO's from you we've got swaps on.</dialogue>
<character>JAMIE</character>
<dialogue>SO, what do you think's gonna happen to CDO's in seven years?</dialogue>
<character>BEAR REP #1</character>
<dialogue>7 years? I just need this CDO machine to keep going for another 2 years. By then I'll be rich enough to get a place in Aspen.</dialogue>
<character>CHARLIE</character>
<dialogue>Do you have any concerns about the performance of the underlying securitizations? It's easy to see delinquencies and even default rates on the rise.</dialogue>
<character>BEAR REP #1</character>
<dialogue>Don't be a buzzkill, dude. We didn't bring you guys out here to talk work, OK?</dialogue>
<character>JAMIE</character>
<dialogue>Then why did you?</dialogue>
<character>BEAR REP #1</character>
<dialogue>We need a client along so we can expense the ammo.</dialogue>
<scene_description>Aims machine gun at a poster of thug, and fires.</scene_description>
<character>RICH BEAR REP</character>
<dialogue>Woooo!!</dialogue>
<character>CHARLIE</character>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Holy shit. These are the guys on the other side of our trade. They only care about their fees and bonuses. And they're morons. We need to buy more shorts.</dialogue>
<scene_description>Jamie checks his cell.</scene_description>
<character>JAMIE</character>
<dialogue>You hit the main floor and price some more swaps. My Brother's ex girlfriend works at the SEC and she's in town. If we're missing something she can tell me.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIANT BALLROOM - SAME TIME</stage_direction>
<scene_description>TWO HUNDRED OR SO BANKERS AND BOND TRADERS TAKE THEIR SEATS in a large ball room with a podium at the front. A sign reads "Option One CEO Paul Dantone: The Mortgage Market is Strong and Getting Stronger"</scene_description>
<character>DANNY</character>
<dialogue>Option One is the mortgage company last year that took a big loss in their subprime department.</dialogue>
<character>PORTER</character>
<dialogue>I don't get it. They sell the mortgages they make. How did they take losses?</dialogue>
<character>DANNY</character>
<dialogue>There's a provision that if the owner misses the very first payment the loan goes back to Option One.</dialogue>
<character>VINNY</character>
<dialogue>Who takes a mortgage if they can't make the first payment?</dialogue>
<character>MARK</character>
<dialogue>The real question is: what company gives a mortgage to someone who can't make the first payment?</dialogue>
<scene_description>LATER: THE CEO OF OPTION ONE is speaking to the room.</scene_description>
<character>OPTION ONE CEO</character>
<dialogue>...Business is good. Profits are strong and the mortgage continues to be the bedrock on which this economy is built. Yes, we did take some losses in our subprime department last year. But those losses will be contained at 5%.</dialogue>
<scene_description>Mark raises his hand.</scene_description>
<character>VINNY</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Hey Mark, this isn't a Q and A...</dialogue>
<scene_description>Mark juts his hand up even higher.</scene_description>
<character>OPTION ONE CEO</character>
<dialogue>Uh, yes... There's a question?</dialogue>
<character>MARK</character>
<dialogue>Would you say it's a possibility or a probability that subprime losses stop at 5%?!</dialogue>
<character>OPTION ONE CEO</character>
<dialogue>Well... I would say it's a very strong probability.</dialogue>
<scene_description>Mark raises his hand again. But his hand is in the shape of a ZERO.</scene_description>
<character>MARK</character>
<dialogue>Zero! There is a zero percent chance your subprime losses stop at 5%!</dialogue>
<scene_description>His phone rings.</scene_description>
<character>MARK</character>
<dialogue>Excuse me, I have to take this!</dialogue>
<scene_description>He gets up and leaves while answering his phone.</scene_description>
<character>MARK</character>
<dialogue>Hey honey... You're just calling to say hi? Well that's so sweet. How are the kids?</dialogue>
<scene_description>Mark walks past Vennett, patting him on the shoulder. JARED flips him off and then looks to camera.</scene_description>
<character>JARED VENNETT</character>
<dialogue>The fucker really did this.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SCION OFFICE - SAN JOSE - DAY</stage_direction>
<scene_description>CU OF EMAILS: "Withdrawing money end of the month" "I trusted you. And you betrayed that trust. I am done with Scion" "Will be severing ties with Scion next month" "When my two year period is over next month I withdraw all my money from your fund" Mike Burry is looking at his emails at his desk. He looks pale and unhealthy. He now has only THREE EMPLOYEES -- the other desks have the abandoned look of people laid off quickly. Mike comes out and goes to the company white board. He writes the latest quarterly returns...-19.3%. On his way out, he stops at a ladder where his Assistant is putting up Valentine's decorations.</scene_description>
<character>MIKE</character>
<dialogue>Can you come in early tomorrow? As you know, we also have big shorts in AIG and Countrywide, Frauddie Mac and I need to unload those positions to ensure we can afford the insurance premiums on our core mortgage short.</dialogue>
<character>ASSISTANT</character>
<dialogue>Sure Dr. Burry.</dialogue>
<scene_description>Mike starts to leave.</scene_description>
<character>ASSISTANT</character>
<dialogue>Dr. Burry? What's going to happen? If the investors withdraw, are we done?</dialogue>
<character>MIKE</character>
<dialogue>Honestly? I don't know. The bonds aren't going down. They won't move. It's possible we are in a completely fraudulent system.</dialogue>
<character>ASSISTANT</character>
<dialogue>Or you're wrong.</dialogue>
<scene_description>Silence.</scene_description>
<character>ASSISTANT</character>
<dialogue>I'm sorry. I just meant...</dialogue>
<character>MIKE</character>
<dialogue>That's okay Lewis. Yes, it's possible I'm wrong. I don't know how. But I guess when someone's wrong they never know how.</dialogue>
<scene_description>He leaves.</scene_description>
</scene>
<scene>
<stage_direction>A103 INT. BURRY'S BASEMENT - LATER A103</stage_direction>
<character>MUSIC: BY DEMONS BE DRIVEN</character>
<dialogue>Michael sits behind drums and furiously plays double kick drum heavy metal drums to Pantera. Finally he breaks the sticks from playing so hard.</dialogue>
<character>MIKE</character>
<dialogue>AAAHHHHH!!!!</dialogue>
<scene_description>We hear his wife from upstairs.</scene_description>
<character>WIFE (O.C.)</character>
<dialogue>Michael! Is everything okay?</dialogue>
<character>MIKE</character>
<dialogue>Yes honey!</dialogue>
</scene>
<scene>
<stage_direction>INT. TRADE SHOW FLOOR - LATER</stage_direction>
<character>MERRILL REP</character>
<dialogue>We can maybe sell you BBB level swaps at five-hundred basis points. Maybe.</dialogue>
<scene_description>Ben and Charlie are testing the waters for a deal with the MERRILL REP at the Merrill Lynch Booth.</scene_description>
<character>CHARLIE</character>
<dialogue>Five-hundred? You want us to pay a 5% premium on a swap? We paid 2% on the ones we got two months ago!</dialogue>
<character>MERRILL REP</character>
<dialogue>Good for you. That was two months ago. Trust me, you're not gonna do any better anywhere else.</dialogue>
<character>CHARLIE</character>
<dialogue>So you're pricing the swaps like the bond is going to collapse but the bond value has gone up? Really? How are you not in jail? Or at least-</dialogue>
<character>BEN</character>
<dialogue>Charlie, let's go. Thanks guys! We'll consider it.</dialogue>
<scene_description>He takes Charlie firmly by the arm, marches him away.</scene_description>
<character>CHARLIE</character>
<dialogue>What the hell is going on?</dialogue>
<character>BEN</character>
<dialogue>People are starting to wake up. Not enough for them to adjust the values on the bonds but enough to stop giving the swaps away. Cheap bets are over.</dialogue>
<scene_description>The Rich Bear Rep passes them.</scene_description>
<character>BEAR REP #1</character>
<dialogue>Hey! It's Brown hole!</dialogue>
<character>CHARLIE</character>
<dialogue>Fuck off!</dialogue>
<character>BEN</character>
<dialogue>You have to calm down.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASINO HOTEL - POOL SIDE - SAME TIME</stage_direction>
<scene_description>Jamie in polo shirt and shorts is talking to a bookish but pretty college friend who works at the SEC, EVIE, 30.</scene_description>
<character>EVIE</character>
<dialogue>I can't believe you got into finance Jamie. I always thought you'd... I don't know. Be living off canned beans on your sailboat or mooching off older women at the yachtclub or something...</dialogue>
<character>JAMIE</character>
<dialogue>Thanks. Actually we've been investing in housing bonds and I wanted to ask, is the SEC worried about them? I mean, I know you can't tell me specifics.. Just generally.</dialogue>
<character>EVIE</character>
<dialogue>Oh we don't investigate mortgage bonds. Truth is since we had our budget cut we don't investigate much.</dialogue>
<character>JAMIE</character>
<dialogue>Really? Then why are you here? I thought-</dialogue>
<character>EVIE</character>
<dialogue>I'm not here for the SEC. I'm here on my own dime.</dialogue>
<parenthetical>(she leans in)</parenthetical>
<dialogue>I'm floating my resume to some big banks. How's your brother by the way?</dialogue>
<character>JAMIE</character>
<dialogue>He's good.</dialogue>
<parenthetical>(back to business)</parenthetical>
<dialogue>How are you floating your resume to big banks when you're supposed to be the ones policing them?</dialogue>
<character>EVIE</character>
<dialogue>Grow up Jamie. 90% of the people at the SEC are just there to get better jobs.</dialogue>
<parenthetical>(she sees someone)</parenthetical>
<dialogue>Hey Doug!</dialogue>
<parenthetical>(then to Jamie)</parenthetical>
<dialogue>He's at Goldman.</dialogue>
<scene_description>She gets up and leaves. The guy she's approaching grabs her.</scene_description>
<character>DOUG</character>
<dialogue>Look everyone! It's regulatory capture!</dialogue>
<scene_description>He pulls Evie and himself into the pool. A whole group of bankers laugh while dance music plays. Jamie looks sickened.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASINO RESTAURANT - LUNCH</stage_direction>
<scene_description>Jamie, Ben and Charlie are eating chopped salads.</scene_description>
<character>CHARLIE</character>
<dialogue>Even Bear's doubled their prices. And they keep calling us Brown Hole.</dialogue>
<character>BEN</character>
<dialogue>Don't take it personally. You just don't have the money or the reputation.</dialogue>
<character>CHARLIE</character>
<dialogue>So I'm a broke loser with a bad reputation but don't take it personally?</dialogue>
<character>BEN</character>
<dialogue>They're assholes. Let it go.</dialogue>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Did your friend from the SEC give any perspective?</dialogue>
<character>JAMIE</character>
<dialogue>The SEC isn't even paying attention. Their budget has been gutted and they know zip about the housing market. It was actually depressing.</dialogue>
<character>BEN</character>
<dialogue>People wanted small government, they got it.</dialogue>
<scene_description>They eat for a beat, defeated.</scene_description>
<character>CHARLIE</character>
<dialogue>Wait a minute... We need a deal that we can afford and they can't refuse, right? What if we bet against the AA rated tranches of the CDOs? What's cheaper than AA?</dialogue>
<character>BEN</character>
<dialogue>Come on Charlie. AA is so safe they barely even show up on the risk sheets for the banks.</dialogue>
<character>CHARLIE</character>
<dialogue>Are they really though? We know if the bottom tranches fail at over 8% the double AA tranches are worth zero. We also know the ratings agencies and the SEC are asleep at the wheel. I bet those AAs are more like Bs.</dialogue>
<scene_description>Jamie fishes some paper work out of his bag and points to some numbers.</scene_description>
<character>JAMIE</character>
<dialogue>Charlie's right. The pay off is 200 to 1. But they don't see it so they're charging pennies on the dollar to bet against the</dialogue>
<character>JAMIE</character>
<dialogue>AAs. With that kind of risk/reward we'd be fools not to do it.</dialogue>
<scene_description>Ben looks at the returns on AA swaps.</scene_description>
<character>BEN</character>
<dialogue>Just when I start thinking you guys are clowns... No one on the planet is betting against AA. The banks'll think we're high or having a stroke... And they'll take every dime we have.</dialogue>
<scene_description>Charlie LOOKS TO CAMERA</scene_description>
<character>CHARLIE</character>
<dialogue>This is the thing we did that no one else did. Even Burry and Baum didn't imagine the AAs could fail.</dialogue>
<scene_description>MUSIC: A song with a beat like US v THEM by LCD SOUND SYSTEM MONTAGE OF CHARLIE, JAMIE AND BEN MEETING DIFFERENT BANKS OVER DRINKS, LUNCH, BLACKJACK TABLE, POOL SIDE.</scene_description>
<character>GOLDMAN REP</character>
<dialogue>I don't understand, you want to bet against AA?</dialogue>
<character>BEAR REP #1</character>
<dialogue>Brother, I will sell you as much as you want. And you can shoot with us anytime you want.</dialogue>
<character>MERRIL REP</character>
<dialogue>What's the angle here?</dialogue>
<character>BEN</character>
<dialogue>No angle. We want 10 million against a AA housing CDO.</dialogue>
<character>LEHMAN BROTHERS REP</character>
<dialogue>Yes. Of course yes. Wow. I thought this trip might be a waste of time. Wow.</dialogue>
<character>MORGAN STANLEY REP</character>
<dialogue>Yes. Yes and yes.</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO - DAY</stage_direction>
<scene_description>As they get AROUND A CORNER, Charlie AND Jamie SILENTLY CELEBRATE AND EVEN DANCE A BIT. But Ben tells them to cool it.</scene_description>
<character>BEN</character>
<dialogue>Do you even know what you just did?</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah, we made the deal of our careers.</dialogue>
<character>BEN</character>
<dialogue>You just bet against the American economy. If we're right it means people lose homes, jobs, retirement savings, pensions. These aren't just numbers. For every point unemployment goes up, 40 thousand people die. Did you know that?</dialogue>
<character>CHARLIE</character>
<dialogue>No...</dialogue>
<scene_description>Jamie and Charlie look like kids who have been caught teasing an old person.</scene_description>
<character>JAMIE</character>
<dialogue>We were just excited...</dialogue>
<character>BEN</character>
<dialogue>Just don't fucking dance. Okay?</dialogue>
<scene_description>He walks off. Exiting through double doors.</scene_description>
<character>JAMIE</character>
<dialogue>Where are you going?</dialogue>
<character>BEN</character>
<dialogue>Home! I'll call you when things get bad.</dialogue>
<character>CHARLIE</character>
<dialogue>Alright Ben! Talk soon!</dialogue>
<parenthetical>(then to Jamie)</parenthetical>
<dialogue>Jesus. I didn't know it could be that bad for the country. I guess this hasn't really hit me yet. I just got scared. Are you scared?</dialogue>
<character>JAMIE</character>
<dialogue>I'm always scared.</dialogue>
</scene>
<scene>
<stage_direction>INT. TABEMASU ASIAN RESTAURANT - HOTEL - NIGHT</stage_direction>
<scene_description>MUSIC: Traditional Japanese string version of something like LIONEL RITCHIE'S EASY A tranquil waterfall out of plate glass windows. Jared walks in with Mark and his team.</scene_description>
<character>JARED VENNETT</character>
<dialogue>Alight Mark Baum from Frontpoint Partners... You're nervous you and your swaps are being played? Now you get to meet who you're betting against. Try not to get too righteous and listen for once.</dialogue>
<character>MARK</character>
<dialogue>Okay, okay. So who is this guy?</dialogue>
<scene_description>FLASH CUT: Mark sits at a table. His dining partner is MR. CHAU (50), Chinese-American, an expensive suit.</scene_description>
<character>MR. CHAU</character>
<dialogue>I'm a CDO manager. At Harding Advisors.</dialogue>
<character>MARK</character>
<dialogue>I didn't know there was anything to manage.</dialogue>
<character>MR. CHAU</character>
<dialogue>We select the securities that go into the CDO portfolio, and monitor the assets. I do most of Merrill Lynch's CDOs.</dialogue>
<scene_description>Mark glances through hibachi steam to see Jared... raising his beer. Meet your counter-party. Meet the sucker.</scene_description>
<character>MARK</character>
<dialogue>And you represent investors or the bank?</dialogue>
<character>MR. CHAU</character>
<dialogue>The investors.</dialogue>
<character>MARK</character>
<dialogue>But Merrill's only going to send you buyers if you put Merrill's bonds in your CDOs.</dialogue>
<character>MR. CHAU</character>
<dialogue>Let's just say Merrill and I have a good relationship.</dialogue>
<scene_description>Mark can't tell if Mr. Chau is being naive or just arch.</scene_description>
<character>MARK</character>
<dialogue>Are you worried about rising default rates?</dialogue>
<character>MR. CHAU</character>
<dialogue>I assume no risk for these products myself.</dialogue>
<character>MARK</character>
<dialogue>Let me get this straight. The bank calls you up. Gives you bonds they want to sell. Gives you the clients. Gives you the money to run your business. Gives you fat fees for doing so. But you represent the investors?</dialogue>
<scene_description>Mr. Chau finally chuckles -- he's actually being defiant.</scene_description>
<character>MR. CHAU</character>
<dialogue>Yes. But my office is not in the Merrill Lynch building. We're in New Jersey.</dialogue>
<character>MARK</character>
<dialogue>20 minutes away.</dialogue>
<character>MR. CHAU</character>
<dialogue>5 if we use a helicopter.</dialogue>
<scene_description>MOMENTS LATER: Vinny, Jared and Danny nervously watch Mark huddle with Mr. Chau. Mark's animated, speaking too loudly.</scene_description>
<character>MARK</character>
<dialogue>Say that again! Say that again!</dialogue>
<character>JARED</character>
<dialogue>Uh-oh. Your boss is about to explode.</dialogue>
<character>VINNY</character>
<dialogue>No. He's too curious to explode.</dialogue>
<scene_description>Ignoring his food, Mark scribbles furiously on a napkin.</scene_description>
<character>MARK</character>
<dialogue>CDO A has parts of CDO B and CDO B has parts CDO A, but then both get put inside CDO C?</dialogue>
<character>MR. CHAU</character>
<dialogue>That one's called a CDO Squared. And then there are CDOs made up of the opposite side of the bet you made with your swaps. We call them synthetic CDOs.</dialogue>
<character>MARK</character>
<dialogue>"Synthetic CDOs?"</dialogue>
<scene_description>LATER: Mark's completely disheveled now, tie off. Mr. Chau is as decorous as ever, enjoying his dessert. Another paper napkin slaps the counter.</scene_description>
<character>MARK</character>
<dialogue>Okay. This is a pool of, say, 50 million in subprime loans. How much money could be out there betting on it through these synthetic CDOs and swaps?! Right now?! Tonight?!</dialogue>
<character>MR. CHAU</character>
<dialogue>A billion dollars.</dialogue>
<character>MARK</character>
<dialogue>What?!</dialogue>
<scene_description>Mr. Chau shrugs.</scene_description>
<character>MARK</character>
<dialogue>How much bigger is the market for insuring mortgage bonds than actual mortgages?!</dialogue>
<character>MR. CHAU</character>
<dialogue>Twenty times?</dialogue>
<scene_description>We FREEZE on his disoriented expression. \*</scene_description>
<character>JARED VENNETT (V.O.) \*</character>
<dialogue>If the flawed mortgage bonds that \* Michael Burry discovered were the \* match. And the CDOs Jamie and \* Charlie bet against were the \* kerosene soaked rags... Then the \* synthetic CDO was the atomic bomb \* with a drunk President holding his \* finger over the button. At that \* moment Mark Baum realized the whole \* world economy might collapse. \*</dialogue>
<character>JARED VENNETT (V.O.)</character>
<dialogue>But I'm sure you're wondering one \* thing: what the hell is a \* "synthetic CDO?" Well here is Dr. \* Richard Thaler, the father of \* Behavioral Economics and \* international pop star Selena Gomez \* to explain. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. CASINO FLOOR - NIGHT 109 \*</stage_direction>
<scene_description>SELENA GOMEZ sits at a black jack table with a giant stack of \* chips. She wins another hand and rakes in more chips from the \* PROFESSIONAL DEALER. A crowd cheers her on around the table. \*</scene_description>
<character>CROWD \*</character>
<dialogue>She can't lose! That's seven hands \* in a row! \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>So here's how a synthetic CDO \* works. Let's say I make a bet of 10 \* million on a black jack hand... \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>10 million because this hand \* represents a simple mortgage bond. \*</dialogue>
<scene_description>She is dealt a Jack and an 8 by the dealer. \*</scene_description>
<character>DR. THALER (CONT'D) \*</character>
<dialogue>Selena is showing 18 and the dealer \* is showing a seven. So the odds are \* very much in Selena's favor. 87% to \* be exact. Which are like the great \* odds most perceived the housing \* market to have. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>Did you really create a whole field \* of economic study? \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>Well is was inspired by the great \* work of others, but yes. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>I have 30 million twitter \* followers. \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>I have 30,000. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>(Trying to be encouraging) \* That's not bad. \*</dialogue>
<scene_description>(back to the explanation) \* So my odds are great. And I am on a \* winning streak. Everyone else here \* wants in on this. I can't lose, \* right? \*</scene_description>
<character>DR. THALER \*</character>
<dialogue>We have done countless studies that \* show that people often make this \* error in their thinking. If \* something is happening-- like \* Selena winning seven hands in a row \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>Or the housing market going up for \* seven years straight... \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>Exactly. They think it will go on \* forever. It's called extrapolation \* bias. People see something \* happening and they extrapolate that \* it will continue to happen. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>So the people who are watching and \* think I can't lose will make a side \* bet which is the first CDO. \*</dialogue>
<scene_description>We see A WOMAN IN GLASSES standing behind SELENA. She turns \* to a BUSINESS MAN. \*</scene_description>
<character>WOMAN IN GLASSES \*</character>
<dialogue>Wow. I love Selena Gomez. And she's \* won seven in a row with a seven \* showing for the dealer. I bet you \* 50 million she wins and I'll give \* you three to one odds. \*</dialogue>
<character>BUSINESSMAN \*</character>
<dialogue>3 to 1 odds? Okay, I'll take that \* bet. \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>Then someone behind him decides to \* bet on their bet with someone else. \* That's synthetic CDO number two. \*</dialogue>
<scene_description>There's a GUY IN A WARRIORS GAME JERSEY talking to a AN OLD \* WOMAN. \*</scene_description>
<character>GUY IN GAME JERSEY \*</character>
<dialogue>Hey I bet you 200 million that lady \* in the glasses wins that bet. \*</dialogue>
<character>OLD WOMAN \*</character>
<dialogue>She probably will win, she always \* does, so I want a great pay off. \*</dialogue>
<character>GUY IN GAME JERSEY \*</character>
<dialogue>How about 20 to 1? \*</dialogue>
<character>OLD WOMAN \*</character>
<dialogue>Deal. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>And this goes on and on and on and \* on.... With more and more CDOs \* betting on the bet on the bet on \* the bet... \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>This happens all the time. In the \* stock market. In sports. In \* basketball, they call the Hot Hand \* fallacy. A player hits 3 shots in a \* row and everyone thinks he is \* definitely going to make that 4th \* one. We know, from a lot of \* statistical evidence, that there is \* no such thing as hot hands, but \* people refuse to accept that. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>People are cray cray. \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>I don't know what that means. \*</dialogue>
<scene_description>We see a LONG LINE OF PAIRS OF PEOPLE making bets of \* increasing value and complexity that stretches behind Selena \* and Dr. Thaler at the table down the hall and around the \* corner and out of the doors of the casino. \*</scene_description>
<character>SELENA GOMEZ \*</character>
<dialogue>And then the dealer plays out his \* hand. \*</dialogue>
<scene_description>The dealer turns over a 3, giving him 10 and then turns over \* a King. DEALER WINS. \*</scene_description>
<character>SELENA GOMEZ (CONT'D) \*</character>
<dialogue>No! How could I lose!? \*</dialogue>
<scene_description>There is then a long chain reaction of winners and losers' \* reactions. \*</scene_description>
<character>LONG CHAIN OF BETTERS \*</character>
<dialogue>Shit! Pay up! Crap! Wait, I lost? I \* want my money! How could Selena \* lose! Nooo!!! \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>They all should have known the odds \* they could lose. But they got \* overconfident. And because of the \* synthetic CDOs and all the bets on \* bets on bets... The one loss \* becomes thousands of losses. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>And those losers? Pension funds, \* insurance companies. City \* governments all over the world. \* Crazy shit right? \*</dialogue>
<character>DR. THALER \*</character>
<dialogue>Not crazy, just human. The crazy \* part is assuming people will act \* logically all the time. \*</dialogue>
<character>SELENA GOMEZ \*</character>
<dialogue>Translation: crazy shit. \*</dialogue>
<scene_description>SELENA GOMEZ</scene_description>
</scene>
<scene>
<stage_direction>INT. TABEMASU ASIAN RESTAURANT - CONTINUOUS</stage_direction>
<scene_description>UNFREEZE BAUM AND MR. CHAU. All Mark can think to do is stand and collect his things.</scene_description>
<character>MARK</character>
<dialogue>I have to go. Honestly I feel a bit sick. Be careful, Mr. Chau. You'll make a lot of money... until you don't.</dialogue>
<character>MR. CHAU</character>
<dialogue>You think I'm a parasite Mr. Baum? But apparently, society values me very much.</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>In fact, let's do this... I'll tell you what I'm worth, you tell me what you're worth.</dialogue>
<scene_description>Mark looks straight in the face of everything he hates.</scene_description>
<character>MARK</character>
<dialogue>I don't think you're a parasite, Mr Chau.</dialogue>
<parenthetical>(sincere)</parenthetical>
<dialogue>I think you're an idiot.</dialogue>
<scene_description>Mark walks away and past Jared and the guys.</scene_description>
<character>MARK</character>
<dialogue>Short everything that guy has touched.</dialogue>
<parenthetical>(he walks away)</parenthetical>
<dialogue>I want half a billion more in swaps!</dialogue>
<character>JARED</character>
<dialogue>The collateral calls could bankrupt you.</dialogue>
<character>MARK</character>
<dialogue>Yup!</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAESAR'S PALACE - THE NEXT MORNING</stage_direction>
<scene_description>SLO MO: Hungover and broke people straggle out of the hotel in the bright morning Vegas sun dragging luggage. They get into valet'd cars and cabs. Charlie and Jamie exit and jump into a Mercedes SUV. They looked vaguely ashamed and Charlie looks freaked. Mr. Chau walks out with a smile on his face, designer luggage and enters a stretch limo. A short moment later Mark, Porter, Danny and Vinny walk out. Mark looks particularly far away and haggard. Three of the Bear Stearns firing range guys leave with two BEDRAGGLED PARTY GIRLS. They're still drunk. They get in a Humvee Limo. And last, we see Evie, from the SEC and the Goldman Sachs guy, Doug, leaving together. They kiss and then he gets in a Range Rover and she gets in a cab.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPSCALE CLOTHING BOUTIQUE - "EDIT NEW YORK" - DAY</stage_direction>
<scene_description>Mark struggles to pull his bag out of a taxi's trunk.</scene_description>
<character>CYNTHIA (PRE-LAP)</character>
<dialogue>Did you eat on the plane?</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSCALE CLOTHING BOUTIQUE - DAY</stage_direction>
<scene_description>The Baum's are in an elegant and isolated seating area in Cynthia's upscale clothing boutique.</scene_description>
<character>MARK</character>
<dialogue>Yeah.</dialogue>
<character>CYNTHIA</character>
<dialogue>What's wrong? What happened?</dialogue>
<character>MARK</character>
<dialogue>Things are worse than I thought. I honestly think the economy might collapse.</dialogue>
<character>CYNTHIA</character>
<dialogue>Really?</dialogue>
<character>MARK</character>
<dialogue>Yeah.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>And we could end up making a fortune.</dialogue>
<character>CYNTHIA</character>
<dialogue>Define fortune.</dialogue>
<character>MARK</character>
<dialogue>The fund could make half a billion, Cynthia. Maybe a lot more.</dialogue>
<scene_description>She had no idea. A SALES CLERK approaches.</scene_description>
<character>SALES CLERK</character>
<dialogue>Ms. Baum should I- ?</dialogue>
<character>CYNTHIA</character>
<dialogue>Not now Paula. You're my manager. I trust you.</dialogue>
<scene_description>They lower their voices, lean closer.</scene_description>
<character>CYNTHIA</character>
<dialogue>A half a billion on one trade?! How is that even possible?!</dialogue>
<character>MARK</character>
<dialogue>Group think. Fraud. Legalized corruption. Stupidity.</dialogue>
<character>CYNTHIA</character>
<dialogue>You've been saying the whole system is broken for years Mark. Why are you shocked?</dialogue>
<character>MARK</character>
<dialogue>It's all so much uglier and more twisted than I ever imagined. And I'm a banker. I'm a part of this horrible world.</dialogue>
<scene_description>A silence between them. Cynthia refuses to break it.</scene_description>
<character>CYNTHIA</character>
<dialogue>And I keep thinking about my brother. About Paul. And how he... When he...</dialogue>
<character>CYNTHIA</character>
<dialogue>When Paul took his own life.</dialogue>
<character>MARK</character>
<dialogue>...We can talk about it later. You're at your store-</dialogue>
<character>CYNTHIA</character>
<dialogue>Mark.</dialogue>
<character>MARK</character>
<dialogue>Before... my brother... committed suicide... when he told me he was having bad thoughts... My first response was... to offer him some money. My brother was in pain. Real pain. And I offered him... money.</dialogue>
<character>CYNTHIA</character>
<dialogue>You tried to help. There's no perfect way...</dialogue>
<character>MARK</character>
<dialogue>All this greed in the world. Maybe I'm not so above it. Maybe I'm part of it. And it's changed me. Changed me into a person who's not able to reach out to someone who's hurting without money being a part of it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Does it bother you that I feel that way?</dialogue>
<character>CYNTHIA</character>
<dialogue>No. You can't name a scenario for how I could have helped him that doesn't play in my head every day. But it bothers me that you're so certain you're right. Because you're not.</dialogue>
<scene_description>His silence means yes.</scene_description>
<character>CYNTHIA</character>
<dialogue>You love to know more than other people. To be the virtuous one. You always have Mark. As though you're untainted and we're al the filthy masses clawing at Noah's arch. But the truth is: you're a banker. A banker who makes more than he should. A banker who had a terrible thing happen to a family member. And now you're about to make a lot of money from another terrible thing. And even you can't find a way to make that virtuous. Because it's not. It's just life. And sometimes it hurts and it's sad and it's scary. So stop trying to fix the world and just feel the feelings like all of us. Because they're there.</dialogue>
<character>CYNTHIA</character>
<dialogue>And when you act like they're not it makes me want to scream.</dialogue>
<scene_description>Mark starts to break.</scene_description>
<character>MARK</character>
<parenthetical>(tears up)</parenthetical>
<dialogue>Paul was always there for me...</dialogue>
<character>MARK</character>
<dialogue>His face was so smashed we couldn't even have an open casket... He just dropped the phone...</dialogue>
<character>CYNTHIA</character>
<dialogue>He couldn't hear anyone. That's why he's dead... There's nothing you could have done.</dialogue>
<scene_description>They both sit there holding hands.</scene_description>
<character>CYNTHIA</character>
<dialogue>Nothing.</dialogue>
</scene>
<scene>
<stage_direction>INT. WAITING AREA - PEDIATRIC PSYCH CENTER - DUSK</stage_direction>
<scene_description>Mike's son Nicholas plays alone, talking to himself about the different parts of a BACKHOE LOADER. Stabilizer legs...bucket...atriculated arm... Mike enters. His Wife's been waiting, annoyed, gestures to her watch. Where were you?</scene_description>
<character>MIKE</character>
<dialogue>I'm sorry I'm late. Everything's falling apart at work. People want to remove their money from the fund. I don't know what to do.</dialogue>
<scene_description>His wife doesn't respond.</scene_description>
<character>MIKE</character>
<dialogue>What's wrong. Is Nicholas okay?</dialogue>
<character>MIKE'S WIFE</character>
<parenthetical>(upset, quiet)</parenthetical>
<dialogue>They think it's Asperger's Syndrome.</dialogue>
<character>MIKE</character>
<dialogue>No. What? What...what's the symptomology?</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - BURRY HOUSE - NIGHT</stage_direction>
<scene_description>Mike has a stack of books: Attwood's The Complete Guide to Asperger's, Baron-Cohen's Mindblindness, etc. Sceptical, he chooses A Parent's Guide and reads...</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>"The first sign a child is on the Autism spectrum is often a hobby. It will be one that is solitary and idiosyncratic, and it will completely obsess the child."</dialogue>
<scene_description>Mike's surprised, this actually resonates. JUMP CUTS: A dizzying whirl of TEXT PASSAGES fly at us...</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>"...few real peer- to-peer relationships...less eye contact... ...ability to quickly absorb complex systems ...love of computers... math... good with numbers</dialogue>
<scene_description>Mike stops reading. Sweating. Thunderstruck. A strange truth settles over his face.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOF - SAN JOSE - DAY</stage_direction>
<scene_description>Mike has sought counsel from a MED SCHOOL FRIEND, a psych ward doctor currently self-medicating on a joint.</scene_description>
<character>MED SCHOOL FRIEND</character>
<dialogue>This is good, a diagnosis like this, as an adult, it's all upside. You don't have to feel like there's something wrong with you anymore. Now you know. Mystery is solved.</dialogue>
<character>MIKE</character>
<dialogue>What's the upside of having Aspergers?</dialogue>
<character>MED SCHOOL FRIEND</character>
<dialogue>C'mon, Burry, who else but an Aspie actually reads entire bond prospectuses?! Your whole life your brain's told you one thing and society another. Now, you get to stop listening to society. Stop caring what we think! Don't you get it? We're normal. We can't keep up.</dialogue>
<scene_description>CLOSE on Mike, taken with the idea, and its implications.</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>"To All Investors"</dialogue>
<scene_description>MUSIC: A heavy metal song like METALLICA'S EYE OF THE BEHOLDER fades in.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCION - MIKE'S OFFICE - DAY</stage_direction>
<scene_description>Mike types an email. He is alone in the office with empty desks outside.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>"As you may know, our agreement allows me to take extraordinary measures when markets aren't functioning properly. I currently have reason to believe the mortgage bond market is fraudulent. So in order to protect investors from this fraudulent market I've decided to restrict investors' withdrawals until further notice. Sincerely. Dr. Michael Burry."</dialogue>
<scene_description>Mike breathes deep, and hits SEND. He sits listening to the quiet hum of office outside his open door. The distant highway. A very long beat. Slowly at first, isolated, then gathering like an angry storm, the office PHONES begin to RING and his email box begins to ding. One email stands out: From Lawrence Fields. The subject: I'M SUING. CUT TO: OVER BLACK WE SEE THE QUOTE: "Everyone, deep in their hearts, is waiting for the end of the world to come." - Haruki Murakami, 1Q84 We DISSOLVE to TV Channels flipping from one to the next. 1) SOME SORT OF FLUFFY POP ENTERTAINMENT, a sitcom, game show, reality show. 2) BARRY BONDS defends himself in a press conference. 3) Footage celebrating Lance Armstrong.</scene_description>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - NYC LOFT - DAY</stage_direction>
<scene_description>Charlie is the one flipping through the TV channels. Jamie is on his lap top. They're restless, tense and killing time. April 2, 2007 The Crash Begins</scene_description>
<character>JAMIE</character>
<dialogue>Will you stop changing the channels? You're driving me crazy. Just put the business news on.</dialogue>
<scene_description>Charlie turns the channel to business news.</scene_description>
<character>CHARLIE</character>
<dialogue>Fine.</dialogue>
<scene_description>Jamie stops and watches while Charlie rolls over on the couch.</scene_description>
<character>JAMIE</character>
<dialogue>Holy shit. Did you see that?</dialogue>
<character>CHARLIE</character>
<dialogue>See what?</dialogue>
<character>JAMIE</character>
<dialogue>On the crawl!</dialogue>
<scene_description>He grabs the remote and rewinds and freezes the TV. On the crawl at the bottom of the financial news show we see: Nation's second-largest mortgage lender bankrupt.</scene_description>
<character>JAMIE</character>
<dialogue>It's starting.</dialogue>
<character>CHARLIE</character>
<dialogue>I'm going to call my Mom.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT OFFICE - DAY</stage_direction>
<scene_description>Vinny, Danny and Porter watch Kathy, thin again, yelling at Mark in the Conference Room. ON A WALL TV: The FED CHAIRMAN is speaking to Congress. The Dow is down 283 points.</scene_description>
<character>BERNANKE (ARCHIVE FOOTAGE)</character>
<dialogue>...We believe the effect of the troubles in the subprime sector on the broader housing market will likely be limited, and we do not expect significant spillovers from the subprime market to the rest of the economy--</dialogue>
<character>VINNY</character>
<dialogue>Turn off all the financial news. They're in crazy land. We're trying to stay in reality.</dialogue>
<scene_description>An assistant turns off all the TVs in the office. Danny Moses, on the phone yells over to Vinny.</scene_description>
<character>DANNY MOSES</character>
<dialogue>Duetsche says the CDOs still haven't lost any value!</dialogue>
<character>VINNY</character>
<dialogue>The banks are holding the value til they can dump their position... They know now.</dialogue>
<scene_description>The DOOR opens. Kathy and her minions storm off... and out. Mark emerges beaten, yet hardened.</scene_description>
<character>VINNY</character>
<dialogue>Well?</dialogue>
<character>MARK</character>
<dialogue>Kathy wants us to dump our shorts.</dialogue>
<character>PORTER</character>
<dialogue>What else is new?</dialogue>
<character>MARK</character>
<dialogue>She says Morgan Stanley will buy them.</dialogue>
<character>DANNY</character>
<dialogue>What?! Holy shit. Vinny's right, they need our shorts. They know.</dialogue>
<character>VINNY</character>
<dialogue>The whole time we were wondering who's on the other side of this bet and it's the big banks themselves. They believed their own bullshit.</dialogue>
<character>DANNY</character>
<dialogue>What'd you tell Kathy?</dialogue>
<character>MARK</character>
<dialogue>I told her we're not selling shit. If Morgan needs to lose half a billion cause they screwed up it's not my problem.</dialogue>
<character>VINNY</character>
<dialogue>So now what'd we do?</dialogue>
<character>MARK</character>
<dialogue>Hold on.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - NYC LOFT - SAME TIME</stage_direction>
<scene_description>Charlie is getting off the phone.</scene_description>
<character>CHARLIE</character>
<dialogue>You need to understand, mom. This isn't just a banking thing. It's going to affect real people. All over the world. Like an enormous tsunami hitting the global economy all at once... Yeah, OK. I love you, too.</dialogue>
<scene_description>He hangs up and turns to Jamie who's at his computer.</scene_description>
<character>CHARLIE</character>
<dialogue>She told me I should go on lithium.</dialogue>
<scene_description>Jamie shows him an email on his computer.</scene_description>
<character>JAMIE</character>
<dialogue>Check it out - from Bear Stearns. They claim the CDOs still haven't moved.</dialogue>
<character>CHARLIE</character>
<dialogue>That's insane. They're crooks. Just look at the ABX: those CDOs should be at zero! You know what they're doing, right? They're selling off their worthless CDOs so they don't take the loses. That's fraud. On a massive scale.</dialogue>
<parenthetical>(looks panicked)</parenthetical>
<dialogue>Jeez, I can't catch my breath. I think I'm having a panic attack.</dialogue>
<character>JAMIE</character>
<dialogue>We've got to tell someone. The whole world has no idea what's about to hit them.</dialogue>
<character>CHARLIE</character>
<dialogue>Who? The SEC is useless. The ratings agencies are in on it.</dialogue>
<character>JAMIE</character>
<dialogue>Let's go to the press. This is a giant story. Who wouldn't publish it?</dialogue>
</scene>
<scene>
<stage_direction>INT. NEWS ROOM - WALL STREET JOURNAL - DAY</stage_direction>
<scene_description>Charlie and Jamie just explained the situation to CASEY, 30 their college friend, and the junior finance reporter.</scene_description>
<character>CASEY</character>
<dialogue>So what am I supposed to do? Write a piece called "We're all fucked?"</dialogue>
<character>CHARLIE</character>
<dialogue>Yes! That's a perfect title.</dialogue>
<character>JAMIE</character>
<dialogue>Casey, right now every bank in town is unloading these shit bonds on unsuspecting customers. They won't devalue them until they unload them. This is the biggest fraud in banking history.</dialogue>
<character>CASEY</character>
<dialogue>It took years to build my relationships on Wall Street!</dialogue>
<character>CASEY</character>
<dialogue>No bank or ratings agency is going to confirm a story like this just because two guys in a garage-band hedge-fund thinks it's the apocalypse.</dialogue>
<character>JAMIE</character>
<dialogue>Don't be a dick Casey. We didn't say "apocalypse."</dialogue>
<character>CHARLIE</character>
<dialogue>Wow. Wow.</dialogue>
<character>JAMIE</character>
<parenthetical>(tries again)</parenthetical>
<dialogue>Look, these banks bought most of the government. They bought the ratings agencies. There's no one left but you. This story is why journalism exists. If someone like you blows this off because they're worried about access to the banks this country is fucked.</dialogue>
<character>CASEY</character>
<dialogue>Nice speech Kev. You sound like Oliver Stone.</dialogue>
<parenthetical>(he gets up)</parenthetical>
<dialogue>Look, I've got work to do. So thanks for stopping by.</dialogue>
<character>CHARLIE</character>
<dialogue>Wow.</dialogue>
<character>JAMIE</character>
<dialogue>Stop saying Wow.</dialogue>
<parenthetical>(back to Casey)</parenthetical>
<dialogue>I thought you were for real Casey. I really did.</dialogue>
<character>CASEY</character>
<dialogue>Yeah, well you try being "for real" with a three year old and a wife who's getting her Master's degree. I'm not burning my reputation on your wild hunch.</dialogue>
<character>CHARLIE</character>
<dialogue>Wow.</dialogue>
<scene_description>He's holding the door for them. They exit.</scene_description>
<character>CASEY</character>
<dialogue>Thanks for stopping by. Totally fucking awesome to see you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HALLWAY - WALL STREET JOURNAL - CONTINUOUS</stage_direction>
<character>CHARLIE</character>
<dialogue>Disgusting. He won't do his job because he wants to keep access to the banks to keep doing the job he won't do?</dialogue>
<character>JAMIE</character>
<dialogue>I just had a horrible thought.</dialogue>
<character>CHARLIE</character>
<dialogue>I'm already juggling five or six horrible thoughts. Don't tell me.</dialogue>
<character>JAMIE</character>
<dialogue>If Bear Stearn is freezing the value of the CDOs it must mean they own tons of them.</dialogue>
<parenthetical>(a breath)</parenthetical>
<dialogue>They could go under. And we bought 80% of our swaps at Bear. We'd lose everything.</dialogue>
<character>CHARLIE</character>
<dialogue>Stop it. Bear Stearns has been around for a hundred years. They're not going under.</dialogue>
<character>JAMIE</character>
<dialogue>We have to at least consider the possibility.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION OFFICES - DAY</stage_direction>
<scene_description>Mike is at his desk. The headline on the site he's on is: Bear Stearns liquidates mortgage backed securities hedge funds. Losses at 3.6 Billion. The office is completely empty save two LAWYERS who are wheeling files out on a hand cart. Michael is on the phone hearing a voice mail.</scene_description>
<character>WOMAN (SOT)</character>
<dialogue>You've reached Lucy Thalia at Goldman Sachs. I'm not available-</dialogue>
<scene_description>He hangs up. July 31, 2007</scene_description>
<character>LAWYER</character>
<dialogue>That should do it Dr. Burry.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>If you need any files from 2005-</dialogue>
<character>LAWYER</character>
<dialogue>Mr. Field's suit is very specific to files from the past year.</dialogue>
<character>MICHAEL BURRY</character>
<dialogue>Well then tell Lawrence I said hi.</dialogue>
<scene_description>Burry's PHONE rings. The caller ID is Thalia/Private.</scene_description>
<character>MIKE</character>
<parenthetical>(answering)</parenthetical>
<dialogue>You can't get back to me for a whole week?</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>I'm so sorry, Mike. Goldman had a systems failure. I lost a ton of messages.</dialogue>
<character>MIKE</character>
<dialogue>B of A said they had a power outage. And Morgan Stanley said their server crashed.</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>Huh. That's weird.</dialogue>
<character>MIKE</character>
<dialogue>I would call it improbable. Where do you have our position marked?</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>It could be the same, Mike.</dialogue>
<character>MIKE</character>
<dialogue>Can you explain that to me? How's the value of an insurance contract in no way affected by the demise of the thing it insures?</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>They're independent markets. They're not always correlated. I know it sounds odd but these are very complicated products.</dialogue>
<character>MIKE</character>
<dialogue>They are correlated, and I can prove it.</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>How?</dialogue>
<character>MIKE</character>
<dialogue>You'd never claim they're uncorrelated on a hard line -- those are recorded bank records -- but you'll say it on your cell phone.</dialogue>
<scene_description>Static.</scene_description>
<character>MIKE</character>
<dialogue>Hello?</dialogue>
<character>LUCY THALIA (O.S.)</character>
<dialogue>Mike, I need to call you right back.</dialogue>
<scene_description>She clicks off. Mike hangs up. The phone RINGS again almost immediately. Goldman.</scene_description>
<character>MIKE</character>
<parenthetical>(answers)</parenthetical>
<dialogue>I'm listening.</dialogue>
<character>A DIFFERENT VOICE</character>
<dialogue>Dr. Burry?</dialogue>
<character>MIKE</character>
<dialogue>Yeah.</dialogue>
<character>DEEB</character>
<dialogue>Deeb Winston, Goldman Sachs. Listen, I've been reviewing your position. I wanted to discuss your marks, make sure they're fair.</dialogue>
<scene_description>Mike realizes what's happened.</scene_description>
<character>MIKE</character>
<dialogue>I think you mean you've secured a net short position yourselves so you're free to mark my swaps accurately for once. Because it's now in your interest to do so.</dialogue>
<scene_description>Static.</scene_description>
<character>DEEB</character>
<dialogue>I'm not sure what you want me to say.</dialogue>
<character>MIKE</character>
<dialogue>Nothing.</dialogue>
<scene_description>Mike hangs up. There. See. Done. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT OFFICE - DAY</stage_direction>
<scene_description>The trading desk is hopping. We see someone on their computer on Bloomberg.com. The story: Countrywide Financial Warns of "Difficult Conditions." The Dow is down 325 points Mark has a phone full of blinking red lights, about to pull up a call, as soon Danny finishes prepping him.</scene_description>
<character>DANNY</character>
<dialogue>Subprime bonds went off a cliff. Rumor is default numbers are huge.</dialogue>
<character>MARK</character>
<dialogue>Who got the remittance data early? I bet it's Goldman.</dialogue>
<scene_description>Mark punches a blinking light.</scene_description>
<character>MARK</character>
<dialogue>Jared, it's chaos over here. Where are we?</dialogue>
</scene>
<scene>
<stage_direction>INT. DUETSCHE BATHROOM - DEUTSCHE BANK - DAY</stage_direction>
<scene_description>Jared enters a bathroom, pushes a BANKER OUT THE DOOR.</scene_description>
<character>JARED VENNETT</character>
<dialogue>The gods have spoken. No one's buying CDO or mortgage bonds anymore.</dialogue>
<parenthetical>(To the guy he's pushing out)</parenthetical>
<dialogue>Sorry, important call!</dialogue>
<parenthetical>(then back to Mark)</parenthetical>
<dialogue>Our secret's out. Swaps are now the most valuable product on the street. And I heard from someone who heard from someone that Bennie Leibman over at Morgan just took some heavy losses in Morgan's bond department. Your ship might be taking on water... It might be time to grab a life jacket.</dialogue>
<scene_description>Mark hangs up. Everyone's looking his direction.</scene_description>
<character>VINNY</character>
<dialogue>And?</dialogue>
<character>MARK</character>
<dialogue>The market's turned.</dialogue>
<scene_description>A long, weird beat. No one speaks. No one celebrates. For good reason...</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Kathy's office is looking for you.</dialogue>
</scene>
<scene>
<stage_direction>INT. MORGAN STANLEY HALLWAY - MOMENTS LATER</stage_direction>
<scene_description>Mark strides for a corner office. A young woman passes in tears, carrying a personal effects box and crying, newly fired.</scene_description>
</scene>
<scene>
<stage_direction>INT. MORGAN STANLEY - KATHY TAO'S OFFICE - DAY</stage_direction>
<scene_description>A BREAST-PUMP on a credenza. Mark's waiting on Kathy. Considering her Spartan office, he realizes she has no personal effects, save the pump. Kathy Tao enters, frazzled, scared.</scene_description>
<character>KATHY TAO</character>
<dialogue>Thanks for coming so quickly, Mark. I'm sure you've been hearing rumblings about some losses Morgan has suffered.</dialogue>
<scene_description>He nods. She sits.</scene_description>
<character>MARK</character>
<dialogue>Congratulations.</dialogue>
<character>KATHY TAO</character>
<dialogue>What?</dialogue>
<scene_description>He points to the breast pump.</scene_description>
<character>KATHY TAO</character>
<dialogue>Oh. Thanks. I just wanted you to know that yes, Morgan has suffered some losses but our liquidity is strong and there's no cause for concern.</dialogue>
<character>MARK</character>
<dialogue>What about Bennie Leibman? Is he concerned. Word on the street is he took some heavy losses.</dialogue>
<scene_description>Half beat.</scene_description>
<character>MARK</character>
<dialogue>We know each other too well Kathy. How bad is it?</dialogue>
<character>KATHY TAO</character>
<dialogue>Okay. Two years ago, Bennie Leibman in Morgan's bond department also started shorting subprime housing. 2 billion in triple B's.</dialogue>
<character>MARK</character>
<dialogue>Bennie's smarter than I thought.</dialogue>
<character>KATHY TAO</character>
<dialogue>Not smart enough. The premiums on the swaps ate into his desk's profit.</dialogue>
<character>KATHY TAO</character>
<dialogue>To cover his triple B shorts he sold a lot of A and double A swaps as protection. A lot. He believed there was no way they could be affected.</dialogue>
<character>MARK</character>
<dialogue>Tell me Morgan Stanley doesn't hold those contracts.</dialogue>
<scene_description>Silence. They held them.</scene_description>
<character>MARK</character>
<dialogue>What's your exposure. 3 billion? Don't tell me it's over 4.</dialogue>
<character>KATHY TAO</character>
<dialogue>I can't answer that. And I'm not sure there's even a definitive answer.</dialogue>
<character>MARK</character>
<dialogue>Kathy, you bring me in here to say everything's fine and you don't mention Bennie's losses. You'll have to pardon me if I don't believe a word you're saying right now.</dialogue>
<scene_description>Beat.</scene_description>
<character>KATHY TAO</character>
<dialogue>Our long exposure is somewhere between 12 and 16 billion.</dialogue>
<character>MARK</character>
<dialogue>Jesus Christ... Are you fucking kidding me?</dialogue>
<character>KATHY TAO</character>
<dialogue>He kept saying defaults over 8 percent were impossible. There'd be a million homeless.</dialogue>
<character>MARK</character>
<dialogue>And how is that a reason it can't happen?!</dialogue>
<character>KATHY TAO</character>
<dialogue>No one thought... Please don't do this Mark. Like it or not you're part of Morgan.</dialogue>
<character>MARK</character>
<dialogue>Kathy, given Morgan's leverage, what are you doing to prevent a run on this bank?</dialogue>
<scene_description>We see she's not just stunned, she's terrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. MANHATTAN RESTAURANT - LATE NIGHT</stage_direction>
<scene_description>At a window table, Mark and Vinny sit across from Porter and Danny.</scene_description>
<character>PORTER</character>
<dialogue>But we have nothing to do with Morgan Stanley!</dialogue>
<character>VINNY</character>
<dialogue>Tell the bankruptcy court. Morgan fails, our accounts go on their balance sheet.</dialogue>
<character>DANNY</character>
<dialogue>That's crazy. Morgan makes the sucker's bet and we pay their gambling debts.</dialogue>
<scene_description>Mark's brooding dangerously.</scene_description>
<character>PORTER</character>
<dialogue>You're saying, we could do everything right, disciplined, smart, and still go broke?</dialogue>
<character>VINNY</character>
<dialogue>That's right.</dialogue>
<character>PORTER</character>
<dialogue>What do we do?</dialogue>
<character>MARK</character>
<dialogue>Short the bank stocks. Then we wait.</dialogue>
<character>VINNY</character>
<dialogue>Or... we sell our swaps, when the market opens. We get our bonuses and our investors get their profits. We'd get 30 cents on the dollar. Not bad.</dialogue>
<character>MARK</character>
<dialogue>They're worth three times that.</dialogue>
<character>VINNY</character>
<dialogue>If Morgan goes under it won't matter.</dialogue>
<character>MARK</character>
<dialogue>Forget it. I'm not giving away lifeboats.</dialogue>
<character>VINNY</character>
<dialogue>Mark, don't play a game of chicken on this one.</dialogue>
<character>MARK</character>
<dialogue>Drop it! Christ, Vin. We sell when I say we sell. Don't pussy out on me!</dialogue>
<character>VINNY</character>
<dialogue>I get that this is what you've dreamed about but we have a fiduciary responsibility to-</dialogue>
<character>MARK</character>
<dialogue>No. No we don't. No one is being responsible. So fuck responsibility. We're going to shove the knife in to the hilt and make these assholes at the big banks-</dialogue>
<character>WAITRESS</character>
<parenthetical>(approaching)</parenthetical>
<dialogue>--you boys want--</dialogue>
<character>MARK</character>
<dialogue>--we're talking! Excuse us.</dialogue>
<scene_description>The Waitress is wounded. Goes. A brutal beat. No one can look at Mark.</scene_description>
<character>MARK</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>I'll say when we sell.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS OF CHELSEA - DAY</stage_direction>
<scene_description>Jamie is walking down the street on his cell. August 3, 2007</scene_description>
<character>JAMIE</character>
<dialogue>So not only do two mortgage hedge funds backed by Bear Stearns go belly up but now there's a class action law suit against Bear.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPIN CLASS - SAME TIME</stage_direction>
<scene_description>A SPIN CLASS IS IN PROGRESS WITH LOUD MUSIC PLAYING and 20 people on bikes. A sweaty Charlie is standing off to the side on his cell.</scene_description>
<character>CHARLIE</character>
<parenthetical>(yelling over the music)</parenthetical>
<dialogue>Holy shit! Bear Stearns could really collapse?</dialogue>
<character>JAMIE (V.O.)</character>
<dialogue>I don't know if Bear will collapse. But there's a risk they might. And it's a risk we shouldn't take.</dialogue>
<character>CHARLIE</character>
<dialogue>How the hell do we sell these swaps!? I just realized we bought them but we don't know how to sell them.</dialogue>
<character>JAMIE</character>
<dialogue>We'll have to get Ben to do it.</dialogue>
<character>CHARLIE</character>
<dialogue>He's on vacation with his wife's family in England!</dialogue>
<scene_description>The Spin Class instructor turns to Charlie.</scene_description>
<character>INSTRUCTOR</character>
<dialogue>Hey brother! Do you mind?</dialogue>
<character>CHARLIE</character>
<dialogue>Sorry!</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION - MIKE'S OFFICE - SAN JOSE - DAY</stage_direction>
<scene_description>CLOSE on Mike's good eye: he's scanning his monitors. January 14, 2008 He hovers over his terminal, worried. The numbers are not good. We see default rates above 12%, Dow down 420 points etc. He picks up the phone and dials a number by heart.</scene_description>
<character>MIKE</character>
<dialogue>It's Dr. Burry. Looks like the collapse in the financial sector is imminent. Let's start to unwind my position. It's 1.3 Billion.</dialogue>
<scene_description>We hear disappointment in Mike's voice.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCION OFFICE - NIGHT</stage_direction>
<scene_description>It's been cleared out, even Mike's Assistant is gone. The light goes off in his inner office. Leaving, Mike stops off at his WHITE BOARD, erases -19.3% with his palm and starts to write +... He stops, turns and considers the room full of abandoned desks, just a telephone on each, all of them silent. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE POWDER MONKEY PUB - EXMOUTH, ENGLAND - DAY</stage_direction>
<scene_description>A southern England old world pub on a wet street in a small country town.</scene_description>
<character>BEN (V.O.)</character>
<dialogue>I've got almost no cell phone or wifi reception and I'm trying to sell 200 million dollars worth of securities. And yes, this pub smells like wet sheep.</dialogue>
<character>JAMIE (V.O.)</character>
<dialogue>You can do this Ben ...</dialogue>
</scene>
<scene>
<stage_direction>INT. POWDER MONKEY PUB - EXMOUTH, ENGLAND - DAY</stage_direction>
<scene_description>Ben has his Bloomberg terminal set up at a table, wears a fancy headset, rolls calls in sweatpants.</scene_description>
<character>BEN</character>
<dialogue>This is The Brownfield Fund... I'm trying to sell credit default swaps...20 double A tranches of CDOs...Absolutely, they're all complete shit... Face value is 205 million dollars.</dialogue>
<scene_description>The PROPRIETRESS and THREE OLD ENGLISH MEN AT THE BAR pretend not to listen to the strangest conversation they've ever heard.</scene_description>
<character>BEN</character>
<dialogue>No, we're looking for at least 100 million.</dialogue>
<character>PUB-GOER</character>
<dialogue>100 million! Hey laddy, are you a drug dealer or a banker?! If you're a banker fuck off!</dialogue>
<scene_description>Everyone laughs in the pub. Now they're openly watching.</scene_description>
<character>BEN</character>
<dialogue>Just give me your best number.</dialogue>
<character>PUB-GOER #2</character>
<dialogue>Have em throw in a million for me!</dialogue>
<character>BEN</character>
<dialogue>Look, if you don't want this deal then hang up...</dialogue>
<character>BEN</character>
<parenthetical>(they don't hang up)</parenthetical>
<dialogue>That's what I thought...</dialogue>
</scene>
<scene>
<stage_direction>INT. BROWNFIELD OFFICE - EARLY MORNING</stage_direction>
<scene_description>Charlie and Jamie stand around Charlie's SPEAKER PHONE.</scene_description>
<character>CHARLIE</character>
<dialogue>Okay. Eighty million. Okay. That's good.</dialogue>
<character>JAMIE</character>
<dialogue>Eighty's great, Ben. Thank you. Thank you so much.</dialogue>
<character>BEN (O.S.)</character>
<dialogue>Most of it went to UBS. You're very lucky. The largest bank in France froze customers money market accounts today. This thing's hitting Europe. I hope I can get home...</dialogue>
<character>CHARLIE</character>
<dialogue>You will. Call us when you land.</dialogue>
<character>JAMIE</character>
<dialogue>Hey Ben, I'm just wondering, why did you do this with us? I mean, you didn't have to.... and thanks. But why?</dialogue>
<character>BEN (O.S.)</character>
<dialogue>Because I like you guys.</dialogue>
<character>JAMIE</character>
<parenthetical>(thrown)</parenthetical>
<dialogue>Wow. You do? That's so cool... Okay... Bye Ben. Hello? Oh.</dialogue>
<scene_description>He hangs up.</scene_description>
<character>JAMIE</character>
<dialogue>Eighty million in 6 months. From just 110 thousand 4 years ago. That's not bad.</dialogue>
<character>CHARLIE</character>
<dialogue>I'm done. No more.</dialogue>
<character>JAMIE</character>
<dialogue>Yeah. Yeah, me too.</dialogue>
<parenthetical>(half beat)</parenthetical>
<dialogue>But we have to short Bear Stearns.</dialogue>
<character>CHARLIE</character>
<dialogue>You damn straight.</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Oh, crap, where are we gonna put the money we made?</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - DEUTSCHE BANK HQ - DAY</stage_direction>
<scene_description>Dark. Elegant. A well-heeled crowd of 200 INVESTORS. March 14, 2008</scene_description>
<character>JARED VENNETT (V.O.)</character>
<dialogue>As the housing markets and banks continued to hemorrhage only one of the big shorts refused to sell: Mark Baum. So it was beyond perfect when he was asked to speak at a conference opposite Bruce Miller, a famous bullish investor. After he and Mark had their debate, Alan Greenspan, one of the architects of the whole crisis was scheduled to speak. Everyone in Mark's office showed up and even invited friends.... This was Ali versus Foreman of the financial world... The realist versus the fools. If it seems almost too perfect, trust me, this happened. And it was beautiful.</dialogue>
<scene_description>A podium waits for Greenspan. Beside it are 3 chairs with THE HOST, BRUCE MILLER, ruddy and confident and a sloppily- dressed Mark Baum. Vinny's in the front row.</scene_description>
<character>BRUCE MILLER (THE BULL)</character>
<dialogue>As some of you may know, Bear Stearns just received a loan from JP Morgan. We'll see how the market reacts, but I think that lays to rest concerns about the bank's health.</dialogue>
<character>THE HOST</character>
<dialogue>I take it you have no plans to sell your 200 million in Bear stock?</dialogue>
<character>BRUCE MILLER</character>
<dialogue>When we're done here, I'll probably buy more.</dialogue>
<character>THE HOST</character>
<dialogue>For the opposing view, Mr. Baum.</dialogue>
<character>MARK</character>
<dialogue>I gotta stand for this.</dialogue>
<scene_description>Wholly uninvited, Mark takes his mic to the podium.</scene_description>
<character>MARK</character>
<dialogue>Okay, hi, so my firm's thesis is simple: Wall Street took a good idea, Lewis Ranieri's Mortgage Bond and turned it into an atomic bomb of fraud and stupidity that is on it's way to decimating the world economy.</dialogue>
<character>BRUCE MILLER</character>
<dialogue>How do you really feel?</dialogue>
<scene_description>The crowd laughs.</scene_description>
<character>MARK</character>
<dialogue>I'm glad you still have a sense of humor. I wouldn't if I were you.</dialogue>
<parenthetical>(back to the crowd)</parenthetical>
<dialogue>Now, anyone who knows me knows I have no problem telling someone they're wrong. Hell, it's my passion.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Well for the first time in my life, it's not so enjoyable.</dialogue>
<scene_description>Arriving late, Porter slips in the last row behind Danny.</scene_description>
<character>PORTER</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Bear Stearns issued a press release denying rumors of liquidity problems.</dialogue>
<character>DANNY</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>They said they had liquidity?! That always means they don't.</dialogue>
<character>MARK</character>
<dialogue>We're living in an era of fraud in America. Not just in banking. But in government, education, food, religion, journalism, prisons, baseball... Somehow, American values became fuck it, let's grab what we can for now and the hell with tomorrow.</dialogue>
<scene_description>Danny gets a quote, curses, types, Here we go! Bear at 47!</scene_description>
<character>MARK</character>
<dialogue>And what bothers me isn't that fraud is "not nice" or "mean." It's that for fifteen thousand years fraud and short sighted thinking has never, ever worked. Not once. How the hell did we all forget that?</dialogue>
<scene_description>Vinny gets a text...Bear at 35 last!</scene_description>
<character>MARK</character>
<dialogue>I thought we were all better than this... I really did. And the fact that we're not doesn't make me feel superior and right... It makes me feel sad...</dialogue>
<scene_description>In the back, a man hurries out holding on his cell phone.</scene_description>
<character>MARK</character>
<dialogue>And as fun as it is seeing pompous dumb Wall Streeters be wildly wrong,</dialogue>
<parenthetical>(turns to the Bull)</parenthetical>
<dialogue>and you are wrong sir.</dialogue>
<parenthetical>(back to his wrap up)</parenthetical>
<dialogue>I just know that at the end of the day regular people are going to pay for all of this. Because they always, always do.</dialogue>
<scene_description>Danny's just typed Bear at 29 last!!! as he hears this.</scene_description>
<character>MARK</character>
<dialogue>That's my two cents. Thank you.</dialogue>
<scene_description>Mark pats Bruce Miller on the back as he takes his seat.</scene_description>
<character>THE HOST</character>
<dialogue>Does our bull have a response?</dialogue>
<character>BRUCE MILLER</character>
<dialogue>Only that in the history of Wall Street, no investment bank has ever failed except when caught in criminal activities. So I stand by my Bear Stearns optimism.</dialogue>
<scene_description>A YOUNG BANKER stands, unwilling to wait for the Q & A.</scene_description>
<character>YOUNG BANKER</character>
<dialogue>Mr. Miller! Sorry. Quick Question.</dialogue>
<parenthetical>(re: his Blackberry)</parenthetical>
<character>YOUNG BANKER</character>
<dialogue>From the time you guys started talking, Bear Stearns stock has fallen more than 38 percent. Would you buy more now?</dialogue>
<character>BRUCE MILLER</character>
<parenthetical>(unsure)</parenthetical>
<dialogue>Sure. Yeah. I'd buy more. Why not?</dialogue>
<scene_description>Awkward silence. Mark whispers into his mic...</scene_description>
<character>MARK</character>
<dialogue>Boom.</dialogue>
<scene_description>Mark watches the whole room scramble for the aisles.</scene_description>
</scene>
<scene>
<stage_direction>INT. BACK HALLWAY TO AUDITORIUM - DAY</stage_direction>
<scene_description>A PR PERSON leads ALAN GREENSPAN (never fully seen) and his ENTOURAGE toward an auditorium door.</scene_description>
<character>PR PERSON</character>
<dialogue>This way Mr. Greenspan. We are so honored to have you here today...</dialogue>
</scene>
<scene>
<stage_direction>INT. AUDITORIUM - DAY</stage_direction>
<scene_description>The PR Person leads Greenspan and entourage in up front. THERE ARE ONLY SIX AUDIENCE MEMBERS in the vast hall.</scene_description>
<character>PR PERSON</character>
<dialogue>What the hell?</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - PRE-DAWN</stage_direction>
<scene_description>Empty. The SCROLL is dead. Suddenly, it flickers and kicks to life as if re-booted. The first message says it all... Lehman bankruptcy leaves country in turmoil.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAZA - LEHMAN BROTHERS HQ - DAY</stage_direction>
<scene_description>A beautiful day. Charlie stands on a bench watching LEHMAN EMPLOYEES with effects boxes exit through a PRESS gauntlet. September 15, 2008 Jamie ends a call below him.</scene_description>
<character>JAMIE</character>
<dialogue>That was Ben . The Dow has dropped 1800 points in the last three days. He thinks the price of gold could go higher than the Dow. Up is now officially down.</dialogue>
<scene_description>Charlie is still watching the chaos at Lehman.</scene_description>
<character>CHARLIE</character>
<dialogue>I want to see inside.</dialogue>
<character>JAMIE</character>
<dialogue>How?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WEST 49TH STREET - DAY</stage_direction>
<scene_description>His box already in a taxi, a LEHMAN GUY looks from Jamie and Charlie's expectant faces to the building. Fuck it. The Guy takes off his ID tag and hands it over.</scene_description>
<character>CHARLIE</character>
<dialogue>Which floor's fixed income?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONTPOINT OFFICE - LATER THAT DAY</stage_direction>
<scene_description>Vinny is on the phone. Danny and Porter work quietly if feverishly at their desks that are covered in screens.</scene_description>
<character>VINNY</character>
<dialogue>Mark! Answer your phone! We have to sell! This whole thing's blowing up!</dialogue>
<character>DANNY</character>
<dialogue>Prices are moving... I can't get a fix!</dialogue>
<scene_description>Danny's panicked.</scene_description>
<character>DANNY</character>
<dialogue>We have like 70 positions...I can't...I don't know what's happening to anything! Morgan's lost a third of it's value.</dialogue>
<scene_description>Vinny and Porter exchange a worried glance.</scene_description>
<character>VINNY</character>
<dialogue>Is it a run?</dialogue>
<character>DANNY</character>
<dialogue>I don't know.</dialogue>
<character>VINNY</character>
<dialogue>Danny, is there a run on Morgan Stanley?!</dialogue>
<character>DANNY</character>
<dialogue>I don't know!</dialogue>
<scene_description>Danny squints at his screens; something's wrong with his vision. He's soaking wet. Looks down at his chest.</scene_description>
<character>DANNY</character>
<dialogue>I think I'm having a heart attack.</dialogue>
<character>PORTER</character>
<dialogue>No, you're not.</dialogue>
<scene_description>He's extremely pale but doesn't walk from the desk, tries to regulate his breathing as Porter and Vinny watch.</scene_description>
<character>PORTER</character>
<dialogue>You're not having a heart attack.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>You're not having a heart attack.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>You're not having a heart attack.</dialogue>
<scene_description>Danny looks as if he can't hear.</scene_description>
<character>PORTER</character>
<dialogue>All right, maybe you are.</dialogue>
<scene_description>Vinny picks up the phone to call 911.</scene_description>
<character>VINNY</character>
<dialogue>Hello, we need an ambulance, now!</dialogue>
</scene>
<scene>
<stage_direction>INT. LEHMAN ELEVATOR BANKS - DAY</stage_direction>
<scene_description>A DIMINUTIVE EXEC is in the flow of departing Employees.</scene_description>
<character>DIMINUTIVE EXEC</character>
<dialogue>Go straight to your transportation! Do not talk to the press! Go straight to your transportation! Do not talk to the press!</dialogue>
<scene_description>Jamie holds up the pass for a Guard, who hurriedly waves he and Charlie through the turnstile, like two diplomats slipping back in the embassy as Saigon falls.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRADING FLOOR - LEHMAN BROTHERS - DAY</stage_direction>
<scene_description>Abandoned. A few EMPLOYEES pack. Loose paper's everywhere. Charlie and Jamie walk through the destruction: plundered desks; emptied picture frames; sad tchotkes. On one desk, someone's made a pyramid of Red Bull cans. On one wall, someone's painted a huge...LEH: 0.00.</scene_description>
<character>CHARLIE</character>
<dialogue>This isn't how I pictured it.</dialogue>
<character>JAMIE</character>
<dialogue>What'd you think we'd find?</dialogue>
<scene_description>Charlie considers this question a few seconds.</scene_description>
<character>CHARLIE</character>
<dialogue>The grown-ups.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ST. PATRICK'S CATHEDRAL - DAY</stage_direction>
<scene_description>A BUSINESS CROWD passes. On the church steps, Danny is now okay. He, Vinny and Porter watch the crowd, rushing past, oblivious.</scene_description>
<character>VINNY</character>
<dialogue>You okay?</dialogue>
<character>DANNY</character>
<dialogue>Yeah... I think so. It's embarrassing. I really thought I was having a heart attack.</dialogue>
<character>PORTER</character>
<dialogue>Let's go to dinner tonight. I hear there's a great new Cuban joint in the lower east side.</dialogue>
<character>DANNY</character>
<dialogue>Really? I'd like that.</dialogue>
<scene_description>Vinny paces. His Blackberry RINGS.</scene_description>
<character>VINNY</character>
<dialogue>Mark, finally!</dialogue>
<parenthetical>(answering)</parenthetical>
<dialogue>Hey, it's a bloodbath up here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - SAME TIME</stage_direction>
<scene_description>Mark sits at a table with his laptop and a coffee, shell shocked staring off into the building around him. Vinny's on Mark's cell phone speaker.</scene_description>
<character>VINNY (O.S.)</character>
<dialogue>Word's out. Morgan's stock has lost half its value. Down to 23.10. Clients are wanting to talk to you about pulling their money.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>It's now or never. We gotta sell Mark.</dialogue>
<parenthetical>(silence)</parenthetical>
<dialogue>Hello?</dialogue>
<parenthetical>(nothing)</parenthetical>
<dialogue>Mark?!</dialogue>
<character>MARK</character>
<dialogue>Yeah.</dialogue>
<scene_description>CLOSE on MARK. He's staring at nothing.</scene_description>
<character>VINNY (O.S.)</character>
<dialogue>At least tell me what you're thinking.</dialogue>
<scene_description>FADE TO BLACK:</scene_description>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>I met my wife on Match.com. My profile said, quote, I am a medical student with only one eye, an awkward social manner, and $145,000 in student loans, end quote.</dialogue>
<character>MICHAEL BURRY (V.O.)</character>
<dialogue>She wrote back: you're just what I've been looking for. She meant honest. So, let me be honest...</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION OFFICE - DAY</stage_direction>
<scene_description>Bare feet on corporate carpet.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>...making money is not like I thought it would be.</dialogue>
<scene_description>Mike's at the Assistant's Desk sorting through a stack of his mail. He's also listening to the VOICE MAIL on the phone's speaker, erasing most messages after they start.</scene_description>
<character>VOICE MAIL MESSAGE</character>
<dialogue>Oh, Mike, this is Kerry Mann down at Camelot Capital. Listen, we see you're jumping back in the equities market in a big way. In this environment, we're not sure that's a wise--</dialogue>
<scene_description>He hits ERASE. And keeps sorting.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>This business kills the part of life that is essential: the part that has nothing to do with business.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINI-MART - DAY</stage_direction>
<scene_description>Burry's FORMER ASSISTANT is stocking Red Bulls in a convenience store.</scene_description>
</scene>
<scene>
<stage_direction>A150 EXT. UPSCALE MIAMI NEIGHBORHOOD - DAY A150</stage_direction>
<scene_description>The neighborhood Baum toured with the real estate agent is now covered with foreclosure signs.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEMINAR ROOM - CORPORATE HOTEL - DAY</stage_direction>
<scene_description>With two dozen others, Marlene and the Younger Agent are taking a seminar, "You Can Be a Real Estate Millionaire".</scene_description>
<character>SEMINAR LEADER #2</character>
<parenthetical>(again)</parenthetical>
<dialogue>The housing crisis represents the greatest financial opportunity of your lifetime!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CONVENIENCE STORE - DAY</stage_direction>
<scene_description>The Man with the Tattooed Head comes out of the store and hurries to his CAR, carrying food. When he gets in, we see his child, wife and their stuff. They now live in the car.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>For the past two years my insides have felt like they're eating themselves. All the people I respected won't talk to me anymore except through lawyers...</dialogue>
</scene>
<scene>
<stage_direction>INT. BASKETBALL ARENA - MIAMI UNIVERSITY - DAY</stage_direction>
<scene_description>A large JOB FAIR. Maroon waits in a long line for his turn with an ADVISOR, one of many in a row of folding tables. He looks over to see his friend, Black, in another line. Nods. Hey. Hey.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>People want an authority to tell them how to value things. But they chose this authority not based on facts or results. They chose it because it seems authoritative and familiar. And I am not and never have been... "familiar."</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB - DAY</stage_direction>
<scene_description>The West African Cab Driver that drove Mark looks at his 401K. It says -43,540 dollars. Leaving only 46k.</scene_description>
</scene>
<scene>
<stage_direction>INT. MIKE'S OFFICE - NIGHT</stage_direction>
<scene_description>Mike types the email we've been hearing in VO throughout.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>So, I've come to the sullen realization that I must close down the fund.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCION OFFICE - NIGHT</stage_direction>
<scene_description>It's the night Mike erased the WHITE BOARD in the empty office. This time, we watch him write his fund's growth...+489%.</scene_description>
<character>MIKE (V.O.)</character>
<dialogue>I am writing this to inform you that earlier today I sold off all positions for Scion Fund.</dialogue>
<scene_description>He circles it. Then walks out.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - DEUTSCHE BANK - DAY</stage_direction>
<scene_description>Inscrutable, Jared Vennett considers a BONUS LETTER on his desk. He talks to camera.</scene_description>
<character>JARED</character>
<parenthetical>(to camera)</parenthetical>
<dialogue>I can't really say it to anyone else, but I'll say it to you: I was right. I took a rash of shit for the past two years but I was right.</dialogue>
<scene_description>His bonus for 2008 is $47,000,000.</scene_description>
<character>JARED</character>
<dialogue>Hey I never said I was the hero of this story.</dialogue>
<scene_description>He kisses the check.</scene_description>
<character>JARED</character>
<dialogue>I can feel you judging me... Remember, I made this bank 20 billion. My two bosses lost 30 billion and still got fifty million in bonuses. You didn't see that on your news did you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - DAY</stage_direction>
<scene_description>Mark as before, quiet, talking to Vinny via cell phone. MUSIC: A piano piece like THE TWINS by MAX RICHTER fades in slowly</scene_description>
<character>VINNY (O.S.)</character>
<dialogue>Mark!? At least tell me what you're thinking.</dialogue>
<character>MARK</character>
<dialogue>Paulson and Bernanke just left the White House. There's going to be a bailout.</dialogue>
<scene_description>Mark's voice is full of masked emotion, quiet, resigned.</scene_description>
<character>VINNY (O.S.)</character>
<dialogue>You're serious?!</dialogue>
<character>MARK</character>
<dialogue>Yeah... The whole time we were wondering how the big banks could be so stupid... They didn't care. They knew the tax payers had to bail em out.</dialogue>
<character>VINNY (V.O.)</character>
<dialogue>Those fuckers.</dialogue>
<parenthetical>(and then)</parenthetical>
<dialogue>At least we'll see some of them go to jail. And they're going to have to break up the banks.</dialogue>
<character>MARK</character>
<dialogue>I don't know Vinny. I bet in a few years we'll be doing what people always do when the economy goes south: blaming immigrants and poor people.</dialogue>
<character>JARED (V.O.)</character>
<dialogue>But Mark was wrong. In the years that followed 100's of bankers and rating's agency executives went to jail. The SEC was completely overhauled.</dialogue>
<scene_description>MONTAGE OF REFORM IMAGERY: 1. HEARINGS AT CONGRESS. 2. THE DODD/FRANK BANKING REFORM BEING SIGNED, 3. BANKERS BEING PERP WALKED IN HANDCUFFS.</scene_description>
<character>JARED (V.O.)</character>
<dialogue>And Congress had no choice but to break up the big banks and regulate the mortgage and derivatives industries.</dialogue>
<parenthetical>(Beat)</parenthetical>
<dialogue>Just kidding.</dialogue>
<scene_description>SMASH TO: VT. OF 1) PEOPLE SCREAMING AT IMMIGRANT CHILDREN ON: THE BORDER. 2) GOVERNORS AND TALK SHOW HOSTS BLAMING TEACHERS 3)CONGRESS VOTING DOWN SERIOUS BANKING REFORM.</scene_description>
<character>JARED (V.O.)</character>
<dialogue>The banks took the money the American people gave them and used it to lobby the Congress to kill big reform. And then America blamed immigrants and poor people. And this time... even teachers.</dialogue>
<character>JARED (V.O.)</character>
<dialogue>And when all was said and done, only one single banker went to jail.</dialogue>
<scene_description>PICTURE OF THE ONE BANKER WHO WENT TO JAIL.</scene_description>
<character>JARED (V.O.)</character>
<dialogue>This poor schmuck. Kareem Serageldin from Credit Suisse. He hid a few billion in mortgage bond losses. Something most of the big banks do on a good day. I'm sure it didn't hurt that he was of Egyptian decent...</dialogue>
</scene>
<scene>
<stage_direction>EXT. UPPER EAST SIDE APARTMENT ROOF GARDEN - CONTINUOUS</stage_direction>
<scene_description>Mark silently looks off into the distance, still on the phone with Vinny.</scene_description>
<character>VINNY (V.O.)</character>
<dialogue>Mark?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Can we sell now? The fund'll make almost a billion dollars... You'll clear 200 mill Mark.</dialogue>
<character>MARK</character>
<dialogue>You know once we sell we're just like all the rest...</dialogue>
<character>VINNY (V.O.)</character>
<dialogue>No we're not Mark... We didn't prey on people's dreams of owning a home... They did. And now we can kick em in the teeth.</dialogue>
<character>MARK</character>
<dialogue>A billion dollars...</dialogue>
<character>VINNY</character>
<dialogue>That's right. But we've got to sell or it could be zero. It's now or never. It really is.</dialogue>
<scene_description>Long beat.</scene_description>
<character>MARK</character>
<dialogue>Okay... Sell it all.</dialogue>
<scene_description>The Big Short MUSIC: ORCHESTRAL THEME. And then over black... "When the dust settled from the collapse 5 trillion dollars in pension money, real estate value, 401k, savings, and bonds had disappeared. 8 million people lost their jobs, six million lost their homes. And that was just in the USA." "Charlie Geller and Jamie Shipley attempted to sue the ratings agencies but were laughed out of all law offices. Jamie still runs Brownfield with Ben Rickert but Charlie left New York to live in Charlotte and start a family. He did not go on Lithium." "Cynthia says Mark Baum actually became gracious after the collapse and never said "I told you so" to anyone. But he did give large sums of his money to a charity that helps people escape from cults. Danny, Vinny and Porter all still run a fund together and are as terrified as ever." "Michael Burry contacted the government several times to see if anyone wanted to interview him to find out how he knew the system would collapse years before anyone else. No one ever returned his calls. But he was audited four times and questioned by the FBI. The small investing he still does is all focused on one commodity: water." After a beat... "In 2015 several large banks began selling billions in something called a "bespoke tranche opportunity." Which according to the Wall Street Journal is just another name for a CDO." END.</scene_description>
</scene>
</script> | The film consists of three separate but concurrent stories, loosely connected by their actions in the years leading up to the 2007 housing market crash. Scion Capital In 2005, eccentric hedge fund manager Michael Burry discovers that the United States housing market, based on high-risk subprime loans, is extremely unstable. Anticipating the market's collapse in the second quarter of 2007, as interest rates would rise from adjustable-rate mortgages, he proposes to create a credit default swap market, allowing him to bet against, or short, market-based mortgage-backed securities, for profit. His long-term bet, exceeding $1 billion, is accepted by major investment and commercial banks but requires paying substantial monthly premiums. This sparks his main client, Lawrence Fields, to accuse him of "wasting" capital while many clients demand that he reverse and sell, but Burry refuses. Under pressure, he eventually restricts withdrawals, angering investors, and Fields sues Burry. Eventually, the market collapses and his fund's value increases by 489% with an overall profit (even allowing for the massive premiums) of over $2.69 billion, with Fields alone receiving $489 million. FrontPoint Partners Jared Vennett (based on Greg Lippmann), the executive in charge of global asset-backed securities trading at Deutsche Bank, is one of the first to understand Burry's analysis, learning from one of the bankers who sold Burry an early credit default swap. Using his quant to verify that Burry is most likely correct, he decides to enter the market and purchase credit default swaps himself. However, his large monthly premiums result in him looking to reduce the size of his position by selling credit default swaps. A misplaced phone call alerts FrontPoint Partners hedge fund manager Mark Baum (based on Steve Eisman), who is motivated to buy swaps from Vennett due to his low regard for banks' ethics and business models. Vennett explains that the packaging of subprime loans into collateralized debt obligations (CDOs) rated AAA will guarantee their eventual collapse. Conducting a field investigation in South Florida, the FrontPoint team discovers that mortgage brokers are profiting by selling their mortgage deals to Wall Street banks, who pay higher margins for the riskier mortgages, creating the bubble. This knowledge prompts the FrontPoint team to buy swaps from Vennett. In early 2007, as these loans begin to default, CDO prices somehow rise and ratings agencies refuse to downgrade the bond ratings. Baum discovers conflicts of interest and dishonesty amongst the credit rating agencies from an acquaintance at Standard & Poor's. Vennett invites the team to the American Securitization Forum in Las Vegas, where Baum learns from a CDO manager that the market for insuring mortgage bonds, including "synthetic CDOs" which are bets in favor of the faulty mortgage bonds, is significantly larger than the market for the mortgage loans themselves, leading a horrified Baum to realize the entire world economy is set to collapse. As the subprime bonds continue to fall, Baum learns that Morgan Stanley, under whose umbrella FrontPoint operates, had also taken short positions against mortgage derivatives. However, in order to offset the risk and the monthly premiums, it had sold short positions in higher-rated mortgage derivatives. Now that these are also collapsing in value, Morgan Stanley is facing severe liquidity problems. Despite pressure from his staff to sell their position before Morgan Stanley collapses, Baum refuses to sell until the economy is on the verge of collapsing, making over $1 billion in their swaps. Even so, Baum laments that the banks, as well as the government, will not admit what caused the economy to collapse, but will instead blame "immigrants and poor people". Brownfield Fund Young investors Charlie Geller and Jamie Shipley run a small firm called Brownfield Fund (based on the firm Cornwall Capital). They accidentally discover a marketing presentation by Vennett on a coffee table in the lobby of a large investment bank (the characters address the audience stating that in reality they had heard about Vennett's plan through word of mouth from friends and publications), convincing them to invest in swaps, as it fits their strategy of buying cheap insurance with big potential payouts. Below the capital threshold for an ISDA Master Agreement required to enter into trades like Burry's and Baum's, they enlist the aid of Ben Rickert, a retired securities trader who was based in Singapore. When the bond values and CDOs rise despite defaults, Geller suspects the banks of committing fraud. The trio also visit the American Securitization Forum, where they learn that the SEC has no regulations to monitor mortgage-backed security activity. They successfully make even more profit than Burry and Baum by shorting the higher-rated AA mortgage securities, as they were considered highly stable and carried a much higher payout ratio. Later, as home mortgage defaults increase, the price of the CDOs (the insurance against) does not rise nor does the price of the underlying mortgage bonds drop, and they realize the banks and the ratings agencies are secretly freezing the price of their CDOs in order to sell and short them before the inevitable crash. Outraged at the bank's cheating, Geller and Shipley try to tip off the press about the upcoming disaster and the rampant fraud, but a writer from The Wall Street Journal reveals his own personal conflict of interest and will not do his job so as to not endanger his relationships with the Wall Street investment banks. As the market starts collapsing, Ben, on vacation in England, sells their swaps. Ultimately, they turn their $30 million investment into $80 million, but their faith in the system is broken when Ben tells them of the severe consequences for the general public. Epilogue Jared Vennett receives a bonus of $47 million for profits made on his credit default swaps. Mark Baum becomes more gracious from the financial fallout, and his staff continue to operate their fund. Charlie Geller and Jamie Shipley go their separate ways after unsuccessfully trying to sue the ratings agencies, with Jamie still running the fund and Charlie moving to Charlotte to start a family. Ben Rickert returns to his peaceful retirement. Michael Burry closes his fund after public backlash and multiple IRS audits, now only investing in water securities. The personnel of the banks responsible for the crisis escape any consequences for their actions, with the single exception of one trader, Kareem Serageldin. It is noted that as of 2015, banks are selling CDOs again under a new label: "Bespoke Tranche Opportunity". |
I Don't Feel at Home in This World Anymore._2017 | tt5710514 | <script>
<scene>
<scene_description>UNTITLED MACON BLAIR MOVIE by Macon Blair Feb 8 2016 (CLEAN COPY) filmscience</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - NIGHT</stage_direction>
<scene_description>BLACK TREE LIMBS spread against a less-black sky. The STARS beyond are vast and dim. BATS dip and wheel chaotically. We can hear their wings: a desperate-sounding chk chk chk. RUTH KIMKE (38) stares up at them, very still, very uneasy. She has a watchful, owlish vibe. She's slightly wall-eyed. Her hair is long and plain and she appears fearfully hypnotized by the bats. Or maybe it's the stars. She tips a BEER up, nearly kills it without blinking. WIDER, we see her yard: a weedy little square enclosed by a tall rickety fence. MUSIC and VOICES drift faintly from elsewhere, some other yard. Somebody SHRIEKS in delight. Ruth looks in that direction, all alone back here. She glances down at her hand...which is SHAKING. Then back to the dark sky as an OMINOUS TONE sounds and we-- CUT TO BLACK.: TELEVISED IMAGES fill the screen, pixelated and washed-out, with SOFT HAPPY ELEVATOR MUSIC eating all the sound: A huge TRASH ISLAND bobs in the ocean. SOLDIERS fire machine guns in the Middle East. A WHITE COP clubs a BLACK KID.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - CARE CENTER - DAY</stage_direction>
<scene_description>PULLING OUT from the T.V. as Ruth enters in pink scrubs, eyeing it before addressing the person at which it's aimed.</scene_description>
<character>RUTH</character>
<dialogue>How 'bout I change this, huh?</dialogue>
<scene_description>It's MRS. HAMBLE in the bed, ninety if she's a day. Skeletal and unblinking. Oh shit...she might be dead already.</scene_description>
<character>RUTH</character>
<dialogue>Mrs. Hamble?</dialogue>
<scene_description>She moves to the bedside, fearing the worst, but--</scene_description>
<character>MRS. HAMBLE</character>
<parenthetical>(a weak rasp)</parenthetical>
<dialogue>...look at these goddamn monkeys...</dialogue>
<scene_description>So instead Ruth adjusts the covers, the fluid drip.</scene_description>
<character>RUTH</character>
<dialogue>No, now...shh.</dialogue>
<character>MRS. HAMBLE</character>
<dialogue>...if my husband Wilson Kenneth Hamble ever lived to see the way they managed to flush this country right down the fuckin stinker, he'd like to never stop throwing up, you never heard a bigger helping of shit in all the years of woe-is-me, God o' mighty, put the chicken and hubcaps down and keep your gigantic monkey dick outta my good pussy...</dialogue>
<character>RUTH</character>
<dialogue>Okay, now. Just. Okay.</dialogue>
<character>MRS. HAMBLE</character>
<dialogue>...Christ help us...</dialogue>
<character>RUTH</character>
<dialogue>Okay.</dialogue>
<character>MRS. HAMBLE</character>
<dialogue>...why won't nobody fuck me good?</dialogue>
<character>RUTH</character>
<dialogue>Shh. C'mon, now.</dialogue>
<scene_description>But then, as she works, the silence prompts her to look. Mrs. Hamble has gone slack. Actually dead this time.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING AREA - CARE CENTER - DAY</stage_direction>
<scene_description>Ruth and a DOCTOR stand with MRS. HAMBLE'S SON, other crying FAMILY in the background.</scene_description>
<character>SON</character>
<dialogue>Did...did she have any last words?</dialogue>
<scene_description>The Doctor looks to Ruth for the answer. She considers. TITLE CARD LANDS WITH A LOW THROBBING BOOOM. TRAFFIC NOISE, VOICES, COMMERCIAL JINGLES: a din of shrill anxiety. As SPARSE MINOR-KEY MUSIC tip-toes into the mix...</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUTH'S CAR (MOVING) - DAY</stage_direction>
<scene_description>...we see Ruth through the windshield of her ancient JUNKER, a rusty '76 Ventura. Inching along. Her mind elsewhere. VEHICLES wipe the foreground, blurs, endlessly blocking her.</scene_description>
<character>NEWS RADIO (V.O.)</character>
<dialogue>...and the Governor calling it 'a horrific but ultimately unpreventable tragedy' after the schizophrenic man brought his registered AR-15 into the day care and opened fire. Sports is next.</dialogue>
<scene_description>Up ahead, a DAY-GLO PICKUP belches a BLACK SMOKE from its dual smokestacks onto the other cars. Rollin' coal. She's quietly mystified.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DAY</stage_direction>
<scene_description>Hard sunlight blasts off of chrome and glass. Ruth moves through this maze of cars, preoccupied. She wears jeans, sneakers, an old baseball shirt. Has her own shopping bag. A MINIVAN backs out, nearly clips her but stops short. She waits, gestures go ahead. Which the minivan is happy to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY AISLE - DAY</stage_direction>
<scene_description>A SLOPPY MAN drops a bag of chips, leaves it on the ground. Ruth comes along in his wake and, without thinking, bends down to put them back on the shelf.</scene_description>
</scene>
<scene>
<stage_direction>INT. '15 ITEMS OR FEWER' CHECKOUT LINE - DAY</stage_direction>
<scene_description>Ruth waits patiently with her rotisserie chicken behind a TIRED WOMAN who's stacking thirty or forty items on the belt.</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVE BAR - DAY</stage_direction>
<scene_description>An OLDIE purrs on the juke ("Hully Gully Calling Time" by The Jive Five!) as we PUSH DOWN THE BAR to find... Ruth, sitting by herself at the far end of with a beer and her chicken dinner, absorbed in a FANTASY NOVEL. Someone LAUGHS and she looks up. Down the bar, a cluster of YOUNG DUDES, bullshitting amongst themselves. But ONE of them is looking at her, kinda smiling. Back to her book. A moment later, he's still looking at her.</scene_description>
<character>YOUNG DUDE</character>
<dialogue>Is that the Elsewhere Saga?</dialogue>
<scene_description>She straightens, smiles in spite of herself.</scene_description>
<character>RUTH</character>
<dialogue>Yeah. 'King of the Hidden Dark.'</dialogue>
<character>YOUNG DUDE</character>
<dialogue>Book two. Read those a while ago.</dialogue>
<character>RUTH</character>
<dialogue>I'm at the, they're getting ready for the Battle of the uh--</dialogue>
<character>YOUNG DUDE</character>
<dialogue>Battle of the Tanhauser Gate?</dialogue>
<character>RUTH</character>
<dialogue>Right! I'm like...</dialogue>
<scene_description>She makes a face: biting my nails!</scene_description>
<character>YOUNG DUDE</character>
<dialogue>Totally. Yeah. So good.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know her father's actually the War Mage.</dialogue>
<scene_description>Ruth's smile stays absolutely in place.</scene_description>
<character>RUTH</character>
<dialogue>Captain Deo is...?</dialogue>
<character>YOUNG DUDE</character>
<dialogue>Kieran's real father. Yeah. That's coming up. Blew my mind.</dialogue>
<scene_description>And stays in place.</scene_description>
<character>RUTH</character>
<dialogue>Wow.</dialogue>
<character>YOUNG DUDE</character>
<dialogue>Clues were there, y'think about it.</dialogue>
<scene_description>And with that, he returns to his buddies. Ruth looks down at the bar top, but not quite at her book.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUTH'S HOUSE - DAY</stage_direction>
<scene_description>Ruth pulls into the driveway of her tiny RANCH HOUSE. Heading inside, she sees something in the patchy yard that stops her. A PIZZA FLYER tucked in her door is angrily yanked out. Fft! THE DOG TURD on her grass is grabbed using the flyer. Splrt. HER TRASH CAN has many such dog shit/pizza flyer wads already in it and here's one more. Wump! Slam! THE SMALL HANDMADE SIGN on her lawn--a dog shit inside a red circle-slash with 'PLEASE!'--is angrily straightened.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - DAY</stage_direction>
<scene_description>Ruth heels the door shut, drops her book on a side table.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>
<scene_description>THE FRIDGE OPENS, leftover chicken goes in, a beer comes out. Ruth leans against the counter, pops the beer, takes a sip. A dim, quiet little house. A little cluttered but not dirty. SLOWLY PUSHING IN as she stares grimly at nothing. There's a soft repetitive bmp bmp bmp somewhere. But then... Her eyes land on something and she stiffens. That bmp bmp bmp seems louder suddenly. She moves forward, confused because... HER BACK DOOR IS AJAR. She touches it as if to confirm what she's seeing. BMP BMP BMP. Just beyond is--</scene_description>
</scene>
<scene>
<stage_direction>INT. SUN ROOM - CONTINUOUS</stage_direction>
<scene_description>--this small glassed-in porch, with its own BACK DOOR which also hangs wide open, bumping against the house. BMP BMP BMP. She steps out there, breathing faster as she peers out into--</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - CONTINUOUS</stage_direction>
<scene_description>--which is empty. Somewhere distantly a LAWN MOWER buzzes, a DOG barks. But nobody in sight. She pulls the door shut--</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>
<scene_description>--and comes back through the SUN ROOM into the house where she GASPS, her hands flying to her mouth because-- --she sees for the first time that SHE'S BEEN RANSACKED. All drawers pulled out of her credenza, the contents spilled. She gapes, immobilized. But before she can decide what to do-- Sktch. A soft noise. She freezes. Whatwasthat? DOWN THE HALLWAY, the opened BEDROOM DOOR spills sunlight. She stares at it, perfectly still, her eyes bright with fear. CLOSER ON THE BEDROOM DOOR, sunny, quiet...but then a wisp of shadow moves in there. At that, she INHALES sharply and takes a reflexive step backwards but...she stops. And her lips curl from her teeth. Without taking her eyes off the hallway-- HER HAND slides off a KITCHEN KNIFE from the rack. Sksshh!</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Ruth advances slowly, the KNIFE held before her, SHAKING. THE BEDROOM DOOR looms ahead...a shadow moves again. She's terrified....yet inches forward, vibrating. She leeeeans in, millimeter by millimeter, to peer into...</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction>
<scene_description>...which is empty. Some DRAWERS have been opened and pawed through but there's nobody here. Just outside the WINDOW, a LOOSE GUTTER dangles there in the breeze: that's the shadow. Just to be sure she peeks into-- THE BATHROOM, which is also empty, but the MEDICINE CABINET is opened, the contents wiped out onto the floor. Her fight-or-flight tension uncoils itself. Exhaaale.</scene_description>
<character>RUTH</character>
<dialogue>The fuck, man.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - SAME</stage_direction>
<scene_description>GLOVED HANDS brush BLACK FINGERPRINT POWDER onto the medicine cabinet door. Psh, psh, psh.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Various prescription medications...</dialogue>
</scene>
<scene>
<stage_direction>INT. SUN ROOM - SAME</stage_direction>
<scene_description>GLOVED HANDS peel LIFT TAPE from the powder-dusted DOORKNOB. Shkk.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>A laptop computer...</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>A PHOTOGRAPHIC FLASH strobes her ransacked credenza. Klik!</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>And then the silverware in here...</dialogue>
<scene_description>This is a UNIFORMED OFFICER who couldn't appear more bored as she jots this all down on a clipboard and pops her gum.</scene_description>
<character>OFFICER</character>
<dialogue>Anything else?</dialogue>
<scene_description>Ruth is kind of hugging herself with her PHONE in one hand.</scene_description>
<character>RUTH</character>
<dialogue>I don't uh...not that I can see.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The silver was my grandma's.</dialogue>
<scene_description>The Officer ignores that. Pop.</scene_description>
<character>BENDIX (O.S.)</character>
<dialogue>Were they painkillers?</dialogue>
<scene_description>Ruth looks over to DETECTIVE BENDIX (50s), who could use a nap, inspecting the back door as an EVIDENCE TECH wraps up.</scene_description>
<character>BENDIX</character>
<dialogue>The medications.</dialogue>
<character>RUTH</character>
<dialogue>No, it was uh...Clonazepam.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And Lexapro.</dialogue>
<scene_description>He looks at her blankly, sucks his teeth.</scene_description>
<character>BENDIX</character>
<dialogue>You try one of those location apps?</dialogue>
<character>RUTH</character>
<parenthetical>(gesturing with her phone)</parenthetical>
<dialogue>I tried that. The laptop was off.</dialogue>
<character>BENDIX</character>
<dialogue>They'll probably wipe it, anyway, unless they're morons. Got a hide-a- key? Fake rock thing?</dialogue>
<character>RUTH</character>
<dialogue>No.</dialogue>
<character>BENDIX</character>
<dialogue>That gate to your backyard, there's no lock on that?</dialogue>
<character>RUTH</character>
<dialogue>No, it's just...like a latch.</dialogue>
<character>BENDIX</character>
<parenthetical>(re: the back door)</parenthetical>
<dialogue>You leave this unlocked, you go out?</dialogue>
<character>RUTH</character>
<dialogue>Mmno. Not usually.</dialogue>
<character>BENDIX</character>
<dialogue>But you did today.</dialogue>
<character>RUTH</character>
<dialogue>I don't remember. I thought I'd locked it, but...</dialogue>
<character>BENDIX</character>
<dialogue>Wasn't a forced entry, I mean.</dialogue>
<scene_description>Ruth has no answer for that. Bendix and the Officer exchange a bland look and Officer lowers her clipboard.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUTH'S HOUSE - TWILIGHT</stage_direction>
<scene_description>Ruth comes outside, clutching a REPORT FORM, watching as-- Bendix heads to his UNMARKED CAR and the UNIFORMS head to the PATROL UNIT with its LIGHTS TURNING.</scene_description>
<character>RUTH</character>
<dialogue>What should I do now?</dialogue>
<scene_description>Bendix turns back, perplexed.</scene_description>
<character>BENDIX</character>
<dialogue>About what?</dialogue>
<character>RUTH</character>
<dialogue>I mean...do you call me, or...?</dialogue>
<character>BENDIX</character>
<dialogue>If anything is recovered, someone will be in contact. Your case number's on that form if you have renter's insurance.</dialogue>
<character>RUTH</character>
<dialogue>But you're gonna look, right?</dialogue>
<scene_description>He looks as if she spit on his shoe.</scene_description>
<character>BENDIX</character>
<dialogue>What?</dialogue>
<character>RUTH</character>
<dialogue>You're...gonna look?</dialogue>
<character>BENDIX</character>
<dialogue>Miss, we'll do everything we're able to but in the meantime I suggest you pay a little closer attention to your home security. Lot of this kind of thing going on, drug people and whatnot. Don't give 'em an opening.</dialogue>
<scene_description>He continues on. She glances at the report in her hand.</scene_description>
<character>RUTH</character>
<dialogue>Thank you.</dialogue>
<scene_description>He gives a tight little smile as he gets into his car. THE PATROL CAR LIGHTS switch off as it pulls away and Ruth stands there in the half-light, watching them go.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - SAME</stage_direction>
<scene_description>Ruth comes back in, closes the door. Locks the deadbolt, too.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>She kneels to clean up the DRAWERS...but finds herself staring down that SHADOWY HALLWAY. Looks like a tomb. She brings out her phone, dials hurriedly.</scene_description>
<character>RUTH</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hey. I'm not bothering you, am I?</dialogue>
</scene>
<scene>
<stage_direction>INT. A DIFFERENT BEDROOM - NIGHT</stage_direction>
<scene_description>CLOSE ON RUTH, staring off in heavy contemplation. Simmering.</scene_description>
<character>RUTH</character>
<dialogue>It's the violation, man. The stuff, that's replaceable--I mean, the silver's not but what really hurts is the fucking violation. They were inside my house, you know?</dialogue>
<scene_description>She's talking to JANA, who is six, in bed, in her pajamas.</scene_description>
<character>JANA</character>
<dialogue>Can we...finish the story?</dialogue>
<character>RUTH</character>
<dialogue>Sorry.</dialogue>
<scene_description>Ruth, sitting at Jana's bedside, re-opens the PICTURE BOOK she's holding, "Our Universe", and begins to read...</scene_description>
<character>RUTH</character>
<dialogue>Rays from the sun are thousands of years old before they reach your eyes. Human bodies are made of dust and gasses from inside of stars. The universe is fourteen billion years old. No one knows what came before. No one knows how big the universe actually is. It...it could be infinite--</dialogue>
<scene_description>And she starts SOBBING, just totally dissolves.</scene_description>
<character>RUTH</character>
<dialogue>Jesus...</dialogue>
<scene_description>And that in turn terrifies Jana--</scene_description>
<character>JANA</character>
<dialogue>W-why are you crying?</dialogue>
<scene_description>--and now they're BOTH CRYING, a perfect storm of CRYING.</scene_description>
<character>RUTH</character>
<dialogue>The fuck kinda book is this?</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - ANGIE'S HOUSE - A BIT LATER</stage_direction>
<scene_description>Abrupt silence as ANGIE HUFF (40) slides out of JANA'S BEDROOM, pulling the door closed behind her and looking at--</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN AREA - LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Ruth, spent and red-eyed but composed now, drooping in contrition as she sees Angie returning--</scene_description>
<character>RUTH</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>--who gestures no problem (even though we can see that it was kind of a problem) and waves her to the couch.</scene_description>
<character>ANGIE</character>
<dialogue>She's fine. Don't worry.</dialogue>
<character>RUTH</character>
<dialogue>I'm so sorry.</dialogue>
<scene_description>Ruth sits, preoccupied and distressed, as Angie packs a BOWL--</scene_description>
<character>ANGIE</character>
<dialogue>A fucked-up thing happened to you. You're allowed to be upset.</dialogue>
<scene_description>--which she is just about to hit when--</scene_description>
<character>RUTH</character>
<dialogue>It's not that.</dialogue>
<scene_description>And so Angie lowers the bowl, sensing an impending deluge.</scene_description>
<character>ANGIE</character>
<dialogue>What uh...what is it?</dialogue>
<character>RUTH</character>
<dialogue>Patient died today. I was in the room. She was there and then...she wasn't.</dialogue>
<scene_description>Angie passes the bowl and Ruth hits it, deep-deep-deep.</scene_description>
<character>ANGIE</character>
<dialogue>Oh. She was special, huh?</dialogue>
<scene_description>Ruth holds the hit, thinking hard.</scene_description>
<character>RUTH</character>
<parenthetical>(a burp of smoke)</parenthetical>
<dialogue>No. She sucked.</dialogue>
<character>ANGIE</character>
<dialogue>Oh.</dialogue>
<character>RUTH</character>
<dialogue>This old...shithead...</dialogue>
<character>ANGIE</character>
<dialogue>Uh huh.</dialogue>
<character>RUTH</character>
<dialogue>...bat...</dialogue>
<character>ANGIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Angie takes the bowl back, hits it herself, settling in for--</scene_description>
<character>RUTH</character>
<parenthetical>(a dreamy stream)</parenthetical>
<dialogue>But it just kinda clicked. It doesn't matter. They'll roll her into a cooker and then she'll be smoke. Just carbon and stuff. My grandma Sally--that was her silver they took--she was a war nurse. She literally breathed life into people who'd been exploded. Spent her retirement bringing dinner to shut- ins, folks with cancer...</dialogue>
<parenthetical>(Angie exhales a long patient jet of smoke.)</parenthetical>
<character>RUTH</character>
<dialogue>...and then she had a stroke and was just carbon and stuff, too. Exactly the same. And now I'm the only one left who remembers any of that and pretty soon I'll be carbon and stuff, too...so none of it matters. You could be a saint, you could be awful, whatever, it's like none of it happened.</dialogue>
<scene_description>Angie eyes Ruth in concern (and a splash of exasperation.)</scene_description>
<character>ANGIE</character>
<dialogue>First of all, not pretty soon. Not for a long time. And it does matter. She did happen.</dialogue>
<character>RUTH</character>
<dialogue>We have to pretend that or we'll go crazy. But everything is dying, at all times. Everyone. Us. Even Jana, right now. The minute she was born she started dying--</dialogue>
<character>ANGIE</character>
<dialogue>Jesus Christ--</dialogue>
<character>RUTH</character>
<dialogue>The planet's coming apart. You got that, right?</dialogue>
<character>ANGIE</character>
<parenthetical>('I'ma have another hit')</parenthetical>
<dialogue>Right, right--</dialogue>
<character>RUTH</character>
<dialogue>All the bees? And the gorillas are almost gone, too. Something like ten gorillas left.</dialogue>
<character>ANGIE</character>
<dialogue>It's more than that.</dialogue>
<character>RUTH</character>
<dialogue>Twenty? Tops? Look at how people treat each other, the, the, the taking. The fucking taking, y'know? The cruelty and the taking and the, the, 'Mine, mine, fuck you, mine.'</dialogue>
<character>ANGIE</character>
<dialogue>You're gonna make yourself sick.</dialogue>
<parenthetical>(choosing her words now)</parenthetical>
<dialogue>You've got it better than a lot of people. You have to see that. You're healthy. You got a job. You got a house.</dialogue>
<scene_description>But Ruth is wholly committed to the despair...</scene_description>
<character>RUTH</character>
<dialogue>I see it. Everyone is an asshole.</dialogue>
<character>ANGIE</character>
<dialogue>No, not everyone--</dialogue>
<character>RUTH</character>
<dialogue>Yes. Everyone. And dildos.</dialogue>
<character>ANGIE</character>
<dialogue>That's not true.</dialogue>
<character>RUTH</character>
<dialogue>It is true. And fuckfaces.</dialogue>
<character>ANGIE</character>
<dialogue>Ruthie--</dialogue>
<character>RUTH</character>
<dialogue>I mean, not you. And Dan's okay. And kids are fine unless they're, like, real little shit-kids and I think lot of them just come like that now. Assholes and fuckfaces and so what? It's all just a sneeze. It's nothing. Y'know? It's just chemistry and math. So what.</dialogue>
<scene_description>On Angie: what do I say to that? A little helplessly...</scene_description>
<character>ANGIE</character>
<dialogue>Sweetie....c'mon.</dialogue>
<scene_description>Ruth looks at her SHAKING HAND. She makes a fist to stop it.</scene_description>
<character>RUTH</character>
<parenthetical>(barely audible)</parenthetical>
<dialogue>Sometimes I feel like I'm underneath a whirlpool...and it's like I can't even breathe.</dialogue>
<scene_description>KEYS at the door precede DAN HUFF (40s) lumbering obliviously in. A harried car salesman, he clocks the gloomy vibe--</scene_description>
<character>DAN</character>
<dialogue>Internet date?</dialogue>
<character>ANGIE</character>
<dialogue>Ruth's house got robbed.</dialogue>
<scene_description>--and without pausing he continues to THE KITCHEN AREA.</scene_description>
<character>DAN</character>
<dialogue>Whaaat? That's terrible...</dialogue>
<scene_description>Where he pointedly opens a window, giving Angie a look about the pot smoke: come on. She gives him one back: not now. Ruth starts to CRY again. Angie pats her. Dan sighs at all this and concentrates on his leftover ham sandwich. Chomp.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - EARLY MORNING</stage_direction>
<scene_description>CLOSE ON RUTH, curled on the couch under a quilt, semi-awake. A SMALL HAND holds a sheet of PAPER before her. She props herself up to look at it... A CHILD'S DRAWING: a WOMAN riding a BIG GREEN LIZARD-THING. Jana stands there, solemnly gnawing on a magic marker.</scene_description>
<character>RUTH</character>
<dialogue>Is this me?</dialogue>
<scene_description>Jana nods.</scene_description>
<character>RUTH</character>
<dialogue>Is this a dragon?</dialogue>
<character>JANA</character>
<dialogue>Stegosaurus.</dialogue>
<scene_description>Ruth considers it some more.</scene_description>
<character>RUTH</character>
<dialogue>I fuckin' love it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUTH'S CAR (MOVING) - DAY</stage_direction>
<scene_description>VAGUELY TENSE MUSIC skitters in the background as Ruth drives, her eyes fixed dead ahead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUTH'S HOUSE - DAY</stage_direction>
<scene_description>She pulls into the driveway, heads for the door, but stops. And stares down at her lawn. Anger crackles on her face. There is, indeed, a fucking DOG TURD. Right next to the sign. She whirls in place, looking up and down-- THE STREET, where a few houses down there she can see A MAN walking away with a DOG on a leash. A FRESH PIZZA FLYER is snatched from her door handle. SKTCH!</scene_description>
</scene>
<scene>
<stage_direction>INT. STREET - SAME</stage_direction>
<scene_description>TIGHT ON THE DOG MAN, seen from behind: his HOODIE with the METALLIC COBRA on the back. HIS DOG struts along beside him. If a dog can look dumb, this one surely does. HIS WATER SANDALS go sk! sk! sk! on the pavement beneath the camo cut-offs he's wearing. HIS SODA POP gets slurped as he walks. He's maybe 30, froggy, and we can hear the HEAVY METAL in his HEADPHONES. TRACKING WITH HIM so we can see Ruth SPRINTING up behind him, clutching a FLYER/DOG SHIT WAD. The Dog Man is unaware, his HEADPHONE MUSIC drowning everything out, even as Ruth gets within ten paces and-- HURLS THE WAD AT HIS HEAD. It misses by a mile--wump!--but he turns to see her there behind him, hunched and fuming. They face off like gunfighters.</scene_description>
<character>DOG MAN</character>
<dialogue>Why'd you do that?</dialogue>
<character>RUTH</character>
<dialogue>You've been shitting in my yard.</dialogue>
<character>DOG MAN</character>
<dialogue>I have not.</dialogue>
<character>RUTH</character>
<dialogue>Your dog. I saw you. I have a sign there, says No Shitting.</dialogue>
<character>DOG MAN</character>
<dialogue>Where?</dialogue>
<character>RUTH</character>
<parenthetical>(pointing furiously)</parenthetical>
<dialogue>Right there, man!</dialogue>
<character>DOG MAN</character>
<dialogue>It says that?</dialogue>
<character>RUTH</character>
<dialogue>It's a picture but that's what it means!</dialogue>
<character>DOG MAN</character>
<dialogue>Well...I didn't see it.</dialogue>
<scene_description>YOU SHOULDN'T NEED A SIGN! WHAT'S WRONG WITH YOU? Ruth glares. Dog Man frowns. The dog pants happily. Finally--</scene_description>
<character>DOG MAN</character>
<dialogue>Fine.</dialogue>
<scene_description>And he trudges away, slower. Sk. Sk. Sk. Pausing to pick up the flyer wad as he goes. Ruth watches him go. Utterly astonished. She looks down at-- HER HAND, which is as steady as can be.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - DAY</stage_direction>
<scene_description>Ruth strides to her STEREO and drops on an OLD SOUL BOOGIE (let's say "Twine Time" by Alvin Cash & The Crawlers) which carries us through--</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - SAME</stage_direction>
<scene_description>Ruth SCRUBBING hard at the sticky FINGERPRINT POWDER RESIDUE.</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - SAME</stage_direction>
<scene_description>Ruth GATHERING the spilled leftover medicine items.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>Ruth SLIDING the spilled drawers back into place.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUN ROOM - SAME</stage_direction>
<scene_description>Ruth DRILLING a BRASS SLIDING BOLT onto the screen door.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>CLOSE ON THE POLICE REPORT, snatched off the table. THE BUSINESS CARD stapled to the corner of it, Sgt. William Bendix - Robbery Fraud Unit, is ripped off. THE BOOGIE ABRUPTLY BECOMES 'HOLD MUSIC' as we... SLOWLY PUSH IN ON RUTH, sitting at the table with her phone to her ear. She waits. And waits. Eventually...</scene_description>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>Robbery.</dialogue>
<character>RUTH</character>
<dialogue>Mr. Bendix?</dialogue>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>This is Detective Bendix.</dialogue>
<character>RUTH</character>
<dialogue>Um. This is Ruth Kimke.</dialogue>
<scene_description>The silence booms.</scene_description>
<character>RUTH</character>
<dialogue>My house was--</dialogue>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>I remember you, Ms. Kimke, what can I do for you?</dialogue>
<character>RUTH</character>
<dialogue>I was just calling to follow up on...I was curious if there were any..."suspects" or whatever yet.</dialogue>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>Suspects?</dialogue>
<character>RUTH</character>
<dialogue>The matter at my house yesterday.</dialogue>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>No, I understand what you meant, I'm--just a minute--</dialogue>
<scene_description>There's a MUFFLED CONVERSATION, he's distracted.</scene_description>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>I'm sorry, it's very...Look, I assure you we're going to take every uh...all possible avenues.</dialogue>
<character>RUTH</character>
<dialogue>I thought maybe if you came back in daylight and looked around a little closer you could--</dialogue>
<scene_description>An aggravated SIGH blows through the line...</scene_description>
<character>BENDIX (PHONE V.O.)</character>
<dialogue>Could I put you on hold a moment?</dialogue>
<character>RUTH</character>
<dialogue>Sure.</dialogue>
<scene_description>The HOLD MUSIC comes back on and she listens to it a bit...until it stops. Silence.</scene_description>
<character>RUTH</character>
<dialogue>Hello?</dialogue>
<scene_description>VERY CLOSE ON HER by now, looking down at the dead phone. We can see her jaw muscles clenching. Her wheels turning.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
<scene_description>Ruth walks to the center of the yard to look at the BACK DOOR from a distance. Contemplates it. She goes to the SIDE GATE, which leads back here from the front. Looks closely. The LATCH is rusted shut. She tries it but, no, it's stuck. She scans the yard. Walks along the FENCE LINE, scanning. At the REAR FENCE, she stops suddenly. Looking at-- A CERTAIN SPOT where a patch of honeysuckle is ripped loose. She touches it, dangling there, the flowers still fresh. She looks straight down and sees something that freezes her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEYWAY BEHIND HER HOUSE - SAME</stage_direction>
<scene_description>Ruth's FINGERS clamp the top of the fence and then, with a GRUNT of effort, her HEAD appears, peeking over to see... A LOOSE BOARD has been propped against the fence on this side. Like a ramp.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - SAME</stage_direction>
<scene_description>She drops back down to her side again, looking down at-- THE FOOTPRINT she noticed in the soft earth right there. She stares at it like it's a snake.</scene_description>
</scene>
<scene>
<stage_direction>INT. AISLE - ART STORE - DAY</stage_direction>
<scene_description>Ruth moves purposefully along, scanning the shelves of-- VARIOUS CRAFT SUPPLIES, clay, paper mache, plaster strips.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHECKOUT LINE - ART STORE - DAY</stage_direction>
<scene_description>Ruth and a SULLEN TEENAGER get there at the same moment, but Ruth defers, 'After you', holding a PACKAGE OF PLASTER.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Ruth whisks WHITE POWDER and WATER in a bowl. Wk!wk!wk!wk!wk!</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - DAY</stage_direction>
</scene>
<scene>
<stage_direction>LIQUID PLASTER IS POURED INTO THE FOOTPRINT.</stage_direction>
<scene_description>Ruth waits. Bugs BUZZ. She bites a nail. Glances at the sky, tentatively, like she might see something terrible there.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Less-than-impressed, Ruth looks down at-- THE PLASTER FOOTPRINT MOLD she's made: terribly misshapen and crusted with dirt. Looks like a burnt jellyfish. But looking closer she discerns A FLAT STRIPE ACROSS THE SOLE, the tread pattern interrupted for two inches. Weird. And its unusual LIGHTNING BOLT LOGO is visible in relief.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUTH'S HOUSE - DAY</stage_direction>
<scene_description>Ruth comes outside, WALKS RIGHT INTO CAMERA, Cape Fear-style, looks up and down the block... ...and EXITS FRAME as that same SOUL BOOGIE kicks back in LOUD. (We can call it RUTH'S ACTION THEME from now on.)</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY</stage_direction>
<scene_description>TRACKING BESIDE RUTH, propelled by HER THEME though this LOWER MIDDLE CLASS NEIGHBORHOOD: small houses in need of paint, chain link fences, old trucks. She turns up to--</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHABBY BUNGALOW - CONTINUOUS</stage_direction>
<scene_description>Nok-nok! AN OLD MAN sucking on a squeeze yogurt appears behind the screen door, squinting out at her.</scene_description>
<character>OLD MAN</character>
<dialogue>Yah?</dialogue>
<character>RUTH</character>
<dialogue>I'm sorry to bother you, sir. I'm your neighbor over there. My house was robbed yesterday.</dialogue>
<character>OLD MAN</character>
<dialogue>No!</dialogue>
<character>RUTH</character>
<dialogue>Yeah.</dialogue>
<character>OLD MAN</character>
<dialogue>Sonsabitches.</dialogue>
<character>RUTH</character>
<dialogue>Yeah. It was sometime between nine and six thirty, I don't suppose you saw anything?</dialogue>
<character>OLD MAN</character>
<dialogue>Well, I'll tell you something...</dialogue>
<scene_description>But instead he just takes a long slurp of his yogurt, kinda loses his thought. She waits patiently.</scene_description>
<character>RUTH</character>
<dialogue>What is it?</dialogue>
<character>OLD MAN</character>
<parenthetical>('this?')</parenthetical>
<dialogue>It's just regular yogurt you can sip on.</dialogue>
<character>(SLURRP!)</character>
<dialogue>...hey, fuck it...</dialogue>
<character>RUTH</character>
<dialogue>What did you want to tell me?</dialogue>
<character>OLD MAN</character>
<dialogue>Oh. It's all going to hell.</dialogue>
<scene_description>Ruth smiles tightly in thanks and heads off.</scene_description>
<character>OLD MAN (O.S.)</character>
<dialogue>You know that, dontcha?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DUPLEX - DAY</stage_direction>
<scene_description>Now it's a YOUNG MOTHER with her BABY on her hip.</scene_description>
<character>YOUNG MOTHER</character>
<dialogue>I don't know nothing about no robbery.</dialogue>
<character>RUTH</character>
<dialogue>Maybe you saw a strange car. Or someone acting furtive.</dialogue>
<character>YOUNG MOTHER</character>
<dialogue>Furtive?</dialogue>
<character>RUTH</character>
<dialogue>Sneaky.</dialogue>
<character>YOUNG MOTHER</character>
<dialogue>I know what furtive is. I'm sorry that happened but I don't know anything to tell you.</dialogue>
<scene_description>Ruth nods, disappointed, and looks at the baby.</scene_description>
<character>RUTH</character>
<dialogue>What's her name?</dialogue>
<character>YOUNG MOTHER</character>
<dialogue>Khaleesi.</dialogue>
<character>RUTH</character>
<parenthetical>(tired but genuine)</parenthetical>
<dialogue>That's beautiful.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNK HOUSE - DAY</stage_direction>
<scene_description>Now it's a GEARHEAD with CAR PARTS and TRASH strewn about his yard, wiping his hands and wolfishly looking her up and down.</scene_description>
<character>GEARHEAD</character>
<dialogue>Suspicious?</dialogue>
<character>RUTH</character>
<dialogue>Or just, like, out of place.</dialogue>
<character>GEARHEAD</character>
<dialogue>Oh, for sure. Just this mornin' a Dominican fella came 'round with a tree saw and a push mower. Told'm, 'I can take care my own lawn, thanks, but good try.' He knew to keep moving.</dialogue>
<character>RUTH</character>
<dialogue>I bet.</dialogue>
<character>GEARHEAD</character>
<dialogue>You could gimme your number. If I thinka something.</dialogue>
<character>RUTH</character>
<parenthetical>(turning to leave)</parenthetical>
<dialogue>You won't.</dialogue>
<scene_description>But her ACTION THEME is sounding echoey and distant by now...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE STREET - DAY</stage_direction>
<scene_description>Ruth rounds the corner, uncertainly. Unfamiliar territory.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OVERGROWN HOUSE - DAY</stage_direction>
<scene_description>She crosses the jungle yard, comes up the porch, nok-noks on the door. There's no answer but... ...she can hear SHREDDING HAIR METAL wafting from the back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - OVERGROWN HOUSE - SAME</stage_direction>
<scene_description>She comes around the side of the house, where the METAL is louder and tied to savage CARDIO EXHALATIONS...</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>One--get some! Two--get some! Three- -get some! Unh! Four--get some!</dialogue>
<scene_description>IN THE OUT-OF-FOCUS FOREGROUND we discern SOMEONE on a WEIGHT BENCH, rhythmically lifting the PRESS BAR as--</scene_description>
<character>RUTH</character>
<dialogue>Excuse me?</dialogue>
<scene_description>TIGHT ON THE LIFTER'S HAND, as the exhalations stop, reaching for his, no, not his NUNCHUCKS there, for his TOWEL... ...which he wipes his sweaty face with as he sits up. Look who it is: the Dog Man himself, who is in fact named TONY. Mutual recognition. A charged and awkward beat.</scene_description>
<character>TONY</character>
<dialogue>I said I was sorry.</dialogue>
<character>RUTH</character>
<dialogue>You said 'fine.'</dialogue>
<character>TONY</character>
<dialogue>The implication being--</dialogue>
<character>RUTH</character>
<dialogue>Nevermind.</dialogue>
<scene_description>She turns away but he stops the MUSIC--</scene_description>
<character>TONY</character>
<dialogue>No, wait up...</dialogue>
<scene_description>--and approaches, showing his palms. Ultra sincere, this guy.</scene_description>
<character>TONY</character>
<dialogue>Look. That's not me. Leaving a B.M. in your yard? That's not who I am. I...I was embarrassed. Sometimes I'm just so into my thoughts, you know? Like, deep. And I won't even notice what Brian's doing.</dialogue>
<scene_description>He tips his head towards the WINDOW, where the DOG who must be named Brian is watching them, calmly panting.</scene_description>
<character>RUTH</character>
<parenthetical>(turning to go)</parenthetical>
<dialogue>Forget it.</dialogue>
<character>TONY</character>
<dialogue>You can hit me.</dialogue>
<character>RUTH</character>
<parenthetical>(stopping)</parenthetical>
<dialogue>What? No.</dialogue>
<character>TONY</character>
<dialogue>One strike. To balance the energy between us. I won't defend myself.</dialogue>
<character>RUTH</character>
<dialogue>I don't like hitting people.</dialogue>
<character>TONY</character>
<dialogue>I'm a very physical person. That's just how I experience the world. Action, reaction. Cause, consequence. Pain isn't real.</dialogue>
<scene_description>A brief beat and she starts to leave again but--</scene_description>
<character>TONY</character>
<dialogue>So why are you here?</dialogue>
<scene_description>She stops again, shrugs in defeat.</scene_description>
<character>RUTH</character>
<dialogue>My house got robbed.</dialogue>
<scene_description>Tony's face clouds over.</scene_description>
<character>TONY</character>
<dialogue>When?</dialogue>
<character>RUTH</character>
<dialogue>Yesterday.</dialogue>
<character>TONY</character>
<dialogue>Did you call the authorities?</dialogue>
<character>RUTH</character>
<dialogue>Yeah, they...I dunno. It didn't seem like they could do very much. So I was just asking around, if anyone saw anyone.</dialogue>
<scene_description>He seethes in place and then, all at once... HE GRABS HIS NUNCHUCKS AND--KASH!--SMASHES A MOSQUITO CANDLE. Ruth JUMPS and Brian starts BARKING furiously in the window.</scene_description>
<character>TONY</character>
<parenthetical>(Chinese for "quiet")</parenthetical>
<dialogue>An jing! An jing!</dialogue>
<parenthetical>(and to Ruth now)</parenthetical>
<dialogue>That makes me furious.</dialogue>
<character>RUTH</character>
<dialogue>Y-yeah.</dialogue>
<character>TONY</character>
<dialogue>What kind of person does that?</dialogue>
<character>RUTH</character>
<dialogue>I dunno.</dialogue>
<character>TONY</character>
<dialogue>What'd they take?</dialogue>
<character>RUTH</character>
<dialogue>My computer. My grandma's silver--</dialogue>
<scene_description>KASH! HE SMASHES AGAIN, RE-INFURIATED.</scene_description>
<character>RUTH</character>
<parenthetical>(retreating)</parenthetical>
<dialogue>Sorry I bothered you.</dialogue>
<character>TONY</character>
<dialogue>You didn't bother me, this affects all of us--BRIAN. STOP IT.</dialogue>
<scene_description>But Brian is only BARKING louder as Ruth scoots away...</scene_description>
<character>RUTH</character>
<dialogue>Okay. See ya.</dialogue>
<character>TONY</character>
<dialogue>Can I do anything?</dialogue>
<character>RUTH</character>
<dialogue>Nah, uh, I'm good, thanks...</dialogue>
<scene_description>She slinks away around the house and Tony watches her go.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - NIGHT</stage_direction>
<scene_description>A MELANCHOLY COUNTRY TUNE plays. A BEER sweats on a coaster. Ruth sits curled on the couch, reading her NOVEL. She turns a page but...lets it close. Staring off, disinterested. As if as an afterthought, she brings out-- HER PHONE, on which she taps a CERTAIN APP: Loc8. She logs in but gets a PROCESS WHEEL turning, endlessly. 'Searching...' So she tosses the phone aside in disgust. She rises. Sips. Paces a slow circle...which becomes swaying to the MUSIC. Like dancing. A private, lonesome moment. B-Bing! She looks to HER PHONE, which is suddenly glowing. She picks it up, stares at the screen, amazed.</scene_description>
<character>RUTH</character>
<dialogue>Holy shit.</dialogue>
<scene_description>ON HER PHONE, a RED DOT blinks on a MAP SCREEN. 'Device Online', it says, '129 Grove St.' HER POLICE REPORT, with Bendix's card, is snatched--ssk! She hurriedly dials a number but--</scene_description>
<character>BENDIX VOICEMAIL (V.O.)</character>
<dialogue>You've reached Detective Bendix with the Robbery Fraud. I'm not available now but if you'll--</dialogue>
<scene_description>She disconnects, blinking, and quickly dials another number--</scene_description>
<character>POLICE OPERATOR (V.O.)</character>
<dialogue>Police non-emergency.</dialogue>
<character>RUTH</character>
<dialogue>Hello. Yes. Okay. It's--my case number is zero-zero-zero--</dialogue>
<character>POLICE OPERATOR (V.O.)</character>
<dialogue>Just a second, ma'am, what's the--?</dialogue>
<character>RUTH</character>
<dialogue>No, it's--I can see right where it is. My computer was stolen and I can see it.</dialogue>
<character>POLICE OPERATOR</character>
<dialogue>So it's not stolen?</dialogue>
<character>RUTH</character>
<dialogue>No, it's still stolen, my phone is saying where it is, I have the address, someone needs to go there before it turns off again and--</dialogue>
<character>POLICE OPERATOR</character>
<dialogue>We can include that information in the report but we can't send units out at this time. Would you like to-</dialogue>
<character>RUTH</character>
<dialogue>Wait--what? Why?</dialogue>
<character>POLICE OPERATOR</character>
<dialogue>They need a search warrant in order to--</dialogue>
<character>RUTH</character>
<dialogue>But you don't have to search, it's right there, I know where it is!</dialogue>
<character>POLICE OPERATOR</character>
<dialogue>We cannot send units at this time.</dialogue>
<scene_description>I AM LOOKING AT IT.</scene_description>
<character>POLICE OPERATOR</character>
<dialogue>We can include that information in the report file--</dialogue>
<scene_description>UHHFFFF She disconnects in unhinged frustration. (Remember how Jennifer Grey hung up the phone in Ferris Bueller? Yeah.) She thinks, frantic...until something new occurs to her. Struggling to calm herself a degree or two, she dials again. INTERCUT WITH:</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - HUFF HOME - SAME</stage_direction>
<scene_description>CLOSE ON DAN, wincing at the caller ID but answering anyway.</scene_description>
<character>DAN</character>
<dialogue>Hey, uh, Angie's closing tonight.</dialogue>
<character>RUTH</character>
<dialogue>Oh, actually, I was kinda wondering what you were up to?</dialogue>
<character>DAN</character>
<dialogue>Me...?</dialogue>
<scene_description>He's crouched next to Jana, who's in the tub, her entire head covered in shaving cream: two little eyes in a blob of foam.</scene_description>
<character>DAN</character>
<dialogue>Doin' my own time, you know, not the institution's. What's up?</dialogue>
<scene_description>But she has second thoughts.</scene_description>
<character>RUTH</character>
<dialogue>It's...eh, you know what, it's nothing. It's okay.</dialogue>
<character>DAN</character>
<dialogue>You sure?</dialogue>
<character>RUTH</character>
<dialogue>Yeah. Yeah. Sorry.</dialogue>
<scene_description>Click. Dan looks at his phone, unsure, as the Jana-Blob looks at him and, b-blub, a tiny fart bubble breaks her bath water. END INTERCUT.: CLOSE ON RUTH, breathing faster as the COUNTRY MUSIC morphs into her ACTION THEME which carries over to...</scene_description>
</scene>
<scene>
<stage_direction>EXT. GROVE STREET - NIGHT</stage_direction>
<scene_description>FROM THE STREET SIGN, 'Grove Street', WE TILT DOWN as RUTH'S CAR pulls up with its running lights on. She double-checks HER PHONE, her face eerily green in the screen's glow, and looks across at-- 129 GROVE STREET, a trashed-out party hovel at the end of a GRAVEL DRIVE. YOUNG FOLKS milling in the dark yard. RAP fuzzes from inside, people HOOT and CACKLE down there. RUTH glances up and down THIS BLOCK of dark shabby houses, craggy low-hanging trees, deep shadows. Spooky, all of it. She swallows, returns her attention to-- 129 GROVE, where a GIRL now clumsily TWERKS in the yard as SEVERAL BOYS film her with their phones, itching themselves. On Ruth. Hmm. 129 GROVE, where one of the BOYS is now doing PUSH UPS with ANOTHER GIRL balanced on his back, sloshing her drink.</scene_description>
<character>GIRL</character>
<parenthetical>(distantly)</parenthetical>
<dialogue>Wooooooo!</dialogue>
<scene_description>On Ruth. Hmm. 129 GROVE, where A BOY is arranging a WATERMELON before ANOTHER BOY who is spraying a AEROSOL into a "POTATO GUN" (a homemade contraption of PVC PIPE.) On Ruth, Hmmm, just opening her door when-- BAM! THEY FIRE THE POTATO GUN AND THE WATERMELON EXPLODES. On Ruth, HOLY SHIT, slamming the door and SPEEDING AWAY.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TONY'S HOUSE - NIGHT</stage_direction>
<scene_description>Tony opens the door. Ruth looks wild-eyed. Fast dialogue--</scene_description>
<character>RUTH</character>
<dialogue>I need back-up.</dialogue>
<character>TONY</character>
<parenthetical>(zero hesitation)</parenthetical>
<dialogue>Okay.</dialogue>
<character>RUTH</character>
<dialogue>You got those ninja sticks?</dialogue>
<character>TONY</character>
<dialogue>Nunchaku is an Okinawan weapon--</dialogue>
<character>RUTH</character>
<dialogue>Fine--</dialogue>
<character>TONY</character>
<dialogue>"Ninjas", as you call them, are--</dialogue>
<character>RUTH</character>
<dialogue>Right, okay--</dialogue>
<character>TONY</character>
<dialogue>I got something better.</dialogue>
<character>RUTH</character>
<dialogue>Fine. I just--</dialogue>
<character>TONY</character>
<dialogue>Do you know what a morning star is?</dialogue>
<character>RUTH</character>
<dialogue>I just-- no, I--</dialogue>
<character>TONY</character>
<dialogue>Lights out.</dialogue>
<character>RUTH</character>
<dialogue>I just need you to ride with me.</dialogue>
<character>TONY</character>
<dialogue>Right on.</dialogue>
<character>RUTH</character>
<dialogue>I'm Ruth.</dialogue>
<character>TONY</character>
<dialogue>I'm Tony.</dialogue>
<character>RUTH</character>
<dialogue>Nice to meet you.</dialogue>
<character>TONY</character>
<dialogue>Coooool.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GROVE STREET - NIGHT</stage_direction>
<scene_description>RUTH'S CAR pulls up again: Tony is driving now (with Brian panting in the back), Ruth sits shotgun, pointing--</scene_description>
<character>RUTH</character>
<dialogue>There.</dialogue>
<scene_description>129 GROVE, where the party appears to have moved inside. One lone longhair SMOKER lingers by the front door. Tony nods, all business, but then...bows his head, steeples his hands under his chin, WHISPERS to himself. Ruth watches in confusion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. 129 GROVE STREET - NIGHT</stage_direction>
<scene_description>ON THE DRIVEWAY, Ruth and Tony walk towards us: kunch kunch kunch on the gravel. He carries a MORNING STAR FLAIL and his BELT BUCKLE contains a THROWING STAR. She looks profoundly anxious as--</scene_description>
<character>RUTH</character>
<dialogue>Were you praying?</dialogue>
<character>TONY</character>
<dialogue>You asked for help. I asked for help. That's how things get done.</dialogue>
<parenthetical>(with a sidelong smirk)</parenthetical>
<dialogue>Don't worry...I'm not gonna let anything happen to you.</dialogue>
<scene_description>TRACKING WITH THEM as they approach the HOUSE. Up ahead, the SMOKER sees them coming, takes a wary drag. They arrive. A long beat of nobody knowing what to say.</scene_description>
<character>RUTH</character>
<dialogue>My computer is inside this house.</dialogue>
<character>SMOKER</character>
<dialogue>Say what?</dialogue>
<scene_description>She shows him her PHONE with the blinking LOCATION APP but--</scene_description>
<character>SMOKER</character>
<dialogue>I don't know what the fuck that is.</dialogue>
<character>RUTH</character>
<dialogue>I don't want trouble. My computer was stolen, this says it's in there, I just want it back. No questions. Can you please get it?</dialogue>
<character>SMOKER</character>
<dialogue>I can get deez nuts.</dialogue>
<character>RUTH</character>
<parenthetical>(perfectly confused)</parenthetical>
<dialogue>You can get these nuts?</dialogue>
<character>TONY</character>
<dialogue>Okay, tough guy, you had your chance--</dialogue>
<scene_description>And then this all happens very fast: TONY DROPS INTO A FIGHT STANCE AND SPINS THE MORNING STAR-- BUT SMOKER INSTANTLY SNATCHES IT FROM HIS HAND-- GRINNING IN VICTORY, SMOKER TRIES TO SPIN THE MORNING STAR BUT--WAK!--CLIPS HIMSELF ACROSS THE NOSE WITH THE METAL BALL--</scene_description>
<character>SMOKER</character>
<dialogue>Guh!</dialogue>
<scene_description>SMOKER DROPS THE MORNING STAR, DOUBLES OVER, HANDS FLYING TO HIS BROKEN NOSE AS BLOOD SQUIRTS FROM BETWEEN HIS FINGERS--</scene_description>
<character>RUTH</character>
<dialogue>Oh God are you--?</dialogue>
<scene_description>Smoker staggers inside--</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - 129 GROVE - CONTINUOUS</stage_direction>
<scene_description>--where, blinded, he TRIPS and FALLS into a COFFEE TABLE-- KRASH!--totally SHATTERING IT. As Smoker lays GROANING on the floor, Ruth and Tony (with the morning star again) come boiling in behind him to see-- THREE KIDS (20s) watching FUNNY INJURY VIDEOS on a LAPTOP, all of them suddenly frozen and flabbergasted. A charged beat, everyone coiled and staring at each other as Smoker lies MOANING and BLOODY on the floor. ONE KID (the one doing push ups before) starts to rise--</scene_description>
<character>PUSH UPS</character>
<dialogue>What'd you do to Keith?</dialogue>
<scene_description>BUT TONY HURLS HIS THROWING STAR--CHNK!--INTO THE WALL. (Admittedly, many, many feet away from the kids.)</scene_description>
<character>PUSH UPS</character>
<dialogue>Dude!</dialogue>
<scene_description>Tony then brings out an M-80 FIRECRACKER, LIGHTS IT, TOSSES IT DOWN THE HALL (so everyone has to wait an awkward few seconds until) K-BAM!</scene_description>
<character>PUSH UPS</character>
<dialogue>DUDE! STOP!</dialogue>
<character>RUTH</character>
<dialogue>(to Tony, 'stand down')</dialogue>
<scene_description>It's okay. But now the GIRLS are rising in anger (the one who was twerking and the one who was going 'Wooo!')--</scene_description>
<character>WOOO GIRL</character>
<dialogue>This is totally inappropriate, come in here like this--violence is not power, you know, it's, like, the absence of--</dialogue>
<character>TWERKER</character>
<dialogue>Both you ugly motherfuckers better drag your shit on outta here 'fore I get my keys out n' fuck you both the fuck up--</dialogue>
<scene_description>SHUT UP! She doesn't merely SCREAM this, she fucking ERUPTS: her whole soul vents out. It's like an E.M.P., everything stops. In the ringing silence, she raises her PHONE like a pistol, slowly, deliberately, and aims it at that laptop... The Kids blink, still paralyzed by her sonic boom. She taps her LOCATION APP and... B-bing! The LAPTOP chimes in response. B-bing! B-bing! At that, Push Ups and the Girls seem to wilt. Busted. Tony shakes his head in disgust. Gotcha. Ruth extends her arm, eyes locked on Push Ups, and as one final YOUTUBE BIKE HORN sounds, she closes the LAPTOP. With ceremonial solemnity, she starts to pull it away but...</scene_description>
<character>RUTH</character>
<dialogue>The power cord, please.</dialogue>
<scene_description>And so Woo Girl bends down to unplug it, hand her the CORD. Ruth stares at them, sadly. They can barely meet her gaze.</scene_description>
<character>RUTH</character>
<dialogue>It doesn't feel good when people you don't know come into your house, does it?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where's the silver and the medicine?</dialogue>
<scene_description>But Push Ups is genuinely confused...</scene_description>
<character>PUSH UPS</character>
<dialogue>Uh. There's some TheraFlu in there but no silver. And I didn't steal that, miss. Cost me good money.</dialogue>
<character>RUTH</character>
<dialogue>What are you talking about?</dialogue>
<character>PUSH UPS</character>
<dialogue>I bought it.</dialogue>
<character>RUTH</character>
<dialogue>Bought it where?</dialogue>
<character>PUSH UPS</character>
<dialogue>Killer Sills.</dialogue>
<character>RUTH</character>
<dialogue>What is that?</dialogue>
<character>PUSH UPS</character>
<dialogue>Consignment place out the way. Sells everything, real cheap.</dialogue>
<character>WOOO GIRL</character>
<parenthetical>(helpfully)</parenthetical>
<dialogue>She got her first communion bracelet there.</dialogue>
<scene_description>Twerker holds up her braceleted wrist in confirmation. Ruth processes all this, darkly.</scene_description>
<character>RUTH</character>
<dialogue>They got silverware there?</dialogue>
<scene_description>They shrug. I dunno, maybe.</scene_description>
<character>RUTH</character>
<dialogue>Write it down.</dialogue>
<character>PUSH UPS</character>
<dialogue>Want me to drop a pin or--?</dialogue>
<character>RUTH</character>
<dialogue>No, man. On paper.</dialogue>
<scene_description>Shame-faced, Push Ups scribbles on a NAPKIN and hands it to Ruth. She pockets it and, with a final glare, turns to go as-- Tony pries his THROWING STAR from the wall. He has to really wiggle it. Takes a while. He finally gets it out and--</scene_description>
<character>TONY</character>
<dialogue>That's how hard I threw it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRAVEL DRIVE - 129 GROVE - NIGHT</stage_direction>
<scene_description>RUTH'S ACTION THEME BLASTS, subsuming all sound as RUTH AND TONY STRIDE AWAY IN SLOW MOTION. Her eyes glitter, gulping deep giddy breaths. Weightless. He looks like a kid on Christmas who just got the best toy. Nothing else matters. They share a look. UP AHEAD, Brian barks noiselessly at them from the back of HER CAR, like he's cheering racers to a finish line.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - NIGHT</stage_direction>
<scene_description>NORMAL SOUND & MOTION ABRUPTLY RESUME with some CELEBRATORY CAJUN blasting (gotta be "Hot Chili Mama" by Beausoleil) and-- RUTH DANCES an exuberant victory dance with a pint of Beam in one hand: part End Zone shuffle, part go-go shimmy. She's not exactly graceful but her whole heart is in it. Yesss! TONY DANCES with all the rhythm of a motor throwing a piston. He takes a sip of booze, winces, not a big drinker. Brian paces happily between them. From across the room, Ruth smiles at Tony. He smiles back. SLOWLY PULLING BACK FROM THEM until... THE FRONT TABLE enters frame, on which that PLASTER FOOTPRINT MOLD is resting, its LIGHTNING BOLT LOGO plainly visible.</scene_description>
</scene>
<scene>
<stage_direction>INT. FANCY BATHROOM - NIGHT</stage_direction>
<scene_description>CLOSE ON A RAGGEDY SNEAKER with that very SAME LOGO. And, we might notice, a STRIP OF DUCT TAPE wrapped around it. That flat stripe on the plaster mold. PULLING OUT FROM IT as POP MUSIC hums through walls, gradually revealing SOMEONE on the toilet... Except, oh dear, they're actually atop the FLUSH TANK, their TRACK PANTS down around their ankles: a dreaded Upper Tanker. His name is CHRISTIAN (20): raver threads, chopped peroxide hair, andro-model looks with hateful ice-chip eyes. Someone outside TAPS tentatively on the door.</scene_description>
<character>CHRISTIAN</character>
<parenthetical>(pleasantly)</parenthetical>
<dialogue>Just a sec!</dialogue>
<scene_description>He wipes, pulls up his pants, replaces the TANK LID. He runs the faucet (without washing) and rummages through-- A JEWELRY BOX, pocketing VALUABLE ITEMS: rings, a necklace. He cuts the faucet. Grins at himself. A crazed vampire grin.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY - MCMANSION - SAME</stage_direction>
<scene_description>Christian emerges wearing his "normal person smile" but the YUPPIE WIFE waiting there is still startled--</scene_description>
<character>YUPPIE WIFE</character>
<dialogue>The guest bathroom is downstairs.</dialogue>
<character>CHRISTIAN</character>
<dialogue>It was an emergency.</dialogue>
<scene_description>Perturbed, she glances into the bathroom as-- WE TRACK WITH CHRISTIAN, strolling away, cool as a cucumber.</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRS - MCMANSION - CONTINUOUS</stage_direction>
<scene_description>WE TRACK CHRISTIAN downstairs into MUSIC and PARTY CHATTER.</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST FLOOR - MCMANSION - CONTINUOUS</stage_direction>
<scene_description>A SUBURBAN CROWD with their cocktails and parenting stories: Christian cuts through them like a panther through geese. He's moving towards the FRONT DOOR but... AHEAD THROUGH THE CROWD, he sees Yuppie Wife pointing him out to her HUSBAND, who's coming this way so-- Christian does a mellow about-face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY - MCMANSION - SAME</stage_direction>
<scene_description>Christian rolls out from under the propped-open GARAGE DOOR and trots away until-- The HUSBAND steps out to block his path, "friendly".</scene_description>
<character>HUSBAND</character>
<dialogue>Hey there.</dialogue>
<character>CHRISTIAN</character>
<parenthetical>(instantly "in character")</parenthetical>
<dialogue>Oh hey, buddy!</dialogue>
<character>HUSBAND</character>
<dialogue>You're a guest of Miranda's, right?</dialogue>
<character>CHRISTIAN</character>
<dialogue>Right. John. You guys have a beautiful home.</dialogue>
<character>HUSBAND</character>
<dialogue>Thanks, we try. Remind me again, where do you know Miranda from?</dialogue>
<character>CHRISTIAN</character>
<dialogue>Ah, from work. She's been a great mentor, I'm learning so much.</dialogue>
<scene_description>Husband drops the act, coldly brings out his PHONE.</scene_description>
<character>YUPPIE HUSBAND</character>
<dialogue>I want you to stand right there, I'm going to call the police.</dialogue>
<character>CHRISTIAN</character>
<dialogue>Aw, c'mon, man...</dialogue>
<scene_description>Christian suddenly notices someone over Husband's shoulder--</scene_description>
<character>CHRISTIAN</character>
<dialogue>Oh, good, there you are!</dialogue>
<scene_description>So Husband looks back but, oops, made ya look-- CHRISTIAN LEAPS AT HIM LIKE A FERAL ANIMAL. Husband tries to defend himself but it's too late, he goes down thrashing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UPSCALE NEIGHBORHOOD - NIGHT</stage_direction>
<scene_description>Christian walks briskly down the block, out of breath. His shirt has a little bit of blood on it. He glances back at the DISTANT VOICES back there...</scene_description>
<character>VOICES (O.S.)</character>
<dialogue>Oh my God! Call 911!</dialogue>
<scene_description>...and sprints onward to the VAN parked in the shadows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SECLUDED LOT - NIGHT</stage_direction>
<scene_description>THE VAN pulls in, the lights cut off. Christian hops out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARK WOODS - NIGHT</stage_direction>
<scene_description>The SILHOUETTE of Christian drifts towards us, pausing now to listen, head cocked like a bird.</scene_description>
<character>CHRISTIAN</character>
<dialogue>Marshall?</dialogue>
<scene_description>A SHIMMERING FEMALE FACE glows out of the blackness, briefly illuminated by her cigarette cherry. Her name is DEZ (20s), hippie-child wraith with strange serpentine eyes. She gestures c'mon and melts away in a swirl of smoke.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THEIR CAMP - NIGHT</stage_direction>
<scene_description>Dez leads Christian over a ridge to a LOW CLEARING where... A MAN-SHAPE is hunched beside a small CAMPFIRE. Sucking a THIN GLASS PIPE, setting it down with a euphoric exhale. He runs a comb through his greasy hair. Homemade CAT TATTOOS on his hands. This is MARSHALL (50s): maybe a hobo, maybe a ghoul in his ratty car coat and shredded cowboy boots. Dez stretches out on her sleeping bag, watching as... Marshall pats the ground beside him. Christian sits and brings out the STOLEN ITEMS, offers them to Marshall who holds them in the firelight for inspection. He is pleased.</scene_description>
<character>MARSHALL</character>
<dialogue>Now we're cooking with gas.</dialogue>
<scene_description>And Christian, in turn, is pleased. He's a good puppy. In fact, Marshall literally scratches him under the chin. PUSHING IN ON MARSHALL as he smiles his yellow teeth at Dez. PUSHING IN ON DEZ as she blows smoke, gives him a kissy face.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - EARLY NEXT MORNING</stage_direction>
<scene_description>The CEILING FAN whirs. Ruth rises into frame: peering down through her red-eyed hangover at-- Tony, dead asleep on the couch, drooling freely. Snrr. She drops back out of frame again.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Ruth and Tony quietly eat pancakes. Occasional furtive glances at each other. Forks clink on plates. Brian pants on the floor, looking from one to the other. After a bit, Ruth digs into her pocket, brings out that NAPKIN, stares at it a moment...and slides it across. Slowly chewing, Tony stares at it. SILLS, reads the scribble, RR 2 BOX 19. He lifts his eyes to hers. He nods one time. She nods back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KILLER SILLS' PLACE - DAY</stage_direction>
<scene_description>ON A RURAL ROUTE MAILBOX, '19 - SILLS Salvage Consignment', which we PAN OFF OF as RUTH'S CAR pulls into this DUSTY LOT, parks next to an EMPTY SPOT. Ruth and Tony get out, glance about, and we TRACK WITH THEM past ROWS OF TABLES stacked with all manner of SECOND-HAND JUNK. Hot sun and dust, FLIES buzzing steadily over it all. A handful of SHOPPERS, poor folks with sunburns, quietly pick through old baby clothes and used sewing machines. The nexus of it all is a corroded BARN, its high doors opening into a cave of blackness. As they drift that way...</scene_description>
<character>TONY</character>
<parenthetical>(hushed)</parenthetical>
<dialogue>Maybe we should hold hands.</dialogue>
<parenthetical>(off her 'huh?' look)</parenthetical>
<dialogue>Like we're engaged.</dialogue>
<scene_description>So, hand in hand now, they approach the BARN. She notes: THE WEIRD SYMBOLS, burned into the transom: porcupine logos and Evil Eyes and Masonic pyramids. A FADED 'TRUTHER' POSTER: the burning WTC and 'Do the Math!' A DISUSED CAROUSEL HORSE leaning against the barn. NOT A REAL HORSE, the hand-scrawled sign informs us.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - KILLER SILLS' PLACE - SAME</stage_direction>
<scene_description>As they enter the dim interior, a motion sensor BINGS! KILLER SILLS (80s) lifts his black pebble eyes from the KEYBOARD he's repairing. A Santa's Elf gone to seed, he looks permanently startled under his Nick Nolte mugshot hair. FROM ABOVE, Ruth and Tony approach, rows of HIGH SHELVES on either side, full of STUFF like the end of Raiders. TRACKING WITH THEM, scanning the inventory. BIRDS flutter in the rafters. A RACCOON crawls in a corner. Ruth swallows as they near him, puts on an anxious smile. Tony catches this, gives HER HAND a reassuring squeeze.</scene_description>
<character>RUTH</character>
<dialogue>Good afternoon, sir, uh--</dialogue>
<character>KILLER SILLS</character>
<dialogue>You like music?</dialogue>
<character>RUTH</character>
<dialogue>Mm, sure, everyone likes--</dialogue>
<character>KILLER SILLS</character>
<parenthetical>(showing the keyboard)</parenthetical>
<dialogue>Five preset tones, 9.38 killa-hertz sample rate with three unique demo modes: 'Calypso', 'Disco Dance', and 'Rock n' Roll', here...</dialogue>
<character>RUTH</character>
<dialogue>Oh, wow, it's great but--</dialogue>
<character>TONY</character>
<dialogue>We don't really need--</dialogue>
<scene_description>He hits demo for some 8-BIT CALYPSO with intense eye contact.</scene_description>
<character>TONY</character>
<dialogue>No, thank you--</dialogue>
<character>KILLER SILLS</character>
<dialogue>And.</dialogue>
<scene_description>He hits demo again, for some FUNKY DISCO, more eye contact.</scene_description>
<character>TONY</character>
<dialogue>No, really, thank you, but--</dialogue>
<character>KILLER SILLS</character>
<dialogue>Annnd.</dialogue>
<scene_description>But this time it's a BLAND 4/4 BEAT and Tony's kinda into it--</scene_description>
<character>TONY</character>
<dialogue>Huh.</dialogue>
<character>RUTH</character>
<dialogue>We were really wondering if you had any antique silver service.</dialogue>
<scene_description>Sills looks at her. Blinks wetly. Reaches one finger out to tap the keyboard and stop 'THE ROCK'. It's suddenly very quiet. Ruth shifts uncomfortably under Sills' wounded stare. As he strains up out of his chair--</scene_description>
<character>KILLER SILLS</character>
<parenthetical>(sadly, quietly)</parenthetical>
<dialogue>If you don't like music you can just say so.</dialogue>
</scene>
<scene>
<stage_direction>INT. SIDE AISLE - BARN - SAME</stage_direction>
<scene_description>As Sills morosely leads them to shelves of SILVERWARE SETS...</scene_description>
<character>RUTH</character>
<dialogue>Are your ah, your newer items in any particular area?</dialogue>
<character>KILLER SILLS</character>
<dialogue>They're antiques.</dialogue>
<character>RUTH</character>
<dialogue>Oh, no, I just meant--</dialogue>
<scene_description>BING! There's another customer, so Sills shuffles away. Alone now, Ruth searches a shelf and Tony searches another as the VOICES of Sills and his customer drift indistinctly O.S. But then the VOICES AND ALL SOUND DISSOLVE INTO DREAMY SCORE as Ruth's eyes lock on something and she comes towards us. There. A plain polished WOODEN BOX with a plain brass MONOGRAM: 'SK.' She lifts the lid, the silver inside gleams. Seeing this, her eyes water a little bit...</scene_description>
</scene>
<scene>
<stage_direction>INT. ELSEWHERE - DAY (FLASHBACK)</stage_direction>
<scene_description>GRANDMA SALLY, a wee sweet old lady in a haze of warm sunlight, chuckles with her Virginia Slim 100 and iced tea.</scene_description>
</scene>
<scene>
<stage_direction>INT. SIDE AISLE - BARN - SAME</stage_direction>
<scene_description>NORMAL SOUND RESUMES as Ruth looks down at HER HAND, which is shaking, so she makes a fist. Whispering to Tony--</scene_description>
<character>RUTH</character>
<dialogue>This is it.</dialogue>
<character>TONY</character>
<dialogue>You sure?</dialogue>
<character>RUTH</character>
<parenthetical>(re: the monogram)</parenthetical>
<dialogue>'Sally. Kimke.'</dialogue>
<parenthetical>(then, with resolve)</parenthetical>
<dialogue>Go start the car.</dialogue>
<scene_description>Excited and terrified, Tony nods himself into action.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - SAME</stage_direction>
<scene_description>Tony walks quickly towards the exit: trying so hard to look casual that he appears to have a board up his ass. OUT OF FOCUS BEHIND HIM, Sills dickers with a Customer.</scene_description>
<character>SILLS</character>
<dialogue>Two hundred for these. Final.</dialogue>
<character>CUSTOMER</character>
<dialogue>They were my Mom's.</dialogue>
<character>SILLS</character>
<dialogue>So take 'e m to a regulated outfit.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Mmhm. What I thought.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KILLER SILLS' PLACE - SAME</stage_direction>
<scene_description>Tony stiff-walks to RUTH'S CAR and as he slips in-- We see that empty spot is now filled with CHRISTIAN'S VAN.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR - SAME</stage_direction>
<scene_description>In his nerves, Tony grinds the starter, VRR! He glances over to see MARSHALL watching him from the VAN'S PASSENGER WINDOW. Tony smiles. Marshall smiles back, poisonously, with Dez behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. SIDE AISLE - BARN - SAME</stage_direction>
<scene_description>With a breath for courage, Ruth gathers the SILVER SET in her arms and WE LEAD HER OUT OF THE AISLE.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - CONTINUOUS</stage_direction>
<scene_description>TRACKING HER as she heads towards the entrance but--</scene_description>
<character>KILLER SILLS (O.S.)</character>
<dialogue>Sure are unloading yourself, last few days.</dialogue>
<character>CUSTOMER (O.S.)</character>
<dialogue>Yeah, we're moving away, so...</dialogue>
<character>KILLER SILLS (O.S.)</character>
<dialogue>Uh huh. "Moving."</dialogue>
<scene_description>She slows, staring in confused recognition at-- CHRISTIAN'S SNEAKER that now fills the foreground of this LOW SHOT: the LIGHTNING BOLT LOGO, the DUCT TAPE wrapping it. On Ruth, stunned as she realizes it: that's her thief. AT THE REGISTER, with the JEWELRY on the counter between them, Sills passes Christian some CASH and he quickly splits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KILLER SILLS' PLACE - SAME</stage_direction>
<scene_description>Christian hustles out, counting the bills as he moves. Ruth follows, hugging the SILVER SET, hypnotized by him.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR - SAME</stage_direction>
<scene_description>Tony twists in his seat to see her trailing slowly along--</scene_description>
<character>TONY</character>
<dialogue>C'mon, c'mon, c'mon...</dialogue>
</scene>
<scene>
<stage_direction>EXT. KILLER SILLS' PLACE - SAME</stage_direction>
<scene_description>TRACKING RUTH through the tables, Christian angling away from her, towards the VAN when--</scene_description>
<character>KILLER SILLS (O.S.)</character>
<dialogue>Hold on there...</dialogue>
<scene_description>She looks back to see Sills coming after her, pointing.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR - SAME</stage_direction>
<scene_description>Through the back window, Tony watches Sills approaching Ruth--</scene_description>
<character>TONY</character>
<dialogue>Oh, no, no, no...</dialogue>
<scene_description>--and now notices Christian hopping into the VAN'S DRIVER SEAT, Marshall giving him an oily salute as they BACK OUT.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KILLER SILLS' PLACE - SAME</stage_direction>
<scene_description>Seeing the VAN start to pull away-- STOP! HALT! --she breaks into a TROT, still hugging the silver set. And seeing this, Sills now RUNS after her. OH NO YOU DON'T! SHOPPERS watch idly as the hobbity old man scrabbles after the young woman awkwardly jogging away with the wooden box. JUST STOP RIGHT THERE! THIS IS STOLEN PROPERTY. C'MERE! NO! Sills swoops in, CLUTCHES HER ELBOW-- A FLASH OF IMPULSIVE RAGE: RUTH JERKS FREE AND--SMAK!--BASHES SILLS IN THE FACE WITH THE BOX. SILVERWARE FLIES LOOSE. He staggers, stunned, BLOOD in his mouth. Wide-eyed SHOPPERS saw this happen: oh shit, she's evil. Ruth sways, aghast: what have I done?</scene_description>
<character>RUTH</character>
<dialogue>Oh...no...I didn't....</dialogue>
<scene_description>Sills turns his face up to her and we see it change, filling with RAGE of his own, and he LASHES at her like a viper-- YOU HIT ME! Awkward and instantaneous, SHE THROWS UP ONE ARM TO WARD HIM OFF BUT HE GETS HOLD OF HER MIDDLE FINGER AND--SNAP! They break apart and the color drains from Ruth's face as-- SHE LIFTS HER HAND, SEES HER FINGER BENT BACK NINETY-DEGREES.</scene_description>
<character>RUTH</character>
<dialogue>Guh.</dialogue>
<scene_description>Tight on Killer Sills, livid--</scene_description>
<character>KILLER SILLS</character>
<dialogue>Now look what you made me do--</dialogue>
<scene_description>THUP! TONY'S FOOT IMPACTS THE SIDE OF HIS FACE AND SILLS DROPS LIKE A SACK OF WET LAUNDRY. SIDE KICK. Tony hurriedly tosses whatever SILVER he can back into the box, quaking with giddy adrenaline over what he just did. Sills is out cold, mouth agape, SNORING as FLIES buzz him. Ruth is hunched over, clammy-grey, gazing miserably out at-- THE VAN DISAPPEARING AROUND A DISTANT CURVE IN THE ROAD. As Tony helps her to her feet--</scene_description>
<character>TONY</character>
<dialogue>That was a side kick.</dialogue>
<scene_description>A few Shoppers are stealing shit now and running away.</scene_description>
</scene>
<scene>
<stage_direction>INT. EMERGENCY ROOM - DAY</stage_direction>
<scene_description>CLOSE ON RUTH'S HAND as a splint is applied to her finger. CLOSE ON THE DOCTOR, focusing on his work for a bit. Then...</scene_description>
<character>DOCTOR</character>
<dialogue>The uh...that mail slot, huh?</dialogue>
<scene_description>CLOSE ON TONY, observing from the sidelines, tight-lipped. CLOSE ON RUTH, looking sad and exhausted.</scene_description>
<character>RUTH</character>
<dialogue>Yeah.</dialogue>
<scene_description>A beat.</scene_description>
<character>DOCTOR</character>
<dialogue>Must've really slammed it hard.</dialogue>
<scene_description>Her lip quivers, almost crying but not. Softly...</scene_description>
<character>RUTH</character>
<dialogue>Slammed the shit outta it.</dialogue>
<scene_description>CLOSE ON A BOX OF 'PERCODAN' being opened. Rip! CLOSE ON RUTH'S HAND, two FAT PILLS dropped into the palm. CLOSE ON RUTH'S MOUTH as she gulps 'em and chugs water. Glug!</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR (MOVING) - DAY</stage_direction>
<scene_description>Tony drives. Ruth stares out like a zombie, high as fuck, but troubled. Some CHEERFUL POP NUMBER plays softly on the radio.</scene_description>
<character>TONY</character>
<dialogue>See...you pivot on the ball of your foot and snap your hips out at the same time. That transmits a huge amount of power outward through the leg. It's devastating when deployed correctly.</dialogue>
<scene_description>Doesn't seem like she heard him. He lets it go.</scene_description>
<character>RUTH</character>
<dialogue>That guy mighta killed me.</dialogue>
<character>TONY</character>
<dialogue>Him? Nah. He's scrappy, I'll give him that, but he let emotions cloud his flow. Amateur stuff.</dialogue>
<character>RUTH</character>
<dialogue>No. He wanted to hurt me. I saw his eyes...after I hit him.</dialogue>
<scene_description>He can see that pains her.</scene_description>
<character>TONY</character>
<dialogue>Hey. You didn't do anything wrong. That's your silver.</dialogue>
<character>RUTH</character>
<dialogue>He didn't know that.</dialogue>
<character>TONY</character>
<dialogue>Doesn't matter.</dialogue>
<character>RUTH</character>
<dialogue>Your superpower is certainty.</dialogue>
<scene_description>He's flattered but she doesn't notice, she's spiraling.</scene_description>
<character>RUTH</character>
<dialogue>What if he had a gun? Or a knife? He mighta killed you, too. He...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm so sorry.</dialogue>
<character>TONY</character>
<dialogue>Sorry? I should be thanking you.</dialogue>
<scene_description>For the first time here, she looks at him. Huh?</scene_description>
<character>TONY</character>
<dialogue>I don't uh...I don't really have too many friends. I've been told I'm obnoxious? Which is...anyways.</dialogue>
<character>TONY</character>
<dialogue>My life is...</dialogue>
<parenthetical>(a little shrug)</parenthetical>
<dialogue>But today I felt electric.</dialogue>
<scene_description>She nods blearily. It makes a weird kind of sense.</scene_description>
<character>RUTH</character>
<dialogue>I wasn't scared. I mean, I was...but it had no weight. And I am always scared.</dialogue>
<scene_description>She turns her gaze back out the window again... RUTH'S POV, sliding by PILES OF GARBAGE, by HUNCHED PEDESTRIANS, by NEON-LIT SHOPFRONTS. Blurring decay. Her voice seems to come from elsewhere. Lost.</scene_description>
<character>RUTH</character>
<dialogue>What are we doing?</dialogue>
<character>TONY</character>
<dialogue>Umm. Whatever you want? I mean, I gotta take Brian for a walk but--</dialogue>
<character>RUTH</character>
<dialogue>What are we doing here. The world.</dialogue>
<scene_description>He thinks a moment, but he knows this one.</scene_description>
<character>TONY</character>
<dialogue>Trying to be good. Or be better.</dialogue>
<character>RUTH</character>
<dialogue>Quantify that shit.</dialogue>
<character>TONY</character>
<dialogue>I mean, y'know...values and whatnot.</dialogue>
<character>RUTH</character>
<dialogue>That's not a real thing. That's a poster with a kitten on it.</dialogue>
<character>TONY</character>
<dialogue>It is a real thing.</dialogue>
<character>RUTH</character>
<dialogue>What about me? Am I good?</dialogue>
<character>TONY</character>
<dialogue>Yes. Of course you are.</dialogue>
<character>RUTH</character>
<dialogue>I clubbed an old man.</dialogue>
<character>TONY</character>
<dialogue>Well, yeah--</dialogue>
<character>RUTH</character>
<dialogue>In the face.</dialogue>
<character>TONY</character>
<dialogue>Yeah--</dialogue>
<character>RUTH</character>
<dialogue>With a big wooden box.</dialogue>
<character>TONY</character>
<dialogue>Right, but in combat situations--</dialogue>
<character>RUTH</character>
<dialogue>There's no upside. We come from stars, you know.</dialogue>
<scene_description>He looks at her: what's this gibberish?</scene_description>
<character>TONY</character>
<dialogue>The upside is that nothing ends. There's always time. You continue.</dialogue>
<character>RUTH</character>
<dialogue>Where?</dialogue>
<character>TONY</character>
<parenthetical>("obviously")</parenthetical>
<dialogue>Somewhere better.</dialogue>
<character>RUTH</character>
<dialogue>"Heaven?"</dialogue>
<character>TONY</character>
<dialogue>I'm not saying clouds and harps and stuff...but there is more. I know that.</dialogue>
<character>RUTH</character>
<dialogue>How do you know it?</dialogue>
<character>TONY</character>
<dialogue>I just know it.</dialogue>
<character>RUTH</character>
<parenthetical>(very quiet)</parenthetical>
<dialogue>I don't wanna die.</dialogue>
<character>TONY</character>
<dialogue>You won't.</dialogue>
<scene_description>She grimaces at that.</scene_description>
<character>TONY</character>
<dialogue>Nnnot....right now?</dialogue>
<character>RUTH</character>
<dialogue>It's just gonna be black.</dialogue>
<character>TONY</character>
<dialogue>No. It won't.</dialogue>
<character>RUTH</character>
<dialogue>Yes, Tony. It will. Just...</dialogue>
<parenthetical>(snaps her fingers)</parenthetical>
<dialogue>Like when you switch off a T.V.</dialogue>
<character>TONY</character>
<dialogue>But...that's so hopeless.</dialogue>
<scene_description>She shrugs. He considers her, vexed. Finally...</scene_description>
<character>TONY</character>
<dialogue>Can I show you something?</dialogue>
<character>RUTH</character>
<dialogue>Mhmm...show me.</dialogue>
<scene_description>As the radio fades into a JOHN HUGHES-Y LOVE SONG ("Bring On The Dancing Horses" by Echo & The Bunnymen is perfect) her head lolls back in a druggy stupor...</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST REDEEMER EPISCOPAL CHURCH - DAY</stage_direction>
<scene_description>Ruth drifts towards us down the aisle, eyes drawn upwards in awe as THE SONG SUBSUMES ALL SOUND. A MURAL OF "HEAVEN" spreads before her: it's a community art project, so Jesus and all the happy folks with Him in the green sunny field resemble grinning misshapen cavemen. But, gazing up at it, she begins to smile. WIDER NOW, Ruth and Tony in a pew. Fluorescent banks and drop ceilings: a small, new construction church, FULL OF PEOPLE. The MINISTER reads his sermon. We can't hear him but his body language suggests a calm, grandfatherly warmth. PUSHING IN on Ruth, hearing his words, smiling dreamily. CLOSER ON THE MINSTER as his "words" fall into sync with the chorus of THE SONG. He's not performing it, he's just reading his regular sermon, but his lips subtly form the lyrics. Next to Ruth, Tony glances over at her sidelong. Taking in the curve of her cheek, the line of her neck. THEIR HANDS are resting on the pew, close together. He moves his PINKY, ever so slightly, so that it brushes hers. She looks at him. He looks at her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - THEIR NEIGHBORHOOD - TWILIGHT</stage_direction>
<scene_description>THE SONG CONTINUES over this LONG SHOT in which Ruth and Tony head away from us in the fading light, taking Brian out for a walk. (And Tony has a plastic bag at the ready, btw.)</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - TONY'S HOUSE - SUNSET</stage_direction>
<scene_description>THE SONG CONTINUES as we find Ruth and Tony sitting on his sheet-covered couch in the stream of gold-orange light through the window. Brian is curled up nearby. SLOWLY PUSHING IN ON THEM, side by side, not talking, not moving...until she tilts her head to rest it on his shoulder. FADE OUT.:</scene_description>
</scene>
<scene>
<stage_direction>INT. THE VAN - NIGHT</stage_direction>
<scene_description>HEAVY ROCK on the radio ("Forever My Queen", Pentagram!) as MARSHALL nervously counts the CASH for maybe the tenth time. HEADLIGHTS play on his face and he looks up. Christian gobbles some of RUTH'S MEDS and looks up. Dez was dozing off but now she looks up, too.</scene_description>
<character>DEZ</character>
<dialogue>Finally.</dialogue>
<scene_description>THROUGH THE WINDSHIELD, they watch a HEAVY PICKUP TRUCK glide into this crowded PARKING LOT like a great white shark.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADHOUSE PARKING LOT - SAME</stage_direction>
<scene_description>Marshall, affecting a careless swagger, leads them along. Christian is tense. Only Dez is genuinely relaxed. The lot is clogged with NOISY BIKERS and ROUGH CHARACTERS hanging around the seedy BAR that throbs in the background. AHEAD, oozing from his PICKUP to greet some PALS, is the one and only DONKEY DICK (40s). Corpulent redneck supreme. Marshall (and crew) arrives at the outskirts of Donkey Dick's jocular group and LAUGHS along with a joke he didn't hear. Donkey Dick regards them with open contempt.</scene_description>
<character>DONKEY DICK</character>
<dialogue>Not gonna waste my time again, are ya?</dialogue>
<character>MARSHALL</character>
<dialogue>Nope. We're whole.</dialogue>
<character>DONKEY DICK</character>
<dialogue>Yeah? Butthole, maybe.</dialogue>
<scene_description>That gets big laughs.</scene_description>
<character>DONKEY DICK</character>
<dialogue>Y'all been sleeping in that van?</dialogue>
<character>MARSHALL</character>
<parenthetical>(wanted to make a smart remark but)</parenthetical>
<dialogue>N-no.</dialogue>
<character>DONKEY DICK</character>
<dialogue>Cause one a you three stinks. Ain't quite fish but it ain't quite chicken, neither, so I'm at a loss.</dialogue>
<scene_description>More big laughs.</scene_description>
<character>MARSHALL</character>
<dialogue>It's pork chops: we just dropped your Mom off.</dialogue>
<scene_description>Yikes. No overt laughs. (But someone does snicker quietly.) Donkey Dick sizzles, infuriated. Marshall holds his ground. Christian swells his chest. Dez looks like she's watching a mildly diverting sitcom. As Donkey Dick opens the LOCK BOX in his pickup bed and yanks out a PAPER GROCERY BAG--</scene_description>
<character>DONKEY DICK</character>
<dialogue>C'mon, ya fuckin' comedian.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE VAN - ROADHOUSE PARKING LOT - SAME</stage_direction>
<scene_description>VUMP! The van door slides open and Donkey Dick sets the PAPER BAG inside with a clink! A semi-private staging area. Christian and Dez are hanging back, but they crane to see-- As Marshall opens the bag, practically salivating. It's TWO HANDGUNS (a 4-INCH .38 REVOLVER & a .45 AUTO) and a SAWED-OFF DOUBLE-BARREL SHOTGUN. Loose SHELLS in Ziploc bags. Marshall works the action on the shotgun, klik! k-klak! It's kind of rusty and banged up, not the cleanest weapon.</scene_description>
<character>MARSHALL</character>
<dialogue>Action's a little janky.</dialogue>
<character>DONKEY DICK</character>
<dialogue>Gonna do brain surgery with it? Get whatcha pay for n' you could barely pay for this.</dialogue>
<scene_description>Donkey Dick swats him and Marshall hands over the CASH. As Donkey Dick counts it, Marshall gives a satisfied nod to Dez and Christian and slides the bag out of sight.</scene_description>
<character>MARSHALL</character>
<parenthetical>(turning to Donkey Dick)</parenthetical>
<dialogue>Very happy that we could finally--</dialogue>
<scene_description>WAK! DONKEY DICK SLAPS MARSHALL SO HARD ACROSS THE FACE THAT HIS DENTURES POP OUT AS HE FALLS. Christian steps forward but Dez subtly blocks him: don't. Donkey Dick pockets the money, shakes his hand out.</scene_description>
<character>DONKEY DICK</character>
<dialogue>Bring my Mom into it.</dialogue>
<scene_description>The kids wait until he's stomped off before... Dez scoops Marshall's DENTURES out of the dirt, reaches into the van for a bottle of Pepsi to rinse them off. Christian helps Marshall stand. He can't help but look diminished, accepting his teeth and slipping them back in. But he rallies, a brittle little smile, a hoarse chuckle...</scene_description>
<character>MARSHALL</character>
<dialogue>Eggs and omelets, like they say.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - TONY'S HOUSE - DAWN</stage_direction>
<scene_description>Ruth stirs out of a deep, sweaty, painkiller sleep on the couch. Her first movements bring a GASP of pain. She remembers her BROKEN FINGER, winces at it. Then at... The plate of AMERICAN CHEESE SLICES (wrapped) and a SODA POP that Tony put out for her. A faint smile at that. But next to it is her SILVER SET, badly scratched, some bent utensils sticking out. And her expression hardens.</scene_description>
<character>TONY (O.S.)</character>
<dialogue>How's the finger?</dialogue>
<scene_description>WIDER, Tony's shirtless in the kitchen doorway with a bowl of CEREAL, sweaty from a workout. Ruth stares at her silver.</scene_description>
<character>RUTH</character>
<parenthetical>(almost to herself)</parenthetical>
<dialogue>Fuckers got away.</dialogue>
<character>TONY</character>
<dialogue>Yeah, but...you got it all back, right?</dialogue>
<character>RUTH</character>
<dialogue>They were inside my house.</dialogue>
<character>TONY</character>
<parenthetical>(philosophical shrug)</parenthetical>
<dialogue>So give the cops the tag number. Doubt they can do anything...but you never know.</dialogue>
<character>RUTH</character>
<parenthetical>(clenched teeth)</parenthetical>
<dialogue>I didn't get the tag number.</dialogue>
<character>TONY</character>
<parenthetical>(mouth full of cereal)</parenthetical>
<dialogue>Oh, I did.</dialogue>
<scene_description>She swivels slowly to face him. He chomps, open faced.</scene_description>
<character>TONY</character>
<dialogue>Didn't I say that?</dialogue>
</scene>
<scene>
<stage_direction>INT. TONY'S BEDROOM - DAY</stage_direction>
<scene_description>HIS COMPUTER is clicked on. Bzzt! SCREEN GLOW REVEALS BRIAN, panting happily in the darkness. TONY SPINS in his chair to face us, bathed in SCREEN GLOW.</scene_description>
<character>TONY</character>
<dialogue>It's all just ones and zeroes. Binary data connected by threads, like a web.</dialogue>
<character>RUTH</character>
<dialogue>Yeah. It's...called the Web.</dialogue>
<scene_description>She glances around the DIM MESSY ROOM: dirty socks, microwave popcorn, a samurai sword. Heavy CURTAINS keeping the sun out.</scene_description>
<character>TONY</character>
<parenthetical>(like he didn't hear her)</parenthetical>
<dialogue>Just gotta know how to dodge the spiders.</dialogue>
<scene_description>He TYPES, hard and fast, "The Master Hacker" apparently.</scene_description>
<character>TONY</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>You're so sly, but so am I...</dialogue>
<scene_description>ON SCREEN, a waterfall of PORNO POP-UPS. Amateur Slutz!, etc.</scene_description>
<character>TONY</character>
<parenthetical>(hastily rebooting it)</parenthetical>
<dialogue>Oops.</dialogue>
<scene_description>SECONDS LATER, he's TYPING hard again, totally focused.</scene_description>
<character>TONY</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Open sesame...</dialogue>
<scene_description>ON SCREEN, it's just GOOGLE: "look up a license plate?"</scene_description>
<character>TONY</character>
<dialogue>Oh. Need a credit card.</dialogue>
<scene_description>SECONDS LATER, Ruth's reading her VISA as he TYPES along--</scene_description>
<character>RUTH</character>
<dialogue>Eight. Four. Six. Nine. Five. Zero. Zero. Zero. One.</dialogue>
<character>TONY</character>
<dialogue>And the expiration?</dialogue>
<character>RUTH</character>
<dialogue>Eleven, nineteen.</dialogue>
<character>TONY</character>
<dialogue>CVC code?</dialogue>
<scene_description>SECONDS LATER, he clicks! the mouse and they both lean in.</scene_description>
<character>TONY</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Gotcha.</dialogue>
<scene_description>ON SCREEN, a results page for WWW.TagSearch.COM, which reads VEHICLE REGISTRATION: RUMACK, CHRISTIAN S., 8800 LAKE CIRCLE.</scene_description>
<character>RUTH</character>
<parenthetical>(like spitting out acid)</parenthetical>
<dialogue>Christian Rumack.</dialogue>
</scene>
<scene>
<stage_direction>INT. BENDIX'S CUBICLE - POLICE STATION - DAY</stage_direction>
<scene_description>Ruth sits anxiously, watching Detective Bendix gloomily poke at her PLASTER FOOT MOLD with his pen. Eventually...</scene_description>
<character>BENDIX</character>
<dialogue>What do you do, Miss Kimke?</dialogue>
<character>RUTH</character>
<dialogue>I'm a nursing assistant.</dialogue>
<character>BENDIX</character>
<dialogue>Do you enjoy it?</dialogue>
<scene_description>Her answer takes a moment to bloom, unhappily.</scene_description>
<character>RUTH</character>
<dialogue>I don't know anymore.</dialogue>
<character>BENDIX</character>
<dialogue>Mm. Suppose I came to where you do that, your hospital--</dialogue>
<character>RUTH</character>
<dialogue>It's a post-op facility.</dialogue>
<character>BENDIX</character>
<dialogue>Okay, suppose I came there and said, you know, maybe not that medicine, Ruth, maybe this one instead, dontcha think?</dialogue>
<character>RUTH</character>
<dialogue>That's not what I--</dialogue>
<scene_description>BENDIX You present a certainty that the owner of a vehicle you happened to see at a garage sale is the same individual-- RUTH His footprint-- BENDIX --who burglarized your home and his foot, according to this, is made out of scrambled eggs. You tell me this with a straight face, the suggestion being that I am incompetent at my job. RUTH No! No, sir, that's not what I meant, I-I-I'd recovered my computer and-- BENDIX I understand the chain of events as you tell them. Did it occur to you that the people who had your computer in the first place were the ones who broke into your house?</scene_description>
<character>RUTH</character>
<dialogue>Yeah but--</dialogue>
<scene_description>BENDIX Occam's Razor and so forth. RUTH Yeah but--what? BENDIX Did it occur to you that approaching a criminal suspect without official capacity is a good way to get your wig knocked off? What happened to your finger? (off her non-response) Were you engaged in a confrontation? RUTH (re: her broken finger) It was an accident.</scene_description>
<character>BENDIX</character>
<dialogue>Have you been able to replace your medications?</dialogue>
<character>RUTH</character>
<parenthetical>(frosting over at that)</parenthetical>
<dialogue>Oh. I see.</dialogue>
<scene_description>He pushes the plaster mold back towards her. Scraaaape. She stares at him a long, helpless beat.</scene_description>
<character>RUTH</character>
<dialogue>Why don't you want to help me? Isn't that your job?</dialogue>
<character>BENDIX</character>
<parenthetical>(swelling with fury)</parenthetical>
<dialogue>My job? I am doing my job. You are not a professional. You are an interferer. You think because you leave your door wide open for some punk to stroll on in that the whole universe somehow now revolves around you? Grow up. We had a man beaten unconscious in his driveway last night by a total stranger and now he has skull splinters in his brain. The world is bigger than your silverware. People are experiencing bigger problems, people are--I'm being divorced, did you know that? Did you even bother to...</dialogue>
<scene_description>He looks away, one hand over his mouth, SNUFFLES pitifully. Some NEARBY COPS exchange a look: Ugh, this shit again.</scene_description>
<character>BENDIX (O.S.)</character>
<dialogue>\[Snnf.\]</dialogue>
<scene_description>Embarrassed and unsure what to do, Ruth glances around...and then reaches out to put her hand on his-- But he yanks back as if scalded. Glaring at her, he wipes his nose. Makes some notes, clears his throat.</scene_description>
<character>BENDIX</character>
<dialogue>Go home, Miss Kimke.</dialogue>
<scene_description>She slides the REGISTRATION PRINTOUT towards him, tapping it where it says 'Rumack'--</scene_description>
<character>RUTH</character>
<dialogue>But...this is the guy--</dialogue>
<scene_description>He snatches it, balls it up, tosses it.</scene_description>
<character>BENDIX</character>
<dialogue>No. It isn't. And if you engage in vigilante action or mess around with this any further I won't hesitate to have you clapped up. Follow me?</dialogue>
<scene_description>She smolders.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR - POLICE STATION PARKING LOT - DAY</stage_direction>
<scene_description>Tony waits at the wheel, watching as-- Ruth comes stomping back with her plaster mold, gets in, SLAMS the door. He can see she's furious, gives it a moment.</scene_description>
<character>TONY</character>
<dialogue>Now what?</dialogue>
<scene_description>As she turns to him, unblinking, HER ACTION THEME kicks in, turbocharged with additional frenzied percussion.</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY AISLE - DAY</stage_direction>
<scene_description>That same SLOPPY MAN is here again and, again, he drops a bag of chips, and again Ruth snatches it up for him but now--</scene_description>
<character>RUTH</character>
<dialogue>Pick up your shit.</dialogue>
<scene_description>And then she grabs a BOX OF KIDS CEREAL: 'Free Inside! JUNIOR G-MAN BADGE!'</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY CHECKOUT - DAY</stage_direction>
<scene_description>Ruth and a GUY arrive simultaneously but Ruth does not defer.</scene_description>
<character>RUTH</character>
<dialogue>Excuse me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUTH'S CAR - GROCERY PARKING LOT - DAY</stage_direction>
<scene_description>FROM THE DRIVER'S SEAT, Tony watches uncertainly as... Ruth DUMPS all of the cereal out, spilling it crazily, and then pawing inside the box for-- THE CHEAP CHROME "POLICE" BADGE she was promised.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODED DRIVE (MOVING) - DAY</stage_direction>
<scene_description>TRACKING WITH RUTH'S CAR, plowing steadily ahead as HER ACTION THEME crescendos and then--</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR - LAKE CIRCLE - DAY</stage_direction>
<scene_description>--it cuts. Ruth and Tony, parked, both staring out at--</scene_description>
<character>TONY</character>
<dialogue>Musta robbed a ton of houses.</dialogue>
<scene_description>THE RUMACK MANSION, across the road, set back into the trees: a secluded cabin palace. A few LUXURY CARS...but no van.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUMACK MANSION - DAY</stage_direction>
<scene_description>TRACKING THEM as they near the house, Ruth taking note of-- THE MENAGERIE OF RATTAN ANIMALS, crafty if ostentatious lawn decorations: an elephant, a tiger, and a giraffe. Passing them, she hears a faint, ghostly RAWWWR: the throaty rumble of a jungle cat. She double-takes the TIGER: the fuck?</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT DOOR - RUMACK MANSION - DAY</stage_direction>
<scene_description>Nok-nok! MEREDITH RUMACK (40) opens with a klieg-light smile. Nails, hair, makeup: all perfect but age is closing in.</scene_description>
<character>MEREDITH</character>
<dialogue>Yes?</dialogue>
<scene_description>Ruth flashes her BADGE, Tony looming behind her in aviators.</scene_description>
<character>RUTH</character>
<dialogue>Good morning, ma'am, I was--</dialogue>
<character>TONY</character>
<dialogue>POLICE.</dialogue>
<scene_description>Meredith blinks, still smiling, and Ruth resets. Ahem.</scene_description>
<character>RUTH</character>
<dialogue>Could we have a moment of your time, please?</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN ROOM - RUMACK MANSION - DAY</stage_direction>
<scene_description>Meredith leads them into the expansive, immaculate home, genuinely delighted to have visitors, relentlessly cheerful.</scene_description>
<character>MEREDITH</character>
<dialogue>Y'all care for some coffee?</dialogue>
<character>RUTH</character>
<dialogue>No, thank you--</dialogue>
<character>TONY</character>
<dialogue>Not necessary.</dialogue>
<character>MEREDITH</character>
<dialogue>No trouble, I just press a button on the machine--boop! It'll do a cappuccino, too, it's like A.I.</dialogue>
<character>RUTH</character>
<dialogue>In that case...</dialogue>
<character>TONY</character>
<dialogue>Do you have cashew milk?</dialogue>
<character>MEREDITH</character>
<dialogue>I bet I can find something!</dialogue>
<scene_description>Meredith breezes off, leaving them in this vast show of wealth. Tony lingers over a PHOTO of Meredith, beauty pageant winner, ages ago. Ruth gazes at ANOTHER PHOTO, A TAN BLOND MAN in pastel racing leathers, posing himself before some outre CONCEPT CAR.</scene_description>
<character>RUTH</character>
<dialogue>I need to talk with Christian Rumack. Is he here?</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - RUMACK MANSION - SAME</stage_direction>
<scene_description>As Meredith works the fancy COFFEE MACHINE...</scene_description>
<character>MEREDITH</character>
<dialogue>Well, he's stilll out. Y'know, with his "friends." I expect him back who knows when. Talk about what?</dialogue>
<character>RUTH (O.S.)</character>
<dialogue>Choices he made.</dialogue>
<scene_description>...she adds a few fingers of SHERRY to her own cup.</scene_description>
<character>MEREDITH</character>
<dialogue>I oughta make sandwiches, then. That could take all day.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN ROOM - SAME</stage_direction>
<scene_description>As Meredith sets out the COFFEE TRAY for everyone...</scene_description>
<character>RUTH</character>
<dialogue>Do you know Christian's whereabouts the day of--</dialogue>
<character>TONY</character>
<parenthetical>(sipping his cappuccino)</parenthetical>
<dialogue>A machine did this?</dialogue>
<character>MEREDITH</character>
<dialogue>Yup.</dialogue>
<character>TONY</character>
<dialogue>Huh. I worked at a Borders.</dialogue>
<character>MEREDITH</character>
<dialogue>The bookstore?</dialogue>
<character>TONY</character>
<dialogue>Yes, but they had a cafe, too. I got pretty good with the steamer. Could do smiley faces, winking faces, uh, peace symbols, hearts...</dialogue>
<character>MEREDITH</character>
<dialogue>Wow.</dialogue>
<character>TONY</character>
<dialogue>Oak leaves. Just takes practice.</dialogue>
<character>RUTH</character>
<dialogue>Would you happen to know Christian's whereabouts the day before yesterday?</dialogue>
<character>MEREDITH</character>
<dialogue>I'd barely know his whereabouts any day. He comes and goes, y'know?</dialogue>
<scene_description>Ruth glances around, vaguely confused.</scene_description>
<character>RUTH</character>
<dialogue>But...he does have a job?</dialogue>
<character>MEREDITH</character>
<dialogue>Some'd argue that's all he has.</dialogue>
<character>RUTH</character>
<dialogue>What's he do?</dialogue>
<scene_description>Meredith looks at Ruth over the rim of her cup. Gulp, gulp.</scene_description>
<character>MEREDITH</character>
<parenthetical>(air quotes)</parenthetical>
<dialogue>"Lawyer." You know.</dialogue>
<character>RUTH</character>
<dialogue>Is...he in his van now?</dialogue>
<character>MEREDITH</character>
<dialogue>Oh...</dialogue>
<scene_description>At "van", her vibe shifts: smirky disdain to curious concern.</scene_description>
<character>MEREDITH</character>
<dialogue>That's Chris Junior you're talking about. Christian got him that van for his sixteenth if he got all B's. He flunked but got to keep it anyway. Just sayin'.</dialogue>
<scene_description>Ruth processes.</scene_description>
<character>RUTH</character>
<dialogue>Do you know where your son is now?</dialogue>
<character>MEREDITH</character>
<dialogue>Step-son. I have no idea where he is. We haven't seem him in, jeez, almost a year? He got into drugs, was in jail a little bit, started running around with people he met in there. Creeps. His father finally cut him off, just recently, cancelled his ATM cards, everything. Tough love and whatnot.</dialogue>
<parenthetical>(dropping her voice)</parenthetical>
<dialogue>TMI but Chrissy always made me kinda nervous, even before all that. You ever see The Omen?</dialogue>
<character>RUMACK (O.S.)</character>
<dialogue>The hell is this?</dialogue>
<scene_description>CHRIS RUMACK (50s), a WASP God, the race car man from the photo, apparently at the end of an all-night bender, glares unsteadily from the vestibule with CESAR (40s), his flunky with the dead-eyed look of private security.</scene_description>
<character>MEREDITH</character>
<dialogue>The police are asking about Chrissy.</dialogue>
<scene_description>Rumack pointedly zips his fly, which was down, and...</scene_description>
<character>RUMACK</character>
<parenthetical>(to Ruth/Tony)</parenthetical>
<dialogue>That your shitbox out front?</dialogue>
<character>RUTH</character>
<dialogue>Y-yes, sir, but--</dialogue>
<scene_description>Fast: Cesar draws a GLOCK 9MM from a concealed carry holster and levels it on Ruth and Tony-- HANDS. Their hands go up so fast both coffee cups go flying. K-kash!</scene_description>
<character>MEREDITH</character>
<parenthetical>('the rug.')</parenthetical>
<dialogue>Ohh.</dialogue>
<scene_description>Cesar darts forward to quickly pat them both down, and-- DO NOT MOVE. --he darts from the room in a tactical crouch as Rumack watches them, nastily amused, polishing his half-tints. Ruth and Tony: both visibly freaked out.</scene_description>
<character>RUTH</character>
<dialogue>Sir--</dialogue>
<scene_description>He puts a finger to his lips. Hush. And she does. He takes a moment, pulls his tie the rest of the way off, rubs his red, puffy eyes, smacks his lips. And finally...</scene_description>
<character>RUMACK</character>
<dialogue>Meredith. Are you retarded?</dialogue>
<character>MEREDITH</character>
<dialogue>Don't you dare use the R word around me!</dialogue>
<character>RUMACK</character>
<dialogue>Those are not police.</dialogue>
<character>MEREDITH</character>
<dialogue>I know that.</dialogue>
<character>RUMACK</character>
<dialogue>Then why are you talking to them?</dialogue>
<character>MEREDITH</character>
<dialogue>Because I'm fucking borrred!</dialogue>
<character>RUMACK</character>
<dialogue>Oh shut up, not that again--</dialogue>
<character>MEREDITH</character>
<dialogue>Look at yourself! You're lucky all we're doing is talking.</dialogue>
<character>RUMACK</character>
<dialogue>Don't flatter yourself, baby.</dialogue>
<scene_description>As Meredith storms out in exasperation--</scene_description>
<character>MEREDITH</character>
<dialogue>I guess I'll just get some soda for the rug.</dialogue>
<character>CESAR (O.S.)</character>
<dialogue>Clear!</dialogue>
<scene_description>Cesar trots back in, his weapon lowered but still in play.</scene_description>
<character>CESAR</character>
<dialogue>Clear.</dialogue>
<scene_description>Rumack gestures, lower your hands. They do.</scene_description>
<character>RUMACK</character>
<dialogue>...come home to this shit. Okay. Who are you?</dialogue>
<character>RUTH</character>
<dialogue>My name is Ruth.</dialogue>
<character>TONY</character>
<dialogue>I invoke my Fifth Amendment--</dialogue>
<character>RUMACK</character>
<dialogue>What are you doing here.</dialogue>
<character>RUTH</character>
<dialogue>Your son broke into my house and stole my stuff.</dialogue>
<scene_description>From O.S., Meredith SLAMS cabinets in the kitchen. BAM! BAM! KNOCK IT OFF. A beat.</scene_description>
<character>RUMACK</character>
<parenthetical>(back to Ruth)</parenthetical>
<dialogue>What's that got--</dialogue>
<scene_description>BAM! He fumes.</scene_description>
<character>RUMACK</character>
<dialogue>What's that got to do with me?</dialogue>
<character>RUTH</character>
<dialogue>I thought he lived here.</dialogue>
<character>RUMACK</character>
<dialogue>So you impersonate cops to...why?</dialogue>
<character>RUTH</character>
<dialogue>To find him if he wasn't here.</dialogue>
<character>RUMACK</character>
<dialogue>To what end?</dialogue>
<character>RUTH</character>
<dialogue>To confront him.</dialogue>
<character>RUMACK</character>
<dialogue>"How dare you. Wah, wah." Like that?</dialogue>
<scene_description>Ruth's revulsion at this sarcasm melts through her fear.</scene_description>
<character>RUTH</character>
<dialogue>Yes. Exactly. You can't do that to people.</dialogue>
<character>RUMACK</character>
<dialogue>You say that like it means something. Look, I don't condone my son's behavior but anyone can do anything if you let them. Welcome to the world. You watch the news, don't you?</dialogue>
<scene_description>His words physically rattle her, she has to recover.</scene_description>
<character>RUTH</character>
<dialogue>No wonder he turned out like he did.</dialogue>
<character>RUMACK</character>
<dialogue>You have kids?</dialogue>
<scene_description>Her non-response is a 'no.'</scene_description>
<character>RUMACK</character>
<dialogue>So you have no idea what you're talking about, do you?</dialogue>
<character>RUMACK</character>
<dialogue>Christian had more opportunity and assistance than ninety-nine-point- nine percent of the people on this planet and that's because of me, of what I did for him, what I provided. If he decides to flush it and live like a degenerate because of mental weakness that's his choice, he is allowing that to happen just as you allowed yourself to be victimized, but don't come to me with that nature-nurture horseshit. How much?</dialogue>
<character>RUTH</character>
<dialogue>H-how much what?</dialogue>
<scene_description>Rumack HURLS his glasses aside--wak!--a sudden micro-tantrum, his temper just as instantly recovered into a shrill grin. Ruth and Tony are stunned and... In the now-charged silence, Meredith stomps back in with PAPER TOWELS and SELTZER WATER to sop up the coffee.</scene_description>
<character>MEREDITH</character>
<parenthetical>(muttering)</parenthetical>
<dialogue>Probably gonna stain.</dialogue>
<scene_description>Rumack brings out his WALLET, thumbs the cash inside.</scene_description>
<character>RUMACK</character>
<dialogue>How much do you want?</dialogue>
<scene_description>Staredown: furious Ruth vs. smirking Rumack. Tony's eyes jump between them. Meredith ignores it all, working on that stain.</scene_description>
<character>RUTH</character>
<dialogue>I don't want a payoff.</dialogue>
<character>RUMACK</character>
<dialogue>Then I'm confused. What do you want?</dialogue>
<scene_description>She sifts for it, right there on the tip of her tongue:</scene_description>
<character>RUTH</character>
<dialogue>For people...to not...be assholes.</dialogue>
<scene_description>Rumack puts the wallet away, now genuinely concerned.</scene_description>
<character>RUMACK</character>
<dialogue>Oh, child...</dialogue>
<scene_description>He approaches her, reaches his hand out, and she flinches slightly but allows him to...rest it briefly on her forehead. Tony watches. Cesar watches. Even Meredith, now, watches.</scene_description>
<character>RUMACH</character>
<dialogue>Huh. Thought you might have a fever.</dialogue>
<scene_description>And his "concern" morphs back into that nasty grin of condescension. Ruth burns: Fuck. This. Dude.</scene_description>
<character>RUTH</character>
<parenthetical>(to Cesar)</parenthetical>
<dialogue>Are you going to shoot us?</dialogue>
<scene_description>Cesar says nothing. Rumack snorts.</scene_description>
<character>RUMACK</character>
<dialogue>Don't be so goddamned dramatic.</dialogue>
<character>RUTH</character>
<dialogue>Then we'll leave.</dialogue>
<scene_description>She stands, waits for wobbly-kneed Tony, and they head out.</scene_description>
<character>TONY</character>
<parenthetical>(to Meredith)</parenthetical>
<dialogue>Thank you for the cappuccino. The foam was amazing.</dialogue>
<character>MEREDITH</character>
<parenthetical>(glumly, without looking)</parenthetical>
<dialogue>You're very welcome.</dialogue>
<scene_description>Ruth stalks past Rumack, eyes dead ahead.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUMACK MANSION - SAME</stage_direction>
<scene_description>LEADING RUTH AND TONY away, Rumack in the door behind them--</scene_description>
<character>RUMACK</character>
<dialogue>You can tell yourself you've done something here, if that'll help. Really took a stand.</dialogue>
<scene_description>She grinds her jaw, but doesn't stop, doesn't turn. And he SLAMS! the door at their backs. TRACKING THEM ACROSS THE HUGE LAWN, passing those ANIMALS as Tony trots to keep up.</scene_description>
<character>TONY</character>
<dialogue>You know what? People like that, that's just unhappiness eating 'em up. You oughta feel sorry for him.</dialogue>
<parenthetical>(when she doesn't reply)</parenthetical>
<dialogue>Want me to drive?</dialogue>
<character>RUTH</character>
<dialogue>Sure.</dialogue>
<scene_description>AT RUTH'S CAR, Tony gets behind the wheel but...Ruth stops. Something dark churns on her face for a moment and... SHE TURNS AND JOGS BACK ACROSS THE YARD. Her ACTION THEME wails but it's playing in reverse, distorted and unholy. FROM THE CAR, Tony watches in mounting horror as-- RUTH ATTACKS THE ELEPHANT, savagely trying to uproot it but it's sturdier than it looks. A wild, grunting frenzy.</scene_description>
<character>TONY</character>
<dialogue>Whoa whoa whoa!</dialogue>
<scene_description>KRAK! RUTH FALLS BACKWARDS, the snapped-off trunk of the elephant in her hands. So she re-doubles and-- ATTACKS THE TIGER INSTEAD, coiling her entire body around it, ferociously wrenching it loose. SNAP! (And faintly, almost subconsciously, the tiger rawwrs.) FROM THE CAR, Tony watches, aghast as-- RUTH AWKWARDLY SPRINTS BACK, HUGGING THE HUGE TIGER.</scene_description>
<character>TONY</character>
<dialogue>What are you doing?</dialogue>
<scene_description>SHE JAMS THE TIGER INTO THE BACK SEAT--</scene_description>
<character>RUTH</character>
<dialogue>(under her beath)</dialogue>
<character>TONY</character>
<dialogue>What are you doing? Why are</dialogue>
<scene_description>...get the fuck in there... you doing that?! SHE JUMPS IN THE DRIVER'S SIDE, scooting him over to yank the gearshift and rev them away, VRRRM! But as they fly out of frame, we drift back to find that... CHRISTIAN'S VAN is parked in the far background, partially obscured by trees, fifty yards away.</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN - DOWN THE ROAD - SAME</stage_direction>
<scene_description>Christian, Marshall, and Dez watch RUTH'S CAR vanish around the bend. As her ENGINE fades in the distance, Marshall looks sternly to Christian, as if expecting an explanation.</scene_description>
<character>CHRISTIAN</character>
<dialogue>I...I have no idea.</dialogue>
<character>MARSHALL</character>
<dialogue>Yeah? Cause they were at the place yesterday, too.</dialogue>
<character>CHRISTIAN</character>
<dialogue>What? No, they weren't--</dialogue>
<character>DEZ</character>
<dialogue>Yeah, they were. The girl yelled at us.</dialogue>
<scene_description>Christian gapes, flummoxed and airless.</scene_description>
<character>CHRISTIAN</character>
<dialogue>I mean...fuck it, let's just do it, he's finally there now--</dialogue>
<character>MARSHALL</character>
<parenthetical>(pointing after Ruth)</parenthetical>
<dialogue>I'm not doing a damn thing until I know what their piece in this is. They're on us yesterday, they're here today, she's obviously nuts, you telling me you're comfortable with that? We already got the security man to think about. You wanna walk into some kinda dog-fuck n' take another fall? Cause ol' Marshall will not be there this time to put a coat on ya, that's for certain.</dialogue>
<character>CHRISTIAN</character>
<dialogue>Okay. Fine. What'm I supposed to do about it?</dialogue>
<character>DEZ</character>
<dialogue>Ask her.</dialogue>
<scene_description>He looks to Marshall, whose blank look co-signs the order: do it. So Christian pops it into gear...</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR (MOVIN) - DAY</stage_direction>
<scene_description>Who drive in moody silence with the TIGER frozen mid-roar behind them. The silence stretches. Eventually...</scene_description>
<character>RUTH</character>
<dialogue>What?</dialogue>
<character>TONY</character>
<dialogue>What do you mean, what?</dialogue>
<character>RUTH</character>
<dialogue>What's your problem?</dialogue>
<character>TONY</character>
<dialogue>That's not your lawn tiger.</dialogue>
<character>RUTH</character>
<dialogue>Did you hear that guy?</dialogue>
<character>TONY</character>
<dialogue>I heard him. But he's not the one that broke into your house and that's not your lawn tiger. If I'd known that was gonna be the, the, y'know, the objective...</dialogue>
<character>RUTH</character>
<dialogue>I get it.</dialogue>
<character>TONY</character>
<dialogue>Of the mission.</dialogue>
<character>RUTH</character>
<dialogue>I get it.</dialogue>
<scene_description>Long beat.</scene_description>
<character>TONY</character>
<dialogue>I wouldn't have participated.</dialogue>
<character>RUTH</character>
<dialogue>Yeah, I get it. And thanks for the backup in there.</dialogue>
<character>TONY</character>
<dialogue>The--? All I've done is back you up.</dialogue>
<character>RUTH</character>
<dialogue>'Til now.</dialogue>
<scene_description>He doesn't know how else to say it, so...</scene_description>
<character>TONY</character>
<dialogue>That's not your lawn tiger.</dialogue>
<scene_description>She hasn't looked at him the whole time and she doesn't now.</scene_description>
<character>RUTH</character>
<parenthetical>(under her breath)</parenthetical>
<dialogue>Right. 'What would Jesus do', huh?</dialogue>
<scene_description>Ouch. He turns away. Moody silence resumes, big time.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - TONY'S HOUSE - DAY</stage_direction>
<scene_description>RUTH'S CAR pulls over at Tony's house. Can a car look morose? Tony gets out without a word. Ruth watches him go: she's cooled off and she feels rotten.</scene_description>
<character>RUTH</character>
<dialogue>Tony...</dialogue>
<scene_description>He gives a little forget it wave without looking back and disappears inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUTH'S HOUSE - DAY</stage_direction>
<scene_description>CLOSE ON THE 'NO DOG SHIT' SIGN, as RUTH'S CAR jerks to a halt in the out-of-focus background, and out-of-focus Ruth then wrestles the TIGER out... She KICKS the sign in anger as she passes it. Thup!</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - DAY</stage_direction>
<scene_description>THE BAG with the HEAVY PLASTER MOLD drops on the table. THUD. THE TIGER is hurled into the room. Pash! Ruth KICKS IT only to stub the shit out of her toe--wak! FUCKING...THING. She flops onto the couch, drops her face into her hands, clutches fistfuls of her hair: some old fashioned seething. In time, she deep-breathes herself out of the red zone and stares out the window a while. What a fucking mess. ALL IN ONE SHOT NOW, she gets up and heads into...</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>...with her OPENED FRONT DOOR visible in the background until she veers off to the fridge. Opens it. Gets a beer. Gulping deeply from the can, WE TRACK WITH HER BACK THE WAY SHE CAME, her FRONT DOOR reappearing in the background and... CHRISTIAN is now standing just outside it, this dark background shape she wisps by without noticing and heads into-</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction>
<scene_description>Where she peels out of her sweaty shirt, slips on a fresh one, pauses to gulp more beer. Feeling a little better.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>She comes back but pauses suddenly, looking at... THE EMPTY FRONT DOOR which, eerily, is just now shutting the last few slow inches on its pneumatic closer. Pssshh-click. She stares at that. Walks towards it.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - CONTINUOUS</stage_direction>
<scene_description>LEADING HER towards the door as she looks out, up and down the block, but sees nothing. Huh. Weird. BEHIND HER, Christian materializes in the KITCHEN DOORWAY. He's right there, inside the fucking house. That crazy grin. Her back is to him, taking a sip as he walks towards her. Twelve feet away. Eight feet. Five feet...</scene_description>
<character>CHRISTIAN</character>
<dialogue>What'd you tell my Dad?</dialogue>
<scene_description>GASP! She WHIRLS at his voice-- HER DROPPED BEER crashes to the floor--KAK! TERROR REFLEX: SHE GRABS THE PLASTIC BAG WITH THE HEAVY PLASTER MOLD IN IT AND SWINGS IT IN A BRUTAL ARC AND-- SHAK! THIS MAKESHIFT FLAIL CRUSHES HIS LARYNX. This was all maybe three-quarters of a second. Christian staggers, astonished, both hands jerking to his throat which is making a horrible, reedy, WHISTLING NOISE. Ruth, pulsing with shock and adrenaline, steps aside as-- Christian lurches past her, struggling for air he can't get, giving an almost reproachful look of Why'd you do that? as--</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - STREET - SAME</stage_direction>
<scene_description>--he stumbles outside, heaving and buckling, his FACE QUICKLY TURNING BLUE before our very eyes. Remember Luca Brasi in The Godfather? Like that. Nightmare stuff. Ruth steps out after him, stunned into inaction, watching in helpless horror as-- Christian staggers down the MIDDLE OF THE ROAD, like he can somehow outrun his own suffocation. Scared to death.</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN - DOWN THE STREET - SAME</stage_direction>
<scene_description>Marshall and Dez, watching this unfold from a distance--</scene_description>
<character>MARSHALL</character>
<dialogue>Ahh fuck...</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - RUTH'S YARD - SAME</stage_direction>
<scene_description>In his dying panic, Christian has picked up some speed, hobble-lurching towards the INTERSECTION up ahead... His face is PURPLE, clawing his throat, GURGLING pitifully... Ruth is at the edge of her yard but still basically frozen, weakly shaking her head like wait wait wait-- IN THE DISTANCE, CHRISTIAN DARTS PAST THE TWO-WAY STOP SIGN INTO THE ROAD AND IS INSTANTLY CREAMED BY A FAST-MOVING BUS. We actually cut away one frame before the moment of impact but IT SOUNDS LIKE A ROAST BEEF DROPPED FROM A SKYSCRAPER. At once: Ruth's SCREAM, the terrible SCREECH of bus brakes--</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN - DOWN THE ROAD - SAME</stage_direction>
<character>MARSHALL</character>
<dialogue>Hoo boy. EXT. FRONT YARD - SAME</dialogue>
<character>DEZ</character>
<dialogue>Goddamn.</dialogue>
<scene_description>ON RUTH, barely upright under the shock of this moment, digging into her pockets with clumsy hands as, from the O.S. ACCIDENT SCENE, we hear a clamor of SCREAMS... DON'T TOUCH HIM! / --AN AMBULANCE! / --RAN OUT IN FRONTA ME! She gets her PHONE out, trying to remember how to work it--</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN - DOWN THE ROAD - SAME</stage_direction>
<scene_description>Jerking it into gear--</scene_description>
<character>DEZ</character>
<dialogue>She's calling, she's calling--</dialogue>
<character>MARSHALL</character>
<dialogue>I see it, I see it--</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - SAME</stage_direction>
<scene_description>Ruth turns away from the CHAOS DOWN THE STREET, gulping for breath, the PHONE to her ear--</scene_description>
<character>PHONE V.O.</character>
<dialogue>911 operator, what is your emergency?</dialogue>
<character>RUTH</character>
<dialogue>Uhhhhhhhh.</dialogue>
<character>PHONE V.O.</character>
<dialogue>Ma'am?</dialogue>
<character>RUTH</character>
<dialogue>He just, he was just, he he he--</dialogue>
<scene_description>There's a NEW SCREECH of tires, very close behind her, and--</scene_description>
<character>DEZ (O.S.)</character>
<dialogue>I can help you, honey.</dialogue>
<scene_description>Ruth turns around just in time to see-- DEZ SWINGING THE BUTT OF A SHOTGUN AT HER FACE. KRAK. CUT TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN (MOVING) - DAY</stage_direction>
<scene_description>BLACKNESS. Occasionally penetrated by SMEARS OF LIGHT.</scene_description>
<character>MARSHALL (V.O.)</character>
<dialogue>She mighta said our names.</dialogue>
<character>DEZ (V.O.)</character>
<dialogue>She doesn't know 'em.</dialogue>
<character>MARSHALL (V.O.)</character>
<dialogue>She knew Chrissy's alright.</dialogue>
<character>DEZ (V.O.)</character>
<dialogue>We oughta kill her anyway, then.</dialogue>
<character>MARSHALL (V.O.)</character>
<dialogue>Ask her when she wakes up.</dialogue>
<character>DEZ (V.O.)</character>
<dialogue>Oh, she's awake now.</dialogue>
<scene_description>CLOSE ON RUTH, jouncing on the floor of the van, a SWOLLEN GASH above her eye. Stripes of SUNLIGHT wipe her face, rhythmically. She's terrified. She squirms but... HER WRISTS are bound with duct tape. Painfully, she cranes her neck around to see-- MARSHALL AND DEZ: THEIR HEADS MADE OUT OF CLOTH. Homemade masks, t-shirts with eyeholes. Creeeeepy. Marshall drives. Dez stares back at her, holding her PHONE.</scene_description>
<character>DEZ</character>
<dialogue>What'd you tell 'em?</dialogue>
<character>RUTH</character>
<dialogue>Nothing.</dialogue>
<character>DEZ</character>
<dialogue>Promise?</dialogue>
<character>RUTH</character>
<dialogue>I don't know who you are.</dialogue>
<scene_description>Dez chucks the phone out the window.</scene_description>
<character>DEZ</character>
<dialogue>How'd you find Chrissy?</dialogue>
<character>RUTH</character>
<dialogue>C-computer.</dialogue>
<character>DEZ</character>
<dialogue>And what? You just went after him on your own?</dialogue>
<character>RUTH</character>
<dialogue>I tried to tell the cops. Before. But they didn't listen. I swear.</dialogue>
<character>DEZ</character>
<dialogue>What about his dad?</dialogue>
<character>RUTH</character>
<dialogue>He didn't care either!</dialogue>
<scene_description>Dez stares at her, like trying to see inside her brain.</scene_description>
<character>DEZ</character>
<parenthetical>(to Marshall)</parenthetical>
<dialogue>Whatcha think?</dialogue>
<character>MARSHALL</character>
<parenthetical>(gloomy & fatalistic)</parenthetical>
<dialogue>Soon as they peel Chrissy outta under that bus there's gonna be people coming over anyway...what a buncha bullshit.</dialogue>
<character>DEZ</character>
<dialogue>Better hustle then.</dialogue>
<scene_description>CLOSE ON RUTH AGAIN, drooping back down, eyes clamping shut.</scene_description>
<character>RUTH</character>
<parenthetical>(barely audible)</parenthetical>
<dialogue>...please...</dialogue>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - TONY'S HOUSE - DAY</stage_direction>
<scene_description>SLOWLY PUSHING IN ON TONY, slumped there on the couch. His eyes land sadly on something O.S. and he reaches for it. Crinkle, crinkle. He lifts the now-unwrapped slice of American cheese to his mouth for a sad nibble. Chew, chew, chew. Washes it down with some soda. Ahh. There. He feels a little better now. Looks over at... Brian, curled in the corner, staring back as if in anticipation. Tony's expression becomes serious again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ACCIDENT SCENE INTERSECTION - DAY</stage_direction>
<scene_description>THE BUS AND VARIOUS COP CARS as out-of-focus foreground elements. LIGHTS FLASHING and BLURRY OFFICIAL HUBBUB. IN THE BACKGROUND, at the rear of the small CROWD at the yellow tape, TONY'S HEAD pops up above them, scanning as-- IN THE FOREGROUND, a STRETCHER goes by, a BODY under a sheet. Tony questions an ONLOOKER, who gestures at the cops and bus.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUTH'S HOUSE - DAY</stage_direction>
<scene_description>Tony approaches and gives a light knock-knock but...THE DOOR was a little bit opened already.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUTH'S HOUSE - SAME</stage_direction>
<scene_description>He steps inside, hesitantly.</scene_description>
<character>TONY</character>
<dialogue>Ruth?</dialogue>
<scene_description>No answer. He looks over at... THE TIGER, sideways on the floor, silently snarling at him. A DOOMY SCORE kicks in and carries us over to...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE VAN - WOODED DRIVE (MOVING) - DAY</stage_direction>
<scene_description>THE VAN pushing ominously through the woods.</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN (MOVING) - DAY</stage_direction>
<scene_description>Ruth rocks forward as the van comes to a halt. Marshall looks back at her, the .45 loose in his hand. Dez loads the RUSTY SHOTGUN. She has to force the shell in. Ruth shivers, waiting for whatever's next. She watches as... Marshall WHISPERS something in Dez's ear, who listens, her eyes on Ruth. She WHISPERS something back. It's decided. With his free hand, Marshall brings out the REVOLVER and aims it at Ruth's face. Cringing away from it...</scene_description>
<character>RUTH</character>
<dialogue>Don't don't--</dialogue>
<scene_description>He pulls the trigger, she SHRIEKS, it makes a dull click.</scene_description>
<character>MARSHALL</character>
<dialogue>You'll carry this one, okay?</dialogue>
<character>RUTH</character>
<dialogue>W-why?</dialogue>
<character>MARSHALL</character>
<dialogue>Cause we're shorthanded. Which is on you.</dialogue>
<character>RUTH</character>
<dialogue>I don't want to.</dialogue>
<scene_description>For a second, Marshall's eyes look damn near sympathetic.</scene_description>
<character>MARSHALL</character>
<dialogue>That's what life is, darlin. Buncha stuff we don't wanna do.</dialogue>
<character>RUTH</character>
<dialogue>You could leave me here. I-I-I'll be so quiet. I promise.</dialogue>
<scene_description>His eyes turn hard and demonic inside the mask. His gestures accentuate those CAT TATTOOS on his hands.</scene_description>
<character>MARSHALL</character>
<dialogue>Get them to open the door. Point that at whoever it is so nothing happens. We'll get what we need and we'll leave and that's it.</dialogue>
<character>RUTH</character>
<dialogue>But how do I know you won't, won't...</dialogue>
<scene_description>She can't even finish the thought.</scene_description>
<character>MARSHALL</character>
<dialogue>You know that I will if you don't.</dialogue>
<character>DEZ</character>
<dialogue>It's karma, for Chrissy...</dialogue>
<scene_description>Dez holds up a SWITCHBLADE and--snikt!--pops it open.</scene_description>
<character>DEZ</character>
<dialogue>That shit's for real, sister.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUMACK MANSION -DAY</stage_direction>
<scene_description>The most hopeless version of RUTH'S THEME echoes faintly as we TRACK HER ACROSS THE LAWN. A long march towards oblivion. HER HAND shakes violently. Making a fist doesn't help. THE REVOLVER is tucked into the small of her back. THE RATTAN YARD ANIMALS, the now-trunkless elephant and the giraffe, seem to watch her as she passes by. She swallows heavily to keep from throwing up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT DOOR - RUMACK MANSION - CONTINUOUS</stage_direction>
<scene_description>ON RUTH, seen from behind, standing at the door. PULLING BACK, there's Marshall and Dez on either side of her, pressed against the house, out of sight, GUNS READY. Ruth hesitates. Marshall twitches his gun. So she knocks. CLOSE ON THE PEEPHOLE, which suddenly goes dark. Ruth attempts a smile. Looks like she drank vinegar.</scene_description>
<character>RUTH</character>
<dialogue>It's me again. Sorry.</dialogue>
<scene_description>CLOSE ON MARSHALL, off to the side with the .45 up. The cloth of his mask flutters with his breath. CLOSE ON DEZ, to the other side, with the shotgun. Her eyes are cold and steady inside the mask. THE PEEPHOLE goes clear. The DEADBOLT goes click-clack. CESAR opens, eyeing Ruth warily, clocking her EMPTY HANDS.</scene_description>
<character>CESAR</character>
<dialogue>Yeah?</dialogue>
<character>RUTH</character>
<dialogue>Please don't do anything.</dialogue>
<scene_description>SHE DRAWS THE GUN ON HIM, on us, that big barrel swinging right up into the lens. And Cesar almost makes a move but, no, his hands go up.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUMACK MANSION - CONTINUOUS</stage_direction>
<scene_description>Ruth walks Cesar back as Marshall and Dez slip in behind her, fanning out, already forgetting the still-open front door. Dez covers the INTERIOR HALL as Marshall snags Cesar's 9mm and tosses it aside.</scene_description>
<character>CESAR</character>
<dialogue>I'm compliant.</dialogue>
<scene_description>PAK! Marshall whacks him behind the ear with the barrel of his .45 and Cesar drops to his knees, GROANING. Ruth GASPS at this sudden violence and at that exact moment-- Meredith comes from the kitchen, sees masked people with guns and--oops!--turns promptly on her heel to exit again but--</scene_description>
<character>DEZ</character>
<dialogue>Stop.</dialogue>
<scene_description>Fuck. At least she manages to guzzle her drink even as she lifts her hands, now recognizing Ruth...</scene_description>
<character>MEREDITH</character>
<dialogue>You.</dialogue>
<character>RUTH</character>
<dialogue>I'm so sorry. This isn't my fault.</dialogue>
<character>MEREDITH</character>
<dialogue>You took my tiger.</dialogue>
<character>RUTH</character>
<dialogue>That was me, yes, but not this--</dialogue>
<character>MEREDITH</character>
<dialogue>You're pointing a gun.</dialogue>
<character>RUTH</character>
<dialogue>No, I know, but--</dialogue>
<character>MARSHALL</character>
<dialogue>Shut the fuck up. Sit.</dialogue>
<character>CESAR</character>
<parenthetical>(from the ground)</parenthetical>
<dialogue>Do what they say, Meredith.</dialogue>
<scene_description>As she flops onto the couch in a semi-sober pout...</scene_description>
<character>MEREDITH</character>
<dialogue>...unbelievable...</dialogue>
<scene_description>Marshall nudges Cesar to the couch as well but--</scene_description>
<character>MARSHALL</character>
<dialogue>You too. Over there.</dialogue>
<scene_description>--he doesn't move fast enough so MARSHALL KICKS HIM. WUNK.</scene_description>
<character>RUTH</character>
<dialogue>Don't do that!</dialogue>
<scene_description>Meredith reacts to Ruth's shaken protest--huh?--as Cesar crawls to the couch, hugging his maybe-busted ribs. Dez keeps the shotgun aimed down the HALLWAY into the house as Marshall squats before Meredith, hissing--</scene_description>
<character>MARSHALL</character>
<dialogue>Where is he?</dialogue>
<character>MEREDITH</character>
<dialogue>Sleeping one off.</dialogue>
<character>MARSHALL</character>
<dialogue>Call him.</dialogue>
<character>MEREDITH</character>
<dialogue>If you're here for what you think you're here for, your timing stinks.</dialogue>
<character>CESAR</character>
<dialogue>Meredith, be quiet.</dialogue>
<character>MARSHALL</character>
<dialogue>Call him.</dialogue>
<scene_description>He touches the gun to her chin.</scene_description>
<character>RUTH</character>
<dialogue>Just do it. Please.</dialogue>
<scene_description>Meredith glares hard at Marshall, at Ruth, and then...</scene_description>
<character>MEREDITH</character>
<parenthetical>("happy")</parenthetical>
<dialogue>Hey, Chris?</dialogue>
<parenthetical>(beat)</parenthetical>
<scene_description>CHRIIIIIS.</scene_description>
<character>RUMACK (O.S.)</character>
<parenthetical>(from upstairs)</parenthetical>
<dialogue>What?!</dialogue>
<scene_description>C'MERE.</scene_description>
<character>RUMACK (O.S.)</character>
<dialogue>For whaaat?</dialogue>
<scene_description>COME HERE. Angry THUDS and STOMPING from upstairs. Everyone tenses as FOOTSTEPS come fump, fump, fump, fumping! down the stairs. Dez slides to the side of the HALLWAY DOOR, so she's poised right there but out of sight from DOWN THE HALL, where-- Rumack now appears, cinching a robe, irritated and confused.</scene_description>
<character>RUMACK</character>
<dialogue>Is Christian here?</dialogue>
<character>MEREDITH</character>
<dialogue>No.</dialogue>
<scene_description>DOWN THE HALLWAY, Rumack is coming towards us but he slows...</scene_description>
<character>RUMACK</character>
<dialogue>His van's parked out front.</dialogue>
<scene_description>FROM WITHIN THE HALLWAY, RUMACK'S POV: the empty room looming ahead of him, no sign of anything amiss there. But still... His eyes narrow. Wondering at the silence. He backs away. WHILE IN THE FRONT ROOM, Marshall gestures in frustration, Say something! At which Meredith shrugs savagely, Like what?</scene_description>
<character>MEREDITH</character>
<dialogue>Uh. Maybe he's waiting for you to come outside? You know he doesn't like me too much.</dialogue>
<scene_description>DOWN THE HALLWAY, Rumack reappears but now on full alert, a CHROME .38 held before him as he advances.</scene_description>
<character>RUMACK</character>
<dialogue>Cesar?</dialogue>
<scene_description>IN THE FRONT ROOM, Marshall aims at Cesar, finger to his lips, shhh! Ruth just stands off to the side, shaking in place, her gun vaguely on Meredith but mostly on the floor. Dez waits beside the HALL DOORWAY, her RUSTY SHOTGUN at head- level. All that oxidation crusted around the breach. IN THE HALLWAY, Rumack is almost to the DOOR, his gun held forward, craning his neck for a wider view of the FRONT ROOM: There's Meredith, perched on the couch, oddly stiff.</scene_description>
<character>RUMACK</character>
<dialogue>The fuck's going on?</dialogue>
<scene_description>CLOSE ON HIS GUN HAND AS IT PRECEDES HIM INTO THE FRONT ROOM, extending ahead of his body, visible now to-- DEZ, who's right there, and promptly lowers the SHOTGUN to-- BAM!--BLAST RUMACK'S HAND INTO RED THREADS. Okay, this all happens in a whirlwind: Rumack SCREAMS and DROPS. Meredith SCREAMS. RUTH DROPS HER GUN AND IMMEDIATELY PROJECTILE VOMITS. BLAGGG! CESAR DIVES FOR HER GUN, AIMS ON MARSHALL BUT--click!click! REFLEX: MARSHALL AIMS ON CESAR--BANG!--PLUGS HIM IN THE GUT. SO RUTH VOMITS A SECOND, MORE EXPLOSIVE TIME. BLARRGAH! LIKE A WOUNDED BOAR, CESAR CHARGES MARSHALL WHO FIRES AGAIN-- BANG!--BUT MISSES AND THEY GRAPPLE FEROCIOUSLY, SLOPPILY. ACROSS THE ROOM, Dez swings the shotgun around to cover Meredith, who alllmost leapt off the couch in her fury but-- KEEP STILL! Rumack MOANS at Dez's feet as-- IN THEIR GRAPPLING, Cesar tears Marshall's mask off just as-- BANG!--Marshall manages to tag him in the head. BRAINS FLY. And at this, RUTH VOMITS A THIRD GEYSER-LIKE TIME. BWOOOGAHH! OKAY NOW EVERYONE JUST HOLD IT. Shaky, vibrating silence in a swirl of cordite. Marshall turns in place, scanning for additional threats. We'll probably notice that he's wet his pants.</scene_description>
<character>MARSHALL</character>
<dialogue>Just...hold it for a second. Jesus. Wow.</dialogue>
<scene_description>Rumack, hunched over his bloody hand, teeth clenched in pain, squints up at him...</scene_description>
<character>RUMACK</character>
<dialogue>I know you. Marshall, right? Your name's Marshall. You were at one of Christian's hearings last year.</dialogue>
<scene_description>Marshall stares at him, his eyes now darting to-- Ruth and Meredith: they heard his name. Saw his face. His eyes dart to Dez, something dark passing between them.</scene_description>
<character>MARSHALL</character>
<parenthetical>(refocusing on Rumack)</parenthetical>
<dialogue>Go on. Get into the fireplace.</dialogue>
<scene_description>Silence. Rumack glares at Marshall with white-hot hatred. Ruth gapes in mounting dread: fireplace? What?</scene_description>
<character>MARSHALL</character>
<dialogue>C'mon. I'll make it nasty if I have to.</dialogue>
<character>RUMACK</character>
<dialogue>Is Christian with you?</dialogue>
<character>MARSHALL</character>
<dialogue>I don't...look, we're not talking about this. Just do it, okay?</dialogue>
<character>RUMACK</character>
<dialogue>What'd he tell you? That I keep cash around? I haven't seen him in months, you amateurs, it's not here anymore.</dialogue>
<scene_description>Marshall looks like he might have an aneurysm but instead storms over to RIP THE ELECTRIC FIREPLACE LOG OUT thus-- Revealing the SMALL SAFE embedded in the FIREPLACE FLOOR. Marshall points to it like a teacher points to a blackboard. Rumack sighs, staggers upright and hobbles across the room. As he begins to work the DIAL under Marshall's watchful eye--</scene_description>
<character>MARSHALL</character>
<dialogue>Chrissy told us about the iron in there too, so don't even try that shit.</dialogue>
<character>RUMACK</character>
<dialogue>Got it all mapped out, dontcha.</dialogue>
<scene_description>Over by the couch, Ruth realizes Meredith is staring at her--</scene_description>
<character>RUTH</character>
<parenthetical>(desperate whisper)</parenthetical>
<dialogue>I'm a hostage. I was kidnapped.</dialogue>
<parenthetical>(points to the wound on her forehead)</parenthetical>
<dialogue>The empty gun?</dialogue>
<scene_description>Meredith's expression shifts, hearing the truth in that, but--</scene_description>
<character>DEZ</character>
<dialogue>Stop talking.</dialogue>
<scene_description>KLIK! THE SAFE unlocks. Marshall waves Rumack aside. Covering Ruth and Meredith, Dez cranes her neck to see-- --as Marshall reaches inside, his fingers scrabbling. But a look of dismay quickly overtakes his face. Rumack grins evilly.</scene_description>
<character>RUMACK</character>
<dialogue>That's right, dumb-dumb. You just bought yourself a murder one ticket for nothing.</dialogue>
<scene_description>Woozily, Marshall pulls out a little .25 AUTO, a few PASSPORTS, some STOCK CERTIFICATES...but no cash. Zilch-o. He looks at Rumack like he just learned there's no Santa.</scene_description>
<character>MARSHALL</character>
<dialogue>But...Chrissy said...</dialogue>
<character>RUMACK</character>
<dialogue>Times are tough all over.</dialogue>
<parenthetical>(but darkening now)</parenthetical>
<dialogue>Where is my son?</dialogue>
<scene_description>Marshall summons back some force of his own...</scene_description>
<character>MARSHALL</character>
<dialogue>You don't have a son, buddy.</dialogue>
<scene_description>That takes the wind out of Rumack's sails. Dez's eyes blaze crazily in the mask, impatient and outraged. Fuck it: she aims on Ruth and Meredith--</scene_description>
<character>DEZ</character>
<dialogue>We're done here.</dialogue>
<scene_description>NO. Ruth bolts upright, putting herself between Meredith and the coming shotgun blast. Rumack tenses and Marshall aims on him. You can hear a pin drop. Ruth stares at Dez, shivering.</scene_description>
<character>RUTH</character>
<dialogue>I won't let you shoot anyone.</dialogue>
<scene_description>Dez gestures wanly at Cesar's corpse, like 'Oh no?'</scene_description>
<character>RUTH</character>
<dialogue>Anyone else, I mean.</dialogue>
<scene_description>Ruth shakes, fully exposed there before the shotgun. Meredith blinks rapidly, hyperventilating, a PANIC ATTACK. Rumack gauges the distance between him and Marshall. Dez squares the shotgun on Ruth's face but...</scene_description>
<character>RUTH</character>
<dialogue>You'll have to kill me first.</dialogue>
<scene_description>Dez glances to Marshall, who shrugs in careless defeat, Just do it already. DEZ'S FINGER tightens around the trigger... SHK. Suddenly, oddly, A THROWING STAR IS STUCK IN DEZ'S FACE. TONY is posed post-throw in the vestibule, wide-eyed, just now dropping the rattan TIGER he'd dragged in with him. Wump. Dez SHRIEKS, tears the cloth of her mask, rips it free: the METAL STAR is sunk deeply into the flesh of her cheek. Rumack lunges at Marshall but--BANG!--Marshall panic fires and POPS RUMACK'S HEAD OPEN. DEZ WHIRLS the shotgun onto Tony, who SQUEALS, but-- BLAM! THE SHOTGUN EXPLODES IN HER HAND. FINGERS FLY. MEREDITH SPRINGS LIKE A GAZELLE OUT OF THE ROOM. Just, poof!, off like a shot, gone before Dez is finished collapsing. Marshall whirls his gun onto Tony but-- RUTH SPRINGS AT HIM, a spastic flying-squirrel leap that KNOCKS HIM DOWN as she claws at his WAVING GUN HAND-- Tony sees this--Ruth in danger!--and he charges but-- Dez, even with her FINGERS BLOWN OFF, her face knotted in rage, uses her good hand to pop her SWITCHBLADE--SNIKT! SHE LAUNCES INTO TONY AND STABS HIM REPEATEDLY IN THE GUT, LIGHTNING FAST--tk!tk!tk!tk!tk! She's a human tattoo gun. As Tony falls, clutching himself, Dez pivots to face the thrashing tangle of Ruth and Marshall, HER KNIFE RAISED, that THROWING STAR still glinting in the side of her face-- RUTH BITES MARSHALL'S HAND, MAKES HIM FIRE ONE SHOT--BANG! PTEW! WHICH RICOCHETS OFF THE GRANITE FIREPLACE-- KAK! WHICH POPS INTO DEZ'S TEMPLE IN A MIST OF PINK. As the abruptly lifeless Dez puddles to the ground... As Tony rolls in a growing pool of his own blood... RUTH CLAMPS ON MARSHALL'S HAND LIKE A PIT BULL. (Did you know it takes a crowbar to pry their jaws off? It's true.) MARSHALL BUCKS AND SQUIRMS AND HOWLS. Sounds like a coyote caught in a bear trap. RUTH WRIGGLES HER FINGERS AGAINST THE .45 TRIGGER AND-- BANG!BANG!BANG!BANG!BANG!--FIRES IT REPEATEDLY UNTIL-- CLICK! THE SLIDE RACKS BACK ON AN EMPTY CHAMBER. Which prompts a surge in her as SHE TWISTS THE .45 FROM MARSHALL'S BLOODY HAND AND--WUP!--CLUBS HIS FACE WITH IT. And for good measure--KAP!--SHE CLUBS HIS KNEE, TOO. Maybe breaking it? Sure did make a gnarly sound.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RURAL ROAD - SAME</stage_direction>
<scene_description>Oh, also, MEREDITH SPRINTS down this secluded forest road. She must have been a competitive runner at some point: her form is perfect, she is tireless, not stopping for anything.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUMACK MANSION - SAME</stage_direction>
<scene_description>Ruth scrabbles to Tony, fluttering over his wounds--</scene_description>
<character>RUTH</character>
<dialogue>Tony! Tony!</dialogue>
<character>TONY</character>
<dialogue>Oooh she got me good...</dialogue>
<scene_description>IN THE BACKGROUND, Marshall staggers bloody-faced to his feet...and he is now between them and the front door. His eyes snap to the .25 AUTO on the ground. He SNATCHES it. Ruth catches this movement and HEAVES TONY TO HIS FEET-- As Marshall fumbles the gun, racks the slide, aims it-- She shoves Tony out into the--</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction>
<scene_description>BAM! BAM! SMALL CALIBER GUNSHOTS POP INTO THE WALL directly behind them as they stumble/flee away, Ruth powering Tony forward like a busted shopping cart.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK DOOR - RUMACK MANSION - SAME</stage_direction>
<scene_description>Ruth and Tony burst outside and she scans frantically for an escape route, propping him up as he hugs his bloody middle.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT ROOM - RUMACK MANSION - SAME</stage_direction>
<scene_description>Look at all this fucking blood. Dead Cesar. Dead Rumack. Marshall crouches over Dead Dez: silently sobbing and undone. Wanting to touch her face, her mouth, but afraid to, because she's a spirit now.</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR GROUNDS - RUMACK MANSION - DAY</stage_direction>
<scene_description>TRACKING RUTH AND TONY, most of his weight supported on her shoulder as they lurch desperately AROUND THE HUGE HOUSE...</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - RUMACK MANSION - CONTINUOUS</stage_direction>
<scene_description>COMING AROUND THE HOUSE, Ruth heaves and strains under Tony's bloody semi-limp bulk, but freezing suddenly because-- MARSHALL, out there in the front yard, crazed and spattered and blocking their way to the road. He spots them, HISSES like a poisonous toad and LIMP-RUNS towards them. RUTH JERKS TONY back around the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - SAME</stage_direction>
<scene_description>TRACKING RUTH AND TONY DOWN THIS STEEP INCLINE, weaving through the brush and tree cover. Tony can barely stand and Ruth can barely keep him going. But her face is set: hard and determined. Behind them, echoing in the forest, the MOON HOWL of a rabid animal. That'd be Marshall, screaming insane nonsense. Ruth urges Tony faster. He trips, FALLS, dragging her down with him, CRYING OUT in renewed pain. She recovers, helps him up, looks frantically up the hill: There's nobody in sight...but she can hear SOMETHING crashing this way through the brush. It HOWLS again.</scene_description>
<character>MARSHALL (O.S.)</character>
<dialogue>Gonnna get yoooooouu!</dialogue>
<character>RUTH</character>
<dialogue>Tony. Get up. Let's go.</dialogue>
<scene_description>She powers him up, moves him forward, faster, faster, hurry. UP AHEAD, what's that?, some kind of MIRRORED LIGHT glints strangely through the veil of old pines. Water?</scene_description>
</scene>
<scene>
<stage_direction>EXT. POND - SAME</stage_direction>
<scene_description>They burst onto a SMALL SANDY BEACH to see that it's a curving tree-lined pond with a FORESTED ISLAND maybe a hundred yards out there...or perhaps it's the far banks? A WOODEN DOCK extends from the beach, with a SMALL OUTBOARD FISHING SKIFF moored there, as well as a FLAT-BOTTOM ROWBOAT. Ruth scans: to either side of the beach is just a clog of roots, brush, eroded earth. Another HOWL behind them, closer.</scene_description>
<character>RUTH</character>
<dialogue>Come on.</dialogue>
<scene_description>She bulls Tony onto the DOCK, lets him sag there as she hops into the MOTORBOAT where-- She YANKS the motor pull cord. It SPUTTERS and RUMBLES...but doesn't turn over. She yanks again. And again. Nothing. Her eyes snap to the ROWBOAT.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROWBOAT - POND - SECONDS LATER</stage_direction>
<scene_description>Tony collapses into the bow, whimpering, as Ruth uses an OAR to push them off the dock, braces her feet on the hull... And ROWS LIKE HELL. She has adrenaline super-powers and the little boat slides out into the pond. THE BEACH recedes behind her, she's staring at it as she rows steadily. No sign of Marshall. She looks over her shoulder to see where they're heading...the ISLAND on the far side. But also in her view is Tony: pale, drooping, barely awake.</scene_description>
<character>RUTH</character>
<dialogue>HEY. Stay awake, okay?</dialogue>
<scene_description>He nods weakly, not at all convincing. She looks back and... IN THE DISTANCE, there's the small shape of MARSHALL on the beach now. Standing there, staring at them. She makes a strangled noise and ROWS HARDER. The little MARSHALL-SHAPE appears to take aim. There is a distant popt! and something HUMS over Ruth's head. She ducks low and ROWS EVEN HARDER as another popt! carries over the water. Another. Something PLUNKS the water nearby. THE ISLAND looms near, maybe fifty feet to go? She ROWS. But-- IN THE DISTANCE, she can see the MARSHALL-SHAPE getting into the MOTORBOAT. The MOTOR growls to life out there. And now it's coming this way. Quickly closing the gap between them. She heaves against the oars. The oar-locks SNAP and RATTLE with the force of her effort. Her BREATH pulses raggedly. And here comes the motorboat, ever closer with Marshall visible there, his hand on the tiller. He's pointing at her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARSHY ISLAND - CONTINUOUS</stage_direction>
<scene_description>THE ROWBOAT'S BOW crunches against soft land. Ruth startles, didn't realize she was so close, she scrambles into the bow-- SHE DRAGS TONY OUT and grabs the balled-up GREEN WEATHER TARP as she goes, glancing out at-- THE MOTORBOAT, zooming in, forty feet away, thirty five. She can see the details of Marshall's blood-caked face. DEEPER IN THE BRUSH, she leads Tony to a MOSSY OVERHANG, presses him down onto the ground, pulls the WEATHER COVER over him like a kid home sick from school--</scene_description>
<character>RUTH</character>
<parenthetical>(frantic whisper)</parenthetical>
<dialogue>Stay here. Don't move. Don't make a sound. He's coming.</dialogue>
<character>TONY</character>
<dialogue>...w-why?</dialogue>
<character>RUTH</character>
<dialogue>We know who he is.</dialogue>
<scene_description>SHE TEARS HER SLEEVE OFF, presses it to his wounds, presses his hands down on top of it...</scene_description>
<character>RUTH</character>
<dialogue>Keep pressure there, okay? I'll be back.</dialogue>
<scene_description>She starts to cover him but he grabs at her hand--</scene_description>
<character>TONY</character>
<dialogue>I'm scared.</dialogue>
<character>RUTH</character>
<dialogue>Me too. Don't move.</dialogue>
<scene_description>She kisses his forehead, pulls the cover over him and wipes an armful of DEAD LEAVES over it. Not exactly invisible but it'll have to do... RUTH EMERGES FROM THE TREE LINE and waves her arms just as--</scene_description>
<character>RUTH</character>
<dialogue>Hey, fuckface!</dialogue>
<scene_description>THE MOTORBOAT RUNS AGROUND and Marshall comes hobbling over the bow, waving that .25 wildly in her direction. SHE RUNS back into the TREES, away from Tony, as-- BAM! BAM! BAM! BULLETS WHIZ OVER AND AROUND HER. SHE SPRINTS THROUGH THE DARK TANGLE OF VEGETATION. Her feet SUCK into saturated ground. BRANCHES slash at her face. BEHIND HER, Marshall takes steady aim at her quickly vanishing form and--BAM!BAM!BAM! Click. Blowing in frustration, he tosses the empty weapon aside and dashes after her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEEP INTO THE MARSHY ISLAND - SAME</stage_direction>
<scene_description>RUTH LEAPS DOWN A LOW HILL, stumbles, unable to control her momentum and-- SPLASH! DROPS INTO BLACK CHEST-DEEP WATER. The layer of leaves on the surface made it practically invisible. Gasping and sputtering, she reaches about for something to hold onto...there! A ROOT dangling into the pool... Taking hold, she pulls herself forward...but she freezes. If her expression was one of frightened determination before, it is now replaced by a sort of existential cosmic terror. CLOSE ON THE BROWN BEADY-EYED SNOUT OF A COTTONMOUTH SNAKE, calmly winding its way across the surface of the dark water. CLOSE ON RUTH, locking eyes with this evil, alien thing. A BIRD'S EYE VIEW ON THE POOL: where Ruth holds perfectly still and the undulating S-shape of the snake's body glides within striking distance of her face. It takes forever but...</scene_description>
</scene>
<scene>
<stage_direction>..it passes her by. Not exactly breathing again, she inches her way up out of the pool, pulling herself on the root.</stage_direction>
<scene_description>On solid ground again, shuddering, she looks back to see... MARSHALL, emerging from the forest, this limping curl-handed troll. He sees her. His eyes blaze with hate and killin'. HE LIMP-TROTS towards her. SHE SCRAMBLES UP A MUDDY RIDGE, taking the high ground. TRACKING WITH RUTH as she moves along the ridge but, DOWN BELOW, Marshall keeps pace with her.</scene_description>
<character>MARSHALL</character>
<dialogue>I see you, girl.</dialogue>
<scene_description>RUTH DOUBLES BACK but Marshall keeps pace again.</scene_description>
<character>MARSHALL</character>
<dialogue>Gonna get ya.</dialogue>
<scene_description>SHE HIDES BEHIND A TREE, stooping to grab a BASEBALL-SIZED ROCK out of the muck at her feet. Catching her breath. IN THE BACKGROUND, BELOW THE RIDGE, we can see Marshall catching his breath, too. Watching her hiding place. Without being able to see one another, they call out...</scene_description>
<character>RUTH</character>
<dialogue>Why don't you just leave me alone?</dialogue>
<scene_description>From below, he chuckles wetly and brings out a BUTTERFLY KNIFE, quietly unfolds it.</scene_description>
<character>MARSHALL</character>
<dialogue>Sure. Come on down here, we'll shake on it.</dialogue>
<character>RUTH</character>
<dialogue>You do those tattoos yourself?</dialogue>
<scene_description>He glances in brief uncertainty at his hands.</scene_description>
<character>MARSHALL</character>
<dialogue>Some.</dialogue>
<character>RUTH</character>
<dialogue>Yeah? Well, they looking fucking stupid.</dialogue>
<scene_description>MARSHALL EDGES CLOSER, nearing the base of the ridge, tracking her voice...</scene_description>
<character>MARSHALL</character>
<dialogue>You ever eat cat meat?</dialogue>
<character>RUTH</character>
<dialogue>You mean...cat food?</dialogue>
<character>MARSHALL</character>
<dialogue>No. The meat of a cat.</dialogue>
<scene_description>HE BEGINS TO CRAWL UP THE RIDGE, slithering closer to her behind the tree there, that gleaming blade in his fist... FROM BEHIND THE TREE, Ruth looks for an escape. Further up is all BRUSH AND VINES, too thick to even see through. Trapped. So she collects a SECOND ROCK and edges around the tree to try and see him...</scene_description>
<character>RUTH</character>
<dialogue>No, man. I never ate any cat meat.</dialogue>
<character>MARSHALL</character>
<dialogue>It makes you be invisible. Did you know that?</dialogue>
<character>RUTH</character>
<dialogue>Have you eaten cat meat?</dialogue>
<character>MARSHALL</character>
<dialogue>That's what my marks are for.</dialogue>
<scene_description>CLOSE ON RUTH, just a sliver of her eyeball visible around the curve of the tree as she sees... A SLIVER OF MARSHALL'S HEAD, just starting to appear up the ridge, very close now...</scene_description>
<character>RUTH</character>
<dialogue>Yeah, well, that shit doesn't work because I can see you.</dialogue>
<scene_description>Marshall looks up. Their eyes meet. He grins nastily.</scene_description>
<character>MARSHALL</character>
<dialogue>Doesn't last forever, a'course.</dialogue>
<scene_description>There's a charged moment, two animals clocking each other in the bad bush, and then... AHHHH! MARSHALL CHARGES, KNIFE RAISED OVER HIS HEAD-- RUTH STEPS OUT AND HURLS THE FIRST ROCK--PUNK! IT BRAINS MARSHALL SQUARE BETWEEN THE EYES AND HE SLIPS BACK, ARMS PINWHEELING TO KEEP HIS BALANCE BUT-- RUTH PRESSES FORWARD AND HURLS THE SECOND ROCK--PUNK! WHICH CLIPS HIM IN THE COLLARBONE AND SPINS HIM-- HE TUMBLES ASS-OVER-KETTLE BACK DOWN THE RIDGE AND-- K-SPLASH! LANDS WHOLE-BODY IN THAT BLACK POOL OF WATER-- WHERE HE INSTANTLY THRASHES AND SHRIEKS-- RUTH HOPS DOWN THE RIDGE AND CIRCLES WIDE BECAUSE-- MARSHALL HAS THAT COTTONMOUTH SNAKE DANGLING FROM HIS CHEEK. His SCREAM is as high and piercing as a tea kettle on boil. His MAD EYES know he's done with that fat brown rope curling on itself, latched onto his face as he lurches in the muck. RUTH SPRINTS THROUGH THE FOREST. Jagged, disconnected glimpses of movement, her POUNDING BREATH subsumes all sound in the mix, even Marshall's sickly keening. She runs faster and faster through the dim slash of vines and low branches, ONE SHOT INDISTINGUISHABLE FROM THE NEXT. She pauses, looking left and right: which way? She runs but quickly doubles back. She runs. She doubles back again. SHE TURNS IN PLACE, surrounded on all sides by trees and gloom, trees and gloom, trees and gloom. It all looks the same. She is lost. For the first time on this island, the fire in her seems to go out. She sags against a tree, sinking into despair. But then she sees something. It stops her breathing. THERE IN THE DISTANCE, standing calmly beside a great mossy tree in her neat pantsuit with a Virginia Slim 100 carefully balanced in her thin fingers, is GRANDMA SALLY. Ruth stares at her in dreamy exhaustion. Sally takes a demure drag and, with a knowing smile, tips her head in a certain direction. That way. Ruth's eyes fill with tears as all sound is replaced by an OLD COUNTRY GOSPEL STANDARD, "This World Is Not My Home" by Fern Jones. 'I can't feel at home in this world anymore,' Fern warbles over a plucky banjo, this SONG carrying over as...</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOSSY OVERHANG - TWILIGHT</stage_direction>
<scene_description>Ruth returns to Tony's hiding place, yanks the cover back... But he's dead. Ghostly white, eyes closed in peace. We can't hear her wail of grief but she doesn't pause for a second, wrapping her arms around his middle, hoisting him up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEEP WOODS - TWILIGHT</stage_direction>
<scene_description>Marshall crawls along the forest floor, slug-like, lost. His face is HUGELY SWOLLEN around black FANG MARKS, a vivid scarlet hue. His TONGUE lolls wetly in his yellow mouth. He howls but of course we can't hear him. In the sky above, CROWS are already circling.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTORBOAT (MOVING) - TWILIGHT</stage_direction>
<scene_description>THE SONG CONTINUES as Ruth angles the boat full-throttle across the water, tears spilling down her cheeks but wholly focused on the task of getting them back to shore. Curled in the bow like a rag doll, Tony could almost be asleep.</scene_description>
</scene>
<scene>
<stage_direction>INT. DETECTIVE CUBICLE - POLICE STATION - NIGHT</stage_direction>
<scene_description>THE SONG CONTINUES over this CLOSE-UP ON THREE DMV PRINTOUTS: driver's license shots of Marshall, Dez, and Ruth. A HAND slides the shots of Marshall and Dez to one side...and then taps the shot of Ruth. It's MEREDITH, her eyes puffy from crying but in control. She taps Ruth's photo again and simply shakes her head. Not her.</scene_description>
</scene>
<scene>
<stage_direction>INT. BENDIX'S CUBICLE - POLICE STATION - NIGHT</stage_direction>
<scene_description>THE SONG CONTINUES as we find Ruth sitting here, a BANDAGE over her brow, numbed by grief. She's very still, just watching as... Detective Bendix intently reads over a series of REPORT SHEETS. He finally sets them aside, nodding to himself. Ruth stares at him. He stares back. Exhales hugely, about to make a huge pronouncement.</scene_description>
<character>BENDIX</character>
<dialogue>My wife and I are going to give it another shot.</dialogue>
<scene_description>He nods sagely, as if this must answer any and all questions. Ruth stares at him.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - CARE CENTER - DAY</stage_direction>
<scene_description>THE SONG CONTINUES and some time has passed now, because Ruth just has a regular small BAND AID over her brow. She listlessly strips an empty bed, wadding up sheets that have a small smear of blood on them. Robotic in her work.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUTH'S CAR (MOVING) - DAY</stage_direction>
<scene_description>THE SONG CONTINUES as we find Ruth though the windshield, staring numbly out at... THAT ROLLIN' COAL PICKUP, ahead of her in traffic again, blowing its black sooty smoke into the air. She has no reaction.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - DAY</stage_direction>
<scene_description>THE SONG CONTINUES as we PUSH DOWN THE AISLE, past rows of CHURCHGOERS, to find Ruth sitting all alone in the back pew. She's staring off, maybe listening to the sermon, maybe not.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - TWILIGHT</stage_direction>
<scene_description>THE SONG FADES AWAY now and we find Ruth sitting in one of her outdoor chairs, gazing out contemplatively. An upbeat OLDIE ("Don't Hang Up" by The Orlons) plays on a portable speaker somewhere, but sounds distant and faint. She sips a SODA POP, Tony's brand. We realize that she is looking at... JANA, by the fence, watching a blinking chorus of FIREFLIES. Not trying to capture them, just watching, delighted. Angie is in the chair next to Ruth, a fresh drink in her hand. They sit in silence a moment. Angie eyes her.</scene_description>
<character>ANGIE</character>
<dialogue>You okay?</dialogue>
<scene_description>Ruth nods absently.</scene_description>
<character>ANGIE</character>
<dialogue>Be gentle with yourself, okay? You got all the time in the world.</dialogue>
<scene_description>Ruth takes a deep breath, nods again, but...</scene_description>
<character>RUTH</character>
<dialogue>I don't know what that means.</dialogue>
<scene_description>Angie looks out at Jana, shrugs...</scene_description>
<character>ANGIE</character>
<dialogue>It's just something people say.</dialogue>
<scene_description>Ruth sniffs, a tired little laugh. And then she turns her head. Sees something. Stares at it a bit. TONY smiles at her from within a white Heavenly mist. A dream or a ghost or a vision. Ruth smiles back. WIDER, oh, okay, it actually is Tony, for real: he uses a cane now, and he's working the smoking grill, just burning the shit out of some hamburgers. Dan looks on in obvious disapproval, shaking his head. Tony points the spatula at Ruth, gives an assured thumbs up. She smiles and looks back to... THE FIREFLIES. Look at 'em glow and vanish in the fade. CUT TO BLACK.: As "I Love You, Honeybear" by Father John Misty takes us into the credits...</scene_description>
<character>END</character>
</scene>
</script> | Nursing assistant Ruth returns home from a bad day at work to find she has been burgled. She reports to the police that the thief has stolen her medication, her grandmother's silverware and a laptop computer. When she asks Detective William Bendix for advice, he merely chastises her for leaving her door unlocked. Ruth asks her neighbors if they saw anything suspicious; one of them, Tony, becomes enraged that someone would target a neighbor. When a mobile app reveals the location of her laptop and the police refuse to do anything, she enlists Tony's help. Ruth and Tony go to the location, where Ruth intimidates the owner into returning her laptop. He claims that he bought it from a fence who operates a resale shop. Ruth and Tony investigate the shop the next morning, where they find the stolen silverware and a man whose shoe matches a print left in her yard. Ruth gets into a scuffle with the owner when he demands she pay for the stolen silverware, and after he breaks her finger, Tony knocks him unconscious, at which point the two flee. Tony, having recorded the license plate number on the thief's van, researches it and learns that it is registered to someone named Christian Rumack. Ruth and Tony impersonate cops at the address belonging to the van, where a woman named Meredith lets them inside. She reveals that the owner of the van, her husband Chris, is not the one who uses the van; it is instead her step-son, who was given the van by his father. Chris Senior returns home abruptly with his bodyguard Cesar. Ruth states that she only wants to confront Christian about his behavior, but Chris taunts her for her idealism and kicks them out. As they leave, Ruth steals lawn art from Chris and Meredith. Disillusioned with Ruth's behavior, Tony goes back to his house, leaving Ruth alone. Christian and his friends, Marshall and Dez, watch from the side, calling off their intended robbery of Chris. They send Christian to confront Ruth about what she knows about them. He surprises her inside her home, and she crushes his windpipe in self-defense. As he staggers into the street, a bus strikes and kills him. Marshall and Dez kidnap Ruth, forcing her to take Christian's place in their heist. Ruth gains them entry into the mansion, where Meredith and Cesar are held at gunpoint and told to summon Chris. A battle ensues, during which Tony comes to Ruth's aid and is badly wounded; Cesar, Chris, and Dez are killed; and Meredith escapes. Ruth and Tony flee into the woods behind the mansion, with Marshall close behind. Ruth hides Tony under some foliage, then attacks Marshall by throwing rocks at him, and his sudden movements cause him to be bitten by a water moccasin. Panicked that she cannot find Tony on her way back, Ruth sees her grandmother's ghost point her in the correct direction. Grateful that Ruth saved her life, Meredith neglects to identify her as one of the burglars to Bendix. Ruth returns to her daily life with Tony, who survived his wounds. |
Labyrinth_1986 | tt0091369 | <script>
<scene>
<stage_direction>EXT. SKY - DAY</stage_direction>
<scene_description>A WHITE BIRD soaring . The sky is a glorious explosion of blue and mauve and lavender . The setting sun washes the clouds with a delicate pink tint . The bird swoops and spirals and we are right there with him . Then suddenly , below us , an extraordinary sight appears .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - DAY</stage_direction>
<scene_description>It is the labyrinth , an enormous maze of incredible mandala like intricacy . From our magnificent vantage point , WE ARE BARELY ABLE TO MAKE OUT its details : the twisting walls interrupted here and there by lush forest , the complex web of waterways , the forbidding castle at the core . It is vast and magical , frightening and compelling at the same time . We would love to linger , perhaps fly lower and get a better look at this wondrous place , but the bird flies on</scene_description>
</scene>
<scene>
<stage_direction>EXT. GLADE - DAY</stage_direction>
<scene_description>It is an idyllic setting , warm and inviting . The late afternoon sun washes everything with a pink glow . Between the water and a line of lush fruit trees is a flower - strewn glade . A FIGURE emerges from the trees and walks toward the water . It is a YOUNG WOMAN dressed in a flowing white dress that swirls around her in the breeze . The pink light burnishes her hair and causes a gold circlet she wears on her head to glow . She is breathtaking , a vision of innocence and grace . She stops to pick a flower and then turns suddenly as if she has heard something .</scene_description>
<character>GIRL</character>
<dialogue>Is it you?</dialogue>
<scene_description>She takes a few hurried steps and then stops , smiling shyly</scene_description>
<character>GIRL</character>
<dialogue>Your Highness!</dialogue>
<scene_description>The GIRL curtsies deeply and then looks up through lowered lashes , the shy smile still dancing on her lips . And then WE PULL BACK TO REVEAL a crown perched on a head of tight curls . WE ARE LOOKING THROUGH the crown at the girl as she rises slowly , then looks boldly at the PRINCE .</scene_description>
<character>GIRL</character>
<dialogue>Do not be swayed by my pleasure at the sight of you, my lord. For though my father, the Duke, has promised you my hand, I can not consent to be yours until the evil that stalks our land from highest hill to deepest dale is.</dialogue>
<scene_description>Suddenly the GIRL stops speaking , a look of stunned confusion on her face .</scene_description>
<character>GIRL</character>
<dialogue>from highest hill to deepest dale.</dialogue>
<parenthetical>( her brow furrows in concentration and then . )</parenthetical>
<dialogue>Damn!</dialogue>
<scene_description>She burrows one hand into the deep sleeve of her gown and pulls out a rolled - up soft - cover book . She rifles through the pages . The PRINCE is not a prince at all , but a SHEEPDOG wearing a tin foil crown . He thinks his work is over and it 's time to play and he lunges happily towards the GIRL who is n't a princess or even a duchess , but 15 - year - old SARAH . SARAH is knocked over by the playful DOG . Beneath the gown which WE CAN NOW SEE is homemade and not very grand at all , WE SEE faded jeans and running shoes .</scene_description>
<character>SARAH</character>
<dialogue>Get off me, you monster!</dialogue>
<scene_description>The DOG grabs the book out of her hand and runs away with it , hoping to be chased . SARAH does n't follow , she just sits up and pulls the grass out of her tangled hair and sighs with frustration . The DOG comes back over to SARAH , its tail wagging hopefully .</scene_description>
<character>SARAH</character>
<dialogue>If you value your mangy life, Merlin, you'll hand it over.</dialogue>
<scene_description>The DOG obediently drops the book . THE BOOK On the cover it says , _ MEANDER 'S QUEEN a play in three acts by Robin Zakar _ . SARAH reaches for it and we hear a clock tower begin to chime . SARAH leaps to her feet .</scene_description>
<character>SARAH</character>
<dialogue>Oh no, Merlin! We're really late! Why does everything have to happen to me!?</dialogue>
<scene_description>MERLIN prances around her happily , his foil crown in his mouth . SARAH pulls it out of his mouth and throws it in a nearby trash basket . He rushes after it and peers into the basket , wanting to fetch .</scene_description>
<character>SARAH</character>
<dialogue>It's all your fault, you miserable mutt!</dialogue>
<scene_description>She hikes up her dress and runs into the trees . MERLIN whimpers and tags along behind her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OTHER SIDE OF THE TREES - DAY</stage_direction>
<scene_description>SARAH comes bursting through the trees and runs down a hill toward the street . WE PULL BACK and WE CAN SEE an enormous steel mill on the other side of the river . And now WE NOTICE that the light is n't pink any more but sort of dull and hazy , and the idyllic glade is barely a suburban park , and this is just an ordinary day in a very ordinary place .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AN OLD RAMBLING HOUSE - DUSK</stage_direction>
<scene_description>SARAH runs up a path to an older , rambling house . She goes through the front door , MERLIN hot on her heels , and neither one of them sees the beautiful SNOW - WHITE BIRD that lands in a tree beside the path .</scene_description>
</scene>
<scene>
<stage_direction>INT. INSIDE THE ROUSE - EVENING</stage_direction>
<scene_description>SARAH bursts through the front door and makes a beeline for the stairs . She almost makes it . SARAH 'S MOTHER appears in the hallway .</scene_description>
<character>MOTHER</character>
<dialogue>_ Sarah _, where have you been?!</dialogue>
<scene_description>SARAH abruptly stops and changes to an elegantly graceful ascension of the stairs . SARAH -LRB- in an affected voice -RRB- : I ca n't talk to you now . I 'm in rehearsal . She continues grandly on and heads for her room .</scene_description>
<character>MOTHER</character>
<dialogue>You were supposed to be home an hour ago to baby - sit for Freddie! Do n't we at least deserve an explanation?</dialogue>
<scene_description>SARAH stops and leans over the railing . She speaks with a melodramatic solemnity .</scene_description>
<character>SARAH</character>
<dialogue>As Meander's Queen, I've been. meandering. Dither me not about explanations.</dialogue>
<scene_description>With that she turns and heads for her room . On the door is a sign that says : `` Admittance by Invitation Only . '' SARAH 'S FATHER comes into the hall .</scene_description>
<character>FATHER</character>
<dialogue>What's that all about?</dialogue>
<character>MOTHER</character>
<dialogue>It's a part in a play.</dialogue>
<parenthetical>( raising her voice . )</parenthetical>
<dialogue>but that's no reason to.</dialogue>
<scene_description>SARAH turns in her doorway . She calls down .</scene_description>
<character>SARAH</character>
<dialogue>Chasten not your Queen, _ Peasant _!</dialogue>
<scene_description>She dramatically sweeps into her room .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH slams the door and leans against it , playing the scene .</scene_description>
<character>FATHER</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>_ Sarah _, that's no way to talk to your mother!</dialogue>
<scene_description>SARAH -LRB- mumbles to herself -RRB- : She 's not my mother . SARAH takes a deep breath and closes her eyes . She can hear footsteps and SOMEONE comes to the other side of the door . SARAH ignores her STEPMOTHER and kicks off her running shoes . With a practiced gesture SARAH removes her jeans while leaving her gown in place .</scene_description>
<character>STEPMOTHER</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>_ Sarah _, when I tell you to be home at five, I expect you to be home at five.</dialogue>
<scene_description>SARAH quickly shifts to her STEPMOTHER 's attitude - hands on hips , and silently mimes her words .</scene_description>
<character>SARAH</character>
<dialogue>Yes, Madame!</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALLWAY</stage_direction>
<character>STEPMOTHER</character>
<dialogue>And do n't `` Yes Madame'' me!</dialogue>
<character>FATHER</character>
<dialogue>Is she all right?</dialogue>
<scene_description>STEPMOTHER -LRB- frustrated -RRB- : Of course she 's all right ! I left the Bernsteins ' number on the kitchen table . Freddie might be coming down with a cold so call us if he seems even the least bit uncomfortable . SARAH -LRB- VO -RRB- -LRB- sighs -RRB- : Yes , Mother .</scene_description>
<character>STEPMOTHER</character>
<dialogue>Oh! I give up!</dialogue>
<scene_description>She hurries down the stairs .</scene_description>
<character>FATHER</character>
<dialogue>We'll see you later, baby. And remember.</dialogue>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH speaks along with him , mimicking . SARAH & FATHER -LRB- VO -RRB- : Do n't open the door to strangers . We hear him leave . SARAH waits a beat and then turns and opens her bedroom door .</scene_description>
<character>SARAH</character>
<dialogue>And do n't call me baby!</dialogue>
<parenthetical>( she slams the door shut ; mimicking her parents . )</parenthetical>
<dialogue>Precious little Freddie might be coming down with a cold.</dialogue>
<scene_description>She sighs and looks around . This is really her world , her retreat , and she knows and controls every inch of it . The shelves are filled with an orderly array of childhood dolls and toys . The books are lined up neatly in the bookcase and if we could see them up close we would see that they were placed in alphabetical order - and according to the year they were acquired . She walks over to her dresser . She checks herself out in the mirror above the chest of drawers and adjusts the golden circlet which has been knocked askew by her run . She then stops for a moment and looks at the photographs on the dresser . One of her FATHER , her MOTHER and herself as a LITTLE GIRL . Another picture of her MOTHER in a newspaper clipping is taped to the mirror . The headline says , `` Linda Williams a Smash in New Play . '' A cover of a Playbill is also tacked on to the mirror . It says _ Best of Both Worlds _ starring Linda Williams . SARAH then reverently opens a music box - the kind with a twirling dancer inside - and to the strains of an unbearably tinny version of `` Greensleeves '' she begins to rehearse .</scene_description>
<character>SARAH</character>
<dialogue>Do not be swayed by my pleasure at the sight of you, my Lord.</dialogue>
<scene_description>Suddenly , something stops her cold . SARAH -LRB- yelling angrily -RRB- : Someone has been in my room ! Through the mirror WE SEE what she sees : an empty space on one of the shelves . She swirls around and rushes out the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE HALLWAY - NIGHT</stage_direction>
<scene_description>SARAH bursts out of her room .</scene_description>
<character>SARAH</character>
<dialogue>Where's Lancelot?</dialogue>
<scene_description>She stomps down the hallway .</scene_description>
<character>SARAH</character>
<dialogue>Where's my bear?!</dialogue>
</scene>
<scene>
<stage_direction>INT. NURSERY - NIGHT</stage_direction>
<scene_description>SARAH enters FREDDIE 's room . She searches the nursery .</scene_description>
<character>SARAH</character>
<dialogue>Nobody listens to a thing I say.</dialogue>
<scene_description>She opens a toy box and rifles through it .</scene_description>
<character>SARAH</character>
<dialogue>How many times have I told them to stay out of my room.</dialogue>
<scene_description>She gets to the crib and looks down . FREDDIE is wide awake , gurgling at Lancelot , SARAH 's tattered old teddy bear .</scene_description>
<character>SARAH</character>
<dialogue>And you, you can just give me back my bear!</dialogue>
<scene_description>She yanks it out of the crib and leaves . FREDDIE looks hurt and his face starts to cloud up .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH is curled up on her bed , cuddling her bear . MERLIN sits beside her . She looks at the DOG .</scene_description>
<character>SARAH</character>
<dialogue>You're the only one who understands me, Merlin.</dialogue>
<scene_description>He licks her face . She gets up and holds the bear out in front of her .</scene_description>
<character>SARAH</character>
<dialogue>Do not be swayed by my pleasure at the sight of you, my lord.</dialogue>
<scene_description>She is interrupted by FREDDIE 's cries .</scene_description>
<character>SARAH</character>
<dialogue>Go to sleep, Freddie!</dialogue>
<scene_description>The cries get louder . SARAH sighs and repeats her favorite litany .</scene_description>
<character>SARAH</character>
<dialogue>Why does everything have to happen to me?</dialogue>
</scene>
<scene>
<stage_direction>INT. NURSERY - NIGHT</stage_direction>
<scene_description>SARAH enters and approaches the howling INFANT .</scene_description>
<character>SARAH</character>
<dialogue>I do n't need this.</dialogue>
<scene_description>She pulls the blanket up over him and attempts to tuck him in .</scene_description>
<character>SARAH</character>
<dialogue>There, is n't that nice.</dialogue>
<scene_description>But FREDDIE does n't think so . He pushes the blanket off and howls even louder . SARAH sees one of his toys on the floor and picks it up and gives it to him . She speaks through gritted teeth .</scene_description>
<character>SARAH</character>
<dialogue>Want your nice toy?</dialogue>
<scene_description>But FREDDIE does n't . He flings the toy across the room . SARAH bends over the crib and speaks softly .</scene_description>
<character>SARAH</character>
<dialogue>You know, Freddie, I heard that the only thing to do with a baby who wo n't stop crying is to get some goblins to come over and teach him a lesson.</dialogue>
<scene_description>FREDDIE lowers his screams to a whimper , but a loud whimper .</scene_description>
<character>SARAH</character>
<dialogue>How would you like that, kid? A nasty evil goblin.</dialogue>
<scene_description>FREDDIE is quiet for a moment , almost as if he is considering . Then he really howls . SARAH sighs and picks him up . She begins to pace back and forth , and starts to hum . FREDDIE goes back to a mere whimper .</scene_description>
<character>SARAH</character>
<dialogue>Oh, you like that, do you?</dialogue>
<scene_description>She begins to hum even louder and more melodically as she places the BABY back into the crib . She then begins one of the moat macabre lullabies you could ever imagine . She sings of how scary the dark is , how `` the shadows on the wall like to eat you when you 're small '' and how `` a baby does n't stand a chance when the Goblins start their dance . '' She throws herself into her performance ; adding to it a wild dance that has her whirling around the room , leaping into the air , making strange shadows on the wall . Finally , the dance ends when too many crazed pirouettes result in her stumbling against FREDDIE 's dresser . She staggers a bit and then the lights blink as a crack of thunder is heard , followed by a flash of lightning . ANOTHER ANGLE Little FREDDIE is wailing . He has n't understood a thing that SARAH has sung but he can sense that something is wrong .</scene_description>
<character>SARAH</character>
<dialogue>Ah, c'mon, Freddie. It was just a song.</dialogue>
<scene_description>They are interrupted by the sound of the doorbell . SARAH reacts with a gasp of surprise . FREDDIE , for some inexplicable reason , is suddenly quiet .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - NIGHT</stage_direction>
<scene_description>SARAH approaches the front door with some trepidation . She starts to open it , then realizes what she is doing . She fastens the chain and only then opens the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT SARAH'S POV</stage_direction>
<scene_description>Through the door opening SARAH can see a very elegantly dressed , quite good - looking MAN of an indeterminate age . He has a worldly air , or is it other - worldly ? Before he can speak a flash of lightning illuminates his face . He is a mesmerizing sight and SARAH ca n't help but gawk .</scene_description>
<character>MAN</character>
<dialogue>Excuse me, is this the home of Sarah Williams. Sarah Williams, the actress?</dialogue>
<scene_description>SARAH 's jaw drops .</scene_description>
<character>SARAH</character>
<dialogue>That's me.</dialogue>
<character>MAN</character>
<dialogue>Allow me to introduce myself.</dialogue>
<parenthetical>( he holds out his hand . )</parenthetical>
<dialogue>I'm Robin Zaker.</dialogue>
<scene_description>SARAH squeals with delight .</scene_description>
<character>SARAH</character>
<dialogue>You wrote the play!</dialogue>
<scene_description>He smiles .</scene_description>
<character>SARAH</character>
<dialogue>Just a second.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOYER - NIGHT</stage_direction>
<scene_description>SARAH 's hand hesitates over the chain for just a moment , and then she unfastens it and opens the door . ZAKAR enters and extends his hand .</scene_description>
<character>ZAKAR</character>
<dialogue>It is an honour, Miss Williams. I understand you make a delightful Queen Meander.</dialogue>
<character>SARAH</character>
<dialogue>Well, we've just started rehearsal, but how did you know?</dialogue>
<character>ZAKAR</character>
<dialogue>I was passing through this part of the country and heard that it was going to be done here. This is the first amateur production of the play, which of course is delightful for me.</dialogue>
<character>SARAH</character>
<dialogue>You know we were supposed to open tonight, but we got delayed. The firemen had to use the hall.</dialogue>
<character>ZAKAR</character>
<dialogue>Yes, I know, that's why I wanted to stop by to see you.</dialogue>
<scene_description>They are interrupted by a particularly loud crash from upstairs . And then FREDDIE begins to howl .</scene_description>
<character>SARAH</character>
<dialogue>That's my brother.</dialogue>
<scene_description>There is another crash and SARAH starts up the stairs .</scene_description>
<character>SARAH</character>
<dialogue>I'll be right back!</dialogue>
<scene_description>ZAKAR watches her run up the stairs . He glances around and then walks right to the liquor cabinet and takes out a bottle .</scene_description>
</scene>
<scene>
<stage_direction>INT. NURSERY - NIGHT</stage_direction>
<scene_description>FREDDIE in standing in his crib crying his eyes out . SARAH rushes in and sees that the storm has blown open the basement window and it is crashing against the wall . She rushes to close it . FREDDIE 's screams are piteous .</scene_description>
<character>SARAH</character>
<dialogue>Oh, Freddie.</dialogue>
<scene_description>There is more thunder , and then lightning flashes across the darkened room .</scene_description>
<character>ZAKAR</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Perhaps I can soothe him.</dialogue>
<scene_description>SARAH gasps and whirls around . ZAKAR is framed in the doorway . He has a drink in his hand . SARAH holds the BABY close .</scene_description>
<character>SARAH</character>
<dialogue>You should n't be up here!</dialogue>
<scene_description>ZAKAR -LRB- smoothly -RRB- : I just wanted to help . SARAH rushes by him , still clutching the BABY .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>SARAH comes out of the nursery and hurries down the stairs . ZAKAR follows . FREDDIE is still crying .</scene_description>
<character>SARAH</character>
<dialogue>Maybe you'd better leave.</dialogue>
<scene_description>She gets to the bottom of the stairs . FREDDIE whimpers . ZAKAR is making her very nervous .</scene_description>
<character>SARAH</character>
<dialogue>I, uh, do n't think I care to talk to you about the play.</dialogue>
<scene_description>He is right behind her , almost too close .</scene_description>
<character>ZAKAR</character>
<dialogue>Neither do I.</dialogue>
<scene_description>SARAH is shocked and disturbed by this .</scene_description>
<character>SARAH</character>
<dialogue>What!</dialogue>
<scene_description>ZAKAR reaches over and smoothes FREDDIE 's hair .</scene_description>
<character>ZAKAR</character>
<dialogue>I'm more concerned about the baby, of course.</dialogue>
<scene_description>SARAH pulls FREDDIE out of his reach .</scene_description>
<character>SARAH</character>
<dialogue>Freddie's just fine.</dialogue>
<scene_description>But he is n't . He 's still crying . ZAKAR reaches into his pocket and pulls out a coin . Be runs it over his fingers right in front of FREDDIE 's face . The BABY stops crying .</scene_description>
<character>ZAKAR</character>
<dialogue>There, is n't that better?</dialogue>
<scene_description>SARAH -LRB- nervously -RRB- : Uh , sure . but you really have to leave . ZAKAR ignores her and heads into the living room .</scene_description>
<character>ZAKAR</character>
<dialogue>I'm not just a playwright, as you can see. bring him in here and I'll do some other tricks for him.</dialogue>
<character>SARAH</character>
<dialogue>No! You've got to.</dialogue>
<scene_description>But he is already in the living room . She follows , still holding the BABY .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>ZAKAR is sitting on the sofa , looking very comfortable . SARAH stands in the doorway , not sure what to do . Reluctantly , she goes and sits down across from him .</scene_description>
<character>ZAKAR</character>
<dialogue>Now watch this, Freddie.</dialogue>
<scene_description>He reaches into his breast pocket and tugs on the handkerchief there . It comes out followed by many others , all different colours . SARAH rolls her eyes . This is not that exciting a trick . FREDDIE is n't impressed , either . In fact he starts to cry again .</scene_description>
<character>ZAKAR</character>
<dialogue>So you're going to be like that, are you, Freddie? Well, you know what that means?</dialogue>
<scene_description>He leans across the table and SARAH pulls the BABY closer .</scene_description>
<character>ZAKAR</character>
<dialogue>It's time to call the goblins!</dialogue>
<character>SARAH</character>
<dialogue>What?!</dialogue>
<scene_description>SARAH is surprised to hear this , to say the least . It echoes her silly threat to FREDDIE earlier .</scene_description>
<character>ZAKAR</character>
<dialogue>Yes. That's what we do with bad babies. we send for the goblins!</dialogue>
<scene_description>And with that he reaches into yet another pocket and pulls out a poorly made , very silly - looking goblin hand puppet . SARAH laughs with relief . ZAKAR , his hand in the puppet , talks in a high - pitched , unconvincing goblin voice .</scene_description>
<character>ZAKAR</character>
<dialogue>You like goblins, do n't ` cha, Freddie?</dialogue>
<parenthetical>( singsong . )</parenthetical>
<dialogue>but I bet your sister does n't.</dialogue>
<scene_description>SARAH rolls her eyes at this , and then gasps . Because for one very strange moment , the puppet keeps bouncing , but both of ZAKAR 's hands are visible ! And then the puppet seems to move away from the table , and disappear ! FREDDIE claps his hands with delight . SARAH jumps out of her chair .</scene_description>
<character>SARAH</character>
<dialogue>Where is it?!</dialogue>
<scene_description>ZAKAR points to a large cabinet against the wall .</scene_description>
<character>ZAKAR</character>
<dialogue>It's in there.</dialogue>
<character>SARAH</character>
<dialogue>Impossible!</dialogue>
<character>ZAKAR</character>
<dialogue>See for yourself.</dialogue>
<scene_description>SARAH hesitates for a moment , and then places FREDDIE carefully on the rug . She then marches over to the cabinet and throws open the door . ANOTHER ANGLE the puppet , grinning wildly from inside the cabinet . ANOTHER ANGLE SARAH gasps and involuntarily slams the door . She whirls around to face ZAKAR .</scene_description>
<character>SARAH</character>
<dialogue>How did you do that?!</dialogue>
<scene_description>ZAKAR leans back into the sofa .</scene_description>
<character>ZAKAR</character>
<dialogue>Magic.</dialogue>
<character>SARAH</character>
<dialogue>Oh sure.</dialogue>
<scene_description>She nods , skeptically . She ca n't see - but WE CAN DEFINITELY SEE - the cabinet door slowly open behind her , and out of it comes a tiny , fierce - looking GOBLIN ! This is not a puppet , but a living creature that moves quickly out of sight with an exaggerated tiptoe . SARAH is busy with another problem . She does n't see FREDDIE !</scene_description>
<character>SARAH</character>
<dialogue>Where's Freddie?!</dialogue>
<scene_description>ZAKAR shrugs . In a panic , SARAH begins to look around this room . She calls for FREDDIE and , as she passes in front of the living room doorway , WE CAN SEE something scurry across the hallway . SARAH stops and listens .</scene_description>
<character>SARAH</character>
<dialogue>Freddie?</dialogue>
<scene_description>But it was n't a BABY she heard . Behind her there is more scurrying as CREATURES begin to appear from various parts of the room . We hear faint snickering . She turns to ZAKAR , terrified .</scene_description>
<character>SARAH</character>
<dialogue>Where is he?!</dialogue>
<scene_description>ZAKAR points to the chair SARAH was sitting in . She is behind the chair and ca n't see anything . But when she comes around in front of it she sees FREDDIE comfortably ensconced in the cushions . And he 's playing with the goblin puppet ! SARAH reaches over and grabs the puppet out of his hands . She flings it across the room and scoops up the BABY .</scene_description>
<character>SARAH</character>
<dialogue>Who are you?!</dialogue>
<scene_description>ZAKAR throws back his head and laughs , then suddenly leaps off the sofa and lands very close to her .</scene_description>
<character>ZAKAR</character>
<dialogue>I've been known by many names. but the one I prefer is _ Jareth, King of the Goblins _!</dialogue>
<scene_description>SARAH holds FREDDIE close and backs away .</scene_description>
<character>SARAH</character>
<dialogue>I do n't believe this!</dialogue>
<scene_description>Amidst thunder and lightning JARETH flings his arms up into the air , and he is suddenly dressed in strange , medieval garb , a cloak swirling around him . And what 's worse , much , much worse , is that suddenly GOBLINS are everywhere ! Popping out of drawers , from under chairs , swinging off the chandeliers . SARAH turns and runs out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER - NIGHT</stage_direction>
<scene_description>It 's worse in here ! The GOBLINS are pouring down the stairs , SOME slide down the bannister ! SARAH tries running into another room , but is soon back , followed by a DOZEN MORE ! She barely makes it to the front door and struggles to open it with the BABY in her arms . The GOBLINS pull her back and laugh wildly . They fling her right into JARETH 's arms . He scoops FREDDIE up and whirls away from her . SARAH tries to grab the BABY back but the GOBLINS get between them . SARAH -LRB- hysterical -RRB- : Give him back , you monster ! Give him back ! JARETH only laughs and starts to swirl gracefully . FREDDIE laughs with delight and SARAH struggles to reach him . With a superhuman effort she pushes through the MASS OF CREATURES and grabs onto JARETH 's fluttering cloak . It 's like being caught up in a whirlwind of incredible force . SARAH -LRB- screaming -RRB- : I . wo n't . let . you . take . him ! But it 's too late . SARAH 's feet leave the ground and she is pulled with them and the whole MASS OF GOBLINS . JARETH and FREDDIE swirl up through where the ceiling would have been , up into the blackness . There 's a QUICK MONTAGE OF SHOTS : JARETH 's laughing face ; SARAH , desperate as her fingers are losing their grip ; FREDDIE , who 's having a great time ; GOBLINS , ALL gleeful ; then - JARETH 's garment pulls out of SARAH 's grip . She falls OUT OF FRAME , a silent scream on her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - DAY A WIDE PEACEFUL SHOT</stage_direction>
<scene_description>The sky is pink , and the WHITE BIRD swoops by us as WE TILT DOWN TO SEE the exterior wall of the labyrinth . It is a high masonry wall that extends off in either direction . Along the wall are various ornamental bushes and there is a small figure of a dwarf , his back to us , peeing into a tiny pond . It looks for all the world like one of those ornamental garden sculptures . But it is n't . This is HOGGLE . In a CLOSER SHOT , which is quite discreet , HOGGLE finishes peeing , and goes over to a particularly lush shrub . A few butterfly - like creatures , flower fairies , flit around the bushes .</scene_description>
<character>HOGGLE</character>
<dialogue>An' how's me pride an' joy!</dialogue>
<scene_description>He leans forward to sniff one of the magnificent blossoms , sighing with pleasure as he does . But before he can indulge he is stopped by the whistling sound of a falling object . SARAH falls from the sky and lands right on his prize shrub ! Incensed , he screams with fury .</scene_description>
<character>HOGGLE</character>
<dialogue>What is this? Look what you done! You murderer!</dialogue>
<scene_description>SARAH struggles out of the broken shrub .</scene_description>
<character>SARAH</character>
<dialogue>What are you saying, you horrible little man?!</dialogue>
<character>HOGGLE</character>
<dialogue>I ai n't horrible, I'm _ Hoggle _. And just look! You've destroyed me prize blossoms!</dialogue>
<scene_description>He realizes the extent of the damage to his prize specimen .</scene_description>
<character>HOGGLE</character>
<dialogue>I'll get ya for it, you big oaf!</dialogue>
<scene_description>And he picks up a spray can and goes after SARAH . But she 's had enough . After the nightmarish kidnapping of FREDDIE and a drop from the deepest space , this guy is child 's play . She reaches out and pulls the can from HOGGLE 's hands . She then grabs him by the shirt - front and practically lifts him off the ground .</scene_description>
<character>SARAH</character>
<dialogue>Oh no you do n't! If anyone's getting anything around here, it's me. now where' my brother?!</dialogue>
<character>HOGGLE</character>
<dialogue>I ai n't sayin' nothin''til ye let me go!</dialogue>
<scene_description>SARAH sighs and lets go .</scene_description>
<character>SARAH</character>
<dialogue>I'm sorry. But this just has n't been my day.</dialogue>
<scene_description>HOGGLE looks at his crushed shrub again .</scene_description>
<character>HOGGLE</character>
<dialogue>Ye ai n't the only one.</dialogue>
<scene_description>SARAH ignores him and stares at the massive wall behind them .</scene_description>
<character>SARAH</character>
<dialogue>And I do n't understand any of this!</dialogue>
<scene_description>HOGGLE shakes his head and sighs .</scene_description>
<character>HOGGLE</character>
<dialogue>Now where have I heard that before.</dialogue>
<character>SARAH</character>
<dialogue>What do you mean?</dialogue>
<character>HOGGLE</character>
<dialogue>I mean, everyone who comes here thinkin' they can make it through the labyrinth says sumthin' like.</dialogue>
<parenthetical>( mimicking Sarah in a whiny , high pitch . )</parenthetical>
<dialogue>. I do n't understand this, whatever am I doing here, how will I ever get home.</dialogue>
<character>SARAH</character>
<dialogue>What makes you think I'm here to get through a labyrinth?</dialogue>
<scene_description>HOGGLE shakes his head again .</scene_description>
<character>HOGGLE</character>
<dialogue>Ca n't think of any reason why you'd be standin' here in front o' this gate if you were n't.</dialogue>
<scene_description>SARAH does n't understand what he is talking about but when she looks up she ca n't believe her eyes . ANOTHER ANGLE A huge gate where just a moment ago there nothing but smooth , endless wall . SARAH gulps in disbelief . Then the huge wooden doors fly open and a terrified CREATURE runs out , full speed , screaming for his life . Right behind him come TWO MENACING GOBLINS riding on strange BEASTS . They are armed and dangerous looking . They quickly catch up with the CREATURE and drag him , screaming piteously , back through the gate . Before the gates close SARAH can see MORE GOBLINS , what seems like hundreds of them . SOME are mounted , MOST of them are armed . And beyond them a walled passageway seems to go on forever . Then the wooden doors slam shut .</scene_description>
<character>SARAH</character>
<dialogue>Oh, no! Not more goblins!</dialogue>
<character>HOGGLE</character>
<dialogue>That's Jareth's goblin army, and that other poor fool musta been caught meanderin' where he had no business.</dialogue>
<character>SARAH</character>
<dialogue>What will they do to him?</dialogue>
<character>HOGGLE</character>
<dialogue>I do n't like to think about things like that.</dialogue>
<scene_description>SARAH shudders .</scene_description>
<character>SARAH</character>
<dialogue>I wonder if things can get any worse?</dialogue>
<scene_description>HOGGLE sighs knowingly .</scene_description>
<character>HOGGLE</character>
<dialogue>He's taken sumthin' o' yours, ai n't he?</dialogue>
<scene_description>SARAH is clearly surprised .</scene_description>
<character>HOGGLE</character>
<dialogue>Jareth, our high an' mighty king.</dialogue>
<scene_description>SARAH nods , excited that someone has a grasp of the situation .</scene_description>
<character>HOGGLE</character>
<dialogue>Bet he's gone and taken sumthin' you love.</dialogue>
<scene_description>SARAH -LRB- shrugging -RRB- : Close . He 's got my baby brother . HOGGLE laughs derisively .</scene_description>
<character>HOGGLE</character>
<dialogue>Baby snatchin'! That's low.</dialogue>
<character>SARAH</character>
<dialogue>So I've just got to do something!</dialogue>
<character>HOGGLE</character>
<dialogue>Like what?</dialogue>
<character>SARAH</character>
<dialogue>Get Freddie back, of course!</dialogue>
<character>HOGGLE</character>
<dialogue>Then ya'd have ta make it through the labyrinth,'cause Jareth's castle is at its very center.</dialogue>
<scene_description>SARAH looks at the gates and gulps .</scene_description>
<character>SARAH</character>
<dialogue>Is it difficult?</dialogue>
<scene_description>HOGGLE snorts with derision .</scene_description>
<character>HOGGLE</character>
<dialogue>Is me prize shrub crushed into oblivion?</dialogue>
<scene_description>SARAH is reaching the breaking point .</scene_description>
<character>SARAH</character>
<dialogue>Look, I'm sorry about your bush! But it's not like I asked to have some weirdo come and take my baby brother and then drop me out of the sky!</dialogue>
<character>HOGGLE</character>
<dialogue>Well, I did n't ask for some overgrown flower fairy to drop on me prized possession, neither!</dialogue>
<character>SARAH</character>
<dialogue>Oh, this is ridiculous!</dialogue>
<scene_description>And she stalks off to the gate , mumbling all the way . SARAH -LRB- to herself -RRB- : . standing here wasting time talking to some weird guy who should be living under a bridge . She is almost at the gate when she freezes with fear . Through the gate she can hear the cheers and jeers of the GOBLINS , and what might be the wailing of their poor CAPTIVE . There 's no way she wants to risk facing that horrific CREW . HOGGLE has come up behind her and as she backs away from the gate she bumps into him . She shrieks and whirls around .</scene_description>
<character>HOGGLE</character>
<dialogue>That ai n't the only way in, ya know!</dialogue>
<scene_description>SARAH is very relieved to hear this .</scene_description>
<character>SARAH</character>
<dialogue>It's not?!</dialogue>
<character>HOGGLE</character>
<dialogue>Course it ai n't. There's many a route in. just only one way out.</dialogue>
<character>SARAH</character>
<dialogue>Well show me one! I've got to find my brother!</dialogue>
<scene_description>HOGGLE sighs impatiently . Be fingers a belt that he wears , rattling it in an obvious manner . It in hung with every kind of watch and bracelet and ring you can imagine .</scene_description>
<character>HOGGLE</character>
<dialogue>Information like that has a price.</dialogue>
<scene_description>SARAH , taken aback by the amount of loot he 's acquired .</scene_description>
<character>SARAH</character>
<dialogue>I could give you this.</dialogue>
<scene_description>She takes the gold circlet off her head . HOGGLE is n't interested .</scene_description>
<character>HOGGLE</character>
<dialogue>I had sumthin' o' this caliber in mind.</dialogue>
<scene_description>He takes her hand and WE SEE that she is wearing a beautiful ruby ring . SARAH shakes her head vehemently .</scene_description>
<character>SARAH</character>
<dialogue>No. My mother gave me that.</dialogue>
<scene_description>HOGGLE eyes it greedily .</scene_description>
<character>HOGGLE</character>
<dialogue>She could give ya another.</dialogue>
<character>SARAH</character>
<dialogue>No, she could n't.</dialogue>
<parenthetical>( sadness crosses her face suddenly . )</parenthetical>
<dialogue>She lives real far away.</dialogue>
<scene_description>The sadness disappears just as suddenly . She holds out the circlet .</scene_description>
<character>SARAH</character>
<dialogue>This is all you get.</dialogue>
<scene_description>He grabs the circlet and bites it .</scene_description>
<character>HOGGLE</character>
<dialogue>Bah! It's paste!</dialogue>
<scene_description>Something catches SARAH 's eye . It is one of the tiny FLOWER FAIRIES . She leans over for a better look .</scene_description>
<character>SARAH</character>
<dialogue>No it's not, it's plastic.</dialogue>
<scene_description>HOGGLE 's eyes light up at that and he grunts with satisfaction as he strings the circlet onto his belt . SARAH reaches out her hand to the FAIRY .</scene_description>
<character>SARAH</character>
<dialogue>What a beautiful little thing.</dialogue>
<scene_description>HOGGLE reaches for the spray can .</scene_description>
<character>HOGGLE</character>
<dialogue>Let me at it!</dialogue>
<scene_description>SARAH is enraged .</scene_description>
<character>SARAH</character>
<dialogue>You murderer! How can you kill such beautiful creatures?!</dialogue>
<scene_description>Just then the FAIRY gives SARAH a vicious bite . She shakes it off her hand and cries out in pain .</scene_description>
<character>SARAH</character>
<dialogue>It bit me!</dialogue>
<scene_description>HOGGLE quickly sprays the offending FAIRY and it falls to the earth , screaming all the way .</scene_description>
<character>HOGGLE</character>
<dialogue>Of course it bit ya! There's nuthin' more vicious than a flower fairy. Any fool knows that!</dialogue>
<scene_description>SARAH sucks on her wounded hand and tries not to cry . HOGGLE -LRB- sighs -RRB- : But you do n't know nuthin ' , do ya ? A tear trickles down SARAH 's cheek . HOGGLE sighs .</scene_description>
<character>HOGGLE</character>
<dialogue>I got a feelin' I'm gon na regret this.</dialogue>
<parenthetical>( he stalks off . )</parenthetical>
<dialogue>Come with me an' I'll show ya a way in.</dialogue>
<scene_description>SARAH hurries after him . As they walk along the endless wall HOGGLE looks at the circlet and polishes it on his sleeve . HOGGLE -LRB- thrilled -RRB- : Plastic !</scene_description>
</scene>
<scene>
<stage_direction>EXT. LABYRINTH - DAY</stage_direction>
<scene_description>Another part of the wall . HOGGLE pushes a bush aside and shows SARAH a tiny door . She looks at it dubiously .</scene_description>
<character>HOGGLE</character>
<dialogue>This'll take ya into the maze, that's the first part of the labyrinth.</dialogue>
<character>SARAH</character>
<dialogue>The first part! What comes after that?</dialogue>
<scene_description>HOGGLE gets down on his knees and starts to crawl through the door .</scene_description>
<character>HOGGLE</character>
<dialogue>Then there's the Garden Maze, then the Forbidden Forest.</dialogue>
<character>SARAH</character>
<dialogue>That sounds inviting.</dialogue>
<scene_description>He is through the door . He is still talking but SARAH ca n't hear him . She quickly tries to follow .</scene_description>
<character>SARAH</character>
<dialogue>Wait! Wait! I ca n't hear you.</dialogue>
</scene>
<scene>
<stage_direction>INT. LABYRINTH - DAY</stage_direction>
<scene_description>HOGGLE is through the door .</scene_description>
<character>HOGGLE</character>
<dialogue>then comes the castle.</dialogue>
<scene_description>SARAH 's head appears .</scene_description>
<character>HOGGLE</character>
<dialogue>that's surely where Jareth's keepin' the babe.</dialogue>
<scene_description>He looks down at SARAH , she is through the door to her waist and straining to get the rest of herself through . HOGGLE sighs and grabs her hand . With a groan he tugs on her and pulls her through the doorway . She lands flat on her face .</scene_description>
<character>HOGGLE</character>
<dialogue>Ya do n't seem ta be able ta do nuthin' without my help, do ya?</dialogue>
<scene_description>He chuckles and SARAH gives him a look that could kill as she gets up and dusts herself off . She looks around and the environment seems rather benign . The brick walls are open to the sky , here and there a flower peeks through a crack .</scene_description>
<character>SARAH</character>
<dialogue>Oh, I think I can handle it. In fact, this place does n't seem so bad at all.</dialogue>
<scene_description>And with that , she jauntily heads down the nearest corridor .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 1 - DAY</stage_direction>
<scene_description>SARAH turns a corner and comes face to face with a FACE . It is huge and grotesque and protrudes out of the wall .</scene_description>
<character>FACE</character>
<dialogue>Go back! Go back before it's too late!</dialogue>
<scene_description>SARAH screams and backs away from it , moving further down the corridor . She backs into something and whirls around . It is ANOTHER FACE .</scene_description>
<character>FACE 2</character>
<dialogue>Turn back while you still can!</dialogue>
<scene_description>SARAH turns and runs back the way she came .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle!</dialogue>
</scene>
<scene>
<stage_direction>INT. LABYRINTH - DAY</stage_direction>
<scene_description>HOGGLE is still standing by the door , an amused smile on his face . SARAH comes rushing toward him .</scene_description>
<character>SARAH</character>
<dialogue>Oh, I'm so glad you're still here! They were horrible.</dialogue>
<character>HOGGLE</character>
<dialogue>You do n't mean the False Alarms, do ya?</dialogue>
<scene_description>He shakes his head and goes off in the direction that SARAH just came from .</scene_description>
<character>HOGGLE</character>
<dialogue>If ya gon na let a little thing like them scare ya, Missy, ya have n't a hope o' makin' it to the castle.</dialogue>
<scene_description>SARAH quickly follows .</scene_description>
<character>SARAH</character>
<dialogue>False Alarms?</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 1 - DAY</stage_direction>
<scene_description>The corridor of faces . HOGGLE enters and the FACES start in on their routine . SARAH comes up behind him , shuddering at the ghastly sight .</scene_description>
<character>FACE 1</character>
<dialogue>This is the path of no return!</dialogue>
<character>FACE 2</character>
<dialogue>Beware! Beware!</dialogue>
<character>HOGGLE</character>
<dialogue>Just ignore'em.</dialogue>
<character>SARAH</character>
<dialogue>Are you sure?</dialogue>
<scene_description>HOGGLE sighs and turns to the NEXT FACE .</scene_description>
<character>FACE 3</character>
<dialogue>Abandon all hope.</dialogue>
<character>HOGGLE</character>
<dialogue>Oh, shut up, will ya?</dialogue>
<scene_description>SARAH is wide - eyed at HOGGLE 's defiance .</scene_description>
<character>FACE 3</character>
<dialogue>But I was just getting to the best part!</dialogue>
<character>HOGGLE</character>
<dialogue>All right. But do n't expect us to pay any attention.</dialogue>
<scene_description>FACE 3 -LRB- winks at Sarah -RRB- : You 're going to love this . Abandon all hope ye who enter here , for this is the road to destruction ! HOGGLE -LRB- bored -RRB- : Very nice . SARAH is dumbstruck . HOGGLE takes her hand and yanks her along .</scene_description>
<character>FACE 3</character>
<dialogue>Come back any time. I mean, you're doomed, doomed!</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 2 - DAY</stage_direction>
<scene_description>HOGGLE and SARAH continuing down a similar corridor .</scene_description>
<character>HOGGLE</character>
<dialogue>Ya see, things are n't always what they appear to be around here, Missy.</dialogue>
<scene_description>SARAH -LRB- shrugging -RRB- : Whatever . All I 'm interested in is getting my brother back from that creep . She starts to look around for something .</scene_description>
<character>HOGGLE</character>
<dialogue>I admire yer determination, but it takes more'n that to beat Jareth.</dialogue>
<scene_description>SARAH picks up a rock .</scene_description>
<character>SARAH</character>
<dialogue>Well, maybe I'm beginning to get the hang of this labyrinth business.</dialogue>
<scene_description>She takes the rock and uses it to mark an X on the floor .</scene_description>
<character>SARAH</character>
<dialogue>See, now I'll know which way we came in case I get lost.</dialogue>
<scene_description>HOGGLE -LRB- sighs -RRB- : Missy , goin ' back the way ya came is par fer the course around here , what ya want to do is go forward .</scene_description>
<character>SARAH</character>
<dialogue>Look, Hoggle! I've got to find Freddie and I do n't need you to discourage me!</dialogue>
<character>HOGGLE</character>
<dialogue>And I do n't need to be wastin' me time goin' around in circles with you!</dialogue>
<character>SARAH</character>
<dialogue>That's fine with me!</dialogue>
<parenthetical>( she starts off . )</parenthetical>
<dialogue>I know you're only after my ring, anyway!</dialogue>
<scene_description>She turns a corner and HOGGLE looks after her , hurt and pity crossing his face . He takes a few steps in her direction and an officious little creature , a BRICKKEEPER , emerges from the brickwork of the floor , takes out the cobblestone that SARAH marked , and replaces it with the marked side hidden . It looks up at HOGGLE .</scene_description>
<character>BRICKKEEPER</character>
<dialogue>Some people got no respect for property!</dialogue>
<scene_description>HOGGLE sticks his tongue out at the CREATURE just as it goes back into its hole .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL SHOT - DAY</stage_direction>
<scene_description>The WHITE BIRD flies over the maze and WE SEE SARAH marching along . She thinks she 's going forward but she 's heading right for HOGGLE .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 2 - DAY</stage_direction>
<scene_description>SARAH emerges into the corridor and comes face to face with HOGGLE .</scene_description>
<character>SARAH</character>
<dialogue>But.</dialogue>
<scene_description>She whirls around to look behind her , then back at HOGGLE again .</scene_description>
<character>SARAH</character>
<dialogue>but you were just behind me! I'm sure of it!</dialogue>
<scene_description>HOGGLE shakes his head as she runs by him and looks down at the floor .</scene_description>
<character>SARAH</character>
<dialogue>My mark! It was right here!</dialogue>
<scene_description>HOGGLE comes up beside her .</scene_description>
<character>HOGGLE</character>
<dialogue>I told ya, Missy. Things are n't what they appear to be around here.</dialogue>
<character>JARETH</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Except when they are.</dialogue>
<scene_description>ANOTHER ANGLE JARETH , in all his glory . SARAH and HOGGLE whirl around and BOTH gasp with surprise and fear .</scene_description>
<character>JARETH</character>
<dialogue>We meet again. Sarah.</dialogue>
<character>SARAH</character>
<dialogue>Where's Freddie?! What have you done with him!?</dialogue>
<scene_description>She starts to rush toward JARETH but HOGGLE holds her back .</scene_description>
<character>JARETH</character>
<dialogue>Nothing. yet.</dialogue>
<scene_description>He walks toward them and they automatically step backwards . He looks down at HOGGLE .</scene_description>
<character>JARETH</character>
<dialogue>And what have we here. Hoghead, is n't it?</dialogue>
<scene_description>HOGGLE is humiliated .</scene_description>
<character>HOGGLE</character>
<dialogue>Me name's Hoggle.</dialogue>
<character>JARETH</character>
<dialogue>Ah, yes. Now I remember.</dialogue>
<parenthetical>( he moves closer to Hoggle . )</parenthetical>
<dialogue>You're the greedy little coward who lives outside the gate. Should n't you be back there minding your own business. Hedgehog?</dialogue>
<scene_description>He chucks HOGGLE under the chin , and is quite rough about it . HOGGLE fumes silently . SARAH does n't like this .</scene_description>
<character>SARAH</character>
<dialogue>Why, why do n't you pick on someone your own size?</dialogue>
<scene_description>He looks her up and down .</scene_description>
<character>JARETH</character>
<dialogue>Whom did you have in mind?</dialogue>
<scene_description>SARAH tries to brazen it out .</scene_description>
<character>SARAH</character>
<dialogue>I do n't have time for any games. I want Freddie, and I want him now!</dialogue>
<scene_description>JARETH throws back his head and laughs .</scene_description>
<character>JARETH</character>
<dialogue>Ah, Freddie. An adorable little imp. I'm really growing rather fond of him.</dialogue>
<character>SARAH</character>
<dialogue>Where is he?!</dialogue>
<character>JARETH</character>
<dialogue>He's in my castle, and seems to be enjoying himself immensely.</dialogue>
<scene_description>He ambles toward them and they ca n't help themselves , they BOTH step backwards .</scene_description>
<character>JARETH</character>
<dialogue>In fact, he likes being with goblins so much, I'm considering turning him into one.</dialogue>
<scene_description>SARAH thinks this is crazy .</scene_description>
<character>SARAH</character>
<dialogue>You ca n't do that!</dialogue>
<scene_description>JARETH -LRB- grinning -RRB- : Oh yes I can . SARAH looks down at HOGGLE and speaks under her breath .</scene_description>
<character>SARAH</character>
<dialogue>Can he?</dialogue>
<scene_description>HOGGLE nods glumly .</scene_description>
<character>JARETH</character>
<dialogue>But let's make it interesting. I wo n't do it for. thirteen hours. If you make it to the castle before then you might be able to save him. If not, well, I think little Freddie will mike an adorable goblin prince, do n't you?</dialogue>
<scene_description>He laughs and holds up both hands and WE SEE that they are empty . He then closes them and when he opens them again there is a gold watch in one hand . He throws it to SARAH , but HOGGLE intercepts it and eyes it greedily . Annoyed , SARAH snatches it out of his hand . She looks at it and sees that it has 13 hours marked on it . When she looks up again , JARETH is gone .</scene_description>
<character>WORM</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Well, good riddance to bad rubbish!</dialogue>
<scene_description>SARAH and HOGGLE BOTH jump and then look at where the voice is coming from . It is a little WORM , poking its head out of a hole in the brickwork .</scene_description>
<character>WORM</character>
<dialogue>That's what the missus always says, she does. Why the last time she found that one around here she sent him packing.</dialogue>
<character>SARAH</character>
<dialogue>Jareth?!</dialogue>
<character>WORM</character>
<dialogue>She do n't take to his kind of nonsense, that's for sure. Now, how about a nice cup of tea? The missus has a kettle on.</dialogue>
<scene_description>SARAH looks down at HOGGLE , who shrugs . She then looks up at the WORM and gives him a beaming smile .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 2 - DAY</stage_direction>
<scene_description>SARAH and HOGGLE are sitting on the floor .</scene_description>
<character>SARAH</character>
<dialogue>Do you think Jareth will give Freddie back if I make it on time?</dialogue>
<character>HOGGLE</character>
<dialogue>It's hard to say, Missy. But if I were you, I'd worry ` bout first things first.</dialogue>
<character>SARAH</character>
<dialogue>What do you mean?</dialogue>
<character>HOGGLE</character>
<dialogue>I means ya got ta find the castle before ya can go savin' the babe and I mean ta see that ya do!</dialogue>
<scene_description>SARAH is thrilled and leans over and gives him a kiss on the cheek .</scene_description>
<character>SARAH</character>
<dialogue>Oh, Hoggle! Thank you, thank you so much!</dialogue>
<scene_description>HOGGLE gets all flustered and tries to act gruff .</scene_description>
<character>HOGGLE</character>
<dialogue>Seems to me I could be gettin' that ring from ya after all if I plays me cards right.</dialogue>
<scene_description>SARAH regards him affectionately .</scene_description>
<character>SARAH</character>
<dialogue>I know you do n't mean that. You're helping me because you're really nice.</dialogue>
<character>HOGGLE</character>
<dialogue>I ai n't nice! I just likes the way ya stood up ta him is all.</dialogue>
<parenthetical>( he is thoughtful for a moment ; almost to himself . )</parenthetical>
<dialogue>Too bad more've us have n't had the guts to do the same.</dialogue>
<scene_description>The WORM reappears .</scene_description>
<character>WORM</character>
<dialogue>How about a biscuit? The missus just took a fresh batch out of the oven.</dialogue>
<character>SARAH</character>
<dialogue>Thanks, but we really do n't have any time. We've got to get to the castle.</dialogue>
<character>HOGGLE</character>
<dialogue>Ya would n't happen to know a shortcut, would ya?</dialogue>
<character>WORM</character>
<dialogue>Well, you might try taking that first left.</dialogue>
<scene_description>SARAH and HOGGLE look down the corridor .</scene_description>
<character>SARAH</character>
<dialogue>But there is n't any left turn.</dialogue>
<scene_description>Just then a strange FIGURE seems to come through the left wall and walks toward them . He is dressed in long flowing robes and wears a hat shaped like a bird .</scene_description>
<character>WORM</character>
<dialogue>See, there's a left turn right there, where that Wise One just came in.</dialogue>
<character>SARAH</character>
<dialogue>A Wise One! Maybe he knows the best way to the castle!</dialogue>
<character>HOGGLE</character>
<dialogue>I would n't bet on it.</dialogue>
<scene_description>But SARAH is excited about the possibility of getting more help .</scene_description>
<character>SARAH</character>
<dialogue>Excuse me, Sir. Could you tell us the best way to get to the castle?</dialogue>
<character>WISE ONE</character>
<dialogue>The best way to the castle, hmmm. I'm glad you asked that question.</dialogue>
<scene_description>To SARAH 's and HOGGLE 's surprise , the HAT joins into the conversation .</scene_description>
<character>HAT</character>
<dialogue>Now you've done it, gone and asked him a question. We'll be here all day!</dialogue>
<character>WISE ONE</character>
<dialogue>A castle, or fortress, or as it is sometimes known, a stronghold or citadel - or, that which has a turret and barbican, but usually not a portcullis.</dialogue>
<character>HAT</character>
<dialogue>What did I tell you? There's no stopping him now.</dialogue>
<character>WISE ONE</character>
<dialogue>often there is a rampart or bulwark, and then a parapet - perchance an actual vallum or counterscarp.</dialogue>
<character>HAT</character>
<dialogue>Shut up down there!</dialogue>
<character>WISE ONE</character>
<dialogue>and for entrenchment ; a moat, drawbridge and sally - port.</dialogue>
<scene_description>SARAH looks at HOGGLE .</scene_description>
<character>SARAH</character>
<dialogue>This was not one of my better ideas.</dialogue>
<character>HAT</character>
<dialogue>Well, I told you that, did n't I? But nobody ever listens to me!</dialogue>
<scene_description>He looks down at the still mumbling WISE ONE .</scene_description>
<character>HAT</character>
<dialogue>Enough! Nobody cares!</dialogue>
<scene_description>The WISE ONE blinks and looks at SARAH and HOGGLE .</scene_description>
<character>WISE ONE</character>
<dialogue>Did one of you say something?</dialogue>
<scene_description>SARAH thinks quickly .</scene_description>
<character>SARAH</character>
<dialogue>Oh, no. We never talk to strangers.</dialogue>
<character>WISE ONE</character>
<dialogue>That's very wise. An idea worth savoring.</dialogue>
<scene_description>HOGGLE nudges him .</scene_description>
<character>HOGGLE</character>
<dialogue>Yeah, but keep it under your hat!</dialogue>
<scene_description>HOGGLE thinks this is hilarious . The HAT does n't .</scene_description>
<character>HAT</character>
<dialogue>Ve - ry funny!</dialogue>
<scene_description>The WISE ONE continues on his way .</scene_description>
<character>WISE ONE</character>
<dialogue>The stranger, hmm. I'm glad you brought that up. The stranger ; one not indigenous, also known as the alien, or one from beyond the sea.</dialogue>
<scene_description>HAT -LRB- hysterical -RRB- : I quit ! I ca n't take it anymore ! And then they are gone , passing through the righthand wall as if it was n't there . SARAH watches after them , stunned .</scene_description>
<character>SARAH</character>
<dialogue>How did he do that?!</dialogue>
<character>HOGGLE</character>
<dialogue>And how can we make sure he does n't come back?</dialogue>
<scene_description>SARAH gives him a look and turns to the WORM .</scene_description>
<character>WORM</character>
<dialogue>Just go over to that bit of wall there and walk right through it. The important thing is to forget what you think you know. It does n't apply around here.</dialogue>
<scene_description>SARAH and HOGGLE walk down to the part of the wall where the WISE ONE entered . Once there , they can see that a section of the wall is actually a passageway - width behind the rest of the wall . SARAH yells back to the WORM .</scene_description>
<character>SARAH</character>
<dialogue>Thank you! And tell the missus we're sorry we missed her biscuits!</dialogue>
<scene_description>And then they walk through the wall and are gone .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 3 - DAY</stage_direction>
<scene_description>SARAH and HOGGLE appear through the wall and SARAH laughs with delight . HOGGLE was n't as pleased with the experience and feels the wall as if testing to see if it really happened . SARAH sees that they are in a corridor where the walls are crumbling and she climbs up to the top of one and looks over . ANOTHER ANGLE SARAH 'S POV - THE TURRETS OF THE CASTLE SARAH -LRB- excited -RRB- : I can see the castle ! It does n't look far at all ! HOGGLE is still feeling around the wall , trying to figure out how they got there . SARAH jumps down and starts to run down the corridor .</scene_description>
<character>SARAH</character>
<dialogue>Come on, Hoggle. Let's go!</dialogue>
<scene_description>HOGGLE sees her retreating figure and hurries after her .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - DAY</stage_direction>
<scene_description>JARETH 's great hall . He stands by a window and looks out over the labyrinth - from this vantage point he can see clear across it : the hovels that surround the castle walls , the arid plain that leads to the dense forest , encircling that , the complex maze . He seems lost in thought . The WHITE BIRD enters the window and lands on his shoulder . Behind him FREDDIE is having a grand time . His slippery crawl is too much for the GOBLINS that scurry about , trying to mind him . Meanwhile , a particularly stupid looking GOBLIN begins to approach JARETH . He saunters across the room and is stopped short by a FEMALE GOBLIN . She grabs hold of his shirt and hisses a warning .</scene_description>
<character>FEMALE GOBLIN</character>
<dialogue>Remember! It's bow and scrape. bow and scrape.</dialogue>
<scene_description>The STUPID GOBLIN nods and she lets him go . He then continues his approach to JARETH , only this time he does a little bow and then scrapes his foot across the floor , then repeats the action . STUPID GOBLIN -LRB- to himself -RRB- : Bow 'n scrape . bow 'n scrape . JARETH turns and sees the GOBLIN .</scene_description>
<character>JARETH</character>
<dialogue>Well, what is it?</dialogue>
<scene_description>The GOBLIN ca n't answer and do his bow - and - scrape at the same time so continues his painfully slow approach .</scene_description>
<character>STUPID GOBLIN</character>
<dialogue>bow'n scrape. bow'n scrape.</dialogue>
<scene_description>Annoyed , JARETH walks over to the GOBLIN and lifts him up by his shirt front . The GOBLIN is still bowing .</scene_description>
<character>JARETH</character>
<dialogue>I said, what is it?!</dialogue>
<character>STUPID GOBLIN</character>
<dialogue>Th. the girl and Hoggle, sire. Th. they're halfway th. through th. the maze.</dialogue>
<scene_description>JARETH drops the GOBLIN hard on the floor . FREDDIE sees this and laughs with delight . JARETH walks over and scoops the BABY up in his arms . He then carries him over to the window . He calls over to an ARMED GOBLIN by the door .</scene_description>
<character>JARETH</character>
<dialogue>I think it's time they had some company.</dialogue>
<character>ARMED GOBLIN</character>
<dialogue>Yes, Sir!</dialogue>
<scene_description>Be then salutes , causing his visor to close on his face , then stumbles around looking for the door . JARETH shakes his head .</scene_description>
<character>JARETH</character>
<dialogue>You'll make a much better goblin than that, wo n't you, Freddie!</dialogue>
<scene_description>FREDDIE 's response is to clap his sticky baby 's hand on to JARETH 's face . JARETH , pretending he does n't mind , carefully removes it . He then looks down to the courtyard below .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE - DAY JARETH'S POV</stage_direction>
<scene_description>ARMED GOBLINS are pouring out of the castle .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORRIDOR 4 - DAY</stage_direction>
<scene_description>SARAH and HOGGLE are striding down a corridor . They are about to come to a corner .</scene_description>
<character>SARAH</character>
<dialogue>Are you sure Jareth can turn Freddie into a goblin? I mean, that's really weird.</dialogue>
<scene_description>They turn the corner and HOGGLE stops short . SARAH becomes alarmed .</scene_description>
<character>SARAH</character>
<dialogue>What is it?</dialogue>
<scene_description>HOGGLE gestures for her to be quiet and then we can hear what he hears - marching . They look back the way they came . ANOTHER ANGLE SARAH 'S AND HOGGLE 'S POV - A BATTALION OF ARMED GOBLINS , marching right towards them ! ANOTHER ANGLE They look at each other , then turn and run . HOGGLE tries to get through the wall the way the WORM showed them . HOGGLE -LRB- quoting the worm -RRB- : Just forget what you think you know and . He smacks headlong into the wall . He stops to rub his nose and SARAH flies by him .</scene_description>
<character>SARAH</character>
<dialogue>Come on!</dialogue>
</scene>
<scene>
<stage_direction>INT. CASTLE - DAY</stage_direction>
<scene_description>FREDDIE is now sitting on the lap of a GOBLIN , happily bopping it on the nose . JARETH snaps his fingers and a GROUP of sleepy MUSICIANS in the corner stumble over themselves to pick up their instruments . They begin to play and JARETH looks out the window and begins a song . He sings about the labyrinth ; what it is - his domain , and what it is to OTHERS - a test , a proving - ground , not for the faint of heart .</scene_description>
</scene>
<scene>
<stage_direction>INT. MAZE MONTAGE - DAY</stage_direction>
<scene_description>While JARETH sings , SARAH and HOGGLE try to escape from the GOBLINS . They get a lead on them for a while and come to another corridor with crumbling walls . They scamper up to get a look at their position and see dust rising from several parts of the maze . The GOBLINS are everywhere . In another corridor , they are stopped in their tracks by DOZENS OF LITTLE FUZZY CREATURES who scurry towards them out of the way of the oncoming GOBLINS . They turn and run back the way they came and as they do WALL CREATURES chatter nervously and then disappear into the cracks between the bricks . In a corridor with very short walls they are able to see the tips of spears on either side of them , going in the opposite direction . They enter a corridor with several arches curving over it , forming small , intermittent bridges . Thinking they are safe , they stop for a breath , and soon realize that a BATTALION is right behind them . They scurry up the walls , and as the song comes to an end , they each lie across an arch hopefully out of sight of the GOBLINS below .</scene_description>
</scene>
<scene>
<stage_direction>INT. ARCHED CORRIDOR - DAY</stage_direction>
<scene_description>SARAH and HOGGLE huddle above the corridor on their arches as TWO GOBLINS bring up the rear .</scene_description>
<character>GOBLIN 1</character>
<dialogue>I can kill better than you can.</dialogue>
<character>GOBLIN 2</character>
<dialogue>But I'm better at maiming. Everybody says so.</dialogue>
<scene_description>And they are gone . Shaken , SARAH and HOGGLE slide down from their hiding places .</scene_description>
<character>SARAH</character>
<dialogue>Do you think they're gone?</dialogue>
<character>HOGGLE</character>
<dialogue>Sure they are. Goblins ai n't known fer their intelligence, ya know. They has as much trouble findin' their way through the maze as you do.</dialogue>
<scene_description>He folds his arms and leans against the wall .</scene_description>
<character>SARAH</character>
<dialogue>I'm not sure, but I think you just called me stupid.</dialogue>
<scene_description>Suddenly HOGGLE yells and disappears . He has accidentally leaned on another secret wall opening . SARAH quickly follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR 5 - DAY</stage_direction>
<scene_description>HOGGLE and SARAH are now in the long circular corridor that divides the maze from the beginning of the second ring of the labyrinth - the Garden Maze . HOGGLE -LRB- excited -RRB- : I think I know where we are !</scene_description>
<character>SARAH</character>
<dialogue>That'll be a nice change.</dialogue>
<scene_description>He ignores her and looks around excitedly .</scene_description>
<character>HOGGLE</character>
<dialogue>This place is the end o' the maze! That means we're near the entrance ta the second ring o' the labyrinth.</dialogue>
<character>SARAH</character>
<dialogue>The second ring? What's that?</dialogue>
<scene_description>HOGGLE starts down the corridor . HOGGLE -LRB- happily -RRB- : The Garden Maze ! SARAH -LRB- gloomy -RRB- : Sounds like a great place . what 's it like ?</scene_description>
<character>HOGGLE</character>
<dialogue>Do n't know, I ai n't never made it this far before.</dialogue>
<scene_description>He is skipping happily down the corridor when SARAH hears something . It is a strange clanking sound . SARAH -LRB- frightened -RRB- : Hoggle ! What 's that sound ?! HOGGLE stops skipping and sighs .</scene_description>
<character>HOGGLE</character>
<dialogue>Now do n't go gettin' all girly on me, Missy, now that we's finally safe.</dialogue>
<character>SARAH</character>
<dialogue>So you think we're safe, do you?</dialogue>
<scene_description>HOGGLE -LRB- annoyed -RRB- : Did n't I just say so ?!</scene_description>
<character>SARAH</character>
<dialogue>Then tell me what you think of that.</dialogue>
<scene_description>SARAH points behind them where the clanking noise is coming from . It is now much louder . HOGGLE comes over to her and takes a better look . He screams . ANOTHER ANGLE THEIR POV - A SLASHING MACHINE is coming right towards them . -LRB- A slashing wall is made up of rows of furiously spinning knives , and chopping cleavers , and has brushes along the bottom to clean up whatever it encounters in its path . -RRB- And there is no way around it because it completely fills the corridor . ANOTHER ANGLE HOGGLE desperately tries to walk through the wall the way they came in , but it is to no avail . He just keeps smashing his face . SARAH starts to run for it .</scene_description>
<character>SARAH</character>
<dialogue>Come on!</dialogue>
<scene_description>HOGGLE follows , every so often trying , and failing , to get through the wall . ANOTHER ANGLE SARAH , who is far ahead of HOGGLE , comes to a door ! And hanging on a hook next to it is a bunch of keys . She looks back at HOGGLE .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle, hurry!</dialogue>
<scene_description>ANOTHER ANGLE SARAH 'S POV - HOGGLE running toward her , and making slow but steady progress toward them BOTH - the slashing machine . ANOTHER ANGLE SARAH fumbles with the keys , furiously trying key after key in the door but to no avail . She is terrified .</scene_description>
<character>SARAH</character>
<dialogue>None of the keys work!</dialogue>
<scene_description>Desperate , she starts banging on the door . HOGGLE is just a few yards away from her .</scene_description>
<character>HOGGLE</character>
<dialogue>Why do n't you just try it?</dialogue>
<scene_description>He then tries once more to walk through the wall . SARAH tries the knob and sure enough , it opens . She is delighted . What she does n't see is HOGGLE suddenly disappearing through the floor .</scene_description>
<character>SARAH</character>
<dialogue>It's open! Hog.</dialogue>
<scene_description>She turns around and he is gone ! And the slashing machine is just a few yards away ! She screams and , in her terror , falls backwards through the door . It slams shut just as the slashing machine reaches it WE CAN SEE that FOUR GOBLINS in sanitation workers ' uniforms have been pushing the machine all along . They grunt and strain , cranking the wheels that turn the knives and pushing all at the same time .</scene_description>
</scene>
<scene>
<stage_direction>INT. PICTURE GALLERY - DAY</stage_direction>
<scene_description>SARAH emerges into a large room . The walls are covered with large paintings in ornate gilt frames . She is a bit stunned by the clone call with the slashing machine as she approaches the first painting . SARAH -LRB- to herself -RRB- : What in the world . She stops short in front of the first painting and can not believe her eyes . It is a painting of the watch with 13 hours on it . The hour hand is on the 9 . SARAH fumbles into her pocket and finds the watch that Jareth gave her . It also has the hour hand on the 9 .</scene_description>
<character>SARAH</character>
<dialogue>Only 9 hours left!</dialogue>
<scene_description>The next picture is of a BABY surrounded by gruesome GOBLINS . On closer inspection , the BABY is obviously FREDDIE . She chokes back a sob and runs over to the next one , it is a picture of a rotunda with staircases going off in all different directions on different planes of gravity . It is an Escher room , and a closer look shows a GOBLIN happily standing on the ceiling . She shakes her head and goes by the next painting and gasps involuntarily . It is a compelling portrait of JARETH , and she moves even closer . Then she shakes herself out of it . ANOTHER ANGLE THE PORTRAIT 'S POV - SARAH wills herself away and moves on , and we hear the sound of JARETH 's breathing . ANOTHER ANGLE SARAH is nervous and eagerly looks for a way out . She rushes by another painting , giving it merely a glance . But something makes her go back for a better look . It is of a lovely , manicured hedge maze . In the distance WE CAN SEE the turrets of JARETH 's castle . And in the sky nearby flies a beautiful WHITE BIRD . And then SARAH is amazed by what she sees . A closer look at the painting reveals that the WHITE BIRD is flying ! It moves over the hedges and WE SEE a FIGURE waving .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle!</dialogue>
<scene_description>SARAH , disturbed , backs away from the painting . And then , because it really is as wonderful as it is scary , she goes back for another look and over her shoulder WE CAN SEE HOGGLE waving and we hear his tiny voice .</scene_description>
<character>HOGGLE</character>
<dialogue>Missy! Over here! This is the way to the castle!</dialogue>
<scene_description>And SARAH strains to hear , and leans toward the painting , stretching her hand out and touching the painting , which makes it turn into a shimmering wall that her hand goes right through . And then she disappears right through the painting . ANOTHER ANGLE THE GALLERY . And JARETH 's portrait is now blank .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEDGE MAZE - DAY</stage_direction>
<scene_description>SARAH rushes up to HOGGLE and throws her arms around him .</scene_description>
<character>SARAH</character>
<dialogue>What happened to you? I was afraid I'd never see you again!</dialogue>
<character>HOGGLE</character>
<dialogue>Ya know that trick with the wall? Damn, if it do n't work with the floor, as well!</dialogue>
<scene_description>SARAH laughs and hugs him again .</scene_description>
<character>INT</character>
<dialogue>HEDGE MAZE - DAY</dialogue>
<scene_description>SARAH and HOGGLE have been walking through the maze a long time . They are tired and bedraggled . SARAH pulls the watch out of her pocket and sighs .</scene_description>
<character>SARAH</character>
<dialogue>An hour's gone by and I do n't think we're more than four feet from where we started.</dialogue>
<character>HOGGLE</character>
<dialogue>That's'cause ya wo n't do what I tells ya. It's clear as day we should be goin' this way.</dialogue>
<scene_description>He turns a corner and walks smack into a hedge dead end . He howls in pain and SARAH sighs and follows him . ANOTHER ANGLE HOGGLE disentangling himself from the hedge .</scene_description>
<character>SARAH</character>
<dialogue>Got any more suggestions?</dialogue>
<scene_description>Before HOGGLE can answer they are interrupted by a terrible gut - wrenching scream . It is positively unearthly . SARAH whirls around .</scene_description>
<character>SARAH</character>
<dialogue>It sounds like it came from over there!</dialogue>
<scene_description>HOGGLE points in the opposite direction .</scene_description>
<character>HOGGLE</character>
<dialogue>Then let's go this way.</dialogue>
<scene_description>SARAH frowns at him as the scream begins again .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle! It sounds like someone's being hurt!</dialogue>
<character>HOGGLE</character>
<dialogue>Exactly why we should be headin' in the othermost direction!</dialogue>
<scene_description>SARAH shakes her head in disgust and runs off as the screams become more unbearable . ANOTHER ANGLE SARAH , running through the hedge maze . Driven by the sound of the screams , she has an unconscious ability to find her way through . HOGGLE , trying to keep up with her , keeps running into dead ends . ANOTHER ANGLE SARAH emerging from the maze . She is stopped in her tracks by what she sees and quickly covers her mouth to prevent herself from screaming . HOGGLE emerges a moment later , barely pauses before he heads right back into the maze .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLEARING - DAY</stage_direction>
<scene_description>SARAH 'S POV - FOUR GOBLINS are torturing a huge creature -LRB- LUDO -RRB- that they have hung by his ankle from a tree limb . They have also taken pains to bind the CREATURE , who it is obvious could take an most of them and win in a fairer fight . He is about nine feet tall , powerfully built , and his screams of frustrated agony are truly unbearable . The GOBLINS have devised a unique method of harassing him . They ALL carry long sticks which have small , fierce , biting CREATURES on the end of them . The GOBLINS bat their sticks at LUDO , who bellows and tries to swat back . Since he is tied , the NIPPERS are free to bite him whenever they get near . ANOTHER ANGLE SARAH , distraught , peeking out from behind a hedge .</scene_description>
<character>SARAH</character>
<dialogue>The poor thing!</dialogue>
<scene_description>HOGGLE peeks out from behind SARAH , then quickly ducks back . SARAH looks for a way to stop the torture . She picks up a rock and carefully aims it at the nearest GOBLIN . It hits his head and knocks his helmet visor over his eyes . Blinded , the GOBLIN lurches around , swinging his nipper stick at the OTHER THREE .</scene_description>
<character>BLINDED GOBLIN</character>
<dialogue>Hey! Who turned out the lights?</dialogue>
<scene_description>The OTHER GOBLINS see a new target and poke their nipper sticks towards him . He takes off and runs blindly into the hedge maze . The OTHER THREE chase him , carrying the nipper sticks upright no that WE CAN SEE their progress in the BG . ANOTHER ANGLE SARAH desperately tries to untie the huge knot that holds LUDO suspended upside down . She ca n't undo it and yells for HOGGLE</scene_description>
<character>SARAH</character>
<dialogue>Get out here, you coward!</dialogue>
<scene_description>HOGGLE appears from behind his hedge . He hesitates , then pulls a dagger from his belt and joins SARAH . He cuts through the rope in one hack , and LUDO falls to the ground with a thud . ANOTHER ANGLE The nipper sticks start yammering away as they see SARAH and HOGGLE freeing LUDO over the top of the hedge . The GOBLIN chase stops and they head back to the clearing . HOGGLE dives for the bushes but a determined SARAH stays and pulls off the ropes . When LUDO is free , he picks up a huge log . As the FOUR GOBLINS come roaring back into the clearing , LUDO waves the log over his head . The GOBLIN charge immediately shifts into a GOBLIN retreat , the nipper sticks yipping in fear . ANOTHER ANGLE LUDO puts down the log and sits , his big shaggy head hanging down . He taken one hand and wipes away a tear .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. hurt.</dialogue>
<scene_description>SARAH 's heart breaks . This thing is the ultimate stuffed animal .</scene_description>
<character>SARAH</character>
<dialogue>Is that your name? Ludo?</dialogue>
<scene_description>He nods and wipes away another tear .</scene_description>
<character>LUDO</character>
<dialogue>Goblins. mean to Ludo.</dialogue>
<character>SARAH</character>
<dialogue>Oh, I know! They were terribly mean to you.</dialogue>
<parenthetical>( she moves closer and pats his arm . )</parenthetical>
<dialogue>But it's all right now.</dialogue>
<scene_description>LUDO sniffs and then breaks into the most endearing big dumb smile you have ever seen .</scene_description>
<character>LUDO</character>
<dialogue>Friend!</dialogue>
<character>SARAH</character>
<dialogue>That's right, Ludo! I'm your friend. I'm Sarah.</dialogue>
<character>LUDO</character>
<dialogue>Sarah. friend!</dialogue>
<scene_description>HOGGLE has come out from hiding during this exchange . He finds the whole scene a bit nauseating . And an unnecessary nuisance . If there 's one thing he does n't want , it 's competition for SARAH .</scene_description>
<character>HOGGLE</character>
<dialogue>I think I'm about ta be sick.</dialogue>
<scene_description>They ignore him and LUDO grins for all he 's worth as SARAH beams up at him . HOGGLE pulls her over to one side .</scene_description>
<character>HOGGLE</character>
<dialogue>I hope yer not thinkin' o' lettin' the beast traipse along, Missy. He'll just slow us up.</dialogue>
<character>SARAH</character>
<dialogue>Are you kidding?! He'll be a great help! The goblins are scared of him because he's so fierce.</dialogue>
<scene_description>Just then LUDO shyly offers SARAH a flower that he has just picked for her . She takes it and smiles at him . HOGGLE -LRB- sarcastically -RRB- : I sees what ya mean . SARAH shrugs and gives LUDO a pat . HOGGLE sighs with frustration .</scene_description>
<character>HOGGLE</character>
<dialogue>I just thinks we was doin' fine on our own.</dialogue>
<character>SARAH</character>
<dialogue>And we can do even better with Ludo.</dialogue>
<parenthetical>( turns to Ludo . )</parenthetical>
<dialogue>You want to help me save my baby brother, do n't you, Ludo?</dialogue>
<character>LUDO</character>
<dialogue>Save. baby. Good!</dialogue>
<scene_description>SARAH nods with satisfaction and strides into the hedge maze . LUDO right behind her . HOGGLE follows , clearly unhappy .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST GATE - DAY</stage_direction>
<scene_description>SARAH , HOGGLE and LUDO come out of the hedge maze and see a wall with two SARAH - sized doors in it .</scene_description>
<character>HOGGLE</character>
<dialogue>This is it, the entrance ta the Forbidden Forest. All we got ta do is pick a door.</dialogue>
<character>SARAH</character>
<dialogue>What difference does it make? Let's just go!</dialogue>
<scene_description>LUDO quickly steps between SARAH and the doors .</scene_description>
<character>LUDO</character>
<dialogue>One door. good. One door. bad.</dialogue>
<character>HOGGLE</character>
<dialogue>Well, that's great news.</dialogue>
<parenthetical>( to Ludo . )</parenthetical>
<dialogue>Do n't suppose ya know which is which?</dialogue>
<scene_description>SARAH skirts around LUDO and goes up to the doors for a closer look at them .</scene_description>
<character>LUDO</character>
<dialogue>One door. good. One door.</dialogue>
<character>HOGGLE</character>
<dialogue>All right, ya walkin' mountain! Ya made ya point.</dialogue>
<scene_description>ANOTHER ANGLE SARAH ignores the bickering behind her and examines the doors . Each one has a door knocker on it . Both knockers are carved into faces , except one has the ring going through its ears and the other has it stuck in its mouth . SARAH -LRB- to herself -RRB- : I guess once you choose a door . all you have to do is knock . The KNOCKER with the ring through its ears speaks .</scene_description>
<character>KNOCKER 1</character>
<dialogue>Are you addressing me?</dialogue>
<scene_description>SARAH jumps back , stunned .</scene_description>
<character>SARAH</character>
<dialogue>You can talk!</dialogue>
<character>KNOCKER 1</character>
<dialogue>What? What? You'll have to speak up!</dialogue>
<character>KNOCKER 2</character>
<dialogue>mmffn. grnth. sminvl.</dialogue>
<scene_description>SARAH turns to the OTHER KNOCKER .</scene_description>
<character>SARAH</character>
<dialogue>You too!</dialogue>
<character>KNOCKER 2</character>
<dialogue>gmft. bmble.</dialogue>
<scene_description>SARAH shakes her head in amazement . ANOTHER ANGLE The BOYS are still at it .</scene_description>
<character>HOGGLE</character>
<dialogue>If yer so smart why not show us another way inta the forest?</dialogue>
<character>LUDO</character>
<dialogue>Ludo. not. know.</dialogue>
<character>HOGGLE</character>
<dialogue>That figures, do n't it?</dialogue>
<parenthetical>( he turns his back on Ludo , fuming . )</parenthetical>
<dialogue>Why the Missy wants an overgrown hill o' hair fer a friend is beyond me.</dialogue>
<scene_description>LUDO tries to make HOGGLE feel better and pats him on the shoulder . HOGGLE shakes his hand off with a growl . ANOTHER ANGLE SARAH is excited .</scene_description>
<character>SARAH</character>
<dialogue>I love it! Talking doors!</dialogue>
<parenthetical>( to Knocker 1 . )</parenthetical>
<dialogue>Are you the right door to the forest?</dialogue>
<character>KNOCKER 1</character>
<dialogue>It does n't do to ask me. For some reason I ca n't hear a thing.</dialogue>
<scene_description>SARAH turns to KNOCKER 1 .</scene_description>
<character>KNOCKER 1</character>
<dialogue>No use asking him, either. All he does is mumble.</dialogue>
<scene_description>KNOCKER 2 gets very excited .</scene_description>
<character>KNOCKER 2</character>
<dialogue>thgt. vrnf. lcl.</dialogue>
<character>SARAH</character>
<dialogue>I get it! You ca n't talk with that ring in your mouth!</dialogue>
<scene_description>She removes the ring and looks at the FACE triumphantly .</scene_description>
<character>SARAH</character>
<dialogue>Now, tell me which one of you is the right door to the forest.</dialogue>
<character>KNOCKER 2</character>
<dialogue>Oh, I am. No question about it.</dialogue>
<character>SARAH</character>
<dialogue>Great! How do we get you to open up?</dialogue>
<character>KNOCKER 2</character>
<dialogue>One merely has to knock.</dialogue>
<character>SARAH</character>
<dialogue>Of course, why did n't I think of that.</dialogue>
<scene_description>She tries to get the ring back in its mouth .</scene_description>
<character>KNOCKER 2</character>
<dialogue>Oh no you do n't, young lady! I've had just about enough of that awful thing, thank you very much!</dialogue>
<character>SARAH</character>
<dialogue>But how are we supposed to get through this door if you wo n't let me knock on it?</dialogue>
<character>KNOCKER 2</character>
<dialogue>Well, I really could n't say now, could I?</dialogue>
<scene_description>SARAH throws up her hands in disgust .</scene_description>
<character>KNOCKER 1</character>
<dialogue>Oh do speak up, both of you? I ca n't hear a thing!</dialogue>
<scene_description>ANOTHER ANGLE HOGGLE and LUDO are still at it . HOGGLE -LRB- conspiratorially -RRB- : Ya know . even if she does get the door open , ya wo n't be able ta fit through . Why not make it easy on us all and take a hike ?</scene_description>
<character>LUDO</character>
<dialogue>Ludo. Stay!</dialogue>
<scene_description>HOGGLE is disgusted .</scene_description>
<character>HOGGLE</character>
<dialogue>Yer quite the speechifier, ai n't ya?</dialogue>
<scene_description>ANOTHER ANGLE SARAH suddenly gives KNOCKER 2 an evil grin .</scene_description>
<character>SARAH</character>
<dialogue>Are you sure there is n't anything I can do to change your mind?</dialogue>
<character>KNOCKER 2</character>
<dialogue>Absolutely not! My lips are sealed!</dialogue>
<character>SARAH</character>
<dialogue>That's what I thought!</dialogue>
<scene_description>The KNOCKER presses its lips firmly together . SARAH deftly squeezes its nose shut . It sputters for air and finally has to open its mouth before it suffocates . SARAH shoves the ring in with a gleeful cry of triumph . She knocks , and the door swings open .</scene_description>
<character>SARAH</character>
<dialogue>Let's go!</dialogue>
<scene_description>She goes through the door and HOGGLE and LUDO race to follow . They BOTH try to get through the door at the same time and get into such a tangle that the door closes before they can straighten themselves out .</scene_description>
<character>HOGGLE</character>
<dialogue>Now you've done it!</dialogue>
<scene_description>In a frenzy , HOGGLE starts banging on both doors .</scene_description>
<character>HOGGLE</character>
<dialogue>Missy! Missy, wait!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORBIDDEN FOREST - DAY</stage_direction>
<scene_description>SARAH on the other side of the door . Except on this side , there is no door , just a long expanse of wall . The forest is very dark , and as its name suggests , very forbidding . SARAH can hear HOGGLE calling , but it is very faint . SARAH -LRB- scared -RRB- : Hoggle ?</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST GATE - DAY</stage_direction>
<scene_description>HOGGLE is beating on the doors with such a frenzy that the other door swings open .</scene_description>
<character>HOGGLE</character>
<dialogue>I'm coming.</dialogue>
<scene_description>He rushes through the door and disappears . We can tell from his voice that he is falling down a deep hole . HOGGLE -LRB- echoed -RRB- : . Miiiiiiiiissy ! We hear a huge splash . Then that door shuts and LUDO is all alone .</scene_description>
<character>LUDO</character>
<dialogue>Sarah. gone. Hoggle. gone.</dialogue>
<scene_description>He is sad and confused . A FIGURE emerges from the hedge maze and begins to walk along the wall , away from LUDO . It is the WISE ONE . LUDO brightens and chases after them .</scene_description>
<character>LUDO</character>
<dialogue>Wait!</dialogue>
<scene_description>The WISE ONE stops and the HAT looks LUDO up and down .</scene_description>
<character>HAT</character>
<dialogue>This ought to be a good one!</dialogue>
<character>LUDO</character>
<dialogue>Ludo. need. door!</dialogue>
<character>WISE ONE</character>
<dialogue>You have need of a door, do you? Ah, yes. A very useful thing, the door ; also known as a portal or threshold - and that which gives access, a gate or gangway.</dialogue>
<scene_description>He continues walking and LUDO walks with him , listening intently .</scene_description>
<character>WISE ONE</character>
<dialogue>also an entrance or entry, often accompanied by a propylaeum.</dialogue>
<scene_description>HAT -LRB- sighs -RRB- : If only I had hands I could cover my ears . that is , if I had ears .</scene_description>
<character>WISE ONE</character>
<dialogue>not to be confused with a window, or fenestration.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>SARAH has waited long enough .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle, Ludo. where are you?</dialogue>
<scene_description>She reaches into her pocket and looks at the watch . The hour hand is on the 7 .</scene_description>
<character>SARAH</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>Oh, Freddie!</dialogue>
<parenthetical>( she shoves the watch back into her pocket . )</parenthetical>
<dialogue>Well, you guys are going to have to catch up with me'cause I ca n't wait.</dialogue>
<scene_description>Then determined , she strides off .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOLE - DAY</stage_direction>
<scene_description>HOGGLE is in a pool at the bottom of a deep hole in the ground . There is a ledge just above him and he splashes violently trying to reach it .</scene_description>
<character>HOGGLE</character>
<dialogue>Somebody help me! I ca n't swim!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>SARAH is in a very thick , creepy part of the woods . She is clearly lost . She gets herself tangled in a thorn bush , and struggles with it to get herself free . Finally she does , and then , frustrated , sits down on the ground .</scene_description>
<character>SARAH</character>
<dialogue>Why does everything have to happen to me?</dialogue>
<scene_description>But there 's no time to think about that because she hears the sound of a driving drum rhythm and then a wild - looking , spindly , leering LITTLE CREATURE comes scampering through the trees and into the clearing ; and then ANOTHER , and ANOTHER and ANOTHER . SARAH is terrified as they approach her , but then not so terrified because the CREATURES are n't doing anything except dancing ; wild , loose - limbed , frenzied dancing . SARAH laughs , and ca n't help but be taken in by the wild spectacle . And then they begin to encircle her , still moving to the wild rhythm . SARAH -LRB- laughing , moving -RRB- : What are you ?</scene_description>
<character>WILD THING 1</character>
<dialogue>We're Wild Things, baby! Wild!</dialogue>
<character>WILD THING 2</character>
<dialogue>Wild and free!</dialogue>
<character>WILD THING 3</character>
<dialogue>Get down!</dialogue>
<scene_description>And then more WILD THINGS appear , and these produce instruments . As and turn the drum rhythm into a frenzied upbeat number .</scene_description>
<character>WILD THING 1</character>
<dialogue>You call that wild! I'll show you wild!</dialogue>
<scene_description>And then he does an amazing thing , to say the least . He takes his head off and rolls it along his arms from hand to hand like a juggler , then tosses it high in the air and deftly catches it on his shoulders . SARAH gasps and tries to get sway but another WILD THING pushes her back into the middle of the melee .</scene_description>
<character>WILD THING 2</character>
<dialogue>Cut me some slack and move on back!</dialogue>
<scene_description>And they do , and , moving to the pounding rhythm , he takes his eyes out of his head and waves them at SARAH . He then tosses them on the ground as if they were a pair of dice . They land at SARAH 's feet looking straight up .</scene_description>
<character>WILD THING 2</character>
<dialogue>Snake eyes!</dialogue>
<scene_description>SARAH is fascinated and repelled . And the beat gets hotter and the frenzy more frenzied and she ca n't help getting a little wild herself . She begins to really dance .</scene_description>
<character>WILD THING 3</character>
<dialogue>That's it, baby, get wild and free! But you'll never be as wild as me!</dialogue>
<scene_description>And to prove it he takes his head off and begins to dribble it like a basketball . WILD THING 1 leans over to SARAH and whispers conspiratorily .</scene_description>
<character>WILD THING 1</character>
<dialogue>I would n't call that really _ wild _, would you?</dialogue>
<character>SARAH</character>
<dialogue>Well, it's. uh. sort of.</dialogue>
<character>WILD THING 1</character>
<dialogue>I'd call _ this _ wild.</dialogue>
<scene_description>And he takes off his head , puts it on the ground as if it were a golf ball , and then removes a leg and uses it as a golf club . The head goes flying , right to SARAH . SARAH catches the head , then tries to get it back to its body but the body dances into the middle of all the other WILD THINGS and she ca n't find it . So there 's SARAH , running around like a chicken with two heads when suddenly the ears start to flap and the head flies out of her hand . A WILD THING grabs her hand and turns her around .</scene_description>
<character>WILD THING 2</character>
<dialogue>That was _ wild _, baby.</dialogue>
<parenthetical>( he starts to dance . )</parenthetical>
<dialogue>Now how ` bout gettin' wild with me?</dialogue>
<scene_description>But SARAH has had enough .</scene_description>
<character>SARAH</character>
<dialogue>I think I'll sit this one out.</dialogue>
<character>WILD THING 1</character>
<dialogue>Not with us you do n't.</dialogue>
<character>WILD THING 2</character>
<dialogue>'Cause we're _ wild _!</dialogue>
<scene_description>And then they 're all over her , like a bunch of hyper puppies , and it 's really too much .</scene_description>
<character>SARAH</character>
<dialogue>Enough! I've got to find the castle!</dialogue>
<character>WILD THING 2</character>
<dialogue>Well, why did n't you say so, baby!</dialogue>
<character>WILD THING 3</character>
<dialogue>That's a _ wild _ idea!</dialogue>
<scene_description>And then his head flies off and he has to quickly grab it and put it back and meanwhile the OTHERS start pushing and pulling on SARAH and propel her into the woods .</scene_description>
<character>WILD THING 1</character>
<dialogue>They got some wild goings on at the castle, baby!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLE - DAY</stage_direction>
<scene_description>HOGGLE is holding on to the ledge with his fingertips . He does n't have the strength to hold on much longer and he looks down at the water in mortal terror . He begins to slip just as a door opens in the sheer rock and JARETH enters , accompanied by GOBLINS .</scene_description>
<character>JARETH</character>
<dialogue>Well, what have we here. if it is n't little _ Piggle _!</dialogue>
<scene_description>HOGGLE screams and slips into the water . He tries to struggle back to the ledge but the GOBLINS push at him with poles , laughing maniacally .</scene_description>
<character>JARETH</character>
<dialogue>Did the girl decide she does n't need you, now that she has that beast?</dialogue>
<scene_description>HOGGLE -LRB- angry -RRB- : She would n't do nuthin ' like that ! JARETH leans over the water , laughing .</scene_description>
<character>JARETH</character>
<dialogue>Do n't you know she could never care for a repulsive thing like you!</dialogue>
<scene_description>HOGGLE splashes and tries to stay afloat .</scene_description>
<character>HOGGLE</character>
<dialogue>She does care! Me'n Sarah is friends!</dialogue>
<character>JARETH</character>
<dialogue>Only until something better comes along. and I've definitely got something better in mind!</dialogue>
<character>HOGGLE</character>
<dialogue>Do n't you hurt her!</dialogue>
<scene_description>HOGGLE grabs on to the ledge and the gleeful GOBLINS push him back down into the water .</scene_description>
<character>JARETH</character>
<dialogue>What I do to her is my business. and it is _ inevitable _.</dialogue>
<scene_description>He grabs HOGGLE by the shirt front and lifts him out of the water .</scene_description>
<character>JARETH</character>
<dialogue>You can be with me or against me.</dialogue>
<scene_description>HOGGLE -LRB- terrified -RRB- : Wh . what do I got ta do ?</scene_description>
<character>JARETH</character>
<dialogue>I doubt if she can make it to the castle in time.</dialogue>
<scene_description>He leans down and speaks directly into HOGGLE 's face .</scene_description>
<character>JARETH</character>
<dialogue>But just in case, I want you to deliver her to me.</dialogue>
<character>HOGGLE</character>
<dialogue>Never! I'd rather die!</dialogue>
<scene_description>JARETH sneers scornfully .</scene_description>
<character>JARETH</character>
<dialogue>Then so you shall.</dialogue>
<scene_description>He drops HOGGLE back into the water . The GOBLINS shriek with delight . HOGGLE goes under and comes up sputtering .</scene_description>
<character>HOGGLE</character>
<dialogue>Wait!</dialogue>
<scene_description>JARETH was about to leave . He turns back to HOGGLE , a look of amusement on his face .</scene_description>
<character>HOGGLE</character>
<dialogue>I got ta know what. what you'll do to her!</dialogue>
<scene_description>He splashes pathetically in a desperate attempt to stay above water .</scene_description>
<character>JARETH</character>
<dialogue>I will do what ever amuses me.</dialogue>
<scene_description>He reaches into his cloak and brings out a perfect peach .</scene_description>
<character>JARETH</character>
<dialogue>All _ you _ have to do is give her this.</dialogue>
<scene_description>He tosses HOGGLE the peach . HOGGLE catches it and immediately the water starts to recede .</scene_description>
<character>JARETH</character>
<dialogue>You've made a very wise decision.</dialogue>
<scene_description>He leaves , followed by the GOBLINS .</scene_description>
<character>HOGGLE</character>
<dialogue>I did n't decide nuthin'!</dialogue>
<scene_description>HOGGLE stares forlornly at the peach , and soon the water is gone and he is sitting on cold , damp ground .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - DAY</stage_direction>
<scene_description>The WILD THINGS are leading SARAH on a rocky path . She stumbles along but they could n't care less .</scene_description>
<character>SARAH</character>
<dialogue>Are you sure this is the way to the castle?</dialogue>
<character>WILD THING 1</character>
<dialogue>Oh, did you say `` the castle''?</dialogue>
<character>WILD THING 2</character>
<dialogue>I thought she said hassle!</dialogue>
<character>WILD THING 3</character>
<dialogue>I thought she said rassle!</dialogue>
<character>WILD THING 1</character>
<dialogue>Rassle! That's a _ wild _ idea!</dialogue>
<scene_description>He leaps on SARAH and she flings him off .</scene_description>
<character>SARAH</character>
<dialogue>OK, guys, fun's over.</dialogue>
<scene_description>She starts to leave and they pull her back .</scene_description>
<character>WILD THING 2</character>
<dialogue>Over! It's just begun!</dialogue>
<scene_description>And then the musicians are back and the dancing gets wilder than ever . The WILD THINGS totally surround SARAH , and though they are n't hurting her , they are definitely not letting her out . What they do is start throwing their heads at each other and switching them . WILD THINGS 1 , 2 & 3 : Now this is _ really _ wild ! ANOTHER ANGLE A door opens in a nearby boulder and LUDO appears . In the background WE CAN SEE and hear the WISE ONE as he wanders off .</scene_description>
<character>WISE ONE</character>
<dialogue>very often preceded by a porch, or portico, also verandah, and followed by a vestibule, otherwise known as an antechamber or foyer.</dialogue>
<character>HAT</character>
<dialogue>Why me?!</dialogue>
<scene_description>The door closes . LUDO sees SARAH in the middle of this weirdness and is just a bit confused . SARAH sees him amidst the flying heads and cries out in relief .</scene_description>
<character>SARAH</character>
<dialogue>Ludo!</dialogue>
<character>LUDO</character>
<dialogue>Sarah. not. want. castle?</dialogue>
<character>SARAH</character>
<dialogue>Are you kidding?! Get me out of here!</dialogue>
<scene_description>LUDO approaches the WILD THINGS and grabs a head before it reaches its target and calmly tosses it into the trees .</scene_description>
<character>WILD THING 3</character>
<dialogue>Hey, big fella! That's a little _ too _ wild.</dialogue>
<scene_description>But there 's no time to talk because LUDO calmly catches the other heads and tosses them away . The bodies go scurrying after their heads , followed by the MUSICIANS . SARAH is free .</scene_description>
<character>SARAH</character>
<dialogue>Oh, Ludo! I'm so glad you're here!</dialogue>
<scene_description>She gives him a kiss and he beams .</scene_description>
<character>SARAH</character>
<dialogue>Where's Hoggle?</dialogue>
<character>LUDO</character>
<dialogue>Hoggle. in. bad. door.</dialogue>
<character>SARAH</character>
<dialogue>We've got to find him! Do you think we can?</dialogue>
<scene_description>LUDO is very confident . He spent a lot of time with the WISE ONE .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. knows. doors.</dialogue>
<scene_description>He ambles off with SARAH following .</scene_description>
<character>LUDO</character>
<dialogue>also. portal. or entrance.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOLE - DAY</stage_direction>
<scene_description>HOGGLE is more depressed than ever . The peach is nowhere to be seen . Suddenly LUDO 's head appears above .</scene_description>
<character>LUDO</character>
<dialogue>Hoggle. all. wet.</dialogue>
<scene_description>HOGGLE almost jumps out of his skin and then is totally outraged .</scene_description>
<character>HOGGLE</character>
<dialogue>Ai n't that the clever observation, ya feeble excuse fer a thinkin' creature!</dialogue>
<scene_description>SARAH appears from behind LUDO .</scene_description>
<character>SARAH</character>
<dialogue>Be nice, Hoggle. Or we wo n't get you out.</dialogue>
<scene_description>HOGGLE 's face lights up and all thoughts of anger are forgotten .</scene_description>
<character>HOGGLE</character>
<dialogue>Missy!</dialogue>
</scene>
<scene>
<stage_direction>INT. FOREST - DAY</stage_direction>
<scene_description>SARAH , HOGGLE and LUDO march through thick , overgrown forest . They do not know that they are being spied on by JARETH 'S GOBLINS .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLEARING - DAY</stage_direction>
<scene_description>The THREESOME emerge into a clearing and see that they have come to a wide fissure that goes off in either direction as far as the eye can see . It is spanned by a rickety bridge held by two thick wooden posts on either side of the gap . SARAH eyes the bridge warily .</scene_description>
<character>SARAH</character>
<dialogue>It does n't look too strong but we do n't have much choice.</dialogue>
<scene_description>Suddenly they are interrupted by a high - pitched , but powerful voice .</scene_description>
<character>VOICE</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Halt! Halt or be slain forthwith!</dialogue>
<scene_description>At first they do n't see a thing and look around for the source of the voice . Then , the imposing 18 inch high figure of DIDYMUS , resplendent in rakish hat and swashbuckling sword , emerges from behind one of the posts and stands in front of the bridge . LUDO and SARAH are dumbstruck . HOGGLE , however , is not at a loss for words .</scene_description>
<character>HOGGLE</character>
<dialogue>Out of our way, ya wretched little rodent.</dialogue>
<scene_description>DIDYMUS looks directly at HOGGLE .</scene_description>
<character>DIDYMUS</character>
<dialogue>You, sir, shall be the first to feel the point of my sword!</dialogue>
<scene_description>HOGGLE snorts with derision and SARAH tries a more sensible approach .</scene_description>
<character>SARAH</character>
<dialogue>Please, we really have to cross this bridge. It's a matter of life and death!</dialogue>
<scene_description>DIDYMUS shrugs elegantly .</scene_description>
<character>DIDYMUS</character>
<dialogue>Under any other circumstances I would hasten to oblige you, fair damsel, for your mission sounds a worthy one.</dialogue>
<character>SARAH</character>
<dialogue>Oh, it is!</dialogue>
<character>DIDYMUS</character>
<dialogue>But I am sworn. Without my permission, none may pass.</dialogue>
<scene_description>SARAH throws up her hands and HOGGLE mumbles under his breath . It appears to be up to LUDO to break the deadlock . He lifts DIDYMUS up into the air and moves him to one side . They then start to walk toward the bridge and DIDYMUS chases them , brandishing his sword .</scene_description>
<character>DIDYMUS</character>
<dialogue>You dishonor me, varlets! En garde!</dialogue>
<scene_description>To his chagrin they ignore him and keep walking .</scene_description>
<character>DIDYMUS</character>
<dialogue>Rapscallions! Duel. or _ die _!</dialogue>
<scene_description>This gets their attention and they turn to look at him , annoyed .</scene_description>
<character>HOGGLE</character>
<dialogue>What _ is _ this weasel babblin' about?</dialogue>
<scene_description>It is too much for DIDYMUS . He flings himself at HOGGLE with a mighty war cry . HOGGLE tries to run for it but DIDYMUS is right behind him , administering more than a few pinpricks in embarrassing places . HOGGLE dives behind a bush and DIDYMUS sniffs at his cowardice . He comes back and faces LUDO .</scene_description>
<character>DIDYMUS</character>
<dialogue>It is you I want, rogue of rogues. You who dealt me the gravest affront!</dialogue>
<scene_description>And with that he jabs LUDO in the foot ! LUDO is stunned , and howling , begins to hop on his good foot . DIDYMUS , his head thrown back for a triumphant yell , goes after LUDO with his sword flashing and there is nothing for LUDO to do but pick up a branch and defend himself . It is the most mismatched duel in the history of chivalrous absurdity DIDYMUS moving at an incredible speed , parrying the mighty swipes of LUDO 's branch with great skill - and no small amount of difficulty . And LUDO fending off the incessant pinpricks of the little sword , leaping about with surprising agility - and at a rate that exhausts him totally . Finally , the two of them , breathing heavily , lower their weapons . And , to everyone 's surprise , DIDYMUS throws down his sword .</scene_description>
<character>DIDYMUS</character>
<dialogue>I no longer wish to slay you, for you are a truly noble knight.</dialogue>
<scene_description>Then DIDYMUS strides up to him and , craning his neck , attempts to look LUDO in the eyes .</scene_description>
<character>DIDYMUS</character>
<dialogue>Destroy me if you will.</dialogue>
<scene_description>LUDO quickly drops his branch in response . The whole thing has upset his gentle nature terribly . DIDYMUS then holds out a tiny paw .</scene_description>
<character>DIDYMUS</character>
<dialogue>Never have I met my match in battle, yet you, noble knight, have fought me to a standstill.</dialogue>
<scene_description>LUDO kneels and tentatively takes DIDYMUS ' paw into his own huge hand .</scene_description>
<character>DIDYMUS</character>
<dialogue>Let us be brothers henceforth, and fight for the right as one!</dialogue>
<scene_description>SARAH cheers and HOGGLE , unimpressed , rubs his sore rear . LUDO smiles from ear to ear .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. get. brother!</dialogue>
<scene_description>Then he and DIDYMUS exchange the ritual kiss on each cheek , which in their case is not easily accomplished . SARAH then turns practical .</scene_description>
<character>SARAH</character>
<dialogue>Well, now that that's settled let's get going.</dialogue>
<scene_description>She heads for the bridge but DIDYMUS blocks her way .</scene_description>
<character>DIDYMUS</character>
<dialogue>You forget my sacred vow, my lady. I can not let you pass.</dialogue>
<scene_description>SARAH is incensed .</scene_description>
<character>SARAH</character>
<dialogue>But you said Ludo was your brother! How can you refuse him?!</dialogue>
<character>DIDYMUS</character>
<dialogue>I have taken an oath. I must defend it to the death.</dialogue>
<scene_description>HOGGLE , enraged , turns on LUDO .</scene_description>
<character>HOGGLE</character>
<dialogue>Some brother he turned out ta be!</dialogue>
<character>LUDO</character>
<dialogue>Brother. good!</dialogue>
<character>HOGGLE</character>
<dialogue>Well, if he's so good, why wo n't he let us get on with our business?</dialogue>
<scene_description>LUDO scratches his head . He has no idea . SARAH sits down beside the crestfallen DIDYMUS .</scene_description>
<character>SARAH</character>
<dialogue>OK, let's handle this thing logically. What exactly have you sworn?</dialogue>
<scene_description>DIDYMUS brandishes his sword .</scene_description>
<character>DIDYMUS</character>
<dialogue>I have sworn with my life - blood, no one shall pass this way without my permission.</dialogue>
<character>SARAH</character>
<dialogue>Then may we. _ have your permission _?</dialogue>
<scene_description>DIDYMUS is stunned . HOGGLE and LUDO barely breathe . Slowly DIDYMUS looks all around and then , with a courage greater than any he has ever had to call on before , he says it .</scene_description>
<character>DIDYMUS</character>
<dialogue>Yes.</dialogue>
<scene_description>And the sky does n't fall , and the earth does n't heave , and everything is exactly as it should be .</scene_description>
<character>SARAH</character>
<dialogue>Thank you.</dialogue>
<scene_description>DIDYMUS breathes a sigh of relief and steps aside to let them pass . LUDO is the first one to go over and that is unfortunate . Because the rickety bridge collapses under his weight . SARAH and HOGGLE jump back on the ground near DIDYMUS just in time and poor LUDO swings over the deep fissure , hanging on to one of the ropes that held the bridge . With a mighty effort he hoists himself up on to the opposite side and looks forlornly over at the others .</scene_description>
<character>SARAH</character>
<dialogue>Oh no!</dialogue>
<scene_description>SARAH crumples to the ground , and stares miserably at the broken bridge .</scene_description>
<character>HOGGLE</character>
<dialogue>Now see what ya done, ya mush - brained mammoth!</dialogue>
<character>DIDYMUS</character>
<dialogue>I, Sir Didymus, take responsibility for the actions of my brother, my lady. Lash out at me if you must.</dialogue>
<character>SARAH</character>
<dialogue>I'm not mad at Ludo, Sir Didymus. I'm just upset because time is running out and I have to rescue my baby brother.</dialogue>
<scene_description>DIDYMUS is struck to the very roots of his chivalry .</scene_description>
<character>DIDYMUS</character>
<dialogue>You mean to rescue _ a child _?!</dialogue>
<character>SARAH</character>
<dialogue>The goblin king took him, and I've only got.</dialogue>
<scene_description>She takes out the watch . The hour hand is on the 5 .</scene_description>
<character>SARAH</character>
<dialogue>five hours to get him back.</dialogue>
<scene_description>DIDYMUS yells across to LUDO .</scene_description>
<character>DIDYMUS</character>
<dialogue>Is this your quest, too, my brother?</dialogue>
<character>LUDO</character>
<dialogue>Save. baby.</dialogue>
<scene_description>DIDYMUS is overwhelmed .</scene_description>
<character>DIDYMUS</character>
<dialogue>Then I shall join you, lady. I am at your service, upon my sword.</dialogue>
<scene_description>He bows low before SARAH and she smiles .</scene_description>
<character>SARAH</character>
<dialogue>I happily accept your fealty, Sir Didymus.</dialogue>
<scene_description>HOGGLE frowns with displeasure at this latest development .</scene_description>
<character>HOGGLE</character>
<dialogue>This is all well an' good, Missy. But we still got one little problem.</dialogue>
<scene_description>They all look across the fissure at LUDO .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. friends.</dialogue>
<character>HOGGLE</character>
<dialogue>Yes, yes. We're friends. Very nice. What's that got ta do with us gettin' over there without a bridge?</dialogue>
<character>LUDO</character>
<dialogue>Rocks. friends.</dialogue>
<character>HOGGLE</character>
<dialogue>We're wastin' our time, Missy. Let's you an' me go find another.</dialogue>
<scene_description>He is interrupted by LUDO bellowing , which is followed by a sympathetic rumbling . Suddenly rocks pile in from both directions until there is a pile in the fissure high enough for them to walk across .</scene_description>
<character>LUDO</character>
<dialogue>Rocks. friends!</dialogue>
<scene_description>SARAH -LRB- laughing -RRB- : They sure are , Ludo ! She skips happily across followed by a sullen HOGGLE . DIDYMUS whistles and is quickly joined by a tail - wagging SHEEPDOG . SARAH gasps , he is the spitting image of her own MERLIN .</scene_description>
<character>SARAH</character>
<dialogue>It's.</dialogue>
<character>DIDYMUS</character>
<dialogue>Ambrosius! My noble steed.</dialogue>
<scene_description>SARAH laughs and shrugs . Nothing surprises her in the labyrinth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - NIGHT</stage_direction>
<scene_description>The edge of the forest . From here you can see the castle in the distance , just across the dry , cracked plain . The sky is full of stars . SARAH , HOGGLE , LUDO and DIDYMUS are sitting around a fire .</scene_description>
<character>DIDYMUS</character>
<dialogue>What will you do after we save the child, my lady?</dialogue>
<character>SARAH</character>
<dialogue>Take him home, of course! That is, if I can figure out how.</dialogue>
<character>DIDYMUS</character>
<dialogue>What is your kingdom like? Do you have many knights to defend your honor?</dialogue>
<character>SARAH</character>
<dialogue>Not even one.</dialogue>
<character>DIDYMUS</character>
<dialogue>It can not be! What bitter place is this that does such dishonor to my lady?</dialogue>
<character>SARAH</character>
<dialogue>It's a place where. where nobody really sees me.</dialogue>
<character>LUDO</character>
<dialogue>Ludo. see. Sarah!</dialogue>
<character>SARAH</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>I know you do, Ludo.</dialogue>
<parenthetical>( she turns to Didymus . )</parenthetical>
<dialogue>And thanks to you, Sir Didymus, I finally have a knight.</dialogue>
<scene_description>He bows graciously . HOGGLE , who has been watching this scene , feels rejected and miserable . He gets up and wanders away from the fire . After a moment , SARAH follows him .</scene_description>
<character>SARAH</character>
<dialogue>Do n't you feel like resting?</dialogue>
<character>HOGGLE</character>
<dialogue>I ai n't tired.</dialogue>
<character>SARAH</character>
<dialogue>Me neither. What I am is hungry.</dialogue>
<scene_description>HOGGLE winces but SARAH does n't notice . SARAH looks back at LUDO and DIDYMUS . LUDO lies on his back snoring loudly . DIDYMUS dozes against AMBROSIUS ' side .</scene_description>
<character>SARAH</character>
<dialogue>They're both wonderful, are n't they?</dialogue>
<character>HOGGLE</character>
<dialogue>They're alright.</dialogue>
<character>SARAH</character>
<dialogue>They're more than that! They're loyal and strong. and with their help I'm going to beat Jareth!</dialogue>
<scene_description>HOGGLE shakes his head sadly . SARAH speaks as an afterthought .</scene_description>
<character>SARAH</character>
<dialogue>And yours, too, of course.</dialogue>
<character>HOGGLE</character>
<dialogue>I ai n't no fighter.</dialogue>
<scene_description>She shrugs that off and wanders away to look out at the castle . HOGGLE goes through agony for a moment , and then makes a decision .</scene_description>
<character>HOGGLE</character>
<dialogue>Missy. if you're hungry.</dialogue>
<scene_description>He holds out the peach that JARETH gave him : the world 's most delicious looking peach .</scene_description>
<character>SARAH</character>
<dialogue>Oh, great!</dialogue>
<scene_description>She happily taken the peach and bites . It takes everything HOGGLE has to not put his hands over his ears . She takes another bite and then stumbles . SARAH -LRB- laughing -RRB- : Everything 's dancing . She looks up at the sky , exhilarated .</scene_description>
<character>SARAH</character>
<dialogue>Even the stars are dancing!</dialogue>
<scene_description>HOGGLE turns and walks back to the fire . SARAH stumbles about as she gazes happily at the sky .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - NIGHT</stage_direction>
<scene_description>FREDDIE is leading the GOBLINS on a merry chase . He crawls around the room , pulling things off shelves . A GOBLIN is on his hands and knees in front of JARETH polishing his boots . JARETH kicks the GOBLIN and sends him flying across the room . This makes FREDDIE laugh and he pulls a book off the shelf and throws it . It hits a GOBLIN on the head . JARETH scoops up FREDDIE and puts him in his cradle . He sits down next to him .</scene_description>
<character>JARETH</character>
<dialogue>Little goblin - to - be, I have something to amuse you.</dialogue>
<scene_description>He waves his hands in front of FREDDIE and suddenly beautiful crystalline balls appear in them . He runs them over his fingers like so many coins , their molten light so dazzling that FREDDIE kicks up his legs with excitement . And WE CAN SEE that at the end of his pajamas are two wizened goblin feet ! JARETH laughs and flings the balls into the air and they turn into bubbles , beautiful , mesmerizing bubbles .</scene_description>
<character>JARETH</character>
<dialogue>Soon, little one. Very, very soon.</dialogue>
<scene_description>And they both watch the bubbles as they fly out the window and over the labyrinth , coldly beautiful against the darkening sky .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST - NIGHT</stage_direction>
<scene_description>SARAH 's hand opens slowly and the half - eaten peach falls to the ground . She stares out into the sky , mesmerized . The bubbles are approaching ; dazzling , dancing bubbles . And then she hears music , haunting , spell - casting music . The bubbles come closer and WE CAN SEE that each one contains a TWIRLING DANCER , a DANCER just like the one in SARAH 's music box . She gets up and follows them . ANOTHER ANGLE HOGGLE watching from the woods .</scene_description>
<character>HOGGLE</character>
<dialogue>Damn you, Jareth!</dialogue>
<parenthetical>( He turns and begins to walk away . )</parenthetical>
<dialogue>And damn me too!</dialogue>
<scene_description>ANOTHER ANGLE A bubble , with SARAH inside it , floating through the sky . She appears enchanted , and she begins to twirl , just like the OTHER DANCERS .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALLROOM - NIGHT</stage_direction>
<scene_description>A giant bubble , with a magnificent ballroom inside it . Tiny bubbles rush to join it . In one of them is SARAH .</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>The music changes and now SARAH is inside the ballroom . It is a magnificent spectacle with all the beauty and decadence of an 18th Century Venetian ball . Magnificently dressed DANCERS swirl to the music in an incredibly opulent setting . But when you look closer you sense decay just beneath the surface ; things are threadbare , faded . The GUESTS wear masks that are elegant parodies of goblin faces , giving them all a slightly sinister look . And there is something very provocative about all of them ; the WOMEN have bare shoulders and daring decolletage , many of the MEN have their shirts open to the waist . Some of them lounge against the wall indolently and there is the feeling that the party has been going on all night . In this setting SARAH is the picture of innocence . TWO WOMEN snickering behind their fans as SARAH approaches , and she is suddenly terribly self - conscious . How plain She feels amidst all this ! She looks into one of the many mirrors that line the ballroom and sighs at her image . Then suddenly she sees something in the mirror that makes her gasp . ANOTHER ANGLE The mirror , and in it the reflection of a resplendent JARETH dancing with a particularly exotic - looking WOMAN . SARAH whirls around , trying to get another glimpse of JARETH . She is so intent on trying to see him that she does n't notice that she is being stared at brazenly by a YOUNG MAN leaning against the wall . He moves next to her and whispers something into her ear . She hurries away , shocked ; and the YOUNG MAN throws back his head and laughs . And JARETH sees the whole thing . ANOTHER ANGLE SARAH is approached by a MIDDLE - AGED MAN who has a box hanging at waist height from a ribbon around his neck . It looks like SARAH 's music box . She looks down at it with interest and he throws open the cover . But there is no dancer inside , instead there is a stick carved like a snake . It shoots out at SARAH and she cries out and backs away . ALL THE PEOPLE around her laugh and she moves hurriedly on . JARETH , who is dancing with an even more beautiful WOMAN than before , watches SARAH . ANOTHER ANGLE SARAH is looking for JARETH . She spots him and sees him whisper something to his partner who smiles knowingly from beneath her mask and licks her lips . SARAH blushes and turns away and finds herself looking into another mirror . But in the reflection , JARETH is n't with a partner . He is standing alone , the DANCERS a whirling blur around him , and he is looking straight at her . SARAH , whirling around to face the crowd and she sees JARETH with yet a third BEAUTY . And then she realizes that it is herself ! In a trance - like state she moves through the CROWD to get a better look . ANOTHER ANGLE SARAH 'S POV - She is whirling in JARETH 's arms , and she is the most beautiful woman at the ball . JARETH smiles down at her and the attraction between them is palpable .</scene_description>
<character>JARETH</character>
<dialogue>You look like a queen.</dialogue>
<scene_description>SARAH looks up at him , thrilled by his words .</scene_description>
<character>SARAH</character>
<dialogue>I. I feel like. I. do n't know what I feel.</dialogue>
<scene_description>JARETH -LRB- smiling -RRB- : Do n't you ? And he whirls her around dizzyingly , so dizzyingly that she swoons in his arms . He catches her before she can fall very far , tightening his grip around her waist .</scene_description>
<character>SARAH</character>
<dialogue>Are we. are we in a bubble?</dialogue>
<character>JARETH</character>
<dialogue>Yes, we are. A dream bubble. where your dreams can come true.</dialogue>
<scene_description>ANOTHER ANGLE OUR SARAH is being jostled by the crowd . She stumbles and almost falls on top of a COUPLE on a bench . The WOMAN is sprawled across the lap of the MAN who wears a mask with a very phallic nose . SARAH backs away from them , frightened . ANOTHER ANGLE JARETH and SARAH , dancing . She is smiling up at him , he has never looked more handsome . There is something more open about him , as if he , too , is caught up in the moment . He nuzzles her hair with his lips and whispers in her ear . JARETH -LRB- whispering -RRB- : My Queen ! Then he begins a song . A song that tells SARAH he will give her everything she wants , even things she does n't know she wants . A song that says forget it all ; all the restrictions , all the powerlessness . Forget and stay in the dream . ANOTHER ANGLE OUR SARAH watches , mesmerized . But every time she tries to get closer to JARETH and SARAH she in jostled by a lascivious ADMIRER , pushed out of the way by WOMEN laughingly being chased by MEN . She stumbles against a wall and a door opens . Inside , pillow feathers are flying and she ca n't make out what the SEVERAL PEOPLE are doing . A WOMAN comes up to the doorway , winks at SARAH , and closes the door . ANOTHER ANGLE JARETH finishes the song and SARAH looks up at him , smiling . He moves his face closer to hers and she closes her eyes . His face comes closer , and closer . ANOTHER ANGLE OUR SARAH shrinks back from what she is seeing . She turns and runs , pushing herself though the languid CROWD , right into the bubble itself .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALL - NIGHT</stage_direction>
<scene_description>SARAH comes crashing through the bubble and the whole ballroom crumbles . In seconds it resembles nothing so much as a junkyard .</scene_description>
</scene>
<scene>
<stage_direction>EXT JUNK CITY - NIGHT</stage_direction>
<scene_description>SARAH runs through the streets of a part - market , part - junkyard . There are piles of rubble and junk everywhere , and between them are tents from which PEOPLE hawk objects of all kinds . Some of them approach SARAH and she pushes them away , sobbing . ANOTHER ANGLE SARAH 'S POV - A RED TENT , and standing in front of it is an OLD WOMAN stooped over from the objects piled high on her back . She beckons to SARAH and pulls the tent flap aside .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>` Ere it is, Dearie. All the fings you want, all the fings you need.</dialogue>
<scene_description>ANOTHER ANGLE The flap opens wider and inside the tent WE CAN SEE SARAH 's room ! ANOTHER ANGLE SARAH gasps at the sight and runs headlong into the tent . She trips over the threshold and lands face down on her bed .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH sits up on the bed and looks around the room . She shakes her head and laughs .</scene_description>
<character>SARAH</character>
<dialogue>What a dream!</dialogue>
<scene_description>She gets up and stretches , then walks over to the mirror . She smiles at her reflection .</scene_description>
<character>SARAH</character>
<dialogue>Yep, you've got quite an imagination, kid, Just what a great actress needs.</dialogue>
<scene_description>She walks over to the bed and picks up Lancelot the bear .</scene_description>
<character>SARAH</character>
<dialogue>How about a midnight snack, Sir Lance.</dialogue>
<scene_description>She goes over to the door and opens it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNK CITY - NIGHT</stage_direction>
<scene_description>SARAH 'S POV - THE MARKET/JUNKYARD TEEMING WITH ACTIVITY . The JUNK WOMAN peers in .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>` Ave n't you got everythin' you need, Dearie?</dialogue>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH screams and slams the door . She buries her face in the bear .</scene_description>
<character>SARAH</character>
<dialogue>It _ is _ just a dream!</dialogue>
<scene_description>She takes a deep breath and goes to the door again . She opens it very slowly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNK CITY - NIGHT</stage_direction>
<scene_description>SARAH 'S POV - THE SAME TEEMING ACTIVITY . The JUNK WOMAN peers in again .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>Best to stay in there, where it's safe, Dearie. Do n't know what might ` appen to you out ` ere.</dialogue>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH clams the door again and rushes over to the window . A GROUP OF REVELLERS peer in at her and laugh . She quickly pulls the curtains closed and walks back to the center of the room . She stands clutching the bear , then looks up at her reflection in the mirror . ANOTHER ANGLE SARAH 'S reflection . Herself as a very old woman , clutching a teddy bear .</scene_description>
<character>OLD SARAH</character>
<dialogue>Best to stay in here where it's safe. Do n't know what might happen to you out there.</dialogue>
<scene_description>SARAH steps back from the mirror and suddenly the floor becomes a sea of mud and all the objects in the room come falling down on her . As she tries to rise out of the muck more objects land on and around her and pull her down .</scene_description>
<character>SARAH</character>
<dialogue>Help! Somebody help me!</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNK CITY - NIGHT</stage_direction>
<scene_description>LUDO and DIDYMUS desperately searching for SARAH , DIDYMUS riding his DOG .</scene_description>
</scene>
<scene>
<stage_direction>INT. TAVERN TENT - NIGHT</stage_direction>
<scene_description>HOGGLE sits at a bar , drowning his sorrows . A JUNK MAN/BARTENDER works behind the bar . HOGGLE slams his cup down .</scene_description>
<character>HOGGLE</character>
<dialogue>Another!</dialogue>
<scene_description>The BARTENDER holds out his hand greedily . HOGGLE pulls a treasure off his belt and slams it on the bar . The BARTENDER pours .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JUNK CITY - NIGHT</stage_direction>
<scene_description>DIDYMUS and LUDO approach the red tent . They spy the JUNK WOMAN .</scene_description>
<character>DIDYMUS</character>
<dialogue>Did you see a noble maiden pass this way?</dialogue>
<character>JUNK WOMAN</character>
<dialogue>A noble maiden, eh? What would she be doin' in a place like this?</dialogue>
<character>DIDYMUS</character>
<dialogue>She's on a rescue mission.</dialogue>
<scene_description>The JUNK WOMAN finds this hilarious .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>A rescue mission, ha! You're in the wrong place, for sure! The only fings we cares about rescuin' around ` ere is our worldly goods!</dialogue>
<scene_description>She takes an oil lamp off her back and shines it on her sleeve for emphasis .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH is drowning in a sea of junk . She hears DIDYMUS and cries out hopefully .</scene_description>
<character>SARAH</character>
<dialogue>Didymus, in here! Help me!</dialogue>
<scene_description>The door opens and the JUNK WOMAN peers inside .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>Do n't worry, Dearie. I sent ` im away!</dialogue>
<scene_description>SARAH groans .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>Knew you would n't want to be leavin' your nice fings for no rescue mission.</dialogue>
<character>SARAH</character>
<dialogue>Oh my god! Freddie!</dialogue>
<character>JUNK WOMAN</character>
<dialogue>Freddie? Is that one of them dolls over there. or that nice teddy?</dialogue>
<scene_description>SARAH struggles for the door in the sea of junk .</scene_description>
<character>SARAH</character>
<dialogue>No! He's my brother! And I've got to save him!</dialogue>
<scene_description>She continues pushing through the junk .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>No you do n't, Dearie. You can stay right ` ere with all your pretty fings.</dialogue>
<scene_description>SARAH knows what her choice has to be .</scene_description>
<character>SARAH</character>
<dialogue>I know I can.</dialogue>
<parenthetical>( joyous . )</parenthetical>
<dialogue>But I do n't want to!</dialogue>
<scene_description>She lifts herself out of the junk with a mighty heave and stands in the doorway . She looks down at the JUNK WOMAN triumphantly .</scene_description>
<character>SARAH</character>
<dialogue>Now get out of my way!</dialogue>
</scene>
<scene>
<stage_direction>EXT. JUNK CITY - NIGHT</stage_direction>
<scene_description>SARAH runs out of the tent , a look of triumph on her face . The JUNK WOMAN pulls something off her own pile and holds it out to SARAH .</scene_description>
<character>JUNK WOMAN</character>
<dialogue>Wait, Dearie! Look at this!</dialogue>
<scene_description>She holds out SARAH 's music box , opens it , and the little DANCER twirls inside . SARAH -LRB- grinning -RRB- : Keep it ! And she is off . As SARAH goes the CAMERA LINGERS on the JUNK WOMAN . And we begin to move around to her other side and even though we had just seen her from all sides , we now see something very , very different . Where the other side of the woman should be WE SEE a cross - section of her , with JARETH inside . His head is beneath the pile of junk and his hand is inside her head making it laugh . He is the puppeteer operating the JUNK LADY , as indeed , she has been operated . JARETH is mad .</scene_description>
<character>JARETH</character>
<dialogue>Damn.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CASTLE GATE - NIGHT</stage_direction>
<scene_description>LUDO and DIDYMUS sit forlornly at the gate . SARAH appears out of the night .</scene_description>
<character>DIDYMUS</character>
<dialogue>My lady!</dialogue>
<scene_description>LUDO leaps to his feet .</scene_description>
<character>LUDO</character>
<dialogue>Sarah. safe!</dialogue>
<scene_description>SARAH rushes into his arms .</scene_description>
<character>DIDYMUS</character>
<dialogue>Is Hoggle not with you?</dialogue>
<scene_description>SARAH pulls away from LUDO .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle made his choice, he's. not part of the mission anymore.</dialogue>
<scene_description>DIDYMUS -LRB- angry -RRB- : The coward !</scene_description>
<character>LUDO</character>
<dialogue>Hoggle. good!</dialogue>
<scene_description>SARAH shrugs , and smiles at him .</scene_description>
<character>SARAH</character>
<dialogue>Maybe. But there's no time to discuss it. We've got a baby to rescue, remember!</dialogue>
<scene_description>She leads them through the gates .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOBLIN TOWN - NIGHT</stage_direction>
<scene_description>Streets full of hovels encircle the castle . This is where the GOBLINS live . As SARAH , LUDO and HOGGLE walk through the dark , eerie streets they are met by the slamming of shutters and the extinguishing of lights .</scene_description>
<character>DIDYMUS</character>
<dialogue>Methinks they are expecting us, my lady.</dialogue>
<scene_description>A CHILD GOBLIN peers at them from an open doorway . A FEMALE GOBLIN sees him and drags him inside and slams the door . SARAH -LRB- grimly -RRB- : Methinks you 're right !</scene_description>
</scene>
<scene>
<stage_direction>INT. TAVERN - NIGHT</stage_direction>
<scene_description>HOGGLE is still at it . He pulls his belt off his body and WE SEE that the only treasure left is SARAH 's plastic circlet . He slowly pulls it off and stares at it . The BARTENDER approaches , his eyes lighting up at the eight of this treasure .</scene_description>
<character>BARTENDER</character>
<dialogue>Another?</dialogue>
<scene_description>HOGGLE hesitates , then hands the circlet over . The BARTENDER bites it and his face lights up with glee .</scene_description>
<character>BARTENDER</character>
<dialogue>Plastic!</dialogue>
<scene_description>He goes to get the drink and HOGGLE puts his face down on the bar and sobs . ANOTHER ANGLE At the other end of the bar sits the WISE ONE . The HAT looks over at HOGGLE and shakes his head knowingly .</scene_description>
<character>HAT</character>
<dialogue>Drinkin' to forget, eh, buddy?</dialogue>
<scene_description>HOGGLE looks up .</scene_description>
<character>WISE ONE</character>
<dialogue>To forget, ah yes. To suffer a mental lapse, to obliterate from one's consciousness, to suffer amnesia, a blank or fugue, to drink the waters of Lethe.</dialogue>
<scene_description>HOGGLE -LRB- drunkenly -RRB- : What 's Lethe .</scene_description>
<character>WISE ONE</character>
<dialogue>The waters of forgetfulness. They remove from our minds what is too painful to remember.</dialogue>
<scene_description>HOGGLE looks thoughtfully at the drink in his hand .</scene_description>
<character>WISE ONE</character>
<dialogue>but with the memory goes our wisdom, or knowledge, that which brings us understanding, also enlightenment.</dialogue>
<scene_description>But there is no one to continue benefitting from the WISE ONE 's pearls . HOGGLE is gone .</scene_description>
<character>HAT</character>
<dialogue>You can cool it down there. he's gone.</dialogue>
<character>WISE ONE</character>
<dialogue>a grasp of things, a depth or profundity of thought.</dialogue>
<scene_description>The HAT sighs and looks over at the BARTENDER who is still admiring his plastic treasure .</scene_description>
<character>HAT</character>
<dialogue>Another one over here. and make it a double.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GOBLIN TOWN - NIGHT</stage_direction>
<scene_description>SARAH , LUDO and DIDYMUS emerge into the vast courtyard outside the castle . It in eerily quiet . Too quiet .</scene_description>
<character>SARAH</character>
<dialogue>We're going to make it!</dialogue>
<scene_description>DIDYMUS sniffs the air .</scene_description>
<character>DIDYMUS</character>
<dialogue>I am less than sure.</dialogue>
<scene_description>They are interrupted by a high - pitched shriek as a GOBLIN jumps on LUDO 's back . Then the courtyard is filled with GOBLINS , what seems like the whole army , coming right at them . DIDYMUS fends off the VANGUARD PARTY with his sword and LUDO punches out the ones that get by him . DIDYMUS unswords a GOBLIN and his weapon goes flying . SARAH picks it up and does some parrying of her own . But there are too many of them . The threesome turn and run .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - NIGHT</stage_direction>
<scene_description>JARETH stands by the window , watching the battle . The WHITE BIRD sits on his shoulder . JARETH looks over at FREDDIE who stands holding on to the side of the cradle . JARETH smiles and turns back to the melee below . The BIRD flies out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOBLIN TOWN - NIGHT</stage_direction>
<scene_description>SARAH , LUDO and DIDYMUS race down the streets . The GOBLINS are in hot pursuit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>They come careening around a corner and it seems that they have escaped their pursuers . The sound of the GOBLINS seems to be getting farther away .</scene_description>
<character>SARAH</character>
<dialogue>I think we lost them.</dialogue>
<scene_description>They turn and see that , unfortunately they have come full circle and are right back in the courtyard . LUDO climbs part way up a wall and looks over the streets .</scene_description>
<character>DIDYMUS</character>
<dialogue>What do you see, my brother?</dialogue>
<scene_description>LUDO gulps . What he sees is the GOBLIN ARMY coming down every street right towards them .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. see. trouble!</dialogue>
<scene_description>And then the trouble arrives and SARAH and DIDYMUS are heavily into swordplay . LUDO tries clumsily to get down and is tormented by GOBLINS who prick at him with their spears . SARAH looks up and sees his predicament . She gets an idea .</scene_description>
<character>SARAH</character>
<dialogue>Call the rocks, Ludo! Call the rocks!</dialogue>
<scene_description>LUDO makes a heroic effort and gets to the top of the wall . He then throws his head back and bellows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOBLIN TOWN - NIGHT</stage_direction>
<scene_description>An enormous rumbling is heard and soon the streets are filled with boulders , all careening towards LUDO . They knock GOBLINS out of their path like so many bowling pins .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - NIGHT</stage_direction>
<scene_description>SARAH and DIDYMUS fight bravely . LUDO keeps bellowing and throwing off the occasional GOBLIN that is stupid enough to jump on him . Soon the rocks reach the courtyard and form a barrier between the THREESOME and their ATTACKERS . LUDO reaches down and lifts SARAH and DIDYMUS on to the wall . They jump and disappear into the castle enclave .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - NIGHT</stage_direction>
<scene_description>A door opens in a dark part of the castle . LUDO , SARAH and DIDYMUS enter . They look around and quickly tip - toe down a dark corridor . They turn a corner and see some GOBLINS marching their way . They duck out of sight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE - NIGHT</stage_direction>
<scene_description>The main entrance to the castle . TWO - GOBLIN GUARDS stand outside the large wooden doors . The results of the THREESOME 's escape can be heard in the distance . A FIGURE staggers out of the dark , singing drunkenly . It is HOGGLE .</scene_description>
<character>HOGGLE</character>
<dialogue>. it's so cold in the night with no gold to keep me warm.''</dialogue>
<scene_description>He trips over his feet as he approaches the GUARD .</scene_description>
<character>GUARD</character>
<dialogue>Who goes there?</dialogue>
<scene_description>HOGGLE '' . so cold , oh so cold . ''</scene_description>
<character>GUARD 2</character>
<dialogue>Do n't worry about him. He's on Jareth's payroll now.</dialogue>
<scene_description>HOGGLE falls to the ground , then picks himself up .</scene_description>
<character>HOGGLE</character>
<dialogue>Thash right. Jareth owes me sumthin'. an' I'm here ta collect.</dialogue>
<scene_description>They laugh at him , then step aside and let him enter .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - NIGHT</stage_direction>
<scene_description>A GROUP OF GOBLINS stand in a circle in a corridor . They torment a tiny , fuzzy yapping CREATURE with their nipper sticks . The CREATURE gets away from them and goes scurrying down the corridor . The GOBLINS laugh . It turns a corner and starts yapping for all it 's worth . ANOTHER ANGLE SARAH , LUDO and DIDYMUS pressed against the wall , trying to not be noticed . Unfortunately the little CREATURE has no sympathy for their plight . It stands at their feet , making a ruckus . SARAH -LRB- whispering -RRB- : Shut up , you little monster ! LUDO bends down to pet it in the hopes of quieting it .</scene_description>
<character>LUDO</character>
<dialogue>Nice. thing.</dialogue>
<scene_description>But the CREATURE does n't want a pet . It sinks its teeth into LUDO 's hand . LUDO howls .</scene_description>
<character>DIDYMUS</character>
<dialogue>I fear that this means trouble.</dialogue>
<scene_description>The GOBLINS yell and start running down the corridor .</scene_description>
<character>SARAH</character>
<dialogue>Run for it!</dialogue>
<scene_description>They are off , the CREATURE and the GOBLINS at their heels .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - NIGHT</stage_direction>
<scene_description>The THREE are running for all they 're worth . SARAH pulls the watch out of her pocket . It is on the 12:30 .</scene_description>
<character>SARAH</character>
<dialogue>Only a half hour left! We've got to find Freddie!</dialogue>
<scene_description>ANOTHER ANGLE Yet another GROUP OF GOBLINS running right toward them . They stop in their tracks and start running in the opposite direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER COURTYARD - NIGHT</stage_direction>
<scene_description>The THREE come careening into the long narrow inner courtyard . Balconies look down on it from the floor above . Opposite them is a large ornate door . They have a lead on the GOBLINS chasing them , but not for long . ANOTHER ANGLE On one of the balconies a particularly repulsive little GOBLIN laughs sadistically . The THREE look up and see the GOBLIN with his hands on a huge lever . He pushes it down gleefully and the floor opens up in front of the THREESOME . It appears to be a bottomless pit , too wide to leap across . Horrified they look behind them and see the GOBLINS gaining on them . And they 're throwing spears ! Suddenly there is a triumphant yell from the balcony opposite the repulsive GOBLIN , and then a FIGURE leaps off it swinging on a rope .</scene_description>
<character>SARAH</character>
<dialogue>Hoggle!</dialogue>
<scene_description>It certainly is ! He wrestles with the hideous GOBLIN and in the struggle it falls screaming into the pit . HOGGLE then grabs the lever and it is not a second too soon . The pursuing GOBLINS are entering the courtyard . ANOTHER ANGLE The floor closes and the THREE run to the door . An enraged PURSUER aims a spear at HOGGLE . He is hit . SARAH screams as LUDO struggles with the door . It wo n't budge and he begins to smash his body against it . ANOTHER ANGLE A seemingly half - dead HOGGLE staggers to his feet and throws his body on the lever . He appears to faint from the strain but the weight of his body pushes the lever and the floor opens again . ANOTHER ANGLE The enraged GOBLINS are stopped in their tracks by the yawning pit . They hurl spears at the THREESOME but it is to no avail . LUDO smashes down the door and they run in .</scene_description>
</scene>
<scene>
<stage_direction>INT. JARETH'S QUARTERS - NIGHT</stage_direction>
<scene_description>SARAH , DIDYMUS , and LUDO carrying HOGGLE enter the room where we have seen JARETH and FREDDIE . They lock the door behind them . No one is there and FREDDIE 's cradle is rocking , as if someone had removed him only moments before . LUDO places HOGGLE down and SARAH looks feverishly around the room . She spots a door .</scene_description>
<character>SARAH</character>
<dialogue>That's the only way he could have gone!</dialogue>
<scene_description>She runs to the door and LUDO and DIDYMUS follow .</scene_description>
<character>SARAH</character>
<dialogue>No. I have to face him alone!</dialogue>
<character>DIDYMUS</character>
<dialogue>But, my lady.</dialogue>
<scene_description>He is interrupted by the sound of GOBLINS in pursuit . They start trying to smash down the door . LUDO runs to it and presses his body against it . HOGGLE moans and DIDYMUS and SARAH run to his side .</scene_description>
<character>HOGGLE</character>
<dialogue>I do n't expect ya to fergive me, Missy, but.</dialogue>
<scene_description>She puts her finger to his lips .</scene_description>
<character>SARAH</character>
<dialogue>Forgive you for what? Saving our lives?</dialogue>
<character>HOGGLE</character>
<dialogue>But, I betrayed ya, I gave ya that damned peach.</dialogue>
<character>SARAH</character>
<dialogue>Ssh! You did the only thing you could do.</dialogue>
<scene_description>She looks down at his empty belt .</scene_description>
<character>SARAH</character>
<dialogue>and I see you lost all your treasures in the process.</dialogue>
<character>HOGGLE</character>
<dialogue>I do n't care if I never sees another treasure again!</dialogue>
<scene_description>SARAH -LRB- smiles -RRB- : Here . Just in case you change your mind . She slips off her mother 's ring and presses it into HOGGLE 's hand . He is overwhelmed and SARAH smiles at his pleasure .</scene_description>
<character>HOGGLE</character>
<dialogue>And Jareth said ya could never love me.</dialogue>
<character>SARAH</character>
<dialogue>Jareth does n't know everything.</dialogue>
<scene_description>She leaps to her feet and HOGGLE moans .</scene_description>
<character>SARAH</character>
<dialogue>Take care of him, Didymus.</dialogue>
<character>DIDYMUS</character>
<dialogue>I'll guard the valiant Hoggle with my life!</dialogue>
<scene_description>The GOBLINS give the door a particularly loud smash and LUDO presses against the door even harder .</scene_description>
<character>LUDO</character>
<dialogue>Ludo. too!</dialogue>
<scene_description>She runs to the other door and stops to look back at them .</scene_description>
<character>SARAH</character>
<dialogue>No maiden could have wished for nobler knights.</dialogue>
<scene_description>And she is gone .</scene_description>
</scene>
<scene>
<stage_direction>ESCHER ROTUNDA - NIGHT</stage_direction>
<scene_description>SARAH enters an overwhelming room with many staircases , balconies and doorways at different heights and at all kinds of strange angles that obviously have no relation to what we know as gravity . Her knees buckling from vertigo . Then she gasps . ANOTHER ANGLE JARETH is sitting on the wall with all the ease of a fly .</scene_description>
<character>JARETH</character>
<dialogue>I've been expecting you.</dialogue>
<scene_description>SARAH stumbles and falls into the room , ending up on the ceiling . She tries to adjust to being upside down .</scene_description>
<character>SARAH</character>
<dialogue>Where's Freddie?!</dialogue>
<scene_description>She has to look down and sideways to see JARETH and it is clearly grueling .</scene_description>
<character>JARETH</character>
<dialogue>He's right there.</dialogue>
<scene_description>And he points to one of the stairways that juts out at a right angle from the wall . FREDDIE is climbing up the stairs happily , but from SARAH 's point of view it looks like he will fall when he gets to the top . SARAH -LRB- screaming -RRB- : Freddie ! No ! FREDDIE gets to the top but does n't fall , instead he ends up crawling up the wall . SARAH sighs with relief and closes her eyes . This sends her reeling and she ends up in one of the archways . She tries to orient herself but there is no up , no down , no sideways . And the BABY is about to crawl off a balcony ! SARAH screams and JARETH laughs . He begins a song that tells SARAH she never really understood what was gain on . Nothing is what it appears to be , not even things like `` up '' and `` down . '' ANOTHER ANGLE FREDDIE in the most precarious - looking situation yet , at the top of a staircase . He hesitates to crawl down , and to lure him , JARETH creates a ball out of thin air and throws it to the BABY . Of course , it bounces up . And all the while his song is taunting SARAH . She turns away from him and looks into the large mirror framed in the archway . She sees endless SARAHS . And while she 's looking , the first reflection runs to the left , the reflection behind that to the right , and so on all the way down the line . And SARAH 's still standing there ! She falls backwards and ends up standing on the floor , watching FREDDIE chase his ball across the ceiling . JARETH dances on the wall now as he is about to finish his song . And there is FREDDIE on one of the balconies facing out of the rotunda . If he falls off that , he 'll really fall ! SARAH runs up the opposite wall and finds that there is sheer space between her and the BABY . The only way to reach him is to jump . She looks at JARETH who grins at her , then at FREDDIE who is teetering on the edge . As JARETH comes to the end of the song there is nothing to do but jump . She looks at JARETH and ca n't repress a grin of her own .</scene_description>
<character>SARAH</character>
<dialogue>Like the man said, `` nothing is what it appears to be!''</dialogue>
<scene_description>She jumps .</scene_description>
</scene>
<scene>
<stage_direction>INT. JARETH'S CHAMBERS - NIGHT</stage_direction>
<scene_description>SARAH falls right on to a magnificent huge bed . Opposite her JARETH sits in a chair . FREDDIE , wrapped in a blanket , is gurgling on his lap . SARAH reaches into her pocket and pulls out the watch . It is a few minutes before 13 . JARETH stands up .</scene_description>
<character>JARETH</character>
<dialogue>There's still time.</dialogue>
<scene_description>He gestures to a clock on the wall that shows the same time as her watch . He places FREDDIE into a cradle and comes over to the bed . He looks down at her .</scene_description>
<character>JARETH</character>
<dialogue>Besides, I'm no longer interested in having a little goblin prince. I've decided I'd much rather have a queen.</dialogue>
<scene_description>He looks into her eyes for a moment . SARAH does n't look away . Instead , she slowly eases herself off the bed and stands facing him . SARAH -LRB- archly -RRB- : A queen ? Have you chosen anyone I know . She glides by him and walks to the window . JARETH chuckles appreciatively .</scene_description>
<character>JARETH</character>
<dialogue>You've come a long way, little girl.</dialogue>
<scene_description>SARAH looks out at the labyrinth .</scene_description>
<character>SARAH</character>
<dialogue>I certainly have.</dialogue>
<scene_description>She turns to face him .</scene_description>
<character>JARETH</character>
<dialogue>Yes, I can see it in your eyes.</dialogue>
<parenthetical>( he moves closer to her . )</parenthetical>
<dialogue>No one else has ever made it this far in the labyrinth, no one else has ever been worthy.</dialogue>
<scene_description>He takes her hand and brings it to his lips . She smiles down at him .</scene_description>
<character>SARAH</character>
<dialogue>What's your offer.</dialogue>
<scene_description>JARETH stands quickly and looks at her . She certainly has come a long way !</scene_description>
<character>JARETH</character>
<dialogue>Why, everything. you'll rule by my side.</dialogue>
<character>SARAH</character>
<dialogue>Everything? The chance to spend my life surrounded by repulsive goblins. the chance to torment innocent creatures.</dialogue>
<scene_description>JARETH -LRB- shaking his head -RRB- : . the chance to never have a care in the world , to never have to do anything that you do n't want to do . SARAH looks at him .</scene_description>
<character>SARAH</character>
<dialogue>Anything else?</dialogue>
<scene_description>JARETH -LRB- smiling -RRB- : Why , me . Of course . SARAH surreptitiously eyes the clock . There is about a minute left . She glides away from the window and tries to position herself closer to FREDDIE .</scene_description>
<character>SARAH</character>
<dialogue>And what if I'm not interested?</dialogue>
<scene_description>JARETH reacts with surprise for a moment , then shakes his head .</scene_description>
<character>JARETH</character>
<dialogue>Impossible. I know you, I know what you want.</dialogue>
<character>SARAH</character>
<dialogue>Well, I've got news for you, Jareth.</dialogue>
<scene_description>She makes a beeline for the cradle .</scene_description>
<character>SARAH</character>
<dialogue>I do n't want _ you _!</dialogue>
<scene_description>She 's almost at the cradle but JARETH grabs her arm and stops her . SARAH -LRB- shocked , enraged -RRB- : Why , you miserable creep ! JARETH has hold of her arms but she breaks away and hauls off and punches him in the jaw . JARETH steps back , stunned . SARAH scoops up the screaming FREDDIE .</scene_description>
<character>SARAH</character>
<dialogue>How could you do this to an innocent baby?!</dialogue>
<scene_description>JARETH stands rubbing his jaw , snivelling , stunned .</scene_description>
<character>JARETH</character>
<dialogue>You hit me!</dialogue>
<scene_description>SARAH , FREDDIE in her arms , goes right up to him .</scene_description>
<character>SARAH</character>
<dialogue>And I'd like to do more. you, you!</dialogue>
<scene_description>She is furious and wants to hit him again badly . Since she has the BABY in her arms she makes do with kicking him hard in the shin . JARETH howls and grabs his leg .</scene_description>
<character>SARAH</character>
<dialogue>I would n't want you if you were the last. _ goblin _ on earth!</dialogue>
<scene_description>The WHITE BIRD flies through the window and lands on SARAH 's shoulder . JARETH puts his hands on his ears .</scene_description>
<character>JARETH</character>
<dialogue>Do n't say that!</dialogue>
<scene_description>But it is too late , he starts shrinking .</scene_description>
<character>JARETH</character>
<dialogue>Look at me!</dialogue>
<parenthetical>( whining . )</parenthetical>
<dialogue>How could you do this to me!</dialogue>
<scene_description>Before SARAH 's eyes JARETH turns into an undersized , ineffective , snivelling little GOBLIN . The features are those of a goblin , but still recognizably JARETH .</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE - NIGHT</stage_direction>
<scene_description>JARETH 's quarters , where DIDYMUS tends HOGGLE and LUDO still blocks the door . JARETH -LRB- VO -RRB- -LRB- whiney scream -RRB- : Why does everything have to happen to me ! They look at each other and suddenly LUDO realizes that the GOBLINS are no longer trying to break down the door . The THREE start to laugh . HOGGLE -LRB- proudly -RRB- : She did it ! They cheer .</scene_description>
</scene>
<scene>
<stage_direction>INT. JARETH'S CHAMBERS - NIGHT</stage_direction>
<scene_description>JARETH , the bratty little GOBLIN , is throwing a tantrum .</scene_description>
<character>JARETH</character>
<dialogue>Nobody ever cares about what I want!</dialogue>
<scene_description>The walls and floor shake so from his pounding fists and feet that a crack opens up right in front of SARAH 's feet . She looks at the clock and the minute hand moves to the 13 . She looks at FREDDIE . There 's nothing to do but jump into the void . The clock begins to strike .</scene_description>
<character>SARAH</character>
<dialogue>OK, Freddie. Time to go bye - bye!</dialogue>
<scene_description>She jumps .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY - NIGHT</stage_direction>
<scene_description>SARAH and FREDDIE spinning through the dark , starry sky . The striking of the clock continues . ANOTHER ANGLE CLOSE ON SARAH AND FREDDIE . SARAH pulls him closer , lovingly . And they go on spinning .</scene_description>
</scene>
<scene>
<stage_direction>INT. NURSERY - NIGHT</stage_direction>
<scene_description>SARAH is lying face down on the floor . She comes to slowly and tries to sit up . Groaning , she rubs her head where it bumped on the corner of the open drawer . She tries to focus , blinking her eyes . ANOTHER ANGLE SARAH 'S POV - Her eyes slowly focus on FREDDIE 's crib . When she can see , she gasps . FREDDIE 's not there ! The side of the crib is down and the BABY is nowhere to be seen .</scene_description>
<character>SARAH</character>
<dialogue>Freddie!</dialogue>
<scene_description>She leaps to her feet woozily . Still rubbing her head she staggers out into the hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAILWAY - NIGHT</stage_direction>
<scene_description>SARAH looks down the hallway and suddenly her face breaks out into a delighted grin . ANOTHER ANGLE SARAH 'S POV - LITTLE FREDDIE is crawling slowly , but determinedly , into SARAH 's room . When he gets to her bed he uses all his strength to pull himself up on to his feet by holding on to the bedspread . Be then holds his hand out , trying to reach something . ANOTHER ANGLE SARAH makes her way toward her room , delight and wonder on her face .</scene_description>
</scene>
<scene>
<stage_direction>INT. SARAH'S ROOM - NIGHT</stage_direction>
<scene_description>SARAH stands in the doorway looking down at FREDDIE . SARAH -LRB- softly -RRB- : That 's quite a journey you took , Freddie . FREDDIE looks up at her and makes a sound . He continues straining , and WE SEE that what he is reaching for is Lancelot , SARAH 's bear . SARAH smiles , and lifts FREDDIE up . She sits on the bed , FREDDIE on her lap , and hands him the bear .</scene_description>
<character>SARAH</character>
<dialogue>Here. It's yours.</dialogue>
<scene_description>FREDDIE takes it happily . SARAH -LRB- smiling -RRB- : You earned it . She kisses his head and rocks him gently . Then she gazes out the window at the stars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - NIGHT</stage_direction>
<scene_description>The light shines from SARAH 's window . The WHITE BIRD flutters down from the starry sky . It perches in the tree beside the path . THE END</scene_description>
</scene>
</script> | 16-year-old Sarah Williams recites from a book titled "The Labyrinth" in the park with her dog Merlin but becomes distracted by a line she is unable to remember while being watched by a barn owl. Realizing she is late to babysit her baby half-brother Toby, she rushes home and is confronted by her stepmother Irene before she and her father Robert leave for dinner. She then finds Toby in possession of her treasured childhood teddy bear, Lancelot. Frustrated by this and his constant crying, Sarah rashly wishes Toby be taken away by the goblins. She is shocked when Toby disappears and Jareth, the Goblin King, arrives. He offers Sarah her dreams in exchange for the baby, but she refuses, having instantly regretted her wish. Jareth reluctantly gives Sarah 13 hours to solve his labyrinth and find Toby before he is turned into a goblin forever. Sarah meets a dwarfish man named Hoggle, who aids her in entering the labyrinth. She has trouble finding her way at first, but meets a talking worm who inadvertently sends her in the wrong direction. Sarah ends up in an oubliette, where she reunites with Hoggle. After they are confronted by Jareth and escape one of his traps, the two encounter a large beast named Ludo. Hoggle flees in a cowardly fashion while Sarah befriends Ludo. After another riddle, she loses him in a forest. Hoggle encounters Jareth, who gives him a drugged peach and instructs him to give it to Sarah, calling his loyalty into question, as he was supposed to lead her back to the beginning of the maze. Sarah is harassed by a group of creatures called the Fireys, but Hoggle comes to her aid. Thankful, she kisses him, and Jareth magically sends them to the Bog of Eternal Stench as punishment, where they reunite with Ludo. The trio meet the guard of the swamp named Sir Didymus, an anthropomorphic fox, and his Old English Sheepdog "steed" named Ambrosius. After Ludo howls and summons a trail of rocks to save Sarah from falling into the bog, Didymus joins the group. When the group gets hungry, Hoggle gives Sarah the peach and runs away as she falls into a trance and begins to forget her quest. She has a dream where Jareth comes to her at a masquerade ball, proclaiming his love for her, but she rebuffs him and escapes, falling into a junkyard. After an old Junk Lady fails to brainwash her, she is rescued by Ludo and Didymus, outside the Goblin City near Jareth's castle. They are confronted by the gate guard, but Hoggle bravely comes to their rescue. Despite his feeling unworthy of forgiveness for his betrayal, Sarah and the others welcome him back, and they enter the city together. Jareth is alerted to their presence and sends his goblin army to stop them, but Ludo howls and summons a multitude of rocks to chase the guards away, and they enter the castle. Sarah insists she must face Jareth alone and promises to call the others if needed. In a room modeled after M. C. Escher's Relativity, she confronts Jareth while trying to retrieve Toby. She recites the lines from her book that mirror her adventure to that point, but she still cannot remember the last line. As Jareth offers Sarah her dreams, she remembers the line, "You have no power over me!" Defeated at the last second, Jareth returns Sarah and Toby home safely and turns into a barn owl, flying away. Realizing how important Toby is to her, Sarah gives him Lancelot and returns to her room. As her father and stepmother return home, she sees her friends in the mirror and realizes even though she is growing up, she still needs them in her life every now and again. In an instant, a number of the major characters from the Labyrinth appear in her room for a raucous celebration, and she reunites with Hoggle, Ludo, Didymus, and Ambrosius. As they celebrate, Jareth, in his owl form, watches from outside and then flies away into the night. |
Near Dark_1987 | tt0093605 | <script>
<scene>
<character>"NEAR DARK"</character>
<dialogue>written by</dialogue>
<scene_description>Eric Red and Kathryn Bigelow "NEAR DARK": FADE IN: A MOSQUITO alights on a human arm. The stinger injects in the warm flesh. The insectile body becomes full and red as it sucks the blood. The fist of the arm clenches. The forearm muscles tighten. Trapping the stinger. The mosquito struggles to pull its needlike appendage free. The tendons of the arm hold it firm. Forcing blood into it. The insect struggles. Blood engorges it, swelling its body. It swells. Swells. POPS in a SPRITZ of blood.</scene_description>
<character>CALEB</character>
<dialogue>Dumb suck.</dialogue>
</scene>
<scene>
<stage_direction>INT. FLATBED - FORD PICKUP - DUSK</stage_direction>
<scene_description>CALEB COLTON is stretched out on the beat up, broke down '64 Ford Pickup. Cowboy boots crossed on the transom. Hat dipped low over his face. He is a strapping young farmboy of 18. Long, dusty, shoulder length hair. An all-American, milkbread, midwestern farm kid. Bored off his ass. He yawns and swings off the back of the truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OKLAHOMA FLATLANDS - DUSK</stage_direction>
<scene_description>The pickup is a funnel of dust on the thin strip of road. The wide open, bleak emptiness of the fields as far as the eye can see. An awesome country sunset spreading out across the sprawling, barren landscape in fingers of red shadows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIX, OKLAHOMA - NIGHT</stage_direction>
<scene_description>The Ford Pickup drifts into town. Sweeping past a dirty, disheveled metal sign reading, "Welcome to Fix, Oklahoma. Pop. 274." Slowing down along the Main street which is a long strip of service road running off the highway. A single gas station. A Pit Stop Burger joint with cars parked outside. A huge granary with tall, stilt silos. If you're driving by and you blink, you miss it. The boy in the Pickup cruises into the Pit Stop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIT STOP BURGER JOINT - NIGHT</stage_direction>
<scene_description>Tacky bright orange day glo neon type of place. Couple other FARM KIDS in pickups and jeeps pulled in. Lounging around, smoking cigarettes, swigging beer. The Pickup cuts a curve into the parking space in a shower of gravel. Caleb jumps out. Has a casual look around him. Like he wouldn't piss if his pants were on fire. He lights up a Marlboro. Deep heels it up to the window. Leans back on his elbows on the counter. The orange haired WAITRESS behind the window looks irritatedly at the farmboy.</scene_description>
<character>WAITRESS</character>
<dialogue>You gonna stand there or you gonna order?</dialogue>
<scene_description>Caleb speaks over his shoulder.</scene_description>
<character>CALEB</character>
<dialogue>If I never see another burger again I'll be happy.</dialogue>
<scene_description>The waitress shakes her head. The farmboy distractedly eyes the lanky, rangy kids loping up to him. One with freckles on his face, LEVON, knocks Caleb's hat off his head. Caleb catches his hat and socks the boy in the arm.</scene_description>
<character>LEVON</character>
<dialogue>What's eating' you?</dialogue>
<character>CALEB</character>
<dialogue>Your Mama. Y' oughta keep an eye on her, Levon.</dialogue>
<character>LEVON</character>
<dialogue>You wish.</dialogue>
<character>CALEB</character>
<dialogue>Wish I may, wish I might, wish I be hundred thousand miles from here tonight. Goddamn straight.</dialogue>
<character>LEVON</character>
<dialogue>Take off.</dialogue>
<character>CALEB</character>
<dialogue>Might just.</dialogue>
<scene_description>The farmboy's gaze drifts across the street to the...</scene_description>
</scene>
<scene>
<stage_direction>EXT. TASTY FREEZE - NIGHT</stage_direction>
<scene_description>Lit blue and white beneath bright fluorescent bulbs. A GIRL turns from the window. An ice cream cone in her hand. A tiny line of the frosty cream dripping down the side of her mouth. Caleb stares at the girl. She runs a hand through thick, shiny brown hair, brushing it back off her forehead. Exposing her face. Heart shaped. Impossibly pale skin in the fluorescent glow. Wide eyes, a depthless ice blue like a sunny, summer sky. A small mouth out of which a narrow red tongue swipes at the melting cone in her hands. She looks to be in her late teens. A faded cowboy shirt fits snugly across her chest. A pair of Levis meet a dusty pair of black cowboy boots. Those blue eyes lift and light on Caleb's face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIT STOP BURGER JOINT - NIGHT</stage_direction>
<scene_description>A shiver runs up Caleb's spine. A shiver that feels good. He claps Levon on the shoulder, nodding his head toward the girl at the Tasty Freeze.</scene_description>
<character>CALEB</character>
<dialogue>I'm in love.</dialogue>
<character>LEVON</character>
<dialogue>I'm dreaming.</dialogue>
<character>CALEB</character>
<dialogue>Keep dreaming.</dialogue>
<scene_description>Caleb pushes away from the counter and walks across the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TASTY FREEZE - NIGHT</stage_direction>
<scene_description>The fluorescent light catches the girl's eye and blazes as she turns her back. Caleb pulls into position beside her. He hesitates, suddenly loosing his nerve. Then the swagger returns.</scene_description>
<character>CALEB</character>
<dialogue>Excuse me, but I'm a little lost. Could you tell me where the nearest Tasty Freeze is? I'm just dyin' for a cone.</dialogue>
<scene_description>The girl looks around. Caleb's breath catches in his throat. Those ice blue eyes gazing up at him.</scene_description>
<character>GIRL</character>
<dialogue>Dying?</dialogue>
<scene_description>Caleb gazes into that face that lights up the night.</scene_description>
<character>CALEB</character>
<dialogue>It's hot out.</dialogue>
<character>GIRL</character>
<dialogue>This is cold.</dialogue>
<scene_description>Referring to the ice cream cone.</scene_description>
<character>CALEB</character>
<dialogue>Could I have a bite?</dialogue>
<character>GIRL</character>
<dialogue>A bite?</dialogue>
<scene_description>Caleb shifts weight from one foot to the other nervously. Working hard. Mind scrambling.</scene_description>
<character>CALEB</character>
<dialogue>I never seen you before. You're not from around here are you?</dialogue>
<character>GIRL</character>
<dialogue>No.</dialogue>
<character>CALEB</character>
<dialogue>Got a name?</dialogue>
<character>GIRL</character>
<dialogue>Mae.</dialogue>
<scene_description>Caleb swallows. His face turns hot. Mae's eyes skate to his face. And shimmer.</scene_description>
<character>CALEB</character>
<dialogue>Where you from, Mae?</dialogue>
<scene_description>She wipes her mouth with the back of her hand.</scene_description>
<character>MAE</character>
<dialogue>Ever hear of Sweetwater?</dialogue>
<character>CALEB</character>
<dialogue>That's down in Texas, ain't it?</dialogue>
<character>MAE</character>
<dialogue>Yeah.</dialogue>
<character>CALEB</character>
<dialogue>Who you here with?</dialogue>
<character>MAE</character>
<dialogue>Friends.</dialogue>
<character>CALEB</character>
<dialogue>Boyfriend?</dialogue>
<character>MAE</character>
<dialogue>Friends.</dialogue>
<scene_description>She looks Caleb in the eyes.</scene_description>
<character>MAE</character>
<dialogue>I'm staying out at the trailer park near the highway. I need a lift home.</dialogue>
<scene_description>Caleb looks at her a long moment. Looking like he died and went to heaven.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORD PICKUP - NIGHT</stage_direction>
<scene_description>Caleb opens the door for Mae. Helps her up into her seat. Then climbs behind the wheel.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - NIGHT</stage_direction>
<scene_description>The farmboy FIRES up the engine. Steers out onto the road.</scene_description>
<character>CALEB</character>
<dialogue>My name's, Caleb.</dialogue>
<character>MAE</character>
<dialogue>That's a nice name.</dialogue>
<character>CALEB</character>
<dialogue>Y'sure are pretty, but I guess a lot of people tell you that.</dialogue>
<scene_description>She looks away out the windshield. Hard to read. Soon it's just the two of them driving down the dark and deserted highway. He looks at her. His breath sticks in his throat. Mae is unearthly beautiful in the haloish haze of the dashboard lights. Her eyes shift to him.</scene_description>
<character>CALEB</character>
<dialogue>You got a boyfriend?</dialogue>
<character>MAE</character>
<dialogue>Sometimes.</dialogue>
<character>CALEB</character>
<dialogue>What about other times?</dialogue>
<character>MAE</character>
<dialogue>What about them?</dialogue>
<character>CALEB</character>
<dialogue>Well, I don't have a girlfriend.</dialogue>
<character>MAE</character>
<dialogue>Too bad.</dialogue>
<character>CALEB</character>
<dialogue>How long you planning to stay around here?</dialogue>
<character>MAE</character>
<dialogue>Not long.</dialogue>
<character>CALEB</character>
<dialogue>But you're not leaving tonight.</dialogue>
<character>MAE</character>
<dialogue>No.</dialogue>
<character>CALEB</character>
<dialogue>You th-</dialogue>
<character>MAE</character>
<dialogue>Shhhhhhhh.</dialogue>
<scene_description>They drive in silence for several moments. The reassuring RUMBLE of the ENGINE. The WHIZZ of the TIRES on the blacktop. Outside, the long, far, dark. The two of them together.</scene_description>
<character>MAE</character>
<dialogue>Stop the truck.</dialogue>
<character>CALEB</character>
<dialogue>Here?</dialogue>
<character>MAE</character>
<dialogue>Now.</dialogue>
<character>CALEB</character>
<dialogue>Sure.</dialogue>
<scene_description>He pulls the vehicle to the side of the road. He turns to her. Her icy blue eyes radiating heat. His heart coming out of his chest.</scene_description>
<character>CALEB</character>
<dialogue>So...</dialogue>
<character>MAE</character>
<dialogue>Something I want to show you.</dialogue>
<scene_description>Her door is all at once open. She is out of the truck. He kills the engine and jumps onto the hard ground.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>Mae stands alone. A black silhouette against a blacker horizon. A sky stretching high above her head. Stars like from a shotgun blast. He comes toward her. The WIND whips the clothes around her soft, sultry form. Her eyes shining in the night.</scene_description>
<character>CALEB</character>
<dialogue>What did you want to show me?</dialogue>
<character>MAE</character>
<dialogue>The night.</dialogue>
<character>CALEB</character>
<dialogue>What about it?</dialogue>
<character>MAE</character>
<dialogue>It's dark.</dialogue>
<character>CALEB</character>
<dialogue>Noticed.</dialogue>
<character>MAE</character>
<dialogue>It's also bright. It'll blind you.</dialogue>
<character>CALEB</character>
<dialogue>I can't see.</dialogue>
<character>MAE</character>
<dialogue>Listen.</dialogue>
<character>CALEB</character>
<dialogue>I'm listening.</dialogue>
<character>MAE</character>
<dialogue>Do y'hear?</dialogue>
<character>CALEB</character>
<dialogue>Don't hear nothin'.</dialogue>
<character>MAE</character>
<dialogue>Listen again. Do ya hear?</dialogue>
<character>CALEB</character>
<dialogue>What?</dialogue>
<character>MAE</character>
<dialogue>The night. It's deafening.</dialogue>
<character>CALEB</character>
<dialogue>Hold your ears.</dialogue>
<character>MAE</character>
<dialogue>Listen hard.</dialogue>
<scene_description>They are close. Face to face. His lips lowering to hers. Her lips moist. Wet. Parting. Caleb tries to kiss her. Mae moves off. He follows.</scene_description>
<character>CALEB</character>
<dialogue>Haven't met many girls like you.</dialogue>
<character>MAE</character>
<dialogue>You haven't met any girls like me.</dialogue>
<character>CALEB</character>
<dialogue>Maybe not.</dialogue>
<scene_description>He has a loose, game grin on his face as he walks after the girl. She walks with an easy, lazy gait. Plucking a cat's tail from the field. Putting it between her teeth. A sweet smile beneath the pale moonlight. Mae casts a glance over her shoulder at the smitten boy behind her.</scene_description>
<character>MAE</character>
<dialogue>Look up.</dialogue>
<character>CALEB</character>
<dialogue>Stars.</dialogue>
<character>MAE</character>
<dialogue>See that one?</dialogue>
<character>CALEB</character>
<dialogue>First one I laid eyes on.</dialogue>
<character>MAE</character>
<dialogue>The light you just saw took a billion whole years to get from that star down here to earth... The light that's leaving that star right now, it'll be here a billion years from now...</dialogue>
<scene_description>She spins on her heel. Fixes his face in her own.</scene_description>
<character>MAE</character>
<dialogue>Want to know why you never met a girl like me before?</dialogue>
<character>CALEB</character>
<dialogue>Yeah.</dialogue>
<scene_description>She casts a glance up at the stars.</scene_description>
<character>MAE</character>
<dialogue>...I'll be around to see that light when it comes down to earth a billion years from now.</dialogue>
<character>CALEB</character>
<dialogue>Sounds like fun.</dialogue>
<character>MAE</character>
<dialogue>It is.</dialogue>
<character>CALEB</character>
<dialogue>I'd like to be there, too.</dialogue>
<character>MAE</character>
<dialogue>Maybe.</dialogue>
<character>CALEB</character>
<dialogue>How?</dialogue>
<character>MAE</character>
<dialogue>Who knows?</dialogue>
<scene_description>She turns and heads back toward the Ford Pickup. He catches her stride.</scene_description>
<character>CALEB</character>
<dialogue>Sure haven't met anyone like you before.</dialogue>
<character>MAE</character>
<dialogue>Sure haven't.</dialogue>
<scene_description>They climb in. They take off. The night is just as dark as it was before. Maybe darker.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - NIGHT</stage_direction>
<scene_description>Caleb leans back in his seat, raising his right arm to Mae's shoulder. Extending his fingers, he ruffles her hair.</scene_description>
<character>CALEB</character>
<dialogue>In any hurry to get home?</dialogue>
<scene_description>The truck drives on. Mae lifts thoses shimmering eyes to his face.</scene_description>
<character>MAE</character>
<dialogue>I never hurry.</dialogue>
<scene_description>Caleb smiles and shakes his head, somehow now believing.</scene_description>
<character>CALEB</character>
<dialogue>...You want to listen to the radio?</dialogue>
<scene_description>His fingers twirl a ribbon of her hair. He gives the knob a flick. The speakers vibrate. The Pickup speeds on into the night. The lonesome road stretching into the horizon. The RADIO playing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>The road forks. The truck veers to the right.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - NIGHT</stage_direction>
<scene_description>Mae turns to Caleb. The paleness of her skin almost luminescent.</scene_description>
<character>MAE</character>
<dialogue>Where're we going?</dialogue>
<scene_description>Caleb's eyes sparkle.</scene_description>
<character>CALEB</character>
<dialogue>You'll see.</dialogue>
<character>MAE</character>
<dialogue>I don't like surprises.</dialogue>
<character>CALEB</character>
<dialogue>You'll like this one.</dialogue>
<character>MAE</character>
<dialogue>What is it?</dialogue>
<character>CALEB</character>
<dialogue>Not what.</dialogue>
<character>MAE</character>
<dialogue>Who?</dialogue>
<character>CALEB</character>
<dialogue>You'll see.</dialogue>
<character>MAE</character>
<dialogue>I'm not sure I'm going to like this.</dialogue>
<scene_description>A smile in her eyes.</scene_description>
<character>CALEB</character>
<dialogue>I'm sure.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - NIGHT</stage_direction>
<scene_description>The Pickup barrels around a junction of the highway. Funneling a cloud of dust onto a narrow dirt road. RATTLING a broken down mailbox sitting atop a short post. The farm sleeping still and dark.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - NIGHT</stage_direction>
<scene_description>Caleb steers past the house. Braking in a shower of dust in front of the pasture behind the barn. He kills the engine.</scene_description>
<character>CALEB</character>
<dialogue>We're here.</dialogue>
<character>MAE</character>
<dialogue>Where's here?</dialogue>
<character>CALEB</character>
<dialogue>C'mon.</dialogue>
<scene_description>He swings the door open.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PASTURE - COLTON FARM - NIGHT</stage_direction>
<scene_description>Caleb races around the truck, cracking open Mae's door. He extends his hand as she hops out.</scene_description>
<character>CALEB</character>
<dialogue>Close your eyes, take hold of my hand. You're going to meet my best friend.</dialogue>
<scene_description>She tugs his hand.</scene_description>
<character>MAE</character>
<dialogue>I don't want to be with other people. I want to be with you tonight.</dialogue>
<scene_description>He gives her hand a gentle pull.</scene_description>
<character>CALEB</character>
<dialogue>It's not a person. Close your eyes.</dialogue>
<scene_description>She does. Letting herself be led out of the vehicle. He leads her blind back through a maze of fences out in the pasture.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HORSE PEN - NIGHT</stage_direction>
<scene_description>In its pen, DIESEL, a massive black quarterhorse pricks up his ears. Turning wide, dark eyes on Caleb and Mae. Caleb gets behind Mae and puts his hand on her shoulder.</scene_description>
<character>CALEB</character>
<dialogue>Now I don't want you opening your eyes.</dialogue>
<scene_description>He puts his other hand over her eyes. A big smile on his face as he edges her forward. Suddenly the horse backs so abruptly it almost trips. Eyes wild with fear. The two people just stand there. The farmboy pulls his hand away from the girl's eyes. He walks up to the pen.</scene_description>
<character>CALEB</character>
<dialogue>Diesel, what the hell is wrong with you?</dialogue>
<scene_description>Mae opens her eyes.</scene_description>
<character>MAE</character>
<dialogue>Horses don't like me.</dialogue>
<scene_description>Caleb takes a rope and slings it over Diesel's head.</scene_description>
<character>CALEB</character>
<dialogue>Why not?</dialogue>
<character>MAE</character>
<dialogue>They just don't.</dialogue>
<character>CALEB</character>
<dialogue>Come on boy.</dialogue>
<scene_description>He gives the rope a tug. Diesel rears back, lifting his chest, front hooves pawing the air.</scene_description>
<character>CALEB</character>
<dialogue>He's just acting up. He'll like you. Just watch.</dialogue>
<scene_description>He vaults the fence. Diesel shies. Caleb tries to shush it. The horse shakes its head back and forth, scared out of its skin. Bewildered, the farmboy lifts the rope over its head. The horse pivots on its back feet, tearing off. Caleb heads back toward Mae. Climbing back over the fence and standing beside her. Her watching him with uncannily even eyes. Smiling elusively to herself, she turns her back to him. Moving off with an easy gait past the other pens. Inside the fences, there is a SCURRYING of animals. A sudden RUSTLING in the nearby tundra of the prairie. Caleb scans the landscape, sets his eyes on Mae, then shakes his head and shrugs. Mae is sauntering away, her back to him, running her finger along the fence posts. The farmboy swings the lasso lariet style over his head. Letting the loop fall over the girl's shoulders. She looks over her shoulder at him. Her eyes cool. He smiles. Starts reeling her in. She backs. A smile slipping across her face.</scene_description>
<character>CALEB</character>
<dialogue>You're pretty strong.</dialogue>
<scene_description>He gives the rope another tug. Moving her closer. The moon shines bright and high overhead.</scene_description>
<character>MAE</character>
<dialogue>Stronger than you.</dialogue>
<character>CALEB</character>
<dialogue>Show me.</dialogue>
<scene_description>She pulls back. Pulling him to her. He gives a gentle tug. She comes within reach. Then twists back. A game of give and take. He comes forward. Gathering up the rope in his hands. Their eyes wedded. She is just in front of him now. He gives one last tug on the line. Drawing her in. His face drifting toward hers. Letting his lips brush over hers and stops. Her eyes close. His hands fold around her back. A cloud passes over the moon. A shadow crosses their faces. Her soft, moist lips slide over his mouth. Nuzzling down the side of his neck. He lifts closed eyes to the sky. Her breath warm on his skin. His skin trembling with the touch. Her lips start to draw back. She jerks her head back, struggling with her instinct. Lifting her arms, yanking the rope off her shoulders.</scene_description>
<character>CALEB</character>
<dialogue>What's wrong?</dialogue>
<scene_description>Mae hugs her arms. Her eyes holding his. Time standing still.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMLANDS - PRE-DAWN</stage_direction>
<scene_description>Horizon lightening. Just a tad.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FENCE - COLTON FARM - PRE-DAWN</stage_direction>
<scene_description>A Rooster throws back its combed head and COCK-A-DOODLE-DOOS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HORSE PEN - COLTON FARM - PRE-DAWN</stage_direction>
<scene_description>Mae's ears perk at the rooster crow. Her icy blue eyes skate up to the sky. Her face focuses on Caleb's in alarm.</scene_description>
<character>MAE</character>
<dialogue>What time is it?</dialogue>
<scene_description>Caleb shrugs his shoulders.</scene_description>
<character>CALEB</character>
<dialogue>What time you gotta be home?</dialogue>
<character>MAE</character>
<dialogue>Before dawn.</dialogue>
<character>CALEB</character>
<dialogue>Dawn's a ways off.</dialogue>
<scene_description>Mae spins on her heel. Heads off for the truck.</scene_description>
<character>MAE</character>
<dialogue>Take me home, Caleb.</dialogue>
<character>CALEB</character>
<dialogue>Huh?</dialogue>
<scene_description>He trots after her. Lays a hand on her shoulder. Stopping her movement. Turning her around. Her eyes blaze into his face.</scene_description>
<character>CALEB</character>
<dialogue>What's the rush, Mae?</dialogue>
<character>MAE</character>
<dialogue>I have to go.</dialogue>
<scene_description>She breaks free. Keeps walking. Reaching the truck, she opens her door. His eyes search hers as she climbs into the seat. Reading nothing. He closes her door. Resting his elbows on the open windowframe. He starts to speak, she cuts him off.</scene_description>
<character>MAE</character>
<dialogue>Hurry, Caleb. Hurry.</dialogue>
<scene_description>He gazes into those eyes for a fleeting moment, then moves around to the driver's side and swings onto the seat.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - PRE-DAWN</stage_direction>
<scene_description>Caleb puts his hand on the keys in the ignition. Giving her a good, hard look.</scene_description>
<character>CALEB</character>
<dialogue>I don't know what's goin' on, Mae.</dialogue>
<scene_description>She flits a peek out the window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PASTURE - COLTON FARM - PRE-DAWN</stage_direction>
<scene_description>The truck sits unshielded beneath the big sky becoming light grey.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - PRE-DAWN</stage_direction>
<scene_description>Mae shoots a scared glance at Caleb.</scene_description>
<character>MAE</character>
<dialogue>Let's go.</dialogue>
<character>CALEB</character>
<dialogue>We're going.</dialogue>
<scene_description>The farmboy TURNS over the ENGINE. Upset, he shoves the stick into gear. Swinging the truck around. Stepping on the gas, he takes them out of there.</scene_description>
<character>CALEB</character>
<dialogue>Hope I didn't forget my manners or nothin'.</dialogue>
<character>MAE</character>
<dialogue>That's not it.</dialogue>
<scene_description>She casts a glance up out the windshield.</scene_description>
<character>MAE</character>
<dialogue>Move.</dialogue>
<character>CALEB</character>
<dialogue>Yes, Ma'am.</dialogue>
<scene_description>His brow furrows in confusion. He swings the steering wheel hand over hand. Driving out onto the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - PRE-DAWN</stage_direction>
<scene_description>The truck burns down the tarmac toward the brightening horizon.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - PRE-DAWN</stage_direction>
<scene_description>Caleb keeps his hands on the wheel. Staring straight out the windshield. Hurt. Mae sits rigidly beside him. Perspiration like dew drops on her porcelain skin. Real fear in her eyes.</scene_description>
<character>MAE</character>
<dialogue>Faster.</dialogue>
<character>CALEB</character>
<dialogue>I got her floored.</dialogue>
<character>MAE</character>
<dialogue>It's only a few more miles.</dialogue>
<character>CALEB</character>
<dialogue>Might even get there, you never know.</dialogue>
<character>MAE</character>
<dialogue>I didn't notice the time.</dialogue>
<character>CALEB</character>
<dialogue>What's got you so worried?</dialogue>
<scene_description>Mae's eyes never leave the windshield. She answers him with silence.</scene_description>
<character>CALEB</character>
<dialogue>C'mon, what is it? Your old man gonna whip your butt or somethin'? I'll tell him the car broke down.</dialogue>
<character>MAE</character>
<dialogue>Just get me home.</dialogue>
<character>CALEB</character>
<dialogue>Maybe I will...</dialogue>
<scene_description>He puts his foot on the brake. A playful gleam in his eye.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE - PRE-DAWN</stage_direction>
<scene_description>The truck pulls to a halt. Sunrise a matter of moments.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - PRE-DAWN</stage_direction>
<scene_description>Caleb yanks the keys out the ignition. Sticks them down his shirt. Sits back and crosses his arms.</scene_description>
<character>CALEB</character>
<dialogue>...But you have to kiss me first.</dialogue>
<scene_description>Anxiety squirms her pretty face. She reaches over and tries to pull the keys from inside his shirt. Her hands all over his chest. He grabs her by the wrist. Tugs her to him. Grinning boyishly ear to ear.</scene_description>
<character>CALEB</character>
<dialogue>You got the idea.</dialogue>
<scene_description>She struggles. He kisses her full on the lips. Mae shuts her eyes. Surrendering to something spasming inside her. Her mouth moves to his neck. Her lips pull back. Her teeth fasten onto his neck. Caleb cries out. Tries to push her off. She holds him firm by the shoulders in an iron grip. Tears explode out of her eyes. She rips her blood moistened lips from his neck. Shearing herself away from him. Plunging out the door of the truck. Headfirst. Caleb remains in the seat. Rubbing his throat. Fingering the pinprick of a wound. Surprised and astonished, he jumps out of the parked vehicle. Chasing after the panic-stricken girl scrambling away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - PRE-DAWN</stage_direction>
<scene_description>The girl is running as fast as her feet will carry her. Her eyes wide and wild. A dribble of blood dappling her white lips. The farmboy is racing after her. She moves with a speed that is leaving him rapidly in her wake. The sky is becoming very bright indeed. Mae stops in her tracks and squints ahead. Up the road, fast approaching. A ballooning cloud of dust. A low to the ground funnel of dirt. Caleb watches as the girl runs toward it, flagging her arms. A vehicle inside the little twister SLAMS on its BRAKES. Mae jumps inside the dirty haze. The dust cloud swerves in a SCREECHING TIRE arc on the roadway, speeding back up the road. The sun about to crack the edge of the world. A faint wreath of smoke in the air where the girl last stood. Caleb slows to a sprint. Then a walk. He stops and stands. Watching the dust disintigrate up the road. He scratches his head. Touches the strange wound on his throat. He regards the red wetness on his fingers.</scene_description>
<character>CALEB</character>
<dialogue>Some kiss.</dialogue>
<scene_description>He shrugs and hikes back to his truck. Hops into the cab.</scene_description>
</scene>
<scene>
<stage_direction>INT. FORD PICKUP - PRE-DAWN</stage_direction>
<scene_description>Caleb turns the keys in the ignition. WHINNNEEEEE. WHINNNNNNNNEEEE. WHINNEEEEE. He checks out the gas gauge. Empty. He punches the dashboard.</scene_description>
<character>CALEB</character>
<dialogue>Shit.</dialogue>
<scene_description>He jumps out of the truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - PRE-DAWN</stage_direction>
<scene_description>Caleb crosses the blacktop. Leaving the truck on the side of the road. Hiking into the dry fields. His house a small speck on the field far away. He heads toward it. The sun near up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - PRE-DAWN</stage_direction>
<scene_description>LOY and SARAH COLTON have come outside to start their day. The father is a man in his middle years, with weathered skin and white hair on a face and body worn by a life on the land. He is holding his six year old daughter in his arms. Golden hair on a pretty, pug nosed face. Loy is holding a cup of coffee. Sippng it as he looks out on the morning lands with his baby girl. Sky brightening.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - PRE-DAWN</stage_direction>
<scene_description>The edge of the world turns white. Caleb clomps through the field. Squinting ahead to see the small shape of the farmhouse,. The specks of two people standing out front. Home a half mile away. The boy trudges toward it. The world brightening around him. He hugs himself. The light making his skin sore. The sun crests the rim of the planet. Spreading an infinite wall of light across the big country. A wave of sharp sunlight splashing over the running boy. He lets out a cry of pain.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAWN</stage_direction>
<scene_description>Loy Colton squints out into the lands. Sees the stick figure way out there. Sarah stretches her teeny arm and points. Jumps up and down.</scene_description>
<character>SARAH</character>
<dialogue>Lookit, Daddy. Caleb.</dialogue>
<character>LOY</character>
<dialogue>Hey, Caleb!</dialogue>
<scene_description>The father waves at his son. The sister stands by his side. The two of them framed picture pretty in front of the house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAWN</stage_direction>
<scene_description>Caleb squirms in agony. Staggering across the fields. Blisters and burn marks scorching on his skin. The sun roasting his flesh. Searing his face and hair. He runs drunkenly. His arms stretched out. His hands reaching for the two of his family members. And his house. Like a pastoral postcard of home a quarter of a mile away. Smoke rises from his fingers. His skin stinging. His whole body burning up in the abruptly scarifying light of day. He screams his lungs out. His arms covering his face. Sizzling.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAWN</stage_direction>
<scene_description>Loy stops waving. His face falls. Sarah snags his shirt sleeve. Alarmed.</scene_description>
<character>SARAH</character>
<dialogue>Is something wrong with Caleb?</dialogue>
<character>LOY</character>
<dialogue>I'm not sure.</dialogue>
<scene_description>They squint into the distance. Past the stumbling, smoking stick figure of Caleb. Just past him. Dust rising.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAWN</stage_direction>
<scene_description>Tears stream down Caleb's cheeks. His smouldering, raw hands outstretched. Snatching, clenching for the too far figures of his father and his sister. Fighting his way past the warring wall of the sun. His feet becoming harder and harder to move. Fighting a losing battle against the agonizing scorch of daylight. The SOUND of an AUTOMOTIVE ENGINE behind him. He looks desperately over his shoulder. A balloon of dirt. A pale, ghostly cream colored Winnegabo is bearing down on him. Almost upon him. He knows it is useless to resist. He surrenders, his eyes rolling up into their sockets. His legs giving out from under him. Knees buckling. The recreational vehicle lumbers by. It's side door swinging open. Three sets of hands clamping around Caleb's limp body as he drops. Heaving the door shut. Speeding off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAWN</stage_direction>
<scene_description>Loy and Sarach are thunderstruck. They see the Winnebago hang a sharp right in an explosion of dirt. Greyhounding it for the strip of two-lane blacktop a quarter of a mile away. Caleb being stolen away within.</scene_description>
<character>SARAH</character>
<dialogue>Caleb!</dialogue>
<character>LOY</character>
<dialogue>Sarah, you stay here.</dialogue>
<scene_description>Loy charges as fast as his aging feet will carry him across the farm. Around the side of the barn. Screeching to a halt in front of a Chevy Pickup. The Truck is up on a jack, its tire off. The father is white in the face. Sarah is standing beside him with her eyes as big as saucers. Watching the thin trail of dust disappear down the road. The father picks up his daughter. She hugs him, sobbing. A steeliness appears behind his eyes as he looks out at the road. The two of them stand small and alone on the farm. Surrounded by the huge Oklahoma landscape.</scene_description>
</scene>
<scene>
<stage_direction>INT. WINNEBAGO - DAWN</stage_direction>
<scene_description>The sun is a twisted green ball through the glass windshield. It's deadly rays leaking inside. Caleb twists a groggy face upward, lifting his lids. To see the sharp bladed rowel of a shining silver spur stuck against his throat. It is connected to a boot. Attached to a steamshovel of a leg in black jeans. Part of the body of a stapping sinewy man with a mean, skullish face and eyes like dead meat. SEVEREN VAN SICKLE.</scene_description>
<character>SEVEREN</character>
<dialogue>Howdy.</dialogue>
<scene_description>He puts pressure on the spur, pricking flesh.</scene_description>
<character>SEVEREN</character>
<dialogue>...I'm gonna separate your head from yer shoulders. Hope ya don't mindnone.</dialogue>
<scene_description>Caleb gags. A snarl from somebody beneath a blanket behind the wheel. Severen grunts and reluctantly looses the pressure on the spur a bit. Mae heaves a blanket over Caleb who isn't moving a single solitary muscle. His eyes jump to the driver, who is speeding the Winnebago at a flat-out 100. JESSE HOOKER's head swivels over his shoulder, deeply hooded by a blanket and eyes covered by very black welding glasses. A guantly handsome man with a face like the flip side of a nickel and a long mane of hair the color of burnished pewter.</scene_description>
<character>JESSE</character>
<dialogue>You fucked us up but good, Mae.</dialogue>
<character>MAE</character>
<dialogue>It was kinda an accident.</dialogue>
<character>JESSE</character>
<dialogue>This was sloppy, Mae, real sloppy.</dialogue>
<scene_description>Severen indents the sharp rowel of the spur in Caleb's throat. The farmboy is scared beyond belief.</scene_description>
<character>SEVEREN</character>
<dialogue>Let me do it, Jesse, let me tap dance on it, woncha Jess? It'll be so good.</dialogue>
<character>JESSE</character>
<dialogue>Do it fast.</dialogue>
<scene_description>In the seat beside Jesse, another head rises. The blanket parting to reveal a face to put a country boy in his place. A head of metallic blonde hair over chiseled features as if from marble. Her full, bloodless lips widen in a silky smile. Her eyes, an intoxicating lethal lure. DIAMONDBACK's studded denim and fringe jacket glints like snake eyes in the dark. She whips out her wrist and a pearl handled blade pops into her hand. She readies to use it.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Let the good times roll.</dialogue>
<scene_description>Mae grabs her arm.</scene_description>
<character>MAE</character>
<dialogue>No!!!</dialogue>
<scene_description>Caleb's eyes are wide and wild. Severen draws his leg back, poising his spur. The Winnebago hurtles at hi-speed. The farmboy tries to make a move. CLINK. CHINK. Handcuffs are thrown about his wrist and a bolt on the door. He's caught tight. His eyes find a .38 special aimed point blank in his face. Held in a two hand grip by a seven year old boy. Crouched in a corner. A tiny face pinched, hair clipped in a crewcut. His clothes probably procured at the Salvation Army. HOMER. He eases back the hammer. Snaps his eyes possessively to Mae.</scene_description>
<character>HOMER</character>
<dialogue>Him?</dialogue>
<character>MAE</character>
<dialogue>No!</dialogue>
<scene_description>Spur. Knife. Handcuff.</scene_description>
</scene>
<scene>
<stage_direction>38.</stage_direction>
<scene_description>Nuts.</scene_description>
<character>CALEB</character>
<dialogue>WHAT THE FUCK IS GOING ON?!!!!</dialogue>
<character>SEVEREN</character>
<dialogue>Ain't what's goin' on, son. It's what's coming off. Your face. Clean off.</dialogue>
<scene_description>Severen's face splits with a smile like a cut neck. Slashing out with his spur for Caleb's throat to lay it wide open. Mae suddenly puts her face in front of the farmboy's. The Savage One stops his spur an inch from her pretty pale throat. She holds his gaze.</scene_description>
<character>MAE</character>
<dialogue>Might as well kill me.</dialogue>
<character>SEVEREN</character>
<dialogue>How you figure that?</dialogue>
<scene_description>Mae yanks Caleb's head aside, displaying the red ringed teeth marks in his neck.</scene_description>
<character>MAE</character>
<dialogue>He's been bit but he ain't been bled.</dialogue>
<scene_description>That sinks in.</scene_description>
<character>MAE</character>
<dialogue>...He's turned by now.</dialogue>
<character>SEVEREN</character>
<dialogue>Aw shit, Jess. If he's turned...</dialogue>
<character>JESSE</character>
<dialogue>...He comes with us.</dialogue>
<scene_description>Caleb is perfectly still. His eyes the only part of his body that moves. Back and forth, back and forth. Nobody talks. Nobody moves. Black nervous looks all around. The vehicle drives on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED GAS STATION - DAWN</stage_direction>
<scene_description>The pale Winnebago takes a sharp right and grinds to a stop well within the darkened innards of a derelict, deserted garage. A lightless chamber.</scene_description>
</scene>
<scene>
<stage_direction>INT. WINNEBAGO - DAWN</stage_direction>
<scene_description>Jesse and Diamondback pop back the front seats into almost horizontal positions. Ready themselves for sleep. Severen unhinges the bunks on the walls of the van. He climbs into the top, WHIZZING a spur in Caleb's direction. Homer shoves up into the one beneath. Casting a grim eye on the farmboy as he pulls the blanket up over his head. Mae rests a hand gently on the boy's shoulder. He gazes up into her eyes. Suddenly very tired. Heavily weighted but somehow floating at the same time. He fights to keep his eyes open. They shut. Mae covers both their bodies with the blanket. Sleep steals her too.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - COLTON FARM - DAY</stage_direction>
<scene_description>Sun burning hot and bright on a sign reading, "Loy Colton, Veterinarian." A POLICE CAR sitting in front of the farmhouse. Down in the field Loy cradles Sarah in his arms and gazes straight into SHERIFF EAKERS face. The Sheriff tucks a couple of thumbs in the belt around his landslide girth. Tilting an eye.</scene_description>
<character>SHERIFF EAKERS</character>
<dialogue>Kidnapped..? C'mon, Loy, your boy's eighteen. Might be he figured to take himself some time on his own. I see it all the day.</dialogue>
<scene_description>Sarah sniffles. Loy looks down to the ground and the fresh tire marks in the raw earth. Shaking his head. Eakers glances down at the marks dismissively. Shifting his weight from one foot to the other.</scene_description>
<character>SHERIFF EAKERS</character>
<dialogue>By the way, Doc, you mind taking a look at my mare? She's all swole up on her back, needs a shot maybe.</dialogue>
<scene_description>Loy looks at his watch in annoyance. Then stabs the ground with the toe of his boot.</scene_description>
<character>LOY</character>
<dialogue>See these tire marks? That was four hours and nine minutes ago. Meanin' that if they're out there on the highway keepin' at a steady 55 that puts 'em clear into the next state by now. I wanna know what you boys are doin' about that?</dialogue>
<scene_description>Sarah digs her face into her stern father's jacket. The Sheriff sighs. The three of them very small on the very big stretch of land.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED GAS STATION - DUSK</stage_direction>
<scene_description>The sun settles on the decrepit shell of a gas station off a lonesome road. The sky dims. The night begins.</scene_description>
</scene>
<scene>
<stage_direction>INT. WINNEBAGO - NIGHT</stage_direction>
<scene_description>Caleb's eyes blink open. He keeps them almost closed. Playing dead. He fingers his burn wounds. They are barely there. Nearly healed. The five silhouettes of the rest in the dashboard lights. Huddling. Low voices. He listens close.</scene_description>
<character>MAE</character>
<dialogue>...I'll look after him.</dialogue>
<character>HOMER</character>
<dialogue>You can't Mae! I turned you! I taught you!</dialogue>
<character>MAE</character>
<dialogue>I turned him. I'm teachin' him.</dialogue>
<character>SEVEREN</character>
<dialogue>Risky as shit, Jess. He fucks up, it's our ass.</dialogue>
<character>DIAMONDBACK</character>
<dialogue>If it's our ass, Mae, it's your ass.</dialogue>
<character>JESSE</character>
<dialogue>Well...</dialogue>
<scene_description>The glint of Jesse's eyes passing around the others.</scene_description>
<character>JESSE</character>
<dialogue>...You want to call it a week?</dialogue>
<scene_description>Mae holds her breath. Severen spits tobacco. Homer keeps opening and closing the hammer of the gun. Diamondback fingers the rhinestone studs of her frayed blue denim jacket. Jesse clicks his teeth. His eyes snap to Diamondback. She nods.</scene_description>
<character>JESSE</character>
<dialogue>...Then it's decided. A week to see if we can call him one of us.</dialogue>
<scene_description>Caleb blinks. Severen catches it.</scene_description>
<character>SEVEREN</character>
<dialogue>Cut the shit. I know you're awake. I can smell it.</dialogue>
<scene_description>All eyes turn to him. Eyes that can see in the dark. Caleb opens his eyes. Severen gets to his feet. Stands over him. Whips out a straightrazer. The farmboy's stomach tightens. Severen spits on his palm. Smears the saliva over his rough hewn face. Starts shaving himself with the open blade, slicing whiskers.</scene_description>
<character>SEVEREN</character>
<dialogue>...Amazin' how fast they get dull.</dialogue>
<scene_description>The Savage One sticks out his hand. Yanks the farmboy to his feet. Homer unlatches his handcuff. Caleb rubs his wrist.</scene_description>
<character>CALEB</character>
<dialogue>IF I'M SLEEPING SLAP ME CAUSE I WANNA</dialogue>
<character>WAKE UP!!!!</character>
<dialogue>SEVEREN</dialogue>
<scene_description>Guess what?</scene_description>
<character>CALEB</character>
<dialogue>WHO ARE YOU PEOPLE?!</dialogue>
<character>JESSE</character>
<dialogue>I'm Jesse Hooker. I believe you've met Mae.</dialogue>
<scene_description>Caleb hears a sound which makes him turn his head fast. ZZZZZZZZZZZzzzzzzzaaaaawww. AzzzzzzzzzzzzzzzAAAAWWWWWWWZZZZZ. Severen FILING his teeth with a metal tool. Sharpening them. Winking at the farmboy.</scene_description>
<character>SEVEREN</character>
<dialogue>Severen Van Sickle's the name.</dialogue>
<scene_description>Diamondback flexes her wrist. Shooting her pearl handled blade out of her cuff and into her hand. She flexes her wrist. The blade drops back in her jacket. She flexes her wrist again. Blade in hand.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Diamondback.</dialogue>
<scene_description>Caleb is looking at her. A teeny hand grabs him by the nuts. Clenches hard. He groans. Falls to his knees. Eye level with Homer. Who puts his little face fiercely against Caleb's.</scene_description>
<character>HOMER</character>
<dialogue>I'm Homer. That's H-O-M-E-R. Mispronounce it once and I wouldn't want to be you.</dialogue>
<scene_description>Mae takes the stunned, speechless Caleb and sits him down on a seat in the back. He starts to say something. She puts her finger to his lip. The Silvered One turns over the ignition.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED GAS STATION - NIGHT</stage_direction>
<scene_description>The Winnebago rides out of the gutted garage.</scene_description>
</scene>
<scene>
<stage_direction>EXT. USED CAR LOT - NIGHT</stage_direction>
<scene_description>The Winnebago slows to a stop in front of the lot.</scene_description>
</scene>
<scene>
<stage_direction>EXT. USED CAR LOT - NIGHT</stage_direction>
<scene_description>Severen moves silently through the rows of vehicles in the safety of shadow with a well practised ease.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LAND HIGHWAY - NIGHT</stage_direction>
<scene_description>The Winnebago streaks through the night. A light green TRAVELALL on its tail. Small towns come and go. Giving way to dust covered plains stretching to the horizon.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARREN FIELDS - NIGHT</stage_direction>
<scene_description>The Winnebago has been torched. It is a smouldering skeleton of flickering flames. The red taillights of the Travelall racing toward the road. Shrinking from view.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KANSAS/OKLAHOMA BORDER - ROAD - NIGHT</stage_direction>
<scene_description>The Travelall speeds across the state line.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOPE, KANSAS - NIGHT</stage_direction>
<scene_description>The Travelall weaves through the streets of the small city.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARKING STRUCTURE - HOPE, KANSAS - NIGHT</stage_direction>
<scene_description>The Travelall pulls into the parking structure. Zooming through the cement catacombs. Swerving into a parking spot. Shutting its engine. All doors pop open. They all climb out. And stretch their legs. Jesse turns a grey eye on the farmboy. A faint grin wrinkles across that epic face. Caleb swallows. Mae comes up beside him. Weaving her fingers through his hand. The farmboy watches as the others take off into the night. Each heading in separate directions.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - NIGHT</stage_direction>
<scene_description>Caleb and Mae walk along the empty, lonely street beneath the yellowish glow of the mercury vapor light. City lights glisten up ahead.</scene_description>
<character>CALEB</character>
<dialogue>Where're we going?</dialogue>
<character>MAE</character>
<dialogue>I'll show you.</dialogue>
<character>CALEB</character>
<dialogue>Where?</dialogue>
<character>MAE</character>
<dialogue>There.</dialogue>
<scene_description>She nods toward the city in front of her.</scene_description>
<character>CALEB</character>
<dialogue>Why?</dialogue>
<character>MAE</character>
<dialogue>I'll show you.</dialogue>
<scene_description>His eyes dim. A nausea welling up inside him.</scene_description>
<character>CALEB</character>
<dialogue>I don't feel too well.</dialogue>
<character>MAE</character>
<dialogue>I know.</dialogue>
<scene_description>He looks at her. Probing inside those ice blue eyes. Then down at himself. The burns on his arms healed. His clothes singed. Another wave of nausea. It makes him want to scream. He stops in his tracks.</scene_description>
<character>CALEB</character>
<dialogue>Look, Mae, you got to understand. I'm gettin' outa here. I'm going to the nearest bus station and takin' the next one back home.</dialogue>
<scene_description>He takes a step toward the girl. Holding her by the shoulders.</scene_description>
<character>CALEB</character>
<dialogue>I know you tried to help me. But I got to get home.</dialogue>
<scene_description>Touching a finger to her cheek. He turns his back. Taking off down the street. A knowing passes behind the girl's eye.</scene_description>
<character>MAE</character>
<dialogue>Caleb, you won't get very far.</dialogue>
<scene_description>From halfway down the street he looks back. Hurt, anger and fear streaking his face.</scene_description>
<character>CALEB</character>
<dialogue>We'll see.</dialogue>
<character>MAE</character>
<dialogue>You know where I'll be.</dialogue>
<character>CALEB</character>
<dialogue>Be seeing you.</dialogue>
<scene_description>Quietly.</scene_description>
<character>MAE</character>
<dialogue>Before long.</dialogue>
<scene_description>Caleb lifts a hand in a slight wave. Casting a last look at the girl. And her melting gaze. Then he is gone. The night moves on. Mae stands still.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUS STATION - NIGHT</stage_direction>
<scene_description>The depot in the middle of nowhere on the empty streets of the small midwestern town. Caleb shambles along the sidewalk toward it. Pushing through the double glass doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - BUS STATION - NIGHT</stage_direction>
<scene_description>The farmboy walks up to the ticket counter. The TICKETER doesn't give him a second glance.</scene_description>
<character>CALEB</character>
<dialogue>Um, excuse me...</dialogue>
<scene_description>The man turns, not eyeing the worse for wear boy any differently than he would any of the other wierdos up and around at that time.</scene_description>
<character>CALEB</character>
<dialogue>...I'd like to know if you got any buses going through Fix, Oklahoma round about now?</dialogue>
<scene_description>The Ticketer just stares.</scene_description>
<character>TICKETER</character>
<dialogue>Where the hell is Fix?</dialogue>
<character>CALEB</character>
<dialogue>Well, nearest city is Lawton.</dialogue>
<scene_description>The man nods.</scene_description>
<character>TICKETER</character>
<dialogue>Gate 12. Fifteen minutes. 14 dollars.</dialogue>
<scene_description>Caleb opens his wallet and counts.</scene_description>
<character>CALEB</character>
<dialogue>I got 11 dollars.</dialogue>
<scene_description>The Ticketer pulls the ticket back, bored.</scene_description>
<character>TICKETER</character>
<dialogue>I got a bus ticket for 14.</dialogue>
<character>CALEB</character>
<dialogue>I gotta get home. Gimme a break, man.</dialogue>
<character>TICKETER</character>
<dialogue>You're three bucks shy.</dialogue>
<character>CALEB</character>
<dialogue>How 'bout it.</dialogue>
<scene_description>The farmboy exhales as the salesperson goes back to watching a portable television. His shoulders slumped, Caleb walks past the rows of plastic seats with the pay televisions on the armrests. Almost all empty. He spies a man in a rumpled suit sitting across the room. Looking at him laconically. The boy goes over.</scene_description>
<character>CALEB</character>
<dialogue>Scuse me, Sir...</dialogue>
<scene_description>The man looks up.</scene_description>
<character>CALEB</character>
<dialogue>...I'm trying to get home and I'm three dollars short for the ticket. I was wondering if you had-</dialogue>
<character>MAN</character>
<dialogue>I have this.</dialogue>
<scene_description>He reaches into his jacket for his wallet. Pulls it out.</scene_description>
<character>CALEB</character>
<dialogue>Thanks.</dialogue>
<scene_description>The wallet is flipped open. A badge in it. The PLAINCLOTHES COP puts his hand on the farmboy's shoulder. The hand has a bandage. The bandage has blood on it. Fresh.</scene_description>
<character>PLAINCLOTHES COP</character>
<dialogue>Come this way, please.</dialogue>
<character>CALEB</character>
<dialogue>What's the problem?</dialogue>
<character>PLAINCLOTHES COP</character>
<dialogue>You.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - BUS STATION - NIGHT</stage_direction>
<scene_description>The boy is walked into the shadowy locker area by the Plainclothes Police Officer.</scene_description>
<character>PLAINCLOTHES COP</character>
<dialogue>You're not lookin' too good, kid.</dialogue>
<character>CALEB</character>
<dialogue>I'm not feeling too good.</dialogue>
<character>PLAINCLOTHES COP</character>
<dialogue>What're you on?</dialogue>
<character>CALEB</character>
<dialogue>You wouldn't believe me if I told you.</dialogue>
<character>PLAINCLOTHES COP</character>
<dialogue>Let me see your eyes.</dialogue>
<scene_description>He puts his hand on Caleb's face. Squints into the boy's eyes. Which are perfectly clear. The blood on the small bandage near Caleb's nose. Nostrils flare. His nausea clearing for an instant. The cop fingers the dark stain on the collar of the farmboy's jacket.</scene_description>
<character>PLAINCLOTHES COP</character>
<dialogue>You got blood on you.</dialogue>
<scene_description>Caleb turns his neck to the man. Exposing the small puncture wound.</scene_description>
<character>CALEB</character>
<dialogue>I got cut...</dialogue>
<scene_description>The sickness returning. The farmboy close to tears. The cop looks him in the eyes with some compassion.</scene_description>
<character>CALEB</character>
<dialogue>...I only have 11 dollars and I need three more or I'm never gonna be able to get back home.</dialogue>
<scene_description>The policeman thinks for a moment. Then takes out his wallet. Gives the boy three dollars.</scene_description>
<character>PLAINCLOTHES COP</character>
<dialogue>Get home an' be a good boy.</dialogue>
<scene_description>Caleb smiles a bright boyish smile. The plainclothes cop pats him on the shoulder. The farmboy moves off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY LIMITS - NIGHT</stage_direction>
<scene_description>The long silvery bus streaks down the highway. A half moon watches from way on high.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS - NIGHT</stage_direction>
<scene_description>Caleb is curled up in the backseat. Buckled in pain. His face smeared with sweat. Clenching his stomach. His veins and arteries screaming out for sustenance. His eyes peer over the edge of the window sill. He sees the parking structure pass by. Jumping to his feet, he rushes down the aisle. Screeching to a sneakered halt behind the Bus Driver.</scene_description>
<character>CALEB</character>
<dialogue>Stop the bus! I gotta get off!</dialogue>
<scene_description>The Bus Driver lifts his face to the sweat soaked farmboy.</scene_description>
<character>BUS DRIVER</character>
<dialogue>You get off, you're left.</dialogue>
<scene_description>The pain in Caleb's eyes needs no words. The driver downgrades as he swings over to the curb.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS ON THE OUTSKIRTS OF HOPE, KANSAS - NIGHT</stage_direction>
<scene_description>The huge, lumbering vehicle grinds to a stop on the empty street. The doors heave open. Caleb climbs down the steps in a crouch. The Bus Driver shakes his head as the doors fold closed. In a cloud of exhaust, the vehicle lurches away. Caleb grabs onto the lamppost for support. He swings his dimming eyes around. Focusing on the parking structure in the near distance.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARKING STRUCTURE - NIGHT</stage_direction>
<scene_description>Caleb staggers out of the stairwell. Stumbling toward the light green Travelall. Sitting on the bumper, in bare feet, is Mae. A soft smile crosses his face. Caleb stops in front of her. Losing his balance. Weakening.</scene_description>
<character>CALEB</character>
<dialogue>I'm dying.</dialogue>
<character>MAE</character>
<dialogue>You're just in time.</dialogue>
<scene_description>In the shadow of the overhand Mae rises to her feet before Caleb. Her ice blue eyes fix on his. She lifts her hand to her mouth. Turning a glistening white wrist to her lips. And sinks her teeth into the skin.</scene_description>
<character>CALEB</character>
<dialogue>Wha--?</dialogue>
<scene_description>The red liquid runs down her arm as she raises the wrist to Caleb's mouth. Shutting out his voice. Fastening her skin to his face.</scene_description>
<character>MAE</character>
<dialogue>Drink.</dialogue>
<scene_description>The aroma filling his nostrils. Giving him strength. The strength giving him pleasure. Seizing him. Like two arms, kidnapping his senses. As his lips look on the gaping wound of her wrist and her blood begins to fill his veins. He clutches her with both hands, rolling the fabric of her blouse into his fists. Hearing the pounding rhythm of her heart. BABUM...BABUM...BABUMBABUMBABUMBABUMBABUMBABUMBABUM...BABUMBABUM</scene_description>
</scene>
<scene>
<stage_direction>.</stage_direction>
<scene_description>Getting faster. A kind of frenzy passing behind his eyes. The blood in his own veins running hot. Stimulated. Stirred.</scene_description>
<character>MAE</character>
<dialogue>I asked you to listen to the night... now listen to me.</dialogue>
<scene_description>BABUM...BABUM...BABUM...BABUM...BABUMBABUMBABUMBABUM The roaring in his ears. Smashing her into him. Draining her. Furiously. The blood running like fire inside him. Washing over him in waves of heat. Head reeling. Body spasming. His own heart finding its way to his ears. BABUMBABUMBABUM...BABUMBABUM...BABUMBABUMBABUMBABUM... Both hearts now in syncopated rhythm. A beating drum. Growing louder and louder. It's DEAFENING. The SOUND about to shatter his system. Mae beginning to pull back. He yanks her tighter. She summons the last of her strength. And rips herself free. Caleb's mouth drips with the dark, red liquid. Replenished. Restored. Remade. Caleb's face flushes and his eyes shine with unhealthy health. Breathing hard. Panting. The new found strength swirling through his body. He reaches for the girl. She pushes his hands away gently. Then presses the wound closed on her wrist. Her eyes soft and knowing. Walking forward, to the edge of the parking structure. Looking out. Caleb pulls himself together. A control returning. Standing beside the girl with a kind of gratitude in his eyes. She points. Gazing out upon the city on one side and wide expanse of flatlands on the other. All beneath a velvety cloak of blackness.</scene_description>
<character>MAE</character>
<dialogue>Look... the night.</dialogue>
<scene_description>Caleb blinks. Eyes bright. Feeling fine. Not sure of what to make of it. He squints around him. Never has the night looked as it does. He stares spellbound. A fine layer of lunar luminescence falls from the sky. The city shimmering as never before. The very electrical pulse visible as it travels through thin air. He blinks. Turning toward the fields. He can see Owls in the air many miles away. Coyotes on the run across the barren tundra impossibly far off. Fieldmice scuttle. Rabbits skiddadle. Racoons clamber across the brushy flatlands. Caleb whirls around and around. Giggling. Then laughing. Unable to help himself. In love with the newness of the night. He stops.</scene_description>
<character>MAE</character>
<dialogue>Now hear it....</dialogue>
<scene_description>His head flicks back to the city. Suddenly, VIBRATING with SOUND. CAR HORNS. ELECTRICITY TRAVELING ACROSS WIRES. TICKING OF STREET LIGHTS. HISSING OF GAS LINES. He revolves his head. To the fields. He shuts his eyes. Opens his ears. A SYMPHONY of NIGHT SOUNDS sweep in on him.</scene_description>
<character>MAE</character>
<dialogue>Come on.</dialogue>
<scene_description>She leaps over the small barrier of the parking structure and runs out into the farmlands. Caleb on her heels.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMLANDS - NIGHT</stage_direction>
<scene_description>Mae and Caleb running deep into the fields. Running like never before. Limbs flying effortlessly, galloping like the wind, almost airborne, covering miles in a matter of minutes. Caleb listening. A RUSH of BREEZES and WINDS whipping along the plains. The WALL of INSECTS in the AIR. The SCUTTLING of small animal FEET on the DIRT. The BRUSH of BUSHES swaying in the BREEZE. The CRY of COYOTES. Then again. COYOTES CRY. CRY. CRY. CRY. Caleb throws his head back. Cracks a grin. He lets out a YIPPING CRY himself. Mae's face widens in a smile. Throwing her head back. Letting out a trilling CRY. The COYOTES yell back. Caleb and Mae see them in a pack, scampering across the land. They run after them. CRYING out, loud as their lungs will allow. A far off TRAIN WHISTLE. The shadow of a big Freight Train on the horizon. The boy and girl's legs propelling them forward with fierce speed. Like two steel springs. Their faces flushed with emotion as they catch up with the SIX COYOTES on the run. The strong, tan canines regard their new escorts as a kindred spirit. Flashing their dark eyes at them in scraggy acknowledgement. YIPPING at them. Caleb and Mae YIP back. Barreling across the badlands with the running Coyotes. The padding paws. The cowboy boots slapping the ground. Then suddenly catching up with the big Freight Train. The boy and girl running side by side with the double engine locomotive. The strange strength powering their limbs to stay abreast. The lowered, brown maned wolfish heads at their heels. The Coyotes YIPPING. The train WHISTLE BLOWING. Caleb and Mae's faces bright and hot blooded.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAWN</stage_direction>
<scene_description>Daylight twinkles.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOY'S BEDROOM - FARMHOUSE - DAWN</stage_direction>
<scene_description>Loy Colton awakens at the top of his lungs. Jackknifing up in bed. He puts his face in his hands. Cries quietly. He peers out the window at the first traces of sunlight through the curtains. He looks like he has slept poorly. Loy regards the shape of a small body, an indentation on the mattress. His daughter was sleeping beside him, but now she's gone. His brow furrows.</scene_description>
<character>LOY</character>
<dialogue>Sarah?</dialogue>
<scene_description>Nowhere to be seen. The father gets out of bed. He has been sleeping in his jeans and shirt. Rumpled and worse for wear, he goes out the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - FARMHOUSE - DAWN</stage_direction>
<scene_description>Loy walks down the hall in the morning light. He knows where she is.</scene_description>
</scene>
<scene>
<stage_direction>INT. CALEB'S ROOM - FARMHOUSE - DAWN</stage_direction>
<scene_description>The father quietly pushes open the door. Peeks in. Little Sarah asleep on her big brother's bed. Hugging onto his beat up cowboy hat. Loy blinks away a tear. He turns his back and starts to go out. A small voice stops him.</scene_description>
<character>SARAH</character>
<dialogue>Good mornin', Daddy.</dialogue>
<scene_description>He comes over to her.</scene_description>
<character>LOY</character>
<dialogue>Mornin', Baby.</dialogue>
<scene_description>He puts his hand on her tiny hand holding the Stetson.</scene_description>
<character>LOY</character>
<dialogue>You sleep some?</dialogue>
<character>SARAH</character>
<dialogue>I sleep some. You sleep little?</dialogue>
<character>LOY</character>
<dialogue>Little. Bad dreams.</dialogue>
<character>SARAH</character>
<dialogue>Me too.</dialogue>
<scene_description>She meets his eyes.</scene_description>
<character>SARAH</character>
<dialogue>...He needs us.</dialogue>
<scene_description>Loy takes Sarah's hand.</scene_description>
<character>LOY</character>
<dialogue>I know.</dialogue>
<scene_description>They look at each other.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAY</stage_direction>
<scene_description>The Pickup truck is spewing a cloud of dust. Off into the distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHERIFF'S STATION - FIX, OKLAHOMA - DAY</stage_direction>
<scene_description>A hole in the wall. A small computer bank on the desk by the telephone. A few wanted posters and postal warrants on the board. Sheriff Eakers shakes his head as he stabs a cigarette out in an ash tray full of butts. He lifts tired eyes to Loy Colton, sitting across the desk. Sarah in her father's lap.</scene_description>
<character>SHERIFF EAKERS</character>
<dialogue>It's not much, Loy, but Highway Patrol found what might be your Winnebago. Left in some field and torched. Nobody was inside. Probably switched cars. Could be your boy's fallen in with some trouble.</dialogue>
<scene_description>Loy speaks in a voice just below his breath.</scene_description>
<character>LOY</character>
<dialogue>What're your boys doing about it?</dialogue>
<character>SHERIFF EAKERS</character>
<dialogue>All we can.</dialogue>
<character>LOY</character>
<dialogue>That's not enough.</dialogue>
<character>SHERIFF EAKERS</character>
<dialogue>This is pretty commonplace stuff, Loy. Your boy is classified as a runaway.</dialogue>
<scene_description>Sarah pipes up, red in the face.</scene_description>
<character>SARAH</character>
<dialogue>You don't care about Caleb.</dialogue>
<character>SHERIFF EAKERS</character>
<dialogue>That's not true, honey.</dialogue>
<character>SARAH</character>
<dialogue>Don't call me honey. We don't need you police or nothing. Caleb don't need you neither. He needs us.</dialogue>
<scene_description>The little girl puts her hands on the table. Leaning over to put her face by the Sheriff's, who is inclined to lean back a bit.</scene_description>
<character>SARAH</character>
<dialogue>We're gonna go an' get him ourselves.</dialogue>
<scene_description>The Sheriff gets up out of his seat. He walks over to the water cooler. Pours himself a cup. Chuckling to himself. His back to them.</scene_description>
<character>SHERIFF EAKERS</character>
<dialogue>Loy, you just have to bear with us for a bit.</dialogue>
<scene_description>He turns around with a sip of water. The chair Loy and Sarah were sitting in. It's empty. He hurries to the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHERIFF'S STATION - DAY</stage_direction>
<scene_description>The brown Chevy Pickup is a speck disintegrating in the distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - DAY</stage_direction>
<scene_description>The Pickup is down the road like a bolt of lightning.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB CHEVY PICKUP - DAY</stage_direction>
<scene_description>Loy is behind the wheel. His eyes riveted to the road. He puts an arm around Sarah. Brings her to him. Hugs her close. She looks up at him.</scene_description>
<character>LOY</character>
<dialogue>We're going to get our Caleb back, Sarah.</dialogue>
<character>SARAH</character>
<dialogue>I know we will.</dialogue>
<scene_description>She hugs her father's arm. He ruffles her hair. Then reaches under the seat.</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERSIDE OF DRIVER'S SEAT - CAB - CHEVY PICKUP - DAY</stage_direction>
<scene_description>Loy double checks with his fingers that the .38 Special is securely taped to the bottom of his seat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY - DAY</stage_direction>
<scene_description>The Pickup passes beneath an overhead sign. Denoting the Interstate and two turn offs. One heading North to Kansas. The other heading South to Texas. The Pickup bears South. The sun lifting high in the sky.</scene_description>
<character>CALEB (V.O.)</character>
<dialogue>Operator, I'd like to reverse charges on a long distance call to Oklahoma, please...</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - TEXACO TRUCKSTOP - KANSAS - NIGHT</stage_direction>
<scene_description>The night drops. A swelling moon in the rise of the middle of a blackening sky. Caleb lifts a receiver to his ear and dials.</scene_description>
<character>CALEB</character>
<dialogue>That's (405) 826-7473. Could you make that to Loy Colton from his son, please, Ma'am?...</dialogue>
<scene_description>He waits while he is connected. Waits. Waits. Waits. In vain. His face falls very far.</scene_description>
<character>CALEB</character>
<dialogue>Thanks, operator.</dialogue>
<scene_description>He hangs up. Walks away with his head hung low.</scene_description>
</scene>
<scene>
<stage_direction>INT. TWO-LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>A long, two lane stretch of blacktop into infinity. Broken white lines beneath the black void of the starless sky. Caleb storms along the roadside. The Texaco Truckstop receding behind him. His tortured, conflicting emotions tearing him apart at the seams. He shuts his eyes. Puts his hands on his ears. Screams. His lungs out. Hastening as fast as he can along the empty night road. A pair of headlights brighten on him. A truck THUNDERS past. The AFTERBLOW sweeping his clothes. It's passing headlights revealing the figure of a girl hurrying after him. Mae rushes up the side of the road. Keeping pace with the anxiety-ridden boy. It is just the two of them way below the roof of the night.</scene_description>
<character>MAE</character>
<dialogue>I wanted to go home, too.</dialogue>
<scene_description>Mae stops and stands. Caleb doesn't walk much further. He turns to face her.</scene_description>
<character>CALEB</character>
<dialogue>I called, there was no one there. I just wanted to call and tell them I was alright.</dialogue>
<scene_description>He almost laughs or cries.</scene_description>
<character>CALEB</character>
<dialogue>Am I alright? I don't know. I'm scared.</dialogue>
<scene_description>Mae comes toward him.</scene_description>
<character>MAE</character>
<dialogue>So was I. But don't be... Feel it. Feel what's in you.</dialogue>
<scene_description>He meets her eyes. Eyes like fire in the night.</scene_description>
<character>CALEB</character>
<dialogue>That's what scares me.</dialogue>
<scene_description>She puts her hands softly on his shoulders.</scene_description>
<character>MAE</character>
<dialogue>It'll take time. But you're in my hands, you'll be fine.</dialogue>
<scene_description>He looks at those hands, then into that face.</scene_description>
<character>CALEB</character>
<dialogue>What are we gonna do?</dialogue>
<character>MAE</character>
<dialogue>Anything we want.</dialogue>
<scene_description>She unveils her pearly whites in a sweet smile full of promise.</scene_description>
<character>MAE</character>
<dialogue>To the end of time.</dialogue>
<scene_description>His eyes travel up to the stars. Hers follow his gaze. Their eyes meet in a head on collision. Lips coming together. A truck RAGES past. AFTERBLOW whippping up their clothes and hair. Headlights exploding over them. Heat of the moment. The truck's taillights fade. They are alone in the big dark wide open spaces. Their lips part.</scene_description>
<character>MAE</character>
<dialogue>You have to learn to kill.</dialogue>
<character>CALEB</character>
<dialogue>I don't want to kill.</dialogue>
<character>MAE</character>
<dialogue>You want to die?</dialogue>
<character>CALEB</character>
<dialogue>I ain't no killer.</dialogue>
<character>MAE</character>
<dialogue>Don't think of it as killing. Don't think at all. Use your instinct.</dialogue>
<scene_description>A car passes. Headlights flare.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDEROAD - NIGHT</stage_direction>
<scene_description>Bright headlight beams sweep off the side of the road. A MIDDLE-AGED MAN throws his door wide, leaping out. Rushing over to the crumpled little form of Homer, lying on the road. He bends down to see how injured he is.</scene_description>
<character>MAE (V.O.)</character>
<dialogue>...It's just something you do, night after night. It's only ever a question of how...</dialogue>
<scene_description>Homer's eyes blink open. He throws his incredibly strong little arms around the man's shoulders. Pinning him while he sinks his teeth into the startled passerby's neck. The headlights of the car silhouetting them. Homer has a bicycle laying on the ground nearby. The tires still spinning.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>Caleb and Mae walking along the shoulder of the road.</scene_description>
<character>CALEB</character>
<dialogue>Instinct?</dialogue>
<scene_description>His soft brown eyes searching hers. That clear ice blue cutting deep into him.</scene_description>
<character>MAE</character>
<dialogue>Instinct.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ON RAMP TO INTERSTATE - NIGHT</stage_direction>
<scene_description>A pair of drifting, distant headlights pin Severen standing at the side of the road with his thumb extended. The crisp white shirt over his long, lean muscles, buttoned up to his throat, a string tie with a turquoise clasp at the collar. An inviting grin on his face. He runs a palm over his hair to smooth it back. His black eyes gleam. The headlights grow bright and flood his face. His grin widens. As he looks in through the windshield of an approaching dusty Black Pickup. Severen nods. The Pickup slows. Kicking up dirt and gravel as it slams into the shoulder of the on ramp.</scene_description>
<character>MAE (V.O.)</character>
<dialogue>It takes time.</dialogue>
<character>CALEB (V.O.)</character>
<dialogue>That we got.</dialogue>
<scene_description>Severen cracks open the door of the Pickup.</scene_description>
<character>MAE (V.O.)</character>
<dialogue>Never know, might even get to like it.</dialogue>
<character>SEVEREN</character>
<dialogue>'Evenin'.</dialogue>
<scene_description>The two blonde, curly haired LADIES smile out at him with adventure in their eyes. The one in the passenger seat slides next to the driver. Her small, whispery voice floats out to the stranger on the road.</scene_description>
<character>GIRL</character>
<dialogue>Evenin'.</dialogue>
</scene>
<scene>
<stage_direction>INT. DUSTY PICKUP - NIGHT</stage_direction>
<scene_description>Severen swings onto the smooth plastic upholstery. Slams the door shut. Winds a long arm around the top of the seat He turns a shining smile to his new found friends.</scene_description>
<character>SEVEREN</character>
<dialogue>It would be my pleasure and honor to invite you two, sweet, lovely ladies for a drink.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ON RAMP TO INTERSTATE - NIGHT</stage_direction>
<scene_description>The dusty Pickup skates out onto the tarmac. A hot WIND blows.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - U-HAUL TRUCK - NIGHT</stage_direction>
<scene_description>Jesse gazes out the windshield with cool, even eyes. Diamondback at his side. Her platinum hair gleaming in the glow of the dashboard lights. Equally transfixed by the road rolling under the wheels.</scene_description>
<character>CALEB (V.O.)</character>
<dialogue>The night, Mae. I can't take my eyes off it.</dialogue>
<character>MAE (V.O.)</character>
<dialogue>You can drown in it.</dialogue>
<character>CALEB (V.O.)</character>
<dialogue>I am. I can taste it. It's... It's making me shaky.</dialogue>
<character>MAE (V.O.)</character>
<dialogue>That's because you have to---</dialogue>
<character>CALEB (V.O.)</character>
<dialogue>--Kill.</dialogue>
<character>MAE (V.O.)</character>
<dialogue>The night has its price.</dialogue>
<scene_description>The Silvered One gives a glance to the Pale One.</scene_description>
<character>JESSE</character>
<dialogue>I believe this is where I had that flat tire. You pulled over.</dialogue>
<character>DIAMONDBACK</character>
<dialogue>There you stood by the side of that road, 'n I 'just knew you were trouble.</dialogue>
<character>JESSE</character>
<dialogue>You was right.</dialogue>
<character>DIAMONDBACK</character>
<dialogue>How many years ago was that?</dialogue>
<character>JESSE</character>
<dialogue>Disremember, huh? Don't remember the date of the night, neither, do you?</dialogue>
<scene_description>A sparkle in her eye.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Jesse.</dialogue>
<scene_description>The Silvered One keeps his eyes on the road, but lets go of a little smile. She lays her head against his shoulder. They drive on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>Two white cones of light from the approaching U-Haul Truck. A lone HITCHHIKER suddenly illuminated.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - U-HAUL TRUCK - NIGHT</stage_direction>
<scene_description>Jesse gives a glance to Diamondback. He slows the vehicle. The Semi-Truck comes to a stop beside the Hitchhiker. A tall, thin, stringy haired boy with half a beard and a hollow, bruised face. He waves a ragged smile into the cab.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Whichever way you headin'. I'd 'preciate a lift.</dialogue>
<scene_description>Diamondback cracks open the rear door.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Climb in.</dialogue>
<scene_description>He jumps inside. CLICK. To the left of Jesse's ear. As a pair of eyes bore down the barrel of a shotgun leveled at Jesse's face. A HIGHWAYMAN behind the trigger.</scene_description>
<character>HIGHWAYMAN</character>
<dialogue>Turn off the car.</dialogue>
<scene_description>Jesse looks into his face. A stubby grin widens across broken teeth. CLICK. The Hitchhiker in the back seat takes the safety off a Colt Python. Pressing the cold metal nose against the nape of Diamondback's neck.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Hey, mister. My pal here told you to turn off the car.</dialogue>
<scene_description>Jesse looks calmly over his shoulder. Switches off the ignition.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Now, you mind if I dance with your wife here? She's a real looker, this one.</dialogue>
<scene_description>He winds the nose of his gun up Diamondback's neck and into her soft pale hair. Jesse gazes over his shoulder. Diamondback looks him in the face. Smiling calmly. Jesse shifts his gaze to the Hitchhiker.</scene_description>
<character>JESSE</character>
<dialogue>You're not going to look so good with your face ripped off.</dialogue>
<scene_description>The Hitchhiker and the Highwayman look at each other in hilarious disbelief. They crack up.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Boy did we get lucky tonight. She is beautiful and he is so, so stupid.</dialogue>
<scene_description>Jesse chuckles. The RADIO starts to play "STRANGERS IN THE NIGHT," sung by Frank Sinatra.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>A Peterbilt Eighteen Wheeler SHUDDERS past. "STRANGERS IN THE NIGHT" leaking out of the cab into the open air.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - PETERBILT EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>Thick, gnarled fingers spin the knob of the RADIO in the dashboard. A small, round CAJUN TRUCKER with long, curly hair gazes over the faces of his two passengers. He has a thick accent when he speaks and his words of English are limited. He zeros in on the station again. The Sinatra song bleeding through the scratchy speakers. The Cajun chuckles.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>Sinatra. Good, huh?</dialogue>
<scene_description>Mae lifts her pale face to his.</scene_description>
<character>MAE</character>
<dialogue>Good.</dialogue>
<scene_description>Caleb smiles as the Cajun Trucker brings three bottles of beer out of a bag on the floor by his boots.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>Here. We got Sinatra. We got good, solid truck. We got beer to enjoy open road.</dialogue>
<character>CALEB</character>
<dialogue>Great. Thanks.</dialogue>
<character>CAJUN TRUCKER</character>
<dialogue>Drink up.</dialogue>
<scene_description>He hands them both bottles of Bud. They artfully pretend to drink. He doesn't pretend. Mae nudges Caleb in the ribs. He looks in her face. Her eyes say kill. Sympathetically. But soon. The Cajun Driver looks at them both and Mae averts her eyes.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>You kids, you run from home?</dialogue>
<scene_description>The girl nudges the farmboy.</scene_description>
<character>CALEB</character>
<dialogue>Sure.</dialogue>
<character>CAJUN TRUCKER</character>
<dialogue>That okay by me. Sometimes home is bad. Me, I got truck for home. Good truck, huh?</dialogue>
<scene_description>Caleb chews his lip. He's on the spot.</scene_description>
<character>CALEB</character>
<dialogue>Some setup you got here. It's a real beauty. How do you fly it?</dialogue>
<scene_description>The Cajun points to the various gears.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>You drive truck before?</dialogue>
<character>CALEB</character>
<dialogue>I've driven a semi.</dialogue>
<scene_description>The mind is working behind the farmboy's eyes. The girl keeps her eye on him. The Cajun Trucker puts his hand on one of the many shifts.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>Semi, five gears. This, twelve gears. You got three go backwards, the rest, forward. Smoke?</dialogue>
<scene_description>He knocks one up out of the pack. The Cajun Trucker lights it. Caleb grimaces at the idea of having to kill this chummy man. Mae keeps her hand on his hip.</scene_description>
<character>CALEB</character>
<dialogue>Thanks.</dialogue>
<scene_description>Taking a butt. The Cajun Trucker lights it. Mae smiles, Caleb seems to unwind a bit.</scene_description>
<character>CALEB</character>
<dialogue>The rest?</dialogue>
<character>CAJUN TRUCKER</character>
<dialogue>Shifting. You know how to shift. Is all. Watch.</dialogue>
<scene_description>He goes up the gears. Steadily shifting, taking the speedometer up to 130.</scene_description>
<character>CALEB</character>
<dialogue>Wow.</dialogue>
<scene_description>Caleb shuts his eyes. Gathers his courage. Speaks.</scene_description>
<character>CALEB</character>
<dialogue>Can you show me how to brake and stop the truck?</dialogue>
<scene_description>The stocky man behind the wheel grins enthusiastically. Starting to downshift.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>Now, this is most important thing with truck. You got two brakes. You get one brake for cab. This. An' one brake trailer. An' when you stop truck, you always use brake for trailer first.</dialogue>
<scene_description>He throws that brake as he takes his foot off the gas. The truck starts to slow.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>Then you use brake for cab. Or...</dialogue>
<character>CALEB</character>
<dialogue>Or?</dialogue>
<scene_description>The truck decelerates onto the road shoulder.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD SHOULDER - TWO LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>The Peterbilt glides onto the gravel shoulder.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - PETERBILT EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>The Cajun turns his face to Caleb.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>You jackknife. Cab stop. Trailer hit cab. No more truck. No more truck driver.</dialogue>
<scene_description>Caleb is looking at the man very oddly. His eyes alarmed and anxious. Now that he has to make his move, he has the shakes. The Cajun Trucker is an easygoing guy, but the way this kid looks is weird.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>You got a problem?</dialogue>
<scene_description>Mae clenches her fingers on Caleb's shoulders, urging him forward. The farmboy looks like he's going to puke. He shoves open the passenger door of the cab. Leaps out.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROAD SHOULDER - TWO LANE HIGHWAY - NIGHT</stage_direction>
<scene_description>Caleb jumps down to ground level. Stumbles to his knees in the gravel. Heaving his guts with the gently bobbing oil pumps behind him out in the fields. The Cajun Trucker leaps down and comes up behind the boy.</scene_description>
<character>CAJUN TRUCKER</character>
<dialogue>You can't drink and drive, huh boy?</dialogue>
<scene_description>Caleb gets to his feet. The stocky man looks him in the face. The farmboy bares his teeth, but it's no good. He can't do it. Then he sees her. Mae. Hovering up behind the Cajun Trucker's shoulder. She uses her mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAYSIDE FIELDS - NIGHT</stage_direction>
<scene_description>An oil pump dips and rises. Mae stands before it. A gentle WIND ruffling her dress. Caleb is kneeling at her feet. His lips fastened on her wrist. Sucking. Drinking. Sucking. Drinking. The fury almost rocking his body. A rabid fierceness with which he feeds. Mae gently strokes his head. Then nudges him away. He is locked tight. Draining her. Hearts pounding. She pushes with all her might. Rips his lips free. Her glistening eyes on his hungry face.</scene_description>
<character>MAE</character>
<dialogue>You could kill me if you drink too much.</dialogue>
<scene_description>His upturned eyes gaping at her face. Mind spinning. Gulping air. The black night hangs heavy above. Stars dapple the surface. The oil pump keeps rising and falling.</scene_description>
</scene>
<scene>
<stage_direction>INT. "BOB'S BIG BOY" - WACO, TEXAS - DAY</stage_direction>
<scene_description>A cloverleaf of freeways through the window. Sarah and Loy are eating breakfast at one of the booths. The little girl clicks open a pen and starts sketching a rough but recognizable picture of her brother on the back of his horse. She starts to cry. Loy pushes away his plate of an uneaten hamburger and reaches across the table. He cups her little face in his hands.</scene_description>
<character>LOY</character>
<dialogue>Shhh, honey. Come on, let's go make a phone call, see if anybody knows anything.</dialogue>
<scene_description>She sniffles and nods.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAY PHONE - "BOB'S BIG BOY" - DAY</stage_direction>
<scene_description>Loy holds Sarah in his arms, the telephone receiver to his ear.</scene_description>
<character>LOY</character>
<dialogue>Eakers... Loy Colton here.</dialogue>
<scene_description>Pause.</scene_description>
<character>LOY</character>
<dialogue>...You did? It's a positive make?</dialogue>
<scene_description>His face brightens. His little daughter wipes her eyes.</scene_description>
<character>LOY</character>
<dialogue>Where was he? Hope, Kansas bus station... Cop said he was going home...</dialogue>
<scene_description>Sarah winds her tiny hands around Loy's neck excitedly.</scene_description>
<character>LOY</character>
<dialogue>...You check the house?... He shoulda been there by now... No, I'm down in Waco, Texas. Guess I'm headin' in the wrong direction. Think I'll turn around, head North... No, you can't talk me out of it, Eakers. Just glad to know he's still out there. Thanks for your help... I'll stay in touch.</dialogue>
<scene_description>He hangs up the phone. Sarah wears a big smile on her face as she tightens her arms around her father's neck.</scene_description>
<character>SARAH</character>
<dialogue>We found him, Daddy?</dialogue>
<character>LOY</character>
<dialogue>Almost.</dialogue>
<scene_description>Hope flushes their faces as they head toward the Chevy Pickup. Driving into the hot afternoon sun.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHEVY PICKUP - INTERSTATE NORTH - DAY</stage_direction>
<scene_description>TIRES ZOOMING over the tarmac. SMASH CUT TO TRAIN WHEELS RAGING across RAILS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNION PACIFIC TRAIN - KANSAS - NIGHT</stage_direction>
<scene_description>Caleb's head pushed closer and closer to the spark spitting wheels. Gritting his teeth, his eyes bulging up into Severen's face. The Savage One's hand in a vice grip around the farmboy's neck forcing him halfway out of the open box car. Sparks hitting Caleb's face. He struggles beneath the remorseless grip. His strength no match for Severen's. In a ragged snarl Severen heaves the boy back up by the neck.</scene_description>
</scene>
<scene>
<stage_direction>INT. FREIGHT CAR - UNION PACIFIC TRAIN - NIGHT</stage_direction>
<scene_description>The Savage One throws the farmboy up against the wall, pinning him with that same vice grip around the throat. Caleb sucks wind. Looking around him at the semi circle of darkening faces. To the icy blue eyes behind them. To Mae. His eyes plead. Hers tremor. She makes a move. Jesse revolves his silver head and gives her a look. Not a nice look. She freezes. Caleb stops breathing. The Silvered One moves forward.</scene_description>
<character>JESSE</character>
<dialogue>One more night...!</dialogue>
<scene_description>Lifting a long slender finger toward the farmboy's face.</scene_description>
<character>SEVEREN</character>
<dialogue>Or I'm gonna get my wet dream, boy.</dialogue>
<scene_description>Caleb swallows. Homer smacks his lips.</scene_description>
<character>HOMER</character>
<dialogue>Why wait, we're gonna do it anyway. He ain't one of us, he don't belong! Besides...</dialogue>
<scene_description>Turning an eye on Mae.</scene_description>
<character>HOMER</character>
<dialogue>...He's so ugly it makes my gums ache.</dialogue>
<scene_description>The girl comes forward. Squaring off in front of Jesse.</scene_description>
<character>MAE</character>
<dialogue>He needs more time, Jesse.</dialogue>
<scene_description>Those steely eyes shift from the quivering farmboy to Mae. A lip curls back.</scene_description>
<character>JESSE</character>
<dialogue>I wonder about you, Mae... I shouldn't be wondering about you.</dialogue>
<scene_description>A shiver runs through her system. Point taken. That long slender finger of the Silvered One sweeps back to Caleb.</scene_description>
<character>JESSE</character>
<dialogue>Ain't right for Mae to be carrying you, Caleb. Tonight you make a kill. How you do it is your business. You do it, or you're done.</dialogue>
<scene_description>The Savage One takes his hand off the boy's throat. Giving him a look like he can't wait for the boy to screw up. Diamondback slides a harmonica out of her jacket and plays a slow, haunting melody. Then stops. Lifting her hypnotic eyes to the farmboy.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Done means dead without dying. Means you'll be real uncomfortable for a long, long time...</dialogue>
<scene_description>Her lips return to the small metal instrument. The big rectangle of night rolling by the opening. Caleb moves to the door. Mae suddenly beside him. A match strikes flint nearby. Severen rolling a cigarette between his lips. Then hold on a cluster of lights in the distance. A big ROADHOUSE sitting not far from the tracks. Caleb follows Severen's gaze. And understands the Savage One's scarred face cracking into a smile like a hatchet chop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNION PACIFIC TRAIN - NIGHT</stage_direction>
<scene_description>The freight hurtles by. A hundred cars long. Six figures leap off. Landing in a heap in the middle of a wheatfield, beneath a rising moon.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADHOUSE - NIGHT</stage_direction>
<scene_description>Six tall silhouettes approach. A big, squat barn with a neon sign on the window. A pickup, a tractor trailer, a Dodge Camper, and a chopped down motorcycle parked out front. One look at the vehicles and you get a good idea of the clientele. Bad Country Music TWANGS out of the bar. The CLINK of pool cues on balls. The six of them stand in the shadows looking at the nailed together roadside bar.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Let's hit the night in the face.</dialogue>
<scene_description>Caleb takes a deep breath. They go in.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROADHOUSE - NIGHT</stage_direction>
<scene_description>As soon as the six of them walk in, the place stops. A BIKER at the jukebox keeps his quarter. A fat, low to the ground TRUCKER at the bar turns a flattened face over thick shoulders to regard the fresh arrivals with a dull look. A COWBOY TEENAGER lifts his pool cue. The WAITRESS picks some empty glasses off the table in the booth. The BARTENDER CLICKS his teeth. A quiet comes over the joint. Severen winks and elbows Caleb in the ribs. Speaking in a voice loud enough for everybody to hear.</scene_description>
<character>SEVEREN</character>
<dialogue>Look, shitkickers. I'll be Goddamned. C'mon, Caleb. Let's get some liquor in us. Maybe they'll look a little less stupid when everything's blurry.</dialogue>
<scene_description>Caleb gets nervous. He waves friendly to the Biker. With the attitude of a sailor on a sinking ship about to submerge. The Biker doesn't wave back. Mae, Jesse, Diamondback, and Homer slide into the booth. The Silvered One catches the Waitress' eye and gestures for a beer. The Savage One and the farmboy belly up to the bar. Severen slams his fist down. Making the surly Trucker spill his drink.</scene_description>
<character>SEVEREN</character>
<dialogue>Bartender, gimmie two glasses of whatever shit you shove down these sucker's throats.</dialogue>
<scene_description>The Bartender makes a big point of not looking at him. The Trucker looks at him though.</scene_description>
<character>TRUCKER</character>
<dialogue>You spilled my drink.</dialogue>
<character>SEVEREN</character>
<dialogue>You've had enough. By the way, were you born that ugly or is this your mama's idea of a joke?</dialogue>
<scene_description>The Trucker does a slow burn. The temperature in the bar steadily rising. The Cowboy Teenager chalks his pool cue with a SQUEAKING chalk cube. Severen clears his throat. Caleb starts to leave. The Savage One pulls him back. He picks up the glass of the Trucker. Addresses the Bartender.</scene_description>
<character>SEVEREN</character>
<dialogue>Give him another.</dialogue>
<scene_description>The Bartender pours the Trucker another drink. Severen nudges the Trucker.</scene_description>
<character>SEVEREN</character>
<dialogue>Now, pay the man.</dialogue>
<scene_description>The Trucker does a faster burn.</scene_description>
<character>SEVEREN</character>
<dialogue>Bartender, that'll be a double shot of your very best watered down shit over here.</dialogue>
<scene_description>He taps the bar. The Bartender stares the two of them in the face.</scene_description>
<character>BARTENDER</character>
<dialogue>There's two ways you can leave this establishment. On your feet or on your back, asshole.</dialogue>
<scene_description>Severen sighs.</scene_description>
<character>SEVEREN</character>
<dialogue>Well, if you're not going to serve me a drink...</dialogue>
<scene_description>The Savage One picks up the drink of the Trucker.</scene_description>
<character>SEVEREN</character>
<dialogue>...I'll just hafta drink his.</dialogue>
<scene_description>He throws it back. The Trucker rises to his feet. Mad. Severen makes a face.</scene_description>
<character>SEVEREN</character>
<dialogue>Ptooooooooeeee.</dialogue>
<scene_description>He spits the drink in the Trucker's face.</scene_description>
<character>SEVEREN</character>
<dialogue>...How can you drink that shit?</dialogue>
<scene_description>The Trucker throws a punch. Severen grabs Caleb. Swings him around. The farmboy takes the piledriver punch square in the face. He blinks. Unfazed. It was like he didn't even feel it. Severen winks at the fuming Trucker.</scene_description>
<character>SEVEREN</character>
<dialogue>Do it again. Couple times. I'm tryin' to show him somethin'.</dialogue>
<scene_description>The Trucker connects two roundhouse blows to the side of Caleb's head. A double combination to his belly. The only thing that registers on Caleb's face is surprise at his sudden physical resilience.</scene_description>
<character>SEVEREN</character>
<dialogue>Now hit back, Caleb.</dialogue>
<scene_description>The Savage One releases the boy's arm. The Trucker pulls his fist back to throw another. Caleb strikes out in alarm. His fist bulldozers into the Trucker's face. Knocking him clean off his feet onto his back on the pooltable. The Cowboy Teenager raises his stick to avoid him as the unconscious body scatters the balls. Caleb regards his fists in amazement.</scene_description>
<character>CALEB</character>
<dialogue>Did I do that?</dialogue>
<scene_description>The Waitress is at the booth. Setting a glass down in front of Jesse. Three beers on the tray in her arm. A beer in her fingers as she looks at the man on the pooltable. The Silvered One whistles for her attention.</scene_description>
<character>JESSE</character>
<dialogue>Just the glass.</dialogue>
<scene_description>The Waitress shrugs. Returns the beer to the tray. She sets down the empty glass. Jesse draws an antique Colt Peacemaker from his belt. SHOOTS her in the Adam's apple. She slumps in his lap. He puts the glass under her throat. Filling the glass. Dumping the body on the floor. Guzzling the glass, he gets up and goes to the door. His pistol leveled. Standing sentry.</scene_description>
<character>JESSE</character>
<dialogue>Nobody gets out of here alive.</dialogue>
<scene_description>The Cowboy Teenager is totally still. Nothing but a scared kid. Holding his pool cue in white knuckled hands. Severen lets out a cowboy yodel.</scene_description>
<character>SEVEREN</character>
<dialogue>Good times!</dialogue>
<scene_description>He walks over to the bruising Biker standing like a statue by the jukebox.</scene_description>
<character>SEVEREN</character>
<dialogue>...This is the best time I had since I nailed your mother backseat of your Daddy's truck. He was there watchin'.</dialogue>
<scene_description>Severen taps him in the chest.</scene_description>
<character>SEVEREN</character>
<dialogue>...Tell you the truth, I think he liked it, too. Know she did.</dialogue>
<scene_description>The Biker snarls and grabs Severen by the throat. Severen doesn't blink an eye. He presses his two hands against the side of the Biker's head. Applying pressure. The Biker's eyes roll up in their sockets. Severen whispers in his ear.</scene_description>
<character>SEVEREN</character>
<dialogue>Know what I said to your mother? I said, shhhhhh, honey, this won't hurt.</dialogue>
<scene_description>The Savage One buries his teeth in the man's neck.</scene_description>
<character>SEVEREN</character>
<dialogue>I said...</dialogue>
<scene_description>Severen uses his teeth. The bar becomes sickeningly still. The Savage One's face flushes and his sinewy body shudders and shivers as the dying Biker spasmodically quivers. Severen's neck contracts as he GULPS and GULPS. With a high, wild cry, he heaves the dead, limp body of the Biker onto the jukebox with a CRASH. Revved up, he wipes his mouth off with the back of his hand. His eyes afire. Sated. The Trucker bolts for the door. Jesse blocks his way. SNAPPING back the hammer of the Peacemaker. The Trucker doesn't move a muscle. The Bartender is white in the face.</scene_description>
<character>BARTENDER</character>
<dialogue>What do you people want?</dialogue>
<character>JESSE</character>
<dialogue>Just a couple more minutes of your time.</dialogue>
<scene_description>Caleb watches the whole scene with his mouth open.</scene_description>
<character>JESSE</character>
<dialogue>...Bout the same duration as the rest of your life.</dialogue>
<scene_description>The farmboy starts walking away from the bar, stuperuous. He doesn't see the Bartender reach under the counter behind him. Picking up a double-barreled sawed-off .12 gauge shotgun. Vaulting the bar, landing on both feet, raising the weapon to his eye. The boy hears him and whirls. The Bartender gives him both barrels square in the chest. Blowing a ragged rupture through his back and ripping a hole out of his chest. Caleb blinks. Smoke rises. The boy looks down at his ravaged torso.</scene_description>
<character>CALEB</character>
<dialogue>Oh shit.</dialogue>
<scene_description>He's still standing. He's still alive. Utterly unhurt. Severen walks over. The Bartender is scared spitless, frantically trying to reload. The Savage One claps his hand on the boy's shoulder. Caleb's mouth tries to form words.</scene_description>
<character>SEVEREN</character>
<dialogue>This is a kick, ain't it? Go sit down, I'll finish this up.</dialogue>
<scene_description>Caleb dazedly has a seat on a barstool. The Bartender is almost sobbing as he wrestles with his gun. Severen wriggles his fingers at him.</scene_description>
<character>SEVEREN</character>
<dialogue>Yoo-hoo.</dialogue>
<scene_description>The Bartender looks up. Severen leaps into the air, lashing out with his boot. His razor sharp roweled spur slashing across the man's throat. Laying it open. The Bartender stumbles back, still on his feet. Raising his shotgun. The Savage One kicks out with his other boot. Slashing the man's throat a second time. The barman sways on his feet. The shotgun dropping from his grasp. With a rebel yell, Severen jumps into the air. Hitting the Bartender smack between the eyes with both boots. Knocking the nearly severed head off his shoulders. The headless body sinks to the floor. The Savage One wipes his hands on his pants. Sings off key.</scene_description>
<character>SEVEREN</character>
<dialogue>"Maaammma don't let your babies grow up to be cowboys. Don't let them strum guitars, and drive them old trucks, let them be doctors and lawyers, and such..."</dialogue>
<scene_description>Caleb just sits on the barstool, fingering the ragged shotgun blast in his chest. The Trucker stands by the booth. Not looking very big now. Fear terrible in his eyes. Diamondback almost compassionate. She speaks softly, sitting in the booth.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>There's a fly on the ceiling.</dialogue>
<scene_description>The Trucker looks up. Homer empties his .38 into the man. Who falls on the floor. The Pale One grabs a handful of his hair and yanks his head back. Exposing the throat. She produces her knife. Flash of steel. Caleb winces as he meets Mae's eyes. She gets up out of the booth. Walks up to the last remaining survivor. The Cowboy Teenager. Wetting himself as he holds onto the pool cue for dear life. She puts her eyes on Caleb. The girl takes one of the Cowboy's Teenager's hands in her own. She puts his other hand on her waist. Melds her eyes gently into his. Severen KICKS the jukebox. A ROMANTIC COUNTRY MELODY comes out of the old, glowing Wurlitzer. The kid is so scared he is in a state of shock. She whispers to him softly.</scene_description>
<character>MAE</character>
<dialogue>Please dance with me.</dialogue>
<scene_description>She leads him in a simple, shuffling, slow dance. Winding her hands down his back. Tenderly. The side of her face by the side of his. She turns him so that she can see Caleb over his shoulder. The farmboy looks at her. Not liking that she is dancing with the other boy. He stands up off the stool. The COUNTRY MELODY permeating the abattoir of a barroom. The two of them dancing. She fingers the Cowboy Teenager's hair. His eyes are blank. Caleb comes toward them. Behind the boy's back. Mae slowly bobs and weaves with the boy on the floor. Her eyes fixed to Caleb over his shoulder. Her lips turn up in a smile.</scene_description>
<character>MAE</character>
<dialogue>He's for you, Caleb.</dialogue>
<scene_description>The farmboy looks around him to see all the eyes of the others on him. He looks at Mae. Knows it's now or never. He puts his hand on the boy's shoulder. The Cowboy Teenager screams his lungs out. He rips free of Mae. Covers his head with his arms. Dives headfirst through the neon Budweiser sign on the window. Caleb jumps out the window after him.</scene_description>
<character>MAE</character>
<dialogue>Get him, Caleb.</dialogue>
<scene_description>The others grab her and get busy. Homer picks up the book of matches and strikes them one by one, chucking them onto the sawdust on the floor. Fires shoot up. Severen and Jesse make Molotov Cocktails out of the bottles on the bar. Hurling them in combustion explosions of alcohol fire against the walls. They torch the place and steal out the front doors.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADHOUSE - NIGHT</stage_direction>
<scene_description>The Cowboy Teenager running hell for leather. Caleb on his heels. The big, squat barn of a Roadhouse going up in flames. Five silhouettes emerge from the smoking structure. Moving to the black Dodge Camper in the parking lot. Severen hot wiring the vehicle with that smooth, practiced efficiency. The others jumping in. The Camper quickly accelerating to the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Caleb's strong limbs flying over the blacktop. The Cowboy stares over his shoulder in terrific fear, choking for breath. Caleb gaining on him. The Camper and the others way way behind. The farmboy reaching out with his hand. Clamping down on the Cowboy Teenager's shoulder. Spinning him about with superlative strength. Baring his teeth. Face to face with one his own age. He sees himself how he once was. Caleb freezes. He can't do it. Suddenly headlights from behind. The Dodge Camper bearing down. The Cowboy Teenager looks up. Through the glass to Jesse's grim face. He looks like he wants to cry. Then another pair of lights. This time from the other direction. A small SEMI with a flatbed wheels around the bend in the road. In a burst of speed, the Cowboy Teenager breaks for it. The Camper almost on Caleb's heels. Braking in a SQUEAL of smoking tires. As the Teenager leaps onto the flatbed barrelling by. Caleb runs fast as he can after the receding Truck. The Dodge Camper starting to make a U-turn. Suddenly blocked by an oncoming rush of Cars. Caleb's feet slap the dirt on the side of the road as the Semi picks up speed and leaves him in its dust. Caleb pulls up. Looking from the disappearing Semi to the Dodge Camper stopped on the other side of the road. Then back to the Semi. Watching the red taillights of the Truck swallowed up by the night. Traffic passing him. Then the Camper is abruptly at his side. A door cracks open. Long arms snatch him off the road.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - PRE-DAWN</stage_direction>
<scene_description>Jesse squints into the faint light beginning to pale the edge of the world. Vicious hands tug Caleb inside. Black looks. The Silvered One twists the Camper around and punches the pedal.</scene_description>
<character>JESSE</character>
<dialogue>Shit. You fucked us up for the last time, boy...</dialogue>
<scene_description>The Camper hurtling across the flatlands.</scene_description>
<character>SEVEREN</character>
<dialogue>Now, Jess?</dialogue>
<scene_description>Clicking very sharp teeth. Jesse's eyes boring through the windshield.</scene_description>
<character>JESSE</character>
<dialogue>Fuckin' sun!</dialogue>
<scene_description>Mae clings to the farmboy. Homer gives him a sickening face.</scene_description>
<character>HOMER</character>
<dialogue>I think we should just leave your boyfriend out on the road and let him get hisself a suntan.</dialogue>
<scene_description>Diamondback stares out the glass toward the gently paling sky.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>We better move our ass.</dialogue>
<scene_description>The Silvered One fixes the boy's face in the rear-view mirror.</scene_description>
<character>JESSE</character>
<dialogue>Boy, you screwed us up this time. We got five minutes before sunup and we ain't found us a place to stay.</dialogue>
<scene_description>He punches the steering wheel. Smearing his foot to the floor. Horizonline becoming more and more distinct. The road ahead absolutely empty. Caleb stares down into his hands. Mae looks at him with soft eyes.</scene_description>
<character>JESSE</character>
<dialogue>This rate we'll be lucky to make it at all. Goddamn kid you let get away's made this vehicle, he's gonna go straight to the cops and they're gonna be combin' the area.</dialogue>
<scene_description>A deadly silence. That epic face straight front.</scene_description>
<character>JESSE</character>
<dialogue>You both fucked us up.</dialogue>
<scene_description>Mae closes her eyes. The Dodge Camper streaking down the road. The sun now just ducking below the horizon. A tremor of fear rippling through every face. Blankets being tossed around. Tentacles of light piercing the glass. It looks like it hurts. Mae breathes deep. Lifts a strong face to the front.</scene_description>
<character>MAE</character>
<dialogue>You gonna talk, Jess, or you gonna get us out of the sun?</dialogue>
<scene_description>Jesse looks at her through low lidded eyes.</scene_description>
<character>JESSE</character>
<dialogue>...Okay.</dialogue>
<scene_description>Soft and sweet. Mae shakes down to her bootstraps. Severen CRACKS his knuckles. Homer WHISTLES. Diamondback gives Mae a soul shaking smile. Then through the glass a Travel Court complex of little bungalows off to the side of the road.</scene_description>
<character>JESSE</character>
<dialogue>'Bout time.</dialogue>
<scene_description>Lifting his foot off the gas.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIDE-A-WAY TRAVEL COURTS - PRE-DAWN</stage_direction>
<scene_description>The Dodge Camper pulls up in front of the registration office. The sun just about to peer over the edge of the world.</scene_description>
</scene>
<scene>
<stage_direction>INT. REGISTRATION OFFICE - HIDE-A-WAY TRAVEL COURTS - PRE-DAWN</stage_direction>
<scene_description>Jesse bursts into the empty room. He taps a finger on the desktop bell. Nothing. A pale beam of light creeps in through the curtains. He sweats. Finally the white haired MANAGER still in pajamas moves across the floor with the assistance of a cane. A smooth smile graces Jesse's lips.</scene_description>
<character>JESSE</character>
<dialogue>I'd like to rent one of your bungalows, Sir.</dialogue>
<scene_description>The old man presses his hearing aid, nudging his head forward.</scene_description>
<character>MANAGER</character>
<dialogue>Wha...?</dialogue>
<scene_description>The Silvered One notices the slow rise of light crawling across the countertop toward his hand. He lays down a fifty dollar bill.</scene_description>
<character>JESSE</character>
<dialogue>The key.</dialogue>
<scene_description>A flicker of understanding in the Manager's face. Plucking a set of keys off the desk. Jesse grabs the key from him just as the sunlight lands upon the counter where his hand just was. He turns to go.</scene_description>
<character>MANAGER</character>
<dialogue>Hey, you were here b'fore once, wasn't ya? Lotsa years back?</dialogue>
<scene_description>The Silvered One gives him a friendly grin as he walks out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - PRE-DAWN</stage_direction>
<scene_description>A picture pretty little box with windows and a door. Jesse hurriedly unlocks the door. The six figures hasten in. Slamming the door shut behind him. The reflection of the sliver of sun in the window slicing like a knife across the sharp side of the planet.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The sun high in the cloudless sky. In the courtyard between the bungalows, a DOG barks, playfully. And scampers after a stick. He brings it back in his mouth to a bright and bushy tailed SMALL BOY in sneakers and shorts. An ELDERLY COUPLE rock back and forth on the front porch of one of the bungalows. A laid-back, lazy morning. The Dodge Camper sits behind one of the quiet bungalows. The black paint baking in the hot sun. The little boy hurls the stick. It soars through the air. The pooch scrambles after it. The stick lands. The dog pads after it. A hand picks it up. The dog wags its tail. A POLICE OFFICER with a shotgun under his arm is holding the stick. Three Patrol Cars creep into the courtyard, tires CRUMBLING the gravel. The Policeman hurls the stick way in the other direction. The dog runs after it out of harm's way. The small boy is motioned onto the porch of his Grandparent's cottage. The Elderly Couple rise to their feet, holding the small boy to them. The Police Officer gestures for the three Patrol Cars to follow him. The Cowboy Teenager is sitting in the backseat of one of the cars, pointing nervously to the Camper and nodding. The Police Officer aims his eyes at the bungalow at the end of the Travel Courts.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The three Patrol Cars mobilize in a fan formation around the front porch. One more PATROL CAR moves into position out back. The doors are flung open. Assault rifles are readied in the arms of SEVEN COPS. Aiming at the walls and windows of the sleeping bungalow. Everything so quiet and calm on this nice summer morning with BIRDS TWEETING. The Police Officer walks up to the front door. And KNOCKS.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>Blackness. Curtains pulled tight. A deathly quiet. Six slumbering bodies. Caleb sprawled out on an overstuffed chair. Mae curled up in his arms. Jesse and Diamondback in the only bed. Severen sleeping standing up, leaning against the wall. Through the open bathroom door, Homer flat on his back in the bathtub. A pillow over his face. A hard KNOCK on the front door. Homer throws the pillow from his face. Opens a sleepy lid. A VOICE from behind the door.</scene_description>
<character>POLICE OFFICER</character>
<dialogue>This is the police! Come out with your hands up!</dialogue>
<scene_description>Severen's eyes pop open. Jesse leaps out of bed. Mae raises her head. Homer runs into the room. Diamondback rises to her feet.</scene_description>
<character>POLICE OFFICER</character>
<parenthetical>(O.S.)</parenthetical>
<dialogue>You are surrounded!</dialogue>
<scene_description>All eyes travel to Caleb. Caleb gets up. Worry in his eyes. Severen walks to the window, lifts a finger to the curtain and pulls it back a crack. A single ray of sunlight explodes across his face like a burning spear. He jumps back. Screaming. Skin smoking. Hands pawing at his face.</scene_description>
<character>SEVEREN</character>
<dialogue>FUCKIN' DAYTIME!!</dialogue>
<scene_description>Jesse yanks the Colt Peacemaker out of his belt and cracks the glass of the window with the butt. Caleb stands, head going back and forth as he watches the others burst into action. Mae produces a small, pearl-handled .22 and a box of ammo out of her jacket. Diamondback has a sawed off twelve gauge in her coat. The Pale One swings up alongside one of the windows, smashing out the glass with the stock. The Savage One plants his eyes on the farmboy as he grabs the two pieces of a disassembled rifle out of his jacket. He screws on the barrel. Then he yanks a .357 Magnum out of his pocket. Fury scars his face as he holds it by the barrel for Caleb to take. The farmboy reaches for it. Severen flips the pistol and catches it by the handle. Meaning to use it on the new boy.</scene_description>
<character>SEVEREN</character>
<dialogue>Oughta give you this end of it.</dialogue>
<scene_description>Jesse shoots him a stern glance.</scene_description>
<character>JESSE</character>
<dialogue>Give him the piece, Severen.</dialogue>
<scene_description>Severen sighs. Hands over the gun. Caleb feels the weight and heft of the pice.</scene_description>
<character>POLICE OFFICER</character>
<parenthetical>(O.S.)</parenthetical>
<character>THIS IS YOUR LAST WARNING!!! COME OUT</character>
<dialogue>WITH YOUR HANDS UP!!!</dialogue>
<scene_description>Severen steps right in front of the door. The rifle leveled in one hand at his waist. Finger on the trigger. Barrel fixed on the door. He plugs one ear with his finger and winks at the rest.</scene_description>
<character>SEVEREN</character>
<dialogue>Rock n' Roll.</dialogue>
<scene_description>He BLASTS a round through the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The Policeman standing in front of the door takes the heavy calibre round square in the chest. It blows him clear off his feet. A shaft of sunlight shoots through the bullet hole in the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The shaft of sunshine streams through the door. Striking Severen smack between the shoulder blades. He is flung back against the wall and slides to the floor. His shirt smoking. The others open FIRE out the windows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The Seven Police Officers let loose with their assault rifles. Ravaging the walls and shattered windows with SHOTS. The air split by a DEAFENING DIN of gunfire.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>A RIFLEBLAST rips two holes in the walls by Jesse's head as he reloads. Pinpricks of light blaze across the room. The Silvered One dives out of the way. A mirror on the wall fractures the light. Homer gets hit on the hand by a deflected ray. Skin bursts into flames. He yelps, running out of the way. Homer lifts his .38 to the window and starts pumping off ROUNDS. Jesse shoots out the mirror to splintered glass smithereens. Bullet holes swiss cheese the walls and roof. EXPLOSIONS of GUNFIRE rip through the wallpaper. Needles and lances of bright sunlight cats cradle the room. The day comes through the holes and punctures in a maze of tiny funnels. The six inside desperately keep up their volleys of gunfire. They dodge, dive, duck and avoid the laser beams of light that continue to cordon off the areas of the room they can move and fight back in. Caleb's gun isn't loaded and while he is popping in shells, a stray round from outside hits the box and scatters the cartridges. He glances over, while he frantically retrieves the bullets, to see Mae emptying her cute little .22 out the window alongside Homer. BULLETS RICHOCHET around the room with a piercing WHINE. The farmboy looks up and sees the rear window. The Camper is parked outside it. He thinks fast.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>A hot sun burning overhead. A Police Car being RIDDLED with bullets. Cops diving for cover in a cloud of dust.</scene_description>
</scene>
<scene>
<stage_direction>INT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>A momentary lull, the frantic reloading of guns. Caleb looks up into Jesse's sombre face.</scene_description>
<character>CALEB</character>
<dialogue>I'm gonna go out there to get the Camper.</dialogue>
<scene_description>Severen almost laughs.</scene_description>
<character>SEVEREN</character>
<dialogue>That's a good one, asshole!</dialogue>
<scene_description>A wall starting to splinter open with another round of GUNSHOT BLASTS. Light burning across the floor. The others pressing back into dark corners. FIRING back as best they can. Jesse turns a narrow eye on Caleb.</scene_description>
<character>JESSE</character>
<dialogue>You go outside, boy...</dialogue>
<scene_description>He squeezes off a SHOT.</scene_description>
<character>JESSE</character>
<dialogue>...They gonna be servin' you on a bun.</dialogue>
<character>CALEB</character>
<dialogue>It's the best chance we got.</dialogue>
<scene_description>Jesse barely blinks.</scene_description>
<character>JESSE</character>
<dialogue>We'll cover ya.</dialogue>
<scene_description>The farmboy nods. Severen shouts.</scene_description>
<character>SEVEREN</character>
<dialogue>Asshole's gonna get himself killed.</dialogue>
<scene_description>The Silvered One smirks at the Savage One.</scene_description>
<character>JESSE</character>
<dialogue>So what do we got to lose? Git goin', boy, we'll cover ya.</dialogue>
<scene_description>Jesse throws the car keys into Caleb's open palm. The farmboy yanks the bedspread off the bed and throws it over his head. Mae reaches out with her hand, touching Caleb's arm. BULLETS flying left and right. She looks into his eyes. Caleb meets her gaze. Another EXPLOSION of GUNSHOTS. The farmboy spins on his feet, racing for the back window. He leaps through the air and dives through the glass.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>Caleb lands in a heap in the dirt. The sun attacks him beneath the bedspread. A single Policeman staking out the back starts SHOOTING at the figure under the blanket. Caleb jumps to his feet and dodges bullets as he hurries for the Camper with the blanket flowing behind him like a cape. His hands holding the cover beginning to burn as the wicked sun hits them. He starts to scream. The Camper only a few feet ahead. He claws forward. The Policeman takes careful aim. A bullet glances Caleb in the chest. He keeps moving. Reaching the vehicle as the skin of his hands starts to smoke. Ripping the door open and bursting inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DAY</stage_direction>
<scene_description>Caleb kneels down behind the dashboard to shield himself from the direct sunlight. He grips the steering wheel and slams the keys into the ignition. The engine FIRES up. He smashes his foot into the gas pedal. The sun blazes through the darkened windshield. He moans as the subdued light hits his face. Blackening the skin on his forehead. He ducks below the dash. Steering the vehicle straight ahead for the wall of the bullet- riddled bungalow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR OF COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>A tidal wave of deadly white light as the Camper breaks through the wall. Wood and glass raining down. The others wrap themselves in blankets they scrounge off the bed as the light spreads through the room. The black Camper, covered with wallpaper and plaster, sitting in the middle of the floor. Caleb throws open the doors. Everyone is yelling loudly as they tear towards the vehicle. Slinging their guns in the back compartments, they all help each other in.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DAY</stage_direction>
<scene_description>Jesse heaves Diamondback onto the floor, covering her with his body. Severen gathers up his guns, clambering into the back compartment. Caleb hauls Mae into the seat beside him by a tug on her arm. Homer grabs onto the rear bumper, crawling up the back for the open rear window. Screaming his lungs out as the bare sunlight bathes his small body. BULLETS RICOCHET off the front and sides of the Camper as the assault continues from outside. One bullet cracks the window into a giant spiderweb.</scene_description>
<character>JESSE</character>
<dialogue>Let's go!</dialogue>
<scene_description>Caleb drives his foot down on the accelerator. The car starts going. Homer claws his way onto the back of the vehicle, crying out as he loses his grip in the agonizing sunshine. Severen reaches out and drags him safely through the back window. They all duck down as the Camper piledrives through the front of the building.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COTTAGE - HIDE-A-WAY TRAVEL COURTS - DAY</stage_direction>
<scene_description>The nose of the Camper breaks through the front of the cottage like a huge black beast. Felling the screen door and powderizing the flower pots in its path. The Policemen hold their fire for a moment and stare incredulously. The Dodge Camper lurches forward, carrying the frame of the cottage on its back like a shell. Ramming head on into a Police Car parked directly in front. The Policemen regain their senses, getting out of the way of the Camper. Pivoting and FIRING as they go. A deafening SOUND of SHEARING METAL as the Police Car crumples beneath the impact of the Camper. As the Camper charges out into the parking lot. Bullets dappling the sides of the vehicle, whose solid steel reinforced bodywork protects those inside like armor. The Camper kicks up thick trails of dust and gravel. Fragments of the building raining off the roof of the vehicle. They hurtle toward the tarmac of the open road. The Policemen jumping into their three remaining vehicles. The Camper streaking out onto the blacktop. The Elderly Couple standing on the front porch exchanging glances of complete awe. The police cars swerving into single file formation and speeding out of the area with their cherrytops flaring. The Small Boy wide eyed in wonderment as he walks onto the driveway and watches them disappear in the settling dust. The Dog trots around with the stick between its teeth, tail wagging excitedly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DUSK</stage_direction>
<scene_description>Three patrol cars swoop after their fleeing quarry like birds of prey. The object of their pursuit driving away from a setting sun. Red cherrytops igniting the livid sky. Two of the cop cars fan out. Windows rolling down. Shotguns aimed out.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DUSK</stage_direction>
<scene_description>Caleb is pummelled by the daylight piercing through the tinted glass windows. Blackening his skin in burned splotches. His hands fixed on the steering wheel, smoking. His foot hard on the gas pedal. Squinting over the dashboard, ducking down against the assault of the sunshine. A SHOTGUN BLAST blows a spiderweb out of the windshield. The five figures are huddling down under the blankets pulled over them. The boy struggles to keep the Camper on the road. Another SHOTGUN BLAST splinters the side mirror. Several loose pellets puncture the tinted glass. Needlelike lances of light pricking Caleb's skin.</scene_description>
<character>CALEB</character>
<dialogue>Somebody do something!</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DUSK</stage_direction>
<scene_description>The Camper charges down the road. The three Police Cars hurtling after it. Dust settles in a streak of red cherry tops.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DUSK</stage_direction>
<scene_description>The shield of the four walls of the vehicle are being breached by the shotguns. Laserlike beams of light shoot through the bullet holes. Severen and Jesse poke their heads up out of the blankets. Peering over the backseat. Recoiling from the sunshine singeing their faces. They duck down and grab up rifles. FIRING off round after round through the shattered glass of the back windshield.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE CAR #1 - DUSK</stage_direction>
<scene_description>It advances. Shotgun barrel poking out the window.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DUSK</stage_direction>
<scene_description>Caleb is slammed against the sidedoor as a BLAST of buckshot taps him on the shoulder. He loses control of the wheel for a second. The vehicle swerves wildly beneath him. He regains command of the Camper. Blood trickling from the hole in his shirt. Using up all his will and strength to keep driving in the excruciating sunlight. The wound in his shoulder already healing up. The boy holding up as well as he can. Beneath the blankets in the backseat by the floor, Mae, Diamondback and Homer huddle for security against the flying bullets and piercing sunshine spears. Jesse and Severen return the fire out the back windshield.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DUSK</stage_direction>
<scene_description>The Police Cars are flanked over both the outgoing and oncoming lanes. Shots going every which way. A hay truck is approaching in the opposing lane, barreling down, HONKING its HORN. The patrol cars retract into the outgoing lane, resuming a single file formation behind the Camper. The truck goes on by.</scene_description>
</scene>
<scene>
<stage_direction>INT. DODGE CAMPER - DUSK</stage_direction>
<scene_description>Severen throws a glance to Caleb in the front seat. Shouting at the top of his lungs over the ROAR of the ENGINES and the WHINE of the BULLETS.</scene_description>
<character>SEVEREN</character>
<dialogue>CALEB, I'M GONNA GET THOSE COPS!</dialogue>
<character>WHATEVER HAPPENS YOU JUST KEEP ON</character>
<dialogue>GOIN'! GOT THAT!</dialogue>
<character>CALEB</character>
<dialogue>YEAH!</dialogue>
<scene_description>Diamondback hands the sawed-off shotgun to Severen. The Savage One cracks open the weapon in his hands. Slams in a fistful of shells. Gives an eye to the Silvered One.</scene_description>
<character>SEVEREN</character>
<dialogue>Nice knowin' ya, Jess.</dialogue>
<scene_description>With that Severn leaps over the backseat. Kicks open the rear door. Hovers in the wind and white hot sunshine for a fraction of a second. His hand holding the shotgun is on fire.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DODGE CAMPER - DUSK</stage_direction>
<scene_description>The Savage One brings up the weapon. Staring at the three Police Cars looking him in the face. The direct sunlight making his skin smoke. BULLETS speeding past his face. Severen jumps off the back transom of the Camper at 90. Vaulting through empty air.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE CAR #1 - DUSK</stage_direction>
<scene_description>The Savage One lands first on the hood. The POLICEMEN in the front seat stare at him in awe. Severen points the sawed off shotgun in their faces. Firing the first barrel through the windshield. The unmanned patrol car jars violently around the road. The Savage One climbs up on the roof. Using the cherrytop blinkers for leverage, he heaves himself through the air. Leapfrogging from one Police Car to the other.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE CAR #2 - DUSK</stage_direction>
<scene_description>The cops inside are shocked. Severen lands smack dab on the hood on all fours. The sawed off shotgun in his hands. His face afire. His hair smouldering. His shotgun blazing. Punching twin holes through the windshield. Blowing the men away behind it. The car speeding off the road. Severen scrambling atop the roof before it's too late. Plummeting spread-eagled over the open road toward the third Police Car coming right toward him.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR #3 - DUSK</stage_direction>
<scene_description>The Cowboy Teenager in the backseat ducks down. The POLICEMEN don't react fast enough. Severen EXPLODES through the windshield in clouds of cubed glass. Breaking the second cop's neck as he lands in his lap. The cop behind the wheel grabs for his gun. The Savage One takes it from him and shoots him in the side with it. Severen shoves him out the door as he slides behind the wheel. Taking over the Police Car. Stepping on the brake. Slowing to a stop in a SCREECH of TIRES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DUSK</stage_direction>
<scene_description>The sun sinking below the smouldering horizon. The Camper comes to a halt. The third Police Car stationary in the road several hundred yards to the rear. The second Police Car flipped over on its side in a field of wheat. In flames. The field on fire around it. The first Police Car a crumpled heap of metal and glass all over the two lanes. Sundown. Nighttime.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DODGE CAMPER - NIGHT</stage_direction>
<scene_description>The door opens tentatively. Caleb climbs out of the bullet-riddled vehicle onto solid ground. A little unsteady on his feet. Looking every bit the wounded warrior who has returned in one piece. His skin charred and seared. Injuries that will heal. He lets out a sigh and blinks his eyes. A sort of smile as he sees Jesse, Mae, Diamondback and little Homer step out of the rear door and onto the road. They all regard one another with relief. Mae runs to Caleb and they embrace. Jesse claps his hand on the boy's shoulder.</scene_description>
<character>JESSE</character>
<dialogue>Not too shabby.</dialogue>
<scene_description>A CAR DOOR SLAMMING spins their heads around.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE CAR #3 - NIGHT</stage_direction>
<scene_description>A scorched, worse for wear Severen leans against the side of the car. His hair cindered. His smile a white sickle in his blackened, charred features. His eyes wickedly bright. He lights up a cigarette. He makes eye contact with the farmboy. The farmboy starts to smile. Breathing again. The Savage One strides on back to the others standing beside the Camper. Caleb glances up at the black roof of night. Drowning in that depthless space. Taking some steps off the road into the fields.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS - NIGHT</stage_direction>
<scene_description>The farmboy holds the moment. Spying that last sliver of sunlight hovering on the horizon. Like the last sunlight he will see for a long long time. He swallows. Finding some kind of solace.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR #3 - NIGHT</stage_direction>
<scene_description>The rear door opens. The car is empty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DODGE CAMPER - NIGHT</stage_direction>
<scene_description>Parked at the side of the lonesome road. Five shadowy silhouettes milling around the front of the vehicle. All is quiet at the back. Where a pair of hands reach up to the metal container of gasoline attached to the back. They pry it off noiselessly. Silent feet pad around to the front. Trembling fingers unscrew the cap. Suddenly dousing the five figures with the amber liquid. GASPS all around. The Cowboy Teenager backs quickly and strikes a match. The Savage One swipes at his wet jacket. Jesse whirls a deadly eye on the kid. Diamondback stares at the match, lips quivering. Homer gulps. WWWFFFFFFFFFFFTTTTT. The match is blown out. The Cowboy spins. But Caleb already has him by the throat with a set of clamping fingers. Caleb locks his teeth on the Cowboy Teenager's neck. The kid's feet kick and thrash in the air. Then they stop kicking. Quit thrashing. Hanging limp. Caleb heaves the drained body of the boy into the bushes. Returns to the others. They pile into the Camper. And go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE - NIGHT</stage_direction>
<scene_description>A white STATION WAGON accelerates past the abandoned black Dodge Camper parked at the side of the road in the middle of nowhere.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORDERLINE OF KANSAS AND NEBRASKA - NIGHT</stage_direction>
<scene_description>The white Station Wagon whips past a roadsign saying, "You are entering the state of Nebraska." Red taillights shrink.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSKIRTS OF GODSPEED, NEBRASKA - NIGHT</stage_direction>
<scene_description>The moon is big and bright above this one road town. The White Station Wagon cuts past a sign reading, "Godspeed. Pop 327." One gas station. And one Motel. The white Station Wagon pulls into the parking lot of the Motel.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BORDERLINE OF KANSAS AND NEBRASKA - NIGHT</stage_direction>
<scene_description>The Chevy Pickup drives past the roadsign. The small figures of Loy and Sarah inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>The Station Wagon comes to rest before the run down Motel. The "Godspeed" sign in bright, white, electric neon. Somewhere in the distant black horizon, a rooster CROWS.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM #7 - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>Jesse closes the door behind him. Severen drops into a chair, kicking his feet up on a low table. Diamondback rubs at the blackened smoke along her arms. Homer plops down on the bed. Caleb and Mae sink into a couch. Relief and quiet fall over them. The farmboy feels everybody's eyes on him. In a good way. That isn't good at all. Diamondback leans over and claps her hand on his knee.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Welcome.</dialogue>
<scene_description>Mae smiles up at her, proudly. Severen reaches to his cowboy boot and rips off one of his spurs. He looks over to Caleb. A razor blade wink.</scene_description>
<character>SEVEREN</character>
<dialogue>Catch.</dialogue>
<scene_description>He tosses the spur to Caleb. With the warmest grin Severen has ever worn on his broken face. The farmboy closes his palm over the silver spur. Having to grin. Homer bounces off the bed and comes up to Caleb. He reaches out with his hand. Looks Caleb square in the face.</scene_description>
<character>HOMER</character>
<dialogue>Shake.</dialogue>
<scene_description>Caleb takes hold of his hand.</scene_description>
<character>CALEB</character>
<dialogue>Thanks.</dialogue>
<scene_description>Homer smiles up at Caleb with those ageless eyes in his little boy face. Jesse looks down at the farmboy, his silver hair gleaming in the yellow lamplight.</scene_description>
<character>JESSE</character>
<dialogue>Glad to have y' with us, son.</dialogue>
<scene_description>Caleb gazes at him a long moment.</scene_description>
<character>CALEB</character>
<dialogue>Jesse, there's a question I been meaning to ask you.</dialogue>
<character>JESSE</character>
<dialogue>What might that be?</dialogue>
<character>CALEB</character>
<dialogue>How old are ya?</dialogue>
<scene_description>The Silvered One stares off, remembering.</scene_description>
<character>JESSE</character>
<dialogue>Let's put it this way, I fought for the south.</dialogue>
<character>CALEB</character>
<dialogue>South?</dialogue>
<character>JESSE</character>
<dialogue>We lost.</dialogue>
<scene_description>Mae comes to her feet.</scene_description>
<character>MAE</character>
<dialogue>Caleb, let's go take a look at the night.</dialogue>
<scene_description>He follows her out the door. Diamondback watches them leave with a smile on her face. Homer flicks on the television set. A late night religious program flickers across the screen. Severen pulls a deck of cards out of his jacket and begins shuffling them. Jesse lights a fresh cigarette, taking a seat across from Severen. The Savage One starts to deal a hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>The silver spur CLICKS softly as Caleb walks beside Mae along the narrow walkway of the Motel. They veer off the parking lot and head out into the green pasture behind the building.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRASS PASTURE - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>A burst of stars. One falls. Mae takes hold of Caleb's hand.</scene_description>
<character>MAE</character>
<dialogue>Well you're one of us now, Caleb.</dialogue>
<character>CALEB</character>
<dialogue>What does that make me?</dialogue>
<character>MAE</character>
<dialogue>Ain't exactly sure.</dialogue>
<character>CALEB</character>
<dialogue>But it's good, right.</dialogue>
<scene_description>Pause. A half smile.</scene_description>
<character>MAE</character>
<dialogue>Guess so.</dialogue>
<scene_description>He looks at her. They walk on.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM #7 - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>A poker game going strong between Severen, Jesse and Diamondback. Smoke hanging in the air. Homer glances over his shoulder as he opens the front door.</scene_description>
<character>HOMER</character>
<dialogue>I'm going to take the air.</dialogue>
<scene_description>Diamondback nods as Homer closes the door behind him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>Homer whistles happily as he walks the narrow walkway of the Motel. He hears the soft CLICK of a coin being deposited in the soda machine up ahead. He lifts his eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SODA MACHINE - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>Sarah Colton is dressed in her grey flannel pajamas. She gazes at the soda machine, trying to decide which one to have. The cold flourescent light bathes her small, heart shaped face. Her golden hair touseled around her face from sleep. She hits the Orange Crush button. The dull THUD of a can hitting the deck. She lifts it out. Pops it open. Turns her face to the small boy staring at her several feet away. She furrows her brow.</scene_description>
<character>SARAH</character>
<dialogue>It's impolite to stare.</dialogue>
<scene_description>Homer's face cracks open in a wide smile as he takes a step toward her.</scene_description>
<character>HOMER</character>
<dialogue>Howdy.</dialogue>
<scene_description>He begins to tremble as he walks. Sarah POPS the top of the Orange Crush can. Gulps down some of the cool liquid. It spills onto her chin. She swipes at it with the back of her hand. The boy comes to a stop in front of her. She looks at him curiously. The ragged striped t-shirt. Faded blue jeans. High top sneakers. Kind of cute dust smile. He gazes at her, all dewy eyed.</scene_description>
<character>HOMER</character>
<dialogue>My name's Homer. What's yours?</dialogue>
<character>SARAH</character>
<dialogue>Sarah.</dialogue>
<character>HOMER</character>
<dialogue>What are you doin' down here all by yourself?</dialogue>
<character>SARAH</character>
<dialogue>I do what I want to when I want to do it.</dialogue>
<scene_description>She turns and starts for the stairs. His eyes follow her.</scene_description>
<character>HOMER</character>
<dialogue>You want to watch TV?</dialogue>
<scene_description>She stops. Thinks it over.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRASS PASTURE - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>Heat lightning in a sky like some enchanted landscape. Caleb and Mae very small beneath as they walk hand and hand.</scene_description>
<character>CALEB</character>
<dialogue>The day... you miss it?</dialogue>
<character>MAE</character>
<dialogue>I'm beginning to forget what it was like. You.</dialogue>
<character>CALEB</character>
<dialogue>I can see better at night.</dialogue>
<scene_description>They stop. Embrace.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM #7 - GODSPEED MOTEL - NIGHT</stage_direction>
<scene_description>Homer smiles from ear to ear as he enters the room. A blonde haired little girl beside him. Looking like an angel in her healthy, mortal glow.</scene_description>
<character>HOMER</character>
<dialogue>I'd like to introduce y'all to Sarah.</dialogue>
<scene_description>Sarah gazes up curiously into the faces of Jesse, Severen, and Diamondback as they put down their cards.</scene_description>
<character>SARAH</character>
<dialogue>Boy, you people sure stay up late.</dialogue>
<scene_description>Severen grins slyly.</scene_description>
<character>SEVEREN</character>
<dialogue>We keep odd hours.</dialogue>
<scene_description>Homer shows Sarah to a chair by the television. His face beaming with True Love and Devotion. He looks pretty silly. The others roll their eyes. The television is playing the station signoff. The NATIONAL ANTHEM reverberates around the room in a bugle refrain. Sarah has plunked herself down in front of the TV and notices nothing else. She giggles. Homer flashes her a look of pure love. Behind Sarah's back, Severen catches the Little One's eye with a wink. The Savage One slips his hand under his shirt and feigns a pumping heart. Homer blushes. Jesse leans back in his seat, watching the girl, puffing on his cigarette, smiling. Diamondback casts a bemused but worried eye on Homer.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Homer, sweet darlin'... Homer, you look at me when I'm talkin' to you, now.</dialogue>
<character>HOMER</character>
<dialogue>What?</dialogue>
<scene_description>His voice is sharp, almost dangerous. Diamondback's mind is working beneath her good ol' gal manners.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Sarah, you here with your family?</dialogue>
<scene_description>The little girl tears her eyes away from the TV and the last moments of the station signoff.</scene_description>
<character>SARAH</character>
<dialogue>Just my daddy.</dialogue>
<scene_description>Jesse's gaze brushes over her small face.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>What room you stayin' in, honey?</dialogue>
<scene_description>Sarah thinks for a second.</scene_description>
<character>SARAH</character>
<dialogue>Un, number three.</dialogue>
<scene_description>She goes back to the television. Jesse gives a look to Severen. The Savage One rises to his feet, laying his cards face down on the table. And slips out the door. The television screen turns to blank fuzz. Homer spins the knob on the television.</scene_description>
<character>HOMER</character>
<dialogue>There'll be somethin' on another channel.</dialogue>
<scene_description>Only fuzz. Sarah shakes her head, rising to her feet.</scene_description>
<character>SARAH</character>
<dialogue>I better be going' anyhow.</dialogue>
<scene_description>She takes a step toward the door. Homer jumps to his feet.</scene_description>
<character>HOMER</character>
<dialogue>Sarah, wait!</dialogue>
<scene_description>Sarah is at the door when it opens and someone walks in. Almost bumping the little girl in the chest. She looks up. Her eyes widen. Her breath sticks in her throat. Her gaze lifting to her big brother's astonished face. Mae just behind him. Looking past his shoulder to the little girl in front. Caleb sinks to one knee in front of Sarah. Stroking his hands across her face and hair as if to reassure she is right there before him. She stares up in his eyes. Tears. Speechless. The rest of the room stone cold.</scene_description>
<character>CALEB</character>
<dialogue>Sarah.</dialogue>
<scene_description>The little girl's lip quivers.</scene_description>
<character>SARAH</character>
<dialogue>I oughta punch your lights out.</dialogue>
<character>CALEB</character>
<dialogue>Guess you oughta.</dialogue>
<character>SARAH</character>
<dialogue>Oh...</dialogue>
<scene_description>She throws her arms around him, sobbing happily. The farmboy clutches her to his chest with all he's worth. His lips form words. With a smile that passes from the world of the dead to the land of the living. It takes a moment before he acknowledges all the strange looks he is receiving.</scene_description>
<character>CALEB</character>
<dialogue>She's my sister, people.</dialogue>
<scene_description>Activity outside the door.</scene_description>
<character>LOY (V.O.)</character>
<dialogue>So that's where she went to. Got a mind of her own, that little girl of mine. I'll get her out of your hair.</dialogue>
<scene_description>Caleb spins around at the sound of his father's voice. Looking into the face of Loy Colton standing in the doorway, face puffy from sleep. Severen hovering behind the man like the sickle of his namesake. Father and son make some serious eye contact. Words just don't express the feelings.</scene_description>
<character>CALEB</character>
<dialogue>Hello.</dialogue>
<character>LOY</character>
<dialogue>Been looking for you.</dialogue>
<character>CALEB</character>
<dialogue>Tried callin' you.</dialogue>
<character>LOY</character>
<dialogue>We been out a lot. Drivin' in the truck. Tryin' to track you down.</dialogue>
<character>CALEB</character>
<dialogue>Dad.</dialogue>
<character>LOY</character>
<dialogue>Son.</dialogue>
<scene_description>Severen shuts the door. Shaking his head with a savagely sardonic smile.</scene_description>
<character>SEVEREN</character>
<dialogue>Round and round and round she goes, and where she stops, nobody knows...</dialogue>
<scene_description>He throws the latch. Locking the latch. Jesse pulling the window blinds.</scene_description>
<character>SEVEREN</character>
<dialogue>...But it's 'bout time for that 'ol wheel to stop rotatin'.</dialogue>
<scene_description>Loy swiftly moves over to Sarah and retrieves his daughter in his arms.</scene_description>
<character>LOY</character>
<dialogue>Who are these people?</dialogue>
<scene_description>Caleb notices the others assuming attack formation against the walls. He positions himself to Loy and Sarah's maximum advantage between them. Acting as a buffer. He looks his father in the face.</scene_description>
<character>CALEB</character>
<dialogue>I'm with them now.</dialogue>
<scene_description>The farmboy shoots a knifeblade glance to the others standing around with a certain redress in their eyes.</scene_description>
<character>CALEB</character>
<dialogue>Let them go.</dialogue>
<scene_description>He returns his gaze to his father and sister.</scene_description>
<character>CALEB</character>
<dialogue>Go.</dialogue>
<character>LOY</character>
<dialogue>You comin'?</dialogue>
<scene_description>Caleb watches Mae's glance. She wants him. She's in him. He won't be without her. She touches him on the sleeve and that's all she wrote. Sarah watches this other woman closely. Caleb turns to his family. Shakes his had softly. Eyes firm.</scene_description>
<character>CALEB</character>
<dialogue>No. But you're going'.</dialogue>
<scene_description>The farmboy feels tension in the air like a trip wire on a time bomb. He takes his father carefully by the hand. Moving him slowly, step by step toward the door. Severen is standing in front of it with his arms crossed. Caleb looks him in the eye. The Savage One looks him back. The farmboy puts his hand on the doorknob. Turns it.</scene_description>
<character>HOMER</character>
<dialogue>Nooooooooooo!!!!!!!!!!</dialogue>
<scene_description>The Little One jumps off the bed like a trampoline. Snatching Sarah in his arms. Stealing her away. The small girl kicking and screaming. Desperate satisfaction in Homer's face.</scene_description>
<character>HOMER</character>
<dialogue>Mine.</dialogue>
<scene_description>Caleb takes a step toward him. His hands out. Knowing full well the unstable little bag of bones necklocking his tiny sister could snap her spine like a twig. Caleb speaks softly.</scene_description>
<character>CALEB</character>
<dialogue>Gonna have to give her back, now.</dialogue>
<character>HOMER</character>
<dialogue>I'm gonna nip her.</dialogue>
<character>CALEB</character>
<dialogue>Can't do that. Not to her.</dialogue>
<scene_description>Homer begins to nuzzle her neck. The Little One looks up at the farmboy with dead calm in his eyes. A smile widens slowly along his mouth.</scene_description>
<character>HOMER</character>
<dialogue>I turned Mae. She went off an' turned you. Now I'm turnin' your little sister. That makes us even steven.</dialogue>
<scene_description>Caleb's face turns black. His knuckles whiten.</scene_description>
<character>CALEB</character>
<dialogue>Homer, you give her back or I'm going to hurt your body.</dialogue>
<scene_description>Severen subdues Caleb in an armlock. As confining as a steel vest.</scene_description>
<character>SEVEREN</character>
<dialogue>Now you just settle down there, cowboy, 'Member which side of your bread the butter's on.</dialogue>
<character>CALEB</character>
<dialogue>GODDAMMIT ALL OF YOU, THEY'RE MY</dialogue>
<character>FAMILY AND YOU'RE GONNA HAFTA LET 'EM</character>
<dialogue>GO NOW!</dialogue>
<scene_description>Jesse's face has a sad gait to it as he steps forward.</scene_description>
<character>JESSE</character>
<dialogue>Question is whether they'd let us go. They tracked us this far. Now they know our faces. Doesn't look like they'd leave off after following us all the way here.</dialogue>
<scene_description>The Silvered One puts a firm hand on Caleb's sweaty shoulder.</scene_description>
<character>JESSE</character>
<dialogue>I say kill 'em.</dialogue>
<scene_description>Diamondback taps the toe of a white cowboy boot on the floor. Looks straight into Caleb's face.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Quick.</dialogue>
<scene_description>The farmboy's pupils dilate. Sarah starts to scream but Homer puts his hand over her mouth. Loy abruptly reaches into his jacket, pulling out a .38. He backs off to a strategic corner of the room. Aiming the pistol in a two hand grip at the others.</scene_description>
<character>LOY</character>
<dialogue>That'll be just about enough of this shit. Let go of my boy. Let go of my little girl. Now y'all jus' get away from the door.</dialogue>
<scene_description>He COCKS back the HAMMER of the GUN with his thumb.</scene_description>
<character>LOY</character>
<dialogue>...And we'll be on our way.</dialogue>
<scene_description>Caleb speaks through clenched teeth. Severen holding firm.</scene_description>
<character>CALEB</character>
<dialogue>Put that away, Dad. Won't do any good.</dialogue>
<character>JESSE</character>
<dialogue>Listen to your son...</dialogue>
<scene_description>The Silvered One comes forward, his boots squeaking along the carpet. The father trains the handgun square between his shoulder blades. Chuckles.</scene_description>
<character>LOY</character>
<dialogue>Whadya mean it won't do any good? I'd stop where y'are if I was you, Mister.</dialogue>
<character>JESSE</character>
<dialogue>Not likely.</dialogue>
<scene_description>Loy FIRES. Reaming a hole in the middle of Jesse's chest. The Silvered One coughs. Spitting the used bullet into the palm of his hand. Reaching out and putting it in the pocket of Loy's shirt. Patting the pocket for safe keeping. His other hand closing on the normal man's hand on the gun. Jesse squeezes. Loy screams in agony. The bones in his hand beginning to snap against the metal of the gun in the crushing grip of the hand clamped around it. Caleb screams.</scene_description>
<character>CALEB</character>
<dialogue>GODDAMITT, JESSE!</dialogue>
<scene_description>Sarah shrieks. Rage funneling her strength. She whirls around on Homer, drawing her hand back into a fist and connecting with the little boy's jaw. Hard. Reeling Homer. Sarah tears free. Bolts for the door. Grips the knob in both her teensy hands and turns. Flinging the door wide open. Her small figure is backlit in an explosion of sunshine. New morning sun flooding into the room. Rimming Sarah like a halo. The shaft of white light burning hot across the floor. Hitting those inside like an atomic blast. Severen, closet to the door, is blown off his feet. Jesse's grip loosens around Loy's hand, the skin on his grasping hand smoking as he lets out a loud groan. The father spins around in surprise and alarm at the scene around him. Nursing his numb hand. Jesse and Diamondback scramble for cover behind the bed. Homer just standing in the sunlight, tears pouring out of his eyes as his face burns. The Silvered One grabs him and throws him down on the carpet. Caleb covers Mae with his body. Ripping the blankets off the bed. Keeping her shielded. Loy stands, shell-shocked, unable to believe his eyes. Sarah revolves slowly, her eyes gradually widening. The bright day framing her in silhouette. Her shadow rising up the wall of the room. She puts her hand on her mouth.</scene_description>
<character>SARAH</character>
<dialogue>Daddy, did I do that?</dialogue>
<scene_description>Caleb wrenches a blanket off the bed. Covers himself with it. He grabs his father and sister in his arms.</scene_description>
<character>CALEB</character>
<dialogue>C'MON LET'S GET TO THE CAR!!!</dialogue>
<scene_description>He shephards them to the door. Looking over his shoulder just once. Mae ducking behind the bed. Twisting her hear around. Her tear-soaked eyes shooting into Caleb's face. He almost stays. Severen takes a leap for them into the direct sunlight. He reaches out with his long arms. Fingertips tearing the blanket as the flesh burns. The farmboy ducking out the door with his own. A fist of sunlight punching the Savage One in the face. Knocking him to his knees. He slams the door shut. Soothing darkness, sweet relief.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - GODSPEED MOTEL - DAY</stage_direction>
<scene_description>Loy and Sarah hustle Caleb's blanketed body to the Chevy Pickup. Pulling open the darkened rear compartment. The farmboy clambers in amongst all the veterinary equipment.</scene_description>
<character>CALEB</character>
<dialogue>Go, Dad!</dialogue>
<scene_description>Loy and Sarah jump into the Pickup and tear off outa there.</scene_description>
</scene>
<scene>
<stage_direction>INT. REAR COMPARTMENT - CHEVY PICKUP - DAY</stage_direction>
<scene_description>The farmboy stretches himself in the shadows among the medical supplies. A little window to the front seat by his head. He ducks down below it to avoid the shaft of sunlight streaming through. The vehicle bucks like a bronc.</scene_description>
<character>CALEB</character>
<dialogue>Dad?</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB - CHEVY PICKUP - DAY</stage_direction>
<scene_description>Loy's face is white. Foot flat on the pedal.</scene_description>
<character>LOY</character>
<dialogue>What in goddamned hell's goin' on, son?!</dialogue>
<scene_description>Sarah starts to cry.</scene_description>
<character>SARAH</character>
<dialogue>What's the matter with you, Caleb?</dialogue>
<scene_description>Pedal to the metal.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GODSPEED COUNTY LINE - DAY</stage_direction>
<scene_description>The Chevy Pickup RIPROARS in a cloud of dust. Dust settling on the county line of the tiny Nebraska town.</scene_description>
</scene>
<scene>
<stage_direction>INT. REAR COMPARTMENT - CHEVY PICKUP - DAY</stage_direction>
<scene_description>Caleb rests his head against the metal wall below the window slot. Sweating is not the word.</scene_description>
<character>CALEB</character>
<dialogue>Dad... I tried calling you, Dad. You weren't home... Dad... Sarah... You got no idea, either of you. You're not going to believe it. I ain't sure I believe it myself. I ain't the same person I was. I ain't even a person... I'm sick.</dialogue>
<scene_description>Loy looks through the window.</scene_description>
<character>LOY</character>
<dialogue>We'll get you to a hospital right away.</dialogue>
<character>CALEB</character>
<dialogue>You do I'm dead.</dialogue>
<character>LOY</character>
<dialogue>Caleb... Those people back there, they wasn't normal. Normal folks, they don't spit out bullets after you shoot them. Normal folks don't burn up in everyday sunshine... Now tell me what the fuck?</dialogue>
<character>CALEB</character>
<dialogue>I got bit... Now I gotta bite.</dialogue>
<character>LOY</character>
<dialogue>You're going straight to the hospital!</dialogue>
<character>CALEB</character>
<dialogue>You want me killed, Dad?! I ain't goin' no Goddamn hospital.</dialogue>
<character>LOY</character>
<dialogue>Bullshit you ain't!</dialogue>
<character>CALEB</character>
<dialogue>Hospitals fix this?</dialogue>
<scene_description>The farmboy sticks his hand up in front of the window by his father's face. A thin clear shaft of sunlight across the skin. Skin beginning to smoke. Loy recoils in shock. Caleb pulls his hand down and nurses it. They drive on in silence. The farmboy's eyes fall on the rubber tubing, glass beakers, shelves of medicines, instruments, and other medical equipment stored in the compartment. He fiddles with the apparatus. His mind working.</scene_description>
<character>CALEB</character>
<dialogue>Dad, you ever transfuse a person?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCELERATION RAMP ONTO FREEWAY SOUTH - DAY</stage_direction>
<scene_description>The Chevy Pickup SCREECHES its TIRES up the ramp. Heading due south. The sun high in a milk white sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DUSK</stage_direction>
<scene_description>The sun like a red balloon resting on the edge of the sky. Sinking behind the old homestead, cozy and familiar in the lazy farmlands. The Chevy Pickup is a chute of dust funneling up the driveway. Coming to a full-brake stop in front of the farmhouse.</scene_description>
</scene>
<scene>
<stage_direction>INT. VETERINARIAN OPERATING ROOM - COLTON FARM - NIGHT</stage_direction>
<scene_description>The windows are curtained and shuttered. Caleb is stretched out on the operating table, his skin abnormally pale and translucent under the lights. Loy standing by him in his shirtsleeves. Metal stands by the operating table with bottles attached to them. Long, perilous needles on rubber tubes fitted to the bottles. The father lifts a hypodermic syringe and fills it with a heavy tranquilizer. Loy looks real worried as he poises the hypo.</scene_description>
<character>LOY</character>
<dialogue>I don't like doing this. I don't really know what's going on. You might not come out of this.</dialogue>
<character>CALEB</character>
<dialogue>I wouldn't want to stay like this.</dialogue>
<scene_description>Loy takes a deep breath. He uses the hypo. Caleb is knocked out. The father takes a seat pulling a metal stand to his side. Pumps up the veins on his right arm. And inserts the needle. Draining the blood into a bottle. His eyes begin to dim. Just before he loses consciousness he stops. Looking down at the bottle of blood on the floor. Loy lowers his head to his hands. Trying to get the blood back into it. The room beginning to spin. He breathes deep. And gets to work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - NIGHT</stage_direction>
<scene_description>A moon a day shy of being full casts a bright lunar glow over the farmlands. The farmhouse sits. Everything still and quiet. Maybe too quiet.</scene_description>
</scene>
<scene>
<stage_direction>INT. VETERINARIAN OPERATING ROOM - COLTON FARM - NIGHT</stage_direction>
<scene_description>Caleb lies motionless. His right arm injected with a needle and tube which is running his blood out into a bottle on the floor. Bad blood. His left arm also injected with a needle and tube being fed from a bottle of his father's blood hung on a stand. Loy feels for his son's pulse. His own body in a state of complete collapse. There is a dull beating. It is enough to blur Loy's eyes with tears. The bottle drains. He gently removes the needles from his son's arms. He slaps the side of Caleb's face. No reaction. He shakes the boy's shoulders. Nothing. He hangs his head in a moment of exasperation.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - NIGHT</stage_direction>
<scene_description>The moon lowering in the sky. Far away a star twinkles. Maybe a star.</scene_description>
</scene>
<scene>
<stage_direction>INT. VETERINARIAN OPERATING ROOM - COLTON FARM - NIGHT</stage_direction>
<scene_description>Loy is stroking his boy's head with a wet cloth. His own body severely weakened from loss of blood. He slumps in a chair. Trying to fight the urge to sleep. Sheer will keeping him awake. He stares down at his boy. And prays. He tries one last time to wake his son. Lifting him on his chest. Caleb's head lolls to one side. Loy starts to weep. His hands trembling. The kitchen door cracks open. Two small eyes peer up. Loy snaps his eyes to the door. Sarah starts to cry.</scene_description>
<character>SARAH</character>
<dialogue>Daddy...</dialogue>
<scene_description>Loy lets his son back down on the table. A rage reddening his features. He turns his back on the boy. Sarah rushes to his side. Winding two arms around his leg. Sobbing. Loy scoops his daughter up in his arms. Walks toward the back door. And throws is open. Taking a big gulp of the new morning air as a bolt of sunshine falls in a clean stripe across the floor. Hitting Caleb on the face. He moans. Loy and Sarah turn. Their faces widen. The farmboy clutches his face with his hands. The sun hot on his skin. Then something happens. Nothing. His skin isn't burning. There is no smoke. He slowly draws his hands away looking at them unhurt in the light of day. Slowly sitting up. Staring into the daytime sky. Blinking. Hardly believing. He's come home. From the warmth seeping through his haggard features, he's been away a long time. His sister runs to his side. Eyes wandering up to his. His hand strokes her hair. The two of them in the rising flood of sunshine. Tears in his eyes. Loy walks over. Putting his hand on his son's shoulder. Smiling. Spent, wrung-out, but wearing a shiteating grin on his face. He pulls his son to him. They share a hug. Sunlight streaming in as it rises about the horizon out the open door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAY</stage_direction>
<scene_description>Dawn's early light. The ROOSTER'S CROW carries across the lands like a bugle blown. The farm awakening. Skies clearing. The screen door of the house CREAKS open. Caleb walks out into the wide open world. Unsure at first. Squinting into the sunshine. The very real daylight hitting his face. Like he's never seen it before. It's becoming more familiar by the moment. The smell of grass and straw in the air. The bright blue sky. He embraces it all with his eyes. The world that he grew up in returning to give him strength. That strength washing over him. The world so simple and clean. And his, again. He takes off his shirt as if meeting the daylight head on. He winds his arm around his little sister. She regards the unsinged, healing skin on his bare chest and arms. She worriedly runs her small fingers on the barely discernable white marks of the healed shotgun wound scar tissue. The farmboy looks down and sees the apprehension on the girl's face.</scene_description>
<character>CALEB</character>
<dialogue>I'm okay, Sarah. I'll tell you what happened one day. Just promise me you won't ask till then.</dialogue>
<character>SARAH</character>
<dialogue>'Kay.</dialogue>
<character>CALEB</character>
<dialogue>Let's go ride a horse.</dialogue>
<scene_description>He throws her atop his shoulders. She giggles and kicks up her feet. He smiles in the bathing sunshine.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS - DAY</stage_direction>
<scene_description>The sun is low. The horse gnawing at the grass in the wide, open field. Caleb and Sarah lie in one another's arms, fast asleep on the ground. Unaware of the time. The farmboy's eyes drowsily open. Focusing blurrily on the ghost of a moon visible in the blue day sky. Suddenly he sits up with a start. A shiver running through him as he sees the sun is well on its way down. Day has become his friend now. Night worse than his worst enemy. Bringing more than mere darkness with it. Night still a few hours off. But the horizon is darkening. Caleb squints in the distance. There seems to be some sort of shadow on the horizonline. The farmboy blinks and it is gone. He picks up his little sister. Frightened, he wakes her up and places her on the back of the horse.</scene_description>
<character>SARAH</character>
<dialogue>What's wrong, Caleb?</dialogue>
<character>CALEB</character>
<dialogue>It's getting dark, we gotta get home.</dialogue>
<character>SARAH</character>
<dialogue>Why?</dialogue>
<character>CALEB</character>
<dialogue>We just do.</dialogue>
<scene_description>Caleb quickly heaves onto the horse. Digging his heels into its flanks. He and Sarah riding like wind toward the farm way, way, away. The roof of the world losing its light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DUSK</stage_direction>
<scene_description>Dusk drops like stone. The two stick figures on horseback gallop into the pen. They dismount and get indoors fast as their feet will carry them.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - FARMHOUSE - DUSK</stage_direction>
<scene_description>Loy is standing by the stove. Dinner cooking. The smells seeming to rejuvinate him, although his appearance remains weakened and worn down. The screen door SLAMS. Caleb and Sarah enter the room. Loy smiles at the boy.</scene_description>
<character>LOY</character>
<dialogue>Why don't you set the table, Caleb?</dialogue>
<scene_description>Caleb smiles at the reassuring old ritual. He opens the cupboard. His eyes slip to the window as he takes the dishes down. The light of day dying fast. Loy catches his son's gaze. Sees the apprehension. Caleb is still. Day blackening.</scene_description>
<character>LOY</character>
<dialogue>Caleb?</dialogue>
<scene_description>The farmboy shifts his eyes to his father. Erasing the memory. Thought being blocked out.</scene_description>
<character>CALEB</character>
<dialogue>Cooling off some, huh? Almost feel the fall comin' on.</dialogue>
<scene_description>A tension moves between father and son.</scene_description>
<character>LOY</character>
<dialogue>Days are getting shorter.</dialogue>
<scene_description>Caleb looks his father in the face.</scene_description>
<character>CALEB</character>
<dialogue>Nights are getting longer...</dialogue>
<scene_description>He looks past Loy back to the window and the coming darkness. A shiver runs through him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - NIGHT</stage_direction>
<scene_description>The farm sits quietly on the lone flat land. The last light of day winks on the horizon. Then is gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - COLTON FARM - NIGHT</stage_direction>
<scene_description>They all eat in silence. An exchange of looks. Caleb eating very slowly. Sarah draining a glass of milk with a straw. Then blowing bubbles. Loy and Caleb look over. She smiles up at them mischievously. A breeze blows through the kitchen window. The curtains flutter. Sarah yawns.</scene_description>
<character>SARAH</character>
<dialogue>I'm tired.</dialogue>
<scene_description>Her dinner almost completely devoured. Loy looks over at his daughter with tired eyes.</scene_description>
<character>LOY</character>
<dialogue>Put your dishes in the sink. I'll be up to read to you in a minute.</dialogue>
<scene_description>Sarah gathers up her plate in a small fist.</scene_description>
<character>SARAH</character>
<dialogue>I want Caleb to read to me.</dialogue>
<character>CALEB</character>
<dialogue>I'll be up in a minute.</dialogue>
<scene_description>The little girl's face brightens. She dumps her dish in the sink with a loud CLATTER.</scene_description>
<character>LOY</character>
<dialogue>Don't forget to brush your teeth.</dialogue>
<scene_description>Sarah groans audibly, taking the stairs two at a time. A stronger wind blows through the window. Caleb's eyes skate to the open windowframe. he rises to his feet. Crosses to the window and reaches out to close it. Something catches his ear. A faint SQUEAKING SOUND. The swing on the porch. He turns an eye to his father. His father notices the anxiety on his son's face. The farmboy tries to hide it.</scene_description>
<character>CALEB</character>
<dialogue>Oughta oil that swing.</dialogue>
<character>LOY</character>
<dialogue>I'll wait.</dialogue>
<character>CALEB</character>
<dialogue>Could use the air.</dialogue>
<scene_description>Loy nods. Shrugs. Drains his glass of milk. As Caleb walks out of the room.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PORCH - COLTON FARM - NIGHT</stage_direction>
<scene_description>Caleb cracks open the front door. A slash of yellow light pours onto the wooden boards of the porch. He swings open the screen door. The swing rocking back and forth on the rafters. The girl sitting on it. Waiting for him. Mae's eyes like a clear, sunny summer sky. The farmboy stands there. Listening to his heart beat. His face opens in a smile. Her voice like a bell.</scene_description>
<character>MAE</character>
<dialogue>Hi, Caleb.</dialogue>
<scene_description>Caleb's soft brown eyes float over the girl's face. She rises to her feet. The swing becomes silent. A cool breeze blows through the porch. Mae starts to walk to Caleb. The farmboy stiffens. His blood starts to pump in his veins. Hot. He quivers at the sight of her. She advances. Caleb takes a step back. Mae stops.</scene_description>
<character>MAE</character>
<dialogue>Caleb? What's wrong?</dialogue>
<scene_description>He can't take his eyes off her. Something shatters across the farmboy's face. His eyes becoming wet. He grits his teeth. Coming forward like a rush of air. Gathering the girl tight in his arms. She winds her hands around his neck. They hold onto one another as if for life's breath. Reunited. They stare into each other's eyes. Her hand touches his. She pulls her arm back like she was stung. Wrestling away from him. Her eyes stabbing into his face.</scene_description>
<character>MAE</character>
<dialogue>Your skin, it's warm!</dialogue>
<scene_description>She glances down at her hands that just withdrew from the touch. Caleb swallows. Takes a step toward the girl. It's her turn to back. Down the steps of the porch. Onto the dirt driveway. Her eyes blank, fixed on him. Caleb remains on the edge of the porch. Night long and black all around them.</scene_description>
<character>CALEB</character>
<dialogue>I belong here... I miss you...</dialogue>
<scene_description>Mae's eyes are ice.</scene_description>
<character>MAE</character>
<dialogue>What's it going to be, Caleb?</dialogue>
<scene_description>Caleb starts to speak. Then stops. The wind picks up force. Mae takes one last look at him. She spins on her heels. And moves off into the night. A ferocity carrying her limbs out of sight. Caleb lifts his head to the sky. Pinching his eyes closed. Opening his mouth. And screaming her name.</scene_description>
<character>CALEB</character>
<dialogue>MAE!!!</dialogue>
<scene_description>To deaf ears. Eyes straining into the blackness. The girl is long gone. On the empty fields, only the CHANTING WHIRR of insects. Caleb turns back to the house and walks with heavy steps. He rips open the screen door. And goes inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - FARMHOUSE - NIGHT</stage_direction>
<scene_description>Loy is nursing a cup of coffee on the couch and reading the paper. A radio plays softly on the counter. He lifts his head to his son with a gentle smile. Sees the anguish in Caleb's eyes.</scene_description>
<character>LOY</character>
<dialogue>Caleb?</dialogue>
<scene_description>Caleb crosses to him and puts his hand affectionately on his old man's tired shoulder. Torn in two but keeping it inside.</scene_description>
<character>CALEB</character>
<dialogue>How you feelin', Dad?</dialogue>
<character>LOY</character>
<dialogue>Nothin' a day or two's takin' it easy won't remedy. How you doin'?</dialogue>
<character>CALEB</character>
<dialogue>I'm going to bed.</dialogue>
<scene_description>Loy starts to ask. Then lets it go. Caleb heads for the stairs.</scene_description>
<character>LOY</character>
<dialogue>Get a good night's sleep, son. You could use it.</dialogue>
<scene_description>The farmboy stops at the stairs. Looks over his shoulder with a lengthening smile.</scene_description>
<character>CALEB</character>
<dialogue>It's good to be home.</dialogue>
<scene_description>The father smiles firm.</scene_description>
<character>LOY</character>
<dialogue>Good to have you home.</dialogue>
<scene_description>Caleb goes up the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - FARMHOUSE - NIGHT</stage_direction>
<scene_description>Caleb pauses in front of Sarah's door and gives a small knock.</scene_description>
<character>CALEB</character>
<dialogue>Sarah, you ready for bed?</dialogue>
<scene_description>No answer.</scene_description>
<character>CALEB</character>
<dialogue>Sarah?</dialogue>
<scene_description>Silence. Caleb tightens. Slamming his palm flat against the door and shoving it open. A cool breeze hits him in the face like a fist. The window wide open. Curtains blowing wildly. In the empty room.</scene_description>
<character>CALEB</character>
<dialogue>SARAH!</dialogue>
<scene_description>Caleb's eyes race to the window and beyond. The town of Fix, Oklahoma glittering in the distance. And then one by one the lights of the town begin to go off A last one winks. And goes out. The wind comes in through the open window. Something mythic on the wings of the wind. Caleb Colton stands by the window, staring out. His hair and clothes blown about. His eyes riveted on the black shadow of the town of Fix against the night skies. Those who have taken his sister are there. He knows he must face them. His eyes hard. His face firming in resolve.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - COLTON FARM - NIGHT</stage_direction>
<scene_description>Caleb runs from the Ford Pickup to the Chevy. All tires have been slashed. The farmboy punches the side of the vehicle. Taking off for the animal pens as fast as his feet will carry him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HORSE PEN - COLTON FARM - NIGHT</stage_direction>
<scene_description>Caleb flings the saddle atop Diesel. Quickly buckling up the cinch. Putting the bridle over the horse's head. Grabbing a fistful of reins and hurling himself onto the animal's back. As if sensing the urgency, Diesel takes off like a shot into the night.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - FARMHOUSE - NIGHT</stage_direction>
<scene_description>Loy is sound asleep on the couch. Out the window, the black horse and its rider disappear into the night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Caleb gallops on the soft shoulder running beside the two-lane blacktop. The darkened town of Fix lying in wait in the distance. Diesel's hooves pound the dirt. A gigantic full moon spotlights the town of Fix. In a dead black swirl of sky. The stars have been blown out. The luminescence glints off Caleb's iron eyes as he THUNDERS down the road on the back of his steed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIX - NIGHT</stage_direction>
<scene_description>A lone figure of the boy on horseback slows to a trot. Going past the sign of the town line. Caleb gives a flick on the reins. The horse walks down the street. Past the closed down burger joint. Diesel's shadow passes across the silent and still Tasty Freeze. Trotting on. Caleb alert and aware, riding loose limbed, coiled for action. Eyes moving left and right. Seeing nothing. The hooves on the asphalt. The animal snorting. Silence so strong you could read by it. The whole little town deathly deserted. Like the boy is the last person in the world. Gathering the reins as he passes the Mini-Market and the Sheriff's station. All closed. Caleb thinks he hears something. The horse shies. A blur of action. The animal rears. Severen Van Sickle connects a steamshovel roundhouse punch to the side of the animal's head. The horse is knocked cold. It collapses in a heap. Hurling the farmboy head over heels onto the hard blacktop. The Savage One hikes across the asphalt. A single SPUR JINGLING. Wearing a big old grin. Caleb is now human and the fall hurt. It takes him a while to get to his hands and knees. When he looks up, there's Severen standing over him. Holding out his hand real friendly like.</scene_description>
<character>SEVEREN</character>
<dialogue>Your horse fell down.</dialogue>
<character>CALEB</character>
<dialogue>Where's my little sister, Severen?</dialogue>
<character>SEVEREN</character>
<dialogue>Lemme give you a hand, ol' buddy.</dialogue>
<scene_description>Severen grabs Caleb's hand and gives him a pull. Full strength. Hurling him over his shoulder twenty feet through the air. Caleb comes down with a loud noise on the pavement. His single SPUR grinds against the tarmac in a shower of sparks. The wind really knocked out of him. Severen smiles. Spitting on his fingers. Pointing one of them.</scene_description>
<character>SEVEREN</character>
<dialogue>You got one of two choices, you come back with us or you don't come back.</dialogue>
<scene_description>Caleb sees the rangy, sinewy cowboy coming at him. A laconic stride down the deserted strip of road. His SPUR RINGING through the shut down town. The farmboy hears an ENGINE THUNDER in the other direction in the distance. Big, big headlights. A KENWORTH EIGHTEEN WHEELER tractor trailer rig is coming down Main Street on its way to the highway. Caleb jumps to his feet and tears off for the vehicle. Standing directly in its onrushing path. It HONKS its HORN. Caleb flags his arms. The gigantic truck BRAKES to a halt in a HISS of AIR and GRINDING GEARS. The farmboy clambers up on the passenger side.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - KENWORTH EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>Caleb throws open the door and climbs anxiously in. He is sitting beside a big, built for diesel REDNECK TRUCKER. Giving the boy one heck of a serious look.</scene_description>
<character>REDNECK TRUCKER</character>
<dialogue>Git the fuck outa my truck.</dialogue>
<character>CALEB</character>
<dialogue>Get going before we get killed! Believe me!</dialogue>
<character>REDNECK TRUCKER</character>
<dialogue>Gonna give you to the count of five. One... Two... Four...</dialogue>
<character>CALEB</character>
<dialogue>Sorry 'bout this.</dialogue>
<scene_description>The farmboy hits the redneck trucker in the face. Knocking him cold. He throws open the driver's door and pushes him out of the cab. Edging over behind the wheel. Wide eyed at the mind-boggling array of gears and controls.</scene_description>
<character>CALEB</character>
<dialogue>I'm not going to be able to drive this truck...</dialogue>
<scene_description>Caleb looks out the windshield. Severen is approaching the front end of the truck. Bright as a beacon in the headlight beams. His expression calm and incredibly cold. Like if he gets his hands on the truck he'll turn it upside down. Caleb does a fast study of the truck's control panel.</scene_description>
<character>CALEB</character>
<dialogue>I'm going to be able to drive this truck.</dialogue>
<scene_description>He puts one hand on the steering wheel. Throws the shift. He steps on the gas. The ENGINE SURGES. The truck lurches forward. Lunging like a fifteen foot high, eighteen-wheeler behemoth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENWORTH EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>Severen tries to duck out of the way. The titanic front grill and bumper bash into him. Knocking him off balance. Twenty tons of truck draggin him under the wheels.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB - KENWORTH EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>Caleb grits his teeth. Taking his foot off the gas. Scared spitless behind the gigantic machine he is trying to restrain like breaking a wild mustang. It tools treacherously and powerfully down the darkened road through town. His eyes level through the windshield at the hood of the truck. The ENGINE RAGING in the night. Severen's head abruptly sticks up over the hood. Half of his face raked with tire tread marks. One of his steel sinewed hands comes smashing onto the hood with such force his fingers put holes in it. Caleb gasps. Trying to maintain his control on the steering wheel. Severen singlehandedly rips the hood off. Exposing the titanic 12 cylinder motor. The Savage One begins to shear off pieces of the engine. Showers of sparks. Spewing gas. Electrical shorts. Severen puts his fist through the motorworks. Ripping out a handful of gears and cylinders amid geysers of oil spraying the windshield. The ENGINE HOWLS and SHRIEKS. The Eighteen Wheeler is giving up the ghost. Caleb sees the truck is about to stall. Severen is halfway onto the hood and is attempting to bust his fist through the windshield. The farmboy knows he is about out of time. His hand goes to the twin brakes for the cab and trailer. His eyes harden. His other hand opens the driver's door.</scene_description>
<character>CALEB</character>
<dialogue>...Jackknife.</dialogue>
<scene_description>Colton throws the brake for the cab. SCREAM of STEEL on STEEL. The cab jarring. Caleb leaps out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENWORTH EIGHTEEN WHEELER - NIGHT</stage_direction>
<scene_description>The farmboy goes jumping out onto the roadbed. Rolling head over heels a few times. Then he looks up. And sees it. Severen clinging to the cab as it skids to a complete stop. The trailer it is carrying continues to travel at 40 MPH. Colliding with the cab. Crumpling it like an accordian. The air TORN with the EAR-SPLITTING COLLISION. The truck crushes like a tin can. EXPLODES into a million pieces. Spreading the remains of Severen Van Sickle across half the state. Caleb rises to his feet. The rowel of the Savage One's silver spur flips in the air end over end, dropping down on the tarmac, spinning on the ground like a nickel. Caleb flips it like a coin and sticks it in his back pocket. His awed face framed with flames.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>The fires burn down. Smoke fanned and thinned by passing WINDS. Caleb raises his head. Looks out beyond the smouldering wreckage. Through the smoke. Down the darkened street, silhouetted by a pair of headlights of an idling station wagon, stand Jesse, Diamondback, and Mae. They are standing side by side and facing the straw haired farmboy. Caleb takes a deep breath, closing his fists at his sides. Jesse's eyes blacken as they land on Caleb's face. A rage passes behind his eyes.</scene_description>
<character>JESSE</character>
<dialogue>You fucked us up again.</dialogue>
<scene_description>Caleb's voice vibrates off the buildings.</scene_description>
<character>CALEB</character>
<dialogue>WHERE'S MY SISTER, JESS?!</dialogue>
<scene_description>Jesse's lips curl in a sneer.</scene_description>
<character>JESSE</character>
<dialogue>I'm gonna hafta kill ya a few times.</dialogue>
<scene_description>Caleb stares at the row of faces. Moving from Jesse to Diamondback.</scene_description>
<character>DIAMONDBACK</character>
<dialogue>Your sister for Severen.</dialogue>
<character>CALEB</character>
<dialogue>MY SISTER'S GOT NOTHING TO DO WITH</dialogue>
<character>THIS!! IT'S BETWEEN US!! LET HER</character>
<dialogue>GO!!</dialogue>
<scene_description>He turns a desperate eye on Mae.</scene_description>
<character>CALEB</character>
<dialogue>MAE??!!</dialogue>
<scene_description>Mae whirls on Jesse with a fierceness in her eyes.</scene_description>
<character>MAE</character>
<dialogue>Jesse, let him come back!</dialogue>
<scene_description>The silvered hair ripples with a slight toss of his head.</scene_description>
<character>JESSE</character>
<dialogue>Too late for that, Mae.</dialogue>
<character>CALEB</character>
<dialogue>WHERE'S MY SISTER???!!!</dialogue>
<scene_description>Suddenly the hi-beams pop on on the Station Wagon. Caleb's eyes dart to the vehicle.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - NIGHT</stage_direction>
<scene_description>Sarah takes her fingers away from the hi-beam switch. Turns her tear soaked face to Homer. Who is crawling over the front seat. Trying his level best to be charming.</scene_description>
<character>HOMER</character>
<dialogue>Sarah, everything's gonna be okay. Don't be scared.</dialogue>
<scene_description>The Little One pins the little girl down in the seat. She makes like she likes him for a minute. Curling her hand around a large flashlight on the dashboard. Homer smiles lovingly as he inches forward. he wraps his hand over Sarah's wrist. And bears down. Happily. She gulps. Homer's face drifts toward hers. His lips curling back in a smile. His teeth near her neck. Sarah quakes. Tears streaming down her cheeks. Fear paralyzing her. The little boy starts to fasten on her neck. His eyes close.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Caleb's face turns leathery. He moves on Jesse.</scene_description>
<character>CALEB</character>
<dialogue>I'm takin' her back.</dialogue>
<character>JESSE</character>
<dialogue>Sure you will.</dialogue>
<scene_description>The Silvered One smiles. Watching the stark form of Diamondback appear behind Caleb's back. Quietly dropping the pearl handled blade out of her cuff into her hand. Raiseing it to throw. Jesse silences Mae with a hand over her face. Caleb keeps coming on.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - NIGHT</stage_direction>
<scene_description>Sarah clubs Homer over the head with the flashlight. A startled Homer breaks his grip for an instant. In that instant, Sarah rips open the Station Wagon door and tears outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Caleb almost has his hands on Jesse. Diamondback raises the blade behind her head. Mae is too scared to speak. The car door bursts open and the little girl runs wildly down the street. The farmboy spots her. She spots Diamondback in the nick of time.</scene_description>
<character>SARAH</character>
<dialogue>Caleb!!! Look out!!!</dialogue>
<scene_description>Caleb ducks. Diamondback throws the knife. It plunges through the air. Imbedding in Jesse's face. The Pale One gasps. The Silvered One snarls in anger, pulling out the blade. Caleb dives through the burning wreckage of the truck to sweep his baby sister up in his arms and carry her off into the night. Jesse takes one handed aim on their fleeing figures with the Colt Peacemaker. Finger closing on the trigger. Mae knocks into him as the gun GOES OFF. Bullet hitting air. The Silvered One whirls on the girl in a red-faced rage. She averts her eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLATLANDS - NIGHT</stage_direction>
<scene_description>Caleb takes off into the flatlands that surround the town. Sarah in his arms with her own arms wrapped around his neck. Burying her scared face in his chest. Full moon high and mighty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Jesse squints into the fields and sees them hurrying off. He bounds to the Station Wagon and shoves Diamondback in alongside Homer. Mae stands alone on the road. Her face a maze of emotions. The Silvered One slides behind the wheel and REVS on the ENGINE. HONKS the HORN.</scene_description>
<character>JESSE</character>
<dialogue>MAE!!!</dialogue>
<scene_description>She hesitates. Her eyes spill with tears as she ducks into the car. It takes off in a SCREECH of TIRES. Rocketing off the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLATLANDS - NIGHT</stage_direction>
<scene_description>The distant frantic YIPPING of coyotes. Tall grasses bending in the wind. Dust trailing up beneath Caleb's footsteps as he plunders forward. A flat black twist of sky that shows signs of paling at the edges. Sarah is tight in his arms. His breathing in loud gasps. He gulps air. The terrain dipping and rising. Holes and ruts. He trips. Falling face first in the dirt. Sarah goes sprawling to the ground in a heap.</scene_description>
<character>CALEB</character>
<dialogue>Keep running!</dialogue>
<scene_description>Sarah races off. Caleb scrambles to his feet. A shattering pain in his leg. He clutches his ankle. Watching the little girl go. Moonlight glistening on her shiny blonde hair as it flows in the air with her flight. The farmboy staggers after her. Losing sight of her in the darkness of night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STATION WAGON - FLATLANDS - NIGHT</stage_direction>
<scene_description>The vehicle pitches and leaps over the rough land. Two white cones of light floating over the ground. Dust rising in the headlights. Then the figure of a small girl. Running. Smack into the light. Suddenly stopping. Pinned in the lights.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLATLANDS - NIGHT</stage_direction>
<scene_description>Caleb, running with a limp, scans the blackened land. He forages ahead. Listening to a lone shrill cry beneath a slowly brightening sky.</scene_description>
<character>SARAH (O.S.)</character>
<dialogue>CALEB!</dialogue>
<scene_description>Caleb swings his head around. Sees a pair of red taillights streaking toward the highway in the distance. His face explodes in a bloodthirsty scream.</scene_description>
<character>CALEB</character>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - PRE-DAWN</stage_direction>
<scene_description>Jesse's hands tighten around the wheel as he accelerates toward the road. Diamondback glances toward the back seat. Homer hugs a struggling breathless Sarah to his chest. Face beaming. Mae turns her eys to the back window. Jesse's gaze flits to the sky.</scene_description>
<character>JESSE</character>
<dialogue>We'll take care of him later. No time now.</dialogue>
<scene_description>He steers the vehicle up over the last of the fields and out onto the tarmac. The Wagon picks up speed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - PRE-DAWN</stage_direction>
<scene_description>Caleb lurches onto the highway. In a dead run. Mouth sucking air. Feet pounding the pavement. The taillights moving steadily down the blacktop. He looks up at the sky. Growing paler by the minute. He shakes his fists at the coming day as if beckoning it forth.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - PRE-DAWN</stage_direction>
<scene_description>Mae's eyes still holding out the back window. She sees the speck that is Caleb running after them. Rapidly receding. An agony races behind her gaze. She glances over at Sarah. Homer holding a hand over the little girl's mouth and pushing the hair from the sun warmed skin of her neck. Mae turns back to the window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - PRE-DAWN</stage_direction>
<scene_description>Streaks of light bleaching the sky. Caleb scrambling along the blacktop and broken white lines. Running full steam ahead after the speeding Station Wagon. Lungs almost bursting.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - PRE-DAWN</stage_direction>
<scene_description>Jesse looks worried as he eyes the sky. Mae returns her sight to Caleb, a mere spot on the road. Something in her erupts. She leaps out of her seat. Ripping Sarah from Homer's grasp. Scrambling over the backseat. Smashing her arm into the back window. Glass spiderwebbing. She dives out of the moving vehicle with the little girl in her arms.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - DAWN</stage_direction>
<scene_description>Sunrise. Mae slams onto the pavement. Shielding Sarah from the impact with her body. The Station Wagon brakes in an ear-splitting SCREECH of TIRES. Mae and Sarah claw to their feet and start to run to Caleb. Sunlight beginning to singe Mae's skin. Caleb's face widens in an unbelieving stare. He takes off for them as fast as his feet will carry him. Lungs bleeding. Mae and Sarah putting some yardage between them and the Wagon. Caleb getting close. From out of the rear window of the Station Wagon, Homer appears. Leaping onto the pavement and breaking into a dead run. Skin beginning to smoke. Mae's skin starting to smoke. Her eyes starting to close. Her feet staggering along the asphalt. The sun cresting the rim of the world. A wall of light like a blazing wave. Her eyes roll up in their sockets. Sarah scampers with all her strength toward her approaching brother. Homer overtakes Mae, screaming in anguish. His hands stretch out to snatch Sarah. Shimmering rays of sun alighting on his body. Igniting like the head of a match. The sparks licking into the air. Then dissolving into pure ash. Inches away from the little girl. As she throws her arms around her brother. And he sweeps her up in his own. Mae is smoking in the sun. Her legs give out from under her. She collapses on the pavement. Caleb throws off his jacket and dives on top of her with it. Using his coat and his body to completely shield her from the sun. Stroking her hair with his hand. Shushing her.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON - DAWN</stage_direction>
<scene_description>Light streaking the windshield. Diamondback covering her face with a blanket. Jesse letting his skin blacken as his face grows steadily grim. He cranks the wheel savagely, turning the vehicle around. Slamming his foot down on the accelerator.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - DAWN</stage_direction>
<scene_description>Sarah buries her eyes in her hands at the sight of Homer. Caleb adjusts himself so that he covers every bit of Mae's body. Tucking his jacket around her face and kissing her hair. An ENGINE NOISE makes him lift his head. He looks into the nose of the Station Wagon bearing down on him. He sucks wind. Shouts to his sister.</scene_description>
<character>CALEB</character>
<dialogue>Sarah, get out of the way!</dialogue>
<scene_description>She backs onto the road shoulder, panic in her eyes. Caleb stares into the windshield of the Wagon. And locks eyes with the silver haired driver. A venom passes between that look. The sun rising in the sky. Heating up the blacktop. Caleb folds his arms around the still body of Mae on the ground. A single tear drops to the dust. The light grows bright. Day has arrived. Caleb stares steel into the Silvered One's eyes through the sunshiney windshield. The Wagon nears. Sarah screams.</scene_description>
<character>CALEB</character>
<dialogue>Roast...!</dialogue>
<scene_description>The daylight, like a nuclear afterburn, ripping through the transparent windshield. Hitting Jesse square in the chest. A fire begins to glow in the driver's seat. A fire that was Jesse Hooker. The Station Wagon blows to smithereens. A silence falls. The lone road stretching for miles and miles. Sunlight rising up over the land. A shaken farmboy huddles on top of the young girl in the middle of the road. A little girl comes over and cries into her big brother's arms. A small fire burns beside a larger fire. Smoke curling up. A gentle breeze blowing down. THE SCREEN SLOWLY FADES TO COMPLETE BLACKNESS. NOTHING BUT DARK.</scene_description>
</scene>
<scene>
<stage_direction>INT. VETERINARIAN OPERATING ROOM - COLTON FARM - DAY</stage_direction>
<scene_description>Blinding eruption of blazing daylight. A pair of hands have thrown open the shutters. The sun so high in the sky splashing the room with light. Caleb stands aside, anxiously watching someone on the table. Mae is spread out. The blood transfusion apparatus rising above her. A bandage on her arm. The weakened, wearied farmboy fingers a bandage on his own arm. Sarah and Loy stand by, waiting. Caleb walks over to the girl and lightly shakes her. After a moment her eyes open. She sees the sun staring her in the face. She cries out. Mae grabs onto Caleb's shirt and clings to him desperately. Then she realizes. She isn't burning. Her eyes jump to Caleb's. The farmboy gives his sister and his father a smile. He hugs his girl to him. Her breathless whisper in his ear.</scene_description>
<character>MAE</character>
<dialogue>What's happening?</dialogue>
<character>CALEB</character>
<dialogue>I'll show you.</dialogue>
<scene_description>He takes her by the hand. Mae blinks with the attitude of a newborn infant. Not believing she is still alive in the face of the sun. Getting off the table, she walks with Caleb to the window and stands. Gazing out in wonderment at the sprawling fields and sunny flatlands. The bruises and welts on her face are beginning to heal. There is a tear in her eye as she looks over to Caleb.</scene_description>
<character>CALEB</character>
<dialogue>C'mon outside.</dialogue>
<scene_description>She goes with him out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLTON FARM - DAY</stage_direction>
<scene_description>A wall of sunlight on the pastoral fields at high noon. The animals in the pens. Dogs scampering about. Caleb walks through the fields with Mae on his arm. She just starts giggling. Looking around her. Smelling the fresh air. Seeing all the daytime farm sights. Caleb puts his arm around her. He's been there.</scene_description>
<character>CALEB</character>
<dialogue>Kinda nice, huh?</dialogue>
<scene_description>They lean back against a fence. Their eyes meet. And their lips. A loving embrace. Long and warm. The farmhouse small behind them. The front door opening. Somebody small, smiling out. Sarah taking off in a dead run for her brother. Beneath the bright sun in a talcum blue sky. She yelps. Jumps back inside. Recoiling into the cooling darkness of the farmhouse. Looking at the wisp of smoke rising from the skin of her arm. FADE OUT.</scene_description>
</scene>
</script> | One night, Caleb Colton, a young man in a small town, meets an attractive young drifter named Mae. Just before sunrise, she bites him on the neck and runs off. The rising sun causes Caleb's flesh to smoke and burn. Mae arrives with a group of roaming vampires in an RV and takes him away. The most psychotic of the vampires, Severen, wants to kill Caleb but Mae reveals that she has already turned him. Their charismatic leader, Jesse Hooker, reluctantly agrees to allow Caleb to remain with them for a week to see if he can learn to hunt and gain the group's trust. Caleb is unwilling to kill to feed, which alienates him from the others. To protect him, Mae kills for him and then has him drink from her wrist. Jesse's group enters a bar and kills the occupants. They set the bar on fire and flee the scene. All except Mae want to kill Caleb after he endangers them by letting the only living occupant escape, but after Caleb endangers himself to help them escape their motel room during a daylight police raid, Jesse and the others are grateful and temporarily mollified. A camaraderie commences, with Caleb asking Jesse how old he is and Jesse responding that he "fought for the South" (during the American Civil War), making him about 150 years old (Severen had earlier suggested he and Jesse started the Great Chicago Fire of 1871). Meanwhile, Caleb's father has been searching for Jesse's group. A child vampire in the group, Homer, meets Caleb's sister, Sarah, and wants to turn her into his companion, but Caleb objects. While the group argues, Caleb's father arrives and holds them at gunpoint, demanding that Sarah be released. Jesse taunts him into shooting him, then regurgitates the bullet before wrestling the gun away. In the confusion, Sarah opens a door, letting in the sunlight and forcing the vampires back. Burning, Caleb escapes with his family. Caleb suggests they try giving him a blood transfusion. The transfusion unexpectedly reverses Caleb's transformation. That night, the vampires search for Caleb and Sarah. Mae distracts Caleb by trying to persuade him to return to her while the others kidnap his sister. Caleb discovers the kidnapping and his tires slashed but gives chase on horseback. When the horse shies and throws him, he is confronted by Severen. Caleb commandeers a tractor-trailer and runs Severen over. The injured vampire suddenly appears on the hood of the truck and manages to rip apart the wiring in the engine. Caleb jackknifes the vehicle and jumps out as the truck explodes, killing Severen. Seeking revenge, Jesse and his girlfriend, Diamondback, pursue him but are forced to escape in their car as dawn breaks. Attempting to save Sarah, Mae breaks out of the back of the car with her. Mae's flesh begins to smoke as she is burned by the sun but she carries Sarah into Caleb's arms, taking refuge under his jacket. Homer attempts to follow, but as he runs he dies from exposure to the sun. Their sunproofing ruined, Jesse and Diamondback also begin to burn. They attempt to run Caleb and Sarah over but fail, dying as the car blows up. Mae awakens later, her burns now healed. She too has been given a transfusion and is cured. She and Caleb comfort each other in a reassuring hug as the film ends. |
Blood Simple_1984 | tt0086979 | <script>
<scene>
<stage_direction>LANDSCAPES</stage_direction>
<scene_description>An opening voice - over plays against dissolving Texas landscapes - broad , bare , and lifeless .</scene_description>
<character>VOICE-OVER</character>
<dialogue>The world is full of complainers. But the fact is, nothing comes with a guarantee. I do n't care if you're the Pope of Rome, President of the United States, or even Man of the Year - something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help - watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else - that's the theory, anyway. But what I know about is Texas.</dialogue>
<scene_description>CUT TO ROAD NIGHT We are rushing down a rain - swept country road , listening to the rhythmic swish of tires on wet asphalt .</scene_description>
<character>VOICE-OVER</character>
<dialogue>And down here. you're on your own.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR NIGHT</stage_direction>
<scene_description>We are looking at the backs of two people in the front seat - a man , driving , and a woman next to him . Their conversation will be punctuated by the occasional glare of oncoming headlights and the roar of the car rushing by . The windshield wipers wave a soporific beat . The conversation is halting , awkward .</scene_description>
<character>WOMAN</character>
<dialogue>He gave me a little pearl - handled.38 for out first anniversary.</dialogue>
<character>MAN</character>
<dialogue>Uh - huh.</dialogue>
<character>WOMAN</character>
<dialogue>Figured I'd better leave before I used it on him. I do n't know how you can stand him.</dialogue>
<character>MAN</character>
<dialogue>Well, I'm only an employee, I ai n't married to him.</dialogue>
<character>WOMAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>Pause , as an oncoming car passes . Finally :</scene_description>
<character>WOMAN</character>
<dialogue>I do n't know. Sometimes I think there's something wrong with him. Like maybe he's sick? Mentally? Or is it maybe me, do you think?</dialogue>
<character>MAN</character>
<dialogue>Listen, I ai n't a marriage counselor. I do n't know what goes on, I do n't wan na know. But I like you. I always liked you.</dialogue>
<scene_description>Another car passes .</scene_description>
<character>MAN</character>
<dialogue>What're you gon na do in Houston?</dialogue>
<character>WOMAN</character>
<dialogue>I'll figure something out. How come you offered to drive me in this mess?</dialogue>
<character>MAN</character>
<dialogue>I told you. I like you.</dialogue>
<character>WOMAN</character>
<dialogue>See, I never knew that.</dialogue>
<character>MAN</character>
<dialogue>Well now you do.</dialogue>
<character>WOMAN</character>
<dialogue>Hell.</dialogue>
<scene_description>Another pause . Another car . Suddenly :</scene_description>
<character>WOMAN</character>
<dialogue>Stop the car, Ray!</dialogue>
<scene_description>CLOSE SHOT BRAKE Stamped on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR</stage_direction>
<scene_description>Low three - quarters on the car as it squeals to a halt . A car that has been following screeches to a halt just behind it . Both cars sit . Rain patters .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRST CAR</stage_direction>
<scene_description>Close on the man , from behind . He looks at the woman .</scene_description>
<character>MAN</character>
<dialogue>Abby?</dialogue>
<scene_description>She does n't answer . He turns to look back and we see his face , for the first time , in the headlights of the car behind . HIS POV The car behind them waiting , patiently . Rain drifts down past its headlights . Finally it pulls out and passes them slowly , their headlights showing it to be a battered green Volkswagon . First the car itself , then its red taillights , disappear into the rain . BACK TO THE MAN Cutting between him and the woman , each from behind .</scene_description>
<character>MAN</character>
<dialogue>You know that car?</dialogue>
<character>WOMAN</character>
<dialogue>No.</dialogue>
<character>MAN</character>
<dialogue>What's the matter?</dialogue>
<character>WOMAN</character>
<dialogue>I do n't know. I just think maybe I'm making a mistake.</dialogue>
<scene_description>She looks at the man .</scene_description>
<character>WOMAN</character>
<dialogue>What was that back there?</dialogue>
<character>MAN</character>
<dialogue>Back where?</dialogue>
<character>WOMAN</character>
<dialogue>Sign.</dialogue>
<character>MAN</character>
<dialogue>I do n't know. Motel. Abby -</dialogue>
<character>WOMAN</character>
<dialogue>Ray. Did you mean that, what you said before, or were you just being a gentleman?</dialogue>
<character>MAN</character>
<dialogue>Abby, I like you, but it's no point starting anything now.</dialogue>
<character>WOMAN</character>
<dialogue>Yeah.</dialogue>
<character>MAN</character>
<dialogue>I mean, I ai n't a marriage counselor -</dialogue>
<character>WOMAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>The man is uncomfortable .</scene_description>
<character>MAN</character>
<dialogue>What do you want to do?</dialogue>
<scene_description>The woman is uncomfortable . After a long pause :</scene_description>
<character>WOMAN</character>
<dialogue>What do you want to do?</dialogue>
<scene_description>MOTEL ROOM Pulling back from RAY and ABBY in bed , making love . The only light is from cars passing along the highway outside . Each sweeping light - by ends in black . The pullback ends in a wide shot of the motel room . The black following the last car lingers . A telephone rings . SAME WIDE SHOT MORNING Ray and Abby are asleep . On a nightstand next to the bed , the telephone is ringing . Ray stirs , reaches for the phone .</scene_description>
<character>RAY</character>
<dialogue>Hello.</dialogue>
<character>VOICE</character>
<dialogue>Having a good time?</dialogue>
<character>RAY</character>
<dialogue>What? Who is this?</dialogue>
<character>VOICE</character>
<dialogue>I do n't know, who's this?</dialogue>
<scene_description>A silence at both ends .</scene_description>
<character>VOICE</character>
<dialogue>You still there?</dialogue>
<character>RAY</character>
<dialogue>Yeah, I'm still here.</dialogue>
<scene_description>Ray listens to another silence . It ends with a disconnect . Abby is stirring as Ray gets out of bed .</scene_description>
<character>ABBY</character>
<dialogue>Ray?</dialogue>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
<character>ABBY</character>
<dialogue>What was that?</dialogue>
<character>RAY</character>
<dialogue>Your husband.</dialogue>
<scene_description>BAR BACK OFFICE NIGHT We are tracking past a man seated behind a wooden desk , towards an 8 x 10 black - and - white photograph that has just been slapped down on the desktop . The picture is of Abby and Ray in bed together in the motel room .</scene_description>
<character>VOICE</character>
<dialogue>I know a place you can get that framed.</dialogue>
<scene_description>The voice is familiar as that of the narrator whose musings on life in Texas and the Soviet Union opened the movie . We cut to him . He is settling himself into a chair facing the desk . He is LOREN VISSER , a large unshaven man in a misshapen yellow leisure suit . He smiles at the man behind the desk . JULIAN MARTY Sits staring down at the photograph . Behind him a window opens on the bar proper . Country - western music filters in from the bar . Marty is not pleased .</scene_description>
<character>MARTY</character>
<dialogue>What did you take these for?</dialogue>
<character>VISSER</character>
<dialogue>What do you mean.</dialogue>
<scene_description>He removes a pouch of tobacco from his breast pocket and nonchalantly starts rolling a cigarette .</scene_description>
<character>VISSER</character>
<dialogue>Just doin' my job.</dialogue>
<character>MARTY</character>
<dialogue>You called me, I knew they were there, so what do I need these for?</dialogue>
<character>VISSER</character>
<dialogue>Well, I do n't know. Call it a fringe benefit.</dialogue>
<character>MARTY</character>
<dialogue>How long did you watch her?</dialogue>
<character>VISSER</character>
<dialogue>Most of the night.</dialogue>
<scene_description>He lights his cigarette , then slaps his lighter onto the desktop . It is silver , engraved on the top with a lariat spelling out `` Loren '' in script , and on the side with a declaration that he is `` Elks Man of the Year . ''</scene_description>
<character>VISSER</character>
<dialogue>They'd just rest a few minutes and then get started again. Quite something.</dialogue>
<scene_description>Marty stares down at the photograph .</scene_description>
<character>MARTY</character>
<dialogue>You know in Greece they cut off the head of the messenger who brought bad news.</dialogue>
<scene_description>A smoke ring floats into frame from offscreen .</scene_description>
<character>VISSER</character>
<dialogue>Now that do n't make much sense.</dialogue>
<character>MARTY</character>
<dialogue>No. It just made them feel better.</dialogue>
<scene_description>Marty rises and goes to a safe behind his desk . Visser laughs as he watches Marty .</scene_description>
<character>VISSER</character>
<dialogue>Well first off, Julian, I do n't know what the story is in Greece but in this state we got very definite laws about that.</dialogue>
<scene_description>Marty , hunched over the standing safe behind his desk , tosses in the photograph and takes out a pay envelope .</scene_description>
<character>VISSER</character>
<dialogue>Second place I ai n't a messenger, I'm a private investigator. And third place - and most important - it ai n't such bad news. I mean you thought he was a colored.</dialogue>
<parenthetical>( he laughs . )</parenthetical>
<dialogue>. You're always assumin' the worst.</dialogue>
<scene_description>Visser blows another smoke ring , pushes a fat finger through the middle of it , and beams at Marty .</scene_description>
<character>VISSER</character>
<dialogue>Anything else?</dialogue>
<character>MARTY</character>
<dialogue>Yeah, do n't come by here any more. If I need you again I know which rock to turn over.</dialogue>
<scene_description>Marty scales the pay envelope across the desk . It hits Visser in the chest and bounces to the floor . Visser looks stonily down at the envelope ; no expression for a beat . Then he roars with laughter .</scene_description>
<character>VISSER</character>
<dialogue>That's good. `` which rock to turn over''. that's very good.</dialogue>
<scene_description>Sighing , he leans forward to pick up the envelope . He rises , straightens his cowboy hat , and walks over to a screen door letting out on the bar 's back parking lot .</scene_description>
<character>VISSER</character>
<dialogue>Well, gim me a call whenever you wan na cut off my head.</dialogue>
<scene_description>He pauses at the door , cocks his head , then turns back to the desk and picks up his cigarette lighter . Returning to the door :</scene_description>
<character>VISSER</character>
<dialogue>I can crawl around without it.</dialogue>
<scene_description>The door slams shut behind him . Marty scowls at the back door . After a moment he rises and crosses the office to the window looking out on the bar . Over Marty 's shoulder we see the long bar leading up to the window in perpendicular . The camera is tracking forward , past Marty , to frame on the window . A black man is just now vaulting the near end of the bar , over onto the customer side . MARTY 'S BAR REVERSE ANGLE VAULTING MAN Tracking back with him as he lands on the customer side and heads across the bar . This shot , from the other side of the back - office window , reveals the window to be one - way glass mirrored on this side MEURICE , the black bartender , is muscular , about 200 pounds , dressed in white pants and a sleeveless T - shirt . He is making his way through the crowd towards the jukebox . Another man stands in front of it examining the selections . He deposits a quarter .</scene_description>
<character>MEURICE</character>
<dialogue>Hold it, hold it. What's tonight?</dialogue>
<character>MAN</character>
<dialogue>What?</dialogue>
<character>MEURICE</character>
<dialogue>What night is it?</dialogue>
<character>MAN</character>
<parenthetical>( studying Meurice . )</parenthetical>
<dialogue>. Friday?</dialogue>
<character>MEURICE</character>
<dialogue>Right. Friday night is Yankee night. Where're you from?</dialogue>
<character>MAN</character>
<dialogue>Lubbock?</dialogue>
<scene_description>Meurice shakes his head and punches the selector buttons on the jukebox .</scene_description>
<character>MEURICE</character>
<dialogue>Right. I'm from Detroit.</dialogue>
<parenthetical>( turning to leave . )</parenthetical>
<dialogue>It's a big city up north with tall buildings.</dialogue>
<scene_description>A Motown song drops . We track behind Meurice as he makes his way back toward the bar . When he reaches it , he claps a couple of people on the shoulder , who make way for him . He vaults back over the top , walks down the bar , and stops in from of an attractive white woman sitting on a bar stool and sipping a brandy .</scene_description>
<character>MEURICE</character>
<dialogue>Where was I?</dialogue>
<character>WOMAN</character>
<dialogue>You we telling me about the Ring of Fire.</dialogue>
<character>MEURICE</character>
<dialogue>Yeah, well, I may be getting in over my head here, I mean you're the geologist, but my theory for what it's worth, you got all these volcanoes and each time one pops it's the equivalent of what, twenty, thirty megatons of TNT? Enough to light Las Vegas for how long? How many years? Course, I'm no mathematician but -</dialogue>
<character>MARTY</character>
<dialogue>Meurice.</dialogue>
<scene_description>Marty is approaching from the direction of the office .</scene_description>
<character>MEURICE</character>
<dialogue>Yeah, I know. Pour'em short.</dialogue>
<character>MARTY</character>
<dialogue>Has Ray come in yet?</dialogue>
<character>MEURICE</character>
<dialogue>No, he's off tonight. Where was he last night?</dialogue>
<character>MARTY</character>
<parenthetical>( glaring . )</parenthetical>
<dialogue>How would I know?</dialogue>
<character>MEURICE</character>
<dialogue>I do n't know, did n't he call?</dialogue>
<scene_description>Marty loses his glare and his gaze drifts over to the woman . After an awkward pause , Meurice clears his throat .</scene_description>
<character>MEURICE</character>
<dialogue>Marty, I'd like you to meet an old friend of mine, Debra. Debra, this is Julian Marty, the dude I'm always talking about.</dialogue>
<scene_description>She is unselfconsciously returning Marty 's stare .</scene_description>
<character>MARTY</character>
<dialogue>If he does come in I'm not here. What were you drinking, Debra?</dialogue>
<character>DEBRA</character>
<dialogue>Remy.</dialogue>
<character>MARTY</character>
<dialogue>You've got a very sophisticated palate.</dialogue>
<character>DEBRA</character>
<dialogue>Thanks.</dialogue>
<character>MARTY</character>
<dialogue>Give Debra here another drink, and give me the usual.</dialogue>
<scene_description>Meurice walks down the bar .</scene_description>
<character>DEBRA</character>
<dialogue>What's a palate?</dialogue>
<scene_description>Marty studies her for a beat , she studies him , he smiles .</scene_description>
<character>MARTY</character>
<dialogue>Listen, I got tickets for the Oilers and the Rams next week in the Astrodome. Ever sat on the fifty yard line?</dialogue>
<character>DEBRA</character>
<dialogue>I do n't follow baseball.</dialogue>
<scene_description>Marty laughs .</scene_description>
<character>MARTY</character>
<dialogue>You wo n't have to. I'll explain what a palate is.</dialogue>
<character>DEBRA</character>
<dialogue>You wo n't have to. I just wanted to see if you knew.</dialogue>
<scene_description>Marty smiles bleakly . Debra drains her glass as Meurice returns . He sets another Cognac in front of Debra , and a glass of milk in front of Marty .</scene_description>
<character>MARTY</character>
<dialogue>What's this?</dialogue>
<character>MEURICE</character>
<dialogue>You said the usual -</dialogue>
<character>MARTY</character>
<dialogue>Red Label.</dialogue>
<character>MEURICE</character>
<parenthetical>( picking up the milk . )</parenthetical>
<dialogue>Right. Sorry.</dialogue>
<character>MARTY</character>
<dialogue>Pour that back.</dialogue>
<character>MEURICE</character>
<dialogue>What.</dialogue>
<character>MARTY</character>
<dialogue>Do n't throw that out.</dialogue>
<character>MEURICE</character>
<dialogue>Right.</dialogue>
<scene_description>He wanders on down the bar ; Marty 's attention returns to the woman .</scene_description>
<character>MARTY</character>
<dialogue>So how long have you know Meurice?</dialogue>
<character>DEBRA</character>
<dialogue>About ten years.</dialogue>
<scene_description>Marty 's attention is caught by something down the bar . He half - rises from his stool .</scene_description>
<character>MARTY</character>
<dialogue>What - Waitaminute - What.</dialogue>
<scene_description>HIS POV Meurice is pouring the milk down the sink . He looks innocently up .</scene_description>
<character>MEURICE</character>
<dialogue>What.</dialogue>
<scene_description>BACK TO MARTY Angry but not knowing what to say . He glances around the bar , sinks slowly back onto his stool .</scene_description>
<character>MARTY</character>
<dialogue>Deuce in the corner needs help.</dialogue>
<character>MEURICE</character>
<dialogue>Right.</dialogue>
<scene_description>Marty sits staring across the bar for a moment , nods a couple of times at nothing in particular , then looks back at the woman .</scene_description>
<character>MARTY</character>
<dialogue>So what're you doing tonight?</dialogue>
<character>DEBRA</character>
<dialogue>Going out with Meurice.</dialogue>
<scene_description>Marty tosses a beer nut into his mouth .</scene_description>
<character>MARTY</character>
<dialogue>Tell him you have a headache.</dialogue>
<scene_description>Debra gives him a level stare .</scene_description>
<character>DEBRA</character>
<dialogue>It'll pass.</dialogue>
<character>MARTY</character>
<dialogue>We do n't seem to be communicating -</dialogue>
<character>DEBRA</character>
<dialogue>You want to hustle me. I do n't want to be hustled. It's as simple as that. Now that I've communicated, why do n't you leave?</dialogue>
<character>MARTY</character>
<dialogue>I own the place.</dialogue>
<character>DEBRA</character>
<dialogue>Christ, I'm getting bored.</dialogue>
<character>MARTY</character>
<dialogue>I'm not surprised, the company you've been keeping the last ten years.</dialogue>
<scene_description>They both fall silent as Meurice enters frame . He takes a bottle from the bar and pours himself a drink .</scene_description>
<character>MARTY</character>
<dialogue>What's this?</dialogue>
<character>MEURICE</character>
<dialogue>What.</dialogue>
<character>MARTY</character>
<parenthetical>( pointing at Meurice 's drink . )</parenthetical>
<dialogue>This.</dialogue>
<character>MEURICE</character>
<dialogue>Jack Daniels. Do n't worry, I'm paying for it.</dialogue>
<character>MARTY</character>
<dialogue>That's not the point.</dialogue>
<character>MEURICE</character>
<dialogue>What's the point?</dialogue>
<character>MARTY</character>
<dialogue>The point is we do n't serve niggers here.</dialogue>
<character>MEURICE</character>
<dialogue>Where?</dialogue>
<parenthetical>( he looks over his shoulder ; up and down the bar . )</parenthetical>
<dialogue>. I'm very careful about that.</dialogue>
<scene_description>Marty tosses back Meurice 's drink , then turns to Debra , smiling .</scene_description>
<character>MARTY</character>
<dialogue>He thinks I'm kidding. Everybody thinks I'm kidding ;.</dialogue>
<parenthetical>( as he turns to leave . )</parenthetical>
<dialogue>if Ray comes in I'm not home.</dialogue>
<scene_description>Debra watches him go , then turns back to Meurice .</scene_description>
<character>DEBRA</character>
<dialogue>Nice guy.</dialogue>
<character>MEURICE</character>
<dialogue>Not really. What'd you say your last name was?</dialogue>
<scene_description>MARTY 'S HOUSE TRACKING DOWN HALLWAY We are following a large German shepherd as it pads down the hall toward a warmly lit room at its end . We hear only the sound of the dog 's paws on the hardwood floor , and the faint clicking of billiard balls . BILLIARD ROOM It is a paneled , carpeted room with black leather furniture and a nine - foot billiard table . Various stuffed animal trophies are scattered around the room , including a moose head mounted on one wall . Ray stands alone in the foreground , shooting pool , an unlit cigarette in his mouth . The room is very quiet . In the background the German shepherd enters from the hallway , sits down in a corner , and benignly watches Ray . UPSTAIRS BEDROOM It is expensively appointed ; a brightly lit woman 's bedroom . Abby is opening a hinged drawer in a white antique bureau . She pulls out a leather handbag , gropes nervously through its contents , then puts it aside . She crosses the room to a vanity table , takes a purse from underneath , and spills its contents out on top of the table . BILLIARD ROOM Ray pockets a couple of balls , looks over at the dog , then up at the wall at the far end of the room . RAY 'S POV Hanging on the wall are a couple of framed photographs of Marty and Abby , taken a long time ago . BACK TO RAY Staring at the pictures . He looks back down at the pool table . UPSTAIRS BEDROOM Abby is sitting on a large double bed . She puts aside another purse , rises and crosses the room hurriedly , and pushes back the sliding doors of a long wardrobe closet . The upper shelf is lined with handbags - fifteen or twenty of them . She grabs the first one , looks in , tosses it aside ; grabs the second , looks - and stops . HER POV Inside the purse , a small pearl - handled gun . BILLIARD ROOM Ray is now standing in front of the pictures on the wall , looking from one to the next . RAY 'S POV A picture of Abby and Marty standing together on a Gulf beach . Marty is wearing a long velour beach robe , Abby is in a swimming suit . Ray 's hand enters frame . He traces a finger down her leg . CLOSE SHOT RAY His head cocked to the side . After a moment his eyes shift . EXTREME CLOSE SHOT PHOTO DETAIL Of Marty 's face . He is staring into the camera , at whoever took the picture . His head is thrown back slightly ; he is laughing . From offscreen in the quiet room we hear a static hum and then Abby 's voice over an intercom .</scene_description>
<character>ABBY'S VOICE</character>
<dialogue>Ray?</dialogue>
<scene_description>BACK TO RAY He turns from the photograph and walks to an intercom speaker next to the mounted moose 's head . He presses the speaker button .</scene_description>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
<scene_description>He idly takes his unlit cigarette and sticks it in the moose 's mouth .</scene_description>
<character>RAY</character>
<dialogue>You get what you wanted?</dialogue>
<character>ABBY'S VOICE</character>
<dialogue>Yeah. Let's get out of here.</dialogue>
<scene_description>MARTY 'S FRONT FOYER We are looking across a dark , high - ceilinged foyer toward the front door . Ray leans against the doorjamb , in silhouette in the open doorway . He is facing a curved staircase that descends into the foyer . Abby appears at the second - floor landing and starts down the stairs .</scene_description>
<character>RAY</character>
<dialogue>Why d'you wan na leave all this?</dialogue>
<character>ABBY</character>
<dialogue>You kidding? I do n't wan na leave all this, I just wan na leave Marty.</dialogue>
<scene_description>As she reaches the bottom of the stairs :</scene_description>
<character>ABBY</character>
<dialogue>Drive me to a motel?</dialogue>
<character>RAY</character>
<dialogue>You can stay at my place, I'll drop you there.</dialogue>
<character>ABBY</character>
<dialogue>Where. where you going?</dialogue>
<character>RAY</character>
<dialogue>See a guy.</dialogue>
<character>ABBY</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>Do n't go to the bar, Ray. I know him, that ai n't a good idea.</dialogue>
<character>RAY</character>
<dialogue>I just got ta see a guy.</dialogue>
<scene_description>MARTY 'S BAR The crowd has thinned out . Meurice and Debra are in the foreground . Ray enters from the street and makes his way over to them .</scene_description>
<character>MEURICE</character>
<dialogue>Howdy stranger.</dialogue>
<character>RAY</character>
<dialogue>Meurice. Sorry I did n't show last night.</dialogue>
<character>MEURICE</character>
<dialogue>Was n't too busy. You missed a good one, though. This white guy walks in about one o'clock, asks if we have a discount for alcoholics. I tell him to get lost, but Marty's sitting here listening and I can tell he's thinking that maybe it ai n't such a bad idea.</dialogue>
<scene_description>He pours Debra another drink and starts to set one up for Ray .</scene_description>
<character>MEURICE</character>
<dialogue>Ray, this is Debra. She's a geologist. That's the theory of rocks.</dialogue>
<scene_description>Ray nods at Debra .</scene_description>
<character>RAY</character>
<dialogue>Is Marty here?</dialogue>
<character>MEURICE</character>
<dialogue>Not here tonight. Was n't here last night. He's especially not back in his office.</dialogue>
<character>RAY</character>
<parenthetical>( leaving . )</parenthetical>
<dialogue>Thanks Meurice.</dialogue>
<character>MEURICE</character>
<dialogue>For what?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK OF MARTY'S BAR</stage_direction>
<scene_description>Marty is sitting on the stoop that descends from his back office to a graveled back parking lot ; he is framed in the open doorway of his brightly lit office . He stares fixedly at something offscreen . MARTY 'S POV In the middle distance a huge incinerator operates full blast . Orange flames lick out the sides ; white smoke billows out the top . Two figures in silhouette are chucking garbage in through a large gate . BACK TO MARTY Behind him , in the office , we see the door from the bar open , and Ray entering .</scene_description>
<character>RAY</character>
<dialogue>Marty?</dialogue>
<scene_description>Marty looks over his shoulder , then back toward the furnace . Ray descends the stoop and stands in front of him .</scene_description>
<character>RAY</character>
<dialogue>Well? What?</dialogue>
<scene_description>Marty stares past Ray across the parking lot .</scene_description>
<character>MARTY</character>
<dialogue>What `` what''?</dialogue>
<character>RAY</character>
<dialogue>Am I fired? You wan na hit me? What?</dialogue>
<character>MARTY</character>
<dialogue>I do n't particularly want to talk to you.</dialogue>
<character>RAY</character>
<dialogue>Well. if you're not gon na fire me I might as well quit.</dialogue>
<character>MARTY</character>
<dialogue>Fine. Suit yourself.</dialogue>
<parenthetical>( still staring fixedly at the furnace . )</parenthetical>
<dialogue>. Having a good time?</dialogue>
<scene_description>Ray tenses . There is a pause .</scene_description>
<character>RAY</character>
<dialogue>I do n't like this kind of talk.</dialogue>
<scene_description>Marty still stares at the furnace .</scene_description>
<character>MARTY</character>
<dialogue>Then what'd you come here for?</dialogue>
<character>RAY</character>
<parenthetical>( no more conciliation . )</parenthetical>
<dialogue>You owe me for two weeks.</dialogue>
<scene_description>Marty shakes his head .</scene_description>
<character>MARTY</character>
<dialogue>Nope. She's an expensive piece of ass.</dialogue>
<scene_description>He finally looks up at Ray .</scene_description>
<character>MARTY</character>
<dialogue>You get a refund though, if you tell me who else she's been sluicing.</dialogue>
<character>RAY</character>
<dialogue>I want that money. If you wan na tell me something, fine -</dialogue>
<character>MARTY</character>
<dialogue>What're you, a fucking marriage counselor?</dialogue>
<scene_description>Ray breaks into a strained half - smile . Marty grins humorlessly back , mimicking Ray 's smile .</scene_description>
<character>MARTY</character>
<dialogue>What're you smiling at - I'm a funny guy, right, I'm an asshole? No, no, that's not what's funny. What's funny is her. What's funny is that I had you two followed because, if it is n't you, she's been sleeping with someone else.</dialogue>
<scene_description>He grabs a knee in each hand and leans forward , still looking at Ray . He is becoming only slightly more animated .</scene_description>
<character>MARTY</character>
<dialogue>What's really going to be funny is when she gives you that innocent look and says, What're you talking about, Ray, I have n't done anything funny.</dialogue>
<scene_description>He leans back again .</scene_description>
<character>MARTY</character>
<dialogue>But the funniest thing to me right now is that you think she came back here for you - * that's * what's funny.</dialogue>
<scene_description>Ray moves forward and Marty 's eyes follow him as he approaches . Marty 's smile abruptly turns to a look of apprehension . Ray enters frame and brushes past Marty as he walks up the stoop , and crosses the back office toward the bar . Marty relaxes , and his gaze returns to the furnace .</scene_description>
<character>MARTY</character>
<dialogue>Come on this property again and I'll be forced to shoot you.</dialogue>
<scene_description>Ray opens the door to the bar and shuts it softly behind him .</scene_description>
<character>MARTY</character>
<dialogue>Fair notice.</dialogue>
<scene_description>MARTY 'S OFFICE LATER CLOSE SHOT CEILING FAN At the cut the music and all other bar noise drops out . We hear only the rhythmic whir of the fan . We tilt down from the ceiling fan to frame Marty , tilted back in his desk chair , staring up at the fan .</scene_description>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Marty.</dialogue>
<scene_description>WIDE SHOT THE OFFICE Meurice is standing in the door to the bar . Far behind him we can see Debra waiting in the dimly lit , deserted bar .</scene_description>
<character>MEURICE</character>
<dialogue>I thought you were dead. Going home?</dialogue>
<character>MARTY</character>
<dialogue>No. I think I'll stay right here in hell.</dialogue>
<character>MEURICE</character>
<parenthetical>( turning to leave . )</parenthetical>
<dialogue>Kind of a bleak point of view there, is n't it Marty?</dialogue>
<character>MARTY</character>
<dialogue>Meurice.</dialogue>
<scene_description>Meurice pauses in the doorway .</scene_description>
<character>MARTY</character>
<dialogue>I do n't want that asshole near my money. I do n't even want him in the bar.</dialogue>
<character>MEURICE</character>
<dialogue>We get a lot of assholes in here, Marty.</dialogue>
<scene_description>Meurice and Debra can be heard leaving the bar . Marty looks down at the telephone in front of him on the desk , then picks up the receiver and dials . He tilts back in the chair and stares back up at the ceiling . MARTY 'S POV The ceiling fan , turning slowly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S BUNGALOW FROM INSIDE RAY'S CAR</stage_direction>
<scene_description>In the foreground Ray sits behind the wheel of his parked car , slumped back against the seat . He is staring at his one - story bungalow , in which a couple of lights are burning . Inside we can faintly hear his telephone ringing . It rings for a long time . RAY 'S LIVING ROOM CLOSE SHOT THE RINGING TELEPHONE Abby 's hand enters frame , hesitates , then after another ring picks up .</scene_description>
<character>ABBY</character>
<dialogue>Hello?</dialogue>
<scene_description>The is no answer . From the other end we hear only the rhythmic whir of a ceiling fan . MARTY 'S OFFICE Marty listens . He says nothing , still tilted back in his chair , staring at the ceiling . RAY 'S LIVING ROOM Abby listens . She shifts the phone to her other ear , listening hard to the sound of the fan . There is another long pause .</scene_description>
<character>ABBY</character>
<dialogue>Marty?</dialogue>
<scene_description>The phone goes dead just as we hear the front door opening . Abby looks up as she cradles the phone . Ray is standing in the doorway .</scene_description>
<character>RAY</character>
<dialogue>Who was it?</dialogue>
<character>ABBY</character>
<dialogue>What?</dialogue>
<character>RAY</character>
<dialogue>On the phone. Was it for you?</dialogue>
<character>ABBY</character>
<dialogue>I do n't know, he did n't say anything.</dialogue>
<character>RAY</character>
<dialogue>Uh - huh. So how do you know it was a he?</dialogue>
<character>ABBY</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>You got a girl - am I screwing something up by being here?</dialogue>
<scene_description>Ray leans against the door and folds his arms , watching Abby .</scene_description>
<character>RAY</character>
<dialogue>No, am I?</dialogue>
<scene_description>Abby looks at him , puzzled . After an uncomfortable pause :</scene_description>
<character>ABBY</character>
<dialogue>I can find a place tomorrow, then I'll be outta your hair.</dialogue>
<character>RAY</character>
<dialogue>If that's what you want to do, then you oughta do it. You, uh. you want the bed or the couch?</dialogue>
<scene_description>Abby shifts uneasily , looking at Ray .</scene_description>
<character>ABBY</character>
<dialogue>Well. the couch would be all right.</dialogue>
<character>RAY</character>
<dialogue>You can sleep on the bed if you want.</dialogue>
<character>ABBY</character>
<dialogue>Well. I'm not gon na put you out of your bed.</dialogue>
<character>RAY</character>
<dialogue>You would n't be putting me out.</dialogue>
<character>ABBY</character>
<dialogue>Well, I'd be okay in here -</dialogue>
<scene_description>Ray walks toward the bedroom .</scene_description>
<character>RAY</character>
<dialogue>Okay.</dialogue>
<scene_description>MARTY 'S OFFICE LATER Still tilted back in his chair , Marty stares glumly at the ceiling . The bar itself is completely still except the rhythmic whir of the fan . CLOSE SHOT A CEILING FAN Turning slowly . We tilt down from the fan to frame Abby , lying under a sheet on Ray 's couch , staring up at the fan in the darkened living room . The room is still . We hear only the whir of the fan and the distant sound of crickets . Abby turns her head , looking offscreen . HER POV A ray of light slants up the hallway from the direction of the bedroom . The light is snapped off , leaving the hallway in darkness . We hear a faint cough and the creaking of bedsprings . RAY 'S BEDROOM Ray lies in bed , staring at the ceiling . RAY 'S LIVING ROOM / HALLWAY LONG SHOT THE LIVING ROOM FROM THE HALLWAY Abby sits up . She stands and walks across the moonlit room toward the hallway . We pull her back down the hall toward the bedroom . She pauses in the bedroom doorway and looks down toward the bed . ABBY 'S POV Ray in bed , his eyes closed . BACK TO ABBY We pull her as she enters the room , then tilt down with her as she hesitantly sits on the edge of the bed . ABBY 'S POV Close shot , Ray asleep . BACK TO ABBY Framed against a moonlit window from the shoulders up . There is a long pause . Ray 's hand enters frame and pulls Abby down out of frame onto the bed . We hold on the moonlit window . SAME WINDOW SAME ANGLE PRE - DAWN Through the window the slow dissolve gradually defines the front lawn and the street beyond in the flat pre - dawn light . Abby rises into frame and quietly gets out of bed . The camera tracks behind her as she walks up the hallway into the living room . We follow her across the living room and move into a close shot on her hand as she reaches into her purse and withdraws a small plastic compact . LOW - ANGLE CLOSE SHOT ABBY She flips open the compact , then , hearing something , looks up , squinting across the room . ABBY 'S POV In the shadows at the far end of the room we can just see two pointed ears and a glittering pair of eyes . The German shepherd is panting softly . OVER ABBY 'S SHOULDER As she peers into the shadows , her face reflected in the mirror of the open compact .</scene_description>
<character>ABBY</character>
<dialogue>Opal -</dialogue>
<scene_description>In the mirror something moves just behind her . Abby starts to turn . Marty 's hand clamps over her mouth from behind . His other hand circles her waist . Abby struggles .</scene_description>
<character>MARTY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Lover - boy oughta lock his door.</dialogue>
<scene_description>Marty 's hand drops from her waist to her thighs and slides under the robe .</scene_description>
<character>MARTY</character>
<dialogue>Lotta nuts out there.</dialogue>
<scene_description>Still holding her from behind , Marty forces her down on her knees . Abby 's cries are muffled by the hand clamped over her mouth . Marty shoots a glance down the dark hallway . There is no movement . Abby 's hand is groping forward out of frame . CLOSE SHOT ABBY 'S PURSE She upsets it . The contents spill out , among them a small pearl - handled revolver . Her hand gropes for the gun . BACK TO ABBY AND MARTY Marty yanks her to her feet , looking down the hallway .</scene_description>
<character>MARTY</character>
<dialogue>Let's do it outside.</dialogue>
<scene_description>He is dragging her to the front door .</scene_description>
<character>MARTY</character>
<dialogue>in nature.</dialogue>
<scene_description>He pushes her through the screen door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S BUNGALOW</stage_direction>
<scene_description>The neighborhood is deserted and still . The streetlamps are still on . Marty and Abby stumble down the front stoop onto the lawn . His hand is still clamped over her mouth . She reaches up , grabs a finger , and bends it back . We hear the bone snap . Marty screams . His hand drops . His other hand cuffs her on the side of the head , spinning her around . Marty is now clutching his broken finger with his good hand . Abby kicks him in the groin . He sinks to his knees , drops forward on one hand , and vomits . FRONT STOOP Ray is coming out the door , hitching up his pants . In his right hand he hold Abby 's pearl - handled revolver . MARTY Slowly gets to his feet , looking at Ray . ABBY She has backed away from Marty and now stands on the lawn , breathing heavily . She looks from Ray to Marty . BACK TO MARTY Backing toward his car , a Cadillac parked at curbside , still looking at Ray . He turns to get into the car . The German shepherd lopes across the lawn and takes a clean leap into the car through the open window on the passenger side . Marty turns the ignition . The engine coughs and dies . He tries again ; it starts . The car roars up the street . RAY Watching the car . He looks at Abby . ABBY Still panting . Up the street we can hear Marty 's car alternately racing and stopping , shifting in and out of gear . His engine rumble starts to grow louder again .</scene_description>
<character>RAY</character>
<dialogue>Like to have seen his face when he found the dead end.</dialogue>
<scene_description>In the background we see Marty 's car roar by in the opposite direction . MOUNT BONNEL EVENING LATERAL TRACK Moving past a row of cars parked on an overlook near the top of the mountain . Below we can see the lights of the city of Austin . The lot is littered with beer cans . We hear the sound of rock music coming from various car radios . Several teenagers lean against cars drinking beer ; inside the cars we can see the vague forms of others .</scene_description>
<character>TEENAGER</character>
<dialogue>Hey mister, how'd you break your pussyfinger?</dialogue>
<scene_description>His friends laugh . TRACK PULLING MARTY Ignoring the laughter as he walks past the cars , apparently looking for someone . His right index finger is taped up in an aluminum splint . MARTY 'S POV At the end of a row of cars we see a green Volkswagon bug . Leaning against the hood is Visser , still dressed in his rumpled yellow suit . He is smoking a cigarette , talking to a sixteen - year - old girl in shorts and a tube top . When he notices Marty :</scene_description>
<character>VISSER</character>
<parenthetical>( to the girl . )</parenthetical>
<dialogue>Sorry sweetheart, my date is here.</dialogue>
<scene_description>The girl drifts off . Marty enters frame and Visser turns to him .</scene_description>
<character>VISSER</character>
<dialogue>She saw me rolling a cigarette and thought it was marijuana.</dialogue>
<parenthetical>( he laughs . )</parenthetical>
<dialogue>I guess she thought I was a swinger.</dialogue>
<scene_description>Visser open the back door of the car . Marty ignores the invitation , walks around to the front on the passenger side and gets in .</scene_description>
</scene>
<scene>
<stage_direction>INT. VISSER'S CAR</stage_direction>
<scene_description>As Visser gets into the driver 's seat . A small topless doll is suspended from the rearview mirror . Visser gives it a tap . As it swings back and forth two small lights , one behind each breast , blink on and off .</scene_description>
<character>VISSER</character>
<dialogue>Idnat wild?</dialogue>
<scene_description>Both men sit watching the doll intently . Finally Marty reaches up and stops its swinging with the rounded end of his splint . Visser eyes the splint .</scene_description>
<character>VISSER</character>
<parenthetical>( genially . )</parenthetical>
<dialogue>Stick your finger up the wrong person's ass?</dialogue>
<scene_description>Marty is silent , but Visser is in a good mood .</scene_description>
<character>VISSER</character>
<dialogue>You know a friend of mine broke his hand a while back. Put in a cast. Very next day he takes a fall, protects his bad hand, falls on his good one, breaks that too. So now he's got two busted flippers and I say to him `` Creighton, I hope your wife loves you.'Cause for the next five weeks you can not wipe your own goddamn ass.''</dialogue>
<scene_description>Overcome by laughter . Finally :</scene_description>
<character>VISSER</character>
<dialogue>That's the test, ai n't it? Test of true love -</dialogue>
<character>MARTY</character>
<dialogue>Got a job for you.</dialogue>
<character>VISSER</character>
<parenthetical>( settling down . )</parenthetical>
<dialogue>. Well, if the pay's right and it's legal I'll do it.</dialogue>
<character>MARTY</character>
<dialogue>It's not strictly legal.</dialogue>
<scene_description>Visser shrugs , lights up another cigarette with his fraternally inscribed lighter and drops the lighter onto the dashboard .</scene_description>
<character>VISSER</character>
<dialogue>If the pay's right I'll do it.</dialogue>
<character>MARTY</character>
<dialogue>It's, uh. it's in reference to that gentleman and my wife. The more I think about it the more irritated I get.</dialogue>
<character>VISSER</character>
<dialogue>Yeah? Well how irritated are you?</dialogue>
<scene_description>Marty does n't answer . Finally Visser laughs .</scene_description>
<character>VISSER</character>
<dialogue>Gee, I'm sorry to hear that. Can you tell me what you want me to do or is it a secret?</dialogue>
<character>MARTY</character>
<dialogue>Listen, I'm not - this is n't a joke here.</dialogue>
<scene_description>Visser eyes him , still smiling . Finally he shrugs .</scene_description>
<character>VISSER</character>
<dialogue>You want me to kill'em.</dialogue>
<character>MARTY</character>
<dialogue>I did n't say that.</dialogue>
<parenthetical>( a pause . )</parenthetical>
<dialogue>Well?</dialogue>
<character>VISSER</character>
<dialogue>Well what?</dialogue>
<character>MARTY</character>
<dialogue>What do you think?</dialogue>
<character>VISSER</character>
<dialogue>You're an idiot.</dialogue>
<scene_description>Marty 's shoulders slump . He seems less tense , almost relieved .</scene_description>
<character>MARTY</character>
<dialogue>So, uh. this would n't interest you.</dialogue>
<character>VISSER</character>
<dialogue>I did n't say that. All I said was you're an idiot. Hell, you been thinking about it so much it's driving you simple.</dialogue>
<scene_description>They are staring at each other .</scene_description>
<character>MARTY</character>
<dialogue>Ten thousand dollars I'll give you.</dialogue>
<scene_description>Visser laughs again .</scene_description>
<character>VISSER</character>
<dialogue>I'm supposed to do a murder - two murders - and just trust you not to go simple on me and do something stupid. I mean real stupid. Now why should I trust you?</dialogue>
<character>MARTY</character>
<dialogue>For the money.</dialogue>
<character>VISSER</character>
<parenthetical>( sobering . )</parenthetical>
<dialogue>The money. Yeah. That's a right smart of money.</dialogue>
<scene_description>He turns and gazes out the window .</scene_description>
<character>VISSER</character>
<dialogue>In Russia they make only fifty cents a day.</dialogue>
<scene_description>He falls silent again , still staring out the window In the closeness of the car Marty is starting to sweat .</scene_description>
<character>MARTY</character>
<parenthetical>( hoarsely . )</parenthetical>
<dialogue>. There's a big -</dialogue>
<character>VISSER</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>I want you to go fishing.</dialogue>
<character>MARTY</character>
<dialogue>What?</dialogue>
<character>VISSER</character>
<dialogue>Go down to Corpus for a few days. Get yourself noticed. I'll give you a call when it's done. You just find a way to cover that money.</dialogue>
<scene_description>Marty is slumped in his seat , not responding to the fact that Visser has just ended the conversation . Finally he rouses himself and gets out of the car , leaving Visser staring at the door he has left open behind him . After a moment we hear Marty 's footsteps approaching again , and he leans back into the open door with an afterthought .</scene_description>
<character>MARTY</character>
<dialogue>I'll take care of the money, you just make sure those bodies are n't found. There's a.</dialogue>
<scene_description>These words are difficult to say .</scene_description>
<character>MARTY</character>
<dialogue>If you want, there's a big incinerator behind my place.</dialogue>
<scene_description>The two men look at each other . Marty leaves . After a moment , Visser leans over to grab the handle of the still open door .</scene_description>
<character>VISSER</character>
<parenthetical>( under his breath . )</parenthetical>
<dialogue>Sweet Jesus, you are disgusting.</dialogue>
<scene_description>The door slams .</scene_description>
</scene>
<scene>
<stage_direction>INT. EMPTY APARTMENT NIGHT</stage_direction>
<scene_description>The apartment is dark . We are looking across a shadowy floor towards a large window , through which cold blue street light shines . Through the window we can see the facade of the building across the street ; we are three or four floors up . We can hear the animated , accented voice of an Hispanic woman approaching the apartment from the hallway behind us .</scene_description>
<character>LANDLADY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>- big windows, paneleen and everytheen. So you want, like your own place? Like a Town House?</dialogue>
<scene_description>A crack of light shoots across the floor as we hear the apartment door open behind us . A figure enters frame . As it crosses into the shaft of light we see that it is Abby . She moves across the dark apartment , in silhouette against the window .</scene_description>
<character>LANDLADY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No one will bother you here, sweetie -</dialogue>
<scene_description>An overhead light is switched on and the room is bathed in light . Several feet from Abby , an old man in a dirty undershirt is asleep on a cot . Abby starts . The old man grumbles , slowly sits up , squints . With the light , the window behind Abby has become a mirror of the entire room , in which we now see the matronly Landlady standing by the wall switch . The Landlady roars at the old man in Spanish . The man glowers at her . The Landlady looks back at Abby .</scene_description>
<character>LANDLADY</character>
<parenthetical>( cheerful again . )</parenthetical>
<dialogue>I show you around.</dialogue>
<scene_description>We follow Abby as she accompanies the landlady back into the short hallway - entrance foyer . Abby glances back at the old man .</scene_description>
<character>ABBY</character>
<dialogue>Are you sure this is. Are you sure this apartment is vacant? Mrs. Esteves?</dialogue>
<scene_description>The Landlady laughs cheerfully .</scene_description>
<character>LANDLADY</character>
<dialogue>Oh yes.</dialogue>
<scene_description>She gestures to a kitchen alcove on the left .</scene_description>
<character>LANDLADY</character>
<dialogue>That's the kitchen.</dialogue>
<scene_description>She turns and throws a few more barbs in Spanish back toward the old man , then opens a door on the right side of the foyer and enters the bathroom .</scene_description>
<character>LANDLADY</character>
<dialogue>This is the bathroom.</dialogue>
<scene_description>She flushes the toilet .</scene_description>
<character>LANDLADY</character>
<dialogue>The toilet works and everytheen.</dialogue>
<scene_description>She bustles out of the bathroom and takes the two short steps back into the main room . She gestures expansively .</scene_description>
<character>LANDLADY</character>
<dialogue>And here we are back in the liveen room.</dialogue>
<scene_description>She gives one vigorous stomp .</scene_description>
<character>LANDLADY</character>
<dialogue>Good floors. Gas heat.</dialogue>
<scene_description>She points .</scene_description>
<character>LANDLADY</character>
<dialogue>That's Mr. Garcia.</dialogue>
<scene_description>The old man is now sitting on the edge of the bed , smoking a cigarette , looking for a place to put the ash . The Landlady snaps at him again in Spanish , and is again cheerful as she turns back to address Abby .</scene_description>
<character>LANDLADY</character>
<dialogue>I was just esplaineen to him that he moved out of here yesterday.</dialogue>
<scene_description>She walks to the apartment door .</scene_description>
<character>LANDLADY</character>
<dialogue>You look around. Do n't mind Mr. Garcia ; he use do be my brother - in - law.</dialogue>
<scene_description>She walks out and shuts the door . The room is quiet . CLOSE SHOT ABBY Staring at the door . She looks at Mr. Garcia , looks nervously around the apartment . She looks back at Mr. Garcia . CLOSE SHOT MR. GARCIA Staring vacantly at Abby . He blows a stream of smoke across the room . The ash falls off his cigarette . STRIP BAR NIGHT EXHORTER 'S CUBICLE Hunched over the public address microphone in his small cubicle of exhortation , is the middle - aged strip - bar barker . Years of service in the bar have left his exhortations depressingly bereft of conviction .</scene_description>
<character>EXHORTER</character>
<dialogue>How ` bout it, gentlemen, let's show out appreciation for Lorraine up there, a registered nurse from Bolton, Texas, how ` bout it gentlemen, yeah.</dialogue>
<scene_description>THE BAR PROPER Meurice is one of a line of men sitting at the bar , all looking intently at the same point off left . All of the men except Meurice are conservatively dressed and apparently well - to - do . An audio loop is blaring a bump - and - grind version of `` Yellow Rose of Texas , '' punctuated by the crash of cymbals and the thumping of toms . Abby enters and sits into an empty chair next to Meurice .</scene_description>
<character>ABBY</character>
<dialogue>Looks like the state legislature is out of session.</dialogue>
<scene_description>Meurice continues to stare intently off .</scene_description>
<character>MEURICE</character>
<dialogue>I thought this is where they met.</dialogue>
<scene_description>All of the heads at the bar start to swivel , including Meurice 's . A couple of patrons hurriedly snatch their drinks off the bar . In the extreme foreground a stripper dances on the top of the bar into frame . We crop her just above her white high - heeled cowboy boots and her bare calves . The conversation continues with Abby looking at Meurice , but Meurice and everyone else at the bar looking up at a point somewhere above the stripper 's calves .</scene_description>
<character>ABBY</character>
<dialogue>Listen Meurice, you're gon na help me with a problem.</dialogue>
<character>MEURICE</character>
<dialogue>I am?</dialogue>
<scene_description>The stripper drops a white leatherette vest onto the bar in the foreground . The audience cheers .</scene_description>
<character>ABBY</character>
<dialogue>You're gon na keep an eye on Marty and Ray, make sure nothing happens.</dialogue>
<character>MEURICE</character>
<dialogue>It wo n't?</dialogue>
<scene_description>Two sheriff - star pasties drop onto the bar . The audience cheers .</scene_description>
<character>MEURICE</character>
<dialogue>Ever occur to you, Abby, that maybe I'm the wrong person to ask?</dialogue>
<scene_description>THE EXHORTER Into his microphone .</scene_description>
<character>EXHORTER</character>
<dialogue>Let's not sit on our wallets, gentlemen. Lorraine is up there dancing her heart out, and if you let that cash money set on your hip, you might just as well be broke.</dialogue>
<scene_description>ABBY AND MEURICE She is rising to leave ; he is still staring off .</scene_description>
<character>ABBY</character>
<dialogue>Thanks, Meurice.</dialogue>
<character>MEURICE</character>
<dialogue>Any time. But you do n't have to worry about a thing for a while. Marty went down to Corpus yesterday.</dialogue>
<scene_description>An old - west gunbelt hits the bar . The audience roars . THE EXHORTER Into his microphone .</scene_description>
<character>EXHORTER</character>
<dialogue>And remember, gentlemen, we're always here, two to two, A.M. to P.M., three hundred and sixty - four days and Christmas, God willing and the creek do n't rise.</dialogue>
<scene_description>RAY 'S BEDROOM The room is dark . We are looking across the room toward a moonlit window . Beyond , across the lawn , the lamplit street is empty . Suddenly Abby sits bolt upright into frame from the bed below .</scene_description>
<character>ABBY</character>
<dialogue>He's in the house.</dialogue>
<scene_description>Offscreen we hear Ray stirring in bed .</scene_description>
<character>RAY</character>
<dialogue>What's the matter?</dialogue>
<scene_description>Abby twists around to look down at him .</scene_description>
<character>ABBY</character>
<dialogue>I could've sworn I heard something.</dialogue>
<character>RAY</character>
<dialogue>Door's locked. Nothing there.</dialogue>
<scene_description>He pulls her down out of frame and we hold on the window and the empty lamplit street . Then Abby rises back into frame , in silhouette against the window , looking down at Ray .</scene_description>
<character>ABBY</character>
<dialogue>I knew it.'Cause we would n't have heard anything if it was him. He's real careful. Fact is, he's anal.</dialogue>
<character>RAY</character>
<dialogue>Huh?</dialogue>
<character>ABBY</character>
<dialogue>Yeah, he told me once himself. He said to me.</dialogue>
<scene_description>She taps herself on the forehead .</scene_description>
<character>ABBY</character>
<dialogue>`` In here, Abby. In here. I'm anal.''</dialogue>
<scene_description>HIGH ANGLE RAY Looking up at Abby .</scene_description>
<character>RAY</character>
<parenthetical>( yawning . )</parenthetical>
<dialogue>. Well I'll be damned.</dialogue>
<character>ABBY</character>
<dialogue>I could n't believe it either.</dialogue>
<scene_description>SIDE ANGLE ABBY Framed against the window , looking down at Ray .</scene_description>
<character>ABBY</character>
<dialogue>Me on the other hand, I got lots of personality.</dialogue>
<scene_description>She drops down onto the bed out of frame . The camera holds on the window through which we see the empty lamplit street .</scene_description>
<character>ABBY</character>
<dialogue>Marty always said I had too much. ` Course he was never big on personality.</dialogue>
<scene_description>She rises back up into frame , in silhouette against the window .</scene_description>
<character>ABBY</character>
<dialogue>He sent me to a psychiatrist to see if he could calm me down some.</dialogue>
<character>RAY</character>
<dialogue>Yeah? What happened?</dialogue>
<character>ABBY</character>
<dialogue>Psychiatrist said I was the healthiest person he'd ever met, so Marty fired him.</dialogue>
<character>RAY</character>
<parenthetical>( sleepily . )</parenthetical>
<dialogue>. I do n't know if you can fire a psychiatrist, exactly.</dialogue>
<character>ABBY</character>
<dialogue>Well, I did n't see him anymore, I'll tell you that much.</dialogue>
<scene_description>HIGH ANGLE RAY His eyes half - closed .</scene_description>
<character>RAY</character>
<dialogue>Uh - huh.</dialogue>
<character>ABBY</character>
<dialogue>I said, Marty, how come you're anal and I got ta go to the psychiatrist?</dialogue>
<character>RAY</character>
<dialogue>What'd he say?</dialogue>
<scene_description>SIDE ANGLE ABBY Framed against the window .</scene_description>
<character>ABBY</character>
<dialogue>Nothing. He's like you, he does n't say much.</dialogue>
<character>RAY</character>
<parenthetical>( murmuring . )</parenthetical>
<dialogue>Thanks.</dialogue>
<character>ABBY</character>
<dialogue>Except when he does n't say things they're usually nasty.</dialogue>
<character>RAY</character>
<dialogue>Mm - hmm.</dialogue>
<character>ABBY</character>
<dialogue>When you do n't they're usually nice.</dialogue>
<character>RAY</character>
<dialogue>You ever get tired?</dialogue>
<character>ABBY</character>
<dialogue>Huh? Oh, yeah, I guess. Mm - hmm.</dialogue>
<scene_description>Ray 's hand rises into frame and coaxes Abby back down onto the bed , revealing , through the window , a green Volkswagon now parked at curbside on the lamplit street . We hear the rustle of sheets . As we hold on the window , we begin to hear the faint , distant sound of metal scraping against metal . HALLWAY / LIVING ROOM We track down the dark hallway into the living room . As the camera advances the sound of the scraping becomes louder . We are moving across the living room up to the front door of the bungalow . The scraping is louder still as we finally frame on a close shot of the doorknob , which is jiggling ever so slightly . We hear a click as the lock finally releases . The door swings slowly open , revealing a man 's hand on the outside doorknob . We follow the hand as the man advances slowly and quietly across the living room . Abby 's purse comes into frame , sitting on a bureau ; next to it is a large tote bag . The hand rummages through the tote bag briefly , then the purse . The man withdraws Abby 's pearl - handled revolver . He breaks it open . LOW - ANGLE CLOSE SHOT THE MAN 'S FACE It is Visser . As we hear a click offscreen , his face glows a dim orange . BACK TO HIS HANDS His right holds the revolver , cylinder open , inside the purse . His left holds his cigarette lighter as he inspects the chamber . Three of the holes glint silver , the other three are black - empty . We hear the faint creaking of bedsprings . WIDE SHOT LIVING ROOM Visser cocks his head , listening , and looks down the hallway . He takes a couple of quiet steps across the living room and , as the camera tracks up to him , opens the back door of the bungalow . We follow him outside onto the lawn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S BUNGALOW</stage_direction>
<scene_description>We track behind him as he rounds the corner of the house and approaches the open window to Ray 's bedroom . He slows , moves more cautiously , then sinks to his knees under the window . As he reaches into his breast pocket the camera continues tracking up to and over him , finally framing his POV through the window . On the bed inside we can dimly see Abby and Ray , asleep . We have been hearing a faint rumble , becoming louder and louder as if approaching from a distance . Just as the rumble becomes deafening a sudden bright flash of light illuminates the room , seeming to polarize the image of Abby and Ray in bed , and we : CUT TO</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHONE BOOTH DAY</stage_direction>
<scene_description>A huge truck roars by on the street behind Visser , and with it the deafening rumble recedes . It is a painfully bright day . Visser stands sweating in the phone booth with the receiver pressed to his ear . We hear the phone ringing at the other end . Finally , it is picked up .</scene_description>
<character>VOICE</character>
<dialogue>Hello.</dialogue>
<character>VISSER</character>
<dialogue>Marty?</dialogue>
<character>MARTY</character>
<dialogue>Yeah. Is it.</dialogue>
<character>VISSER</character>
<dialogue>Ya catch any fish?</dialogue>
<character>MARTY</character>
<dialogue>What?</dialogue>
<character>VISSER</character>
<dialogue>Ya catch any fish?</dialogue>
<character>MARTY</character>
<dialogue>Yeah.</dialogue>
<character>VISSER</character>
<dialogue>What kind of fish?</dialogue>
<character>MARTY</character>
<dialogue>Listen, what is it? Is it done?</dialogue>
<scene_description>Visser forces a chuckle .</scene_description>
<character>VISSER</character>
<dialogue>Yessir, you owe me some money.</dialogue>
<scene_description>MARTY 'S OFFICE NIGHT CLOSE SHOT TWO STRINGS OF FISH Being plopped down onto Marty 's desk . WIDER THE OFFICE Visser sits facing the desk . He lights himself a cigarette and sets the lighter down on the desk in front of him . Marty settles , fidgeting , into the chair behind it . The bar is quiet , shut down . We hear only the whir of a fan somewhere offscreen . Marty and Visser are lit by a lamp on the desk between them . Light streams into the room from a bathroom in the background . Visser is looking at the dead fish .</scene_description>
<character>VISSER</character>
<parenthetical>( dully . )</parenthetical>
<dialogue>They look good.</dialogue>
<scene_description>Marty half - rises from his seat and picks up one of the strings .</scene_description>
<character>MARTY</character>
<dialogue>Want a couple?</dialogue>
<scene_description>He drops them on Visser 's side of the desk . Visser 's head draws back : he was only being polite .</scene_description>
<character>VISSER</character>
<dialogue>Just the ten thousand'll be fine.</dialogue>
<character>MARTY</character>
<dialogue>Got something to show me first?</dialogue>
<scene_description>Visser hands a 9 x 12 envelope across the desk . Marty stares at it for a moment , then quickly bends back the flap and takes out an 8 x 10 photograph . THE PHOTOGRAPH It is a black - and - white shot of Abby and Ray in Ray 's bed . The sheet that partially covers them is pocked with three dark bullet holes and is stained with blood . MARTY Staring dully down at the picture .</scene_description>
<character>MARTY</character>
<dialogue>Dead, huh?</dialogue>
<character>VISSER</character>
<dialogue>So it would seem.</dialogue>
<scene_description>CLOSE SHOT THE TOP OF THE DESK Visser is pushing the fish away from his side of the desk with the eraser end of a pencil .</scene_description>
<character>MARTY</character>
<dialogue>What did you.</dialogue>
<scene_description>BACK TO MARTY Still looking at the picture . He traces the outline of Abby 's body with his finger .</scene_description>
<character>MARTY</character>
<dialogue>What did you do with the bodies?</dialogue>
<character>VISSER</character>
<dialogue>It's taken care of. The less you know about it the better.</dialogue>
<character>MARTY</character>
<dialogue>Jesus, I do n't believe it.</dialogue>
<scene_description>Marty slips the picture back into its 9 x 12 envelope . His face is pale .</scene_description>
<character>MARTY</character>
<dialogue>I think I'm gon na be sick.</dialogue>
<scene_description>He rises and heads for the bathroom , still clutching the envelope . CLOSE SHOT VISSER As his eyes follow Marty 's exit . The bathroom door does n't close all the way ; a narrow shaft of light slices the office from the bare bulb in the bathroom .</scene_description>
<character>VISSER</character>
<dialogue>I'll want that picture back.</dialogue>
<scene_description>He turns to look across the desk . VISSER 'S POV The standing safe behind the desk . BACK TO VISSER Still looking at the safe . Beads of sweat have popped out on his forehead . He fans himself with his cowboy hat .</scene_description>
<character>VISSER</character>
<dialogue>and you did say somethin' about some money.</dialogue>
<scene_description>We hear a toilet flush offscreen . LONG SHOT MARTY 'S OFFICE As he reenters the office .</scene_description>
<character>MARTY</character>
<dialogue>Your money, yeah.</dialogue>
<scene_description>Visser stares dully down at the desktop .</scene_description>
<character>VISSER</character>
<dialogue>Something I got to ask you, Marty. I've been very very careful. Have you been very very careful?</dialogue>
<character>MARTY</character>
<dialogue>Of course.</dialogue>
<character>VISSER</character>
<dialogue>Nobody knows you hired me?</dialogue>
<scene_description>HIGH ANGLE CORNER OF THE OFFICE Marty is hunched over the open safe , still holding the envelope . Blocking Visser 's view of the safe with his body , he slides the picture of Abby 's and Ray 's corpses from under the envelope into the safe , then withdraws two packets of money .</scene_description>
<character>MARTY</character>
<dialogue>Do n't be absurd, I was n't about to tell anyone.</dialogue>
<scene_description>He shuts the safe and spins the dial .</scene_description>
<character>MARTY</character>
<dialogue>This is an illicit romance - we've got to trust each other to be discreet.</dialogue>
<scene_description>He walks across the room and throws the money and the envelope down on the desk .</scene_description>
<character>MARTY</character>
<dialogue>For richer, for poorer.</dialogue>
<scene_description>Visser looks from the money down at his hands . They are sweating .</scene_description>
<character>VISSER</character>
<dialogue>Do n't say that. Your marriages do n't work out so hot.</dialogue>
<scene_description>He wipes his hands on his pants .</scene_description>
<character>VISSER</character>
<dialogue>How did you cover the money?</dialogue>
<scene_description>Marty sits and props his booted feet up on the desk .</scene_description>
<character>MARTY</character>
<dialogue>It's taken care of. The less you know about it the better.</dialogue>
<scene_description>He smiles .</scene_description>
<character>MARTY</character>
<dialogue>I just made a call about that. It'll look fine.</dialogue>
<character>VISSER</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>I must've gone money simple. This kind of murder.</dialogue>
<scene_description>He nods toward the envelope on the desk .</scene_description>
<character>VISSER</character>
<dialogue>it's too damn risky.</dialogue>
<character>MARTY</character>
<dialogue>Then you should n't have done it. Ca n't have it both ways.</dialogue>
<scene_description>He pushes the money across the desk with his boot .</scene_description>
<character>MARTY</character>
<dialogue>Count it if you want.</dialogue>
<character>VISSER</character>
<parenthetical>( reaching into his coat . )</parenthetical>
<dialogue>Nah, I trust ya.</dialogue>
<scene_description>His hand comes out with a gun pointing at Marty and - BAM - he fires , an orange lick of flame spurting from the gun . Both men sit frozen . Visser 's hand is the only thing that moved . CLOSE SHOT MARTY Staring at Visser . After the gun blast we hear only the whir of the fan . CLOSE SHOT VISSER Staring at Marty . MED SHOT MARTY OVER VISSER 'S SHOULDER His eyes are now shut . Otherwise he has n't moved . A blood stain is growing on the front of his shirt . WIDE SHOT THE OFFICE The two face each other across the desk . Visser 's gun is still trained on Marty . After a moment Visser starts fanning himself again with his cowboy hat . The only movement in the frame is the slow back - and - forth of the yellow hat , rhythmically in and out of shadow as it catches and loses the light from the desk lamp . There is a long pause . Finally one of Marty 's feet slips from the desk and hits the floor with a THUD . Visser lays the gun on the desk . CLOSE SHOT VISSER As he reaches into his breast pocket and withdraws a handkerchief . He wipes his forehead , then picks up the gun and wipes it off . He leans down with the gun . CLOSE SHOT THE GUN As Visser places it deliberately on the floor near the desk . It is Abby 's pearl - handled revolver . THE DESKTOP FROM DESK LEVEL As Visser straightens up in the foreground . From our head - on angle shooting across the desk we can see the bright metallic glint of Visser 's cigarette lighter underneath the dead fish . Visser 's hands move over the near part of the desk , picking up the money and the 9 x 12 picture envelope . EXTREME HIGH SHOT THE OFFICE As Visser turns from the desk and walks across the room out of frame . We hear the back door opening .</scene_description>
<character>VISSER</character>
<dialogue>Who looks stupid now.</dialogue>
<scene_description>The door slams shut . The only sound is the whir of the fan . A pause . The camera tracks slowly forward , tilting down to keep Marty and the desktop centered in frame . As the camera moves the noise of the fan grows louder . When Marty 's body and the desk are directly beneath us , the blades of the ceiling fan cut across the immediate foreground and effect a : MARTY 'S BAR LATER It is completely still . We are looking from the bar , across the dark empty floor , toward the pebbled windows at the front of the building that catch a hard blue light from the streetlamps outside . The jukebox in the middle distance glows in the darkness . A pair of headlights catches the pebbled glass and grows brighter as we hear a car pull up to the bar and stop . We hear a car door open and shut , then the sound of feet on gravel . A huge shadow appears on the pebbled glass as the figure crosses in front of the headlights . The man tries the door , finds it locked , and walks back in front of the headlights to cup his hands at a window . He walks back to the door , and a moment later it swings open - framing him in the doorway in silhouette . We follow him as he moves across the floor , behind the bar and up to the cash register . He switches on a small fluorescent light clamped to the top of the cash register . It is Ray . He punches a key and the register rings open . He lifts up the empty cash drawer and takes some papers from underneath it . RAY 'S POV As he flips through the papers ; bills , receipts , no money . BACK TO RAY As he finishes flipping through the papers .</scene_description>
<character>RAY</character>
<parenthetical>( muttering . )</parenthetical>
<dialogue>Damn.</dialogue>
<scene_description>He slips them back under the cash drawer and slams the register shut . Turning from the register he glances around the bar , the pauses , noticing something . RAY 'S POV Light is spilling out from under the door to Marty 's office . BACK TO RAY As he starts across the floor to Marty 's office .</scene_description>
<character>RAY</character>
<dialogue>Marty.</dialogue>
<scene_description>He reaches the door and knocks sharply . No answer . He turns the knob .</scene_description>
<character>RAY</character>
<dialogue>Marty.</dialogue>
<scene_description>The door is locked . We hear the muffled whir of the ceiling fan inside . A pause . Ray withdraws a ring of keys from his pocket and uses one on the door . The door swings open . Over his shoulder we see Marty , still at his desk , his back to us . On foot is still propped on the desk .</scene_description>
<character>RAY</character>
<dialogue>What's the matter, you deaf?</dialogue>
<scene_description>No answer . Ray stumbles toward Marty . He stumbles slightly and we hear the sharp blast of a gun and the sound of something metallic skating across the floor . Ray , startled , steadies himself against the desk , then studies Marty . RAY 'S POV There is a dark pool of blood under Marty 's chair . BACK TO RAY He looks back up at Marty , then walks behind his chair and throws a wall switch . The room is bathed in light . His eyes still on Marty , Ray crosses behind the desk . RAY 'S POV TRACKING SHOT The camera moves in a slow arc around the back of Marty 's motionless head . BACK TO RAY Still moving . He looks away from Marty , scans the floor . He gets down on his hands and knees and peers under the safe . RAY 'S POV There is a glinting silver circle in the darkness under the safe . It is the business end of the revolver that Ray half - stumbled over , half - kicked . BACK TO RAY Still on his hands and knees . He reaches in and we hear a rattle as he gropes under the safe . He withdraws the gun , looks at it . THE GUN It is Abby 's revolver . BACK TO RAY For a long moment he does n't move . Then , slowly , he starts to get up . WIDER The desk , Marty behind it , Ray straightening behind him . Ray looks from the gun to Marty , slowly sets the gun down on the desk . A pause . He begins to hoist Marty from the chair . There is noise from the bar , as of someone entering . Ray reacts . THE DOOR Separating the bar and back office . Ray hurries to it .</scene_description>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Marty?</dialogue>
<scene_description>Footsteps approach the door . EXTREME CLOSE SHOT RAY 'S HAND ON THE DOOR BOLT He turns it gently . The bolt clicks shut . BACK TO RAY Meurice 's footsteps draw nearer .</scene_description>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Marty, ya home?</dialogue>
<scene_description>There is a rap at the door ; Ray stands frozen . The doorknob rattles . Ray reaches out compulsively to grab it , but stops himself before actually touching it . Now Meurice 's footsteps can be heard going casually back into the bar . We hold on Ray 's rigidly set face .</scene_description>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What day is it today, Angie?</dialogue>
<character>WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Tuesday.</dialogue>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Tuesday is ladies' night.</dialogue>
<character>WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What?</dialogue>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Tuesday night is ladies' night. All your drinks are free.</dialogue>
<scene_description>We hear a record drop on the jukebox and a Motown song blares . Ray crosses to Marty 's chair and takes off his nylon windbreaker . He stoops down and tries to mop up the pool of blood with his windbreaker . This is n't going to work . He rises and walks over to the bathroom , the windbreaker dripping blood . MARTY 'S OFFICE BATHROOM CLOSE SHOT FAUCET The song continues faintly in the background . The faucet is turned on and Ray 's hand enters frame , holding a dirty white towel under the stream of water . BLOOD - SPATTERED FLOOR The song continues in the background . Ray 's hand enters frame holding the balled - up towel . His windbreaker is wrapped inside . The camera follows as he pushes it across the trail of dripped blood to the pool of blood under Marty 's chair . CLOSE SHOT MARTY He still has not moved . Ray rises into frame and takes him under the armpits . He notices something on the desk in front of him . CLOSE SHOT THE GUN ON THE DESK Ray 's hand enters frame and picks it up . CLOSE SHOT MARTY 'S COAT POCKET Ray 's hand enters frame and slips the gun into Marty 's pocket . Marty is hoisted up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF THE BAR / PARKING LOT</stage_direction>
<scene_description>Ray appears in the doorway . The music from the bar , though fainter , can still be heard . There are three or four wooden steps going down from the back door to the small gravel parking lot in back . Ray backs down the stairs ; Marty 's feet THUMP - THUMP - THUMP down the stairs after him . The rear door of Ray 's car is open . Ray heaves in Marty 's torso . Marty 's legs rest on the ground outside the car . Ray takes an ankle in each hand and pushes . CLOSE SHOT RAY As he shuts the door . He looks up across the parking lot . RAY 'S POV The incinerator belching fire and smoke . We hear its distant roar over the bar song . We hear the car door slam . HIGH - ANGLE TRACKING SHOT TOWARD INCINERATOR We are looking down on Ray 's car as the camera tracks behind it towards the incinerator . At the cut the roar of the incinerator is suddenly louder . It grows louder still as we approach it . Ray 's car draws even with the incinerator without slowing or stopping . The wadded - up towel is chucked out of his window into the fire . We hold on the fire as Ray 's car rolls on out of frame .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S CAR</stage_direction>
<scene_description>As he drives down a deserted country highway . We hear the rhythmic sound of the wheels clomping over asphalt . The radio is broadcasting a fundamentalist 's sermon , periodically interrupted by static . Ray is sweating .</scene_description>
<character>EVANGELIST</character>
<dialogue>- so there were three signs, the second of which is Famine, this famine which I have already pointed out is devastatin' Africa and the Indian subcontinent. And the third of these signs is earthquakes. Now I do n't know why he threw that in but if you talk to a geologist, and I've talked to many, he'll tell you that earthquake activity -</dialogue>
<scene_description>Ray twists around and looks in the back seat . RAY 'S POV Marty is lying inert .</scene_description>
<character>EVANGELIST</character>
<dialogue>- has increased almost eighty percent in the past two years, and what's more, in two years' time we'll be experiencin' what's knows as the Jupiter Effect -</dialogue>
<scene_description>BACK TO RAY He looks back at the road . A car roars by .</scene_description>
<character>EVANGELIST</character>
<dialogue>- wherein all the planets of the known universe will be aligned up causin' an incredible buildup of destructive gravitational force. Now in Matthew Chapter Six, Verse Eighteen the Lord out and tells us that these are the signs by which we shall know that He is at our door. There are many good people disagree with me, but it's my belief that this Antichrist is alive today and livin' somewhere in Europe, in that ten - nation alliance I spoke of, bein' groomed for his task -</dialogue>
<scene_description>Ray switches off the radio . We hear the sound of faint , labored breathing . EXTREME CLOSE SHOT RAY His jaw tightens . He whips his head toward the back seat . His head snaps forward again and he slams on the brakes . The car screeches to a halt .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY</stage_direction>
<scene_description>LONG SHOT THE CAR As Ray 's door flies open . He is bolting from the car . The camera , at waist level , tracks toward him as he races out into the field that abuts the highway . Fifty yards in he finally stops , panting , framed from a low angle . His breath vaporizes in the crisp night air . We hear only his breath and the chirring of crickets . He is looking back toward the road . RAY 'S POV LONG SHOT THE CAR Standing abandoned on the shoulder of the deserted highway . Its headlights cast a lonely beam up the road . No movement . BACK TO RAY His panting slows . He is in a cold sweat . After a long moment , he starts walking slowly , reluctantly , back toward the car . RAY 'S POV TRACKING Toward the car . Still no sign of movement . BACK TO RAY He slows as he draws up to the back of the car . He looks in the back window . RAY 'S POV BACK SEAT OF THE CAR It is empty . The door on the highway side is ajar . BACK TO RAY No reaction . He walks around the back of the car onto the highway . He looks up the road . RAY 'S POV Marty is crawling up the road on his hands and knees , leaving a trail of blood . The headlights of Ray 's car give a fantastically long shadow . BACK TO RAY Still no reaction . He gets into the driver 's seat and stares through the windshield as he gropes for the ignition key . RAY 'S POV Marty , crawling . BACK TO RAY He throws the car into drive , looks at his target , thinks - decides . He pulls the key out of the ignition and goes around to the trunk of the car . He opens it and pulls out a shovel . MARTY LOW ANGLE From in front . The headlights glare behind him . His breath vaporizes . In the background Ray is walking toward him , dragging the shovel , which scrapes along the asphalt . As Ray moves into the foreground and turns to face Marty only his lower legs and the shovel are in frame . The shovel rises out of frame . CLOSE SHOT RAY Both hands hold the shovel tensed over his shoulder . He stares down at Marty . A long pause . We hear a distant rumble . CLOSE SHOT RAY 'S FEET Inches away from Marty . Marty 's hand slides forward and wraps around one of Ray 's ankles . BACK TO RAY He shudders . He adjusts his grip on the shovel . The rumble grows louder . RAY 'S FEET He jerks his foot away , breaking Marty 's grasp . BACK TO RAY Looks up from Marty . The rumble grows louder . RAY 'S POV Headlight beams , although not yet the headlights themselves , are visible a long way down the road . BACK TO RAY Staring down the road . Finally he lowers the shovel , walks back to the car and throws it viciously into the trunk , walks back up into the foreground and stoops down . CLOSE SHOT MARTY As Ray grabs him under the armpits and starts dragging him back to the car . Just before Ray heaves him into the back seat , Marty coughs weakly . A fine spray of blood comes out with the cough . The engine rumble is quite loud now . MED SHOT RAY FROM ACROSS THE ROOF OF THE CAR As he slams the back door shut . He presses himself against the side of the car . Headlights glare over him ; the truck roars by just behind him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OPEN FIELD</stage_direction>
<scene_description>FULL SHOT RAY 'S CAR Sudden quiet at the cut . We are looking at Ray 's car in profile , parked in the middle of a deserted field . From offscreen we hear the sound of a shovel biting into earth . We track laterally down the car , along the beam of its headlights , to finally frame Ray as he climbs out of the shallow grave he has just finished digging . He plants the shovel and walks back to the car . VERY WIDE SHOT The grave in the middle background ; the car 's headlights beyond it . Ray is dragging Marty toward the grave . He dumps him in . HIGH SHOT THE GRAVE As Marty thumps to the bottom , face up . CLOSE SHOT RAY As he bends over to pick up the shovel , dripping sweat . We hear the shovel biting into earth . HIGH SHOT THE GRAVE Ray , in the foreground , pitches the first shovelful of earth onto Marty . Marty moves slightly . LOW SHOT RAY As he pauses , looking down into the grave . He stoops down and resumes shoveling , bobbing in and out of frame as he hurls dirt into the grave . BACK TO HIGH SHOT As Ray shovels , Marty is moving under the loose dirt . A faint , inarticulate noise comes from the grave . Almost imperceptibly , Marty 's right arm starts to rise . LOW SHOT FROM INSIDE THE GRAVE Ray stands on the lip of the grave , hunched over his shovel , crisply illuminated by the headlights . In the shadowy foreground Marty 's arm rises , extended toward Ray . He is clutching Abby 's gun in his splint - fingered hand . CLOSE SHOT RAY As he straightens up and stands motionless , expressionless , watching Marty , making no attempt to get out of the way . HIGH SHOT MARTY The gun extended into the foreground . His index finger splinted , he slides his middle finger over the trigger of the gun . LOW SHOT RAY Watching . HIGH SHOT MARTY The gun trembling in the foreground . His knuckle whitens over the trigger . The trigger releases and we hear the dull click of an empty chamber . LOW SHOT RAY Staring blankly down at Marty . SIDE SHOT Of Marty 's gun hand as Ray slowly sinks down on the lip of the grave , bracing himself with the shovel . His hand reaches for Marty 's . Marty squeezes off two more empty chambers . Ray 's hand slowly closes over the barrel of the gun . As he pulls , the gun slides from Marty 's fingers . CLOSE SHOT THE BLADE OF THE SHOVEL Biting into the earth . MED SHOT RAY Furiously shoveling dirt into the grave . HIGH SHOT THE GRAVE Marty barely visible under the dirt . MED SHOT RAY Shoveling , panting . HIGH SHOT THE GRAVE Half full . MED SHOT RAY Working furiously . His breath comes in short gasps . HIGH SHOT THE GRAVE It is filled . Ray is packing down the earth , slamming the shovel furiously against the bare patch of earth . CLOSE SHOT THE BLADE OF THE SHOVEL Being slammed down against the earth . Again and again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OPEN FIELD SUNRISE</stage_direction>
<scene_description>The staccato beat of the shovel slamming against earth drops out at the cut . There is perfect quiet . The sun is just peeping over the horizon . In the foreground Ray is sitting in the open door of his car , smoking a cigarette . His gaze is fixed on a spot offscreen . HIS POV A house . Quite near by . The house and its perfect green rectangle of lawn are set incongruously in the middle of the open field . BACK TO RAY Staring , without emotion . He takes one last , fierce drag on the cigarette , then flicks it away . He takes the shovel , walks over to the grave and stares at it for several seconds , shovel clasped firmly in both hands . He walks back to the car . HIGH SHOT House , car and grave . Ray throws the shovel into the car , gets in , and turns the ignition . The engine coughs weakly and dies . He tries again . Same result . One more time . The engine coughs , sputters , and fires to life . The car runs over the grave and rattles on across the rutted field towards the highway in the distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S CAR DAWN</stage_direction>
<scene_description>As Ray drives down the straight empty highway in the flat early - morning light . CLOSE SHOT RAY Pale and unblinking . RAY 'S POV THE HIGHWAY In the distance we see a beat - up white station wagon approaching . It 's headlights wink on , then off again . BACK TO RAY He squints at the approaching car . RAY 'S POV The car is closer . It 's headlights wink again . BACK TO RAY His jaw tightens . He stares intently at the car . Then , abruptly , he looks down at his dashboard . CLOSE SHOT HEADLIGHT KNOB ON THE DASHBOARD His headlights are on . Ray 's hand enters frame and pushes in the knob . SIDE ANGLE RAY Watching the approaching station wagon . As it passes we catch a glimpse of its occupant . He grins and cocks a you - got - it finger at Ray before roaring out of frame .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERTED GAS STATION</stage_direction>
<scene_description>HIGH ANGLE The station has n't opened yet . Ray 's car , empty , stands alone in the lot . Flat prairie stretches to the horizon . No movement in the frame . At the cut we hear the faint sound of a phone ringing through a receiver . After four or five rings the phone is picked up and we begin a slow crane down .</scene_description>
<character>ABBY</character>
<parenthetical>( through phone ; sleepily . )</parenthetical>
<dialogue>Hello?</dialogue>
<character>RAY</character>
<parenthetical>( present ; very hoarsely . )</parenthetical>
<dialogue>Abby. you all right?</dialogue>
<character>ABBY</character>
<dialogue>Ray? What time is it?</dialogue>
<character>RAY</character>
<dialogue>I do n't know. It's early. I love you.</dialogue>
<scene_description>A beat .</scene_description>
<character>ABBY</character>
<dialogue>You all right?</dialogue>
<character>RAY</character>
<dialogue>I do n't know. I better get off now.</dialogue>
<scene_description>The continuing crane down reveals Ray in a phone booth in the foreground .</scene_description>
<character>ABBY</character>
<dialogue>Okay, see ya. Thanks, Ray.</dialogue>
<character>RAY</character>
<dialogue>Abby -</dialogue>
<scene_description>The phone disconnects .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>CLOSE SHOT ABBY Her sleeping head on a pillow . Offscreen we hear a door open and shut . A moment later Ray 's dirt - caked hand comes into frame and gently brushes a wisp of hair back for Abby 's face . We hear Ray walk across the apartment and a moment later the sound of water running . Abby stirs . She looks offscreen . LONG SHOT RAY Standing in the doorway to the bathroom . He is wiping his hands on a towel .</scene_description>
<character>ABBY</character>
<parenthetical>( sleepily . )</parenthetical>
<dialogue>. Ray?</dialogue>
<character>RAY</character>
<dialogue>You're bad.</dialogue>
<scene_description>Still half asleep , Abby smiles .</scene_description>
<character>ABBY</character>
<dialogue>What?</dialogue>
<character>RAY</character>
<dialogue>I said you're bad.</dialogue>
<scene_description>There is a long pause . Finally :</scene_description>
<character>ABBY</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>. You're bad too.</dialogue>
<scene_description>Ray swings a chair out and sits down behind a table at the far end of the room . He leans back and props his legs up on the table . He is staring across the room at Abby .</scene_description>
<character>RAY</character>
<dialogue>We're both bad.</dialogue>
<scene_description>FADE OUT BLACK As we hear the click of a pull - string the camera is dropping : down past an orange safe light , down the length of the string , down to a metal darkroom tray where two short strips of negative are burning . Visser 's hand and yellow sleeve cuff -LRB- now orange -RRB- enter frame , with an 8 x 10 black - and - white photograph . The photograph is dropped into the tray . As it burns we see that it is the same picture of Abby 's and Ray 's `` corpses '' as Visser showed Marty , except that in this print the bullet holes and blood are less convincingly brushed in . Another print is dropped into the tray and ignites . In this one we see bullet holes but no blood . A third print is dropped in and ignites . It is the original undoctored shot of Abby and Ray asleep in bed . Visser 's hands enter frame holding the picture - envelope that he took away from Marty 's office . Visser rips it in half and is about to drop it into the tray , but stops abruptly . There is posterboard , not a photograph , peeking out of the torn envelope . Visser 's hands pull the two halves of the placard from the envelope and fit them together . The stenciled 8 x 10 placard says : `` All Employees Must Wash Hands Before Resuming Work . '' LOW - ANGLE CLOSE SHOT VISSER Staring at the placard in disbelief . After a moment his hand rises into frame to deposit a cigarette in his mouth . His hand drops back down , groping in a pocket . His hand jumps back into frame , empty ; he thumps at his breast pockets ; he ca n't find his lighter . He wheels and exits frame . The light snaps off . A door slams shut . ABBY 'S APARTMENT DAY CLOSE SHOT RAY He has dozed off in his chair . Offscreen we hear a door slam , and his eyes open . ABBY Emerging from the bathroom . Her voice has a flat echo in the bare apartment .</scene_description>
<character>ABBY</character>
<dialogue>Why did n't you get into bed?</dialogue>
<character>RAY</character>
<parenthetical>( groggy . )</parenthetical>
<dialogue>I did n't think I could sleep. I'm surprised you could. Are you all right?</dialogue>
<character>ABBY</character>
<dialogue>Yeah.</dialogue>
<scene_description>She walks over and sits down on the bed .</scene_description>
<character>ABBY</character>
<dialogue>You called me this morning.</dialogue>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
<scene_description>Abby looks at him , expecting more . Finally :</scene_description>
<character>RAY</character>
<dialogue>I just wanted to let you know that everything was all right. I took care of everything. Now all we have to do is keep our heads.</dialogue>
<character>ABBY</character>
<dialogue>What do you mean?</dialogue>
<scene_description>Ray finally looks directly at her .</scene_description>
<character>RAY</character>
<dialogue>I know about it, Abby. I went to the bar last night.</dialogue>
<scene_description>Abby is looking at him in alarm .</scene_description>
<character>ABBY</character>
<dialogue>What happened? - Was Meurice there?</dialogue>
<character>RAY</character>
<dialogue>Yeah.</dialogue>
<scene_description>He laughs shortly .</scene_description>
<character>RAY</character>
<dialogue>He did n't see me, though. Nobody saw me.</dialogue>
<scene_description>The chair grates back as he stands up and looks vaguely around the room .</scene_description>
<character>RAY</character>
<dialogue>Is it cold in here?</dialogue>
<scene_description>Abby is looking at him nervously .</scene_description>
<character>ABBY</character>
<dialogue>Well. what happened?</dialogue>
<character>RAY</character>
<dialogue>I cleaned it all up, but that ai n't important.</dialogue>
<scene_description>He starts nervously pacing around the room , looking for something .</scene_description>
<character>RAY</character>
<dialogue>What's important is what we do now ; I mean we ca n't go around half - cocked. What we need is some time to think about this, figure it out.</dialogue>
<scene_description>He moves a packing crate aside , still hunting around the apartment .</scene_description>
<character>RAY</character>
<dialogue>Anyway, we got some time now. But we got ta be smart.</dialogue>
<character>ABBY</character>
<dialogue>Ray -</dialogue>
<character>RAY</character>
<dialogue>Abby, never point a gun at anyone unless you're gon na shoot him. And when you shoot him you better make sure he's dead.</dialogue>
<scene_description>Ray 's pacing is more agitated as he looks distractedly around the apartment .</scene_description>
<character>RAY</character>
<dialogue>because if he's not dead he's gon na get up and try and kill you.</dialogue>
<scene_description>He pauses , seemingly at a total loss .</scene_description>
<character>RAY</character>
<dialogue>That's the only thing they told us in the service that was worth a goddamn - Where the hell's my windbreaker?</dialogue>
<character>ABBY</character>
<dialogue>What the hell happened, Ray?</dialogue>
<scene_description>Ray is walking to the window . Sunlight streams in around him .</scene_description>
<character>RAY</character>
<dialogue>That ai n't important. What's important is that we did it. That's the only thing that matters. We both did it for each other.</dialogue>
<scene_description>He stoops down to look through a pile of clothes by the window .</scene_description>
<character>RAY</character>
<dialogue>That's what's important.</dialogue>
<character>ABBY</character>
<dialogue>I do n't know what you're talking about.</dialogue>
<scene_description>Ray 's head snaps around . Staring at her he slowly rises to his feet and then remains still .</scene_description>
<character>ABBY</character>
<dialogue>I. I mean what're you talking about, Ray? I have n't done anything funny.</dialogue>
<character>RAY</character>
<dialogue>What was that?</dialogue>
<scene_description>Abby , startled , ca n't contain her agitation anymore .</scene_description>
<character>ABBY</character>
<parenthetical>( rapidly . )</parenthetical>
<dialogue>Ray, I mean you ai n't even acting like yourself. First you call me at five in the A.M. saying all kinds of nice things over the telephone and then you come charging in here scaring me half to death without even telling me what it is I'm supposed to be scared of. I got ta tell you it's extremely rattling.</dialogue>
<scene_description>RAY We track toward him , isolating him against the window . He is perfectly still . For a long time he ca n't speak .</scene_description>
<character>RAY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>. Do n't lie to me, Abby -</dialogue>
<scene_description>BACK TO ABBY Still worked up .</scene_description>
<character>ABBY</character>
<dialogue>How can I be lying if I do n't even know -</dialogue>
<scene_description>The ring of the telephone cuts her off . She looks at the phone , pauses for a moment , then continues , struggling .</scene_description>
<character>ABBY</character>
<dialogue>I mean if you and him had a fight or something, I do n't care, as long as you.</dialogue>
<scene_description>Her voice trails off . The telephone wo n't stop ringing . Abby and Ray are staring at each other , seemingly oblivious to it . Finally :</scene_description>
<character>RAY</character>
<dialogue>Pick it up.</dialogue>
<scene_description>CLOSE SHOT TELEPHONE Still ringing . Abby 's hand enters frame and picks it up .</scene_description>
<character>ABBY</character>
<dialogue>What.</dialogue>
<scene_description>Through the phone we hear only the rhythmic whir of a ceiling fan . Abby shifts the phone to her other ear , listening hard . It is the same sound we heard earlier when she picked up the phone at Ray 's house . As before , the line clicks dead .</scene_description>
<character>ABBY</character>
<parenthetical>( looking at Ray . )</parenthetical>
<dialogue>. Welp, that was him.</dialogue>
<scene_description>There is a long moment of silence . Then Ray 's voice comes from across the room :</scene_description>
<character>RAY</character>
<dialogue>Who?</dialogue>
<character>ABBY</character>
<dialogue>Marty.</dialogue>
<scene_description>There is silence again . LONG SHOT THE APARTMENT Ray shifts in front of the window . He laughs humorlessly . The laugh stops abruptly .</scene_description>
<character>ABBY</character>
<dialogue>What's going on with you two?</dialogue>
<character>RAY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>All right.</dialogue>
<scene_description>He starts across the room .</scene_description>
<character>RAY</character>
<dialogue>You can call him back, whoever it was.</dialogue>
<scene_description>He is heading for the door .</scene_description>
<character>RAY</character>
<dialogue>I'll get out of your way.</dialogue>
<scene_description>He pauses at the foyer and pulls Abby 's gun out of his pocket . He sets it on a shelf by the door . ABBY Watching . We hear the door open .</scene_description>
<character>RAY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You left your weapon behind.</dialogue>
<scene_description>We hear the door slam shut . CLOSE SHOT CEILING FAN We hear the rhythmic whir of the fan . We tilt down from the ceiling to reveal that we are in the living room of Ray 's bungalow . In the foreground Visser sits in a chair with the cradled telephone in his lap , facing the front door , which stands open in the background . The contents of Abby 's tote bag lie strewn on the bureau next to Visser . Her purse is not there . After a moment Visser rouses himself and starts to sweep the articles back into the tote bag .</scene_description>
</scene>
<scene>
<stage_direction>INT. MEURICE'S APARTMENT DAY</stage_direction>
<scene_description>LOW WIDE SHOT LIVING ROOM It is dark , lit only by the morning light leaking in around the drawn blinds . It is a small modern apartment such as one sees in large apartment complexes - shag carpeting , built - in bar . In the extreme foreground the small red `` Power '' light of a telephone answering machine glows in the darkness . The front door opens in the background , spilling bright sunlight . Meurice stoops down , picks up two newspapers , enters , and shuts the door . He walks toward the camera and his hand enters frame in extreme foreground to punch the rewind button on the machine . His hand leaves frame . A few pieces of mail are flipped down onto the machine table , piece by piece , as the machine rewinds . He reaches down again and hits playback . After a beep :</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>Hi Meurice, this is Helene, Helene Trend, and I'm calling'cause I wan na know just what the hell that remark you made about Sylvia's supposed to mean.</dialogue>
<scene_description>Mail continues to flip down onto the table , piece by piece .</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>She says you're full of shit and frankly I believe her. And hey, I love you too. Sure. Anyway, you better call me soon because I'm going to South America tonight - you know, Uruguay?</dialogue>
<scene_description>Dial tone . Beep .</scene_description>
<character>MARTY'S VOICE</character>
<parenthetical>( barking . )</parenthetical>
<dialogue>Listen asshole, you know who this is. I just got back from Corpus and there's a lot of money missing from the safe.</dialogue>
<scene_description>The mail stops dropping ; Marty has Meurice 's attention .</scene_description>
<character>MARTY'S VOICE</character>
<dialogue>I'm not saying you took it but the place was your responsibility and I told you to keep an eye on your asshole friend. Do n't - uh, do n't come to the bar tonight, I've got a meeting. But tomorrow I want to have a word with you, and with Ray - if you can find him.</dialogue>
<scene_description>Dial tone . Beep . Meurice 's hand drops into frame .</scene_description>
<character>WOMAN'S VOICE</character>
<dialogue>Meurice, where the hell have you been? I -</dialogue>
<scene_description>His finger presses the stop button . RAY 'S FINGER Pressing into a dark stain in the upholstery of the back seat of his car . When he raises it the fingertip is red - the seat still wet with blood . CLOSE SHOT RAY Looking down at the seat . He backs out of the car and walks up the driveway to his house .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S LIVING ROOM</stage_direction>
<scene_description>As he comes through the screen door . It bangs shut behind him . As he crosses the living room we see , and he hears , Meurice 's Trans Am pulling up and stopping at the foot of the lawn . Ray turns and looks out the window . CLOSE SHOT CLOSET DOOR Ray throws it open and hurriedly pulls out the first thing at hand - a sheet . We hear the door of the Trans Am open and slam shut .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S BUNGALOW</stage_direction>
<scene_description>TRACKING SHOT ON RAY Exiting the house as the screen door bangs and shudders behind him . He hurries down the walk . TRACKING SHOT RAY 'S POV Meurice is rounding the bottom of the lawn and starting up the drive toward the incriminating car . Its back door is standing ajar .</scene_description>
<character>MEURICE</character>
<dialogue>I hope you're planning on leaving town.</dialogue>
<scene_description>BACK TO RAY Reacting to the line as he reaches the car . He bends over to throw the sheet over the seat just as Meurice walks up behind him .</scene_description>
<character>RAY</character>
<parenthetical>( his back to Meurice ; arranging the sheet . )</parenthetical>
<dialogue>Got a problem, Meurice?</dialogue>
<character>MEURICE</character>
<dialogue>No, you do, cowboy. You been to the bar?</dialogue>
<scene_description>Ray is still hunched in the open doorway . He freezes momentarily in arranging the sheet .</scene_description>
<character>RAY</character>
<dialogue>Why?</dialogue>
<character>MEURICE</character>
<dialogue>You should n't have taken the money.</dialogue>
<scene_description>Ray does n't reply or turn around . Meurice is getting more strident .</scene_description>
<character>MEURICE</character>
<dialogue>Look at me man, I'm serious. You broke in the bar and ripped off the safe.</dialogue>
<scene_description>Ray backs out of the car and turns around .</scene_description>
<character>MEURICE</character>
<dialogue>Abby warned me you were gon na make trouble. Trouble with you is, you're too fucking obvious ; the only ones with the combination are me and you.</dialogue>
<scene_description>Ray looks evenly at Meurice . Behind him the sheet has been arranged over the seat . He puts an unlit cigarette in his mouth .</scene_description>
<character>MEURICE</character>
<dialogue>and Abby. Maybe. But as far as I'm concerned that only leaves one fucking possibility.</dialogue>
<character>RAY</character>
<parenthetical>( tonelessly . )</parenthetical>
<dialogue>What's that?</dialogue>
<scene_description>Meurice reaches out and swipes the unlit cigarette out of Ray 's mouth .</scene_description>
<character>MEURICE</character>
<dialogue>Those things are nothing but coffin nails.</dialogue>
<scene_description>He turns and stares down the street , exasperated .</scene_description>
<character>MEURICE</character>
<dialogue>Look. Personally I do n't give a shit. I know Marty's a hard - on but you got ta do something. I do n't know ; give the money back, say you're sorry, or get the fuck out of here, or something.</dialogue>
<scene_description>Mow that his temper is gone , he realizes he has nothing much to say . He shakes his head and turns back down the drive , muttering as he lights himself Ray 's cigarette .</scene_description>
<character>MEURICE</character>
<dialogue>It's very humiliating, preaching about this shit.</dialogue>
<scene_description>CLOSE SHOT RAY Standing in front of the back door of his car , watching Meurice walk away . His right hand rises into frame to deposit another unlit cigarette in his mouth . Offscreen , Meurice calls from the end of the drive :</scene_description>
<character>MEURICE</character>
<dialogue>I'm not laughing at this, Ray Bob, so you know it's no fucking joke.</dialogue>
<scene_description>We hear his car door slam . After a moment Ray exits frame , heading for the house . The camera tracks slowly in to the back window of the car . Traces of blood are starting to seep up from the upholstery into the sheet .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTY'S HOUSE DAY</stage_direction>
<scene_description>LOW WIDE SHOT FRONT FOYER We are looking across the tiled floor toward the front doorway . The room has the dim gray cast of daytime inside a shuttered house . We hold on the empty foyer as we hear an intermittent high whining sound . We hear the padding of feet on carpet , and then the clatter of nails on tile as Opal , Marty 's German shepherd , trots into frame and circles the foyer , still whining . She jumps up and scratches desperately at the front door . A slow , rhythmic pounding is very faint on the track .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARTY'S BAR DUSK</stage_direction>
<scene_description>Abby has just gotten out of her car and is walking up to the front of the darkened bar . The faint , rhythmic thumping continues over the cut , its source somewhere offscreen . As Abby takes a key out of her purse and lets herself into the bar , the thumping stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARTY'S BAR</stage_direction>
<scene_description>Abby switches on the lights , looks around , goes to the back - office door . Locked . As she fits her key into the lock :</scene_description>
<character>ABBY</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Marty?</dialogue>
<scene_description>The door swings open , fanning a shaft of light onto the darkened room . MARTY 'S OFFICE BATHROOM We are looking from the inside at the bathroom door that wo n't close all the way . As the light fans into the office beyond and seeps in through the crack of the bathroom door , we see Visser 's sleeve cuff and his hand pressing against the door , to hold it near - shut . BACK TO ABBY Standing in the office doorway . We pull her into the room . She stops abruptly , looking past the camera , and wrinkles her nose . ABBY 'S POV Marty 's fish , now half - decayed , still lie on the desk . Some of the desk drawers stand open , with some of their contents strewn across the surface of the desk . BACK TO ABBY She takes a step forward . We hear the crunch of glass underfoot . She looks down at the floor . ABBY 'S POV Shards of broken glass lie on the floor . BACK TO ABBY She looks up from the floor toward the back door . ABBY 'S POV The pane of the back - door window closest to the knob has been shattered from the outside , scattering broken glass into the office . BACK TO ABBY She crosses slowly to the desk , staring at the rotted fish . She looks up from the desk . ABBY 'S POV On the standing safe behind the desk lies a white towel . Abby 's hand enters frame ans picks up the towel . In slow motion a hammer that 's been wrapped inside slips out of the towel , falls end - over - end , hits the floor with a dull thud . BACK TO ABBY Stooping down to pick up the hammer . At eye level as she stoops down is the combination dial to the safe . The dial has been battered by the hammer . Abby looks from the hammer to the floor under the desk chair . ABBY 'S POV Blood stains . ABBY Staring down at the floor . She rises and looks at the desk . As she rises we hear glass under her feet . ABBY 'S POV The dead fish . Beyond them , on the floor around the desk , broken glass . BACK TO ABBY Staring . ABBY 'S POV The dead fish . BACK TO ABBY She seems to be falling slowly backwards . The camera falls with her , keeping her in close shot . Her head hits a pillow . We pull back slowly to reveal that she is lying on the bed in her apartment , staring across the room . She lies motionless on the bad , her eyes wide . ABBY 'S POV Across the darkened apartment we see the curtainless windows , and beyond them , across the lamplit street , the facade of the opposite building . LONG SHOT ABBY Lying still . After a moment she gets out of bed , crosses to the front door of the apartment , locks it , then walks unsteadily back to the bed . FADE OUT SAME LONG SHOT ABBY IN BED She opens her eyes , lies still for a moment , coughs . She gets out of bed and walks across the still dark apartment to the bathroom . She shuts the bathroom door . BATHROOM Abby looks at herself in the mirror above the sink , then turns on the tap water . From a neighboring apartment we hear a dull rhythmic thumping on the wall . She pauses , listens for a moment , then starts to splash water on her face . From somewhere offscreen we hear the sharp sound of glass shattering . It reverberates for a moment , then dies . Abby looks up at the bathroom door . We hear a scraping at the lock of her apartment door . Abby listens . Suddenly we hear the lock springing open , and the front door swinging on its hinges . CLOSE SHOT ABBY Startled . She shuts off the water and stands motionless . Droplets of water are streaming down her face . We hear the sound of footsteps in the next room , crunching across broken glass .</scene_description>
<character>ABBY</character>
<dialogue>Ray?</dialogue>
<scene_description>There is no answer . After a moment we hear bedsprings creak in the next room . Abby opens the bathroom door and walks out . MAIN ROOM A shaft of light slices across the floor from the open bathroom door . Broken glass glints on the floor . In the semi - darkness we can see that someone is sitting on the bed . The person looks up . It is Marty . Abby recoils .</scene_description>
<character>MARTY</character>
<dialogue>Lover - boy oughta lock his door.</dialogue>
<scene_description>Abby looks nervously at Marty . Droplets of water are still running down her face . She brushes one from her eye .</scene_description>
<character>MARTY</character>
<dialogue>I love you.</dialogue>
<scene_description>He smiles thinly .</scene_description>
<character>MARTY</character>
<dialogue>That's a stupid thing to say, right?</dialogue>
<scene_description>Abby takes a step back .</scene_description>
<character>ABBY</character>
<dialogue>I. I love you too.</dialogue>
<scene_description>Still smiling , Marty shakes his head .</scene_description>
<character>MARTY</character>
<dialogue>No. You're just saying that because you're scared.</dialogue>
<scene_description>He stands . We hear glass under his feet . He unbuttons the middle button of his coat and reaches inside .</scene_description>
<character>MARTY</character>
<dialogue>You left your weapon behind.</dialogue>
<scene_description>He withdraws something from an inside pocket and tosses it to her . CLOSE SHOT ABBY 'S HANDS As she catches the object . It is her compact . CLOSE SHOT ABBY She looks from her hands up to Marty .</scene_description>
<character>MARTY</character>
<dialogue>He'll kill you too.</dialogue>
<scene_description>Marty gags , leans forward , doubles over to vomit - blood . The blood washes over the floor at his feet . ABBY Bolts upright in bead with a muffled groan . Sweat pours down her face . She brushes a drop of sweat from her eye and looks around . ABBY 'S POV Moonlight glints through the windows across the hardwood floor . Through the windows we can see the facade of the opposite building . The apartment is dark and still , just as we left it before she fell asleep . BACK TO ABBY She slumps back onto the bed . One hand gropes down out of frame and comes up holding an illuminated alarm clock . She looks at it , drops it back to the floor . She turns on her side and stares across the room toward the window . ABBY 'S POV The window . SAME WINDOW SAME ANGLE PRE - DAWN It is still not quite light . The few lights that shined in the windows of the opposite building before are now off ; the facade of the building is a flat , undetailed gray . CLOSE SHOT ABBY Still lying on her side on the bed , her eyes open , staring at the window . BACK TO LONG SHOT WINDOW After a moment Abby enters frame . She picks her coat off a chair and puts it on . We hear a car door slam .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RAY'S BUNGALOW PRE-DAWN</stage_direction>
<scene_description>Abby has just gotten out of her car in the foreground and is crossing the lawn to the house . Down the road the street lights are still on . One light burns in the house , in the window of Ray 's bedroom . Abby approaches it . THROUGH THE WINDOW Over Abby 's shoulder , as she leans against the sill of the open window and looks inside . Ray sits on the bed in the empty room , smoking a cigarette , his profile to the window , gazing fixedly at the wall .</scene_description>
<character>ABBY</character>
<dialogue>Ray.</dialogue>
<scene_description>Ray starts and looks toward the window , squinting .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S BUNGALOW</stage_direction>
<scene_description>WIDE SHOT LIVING ROOM Abby is coming through the screen door . The room is strikingly bare of everything except furniture . All personal effects have been removed . Abby looks around , bewildered , as Ray enters from the hallway .</scene_description>
<character>ABBY</character>
<dialogue>Where is everything?</dialogue>
<character>RAY</character>
<dialogue>In the trunk.</dialogue>
<scene_description>Abby , still standing in front of the door , looks at him uncomprehendingly . Ray walks over to a couple of cardboard boxes stacked in the corner .</scene_description>
<character>RAY</character>
<dialogue>In the car.</dialogue>
<scene_description>He ties a knot around the top carton with a piece of cord , then cuts the cord with a collapsible fishing knife .</scene_description>
<character>ABBY</character>
<dialogue>You leaving?</dialogue>
<character>RAY</character>
<dialogue>Is n't that what you want?</dialogue>
<scene_description>She slowly shakes her head .</scene_description>
<character>RAY</character>
<dialogue>Wan na come with me?</dialogue>
<scene_description>He leans back against the boxes , watching her .</scene_description>
<character>ABBY</character>
<dialogue>But first I got ta know what happened.</dialogue>
<character>RAY</character>
<dialogue>What do you want to know?</dialogue>
<character>ABBY</character>
<dialogue>You broke into the bar. You wanted to get your money. You and Marty had a fight. Something happened.</dialogue>
<scene_description>Ray shakes his head , smiling . Abby squints at him , looking for help .</scene_description>
<character>ABBY</character>
<dialogue>I do n't know, was n't it you? Maybe a burglar broke in, and you found -</dialogue>
<character>RAY</character>
<dialogue>With your gun?</dialogue>
<scene_description>He puts the knife in his pocket and walks over to the door . As he approaches her :</scene_description>
<character>RAY</character>
<dialogue>Nobody broke in, Abby. I'll tell you the truth.</dialogue>
<scene_description>Ray faces Abby in front of the door .</scene_description>
<character>RAY</character>
<dialogue>Truth is, I've felt sick the last couple of days. Ca n't eat. Ca n't sleep. When I try to I. Abby.</dialogue>
<scene_description>It 's difficult to bring out . Ray 's hand gropes for the cross - slat on the screen door . Finally :</scene_description>
<character>RAY</character>
<dialogue>The truth is. he was alive when I buried him.</dialogue>
<scene_description>Abby stares . An object materializes in the sky beyond them . It is flipping end - over - end in slow motion , moving toward Abby and Ray and the screen door . Abby and Ray , each staring at the other , fail to notice until - THWACK - it bounces off the screen . Abby starts ; Ray does n't . The spell is broken , Abby pushes hesitantly at the screen door . Ray 's hand slides off the cross - slat ; he makes no move to stop her . CLOSE SHOT THE FRONT STOOP As Abby steps over the rolled - up newspaper that hit the screen door . TRACKING SHOT ON ABBY Hurrying down the driveway to get to her car . A low rumble is building on the soundtrack . Abby glances at Ray 's car as she passes it . ABBY 'S POV TRACKING FORWARD THE CAR More blood has seeped into and dried on the dropsheet covering the back seat . The bass rumble grows louder , punctuated by a rhythmic thumping .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEURICE'S APARTMENT DAY</stage_direction>
<scene_description>OVER ABBY 'S SHOULDER As she pounds frantically on the door - the sound continuing over the cut . After a moment the door edges open . Meurice is standing in the doorway in a long bathrobe . A sleeper 's blindfold is pushed up over his forehead .</scene_description>
<character>MEURICE</character>
<dialogue>Abby. What's the matter?</dialogue>
<character>ABBY</character>
<dialogue>I. I'm sorry, Meurice. I got ta talk to you. Can I come in?</dialogue>
<scene_description>He looks at her hard .</scene_description>
<character>MEURICE</character>
<dialogue>Yeah. yeah, come in.</dialogue>
<scene_description>He steps aside to let her pass .</scene_description>
<character>MEURICE</character>
<dialogue>but I got ta tell ya.</dialogue>
</scene>
<scene>
<stage_direction>INT. MEURICE'S APARTMENT</stage_direction>
<scene_description>As Abby enters .</scene_description>
<character>MEURICE</character>
<dialogue>I'm retired.</dialogue>
<scene_description>Meurice switches on a table lamp ; the curtains are drawn against the sun . Abby follows Meurice over to the bar .</scene_description>
<character>MEURICE</character>
<dialogue>Jesus, I got a hangover. Want a drink?</dialogue>
<character>ABBY</character>
<dialogue>No, I -</dialogue>
<character>MEURICE</character>
<dialogue>Well I do.</dialogue>
<scene_description>He pours himself a drink .</scene_description>
<character>MEURICE</character>
<dialogue>For you I answer the door. If you wan na stay here, that's fine. But I'm retired.</dialogue>
<character>ABBY</character>
<dialogue>Something happened with Marty and Ray -</dialogue>
<character>MEURICE</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>Abby.</dialogue>
<scene_description>He glares at her .</scene_description>
<character>MEURICE</character>
<dialogue>Let me ask you one question.</dialogue>
<scene_description>He slams back the drink .</scene_description>
<character>MEURICE</character>
<dialogue>Why do you think I'm retired.</dialogue>
<scene_description>He grimaces .</scene_description>
<character>MEURICE</character>
<dialogue>Ray stole a shitload of money from Marty. Until both of'em calm down I'm not getting involved.</dialogue>
<character>ABBY</character>
<dialogue>No Meurice, it's worse than that. Something really happened, I think Marty's dead -</dialogue>
<character>MEURICE</character>
<dialogue>What?! Did Ray tell you that?</dialogue>
<character>ABBY</character>
<dialogue>Sort of.</dialogue>
<scene_description>Meurice sits her down on the sofa .</scene_description>
<character>MEURICE</character>
<dialogue>That's total bullshit. Marty called me after he was jacked up.</dialogue>
<scene_description>He tries to coax her into lying down .</scene_description>
<character>MEURICE</character>
<dialogue>I mean, I do n't know where he is, but he ai n't dead.</dialogue>
<character>ABBY</character>
<dialogue>Meurice -</dialogue>
<character>MEURICE</character>
<dialogue>You do n't look too good. You sleep last night?</dialogue>
<scene_description>Her head meets an end cushion .</scene_description>
<character>ABBY</character>
<dialogue>Meurice, you got ta help me.</dialogue>
<scene_description>Meurice rises from the sofa , sighs .</scene_description>
<character>MEURICE</character>
<dialogue>All right. Just sit tight. Try to get some sleep.</dialogue>
<scene_description>He leans down to the table next to the sofa .</scene_description>
<character>MEURICE</character>
<dialogue>I'll find Marty, find out what's going on.</dialogue>
<scene_description>CLOSE SHOT ABBY Her head on the cushion . We hear engine rumble . Abby twists her head back , following Meurice . As we hear the table lamp being switched off we :</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY NIGHT</stage_direction>
<scene_description>POV FROM A CAR The engine rumble continues over the cut . There is no other traffic on the highway . A light fog covers the road . A green highway sign says : `` San Antonio 73 mi . '' We hear a car radio playing softly . CLOSE SHOT RAY Driving . He is gently lit by the light from the dashboard . He reaches forward to turn off the radio . The only sound now is the hum of the engine and the rhythmic clomping of tires on pavement . The look and sound of the scene are close to those of the first scene of the movie . Ray takes a cigarette out of his pocket and puts it in his mouth , but leaves it unlit . RAY 'S POV The headlights of an approaching car materialize in the fog . The car passes with a roar . Up ahead a traffic light is turning amber . BACK TO RAY The engine hum drops as he slows . We hear the low engine rumble and the squeaking brakes of another car . Ray is now stopped in front of the deserted intersection . He looks up in his rearview mirror . RAY 'S POV Another car is stopped just behind him , the fog floating up past its headlights . The headlights halate in the fog ; none of the rest of the car is visible . BACK TO RAY The unlit cigarette still in his mouth . He looks down from the rearview mirror to the intersection ahead of him . There is a long pause , during which we hear only the steady purr of Ray 's car and the knocking rumble of the car behind him . Ray looks up at the traffic light . RAY 'S POV The light is just turning from red to green . CLOSE SHOT RAY 'S FOOT ON BRAKE He takes his foot off the brake , hesitates for a moment , the replaces it on the brake . CLOSE SHOT RAY He looks up in his rearview mirror . RAY 'S POV The headlights of the other car remain motionless behind him . The car makes no move to pass . BACK TO RAY He slowly takes the cigarette from his mouth and drops it onto the seat next to him . His eyes shift from the rearview mirror to the traffic light . RAY 'S POV Green fog floats past the green light . BACK TO RAY His face frozen . He turns slowly to look behind . RAY 'S POV The other car is still motionless . We hear the muted rumble of its engine . BACK TO RAY His eyes shift back to the mirror . He gropes for his window handle and slowly rolls it down . He sticks out his left arm , eyes still on the rearview mirror , and waves for the other car to go around him . RAY 'S POV The other car remains still for a moment . White fog floats up beyond the red fog created by Ray 's brake lights . Finally the car pulls out slowly to the left to pass . BACK TO RAY Watching the car pass . RAY 'S POV As the car pulls out into the light from the intersection and Ray 's headlights , we see that it is a battered green Volkswagon . First the car itself , and then its red tail lights , disappear into the fog . BACK TO RAY Watching , for a long moment . Finally he takes his foot off the brake , turns the steering wheel hard left and hangs a U - turn . MARTY 'S LIVING ROOM WIDE A light is switched on in the expensively appointed room . Meurice enters , walking silently on the carpet , looking around the room . He throws the light off at the far end and leaves . MARTY 'S BEDROOM WIDE The door swings open . Meurice throws the switch near the door and the room is bathed in light . We are once again in the bedroom where we earlier saw Abby looking through her purses . We start to hear the faint buzzing of a fly . Meurice glances around , throws off the light , and shuts the door . Black . MARTY 'S OFFICE Somewhere offscreen a light is switched on and we are looking in close shot at the dead fish . The sound of the fly is louder with the cut . CLOSE SHOT RAY Standing in the doorway from the bar , staring down at the fish . WIDE SHOT THE OFFICE Ray glances around at the broken glass lying on the floor . His gaze shifts to the safe and the hammer in front of it . He walks over to the safe and stoops down . CLOSE SHOT RAY AT SAFE He works its battered dial and it swings open . He shuffles through the contents and brings out a small pile of photographs . RAY 'S POV As he flips through the photographs . The first four are Ray and Abby in the motel room bed . The last is a mounted 8 x 10 : Abby and Marty on a Gulf beach . BACK TO RAY Looking . HIS POV PICTURE DETAIL Marty is still laughing . BACK TO RAY He scowls at the shots Visser took , then puts them back in the safe . When his hand comes out he is holding another photograph - this one folded twice . He unfolds it . RAY 'S POV His and Abby 's corpses . BACK TO RAY FROM ACROSS THE DESK As he straightens slowly from the safe in the background . At desk level , we again see the glint of Visser 's lighter under the dead fish . Ray crosses slowly around the desk into the foreground and lays the picture flat on the desktop . For a moment he stares down at it , then wheels abruptly and leaves frame .</scene_description>
</scene>
<scene>
<stage_direction>INT. RAY'S CAR</stage_direction>
<scene_description>CLOSE SHOT RAY Driving . He glances up in the rearview mirror . MARTY 'S KITCHEN As Meurice enters and throws an overhead light . The white room is bathed in bright , shadowless light . As Meurice steps into the kitchen his foot strikes something on the floor below frame , which clatters hollowly away . CLOSE SHOT PLASTIC DOG - FOOD BOWL The empty bowl skids into a wall , bounces back , and wobbles , spinning on its bottom rim . MARTY 'S BILLIARD ROOM DUTCH - TILT TRACKING SHOT TOWARD MOUNTED MOOSE HEAD On a low skewed axis the camera is tracking in toward the impassive trophy head on Marty 's billiard - room wall . The moose still has Ray 's cigarette protruding from its mouth . REVERSE TRACKING SHOT MEURICE As he walks toward the moose , head cocked to one side , frowning quizzically up . He hears something , and looks through the door to his left . MEURICE 'S POV The long shadowy hall . We hear panting . CLOSE SHOT MEURICE Squinting .</scene_description>
<character>MEURICE</character>
<dialogue>Opal?</dialogue>
<scene_description>THE HALLWAY A form starts to materialize in the shadows . MEURICE Taking a step back . HIS POV The dog bounding down the hallway . Its panting has become a low growl . FROM BEHIND MEURICE He wrenches a cue stick from the rack and squares . HIS POV Opal snarling , leaping .</scene_description>
</scene>
<scene>
<stage_direction>INT. MEURICE'S APARTMENT</stage_direction>
<scene_description>CLOSE SHOT TOP OF A COFFEE TABLE The splintered top half of the pool cue is slammed down to rest on top of the coffee table .</scene_description>
<character>MEURICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Even the fucking dog's gone crazy.</dialogue>
<scene_description>MED SHOT ABBY Sitting on the sofa , looking down out of frame . Behind her Meurice agitatedly paces back and forth , waving the splintered bottom half of the cue stick . His voice is unnaturally loud .</scene_description>
<character>MEURICE</character>
<dialogue>Something pretty fucking weird is going on. Put your coat on and I'll drop you at home. But do n't talk to either of'em until I do. And do n't worry. Believe me. These things always have a logical explanation. Usually.</dialogue>
<scene_description>ABBY 'S POV The splintered top half of the cue stick on the coffee table .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S HALLWAY</stage_direction>
<scene_description>Abby approaches her door in the foreground and lets herself in .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>Looking toward the window . The room is dark . Through the window we see the facade of the building across the street . Abby enters frame in the foreground , in silhouette against the window , and throws an overhead light switch . The bright light reveals Ray standing by the window , looking out .</scene_description>
<character>RAY</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>Turn it off.</dialogue>
<scene_description>Abby jumps , startled .</scene_description>
<character>ABBY</character>
<dialogue>Ray.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROOF OF FACING APARTMENT BUILDING</stage_direction>
<scene_description>From the roof of the building across the street we are looking down on the facade of Abby 's building . Most of its windows are dark , but in a brightly lit fourth - floor window we can clearly see Abby and Ray . A man is on the roof in the foreground , hitching a rifle to his shoulder .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>Ray turns from the window which , with the switching on of the overhead light , has become a mirror of the interior of the apartment .</scene_description>
<character>RAY</character>
<dialogue>Just turn it off.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FACING ROOF</stage_direction>
<scene_description>The light goes out in the apartment across the street ; its window goes opaque .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>Dark now . Ray still stands by the window , looking out . Abby still stands by the light switch .</scene_description>
<character>RAY</character>
<parenthetical>( answering a question . )</parenthetical>
<dialogue>No curtains on the windows.</dialogue>
<scene_description>Abby is clearly apprehensive - about Ray , not about anything outside .</scene_description>
<character>ABBY</character>
<dialogue>So?</dialogue>
<character>RAY</character>
<dialogue>I think someone's watching.</dialogue>
<scene_description>Abby does n't understand , and has had enough . As she throws the light back on :</scene_description>
<character>ABBY</character>
<dialogue>So what'll they see?</dialogue>
<scene_description>Ray turns angrily from the window .</scene_description>
<character>RAY</character>
<dialogue>Just leave it off. He can see in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FACING ROOF</stage_direction>
<scene_description>Ray and Abby are once again clearly visible . Ray is starting across the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>Abby takes a fearful step back as Ray strides toward the light switch , next to her .</scene_description>
<character>ABBY</character>
<parenthetical>( abruptly . )</parenthetical>
<dialogue>- If you do anything the neighbors'll hear.</dialogue>
<scene_description>This brings Ray up short . He stares at Abby . It registers that it is him she 's afraid of .</scene_description>
<character>RAY</character>
<dialogue>You think.</dialogue>
<scene_description>He shakes his head .</scene_description>
<character>RAY</character>
<dialogue>Abby. I meant it. when I called.</dialogue>
<scene_description>Abby takes another step back . Her voice comes out , after a pause , half - strangled :</scene_description>
<character>ABBY</character>
<dialogue>I love you too.</dialogue>
<scene_description>Ray winces . He slowly shakes his head with a pained half - smile .</scene_description>
<character>RAY</character>
<dialogue>Because you're scared.</dialogue>
<scene_description>We hear the dull report of a rifle and the deafening sound of shattering glass . The gun shot hits Ray in the back , knocking him to the floor . He lies still . CLOSE SHOT ABBY She stares dumbly down at Ray . She looks slowly up to the window . THE WINDOW It has a gaping black hole . The sound of shattering glass still reverberates in the apartment . Small shards of glass chink down from the window and shatter on the floor . BACK TO ABBY Staring at the window , paralyzed - almost in a trance . Quiet except for the chinking of glass .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FACING ROOF</stage_direction>
<scene_description>We are looking through the telescopic sight of a high - powered rifle . The rifle sweeps up from Ray 's body across the brightly lit room , and centers Abby , still staring at the window , in the cross hairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. ABBY'S APARTMENT</stage_direction>
<scene_description>We are looking past Abby toward the shattered window at the far end of the room . A brass lamp stands in the foreground , between Abby and the camera . Abby still stands paralyzed . Glass has stopped chinking from the window to the floor ; there is a painful silence . Suddenly Abby dives to the floor just as CRASH the rest of the window falls away and PING the brass lamp somersaults toward us from the impact of the bullet . The window is now completely gone - just a black hole in the brightly lit wall . ABBY Scrambles into a corner at the window end of the room . The only sound is her heavy breathing . She looks over at Ray , then up at the bulb on the ceiling . ABBY 'S POV CEILING BULB BACK TO ABBY Breathing heavily , almost hysterical . She looks down at the floor . ABBY 'S POV Ray is sprawled on the floor in a pool of blood and broken glass . BACK TO ABBY She reaches down and pulls off one of her shoes . She throws it at the ceiling bulb . We hear the bulb shatter and the room goes black . Abby rises and makes her way cautiously across the glass - littered floor toward Ray . She stoops over him . LOW SHOT THE DARK APARTMENT Its front door in background . Abby rises into frame and backs toward the doorway , staring down at the floor . One of her hands is covered with blood .</scene_description>
<character>ABBY</character>
<dialogue>Ray -</dialogue>
<scene_description>She winces and almost loses her balance as we hear a piece of glass crunching under her bare floor . She turns and moves to the front door , favoring one foot , and throws the door open . HALLWAY Abby lurches from her apartment and pounds on the neighboring door . No answer . She pounds on the door across the hall .</scene_description>
<character>OLD WOMAN'S VOICE</character>
<parenthetical>( frightened , in Spanish . )</parenthetical>
<dialogue>Get away! I'll call my son - in - law!</dialogue>
<character>ABBY</character>
<parenthetical>( groping for the words , in Spanish . )</parenthetical>
<dialogue>No no - you do n't understand -</dialogue>
<character>OLD WOMAN'S VOICE</character>
<parenthetical>( in Spanish . )</parenthetical>
<dialogue>He has a gun!</dialogue>
<scene_description>Abby heads for the stairway at the far end of the hall . The heel of her shod foot is throwing her weight onto her bad foot ; she kicks off the shoe . CLOSE SHOT ABBY As she reaches the top of the stairs . She takes one step down , then brings herself up short . She looks over the railing down the stairwell . It is quiet . An innocent - sounding cough echoes somewhere in the building . We hear the sound of footsteps from somewhere below . Abby turns and hobbles back to her apartment . The bareness of the hallway sets off her abandoned shoe . ABBY 'S APARTMENT As she enters and slams the door behind her . She scrabbles at the lock , finally manages to get it shut , then turns and looks frantically around . ABBY 'S POV Ray is lying still in the darkness . We can hear footsteps approaching up the hallway . Abby enters frame and kneels down next to Ray . She fumbles around him briefly in the darkness . The doorknob rattles . Abby freezes , listening , trying to control her breath . After a moment we hear a scraping at the lock . Abby moves to the bathroom adjoining the main room and shuts the door behind her . BATHROOM It is very small . Abby presses her palms against the door and slowly eases her ear against the door to listen . The scraping in the apartment door lock continues . Sweat streams down Abby 's face . She brushes a drop from her eye . We hear the snap of the lock springing open , and the front door swinging on its hinges . CLOSER ON ABBY Her ear pressed to the door . From the next room we hear the sound of footsteps crunching across broken glass . Abby backs away from the door , stares at it , then turns and moves to the bathroom window . She looks out . ABBY 'S POV A sheer drop to the narrow backyard of the building four stories below . Next to Abby 's window is another window , separated from hers only by the breadth of the wall , that separates the two apartments . ABBY 'S APARTMENT Visser hunches , hands on knees , over Ray , who lies on the floor out of frame .</scene_description>
<character>VISSER</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>All right.</dialogue>
<scene_description>He hunkers down closer to Ray .</scene_description>
<character>VISSER</character>
<dialogue>You got some of my personal property.</dialogue>
<scene_description>He is rummaging through Ray 's pockets but comes up empty - handed .</scene_description>
<character>VISSER</character>
<dialogue>One of you does.</dialogue>
<scene_description>Visser looks down at Ray , glances around the room , looks back down at Ray .</scene_description>
<character>VISSER</character>
<dialogue>I do n't know what the hell you two thought you were gon na pull.</dialogue>
<scene_description>His hand , gripping something , flashes down out of frame . We hear a dull crunch . BATHROOM Abby has drawn her head back from the bathroom window . She moves back to the door and braces herself against it . ABBY 'S APARTMENT Visser straightens up from Ray 's body . He drops something to the floor , out of frame , that lands with a thud . He goes over to the light switch on the wall and flips it back and forth . No light . He goes over to the brass lamp , sets it upright , tries its switch . Again nothing . He disappears into the kitchenette as we hold on its open doorway . After a moment we hear a refrigerator hum as a cold blue light plays in the doorway . There is the rattle of a can being pulled off the refrigerator rack , and the snap of its pull - tab being opened . After a couple of audible slurps we hear the can go back on the rack and , as the blue light disappears , we hear the refrigerator door close . Visser reappears in the doorway . He surveys the room , fixes on the bathroom door , goes over , turns the knob . The door swings open . He walks in . BATHROOM Visser looks around the cramped space . The shower curtain is drawn . He casually draws it back . The shower is empty . He goes to the window and leans out . VISSER 'S POV The sheer drop below ; the other window to one side . BACK TO VISSER He draws his head back in , presses his palms against the adjacent wall , and eases his ear to the wall to listen . Perfect quiet . After a moment he goes back to the window , braces himself against the sash , and sticks his arm out - groping for the window of the adjacent apartment .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABBY'S BUILDING / BATHROOM WINDOW</stage_direction>
<scene_description>CLOSE SHOT VISSER 'S FACE Pressing against the glass as he leans against the upper half of the bathroom window . CLOSE SHOT VISSER 'S HAND It finds the adjacent window and starts to raise it . BACK TO VISSER 'S FACE Again we see him through the window . His jaw is set as he gropes offscreen . Suddenly his body jerks violently forward , his head smacking against the glass and cracking it .</scene_description>
</scene>
<scene>
<stage_direction>INT. ADJACENT APARTMENT</stage_direction>
<scene_description>CLOSE SHOT VISSER 'S HAND Abby -LRB- out of frame -RRB- has grabbed it and now THUMP she slams the window down on his wrist , catching it between the window sash and sill . Her other hand flashes across frame to THUNK pin Visser 's hand to the sill with Ray 's knife . BACK TO VISSER We hear the shatter of glass as the shock causes his head to break through the window . His hand is nailed into the apartment next door . He is in pain . ADJACENT APARTMENT Abby back slowly from the window , staring at the hand . From the ground below we hear the faint and echoing sounds of the shards of glass shattering against pavement . ABBY 'S POV THE WINDOW Visser 's pinned hand is writhing . As we hear a muffled CRACK , a circle of light opens with a puff of plaster dust in the wall that separates the two apartments . A line of light shoots across the dark apartment from the bright bathroom next door . BACK TO ABBY Staring at the wall . We hear a second CRACK . ABBY 'S POV A second hole has opened in the wall , letting through a second shaft of light . Four more sharp reports in rapid succession : With each gun blast a bright circle opens and a new shaft of light penetrates the dark apartment . Finally we hear the CLICK of an empty chamber , and the clatter of the empty gun being dropped to the floor of the bathroom next door . CLOSE SHOT ABBY Staring at the lines of light that crisscross the apartment . There is a long moment of silence , then a sudden THUMP . ABBY 'S POV THE WALL Six circles of light . The circles go black momentarily as there is another THUMP . And another . Each time Visser pounds his fist against the wall , there is a muffled THUMP and his swinging arm strobes the bullet holes . BACK TO ABBY She turns and hobbles toward the door of apartment . The muffled thumping continues , as in her dream . HALLWAY As Abby emerges from the adjacent apartment . She stops and looks down the hall . ABBY 'S POV The stairway is at the far end of the hall . The door of her own darkened apartment stands slightly ajar . ADJACENT APARTMENT CLOSE SHOT THE WALL The bullet holes strobing . The pounding , more purposeful now , grows louder and more intense . Finally , with a crash , Visser 's fist penetrates the wall in an explosion of light and dust . HALLWAY We pull Abby as she limps hesitantly down the hall . ADJACENT APARTMENT CLOSE SHOT VISSER 'S HAND Waving aimlessly through the ambient dust . He is blindly groping for the sill - and the knife that pins his other hand . His outstretched middle finger just grazes the handle of the knife . ABBY 'S HALLWAY / APARTMENT Pulling Abby as she draws even with the door of her apartment . ABBY 'S POV Her pearl - handled revolver sits on the shelf just inside the door , where Ray left it . It catches the light from the hall . ADJACENT APARTMENT EXTREME CLOSE SHOT VISSER 'S FINGERTIPS The side of his middle finger rubs against the knife handle ; the tip of his index finger barely touches it . Visser 's fingers are trembling , indicating that his arm is stretched to its uttermost . A surge against the wall gives his fingers another inch or so and they curl around the handle of the knife . ABBY 'S APARTMENT CLOSE SHOT ABBY As she steps in from the hallway to pick up the gun . She looks around the apartment . ABBY 'S POV The window of the apartment , its glass now completely gone , lets in streetlight . Ray 's corpse is a dark form in the middle of the floor . A bright shaft of light slices across the room from offscreen . It glints on the shards of glass that litter the floor , just as in Abby 's dream . BATHROOM CLOSE SHOT VISSER As he slowly , quietly draws his hand in from the hole in the wall . He is holding the knife . He turns slowly to face the door , listening . ABBY 'S APARTMENT CLOSE SHOT ABBY She steadies herself against the wall and turns to look toward the bathroom . ABBY 'S POV The bathroom door stands slightly ajar . The interior of the bathroom is a bright band in the shadowy recesses of the back of the apartment . BATHROOM CLOSE SHOT VISSER Moving quietly toward the door . ABBY 'S APARTMENT CLOSE SHOT ABBY Staring , almost transfixed , at the bathroom door . She raises the gun , trembling , and trains it on the band of light . ABBY 'S POV Visser 's shadow falls across the crack in the doorway . BACK TO ABBY She shifts the gun slightly and fires . ABBY 'S POV With the roar of the gun , a small circle of light opens in the door . As the door waffles under the impact , we hear Visser collapsing behind it . BACK TO ABBY Leaning against the facing wall . She lowers the gun . She slides down the wall to finally rest seated on the floor . She brushes a drop of sweat from her eye . HER POV The cracked bathroom door spilling light . BACK TO ABBY A pause . After a moment , her voice comes out half - choked :</scene_description>
<character>ABBY</character>
<dialogue>I ai n't afraid of you, Marty.</dialogue>
<scene_description>HER POV The bathroom door . Quiet for a long moment . Then , from inside the bathroom , we hear laughter . BACK TO ABBY Staring at the door . We hear the laughter subside , to leave the sound of labored breathing . Finally :</scene_description>
<character>VISSER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well ma'am.</dialogue>
<scene_description>BATHROOM Visser lies on his back , his head underneath the bathroom sink . His good hand is pressed against his belly , which rises and falls with his heavy breathing . Blood seeps out between his fingers . He is smiling .</scene_description>
<character>VISSER</character>
<dialogue>If I see him, I'll sure give him the message.</dialogue>
<scene_description>HIS POV The underside of the sink , its convoluted chrome works beading moisture . VISSER Looking , with mild interest . HIS POV A condensed droplet trickles down the chrome . Directly overhead , it hangs for a moment from the lowest joint of the pipe . It fattens , wavers , wavers - and falls , spelling . FINIS . '' . In an early draft of the script , Ray , the befuddled bartender who for want of a more compelling character served as our story 's hero , fled the scene of the tale 's protracted central murder and checked into a motel outside of San Antonio : '' MOTEL LOBBY DAY DUSTY RHODES , a lean man with a weathered face and large Adam 's apple , stands behind the Formica check - in counter . KYLE , a heavyset man of thirty wearing a feed cap , sits in the lobby 's one piece of furniture , a beat - up leatherette sofa . He sips from a can of soda . Ray , begrimed and haggard , enters out of the glare of the noonday sun .</scene_description>
<character>RHODES</character>
<dialogue>Hey there, stranger! What can I do you for?</dialogue>
<character>RAY</character>
<dialogue>I need a room.</dialogue>
<scene_description>Calling out from the divan :</scene_description>
<character>KYLE</character>
<dialogue>He needs a room, Dusty.</dialogue>
<character>RHODES</character>
<dialogue>I reckon I can hear him.</dialogue>
<parenthetical>( to Ray . )</parenthetical>
<dialogue>. Room rate's eight sixty - six a day plus sales tax, plus extra for the TV option.</dialogue>
<character>RAY</character>
<dialogue>How much extra?</dialogue>
<character>KYLE</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>He wants the TV option, Dusty.</dialogue>
<character>RHODES</character>
<dialogue>I reckon I can hear him. TV option, that's a dollar twenty, makes nine eighty - six plus tax.</dialogue>
<character>KYLE</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>Tell him the channels, Dusty.</dialogue>
<character>RHODES</character>
<dialogue>Channels, we got two and six. Two do n't come in so hot.</dialogue>
<character>RAY</character>
<dialogue>Just a room then.</dialogue>
<character>KYLE</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>He do n't want the option, Dusty.</dialogue>
<character>RHODES</character>
<dialogue>I reckon I heard the man.</dialogue>
<character>RAY</character>
<parenthetical>( after shooting Kyle an irritated glance . )</parenthetical>
<dialogue>Does he work here?</dialogue>
<character>KYLE</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>Sure do n't.</dialogue>
<character>RHODES</character>
<dialogue>See, Wednesday's the special on RC Cola. I do n't know if I explained about the TV option. If there's a TV in the room, you got to pay the option.</dialogue>
<character>KYLE</character>
<parenthetical>( calling out . )</parenthetical>
<dialogue>And how many room got TV, Dusty?</dialogue>
<character>RHODES</character>
<dialogue>Ever durned one.</dialogue>
<character>RAY</character>
<parenthetical>( gamely . )</parenthetical>
<dialogue>Okay, I'll take the TV option.</dialogue>
<character>RHODES</character>
<dialogue>Well see the thing about that is, we're booked.</dialogue>
<scene_description>`` Looking at this scene now , years later , it strikes us that revising it out of existence , as we did , constituted too much rewriting . Indeed , the more prosaic scene we replaced it with , involving Ray stopped at a traffic light , can be found in the finished script but not in the finished movie . It was shot but then deleted in order to more quickly get to the carnage , which was the picture 's raison d' ^ etre . '' JOEL & ETHAN COEN</scene_description>
</scene>
</script> | Bartender Ray and housewife Abby are driving through a heavy downpour at night, discussing Abby's bad marriage to Ray's boss Julian Marty. After gradually admitting they are attracted to each other, they stop at a motel and have sex. Lorren Visser, a private detective, takes photos of the tryst and delivers them to Marty. Abby grabs some belongings from home, including a small pistol Marty gifted to her, and warns Ray to stay away from the bar. Instead, Ray goes and asks Marty for his unpaid wages. Marty mocks Ray, predicting that Abby will betray him the way she did Marty and when confronted will say, "I haven't done anything funny." The next morning Marty attempts to kidnap Abby from Ray's home, but she beats him up. Humiliated, he offers Visser $10,000 to kill the couple. Visser agrees and tells him to "go fishing" and establish an alibi. Visser breaks into Ray's home and steals Abby's gun. He presents photos of the couple's corpses to Marty as evidence. Marty goes to the bathroom to vomit and then opens the safe to give Visser his fee, surreptitiously placing one of the photos inside. Visser suddenly shoots Marty with Abby's gun, leaving it and taking the money. However, Visser doesn't realize his cigarette lighter is underneath the fish Marty caught on his trip. It is then revealed that Visser doctored photos of the couple asleep to look as if he shot them. Ray, deciding to confront Marty about his wages again, returns to the bar and discovers his body, accidentally discharging Abby's gun when he steps on it. Assuming the worst, he puts the gun in Marty's coat pocket and the body in the backseat of his car. While driving, he is shocked to discover that Marty is still alive, albeit barely. Ray drives into a field and begins to bury Marty in a shallow grave. Finding the gun, Marty takes aim and pulls the trigger three times, falling on an empty chamber each time. Ray gingerly takes the gun and finishes burying Marty as he screams in terror. A distraught Ray goes to Abby's new apartment and tries to explain that he "cleaned up your mess." She, unnerved by the blood on his clothes, says "I haven't done anything funny," which disturbs him further and leads to an argument. Visser calls the apartment but does not speak when Abby picks up; she assumes and tells Ray that it was Marty. Horrified, he drops the gun as he leaves. Later, he is confronted by Meurice, the other bartender, who tells him about a phone message Marty left regarding money stolen from the safe (Marty's cover story for the $10,000 he paid Visser). While burning the doctored photos, Visser realizes that Marty kept one and that he cannot find his lighter. Knowing these can implicate him, he returns to the bar and attempts to break into the safe, but is thwarted by the arrival of Abby, who thinks the damage to the safe was caused by Ray and starts to realize Marty might be dead. Later, she has a nightmare of Marty, warning her that Ray will kill her as well. She goes to confront Ray who, now thoroughly confused, tells her Marty was still alive when Ray buried him. While Abby tells Meurice about her suspicions, Ray goes to the bar himself and, opening the safe, discovers the doctored photo. Believing Abby is in danger, he realizes someone is following him on the way to her apartment. When Abby arrives and discovers Ray sitting in the dark, she turns the lights on, thinking it will protect her from him. Visser, who is on a rooftop across the street with a rifle, shoots and kills Ray. Abby manages to smash the lightbulb with her shoes and hides in the bathroom. Entering the apartment, Visser searches Ray for the lighter (which was overlooked by everyone) and goes into the bathroom, only to find Abby has climbed out the window into the next apartment. When he reaches around to open the window she stabs him with Ray's knife, pinning his hand to the sill. As she backs away in shock, Visser empties his gun into the wall, then punches through it to remove the knife. Returning to the apartment, Abby picks up her gun and shoots Visser through the bathroom door. Abby says, "I'm not afraid of you, Marty." Visser, lying mortally wounded on the floor, bursts into laughter and responds, "Well, ma'am, if I see him, I'll sure give him the message." |
The Maltese Falcon_1941 | tt0033870 | <script>
<scene>
<character>" THE MALTESE FALCON "</character>
<dialogue>From the Novel</dialogue>
<scene_description>by</scene_description>
<character>DASHIELL HAMMETT</character>
<dialogue>----</dialogue>
<scene_description>Screen Play by</scene_description>
<character>JOHN HUSTON</character>
<dialogue>Producer: Henry Blanke FINAL VERSION (2nd re-make)</dialogue>
<dialogue>Released as...... THE MALTESE FALCON on October 18, 1941</dialogue>
<dialogue>Screen Play by John Huston Based upon the Novel by Dashiell Hammett Photogrophy by Arthur Edeson Directed by John Huston</dialogue>
<scene_description>Samuel Spade Humphrey Bogart Brigid O'Shaughnessy Mary Astor Iva Archer Gladys George Joel Cairo Peter Lorre Lt. of Detectvies Dundy Barton MacLane Effie Perine Lee Patrick Kasper Gutman Sydney Greenstreet Detective Tom Polhaus Ward Bond Miles Archer Jerome Cowan Wilmer Cook Elisha Cook, Jr. Luke James Burke Frank Richman Murray Alper Bryan John Hamilton Mate of the La Paloma Emory Parnell</scene_description>
<character>BITS</character>
<dialogue>Policeman Robert Hemms Stenographer Creighton Hale Reporter Charles Drake Reporter Bill Hopper Reporter Hank Mann Announcer Jack Mower</dialogue>
<scene_description>First released version was "Maltese Falcon" in May, 1931 First re-make entitled "Satan Was a Lady" was released in July, 1936 Different casts in each. IMPORTANT! RETURN TO WARNER BROS. PICTURES INC. STORY DEPT.</scene_description>
<character>CAST OF CHARACTERS</character>
<dialogue>In the order of their appearance</dialogue>
<scene_description>SAMUEL SPADE.............His thickish brows, hook nose, hight flat temples and widow's peak give him the look of a rather pleasant Satan. He is over six feet tall. The steep rounded slope of his shoulders makes his body seem almost coni- cal -- no broader than it is thick and keeps his clothes from fitting very well. He is what most private detectives would like to be, a hard, shifty fellow, able to take care of himself in any situation, able to get the best of anybody he comes in contact with whether criminal, innocent bystander or client. EFFIE PERINE.............Spade's secretary. A lanky, sunburned girl of twenty-two or three, with a shiny boyish face, bright, direct, unspoiled. BRIGUD O'SHAUGHNESSY.....alias Miss Wonderly. Tall, pliantly slender. Her body is erect and high-breasted. Her legs long, her hands and feet narrow. She has dark, soft, wavy hair, full lips. Her eyes are timid, childlike at times in their apparent innocence. MILES ARCHER.............Spade's partner. Medium height, solidly built, wide in the shoulders, thick in the neck, with a heavy-jawed red face. He's about as many years past forty as Spade is past thirty. DETECTIVE TOM POLHAUS....A barrel-bellied, tall man with shrewd, small eyes, a thick mouth and carelessly shaven dark jowls. CAST OF CHARACTERS (Cont.) LT. OF DETECTIVES DUNDY..Compactly built man with a round head under short-cut grizzled hair and a square face behind short-cut grizzled mous- tache. His eyes are hard as pebbles and so deliberate as to make their focus seem a matter of mechanics, something only to avoid. IVA ARCHER...............Miles' wife. Blonde, a few years more than thirty. Her facial prettiness is perhaps five years past its best mo- ment. Her body is finely modelled and exquisite in a full-blown way. MR. FREED................Hotel Manager. Plump, middle- aged, in well fitting clothes. He has the ingratiating-yet- slightly-skeptical manner of the professional host. JOEL CAIRO...............Dark, small-boned, of medium height. His hair is black, smooth, glossy. He has narrow shoulders, plump hips. Jewels twinkle on the fingers of both hands. He speaks the rather too-perfect English sometimes heard out of foreigners. He is elaborately formal and polite. WILMER COOK..............A boy of nineteen or twenty, under-sized, pale-faced with small regular features and light-colored small eyes that stare bleakly under long, curling lashes. LUKE.....................House detective. Round and sallow of face, compactly built, tidily dressed in dark clothes. CAST OF CHARACTERS (Cont.) KASPER GUTMAN............Flabbily fat with bulbous pink cheeks and lips and chins and neck with a great soft egg of a belly that is all his torso and pendant cone for arms and legs. His eyes, made small by fat puffs around them, are dark and sleek. Dark ringlets thin- ly cover his broad scalp. He wears a black cutaway coat, black vest, black satin Ascot tie holding a pinkish pearl, striped grey worsted trousers, and patent-leather shoes. His manner, or rather the manner he affects, is benevolently pater- nal. Good humor, tolerance, bonhomie echo in his every utterance. BRYAN....................District Attorney. He has a lofty forehead, an orator's wide mouth and a wide dimpled chin. His voice in conversa- tion has the latent power and deep resonance of the orator. MATE OF THE "LA PALOMA"..A thickly-set figure in dark uniform. He carries himself stiffly erect. His watery blue eyes are candid and his slow speech carries a slight Scandanavian accent. CAPTAIN JACOBY...........Tall, gaunt, with a deeply- lined weather-beaten face. FRANK RICHMAN............Chauffeur. Thick-set, young- ish man with a plaid cap and a tough, cheery face. Policemen, Deteectives, Cab Drivers, Asst. Dist. Attorney, Stenographer (Male), Hotel Clerk, etc. etc..... FADE IN: 1. CLOSE SHOT - ON A WINDOW upon which the words - SPADE AND ARCHER - appear in reverse, in big black letters. Through the window we see to the left tall buildings that front San Francisco's Market Street, to the right, a section of the Bay Bridge. CAMERA PULLS BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - CLOSE SHOT - SAM SPADE</stage_direction>
<scene_description>behind his cheap office desk, back to the window. His jaw is long and bony, his chin a jutting V under the more flexible V of his mouth. The V motif is picked up again by thickish brows rising upward from twin creases above a hooked nose. His dark hair grows down to a point on his forehead. He looks rather pleasantly like Satan. Spade is rolling a cigarette. OVER SCENE the SOUND of the office door opening. He does not look up.</scene_description>
<character>SPADE</character>
<dialogue>Yes, sweetheart?</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - MED. SHOT</stage_direction>
<scene_description>EFFIE PERINE, a lanky, sunburned girl with eyes brown and playful and a shiny, boyish face, shuts the door behind her, leans against it.</scene_description>
<character>EFFIE</character>
<dialogue>There's a girl wants to see you. Her name's Wonderly.</dialogue>
<character>SPADE</character>
<dialogue>A customer?</dialogue>
<character>EFFIE</character>
<dialogue>I guess so. You'll want to see her anyway. She's a knockout.</dialogue>
<character>SPADE</character>
<parenthetical>(licking his cigarette)</parenthetical>
<dialogue>Shoo her in, Effie darling -- shoo her in.</dialogue>
<parenthetical>(he puts the cigarette in his mouth, sets fire to it)</parenthetical>
<dialogue>The door opens again. Effie Perine stands with her hand on the knob.</dialogue>
<character>EFFIE</character>
<dialogue>Will you come in, Miss Wonderly?</dialogue>
<scene_description>OVER SCENE a voice murmurs something, then MISS WONDERLY appears, advances slowly with tentative steps, looks at Spade with eyes that are both shy and probing. Spade rises, bows, indicates with a thick-fingered hand, the oaken armchair beside his desk.</scene_description>
<character>MISS WONDERLY</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>She sits down on the edge of the chair's wooden seat. Spade sinks back into his swivel chair, makes a quarter turn to face her. OVER SCENE the tappety-tap-tap of Effie Perine's typewriter. Spade smiles politely. White teeth glisten in the crescent Miss Wonderly's answering smile makes. She remains erect in the chair as if she expected to stay seated for only a moment. Her hands in dark gloves clasp and unclasp the flat, dark handbag in her lap.</scene_description>
<character>SPADE</character>
<parenthetical>(rocking back in chair)</parenthetical>
<dialogue>Now what can I do for you, Miss Wonderly?</dialogue>
<scene_description>She catches her breath, looks at him, swallows.</scene_description>
<character>MISS WONDERLY</character>
<parenthetical>(hurriedly)</parenthetical>
<dialogue>Could you? -- I thought -- I -- that is...</dialogue>
<scene_description>She tortures her lower lip. Only her dark eyes speak now, pleading. Spade smiles and nods.</scene_description>
<character>SPADE</character>
<parenthetical>(after several moments)</parenthetical>
<dialogue>Suppose you tell me about it from the very beginning.</dialogue>
<character>MISS WONDERLY</character>
<dialogue>That was in New York.</dialogue>
<character>SPADE</character>
<dialogue>Yes?</dialogue>
<scene_description>And now the words tumble out.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>I don't know where she met him in New York. She's much younger than I -- only seventeen -- we didn't have the same friends. Father and mother are in Europe. It would kill them. I've got to get her back before they come home.</dialogue>
<scene_description>He nods as though the rush of words made perfect sense to him.</scene_description>
<character>SPADE</character>
<dialogue>Yes...</dialogue>
<character>MISS WONDERLY</character>
<dialogue>They're coming home the first of the month.</dialogue>
<character>SPADE</character>
<parenthetical>(reassuringly)</parenthetical>
<dialogue>That gives us two weeks.</dialogue>
<character>MISS WONDERLY</character>
<dialogue>I didn't know what she had done until her letter came. I was frantic.</dialogue>
<parenthetical>(her lips tremble)</parenthetical>
<dialogue>I didn't know what to do.</dialogue>
<parenthetical>(pathetically)</parenthetical>
<dialogue>What could I do?</dialogue>
<character>SPADE</character>
<parenthetical>(in the gentle tones one uses to a child on the the verge of tears)</parenthetical>
<dialogue>Nothing, of course... But then, her letter came?</dialogue>
<character>MISS WONDERLY</character>
<dialogue>Yes.</dialogue>
<parenthetical>(again the words tumble forth)</parenthetical>
<dialogue>And I sent her a telegram asking her to come back home. I sent it to General Delivery here. That was the only address she gave me... I waited a whole week but no answer came -- and mother's and father's return was growing nearer and nearer, so I came out here to get her. I wrote her I was coming. I shouldn't have done that, should I?</dialogue>
<character>SPADE</character>
<dialogue>It's not always easy to know what to do... You haven't found her?</dialogue>
<character>MISS WONDERLY</character>
<dialogue>No, I haven't. I wrote her that I would go to the St. Mark and I begged her to meet me there and let me talk to her. I waited three days. She didn't come... didn't even send a message.</dialogue>
<scene_description>Spade nods, frowns sympathetically.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>It was horrible! Waiting...! ...Not knowing what had happened to her -- what might be happening to her.</dialogue>
<parenthetical>(she stops trying to smile -- shudders)</parenthetical>
<dialogue>I wrote her another letter General Delivery. Yesterday afternoon I went to the post office. I stayed there until after dark but I didn't see her. I went there again this morning and still didn't see Corinne -- but I saw Floyd Thursby.</dialogue>
<scene_description>Spade's frown goes away. In its place comes a look of sharp attentiveness.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>He wouldn't tell me where Corinne was.</dialogue>
<parenthetical>(hopelessly)</parenthetical>
<dialogue>He wouldn't tell me anything except that she was well and happy. But he'd say that anyway, wouldn't he?</dialogue>
<character>SPADE</character>
<dialogue>It might be true.</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(tremblingly)</parenthetical>
<dialogue>I hope it is... I do hope it is. But... but... he said she didn't want to see me. I can't believe that. He promised to tell her he had seen me, and to bring her to see me, if she would come, this evening at the hotel. He said he knew she wouldn't. He promised to come himself if she didn't...</dialogue>
<scene_description>The office door opens. She breaks off with a startled hand to her mouth. The man who opened the door comes in a step.</scene_description>
<character>ARCHER</character>
<dialogue>Oh, excuse me --</dialogue>
<parenthetical>(hastily, he takes off his brown hat, starts to back out)</parenthetical>
<character>SPADE</character>
<dialogue>It's all right, Miles. Come in. Miss Wonderly, this is Mr. Archer, my partner.</dialogue>
<scene_description>Archer ducks his head, smiling at Miss Wonderly, shuts the door behind him and makes a vague gesture with the hat in his hand. He is of medium height, solidly built, wide in the shoulders, thick in the neck with a heavy-jawed, red face. He is about as many years past forty as Spade is past thirty.</scene_description>
<character>SPADE</character>
<dialogue>Miss Wonderly's sister ran away from New York with a fellow named Floyd Thursby. They are here in San Francisco. Miss Wonderly has seen Thursby and has a date with him tonight. Maybe he'll bring the sister with him. The chances are he won't. Miss Wonderly wants us to find the sister and get her away from him and back home.</dialogue>
<parenthetical>(he looks at Miss Wonderly)</parenthetical>
<dialogue>Right?</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(indistinctly)</parenthetical>
<dialogue>Yes.</dialogue>
<scene_description>Archer comes forward to the corner of the desk. While the girl looks at her bag, he looks at her. His little brown eyes run their bold appraising gaze from her lowered face to her feet and up to her face again. Then he looks at Spade and makes a silent whistling mouth of appreciation. Spade winks at him.</scene_description>
<character>SPADE</character>
<dialogue>It's simply a matter of having a man at the hotel this evening to shadow him when he leads us to your sister. If she doesn't want to leave him after we've found her -- well, there are ways of managing that.</dialogue>
<character>ARCHER</character>
<parenthetical>(his voice heavy, coarse)</parenthetical>
<dialogue>Yeah...</dialogue>
<scene_description>Miss Wonderly looks up quickly. Fear shows on her face.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>Oh, but you must be careful.</dialogue>
<parenthetical>(her voice shakes a little and her lips shape the words with nervous jerkiness)</parenthetical>
<dialogue>I'm deathly afraid of him -- of what he might do. She's so young and his bringing her here from New York is such a serious -- mightn't he -- mightn't he do something to her?</dialogue>
<scene_description>Spade smiles, pats the arms of his chair.</scene_description>
<character>SPADE</character>
<dialogue>Just leave that to us. We'll know how to handle him.</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(earnestly)</parenthetical>
<dialogue>But I want you to know that he's a dangerous man. I honestly don't think he'd stop at anything. I don't believe he'd hesitate to -- to kill Corinne if he thought it would save him.</dialogue>
<character>ARCHER</character>
<dialogue>Can he cover up by marrying her?</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(blushes in confusion)</parenthetical>
<dialogue>He has a wife and three children in England.</dialogue>
<character>SPADE</character>
<dialogue>They usually do though not always in England.</dialogue>
<parenthetical>(reaching for pencil and pad)</parenthetical>
<dialogue>What does he look like?</dialogue>
<scene_description>Spade makes notes as she talks.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>He has dark hair and thick eyebrows. He talks in a loud blustery way. He gives the impression of being -- a violent person.</dialogue>
<character>SPADE</character>
<dialogue>Thin, medium or heavy-built?</dialogue>
<character>MISS WONDERLY</character>
<dialogue>Quite athletic. He's broad- shouldered and has what could be called a military carriage. He was wearing a light gray suit and a gray hat when I saw him this morning.</dialogue>
<character>SPADE</character>
<parenthetical>(laying down the pencil)</parenthetical>
<dialogue>What does he do for a living?</dialogue>
<character>MISS WONDERLY</character>
<dialogue>I haven't the slightest idea.</dialogue>
<character>SPADE</character>
<dialogue>At what time is he coming to see you?</dialogue>
<character>MISS WONDERLY</character>
<dialogue>After eight o'clock.</dialogue>
<character>SPADE</character>
<dialogue>All right, Miss Wonderly. We'll have a man there.</dialogue>
<character>ARCHER</character>
<parenthetical>(interjects)</parenthetical>
<dialogue>I'll look after it myself.</dialogue>
<scene_description>Spade gives him a glance of concealed amusement.</scene_description>
<character>MISS WONDERLY</character>
<parenthetical>(pathetically grateful)</parenthetical>
<dialogue>Thank you... Thank you.</dialogue>
<scene_description>She opens her handbag with nervous fingers, brings out two bills, puts them on Spade's desk.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>Will that be enough?</dialogue>
<scene_description>Spade nods. She gives Spade her hand. Then, in the same graceful tone:</scene_description>
<character>MISS WONDERLY</character>
<dialogue>Thank you... Thank you.</dialogue>
<character>SPADE</character>
<dialogue>Not at all... It'll help some if you meet Thursby in the lobby.</dialogue>
<character>MISS WONDERLY</character>
<dialogue>I will.</dialogue>
<character>ARCHER</character>
<dialogue>You don't have to look for me. I'll see you all right.</dialogue>
<scene_description>She nods. Spade goes to the door with Miss Wonderly.</scene_description>
<character>MISS WONDERLY</character>
<parenthetical>(repeats once again)</parenthetical>
<dialogue>Thank you...</dialogue>
<scene_description>When she is gone, Spade comes back to his desk. Archer has picked up one of the bills, is examining it.</scene_description>
<character>ARCHER</character>
<parenthetical>(growls complacently)</parenthetical>
<dialogue>They're right enough.</dialogue>
<parenthetical>(he folds it and tucks it in his vest pocket)</parenthetical>
<dialogue>And they have brothers in her bag.</dialogue>
<scene_description>Spade pockets the other bill before sitting down.</scene_description>
<character>SPADE</character>
<dialogue>What do you think of her?</dialogue>
<character>ARCHER</character>
<dialogue>Sweet.</dialogue>
<parenthetical>(guffaws suddenly)</parenthetical>
<dialogue>Maybe you saw her first, Sam, but I spoke first.</dialogue>
<scene_description>He puts his hands in his trousers pockets and teeters on his heels. Spade, behind his desk, grins wolfishly at Archer, showing the edges of his teeth far back in his jaws.</scene_description>
<character>SPADE</character>
<dialogue>You've got brains. Yes, you have.</dialogue>
<scene_description>He begins to make a cigarette. DISSOLVE TO: 4. DARKNESS A telephone is RINGING. It rings three times. Then the SOUND of bed-springs creaking and of the instrument being lifted.</scene_description>
<character>SPADE'S VOICE</character>
<dialogue>Hello... Yes, speaking... Dead?... Yes... Fifteen minutes... Where?... Bush and Stockton... Thanks...</dialogue>
<scene_description>The SOUND of the instrument being replaced, followed by the click of a switch.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S ROOM</stage_direction>
<scene_description>Spade, barefoot in checked pajamas, sits on the side of his bed scowling at the telephone. The hands of a tinny alarm clock, which sits on a volume of "Duke's Celebrated Criminal Cases of America", are at five minutes past two. Spade scratches the back of his neck, reaches for a packet of brown papers and a sack of tobacco by the telephone, makes a cigarette with deliberate care, licks it, puts it in his mouth. The curtains at the two open windows flutter. From across the bay comes the dull moaning of the Alcatraz fog horn. Spade sits for several moments with the cold cigarette in his mouth. Then he reaches for the telephone again, dials a number. Waiting for the answer, he shivers.</scene_description>
<character>SPADE</character>
<parenthetical>(into the telephone)</parenthetical>
<dialogue>Send a cab to...</dialogue>
<scene_description>DISSOLVE TO: 6. MED. SHOT - FRONT OF SECOND CLASS APARTMENT BLDG. - NIGHT The overhead arc throws light on faces at the windows. CAMERA PULLS BACK past a uniformed policeman, who is chewing gum, to include the sign on the lamp post: BUSH STREET. Cars are parked helter-skelter on either side of the street. A taxi comes into scene, stops in the middle of the street. Spade gets out, gives the driver money. As he starts across the street toward CAMERA, the policeman puts out an arm.</scene_description>
<character>POLICEMAN</character>
<dialogue>What do you want here?</dialogue>
<character>SPADE</character>
<dialogue>I'm Sam Spade. Tom Polhaus phoned me.</dialogue>
<character>POLICEMAN</character>
<parenthetical>(recognizing him -- his arm goes down)</parenthetical>
<dialogue>I didn't know you at first. They're back there.</dialogue>
<parenthetical>(he jerks a thumb over his shoulder)</parenthetical>
<dialogue>CAMERA PANS with him toward the alley-way in which a dark ambulance stands.</dialogue>
<scene_description>7. MED. SHOT - THE ALLEY-WAY as Spade enters. It is bordered on one side by a waist- high fence. Spade crosses to a place where a ten-foot length of the top rail of the fence has been torn from a post at one end and hangs dangling from the other. He looks down. 8. LONG SHOT - THE HILLSIDE SHOOTING over Spade's shoulder. From the foot of the fence the hillside drops steeply away. Fifteen feet down the slope a flat boulder sticks up. Two men stand in the angle between the boulder and slope. One is pointing a camera. A bulb flashes and we get a momentary glimpse of a body lying on the boulder. Other men with lights move up and down the slope. One of them raises a torch so the beam strikes Spade in the face.</scene_description>
<character>POLHAUS</character>
<parenthetical>(calls)</parenthetical>
<dialogue>Hello, Sam.</dialogue>
<scene_description>Lowering the beam, Tom Polhaus clambers up to the alley, his shadow running before him. Stepping over the fence, he joins Spade by the broken rail. He is a barrel-bellied, tall man with shrewd, small eyes. His shoes, his hands and his knees are covered with mud.</scene_description>
<character>POLHAUS</character>
<dialogue>I figured you'd want to see it before we took him away.</dialogue>
<character>SPADE</character>
<dialogue>Thanks, Tom. What happened?</dialogue>
<scene_description>Polhaus points at his own left breast with a muddy finger.</scene_description>
<character>POLHAUS</character>
<dialogue>Got him right through the pump with this.</dialogue>
<scene_description>He takes a flat revolver from his coat pocket, holds it toward Spade but Spade doesn't take it. After a moment Polhaus flashes his light on it. Mud inlays the depressions in the revolver's surface.</scene_description>
<character>POLHAUS</character>
<dialogue>A Webley. English, ain't it?</dialogue>
<scene_description>Spade takes his elbow from the fence post, leans down to look at the weapon but does not touch it.</scene_description>
<character>SPADE</character>
<dialogue>Yes. Webley-Fosbery Automatic Revolver, thirty-eight, eight shot. They don't make them anymore. How many gone out of it?</dialogue>
<character>POLHAUS</character>
<dialogue>One pill.</dialogue>
<parenthetical>(he pokes his left breast again)</parenthetical>
<character>SPADE</character>
<parenthetical>(speaking quickly)</parenthetical>
<dialogue>He was shot up here, huh?... standing like you are with his back to the fence. The man that shot him stands here.</dialogue>
<parenthetical>(he goes in front of Polhaus and raises his hand chest high with a leveled fore- finger)</parenthetical>
<dialogue>Miles goes back, taking the top off the fence and going on through and down till the rock catches him. That it?</dialogue>
<character>POLHAUS</character>
<dialogue>That's it.</dialogue>
<parenthetical>(he works his brows together)</parenthetical>
<dialogue>The blast burnt his coat.</dialogue>
<character>SPADE</character>
<dialogue>Who found him?</dialogue>
<character>POLHAUS</character>
<dialogue>Man on the boat.</dialogue>
<character>SPADE</character>
<dialogue>Anybody hear the shot?</dialogue>
<character>POLHAUS</character>
<dialogue>Somebody must've. We only just got here, Sam.</dialogue>
<parenthetical>(turning he puts a leg back over the fence)</parenthetical>
<dialogue>Coming down for a look at him before he's moved?</dialogue>
<character>SPADE</character>
<parenthetical>(shortly)</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Polhaus, astride the fence, looks at Spade with surprised, small eyes.</scene_description>
<character>SPADE</character>
<dialogue>You've seen everything I could.</dialogue>
<scene_description>Polhaus nods doubtfully, withdraws leg from the fence.</scene_description>
<character>POLHAUS</character>
<dialogue>His gun was tucked away on his hip. It hadn't been fired. His overcoat was buttoned. There was a hundred dollar bill in his vest pocket and thirty some bucks in his pants... Was he working Sam?</dialogue>
<scene_description>After a moment's hesitation, Sam nods.</scene_description>
<character>POLHAUS</character>
<dialogue>Well?</dialogue>
<character>SPADE</character>
<dialogue>He was supposed to be tailing a fellow named Floyd Thursby.</dialogue>
<character>POLHAUS</character>
<dialogue>What for?</dialogue>
<scene_description>Spade puts his hands into his overcoat pocket, blinks sleepy eyes at Polhaus.</scene_description>
<character>POLHAUS</character>
<parenthetical>(impatiently)</parenthetical>
<dialogue>What for?</dialogue>
<character>SPADE</character>
<dialogue>We were trying to find out where he lived.</dialogue>
<scene_description>He gins slightly, takes his hand from his pocket, pats Polhaus' shoulder.</scene_description>
<character>SPADE</character>
<dialogue>Don't crowd me.</dialogue>
<parenthetical>(his hands go back into his pockets)</parenthetical>
<dialogue>I'm going out to break the news to Miles' wife.</dialogue>
<parenthetical>(He turns away)</parenthetical>
<dialogue>Polhaus, scowling, opens his mouth, closes it, without having said anything, clears his throat, puts the scowl off his face and speaks with a husky sort of gentleness.</dialogue>
<character>POLHAUS</character>
<dialogue>It's tough -- him getting it like that. Miles had his faults same as the rest of us but I guess he must of had some good points too.</dialogue>
<character>SPADE</character>
<dialogue>I guess so.</dialogue>
<scene_description>He goes toward the mouth of the alley. The brick wall to his left reflects the light of another flash bulb. 9. MED. SHOT - BUSH STREET Spade comes out of the alley, turns down Bush Street. The uniformed policeman is on the sidewalk now.</scene_description>
<character>POLICEMAN</character>
<parenthetical>(as Spade passes)</parenthetical>
<dialogue>Bad business.</dialogue>
<character>SPADE</character>
<dialogue>Bad enough.</dialogue>
<scene_description>Another car pulls up. Two men get out, one in uniform, and cross toward the alley. The first policeman salutes the one who is not in uniform. Spade goes on down the street. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DRUG STORE - CLOSE SHOT - SPADE</stage_direction>
<scene_description>in telephone booth, receiver to his ear. The receiver repeats the ringing sound four times. Then:</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Effie -- it's me... Listen, Precious ...Miles has been shot... Yes... He's dead... Now don't get excited...</dialogue>
<character>SPADE</character>
<dialogue>Yes... You'll have to break it to Iva -- I'll try first -- keep her away from me... That's a good girl -- get right over there... You're an angel... Bye.</dialogue>
<scene_description>He hangs up, opens the door, leaves the booth. CAMERA PANS as he goes out of drug store and up the street. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S ROOM</stage_direction>
<scene_description>The tinny alarm clock on the volume of "Celebrated Criminal Cases" says 3:40 when Spade turns on the light. He drops his hat and overcoat on the bed and exits into the kitchen, returns after a moment with a tall bottle of Bacardi. He pours a drink, drinks it standing, pours another. OVER SCENE the SOUND of the street-door buzzer. Spade's face becomes ugly. He makes no move until the buzzer SOUNDS again. Then, sighing, he goes to the telephone box beside his bedroom door, presses a button that releases the street-door lock, stands scowling at the black telephone box. OVER SCENE the grating and rattling of the elevator door in the corridor opening and closing. Spade sighs again, moves into the corridor.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - CLOSE SHOT</stage_direction>
<scene_description>as Spade opens the door on the barrel-bellied detective Polhaus, and Lieutenant Dundy. Spade's face brightens. His eyes lose their harassed expression.</scene_description>
<character>SPADE</character>
<parenthetical>(to Polhaus)</parenthetical>
<dialogue>Hello, Tom.</dialogue>
<parenthetical>(to Dundy)</parenthetical>
<dialogue>Hello, lieutenant. Come in.</dialogue>
<scene_description>They nod together, neither saying anything, and enter. Spade shuts the door as they go toward his bedroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S BEDROOM - MED. SHOT - SPADE, POLHAUS, DUNDY</stage_direction>
<scene_description>as Polhaus sits on and end of the sofa and Spade on the side of the bed. The Lieutenant takes a chair beside the table. Lieutenant Dundy is a compactly-built man with a round head and short-cut grizzled hair and a square face behind a short-cut grizzled moustache. A five-dollar gold piece is pinned to his necktie and there is a small elaborate diamond-set secret society emblem on his lapel. He examines the room with hard, deliberate eyes. Then he looks at Polhaus, who shifts uncomfortably on the sofa.</scene_description>
<character>POLHAUS</character>
<dialogue>Did you break the news to Miles' wife, Sam?</dialogue>
<character>SPADE</character>
<dialogue>Uh-huh.</dialogue>
<character>POLHAUS</character>
<dialogue>How'd she take it?</dialogue>
<character>SPADE</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>I don't know anything about women.</dialogue>
<character>POLHAUS</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Since when, don't you?</dialogue>
<scene_description>The Lieutenant puts his hand on his knees, leans forward, fixes eyes on Spade in a peculiarly rigid stare as if their focus were a matter of mechanics -- to be changed by pulling a lever.</scene_description>
<character>DUNDY</character>
<dialogue>What kind of gun do you carry?</dialogue>
<character>SPADE</character>
<parenthetical>(easily)</parenthetical>
<dialogue>None. I don't like them much. Of course, there are some at the office.</dialogue>
<character>DUNDY</character>
<dialogue>You don't happen to have one here?</dialogue>
<scene_description>Spade shakes his head.</scene_description>
<character>DUNDY</character>
<dialogue>You sure of that?</dialogue>
<character>SPADE</character>
<dialogue>Look around.</dialogue>
<parenthetical>(smiling, he waves his empty glass)</parenthetical>
<dialogue>Turn the dump upside-down if you want. I won't squawk -- if you've got a search warrant.</dialogue>
<scene_description>Polhaus shifts his seat on the sofa again, blows a deep breath out through his nose.</scene_description>
<character>POLHAUS</character>
<parenthetical>(plaintively)</parenthetical>
<dialogue>We're not wanting to make any trouble, Sam.</dialogue>
<character>SPADE</character>
<parenthetical>(ignoring Polhaus -- to Dundy)</parenthetical>
<dialogue>I don't like this. What are you sucking around for? Tell me or get out!</dialogue>
<parenthetical>(he rises)</parenthetical>
<character>POLHAUS</character>
<parenthetical>(pleading)</parenthetical>
<dialogue>You can't treat us that way, Sam. It ain't right. We got our work to do.</dialogue>
<scene_description>Dundy jumps up, stands close to Spade, thrusts his square face up to the taller man's.</scene_description>
<character>DUNDY</character>
<dialogue>Why were you tailing Thursby?</dialogue>
<character>SPADE</character>
<dialogue>I wasn't. Miles was. For the swell reason that we had a client who was paying good United States money to have him tailed.</dialogue>
<character>DUNDY</character>
<dialogue>Who's the client?</dialogue>
<character>SPADE</character>
<dialogue>Sorry, can't tell you that.</dialogue>
<character>POLHAUS</character>
<parenthetical>(begging)</parenthetical>
<dialogue>Be reasonable, Sam. Give us a chance. How can we turn up anything on Miles' killing if you won't tell us what you've got?</dialogue>
<character>DUNDY</character>
<dialogue>Tom says you were in too much of a hurry to even stop for a look at your dead partner.</dialogue>
<scene_description>Polhaus growls something, hangs his head.</scene_description>
<character>DUNDY</character>
<dialogue>And you didn't go to Archer's house to tell his wife. We called up and the girl in your office was there and she said you told her to go.</dialogue>
<scene_description>Spade's face is stupid in its calmness.</scene_description>
<character>DUNDY</character>
<dialogue>I give you ten minutes to get to a phone and do your talking to the girl. I give you ten minutes to get to Thursby's joint -- Geary near Leavenworth -- you could do it easily in that time.</dialogue>
<character>SPADE</character>
<parenthetical>(to Polhaus)</parenthetical>
<dialogue>What's your boy friend getting at, Tom?</dialogue>
<character>DUNDY</character>
<dialogue>Just this.</dialogue>
<parenthetical>(he taps Spade's chest with the knuckles of two bent fingers)</parenthetical>
<dialogue>Thursby was shot down in front of his hotel about half an hour after you left Bush Street.</dialogue>
<character>SPADE</character>
<parenthetical>(separating his words)</parenthetical>
<dialogue>Keep -- your -- paws -- off -- me!</dialogue>
<character>DUNDY</character>
<parenthetical>(his eyes are pale disks)</parenthetical>
<dialogue>What time did you get home?</dialogue>
<scene_description>Spade searches for his tobacco and papers, starts making a cigarette.</scene_description>
<character>SPADE</character>
<parenthetical>(candidly)</parenthetical>
<dialogue>I came in just a few minutes ahead of you. I was walking around thinking things over.</dialogue>
<character>DUNDY</character>
<dialogue>We knew you weren't here. We tried to get you on the phone. Where'd you walk to?</dialogue>
<character>SPADE</character>
<parenthetical>(licks his cigarette)</parenthetical>
<dialogue>Out Bush Street a way.</dialogue>
<character>DUNDY</character>
<dialogue>See anybody that...</dialogue>
<character>SPADE</character>
<dialogue>No -- no witnesses.</dialogue>
<parenthetical>(he laughs pleasantly)</parenthetical>
<dialogue>Sit down, Dundy. You haven't finished your drink.</dialogue>
<parenthetical>(to Polhaus)</parenthetical>
<dialogue>Another one, Tom?</dialogue>
<character>POLHAUS</character>
<dialogue>No thanks, Sam.</dialogue>
<scene_description>Dundy sits down but pays no attention to the glass. Spade fills his won glass, drinks. Then himself sits down again on the side of the bed.</scene_description>
<character>SPADE</character>
<dialogue>I know where I stand now.</dialogue>
<parenthetical>(he looks with friendly eyes from one man to the other)</parenthetical>
<dialogue>Sorry I got up on my hind legs, but you birds trying to rope me made me nervous. Miles getting knocked off bothered me and then you birds cracking foxy. That's all right now though -- now that I know what you're up to.</dialogue>
<character>POLHAUS</character>
<dialogue>Forget it.</dialogue>
<character>SPADE</character>
<dialogue>Thursby die?</dialogue>
<character>POLHAUS</character>
<dialogue>Yes.</dialogue>
<character>SPADE</character>
<dialogue>How did I kill him? I forget.</dialogue>
<character>POLHAUS</character>
<parenthetical>(grunts disgustedly -- then:)</parenthetical>
<dialogue>He was shot four times in the back with a .44 or .45 from across the street. Nobody saw it but that's the way if figures.</dialogue>
<character>SPADE</character>
<dialogue>Hotel people know anything about him?</dialogue>
<character>POLHAUS</character>
<dialogue>Nothing except he'd been there a week.</dialogue>
<character>SPADE</character>
<dialogue>Alone?</dialogue>
<character>POLHAUS</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Alone.</dialogue>
<character>SPADE</character>
<parenthetical>(makes a careless gesture with his cigarette)</parenthetical>
<dialogue>Did you find out who he was?... What his game was?... Did you?</dialogue>
<character>DUNDY</character>
<dialogue>We thought you could tell us that.</dialogue>
<scene_description>Spade regards the Lieutenant with eyes that hold an exaggerated amount of candor.</scene_description>
<character>SPADE</character>
<dialogue>I've never seen Thursby -- dead or alive.</dialogue>
<scene_description>Dundy gets up again. His lower lip pushes the words out.</scene_description>
<character>DUNDY</character>
<dialogue>You know me, Spade. If you did it or you didn't, you'll get a square deal out of me, and most of the breaks. I don't know that I'd blame you a lot -- the man that killed your partner.</dialogue>
<parenthetical>(his eyes become hard as pebbles)</parenthetical>
<dialogue>But that wouldn't keep me from nailing you.</dialogue>
<character>SPADE</character>
<parenthetical>(evenly)</parenthetical>
<dialogue>Fair enough... but I'd feel better about it if you'd have a drink with me.</dialogue>
<scene_description>Spade pours Bacardi into the three glasses, gives one to each of the detectives, then raises his own.</scene_description>
<character>SPADE</character>
<dialogue>Success to crime!</dialogue>
<scene_description>Dundy barely touches his lips to the glass, puts it down and starts out. Polhaus drinks his off, puts his hand out awkwardly. Spade shakes the hand. Then Polhaus follows his superior into the vestibule and the hall. As Spade starts to undress -- FADE OUT.: 14. CLOSE SHOT - A GLASS PANELED DOOR On it in black gold-edged letters:</scene_description>
<character>SPADE AND ARCHER</character>
<dialogue>Spade enters scene, opens the door, goes into the outer office.</dialogue>
</scene>
<scene>
<stage_direction>INT. OUTER OFFICE</stage_direction>
<scene_description>as Spade enters. Effie Perine is at her desk opening the morning mail. She puts down a handful of envelopes and a brass paper knife, frowns at Spade.</scene_description>
<character>EFFIE</character>
<parenthetical>(voice low and warning)</parenthetical>
<dialogue>She's in there.</dialogue>
<scene_description>Spade makes the face of one who has an ugly taste in his mouth.</scene_description>
<character>SPADE</character>
<parenthetical>(his voice low)</parenthetical>
<dialogue>I told you to keep her away!</dialogue>
<character>EFFIE</character>
<parenthetical>(irritably)</parenthetical>
<dialogue>Yes -- but you didn't tell me how.</dialogue>
<parenthetical>(her shoulders droop wearily)</parenthetical>
<character>EFFIE</character>
<dialogue>Don't be cranky, Sam. I had her all night.</dialogue>
<scene_description>Spade puts his hand on the girl's head, smoothes her hair.</scene_description>
<character>SPADE</character>
<dialogue>Sorry, angel. I didn't mean --</dialogue>
<parenthetical>(he breaks off as the door to the inner office opens)</parenthetical>
<dialogue>-- Hello, Iva.</dialogue>
<character>IVA</character>
<dialogue>Oh, Sam.</dialogue>
<scene_description>She is a blonde woman of a few more years than thirty. Her facial prettiness is perhaps five years past its best moment. Her body in black clothes from hat to shoes, is finely modeled and exquisite. She steps back from the door and stands waiting for Spade. He takes his hand from Effie Perine's head, enters the inner office.</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER OFFICE - SPADE AND IVA</stage_direction>
<scene_description>as she shuts the door. Iva comes to him quickly, putting out her arms and raising her face for his kiss. After the kiss, he makes a little movement as if to release her but she presses her face to his chest and begins sobbing. Spade strokes her shoulder saying:</scene_description>
<character>SPADE</character>
<dialogue>Poor darling!</dialogue>
<scene_description>His voice is tender but his eyes, on the desk across the room from his own -- the desk that had been his partner's -- are angry. He turns his chin aside to avoid contact with the crown of her hat.</scene_description>
<character>SPADE</character>
<dialogue>Did Effie attend to everything?</dialogue>
<character>IVA</character>
<dialogue>Yes, I think so... Oh, Sam...</dialogue>
<scene_description>Spade's teeth show in an impatient grimace. He bends his head for a surreptitious look at the watch on his wrist. The woman stirs in his arms, raises her face. Her eyes are wet, round, white-ringed. Her mouth is moist.</scene_description>
<character>IVA</character>
<dialogue>Oh, Sam...</dialogue>
<parenthetical>(she moans)</parenthetical>
<dialogue>Did you kill him?</dialogue>
<scene_description>Spade takes his arms from around her, steps back, stares at her with bulging eyes, his bony jaw hanging loose. She keeps her arms ups as he left them. Anguish clouds her eyes. Her soft, damp red lips tremble. Spade laughs -- a harsh syllable, goes to the window, stands there looking out until she starts towards him. Then he turns quickly, goes to his desk, sits down and looks at her with eyes that glitter between narrow lids.</scene_description>
<character>SPADE</character>
<parenthetical>(coldly)</parenthetical>
<dialogue>Who put that idea in your head?</dialogue>
<character>IVA</character>
<dialogue>I thought...</dialogue>
<scene_description>She lifts a hand to her mouth and fresh tears come to her eyes. She moves with easy, sure-footed grace to a place beside the desk.</scene_description>
<character>IVA</character>
<parenthetical>(humbly)</parenthetical>
<dialogue>Be kind to me, Sam.</dialogue>
<scene_description>He laughs again, his eyes still glittering.</scene_description>
<character>SPADE</character>
<dialogue>You killed my husband, Sam. Be kind to me!</dialogue>
<parenthetical>(he claps his hands together)</parenthetical>
<dialogue>Iva begins to cry audibly. Spade's jaw muscles bulge, then he takes a deep breath, makes his face expressionless, gets up, goes around the desk to stand behind her, put his arms around her.</dialogue>
<character>SPADE</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Now... don't... Iva... don't...</dialogue>
<parenthetical>(he puts his mouth to her ear and whispers)</parenthetical>
<dialogue>You shouldn't have come here today, darling. You ought to be home.</dialogue>
<scene_description>Iva turns around in his arms to face him.</scene_description>
<character>IVA</character>
<dialogue>You'll come soon?</dialogue>
<character>SPADE</character>
<dialogue>As soon as I can.</dialogue>
<parenthetical>(he leads her to the door, opens it)</parenthetical>
<dialogue>Goodbye, Iva.</dialogue>
<scene_description>He bows her out, shuts the door, returns to his desk. He takes tobacco and cigarette papers from this vest pocket but does not roll a cigarette. He sits holding the papers in one hand, tobacco in the other, and looks with brooding eyes at his dead partner's desk. Presently Effie Perine opens the door, comes in.</scene_description>
<character>EFFIE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Well?</dialogue>
<scene_description>Spade says nothing. His brooding gaze does not move from his dead partner's desk.</scene_description>
<character>EFFIE</character>
<parenthetical>(in a louder voice)</parenthetical>
<dialogue>How did you and the widow make out?</dialogue>
<character>SPADE</character>
<parenthetical>(only his lips move)</parenthetical>
<dialogue>She thinks I shot Miles.</dialogue>
<character>EFFIE</character>
<dialogue>So you could marry her?</dialogue>
<scene_description>Spade makes no reply to that. The girl leans over, takes the papers and the tobacco sack.</scene_description>
<character>SPADE</character>
<dialogue>The police think I shot Thursby... the guy Miles was tailing for the Wonderly girl -- Who do you think I shot?</dialogue>
<scene_description>Effie's thin fingers shape the cigarette. She licks it, smoothes it, bites the end and places it between Spade's fingers.</scene_description>
<character>SPADE</character>
<dialogue>Thanks, honey.</dialogue>
<scene_description>He puts an arm around her slim waist, rests his cheek wearily against her hip.</scene_description>
<character>EFFIE</character>
<dialogue>Are you going to marry Iva?</dialogue>
<parenthetical>(she snaps his desk lighter)</parenthetical>
<character>SPADE</character>
<dialogue>Don't be silly.</dialogue>
<parenthetical>(he puts the end of his cigarette to the flame)</parenthetical>
<dialogue>I wish I had never laid eyes on her.</dialogue>
<character>EFFIE</character>
<dialogue>Maybe you do now.</dialogue>
<parenthetical>(a trace of spitefulness comes into her voice -- leans over for a view of his face)</parenthetical>
<dialogue>Do you suppose she could have killed him?</dialogue>
<scene_description>Spade sits up straight, takes his arm from her waist, smiles at her.</scene_description>
<character>SPADE</character>
<parenthetical>(tenderly -- through the smoke)</parenthetical>
<dialogue>You're an angel... a nice rattle- brained angel!</dialogue>
<character>EFFIE</character>
<parenthetical>(wryly)</parenthetical>
<dialogue>Oh, am I? Suppose I told you that your Iva hadn't been home many minutes when I arrived to break the news at three o'clock this morning?</dialogue>
<scene_description>Spade's eyes are immediately alert.</scene_description>
<character>SPADE</character>
<dialogue>Are you telling me?</dialogue>
<character>EFFIE</character>
<parenthetical>(nods)</parenthetical>
<dialogue>She kept me waiting at the door while she undressed. Her clothes were on a chair where she had dumped them -- hat and coat underneath. Her singlet on top was still warm. She had wrinkled up the bed but the wrinkles weren't mashed down.</dialogue>
<character>SPADE</character>
<parenthetical>(pats Effie's hand)</parenthetical>
<dialogue>You're a detective, darling, but...</dialogue>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>She didn't kill him.</dialogue>
<character>EFFIE</character>
<dialogue>Do the police really think you shot this what's-his-name?</dialogue>
<scene_description>He brushes the ashes off his cigarette.</scene_description>
<character>EFFIE</character>
<parenthetical>(insisting)</parenthetical>
<dialogue>Do they?</dialogue>
<scene_description>Spade shrugs.</scene_description>
<character>EFFIE</character>
<dialogue>Look at me, Sam.</dialogue>
<scene_description>He obeys with elaborate seriousness.</scene_description>
<character>EFFIE</character>
<dialogue>You worry me. You always think you know what you're doing but you're too slick for your own good, and some day you're going to find it out.</dialogue>
<scene_description>Spade grins mockingly at her. The telephone RINGS. Effie takes up the receiver.</scene_description>
<character>EFFIE</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Spade and Archer... Oh, yes, Miss Wonderly...</dialogue>
<scene_description>Spade takes the phone from her hand.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello... Yes, this is Sam Spade... I was just going to call you... Oh...</dialogue>
<parenthetical>(after a short pause)</parenthetical>
<dialogue>How's that?... Oh... Where are you?... The Coronet on California Street, Apartment 1001...</dialogue>
<scene_description>As Spade repeats the address, Effie Writes it down on a slip of paper.</scene_description>
<character>SPADE</character>
<dialogue>What's the name?... Miss Leblanc... OK, I'll be right over.</dialogue>
<scene_description>Spade sets down the phone and puts on his hat.</scene_description>
<character>SPADE</character>
<dialogue>Have Miles' desk moved out and have the "Spade and Archer" taken off the door and windows and "Samuel Spade" put on.</dialogue>
<scene_description>He turns to the door, hesitates, then goes back to the desk, picks up the slip of paper on which the address is written, takes out his lighter, snaps on the flame, and sets fire to the slip of paper. He holds it until all but one corner is curling black ash, then drops it on the linoleum and mashes it out with his foot. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CORONET APARTMENTS - CLOSE SHOT - SPADE</stage_direction>
<scene_description>pressing the buzzer of Apartment 1001. Miss Wonderly, in a belted green crepe dress, opens the door immediately. Her face is flushed. Her hair parted on the left side sweeping back in loose waves over her right temple, is somewhat tousled.</scene_description>
<character>SPADE</character>
<parenthetical>(taking off his hat)</parenthetical>
<dialogue>Good morning.</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(lowers her head -- then in a hushed timid voice)</parenthetical>
<dialogue>Come in, Mr. Spade.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Several bags stand open on the floor. Miss Wonderly and Spade enter from the hall.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>Everything is upside-down. I haven't even finished unpacking.</dialogue>
<scene_description>She lays his hat on a table, sits down on a walnut settee. Spade sits on a brocaded oval-backed chair, facing her. She looks at her fingers, working them together. Then:</scene_description>
<character>MISS WONDERLY</character>
<dialogue>Mr. Spade, I've a terrible, terrible confession to make.</dialogue>
<scene_description>He makes a polite smile.</scene_description>
<character>MISS WONDERLY</character>
<dialogue>That -- that story I told you yesterday was all -- a story.</dialogue>
<parenthetical>(she stammers, looks at him with miserable frightened eyes)</parenthetical>
<character>SPADE</character>
<dialogue>Oh, that...</dialogue>
<parenthetical>(lightly)</parenthetical>
<dialogue>We didn't exactly believe your story, Miss -- Miss -- is your name Wonderly or Leblanc?</dialogue>
<character>MISS WONDERLY</character>
<parenthetical>(working her fingers again)</parenthetical>
<dialogue>It's really O'Shaughnessy -- Brigid O'Shaughnessy.</dialogue>
<character>SPADE</character>
<dialogue>We didn't exactly believe your story, Miss O'Shaughnessy. We believed your two hundred dollars.</dialogue>
<character>BRIGID</character>
<dialogue>You mean...</dialogue>
<character>SPADE</character>
<dialogue>I mean, that you paid us more than if you had been telling us the truth...</dialogue>
<parenthetical>(blandly)</parenthetical>
<dialogue>...and enough more to make it all right.</dialogue>
<character>BRIGID</character>
<parenthetical>(bites her lip)</parenthetical>
<dialogue>Mr. Spade, tell me...</dialogue>
<parenthetical>(her face becomes haggard, eyes desperate)</parenthetical>
<dialogue>Am I to blame -- for last night?</dialogue>
<character>SPADE</character>
<dialogue>You warned us that Thursby was dangerous. Of course, you lied to us about your sister and all -- but that doesn't count. We didn't believe you.</dialogue>
<parenthetical>(he shrugs his sloping shoulders)</parenthetical>
<dialogue>I wouldn't say it was your fault.</dialogue>
<character>BRIGID</character>
<parenthetical>(very softly)</parenthetical>
<dialogue>Thank you.</dialogue>
<parenthetical>(she puts her hand to her breast)</parenthetical>
<dialogue>Mr. Archer was so -- so alive yesterday, so solid and hearty and...</dialogue>
<character>SPADE</character>
<parenthetical>(sharply)</parenthetical>
<dialogue>Stop it. He knew what he was doing. Those are the chances we take.</dialogue>
<character>BRIGID</character>
<dialogue>Was -- was he married?</dialogue>
<character>SPADE</character>
<dialogue>Yes, with ten thousand insurance, no children, and a wife who didn't like him.</dialogue>
<character>BRIGID</character>
<dialogue>Oh, please don't!</dialogue>
<character>SPADE</character>
<parenthetical>(shrugging again)</parenthetical>
<dialogue>That's the way it was.</dialogue>
<scene_description>He glances at his watch, gets up.</scene_description>
<character>SPADE</character>
<dialogue>Anyway, there's no time for worrying about that now.</dialogue>
<parenthetical>(nods his head toward the window)</parenthetical>
<dialogue>Out there a flock of policemen and assistant district attorneys are running around with their noses to the ground.</dialogue>
<scene_description>Brigid moves over on the sofa, making a place for him beside her -- but Spade remains standing.</scene_description>
<character>BRIGID</character>
<parenthetical>(her voice thin and tremulous)</parenthetical>
<dialogue>Mr. Spade, do they know about me?</dialogue>
<character>SPADE</character>
<dialogue>Not yet. I've been stalling them until I could see you.</dialogue>
<character>BRIGID</character>
<dialogue>Must they know about me at all, Mr. Spade? Couldn't you somehow manage to shield me from them? So I won't have to answer their questions?</dialogue>
<character>SPADE</character>
<dialogue>Maybe. But I'll have to know what it's all about.</dialogue>
<scene_description>She rises, puts a timid hand to his coat sleeve.</scene_description>
<character>BRIGID</character>
<dialogue>I can't tell you -- I can't tell you now -- later I will -- when I can. You must trust me Mr. Spade. Oh, I'm so alone and afraid! I've got nobody to help me if you won't help me.</dialogue>
<parenthetical>(begging)</parenthetical>
<dialogue>Be generous, Mr. Spade. You're strong. You're brave. You can spare me some of that strength and courage, surely.</dialogue>
<parenthetical>(she drops to her knees, her hand touching his, clings pitifully)</parenthetical>
<dialogue>Help me, Mr. Spade! I need help so badly. I've no right to ask you but I do ask you. Help me!</dialogue>
<scene_description>Spade empties his lungs with a long sighing exhalation.</scene_description>
<character>SPADE</character>
<dialogue>You won't need much of anybody's help. You're good. It's chiefly your eyes, I think, and that throb you get in your voice when you say things like "Be generous, Mr. Spade."</dialogue>
<scene_description>She jumps to her feet. Her face blanching painfully, but she holds her head erect and she looks Spade straight in the eye.</scene_description>
<character>BRIGID</character>
<parenthetical>(voice chilled)</parenthetical>
<dialogue>I deserve that. But -- Oh -- the lie was in the way I said it and not at all in what I said.</dialogue>
<parenthetical>(lips trembling slightly, but head still erect)</parenthetical>
<dialogue>It's my own fault that you can't believe me now.</dialogue>
<scene_description>Spade's face darkens. He looks down at the floor.</scene_description>
<character>SPADE</character>
<parenthetical>(muttering)</parenthetical>
<dialogue>Now you are dangerous.</dialogue>
<scene_description>Brigid O'Shaughnessy goes to the table, picks up his hat. She comes back and stands in front of him, holding the hat for him to take if he wishes. Her face is thin, haggard.</scene_description>
<character>SPADE</character>
<parenthetical>(looking at his hat)</parenthetical>
<dialogue>I've got nothing against trusting you blindly except that I won't be able to do you much good if I haven't some idea of what it's all about. For instance, I've got to have some sort of line on your Floyd Thursby.</dialogue>
<scene_description>She puts his hat on the table, slips down onto the settee again.</scene_description>
<character>BRIGID</character>
<dialogue>I met him in the Orient.</dialogue>
<parenthetical>(tracing with pointed fingers a figure eight on a sofa pillow)</parenthetical>
<dialogue>We came here from Hong Kong last week. He had promised to help me. He took advantage of my dependence on him to betray me.</dialogue>
<character>SPADE</character>
<dialogue>Betray you how?</dialogue>
<scene_description>Brigid O'Shaughnessy shakes her head and says nothing.</scene_description>
<character>SPADE</character>
<parenthetical>(taking a new tack)</parenthetical>
<dialogue>Why did you want him shadowed?</dialogue>
<character>BRIGID</character>
<dialogue>I wanted to learn how far he had gone, whom he was meeting. Things like that.</dialogue>
<character>SPADE</character>
<dialogue>Did he kill Archer?</dialogue>
<character>BRIGID</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Yes, certainly.</dialogue>
<character>SPADE</character>
<dialogue>He had a Luger in his shoulder holster. Archer wasn't killed with a Luger.</dialogue>
<character>BRIGID</character>
<dialogue>Floyd always carried an extra revolver in his overcoat pocket.</dialogue>
<character>SPADE</character>
<dialogue>Why all the guns?</dialogue>
<character>BRIGID</character>
<dialogue>He lived by them. The story in Hong Kong is that he first came to the Orient as bodyguard to a gambler who had to leave the States -- that the gambler had since disappeared and that Floyd knew about his disappearance. I don' know. I do know that he always went heavily armed and that he never went to sleep without covering the floor around his bed with crumpled newspapers so nobody could come silently into his room.</dialogue>
<character>SPADE</character>
<dialogue>You picked a nice sort of playmate.</dialogue>
<character>BRIGID</character>
<parenthetical>(simply)</parenthetical>
<dialogue>Only that sort could have helped me -- if he had been loyal.</dialogue>
<character>SPADE</character>
<parenthetical>(pinching his lower lip between finger and thumb)</parenthetical>
<dialogue>How bad a hole are you actually in?</dialogue>
<character>BRIGID</character>
<parenthetical>(the chill coming back into her voice)</parenthetical>
<dialogue>As bad as could be.</dialogue>
<character>SPADE</character>
<dialogue>Physical danger?</dialogue>
<character>BRIGID</character>
<dialogue>I'm not heroic. I don't think there is anything worse than death!</dialogue>
<character>SPADE</character>
<dialogue>Then it's that?</dialogue>
<character>BRIGID</character>
<dialogue>It's that as surely as we're sitting here...</dialogue>
<parenthetical>(she shivers)</parenthetical>
<dialogue>...unless you help me.</dialogue>
<scene_description>Spade releases his lower lip, runs his fingers through his hair.</scene_description>
<character>SPADE</character>
<dialogue>Who killed Thursby? Your enemies or his?</dialogue>
<scene_description>Brigid puts a crumpled handkerchief to her mouth, speaks through it.</scene_description>
<character>BRIGID</character>
<dialogue>I don't know. His, I suppose. But I'm afraid... I don't know.</dialogue>
<scene_description>Spade makes a growling animal noise in his throat.</scene_description>
<character>SPADE</character>
<dialogue>This is hopeless. I don't know what you want done. I don't even know if you know what you want.</dialogue>
<parenthetical>(he reaches for his hat)</parenthetical>
<character>BRIGID</character>
<parenthetical>(begging in a somewhat choked voice)</parenthetical>
<dialogue>You won't go to the police?</dialogue>
<character>SPADE</character>
<parenthetical>(his voice loud with rage)</parenthetical>
<dialogue>Go to them?</dialogue>
<parenthetical>(puts his hat on his head, pulling it down tightly)</parenthetical>
<dialogue>All I've got to do is stand still and they'll be swarming all over me. Well, I'll tell them all I know and you'll have to take your chances.</dialogue>
<scene_description>The girl rises from the settee and stands very straight in front of him, holding her white, panic-stricken face high, though she cannot hold the twitching muscles of mouth and chin still.</scene_description>
<character>BRIGID</character>
<dialogue>You've been patient. You've tried to help me. It's hopeless and useless, I suppose.</dialogue>
<parenthetical>(she stretches out her right hand)</parenthetical>
<dialogue>I thank you for what you have done. I -- I'll have to take my chances.</dialogue>
<scene_description>Spade makes the growling, animal noise in his throat again. Then:</scene_description>
<character>SPADE</character>
<parenthetical>(abruptly)</parenthetical>
<dialogue>How much money have you got?</dialogue>
<scene_description>The question startles her.</scene_description>
<character>BRIGID</character>
<parenthetical>(reluctantly)</parenthetical>
<dialogue>I've about five hundred dollars left.</dialogue>
<character>SPADE</character>
<dialogue>Give it to me.</dialogue>
<scene_description>She hesitates, looking timidly at him. He makes an angry gesture. She goes into her bedroom, returning almost immediately with a sheaf of paper in one hand. He takes the money from her, counts it. Then:</scene_description>
<character>SPADE</character>
<parenthetical>(scowling)</parenthetical>
<dialogue>There's only four hundred here.</dialogue>
<character>BRIGID</character>
<parenthetical>(meekly)</parenthetical>
<dialogue>I had to keep some to live on.</dialogue>
<parenthetical>(she raises a hand to her breast)</parenthetical>
<character>SPADE</character>
<parenthetical>(brutally)</parenthetical>
<dialogue>Can't you get any more?</dialogue>
<character>BRIGID</character>
<dialogue>No.</dialogue>
<character>SPADE</character>
<dialogue>You must have something you can raise money on.</dialogue>
<character>BRIGID</character>
<dialogue>I've some rings -- a little jewelry.</dialogue>
<character>SPADE</character>
<dialogue>You'll have to hock them.</dialogue>
<parenthetical>(he holds out his hand)</parenthetical>
<dialogue>Brigid looks pleadingly at him. His eyes are hard and implacable. Slowly she puts her hand into the neck of her dress, brings out a slender roll of bills, gives them to him. He smoothes the bills out, counts them, gives her back two of the five bills, puts the others in his pocket.</dialogue>
<character>SPADE</character>
<dialogue>I'll be back as soon as I can with the best news I can manage. I'll ring four times -- long- short-long-short -- so you'll know it's me. You needn't come to the door with me. I can let myself out.</dialogue>
<scene_description>He leaves her standing in the center of the floor looking after him with dazed blue eyes. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S OUTER OFFICE - MED. SHOT - EFFIE PERINE</stage_direction>
<scene_description>at her desk, her elbows on an open newspaper. She is looking at the corridor door. Through the frosted glass panel we see the shadowy form of a man who is at work there. The word "Samuel" and "Sp" and most of the "a" show through in reverse. As Effie watches, the "a" is completed and the "d" begun. It is interrupted to allow for the opening of the door and the passing of Spade into the room.</scene_description>
<character>SPADE</character>
<dialogue>Anything stirring?</dialogue>
<scene_description>Effie shakes her head.</scene_description>
<character>SPADE</character>
<dialogue>Did you send flowers for me?</dialogue>
<scene_description>She nods.</scene_description>
<character>SPADE</character>
<dialogue>You're invaluable, angel. Get my lawyer on the phone for me.</dialogue>
<scene_description>She picks up the phone, dials a number. Spade goes into the inner office.</scene_description>
<character>EFFIE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Mr. Wise for Samuel Spade please... One moment, Mr. Wise...</dialogue>
<scene_description>She presses a button on her desk. Then, her gaze returning to the reverse lettering on the door, she hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S INNER OFFICE - MED. CLOSE SHOT - SPADE</stage_direction>
<scene_description>seated behind his desk with the phone clamped between his shoulder and ear so that his hands are free to make a cigarette.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>I think I'm going to have to tell a coroner to go to blazes, Sid. Can I hide behind the sanctity of my client's secrets and identities and whatnot, all the same priest or lawyer?</dialogue>
<parenthetical>(listening, he licks the cigarette, then:)</parenthetical>
<dialogue>I know... but Dundy's getting rambunctious -- and maybe it is a little bit thick this time...</dialogue>
<parenthetical>(lights cigarette)</parenthetical>
<dialogue>Hoe much will it cost to be on the safe side?... I guess it's worth it. Go ahead... Bye.</dialogue>
<scene_description>He leans back in his chair, surveys the office through smoke. Miles Archer's desk is gone and the windows say simply "Samuel Spade" now. Effie comes in, closing the door behind her, comes over to his desk, puts a card down before him. INSERT: ENGRAVED CARD Mr. Joel Cairo BACK TO SCENE Spade picks up the card, lifts it to his nose, looks at Effie with arched brows.</scene_description>
<character>EFFIE</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Gardenia!</dialogue>
<character>SPADE</character>
<dialogue>Quick! In with him, darling!</dialogue>
<scene_description>She goes to the door, opens it.</scene_description>
<character>EFFIE</character>
<dialogue>Will you come in, Mr. Cairo?</dialogue>
<scene_description>Cairo comes in and she goes out. Mr. Joel Cairo is a small-boned, dark man of medium height. His hair is black and smooth and very glossy. A square-cut ruby surrounded by baguette diamonds gleams against his dark cravat. His black coat cut tight to narrow shoulders, flares a little over plump hips. His trousers fit his legs more snugly than the current fashion. The uppers of his patent leather shoes are hidden by fawn spats. He holds a black derby hat in a chamois-gloved hand, and he comes toward Spade with short, mincing, bobbing steps. Spade inclines his head at his visitor and then at a chair.</scene_description>
<character>SPADE</character>
<dialogue>Sit down, Mr. Cairo.</dialogue>
<scene_description>Cairo bows elaborately over his hat.</scene_description>
<character>CAIRO</character>
<dialogue>I thank you.</dialogue>
<scene_description>He sits down, primly placing his hat on his knees and begins to draw off his chamois gloves.</scene_description>
<character>SPADE</character>
<parenthetical>(precisely as he addressed the same question to Brigid O'Shaughnessy when she first appeared)</parenthetical>
<dialogue>Now, what can I do for you , Mr. Cairo?</dialogue>
<scene_description>Cairo turns his hat over, drops his gloves into it and places it bottom up, on the corner of the desk. Diamonds twinkle on the second and third fingers of his left hand. A ruby, surrounded by diamonds, like the one in his cravat, is on the third finger of his right hand. Cairo rubs his palms together, then, in a high-pitched thin voice:</scene_description>
<character>CAIRO</character>
<dialogue>May a stranger offer condolences for your partner's unfortunate death?</dialogue>
<character>SPADE</character>
<dialogue>Thanks.</dialogue>
<character>CAIRO</character>
<dialogue>May I ask, Mr. Spade, if there is, as the newspapers infer, a certain -- ah -- relationship between that unfortunate happening and the death a little later of the man Thursby?</dialogue>
<scene_description>Spade does not reply. When it is obvious to Cairo that Spade does not mean to answer, he rises and bows.</scene_description>
<character>CAIRO</character>
<parenthetical>(punctiliously)</parenthetical>
<dialogue>I beg your pardon.</dialogue>
<scene_description>He sits down and puts his hands side-by-side flat on the corner of the desk.</scene_description>
<character>CAIRO</character>
<dialogue>More than idle curiosity prompted my question, Mr. Spade. I am trying to recover an -- ah -- ornament that has been, shall we say, mislaid. I thought, and hoped, you could assist me.</dialogue>
<scene_description>Spade nods once, briefly.</scene_description>
<character>CAIRO</character>
<dialogue>The ornament is a statuette -- the black figure of a bird.</dialogue>
<scene_description>Spade nods as before.</scene_description>
<character>CAIRO</character>
<dialogue>I am prepared to pay on behalf of the figure's rightful owner, the sum of five thousand dollars for its recovery.</dialogue>
<scene_description>He raises one hand from the desk corner and touches a spot in the air ever so lightly with his fore-finger.</scene_description>
<character>CAIRO</character>
<dialogue>I am prepared to promise that -- what is the phrase? -- "No questions will be asked."</dialogue>
<parenthetical>(he puts his hand back on the desk beside the other and smiles blandly)</parenthetical>
<character>SPADE</character>
<parenthetical>(thoughtfully)</parenthetical>
<dialogue>Five thousand dollars is a lot of money.</dialogue>
<scene_description>OVER SCENE there is a light rapping on the door.</scene_description>
<character>SPADE</character>
<parenthetical>(calls)</parenthetical>
<dialogue>Come in.</dialogue>
<scene_description>The door opens enough to admit Effie Perine's head and shoulders. She is wearing a small dark felt hat and a dark coat with a gray fur collar.</scene_description>
<character>EFFIE</character>
<dialogue>Is there anything else?</dialogue>
<character>SPADE</character>
<dialogue>No. Goodnight. Lock the door when you go, will you?</dialogue>
<character>EFFIE</character>
<dialogue>Goodnight.</dialogue>
<scene_description>She disappears behind the closing door. Spade turns in his chair to face Cairo again.</scene_description>
<character>SPADE</character>
<dialogue>It's an interesting figure...</dialogue>
<scene_description>The SOUND of the corridor door closing comes OVER scene. Smiling, Cairo takes a short, compact, flat black pistol out of an inner pocket.</scene_description>
<character>CAIRO</character>
<dialogue>You will please clasp your hands together at the back of your neck.</dialogue>
<scene_description>Spade raises his arms, leaning back in his chair, intertwining the fingers of his two hands behind his head. His eyes, holding no particular expression, remain focused on Cairo's dark face. Cairo coughs, a little apologetic cough, smiles nervously. His dark eyes are humid and bashful and very earnest.</scene_description>
<character>CAIRO</character>
<dialogue>I intend to search your offices, Mr. Spade. I warn you that if you attempt to prevent me, I shall certainly shoot you.</dialogue>
<character>SPADE</character>
<parenthetical>(in a voice as empty of expression as his face)</parenthetical>
<dialogue>Go ahead.</dialogue>
<character>CAIRO</character>
<dialogue>You will please stand. I shall have to make sure you are not armed.</dialogue>
<scene_description>Spade gets up, pushing his chair back with his calves as he straightens his legs. Cairo comes around behind him. He transfers the pistol from his right hand to his left. He lifts Spade's coat-tail, looks under it. Holding the pistol close to Spade's back, he puts his right hand around Spade's side, pats his chest. His face is no more than six inches below and behind Spade's right elbow. Spade's elbow drops as Spade spins to the right. Cairo's face jerks back but not far enough. Spade's right heel on the patent-leathered toe anchors the smaller man to the elbow's path. The elbow strikes him beneath the cheek-bone. Spade's right hand closes on the pistol. Cairo lets the pistol go the instant Spade's fingers touch it. Spade makes an about-face. With his left hand he gathers together the smaller man's coat lapels while his right hand stows the captured weapon away in a coat pocket. His face is wooden with a trace of sullenness around the mouth. Spade, by means of his grip on Cairo's lapels, turns him slowly, pushes him back until he is standing close in front of the chair he lately occupied. A puzzled look replaces the look of pain and chagrin on Cairo's face. Spade smiles. His smile is gentle, even dreamy. His right shoulder raises a few inches. Then his fist strikes the edge of Cairo's jaw-bone. Cairo shuts his eyes and is unconscious. Spade lowers the limp body into the chair where it lies with sprawled arms and legs, the head lolling back, the mouth open. Spade empties the unconscious man's pockets, one by one, working methodically, making a pile of the pockets' contents on the desk. When the last pocket has been turned out, he returns to his chair, rolls and lights a cigarette and begins to examine his spoils. 21. CLOSEUP - SPOILS Spade's fingers open the wallet. It contains several hundred dollars in United States bills, two five-pound notes, three much-used Greek passports bearing Cairo's name and portrait, five folded sheets of onion-skin paper covered with what looks like Arabic writing, a thin sheaf of Mr. Joel Cairo's engraved cards, and a ticket for an orchestra seat at the Geary Theatre. Besides the wallet and its contents, a wafer-thin platinum watch, a handful of United States, British, French and Chinese coins, a package of violet pastille and a large silk handkerchief with a florid design. 22. CLOSE SHOT - SPADE AND CAIRO Spade takes the unconscious man's wrist between finger and thumb. Then, after a moment, he rocks back in his chair and smokes his cigarette. Cairo moans, flutters his eyelids presently. Several moments pass before the eyes remain open, and several more moments before they focus properly. Then he raises his head from the back of the chair, looks around the office in confusion, sees Spade, and sits up. There is a dark bruise where Spade's fist struck him.</scene_description>
<character>SPADE</character>
<dialogue>Sorry.</dialogue>
<parenthetical>(he grins wolfishly)</parenthetical>
<dialogue>But imagine my embarrassment when I found that five thousand dollar offer was just hooey.</dialogue>
<character>CAIRO</character>
<parenthetical>(through his teeth -- painfully)</parenthetical>
<dialogue>You're mistaken, Mr. Spade. That was, and is, a genuine offer.</dialogue>
<character>SPADE</character>
<parenthetical>(his surprise is genuine)</parenthetical>
<dialogue>What the hell?</dialogue>
<character>CAIRO</character>
<dialogue>I am prepared to pay five thousand dollars for the figure's return.</dialogue>
<parenthetical>(he takes his hand away from the bruised head, prim and business- like again)</parenthetical>
<dialogue>You have it?</dialogue>
<character>SPADE</character>
<dialogue>No.</dialogue>
<character>CAIRO</character>
<parenthetical>(politely skeptical)</parenthetical>
<dialogue>If it is not here, why did you risk serious injury to prevent my searching for it?</dialogue>
<character>SPADE</character>
<dialogue>I should sit around and let people come in and stick me up.</dialogue>
<character>CAIRO</character>
<dialogue>Surely, it is natural enough that I should first try to spare the owner such a considerable expense, if possible.</dialogue>
<character>SPADE</character>
<dialogue>Who is he?</dialogue>
<character>CAIRO</character>
<parenthetical>(smiling demurely)</parenthetical>
<dialogue>You will have to forgive my not answering that question.</dialogue>
<character>SPADE</character>
<parenthetical>(blinking his eyes sleepily)</parenthetical>
<dialogue>It might be better all around if we put our cards on the table.</dialogue>
<character>CAIRO</character>
<parenthetical>(his voice suave)</parenthetical>
<dialogue>I do not think it would be better. If you know more than I, I shall profit by your knowledge and so will you to the extent of five thousand dollars. If you do not, then I have made a mistake in coming to you, and to do as you suggest would be simply to make that mistake worse.</dialogue>
<dialogue>Spade nods indifferently, waves a hand at the articles on the desk.</dialogue>
<character>SPADE</character>
<dialogue>There's nothing like five thousand dollars there.</dialogue>
<character>CAIRO</character>
<dialogue>You wish some assurance of my sincerity?... A retainer?... Would that serve?</dialogue>
<character>SPADE</character>
<dialogue>It might.</dialogue>
<scene_description>Cairo puts his hand out toward his wallet, hesitates, withdraws his hand.</scene_description>
<character>CAIRO</character>
<dialogue>You will take, say one hundred dollars?</dialogue>
<scene_description>Spade picks up the wallet, takes out bills.</scene_description>
<character>SPADE</character>
<parenthetical>(frowning)</parenthetical>
<dialogue>Better make it two hundred.</dialogue>
<parenthetical>(he does make it two hundred, then rocks back in his chair again)</parenthetical>
<dialogue>Your first guess was that I had the bird...</dialogue>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>There's nothing to that. What's your second guess?</dialogue>
<character>CAIRO</character>
<dialogue>That you know where it is. Or, at least, that you know it is where you can get it.</dialogue>
<character>SPADE</character>
<parenthetical>(his face solemn except for wrinkles at the corners of his eyes)</parenthetical>
<dialogue>You're not hiring me to do any murders or burglaries for you but simply to get it back, if possible, in an honest, lawful way.</dialogue>
<character>CAIRO</character>
<parenthetical>(also solemn-faced)</parenthetical>
<dialogue>If possible. And, in any event, with discretion.</dialogue>
<parenthetical>(he puts his bills back into his pockets, then he picks up his hat)</parenthetical>
<dialogue>I am at the Hotel Belvedere when you wish to communicate with me -- Room 635. I confidently expect the greatest mutual benefit from our association, Mr. Spade.</dialogue>
<parenthetical>(he hesitates)</parenthetical>
<dialogue>May I have my pistol?</dialogue>
<character>SPADE</character>
<dialogue>Sure. I'd forgotten it.</dialogue>
<scene_description>Spade takes the pistol out of his coat pocket, hands it to Cairo. Cairo points the pistol at Spade's chest.</scene_description>
<character>CAIRO</character>
<parenthetical>(earnestly)</parenthetical>
<dialogue>You will please keep your hands on top of the desk. I intend to search your office.</dialogue>
<character>SPADE</character>
<dialogue>Well, I'll be...</dialogue>
<parenthetical>(then he laughs in his throat)</parenthetical>
<dialogue>All right -- go ahead. I won't stop you.</dialogue>
<scene_description>Spade, looking on, smiles pleasantly as Cairo moves quickly to his task. Drawers and filing cabinets are opened. He looks behind curtains and under the seats of the three office chairs and into the wastebasket. He even opens the window and looks along the lighted window ledge. Finding nothing, he sighs a little sigh of disappointment. Then, turning back to Spade, he bows politely.</scene_description>
<character>CAIRO</character>
<dialogue>Thank you very much, Mr. Spade... I shall await your call.</dialogue>
<scene_description>And he is gone. Among other things that Cairo's search uncovers is a bottle of Bacardi. Spade reaches for it, fills a lily cup two-thirds full, drinks.</scene_description>
<character>SPADE</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Anyway, they're paying for it.</dialogue>
<scene_description>He fills the cup again, drinks, returns the bottle to the drawer, then rising, puts on his hat and overcoat and starts turning off the lights. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTRANCE TO OFFICE BUILDING - NIGHT</stage_direction>
<scene_description>Spade comes out. CAMERA PANS with him as he turns on to the sidewalk past an undersized youth of twenty or twenty-one in neat gray cap and overcoat. CAMERA HOLDS on Spade's retreating figure. The youth walks into the picture after Spade. 24. FULL SHOT - CIGAR STORE ON THE CORNER - NIGHT Spade goes into the store. CAMERA PULLS BACK to four people who are standing on the curb waiting for a street car. The gray-dressed youth is one of them. Spade comes out of the cigar store and cuts across the street. The youth's face turns slightly. 25. MOVING SHOT - SPADE as he starts down street. A flashing electric mobile sign makes Spade's shadow race ahead, and another shadow, the youth's, overtakes him. CAMERA PANS with Spade as he cuts across the street toward a taxi stand. 26. MED. SHOT - TAXI as Spade gets in, motions the driver to go forward.</scene_description>
<character>SPADE</character>
<parenthetical>(to driver)</parenthetical>
<dialogue>Up the hill.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI</stage_direction>
<scene_description>as it moves through traffic. Spade looks out of the rear window.</scene_description>
<character>SPADE</character>
<parenthetical>(to driver)</parenthetical>
<dialogue>Do a left turn... Okay... That does it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. A GEARY STREET APARTMENT BUILDING</stage_direction>
<scene_description>as the cab pulls up. Spade gets out, pays the driver. As he climbs the steps to the outer vestibule of the building, another cab pulls over to the curb a dozen yards behind. Nobody gets out.</scene_description>
</scene>
<scene>
<stage_direction>INT. APT. BLDG. - CLOSEUP - ROW OF BELL-BUTTONS</stage_direction>
<scene_description>Spade's fingers press three different buttons all at once. The street door lock buzzes.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - APARTMENT BUILDING</stage_direction>
<scene_description>as Spade enters. He passes the elevator and stairs, goes down the corridor toward the rear of the building. 31. DOOR - AT END OF CORRIDOR It is fastened by a padlock. Spade's keys are already in his hand, He works briefly at the lock. When it opens, he lets himself out. We glimpse a narrow court which opens on to the alley-way.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - APARTMENT BUILDING - LONG SHOT</stage_direction>
<scene_description>The boy is looking at the names beside the buttons. Spade enters scene in f.g., watches until the lock at the door clicks and the boy enters. Spade grins slightly, then goes quickly up the street. DISSOLVE TO: 33. INSERT: BRONZE PLAQUE "CORONET APARTMENTS": DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - CORONET APARTMENTS - OUTSIDE ROOM 1001</stage_direction>
<scene_description>as Brigid O'Shaughnessy opens the door on Spade.</scene_description>
<character>BRIGID</character>
<parenthetical>(as though she had not been entirely certain of his coming)</parenthetical>
<dialogue>Oh! Mr. Spade! Come in.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SPADE AND BRIGID</stage_direction>
<scene_description>as they enter.</scene_description>
<character>BRIGID</character>
<parenthetical>(taking Spade's hat and coat)</parenthetical>
<dialogue>Do you bring me any news?</dialogue>
<character>BRIGID</character>
<parenthetical>(anxiety looks through her eyes and she holds her breath)</parenthetical>
<dialogue>I mean, did you manage it so that the police won't have to know about me?</dialogue>
<character>SPADE</character>
<dialogue>They won't for a while anyway.</dialogue>
<scene_description>Brigid sighs happily, sits on the walnut settee, her face relaxed and her body relaxed. She smiles up at him with admiring eyes, then at another thought, the admiration goes out of her eyes and the anxious worried look returns.</scene_description>
<character>BRIGID</character>
<dialogue>You won't get into any trouble?</dialogue>
<character>SPADE</character>
<dialogue>I don't mind a reasonable amount of trouble.</dialogue>
<scene_description>She makes room for him on the settee, just as she did on the last occasion.</scene_description>
<character>BRIGID</character>
<dialogue>Do sit down.</dialogue>
<scene_description>But Spade remains beside the fireplace, looking at her with eyes that frankly study, weigh and judge her. She flushes with becoming shyness under his scrutiny. He stands until it seems plain that he means to ignore her invitation -- then he crosses to the settee.</scene_description>
<character>SPADE</character>
<dialogue>You aren't exactly the sort of person you pretend to be, are you?</dialogue>
<scene_description>She starts slightly, then averts her face.</scene_description>
<character>BRIGID</character>
<dialogue>I'm not sure I know what you mean.</dialogue>
<character>SPADE</character>
<dialogue>School girl manner, stammering, blushing and all that.</dialogue>
<scene_description>Her face turns slowly until her eyes meet his.</scene_description>
<character>BRIGID</character>
<parenthetical>(voice hushed, almost to a whisper)</parenthetical>
<dialogue>I haven't lived a good life. I've been bad -- worse than you could know.</dialogue>
<character>SPADE</character>
<dialogue>That's good...! Because if you actually were as innocent as you seemed to be, we'd never get anywhere.</dialogue>
<character>BRIGID</character>
<dialogue>I won't be innocent.</dialogue>
<character>SPADE</character>
<dialogue>Good.</dialogue>
<parenthetical>(then in the manner of one making polite conversation)</parenthetical>
<dialogue>I saw Joel Cairo tonight.</dialogue>
<scene_description>Brigid's eyes focused on his profile, become frightened, then cautious. Spade's legs are stretched out and he is looking at his crossed feet. His face has a blank expression.</scene_description>
<character>BRIGID</character>
<parenthetical>(uneasily)</parenthetical>
<dialogue>You -- you know him?</dialogue>
<character>SPADE</character>
<parenthetical>(maintaining his light conversational tone)</parenthetical>
<dialogue>Only slightly.</dialogue>
<scene_description>She gets up from the settee, goes to the fireplace to poke at the fire. She changes the position of an ornament on the mantelpiece, crosses the room to get a box of cigarettes from a table in the corner, straightens a curtain, and returns to her seat.</scene_description>
<character>SPADE</character>
<parenthetical>(grins sideways at her)</parenthetical>
<dialogue>You're good. You're very good.</dialogue>
<character>BRIGID</character>
<dialogue>What did he say?</dialogue>
<character>SPADE</character>
<dialogue>About what?</dialogue>
<character>BRIGID</character>
<parenthetical>(hesitatingly)</parenthetical>
<dialogue>About me.</dialogue>
<character>SPADE</character>
<dialogue>Nothing.</dialogue>
<parenthetical>(he turns to hold his lighter under the end of her cigarette)</parenthetical>
<character>BRIGID</character>
<dialogue>Well, what did he talk about?</dialogue>
<parenthetical>(with half playful petulance)</parenthetical>
<character>SPADE</character>
<dialogue>He offered me five thousand dollars for the black bird.</dialogue>
<scene_description>Brigid starts, throws a swift alarmed look at Spade, then rises again.</scene_description>
<character>SPADE</character>
<dialogue>You're not going to go around poking at the fire and straightening the room again, are you?</dialogue>
<parenthetical>(he laughs lazily)</parenthetical>
<dialogue>Brigid's laughter mingles with his. She drops her cigarette into a tray and looks at him with clear, merry eyes.</dialogue>
<character>BRIGID</character>
<dialogue>No, I won't... and what did you say?</dialogue>
<character>SPADE</character>
<dialogue>Five thousand dollars is a lot of money.</dialogue>
<scene_description>She smiles but instead of smiling too, he looks gravely at her. Her smile becomes faint, confused. Then she stops smiling, lifts her shoulders and hands and lets them fall in a gesture that accepts defeat.</scene_description>
<character>BRIGID</character>
<dialogue>It is. It is far more than I could ever offer you if I must bid for your loyalty.</dialogue>
<scene_description>Spade laughs. His laughter is brief and somewhat bitter.</scene_description>
<character>SPADE</character>
<dialogue>That's good -- coming from you. What have you given me besides money? Have you given me any of your confidence? Any of the truth? Haven't you tried to buy my loyalty with money and nothing else?</dialogue>
<character>BRIGID</character>
<dialogue>I've given you all the money I have.</dialogue>
<parenthetical>(tears glisten in her eyes, her voice is hoarse, vibrant)</parenthetical>
<dialogue>I've thrown myself on your mercy -- told you that without your help I'm utterly lost.</dialogue>
<parenthetical>(she turns on him suddenly -- cries in a vibrant voice)</parenthetical>
<dialogue>What else is there that I can buy you with?</dialogue>
<scene_description>Spade takes her face between his hands, kisses her mouth roughly and contemptuously, then releasing her, he sits back. She sits, holding her face where his hands left it. Spade gets up, takes two steps towards the fireplace, halts. Brigid doesn't move. He turns to face her.</scene_description>
<character>SPADE</character>
<dialogue>I don't care what your secrets are -- but I can't go ahead without more confidence in you than I have now. You've got to convince me that you know what it's all about -- that you aren't simply fiddling along hoping it'll all come out right in the end.</dialogue>
<character>BRIGID</character>
<dialogue>Can't you trust me a little longer?</dialogue>
<character>SPADE</character>
<dialogue>How much is a little? And what are you waiting for?</dialogue>
<scene_description>She bites her lip, looks down.</scene_description>
<character>BRIGID</character>
<parenthetical>(almost inaudibly)</parenthetical>
<dialogue>I must talk to Joel Cairo.</dialogue>
<character>SPADE</character>
<dialogue>You can see him tonight.</dialogue>
<parenthetical>(looks at his watch)</parenthetical>
<dialogue>He's at the theatre. It'll be out soon. I'll call his hotel.</dialogue>
<parenthetical>(crosses room -- picks up telephone)</parenthetical>
<character>BRIGID</character>
<parenthetical>(eyes alarmed)</parenthetical>
<dialogue>But he can't come here. I can't let him know where I am. I'm afraid.</dialogue>
<character>SPADE</character>
<parenthetical>(dials a number)</parenthetical>
<dialogue>My place then.</dialogue>
<scene_description>She hesitates, working her lips together.</scene_description>
<character>BRIGID</character>
<parenthetical>(finally)</parenthetical>
<dialogue>All right.</dialogue>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>I want to leave a message for Mr. Joel Cairo.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPADE'S APARTMENT - NIGHT</stage_direction>
<scene_description>A dark sedan is parked directly in front of the entrance. A taxicab pulls up behind the dark sedan. 37. CLOSE SHOT - TAXICAB as Spade and Brigid get out. She walks a little ahead, stands waiting for him while he pays the driver, CAMERA DOLLIES with Spade as he comes up beside her. Iva Archer is alone in the dark sedan, sitting at the wheel. Spade lifts his hat to her but says nothing. He and Brigid go into the apartment house. Looking after them, Iva's face is strained, tense. Spade comes back out of the apartment house, crosses quickly to the sedan. 38. CLOSE SHOT - SPADE AND IVA Frowning, Spade returns his gaze to Iva's insistent face.</scene_description>
<character>SPADE</character>
<dialogue>What's the matter? Has anything happened? You oughtn't to be here at this time of night.</dialogue>
<character>IVA</character>
<parenthetical>(quarrelsomely)</parenthetical>
<dialogue>I'm beginning to believe that. You told me I oughtn't to come to your office. Now I oughtn't to come here. Do you mean I oughtn't to... chase after you? If that's what you mean, why don't you say it right out?</dialogue>
<character>SPADE</character>
<parenthetical>(with a certain false emphasis)</parenthetical>
<dialogue>Now, Iva, you've got no right to take that attitude.</dialogue>
<scene_description>He looks away from her down the street, frown slightly. 39. LONG SHOT - STREET In front of the garage on the corner, an undersized youth in a neat gray cap and overcoat is loafing back against a wall. 40. CLOSE SHOT - SPADE AND IVA</scene_description>
<character>IVA</character>
<dialogue>I know I haven't. I haven't any rights at all, it seems, where you're concerned. I thought I did. I thought you pretended to love me...</dialogue>
<character>SPADE</character>
<parenthetical>(wearily)</parenthetical>
<dialogue>This is no time to be arguing about that, Precious. What was it you wanted to see me about?</dialogue>
<character>IVA</character>
<dialogue>I can't talk to you here, Sam. Can't I come in?</dialogue>
<scene_description>Spade shakes his head.</scene_description>
<character>IVA</character>
<dialogue>Who is she?...</dialogue>
<scene_description>Spade says nothing. She makes a thin line of her mouth, squirms around behind the wheel and starts the engine.</scene_description>
<character>SPADE</character>
<dialogue>Goodnight, Iva.</dialogue>
<scene_description>She engages the gears violently, the car jumps ahead. Spade turns back toward the apartment house.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY - APARTMENT HOUSE</stage_direction>
<scene_description>Brigid rises from the bench as Spade enters. He goes to the run-yourself elevator, opens the door for her to pass in.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CLOSE SHOT - SPADE AND BRIGID</stage_direction>
<character>BRIGID</character>
<dialogue>I don't have to tell you how utterly at a disadvantage you'll have me with Cairo if you choose.</dialogue>
<scene_description>Spade smiles slightly.</scene_description>
<character>SPADE</character>
<dialogue>No, you don't have to tell me.</dialogue>
<scene_description>He opens the elevator door, holds it while she passes out.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - OUTSIDE SPADE'S APARTMENT</stage_direction>
<scene_description>as Spade takes out his keys.</scene_description>
<character>BRIGID</character>
<dialogue>You know, I never would have placed myself in this position if I hadn't trusted you completely.</dialogue>
<character>SPADE</character>
<parenthetical>(with mock resignation as he turns the key in the lock)</parenthetical>
<dialogue>That again?</dialogue>
</scene>
<scene>
<stage_direction>INT. SPADE'S APARTMENT</stage_direction>
<character>BRIGID'S VOICE</character>
<parenthetical>(over scene -- from the hall)</parenthetical>
<dialogue>But you know that's so.</dialogue>
<scene_description>They enter from the hall, Spade ahead. He switches on the lights.</scene_description>
<character>SPADE</character>
<dialogue>You don't have to trust me as long as you can persuade me to trust you.</dialogue>
<scene_description>She studies his face. Her nostrils quiver. Spade laughs, pats her hand.</scene_description>
<character>SPADE</character>
<dialogue>Don't worry about that now. He'll be here in a moment. Get your business with Cairo over and then we'll see how we stand.</dialogue>
<character>BRIGID</character>
<dialogue>And you'll let me go about it -- with him -- in my own way?</dialogue>
<character>SPADE</character>
<dialogue>Sure.</dialogue>
<scene_description>She reaches out impulsively, engages his fingers.</scene_description>
<character>BRIGID</character>
<parenthetical>(softly)</parenthetical>
<dialogue>You're a God-send!</dialogue>
<character>SPADE</character>
<dialogue>Don't overdo it.</dialogue>
<scene_description>She gives him a hurt, reproachful look. Spade goes to the window, looks out. 45. LONG SHOT - STREET - NIGHT SHOOTING through window. The undersized youth, hands in pockets, strolls idly by a street lamp. OVER SCENE the SOUND of the buzzer.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL</stage_direction>
<scene_description>as Spade opens the door on Joel Cairo. Cairo's dark eyes seem all irises and his high-pitched, thin-voiced words start tumbling out as he enters.</scene_description>
<character>CAIRO</character>
<dialogue>There is a boy outside who seems to be watching the house, Mr. Spade.</dialogue>
<character>SPADE</character>
<dialogue>I know. I spotted him.</dialogue>
<scene_description>The girl comes into the passageway behind Spade.</scene_description>
<character>BRIGID</character>
<parenthetical>(anxiously)</parenthetical>
<dialogue>What boy? What is that?</dialogue>
<character>SPADE</character>
<parenthetical>(unconcerned)</parenthetical>
<dialogue>I don't know -- a kid -- he's been tailing me around town all evening ... Come on in, Cairo.</dialogue>
<scene_description>Brigid grasps Sam's arm above the elbow tensely.</scene_description>
<character>BRIGID</character>
<parenthetical>(breathlessly)</parenthetical>
<dialogue>Did he follow you to my apartment?</dialogue>
<character>SPADE</character>
<dialogue>No. I shook him before that.</dialogue>
<scene_description>She breathes again.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SPADE'S APARTMENT</stage_direction>
<scene_description>as Spade leads the way in, Cairo, holding his black hat to his belly with both hands, bows stiffly.</scene_description>
<character>CAIRO</character>
<dialogue>I'm delighted to see you again, Miss O'Shaughnessy.</dialogue>
<character>BRIGID</character>
<parenthetical>(offering him her hand)</parenthetical>
<dialogue>I was sure you would be, Joel.</dialogue>
<scene_description>He takes her hand, makes another formal bow over it, then releases it quickly. She goes to the padded rocker she had occupied before. Cairo takes the armchair by the table. Spade, after hanging Cairo's hat and coat up, sits on the edge of the sofa in front of the window, begins to roll a cigarette.</scene_description>
<character>BRIGID</character>
<parenthetical>(to Cairo)</parenthetical>
<dialogue>Mr. Spade told me about your offer for the Falcon. How soon can you have the money ready?</dialogue>
<character>CAIRO</character>
<parenthetical>(eyebrows twitching)</parenthetical>
<dialogue>It is ready.</dialogue>
<scene_description>He smiles, showing teeth too white and too even, then he looks at Spade. Spade is lighting a cigarette.</scene_description>
<character>BRIGID</character>
<dialogue>In cash?</dialogue>
<character>CAIRO</character>
<parenthetical>(primly)</parenthetical>
<dialogue>Oh yes.</dialogue>
<character>BRIGID</character>
<dialogue>You are ready to give us five thousand dollars if we turn over the Falcon to you?</dialogue>
<character>CAIRO</character>
<parenthetical>(holding up a wriggling hand)</parenthetical>
<dialogue>Excuse me, I expressed myself badly. I did not mean to say that I have the money in my pocket but that I am prepared to get it on a few minutes notice at any time during banking hours.</dialogue>
<character>BRIGID</character>
<dialogue>Oh.</dialogue>
<character>SPADE</character>
<parenthetical>(grins wolfishly through smoke)</parenthetical>
<dialogue>That's probably right. He had only a few hundred in his wallet when I frisked him this afternoon.</dialogue>
<scene_description>Brigid's eyes open wide.</scene_description>
<character>CAIRO</character>
<parenthetical>(trying, and failing, to keep eagerness out of his voice)</parenthetical>
<dialogue>I shall be able to give you the money at, say, half-past ten in the morning.</dialogue>
<character>BRIGID</character>
<dialogue>But I haven't got the Falcon.</dialogue>
<scene_description>Cairo puts a hand on either arm of his chair, holds his small-boned body erect and stiff.</scene_description>
<character>BRIGID</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>I'll have it in another week at the most though.</dialogue>
<character>CAIRO</character>
<parenthetical>(with bitter skepticism)</parenthetical>
<dialogue>Where is it?</dialogue>
<character>BRIGID</character>
<dialogue>Where Floyd hid it.</dialogue>
<character>CAIRO</character>
<dialogue>Floyd? Thursby?</dialogue>
<scene_description>She nods.</scene_description>
<character>CAIRO</character>
<dialogue>And you know where he hid it?</dialogue>
<scene_description>She nods again.</scene_description>
<character>CAIRO</character>
<dialogue>Then why must we wait a week?</dialogue>
<character>BRIGID</character>
<dialogue>Perhaps not a whole week.</dialogue>
<scene_description>Cairo rubs the back of one hand with the palm of the other. His lids lower to shade his eyes.</scene_description>
<character>CAIRO</character>
<dialogue>Why, if I may ask another question, are you willing to sell it to me?</dialogue>
<character>BRIGID</character>
<dialogue>I'm afraid -- after what happened to Floyd. I'm afraid to touch it except to turn it over to somebody else right away.</dialogue>
<scene_description>If Spade feels either excitement or curiosity, he does not betray it. Lounging on the sofa, he takes an occasional drag at his cigarette between occasional sips of rum.</scene_description>
<character>CAIRO</character>
<parenthetical>(leaning forward -- his voice low)</parenthetical>
<dialogue>Exactly what did happen to Floyd?</dialogue>
<character>BRIGID</character>
<dialogue>The fat man.</dialogue>
<character>CAIRO</character>
<parenthetical>(clicks his pearly teeth)</parenthetical>
<dialogue>Is he here?</dialogue>
<character>BRIGID</character>
<dialogue>I don't know. I suppose so. What difference does it make?</dialogue>
<scene_description>Cairo rearranges his hand in his lap so that, intentionally or not, a forefinger points at Spade.</scene_description>
<character>CAIRO</character>
<dialogue>It might make a world of difference.</dialogue>
<scene_description>The girl glances at the pointed finger, makes an impatient motion with her head.</scene_description>
<character>BRIGID</character>
<dialogue>...Or me or you.</dialogue>
<character>CAIRO</character>
<dialogue>Precisely... And shall we add, more certainly the boy outside.</dialogue>
<character>BRIGID</character>
<dialogue>Yes.</dialogue>
<parenthetical>(laughs)</parenthetical>
<dialogue>But you might be able to get around him, Joel, as you did that one in Istanbul -- What was his name?...</dialogue>
<scene_description>Cairo's face is suddenly distorted. He cries in a shrill, enraged voice.</scene_description>
<character>CAIRO</character>
<dialogue>You mean the one you couldn't get to come to...</dialogue>
<scene_description>Before he can finish, Brigid is out of her chair. As Cairo starts to rise, her right hand goes out, cracks sharply against his cheek. Cairo grunts, raises his hand to strike back. Spade, wooden of face, is up from the sofa by now and close to them. He catches Cairo by the throat, chokes him. Cairo gurgles, puts a hand inside his coat. Spade grasps the Greek's wrist, twists it until the fingers open and the black pistol drops to the rug. Brigid quickly picks up the pistol.</scene_description>
<character>CAIRO</character>
<parenthetical>(hoarsely)</parenthetical>
<dialogue>This is the second time you've put your hands on me!</dialogue>
<scene_description>Cairo's eyes bulge slightly as Spade tightens the throttling pressure on his throat.</scene_description>
<character>SPADE</character>
<parenthetical>(growling)</parenthetical>
<dialogue>Yes -- and when you're slapped, you'll take it and like it!</dialogue>
<scene_description>He releases Cairo's wrist and with a thick, open hand strikes the side of his face three times savagely. Cairo tries to spit in his face. Spade slaps him again across the mouth. OVER SCENE the buzzer sounds. Cairo's eyes jerk to the passageway that leads to the corridor door. The girl gasps and turns to face the passageway. Spade stares gloomily for a moment at the blood trickling from Cairo's lip, then steps back, taking his hand from the Greek's throat. Brigid comes close to Spade, whispers.</scene_description>
<character>BRIGID</character>
<dialogue>Who is it?</dialogue>
<scene_description>Cairo's eyes jerk back from the passageway to Spade and ask the same question.</scene_description>
<character>SPADE</character>
<parenthetical>(irritably)</parenthetical>
<dialogue>I don't know.</dialogue>
<scene_description>The buzzer sounds again, more insistently.</scene_description>
<character>SPADE</character>
<dialogue>Well, keep quiet.</dialogue>
<scene_description>CAMERA TROLLIES ahead of him as he enters the passageway, shutting the door behind him. 48. CLOSE SHOT - ON CORRIDOR DOOR as Spade opens it. Lieutenant Dundy and Tom Polhaus stand there.</scene_description>
<character>SPADE</character>
<parenthetical>(good-naturedly)</parenthetical>
<dialogue>Hello. You guys pick swell hours to do your visiting in. What is it this time?</dialogue>
<character>DUNDY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>We want to talk to you, Spade.</dialogue>
<scene_description>Spade remains in the doorway, blocking it.</scene_description>
<character>SPADE</character>
<dialogue>Go ahead and talk.</dialogue>
<character>POLHAUS</character>
<dialogue>We don't have to do it out here in the hall, do we?</dialogue>
<character>SPADE</character>
<parenthetical>(in a slightly apologetic tone)</parenthetical>
<dialogue>You can't come in.</dialogue>
<character>POLHAUS</character>
<parenthetical>(putting his big hand playfully on Spade's chest)</parenthetical>
<dialogue>Come off it, Sam.</dialogue>
<scene_description>Spade braces himself against the hand, grins wolfishly.</scene_description>
<character>SPADE</character>
<dialogue>Going to strong-arm me, Tom?</dialogue>
<character>POLHAUS</character>
<parenthetical>(grumbling)</parenthetical>
<dialogue>Be reasonable, Sam.</dialogue>
<character>DUNDY</character>
<parenthetical>(through his teeth)</parenthetical>
<dialogue>It'd pay you to play along with us a little, Spade. You got away with this and you got away with that -- but you can't keep it up forever.</dialogue>
<character>SPADE</character>
<parenthetical>(arrogantly)</parenthetical>
<dialogue>Stop me when you can.</dialogue>
<character>DUNDY</character>
<dialogue>That's what I intend to do!</dialogue>
<scene_description>He puts his hands behind him, thrusts his hard face up towards Spade's.</scene_description>
<character>DUNDY</character>
<dialogue>There's talk going around about you and Archer's wife. Anything to it?</dialogue>
<character>SPADE</character>
<dialogue>Not anything.</dialogue>
<character>DUNDY</character>
<dialogue>The talk is that she tried to get a divorce out of him so she could put in with you but he wouldn't give it to her. Anything to that?</dialogue>
<character>SPADE</character>
<dialogue>No.</dialogue>
<character>DUNDY</character>
<parenthetical>(stolidly)</parenthetical>
<dialogue>There's even talk that that's why he was put on the spot.</dialogue>
<character>SPADE</character>
<dialogue>Don't be a hog, Dundy. Your first idea that I killed Thursby off because he killed Miles, falls to pieces if you blame me for killing Miles too.</dialogue>
<character>DUNDY</character>
<dialogue>You haven't heard me say you killed anybody. You're the one who keeps bringing that up.</dialogue>
<character>SPADE</character>
<dialogue>Haven't you anything better to do than popping in here early every morning with a lot of fool questions?</dialogue>
<character>DUNDY</character>
<parenthetical>(adds deliberately)</parenthetical>
<dialogue>-- And get lying answers!</dialogue>
<character>SPADE</character>
<parenthetical>(warningly)</parenthetical>
<dialogue>Take it easy...</dialogue>
<scene_description>Dundy looks him up and down, then straight in the eye.</scene_description>
<character>DUNDY</character>
<dialogue>If you say there was nothing between you and Archer's wife, you're a liar and I'm telling you so!</dialogue>
<character>SPADE</character>
<parenthetical>(moistening his lips)</parenthetical>
<dialogue>Is that the hot tip that brought you here at this ungodly time of night?</dialogue>
<character>DUNDY</character>
<dialogue>That's one of them.</dialogue>
<character>SPADE</character>
<dialogue>And the other?</dialogue>
<character>DUNDY</character>
<parenthetical>(in a cold, level voice)</parenthetical>
<dialogue>Let us in!</dialogue>
<scene_description>Spade frowns, hakes his head.</scene_description>
<character>DUNDY</character>
<parenthetical>(starts buttoning his overcoat)</parenthetical>
<dialogue>All right, Spade, we'll see. Maybe you're right in bucking us. Think it over.</dialogue>
<scene_description>OVER SCENE Joel Cairo's voice, high and thin, cries.</scene_description>
<character>CAIRO'S VOICE</character>
<parenthetical>(over scene)</parenthetical>
<dialogue>Help! Police! Help!</dialogue>
<scene_description>Dundy, who was turning away, confronts Spade again. OVER SCENE the SOUND of a brief struggle, of a blow, of a subdued cry.</scene_description>
<character>DUNDY</character>
<parenthetical>(decisively)</parenthetical>
<dialogue>I guess we're going in!</dialogue>
<character>SPADE</character>
<dialogue>I guess you are.</dialogue>
<scene_description>Dundy and Polhaus push past him into the passageway. CAMERA TROLLIES after them as they open the door to the living room, enter.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Brigid O'Shaughnessy is huddled in an armchair by the table, her arms over her face. Her eyes are white- circled, terrified. Joel Cairo stands in front of her, bending over her, holding in one hand the flat, black pistol. His other hand is clapped to his forehead. Blood runs through the fingers of that hand and down into his eyes. Cairo does not heed the detectives. He is glaring at the girl huddled in front of him. His lips are working spasmodically but no coherent sound comes from between them. Dundy, the first of the three into the living room, moves swiftly to Cairo's side, puts a hand on his own hip under his overcoat and a hand on Cairo's wrist.</scene_description>
<character>DUNDY</character>
<parenthetical>(growling)</parenthetical>
<dialogue>What are you up to here?</dialogue>
<scene_description>Cairo takes the re-smeared hand from his head, flourishes it.</scene_description>
<character>CAIRO</character>
<parenthetical>(cries)</parenthetical>
<dialogue>This is what she has done. Look at it!</dialogue>
<scene_description>Uncovered, his forehead shows a three-inch ragged tear.</scene_description>
<character>DUNDY</character>
<parenthetical>(to the girl)</parenthetical>
<dialogue>Did you do that?</dialogue>
<scene_description>She looks at Spade with appealing eyes. He does not in any way respond, but leans against the door frame with the polite, detached air of a disinterested spectator.</scene_description>
<character>BRIGID</character>
<parenthetical>(to Dundy -- in a low throbbing voice)</parenthetical>
<dialogue>I had to. I was all alone in here with him. He attacked me. I tried to keep him off. I -- I couldn't make myself shoot him.</dialogue>
<character>CAIRO</character>
<parenthetical>(cries)</parenthetical>
<dialogue>Oh, you dirty, filthy liar!</dialogue>
<parenthetical>(facing Dundy)</parenthetical>
<dialogue>I came in here in good faith and was attacked by both of them. And when you came, he went out to talk with you, leaving her here with this pistol. And then she said they were going to kill me after you left -- and I called for help so you wouldn't leave me here to be murdered. And then she struck me with the pistol.</dialogue>
<character>BRIGID</character>
<parenthetical>(shrilly)</parenthetical>
<dialogue>Make him tell the truth -- why don't you?</dialogue>
<scene_description>She takes two steps to Cairo and Dundy, slaps Cairo on the cheek. Cairo yells inarticulately. Dundy pushes the girl back into the chair, growls:</scene_description>
<character>DUNDY</character>
<dialogue>None of that now!</dialogue>
<scene_description>Brigid puts her leg out and kicks Cairo, the high heel of her blue slipper striking him just below the knee. Polhaus comes over to stand close beside her.</scene_description>
<character>POLHAUS</character>
<parenthetical>(grumbling)</parenthetical>
<dialogue>Behave, sister. That's no way to act.</dialogue>
<scene_description>Dundy stares at Spade. His eyes are hard, bright discs.</scene_description>
<character>DUNDY</character>
<parenthetical>(to Polhaus)</parenthetical>
<dialogue>Well, Tom, don't guess we'll go wrong pulling the lot of them in.</dialogue>
<scene_description>Polhaus nods gloomily. Spade leaves the door, advances to the center of the room, dropping his cigarette in a tray on the table as he passes. His smile is amiable, his manner composed.</scene_description>
<character>SPADE</character>
<dialogue>Don't be in a hurry, boys. Everything can be explained.</dialogue>
<character>DUNDY</character>
<parenthetical>(sneering)</parenthetical>
<dialogue>I bet.</dialogue>
<scene_description>Spade bows to the girl.</scene_description>
<character>SPADE</character>
<dialogue>Miss O'Shaughnessy, may I present Lieutenant Dundy and Detective Sergeant Polhaus.</dialogue>
<parenthetical>(he bows to Dundy)</parenthetical>
<dialogue>Miss O'Shaughnessy is an operative in my employ -- since yesterday.</dialogue>
<character>CAIRO</character>
<parenthetical>(interrupting indignantly)</parenthetical>
<dialogue>That isn't so. She --</dialogue>
<character>SPADE</character>
<parenthetical>(in a loud voice)</parenthetical>
<dialogue>This is Mr. Joel Cairo, an acquaintance of Thursby's. He came to my office this afternoon to hire me to find something Thursby was supposed to have on him when he was bumped off. It looked funny the way he put it to me so I wouldn't touch it. Then he pulled a gun -- well, never mind that unless it comes to the point of laying charges against each other. Anyway, after talking it over with Miss O'Shaughnessy, I thought maybe I could get something out of him about Miles' and Thursby's killings so I asked him up here. Maybe we put the questions to him a little rough, but he wasn't hurt enough to cry for help.</dialogue>
<scene_description>As Spade talks, anxiety comes into Cairo's blood-stained face. His eyes move jerkily up and down, shifting their focus uneasily between the floor and Spade's bland face.</scene_description>
<character>DUNDY</character>
<parenthetical>(to Cairo -- brusquely -- demanding)</parenthetical>
<dialogue>Well, what have you to say to that?</dialogue>
<scene_description>Cairo stares at the Lieutenant's face for a long moment. When he lifts his eyes, they are sly and wary.</scene_description>
<character>CAIRO</character>
<parenthetical>(murmurs)</parenthetical>
<dialogue>I don't know -- what to say.</dialogue>
<character>DUNDY</character>
<dialogue>Try telling the facts.</dialogue>
<character>CAIRO</character>
<parenthetical>(fidgeting)</parenthetical>
<dialogue>The facts?</dialogue>
<character>DUNDY</character>
<dialogue>Quit stalling! All you gotta do is swear to a complaint that they took a poke at you and we'll throw them into the can.</dialogue>
<character>SPADE</character>
<parenthetical>(affably)</parenthetical>
<dialogue>Go ahead, Cairo. Tell him you'll do it -- and then we'll swear to a complaint against you and he'll have the lot of us.</dialogue>
<scene_description>Cairo clears his throat, looks nervously around the room.</scene_description>
<character>DUNDY</character>
<dialogue>Get your hats!</dialogue>
<scene_description>Spade winks at Cairo broadly, crosses to the padded rocker, sits down. He laughs.</scene_description>
<character>SPADE</character>
<parenthetical>(nothing but delight in his voice)</parenthetical>
<dialogue>Well, boys and girls, we put it over nicely.</dialogue>
<character>DUNDY</character>
<parenthetical>(peremptorily)</parenthetical>
<dialogue>Get your hats!</dialogue>
<character>SPADE</character>
<dialogue>Don't you know when you're being kidded?</dialogue>
<character>DUNDY</character>
<parenthetical>(rises, moving stiffly)</parenthetical>
<dialogue>No, but we'll let that wait till we get down to the station.</dialogue>
<character>SPADE</character>
<dialogue>Wake up -- you're being kidded. When the bell rang, I said to Miss O'Shaughnessy here and Cairo -- It's those bulls again. They're getting to be nuisances. When you hear them going, one of you scream and then we'll see how far we can string them along until they tumble.</dialogue>
<scene_description>Brigid O'Shaughnessy bends forward in her chair, laughs merrily. Cairo starts, then smiles. He holds the smile fixed on her face.</scene_description>
<character>POLHAUS</character>
<parenthetical>(grumbling)</parenthetical>
<dialogue>Cut it out, Sam.</dialogue>
<character>DUNDY</character>
<parenthetical>(scornfully)</parenthetical>
<dialogue>The cut on his head -- where'd it come from?</dialogue>
<character>CAIRO</character>
<dialogue>I fell -- we intended to be struggling for the pistol when you came in and I tripped on the end of the rug and fell.</dialogue>
<character>DUNDY</character>
<dialogue>Horse Feathers!</dialogue>
<scene_description>He pulls Cairo roughly around, holding him now by one wrist and the nape of his neck.</scene_description>
<character>DUNDY</character>
<dialogue>I'll take you along for packing the gun anyway.</dialogue>
<character>SPADE</character>
<dialogue>Don't be a sap, Dundy. The gun was part of the plant. It's one of mine.</dialogue>
<parenthetical>(he laughs)</parenthetical>
<dialogue>Too bad it's only a .32 or maybe you could find it was the one Thursby and Miles were shot with.</dialogue>
<scene_description>Dundy releases Cairo, spins on his heel, his right fist clicks on Spade's chin. The girl utters a short cry. Spade's smile flickers out. He steadies himself with a short, backward step and his thick, sloping shoulders writhe under his coat. Before his fist can come up, Tom Polhaus has pushed himself between the two men.</scene_description>
<character>POLHAUS</character>
<parenthetical>(begging)</parenthetical>
<dialogue>No, Sam -- no.</dialogue>
<scene_description>After a long moment of motionlessness, Spade's muscles relax.</scene_description>
<character>SPADE</character>
<parenthetical>(sullenly)</parenthetical>
<dialogue>Then get him out of here quick!</dialogue>
<scene_description>Dundy's fists are clenched in front of his body, his feet are planted firm, a little apart on the floor.</scene_description>
<character>DUNDY</character>
<dialogue>Get their names and addresses.</dialogue>
<scene_description>Polhaus turns toward Cairo.</scene_description>
<character>CAIRO</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>Joel Cairo -- Hotel Belvedere.</dialogue>
<character>SPADE</character>
<dialogue>Miss O'Shaughnessy's address is in care of my office.</dialogue>
<scene_description>Dundy takes a step forward, halting in front of the girl.</scene_description>
<character>DUNDY</character>
<dialogue>Where do you live?</dialogue>
<character>SPADE</character>
<parenthetical>(to Tom -- flinging the words out)</parenthetical>
<dialogue>Get him out of here! I've had enough of this.</dialogue>
<character>POLHAUS</character>
<parenthetical>(mumbling)</parenthetical>
<dialogue>Take it easy, Sam.</dialogue>
<parenthetical>(buttoning his coat, he turns to Dundy)</parenthetical>
<dialogue>Well, is that all?</dialogue>
<scene_description>Dundy's scowl fails to conceal indecision.</scene_description>
<character>CAIRO</character>
<parenthetical>(moving suddenly toward the door)</parenthetical>
<dialogue>I'm going too -- if Mr. Spade will be kind enough to give me my hat and coat.</dialogue>
<character>SPADE</character>
<dialogue>What's the hurry?</dialogue>
<character>CAIRO</character>
<dialogue>No hurry -- but it's quite late and...</dialogue>
<scene_description>Spade goes to the closet in the passageway, takes out Cairo's hat and coat, hands them to him, then to Polhaus:</scene_description>
<character>SPADE</character>
<dialogue>Tell him to leave the gun.</dialogue>
<scene_description>Dundy takes Cairo's Pistol from his overcoat pocket, puts it on the table. He goes out first, with Cairo at his heels. Polhaus halts in front of Spade.</scene_description>
<character>POLHAUS</character>
<parenthetical>(mutters)</parenthetical>
<dialogue>I hope you know what you're doing, Sam.</dialogue>
<scene_description>Getting no response, he follows the others out. Spade waits at the door of the passageway until the corridor door closes, then turns back into the room. He sits on the sofa, elbows on knees, cheeks in hands, looking at the floor. Brigid leaves her chair and comes over to the sofa to sit beside Spade.</scene_description>
<character>BRIGID</character>
<dialogue>You're absolutely the wildest person I've ever known. Do you always carry on so high-handed?</dialogue>
<scene_description>Spade turns on the sofa to face her.</scene_description>
<character>SPADE</character>
<dialogue>Now you've had your talk with Cairo. Now you can talk to me.</dialogue>
<character>BRIGID</character>
<dialogue>Oh, yes -- of course.</dialogue>
<scene_description>She smoothes her dress down over her knees, then she frowns at her knees. Spade puts an arm across her back, cupping his hand over the small, bare shoulder farthest from him.</scene_description>
<character>SPADE</character>
<dialogue>Well? I'm listening.</dialogue>
<scene_description>She turns her head to smile up at him with playful impudence.</scene_description>
<character>BRIGID</character>
<dialogue>Do you need your arm there for that?</dialogue>
<character>SPADE</character>
<dialogue>No.</dialogue>
<parenthetical>(he takes it away)</parenthetical>
<character>BRIGID</character>
<parenthetical>(murmurs)</parenthetical>
<dialogue>You're altogether unpredictable.</dialogue>
<character>SPADE</character>
<dialogue>I'm still listening.</dialogue>
<scene_description>Brigid wriggles a finger at the alarm clock perched on top of the book. Its clumsy hands say 2:50.</scene_description>
<character>BRIGID</character>
<dialogue>Oh, look at the time!</dialogue>
<parenthetical>(rising)</parenthetical>
<dialogue>I must go.</dialogue>
<character>SPADE</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Not until you've told me about it.</dialogue>
<character>BRIGID</character>
<parenthetical>(gaily)</parenthetical>
<dialogue>Am I a prisoner?</dialogue>
<character>SPADE</character>
<dialogue>Maybe that kid outside hasn't gone home yet.</dialogue>
<character>BRIGID</character>
<parenthetical>(her gaiety vanishes)</parenthetical>
<dialogue>Do you think he's still there?</dialogue>
<character>SPADE</character>
<dialogue>It's likely.</dialogue>
<scene_description>She shivers.</scene_description>
<character>SPADE</character>
<dialogue>You can start now.</dialogue>
<character>BRIGID</character>
<dialogue>You're the most insistent person</dialogue>
<parenthetical>(sips her drink)</parenthetical>
<character>SPADE</character>
<dialogue>Yes... and wild and unpredictable. What's the bird, this falcon -- that everybody's all steamed up about?</dialogue>
<scene_description>Brigid studies a small crescent her lips have left on the brim of the glass. Then:</scene_description>
<character>BRIGID</character>
<dialogue>Suppose I wouldn't tell you anything at all about it? What would you do?</dialogue>
<parenthetical>(mockery ripples in a smile on her face)</parenthetical>
<dialogue>Something wild and unpredictable?</dialogue>
<character>SPADE</character>
<dialogue>Maybe.</dialogue>
<character>BRIGID</character>
<parenthetical>(wrinkles her pale forehead)</parenthetical>
<dialogue>It's a black figure, as you know, smooth and shiny, of a bird, a hawk or falcon about that high --</dialogue>
<parenthetical>(she holds her hands a foot apart)</parenthetical>
<character>SPADE</character>
<dialogue>What makes it so important?</dialogue>
<character>BRIGID</character>
<parenthetical>(shakes her head)</parenthetical>
<dialogue>I don't know. They wouldn't tell me. But they promised me five hundred pounds if I helped them get it from the man who had it.</dialogue>
<character>SPADE</character>
<dialogue>That was in Istanbul?</dialogue>
<character>BRIGID</character>
<parenthetical>(hesitates -- then:)</parenthetical>
<dialogue>Marmora.</dialogue>
<character>SPADE</character>
<dialogue>Go ahead.</dialogue>
<character>BRIGID</character>
<dialogue>But that's all. They promised me five hundred pounds to help them and I did. And then we found that Joel Cairo meant to desert us, taking the Falcon with him and leaving Floyd and me nothing. So we did exactly that to him. But then I wasn't any better off than before because Floyd hadn't any intention of keeping his promise to me about sharing equally. I had learned that by the time we got here.</dialogue>
<parenthetical>(indignation darkens her eyes)</parenthetical>
<character>SPADE</character>
<parenthetical>(scowling at her)</parenthetical>
<dialogue>What's the bird made of?</dialogue>
<character>BRIGID</character>
<dialogue>Porcelain or black stone -- I don't know. I only saw it once for a few minutes. Floyd showed it to me when we first got hold of it.</dialogue>
<character>SPADE</character>
<parenthetical>(casually)</parenthetical>
<dialogue>Your are a liar.</dialogue>
<scene_description>She gets up and stands at the end of the table looking down at him with dark abashed eyes.</scene_description>
<character>BRIGID</character>
<dialogue>I am a liar. I've always been a liar.</dialogue>
<character>SPADE</character>
<parenthetical>(good-humoredly)</parenthetical>
<dialogue>Don't brag about it. Was there any truth at all in that yarn?</dialogue>
<character>BRIGID</character>
<parenthetical>(lowers her head slightly -- whispers)</parenthetical>
<dialogue>Some... Not very much.</dialogue>
<scene_description>Spade rises, crosses to her. He puts his hand under her chin, lifts her head. Her eyes are damp. He laughs into them.</scene_description>
<character>SPADE</character>
<dialogue>We've got all night before us. I'll put some coffee on and we'll try again.</dialogue>
<character>BRIGID</character>
<parenthetical>(her eyelids droop)</parenthetical>
<dialogue>Oh -- I'm so tired.</dialogue>
<parenthetical>(then tremulously)</parenthetical>
<dialogue>So tired... of lying and thinking up lies and not knowing what is a lie and what is the truth. I wish I...</dialogue>
<scene_description>She puts her hands up to Spade's cheeks, her mouth hard against his mouth -- her body flat against his body. Spade's arms go around her, holding her to him. Muscles bulge his sleeves as his hand cradles her head, his fingers lost among her hair. FADE OUT.: 50- OMITTED 52. CLOSEUP - CURVED BRONZE PLAQUE on a stone pillar which reads:</scene_description>
</scene>
<scene>
<stage_direction>INT. BELVEDERE LOBBY</stage_direction>
<scene_description>as Spade enters, goes toward the desk past a large divan. The undersized youth, in gray clothes, is sitting on the divan apparently reading a newspaper. 54. CLOSE SHOT - DESK as Spade picks up the house telephone.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Mr. Joel Cairo, please.</dialogue>
<scene_description>Waiting, he shifts around to face the divan. The boy appears to be altogether engrossed in his newspaper. A few moments more and Spade says "Thank you" into the phone, puts it down and starts across the lobby. 55. CLOSE SHOT - THE DIVAN Spade comes into scene, sits down beside the youth. The youth does not look up from his newspaper although Spade, who is no more than a foot away from the young man, stares openly at him. His features are small, in keeping with his stature, and regular. His skin is very fair. His clothing is neither new nor of better than ordinary quality. Spade takes out paper and tobacco.</scene_description>
<character>SPADE</character>
<parenthetical>(casually)</parenthetical>
<dialogue>Where is he?</dialogue>
<parenthetical>(he packs tobacco into the paper curved to catch it)</parenthetical>
<dialogue>The boy lowers his newspaper with a purposeful sort of slowness, looks with small eyes at Spade's chest.</dialogue>
<character>BOY</character>
<parenthetical>(in a voice as colorless and composed and cold as his young face)</parenthetical>
<dialogue>What?</dialogue>
<character>SPADE</character>
<parenthetical>(busy with his cigarette)</parenthetical>
<dialogue>Where is he?</dialogue>
<character>BOY</character>
<dialogue>Who?</dialogue>
<character>SPADE</character>
<dialogue>Cairo.</dialogue>
<scene_description>The boy's gaze goes up Spade's chest, to the knot in his tie, rests there.</scene_description>
<character>BOY</character>
<dialogue>What do you think you're doing, Jack? Kidding me?</dialogue>
<scene_description>Spade licks his cigarette, smiles amiably.</scene_description>
<character>SPADE</character>
<dialogue>I'll tell you when I am... New York, aren't you?</dialogue>
<scene_description>The boys stares at Spade's tie for a moment longer, then goes back to his newspaper.</scene_description>
<character>BOY</character>
<parenthetical>(from the side of his mouth)</parenthetical>
<dialogue>Shove off.</dialogue>
<scene_description>Spade lights his cigarette, leans back comfortably on the divan.</scene_description>
<character>SPADE</character>
<dialogue>You'll have to talk to me before you're through, Sonny -- some of you will -- and you can tell the fat man I said so.</dialogue>
<scene_description>The boy puts his paper down quickly, faces Spade, stares at his necktie with small, bleak eyes. His small hands are spread flat over his belly.</scene_description>
<character>BOY</character>
<dialogue>Keep asking for it and you're going to get it -- plenty.</dialogue>
<parenthetical>(his voice is low, flat and menacing)</parenthetical>
<dialogue>I told you to shove off -- shove off.</dialogue>
<character>SPADE</character>
<dialogue>People lose teeth talking like that. If you want to hang around, you'll be polite.</dialogue>
<scene_description>Spade drops his cigarette into a tall stone jar beside the divan, lifts his hand, catching the attention of a man standing beside the cigar stand. 56. MED. LONG SHOT - CIGAR STAND The man nods, comes towards them. He is middle-aged, medium height, round and sallow of face, compactly built. 57. TWO SHOT - SPADE AND LUKE</scene_description>
<character>LUKE</character>
<parenthetical>(coming up)</parenthetical>
<dialogue>Hello, Sam.</dialogue>
<scene_description>Spade rises.</scene_description>
<character>SPADE</character>
<dialogue>Hello, Luke.</dialogue>
<scene_description>They shake hands.</scene_description>
<character>LUKE</character>
<dialogue>Say, that's too bad about Miles.</dialogue>
<character>SPADE</character>
<dialogue>Uh-huh. A bad break.</dialogue>
<scene_description>He jerks his head toward the boy on the divan.</scene_description>
<character>SPADE</character>
<dialogue>What do you let these cheap gunmen hang out in your lobby for with their tools bulging in their clothes?</dialogue>
<scene_description>Luke examines the boy with crafty, brown eyes set in a suddenly hard face.</scene_description>
<character>LUKE</character>
<parenthetical>(to boy)</parenthetical>
<dialogue>What do you want here?</dialogue>
<scene_description>The boy rises, looks at the necktie of the two men -- from one to the other. He looks like a school boy standing in front of them.</scene_description>
<character>LUKE</character>
<parenthetical>(belligerently)</parenthetical>
<dialogue>Well, if you don't want anything, beat it -- and don't come back.</dialogue>
<character>BOY</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>I won't forget you guys.</dialogue>
<scene_description>He walks away from them toward the swinging door. Spade removes his hat, wipes his damp forehead with a handkerchief.</scene_description>
<character>LUKE</character>
<parenthetical>(his eyes on the boy's retreating figure)</parenthetical>
<dialogue>What is it?</dialogue>
<character>SPADE</character>
<dialogue>No idea.</dialogue>
<parenthetical>(takes a deep breath -- lets it out)</parenthetical>
<dialogue>I just happened to spot him.</dialogue>
<scene_description>As the boy goes out the revolving door, Cairo enters.</scene_description>
<character>SPADE</character>
<dialogue>See you, Luke.</dialogue>
<scene_description>He turns away from the house detective, goes quickly toward Cairo. 58. CLOSE SHOT - CAIRO Seeing Spade, he halts, draws his body up straight. His forehead is bandaged, his clothes limp and unfresh. His face is pasty with sagging mouth and eyelids. 59. MED. SHOT as Spade walks directly to him.</scene_description>
<character>SPADE</character>
<dialogue>Good morning.</dialogue>
<character>CAIRO</character>
<parenthetical>(without enthusiasm)</parenthetical>
<dialogue>Good morning.</dialogue>
<scene_description>There is a pause.</scene_description>
<character>SPADE</character>
<dialogue>Let's go somewhere where we can talk.</dialogue>
<character>CAIRO</character>
<parenthetical>(raises his chin)</parenthetical>
<dialogue>Please excuse me. Our private conversations have not been such that I am anxious to continue them. Pardon my speaking bluntly but it is the truth.</dialogue>
<character>SPADE</character>
<dialogue>You mean last night?</dialogue>
<parenthetical>(makes an impatient gesture)</parenthetical>
<dialogue>What else could I do? I had to throw in with her. I don't know where the bird is. You don't. She does. How are we going to get it if I don't play along with her?</dialogue>
<character>CAIRO</character>
<parenthetical>(dubiously)</parenthetical>
<dialogue>You have always, I must say, a smooth explanation ready.</dialogue>
<character>SPADE</character>
<parenthetical>(scowling)</parenthetical>
<dialogue>What do you want me to do? Learn to stutter?</dialogue>
<scene_description>He leads the way over to the divan. CAMERA TROLLIES AHEAD of them.</scene_description>
<character>SPADE</character>
<dialogue>Dundy take you down to the station?</dialogue>
<character>CAIRO</character>
<dialogue>Yes.</dialogue>
<character>SPADE</character>
<dialogue>How long did they work on you?</dialogue>
<character>CAIRO</character>
<parenthetical>(pain and indignation mix in face and voice)</parenthetical>
<dialogue>Until a very little while ago...</dialogue>
<character>SPADE</character>
<dialogue>What did they get out of you?</dialogue>
<character>CAIRO</character>
<parenthetical>(primly)</parenthetical>
<dialogue>Not a single thing. I adhered to the course you indicated earlier in your rooms... I certainly wish you had devised a more reasonable story. I felt distinctly ridiculous repeating it.</dialogue>
<character>SPADE</character>
<parenthetical>(grins)</parenthetical>
<dialogue>Don't worry about the story's goofiness. A sensible one would have had us all in the cooler... You sure you didn't give them anything?</dialogue>
<character>CAIRO</character>
<dialogue>You may rely upon it. I did not.</dialogue>
<character>SPADE</character>
<parenthetical>(rising)</parenthetical>
<dialogue>You'll want sleep if you've been standing up under a police storm all night. See you later.</dialogue>
<scene_description>He turns abruptly away. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S OFFICE</stage_direction>
<scene_description>Effie Perine is on the telephone as Spade enters.</scene_description>
<character>EFFIE</character>
<parenthetical>(into telephone)</parenthetical>
<dialogue>No, not yet.</dialogue>
<scene_description>She looks around at Spade and her lips shape a silent "Iva". Spade shakes his head.</scene_description>
<character>EFFIE</character>
<parenthetical>(into telephone)</parenthetical>
<dialogue>Yes, I'll have him call you as soon as he comes in.</dialogue>
<parenthetical>(she replaces the receiver on prong -- to Spade)</parenthetical>
<dialogue>That's the third time she's called this morning.</dialogue>
<scene_description>Spade makes an impatient, growling noise.</scene_description>
<character>EFFIE</character>
<parenthetical>(moves her eyes to indicate the inner office)</parenthetical>
<dialogue>Miss O'Shaughnessy's in there.</dialogue>
<scene_description>Spade nods as if he expected that.</scene_description>
<character>SPADE</character>
<dialogue>What else?</dialogue>
<character>EFFIE</character>
<dialogue>The District Attorney's office called. Bryan would like to see you...</dialogue>
<scene_description>Spade grunts as if he'd expected that, too.</scene_description>
<character>EFFIE</character>
<dialogue>...And a Mr. Gutman called. When I told him you weren't in, he said -- "Will you please tell him that the young man gave me his message, and that I phoned and will phone again."</dialogue>
<scene_description>Spade works his lips together, as if tasting something he likes.</scene_description>
<character>SPADE</character>
<dialogue>Gutman, huh? Thanks, darling.</dialogue>
<scene_description>He opens the door to his private office and goes in.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S PRIVATE OFFICE</stage_direction>
<scene_description>Brigid O'Shaughnessy, dressed as on her first visit to the office, rises from a chair beside his desk, comes quickly towards him.</scene_description>
<character>BRIGID</character>
<parenthetical>(exclaims)</parenthetical>
<dialogue>Somebody's been in my apartment! It's all upside down -- every which way. I changed as fast as I could and came away. Oh, you must have let that boy follow you there.</dialogue>
<character>SPADE</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>No, angel -- I shook him before I went to your place.</dialogue>
<character>SPADE</character>
<parenthetical>(he frowns)</parenthetical>
<dialogue>I wonder if it could have been Cairo? He wasn't at his hotel all night. He told me he'd been standing up under a police grilling all night. I wonder!</dialogue>
<scene_description>She looks at him with cloudy eyes.</scene_description>
<character>BRIGID</character>
<dialogue>You went to see Joel this morning?</dialogue>
<character>SPADE</character>
<dialogue>Yes.</dialogue>
<character>BRIGID</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>Why?</dialogue>
<character>SPADE</character>
<parenthetical>(smiles down at her)</parenthetical>
<dialogue>Because, my own true love, I've got to keep in some sort of touch with all the loose ends of this dizzy affair if I'm ever going to make heads or tails of it.</dialogue>
<scene_description>He puts an arm around her shoulders, leads her over to his swivel chair, lightly kisses the tip of her nose and sets her down.</scene_description>
<character>SPADE</character>
<dialogue>Now, we've got to find a new home for you, haven't we?</dialogue>
<character>BRIGID</character>
<parenthetical>(emphatically)</parenthetical>
<dialogue>I won't go back there.</dialogue>
<character>SPADE</character>
<parenthetical>(after a moment's thought)</parenthetical>
<dialogue>I think I've got it. Wait a minute.</dialogue>
</scene>
<scene>
<stage_direction>INT. OUTER OFFICE</stage_direction>
<scene_description>Spade opens the door, enters, shuts the door.</scene_description>
<character>SPADE</character>
<parenthetical>(to Effie)</parenthetical>
<dialogue>What does your woman's intuition tell you about her?</dialogue>
<parenthetical>(he cocks a head at the door marked "Private")</parenthetical>
<character>EFFIE</character>
<parenthetical>(immediately)</parenthetical>
<dialogue>She's all right. Maybe it's her own fault for being in whatever the trouble is -- but she's all right -- if that's what you mean.</dialogue>
<character>SPADE</character>
<dialogue>That's what I mean... Are you strong enough for her to put her up for a few days?</dialogue>
<character>EFFIE</character>
<dialogue>You mean at home?</dialogue>
<scene_description>Spade nods.</scene_description>
<character>EFFIE</character>
<parenthetical>(leans forward)</parenthetical>
<dialogue>Is she in any danger, Sam?</dialogue>
<character>SPADE</character>
<dialogue>I think she is.</dialogue>
<scene_description>Effie scratches her lip with a fingernail.</scene_description>
<character>EFFIE</character>
<dialogue>That would scare Mom into a green hemorrhage. I'll have to say she's a surprise witness or something that you're keeping undercover until the last minute.</dialogue>
<character>SPADE</character>
<parenthetical>(pats her head)</parenthetical>
<dialogue>You're a darling!</dialogue>
<scene_description>He opens the door to his inner office, smiles across the threshold at Brigid.</scene_description>
<character>SPADE</character>
<dialogue>Effie here, is going to put you up for a few days, darling.</dialogue>
<scene_description>Brigid, coming out of the door, turns grateful eyes on Effie.</scene_description>
<character>BRIGID</character>
<dialogue>That's very kind of you.</dialogue>
<character>SPADE</character>
<parenthetical>(to Effie)</parenthetical>
<dialogue>Better start now.</dialogue>
<scene_description>Effie starts putting on her hat.</scene_description>
<character>SPADE</character>
<dialogue>Go out the back entrance. There's usually a cab parked by the alleyway.</dialogue>
<parenthetical>(to Effie)</parenthetical>
<dialogue>You ride part way with her -- over the bridge -- and make sure you aren't followed. Better change cabs a couple of times just to be on the safe side.</dialogue>
<character>EFFIE</character>
<parenthetical>(reaching for the phone)</parenthetical>
<dialogue>I'll give Mom a ring.</dialogue>
<character>SPADE</character>
<dialogue>Time enough for that when you get back.</dialogue>
<scene_description>Effie puts down the telephone.</scene_description>
<character>SPADE</character>
<parenthetical>(to Brigid)</parenthetical>
<dialogue>Call you later.</dialogue>
<scene_description>Effie and Brigid go out. Spade goes into his inner office.</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE OFFICE</stage_direction>
<scene_description>Spade sits down at his desk, dials a number on the telephone.</scene_description>
<character>SPADE</character>
<parenthetical>(after a short pause -- into phone)</parenthetical>
<dialogue>Hello... This is Samuel Spade. My secretary got a phone message that Mr. Bryan wanted to see me. Will you ask him what time is the most conven- ient for him?... Yes... Spade... S-p-a-d-e.</dialogue>
<scene_description>There is the SOUND of the outer office door opening, followed by footsteps. Then Iva Archer enters, closes the door to the private office behind her.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Yes... two-thirty... All right, thanks.</dialogue>
<parenthetical>(hangs up)</parenthetical>
<dialogue>He pushes the telephone away, rises.</dialogue>
<character>SPADE</character>
<dialogue>Hello, honey.</dialogue>
<scene_description>Iva stands just inside the door wadding a black-bordered handkerchief in her small gloved hands, peering into his face with frightened, red and swollen eyes.</scene_description>
<character>IVA</character>
<parenthetical>(in a choked voice)</parenthetical>
<dialogue>Oh Sam! Forgive me!... Forgive me!</dialogue>
<scene_description>Spade starts to frown, then makes his face a blank.</scene_description>
<character>IVA</character>
<parenthetical>(wails)</parenthetical>
<dialogue>I sent those policemen to your place last night. I was mad -- crazy with jealousy -- and I phoned them that if they'd go there, they'd learn something about Miles' murder.</dialogue>
<character>SPADE</character>
<dialogue>What made you think of that?</dialogue>
<character>IVA</character>
<dialogue>I was mad, Sam... I wanted to hurt you.</dialogue>
<character>SPADE</character>
<dialogue>Did you tell them who you were when you phoned?</dialogue>
<character>IVA</character>
<dialogue>No... Oh, Sam, dearest... I...</dialogue>
<character>SPADE</character>
<dialogue>Where did you phone from?</dialogue>
<character>IVA</character>
<dialogue>The drugstore across from your place.</dialogue>
<character>SPADE</character>
<parenthetical>(pats her shoulder)</parenthetical>
<dialogue>It was a dumb trick all right but it's done now. You'd better run on home and think of things to tell the police. You'll be hearing from them... By the way, where were you the night Miles was shot?</dialogue>
<character>IVA</character>
<parenthetical>(with no hesitation)</parenthetical>
<dialogue>Home.</dialogue>
<scene_description>Spade shakes his head, grinning at her.</scene_description>
<character>IVA</character>
<dialogue>I was.</dialogue>
<character>SPADE</character>
<dialogue>No. But if that's your story, it's all right with me.</dialogue>
<character>IVA</character>
<dialogue>I'm not lying to you, Sam.</dialogue>
<scene_description>Spade's face wears an expression of polite doubt. Iva wads her handkerchief, opens it, wads it again, then:</scene_description>
<character>IVA</character>
<parenthetical>(voice husky)</parenthetical>
<dialogue>When he came home for dinner that evening, he told me he had a date with a girl at the St. Mark and that this was my chance to get the divorce I wanted. At first I thought he was just making it up to try and hurt me. But... well... you knew Miles. It would have been like him to...</dialogue>
<character>SPADE</character>
<dialogue>I knew Miles...</dialogue>
<character>IVA</character>
<dialogue>I drove down to the St. Mark and just as I got there, he came out and started up the street. I followed him. In a little while I could see he was shadowing a man and a girl -- so I went back and got in the car and went up to your apartment but you weren't home.</dialogue>
<character>SPADE</character>
<dialogue>What time was that?</dialogue>
<character>IVA</character>
<dialogue>About half-past nine... the first time.</dialogue>
<character>SPADE</character>
<dialogue>The first time?</dialogue>
<character>IVA</character>
<dialogue>I went to a movie and when it was over, I went home. Miles hadn't come in yet so I took the car out of the garage again and went back to your place but you weren't in.</dialogue>
<character>SPADE</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>I was looking down at Miles' corpse, precious... Go on.</dialogue>
<character>IVA</character>
<dialogue>Then I went home and while I was undressing, your secretary came with the news of his death.</dialogue>
<character>SPADE</character>
<dialogue>What a swell lot of merry-go-round riding that was!</dialogue>
<scene_description>She puts the wadded handkerchief to her eyes. Spade reaches out, pats her arm. She puts her arms around him.</scene_description>
<character>IVA</character>
<dialogue>Do you forgive me for what I did?</dialogue>
<character>SPADE</character>
<dialogue>Sure I do. Now run along.</dialogue>
<parenthetical>(he turns her around to face the door)</parenthetical>
<dialogue>Beat it.</dialogue>
<scene_description>Iva goes out. Spade goes behind the partition in the corner of the office. 64. CLOSE SHOT - SPADE as he starts the water running in the lavatory, washes his mouth, then dries it roughly with a hand-towel. OVER SCENE the SOUND of the telephone ringing. CAMERA PULLS BACK as Spade comes from behind the partition, picks up the telephone.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello... Yes... This is Spade... Yes... I got it... I've been waiting to hear from you... Now, the sooner, the better... Say fifteen minutes... Right... Twelve-C...</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - ALEXANDRIA HOTEL - CLOSE SHOT - MAHOGANY</stage_direction>
<character>DOOR OF SUITE 12-C</character>
<dialogue>Spade enters scene, touches buzzer. The door is immediately opened by an undersized youth. The youth says nothing, stands aside for Spade to enter. CAMERA FOLLOWS Spade through the door into --</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>A flabbily fat man struggles breathlessly to raise up out of a plush armchair, finally succeeds. He has bulbous pink cheeks and lips and chins and neck, with a great soft egg of a belly that is all his torso, and pendant cones for arms and legs. As he advances to meet Spade, all his bulbs rise and shake and fall separately with each step. His eyes, made small by fat puffs around them, are dark and lustrous. Dark ringlets thinly cover his broad scalp. He wears a black cutaway coat, black vest, black satin Ascot tie holding a tear-shaped pearl, striped gray worsted trousers, and patent-leather shoes. His voice is a throaty purr.</scene_description>
<character>GUTMAN</character>
<dialogue>Ah, Mr. Spade.</dialogue>
<scene_description>He extends a hand that is like a fat pink star. Spade takes the hand, smiles.</scene_description>
<character>SPADE</character>
<dialogue>How do you do, Mr. Gutman.</dialogue>
<scene_description>Holding Spade's hand, the fat man turns, puts his other hand to Spade's elbow, guides him across the rug to the plush armchair beside which is a table that holds a siphon, glasses, a bottle of Scotch whiskey and a box of cigars. Spade sits down. The fat man begins to fill two glasses from bottle and siphon. The boy opens the door to an adjacent bedroom, withdraws. Gutman proffers Spade one of the glasses.</scene_description>
<character>GUTMAN</character>
<parenthetical>(purring)</parenthetical>
<dialogue>We begin well, sir. I distrust a man that says "when". If he's got to be careful not to drink too much, it's because he's not to be trusted when he does.</dialogue>
<scene_description>Spade takes the glass, smiling. The fat man raises his glass, holds it against the window's light, nods approvingly.</scene_description>
<character>GUTMAN</character>
<dialogue>Well, sir, here's to plain speaking and clear understanding.</dialogue>
<parenthetical>(he regards Spade shrewdly)</parenthetical>
<dialogue>You're a close-mouthed man?</dialogue>
<character>SPADE</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>I like to talk.</dialogue>
<character>GUTMAN</character>
<parenthetical>(exclaims delightedly)</parenthetical>
<dialogue>Better and better. I distrust a close-mouthed man. He generally picks the wrong time to talk and says the wrong things. Talking's something you can't do judiciously unless you keep in practice.</dialogue>
<scene_description>He picks up the box of cigars, holds it out to Spade. Spade takes one, trims the end of it, lights it. The fat man pulls another plush armchair around to face Spade's, takes a cigar from the box, lowers himself into the chair. His bulbs stop jouncing and settle into flabby rest. Gutman smiles comfortably.</scene_description>
<character>GUTMAN</character>
<dialogue>Now, sir, we'll talk if you like, and I'll tell you right out that I'm a man who likes talking to a man that likes to talk.</dialogue>
<character>SPADE</character>
<dialogue>Swell... Will we talk about the black bird?</dialogue>
<scene_description>Gutman's bulbs ride up and down on his laughter. His pink face is shiny with delight.</scene_description>
<character>GUTMAN</character>
<dialogue>You're the man for me, sir. No beating about the bush but right to the point. Let us talk about the black bird by all means... But first, sir, answer me a question. Are you here as Miss O'Shaughnessy's representative?</dialogue>
<scene_description>Spade frowns thoughtfully at the ash-tipped end of his cigar.</scene_description>
<character>SPADE</character>
<dialogue>There is nothing certain about it either way yet... It depends.</dialogue>
<character>GUTMAN</character>
<dialogue>It depends on? --</dialogue>
<scene_description>Spade blows a slanting plume of smoke over the fat man's head, says nothing.</scene_description>
<character>GUTMAN</character>
<dialogue>Maybe it depends on Joel Cairo?</dialogue>
<character>SPADE</character>
<parenthetical>(noncommittally)</parenthetical>
<dialogue>Maybe.</dialogue>
<character>GUTMAN</character>
<parenthetical>(purrs ingratiatingly)</parenthetical>
<dialogue>The question is, then, which you'll represent... It will be one or the other.</dialogue>
<character>SPADE</character>
<dialogue>I didn't say so.</dialogue>
<character>GUTMAN</character>
<parenthetical>(voice sinking to a throaty whisper)</parenthetical>
<dialogue>Who else is there?</dialogue>
<character>SPADE</character>
<parenthetical>(pointing his cigar at his chest)</parenthetical>
<dialogue>There's me.</dialogue>
<scene_description>The fat man sinks back into his chair, blows his breath out in a long contented gust.</scene_description>
<character>GUTMAN</character>
<dialogue>That's wonderful, sir, wonderful! I do like a man that tells you right out he's looking out for himself. Don't we all? I don't trust a man that says he's not.</dialogue>
<character>SPADE</character>
<parenthetical>(exhales smoke)</parenthetical>
<dialogue>Uh-huh. Now let's talk about the black bird.</dialogue>
<character>GUTMAN</character>
<parenthetical>(benevolently)</parenthetical>
<dialogue>Let's.</dialogue>
<parenthetical>(squinting at Spade, his eyes are but two dark gleams)</parenthetical>
<character>GUTMAN</character>
<dialogue>Mr. Spade, have you any conception of how much money can be got for that black bird?</dialogue>
<character>SPADE</character>
<dialogue>No.</dialogue>
<character>GUTMAN</character>
<parenthetical>(leans forward, puts his bloated hands on the arm of Spade's chair)</parenthetical>
<dialogue>Well, sir, if I told you -- if I told you half -- you'd call me a liar.</dialogue>
<character>SPADE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>No -- not even if I thought so. But you just tell me what it is and I'll figure out the profits.</dialogue>
<scene_description>Gutman's bulbs jostle one another as he laughs again. Then he stops laughing abruptly, stares at Spade with an intentness that suggests myopia.</scene_description>
<character>GUTMAN</character>
<parenthetical>(sibilantly)</parenthetical>
<dialogue>You mean you don't know what the bird is?</dialogue>
<scene_description>Spade makes a careless gesture with his cigar.</scene_description>
<character>SPADE</character>
<dialogue>I know what it's supposed to look like. I know the value in human life you people put on it...</dialogue>
<character>GUTMAN</character>
<parenthetical>(in amazement)</parenthetical>
<dialogue>She didn't tell you what it is? And Cairo didn't either?</dialogue>
<character>SPADE</character>
<dialogue>He offered me ten thousand for it.</dialogue>
<character>GUTMAN</character>
<parenthetical>(scornfully)</parenthetical>
<dialogue>Ten thousand -- and dollars, mind you, not even pounds.</dialogue>
<parenthetical>(he grunts in disgust)</parenthetical>
<dialogue>Humph!</dialogue>
<character>GUTMAN</character>
<parenthetical>(rests the glass on his belly. Then half aloud:)</parenthetical>
<dialogue>They must know what it is -- must -- but do they?</dialogue>
<parenthetical>(clears his throat, then in his former voice)</parenthetical>
<dialogue>Do they know what the bird is, sir? What is your impression?</dialogue>
<character>SPADE</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>There's not much to go by. Cairo didn't say he did, and he didn't say he didn't... She said she didn't but I took it for granted she was lying.</dialogue>
<character>GUTMAN</character>
<dialogue>That was not an injudicious thing to do.</dialogue>
<parenthetical>(he shuts his eyes, opens them suddenly wide, cries:)</parenthetical>
<dialogue>If they don't know, I'm the only one in the whole, wide, sweet world who does!</dialogue>
<character>SPADE</character>
<dialogue>Swell! When you've told me, that will make two of us.</dialogue>
<scene_description>Gutman cocks his head at Spade -- eyes a-twinkle.</scene_description>
<character>GUTMAN</character>
<dialogue>Mathematically correct, sir -- but I don't know for certain that I'm going to tell you.</dialogue>
<character>SPADE</character>
<parenthetical>(grins indulgently)</parenthetical>
<dialogue>Don't be foolish. You know what it is. I know where it is. That's why I'm here.</dialogue>
<character>GUTMAN</character>
<dialogue>Well, sir, where is it?</dialogue>
<scene_description>Spade ignores the question. The fat man bunches his lips, raises his eyebrows, cocks his head even further.</scene_description>
<character>GUTMAN</character>
<parenthetical>(blandly)</parenthetical>
<dialogue>You see? I must tell you what I know but you will not tell me what you know. That is hardly equitable, sir. No, no. I don't think we can do business along those lines.</dialogue>
<scene_description>Spade's face becomes hard. He gets slowly to his feet.</scene_description>
<character>SPADE</character>
<parenthetical>(voice low, furious)</parenthetical>
<dialogue>Think again and think fast. I told that gunman of yours that you'd have to talk to me before you got through. I'll tell you now that you'll do your talking today or you are through. What are you wasting your time for? I can get along without you.</dialogue>
<scene_description>He tosses his glass at the table. The glass strikes the wood, breaks apart, splattering its contents and glittering fragments over table and floor. Spade wheels to confront Gutman again. The fat man pays no more attention to the glass's fate than does Spade. Lips pursed, eyebrows raised, head cocked, he has maintained his pink-faced blandness throughout Spade's angry speech -- and he continues to maintain it.</scene_description>
<character>SPADE</character>
<dialogue>Another thing. I don't want...</dialogue>
<scene_description>The door at Spade's left opens and the boy comes in, shuts the door, stands in front of it, hands flat against his flanks. His gaze runs over Spade's body from shoulders to knees, then up again to settle on the knot in Spade's tie.</scene_description>
<character>SPADE</character>
<parenthetical>(glaring at the boy -- repeats)</parenthetical>
<dialogue>Another thing. Keep that gunsel away from me while you're making up your mind. I'll kill him.</dialogue>
<scene_description>The boy's lips twitch in a shadowy smile. He neither raises his eyes nor speaks.</scene_description>
<character>GUTMAN</character>
<dialogue>Well, sir, I must say you've a most violent temper.</dialogue>
<scene_description>Spade crosses to the chair in which he dropped his hat, picks it up and sets it on his head.</scene_description>
<character>SPADE</character>
<dialogue>Think it over! You've got till five-thirty. Then you're either in or out for keeps.</dialogue>
<scene_description>He lets his arm drop, scowls at the bland fat man, scowls at the boy, goes to the door through which he had entered, opens it. He goes out, slamming the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALL - ALEXANDRIA</stage_direction>
<scene_description>CAMERA TROLLIES down the hall ahead of Spade. He puts two blunt fingers inside his collar, pulls it away from his throat. He licks his lips as though they were dry. Then he takes out his handkerchief, wipes his face. Reaching the elevator, he presses the button, then raises his hand, looks at it. The hand is trembling. Spade grins. The elevator door opens. Spade enters. As the door is closing another elevator door opens and Cairo steps out. Neither man sees the other. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DISTRICT ATTORNEY'S OFFICE - MED. SHOT - BRYAN, SPADE,</stage_direction>
<character>AN ASSISTANT D.A., AND A STENOGRAPHER</character>
<dialogue>Bryan's dark walnut desk is handsomely outfitted with bronze clock, inkwell, blotter, and a small vase of flowers. He is a blonde man of medium stature, perhaps forty-five years old. His eyes peer aggressively thru black ribboned nose glasses. He has the over-large mouth of an orator and a wide, dimpled chin. Spade sits in a leather easy chair to the left and a few feet away from the desk. The assistant D.A., in a straight-back chair, faces Bryan across the desk. The stenographer, also in a straight-back chair, is about ten feet away.</dialogue>
<character>BRYAN</character>
<parenthetical>(to Spade -- his voice resonant with latent power)</parenthetical>
<dialogue>Who killed Thursby?</dialogue>
<character>SPADE</character>
<dialogue>I don't know.</dialogue>
<scene_description>The D.A. rubs his black eyeglass ribbon between thumb and fingers.</scene_description>
<character>BRYAN</character>
<parenthetical>(knowingly)</parenthetical>
<dialogue>Perhaps you don't but you could make an excellent guess.</dialogue>
<character>SPADE</character>
<parenthetical>(serenely)</parenthetical>
<dialogue>My guess might be excellent or it might be crummy but Mrs. Spade didn't raise any children dippy enough to make guesses in front of a district attorney and a stenographer.</dialogue>
<character>BRYAN</character>
<dialogue>Why shouldn't you if you've nothing to conceal?</dialogue>
<character>SPADE</character>
<parenthetical>(mildly)</parenthetical>
<dialogue>Everybody has something to conceal.</dialogue>
<character>BRYAN</character>
<dialogue>And you have? --</dialogue>
<character>SPADE</character>
<dialogue>My guesses, for one thing.</dialogue>
<scene_description>The D.A. looks down at his desk, then up at Spade. He settles his glasses more firmly on his nose.</scene_description>
<character>BRYAN</character>
<dialogue>If you prefer not having the stenographer here, we can dismiss him. It was simply a matter of convenience that I brought him in.</dialogue>
<character>SPADE</character>
<dialogue>I don't mind him a bit. I'm willing to have anything I say put down and I'm willing to sign it.</dialogue>
<character>BRYAN</character>
<parenthetical>(reassuringly)</parenthetical>
<dialogue>We don't intend asking you to sign anything. I wish you wouldn't regard this as a formal inquiry at all. And please don't think I have any belief in those theories the police seem to have formed.</dialogue>
<character>SPADE</character>
<parenthetical>(feels in his pockets for tobacco and papers)</parenthetical>
<dialogue>I'm glad of that. What's your theory?</dialogue>
<scene_description>Bryan leans forward in his chair, his eyes are hard and shiny as the lenses over them.</scene_description>
<character>BRYAN</character>
<dialogue>Tell me who Archer was shadowing Thursby for and I'll tell you who killed Thursby.</dialogue>
<scene_description>Spade laughs briefly.</scene_description>
<character>BRYAN</character>
<dialogue>Don't misunderstand me, Spade.</dialogue>
<parenthetical>(he knocks on the desk with his knuckles)</parenthetical>
<dialogue>I don't say your client killed Thursby or had him killed but I do say, knowing who your client is, or was, I'll mighty soon know who killed Thursby.</dialogue>
<character>SPADE</character>
<dialogue>That's where you're mistaken.</dialogue>
<character>BRYAN</character>
<dialogue>Whether or not I'm mistaken isn't for you to judge.</dialogue>
<character>SPADE</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>I thought this was an informal talk.</dialogue>
<character>BRYAN</character>
<parenthetical>(sits up straight and squares shoulders)</parenthetical>
<dialogue>I am a sworn officer of the law twenty- four hours a day and neither formality or informality justifies your withholding from me evidence of a crime except, of course --</dialogue>
<parenthetical>(he nods meaningly)</parenthetical>
<dialogue>-- on constitutional grounds.</dialogue>
<character>SPADE</character>
<dialogue>You mean if it might incriminate me? Oh, I've got grounds that suit me better. My clients are entitled to a decent amount of secrecy.</dialogue>
<parenthetical>(he rises, comes forward, leans over the desk, his weight on his knuckles)</parenthetical>
<character>SPADE</character>
<dialogue>Both you and the police have as much as accused me of being mixed up in the other night's murders. Well, I've had trouble with both of you before. As far as I can see, my best chance of clearing myself of the trouble you are trying to make for me is by bringing in the murderers all tied up, and my only chance of ever catching them and tying them up and bringing them in is by keeping away from you and the police because you'd only gum up the works.</dialogue>
<parenthetical>(turns his head over his shoulder to address the stenographer)</parenthetical>
<dialogue>Getting this all right, son, or am I going too fast for you?</dialogue>
<character>STENOGRAPHER</character>
<parenthetical>(looks up at Spade with startled eyes)</parenthetical>
<dialogue>No, sir, I'm getting it all right.</dialogue>
<character>SPADE</character>
<dialogue>Good work.</dialogue>
<parenthetical>(turning to Bryan again)</parenthetical>
<dialogue>Now, if you want to go to the board and tell them I'm obstructing justice and ask them to revoke my license, hop to it. You've tried it before and it didn't get you anything but a good laugh all around.</dialogue>
<parenthetical>(he picks up his hat)</parenthetical>
<character>BRYAN</character>
<parenthetical>(half rises)</parenthetical>
<dialogue>But, look here...</dialogue>
<character>SPADE</character>
<dialogue>And I don't want any more of those informal talks. I've got nothing to tell you or the police and I'm tired of being called things by every crackpot on the city payroll. If you want to see me, pinch me or subpoena me or something and I'll come down with my lawyer...</dialogue>
<parenthetical>(puts his hat on)</parenthetical>
<dialogue>...See you at the inquest, maybe.</dialogue>
<scene_description>He stalks out. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPADE'S OFFICE BUILDING</stage_direction>
<scene_description>Spade enters scene, starts to go in, comes face to face with the undersized youth who puts himself directly in Spade's path.</scene_description>
<character>BOY</character>
<dialogue>Come on... He wants to see you.</dialogue>
<scene_description>The youth's hands are in his overcoat pockets. His pockets bulge more than his hands need make them bulge.</scene_description>
<character>SPADE</character>
<parenthetical>(grinning)</parenthetical>
<dialogue>I didn't expect you until five twenty-five. I hope I haven't kept you waiting.</dialogue>
<scene_description>The youth raises his eyes to Spade's mouth.</scene_description>
<character>BOY</character>
<parenthetical>(in a strained voice of one in physical pain)</parenthetical>
<dialogue>Keep on riding me and they'll be picking iron out of your liver!</dialogue>
<character>SPADE</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>The cheaper the crook, the gaudier the patter... Well, let's go.</dialogue>
<scene_description>PAN with them as they start up the street side by side. The boy's hands remain in his overcoat pockets. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GUTMAN'S FLOOR - THE ALEXANDRIA - MED. SHOT ON</stage_direction>
<character>ELEVATOR DOOR</character>
<dialogue>As it opens, Spade and the boy step out. CAMERA TROLLIES AHEAD of them as they come up the hall. Spade lags behind a little as they approach Suite 12-C. When they are within fifteen feet of the door, he leans sideways suddenly and grasps the boy from behind by both arms just beneath the boy's elbows. The boy struggles and squirms but he is impotent in the big man's grip. The boy kicks back his feet but they go between Spade's spread legs. Spade lifts the boy up from the floor, brings him down hard on his feet again.</dialogue>
<dialogue>At the moment of impact, Spade's hands slide down, get a fresh grip on the boy's hands in his overcoat pockets. The two are tense and motionless for a long moment. Then the boy's arms become limp. Spade releases him and steps back. In each of Spade's hands, when they come out of the overcoat pockets, there is a heavy automatic pistol. Spade puts the pistols in his own pockets.</dialogue>
<character>SPADE</character>
<parenthetical>(grinning derisively)</parenthetical>
<dialogue>Come on. This will put you in solid with your boss.</dialogue>
<scene_description>They go to the door of 12-C. Spade presses the buzzer. The boy keeps his hands in his overcoat pockets. Gutman opens the door. A glad smile lights his fat face. He holds out a hand.</scene_description>
<character>GUTMAN</character>
<dialogue>Ah, come in, sir! Thank you for coming. Come in.</dialogue>
<scene_description>Spade shakes the hand, enters. The boy goes in behind him.</scene_description>
</scene>
<scene>
<stage_direction>INT. GUTMAN'S LIVING ROOM</stage_direction>
<scene_description>As the fat man shuts the door, Spade takes the boy's pistols from his pocket, holds them out toward Gutman.</scene_description>
<character>SPADE</character>
<dialogue>Here... You shouldn't let him go around with these. He'll get himself hurt.</dialogue>
<scene_description>The fat man laughs merrily, takes the pistols.</scene_description>
<character>GUTMAN</character>
<dialogue>Well -- well! What's this?</dialogue>
<parenthetical>(he looks from Spade to the boy)</parenthetical>
<character>SPADE</character>
<dialogue>A crippled newsie took them away from him but I made him give them back.</dialogue>
<scene_description>The boy takes the pistols out of Gutman's hands, pockets them. He does not speak.</scene_description>
<character>GUTMAN</character>
<parenthetical>(after another merry laugh)</parenthetical>
<dialogue>By gad, Sir, you're a chap worth knowing. An amazing character! Give me your hat... Sit down.</dialogue>
<scene_description>As before, the boy withdraws into the adjoining bedroom, and, as before, the fat man leads Spade to the green plush chair by the table.</scene_description>
<character>GUTMAN</character>
<parenthetical>(mixing whiskey and soda)</parenthetical>
<dialogue>I owe you an apology, sir, for --</dialogue>
<character>SPADE</character>
<dialogue>Never mind that! Let's talk about the black bird.</dialogue>
<scene_description>The fat man cocks his head to the left, regards Spade with fawned eyes.</scene_description>
<character>GUTMAN</character>
<dialogue>All right, sir, let's.</dialogue>
<scene_description>He puts a glass in Spade's hand, points to the open box of cigars, sits.</scene_description>
<character>GUTMAN</character>
<parenthetical>(repeats)</parenthetical>
<dialogue>Let's.</dialogue>
<parenthetical>(he leans his weight forward in the chair)</parenthetical>
<dialogue>This is going to be the most astounding thing you ever heard of, sir, and I say that knowing that a man of your caliber, in your profession, must have known some astounding things in his time.</dialogue>
<scene_description>Spade nods politely. The fat man screws up his eyes.</scene_description>
<character>GUTMAN</character>
<dialogue>What do you know, sir, about the Order of the hospital of St. John of Jerusalem, later called the Knights of Rhodes and other things?</dialogue>
<character>SPADE</character>
<parenthetical>(lights a cigar)</parenthetical>
<dialogue>Crusaders or something, weren't they?</dialogue>
<character>GUTMAN</character>
<parenthetical>(approvingly)</parenthetical>
<dialogue>Very good... In 1539 these Crusading Knights persuaded the Emperor Charles V to give them the Island of Malta.</dialogue>
<character>GUTMAN</character>
<dialogue>He made but one condition. They were to pay him, each year, the tribute of a falcon in acknowledgment that Malta was still under Spain. Do you follow me?</dialogue>
<scene_description>Spade grunts. The fat man looks over his shoulder at the three closed doors, then lowers his voice to a husky whisper.</scene_description>
<character>GUTMAN</character>
<dialogue>Have you any conception of the extreme, the immeasurable wealth of the Order at that time?</dialogue>
<character>SPADE</character>
<dialogue>I imagine they were pretty well fixed.</dialogue>
<character>GUTMAN</character>
<parenthetical>(smiles indulgently)</parenthetical>
<dialogue>Pretty well is -- is putting it mildly.</dialogue>
<parenthetical>(his whisper becomes lower and more purry)</parenthetical>
<dialogue>They were rolling in wealth, sir. For years they had taken from the East, nobody knows what spoils of gems, precious metals, silks, ivories, sir. We all know that the Holy Wars to them were largely a matter of loot...</dialogue>
<scene_description>Spade nods.</scene_description>
<character>GUTMAN</character>
<dialogue>...The Knights were profoundly grateful to the Emperor Charles for his generosity toward them. They hit upon the happy thought of sending him for the first year's tribute not an insignificant live bird but a glorious golden falcon encrusted from head to feet with the finest jewels in their coffers.</dialogue>
<parenthetical>(he leans his weight back in his chair, takes a sip out of his glass, then rests it on his belly)</parenthetical>
<dialogue>Well, sir, what do you think of that?</dialogue>
<character>SPADE</character>
<parenthetical>(shrugs slightly)</parenthetical>
<dialogue>I don't know.</dialogue>
<character>GUTMAN</character>
<parenthetical>(complacently)</parenthetical>
<dialogue>Those are facts, historical facts, not school book history, not Mr. Wells' history, but history nevertheless.</dialogue>
<scene_description>Spade nods again, drinks.</scene_description>
<character>GUTMAN</character>
<dialogue>They sent this foot-high jeweled bird to Charles, who was then in Spain. They sent it in a galley commanded by a member of the Order.</dialogue>
<parenthetical>(his voice sinks to a whisper again)</parenthetical>
<dialogue>It never reached Spain. A famous admiral of buccaneers took the Knight's galley and the bird. In 1713 it turned up in Sicily. In 1840 it appeared in Paris. It had, by that time, acquired a coat of black enamel so that it looked like nothing more than a fairly interesting black statuette. In that disguise, sir, it was, you might say, kicked around Paris for more than three score years by private owners too stupid to see what it was under the skin... Then in 1923 a Greek dealer named Charilaos Konstantinides found it in an obscure shop.</dialogue>
<parenthetical>(he chuckles)</parenthetical>
<dialogue>No thickness of enamel could conceal value from his eyes.</dialogue>
<scene_description>The fat man raises his glass, smiles at it emptiness, rises to fill it and Spade's.</scene_description>
<character>GUTMAN</character>
<parenthetical>(working the siphon)</parenthetical>
<dialogue>You begin to believe me a little?</dialogue>
<character>SPADE</character>
<dialogue>I haven't said I didn't.</dialogue>
<scene_description>The fat man sits down again, drinks generously, pats his mouth with a white handkerchief.</scene_description>
<character>GUTMAN</character>
<dialogue>Well, sir, to hold it safe while pursuing his researches into its history, Charilaos re-enameled the bird. Despite that precaution, however, I got wind of his find.</dialogue>
<parenthetical>(he sighs deeply)</parenthetical>
<dialogue>Ah, sir, if I had only known a few days sooner. I was in London when I heard. I packed a bag and took the boat train immediately. On the train I opened a paper, the Times, and read that Charilaos' establishment had been burglarized and him murdered. Sure enough, upon arriving there, I discovered that the bird was gone.</dialogue>
<parenthetical>(he shakes his head sadly -- then he shuts his eyes, smiles complacently at inner thoughts)</parenthetical>
<dialogue>That was seventeen years ago. Well, sir, it took me seventeen years to locate that bird -- but I did.</dialogue>
<parenthetical>(he opens his eyes suddenly)</parenthetical>
<dialogue>I wanted it and I'm not a man that's easily discouraged when I want something.</dialogue>
<scene_description>(his smile grows broad -- he drains his glass, dries his lips, returns his handkerchief to his pocket) I traced it to the home of a Russian general -- one Kemidov -- in an Istanbul suburb. He didn't know a thing about it. It was nothing but a black enameled figure to him, but his natural contrariness kept him from selling it to me when I made him an offer. So I sent some -- ah -- agents to get it. Well, sir, they got it and I haven't got it. (he stands up again, carries his empty glass to the table) But I'm going to get it... Your glass, sir.</scene_description>
<character>SPADE</character>
<dialogue>Then the bird doesn't belong to any of you but to a General Kemidov?</dialogue>
<character>GUTMAN</character>
<parenthetical>(filling Spade's glass)</parenthetical>
<dialogue>Well, sir, you might say it belonged to the King of Spain but I don't see how you can honestly grant anybody else clear title to it -- except by right of possession.</dialogue>
<parenthetical>(he leans forward, puts his hand on Spade's knee)</parenthetical>
<dialogue>Well, now, before we start to talk prices, how soon can you -- or how soon are you willing to produce the Falcon?</dialogue>
<character>SPADE</character>
<dialogue>A couple of days.</dialogue>
<character>GUTMAN</character>
<parenthetical>(nods)</parenthetical>
<dialogue>That is satisfactory.</dialogue>
<parenthetical>(he holds up his glass)</parenthetical>
<dialogue>Well, sir, here's to a fair bargain and profits large enough for both of us.</dialogue>
<scene_description>They both drink.</scene_description>
<character>SPADE</character>
<dialogue>What's your idea of a fair bargain.</dialogue>
<character>GUTMAN</character>
<dialogue>I'll give you twenty-five thousand dollars when you deliver the Falcon to me and another twenty-five thousand later on. Or, I'll give you one quarter of what I realize on the Falcon. That would amount to a vastly greater sum.</dialogue>
<character>SPADE</character>
<dialogue>How much greater?</dialogue>
<character>GUTMAN</character>
<dialogue>Who knows? Shall I say one hundred thousand? Will you believe me if I name the sum that seems the probable minimum?</dialogue>
<character>SPADE</character>
<dialogue>Why not?</dialogue>
<character>GUTMAN</character>
<parenthetical>(lowers his voice to a purring murmur)</parenthetical>
<dialogue>What would you say to quarter of a million?</dialogue>
<character>SPADE</character>
<parenthetical>(narrowing his eyes)</parenthetical>
<dialogue>Then you think the dingus is worth a million?</dialogue>
<character>GUTMAN</character>
<parenthetical>(serenely)</parenthetical>
<dialogue>In your own words, why not?</dialogue>
<scene_description>Spade empties his glass, sets it on the table, puts his cigar in his mouth, takes it out, looks at it distastefully, lays it on the ash tray.</scene_description>
<character>SPADE</character>
<dialogue>That's a lot of dough.</dialogue>
<character>GUTMAN</character>
<dialogue>A lot of dough.</dialogue>
<character>SPADE</character>
<dialogue>The minimum, huh? And the maximum?</dialogue>
<scene_description>There is an unmistakable "sh" following the "x" in maximum as Spade says it. The fat man leans forward, pats Spade's knee.</scene_description>
<character>GUTMAN</character>
<dialogue>The maximum I refuse to guess. You'd think me crazy. I don't know. There's no telling how high it could go, sir, and that's the one and only truth about it.</dialogue>
<scene_description>Spade pulls his lower lip tight against the upper, shakes his head, raises his right hand, presses his palm against the base of his head. Then he stands up helping himself with his hands on the arms of his chair. He shakes his head again, takes an uncertain step forward. Gutman jumps up, pushes back his chair. His fat globes jiggle. His eyes are dark holes in an oily face. Spade swings his head from side to side until his dull eyes are pointed to the door. He takes another uncertain step.</scene_description>
<character>GUTMAN</character>
<parenthetical>(calls sharply)</parenthetical>
<dialogue>Wilmer!</dialogue>
<scene_description>The door to the bedroom opens and the boy comes in. Through the door we see a row of cases and bags closed and ready for traveling on the floor. Spade takes a third step. His jaw muscles stand out like tumors under his ears. His legs do not straighten again after his fourth step and his dull eyes are all but covered by their lids. He takes a fifth step. The boy comes over, stands close to Spade, hands inside his coat over his heart. The corners of his mouth twitch. Spade essays a sixth step. The boy's leg darts out in front of Spade's leg. Spade trips and crashes, face downward, on the floor. The boy, keeping his right hand under his coat, looks down at Spade. Spade tries to get up. The boy draws his right foot far back, kicks Spade's temple. The kick rolls Spade over on his side. Once more he tries to get up -- cannot -- goes to sleep. Joel Cairo appears in the bedroom door, hat in hand, looks down at Spade as we -- DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GUTMAN'S LIVING ROOM - NIGHT</stage_direction>
<scene_description>The room is in complete darkness save for a pale rectangle that is the window... There is the SOUND of a groan, followed by low mumbling. After a short silence, the groan is repeated, then the sound of scuffling. A form rises, stands in silhouette against the rectangle. Staggering slightly, the form moves away from CAMERA toward the window. En route it knocks over a piece of furniture. It reaches the window, opens it, drinks in air with gasps that are like sobs. Then it leaves the window, disappearing into darkness. The lights come on and we see Spade standing, one hand on the switch, the other to his head where neck and skull join. His right temple is dark and swollen. He turns away from the switch to look with dazed, heavy- lidded eyes around the room. It is exactly as it was when he lost consciousness except for an over-turned side table and the door to a closet being open. The closet is empty. Spade walks unsteadily into the bedroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>as Spade crosses, enters the bathroom. He bends over the lavatory, turns on the water, splashes it over his face, groans again, makes a cup of his hands, fills the cup with water, drinks, or rather, takes the water into his mouth and spits it out. He does not use a towel, turns back into the bedroom, leaving the water tap running. In a fumbling, but completely methodical way, he starts searching the room. He takes the covers off the twin beds, turns the mattresses over, pulls the beds away from the wall to look behind them, removes the cushions from the chairs, turns the chairs over to look at the undersides. As he starts opening the empty drawers of the chiffonier -- DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - OUTSIDE SPADE'S OFFICE</stage_direction>
<scene_description>The glass panel on the door with "Samuel Spade" on it glows with a warm light. Spade turns the knob. The door is locked. He takes out his keys, puts one into the door, opens it quietly, steps silently in.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S OUTER OFFICE - EFFIE PERINE</stage_direction>
<scene_description>raises up from the couch, rubs her eyes as though she had been asleep. Her coat, which was tucked around her legs, slips to the floor.</scene_description>
<character>EFFIE</character>
<dialogue>Oh, Sam...</dialogue>
<character>SPADE</character>
<dialogue>Who are you? The boy who stood on the burning deck?</dialogue>
<character>EFFIE</character>
<dialogue>I couldn't get you on the phone so I came back down.</dialogue>
<character>SPADE</character>
<dialogue>What's up?</dialogue>
<character>EFFIE</character>
<dialogue>Miss O'Shaughnessy -- she never got there.</dialogue>
<scene_description>Spade takes two long steps, catches Effie by her shoulders, lifts her up from the couch.</scene_description>
<character>SPADE</character>
<dialogue>She didn't get there?</dialogue>
<scene_description>Effie shakes her head violently.</scene_description>
<character>SPADE</character>
<parenthetical>(voice loud, enraged)</parenthetical>
<dialogue>Another merry-go-round!</dialogue>
<character>EFFIE</character>
<parenthetical>(tremblingly)</parenthetical>
<dialogue>Do you think something's happened to her Sam? You said she was in real -- danger.</dialogue>
<character>SPADE</character>
<dialogue>Nobody followed you, did they?</dialogue>
<character>EFFIE</character>
<parenthetical>(shakes her head -- brushes her hair away from her eyes in a nervous gesture)</parenthetical>
<dialogue>We changed cabs twice like you told us to and when I got out, I told her to change once again.</dialogue>
<character>SPADE</character>
<dialogue>Then she didn't show up because she didn't want to.</dialogue>
<scene_description>Effie opens her mouth to say something, closes it again as she sees the bruise on Spade's temple.</scene_description>
<character>EFFIE</character>
<dialogue>Oh! Your head! What happened!</dialogue>
<scene_description>He barely touches his temple with his fingers, flinches, turns his grimace into a grim smile.</scene_description>
<character>SPADE</character>
<dialogue>I wouldn't know. I went visiting this afternoon, was fed knockout drops and came to just a little while ago all spread out on a man's floor.</dialogue>
<scene_description>She reaches up, removes his hat.</scene_description>
<character>EFFIE</character>
<dialogue>You can't walk around with a head like that!</dialogue>
<character>SPADE</character>
<dialogue>It's not as bad as it looks.</dialogue>
<character>EFFIE</character>
<dialogue>Did what happened this afternoon have anything to do with her?</dialogue>
<character>SPADE</character>
<dialogue>Something.</dialogue>
<scene_description>Spade takes his hat away from her, makes a harsh noise in his throat, goes to the corridor door.</scene_description>
<character>SPADE</character>
<dialogue>I'm going out to find her if I have to dig up sewers. Stay here till I come back or you hear from me. Let's do something right for a change.</dialogue>
<scene_description>He goes out. 76. LOBBY - BELVEDERE - MED. SHOT - CIGAR STAND Luke, the house detective, is leaning one elbow on the counter reading a newspaper when Spade enters scene. Spade touches him on the arm.</scene_description>
<character>SPADE</character>
<dialogue>Evening, Luke.</dialogue>
<character>LUKE</character>
<dialogue>Hello, Sam.</dialogue>
<parenthetical>(he folds the paper, puts it into his coat pocket)</parenthetical>
<character>SPADE</character>
<dialogue>Want to do me a favor?</dialogue>
<character>LUKE</character>
<dialogue>Sure.</dialogue>
<parenthetical>(he stares at Spade's temple)</parenthetical>
<dialogue>Say! Somebody maced you plenty.</dialogue>
<character>SPADE</character>
<dialogue>Looks worse than it is... You've got a guest name of Cairo?</dialogue>
<character>LUKE</character>
<parenthetical>(leers)</parenthetical>
<dialogue>Oh, that one! I saw you talking to him this morning.</dialogue>
<scene_description>They turn away from the cigar stand.</scene_description>
<character>SPADE</character>
<dialogue>How's chances of giving his room a casing?</dialogue>
<character>LUKE</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Can do.</dialogue>
<scene_description>CAMERA TROLLIES AHEAD of them as they walk toward the desk. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAIRO'S SINGLE HOTEL BEDROOM - SPADE AND LUKE</stage_direction>
<scene_description>Nothing about the room is remarkable except perhaps the presence on the dresser of a cut-glass bottle of perfume and an atomizer in juxtaposition to military hair brushes. Spade is closing a trunk.</scene_description>
<character>SPADE</character>
<dialogue>No dice so far.</dialogue>
<scene_description>Luke locks the trunk.</scene_description>
<character>LUKE</character>
<dialogue>Any particular thing you're supposed to be looking for?</dialogue>
<character>SPADE</character>
<dialogue>No. He's supposed to have come here from Turkey. I'd like to know if he did. I haven't seen anything that says he didn't.</dialogue>
<scene_description>He crosses the room, bounds down over the waste basket.</scene_description>
<character>SPADE</character>
<dialogue>Well, this is our last shot.</dialogue>
<scene_description>He takes a newspaper out of the basket. It is folded with a classified advertising page outside. He opens the paper, turns it over. From the lower left-hand corner a little more than two inches of the second column has been torn out. Immediately above the tear is a small caption:</scene_description>
<character>INSERT:</character>
<dialogue>NEWSPAPER CAPTION</dialogue>
<scene_description>Steamships Arriving Today followed by: 12:20 A.M. - Capac from Astoria 5:05 A.M. - Helen P. Drew from Greenwood 5:06 A.M. - Albarado from Bandon</scene_description>
<character>BACK TO SCENE</character>
<dialogue>SPADE</dialogue>
<scene_description>Looks like the gent's interested in a boat.</scene_description>
<character>LUKE</character>
<dialogue>No law against that, is there?</dialogue>
<character>SPADE</character>
<dialogue>Is that an "Express" in your pocket?</dialogue>
<scene_description>Luke nods, gives Spade the paper. Spade turns to the shipping news, compares the page taken from the waste basket. That which was missing from the other paper reads:</scene_description>
<character>INSERT:</character>
<dialogue>NEWSPAPER</dialogue>
<scene_description>5:17 A.M. - Tahiti from Sydney and Papeete 6:05 A.M. - Admiral Peoples from Astoria 8:07 A.M. - La Paloma from Hong Kong 8:17 A.M. - Silverado from San Pedro</scene_description>
<character>BACK TO SCENE</character>
<dialogue>Spade's thumbnail stops below "La Paloma from Hong Kong".</dialogue>
<scene_description>DISSOLVE TO: 78. LONG SHOT The vague outline of a moving ship's bow behind a wall of heavy billowing smoke. OVER SCENE the SOUND of sirens and bells. The smoke clears for a brief moment and we see lettering: La Paloma 79. LONG SHOT - THE WATERFRONT High-arched ribbons of water from a dozen fire hoses are playing on the deck away from which the burning ship is being towed. 80. MED. SHOT - TAXICAB as Spade gets out, runs into the crowd that is watching the fire. 81. CLOSE SHOT - SPADE as he pushes heedlessly through the crowd toward the police line. 82. MED. LONG SHOT - POLICE LINE Spade starts through, but a policeman stops him. Spade says something to the policeman, which we do not hear, then he takes out his wallet, opens it, shows it to the policeman. The policeman lets him pass. CAMERA PANS with Spade as he goes to a group of men. 83. FULL SHOT - GROUP of reporters, a couple of policemen and the mate of the La Paloma. The mate is talking.</scene_description>
<character>MATE</character>
<parenthetical>(with a slight Swedish accent)</parenthetical>
<dialogue>It started in the hold aft in the rear basement...</dialogue>
<character>REPORTER</character>
<dialogue>What insurance was she carrying?</dialogue>
<scene_description>The mate shakes his head. Unnoticed, Spade joins the group.</scene_description>
<character>SPADE</character>
<dialogue>Anybody burnt?</dialogue>
<character>AD LIBS</character>
<dialogue>Nope... Nobody... Only the harbor watch was aboard...</dialogue>
<scene_description>Spade draws the mate aside.</scene_description>
<character>SPADE</character>
<dialogue>Someone I know came aboard this afternoon. I haven't heard from her since. I'm worried.</dialogue>
<character>MATE</character>
<dialogue>No reason to be, Mister... Everybody got off all right.</dialogue>
<character>SPADE</character>
<dialogue>I wonder if you saw her. She was about five feet five with red hair...</dialogue>
<character>MATE</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Couldn't tell you, Mister, but if she came aboard, she got off all right. Only the harbor watch was aboard when the fire started.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S PRIVATE OFFICE - SPADE AND EFFIE PERINE</stage_direction>
<scene_description>Spade leans back in his chair talking with his eyes closed. Effie, sitting on the desk, is bathing his temple with a wet handkerchief. Her face is flushed with excitement and her eyes brilliant.</scene_description>
<character>SPADE</character>
<dialogue>And now you know as much about it as I do, Precious. Maybe they went down to the ship -- maybe not...</dialogue>
<character>EFFIE</character>
<dialogue>The part about the bird -- is thrilling.</dialogue>
<character>SPADE</character>
<dialogue>Yes -- or ridiculous.</dialogue>
<scene_description>OVER SCENE the SOUND of the corridor door opening and closing. Spade sits up straight in his chair, waiting, listening. Effie gets down from the desk, starts toward the connecting door but before she can reach it:</scene_description>
<character>SPADE</character>
<dialogue>Hold on...</dialogue>
<scene_description>She stops in the middle of the floor, turns her head to look at Spade. He gets up, goes to the door, opens it. 85. ANGLE ON CONNECTING DOOR A tall, thin man in a black overcoat buttoned from throat to knees, takes two steps forward. Held tight against his left side he holds a paper-wrapped parcel bound with thin rope -- an ellipsoid, somewhat larger than a football. CAMERA DOLLIES FORWARD TO: 86. CLOSE SHOT - THE MAN His bony face, weather coarsened, is the color of wet sand and his eyes are dark and bloodshot and mad. There is nothing in them to show that he sees Spade.</scene_description>
<character>MAN</character>
<dialogue>You know...</dialogue>
<scene_description>A bubbling sound starts in his throat, chokes his words. He puts his right hand over the hand holding the ellipssoid, then falls. He does not put his hands out to break the fall -- he falls as a tree falls. 87. MED. CLOSE SHOT - SPADE, MAN, EFFIE Spade catches him. The paper-wrapped parcel drops from the man's hands, rolls across the floor. In Spade's arms the man's body becomes limber. Spade lowers him to the floor. The man's eyes, dark and bloodshot, are mad no longer, but wide open and still.</scene_description>
<character>SPADE</character>
<parenthetical>(to Effie)</parenthetical>
<dialogue>Lock the door.</dialogue>
<scene_description>Effie, her teeth chattering, moves to obey. Spade kneels beside the thin man, turns him over on his back, runs a hand down inside his overcoat. When he withdraws the hand, it is smeared darkly. The sight of his bloody hand brings not the least nor briefest of changes to Spade's face. Holding the hand up so that it will not touch anything, he takes out his lighter with his other hand, snaps on the flame and holds it close to first one, then the other of the man's eyes. 88. CLOSEUP - MAN'S FACE Lids, eyeballs, irises and pupils remain frozen immobile. 89. MED. CLOSE SHOT - GROUP Spade extinguishes the flame, returns the lighter to his pocket. Spade, moving on his knees around to the dead man's side, uses his clean hand to unbutton and open the overcoat. The jagged lapels where they cross over the man's chest, are pierced by soggy, ragged holes -- Spade draws a large wallet from the inside jacket pocket -- it too is soggy. Spade opens the wallet -- takes out papers -- looks at them -- then places wallet and paper on the floor beside the body. CAMERA PULLS BACK TO: 90. MED. FULL SHOT - OFFICE as Spade rises, goes behind the partition in the corner of the office. OVER SCENE the SOUND of running water. Effie Perine, wan, teeth chattering, walks around the body on the floor back into the private office, goes to the partition. 91. CLOSE SHOT - SPADE AND EFFIE He is washing his hands.</scene_description>
<character>EFFIE</character>
<dialogue>Is -- is -- he? --</dialogue>
<character>SPADE</character>
<dialogue>Yes... He couldn't have come far with those in him.</dialogue>
<parenthetical>(he rinses his hands, picks up a towel)</parenthetical>
<dialogue>Why couldn't he have stayed alive long enough to say something?</dialogue>
<parenthetical>(he turns to face Effie, who is swaying on her feet)</parenthetical>
<dialogue>Pull yourself together.</dialogue>
<parenthetical>(he throws down the towel, takes her by the elbows tightly)</parenthetical>
<dialogue>You mustn't go to pieces on me now.</dialogue>
<scene_description>Effie's eyelids flutter, she takes two deep breaths, then she opens her eyes, nods.</scene_description>
<character>EFFIE</character>
<dialogue>All right, Sam.</dialogue>
<scene_description>Releasing one elbow, he turns around. 92. MED. FULL SHOT - OFFICE as they come out from behind the partition. Spade goes over to the desk beside one leg of which the paper-wrapped parcel lies. He bends over, picks it up. When he feels its weight, his eyes glow. He puts it on the desk, turns it over so the knotted part of the rope is uppermost, takes out his pocket knife and cuts the knot. Effie comes to the corner of the desk, watches him pull the rope loose and push aside the brown paper. Excitement begins to supplant terror and nausea in her face.</scene_description>
<character>EFFIE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Do you think it's...</dialogue>
<character>SPADE</character>
<parenthetical>(putting wrapping paper out of the way)</parenthetical>
<dialogue>We'll soon know.</dialogue>
<scene_description>His fingers tear apart an egg-shaped mass of excelsior to reveal the foot-high figure of a bird. He holds the bird out at arm's length. CAMERA MOVES UP TO: 93. CLOSEUP - THE MALTESE FALCON in Spade's hand. It is shiny and black as coal.</scene_description>
<character>SPADE'S VOICE</character>
<parenthetical>(over scene)</parenthetical>
<dialogue>We've got it, Angel! We've got it!</dialogue>
<scene_description>94. CLOSE SHOT - SPADE AND EFFIE Laughing, he puts his arm around Effie, crushing her body against his.</scene_description>
<character>EFFIE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>You're hurting me!</dialogue>
<scene_description>He takes his arm away from her, holds the bird in both hands, blows on it to dislodge clinging excelsior and dust, then places it on the desk, takes a step back and regards it triumphantly. Effie makes a horrified face, screams, points at his feet. 95. CLOSEUP - SPADE'S FEET His left heel is on the dead man's hand. Spade jerks his foot away from the hand. OVER SCENE the SOUND of the telephone ringing. 96. TWO SHOT - SPADE AND EFFIE Spade nods at Effie. She turns to the desk, puts the receiver to her ear.</scene_description>
<character>EFFIE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello... Yes... Who?... Oh, yes...</dialogue>
<parenthetical>(her eyes become large)</parenthetical>
<dialogue>Where?... Yes, yes... Hold the line...</dialogue>
<parenthetical>(her eyes open wide and fearful -- she cries)</parenthetical>
<dialogue>Hello... Hello... Hello...</dialogue>
<scene_description>She rattles the prong up and down, then she sobs and spins around to face Spade, who is close beside her now.</scene_description>
<character>EFFIE</character>
<parenthetical>(wildly)</parenthetical>
<dialogue>It was Miss O'Shaughnessy! She wants you! She's in danger!</dialogue>
<character>SPADE</character>
<dialogue>Where is she?</dialogue>
<character>EFFIE</character>
<dialogue>Burlingame -- 26 Ancho -- Oh, Sam!... Her voice -- it was awful! And something happened to her before she could finish. Go help her, Sam.</dialogue>
<scene_description>Spade picks up the Falcon from the desk, turns it around, scowls gloomily at the thin corpse on the floor, points his thumb at it.</scene_description>
<character>SPADE</character>
<dialogue>I've got to take care of this fellow first.</dialogue>
<scene_description>Effie comes around in front of him, starts beating his chest with her fists.</scene_description>
<character>EFFIE</character>
<parenthetical>(crying)</parenthetical>
<dialogue>No, No!... You've got to go to her. Don't you see, Sam!</dialogue>
<parenthetical>(her wide terrified eyes behold the dead man briefly)</parenthetical>
<dialogue>He was helping her and they killed him -- and now she's -- Oh, you've got to go!</dialogue>
<character>SPADE</character>
<parenthetical>(after a moment)</parenthetical>
<dialogue>All right.</dialogue>
<scene_description>He pushes her away, bends over his desk putting the black bird into its nest of excelsior, picks up the wrapping paper from the floor and, working rapidly, makes a large clumsy package.</scene_description>
<character>SPADE</character>
<dialogue>As soon as I've gone, phone the police. Tell them how it happened but don't drag any names in. You don't know... I got the phone call and I told you I had to go but I didn't say where.</dialogue>
<scene_description>He untangles the rope and starts binding the package.</scene_description>
<character>SPADE</character>
<dialogue>Forget this thing. Tell it as it happened but forget I had a bundle. Get it straight now. Everything happened the way it did happen but without this dingus and I got the phone call, not you.</dialogue>
<scene_description>He puts on his hat, picks up the bundle.</scene_description>
<character>EFFIE</character>
<dialogue>Yes, Sam... Who -- do you know who he is?</dialogue>
<character>SPADE</character>
<dialogue>He was Captain Jacoby, Master of the La Paloma.</dialogue>
<character>EFFIE</character>
<parenthetical>(imploringly)</parenthetical>
<dialogue>Hurry, Sam.</dialogue>
<character>SPADE</character>
<parenthetical>(slowly as though his thoughts were elsewhere)</parenthetical>
<dialogue>Sure -- I'll hurry. Might not hurt to get these few scraps of excelsior off the floor before the police come, and keep the door locked.</dialogue>
<parenthetical>(puts his hand on her cheek)</parenthetical>
<dialogue>You're a good man, sister.</dialogue>
<scene_description>He smiles at her and goes, the bundle under his arm. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - OFFICE BUILDING</stage_direction>
<scene_description>As Spade comes out of his office CAMERA TROLLIES ahead of him down the hall toward the stairs. At intervals of three or four feet, dark spots about the size of a penny show on the white tile flooring. He turns into the service stairway.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OFFICE BUILDING - ALLEY-WAY - NIGHT</stage_direction>
<scene_description>as Spade opens the door to the delivery entrance, comes out, looks to right and left, then walks quickly through the striped shadows the fire escape casts, toward the mouth of the alley-way. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - MED. LONG SHOT - BUS TERMINAL</stage_direction>
<scene_description>as Spade comes out of f.g., starts across the street.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS TERMINAL - MED. SHOT - BAGGAGE COUNTER</stage_direction>
<scene_description>A loud speaker is announcing the departure of a bus:</scene_description>
<character>ANNOUNCER</character>
<dialogue>All aboard for Burlingame, San Mateo, Redwood City, Palo Alto...</dialogue>
<scene_description>Spade enters scene, puts his parcel on the counter. The baggage clerk hangs the check on the parcel, tears off the stub, gives it to Spade. He takes an envelope and pencil out of his pocket, puts the check inside the envelope, seals it, then bending over the counter, addresses it. 101. CLOSEUP - ENVELOPE as Spade's hand prints the address: BOX 589: P.O. STATION C: CITY:</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS TERMINAL - MED. SHOT</stage_direction>
<scene_description>Spade carries the envelope to a mail box, drops it in and goes out into the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - IN FRONT OF BUS TERMINAL</stage_direction>
<scene_description>as Spade comes out, turns to the right, goes quickly up the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNION SQUARE - NIGHT</stage_direction>
<scene_description>CAMERA TROLLIES with Spade as he walks quickly along the line of cars for hire. He goes up to a group of hack drivers, taps one of them on the arm.</scene_description>
<character>SPADE</character>
<dialogue>Hello, Frank.</dialogue>
<character>FRANK</character>
<dialogue>Oh, hello Mr. Spade.</dialogue>
<scene_description>They turn away from the group.</scene_description>
<character>SPADE</character>
<dialogue>Got plenty of gas?</dialogue>
<character>FRANK</character>
<dialogue>Sure thing.</dialogue>
<scene_description>CAMERA DOLLIES WITH them to a dark sedan parked at the curb. Spade gets into the front seat. Frank runs around the car, climbs in behind the wheel.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - CLOSE SHOT - SPADE AND FRANK (PROCESS)</stage_direction>
<character>SPADE</character>
<dialogue>Know where Ancho Avenue or road or boulevard is in Burlingame?</dialogue>
<character>FRANK</character>
<parenthetical>(nosing out into the street)</parenthetical>
<dialogue>Nope -- but if she's there, we can find her.</dialogue>
<character>SPADE</character>
<dialogue>Twenty-six is the number we want and the sooner, the better.</dialogue>
<character>FRANK</character>
<dialogue>Correct.</dialogue>
<scene_description>They drive a little way in silence, then:</scene_description>
<character>FRANK</character>
<dialogue>Your partner got knocked off, didn't he, Mr. Spade?</dialogue>
<character>SPADE</character>
<dialogue>Uh-huh.</dialogue>
<character>FRANK</character>
<parenthetical>(shakes his head)</parenthetical>
<dialogue>She's a tough racket! You can have it for mine.</dialogue>
<character>SPADE</character>
<dialogue>Well, hack drivers don't live forever.</dialogue>
<scene_description>DISSOLVE TO: 106. A SUBURBAN STREET - LONG SHOT - NIGHT Fronted by middle class residences.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - SPADE AND FRANK</stage_direction>
<character>FRANK</character>
<dialogue>One-sixty -- it's in the next block.</dialogue>
<character>SPADE</character>
<dialogue>Park on the corner.</dialogue>
<parenthetical>(Frank nods)</parenthetical>
<scene_description>108. LONG SHOT - STREET - NIGHT The dark limousine pulls over to the curb. Spade gets out, walks along the pavement looking at the house numbers. He passes 32, 30, and 28. Next to 28 is a vacant lot with a "For Sale" sign showing in the weeds. Spade takes a few steps into the lot, then stands muttering to himself. Presently he turns back, crosses the pavement, steps off the curb, holds up his arm, whistles. OVER SCENE the SOUND of a motor starting. Headlights flash on silhouetting Spade, the car moves forward to where Spade stands. Spade gets in beside the driver.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - CLOSE SHOT - SPADE AND FRANK</stage_direction>
<scene_description>Frank looks at him questioningly. Spade says nothing. All the V's in his face are accentuated. The corners of his mouth turn up but he is not smiling.</scene_description>
<character>FRANK</character>
<parenthetical>(eyes on the vacant lot)</parenthetical>
<dialogue>Bum steer, Mr. Spade?</dialogue>
<scene_description>Spade makes no immediate reply. When he does speak, it is not to answer the driver's question.</scene_description>
<character>SPADE</character>
<dialogue>Stop when you see a drug store that's open.</dialogue>
<scene_description>DISSOLVE TO: 110. CLOSE SHOT - SPADE - IN TELEPHONE BOOTH He has the receiver to his ear.</scene_description>
<character>SPADE</character>
<dialogue>Hello, Mrs. Perine?... Is Effie there?... Yes, please. Thanks... Hello, Precious! What's the good word?... No, I ran into a plant. Are you sure it was her voice?</dialogue>
<parenthetical>(he makes an unpleasant face at her answer)</parenthetical>
<dialogue>Well, it was hooey... Everything go okay?... Nothing said about the bundle?... Swell... Did they take you down to the Hall?... Uh-huh... all right, Precious, you better hit the hay. You sound all in... Get a good night's rest.</dialogue>
<parenthetical>(we hear a voice in the receiver. Spade interrupts)</parenthetical>
<dialogue>Save it till tomorrow. Bye.</dialogue>
<parenthetical>(he hangs up)</parenthetical>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPADE'S APARTMENT HOUSE - NIGHT</stage_direction>
<scene_description>The dark limousine enters picture, pulls up to the curb. Spade gets out.</scene_description>
<character>SPADE</character>
<parenthetical>(to driver)</parenthetical>
<dialogue>Thanks. Night, Frank.</dialogue>
<character>FRANK</character>
<dialogue>Goodnight, Mr. Spade.</dialogue>
<scene_description>Spade climbs the steps to the street-door. The car moves out of scene. Spade puts his key in the lock. OVER SCENE the SOUND of heels clicking rapidly on the sidewalk. He releases the key and wheels. Brigid O'Shaughnessy runs up the steps, puts her arms around him, clings to him.</scene_description>
<character>BRIGID</character>
<parenthetical>(panting)</parenthetical>
<dialogue>Oh! I thought you'd never come!</dialogue>
<scene_description>Her face is haggard, distraught. Tremors shake her from head to foot. With the hand not supporting her, Spade feels for the key again, opens the door, half carries her inside. CAMERA TROLLIES BEHIND them into the vestibule...</scene_description>
</scene>
<scene>
<stage_direction>INT. VESTIBULE</stage_direction>
<character>SPADE</character>
<dialogue>You've been waiting?</dialogue>
<character>BRIGID</character>
<parenthetical>(gasps painfully)</parenthetical>
<dialogue>Yes... In a -- doorway -- up the street...</dialogue>
<scene_description>They walk to the elevator, Spade supporting her.</scene_description>
</scene>
<scene>
<stage_direction>INT. AUTOMATIC ELEVATOR - SPADE AND BRIGID</stage_direction>
<scene_description>Spade touches the button with his free hand.</scene_description>
<character>SPADE</character>
<dialogue>Can you make it all right or shall I carry you?</dialogue>
<character>BRIGID</character>
<parenthetical>(her head against his shoulder)</parenthetical>
<dialogue>I'll be -- all right -- when I -- get where -- I can -- lie down.</dialogue>
<scene_description>He opens the elevator door, helps her out.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S APARTMENT - HALLWAY</stage_direction>
<scene_description>As Spade and Brigid are about to enter the living room, the living room light goes on. Brigid cries out, clings to Spade. Fat Gutman stands in the entrance to the living room smiling benevolently at them. The boy Wilmer comes out of the kitchen, a black pistol in either hand. The door to the bathroom opens and Cairo appears, pointing his flat, black automatic at Spade's feet. Spade keeps his arm around Brigid. His look travels from one face to another.</scene_description>
<character>GUTMAN</character>
<parenthetical>(volubly)</parenthetical>
<dialogue>Well, sir, we're all here. Now let's come in and sit down and be comfortable and talk.</dialogue>
<character>SPADE</character>
<parenthetical>(smiling bleakly)</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>Gutman's bulbs jounce as he takes three waddling backward steps into the living room. Spade and Brigid go in together. Cairo stops in the doorway.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S LIVING ROOM - GROUP</stage_direction>
<scene_description>The boy puts away one of his pistols, comes up behind Spade. Spade turns his head around to look over his shoulder at the boy.</scene_description>
<character>SPADE</character>
<dialogue>Get away. You're not going to frisk me.</dialogue>
<character>WILMER</character>
<dialogue>Stand still. Shut up!</dialogue>
<character>SPADE</character>
<parenthetical>(voice level)</parenthetical>
<dialogue>Put your paw on me and I'm going to make you use that gun... Ask your boss if he wants me shot up before we talk.</dialogue>
<character>GUTMAN</character>
<parenthetical>(after a pause)</parenthetical>
<dialogue>Never mind, Wilmer.</dialogue>
<parenthetical>(he chuckles at Spade)</parenthetical>
<dialogue>You are certainly a most headstrong individual... Well, let's be seated.</dialogue>
<scene_description>Spade takes Brigid to the sofa by the window, sits down with her. They sit close together, her head resting against his shoulder. She has stopped panting but she is still trembling. Gutman lowers himself into the padded rocking chair. Cairo chooses the armchair by the window. The boy remains standing, one pistol huge looking in his small hand, dangling by his side, looking under curling lashes as Spade's body. Cairo puts his pistol on the table beside him. Spade takes off his hat, tosses it at the other end of the sofa, then he grins at Gutman.</scene_description>
<character>SPADE</character>
<dialogue>Well! Are you ready to make the first payment and take the Falcon off my hands?</dialogue>
<scene_description>Brigid sits up straight, looks at Spade with surprised eyes. He pats her shoulder. His eyes remain on Gutman's.</scene_description>
<character>GUTMAN</character>
<parenthetical>(puts his hand to his inside breast pocket)</parenthetical>
<dialogue>Well, sir, as to that...</dialogue>
<scene_description>Cairo, hands on thighs, leans forward in his chair, breathing between parted soft lips. His eyes shift their focus from Spade's face to Gutman's, from Gutman's to Spade's.</scene_description>
<character>GUTMAN</character>
<parenthetical>(repeats)</parenthetical>
<dialogue>Well, sir, as to that...</dialogue>
<scene_description>He takes a white envelope from his pocket, turns it over in his swollen hands, studies for a moment its blank white front, then cocks his wrist, jerks his hand forward. Spinning, the envelope sails into Spade's lap. Spade takes his arm from around the girl. Using both hands, he opens the envelope, takes out stiff, new bills, counts them.</scene_description>
<character>SPADE</character>
<parenthetical>(mildly)</parenthetical>
<dialogue>Ten thousand... We were talking about more money than this.</dialogue>
<character>GUTMAN</character>
<parenthetical>(eyes twinkling merrily)</parenthetical>
<dialogue>Yes, sir, we were... But this is genuine coin of the realm, sir. With a dollar of this you can buy ten dollars of talk.</dialogue>
<parenthetical>(he puts a serious expression on his face)</parenthetical>
<dialogue>There are more of us to be taken care of now.</dialogue>
<scene_description>Spade taps the edges of the bills into alignment, returns them to the envelope, tucking the flap in over them.</scene_description>
<character>SPADE</character>
<dialogue>That may be but I've got the Falcon!</dialogue>
<character>CAIRO</character>
<parenthetical>(primly)</parenthetical>
<dialogue>I shouldn't think it would be necessary to remind you, Mr. Spade, that though you may have the Falcon, yet we certainly have you.</dialogue>
<character>SPADE</character>
<parenthetical>(turning his grin on Cairo)</parenthetical>
<dialogue>I'm trying not to let that worry me.</dialogue>
<scene_description>He sits up straight, places the envelope on the arm of the sofa, addresses Gutman.</scene_description>
<character>SPADE</character>
<dialogue>We'll come back to the money later. There's another thing to be taken care of first. We've got to have a fall-guy.</dialogue>
<scene_description>Gutman raises his eyebrows to express inquiry.</scene_description>
<character>SPADE</character>
<dialogue>The police have got to have a victim -- somebody they can stick for those three murders.</dialogue>
<character>CAIRO</character>
<parenthetical>(voice brittle -- excited)</parenthetical>
<dialogue>Two -- only two murders, Mr. Spade. Thursby undoubtedly killed your partner.</dialogue>
<character>SPADE</character>
<parenthetical>(growling)</parenthetical>
<dialogue>All right, two. What difference does it make? The point is, we've got to give the police --</dialogue>
<character>GUTMAN</character>
<dialogue>Come, come, Mr. Spade. You can't expect us to believe at this late date that you are the least bit afraid of the police or that you are not quite able to handle --</dialogue>
<character>SPADE</character>
<parenthetical>(in restrained tone)</parenthetical>
<dialogue>I'm up to my neck, Gutman. I've got to come through with somebody -- a victim -- when the time comes. If I don't I'll be it.</dialogue>
<parenthetical>(his voice becomes persuasive)</parenthetical>
<dialogue>Let's give them the punk.</dialogue>
<parenthetical>(he nods pleasantly toward the boy)</parenthetical>
<dialogue>He actually did shoot Thursby and Jacoby, didn't he? Anyway, he's made to order for the part. Let's turn him over to them.</dialogue>
<scene_description>The boy tightens the corners of his mouth. Spade's proposal seems to have no other effect on him. Joel Cairo's dark face is open-eyed, amazed. Brigid moves away from Spade, twists herself around on the sofa to stare at him. Gutman remains still, expressionless, for a long moment. Then he decides to laugh. He laughs heartily, and at length.</scene_description>
<character>GUTMAN</character>
<dialogue>By Gad, sir, you're a character -- that you are.</dialogue>
<parenthetical>(takes a white handkerchief from his pocket and wipes his eyes)</parenthetical>
<dialogue>There's never any telling what you'll say or do next except that it is bound to be something astonishing.</dialogue>
<character>SPADE</character>
<parenthetical>(in the manner of one reasoning with a recalcitrant friend)</parenthetical>
<dialogue>It's our best bet. With him in their hands, the police will --</dialogue>
<character>GUTMAN</character>
<dialogue>But, my dear man, can't you see if I even for the moment thought of doing such a thing -- but that's ridiculous. I feel toward Wilmer just exactly as if he were my own son. Really, I do. But if I even for a moment thought of doing as you propose, what in the world do you think would keep Wilmer from telling the police every last detail about the Falcon and all of us?</dialogue>
<character>SPADE</character>
<dialogue>Let him talk his head off. I promise you nobody will do anything about it.</dialogue>
<character>GUTMAN</character>
<parenthetical>(laughs uproariously, turns to look at the boy)</parenthetical>
<dialogue>What do you think of this, Wilmer? It's mighty funny, eh?</dialogue>
<scene_description>The boy's eyes are cold, pale gleams under his lashes.</scene_description>
<character>WILMER</character>
<parenthetical>(voice low, distinct)</parenthetical>
<dialogue>Mighty funny...</dialogue>
<character>SPADE</character>
<parenthetical>(to Brigid)</parenthetical>
<dialogue>How do you feel now, Angel, any better?</dialogue>
<character>BRIGID</character>
<dialogue>Yes, much better, only...</dialogue>
<parenthetical>(she lowers her voice to a whisper)</parenthetical>
<dialogue>I'm frightened.</dialogue>
<character>SPADE</character>
<parenthetical>(puts a hand on her knee)</parenthetical>
<dialogue>Don't be. Nothing very bad's going to happen. Want a drink?</dialogue>
<character>BRIGID</character>
<parenthetical>(shakes her head)</parenthetical>
<dialogue>Be careful, Sam.</dialogue>
<scene_description>Spade grins, looks at Gutman.</scene_description>
<character>GUTMAN</character>
<parenthetical>(clears his throat, laughs, then:)</parenthetical>
<dialogue>Well, sir, if you're really serious about this, the least we can do in common politeness, is to hear you out... Now, how would you be able to fix it...</dialogue>
<parenthetical>(laughs again)</parenthetical>
<dialogue>...so that Wilmer couldn't do us any harm?</dialogue>
<character>SPADE</character>
<dialogue>Bryan's like most district attorneys... To be sure of convicting one man, he'll let half a dozen equally guilty accomplices go free. I can show him that if he starts fooling around trying to gather up everybody -- he's going to have a tangled case, while, if he sticks to Wilmer here, he can get a conviction standing on his head.</dialogue>
<scene_description>Walking, stiff-legged, the boy advances from the doorway until he is in the center of the floor. He halts there, leans forward slightly from the waist, hand and pistol still dangle at his side but his knuckles are white over the pistol's grip. The indelible youngness of his face gives an indescribably vicious and inhuman turn to the white, hot hatred and the cold white malevolence in his face.</scene_description>
<character>WILMER</character>
<parenthetical>(to space in a voice cramped by passion)</parenthetical>
<dialogue>Get up on your feet!</dialogue>
<scene_description>Spade smiles at the boy. His amusement seems genuine and unalloyed.</scene_description>
<character>WILMER</character>
<dialogue>I've taken all the riding from you I'm going to take... Get up and shoot it out.</dialogue>
<character>SPADE</character>
<dialogue>Young wild West!</dialogue>
<parenthetical>(glances at Gutman)</parenthetical>
<dialogue>Maybe you ought to tell him that shooting me before you get your hands on the Falcon will be bad for business.</dialogue>
<scene_description>Gutman's voice is too hoarse and gritty for the paternally admonishing tone he tries to achieve.</scene_description>
<character>GUTMAN</character>
<dialogue>Now, now Wilmer. We can't have any of that. You shouldn't let yourself attach such importance to these things.</dialogue>
<character>WILMER</character>
<parenthetical>(eyes on Spade's face as before)</parenthetical>
<dialogue>Make him lay off then!</dialogue>
<character>GUTMAN</character>
<dialogue>Now, Wilmer...</dialogue>
<parenthetical>(to Spade)</parenthetical>
<dialogue>Your plan is, sir, not at all practical, sir. Let's not say anything more about it.</dialogue>
<character>SPADE</character>
<dialogue>All right -- I've got another suggestion. It's not as good as the first but it's better than nothing. Want to hear it?</dialogue>
<character>GUTMAN</character>
<dialogue>Most assuredly.</dialogue>
<character>SPADE</character>
<dialogue>Give them Cairo.</dialogue>
<scene_description>Gutman tries to laugh, cannot, then:</scene_description>
<character>GUTMAN</character>
<parenthetical>(in an uncertain tone)</parenthetical>
<dialogue>Well, by Gad, sir...</dialogue>
<character>CAIRO</character>
<parenthetical>(voice shrill with indignation)</parenthetical>
<dialogue>Suppose we give them you, Mr. Spade? Or Miss O'Shaughnessy? How about that?</dialogue>
<character>SPADE</character>
<dialogue>You people want the Falcon. I've got it. A fall-guy is part of the price I'm asking.</dialogue>
<parenthetical>(his dispassionate gaze moves to the girl)</parenthetical>
<dialogue>If you think she can be rigged for the part, I'm perfectly willing to discuss it with you.</dialogue>
<scene_description>The girl puts her hands to her throat, utters a short, strangled cry.</scene_description>
<character>CAIRO</character>
<parenthetical>(his face and body twitching with excitement)</parenthetical>
<dialogue>You seem to forget you are not in a position to insist on anything!</dialogue>
<scene_description>Spade laughs -- a harsh, derisive laugh.</scene_description>
<character>GUTMAN</character>
<dialogue>Come now, gentlemen, let's keep our discussion on a friendly basis. But there certainly is...</dialogue>
<parenthetical>(cocks his head at Spade)</parenthetical>
<dialogue>...something in what Mr. Cairo says.</dialogue>
<character>SPADE</character>
<dialogue>If you kill me, how are you going to get the bird? If I know you can't afford to kill me, how are you going to scare me into giving it to you?</dialogue>
<scene_description>Gutman's eyes twinkle between puckered lips.</scene_description>
<character>GUTMAN</character>
<dialogue>Well, sir, there are other means of persuasion besides killing and threatening to kill.</dialogue>
<character>SPADE</character>
<dialogue>Sure. But they aren't much good unless the threat of death is behind them. See what I mean? If you start anything I'll make it a matter of your having to kill me or call it off.</dialogue>
<character>GUTMAN</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>That's an attitude, sir, that calls for the most delicate judgment on both sides -- because, as you know, sir, in the heat of action men are likely to forget where their best interests lie and let their emotions carry them away.</dialogue>
<character>SPADE</character>
<parenthetical>(all smiling blandness)</parenthetical>
<dialogue>The trick from my angle would be to make my play strong enough to tie you up, yet not make you made enough to bump me off -- against your better judgment.</dialogue>
<character>GUTMAN</character>
<parenthetical>(fondly)</parenthetical>
<dialogue>By Gad, sir, you are a character!</dialogue>
<scene_description>Joel Cairo gets up from his chair, walks around behind the boy to Gutman's chair, bends over, screens his mouth and whispers into the fat man's ear. Gutman listens attentively, nodding from time to time. Spade grins at Brigid O'Shaughnessy, then turns to the boy.</scene_description>
<character>SPADE</character>
<dialogue>Two to one they're selling you out, son.</dialogue>
<scene_description>The boy says nothing. A muscular spasm seizes the hand that is holding the gun. Hand and gun jerk convulsively.</scene_description>
<character>SPADE</character>
<parenthetical>(to Gutman)</parenthetical>
<dialogue>I hope you're not letting yourself be influenced by the guns these pocket edition desperadoes are waving...</dialogue>
<scene_description>Cairo stops whispering, makes himself erect behind the fat man's chair.</scene_description>
<character>SPADE</character>
<dialogue>I've practiced taking them away from both of them so there'll be no trouble there. Wilmer here is...</dialogue>
<character>WILMER</character>
<parenthetical>(furious, choked by emotion)</parenthetical>
<dialogue>All right!</dialogue>
<scene_description>He jerks his pistol up in front of his chest. Gutman flings a fat hand out to the boy's wrist. Joel Cairo scurries around to the boy's other side, grasps his other arm holding onto the boy's wrist; Gutman struggles to get his fat body out of the rocking chair, succeeds. Then he and Cairo wrestle with the boy, forcing his arms down. Words come out of the struggling group. Fragments of the boy's incoherent speech: Fog... Go... Riding... Smoke... Gutman repeats, "Now, now, Wilmer" many times and Cairo, "No, please don't" and "You mustn't, Wilmer." Wooden-faced, dreamy-eyed Spade gets up from the sofa, goes over to the group. The boy, unable to cope with the weight against him, has stopped struggling. Spade drives his left fist against the boy's chin. The boy's head snaps back. When it comes forward Spade drives his right fist against the boy's chin. Cairo drops the boy's arm letting him collapse against Gutman's round belly. Cairo springs at Spade, clawing at his face. Tears are in the Greek's eyes and his lips work angrily but no sound comes from between them.</scene_description>
<character>SPADE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Cairo, you're a pip!</dialogue>
<scene_description>He cuffs the side of Cairo's face with an open hand, knocking him over against the table. Cairo regains his balance, springs again. Spade stops him with a long rigid arm, the palm flat against Cairo's face. Cairo, failing to reach Spade, flails his shorter arms at empty air.</scene_description>
<character>SPADE</character>
<parenthetical>(growls)</parenthetical>
<dialogue>Stop it! I'll hurt you!</dialogue>
<scene_description>Cairo backs away. Spade stops to pick up Cairo's pistol from the floor and then the boy's. He straightens up, holding them in his left hand, dangling them upside-down, by their trigger guards, from his fore-finger. Gutman, who has put the boy in the rocking chair, stands looking down at him with troubled eyes. Cairo goes down on his knees beside the chair, begins to chafe the boy's limp hands. Spade crosses to the chair, feels around the boy's jaw with his fingers.</scene_description>
<character>SPADE</character>
<dialogue>Nothing cracked... We'll spread him out on the sofa.</dialogue>
<scene_description>He lifts the boy without apparent effort, carries him to the sofa. Brigid O'Shaughnessy gets up quickly. Spade places the boy on the sofa. With his right hand he pats the boy's clothes, finds his second pistol, adds it to the others in his left hand, then turns his back on the sofa. Cairo comes over and sits down beside the boy's head. Spade clinks the pistols together in his hands, smiles cheerfully at Gutman.</scene_description>
<character>SPADE</character>
<dialogue>There's our fall guy.</dialogue>
<scene_description>Gutman's eyes are clouded, troubled. He does not look at Spade but at the floor.</scene_description>
<character>SPADE</character>
<dialogue>Either you'll say yes right now or I'll turn the Falcon and the whole lot of you in.</dialogue>
<scene_description>Gutman's eyes dart from the floor to Spade's face.</scene_description>
<character>GUTMAN</character>
<parenthetical>(sharply)</parenthetical>
<dialogue>I don't like that, sir.</dialogue>
<scene_description>Spade rattles the guns together impatiently.</scene_description>
<character>SPADE</character>
<dialogue>You won't like it... Well?...</dialogue>
<scene_description>The fat man sighs, makes a wry face.</scene_description>
<character>GUTMAN</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>You can have him.</dialogue>
<character>SPADE</character>
<dialogue>That's swell!</dialogue>
<scene_description>Cairo, sitting on the sofa, rubs the boy's temple and wrists, smoothes his hair back from his forehead, peers anxiously at his white, still face. Except for his breathing, the boy's small figure is altogether corpse- like. Spade puts his handful of pistols on the table, takes a chair at a corner of the table, glances at the tinny alarm clock atop the "Celebrated Criminal Cases".</scene_description>
<character>SPADE</character>
<dialogue>Two o'clock. I can't get the Falcon till daylight or maybe later.</dialogue>
<character>GUTMAN</character>
<dialogue>It strikes me that it would be best for all concerned if we did not get out of each others sight until our business has been transacted.</dialogue>
<parenthetical>(he looks at the sofa)</parenthetical>
<dialogue>...You have the envelope?</dialogue>
<scene_description>Spade shakes his head, glances over at the sofa, then looks around at the girl.</scene_description>
<character>SPADE</character>
<dialogue>Miss O'Shaughnessy has it.</dialogue>
<character>BRIGID</character>
<dialogue>Yes. I have it.</dialogue>
<parenthetical>(puts a hand inside her jacket)</parenthetical>
<dialogue>I picked it up.</dialogue>
<character>SPADE</character>
<dialogue>That's all right -- hang onto it.</dialogue>
<parenthetical>(to Gutman)</parenthetical>
<dialogue>We won't have to lose sight of each other. The dingus will be brought to us here.</dialogue>
<character>GUTMAN</character>
<dialogue>Excellent, sir! Excellent!... Then</dialogue>
<dialogue>in exchange for the ten thousand dollars and Wilmer, you will give us the Falcon and an hour or two of grace.</dialogue>
<scene_description>Spade takes out tobacco and paper, starts rolling a cigarette.</scene_description>
<character>SPADE</character>
<dialogue>Let's get the details fixed. Why did he shoot Thursby and why and where and how did he shoot Captain Jacoby? I've got to know all that happened so I can be sure the parts that won't fit are covered up.</dialogue>
<scene_description>Gutman interlaces his fingers over his belly, rocks in his chair.</scene_description>
<character>GUTMAN</character>
<parenthetical>(forthrightly)</parenthetical>
<dialogue>I shall be candid with you, sir... Thursby was Miss O'Shaughnessy's ally. We believed that disposing of him in the manner we did would cause Miss O'Shaughnessy to stop and think that perhaps it would be best to patch up her differences with us regarding the Falcon.</dialogue>
<character>SPADE</character>
<dialogue>You didn't try to make a deal with him before giving him the works?</dialogue>
<character>GUTMAN</character>
<parenthetical>(emphatically)</parenthetical>
<dialogue>We did -- yes, sir. We most certainly did. I talked to him myself that very night but I could do nothing with him. He was quite determinedly loyal to Miss O'Shaughnessy... So Wilmer followed him back to his hotel and did what he did.</dialogue>
<character>SPADE</character>
<parenthetical>(after a moment's thought)</parenthetical>
<dialogue>That sounds all right... Now Jacoby.</dialogue>
<character>GUTMAN</character>
<parenthetical>(gravely)</parenthetical>
<dialogue>Captain Jacoby's death was entirely Miss O'Shaughnessy's fault.</dialogue>
<scene_description>Brigid gasps, puts her hand to her mouth.</scene_description>
<character>SPADE</character>
<dialogue>Tell me what happened.</dialogue>
<character>GUTMAN</character>
<parenthetical>(rocking throughout)</parenthetical>
<dialogue>Well, Cairo, as you must have surmised, got in touch with me after he left police headquarters yesterday night -- or morning. He recognized the mutual advantage of pooling forces.</dialogue>
<parenthetical>(directs his smile at Cairo)</parenthetical>
<dialogue>Mr. Cairo is a man of nice judgment. The Paloma was his thought. He saw the notice of its arrival in the papers and remembered that he had heard in Hong Kong that Jacoby and Miss O'Shaughnessy had been seen together. Well, sir, he saw that notice and putting two and two together, guessed the truth -- she had given the bird to Jacoby to bring here for her...</dialogue>
<character>SPADE</character>
<dialogue>And at that juncture you decided to slip me the mickey, huh?</dialogue>
<character>GUTMAN</character>
<parenthetical>(nods, then apologetically)</parenthetical>
<dialogue>There was no place for you in our plans, sir, so we decided to spare ourselves any possible embarrassment... Mr. Cairo and Wilmer and I went to call on Captain Jacoby. We were lucky enough to arrive while Miss O'Shaughnessy was there. In many ways it was a difficult conference but we finally persuaded Miss O'Shaughnessy to come to terms, or so we thought. We then left the boat and set out for my hotel where I was to pay Miss O'Shaughnessy and receive the bird. Well, sir, we mere men should have known better. En route she and Captain Jacoby and the Falcon slipped completely through our fingers.</dialogue>
<parenthetical>(he laughs merrily -- then turns to beam at Brigid)</parenthetical>
<dialogue>It was neatly done, sir. Indeed it was!</dialogue>
<scene_description>Spade looks at the girl. Her eyes, large and dark with pleading, meet his.</scene_description>
<character>SPADE</character>
<parenthetical>(to Gutman)</parenthetical>
<dialogue>You touched off the boat before you left?</dialogue>
<character>GUTMAN</character>
<dialogue>Not intentionally, though I dare say we, or Wilmer at least, were responsible for one fire. While the rest of us were talking in the cabin, Wilmer went about the ship trying to find the Falcon. No doubt he was careless with matches.</dialogue>
<character>SPADE</character>
<dialogue>All right... Now about the shooting.</dialogue>
<character>GUTMAN</character>
<dialogue>We caught up with Miss O'Shaughnessy and Jacoby at her apartment. I sent Wilmer downstairs to cover the fire escape before ringing the bell. And, sure enough, while she was asking us who we were through the door and we told her, we heard a window go up. Wilmer shot Jacoby as he was coming down the fire escape -- shot him more than once. But Jacoby was too tough either to fall or drop the Falcon. He climbed the rest of the way down, knocked Wilmer over and ran off.</dialogue>
<parenthetical>(he breaks off to smile at a memory)</parenthetical>
<dialogue>We persuaded -- that is the word, sir, we... ah... persuaded Miss O'Shaughnessy to tell us where she had told Captain Jacoby to take the Falcon. And we... ah... further... ah... persuaded her to phone your office in an attempt to draw you away before Jacoby got there. But, unfortunately for us, it had taken too long to persuade Miss O'Shaughnessy...</dialogue>
<scene_description>The boy on the sofa groans, rolls over on his side. His eyes open and close several times.</scene_description>
<character>GUTMAN</character>
<parenthetical>(concludes hurriedly)</parenthetical>
<dialogue>And you had the Falcon before we could reach you.</dialogue>
<scene_description>The boy puts one foot on the floor, raises himself on an elbow, opens eyes wide, puts the other foot down, sits up and looks around. When his eyes focus on Spade, bewilder- ment leaves them. Spade gets up from his chair to sit on the corner of the table. The boy looks at Gutman. Gutman smiles benignly.</scene_description>
<character>GUTMAN</character>
<dialogue>Well, Wilmer, I am sorry indeed to lose you and I want you to know that I couldn't be any fonder of you if you were my own son. But well, by Gad, if you lose a son, it's possible to get another and there's only one Maltese Falcon.</dialogue>
<scene_description>Spade laughs. The boy's eyes remain on Gutman's face.</scene_description>
<character>GUTMAN</character>
<parenthetical>(sighs -- then to Spade)</parenthetical>
<dialogue>When you're young you simply don't understand these things.</dialogue>
<scene_description>Spade grins at Gutman.</scene_description>
<character>SPADE</character>
<parenthetical>(to Brigid)</parenthetical>
<dialogue>How about some coffee? Put the pot on, will you? I don't like to leave my guests.</dialogue>
<character>BRIGID</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>Surely.</dialogue>
<scene_description>She starts toward the door.</scene_description>
<character>GUTMAN</character>
<parenthetical>(stops rocking)</parenthetical>
<dialogue>Just a moment, my dear.</dialogue>
<parenthetical>(holds up a thick hand)</parenthetical>
<dialogue>Hadn't you better leave the envelope in here?</dialogue>
<scene_description>Brigid's eyes question Spade. Spade nods. She puts her hand inside her coat, takes out the envelope, gives it to Spade. He tosses it into Gutman's lap.</scene_description>
<character>SPADE</character>
<dialogue>Sit on it if you are afraid of losing it.</dialogue>
<character>GUTMAN</character>
<parenthetical>(suavely)</parenthetical>
<dialogue>You misunderstand me. It is not that at all but business should be trans acted in a business-like manner.</dialogue>
<parenthetical>(he opens the envelope, takes out and counts the bills, then chuckles)</parenthetical>
<dialogue>For instance, there are only nine bills here now.</dialogue>
<parenthetical>(he spreads them on his knee)</parenthetical>
<dialogue>There were ten when I handed it to you, as you very well know.</dialogue>
<parenthetical>(his smile is broad, jovial and triumphant)</parenthetical>
<character>SPADE</character>
<parenthetical>(looks at Brigid)</parenthetical>
<dialogue>Well?</dialogue>
<scene_description>She shakes her head. Her lips move slightly. Her face is frightened. Spade holds out his hand to Gutman and the money is put into it. Spade counts the money -- nine bills -- and returns it to Gutman. Spade picks up the three pistols from the table, rises.</scene_description>
<character>SPADE</character>
<parenthetical>(matter-of-factly)</parenthetical>
<dialogue>I want to know about this.</dialogue>
<scene_description>Cairo looks at Spade with questioning eyes. The boy beside him does not look up. He is leaning forward, head between hands, elbow between knees, staring at the floor between his feet.</scene_description>
<character>SPADE</character>
<parenthetical>(to Gutman)</parenthetical>
<dialogue>You palmed it.</dialogue>
<character>GUTMAN</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>I palmed it?</dialogue>
<character>SPADE</character>
<dialogue>Yes.</dialogue>
<parenthetical>(he jingles his pistols in his pocket)</parenthetical>
<dialogue>Do you want to say so or do you want to stand for a frisk?</dialogue>
<character>GUTMAN</character>
<dialogue>Stand for?...</dialogue>
<character>SPADE</character>
<dialogue>You're going to admit it or I'm going to search you. There's no third way.</dialogue>
<scene_description>Gutman rocks back in his chair, laughs delightedly.</scene_description>
<character>GUTMAN</character>
<dialogue>By Gad, sir, I believe you would. I really do. You are a character, sir -- if you don't mind my saying so.</dialogue>
<character>SPADE</character>
<dialogue>You palmed it.</dialogue>
<character>GUTMAN</character>
<dialogue>Yes, sir, that I did.</dialogue>
<scene_description>He takes a crumpled bill from his vest pocket, smoothes it on his thigh, then, opening the flap of the envelope puts the smoothed bill in with the others.</scene_description>
<character>GUTMAN</character>
<dialogue>I must have my little joke now and then. And I was curious to know what you'd do in a situation of that sort. I must say that you passed the test with flying colors, sir. It never occurred to me that you'd hit on such a simple and direct way of getting at the truth.</dialogue>
<parenthetical>(he beams at Spade)</parenthetical>
<character>SPADE</character>
<parenthetical>(sneering)</parenthetical>
<dialogue>That's the kind of thing I'd expect from somebody Wilmer's age.</dialogue>
<scene_description>Gutman chuckles. Brigid exits into the kitchen. Gutman offers Spade the white envelope. Spade looks at the pistols in his hand, then at Gutman, goes into the passage to the closet, opens the closet door, puts the pistols on top of a trunk, shuts the door, locks it, turns back into the living room.</scene_description>
<character>GUTMAN</character>
<dialogue>This will soon be yours. You might as well take it.</dialogue>
<scene_description>Spade does not take it. He sits on the arm of the armchair.</scene_description>
<character>SPADE</character>
<dialogue>I ought to have more than ten thousand.</dialogue>
<character>GUTMAN</character>
<dialogue>Of course, sir, you understand that this is the first payment. Later...</dialogue>
<character>SPADE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>I know you'll give me millions later. But how's about fifteen thousand now?</dialogue>
<character>GUTMAN</character>
<dialogue>Frankly and candidly and on my word of honor as a gentleman, ten thousand is all the money I can raise.</dialogue>
<character>SPADE</character>
<dialogue>But you didn't say positively.</dialogue>
<character>GUTMAN</character>
<parenthetical>(laughs -- repeats)</parenthetical>
<dialogue>Positively!</dialogue>
<scene_description>Spade puts out his hand. The fat man lays the envelope in it, then screws up his eyes, moves his head to indicate the kitchen.</scene_description>
<character>GUTMAN</character>
<dialogue>I'd like to give you a word of advice.</dialogue>
<character>SPADE</character>
<dialogue>Go ahead.</dialogue>
<character>GUTMAN</character>
<dialogue>I dare say you'll give her some money but if you don't give her as much as she thinks she ought to have, my word of advice is -- be careful.</dialogue>
<character>SPADE</character>
<parenthetical>(mockingly)</parenthetical>
<dialogue>Dangerous?</dialogue>
<character>GUTMAN</character>
<parenthetical>(nods slowly)</parenthetical>
<dialogue>Very.</dialogue>
<scene_description>Spade calls toward the kitchen.</scene_description>
<character>SPADE</character>
<dialogue>How's the coffee coming?</dialogue>
<character>BRIGID'S VOICE</character>
<parenthetical>(over scene)</parenthetical>
<dialogue>It's coming.</dialogue>
<scene_description>Gutman glances at his watch.</scene_description>
<character>GUTMAN</character>
<dialogue>It is six o'clock, Mr. Spade. Can you start getting it now?</dialogue>
<character>SPADE</character>
<dialogue>I guess so.</dialogue>
<scene_description>He gets up, stretches, goes to the telephone, dials a number. Gutman stops rocking and Cairo takes the handkerchief away from his mouth while Spade is waiting for the number to answer. The boy lies down with his feet toward Cairo, turns his face to the window. Brigid comes to the door carrying a tray with coffee pot, cups, sugar, and cream. Seeing Spade at the telephone, she stops in the threshold, stands waiting. Spade whistles two lines of "En Cuba" softly.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello, Precious... Sorry to get you up... Yes, very... Here's the plot... In our Holland box at the Post Office you'll find an envelope in my scrawl. There's a bus-station parcel room check in it for the bundle we got yesterday... Will you get the bundle and bring it to me P.D.Q... Yes, I'm home... That's the girl -- hustle... Bye.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SPADE'S APARTMENT</stage_direction>
<scene_description>A strip of daylight shows between the drawn curtains at one of the windows. The electric lights are still on. The clock on the side table says ten minutes of eight. The air in the room is thick with tobacco smoke. Gutman is in his rocker smoking a cigar and reading from "Celebrated Cases". The boy is fast asleep on the sofa. Cairo, at the farthest corner of the sofa, is nodding. The girl is curled up in the arm chair, her cheek resting against the back of the chair. She's not asleep. Spade sits at a corner of the table smoking and drinking coffee. Coffee pot and dirty cups and saucers stand on the table. He mashes the last of his cigarette in his saucer, stretches, gets up, goes to the window, opens the curtains. Sunlight shows on the panes. He leaves the window, goes to the wall switch, turns off the electricity. Gutman's eyes raise from his book now and then as Spade moves around the room. Brigid's eyes never leave Spade. OVER SCENE the street door bell rings. Cairo jerks to wakefulness. Gutman puts down his book. Spade goes to the telephone box and presses the button releasing the street door lock. Brigid puts her legs down from the chair, sits up.</scene_description>
<character>GUTMAN</character>
<parenthetical>(to Spade)</parenthetical>
<dialogue>You don't mind if I go to the door with you?</dialogue>
<scene_description>Spade nods -- Gutman struggles out of his chair -- follows Spade into corridor. CAMERA TROLLIES after them. 117. THE CORRIDOR DOOR Spade opens it. OVER SCENE the SOUND of the elevator. Presently the elevator door opens and Effie Perine comes out carrying the brown-wrapped parcel. Her boyish face is gay and bright. She comes forward quickly. After one quick glance, she does not look at Gutman. Smiling, she gives Spade the parcel.</scene_description>
<character>SPADE</character>
<dialogue>Thanks a lot, lady. I'm sorry to spoil your day of rest but this...</dialogue>
<character>EFFIE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>It is not the first one you've spoiled... Anything else?</dialogue>
<character>SPADE</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>No thanks.</dialogue>
<character>EFFIE</character>
<dialogue>Bye-bye then.</dialogue>
<scene_description>She turns and goes back to the elevator. Spade shuts the door. CAMERA TROLLIES AHEAD of Spade and Gutman as they carry the parcel into the living room.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Gutman's face is dark, his cheeks quivery. Cairo and Brigid come to the table as Spade puts the parcel there. The boy rises, pale and tense, but he remains by the sofa staring under curling lashes at the others.</scene_description>
<character>SPADE</character>
<parenthetical>(stepping back from the table)</parenthetical>
<dialogue>There you are!</dialogue>
<scene_description>Gutman's fat fingers make short work of cord and paper and excelsior.</scene_description>
<character>GUTMAN</character>
<parenthetical>(huskily)</parenthetical>
<dialogue>Now -- after seventeen years!</dialogue>
<scene_description>He takes the black bird, holds it in both hands, looks at it with eyes that are moist.</scene_description>
<character>GUTMAN</character>
<parenthetical>(softly)</parenthetical>
<dialogue>Ah!...</dialogue>
<scene_description>Cairo licks his lips, works his hands together. The girl's lower lip is between her teeth. Everyone, including Spade, is breathing heavily. Gutman puts the bird down on the table, fumbles in a pocket.</scene_description>
<character>GUTMAN</character>
<dialogue>It is it! But we will make sure.</dialogue>
<scene_description>Sweat glistens on his round cheeks. His fingers twitch as he takes out a gold pocket-knife, opens it. Cairo and the girl stand close to him, one on either side. Spade stands back a little where he can watch the boy as well as the group at the table. Gutman turns the bird upside-down, scratches an edge of its base with the knife. Black enamel comes off in tiny curls exposing gray metal beneath. CAMERA MOVES TO: 119. CLOSEUP - THE BIRD as Gutman's blade bites into the metal, turning back a thin curving shaving. Gutman's hands twist the bird around and the knife hacks at its head. 120. CLOSE SHOT - GROUP Gutman's breath hisses between his teeth. His face becomes turgid with hot blood. He hacks wildly at the bird... its head, throat, breast. Then suddenly he lets knife and bird bang down on the table, wheels to confront Spade.</scene_description>
<character>GUTMAN</character>
<parenthetical>(hoarsely)</parenthetical>
<dialogue>It's a fake!</dialogue>
<scene_description>Spade's face is somber. His nod is slow. His eyes detach themselves from the scarred black bird, travel to Brigid's.</scene_description>
<character>SPADE</character>
<parenthetical>(growls into her face)</parenthetical>
<dialogue>All right. You've had your little joke. Now tell us about it.</dialogue>
<character>BRIGID</character>
<parenthetical>(cries)</parenthetical>
<dialogue>No, Sam, no! That's the one I got from Kemidov, I swear.</dialogue>
<scene_description>Joel Cairo thrusts himself between Spade and Gutman, emits words in a shrill, spluttering strain.</scene_description>
<character>CAIRO</character>
<parenthetical>(screaming -- to Gutman)</parenthetical>
<dialogue>You bungled it! You and your stupid attempt to buy it. Kemidov caught on to how valuable it was!</dialogue>
<parenthetical>(tears run down his face and he dances up and down)</parenthetical>
<dialogue>No wonder we had so little trouble stealing it! You imbecile! You bloated idiot!</dialogue>
<parenthetical>(he puts his hands to his face and blubbers)</parenthetical>
<dialogue>Gutman's jaw sags. He blinks with vacant eyes, then he collects himself -- again becomes the jovial, smiling fat man.</dialogue>
<character>GUTMAN</character>
<parenthetical>(good-naturedly)</parenthetical>
<dialogue>Yes... That is the Russian's hand. There's no doubt of it.</dialogue>
<parenthetical>(to Cairo)</parenthetical>
<dialogue>Well, sir, what do you suggest?</dialogue>
<character>GUTMAN</character>
<dialogue>Shall we stand here and shed tears and call each other names or shall we...</dialogue>
<parenthetical>(smiling like a cherub)</parenthetical>
<dialogue>...go to Istanbul?</dialogue>
<scene_description>The Greek takes his hands from his face. His eyes bulge.</scene_description>
<character>CAIRO</character>
<parenthetical>(stammers)</parenthetical>
<dialogue>You are...</dialogue>
<parenthetical>(amazement makes him speechless)</parenthetical>
<dialogue>The fat man pats his fat hands together and his eyes twinkle.</dialogue>
<character>GUTMAN</character>
<parenthetical>(voice a throaty purr)</parenthetical>
<dialogue>For seventeen years I have wanted that little item and have been trying to get it. If I must spend another year on the quest -- well, sir -- that will be an additional expenditure in time of only...</dialogue>
<parenthetical>(his lips move silently as he calculates)</parenthetical>
<dialogue>...five and fifteen-seventeenths percent...</dialogue>
<scene_description>Cairo giggles, then cries:</scene_description>
<character>CAIRO</character>
<dialogue>I go with you.</dialogue>
<scene_description>Spade starts slightly, looks from right to left. The others, observing Spade's movements, also look around. The boy is gone.</scene_description>
<character>GUTMAN</character>
<dialogue>Wilmer!... What?...</dialogue>
<scene_description>Spade goes to the corridor. 121. LONG SHOT - CORRIDOR standing open SHOOTING over Spade's shoulder, as he looks down the empty corridor. He closes the door and returns to the others in the living room.</scene_description>
<character>SPADE</character>
<parenthetical>(sourly)</parenthetical>
<dialogue>A swell lot of thieves!</dialogue>
<character>GUTMAN</character>
<dialogue>We have little enough to boast about sir, but the world hasn't come to an end just because we've run into a little set-back.</dialogue>
<parenthetical>(he extends his hand palm up)</parenthetical>
<dialogue>I'll have to ask for that envelope, sir.</dialogue>
<character>SPADE</character>
<parenthetical>(wooden-faced)</parenthetical>
<dialogue>I held up my end -- you got your dingus. It's your hard luck, not mine, it wasn't what you wanted.</dialogue>
<character>GUTMAN</character>
<parenthetical>(persuasively)</parenthetical>
<dialogue>Now come, sir, we've all failed and there's no reason for expecting any of us to bear the whole brunt.</dialogue>
<scene_description>He brings his right hand from behind him. In it is a small pistol ornately engraved and inlaid with silver and gold and mother-of-pearl.</scene_description>
<character>GUTMAN</character>
<dialogue>In short, sir, I must ask you to return my ten thousand.</dialogue>
<scene_description>Spade's face does not change. He shrugs, takes the envelope from his pocket. He starts to hold it out to Gutman, hesitates, opens the envelope, takes out one of the bills. He puts it into his trouser pocket. Then he tucks the envelope's flap in over the other bills and holds the envelope out to Gutman.</scene_description>
<character>SPADE</character>
<dialogue>That will take care of my time and expenses.</dialogue>
<scene_description>Gutman, after a little pause, imitates Spade's shrug and accepts the envelope.</scene_description>
<character>GUTMAN</character>
<dialogue>Now, sir, we will say goodbye to you unless you care to undertake the Istanbul expedition with us... You don't?...</dialogue>
<character>GUTMAN</character>
<dialogue>Well, sir, frankly, I'd like to have you along. You're a man of nice judgment and many resources. Now that there is no alternative, I am sure that you'll somehow manage the police without a fall-guy.</dialogue>
<character>SPADE</character>
<dialogue>I'll make out all right.</dialogue>
<character>GUTMAN</character>
<dialogue>Well, sir, the shortest farewells are the best... Adieu.</dialogue>
<parenthetical>(he makes a portly bow)</parenthetical>
<dialogue>And to you, Miss O'Shaughnessy, I leave the Rara Avis there on the table...</dialogue>
<parenthetical>(he waves toward the bird)</parenthetical>
<dialogue>...as a little momento.</dialogue>
<scene_description>Gutman and Cairo withdraw, Cairo preceding him down the short hall and through the corridor door. Spade does not look at Brigid but stands motionless, his eyes gloomy under a forehead drawn down until the SOUND of the elevator comes OVER SCENE. Then he goes to the telephone. 122. CLOSE SHOT - SPADE AT TELEPHONE takes the receiver off the hook and dials a number. Brigid watches him, a slight frown on her face.</scene_description>
<character>SPADE</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hello... Is Sergeant Polhaus there? ...Please... This is Samuel Spade.</dialogue>
<parenthetical>(he stares into space, waiting, then:)</parenthetical>
<dialogue>Hello, Tom... I've got something for you... Here it is... Thursby and Jacoby were shot by a kid named Wilmer Cook, about twenty years old, five feet six inches tall. In gray woolen suit, gray single-breasted overcoat and hat, shirt with soft attached collar and a light crepe silk tie. He's working for a man named Casper Gutman. You can't miss Gutman. He must weigh three hundred pounds... That fellow Cairo is in with them too... Right...</dialogue>
<character>SPADE</character>
<dialogue>They just left here for the Alexandria Hotel, but they're blowing town so you'll have to move fast... I don't think they're expecting a pinch... Watch yourself when you go up against the kid... That's right, Tom... and good luck.</dialogue>
<scene_description>Spade slowly replaces the receiver on the prong. He fills his chest with air and exhales. His eyes are glittering between narrowed lids. He turns, takes three swift steps toward Brigid O'Shaughnessy. The girl, startled by the suddenness of his approach, lets her breath out in a little gasp. Spade, face to face with Brigid, looks at her hard of jaw and eye.</scene_description>
<character>SPADE</character>
<dialogue>They'll talk when they're nailed -- about us. We're sitting on dynamite. We've only got minutes to get set for the police. Give me all of it fast.</dialogue>
<scene_description>She starts to speak, hesitates, bites her lip. Spade takes her by the shoulder, cries angrily:</scene_description>
<character>SPADE</character>
<dialogue>Talk.</dialogue>
<character>BRIGID</character>
<parenthetical>(uncertainly)</parenthetical>
<dialogue>Where... shall... I... begin?</dialogue>
<character>SPADE</character>
<dialogue>The day you first came to my office... Why did you want Thursby shadowed?</dialogue>
<character>BRIGID</character>
<dialogue>I told you, Sam, I suspected him of betraying me and I wanted to find out.</dialogue>
<character>SPADE</character>
<dialogue>That's a lie! You had Thursby hooked and you knew it. You wanted to get him out of the way before Jacoby came with the loot. Isn't that so?</dialogue>
<scene_description>Brigid lowers her eyes shame-facedly.</scene_description>
<character>SPADE</character>
<dialogue>What was your scheme?</dialogue>
<character>BRIGID</character>
<parenthetical>(timidly)</parenthetical>
<dialogue>I thought that if he saw someone following him, he might be frightened into going away.</dialogue>
<character>SPADE</character>
<dialogue>Miles hadn't many brains but he wasn't clumsy enough to be spotted the first night. You must have told Thursby he was being followed.</dialogue>
<character>BRIGID</character>
<dialogue>I told him.</dialogue>
<parenthetical>(catches her breath, tortures her lower lip)</parenthetical>
<dialogue>I told him... Yes... But please believe me, Sam. I wouldn't have told him if I had thought Floyd would kill him. I wouldn't for a minute --</dialogue>
<character>SPADE</character>
<dialogue>If you thought he wouldn't kill Miles, you were right, Angel.</dialogue>
<character>BRIGID</character>
<parenthetical>(her upraised face holds utter astonishment)</parenthetical>
<dialogue>Didn't he?</dialogue>
<character>SPADE</character>
<dialogue>Miles hadn't many brains but he had too many years of experience as a detective to be caught like that -- by a man he was shadowing -- up a blind alley with his gun tucked away in his hip and his overcoat buttoned.</dialogue>
<parenthetical>(he takes his hand away from her shoulder, looks at her for a long moment, then:)</parenthetical>
<dialogue>But he would have gone up there with you, Angel. He was just dumb enough for that. He'd have looked you up and down and licked his lips and gone grinning from ear to ear. And then you could have stood as close to him as you liked in the dark and put a hole through him with the gun you had gotten from Thursby that evening.</dialogue>
<dialogue>Brigid shrinks back from him until the edge of the table stops her.</dialogue>
<character>BRIGID</character>
<parenthetical>(staring with terrified eyes)</parenthetical>
<dialogue>Don't -- don't talk to me like that, Sam. You know I didn't... You know --</dialogue>
<character>SPADE</character>
<dialogue>Stop it!</dialogue>
<parenthetical>(he glances at the clock)</parenthetical>
<dialogue>The police will be blowing in any minute now. Talk!</dialogue>
<character>BRIGID</character>
<parenthetical>(puts the back of her hand to her forehead)</parenthetical>
<dialogue>Oh, why do you accuse me of such a terrible...?</dialogue>
<character>SPADE</character>
<parenthetical>(very low -- impatient)</parenthetical>
<dialogue>This isn't the spot for the school-girl act. The pair of us are sitting under the gallows.</dialogue>
<scene_description>He grasps her wrists forcing her to stand up straight in front of him. Her face becomes suddenly haggard.</scene_description>
<character>SPADE</character>
<dialogue>Why did you shoot him?</dialogue>
<character>BRIGID</character>
<parenthetical>(voice hushed and troubled)</parenthetical>
<dialogue>I didn't mean to at first. I didn't really but when I saw that Floyd couldn't be frightened, I -- I can't look at you and tell you this, Sam.</dialogue>
<parenthetical>(she starts to sob, clings to him)</parenthetical>
<character>SPADE</character>
<dialogue>You thought Thursby would tackle him and one or the other of them would go down. If Thursby was the one, then you were rid of him. If it was Miles, then you could see that Thursby was caught and you'd be rid of him. That it?</dialogue>
<character>BRIGID</character>
<dialogue>S -- something -- like -- that.</dialogue>
<character>SPADE</character>
<dialogue>And when you found that Thursby didn't mean to tackle him, you borrowed the gun and did it yourself. Right?</dialogue>
<scene_description>She nods mutely.</scene_description>
<character>SPADE</character>
<dialogue>You didn't know then that Gutman was here hunting for you... You didn't suspect that or you wouldn't have been trying to shake your protector. But you knew Gutman was here when you heard Thursby had been shot and you knew you needed another protector -- so you came back to me.</dialogue>
<scene_description>She puts her hands up around the back of his neck pushing his head down until his mouth all but touches hers.</scene_description>
<character>BRIGID</character>
<dialogue>Yes, but -- Oh, sweetheart, it wasn't only that. I would have come back to you sooner or later. From the very first instant I saw you I knew...</dialogue>
<scene_description>He puts his arms around her holding her tight to him.</scene_description>
<character>SPADE</character>
<parenthetical>(tenderly)</parenthetical>
<dialogue>You Angel! Well, if you get a good break, you'll be out of San Quentin in twenty years and you can come back to me then.</dialogue>
<scene_description>She draws away from him slightly, throws her head far back to stare up at him, uncomprehending.</scene_description>
<character>SPADE</character>
<parenthetical>(tenderly)</parenthetical>
<dialogue>I hope they don't hang you, Precious, by that sweet neck.</dialogue>
<scene_description>He puts his hand up and caresses her throat. In an instant she is out of his arms back against the table crouching, both hands spread over her throat. Her face is wild-eyed, haggard. Her mouth opens and closes.</scene_description>
<character>BRIGID</character>
<parenthetical>(in a small, parched voice)</parenthetical>
<dialogue>You're not?...</dialogue>
<parenthetical>(she can get no other words out)</parenthetical>
<dialogue>Spade's face is damp with sweat now. His mouth smiles and there are smile wrinkles around his glittering eyes.</dialogue>
<character>SPADE</character>
<parenthetical>(gently)</parenthetical>
<dialogue>I'm going to send you over. The chances are you'll get off with life. That means you'll be out again in twenty years. You're an angel! I'll wait for you.</dialogue>
<parenthetical>(he clears his throat)</parenthetical>
<dialogue>If they hang you, I'll always remember you.</dialogue>
<scene_description>Brigid drops her hands, stands erect. Her face becomes smooth and untroubled except for the faint est of dubious glints in her eyes. She smiles back at him.</scene_description>
<character>BRIGID</character>
<dialogue>Don't, Sam. Don't say that -- even in fun. Oh, you frightened me for a moment. I really thought -- you do such wild and unpredictable things...</dialogue>
<scene_description>She breaks off, thrusts her head forward and stares deep into his eyes. The flesh around her mouth shivers and fear comes back into her eyes. She puts her hands to her throat again. Spade laughs. His laugh is a croak.</scene_description>
<character>SPADE</character>
<dialogue>Don't be silly. You're taking the fall.</dialogue>
<character>BRIGID</character>
<dialogue>But -- but, Sam, you can't! Not after what we've been to each other. You can't!</dialogue>
<parenthetical>(she takes a long trembling breath)</parenthetical>
<dialogue>You've been playing with me -- only pretending you cared -- to trap me like this. You didn't -- care at all. You -- don't -- l -- love me.</dialogue>
<scene_description>The muscles holding his smile stand out like walls.</scene_description>
<character>SPADE</character>
<dialogue>I think I do. What of it? I won't play the sap for you.</dialogue>
<character>BRIGID</character>
<parenthetical>(tears come to her eyes)</parenthetical>
<dialogue>You know it is not like that! You can't say that!</dialogue>
<character>SPADE</character>
<dialogue>I am saying it. You've never played square with me for half an hour at a stretch since I've known you.</dialogue>
<scene_description>Brigid blinks her tears away, takes a few steps backward, stands looking at him, straight and proud.</scene_description>
<character>BRIGID</character>
<dialogue>You know, down deep in your heart you know that in spite of anything I've done, I love you.</dialogue>
<scene_description>He puts his hand back on her shoulder, the hand shakes and jerks.</scene_description>
<character>SPADE</character>
<dialogue>I don't care who loves who. I'm not going to play the sap for you. I won't walk in Thursby's -- and I don't know how many others -- footsteps. You killed Miles and you're going over for it.</dialogue>
<scene_description>She takes his hand from her shoulder, holds it close to her face.</scene_description>
<character>BRIGID</character>
<dialogue>Why must you do this to me, Sam? Surely Mr. Archer wasn't as much to you as --</dialogue>
<scene_description>He is no longer smiling. He pulls his hand away from her. His wet face is set hard and deeply lined. His eyes burn madly.</scene_description>
<character>SPADE</character>
<dialogue>Listen... This won't do any good. You'll never understand me but I'll try once and then give it up. Listen... When a man's partner is killed, he's supposed to do something about it.</dialogue>
<character>SPADE</character>
<dialogue>It doesn't make any difference what you thought of him. He was your partner and you're supposed to do something about it. Then it happens we're in the detective business. Well, when one of your organization gets killed, it's bad business to let the killer get away with it -- bad all around -- bad for every detective everywhere.</dialogue>
<character>BRIGID</character>
<dialogue>You don't expect me to think that these things you're saying are sufficient reason for sending me to the...?</dialogue>
<character>SPADE</character>
<dialogue>Wait till I'm through. Then you can talk. Third. I've no earthly reason to think I can trust you and if I did this and got away with it, you'd have something on me you could use whenever you wanted to. Next: since I've got something on you, I couldn't be sure you wouldn't decide to put a hole in me some day. Fifth. I wouldn't even like the idea of thinking that there might be one chance in a hundred that you'd played me for a sucker. And sixth: But that's enough. All those are on one side. Maybe some of them are unimportant. I won't argue about that. But look at the number of them. Now, on the other side we've got what? All we've got is that maybe you love me and maybe I love you.</dialogue>
<character>BRIGID</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>You know whether you love me or not.</dialogue>
<character>SPADE</character>
<dialogue>Maybe I do.</dialogue>
<scene_description>He looks hungrily from her hair to her feet and up to her eyes again.</scene_description>
<character>SPADE</character>
<dialogue>What of it? Maybe next month I won't. I've been through it before. I'll have some rotten nights after I've sent you over but that'll pass.</dialogue>
<parenthetical>(he takes her by the shoulders, bends her back leaning over her)</parenthetical>
<dialogue>If all I've said doesn't mean anything to you, forget it and we'll make it just this. I won't because all of me wants to -- regardless of consequences -- and because you've counted on that with me the same as you counted on that with the others...</dialogue>
<parenthetical>(he takes his hands from her shoulders, lets them fall to his side)</parenthetical>
<dialogue>She puts her hands up to his cheeks, draws his face down toward her again.</dialogue>
<character>BRIGID</character>
<dialogue>Look at me and tell me the truth. Would you have done this to me if the Falcon had been real and you had been paid your money?</dialogue>
<character>SPADE</character>
<dialogue>Don't be too sure I'm as crooked as I'm supposed to be. That kind of reputation might be good business bringing in high-priced jobs and making it easier to deal with the enemy.</dialogue>
<scene_description>She looks at him, says nothing. Spade moves his shoulders a little.</scene_description>
<character>SPADE</character>
<dialogue>But a lot of money would have been at least one more item on your side of the scales.</dialogue>
<character>BRIGID</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>If you loved me, you'd need nothing more on that side.</dialogue>
<character>SPADE</character>
<parenthetical>(his voice a hoarse creak)</parenthetical>
<dialogue>I won't play the sap for you.</dialogue>
<scene_description>She puts her mouth to his slowly and is in his arms when the doorbell RINGS. Before he releases her he calls:</scene_description>
<character>SPADE</character>
<dialogue>Come in.</dialogue>
<scene_description>123. MED. SHOT - ROOM - ANGLE ON DOOR Lieutenant Dundy, Tom Polhaus and two other detectives enter. They look back and forth from Spade to the girl.</scene_description>
<character>SPADE</character>
<dialogue>Hello, Tom... Got them?</dialogue>
<character>POLHAUS</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Got them.</dialogue>
<character>SPADE</character>
<dialogue>Swell... Here's another one for you.</dialogue>
<parenthetical>(he pushes Brigid forward)</parenthetical>
<dialogue>She killed Miles -- and I've got some exhibits.</dialogue>
<scene_description>He goes to the closet, unlocks the door, steps into the closet.</scene_description>
<character>SPADE'S VOICE</character>
<parenthetical>(from closet)</parenthetical>
<dialogue>The boy's guns and one of Cairo's -- and a thousand dollar bill I was supposed to be bribed with.</dialogue>
<scene_description>He comes out of the closet, gives the guns to Polhaus.</scene_description>
<character>SPADE</character>
<dialogue>And that black statuette on the table there that all the fuss was about...</dialogue>
<scene_description>He turns to Dundy, draws his brows together, leans forward to peer into the lieutenant's face, starts to laugh.</scene_description>
<character>SPADE</character>
<dialogue>What's the matter with your little playmate, Tom? He looks heart-broken. I bet when he heard Gutman's story he thought he had me at last.</dialogue>
<character>POLHAUS</character>
<parenthetical>(grumbles)</parenthetical>
<dialogue>Cut it out, Sam.</dialogue>
<parenthetical>(he looks uneasily at his superior)</parenthetical>
<dialogue>Anyway, we got it from Cairo. Gutman's dead. The kid had just finished shooting him when we got there.</dialogue>
<character>SPADE</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Ought to have expected that.</dialogue>
<parenthetical>(picks up his hat, puts it on)</parenthetical>
<dialogue>Shall we be getting down to the Hall?</dialogue>
<scene_description>Polhaus nods. He picks up the Falcon. Spade leads the way out of the apartment. Dundy takes out handcuffs, snaps them on the girl's wrists. They follow Spade out. Brigid's face and movements are like a sleepwalker's.</scene_description>
</scene>
<scene>
<stage_direction>INT. SPADE'S OUTER OFFICE - MORNING</stage_direction>
<scene_description>Effie is not behind her desk. The door opens and Spade enters. His face is dull, pasty in color but its lines are strong. The door to the inner office is open and Spade goes in CAMERA FOLLOWING.</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER OFFICE</stage_direction>
<scene_description>Effie stands by the window. The girl's brown eyes are peculiarly enlarged and there's a queer twist to her mouth. She watches him put his hat on the desk.</scene_description>
<character>SPADE</character>
<dialogue>Morning, Angel.</dialogue>
<scene_description>There's a copy of the "Morning Express" on the desk. Spade points to it, grins.</scene_description>
<character>SPADE</character>
<parenthetical>(mockingly)</parenthetical>
<dialogue>So much for your woman's intuition.</dialogue>
<character>EFFIE</character>
<parenthetical>(in a queer, tight voice)</parenthetical>
<dialogue>You did that, Sam, to her?</dialogue>
<character>SPADE</character>
<dialogue>Your Sam's a detective.</dialogue>
<scene_description>He looks sharply at her, then goes over to her, puts his arm around her waist, his hand on her hips.</scene_description>
<character>SPADE</character>
<dialogue>She did kill Miles, Angel...</dialogue>
<parenthetical>(snaps his fingers)</parenthetical>
<dialogue>...off-hand, like that.</dialogue>
<scene_description>The girl escapes from his arm.</scene_description>
<character>EFFIE</character>
<parenthetical>(brokenly)</parenthetical>
<dialogue>Don't, please... I know you're right... but anyway...</dialogue>
<scene_description>Spade's face becomes lumpy. Dull before, it is leaden now. OVER SCENE the SOUND of the corridor door knob rattling. Effie Perine goes quickly into the outer office, shutting the door. Spade remains standing by the window leaden-faced, staring -- at nothing. After a moment, the door opens and Effie comes in again, shutting it behind her.</scene_description>
<character>EFFIE</character>
<parenthetical>(in a small flat voice)</parenthetical>
<dialogue>Iva is here.</dialogue>
<scene_description>Spade, looking at nothing, nods almost imperceptibly.</scene_description>
<character>SPADE</character>
<dialogue>Yes...</dialogue>
<parenthetical>(he shivers -- then:)</parenthetical>
<dialogue>Well... send her in.</dialogue>
<scene_description>FADE OUT.:</scene_description>
<character>THE END</character>
</scene>
</script> | In San Francisco in 1941, private investigators Sam Spade and Miles Archer meet prospective client Ruth Wonderly. She claims to be looking for her missing sister, who ran off from their home in New York and came to the city with a man named Floyd Thursby. Archer agrees to help get her sister back. However, later that night, the police inform Spade that Archer has been killed. Spade tries calling his client at her hotel to discover she has checked out. Back at his apartment, he is grilled by Police Detective Tom Polhaus and Lieutenant Dundy, who tell him that Thursby was murdered the same evening. Dundy suggests that Spade had the opportunity and motive to kill Thursby, who likely killed Archer. Later that morning, Spade meets Wonderly, now calling herself Brigid O'Shaughnessy, who confesses that her story was made up. However, she convinces Spade to investigate the murders and also reveals that Thursby was her partner. He took advantage of her and probably killed Archer, but she claims to have no idea who killed Thursby. At his office, Spade meets Joel Cairo, who first offers him $5,000 to find a "black figure of a bird". When Spade is skeptical, Cairo pulls a gun on him and searches the room for it. Spade knocks Cairo out and goes through his belongings. When Cairo comes round, he hires Spade. On his way to visit O'Shaughnessy later that evening, Spade is followed by a young man but manages to evade him. When he tells O'Shaughnessy about Cairo, her nervousness indicates she knows him. He arranges a meeting between the two at his apartment, where Cairo becomes agitated when O'Shaughnessy reveals that the "Fat Man" is in San Francisco. When Spade goes to Cairo's hotel in the morning, he spots Wilmer Cook, the young man who trailed him earlier. Wilmer works for Kasper Gutman, the "Fat Man". In his hotel suite, Gutman relates the history of the Maltese Falcon, then offers Spade his pick of $25,000 for the bird and another $25,000 after its sale, or a quarter of the proceeds from its sale. Spade passes out because his drink is spiked. Wilmer and Cairo come in from another room and leave with Gutman. On coming round, Spade searches the suite and finds a newspaper with the arrival time of the freighter La Paloma circled. He goes to the dock, only to find the ship on fire. Later, the ship's captain Jacoby is shot several times and staggers into Spade's office before dying. The bundle he was clutching contains the Maltese Falcon. O'Shaughnessy calls the office, gives an address, then screams before the line goes dead. Spade stashes the package at the bus terminal, then goes to the address, which turns out to be an empty lot. Spade returns home to discover O'Shaughnessy hiding in a doorway. He takes her inside and finds Gutman, Cairo, and Wilmer waiting for him, guns drawn. Gutman gives Spade $10,000 for the Falcon, but Spade tells them that part of his price is someone he can turn over to the police for the murders of Thursby and Captain Jacoby, suggesting Wilmer. After some intense negotiation, Gutman and Cairo agree and Wilmer is knocked out and disarmed. Just after dawn, Spade calls his secretary, Effie Perine, to bring him the bundle. However, when Gutman inspects the statuette, he finds it is a fake and Wilmer escapes during the tumult. Recovering his composure, Gutman invites Cairo to return with him to Istanbul to continue their quest. After they leave, Spade calls the police and tells them where to pick up the pair. Spade then angrily confronts O'Shaughnessy, telling her he knows she killed Archer to implicate Thursby, her unwanted accomplice. She confesses, but begs Spade not to turn her over to the police. Despite his feelings for her, Spade gives O'Shaughnessy up, then submits the statuette as evidence, describing it as "the stuff that dreams are made of". |
The Naked Gun: From the Files of Police Squad!_1988 | tt0095705 | <script>
<scene>
<scene_description>NAKID GUN --</scene_description>
</scene>
<scene>
<stage_direction>...,\_...,.</stage_direction>
<character>.........</character>
<dialogue>IM1al'.... .-.-~</dialogue>
</scene>
<scene>
<stage_direction>.-........</stage_direction>
</scene>
<scene>
<stage_direction>\_\_..</stage_direction>
<scene_description>"POLICE SQUAD!" by Jerry Zucker Jim Abrahams David Zucker Pat Proft Revised December 10, 1987 "POLICE SOUADl" 1 IMPRESSIVEPANORAMA l Ominous MUSIC. SUPERIMPOSE: BEIRUT, LEBANON.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PALACE- DAY</stage_direction>
<scene_description>Heavily guarded.</scene_description>
</scene>
<scene>
<stage_direction>INT. PALACE- DAY</stage_direction>
<scene_description>It's incredibly opulent. The CAMERAPUSHES IN on a massive door guarded by several heavily-armed militia. We can hear VOICES speaking in a foreign language on the other side of the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. PALACECONFERENCE-TYPE</stage_direction>
<character>ROOM- DAY</character>
<dialogue>4</dialogue>
<scene_description>Seated around a conference table is every hated world leader: YASSERARAFAT, AYATOLLAH KHOMEINI,MOAMMAR KHADAFI, IOI AMINand GORBACHEV.Off to the side is a sinister-looking Iranian, MR. PAHPSEMIR,who is care- fully observing everything.</scene_description>
<character>KHOMEINI</character>
<parenthetical>(angrily)</parenthetical>
<dialogue>Killing a few hostages is not sufficient! The Americans must be made to suffer. We must humiliate themt 1</dialogue>
<scene_description>A servant, in typical Arab kahfi headdress, wheels a coffee cart into the room.</scene_description>
<character>ARAFAT</character>
<dialogue>We should rip their entrails out and drag them here to Damascus until they include us in the peace process!</dialogue>
<character>KBAOAFI</character>
<dialogue>My scruffy little friend continues alon9 his moderate lines. Nonsense! The solution is not bold enou9h. Wipe out Washin9ton, New York •••</dialogue>
<character>GORBACHEV</character>
<dialogue>Whattl? And spoil two years of 900d public relations?! I have the West believin9 I'm a nice 9uyl Another year I could be head of Greenpeace •••</dialogue>
<parenthetical>(CONTINtJED)</parenthetical>
<character>4</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>The bickering escalates, almost to the point of pande- monium. CLOSEUP- FIST It slams the table. The room goes silent. PAN UP the arm as Khomeini rises to his feet.</scene_description>
<character>KHOMEINI</character>
<dialogue>Gentlemen. Gentlemen! This is getting us nowhere. If we do nothing else this week we must conceive one terrorist act which will show the West that we must be dealt with. Something that will not go unnoticed!</dialogue>
<scene_description>In the b.g., the servant pours coffee. KHOMEINI(cont.) So let us not dwell so much on our differences, but rather on what we do agree on: that the Onited States, the great Satan, is but a paper tiger -- a weak nation of weak people. A people ripe for destruction. Cowards -- no longer • willing to fight •</scene_description>
<character>ANGLE- SAMOVAR</character>
<dialogue>CART</dialogue>
<scene_description>Tea is being poured for Gorbachev. CAM.ERAPANS OP to reveal servant is actually LIEUTENANTFRANKORESINof Police Squadtl He rips off his kahfi, throws a cup of tea in Gorbachev'• face and slugs Arafat in the mouth. Idi Amin swings at Prank but misses, Frank grabs him by the neck and seat of his pants and runs him up to and out a window. Khomeini, thrown back up against a wall, clears his head and charges back in. In the melee, his famoua turban comes off, revealing an orange Mohawk. Frank knocks him flat. Just in time, he looks up to see Gorbachev charging at him with a knife. Frank knocka it away, trapping the Premier in a headlock. Be reaches o.s. for a rag and wipes at the scar on Gorbachev'• forehead. It comes clean off.</scene_description>
<character>FRANK</character>
<parenthetical>(to CAMERA)</parenthetical>
<dialogue>I knew itl</dialogue>
<scene_description>He runs Gorbachev through a wall. Another punch sends Khadafi into a bathtub full of water. Frank throws in a radio after him. Frank leaps up onto the open window sill and turns back to them. CONTINUED: ( 2) FRANK(cont.) ••• And don't let me ever catch you guys in Chicago!</scene_description>
</scene>
<scene>
<stage_direction>EXT. PALACE- DAY</stage_direction>
<scene_description>He leaps out the window, falls three stories onto a passing camel and gallops off.</scene_description>
<character>FADETO BLACK.</character>
</scene>
<scene>
<stage_direction>INT. WATERTANK- DAY</stage_direction>
<scene_description>Police Squad theme MUSIC begins. CREDITS BEGIN over obese, naked women swimming underwater in silhouette a la "James Bond." Frank appears, wearing huge flippers, wandering through the scenes. CREDITS ENO.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE DOCKS- NIGHT</stage_direction>
<scene_description>CAMERARISES OUT of water. A heavy fog lies on the bay as a lonely spotlight from a lighthouse sweeps the water, accompanied by FOGHORNsounds.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS, CATTLECRATES- NIGHT</stage_direction>
<scene_description>The FOGHORNsounds are actually cows. From behind a . crate, plainclothes policeman, NORDBERG,emerges equipped with state-of-the-art eavesdropping devices. Be points his parabolic dish toward a nearby ship and hears •Wheel of· Fortune• through the heavy steel walls. Next he points it towards an apartment building and hears "Wheel of Fortune.• Finally he points towards a ship named •s.s. I Luv You• and hears voices.</scene_description>
<character>FAT MAN (O.S.)</character>
<dialogue>This completes our first shipment of cocaine.</dialogue>
<character>DEALER (O.S.)</character>
<dialogue>It's 1001 pure. All 40 kilo•.</dialogue>
<character>FAT MAN (0.S.)</character>
<dialogue>The final shipment will be delivered here in three days. After it checks out, we will expect ••• payment.</dialogue>
<character>DEALER (O.S.)</character>
<dialogue>Do not worry. We will take care of it.</dialogue>
<character>8</character>
<dialogue>Nordberg has heard enough.</dialogue>
<character>CONTINUED:</character>
<dialogue>He puts his listening</dialogue>
<scene_description>( ratus down, and •••</scene_description>
<character>9</character>
<dialogue>Nordberg, revolver in hand, stealthfully</dialogue>
<character>INT. SHIP - NIGHT</character>
<dialogue>sneaks down</dialogue>
<scene_description>the hall past doors marked "Engine Room," "Commissary," "Captain." Finally, he arrives at "Crew's Quarters" and hears the drug deal going down. Be pauses momen- tarily, and then with giant karate thrust, kicks the door. 10 INT. CR.Ei'JQUARTERS- NIGHT 10 The plotting bad guys look toward the foot dangling through the closed door.</scene_description>
<character>11</character>
<dialogue>INT. BALL - NIGHT</dialogue>
<scene_description>Nordberg clumsily removes his foot.</scene_description>
<character>12</character>
<dialogue>Nordberg's hand reaches through the hole and begins to unlock a series of latches, as the bad guys patiently</dialogue>
<character>INT. CREWQUARTERS- NIGHT</character>
<dialogue>dead-bolts and chain locks load their pistols,</dialogue>
<scene_description>( mortars, etc., and wait. Nordberg finally opens the door. Be sees a six bad guys with their guns pointing at him. Be pulls out his badge.</scene_description>
<character>NORDBERG</character>
<dialogue>Police! Throw down your gunsl</dialogue>
<scene_description>A dumb bad guy throws down his gun. The others roll their eyes a• the dumb one sheepishly retrieves his revolver. The bad guys SHOOTNordberg. Be stumbles back, grabbing his wounded mid-section, and wickedly crack• his head against an overhead beam. Be grimaces and stumble• forward, breaking his momentum by putting bia band on a hot stove. Be cries out in pai~ and falla backward into a chair. Another grimace as he flies out of the chair, a maasive stapler clutching his asa. Be hops sideway• and shrieks out, lifting his foot revealing a thumbtack, and bounces off a wall that says, •wet Paint.• Be hops across the room, to a win- dowsill where he rest• his hand as the window crashes down on hi• fingera. The bad guy• look on incredu- lously as he pulls his hand free, stumbling into a ,,,,,.....\_ wastebasket and causing him to fall face-firat into a wedding cake. A bad guy i• splaahed with froating -- Nordberg reel• backward, aa though ha had been dunked· in acid and back-pedals, with bride and grOOll sticking out of his mouth, into a bear trap. B• looks up to see several stuffed bear haada on a wall. B• staggers backwards, out the door.</scene_description>
<character>13</character>
<dialogue>~</dialogue>
<character>EXT. SHIP'S DECK- NIGHT</character>
<dialogue>Be topples over the side of the boat and into the water. The bad guys rush to the rail to look down at</dialogue>
<scene_description>' the water.</scene_description>
<character>14</character>
<dialogue>.A big plane</dialogue>
<character>EXT. AIRPORT- DAY (STOCKFOOTAGE)</character>
<dialogue>lands</dialogue>
<character>15</character>
<dialogue>Frank exits bag. something. forward, his</dialogue>
<character>INT. AIRPORT TERMINAL- DAY</character>
<dialogue>walkway into terminal carrying a small gym As he Something he didn't expect -- he surges heart pounding.</dialogue>
<character>15A</character>
<dialogue>A WOMANwith long blonde</dialogue>
<character>INT. AIRPORT TERMINAL- FRANK'S POV - DAY</character>
<dialogue>hair,</dialogue>
<scene_description>feet in front of him.</scene_description>
<character>15B</character>
<dialogue>running</dialogue>
<character>INT. AIRPORT TERMINAL- BACKTO FRANK- DAY</character>
<dialogue>through</dialogue>
<character>FRANK</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Victoria!</dialogue>
<scene_description>She doesn't respond. Frank runs faster. Be's getting closer, pushing through the crowd. FRANK (cont.) Victoria! Victoria! Be finally reaches her, grabs her shoulders and turns her around. PRANK (cont.) Victoria, please, I just ••• When she turn• around, Frank's face drops. It's the wro119 girl. FRANK (cont.) Oh ••• excuse me ••• I'm sorry. I thought you ••• you just looked like someone I knew once.</scene_description>
<character>WOMAN</character>
<dialogue>Victoria?</dialogue>
<character>FRANK</character>
<dialogue>Yesl Did you know her?</dialogue>
<scene_description>l5B CONTINUED: lSB</scene_description>
<character>WOMAN</character>
<dialogue>Ah ••• no. I heard you call out her name seven times.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>She had long blonde hair, huh?</dialogue>
<character>FRANK</character>
<dialogue>No, a brunette •••</dialogue>
<parenthetical>(wistfully)</parenthetical>
<dialogue>.•. with a pageboy and a big bow •.. She always wore bows, big colorful bows .•.</dialogue>
<scene_description>The woman is not sure exactly why she was mistaken for Victoria. FRANK(cont.) She always wore red shoes just like yours. She looks down at her shoes. Yup.</scene_description>
<character>WOMAN</character>
<dialogue>Oh ••• I see ... Well, if you'll excuse me, I have to leave now.</dialogue>
<character>FRANK</character>
<parenthetical>(looking off into space)</parenthetical>
<dialogue>Bow ironic. She did the same thing. I loved her so much. It happened so recently -- I can still taste her mouthwash. And she just up and left.</dialogue>
<scene_description>Frank looks back to the blonde Woman, but she's gone. Frank continues walking down the corridor.</scene_description>
<character>FRANK (V.O.)</character>
<dialogue>They told me she was no good, but I ignored them --</dialogue>
<scene_description>Be pall• a long strap out of the gym bag (which has wheela) and places the bag on the ground, pulling it behind him as other people are doing with larger pieces of luggage. FRANK (V.O.) (cont.) I tru•t•ci her. I followed my heart -- foolishly, it turned out. Maybe cops and women just don't mix.</scene_description>
<character>16</character>
<dialogue>,,,,.......</dialogue>
<character>INT. CAR - A STREET NEARHOSPITAL - DAY</character>
<dialogue>Frank is driving.</dialogue>
<character>\ FRANK (V .O.)</character>
<dialogue>I wasn't sure I could ever love again ... But now I had to put all that out of my mind. While en route back home, I received a simple, two-word telex: "Nordberg's been shot."</dialogue>
<character>16A</character>
<dialogue>EXT. HOSPITAL - DAY</dialogue>
<scene_description>Frank pulls up to the curb, hitting the car in front of him, causing it to roll down the hill (O.S. CRASH). He gets out of the car and walks briskly toward the hospital.</scene_description>
<character>FRANK ( V � 0 � )</character>
<dialogue>Nordberg was a good cop -- and a friend. And I figured he could use one now.</dialogue>
<character>17</character>
<dialogue>CLOSEUPmurky water. ing from bedpan. nurse.</dialogue>
<character>INT. HOSPITAL - DAY</character>
<dialogue>CAMERAPOLLS BACKto see it pour- The bedpan is being emptied by a Nordberg lies there,</dialogue>
<scene_description>\ stands by with ED HOCKEN,Frank's boss and the head of Police Squad. Nordberg is kept alive by many tubes inserted into him, plus life-saving machines and heart blip monitors, etc. Bis fingers and toes are full of splints and bandages. The DOCTORis just finishing bandaging Nordberg'• leg.</scene_description>
<character>DOCTOR</character>
<dialogue>Mrs. Nordberg, I think we can save our husband's leg. Where would you like it sent?</dialogue>
<scene_description>She cries. Frank enters.</scene_description>
<character>ED</character>
<dialogue>Oh, Frankl Glad you're here.</dialogue>
<character>FRANK</character>
<dialogue>Hello, Ed.</dialogue>
<parenthetical>(to Wilma)</parenthetical>
<dialogue>Wilma. It's good to see you ••• Cigarette?</dialogue>
<scene_description>,,,,,....... He offers her a cigarette. \ WILMA Yea, I know. Ed takes Frank aside for a moment. CONTINUED:</scene_description>
<character>ED</character>
<dialogue>He's alive, Frank, on life support. The doctors say he's got a fifty-fifty chance of living. But there's only a ten percent chance of that. The only thing keeping him alive are these machines.</dialogue>
<character>FRANK</character>
<dialogue>Well, let's hope.</dialogue>
<character>ED</character>
<dialogue>We heard about what you did in Beirut, Frank. Good going ••• but</dialogue>
<scene_description>~ I gave you extra vacation time to, well, relax a little bit, and forget about •••</scene_description>
<character>FRANK</character>
<dialogue>Don't worry, Ed. I'm past it. She's out of my life now -- I'm okay. Where's Nordberg?</dialogue>
<scene_description>ED He's right here, Frank. Frank looks down to see Nordberg in front of him.</scene_description>
<character>FRANK</character>
<dialogue>Right.</dialogue>
<scene_description>Frank gently sits down on the bed next to Nordberg, accidentally tripping the hydraulic mechanism, jack• knifing the bed, so Nordberg's head winds up between his feet.</scene_description>
<character>ED</character>
<dialogue>Hey, Frank.</dialogue>
<scene_description>Frank atraightens out the bed.</scene_description>
<character>FRANK</character>
<parenthetical>(to Nordberg)</parenthetical>
<dialogue>Nordberg! It's Frank. Who did this to you?</dialogue>
<character>NORDBERG</character>
<dialogue>I ••• Luv ••• You •••</dialogue>
<character>FRANK</character>
<dialogue>Yes, Nordberg, I love you, too. But who were they?</dialogue>
<character>17</character>
<dialogue>NORDBERG</dialogue>
<character>CONTINUED: ( 2)</character>
<dialogue>No, no. It's a ship, a boat •••</dialogue>
<character>FRANK</character>
<dialogue>That's right, Nordberg -- a boat! When you get better, we'll go sailing together on a boat, we'll take a cruise, just like last year •••</dialogue>
<scene_description>NORDBERG No••. no ••• drugs ••• drugs ...</scene_description>
<character>FRANK</character>
<parenthetical>(looking around)</parenthetical>
<dialogue>Bey, Nurse! Get some drugs tor this man -- can't you see he's in pain!?! Give him a shot, someone! Quick!</dialogue>
<character>NORDBERG</character>
<dialogue>No••• no ••• no •••</dialogue>
<scene_description>The Nurse injects a needle into Nordberg's arm. Be becomes even groggier.</scene_description>
<character>FRANK</character>
<dialogue>Don't worry, Nordberg,</dialogue>
<scene_description>' everything's gonna be okay.</scene_description>
<character>NORDBERG</character>
<dialogue>No, no ••• Heroin, Frank.</dialogue>
<scene_description>Frank looks around furtively.</scene_description>
<character>FRANK</character>
<dialogue>Well, that's a pretty tall order, Nordberg. You'll have to give me a couple ot days on that one.</dialogue>
<scene_description>Nordberg goes unconscious. Mrs. Nordberg breaks down again.</scene_description>
<character>MRS. NORDBERG</character>
<parenthetical>(sobbing)</parenthetical>
<dialogue>Oh, my poor Nordberg. Be was such a good man. Be never wanted to hurt anybody ••• Who would do such a thing?</dialogue>
<character>ED</character>
<dialogue>It's ts1d to tell.</dialogue>
<scene_description>'</scene_description>
<character>17</character>
<dialogue>FRANK</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>It could be some roving gang of thugs, maybe a blackmailer, an</dialogue>
<scene_description>' angry husband, a gay lover ••• This upsets Mrs. Nordberg all the more.</scene_description>
<character>ED</character>
<dialogue>A good cop, needlessly cut down in an ambush by cowardly hoodlums •.. That's no way for a man to die.</dialogue>
<scene_description>Mrs. Nordberg sobs.</scene_description>
<character>FRANK</character>
<dialogue>You're right, Ed. It's no way for a man to die. A parachute not opening ••• that's a way to die ••• Getting caught in the gears of a combine ••• Having your nuts bit off by a Laplander -- that's the way I want to go.</dialogue>
<scene_description>Mrs. Nordberg is obviously upset. S~e .falls into Frank's arms.</scene_description>
<character>MRS. NORDBERG</character>
<dialogue>' (sobbing)</dialogue>
<scene_description>Oh, Frank. This is just terrible. Now we'll never have children.</scene_description>
<character>FRANK</character>
<dialogue>Wilmal Please! Be's not even dead yet. We'll talk about our lives later.</dialogue>
<scene_description>Mrs. Nordberg separates from Frank; mucous stretche1s ridiculously from her nose to Frank's lapel.</scene_description>
<character>ED</character>
<dialogue>Don't worry, Wilma. Your husband ~ is gonna be alright. There's nothing to worry about. Just think positively. Don't you let any doubts ever creep into your mind •••</dialogue>
<scene_description>Mrs. Nordberg is trying. FRANK Be's right, Wilma ••• But I wouldn't wait until the last minute to fill out those organ donor cards ••• (CONTINt:JED)</scene_description>
<character>17</character>
<dialogue>She's.more</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>upset.</dialogue>
<scene_description>FRANK(cont.) .•• A mind is a terrible thing to waste.</scene_description>
<character>ED</character>
<dialogue>Now, Wilma, your husband's going to be fine. And we want you to know that as soon as he's well, Nordberg is welcome back at Police Squad.</dialogue>
<character>FRANK</character>
<dialogue>Unless he's a drooling vegetable. But I think that's only common sense.</dialogue>
<scene_description>She begins to cry again. Ed pats her gently on the shoulder.</scene_description>
<character>ED</character>
<parenthetical>(to Mrs. Nordberg)</parenthetical>
<dialogue>Wilma, can you think of any reason why your husband was at the waterfront last night?</dialogue>
<scene_description>l MRS. NORDBERG (sobbing) I don't know. Be was such a devoted husband. Be was loving, kind -- never complained about my incontinence ••• Be even nicknamed me "Puddles."</scene_description>
<character>FRANK</character>
<dialogue>You must have many fond memories of you and your husband.</dialogue>
<character>MRS. NORDBERG</character>
<dialogue>Just yesterday, I was digging around inside his drawers.</dialogue>
<character>FRANK</character>
<dialogue>What a man or woman does in the confines of their bedroom is their private business.</dialogue>
<scene_description>She takes a photograph out of her purse.</scene_description>
<character>MRS. NORDBERG</character>
<dialogue>I found this.</dialogue>
<character>ED</character>
<dialogue>A photograph.</dialogue>
<character>17A</character>
<dialogue>INSERT - PHOTOGRAPH</dialogue>
<scene_description>It's a picture of a cargo ship. The letters painted! on the bow read: "I Luv You." WIDENANGLE.</scene_description>
<character>ED</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"I Luv You" out of Caracas. A Panamanian ship. Frank, when Nordberg said he loved you, he was telling you the name of the ship.</dialogue>
<character>FRANK</character>
<parenthetical>(hurt)</parenthetical>
<dialogue>I realize that ••• now.</dialogue>
<character>ED</character>
<dialogue>- We'd better check this out, Frank.</dialogue>
<character>FRANK</character>
<dialogue>I want every available man on this, Ed.</dialogue>
<character>ED</character>
<dialogue>I can't spare anyone, Frank. You know we're in charge of security for the Queen Elizabeth's visit, and we're shorthanded already.</dialogue>
<character>FRANK</character>
<parenthetical>(to Wilma)</parenthetical>
<dialogue>Wilma, I promise you one thing. Whatever scum is behind this, not a single cop on this police force will have a minute's rest until he's behind bars. Now let's grab a bite to eat.</dialogue>
<scene_description>As they exit, Prank turns off a bank of lights and tlhe BUMof the life-supporting systems winds down. Same! red emergency lights flash. 18 IN'f. HALLWAY</scene_description>
<character>- DAY 18</character>
<dialogue>Mr ■• Nordberg follows Frank and Ed down the hallway~ as a wave of hoapital emergency personnel rush past th .m towards Nordberg'• room.</dialogue>
<character>PRANK</character>
<dialogue>Don't worry, Wilma. Just be grateful you're not the wife of that poor bastard.</dialogue>
<character>18A</character>
<dialogue>'</dialogue>
<character>EXT. HOTEL- ESTABLISHINGSHOT</character>
<dialogue>19</dialogue>
<dialogue>- OAY</dialogue>
<character>INT. HOTELBALLROOM</character>
<dialogue>. 19</dialogue>
<scene_description>, It's a lavish press conference, complete with live radio and television coverage, photographers, etc. On the dais are numerous state and city officials. The MAYORis speaking.</scene_description>
<character>MAYOR</character>
<dialogue>.•. And, of course, we all realize what a momentous occasion this will be -- that due to our extraordinary efforts, Queen Elizabeth has included the city of Chicago as one of the three cities she will visit during her American tour •.</dialogue>
<scene_description>There is APPLAUSEfrom the audience. Flashbulbs POP.• During the speech, CAMERA PANS the dais past the Mayot, dignitaries, state and city officials and VICTOR LUDWIG, prominent local businessman in his middle fifties. There are pitchers full of water all along, the dais. When the CAMERA gets to Frank at the end of the dais, he's pouring the last drop from one pitcher/ and starting another, filling another glass as he : listens intently. MAYOR(cont.) \\_ ••• And no one deserves more credit for this incredible turn of events than Victor Ludwig! Ludwig stands to acknowledge the APPLAUSE. MAYOR (cont.) As chairman of the Royal Welcoming Committee, Mr. Ludwig has worked tirelessly, taking time off from his busy schedule as one of our city's most respected businessmen. In addition, he has generously volunteered the private grounds of his summer estate in Rolling Bills for a gala cocktail reception on the evening of Ber Majesty's arrival. More approving APPLAUSE. A REPORTERstands. REPORTER Mr. Mayor. Will there be any additional security officers added to the police force during the Queen's visit? / (CONTINOfD) I:</scene_description>
<character>MAYOR</character>
<dialogue>Because of the sensitive nature of this event, and because the eyes of the world will be on Chicago during the coming week, we have placed the Queen's security in the hands of our elite, special division -- "POLICE SQUAD"-- represented here today by Captain Frank Drebin.</dialogue>
<character>FRANK</character>
<dialogue>There is scattered APPLAUSE. Be's just drained anotjher glass of water. The second pitcher stands empty in ', front of him.</dialogue>
<character>FRANK</character>
<dialogue>Thank you, Your Honor. We have •..</dialogue>
<scene_description>We hear some audience members yelling "Louder, loude 1r1" 1 POLICE CHIEF VARGA,sitting next to Frank, removes hlis lapel mike and gives it to Frank. We hear Frank's · amplified wheezing and grunting as he struggles to attach the clip to his lapel. Be finally does it, a~d turns to the audience. ! FRANK(cont.) Thank you, Your Honor. Protecting the lives and safety of distinguished visitors to our city is a task gladly accepted by Police Squad. We intend to do everything in our power to make the Queen's stay in the city safe and uneventful.</scene_description>
<character>MAYOR</character>
<dialogue>Thank you, Captain Drebin.</dialogue>
<scene_description>Prank takes a drink of water, and descends the dais. :, MAYOR(cont.) we all, of course, have a stake in seeing that this portion of the Queen's American Goodwill tour is completed successfully and safely. i 19A Aa the Mayo~ starts to talk, Prank steps behind a wafl, 19A entering the men's room. PODIOM- MAYOR MAYOR(cont.) And we of the City of Chicago take pride in the fact that the Queen has chosen our city to visit.</scene_description>
<character>19B</character>
<dialogue>,,,--</dialogue>
<character>CONTINUED:</character>
<dialogue>over-the</dialogue>
<scene_description>MAYOR(cont.) Of course, it is a reflection on all the various committees and boards and their members who have worked tirelessly to make this week a reality.</scene_description>
<character>19C</character>
<dialogue>Frank in stall.</dialogue>
<character>INT. BATHROOM</character>
<dialogue>190</dialogue>
<dialogue>- DAY</dialogue>
<character>INT. BALLROOM</character>
<dialogue>190</dialogue>
<scene_description>Over the loudspeaker, we begin to hear Frank RELIEVE himself. It starts out slow, an on-and-off start. MAYOR(cont.) And indeed, it is the people of Chicago, all of our citizens, from every walk of life who will be able to share in the celebration and honor of this historic occasion. i ' The audience listens, stunned. It's a steady streami It picks up momentum. It's as loud as though the auri- ence were in the bathroom with him. The Mayor con- , tinues on, bravely. MAYOR(cont.) Especially exciting ••• will be ••• the Queen's public appearances ••• It SOUNDSlike someone is running a garden hose into the toilet. The Mayor stops his speech completely, unable to proceed under these circumstances. The length and power of this pee can't be ignored. It finally dribbles to a stop. The Mayor gets ready to resuaa his speech. Then it starts at full force one more. The Mayor throws up his hands and takes a seat. Everybody waits.</scene_description>
<character>20</character>
<dialogue>A family is watching the press conference only SOUNDis peeing.</dialogue>
<character>INT. LIVING ROOM- DAY</character>
<dialogue>on TV. They're aghast.</dialogue>
<character>21</character>
<dialogue>All we hear</dialogue>
<character>INT.</character>
<dialogue>is PEEING.</dialogue>
<scene_description>founded.</scene_description>
<character>22</character>
<dialogue>The urinating SLOWSdown. this be the finish?"</dialogue>
<character>INT. PRESS CONFERENCE</character>
<dialogue>The Mayor perks up. No.</dialogue>
<scene_description>The Kayor is astounded.</scene_description>
<character>FRANK ( 0. S � )</character>
<parenthetical>(humming)</parenthetical>
<dialogue>"Old man ribber, that old man, ribber. Be just keeps rollin' •••</dialogue>
<scene_description>We hear the IMPACTof the torrent shift from water to tile. FRANK (O.S.) (cont.) Whoops ••• Be sighs.</scene_description>
<character>'</character>
<dialogue>The THUNDEROUS urination finally comes to a slow STOPt A beat. A few dribbles more. Then it starts up stro g for a few seconds more. Then comes to a stop. A few final drops as Frank obviously just shook the weasel free of any dew. Be shivers. THE MAYOR Bis head buried in his hands in total surrender.</dialogue>
<character>23</character>
<dialogue>Ed and the head of the crime lab, over a microscope. Frank enters.</dialogue>
<character>INT. POLICE LAB - DAY</character>
<dialogue>TED OLSEN, are I</dialogue>
<scene_description>I: I:</scene_description>
<character>ED</character>
<dialogue>Oh, hi, Frank. Bow was the press conference?</dialogue>
<character>FRANK</character>
<dialogue>Fine. I feel much better. What's up?</dialogue>
<character>ED</character>
<dialogue>Olsen here, from the lab dusted Nordberg's jacket.</dialogue>
<character>TED</character>
<dialogue>It.doesn't look good, Frank.</dialogue>
<character>FRANK</character>
<dialogue>What do you mean?</dialogue>
<character>,,,,....\_</character>
<dialogue>ED</dialogue>
<scene_description>\ Take a look for yourself. Frank looks through the microscope at a slide. But e keep• putting his closed eye over the microscope.</scene_description>
<character>CONTINUED:</character>
<dialogue>FRANK</dialogue>
<character>23</character>
<dialogue>I can't see it.</dialogue>
<character>ED</character>
<dialogue>Use your open eye, Frank.</dialogue>
<character>FRANK</character>
<dialogue>Oh. I see it now.</dialogue>
<character>MR. OLSEN</character>
<dialogue>At fi~st glance, it would appear to be only the normal cotton fibers. But when we focused in closer, we discovered a fine white powder.</dialogue>
<scene_description>Frank turns the knob too far and cracks the glass slide, breaking it in two. MR. OLSEN (cont.) We tested it -- pure heroin. Frank raises his head from the broken slide. Be tak~s a quick look up to see if anyone noticed.· No one haf•</scene_description>
<character>FRANK</character>
<dialogue>It's got to be a set-up.</dialogue>
<scene_description>\ iD Bow well did you know Nordberg, Frank?</scene_description>
<character>FRANK</character>
<dialogue>Well enough! I say he was on to something or somebody -- and that somebody wanted him out of the way.</dialogue>
<character>ED</character>
<dialogue>I hope you're right, but we're following standard police procedure on this. And that means as of right now, Nordberg is a suspect.</dialogue>
<scene_description>AL enters. Since he's seven feet tall, his head is OUT OF FRAME. Se's holding a shoe box.</scene_description>
<character>AL</character>
<dialogue>Here's the package you wanted, Chief.</dialogue>
<scene_description>' Be sets it on the desk. CONTINUED: (2)</scene_description>
<character>ED</character>
<dialogue>Thanks, Al.</dialogue>
<scene_description>Al turns to leave. Ed stops him. ED (cont.) Al, you're out of uniform again. Regulation headgear only. You know that. Sorry, Chief, f was just something different. trying</scene_description>
<character>\,</character>
<dialogue>He places a large Mexicans. ombrero down on the desk \and exits. Frank looks after him, a bit puzzled. Olse9 opens the shoe box. He pulls out a man's shoe. 1</dialogue>
<character>MR. OLSEN</character>
<dialogue>Here's something we developed only yesterday. To the casual observer, an ordinary shoe. But in actuality •••</dialogue>
<scene_description>23A INSERT - SHOE 23A A knife springs out of the toe like a switchblade. I II:</scene_description>
</scene>
<scene>
<stage_direction>23B INT. POLICE LAB - DAY 23B</stage_direction>
<scene_description>11,1:</scene_description>
<character>MR. OLSEN</character>
<dialogue>It makes quite a handy weapon... 1</dialogue>
<scene_description>. i Now Olsen swings out more knives, various tools, scit- sors, bottles opener/screwdriver, corkscrew, etc. MR. OLSEN (cont.) 1 ••• And everything a cop in the : field would need. We call it the 1</scene_description>
<character>\</character>
<dialogue>Swiss Army Shoe.</dialogue>
<character>I,</character>
<dialogue>Ed ia laacinated by the shoe. Be examines it more closely.</dialogue>
<character>FRANK</character>
<dialogue>Good work, Ted. What else have you got?</dialogue>
<character>MR. OLSEN</character>
<dialogue>Well, you see these cuff links I'm wearing?</dialogue>
<character>�</character>
<dialogue>Yes.</dialogue>
<character>MR. OLSEN</character>
<dialogue>/ ,,,,..\_ Well, they're not ~usi cuff links.</dialogue>
<scene_description>Each one fires a singe pin-sized dart that knocks out your victim for a few minutes, but does no permanent damage. Be holds it up to his eye to aim. MR. OLSEN (cont.) Here, let me demonstrate on Ed. Ed has not been paying attention to all this, but ks up when he hears his name.</scene_description>
<character>ED</character>
<dialogue>Buh?</dialogue>
<scene_description>Mr. Olsen presses the little button on the cuff link. Ed grabs his neck and falls. ED (cont.) Ted ... why?l</scene_description>
<character>MR.. OLSEN</character>
<dialogue>Don't worry, he'll be up and around in no time. Why don't you take a pair, Frank?</dialogue>
<character>FRANK</character>
<dialogue>Well ••• actually, as it happens, I can use a pair of cuff links.</dialogue>
<scene_description>Mr. Olsen gives a pair to Frank.</scene_description>
<character>MR. OLSEN</character>
<dialogue>Good.· I think you'll like them.</dialogue>
<character>TECHNICIAN (O.S.)</character>
<dialogue>Ted, quickl We got some action here.</dialogue>
<scene_description>Frank and Mr. Olsen walk over to a TECHNICIAN who iJ standing at a window, looking out through binocular,.</scene_description>
<character>MR. OLSEN</character>
<dialogue>We're testing that new anti- grattiti wall.</dialogue>
<character>TECHNICIAN</character>
<dialogue>Here comes a tew customers now.</dialogue>
<character>24</character>
<dialogue>EXT. STREET</dialogue>
<scene_description>Some gang types approach the wall with spray cans ad start spraying their mindless writing on the wall.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE SQUAD- DAY</stage_direction>
<character>MR. OLSEN</character>
<dialogue>It's set to react when the spray hits the sensors.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>i As the gang continues to spray, the wall suddenly s1its back its own spray, covering the offenders in spray paint. The gang scatters in panic. - BACK TO POLICE LAB Ed has come to and joined Frank and Ted.</scene_description>
<character>ED</character>
<dialogue>Frank, I'll give you 24 hours to find out why there was heroin on that jacket. Otherwise, if the press picks this up with Nordberg still on the force -- well, it's the last thing we want with the Queen coming to town.</dialogue>
<scene_description>Ed looks through the binoculars.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>The wall is spraying itself with a fresh coat of wh te paint.</scene_description>
</scene>
<scene>
<stage_direction>28A EXT. LUDWIG'S LUXURYAPARTMENT</stage_direction>
<character>BUILDING - DAY</character>
<dialogue>29</dialogue>
<character>28A</character>
<dialogue>INT. LUDWIG'S APARTMENT</dialogue>
<character>- DAY 29</character>
<dialogue>It's quite opulent as you would expect of a man oft Ludwig's position. The SECRETARYushers in Pahpshm r, who we recoqnize from the meeting in Beirut. 1</dialogue>
<character>PAHPSHMIR</character>
<dialogue>Mr. Ludwig?</dialogue>
<character>LOOWIG</character>
<dialogue>Mr. Pahpshmir. A pleasure to meet you.</dialogue>
<scene_description>He gestures.to a chair. LOOWIG(cont.) Please. They are seated. LOOWIG(cont.) Welcome to Chicago. Have you had a pleasant trip? (CONTINO0):</scene_description>
<character>29</character>
<dialogue>CONTINUED:</dialogue>
<character>PAHPSHMIR</character>
<dialogue>Your country is not to my liking.</dialogue>
<scene_description>\ May we get down to business?</scene_description>
<character>LUDWIG</character>
<dialogue>Certainly. I can carry out your request. My price is twenty million dollars.</dialogue>
<scene_description>There is a pause.</scene_description>
<character>PAHPSHMIR</character>
<dialogue>The price is not a problem. But there is some concern on the part of those I represent, that you will be able to ••• complete such a difficult task.</dialogue>
<character>LUDWIG</character>
<dialogue>Tell me, Mr. Pahpshmir, in all the world, who is the best assassin?</dialogue>
<scene_description>Pahpshmir thinks for· a moment. PAHPSHMIR Well ••• I ~ould think, anyone who manages to conceal his identity as an assassin.</scene_description>
<character>LUDWIG</character>
<dialogue>But there is even a more ideal assassin. One who doesn't know he is an assassin.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Care for some tea?</dialogue>
<character>PABPSBMIR</character>
<dialogue>Yes, thank you.</dialogue>
<scene_description>Be pr••••• a button behind his desk. The Secretary walks in.</scene_description>
<character>LUDWIG</character>
<dialogue>Service for two, Dominique.</dialogue>
<scene_description>She nods and turns to leave. LtJDWIG presses a button on his key ring. TBE SECRETARY ' Ber watch BEEPS. She stops dead in her tracks, holfs her watch to her ear and listens. I: I:</scene_description>
<character>29</character>
<dialogue>CONTINUED: (2)</dialogue>
<scene_description>As if ~n a trance, she turns around, opens a drawer, takes out a pistol and points it at Pahpshmir.</scene_description>
<character>SECRETARY</character>
<dialogue>I must kill -- Pahpshmir. I must kill -- Pahpshmir ...</dialogue>
<scene_description>She pulls the trigger. Pahpshmir jumps from his chair~ But the gun only CLICKS, it's not loaded. The Secre- tary continues to CLICK away robotically, then suddenly turns the gun on herself and pulls the trigger. LUDWIGANDPAHPSBMIR exchange glances. Ludwig remains calm throughout. Ludwig presses the button again. The Secretary snaps out of it, immediately dropping the gun on the floor.</scene_description>
<character>SECRETARY</character>
<dialogue>Will that be with cream and sugar, sir?</dialogue>
<character>PABPSHMIR</character>
<parenthetical>(still shocked)</parenthetical>
<dialogue>Cream only, thank you.</dialogue>
<scene_description>l The Secretary nods, turns to leave</scene_description>
<character>SECRETARY</character>
<dialogue>and stops.</dialogue>
<scene_description>There's a gun on the floor, sir.</scene_description>
<character>LUDWIG</character>
<dialogue>Just leave it there, Dominique, it's alright. The tea, please •.</dialogue>
<scene_description>She nods and exits. LODWIG(cont.) Tell me, Mr. Pahpshmir, have you ever aeen drug-induced hypnosis? ":</scene_description>
<character>PAHPSBMIR</character>
<dialogue>Very impressive. But how will you get her near the target?</dialogue>
<character>LODWIG</character>
<dialogue>O~, I doubt whether it will be her. Good secretaries are so hard to ~ind. It seems to me••• anyone can be an assassin.</dialogue>
<character>PABPSBMIR</character>
<dialogue>Be's impressed. Music STING.</dialogue>
<scene_description>A man is sitting on a pylon, fishing. Frank and Ed drive up, the car hits the pylon, sending the fisher~an into the water. Frank and Ed get out of the car.</scene_description>
<character>FRANK</character>
<dialogue>Where was Nordberg found, Ed?</dialogue>
<character>ED</character>
<dialogue>Right out there, Frank.</dialogue>
<scene_description>He points toward the water. ED (cont.) You want to take a dinghy?</scene_description>
<character>FRANK</character>
<dialogue>No, I took care of that back at the press conference.</dialogue>
<scene_description>They look out over the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. WATER- DAY</stage_direction>
<scene_description>There is a chalk-line outline of a body floating on lthe water. Nearby are cops in a rowboat dusting for pri~ts and taking photos.</scene_description>
</scene>
<scene>
<stage_direction>31A EXT. DOCKAREA - DAY 31A</stage_direction>
<character>ED</character>
<dialogue>He was found by the night watchman. Beats me. What would a cop be doing down here at the docks floating face-down in the water?</dialogue>
<character>FRANK</character>
<dialogue>Well, Nordberg was fond of snorkeling. -</dialogue>
<character>ED</character>
<dialogue>We'd better start checking around. I'm going to talk to the harbor master.</dialogue>
<character>FRANK</character>
<dialogue>I'm going to walk around the docks, take a snoop.</dialogue>
<character>ED</character>
<dialogue>I thought you took care of that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOCK- FOREMAN'SSHACK- DAY</stage_direction>
<scene_description>Frank knocks on the door. A thuggish-looking CBARAdTER</scene_description>
<character>I</character>
<dialogue>answers.</dialogue>
<character>32</character>
<dialogue>CONTINUED:</dialogue>
<character>FOREMAN</character>
<dialogue>Yeah?</dialogue>
<scene_description>\ Frank displays his badge. ais fold-out credit card organizer unfolds down to the ground.</scene_description>
<character>FRANK</character>
<dialogue>Lieutenant Orebin -- Police Squad. I'd like to ask you a few questions.</dialogue>
<character>FOREMAN</character>
<dialogue>Bey, look, I already told the cops everything I know. I swear to God</dialogue>
<scene_description>the girl was eighteen. What was a guy to do?</scene_description>
<character>FRANK</character>
<dialogue>No, no, I'm not here about that •••</dialogue>
<character>FOREMAN</character>
<dialogue>Oh, Christ, you guys still harpin' about my condo across from the Boys Academy? I told you I was bird-watching!</dialogue>
<character>FRANK</character>
<dialogue>No, no, it's about the body •••</dialogue>
<character>FOREMAN</character>
<dialogue>Look, I didn't know she was dead. It looked like she was sleepin'.</dialogue>
<character>FRANK</character>
<dialogue>No, no. It's about something else. Does this face look familiar to you?</dialogue>
<scene_description>Be shows hi■ the picture o.f Nordberg.</scene_description>
<character>FOREMAN</character>
<dialogue>I don't know, my memory ain't too great.</dialogue>
<character>FRANK</character>
<dialogue>Maybe this'll refresh your memory.</dialogue>
<scene_description>Prank slips him a ten.</scene_description>
<character>FOREMAN</character>
<dialogue>,,,,,.....\_ (thinking)</dialogue>
<scene_description>I don•~ ~now••• I don't know••• Prank gives him a twenty. (CONTI~ED):</scene_description>
<character>32</character>
<dialogue>CONTINUED: (2)</dialogue>
<scene_description>FOREMAN(cont.) Yeah, I remember him. I used to ' see him around --· Why do you want to know?</scene_description>
<character>FRANK</character>
<dialogue>I'm not so sure I can tell you.</dialogue>
<character>FOREMAN</character>
<dialogue>Well, maybe this"ll help.</dialogue>
<scene_description>Foreman gives him a ten.</scene_description>
<character>. FRANK</character>
<dialogue>I really don't think I should •••</dialogue>
<scene_description>Foreman gives him a twenty. FRANK (cont.) Alright. Bis name's Nordberg. Be was a cop.</scene_description>
<character>FOREMAN</character>
<dialogue>Be was no cop. He was dealin' B.</dialogue>
<character>FRANK</character>
<dialogue>\ What?!</dialogue>
<character>FOREMAN</character>
<dialogue>I'm tellin' ya, he was dirty.</dialogue>
<scene_description>Frank realizes the accusation.</scene_description>
<character>FRANK</character>
<parenthetical>(grabbing Foreman's collar)</parenthetical>
<dialogue>Nordberg!? Why, you sniveling SCWll</dialogue>
<character>FOREMAN</character>
<dialogue>Look pal, I didn't know the guy -- I just saw him a:round. Be worked at Ludwig Shipping.</dialogue>
<character>FRANK</character>
<dialogue>Be worked here?</dialogue>
<scene_description>The Foreman straightens ou·t his collar.</scene_description>
<character>FOREMAN</character>
<dialogue>Yeah, the night :shift -- operating</dialogue>
<scene_description>\ heavy equipment. Some of the boys tell me he had the biggest front end loader on the docks.</scene_description>
<character>32</character>
<dialogue>CONTINUED: ( 3)</dialogue>
<scene_description>, Alright,</scene_description>
<character>FRANK</character>
<dialogue>I need all your</dialogue>
<scene_description>employment records! All the information you have: when he worked, which shifts, specific assignments -- everything!</scene_description>
<character>FOREMAN</character>
<dialogue>I got none of that here. It's all at the main office. Why don't you go downtown and try pushing Victor Ludwig around?</dialogue>
<scene_description>Frank grabs him by the collar.</scene_description>
<character>FRANK</character>
<dialogue>I'll be glad to, you gutless slimeball. You make me sick. Now get out of my sight before I throw up.</dialogue>
<scene_description>Suddenly Frank turns green and pukes. FRANK(cont.) (wiping his chin) Too late.</scene_description>
<character>33</character>
<dialogue>Frank's car drives past imp,ressive, upscale building.</dialogue>
<character>EXT. CITY STREET - DAY</character>
<dialogue>Car comes to a stop, knocking over some trash cans. The impact causes the air bag in his car to inflate.</dialogue>
<character>33A</character>
<dialogue>Be pulls out his revolver and SHOOTSthe bag, deflatlng</dialogue>
<character>INSERT - CLOSEUP- GEAR SHIFT IN NEOTRAL</character>
<dialogue>it. Frank exits car and starts to walk into building. A MANwalking the other way screams at Frank.</dialogue>
<character>MAN</character>
<dialogue>Bey, look outl</dialogue>
<scene_description>Frank whirls around just ilt-1 time to see a car bearing down on him. We, of course, realize it's his own car. Be forgot to set the brake. Frank dodges away just in time. As the car rolls past:</scene_description>
<character>FRANK</character>
<dialogue>Bey, watch it, buddyl</dialogue>
<parenthetical>(pulls out his badge)</parenthetical>
<dialogue>Pull over. Policel</dialogue>
<parenthetical>(CONTIUtJJD)</parenthetical>
<character>JJA</character>
<dialogue>The car.keeps going.</dialogue>
<character>CONTINUED:</character>
<dialogue>Frank pulls out his gun and gives</dialogue>
<scene_description>a warning SHOT. The car keeps going and Frank SHOOTS it in the gas tank. It EXPLODESand scatters lots of people, ultimately hitting a fire hydrant. FRANK(cont.) (to passersby) Anyone catch the license plate? Anyone get a look at the driver? Alright, get back, move along everything's under control, there's nothing to see here.</scene_description>
<character>34</character>
<dialogue>- CLOSEUP- JAPANESEFIGHTING</dialogue>
<character>INT. LUDWIG'S APARTMENT</character>
<dialogue>34</dialogue>
<character>FISH - DAY</character>
<dialogue>swimming freely in a lush aquarium. Through the aquar~ ium we see Secretary opening apartment door and Frank entering. A goldfish drops INTO FRAMEand the fighting fish devours it in a single deft swipe.</dialogue>
<character>SECRETARY</character>
<dialogue>Mr. Ludwig, this is Lieutenant Orebin.</dialogue>
<scene_description>r They shake hands. l LUDWIG Lieutenant. FRANK The feeling is mutual. Ludwig shows Frank a cigar box, offering him one. LODWIG Cuban? FRANK No. Dutch Irish. My father's trom Wales. You were probably . thrown off by my :puffy sleeves. Ludwig i ■ not quite sure what he ia dealing with here. Be tries• different tack, noticing Frank staring at the fish tank. LUDWIG The Japanese fighting fish. Beautiful, graceful, elegant, yet single-minded of purpose and deadly when it finds what it wants.</scene_description>
<character>,,,,,,.....\_ 34 CONTINUED: 34</character>
<dialogue>LUDWIG{</dialogue>
<scene_description>( Nature's ultimate prototype for survival. This particular one is valued at over $9,000. A luxury item, to be certain, but as you can see, I'm a man who enjoys the finer things in life. {displays a gold pen) This priceless samurai pen, for example. A gift from Emperor Hirohito. It is exquisite -- and at the same time, the most deadly -of weapons. Be hands the pen to Frank.</scene_description>
<character>FRANK</character>
<dialogue>Fascinating.</dialogue>
<scene_description>Ludwig turns to take in the extraordinary vista from his window.</scene_description>
<character>LUDWIG</character>
<dialogue>But I'm sure you didn't pay me this visit to hear a lecture on fine art, Lieutenant~ To what do I owe the honor?</dialogue>
<scene_description>Frank is examining the pen and toying with it.</scene_description>
<character>FRANK</character>
<dialogue>I'm irtvestigating the attempted murder of one of your dock workers.</dialogue>
<scene_description>TBWANGI The pen flips out of his hand, zings across the room, and plops into the aquarium. Frank goes to retrl•••- it. FRANK(cont.) ••• a man by the name of Nordberg, a police officer ..</scene_description>
<character>ANGLE- LOOW.IG</character>
<dialogue>under control, but this news has taken him by surprise.</dialogue>
<character>LO10WIG</character>
<parenthetical>( recover i.ng)</parenthetical>
<dialogue>Be'•·•• still alive, then?</dialogue>
<scene_description>Frank dips his hand into the aquarium to grab the p•n. The fighting fish swipes at him, just missing•• Frank removes his arm, now drenched to the elbow.</scene_description>
<character>34</character>
<dialogue>CONTINUED: (2)</dialogue>
<character>FRANK</character>
<dialogue>Yes, he's in intensive care at Our Lady of the Never Bad the Pickle.</dialogue>
<character>LUDWIG</character>
<parenthetical>( turns to 1''"rank)</parenthetical>
<dialogue>Why, that's shocking, Lieutenant .•• but as you know, I am not the kind of man who takes this type of thing lightly.</dialogue>
<scene_description>Ludwig turns back to look out the window. Frank surreptitiously goes back in for the pen. This time he's too slow. The fish latches onto his hand. Frank yanks his hand from the water, the fish firmly attached. LUDWIG(cent.) And there's no roiom in my organization for ,any type of criminal activity. Frank tries to pull the fish from his finger, behind his back. \ LUDWIG(cont.) Look out there. A massive industrial complex, built by me. Do you have any idea what was out there just five years ago? Frank's hands are now in front of his face as the fish releases and grabs Frank's nose.</scene_description>
<character>FRANK</character>
<dialogue>Yaaaaa.</dialogue>
<scene_description>LOiltWIG You bet you de. Orange groves. Acres cf them. As far as the eye could see ••• Frank yanks the fish loose and holds it at arm's length. With his free hand he reaches into the tank and grabs the pen. Ludwig turns to face Frank just as Frank hides the fish and pen behind his back. LUDWIG(cent.) Are you alright, Lieutenant? Let me get you a tissue. Frank'• nose is a little red and puffy. Be tries ta act as though all'• well. Ludwig gees through his desk locking fer a tissue.</scene_description>
<character>34</character>
<dialogue>CONTINUED: (3)</dialogue>
<scene_description>LUDWIG(cont.) Bas this Officer Nordberg ••. been ' able to .•• tell you anything? Frank brings his hand back in front of him, revealing a limp, dead fighting fish sk,ewered neatly through the head by the pen. Frank is shocked, but stays cool. FRANK Well .•• so far, he ••• hasn't been able to tell us anything. But, ~h, as soon as he regains consciousness, we'll see if he can still play the guitar. Frank tosses the impaled carcass into the aquarium just as Ludwig looks up and hands him a tissue.</scene_description>
<character>LU0WIG</character>
<dialogue>I beg your pardon?</dialogue>
<character>FM.NK</character>
<dialogue>Well ••• what I'd like to do is take a look at yc1ur employment records, and talk to someone in personnel. If you don't mind, of course.</dialogue>
<character>LUC>WIG</character>
<dialogue>Of course.</dialogue>
<scene_description>Be presses the intercom. LUt>WIG(cont • ) Dominique, will 1,ou please send in Miss Spencer? ( to Frank JI As you know, I'm quite busy making last-minute preparations for the Royal visit. But: I• 11 have my assistant provide you with anything you need. FRANK Thank you for yo11r cooperation, I'll make a note of it in my report. 34A - lSTAIRCASE- DAY IN'l'. LUDWIG'SAPARTMENT 34A Suddenly, we hear a door OPENING. Frank looks up be- hind him to a large, elega1nt balcony. Dramatic MOSIC. There, standing at the railing, is Ludwig's gorgeous personal assistant, JANE s:PENCER.</scene_description>
<character>34A</character>
<dialogue>,,,,.......</dialogue>
<character>CONTINUED:</character>
<dialogue>LUDWIG</dialogue>
<scene_description>Miss Spencer, this is Lieutenant Frank Drebin, from Police Squad.</scene_description>
<character>JANE</character>
<dialogue>Bello. Mr. Drebin.</dialogue>
<character>FRANK</character>
<parenthetical>(transfixed)</parenthetical>
<dialogue>Bello.</dialogue>
<scene_description>As the mysteriously romantic MUSIC continues, Jane be- gins to descend the curving staircase, her eyes fixed on Frank. CLOSEUP- JANE Eyes fixed on Frank, she misses a step. CLOSEUP- FRANK Bis eyes follow Jane as we, hear her FALLINGdown the flight of stairs. CLOSEUP- JANE She rises up INTO SHOT, unfazed and not a hair out of ' place, still follow her. staring at Frank. She motions for him to</scene_description>
<character>ON FRANK</character>
<dialogue>Be exits after her.</dialogue>
<character>FB:ANK (V .O.)</character>
<dialogue>Ber hair was thei color of gold in old paintings.</dialogue>
<character>35</character>
<dialogue>- DAY</dialogue>
<character>INT. HALLWAY</character>
<dialogue>35</dialogue>
<character>CA.IIDA POLLOWS</character>
<dialogue>!'rank and J'ane from behind.</dialogue>
<character>ON PRANK</character>
<dialogue>following, checks her out.</dialogue>
<character>FB~K (V.O.)</character>
<dialogue>She had a full set of curves, and the kind of legs you'd like to suck on for a day.</dialogue>
<scene_description>\\_ ON JANE CAMERAPANS OP her legs. As we get to her head, she's turning around to look bac:k at him, coyly.</scene_description>
<character>35</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>n~NK (V .O.) She was giving me a look I could feel in my hip pocket. She doesn't notice the door just in front of her. ON FRANK Be winces as he sees her slam into the door.</scene_description>
<character>F~~NK ( V. 0 � )</character>
<dialogue>This was starting to get interesting. But I knew I had to stop it before ••• well, before I couldn't stop it.</dialogue>
<character>36</character>
<dialogue>INT. FILE ROOM- DAY</dialogue>
<scene_description>Jane is on a little stepladder, reaching up for a box on the top shelf. As she reaches up, her skirt hikes up a bit. TBE SKIRT It keeps going up, up, OU'l~OF FRAME. \ FRANK looking up in wonderment. FFlANK Nice beaver!</scene_description>
<character>ANGLE- JANE</character>
<dialogue>She's holding a stuffed beaver in her arms. She's just taken it off the top shelf.</dialogue>
<character>JANE</character>
<dialogue>Oh, thank you. I just had it stuffed.</dialogue>
<scene_description>She puts the beaver aside,,</scene_description>
<character>FRANK</character>
<dialogue>Why don't you let me help you with that.</dialogue>
<character>JANE</character>
<dialogue>Thank you.</dialogue>
<scene_description>\ Frank lifts the box from t:he shelf and sets it on a small table. She hands hlm a tile. CONTINUED: JANE (cont.) This should be wha·t: you' re looking for, Lieutenant.</scene_description>
<character>FRANK</character>
<dialogue>Thank you.</dialogue>
<scene_description>Be looks through the files.</scene_description>
<character>JANE:</character>
<dialogue>I've heard police work is dangerous.</dialogue>
<character>FRANK</character>
<dialogue>It is. That's why I carry a big gun.</dialogue>
<character>JANJE:</character>
<dialogue>Aren't you worried it might go off accidentally?</dialogue>
<character>FRANK</character>
<dialogue>I used to have that problem.</dialogue>
<character>JANE</character>
<dialogue>What did you do about it?</dialogue>
<character>FRANK</character>
<dialogue>I just think about ~aseball.</dialogue>
<scene_description>Be glances down at her ankle. She's wearing an ankle bracelet. Frank admires it~. FRANK (cont.) That's a honey of an ankle bracelet you got there. JAlt-lE ( looking 1down1 surpr ise·d) Oh, did it slip down there again? Frank ponders this for a m.oment.</scene_description>
<character>!'RANI(</character>
<dialogue>Y.s ••• well ••• I'll look through these tiles tonight and return them ••• uh ••• wi.11 tomorrow be okay?</dialogue>
<character>JANE</character>
<dialogue>That would be f!Lne, but there's no rush. I mean ••• whenever you're through.</dialogue>
<character>36</character>
<dialogue>FR.J~K</dialogue>
<character>CONTINUED: ( 2)</character>
<dialogue>Thank you. I wish I could repay you for your kindness. How about dinner? I know a little out-of- the-way place where they have great Viking food.</dialogue>
<character>JAHE</character>
<parenthetical>( taken ab◄ICk)</parenthetical>
<dialogue>Well, that's quite a tempting offer, but I'm afraid I'll need my sleep this evening, tomorrow being Arbor Day and all.</dialogue>
<scene_description>Flt~K Oh, yes, of cour:se. Perhaps some other time then? JAl~E Perhaps. How ab,out a raincheck? Flt!Ufl< No, let's stick with dinner. Well, thank you for your help, Miss Spencer. Frank exits. She watches as he leaves. She could definitely go for this kind of guy.</scene_description>
<character>LU:DWIG(V .O.)</character>
<dialogue>Well?</dialogue>
<scene_description>Jane turns around, surpr is,ed. Ludwig has entered the room.</scene_description>
<character>JA:NE</character>
<dialogue>Oh, Mr. Ludwig! You startled me.</dialogue>
<character>LUDWIG</character>
<dialogue>I'm sorry. I just wanted to know ~ if you got the Lieutenant everything he wanted.</dialogue>
<character>JANE</character>
<dialogue>Yes, I gave him copies of the shipping and employment records for Pier 32.</dialogue>
<character>LUDWIG</character>
<dialogue>,---. Good. a~•• an intriguing fellow,</dialogue>
<scene_description>Lieutenant Drebin, don't you think?</scene_description>
<character>36</character>
<dialogue>CONTINUED: (3)</dialogue>
<character>JANE</character>
<parenthetical>(a bit flustered)</parenthetical>
<dialogue>Well, I don't know ••• I only just met him. Be seems very nice.</dialogue>
<scene_description>LODiWIG Jane .•. You know I rarely ask for extra favors and I realize this is an unusual request, but if there's something illegal going on in this company, I need t:o know everything about it, so we can root out any wrongdoers. That's why I want you to ••• well, get to know Captain Drebin a little better ••• find out what he knows. JAl~E But Mr. Ludwig, don't you think this is best handled by the police? LUl:>WIG We are letting the police handle it.But this company needs to know the facts quickly before ' anything gets into the newspapers. Don't forget, responsibility stockholders. I have a ti::, the</scene_description>
<character>JANE</character>
<dialogue>Well ••• I guess if you put it that way ••• I ••• I'll try my best.</dialogue>
<character>LUDWIG</character>
<dialogue>That's better! I'm sure you will.</dialogue>
<scene_description>Ludwig exits. CA.IIDA MOVESin on Jane. She's not really convincedl.</scene_description>
<character>37</character>
<dialogue>- DAY</dialogue>
<character>INT. LUDWIG'S APARTMENT</character>
<dialogue>37</dialogue>
<scene_description>Ludwig is standing over hi.a aquarium, incredulous, holding his dead, skewered fish and priceless pen.</scene_description>
<character>THOG</character>
<dialogue>Yes, Mr. Ludwig'l~</dialogue>
<character>37</character>
<dialogue>CONTINUED:</dialogue>
<scene_description>LUOWICi (seething) I've just had a visit from Captain Drebin of Police Squad. (pause) Nordberg's alive!</scene_description>
<character>THUG</character>
<dialogue>But that's impossible, he ••.</dialogue>
<character>LUDWIG</character>
<dialogue>He's alive! And he must be eliminated. Then we'll deal with Drebin. Take care of it.</dialogue>
<character>38</character>
<dialogue>EXT. HOSPITAL- DAY</dialogue>
<scene_description>workers are on scaffolding, renovating the building. Frank drives up, ramming the scaffolding. As he gets out of the car, planks are faLlling down INTO FRAME, followed by tools, paint buckets, workers, etc. Frank enters the hospital.</scene_description>
<character>39</character>
<dialogue>A DOCTOR,middle-aged,</dialogue>
<character>INT. HOSPITAL CORRIDOR- DAY</character>
<dialogue>dressed in surgical</dialogue>
<scene_description>( around his neck, approaches 1t:he door to Nordberg's room. A NURSE passes by. NURS:e 11 Oh, Or. Alford, I have Mrs. Kepley's chart if you're ready to go over it.</scene_description>
<character>DOCTOR</character>
<dialogue>Of course, I'll be there after I'm finished checking on this patient.</dialogue>
<character>NURS:E11</character>
<dialogue>Yes, Doctor.</dialogue>
<scene_description>The llllr•• walks off. The Doctor enters Nordberg's room.</scene_description>
<character>40</character>
<dialogue>INT. HOSPITAL - DAY</dialogue>
<scene_description>Frank approaches the nurses reception desk, the file folder under his arm.</scene_description>
<character>FRANK</character>
<dialogue>I'm here to see Officer Nordberg.</dialogue>
<character>40</character>
<dialogue>,,,,,,,.-</dialogue>
<character>CONTINUED:</character>
<dialogue>NURSE 12</dialogue>
<scene_description>I'm sorry, no one is allowed •.. Frank glances down the hall at Nordberg's room.</scene_description>
<character>FRAHK</character>
<dialogue>Where's the polict! guard outside of that room?</dialogue>
<character>NURSE12</character>
<dialogue>Oh, a Captain Drebin called and sent him home.</dialogue>
<scene_description>FRAl~K (alarmed) Captain ••• Drebin? Call Police Squad right awayt Tell 'em we got a 411 in progress. The Nurse screams.</scene_description>
<character>NUR:SE</character>
<dialogue>Oh my Godt</dialogue>
<character>12</character>
<dialogue>Firet</dialogue>
<character>FRANK</character>
<dialogue>Not Not I mean it's a ••• 14111</dialogue>
<character>NURSE</character>
<dialogue>(terrified)</dialogue>
<character>12</character>
<dialogue>Oh my Godt A poison gas leakt</dialogue>
<scene_description>She screams again.</scene_description>
<character>FRANK</character>
<parenthetical>(thinking fast)</parenthetical>
<dialogue>Nol Nol A ••• A 14-14 •••</dialogue>
<character>NURSE 12</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>Aheeeeee .••</dialogue>
<scene_description>She jumps up and plunges ou.t a window.</scene_description>
<character>FUNK</character>
<parenthetical>(thinking)</parenthetical>
<character>A 12-12?</character>
<dialogue>Be shrugs and rushes off dciwn the hallway.</dialogue>
<character>41</character>
<dialogue>INT. NORDBERG'SROOM- DAY</dialogue>
<scene_description>The Doctor, as if in a trar1ce, picks up a pillow and puts it over Nordberg' s fac:e.</scene_description>
<character>41</character>
<dialogue>DOC~~OR</dialogue>
<character>CONTINUED:</character>
<dialogue>I must kill -- No1:dberg. I must kill ••• Nordberg •••</dialogue>
<scene_description>OMINOUSMUSIC as the Doctor presses the pillow down, trying to suffocate the unconscious Nordberg. 42 INT. HOSPITAL CORRIDOR- FR.lWK- DAY 42 running to within inches of Nordberg's door. However, he hits a just-mopped spot on the floor. Signs read "Wet Floor." Frank slips and slides past the door. Landing o.s. with a crash.</scene_description>
<character>43</character>
<dialogue>- DAY</dialogue>
<character>INT.</character>
<dialogue>43</dialogue>
<scene_description>Hearing commotion, wheels N◄:>rdberg 's bed out the door. But he slips on the wet floor, sending Nordberg's bed rolling out into the hallway.</scene_description>
<character>44</character>
<dialogue>His bed hits the wall. catapult</dialogue>
<character>INT. HOSPITAL CORRIDOR- DA'?</character>
<dialogue>The impact causes Nordberg to off the bed. His feet still planted,</dialogue>
<scene_description>~ swings up on his heels and slams face-first into the wall. Then falls back onto his bed. FRANK runs toward the Doctor. The Doctor throws the pillow at Frank. Frank ducks, grabs a vase and throws it at the Doctor, who ducks. The vase hits Nordberg's head. The Doctor runs off down the hall. Frank takes off after the Doctor. DOCTOR Knocking people out of the way. overturns a food cart. Frank behind him. The Doct:or FIRES. Frank FIRES back. DOC'l'OR pushing gur~eys at Frank, t:rying to block his advance- ment. FRANK ,,-.... overturns them, sending the bedridden to the floor.</scene_description>
<character>NORSE 13</character>
<parenthetical>(annoyed)</parenthetical>
<dialogue>Alright, come on1, you guys. Take it outside.</dialogue>
<scene_description>The Doctor bursts through thi! exit. Frantic to escape, he tosses nurses, patients, and visitors aside. FRANK charges out the hospital doo:C's. Be's tangled in a mass of crutches, I.V.'s, and floral arrangements, the aftermath of some unseen o.s. collision. Be tosses aside the crutches and rips away at the tubes and flowers.</scene_description>
</scene>
<scene>
<stage_direction>45A EXT. STREET OUTSIDE HOSPITAL- DOCTOR- DAY 45A</stage_direction>
<scene_description>runs into traffic. Cars swerve to a stop. The Doctor throws a man out of his car, steals the car, and drives off. FRANK FIRES at the car. Be looks ,around. Be jumps into the back seat of a "Teen Driving School" car.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRIVING SCHOOLCAR - DA'!!</stage_direction>
<scene_description>A STUDENTis behind the wheel. Glasses, braces, pimples, and chubby. Four times cursed. The thin, elderly, bald DRIVING INSTRUCTORis in a short-sleeved, white shirt and bad tie. A career teacher.</scene_description>
<character>FRANK</character>
<parenthetical>(flashing his badge)</parenthetical>
<dialogue>Drebin, Police! Follow that earl</dialogue>
<character>STUDENT</character>
<dialogue>turns to the Instructor in a panic. This is only her first time out.</dialogue>
<character>INSTRUCTOR</character>
<parenthetical>(melodious tone)</parenthetical>
<dialogue>Alright, Stephie, check your mirrors. That's right. Signal. Ahuh, good. Now pull away from the curb and into traffic ••• easy ••• fine.</dialogue>
<scene_description>DRIVING SCHOOLCAR - DAY in traffic. Nice and safe pace. Every move shows an unsure driver is at the whee,l. FRANK annoyed. Be's losing the Doctor. Be throws his hands in the air in exasperation. Suddenly, renewed hope.</scene_description>
<character>48</character>
<dialogue>FRANK'S POV The Doctor's</dialogue>
<character>CONTINUED:</character>
<dialogue>car has been slowed down by a detour.</dialogue>
<character>FRANK</character>
<dialogue>FIRES a shot out of the window. DOCTOR floors it. Takes a wild right. FRANK</dialogue>
<character>FRANK</character>
<dialogue>Faster!</dialogue>
<character>INSTRUCTOR</character>
<dialogue>IN:STROCTOR</dialogue>
<scene_description>Give it some gas. Good. Take a right .. Frank is FIRING out the window. The t>octor is returning FIRE. Stephie has the gas to the floor.</scene_description>
<character>48A</character>
<dialogue>It takes a wide, wild right and enters the alley.</dialogue>
<character>DRIVING SCHOOLCAR</character>
<dialogue>Frank is FIRING. The Doctor is returning FIRE.</dialogue>
<character>INSTRUCTOR</character>
<dialogue>That was a little wide. When coming out of the turn, don't jerk on the wheel.</dialogue>
<scene_description>BULLETStake off a mirror. And SHATTERthe windshield. STEPHIE bug-eyed. Frightened. Windshield glass</scene_description>
<character>"</character>
<dialogue>snowflaked</dialogue>
<scene_description>onto ber hair.</scene_description>
<character>INSTRUCTOR</character>
<dialogue>Now, normally you wouldn't be going 95 down the wrong way of a one-way street.</dialogue>
<character>49</character>
<dialogue>EXT. DOCTOR'SCAR - AT END OP ALLEY- DAY</dialogue>
<scene_description>grabs a sharp left. Exits as a truck enters the alley. ' ,,,.-</scene_description>
<character>49A</character>
<dialogue>Truck and driving</dialogue>
<character>EXT. ALLEY- DAY</character>
<dialogue>school</dialogue>
<character>50</character>
<dialogue>A horrified</dialogue>
<character>INT. DRIVING SCHOOLCAR - DAY</character>
<dialogue>Stephie</dialogue>
<scene_description>( guidance. INST'RUCTOR Alright, apply the brakes • . She jams them to a stop. Stephie and Instructor lunge forward. INSTRUCTOR The truck SOUNDSits horn. INS'l~RUCTOR Put it in reverse. Stephanie jams it into gear. INSirRUCTOR(cont.) Gently press on the pedal. She's way ahead of him. Sht!'s beating ass-backward down the alley. .,,-.. INS~rRUCTOR(cont.) Glance over your shoulder. 51 EXT. STREET - DRIVING SCBOOlC.</scene_description>
<character>CAR - DAY</character>
<dialogue>It swerves out of the alley</dialogue>
<character>51</character>
<dialogue>and into</dialogue>
<scene_description>missing the exiting truck.</scene_description>
<character>TRUCKER</character>
<dialogue>Assholel</dialogue>
<character>52</character>
<dialogue>INT. DRIVINGSCHOOLCAR - DAY</dialogue>
<character>INSTRUCTOR</character>
<dialogue>Alright, gently roll down your window. Give him, the finger. That's it. Extend the finger farther. Good.</dialogue>
<character>FRANK</character>
<dialogue>spots the Doctor's car.</dialogue>
<character>FRANK</character>
<dialogue>Therel To the left.</dialogue>
<character>INSTRUCTOR</character>
<dialogue>\ Give it some gas ..</dialogue>
<scene_description>Stephie peels out.</scene_description>
<character>52A</character>
<dialogue>The G forces push him deep into the seat.</dialogue>
<character>FRANK</character>
<dialogue>His face</dialogue>
<scene_description>( contorts like a test pilot on a rocket sled.</scene_description>
<character>53</character>
<dialogue>CAR - DAY</dialogue>
<character>VARIOOSSTREETS - DRIVING SC:HOOL</character>
<dialogue>53</dialogue>
<scene_description>The chase continues at high speeds. Doctor's car speeding. Stephie not far behind.</scene_description>
<character>53A</character>
<dialogue>takes</dialogue>
<character>FRANK</character>
<dialogue>careful</dialogue>
<character>54</character>
<dialogue>The bullet</dialogue>
<character>EXT. DOCTOR'SCAR</character>
<dialogue>PUNCTURESthe gas tank.</dialogue>
<character>54SF1</character>
<dialogue>Gas tank EXPLODES.</dialogue>
<character>STOCKFOOTAGE</character>
<dialogue>54A</dialogue>
<dialogue>reacts</dialogue>
<character>FRANK</character>
<dialogue>•</dialogue>
<character>54B</character>
<dialogue>Heading</dialogue>
<character>EXT. DOCTOR'SPOV - CAR</character>
<dialogue>towards</dialogue>
<character>54SF2</character>
<dialogue>The gas tanker</dialogue>
<character>STOCKFOOTAGE</character>
<dialogue>EXPLODES.</dialogue>
<character>54C</character>
<dialogue>reacts.</dialogue>
<character>FRANK</character>
<dialogue>540</dialogue>
<dialogue>Messed up, but somehow continuing.</dialogue>
<character>INT. DOCTOR'SCAR</character>
<dialogue>54£ En. DOCTOR'SPOV - CAR 54E</dialogue>
<scene_description>Beading towards missile trailer.</scene_description>
<character>54SF3</character>
<dialogue>EXPLOSION- MISSILE TRAILER (STOCKFOOTAGE)</dialogue>
<character>54F</character>
<dialogue>reacts,</dialogue>
<character>FRANK</character>
<dialogue>disbelieving.</dialogue>
<character>54G</character>
<dialogue>INT. DOCTOR'SCAR</dialogue>
<scene_description>messed up even more, but continuing. \</scene_description>
<character>-- 54H EXT. DOCTOR'S POV - CAR</character>
<dialogue>heading towards works Factory."</dialogue>
<scene_description>building with sign which reads: "Fire- 54H:</scene_description>
<character>54SF4</character>
<dialogue>54-I</dialogue>
<character>EXPLOSION - FACTORY (STOCK FOOTAGE)</character>
<dialogue>FRANK</dialogue>
<scene_description>gets out of the Driving School car. He holsters his gun. ANGLE A crowd has gathered to look at the fireworks display.</scene_description>
<character>FRAHK</character>
<dialogue>Alright, folks, step back. Nothing to see.</dialogue>
<character>54J</character>
<dialogue>A spent</dialogue>
<character>INT. DRIVING INSTRUCTOR CAR</character>
<dialogue>Stephanie</dialogue>
<character>INSTRUCTOR</character>
<dialogue>Now, tomorrow we'll work on your parallel parking.</dialogue>
<character>55</character>
<dialogue>Frank is driving</dialogue>
<character>BUMPER CARS</character>
<dialogue>a bumper car,</dialogue>
<character>FRANK (V.O.)</character>
<dialogue>I tried to relax the best way I knew how. But questions kept buzzi"ng around my· head like a bee in a hamburg full of honey.</dialogue>
<scene_description>56 INT. AEROBICS CLASS - WORKOiUTCENTER 56 It's just Frank and a lot of incredibly gorgeous young WOMDe</scene_description>
<character>FRANK (V .O.)</character>
<dialogue>What had Nordberg been doing on the docks ••• and what was he trying to tell me?</dialogue>
<character>57</character>
<dialogue>CENTER</dialogue>
<character>INT.</character>
<dialogue>57</dialogue>
<scene_description>Frank exits the shower wrapped in a towel. ,,,,,.-.-</scene_description>
<character>ANGLE</character>
<dialogue>Be is the only male. Be's oblivious to the young naked female bodies in the showers and at the lockers.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FRANK(V.O.)</character>
<dialogue>And would I ever be able to talk my good friend again? The incident at the hospital had sent Nordberg into a coma. The doctors were doing everything they could, but his chances weren't good. And all the questions kept coming up over and over again, like bubbles in a case of club soda.</dialogue>
<scene_description>The girls spot Frank and sicream.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREETS - NIGHT</stage_direction>
<scene_description>Frank walking.</scene_description>
<character>FRANK (V .O.)</character>
<dialogue>Did Ludwig lie to me? I didn't have any proof, but somehow I didn't entirely trust him either.</dialogue>
<character>FRANK'S FEET ON THE PAVEMENT</character>
<dialogue>walking.</dialogue>
<scene_description>FRANK(V.o.} Why was the "I Luv You" not listed in Ludwig's records? Feet come upon a hopscotch outline. They skip through it. FRANK(V.O.) (cont.) If it was, did he know about it?</scene_description>
<character>FRANK</character>
<dialogue>walking.</dialogue>
<scene_description>FRANK (V .o.) Who was this character in the hospital? Why was he trying to kill Nordberg? And tor whom?</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD:</stage_direction>
<scene_description>Prank is literally in the middle of nowhere. Miles and miles of flat landscape. Frank stops.</scene_description>
<character>PRANK (V .O.)</character>
<dialogue>And where the hell was I?</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLOUTSIDEFRANK'S APARTMENT</stage_direction>
<character>- NIGHT 60</character>
<dialogue>Frank walking to his apartm.ent door.</dialogue>
<character>FRANK( V. 0. )</character>
<dialogue>It was almost midnight when I got to my door. I just wanted a glass of Bosco and then slip under my blankets. But my night was just about to begin.</dialogue>
<scene_description>Frank finds his door ajar. Be slams against the wall. Takes out his gun. Waits a beat. Then dives through the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRANK'S APARTMENT</stage_direction>
<scene_description>Frank does the traditional rolling on the floor behind the couch, then makes his way across the floor using flips. Bis moves resemble an Olympic floor exercise. Be checks out the room. Dives, and rolls into his bedroom. No one there. Be does back-flips out of the bedroom. Through the living room. Stopping at the kitchen door. Be hears a SOUNDfrom inside the door. Be bursts through it.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Revealed is Jane. She's cooking. Stirring something on the stove. She's only wearing one of Frank's shirts. Looking seductive and gorgeous.</scene_description>
<character>JANE</character>
<dialogue>You're late.</dialogue>
<character>FRANK</character>
<parenthetical>(putting his gun away)</parenthetical>
<dialogue>It depends on what I'm late for.</dialogue>
<character>JANIE</character>
<dialogue>You said we should have dinner sometime. Tonight became ••• sometime.</dialogue>
<scene_description>She pokes a hunk of meat iri. a pot. Shows it to Frank. JANE (cont.) I'm boiling a roa.at. (suggestiv•e) Bow hot and wet dlo you like it?</scene_description>
<character>FRANK</character>
<dialogue>Very hot. Awfully wet. You seem to know your way around a kitchen.</dialogue>
<character>62A</character>
<dialogue>We notice a milk carton.</dialogue>
<character>ANGLE- INSERT - MILK CARTON!</character>
<dialogue>On it is a picture</dialogue>
<scene_description>\ Griffin a la the Missing Children panels.</scene_description>
<character>62B</character>
<dialogue>I'm just as handy in other</dialogue>
<character>JANE:</character>
<dialogue>rooms</dialogue>
<scene_description>of the house.</scene_description>
<character>FRANK</character>
<dialogue>That shirt looks familiar.</dialogue>
<character>JANE:</character>
<dialogue>It should, it's yours. I didn't want to get stained or wrinkled. At least ••• not yet.</dialogue>
<character>FRANK</character>
<dialogue>Mind if I slip int:o something more comfortable?</dialogue>
<character>JANE:</character>
<dialogue>I'm great at undoing things.</dialogue>
<character>FRMIK</character>
<dialogue>Consider them ••• undone.</dialogue>
<scene_description>He exits. DISSOLVETO:</scene_description>
<character>63</character>
<dialogue>INT. LIVING</dialogue>
<scene_description>Jane has set a table in front of the fireplace. The lights are trimmed. It's re>mantic. Frank enters. He's just straightening his tie. He's wearing another dark suit and dark tie.</scene_description>
<character>FRANK</character>
<dialogue>There. That's better.</dialogue>
<character>JANE</character>
<dialogue>I hope you brough1~ your appetite.</dialogue>
<character>FRANK</character>
<dialogue>I've brought everything.</dialogue>
<character>JAN:E!</character>
<dialogue>Well, then ••• dig in.</dialogue>
<scene_description>They sit. And begin to eat.</scene_description>
<character>FRANK</character>
<parenthetical>(tasting the beef)</parenthetical>
<dialogue>Interesting. Almost as interesting as the photographs I saw today.</dialogue>
<character>63</character>
<dialogue>CONTINUED:</dialogue>
<character>JANE</character>
<parenthetical>( {nervous)</parenthetical>
<dialogue>I was young. I needed the work.</dialogue>
<character>FRANK</character>
<dialogue>They were taken at Ludwig's docks. A ship came in. A, Panamanian ship. It wasn't on Ludwig's records.</dialogue>
<character>JANE!</character>
<dialogue>Probably an oversight. How's your ••• meat?</dialogue>
<character>FRANK</character>
<dialogue>You be the judge of that.</dialogue>
<scene_description>Be places a piece of meat in. her mouth. She seduc- tively sucks on his finger.</scene_description>
<character>JANJS:</character>
<dialogue>Mmmmmmm.</dialogue>
<character>,,,--\_</character>
<dialogue>FRAHK</dialogue>
<scene_description>I've got nine mor1e. Be takes out a photo of the "I Luv You." FRANK{cont.) Have you seen this ship?</scene_description>
<character>JANE</character>
<dialogue>I don't know. I don't think it's one of ours, but we deal with so many ships ••• Baa, Officer Nordberg been able to ••• uh, tell you anything yet?</dialogue>
<character>FRANK</character>
<dialogue>No, unfortunate11, there was an attempt on his life and he's back in a coma.</dialogue>
<character>JANE</character>
<dialogue>Oh, that's terrible. The world ia such a violent place.</dialogue>
<character>FRANK</character>
<dialogue>If it wasn't, then I'd be out of a job -- I'd be back on the circuit, riding motocross. But I'd give it all up tomorrow to live in a world</dialogue>
<scene_description>' without crime.</scene_description>
<character>63</character>
<dialogue>JANE</dialogue>
<character>CONTINUED: ( 2)</character>
<dialogue>( That's beautiful.</dialogue>
<scene_description>She kisses him.</scene_description>
<character>FRANK</character>
<dialogue>This is all happening too fast.</dialogue>
<scene_description>She kisses him again. FRANK(cont.) I've been hurt before.</scene_description>
<character>JANE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>Her game is over. She's falling for this guy. F~tANK ••• I'd known her for years. We'd go to all the pc,lice functions together. Oh, how I loved her. But she had her music. (a pause) I think she had her music. She hung around with the Chicago Male Chorus and Symphony. (a pause) I don't recall her playing an instrument. Or being able to carry a tune. Yet she was on the road three hundred days a year. In fact, I bought her a harp for Christmas. She asked me what it was. Frank shakes his head, sadly. FRANK(cont.) It's the same old story. Boy finds girl. Boy loses girl. Girl finds boy. Boy forgets the girl. Boy remembers glrl. Girl dies in a tragic blimp accident over the Orange Bowl on New Year's Day.</scene_description>
<character>JANE</character>
<dialogue>Goodyear?</dialogue>
<character>FRANK</character>
<dialogue>No. The worst.</dialogue>
<character>JANE</character>
<dialogue>Oh, you poor dear.</dialogue>
<scene_description>She 1:1ives him a hug. Teai~s well up in her eyes.</scene_description>
<character>63</character>
<dialogue>FRANK</dialogue>
<character>CONTINUED: ( 3)</character>
<dialogue>Now, now. I didn't mean to upset you.</dialogue>
<character>JANIE</character>
<parenthetical>(in tears)</parenthetical>
<dialogue>No••. no, it's no,t that. Oh, why did you have to be so wonderful? Frank, there's something I ought to tell you.</dialogue>
<scene_description>He puts his finger over her lips.</scene_description>
<character>FRANK</character>
<dialogue>There's no need to say anything. Whatever your past is ... it doesn't matter anymore. We're just two lonely souls that have found each other.</dialogue>
<character>JAN'E</character>
<parenthetical>(gazing at him, lovingly)</parenthetical>
<dialogue>Hey, funny face •••</dialogue>
<scene_description>She playfully tweaks his nose. ON JANE She unbuttons one button, her shirt falls seductively to the floor. ON FRANK He unbuttons one top button. His suit peels off his shoulders seductively and falls to the ground. Be stares at her in wonderment.</scene_description>
<character>JANE</character>
<dialogue>I want you to kn01w, I practice safe sex.</dialogue>
<dialogue>So do I.</dialogue>
<character>64</character>
<dialogue>Romantic MUSICup.</dialogue>
<character>INT. BEDROOM</character>
<dialogue>.,,,.-- They' re rolling around on t:he bed, in romantic embrace •</dialogue>
<scene_description>They are each we~ring huge body condoaa. They fit skin-tight, their arms fitt:ing through special sleeves as though they're going to be handling plutonium. The faces are distorted, pulled tight as behind a stocking. CONTINUED: MUSICswells as they roll around the bed in ecstasy. We.hear lots of SQUEAKING sounds.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH- DAY</stage_direction>
<scene_description>Frank and Jane running on the beach to the Berman's Hermits' SONG: "I'm Into Something Good." MONTAGE</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARNIVAL- COTTONCANDYSTAND- DAY</stage_direction>
<scene_description>At a carnival, they watch the man make them a cotton candy. Frank wants to try·. Be sticks his hand in the machine. The candy is wrapped around Frank's arm. They laugh.</scene_description>
</scene>
<scene>
<stage_direction>INT. TATTOOPARLOR- DAY</stage_direction>
<scene_description>Getting matching tattoos. They laugh.</scene_description>
</scene>
<scene>
<stage_direction>INT. BARBERSHOP - DAY</stage_direction>
<scene_description>Jane watches Frank getting a haircut. Hair covers him and the floor. He gets out of the chair. His hair hasn't changed.</scene_description>
</scene>
<scene>
<stage_direction>INT. CESSNA- DAY</stage_direction>
<scene_description>Flying a Cessna. Frank at the controls. He takes his hands off the wheel. Laughs when Jane screams.</scene_description>
</scene>
<scene>
<stage_direction>INT. SKI MOCKOP - DAY</stage_direction>
<scene_description>Skiing. Frank pushes off, starting down huge ski jump. 70A ABC WIDE WORLD</scene_description>
<character>OF SPORTS CL:IP (STOCKFOOTAGE)</character>
<dialogue>70A</dialogue>
<scene_description>"And the Agony of Defeat." 70B INSERT - JANE 70B helping Frank up. Both laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOT DOGSTAND- DAY</stage_direction>
<scene_description>Eating at a hot dog stand. Prank shakes the mustard bottle. The cap wasn't on it. Bis shaking sprays mustard all over her dress. They laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOVIEMARQUEE</stage_direction>
<character>- DAY 72</character>
<dialogue>A movie theatre marquee reads: "Platoon." Frank and Jane·exit laughing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PIER - DAY</stage_direction>
<scene_description>Playing "Rocks, Paper, Scissors" ga~~. They laugh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH</stage_direction>
<scene_description>Running in SLO MO. Jumping in SLO MO. BEACHAT SUNSET Bumping into another couple running the other way in SLO MO. Laughing in SLO MO. As the SONGends, they are in a kiss.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET WHEREJANE LIVES - NIGHT</stage_direction>
<scene_description>Frank and Jane are standing under a street lamp kissing -- they break their embrace and begin walking hand-in- hand.</scene_description>
<character>JANE</character>
<dialogue>I had a wonderful day, Frank.</dialogue>
<character>FRANK</character>
<dialogue>Do you mean it, Jane? Don't feel you have to say it just because we've exchanged bodily fluids.</dialogue>
<character>JANE</character>
<dialogue>No. I mean it. You're very special. Can I in,terest you in a nightcap?</dialogue>
<character>FRANK</character>
<dialogue>No thanks, I already have one. Actually, I'm on duty tonight -- we got a stake-out. But I'll be thinking of you. I'll call you tomorrow.</dialogue>
<scene_description>They kiss.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LUDWIG'SAPARTMENT</stage_direction>
<character>BUILDING- NIGHT</character>
<dialogue>76</dialogue>
<scene_description>It's one of those elegant, old, elaborately-carved buildings from the 20's. We PAN DOWNto reveal Ed and Frank in a car parked across the street.</scene_description>
<character>77</character>
<dialogue>Frank.and Ed are eating pistachio</dialogue>
<character>INT. CAR</character>
<dialogue>nuts.</dialogue>
<scene_description>and mouths are covered with pink dye. Frank's got somewhat of a new hairdo. A stupid little greased curl on his forehead. Be's in love.</scene_description>
<character>FRANI<:</character>
<dialogue>I tell you, the answer's up there, Ed, in Ludwig's apartment. Call it what you will -- a hunch, woman's intuition -- this guy Ludwig knows more than he's letting on.</dialogue>
<character>ED</character>
<dialogue>A hunch won't stand up in court,</dialogue>
<scene_description>Frank. Where's your hard facts!?</scene_description>
<character>FRANK</character>
<dialogue>Look, he was the only person outside of ourselves who knew that Nordberg was still alive -- then the next thing, some thug tries to knock off Nordberg in the hospital •••</dialogue>
<character>ED</character>
<dialogue>.... That may be but breaking into</dialogue>
<scene_description>Ludwig's apartment ••• You're taking a big chance.</scene_description>
<character>FRANK</character>
<parenthetical>(looking around)</parenthetical>
<dialogue>Damnl If I can only put my finger on it. I feel like we're just •o close to cracking this case.</dialogue>
<character>ED</character>
<dialogue>Close only counts in oral sex, Frank.</dialogue>
<character>78</character>
<dialogue>EXT. APARTMENT</dialogue>
<character>BUILDING - NIGHT</character>
<dialogue>78</dialogue>
<scene_description>Ludvig leaves the building, gets into his car and drives oft.</scene_description>
<character>79</character>
<dialogue>INT. FRANKANDED'S CAR - NIGHT</dialogue>
<scene_description>Frank starts to get out of the car.</scene_description>
<character>FRANK</character>
<dialogue>Trust me on this one, Ed. I know I'm right.</dialogue>
<character>ED</character>
<dialogue>Okay, Frank ••• but be careful.</dialogue>
<character>FRANK</character>
<parenthetical>(with a confident smile)</parenthetical>
<dialogue>Get yourself a good night's sleep. I'll see you in the morning.</dialogue>
<scene_description>Be opens the car door. It's a bit of a struggle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CAR - NIGHT</stage_direction>
<scene_description>We see the problem. A huge mound of pistachio shells- has piled up against the door. Bl INT. LUDWIG'SAPARTMENT</scene_description>
<character>HALLWAY</character>
<dialogue>- NIGHT Bl</dialogue>
<scene_description>Frank is trying to use a credit card to open the door. It doesn't-work. Be tries another one an We see that he's got seven or eight of them on a key ring. The third one works and the door opens.</scene_description>
</scene>
<scene>
<stage_direction>INT. LUDWIG'SAPARTMENT</stage_direction>
<character>- NIGHT 82</character>
<dialogue>It's dark. The only illumination supplied by the moon- light, which streams through the large windows. Frank quietly, carefully closes the door. Be checks out the room. Be stealthily makes his way across the room. Be notices his shoes are leaving deep indentations in the plush carpet. Be decides to take his shoes off. Be leaves them by the front door. Be can't leave a trace the apartment has been searched. Be opens a few dra- wers. Finds nothing. Carefully closes them. Be leaves one a crack open. Returning it exactly the way he found it. Be looks behind books in the bookshelf. Maybe a secret hiding place will give some clue. Noth- ing. Always so careful. So meticulous. To the desk. Frank opens the desk drawer.</dialogue>
<character>FRANK</character>
<dialogue>Bingo.</dialogue>
<scene_description>Be takes a bingo card out of the drawer. Returns it. Clo••• the drawer and returns the chair with accurate preciaion. Be examines a shelf of crystal and vases, behind picture frames, meticulously returning each to its original position. Be stops at a player piano, turns it on briefly and then manually rewinds the music roll. Be back• up over a fox-head rug in front of the fireplace. Nhen he steps on its neck, the teeth clamp down on his cuff. Frank walks across to a console in which there is a bank of buttons. Be's dragging the fox rug along behind him.</scene_description>
<character>CONTINUED:</character>
<dialogue>THE-CONSOLE</dialogue>
<dialogue>Be pushes the buttons which are remote controls to the fireplace (it lights automatically), a curtain which opens and closes, and doors which conceal a wet bar. Be sees a table upon which is constructed a house of cards. Just in back of this, we can see a bank of three security TV monitors, scanning various areas of the building. But Frank is interested in the piece of paper under the house of cards. But how to get at it? Be ever so carefully places his thumb and index finger around the paper, and with one lightning-quick pull, removes it. The cards remain in place. He looks at the piece of paper.</dialogue>
<scene_description>82A INSERT - PAPER 82A It's a note: $20,000,000.00 deposited -- Omani Bank, Zurich -- upon proof of Queen's death. Pahpshmir 82B BACKTO FRANK 82B He's shocked. MUSIC sting. Be puts it in his jacket pocket. As Frank turns to leave, he catches sight of the fox out of the corner of his eye. Be jumps and screams out, trying to shake the fox loose. Be stum- bles against the player piano, tripping the switch causing the wild BONKYTONK TUNE to start up. Frank stumbles backward against the shelf of crystal vases. A vase topples forward and falls. Be catches it just in time. Then another falls. Be catches it, then another. Then another. It looks like a circus act. Be trips on a lamp cord. The crystal goes flying. A vase CRASHESinto the console of switches, lighting the fireplace. Prank looks up in time to see the floor lamp start to fall toward the oil painting over the fireplace. Prank lunges, removing the priceless paint- in9 just in the nick of time. But when he turns a- round, he stumbles over a table, skewering the painting on a cactus plant. 82C FIREPLACE 82C one end of ·the floor lamp has fallen into the fire- place. Fire is travelling all the way to the other end of the lamp, igniting the curtains. 82D FRANlt 82D grabs a tablecloth, and dishes, glasses and candelabra go flying. Be tries to beat out the flames. Something catches his eye on the security monitor.</scene_description>
</scene>
<scene>
<stage_direction>82E EXT. APARTMENT</stage_direction>
<character>BUILDING - NIGHT</character>
<dialogue>It's Ludwig, exiting door·.</dialogue>
<character>82E</character>
<dialogue>his</dialogue>
</scene>
<scene>
<stage_direction>82EE INT. LUDWIG'SAPARTMENT 82EE</stage_direction>
<scene_description>Frank beats harder. But the curtains start to open and close wildly, controlled by the console switches. 82F FRANK 82F Water starts to fall on his head. He looks up. It's the ceiling fire sprinklers. They've gone on, drench- ing everything. 82G THE ROOM 82G Starts to smoke up. Frank opens a window. Two pigeons fly inside.</scene_description>
</scene>
<scene>
<stage_direction>828 SECURITYMONITORS- INT. LUDWIGAT BUILDINGHALLWAY 82H</stage_direction>
<character>- NIGHT</character>
<dialogue>Ludwig is emerging from elevator, wal\_ki~g down the. hall.</dialogue>
<scene_description>82-I FRANK 82-I Shoos the pigeons out. Only to have six more fly in. Frustrated, he pulls his gun and begins SHOOTINGat the pigeons, causing even more destruction. 82J SECURITYMONITORS - INT. LUDWIG'SAPARTMEN'l'</scene_description>
<character>- DOOR 82J</character>
<dialogue>- NIGHT</dialogue>
<dialogue>Ludwig is at the door, turning the key •••</dialogue>
<scene_description>82K FRANK 82K looks out th• window. There's a ledge. He'll use it to escape. Be climbs onto it. EXT. BUILDING - FRANKON THE LEDGE- NIGll'l' Be closes the window. Edges himself away from the windows. Be looks down. 83A PRANK'S POV 83A The street, twenty stories below. 83B EXT. ON THE LEDGE- FRANK- NIGll'l' 83B shuffles his way along the small ledge. (CONTINOEt>) 83B CONTINUED: 83B Be's making his way past bas relief sculptures of various naked human figures in heroic poses. Be's grabbing onto whatever he can to keep his balance. Be has bi• hands on a female carving's breast. Be makes his way holding onto breasts of the other carvings that adorn the building. Be's reached a corner. Be reaches around the corner.</scene_description>
</scene>
<scene>
<stage_direction>83C EXT. WINDOW</stage_direction>
<character>LEDGE- NIGHT</character>
<dialogue>A woman with large breasts opened window. Frank's hand gropes for something hang onto. knows, he has another carving. Frank rounds the corner. the hair brush. Frank loses his balance. penis. lose balance and fall backward through an opened win- dow.</dialogue>
<character>83C</character>
<dialogue>is combing her hair in to Frank grabs onto her breast. The woman screams. The woman swings at him Grabs onto a male figure's It breaks off in his hand, causing Prank to</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - NIGBT</stage_direction>
<scene_description>Frank falls into the bedroom. It's the same woman, hysterically dialing the police. She turns to see Frank coming toward her holding a huge stone penis. She screams, as we FADE TO•••</scene_description>
</scene>
<scene>
<stage_direction>INT. MAYOR'SOFFICE - MORNING</stage_direction>
<scene_description>The Mayor is reading from a sheet of paper to Ed and Frank.</scene_description>
<character>MAYOR</character>
<dialogue>Entering without a search warrant, destroying property, arson, sexual assault with a concrete dildo?? What the hell were you doing there in the first place?</dialogue>
<character>FRANK</character>
<dialogue>Yes, yes, I know and I'm sorry about all that, Your Bonor, but we now have reason to believe ••• that Victor Ludwig is involved in a plot to assassinate the Queen!</dialogue>
<character>MAYOR</character>
<dialogue>That's ridiculous. And where i• this evidence?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FRANK</character>
<dialogue>I'm afraid it, uh ••• burned, uh, in the fire.</dialogue>
<character>MAYOR</character>
<dialogue>Now let's get serious, gentlemen. Victor Ludwig is a respected member of this community. And if we are all very nice to him from now on, he will agree not to press charges. Besides, Police Squad is hardly in a position to accuse anyone while one of your own men is suspected of drug dealing.</dialogue>
<character>FRANK</character>
<dialogue>But, Mr. Mayor •••</dialogue>
<character>MAYOR</character>
<dialogue>Do you understand what I'm saying, gentlemen? Victor Ludwig is not a suspect in any criminal activity. Therefore, he is not under investigation by the Police Department of this city. Do I make myself clear?</dialogue>
<scene_description>Boeken and Frank get up to leave.</scene_description>
<character>ED</character>
<dialogue>Yes, Your Honor, quite clear. Good day.</dialogue>
<scene_description>They head toward the door.</scene_description>
<character>MAYOR</character>
<dialogue>Oh, Drebin.</dialogue>
<scene_description>Frank atopa. MAYOR(cont.) - I don't want any more trouble like you had last year on the south side ••• understand? That'• my policy. l'RANlt Yeah, well, when :I see five weirdo• dressed in toga• stabbing a guy in the middle of a park in full view of a hundred people, I ahoot the baatards. That's my policy. (CON'l'INOED) The Mayor's face reddens with anger.</scene_description>
<character>MAYOR</character>
<dialogue>It was the "Shakespeare in the Park" Festival production of Julius Caesar, you moron -- you killed five actors. Good ones.</dialogue>
<scene_description>FRANK Mr. Mayor, I •••</scene_description>
<character>MAYOR</character>
<dialogue>Drebin -- you're going to forget about Victor Ludwig. That will be all, Lieutenant.</dialogue>
<scene_description>Ed hustles Frank out before he can reply.</scene_description>
</scene>
<scene>
<stage_direction>INT. LUDWIG'S APARTMENT</stage_direction>
<character>- DAY 86</character>
<dialogue>Ludwig is standing in the middle of the charred hulk that was his apartment. We see the remnants of all his prized possessions. Two of his THUGSare picking through the wreckage in the b.g. Ludwig is holding a broken shard of Ming vase in his hands.</dialogue>
<character>LUDWIG</character>
<parenthetical>(kicks over the tea table)</parenthetical>
<dialogue>I want this ~uy DEAD! I want him dea, ! ...</dialogue>
<scene_description>THUG We're trying to locate •••</scene_description>
<character>LUDWIG</character>
<dialogue>Did I ask you what you're trying to do ••• ???</dialogue>
<scene_description>THUG No, Mr. Ludwig, I ••• LUDWIG I want you to get this louse where he breathes. I want you to find this nancy-boy. Frank Drebin. I want him dead. I want his family dead. I want his house burnt to the ground, I want to go there in the middle of the night and piss in the ashes. Frank starts to put the key in the door and stops he hears faint VOICES. Be draws his gun, kicks open the door and FIRES his gun into the room. On the table in the front hall, Frank's answering machine is running.</scene_description>
<character>87A</character>
<dialogue>INT. FRONTBALL- FRANK'S APARTMENT</dialogue>
<scene_description>ANSWERINGMACHINE (male voice) So anyway, thanks for the tickets Cheryl and I really enjoyed the game. I'll talk to you next week. 'Bye.</scene_description>
<character>(BEEP)</character>
<dialogue>Frank puts his gun back in its holster and takes off his coat. Be takes off his shoulder holster by unbuttoning it in the back like a bra and hangs it with his coat. Be walks to the answering machine (there are bullet holes all around it,) and presses rewind/play.</dialogue>
<character>87B</character>
<dialogue>We FOLLOWFrank into</dialogue>
<character>INT. KITCHEN</character>
<dialogue>the kitchen</dialogue>
<scene_description>being played back. ' ,f I</scene_description>
<character>ANSWERING MACHINE</character>
<dialogue>Bello, Frank? This is Mike at Mike's Auto. We found the problem: it's a fifteen cent lightbulb -- we'll replace it -- be ready in a half hour.</dialogue>
<character>(BEEP)</character>
<dialogue>Frank opens the refrigerator and takes out a carton of milk and smells it: he winces and pours it out in the sink. It com•• out in huge chunks.</dialogue>
<scene_description>ANSWERING MACHINE(cont.) Prank? It's Mike. Looks like you've got an electrical short in your dash. We'll take care of it - should be 25 bucks, max.</scene_description>
<character>(BEEP)</character>
<dialogue>Prank? Mike again. While•• were under the car, we found a leak in your transmission -- $40 ou9bt to do it -- car'll be ready at four.</dialogue>
<character>(BEEP)</character>
<dialogue>Prank, we got a loaner for tb• week for you -- 45 bucks a day, we'll forget about the mileage.</dialogue>
<scene_description>Prank next removes a jar of mayonnaise fr011 another shelf. Re looks at the label.</scene_description>
<character>87C</character>
<dialogue>INSERT - LABEL</dialogue>
<scene_description>It reads: Best if used before June, 1982.</scene_description>
<character>870</character>
<dialogue>870</dialogue>
<scene_description>places it gingerly on the counter. ANSWERINGMACHINE</scene_description>
<character>(BEEP)</character>
<dialogue>Bad news, Frank -- the engine we were putting in your car fell on Raoul. Raoul's attorney will be calling you shortly to straighten this out.</dialogue>
<character>(BEEP)</character>
<dialogue>Hello, Mr. Drebin. This is Hernando Escalante of Gonzales, Fernandez, Escalante and McCormack. I need to have a talk with your attorney. Please call me at 555-8595.</dialogue>
<character>(BEEP)</character>
<dialogue>Frank goes back into the refrigerator. Be pulls out a deli carton from way in the back, lifts the lid, takes a deep breath and faints. ·</dialogue>
<scene_description>--- ANSWERING MACHINE(cont.) Bello, Frank? This is Bernie. Don't worry, I won't let those bastards get a penny of your money!</scene_description>
<character>(BEEP)</character>
<dialogue>Okay, Frank, I just had lunch with Hernando Escalante -- he's not a bad guy. Y'know, they've got a pretty good case -- we haggled tor a while -- Raoul's got tour kids -- seems his wife cleans our house -- ■aall world, isn't it? Anyway, look, we talked tor a while, we haggled, I got him down to a million five -- not bad for a quad •••</dialogue>
<scene_description>Frank revives, but is a little groggy, can't remember what happened. Be open• the refrigerator door, reaches his hand in:and ■ creama -- he pull• his hand out and it's covered with green slime. Be rush•• to the sink, leaving the refrigerator door open. ANSWERINGMACHINE(cont.) ••• There were some similar ca••• where they gave the death penalty.</scene_description>
<character>ANSWERING MACHINE(CONT.)</character>
<dialogue>By the way, I moved my office -- you can reach me now at Gonzales, Fernandez, Escalante, McCormack and Bernstein, 555-8595.</dialogue>
</scene>
<scene>
<stage_direction>87E INT. REFRIGERATOR 87E</stage_direction>
<scene_description>A hunk of moldy swiss cheese is crawling around by itself.</scene_description>
</scene>
<scene>
<stage_direction>87F INT. KITCHEN- FRANK - DAY 87F</stage_direction>
<scene_description>He hears the SOUNDof a door opening, pulls out his gun. The kitchen door opens and ••• it's Jane.</scene_description>
<character>FRANK</character>
<parenthetical>(surprised to see her)</parenthetical>
<character>JANE</character>
<dialogue>Frankl</dialogue>
<parenthetical>(embraces him)</parenthetical>
<dialogue>I tried to call -- your line was busy, so I just came over. You know, I left something here the other night.</dialogue>
<character>FRANK</character>
<parenthetical>(huskily)</parenthetical>
<dialogue>I know.</dialogue>
<scene_description>He pulls a pair of pink panties marked "'l'uesday" out of his pocket.</scene_description>
<character>JANE</character>
<dialogue>No ••• It was an address book.</dialogue>
<character>FRANK</character>
<dialogue>Oh •••</dialogue>
<scene_description>He looks at the panties.</scene_description>
<character>JANE</character>
<dialogue>Whose are those?</dialogue>
<scene_description>FRANtt Gee, must've got these out of Forensics. Lot of confusion in the lab lately.</scene_description>
<character>(CONTINOED)</character>
<dialogue>Be quickly throws them away.</dialogue>
<scene_description>FRANK(cont.) But that's not important right now. There's something I have to talk to you about.</scene_description>
<character>JANE</character>
<dialogue>Sure, Frank, what?</dialogue>
<character>FRANK</character>
<dialogue>I was at Victor Ludwig's apartment last night.</dialogue>
<character>JANE</character>
<dialogue>Oh, how nice! Did he show you his collection of priceless Ming vases? And all those rare oil paintings? And how about that wonderful player piano?</dialogue>
<scene_description>She starts to hum the tune that played while Frank destroyed the apartment. Frank is getting more and more distressed.</scene_description>
<character>FRANK</character>
<dialogue>Jane ••• Janel Please just listen to me. Ludwig isn't the respectable businessman that everyone thinks he is.</dialogue>
<character>JANE</character>
<dialogue>Frank, what are you saying?</dialogue>
<character>!'RANI(</character>
<dialogue>I'm saying that his business activities aren't limited to shipping and real estate. They include illegal drugs and terrorist activities •••</dialogue>
<character>JANE</character>
<dialogue>Frank, atop itl Victor Ludwig is a well-respected, generous, kind man. It's just too bad you don't know him like I do.</dialogue>
<character>!'RANK</character>
<dialogue>Yeah. And how's that?</dialogue>
<character>JANE</character>
<dialogue>f What ia that supposed to mean?</dialogue>
<scene_description>87F CONTINUED: (2) 87F They stare at each other for a moment. Frank calms down-.</scene_description>
<character>FRANK</character>
<dialogue>I'm sorry, it's just that I ... I worry about you. I don't trust him and I don't want to see you mixed up in anything dangerous.</dialogue>
<character>JANE</character>
<dialogue>I appreciate your concern, I really do, but you're wrong about Victor. In fact, he wanted me to tell you he wants to have a talk with you -- to clear up any doubts you may have about him.</dialogue>
<character>FRANK</character>
<parenthetical>(suspiciously)</parenthetical>
<dialogue>When?</dialogue>
<character>JANE</character>
<dialogue>Tonight. Be wants you to meet him at the 7th Street stockyards, near the 53rd Street entrance.</dialogue>
<character>FRANK</character>
<dialogue>All right ••• but please promise me you'll be careful.</dialogue>
<character>JANE</character>
<dialogue>Of course, Funny Face. I will. For you.</dialogue>
<scene_description>She gives him a peck on the cheek. JANE (cont.) I've gotta run. See you tomorrow! She runs off. Frank is concerned. 88 £XT •. 7'JB STREET STOCKYARDS</scene_description>
<character>- HIGHT 88</character>
<dialogue>Franll walks furtively up to a locked gate. Be pulls a hair pin from his hair and picks the lock. The lock opens.</dialogue>
<scene_description>CtJ'1' TO:</scene_description>
</scene>
<scene>
<stage_direction>SSA EXT. STOCKYARDS</stage_direction>
<character>- HEAR BUILDING - HIGHT BSA</character>
<dialogue>Frank inside the stockyards near a large building sur- rounded by cows. Be hears a DOORCLOSE. We see a DARK FIGORE emerge from the building.</dialogue>
<scene_description>SBA CONTINUED:</scene_description>
<character>FRANK</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Ludwig?</dialogue>
<character>THUG 2 ( V. 0. )</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Drebin?</dialogue>
<character>FRANK</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Yeah, I'm -Oreb in.</dialogue>
<character>THUG 2 (V .O.)</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>I have a message for you from Victor Ludwig.</dialogue>
<scene_description>The Thug pulls a gun and FIRES a shot at Frank.</scene_description>
<character>FRANK</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>I'm sorry, I didn't hear you. Don't fire the gun when you talk.</dialogue>
<scene_description>Another SHOT zings past Frank. Be ducks, pulls his gun and FIRES back. The Thug runs behind a herd of cows. As they continue to exchange FIRE, cows start to drop. As they drop, their moos sound like groans. cow11 Moooo oh ah. cow12 Ooooh oh no. cow13 M0000wh00000. A cow is hit right next to Frank. She MOOSloudly. The Thug•• gun CLICKS -- he's out of bullets.~ Be runs into the building. Frank puts his coat over the cow and runa after him.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUILDING- NIGHT</stage_direction>
<scene_description>It is a huge processing plant where the beef is ground up and made into hot dogs. Frank enters cautiously. The smell is very bad. Be has a determined look on his face aa he walks- ~~utiously down a long hall. The more he walks, the worse the smell and the sicker he gets. Suddenly he hears a somm -- he can't make out what it is -- there'• lots of ECHOES. When he turn• the cor- ner, he•••• the Thug leaning over the rail of a cat- walk, sick from the smell. Prank ia getting queasy. Be FIRES his gun. Be misses. The Thug FIRES back. They are both running along catwalks on either side of the huge beef vats. Frank stops, SHOOTSthree times and vomits over the rail. The Thug tries to get off a shot, but vomits over the side of the catwalk instead. The two men are now much closer -- but are out of bul- lets. They slug it out. The fight is very slow and each punch makes them even more queasy. The fact that each is getting punched in the stomach isn't making things any easier. At one point, they both stop fight- ing to vomit over the rail, side by side. Finally the Thug is so sick he can't fight back: he holds up his hand as if to say, "en·ough," and turns towards the rail. Everything that's left in his stomach comes up in a huge lurching movement and he goes flying over the rail and into the vat below.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLUSH EXCLUSIVECOUNTRY</stage_direction>
<character>CLUB - NIGHT</character>
<dialogue>Richly-attired</dialogue>
<character>90</character>
<dialogue>guests are walking the grounds. A sign</dialogue>
<scene_description>says: "ROYALWELCOMING COMMITTEEOFFICIAL RECEPTION."</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM</stage_direction>
<character>- CLOSEUP- A BIG CAKE 91</character>
<dialogue>with the face of the Queen on it. A knife cuts into the Queen's image. CAMERAPANS past formally-attired guests, ENDINGon Victor Ludwig talking to a "guest."</dialogue>
<character>LUDWIG</character>
<dialogue>Any news from the stockyards?</dialogue>
<character>TBOG 12</character>
<dialogue>Not yet. But don't worry. We've taken care of it. You'll never- be bothered by Prank Drebin again.</dialogue>
<scene_description>92 CLOS - NIGBT EXT. COON'l'RY 92 A police helicopter appears overhead~ as it gets closer, it start• to BLOWthe guests away. It finally landa on the ch&mpagne tent, CRUSHINGit.</scene_description>
</scene>
<scene>
<stage_direction>92A EXT. 1111 BBLICOPTER- NIGHT 92A</stage_direction>
<scene_description>Ed huatlea out of the chopper and into the main build- ing. INT. EN'l'RYBALL - NIGBT Ed and two plainclothesmen are in the large hallway where all the rich and famous are gathered. CONTINUED:</scene_description>
<character>ED</character>
<dialogue>Matthews, stake out that end! Adcock, check for anyone suspicious-looking!</dialogue>
<scene_description>Frank enters. ED (cont.) Frank! Where've you been?</scene_description>
<character>FRANK</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>At the stockyards -- trading shots with one of Ludwig's goons. They must be planning to do it tonight, Ed -- here. That's why they were trying to knock me off.</dialogue>
<character>ED</character>
<parenthetical>(starting to look around)</parenthetical>
<dialogue>Right. We better be on the lookout.</dialogue>
<scene_description>A MATRONLY WOMAN walks by in an exotic gown decorated with many large plastic rings.</scene_description>
<character>FRANK</character>
<dialogue>Excuse me, madam.</dialogue>
<scene_description>Be reaches for the woman's arm to stop her, but his hand grabs onto one of the rings. The woman keeps going, and Frank is left holding onto a ring -- and half of the flimsily-constructed gown. The woman screams. FRANK(cont.) Oh••• sorry, ma'am. Rave a nice evening. Re !lat• down another woman and begins to frisk her vittl a hand-held metal detector. It BEEPS wildly in the aoat undignified places. Her RDSBANDis indignant.</scene_description>
<character>HUSBAND</character>
<dialogue>Heyl What's the meaning of this?ll</dialogue>
<scene_description>Prank turns on him. Ed is standing behind the man.</scene_description>
<character>FRANK</character>
<dialogue>Okay, sonny, just hold it right there, huh?</dialogue>
<scene_description>(COHTINOED): CONTINUED: The JD&ntries to take his wife away. Frank grabs him. FRANK(cont.) C'mon, c'mon, turn around easy, relax, nothing's gonna happen. Frank starts to frisk him. Ed holds him closely from behind.</scene_description>
<character>HUSBAND</character>
<dialogue>Hey! I didn't do anything!</dialogue>
<character>FRANK</character>
<dialogue>Oh, yeah -- then what're you doing with this?</dialogue>
<scene_description>Frank pulls out a revolver from Ed's pocket, thinking it's from the suspect. Be proceeds to pull out more guns, a badge, a knife from a leg. Then finally a wallet. Be examines the contents. FRANK (cont.) (indignantly) Look here, Chief, he's got a picture of your wife! Ed sees this and slugs the guy. A crowd gathers. FRANK(cont.) (threatening onlookers) Anybody else here seeing his wife?</scene_description>
<character>ED</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>That's okay, Frank. That's enou9h. Let's get to the ballroom.</dialogue>
<scene_description>94 - NIGHT</scene_description>
<character>INT. BALLROOM</character>
<dialogue>94</dialogue>
<scene_description>A hundred tables filled with guests eating dinner. At the podium, a WBITE-BAIREDMANdrones on about England's rich history and the importance of the Queen's visit. 94A AT LUDWIG'S-TABLE 94A Ed and Frank enter. Ludwig is seated at a table with Jane and other dignitaries. Prank approaches. Jane is eating ••• 94B INSERT - CAKE- TBE QUEEN'S EYE 94B</scene_description>
<character>LUDWIG</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Orebin!</dialogue>
<character>JANE</character>
<dialogue>Frank.</dialogue>
<character>FRANK</character>
<dialogue>You're both right. Surprised to see me, Mr. Ludwig?</dialogue>
<scene_description>Frank is handed a piece of cake by the waiter. 94C INSERT - IT'S TBE QUEEN'S NOSE 94C The frosting around the nostril unfortunately gives the impression that the nose is running.</scene_description>
<character>LUDWIG</character>
<dialogue>This is not the time and place to talk.</dialogue>
<character>FRANK</character>
<dialogue>It's way past the time we tal.ked. The gloves are off, Ludwig~ I'm playing hardball. It's fourth and fifteen. And you're looking at a full court press.</dialogue>
<scene_description>INSERT - CAKE The waiter gives Ludwig the Queen's ear.</scene_description>
<character>LUDWIG</character>
<dialogue>I'd be careful, Lieutenant. I can make one phone call and you're off the force.</dialogue>
<character>FRANK</character>
<dialogue>Go ahead. I'll make two phone calls and get back on the force.</dialogue>
<scene_description>Ludwig gets up from his chair.</scene_description>
<character>LUDWIG</character>
<dialogue>Mr. Orebin. If you have evidence,</dialogue>
<scene_description>then use it. It not, I'm warning you to get ott my back. Or I promise you it will cost you dearly. Be turns on his heel and exits.</scene_description>
<character>940</character>
<dialogue>JANE</dialogue>
<character>CONTINUED:</character>
<dialogue>Frank, what's wrong?</dialogue>
<scene_description>Frank sits in Ludwig's seat.</scene_description>
<character>FRANK</character>
<dialogue>A lot of things, Sweetie Pie. A little meeting that turned into a peek-a-boo session with bullets. All set up by someone who's been playing me like a violin, at the Annual Saps' Convention. ~ JANE ~Funny face, I don't know what</dialogue>
<scene_description>you're talking about.</scene_description>
<character>FRANK</character>
<dialogue>My stockyard meeting, Butterwings. Or don't you remember setting it up?</dialogue>
<character>JANE</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Ludwig said you called the meeting off. Believe me, I •••</dialogue>
<scene_description>t FRANK Bum me another one, Shnooky Lumps. Be takes a bite of the Queen's nose. Be starts to exit. Jane goes after him. Grabs him.</scene_description>
<character>JANE</character>
<dialogue>It's the truth!</dialogue>
<character>FRANK</character>
<dialogue>It's true what they say. Cops and women don't mix. It's like eating a spoonful of Drano. Sure, it will clean you out. But it leaves you hollow inside. Too bad, sugar puff •••</dialogue>
<parenthetical>(touches her cheek)</parenthetical>
<dialogue>We could have been something.</dialogue>
<scene_description>Be exits. Jane is close behind.</scene_description>
<character>94E</character>
<dialogue>- TABLE</dialogue>
<character>ANOTHERPART OF BALLROOM</character>
<dialogue>94E</dialogue>
<scene_description>r---</scene_description>
<character>JANE</character>
<dialogue>I was only doing what I was told to do.</dialogue>
<scene_description>94E CONTINUED: 94E</scene_description>
<character>FRANK</character>
<dialogue>Like make love to me?</dialogue>
<character>JANE</character>
<dialogue>Frankl</dialogue>
<scene_description>She slaps him.</scene_description>
<character>FRANK</character>
<dialogue>That only makes things easier, princess. To think I trusted you. I made a big mistake.</dialogue>
<character>JANE</character>
<dialogue>But, Frank ••• You've got to let me explain.</dialogue>
<character>FRANK</character>
<dialogue>Better do it while I'm still alive, sweetheart -- It's turned cold outside. Or did you leave your heart open?</dialogue>
<scene_description>Be takes a garter from an inside pocket. FRANK(cont.) Take this back.</scene_description>
<character>JANE</character>
<dialogue>Whose is that?</dialogue>
<scene_description>Frank looks at it ••• throws it away.</scene_description>
<character>FRANK</character>
<dialogue>It doesn't matter! Take care, baby. By the way ••• I faked every orgasm.</dialogue>
<scene_description>Be storms off, leaving a broken Jane. ":</scene_description>
<character>JANE</character>
<parenthetical>(through tears; barely a whisper)</parenthetical>
<dialogue>Punny face.</dialogue>
</scene>
<scene>
<stage_direction>94P INT. BALLROOM</stage_direction>
<character>- TBE PODIOM 94F</character>
<dialogue>A thin, middle-aged WOMAN</dialogue>
<scene_description>is now speaking.</scene_description>
<character>WOMAN</character>
<dialogue>And now, ladies and gentlemen, it gives me great pleasure to introduce the man who has --</dialogue>
<scene_description>94F CONTINUED: 94F</scene_description>
<character>WOMAN (CONT.)</character>
<dialogue>-- more than anyone, made it</dialogue>
<scene_description>possible for us to celebrate this magnificent moment in our city's history. The Mayor of Chicago, the Honorable Paul z. Basta. All rise in APPLAUSEas the Mayor approaches the podium, and shakes the Woman's hand warmly.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM</stage_direction>
<character>- ANOTHERAREA 95</character>
<dialogue>Jane catches up to Ludwig and his Thug.</dialogue>
<character>JANE</character>
<dialogue>The stockyard meeting was just a trap, wasn't it?</dialogue>
<character>LUDWIG</character>
<dialogue>I understand how it may look to you like that, but I assure you I have no idea who tried to kill Lieutenant Drebin.</dialogue>
<character>JANE</character>
<dialogue>But you told me you were going to meet him.</dialogue>
<character>LUDWIG</character>
<dialogue>I'm sorry, my dear, but I was detained. By the time I got there, he was gone. Now let's have some champagne, shall we?</dialogue>
<character>JANE</character>
<dialogue>not entirely convinced.</dialogue>
</scene>
<scene>
<stage_direction>INT. BALLROOM</stage_direction>
<character>- TBE PODIOM 96</character>
<dialogue>MAYOR</dialogue>
<scene_description>And to commemorate our common heritage, the City of Chicago is honored to present to the Royal Family this Revolutionary War musket, originally used during the Battle of Deerfield. Be opens a velvet case revealing the antique musket. MAYOR(cont.) Ladies and gentlemen, I present to you now, Her Royal Majesty Queen Elizabeth II. All rise in APPLAOSE. Frank, Ed and Al stand in front of a row of English- uniformed guards. The guards all raise trumpets and blow out a loud FANFARE. Frank and Ed cringe and stagger forward, covering their ears in pain.</scene_description>
</scene>
<scene>
<stage_direction>INT. BANQUETROOM- ANOTHERAREA</stage_direction>
<scene_description>QUEENELIZABETH II makes a grand, pompous, Royal en- trance, accompanied by the Royal entourage. 98A ON FRANK 98A Still groggy from the horn blast, he staggers toward the Queen. 98B PODIUM- FRANK'S POV - LUDWIG 98B Smiling, Ludwig lifts the musket out of its case. 98C BACKTO FRANK 98C alarmed, starts to run toward the Queen. 980 INSERT - HANDSON CHAMPAGNE</scene_description>
<character>BOTTLE</character>
<dialogue>working</dialogue>
<character>980</character>
<dialogue>the cork.</dialogue>
<scene_description>98E ON QUEEN 98E approaching end of banquet table with entourage. 98F PODIUM- ON LUDWIG 98F raising the rifle. 98G ON CHAMPAGNE BO'l'TLE 98G The cork POPS. Lots of corks are POPPING. 98B AT DRQtJET TABLE - ON FRANK 98B Horrified, he lunges full-speed, tackling the Queen backwards onto the banquet table. They slide along the tabla, crashing through candelabra, punch bowls, an ice sculpture of Buckingham Palace and a cake shaped like Big Ben. The applause stops as they crash through one final candelabra. Frank is sprawled on top of the Queen in the missionary position, his head buried in her cleavage, her legs wrapped around his waist. It opens slowly. It's Jane. She quietly closes the door ·behind her and creeps stealthily over to the file cabinet. She's looking through the files when she hears. door OPENING. JANE terror-stricken, backing away. A shadow cast by the door begins to cross her face. She turns and runs into a closet. DOORWAY Ludwig and Pahpshmir enter.</scene_description>
<character>PAHPSHMIR</character>
<dialogue>·The baseball game?</dialogue>
<character>100</character>
<dialogue>- JANE</dialogue>
<character>INT. CLOSET - LUDWIG'S APARTMENT</character>
<dialogue>100</dialogue>
<scene_description>hiding in closet, peeks through opening. 100A LUDWIG'SAPARTMENT l00A</scene_description>
<character>LUDWIG</character>
<dialogue>f ,----- Can you think of a better place</dialogue>
<scene_description>for an assassination?</scene_description>
<character>LUDWIG</character>
<dialogue>walks toward closet.</dialogue>
<character>PAHPSHMIR</character>
<dialogue>When?</dialogue>
<scene_description>l00B INT. CLOSET - JANE l00B tries to hide•• f•r b•ck •• •he c•n among the clothes. !00C LODWIG'SAPARTMENT l00C Ludwlg turns combin•tion of w•ll s•fe behind• picture.</scene_description>
<character>LUDWIG</character>
<dialogue>The •seventh Inning Stretch.• With everyone st•nding up, the ••••••in will be le•• notice•ble when he •ppro•che• the Queen.</dialogue>
<character>100D INT. CLOSET - JANE - DAY</character>
<dialogue>look• down to •ee • RAT! She g••P•• putting her h•nd</dialogue>
<character>1000</character>
<dialogue>over her mouth to •uppre•• • •cream. The rat crawl• over her high-heeled •hoes. She back• up a little more.</dialogue>
<scene_description>l00E INT. APARTMENT</scene_description>
<character>- DAY</character>
<dialogue>PABPSHMIR(O.S.)</dialogue>
<scene_description>Clever. Just another over-zealous fan in the stands. l00F INT. CLOSET- DAY l00F Jane steadies herself by resting her hand on the wall. CLOSEUP- JANE'S HAND Hideous BOGScrawling all over it. Jane feels tingling sensations, looks at her hand, full of crawling in- sects. She gasps -- again, she can't scream. l00G - DAY INT. APARTMENT l00G</scene_description>
<character>LUDWIG(O.S.)</character>
<dialogue>Not a fan ••• a player!</dialogue>
<scene_description>Pahpshmir is impressed.</scene_description>
<character>PAHPSHMIR(O.S.)</character>
<dialogue>Well done, Ludwig. It's a brilliant plan.</dialogue>
<scene_description>l00B INT. CLOSET- DAY 100B Jane tries to move further back in the closet. Sudden- ly from above her and just behind, we see a huge PYTHON drop down INTO FRAMEand start to slither past her neck and down her shoulder. She dives headfirst to the far- thest end of the closet, remarkably still somehow under control. She stumbles, grabbing a few coats on the way down. She falls in a heap on the floor, coming face- to-face with a framed picture of Tammy Faye Bakker in her old makeup. Jane takes one look at this and -- it's a bloodcurdling scream. 100-I IN'l'. LODWIG'SAPARTMENT</scene_description>
<character>- ANGLE- CLOSETDOOR- DAY 100-I</character>
<dialogue>Jane bur ■ t• out the door and slams it behind her -- no sip of-Ludwig or Pahpshmir. They've gone. Jane runs out ■creaming. A beat ••• then CRASH! The head of a hideous, drooling ALIEN MONSTERbursts through the top half of the door.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE\_SQOAD- MORNING</stage_direction>
<scene_description>INSERT - NEWSPAPrt ON DESK The headline reads: "City Disgraced." The four-column picture is of Frank and the Queen at the end of their slide down the table, but now Frank is a ■ tride her doggie-style, both faces looking right into the cUlera, Frank wide-eyed with shock, the Queen'• expression could be misconstrued as one of sexual climax.</scene_description>
<character>ED</character>
<dialogue>It's disgusting the way they splash this stuff all over the newspapers.</dialogue>
<scene_description>Ed looks down at assorted newspapers on the desk. Each one shows Frank and the Queen in a different awkward position. ED (cont.) What is journalism coming to? You're laying on top of the Queen with her legs wrapped around you and they call that news? Imagine -- treating an officer of the law like some Presidential candidate! It's just not fair! Frank is putting things into a cardboard box. Be's packing up. There are a half dozen other DETECTIVESin the b.g., watching.</scene_description>
<character>FRANK</character>
<dialogue>Now, now, life isn't always fair. Life is what happens when you're busy making other plans.·</dialogue>
<scene_description>Be looks out the window, wistfully. FRANK(cont.) Just think, the next time I shoot somebody, I could be arrested. Frank is pulling out a long string of paper clips from a drawer. It keeps coming and coming •. It's endless. Al is standing next to him, his head OUT OF FRAME. Tears are talling down INTO FRAME. Lots of them. Al is snitfling. FRANK(cont.) It'• okay, Al. Don't you worry about me. Now I can take that dog team into the Yukon like I always wanted to ••• Be pull• out an old document. FRANK(cont.) Bey, wait a minute! It's that missing piece of evidence from the Kelner case. By God, he!.!! ( innocent.</scene_description>
<character>ED</character>
<dialogue>He went to the chair two years ago, Frank.</dialogue>
<character>FRANK</character>
<dialogue>Well •••</dialogue>
<scene_description>Frank tosses the document away. FRANK(cont.) Oh, what's the use! In frustration, he starts smashing things on the desk. FRANK(cont.) What good are all these damn citations now. Be breaks a plaque in half, tears up some diplomas, smashes some framed pictures. Finally, he takes out the whole middle drawer and smashes it to pieces on top of the desk. Al taps Frank on the shoulder.</scene_description>
<character>AL</character>
<dialogue>Uh, wait a minute, Frank.</dialogue>
<scene_description>Frank breaks a glass sculpture and scrapes it across the wood finish top. AL (cont.) Uh ••• Frank? Frank stops momentarily, looks up at Al.</scene_description>
<character>FRANK</character>
<dialogue>What is it, Al?</dialogue>
<character>AL</character>
<dialogue>••• That's my desk.</dialogue>
<scene_description>Frank looks down at what he's done. AL (cont.) You're over there. Be points over to Frank's desk, all neat and untouched.</scene_description>
<character>FRANK</character>
<dialogue>Well •••</dialogue>
<scene_description>Be picks up a photograph in a smashed frame. FRANK (cont.) I didn't think I recognized her. .LOl CONTINUED: (3)</scene_description>
<character>ANGLE- DOOR</character>
<dialogue>Jane bursts in.</dialogue>
<character>JANE</character>
<dialogue>Frank!</dialogue>
<character>FRANK</character>
<dialogue>What are you doing here? Running another errand for your boyfriend?</dialogue>
<character>JANE</character>
<dialogue>I called you all last night -- I even came by your place. Where were you?</dialogue>
<character>FRANK</character>
<dialogue>I was out walking all night.</dialogue>
<scene_description>JANE You've got to listen to me. I have important information for you. Please believe me.•. Victor Ludwig and I ••• there was never anything between us. He likes East German men.</scene_description>
<character>FRANK</character>
<dialogue>And what about you?</dialogue>
<scene_description>Jane looks Frank straight in the eye.</scene_description>
<character>JANE</character>
<dialogue>I like cops.</dialogue>
<scene_description>All the assembled Detectives start to take off their coats.</scene_description>
<character>DETECTIVES</character>
<parenthetical>(lasciviously)</parenthetical>
<dialogue>Bey, ho, hubba ho hey, umunah, umunah, umunahl</dialogue>
<character>FRANK</character>
<dialogue>Come on, guys, settle down, easyl</dialogue>
<scene_description>All become quiet. FRANK (cont.) What've you got?</scene_description>
<character>JANE</character>
<dialogue>You were right all along, Prank, Ludwigis up to no good. Be'• going to kill the Queenl</dialogue>
<parenthetical>(CON'l'INOED)</parenthetical>
<scene_description>101 CONTINUED: (4)</scene_description>
<character>FRANK</character>
<dialogue>Where?</dialogue>
<character>JANE</character>
<dialogue>The baseball game -- during the Seventh Inning Stretch. It's going to be one of the players!</dialogue>
<character>ED</character>
<dialogue>Of course! You were right, Frank. We better get there, before it's too late.</dialogue>
<character>FRANK</character>
<dialogue>Listen, I've got you guys in enough trouble already. Don't risk it for me. I'll go alone.</dialogue>
<character>ED</character>
<dialogue>It this'll get you back on the force, Frank, we're all behind you.</dialogue>
<character>DETECTIVES</character>
<dialogue>Yeah, right, we're with ya; Frankl</dialogue>
<scene_description>Frank looks around, touched.</scene_description>
<character>FRANK</character>
<dialogue>Alright.</dialogue>
<character>CHEERS.</character>
<dialogue>JANE</dialogue>
<scene_description>I'm going, too.</scene_description>
<character>FRANK</character>
<dialogue>No, this is going to be too dangerous. We're about to go face to face with vicious terrorist killers. There's bound to be gun play. Even in the best of circumstances, we figure to lose half these men.</dialogue>
<scene_description>In the b.g., the men are beginning to get nervous. FRANK(cont.) I don't want you to see bullets rip through flesh ••• The men are starting to back away, make phone calls, find other things to do, tiptoe out the room, etc. CONTINUED: (5) FRANK(cont.) ••• policemen writhing on the floor, in pain, calling out for help, begging their God to end the suffering quickly •••</scene_description>
<character>ED</character>
<dialogue>Frank, we better get going.</dialogue>
<scene_description>Frank snaps out of it.</scene_description>
<character>FRANK</character>
<parenthetical>(to Jane)</parenthetical>
<dialogue>Where's Ludwig right now?</dialogue>
<character>JANE</character>
<dialogue>He's accompanying the Queen during her afternoon schedule. She'll be the guest of honor at the Veterans of Unjust Wars Luncheon and then the baseball game is at two P.M. I'm supposed to be with them.</dialogue>
<character>FRANK</character>
<dialogue>Then do it. Stay with them. We don't want to arouse any suspicion.</dialogue>
<scene_description>Jane gazes into his eyes.</scene_description>
<character>JANE</character>
<dialogue>Frank?</dialogue>
<character>FRANK</character>
<dialogue>Yes?</dialogue>
<character>JANE</character>
<dialogue>I wanted you to know ••• now••• I've loved you since the first day I met you and I'll never stop. I'm a very lucky woman.</dialogue>
<character>FRANK</character>
<dialogue>So am I.</dialogue>
<scene_description>Be turns to the men. . FRANK(cont.) Alright, let's get goingt 102 EXT. BASEBALLSTADitJM- EN'l'RANCES - DAY 102 Fans are pouring in. A lot of security rings each entrance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX- BASEBALLSTANDS- DAY</stage_direction>
<scene_description>The-Queen is being seated, with the Mayor at her side.</scene_description>
<character>STADIUMP.A. (O.S.)</character>
<dialogue>Ladies and gentlemen, before we give you today's starting line-up, it is our pleasure to introduce to you our city's most distinguished royal visitor and our special guest for today's baseball game, Her Majesty, Queen Elizabeth II.</dialogue>
<scene_description>All rise in APPLAUSE. MUSIC plays "God Save the Queen," etc. ROYALBOX SEATS - THE QUEEN She's in the middle of passing a hot dog down the row and money back the other way. EXT. BALL PARK- ROYALBOXSEATS - DAY Ludwig is seated with Jane, near the Queen.</scene_description>
<character>LUDWIG</character>
<dialogue>My dear, is something bothering you?</dialogue>
<character>JANE</character>
<dialogue>Why, no. Why do you ask?</dialogue>
<character>LUDWIG</character>
<dialogue>You haven't said a word. You seem ••• nervous.</dialogue>
<character>JANE</character>
<dialogue>Oh, well, you know what an important game this is for the Cubs.</dialogue>
<character>JANE AND LUDWIG</character>
<dialogue>Jane is looking around the stadium, wondering if Frank will appear.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CENTERFIELD BLEACHERS</stage_direction>
<character>- DAY 105</character>
<dialogue>Frank is looking out over the field from the first row. Security guards stand in their usual positions to prevent fans from getting onto the field. Frank turns around and goes back.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR- DRESSINGROOM- DAY</stage_direction>
<scene_description>Frank rounds a corner. CONTINUED: Be sees an AFFAIRS COORDINATOR for the ball club speaking to ENRICO PALLAZZO,a pompous, portly man in his fifties. To act unsuspicious, Frank bends over to tie his shoes. Be listens closely.</scene_description>
<character>COORDINATOR</character>
<dialogue>Our head usher will be here in two minutes to take you onto the field. You can wait in here.</dialogue>
<character>ENRICO</character>
<parenthetical>(angry)</parenthetical>
<dialogue>Why isn't he here now? I don't like being made to wait. I want him here nowt I don't wait for</dialogue>
<scene_description>-- him, he waits for me 1 Do you understand?</scene_description>
<character>COORDINATOR</character>
<dialogue>Yes, sir. I'll send him right over.</dialogue>
<scene_description>The Coordinator exits. Enrico enters the dressing room. Frank waits for the Coordinator to clear the hall. Be then walks up to the dressing room door. Knocks. Enrico answers.</scene_description>
<character>ENRICO</character>
<dialogue>Yes.</dialogue>
<character>FRANK</character>
<dialogue>I'm the head usher. I'd like to show you something.</dialogue>
<scene_description>Be gives him a quick hack on the neck. Enrico falls backward, unconscious. Frank quickly enters the dressing room. Closes door. Not a second too soon. The BEADOSHERTAPS on the door.</scene_description>
<character>BEADOSHER (O.S.)</character>
<dialogue>Mr. Pallazzo?</dialogue>
<scene_description>Frank opens the door. Yes.</scene_description>
<character>BEADOSHER</character>
<dialogue>Would you come with me?</dialogue>
<scene_description>A MOANis emitted by the o.s. Enrico.</scene_description>
<character>FRANK</character>
<dialogue>One second.</dialogue>
<scene_description>He closes the door. We hear Frank give Enrico several quick JABS to the chin. The MOANING stops. Frank reappears. FRANK(cont.) Well, then ••• He gestures for the Head Usher to lead on. He follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTFIELD- DAY</stage_direction>
<scene_description>Frank enters the outfield. A color guard surrounds him. Frank and the color guard march to center field. Frank is now standing at a microphone.</scene_description>
<character>(O.S.)</character>
<dialogue>P.A.</dialogue>
<scene_description>All rise. And join in singing our national anthem. With Metro Area opera star Enrico Pallazzo ••• This is news to Frank. P.A. (O.S.) (cont.) .•• who is just about to sign a multi-million dollar recording deal with RCA Records •.•</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- RCA REP</stage_direction>
<scene_description>seated in the stands. He holds up a contract.</scene_description>
<character>P.A. (O.S.)</character>
<dialogue>••• making it the most lucrative recording contract yet for any recording artist.</dialogue>
</scene>
<scene>
<stage_direction>EXT. OUTFIELDAT MICROPHONE</stage_direction>
<character>- FRANK 109</character>
<dialogue>impressed.</dialogue>
<scene_description>• P • A. ( 0. S • ) ( cont • ) Mr. Enrico Pallazzo. Nice APPLAUSE. Frank acknowledges the response. Gives a wink. Blows a kiss to the throng.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOXSEATS - QUEEN</stage_direction>
<scene_description>Applauding. Ludwig thinks Pallazzo looks familiar. Be looks out to center field •oiamond Vision.•</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTFIELDAT MICROPHONE</stage_direction>
<character>- FRANK</character>
<dialogue>The ORGANbegins the intro. Frank softly clears his throat. Then sings. It sets music back a generation. Frank is selling it. Giving it all he's got. But he's got nothing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CROWDSTANDS- ED</stage_direction>
<scene_description>searching the stands. See's that it's Frank singing the national anthem. Can't believe it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX SEATS - LUDWIG</stage_direction>
<scene_description>watching Frank's face filling the Diamond Vision screen. Be's enraged. Jane winces at the sour notes.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSINGROOM- ENRICO</stage_direction>
<scene_description>tied up with his tie. Gagged with his handkerchief. Over a LOUDSPEAKER, he hea·rs the butchering of his good name and talent. Be's near tears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- RCA REP</stage_direction>
<scene_description>not pleased. Thumbing through the con~ract for an out. INFIELD - NEARTHIRD BASE - TWOPLAYERS standing in line near third base. They look at each other and wince.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTFIELDAT MICROPHONE</stage_direction>
<character>- FRANK 117</character>
<dialogue>really getting into it now, he's belting it out like a pro. But he's left out the entire middle of the song, and mangling the words.</dialogue>
<character>FRANK</character>
<parenthetical>(singing)</parenthetical>
<dialogue>••• And the rocket's red glare, lots of bombs in the air •••</dialogue>
<scene_description>nn. DRESSINGROOM Enrico hears Frank butchering National Anthem over a speaker in room. Be struggles to get out of his bonds. Revenge is in his eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- RCA REP - DAY</stage_direction>
<scene_description>rips up the contract.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTERFIELDNALL - DAY</stage_direction>
<scene_description>Security personnel emerge from doors in wall and begin to creep up behind Frank.</scene_description>
<character>120</character>
<dialogue>FRANK</dialogue>
<character>120</character>
<parenthetical>(singing)</parenthetical>
<dialogue>••• gave proof through the night, that we still had a flag •••</dialogue>
<character>120A EXT. OUTFIELDAT MIKE - FRANK- DAY</character>
<dialogue>notices</dialogue>
<character>120A</character>
<dialogue>them behind</dialogue>
<character>121</character>
<dialogue>Furious, finally struggles out of the room.</dialogue>
<character>INT. DRESSINGROOM- ENRICO</character>
<dialogue>free</dialogue>
<character>122</character>
<dialogue>still</dialogue>
<character>EXT. OUTFIELDAT MIKE - FRANK- DAY</character>
<dialogue>singing,</dialogue>
<character>FRANK</character>
<dialogue>••• What so proudly we hail, uh, da da da da da dahhhh ••••</dialogue>
<scene_description>The security men charge. Frank swings at one with the microphone stand, and karate kicks another, then escapes through the door. The security men get up just as the real Enrico Pallazzo appears in the doorway. They all jump him.</scene_description>
<character>123</character>
<dialogue>VIN SCULLYat the mic.</dialogue>
<character>INT. ANNOUNCER'SBOOTH- DAY</character>
<dialogue>VIN</dialogue>
<scene_description>A good afternoon to everyone. This is Vin Scully. Along with Dick Enberg and Keith Jackson •••</scene_description>
<character>124</character>
<dialogue>ENBERGand JACKSONare</dialogue>
<character>ANGLE- NEXT 800TB</character>
<dialogue>in the booth next</dialogue>
<character>VIN</character>
<dialogue>• • • Joe Garagiola,Al Michaels, Tim Mccarver and Willy Mays .•• and Dr. Joyce Brothers.</dialogue>
<character>ANGLE</character>
<dialogue>Yup, they're ther~. too.</dialogue>
<scene_description>I VIN</scene_description>
<character>VIN</character>
<dialogue>••• bringing you this all-important ball game. Settle back, enjoy. We got a good one for ya.</dialogue>
<character>125</character>
<dialogue>Frank thinking over his next move. The umpires pass him on their way to the field. up the rear.</dialogue>
<character>INT. TUNNELNEAR UMPIRES' LOCKERROOM</character>
<dialogue>The crew chief brings Frank takes him aside.</dialogue>
<character>FRANK</character>
<dialogue>Maybe you could help me with my ticket.</dialogue>
<scene_description>He reaches into his suitcoat. He gives the ump a quick hack on the neck with the back of his hand. Frank drags the ump into the umps' locker room.</scene_description>
</scene>
<scene>
<stage_direction>125A INT. ANNOUNCER'S</stage_direction>
<character>BOOTH- VIN</character>
<dialogue>VIN</dialogue>
<character>125A</character>
<dialogue>The ball yard is packed. 45,000 fans anxiously awaiting the first pitch. Being kept entertained by the stadium's Diamond Vision. Showing the crowd those fantastic baseball plays over the years.</dialogue>
<character>126</character>
<dialogue>VISION</dialogue>
<character>DIAMOND</character>
<dialogue>126</dialogue>
<scene_description>Series of great catches. Diving, over the shoulder, reaching into the stands, scaling the wall. The bang- ing into the fences, the dugout, colliding with one another. Breathtaking. The crowd "OOH'S" and "AAH'S" at each highlight.</scene_description>
<character>127</character>
<dialogue>INT. UMPS' LOCKERROOM</dialogue>
<scene_description>Frank starts undressing. A MAINTENANCE MANenters. He sees Frank undressing. And the ump lying across a bench. Bis rear end in the air. Be puts two and two together and comes up with "Love, San Francisco Style."</scene_description>
<character>MAINTENANCE</character>
<dialogue>MAN</dialogue>
<scene_description>Sorry, fellas. Be exits quickly. Frank continues undressing.</scene_description>
<character>128</character>
<dialogue>marveling</dialogue>
<character>EXT. ROYALBOX SEATS - QUEEN</character>
<dialogue>at the Diamond Vision</dialogue>
<character>LODWIG</character>
<dialogue>tates out a radio. Jane makes note of this.</dialogue>
<scene_description>,,,,,........\_ 129 DIAMOND</scene_description>
<character>VISION</character>
<dialogue>129</dialogue>
<scene_description>Shortstop goes back for a bloop fly ball. Before he can get to it, he is hit by a car. 129A Outfielder goes back, back, back to the fence. Jumps 129A up for the ball. Bits the fence. Bis head flies over the-wall. Blood gushes out of his neck.</scene_description>
</scene>
<scene>
<stage_direction>INT. UMPIRES' LOCKERROOM- FRANK</stage_direction>
<scene_description>in the ump's clothes. Be has tied up the ump. Gagged him. And puts him in his locker. Be picks up the limp· chest protector. He starts to blow it up. DIAMONDVISION A runner breaks for second on a steal attempt. He slides into second only to be pounced on by a waiting, hungry lion.</scene_description>
</scene>
<scene>
<stage_direction>INT. UMPIRES' LOCKERROOM- FRANK</stage_direction>
<scene_description>Be's blowing into the inflated chest protector. Going beyond its capacity.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANNOUNCER'SBOOTH- VIN</stage_direction>
<character>VIN</character>
<dialogue>The officials for today's game are Bob Coney, Norm Cummings, Dan Zola, and Nester Kunkel behind home plate.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TUNNEL- FRANK- DAY</stage_direction>
<scene_description>comes out onto the field. He looks slightly ridiculous in his over-inflated chest protector. With the mask over his face, he can't be recognized. A round of BOOS greets him. Frank takes exception.</scene_description>
<character>VIN (O.S.)</character>
<dialogue>And now the ceremonial first pitch.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX - QUEEN</stage_direction>
<scene_description>The home team CATCHERpresents her with a ball. Be stand■ back, ready to receive the throw. The Queen to■••• out the ball, the crowd APPLAUDS.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANNOUNCER'SBOOTB- VIN</stage_direction>
<character>VIN</character>
<dialogue>And with that bit of royal ceremony completed, we're ready to play ball. And I'm sure that group of lovely ladies would agree.</dialogue>
<character>137</character>
<dialogue>-DAY</dialogue>
<character>EXT. GRANDSTAND</character>
<dialogue>137</dialogue>
<scene_description>A row of well-dressed players' wives seated together in one of the front rows.</scene_description>
<character>VIN</character>
<dialogue>They ought to •.• those are the players' wives, on hand to enjoy the game with us today.</dialogue>
<character>138</character>
<dialogue>keeping</dialogue>
<character>EXT. BEHIND CATCHER- FRANK- DAY</character>
<dialogue>an eye on the Queen.</dialogue>
<character>138A ANGLE- DODGERS'DUGOUT</character>
<dialogue>The home team MANAGER</dialogue>
<character>138A</character>
<dialogue>glares at Frank.</dialogue>
<character>MANAGER</character>
<dialogue>Well, Kunkel. We going to do this today?</dialogue>
<character>138B EXT. BEHIND CATCHER- DAY</character>
<dialogue>Frank wakes up.</dialogue>
<character>138B</character>
<dialogue>FRANK</dialogue>
<scene_description>Play ball! \ l38C EXT. FIELD - DAY l38C The team takes the field. The crowd CHEERS. Frank likes the feeling. He made it all happen. Be takes his place behind the Catcher.</scene_description>
<character>139</character>
<dialogue>EXT. STANDS- ED - DAY</dialogue>
<scene_description>keeping an eye on things.</scene_description>
<character>140</character>
<dialogue>EXT. ROYALBOXSEATS - JANE - DAY</dialogue>
<scene_description>concerned. LtJDWIG apprehensive. 141 FRANK - BEB;tND CATCHER 141 watching the players.</scene_description>
<character>142</character>
<dialogue>,,,,,.......\_</dialogue>
<character>INT. ANNOUNCER'SBOOTH- VIN</character>
<dialogue>VIN</dialogue>
<scene_description>' Batter steps in for L.A. Vin continues with stats, sidelights, anecdotes during the following.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLATE - VISITING TEAMSHORTSTOP- DAY</stage_direction>
<scene_description>steps up to the plate. Fidgets with his uniform. Digs in. Fidgets some more with the uniform. Spits. Grabs his crotch. Digs in. Takes a few swings. Steps out. Spits. Grabs his crotch. Pulls the uniform out of his rump. Spits. Grabs his crotch. Clears his nose. Sticks his hand in his pants. Fumbles and adjusts the· family jewels. Spits. Grabs his crotch. Steps in. 143A THIRD BASE COACH 143A is spitting. Grabbing his crotch.</scene_description>
</scene>
<scene>
<stage_direction>143B EXT. THE MOUND</stage_direction>
<character>- THE PITCHER - DAY 143B</character>
<dialogue>looking in for the sign, spits. Grabs his crotch.</dialogue>
<scene_description>143C EXT. DUGOUT- HOMETEAMMANAGER l43C In dugout, spits, grabs his crotch.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- THE PLAYERS' WIVES - DAY</stage_direction>
<scene_description>spitting. Grabbing their crotches.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTFIELDWALL- ANGLE- DAY</stage_direction>
<scene_description>Centerfielder is peeing against the outfield wall. FRANK- BEHINDCATCHER eyeing Shortstop suspiciously. Shortstop is ready.</scene_description>
<character>FRANK</character>
<dialogue>Good luck, pal.</dialogue>
<scene_description>Be pats him on the back. FRANK(cont.) That uniform on straight? Frank's got both hands on him searching for weapons. Shortstop is puzzled. FRANK(cont.) Okay, batter up. The Pitcher- looks in for a sign. Frank crouches over the Catcher. Bis hands start to searcb the Catcher. The Catcher, in the midst of giving the sign, looks back up at Frank (what the hell are you doing?l) Frank backs off. FRANK(cont.) Okay, let's play balll</scene_description>
<character>146</character>
<dialogue>The first pitch comes in. Catcher and Shortstop has a decision</dialogue>
<character>CONTINUED:</character>
<dialogue>He takes it. look to Frank. to make. He takes a guess.</dialogue>
<scene_description>FRANK(cont.) Strike? Shortstop is upset. The crowd CHEERS. Frank enjoys the positive response. Calls it out with a more resonant, flamboyant style. FRANK(cont.) Steeeeerike! Crowd loves it. Frank swaggers a bit. Next pitch. Shortstop~takes it. Frank leaps up, wild-eyed, punching-the air in front of him repeatedly with both fists. FRANK(cont.) Steeeeeerike!!! The crowd CHEERS. Frank is really into it now. He crouches for the next pitch. Shortstop takes again. Frank whirls around, throws his fist in the air. I ,,,,,.--. FRANK(cont.) Strike three!!! Be pulls his fist dramatically tight to his chest, "moonwalking" back away from the plate. The crowd is delirious. MONTAGE</scene_description>
<character>147</character>
<dialogue>Frank umpiring</dialogue>
<character>EXT. FIELD - BEHINDCATCHER- DAY</character>
<dialogue>and using</dialogue>
<scene_description>players. 147A Frank searches batters. 147A 147B EXT. MOOND</scene_description>
<character>- DAY 147B</character>
<dialogue>Frank walks out to pitcher's mound to inspect the ball and searches the Pitcher. In his pockets he finds sandpaper, an emery board and, finally, an electric belt sander. Frank returns the paraphernalia to the astonished Pitcher and starts up the game again.</dialogue>
<character>147C BEHINDCATCHER</character>
<dialogue>Frank flamboyantly</dialogue>
<character>147C</character>
<dialogue>calling</dialogue>
<scene_description>Frank breaking bats, looking for cork. 147E Visiting Team Runner slides into home plate, Frank 147E pats him down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- DAY</stage_direction>
<scene_description>Crowd does the wave.</scene_description>
</scene>
<scene>
<stage_direction>148A EXT. ROYALBOX 148A</stage_direction>
<scene_description>Queen doing the wave.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - THIRD BASE - DAY</stage_direction>
<scene_description>Third baseman, camped under a high pop fly, gets searched by Frank. INSERT - SCOREBOARD Scoreboard showing the innings going by, the score changing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOMEPLATE - DAY</stage_direction>
<scene_description>Home run hitter crosses the plate, gets high fives from players. Frank gives him five and pats him down~ pats everyone down.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUND</stage_direction>
<character>- DAY 152</character>
<dialogue>VISITING TEAMMANAGER</dialogue>
<scene_description>walks out to the mound, taps his left elbow.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANNOUNCER'S</stage_direction>
<character>BOOTS</character>
<dialogue>VIN</dialogue>
<character>153</character>
<dialogue>••• And evidently, the visiting team manager has seen enough. So he goes out to the mound to try and settle down his young pitcher.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TU MOCND- DAY</stage_direction>
<scene_description>Visting Team Manager Joins Catcher and second baseman in typical conference on the mound.</scene_description>
<character>PITCHER</character>
<dialogue>Look, Tommy, everybody is afraid of giving up themselves and just ••• being.</dialogue>
<character>MANAGER</character>
<dialogue>Well, if you mean that in all of us there is an unaddressed urgency lying at the heart of our hope for ourselves •••</dialogue>
<character>PITCHER</character>
<dialogue>No. I mean simply that we could not exist without all three of the dimensions that sustain us.</dialogue>
<character>SHORTSTOP</character>
<dialogue>Are you talking beyond the human context?</dialogue>
<character>MANAGER</character>
<dialogue>Hold it, Steve. I'll ask the fuckin' questions because I'm the fuckin' manager.</dialogue>
<scene_description>Visiting Team Manager signals the bull pen for another lefthander. MANAGER (cont.) (to Pitcher) Look, Bowell's gonna be here in a second. Just tell me: are you talking about two forces, equal opposites or an outside duality?</scene_description>
<character>155</character>
<dialogue>(</dialogue>
<character>EXT. ROWSEATS NEARROYALBOXAREA- DAY</character>
<dialogue>r' waiting.</dialogue>
<scene_description>FRANK Edi Have you spotted anything yet?</scene_description>
<character>ED</character>
<dialogue>No. And Ludwig hasn't moved. Have you found anything yet?</dialogue>
<character>FRANK</character>
<dialogue>Nothing. I've searched almost everyone. I need another couple innings to check out the rest.</dialogue>
<character>ED</character>
<dialogue>Frank, we don't have time. Look at the scoreboard.</dialogue>
<character>156</character>
<dialogue>INSERT - SCOREBOARD</dialogue>
<scene_description>It shows seventh inning, two outs.</scene_description>
<character>157</character>
<dialogue>BACK TO FRANK</dialogue>
<character>FRANK</character>
<dialogue>If Pahpshmir was telling the truth, the assassin will make his move on the next out.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>ED</character>
<dialogue>Right, Frank. You've got to stall 'em until we can find the killer.</dialogue>
</scene>
<scene>
<stage_direction>INT. BOOTH</stage_direction>
<character>VIN</character>
<dialogue>So, it's two outs, we're in the top of the seventh inning with Kenny Howell, the new pitcher, ready to deliver.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE MOUND- DAY</stage_direction>
<scene_description>It's a perfect strike.</scene_description>
<character>FRANK</character>
<dialogue>Ball one.</dialogue>
<scene_description>The crowd CHEERS. The Catcher and the Pitcher are angry. He pitches again. A perfect strike. FRANK (cont.) Ball two. The crowd CHEERS. VISITING TEAMDUGOUT- DAY Manager is irate.</scene_description>
<character>MANAGER</character>
<dialogue>What?! That was right down the middle!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE MOUND- DAY</stage_direction>
<scene_description>The Pitcher is angry. Be winds up and pitches again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOMEPLATE - DAY</stage_direction>
<scene_description>The batter swings. It's a high pop-up over home plate. The catcher whips off his mask and, looking straight up, moves back and forth trying to get under the ball. Frank also looks straight up at the ball and moves back and forth, following it. They're bumping into each other. The-Catcher looks at Frank, annoyed, but bravely keeps trying to get under the ball all the while bumping into Frank.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX SEATS - LODWIG- DAY</stage_direction>
<character>LUDWIG</character>
<dialogue>Catch itl catch itl</dialogue>
<scene_description>the game noteworthy. 164 EXT.·soME.PLATE- DAY 164 Finally, frustrated, the Catcher shoves Frank OUT OF FRAME. FRANK takes from his pockets two new balls in each hand and throws them into the air. ANGLE- THE CATCHER Suddenly, he sees five balls coming down on him. He doesn't know which ball to go after. In his confusion, he misses~everything. The crowd CHEERS. The Catcher looks down at his glove. He's caught a set of car keys.</scene_description>
<character>FRANI<</character>
<dialogue>Fair ball!</dialogue>
<scene_description>The Catcher and Pitcher immediately start to protest -- but the runner on third breaks for home. The Pitcher picks up a ball and fires it to the Catcher at the (r" plate. The runner slides. The Catcher is just sitting there waiting. He's out by a mile. FRANK(cont.) Safe!</scene_description>
<character>CATCHER</character>
<dialogue>-</dialogue>
<dialogue>What?ll</dialogue>
<scene_description>EXT. VISITING TEAMDOGOtJ'l'- DAY 165 The Visiting Team Manager is beside himself.</scene_description>
<character>166</character>
<dialogue>Suddenly the man on first</dialogue>
<character>EXT. FIRST BASE - DAY</character>
<dialogue>takes off for second.</dialogue>
<scene_description>catcher whip• around and throws the ball to the second baaeman. The runner is caught in a rundown between firat and aecond. Frank is alarmed, he runs over. THE BASE PATH The first baseman, second baseman and shortstop are doing the typical round-robin rundown. The first base ump is hovering back and forth with the action. Frank { enters alongside the ump, moving with him step-for- step. The ump is annoyed. Frank is bumping into him every step.</scene_description>
<character>(CONTINOED)</character>
<dialogue>Frank starts to follow after the runner directly on the bas• path. Be reaches out and grabs the ball on one pass and throws it back to the second baseman. Now Frank and the second baseman have the runner in a run- down. The runner charges at Frank only to have Frank toss him the ball. Surprised, he tosses it back to Frank like a hot potato. The shortstop is chasing after the ball back and forth between Frank and the runner. It looks as though he's caught in a rundown. The first base umpire, furious, intercepts the ball on Frank's next throw and chases after Frank, throwing the ball at him. He misses, the shortstop catches it, and throws the ball back to the second baseman. They've got the ump caught in a rundown. The first baseman tags the umpire out. The ump angrily takes away his glove. Frank immediately tosses him the ball. The Ump throws it right back. The two Umpires have the runner in a rundown while the players stand by, watching.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE ANNOUNCER'S</stage_direction>
<character>BOOTH- DAY</character>
<dialogue>VIN</dialogue>
<character>167</character>
<dialogue>I know this is hard to believe .•. but apparently, the umpires have got Sandberg in a rundown between first and second.</dialogue>
<scene_description>Be looks at Garagiola and shrugs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BASE PATH- DAY</stage_direction>
<scene_description>The runner makes a desperate, flying headfirst slide under the Ump into first base. Frank rushes up.</scene_description>
<character>FRANK</character>
<dialogue>FIRST BASE UMP</dialogue>
<scene_description>0ut l l l FIRST BASE OMP FRANK Be'• outll Safel l !'rank and the First Base Ump go nose-to-nose, arguing.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE ANNOONCER'SBOOTH- DAY</stage_direction>
<character>VIN</character>
<dialogue>Umps ir. s heated argument. HOw there's a sight I've never seen.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIRST BASE- DAY</stage_direction>
<scene_description>The other Umpire has now joined the argument. They're still nose-to-nose. CONTINUED: The\_First Base Omp is kicking sand on Frank's shoes. Frank kicks sand back on the Omp. Visiting Team Manager and the Cubs' Manager are in there, yelling, too.</scene_description>
<character>FRANK</character>
<dialogue>Be's safe! You never touched him!</dialogue>
<character>FIRST BASE OMP</character>
<parenthetical>(seething)</parenthetical>
<dialogue>You idiot, he was out when he caught the ball in the first place.</dialogue>
<character>FRANK</character>
<dialogue>That's itl I've had enough! You're outta here!</dialogue>
<scene_description>Frank makes a huge gesture, throwing the Omp out.</scene_description>
<character>THIRD BASE UMP</character>
<dialogue>You can't throw an umpire out of a game!</dialogue>
<character>FRANK</character>
<parenthetical>(yelling)</parenthetical>
<dialogue>Alright, you're outta herelll</dialogue>
<scene_description>Be ejects the Third Base Ump. The crowd GOES NUTS.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE ANNOUNCER'S</stage_direction>
<character>BOOTH- DAY</character>
<dialogue>VIN</dialogue>
<character>171</character>
<dialogue>Well, I thought I'd seen everything until this game ••• Now the crew chief has ejected the other two umpires. And I've got a feeling this isn't over yet.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIRST BASE - DAY</stage_direction>
<scene_description>VISITING TEAMMANAGER (pointing to the scoreboard) Lookl Even the guy who works the scoreboard could tell he was out and he's way up in the mezzanine! INSERT - SCOREBOARD It reads: •seventh Inning, Three outs.•</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX SEATS - LUDWIG- DAY</stage_direction>
<scene_description>presses button on his radio. Jane•••• this. BACKTO: Frank sees the scoreboard. He's worried.</scene_description>
<character>176</character>
<dialogue>The Second Baseman is waiting for the decision</dialogue>
<character>EXT. SECONDBASE - DAY</character>
<dialogue>of the</dialogue>
<scene_description>Omps, when we hear the beeping SOUNDcoming from his watch. Suddenly his expression changes. Be is a de- termined zombie. Be begins walking across the field toward where the Queen is sitting.</scene_description>
<character>177</character>
<dialogue>puts</dialogue>
<character>EXT. STANDS- ROYALBOX - JANE - DAY</character>
<dialogue>it all</dialogue>
<character>JANE</character>
<dialogue>Frankl Frankl It's the Second Baseman.</dialogue>
<character>178</character>
<dialogue>FIRST BASE OMP</dialogue>
<character>EXT. FIRST BASE - DAY</character>
<dialogue>He's outll Be's out!</dialogue>
<scene_description>Frank sees the Second Baseman. He pulls his gun. The Umps and Managers back off. ( ~ FIRST BASE UMP (cont.) Alright, alright, he's safe. You were right. Whatever you think best. ·</scene_description>
<character>179</character>
<dialogue>EXT. STANDS- ROYALBOX - LOOWIG- DAY</dialogue>
<scene_description>pulls his gun on Jane.</scene_description>
<character>LUDWIG</character>
<dialogue>Alright, just come with me quietly and nobody's gonna get hurt.</dialogue>
<scene_description>They begin to exit.</scene_description>
<character>180</character>
<dialogue>EXT. PIELD NEARTHIRD BASE - FRANK - DAY</dialogue>
<scene_description>ruu toward the second Baseman. Before he reaches the third base line, Frank lunges and makes• diving tackle.</scene_description>
<character>181</character>
<dialogue>NEARTHIRD BASE - DAY</dialogue>
<character>EXT. OOOGER·DOGOOT/FIELD</character>
<dialogue>181</dialogue>
<scene_description>The dugout empties. The second Baseman's enraged team- mates rush to his defense.</scene_description>
<character>182</character>
<dialogue>EXT. CHICAGODOGOOT/FIELDNEARTHIRD BASE - DAY</dialogue>
<scene_description>The home team runs out onto the field.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THIRD BASE LINE - DAY</stage_direction>
<scene_description>A huge rhubarb erupts. At first it is just a big fist- fight. Then a couple of players get smashed over the head with chairs and bottles. It becomes a barroom brawl.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOXSEATS - THE MAYOR</stage_direction>
<scene_description>Be is very embarrassed. Be looks toward the Queen with a sheepish little smile. The crowd is CHEERING. ANGLE- THE QUEEN MALE (V .O.) (screaming) Hit the fucker in the balls!</scene_description>
</scene>
<scene>
<stage_direction>EXT. THIRD BASE LINE - THE FIGHT - DAY</stage_direction>
<scene_description>It is now just a ridiculously huge pile of guys, kick- ing, clawing and punching. From the bottom of the pile, the Second Baseman emerges, and walks toward the stands. ANGLE- FRANK Be and the Catcher are face mask-to-face mask, stran- gling each other.</scene_description>
<character>FRANK</character>
<dialogue>Where is the Second Baseman?</dialogue>
<scene_description>CATCHER I don't know. I swear to God, I haven't seen himl EXT. FRANK'S POV - DOGOO'l'ANO STANDS- DAY out of the corner of his eye, Frank sees the Second Baseman jump over the dugout and into the stands. 186A THIRD BASE LINE 186A Frank manages to get out of the pile. Be runs toward the dugout -- he's going to jump.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AISLE NEARROYALBOX - LUDWIGANOJANE - DAY</stage_direction>
<scene_description>making their way slowly down the aisle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AISLE NEARROYALBOX - THE SECONDBASEMAN</stage_direction>
<character>- DAY 188</character>
<dialogue>Be is getting c!o~er to the Queen.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX - TBE ROYALPARTY- DAY</stage_direction>
<scene_description>They.are unaware of the danger. They're watching the brawl.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AISLE NEARROYALBOX- FRANK- DAY</stage_direction>
<scene_description>desperate. Remembers his ace in the hole. The cuff links!</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX SEATS - THE SECONDBASEMAN</stage_direction>
<character>- DAY 191</character>
<dialogue>pulls out his gun. Aims at the Queen •••</dialogue>
<character>SECONDBASEMAN</character>
<parenthetical>(in a trance)</parenthetical>
<dialogue>I must kill -- The Queen. I must kill ••• The Queen •••</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROYALBOX SEATS - TBE MAYOR- DAY</stage_direction>
<scene_description>sees him. Opens his mouth. We hear a woman's SCREAM. It's J'ane.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDSCLOSE TO ROYALBOX SEATS - TBE CROWD- DAY</stage_direction>
<scene_description>all look toward the gunman and Queen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDSAT ROYALBOX- FRANK- DAY</stage_direction>
<scene_description>aims his cuff links and FIRES ••• SECONDBASEMAN Be hears a whooshing SOUND, but it misses him. A MOAN from above brings everyone's attention to the upper deck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STANDS- OPPERDECKS- DAY</stage_direction>
<scene_description>We see the victim of Frank's cuff link shot. It's an enormously obese woman. She's grabbing the s&de of her neck, and tottering. EXT. ROYALBOX SEATS - THE SECONDBASEMAN</scene_description>
<character>- DAY 196</character>
<dialogue>looks up, cringes in horror as a widening shadow spreads over him. ANGLE The woman falls from the upper deck, crushing the Second Baseman. The Queen is safe.</dialogue>
</scene>
<scene>
<stage_direction>EXT. NEARROYALBOX SEATS - FRANK- DAY</stage_direction>
<scene_description>Cuff links s1110king, he blows on them. Climbs up toward the Queen. stands up. Points at Frank.</scene_description>
<character>MAYOR</character>
<dialogue>The umpire! Be saved the Queen's life!</dialogue>
<scene_description>Ed rushes up.</scene_description>
<character>ED</character>
<dialogue>That's not the umpire, Your Honor.</dialogue>
<scene_description>Frank dramatically takes off his mask, revealing him- self.</scene_description>
<character>199</character>
<dialogue>A FAN</dialogue>
<character>EXT. STANDSNEAR BOX - DAY</character>
<dialogue>It's Enrico Pallazzo!</dialogue>
<character>200</character>
<dialogue>The crowd takes</dialogue>
<character>EXT. STANDS- DAY</character>
<dialogue>up the cheer.</dialogue>
<character>CROWD</character>
<dialogue>Enrico Pallazzo! Enrico Pallazzo! Yeah! Alright!</dialogue>
<character>201</character>
<dialogue>Ed shrugs.</dialogue>
<character>EXT. ROYALBOX SEATS - DAY</character>
<dialogue>He tried.</dialogue>
<character>MAYOR</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>Drebinl</dialogue>
<character>202</character>
<dialogue>EXT. AISLE TO TUNNEL- LUDWIG- DAY</dialogue>
<scene_description>now heading up the aisle and toward the exit tunnel, all the time holding onto Jane, who in LONGSBOTS, is nothing more than a rag doll, flipping and flopping around with every one of Ludwig's moves.</scene_description>
<character>JANE</character>
<dialogue>Frankl Belpl (Etc.)</dialogue>
<character>203</character>
<dialogue>EXT. ROYALBOX- FRANK- DAY</dialogue>
<scene_description>spots them,-starts to give chase. 204 Err. FIELD AT ~~LAND CONCOORSE</scene_description>
<character>- LUDWIG 204</character>
<dialogue>( Bis escape is blocked by Ed and cops. Be SBOO'rS. They</dialogue>
<scene_description>duck. Be SBOO'rS again. They all jump, the bullets going under them. Be turns the other way.</scene_description>
<character>(CONTINOED)</character>
<dialogue>I ,,,..- Frank is blocking him. Ludwig points the gun at Jane,</dialogue>
<scene_description>holds her hostage.</scene_description>
<character>LUDWIG</character>
<dialogue>Don't come any closer, Orebin.</dialogue>
<character>JANE</character>
<dialogue>He's got a gun.</dialogue>
<character>FRANK</character>
<dialogue>I know.</dialogue>
<character>LUDWIG</character>
<dialogue>You ruined my life, Drebin. Now, I'm going to ruin yours.</dialogue>
<character>FRANK</character>
<dialogue>Leave the girl alone.</dialogue>
<character>LUDWIG</character>
<dialogue>I am. I'm going to kill you.</dialogue>
<character>FRANK</character>
<dialogue>I see.</dialogue>
<scene_description>Ludwig FIRES. It hits Frank's chest protector. FRANK The chest protector slowly deflates. As it does, it makes that balloon-deflating, farting SOUND, all through the following:</scene_description>
<character>LODWIG .</character>
<dialogue>The chest protector saved you this time, Drebin, but now I'm going to aim for your face.</dialogue>
<scene_description>He aims the gun at Frank. Jane bites his hand. She's wrestling with him over the gun. Frank aims the cuff- linka and FIRES. Ludwig is zapped in the neck, the gun dropa to the floor. Frank's cuff links are smoking. JAHB Shaken. LODWIG st~ggers to his right, turns away.</scene_description>
<character>205</character>
<dialogue>INSERT</dialogue>
<scene_description>Ludwig's hand pulling keys from his pocket and pressing the car alarm button on the key chain. It BEEPS.</scene_description>
<character>A FAN</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>You killed him!</dialogue>
<character>FRANK</character>
<dialogue>No, it just stuns him. He'll be okay in a couple of minutes.</dialogue>
<scene_description>Ludwig staggers back to the railing, loses his balance and flips over.</scene_description>
<character>LUDWIG</character>
<dialogue>Ahhhhh!</dialogue>
<character>FRANK</character>
<dialogue>-- Well •••</dialogue>
<character>LUDWIG</character>
<dialogue>falls three stories to the street below. FRANK</dialogue>
<dialogue>looks over the edge.</dialogue>
</scene>
<scene>
<stage_direction>206A EXT. STREET BELOWSTADIUM- LUDWIG 206A</stage_direction>
<scene_description>A car, followed by a truck, then a bus run over him.</scene_description>
</scene>
<scene>
<stage_direction>206B EXT. TOP OF STANDSANDCONCOURSE</stage_direction>
<character>- JANE - DAY 206B</character>
<dialogue>Her watch is BEEPING.</dialogue>
</scene>
<scene>
<stage_direction>206C EXT. STREET BELOWSTADIUM- LUDWIG 206C</stage_direction>
<scene_description>A steamroller, then a marching band run over him.</scene_description>
</scene>
<scene>
<stage_direction>206D EXT. TOP OF STANDS- ANDCONCOURSE</stage_direction>
<character>- FRANK 2060</character>
<dialogue>shields Ed's eyes.</dialogue>
</scene>
<scene>
<stage_direction>206E EXT. STREET BELOWSTADIUM- LUDWIG- DAY 206E</stage_direction>
<scene_description>A truck labeled "Brunswick" hits a bump. Dozens of bowling balls pour out of the back of the truck, onto Ludwig.</scene_description>
</scene>
<scene>
<stage_direction>206P EXT. TOP OF STANDSANDCONCOURSE</stage_direction>
<character>- FRANK 206F</character>
<dialogue>winces. Ed cries on his shoulder.</dialogue>
<character>ED</character>
<dialogue>Oh, Frank, it's horrible, so horrible •••</dialogue>
<scene_description>206F CONTINUED: 206F</scene_description>
<character>FRANK</character>
<parenthetical>(comforting)</parenthetical>
<dialogue>I know, Ed.</dialogue>
<character>ED</character>
<parenthetical>(crying)</parenthetical>
<dialogue>••• My father went the same way.</dialogue>
<character>ON FRANK</character>
<dialogue>wondering about this. JANE picks up Ludwig's gun, points it at Frank.</dialogue>
<character>JANE</character>
<parenthetical>(trance-like)</parenthetical>
<dialogue>I must kill -- Frank Drebin ••• I must kill -- Frank Drebin.</dialogue>
<scene_description>206G FRANKAND ED 206G shocked. Ed and the cops raise and aim their guns at Jane.</scene_description>
<character>FRANK</character>
<dialogue>Nol Don't shoot!</dialogue>
<scene_description>He looks directly into Jane's eyes. FRANK(cont.) ~l It's met Funny face. Jane is unmoved.</scene_description>
<character>JANE</character>
<dialogue>I must ••• kill -- Frank Drebin.</dialogue>
<character>FRANK</character>
<dialogue>But you love Frank Drebin ••• and Frank Drebin loves you. If you don't love me, Jane, you might as well pull that trigger, because without you, there'd be no reason for• to live anyway. I've finally found someone who I could love. Good, clean love ••• without utensil•. You've shown me how to enjoy sex without pain.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRANDSTANDS</stage_direction>
<scene_description>The crowd is watching all of this on ••• They're really into it, hanging on to every word.</scene_description>
<character>FRANK (V.O.)</character>
<dialogue>In this topsy-turvy world, the problems of two people may not amount to more than a hill of beans, but this is our hill, and these are our beans"t</dialogue>
<scene_description>TOP OF STANDSAND CONCOURSE- FRANKLIVE</scene_description>
<character>FRANK</character>
<dialogue>Jane, since I've met you, I've noticed things I never even knew were there before: birds singing, the dew glistening on a newly- formed leaf, stop lights. You've· changed my life forever, Jane. And you've made my dreams come true. I'm not one of these one- night stand Johnny's. I intend to be with you lots of nights. You're the only girl for me, Jane, forever. · ·</dialogue>
<scene_description>He reaches into his pocket and pulls out a tiny black box. FRANK(cont.) This morning I bought something for you. It's not much, but it's pretty good for an honest policeman's salary. INSERT - BOX Be opens the box -- it's a diamond ring.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOP OP STANDSANDCONCOURSE- DAY</stage_direction>
<character>FRANK</character>
<dialogue>It's an engagement ring. I would have given it to you earlier, but I wanted to wait 'til we were alone.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRANDSTANDS</stage_direction>
<scene_description>Forty-thousand fans are watching on Diamond Vision. Everyone is fighting back tears.</scene_description>
<character>JANE</character>
<dialogue>A tear in her eye. Frank has broken through. Lush MUSIC score. Her hand goes limp and drops the gun. She runs to Frank and embraces him.</dialogue>
<character>JANE (V .O.)</character>
<dialogue>Oh, Frank!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BALLPARKSTANDS</stage_direction>
<scene_description>Everyone, having found new meaning in life, embraces teary-eyed, white, black, young, old, good, bad.·</scene_description>
</scene>
<scene>
<stage_direction>INT. ANNOUNCERS</stage_direction>
<character>BOOTH- DAY</character>
<dialogue>214</dialogue>
<scene_description>Vin and Joe embrace.</scene_description>
<character>VIN</character>
<parenthetical>(sheepishly)</parenthetical>
<dialogue>I didn't mean to yell at you yesterday.</dialogue>
</scene>
<scene>
<stage_direction>INT. UNDERGRANDSTAND</stage_direction>
<character>AREA- DAY</character>
<dialogue>215</dialogue>
<scene_description>The Mayor approaches Frank.</scene_description>
<character>MAYOR</character>
<dialogue>Drebin, I think I have something here that belongs to you.</dialogue>
<scene_description>He takes out Frank's badge and offers it to him. Frank stares down at it, he can't believe it. MAYOR(cont.) And I want to tell you ••• I was wrong about you. The City of Chicago, and I guess the whole world, owes you a debt of gratitude.</scene_description>
<character>FRANK</character>
<dialogue>Thank you, Mr. Mayor.</dialogue>
<character>MAYOR</character>
<dialogue>And Monday morning we'll want you back at Police Squad. With a promotion to Captain, of cour••••·</dialogue>
<scene_description>The Mayor gives him a wink. Ed smilea, proudly. MAYOR(cont.) ••• and a hefty salary increase, and a new patrol car, equipped with the new 5850 LX scanner systBI radio.·</scene_description>
<character>FRANK</character>
<dialogue>Mr. Mayor, I •••</dialogue>
<character>MAYOR</character>
<dialogue>But don't thank me. There's someone else here who wants to thank you.</dialogue>
<character>ANGLE</character>
<dialogue>Nordberg enters in wheelchair pushed J>y Mrs. Nordberg.</dialogue>
<character>FRANK</character>
<dialogue>Nordberg!</dialogue>
<character>NORDBERG</character>
<dialogue>Frankl The doc says I'll be good as new in a week!</dialogue>
<character>FRANK</character>
<dialogue>That's wonderful, Nordberg.</dialogue>
<scene_description>Be pats him on the back. Mrs. Nordberg embraces Frank, emotionally, leaving Nordberg's wheelchair facing down the ramp.</scene_description>
<character>MRS. NORDBERG</character>
<dialogue>Oh, Frankl You cleared my Nordberg's name!</dialogue>
<scene_description>As she turns, one bump sends Nordberg on his way. Everyone is focused on Frank and Wilma. MRS. NORDBERG(cont.) Bow can I ever thank you?l In the b.g., Nordberg ia rapidly disappearing down the ramp on hia way to who knows where.</scene_description>
<character>!'RANK</character>
<dialogue>There'• no need to. That'• what friends are for.</dialogue>
<scene_description>EXT, MLL PARKAT TUNNEL Prank and Jane -•rge from the tunnel and appear before the crowd. fte crowd is on ita feet, CDERING. The ORGANstrikes up •Take Me Out To The Ballgame.• The crowd starts .to SING. Err.\_ROYAL aox SEA.TS- TBE QUEEN- DAY singing along with the Mayor. Acknowledging the APPLAUSE,SINGING.</scene_description>
<character>219</character>
<dialogue>Replays of the Ludwig sequence,</dialogue>
<character>INSERT-</character>
<dialogue>Frank proposing,</dialogue>
<character>220</character>
<dialogue>SHOOTOP IN SKY</dialogue>
<character>FIREWORKS</character>
<dialogue>220</dialogue>
<character>221</character>
<dialogue>ANO 221</dialogue>
<character>EXT. ROYALBOX SEATS - FRANK,JANE, ED, THE MAYOR</character>
<dialogue>THE QUEEN- DAY</dialogue>
<dialogue>singing together.</dialogue>
<character>ALL</character>
<dialogue>••• For it's one, two, three strikes you're out at the old ••• ball ••• gaaaamet</dialogue>
<character>FREEZEFRAME</character>
<dialogue>On Frank, Jane, Ed, the Mayor, the Queen and about thirty Fans around them. We hear HERMAN'SHERMITS"I'm Into Something Good• as ENOCREDITS ROLL.</dialogue>
<character>222</character>
<dialogue>But behind the credits, still move, though the others are still tnem. Delighted, the playing field,</dialogue>
<character>EXT. THE STANDS</character>
<dialogue>Frank and Jane realize they can frozen around they dance down the aisle and onto tossing a baseball back and forth</dialogue>
<scene_description>among the frozen players as we •••</scene_description>
<character>FADETO BLACK.</character>
<scene_description>\</scene_description>
<character>\</character>
</scene>
</script> | Police Squad Lieutenant Frank Drebin is on vacation in Beirut when he disrupts a conference of America's greatest enemies (Idi Amin, Muammar Gaddafi, Ayatollah Khomeini, Yasser Arafat, Fidel Castro, and Mikhail Gorbachev) who are trying to conceive a terrorist plan to humiliate the U.S. In Los Angeles, Officer Nordberg attempts to bust a heroin operation run by businessman Vincent Ludwig but is shot by Ludwig's henchmen. Drebin returns to L.A. and is briefed on the case before visiting Nordberg in the hospital. Nordberg provides cryptic clues, including a picture of Ludwig's ship on which the deal had been organized. Frank also learns that Nordberg's jacket tested positive for heroin. Police Squad is put in charge of security for the visit of Queen Elizabeth II to Los Angeles, and Captain Ed Hocken tells Drebin that he has 24 hours to clear Nordberg before word gets out and detracts from the Queen's visit. Drebin visits Ludwig to inquire about the ship and Ludwig learns that Nordberg is still alive. Ludwig asks his assistant Jane, who is unaware of Ludwig's criminal activities, to get close to Drebin and see what he knows. Jane provides Drebin with information he requested and the two begin falling in love. Ludwig meets with Pahpshmir, from the Beirut meeting, to discuss an assassination plot against the Queen. Ludwig agrees to do it for $20 million and explains that he will use a beeper that uses post-hypnotic suggestion to make anyone an unwitting assassin. Ludwig attempts to have Nordberg killed at the hospital by hypnotizing his doctor, but Drebin successfully protects Nordberg. The doctor is killed in a comical fashion before Drebin can interrogate him. Drebin then breaks into Ludwig's office to search for evidence. He finds a note from Pahpshmir to Ludwig which confirms his suspicions, but accidentally starts a fire that destroys the note and the office. Drebin later confronts Ludwig with his allegations at a reception for the Queen's arrival. He misinterprets Ludwig's presentation of a musket to the Queen as an attack and tries to protect her, but only causes more of a problem and is fired from Police Squad. Jane finds out the plan will be executed at a baseball game at Anaheim Stadium and that one of the players will perform the act. She tells Drebin of the plan but he is forced to sneak into the game in disguise. Police Squad arrives at the stadium and Drebin tells them about the plot. Drebin knocks the home plate umpire out and takes his place in order to frisk the players for weapons while they are at bat. Ludwig eventually activates his assassin, Reggie Jackson. Jane alerts Drebin, who chases after Jackson and tackles him, causing a bench-clearing brawl that allows Jackson to escape. Ludwig holds Jane at gunpoint and begins to leave the stadium while Jackson takes aim at the Queen. Drebin tries to tranquilize Jackson, but misses and hits a large woman on the upper deck. She falls over the railing and lands on Jackson, crushing him and saving the Queen's life. Drebin follows Ludwig to the top of the stadium and shoots him with another dart. Ludwig fatally plummets over the side of the stadium and is struck by a passing bus, run over by a steamroller, and finally trampled by the USC marching band. Some of the band members inadvertently step on Ludwig's beeper, triggering Jane to attempt to kill Drebin. He breaks Jane's hypnosis by openly professing his feelings for her and giving her an engagement ring. Drebin is reinstated to Police Squad and a recovered Nordberg congratulates him. Unfortunately, Drebin accidentally pushes Nordberg's wheelchair down the stadium stairs and launches him onto the field. |
Star Trek: The Motion Picture_1979 | tt0079945 | <script>
<scene>
<stage_direction>EXT. SPACE (S)</stage_direction>
<scene_description>An ever expanding infinity of light and color as CAMERA TRAVELS THROUGH deep space , MOVING DIRECTLY for one pinpoint of light : a STAR GROWING RAPIDLY as we SWEEP TOWARD IT , a normal white star SUDDENLY CHANGING , brightening , flaring unbelievable intensity : supernova . The CAMERA HOLDS just a moment , then MOVES on , SEARCH - ING through space , the jeweled beauty of other star systems , sparkling nebulae , swirling hydrogen clouds . STILL MOVING , then CAMERA FINDS :</scene_description>
</scene>
<scene>
<stage_direction>EXT. AREA OF LUMINESCENCE (S)</stage_direction>
<scene_description>In the far distance , slowly growing in size as CAMERA APPROACHES : it resembles , vaguely at this distance , an Aurora Borealis : flaring colors from the fringes , beautiful yet ominous . It is so large , this Cloud , it can envelope an entire solar system . CAMERA CONTINUES APPROACHING the Cloud , and then suddenly , crossing our POV , a : KLINGON HEAVY CRUISER -LRB- S -RRB- In a graceful , turning arc toward the mysterious LUMINESCENCE . CAMERA FOLLOWS this Klingon , then FINDS a second Klingon cruiser , also turning toward the Cloud , which continues to grow in size as the Klingons approach at warp speed , CAMERA CLOSING on the lead ship , until the vessel 's detail can be clearly MADE OUT : lights , weaponry , power systems , identification emblazoned on the nacelles and saucer in Klingon language -LRB- and symbols -RRB- .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON CRUISER BRIDGE (O)</stage_direction>
<scene_description>Clearly alien , an ODD - SOUNDING KLAXON signaling `` battle stations . '' Orders issued in KLINGON LANGUAGE , the KLINGON CAPTAIN and EXEC peering at an unusual bridge viewer at the huge area of LUMINESCENT HAZE directly ahead . In KLINGON DIALOGUE :</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( Give me tactical . )</parenthetical>
<dialogue />
<scene_description>CLOSE - MAIN VIEWER -LRB- O -RRB- goes suddenly to a TACTICAL GRID SYSTEM , showing the LUMINESCENT HAZE to be an ENORMOUS BLIP OF LIGHT ON THE SCREEN , with two TINY PINPRICKS OF LIGHT complete - ing their turn on a direct course toward it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE KLINGON PATROL AND THE HAZE (S)</stage_direction>
<scene_description>The Patrol is clearly SEEN now on the right of the bottom of the FRAME . THREE tiny ships closing on the steadily growing LUMINESCENT HAZE .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KLINGON BRIDGE - CAPTAIN AND EXEC (O)</stage_direction>
<scene_description>All eyes on the viewer that shows the ships sweeping on the Mysterious cloud .</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( In Klingonese . )</parenthetical>
<dialogue>Visual.</dialogue>
<scene_description>The TECHNICIAN makes the switch . CLOSE - VIEW SCREEN - LUMINESCENT HAZE -LRB- O -RRB- growing ever larger , its flaring colors menacing , mysterious , strangely beckoning .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - KLINGON COMMAND CRUISER</stage_direction>
<scene_description>The crew stands by for battle .</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( In Klingonese . )</parenthetical>
<dialogue>Tactical again. Stand by on torpedoes.</dialogue>
<scene_description>EAT SPACE - LEAD KLINGON VESSEL -LRB- TORPEDO HATCH -RRB- -LRB- S -RRB- sliding open , the glowing `` Hell Fire '' of the Photon Launch tubes , slowly revealed . VERY WIDE ANGLE - THE THREE SHIPS -LRB- S -RRB- They are tiny , insect - like shapes moving still CLOSER to the Luminescent Cloud , so large now that it begins to dominate all space behind .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON BRIDGE - TACTICAL GRID - CAPTAIN AND EXEC (O)</stage_direction>
<scene_description>The growing nearness and enormous size of the Cloud also reflected on the Tactical Grid , somehow more awesome by this schematic view . The Captain gestures the order to `` FIRE . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - ANGLE ON KLINGON VESSEL - TORPEDO HATCH (S)</stage_direction>
<scene_description>The BRILLIANT PHOTON BLOBS of the torpedoes spurt from the tubes . ANGLE ON KLINGON VESSEL -LRB- S -RRB- A deadly PHOTON TORPEDO pattern racing away from the Klingon and toward the Luminescent glow in the distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON BRIDGE - TACTICAL GRID (O)</stage_direction>
<scene_description>Three torpedoes are heading directly toward the Cloud . Suddenly they glow briefly and disappear long before they reach their intended target .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON BRIDGE - CAPTAIN AND EXEC</stage_direction>
<scene_description>incredulous that their torpedoes have disappeared without a trace .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE CLOUD - THREE KLINGON SHIPS (S)</stage_direction>
<scene_description>as the second and third ships launch torpedoes toward the color - flaring surface of the cloud . This time we have an outside , real VIEW of the torpedoes glowing brightly and then disappearing with no effect .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON BRIDGE (O)</stage_direction>
<scene_description>The Klingon crew grim , desperate , watching a BRIGHT STACCATO BLIP OF POWER from within the LUMINESCENCE .</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( quickly ; Klingonese . )</parenthetical>
<dialogue>Full force fields ; evasive maneuvers.</dialogue>
<scene_description>EAT SPACE - THE CLOUD - THE KLINGON PATROLS -LRB- S -RRB- Out of the LUMINESCENCE hurtles a FRIGHTENING WHIPLASH OF ENERGY . It bears down on the Klingon Patrol , now in an evasive maneuver . Then the WHIPLASH BOLT hits the third cruiser in a writhing flare of energy which totally engulfs the vessel . The other two ships veer off , warping around again into attack position . The THIRD SHIP has begun to implode in on itself , the matter - energy of its existence drained by the WHIPLASH BOLT that HOLDS IT . ANGLE ON REMAINING KLINGON CRUISERS -LRB- S -RRB- desperately defending themselves , FORCE FIELDS FULL UP , RAPIDLY FIRING PHOTON TORPEDOES . But now a SECOND WHIPLASH ENERGY BOLT has emerged from the cloud and hits the second vessel , DESTROYING it . The THIRD WHIPLASH BOLT glances off the surviving Cruiser as the ship retreats in a wide , evasive turn , FIRING from stern tubes .</scene_description>
</scene>
<scene>
<stage_direction>INT. KLINGON BRIDGE</stage_direction>
<scene_description>The bridge shattered ; Klingon bodies . The mortally - wounded Captain is transmitting urgently :</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( In Klingonese . )</parenthetical>
<dialogue>. severely damaged. Returning fire.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - STARFLEET MONITOR STATION EPSILON 9 (S)</stage_direction>
<scene_description>Serenity here . A barren , rocky small plantoid softly lit by the myriad stars . This is a small Starfleet outpost , antennae sprouting everywhere . Tiny figures -LRB- WORKERS -RRB- servicing one antenna illustrate the size of the installation .</scene_description>
</scene>
<scene>
<stage_direction>INT. EPSILON 9 - MONITOR ROOM - A VIEWER (O)</stage_direction>
<scene_description>SHOWING the battle scene , and the VOICE OF THE KLINGON CAPTAIN in his last stand against the Object ; his VOICE is weary , almost mechanical . On the adjacent viewer , an English printout of the Klingon 's words chatters along the bottom of the picture :</scene_description>
<character>KLINGON CAPTAIN</character>
<parenthetical>( In Klingonese . )</parenthetical>
<dialogue>Imperial Klingon Cruiser Amar. severely damaged by unfamiliar weaponry. intruder unidentified.</dialogue>
<scene_description>WIDER ANGLE - EPSILON 9 STARFLEET PERSONNEL AND VIEWER -LRB- O -RRB- At the viewers are a FEMALE LIEUTENANT and FOUR TECH - NICIANS . COMMANDER BRANCH , a young , alert , enters hur - riedly , scans he console .</scene_description>
<character>LIEUTENANT</character>
<dialogue>Our sensor drone is intercepting this on Quad L - 14.</dialogue>
<character>KLINGON CAPTAIN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>believe luminescent cloud to be enormous power field surrounding alien vessel. size and description unknown. our sensor scans unable to penetrate. Imperial Klingon Cruiser Amar. continuing to attack.</dialogue>
<character>BRANCH</character>
<dialogue>That's within Klingon boundaries. Who are they fighting?</dialogue>
<character>LIEUTENANT</character>
<dialogue>Unknown, sir.</dialogue>
<scene_description>A violent EXPLOSION inside the Klingon bridge - Klingon Captain 's body is thrown violently against the bulkhead .</scene_description>
<character>TECHNICIAN</character>
<dialogue>I have an exterior visual!</dialogue>
<scene_description>CLOSE ON VIEWER -LRB- O -RRB- showing EXTERIOR of the Klingon vessel : a final , frightening WHIPLASH ENERGY BOLT strikes it - then the same awesome IMPLOSION INTO FIREBALL . WIDER ANGLE - PERSONNEL AND VIEWER -LRB- O -RRB- The Starfleet station onlookers react to the utter annihilation of the huge cruiser . And now , past where the cruiser just disappeared - the mysterious LUMINES - CENCE approaching in distance . Technician hits a switch , magnifying the strange CLOUD .</scene_description>
<character>LIEUTENANT</character>
<dialogue>We've plotted a course on that cloud, Commander : it will pass into Federation Space fairly close to us.</dialogue>
<character>BRANCH</character>
<dialogue>Heading?</dialogue>
<scene_description>CLOSE ON THE MAIN MONITOR STATION -LRB- O -RRB- as its focal point shifts to the huge elliptically - shaped LUMINESCENCE racing across the sky . MUSIC -LRB- V'GER THEME -RRB- COMMENCES in a low , unresolved CHORD that remains in the background through the remainder of this scene , and the beginning of the next one .</scene_description>
<character>LIEUTENANT'S VOICE</character>
<dialogue>Sir, it's on a precise heading for Earth.</dialogue>
<scene_description>Ominously now the LUMINESCENCE increases in size , and begins to fill the viewer . HOLD A MOMENT , and then :</scene_description>
</scene>
<scene>
<stage_direction>EXT. SURFACE OF PLANET VULCAN - DAY (M)</stage_direction>
<scene_description>with the CAMERA MOVING THROUGH masses of thick , steamy vaporous clouds , swirling about , rising boilingly up from some unseen , underground source . The CAMERA CONTINUES MOVING through clouds . And then . the Vulcan landscape . Harsh , strange angular peaks and rock formations - the barren , legend - ary mountain home of Vulcan Masters .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VULCAN LEDGE - SPOCK ( M & F.P.)</stage_direction>
<scene_description>Spock 's lean features instantly recognizable despite unkempt , longer hair and the fatigue born of a long , harsh discipline he has undergone . His robes , tattered and dust covered , are that of a Vulcan Aspirant in study with the Masters . Under the V'ger THEME MUSIC we HEAR a VOICE in ritual tones :</scene_description>
<character>FEMALE MASTER'S VOICE</character>
<dialogue>Spock, son of Sarek of Vulcan. and of Amanda of Earth. diligently you have labored for purification of mind.</dialogue>
<scene_description>REVERSE ANGLE - SPOCK , VULCAN MASTERS AND RUINS In b.g. , gigantic ancient Vulcan statues and ruins . In f.g. , the stone platform on which Spock stands facing a semi - circle of three similar platforms . On them in regal robes are three VULCAN MASTERS . The Master in the center is a female , the other two Masters are male . The elderly female is holding a cord and ancient pendant as if ready to place it around Spock 's neck at an appropriate moment . Spock is staring up as V'ger THEME MUSIC fades .</scene_description>
<character>MALE MASTER</character>
<parenthetical>( chidingly . )</parenthetical>
<dialogue>Spock!</dialogue>
<scene_description>Spock turns , giving a small contrite nod - the ritual continues .</scene_description>
<character>FEMALE MASTER</character>
<dialogue>Here are these sands, our fore - bearers cast out their animal passions. Here our race was saved by the first attainment of Kolinahr.</dialogue>
<character>MALE MASTER</character>
<dialogue>Kolinahr : the final shedding of all emotion.</dialogue>
<character>FEMALE MASTER</character>
<dialogue>You have labored long, Spock. Now receive from us this symbol of total logic.</dialogue>
<scene_description>Spock starts to kneel . the Female Master moves in , intending to put the ancient pendant around his neck . But Spock now hesitates - he 's troubled as though uncertain he deserves this symbol and waves the pendant away . Then , a faint reprise of the V'ger THEME MUSIC now causes the Female Master to look skyward . She turns from this back to Spock as she exchanges a look with the Male Masters .</scene_description>
<character>FEMALE MASTER</character>
<parenthetical>( gestures Spock forward . )</parenthetical>
<dialogue>Come, give me your thoughts.</dialogue>
<scene_description>She kneels with Spock - lays her hands on his temples in Vulcan mind - meld position .</scene_description>
<character>FEMALE MASTER</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Our minds, Spock. One and together.</dialogue>
<scene_description>Their eyes close - their minds meld - then her head jerks slightly , her features change as her mind feels Spock 's reactions to the V'ger consciousness . A long moment , then she opens her eyes , gets to her feet and looks down on the still kneeling Spock . Then , she casts aside the pendant she carries - it falls into the dust .</scene_description>
<character>FEMALE MASTER</character>
<parenthetical>( continuing ; sadly . )</parenthetical>
<dialogue>This consciousness which calls - it stirs your human half, Spock? You have not achieved Kolinahr - Your human emotions are not fully extinguished.</dialogue>
<parenthetical>( turns to the other Masters . )</parenthetical>
<dialogue>He will not achieve his goal with us. His answer lies elsewhere.</dialogue>
<scene_description>The three Masters leave - Spock watches them go , his disappointment evident even in his stoic features . MED . ANGLE ON SPOCK -LRB- M. & F.P. -RRB- CAMERA CLOSES IN on his face as we again HEAR a frag - ment of V'ger THEME MUSIC - Spock again raises his head and peers up into the heavens . HOLD on his face a moment , then .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH - AN AIR TRAM - DAY (S)</stage_direction>
<scene_description>gleaming silver in the sun as it streaks TOWARD THE CAMERA POSITION and hurtles PAST .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAN FRANCISCO - HILLTOP AIR TRAM STATION DAY (M)</stage_direction>
<scene_description>From this vantage , we can SEE all of twenty - third century San Francisco stretched out before us . In the b.g. , the familiar forms of the carefully preserved Golden Gate Bridge and Transamerica Pyramid Building serve as our only reminders that this is , indeed , San Francisco . The AIR TRAM -LRB- an anti - gravitational train flying several feet above the ground -RRB- DECELERATES sharply , settles to the ground with a whisper .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAM STATION - CLOSE ON TRAM DOORS - DAY</stage_direction>
<scene_description>The doors opening , and various TRAVELERS -LRB- civilians and Starfleet personnel -RRB- leaving the tram , striding onto the platform , continuing on their respective ways . Among the departing throng : KIRK in Admiral 's uniform , grim , determined , moving through the throng . Now and then Starfleet officers nod re - spectfully ; KIRK responds with detached formality ; his mind is clearly set on something he is resolved to ac - complish here in headquarters - whatever the cost . CAMERA WITH HIM , to :</scene_description>
</scene>
<scene>
<stage_direction>INT. AIR TRAM STATION - DAY `</stage_direction>
<scene_description>as Kirk strides into the graceful Starfleet HQ building . Many PEOPLE are about , civilians and uniformed person - nel ; most of them with some air of urgency . -LRB- NOTE : ALIENS interspersed among them , Vulcans , blue - skinned Andorians , high - domed Vegans , ect . -RRB- Kirk continues on when suddenly he reacts , annoyed as he sees : SONAK a Vulcan , Lt Commander ; short , white - haired , grizzled , hurrying along . Kirk calls to him :</scene_description>
<character>KIRK</character>
<dialogue>Commander Sonak!</dialogue>
<scene_description>SONAK turns with Vulcan imperturbability to face Kirk who steps toward him</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You've received your appointment as Enterprise Science Officer?</dialogue>
<character>SONAK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Based, I am told, on your recommendation, Admiral. Thank you.</dialogue>
<character>KIRK</character>
<dialogue>Why are n't you on board?</dialogue>
<character>SONAK</character>
<dialogue>Captain Decker requested I complete final Science briefing here before.</dialogue>
<character>KIRK</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Here at Starfleet? The Enterprise is in final preparation to leave dock.</dialogue>
<character>SONAK</character>
<dialogue>Which will require twenty more hours at minimum, Admiral.</dialogue>
<character>KIRK</character>
<dialogue>Twelve! I'm on my way to a meeting with Admiral Nogura which will not last more than three minutes. Report to me on the Enterprise in one hour.</dialogue>
<character>SONAK</character>
<dialogue>To you, sir?</dialogue>
<character>KIRK</character>
<dialogue>I intend to be there following that meeting. Report to me. One hour!</dialogue>
<scene_description>And Kirk turns , strides purposefully away . Sonak gazes after him , one eyebrow raised quizzically .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT (S)</stage_direction>
<scene_description>In f.g. , Orbital drydock offices , rotating slowly but perceptibly against blue - black of space . Small figures in spacesuits working on construction , with work belts . Beyond and below . Earth . In the far distance we can barely make out an orbital drydock . CLOSER ANGLE - ORBITAL OFFICE CLUSTER -LRB- S -RRB- The cluster is a fully - equipped dockyard engineering center and computer drafting office . CAMERA MOVES IN AND CENTERS ON an outer `` Travel Pod . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. INNER OFFICE (O)</stage_direction>
<scene_description>an installation which also includes a double position transporter , in which we SEE the TRANSPORTER EFFECT BEGIN . With the TRANSPORTER CREW IS SCOTT . He 's with a Technician , busy with a piece of complex circuitry . Then he turns , sees that it is Kirk BEAMING in here . As Kirk materializes , steps off the transporter plat - form , Scott moves quickly to him . KIRK AND SCOTT The starship Engineering Officer clearly surprised to see Kirk here . Kirk has the same look of grim de - termination we just saw in the headquarters building .</scene_description>
<character>SCOTT</character>
<dialogue>Admiral, I've been hoping to see you. Maybe you can get through to those thick heads in Starfleet that.</dialogue>
<character>KIRK</character>
<dialogue>Why are n't the Enterprise transporters in operation, Mister Scott?</dialogue>
<character>SCOTT</character>
<dialogue>We're hoping it's only a temporary problem, Admiral.</dialogue>
<character>KIRK</character>
<dialogue>See that it is.</dialogue>
<parenthetical>( moving toward pod . )</parenthetical>
<dialogue>Take me over, please.</dialogue>
<scene_description>Scott is now eying Kirk just a little warily as he fol - lows him into the pod . Kirk 's determined expression suggests that some chips are going to fly and Scott does not want to become one of them .</scene_description>
<character>SCOTT</character>
<parenthetical>( carefully . )</parenthetical>
<dialogue>Admiral, the Enterprise has just finished eighteen months redesign - ing and refitting. She needs testing, a shakedown.</dialogue>
<character>KIRK</character>
<dialogue>Mr. Scott, there's an alien object with unbelievable destructive power less than three days away from this planet.</dialogue>
<scene_description>Kirk hits a button on the travel pod panel - the air - lock doors SLAM closed behind them . Then , stepping im - mediately to the front observation window :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. the only Starship in interception range is the Enterprise! Ready, or not, she launches in twelve hours!</dialogue>
<scene_description>Scott throws Kirk an appalled look but is now occupied in sealing the Outer Pod door and manipulating drive controls . CAMERA CONTINUES TO PULL BACK TO REVEAL front of the Pod and arms of the office complex as Pod disconnects and starts to move .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POD</stage_direction>
<scene_description>CAMERA CONTINUES TO PULL BACK TO REVEAL front of the pod and arms of the office complex as Pod disconnects and starts moving .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT - ANGLES ON TRAVEL POD (S)</stage_direction>
<scene_description>as it moves way from the office complex . We can SEE the jet flames of its tiny thrusters as it cir - cles around , heads off -LRB- toward the distant Orbital dry dock -RRB- .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAVEL POD - KIRK AND SCOTT</stage_direction>
<scene_description>Scott nervously eying Kirk , and finally deciding to make one more effort :</scene_description>
<character>SCOTT</character>
<dialogue>The crew has n't had near enough transition time with all the new equipment. And the engines, Admiral : they've yet to be even tested at warp power. Add to that, an untried Captain.</dialogue>
<character>KIRK</character>
<parenthetical>( hint of smile . )</parenthetical>
<dialogue>Two and a half years as Chief of Starfleet Operations may have made me a little stale, Mr. Scott - but I would n't exactly consider myself ` untried.'</dialogue>
<scene_description>It takes Scott a moment to comprehend , and Kirk smiles now , nods :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>They gave her back to me, Scotty.</dialogue>
<scene_description>Scott peers at him , genuinely surprised - and pleased . Then :</scene_description>
<character>SCOTT</character>
<dialogue>`` Gave' her back, sir? I doubt it was that easy.</dialogue>
<parenthetical>( returns smile . )</parenthetical>
<dialogue>But any man who could manage such a feat, I wouldna dare disappoint. She'll launch on time, sir.</dialogue>
<parenthetical>( with confidence . )</parenthetical>
<dialogue>And she'll be ready.</dialogue>
<scene_description>And he clasps Kirk 's elbow affectionately , then gestures Kirk to look out the pod window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSIDE THE POD WINDOW - KIRK'S POV (O)</stage_direction>
<scene_description>as he looks out : the blue - black of orbital space .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAVEL POD</stage_direction>
<scene_description>Scott is well aware of what the Enterprise means to Kirk . As Scott maneuvers the pod to provide the best perspective , Kirk peers through the observation window , craning his head , hungry for his first glimpse of the starship . Scott is watching him , immensely pleased . PAST THEM TO THE POD WINDOW -LRB- O -RRB- as we SEE the drydock and more of its detail , and a hint of what is inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT - OTHER ANGLES FROM THE POD (O)</stage_direction>
<scene_description>PAST Kirk and Scott the corner of the drydock becomes larger - we begin SEEING more of it . And then the merest glimpse of what is inside the drydock : The Enterprise slips INTO VIEW .</scene_description>
</scene>
<scene>
<stage_direction>INT. POD - VERY CLOSE ON KIRK AT WINDOW</stage_direction>
<scene_description>as he watches , his face reflecting all of it : the awe , the wonder , the romance , the obsession . The one comp - lete love of his life . And with that love regained , he is becoming more fully alive again . Kirk looks at Scott ; for a moment both hold each other 's eye . Scott knows precisely how Kirk feels . Both turn to the window again . WHAT THEY SEE - THE ENTERPRISE -LRB- S -RRB- Now DOMINATING the SCREEN - the awesome , symmetrical bulk of the starship comes fully INTO VIEW . And it dominates Kirk 's - and our emotions .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ENTERPRISE - AND THE POD (TINY IN THIS SHOT) AS IT CIRCLES - THE ANTI-LIKE FIGURES OF WORKERS (S)</stage_direction>
<scene_description>The great ship dwarfs everything . The drydock becomes a fragile filigree framing the ship 's great curved bulk . The tiny pod continues to move along it . Small automated welding devices move along the gird - ers , working with brief , bright orange - white flares . In other areas of metal lace structure , supplies and equipment are being loaded onto the ship . The pod continues moving -LRB- Scott is giving Kirk time to see all -RRB- , watched carefully by the TINY FIGURES OF SUPERVISING TECHNICIANS on the drydock . Now the pod moves toward mating position . It closes in , secures itself to the outer airlock .</scene_description>
</scene>
<scene>
<stage_direction>INT. POD - AT THE AIRLOCK</stage_direction>
<scene_description>Scott completing the mating procedure , Kirk turning from the observation window . Outside , the metallic . CLICK of the pod locking onto the airlock . Now the `` WHOOSH '' of the latch doors securing , the CLANG of security bolts . It 's all been a rare and delicious moment for Kirk , and his face shows it . OVER the POD INTERCOM we HEAR , `` Pod secured . Pressure equalized . '' Scott moves the control to open the hatch .</scene_description>
</scene>
<scene>
<stage_direction>INT. ENTERPRISE CARGO DECK (M)</stage_direction>
<scene_description>A confusion of organized work and VOICES . The cargo deck bustles with activity ; supplies and equipment being stored and installed .</scene_description>
</scene>
<scene>
<stage_direction>INT. CARGO DECK - BALCONY AND CATWALK</stage_direction>
<scene_description>Kirk and Scott are met by a nervous , perspiring ENSIGN .</scene_description>
<character>KIRK AND SCOTT</character>
<dialogue>Permission to come aboard, sir?</dialogue>
<character>ENSIGN</character>
<dialogue>Granted, sir. Welcome aboard, Admiral. Commander Scott, you're needed in Engineering immediately.</dialogue>
<character>SCOTT</character>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>Sir, you'll excuse me?</dialogue>
<scene_description>Kirk gestures him to leave , and Scott hurries away . Kirk stands a moment , gazing down at the cargo deck . ANGLE DOWN PAST KIRK TO FLOOR -LRB- M -RRB- The crew maneuvering antigravity devices which move heavy containers - scrambles of activity at storage holds and maintenance lockers . CLOSE ON KIRK AND ENSIGN Kirk is drinking it all in . He 's home .</scene_description>
<character>ENSIGN</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>Sir, if you'll follow me, I'll.</dialogue>
<character>KIRK</character>
<dialogue>I think I can find my way, Ensign.</dialogue>
<scene_description>And Kirk moves off , leaving the Ensign gazing at him , relieved .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELEVATOR AND CATWALK</stage_direction>
<scene_description>Kirk ENTERS ANGLE and the doors snap open .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR</stage_direction>
<scene_description>as Kirk enters . The doors close . Kirk waits a beat , savoring this moment too . Then , firmly to the control panel :</scene_description>
<character>KIRK</character>
<dialogue>Bridge!</dialogue>
<scene_description>The turbo - elevator HUMS WITH POWER as it begins hur - tling up . On the wall back of Kirk we SEE an electronic diagram of the Enterprise tracking the elevator 's speedy trip to the Bridge .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>A confusion of activity and VOICES . Pieces o equip - ment in a state of disarray : consoles open , fiber optic tubes unconnected , viewing screens dismantled . It 's a frantic , desperate scene - a ship and crew to - tally unprepared . In the midst of this : ALIEN ensign is assisting UHURA -LRB- Lt. Comdr. stripes -RRB- deftly working her communications station , AD LIBBING '' . Hailing frequency four , check . Hailing frequency five , will someone please check me ? '' At the helm , sweat - soaked SULU -LRB- Lt. Comdr stripes -RRB- has a service plate open , is peering inside to make delicate adjust - ments , AD LIBBING '' . Helm , now give me a reading on four point zero zero six of full . '' And at the Weapons Control , CHEKOV -LRB- Full Lt. -RRB- argues with TECHNICIANS who insist photon torpedoes read `` ready '' while Chekov argues the computer is not relaying that information . ANGLE ON THE ELEVATOR DOORS snapping open - and there is Kirk . For the moment no one notices him , and he stands watching , remembering . And then he moves forward toward the command center . ACROSS UHURA TO KIRK as she is the first to see him . She reacts , pleased .</scene_description>
<character>UHURA</character>
<dialogue>Captain. Starfleet just signaled your transfer - of - command orders!</dialogue>
<scene_description>ANOTHER ANGLE - VARIOUS REACTION as everyone else is suddenly aware of Kirk . All work stops , with various AD LIBBED greetings from the old crew : `` Admiral Kirk . '' `` It 's the Captain ! '' etc. , etc. . But most sit or stand , simple gaping at Kirk , all quite awed . The old hands , Uhura , Sulu , and Chekov start converging on Kirk . But he gestures them back , speaking crisply .</scene_description>
<character>KIRK</character>
<dialogue>I appreciate the welcome ; I wish the circumstances were less critical.</dialogue>
<parenthetical>( to Uhura . )</parenthetical>
<dialogue>Epsilon Nine is monitoring the intruder ; keep a channel open to them.</dialogue>
<parenthetical>( glances around . )</parenthetical>
<dialogue>Where is Captain Decker?</dialogue>
<character>SULU</character>
<dialogue>He's in Engineering, sir.</dialogue>
<parenthetical>( uncomfortable , indicates Captain 's chair . )</parenthetical>
<dialogue>He does n't know.</dialogue>
<scene_description>Kirk reacts with some exasperation , starts away , addresses Chekov :</scene_description>
<character>KIRK</character>
<dialogue>Mr Chekov, assemble the crew on the Rec Deck at 0400 hours. I want to show them what we're facing.</dialogue>
<scene_description>And Kirk moves to the elevator , enters , is gone . The moment the elevator doors snap closed :</scene_description>
<character>SULU</character>
<dialogue>I would n't have wanted to have been standing in his way. He wanted her back ; he got her!</dialogue>
<character>ALIEN ENSIGN</character>
<parenthetical>( perturbed . )</parenthetical>
<dialogue>And Captain Decker? He's been with the ship every minute of her refitting.</dialogue>
<character>UHURA</character>
<parenthetical>( brittle . )</parenthetical>
<dialogue>Ensign - our chances of coming back from this mission in one piece may have just doubled!</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING SECTION</stage_direction>
<scene_description>The entire complex a beehive of pre - departure activity . ENGINEERING PERSONNEL -LRB- at least a third of them female -RRB- coming and going , the platform - elevators -LRB- small , one - man lifts to various levels -RRB- busy . A gentle but con - stant HUM and WHIRR flows from the engine core , to indi - cate a pre - idling mode . There will be continual AD LIBBED conversation among the Technicians . Now the Engine Room door opens and Kirk steps into the area . He stands a moment observing the activity . a grizzled ENGINEERING CHIEF pushes a huge condenser on an anti - grav device past irk with a respectful `` watch it , sir '' admonishment . Kirk moves on to : THE INTERMIX CHAMBER at the middle of the power shaft . Very NOISY here , and a continual CACOPHONY of COMPUTERIZED AND HUMAN VOICES calling off equipment checks . And grouped around a section of burnt - out circuitry are WILLARD DECKER , Captain 's stripes , handsome , in his early 30 's ; Scott , and two Technicians . Decker and Scott are working feverishly uncoupling the device , probing its innards . Decker has discovered the problem , removed several transistor - type parts , taps them with a pencil - sized sonic analyzer .</scene_description>
<character>DECKER</character>
<parenthetical>( quietly elated . )</parenthetical>
<dialogue>I thought so! See. the trans - porter sensor was not activated.</dialogue>
<character>SCOTT</character>
<parenthetical>( impressed . )</parenthetical>
<dialogue>Aye, you were dead right about that.</dialogue>
<parenthetical>( to Technician . )</parenthetical>
<dialogue>Clearly, put a back - up sensor into the unit.</dialogue>
<scene_description>ACROSS THEM TO KIRK as the Technician prepares to install the device , Scott glances up to see Kirk . He looks from Decker to Kirk in acute embarrassment -LRB- so that we should realize Scott has n't mentioned Kirk 's taking over to Decker -RRB- . Decker now notices Kirk , reacts pleased .</scene_description>
<character>DECKER</character>
<dialogue>Admiral Kirk.</dialogue>
<parenthetical>( shakes Kirk 's hand . )</parenthetical>
<dialogue>We're getting a top brass send off?</dialogue>
<parenthetical>( self assured grin . )</parenthetical>
<dialogue>She'll launch on schedule if we have to tow her out with our bare hands. Right, Scotty?</dialogue>
<character>SCOTTY</character>
<parenthetical>( lamely . )</parenthetical>
<dialogue>Aye, sir, that we will.</dialogue>
<character>KIRK</character>
<parenthetical>( to Decker . )</parenthetical>
<dialogue>Will, let's go over here and talk.</dialogue>
<scene_description>He indicates corner . Decker glances bemusedly at Kirk , then turns to Scott :</scene_description>
<character>DECKER</character>
<dialogue>Let me now when the back - up is in place.</dialogue>
<scene_description>ACROSS SCOTT TO KIRK AND DECKER as Scott AD LIBS a glum `` Aye , sir , '' and watches them walk across the Chamber . A CORNER OF THE INTERMIX CHAMBER just a little quieter here , with Kirk and Decker arriv - ing , and Decker saying blithely :</scene_description>
<character>DECKER</character>
<dialogue>All due respect, sir, I hope this is n't a Starfleet pep talk ; I'm just too busy.</dialogue>
<scene_description>Kirk eyes Decker - then decides the best way to say it is plainly , directly .</scene_description>
<character>KIRK</character>
<dialogue>I'm taking over the Center seat. I'm sorry, Will.</dialogue>
<character>DECKER</character>
<dialogue>You are what?</dialogue>
<character>KIRK</character>
<dialogue>I'm replacing you as Captain of the Enterprise.</dialogue>
<scene_description>Decker seems shocked into silence ; he can only peer at Kirk who reaches tentatively as though to clasp a paternal hand on Decker 's shoulder , then withdraws it and continues quickly .</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You'll stay aboard as Executive Officer. a temporary grade reduction to Commander.</dialogue>
<character>DECKER</character>
<parenthetical>( finding his voice . )</parenthetical>
<dialogue>- You, personally, are assuming command?</dialogue>
<character>KIRK</character>
<dialogue>Yes.</dialogue>
<character>DECKER</character>
<dialogue>May I ask Why?</dialogue>
<character>KIRK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>My experience - five years out there dealing with unknowns like this - my familiarity with the Enterprise, this crew.</dialogue>
<character>DECKER</character>
<dialogue>Admiral, this is an almost totally new enterprise. You do n't know her a tenth as well as I do.</dialogue>
<scene_description>ANOTHER ANGLE - TO SHOW SCOTT IN B.G. -LRB- ACROSS THE ROOM -RRB- Scott , working on the relay , but continually glancing at Kirk and Decker with worried concern , as Kirk replies :</scene_description>
<character>KIRK</character>
<dialogue>That's why you're staying aboard. I'm sorry, Will.</dialogue>
<character>DECKER</character>
<dialogue>No, Admiral. I do n't think you are ; not one damned bit. I remember when you recommended me for this command. You told me how envious you were, and if only you could find a way to get a starship command again. Well, sir, it looks like you found a way.</dialogue>
<scene_description>Kirk is silent a moment , peering levelly at Decker , who returns the gaze with equal intensity . Then :</scene_description>
<character>KIRK</character>
<dialogue>Report to the bridge, Commander. Immediately.</dialogue>
<scene_description>Decker EXITS . Kirk waits , collecting his composure as he watches him go . Then Kirk turns to glare at Scott . Interrupted by a flare as something shorts out at the mechanism where Scott and Decker had been working . Technician -LRB- Clearly -RRB- reacts , hits an inter - com button fast :</scene_description>
<character>TECHNICIAN</character>
<parenthetical>( CLEARY . )</parenthetical>
<dialogue>Transporter room, come in! Urgent!</dialogue>
<parenthetical>( to Scott . )</parenthetical>
<dialogue>Redline on the transporters, Mister Scott!</dialogue>
<scene_description>Scott whirls to a console fast , speaks urgently !</scene_description>
<character>SCOTT</character>
<dialogue>Transporter room, do not engage! Do not.</dialogue>
<character>TECHNICIAN</character>
<parenthetical>( CLEARY . )</parenthetical>
<parenthetical>( reacting to the reading ; interruption . )</parenthetical>
<dialogue>Too late ; they're beaming now!</dialogue>
<scene_description>Kirk is exiting on a run , followed by Scott .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORTER ROOM - INCLUDING TRANSPORTER CHAMBER (O)</stage_direction>
<scene_description>An unusually defective looking TRANSPORTER EFFECT in progress , alternately flashing and glowing - even the Transporter SOUND seems wrong , as if struggling to overcome some problem . At the console , CHIEF RAND and ASSISTANT are reacting in surprised , near - horror as they attempt vainly to save the situation .</scene_description>
<character>RAND</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Starfleet, override us! OVERRIDE! Yank them back!</dialogue>
<scene_description>Suddenly , from Rand 's console , a VIOLENT GLARE - a PROTESTING SOUND from the circuitry . And on the con - sole a red - warning light now begins flashing .</scene_description>
<character>STARFLEET VOICE</character>
<dialogue>Unable to retrieve their pattern, Enterprise!</dialogue>
<scene_description>Rand reacts in real horror now as human forms begin to FAINTLY MATERIALIZE , then FADE AWAY , then REAPPEAR IN FAINTLY MISSHAPEN FORM as she frantically works con - trols . Kirk ENTERS fast , steps to the console to assist Rand ; Scott has also come in and moves to the console , brushes aside the Asst. Chief , and begins manipulating the additional controls himself .</scene_description>
<character>SCOTT</character>
<dialogue>We're losing the pattern!</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Starfleet, boost your matter gain ; we need more signal!</dialogue>
<character>RAND</character>
<dialogue>Oh, no! They're forming!</dialogue>
<scene_description>CLOSER ON THE TRANSPORTER CHAMBER -LRB- O -RRB- with the human forms FLUTTERING INTO FULLER AND FULLER MATERIALIZATION , FRIGHTENINGLY , HORRIBLY MISSHAPEN . We RECOGNIZE one form as the Vulcan , Sonak - the other a human WOMAN . They MATERIALIZE ; we HEAR A MOAN form from the Vulcan - the Woman 's SCREAM OF PAIN . Then , all at once , the half - materialized bodies are gone ; the transporter chamber is empty .</scene_description>
<character>KIRK</character>
<dialogue>Oh, my God!</dialogue>
<scene_description>KIRK , SCOTT AND RAND gazing , horrified , at the empty chamber .</scene_description>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Starfleet, do you have them?</dialogue>
<scene_description>A mutter of utter , vacant silence - and Kirk and Scott look at each other again , their pained faces presaging the answer they already know :</scene_description>
<character>STARFLEET VOICE</character>
<parenthetical>( shaken . )</parenthetical>
<dialogue>Enterprise. what we got back did n't live long. Fortunately.</dialogue>
<scene_description>Another moment of stunned silence , and then Kirk hits the transmission button - fighting to control his voice as :</scene_description>
<character>KIRK</character>
<dialogue>Starfleet. Kirk. Please. express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy.</dialogue>
<parenthetical>( see Rand 's stricken expression . )</parenthetical>
<dialogue>There was nothing you could have done, Rand. It was n't your fault.</dialogue>
<scene_description>And before Rand can answer , Kirk leaves the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - TRAVELING WITH KIRK</stage_direction>
<scene_description>as Kirk steps out , and the doors snap closed behind him . In the corridor the furor of the hurried depar - ture is , as everywhere , quite evident : CREW MEMBERS move back and forth . But Kirk does not see them ; his mind is tormented by the transporter accident - was there something he should have done , could have done , to prevent it ? Should he launch on schedule with the starship this unready ? Has he done right in yielding to this terrible needs for starship command again , forcing Starfleet to give her to him ? Would Decker 's knowledge of the new design have prevented the acci - dent ? Kirk reaches a corridor intersection , looks around , realizes he 's lost track of where he is . A passing YEOMAN stops in response to his puzzled expression .</scene_description>
<character>KIRK</character>
<dialogue>Turboshaft eight?</dialogue>
<character>YEOMAN</character>
<dialogue>Back that way, sir.</dialogue>
<scene_description>She 's indicating back the direction from which Kirk came . He nods his thanks , turns and moves back down the corridor . DECKER hurrying down the corridor . The two face each other a silent moment , Decker studying Kirk curiously .</scene_description>
<character>KIRK</character>
<dialogue>We'll have to replace Commander Sonak. I'd still like a Vulcan there, if possible.</dialogue>
<character>DECKER</character>
<dialogue>None available, Captain. There's no one in fact, who's fully rated on this design.</dialogue>
<character>KIRK</character>
<dialogue>You are, Mister Decker. I'm afraid you'll have to double as Science Officer.</dialogue>
<scene_description>And Kirk moves on , Decker stands gazing reflectively after him . CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED -LRB- AS SEEN ON VIEWER -RRB- -LRB- O -RRB- -LRB- in the last part of the scene which showed the Klingon Captain speaking in Klingonese and an English print - out interpretation appearing at the screen bottom . The Klingon ship nearly totaled ; one engine nacelle gone , smoke and flame spewing from the other , etc. . And then that final WHIPLASH ENERGY BOLT STRIKING AND SPECTACULARLY DESTROYING THE SHIP , etc. -RRB- But this time , O.S. , we HEAR GASPS of incredulity from many throats -LRB- an audience -RRB- , and various AD LIBBED com - ments : `` My God ! '' `` I do n't believe it ! '' `` What could it be ? '' Etc. , etc. . And then , immediately following this , on the viewer : THE LUMINESCENT CLOUD -LRB- AS SEEN ON A VIEWER -RRB- -LRB- O -RRB- -LRB- as in earlier Epsilon 9 viewer - but with no music , only more AD LIBBED exclamations from an audience . -RRB- The viewer goes blank .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECREATION DECK (M)</stage_direction>
<scene_description>We SEE that all this was being viewed by the CREW MEMBERS -LRB- Aliens included -RRB- assembled on the Rec Deck . The Recreation Deck is one of the largest areas on the ship , several deck levels high , a part of one wall consisting of picture windows , through which can be seen sections of the drydock structure outside . On another wall is a large viewer , on which was just shown the Klingon transmission . Leading off and away from this deck area are what are obviously other specific recreation areas - gymnasiums , food centers , game rooms , lounges , etc. . ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL as the Crew Members chat in low , grim tones - Kirk -LRB- now with Captain 's stripes -RRB- appears . As he comes into view , the two hundred or so crew below go silent . Kirk grimly indicates the now blank viewer :</scene_description>
<character>KIRK</character>
<dialogue>That's all we know about it ; except that it's now 2.2 days from Earth. Enterprise is the only Federation starship that stands in its way.</dialogue>
<scene_description>ANOTHER ANGLE - CREW REACTIONS as the CAMERA FINDS various faces : human , alien ; most young , all intelligent , forthright - anxious . Kirk has paused a moment , now continues .</scene_description>
<character>KIRK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>We assume there is a vessel of some type at the heart of the cloud. Our orders are to intercept, investigate ; and take whatever action is necessary. and possible.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>. We can only hope that the life form aboard that vessel reasons as we do.</dialogue>
<scene_description>ANGLE ON UHURA standing near an intercom , which just then has emitted a bosun 's WHISTLE intercom signal .</scene_description>
<character>BRIDGE VOICE</character>
<parenthetical>( from intercom . )</parenthetical>
<dialogue>Bridge to Captain. Priority signal from Epsilon Nine -</dialogue>
<scene_description>Kirk leans over to the intercom , speaks into it :</scene_description>
<character>KIRK</character>
<dialogue>Put it on the viewer here!</dialogue>
<scene_description>ON THE REC DECK VIEWER -LRB- O -RRB- as all eyes turn to the viewer which fades into a view of Commander Branch , in the Epsilon 9 monitor room . Branch is tense , reflecting extreme urgency . Near Branch , working intently at the console are the Female Lieutenant and a Technician .</scene_description>
<character>BRANCH</character>
<parenthetical>( from the viewer ; checking console readings . )</parenthetical>
<dialogue>Enterprise. the Cloud is definitely a powerfield of some kind. Measures. My God! Over 82 A.U.'s in diameter. Must be something incredible inside there generating it.</dialogue>
<parenthetical>( looks up from console . )</parenthetical>
<dialogue>We're transmitting linguacode friendship messages on all frequencies. No response.</dialogue>
<character>TECHNICIAN</character>
<dialogue>I have a null reading at the center of the ` cloud,' sir.</dialogue>
<character>LIEUTENANT</character>
<dialogue>Definitely something inside. there but all scans are being reflected back.</dialogue>
<parenthetical>( studies readings . )</parenthetical>
<dialogue>Receiving an odd pattern now.</dialogue>
<parenthetical>( toward Branch . )</parenthetical>
<dialogue>They seem to be reacting to our scans, sir.</dialogue>
<character>BRANCH</character>
<parenthetical>( inspecting another console . )</parenthetical>
<dialogue>Some kind of energy surge.</dialogue>
<parenthetical>( looking up . )</parenthetical>
<dialogue>Enterprise. they could be mistaking our scans as a hostile act.</dialogue>
<parenthetical>( reacts at readings . )</parenthetical>
<dialogue>Deflectors, emergency full!</dialogue>
<scene_description>Branch hits an alarm button ; we HEAR ALARM KLAXON SOUNDING . The viewer IMAGE DISTORTS , clears again while Branch - facing his viewer , continues urgently :</scene_description>
<character>BRANCH</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We are under attack!</dialogue>
<character>KIRK</character>
<parenthetical>( to Uhura . )</parenthetical>
<dialogue>External view!</dialogue>
<scene_description>ON THE VIEWER - EXT. . THE DESTRUCTION OF EPSILON 9 -LRB- O -RRB- as the image of Branch is immediately replaced by an external view of the plantoid , and the LUMINESCENT CLOUD -LRB- at about the same distance from which the Klingon cruisers were attacked -RRB- . Then it STRIKES the plantoid WITH FULL , CATACLYSMIC FORCE . The viewer IMAGE BREAKS UP - and immediately the entire Starfleet base becomes a maelstrom of FLAR - ING ENERGY , shattered structure , flying debris . And then , all at once , there is nothing - empty space , Epsilon 9 is gone . We SEE only the stars ; and the mysterious LUMINESCENT CLOUD moving across the distant sky . -LRB- NOTE : The above is entirely SILENT , and when it is finished , not a word is spoken . -RRB-</scene_description>
<character>KIRK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Viewer off.</dialogue>
<scene_description>ANOTHER ANGLE - KIRK as the viewer goes blank , all still facing the screen . Then Kirk turns to the room as if to comment . Then he stops - nothing he can say will add at all to what they 've just seen . Instead :</scene_description>
<character>KIRK</character>
<dialogue>Pre - launch countdown will commence in forty minutes.</dialogue>
<scene_description>ANOTHER ANGLE - CREW The scene they have just witnessed still vivid in their minds as they gaze somberly up toward Kirk who is exit - ing . The bridge crew follows him out . Not a word is said as the remainder of the crew waits another moment , then begins to disperse toward their duty stations too .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ENTERPRISE IN DRYDOCK (S)</stage_direction>
<scene_description>Spectacular ORBIT VIEW of the giant starship in the process of release . BEYOND US , in half light , EARTH LOOMS HUGE . The dock welders are gone ; the supply pods float away from the ship . Little tongues of blue flame spurt from the ship 's maneuvering jets . CLOSER - ON ENTERPRISE -LRB- S -RRB- as the large dock umbilical is released , floats free of its starship attachment . Dock departure is imminent .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>Kirk in the center seat , intently studying the Naviga - tion console in front of him -LRB- at the Navigator 's station , which is unoccupied . -RRB- Other bridge personnel are busy with their pre - launch duties .</scene_description>
<character>UHURA</character>
<dialogue>Transporters Room and Chief Engineer Scott report trans - porter system fully repaired and now functioning normally, sir.</dialogue>
<character>SULU</character>
<dialogue>Dock signals clear, Captain.</dialogue>
<character>KIRK</character>
<dialogue>Rely we are holding position awaiting final crew replacements.</dialogue>
<character>UHURA</character>
<dialogue>Captain, Transporter Personnel reports the Navigator.</dialogue>
<parenthetical>( consults console . )</parenthetical>
<dialogue>. Lieutenant Junior Grade Ilia.</dialogue>
<parenthetical>( Eye - lee - ah . )</parenthetical>
<dialogue>is already aboard, and en route to the bridge.</dialogue>
<scene_description>ANGLE ON DECKER - AT THE SCIENCE STATION as Decker -LRB- now wearing Commander stripes -RRB- reacts , almost startled , and Uhura continues :</scene_description>
<character>UHURA</character>
<dialogue>She's a Deltan.</dialogue>
<scene_description>Uhura 's tone and expression convey `` Deltan '' in a certain , special manner .</scene_description>
<character>KIRK</character>
<parenthetical>( reprovingly . )</parenthetical>
<dialogue>And there are no finer navigators in Starfleet, Commander.</dialogue>
<scene_description>The last is interrupted by : ANGLE ON THE ELEVATOR DOORS as they snap open , and there emerges a breathtakingly beautiful young woman -LRB- uniformed as a Navigator Lieu - tenant -RRB- who strides purposefully onto the bridge . A stunning figure , but hairless , entirely bald but or delicate eyebrows and eyelashes . Her bald head is not at all unattractive , in fact exudes an aura of sensual nudity . Indeed , her whole being exudes sensuality . -LRB- This is a racial characteristic , not a deliberate presence . -RRB- She approaches Kirk -LRB- NOTE : Throughout this sequence , Sulu eyes ILIA with unrestrained admiration . -RRB-</scene_description>
<character>ILIA</character>
<dialogue>Lieutenant Ilia reporting for duty, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( formally ; rising . )</parenthetical>
<dialogue>Welcome aboard, Lieutenant.</dialogue>
<scene_description>ACROSS ILIA TO DECKER as Ilia starts to speak , suddenly stops : she has just then noticed Decker , who has stepped from his station to face her . For an electronic moment their eyes meet , hold in unquestioned recognition .</scene_description>
<character>DECKER</character>
<dialogue>Hello, Ilia.</dialogue>
<character>ILIA</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>Decker!</dialogue>
<scene_description>Kirk has observed this with surprise and some concern -LRB- it presages possible complications -RRB- . Decker turns to Kirk , slightly uncomfortable at this .</scene_description>
<character>DECKER</character>
<dialogue>I was stationed on the Lieutenant's home planet some years ago.</dialogue>
<scene_description>Ilia looks from Kirk back to Decker , puzzled at his sleeve stripes .</scene_description>
<character>ILIA</character>
<parenthetical>( eyes his rank stripes . )</parenthetical>
<dialogue>` Commander' Decker?</dialogue>
<character>KIRK</character>
<dialogue>Our Exec and Science Officer.</dialogue>
<character>DECKER</character>
<parenthetical>( bitingly . )</parenthetical>
<dialogue>Captain Kirk has the utmost confidence in me.</dialogue>
<scene_description>Kirk flashes a hard glance at Decker , then toward Ilia too .</scene_description>
<character>KIRK</character>
<parenthetical>( pointedly . )</parenthetical>
<dialogue>And in you, too, Lieutenant.</dialogue>
<character>ILIA</character>
<dialogue>My oath of celibacy is on record Captain. May I assume my duties?</dialogue>
<scene_description>While respectful , her tone of voice has been just as firm as Kirk 's .</scene_description>
<character>KIRK</character>
<dialogue>By all means.</dialogue>
<scene_description>ACROSS KIRK TO UHURA receiving a message , now relaying it .</scene_description>
<character>UHURA</character>
<dialogue>Captain, Starfleet reports our last six crew members ready to beam up.</dialogue>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>. but one of them is refusing to step into the transporter.</dialogue>
<scene_description>Just as Kirk a moment before was tense , now suddenly he 's relaxed again ; he rises .</scene_description>
<character>KIRK</character>
<parenthetical>( pleased . )</parenthetical>
<dialogue>Oh? I'll see that he beams up!</dialogue>
<scene_description>And he hurries from the bridge , onto the elevator , is gone . A moment of puzzled silence , then :</scene_description>
<character>DECKER</character>
<dialogue>Mr. Sulu, take Lieutenant Ilia in hand.</dialogue>
<character>SULU</character>
<parenthetical>( startled . )</parenthetical>
<dialogue>Sir?</dialogue>
<parenthetical>( then understands . )</parenthetical>
<dialogue>Yes, of course.</dialogue>
<parenthetical>( to Ilia . )</parenthetical>
<dialogue>Your pre - programming is already set in, Lieutenant.</dialogue>
<scene_description>Sulu has almost tripped getting out of his chair . He starts offering Ilia his hand , then thinks better of it , withdraws it abruptly , immediately busies himself punching out equations on her console . AD LIBS , `` It 's all on the computer . You 'll have no problem . '' Sulu is nervous , fluttery around this lovely creature - now hits a wrong switch . Produces a BEEPING SOUND which he fumbles to shut off . She smiles ; speaks quietly , repeats :</scene_description>
<character>ILIA</character>
<dialogue>I'm sworn to celibacy, Mister Sulu. That makes me as safe as any human female.</dialogue>
<scene_description>Sulu catches her eye but before he can reply , Decker has moved in beside Ilia .</scene_description>
<character>DECKER</character>
<dialogue>I now the Captain meant no person - al insult.</dialogue>
<character>ILIA</character>
<parenthetical>( eyes on console . )</parenthetical>
<dialogue>I would never take advantage of a sexually immature species.</dialogue>
<parenthetical>( looks at him . )</parenthetical>
<dialogue>You can assure him that's true, ca n't you?</dialogue>
<scene_description>Clearly , the remark carries special , personal significance .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRANSPORTER ROOM</stage_direction>
<scene_description>Kirk entering as Rand and her assistant electronically list the last of the five arrivals who are leaving the Transporter Chamber . Kirk calls through intercom to the last arrival , a young female Yeoman .</scene_description>
<character>KIRK</character>
<dialogue>Yeoman, what was the problem down there?</dialogue>
<character>YEOMAN</character>
<parenthetical>( through intercom . )</parenthetical>
<dialogue>He insisted we go first, sir. Said something about first seeing how it scrambled our molecules.</dialogue>
<character>KIRK</character>
<dialogue>Thank you, Yeoman.</dialogue>
<parenthetical>( hits transmit control . )</parenthetical>
<dialogue>Starfleet, this is Captain Kirk. The officer is to be beamed up immediately!</dialogue>
<scene_description>ANGLE ON THE CHAMBER -LRB- O -RRB- A moment , then again the GENERATING HUMMING , and then the familiar BEAMING EFFECT . And then you SEE McCOY ! He fully MATERIALIZES . He looks himself over as if in pleased surprise he is still in one piece . CAMERA PANS McCoy from the Transporter Chamber to Kirk who is hav - ing a hard time containing his amusement and delight .</scene_description>
<character>KIRK</character>
<dialogue>Well, for a man who swore he'd never return to Starfleet.</dialogue>
<character>McCOY</character>
<parenthetical>( flat , tight . )</parenthetical>
<dialogue>What happened, Captain, sir, was that your revered Admiral Nogura invoked a little known - and seldom used - reserve activation clause.</dialogue>
<parenthetical>( snaps . )</parenthetical>
<dialogue>. in simpler language, Captain, sir, they drafted me!</dialogue>
<character>KIRK</character>
<parenthetical>( straight - faced . )</parenthetical>
<dialogue>They did n't!</dialogue>
<scene_description>Kirk has offered his hand , but McCoy is already flaring :</scene_description>
<character>McCOY</character>
<dialogue>This was your idea! It was your idea, was n't it!</dialogue>
<character>KIRK</character>
<dialogue>Bones, there's a ` thing' out there -</dialogue>
<character>McCOY</character>
<dialogue>- Why is any object we do n't understand called a ` thing'?</dialogue>
<character>KIRK</character>
<parenthetical>( continues . )</parenthetical>
<dialogue>- headed this way. I need you.</dialogue>
<character>McCOY</character>
<dialogue>Were you behind this?</dialogue>
<character>KIRK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Bones, I need you badly.</dialogue>
<scene_description>Kirk extends his hand again ; McCoy delays some moments - then finally responds . And once done , it is the long hand clasp of two old friends reunited despite their differences . Now McCoy turns to Rand .</scene_description>
<character>McCOY</character>
<dialogue>Permission to come aboard, sir?</dialogue>
<character>RAND</character>
<parenthetical>( elated . )</parenthetical>
<dialogue>Permission granted, sir!</dialogue>
<scene_description>And McCoy moves toward the door , grumbling :</scene_description>
<character>McCOY</character>
<dialogue>I hear Chapel's an MD now ; I need a top nurse, not a doctor who'll argue every diagnosis. And -</dialogue>
<scene_description>Even when he 's in the corridor his grumbling trails after him .</scene_description>
<character>McCOY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. they've probably redesigned sickbay, too. Engineers love to change things.</dialogue>
<scene_description>FULL ON KIRK as he gazes fondly after the grumbling McCoy , and now turns to the intercom , flips it on :</scene_description>
<character>KIRK</character>
<dialogue>All decks, this is the Captain. Prepare or immediate departure.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTERPRISE - MONTAGE DEPARTURE SCENES</stage_direction>
<scene_description>Bulkheads closing , feed lines disengaging , main ENGINES HUM into life , crew personnel hurrying to launch stations . SHOTS of cargo deck , down to Engineering Section slamming shut . Drydock area clearing , work lights go out , warning lights go on .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>All flight positions manned , ready .</scene_description>
<character>UHURA</character>
<dialogue>Dock control reports ready, sir.</dialogue>
<character>SULU</character>
<dialogue>Helm ready, sir.</dialogue>
<character>ILIA</character>
<dialogue>Orbital departure on plot, sir.</dialogue>
<character>UHURA</character>
<dialogue>Yard command signaling clear, sir.</dialogue>
<character>KIRK</character>
<dialogue>Maneuvering thrusters, Mister Sulu.</dialogue>
<character>SULU</character>
<dialogue>Maneuvering thrusters, sir.</dialogue>
<character>KIRK</character>
<dialogue>Hold station.</dialogue>
<character>SULU</character>
<parenthetical>( working controls . )</parenthetical>
<dialogue>Thrusters at station - keeping, sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S)</stage_direction>
<scene_description>The starship within the drydock , but now the maneuver - ing - thrusters spurt pinpoints of BLUE - LAME . The drydock is ready for the starship 's departure - not a single pod or shuttlecraft in sight . The starship looms majestically within the lacework girders .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>as Kirk hesitates just an instant , seems to hold his breath . Then :</scene_description>
<character>KIRK</character>
<dialogue>Thrusters ahead, Mister Sulu. Take us out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT</stage_direction>
<scene_description>The maneuvering - thrusters spurt more BLUE FLAME . The Enterprise begins moving , DOMINATING SCREEN as it moves majestically from the drydock . THEME MUSIC IN AND UP . CLOSER ANGLES - ENTERPRISE -LRB- S -RRB- emphasizing fine detail reality of both drydock and starship as saucer section emerges . Tiny space - suited human figures watch the departing ship . CAMERA HOLDS ON STARSHIP until completely clear of the orbital dock .</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING SECTION</stage_direction>
<scene_description>Here in Engineering Section , the ENGINE THROBBING SLOWLY BUILDS to a THUNDERING SOUND . A glow from the central unit indicates anti - matter intermix underway . The Engineering Section shudders as the great engines draw more and more power .</scene_description>
<character>SCOTT</character>
<dialogue>Intermix set, Bridge, impulse power at your discretion.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - FAVORING KIRK</stage_direction>
<scene_description>as he hesitates just an instant . This is the moment he 's awaited , and to him it is equally as sensuous and gratifying as making love - which , perhaps , he is - to his mistress : The Enterprise .</scene_description>
<character>KIRK</character>
<parenthetical>( after a moment . )</parenthetical>
<dialogue>Impulse power, Mr Sulu. Ahead Warp point - five.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE ENTERPRISE (S)</stage_direction>
<scene_description>The maneuvering jets turn off , the impulse drive glows . The Enterprise begins moving perceptibly faster - behind her , the drydock diminishing rapidly in size .</scene_description>
<character>KIRK</character>
<dialogue>Departure angle on viewer.</dialogue>
<character>CHEKOV</character>
<dialogue>Departure angle.</dialogue>
<scene_description>We SEE viewer IMAGE SWITCH to a departing view of lovely bluish , cloud - laced image of Earth as it grows smaller , smaller , dwindling quickly as the starship gathers speed .</scene_description>
<character>KIRK</character>
<dialogue>Viewer ahead.</dialogue>
<scene_description>And viewer IMAGE SWITCHED to show the star patterned space ahead .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - SATURN</stage_direction>
<scene_description>with its colorful rings and multiple moons FILLING a major portion of the FRAME .</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Captain's Log, stardate 7412.6. 2.7 hours from launch.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - FAVORING THE VIEWER</stage_direction>
<scene_description>All hands tense with the excitement of the journey , on the viewer Saturn - and its rings - are falling away -LRB- BEHIND US -RRB- . OVER this :</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( concerned . )</parenthetical>
<dialogue>. in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system.</dialogue>
<scene_description>End of log . ANGLE ON DECKER - SCIENCE STATION punching in equations on his console , reaching a reading :</scene_description>
<character>DECKER</character>
<dialogue>Captain, assuming we have full Warp capability, accelerating to Warp Seven on leaving solar system will bring us to IP with the Intruder in twenty point one hours.</dialogue>
<scene_description>INCLUDE ILIA Checking her console .</scene_description>
<character>ILIA</character>
<dialogue>Science Officer's computations confirmed, sir.</dialogue>
<scene_description>And Decker and Ilia glance at each other - and again , you know there is something more than casual in this . ANGLE ON THE ELEVATOR DOORS as they open , and McCoy appears , walks over to Kirk who swings his chair around to face him . McCoy is his usual dour self .</scene_description>
<character>KIRK</character>
<dialogue>Well, Bones, do the new medical facilities meet with your approval?</dialogue>
<character>McCOY</character>
<dialogue>They do not. It's like working in a damned computer center.</dialogue>
<character>KIRK</character>
<parenthetical>( turning to Decker . )</parenthetical>
<dialogue>Programming ready?</dialogue>
<character>DECKER</character>
<dialogue>Program set for standard Warp entry, Captain.</dialogue>
<scene_description>Kirk starts to swing his chair to normal position - Decker calls :</scene_description>
<character>DECKER</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. but I still recommend further simulation study.</dialogue>
<character>KIRK</character>
<dialogue>Mister Decker ; every minute brings that object nearer Earth!</dialogue>
<parenthetical>( using intercom . )</parenthetical>
<dialogue>Engineering! Stand by for Warp Drive.</dialogue>
<scene_description>McCoy is watching Kirk , a bit surprised at his abrupt - ness to Decker .</scene_description>
<character>SCOTT'S INTERCOM VOICE</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Captain, we need further Warp simulation on the flow sensors.</dialogue>
<character>KIRK</character>
<dialogue>Engineer, we need Warp speed now!</dialogue>
<character>McCOY</character>
<parenthetical>( very gently . )</parenthetical>
<dialogue>You're pushing Jim. Your people know their jobs.</dialogue>
<scene_description>Kirk flashes McCoy a glance of annoyance - then back to using intercom :</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING</stage_direction>
<scene_description>The main intermix chambers GLOWING with power ; the LOW RUMBLE of the main engines coming to life . The CAMERA FINDS Scott in the chamber :</scene_description>
<character>SCOTT</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Hold one minute, please, Captain -</dialogue>
<scene_description>He steps to his console where an ASST. ENGINEER is working a computer , studying the readouts , punching buttons , etc. . Scott stands over him , grimly observ - ing . Finally , the Asst. simply shrugs with frustration .</scene_description>
<character>ASST.</character>
<dialogue>That's it, sir ; I ca n't do any better.</dialogue>
<character>SCOTT</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>Aye, lad.</dialogue>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>It's borderline on the simulator, Captain : I canna guarantee that she'll.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>as Kirk , annoyed , interrupts Scott on the intercom .</scene_description>
<character>KIRK</character>
<dialogue>Warp Drive, Mr Scott.</dialogue>
<scene_description>McCoy still watches curiously as Kirk turns to the helm :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Ahead Warp One, Mr Sulu.</dialogue>
<character>SULU</character>
<dialogue>Accelerating to Warp One, sir.</dialogue>
<scene_description>Sulu moves his controls forward - everyone waits tensely - and then we HEAR THE INCREASING THROB OF THE ACCELERATING ENGINES .</scene_description>
<character>SULU</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Warp point seven. point eight. nine.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE THE ENTERPRISE - AFT AND AHEAD (S)</stage_direction>
<scene_description>We SEE the WARP POWER EFFECT build up between the en - gine `` nacelles '' - then the starship makes the QUANTUM LEAP into warp drive . The stars ahead shift , streak , colors pulsating and changing as the shift exceeds the wave lengths of the light spectrum - and the stars congeal into a MASS ahead .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - PAST KIRK TO THE VIEWER (O)</stage_direction>
<scene_description>as the viewer shows the same WARP DRIVE EFFECT . or another moment all remain tense , and then all at once relax , release their breaths . Smiles .</scene_description>
<character>SULU</character>
<dialogue>Warp One, sir.</dialogue>
<scene_description>Kirk smiles , pleased , starts swinging his chair around , at the same time calling :</scene_description>
<character>KIRK</character>
<dialogue>Mr. Decker -</dialogue>
<scene_description>Kirk never finishes the word . At that instant , on the viewer , a WORMHOLE DISTORTION : a sudden SPIRALING OF STARS AND FLUID LIGHT narrowing into a VORTEX into which the Enterprise hurtles . A space trap , a deadly pandemonium of ALARM KLAXONS , BELLS , VOICES :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Wormhole! Get us back on impulse power! Full reverse!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE ENTERPRISE (S)</stage_direction>
<scene_description>Enterprise has been caught in a matter - time distortion , sucked into a cylindrical `` hole in space '' -LRB- the Worm - hole distortion -RRB- , stars and planets become strange , elongated shapes , with the Enterprise drawn deeper and deeper into the vortex .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>The KLAXONS and BELLS CONTINUE , and the crew responding :</scene_description>
<character>SULU</character>
<dialogue>Negative helm control, Captain! Going reverse on impulse power!</dialogue>
<character>UHURA</character>
<dialogue>Subspace frequencies are jammed by Wormhole effect!</dialogue>
<character>COMPUTER VOICE</character>
<parenthetical>( terse , flat . )</parenthetical>
<dialogue>Collision alert! Collision alert!</dialogue>
<scene_description>-LRB- Note : Computer alert continues through entire scene . -RRB-</scene_description>
<character>DECKER</character>
<parenthetical>( consulting his viewer . )</parenthetical>
<dialogue>Negative control from inertial lag will continue 22 point five seconds before forward velocity slows to sub - light speed.</dialogue>
<character>ILIA</character>
<dialogue>Unidentified small object has been pulled into the wormhole with us, Captain! Directly ahead!</dialogue>
<character>KIRK</character>
<dialogue>Forcefields up full! Put object on viewer!</dialogue>
<scene_description>ANGLE ON THE MAIN VIEWER -LRB- O -RRB- showing -LRB- a magnification view -RRB- of a tiny point of light directly ahead . Meanwhile , Kirk shouts an AD LIBBED order to Sulu : `` Go to Manual override ! '' Sulu AD LIBS , `` No manual response ! '' -LRB- Through all this , McCoy stands frozen , waiting - and expecting - the worse . -RRB- Meanwhile , Ilia has reached over to Sulu 's console , hits a button , AD LIBBING , `` Navigational deflectors coming up ! '' And then with alarmed dismay :</scene_description>
<character>ILIA</character>
<dialogue>Navigational deflectors inoperative!</dialogue>
<parenthetical>( consulting her console , alarmed . )</parenthetical>
<dialogue>Directional control also inoperative, Captain!</dialogue>
<character>DECKER</character>
<dialogue>Wormhole distortion has over - loaded main power systems!</dialogue>
<scene_description>CLOSE ON MAIN VIEWER -LRB- O -RRB- The picture is switched through two further levels of magnification , enlarging the object : an elongated , distorted , pitted asteroid , tumbling toward the Enter - prise on a collision course .</scene_description>
<character>KIRK</character>
<parenthetical>( toward Ilia . )</parenthetical>
<dialogue>Time to impact?</dialogue>
<character>ILIA</character>
<dialogue>Twelve seconds!</dialogue>
<character>KIRK</character>
<dialogue>Mr. Chekov, stand by on the phasers!</dialogue>
<character>DECKER</character>
<parenthetical>( racing to Chekov 's station . )</parenthetical>
<dialogue>Delay that phaser order! Arm photon torpedoes!</dialogue>
<scene_description>ANOTHER ANGLE - McCOY NOTICING KIRK who has just glanced , surprised at Decker -LRB- for counter - manding the phaser order -RRB- - and for a split instant , Kirk seems confused . McCoy reacts with enlightenment as , meanwhile : ANOTHER ANGLE - THE VIEWER -LRB- O -RRB- The object even larger .</scene_description>
<character>CHEKOV</character>
<dialogue>Photon torpedoes armed!</dialogue>
<character>ILIA</character>
<dialogue>Object is an asteroid, reading mass point seven.</dialogue>
<parenthetical>( consulting instruments . )</parenthetical>
<dialogue>Impact in eight seconds. seven. six. five.</dialogue>
<character>DECKER</character>
<dialogue>Fire torpedoes!</dialogue>
<character>CHEKOV</character>
<parenthetical>( punching button . )</parenthetical>
<dialogue>Torpedoes away!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S)</stage_direction>
<scene_description>as the starship 's photon torpedo tubes EJECT GLOWING BALLS OF LIGHT ENERGY , which seems to float toward the oncoming asteroid , almost too slowly . And in these brief seconds , the asteroid hurtles at the Enterprise , the huge pitted rock growing even larger than the ship itself . It FILLS THE SCREEN , as the photon torpedoes hit , disintegrating the asteroid into thousands of fragments . Instantly , these fragments pulverize them - selves on the ship 's forward forcefield and deflector screens . The smaller pieces burn up on impact , clearly outlining the ship 's forcefield barriers .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING MAIN VIEWER (O)</stage_direction>
<scene_description>The asteroid fragments still smashing into the force field screen ; the smaller bits like SPARKLERS as im - pact heat consumes them . The larger sections bouncing away , the bridge QUIVERING as they hit . Then one final gigantic fragment strikes , the bridge SHUDDERS . And then the viewer shows only the normal SUB - WARP EFFECT : The stars ahead , relatively station - ary ; a feeling of motion , but smooth , visually normal .</scene_description>
<character>CHEKOV</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>We're out of it!</dialogue>
<character>DECKER</character>
<dialogue>We are at warp point eight. Position report, Navigator?</dialogue>
<character>SULU</character>
<dialogue>Helm control restored, sir.</dialogue>
<character>ILIA</character>
<dialogue>Computing new interception course.</dialogue>
<character>UHURA</character>
<dialogue>Communications are normal, Captain.</dialogue>
<character>CHEKOV</character>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>Negative damage report, sir.</dialogue>
<parenthetical>( to McCoy . )</parenthetical>
<dialogue>No casualties reported, sir.</dialogue>
<character>McCOY</character>
<parenthetical>( tight . )</parenthetical>
<dialogue>Wrong, Mr. Chekov, there are casualties. My wits!</dialogue>
<parenthetical>( to Kirk , indignant . )</parenthetical>
<dialogue>As in ` frightened - out - of'!</dialogue>
<character>DECKER</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Engineer. report status there.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING</stage_direction>
<scene_description>with Scott and his crew pouring over the instruments - all seem very grim . Scott , quite preoccupied , now speaks into the intercom .</scene_description>
<character>SCOTT</character>
<dialogue>In just a second, Exec ; we're picking up the pieces down here.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>Kirk seeming to collect his thoughts now - he gives Decker a look , uses the intercom himself :</scene_description>
<character>KIRK</character>
<dialogue>Warp Drive as soon as possible, Mr. Scott.</dialogue>
<character>SCOTT'S INTERCOM VOICE</character>
<parenthetical>( protesting . )</parenthetical>
<dialogue>Captain, it was our anti - matter imbalance that created the wormhole in the first place. It will happen again if we do n't correct it.</dialogue>
<character>KIRK</character>
<dialogue>That object out there is less than two days from Earth, Mister Scott. We've got to intercept while it still is out there!</dialogue>
<character>SCOTT'S INTERCOM VOICE</character>
<parenthetical>( near annoyed . )</parenthetical>
<dialogue>Aye, we understand that sir! We're doing our best.</dialogue>
<scene_description>as Kirk flips off the intercom , rises determinedly , faces Decker :</scene_description>
<character>KIRK</character>
<dialogue>Mr. Decker, I'd like to see you in my quarters.</dialogue>
<parenthetical>( toward helm . )</parenthetical>
<dialogue>You have the conn, Mr. Sulu.</dialogue>
<character>McCOY</character>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>Mind if I tag along?</dialogue>
<scene_description>Kirk gives McCoy an annoyed look , then strides to the elevator . Decker , grim , follows - McCoy brings up the rear as they EXIT . ANGLE FAVORING ILIA gazing worriedly at the just - closed elevator doors , as Sulu is punching figures into his console .</scene_description>
<character>SULU</character>
<dialogue>Maintaining warp point eight ; I show our new heading as 287 point three Mark 105.</dialogue>
<scene_description>Ilia 's attention is directed toward Decker .</scene_description>
<character>SULU</character>
<parenthetical>( continuing ; gently reminding . )</parenthetical>
<dialogue>Lieutenant Ilia?</dialogue>
<character>ILIA</character>
<parenthetical>( a beat ; then quickly . )</parenthetical>
<dialogue>Confirmed, Mr. Sulu. Confirmed.</dialogue>
<scene_description>And she punches in some equations , then again peers up at the doors where she last saw Decker . She is very concerned .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIRK'S QUARTERS</stage_direction>
<scene_description>The doors opening , Kirk entering , McCoy moves to b.g. while Decker stands attentively , waiting as Kirk turns to him .</scene_description>
<character>KIRK</character>
<dialogue>Explanation, Mr. Decker : Why was my phaser order countermanded?</dialogue>
<character>DECKER</character>
<parenthetical>( cool , polite . )</parenthetical>
<dialogue>Sir, the Enterprise redesign increases phaser power by channeling it through the main engines. When they went into anti - matter imbalance, the phasers were automatically cut off.</dialogue>
<scene_description>Kirk is surprised by this information , perhaps slight - ly chagrined . After a beat :</scene_description>
<character>KIRK</character>
<dialogue>Then you acted properly, of course.</dialogue>
<character>DECKER</character>
<dialogue>Thank you, sir. I'm sorry I embar - rassed you.</dialogue>
<character>KIRK</character>
<dialogue>You saved the ship.</dialogue>
<character>DECKER</character>
<parenthetical>( coolly . )</parenthetical>
<dialogue>I'm aware of that, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( flaring . )</parenthetical>
<dialogue>Stop competing with me, Decker!</dialogue>
<character>DECKER</character>
<dialogue>Permission to speak freely, sir?</dialogue>
<character>KIRK</character>
<parenthetical>( tight . )</parenthetical>
<dialogue>Granted.</dialogue>
<character>DECKER</character>
<dialogue>Sir, you have n't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's design - in my opinion, sir, seriously jeopardizes our mission.</dialogue>
<scene_description>Kirk reacts with anger . Struggles for and regains control .</scene_description>
<character>KIRK</character>
<dialogue>I trust you will. nursemaid me through these difficulties, Mister?</dialogue>
<character>DECKER</character>
<dialogue>Yes, sir, I'll do that.</dialogue>
<scene_description>Kirk peers at Decker , who stands facing him determinedly .</scene_description>
<character>KIRK</character>
<dialogue>Then I wo n't keep you from your duties any longer, Commander.</dialogue>
<parenthetical>( whirling at McCoy . )</parenthetical>
<dialogue>Yes, Doctor?</dialogue>
<scene_description>Kirk 's last line has drowned out Decker 's `` Aye , sir . '' McCoy says nothing , waits until Decker is gone and the door closes behind him . Then :</scene_description>
<character>McCOY</character>
<dialogue>He may not be wrong, Jim.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Decker moving toward an elevator - the elevator doors open , and there is Ilia . She steps out , faces him .</scene_description>
<character>ILIA</character>
<dialogue>Was he difficult?</dialogue>
<character>DECKER</character>
<dialogue>No more than I expected.</dialogue>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>Not as difficult as this. I'm sorry.</dialogue>
<character>ILIA</character>
<dialogue>That you left? or that you did n't say ` goodbye'?</dialogue>
<character>DECKER</character>
<dialogue>If I'd seen you again, would you have been able to say it?</dialogue>
<character>ILIA</character>
<parenthetical>( long hesitation ; then shakes head . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Ilia whirls , moves toward her stateroom door , which snaps open , then closes behind her . Decker stands gazing at the door , remembering , regretful .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIRK'S CABIN - KIRK AND McCOY</stage_direction>
<character>KIRK</character>
<dialogue>Get out of here, Bones.</dialogue>
<character>McCOY</character>
<parenthetical>( shakes head . )</parenthetical>
<dialogue>As ship's doctor, I am now discussing the subject of command fitness.</dialogue>
<scene_description>Kirk 's expression hardens .</scene_description>
<character>KIRK</character>
<dialogue>Make your point, Doctor.</dialogue>
<character>McCOY</character>
<dialogue>The point, Captain, is that it's you who's competing.</dialogue>
<parenthetical>( a beat , as Kirk reacts . )</parenthetical>
<dialogue>You pulled every string in the book short of blackmail to get the Enterprise - maybe even that. And when this mission is over, you have no intention of giving her back.</dialogue>
<character>KIRK</character>
<parenthetical>( tight . )</parenthetical>
<dialogue>I intend to keep her, is that what you're saying, Doctor?</dialogue>
<character>McCOY</character>
<dialogue>It's an obsession - that can blind you so far more immediate - and critical responsibilities. Your reaction to Decker is an example.</dialogue>
<scene_description>Kirk studies him a beat ; has McCoy touched a nerve ? Something Kirk himself might have been unaware of ? Kirk starts speaking , but is interrupted by :</scene_description>
<character>UHURA'S INTERCOM VOICE</character>
<dialogue>Bridge to Captain.</dialogue>
<scene_description>ANGLE TO INCLUDE CABIN VIEWER as Kirk turns to it .</scene_description>
<character>KIRK</character>
<dialogue>Viewer on.</dialogue>
<scene_description>At his VOICE COMMAND , the viewer comes on with AN IMAGE of Uhura at her console .</scene_description>
<character>UHURA FROM VIEWER</character>
<dialogue>Signal from a Federation - registered long - range shuttle, sir. She wishes to come alongside, and lock on.</dialogue>
<character>KIRK</character>
<dialogue>For what purpose?</dialogue>
<scene_description>On the viewer , Chekov 's IMAGE replaces Uhura .</scene_description>
<character>CHEKOV</character>
<dialogue>It is a courier, Captain. Grade One priority. Non - belligerency confirmed.</dialogue>
<character>KIRK</character>
<dialogue>Very well, Mr. Chekov, see to it. Viewer off.</dialogue>
<scene_description>Viewer IMAGE FADES . Kirk turns back to McCoy whose question of Kirk 's fitness still hangs there between them . Eye to eye - then , finally :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Your. opinion has been noted, Doctor.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Is there anything further?</dialogue>
<character>McCOY</character>
<dialogue>I hope not.</dialogue>
<scene_description>Kirk nods , exits . McCoy watches him go , hoping his point has gotten through .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE SHUTTLE (S)</stage_direction>
<scene_description>traveling at a rapid speed ; it carries warp - capacity nacelles which dwarf the smaller to 10 position shuttle fuselage . The CAMERA HOLD ON THE SHUTTLE as it overtakes the Enterprise , the ENTERPRISE COM - ING INTO VIEW , and the shuttle slowing and beginning to move between the starship 's giant nacelles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THROUGH WINDOW IN OFFICERS' LOUNGE THE ENTERPRISE AND THE SHUTTLE (S)</stage_direction>
<scene_description>About the size of a fighter airplane floating in over the vastness of an aircraft carrier . The shuttle slows further , hovering now . Then its fuselage pod detaches from the warp drive nacelles - the pod moving slowly but precisely toward the starship 's command airlock .</scene_description>
</scene>
<scene>
<stage_direction>INT. POD HATCH ENTRY AREA</stage_direction>
<scene_description>as we HEAR the CLANK and WHOOSH of the AIRLOCK MECHAN - ISM . Chekov is standing by with a security man . A moment later the hatch slips open - TO REVEAL Spock . A proud Spock , impassively Vulcan , almost contemptuously aloof . His hair is now trimmed in neat Vulcan style ; he wears Vulcan attire simple , civilian , utilitarian . -RRB-</scene_description>
<character>SPOCK</character>
<dialogue>Permission to come aboard, sir?</dialogue>
<character>CHEKOV</character>
<dialogue>Granted, sir! Granted!</dialogue>
<scene_description>Spock is already moving out of the pod entry area , im - passive , no greeting on his lips ; no friendship in his expression .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE SHUTTLE LEAVING</stage_direction>
<scene_description>pulling away from Enterprise .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>The elevator doors open , and there is Spock . It takes everyone a moment to believe their eyes . Then , the Bridge crew AD LIB their surprise and pleasure .</scene_description>
<character>KIRK</character>
<dialogue>Spock! Spock, where. how?</dialogue>
<scene_description>Kirk , smiling , is moving toward Spock with hand out - stretched . But Spock has already turned and moved toward the science console where Decker sits .</scene_description>
<character>SPOCK</character>
<dialogue>Commander, if I may?</dialogue>
<scene_description>AT SCIENCE CONSOLE It takes Decker a moment to realize that Spock wants to take over the console . He begins getting to his feet , throwing Kirk a look . But Kirk 's attention is totally on SPOCK . And Spock is already intent on com - putations he is beginning to punch into the science console computer .</scene_description>
<character>SPOCK</character>
<dialogue>I have been monitoring your Starfleet transmissions, Captain, your engine design difficulties.</dialogue>
<scene_description>Spock continues to punch information into the science computer - a monitor screen IMAGE begins to show com - plex equations which Spock inspects - he makes a further computer punch out and inspects a second monitor IMAGE of other equations . Only then does Spock seem to become aware of Kirk and Decker standing there with questioning expressions .</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I offer my services as Science Officer.</dialogue>
<scene_description>Kirk starts to grin - then remembers to wipe it off his face as he turns to Decker .</scene_description>
<character>KIRK</character>
<dialogue>If our Executive Officer has no objections?</dialogue>
<character>DECKER</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Of course not. I'm aware of Mister Spock's qualifications.</dialogue>
<character>KIRK</character>
<parenthetical>( grinning openly now ; turns , calls . )</parenthetical>
<dialogue>Mister Chekov, log Mister Spock's Starfleet commission reactivated ; list him as Science Officer ; both effective immediately.</dialogue>
<scene_description>ANGLE TO INCLUDE ELEVATOR DOORS as they SNAP open - McCoy and Chapel appear . Chapel sees Spock at the science console - she moves in quickly , overjoyed . Even McCoy seems pleased .</scene_description>
<character>CHAPEL</character>
<dialogue>Mr. Spock!!</dialogue>
<character>McCOY</character>
<dialogue>So help me, I'm actually pleased to see you.</dialogue>
<scene_description>But as Chapel crosses to Spock , her pleased smile brightening her whole face , Spock turns , dismisses her presence with a cold disinterested glance - Chapel stops , stands dumbfounded . Spock gives McCoy a similar glance - turns back to his console readings as :</scene_description>
<character>UHURA</character>
<dialogue>That's how we all feel, Mister.</dialogue>
<scene_description>The same cold glance causes Uhura to stop in mid - sentence . Several grins directed toward Spock are now fading from bridge crew faces . Spock has turned back again for a last quick reading at the console and now stands - totally ignoring everyone else as he speaks coolly , unemotionally to Kirk :</scene_description>
<character>SPOCK</character>
<dialogue>With your permission, I will now discuss these fuel equations with the Engineer.</dialogue>
<scene_description>Kirk manages a nod , a bit dumbfounded himself at Spock 's strange manner . Spock heads for the elevator - puz - zled expressions from the entire bridge crew . Then Kirk calls after him , very sincerely :</scene_description>
<character>KIRK</character>
<dialogue>Mister Spock, welcome aboard!</dialogue>
<scene_description>Spock continues onto the elevator without any acknow - ledgment , leaves . Kirk glances , perplexed , at McCoy . McCoy , equally perplexed , shrugs .</scene_description>
<character>McCOY</character>
<dialogue>Never look a gift Vulcan in the ears, Jim.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE ENTERPRISE (S)</stage_direction>
<scene_description>traveling past the stars , sub - warp . OVER this :</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( buoyant . )</parenthetical>
<dialogue>Captain's Log. Stardate 7413.4. Thanks to Mr. Spock's timely arrival - and assistance.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING - SPOCK AND SCOTT</stage_direction>
<scene_description>Scott making an intermix chamber reading with a hand - held timer - temperature device which emits SIGNALS while Spock now in regulation uniform and hair trim , makes adjustments in the circuitry of a panel complex . Dur - ing the following , they will react as if they 've solved the engine problem .</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( continues . )</parenthetical>
<dialogue>. we have the engines rebalanced into full warp capacity. Repair time less than three hours.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - ALL BRIDGE CREW EXCEPT SPOCK</stage_direction>
<scene_description>Sulu at the helm , accelerating ; just a touch of tense - ness in crew as they move toward the speed which earlier threw them into the `` wormhole '' effect .</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( continues . )</parenthetical>
<dialogue>. which means we will now be able to intercept Intruder while still more than a day from Earth.</dialogue>
<scene_description>ANGLE INCLUDING MAIN VIEWER -LRB- O -RRB- Stars accelerating as Sulu calls off :</scene_description>
<character>SULU</character>
<dialogue>Warp point eight. point nine.</dialogue>
<scene_description>The viewer shows the QUANTUM LEAP into warp drive . The stars ahead shift , streak and congeal into WARP EFFECT MASS. .</scene_description>
<character>SULU</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Warp one, sir.</dialogue>
<scene_description>The others wait , then show relief as :</scene_description>
<character>SULU</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Warp two, sir. warp three.</dialogue>
<scene_description>He continues to seven .</scene_description>
<character>SCOTT'S INTERCOM VOICE</character>
<dialogue>Engineering to Bridge. New intermix balance holding steady. She's not even straining!</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICER'S LOUNGE (O)</stage_direction>
<scene_description>Where , first , CAMERA SHOOTS THROUGH THE WINDOW , the myriad of stars , space , the whole magnificent vista . In the lounge , empty but for them , are Kirk and McCoy - obviously awaiting Spock , who ENTERS and presents himself cold and aloof as before :</scene_description>
<character>SPOCK</character>
<dialogue>Reporting as ordered, Captain.</dialogue>
<character>KIRK</character>
<dialogue>Sit down, please.</dialogue>
<scene_description>Spock remains standing , addresses Kirk :</scene_description>
<character>SPOCK</character>
<dialogue>Sir, I would appreciate Dr. McCoy absenting himself from this interview.</dialogue>
<character>KIRK</character>
<dialogue>I want him here.</dialogue>
<parenthetical>( indicating . )</parenthetical>
<dialogue>Sit down!</dialogue>
<scene_description>For an instant , it looks like Spock will refuse . Then , he complies but sits formally , rigidly . He ignores McCoy totally .</scene_description>
<character>KIRK</character>
<dialogue>You've reported that you felt strong thought emotions. A group of minds from a space vessel? Could you make out any plan, anything to do with Earth?</dialogue>
<character>SPOCK</character>
<parenthetical>( still formally . )</parenthetical>
<dialogue>Negative, Captain. I could sense only what seemed an almost omniscient pattern of perfect logic. I can explain nothing more ; I understand nothing more.</dialogue>
<scene_description>Kirk is clearly disappointed - and a bit uncomfortable about what he must ask next . He exchanges a glance with McCoy , then :</scene_description>
<character>KIRK</character>
<dialogue>Also - there was nothing in your report about why you're here.</dialogue>
<character>SPOCK</character>
<dialogue>That inquiry invades my personal life, Captain.</dialogue>
<character>McCOY</character>
<dialogue>Spock, we've already guessed why you're here.</dialogue>
<character>KIRK</character>
<dialogue>I inquired about you - learned you were studying with the Masters.</dialogue>
<scene_description>Although Spock has been almost infuriatingly emotionless , his expression shifts slightly . McCoy indicates this :</scene_description>
<character>McCOY</character>
<dialogue>That flicker of emotion confirms our guess. You failed.</dialogue>
<character>SPOCK</character>
<parenthetical>( facing McCoy for the first time . )</parenthetical>
<dialogue>Your deductions do you credit, Doctor. if your puerile curiosity does not.</dialogue>
<character>McCOY</character>
<parenthetical>( not in amusement . )</parenthetical>
<dialogue>And now, anger, Spock?</dialogue>
<scene_description>Spock looks straight ahead - his face instantly com - posed to almost total blankness .</scene_description>
<character>SPOCK</character>
<parenthetical>( beat ; nods . )</parenthetical>
<dialogue>I still contain fragments of my human half.</dialogue>
<character>KIRK</character>
<dialogue>And whatever you sensed out here.</dialogue>
<character>SPOCK</character>
<dialogue>is my only hope of accomplishing what the Masters could not.</dialogue>
<character>McCOY</character>
<dialogue>If you achieve perfect logic, Spock, you'll pay a price. It's given your planet ten thousand years of peace, but no poetry's been written since then, no music.</dialogue>
<scene_description>Spock has come to his feet fast - but Kirk is on his feet too , confronting him . During which :</scene_description>
<character>KIRK</character>
<dialogue>Let it drop, Bones.</dialogue>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>You are my Science Officer - I'll expect an immediate report on anything further you learn or sense from here on.</dialogue>
<character>SPOCK</character>
<dialogue>I have accepted service here as a Starfleet officer. sir.</dialogue>
<character>KIRK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>I know this has been painful, Spock. For me too. Thank you.</dialogue>
<scene_description>Spock EXITS . Kirk and McCoy exchange a troubled look , then EXIT too as CAMERA CENTERS AGAIN ON OBSERVATION WINDOW , the view of space there .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - CLOSE ON CHEKOV'S HAND</stage_direction>
<scene_description>pushing red alert . The ALERT SOUNDS ; the red lights begin FLASHING .</scene_description>
<character>CHEKOV'S VOICE</character>
<dialogue>Red alert! Red alert!</dialogue>
<scene_description>BRIDGE ANGLE - INCLUDING MAIN VIEWER All regulars in position -LRB- different uniforms -RRB- , extra CREW hurrying in from elevators to man the remainder of the console positions . Decker is making a bridge circuit .</scene_description>
<character>KIRK</character>
<dialogue>Full mag on viewer!</dialogue>
<scene_description>Sulu hits a control - viewer seems to ZOOM AHEAD and in the distance we SEE a point of light which grows into the LUMINESCENT CLOUD . The same as seen by the Klingons and Starfleet 's Epsilon Nine station . Myster - ious , beautiful , and menacing .</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Linguacode?</dialogue>
<character>UHURA</character>
<dialogue>Continuing friendship messages on all frequencies, sir.</dialogue>
<character>CHEKOV</character>
<dialogue>All decks and divisions confirm status red.</dialogue>
<character>SPOCK</character>
<parenthetical>( flat , impassive . )</parenthetical>
<dialogue>We are being scanned, Captain.</dialogue>
<scene_description>ANOTHER ANGLE - ACROSS KIRK -LRB- AND DECKER -RRB- TO SPOCK as Kirk whirls toward Spock 's station , calls out :</scene_description>
<character>KIRK</character>
<dialogue>Do not return scan, Mr. Spock! It may be misinterpreted as hostility!</dialogue>
<character>SPOCK</character>
<dialogue>Intruder scans emanate from the exact cloud center. Energy of a type entirely un - known to me.</dialogue>
<character>UHURA</character>
<parenthetical>( after a moment . )</parenthetical>
<dialogue>No response to friendship messages, Captain.</dialogue>
<character>CHEKOV</character>
<dialogue>Should I go to battle stations, sir.</dialogue>
<character>KIRK</character>
<dialogue>Negative, We'll take no prov - ocative action.</dialogue>
<scene_description>Decker has reacted sharply , disapprovingly , to this :</scene_description>
<character>DECKER</character>
<dialogue>Recommend defensive posture, Captain : Screens and shields.</dialogue>
<character>KIRK</character>
<dialogue>No.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>. that could also be misinter - preted as hostile, Mr. Decker.</dialogue>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>Cloud composition, Mr. Spock?</dialogue>
<character>SPOCK</character>
<dialogue>Twelve power energy field -</dialogue>
<character>SULU</character>
<parenthetical>( in disbelief . )</parenthetical>
<dialogue>- twelve power?!</dialogue>
<character>DECKER</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>Captain, we've seen what their weapons can do. Should n't we take every possible precaution -?</dialogue>
<character>KIRK</character>
<dialogue>Mr Decker.</dialogue>
<character>SPOCK</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Captain, I suspect there's an object at the heart of that cloud.</dialogue>
<character>KIRK</character>
<parenthetical>( cool . )</parenthetical>
<dialogue>Mr. Decker, I will not provoke an attack, If that order is n't clear to you.</dialogue>
<character>DECKER</character>
<parenthetical>( interrupting in mid sentence . )</parenthetical>
<dialogue>Captain, as your Exec, it's my duty to point out alternatives.</dialogue>
<scene_description>A moment of thought from Kirk .</scene_description>
<character>ILIA</character>
<dialogue>Five minutes to Cloud boundary!</dialogue>
<character>KIRK</character>
<parenthetical>( a look . )</parenthetical>
<dialogue>I stand corrected Mr. Decker.</dialogue>
<parenthetical>( toward Ilia . )</parenthetical>
<dialogue>Navigator, lay in a conic section flight path into the cloud center ; bring us parallel to whatever we find in there.</dialogue>
<scene_description>FAVORING THE VIEWER -LRB- O -RRB- The Cloud has now grown so large it DOMINATES THE ENTIRE VIEWER . Sulu hits a button , reducing magnif - cation . Immediately , the CLOUD diminishes in size - but almost instantly begins GROWING AGAIN . Decker 's annoyance -LRB- with Kirk -RRB- suddenly seems to dissipate as his total attention is diverted to the cloud . ANOTHER ANGLE - SPOCK , DECKER AND KIRK Decker turning to Spock</scene_description>
<character>DECKER</character>
<dialogue>That measures twelve power? Ten thousands of starships could n't generate that much.</dialogue>
<scene_description>Decker trails his words , realizing that Spock is n't hearing a word . Spock 's attention is on the O.S. main viewer , totally absorbed by something he 's feeling . He is slowly rising from his seat , stepping forward - Kirk becomes conscious of this , turns and sees Spock 's strange expression . Before he can speak :</scene_description>
<character>SPOCK</character>
<dialogue>They have. they have been communicating with us. I sense. puzzlement. Why have we not replied?</dialogue>
<character>KIRK</character>
<dialogue>Communicated with us how?</dialogue>
<scene_description>Spock shakes his head . then reacts as if sensing or theorizing something further . He turns , moves quickly to his console , begins there as if searching for something . Interrupted by another ALARM KLAXON .</scene_description>
<character>DECKER</character>
<dialogue>Signal medical alert, Mister Chekov!</dialogue>
<character>COMPUTER VOICE</character>
<dialogue>Incoming fire. Ahead. Zero,. mark, zero. Incoming fire. Ahead. Zero, mark, zero.</dialogue>
<scene_description>FULL ON THE MAIN VIEWER -LRB- O -RRB- showing a WHIPLASH ENERGY BOLT streaking from the Cloud !</scene_description>
<character>KIRK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Forcefields now! Deflectors up full!</dialogue>
<character>SULU</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Commencing evasive maneuvers!</dialogue>
<scene_description>Bridge begins to tilt . REVERSE ANGLE</scene_description>
<character>CHEKOV</character>
<dialogue>Forcefields and deflectors up full, Captain.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - ENTERPRISE (S)</stage_direction>
<scene_description>The WHIPLASH ENERGY BOLT speeds toward the Enterprise , which veers sharply away now - but WHIPLASH FOLLOWS .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE AND VIEWER (O)</stage_direction>
<scene_description>With the WHIPLASH ENERGY BOLT on the main viewer , closer and closer - heading straight - on for the Star - ship . From the Bridge a CACOPHONY OF VOICES AND SOUNDS , but all organized and disciplined with the BRIDGE LIGHTING DIMMING and then as though traveling the last short distance -LRB- actually several million miles -RRB- in the wink of an eye - the WHIPLASH OF ENERGY STRIKES . The bridge lights go out . In the sudden darkness , the main viewer is all at once a frantic , furious , pattern of GREEN - WHITE FLARING ENERGY , accompanied by an EXPLOSIVE SHRILLING SOUND . It seems to cling to the forcefields , the incredible energy of the forcefield barriers . FAVORING CHEKOV 'S STATION -LRB- O -RRB- as a sheet of GREEN WHIPLASH ENERGY bursts from Chekov 's console - a LASH of FLAME engulfs Chekov 's arm . Automatic fire control nozzles SPURT FOAM over him as he falls twisting and groaning in pain . Ilia reacts first , crossing quickly to assist Chekov - Decker joins her , taking over Chekov 's console .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE ENTERPRISE UNDER ATTACK (S)</stage_direction>
<scene_description>The SHEET OF WRITHING - GREEN ENERGY enveloping the entire vessel , outlining it starkly . -LRB- And outlining , too , the forcefield screens and deflectors - batter - ing at them , seeking some gap through which to penetrate . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - FAVORING THE VIEWER (O)</stage_direction>
<scene_description>The bridge still darkened , and on the viewer the WHIP - LASH ENERGY splattering the entire viewing screen with GREEN ENERGY BRILLIANCE , forcing all to shield their eyes against the impossible glare .</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING</stage_direction>
<scene_description>A smoking panel BURSTS INTO A SHOWER OF SPARKS AND FLAME , spewing over and past Scott and his crew .</scene_description>
<character>SCOTT</character>
<dialogue>Bypass! Alternate Integrators!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE AND VIEWER (O)</stage_direction>
<scene_description>as , first on the viewer , the WHIPLASH ENERGY BOLT EFFECT clings another moment then begins FADING . And then it is gone . The bridge lights go on again . Elevator doors open . Doctor Chapel and Medical Corps - men arrive and cross immediately to where Ilia tends to the injured Chekov .</scene_description>
<character>SULU</character>
<dialogue>The new screens held!</dialogue>
<character>SCOTT'S INTERCOM VOICE</character>
<dialogue>Engineering to bridge ; we can not hold full power on forcefields ; deflector power is down seventy percent!</dialogue>
<scene_description>CHEKOV 'S STATION Over the following , we will HEAR Captain Kirk AD LIB order ; `` Divert auxiliary systems power to deflectors ! '' and SCOTT INTERCOM VOICE answer : `` All auxiliary power to deflectors , sir . '' Meanwhile , Chapel and Corpsmen giving medical treatment to Chekov who is in agony . Chapel is about to give an injection .</scene_description>
<character>ILIA</character>
<dialogue>No, I can stop his pain.</dialogue>
<scene_description>The Deltan woman takes Chekov 's upper arm in both her hands , kneading her fingers deep into nerve centers - Chekov 's pain begins to quickly recede and he is almost startled by the sudden relief . Doctor Chapel , now spraying plasti - skin on the burned hand and wrist , gives Ilia a surprised , approving look and a flicker of female friendship passes between the Deltan and Earth woman . -LRB- setting up a later story point -RRB- CLOSE ON VIEWER -LRB- O -RRB- The energy brilliance gone now , we can SEE the CLOUD is very close - the closest we have seen it yet , and the Aurora effect is spectacular ; a vast , dense blan - ket of SPARKLING , FLARING COLOR . EMPHASIZING SPOCK whirling abruptly in his chair , addressing Kirk :</scene_description>
<character>SPOCK</character>
<dialogue>Captain, the Intruder has been attempting to communicate! Now placing their transmission on the speaker.</dialogue>
<scene_description>Immediately , from the SPEAKER we HEAR a SHRILL , IN - CREDIBLY FAST BEEP .</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. frequency more than one million megahertz at such high speed their entire message lasts only a millisecond.</dialogue>
<scene_description>ANOTHER ANGLE Chapel and Corpsman are assisting Chekov from the bridge -LRB- we 'll have SEEN that the remarkable plasti - skin sprayed on his hand has completley covered the ugly burn marks - he is even able to move his fingers a bit -RRB- . Ilia returns to her station - a relief CREW WOMAN takes over from Decker at Chekov 's console . CLOSER ON SPOCK 'S STATION so we can SEE in more detail Spock 's monitor - various oscillating waves , and HEAR more of the SHRILL BEEPS as Spock manipulates his equipment , and continues :</scene_description>
<character>SPOCK</character>
<dialogue>I suspect our messages were too slow for them to be noticed.</dialogue>
<parenthetical>( touches a control . )</parenthetical>
<dialogue>Programming computer to send linguacode at their rate.</dialogue>
<scene_description>Decker has hurried in to assist the science console . Spock indicates a console area - Decker works there - Spock works another section of console buttons .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE ENTERPRISE AND THE CLOUD (S)</stage_direction>
<scene_description>The Cloud ever closer to the ship now , which is a mere dot in space compared to the immensity of the energy - seething , continuous color - exploding Cloud . And then , suddenly , from the Cloud - ANOTHER WHIPLASH ENERGY BOLT . Bearing down upon the Enterprise .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER</stage_direction>
<scene_description>where the oncoming WHIPLASH BOLT is SEEN emerging from the Cloud . In the b.g. , ALARM KLAXONS are SOUNDING , alert lights flashing , etc</scene_description>
<character>SULU</character>
<dialogue>Here it comes!</dialogue>
<character>COMPUTER VOICE</character>
<dialogue>Incoming fire. Ahead, zero, mark, zero, point two. Incoming fire. Ahead, zero, zero, mark, zero.</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Engineering. what's happening to our forcefields?!</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING</stage_direction>
<scene_description>Much frenetic activity here , previous damage being repaired , the main shaft GLOWING BLUE - WHITE , ENGINES THROBBING AT FULL POWER , and a harassed Scott at the intercom :</scene_description>
<character>SCOTT</character>
<dialogue>Systems are overloading, Captain! Our shields can not handle another attack!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - THE ENTERPRISE AND THE CLOUD (O)</stage_direction>
<scene_description>The WHIPLASH BOLT streaking toward the ship .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<character>KIRK</character>
<parenthetical>( desperately . )</parenthetical>
<dialogue>Mr. Spock?</dialogue>
<character>ILIA</character>
<dialogue>Impact in fifteen seconds.</dialogue>
<scene_description>Spock - Decker assisting - works frantically . Spock is clearly dissatisfied , shakes his head tightly .</scene_description>
<character>KIRK</character>
<dialogue>Transmit, Mr. Spock! Now!</dialogue>
<character>ILIA</character>
<dialogue>Ten seconds.</dialogue>
<scene_description>CLOSER ON SPOCK 'S STATION as Spock hits the `` transmit '' button , and we HEAR the SHRILL BEEP SOUND -LRB- lasting but a fraction of a second -RRB- , and Decker calls to Kirk :</scene_description>
<character>DECKER</character>
<dialogue>Transmitting!</dialogue>
<character>ILIA'S VOICE</character>
<dialogue>five seconds.</dialogue>
<scene_description>ANGLE ON MAIN VIEWER -LRB- O -RRB- where the WHIPLASH BOLT is now BRILLIANT , almost upon us ! Then the WHIPLASH ENERGY BOLT abruptly VANISHES . In the blink of an eye , the entire EFFECT IS GONE . REACTIONS relief , incredulity .</scene_description>
<character>SPOCK</character>
<dialogue>It appears that our message has been understood, Captain.</dialogue>
<character>KIRK</character>
<parenthetical>( to Uhura . )</parenthetical>
<dialogue>Any reply from them?</dialogue>
<character>UHURA</character>
<dialogue>Negative, no reply, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( returning to Spock . )</parenthetical>
<dialogue>Spock, have you sensed anything else?</dialogue>
<scene_description>Spock turns , gives the O.S. viewer a glance . Then he shakes head .</scene_description>
<character>SPOCK</character>
<dialogue>The ` puzzlement' I sensed was fleeting. minor.</dialogue>
<parenthetical>( ponders , then . )</parenthetical>
<dialogue>. as if carrying a sense of our insignificance, Captain.</dialogue>
<character>KIRK</character>
<dialogue>Our. ` insignificance'?</dialogue>
<scene_description>All have reacted to this ; Kirk exchanges a look with Spock who nods firmly . Then Kirk sees that both Decker and Sulu are throwing him a questioning look . In b.g. McCoy and Chapel have EXITED bridge with Chekov .</scene_description>
<character>SPOCK</character>
<dialogue>We are obviously confronted by a highly advanced mentality. yet they can not understand who we are, or what we want.</dialogue>
<character>KIRK</character>
<dialogue>But they understood our messages ; they broke off the attack.</dialogue>
<character>DECKER</character>
<dialogue>They may have attacked only as a warning to us, Captain. To keep away.</dialogue>
<character>SPOCK</character>
<dialogue>That would presuppose a feeling, Commander. compassion. I sensed no emotion, only.</dialogue>
<parenthetical>( reverentially . )</parenthetical>
<dialogue>. pure logic.</dialogue>
<scene_description>Kirk peers at Spock hoping for some assistance on the decision ; but Spock merely peers back at him ex - pressionlessly : the decision is Kirk 's . Kirk faces Spock one last beat , then turns and starts back to - ward his chair , calling to Ilia .</scene_description>
<character>KIRK</character>
<dialogue>Tactical plot on viewer.</dialogue>
<scene_description>ANGLE INCLUDING MAIN VIEWER -LRB- O -RRB- where the IMAGE of the `` powerfield Cloud : changes to a tactical plot of Enterprise 's conic flight path ap - proach . It shows a large schematic of the Cloud itself as well as a series of FAINTLY BLINKING schematics of various recent positions and directional attitudes of the Enterprise during its approach . These blinking Enterprise schematics show that the starship has gone from a head - on approach to the Cloud into a -LRB- tech . advice -RRB- skidding movement around the Cloud -LRB- the star - ship always heading directly toward Cloud center -RRB- , with the last Enterprise positions now showing it ap - roaching the Cloud from a quartering rear approach . REVERSE ANGLE</scene_description>
<character>ILIA</character>
<dialogue>Thirty seconds to Cloud boundary.</dialogue>
<character>KIRK</character>
<dialogue>Opinion, Mister. Spock?</dialogue>
<character>SPOCK</character>
<dialogue>Recommend we proceede, Captain.</dialogue>
<character>KIRK</character>
<dialogue>Mr. Decker?</dialogue>
<character>DECKER</character>
<dialogue>I advise caution, Captain ; we ca n't withstand another attack.</dialogue>
<character>KIRK</character>
<dialogue>That thing is twenty hours from Earth. We know nothing about it yet.</dialogue>
<scene_description>Decker glances around , moves close to Kirk so only Spock is able to overhear :</scene_description>
<character>DECKER</character>
<dialogue>That's precisely the point, Captain. We do n't know it will do. Moving into the cloud - at this time, is an unwarranted gamble.</dialogue>
<character>KIRK</character>
<dialogue>How do you define unwarranted, mister?!</dialogue>
<character>DECKER</character>
<dialogue>You asked my opinion, sir.</dialogue>
<scene_description>Kirk looks at him , then at Spock , who once more is peering in momentary concentration at the viewer , feels Kirk 's gaze - and turns to him , again expres - sionlessly ; it 's up to Kirk .</scene_description>
<character>ILIA</character>
<dialogue>Fifteen seconds to Cloud Boundary.</dialogue>
<character>KIRK</character>
<dialogue>Viewer, standard ahead.</dialogue>
<scene_description>ANGLE TO INCLUDE VIEWER -LRB- O -RRB- Main viewer IMAGE reverts to the `` powerful cloud . '' All peer in grim fascination at the cloud another moment . Then : Kirk sits contemplating his next move . Once again , the decision is his . He looks to the Viewer a moment , then :</scene_description>
<character>KIRK</character>
<parenthetical>( to Helm . )</parenthetical>
<dialogue>Mr. Sulu, steady as she goes.</dialogue>
<character>SULU</character>
<dialogue>Aye, sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPACE - ENTERPRISE</stage_direction>
<scene_description>as the Enterprise slowly enters deeper toward the chamber ahead . We SEE the sheer size of the Cloud as opposed to that of the small ship now entering unknown territory . As the Enterprise enters the Cloud :</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - REACTIONS AT WHAT THEY ARE SEEING</stage_direction>
<scene_description>On Viwscreen we SEE a vast array of IMAGES , spiralling IMAGES , changing in size , shape , colour . Its walls spinning and turning , looping and twisting , as the Enterprise proceeds further Into the Cloud . Amazed bridge crew members can do nothing but awe at the sight before thier eye 's . Even Spock has turned to view the sight now illuminating the View screen . Kirk sits pondering , amazed , thinking `` What comes next ? ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - ENTERPRISE AND V'GER</stage_direction>
<scene_description>Moving slowly through the maze of VISUAL 'S seen from the Main Viewer .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING THE VIEWER (O)</stage_direction>
<scene_description>as the CLOUD OBSCURES all now . Everyone gazes at the viewer , almost mesmerized by the shifting violet power - field displays .</scene_description>
<character>KIRK</character>
<parenthetical>( staring at viewer , frustrated , awed . )</parenthetical>
<dialogue>No vessel could generate a powerfield of this magnitude.</dialogue>
<character>SPOCK</character>
<dialogue>Instruments fluctuating, Captain. Patterns unrecognizable.</dialogue>
<character>SULU'S VOICE</character>
<dialogue>Captain!</dialogue>
<scene_description>ANGLE ON SULU Sulu peering toward O.S. main viewer , his eyes wide with incredulity . OTHER REACTIONS Crew peering at O.S. main viewer with expressions of near disbelief . Similar reactions as Kirk and Decker turn too , reacting to : WHAT THEY SEE ON MAIN VIEWER -LRB- O -RRB- -LRB- V'GER THEME MUSIC UP -RRB- The Cloud `` Aurora '' EFFECT rapidly thinning - in the `` eye of the hurricane '' center of the Cloud is the object which has stunned the entire bridge crew . Rapidly growing in size - already frighteningly huge . Totally alien in look . Its enormous bulk is irrides - cent , faintly glowing , suggesting that it is made up of exotic combinations of matter , and energy far beyond the scientific knowledge or ability of Earth 's 23rd Century technology . Menacing and yet strangely beautiful , both at the same time . VARIOUS ANGLES ON THE BRIDGE CREW AND THE VIEWER The Object continues to GROW RAPIDLY IN SIZE as the Enterprise continues moving toward it . Everyone is awed ; even Spock , from whom we discern an involuntary , impressed reaction . Decker is with Spock at the science console .</scene_description>
<character>DECKER</character>
<dialogue>Incredible dimensions, Sir! I make it as seventy - eight kilometers in length.</dialogue>
<scene_description>All digest the dimensions , as : ANGLE ON THE BRIDGE ELEVATOR DOORS opening to admit McCoy and Chekov , whose face and hands are taut with plastiskin applications . Seeing the object on the viewer -LRB- O.S. at this ANGLE -RRB- , Chekov 's eyes open with wide astonishment . He crosses quickly to his weapons - defense station , his eyes on the viewer . McCoy , eyes also fixed on the sight , moves to Kirk 's side .</scene_description>
<character>UHURA</character>
<dialogue>It could hold a crew of tens of thousands!</dialogue>
<character>McCOY</character>
<dialogue>Or just one thousand, ten miles tall.</dialogue>
<character>KIRK</character>
<dialogue>Evaluation, Mister Spock?</dialogue>
<scene_description>ACROSS KIRK TO SPOCK -LRB- This will be the first time we 've seen Spock dislay - ing a definite reaction , almost an emotion . -RRB- So engrossed is Spock in the main viewer IMAGE that he appears not to have heard Kirk , whose AD LIBS a sharp `` Mr. Spock ! '' Spock looks absently at Kirk an instant , then :</scene_description>
<character>SPOCK</character>
<parenthetical>( awed ; compelled . )</parenthetical>
<dialogue>That vessel is generating a forcefield measurably greater than the radiation of the Earth's sun.</dialogue>
<character>KIRK</character>
<parenthetical>( turns to Uhura . )</parenthetical>
<dialogue>Transmit image of the Alien to Starfleet ; advise we are attempting further communication.</dialogue>
<character>UHURA</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Unable to make contact with Starfleet. Our transmissions out of the Cloud are being reflected back.</dialogue>
<character>ILIA</character>
<dialogue>Distance to object now seventy - thousand kilometers.</dialogue>
<character>SULU</character>
<parenthetical>( turning ; concerned . )</parenthetical>
<dialogue>We're closing in on it rapidly, Captain.</dialogue>
<scene_description>Concern reflected on the faces of others too . Kirk considers his next move .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - ENTERPRISE AND ALIEN</stage_direction>
<scene_description>CAMERA TRAVELING WITH ENTERPRISE as it moves on a parallel - closing course - Alien continues to GROW IN SIZE . Although it already seems an impossibly large vessel compared to the Enterprise , in reality they are still tens of thousands of kilometers apart ; the incredible size of the Alien is nowhere near being realized yet .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER</stage_direction>
<scene_description>Tension high as - the Alien now appears so close that its IMAGE MORE THAN FILLS VIEWER . Considerable tension of bridge - crew members , throwing nervous looks from viewer to Kirk . How much closer ?!</scene_description>
<character>KIRK</character>
<dialogue>Reduce magnification. Factor 4, Mr. Sulu.</dialogue>
<character>SULU</character>
<parenthetical>( uneasy . )</parenthetical>
<dialogue>We're already two settings below that, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( reacts , then . )</parenthetical>
<dialogue>Adjust parallel course, Navigator. Bring us in to one hundred kilometers distance.</dialogue>
<scene_description>Very nervous looks now directed toward Kirk . Even Spock gives him a glance , a raised eyebrow .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - CAMERA TRAVELING WITH ENTERPRISE</stage_direction>
<scene_description>The Alien Object appears A DOZEN TIMES LARGER THAN ENTERRISE and still GROWING IN SIZE . We begin to SEE Alien exterior detailing which had not even been suspected at a longer distance . The Enterprise is now quartering in toward the Intruder , coming closer and closer . The Alien vessel is still GROWING IN SIZE - more and more , its exterior appears to be made of substances never before seen by a human eye - substances considered possible only in the wildest flights of scientific theory - plasma - matter , energy fields diamond - hard in their power , solid sheets of subatomic particles , crystalline - lace patterns which seem capable of shifting their nature and rearranging themselves . ANGLE ON INTRUDER This time , the Enterprise travels on away from us , as its course takes it angling nearer and nearer the gigantic Alien Intruder - the Starship dwindling in size , growing smaller , smaller , smaller . until it is a tiny dot compared to the enormity of the Alien vessel .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - VIEWER (O)</stage_direction>
<scene_description>We are coming alongside the mid - section of the Alien vessel , now so huge that only a small section of it now completely fills main viewer frame .</scene_description>
<character>SULU</character>
<dialogue>One hundred kilometers.</dialogue>
<character>KIRK</character>
<dialogue>Hold relative position here.</dialogue>
<scene_description>Kirk 's voice is blotted out by a DEAFENING , SHRILL - ING SOUND , accompanied by a multi - hued point of LIGHT which EXPLODES into BLINDING INTENSITY , obscuring everything for an instant . Overlapping this action , we HEAR :</scene_description>
<character>COMPUTER'S VOICE</character>
<dialogue>Intruder alert! Intruder alert!</dialogue>
<scene_description>Continues . THE PLASMA ENERGY PROBE -LRB- O -RRB- The BLINDING LIGHT FADES and in its lace we SEE a strange `` entity '' shocking us with its frightening appearance and its ugly - sounding THROBBING HUM of power . It is about seven feet tall and resembles a `` blob '' of raw energy in shifting patterns and colors of deep , ugly hues of upper spectrum violet . Yet , it looks strangely alive . At the end of the `` tendril '' -LRB- of light -RRB- is an `` eye '' -LRB- a small multi - colored device -RRB- CREW REACTIONS - ELEVATORS IN B.G. -LRB- O -RRB- The bridge crew reacting hard , shocked and shaken - the THROBBING SOUND of the Alien thing intensifies as it begins to move across the bridge . Suddenly , in b.g. , an elevator door snaps oen and two SECURITY MEN burst onto the bridge , phasers drawn . Chekov shouts warningly at the Men :</scene_description>
<character>CHEKOV</character>
<dialogue>No weapons!</dialogue>
<scene_description>But Chekov is too late : First Security Man FIRES - the BLAST harmlessly absorbed by the Probe which emits a SCREECHING nerve - grating SOUND - sends out a SMALL WHIPLASH ENERGY BOLT which instantly envelopes First Security Man in a PURPLE GLOW -LRB- of implosion -RRB- . Second Security Man has almost lifted his phaser - but now carefully , slowly is moving his hand away from his weapon . CLOSER - THE SECURITY MEN -LRB- O -RRB- PURPLE GLOW FADES , the First Security Man has simply vanished . FULL SHOT - BRIDGE Chekov , like the others , horrified , flips a switch and the COMPUTER - VOICE -LRB- `` Intruder Alert '' -RRB- goes OFF . At the same time Chekov speaks into his intercom :</scene_description>
<character>CHEKOV</character>
<dialogue>Security. do not send further teams!</dialogue>
<scene_description>The Probe is sending out snake - like tendrils to the various consoles on the bridge . These tendrils lash out in a cobra - strike movement , the tendril - head seeming to enter into the console affected - at which time all monitors and instrument lights there come ON as if the Probe is `` reading '' each console function . The crew carefully stays clear of the tendrils . Spock has risen , moving to Kirk 's side as he slowly brings his tricorder up , very carefully extracting its tiny sensor and aiming it at the probe .</scene_description>
<character>CHEKOV</character>
<parenthetical>( shaken . )</parenthetical>
<dialogue>No intruder readings on other decks, Captain.</dialogue>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>Can that be one of their crew?</dialogue>
<character>SPOCK</character>
<parenthetical>( quiet . )</parenthetical>
<dialogue>A probe from their vessel.</dialogue>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>A plasma - energy combination.</dialogue>
<scene_description>Meanwhile , the probe is now hovering near Chekov who sits frozen , fists clenched , jaw tight .</scene_description>
<character>DECKER</character>
<dialogue>Do n't interfere with it!</dialogue>
<character>CHEKOV</character>
<dialogue>Absolutely, I will not interfere!</dialogue>
<scene_description>ANGLE INCLUDING SPOCK 'S CONSOLE -LRB- O -RRB- as the `` probe '' withdraws an energy - tendril from one bridge station and `` inserts '' it into another console .</scene_description>
<character>KIRK</character>
<dialogue>No one interfere! It does n't seem interested in us - only the ship!</dialogue>
<scene_description>Kirk 's words are never completed as suddenly all the energy tendrils withdraw from all consoles and a larger , more powerful - looking tendril lashes out , snaking into the science console complex . CLOSER ON SCIENCE CONSOLE Where , also immediately , all the console and computer lights are suddenly flashing wildly , rapidly - - There is an incredibly fast EXCHANGE OF HIGH - PITCHED BEES - the computer obviously in unauthorized commu - nication with the probe !</scene_description>
<character>KIRK</character>
<dialogue>Computer off!</dialogue>
<character>DECKER</character>
<dialogue>It's taken control of the computer!</dialogue>
<character>KIRK</character>
<dialogue>It's running our records! Starfleet strength, Earth defenses.</dialogue>
<scene_description>As Decker moves to the main power control , Spock now steps in , his Vulcan strength easily brushing Kirk and Decker aside . Spock clasps his fists above his head , brings it down in a SHATTERING BLOW on the console . It splits open ! As the bridge lights dim even more , and as the science console shorts itself out - and off , Decker confronts Spock :</scene_description>
<character>DECKER</character>
<dialogue>We could have cut it off at the main computer.</dialogue>
<character>SPOCK</character>
<dialogue>This served the purpose.</dialogue>
<scene_description>Kirk has been giving Spock a puzzled look - Spock now turns abruptly , and : ANOTHER ANGLE -LRB- O -RRB- as Spock , in stepping back , accidentally brushes the probe 's energy tendril - a FLASH OF LIGHT at the contact point sends Spock sinning under the rail and to the floor near Ilia . The probe 's energy - tendril has withdrawn from the darkened science console , hov - ers high over the dazed Spock as if angrily seeking the reason for the break in its computer contact . Spock starts to rise .</scene_description>
<character>ILIA</character>
<dialogue>Mr. Spock, do n't move!</dialogue>
<scene_description>Decker steps toward her , AD LIBBING a grim `` Ilia ! '' But he has no chance as : CLOSER ON ILIA -LRB- O -RRB- The Probe hovers over her , its whole mass seemingly about to envelope her with a single tendril extended toward her , somehow freezing her into immobility - and then the entire Probe DISSOLVES IN A BLINDING FLASH OF WHITE , obscuring Ilia . Almost instantly the WHITE FLASH FADES - but Ilia has vanished - her tricorder clattering to the deck . ACROSS THE NAVIGATOR 'S STATION TO KIRK AND DECKER helpless , shocked , gazing at the place Ilia was - but which is now empty .</scene_description>
<character>DECKER</character>
<parenthetical>( to Kirk , quiet fury . )</parenthetical>
<dialogue>This is how I define unwarranted!</dialogue>
<scene_description>And almost at the same moment a new BRIDGE ALARM SIGNAL . The ALARM still sounding as from the giant alien ves - sel , we SEE STRANGE , OPAQUE ENERGY PATTERNS STREAKING TOWARD US . Kirk vaults to the command chair , lunges for controls , as Decker races to the weapons - defense console .</scene_description>
<character>DECKER</character>
<parenthetical>( voice amplified . )</parenthetical>
<dialogue>The ship is under attack! Man all defensive stations!</dialogue>
<character>KIRK</character>
<dialogue>Forcefields, full remaining strength! Total reserve!</dialogue>
<scene_description>Appropriate ALARM KLAXONS , and COMPUTER VOICES begin SOUNDING , and all this is lost in a SUDDEN SHRILLING SOUND -LRB- a constant , high - pitched tone -RRB- . For a moment the energy patterns are prominent on the viewer - and then the PATTERNS VANISHED and the SHRILL SOUND FADES - and : FAVOR THE VIEWER -LRB- O -RRB- showing V'ger GROWING RAPIDLY IN SIZE . The Enterprise is being pulled along the length of the big ship , toward its `` prow . ''</scene_description>
<character>SPOCK</character>
<dialogue>Captain, we have been seized by a tractor beam!</dialogue>
<character>KIRK</character>
<parenthetical>( to Decker . )</parenthetical>
<dialogue>Get someone up here to take the Navigator's station!</dialogue>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Engineering. full emergency power!</dialogue>
<character>DECKER</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Chief Difalco to the bridge ; on the double!</dialogue>
<scene_description>ENGINEERING in a state of controlled chaos , all personnel at their stations , the Engine CORE GLOWING . Scott is working his controls , speaking into the intercom :</scene_description>
<character>SCOTT</character>
<dialogue>Going to full emergency.</dialogue>
<parenthetical>( studying readings . )</parenthetical>
<dialogue>But Captain, if we do n't break free in fifteen seconds, she'll burn up.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - FAVORING SPOCK</stage_direction>
<scene_description>as Spock studies his readings , and :</scene_description>
<character>SPOCK</character>
<dialogue>We can not break free, Captain.</dialogue>
<parenthetical>( indicates monitors . )</parenthetical>
<dialogue>We do not have a fraction of the power necessary.</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Delay that order, Scotty! Disengage all main drive systems!</dialogue>
<scene_description>Spock peers in deep concentration at the Main Viewer , trying to sense some clue . Kirk glances at him another moment , then turns to the Main Viewer himself , watches in frustrated helplessness .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ENTERPRISE BEING PULLED TOWARD V'GER (S)</stage_direction>
<scene_description>the starship being pulled toward the giant as though on a taut cable . As we MOVE CLOSER , we SEE still more intricate details of the incredible Alien design .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER (O)</stage_direction>
<scene_description>as Difalco arrives on the run , and Decker AD LIBS to her , `` Assume Navigator 's station , Chief ! '' Difalco , bewildered , wants to ask what happened , but no time , and she quickly sits at the post , begins orienting herself . Meanwhile , Decker has begun an Executive Officer 's bridge circuit , assisting with various con - soles . Kirk is glancing toward Spock who continues concentrating on the Viewer , striving to comprehend the myriad of thoughts he is sensing from he Aliens . McCoy also arrives on the bridge , takes in the chaotic scene , watches the Viewer grimly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTERPRISE AND V'GER (S)</stage_direction>
<scene_description>At the forward end of the giant , an odd - shapped `` iris '' begins opening menacingly . And it is frighteningly obvious that the tractor beam is pulling the Enterprise to the opening .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER (O)</stage_direction>
<scene_description>showing the unusual `` iris '' now almost fully open as Enterprise is drawn closer , closer - through the `` iris '' we now SEE -LRB- some of -RRB- V'ger 's interior : a dark void relieved only by strange flickering glows of dis - tant ENERGY FIELD PATTERNS . The crew reacts with understandable awe , apprehension , curiosity , as :</scene_description>
<character>DECKER</character>
<dialogue>Captain, suggest a maximum phaser strike directly at the beam might weaken it just enough for us to break free -</dialogue>
<scene_description>Spock replies for Kirk : quickly , as though to make his point convincingly :</scene_description>
<character>SPOCK</character>
<dialogue>Break free to where, Commander?</dialogue>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>Any show of resistance would not only be futile, Catain.</dialogue>
<scene_description>ACROSS SPOCK TO KIRK -LRB- DECKER AND McCOY IN B.G. -RRB- as Kirk reacts somewhat curiously to Spock 's remark , but it is Decker who articulates it :</scene_description>
<character>DECKER</character>
<parenthetical>( troubled ; suspicious . )</parenthetical>
<dialogue>We do n't know that, Mr. Spock. Why are you opposed to trying? Before Spock can reply :</dialogue>
<character>UHURA</character>
<dialogue>They're pulling us inside!</dialogue>
<scene_description>All face the Viewer again , react , with McCoy who has been observing all these reactions now galvanized into action :</scene_description>
<character>McCOY</character>
<parenthetical>( to Chekov . )</parenthetical>
<dialogue>Medical observers to all decks!</dialogue>
<scene_description>And he hurries toward the elevators , CAMERA WITH HIM a moment , then SWINGING BACK TO : PAST KIRK TO VIEWER -LRB- O -RRB- Kirk staring at the viewer - the `` iris '' now fully open so that the exterior of V'ger is no longer visible - and all we can SEE is the monstrous void dead ahead , which is looming faster and larger before our eyes . And now we are inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTERPRISE AND V'GER - AT THE "IRIS" (S)</stage_direction>
<scene_description>Enterprise now being pulled past the opening - into the ship proper . Now we can SEE that the dark void is actually a vast chamber , dimly and intermittently lit by POWERFIELDS appearing and vanishing along the vessel 's inner walls , which are miles away in the distance . And here and there in the chamber gigantic ENERGY DISPLAYS erupt briefly with a certain symmetry that suggests they must be part of V'ger 's ower or control systems .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER (O)</stage_direction>
<scene_description>Kirk peering awed at the Viewer , the incredible sight of the chamber - suddenly glances up to see that Spock is standing beside him - Decker nearby , turns to Spock :</scene_description>
<character>DECKER</character>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>Why bring us inside? Not to destroy us ; they could have done that outside.</dialogue>
<character>KIRK</character>
<dialogue>They could have many ways of destroying things, Mr. Decker.</dialogue>
<character>SPOCK</character>
<parenthetical>( peering at Viewer . )</parenthetical>
<dialogue>Something about us puzzles them. perhaps even concerns them.</dialogue>
<scene_description>ANGLE ON UHURA Reacting to a console reading :</scene_description>
<character>UHURA</character>
<dialogue>Captain, photic - sonar readings indicate the aperture is closing ; we're trapped, sir!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE ENTERPRISE ENTERING V'GER (S)</stage_direction>
<scene_description>The starship is pulled inside , the `` iris '' is closing behind it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - FAVORING THE VIEWER (O)</stage_direction>
<scene_description>The viewer image changing from the huge dark chamber , rear angle shot , showing the `` iris '' closing .</scene_description>
<character>SULU</character>
<dialogue>Reverse angle on the viewer, Captain.</dialogue>
<scene_description>On the viewer the final glimmer from exterior space as the `` iris '' closes completely . REACTIONS All eyes on the viewer , CAMERA FINDING ONE FACE AFTER ANOTHER , the reality of the situation etched into each face . Then : FAVORING KIRK As Spock turns from a reading :</scene_description>
<character>SPOCK</character>
<dialogue>The tractor beam has released us, Captain.</dialogue>
<character>DIFALCO</character>
<dialogue>Confirmed : Vessel is floating free. No forward momentum.</dialogue>
<character>KIRK</character>
<dialogue>Viewer ahead.</dialogue>
<character>SULU</character>
<dialogue>Viewer ahead, sir.</dialogue>
<scene_description>INSERT - MAIN VIEWER Ahead , the cavernous interior of V'ger . BACK TO SHOT Kirk eying the main viewer - Decker watching Kirk .</scene_description>
<character>KIRK</character>
<dialogue>Maneuvering thrusters, Mr. Sulu ; ahead one third.</dialogue>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>Full sensor scan, Mr. Spock ; they ca n't expect us not to look them over now!</dialogue>
<character>SULU</character>
<parenthetical>( manipulating controls . )</parenthetical>
<dialogue>Thrusters ahead, one third.</dialogue>
<character>SPOCK</character>
<parenthetical>( manipulating controls . )</parenthetical>
<dialogue>Commencing sensor scans.</dialogue>
<scene_description>Kirk rises , goes to Spock 's station .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER ENTRANCE CHAMBER - ENTERPRISE (S)</stage_direction>
<scene_description>The Enterprise moving slowly forward in this vastness , its running lights merely specks of light , candles in the darkness . In the distance those occasional ERUPT - ING POWER DISPLAYS in distant locations , sizes , shapes and patterns .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING MAIN VIEWER (O)</stage_direction>
<scene_description>showing another persective of the above , and further away GLOWING ENERGY FIELDS dimly illuminating the alien ship 's walls - miles away . Strange semi - solid LIGHT SHAPES -LRB- some are `` sensor - bee '' swarms -RRB- traverse the dark - ness in random directions . But in the distance ahead , there seems to be an opening to another chamber .</scene_description>
<character>SULU</character>
<parenthetical>( of Viewer . )</parenthetical>
<dialogue>Something ahead, sir ; looks like another area.</dialogue>
<parenthetical>( reacts . )</parenthetical>
<dialogue>It's closing up!</dialogue>
<scene_description>Sulu is indicating what appears to be a lace - bulwark of POWERFIELD PATTERNS closing off the `` chamber '' in the distance ahead . Kirk , from the Science Station calls out :</scene_description>
<character>KIRK</character>
<dialogue>Hold station!</dialogue>
<character>SULU</character>
<parenthetical>( manipulating controls . )</parenthetical>
<dialogue>Thrusters at station keeping.</dialogue>
<scene_description>ANGLE EMPHASIZING SPOCK at his Science consoles , working rapidly , shifting from one set of controls to another . Now he hits a master control - his console monitors FLASH , then go dark .</scene_description>
<character>SPOCK</character>
<dialogue>Captain.</dialogue>
<scene_description>Spock brings a monitor IMAGE ON again , indicates a -LRB- Povill -RRB- pattern showing a line hitting something , then reversing direction .</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>All scans are being reflected back, Captain. Our sensors are useless.</dialogue>
<scene_description>ACROSS THEM TO THE MAIN VIEWER Kirk reacts with disappointment , indicates the main viewer .</scene_description>
<character>KIRK</character>
<dialogue>Have you been able to analyze any of this?</dialogue>
<character>SPOCK</character>
<parenthetical>( voice increasingly reverential . )</parenthetical>
<dialogue>I believe the light flares to be energy fields - undoubtedly part of the vessel's inner mechanism. A technology so incredibly sophisticated that I can not -</dialogue>
<character>COMPUTER VOICE</character>
<parenthetical>( overlapping . )</parenthetical>
<dialogue>Intruder Alert! Intruder Alert!</dialogue>
<parenthetical>( continues . )</parenthetical>
<dialogue />
<scene_description>ANGLE ON CHEKOV Reacting to a console reading :</scene_description>
<character>CHEKOV</character>
<dialogue>Deck four, Captain ; Officers' Quarters!</dialogue>
<character>KIRK</character>
<parenthetical>( to Chekov . )</parenthetical>
<dialogue>Have a security team meet me at Deck Four main elevator!</dialogue>
<scene_description>A moment 's reaction from all at this , Kirk hurrying toward elevator , calling :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Take the conn, Mr. Decker : Hold present position.</dialogue>
<parenthetical>( gesturing Spock to join him . )</parenthetical>
<dialogue>Spock.</dialogue>
<scene_description>And Spock rises , joins Kirk and they hurriedly exit , the CAMERA SWINGING BACK to Decker , his perplexed con - cern -LRB- because of Ilia -RRB- .</scene_description>
</scene>
<scene>
<stage_direction>INT. ILIA'S CABIN - THE SONIC SHOWER</stage_direction>
<scene_description>Where we SEE , behind the translucent stall door , what is unmistakably the form of the NUDE FEMALE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ILIA'S CABIN - KIRK</stage_direction>
<scene_description>entering , Spock slightly behind him - and one Security Guard . Kirk glances around the room , now glances at the shower area and reacts as he sees the NAKED FORM . The others react similarly , even Spock can not help re - pressing an expression of surprise . A moment 's uncer - tainty as Kirk peers at them , then he steps to the stall door , hesitates another instant - then slides the door open . -LRB- NOTE : Arrange lighting for bizarre , mysterious effect . -RRB- Kirk 's eyes can not believe what he is seeing : `` ILIA '' standing in the sonic mist , naked but for a small multi - colored button embedded in her throat . As she looks at Kirk - and the others - the men peer back at her , speechless .</scene_description>
<character>"ILIA"</character>
<dialogue>I have been programmed by V'ger to observe and record normal functioning of the carbon - based units infesting USS ENTERPRISE.</dialogue>
<scene_description>Kirk peers at her another nonplussed moment , then leans into the shower to touch a control , his eyes fixed on the lovely body behind the mist . He punches in a three digit code . Immediately a HUMMING SOUND emanates from the shower stall , Kirk closing the door , but ` Ilia '' remaining inside . ACROSS KIRK AND THE OTHERS TO THE SHOWER STALL The HUMMING SOUND just now reaching a gentle crescendo - through the translucent door you can see COLORS ENVELOPING `` ILIA 'S '' FORM . And now the SOUND STOPS . `` Ilia '' , attired in a leisure robe , steps from the stall , into the room . She stands facing Kirk , her face impas - sive , eyes unblinking . He looks her back a moment , then glances at Spock , who is gazing at `` Ilia '' in abso - lute fascination . Kirk addresses her :</scene_description>
<character>KIRK</character>
<dialogue>Who is. ` V'ger'?</dialogue>
<character>"ILIA"</character>
<dialogue>V'ger is that which programmed me.</dialogue>
<character>KIRK</character>
<dialogue>Is V'ger the Captain of the alien vessel?</dialogue>
<scene_description>ANGLE ON THE DOOR - McCOY rushing in , concerned :</scene_description>
<character>McCOY</character>
<dialogue>Jim, what's -</dialogue>
<scene_description>At the sight of ` Ilia '' , McCoy 's words die in his throat - and his trained eyes have instantly told him some - thing is awry . He unslings his tricorder , aims the sensor unit at `` Ilia '' . As he reads his instruments , his face reveals the results -LRB- incredulity , fascination -RRB- . Meanwhile , from the start :</scene_description>
<character>"ILIA"</character>
<dialogue>V'ger is that which seeks the Creator.</dialogue>
<character>McCOY</character>
<parenthetical>( of `` Ilia '' . )</parenthetical>
<dialogue>Jim, this is a mechanism!</dialogue>
<scene_description>Kirk stares at McCoy , then at `` Ilia '' and realizes that `` Ilia '' is indeed non - human . And quickly :</scene_description>
<character>KIRK</character>
<dialogue>Where is Lt. Ilia?</dialogue>
<character>"ILIA"</character>
<dialogue>That unit no longer functions. I have been given its form to more readily communicate with the carbon - based units infesting Enterprise.</dialogue>
<character>SECURITY GUARD</character>
<dialogue>`` Carbon - based units''?</dialogue>
<character>McCOY</character>
<parenthetical>( drily . )</parenthetical>
<dialogue>Humans, Ensign Lang : us.</dialogue>
<parenthetical>( continues tricorder exam , increasingly impressed . )</parenthetical>
<dialogue />
<character>KIRK</character>
<parenthetical>( to `` Ilia '' . )</parenthetical>
<dialogue>Why does V'ger travel to the third planet of the solar system directly ahead?</dialogue>
<character>"ILIA"</character>
<dialogue>V'ger travels to the third planet to find the Creator.</dialogue>
<scene_description>Stunned , disbelieving reactions as all four attempt to digest this - Spock gazing at `` Ilia '' with even more rapt fascination . Kirk , bewildered , addresses the others :</scene_description>
<character>KIRK</character>
<dialogue>Find the Creator? What Creator? Whose!?</dialogue>
<parenthetical>( to `` Ilia '' . )</parenthetical>
<dialogue>What does V'ger want of the ` Creator'?</dialogue>
<character>"ILIA"</character>
<dialogue>To join with him.</dialogue>
<scene_description>FAVORING SPOCK suddenly alert , addressing `` Ilia '' :</scene_description>
<character>SPOCK</character>
<dialogue>Join with the Creator? How?</dialogue>
<character>"ILIA"</character>
<dialogue>V'ger and the Creator will become One.</dialogue>
<character>SPOCK</character>
<dialogue>Who is the Creator?</dialogue>
<character>McCOY</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Mr. Spock, be careful.</dialogue>
<character>"ILIA"</character>
<dialogue>The Creator is that which created V'ger.</dialogue>
<character>KIRK</character>
<dialogue>Who is V'ger?</dialogue>
<character>"ILIA"</character>
<dialogue>V'ger is that which seeks the Creator.</dialogue>
<scene_description>Another moment of total exasperation , frustration , during which `` Ilia '' seems to be waiting politely , patiently for any further questions . When none are forthcoming :</scene_description>
<character>"ILIA"</character>
<parenthetical>( continuing ; pleasant , bland . )</parenthetical>
<dialogue>I am ready to commence my observations.</dialogue>
<character>SPOCK</character>
<parenthetical>( fast ; to McCoy . )</parenthetical>
<dialogue>Doctor, a thorough examination of this probe might provide some insight into those who manufactured it, and how to deal with them.</dialogue>
<character>McCOY</character>
<dialogue>Let's get her to sickbay.</dialogue>
<scene_description>And he grasps `` Ilia 's '' arm to escort her . But is as though he has seized cast iron : immovable . McCoy is thrown off balance merely by ` Ilia 's '' remaining sta - tionary . She ignores McCoy , addresses Kirk :</scene_description>
<character>"ILIA"</character>
<dialogue>I am programmed to observe and record normal functioning procedures of the carbon - based units.</dialogue>
<scene_description>Kirk glances at McCoy , who is totally bemused , but then Kirk quickly responds to `` Ilia '' :</scene_description>
<character>KIRK</character>
<dialogue>The examination is a normal function.</dialogue>
<character>"ILIA"</character>
<parenthetical>( a beat . )</parenthetical>
<dialogue>You may proceede.</dialogue>
<character>McCOY</character>
<parenthetical>( carefully . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>CLOSE SHOT OF EXAMINING ROOM VIEWER -LRB- O -RRB- scanning a `` body '' . PULL BACK TO SHOW McCoy , Chapel , Kirk , Spock and Chekov - standing over `` ILIA '' who lies prone on the table , the physicians moving the scanner over her .</scene_description>
<character>McCOY</character>
<parenthetical>( from the start ; indicating . )</parenthetical>
<dialogue>. micro - miniature hydraulics, sensors, molecule - sized multi - processor chips. and look at this.</dialogue>
<scene_description>In the b.g. , Decker enters , grimly observes the proceed - ings .</scene_description>
<character>CHAPEL</character>
<parenthetical>( impressed . )</parenthetical>
<dialogue>An osmotic micro - pump. here and here. Even the smallest body functions are exactly duplicated.</dialogue>
<parenthetical>( traces with finger on screen . )</parenthetical>
<dialogue>And every exocrine system is here, too -</dialogue>
<scene_description>Chapel breaks off abruptly , noticing `` Ilia '' is peering intently - almost with a glimmer of recognition - at Decker . Slightly disconcerted , Chapel continues :</scene_description>
<character>CHAPEL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>- even eye moisture.</dialogue>
<character>"ILIA"</character>
<parenthetical>( peering at Decker . )</parenthetical>
<dialogue>Deck - er.</dialogue>
<scene_description>FAVORING SPOCK as everyone reacts to `` Ilia 's '' utterance of Decker 's name . It seems to make the deepest impression on Spock , confirming something he has suspected .</scene_description>
<character>SPOCK</character>
<parenthetical>( to `` Ilia '' . )</parenthetical>
<dialogue>Interesting. Not ` Decker - unit'?</dialogue>
<scene_description>`` Ilia '' continues peering at Decker with just a hint of a puzzled frown , a glimmer of distant recognition . It 's the first time we 've seen her expression look anything but cool and bland . This results in the quizzical rising of one of Spock 's eyebrows . ANOTHER ANGLE McCoy 's examination now turns `` Ilia '' away from the others . Spock quickly catches Kirk 's and Decker 's attention , indicates an adjoining door - they fol - low him out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. McCOY'S OFFICE</stage_direction>
<scene_description>as Kirk , Spock and Decker enter , the door snapping shut - and Spock touching the electronic lock to secure them . He faces the others :</scene_description>
<character>SPOCK</character>
<dialogue>Captain. this probe may be a key a key to the Aliens.</dialogue>
<character>DECKER</character>
<dialogue>It's a programmed mechanism, Mr. Spock.</dialogue>
<character>SPOCK</character>
<dialogue>We have just seen that its body duplicates our navigator in precise detail. Suppose that beneath its programming, the real Ilia's memory patterns are duplicated with equal precision.</dialogue>
<character>KIRK</character>
<dialogue>They had a pattern to follow.</dialogue>
<character>SPOCK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>. they may have followed it too precisely.</dialogue>
<character>KIRK</character>
<parenthetical>( comprehending . )</parenthetical>
<dialogue>Ilia's memory, her feelings of loyalty, friendship, obedience. might all be there.</dialogue>
<scene_description>ANGLE ON DECKER also comprehending , and not liking it one bit as Spock and Kirk are both turning their attention to him .</scene_description>
<character>SPOCK</character>
<dialogue>Exactly.</dialogue>
<parenthetical>( to Decker . )</parenthetical>
<dialogue>And you did have a ` relationship' with Lieutenant Ilia, Commander.</dialogue>
<character>DECKER</character>
<dialogue>That probe in there - in a different form now - is the same thing that killed Ilia!</dialogue>
<character>KIRK</character>
<dialogue>Commander, we're locked in an alien vessel, six hours from Earth orbit, our only contact with our captors is the probe. If we can control it, persuade it, use it in some way.</dialogue>
<scene_description>Interrupted by the SOUND of someone trying to open the locked door behind them . Then a METAL RIPPING SOUND as they whirl to see : MEDICAL OFFICE DOOR with the METAL BUCKLING , TEARING - and a single hand slicing the steel door like paper . It is the `` Ilia '' probe , her face absolutely impassive , her whole manner incongruously benign . -LRB- Behind her , a startled McCoy , Chapel and Chekov . -RRB- `` Ilia '' speaks flatly , blandly .</scene_description>
<character>"ILIA"</character>
<dialogue>I have recorded enough here.</dialogue>
<parenthetical>( motions to Kirk . )</parenthetical>
<dialogue>You will now assist me further.</dialogue>
<scene_description>Kirk exchanges a quick glance with Spock . Then :</scene_description>
<character>KIRK</character>
<parenthetical>( indicating Decker . )</parenthetical>
<dialogue>The Decker - unit can assist you with much greater efficiency.</dialogue>
<scene_description>`` Ilia '' has seemed about to object - but now her eyes hold on Decker . Then she nods .</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Carry on with your assignment, Mr. Decker.</dialogue>
<scene_description>ANOTHER ANGLE - ACROSS DECKER TO THE SMASHED DOOR -LRB- AND `` ILIA '' -RRB- as Decker looks at `` Ilia '' who stands at the torn door . You can read Decker 's mind : I 'm supposed to persuade that ?! He turns back , finds Kirk 's eyes on him . Decker nods .</scene_description>
<character>DECKER</character>
<dialogue>Aye, sir.</dialogue>
<scene_description>`` Ilia '' and a reluctant Decker EXIT . EMPHASIZING SPOCK looking very troubled as they watch Decker and `` Ilia '' leave . Kirk notices .</scene_description>
<character>KIRK</character>
<dialogue>Spock? Concerned about his chances?</dialogue>
<character>SPOCK</character>
<dialogue>I am uneasy with that being our only hope of more information.</dialogue>
<scene_description>Spock EXITS .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - THE ENTERPRISE</stage_direction>
<scene_description>floating in the vast , eerie , alien chamber - sporadic FLASHES OF ENERGY , erupting now and then . Various other EFFECTS . OVER this , Kirk 's VOICE :</scene_description>
<character>KIRK</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Captain's Log. Stardate 7414.1. Our best estimates place us some four hours from Earth. No significant Ilia memory patterns within the alien probe. This remains our only means of contact with our captor.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTERPRISE AIRLOCK AREA</stage_direction>
<scene_description>The area dimly lit - unoccupied but for a lone AIRLOCK TECHNICIAN checking and adjusting instruments . The CAMERA MOVES PAST him to FIND : SPOCK His face fixed with grim determination , walking quietly with obvious intent not to attract the Tech 's attention . Now he steals up behind the TECH - and in an instant has applied a Vulcan nerve pinch . The Tech slumps over his console .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIRK'S CABIN - VIEWER MONITOR</stage_direction>
<scene_description>Showing a CLOSE SHOT of ENTERPRISE PICTURES , then PULL BACK SLIGHTLY for an IMAGE of Decker and `` Ilia '' walk - ing through the Rec Deck . PULL BACK FURTHER TO SHOW Kirk watching this - and with him is McCoy . They continue watching a troubled beat , as :</scene_description>
<character>DECKER</character>
<parenthetical>( of pictures . )</parenthetical>
<dialogue>All these vessels were called `` Enterprise''.</dialogue>
<scene_description>`` Ilia '' is giving the pictures a very interested look as we HEAR in Kirk 's cabin :</scene_description>
<character>UHURA'S INTERCOM VOICE</character>
<parenthetical>( controlled excitement . )</parenthetical>
<dialogue>Bridge to Captain.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - UHURA'S STATION (SCIENCE STATION IN B.G.)</stage_direction>
<scene_description>Uhura at her console , struggling to hear the signal .</scene_description>
<character>KIRK'S INTERCOM VOICE</character>
<dialogue>Kirk here.</dialogue>
<scene_description>In the b.g. , Spock 's station a MAINTENANCE TEAM is replacing the broken Science Station computer . -LRB- Spock is conspicuously absent . -RRB-</scene_description>
<character>UHURA</character>
<dialogue>A faint signal from Starfleet, sir. They have the intruder on their monitors.</dialogue>
<parenthetical>( struggling to hear . )</parenthetical>
<dialogue>They show us. three hours. twenty - four minutes from Earth!</dialogue>
<character>KIRK'S VOICE</character>
<parenthetical>( thru intercom . )</parenthetical>
<dialogue>Thank you.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECREATION DECK</stage_direction>
<scene_description>Decker and `` Ilia '' , the Rec Deck unoccupied but for a pair of wary SECURITY GUARDS at a very discreet dis - tance . They are near the pictures of the five Enter - prises , which should be FEATURED in this SHOT , as Decker waves his hand about the huge room .</scene_description>
<character>DECKER</character>
<dialogue>The carbon units use this area for recreation.</dialogue>
<parenthetical>( carefully . )</parenthetical>
<dialogue>What type of recreation does the crew aboard your vessel enjoy?</dialogue>
<scene_description>CLOSER TWO SHOT -LRB- PICTURES O.S. -RRB- As `` Ilia '' moves on into the room , Decker follows :</scene_description>
<character>"ILIA"</character>
<dialogue>The words ` recreation' and ` enjoy' have no meaning to my programming.</dialogue>
<scene_description>Decker peers at the lovely android with frustration - and no little pain , for she is after all the exact replica of Ilia . She pays not the slightest attention to Decker 's reaction , and begins walking about the Rec Deck taking in -LRB- and , clearly , transmitting all images to V'ger -RRB- the sights . They are near a game area -LRB- elec - tronic games -RRB- , and now Decker points to one game , switches it on - presses button to activate its LIGHTS and SOUNDS . `` Ilia '' watches interestedly as Decker operates the game .</scene_description>
<character>DECKER</character>
<dialogue>Ilia ` enjoyed' this game. she nearly always won -</dialogue>
<scene_description>And he demonstrates again , as `` Ilia '' steps to the device , deftly hits some buttons - and for just an instant she turns to Decker with a momentary glimmer of recognition .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIRK'S CABIN - GROUP WATCHING THE MONITOR</stage_direction>
<scene_description>McCoy watching with special interest :</scene_description>
<character>McCOY</character>
<parenthetical>( approving . )</parenthetical>
<dialogue>Good! He's using audial - visual association.</dialogue>
<scene_description>But the words are not out of McCoy 's mouth when `` Ilia '' says :</scene_description>
<character>"ILIA"</character>
<dialogue>This device serves no purpose.</dialogue>
<scene_description>She steps away from the game ; Decker 's disappointment is evident . So is everyone elses .</scene_description>
<character>KIRK</character>
<dialogue>Damn!</dialogue>
<character>McCOY</character>
<parenthetical>( nods grimly . )</parenthetical>
<dialogue>She needs something else : something much more personal to stimulate memory patterns. Something with a more emotional tie.</dialogue>
<scene_description>Kirk reacts to this , reflective .</scene_description>
</scene>
<scene>
<stage_direction>INT. REC DECK FULL ON DECKER AND "ILIA"</stage_direction>
<scene_description>Decker waving back toward the general area of the Enterprise pictures .</scene_description>
<character>DECKER</character>
<dialogue>The crews of the previous Enterprises were also carbon units. In what way is the life form in your vessel different?</dialogue>
<character>"ILIA"</character>
<dialogue>Carbon units are not true life forms. Do those images repre - sent how Enterprise has evolved into its present form?</dialogue>
<character>DECKER</character>
<parenthetical>( hoping he 's struck a responsive chord . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>"ILIA"</character>
<dialogue>Carbon units have clearly retarded Enterprise's proper evolvement.</dialogue>
<character>DECKER</character>
<parenthetical>( controlling surprise . )</parenthetical>
<dialogue>What is Enterprise's proper evolvement?</dialogue>
<character>"ILIA"</character>
<dialogue>Enterprise should not require the presence of carbon units.</dialogue>
<scene_description>And with this she moves off , observing other Rec Deck objects . Decker moves with her ; then :</scene_description>
<character>DECKER</character>
<parenthetical>( carefully . )</parenthetical>
<dialogue>Enterprise would be unable to function without carbon units.</dialogue>
<character>"ILIA"</character>
<dialogue>More data concerning this functioning is necessary before carbon units can be patterned for data storage.</dialogue>
<scene_description>ACROSS `` ILIA '' TO DECKER as he reacts to this ominous note ; he stops abruptly .</scene_description>
<character>DECKER</character>
<dialogue>What does that mean?</dialogue>
<character>"ILIA"</character>
<parenthetical>( stopping ; almost pleasantly . )</parenthetical>
<dialogue>When my examination is complete, the carbon units will be reduced to data patterns.</dialogue>
<scene_description>This has been delivered with chilling blandness , and she stands facing Decker , almost as though waiting for him to thank her . He thinks fast now .</scene_description>
<character>DECKER</character>
<dialogue>Within you are memory patterns of a carbon unit. If I can help you revive these patterns ; you could understand our functions better.</dialogue>
<character>"ILIA"</character>
<dialogue>That is logical. You may procede.</dialogue>
<scene_description>ON DECKER realizing the difficult task ahead ; the pain he will suffer .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - ANGLE UP TOWARD ENTERPRISE (M)</stage_direction>
<scene_description>The ship stationary in the chamber as now we SEE an exterior hatch sliding fully open . Up through the hatch a circular airlock door opens - and a tiny figure in a thruster spacesuit emerges , steps into space , slowly floats down through the hatch and under the Enterprise saucer section . In this and subsequent VIEWS we will SEE that on the rear pack of his thruster spacesuit is a FLASHING STROBE LIGHT which regularly EMITS the identifying SIGNAL of this particular suit . -LRB- By which Kirk will be able to see Spock 's position even from several miles away . -RRB- CLOSER ON THE SPACESUITED FIGURE -LRB- M -RRB- MOVING TOWARD the CAMERA until the features behind the face mask are clearly identifiable : Spock , his face set in the same grim , determined expression , as he touches his spacesuit transmitter control .</scene_description>
<character>SPOCK</character>
<dialogue>Computer, commence recording. Captain Kirk - this message will detail my attempt to contact the aliens.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>Kirk ENTERING , crossing Uhura as she calls :</scene_description>
<character>UHURA</character>
<dialogue>Starfleet signals, sir, growing in strength.</dialogue>
<parenthetical>( listening intently . )</parenthetical>
<dialogue>They - have Intruder on their monitors - it's decelerating - powerfield cloud beginning to dissipate.</dialogue>
<character>SULU</character>
<dialogue>Confirm, Captain. Lunar beacons indicate Intruder on a course into Earth orbit.</dialogue>
<character>CHEKOV</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Sir! Airlock four has been opened ; a thruster suit is reported missing!</dialogue>
<character>KIRK</character>
<parenthetical>( reacts knowingly . )</parenthetical>
<dialogue>Spock!</dialogue>
<parenthetical>( to navigator . )</parenthetical>
<dialogue>Get a fix on his position!</dialogue>
</scene>
<scene>
<stage_direction>INT. V'GER - MED. ON SPOCK</stage_direction>
<scene_description>His features now set into an almost trance - like expres - sion as he concentrates on the thought emanations . Then we SEE his head turn , he peers off - then he moves his thruster controls . We SEE the small blue jets of his thrusters - his spacesuit figure begins to move off in the direction he was concentrating upon . ANOTHER ANGLE - SPOCK His thrusters moving him across V'ger 's vast chamber then dropping down into a deep `` trough '' - like area which stretches into the distance ahead of him . A cloud of CRYSTAL FORMS -LRB- Kirk 's entrapment -RRB- become visible to one side but Spock passes them at some dis - tance and does not attract them . We can SEE more clearly now the point on the inner wall of the trough toward which Spock is heading . It is an unusual combination of GLOWING FORCEFIELDS which seem to mark this point of the vessel as of some importance . -LRB- Here , also , we will become aware of `` sensor - bee '' swarms , intermittently darting toward this same wall from all points of the chamber . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRLOCK AREA</stage_direction>
<scene_description>SHOWING Kirk in a thruster spacesuit , helmet being readied by AIRLOCK TECHNICIANS . McCoy is also here , arguing with Kirk :</scene_description>
<character>KIRK</character>
<parenthetical>( from the start . )</parenthetical>
<dialogue>. I do n't want him stopped, Bones ; I want him to lead me to whatever's out there!</dialogue>
<character>McCOY</character>
<dialogue>And if that ` whatever' has taken over his mind?</dialogue>
<character>KIRK</character>
<dialogue>Then he'll have still led me to it, wo n't he?</dialogue>
<scene_description>And Kirk steps into the airlock door , hits a control - it begins sliding closed behind him .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - ANGLE UP TOWARD ENTERPRISE</stage_direction>
<scene_description>UP THROUGH the circular airlock door as it slides open - and Kirk 's tiny spacesuited figure floats down clear of the saucer . CLOSER ON KIRK SEEING his face through the spacesuit faceplate as he scans the darkness .</scene_description>
<character>SULU'S VOICE</character>
<dialogue>Bridge, Captain. We make Spock as 26 Mark 345 degrees off ship's axis.</dialogue>
<scene_description>During which , Kirk spots something . KIRK 'S POV Spock 's STROBE blinker at a mile or so distance , nearing V'ger 's inner walls . ANGLE ON KIRK</scene_description>
<character>KIRK</character>
<dialogue>I have him in sight.</dialogue>
<scene_description>During which , Kirk touches his thruster controls and blue thruster jet propels him off in the direction indicated . His thrusters come on for a longer period of time as he accelerates to the higher speed necessary to overtake Spock .</scene_description>
</scene>
<scene>
<stage_direction>INT. ILIA'S QUARTERS</stage_direction>
<scene_description>The DOOR SNAPPING open , and `` Ilia '' , McCoy and Decker entering . Then CAMERA REVEALS Chapel already inside , looking through some female adornments she 's found there .</scene_description>
<character>CHAPEL</character>
<dialogue>I remember Lt. Ilia once mentioning that she wore this.</dialogue>
<character>DECKER</character>
<parenthetical>( reacting ; tight . )</parenthetical>
<dialogue>. when we met.</dialogue>
<scene_description>Clearly this is very painful to Decker . Meanwhile , Chapel hands the Deltan headband to `` Ilia '' .</scene_description>
<character>CHAPEL</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Put it on.</dialogue>
<scene_description>`` Ilia '' has n't the slightest idea what to do with the headband , holds it , runs her fingers over the jewels and feathers embedded into it . Chapel takes it from her , places it on ` Ilia 's '' head , now switches on the light illuminating the dressing table mirror - stands behind her with Decker , both watching apprehensively . ANGLE ON `` ILIA '' studying her image in the mirror , her face totally blank a moment , but then breaking into a bemused frown - as though trying to remember . And :</scene_description>
<character>CHAPEL</character>
<parenthetical>( helpfully . )</parenthetical>
<dialogue>Ilia.</dialogue>
<character>DECKER</character>
<parenthetical>( quiet ; urging . )</parenthetical>
<dialogue>On Delta. remember?</dialogue>
<scene_description>And it seems that `` Ilia '' does remember . She peers at her image , then sets the headband into its exact proper position . Then she turns and looks at them with recognition .</scene_description>
<character>"ILIA"</character>
<parenthetical>( haltingly . )</parenthetical>
<dialogue>Dr. Chapel.</dialogue>
<scene_description>ACROSS CHAPEL TO DECKER as Chapel smiles , pleased , and looks at Decker who stares at `` Ilia '' nonplussed . This is Ilia coming alive !</scene_description>
<character>"ILIA"</character>
<parenthetical>( to Decker . )</parenthetical>
<dialogue>`` Will.''</dialogue>
<scene_description>And she touches his hand , runs her own hand over it , and smiles . Decker is completely overwhelmed , struggles for words and looks to McCoy for some kind of help . McCoy realizes Decker is losing himself in fantasy .</scene_description>
<character>McCOY</character>
<parenthetical>( gently reminding . )</parenthetical>
<dialogue>Commander. this is a mechanism.</dialogue>
<scene_description>Decker is startled , and for another slit - second he 's lost - but then he realizes the reality , and what he should do :</scene_description>
<character>DECKER</character>
<parenthetical>( gently ; but urgingly . )</parenthetical>
<dialogue>Ilia, help us make direct contact with V'ger.</dialogue>
<character>"ILIA</character>
<dialogue>I. can not.</dialogue>
<scene_description>Decker looks at `` Ilia 's '' hand still resting on his . Then :</scene_description>
<character>DECKER</character>
<dialogue>Then tell us who V'ger is ; where he's from. W need your help.</dialogue>
<scene_description>For another moment `` Ilia '' continues smiling at Decker , holding his hand . Then , abruptly , the smile vanishes - the hand is released . Clearly , she 's again the probe , as :</scene_description>
<character>"ILIA"</character>
<dialogue>Why have two carbon units entered V'ger?</dialogue>
<scene_description>Decker glances at McCoy , who shakes his head almost imperceptibly : he does n't know . But Decker has an obvious reply :</scene_description>
<character>DECKER</character>
<dialogue>They want to make contact with V'ger.</dialogue>
<parenthetical>( trying to revive `` Ilia 's '' memory again ; touches her hand . )</parenthetical>
<dialogue>Ilia.</dialogue>
<scene_description>`` Ilia '' peers at him blankly , allows him to continue touching her hand , but obviously it means nothing to her .</scene_description>
<character>DECKER</character>
<parenthetical>( continuing ; distressed , to `` Ilia '' . )</parenthetical>
<dialogue>Does V'ger object to the presence of the two carbon units?</dialogue>
<character>"ILIA"</character>
<dialogue>The carbon units are of no consequence ; V'ger will determine their purpose.</dialogue>
<character>McCOY</character>
<dialogue>Their purpose is to survive.</dialogue>
<character>"ILIA"</character>
<dialogue>That is also V'ger's purpose.</dialogue>
<scene_description>Decker 's face reflects his bemusement :</scene_description>
<character>DECKER</character>
<dialogue>You said V'ger's purpose was to find and join with the Creator.</dialogue>
<character>"ILIA"</character>
<dialogue>That is how V'ger will survive.</dialogue>
<scene_description>ON DECKER as now , the bemusement changes to just the slightest enlightenment .</scene_description>
<character>"ILIA"</character>
<dialogue>I wish to continue my observations.</dialogue>
</scene>
<scene>
<stage_direction>INT. V'GER - KIRK MANEUVERING WITHIN THE CHAMBER</stage_direction>
<scene_description>Kirk but a small object , thruster jets occasionally spurting as he guides himself deeper into the trench as he continues forward progress in the direction he saw Spock taking . CLOSER ON KIRK So we can SEE his face -LRB- through the plate -RRB- , as he looks ahead into the distance toward Spock . KIRK 'S POV -LRB- O -RRB- Spock 's STROBE signal closer and Spock 's tiny space - suited figure now becoming dimly visible as he moves steadily toward the GLOWING FORCEFIELDS of the inner wall . ON KIRK His attention fixed on Spock , he never notices until an instant too late an O.S. object ; quickly he hits a thruster control , and we SEE the MANEUVERING JET turn him to the side as : WIDER ANGLE - KIRK AND THE BLOB FORMATION -LRB- O -RRB- A swarm of strange - looking translucent crystal - like FORMS on a collision course with Kirk . -LRB- NOTE : They were traveling randomly , and are not deliberate ob - structions . However , Kirk 's nearness now has attracted them and the swarm of them heads in his direction . Kirk tries to avoid them ; he hits a second MANEUVERING JET - but he overcompensates , and spins straight into the intercepting swarm of them . MED . SHOT - KIRK -LRB- O -RRB- as the nearest crystal forms WHIP INTO SHOT , adhering to Kirk 's spacesuit . He hits full MANEUVERING JETS now , seems to make some escape , but still more forms WHIP IN , adhere .</scene_description>
<character>KIRK</character>
<dialogue>Bridge!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - EMPHASIZING HELM</stage_direction>
<scene_description>All eyes anxiously on the O.S. main viewer .</scene_description>
<character>KIRK'S VOICE</character>
<dialogue>stand by, I may be in trouble.</dialogue>
<scene_description>Sulu hits the viewer magnification control . ANGLE TO MAIN VIEWER -LRB- M -RRB- As the distant STROBE FLASHES of Kirk 's spacesuit are MAGNIFIED CLOSER , pulling Kirk into MEDIUM LONG SHOT . We can SEE the details of the swarm of forms adhering . But we can SEE that Kirk 's spacesuit is now about half covered with them ! REVERSE ANGLE Expressions of bridge crew to reflect the horror of what they 're seeing as :</scene_description>
<character>SULU</character>
<dialogue>Your phaser, Captain! Use your phaser!</dialogue>
<character>KIRK'S VOICE</character>
<parenthetical>( transmitter , weak . )</parenthetical>
<dialogue>Ca n't. reach. phas -.</dialogue>
<parenthetical>( transmission breaks off in heavy STATIC . )</parenthetical>
<dialogue />
<character>CHEKOV</character>
<dialogue>Airlocks two and four - prepare to launch rescue teams!</dialogue>
<parenthetical>( glancing at viewer . )</parenthetical>
<dialogue>Chief Lang! Get them out there! Fast!</dialogue>
<character>SULU</character>
<dialogue>Mr. Spock, the Captain is in trouble, directly behind you - three hundred meters!</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Mr. Spock!</dialogue>
<scene_description>Looks of distress are exchanged .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - SPOCK</stage_direction>
<scene_description>Spock 's spacesuited figure MOVING TOWARD the CAMERA , as we HEAR :</scene_description>
<character>KIRK'S VOICE</character>
<parenthetical>( weak ; STATIC . )</parenthetical>
<dialogue>. Spock! need help! trapped!</dialogue>
<scene_description>No indication at first that Spock has heard ; his face set with determination , his eyes fixed on his destin - ation : the inner wall .</scene_description>
<character>KIRK'S VOICE</character>
<parenthetical>( continuing ; weakening ; STATIC . )</parenthetical>
<dialogue>. pressure on me! ca n't move! Spock!</dialogue>
<scene_description>ON SPOCK - CLOSE as Kirk 's VOICE STOPS - and all that is heard now is the HEAVY STATIC crackling ominously . Spock 's expression flickers , then he hits reverse thruster JETS , stops - he turns to glance at the inner wall , then his thrusters turn him so he can look back the way he came from . But he can not resist Kirk 's call ; he suddenly hits his thruster controls , then JETS FLARE , and : WIDER ANGLE - SPOCK as thruster JETS accelerate him back toward Kirk .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - VIEWER (M)</stage_direction>
<scene_description>showing Kirk 's spacesuit completely covered , encased in the blob . Kirk is no longer moving . But in the distance , facing toward him is Spock !</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - KIRK AND SPOCK</stage_direction>
<scene_description>with Spock in the near distance , heading TOWARD the CAMERA . As he approaches Kirk , Spock brings out his phaser . Now he hits the controls for the REVERSE JETS - he slows RAPIDLY as he approaches Kirk 's now complete - ly encased spacesuit . Spock makes a quick phaser adjustment . ANGLE ON SPOCK AND KIRK 'S ENCASED SPACESUIT -LRB- O -RRB- -LRB- S -RRB- Spock levels the phaser carefully . FIRES . The PHASER BEAM strikes the blob form - it SHATTERS , the pieces DISINTEGRATING .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - SPOCK AND KIRK</stage_direction>
<scene_description>facing each other while hovering in space .</scene_description>
<character>KIRK</character>
<dialogue>Bridge, cancel rescue teams.</dialogue>
<parenthetical>( hard . )</parenthetical>
<dialogue>Spock, what in the hell are you doing out here!</dialogue>
<character>SPOCK</character>
<dialogue>I am seeking answers, Captain.</dialogue>
<character>KIRK</character>
<parenthetical>( with insight . )</parenthetical>
<dialogue>Answers to what, Spock? Our dilemma - or your personal one?</dialogue>
<scene_description>Spock does not immediately reply , peers at Kirk through the faceplate a long beat , then abruptly looks away , points off into the distance : ANOTHER ANGLE - INCLUDING INNER WALL -LRB- O -RRB- We can SEE what appear to be SPARKLING GLOBULES OF LIGHT darting toward the inner wall in the distance , then disappearing there . -LRB- We 'll SEE other swarms occasionally too , coming from different directions - they will later be identified as `` sensor swarms '' on closer examination . -RRB-</scene_description>
<character>SPOCK</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>Captain, I believe there we will find an indication of whoever - or whatever - is aboard this vessel.</dialogue>
<scene_description>Kirk weighs alternatives , then pushes his thruster controls and begins moving in the direction Spock indicated . Their thruster jets flash , propel them toward the point on the inner wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - AT INNER WALL</stage_direction>
<scene_description>The most prominent area of the vast inner wall - the patterns on the wall here seem to GLOW with life . The spacesuited figures of Kirk and Spock ENTER SCENE , gliding slowly toward what seems to be the central part of theses patterns . CLOSER ON KIRK AND SPOCK as they approach and then we SEE the brief REVERSE THRUSTERS and then forward momentum stops ; motionless . Then Spock sees something , indicates . LONG ANGLE TO INCLUDE SENSOR SWARM -LRB- O -RRB- Now , we SEE that they are tiny , multi - colored points of FLASHING LIGHT - almost like swarms of bees . They approach the inner wall at this central point and seem to `` disappear '' through the orifice . KIRK AND SPOCK - ANOTHER `` SWARM '' APPROACHING -LRB- O -RRB- This `` sensor swarm '' has been coming from a direction that will take them close past Kirk and Spock . Then , as it passes , Spock reaches out quickly , grabs . He turns to Kirk , his hand closed on something . CLOSE ON KIRK AND SPOCK -LRB- AGAINST `` TUBE '' WALL -RRB- Spock opens his hand , retaining a hold on something with his fingers . He brings it up to Kirk 's face mask - it 's a tiny SENSOR , its multi - colors flashing as it tries to escape from Spock 's fingers . And in this CLOSE VIEW , we SEE that this is a SENSOR very much like the one we 've seen earlier embedded in the Ilia - probe 's throat hollow . Then Spock releases it and it darts to join the sensor swarm near the opening of the inner wall . KIRK AND SPOCK 'S POV -LRB- O -RRB- From this closer distance , we SEE that an opening ap - pears in the wall , admits the sensor swarm , then closes immediately . BACK TO SHOT Kirk and Spock exchange a look . Their thruster JETS ignite briefly , moving them in that direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. V'GER - KIRK AND SPOCK (O)</stage_direction>
<scene_description>closely approaching the inner wall now , timing their movements to coincide with the arrival of another `` swarm '' - the wall begins OPENING . The `` swarm '' through , the wall begins CLOSING - but Spock and Kirk slip in before it closes .</scene_description>
</scene>
<scene>
<stage_direction>INT. "MEMORY CAVE" - SPOCK AND KIRK</stage_direction>
<scene_description>The wall closing behind them , they are safely inside . But as they stop their forward momentum , their eyes widen with awe and surprise at what they are seeing : WHAT THEY SEE -LRB- M -RRB- The long `` cave '' chamber with its row of huge MEDIATOR BALLS extending into the distance . To one side , the gleaming CRYSTAL MEMORY WALL . KIRK AND SPOCK as Spock makes a quick analysis and estimate of what they are seeing . Then , he takes out his tricorder again , propels himself toward the memory crystals . Kirk follows . AT MEMORY CRYSTAL as Spock adjusts his tricorder through several readings .</scene_description>
<character>SPOCK</character>
<dialogue>It would appear that the atomic arrays of these crystals store information. A remarkably efficient system.</dialogue>
<character>KIRK</character>
<parenthetical>( indicates . )</parenthetical>
<dialogue>And these ` sensor - swarms' collect that data, carry it here.</dialogue>
<character>SPOCK</character>
<parenthetical>( nods ; indicates . )</parenthetical>
<dialogue>New crystals : they must contain the most recent data obtained -</dialogue>
<scene_description>And Spock touches one of these new crystals -LRB- it will be shinier , more pulsating than the others -RRB- : ANOTHER RAPID PROFUSION OF FAINT IMAGES , but this time including a pattern - like image of Klingons , Klingon vessels -LRB- the ones destroyed by the Cloud -RRB- , and obvious Starfleet personnel - and the Epsilon 9 station . Also , a pattern of the Security Guard killed by the probe . And Ilia .</scene_description>
<character>KIRK</character>
<dialogue>Klingons. our Epsilon 9 station. and Ilia! They seem to be more than just images.</dialogue>
<character>SPOCK</character>
<parenthetical>( agreeing . )</parenthetical>
<dialogue>Exact patterns. The energy bolt that hit them was n't simply a weapon - it dematerialized them, stored them. But why?</dialogue>
<scene_description>And he turns and begins moving on , studying the wall , consulting his tricorder . ACROSS THEM TO ANOTHER SECTION OF THE WALL Spock inspecting this area at which the `` newer '' crystals are PULSATING and GLOWING , and which appears to be a termination of the Crystal area , continuing on and dis - appearing through the wall .</scene_description>
<character>KIRK</character>
<dialogue>If this is their ship's data banks, where is the crew? Or is their entire ship automated?</dialogue>
<character>SPOCK</character>
<dialogue>Captain, I do not believe there is a crew - or that this is a vessel as such.</dialogue>
<scene_description>A beat , as Kirk reacts incredulously .</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I am almost certain now that all of this is V'ger - I believe that we are inside a life form, a living machine.</dialogue>
<scene_description>Spock turns his spacesuit , turns his tricorder out to - ward the Mediator Balls , takes a reading in that di - rection . Then a glance to Kirk .</scene_description>
<character>SPOCK</character>
<dialogue>I must attempt mindmeld with it, Captain.</dialogue>
<scene_description>Spock touches his spacesuit controls ; the THRUSTER JETS move him out toward the Mediator Balls .</scene_description>
<character>KIRK</character>
<parenthetical>( warningly . )</parenthetical>
<dialogue>Spock.</dialogue>
<scene_description>ANGLE AT MEDIATOR BALL Spock reaching the Ball , halts his momentum and removes one gauntlet , baring his hand . Stretching the bare hand toward a part of it which looks strangely `` alive . '' The very power generated from this area is clearly affecting Spock 's hand . Meanwhile , Kirk has used his THRUSTERS to join him .</scene_description>
<character>KIRK</character>
<dialogue>Spock, if you're right, its mind may be enormous.</dialogue>
<scene_description>But Spock pays him no attention , his entire being now focused on the PULSATING GLOW of the `` alive '' area - the CAMERA MOVING IN CLOSER TO Spock , as he forces his hand toward that surface , closer , closer . KIRK watching , almost mesmerized . Torn between wanting to pull Spock away from the wall - and knowing that Spock must go through with it . For everyone 's sake . CLOSER ON SPOCK preparing for the ordeal , moving his hand to the `` liv - ing area , '' the invisible force even stronger - but Spock 's strength unwavering , and now he touches the surface - and it FLARES WITH STRANGE ENERGY at the touch . And at the same moment Spock ' body convulses as if tens of thousands of volts of electricity are charging through him . CLOSE ON SPOCK 'S FACE as he begins to shudder with the shock , the CAMERA CONTINUES INTO EXTREME CLOSE - UP as we SEE Spock 's mouth open - he SCREAMS . CAMERA INTO EXTREME CLOSE SHOT OF SPOCK 'S EYES . CAMERA ZOOM - THROUGH SPOCK 'S EYES MUSIC IN AND UP as we travel through ABSTRACT IMAGES -LRB- per Con Pederson discussion -RRB- . Symbolizing V'ger 's incredible and complex store of mechanistic knowledge , these IMAGES suggest patterns of atoms , molecules , galaxies , dimensions of the universe beyond human knowledge or comprehension . It takes only fifteen or twenty seconds , but seems to span aeons , taking us through micro - infinity and macro - infinity .</scene_description>
</scene>
<scene>
<stage_direction>INT. DISPENSARY - SPOCK'S EYES</stage_direction>
<scene_description>CAMERA BRIDGING BACK OUT THROUGH SPOCK 'S EYES AND INTO ANGLE ON SPOCK 'S FACE as he lies in a sickbay bed . His eyes are open ; he is staring straight ahead as if in a catatonic state , completly unaware of his surroundings . Then Doctor Chapel leans INTO SCENE , moving a medical scanner over the brain area .</scene_description>
<character>CHAPEL</character>
<dialogue>Now scanning pons area at spinal nerve fiber connection.</dialogue>
<scene_description>ANGLE ON McCOY AND KIRK McCoy at a console , watching readings he is getting from Chapel 's scanner . Kirk watches McCoy anxiously .</scene_description>
<character>McCOY</character>
<dialogue>Indications of some neurological trauma - the power pouring through that mind - meld must have been staggering.</dialogue>
<scene_description>Before Kirk can reply , they HEAR a LAUGH ! An abrupt , harsh , bitter laugh . ACROSS THEM TO SICKBAY as all whirl to the patient area where it is obviously Spock who has just laughed - but there is no indication of laughter from him now . A startled Chapel has stepped back away from the bed . Spock seems to be attempting to focus , orient himself as Kirk and McCoy hurry to the bedside .</scene_description>
<character>SPOCK</character>
<parenthetical>( quiet . )</parenthetical>
<dialogue>Jim.</dialogue>
<scene_description>And Spock reaches out a hand weakly. , takes a surprised Kirk 's hand in his . McCoy exchanges a surprised glance with Kirk , as Spock - clutching Kirk 's hand in friend - ship and need - struggles to summon strength to speak .</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This simple feeling.</dialogue>
<parenthetical>( looks at Kirk . )</parenthetical>
<dialogue>. is so far beyond V'ger's comprehension.</dialogue>
<scene_description>ANOTHER ANGLE with Kirk and McCoy exchanging another surprised glance -LRB- at Spock 's emotion -RRB- , with McCoy gesturing Kirk not to question it .</scene_description>
<character>KIRK</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Were you right? Spock? V'ger is a living machine?</dialogue>
<character>SPOCK</character>
<parenthetical>( nodding . )</parenthetical>
<dialogue>A life form of its own ; a conscious, living entity.</dialogue>
<character>CHAPEL</character>
<parenthetical>( reacting . )</parenthetical>
<dialogue>A living machine?!</dialogue>
<character>McCOY</character>
<parenthetical>( to Chapel . )</parenthetical>
<dialogue>We're living machines, too : protein mechanisms.</dialogue>
<scene_description>Kirk nods at McCoy .</scene_description>
<character>KIRK</character>
<dialogue>And it considers the Enterprise a living machine : that's why the probe refers to our ship as an entity.</dialogue>
<character>CHAPEL</character>
<dialogue>If it thinks our ship is alive what does it think we are?</dialogue>
<character>McCOY</character>
<parenthetical>( dryly . )</parenthetical>
<dialogue>An ` infestation' - bacteria. microbes.</dialogue>
<scene_description>ANOTHER ANGLE as Spock turns to Kirk .</scene_description>
<character>SPOCK</character>
<dialogue>I saw V'ger's planet : a planet populated by living machines. Unbelievable technology.</dialogue>
<parenthetical>( pained . )</parenthetical>
<dialogue>V'ger has knowledge that spans this universe. And. in all this order. all this magnificence, V'ger feels no awe. no delight. no beauty.</dialogue>
<parenthetical>( a beat ; exhausted . )</parenthetical>
<dialogue>I should have known.</dialogue>
<scene_description>Kirk waits for Spock to continue , but Spock seems too weak .</scene_description>
<character>KIRK</character>
<dialogue>Know what, Spock? What?</dialogue>
<scene_description>But Spock falls back , exhausted - and McCoy gently tugs at Kirk , AD - LIBBING , `` Let him rest , Jim . '' Kirk shrugs McCoy away , addresses Spock :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What should you have known?</dialogue>
<character>SPOCK</character>
<parenthetical>( weak . )</parenthetical>
<dialogue>No meaning. No hope.</dialogue>
<parenthetical>( summoning strength . )</parenthetical>
<dialogue>And, Jim, no answers! Jim, it's looking for answers itself!</dialogue>
<character>KIRK</character>
<dialogue>What answers?</dialogue>
<character>SPOCK</character>
<dialogue>` Is this all I am? Is there not more?'</dialogue>
<scene_description>Just then an INTERCOM SIGNAL :</scene_description>
<character>UHURA'S VOICE</character>
<dialogue>A faint signal from Starfleet, sir! Intruder Cloud has been located on their outer monitors for past twenty - seven minutes. dissipating rapidly as it approaches.</dialogue>
<scene_description>Immediately , Sulu 's voice :</scene_description>
<character>SULU'S VOICE</character>
<dialogue>Starfleet reports forward velocity has slowed to sub - warp speed! We are three minutes from Earth's orbit! -</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>I'll be right there.</dialogue>
<parenthetical>( to Chapel ; crisp . )</parenthetical>
<dialogue>I need Spock on the bridge.</dialogue>
<scene_description>ANOTHER ANGLE as Chapel urns to a MED TECH , AD LIBS an order , `` Dalaphaline , twenty cc 's . '' As the Tech quickly sets the hypo - injector , and hands it to Chapel - and she injects Spock , the hypo emitting a fast , QUIET HISS - Kirk gazes at Spock just an instant as Spock breathes deeply , the drug clearly strengthening him . Chapel and the Tech help Spock from the bed , as Kirk addresses McCoy :</scene_description>
<character>KIRK</character>
<dialogue>A machine planet? Sending a machine to Earth looking for its Creator?</dialogue>
<character>McCOY</character>
<dialogue>God.</dialogue>
<scene_description>Kirk looks at him , then at Spock - on his feet now - then at McCoy again :</scene_description>
<character>KIRK</character>
<dialogue>` To find the Creator,' the probe said. Find God?</dialogue>
<character>McCOY</character>
<dialogue>Is n't that what we're all trying to do?</dialogue>
<parenthetical>( dryly . )</parenthetical>
<dialogue>All us machines?</dialogue>
<scene_description>Kirk stands facing him another moment , then whirls and steps to the monitor , flips some buttons , and peaks into his communicator .</scene_description>
<character>KIRK</character>
<dialogue>Mr. Chekov, Commander Decker's present location?</dialogue>
<character>CHEKOV'S VOICE</character>
<dialogue>He. they. are in Engineering, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>I want to make a ship's announcement. But it's to be heard only in Engineering.</dialogue>
<character>UHURA'S VOICE</character>
<dialogue>Ready, Captain.</dialogue>
<character>KIRK</character>
<parenthetical>( voice amplified . )</parenthetical>
<dialogue>This is the Captain speaking. It appears that the alien ship. V'ger. is NOT a manned vessel.</dialogue>
<scene_description>ENGINEERING SHOWING Scott -LRB- at his console -RRB- listening to Kirk 's words - and facing Decker and `` Ilia '' who are just about to leave Engineering . -LRB- In b.g. the Engine core GLOWS the appropriate color , and there is a SOFT HUM of IDLE POWER . -RRB- Kirk 's VOICE continues :</scene_description>
<character>KIRK'S VOICE</character>
<parenthetical>( amplified . )</parenthetical>
<dialogue>It is a living entity! A machine life form. We are attempting to ascertain its intentions. All personnel will maintain yellow alert status!</dialogue>
<scene_description>CLOSER ON DECKER AND `` ILIA '' The probe bland as usual , but Kirk 's words seem to have strangely elated Decker ; he says to her :</scene_description>
<character>DECKER</character>
<dialogue>A machine! Then it had to be programmed. By whom?</dialogue>
<character>"ILIA"</character>
<dialogue>By the Creator.</dialogue>
<character>DECKER</character>
<parenthetical>( probing . )</parenthetical>
<dialogue>To join, and become One with the Creator?</dialogue>
<character>"ILIA"</character>
<dialogue>To learn all that is learnable ; to deliver all collected data to the Creator on the third planet. That is the programming.</dialogue>
<scene_description>INCLUDE SCOTT just now confronting them , regarding `` Ilia '' with open disapproval .</scene_description>
<character>SCOTT</character>
<dialogue>Well, sir, now what about all that? A living entity, the Captain says. entity. A living thing!</dialogue>
<scene_description>Decker really has n't heard Scott ; he 's gazing at `` Ilia , '' attempting to digest what she 's just said . But quickly :</scene_description>
<character>DECKER</character>
<dialogue>Thank you, Scotty.</dialogue>
<scene_description>He moves to leave .</scene_description>
<character>SCOTT</character>
<parenthetical>( dourly . )</parenthetical>
<dialogue>Your welcome, sir.</dialogue>
<scene_description>Now Decker and `` Ilia '' move toward the exit , Scott gaz - ing after them glaringly , watching `` Ilia 's '' every move . Suddenly , almost into the corridor , `` Ilia '' turns and looks back at the engine room . She addresses Decker , but load enough for Scott to overhear :</scene_description>
<character>"ILIA"</character>
<dialogue>There is no logical reason for carbon units to control Enterprise's power systems.</dialogue>
<character>SCOTT</character>
<parenthetical>( to `` Ilia '' . )</parenthetical>
<dialogue>Lassie, if I were functioning ` logically,' right now I'd be showing you the inside of our scrap metal compactor!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>Kirk with McCoy and Spock , who although somewhat shaky , is clearly more alert . They are just assuming their stations .</scene_description>
<character>UHURA</character>
<dialogue>We're now locked into Starfleet's transceivers ; Admiral Nogura has received your reports, sir.</dialogue>
<scene_description>ANGLE INCLUDING VIEWER -LRB- O -RRB- Kirk pausing halfway to his chair to study the viewer on which is appearing an IMAGE of V'ger looming omi - nously in orbit over Earth .</scene_description>
<character>UHURA</character>
<dialogue>The visual is a lunar monitor relay, sir.</dialogue>
<scene_description>As they begin to study it , the IMAGE suddenly distorts and is replaced by signal interference - SIGNAL STATIC LINES RUNNING ACROSS THE VIEWER SCREEN . -LRB- Somewhat resembling the kind of high voltage interference some - times seen on the television screen . -RRB-</scene_description>
<character>UHURA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Heavy interference, sir - it's coming from here, inside the intruder itself.</dialogue>
<scene_description>Uhura hits buttons and immediately from the speakers we HEAR A SERIES OF CARRIER WAVE BEEPS . Spock looks up from his console , listens to it .</scene_description>
<character>SPOCK</character>
<dialogue>Puzzling! The interference appears to be a rather simple carrier wave code signal.</dialogue>
<character>UHURA</character>
<dialogue>On an old style radio frequency, sir.</dialogue>
<scene_description>PAST KIRK TO THE ELEVATOR as the doors snap open and Decker and `` Ilia '' appear . All eyes go to them as :</scene_description>
<character>"ILIA"</character>
<parenthetical>( to Decker ; interrupting . )</parenthetical>
<dialogue>As I stated, V'ger calls to the Creator.</dialogue>
<character>DECKER</character>
<parenthetical>( nods ; turns to Kirk . )</parenthetical>
<dialogue>V'ger is announcing that it has arrived, sir - that it's ready to deliver the information it was programmed to collect.</dialogue>
<character>"ILIA"</character>
<dialogue>` To learn all that is learnable.'</dialogue>
<character>DECKER</character>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>It expects a return signal now, ordering it to transmit that information to the Creator.</dialogue>
<character>UHURA</character>
<parenthetical>( whirling . )</parenthetical>
<dialogue>Sir! V'ger's signals have stopped.</dialogue>
<character>"ILIA"</character>
<parenthetical>( as if frightened . )</parenthetical>
<dialogue>Decker. The Creator has not responded.</dialogue>
<scene_description>Kirk hears this , turning inquiringly toward her , but Uhura interrupts :</scene_description>
<character>UHURA</character>
<dialogue>Picking up Starfleet again ; a lunar monitor relay.</dialogue>
<scene_description>ANGLE INCLUDING VIEWER -LRB- O -RRB- as , indeed , the interference is fading and a new Main Viewer IMAGE is appearing - it shows V'GER IN EARTH ORBIT with a strange looking OBJECT moving away from V'ger . It is an ominous looking , HUGE SWIRLING GREEN MASS - it resembles the same green plasma - energy bolts that destroyed the Klingons and Epsilon 9 - and very nearly the Enterprise . It is not a bolt now - the mass is much larger and appears much more deadly . A second object has now formed and moves off , a third one begins to appear . -LRB- Meanwhile , the first and second PLASMA - ENERGY OBJECTS are moving off into the distance in different direction . -RRB-</scene_description>
<character>McCOY</character>
<dialogue>My God! They're the same kind of things that destroyed the Klingons, Epsilon Nine.</dialogue>
<character>SPOCK</character>
<parenthetical>( interrupting ; from science console . )</parenthetical>
<dialogue>These read as identical composition.</dialogue>
<parenthetical>( turns to Kirk . )</parenthetical>
<dialogue>. however, Captain, they measure several hundred times more powerful!</dialogue>
<character>KIRK</character>
<dialogue>High mag, Mr. Sulu!</dialogue>
<scene_description>Sulu adjusts the viewer through several IMAGE MAGNI - FICATIONS until we SEE the huge OMINOUS GREEN DEVICES more clearly .</scene_description>
<character>SULU</character>
<dialogue>The third one is moving off too - a fourth one is forming.</dialogue>
<character>UHURA</character>
<parenthetical>( overlapping . )</parenthetical>
<dialogue>Urgent signal from Starfleet, Captain!</dialogue>
<parenthetical>( turns , shaken . )</parenthetical>
<dialogue>All Earth defense systems have gone dead.</dialogue>
<scene_description>Kirk reacts hard at this . Uhura gets another message .</scene_description>
<character>UHURA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Sir, Starfleet computes their trajectories as moving toward equidistant positions over Earth.</dialogue>
<scene_description>ANOTHER ANGLE - KIRK AND SPOCK exchanging significant glances .</scene_description>
<character>SPOCK</character>
<dialogue>From four equidistant positions, Captain, a detonation would blanket the entire surface of the planet.</dialogue>
<character>DIFALCO</character>
<dialogue>I plot them as reaching equidistant positions in. twenty - nine minutes, sir. mark!</dialogue>
<scene_description>ACROSS KIRK TO DECKER AND `` ILIA '' as Kirk vaults from his chair , strides to a handrail to confront the `` Ilia '' - probe .</scene_description>
<character>KIRK</character>
<dialogue>Why?!</dialogue>
<character>"ILIA"</character>
<dialogue>The carbon - units infection will now be removed from the Creator's planet.</dialogue>
<character>KIRK</character>
<dialogue>Why?!</dialogue>
<character>"ILIA"</character>
<dialogue>The Creator has not answered.</dialogue>
<character>KIRK</character>
<dialogue>The carbon - units are not responsible for that.</dialogue>
<character>"ILIA"</character>
<dialogue>You infest and control Enterprise. V'ger believes carbon - units interfere with the Creator in the same manner.</dialogue>
<character>SPOCK</character>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>Then V'ger believes the Creator to be a machine too.</dialogue>
<character>DECKER</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>It seems we all imagine God in our own image.</dialogue>
<scene_description>ANGLE ON MAIN VIEWER - INCLUDING CHEKOV -LRB- O -RRB- Three of the four OMINOUS SWIRLING GREEN OBJECTS have all moved away from V'ger now , in different directions , growing smaller in the distance . The fourth object is holding position nearby , seeming to grow in size and intensity . ANGLE EMPHASIZING KIRK as he throws a look toward Spock who is now in deep meditation . Kirk turns and takes `` Ilia 's '' shoulders and carefully turns her to face him .</scene_description>
<character>McCOY</character>
<dialogue>. similar life forms?' Jim, V'ger's saying the Creator is a machine!</dialogue>
<character>DECKER</character>
<parenthetical>( grimly amused . )</parenthetical>
<dialogue>Of course : we all create God in our own image.</dialogue>
<scene_description>Kirk peers at Decker a moment , ingesting this thought . Then he addresses `` Ilia '' again , this time with emotion : after all , he is pleading for the survival of the entire planet :</scene_description>
<character>KIRK</character>
<dialogue>V'ger! If we are lesser beings, we are still, like you, living. And because we are alive, we - like you - wish to survive. You must not destroy -</dialogue>
<scene_description>Kirk pauses abruptly : `` Ilia '' is regarding him blandly , stonily - not the slightest reaction or response ; clearly Kirk 's plea is being ignored . Kirk draws in his breath to continue , realizes the futility , turns helplessly to Spock . ACROSS KIRK TO SPOCK who has been listening intently , with near fascination - an idea forming in his mind . Quickly , he steps down to Kirk :</scene_description>
<character>SPOCK</character>
<parenthetical>( quiet , terse . )</parenthetical>
<dialogue>Captain.</dialogue>
<parenthetical>( reaches Kirk . )</parenthetical>
<dialogue>Treat V'ger as you would. a child.</dialogue>
<scene_description>FAVORING KIRK startled at this , not sure he 's heard correctly .</scene_description>
<character>KIRK</character>
<dialogue>Child!?</dialogue>
<character>SPOCK</character>
<dialogue>Yes, Captain, a child : evolving into adulthood - learning, searching - instinctively needing.</dialogue>
<character>DECKER</character>
<parenthetical>( intrigued . )</parenthetical>
<dialogue>Needing what?</dialogue>
<character>McCOY</character>
<dialogue>Spock, this ` child' is about to eliminate all life on Earth ; how do we teach it that that's ` wrong'? With a spanking!?</dialogue>
<scene_description>Spock peers at McCoy almost sadly , then replies to Decker .</scene_description>
<character>SPOCK</character>
<dialogue>It does n't know what it needs, Comm ander.</dialogue>
<parenthetical>( to Kirk . )</parenthetical>
<dialogue>It does not know.</dialogue>
<scene_description>Kirk says nothing , looks at Spock who is awaiting a reaction ; then Kirk glances at `` Ilia '' - his brain is racing , struggling to reach a decision . And then :</scene_description>
<character>KIRK</character>
<parenthetical>( abruptly to `` Ilia '' . )</parenthetical>
<dialogue>The carbon - units - know - why - the Creator - has - not - responded.</dialogue>
<character>McCOY</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>Jim!</dialogue>
<character>DECKER</character>
<parenthetical>( to `` Ilia , '' urgingly . )</parenthetical>
<dialogue>Ilia. we can help V'ger find what it needs -</dialogue>
<scene_description>`` Ilia '' studies Decker just a bland beat , then turns to Kirk :</scene_description>
<character>"ILIA"</character>
<parenthetical>( to Kirk , hard . )</parenthetical>
<dialogue>Disclose the information.</dialogue>
<character>KIRK</character>
<parenthetical>( cool , calm . )</parenthetical>
<dialogue>Not until V'ger withdraws the devices orbiting the third planet.</dialogue>
<character>"ILIA"</character>
<dialogue>KIRK UNIT! DISCLOSE THE INFORMATION!</dialogue>
<scene_description>Kirk studies her a moment , then decides to press his bet :</scene_description>
<character>KIRK</character>
<parenthetical>( to `` Ilia , '' almost pleasant . )</parenthetical>
<dialogue>No.</dialogue>
<parenthetical>( then to crew commandingly . )</parenthetical>
<dialogue>Secure all stations. Clear the bridge.</dialogue>
<scene_description>A moment where all are startled at this order - but no time for questions as just then the ship is ROCKED BY A FURIOUS POWERFUL ERUPTION NEARBY within V'ger .</scene_description>
<character>DECKER</character>
<parenthetical>( amplified . )</parenthetical>
<dialogue>Bridge to all decks, secure your stations.</dialogue>
<character>McCOY</character>
<dialogue>Your child is having a tantrum, Spock.</dialogue>
<character>SULU</character>
<dialogue>Clear the bridge, Captain?</dialogue>
<character>KIRK</character>
<dialogue>That was the order, Mr. Sulu : Clear the bridge.</dialogue>
<scene_description>Just then another ERUPTION - the ship is ROCKED AGAIN .</scene_description>
</scene>
<scene>
<stage_direction>INT. INSIDE V'GER - THE ENTERPRISE</stage_direction>
<scene_description>rocked about by the furious powerfields - with frightening displays of ray energy .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>as all react to the powerful blasts , holding on to railings , etc , at the same time attempting to secure their stations for the evacuation . The DAMAGE REPAIR TECHNICIAN leaves his station , crossing to exit .</scene_description>
<character>DAMAGE TECH.</character>
<dialogue>says.</dialogue>
<parenthetical>( leaving bridge ; to Captain . )</parenthetical>
<dialogue>Severe stress on engine pylons, sir.</dialogue>
<character>"ILIA"</character>
<parenthetical>( to Kirk ; flat . )</parenthetical>
<dialogue>V'ger requires the information.</dialogue>
<scene_description>Kirk merely looks at her , then to the evacuating crew :</scene_description>
<character>KIRK</character>
<dialogue>Bridge secure all stations! Move out!</dialogue>
<character>McCOY</character>
<dialogue>Jim, what the hell kind of strategy is this?</dialogue>
<scene_description>Meanwhile , Decker has crossed to Chekov 's now abandoned console , checks it .</scene_description>
<character>DECKER</character>
<dialogue>All ship's functions going to automatic, Captain.</dialogue>
<scene_description>ANGLE ON KIRK turning to confront `` Ilia '' :</scene_description>
<character>KIRK</character>
<dialogue>If V'ger destroys the Enterprise, the information V'ger requires will also be destroyed.</dialogue>
<scene_description>INCLUDING VIEWER as LIGHT SHOW outside perceptically recedes , and simul - taneously the ROCKING CEASES . At the same time , `` Ilia '' is saying :</scene_description>
<character>"ILIA"</character>
<dialogue>It is illogical to withhold required information.</dialogue>
<scene_description>Kirk does not reply to this , turns away to observe the withdrawing crew . Most are out ; only Spock , Decker and McCoy remain behind - with McCoy on his way . The bridge lighting dims , and now Kirk looks at Spock , who nods approvingly ; clearly Spock is the only person who seems to comprehend what Kirk is doing , and why . As Kirk now moves toward the exit , and the lights are dimmed even further :</scene_description>
<character>"ILIA"</character>
<parenthetical>( almost polite . )</parenthetical>
<dialogue>Kirk - unit, why do you not disclose information?</dialogue>
<character>KIRK</character>
<dialogue>Because V'ger is going to destroy all the carbon units on the third planet.</dialogue>
<character>"ILIA"</character>
<dialogue>They have repressed the Creator.</dialogue>
<character>KIRK</character>
<dialogue>The information will not be disclosed.</dialogue>
<scene_description>And , gesturing the others ahead of him , Kirk starts toward the bridge elevator . `` Ilia '' calls after him :</scene_description>
<character>"ILIA"</character>
<parenthetical>( almost a plea . )</parenthetical>
<dialogue>V'ger needs the information.</dialogue>
<scene_description>AT THE ELEVATORS Decker and McCoy about to enter , Spock and Kirk just behind - all stopping abruptly now at `` Ilia 's '' state - ment . The very tone of her voice is enough for them to realize they have made a very telling point . Kirk follows fast :</scene_description>
<character>KIRK</character>
<dialogue>Then V'ger must withdraw its orbiting devices.</dialogue>
<character>"ILIA"</character>
<dialogue>V'ger will comply if the carbon units disclose the information.</dialogue>
<scene_description>ANGLE ON McCOY wryly reacting to this :</scene_description>
<character>McCOY</character>
<dialogue>It learns fast, does n't it?</dialogue>
<scene_description>ACROSS McCOY TO KIRK AND SPOCK as Kirk looks at Spock , Kirk 's whole expression convey - ing the obvious question : `` What the hell do we do now ? '' But Spock is ready with an answer :</scene_description>
<character>SPOCK</character>
<dialogue>Captain, the vessel - V'ger - obviously operates from a central brain complex.</dialogue>
<scene_description>Spock allows the sentence to hang , as he and Kirk eye each other significantly , the CAMERA SWINGING OVER TO KIRK so we can perceive that to Kirk this idea has an even greater significance .</scene_description>
<character>KIRK</character>
<parenthetical>( to Spock . )</parenthetical>
<dialogue>The orbiting devices would be controlled from the point, then?</dialogue>
<character>SPOCK</character>
<dialogue>Precisely.</dialogue>
<scene_description>Kirk nods grimly , faces `` Ilia '' again ; this time he 's playing for all the stakes .</scene_description>
<character>KIRK</character>
<dialogue>The carbon units' information can not be disclosed to V'ger's probe. only to V'ger directly.</dialogue>
<scene_description>ANOTHER ANGLE - REACTIONS all wait with hushed expectancy , all eyes on `` Ilia '' who seems momentarily in some internal communication . She turns away from Kirk and steps forward looking at the Main Viewer .</scene_description>
<character>McCOY</character>
<parenthetical>( indicating viewer . )</parenthetical>
<dialogue>Jim!</dialogue>
<scene_description>PAST THEM TO VIEWER the image of the chamber in which the Enterprise is imprisoned . But now , toward the chamber - end , where further passage had previously been barred by the lace - work energy barriers - an OPENING APPEARS . And at the same time there is a GENTLE LURCHING EFFECT , and :</scene_description>
<character>DECKER</character>
<dialogue>Forward motion, Captain!</dialogue>
<character>SPOCK</character>
<dialogue>A tractor beam.</dialogue>
<scene_description>`` Ilia '' steps down from the platform and into the well where she is closer to the viewer .</scene_description>
<character>DECKER</character>
<dialogue>Captain, what's the next move?</dialogue>
<character>KIRK</character>
<dialogue>The question is, Mr. Decker, is there a next move.</dialogue>
</scene>
<scene>
<stage_direction>INT. V'GER - THE ENTERPRISE</stage_direction>
<scene_description>moving through the chamber , pulled by the invisible tractor beam , toward the OPENING - toward the next chamber which , from this POV seems even larger , more forbidding .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>as the four officers step down onto the bridge , Spock hurrying to his science station , Kirk to the center seat .</scene_description>
<character>KIRK</character>
<dialogue>Resume duty stations, Mr. Decker.</dialogue>
<scene_description>As Kirk attends to his console , Deck is at an intercom :</scene_description>
<character>DECKER</character>
<parenthetical>( into intercom , voice amplified . )</parenthetical>
<dialogue>All personnel resume stations!</dialogue>
<scene_description>At the same time the lights are brightening - and members of the bridge crew begin returning . All this time there is an ever increasing sense of movement . Kirk glances at Decker :</scene_description>
<character>KIRK</character>
<dialogue>Well, Mr. Decker, it seems my bluff is being called.</dialogue>
<character>DECKER</character>
<dialogue>I'm afraid our hand is pretty weak, Captain.</dialogue>
<parenthetical>( slight smile . )</parenthetical>
<dialogue>But it's the only game in town.</dialogue>
<scene_description>Kirk reacts , pleased , a split beat at Decker 's `` our '' hand , and goes on : Kirk throws him a look of appreciation , then , abruptly his manner changes as he addresses Chekov :</scene_description>
<character>KIRK</character>
<dialogue>Mr. Chekov, when do those devices activate?</dialogue>
<character>CHEKOV</character>
<dialogue>They reach final position in. Twenty - seven minutes - mark.</dialogue>
<character>KIRK</character>
<parenthetical>( a beat ; then into intercom . )</parenthetical>
<dialogue>Engineering.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING - SCOTT</stage_direction>
<scene_description>at his console , a female engineering technician -LRB- CHIEF ROSS -RRB- nearby , the usual engine room ambience in the b.g. , as :</scene_description>
<character>SCOTT</character>
<dialogue>Scott, here, sir.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE - KIRK WITH AN ANGLE ON SPOCK</stage_direction>
<scene_description>as Kirk hesitates , glances around at the crew - now all having resumed their stations - and then grimly looks at `` Ilia '' who still remains at the rail .</scene_description>
<character>KIRK</character>
<parenthetical>( into intercom , eyes on `` Ilia '' . )</parenthetical>
<dialogue>Mr. Scott, be prepared to execute Starfleet order two zero zero five.</dialogue>
<scene_description>Hearing this , Spock whirls around - peers incredulously at Kirk . He appears for a moment to be incensed at Kirk 's words . Then he realizes and understands Kirk 's position and turns , sadly resigned , back to his work .</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING</stage_direction>
<scene_description>as Scott , too , hears this , but his reaction is of grim acceptance . Not so Chief Ross ; she is horrified .</scene_description>
<character>SCOTT</character>
<parenthetical>( with a glance at Ross , into intercom . )</parenthetical>
<dialogue>When, Captain?</dialogue>
<character>KIRK'S INTERCOM VOICE</character>
<dialogue>On my command.</dialogue>
<character>SCOTT</character>
<parenthetical>( somberly , into intercom . )</parenthetical>
<dialogue>Aye, sir.</dialogue>
<scene_description>And Scott hits buttons on his console , now moves to step from his station , nearly collides with Ross , who clearly is bravely struggling to maintain her poise and dignity :</scene_description>
<character>ROSS</character>
<dialogue>Why has the Captain ordered self - destruct, sir?</dialogue>
<character>SCOTT</character>
<parenthetical>( a beat ; gently . )</parenthetical>
<dialogue>I would say, lass, because he thinks - he hopes - that when we go up. we'll take V'ger with us.</dialogue>
<character>ROSS</character>
<dialogue>Will we?</dialogue>
<character>SCOTT</character>
<parenthetical>( with grim satisfaction . )</parenthetical>
<dialogue>When that much matter and anti - matter are brought together? Oh, yes ; we will, indeed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ENTERPRISE - INT. V'GER</stage_direction>
<scene_description>The ship passing now through a chamber that is vastly more active than anything we have previously seen . Directly ahead appears to be an area that dispatches powerfields ; a tremendous volume of them seem to ema - nate and converge there . The medium from which the ship moves appears almost solid , to the point where it seems incredible that the ship can be pulled through it at all . The entire chamber pulses with machine - like , alien life . This should even be evidenced in the booming POWERFIELD LIGHTENING BOLTS as they course in ever more frighteningly close proximity to the ship as :</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING THE VIEWER</stage_direction>
<scene_description>The crew all watching the awesome spectacle of V'ger 's interior -LRB- on the viewer -RRB- as the Enterprise is being pulled toward the brain complex . All are somewhat sub - dued , for all realize how their journey will end - but at the same time they also realize there is no other way . The CAMERA PANS , catching facial reactions - as , in the b.g. , we HEAR a constant flow of AD - LIBBED crew comments :</scene_description>
<character>CHEKOV</character>
<dialogue>Twenty - five minutes to device activation, sir.</dialogue>
<character>UHURA</character>
<dialogue>Starfleet has been apprised of our situation, Captain.</dialogue>
<character>SULU</character>
<dialogue>Tractor beam remains constant.</dialogue>
<character>DIFALCO</character>
<dialogue>We are seventeen kilometers inside the vessel.</dialogue>
<scene_description>ANGLE ON SPOCK His back to the viewer , the angle does not reveal his facial features , but we can discern him struggling to contain his feelings . WIDER ANGLE -LRB- INCLUDE KIRK , McCOY , AND DECKER -RRB- Kirk 's back to Spock as he watches the viewer , Kirk now turning toward Spock .</scene_description>
<character>KIRK</character>
<dialogue>Spock. Spock.</dialogue>
<scene_description>Spock does not respond , then Kirk reacts with momentary annoyance , then realizes Spock is totally distracted . Kirk peers at him a moment , then suddenly rises and steps up to : SPOCK 'S STATION - KIRK AND SPOCK -LRB- McCOY IN B.G. -RRB- as Kirk arrives , with Spock still facing away from him , clearly distracted .</scene_description>
<character>KIRK</character>
<parenthetical>( starts . )</parenthetical>
<dialogue>Mr. Spock - I think.</dialogue>
<scene_description>Spock moves to face him , turning fully INTO the CAMERA so we can see now , just under Spock 's eye : A tear ! Welling fom the eye , rolling down his cheek . Kirk is speechless a moment , glances at McCoy who has also witnessed this phenomenon , and started toward Spock ; but Kirk gestures McCoy to stay back , as he addresses Spock :</scene_description>
<character>KIRK</character>
<parenthetical>( quiet , feeling . )</parenthetical>
<dialogue>Not for us?</dialogue>
<character>SPOCK</character>
<dialogue>No, Captain, not for us. for V'ger.</dialogue>
<scene_description>Spock pauses as Kirk peers incredulously at him , then continues :</scene_description>
<character>SPOCK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I weep for V'ger, as I would for a brother - far more knowledgeable than I - and yet one step behind.</dialogue>
<scene_description>ANGLE ON McCOY AND DECKER Listening , McCoy 's face reflecting concern ; Decker 's face compassion and understanding , with Decker step - ping closer to Spock , as Spock continues :</scene_description>
<character>SPOCK</character>
<dialogue>As I was - when I came aboard. so is V'ger now : empty, incomplete. Searching. Logic and knowledge are not enough.</dialogue>
<character>McCOY</character>
<parenthetical>( with empathy . )</parenthetical>
<dialogue>Spock, are you saying that you found, what you needed - but V'ger has n't?</dialogue>
<character>SPOCK</character>
<dialogue>Has not, Doctor - and now, because of what we are planning. will not.</dialogue>
<character>KIRK</character>
<parenthetical>( almost hard . )</parenthetical>
<dialogue>There is no alternative.</dialogue>
<character>DECKER</character>
<parenthetical>( gently pressing . )</parenthetical>
<dialogue>Mr. Spock, what would V'ger need to fulfill itself?</dialogue>
<character>SPOCK</character>
<dialogue>V'ger has begun to understand the true limits of our universe, thereby realizing the existence of other dimensions. To fulfill itself it must evolve to a higher dimension ; V'ger believes this can be achieved only by joining with the Creator.</dialogue>
<character>SPOCK</character>
<parenthetical>( ALTERNATIVE . )</parenthetical>
<dialogue>Each of us, at some time in our life, turns to someone, a father, a brother, a God and asks ` Why am I here?' ` What was I meant to be?' V'ger hopes to touch its Creator to find its answers.</dialogue>
<scene_description>ACROSS KIRK TO DECKER as Decker reacts with sudden , almost evangelical en - lightenment , as Kirk Says :</scene_description>
<character>KIRK</character>
<parenthetical>( understanding . )</parenthetical>
<dialogue>` Is this all that I am? Is there nothing more?</dialogue>
<scene_description>ON DIFALCO reacting to the -LRB- O.S. -RRB- viewer , AD - LIBBING a terse :</scene_description>
<character>DIFALCO</character>
<dialogue>Captain!</dialogue>
<scene_description>PAST KIRK AND SPOCK TO THE VIEWER where another opening is suddenly visible - another chamber . But the violent and color energy effects of the previous chambers are no longer evident . Instead , the entire chamber appears beautifully symmetrical , with a strange , subdued glow , which increases as we move closer .</scene_description>
<character>SPOCK</character>
<parenthetical>( flat . )</parenthetical>
<dialogue>Captain, I believe that is our destination.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ENTERRISE - INT. V'GER - NEAR THE "ISLAND" COMPLEX</stage_direction>
<scene_description>This enormous chamber resembles a hemisphere , laced throughout with dazzling energy patterns , not at all ominous , but quite lovely in effect . As the Enterprise continues forward motion , now ahead you will to SEE a small `` island . '' Floating in the exact center of the hemisphere , the `` island '' seems alive with PULSING LIGHT , with more of the lovely and delicate ENERGY FORMS and COLORS . On the `` island , '' vague at this distance , ap pears to be a `` solid '' matter form .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER</stage_direction>
<scene_description>The `` island '' looming larger in the distance . And the Enterprise -LRB- as evidenced from the viewer -RRB- perceptibly slowing . Kirk just resuming his command chair , as :</scene_description>
<character>SULU</character>
<dialogue>Forward motion slowing, Captain!</dialogue>
<scene_description>Kirk says nothing a moment , studies the viewer - and then :</scene_description>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Engineering. Status, Mr. Scott?</dialogue>
<character>SCOTT'S INTERCOM VOICE</character>
<parenthetical>( somber . )</parenthetical>
<dialogue>We're ready, sir.</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Thank you, Scotty. Stand by.</dialogue>
<scene_description>ACROSS KIRK TO McCOY as Kirk turns from the intercom and glances at McCoy . Between them a total look of understanding .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTERPRISE (INT. V'GER)</stage_direction>
<scene_description>The Enterprise approaching the edge of the `` island '' - slowing , but still quite clearly being pulled by the tractor beam . The `` solid matter '' in the `` island '' cen - ter still obscured by the STRANGE LIGHT GLOW emanating from that area . The Enterprise is now nearly at the `` island '' edge .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING VIEWER</stage_direction>
<scene_description>as all watching `` island '' loom closer and closer .</scene_description>
<character>CHEKOV</character>
<dialogue>Tractor beam strength lessening, Captain.</dialogue>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Mr. Scott. on my next signal.</dialogue>
<character>SPOCK</character>
<parenthetical>( fast . )</parenthetical>
<dialogue>Captain, the orbital device will not be triggered for twenty - two minutes.</dialogue>
<character>KIRK</character>
<dialogue>The point.</dialogue>
<parenthetical>( Your . )</parenthetical>
<dialogue />
<character>SPOCK</character>
<parenthetical>( eying `` Ilia '' ; carefully . )</parenthetical>
<dialogue>The point is, Captain, twenty - two minutes. We could have that much more time.</dialogue>
<scene_description>Kirk glances at the Viewer , the oncoming `` island , '' then at Spock :</scene_description>
<character>KIRK</character>
<parenthetical>( shakes head , no . )</parenthetical>
<dialogue>Mr. Spock, if we do not provide V'ger with certain information, we wo n't have twenty - two seconds ; the plan must be implemented upon arrival.</dialogue>
<character>DECKER</character>
<dialogue>Captain, we ca n't be sure that our. move. will actually save Earth.</dialogue>
<character>KIRK</character>
<dialogue>No!</dialogue>
<scene_description>Decker 's last word is interrupted by an almost gentle BUMP - and on the Viewer all perceptible motion has stopped . At the same time :</scene_description>
<character>SULU</character>
<dialogue>Forward motion stopped, Captain.</dialogue>
<character>CHEKOV</character>
<dialogue>Tractor beam is released.</dialogue>
</scene>
<scene>
<stage_direction>INT. INSIDE V'GER - THE ENTERPRISE AT THE "ISLAND"</stage_direction>
<scene_description>The ship 's sauce leading edge holding position at the `` island '' edge as though docked .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE "ILIA"</stage_direction>
<scene_description>watching the -LRB- O.S. -RRB- Viewer .</scene_description>
<character>"ILIA"</character>
<parenthetical>( indicating viewer . )</parenthetical>
<dialogue>V'ger.</dialogue>
<scene_description>INCLUDING THE VIEWER KIRK AND THE OTHERS all very silent a moment , gazing at the sight . Now Kirk glances at the people around him : on his command their lives are about to end . Nothing is said ; no time for it , no inclination to articulate the obvious . No need to .</scene_description>
<character>KIRK</character>
<parenthetical>( into intercom : with finality . )</parenthetical>
<dialogue>Mr. Scott.</dialogue>
<scene_description>ANGLE ON CHEKOV reacting to a console reading with surprise .</scene_description>
<character>CHEKOV</character>
<dialogue>Captain. I read an oxygen and gravity envelope forming outside the Enterprise!</dialogue>
<character>UHURA</character>
<dialogue>Sir, I have located the source of V'ger's radio signal :.</dialogue>
<parenthetical>( it 's . )</parenthetical>
<dialogue>directly ahead.</dialogue>
<character>SPOCK</character>
<dialogue>That transmitter is a vital link between V'ger and the Creator.</dialogue>
<parenthetical>( its . )</parenthetical>
<dialogue />
<character>DECKER</character>
<parenthetical>( urging . )</parenthetical>
<dialogue>We have twenty - one minutes. Captain, we can still save V'ger. and ourselves.</dialogue>
<scene_description>All this has caused Kirk to vacillate , but he still believes his course of action is the proper one , as : -</scene_description>
<character>"ILIA"</character>
<dialogue>The carbon units will now provide V'ger the required information.</dialogue>
<scene_description>`` Ilia '' is moving toward the elevator , turning to face the others as she says this . Kirk remains frozen , his hand on the intercom button . He glances at McCoy , as though seeking advice . McCoy peers at him blandly , levelly ; Kirk must follow his own instinct . FAVORING KIRK gazing at `` Ilia , '' then at Spock , his brain racing , con - sidering all the possibilities , options . He glances at the anxious faces awaiting his decision : a possible twenty - two more minutes of life - or instant death . Another beat as he decides . Then :</scene_description>
<character>KIRK</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Mr. Scott. we're holding off ; there may be a chance.</dialogue>
<parenthetical>( rises , gestures Spock and McCoy . )</parenthetical>
<dialogue>Spock, Bones.</dialogue>
<scene_description>He starts for elevator . PAST DECKER TO KIRK as Kirk strides toward the elevator , joining McCoy and Spock .</scene_description>
<character>KIRK</character>
<dialogue>Mr. Decker. I will contact you every five minutes. Otherwise. inform Mr. Scott immediately.</dialogue>
<character>DECKER</character>
<parenthetical>( calls after him . )</parenthetical>
<dialogue>Captain. I'd like to go along.</dialogue>
<scene_description>Kirk studies Decker a beat - there is something com - pelling about Decker 's manner - a certain sense of absolute necessity . Kirk seems about to deny the re - quest , then turns to Sulu :</scene_description>
<character>KIRK</character>
<dialogue>Mr. Sulu, you have the conn.</dialogue>
<scene_description>And Kirk leaves ; Decker , his face reflecting a strange , almost eager gratification , hurries after him .</scene_description>
<character>KIRK</character>
<dialogue>V'ger plans to literally meld to reduce both itself and the Creator to patterns.</dialogue>
<character>SPOCK</character>
<dialogue>and then to reassemble itself combined with the Creator. The most certain way of obtaining all the Creator's answers.</dialogue>
<scene_description>A sudden STORM OF LIGHT AND STRANGE SOUND . In the midst of it , Kirk finds a SHAFT OF LIGHT very much centering on him . He sees `` Ilia '' watching him with none of their `` former navigator '' in her expression now . Kirk hesitates , gathering his thoughts :</scene_description>
<character>KIRK</character>
<parenthetical>( to `` Ilia '' . )</parenthetical>
<dialogue>Our data is being prepared.</dialogue>
<character>"ILIA"</character>
<dialogue>Answer!</dialogue>
<character>KIRK</character>
<dialogue>We will answer and present proof of our answer when it is ready!</dialogue>
<scene_description>Kirk 's words lead to a suggestion of FRUSTRATION in the STORM OF LIGHT AND SOUND around them .</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>V'ger, we will bring the Creator to you! Here!</dialogue>
<scene_description>ANGLE EMPHASIZING `` ILIA '' AND DECKER as he moves to her :</scene_description>
<character>DECKER</character>
<dialogue>We need only a few more minutes. Believe me.</dialogue>
<scene_description>Decker has reached out to touch her - the probe spins at his touch - the move knocks Decker from his feet , tumbling , a hard fall . Then the robe looks at him lying there - just the slightest softening of her features now . EMPHASIZING DECKER slowly turning to face the probe again .</scene_description>
<character>DECKER</character>
<dialogue>Ilia, believe me. the Creator will appear!</dialogue>
<scene_description>EMPHASIZING `` ILIA '' as she meets Decker 's look , her expression softening still more . The STORM OF LIGHT and SOUND begins to subside a bit . She moves to him and he gets to his feet .</scene_description>
<character>UHURA'S INTERCOM VOICE</character>
<dialogue>Enterprise to Captain.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE</stage_direction>
<scene_description>Uhura with Sulu and Chekov there .</scene_description>
<character>UHURA</character>
<dialogue>Problem, Captain : the response signal is not in our records. Voyager Six was sent out by Earth's `` United States Subdivision.' The code was probably.</dialogue>
</scene>
<scene>
<stage_direction>INT. VOYAGER SIX SITE</stage_direction>
<scene_description>as Uhura continues :</scene_description>
<character>UHURA'S INTERCOM VOICE</character>
<dialogue>kept secret to keep Voyager's data from rival subdivisions.</dialogue>
<character>McCOY</character>
<dialogue>That's preposterous! They would n't have kept scientific data from one another.</dialogue>
<character>CHEKOV'S INTERCOM VOICE</character>
<dialogue>We are now checking with Starfleet Archives, Captain. Stand by.</dialogue>
<scene_description>ANGLE ON DECKER AND `` ILIA '' Kirk , Spock and McCoy are standing some distance from them -LRB- out of hearing -RRB- . The probe is clearly moving into still closer touch with Lt. Ilia 's memory patterns as Decker takes her hand .</scene_description>
<character>DECKER</character>
<dialogue>And when V'ger melds? What will happen to you?</dialogue>
<character>"ILIA"</character>
<dialogue>It will. take me from you.</dialogue>
<scene_description>KIRK , SPOCK AND McCOY McCoy is looking at Kirk with an incredulous expression on his face .</scene_description>
<character>McCOY</character>
<dialogue>And when it realizes what the Creator is?</dialogue>
<character>KIRK</character>
<dialogue>There's no way to know. V'ger expected it to be a machine - some single entity.</dialogue>
<parenthetical>( indicates entire site . )</parenthetical>
<dialogue>All of us here may be reduced into patterns.</dialogue>
<character>SPOCK</character>
<dialogue>That seems to be what it has planned - to have the Creator physically present here.</dialogue>
<character>McCOY</character>
<parenthetical>( small smile . )</parenthetical>
<dialogue>The God it captures is going to be a hell of a disappointment.</dialogue>
<scene_description>DECKER AND `` ILIA '' at the side of Voyager Six , Decker in the midst of twisting a wing - nut which releases a hatch which swings open . Decker peers inside while `` Ilia '' waits . KIRK , SPOCK AND McCOY Decker and `` Ilia '' at the old capsule in b.g. as Kirk looks that way .</scene_description>
<character>KIRK</character>
<dialogue>Commander.</dialogue>
<scene_description>We SEE Decker look up at Kirk 's call , then ignore him and go back to inspecting inside the access hatch . At this moment , from Kirk 's communicator , a SIGNAL .</scene_description>
<character>KIRK</character>
<parenthetical>( continuing ; into communicator . )</parenthetical>
<dialogue>Kirk here.</dialogue>
<character>UHURA'S INTERCOM VOICE</character>
<dialogue>We now have the response code, sir.</dialogue>
<character>KIRK</character>
<dialogue>Stand by. Transmit it on my orders.</dialogue>
<scene_description>The three of them exchange looks - Kirk , Spock and McCoy exchanging a silent moment of friendship and resignation . Then Kirk lifts his communicator again :</scene_description>
<character>KIRK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Enterprise. transmit.</dialogue>
<scene_description>DECKER AND `` ILIA '' catching Decker in the midst of pressing a control on his tricorder . Both he and `` Ilia '' are watching Kirk and the others closely . Now Decker looks down at the tricorder 's face . He nods :</scene_description>
<character>DECKER</character>
<dialogue>Recording.</dialogue>
<scene_description>KIRK , SPOCK AND McCOY still waiting . They continue to wait . McCoy shifts uncomfortably , throws Kirk a puzzled glance . Kirk finally lifts his communicator .</scene_description>
<character>KIRK</character>
<dialogue>Enterprise, are you transmitting?</dialogue>
<character>UHURA'S INTERCOM VOICE</character>
<dialogue>Affirmative, Captain. For some time now.</dialogue>
<character>KIRK</character>
<dialogue>Confirm code and transmitting frequency.</dialogue>
<character>CHEKOV'S INTERCOM VOICE</character>
<dialogue>Both signal and frequency confirmed, sir.</dialogue>
<character>DECKER</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Captain Kirk!</dialogue>
<scene_description>VARIOUS ANGLES as the others turn to Decker and `` Ilia . ''</scene_description>
<character>DECKER</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>The fault is here, sir, not in the transmission.</dialogue>
<parenthetical>( indicating into hatch . )</parenthetical>
<dialogue>The antenna leads have been disconnected. V'ger never intended to accept a transmitted signal.</dialogue>
<character>KIRK</character>
<dialogue>Capture God! In order to retrieve V'ger's data, the Creator has to physically come here!</dialogue>
<character>DECKER</character>
<dialogue>And plug the signal directly into the circuitry at this.</dialogue>
<parenthetical>( indicates into access . )</parenthetical>
<dialogue>. point here, Captain. It should pick up even a tricorder playback.</dialogue>
<character>KIRK</character>
<parenthetical>( lifting communicator . )</parenthetical>
<dialogue>Enterprise, I want that signal again. Transmit!</dialogue>
<scene_description>Then Kirk touches a control on his tricorder exactly as Decker did earlier . Then he looks up , reacts as he sees Decker holding his own tricorder up - and a smile playing on Decker 's face . ACTION ANGLE as Kirk suddenly pivots , races toward Decker - but he passes too close to the `` Ilia '' - probe . It sends him spinning back , tumbling to his knees . AT KIRK as KIRK starts up to scramble to his feet but Spock has stepped in , putting a hand on Kirk 's shoulder and re straining him .</scene_description>
<character>SPOCK</character>
<dialogue>Jim. he wants it.</dialogue>
<character>DECKER</character>
<dialogue>You got the Enterprise, it's what you wanted. This is what I want.</dialogue>
<parenthetical>( smiles . )</parenthetical>
<dialogue>But, Jim.</dialogue>
<parenthetical>( now very seriously . )</parenthetical>
<dialogue>. I'm the right choice for this mission.</dialogue>
<scene_description>And then Decker shoves the tricorder into the access hatch . VARIOUS EFFECTS SHOTS - DECKER BEING FUSED - V'GER TRANSCENDING -LRB- S -RRB- For just an instant nothing happens - and then a BLINDING SHAFT OF LIGHT STRIKES Decker . The color becomes BRIGHTER AND BRIGHTER , begins spiraling through the room . `` Ilia '' stes toward Decker , is caught in the LIGHT , and instantly VANISHES in a BRILLIANT WHITE GLOW . We SEE Decker seeming to grow larger - as if his molecular pattern is expanding . A SPECTACULAR SERIES OF VISUALS. , THE SPIRALING LIGHT enveloping the entire area . All this emanating from Decker 's body , becoming LARGER - also BRIGHTER AND BRIGHTER until now it is almost transparent . And the SPIRALING now expanding in all directions , and the room itself starting to dissolve , vanishing into nothingness - and all commencing to slip into the new dimension . Kirk , Spock and McCoy stand transfixed another instant . Around them , V'ger seems to be TRANSFORMING INTO BRIL - LIANT , LOVELY PATTERNS . They all turn and race into the complex in the direction of their vessel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EARTH ORBIT - AN ENERGY BOLT (S)</stage_direction>
<scene_description>It too seems to be flowering into loveliness , brilliant , graceful patterns as they seem to slip through to another dimension , vanishing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. V'GER - FULL SHOT</stage_direction>
<scene_description>The `` FLOWERING '' EFFECT now spreading outward , V'ger 's massive shape becoming a spiraling pattern of twisting , graceful shapes and brilliant colors - a transcendence into another dimension . And then all of that is left is a shimmering , jewel - like point of light - and then it too fades - and reveals there in the blue - black of space , the U.S.S. Enterprise .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRIDGE - INCLUDING THE VIEWER (O)</stage_direction>
<scene_description>which shows now only space and its familiar star patterns . All gaze at the viewer , awed at what they 've seen and undergone . They exchange looks silently , no one wanting to be the first to try to comment on some - thing which is beyond mere words . We HEAR an ELEVATOR DOOR , Scott and Chapel ENTER the bridge and stand silently watching .</scene_description>
<character>McCOY</character>
<dialogue>Well, it certainly has been. interesting.</dialogue>
<character>KIRK</character>
<dialogue>Spock, we were its answer!</dialogue>
<character>SPOCK</character>
<parenthetical>( nods . )</parenthetical>
<dialogue>Yes, Captain. It needed our mortality, the fear of it, our struggle against it, our fears, our dreams.</dialogue>
<character>KIRK</character>
<dialogue>and the ` foolish' emotions which drive us?</dialogue>
<character>SPOCK</character>
<parenthetical>( looks at Kirk ; then . )</parenthetical>
<dialogue>I prefer your poet Dante's phrase - ` the divine restlessness of the human spirit.'</dialogue>
<character>McCOY</character>
<dialogue>Spock. you're quoting poetry?</dialogue>
<scene_description>Spock 's cold look at McCoy is interrupted by :</scene_description>
<character>UHURA</character>
<dialogue>Starfleet signal, Captain! Return to orbital dockyard for inspection.</dialogue>
<character>KIRK</character>
<dialogue>Ignore that signal.</dialogue>
<parenthetical>( to Scott . )</parenthetical>
<dialogue>Shall we give the Enterprise a proper shakedown, Mr. Scott?</dialogue>
<character>SCOTT</character>
<parenthetical>( suddenly beaming . )</parenthetical>
<dialogue>I'd say it's time for that, I would, sir.</dialogue>
<parenthetical>( toward Spock . )</parenthetical>
<dialogue>We can have you back on Vulcan in four days, Mr. Spock.</dialogue>
<character>SPOCK</character>
<parenthetical>( coolly . )</parenthetical>
<dialogue>I have no business on Vulcan, Engineer.</dialogue>
<scene_description>Kirk and Spock exchange a look - then Kirk turns to the helm .</scene_description>
<character>KIRK</character>
<dialogue>Ahead Warp One, Mr. Sulu.</dialogue>
<character>DIFALCO</character>
<dialogue>Heading, sir?</dialogue>
<character>KIRK</character>
<parenthetical>( taking center seat ; indicates generally . )</parenthetical>
<dialogue>Out there. Thataway.</dialogue>
<character>SPOCK</character>
<parenthetical>( nods gravely . )</parenthetical>
<dialogue>A most logical choice, Captain.</dialogue>
<scene_description>Then the trace of a smile comes over Spock 's face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPACE - ENTERPRISE (S)</stage_direction>
<scene_description>Planet Earth in the distance , and receding in size as the starship heads out the other direction . FADE OUT . THE END</scene_description>
</scene>
</script> | A Starfleet monitoring station, Epsilon Nine, detects an alien force, hidden in a massive cloud of energy, moving through space towards Earth. The cloud destroys three of the Klingons' new K't'inga-class warships and the monitoring station en route. On Earth, the starship Enterprise is undergoing a major refit; her former Captain, James T. Kirk, has been promoted to Admiral and works in San Francisco as Chief of Starfleet Operations. Starfleet dispatches Enterprise to investigate the cloud entity as the ship is the only one in intercept range, requiring her new systems to be tested in transit. Kirk takes command of the ship citing his experience, angering Captain Willard Decker, who had been overseeing the refit as its new commanding officer. Testing of Enterprise's new systems goes poorly; two officers, including the science officer, are killed by a malfunctioning transporter, and improperly calibrated engines almost destroy the ship. The tension between Kirk and Decker increases when the admiral demonstrates his unfamiliarity with the new systems of the Enterprise. Spock arrives as replacement science officer, explaining that while on his home world undergoing a ritual to purge all emotion, he felt a consciousness that he believes emanates from the cloud. Enterprise intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock and abducts the navigator, Ilia. She is replaced by a robotic doppelgänger, a probe sent by "V'Ger" to study the crew. Decker is distraught over the loss of Ilia, with whom he had a romantic history. He becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia's memories and feelings buried within. Spock takes a spacewalk to the alien vessel's surface and attempts a telepathic mind meld with it. In doing so, he learns that the vessel is V'Ger itself, a living machine. At the heart of the massive ship, V'Ger is revealed to be Voyager 6, a 20th-century Earth space probe believed lost. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned, and return that information to its creator. The machines upgraded the probe to fulfill its mission, and on its journey the probe gathered so much knowledge that it achieved consciousness. Spock realizes that V'Ger lacks the ability to give itself a focus other than its original mission; having learned what it could on its journey home, it finds its existence empty and without purpose. Before transmitting all its information, V'Ger insists that the Creator come in person to finish the sequence. Realizing that the machine wants to merge with its creator, Decker offers himself to V'Ger; he merges with the Ilia probe and V'Ger, creating a new form of life that disappears into another dimension. With Earth saved, Kirk directs Enterprise out to space for future missions. |
Cinderella Man_2005 | tt0352248 | <script>
<scene>
<scene_description>CINDERELLA MAN by Cliff Hollingsworth . Revisions by C. Gaby Mitchell Curre11t Revisions by Akiva Goldsrnan firs\ Rewrl\e January 9, 2.004 the DIN of VOICES. LOUDER still, cacophonous, as the screen brightens, the staccato lightning of flash bulbs REVEAL ... A GLOVED FIST-CLOSE. Held high in triumph.</scene_description>
<character>ANNOUNCER (OVER)</character>
<dialogue>And from the great state of New Jersey, by unanimous decision, tonight's light heavyweight winner ... Jim Braddock.</dialogue>
<scene_description>WIDEN</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - NYC - 1928 - NIGHT</stage_direction>
<scene_description>The capacity crowd is on its feet. That BOXER in the ring is wiry, not too tall, not too heavy. The kind of fighter you'd say had.a lot of heart. Meet JIM BRADDOCK. A little GUY rushes in from the corner, drenched in sweat, bright, intelligent eyes. By the looks of him, he may have just fought this fight himself. This is JOE GOULD and he actually leaps onto Braddock's back like a kid. People are on their feet, SCREAMING, YELLING. Affluent faces out for a night. A world, happy, with no knowledge of the future. It's still the roaring twenties, after all. Gould shoots Jim a wry smile. Braddock grins back. Pumps his fist in air one more time and, on cue, the crowd goes WILD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - NYC - NIGHT</stage_direction>
<scene_description>New York sparkled then. Ansel Adams. A world of black shadows, and clear white light. Simpler times. Joe and Jim emerge from the side door onto Seventh Avenue, under a huge lighted sign for tonight's fight, stopping now to dispense a couple of autographs.</scene_description>
<character>JOE</character>
<dialogue>You give a few, leave em wanting.</dialogue>
<character>BRADDOCK</character>
<dialogue>Anything you're not an expert in, Joe?</dialogue>
<character>JOE</character>
<dialogue>Not that I can think of, no.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Maybe my wife.</dialogue>
<scene_description>Naturalism is still two wars off.</scene_description>
<character>FAN</character>
<dialogue>Gave him a cold meat party, Jim.</dialogue>
<character>FAN # 2</character>
<dialogue>Way to go, Braddock.</dialogue>
<scene_description>Jim likes these guys, the fact that they love him so. A GIRL catches his eye, flashes him, underneath her flapper's dress, a glirapse of naked promise. He grins, shakes his head.</scene_description>
<character>JOE</character>
<dialogue>Hey, win some, lose some, huh Johnston?</dialogue>
<scene_description>Jim looks up to see two other MEN leaving from the smoky side door. The fellow Joe is addressing is JIMMY JOHNSTON. Fight promoter. He doesn't look happy.</scene_description>
<character>BRADDOCK</character>
<dialogue>Leave it be, Joe.</dialogue>
<scene_description>Joe nods as if he agrees. It's just that he has absolutely no control over his mouth.</scene_description>
<character>JOE</character>
<dialogue>Although you gotta figure, this one, you gotta figure maybe you get behind the wrong guys. What's Griffith, favored six to one and, oh yeah, 34 knockouts in 55 wins, outweighs my boy by, what, five pounds more than that scale you fixed says, then jab, hook ...</dialogue>
<scene_description>Joe is actually moving in time with the hits. Now that Joe's started, Jim can't leave him out there on his own.</scene_description>
<character>BRADDOCK</character>
<dialogue>Actually it was jab, jab, hook-</dialogue>
<character>JOE</character>
<dialogue>Jab, jab, hook and your boy's hearing high ball whistles. Hell, I could hear em. You Jinrrny?</dialogue>
<character>BRADDOCK</character>
<dialogue>I heard something.</dialogue>
<scene_description>huh Johnston ... ? Johnston just holds Joe's eyes. The beat lasts. Then he turns and walks to his waiting car. Joe smiles.</scene_description>
<character>JOE</character>
<dialogue>Knock out.</dialogue>
<scene_description>Joe slides two Havana's out of his pocket. Sniffs his.</scene_description>
<character>JOE</character>
<dialogue>All yours for the night. Last chance to make a break for it.</dialogue>
<scene_description>Jim follows Joe's gaze. A black limo idles curb-side.</scene_description>
<character>BRADDOCK</character>
<dialogue>Must have set you back some.</dialogue>
<scene_description>Jim has crossed to the car as the driver opens the door.</scene_description>
<character>BRADDOCK</character>
<dialogue>What would you done if I woulda lost?</dialogue>
<scene_description>Joe is lighting his cigar. Doesn't look up as he answers.</scene_description>
<character>JOE</character>
<dialogue>Wouldn't have paid for it.</dialogue>
<scene_description>Jim can't help but smile as he climbs into the car.</scene_description>
<character>JOE</character>
<dialogue>Keep your gloves up, Jimmy.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIMO - MOVING - NIGHT</stage_direction>
<scene_description>Braddock puffs his cigar, face reflected in the side window, backed by the passing night city. RACK FOCUS. Out the window, a LAUGHING clutch of folks gather in front of the simple door of a speakeasy, two twirling in lamp light. Macy's gliding windows are crowded with thin manikins, decked out for a Twenties whose roar has yet to quiet.</scene_description>
<character>DRIVER (O.S.)</character>
<dialogue>Satchmo's playing the Vanguard. And there's a new jinny uptown. Anywhere special, Mr. B?</dialogue>
</scene>
<scene>
<stage_direction>4A EXT. CLOISTERS - HIGH ANGLE - NIGHT 4A</stage_direction>
<scene_description>Jim crosses a wide lawn on the edge of the Hudson. Statuary, gardens, all are patchwork white and shadow in the moonlight.</scene_description>
</scene>
<scene>
<stage_direction>4B EXT. CLOISTERS - CONTINUOUS 4B</stage_direction>
<scene_description>Jim finds a spot by river's edge, stares at the skyline.</scene_description>
<character>DRIVER (V.O.)</character>
<dialogue>Everything okay, Mr. B?</dialogue>
<scene_description>Silhouetted by the lamps of the waiting limo, the features of his trailing driver are invisible, only shadow.</scene_description>
<character>BRADDOCK</character>
<dialogue>Not many important things you do in your life. You get to know the where and when of.</dialogue>
<scene_description>He turns to his Driver.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm getting married here tomorrow.</dialogue>
<scene_description>As he smiles, his face is illuminated by a wash of daylight and we are suddenly ...</scene_description>
</scene>
<scene>
<stage_direction>4C EXT. CLOISTERS - NEXT DAY 4C</stage_direction>
<scene_description>Jim stands in the exact spot wearing a tuxedo, backed by FATHER RORICK, and facing a WOMAN in flowing wedding gown.</scene_description>
<character>FATHER RORICK</character>
<dialogue>I- now pronounce you man and wife.</dialogue>
<scene_description>Jim lifts the vale of a woman too beautiful to be any man's wife. Meet her by her new name. MAE BRADDOCK.</scene_description>
<character>PRIEST</character>
<dialogue>You may kiss the bride.</dialogue>
<scene_description>And we PULL BACK, find the lawn lined with endless rows of guests, standing, SHOUTING, CLAPPING in dappled autumn sun.</scene_description>
</scene>
<scene>
<stage_direction>4D EXT. WEDDING RECEPTION - DAY 4D</stage_direction>
<scene_description>Guests mill at linen covered tables in the b.g. as Joe watches Jim sign autographs for a couple of saucer eyed kids. They race off. Jim and Joe resume walking.</scene_description>
<character>JOE</character>
<dialogue>So, I'm saying it.</dialogue>
<character>BRADDOCK</character>
<dialogue>I wouldn't. You'll jinx it, you know?</dialogue>
<scene_description>Joe shoots him a look. The two walk on in silence.</scene_description>
<character>JOE</character>
<dialogue>That's ten in a row, Jim. Ten goddamned in a row.</dialogue>
<scene_description>Braddock LAUGHS.</scene_description>
<character>JOE</character>
<dialogue>What?</dialogue>
<character>BRADDOCK</character>
<dialogue>Just seeing how long you could stay quiet is all.</dialogue>
<scene_description>Joe shoots him a look.</scene_description>
<character>JOE</character>
<dialogue>You may be one-handed, sure, but you got no stage fright or nerves, last night proved that. You never been knocked out.</dialogue>
<scene_description>Now, finally the words.</scene_description>
<character>JOE</character>
<dialogue>You're in line, Jimmy. You hear me? You're going all the way.</dialogue>
<scene_description>Jim has stopped, is staring across the river.</scene_description>
<character>JOE</character>
<dialogue>Two hundred sixty thousand tons of limestone and steel, one thousand feet tall, by the way.</dialogue>
<scene_description>Joe follows Joe's gaze. In the distance the impossibly high scaffolding that is the rising Chrysler Building. How does something just keep on going up?</scene_description>
<character>JOE</character>
<dialogue>Make you nervous?</dialogue>
<scene_description>Jim turns to him now, his grin all confidence.</scene_description>
<character>BRADDOCK</character>
<dialogue>Not for one second.</dialogue>
</scene>
<scene>
<stage_direction>4E EXT. DAY - SUNSET 4E</stage_direction>
<scene_description>A few guests linger. Jim and Mae sit alone at a table of spent wine glasses and cake plates. A WOMAN (ALICE) stands holding Jim's hand.</scene_description>
<character>ALICE</character>
<dialogue>Beautiful ceremony, Jim.</dialogue>
<scene_description>She turns to Mae.</scene_description>
<character>ALICE</character>
<dialogue>Mom would have loved it.</dialogue>
<parenthetical>(kisses her head)</parenthetical>
<dialogue>All grown up.</dialogue>
<scene_description>Alice heads off in the direction of a waiting gentleman in a dark suit. Mae turns to her new husband. She's tipsy.</scene_description>
<character>MAE</character>
<dialogue>Joe left early, flat tire.</dialogue>
<character>BRADDOCK</character>
<dialogue>Mae, don't start.</dialogue>
<character>MAE</character>
<dialogue>So, does he get thirty percent of our wedding gifts, too?</dialogue>
<scene_description>Jim starts to respond but she stills his lips with the tips of her fingers.</scene_description>
<character>MAE</character>
<dialogue>You never told me about last night.</dialogue>
<character>BRADDOCK</character>
<dialogue>You could just come and watch.</dialogue>
<character>MAE</character>
<dialogue>You get punched, every time, it feels like I'm getting punched to.</dialogue>
<scene_description>They punch rne? He has taken her hands in his, kisses her knuckles. Can't help but notice the sudden, wicked glint in her eyes.</scene_description>
<character>MAE</character>
<dialogue>So tell rne.</dialogue>
<character>BRADDOCK</character>
<dialogue>Tell you what?</dialogue>
<scene_description>But he's already begun to smile.</scene_description>
<character>MAE</character>
<dialogue>Tell rne about the girls.</dialogue>
<character>BRADDOCK</character>
<dialogue>Were there girls?</dialogue>
<character>MAE</character>
<dialogue>Corne on. There was one.</dialogue>
<character>BRADDOCK</character>
<dialogue>Maybe one.</dialogue>
<scene_description>Familiar game.</scene_description>
<character>MAE</character>
<dialogue>Blond?</dialogue>
<character>BRADDOCK</character>
<dialogue>A brunette.</dialogue>
<character>MAE</character>
<dialogue>Tall?</dialogue>
<character>BRADDOCK</character>
<dialogue>Like a gazelle. Don't know how she breathed up there.</dialogue>
<scene_description>Mae rises, moving around Jim, head bowed, eyes up and batting.</scene_description>
<character>MAE</character>
<dialogue>Oh, Mr. Braddock. You're so strong.</dialogue>
<scene_description>Mae slides back the table.</scene_description>
<character>MAE</character>
<dialogue>Your hands are so big.</dialogue>
<scene_description>She straddles Jim's lap. Jim glances nervously at the lawn. So powerful. \ She begins unbuttoning his shirt.</scene_description>
<character>BRADDOCK</character>
<dialogue>Mae, there's still guests.</dialogue>
<scene_description>Mae now climbs up standing on Jim's knees.</scene_description>
<character>MAE</character>
<parenthetical>( shouting)</parenthetical>
<dialogue>Jim Braddock! Champion!</dialogue>
<scene_description>Folks are staring, bemused, as Jim lifts Mae off his lap, sets her standing. She's still unbuttoning his shirt.</scene_description>
<character>BRADDOCK</character>
<dialogue>Thanks everyone. For coming.</dialogue>
<scene_description>She's behind him, pulling out his shirt tails while he's trying to surreptitiously swat her off.</scene_description>
<character>BRADDOCK</character>
<dialogue>Anyway-.</dialogue>
<scene_description>Shirt's out now.</scene_description>
<character>BRADDOCK</character>
<dialogue>We've got to go-.</dialogue>
<scene_description>And with that he grabs her hand and they head off, LAUGHING, towards the shore and the WHISPERING cover of trees below.</scene_description>
<character>5</character>
<dialogue>EXT. BRADDOCK HOUSE - NEWARK - LATER</dialogue>
<scene_description>Evening swaddles this lovely colonial. Through windows, Jim Braddock is carrying Mae in his arms across the living room.</scene_description>
<character>6-7</character>
<dialogue>8</dialogue>
<character>OMIT</character>
<dialogue>INT. BRADDOCK HOUSE - BEDROOM - NIGHT</dialogue>
<scene_description>Jim, still in tuxedo pants and shirt, stands looking out the window. Mae comes up behind him in her slip.</scene_description>
<character>MAE</character>
<dialogue>It was like a fairy tale.</dialogue>
<scene_description>She wraps her arm around his chest. Doesn't see him wince from the pain. He moves her hands up a bit: How are you feeling? His answer is a moment in coming.</scene_description>
<character>BRADDOCK</character>
<dialogue>Lucky.</dialogue>
<scene_description>He turns and kisses her. PUSH PAST them and HOLD on the window as the light changes and so does the window, becoming smaller, grimmer as milk bottles hit the sidewalk beyond. REVERSE ANGLE</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK BASEMENT APARTMENT - BEDROOM - 1933 - 4: 30 AM</stage_direction>
<scene_description>Jim stands dressing at the bureau. Far smaller than the room we were just in. Partitioned by a hanging blanket beyond which bulb light shines. In bed, three kids sleep, (ROSEMARIE, 6, JAY, 8, HOWARD, 10) Jim pushes through the blanket into ...</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - KITCHEN - CONTINUOUS</stage_direction>
<scene_description>The other side of this one room apartment. A kitchen with a round table and a sofa not far off make up the rest of their home. All the beautiful furniture is long gone. Jim crosses to Mae who stands over an old gas stove cooking two thin strips of bacon. In the naked light we see Jim is thinner than before, dark circles around his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>Can't find my good socks.</dialogue>
<character>MAE</character>
<parenthetical>(turning)</parenthetical>
<dialogue>Jim!</dialogue>
<scene_description>Her VOICE is a scolding WHISPER.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(now whispering too)</parenthetical>
<dialogue>Sorry. God. Sorry.</dialogue>
<scene_description>But the damage is done. Stirring from the other room.</scene_description>
<character>ROSEMARIE (OVER)</character>
<parenthetical>(sleepy whimper)</parenthetical>
<dialogue>... Mama.</dialogue>
<character>MAE</character>
<dialogue>Great.</dialogue>
<character>BRADDOCK</character>
<dialogue>Sorry.</dialogue>
<scene_description>She shakes her head at him with resignation, already adding a third strip of bacon to the pan. Two left in butcher's paper.</scene_description>
<character>MAE</character>
<dialogue>I washed them last night. I took them right off your feet, remember?</dialogue>
<scene_description>Jim just shakes his head.</scene_description>
<character>MAE</character>
<dialogue>You were dead to the world.</dialogue>
<scene_description>Jim sits at the table, pulling on those socks.</scene_description>
<character>BRADDOCK</character>
<dialogue>How can I keep em this warm?</dialogue>
<scene_description>A little figure wanders out. Rosemarie.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Mama, I want to eat too.</dialogue>
<scene_description>She climbs up on Jim's lap without a word. He reflexively smooths her hair, smells her head, eyes closed. Mae watches.</scene_description>
<character>MAE</character>
<dialogue>We got the third notice on the electric yesterday.</dialogue>
<character>BRADDOCK</character>
<dialogue>How about the jar?</dialogue>
<character>MAE</character>
<dialogue>What's left is gone.</dialogue>
<scene_description>Mae reaches behind her, sets a mason jar on the kitchen table. Empty.</scene_description>
<character>MAE</character>
<dialogue>Too many rainy days, I guess.</dialogue>
<character>BRADDOCK</character>
<dialogue>I'll get the milk.</dialogue>
<scene_description>Jim sets his little one on the chair and heads outside. Jim emerges onto the street of row houses. A long way from where we saw him last. He walks to the basement window in the meager light. Something skitters past. A rat. Jim ignores it. Jim reaches down and takes the milk bottles in his hands. Both empty. Each wears a pink past due slip like a collar. l0B INT. BRADDOCK APARTMENT- MOMENTS LATER 10B Jim ENTERS and wordlessly sets the bottles atop the fridge. Mae hold his eyes. In his averted glance, shame.</scene_description>
<character>MAE</character>
<dialogue>Jim-</dialogue>
<scene_description>But he shakes his head to silence her comfort. Says only ...</scene_description>
<character>BRADDOCK</character>
<dialogue>Some left in the fridge, I think.</dialogue>
<scene_description>Jim finds a last bottle, maybe an eighth full. He hands it to Mae who begins topping it off with water as Jim sits.</scene_description>
<character>MAE</character>
<dialogue>Who needs a cow?</dialogue>
<scene_description>Mae slides the food onto plates, lays them down in front of each of them.</scene_description>
<character>MAE</character>
<dialogue>Rosy. Your fork, please.</dialogue>
<scene_description>Little one reluctantly obeys.</scene_description>
<character>BRADDOCK</character>
<dialogue>I got Feldman tonight. That's half a C. I beat him, maybe I can get back up to seventy five.</dialogue>
<scene_description>Mae looks up at him. A small glimmer of hope in her eyes.</scene_description>
<character>MAE</character>
<dialogue>(a prayer} You're gonna kill him. ROSEMARIE Mama, I want some more.</dialogue>
<character>MAE</character>
<dialogue>I'm sorry, honey. There isn't any more.</dialogue>
<character>ROSEMARIE</character>
<dialogue>But I'm still hungry.</dialogue>
<scene_description>On Mae's face, a mother's agony. Jim has risen, kisses his daughter's head, already pulling on his coat. Kisses Mae.</scene_description>
<character>BRADDOCK</character>
<dialogue>You're my girls.</dialogue>
<scene_description>Before he heads to the door, he deposits his slice of bacon on their daughter's plate. Mae watches Rosemarie devour the meager meat hungrily as Jim goes, an impossible mix of emotions in her eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEWARK - 1933 - 4:30 AM - THE GREAT DEPRESSION</stage_direction>
<scene_description>Jim walks block after block. Stores are boarded up. People huddle by trash can fires. The MEN who walk the streets wear suits. Ties. Some seem to wander the world like ghosts, nowhere to go. Others sit on benches, bus stops, heads bowed. An emaciated NEWSBOY stands on a stack of papers, CROAKS his wares, breath fogging, VOICE raw from shouting in the cold.</scene_description>
<character>NEWSBOY</character>
<dialogue>Unemployed reach 15 million. New York Rens trounce Celtics, 34-29.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LOADING DOCK - EARLY MORNING</stage_direction>
<scene_description>Jim and 40 other DESPERATE MEN crowd the gate of a long chain- link fence. Dawn hits the Hudson and Manhattan beyond. A middle-aged Foreman, JAKE emerges through the gate with a clipboard in hand, stares at faces stoned by sleeplessness.</scene_description>
<character>JAKE</character>
<dialogue>I need 21 and 21 only.</dialogue>
<scene_description>Jim stands, trying to make himself seen. Jake begins pointing out the lucky ones, joyless in his power over life and death.</scene_description>
<character>JOE</character>
<dialogue>Seventeen, eighteen, nineteen ...</dialogue>
<scene_description>Jim's gotten there early enough to be at the front of the pack but there are still too many men than are needed. Twenty-one. Apparently Jim's lucky number, now among the chosen. He looks down to hide his relief. A MAN (BEN) SHOUTS.</scene_description>
<character>BEN</character>
<dialogue>I been here since four.</dialogue>
<character>JAKE</character>
<dialogue>Sorry brother, luck of the draw.</dialogue>
<scene_description>Most are already heading off to look elsewhere. That's when Ben actually pulls a gun, points it at Jake's chest.</scene_description>
<character>BEN</character>
<dialogue>I was here first.</dialogue>
<parenthetical>(hand shaking)</parenthetical>
<dialogue>What about it?</dialogue>
<scene_description>Jake stares at the gun a beat, clearly rattled. Looks back up at the man. Time has go~e perfectly still.</scene_description>
<character>JAKE</character>
<dialogue>My mistake, pal. I need twenty two.</dialogue>
<scene_description>OFF Jim, in disbelief.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - DAWN</stage_direction>
<scene_description>Jim signs out a bailing hook from the Foreman. On the docks before him is a freshly unloaded mountain of flour sacks. All the sacks have to be moved from loading palettes to shipping palettes. Hard, endless labor. Men work in pairs. Each grabs one side of a sack with their bailing hook, then lifts and moves each bag. Braddock finds an empty spot on the line, looks up. His partner stands staring down the line at Ben, who's put his gun away and is now working as hard as the rest.</scene_description>
<character>BRADDOCK</character>
<dialogue>You need a gun to get a job, they should give everybody a gun.</dialogue>
<scene_description>The MAN turns, to face Jim. Older. Handsome. Strong arms. A military hair cut and bearing. Kevin WILSON.</scene_description>
<character>KEVIN</character>
<dialogue>Although I don't know how he's gonna afford the bullets.</dialogue>
<character>BRADDOCK</character>
<dialogue>Boss on the line.</dialogue>
<scene_description>Kevin nods, joins Jim as they start to hook and move bags.</scene_description>
<character>KEVIN</character>
<dialogue>Kevin Wilson.</dialogue>
<character>BRADDOCK</character>
<dialogue>Jim Braddock.</dialogue>
<character>KEVIN</character>
<dialogue>Used to follow a fighter with that name on the Radio.</dialogue>
<scene_description>Jim looks at the hook in his own hand.</scene_description>
<character>BRADDOCK</character>
<dialogue>Helps if you dig in on the seam, then lift straight up.</dialogue>
<scene_description>Kevin adjusts. That's when it happens. Three cops rush the yard and grab Ben, wrestle him to the ground, taking his gun. Kevin and Jim exchange a look as Jake trails after the cops and handcuffed Ben. The Foreman himself looks almost sick.</scene_description>
<character>JAKE</character>
<dialogue>Jesus, Ben. What the hell did you want me to do?</dialogue>
<scene_description>Kevin and Jim resume working, in sync now, both men noticing their easy, efficient rhythm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEWARK - MID-DAY</stage_direction>
<scene_description>Torrential downpour. Women in rain coats ladle soup and hand out soaked bread from the open back of a truck. TRACK down the line, past so many faces, some sad. Some embarrassed, most just emptied out by this endless loss. FIND Mae holding a soaking Rosemarie in exhausted arms. Jay and Howard stand at their mother's side, ARGUING.</scene_description>
<character>JAY</character>
<dialogue>Foxx.</dialogue>
<character>HOWARD</character>
<dialogue>Babe, jerk.</dialogue>
<scene_description>while, honey. Mommy's tired. Mae starts to set her down.</scene_description>
<character>ROSEMARIE</character>
<dialogue>I don't want to. It's wet.</dialogue>
<scene_description>Looks into her eyes.</scene_description>
<character>MAE</character>
<dialogue>Are you a big girl or a little girl?</dialogue>
<character>ROSEMARIE</character>
<parenthetical>(beginning to yowl)</parenthetical>
<dialogue>Little.</dialogue>
<scene_description>Not the answer she wanted.</scene_description>
<character>MAE</character>
<dialogue>Rosy-</dialogue>
<character>VOICE (OVER)</character>
<dialogue>Who's making all that racket? Sounds like a trombone.</dialogue>
<scene_description>Jim has appeared beside them, makes a trombone of hands and accompanying SOUND. She scrambles into his arms.</scene_description>
<character>ROSEMARIE</character>
<dialogue>What's a turmone?</dialogue>
<scene_description>Mae looks up, surprised but glad to see him.</scene_description>
<character>MAE</character>
<dialogue>What are you doing here?</dialogue>
<character>BRADDOCK</character>
<dialogue>Wasn't enough work for a full shift. They cut us loose early. Don't like the thought of you standing out here alone.</dialogue>
<scene_description>Flare behind his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>Don't like you standing here at all.</dialogue>
<character>MAE</character>
<dialogue>Jim. It's everybody.</dialogue>
<scene_description>Go home now. Get the kids dry.</scene_description>
<character>MAE</character>
<dialogue>I've got to turn up the heat, Jimmy. They're chilled through.</dialogue>
<scene_description>Jim nods uneasily. He hands over his daughter.</scene_description>
<character>BRADDOCK</character>
<dialogue>Tonight. We'll catch a break.</dialogue>
<scene_description>Her words are a hushed window of desperation.</scene_description>
<character>MAE</character>
<dialogue>You'll do great, Jim.</dialogue>
<scene_description>She kisses him. As the children follow Jay turns back.</scene_description>
<character>JAY</character>
<dialogue>Dad, do you think Babe Ruth's better than Jimmy Foxx?</dialogue>
<character>BRADDOCK</character>
<dialogue>Foxx couldn't hit a ball if the pitcher walked it out to him.</dialogue>
<scene_description>Howard shoots Jay a triumphant look. Braddock watches them go. He turns forward again, collar going up in the rain. PULL BACK AND UP to over the crowd, all inching forward, slowly, endlessly patient, impossible in number.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER ROOM - NIGHT</stage_direction>
<scene_description>Joe stands in front of Jim, taping up his hands. Joe's clothes still show smart indications of wealth.</scene_description>
<character>JOE</character>
<dialogue>Guy's a bum. Pure and simple.</dialogue>
<scene_description>Jim cuts Joe a dark look as Joe keeps wrapping.</scene_description>
<character>JOE</character>
<dialogue>You know what I mean.</dialogue>
<character>BRJI.DDOCK</character>
<dialogue>I know some guy sitting in a chair who'd faint if you blew on him too hard gets to watch you bleed and call you a bum. And I know I got to take it from him. But not you.</dialogue>
<dialogue>I see. Well. Pardon me. Let me restate. Mr. Feldman is a novice fighter whose ass you should gently kick until it is humped up between his shoulders. That is, of course, only if it doesn't offend your overly sensitive nature.</dialogue>
<scene_description>Joe switches hands. Jim winces. Joe looks down.</scene_description>
<character>JOE</character>
<dialogue>Jim ...</dialogue>
<character>BRADDOCK</character>
<dialogue>Sore, that's all.</dialogue>
<character>JOE</character>
<dialogue>Sore or broke? Arthritis is making them more and more like glass.</dialogue>
<character>BRADDOCK</character>
<parenthetical>(sharp)</parenthetical>
<dialogue>Sore. Period.</dialogue>
<character>JOE</character>
<dialogue>Jeez. Take it out on the other guy why don't you?</dialogue>
<scene_description>Joe finishes taping.</scene_description>
<character>JOE</character>
<dialogue>Your weight's down.</dialogue>
<scene_description>Jim just shoots him a look. Gould nods.</scene_description>
<character>JOE</character>
<dialogue>You gotta knock him out fast, Jimmy. First round. Between his age and your bones, its the only way.</dialogue>
<character>BRADDOCK</character>
<dialogue>Flatter me, why don't ya?</dialogue>
<scene_description>Throws open the door to the ROAR of the crowd.</scene_description>
<character>JOE</character>
<dialogue>Watch your hands.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOUNT VERNON ARMORY BOXING RING - FIGHT NIGHT</stage_direction>
<scene_description>Smaller. A CROWD beyond the ring lights is a sea of hats floating on smoking heads. Faces are gaunter, more desperate. REPORTERS. PHOTOGRAPHERS sit with flashbulbs ready to sizzle.</scene_description>
<character>RADIO COMMENTATOR (V.O.)</character>
<dialogue>Jim Braddock, just five years ago, was considered first in line for the world championship. But in the last year he's lost ten fights without a single kayo.</dialogue>
<scene_description>Jim crawls under the rope. Jim shadow boxes in his corner as Joe massages his shoulder. The crowd yells and stamps as ABE FELDMAN makes his way down a crowded aisle toward the ring.</scene_description>
<character>RADIO COMMENTATOR (V.O.)</character>
<dialogue>Now Braddock faces Abe Feldman, just twenty-one years old, with seventeen wins, one draw and one loss. In less than two years he has managed nine kayos.</dialogue>
<scene_description>Jim tenses and Joe feels it in Jim's shoulders.</scene_description>
<character>JOE</character>
<dialogue>Who whipped Latao?</dialogue>
<character>BRADDOCK</character>
<parenthetical>(softly)</parenthetical>
<dialogue>I did.</dialogue>
<character>JOE</character>
<dialogue>Who k.o. 'd Slattery in the 9th when everybody said he didn't have a Rainmaker's chance in hell?!</dialogue>
<scene_description>A familiar game. Humors him.</scene_description>
<character>BRADDOCK</character>
<dialogue>I did.</dialogue>
<character>JOE</character>
<dialogue>But we should pucker our assholes over Feldman?</dialogue>
<character>BRADDOCK</character>
<dialogue>No.</dialogue>
<scene_description>Jim's focus seems to turn inward. But Joe wants him riled. You know what he said? He said the only way he could lose is if he fell over laughing at yer prissy little jab! The crowd ROARS as Feldman climbs into the ring.</scene_description>
<character>JOE</character>
<dialogue>Ah, he's a pipe. Sit down and I'll fight him.</dialogue>
<scene_description>Joe goes as if to move into the ring himself. Jim stills him with a hand on his shoulder.</scene_description>
<character>BRADDOCK</character>
<dialogue>No. Don't hurt yourself.</dialogue>
<scene_description>Jim's words come soft and lethal.</scene_description>
<character>BRAPDOCK</character>
<dialogue>I'll fight him.</dialogue>
<scene_description>Joe grins.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOUNT VERNON ARMORY BOXING RING - MINUTES LATER</stage_direction>
<scene_description>Jim takes a hard punch to the face, going backwards. Jim moves in but Feldman is blocking his drive.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER</stage_direction>
<scene_description>Joe is literally mimicking each and every move Jim makes. Sweat dripping off him.</scene_description>
<character>JOE</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>What do you want to do, fight him or marry him?</dialogue>
</scene>
<scene>
<stage_direction>INT. THE RING</stage_direction>
<scene_description>Jim is barely holding his own. He can't get a break. Everywhere he throws, Feldman isn't. Everywhere Feldman throws, Jim is.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER - MOMENTS LATER</stage_direction>
<character>JOE</character>
<dialogue>What, you got lead in your shoes? You gotta move, Jimmy. Move.</dialogue>
<scene_description>But Jim is pretty lead footed, Feldman dancing all around him. Feldman lays a combination on Jim that sends him hard into the ropes. Folks in the audience are starting to BOO.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER/RING</stage_direction>
<scene_description>Joe bobs and weaves in place.</scene_description>
<character>JOE</character>
<dialogue>Come back, Jimmy. Move.</dialogue>
<scene_description>Jim makes a lunge, throws a wild punch, hits Feldman hard. Jim moves in to hit him again but Feldman lowers his head. CLOSE on Jim's fist as it connects. Bones CRACK.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER - MOMENTS LATER</stage_direction>
<scene_description>Joe is squeezing Jim's hand, his expression dark. Jim can't hide the pain.</scene_description>
<character>JOE</character>
<dialogue>It's broken proper, Jimmy. I'm calling it.</dialogue>
<character>BRADDOCK</character>
<dialogue>I can use my left.</dialogue>
<character>JOE</character>
<dialogue>Jim. You don't have a left.</dialogue>
<scene_description>The BELL. Jim is up and into the ring. Joe shakes his head.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING/CORNER - MOMENTS LATER</stage_direction>
<scene_description>Jim is trying. But Joe's right, he just doesn't have a left hand punch. And he's still standing in one place. Feldman is landing punch after punch. Jim can't even use his broken right to block. But Feldman is so hurt himself he keeps clinching Jim in a drunken waltz. CATCALLS. SHOUTS. IN THE CORNER</scene_description>
<character>JOE</character>
<dialogue>Focus. Pay attention!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE RING</stage_direction>
<scene_description>Jim clocks faces in the audience. SHOUTING. BOOING. Jim throws one last right cross. He connects and the pain is a flare, excruciating. Feldman scores a vicious right. Jim's head SNAPS back. He manages to get Feldman in a clinch and not let go. The BELL is hardly audible over the BOOING.</scene_description>
<character>JOHNSTON (OVER)</character>
<dialogue>An embarrassment.</dialogue>
</scene>
<scene>
<stage_direction>INT. COMMISSION ROOM - NIGHT</stage_direction>
<scene_description>Smoky. Jimmy Johnston, the promoter from that first fight, and the other two MEN who make up the Boxing Commission sit facing Joe, now standing before this makeshift tribunal.</scene_description>
<character>JOHNSTON</character>
<dialogue>That's what i t was. An embarrassment.</dialogue>
<character>JOE</character>
<dialogue>Where's the purse?</dialogue>
<character>JOHNSTON</character>
<dialogue>I wouldn"t have to tell you that if you gave a shit about your fighter.</dialogue>
<character>JOE</character>
<dialogue>Where's the purse?</dialogue>
<character>JOHNSTON</character>
<dialogue>He lost his last five. Hell, he hardly gets a punch in anymore. Fights getting stopped by referees .... He's pathetic.</dialogue>
<character>JOE</character>
<dialogue>Everyone has a bad streak.</dialogue>
<character>JOHNSTON</character>
<dialogue>That it?</dialogue>
<character>JOE</character>
<dialogue>What do you want me to say, anyway?</dialogue>
<scene_description>The moment lasts.</scene_description>
<character>JOHNSTON</character>
<dialogue>We're revoking his license, Joe. Whatever Braddock was gonna do in boxing. I guess he's done it.</dialogue>
<scene_description>The Men from the boxing commission move towards their cars, the last few vehicles left in the now abandoned parking lot. That's when the arena door BANGS open and Jim comes out, moving fast, Joe trailing after him.</scene_description>
<character>BRADDOCK</character>
<dialogue>What the hell are you guys trying to pull?</dialogue>
<scene_description>Johnston stops. Turns to face Braddock who stands right in his face, Braddock's right hand hanging gamely by his side.</scene_description>
<character>BRADDOCK</character>
<dialogue>I broke my hand, okay? You don't see me crying about it. I don't know what you got to complain about.</dialogue>
<scene_description>Braddock's eyes are deadly.</scene_description>
<character>BRADDOCK</character>
<dialogue>I don't know what I did to lose my edge. But I didn't always lose. And I won't always again. You can count on that.</dialogue>
<scene_description>Pearson says nothing.</scene_description>
<character>BRADDOCK</character>
<dialogue>I can still fight.</dialogue>
<character>PEARSON</character>
<dialogue>Go home to Mae and the kids, Jim.</dialogue>
<scene_description>Pearson climbs into his car. Jim watches him drive away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNT VERNON ARMORY - NIGHT</stage_direction>
<scene_description>The American Dream. Once. A white colonial sits dark, porch sunken, windows broken and empty. PULL BACK TO REVEAL ... Joe stands over a chipping white picket fence, pulling free one of the boards. He walks through a back door into ...</scene_description>
</scene>
<scene>
<stage_direction>INT. MOUNT VERNON ARMORY - LOCKER ROOM - NIGHT</stage_direction>
<scene_description>Jim stares down at his hand. Doesn't look up as Joe crosses, now taping the fence post to Jim's arm in a makeshift splint. Until we get to the hospital. Braddock doesn't look up. Joe's VOICE softens.</scene_description>
<character>JOE</character>
<dialogue>Jimmy, listen-</dialogue>
<scene_description>Braddock looks up. See this startling sight. His cheeks are streaked with tears.</scene_description>
<character>BRADDOCK</character>
<dialogue>Don't.</dialogue>
<scene_description>Joe just nods, starts silently taping fence post to hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOE'S CAR - NEW YORK CITY - NIGHT</stage_direction>
<scene_description>Joe drives. No limo. No chauffeur. On the passing streets, long shadows and silence. Macy's windows are crossed with boards like cartoon black eyes.</scene_description>
<character>JOE</character>
<dialogue>We took a good run at it, Jimmy. How many can say that?</dialogue>
<scene_description>They drive on. That familiar night club is closed too, people on the street warming their hands over trash can fires. Jim looks at the fresh cast on his hand.</scene_description>
<character>JOE</character>
<dialogue>You'd change things, sure, who wouldn't, but sometimes you just can't, you know, end of story.</dialogue>
<scene_description>Again, nothing from Jim.</scene_description>
<character>JOE</character>
<dialogue>You waiting to see how long I can keep quiet again?</dialogue>
<character>BRADDOCK</character>
<dialogue>What'd you say?</dialogue>
<scene_description>Joe grins until he sees Jim's serious.</scene_description>
<character>BRADDOCK</character>
<dialogue>Get me another one, Joe.</dialogue>
<character>JOE</character>
<dialogue>Jimmy-</dialogue>
<dialogue>Got to have it. We're down to our last buck.</dialogue>
<character>JOE</character>
<dialogue>What's done is done.</dialogue>
<character>BRADDOCK</character>
<dialogue>Not always.</dialogue>
<character>JOE</character>
<dialogue>No. Not always.</dialogue>
<scene_description>In Joe's eyes, sudden awareness that this is good-bye.</scene_description>
<character>JOE</character>
<dialogue>But this time. I'm sorry, Jimmy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK'S BASEMENT APARTMENT - NIGHT</stage_direction>
<scene_description>Jim watches the car driye off. He starts the endless walk from the curb to the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - NIGHT - MOMENTS LATER</stage_direction>
<scene_description>Mae sits at the table, sewing. She looks up, sees his splinted hand, his battered face.</scene_description>
<character>MAE</character>
<dialogue>Sweet Jesus.</dialogue>
<scene_description>She crosses to him in a heartbeat, touching his cast, his cheeks, his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>They wouldn't pay me. Said the fight was an embarrassment.</dialogue>
<character>MAE</character>
<dialogue>Yeah. I bet that's what Joe told you. Sure, he'd say that-</dialogue>
<scene_description>Familiar ground.</scene_description>
<character>BRADDOCK</character>
<dialogue>Mae, Joe didn't take the money. It was me.</dialogue>
<scene_description>Mae looks at the empty money jar. Then back to Jim's hand. She's trying to keep the fear under control. How long until you're fixed enough to get another one?</scene_description>
<character>BRADDOCK</character>
<dialogue>They took my license.</dialogue>
<scene_description>Mae just stares at him.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm done, Mae. I'm sorry.</dialogue>
<scene_description>Mae opens her mouth to speak, closes it again. She begins walking back and forth across the room. Like a caged animal.</scene_description>
<character>MAE</character>
<dialogue>We need to pack up the kids because we're not going to be able to pay the electric or the heat so they can stay at my sister's-</dialogue>
<character>BRADDOCK</character>
<dialogue>Mae-</dialogue>
<scene_description>Her eyes are too wide, not quite focused.</scene_description>
<character>MAE</character>
<dialogue>Then that way we can make two or three breadlines a day and then-</dialogue>
<character>BRADDOCK</character>
<dialogue>Mae.</dialogue>
<scene_description>He has crossed to her, good hand on her face.</scene_description>
<character>BRADDOCK</character>
<dialogue>I can work doubles, triples where I can find them.</dialogue>
<character>MAE</character>
<dialogue>Jim, your hand's broken.</dialogue>
<character>BRADDOCK</character>
<dialogue>Now listen-</dialogue>
<character>MAE</character>
<dialogue>Oh, Christ, what are we-</dialogue>
<character>BRADDOCK</character>
<dialogue>Mae!</dialogue>
<scene_description>His VOICE stills her. Go and get the shoe polish out of the cabinet. Go on, now. She just stares at him.</scene_description>
<character>BRADDOCK</character>
<dialogue>Baby, please. You've got to trust me, here.</dialogue>
<scene_description>Finally, Mae obliges.</scene_description>
<character>BRADDOCK</character>
<dialogue>Now you're right about one thing. I won't get picked, tomorrow. Not if they see this thing on me.</dialogue>
<scene_description>Jim has sat down, Mae returning now as Jim extends his cast.</scene_description>
<character>BRADDOCK</character>
<dialogue>So, we've got to cover it up. With the polish. Go on now.</dialogue>
<scene_description>She holds his eyes a beat. Then Mae begins painting the cast black with the polish. Doesn't look up as he speaks.</scene_description>
<character>BRADDOCK</character>
<dialogue>You can cut the hem out of my coat sleeve, fabric will help cover it.</dialogue>
<scene_description>Mae continues polishing.</scene_description>
<character>BRADDOCK</character>
<dialogue>We're going to be all right.</dialogue>
<scene_description>Finally she looks up, finding tether in his eyes. She manages a brave smile.</scene_description>
<character>MAE</character>
<dialogue>Guess all we need now is a nice piece of steak for your face, fix you right up.</dialogue>
<scene_description>Jim can't help but smile back at this woman, his wife.</scene_description>
<character>BRADDOCK</character>
<dialogue>Yeah. Get the sirloin out of the fridge. Nice and lean please.</dialogue>
<scene_description>PUSH THROUGH THE HANGING BLANKET. Howard and Jay lay asleep in the bed in the b.g. Rosemarie stands peeking around the blanket, eyes wide, watching on. A light snow falls. Jim finds his post by Kevin. He's moving slowly. Kevin notices, says nothing. Jim's cast is painted black and hidden by his sleeve.</scene_description>
<character>KEVIN</character>
<dialogue>You know, pour salt on a mayonnaise sandwich, close your eyes, tastes like a BLT for about 6 seconds?</dialogue>
<scene_description>Kevin sets down his brown paper lunch bag.</scene_description>
<character>KEVIN</character>
<dialogue>We had a union down here, we could get ourselves a lunch break.</dialogue>
<scene_description>Jim is awkwardly trying the hook with his good hand.</scene_description>
<character>KEVIN</character>
<dialogue>Since when did you go lefty?</dialogue>
<scene_description>That's when Kevin sees Jim's painted cast.</scene_description>
<character>KEVIN</character>
<dialogue>Jesus. What happened to you?</dialogue>
<scene_description>Jim looks up at him. A beat before answering.</scene_description>
<character>BRADDOCK</character>
<dialogue>I got into a fight.</dialogue>
<character>KEVIN</character>
<dialogue>What the hell would you go and do that for?</dialogue>
<scene_description>Jim has no answer. Kevin watches Jim's attempt to hook a bag. No way he's going to be able to pull his weight.</scene_description>
<character>KEVIN</character>
<dialogue>Boss on the line.</dialogue>
<scene_description>Jim follows Kevin's gaze to see the familiar Foreman walking towards them, inspecting the pairs of workers.</scene_description>
<character>BRADDOCK</character>
<dialogue>Shit.</dialogue>
<scene_description>Jim is trying to adjust the hook in his left hand but the heavy sack keeps slipping towards Kevin. Jake is only feet away. He's going to notice. Kevin moves to the center of the bag, invisibly taking most of the weight.</scene_description>
<character>KEVIN</character>
<dialogue>Anything you can't handle, son, you shift to me.</dialogue>
<scene_description>A beat. Jim nods.</scene_description>
<character>BRADDOCK</character>
<dialogue>Appreciate it.</dialogue>
<scene_description>Kevin doesn't answer. The two resume work. Kevin's words when they come are us much to himself as to Jim.</scene_description>
<character>KEVIN</character>
<dialogue>Everyone can use a break these days.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK'S STREET - DAY</stage_direction>
<scene_description>The world is dusted with snow. Mae has dropped the boys at school, is walking home with Rosemarie.</scene_description>
<character>ROSEMARIE</character>
<dialogue>\'vhy can't I go to school yet? Is it because I'm a girl?</dialogue>
<character>MAE</character>
<dialogue>Maybe. I hadn't thought of that.</dialogue>
<scene_description>A CAR drives by and from within issue the muted tones of LUCK BE A LADY TONIGHT. Mae stares after it a beat.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Who's the man at our house?</dialogue>
<scene_description>Mae looks up to see a MAN in a Con Edison uniform standing just outside the front door at their electric meter.</scene_description>
<character>MAE</character>
<dialogue>Can I help you, sir?</dialogue>
<scene_description>The MAN looks at her. Sad, tired eyes.</scene_description>
<character>CON ED MAN</character>
<dialogue>I'm sorry, Ma'am. You're past due.</dialogue>
<scene_description>Let's the meaning sink in.</scene_description>
<character>MAE</character>
<dialogue>You can't. There's kids. Please.</dialogue>
<dialogue>I don't, they'll let me go. They let two guys go for it already.</dialogue>
<scene_description>Mae stares at him.</scene_description>
<character>MAE</character>
<dialogue>I keep thinking this can't really be happening. Every day, I wake up, it's like I have amnesia. I know something's gone wrong, I just can't remember what it is. Then it comes to me. All the plans, everything you ever saved for, all just gone. This apartment, it's what we got left that keeps us hanging on.</dialogue>
<character>CON ED MAN</character>
<dialogue>Lady. Lady, I got kids too.</dialogue>
<scene_description>The two just stand there staring at each other in the snow.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - AFTERNOON</stage_direction>
<scene_description>The sky is close and bone cold. Kevin and Jim exit the gate, exhausted. Walking, Kevin opens his mouth, catching flakes.</scene_description>
<character>KEVIN</character>
<dialogue>I was a kid, my mom used to tell me you could eat a meal out of snow.</dialogue>
<scene_description>Jim walks along with him.</scene_description>
<character>BRADDOCK</character>
<dialogue>Wouldn't that be nice?</dialogue>
<scene_description>Jim opens his mouth and does the same. Smiles.</scene_description>
<character>BRADDOCK</character>
<dialogue>Now, this needs salt.</dialogue>
<character>KEVIN</character>
<dialogue>So, how about some powder? I'm buying.</dialogue>
<scene_description>Jim follows Kevin's gaze. Ahead, the flashing red neon of a bar sign in the distance.</scene_description>
<character>BRADDOCK</character>
<dialogue>Yeah. Right.</dialogue>
<scene_description>But Kevin is so serious he's smiling. Who watched your back all day? 'J'hat' s just not being personable. Finally Jim nods. They head towards the bar lights.</scene_description>
<character>KEVIN</character>
<dialogue>You hear about Ben Wills?</dialogue>
<character>BRADDOCK</character>
<dialogue>Who?</dialogue>
<character>KEVIN</character>
<dialogue>Guy did that stick up to get the job last week?</dialogue>
<character>BRADDOCK</character>
<dialogue>What about him?</dialogue>
<character>KEVIN</character>
<dialogue>Hung himselfin jail that night.</dialogue>
<character>BRADDOCK</character>
<dialogue>Now where's the sense in that?</dialogue>
<scene_description>Kevin just opens his hands, then he looks up and opens his mouth again to the fresh falling snow.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - NIGHT</stage_direction>
<scene_description>Smoky. Crowded. Sawdust on wide plank floors. Booths and bar are jammed. Many men drink beer glasses full of water. Jim sits with Kevin over two mugs of beer. Jim lifts his, takes a sip. Liquid gold. The word nurse doesn't cover it.</scene_description>
<character>KEVIN</character>
<dialogue>The world's broken and I say there's no use pretending it's not.</dialogue>
<scene_description>uim clocks a group of men sitting in the corner over Kevin's shoulder. He looks uncomfortable a beat.</scene_description>
<character>KEVIN</character>
<dialogue>Central Park, they got people living in paper shacks. Calling it Hooversville. Folks just giving up. Leaving their families behind. Eating the sheep.</dialogue>
<character>BRADDOCK</character>
<dialogue>I like my legs both the same length, thank you.</dialogue>
<scene_description>After the War we had to march on DC just to chase our veteran's pay. Now the banks close up and we're eating sheep in the park. Government's dropped us flat, son. We need to organize. Arm. Fight back.</scene_description>
<character>BRADDOCK</character>
<dialogue>Another American Revolution?</dialogue>
<character>KEVIN</character>
<dialogue>People starving to death in New York City? May be time for one.</dialogue>
<scene_description>Jim just shakes his head. Kevin takes a long pull.</scene_description>
<character>KEVIN</character>
<dialogue>I know. My wife says I talk too much. Says I should just let life take its cour:;;e. Her dream said we're gonna have a nice baby girl.</dialogue>
<character>BRADDOCK</character>
<dialogue>Why, you the Houdini family?</dialogue>
<character>KEVIN</character>
<dialogue>My wife ...</dialogue>
<scene_description>Loops his finger at his temple good naturedly.</scene_description>
<character>KEVIN</character>
<dialogue>She says when times are bad, people can see the future in dreams.</dialogue>
<scene_description>Jim looks up at him.</scene_description>
<character>KEVIN</character>
<dialogue>I know how it sounds.</dialogue>
<character>BRADDOCK</character>
<dialogue>I have this dream that I'm walking across the city. Almost every night. Block after block. Just walking.</dialogue>
<character>KEVIN</character>
<dialogue>wait and see. Maybe it comes true.</dialogue>
<character>BRADDOCK</character>
<dialogue>Hell, I knew, I would have dreamed of finding gold in the basement.</dialogue>
<character>KEVIN</character>
<dialogue>Another?</dialogue>
<scene_description>Kevin has already killed his, signals for a second.</scene_description>
<character>VOICE (OVER)</character>
<dialogue>Jim Braddock.</dialogue>
<scene_description>Braddock turns. A MAN has separated from the corner crowd, stands at the booth before Jim and Kevin. SPORTY LEWIS.</scene_description>
<character>SPORTY</character>
<dialogue>You just won me two bucks.</dialogue>
<scene_description>Jim looks to the corner. A few others crane their necks. Sporty throws a few shadow punches. He's been drinking some.</scene_description>
<character>SPORTY</character>
<dialogue>Come on, Jimmy. How's that right? No hello for your old pal?</dialogue>
<scene_description>Braddock stands. Quotes words seared onto his memory.</scene_description>
<character>BRADDOCK</character>
<dialogue>Loughran wiped the ring with Braddock's career and tossed it into the ropes for good measure. A funeral with body still breathing.</dialogue>
<scene_description>That look in Braddock's eyes just killed Sporty's smile.</scene_description>
<character>SPORTY</character>
<dialogue>Look, Braddock, I don't fight the fights. I just write about them.</dialogue>
<scene_description>Braddock puts his forehead right down to Sporty's.</scene_description>
<character>BRADDOCK</character>
<dialogue>Save that crap for the customers.</dialogue>
<scene_description>That grin of Jim's gets wider. Lethal.</scene_description>
<character>BRADDOCK</character>
<dialogue>You got me?</dialogue>
<scene_description>The moment lasts. Then Jim turns to Kevin who is standing.</scene_description>
<character>BRADDOCK</character>
<dialogue>Gotta go, Kevin. Thanks for the beer.</dialogue>
<scene_description>SPORT'l Guy was going to be Champion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDEWALK - CONTINUOUS</stage_direction>
<scene_description>Jim steps out into the snow, pulls at his coat collar as if it is choking him. He quickens his pace, starts to run. Running on sidewalks, the middle of the street, through alleys, anywhere, away from the past. Jim stops, stares up at a stoop as a man and woman watch their Christmas tree being delivered. A branch falls off as the tree is carried through the front door. Jim waits until the door closes. Lifts the branch.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - NIGHT</stage_direction>
<scene_description>Jim and Mae sit by candlelight in sweaters and winter coats, change spread before them. The single branch is propped in the corner with bottle cap ornaments hanging by string. The blanket that usually divides the apartment is piled, along with all remaining coats and clothing, over the kids crowded in bed. Mae and Jim's breath fogs as they speak.</scene_description>
<character>MAE</character>
<dialogue>You think about it, you gotta go to a swanky joint to eat with candles.</dialogue>
<scene_description>Braddock is counting the change. Jim looks up to see Mae warming her hands over the candle flame.</scene_description>
<character>BRADDOCK</character>
<dialogue>Three bucks twenty.</dialogue>
<scene_description>Jim looks at the empty mason jar on the table.</scene_description>
<character>MAE</character>
<dialogue>One too many rainy days, I guess.</dialogue>
<scene_description>Jim takes Mae's hands in his, rubs them between his palms.</scene_description>
<character>MAE</character>
<dialogue>Ow! Too hard, Jimmy.</dialogue>
<scene_description>She pulls her hands back, blows into them.</scene_description>
<character>BRADDOCK</character>
<dialogue>How much to turn it back on?</dialogue>
<scene_description>Three months. Twelve-ten. Jim moves the money around on the table. Nowhere near.</scene_description>
<character>BRADDOCK</character>
<dialogue>All the guys you could have married. I don't know how I let everything get away from us, Mae.</dialogue>
<character>MAE</character>
<dialogue>I married the man I love.</dialogue>
<scene_description>(OVER) A child's WET COUGH. Jim glances up at her sharply.</scene_description>
<character>MAE</character>
<dialogue>Howard. Since this afternoon.</dialogue>
<scene_description>Mae reaches across, touches Jim's hand. She closes her eyes, begins to pray. Then glances up at her husband.</scene_description>
<character>MAE</character>
<dialogue>Jim ... ?</dialogue>
<character>BRADDOCK</character>
<dialogue>I;m all prayed out.</dialogue>
<scene_description>He stares off into the distance unable to be comforted.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - FIRST LIGHT</stage_direction>
<scene_description>The light before dawn. Mae sleeps with the kids under the pile of clothes. Still freezing. She stirs. Jim is gone. 41-43 OMIT 41-43</scene_description>
</scene>
<scene>
<stage_direction>43A EXT. JOE JEANETTE'S GYM - DAWN 43A</stage_direction>
<scene_description>Jim stands holding his gym bag in the doorway of the gym. He stares up at the sign overhead. A long beat. He heads inside.</scene_description>
</scene>
<scene>
<stage_direction>43B EXT. STREET - MORNING 43B</stage_direction>
<scene_description>Mae looks around to make sure no one is watching. Then she begins breaking off pieces of wooden latticework from a billboard, hands the wood scraps to her still sleepy kids.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - DAY</stage_direction>
<scene_description>Snow cakes the windows. Mae has made a fire in the open stove and is feeding broken lattice chips for fuel. She glances around, throws in the meager tree. Flames illuminate the sudden tears spilling from her eyes.</scene_description>
<character>JAY</character>
<dialogue>Mommy?</dialogue>
<scene_description>She looks up at her son, his fear at seeing her sadness.</scene_description>
<character>MAE</character>
<dialogue>It's all right sweetheart. Mommy'!! be right back.</dialogue>
<scene_description>Mae rises, EXITS the back door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK APARTMENT - BACK YARD - CONTINUOUS</stage_direction>
<scene_description>A tiny square of dirt amidst the buildings. Heavy snow is falling. Mae stands alone, BREATHLESS WEEPING, inconsolable.</scene_description>
</scene>
<scene>
<stage_direction>INT. JEANETTE'S GYM - DAY</stage_direction>
<scene_description>A black fighter is in the ring, sparring with another. Steam HISSES. The floor is wet from tracked snow. A wiry BLACK MAN in •r-shirt and hat coaches him. This is JOE JEANETTE.</scene_description>
<character>JEANETTE</character>
<dialogue>You gotta duck and weave not duck or weave, genius.</dialogue>
<scene_description>WIDER. Outside the ring, chewing a cigar, is Joe Gould, watching the kid. Still well dressed, that same stogie.</scene_description>
<character>JEANETTE</character>
<dialogue>Today, hit him today, not when he gets old, okay junior?</dialogue>
<parenthetical>(shouting)</parenthetical>
<dialogue>Close that door, you're letting in all the cold.</dialogue>
<parenthetical>(back to the ring)</parenthetical>
<dialogue>Enough, enough, ENOUGH.</dialogue>
<scene_description>Janette shoots Joe a dismayed look, shakes his head as another black BOXER (GEORGE) approaches from the front door.</scene_description>
<character>GEORGE</character>
<dialogue>Sorry I'm late, Joe.</dialogue>
<character>JOE</character>
<dialogue>Yeah, yeah. You're next. One bwn-</dialogue>
<parenthetical>(catches himself)</parenthetical>
<dialogue>One contender at a time.</dialogue>
<scene_description>boxing shoes. Familiar shoes.</scene_description>
<character>GEORGE</character>
<dialogue>You see a ghost, Joe?</dialogue>
<character>JOE</character>
<dialogue>Maybe so. Where'd you get those things?</dialogue>
<character>GEORGE</character>
<dialogue>The old man sold them to me. Half a buck. Wanted to sell me his gloves too but I couldn't afford em. Some other guy got those.</dialogue>
<scene_description>Joe closes his eyes just for a beat. Then he looks up.</scene_description>
<character>JOE</character>
<dialogue>He was first in line once, you know? Couldn'.t move for shit. But had a right y9u could be outside the ring and'feel the wind.</dialogue>
<character>GEORGE</character>
<dialogue>What happened to him?</dialogue>
<scene_description>Joe takes a beat before answering.</scene_description>
<character>JOE</character>
<dialogue>Same as everyone else I guess. Luck's run out all over.</dialogue>
<scene_description>Joe re-lights his stubby smoke.</scene_description>
<character>JOE</character>
<dialogue>So, put em on, and put em to work. Maybe before Springtime ...</dialogue>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - AFTERNOON</stage_direction>
<scene_description>Jim ENTERS. So deep into winter it's already night. The last cinders of Mae's sidewalk fire glow. The room is dark. Cold. Mae sits in her coat, face empty, hollowed out. She looks up at Jim as he stares at her in the empty apartment.</scene_description>
<character>MAE</character>
<dialogue>Howard's cough was getting worse. And then Rosy started to sneeze.</dialogue>
<scene_description>Jim looks around. No sign of the children. Where are they, Mae?</scene_description>
<character>MAE</character>
<dialogue>I didn't know what else to do.</dialogue>
<scene_description>She looks up at him, finally.</scene_description>
<character>MAE</character>
<dialogue>They couldn't stay here anymore.</dialogue>
<scene_description>See the agony in her eyes.</scene_description>
<character>MAE</character>
<dialogue>The boys can sleep on the sofa at my father's in Brooklyn. Rosy's going to stay at my sister's. We can't keep them, Jim.</dialogue>
<scene_description>He stares at her, his emotions impossible to express.</scene_description>
<character>MAE</character>
<dialogue>We can't even keep them warm.</dialogue>
<scene_description>He turns, walks to the kitchen, stands at the sink running a glass of water. Sees his own reflection in the curving glass.</scene_description>
<character>BRADDOCK</character>
<dialogue>No!</dialogue>
<scene_description>Jim hurls the glass, SMASHING, against the wall.</scene_description>
<character>MAE</character>
<dialogue>Jirmny, please-</dialogue>
<scene_description>Jim doesn't even acknowledge her, is out the SLAMMING front door and gone. Mae stares after him. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEWARK - DAY</stage_direction>
<scene_description>Jim walks the street, past an abandoned low where families live in their cars, windows steamed opaque with breath. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. FERRY - DAY</stage_direction>
<scene_description>Jim stands on the deck, staring past the grey river at Manhattan beyond. OMIT Jim walks past men building cardboard houses, can't help but clock the sheep idling amidst the well dressed squatters.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - DAY</stage_direction>
<scene_description>Men are tearing down the light board for scrap metal. Jim stares at mounted photos of boxers in fight stances. Heads inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - SECOND FLOOR - DAY</stage_direction>
<scene_description>Jim stands in the hall, staring out a window, his expression impossibly sad. Only when he moves do we see what he has been staring at. The Chrysler Building. Jim turns towards two frosted glass doors beyond which shapes move and a din of VOICES echo.</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - BOXING CLUB - DAY</stage_direction>
<scene_description>Thick with smoke. Maybe twenty MEN sit around, playing cards. Loud ARGUMENTS. Johnston. Gould. TWO PROMOTERS stand LAUGHING. They don't even notice Jim at first. Not until he's standing right in front of them.</scene_description>
<character>BRADDOCK</character>
<dialogue>Mr. Allen. Phil.</dialogue>
<scene_description>This is almost killing him.</scene_description>
<character>BRADDOCK</character>
<dialogue>Thing is. I can't afford to pay the heat. Had to farm out my kids.</dialogue>
<scene_description>Every word is impossible.</scene_description>
<character>BRADDOCK</character>
<dialogue>They keep cutting shifts at the dock. You don't get picked every day. Just need enough to catch up.</dialogue>
<scene_description>The shame almost too much to bear.</scene_description>
<character>BRADDOCK</character>
<dialogue>Sold my gloves and shoes. Got two bucks. I need ten fifty more. To pay the bill. Get them back.</dialogue>
<scene_description>This once great fighter now takes off his hat. It pains me to ask. So I!Ulch. He holds out his hat. The moment lasts. The room has grown silent. The two men are speechless. Then one digs into his pocket, comes out with a few coins.</scene_description>
<character>PROMOTER</character>
<dialogue>Sure, Jim. Sure.</dialogue>
<character>BRADDOCK</character>
<dialogue>Thank you.</dialogue>
<scene_description>The next guy does the same. What follows is nearly too extricating to watch. Jim moves around the room, hat in hand. Even Johnston gives. The last man he comes on is Joe. Jim can barely meet his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm sorry, Joe.</dialogue>
<character>JOE</character>
<dialogue>What the hell do you have to be sorry about? Jesus, Jim.</dialogue>
<scene_description>Jim is looking into the hat.</scene_description>
<character>JOE</character>
<dialogue>How short are you?</dialogue>
<scene_description>Jim's been counting as he goes.</scene_description>
<character>BRADDOCK</character>
<dialogue>A buck-fifty, I think.</dialogue>
<scene_description>Joe winces, goes into his wallet. Fishes out a single, two quarters. Puts them in the hat.</scene_description>
<character>BRADDOCK</character>
<dialogue>Joe ...</dialogue>
<character>JOE</character>
<dialogue>Don't mention it, Jimmy.</dialogue>
<scene_description>They watch him go, one of their own, nothing left, not even his pride. HOLD on JOE GOULD.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>The only thing we have to fear is fear itself ...</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>....\_\_/</stage_direction>
<scene_description>Mae flicks on the lights. They work. The children spill into the glowing apartment.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>We face our common difficulties. They concern, thank God, only material things ...</dialogue>
<scene_description>HOLD on Jim, acutely aware of how fragile home is.</scene_description>
<character>58</character>
<dialogue>EXT. DOCKS</dialogue>
<scene_description>Jim and Kevin at hard, back-breaking work. Jim using that left hand. A fellow (SAM PENNY) slips and Jim reflexively grabs the falling bag, re-injuring his broken right. BRl\DDOCK (OVER) Values have shrunken to fantastic levels; taxes have risen; our ability to pay has fallen ...</scene_description>
<character>59</character>
<dialogue>INT. BRADDOCK HOME - NIGHT</dialogue>
<scene_description>Dinner is over. The kids are in bed, Jim sits at the table, READING Roosevelt's speech to Mae from the newspaper.</scene_description>
<character>BRADDOCK</character>
<dialogue>The savings of many years in thousands of families are gone ...</dialogue>
<scene_description>He is trying hard to find inspiration in the words, like fishing for water in a dry well.</scene_description>
<character>60</character>
<dialogue>60A</dialogue>
<character>OMIT</character>
<dialogue>EXT. DOCKS- AFTERNOON</dialogue>
<scene_description>Jim and Kevin are finishing their shift, dirty, exhausted, just clearing the gates when Penny runs up.</scene_description>
<character>PENNY</character>
<dialogue>They're hiring extra at the coal yards.</dialogue>
<scene_description>Jim takes off in a sprint, Kevin not far behind him.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>Unemployed citizens face the grim problem of existence ...</dialogue>
<scene_description>Jim and Kevin shovel coal. Jim's eyes are red lamps in his head and he can hardly pick up his shovel.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>And an equal number toil with little return ...</dialogue>
</scene>
<scene>
<stage_direction>INT. BASEMENT APARTMENT - VERY LATE</stage_direction>
<scene_description>Jim, black with coal dust, ENTERS, Mae asleep in a chair. He takes two quarters from his pocket, puts them in the jar. Jim stumbles toward the bed, looks at his filthy self, lays on the floor, instantly asleep.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>We face arduous days that lie before us ...</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - DAY - WINTER</stage_direction>
<scene_description>Jim and Kevin are walking together, passing a flask, when they spot a commotion across the street. A PROTESTING YOUNG COUPLE and their toddler are being evicted from a neighboring brownstone by CITY MARSHALS. Kevin starts to rush across the street, fight in his eyes. Jim grabs him by the arm, signals him to wait. Across the street, the last of the furniture is literally put out onto the street, the padlock snapped onto the front door.</scene_description>
<character>BRADDOCK (OVER) ,</character>
<dialogue>These dark days will be worth all they cost us ...</dialogue>
<character>ACROSS THE STREET - MOMENTS LATER</character>
<dialogue>The Marshals pull away as Jim and Kevin cross. Kevin grabs a coat rack from the sidewalk and SMASHES open the padlock as Jim helps the couple begin moving their furniture back in.</dialogue>
<character>BRADDOCK (OVER)</character>
<dialogue>We do not distrust the future of essential democracy ...</dialogue>
</scene>
<scene>
<stage_direction>63A EXT. DOCKS - MORNING 63A</stage_direction>
<scene_description>The gates are chained closed. The people of the United States have not failed ... Jake stands on the choosing platform, expression dark.</scene_description>
<character>JAKE</character>
<dialogue>Sorry, boys. Ice on the inlet. No work today.</dialogue>
</scene>
<scene>
<stage_direction>63B EXT. STREET - LATER - EVENING 63B</stage_direction>
<scene_description>Jim stands on a bread line. He cuts his cast off with a pocket knife. See his withered wrist and hand.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>We humbly ask the blessing of God ...</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCH - HIGH ANGL~ - SPRING - DAY</stage_direction>
<scene_description>Jim is crossing the church yard, as are a few other men, pilgrims towards the mighty structure and cross in the sky.</scene_description>
<character>BRADDOCK (OVER)</character>
<dialogue>May he protect each and every one of us.</dialogue>
<scene_description>The doors of the church open, spilling folks in their Sunday best out into the green church yard.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCH YARD - SPRING - 1934 - DAY</stage_direction>
<scene_description>A group of MEN sit on green benches at the edge of the church yard, away from the gathering of families on the common. Among them are Jim, Kevin, Penny and several others from the docks, some passing a bottle back and forth.</scene_description>
<character>PENNY</character>
<dialogue>Jake hasn't been right since Ben died, I'm telling you.</dialogue>
<character>DOCK MAN TWO</character>
<dialogue>Half shifts don't do anybody any good.</dialogue>
<character>KEVIN</character>
<dialogue>In Russia, right now, they're giving the factories to the workers.</dialogue>
<scene_description>In Russia, right now, I'm pretty sure they're asleep. Kevin smiles, takes a long swig. Gestures to Jim with the bottle, but Braddock just shakes his head.</scene_description>
<character>KEVIN</character>
<dialogue>Democracy hasn't failed? Shit.</dialogue>
<character>PENNY</character>
<dialogue>You need to shut up with that Bolshivist crap or Jake's gonna cut you and the rest of us too.</dialogue>
<character>KEVIN</character>
<dialogue>Long live America.</dialogue>
<scene_description>Kevin climbs standing on one of the benches.</scene_description>
<character>KEVIN</character>
<dialogue>Long live The Revolution!</dialogue>
<scene_description>Jim looks across the yard to see two WOMEN emerge from the church basement. Each holds a frosted sheet cake lit.</scene_description>
<character>BRADDOCK</character>
<dialogue>Guess that's our cue.</dialogue>
<character>KEVIN</character>
<dialogue>Figure I'm just fine where I am.</dialogue>
<scene_description>A couple guys MURMUR agreement.</scene_description>
<character>BRADDOCK</character>
<dialogue>Come onr Kevin.</dialogue>
<scene_description>Kevin shakes his head. Jim shrugs, heads for the gathering. Most follow, Kevin and Penny staying behind.</scene_description>
<character>KEVIN</character>
<parenthetical>(toasting after him)</parenthetical>
<dialogue>Long live Johnny Walker</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHURCH YARD - MOMENTS LATER</stage_direction>
<scene_description>Jim joins Mae, the kids and FATHER RORICK, amongst the others, as the cakes are set on the picnic table.</scene_description>
<character>FATHER RORICK</character>
<parenthetical>(off the cross)</parenthetical>
<dialogue>Still boycotting I see.</dialogue>
<scene_description>I I had to work. '--- Rorick's smile knows there's more to it than that. Rorick ruffles Jay's hair.</scene_description>
<character>FATHER RORICK</character>
<dialogue>Your Dad ever tell you I used to spar with him?</dialogue>
<character>JAY</character>
<dialogue>You?</dialogue>
<character>HOWARD</character>
<dialogue>You hit the Father?</dialogue>
<character>BRADDOCK</character>
<dialogue>As often as possible. For a priest, he has a mean left hook.</dialogue>
<character>FATHER RORICK</character>
<dialogue>The Lord giveth and taketh away.</dialogue>
<character>BRADDOCK</character>
<dialogue>Go on, now.</dialogue>
<character>JAY</character>
<dialogue>I liked it more when we had our own.</dialogue>
<character>BRADDOCK</character>
<dialogue>I liked it more before you could talk. Now go on.</dialogue>
<scene_description>Jay grins as he and Howard take off for a picnic table where all the kids have gathered, the candles finally lit. The crowd of adults and children all begin to SING.</scene_description>
<character>CROWD</character>
<dialogue>Happy birthday to you. Happy birthday to you. Happy birthday dear ...</dialogue>
<character>A SERIES OF SHOTS - MEN AND WOMEN - SAME MOMENT</character>
<dialogue>WOMAN</dialogue>
<scene_description>Mitchell.</scene_description>
<character>MAN</character>
<dialogue>Junior.</dialogue>
<character>GIRL</character>
<dialogue>Philip.</dialogue>
<character>MAE</character>
<dialogue>Jay.</dialogue>
<character>BACK</character>
<dialogue>The crowd finishes.</dialogue>
<character>TO SCENE</character>
<dialogue>CROWD</dialogue>
<scene_description>Happy birthday to you. Jim looks at Rorick. Mae has come up behind them.</scene_description>
<character>MAE</character>
<parenthetical>(terse)</parenthetical>
<dialogue>James.</dialogue>
<scene_description>He follows her gaze.</scene_description>
</scene>
<scene>
<stage_direction>67A EXT. CHURCH YARD - BENCH AREA - MOMENTS LATER 67A</stage_direction>
<scene_description>Kevin is standing where Jim left him, now with his WIFE (SARA, 30's) and INFANT DAUGHTER. A couple of folks have already turned towards the COMMOTION.</scene_description>
<character>SARA</character>
<dialogue>I'm just saying it's enough!</dialogue>
<scene_description>Jim walks up to the two of them.</scene_description>
<character>BRADDOCK</character>
<dialogue>Hey, where's the ref?</dialogue>
<character>KEVIN</character>
<dialogue>This is between man and wife, Jim.</dialogue>
<character>SARA</character>
<dialogue>Everyday, fix the world. How about your family? You're gone before she gets up, home after she"s sleep. And now you're too proud to cross the lawn because she can't have her own birthday cake. What kind of father are you? You"re drunk at church for Christ's sake.</dialogue>
<character>KEVIN</character>
<dialogue>That a joke, Sara? Are you making a joke?</dialogue>
<scene_description>chest.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Easy there, Kevin. Maybe you've had a couple. No hann in that. Day of rest after all.</dialogue>
<scene_description>But Kevin isn't smiling back. He's staring into Jim's eyes.</scene_description>
<character>KEVIN</character>
<dialogue>That the way it is? You the big fighter, that it?</dialogue>
<scene_description>Kevin shoves Braddock. Like trying to push a truck.</scene_description>
<character>BRADDOCK</character>
<dialogue>Stop it, Kevin!</dialogue>
<character>KEVIN</character>
<dialogue>Jim Braddock, big bone polisher ...</dialogue>
<scene_description>Kevin throws a punch which Jim slaps away easily.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm serious.</dialogue>
<character>KEVIN</character>
<dialogue>Can't make it in the ring so why not take it out on his pal?</dialogue>
<scene_description>Throws another, which Jim's hand also dismisses, Kevin SHOUTING now.</scene_description>
<character>KEVIN</character>
<dialogue>What you gonna do, huh-</dialogue>
<scene_description>Kevin's combination is fast but Jim steps back and palm- guides Kevin past. Kevin can't stop the momentum and he goes down.</scene_description>
<character>SARA</character>
<dialogue>Jim, no-.</dialogue>
<scene_description>She's moved to Kevin who is scrambling upright. Stares at Jim.</scene_description>
<character>KEVIN</character>
<dialogue>Go to hell. Both of you.</dialogue>
<scene_description>turns to Jim, the baby WAILING in her arms.</scene_description>
<character>SARA</character>
<dialogue>Jesus, Jim, He wasn't going to hit me. Jesus.</dialogue>
<scene_description>And with that she's gone after her husband. Jim looks up to see Mae standing a few feet off.</scene_description>
<character>MAE</character>
<dialogue>Why was it so hard just to come over for the cake?</dialogue>
<scene_description>Too much adrenaline everywhere.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(flaring)</parenthetical>
<dialogue>Maybe he just needed a little time, all right. It's not so damned easy. Maybe he just needed a little time.</dialogue>
<character>MAE</character>
<parenthetical>(flaring back)</parenthetical>
<dialogue>Not at me, James Braddock. Do you hear? I know its hard. But not. At. Me.</dialogue>
<scene_description>The two stand facing each other. Feet and miles away. Finally, Jim crosses the divide, bows his head to her's.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - SUNDAY - DAY</stage_direction>
<scene_description>Spring can still be beautiful. Even here and now. Jay and Howard play stick ball with other kids in the street. ON A STOOP Jim sits with Rosemarie, standing on the step below him so they're the same height.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Were you fighting with Kevin?</dialogue>
<scene_description>Jim stares at her. Shakes his head?</scene_description>
<character>BRADDOCK</character>
<dialogue>We were almost fighting.</dialogue>
<character>ROSEMARIE</character>
<dialogue>Teach me how.</dialogue>
<character>BRADDOCK</character>
<dialogue>I can't, honey.</dialogue>
<scene_description>Why not?</scene_description>
<character>BRADDOCK</character>
<dialogue>Because the cops might come back.</dialogue>
<character>ROSEMARIE</character>
<dialogue>You mean, Morruny?</dialogue>
<scene_description>Jim nods somberly. Rosy puts her hands on her hips.</scene_description>
<character>ROSEMARIE</character>
<dialogue>You can too. Teach me daddy.</dialogue>
<scene_description>Jim tries to stare down his daughter. He's just no match.</scene_description>
<character>BRADDOCK</character>
<dialogue>Let's start simple. Jab the left.</dialogue>
<scene_description>Rosemarie obliges. Awfully serious. Awfully cute.</scene_description>
<character>BRA\_DDOCK</character>
<dialogue>You got a bet'ter jab than I did.</dialogue>
<scene_description>That's when a familiar car pulls up, window rolling down.</scene_description>
<character>JOE</character>
<dialogue>You are a brave man.</dialogue>
<character>BRADDOCK</character>
<dialogue>Not really. Mae's at the store.</dialogue>
<scene_description>Rosemarie, taking advantage of the distraction, clocks Jim sqaure in the jaw. Not bad for someone pint-sized.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Okay, darling. Good shot. Shadow punch while I talk to uncle Joe.</dialogue>
<scene_description>Rosemarie punches the air as Jim rises, walks to Joe who has emerged from the car. Jim touches the lapel of his suit.</scene_description>
<character>BRADDOCK</character>
<dialogue>Still looking dapper.</dialogue>
<character>JOE</character>
<dialogue>Gotta keep up appearances.</dialogue>
<scene_description>Joe smiles.</scene_description>
<character>JOE</character>
<dialogue>Good to see you, Jimmy.</dialogue>
<scene_description>these two missed each other. Joe looks around. Casual.</scene_description>
<character>JOE</character>
<dialogue>Nice day.</dialogue>
<character>BRADDOCK</character>
<dialogue>You drive all the way out here to talk about the weather?</dialogue>
<character>JOE</character>
<dialogue>Maybe I was in the neighborhood.</dialogue>
<character>BRADDOCK</character>
<dialogue>Joe, this is Jersey.</dialogue>
<character>JOE</character>
<dialogue>A point.</dialogue>
<scene_description>A beat. Then ...</scene_description>
<character>JOE</character>
<dialogue>I got you a fight.</dialogue>
<character>BRADDOCK</character>
<dialogue>Go to Hell.</dialogue>
<character>JOE</character>
<dialogue>You want it don't you?</dialogue>
<character>BRADDOCK</character>
<dialogue>What about the Commission?</dialogue>
<character>JOE</character>
<dialogue>They'll sanction it. This one time and one time only. This isn't a comeback. This is one fight.</dialogue>
<character>BRADDOCK</character>
<dialogue>Why?</dialogue>
<character>JOE</character>
<dialogue>Because of who you' re ...</dialogue>
<character>BRADDOCK</character>
<dialogue>Never mind. How much?</dialogue>
<character>JOE</character>
<dialogue>Just once ask me who you're fighting.</dialogue>
<character>BRADDOCK</character>
<dialogue>How rrruch?</dialogue>
<character>$250.00</character>
<dialogue>Jim shakes his head, starts to walks away.</dialogue>
<character>JOE</character>
<dialogue>You're on the big show at the Garden ... tonight.</dialogue>
<scene_description>Joe is trailing him.</scene_description>
<character>JOE</character>
<dialogue>You fight Corn Griffin, Jimmy. Number 2 heavyweight contender in the world. Pre-show fight before the championship bout.</dialogue>
<scene_description>Jim finally spins on him, intense, dangerous.</scene_description>
<character>BRADDOCK</character>
<dialogue>Joe, this isn't funny.</dialogue>
<character>JOE</character>
<dialogue>Wake up, Jimmy, it's real. Griffin's opponent got cut and can't fight. They needed somebody they could throw in on a day's notice. Nobody legit will take a fight against Griffin without training so ... I told 'em with you they could use the angle that ...</dialogue>
<scene_description>Joe looks away. Looks back at Jim.</scene_description>
<character>JOE</character>
<dialogue>I told them they could use the angle Griffin was gonna knock out a guy that'd never been knocked out. You're meat, Jimmy. They're paying to see you fall.</dialogue>
<character>BRADDOCK</character>
<dialogue>Joe. Are you really on the level?</dialogue>
<character>JOE</character>
<dialogue>It ain't no favor. Griffin's 55 wins with 35 kayos. He'll hit you so hard i t ' l l put knots on your grandkid's heads. Johnston's promoting the fight. He cut me bhs deal. You just got to stay up six rounds and you get paid.</dialogue>
<scene_description>Joe ... Gould looks away, steps back, looks him up and down.</scene_description>
<character>JOE</character>
<dialogue>How much do you weigh?</dialogue>
<character>BRADDOCK</character>
<dialogue>170 somethin'.</dialogue>
<character>JOE</character>
<parenthetical>(scowling)</parenthetical>
<dialogue>He's got 40 pounds on you. Take some line of bullshit to sell 'em on why you can"t make the weight ...</dialogue>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>Ah, screw it ... I just knew how bad you needed the money.</dialogue>
<scene_description>Jim's still looking at his friend. Then he smiles.</scene_description>
<character>BRADDOCK</character>
<dialogue>Joe. For 250 bucks I'd fight your wife.</dialogue>
<character>JOE</character>
<dialogue>Now you are dreaming.</dialogue>
<character>BRADDOCK</character>
<dialogue>I got to tell Mae.</dialogue>
<character>JOE</character>
<parenthetical>(off his watch)</parenthetical>
<dialogue>Jimmy, it's now.</dialogue>
<scene_description>Jim just shakes his head. Can't be happening. He CALLS out to the boys.</scene_description>
<character>BRADDOCK</character>
<dialogue>Howard, watch your sister.</dialogue>
<parenthetical>(turns to Rosemarie)</parenthetical>
<dialogue>Honey, tell mommy daddy got some work.</dialogue>
<scene_description>HOLD on Rosemarie as she watches the car drive off. Something working in her tiny mind. Then she races to her two brothers, small head moving in sudden and intense consultation.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUT~HER SHOP - AFTERNOON</stage_direction>
<scene_description>(OVER) TAPPING. SAM, a butcher, emerges from the back, walks towards his closed door. Rosemarie stands TAPPING the glass. (opening the door) We're closed, today. Sam looks around outside. The two boys stand silently with her. She follows his gaze to them.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Let me do the talking.</dialogue>
<scene_description>Sam can't help but smile as the three march in.</scene_description>
<character>SAM</character>
<dialogue>Where's your folks?</dialogue>
<scene_description>Rosemarie walks past him to the counter.</scene_description>
<character>ROSEMARIE</character>
<dialogue>I need a piece of meat, sir.</dialogue>
<scene_description>She eyes the case and the few remaining cuts of meat.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Shirley.</dialogue>
<character>SAM</character>
<dialogue>Sirloin?</dialogue>
<scene_description>Rosemarie nods seriously.</scene_description>
<character>SAM</character>
<dialogue>You got any money?</dialogue>
<scene_description>Rosemarie shakes her head no.</scene_description>
<character>SAM</character>
<dialogue>I can't give it away, see, not even to a stray little lady and her bodyguards.</dialogue>
<scene_description>Howard and Jay couldn't like that designation less.</scene_description>
<character>ROSEMARIE</character>
<dialogue>It's not for me.</dialogue>
<character>SAM</character>
<dialogue>Who's it for?</dialogue>
<character>ROSEMARIE</character>
<dialogue>You got to give it to me first or I won't tell you.</dialogue>
<scene_description>intense and complete.</scene_description>
<character>ROSEMARIE</character>
<dialogue>How about something you dropped on the floor?</dialogue>
<scene_description>Sam shakes his head. Goes to the garbage and takes a scrap of fatty meat from the can. Wipes it on his hanging apron.</scene_description>
<character>ROSEMARIE</character>
<dialogue>My Dad. He needs it so he can win a boxing fight.</dialogue>
<scene_description>HOLD on Sam's perplexed expression. OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN BOWL - LONG ISLAND CITY - NIGHT</stage_direction>
<scene_description>The MARQUEE reads: PRIMO CARNERA vs . MAX BAER</scene_description>
<character>HEAVY-WEIGHT CHAMPIONSHIP</character>
<dialogue>TITLE FIGHT!</dialogue>
<scene_description>- And 6 Other Fights -</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - CONTINUOUS</stage_direction>
<scene_description>Jim, in his trunks, is staring at his taped hands. Big toe pokes through a patched hole in his sock that has reopened.</scene_description>
<character>JOE (OVER)</character>
<dialogue>I mean, Chrissakes, 55 and O once, for God's sake, never been knocked down, who goes and sells his gear?</dialogue>
<scene_description>Joe is rifling locker after locker, emerges carrying someone else's boxing shoes and drops them in front of Jim.</scene_description>
<character>JOE</character>
<dialogue>Out of my mind here looking for shoes for a fighter.</dialogue>
<scene_description>Jim tries a shoe on. It's big, real big, like a clown's.</scene_description>
<character>BRADDOCK</character>
<dialogue>Maybe I oughta get an Aooga horn, chase him around the ring.</dialogue>
<character>JOE</character>
<dialogue>You been drinking?</dialogue>
<character>BRADDOCK</character>
<dialogue>No.</dialogue>
<dialogue>Well, you"re too loose, you're spooking me.</dialogue>
<character>BRADDOCK</character>
<dialogue>Come on, Joe, we both know what this is, right?</dialogue>
<scene_description>Braddock smiles, a deep, sad smile.</scene_description>
<character>BRADDOCK</character>
<dialogue>I get to put a little more distance between my kids and the street. And say good-bye at th.e Garden with a full house night of a big fight.</dialogue>
<scene_description>Joe has begun lacing his shoe.</scene_description>
<character>BRADDOCK</character>
<dialogue>What's Griffin gonna show me that I ain't already- seen?</dialogue>
<character>,</character>
<dialogue>There is a loud GROWLING NOISE.</dialogue>
<character>JOE</character>
<dialogue>What the hell was that?</dialogue>
<character>BRADDOCK</character>
<dialogue>They ran out of soup on the line this morning.</dialogue>
<character>JOE</character>
<dialogue>You gotta stay up six rounds. You can't fight on an empty stomach.</dialogue>
</scene>
<scene>
<stage_direction>INT. MSG BOWL - RINGSIDE - DAY</stage_direction>
<scene_description>DON DUNPHY, the Radio Announcer, is on the air ...</scene_description>
<character>DUNPHY</character>
<dialogue>Good Evening! Welcome to tonight's broadcast of the Primo Camera - Max Baer fight for the heavyweight championship of the world!</dialogue>
<scene_description>The Garden is filling up.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING BOOM - DAY</stage_direction>
<scene_description>Jim is sitting calmly, waiting. Joe enters, carrying a bowl.</scene_description>
<character>JOE</character>
<dialogue>Hash is all they had. Eat quick.</dialogue>
<dialogue>Where's the spoon?</dialogue>
<scene_description>cTOE It's not there? Joe glances at the clock on the wall.</scene_description>
<character>JOE</character>
<dialogue>You gotta go anyway.</dialogue>
<character>BRADDOCK</character>
<parenthetical>(sniffing again)</parenthetical>
<dialogue>One bite.</dialogue>
<scene_description>Jim starts to dip his hand into the hash. cTOE Hey! I don't have time to re-tape you! The door opens and a GARDEN OFFICIAL looks in. He sees Jim with his head down in the bowl, eating like a dog.</scene_description>
<character>OFFICIAL</character>
<dialogue>Good God ...</dialogue>
<scene_description>Jim looks up, his face smeared with hash.</scene_description>
<character>OFFICIAL</character>
<dialogue>You're on, pal.</dialogue>
<scene_description>Jim looks at Joe.</scene_description>
<character>BRADDOCK</character>
<dialogue>What about a robe?</dialogue>
<scene_description>Joe shakes his head, looks again to the lockers.</scene_description>
</scene>
<scene>
<stage_direction>INT. RINGSIDE - DAY</stage_direction>
<scene_description>Sporty Lewis, amidst other reporters, sits ringside, nose up against the cloth. All look at their fight programs.</scene_description>
<character>YOUNG REPORTER</character>
<dialogue>Who's Jim Braddock?</dialogue>
<scene_description>Jim and Joe appear, have begun making their way through the crowd in the b.g. Few pay them much attention.</scene_description>
<character>SPORTY</character>
<dialogue>Get your pencil out, kid. I got your lead line for you.</dialogue>
<scene_description>that old Jim Braddock was seen on his feet. Jim climbs into the ring to warm up. He is wearing a robe with the name Fred Carston written on the back.</scene_description>
<character>YOUNG REPORTER</character>
<parenthetical>(even more confused)</parenthetical>
<dialogue>Who's Fred Carston?</dialogue>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - CONTINUOUS</stage_direction>
<scene_description>Packed with water drinkers. Quincy couldn't be less thrilled. A few guys from the dock sit with Kevin as the RADIO warms up.</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>... Well! It seems Braddock has come out of retirement just for tonight!</dialogue>
<scene_description>All look at each other.</scene_description>
<character>DOCK GUY</character>
<dialogue>Can't be ...</dialogue>
<scene_description>They all look at Kevin, who shakes his head and opens his hands, as shocked as everyone else.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING - CONTINUOUS</stage_direction>
<scene_description>The crowd is WILD with CHEERS.</scene_description>
<character>RING ANNOUNCER</character>
<dialogue>... Corn Griffin.</dialogue>
<scene_description>At 6'2", 210 lbs., GRIFFIN claps his gloves, powerful, confident, the "Golden Boy" of heavyweight contenders.</scene_description>
<character>RING ANNOUNCER</character>
<dialogue>And in this corner, weighing 190 pounds ...</dialogue>
<scene_description>Jim looks down at his own thin frame to see where he is carrying that weight.</scene_description>
<character>RING ANNOUNCER</character>
<dialogue>... from North Bergen, New Jersey. Jim Braddock.</dialogue>
<scene_description>No reaction from the crowd. They touch gloves.</scene_description>
<character>BRADDOCK</character>
<dialogue>Big feet.</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - NIGHT</stage_direction>
<scene_description>The BELL. Griffin comes out punching hard and fast. Jim is doing all he can to keep the blows from connecting. But Griffin's hands are like a storm coming from everywhere. It only takes a second to realize this fight was a bad idea. Griffin is in perfect form. His jabs and body shots are perfect. Jim clinches. Corn straightens him with an uppercut.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER</stage_direction>
<scene_description>Joe is blocking in time with Jim, his arms and body dancing in an echoing shadow play of the fight. Like the old days.</scene_description>
<character>JOE</character>
<dialogue>Six rounds. Just six rounds.</dialogue>
<parenthetical>(shouts)</parenthetical>
<dialogue>Stay out of his way!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE RING</stage_direction>
<scene_description>Griffin throws a right which Jim blocks with his left. Jim seems surprised by his own move. Griffin throws a haymaker that connects to the side of Jim's head. Jim looks as if he's trying to do a cartwheel. Jim goes down, hard, onto the mat. Bl INT. QUINCY'S BAR - CONTINUOUS 81</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>Oh! And Braddock is down! A thunderous left hook from Griffin sends Braddock to the mat!</dialogue>
<scene_description>MURMURS all around. What else could be expected? Only Kevin gestures for quiet, stares at the radio.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING</stage_direction>
<scene_description>The Ref stands over Jim.</scene_description>
<character>REF</character>
<dialogue>One ... Two ... three ...</dialogue>
<scene_description>hit. He runs the moment backwards and forwards in his mind.</scene_description>
<character>REF</character>
<dialogue>Four. .. five ... six ...</dialogue>
<scene_description>And Jim finally stands. Shaky on his feet as a new colt, blood streaming from a cut inside his mouth.</scene_description>
<character>REFEREE</character>
<dialogue>It's over, Braddock.</dialogue>
<scene_description>Jim looks over the Ref's head at Griffin. Manages a smile.</scene_description>
<character>BRADDOCK</character>
<dialogue>He don't look that bad!</dialogue>
<scene_description>The Ref shakes his head, starts to raise his hand to stop the fight. Jim puts his gloves on the Ref's arm.</scene_description>
<character>BRADDOCK</character>
<dialogue>Please. Let me go.</dialogue>
<scene_description>The Ref hesitates then steps aside. Griffin practically runs into Jim's corner. He misses Jim's head but lands a left to the body with an ugly thud. Jim gets in two jabs with the left before the BELL: No one seems more surprised than Jim.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CORNER - SECONDS LATER</stage_direction>
<scene_description>Jim's face is swelling with knots. Joe stands in front of him and pours water, which Jim spits out, puts his head down.</scene_description>
<character>JOE</character>
<dialogue>Five more rounds.</dialogue>
<character>BRADDOCK</character>
<parenthetical>(not looking up)</parenthetical>
<dialogue>I may have seen something.</dialogue>
<character>JOE</character>
<dialogue>Yeah, what? Stars.</dialogue>
<scene_description>As he looks up now, something new in his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>What if I stay up more than six rounds?</dialogue>
<scene_description>Joe shoots him a look.</scene_description>
<character>JOE</character>
<dialogue>You hang back or we don't get paid.</dialogue>
<character>JOE</character>
<dialogue>Jimmy. You just worry about not going down.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE RING - CONTINUOUS</stage_direction>
<scene_description>The Bell CLANGS. Jim moves out and Griffin is on him again. A terrible series of blows. Jim's just taking it, waiting for something. Griffin is knocking him around the ring. Jim is doing his best to dance and stay out of his way. Drawing the punches. Griffin throws another punch and Jim lands a hard left jab that pops. It halts Griffin in his tracks.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORNER - CONTINUOUS</stage_direction>
<scene_description>Joe was shadow punching, throwing his right. Looks down at his own left hand. More stunned than Griffin.</scene_description>
<character>JOE</character>
<dialogue>What the hell was that?</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>That jab just pissed Griffin off. He pounds Jim mercilessly. A series of powerful blows. Body, head, body, body, head, into the ropes. Jim can't even mount a defense, just stares at THE CLOCK, ticking down. Finally, the BELL.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - CONTINUOUS</stage_direction>
<scene_description>The crowd is riveted.</scene_description>
<character>DUNPHY (V.O)</character>
<dialogue>If ever a man was saved by the bell ...</dialogue>
</scene>
<scene>
<stage_direction>INT. THE CORNER</stage_direction>
<scene_description>Joe is kneeling in front of Jim. He sticks a towel into Jim"s mouth and it comes out with bloody flesh on it.</scene_description>
<character>JOE</character>
<dialogue>Here's an idea. If you're gonna dodge him, get out of his way.</dialogue>
<dialogue>Got him figured now. I'm gonna give him something to remember me by.</dialogue>
<character>JOE</character>
<dialogue>What? Your teeth. Just get through the round we're halfway there. Jim-</dialogue>
<scene_description>The bell CLANGS. Jim stands. Griffin stands.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING - CONTINUOUS</stage_direction>
<scene_description>And this time, Jim goes to him. Jim throws two hard rights, disengages, keeping his left down. Now Jim moves in, throws a series of rights that connect, disengages again. He is trying to provoke something. Jim makes another assault. Finally, Griffin throws one of those haymakers, opening up some. It's the same punch tha~ floored Jim earlier. This time Jim moves, hits him straight in the face with a tremendous left hook. (OVER) The CROWD shares an intake of BREATH. Griffin just stares at him, as if in shock. The moment lasts. Then Griffin goes down head first, as if his skull has suddenly filled with thoughts too heavy to hold. And he stays there. Absolute stunned silence. Sporty Lewis is frog-eyed.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - CONTINUOUS</stage_direction>
<character>DUNPHY</character>
<dialogue>This is unbelievable! Corn Griffin, the number 2 contender in the world, has been knocked out by Jim Braddock in the 3rd round!</dialogue>
<scene_description>Quincy's is utter MAYHEM. In the center of it all, Kevin can't help but grin, shake his head in wonder.</scene_description>
<character>KEVIN</character>
<dialogue>That a boy, Jim. That a boy.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN BOWL - LONG ISLAND CITY - NIGHT</stage_direction>
<scene_description>The Ref is holding up Jim's hand in triumph. Joe jumps onto Jim's back. The crowd is on their feet, SCREAMING. Jim, in civvies, finishes that cold hash with a spoon. Door SLAMS and whirlwind Joe blows into the room.</scene_description>
<character>JOE</character>
<dialogue>Jesus, mother and Joseph, Mary and all the saints and martyrs and Jesus, ---did I say Jesus---, where the hell did that left come from?</dialogue>
<character>BRADDOCK</character>
<dialogue>Yeah, you did. Say Jesus.</dialogue>
<scene_description>Their old easy rhythm.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(of the spoon)</parenthetical>
<dialogue>Good they invented these.</dialogue>
<character>JOE</character>
<dialogue>The left, Jimmy.</dialogue>
<character>BRADDOCK</character>
<dialogue>Ambidexterity is a useful tool for the modern man.</dialogue>
<scene_description>Jim looks at his 01tl!l left.</scene_description>
<character>BRADDOCK</character>
<dialogue>When my hand was broke. On the docks. I had to use my left to work.</dialogue>
<scene_description>Opens and closes that fist.</scene_description>
<character>BRADDOCK</character>
<dialogue>Got lucky, I guess.</dialogue>
<character>JOE</character>
<dialogue>That's something you ain't been in a long time.</dialogue>
<character>BRADDOCK</character>
<dialogue>Everybody' s due.</dialogue>
<character>JOE</character>
<dialogue>Due or not, I'll take it.</dialogue>
<scene_description>Joe pulls a thick wad of cash out of his pocket. Grins. What we got here is a man"s living wage. He peals off a bunch of bills.</scene_description>
<character>JOE (CONT'D}</character>
<dialogue>And here's the price of why your wife hates me.</dialogue>
<character>BRADDOCK</character>
<dialogue>That was on Hash. Imagine what I could have done on steak.</dialogue>
<scene_description>He hands Jim his cash.</scene_description>
<character>JOE</character>
<dialogue>Wipe your mouth. Still remember how to feed the dogs?</dialogue>
<scene_description>Joe has already put his hand on the door, turns back.</scene_description>
<character>JOE</character>
<dialogue>That was one hell a good-bye.</dialogue>
<scene_description>Joe pulls open the door to several SHOUTING reporters.</scene_description>
<character>JOE</character>
<dialogue>Here boys.</dialogue>
<character>REPORTERS</character>
<dialogue>Braddock! Jim! Braddock!</dialogue>
</scene>
<scene>
<stage_direction>INT. MSG BOWL ·· OUTSIDE THE DRESSING ROOMS - LATER</stage_direction>
<scene_description>Jim and Joe are heading down the corridor. They stop at the edge of the ring, look up at the fight that's raging. MAX BAER, the young lion of the boxing world, is 6'3', 210 beautifully proportioned pounds, handsome. He is fighting ... PRIMO CARNERA, 6'7" 270, an awesome giant and Heavyweight Champion of the World.</scene_description>
<character>JOE</character>
<parenthetical>(off Baer)</parenthetical>
<dialogue>Imagine that hitting you?</dialogue>
<character>BRADDOCK</character>
<dialogue>Hitting you, maybe.</dialogue>
<scene_description>mat with his fists. Carnera, bloody and beaten, staggers to his feet. Baer arrogantly taunts the giant.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING - CONTINUOUS</stage_direction>
<character>DUNPHY (V.O.)</character>
<dialogue>Primo Carnera has been knocked down for what has to be a record 11 times' And Max Baer struts around the ring in utter contempt of the Heavyweight Champion of the World!</dialogue>
<scene_description>Carnera's massive bulk is heaving with fatigue and shock. He pushes the Ref aside and staggers toward Baer. Baer waits, smiling, steps out from the corner and blasts Carnera off his feet. Carnera goes down and will not rise.</scene_description>
<character>JOE</character>
<dialogue>Corn Griffin was supposed to fight Baer next.</dialogue>
<scene_description>Jim and Joe can't believe their eyes. The crowd is stunned.</scene_description>
<character>JOE</character>
<dialogue>He ought to come out here and kiss you on both cheeks for saving him.</dialogue>
<scene_description>The Ref grabs Bear's hand and raises it in triumph. Jim and Joe start away.</scene_description>
<character>BRADDOCK</character>
<dialogue>Which cheeks, by the way?</dialogue>
<character>JOE</character>
<dialogue>Ass, obviously.</dialogue>
<scene_description>PUSH IN ON Sporty, near the ring, watching them go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK HOUSE - NIGHT</stage_direction>
<scene_description>Jim stands facing the front door. He hasn't touched the knob when it swings open, Mae standing to face him.</scene_description>
<character>BRADDOCK</character>
<dialogue>I won.</dialogue>
<scene_description>The kids SHOUT in triumph behind her. Mae just stands there, entirely unsure what to say. Jim is staring in awe at the piece of raw meat that Rosemarie is holding up to him.</scene_description>
<character>ROSEMARIE</character>
<dialogue>Put it on your eyes.</dialogue>
<character>BRADDOCK</character>
<dialogue>Where in the world did you get this?</dialogue>
<parenthetical>(to Mae)</parenthetical>
<dialogue>We don't have money for ...</dialogue>
<character>MAE</character>
<dialogue>They snuck off, which we had a long talk about.</dialogue>
<parenthetical>(scowls at Rosemarie)</parenthetical>
<dialogue>I tried to take it back, but the Butcher said he gave it to her.</dialogue>
<character>ROSEMARIE</character>
<dialogue>It's Sher-loin. For your face.</dialogue>
<parenthetical>(a tiny Mae)</parenthetical>
<dialogue>Fix you right up.</dialogue>
<character>BRADDOCK</character>
<dialogue>Darling, we've got to eat this.</dialogue>
<scene_description>Jay and Howard WHOOP, fully supportive.</scene_description>
<character>ROSEMARIE</character>
<dialogue>No! You have to put it on your face.</dialogue>
<scene_description>Jim looks at the boys, sighs, sits down, tilts his head back, and lays the meat over his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>How long do I leave it on?</dialogue>
<scene_description>Mae looks at Rosemarie who shrugs that she doesn't know.</scene_description>
<character>BRADDOCK</character>
<dialogue>Oooo, I think it's working.</dialogue>
</scene>
<scene>
<stage_direction>INT. BASEMENT APARTMENT - LATER</stage_direction>
<scene_description>Mae and Jim sit at the table, the money between them. Four plates with steak juice on t:hem.</scene_description>
<character>MAE</character>
<dialogue>Joe got his blood money, I see.</dialogue>
<scene_description>a woman can say a thing?</scene_description>
<character>MAE</character>
<dialogue>Nope.</dialogue>
<scene_description>Jim smiles. There is a light in his eyes not seen lately.</scene_description>
<character>MAE</character>
<dialogue>I'll put what's left in the jar.</dialogue>
<scene_description>Jim licks the last bit of steak juice from the plate.</scene_description>
<character>BRADDOCK</character>
<dialogue>You should have seen the way he dropped. Timm-berr.</dialogue>
<scene_description>Mae is smiling at him. Everything but her eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>What?</dialogue>
<character>MAE</character>
<dialogue>It's not I'm not proud or grateful. Boxing put food on the table.</dialogue>
<scene_description>Mae takes a beat before going on. Something gathering.</scene_description>
<character>MAE</character>
<dialogue>Hard as it was, we got off easy when you broke that hand. What if something worse happened? What if you couldn't work? We're barely managing now.</dialogue>
<scene_description>She is holding his eyes.</scene_description>
<character>MAE</character>
<dialogue>We've got to protect what we have. You get hurt-. What happens to us? To the kids again? We don't have anything extra left, Jim. We don't have anything left to risk.</dialogue>
<character>BRADDOCK</character>
<dialogue>I'm not going back to it, Mae. I don't even have a license.</dialogue>
<scene_description>He starts to stack the plates. I always hated it when you'd walk out that door for a fight. He turns to her, surprised by her words.</scene_description>
<character>MAE</character>
<dialogue>Let a man beat you bloody so you could lay money on the table. Come home rich or with nothing to show but starting all over again. I guess I didn't know it then, how much I hated it when you fought. It was just our lives, just what I was used to. But I know it now. We lost something when you quit fighting. But we got something too. Something unexpected. Peace, maybe.</dialogue>
<scene_description>She touches his hand.</scene_description>
<character>MAE,</character>
<dialogue>Jim, promise 'me.</dialogue>
<character>BRADDOCK</character>
<dialogue>It was just one fight.</dialogue>
<scene_description>He heads off with the dishes. She stares after her husband.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT APARTMENT - CRACK OF DAWN</stage_direction>
<scene_description>Everyone still asleep. Jim is up, dressed. Everything hurts.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEWSSTAND - 4:30 AM</stage_direction>
<scene_description>Jim crosses the street past men coming awake, smoothing slept- in clothes, leaving their families still sleeping on stoops. The familiar NEWSBOY waves editions in the air.</scene_description>
<character>NEWSBOY</character>
<dialogue>U.S. abandons gold standard. Underdog Braddock Kayos Griffin.</dialogue>
<scene_description>Jim stands staring at the Boy a beat. Then heads on.</scene_description>
</scene>
<scene>
<stage_direction>99A EXT. DOCKS - MORNING 99A</stage_direction>
<scene_description>Jim's stands at the front of the group. By the looks of things he's not getting picked.</scene_description>
<character>JAKE</character>
<dialogue>Eighteen, nineteen, twenty ....</dialogue>
<character>JAKE</character>
<dialogue>Twenty one.</dialogue>
<scene_description>Jim closes his eyes in relief.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - MOMENTS LATER</stage_direction>
<scene_description>Jim is corning through the gates. A couple of the guys notice him as he passes. Jake to Jim.</scene_description>
<character>JAKE</character>
<dialogue>Listened in, last night.</dialogue>
<character>GUY</character>
<dialogue>Hey, Braddock, that really you?</dialogue>
<character>SECOND GUY</character>
<dialogue>Way to go.</dialogue>
<scene_description>Jake drops a newspaper on one of the containers. HEADLINE: AMAZING! BRADDOCK KO'S GRIFFIN IN 3.</scene_description>
<character>JAKE</character>
<dialogue>Didn't think I'd be seeing you back here again.</dialogue>
<character>BRADDOCK</character>
<dialogue>One night only. The purse was two fifty. We owed two thirty five.</dialogue>
<character>JAKE</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Makes you a rich man.</dialogue>
<parenthetical>(serious now)</parenthetical>
<dialogue>Good fight.</dialogue>
<scene_description>Something is stirred in these men. To come up against what you can see and beat it back. Maybe what they all wish for. Jim just nods, takes his place near Kevin on the line. The two begin working in thick silence. Finally ...</scene_description>
<character>KEVIN</character>
<dialogue>I heard your name. I couldn't even picture you.</dialogue>
<scene_description>The two keep working.</scene_description>
<character>KEVIN</character>
<dialogue>I would never have hit her.</dialogue>
<dialogue>Look, Kevin-</dialogue>
<character>KEVIN</character>
<dialogue>Don't know how I could have lived with myself if I had hit her.</dialogue>
<scene_description>Hank's silent nod is apology and gratitude at once.</scene_description>
<character>BRADDOCK</character>
<dialogue>Griffin was tough. But me, I'd watch out for your wife.</dialogue>
<character>KEVIN</character>
<dialogue>You get so angry with all of it, you got to push somewhere. I'm getting things under control.</dialogue>
<scene_description>Jim nods. Hook, haul, drop ...</scene_description>
<character>KEVIN</character>
<dialogue>Man. A night like last night. And the next day you end up back here.</dialogue>
<character>BRADDOCK</character>
<dialogue>You're good enough company.</dialogue>
<character>KEVIN</character>
<dialogue>You know what I mean.</dialogue>
<character>BRADDOCK</character>
<dialogue>Yeah. Sure I do.</dialogue>
<scene_description>Hook, haul, drop. Endless. Then ...</scene_description>
<character>KEVIN</character>
<dialogue>So, how about you talk me through that second round?</dialogue>
<scene_description>Jim, a sudden, small fire in his eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>Griffith comes out of his corner like a freight train, I swear ...</dialogue>
<scene_description>Jim is using his right hand as he TALKS. Then, with a small smile, switches back to his left. OMIT Mae and Rosemarie are heading home, wrapped butcher's paper in Mae's hand. The boys play pink-ball against the ally wall.</scene_description>
<character>MAE</character>
<dialogue>No more. Now, say it, Rosy.</dialogue>
<character>ROSEMARIE</character>
<dialogue>{a rush)</dialogue>
<scene_description>Don't trade daddy's autograph to the butcher for free meat. Mae bites back her laugh.</scene_description>
<character>MAE</character>
<dialogue>Why can't you ever listen to me?</dialogue>
<scene_description>Rosemarie thinks on it a bit.</scene_description>
<character>ROSEMARIE</character>
<parenthetical>(little kid serious)</parenthetical>
<dialogue>I don' t know .</dialogue>
<scene_description>Mae can't help but smile. Her expression quickly darkens as she sees Joe's familiar car pulling away from their house.</scene_description>
<character>MAE</character>
<dialogue>Go play with the boys.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK BACKYARD - DAY</stage_direction>
<scene_description>Jim, staring up at the trees. Mae walks out.</scene_description>
<character>MAE</character>
<dialogue>Your daughter is now a celebrity in Sam's butcher shop.</dialogue>
<scene_description>Jim turns, smiles at her. She can see it in his eyes.</scene_description>
<character>MAE</character>
<dialogue>What was he doing here, Jim?</dialogue>
<character>BRADDOCK</character>
<dialogue>Joe thinks the Commission might be willing to reverse their ruling. He thinks he can get me another fight.</dialogue>
<scene_description>Mae says nothing.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'd have to quit working, you know, get back into boxing shape.</dialogue>
<character>BRADDOCK</character>
<dialogue>He fronted us one hundred and seventy five dollars, Mae. So I could train.</dialogue>
<scene_description>Jim pulls out a wad of cash.</scene_description>
<character>BRADDOCK</character>
<dialogue>This is a second chance. I can get us out of all this.</dialogue>
<scene_description>Mae takes a long beat before speaking.</scene_description>
<character>BRADDOCK</character>
<dialogue>I can start winning again.</dialogue>
<character>MAE</character>
<dialogue>Jimmy. Please. I'm begging you.</dialogue>
<character>BRADDOCK</character>
<dialogue>I'm sorry, Mae.</dialogue>
<scene_description>The moment lasts.</scene_description>
<character>BRADDOCK</character>
<dialogue>This is what I know how to do.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PIER - NEW JERSEY - MORNING</stage_direction>
<scene_description>Mae is wearing her best, which aren't very good. She boards the ferry, pointed towards Manhattan's silver spires.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EIGHTH AVENUE - NYC - MORNING</stage_direction>
<scene_description>Mae walks the block, past a group of children on dirty knees, doing laundry in the water runoff at the curb.</scene_description>
<character>WOMAN'S VOICE (OVER)</character>
<dialogue>Go ahead you piece of shit.</dialogue>
<scene_description>Mae looks up. A WOMAN hangs out a brownstone window, SHOUTING, rage so great she seems not to know she is crying.</scene_description>
<character>WOMAN</character>
<dialogue>Go on. We don't need you.</dialogue>
<scene_description>The MAN walking away down the block is holding a small, twine tied suitcase. He doesn't even turn, back bowed by shame. HOLD on one of the children in the gutter, staring after. Mae walks up to a tall Park Avenue apartment building. Stares up the giant stone facade. She heads inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. PARK AVENUE APARTMENT BUILDING - MORNING</stage_direction>
<scene_description>Another world. Mae travels the finely papered hallway. Touches her tattered clothes self-consciously. She comes to an apartment door. Checks a scrap of paper from her purse. Matches the door number. She KNOCKS. Movement inside. Motion at the key hole. Then nothing. Just stillness beyond the portal. She KNOCKS again. Still nothing. 1-rn.E Open the goddamned door Joe. You're not going to hide in your fancy apartment and use my husband as your punching bag all over again. We're starving and you're taking him from his work and worse than that you're using his dreams just to feed yours and he can't be disappointed like that again do you hear me I won't let you. What the hell kind of man are you- That's when the door swings slightly open to reveal Joe. They stare at each other in silence.</scene_description>
<character>JOE</character>
<dialogue>I guess you better come in.</dialogue>
<scene_description>Joe opens the door. A WOMAN (LUCILLE GOULD), stands in an apartment totally empty, only high windows and wood floors. No furniture.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOULD APARTMENT - MOMENTS LATER</stage_direction>
<scene_description>Joe, Mae and Lucille sit on three folding chairs in the middle of the empty living room, sipping tea.</scene_description>
<character>JOE</character>
<dialogue>How is it?</dialogue>
<scene_description>Joe looks at his wife who nods, smiles.</scene_description>
<character>LUCILLE</character>
<dialogue>Too sweet per usual.</dialogue>
<character>JOE</character>
<dialogue>Yours?</dialogue>
<scene_description>Mae nods. She's still off balance.</scene_description>
<character>JOE</character>
<parenthetical>(gestures to the door)</parenthetical>
<dialogue>Sorry. You just don't want folks to see you down is all. Image is a lot of what you got going in my line.</dialogue>
<scene_description>He gestures to his wife.</scene_description>
<character>JOE</character>
<dialogue>Should have listened to her, just let you in in the first place.</dialogue>
<character>LUCILLE</character>
<dialogue>You should always listen to me.</dialogue>
<character>MAE'</character>
<dialogue>I didn't know. I thought ....</dialogue>
<character>JOE</character>
<dialogue>Yeah. That's the idea.</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Always keep your gloves up.</dialogue>
<scene_description>Mae realizes that's been Joe's saying all along.</scene_description>
<character>JOE</character>
<dialogue>Sold the last of it two days ago. So Jimmy could train.</dialogue>
<scene_description>It takes Mae a moment to respond.</scene_description>
<character>MAE</character>
<dialogue>Why?</dialogue>
<character>JOE</character>
<dialogue>Sometimes you see something in a fighter. You don't even know if its real, you're looking for it so bad.</dialogue>
<scene_description>Joe glances out the window.</scene_description>
<character>,JOE</character>
<dialogue>You can't have no hope at all. You got to have hope in something. I guess JimITl'J' s what I hope for.</dialogue>
<character>MAE</character>
<dialogue>This is crazy.</dialogue>
<scene_description>No argument there.</scene_description>
<character>MAE</character>
<dialogue>You don't even know if you can get him a fight, do you?</dialogue>
<character>JOE</character>
<dialogue>I'll get him a fight.</dialogue>
<scene_description>But we can see that's bravado talking.</scene_description>
<character>JOE</character>
<dialogue>He's all any of us have left, Mae.</dialogue>
<character>LUCILLE</character>
<dialogue>Honey, get us some more tea, would you?</dialogue>
<scene_description>Joe rises, smiling.</scene_description>
<character>JOE</character>
<dialogue>I know who wears the pants.</dialogue>
<scene_description>He winks, goes into the kitchen.</scene_description>
<character>LUCILLE</character>
<dialogue>Can you ever stop yours? When he sets his mind to a thing.</dialogue>
<character>MAE</character>
<dialogue>No. I wish I could. No.</dialogue>
<character>LUCILLE</character>
<dialogue>I never know who it's harder on, them or us? We have to wait for them to fix everything. But they have to do it. And everyday they feel like they're letting us down. Like they're failing us. And really it's just the world that's failed, you know?</dialogue>
<scene_description>Passing clouds dapple sunlight on wooden floors.</scene_description>
<character>MAE</character>
<dialogue>It's~ .. this is a lovely apartment.</dialogue>
<scene_description>Yes. It was. Could be again. The two sit together in silence, sipping tea.</scene_description>
</scene>
<scene>
<stage_direction>INT. JEANETTE'S GYM - DAY</stage_direction>
<scene_description>A BOXING BAG-CLOSE. Being hit. Really, really fast. (OVER) The loud RINGING beat of a tambourine.</scene_description>
<character>JOE (OVER)</character>
<dialogue>Focus.</dialogue>
<scene_description>WIDER. Jim is killing the bag. Jeanette stands behind him beating a tambourine in Jim's ears. Joe is outside the ring.</scene_description>
<character>BRADDOCK</character>
<dialogue>You get me that fight yet?</dialogue>
<character>JOE</character>
<dialogue>I tell you how to do your job?</dialogue>
<character>BRADDOCK</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jim catches the bag.</scene_description>
<character>JEANNETTE</character>
<dialogue>Now, I got me five fighters thinking it would be an honor to get their heads beaten in by you.</dialogue>
<scene_description>A few potential sparring partners stand at ringside. Big. White. Strong. Jim looks them up and down.</scene_description>
<character>BRADDOCK</character>
<dialogue>No offense, fellas.</dialogue>
<scene_description>Jim climbs out of the ring. FAVOR ,JIM as he begins looking around the gym. He's not looking at bodies. He's looking at feet. Finally, he spots a familiar pair of shoes. TILT UP to George, sparring on a mat. Fists like lightning. Moves the wind would envy. George quits to see Jim staring.</scene_description>
<character>BRADDOCK</character>
<dialogue>Him.</dialogue>
<scene_description>George looks Jim in the eyes. Then past him to Janette.</scene_description>
<character>GEORGE</character>
<dialogue>He's still gonna have to pay me even after I whup his ass.</dialogue>
</scene>
<scene>
<stage_direction>INT. JEANNETTE'S GYM - ;:,ATER</stage_direction>
<scene_description>Jim is sparring with George. Jim is fast but George is faster. That left of Jim's, now almost good as his right.</scene_description>
<character>JANETTE</character>
<dialogue>Okay, okay, you got a left, big deal, you gotta pay attention, what is it with you?</dialogue>
<scene_description>Two GIRLS stroll in, ringside. They begin a strip-tease. Jim stays focused. George takes one on the chin.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JEANETTE'S GYM - DAY</stage_direction>
<scene_description>,Jim is heading home. A perfect surrrner's day. Kids loll on parked cars. They know him.</scene_description>
<character>VOICE ( OVER)</character>
<dialogue>Braddock.</dialogue>
<scene_description>Jim turns to face a familiar figure. Kevin.</scene_description>
<character>KEVIN</character>
<dialogue>Just don't show up for work, one day? Now what kind of pal is that?</dialogue>
<scene_description>Kevin is grinning as he clasps Jim's hand.</scene_description>
<character>BRADDOCK</character>
<dialogue>How you doing, Kevin?</dialogue>
<character>KEVIN</character>
<dialogue>Had to see for myself. Jim Braddock's making a comeback. That's one for the papers.</dialogue>
<character>BRADDOCK</character>
<dialogue>Funny papers mere like it. How's Sara and the baby? You keeping up?</dialogue>
<scene_description>Kevin smiles.</scene_description>
<character>KEVIN</character>
<dialogue>I just came to say. After that day at church. I pretty much quit the hoot.ch. Guess I kind of owe you.</dialogue>
<character>BRADDOCK</character>
<dialogue>You don't owe me a thing, Kevin.</dialogue>
<dialogue>So, I mean, you ever need anything. A corner man, anything. I'd drop the rest in a second. I can pull my weight, you know that.</dialogue>
<scene_description>Something about Hank's eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>Jesus, Kevin. I'm on a stake here. I wish I could.</dialogue>
<scene_description>Jim's eyes narrow.</scene_description>
<character>BRADDOCK</character>
<dialogue>You doing okay? Whatever I can spare-</dialogue>
<character>KEVIN</character>
<dialogue>Easy, brother, T'm doing fine. Even got a few of the boys on the docks thinking a union might just be a damn good idea. Hell, we'll be the first dock with a local.</dialogue>
<character>BRADDOCK</character>
<dialogue>Kevin, you sure?</dialogue>
<character>KEVIN</character>
<dialogue>I'm here offering, son, not asking. Unless the picket lines get rough, then I'm going to come calling.</dialogue>
<character>BRADDOCK</character>
<dialogue>You can count on me, Kevin.</dialogue>
<scene_description>Kevin puts his hand on Jim's shoulder. A beat. Then he CLAPS Jim's back and heads off, SAYING something Jim doesn't catch.</scene_description>
<character>BRADDOCK</character>
<dialogue>What'd you say?</dialogue>
<scene_description>Kevin turns to Jim, eyes warm in the late day sun.</scene_description>
<character>KEVIN</character>
<dialogue>Proud of you, soldier.</dialogue>
<scene_description>lJim watches him go.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN - DAY</stage_direction>
<scene_description>Joe looks up the familiar building. Lights the stub of a cigar. A beat. He puts on his game face and heads inside. \ ............ Gould sits across the desk from Jirnrrry Johnston.</scene_description>
<character>JOHNSTON</character>
<dialogue>Now what am I going to go and do that for?</dialogue>
<character>JOE</character>
<dialogue>You saw the papers. News had to run two printings day after Braddock's fight. People are sentimental.</dialogue>
<character>JOHNSTON</character>
<dialogue>Yeah. So, tell me why I care.</dialogue>
<character>JOE</character>
<dialogue>You're still sore over the way Braddock took down Griffin, okay, fine, I can understand that. But you're on the Commission now.</dialogue>
<scene_description>Joe slips two fresh, expensive cigars from his jacket, slides one across the desk towards Johnston. And he starts to sell.</scene_description>
<character>JOE</character>
<dialogue>Lewis is your number two in line for the Championship. He already beat Braddock once in Frisco. Say you put Braddock back in the game. Set him up against Lewis. Lewis wins, you get your revenge on Braddock, your boy's got more momentum going into the Lasky fight and what happens? You make money.</dialogue>
<scene_description>Joe's words are, impossibly, coming even faster now.</scene_description>
<character>JOE</character>
<dialogue>Now say by some chance, Braddock wins, you got a sentimental favorite to go up and lose against your boy Lasky and what happens? You make money. Either way you're a richer man with Braddock back in the ring than if he's not. And we both know the name of this game ...</dialogue>
<scene_description>Joe rubs fingers to thumb, the universal sign for money.</scene_description>
<character>JOE</character>
<dialogue>And it sure as hell isn't boxing.</dialogue>
<character>JOHNSTON</character>
<dialogue>They should put your mouth in a circus.</dialogue>
<character>JOE</character>
<dialogue>Yeah. So what do you say?</dialogue>
<scene_description>Johnston lifts the cigar, turns it over in his hand. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. JEANNETTE'S GYM - DAY</stage_direction>
<scene_description>Braddock's sparring with George. Joe comes up behind him.</scene_description>
<character>JOE</character>
<dialogue>Keep your gloves up.</dialogue>
<character>BRADDOCK</character>
<dialogue>You gonna do a</dialogue>
<scene_description>striptease too?</scene_description>
<character>JOE</character>
<dialogue>I got you a fight.</dialogue>
<scene_description>That gets his attention. George takes the opening. But Jim blocks it anyway. Holds up his gloves, and George backs off.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER ROOM - SECONDS LATER</stage_direction>
<scene_description>Joe and Jim stand together. Nearly everyone else in the gym knows what's going on, all give them a wide birth.</scene_description>
<character>JOE</character>
<dialogue>You're gonna fight John Henry Lewis again.</dialogue>
<scene_description>Jim looks at him. Nods.</scene_description>
<character>BRADDOCK</character>
<dialogue>I could kiss you.</dialogue>
<character>JOE</character>
<dialogue>I'm begging you not to.</dialogue>
<scene_description>Jim takes a a beat.</scene_description>
<character>BRADDOCK</character>
<dialogue>Isn't Lewis one of Johnston's boys?</dialogue>
<character>JOE</character>
<dialogue>You let me worry about that.</dialogue>
<dialogue>No wonder ymi won' t pucker up. Bet you're all kissed out all ready.</dialogue>
<character>JOE</character>
<dialogue>I ain't gonna bullshit you. You tnow the game. Right now you're fodder. But you win one and I can get you another. Win again and things maybe start getting serious.</dialogue>
<character>BRADDOCK</character>
<dialogue>Don't talk about it. I don't like a lot of words about it.</dialogue>
<scene_description>Joe nods, Braddock heads for the door.</scene_description>
<character>JOE</character>
<dialogue>Jimmy.</dialogue>
<scene_description>Jim turns back to him. That old fire in Joe's eyes.</scene_description>
<character>JOE</character>
<dialogue>Win.</dialogue>
</scene>
<scene>
<stage_direction>INT. BUTCHER SHOP - AFTERNOON</stage_direction>
<scene_description>Sam is weighing up some ham when the bell over the door TINGLES. He peers over the counter and sees Rosemarie standing there with her two stoic bodyguards.</scene_description>
<character>ROSEMARIE</character>
<dialogue>What would it be worth to you if I could get ITI'J dad to shake your hand?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK APARTMENT - EVENING</stage_direction>
<scene_description>Jim stands out front, facing Mae in this perfect summer evening. A few city crickets SING.</scene_description>
<character>BRADDOCK</character>
<dialogue>I know this isn't what you wanted.</dialogue>
<scene_description>He looks down. Back up at her.</scene_description>
<character>BRADDOCK</character>
<dialogue>But I can't win if you're not behind me.</dialogue>
<scene_description>An endless beat. I'm always behind you. She leans in and kisses him. As Mae's face moves OUT OF FRAME Jim is hit from the other side by a hard glove. WIDEN ...</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING RING - MADISON SQUARE GARDEN - NYC - NIGHT</stage_direction>
<scene_description>A fist snaps Jim's head back with a left. Then another. Then another. WIDEN FURTHER ... JOHN HENRY LEWIS, black, at 6'1" and 190 pounds with a perfect physique, rips into Jim with a series of combinations. He's a fighter ahead of his time, fast, lethal.</scene_description>
<character>DUNPHY (OVER)</character>
<dialogue>Lewis the uncrowned heavyweight champ, having beaten Rosenbloom twice in nontitle fights, is here to repeat his Frisco performance.</dialogue>
<scene_description>His speed is dazzling. His force, impossible. But Jim is showing surprising footwork, mounting a remarkable defense.</scene_description>
<character>DUNPHY</character>
<dialogue>And beat Jim Braddock.</dialogue>
<scene_description>Jim suddenly comes in with a hard left of his own. Then another. And another. Lewis is surprised. The rule is set, no ground will be given on either side.</scene_description>
<character>INT. LEWIS CORNER - MOMENTS LATER</character>
<dialogue>Lewis is breathing hard. His COACH stands over him.</dialogue>
<character>COACH</character>
<dialogue>Come on. What are you doing? You beat this guy easy last time.</dialogue>
<character>LEWIS</character>
<dialogue>He's a different guy.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRADDOCK CORNER - SAME MOMENT</stage_direction>
<scene_description>Jim is slumped on his stool. Joe is trying to rub some life into Jim's arms.</scene_description>
<character>BRADDOCK</character>
<dialogue>Faster than I thought.</dialogue>
<dialogue>You gotta keep moving right, fast, always right, he favors the jab. Jim, you listening?</dialogue>
<character>BRADDOCK</character>
<dialogue>Yeah. I'll move fast.</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - LATER</stage_direction>
<scene_description>Jim and Lewis stand trading blow for blow. It's impossible that either man is still standing. Jim is on the aggressive. He stalks Lewis who dances away, now seems wary of Jim.</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>And they are still toe to toe, no one is giving an inch! I have never seen a fight this ferocious go on for this long!</dialogue>
<scene_description>Lewis knocks Jim back with a lethal combination. Jim throws a sudden uppercut. Lewis goes down on one knee. Jim steps back. The Ref is counting. The crowd is ROARING. Lewis gets up. The Ref waves Jim in. Jim staggers back to center ring and HAMMERS Lewis again. One, two, three jabs. Lewis can't keep his guard up. Jim goes to the body and then throws a powerful right to the head and Lewis is KNOCKED OUT OF FRAME. The crowd EXPLODES. JIM-CLOSE. Realizing he has won. His head is snapped back by a powerful white fist. WIDEN TO REVEAL ....</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - MADISON SQUARE GARDEN - NYC - 1935 - NIGHT</stage_direction>
<scene_description>Jim is now fighting Art Lasky. Lasky is moving in fast. What's dazzling about Lasky is the combination of force and endurance. Jim's landing punch after punch with no effect. After his dazzling victory against John Henry Lewis, the comeback of Jim Braddock has just hit a wall named Art Lasky. In the ninth ... Lasky has ,Jim in a corner and he is pounding bone jarring shots into Jim's ribs. Jim can't seem to find the punches before they connect. FLASH - Jim standing in the parking lot after being decommissioned. FLASH - Joe splinting Jim's wrist. FLASH - Jim sells his shoes and gloves. Jim endures a storm of punches to the head and body. (OVER) The bell CLANGS. Lasky walks to his corner with his hands raised in triumph!</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK'S CORNER - MOMENTS LATER</stage_direction>
<scene_description>A CORNERMAN works on Jim, bleeding from his nose. Jim stares up at the ceiling lights which suddenly drop towards him.</scene_description>
<character>JOE</character>
<dialogue>Where are you?</dialogue>
<scene_description>Jim looks up, the lights right where they should be.</scene_description>
<character>JOE</character>
<dialogue>Where are you?</dialogue>
<scene_description>No response. Jim's expression is dark, dazed.</scene_description>
<character>JOE</character>
<dialogue>You look like you're dreaming. What the hell are you thinking about out there? Come, on, Jim.</dialogue>
<scene_description>The WARNING BUZZER sounds. Jim gets slowly up.</scene_description>
<character>JOE</character>
<dialogue>Focus. Jim. Focus. What the hell are you even fighting for?</dialogue>
<scene_description>Jim takes a different meaning. New eyes look up at Joe.</scene_description>
<character>BRADDOCK</character>
<dialogue>... Milk.</dialogue>
<character>JOE {</character>
<dialogue>What? Shit ..</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - LATER</stage_direction>
<scene_description>Lasky has Jim in the corner again. Jim has his arms down, his elbows in tight, trying to protect his ribs.</scene_description>
<character>DUNPHY (V. 0. )</character>
<dialogue>It's like a funeral here as Art Lasky puts an end to a story that's been getling a lot of attention ...</dialogue>
<scene_description>Jim has left his hPad completely unprotected. Lasky sees his opening and connects flush on Jim's temple with an enormous right hook that makes Jim spit out his mouthpiece. The most powerful punch Lasky has. The most powerful punch most folks in the audience have ever seen. All grow silent. Jim just stands there, holding Lasky•s eyes. FLASH - Jim hooks a bale of rice. FLASH - Jim counting the meager change in his hand in front of Madison Square Garden, head bowed in shame. FLASH - Jim hooks a bale of rice. FLASH - Mae putting on sweater over sweat.er on the kids in their freezing apartment., ice on the inside of the windows. FLASH - Jim hooks a bale of rice. FLASH - Mae adding tap water to almost empty milk bottles for the kids breakfast. FLASH - Bale, after bale after bale. Jim doesn't fall. He turns, walks calmly across the ring and lifts the mouthpiece.</scene_description>
<character>DUNPHY (OVER)</character>
<dialogue>Braddock just took Lasky"s best punch and it didn't even phase him. He's showing inhuman determination.</dialogue>
<scene_description>Braddock grins, moves in on Lasky. Lasky tries to go for the clinch but Jim gives him an upper cut, won't let him in. All the punches in all the corning rounds are seen in a single flurry, hooks, dabs, clinches all one continuous bout while (OVER) DUNPHY clocks us through rapidly passing time.</scene_description>
<character>DUNPHY (OVER)</character>
<dialogue>Round thirteen ...</dialogue>
<scene_description>Jim jabs from a distance; Jim lands punches on the inside.</scene_description>
<character>DUNPHY (OVER)</character>
<dialogue>Round fifteen ...</dialogue>
<scene_description>Jim lands THUDDING rights; goes to the body; pounds the youngster against the ropes. The REF separates them, the CROWD CHEERING.</scene_description>
<character>DUNPHY (OVER)</character>
<dialogue>This is incredible. Braddock will not be denied.</dialogue>
<scene_description>Jim is on him again; a series of lethal punches sends Lasky back, ropes the only thing keeping him up. The BELL.</scene_description>
<character>BACK TO SCENE</character>
<dialogue>The crowd is on it's feet. The fighters are still in the middle of the ring.</dialogue>
<dialogue>FIND Joe looking at Jim. He offers a little bow.</dialogue>
<dialogue>FIN-n Jim looking at Joe. He winks.</dialogue>
<character>REF</character>
<dialogue>And the winner is ...</dialogue>
<scene_description>The NOISE of the crowd becomes a ROAR.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATLANTIC CITY - HOTEL ROOM - NIGHT</stage_direction>
<scene_description>The Atlantic CRASHES below giant windows. Max Baer sips pink champagne with two SHOW GIRLS. A MAN sticks his head in.</scene_description>
<character>MAN</character>
<dialogue>Max, Jim Braddock just beat Lasky.</dialogue>
<scene_description>Baer offers a slow, malevolent smile.</scene_description>
<character>BAER</character>
<dialogue>Remember that name. Because nobody else will.</dialogue>
<scene_description>\ '--- Jim faces Joe who's stripping his hands. (OVER) A KNOCK.</scene_description>
<character>JOE</character>
<dialogue>I said wait! Hounds of goddamned hell.</dialogue>
<character>BRADDOCK</character>
<dialogue>That's redundant by the way.</dialogue>
<scene_description>Joe shoots him a look, goes back to unwrapping.</scene_description>
<character>JOE</character>
<dialogue>You know what this means?</dialogue>
<character>BRADDOCK</character>
<dialogue>Don't.</dialogue>
<character>JOE</character>
<dialogue>Not that again.</dialogue>
<scene_description>Joe's eyes turn serious. (OVER) Another KNOCK.</scene_description>
<character>JOE</character>
<dialogue>That's three contenders. You're in line again.</dialogue>
<scene_description>Remember these words. So long ago. No smiles this time.</scene_description>
<character>BRADDOCK</character>
<dialogue>Don't, Joe. Don't jinx it.</dialogue>
<scene_description>He's serious. Shakes his head.</scene_description>
<character>JOE</character>
<dialogue>Like before, huh?</dialogue>
<character>BRADDOCK</character>
<dialogue>No. Last time we didn't know enough to be scared.</dialogue>
<scene_description>Joe pulls open the door to the now giant gaggle of reporters.</scene_description>
<character>128</character>
<dialogue>INT. BRADDOCK APARTMENT - NIGHT</dialogue>
<scene_description>Jim ENTERS, in his hand a dozen red roses. His smile quickly dissolves. REVERSE ANGLE. Sara sits with her baby girl, her eyes red from crying. The infant has a hacking COUGH. Kevin's gone missing. Jim walks over to Mae, away from the kids relegated to the bed, straining hard to listen.</scene_description>
<character>BRADDOCK</character>
<dialogue>How long?</dialogue>
<character>SARA</character>
<dialogue>Two days. I've been staying at my brother's since he stopped working-</dialogue>
<character>BRADDOCK</character>
<dialogue>Stopped working? When?</dialogue>
<character>SARA</character>
<dialogue>Jake cut him about a week after you left. Word got around. You know how Kevin gets. So much trouble.</dialogue>
<scene_description>She touches her baby's face, as if she sees Kevin there.</scene_description>
<character>BRADDOCK</character>
<dialogue>He said he was doing fine. That he quit drinking.</dialogue>
<character>SARA</character>
<dialogue>Kevin never quit a thing in his life.</dialogue>
<scene_description>She looks up at Jim again.</scene_description>
<character>SARA</character>
<dialogue>He was always just too damn proud to ask for anybody's help. Had to be the one to fix everything. But I made him promise he'd ask you, Jim.</dialogue>
<scene_description>The barest hint of accusation in her VOICE.</scene_description>
<character>SARA</character>
<dialogue>Didn't he come to you, Jim? That son of a bitch. Didn't he?</dialogue>
<character>BRADDOCK</character>
<dialogue>Don't know, Sara. Maybe he did.</dialogue>
<scene_description>Mae touches her arm, setting free the rest of the words. He's been sleeping nights down in the Hooversville. My brother didn't have room for both him and us. She's rocking the baby, now, maybe as much rocking herself.</scene_description>
<character>SARA</character>
<dialogue>Yesterday, he's supposed to bring money to get some syrup for the baby. He never showed up.</dialogue>
<scene_description>She's trying to keep the fear out of her VOICE.</scene_description>
<character>SARA</character>
<dialogue>Tonight, I go down to Quincy's, and he isn't there. Something's wrong, Jim. I know it. He'd never miss one of your fights. He just wouldn't.</dialogue>
<scene_description>He stares at her. Surprised by this.</scene_description>
<character>SARA</character>
<dialogue>We argue a lot, you know? But I should have known ... the way he left the last time ... how he said it.</dialogue>
<scene_description>Sara isn't even aware that she's started to cry again.</scene_description>
<character>SARA</character>
<dialogue>I give up, he says. I don't know what to go up against anymore, Sara. I just give up.</dialogue>
<character>MAE</character>
<dialogue>Baby has croup, Jim, I can hear it in his cough.</dialogue>
<scene_description>Mae glances at the cash in the rainy day jar. Jim nods.</scene_description>
<character>BRADDOCK</character>
<dialogue>You and Mae go down to the Rexall, get something to fix her up. I'll go see if I can't round up Kevin.</dialogue>
<scene_description>Jim heads towards the door.</scene_description>
<character>JAY</character>
<dialogue>Dad. Did you win?</dialogue>
<scene_description>He looks back at his son. Everyone's forgotten. Yeah. I did. He closes the door behind him. Rosemarie stares after him.</scene_description>
<character>ROSEMARIE</character>
<dialogue>It's the meat.</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK WEST - NIGHT</stage_direction>
<scene_description>As a cab pulls away in the b.g., Jim walks to the edge of the park. Here, a few men are being bustled into a horse drawn police wagon. More cops stand by on sweaty mounts. Tense air. Under their watchful eyes of the police, an odd evacuation is being concluded. The last of hundreds of sheep are being herded from the park into immense coral wagons. Braddock stares a beat. Then turns and heads into the park.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOOVERSVILLE - NIGHT</stage_direction>
<scene_description>A sea of shanty huts, many made of cardboard, stretch far as the eye can see. The whole world is lit by the flickering glow of trash can fires. Jim walks down the winding path, deeper into the park and this burning city of the damned. Hundreds of people. All men. Some wear suits and ties. Sit around broken card tables, old furniture spitting stuffing. It begins to rain. Jim approaches a MAN standing with a few others, cooking something over a trash can fire. Hard to tell exactly what.</scene_description>
<character>BRADDOCK</character>
<dialogue>Excuse me.</dialogue>
<scene_description>They look at him. Two actually tip their hats.</scene_description>
<character>MAN ONE</character>
<dialogue>Evening, sir. Offer you a bite to eat. It's fresh.</dialogue>
<scene_description>A second man reaches forward with a bottle. Jim just shakes his head, smiles.</scene_description>
<character>BRADDOCK</character>
<dialogue>Is there someone in charge?</dialogue>
<scene_description>He just looks at him, smiles. Ain't that the question of the day? The others CHUCKLE.</scene_description>
<character>MAN ONE</character>
<dialogue>Frank l'lilson. City National. What can I do you?</dialogue>
<scene_description>Jim shakes his hand.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm looking a friend of mine. Name's Kevin Wilson.</dialogue>
<character>MAN ONE</character>
<dialogue>Doesn't ring any bells. How long?</dialogue>
<character>BRADDOCK</character>
<dialogue>A few weeks. Maybe a month.</dialogue>
<character>MAN ONE</character>
<dialogue>Newest folks are on the outside. Oldest in the middle. Seniority.</dialogue>
<character>BRADDOCK</character>
<dialogue>Thanks.</dialogue>
<scene_description>Jim starts into his pocket. The Man just shakes his head.</scene_description>
<character>MAN ONE</character>
<dialogue>Don't mention it.</dialogue>
<scene_description>He turns back to the others and they continue to cook.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOOVERSVILLE - LONG NIGHT - SERIES OP DISSOLVES</stage_direction>
<scene_description>Jim walks past two open tents with red crosses on them. He looks inside. Men COUGH, their lungs wet with tuberculosis.</scene_description>
<character>BRADDOCK</character>
<dialogue>\calling)</dialogue>
<scene_description>Kevin? Kevin? DISSOLVE TO: Jim walks the meadow near the lake where a few HOOKERS sell their wares for pennies.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(calling)</parenthetical>
<dialogue>Kevin Wilson?</dialogue>
<scene_description>You can call me anything you want. She 1s perfectly beautiful. No older than twelve. DISSOLVE TO: Jim has walked deeper still, now near the fountain. More history, here, shanties in orderly rows.</scene_description>
<character>BRADDOCK</character>
<dialogue>{calling)</dialogue>
<scene_description>Kevin! Kevin! A larger FIRE burns in the distance, seemingly from the very center of the park itself. Jim heads towards the glow. DISSOLVE TO: The rain has increased as Jim closes on the blaze, still roaring despite the dowupour. Water streams off his face.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(calling)</parenthetical>
<dialogue>Kevin Wilson! Kevin!</dialogue>
<character>VOICE (OVER)</character>
<dialogue>Jim. Over here. ,Tim.</dialogue>
<scene_description>Jim spins. But it isn't Kevin at all. Just some FELLOW who looks up at him over raccoon eyes.</scene_description>
<character>FELLOW</character>
<dialogue>Braddock, right?</dialogue>
<scene_description>Jim manages a smile.</scene_description>
<character>FELLOW</character>
<dialogue>Seen you fight.</dialogue>
<scene_description>Jim looks around. He has come to Sheep's Meadow. Here men feed the immense fire, in constant battle with the rain. Many huddlers have come for the heat. But on the fire's edge, MEN are laid on make shift stretchers, others tending to thetn. The ground is torn up. Something happened here.</scene_description>
<character>BRADDOCK</character>
<parenthetical>(hardly aware)</parenthetical>
<dialogue>Hell's come to New York.</dialogue>
<character>FELLOW</character>
<dialogue>Yes, sir. That's for sure.</dialogue>
<character>FELLOW</character>
<dialogue>Cops came in and took out the sheep. Said they were getting reports we was eating them.</dialogue>
<scene_description>Braddock looks at this man, fire reflecting in his eyes.</scene_description>
<character>FELLOW</character>
<dialogue>Civilized people, wouldn't eat the sheep.</dialogue>
<scene_description>Jim looks around. This world here seems far from civilized.</scene_description>
<character>FELLOW</character>
<dialogue>Come in to clear em out. Loud, all that .... What's it called?</dialogue>
<character>BRADDOCK</character>
<dialogue>... Bleating?</dialogue>
<character>FELLOW</character>
<dialogue>A few guys got all up in arms. Got little time for politics, myself. Said flatties can't take the sheep. Said it was a point of civic pride.</dialogue>
<scene_description>Jim is looking around, at the men laying by the side of the fire. Cuts, bruises. But a few broken arms and legs too.</scene_description>
<character>FELLOW</character>
<dialogue>Cops bring more cops. On horses. Horses get spooked.</dialogue>
<scene_description>Not far away, two young MEN in white coats carry something under a sheet to a wagon marked with a red cross. A body.</scene_description>
<character>FELLOW</character>
<dialogue>You know how much force a horse's hoof comes down on you with ...</dialogue>
<scene_description>Jim looks past them, to maybe six more sheet covered bodies on the ground, now covered with ice.</scene_description>
<character>FELLOW</character>
<dialogue>More than ten tons. I'm an actuary by trade. They died fighting. Less maybe they was drunk. Hey-</dialogue>
<scene_description>Jim has moved to the bodies, begins lifting sheets in the rain, blank faces, men with nothing left, not even breath. Pal, you don't want to do that. Jim pulls away another sheet. Lightning flashes. There, below him, a familiar face. Kevin. Still as silence. HOLD on Jim as he lowers his head. Lightning flashes again.</scene_description>
</scene>
<scene>
<stage_direction>INT. MADISON SQUARE GARDEN - PRESS CONFERENCE - DAY</stage_direction>
<scene_description>Jim looks up, now seated beside Mae and Joe at a press table facing a room of REPORTERS. Bulbs FLASH. Shouted QUESTIONS.</scene_description>
<character>REPORTER</character>
<dialogue>Jim, how does it feel to be back in line for the Championship?</dialogue>
<scene_description>Jim seems to be far off for a moment. Shakes it off.</scene_description>
<character>BRADDOCK</character>
<dialogue>Well it ain't too bad, I can tell you. Except for your baked wind.</dialogue>
<scene_description>Folks LAUGH. They like him.</scene_description>
<character>REPORTER</character>
<dialogue>Are you grateful to be back in boxing?</dialogue>
<scene_description>Jim takes a beat before answering.</scene_description>
<character>BRADDOCK</character>
<dialogue>What kind of world is it, a man can shovel coal all night and not make a living wage but can get his face beat in for two hundred dollars? Think of all the people who'd give anything for a shot at that kind of cash. Am I grateful?</dialogue>
<scene_description>Jim stares at the crowd of Reporters.</scene_description>
<character>BRADDOCK</character>
<dialogue>I'm a lot of things. And I guess grateful's one of them too.</dialogue>
<character>REPORTER</character>
<dialogue>Baer says he's worried he's going to kill you in the ring. What do you say?</dialogue>
<scene_description>Jim glances at Mae, almost imperceptible. Who's Baer?</scene_description>
<character>REPORTER</character>
<dialogue>Any comment on Max's record?</dialogue>
<character>BRADDOCK</character>
<dialogue>Has he fought before? I didn't hear.</dialogue>
<character>REPORTER</character>
<dialogue>What changed, Jimmy? You couldn't win a fight for love or money. How do you explain your comeback?</dialogue>
<character>BRADDOCK</character>
<dialogue>Maybe I know what I'm fighting for, this time around.</dialogue>
<character>REPORTER</character>
<dialogue>Yeah? What's that?</dialogue>
<scene_description>Something changes in Jim's eyes as he says what follows.</scene_description>
<character>BRADDOCK</character>
<dialogue>Maybe I just got tired of the empty milk bottles.</dialogue>
<scene_description>The next VOICE comes from a familiar face. Sporty Lewis.</scene_description>
<character>SPORTY</character>
<dialogue>Mrs. Braddock. How do you feel about the fact that Max Baer has killed two men in the ring?</dialogue>
<scene_description>HOLD on Mae. The moment lasts.</scene_description>
<character>SPORTY</character>
<dialogue>Mrs. Braddock, are you scared for your husband's life?</dialogue>
<character>BRADDOCK</character>
<dialogue>She's scared for Baer is who she's scared for.</dialogue>
<scene_description>But there's no laughter in Jim's eyes as he locks on Sporty.</scene_description>
<character>JOE</character>
<dialogue>Okay, that's it boys. Save some ink for the baseball scores.</dialogue>
<scene_description>HOLD on Mae, trying to mask her anxiety. Jim and Mae are positioned in two chairs before a giant movie camera and a DIRECTOR.</scene_description>
<character>DIRECTOR</character>
<dialogue>Can you sit to the right a little, Mrs. Braddock? Closer to Jim.</dialogue>
<scene_description>Mae obliges. She looks even more like a dear in the headlights. Joe watches from the sidelines.</scene_description>
<character>DIRECTOR</character>
<dialogue>Okay, let's give this a try.</dialogue>
<scene_description>135 INT. MADISON SQUARE GARDEN - PRESS ROOM - NEWSREEL FOOTAGEl.35 Mae and Jim sit posed, their images grainy black and white.</scene_description>
<character>MAE</character>
<dialogue>We've had a lean year. But Jim's comeback's made all the-</dialogue>
<character>DIRECTOR (OVER)</character>
<dialogue>Don't look directly at the camera Mrs. Braddock-</dialogue>
<scene_description>136 INT. MADISON SQUARE GARDEN - PRESS ROOM - NEWSREEL FOOTAGEl.3 6</scene_description>
<character>MAE</character>
<dialogue>But Jim's comeback has done so much for me and the kids-</dialogue>
<character>DIRECTOR (OVER)</character>
<dialogue>Try saying comeback slower-</dialogue>
<scene_description>13 7 INT. MADISON SQUARE GARDEN - PRESS ROOM - NEWSREEL FOOTAGEl 3 7</scene_description>
<character>MAE</character>
<dialogue>I'm so proud of him and-</dialogue>
<character>DIRECTOR (OVER)</character>
<dialogue>Look at Jim and tell him how proud you are, okay? Mrs. Braddock?</dialogue>
<scene_description>Mae looks like she's barely hanging on.</scene_description>
<character>MAE</character>
<dialogue>Jimmy ...</dialogue>
<scene_description>She stands abruptly and walks to the corner. Jim is up after her, standing close, WHISPERING words of comfort.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOXING CLUB - JOHNSTON'S OFFICE - LATER</stage_direction>
<scene_description>Old wood and enough smoke to black out the noon-time sun. Joe and Jim ENTER to find Jimmy ,Johnston at his desk.</scene_description>
<character>BRADDOCK</character>
<dialogue>Boy, I hate this place.</dialogue>
<character>JOE</character>
<dialogue>Said downstairs you wanted to see us.</dialogue>
<character>JOHNSTON</character>
<dialogue>Gould . . . . Jim.</dialogue>
<scene_description>Johnston lays a Daily News on the desk, opens it to the editorial page.</scene_description>
<character>JOHNSTON</character>
<dialogue>Right here, editorial says this fight is good as murder and everyone associated with it should be hauled into court and prosecuted afterwards.</dialogue>
<scene_description>Joe says nothing.</scene_description>
<character>JOHNSTON</character>
<dialogue>So, if I'm going to promote this fight, I'm going to do it with a clean conscience.</dialogue>
<character>JOE</character>
<dialogue>You're all heart.</dialogue>
<scene_description>Johnston ignores him, looks straight at Jim.</scene_description>
<character>JOHNSTON</character>
<dialogue>You will know exactly what you're up against and my attorney Mr. Mills will witness I have done everything in my power to warn you.</dialogue>
<character>BRADDOCK</character>
<dialogue>I saw the Carnera fight.</dialogue>
<scene_description>Johnston moves to the projector, kills the lights. Mr. Mills is striped with sneaking blind light.</scene_description>
<character>JOHNSTON</character>
<dialogue>Carnera's height saved him.</dialogue>
<scene_description>He was knocked down 12 times.</scene_description>
<character>JOHNSTON</character>
<dialogue>Exactly. It would have been worse if he was shorter. Baer had to punch up to hit him which took a little off.</dialogue>
<scene_description>Johnston turns on the projector.</scene_description>
<character>JOHNSTON</character>
<dialogue>But it's not just the size, it's the style. A guy that can run, or bob and weave, he's got a little better chance of cutting the power of Baer's punches. Otherwise ...</dialogue>
<scene_description>The wall behind Johnston's desk flickers with murky images. Johnston focuses the lens we see: ON THE WALL. Max Baer fighting FRANKIE CAMPBELL.</scene_description>
<character>JOHNSTON</character>
<dialogue>That's Frankie Campbell. Stand up fighter, good jab. His style familiar, Jim? Like looking in a mirror, huh?</dialogue>
<character>JOE</character>
<dialogue>He don't need to see this.</dialogue>
<character>JOHNSTON</character>
<dialogue>You'll see it or I'm calling off the fight.</dialogue>
<scene_description>Campbell steps forward with a good left jab. Baer counters with a right, a punch with a strange and awesome power. Campbell is completely spun around and collapses. He lies on the canvas, his eyes open, a blank stare. The Ref kneels over Campbell as his corner men scramble under the ropes.</scene_description>
<character>JOHNSTON</character>
<dialogue>Killed Campbell on the spot.</dialogue>
<scene_description>Joe looks away. But Braddock is focused, stepping forward. Johnston appraises Jim, then rewinds, begins running the film again. The same death waltz on the screen.</scene_description>
<character>ON THE WALL</character>
<dialogue>Baer is fighting Campbell again. But this time as Jim steps forward, he ENTERS the screen to stand in the ring with them.</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - SAN FRANCISCO - BA.ER FIGHT</stage_direction>
<scene_description>The fight we just saw. Campbell steps forward with that jab. But this time it's color. And Jim is watching in the ring. Bear counters with his right. Campbell spins right in front of Jim then goes down at his feet. Eyes wide. The Ref and cornermen push past Jim, shoving him aside as they lean over Campbell's lifeless body.</scene_description>
<character>JOHNSTON (OVER)</character>
<dialogue>Autopsy said his brain was knocked loose from the supporting tissue.</dialogue>
<scene_description>Jim turns towards the VOICE and he is back in ...</scene_description>
</scene>
<scene>
<stage_direction>14.0 INT. BOXING CLUB - JOHNSTON'S OFFICE 140</stage_direction>
<scene_description>Johnston turns the lights back on.</scene_description>
<character>JOHNSTON</character>
<dialogue>Remember Ernie Schaff, stand up fighter, nice guy. Took one of those on the chin from Baer. Ernie was dead and didn't know it. He woke up later, got another fight, and a little pitty pat jab put him back to sleep forever. Detached brain, they said.</dialogue>
<scene_description>Johnston stares at Joe and Jim.</scene_description>
<character>JOHNSTON</character>
<dialogue>Joe? No snappy comeback.</dialogue>
<character>JOE</character>
<dialogue>Guess it ain't my skull guy's going to try and stove in.</dialogue>
<scene_description>The way Joe looks at Jim you know what he's saying; it's okay Jimmy, you don't have to take this fight. Want to think about it?</scene_description>
<character>BRADDOCK</character>
<dialogue>You think you're telling me something? Sitting there with all the cash you need to make the right choice? You think digging a bridge or working nights on the scaffolds or living in cardboard isn't likely to get a guy killed? Some guy just trying to feed his family. Only nobody's figured how to make a buck seeing if those guys are gonna die.</dialogue>
<scene_description>Jim's smile is fierce.</scene_description>
<character>BRADDOCK</character>
<dialogue>My profession. I'm more fortunate.</dialogue>
<scene_description>Jim is holding Johnston's eyes.</scene_description>
<character>BRADDOCK</character>
<dialogue>So, I guess I've thought about it all I'm going to.</dialogue>
<character>JOHNSTON</character>
<dialogue>All right then.</dialogue>
<scene_description>He hits the lights. His duty discharged. Slides a card across the table.</scene_description>
<character>JOHNSTON</character>
<dialogue>You guys eat here tonight. Take your wives. On me. We'll snap some pies on your way out. You change your mind tomorrow, least we got some good press out of it.</dialogue>
<scene_description>And with that Johnston turns and looks out the window.</scene_description>
<character>JOE</character>
<dialogue>Guess that means we're dismissed.</dialogue>
<character>JOHNSTON</character>
<parenthetical>(without turning)</parenthetical>
<dialogue>Yes. It does.</dialogue>
<scene_description>Jim reaches into his pocket, pulls out two bills and some change. Lays them on the desk.</scene_description>
<character>BRADDOCK</character>
<dialogue>It ain't a bribe.</dialogue>
<character>BRADDOCK</character>
<dialogue>Two bucks ten. I already paid back everybody else.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAGE AND TOLNERS RESTAURANT - FULTON STREET - NIGHT</stage_direction>
<scene_description>Once the hub of Brooklyn nightlife. Joe and Lucille and Jim and Mae. Dressed to the nines. Hard not to be excited.</scene_description>
<character>JOE</character>
<dialogue>Oh yes, oh yes. Fine women and fine wine, that's our due.</dialogue>
<parenthetical>(to no one in particular)</parenthetical>
<dialogue>On the way out boys, on the way out.</dialogue>
<scene_description>Lucille shoots Mae a look that says, men. Mae manages a smile, but she's tense. They head through the revolving door.</scene_description>
</scene>
<scene>
<stage_direction>INT. GAGE AND TOLNERS RESTAURANT - NIGHT</stage_direction>
<scene_description>Still the same today. Long rows of intimate wooden booths lit by oil lamps on red carpeted floors. FAVOR a waiter as he carries a tray of martinis down the red carpeted aisle and finds our four finishing their meals.</scene_description>
<character>LUCILLE</character>
<dialogue>All right, Captain Blood. Let them see the movie why don't you?</dialogue>
<scene_description>The CIGARETTE GIRL arrives with a newspaper. Apparently ordered by Joe.</scene_description>
<character>JOE</character>
<dialogue>Thanks doll. Put it on our tab. And take yourself two bits.</dialogue>
<character>BRADDOCK</character>
<dialogue>Big spender.</dialogue>
<character>JOE</character>
<dialogue>Yeah. Johnston is.</dialogue>
<scene_description>Joe opens the paper.</scene_description>
<character>JOE</character>
<dialogue>Little bird told me to check the evening edition. Let's see here.</dialogue>
<parenthetical>(reading)</parenthetical>
<character>{MORE)</character>
<dialogue>courage in our nation ...</dialogue>
<character>BRADDOCK</character>
<dialogue>Who the hell wrote that?</dialogue>
<scene_description>Joe smiles a you'll never believe it smile.</scene_description>
<character>JOE</character>
<dialogue>Sporty Lewis.</dialogue>
<character>BRADDOCK</character>
<dialogue>You're full of it.</dialogue>
<character>JOE</character>
<dialogue>Yeah. But that don't make it true.</dialogue>
<scene_description>Joe shakes the paper at Jim. Resumes reading.</scene_description>
<character>JOE</character>
<dialogue>In a land that's downtrodden, Braddock's inspirational performance is giving hope to the average American.</dialogue>
<parenthetical>(grinning)</parenthetical>
<dialogue>He's a Cinderella Man.</dialogue>
<character>BRADDOCK</character>
<dialogue>Cinderella Man? That guy really does hate me.</dialogue>
<character>MAE</character>
<dialogue>I like it. It's girly.</dialogue>
<character>BRADDOCK</character>
<dialogue>Oh, this is going to be fun.</dialogue>
<scene_description>The WAITER arrives, reaches in to clear. Mae's eyes dart upwards, catching her husband's. Unspoken code.</scene_description>
<character>MAE</character>
<dialogue>Jim.</dialogue>
<character>BRADDOCK</character>
<dialogue>Not quite done here, friend.</dialogue>
<scene_description>As he vanishes, Mae takes a stack of napkins from her bag. She begins folding up food scraps, putting them in her purse.</scene_description>
<character>JOE</character>
<dialogue>Ask me, I miss prohibition. All that button shining, just as much drinking but a lot more fun ...</dialogue>
<scene_description>front doors, heading for the bar.</scene_description>
<character>JOE</character>
<dialogue>There was this little booze foundry down on Anne Street-</dialogue>
<character>MAE</character>
<parenthetical>(off the door)</parenthetical>
<dialogue>Jimmy.</dialogue>
<scene_description>The GIRLS walking with him both are perfect in those days before that term was defined by surgery. Their escort is literally a giant. He's wearing a white fur coat, LAUGHING through bright, white teeth. Max Baer.</scene_description>
<character>BRADDOCK</character>
<dialogue>You think Johnston set it up? Few extra pies for the dailies.</dialogue>
<scene_description>Baer has spotted them. His eyes grow cold as his smile widens. He turns back to the bartender.</scene_description>
<character>,JOE</character>
<dialogue>Maybe just bad luck.</dialogue>
<character>BRADDOCK</character>
<dialogue>His or ours?</dialogue>
<character>LUCILLE</character>
<dialogue>Did you ever go to a speakeasy, Mae?</dialogue>
<scene_description>But Mae can't take her eyes off him. Huge hands. Deadly.</scene_description>
<character>BRADDOCK</character>
<dialogue>Mae ... ?</dialogue>
<character>WAITER (OVER}</character>
<dialogue>From the gentleman at the bar.</dialogue>
<scene_description>Mae looks up to see the Waiter holding a bottle of champagne.</scene_description>
<character>WAITER</character>
<dialogue>Mr. Baer said to wish you Bon Voyage.</dialogue>
<scene_description>Jim is staring at Mae. The blood has run out of her face.</scene_description>
<character>BRADDOCK</character>
<dialogue>(rising} Excuse me a second. Jimmy- But Braddock is already up. FAVOR him as he walks across to the bar. Folks notice what's going on, go quiet, watchful.</dialogue>
</scene>
<scene>
<stage_direction>INT. GAGE AND TOLLNER' S RESTAURANT - BAR - SECONDS LATER</stage_direction>
<scene_description>Jim reaches Baer who is watching him come, already rising to greet him, all broad smiles and teeth. The men shake.</scene_description>
<character>BAER</character>
<dialogue>If it ain't Cinderella Man.</dialogue>
<character>BRADDOCK</character>
<dialogue>Excuse me, Mr. Baer. You keep saying in the papers how you're gonna kill me in the ring. You're upsetting my family.</dialogue>
<scene_description>Max leans in, close, his tone unexpected.</scene_description>
<character>,</character>
<dialogue>BAER</dialogue>
<scene_description>Listen to me Braddock, I'm asking you sincerely not to take this fight. People admire you. You seem like a decent fellow. I really don't want to hurt you. Max is staring clown into Jim's eyes. He really is concerned.</scene_description>
<character>BAER</character>
<dialogue>There's no such thing as a fairy tale. It's just a name spun to find solace in other people's hardship.</dialogue>
<scene_description>That's when both of them are illuminated by photo flashes.</scene_description>
<character>VOICE'S</character>
<dialogue>Max! Jim! Max!</dialogue>
<scene_description>A FEW PHOTOGRAPHERS have rushed in from outside, now SNAPPING shots of the two. Baer disengages, suddenly all LOUD bravado.</scene_description>
<character>BAER</character>
<dialogue>You know I was thinking, smart thing would be to take a fall. Circus act's over, old roan.</dialogue>
<scene_description>Jim locks eyes with Baer. I think I'll try going a few rounds with the dancing bear.</scene_description>
<character>JOE (OVER)</character>
<dialogue>Okay ...</dialogue>
<scene_description>Joe has arrived. Mae and Lucille stand not far behind him.</scene_description>
<character>JOE</character>
<dialogue>Let's keep it in the ring.</dialogue>
<scene_description>Baer's eyes grow lethal.</scene_description>
<character>BAER</character>
<dialogue>Cinderella's a fairy tale. You should talk to him, lady. You are sure too pretty to be a widow.</dialogue>
<scene_description>The two Girls TITTER.</scene_description>
<character>JOE</character>
<parenthetical>(to Jim)</parenthetical>
<dialogue>Stay cool.</dialogue>
<character>BAER</character>
<dialogue>On second thought, maybe I can comfort you after he's gone.</dialogue>
<scene_description>Joe's on Baer like a tiny, rabid dog. One shove sends Joe to the ground. Jim is in Baer's face. The taller man grins down. A storm of flash bulbs from the photographers. The moment lasts, endless. Joe is up in an instant, between them.</scene_description>
<character>JOE</character>
<dialogue>Let it go, Jim. I'm fine.</dialogue>
<scene_description>Jim isn't moving.</scene_description>
<character>JOE</character>
<parenthetical>(ring voice)</parenthetical>
<dialogue>Let. It. Go.</dialogue>
<scene_description>A long beat. Jim steps aside. Baer LAUGHS. He and the girls turn back to the bar. Baer catches Mae's eyes. He smiles.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT APARTMENT - DAY</stage_direction>
<scene_description>Jim is with the boys. Mae is washing up in the kitchen. (demonstrating) Never take your eyes off your opponent. Always follow me.</scene_description>
<character>M.11.E</character>
<parenthetical>(not turning)</parenthetical>
<dialogue>That' s enough, now.</dialogue>
<scene_description>~rim glances up at Mae.</scene_description>
<character>JAY</character>
<dialogue>What about the left, Dad?</dialogue>
<scene_description>Howard feints a straight jab at Jay.</scene_description>
<character>HOWARD</character>
<dialogue>Like that?</dialogue>
<character>MAE</character>
<parenthetical>( shouting)</parenthetical>
<dialogue>I said that's enough.</dialogue>
<scene_description>All turn to her, stunned. She stares at them a beat.</scene_description>
<character>MAE</character>
<dialogue>No boxing in the house, no boxing out of the house. No boxing. They are going to stay in school. They are going to be lawyers or doctors, they are not going to get their skulls smashed in, do you hear?</dialogue>
<scene_description>And with that she is gone, out the back door.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK BEDROOM - NIGHT</stage_direction>
<scene_description>Mae stands with her back to him as Jim emerges.</scene_description>
<character>MAE</character>
<dialogue>All the things we lost, we couldn't do anything about.</dialogue>
<scene_description>She turns to face him.</scene_description>
<character>MAE</character>
<dialogue>I won't lose you too.</dialogue>
<scene_description>She looks at her husband. You remember what you told me Kevin said. About dreams coming true? Then that walk that you dreamed?</scene_description>
<character>BRADDOCK</character>
<dialogue>It was a coincidence.</dialogue>
<character>MAE</character>
<dialogue>I keep waking up with one. Me and the kids in a new house all taken care of by people who feel sorry for us. I even see the kitchen. It's got green wood walls. But you're dead Jim. Baer kills you.</dialogue>
<character>BRADDOCK</character>
<dialogue>It's just a dream, Mae.</dialogue>
<character>MAE</character>
<dialogue>We've got enough now. What is it, the papers? Joe? You have to show the world?</dialogue>
<scene_description>Jim just shakes his head.</scene_description>
<character>BRADDOCK</character>
<dialogue>We were down, all I'd do every second is wonder how I lost my edge, what I did wrong. So I could figure how to make it right again.</dialogue>
<character>MAE</character>
<dialogue>Jim, can't you see, maybe you never did anything wrong? Maybe it wasn't your fault? Just bad luck. It comes. Even to good people. Look around for God's sake. There aren't always reasons.</dialogue>
<scene_description>Jim takes a long beat before answering.</scene_description>
<character>BRADDOCK</character>
<dialogue>I know, Mae. I say it's the milk this time that better's my chances. Or that we're hungry, or the left. But in my heart I know it's all those things and none of them. I know I didn't deserve to lose before. And I don't deserve to win now. But I mightr win, Mae.</dialogue>
<scene_description>another chance to fight. And I have to fight. He's looking at her, trying to find the right words.</scene_description>
<character>BRADDOCK</character>
<dialogue>See I have to believe I have some say over my life. That sometimes, I can change things. If I don't ...</dialogue>
<scene_description>You can hear Kevin's name without him even saying it.</scene_description>
<character>BRADDOCK</character>
<dialogue>You're right. So much of all of it is luck. But if you lay down, how's your luck ever going to change?</dialogue>
<scene_description>He looks outside the window.</scene_description>
<character>BRADDOCK</character>
<dialogue>I know you think it's selfish. Maybe so. But it's not for Joe or the papers or anyone else.</dialogue>
<scene_description>He looks back at her, this woman, his life.</scene_description>
<character>BRADDOCK</character>
<dialogue>Not even you.</dialogue>
<scene_description>She stares at him.</scene_description>
<character>BRADDOCK</character>
<dialogue>I have to fight-</dialogue>
<character>MAE</character>
<dialogue>Jim, it's just a godamned boxing match-</dialogue>
<character>BRADDOCK</character>
<dialogue>I'm not talking about boxing.</dialogue>
<scene_description>She stares at him a long beat.</scene_description>
<character>BRADDOCK</character>
<dialogue>I need something I can come up against.</dialogue>
<character>MAE</character>
<dialogue>Jim, this isn't a fairy tale.</dialogue>
<scene_description>,Jim's smile is philosophical. Who knows, Mae? You got to figure they can't much feel like fairy tales. If you're inside of them.</scene_description>
<character>MAE</character>
<dialogue>Stop it. You lose this fight, you're going to die.</dialogue>
<scene_description>She just stares at him.</scene_description>
<character>MAE</character>
<dialogue>You train, Jim, all you want. Make a show of it for yourself, for the papers. But you find a way out of that fight. Break your hand again if you have to. But if you set foot out of this door to fight Max Baer.</dialogue>
<scene_description>Mae hold her husband's eyes.</scene_description>
<character>MAE</character>
<dialogue>I can't say I" 11 be here if you come back.</dialogue>
<scene_description>Jim stares at her.</scene_description>
<character>MAE</character>
<dialogue>I have to do something, Jim. I can't just stand by.</dialogue>
<scene_description>Jim's smile is bittersweet.</scene_description>
<character>BRADDOCK</character>
<dialogue>That's what I'm saying, Mae. That's just what I'm trying to say.</dialogue>
<scene_description>The two face each other in silent impasse.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FUNERAL - DAY</stage_direction>
<scene_description>Perfect autumn. A casket is lowered slowly into the ground. Find Mae, face wet with tears, the children at her side. Sara, infant in her arms, stands a few feet off, taking small comfort from Jim's WHISPERED words. Jim heads back to his wife and children. HOLD on Mae, staring past him, to this fatherless family's endless days ahead. Jim and George spar. Jim is wearing a flak jacket. Joe stands with Jeanette outside the ring.</scene_description>
<character>JOE</character>
<dialogue>How's he doing?</dialogue>
<character>JEANNETTE</character>
<dialogue>He's faster then he's ever been, that's for sure.</dialogue>
<scene_description>Joe says nothing. Watches Braddock a beat.</scene_description>
<character>JOE</character>
<dialogue>He's old, he's arthritic and his ribs are pure glass.</dialogue>
<scene_description>Jeanette can't help but nod. Somebody comes up, WHISPERS in Joe's ear. Joe nods.</scene_description>
<character>JOE</character>
<dialogue>Press is here~ Peal that rig off or Baer'll see you got a rib problem.</dialogue>
<scene_description>Braddock nods warily. Strips off his flak jacket.</scene_description>
<character>JEANNETTE</character>
<dialogue>They say Baer, in the ring, he's like the devil. Sees everything.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM - MORNING - LATER</stage_direction>
<scene_description>,Jim spars again with George, now no vest. A few reporters stand by the practice ring, SNAPPING pictures. George feints and lands a haymaker dead on Jim's chin. Hard.</scene_description>
<character>REPORTER</character>
<dialogue>That was Baer it would have killed him.</dialogue>
<scene_description>ON THE REPORTERS. See the knowledge of this as it clouds Sporty's face. He turns away.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK APARTMENT - DAY</stage_direction>
<scene_description>Mae stands over a newspaper spread flat on the kitchen table. Her expression is dark, closed. The door swings open and Jim ENTERS from the gym. He looks up at her. Tension here as, wordlessly, she turns to the stove. NEWSPAPER-CLOSE: WORLD Cl-Ll'\11PIONSHIP FIGHT TONIGHT. PUSH IN on the secondary headline: MANY \"JORRY FOR BRADDOCK'S LIFE. 150-152 OMIT 150-152</scene_description>
<character>I</character>
<dialogue>153 EXT. MADISON SQUARE GARDEN BOWL - LONG ISLAND CI'fY - EVEN:rul:\]</dialogue>
<scene_description>People are lining up. Many look as if they are Spending their last dime for tickets.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - EVENING</stage_direction>
<scene_description>Folks are gathering around a radio. At a table by herself, Sara sits rocking her sleeping child.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTCHER SHOP - EVENING</stage_direction>
<scene_description>Sam hangs the closed sign. Goes behind the counter, glances up at an autographed photo of Jim, turns on the radio.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - EVENING</stage_direction>
<scene_description>Jake opens the gates and folks gather around a radio he's set up on a long cord on the docks.</scene_description>
</scene>
<scene>
<stage_direction>156A INT. PARK AVENUE APARTMENT - NIGHT 156A</stage_direction>
<scene_description>Lucille wordlessly finishes straightening Joe's collar, touches his shoulders with her open palms like a kiss.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRADDOCK APARTMENT - NIGHT</stage_direction>
<scene_description>Jim stands with Mae. The kids are down the block a few feet off. She leans up and kisses him softly on the lips.</scene_description>
<character>BRADDOCK</character>
<dialogue>I can't win if you're not behind me.</dialogue>
<character>MAE</character>
<dialogue>Then don't go, Jimmy.</dialogue>
<scene_description>The moment lasts. Mae turns. Jim watches as Mae and the kids head away down the block.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIMO - NYC - DRIVING - NIGHT</stage_direction>
<scene_description>As the car pulls up to the garden, masses of people crowd the box office. Men and women. Old and young alike. Jim sits staring through his own reflection at the crowd in stunned silence. (OVER) An EXPLOSION of VOICES AND SOUND.</scene_description>
</scene>
<scene>
<stage_direction>INT. WEIGH-IN ROOM AT THE GARDEN - DAY</stage_direction>
<scene_description>The NOISE is here. Handlers, officials, reporters, photographers. Johnston watches. Max Baer is on the scales.</scene_description>
<character>OFFICIAL</character>
<dialogue>210 pounds'</dialogue>
<scene_description>Baer steps off the scales and Jim climbs on.</scene_description>
<character>OFFICIAL</character>
<dialogue>191 pounds!</dialogue>
<scene_description>Jim steps do\'m. All the fun is gone from Baer. He looks at Braddock and shakes his head.</scene_description>
<character>BAER</character>
<dialogue>How's the story go? The clock strikes midnight, the coach turns into a pumpkin, and Cinderella loses her skirt.</dialogue>
<scene_description>Baer grins at. Jim. Jim grins right back.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - NEWARK - NIGHT</stage_direction>
<scene_description>The kids spill in. Mae stands in the door facing her sister.</scene_description>
<character>MAE</character>
<dialogue>No radio, Alice.</dialogue>
<scene_description>Alice nods.</scene_description>
<character>MAE</character>
<dialogue>I'll be back soon.</dialogue>
<scene_description>Alice watches her go.</scene_description>
</scene>
<scene>
<stage_direction>INT. BAER'S DRESSING ROOM - NIGHT</stage_direction>
<scene_description>Decked out like a movie star's. Photos of Baer with various celebrities. Max glances in the mirror.</scene_description>
<character>MAX</character>
<dialogue>You get it there like I told you?</dialogue>
<scene_description>Max's manager (ERNIE GOINS) stands not far off.</scene_description>
<character>ERNIE</character>
<dialogue>Yeah.</dialogue>
<scene_description>You sure?</scene_description>
<character>ERNIE</character>
<dialogue>It's at the back gate, Max, Jeez, I checked myself.</dialogue>
<character>MAX</character>
<dialogue>That's all I can do for him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEHIND THE GARDEN - CONTINUOUS</stage_direction>
<scene_description>An AMBULANCE and CREW waiting vigil.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHURCH - DAY</stage_direction>
<scene_description>Mae walks across the church yard. People are streaming in. Odd for this time of day. Father Rorick is at the door.</scene_description>
<character>MAE</character>
<parenthetical>(puzzled)</parenthetical>
<dialogue>Father?</dialogue>
<character>FATHER RORICK</character>
<dialogue>Hello, Mae.</dialogue>
<character>MAE</character>
<dialogue>I came to pray for Jim.</dialogue>
<scene_description>He smiles at her.</scene_description>
<character>FATHER RORICK</character>
<dialogue>You too?</dialogue>
<scene_description>He pushes open the door. The church is full. Packed. Hundreds of people there in prayer.</scene_description>
<character>FATHER RORICK</character>
<dialogue>So have they.</dialogue>
<character>MAE</character>
<dialogue>I don't-</dialogue>
<scene_description>She stares at the full pews.</scene_description>
<character>FATHER RORICK</character>
<dialogue>Maybe sometimes people need to see someone do it so they can do it themselves.</dialogue>
<scene_description>Rows and rows of people, all on their knees. They think he's fighting for them. As Mae looks at the people all there for Jim. PUSH IN ON Mae as maybe, for the first time. She understands.</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S DRESSING ROOM - CONTINUOUS</stage_direction>
<scene_description>Joe is taping up Jim's hands. Jim seems far away. A heavy air permeates the room. All this is suddenly too real.</scene_description>
<character>JOE</character>
<dialogue>These last three fights. We already did great.</dialogue>
<character>BRADDOCK</character>
<dialogue>You losing faith in me, Joe?</dialogue>
<character>JOE</character>
<dialogue>Never. Not for a minute.</dialogue>
<scene_description>And we see it in his eyes. It's true. He never has.</scene_description>
<character>JOE</character>
<dialogue>Who beat Lewis?</dialogue>
<scene_description>Jim smiles. The old game.</scene_description>
<character>BRADDOCK</character>
<dialogue>That would have been me.</dialogue>
<character>JOE</character>
<dialogue>vlho whupped Lasky?</dialogue>
<character>BRADDOCK</character>
<dialogue>That one was roe too.</dialogue>
<character>JOE</character>
<dialogue>Who-</dialogue>
<scene_description>A KNOCK at the door. It opens. A small, familiar form stands there. Joe can't help but half smile.</scene_description>
<character>JOE</character>
<dialogue>I ' l l tell you that's a bet I shoulda taken-</dialogue>
<character>BRADDOCK</character>
<dialogue>Joe.</dialogue>
<scene_description>Joe looks up as Jim puts his finger to his lips. Shhh. Joe smiles. Nods slightly to Mae.</scene_description>
<character>JOE</character>
<dialogue>Scuse me a minute.</dialogue>
<scene_description>Joe slips past her. Husband and wife stand there staring at each other.</scene_description>
<character>MAE</character>
<dialogue>You can't win without me behind you.</dialogue>
<character>BRADDOCK</character>
<dialogue>That's what I keep telling you.</dialogue>
<scene_description>His eyes are shining. Maybe tears. Maybe just the light.</scene_description>
<character>MAE</character>
<dialogue>Thought it looked like rain, you know? Used what was in the jar.</dialogue>
<scene_description>She lifts a brown paper bag. Hands it to him.</scene_description>
<character>MAE</character>
<dialogue>Maybe I understand some.</dialogue>
<scene_description>He opens the package. In the bag, a new pair of boxing shoes.</scene_description>
<character>MAE</character>
<dialogue>About having to fight.</dialogue>
<scene_description>Tears are streaming down her face as he folds her in his arms.</scene_description>
<character>MAE</character>
<dialogue>See you at home, okay? Please, Jimmy. See you at home.</dialogue>
<scene_description>Brave despite her fear.</scene_description>
<character>BRADDOCK</character>
<dialogue>See you at home.</dialogue>
</scene>
<scene>
<stage_direction>INT. MSG BOWL - BEHIND THE BACK ROW - NIGHT</stage_direction>
<scene_description>As Jim emerges into the smoke of the Garden, the crowd is talking in WHISPERS. As Jim steps into the aisle, he looks around, disturbed by the quiet. What he sees haunts him. The cheap seats are filled with PEOPLE wearing their best shabby clothes. PEOPLE who look as if they could stand a good meal. PEOPLE from the street, from the basements.</scene_description>
<character>JOE</character>
<parenthetical>(stunned)</parenthetical>
<dialogue>God Almighty.</dialogue>
<scene_description>Jim is moved beyond words, begins one of the strangest walks that any boxer has ever taken into the ring. As he passes, people get to their feet and stare at him. Soon the whole Garden is on their feet, silently watching. After what feels like an eternity, someone shouts Jim's name.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S BAR - CONJINUOUS</stage_direction>
<scene_description>STATIC creeps out from the radio. Sara jumps, startled. The baby CRIES.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - CONTINUOUS</stage_direction>
<scene_description>The radio on the docks comes to life with a BUZZ.</scene_description>
</scene>
<scene>
<stage_direction>INT. FATHER RORICK'S CHURCH - CONTINUOUS</stage_direction>
<scene_description>A radio is set up in the sanctuary. Father Rorick's prayers are interrupted as his radio begins to WHINE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MADISON SQUARE GARDEN BOWL - L.I.C. - CONTINUOUS</stage_direction>
<scene_description>Those who couldn't get in crowd around speakers that SCREAM.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Alice opens the closet door to see that the children have dragged the radio into the dark, listening to the ROAR. Alice sees the desperation in their faces as they stare up at her, the VOICE on the radio trying to cut through the NOISE.</scene_description>
<character>DUNPHY IV.O.)</character>
<dialogue>I don't know if you can hear me out there. I can't hear myself. Madison Square Garden is on its feet and the noise is deafening!</dialogue>
<scene_description>Jim, nearing the ring, stunned at the EXPLOSION of HOLLERING and ST~-MPING that is going on all around him.</scene_description>
</scene>
<scene>
<stage_direction>INT. RINGSIDE - CONTINUOUS</stage_direction>
<scene_description>Dunphy is literally YELLING into the microphone!</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>We saw people lining up to buy tickets tonight who looked as if they were spending their last dollar. But they're here now, and 35,000 strong. Listen to them!</dialogue>
<scene_description>Dunphy holds up the microphone.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>Jim climbs into the ring and looks around at the crowd, clearly overwhelmed. The crowd ROARS at him.</scene_description>
</scene>
<scene>
<stage_direction>INT. MSG BOWL - BEHIND THE BACK ROW - CONTINUOUS</stage_direction>
<scene_description>Max stands listening to the ROARING crowd, a shade of jealousy darkening his face. Finally, he smiles, taps Ernie on the shoulder, and Ernie heads up the aisle.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE RING - CONTINUOUS</stage_direction>
<scene_description>A wave of respectful silence begins to roll toward the ring from the back of the Garden. Jim sees Max Baer headed toward the ring. By the time Max is halfway up the aisle, the Garden is nearly stilled again.</scene_description>
<character>AISLE - CONTINUOUS</character>
<dialogue>The silence does not bother Max. He eats it up.</dialogue>
<character>THE RING - CONTINUOUS</character>
<dialogue>By the time Max climbs into the ring, he is intense to the point of arrogance.</dialogue>
</scene>
<scene>
<stage_direction>INT. RINGSIDE - PRESS ROW - CONTINUOUS</stage_direction>
<scene_description>Sporty Lewis climbs over the feet of the other reporters. Referee JOHNNY McAVOY has the fighters and their cornermen in center ring and is finishing up their final instructions.</scene_description>
<character>MCAVOY</character>
<dialogue>want a clean fight. When I</dialogue>
<scene_description>. .. I say break, step back. And remember, protect yourself at all times' Max gives c1im an icy smile, as if he is annoyingly amused. They touch gloves. GARY, Max's cornerman, dangles a gold watch in front of Jim.</scene_description>
<character>GARY</character>
<dialogue>One minute to midnight, Cinderella!</dialogue>
<scene_description>Joe starts to hurl a response. Instead, just shakes his head.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - MOMENTS LATER</stage_direction>
<scene_description>Jim, in his corner, poised, calm. The crowd is deathly quiet.</scene_description>
<character>JOE</character>
<dialogue>Keep your gloves up, Jimmy.</dialogue>
<scene_description>Jim doesn't even smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. RINGSIDE - CONTINUOUS</stage_direction>
<scene_description>Dunphy is now almost whispering.</scene_description>
<character>DUNPHY</character>
<dialogue>Jim Braddock's rise from the soup lines to number one heavyweight contender has truly been miraculous. Now, never in all my years, have I seen the arena so quiet.</dialogue>
<scene_description>The BELL rings.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>Jim attacks, landing a hard right to Max's face that brings the crowd to their feet. Max grins from ear to ear. Jim sticks him again and this time Max clinches. \..\_. {as to a naughty child) Now, now. McAvoy separates them. Jim has good footwork going, changes direction, goes at Baer again. Baer blocks Jim's jabs by swatting them with his right like flies. Jim keeps coming and they clinch.</scene_description>
<character>BAER</character>
<dialogue>Calm down, old man. I'll let the fight go a few rounds.</dialogue>
<scene_description>The Ref separates them. Jim hits Max again, this time a right, and Max smiles with great indulgence and dances away.</scene_description>
<character>183</character>
<dialogue>INT. RINGSIDE PRESS ROW - LATER</dialogue>
<scene_description>Dunphy and the other reporters are baffled.</scene_description>
<character>DUNPHY</character>
<dialogue>A fight that no one expected to go one round has gone 2 but only because Max Baer is toying with Braddock, there is no other word for it. He's hardly thrown a punch and is laughing at Braddock's every strike.</dialogue>
<character>184</character>
<dialogue>INT. RING - MOMENTS LATER</dialogue>
<scene_description>Max moves around the ring, throwing light jabs. Max has a habit of wiping his glove on the back of his trunks after he lands a punch. It looks as if he doesn't like his opponent's sweat on it. Jim is stalking Max but to little avail. Max grooms himself between punches, making sure his trunks are straight, his hair in place. Finally Jim lands a good stiff jab and Max wobbles his legs as if he is about to go down. Jim comes after him. With shocking ferocity and speed, Max lands an explosive right to Jim's ribs that knocks the breath out of him. Jim counters and the two explode into a flurry o\_f punches, then finally clinch. Baer hits him dead in the bad ribs. By Jim's agonized look and his sharp GASP for air, it is. The BELL rings.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK'S CORNER - MOMENTS LATER</stage_direction>
<scene_description>Joe pulls on the waistband of Jim's trunks to help him breathe. Ray pours water in ,Jim's mouth but he coughs it up.</scene_description>
<character>BRADDOCK</character>
<dialogue>Air!</dialogue>
<scene_description>The WARNING BUZZER.</scene_description>
</scene>
<scene>
<stage_direction>185A INT. RING 185A</stage_direction>
<scene_description>Jim is actually controlling the round, repeatedly jabbing Max. Jim's footwork has never been quicker. Max comes at Jim, hard, but Jim slips his right, making Max look awkward and the crowd BOOS. Max is not pleased. Max clinches Jim and SMACKS him with an illegal back hand. In the b.g Joe jumps up and begins SHOUTING.</scene_description>
<character>JOE</character>
<dialogue>What the Hell, Ref? Wake up you wet son of a bitch, wake up.</dialogue>
<scene_description>But Jim is still coming, landing jabs. Max pulls Jim into a clinch and Jim slyly head butts Max. Max is pissed, throws Jim against the ropes and the crowd explodes in tremendous BOOING. Max salutes the crowd contemptuously, sticks his glove in Jim's face and grins as the round ends.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING</stage_direction>
<scene_description>(OVER) The BELL. Max has had his fun. As he moves out from his corner, he is all business. From below Jim's corner, Joe sees the look on Max's face and screams at Jim.</scene_description>
<character>JOE</character>
<dialogue>He's corning for real!</dialogue>
<scene_description>The crowd senses the change in Baer and they sweep to their feet in quiet alarm. Jim goes right at him and the two fighters explode' into a clash in the middle of the ring. They see Jim throw a good jab, only to have Max fire with the right that just misses. There is a collective intake of BREATH in the crowd.</scene_description>
<character>THE RING - CONTINUOUS</character>
<dialogue>As Max misses with the right, Jim pops him with a hard jab. Then with another. Max clinches.</dialogue>
<character>MAX</character>
<dialogue>I'm getting bored, old man.</dialogue>
<scene_description>McAvoy moves in to separate them and Baer throws Jim aside.</scene_description>
<character>MCAVOY</character>
<dialogue>Watch that!</dialogue>
<scene_description>Max lands a series of punches to the sweet spot in Jim's ribs and one below the belt.</scene_description>
<character>MCAVOY</character>
<dialogue>Keep your punches up!</dialogue>
<scene_description>Max lands a stunning combination to Jim's ribs and head. Even the ones Jim blocks knock him around with their velocity.</scene_description>
<character>MAX</character>
<parenthetical>(to McAvoy)</parenthetical>
<dialogue>That up enough?!</dialogue>
<parenthetical>(taunting Jim)</parenthetical>
<dialogue>Do something!</dialogue>
<scene_description>Jim is hurt, but manages a jab that snaps Max's head way back. Then Jim clinches. As the bell CLANGS, Max pushes the Ref out of the way, switches his momentum to the right and lands a series of combinations on Jim. Jim recovers with a powerful upper cut and left hook. Both men just stare at each other.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAX' S CORNER -- LATER</stage_direction>
<scene_description>Ernie Goins works over Max.</scene_description>
<character>ERNIE</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Don't worry about it.</scene_description>
<character>ERNIE</character>
<dialogue>Then quit screwing around.</dialogue>
<scene_description>Max gives Ernie a look that shuts him up.</scene_description>
<character>MAX</character>
<dialogue>Relax.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - LATER</stage_direction>
<scene_description>Mae has entered to find her sister and children all at the open closet door. Alice glances up, riveted but guilty.</scene_description>
<character>ROSEMARIE</character>
<dialogue>It's the cops.</dialogue>
<character>DUNPHY (V.O.)</character>
<dialogue>Braddock has fought better than anybody thougbt he could but some</dialogue>
<scene_description>would say tha t it is only because Baer has allowed it. (OVER) The BELL.</scene_description>
<character>HOWARD</character>
<dialogue>Please, Ma.</dialogue>
<scene_description>Mae stares a beat. Then she walks into the living room, unable to listen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - LATER</stage_direction>
<scene_description>The guys are all frozen and seem not to be breathing as:</scene_description>
<character>DUNPHY (V. 0.)</character>
<dialogue>Oh! What a tremendous shot by Baer, flush on Braddock's chin!</dialogue>
</scene>
<scene>
<stage_direction>INT. SAM'S BUTCHER SHOP - CONTINUOUS</stage_direction>
<scene_description>Sam is glued to the set, inches from the radio, horror flooding his face.</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>Braddock is reeling against the ropes while Baer stands like a wood chopper waiting for the tree to fall!</dialogue>
<scene_description>Jim sags against the ropes, his eyes rolling like loose cloudy marbles. But he does not go down. Baer is surprised. Finally he shrugs and moves in to clean up the mess he has made of Jim. Jim pushes off the ropes and half staggers out to meet Max. He lands a sharp jab that takes Max completely off guard. Digging all the way down in the well, Jim follows the jab with another, and another. Startled, Max steps back and wipes the blood bursting from his lip into his glove. Then, as is his habit, Max wipes his glove on his trunks. And Jim sees it. An opening. Jim steps in and nails him with an EXPLOSIVE right hand. Max staggers further back, reeling and insulted that someone would interrupt his ritual. Frustrated and angry, Max lunges with looping rights, missing again and again. And with each miss, Jim stabs Max with a jab, infuriating the Champ even more. The fighters can't hear the BELL, the crowd is so LOUD. Johnny McAvoy has to pull them apart.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRADDOCK'S CORNER - MOMENTS LATER</stage_direction>
<scene_description>Ray is working on a cut spreading beneath Jim's eye.</scene_description>
<character>JOE</character>
<dialogue>Shot almost knocked me out!</dialogue>
<character>BRADDOCK</character>
<dialogue>Wish I could hit like that.</dialogue>
<character>JOE</character>
<dialogue>He wouldn't be standing if you could!</dialogue>
<scene_description>Joe looks into Jim's eyes and at the cut on his cheek.</scene_description>
<character>JOE</character>
<dialogue>Jimmy, win, lose, or draw ...</dialogue>
<character>BRADDOCK</character>
<dialogue>Joe. Stop talking.</dialogue>
<scene_description>Joe smiles back. The WARNING BUZZER sounds.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Mae is against the wall near the closet. Listening.</scene_description>
<character>DUNPHY</character>
<dialogue>James J. Braddock coming out for the 12th round is showing this crowd what heart is all about.</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - LATER</stage_direction>
<scene_description>Max sticks his left hand into Jim's face, not to throw a punch, but so he cannot see the vicious right hand coming It's a trademark Max Baer move. But Jim has seen it. He slaps the left aside and stings Max with a jab. Max is not in any way amused. Jim moves fast, slips a Baer punch and lands two more jabs. Baer holds his arm out to Jim's face, blocking him. Jim fakes Baer and lands a couple more sharp punches. Max goes for the clinch and hits Jim in the ribs. Max backhands Jim as the Ref separates them. But Jim finds a the gap and scores two more punches.</scene_description>
</scene>
<scene>
<stage_direction>194A INT. THE CROWD - CONTINUOUS 194A</stage_direction>
<scene_description>The crowd is nearly numb with anticipation and disbelief.</scene_description>
</scene>
<scene>
<stage_direction>INT. RINGSIDE PRESS ROW - CONTINUOUS</stage_direction>
<scene_description>Even the Reporters are in shock.</scene_description>
<character>SPORTY</character>
<dialogue>Am I seeing what I'm seeing?</dialogue>
<scene_description>Sporty Lewis jumps up, a little out of control. The crowd rouses and starts SCREAMING at the ring!</scene_description>
<character>CROWD</character>
<dialogue>Braddock! Braddock!</dialogue>
<scene_description>Out of pure frustration, Max suddenly charges and hits Jim with another left way below the belt. Jim doubles up as the bell CLANGS. Joe is over the ropes, going straight for Max.</scene_description>
<character>JOE</character>
<dialogue>Why don't you just kick him in the balls, you asshole!</dialogue>
<scene_description>McAvoy intercepts Joe and hauls him, SHOUTING, back across the ring.</scene_description>
<character>JOE</character>
<dialogue>Let me have a shot at him, you son of a bitch!</dialogue>
</scene>
<scene>
<stage_direction>INT. MAX'S CORNER - CONTINUOUS</stage_direction>
<scene_description>Johnny McAvoy comes over and points at Max. Max has a cut and a knot on his head.</scene_description>
<character>MCAVOY</character>
<dialogue>That last low blow will cost you the round, Max .</dialogue>
<scene_description>Max waves him away. Ernie gets into Max's face.</scene_description>
<character>ERNIE</character>
<dialogue>You're behind. Are you listening to me? You wanna lose the goddamn championship to this fucking nobody?</dialogue>
<scene_description>Max shoves Ernie aside.</scene_description>
<character>ERNIE</character>
<dialogue>Knock him out!</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>The two boxers explode out of their corners like colliding freight trains. Baer's punches are furious, lethal.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Mae walks into the closet to stand with her family. In the fifteenth and final round they are yelling for Braddock to stay away because Baer is going for the knockout!</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOCKS - CONTINUOUS</stage_direction>
<scene_description>Everyone is breathless.</scene_description>
<character>DUNPHY (V. 0. )</character>
<dialogue>Baer is delivering the biggest punches of the fight, maybe of his life! But Braddock is not only standing, he is moving forward!</dialogue>
</scene>
<scene>
<stage_direction>INT. RINGSIDE - CONTINUOUS</stage_direction>
<scene_description>The crowd from the cheap seats has surged forward, stamping and SCREAMING, pinning Joe and everyone ringside against the edge of the canvas. Joe is YELLING his lungs out!</scene_description>
<character>JOE</character>
<dialogue>Back off, Jimmy!</dialogue>
<scene_description>Sporty Lewis and the other reporters press the ring. Dunphy is on his feet, yelling into the microphone in his hand.</scene_description>
<character>DUNPHY</character>
<dialogue>This is not boxing, folks! This is a Walloping Ballet!</dialogue>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>Jim and Max are both knotted, bloodied, and snuffing like winded horses. But who is stalking whom? Max is sailing punches, every last one of them a knockout. Except Jim is still standing. And corning with his beloved left jab. These seconds are an eternity for the two of them. There is no other place, no other time, only now, this, forever. Jim lands a series of Jabs. But he's open, only an instant, turned slightly towards the ropes. All Max needs. Max delivers a right uppercut that seems to start from below the floor. This is the blow that kills him. FACES IN THE CROWD. Frozen terror.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE DOCKS - CONTINUOUS</stage_direction>
<scene_description>They know.</scene_description>
</scene>
<scene>
<stage_direction>INT. QUINCY'S - CONTINUOUS</stage_direction>
<scene_description>Sara stares up at the silent radio. All hope gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. SAM'S BUTCHER SHOP - CONTINUOUS</stage_direction>
<scene_description>Sam SMASHES his hand on the counter, turns away.</scene_description>
</scene>
<scene>
<stage_direction>205A INT.-PARK AVENUE APARTMENT 205A</stage_direction>
<scene_description>Lucille, well dressed, breathless in her empty apartment.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - NEWARK - CONTINUOUS</stage_direction>
<scene_description>The children look up at Mae, eyes wet with terror.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>Jim's death. Frozen in time. But Jim has decided to die another day. Jim avoids the right, pivots and counters with a couple of hard lefts. As Max practically jumps onto his shoes, Jim smashes an uppercut that brings Max to his toes. They stand there in center ring as if chained together and trade punches. And someone is pulling them apart, away from the center of the world, into the madhouse that is erupting around them.</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - CONTINUOUS</stage_direction>
<character>DUNPHY ( V . 0 . )</character>
<dialogue>It's over, the fight is over, and the referee is pulling them apart!</dialogue>
<scene_description>Mae covers her mouth to stifle her SOBS of relief. Sporty Lewis yanks furiously on McAvoy's trouser leg. McAvoy tries to shake him off but Lewis won't let go.</scene_description>
<character>MCAVOY</character>
<dialogue>What?'</dialogue>
<character>SPORTY</character>
<dialogue>How'd you score it, Johnny?</dialogue>
<character>MCAVOY</character>
<dialogue>9. 4. 2 even.</dialogue>
<character>SPORTY</character>
<dialogue>Which way?!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHURCH - CONTINUOUS</stage_direction>
<scene_description>People stare at the radio in the sanctuary.</scene_description>
<character>DUNPHY (V.O.)</character>
<dialogue>The crowd, on' its feet for almost the entire fight is still standing and yelling for who they clearly believe to be the winner of this fight ...</dialogue>
</scene>
<scene>
<stage_direction>INT. CORNER - CONTINUOUS</stage_direction>
<scene_description>Jim stands in corner as Joe pulls the laces out of his gloves as Jeanette tries to stop the flow of blood from his deep cut. Joe keeps looking at the ,Judges.</scene_description>
<character>JOE</character>
<dialogue>I don't like it, Jimmy. Every time they take this long for a decision they're deciding to screw somebody.</dialogue>
<scene_description>Max suddenly appears. Joe glares at him. Max looks Jim in the eye, leans in close so he can be heard over the crowd.</scene_description>
<character>MAX</character>
<dialogue>You beat me. No matter what they say.</dialogue>
<scene_description>Jim starts to say something but Max is already walking away.</scene_description>
</scene>
<scene>
<stage_direction>INT. RINGSIDE PRESS ROW - CONTINUOUS</stage_direction>
<scene_description>Sporty Lewis is standing at the con1er of the ring. They're robbing him. The crowd starts YELLING for a decision and STAMPING on the floor until it sounds like THUNDER in the Garden.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>A silver microphone drops from the ceiling to the center of the ring. Ring Announcer, AL FAZIN, enters the ring. The NOISE of the crowd falls quickly away.</scene_description>
<character>THE CROWD - CONTINUOUS</character>
<dialogue>35,000 people standing together in gradations of light.</dialogue>
<character>RING - CONTINUOUS</character>
<dialogue>Fazin taps the microphone and the Garden is so quiet that it sounds like someone throwing rocks at the walls.</dialogue>
<character>FAZIN</character>
<dialogue>Ladies and Gentlemen! I have your decision!</dialogue>
<scene_description>Fazin squints and studies the card in his hand.</scene_description>
<character>FAZ IN</character>
<dialogue>Winner ...</dialogue>
<parenthetical>(looks at the card again)</parenthetical>
<dialogue>... and NEW Heavyweight Champion of ...</dialogue>
<scene_description>The words are drowned out by an explosion of noise!</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALICE'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Mae's SCREAM echoes down the block!</scene_description>
</scene>
<scene>
<stage_direction>INT. ALICE'S HOUSE - LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>The kids and Alice spring from the closet and hop about the living room as if on pogo sticks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTH BERGEN STREETS - CONTINUOUS</stage_direction>
<scene_description>People pour from their houses, yelling the news as SIRENS roar! EXT. 'rHE DOCKS - CONTINUOUS A bunch of very tough men are crying like babies. Quincy is pouring free beer into the rioting crowd. Sara, baby in arms, closes her eyes, spilling silent tears.</scene_description>
</scene>
<scene>
<stage_direction>217A INT. PARK AVENUE APARTMENT 217A</stage_direction>
<scene_description>Lucille walks to the window, letting night air hit her face.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH - CONTINUOUS</stage_direction>
<scene_description>Father Rorick bows his head, unable to completely hide his wry, satisfied smile. He glances skyward.</scene_description>
<character>FATHER RORICK</character>
<dialogue>Thank you.</dialogue>
</scene>
<scene>
<stage_direction>INT. RINGSIDE PRESS ROW - CONTINUOUS</stage_direction>
<scene_description>The Reporters are all pushing and shoving, trying to get out of the crowd to file their stories. Sporty Lewis sits by himself, staring up at the ring, his arms across his chest, a half smile on his lips, reliving the fight, the miracle. In no hurry to go.</scene_description>
</scene>
<scene>
<stage_direction>INT. RING - CONTINUOUS</stage_direction>
<scene_description>Max is hemmed into his corner and cannot escape through a crowd that will not go home. Joe actually grabs Johnston and hugs him, unable to help himself, bathing in this once in a lifetime moment. Jim stands in the center of the ring, his arm raised in victory, tears flowing from his eyes, but with a look on his face, as if his mind is somewhere else.</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT APARTMENT - LATER</stage_direction>
<scene_description>Jim sits in a chair with meat over his face. Rosemarie is watching closely, not allowing anyone to interfere.</scene_description>
<character>ROSEMARIE</character>
<dialogue>You have to leave it on exactly like before, okay?</dialogue>
<scene_description>Jim lifts a corner of the meat from his mouth.</scene_description>
<character>BRADDOCK</character>
<dialogue>You're just a little girl. Where do you get these ideas?</dialogue>
<character>ROSEMARIE</character>
<dialogue>It's working, isn't it?</dialogue>
<character>HOWARD</character>
<dialogue>Leave it on, Dad.</dialogue>
<character>JAY</character>
<dialogue>Yeah and then we eat it. Dad takes the first bite.</dialogue>
<character>HOWARD</character>
<dialogue>And then Mom.</dialogue>
<character>JAY</character>
<dialogue>Then me, cause I'm the oldest.</dialogue>
<scene_description>Mae scowls at her superstitious band of gypsies.</scene_description>
<character>MAE</character>
<dialogue>Oh brother ....</dialogue>
<scene_description>Mae smiles at her husband who looks at her, closes his eyes. EXT. BASEMENT APARTMENT WINDOW - CONTI!'-lclOUS See the Braddock Family in their single room. PULL BACK until the apartment window is just one dim light in city of lights.</scene_description>
<character>END CARD:</character>
<dialogue>2 YEARS LATER JIM BRADDOCK LOST THE CHAMPIONSHIP TO JOE</dialogue>
<character>LOUIS.</character>
<dialogue>BUT NOT BEFORE DECKING HIM.</dialogue>
<character>LOUIS WOULD ALWAYS CALL BRADDOCK THE MOST COURAGEOUS MAN HE</character>
<dialogue>EVER FOUGHT.</dialogue>
<character>IN HIS LAST FIGHT, BRADDOCK CAME OUT OF RETIREMENT TO FIGHT</character>
<dialogue>TOMMY' FARR, THE TOP HEAVYWEIGHT CONTE.l\JDER IN THE WORLD.</dialogue>
<character>THE AGING, ARTHRITIC, BRADDOCK WAS AGAIN A HUGE UNDERDOG.</character>
<dialogue>HE WON.</dialogue>
<character>FINAL FADE TO BLACK.</character>
</scene>
</script> | James J. Braddock is an Irish-American boxer from New Jersey, formerly a light heavyweight contender, who is forced to give up boxing after breaking his hand in the ring. This is both a relief and a burden to his wife, Mae. She cannot bring herself to watch the violence of his chosen profession, yet she knows they will not have enough income without his boxing. As the United States enters the Great Depression, Braddock does manual labor as a longshoreman to support his family, even with his injured hand. Unfortunately, he cannot get work every day. Thanks to a last-minute cancellation by another boxer, Braddock's longtime manager and friend, Joe Gould, offers him a chance to fill in for just one night and earn cash. The fight is against the number-two contender in the world, Corn Griffin. Braddock stuns the boxing experts and fans with a third-round knockout of his formidable opponent. He believes that while his right hand was broken, he became more proficient with his left hand, improving his in-ring ability. Despite Mae's objections, Braddock takes up Gould's offer to return to the ring. Mae resents this attempt by Gould to profit from her husband's dangerous livelihood, until she discovers that Gould and his wife also have been devastated by hard times. With a shot at the heavyweight championship held by Max Baer a possibility, Braddock continues to win. Out of a sense of pride, he uses a portion of his prize money to pay back money to the government given to him while unemployed. When his rags to riches story gets out, the sportswriter Damon Runyon dubs him "The Cinderella Man", and before long Braddock comes to represent the hopes and aspirations of the American public struggling with the Depression. After wins against John Henry Lewis and Art Lasky, a title fight against Baer comes his way. Braddock is a 10-to-1 underdog. Baer is so destructive that the fight's promoter, James Johnston, forces both Braddock and Gould to watch a film of Baer in action, just so he can maintain later that he warned them what Braddock was up against, as Baer had reportedly killed 2 men in the ring. Braddock demonstrates no fear. The arrogant Baer attempts to intimidate him, even taunting Mae in public that her man might not survive. When he says this, she becomes so angry that she throws a drink at him. She is unable to attend the fight at the Madison Square Garden Bowl or even to listen to it on the radio. On June 13, 1935, in one of the greatest upsets in boxing history, Braddock defeats the seemingly invincible Baer to become the heavyweight champion of the world. An epilogue reveals that Braddock would lose his title to Joe Louis (who would later call Braddock "the most courageous man I ever fought") and later worked on the building of the Verrazzano Bridge, owning and operating heavy machinery on the docks where he worked during the Depression, and that he and Mae used his boxing income to buy a house, where they spent the rest of their lives. |
Fantastic Beasts: The Crimes of Grindelwald_2018 | tt4123430 | <script>
<scene>
<scene_description>Written by J.K. Rowling Directed by David Yates This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.</scene_description>
<character>FINAL SHOOTING SCRIPT</character>
<dialogue>November 16, 2017</dialogue>
<scene_description>Warner Bros. Pictures © 2016 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FOR INSTRUCTIONAL USE ONLY</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC - 1927 - NIGHT</stage_direction>
<scene_description>AERIAL SHOT: New York and MACUSA building.</scene_description>
</scene>
<scene>
<stage_direction>INT. MACUSA BASEMENT, BARE, BLACK-WALLED ROOM - NIGHT</stage_direction>
<scene_description>The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells. ABERNATHY peers in at GRINDELWALD from the corridor. A baby Chupacabra -- part lizard, part homunculus, a blood- sucking creature of the Americas -- is chained to GRINDELWALD'S chair.</scene_description>
</scene>
<scene>
<stage_direction>INT. MACUSA, CORRIDOR BETWEEN CELLS - SHORTLY AFTER - NIGHT</stage_direction>
<scene_description>PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace toward an ominous-looking door past endless pairs of guards.</scene_description>
<character>SPIELMAN</character>
<parenthetical>(Germanic)</parenthetical>
<dialogue>...you'll be glad to be rid of him, I expect.</dialogue>
<character>PICQUERY</character>
<dialogue>We'd be more than happy to keep him here in custody.</dialogue>
<character>SPIELMAN</character>
<dialogue>Six months are enough. It's time for him to answer for his crimes in Europe.</dialogue>
<scene_description>As they reach the door, ABERNATHY turns and acknowledges them.</scene_description>
<character>ABERNATHY</character>
<dialogue>President Picquery, Mr. Spielman, sir. Prisoner is secured and ready to travel.</dialogue>
<scene_description>SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.</scene_description>
<character>SPIELMAN</character>
<dialogue>You've thrown everything at him, I see.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PICQUERY</character>
<dialogue>It was necessary. He's extremely powerful. We've had to change his guard three times -- he's very... persuasive. So we removed his tongue.</dialogue>
</scene>
<scene>
<stage_direction>INT. MACUSA CELLS - NIGHT</stage_direction>
<scene_description>Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in midair.</scene_description>
<character>PRISONERS</character>
<dialogue>Grindelwald! Grindelwald!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MACUSA ROOFTOP - MINUTES LATER - NIGHT</stage_direction>
<scene_description>A hearse-like black carriage, drawn by eight THESTRALS, waits. AURORS 1 & 2 climb into the driver's seat, the rest force GRINDELWALD inside.</scene_description>
<character>SPIELMAN</character>
<dialogue>The wizarding community worldwide owes you a great debt, Madam President.</dialogue>
<character>PICQUERY</character>
<dialogue>Do not underestimate him.</dialogue>
<scene_description>ABERNATHY approaches them.</scene_description>
<character>ABERNATHY</character>
<dialogue>Mr. Spielman, we found his wand hidden away.</dialogue>
<scene_description>He hands over a black rectangular box.</scene_description>
<character>PICQUERY</character>
<dialogue>Abernathy?</dialogue>
<character>ABERNATHY</character>
<dialogue>And we found this.</dialogue>
<scene_description>He holds a vial of some glowing gold substance in the palm of his hand. CONTINUED: SPIELMAN reaches for the vial, which hangs on a chain, and after a moment of hesitation, ABERNATHY releases it. Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN. SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.</scene_description>
<character>AUROR 1</character>
<dialogue>Yah!</dialogue>
<scene_description>The Thestrals take off. The carriage plummets, then soars away through torrential rain. More AURORS follow on broomsticks. A beat. ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on SPIELMAN'S lap. SPIELMAN holds up the vial, dangling from its chain.</scene_description>
<character>SPIELMAN</character>
<dialogue>No more silver tongue, eh?</dialogue>
<scene_description>But GRINDELWALD is transforming...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>ABERNATHY adjusts his grip underneath the carriage. His face too is changing. His hair is turning blond and lengthening... he is GRINDELWALD. He raises the Elder Wand.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is almost complete.</scene_description>
<character>SPIELMAN</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Oh!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Now fully transformed, GRINDELWALD Disapparates from the underside of the carriage... ...and Apparates next to the driver's seat, where he is spotted by AURORS 1 & 2. GRINDELWALD points his wand at the carriage reins, turning the black ropes into living snakes that ensnare AUROR 1 so he falls from the carriage, back through the night sky, past the broomstick riders. GRINDELWALD casts another spell so the black ropes of the reins bind AUROR 2 like a chrysalis, launching him forward in the air, then slingshotting him back to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall away into darkness.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>All wands reverse their direction to jab dangerously at the necks of SPIELMAN and the two remaining AURORS. SPIELMAN watches as his wand melts into dust. The carriage rocks dangerously, both doors open. As GRINDELWALD'S head appears at the window, the panicking SPIELMAN opens the wand box on his lap. The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He wrestles it. The vial falls to the floor.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD drives the carriage down onto the Hudson River, chased by the AURORS on broomsticks. The carriage wheels graze the surface of the water. The broomstick riders are catching up. GRINDELWALD touches the Elder Wand to the river and at once the inside of the carriage begins to fill with water. He lifts the carriage back up into the air.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Submerged in the water, the two AURORS, SPIELMAN, and ABERNATHY hold their breath. SPIELMAN attempts to grab the vial, which is floating loose in the water, but the Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to capture the vial in his mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Still driving the carriage, GRINDELWALD swirls his wand in the air toward the surrounding storm clouds. One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD appears at the door and nods to ABERNATHY. He throws the door open so the water pours out -- along with the two remaining AURORS. GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You have joined a noble cause, my friend.</dialogue>
<scene_description>GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand. CONTINUED:</scene_description>
<character>GRINDELWALD</character>
<dialogue>I know. Okay. I know, Antonio.</dialogue>
<scene_description>He looks at it with distaste.</scene_description>
<character>GRINDELWALD</character>
<dialogue>So needy.</dialogue>
<scene_description>He then flings it through the door. He blasts SPIELMAN magically through the open door, then tosses a wand after him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY OVER ATLANTIC OCEAN - NIGHT</stage_direction>
<scene_description>As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm. Sinking slowly toward the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OVERCAST LONDON, WHITEHALL - THREE MONTHS LATER -</stage_direction>
<scene_description>AFTERNOON ESTABLISHING SHOT. A gloomy silence. An owl flutters down into the Ministry.</scene_description>
</scene>
<scene>
<stage_direction>INT. MINISTRY OF MAGIC - AFTERNOON</stage_direction>
<scene_description>NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly into space. After a moment, he feels something tugging on his wrist. He looks down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff. The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor. NEWT and Pickett watch it go. A beat. Then both chase after it. NEWT just gets there first. As he bends to pick it up, he finds himself confronted by a pair of female feet.</scene_description>
<character>LETA (O.S.)</character>
<dialogue>They're ready for you, Newt.</dialogue>
<scene_description>CONTINUED: He stands up. Face-to-face with LETA LESTRANGE, who is beautiful and smiling, NEWT stuffs the button and Pickett into his pocket.</scene_description>
<character>NEWT</character>
<dialogue>Leta... what are you doing here?</dialogue>
<character>LETA</character>
<dialogue>Theseus thought it would be good if I became part of the Ministry family.</dialogue>
<character>NEWT</character>
<dialogue>Did he actually say the words "Ministry family"?</dialogue>
<scene_description>She gives a little laugh. They head off along the corridor. Tension. A lot of history.</scene_description>
<character>NEWT</character>
<dialogue>That sounds like my brother.</dialogue>
<character>LETA</character>
<dialogue>Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.</dialogue>
<character>NEWT</character>
<dialogue>Well, I've been busy.</dialogue>
<character>LETA</character>
<dialogue>He's your brother, Newt, he likes spending time with you. And so do I.</dialogue>
<scene_description>NEWT spots Pickett climbing onto his lapel and holds out the breast pocket of his coat.</scene_description>
<character>NEWT</character>
<parenthetical>(to Pickett)</parenthetical>
<dialogue>Oi, you! Hop in, Pick.</dialogue>
<scene_description>Pickett snuggles down.</scene_description>
<character>LETA</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Why do strange creatures love you so much?</dialogue>
<character>NEWT</character>
<dialogue>Well, there are no strange creatures --</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>NEWT</character>
<dialogue>-- only blinkered people. LETA</dialogue>
<scene_description>-- only blinkered people. She is smiling again. NEWT reciprocates.</scene_description>
<character>LETA</character>
<dialogue>How long did you get in detention for saying that to Prendergast?</dialogue>
<character>NEWT</character>
<dialogue>You know, I think it was a month that time.</dialogue>
<character>LETA</character>
<dialogue>And I set off a Dungbomb under his desk so I could join you, do you remember?</dialogue>
<scene_description>They have come within sight of scary, official doors leading to the meeting room. THESEUS SCAMANDER emerges.</scene_description>
<character>NEWT</character>
<dialogue>No, I actually don't remember that.</dialogue>
<scene_description>Rebuffed, she comes to a halt. NEWT walks away toward THESEUS, who is very like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA before turning to NEWT.</scene_description>
<character>THESEUS</character>
<dialogue>Hello.</dialogue>
<character>LETA</character>
<dialogue>Theseus. We were just talking about Newt coming for dinner.</dialogue>
<character>THESEUS</character>
<dialogue>Really? Well... Look, before we go in there I --</dialogue>
<character>NEWT</character>
<dialogue>-- It's my fifth attempt, Theseus. I know the form.</dialogue>
<character>THESEUS</character>
<dialogue>This isn't going to be like the other times. This is... Just try and keep an open mind, will you? And maybe a little less --</dialogue>
<scene_description>A wordless gesture indicates Pickett, NEWT'S blue coat, and his messy hair.</scene_description>
<character>18</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>-- like me?</dialogue>
<character>THESEUS</character>
<parenthetical>(not without affection)</parenthetical>
<dialogue>Well, it can't hurt. Come on, let's go.</dialogue>
<character>19</character>
<dialogue>INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON</dialogue>
<scene_description>NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-spirited), ARNOLD GUZMAN (American), and RUDOLPH SPIELMAN (who is still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck) are already sitting. Two empty chairs, which NEWT and THESEUS take. The corners of the room are in darkness.</scene_description>
<character>TRAVERS</character>
<dialogue>Hearing commences.</dialogue>
<scene_description>THE QUILL begins to write. TRAVERS opens a file in front of him, which contains pictures of NEWT'S "Wanted" pictures and of the post-Obscurial devastation in New York.</scene_description>
<character>TRAVERS</character>
<dialogue>You want an end to the ban on your traveling internationally. Why?</dialogue>
<character>NEWT</character>
<dialogue>Because I like to travel internationally.</dialogue>
<character>SPIELMAN</character>
<parenthetical>(reading from his own file)</parenthetical>
<dialogue>"Subject uncooperative and evasive on reasons for last international trip."</dialogue>
<scene_description>All look at NEWT, waiting.</scene_description>
<character>NEWT</character>
<dialogue>It was a field trip. I was collecting material for my book on magical beasts --</dialogue>
<character>TRAVERS</character>
<dialogue>You destroyed half of New York.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>No, that's actually factually incorrect on two counts --</dialogue>
<character>THESEUS</character>
<parenthetical>(quiet but stern)</parenthetical>
<dialogue>Newt!</dialogue>
<scene_description>NEWT stops, frowns.</scene_description>
<character>GUZMAN</character>
<dialogue>Mr. Scamander, it's clear you're frustrated and, frankly, so are we. In the spirit of compromise, we'd like to make a proposition.</dialogue>
<scene_description>NEWT glances at THESEUS warily. THESEUS nods: Listen.</scene_description>
<character>NEWT</character>
<dialogue>What kind of proposition?</dialogue>
<character>TRAVERS</character>
<dialogue>The committee will agree to lift your travel ban under one condition.</dialogue>
<scene_description>NEWT waits. SPIELMAN leans forward.</scene_description>
<character>SPIELMAN</character>
<dialogue>You join the Ministry. Specifically, your brother's department.</dialogue>
<scene_description>NEWT digests this, then:</scene_description>
<character>NEWT</character>
<dialogue>No, I -- that isn't my kind of -- Theseus is the Auror. I think my talents lie elsewhere --</dialogue>
<character>GUZMAN</character>
<dialogue>Mr. Scamander. The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed, and for certain members of our community his message is very seductive.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>GUZMAN</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Many purebloods believe it is their birthright to rule not only our world but the non-magic world as well. They see Grindelwald as their hero, and Grindelwald sees this boy as a means to make this all come true.</dialogue>
<scene_description>Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the surface of the table.</scene_description>
<character>NEWT</character>
<dialogue>I'm sorry. You're talking about Credence as if he were still here.</dialogue>
<character>THESEUS</character>
<dialogue>He survived, Newt.</dialogue>
<scene_description>NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.</scene_description>
<character>THESEUS</character>
<dialogue>He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but --</dialogue>
<character>NEWT</character>
<dialogue>And you want me to hunt Credence down? To kill him?</dialogue>
<scene_description>Out of the shadows in the corner comes deep, nasty laughter.</scene_description>
<character>GRIMMSON</character>
<dialogue>Same old Scamander.</dialogue>
<scene_description>NEWT reacts to the sound of the voice. GRIMMSON moves into the light. Scarred, brutal, he is a beast hunter for hire.</scene_description>
<character>NEWT</character>
<parenthetical>(furious)</parenthetical>
<dialogue>What's he doing here?</dialogue>
<character>GRIMMSON</character>
<dialogue>Taking on the job you're too soft to do.</dialogue>
<scene_description>GRIMMSON walks toward them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>GRIMMSON</dialogue>
<character>CONTINUED: (3)</character>
<parenthetical>(re: CREDENCE)</parenthetical>
<dialogue>Is that it?</dialogue>
<scene_description>NEWT rises furiously, storms toward the door.</scene_description>
<character>TRAVERS</character>
<parenthetical>(calling after him)</parenthetical>
<dialogue>Travel documentation denied!</dialogue>
<scene_description>THESEUS stares at the door as it closes. The committee looks unsurprised, turns their gazes to the smirking GRIMMSON.</scene_description>
<character>20</character>
<dialogue>INT. MINISTRY OF MAGIC, CORRIDOR - AFTERNOON</dialogue>
<scene_description>THESEUS chases after NEWT.</scene_description>
<character>THESEUS</character>
<dialogue>Newt!</dialogue>
<scene_description>NEWT stops. Turns.</scene_description>
<character>THESEUS</character>
<parenthetical>(testy)</parenthetical>
<dialogue>You think I like the idea of Grimmson any more than you do?</dialogue>
<character>NEWT</character>
<dialogue>Listen, I don't want to hear how the ends justify the means, Theseus.</dialogue>
<character>THESEUS</character>
<dialogue>I think you're gonna have to pull your head out of the sand!</dialogue>
<character>NEWT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Okay, right, here we go. What a selfish... irresponsible...</dialogue>
<character>THESEUS</character>
<dialogue>You know, the time is coming when everyone's going to have to pick a side. Even you.</dialogue>
<character>NEWT</character>
<dialogue>I don't do sides.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>20</character>
<dialogue>THESEUS</dialogue>
<character>CONTINUED:</character>
<dialogue>Newt...</dialogue>
<scene_description>He turns to go, but THESEUS runs after him, grabs his arm to hold him back.</scene_description>
<character>THESEUS</character>
<parenthetical>(pulling him in for a hug)</parenthetical>
<dialogue>C'mere.</dialogue>
<scene_description>NEWT doesn't reciprocate but doesn't fight him off either.</scene_description>
<character>THESEUS</character>
<parenthetical>(in NEWT'S ear)</parenthetical>
<dialogue>They're watching you.</dialogue>
<character>21</character>
<dialogue>INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON</dialogue>
<scene_description>GRIMMSON is sitting in what was NEWT'S seat, facing the committee.</scene_description>
<character>GRIMMSON</character>
<dialogue>Well, gentlemen. I assume this means I have the job.</dialogue>
<character>22</character>
<dialogue>EXT. SKYLINE OF UPMARKET QUARTER OF PARIS - AFTERNOON</dialogue>
<character>23</character>
<dialogue>AFTERNOON</dialogue>
<character>EXT. ELEGANT STREET OF 19TH - CENTURY PARISIAN HOUSES -</character>
<dialogue>GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his cane at a particularly fine house.</dialogue>
<dialogue>A clatter announces the arrival of a horse-drawn hearse. NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female), and MACDUFF approach the front door. KRALL opens it with his wand. The ACOLYTES enter.</dialogue>
<character>PARISIAN MAN (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Chérie?</dialogue>
<character>PARISIAN WOMAN (O.S.)</character>
<parenthetical>(worried, in French)</parenthetical>
<dialogue>Qui est là?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>23</character>
<dialogue>GRINDELWALD looks around the street, calm, waiting, tapping</dialogue>
<character>CONTINUED:</character>
<dialogue>on the pavement with his cane.</dialogue>
<dialogue>We see a green flash-the Killing Curse. The door reopens. Two black coffins exit.</dialogue>
<dialogue>GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.</dialogue>
<character>24</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - AFTERNOON</dialogue>
<scene_description>GRINDELWALD surveys the elegant clutter left by the haute bourgeois family he has just murdered.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Yes. This will be suitable after a thorough cleanse.</dialogue>
<parenthetical>(to NAGEL)</parenthetical>
<dialogue>I want you to go to the circus now. Give my note to Credence, begin his journey.</dialogue>
<scene_description>NAGEL nods and leaves.</scene_description>
<character>ROSIER</character>
<dialogue>When we've won, they'll flee cities in the millions. They've had their time.</dialogue>
<character>GRINDELWALD</character>
<dialogue>We don't say such things out loud. We want only freedom. Freedom to be ourselves.</dialogue>
<character>ROSIER</character>
<dialogue>To annihilate non-wizards.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.</dialogue>
<scene_description>We hear the sound of a CHILD close at hand.</scene_description>
<character>25</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, NURSERY - AFTERNOON</dialogue>
<scene_description>GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD contemplates him for a moment, then nods at CARROW and turns to leave. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>25</character>
<dialogue>WE SEE: ANOTHER GREEN FLASH as GRINDELWALD closes the door.</dialogue>
<character>CONTINUED:</character>
<dialogue>26</dialogue>
<character>EXT. LONDON BACK STREET - EVENING</character>
<dialogue>NEWT Apparates and walks on briskly beneath an increasingly stormy sky. Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They have been playing this game for an hour.</dialogue>
<dialogue>NEWT turns a corner into a darker alleyway, peers back around the corner, and points his wand back at STEBBINS.</dialogue>
<character>NEWT</character>
<parenthetical>(sotto voce)</parenthetical>
<dialogue>Ventus.</dialogue>
<scene_description>STEBBINS is immediately caught in a hurricane for one. To the confusion and amusement of passing Muggles, his hat flies away, he is almost knocked off his feet, and cannot proceed. Smiling slightly, NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St. Paul's Cathedral, a tiny human figure raises its arm. NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it, and he and the glove Disapparate --</scene_description>
<character>27</character>
<dialogue>EXT. DOME OF ST. PAUL'S - EVENING</dialogue>
<scene_description>-- Apparating beside a dandyesque forty-five-year-old wizard with graying auburn hair and beard. NEWT hands back his glove.</scene_description>
<character>NEWT</character>
<dialogue>Dumbledore.</dialogue>
<parenthetical>(amused)</parenthetical>
<dialogue>Were the less conspicuous rooftops full, then?</dialogue>
<character>DUMBLEDORE</character>
<parenthetical>(looking out over city)</parenthetical>
<dialogue>I do enjoy a view. Nebulus.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>27</character>
<dialogue>A swirling fog descends over London.</dialogue>
<character>CONTINUED:</character>
<dialogue>They Disapparate.</dialogue>
<character>28</character>
<dialogue>EXT. TRAFALGAR SQUARE - EVENING</dialogue>
<scene_description>DUMBLEDORE and NEWT Apparate and walk on past the great stone Landseer lions. The darkening sky is becoming increasingly ominous. A flock of pigeons rises into the air at their approach.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>How was it?</dialogue>
<character>NEWT</character>
<dialogue>They're still convinced that you sent me to New York.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>You told them I didn't?</dialogue>
<character>NEWT</character>
<dialogue>Yes. Even though you did.</dialogue>
<scene_description>A beat. DUMBLEDORE inscrutable, NEWT wanting answers.</scene_description>
<character>NEWT</character>
<dialogue>You told me where to find that trafficked Thunderbird, Dumbledore. You knew that I would take him home and you knew I'd have to take him through a Muggle port.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Well, I've always felt an affinity with the great magical birds. There's a story in my family that a phoenix will come to any Dumbledore who is in desperate need. They say my great-great- grandfather had one, but that it took flight when he died, never to return.</dialogue>
<character>NEWT</character>
<dialogue>With all due respect, I don't believe for a minute that's why you told me about the Thunderbird.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>28</character>
<dialogue>A noise behind them. The silhouette of a man appears out of</dialogue>
<character>CONTINUED:</character>
<dialogue>shadows. They Disapparate --</dialogue>
<character>29</character>
<dialogue>EXT. VICTORIA BUS STATION - EVENING</dialogue>
<scene_description>Footsteps nearby. Both ready their wands, but the footsteps die away. They walk on.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumors about who he really is?</dialogue>
<character>NEWT</character>
<dialogue>No.</dialogue>
<scene_description>DUMBLEDORE and NEWT board a stationary bus.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>The purebloods think he's the last of an important French line, a baby whom everyone thought lost...</dialogue>
<scene_description>A look between them. NEWT is astonished.</scene_description>
<character>NEWT</character>
<dialogue>Not Leta's brother?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>That's what they're whispering. Pureblood or not, I know this: An Obscurus grows in the absence of love as a dark twin, an only friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found. And I rather hoped you might be the one to find him.</dialogue>
<scene_description>DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it to NEWT, who eyes it with suspicion.</scene_description>
<character>NEWT</character>
<dialogue>What's that?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>29</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<dialogue>It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.</dialogue>
<character>NEWT</character>
<dialogue>Safe house? Why would I need a safe house in Paris?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>One hopes you won't, but should things at some point go terribly wrong, it's good to have a place to go. You know, for a cup of tea.</dialogue>
<character>NEWT</character>
<dialogue>No, no, no-absolutely not.</dialogue>
<character>30</character>
<dialogue>EXT. LAMBETH BRIDGE - NIGHT</dialogue>
<scene_description>They Apparate onto a bridge.</scene_description>
<character>NEWT</character>
<dialogue>I'm banned from international travel, Dumbledore. If I leave the country, they will put me in Azkaban and throw away the key.</dialogue>
<scene_description>DUMBLEDORE stops.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Do you know why I admire you, Newt? More, perhaps, than any man I know?</dialogue>
<parenthetical>(off NEWT'S surprise)</parenthetical>
<dialogue>You don't seek power or popularity. You simply ask, is the thing right in itself? If it is, then I must do it, no matter the cost.</dialogue>
<scene_description>He walks on.</scene_description>
<character>NEWT</character>
<dialogue>That's all very well, Dumbledore, but, forgive me for asking, why can't you go?</dialogue>
<scene_description>They stop.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>I can't move against Grindelwald. It has to be you.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>30</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Well, I don't blame you, in your shoes I'd probably refuse too. It's late. Good evening, Newt.</dialogue>
<scene_description>DUMBLEDORE Disapparates.</scene_description>
<character>NEWT</character>
<dialogue>Oh c'mon!</dialogue>
<scene_description>DUMBLEDORE'S empty glove reappears and tucks the business card bearing the address of the safe house into NEWT'S top pocket.</scene_description>
<character>NEWT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Dumbledore.</dialogue>
<character>31</character>
<dialogue>EXT. NEWT'S STREET - NIGHT</dialogue>
<scene_description>ESTABLISHING SHOT: A street of ordinary yellow brick Victorian houses. First specks of rain. NEWT walks swiftly up the front steps but pauses just outside the front door. The light in his sitting room is flashing on and off.</scene_description>
<character>32</character>
<dialogue>INT. NEWT'S HOUSE - NIGHT</dialogue>
<scene_description>NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from the brass cord of a table lamp, causing the light to flicker on and off. The baby Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers away, knocking all manner of objects to the floor. NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned down by gold-colored weights it is clearly attempting to steal. As the first baby makes it to the dining table, NEWT lightly drops a saucepan on top of it, which continues moving across the table. NEWT tosses an apple into the opposite weighing scale, sending the baby Niffler flying into the air. NEWT catches both baby Nifflers as they fall, then tucks them into his pockets. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>32</character>
<dialogue>Satisfied, NEWT heads toward the door to his basement but</dialogue>
<character>CONTINUED:</character>
<dialogue>turns at the last moment to see a third escaped baby Niffler climbing onto a bottle of champagne on the counter.</dialogue>
<dialogue>With a sense of inevitability, the champagne bottle pops and the baby Niffler zooms toward NEWT on top of the cork, soaring past him and down the stairs to the basement.</dialogue>
<character>33</character>
<dialogue>INT. NEWT'S BASEMENT MENAGERIE - MOMENTS LATER - NIGHT</dialogue>
<scene_description>A gigantic hospital for magical creatures.</scene_description>
<character>NEWT</character>
<dialogue>Bunty! Bunty! Bunty, the baby Nifflers are loose again!</dialogue>
<parenthetical>(to the Nifflers)</parenthetical>
<dialogue>Oi! Oh.</dialogue>
<scene_description>BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly bandaged fingers. She tempts the last baby Niffler -- the champagne cork rider - - with a gold necklace, then tucks all three into a nest full of sparkling objects.</scene_description>
<character>NEWT</character>
<dialogue>Well done.</dialogue>
<character>BUNTY</character>
<dialogue>I'm so sorry, Newt, they must have picked the lock while I was cleaning out the Augureys --</dialogue>
<character>NEWT</character>
<dialogue>Not to worry.</dialogue>
<scene_description>NEWT and BUNTY walk together among the enclosures.</scene_description>
<character>BUNTY</character>
<dialogue>Hmm... I've fed nearly NEWT (CONT'D) everyone, Pinky's had his -- And Elsie? nose drops, and --</dialogue>
<character>BUNTY</character>
<dialogue>Elsie's droppings are nearly normal again.</dialogue>
<character>NEWT</character>
<dialogue>Wonderful. You can clock off now --</dialogue>
<parenthetical>(seeing her fingers)</parenthetical>
<dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20230910</dialogue>
<character>33</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>I told you to leave the Kelpie to me.</dialogue>
<character>BUNTY</character>
<dialogue>That wound needs more ointment-</dialogue>
<character>NEWT</character>
<dialogue>I don't want you losing fingers over it.</dialogue>
<scene_description>NEWT marches toward a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.</scene_description>
<character>NEWT</character>
<dialogue>Seriously, you go home now, Bunty. You must be exhausted.</dialogue>
<character>BUNTY</character>
<dialogue>You know the Kelpie's easier with two.</dialogue>
<scene_description>They approach the water. NEWT unhooks a bridle hanging beside the pond.</scene_description>
<character>BUNTY</character>
<parenthetical>(hopeful)</parenthetical>
<dialogue>Perhaps you should take off your shirt?</dialogue>
<character>NEWT</character>
<parenthetical>(oblivious)</parenthetical>
<dialogue>Don't worry, I'll dry off quickly enough.</dialogue>
<scene_description>NEWT smiles and jumps backward into the water. The Kelpie erupts: a gigantic, semi-spectral horse intent on drowning NEWT, who grabs it around the neck and manages to scramble onto its back as it thrashes. The Kelpie dives, taking NEWT with it. BUNTY waits, frightened. WHOOSH - NEWT bursts back out of the water and the Kelpie is bridled. Now docile, it shakes its mane. BUNTY transfixed by the sight of NEWT in his wet shirt.</scene_description>
<character>NEWT</character>
<dialogue>Someone needed to let off some steam. Ointment, Bunty?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>33</character>
<dialogue>She hands it over. Still mounted, NEWT applies ointment to a</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>wound on the Kelpie's neck.</dialogue>
<character>NEWT</character>
<dialogue>Bite Bunty again and there'll be trouble, mister.</dialogue>
<scene_description>As he dismounts, there is a crash from overhead. Both he and BUNTY look up.</scene_description>
<character>BUNTY</character>
<parenthetical>(scared)</parenthetical>
<dialogue>What was that?</dialogue>
<character>NEWT</character>
<dialogue>I don't know. But I want you to go home now, Bunty.</dialogue>
<character>BUNTY</character>
<dialogue>Shall I call the Ministry?</dialogue>
<character>NEWT</character>
<dialogue>No, I want you to go home. Please.</dialogue>
<character>34</character>
<dialogue>INT. NEWT'S STAIRCASE - A MINUTE LATER - NIGHT</dialogue>
<scene_description>NEWT climbs the stairs to his living quarters, wand drawn, curious and expecting the worst. He pushes open the door.</scene_description>
<character>35</character>
<dialogue>INT. NEWT'S SITTING ROOM - NIGHT</dialogue>
<scene_description>A spartan bachelor residence. NEWT'S real life is in the basement. JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S vase, which he has just broken.</scene_description>
<character>QUEENIE</character>
<dialogue>If you could just give it to me... Just give it to me, sweetie. Just give it to me.</dialogue>
<parenthetical>(whispering)</parenthetical>
<dialogue>If you could just give this to me, sweetheart. Oh!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>35</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<parenthetical>(looking at NEWT)</parenthetical>
<dialogue>He doesn't care. Hold it.</dialogue>
<character>NEWT</character>
<dialogue>St -- JACOB</dialogue>
<parenthetical>(bellows)</parenthetical>
<dialogue>HEY! NEWT! Get over here, you maniac.</dialogue>
<scene_description>He flings his arms around a delighted but awkward NEWT.</scene_description>
<character>QUEENIE</character>
<dialogue>We hope you don't mind, Newt? We let ourselves in -- it's raining out there -- cats and dogs! London's cold!</dialogue>
<character>NEWT</character>
<parenthetical>(to JACOB)</parenthetical>
<dialogue>But you were supposed to have been Obliviated!</dialogue>
<character>JACOB</character>
<dialogue>I know!</dialogue>
<character>NEWT</character>
<dialogue>So... But...</dialogue>
<character>JACOB</character>
<dialogue>It didn't work, pal. I mean, you said it, the potion only erases bad memories. I didn't have any. I mean, don't get me wrong, I had some weird ones. But this angel... this angel over here, she filled me in on all the bad parts, and here we are, I guess, huh?</dialogue>
<character>NEWT</character>
<parenthetical>(overjoyed)</parenthetical>
<dialogue>This is wonderful!</dialogue>
<scene_description>He looks around, sure that TINA is here too.</scene_description>
<character>NEWT</character>
<dialogue>Is... Tina? Tina?</dialogue>
<character>QUEENIE</character>
<dialogue>Oh it's just us, honey. Me and Jacob.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>35</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Oh.</dialogue>
<character>QUEENIE</character>
<parenthetical>(uncomfortable)</parenthetical>
<dialogue>Why don't I make us some dinner, huh?</dialogue>
<character>JACOB</character>
<dialogue>Yes!</dialogue>
<character>36</character>
<dialogue>INT. NEWT'S SITTING ROOM - FIVE MINUTES LATER - NIGHT</dialogue>
<scene_description>The threesome sit at a table bearing NEWT'S mismatched crockery, the atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.</scene_description>
<character>QUEENIE</character>
<dialogue>Tina and I aren't talking.</dialogue>
<character>NEWT</character>
<dialogue>Why?</dialogue>
<scene_description>JACOB'S POV: pink and hazy, as though happily drunk.</scene_description>
<character>QUEENIE</character>
<dialogue>Oh well, you know, she found out about Jacob and I seeing each other and she didn't like it, 'cause of the "law."</dialogue>
<parenthetical>(miming quotation marks)</parenthetical>
<dialogue>Not allowed to date No-Majs, not allowed to marry them. Blah, blah, blah. Well, she was all in a tizzy anyway, 'cause of you.</dialogue>
<character>NEWT</character>
<dialogue>Me?</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah, you, Newt. It was in Spellbound. Here -- I brought it for you --</dialogue>
<scene_description>She points her wand at her suitcase. A celebrity magazine zooms to her: "Spellbound: Celebrity Secrets and Spell Tips of the Stars!" On the cover, an idealized NEWT and an improbably beaming Niffler: 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>"BEAST TAMER NEWT TO WED!"</dialogue>
<character>CONTINUED:</character>
<dialogue>QUEENIE opens the magazine:</dialogue>
<dialogue>THESEUS, LETA, NEWT, and BUNTY stand side by side at his book launch.</dialogue>
<character>QUEENIE</character>
<parenthetical>(showing him)</parenthetical>
<dialogue>"Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman."</dialogue>
<character>NEWT</character>
<dialogue>No. Theseus is marrying Leta, not me.</dialogue>
<character>QUEENIE</character>
<dialogue>Oh! Oh dear... well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver.</dialogue>
<scene_description>A silence. Then, NEWT starts to notice JACOB'S state: Eating sloppily, he hums to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his hand, trying to cover.</scene_description>
<character>QUEENIE</character>
<dialogue>Anyway... We're real excited to be here, Newt. This is a -- well, it's a special trip for us. You see, Jacob and I, we're getting married.</dialogue>
<scene_description>She shows him her engagement ring. JACOB tries to toast the moment and pours beer all over his ear.</scene_description>
<character>JACOB</character>
<dialogue>I'm marrying Jacob!</dialogue>
<scene_description>Now sure he knows what's going on, NEWT glares at QUEENIE.</scene_description>
<character>NEWT (V.O.)</character>
<parenthetical>(speaking telepathically)</parenthetical>
<dialogue>You've enchanted him, haven't you?</dialogue>
<character>QUEENIE</character>
<parenthetical>(reading his mind)</parenthetical>
<dialogue>What? I have not.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Will you stop reading my mind?</dialogue>
<parenthetical>(speaking telepathically)</parenthetical>
<dialogue>Queenie, you've brought him here against his will.</dialogue>
<character>QUEENIE</character>
<dialogue>Oh, that is an outrageous accusation. Look at him. He's just happy. He's so happy!</dialogue>
<character>NEWT</character>
<parenthetical>(drawing his wand)</parenthetical>
<dialogue>Then you won't mind if I --</dialogue>
<scene_description>QUEENIE jumps up and tries to shield JACOB from him.</scene_description>
<character>QUEENIE</character>
<dialogue>Please don't!</dialogue>
<character>NEWT</character>
<dialogue>Queenie, you've got nothing to fear if he wants to get married. We can just lift the enchantment and he can tell us himself.</dialogue>
<scene_description>Several painful moments pass. At last she moves aside.</scene_description>
<character>JACOB</character>
<dialogue>What you got there? Whatchu gonna do? Whatchu gonna do with that, Mr. Scamander?</dialogue>
<character>NEWT</character>
<dialogue>Surgito.</dialogue>
<scene_description>JACOB reacts as though to a bucket of cold water. He comes back to himself and takes in his surroundings. He looks at NEWT.</scene_description>
<character>NEWT</character>
<dialogue>Congratulations on your engagement, Jacob.</dialogue>
<character>JACOB</character>
<dialogue>Wait, what?</dialogue>
<scene_description>NEWT looks at QUEENIE.</scene_description>
<character>JACOB</character>
<dialogue>Oh no.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>He realizes he has been taken against his will.</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Slowly, he gets to his feet to face QUEENIE.</dialogue>
<dialogue>She reads his mind. With a sob, she runs to close her case (several small objects, including a lipstick and a fragment of torn postcard, fall out) and flees the apartment.</dialogue>
<character>JACOB</character>
<dialogue>Queenie!</dialogue>
<parenthetical>(turning to NEWT)</parenthetical>
<dialogue>It's very nice to see you. Where the hell am I right now?</dialogue>
<character>NEWT</character>
<dialogue>Uh, uh, London.</dialogue>
<character>JACOB</character>
<parenthetical>(frustrated)</parenthetical>
<dialogue>Oh! I always wanted to go here!</dialogue>
<parenthetical>(angry)</parenthetical>
<dialogue>Queenie!</dialogue>
<scene_description>He runs after her.</scene_description>
<character>37</character>
<dialogue>EXT. NEWT'S STREET - A MINUTE LATER - NIGHT</dialogue>
<scene_description>QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB runs after her, livid.</scene_description>
<character>JACOB</character>
<dialogue>Queen, honey. Well, I'm just curious, when were you going to wake me up? After we'd had five kids?</dialogue>
<scene_description>QUEENIE turns to confront JACOB.</scene_description>
<character>QUEENIE</character>
<dialogue>Why is it wrong to want to marry you?</dialogue>
<character>JACOB</character>
<dialogue>Okay --</dialogue>
<character>QUEENIE</character>
<dialogue>To wanna have a family? I just want what everyone else has, that's all.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>37</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<dialogue>Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me marrying people like you. I ain't a wizard. I'm just me.</dialogue>
<character>QUEENIE</character>
<dialogue>They're really progressive here, and they'll let us get married properly.</dialogue>
<scene_description>QUEENIE gestures to the street.</scene_description>
<character>JACOB</character>
<dialogue>Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah?</dialogue>
<character>JACOB</character>
<dialogue>Yeah. But I can't have you risking everything like this, you know? You're not giving us a choice, sweetheart.</dialogue>
<character>QUEENIE</character>
<dialogue>You're not givin' me a choice. One of us had to be brave, and you were being a coward!</dialogue>
<character>JACOB</character>
<dialogue>I was being a coward? If I'm a coward, you're a --</dialogue>
<scene_description>She reads his mind.</scene_description>
<character>QUEENIE</character>
<dialogue>-- crazy!</dialogue>
<scene_description>She reacts. He knows she "heard" him.</scene_description>
<character>JACOB</character>
<dialogue>I didn't say it...</dialogue>
<character>QUEENIE</character>
<dialogue>You didn't have to.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>37</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>No, I didn't mean it, sweetheart.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah, you did.</dialogue>
<character>JACOB</character>
<dialogue>No.</dialogue>
<character>QUEENIE</character>
<dialogue>I'm gonna go see my sister.</dialogue>
<character>JACOB</character>
<dialogue>Fine. See your sister.</dialogue>
<character>QUEENIE</character>
<dialogue>Fine.</dialogue>
<scene_description>QUEENIE Disapparates.</scene_description>
<character>JACOB</character>
<dialogue>No, wait! No! Queenie! I didn't mean it. I didn't say nothing.</dialogue>
<scene_description>But he is alone in the street.</scene_description>
<character>38</character>
<dialogue>INT. NEWT'S HOUSE - SHORTLY AFTER - NIGHT</dialogue>
<scene_description>NEWT'S miserable gaze falls on the piece of postcard. He crosses to pick it up, then points his wand at it.</scene_description>
<character>NEWT</character>
<dialogue>Papyrus Reparo.</dialogue>
<scene_description>It reconstitutes into a whole. We see a picture of Paris. Postcard text becomes visible onscreen.</scene_description>
<character>TINA (V.O.)</character>
<dialogue>My dear Queenie, What a beautiful city. I'm thinking of you, Tina X</dialogue>
<character>39</character>
<dialogue>INT. NEWT'S BASEMENT MENAGERIE - NIGHT</dialogue>
<scene_description>CLOSE ON: JACOB as he enters, pushes open the door, stares around. Soaked through, he has been searching the streets for an hour. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>39</character>
<dialogue>NEWT is nowhere to be seen.</dialogue>
<character>CONTINUED:</character>
<dialogue>JACOB</dialogue>
<scene_description>Hey, Newt?</scene_description>
<character>NEWT (O.S.)</character>
<dialogue>Down here, Jacob. I'll be with you in a second.</dialogue>
<scene_description>JACOB starts peering into the enclosure. By the patch of dark water where the Kelpie lives, NEWT has placed a sign for BUNTY:</scene_description>
<character>BUNTY, DON'T TOUCH UNTIL I GET BACK.</character>
<dialogue>He walks on.</dialogue>
<dialogue>An Augurey caws mournfully at JACOB as he walks past.</dialogue>
<character>JACOB</character>
<dialogue>I got my own problems.</dialogue>
<character>NEWT (O.S.)</character>
<dialogue>No, no, no. Back in, please. Right, wait, wait, wait, wait.</dialogue>
<scene_description>A sign on the Augurey cage reads:</scene_description>
<character>BUNTY - DON'T FORGET TO GIVE PATRICK PELLETS.</character>
<dialogue>JACOB hears movement and changes direction, passing a snoozing griffin with a bandaged beak:</dialogue>
<character>BUNTY: CHANGE DRESSING DAILY.</character>
<dialogue>NEWT'S case sits beside the Niffler enclosure. On the inside of the lid is a large moving picture of TINA he has torn out of a newspaper.</dialogue>
<dialogue>NEWT comes round the corner wearing his coat.</dialogue>
<character>NEWT</character>
<dialogue>Queenie left a postcard. Tina's in Paris looking for Credence.</dialogue>
<character>JACOB</character>
<dialogue>Genius. Queenie's gonna go straight for Tina.</dialogue>
<parenthetical>(elated)</parenthetical>
<dialogue>Okay, we're going to France, pal! Hold on. I'll get my jacket.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>39</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>I've got it.</dialogue>
<scene_description>NEWT has already pointed his wand at the ceiling. JACOB'S coat, hat, and case drop onto the floor in front of him. JACOB is blasted with warm magical air, which dries his rain- soaked clothes.</scene_description>
<character>JACOB</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Oh. Beautiful.</dialogue>
<scene_description>They leave. We close in on the note that has appeared:</scene_description>
<character>40</character>
<dialogue>EXT. PARIS, PLACE CACHÉE - NIGHT</dialogue>
<scene_description>A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her own, more elegant and confident than in New York but carrying private sadness, walks toward the bronzed statue of a robed woman set on a tall stone base, where witches and wizards dressed as Muggles are vanishing.</scene_description>
<character>41</character>
<dialogue>EXT. PLACE CACHÉE, CIRCUS ARCANUS - NIGHT</dialogue>
<scene_description>Music, laughter, and conversation erupt around her. The circus is now in full swing. A banner declares:</scene_description>
<character>CIRCUS ARCANUS: FREAKS AND ODDITIES!</character>
<dialogue>Several tents, a big top in the middle.</dialogue>
<dialogue>TINA walks past the street performers working in the open, scrutinizing them.</dialogue>
<dialogue>A HALF-TROLL performs feats of strength.</dialogue>
<dialogue>A few misshapen and particularly downtrodden humanoids -- UNDERBEINGS without powers but of magical ancestry -- shuffle around, taking money from the crowd.</dialogue>
<dialogue>Horns hidden beneath hats, unusual eyes beneath hoods; HALF- ELVES and HALF-GOBLINS juggle and tumble.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>41</character>
<dialogue>A magnificent Chinese Zouwu, a giant catlike creature with a</dialogue>
<character>CONTINUED:</character>
<dialogue>long, plumed tail, is imprisoned in a cage. Fireworks burst overhead.</dialogue>
<character>42</character>
<dialogue>INT. CIRCUS ARCANUS, FREAKS' TENT - EVENING</dialogue>
<scene_description>NAGINI is kneeling at a trunk, stroking her circus dress. She must perform shortly. CREDENCE hurries to her.</scene_description>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Nagini!</dialogue>
<scene_description>She turns.</scene_description>
<character>NAGINI</character>
<dialogue>Credence.</dialogue>
<scene_description>He hands her the note. She scans it, frowns.</scene_description>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I think I know where she is.</dialogue>
<scene_description>NAGINI looks up, meets his eyes.</scene_description>
<character>CREDENCE</character>
<dialogue>We escape tonight.</dialogue>
<scene_description>SKENDER comes into NAGINI'S tent.</scene_description>
<character>SKENDER</character>
<dialogue>Hey, I've told you to stay away from her, boy -- did I say you could take a break? Clean out the Kappa.</dialogue>
<scene_description>SKENDER closes the curtain between CREDENCE and NAGINI.</scene_description>
<character>SKENDER</character>
<parenthetical>(to NAGINI)</parenthetical>
<dialogue>And you, get ready!</dialogue>
<scene_description>CREDENCE turns and looks up to a cage full of Firedrakes.</scene_description>
<character>43</character>
<dialogue>INT. CIRCUS ARCANUS, BIG TOP - NIGHT</dialogue>
<scene_description>SKENDER is standing beside the circular platform/cage in the middle of a crowd, many of whom are drunk. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>43</character>
<dialogue>SKENDER</dialogue>
<character>CONTINUED:</character>
<dialogue>Next in our little show of freaks and oddities, I present to you -- a Maledictus!</dialogue>
<scene_description>He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in the crowd whistle and jeer.</scene_description>
<character>SKENDER</character>
<dialogue>Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.</dialogue>
<scene_description>TINA makes her way around the back of the crowd, looking for CREDENCE. Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is scanning the crowd rather than watching SKENDER. There is a black feather in the band of his fedora.</scene_description>
<character>SKENDER</character>
<dialogue>But look at her. So beautiful, yes? So desirable... but soon she will be trapped forever in a very different body. Every night, when she sleeps... mesdames et messieurs... she is forced to become --</dialogue>
<scene_description>Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a look of hatred.</scene_description>
<character>SKENDER</character>
<dialogue>She is forced to become...</dialogue>
<scene_description>CREDENCE'S and NAGINI'S eyes meet across the big top. ANGLE ON: TINA, who has spotted CREDENCE. She starts to edge toward him, trying not to attract attention. ANGLE ON: KAMA, who does the same.</scene_description>
<character>SKENDER</character>
<dialogue>She is forced to become . . .</dialogue>
<scene_description>SKENDER whips the bars. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>43</character>
<dialogue>NAGINI closes her eyes. Slowly, she melts into coils.</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>SKENDER</dialogue>
<scene_description>Over time, she will not be able to transform back. She will be forever trapped in the body of a snake. NAGINI suddenly strikes at SKENDER through the bars and utters a cry in Parseltongue. SKENDER crumples, bleeding. At the back of the tent, CREDENCE smashes open the Firedrakes' cage and they soar to freedom like fireworks. The big top catches fire -- screams, panic, the crowd falls over one another to reach the exit --</scene_description>
<character>44</character>
<dialogue>EXT. CIRCUS ARCANUS, BIG TOP - NIGHT</dialogue>
<scene_description>The big top is on fire. Firedrakes weave patterns in the sky above it, trailing showers of sparks. The fire has terrified and enraged the creatures. A hippogriff is rearing and plunging while its handlers try to control it. Everywhere performers are packing up, fast, elves shutting themselves into boxes, which fold smaller and smaller. TINA Apparates and, with a flick of her wand, puts out the fire. The Zouwu crate is on fire and shaking perilously. The creature within roars and howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant, five-colored, with a tail as long as a python. It has been horrendously abused: Scars across its face, it is malnourished, limping, and now driven to a frenzy of terror. TINA spots CREDENCE in the distance.</scene_description>
<character>TINA</character>
<dialogue>Credence!</dialogue>
<scene_description>The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows there is no catching it now. He runs to galvanize his workers.</scene_description>
<character>SKENDER</character>
<dialogue>Pack it up! Paris is done for us now.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>44</character>
<dialogue>SKENDER points his wand at the tent, shrinks it to the size</dialogue>
<character>CONTINUED:</character>
<dialogue>of a handkerchief, and pockets it.</dialogue>
<character>TINA</character>
<parenthetical>(approaching SKENDER)</parenthetical>
<dialogue>The boy with the Maledictus, what do you know about him?</dialogue>
<character>SKENDER</character>
<parenthetical>(contemptuous)</parenthetical>
<dialogue>He's looking for his mother. All my freaks think they can go home. Okay, let's go.</dialogue>
<scene_description>He leaps up onto a carriage and, as the crates and boxes are all magically reduced to a few cases, clatters away into the night. TINA is left on her own in what seems for a moment to be a deserted square. Then she realizes that KAMA is standing behind her. CUT TO:</scene_description>
<character>45</character>
<dialogue>EXT. PARISIAN CAFÉ - NIGHT</dialogue>
<scene_description>TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.</scene_description>
<character>TINA</character>
<dialogue>I think we were both at the circus for the same reason, monsieur... ?</dialogue>
<character>KAMA</character>
<dialogue>Kama. Yusuf Kama. And you think right.</dialogue>
<character>TINA</character>
<dialogue>What do you want with Credence?</dialogue>
<character>KAMA</character>
<dialogue>The same as you.</dialogue>
<character>TINA</character>
<dialogue>Which is?</dialogue>
<character>KAMA</character>
<dialogue>To prove who the boy really is. If the rumors of his identity are correct, he and I are - distantly - related.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>45</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>I am the last male of my pure- blooded line... and so, if the rumors are correct, is he.</dialogue>
<scene_description>KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it tantalizingly before her.</scene_description>
<character>KAMA</character>
<dialogue>You have read The Predictions of Tycho Dodonus?</dialogue>
<character>TINA</character>
<dialogue>Yes. But that's poetry, not proof.</dialogue>
<character>KAMA</character>
<dialogue>If I could show you something better -- more concrete -- something that proves who he is - would the Ministries of Europe and America let him live?</dialogue>
<scene_description>A beat.</scene_description>
<character>TINA</character>
<dialogue>They might.</dialogue>
<character>KAMA</character>
<parenthetical>(he nods)</parenthetical>
<dialogue>Then come.</dialogue>
<scene_description>He gets up and TINA follows.</scene_description>
<character>46</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - NIGHT</dialogue>
<scene_description>GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black and flashing red, then resolves into an image of CREDENCE. All look excited, except KRALL, who is sulky.</scene_description>
<character>GRINDELWALD</character>
<dialogue>So... Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>46</character>
<dialogue>KRALL</dialogue>
<character>CONTINUED:</character>
<dialogue>Well, we know where the boy is, don't we? Why don't we grab him and leave!</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(to KRALL)</parenthetical>
<dialogue>He must come to me freely -- and he will.</dialogue>
<scene_description>GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the center of the drawing room.</scene_description>
<character>GRINDELWALD</character>
<dialogue>The path has been laid, and he is following it. The trail that will lead him to me, and the strange and glorious truth of who he is.</dialogue>
<character>KRALL</character>
<dialogue>Why is he so important?</dialogue>
<scene_description>GRINDELWALD walks to face KRALL.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Who represents the greatest threat to our cause?</dialogue>
<character>KRALL</character>
<dialogue>Albus Dumbledore.</dialogue>
<character>GRINDELWALD</character>
<dialogue>If I asked you now to go to the school where he is hiding and kill him for me, would you do it for me, Krall?</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Credence is the only entity alive... who can kill him.</dialogue>
<character>KRALL</character>
<dialogue>You really think that he can kill the great -- can kill Albus Dumbledore?</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I know he can. But will you be with us when that happens, Krall? Will you?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>EXT. WHITE CLIFFS OF DOVER-DAWN</dialogue>
<scene_description>NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes his head out of NEWT'S breast pocket and yawns.</scene_description>
<character>NEWT</character>
<dialogue>Jacob, that man Tina's been JACOB seeing -- Don't worry! She's gonna see</dialogue>
<scene_description>you and she'll see the four of us together, it'll be just like New York all over again. Don't worry about it.</scene_description>
<character>NEWT</character>
<dialogue>Yes, but he's an Auror, Queenie said?</dialogue>
<character>JACOB</character>
<dialogue>Yeah, he's an Auror. So what? Don't worry about him.</dialogue>
<scene_description>A beat. They walk.</scene_description>
<character>NEWT</character>
<dialogue>What d'you think I should say to her, if I see her?</dialogue>
<character>JACOB</character>
<dialogue>Oh, well, it's best not to plan these things. You know, you just say whatever comes to you in the moment.</dialogue>
<scene_description>A beat. They walk.</scene_description>
<character>NEWT</character>
<parenthetical>(reminiscently)</parenthetical>
<dialogue>She has eyes just like a salamander.</dialogue>
<character>JACOB</character>
<dialogue>Don't say that.</dialogue>
<scene_description>A beat. JACOB decides NEWT needs help. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<dialogue>Nah, look, you just tell her that you missed her. Right, and then you came all the way to Paris to find her. She'll love that. And then, tell her you're losing sleep at night for thinking of her. Just don't say anything about no salamanders, all right?</dialogue>
<character>NEWT</character>
<dialogue>Right. Okay.</dialogue>
<character>JACOB</character>
<dialogue>Hey, hey, hey. It's gonna be all right. We're in this together, pal. Okay, I'm gonna help you out. I'm gonna help you find Tina, find Queenie, and we'll all be happy again. Just like old times.</dialogue>
<scene_description>He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.</scene_description>
<character>JACOB</character>
<dialogue>Who is this guy?</dialogue>
<character>NEWT</character>
<dialogue>He's the only way I can leave the country without documentation. Now, you don't suffer from motion sickness, do you?</dialogue>
<character>JACOB</character>
<dialogue>I don't do well on boats, Newt.</dialogue>
<scene_description>A beat.</scene_description>
<character>NEWT</character>
<dialogue>You'll be fine.</dialogue>
<character>PORTKEY TOUT</character>
<dialogue>Stir your stumps -- it leaves in one minute!</dialogue>
<scene_description>Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on the ground.</scene_description>
<character>PORTKEY TOUT</character>
<dialogue>Fifty Galleons.</dialogue>
<character>NEWT</character>
<dialogue>No, we said thirty.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>PORTKEY TOUT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.</dialogue>
<scene_description>Angry, NEWT pays up.</scene_description>
<character>PORTKEY TOUT</character>
<dialogue>Price of fame, pal.</dialogue>
<parenthetical>(checks watch)</parenthetical>
<dialogue>Ten seconds.</dialogue>
<scene_description>NEWT picks up the bucket and holds out his hand to JACOB.</scene_description>
<character>NEWT</character>
<parenthetical>(to JACOB)</parenthetical>
<dialogue>Jacob.</dialogue>
<character>JACOB</character>
<dialogue>ARGH!</dialogue>
<scene_description>They are pulled away into thin air. CUT TO:</scene_description>
<character>48</character>
<dialogue>EXT. PLACE CACHÉE - DAY</dialogue>
<scene_description>NEWT and JACOB peer around the corner. A French POLICEMAN is standing in front of the statue of the robed woman. JACOB is pale, sweaty, and still clutching the bucket, which has come in handy.</scene_description>
<character>JACOB</character>
<dialogue>I didn't like that Portkey, Newt.</dialogue>
<character>NEWT</character>
<parenthetical>(absently)</parenthetical>
<dialogue>So you keep saying. Follow me.</dialogue>
<scene_description>NEWT points his wand at the POLICEMAN.</scene_description>
<character>NEWT</character>
<dialogue>Confundus.</dialogue>
<scene_description>The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles and ambles off, raising his hat at disconcerted passersby. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Come on. That'll wear off in a few minutes.</dialogue>
<scene_description>NEWT leads JACOB through the statue and into Magical Paris. He puts his case down and points his wand at the street.</scene_description>
<character>NEWT</character>
<dialogue>Appare vestigium.</dialogue>
<scene_description>The tracking spell materializes as a swirl of gold, which illuminates traces of recent magical activity in the square.</scene_description>
<character>NEWT</character>
<dialogue>Accio Niffler!</dialogue>
<scene_description>The case bursts open and a Niffler jumps out.</scene_description>
<character>NEWT</character>
<dialogue>Get looking.</dialogue>
<scene_description>NEWT climbs onto the case and inspects impressions of creatures revealed in the air, while the now-trained adult Niffler sniffs out clues.</scene_description>
<character>NEWT</character>
<dialogue>That's a Kappa. That's a Japanese water demon --</dialogue>
<scene_description>The Niffler sniffs around some shimmering footsteps. The Niffler has found the place where TINA stood in front of the Zouwu. NEWT sees a vision of TINA.</scene_description>
<character>NEWT</character>
<dialogue>Tina? Tina!</dialogue>
<parenthetical>(to Niffler)</parenthetical>
<dialogue>What have you found?</dialogue>
<scene_description>He bends down to lick the pavement.</scene_description>
<character>JACOB</character>
<parenthetical>(glancing around)</parenthetical>
<dialogue>And we're licking the dirt now.</dialogue>
<scene_description>NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.</scene_description>
<character>NEWT</character>
<dialogue>Revelio.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>JACOB sees what NEWT is looking at: gigantic paw marks</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>overlaying everything else.</dialogue>
<character>JACOB</character>
<parenthetical>(intensely worried)</parenthetical>
<dialogue>Newt... what made those?</dialogue>
<character>NEWT</character>
<dialogue>That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day... and this one could take you from one part of Paris to the next in a single leap.</dialogue>
<scene_description>The Niffler sniffs around more shimmering footsteps -- another place where TINA stood.</scene_description>
<character>NEWT</character>
<dialogue>Oh, good boy.</dialogue>
<parenthetical>(intensely worried)</parenthetical>
<dialogue>Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?</dialogue>
<character>JACOB</character>
<dialogue>Can't say that I have.</dialogue>
<scene_description>NEWT sees a vision of KAMA.</scene_description>
<character>NEWT</character>
<dialogue>Then someone came towards her.</dialogue>
<scene_description>NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.</scene_description>
<character>NEWT</character>
<dialogue>Avenseguim.</dialogue>
<scene_description>The feather turns like the needle of a compass, pointing the way.</scene_description>
<character>NEWT</character>
<dialogue>Follow that feather.</dialogue>
<character>JACOB</character>
<dialogue>What?</dialogue>
<character>NEWT</character>
<dialogue>Jacob, follow the feather.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Follow the feather.</dialogue>
<character>NEWT</character>
<parenthetical>(re: the Niffler)</parenthetical>
<dialogue>Where is he? Ah, Accio Niffler.</dialogue>
<scene_description>The Niffler is carried by the spell back into the case. NEWT takes the case and dashes off. JACOB gestures toward the bucket in his hand.</scene_description>
<character>NEWT</character>
<dialogue>Let go of the bucket!</dialogue>
<scene_description>JACOB drops the bucket and chases after NEWT.</scene_description>
<character>49</character>
<dialogue>EXT. PARIS - DAY</dialogue>
<character>50</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - MORNING</dialogue>
<scene_description>QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.</scene_description>
<character>51</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - MORNING 51</dialogue>
<scene_description>QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations. QUEENIE approaches reception.</scene_description>
<character>RECEPTIONIST</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Bienvenue au Ministère des Affaires Magiques.</dialogue>
<character>QUEENIE</character>
<dialogue>I'm sorry, I don't know what you just said at all --</dialogue>
<character>RECEPTIONIST</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Welcome to the French Ministry of Magic. What is your business, please?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>51</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(loudly and slowly)</parenthetical>
<dialogue>I need to speak to Tina Goldstein, she's an American Auror working on a case here --</dialogue>
<scene_description>The RECEPTIONIST flicks through a few pages.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>We have no Tina Goldstein here.</dialogue>
<character>QUEENIE</character>
<dialogue>No, it's... I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show it to you. Maybe you can help me find her here?</dialogue>
<scene_description>QUEENIE reaches for her suitcase, which falls open.</scene_description>
<character>QUEENIE</character>
<dialogue>It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?</dialogue>
<scene_description>As the RECEPTIONIST gives a Gallic shrug -- -- a genteel ELDERLY LADY crosses INTO THE SHOT BEHIND QUEENIE. She has a distinctive bag in her hands -- WE FOLLOW her into the elevator -- Where ROSIER stands waiting. As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box...</scene_description>
<character>52</character>
<dialogue>EXT. PARIS BACK STREET - DAY</dialogue>
<scene_description>QUEENIE stands sadly on the street, holding an umbrella. Then, a double take: did she just see NEWT and JACOB hurrying from one side street into another?</scene_description>
<character>JACOB</character>
<dialogue>Could we at least stop for a coffee, or like a --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>52</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Not now, Jacob.</dialogue>
<character>JACOB</character>
<dialogue>I don't know.</dialogue>
<character>NEWT</character>
<dialogue>This way. Come on.</dialogue>
<character>JACOB</character>
<dialogue>Pain au chocolat? Half a croissant, or like, a bonbon?</dialogue>
<character>NEWT</character>
<dialogue>This way.</dialogue>
<scene_description>QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB. WE FOLLOW her drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB -- -- she can now "hear" JACOB'S thoughts.</scene_description>
<character>QUEENIE</character>
<parenthetical>(calls aloud, joyful)</parenthetical>
<dialogue>Jacob! Jacob?</dialogue>
<scene_description>But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her. A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression turns to puzzlement.</scene_description>
<character>ROSIER</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Madame? Tout va bien, Madame?</dialogue>
<character>53</character>
<dialogue>EXT. BIRD MARKET - LATER THAT DAY</dialogue>
<scene_description>CREDENCE and NAGINI WALK INTO SHOT, looking around. CREDENCE steals birdseed as he passes a stall. GRIMMSON watches them, unnoticed. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>54</character>
<dialogue>EXT. RUE PHILIPPE LORAND - SHORTLY AFTERWARD - DAY</dialogue>
<scene_description>CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.</scene_description>
<character>CREDENCE</character>
<parenthetical>(scared)</parenthetical>
<dialogue>She's home.</dialogue>
<scene_description>Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back. She leads him across the road.</scene_description>
<character>55</character>
<dialogue>EXT. REAR OF 18 RUE PHILIPPE LORAND - MINUTES LATER - DAY 55</dialogue>
<scene_description>A door stands open into the yard. They slide through it into a servants' passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something wrong. They proceed toward the stairs.</scene_description>
<character>56</character>
<dialogue>DAY</dialogue>
<character>INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM - 56</character>
<dialogue>CREDENCE and NAGINI reach the landing. A door stands ajar.</dialogue>
<dialogue>A shadow cast by lamplight: what seems to be a woman, sewing. The shadow pauses in its work.</dialogue>
<dialogue>NAGINI is edgy, nervous, looking around.</dialogue>
<character>IRMA (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Qui est là?</dialogue>
<scene_description>CREDENCE can neither move nor speak. NAGINI realizes this.</scene_description>
<character>NAGINI</character>
<parenthetical>(in French)</parenthetical>
<dialogue>C'est votre fils, madame.</dialogue>
<scene_description>She takes CREDENCE'S hand and pulls him gently into the room. Mended and freshly washed clothing hang from racks on the ceiling. They can see the shadow of a woman. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>56</character>
<dialogue>NAGINI'S senses are hyperalert. She can smell danger. The</dialogue>
<character>CONTINUED:</character>
<dialogue>shadow stands.</dialogue>
<character>IRMA</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Qui êtes-vous?</dialogue>
<character>CREDENCE</character>
<parenthetical>(whispers, terrified)</parenthetical>
<dialogue>Are you Irma? Are you... ? Are you Irma Dugard?</dialogue>
<scene_description>No response. They move through the hanging fabric toward her.</scene_description>
<character>CREDENCE</character>
<dialogue>I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.</dialogue>
<scene_description>A beat. A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf, half-human. CREDENCE'S face reveals confusion, awful disappointment.</scene_description>
<character>IRMA</character>
<parenthetical>(to CREDENCE)</parenthetical>
<dialogue>I am not your mother. I was only a servant.</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>You were such a beautiful baby. And you are a beautiful man. I have missed you.</dialogue>
<scene_description>ANGLE ON: GRIMMSON watching them from a doorway.</scene_description>
<character>CREDENCE</character>
<dialogue>Why didn't they want me? But why is your name on my adoption paper?</dialogue>
<character>IRMA</character>
<dialogue>I took you to Mrs. Barebone because she was supposed to look after you.</dialogue>
<scene_description>NAGINI'S fear is increasing.</scene_description>
<character>ANGLE ON: THE DARK WALL BEHIND SWATHES OF FABRIC.</character>
<dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20230910</dialogue>
<character>56</character>
<dialogue>The perfectly camouflaged GRIMMSON emerges from the wall,</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>raises his wand, aims for the silhouetted figures, and dispatches a Killing Curse that sears through the sheets and clothing, leaving smoldering holes.</dialogue>
<dialogue>We hear a body fall. NAGINI screams.</dialogue>
<dialogue>CREDENCE'S shadow has vanished.</dialogue>
<dialogue>Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until he stands facing --</dialogue>
<dialogue>IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there like thick black smoke.</dialogue>
<dialogue>In a flash, GRIMMSON conjures a domed Shield Charm around himself and IRMA'S body.</dialogue>
<dialogue>And the Obscurus dives, pelting the Shield Charm like a million bullets, rising and re-forming and diving again, but though the magical barrier trembles, it is not broken.</dialogue>
<dialogue>Now the Obscurus expands in fury, smashing apart the attic like a tornado.</dialogue>
<dialogue>GRIMMSON smiles up at the Obscurus: We'll meet again.</dialogue>
<dialogue>He Disapparates. Mingling with the debris of the destroyed attic, the Obscurus slams inward and CREDENCE re-forms.</dialogue>
<dialogue>He stands looking down at the tiny body.</dialogue>
<character>57</character>
<dialogue>EXT. ALLEYWAY - AFTERNOON</dialogue>
<scene_description>Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath a bridge over the Seine. GRINDELWALD appears.</scene_description>
<character>GRIMMSON</character>
<dialogue>She's dead.</dialogue>
<scene_description>GRINDELWALD walks toward him and halts when they are face-to- face.</scene_description>
<character>GRINDELWALD</character>
<dialogue>How did the boy take it?</dialogue>
<character>GRIMMSON</character>
<parenthetical>(shrugging)</parenthetical>
<dialogue>He's sensitive.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>57</character>
<dialogue>GRIMMSON</dialogue>
<character>CONTINUED:</character>
<dialogue>The Ministry won't be happy when I tell them I've missed. They know my reputation.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Listen to me. The disapproval of cowards is praise to the brave. Your name will be written in glory when wizards rule the world. And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.</dialogue>
<character>GRIMMSON</character>
<dialogue>For the greater good.</dialogue>
<character>58</character>
<dialogue>EXT. PARISIAN CAFÉ - EVENING</dialogue>
<scene_description>A pair of lovers sit over coffee. NEWT is scanning every man who leaves the café, checking the reaction of the feather trapped beneath the glass. JACOB stares at the lovers.</scene_description>
<character>JACOB</character>
<dialogue>You know what I miss about Queenie? Everything. I even miss the stuff that drove me nuts. Like the mind reading...</dialogue>
<parenthetical>(he notices NEWT'S inattention)</parenthetical>
<dialogue>...I was lucky to have someone like her even interested in anything I thought. You know what I mean?</dialogue>
<scene_description>A beat.</scene_description>
<character>NEWT</character>
<dialogue>Sorry?</dialogue>
<character>JACOB</character>
<dialogue>I was saying, you're sure the guy is here that we're looking for?</dialogue>
<character>NEWT</character>
<dialogue>Definitely. The feather says so.</dialogue>
<character>59</character>
<dialogue>INT. PARISIAN CAFÉ, BATHROOM - EVENING</dialogue>
<scene_description>A cramped and dirty bathroom. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>59</character>
<dialogue>KAMA stares into the on the tap. Suddenly bandaged hand to his removes his hand and</dialogue>
<character>CONTINUED:</character>
<dialogue>mirror, his featherless fedora perched his face twitches. He raises his eye and rubs it, shaking his head. He stares at his reflection.</dialogue>
<scene_description>WE CLOSE IN: A tiny tentacle is visible at the corner of his eye. He whimpers in distress and gropes in his suit pocket for a small bottle of bright green liquid, which he drops into his eye with a dropper. Another whimper of pain as the tentacle withdraws. He looks at his reflection. It seems normal. He puts his hat back on and leaves.</scene_description>
<character>60</character>
<dialogue>INT. PARISIAN CAFÉ - EVENING</dialogue>
<scene_description>KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to KAMA'S hat.</scene_description>
<character>JACOB</character>
<dialogue>Is that the guy we're looking for?</dialogue>
<character>NEWT</character>
<dialogue>Yes.</dialogue>
<scene_description>NEWT and JACOB jump up to confront him.</scene_description>
<character>NEWT</character>
<parenthetical>(to KAMA, in French)</parenthetical>
<dialogue>Er -- bonjour. Bonjour, monsieur.</dialogue>
<scene_description>KAMA makes to carry on walking, ignoring NEWT.</scene_description>
<character>NEWT</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Oh wait, no, sorry. We were... we were actually just wondering if you'd come across a friend of ours?</dialogue>
<character>JACOB</character>
<dialogue>Tina Goldstein.</dialogue>
<character>KAMA</character>
<dialogue>Monsieur, Paris is a large city.</dialogue>
<character>NEWT</character>
<dialogue>She's an Auror. When Aurors go missing, the Ministry tend to come looking, so...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>60</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>No, now I suppose it would probably be better if we just report her absence --</dialogue>
<character>KAMA</character>
<parenthetical>(deciding)</parenthetical>
<dialogue>She is tall? Dark? Rather --</dialogue>
<character>JACOB</character>
<dialogue>-- intense?</dialogue>
<character>NEWT</character>
<dialogue>-- beautiful --</dialogue>
<character>JACOB</character>
<parenthetical>(hasty, off NEWT'S look)</parenthetical>
<dialogue>-- Yeah, what I meant to say - she's very -- very pretty --</dialogue>
<character>NEWT</character>
<dialogue>She's intense too.</dialogue>
<character>KAMA</character>
<dialogue>I think I saw someone like this last night. Perhaps if I showed you where?</dialogue>
<character>NEWT</character>
<dialogue>If you wouldn't mind. That would be lovely.</dialogue>
<character>KAMA</character>
<dialogue>Sure.</dialogue>
<character>61</character>
<dialogue>INT. KAMA'S HIDEOUT - EVENING</dialogue>
<scene_description>The interior of KAMA'S hideout is pitch black. The sound of WATER DRIPPING. A brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.</scene_description>
<character>NEWT</character>
<dialogue>Tina?</dialogue>
<scene_description>She wakes. A MOMENT as NEWT and TINA stare at each other. Each has thought of the other daily for a year. With no sign of KAMA, it seems she has been rescued. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>61</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<parenthetical>(joyful, disbelieving)</parenthetical>
<dialogue>Newt!</dialogue>
<scene_description>TINA notices KAMA entering in the background and raising his wand. Her expression changes.</scene_description>
<character>KAMA</character>
<dialogue>Expelliarmus!</dialogue>
<scene_description>NEWT'S wand flies out of his hand into KAMA'S. Bars form across the door, imprisoning them.</scene_description>
<character>KAMA</character>
<parenthetical>(through the door)</parenthetical>
<dialogue>My apologies, Mr. Scamander! I shall return and release you when Credence is dead!</dialogue>
<character>TINA</character>
<dialogue>Kama, wait!</dialogue>
<character>KAMA</character>
<dialogue>You see, either he dies... or I do.</dialogue>
<scene_description>He claps a hand to his eye.</scene_description>
<character>KAMA</character>
<dialogue>No, no, no, no. Oh no. No, no, no.</dialogue>
<scene_description>He jerks convulsively and slides to the floor, unconscious.</scene_description>
<character>NEWT</character>
<dialogue>Well, that's not the best start to a rescue attempt.</dialogue>
<character>TINA</character>
<dialogue>This was a rescue attempt? You've just lost me my only lead.</dialogue>
<scene_description>JACOB launches for the door, trying to break it down.</scene_description>
<character>NEWT</character>
<parenthetical>(innocent)</parenthetical>
<dialogue>Well, how was the interrogation going before we turned up?</dialogue>
<scene_description>TINA throws him a dark look. She strides to the back of the cave. Pickett, who, unnoticed, has hopped out of NEWT'S pocket, successfully picks the lock, and the bars swing open. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>61</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Newt!</dialogue>
<character>NEWT</character>
<dialogue>Well done, Pick.</dialogue>
<parenthetical>(to TINA)</parenthetical>
<dialogue>You need this man, you say?</dialogue>
<character>TINA</character>
<dialogue>Yeah. I think this man knows where Credence is, Mr. Scamander.</dialogue>
<scene_description>As they bend over the unconscious KAMA, they hear an earth- shattering roar from somewhere above them. They look at each other.</scene_description>
<character>NEWT</character>
<dialogue>Well, that'll be the Zouwu.</dialogue>
<scene_description>NEWT grabs his wand and Disapparates.</scene_description>
<character>62</character>
<dialogue>EXT. PARISIAN BRIDGE - NIGHT</dialogue>
<scene_description>In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt to keep running, but it is swiping at PASSERSBY, who are screaming and running out of the way. Cars screech to a halt. NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding his case. A second later, TINA Apparates too, holding JACOB'S arm. JACOB is sagging under the weight of the unconscious KAMA.</scene_description>
<character>JACOB</character>
<parenthetical>(calls)</parenthetical>
<dialogue>Newt, get out of there!</dialogue>
<scene_description>NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and begins to advance on NEWT. Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case, feeling for something. It takes him longer than he expected. Frowning, he reaches deeper inside. The Zouwu advances. It bares its teeth. NEWT has found what he was looking for. He raises his arm. He is holding a fluffy toy bird on a stick and rope. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>62</character>
<dialogue>A beat.</dialogue>
<character>CONTINUED:</character>
<dialogue>The Zouwu's eyes start to follow the bird.</dialogue>
<dialogue>The Zouwu's tail twitches. It crouches lower than ever. Then, with a sudden bound, it soars through the air toward NEWT. Screams from the onlookers -- NEWT will surely be crushed --</dialogue>
<dialogue>But at the last moment he lets the bird fall into the case and the Zouwu sails after it in a flash of rainbow color, python tail flailing and -- WHAM -- NEWT slams the lid shut.</dialogue>
<dialogue>Uproar from the crowd, sirens approaching, police cars converging on the bridge.</dialogue>
<dialogue>FLAMEL'S card flies up out of NEWT'S pocket.</dialogue>
<dialogue>TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate.</dialogue>
<character>63</character>
<dialogue>EXT. HOGWARTS - DAY</dialogue>
<scene_description>An ominous procession of AURORS marches up the drive toward the castle, among them, THESEUS and LETA. CLOSE ON: AN UPPER WINDOW. STUDENTS staring down at the strangers, nudging one another. The AURORS enter the school.</scene_description>
<character>64</character>
<dialogue>INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM - DAY</dialogue>
<scene_description>DUMBLEDORE is teaching. A space in the middle of the room, all students enjoying the spectacle. A large boy - MCCLAGGAN - is braced for attack, his robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>What were the three biggest mistakes that you made last time?</dialogue>
<character>MCCLAGGAN</character>
<dialogue>Caught by surprise, sir.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>What else?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>MCCLAGGAN</dialogue>
<character>CONTINUED:</character>
<dialogue>Didn't parry before counter-curse, sir.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Very good. And the last one... the most important one?</dialogue>
<scene_description>MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares. MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN hits it and slides to the floor.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Not learning from the first two.</dialogue>
<scene_description>The class laughs. The door opens. TRAVERS, THESEUS, and four other AURORS enter, YOUNG MINERVA MCGONAGALL behind them.</scene_description>
<character>MCGONAGALL</character>
<dialogue>This is a school, you've no right --</dialogue>
<character>TRAVERS</character>
<dialogue>I'm the Head of Magical Law Enforcement and I have the right to go wherever I please.</dialogue>
<parenthetical>(to the students)</parenthetical>
<dialogue>Out of here.</dialogue>
<scene_description>They don't move.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(to the students)</parenthetical>
<dialogue>Go with Professor McGonagall, please.</dialogue>
<scene_description>They file out, curious or alarmed. The last out is MCCLAGGAN.</scene_description>
<character>MCCLAGGAN</character>
<parenthetical>(to TRAVERS)</parenthetical>
<dialogue>He's the best teacher we've got.</dialogue>
<character>DUMBLEDORE</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>Thanks, McClaggan.</dialogue>
<character>TRAVERS</character>
<dialogue>Get out!</dialogue>
<character>MCGONAGALL</character>
<dialogue>Come, McClaggan.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>The door closes.</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>TRAVERS</dialogue>
<scene_description>Newt Scamander is in Paris.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Really?</dialogue>
<character>TRAVERS</character>
<dialogue>Cut the pretense. I know he's there on your orders.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>If you'd ever had the pleasure to teach him, you'd know Newt is not a great follower of orders.</dialogue>
<scene_description>TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.</scene_description>
<character>TRAVERS</character>
<parenthetical>(indicating the book)</parenthetical>
<dialogue>You've read The Predictions of Tycho Dodonus?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Many years ago.</dialogue>
<character>TRAVERS</character>
<parenthetical>(reads)</parenthetical>
<dialogue>"A son cruelly banished Despair of the daughter Return --"</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Yes, I know it.</dialogue>
<character>TRAVERS</character>
<dialogue>There's a rumor this DUMBLEDORE (CONT'D) prediction refers to the -- a highborn henchman. I've Obscurial. They say that heard the rumor. Grindelwald wants --</dialogue>
<character>TRAVERS</character>
<dialogue>And yet Scamander appears wherever the Obscurial goes, to protect him. Meanwhile you have built up quite a little network of international contacts --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (3)</character>
<parenthetical>(quiet, steely)</parenthetical>
<dialogue>However long you keep me and my friends under surveillance, you're not going to discover plots against you, Travers, because we want the same thing: the defeat of Grindelwald. But I warn you, your policies of suppression and violence are pushing supporters into his arms --</dialogue>
<character>TRAVERS</character>
<dialogue>I'm not interested in your warnings!</dialogue>
<parenthetical>(controlling himself)</parenthetical>
<dialogue>Now, it pains me to say it, because -- well, I don't like you.</dialogue>
<scene_description>TRAVERS and DUMBLEDORE both chuckle.</scene_description>
<character>TRAVERS</character>
<dialogue>But... you are the only wizard who is his equal. I need you to fight him.</dialogue>
<scene_description>A pause. The AURORS watch.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>I cannot.</dialogue>
<character>TRAVERS</character>
<dialogue>Because of this?</dialogue>
<scene_description>He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD. The AURORS are shocked. The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other's eyes.</scene_description>
<character>TRAVERS</character>
<dialogue>You and Grindelwald were as close as brothers.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>We were closer than brothers.</dialogue>
<scene_description>DUMBLEDORE is looking at the pictures. These memories are agony. He is full of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.</scene_description>
<character>TRAVERS</character>
<dialogue>Will you fight him?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (4)</character>
<parenthetical>(pained)</parenthetical>
<dialogue>I can't.</dialogue>
<character>TRAVERS</character>
<dialogue>Then you have chosen your side.</dialogue>
<scene_description>He flicks his wand once more. Thick metal cuffs -- Admonitors -- appear on DUMBLEDORE'S wrists.</scene_description>
<character>TRAVERS</character>
<dialogue>From now on, I shall know every spell you cast. I'm doubling the watch on you, and you will no longer teach Defense Against the Dark Arts.</dialogue>
<parenthetical>(to THESEUS)</parenthetical>
<dialogue>Where's Leta? We need to go to Paris!</dialogue>
<scene_description>He storms out. The AURORS follow. THESEUS is last to the door.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Theseus.</dialogue>
<scene_description>THESEUS looks back.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Theseus, if Grindelwald calls a rally, don't try and break it up. Don't let Travers send you in there. If you ever trusted me --</dialogue>
<character>TRAVERS (O.S.)</character>
<dialogue>THESUS!</dialogue>
<scene_description>THESUS leaves.</scene_description>
<character>65</character>
<dialogue>INT. DESERTED HOGWARTS CORRIDOR - DAY</dialogue>
<scene_description>The late afternoon sun falls through the windows as LETA walks along a corridor populated only with memories. She stops beside an open door. THE GREAT HALL is lit with floating candles. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>66</character>
<dialogue>INT. EMPTY HOGWARTS CLASSROOM - DAY</dialogue>
<scene_description>LETA walks slowly into the classroom, then turns to look back into the corridor and -- DISSOLVE TO:</scene_description>
<character>67</character>
<dialogue>-</dialogue>
<character>INT. EMPTY HOGWARTS CLASSROOM - SEVENTEEN YEARS PREVIOUSLY 67</character>
<dialogue>MORNING</dialogue>
<dialogue>13-YEAR-OLD LETA stands hiding inside the empty classroom while students in cloaks trundle by, pushing trunks and carrying owls. It is the last day of the winter term and nearly everyone is going home.</dialogue>
<dialogue>ANGLE ON: TWO 13-YEAR-OLD GRYFFINDOR GIRLS pushing trunks.</dialogue>
<character>GRYFFINDOR GIRL 1</character>
<dialogue>You know she stays here every vacation. Her family don't actually want her home.</dialogue>
<character>GRYFFINDOR GIRL 2</character>
<dialogue>I don't blame them, she's so annoying. Even the name Lestrange makes me feel sick --</dialogue>
<scene_description>LETA flings herself into their path, pointing her wand.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>Oscausi!</dialogue>
<scene_description>GRYFFINDOR GIRL 2'S mouth is sealed shut as though she never had one. Triumphant, LETA flees the scene, pushing past shocked students.</scene_description>
<character>GRYFFINDOR GIRL 1</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Professor McGonagall! LESTRANGE HAS DONE IT AGAIN!</dialogue>
<character>MCGONAGALL (O.S.)</character>
<dialogue>Lestrange, stop running! LESTRANGE! Disobedient children. Stop! Shame on the House of Slytherin. One hundred points! Two hundred! Get back here, right now! Stop! Stop it! Stop it! You stop it! Get back here!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>67</character>
<dialogue>GRYFFINDOR GIRL 1</dialogue>
<character>CONTINUED:</character>
<dialogue>Miss, it was Lestrange. She's horrible --</dialogue>
<scene_description>McGONAGALL silences the girl. ANGLE ON: LETA, sprinting around a corner. She wrenches open a side door and plunges inside.</scene_description>
<character>68</character>
<dialogue>68</dialogue>
<character>INT. HOGWARTS CUPBOARD - SEVENTEEN YEARS PREVIOUSLY - MORNING</character>
<dialogue>13-YEAR-OLD LETA slams the door and stands there, ear against it. She hears running, distant shouts.</dialogue>
<dialogue>Then a sound behind her makes her jump and turn around.</dialogue>
<dialogue>13-YEAR-OLD NEWT is already in occupation of the cupboard. He has hidden a couple of tanks here, one containing tadpoles, another Streelers.</dialogue>
<dialogue>A lined cardboard box serves as a nest for the raven chick he is cradling in his hand. It wears a splint on its broken leg. NEWT and LETA stare at each other.</dialogue>
<character>13-YEAR-OLD LETA</character>
<dialogue>Scamander... why aren't you packing?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<dialogue>I'm not going home.</dialogue>
<character>13-YEAR-OLD LETA</character>
<dialogue>Why not?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<parenthetical>(re: the raven)</parenthetical>
<dialogue>He needs me. It was hurt.</dialogue>
<scene_description>LETA takes in the tanks, then the ugly little bird, to which NEWT now feeds an earthworm.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>What is that?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<dialogue>A raven chick.</dialogue>
<scene_description>She is mildly intrigued now.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>The raven's my family's emblem.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>68</character>
<dialogue>She watches him stroking the bird's head. As he places the</dialogue>
<character>CONTINUED:</character>
<dialogue>chick gently in her hands, she seems to see him plainly for the first time.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
<character>69</character>
<dialogue>PREVIOUSLY - DAY</dialogue>
<character>INT. DEFENSE AGAINST THE DARK ARTS CLASS - FOURTEEN YEARS 69</character>
<dialogue>It is Boggart time.</dialogue>
<dialogue>DUMBLEDORE supervises the line of teenagers advancing to try their luck.</dialogue>
<dialogue>"Riddikulus" -- "Riddikulus" -- gusts of hilarity as a shark becomes a flotation device, a zombie's head turns into a pumpkin, a vampire turns into a buck-toothed rabbit.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>All right, Newt. Be brave.</dialogue>
<scene_description>16-YEAR-OLD NEWT moves to the front of the queue. The Boggart turns into a Ministry desk.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Mmm, that's an unusual one. So Mr. Scamander fears what more than anything else in the world?</dialogue>
<character>16-YEAR-OLD NEWT</character>
<dialogue>Having to work in an office, sir.</dialogue>
<scene_description>The class roars with laughter.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Go ahead, Newt.</dialogue>
<character>16-YEAR-OLD NEWT</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>NEWT turns the desk into a gamboling wooden dragon and moves aside.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Well done. Good job.</dialogue>
<scene_description>It is 16-YEAR-OLD LETA'S turn, but she doesn't move. She is terrified. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>69</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(kind, to LETA)</parenthetical>
<dialogue>Leta, it's only a Boggart, it can't hurt you. Everyone's scared of something.</dialogue>
<scene_description>A group of girls stands together, enjoying her fear.</scene_description>
<character>GRYFFINDOR GIRL 1</character>
<dialogue>I've been looking forward to this.</dialogue>
<scene_description>LETA steps forward. The Boggart transforms and at once, all laughter is extinguished. Green light is reflected on every horrified face. We see a shadow, with a tiny human hand. LETA lets out a sob and runs from the room.</scene_description>
<character>70</character>
<dialogue>PREVIOUSLY - EVENING</dialogue>
<character>EXT. HOGWARTS LAKE, BOWTRUCKLE ISLAND - FOURTEEN YEARS</character>
<dialogue>NEWT finds LETA sitting by the lake, tearstained, eyes swollen. They look at each other.</dialogue>
<character>16-YEAR-OLD LETA</character>
<dialogue>I don't want to talk about it!</dialogue>
<scene_description>He holds out his hand and she lets him pull her up. He leads her past a few trees until they reach the one where Bowtruckles are climbing and fighting and playing. They freeze at the humans' approach but relax when they recognize NEWT. He holds out a finger. One of them jumps on.</scene_description>
<character>16-YEAR-OLD NEWT</character>
<dialogue>They know me, or they'd hide. They only nest in trees with wand -- quality wood, did you know that?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And they have very complex social lives. If you watch them for long enough, you realize...</dialogue>
<scene_description>He trails off. She is watching him, not the Bowtruckles. NEWT reaches across to her, the Bowtruckle standing on his wrist. His hand grazes hers. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>70</character>
<dialogue>DUMBLEDORE (V.O.)</dialogue>
<character>CONTINUED:</character>
<dialogue>Hello, Leta.</dialogue>
<character>71</character>
<dialogue>INT. EMPTY HOGWARTS CLASSROOM - AFTERNOON</dialogue>
<scene_description>LETA is still sitting at her old desk in the present-day classroom. DUMBLEDORE enters.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>This is a surprise.</dialogue>
<character>LETA</character>
<parenthetical>(cold)</parenthetical>
<dialogue>Finding me in a classroom? Was I such a bad student?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>On the contrary, you were one of my cleverest.</dialogue>
<character>LETA</character>
<dialogue>I said bad, not stupid. Don't bother answering. I know you never liked me.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Well, you're wrong. I never thought you bad.</dialogue>
<character>LETA</character>
<dialogue>You were alone, then. Everybody else did.</dialogue>
<parenthetical>(very quietly)</parenthetical>
<dialogue>And they were right. I was wicked.</dialogue>
<scene_description>A beat as he considers her.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Leta, I know how painful the rumors about your brother Corvus must be for you.</dialogue>
<character>LETA</character>
<dialogue>No, you don't. Not unless you had a brother who died too.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>In my case, it was my sister.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>71</character>
<dialogue>She stares at him, both hostile and curious.</dialogue>
<character>CONTINUED:</character>
<dialogue>LETA</dialogue>
<scene_description>Did you love her?</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Not as well as I should have done.</dialogue>
<scene_description>He steps toward LETA.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>It's never too late to free yourself. Confession is a relief, I'm told. A great weight lifted.</dialogue>
<scene_description>She stares at him: What does he know -- or suspect?</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(sotto voce)</parenthetical>
<dialogue>Regret is my constant companion. Do not let it become yours.</dialogue>
<character>72</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - END OF DAY</dialogue>
<scene_description>QUEENIE is on the sofa, beside a table of tea and cakes. She sets down her empty teacup. We feel her slight awkwardness as it is instantly refilled by ROSIER.</scene_description>
<character>QUEENIE</character>
<dialogue>Oh, no, thank you. You've been real kind, but my sister Tina's probably worried sick about me, you know. Banging on all the doors and things, so I think I'd better be going.</dialogue>
<character>ROSIER</character>
<dialogue>But you haven't met your host.</dialogue>
<character>QUEENIE</character>
<parenthetical>(a little wistfully)</parenthetical>
<dialogue>Oh, are you married?</dialogue>
<character>ROSIER</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Let's say... deeply committed.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>72</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(innocent)</parenthetical>
<dialogue>You see, I can't tell if you're making a joke or if you're just... French.</dialogue>
<scene_description>ROSIER laughs and leaves. QUEENIE is confused. An enchanted teapot hovering in midair nudges her, intent on refilling her cup.</scene_description>
<character>QUEENIE</character>
<parenthetical>(to the teapot)</parenthetical>
<dialogue>Hey, knock it off.</dialogue>
<scene_description>The door opens. GRINDELWALD enters. QUEENIE stands and the teapot and cups smash to the ground. She draws her wand and aims it at GRINDELWALD.</scene_description>
<character>QUEENIE</character>
<dialogue>You stay right there. I know what you are.</dialogue>
<scene_description>He walks slowly toward her.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Queenie, we are not here to hurt you. We only want to help you. You're so very, very far from home. Far away from everything you love. Everything that was comfortable.</dialogue>
<scene_description>QUEENIE stares, keeping her wand raised.</scene_description>
<character>GRINDELWALD</character>
<dialogue>I would never see you harmed, ever. It is not your fault that your sister is an Auror. I wish you were working with me now towards a world where we wizards are free to live openly, and to love freely.</dialogue>
<scene_description>GRINDELWALD'S hand touches her wand-tip and lowers it.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You are an innocent. So go now. Leave this place.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>73</character>
<dialogue>INT. HOGWARTS, ROOM OF REQUIREMENT - NIGHT</dialogue>
<scene_description>A spartan room. A large object stands against the wall, covered in black velvet. DUMBLEDORE stands thinking for a moment, then approaches the covered object and pulls the curtain down. The Mirror of Erised is revealed. He has not looked into it for many years. Bracing himself, he now does so: WE SEE: TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD facing each other in a barn. Both score their palms with their wands. Now bleeding, they interlace their hands... DUMBLEDORE turns his head away, fighting the impulse to cover the glass again. Bracing himself, he looks up. From their bloody palms rise two glowing drops of blood, which mingle and merge to create one. A metal shape begins to form around the droplet, becoming more defined and intricate. It is GRINDELWALD'S vial.</scene_description>
<character>THE VISION FADES --</character>
<dialogue>-- and the present-day GRINDELWALD stands smiling out of the mirror, surrounded by blackness.</dialogue>
<character>74</character>
<dialogue>EXT. PARIS, RUE DE MONTMORENCY - AFTERNOON</dialogue>
<scene_description>ESTABLISHING SHOT: NICOLAS FLAMEL'S house.</scene_description>
<character>75</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>A creepy medieval drawing room. The tapestries sport moving figures and odd runes. A large crystal ball in a corner shows dark clouds. TINA is trying to wake up KAMA with a bottle of smelling salts. He moves slightly. The Predictions of Tycho Dodonus slips out of his pocket onto the floor. TINA picks it up and opens it to the prediction KAMA has underlined. NEWT'S case is open on a table. The Zouwu roars from inside. TINA turns to look at it, listening. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>76</character>
<dialogue>INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON</dialogue>
<scene_description>A wild Chinese habitat. NEWT is curled up in dense undergrowth. The Zouwu picks him up and dangles him from a claw.</scene_description>
<character>77</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>JACOB enters and sees TINA watching the case. She hastily looks back at the book.</scene_description>
<character>JACOB</character>
<parenthetical>(calling into case)</parenthetical>
<dialogue>Hey, Newt, buddy. Tina's up here. She's all by her lonesome and maybe you want to come up and keep her company?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've been looking for food, and I ain't found any. I guess I'm gonna go upstairs and try my luck in the - - I dunno -- the attic!</dialogue>
<character>78</character>
<dialogue>INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON</dialogue>
<scene_description>Still dangling from the Zouwu's claw, NEWT soothes and coaxes her until he can reach her harness and remove it. The Zouwu is finally freed from her chains.</scene_description>
<character>NEWT</character>
<dialogue>You're all right.</dialogue>
<character>JACOB (O.S.)</character>
<dialogue>Okay!</dialogue>
<character>79</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>JACOB is about to leave when NEWT clambers back out of the case.</scene_description>
<character>NEWT</character>
<dialogue>She's responded well to the Dittany. She was born to run, you see. I think she's just lacking in confidence --</dialogue>
<scene_description>He glances at TINA. She pockets The Predictions of Tycho Dodonus and speaks, not quite looking at NEWT. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>79</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<dialogue>Mr. Scamander, have you got anything in your case that might help revive this man? I need to question him. I think he knows who Credence really is. The scars on his hand suggest an unbreakable vow --</dialogue>
<character>NEWT</character>
<parenthetical>(eager, overlapping)</parenthetical>
<dialogue>-- unbreakable vow. Yeah, I noticed that too --</dialogue>
<scene_description>They examine the unconscious KAMA.</scene_description>
<character>NEWT</character>
<dialogue>Lumos.</dialogue>
<scene_description>NEWT'S and TINA'S hands brush as NEWT advances his lit wand- tip to look in KAMA'S eye. Both jump. NEWT stares into KAMA'S eye. The tiny flicker of a tentacle, swiftly withdrawn --</scene_description>
<character>TINA</character>
<parenthetical>(gasps)</parenthetical>
<dialogue>What was that?</dialogue>
<character>NEWT</character>
<parenthetical>(serious)</parenthetical>
<dialogue>There must be a water dragon in that sewer-they carry these parasites, you see. They... Jacob?</dialogue>
<character>JACOB</character>
<dialogue>Yeah?</dialogue>
<character>NEWT</character>
<dialogue>In my case, in the pocket there, you'll find a pair of tweezers.</dialogue>
<character>JACOB</character>
<dialogue>Tweezers?</dialogue>
<character>NEWT</character>
<dialogue>They're thin and pointy --</dialogue>
<character>TINA</character>
<dialogue>Thin, little pointy things.</dialogue>
<character>JACOB</character>
<dialogue>Yes, I know what tweezers are.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>79</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<parenthetical>(to TINA)</parenthetical>
<dialogue>You might not want to watch this...</dialogue>
<character>TINA</character>
<dialogue>I can handle it.</dialogue>
<scene_description>NEWT succeeds in catching and pulling at the tentacle in KAMA'S eye.</scene_description>
<character>NEWT</character>
<dialogue>Come on. You're all right. Jacob, will you take that for me?</dialogue>
<scene_description>He has extracted something like a spindly, waterborne spider, which he hands to JACOB.</scene_description>
<character>JACOB</character>
<dialogue>Ew! Calamari.</dialogue>
<scene_description>KAMA has started muttering, distraught, semiconscious.</scene_description>
<character>KAMA</character>
<dialogue>I must kill him...</dialogue>
<character>TINA</character>
<dialogue>Who? Credence? Who --?</dialogue>
<character>NEWT</character>
<dialogue>It may take him a few hours to recover. The parasite's poison is quite strong.</dialogue>
<character>TINA</character>
<dialogue>I'll have to go to the Ministry with what I've got.</dialogue>
<parenthetical>(a wobble in her voice)</parenthetical>
<dialogue>It was nice to see you again, Mr. Scamander.</dialogue>
<scene_description>She strides from the room, leaving NEWT perplexed and upset.</scene_description>
<character>80</character>
<dialogue>INT. FLAMEL HOUSE, HALLWAY - AFTERNOON</dialogue>
<scene_description>JACOB follows TINA into the hall.</scene_description>
<character>JACOB</character>
<dialogue>Hey, hold on one second, will you? Well, hold on! Wait! Tina!</dialogue>
<scene_description>She leaves. As the front door closes, NEWT appears at the drawing room door. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>80</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<parenthetical>(to NEWT)</parenthetical>
<dialogue>You didn't mention salamanders, did you?</dialogue>
<character>NEWT</character>
<dialogue>No, she just -- ran. I don't know...</dialogue>
<character>JACOB</character>
<parenthetical>(firm)</parenthetical>
<dialogue>So you chase after her!</dialogue>
<scene_description>NEWT grabs his case. He leaves.</scene_description>
<character>81</character>
<dialogue>EXT. RUE DE MONTMORENCY - END OF DAY</dialogue>
<scene_description>TINA is hurrying up the road. NEWT hastens to catch up.</scene_description>
<character>NEWT</character>
<dialogue>Tina. Please, just listen to me --</dialogue>
<character>TINA</character>
<dialogue>Mr. Scamander, I need to go talk to the Ministry -- and I know how you feel about Aurors --</dialogue>
<character>NEWT</character>
<dialogue>I may have been a little strong in the way that I expressed myself in that letter --</dialogue>
<character>TINA</character>
<dialogue>What was the exact phrase? "A bunch of careerist hypocrites"?</dialogue>
<character>NEWT</character>
<dialogue>I'm sorry, but I can't admire people whose answer to everything that they fear or misunderstand is "kill it"!</dialogue>
<character>TINA</character>
<dialogue>I'm an Auror and I don't --</dialogue>
<character>NEWT</character>
<dialogue>Yes, and that's because you've gone middle head!</dialogue>
<character>TINA</character>
<parenthetical>(stopping)</parenthetical>
<dialogue>Excuse me?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>81</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>It's an expression derived from the three heads of the Runespoor. The middle one is the visionary. Every Auror in Europe wants Credence dead -- except you. You've gone middle head.</dialogue>
<scene_description>A beat.</scene_description>
<character>TINA</character>
<dialogue>Who else uses that expression, Mr. Scamander?</dialogue>
<scene_description>NEWT considers.</scene_description>
<character>NEWT</character>
<dialogue>I think it might just be me.</dialogue>
<scene_description>All lights are extinguished as every building is wrapped in black banners. MUGGLES pass, totally immune, but a YOUNG RED-HAIRED WITCH nearby is walking along. She, like NEWT and TINA, can see the banners. TINA steps into the middle of the road, watching the black silk fall out of the sky to shroud the surrounding buildings in darkness.</scene_description>
<character>TINA</character>
<dialogue>It's Grindelwald. He's calling his followers.</dialogue>
<scene_description>WE PAN UP ONE LENGTH OF FLOWING BLACK SILK until we achieve an AERIAL VIEW of Paris. The entire city is being covered in GRINDELWALD'S dark banners.</scene_description>
<character>82</character>
<dialogue>EXT. WIZARDING CAFÉ - END OF DAY</dialogue>
<scene_description>Witches and wizards hurrying outside to see what is invisible to Muggle passersby.</scene_description>
<character>83</character>
<dialogue>EXT. PARISIAN STREET - END OF DAY</dialogue>
<scene_description>QUEENIE reaches out to the nearest black banner, and an emblem of a white raven appears beneath her touch. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>84</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - END OF DAY</dialogue>
<scene_description>NEWT still following TINA. They stand surrounded by the impressive scale of GRINDELWALD'S banners.</scene_description>
<character>TINA</character>
<dialogue>It's too late. Grindelwald's come for Credence. He might already have him.</dialogue>
<character>NEWT</character>
<parenthetical>(suddenly forceful)</parenthetical>
<dialogue>It's not too late. We can still get to him first.</dialogue>
<scene_description>He grabs her hand and pulls her on.</scene_description>
<character>TINA</character>
<dialogue>Where are you going?</dialogue>
<character>NEWT</character>
<dialogue>The French Ministry of Magic.</dialogue>
<character>TINA</character>
<dialogue>That's the last place Credence would go!</dialogue>
<character>NEWT</character>
<dialogue>There's a box hidden at the Ministry safe. It's a box that can tell us who Credence really is.</dialogue>
<character>TINA</character>
<dialogue>A box? What are you talking about?</dialogue>
<character>NEWT</character>
<dialogue>Trust me.</dialogue>
<character>85</character>
<dialogue>EXT. DERELICT BUILDING, ROOFTOP - LATE AFTERNOON</dialogue>
<scene_description>CREDENCE is breaking up birdseed and feeding it to a small chick when NAGINI appears behind him.</scene_description>
<character>NAGINI</character>
<parenthetical>(urgently)</parenthetical>
<dialogue>Credence.</dialogue>
<scene_description>She leads him back through the open window, out onto the roof. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>85</character>
<dialogue>The EIFFEL TOWER is visible behind them.</dialogue>
<character>CONTINUED:</character>
<dialogue>WE PAN AROUND: and see GRINDELWALD sitting on the rooftop near them both.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Shh.</dialogue>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>What do you want?</dialogue>
<character>GRINDELWALD</character>
<dialogue>From you? Nothing. For you? Everything I never had. But what is it you want, my boy?</dialogue>
<character>CREDENCE</character>
<dialogue>I want to know who I am.</dialogue>
<character>GRINDELWALD</character>
<dialogue>This is where you will find proof of your true identity.</dialogue>
<scene_description>GRINDELWALD takes a piece of parchment from his pocket and throws it into the air. The parchment flutters to CREDENCE and lands gently in his hand.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Come to Père Lachaise tonight and you will discover the truth.</dialogue>
<scene_description>He bows, then Disapparates, leaving CREDENCE holding a map of Père Lachaise cemetery.</scene_description>
<character>86</character>
<dialogue>INT. FLAMEL HOUSE - END OF DAY</dialogue>
<scene_description>An uncomfortable JACOB is asleep in a chair beside the semiconscious KAMA. KAMA is muttering:</scene_description>
<character>KAMA</character>
<dialogue>Father... why did you make me...?</dialogue>
<scene_description>JACOB jolts awake as if from a bad dream.</scene_description>
<character>JACOB</character>
<dialogue>Wait! Wait --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>Now fully awake, JACOB'S stomach begins to rumble.</dialogue>
<character>CONTINUED:</character>
<dialogue>A figure appears behind JACOB.</dialogue>
<dialogue>Six-hundred-year-old NICOLAS FLAMEL stands at the entrance to his alchemist's studio.</dialogue>
<character>FLAMEL</character>
<dialogue>I'm afraid we keep no food in the house.</dialogue>
<scene_description>JACOB yelps in fear.</scene_description>
<character>JACOB</character>
<parenthetical>(terrified)</parenthetical>
<dialogue>Are you a ghost?</dialogue>
<character>FLAMEL</character>
<parenthetical>(amused)</parenthetical>
<dialogue>No, no, I am alive, but I am an alchemist, and therefore immortal.</dialogue>
<character>JACOB</character>
<dialogue>You don't look a day over three- seventy-five. Hey, sorry we didn't knock --</dialogue>
<character>FLAMEL</character>
<dialogue>No matter. Albus told me some friends might be dropping in.</dialogue>
<parenthetical>(holding out his hand)</parenthetical>
<dialogue>Nicolas Flamel.</dialogue>
<character>JACOB</character>
<dialogue>Oh. Jacob Kowalski.</dialogue>
<scene_description>They shake hands. JACOB'S grip is firm -- too firm for the alchemist's fragile bones.</scene_description>
<character>FLAMEL</character>
<dialogue>Ooh!</dialogue>
<character>JACOB</character>
<dialogue>I'm sorry.</dialogue>
<character>FLAMEL</character>
<dialogue>It's all right.</dialogue>
<character>JACOB</character>
<dialogue>I didn't --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>FLAMEL looks over at the large crystal ball, in which dark</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>billowing clouds and flashes of lightning have appeared.</dialogue>
<character>FLAMEL</character>
<dialogue>Aha! At last, we see developments!</dialogue>
<character>JACOB</character>
<parenthetical>(drawing closer)</parenthetical>
<dialogue>I've seen one of these before. It was at the fair. There was this dame there, and she had a veil. I gave her a nickel and she told me about my future.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>She missed out on quite a bit, actually.</dialogue>
<scene_description>WE CLOSE IN ON: the orb, into dark billowing smoke and flashes of lightning, into the center where we see CREDENCE --</scene_description>
<character>JACOB (O.S.)</character>
<dialogue>Hey -- wait a minute! I know him. That's that kid. That's Credence --</dialogue>
<scene_description>-- and then it becomes the Lestrange tomb, its stone raven prominent. Suddenly, QUEENIE appears inside the tomb, sitting on a stone bench, waiting...</scene_description>
<character>JACOB</character>
<dialogue>Hey! That's Queenie! There she is.</dialogue>
<parenthetical>(as if to QUEENIE)</parenthetical>
<dialogue>Hi, baby!</dialogue>
<parenthetical>(to FLAMEL)</parenthetical>
<dialogue>Where is this? Is this -- is this here?</dialogue>
<character>FLAMEL</character>
<dialogue>This is the Lestrange tomb. It lies in the cemetery of Père Lachaise...</dialogue>
<character>JACOB</character>
<parenthetical>(to QUEENIE in the crystal ball)</parenthetical>
<dialogue>I'm coming, baby. Stay right there - -</dialogue>
<parenthetical>(to FLAMEL)</parenthetical>
<dialogue>Thank you, thank you, Mr. Flamel!</dialogue>
<scene_description>JACOB clutches FLAMEL'S hands in gratitude. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>FLAMEL</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Ahh!</dialogue>
<character>JACOB</character>
<dialogue>Oh no. I'm sorry! I'm sorry, okay?</dialogue>
<character>FLAMEL</character>
<dialogue>Ouch.</dialogue>
<character>JACOB</character>
<dialogue>Oh-look after Mr. Tentacles for me.</dialogue>
<scene_description>He turns. The sofa is empty. JACOB runs out of the room into the hall. The front door stands open. KAMA has escaped.</scene_description>
<character>JACOB</character>
<dialogue>Oh no. I'm sorry, I gotta go.</dialogue>
<character>FLAMEL</character>
<dialogue>Please, you must not go to the cemetery!</dialogue>
<scene_description>But JACOB too runs off into the night. BACK TO FLAMEL: he has shuffled after JACOB, but on realizing he is gone, FLAMEL turns anxiously back to the orb. Black flames are swirling around it. FLAMEL shuffles back into his studio and opens a cupboard. We glimpse glass vials, tubes, and the glowing Philosopher's Stone. He heaves from a shelf a padlocked book embossed with a phoenix. He touches the padlock and it springs open. CLOSE ON THE BOOK: as he flicks through it. Each page holds a photograph captioned with a name. FLAMEL turns the pages, but the subjects of all the pictures are missing.</scene_description>
<character>FLAMEL</character>
<dialogue>Oh dear --</dialogue>
<scene_description>DUMBLEDORE'S portrait is blank. FLAMEL flicks open another page: EULALIE HICKS, a young American professor at Ilvermorny, looks around, worried. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>EULALIE</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>What's happening?</dialogue>
<character>FLAMEL</character>
<dialogue>Exactly what he said would happen. Grindelwald rallies tonight at the cemetery, and there will be death!</dialogue>
<character>EULALIE</character>
<dialogue>Then you gotta go!</dialogue>
<character>FLAMEL</character>
<parenthetical>(panicked)</parenthetical>
<dialogue>What? I haven't seen action in two hundred years...</dialogue>
<character>EULALIE</character>
<dialogue>You can do this, Flamel. We believe in you.</dialogue>
<character>87</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - DAY</dialogue>
<scene_description>TINA and NEWT stand in a nearby alleyway, looking out over the square where tree roots previously rose to form the birdcage elevator to the French Ministry.</scene_description>
<character>NEWT</character>
<dialogue>The box is in the ancestral records room, Tina. So, three floors down.</dialogue>
<scene_description>NEWT rummages in his pockets and pulls out a tiny bottle with only a couple of muddy drops left inside it.</scene_description>
<character>TINA</character>
<dialogue>Is that Polyjuice?</dialogue>
<character>NEWT</character>
<parenthetical>(of the bottle)</parenthetical>
<dialogue>Just enough to get me inside.</dialogue>
<scene_description>He looks down at his coat and finds one of THESEUS'S hairs on his shoulder. He adds it to the mixture, drinks, and turns into THESEUS, still wearing NEWT'S clothes.</scene_description>
<character>TINA</character>
<dialogue>Who --?</dialogue>
<character>NEWT</character>
<dialogue>My brother, Theseus. He's an Auror. And a hugger.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>88</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - NIGHT</dialogue>
<scene_description>THESEUS exits a meeting room and strides toward LETA, who is waiting for him.</scene_description>
<character>LETA</character>
<dialogue>What's happening?</dialogue>
<character>THESEUS</character>
<dialogue>Grindelwald's rallying. We don't know where, but we think it's tonight.</dialogue>
<scene_description>LETA and THESEUS kiss.</scene_description>
<character>LETA</character>
<dialogue>Be careful.</dialogue>
<character>THESEUS</character>
<dialogue>Of course.</dialogue>
<character>LETA</character>
<dialogue>Promise me you'll be careful.</dialogue>
<character>THESEUS</character>
<dialogue>Of course, I'm going to be careful. Listen, I want you to hear this from me. They think that Credence boy might be your missing brother.</dialogue>
<character>LETA</character>
<dialogue>My brother is dead. He died. How many times, Theseus?</dialogue>
<character>THESEUS</character>
<dialogue>I know, I know. And the records, the records will prove that, okay? They can't lie.</dialogue>
<character>TRAVERS</character>
<parenthetical>(sharply)</parenthetical>
<dialogue>Theseus.</dialogue>
<scene_description>THESEUS leaves LETA and joins TRAVERS.</scene_description>
<character>TRAVERS</character>
<dialogue>I want every person at that rally arrested. If they resist --</dialogue>
<character>THESEUS</character>
<dialogue>Sir-forgive me... but if we go in too heavy, don't we run the risk of adding to the --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>88</character>
<dialogue>TRAVERS</dialogue>
<character>CONTINUED:</character>
<dialogue>Just do it.</dialogue>
<scene_description>THESEUS catches sight of NEWT-AS-THESEUS and TINA walking, heads down, through the Ministry typing pool. The brothers' eyes meet. ANGLE ON: NEWT-AS-THESEUS and TINA. NEWT-AS-THESEUS grabs TINA'S arm and makes a sharp turn down a corridor. THESEUS sets off in pursuit, leaving LETA and the angry TRAVERS (who hasn't spotted NEWT) behind. LETA backs away from the throng and slips through a side door.</scene_description>
<character>89</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, CORRIDOR - NIGHT</dialogue>
<scene_description>NEWT-AS-THESEUS and TINA run along a corridor lined with pictures, the Polyjuice Potion already wearing off NEWT.</scene_description>
<character>NEWT</character>
<dialogue>I don't suppose you can Disapparate on Ministry premises in France, can you?</dialogue>
<character>TINA</character>
<dialogue>No.</dialogue>
<character>NEWT</character>
<dialogue>Pity.</dialogue>
<scene_description>The Potion wears off completely.</scene_description>
<character>TINA</character>
<dialogue>Newt!</dialogue>
<character>NEWT</character>
<dialogue>Yes, I know. I know there's --</dialogue>
<scene_description>At once, every portrait along the corridor turns into NEWT. An alarm sounds.</scene_description>
<character>ALARM (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Urgence! Urgence! Un sorcier suivi, Newt Scamander, est entré dans le Ministère!</dialogue>
<parenthetical>(then, in English)</parenthetical>
<dialogue>Emergency! Emergency! A tracked wizard, Newt Scamander, has entered the Department of Magic!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>89</character>
<dialogue>THESEUS MOVES INTO SHOT.</dialogue>
<character>CONTINUED:</character>
<dialogue>THESEUS</dialogue>
<scene_description>Newt!</scene_description>
<character>TINA</character>
<parenthetical>(running)</parenthetical>
<dialogue>That's your brother?</dialogue>
<character>NEWT</character>
<dialogue>Yes -- I think I may have mentioned in my letters we have quite a complicated relationship --</dialogue>
<character>THESEUS</character>
<dialogue>NEWT, STOP!</dialogue>
<scene_description>NEWT and TINA sprint through a second door, which leads --</scene_description>
<character>90</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAILROOM - NIGHT</dialogue>
<scene_description>-- into a mailroom. Two elderly PORTERS are pushing mailcarts across the circular room.</scene_description>
<character>TINA</character>
<dialogue>Does he want to kill you?</dialogue>
<character>NEWT</character>
<dialogue>Frequently.</dialogue>
<character>THESEUS</character>
<dialogue>No!</dialogue>
<scene_description>As they sprint past the mailcarts, THESEUS sends a curse after them, sending the mailcart boxes flying. TINA blocks the spell.</scene_description>
<character>TINA</character>
<dialogue>He needs to control his temper!</dialogue>
<scene_description>TINA points her wand. THESEUS is slammed down into a high chair that TINA has conjured out of nowhere. Hands bound, THESEUS flies backward on the chair into a meeting room, where he slams into a wall. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>90</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<parenthetical>(awed)</parenthetical>
<dialogue>I think that might have been the best moment of my life.</dialogue>
<scene_description>TINA laughs. NEWT and TINA sprint on.</scene_description>
<character>91</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>An ancient tomb containing many sarcophagi is dominated by the grand marble tomb of LETA'S father. ABERNATHY and MACDUFF enter carrying the bag retrieved from the French Ministry and remove the elaborate box, which they plant in the mausoleum to be found.</scene_description>
<character>92</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - SHORTLY AFTERWARD - NIGHT</dialogue>
<scene_description>JACOB is panting as he runs through the dark, deserted cemetery, looking for the tomb he saw in the orb. A faint light in the distance shows him the Lestrange mausoleum.</scene_description>
<character>93</character>
<dialogue>EXT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT</dialogue>
<scene_description>JACOB reaches the tomb. A stone raven on the lintel.</scene_description>
<character>JACOB</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Queenie?</dialogue>
<scene_description>No answer. He enters.</scene_description>
<character>94</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>ANGLE ON: JACOB entering a small space full of shadows and sarcophagi. A single lamp.</scene_description>
<character>JACOB</character>
<dialogue>Queenie, honey?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>94</character>
<dialogue>MALE WIZARD</dialogue>
<character>CONTINUED:</character>
<dialogue>Don't. Don't move.</dialogue>
<scene_description>A movement behind him. He whirls around. A silhouetted figure lunges at him.</scene_description>
<character>95</character>
<dialogue>NIGHT</dialogue>
<character>INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM ATRIUM -95</character>
<dialogue>NEWT and TINA turn a corner into a beautiful atrium area in front of towering Art Nouveau doors carved to resemble trees.</dialogue>
<dialogue>A very old woman behind a desk bars the way: MELUSINE.</dialogue>
<character>MELUSINE</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Puis-je vous aider?</dialogue>
<character>NEWT</character>
<dialogue>Er -- yes, this is Leta Lestrange. And -- I'm her --</dialogue>
<character>TINA</character>
<dialogue>Fiancé.</dialogue>
<scene_description>An increased awkwardness between them as MELUSINE lifts an ancient book onto the desk and opens it. CLOSE ON: MELUSINE'S WIZENED FINGER as it runs down a list of surnames beginning with "L".</scene_description>
<character>MELUSINE</character>
<parenthetical>(pointing them on, in French)</parenthetical>
<dialogue>Allez-y.</dialogue>
<character>TINA</character>
<parenthetical>(whispering, in French)</parenthetical>
<dialogue>Merci.</dialogue>
<character>NEWT</character>
<parenthetical>(sotto voce, behind TINA)</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>NEWT grabs TINA'S hand and pulls her toward the doors into the records room. MELUSINE eyes them suspiciously.</scene_description>
<character>NEWT</character>
<dialogue>Tina, about that fiancée business --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>95</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<parenthetical>(brittle)</parenthetical>
<dialogue>Sorry, yeah. I should have congratulated you --</dialogue>
<scene_description>The doors to the records office open. They enter briskly.</scene_description>
<character>96</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM - NIGHT 96</dialogue>
<scene_description>The doors close behind them, plunging them into darkness.</scene_description>
<character>NEWT</character>
<dialogue>No, that's --</dialogue>
<character>TINA</character>
<dialogue>Lumos.</dialogue>
<scene_description>An extraordinary acre of shelves stretches away from them, all carved to look like trees, so that they seem to be on the edge of the forest. Pickett pokes his head out of NEWT'S pocket and squeals in excitement.</scene_description>
<character>TINA</character>
<dialogue>Lestrange.</dialogue>
<scene_description>Nothing happens. TINA sets off, NEWT right behind her. They weave in and out of the carved shelves bearing rolls of parchment, the occasional prophecy, other mysterious trunks and boxes.</scene_description>
<character>NEWT</character>
<dialogue>Tina -- about Leta -</dialogue>
<character>TINA</character>
<dialogue>Yes, I've just said, I am happy for you --</dialogue>
<character>NEWT</character>
<dialogue>Yeah, well, don't.</dialogue>
<scene_description>She stops. Looks at him. What?</scene_description>
<character>NEWT</character>
<dialogue>Please don't be happy.</dialogue>
<parenthetical>(in trouble)</parenthetical>
<dialogue>Uh, no, no. I'm sorry. I don't...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Uh, obviously, I -- Obviously I want you to be. And I hear that you are now. Uh, which is wonderful. Sorry --</dialogue>
<parenthetical>(a gesture of hopelessness)</parenthetical>
<dialogue>What I'm trying to say is, I want you to be happy, but don't be happy that I'm happy, because I'm not.</dialogue>
<parenthetical>(off her confusion)</parenthetical>
<dialogue>Happy.</dialogue>
<parenthetical>(off her continued confusion)</parenthetical>
<dialogue>Or engaged.</dialogue>
<character>TINA</character>
<dialogue>What?</dialogue>
<character>NEWT</character>
<dialogue>It was a mistake in a stupid magazine. My brother's marrying Leta, June the sixth. I'm supposed to be best man. Which is sort of mildly hilarious.</dialogue>
<character>TINA</character>
<dialogue>Does he think you're here to win her back?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Are you here to win her back?</dialogue>
<character>NEWT</character>
<dialogue>No! I'm here to --</dialogue>
<scene_description>A beat. He stares at her.</scene_description>
<character>NEWT</character>
<dialogue>-- you know, your eyes really are --</dialogue>
<character>TINA</character>
<dialogue>Are what?</dialogue>
<character>NEWT</character>
<dialogue>I'm not supposed to say.</dialogue>
<scene_description>Pickett is climbing out of NEWT'S pocket onto the nearest shelf. NEWT doesn't notice. A beat. Then, in a rush: 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>TINA</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Newt, I read your book, and did you --?</dialogue>
<character>NEWT</character>
<dialogue>I still have a picture of you -- wait, did you read --?</dialogue>
<scene_description>NEWT pulls the picture of her from his breast pocket and unfolds it. She is inordinately touched. He looks from the picture to TINA.</scene_description>
<character>NEWT</character>
<dialogue>I got this -- I mean, it's just a picture of you from the paper, but it's interesting because your eyes in newsprint... See, in reality they have this effect in them, Tina... It's like fire in water, in dark water. I've only ever seen that --</dialogue>
<parenthetical>(struggling)</parenthetical>
<dialogue>I've only ever seen that in --</dialogue>
<character>TINA</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Salamanders?</dialogue>
<scene_description>A loud bang as the doors to the records room fly open. They jump apart. Somebody has entered the room. They draw back among the shelves.</scene_description>
<character>TINA</character>
<dialogue>Come.</dialogue>
<scene_description>ANGLE ON: LETA in the doorway. She walks inside, desperate. This is her last chance to hide evidence about Corvus's death. The doors close behind her. She raises her wand.</scene_description>
<character>LETA</character>
<dialogue>Lestrange.</dialogue>
<scene_description>The shelves begin to move. ANGLE ON: MELUSINE, watching through the records room doors. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>ANGLE ON: NEWT and TINA. The giant trees are shifting all</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>around them. They are almost crushed as the Lestrange "tree" flies toward them. They hop onto a shelf.</dialogue>
<dialogue>ANGLE ON: LETA. The towering stack stops, swaying, in front of her. She stares. An empty shelf confronts her. A mark in the dust where a box sat, a slip of parchment in its place.</dialogue>
<dialogue>She picks up the slip and reads it aloud.</dialogue>
<character>LETA</character>
<dialogue>"Records moved to Lestrange family tomb at Père Lachaise."</dialogue>
<scene_description>She spots Pickett hiding among the deed boxes on the shelf.</scene_description>
<character>LETA</character>
<dialogue>Circumrota.</dialogue>
<scene_description>The record tower turns, revealing NEWT and TINA clinging to the shelves.</scene_description>
<character>LETA</character>
<dialogue>Hello, Newt.</dialogue>
<character>NEWT</character>
<dialogue>Hello, Leta.</dialogue>
<character>TINA</character>
<parenthetical>(awkwardly, but kindly)</parenthetical>
<dialogue>Hi.</dialogue>
<scene_description>AT THAT MOMENT: MELUSINE enters the records room surrounded by growling Matagots.</scene_description>
<character>NEWT</character>
<dialogue>Oh no.</dialogue>
<character>LETA</character>
<parenthetical>(scared)</parenthetical>
<dialogue>What kind of cats are those?</dialogue>
<character>NEWT</character>
<dialogue>These aren't cats, they're Matagots. They're spirit familiars. They guard the Ministry -- but they won't hurt you unless you --</dialogue>
<scene_description>Panicking, LETA fires a spell at one of the cats.</scene_description>
<character>LETA</character>
<dialogue>Stupefy!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>Her spell not only fails, it causes the Matagots to multiply</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>and become even more aggressive.</dialogue>
<character>NEWT</character>
<parenthetical>(UNLESS YOU ATTACK THEM!)</parenthetical>
<dialogue>As each batch of Matagots is hit, they multiply and mutate. The situation has become dangerous.</dialogue>
<character>LETA</character>
<dialogue>Oops.</dialogue>
<character>NEWT</character>
<dialogue>Leta!</dialogue>
<scene_description>LETA climbs over the balustrade to join NEWT and TINA on the shelf stack.</scene_description>
<character>LETA</character>
<dialogue>Reverte!</dialogue>
<scene_description>The towering stack flies backward as the Matagots pounce in a terrifying ebony surge of teeth and claws. The other "trees" of the records room forest spin and move as NEWT, TINA, and LETA run through the room chased by the attacking Matagots. But just as the Matagots seemingly lose the trail, all of the records room towers retract into the floor, leaving the room empty. The Matagots prowl toward where their prey must surely be standing, only to find -- NEWT'S case. ANGLE ON: THE CASE from above. A beat. An explosion as the Zouwu bursts out of the case, NEWT clinging to its back. Roaring, it rears, slashing at the rising tide of Matagots, its mane flashing.</scene_description>
<character>NEWT</character>
<dialogue>Accio!</dialogue>
<scene_description>NEWT'S case flies into his hand. For a few seconds the Zouwu and NEWT vanish under the seething mass of cats. They fight them off, the Zouwu's immense power unmatched, red tail swishing. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>NEWT points his wand at the ceiling.</dialogue>
<character>CONTINUED: (5)</character>
<dialogue>NEWT</dialogue>
<scene_description>Ascendio! The towers rise once again from the floor, lifting NEWT and the Zouwu high up into the air. Still fighting off the Matagots as the stacks tip and fall beneath the sheer weight, the Zouwu clambers across to the balcony.</scene_description>
<character>97</character>
<dialogue>LATER - NIGHT</dialogue>
<character>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - A MINUTE97</character>
<dialogue>The Matagots give chase as the Zouwu gallops out of the room, leaving injured and thwarted Matagots in its wake.</dialogue>
<dialogue>The Zouwu carves a path of destruction through the Ministry. It takes one last leap over the typing pool...</dialogue>
<dialogue>... and its immense magical power propels it up and out through the glass roof.</dialogue>
<character>98</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - NIGHT</dialogue>
<scene_description>NEWT and the Zouwu land in the cemetery. With one gigantic leap, the Zouwu has taken them to freedom. The few Matagots that have followed them growl and then shrink. Reduced to the size of domestic cats in the Muggle environment, they "meow" pitifully. NEWT opens his case as the Zouwu nudges him with affection.</scene_description>
<character>NEWT</character>
<dialogue>Whoa, whoa, whoa. Okay, wait. Hold it there, please. Come on. All right, okay, wait. Okay.</dialogue>
<scene_description>LETA and TINA climb out of the case to observe NEWT coaxing the Zouwu. TINA shakes the cat bird toy she has retrieved from the case. The Zouwu's eyes light up. Unnoticed by NEWT and TINA, LETA runs away into the darkness. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>99</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT</dialogue>
<scene_description>LETA enters the ornate space lined with sleeping statues of dead Lestranges. JACOB stands backed against the wall next to NAGINI in snake form, who is repeatedly lashing out at KAMA, who is trying to get a clean shot at CREDENCE.</scene_description>
<character>KAMA</character>
<parenthetical>(to NAGINI)</parenthetical>
<dialogue>Move back! Move! Out of the way! If I must kill you as well as Corvus, I shall!</dialogue>
<scene_description>LETA raises her wand at KAMA, who swings round to see her, wand pointed at him -- a standoff.</scene_description>
<character>LETA</character>
<dialogue>Stop!</dialogue>
<scene_description>She walks forward, stricken but determined, at last, to do the right thing. KAMA is mesmerized. She is his mother reborn. He moves toward LETA, studies her face in the darkness, transfixed and moved by the sight of her.</scene_description>
<character>LETA</character>
<dialogue>Yusuf?</dialogue>
<character>KAMA</character>
<dialogue>Is that really you? My little sister... ?</dialogue>
<scene_description>NEWT and TINA enter and exchange looks: another piece of the puzzle.</scene_description>
<character>CREDENCE</character>
<parenthetical>(to LETA)</parenthetical>
<dialogue>So he's your brother? Who am I?</dialogue>
<character>LETA</character>
<dialogue>I don't know.</dialogue>
<scene_description>He pushes past LETA and faces KAMA, unprotected.</scene_description>
<character>CREDENCE</character>
<dialogue>I'm tired of living with no name and no history. Just tell me my story -- then you can end it.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>99</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>Your story is our story...</dialogue>
<parenthetical>(gesturing to LETA)</parenthetical>
<dialogue>Our story.</dialogue>
<character>LETA</character>
<dialogue>No, Yusuf --</dialogue>
<character>KAMA</character>
<parenthetical>(determined)</parenthetical>
<dialogue>My father was Mustafa Kama, a pureblood of Sénégalese descent and most accomplished.</dialogue>
<character>100</character>
<dialogue>EXT. PARK - 1896 - DAY</dialogue>
<scene_description>We see a beautiful woman, LAURENA, dressed in an exquisite gown, walking through a park with her husband, MUSTAFA -- clearly in love. A YOUNG YUSUF by their side.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>My mother, Laurena, was equally high-bred-a noted beauty. They were deeply in love. They knew a man of great influence, from a famous French pureblood family. He desired her.</dialogue>
<scene_description>Watching from a distance, an intense wizard, CORVUS LESTRANGE SR, studies her beauty.</scene_description>
<character>101</character>
<dialogue>INT. KAMA MANSION - 1896 - NIGHT</dialogue>
<scene_description>LAURENA'S gown changes to a nightdress. She is walking slowly downstairs, a supernatural wind blowing.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>Lestrange used the Imperius Curse to seduce and abduct her...</dialogue>
<scene_description>The twelve-year-old KAMA runs after his mother, tugs at her hand, and tries to pull her back upstairs. She throws him off. The front door flies open. LESTRANGE SR stands at the foot of the garden path. LAURENA walks toward him. KAMA chases after her. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>101</character>
<dialogue>LESTRANGE SR points his wand at KAMA and sends him sprawling.</dialogue>
<character>CONTINUED:</character>
<dialogue>LAURENA lies on the bed as IRMA carries a newborn swaddled in a blanket to LESTRANGE SR.</dialogue>
<character>102</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<character>KAMA</character>
<dialogue>... that was the last time I ever saw her. She died, giving birth to a little girl.</dialogue>
<parenthetical>(to LETA)</parenthetical>
<dialogue>You.</dialogue>
<scene_description>Tears start in LETA'S eyes, reliving the guilt she holds.</scene_description>
<character>KAMA</character>
<dialogue>The news of her death drove my father insane. With his dying breath, my father charged me to seek revenge.</dialogue>
<parenthetical>(determined)</parenthetical>
<dialogue>Kill the person Lestrange loves best in the world... I thought at first it would be easy... he had only one close relative... you. But --</dialogue>
<character>LETA</character>
<dialogue>Say it...</dialogue>
<character>KAMA</character>
<dialogue>... he never loved you.</dialogue>
<character>103</character>
<dialogue>INT. LESTRANGE MANOR, BEDROOM - 1901 - DAY</dialogue>
<scene_description>WE RE-ENTER THE STORY: to find LESTRANGE SR with a new, blond wife.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>He remarried not three months after her death. He loved her no more than he had loved you... But then...</dialogue>
<scene_description>IRMA takes the BABY BOY who has just been born, and passes him to LESTRANGE SR, who is delighted. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>103</character>
<dialogue>KAMA (V.O.)</dialogue>
<character>CONTINUED:</character>
<dialogue>... his son, Corvus, was born at last. And that man who had never known love was filled with it...</dialogue>
<character>104</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>CREDENCE looks on, rapt: is this who he is? He's hungry to know more.</scene_description>
<character>KAMA</character>
<dialogue>All he cared about was little Corvus.</dialogue>
<scene_description>A beat.</scene_description>
<character>CREDENCE</character>
<dialogue>So... this is the truth? I am Corvus Lestrange?</dialogue>
<character>KAMA</character>
<dialogue>Yes.</dialogue>
<character>LETA</character>
<dialogue>No.</dialogue>
<scene_description>CREDENCE stares from one to the other. KAMA turns and looks at LETA. Her eyes are unfocused. These memories have haunted her nightmares for years.</scene_description>
<character>KAMA</character>
<parenthetical>(to LETA)</parenthetical>
<dialogue>Realizing that Mustafa Kama's son had sworn revenge, your father sought to hide you where I couldn't find you. So he confided you to his servant, who boarded a ship for America.</dialogue>
<character>LETA</character>
<dialogue>He did send Corvus to America, but - -</dialogue>
<character>KAMA</character>
<dialogue>His servant, Irma Dugard, was a half-elf. Her magic was weak and therefore left no trace I could follow. I had only just discovered how you had escaped when I received news I never expected...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>104</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>The ship had gone down at sea... But you survived, didn't you?</dialogue>
<parenthetical>(to CREDENCE)</parenthetical>
<dialogue>Somehow, someone had pulled you from the water! "A son cruelly banished Despair of the daughter Return, great avenger With wings from the water." There --</dialogue>
<parenthetical>(points at LETA)</parenthetical>
<dialogue>-- stands the despairing daughter. You are the winged raven returned from the sea, but I -- I am the avenger of my family's ruin.</dialogue>
<scene_description>KAMA raises his wand.</scene_description>
<character>KAMA</character>
<dialogue>I pity you, Corvus, but you must die.</dialogue>
<character>LETA</character>
<dialogue>Corvus Lestrange is already dead. I killed him.</dialogue>
<scene_description>LETA raises her wand.</scene_description>
<character>LETA</character>
<dialogue>Accio!</dialogue>
<scene_description>A heavy box, hidden in the corner of the mausoleum, comes crashing to her through the dust. A series of clicks as cogs whirr... Puzzle-like, it falls apart.</scene_description>
<character>LETA</character>
<dialogue>My father owned a very strange family tree. It only recorded the men...</dialogue>
<scene_description>We glimpse a tree with an orchid-like flower twisting around it.</scene_description>
<character>LETA</character>
<dialogue>... the women in my family were recorded as flowers. Beautiful. Separate.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>105</character>
<dialogue>INT. LESTRANGE MANOR, NURSERY - 1901 - NIGHT</dialogue>
<scene_description>IRMA lifts a baby from a crib and departs, watched by a desolate LESTRANGE SR.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>My father sent me to America, along with Corvus.</dialogue>
<character>106</character>
<dialogue>INT. SHIP'S CABIN - 1901 - NIGHT</dialogue>
<scene_description>IRMA is asleep, CHILD LETA awake on a lower bunk, and BABY CORVUS screaming in his crib.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Irma was to pose as a grandmother with two grandchildren...</dialogue>
<scene_description>The lights suddenly flicker on and off -- CHILD LETA hasn't moved, she is still looking at the screaming BABY CORVUS.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Corvus never stopped crying.</dialogue>
<scene_description>In the background there is a commotion as figures run along the corridor outside the door. As CHILD LETA approaches BABY CORVUS, who continues to cry, IRMA wakes. She goes to investigate the fuss and noise in the corridor.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>I never wanted to hurt him.</dialogue>
<scene_description>CHILD LETA is transfixed by the baby.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>I only wanted to be free of him. Just for a moment...</dialogue>
<character>107</character>
<dialogue>INT. SHIP'S CORRIDOR - 1901 - NIGHT</dialogue>
<scene_description>The door of the opposite cabin is ajar. BABY CREDENCE is inside, fast asleep. CHILD LETA slips inside. She swaps the babies.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Just a single moment.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>108</character>
<dialogue>INT. SHIP'S CABIN - 1901 - NIGHT</dialogue>
<scene_description>CHILD LETA enters with BABY CREDENCE.</scene_description>
<character>IRMA</character>
<dialogue>Give him to me!</dialogue>
<scene_description>The ship lurches again. IRMA snatches BABY CREDENCE, not noticing the switch amid the confusion. The cabin door bangs open to reveal a dark-haired young woman wearing a nightdress and life jacket.</scene_description>
<character>CREDENCE'S AUNT</character>
<dialogue>Irma? They want us to put on life jackets!</dialogue>
<scene_description>She slips and slides into her own cabin and picks up BABY CORVUS, also not realizing the babies have been switched.</scene_description>
<character>109</character>
<dialogue>EXT. LIFEBOAT - 1901 - NIGHT</dialogue>
<scene_description>CHILD LETA, IRMA, and BABY CREDENCE are in one boat, CREDENCE'S AUNT and BABY CORVUS in another. A huge wave is approaching. CHILD LETA watches as the lifeboat bearing CREDENCE'S AUNT and BABY CORVUS is overturned. CLOSE ON: THE SURFACE OF THE WATER. A few survivors reappear, including CREDENCE'S AUNT, but not BABY CORVUS... CREDENCE'S AUNT pulls off her life jacket so she can dive too... She does not reemerge. We close in through the surface of the water, past the drowning woman, and see the dark shape of a drowning baby trailing bubbles of magical light as he sinks... and his figure becomes...</scene_description>
<character>110</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>... the drowning baby falling through sea-green light, hanging in the air in the mausoleum. LETA has conjured it. It has haunted her all her life and now she shows it to them. The orchid representing LETA on the Lestrange family tree twists around the branch labeled CORVUS LESTRANGE until the leaves wither and die.</scene_description>
<character>NEWT</character>
<dialogue>You didn't mean to do it, Leta. So it wasn't your fault.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>110</character>
<dialogue>LETA</dialogue>
<character>CONTINUED:</character>
<dialogue>Oh, Newt. You never met a monster you couldn't love.</dialogue>
<scene_description>A long look between them, a look full of memories.</scene_description>
<character>TINA</character>
<dialogue>Leta, do you know who Credence really is? Did you know, when you swapped them?</dialogue>
<character>LETA</character>
<dialogue>No.</dialogue>
<scene_description>CREDENCE reacts. An opening suddenly appears in the wall of the mausoleum. All stare at the steps leading down into the earth. The sound of a gigantic CROWD rumbles beneath them.</scene_description>
<character>JACOB</character>
<dialogue>Queenie?</dialogue>
<scene_description>Before anyone can stop him, he runs down the steps. NEWT and TINA dash after him. LETA looks at KAMA, then follows NEWT. KAMA hurries after her.</scene_description>
<character>111</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>JACOB steps out of the narrow staircase into an underground amphitheater and is confronted by a terrifying sight. Thousands of witches and wizards mill around, some already seated on stone benches. The atmosphere is edgy. Some are nervous but curious. Others excited, still others ready for a fight. Masked ACOLYTES steward the crowd. ANGLE ON: CREDENCE AND NAGINI entering the amphitheater. Awed and intimidated by the sight, they are swept along in the swell of people moving deeper into the auditorium. NAGINI tries to hold CREDENCE back.</scene_description>
<character>NAGINI</character>
<dialogue>They're purebloods. They kill the likes of us for sport!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>111</character>
<dialogue>He carries on walking.</dialogue>
<character>CONTINUED:</character>
<dialogue>NAGINI hesitates, then follows too.</dialogue>
<dialogue>Looking around, JACOB spots a familiar blond head -- QUEENIE, being accompanied to a front row seat by an ACOLYTE.</dialogue>
<character>JACOB</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Queenie.</dialogue>
<scene_description>He pushes his way into the crowd. ANGLE ON: JACOB running toward QUEENIE. She turns. Utter delight --</scene_description>
<character>QUEENIE</character>
<dialogue>Jacob! Honey, you're here! Hi!</dialogue>
<scene_description>She flings her arms around his neck.</scene_description>
<character>QUEENIE</character>
<parenthetical>(reading his mind)</parenthetical>
<dialogue>Oh, honey, I'm so sorry, I never should have done it, I love you so much --</dialogue>
<character>JACOB</character>
<dialogue>And you know that I love you, right?</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah.</dialogue>
<character>JACOB</character>
<dialogue>Good, now let's get the hell out of here.</dialogue>
<scene_description>He tries to pull her back the way he came, but she tugs him back.</scene_description>
<character>QUEENIE</character>
<parenthetical>(serious)</parenthetical>
<dialogue>Oh, wait. Wait a second. I just thought maybe we could hear him first. You know, just listen, that's all.</dialogue>
<character>JACOB</character>
<dialogue>What are you talking about?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>111</character>
<dialogue>She pulls a confused JACOB into a seat beside her in the</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>front row, clutching his hand.</dialogue>
<dialogue>JACOB looks around nervously at all the purebloods.</dialogue>
<dialogue>ANGLE ON: NEWT and TINA.</dialogue>
<dialogue>They are already in the crowd, TINA looking around for those they have followed, but NEWT, perturbed, is starting to see the bigger picture.</dialogue>
<character>TINA</character>
<dialogue>It's a trap.</dialogue>
<character>NEWT</character>
<dialogue>Yeah. Queenie -- the family tree -- it's all been bait.</dialogue>
<scene_description>He looks around. ACOLYTES are moving to cover all the entrances.</scene_description>
<character>TINA</character>
<dialogue>We have to find a way out of here, right now.</dialogue>
<character>NEWT</character>
<dialogue>You go find the others.</dialogue>
<character>TINA</character>
<dialogue>What are you gonna do?</dialogue>
<character>NEWT</character>
<dialogue>I'll think of something.</dialogue>
<scene_description>He sets off. She moves more slowly into the crowd, looking for JACOB and CREDENCE. ANGLE ON: AN ACOLYTE watching NEWT'S progress. The lights dim. The crowd begins to cheer.</scene_description>
<character>112</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>WE FOLLOW: GRINDELWALD onstage as the audience explodes with delight. Their hysteria builds as he stands there, part demagogue, part rock star. ANGLE ON: TINA edging through the crowd, searching. She spots QUEENIE and, at a short distance, CREDENCE. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>112</character>
<dialogue>Whom should she approach first?</dialogue>
<character>CONTINUED:</character>
<dialogue>She chooses CREDENCE, but as she moves, is blocked by an ACOLYTE. They make eye contact.</dialogue>
<dialogue>TINA knows she is wildly outnumbered. Under the ACOLYTE'S gaze, she sinks onto a bench.</dialogue>
<dialogue>WE PAN OVER: the crowd.</dialogue>
<dialogue>WE SEE: QUEENIE, rapt --</dialogue>
<dialogue>-- and JACOB, low in his seat and scared...</dialogue>
<dialogue>KAMA, who is skeptical...</dialogue>
<dialogue>CREDENCE, transfixed --</dialogue>
<dialogue>-- and NAGINI, who trusts nobody...</dialogue>
<dialogue>LETA, studying GRINDELWALD, wondering...</dialogue>
<dialogue>ANGLE ON: GRINDELWALD, gesturing at the crowd to settle.</dialogue>
<character>GRINDELWALD</character>
<dialogue>My brothers, my sisters, my friends: the great gift of your applause is not for me.</dialogue>
<parenthetical>(off noises of denial)</parenthetical>
<dialogue>No. It is for yourselves.</dialogue>
<scene_description>ANGLE ON: LETA, amid the crowd. She is not clapping, but she feels the pull of GRINDELWALD'S charisma.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You came today because of a craving and a knowledge that the old ways serve us no longer... You come today because you crave something new, something different.</dialogue>
<scene_description>ANGLE ON: CREDENCE, listening.</scene_description>
<character>GRINDELWALD</character>
<dialogue>It is said that I hate Les Non- Magiques. The Muggles. The No-Maj. The Can't-Spells.</dialogue>
<scene_description>Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>112</character>
<dialogue>QUEENIE is momentarily anxious; she seizes his hand: No,</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>wait, listen --</dialogue>
<character>GRINDELWALD</character>
<dialogue>I do not hate them. I do not.</dialogue>
<scene_description>Silence from the crowd.</scene_description>
<character>GRINDELWALD</character>
<dialogue>For I do not fight out of hatred. I say the Muggles are not lesser, but other. Not worthless, but of other value. Not disposable, but of a different disposition.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Magic blooms only in rare souls. It is granted to those who live for higher things. Oh, and what a world we could make, for all of humanity. We who live for freedom, for truth - -</dialogue>
<scene_description>His eyes meet QUEENIE'S in the front row.</scene_description>
<character>GRINDELWALD</character>
<dialogue>-- and for love.</dialogue>
<scene_description>WE PAN ACROSS: QUEENIE, now heart and soul his...</scene_description>
<character>113</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - NIGHT</dialogue>
<scene_description>The figures of fifty AURORS appear in silhouette among the mausoleums. WE MOVE IN: and see that THESEUS is one of them.</scene_description>
<character>THESEUS</character>
<dialogue>It isn't illegal to listen to him! Use minimum of force on the crowd. We mustn't be what he says we are!</dialogue>
<scene_description>But on other faces -- WE SEE: nervousness, even fear, and on a few, a clear will to fight, to avenge.</scene_description>
<character>114</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>BACK TO: GRINDELWALD onstage. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED:</character>
<dialogue>The moment has come to share my vision of the future that awaits if we do not rise up and take our rightful place in the world.</dialogue>
<scene_description>ROSIER appears onstage. Bowing, she presents the skull-hookah to GRINDELWALD. Total silence falls in the auditorium. GRINDELWALD is illuminated by the skull's golden light. He inhales deeply through the tube. His eyes roll up into his head. He exhales... ... and it is extraordinary. A gigantic Technicolor cloak seems to unfurl from his lips across the high stone ceiling, bearing moving images-the crowd gasps -- Thousands of marching, booted feet... explosions, men running with guns... CLOSE ON: THE FACES OF THE CROWD, mesmerized and afraid, the light of the vision playing across their faces. CLOSE ON: NEWT, stunned. The vision of a nuclear blast rocks the amphitheater. It is horrifying. The crowd feels it, is terrified. Screams, until the vision subsides, leaving murmurs of panic... CLOSE ON: JACOB, horrified.</scene_description>
<character>JACOB</character>
<dialogue>Not another war...</dialogue>
<scene_description>The vision fades. All eyes return to GRINDELWALD.</scene_description>
<character>GRINDELWALD</character>
<dialogue>That is what we are fighting! That is the enemy-their arrogance, their power lust, their barbarity. How long will it take before they turn their weapons on us?</dialogue>
<scene_description>WE PAN: around the exits and see AURORS, unnoticed, entering the auditorium, fanning out among the crowd. CLOSE ON: THESEUS, who is worried -- the situation is volatile and could go badly wrong. The crowd settles, agitated, expectant. They are waiting for some new, extraordinary revelation. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Do nothing when I speak of this. You must remain calm and contain your emotions.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>There are Aurors here among us.</dialogue>
<scene_description>Gasps. Heads turn. We see the AURORS looking around in panic. They are wildly outnumbered. The crowd is hostile.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(to the AURORS who have just entered)</parenthetical>
<dialogue>Come closer, brother wizards! Join us.</dialogue>
<scene_description>To mounting hisses and angry jeers, the AURORS know they have no choice but to walk forward and show themselves. ANGLE ON: LETA, turning to look. She spots THESEUS. A long, charged look between them.</scene_description>
<character>THESEUS</character>
<parenthetical>(to the other AURORS)</parenthetical>
<dialogue>Do nothing. No force.</dialogue>
<scene_description>But one of the jumpiest young AURORS has made eye contact with the YOUNG RED-HAIRED WITCH. She is angry, as twitchy as he is, fingering her wand.</scene_description>
<character>GRINDELWALD</character>
<dialogue>They have killed many of my followers, it is true. They caught and tortured me in New York. They had struck down their fellow witches and wizards for the simple crime of seeking truth, for wanting freedom...</dialogue>
<scene_description>He is deliberately playing on the unstable YOUNG RED-HAIRED WITCH'S feelings. The YOUNG AUROR raises his wand a few inches. He can sense her desire for violence -- 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Your anger -- your desire for revenge -- is natural.</dialogue>
<scene_description>And it happens: She raises her wand, but the YOUNG AUROR curses first. To the horror of her companions, she falls, dead.</scene_description>
<character>GRINDELWALD</character>
<dialogue>No!</dialogue>
<scene_description>Screams fill the auditorium. GRINDELWALD ascends into the crowd, which parts for him. He kneels and pulls the YOUNG RED-HAIRED WITCH'S limp body into his arms.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(to her friends)</parenthetical>
<dialogue>Take this young warrior back to her family.</dialogue>
<scene_description>The Niffler, unnoticed, wriggles out from beneath GRINDELWALD'S boot and disappears into the crowd.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Disapparate. Leave. Go forth from this place and spread the word: It is not we who are violent.</dialogue>
<scene_description>They take the body and Disapparate, as does most of the crowd. THESEUS and the AURORS watch the purebloods leave. THESEUS ushers his AURORS forward.</scene_description>
<character>THESEUS</character>
<parenthetical>(looking at GRINDELWALD)</parenthetical>
<dialogue>Let's take him.</dialogue>
<scene_description>They start to descend the amphitheater steps. GRINDELWALD turns his back on the advancing AURORS, relishing the fight to come.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Protego diabolica.</dialogue>
<scene_description>He spins and draws a protective circle of black fire around himself. The exits close. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>ABERNATHY, CARROW, KRAFFT, MACDUFF, NAGEL, and ROSIER walk</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>through the flames into the circle.</dialogue>
<dialogue>ANGLE ON: KRALL, hesitating. Then he decides the circle is the better option, braces himself, runs into the fire --</dialogue>
<dialogue>-- and is consumed.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Aurors, join me in this circle, pledge to me your eternal allegiance, or die. Only here shall you know freedom, only here shall you know yourself.</dialogue>
<scene_description>GRINDELWALD sends a wall of flames into the air, pursuing fleeing AURORS.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Play by the rules! No cheating, children.</dialogue>
<scene_description>NAGINI grabs CREDENCE and tries to drag him away with her, but he is staring at GRINDELWALD.</scene_description>
<character>CREDENCE</character>
<dialogue>He knows who I am.</dialogue>
<character>NAGINI</character>
<dialogue>He knows what you were born, not who you are...</dialogue>
<scene_description>GRINDELWALD smiles at CREDENCE through the fire.</scene_description>
<character>NEWT</character>
<dialogue>Credence!</dialogue>
<scene_description>NEWT tries to fight the fire but it becomes more monstrous, lashing out with eel-like spurs. CREDENCE decides: Pulling free of NAGINI, he walks toward the flames. Devastated, NAGINI is forced back by the ever-expanding fire. ANGLE ON: QUEENIE AND JACOB, who are pressed up against a different stretch of wall.</scene_description>
<character>JACOB</character>
<dialogue>Queenie. You gotta wake up.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED: (5)</character>
<parenthetical>(a decision)</parenthetical>
<dialogue>Jacob, he's the answer. He wants what we want.</dialogue>
<character>JACOB</character>
<dialogue>No, no, no, no, no, no.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah.</dialogue>
<character>JACOB</character>
<dialogue>No.</dialogue>
<scene_description>The black flames are coming toward them, fast. ANGLE ON: CREDENCE, walking through the flames. GRINDELWALD embraces him like a prodigal son.</scene_description>
<character>GRINDELWALD</character>
<dialogue>This has all been for you, Credence.</dialogue>
<scene_description>ANGLE ON: QUEENIE and JACOB.</scene_description>
<character>QUEENIE</character>
<dialogue>Walk with me.</dialogue>
<character>JACOB</character>
<dialogue>Honey, no!</dialogue>
<character>QUEENIE</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Walk with me!</dialogue>
<character>JACOB</character>
<dialogue>You're crazy.</dialogue>
<scene_description>She reads his mind, turns, hesitates, then walks into the black fire.</scene_description>
<character>JACOB</character>
<parenthetical>(desperate, disbelieving)</parenthetical>
<dialogue>No! Queenie, don't do it!</dialogue>
<scene_description>She screams, and JACOB covers his face, terrified, as she passes through the ring of fire and joins GRINDELWALD'S side.</scene_description>
<character>JACOB</character>
<dialogue>Queenie...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>TINA</dialogue>
<character>CONTINUED: (6)</character>
<dialogue>QUEENIE!</dialogue>
<scene_description>QUEENIE Disapparates. TINA retaliates, throwing a curse at GRINDELWALD, but the circle of fire lashes out in ever more violent spears. GRINDELWALD conducts the flames as though leading an orchestra, the Elder Wand his baton, as the forks of fire strike at AURORS attempting to Disapparate or flee. Half-a-dozen AURORS lose their heads and run through the flames to GRINDELWALD. ANGLE ON: NEWT AND THESEUS standing together on the amphitheater steps.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Mr. Scamander. Do you think Dumbledore will mourn for you?</dialogue>
<scene_description>GRINDELWALD throws a large burst of black fire at them both, and THESEUS and NEWT defend themselves.</scene_description>
<character>LETA (O.S.)</character>
<dialogue>Grindelwald! Stop!</dialogue>
<scene_description>GRINDELWALD catches sight of LETA.</scene_description>
<character>THESEUS</character>
<dialogue>Leta...</dialogue>
<character>GRINDELWALD</character>
<dialogue>This one I believe I know.</dialogue>
<scene_description>THESEUS makes a gigantic effort of will, carving a passage toward LETA, determined to reach her. They are using all their skill to keep the flames at bay. GRINDELWALD moves toward her through the flames as THESEUS fights closer, desperate to reach her.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Leta Lestrange... despised entirely amongst wizards... unloved, mistreated... yet brave. So very brave.</dialogue>
<parenthetical>(to LETA)</parenthetical>
<dialogue>Time to come home.</dialogue>
<scene_description>He stretches out his hand. She contemplates it. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>He looks at her, eyes narrowed.</dialogue>
<character>CONTINUED: (7)</character>
<dialogue>She looks toward both THESEUS and NEWT, who are watching her, stunned.</dialogue>
<character>LETA</character>
<dialogue>I love you.</dialogue>
<scene_description>She points her wand at the skull in ROSIER'S hands, which explodes. ROSIER is knocked backward and GRINDELWALD is momentarily obscured in a whirl of chaos.</scene_description>
<character>LETA</character>
<parenthetical>(to the others)</parenthetical>
<character>GO! GO!</character>
<dialogue>The fire engulfs LETA.</dialogue>
<dialogue>THESEUS goes wild. He tries to dive after her --</dialogue>
<dialogue>-- But NEWT grabs him and they Disapparate.</dialogue>
<dialogue>The fire, mirroring GRINDELWALD'S rage, explodes, chasing them.</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I hate Paris.</dialogue>
<character>115</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - A MINUTE LATER - NIGHT</dialogue>
<scene_description>NEWT and THESEUS, TINA with JACOB, and KAMA with NAGINI all Apparate out from the amphitheater. The black fire pursues them like a many- headed hydra, erupting out of every mausoleum. FLAMEL arrives at last. The cemetery is on the verge of destruction. The fire GRINDELWALD has unleashed is out of control. It forms dragon- like creatures intent on annihilation.</scene_description>
<character>FLAMEL</character>
<dialogue>TOGETHER! In a circle, your wand into the earth, or all Paris will be lost!</dialogue>
<character>NEWT & THESEUS</character>
<dialogue>Finite!</dialogue>
<character>TINA</character>
<dialogue>Finite!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>115</character>
<dialogue>CONTINUED:</dialogue>
<character>KAMA</character>
<dialogue>Finite!</dialogue>
<character>FLAMEL</character>
<dialogue>Finite!</dialogue>
<scene_description>Our heroes, minus JACOB, make a circle, plunge their wands into the earth. It takes almost superhuman power to contain GRINDELWALD'S demonic fire, which they are forced to combat with flames still more deadly. United, our heroes fight... And at last, their purifying fire drives GRINDELWALD'S back. The entrances to the underground lair are sealed. They have saved the city. FLAMEL comforts JACOB. NAGINI sits in the darkness, tearful. NEWT shuffles over awkwardly to the bereft THESEUS. NEWT hesitates, struggling to find words of comfort. Then, for the first time in his life, he puts his arms around his brother. They hug.</scene_description>
<character>NEWT</character>
<dialogue>I've chosen my side.</dialogue>
<scene_description>The Niffler hobbles over to NEWT, who picks him up...</scene_description>
<character>NEWT</character>
<parenthetical>(to the Niffler)</parenthetical>
<dialogue>Come on. Yeah. No, you're okay.</dialogue>
<scene_description>...then notices GRINDELWALD'S vial in its paws. He takes the pendant, amazed. NEWT tucks both the vial and Niffler inside his coat.</scene_description>
<character>116</character>
<dialogue>DUMBLEDORE is walking across the viaduct from Hogwarts,</dialogue>
<character>EXT. THE VIADUCT AT HOGWARTS - DAWN</character>
<dialogue>toward NEWT, JACOB, TINA, THESEUS, NAGINI, KAMA, TRAVERS, and assorted AURORS, who stand at the other end.</dialogue>
<dialogue>NEWT walks ahead alone to meet DUMBLEDORE.</dialogue>
<dialogue>TRAVERS moves to stop him.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>116</character>
<dialogue>THESEUS</dialogue>
<character>CONTINUED:</character>
<parenthetical>(to TRAVERS)</parenthetical>
<dialogue>I think it's best if he speaks to him alone.</dialogue>
<scene_description>TRAVERS opens his mouth to protest. Meets THESEUS'S gaze. Nods curtly. NEWT walks along toward DUMBLEDORE. They meet in the middle of the viaduct.</scene_description>
<character>117</character>
<dialogue>EXT. AUSTRIA, NURMENGARD CASTLE WINDOW - DAWN</dialogue>
<scene_description>CREDENCE is staring out at the sky, scared of what he has done but awed by the magnificent vista. WE PAN OUT TO SEE: Nurmengard, high on its mountain.</scene_description>
<character>118</character>
<dialogue>INT. NURMENGARD CASTLE, SIDE ROOM - DAWN</dialogue>
<scene_description>GRINDELWALD and QUEENIE are watching CREDENCE through the half-open door into a grand drawing room.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Is he frightened of me still?</dialogue>
<character>QUEENIE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>You need to be careful... He's not sure he made the right choice. Be very gentle with him.</dialogue>
<scene_description>She smiles as he bows her out through a separate door. Once he is sure she has gone, he walks into the drawing room to join CREDENCE.</scene_description>
<character>GRINDELWALD</character>
<dialogue>I have a gift for you, my boy.</dialogue>
<scene_description>From behind his back he takes a handsome wand. With a bow, he presents it to CREDENCE, who cannot believe his eyes.</scene_description>
<character>119</character>
<dialogue>EXT. THE VIADUCT AT HOGWARTS - DAY</dialogue>
<scene_description>We see that DUMBLEDORE is hollow-eyed. His usual calm has gone. He's a man at the end of his tether. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>119</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<dialogue>Is it true about Leta?</dialogue>
<scene_description>NEWT nods.</scene_description>
<character>NEWT</character>
<dialogue>Yes.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>I'm so sorry.</dialogue>
<scene_description>NEWT pulls out the vial. DUMBLEDORE stares at it, simultaneously tormented and amazed.</scene_description>
<character>NEWT</character>
<dialogue>It's a blood pact, isn't it? You swore not to fight each other.</dialogue>
<scene_description>Bitterly ashamed, DUMBLEDORE nods.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(overcome)</parenthetical>
<dialogue>How in the name of Merlin did you manage to get... ?</dialogue>
<scene_description>The Niffler pokes its head out of NEWT'S jacket, sad to see the pendant go.</scene_description>
<character>NEWT</character>
<dialogue>Grindelwald doesn't seem to understand the nature of things he considers simple.</dialogue>
<scene_description>DUMBLEDORE raises his hands to show the Admonitors. CLOSE ON: THESEUS. He raises his wand. BACK TO: DUMBLEDORE AND NEWT. The Admonitors fall from DUMBLEDORE'S wrists. The vial-blood troth-hangs in the air between them.</scene_description>
<character>NEWT</character>
<dialogue>Can you destroy it?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Maybe... maybe.</dialogue>
<scene_description>Overcome, tearful, he tries to speak cheerfully. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>119</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (2)</character>
<parenthetical>(of the Niffler)</parenthetical>
<dialogue>Would he like a cup of tea?</dialogue>
<scene_description>They turn to walk back toward Hogwarts.</scene_description>
<character>NEWT</character>
<dialogue>He'll have some milk. Hide the teaspoons.</dialogue>
<scene_description>The others walk slowly after them.</scene_description>
<character>120</character>
<dialogue>INT. NURMENGARD CASTLE - DAWN</dialogue>
<character>GRINDELWALD</character>
<dialogue>You have suffered the most heinous of betrayals, most purposely bestowed upon you by your own blood. Your own flesh and blood. And just as he has celebrated your torment, your brother seeks to destroy you.</dialogue>
<scene_description>CREDENCE inhales sharply. His chick steps gingerly onto GRINDELWALD'S palm. GRINDELWALD throws it in the air, where it catches alight.</scene_description>
<character>GRINDELWALD</character>
<dialogue>There is a legend in your family that a phoenix will come to any member who is in dire need.</dialogue>
<scene_description>Given room at last, the bird stretches its wings and becomes full size. The bird is aflame, a phoenix reborn.</scene_description>
<character>GRINDELWALD</character>
<dialogue>It is your birthright, my boy. As is the name I now restore to you.</dialogue>
<parenthetical>(whispers)</parenthetical>
<dialogue>Aurelius. Aurelius Dumbledore.</dialogue>
<scene_description>CREDENCE turns. The power of his Obscurus can at last be channeled. He points the wand at the window and a spell of immense power shatters the glass and breaks apart the mountain opposite. CREDENCE stands staring through the shattered glass at his handiwork. He is extraordinary, and this is just his beginning. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
</scene>
</script> | In 1927, as the Magical Congress of the United States of America (MACUSA) is transferring the dark wizard Gellert Grindelwald to Europe to stand trial, Grindelwald escapes. Three months later in London, Newt Scamander requests the Ministry of Magic lift his international travel ban. While there, he runs into former Hogwarts classmate Leta Lestrange, his brother Theseus' fiancée. The Ministry will grant Newt's request if he agrees to help Theseus locate Credence Barebone, who is in Paris. Newt declines after learning he must work with ruthless bounty hunter Gunnar Grimmson. Albus Dumbledore (revealed to have indirectly but intentionally sent Newt to New York) also asks Newt to find Credence, believing Credence is Leta's long-lost half-brother, Corvus Lestrange V. Newt is visited by his American friends Queenie Goldstein and Jacob Kowalski, a non-magical person. Jacob has regained his memories that were erased the previous year. Newt learns that Queenie's sister Tina Goldstein mistakenly believed Newt and Leta were engaged and began seeing someone else. Newt realizes that Queenie enchanted Jacob and came to London to circumvent the marriage ban between wizards and non-magical people. After Newt lifts the enchantment, Jacob refuses to marry Queenie, fearing the consequences she would face. Upset, Queenie leaves to find Tina, who is searching for Credence in Paris. Newt and Jacob follow soon after. In Paris, Credence escapes the Circus Arcanus with captive performer Nagini, a woman cursed to permanently transform into a snake. Searching for Credence's birth mother, they locate half-elf servant Irma Dugard, who brought him to America for adoption. Grimmson, secretly a Grindelwald follower, kills Irma before she reveals who sent her. Tina meets Yusuf Kama, who is also hunting Credence. Newt and Jacob trail Yusuf to Tina, finding her being held hostage. Yusuf also imprisons them, explaining he made an Unbreakable Vow to kill his half-brother, whom he believes is Credence. Meanwhile, a distraught Queenie is brought to Grindelwald; knowing Queenie's abilities, he allows her to leave while manipulating her into joining him through her desire to marry Jacob. Newt and Tina escape from Yusuf and infiltrate the French Ministry of Magic to search for documents confirming Credence's identity, but Leta and Theseus discover them. Newt and Tina reunite after Newt explains he was never engaged to Leta. They go to the Lestrange family tomb and find Yusuf confronting Credence and Nagini. Yusuf reveals that he is carrying out his father Mustafa's request to avenge his mother Laurena: she was kidnapped by Corvus Lestrange IV using the Imperius Curse, and died giving birth to Leta, Yusuf's half-sister. Corvus IV remarried and had Corvus V. He sent Corvus V to America for adoption to keep him safe after discovering Yusuf's revenge plot. Leta reveals that she unintentionally caused Corvus V's death: sailing to America, Leta, unable to stand his constant crying, switched her baby brother with another infant, Credence; the ship sank, and Corvus drowned. The group enter a rally of Grindelwald's followers. Jacob is searching for Queenie, who is among the attendees. Grindelwald displays a vision of a future global war, and rails against laws prohibiting wizards from preventing such a tragedy. As Theseus and the Aurors surround the rally, Grindelwald prompts his followers to spread his message across Europe. He conjures a ring of blue fire that kills the retreating Aurors and that only his most loyal followers can safely cross. Queenie and Credence cross the fire despite Jacob's and Nagini's protests, while Leta sacrifices herself to allow others to escape. As Grindelwald and his followers depart, the remaining wizards and immortal alchemist Nicolas Flamel extinguish the fire. Newt joins the fight against Grindelwald. At Hogwarts, Newt presents Dumbledore with a vial that Newt's niffler stole from Grindelwald. It contains a blood pact Grindelwald and Dumbledore made in their youth that prevents them dueling each other; Dumbledore believes it can be destroyed. At Nurmengard Castle, his Austrian base, Grindelwald presents Credence with a wand along with his phoenix, and reveals Credence's possible identity: Aurelius Dumbledore. |
Brick_2005 | tt0393109 | <script>
<scene>
<stage_direction>Brick</stage_direction>
<scene_description>SUPER MAIN TITLES Over a grimy concrete wall creeping by . We emerge from .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNOFF TUNNEL - EARLY MORNING</stage_direction>
<scene_description>A gaping hole in the concrete side of a freeway . On the embankment beside the hole BRENDAN FRYE squats , shoulders hunched . His dark eyes behind thin glasses watch the shallow stream of water which flows into the tunnel . THE WATER not more than six inches deep . Just beneath the surface a young woman 's pale blue arm in gaudy bracelets bats against the edge of her body like a docked boat . A pebble plinks into the water beside it . TITLE CARD OVER BLACK : `` 2 DAYS PREVIOUS ''</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER CAGE - DAY</stage_direction>
<scene_description>A single locker . That same arm , bracelets and all , slips a note through the slats , then leaves quickly . As the cage empties a lone figure slumps to the locker . Opens it . The note falls to his feet . The figure is Brendan . He unfolds the note -LRB- folded in a triangle -RRB- - `` 12:30 PICO & ALEXANDER '' . A STREET SIGN Pico and Alexander . A WRIST WATCH 12:43 . Brendan looks up from the watch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER - DAY</stage_direction>
<scene_description>He sits on the curb of a wide suburban street , eats lunch from a brown bag and watches a phone booth on the corner . He shows no surprise when it begins to ring . Brendan goes to the phone and puts the receiver to his ear . Silence for a moment , then a thin female voice from the phone .</scene_description>
<character>VOICE</character>
<parenthetical>( over phone . )</parenthetical>
<dialogue>Brendan?</dialogue>
<character>BRENDAN</character>
<dialogue>Emily?</dialogue>
<character>EMILY</character>
<parenthetical>( weakly . )</parenthetical>
<dialogue>Yeah. How's things?</dialogue>
<character>BRENDAN</character>
<parenthetical>( slow , deliberate . )</parenthetical>
<dialogue>Status quo.</dialogue>
<character>EMILY</character>
<dialogue>Yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh.</dialogue>
<character>EMILY</character>
<dialogue>That's good.</dialogue>
<scene_description>Her voice thins to a high , strained breath . She is crying .</scene_description>
<character>BRENDAN</character>
<dialogue>What's going on, Em?</dialogue>
<character>EMILY</character>
<parenthetical>( through strained crying . )</parenthetical>
<dialogue>It's good to see you, Brendan.</dialogue>
<scene_description>Brendan 's eyes glance around the surrounding street . Emily is crying again .</scene_description>
<character>EMILY</character>
<parenthetical>( CONT 'D ; cont 'd . )</parenthetical>
<dialogue>It's been some time.</dialogue>
<character>BRENDAN</character>
<dialogue>Two months.</dialogue>
<character>EMILY</character>
<dialogue>Yeah. I did n't even know your locker. I had to ask Brain.</dialogue>
<scene_description>More crying noises .</scene_description>
<character>BRENDAN</character>
<dialogue>Em, why do n't we meet somewhere?</dialogue>
<character>EMILY</character>
<dialogue>I ca n't.</dialogue>
<character>BRENDAN</character>
<dialogue>Why not?</dialogue>
<character>EMILY</character>
<dialogue>I screwed up real bad. I really screwed up.</dialogue>
<character>BRENDAN</character>
<dialogue>Screwed up how?</dialogue>
<character>EMILY</character>
<parenthetical>( blubbering , fast and incoherent . )</parenthetical>
<dialogue>I did what she said with the brick, I did n't know it was bad, but the pin's on it now for poor Frisco and they're playing it all on me -</dialogue>
<character>BRENDAN</character>
<dialogue>Slow down now, what?</dialogue>
<character>EMILY</character>
<dialogue>You got ta help me Brendan I think tug - Oh!</dialogue>
<scene_description>With a sharp breath the line clicks dead just as a black mustang roars by . Brendan drops the receiver and spins out of the booth . There , another pay phone up the hill - empty . Brendan turns to the black mustang , far down the street . A man 's hand drops a cigarette butt from the driver side window . The mustang turns the corner , gone . Brendan walks after it , finds the cigarette butt on the street . Still smoking . A pale blue arrow is printed on the filter . In the distance the class bell rings .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>The high school is open air - the hallways are alleyways between buildings . A short kid with eyeglasses the size of Volkswagen headlights sits against the wall . Brendan enters , leans on the wall beside him .</scene_description>
<character>BRENDAN</character>
<dialogue>Brain.</dialogue>
<character>THE BRAIN</character>
<dialogue>Hey Brendan. It's been awhile. Where you been eating?</dialogue>
<character>BRENDAN</character>
<dialogue>Back of school.</dialogue>
<character>THE BRAIN</character>
<dialogue>Huh. Yeah, no one's seen you. What's it been, a couple months?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah, it's been awhile. You gave Emily my locker number?</dialogue>
<character>THE BRAIN</character>
<dialogue>A few days ago. Was I wrong?</dialogue>
<character>BRENDAN</character>
<dialogue>What?</dialogue>
<character>THE BRAIN</character>
<dialogue>To give it?</dialogue>
<character>BRENDAN</character>
<dialogue>No.</dialogue>
<character>THE BRAIN</character>
<dialogue>It's been so long, I do n't know you two's stats.</dialogue>
<character>BRENDAN</character>
<dialogue>It has been awhile. Who's she been eating with? THE BRAIN.</dialogue>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>I dunno. It's hard to keep track.</dialogue>
<character>BRENDAN</character>
<dialogue>Is it?</dialogue>
<character>THE BRAIN</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Can be.</dialogue>
<scene_description>The Brain avoids Brendan 's gaze .</scene_description>
<character>BRENDAN</character>
<dialogue>Uh huh.</dialogue>
<scene_description>A beat .</scene_description>
<character>THE BRAIN</character>
<dialogue>She has n't been doing too good.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah well. I'm not looking for a patch up. Em's life is her own. But she asked for my help.</dialogue>
<character>THE BRAIN</character>
<dialogue>Help with what?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't know. I do n't even care, it's not my business. I just want to know she's ok, so I've got to find her. That's all this is.</dialogue>
<character>THE BRAIN</character>
<dialogue>Well. I know she was poking in with the Ivy - bound cheerleading elite. Laura Dannon's crowd.</dialogue>
<scene_description>Across the parking lot a beautiful girl with dark long hair kisses an football player .</scene_description>
<character>BRENDAN</character>
<dialogue>Laura Dannon there with the Rabbit?</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah. Brad Bramish with her. Cream on the upper crust.</dialogue>
<scene_description>Brad laughs heartily .</scene_description>
<character>BRENDAN</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>He's a sap.</dialogue>
<character>THE BRAIN</character>
<dialogue>Know him?</dialogue>
<character>BRENDAN</character>
<dialogue>By sight.</dialogue>
<character>THE BRAIN</character>
<dialogue>I wo n't argue then. Anyway Em tagged after them for a bit, but it did n't work. So she picked her way down the food chain. Last I seen she was with whasshername, that drama vamp. Small time dealer, augh, the evil one, the one you dated -</dialogue>
<character>BRENDAN</character>
<dialogue>Kara.</dialogue>
<character>THE BRAIN</character>
<dialogue>That's my bus.</dialogue>
<character>BRENDAN</character>
<dialogue>You know her locker number?</dialogue>
<character>THE BRAIN</character>
<dialogue>Kara's?</dialogue>
<character>BRENDAN</character>
<dialogue>Em's.</dialogue>
<character>THE BRAIN</character>
<dialogue>239.</dialogue>
<character>BRENDAN</character>
<dialogue>Thanks Brain. Keep your specs on, find me if she shows.</dialogue>
<character>THE BRAIN</character>
<dialogue>Sure.</dialogue>
<scene_description>The Brain trots off . In the distance Brad and Laura laugh , and he kisses her . Her hair blows in the wind .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOCKER CAGE - DAY</stage_direction>
<scene_description>Empty . Locker 239 is open , its door swinging gently in the wind .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF GYM - DAY</stage_direction>
<scene_description>Brendan sits against the massive building , flipping through loose papers . He finds two photographs , one of Emily hugging him , the other of Emily with a beautiful sharp - eyed girl at a party , drinks in hand . Sorting more papers , he finds a red card with a sequined mask on the front . The bottom edge has been torn off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - DAY</stage_direction>
<scene_description>Sixth period has broke . Masses of students pile into busses .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL THEATER - DAY</stage_direction>
<scene_description>A huge chunk of brown building . Brendan strides towards it .</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL THEATER - CONTINUOUS</stage_direction>
<scene_description>Drama people sit on the floor facing the stage . Brendan steps behind one , the sharp - eyed girl from the picture . She holds a freshman boy 's head in her lap . Pets it like a dog . She looks back at Brendan , her face in shadow .</scene_description>
<character>GIRL</character>
<parenthetical>( through a mocking smile . )</parenthetical>
<dialogue>Hello, Brendan.</dialogue>
<character>BRENDAN</character>
<dialogue>Kara.</dialogue>
<character>KARA</character>
<dialogue>Come to see the show?</dialogue>
<scene_description>Kisses the freshman 's forehead , purring .</scene_description>
<character>BRENDAN</character>
<dialogue>No, I did n't.</dialogue>
<parenthetical>( nudges the freshman with his toe . )</parenthetical>
<dialogue>Lapdog, blow.</dialogue>
<scene_description>The freshman sits up , looks to Kara like a spooked puppy .</scene_description>
<character>KARA</character>
<parenthetical>( to the lapdog . )</parenthetical>
<dialogue>Stay.</dialogue>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>Do n't be mean.</dialogue>
<character>BRENDAN</character>
<dialogue>I'm all friendly.</dialogue>
<parenthetical>( to the lapdog . )</parenthetical>
<dialogue>Watch your head, kid - that thing bites.</dialogue>
<scene_description>The dog pops up again . Kara pulls him down and nuzzles his ear .</scene_description>
<character>BRENDAN</character>
<parenthetical>( CONT 'D ; cont 'd . )</parenthetical>
<dialogue>I need words. KARA I'm listening.</dialogue>
<character>BRENDAN</character>
<dialogue>About Emily Kostich.</dialogue>
<scene_description>She stops nuzzling a little too quickly .</scene_description>
<character>KARA</character>
<parenthetical>( to the dog . )</parenthetical>
<dialogue>Get me my purse.</dialogue>
<parenthetical>( he goes . )</parenthetical>
<dialogue>Hurry!</dialogue>
<scene_description>He breaks into a trot . Kara smiles at Brendan .</scene_description>
<character>BRENDAN</character>
<dialogue>Still picking your teeth with freshmen?</dialogue>
<character>KARA</character>
<dialogue>You were a freshman once.</dialogue>
<scene_description>She slides her fingers up his arm . He growls and pushes them away .</scene_description>
<character>BRENDAN</character>
<dialogue>Way once, sister. You and Em were tight for a bit. Who's she eating with now?</dialogue>
<character>KARA</character>
<dialogue>Eating with?</dialogue>
<character>BRENDAN</character>
<dialogue>Eating with. Lunch. Who.</dialogue>
<character>KARA</character>
<dialogue>You're a cutie.</dialogue>
<character>BRENDAN</character>
<dialogue>You gon na tell me?</dialogue>
<character>KARA</character>
<dialogue>Guess you're up from the underneath then. The whole Jerr thing blown over. Lucky strikes, you and your partner get bulled, you come up clean. But I guess you were always the brains of the outfit. BRENDAN Where's Emily?</dialogue>
<character>KARA</character>
<dialogue>Sometimes I wonder why I dumped you.</dialogue>
<character>BRENDAN</character>
<parenthetical>( standing to go . )</parenthetical>
<dialogue>God.</dialogue>
<character>KARA</character>
<dialogue>I do n't know where she's at, Brendan.</dialogue>
<character>BRENDAN</character>
<dialogue>I know you do, so why do n't you want me to find her?</dialogue>
<character>KARA</character>
<dialogue>Maybe I'm looking out for you.</dialogue>
<character>BRENDAN</character>
<parenthetical>( going . )</parenthetical>
<dialogue>Well I appreciate that.</dialogue>
<character>KARA</character>
<dialogue>Brendan. you looking to get back into things? I could use you.</dialogue>
<scene_description>He is gone . Behind Kara , the play goes on .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE OF THEATER - CONTINUOUS</stage_direction>
<scene_description>The play is seen in shadow - play through the backdrop . Brendan slips in through an exit door , crosses the backstage area and enters the dressing rooms .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - CONTINUOUS</stage_direction>
<scene_description>Cramped and empty . Pictures of Kara with friends are stuck in the mirror . Brendan roughly searches drawers , bags , pockets . nothing . He stops . A red edge behind one of the photos - the same red card with a mask on it , but whole . Across the bottom in small print : `` Halloween in January - Call for DETAILS - 555 - 2394 ''</scene_description>
</scene>
<scene>
<stage_direction>INT. BRENDAN'S ROOM - NIGHT</stage_direction>
<scene_description>Brendan pulls a phone across his desk and dials the number on the flyer .</scene_description>
<character>WOMAN'S VOICE</character>
<parenthetical>( over phone . )</parenthetical>
<dialogue>Hello?</dialogue>
<scene_description>Brendan hesitates .</scene_description>
<character>BRENDAN</character>
<dialogue>Hello, ma'am, this is Tom, I'm a friend from school. Could I speak to.</dialogue>
<scene_description>He trails off .</scene_description>
<character>WOMAN'S VOICE</character>
<parenthetical>( over phone . )</parenthetical>
<dialogue>Oh, hi Tom. Laura's here, hold on.</dialogue>
<character>LAURA'S VOICE</character>
<parenthetical>( over phone . )</parenthetical>
<dialogue>Yes?</dialogue>
<character>BRENDAN</character>
<dialogue>I'm calling for details.</dialogue>
<character>LAURA'S VOICE</character>
<dialogue>For what?</dialogue>
<character>BRENDAN</character>
<dialogue>Details about the party.</dialogue>
<character>LAURA'S VOICE</character>
<dialogue>Who is this?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't think we've met.</dialogue>
<character>LAURA'S VOICE</character>
<dialogue>Well then I do n't think you're invited to my party. It's a rather exclusive gathering. BRENDAN I can imagine.</dialogue>
<parenthetical>( she starts to speak , he cuts her off . )</parenthetical>
<dialogue>You should really work on your invite management. That might be a personal ` room for improvement' area in your life. But discretion of your invite sending aside, I have procured a certain someone's invitation, and would like details.</dialogue>
<scene_description>A beat of silence .</scene_description>
<character>LAURA'S VOICE</character>
<dialogue>You think you're cute, whoever you are.</dialogue>
<character>BRENDAN</character>
<dialogue>Wait'll you get a load of my felt fedora and spats.</dialogue>
<character>LAURA'S VOICE</character>
<dialogue>Who are you? Or I'll hang up.</dialogue>
<character>BRENDAN</character>
<dialogue>You do n't know me - I'll save you some time.</dialogue>
<character>LAURA'S VOICE</character>
<dialogue>I know everyone and I've got all the time in the world.</dialogue>
<character>BRENDAN</character>
<dialogue>Folly of youth. Ask whose invitation I've got.</dialogue>
<character>LAURA'S VOICE</character>
<parenthetical>( slightly . )</parenthetical>
<dialogue>What you said.</dialogue>
<character>BRENDAN</character>
<dialogue>Emily Kostich.</dialogue>
<scene_description>A beat .</scene_description>
<character>LAURA'S VOICE</character>
<dialogue>15 Bush street, up in Stockton Cove. Buzz 42 at the gate. Nine o'clock. But who -</dialogue>
<scene_description>Brendan hangs up . He folds his hands under his chin and stares at the phone , perfectly still . The clock on his desk says 4:53 . 7:37 Brendan at his desk , tapping away at Tetris . 8:30 The desk is empty , Tetris paused . A shower runs behind an ajar door in the background .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STOCKTON COVE GATE - NIGHT</stage_direction>
<scene_description>An imposing private community gate . Brendan coasts up on his bike and ditches it in the bushes . He checks the call box directory : `` 42 - DANNON '' Using the call box as a hand hold he hops the gate and walks briskly up the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STOCKTON COVE STREET - NIGHT</stage_direction>
<scene_description>Shiny cars line the curb . Party noises come from an upscale two story house . Brendan takes a short breath , then strides up to the front door .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Large and clean , with a two story ceiling and a railed staircase at one end . Fifteen or twenty clean people , some in costumes , mill about in cliques . Brendan comes in as if he does n't mind who sees him coming in . He gets a couple odd stares , but no one stops him . With non obtrusive confidence he cuts through the crowd to the beer keg in back and draws half a cup .</scene_description>
</scene>
<scene>
<stage_direction>INT. PARLOUR - SAME</stage_direction>
<scene_description>Richly adorned , crowded , lit with bright pools of light . Brendan drifts in and stands in the back , deep in shadow . The music comes from a baby grand piano set against one wall . Laura Dannon leans against it . She wears a red kimono , and is striking against the velvet black piano . Laura 's kid sister , 11 years old with glasses , sits at the piano playing `` All I do is Dream of You '' . Laura sings , lovely and soft but with strength . Brendan watches from the back , his face obscured in shadow , but his eyes gleam . Through the darkened window behind him a match flares up , and someone standing outside lights a cigarette . Laura finishes the song . The room applauds , and she ruffles her kid sister 's hair . Brendan ducks out , and into</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - SAME</stage_direction>
<scene_description>Brad Bramish , the jock who was kissing Laura in the parking lot , sits slouched on the couch in a dense crowd . He holds a cup and speaks much too loudly to a guy named Biff at his elbow .</scene_description>
<character>BRAD</character>
<dialogue>If the coach wants to play me I'll play, but I ca n't put my best game in if I've got to worry about whether I'm going to be in there. Halftime last game, coach is pissed I ran it on a pass play, out on the field he says to me ` you got ta think about the team and you got ta' you know and ` if you run that ball again you're out', and I said to him you got ta let me play! I'm out there, let me play, and he's saying ` no you're out' and I kept saying ` Let me play! Let me play! Let me play!', just right in his face -</dialogue>
<character>BIFF</character>
<dialogue>He was!</dialogue>
<character>BRAD</character>
<dialogue>Just ` Let me play! Let me play! Let me play!' ` No you got ta' ` No, let me play! Let me play! Let me play!'</dialogue>
<scene_description>Brad hunches forward , his face swollen purple , yelling that over and over . Tom steps in front of Brendan , blocking his line of sight . Brendan scans the rest of the room . His eyes catch on Laura , leaning against a divan . Her bright , sharp eyes cut through the room , straight into Brendan . He wags his eyebrows at her . She looks away quickly . Brendan turns back to Brad , still shouting ` let me play ' . Tom stands between them .</scene_description>
<character>BRENDAN</character>
<dialogue>Tom!</dialogue>
<scene_description>Brad falls silent . Most of the room follows suit . Tom turns around . Brendan smiles good naturedly .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Could you step aside, please? I'm trying to follow Brad's story, and it's difficult when I ca n't see his face.</dialogue>
<scene_description>The room watches Brendan . Tom mumbles something and steps aside . Brad stares at Brendan stupidly . Brendan flashes a dopey grin and tips his glass .</scene_description>
<character>BRAD</character>
<parenthetical>( stumbles . )</parenthetical>
<dialogue>He does n't give me a play to make, what can I do, you know?</dialogue>
<scene_description>He falls into awkward silence . Biff starts babbling . Brendan looks at Brad , who is staring back at him . Brendan then slowly drags his gaze over to Laura , staring at him too , her eyes slightly amused . Brendan cocks an eyebrow . The slightest hint of a smile takes the corner of her mouth , and she wags her eyebrows once at him . Brendan glances back at Brad , looking at Laura now , not amused at all . Brendan stands to go . Biff chatters on . Brad cuts him off .</scene_description>
<character>BRAD</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Hey. Hey! What are you doing here?</dialogue>
<character>BRENDAN</character>
<dialogue>Leaving.</dialogue>
<character>BRAD</character>
<dialogue>Oh yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh. Unless your anecdote's got a 2nd act.</dialogue>
<character>BRAD</character>
<dialogue>Why do n't you leave?</dialogue>
<character>BRENDAN</character>
<parenthetical>( leaving . )</parenthetical>
<dialogue>That's what I was doing.</dialogue>
</scene>
<scene>
<stage_direction>INT. DARK ROOM</stage_direction>
<scene_description>With a lit wet bar at one end . Brendan goes to the bar , puts ice in a glass and cracks it with liquor .</scene_description>
<character>LAURA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Whiskey?</dialogue>
<scene_description>Brendan pauses , glass touching his lips .</scene_description>
<character>BRENDAN</character>
<dialogue>Jameson.</dialogue>
<scene_description>He downs half of it .</scene_description>
<character>LAURA</character>
<dialogue>I like a man who knows what he's drinking.</dialogue>
<character>BRENDAN</character>
<dialogue>That's a pretty sick thing to be attracted to.</dialogue>
<character>LAURA</character>
<dialogue>Brad's not a good guy to get on the wrong side of.</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh.</dialogue>
<scene_description>They stare at each other in silence . She studies his face . The broken light of the bar makes her features seem liquid .</scene_description>
<character>LAURA</character>
<dialogue>Fearless flyer. Quit your yappin and fix me one.</dialogue>
<scene_description>and slips out a sliding glass door . He fills another glass with whiskey and cuts his with water .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO - NIGHT</stage_direction>
<scene_description>Brendan joins Laura , hands her a drink . Suburban lights fill the valley below . Laura sips her drink .</scene_description>
<character>LAURA</character>
<dialogue>I'll never get through all this.</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh.</dialogue>
<scene_description>She sips more .</scene_description>
<character>LAURA</character>
<dialogue>I knew your old partner Jerr since grade school. Tough break. How long were you two joined up before your operation got the sting? BRENDAN</dialogue>
<scene_description>A few months . Could have helped himself out by turning me in , but he took the heat . He was a good guy . Solid . LAURA Was he ? BRENDAN You knew him . LAURA Yeah I did . So why are you here tonight ? BRENDAN I 'm looking for Emily . LAURA She was n't invited . BRENDAN She had an invitation . LAURA Well like you said , I 've got to work on that . Em 's been AWOL for a good month , nobody 's seen her . BRENDAN I saw her yesterday . LAURA Nearly nobody 's seen her . So what did she tell you ? BRENDAN . -LRB- winces -RRB- Score 0 for finesse . LAURA Listen , you 're scratching at the wrong door . I was n't with Emily enough to know details of what she was in , I just got wind of the downfall , and I did n't get any details of that , except that it was bad . So now that we 're showing some cards . BRENDAN If you have n't got a finger in Em 's troubles , why 'd her name get me into your rather exclusive party ?</scene_description>
<character>LAURA</character>
<dialogue>Keep up with me now. I do n't know, but it sounded like you did, and a body's got a right to be curious. Now I'm not so sure.</dialogue>
<character>BRENDAN</character>
<dialogue>Well I'll put that body to bed. I do n't know a damn thing about whatever troubles, and that works for me. I just want to find her.</dialogue>
<scene_description>A long beat . Laura studies Brendan 's face , then seems to come to a decision .</scene_description>
<character>LAURA</character>
<dialogue>Coffee and pie.</dialogue>
<scene_description>The words hang in the air a moment . A look of recognition from Brendan .</scene_description>
<character>BRENDAN</character>
<dialogue>Coffee and pie oh my?</dialogue>
<character>LAURA</character>
<dialogue>And you did n't hear it from me.</dialogue>
<scene_description>He sips his drink . A voice calls from the glass door . Another girl . Laura flashes Brendan a look and goes to her . They have quick , quiet words and the girl leaves . Laura turns back to Brendan .</scene_description>
<character>LAURA</character>
<parenthetical>( CONT 'D ; cont 'd . )</parenthetical>
<dialogue>Will you wait here for me?</dialogue>
<character>BRENDAN</character>
<dialogue>Sure.</dialogue>
<character>LAURA</character>
<dialogue>You'll stay right here and wait - I'll be five minutes.</dialogue>
<character>BRENDAN</character>
<dialogue>Yes.</dialogue>
<scene_description>The moment she leaves Brendan runs across the lawn and hops the fence , into the neighbor 's yard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF HOUSE</stage_direction>
<scene_description>Brendan runs to the edge of the neighboring house and peeks around . Laura comes out the front door , cuts across the lawn and sidewalk and trots out into the street . Brendan begins to follow , but a noise from behind the fence stops him - a match being struck . Brendan creeps towards the fence and peers through a splintered hole . BRENDAN 'S POV - THROUGH THE FENCE A brightly lit window in the side of Brad 's house , and through the window the party . A dark figure wearing a long coat and broad rimmed hat , all inky black . The figure smokes a cigarette and watches the party , absently stroking his cheek . Brendan steps back - SNAP ! A twig . The figure freezes . Then , making no noise at all , it spins to face Brendan , a towering black form against the window . The glowing cigarette falls to the grass . A metallic glint , and a clicking sound not unlike a gun . Brendan throws himself backwards onto the grass . A beat . Through the hole the black of the figure 's cloak whips away . Brendan hesitates , then hops the fence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF BRAD'S HOUSE - SAME</stage_direction>
<scene_description>Brendan lands on his feet . No black figure to be found . The cigarette still smolders on the ground . Hand rolled , plain paper . Brendan gazes through the window , catching his breath . Then he breaks the trance and creeps towards the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT LAWN - NIGHT</stage_direction>
<scene_description>Peeking around the house , Brendan sees Laura cut across the lawn and trot into the street . Using parked cars as cover , Brendan follows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>Between cars , Brendan sees a lanky kid in baggy jeans and engineer boots with a clean shaven head leaning against a black Mustang . Laura goes to him and speaks quickly . The dark figure in the hat emerges from the shadows . Laura says something to him . Grunting something angrily , he gets in the car with the bald kid and peels off . Laura turns and slowly walks towards the house . When she is gone Brendan stands , throws a look back at the house and walks off down the street , towards the guard gate .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PATIO</stage_direction>
<scene_description>The two drinks , where Brendan left them . Laura takes hers and drains it . The suburban lights twinkle like stars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARROWS PARKING LOT - DAY</stage_direction>
<scene_description>The sun rises over Carrows family restaurant , a squat structure backed against the weedy edge of the runoff tunnel ravine . A banner from 1973 in the window - `` Coffee and Pie oh my ! '' A pack of six pale stoners slump against the rear dumpster . Their beady eyes follow Brendan in sync as he approaches . He goes to the nearest one .</scene_description>
<character>BRENDAN</character>
<dialogue>Where's Dode?</dialogue>
<character>STONER 1</character>
<dialogue>Dunno, bra.</dialogue>
<scene_description>Silence and blank stares . Brendan calmly moves to the next stoner .</scene_description>
<character>BRENDAN</character>
<dialogue>Dode?</dialogue>
<character>STONER 2</character>
<dialogue>Uh uh.</dialogue>
<scene_description>Brendan moves to the next one . A thin head pokes from around the dumpster .</scene_description>
<character>DODE</character>
<dialogue>Hey Brendan. Maybe you should n't be here.</dialogue>
<scene_description>Brendan steps around the dumpster . Dode slumps against the wall , thin and delicate in dusty black . Slivery eyes , pale lips , muffled intelligence .</scene_description>
<character>BRENDAN</character>
<dialogue>Kara told me you know where Em's at.</dialogue>
<character>DODE</character>
<dialogue>Uh huh. And why are you looking for Em?</dialogue>
<character>BRENDAN</character>
<dialogue>She asked for my help.</dialogue>
<character>DODE</character>
<dialogue>Uh huh. Listen man, I've got plenty on my plate without dealing with some jilted ex.</dialogue>
<character>BRENDAN</character>
<dialogue>It's not about that.</dialogue>
<character>DODE</character>
<dialogue>Whatever it's about, act smarter than you look and drop it.</dialogue>
<character>BRENDAN</character>
<dialogue>Where is she?</dialogue>
<character>DODE</character>
<dialogue>She's with me, and right now that's the best place for her. Leave the low life to the low lifers and dangle.</dialogue>
<character>BRENDAN</character>
<dialogue>You're on the bright side of dim, Dode, but if I thought you had this half - handled I'd be eating lunch. Where's she at?</dialogue>
<character>DODE</character>
<dialogue>Better get while it's good.</dialogue>
<scene_description>Brendan does n't .</scene_description>
<character>DODE</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Heel it now, dig?</dialogue>
<scene_description>The 5 big stoners appear behind Brendan , threatening . Dode turns his head away to light a joint . Brendan 's fist slams into his face , sending the joint spinning . Brendan slams Dode 's frail frame against the dumpster . The 5 stoners stand in the exact same position , deer in the headlights . One makes a half hearted motion to intervene .</scene_description>
<character>BIG STONER</character>
<dialogue>Back off.</dialogue>
<character>BRENDAN</character>
<dialogue>Throw one at me if you want, hash head. I've got all five senses and I slept last night, that puts me six up on the lot of you.</dialogue>
<character>BIG STONER</character>
<dialogue>Just easy -</dialogue>
<scene_description>Brendan slams Dode into the wall .</scene_description>
<character>BRENDAN</character>
<parenthetical>( to Dode . )</parenthetical>
<dialogue>Where's Em?</dialogue>
<character>DODE</character>
<parenthetical>( deliberate . )</parenthetical>
<dialogue>She's with me. She was tight when she called you, man. Came to and freaked. She told me to shake you if you came by. Said you'd only make things worse.</dialogue>
<scene_description>Brendan covers how shaken he is by this statement fairly well . He drops Dode .</scene_description>
<character>STONER 1</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Put him down, man!</dialogue>
<character>DODE</character>
<dialogue>Deal with whatever this ai n't about and drop it.</dialogue>
<character>BIG STONER</character>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>Nothing more here, bra.</dialogue>
<character>BRENDAN</character>
<dialogue>Tell Emily I want to see her. Tell her if she still wants my help or not that's her business, but I want to hear it straight from her.</dialogue>
<character>DODE</character>
<dialogue>She do n't -</dialogue>
<scene_description>Brendan walks away .</scene_description>
<character>BRENDAN</character>
<dialogue>Today. She knows where I eat lunch.</dialogue>
<scene_description>When Brendan is a safe distance away the biggest stoner shouts with conviction</scene_description>
<character>BIG STONER</character>
<dialogue>And stay out, punk!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SIDEWALK - CONTINUOUS</stage_direction>
<scene_description>Brendan hides behind a tall clump of bushes . A moment later Dode hustles away from Carrows . Brendan follows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - EARLY MORNING</stage_direction>
<scene_description>The sun is rising as Brendan tails Dode through the twisty suburban streets . Brendan takes cover as Dode stops by a white hatchback . A girl gets out of the car and embraces Dode . Her wrist is adorned with the same cheap plastic bracelets as the dead girl 's arm . Dode speaks quickly to her , she nods and speaks back . He hands her a slip of paper , which she tucks into a brightly colored address book and slips in her jacket pocket . They embrace again , Dode walks off and the girl gets in her car . Brendan stumbles after the car , but it is quickly gone . He watches it go , then follows Dode back towards school .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL THEATER - MORNING</stage_direction>
<scene_description>Dode slumps into the front door of the brown building . Brendan watches him from a distance , eyes thoughtful . After a beat he turns and walks off into the thickening crowds of students . FADE UP</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF SCHOOL - MIDDAY</stage_direction>
<scene_description>Brendan eats lunch alone on a concrete wall beside a long , empty utility road behind the school . LATER Reclining on the wall , reading `` Lord of the Flies '' . He raises his eyes , and sits up suddenly . Off in the distance on the utility road a tiny figure approaches , stumbling . Brendan jumps and hits the ground running towards the figure . Meet the girl with cheap bracelets , the girl Dode spoke to , the dead girl , Emily . He catches her just as she stumbles and falls and carries her into the shade of a covered hallway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Emily and Brendan sit in silence . She is very pretty , but she looks bad . Too much makeup , not enough sleep . She sniffles , speaks to her shoes .</scene_description>
<character>EMILY</character>
<dialogue>I must have sounded pretty crazy on the phone. Yesterday.</dialogue>
<scene_description>She taps her shoes together lightly , eyes fixed on them .</scene_description>
<character>EMILY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>It was dumb, I got paranoid over a really stupid thing. I was high, I went crazy for a little bit, but now you have to forget about it. Please. That's how you can help me now, forget about it.</dialogue>
<scene_description>She turns her weak eyes to Brendan for the first time . His stare is unwavering , searching . She pushes on .</scene_description>
<character>EMILY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Brendan, I know you're mad at all these people, cause you think I went away from you and went to them. But you've got to start seeing it as my decision, stop being angry because where I want to be at's different from where you wan na be at.</dialogue>
<character>BRENDAN</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Who fed you that line, Em?</dialogue>
<scene_description>She looks back at her shoes .</scene_description>
<character>EMILY</character>
<dialogue>And stop picking on Dode. He's a good guy.</dialogue>
<character>BRENDAN</character>
<dialogue>The Carrows rat?</dialogue>
<character>EMILY</character>
<dialogue>He's a good friend.</dialogue>
<character>BRENDAN</character>
<dialogue>So what am I?</dialogue>
<character>EMILY</character>
<parenthetical>( strained anger . )</parenthetical>
<dialogue>Yeah, what are you? Eating back here, not liking anybody, how are you judging anyone? I loved you alot but I could n't stand it, I had to get with people. I could n't heckle life with you, I had to see what was what.</dialogue>
<scene_description>A beat . She taps her clogs . One has a hole worn through the sole . Her face contorts , seizes up , and she is sobbing .</scene_description>
<character>EMILY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'm sorry Brendan.</dialogue>
<scene_description>She buries her face in his shoulder . He has a hard time speaking .</scene_description>
<character>BRENDAN</character>
<dialogue>You've got to come back to me, Em.</dialogue>
<character>EMILY</character>
<dialogue>No. No. Never. I'm sorry. Never. I ca n't love on your terms, Brendan. I ca n't do that, I'm not like you.</dialogue>
<character>BRENDAN</character>
<dialogue>You're in a spot, I can get you out of it. Come back to me, and whatever heat follows you I'll deal with.</dialogue>
<character>EMILY</character>
<dialogue>No. You're not hearing me, no. I do n't want to be put away and protected. No.</dialogue>
<character>EMILY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>Tell me about the trouble, the brick and the pin -</dialogue>
<character>EMILY</character>
<dialogue>You gon na fix things like you did with Jerr? No. I came to say goodbye, for good. Whatever you have to do to let me go, do it. I'm gon na let you go, I've decided that. Make sure that, you've got to, promise you wo n't torture yourself, that you'll let me go.</dialogue>
<scene_description>She embraces him , enveloping him in her jacket . His face is a frozen mask .</scene_description>
<character>EMILY</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Let me go.</dialogue>
<scene_description>As she pulls away he mechanically slips an address book from her jacket pocket . He watches her as she walks away .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM</stage_direction>
<scene_description>Brendan sits in the back , flipping through the address book . The teacher drones on about the significance of the pig 's head in `` Lord of the Flies '' . THE ADDRESS BOOK Illegible scribbles , names , numbers , nothing that stops his search - then the note Dode gave her , a corner of loose - leaf paper which looks like this : Brendan studies the paper intently .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>The Brain studies the paper . Busses pull into the parking lot behind them . Brendan is distant , lost in thought .</scene_description>
<character>THE BRAIN</character>
<dialogue>Hm. Do you know anything else about this?</dialogue>
<character>BRENDAN</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>Mm.</dialogue>
<character>THE BRAIN</character>
<dialogue>Slim pickings. Why'd you let Dode fly when he came back to whose - her - name, at the theater?</dialogue>
<character>BRENDAN</character>
<parenthetical>( shrugs dismissively . )</parenthetical>
<dialogue>Kara. It's their turf, I could n't hear them without being seen, and that would only biff their play. Best to know it's there, let it ride and see what comes of it.</dialogue>
<parenthetical>( touches the paper . )</parenthetical>
<dialogue>But anyway.</dialogue>
<character>THE BRAIN</character>
<dialogue>Hm. Well, if this is what I think it is, it did n't come straight from Dode, less he's playing out of his league.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I can only give you my best guess.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>When the upper crust does shady deeds they do them in different spots around town. I know under the pier's one, down by the bike trails in the state park's another. There's alot of them. The pitch is they've got little symbols for each one, and that's how they tell each other the place, so word wo n't get around. So this might be that.</dialogue>
<character>BRENDAN</character>
<dialogue>But Dode would n't know it?</dialogue>
<character>THE BRAIN</character>
<dialogue>This is upper crust. Dode's pie pan grease.</dialogue>
<scene_description>Brendan studies the symbol .</scene_description>
<character>BRENDAN</character>
<dialogue>Call anything up?</dialogue>
<character>THE BRAIN</character>
<dialogue>How many places start with ` A'? Or if it's a shape, or just a random symbol. Anyway, even if you figured it out, what good could you do? She's smart, she knows the play, she's gunning to square things.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>You said her business was none of yours, so she's alright, forget it now. Go home, sleep.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRENDAN'S BEDROOM - NIGHT</stage_direction>
<scene_description>Sparsely furnished . Brendan plays Tetris on his computer , staring off into space . His mom 's voice calls `` Good night '' and the hallway light turns off . LATER 10:30 by the clock radio on Brendan 's nightstand . The slip of paper rests beside it . Brendan lies in bed , staring at the symbol on the paper . His eyes tense . THE SYMBOL Growing larger , burning with a searing intensity , then folding into darkness . Water rushes overhead , over concrete , concrete with a hole in it - the runoff tunnel , just for an instant , then back underwater , screaming . Brendan choking , screaming , plunging upwards . A woman with no face falls from the darkness and kisses him , her long hair sweeping around him then pulling away . As the last strands slide off his face he wakes up with a start . The clock says 3:46 . Brendan drips with sweat , breathing raggedly . He takes the paper and a pencil from the nightstand and shades the symbol to look like this : FLASH CUT - The runoff tunnel , lining up perfectly with the now shaded symbol . BACK TO BRENDAN His eyes turn uneasy as he removes his glasses and clicks off the light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRENDAN'S HOUSE - DAWN</stage_direction>
<scene_description>Brendan walks off into the hazy pre - dawn light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF RAVINE</stage_direction>
<scene_description>Brendan stops at a high wall of weeds , listening to the low gurgle of moving water . Slowly , robotically he pushes through . EMILY 'S BODY Face down , bobbing gently in shallow water . Bluish white . Red foam clings to her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNOFF TUNNEL</stage_direction>
<scene_description>Silently , as if lowered by a string Brendan sinks down , squatting in the mud . His lungs empty in one choppy breath . He pulls his glasses off sluggishly . EMILY 'S ARM Lifeless , pale . BRENDAN 'S FACE A contorted , frozen mask , eyes wet . EMILY 'S HAIR Stringy , flowing gently in the water . BRENDAN 'S EYES Dazed , drifting . then suddenly snapping to attention . A noise . From the tunnel . Brendan freezes . The inky blackness of the tunnel mouth opens like a vacuum . silent , but then - The scrape of a shoe against concrete , then echoing footsteps running away . Brendan springs like a cat , sprinting into the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL</stage_direction>
<scene_description>Nearly pitch black . 2 sets of running footfalls . Brendan is chasing , running full speed into the blackness , heart pounding - we almost do n't notice that Brendan 's are now the only footfalls . Brendan notices . He stops . Silence in the darkness , except for Brendan 's breath . and someone near . SLAM ! Brendan takes a fist in the cheek and goes down . An inky black figure steps from the shadows and kicks him in the stomach . Brendan curls on the ground , the figure over him .</scene_description>
<character>FIGURE</character>
<parenthetical>( low whisper . )</parenthetical>
<dialogue>Your little Em.</dialogue>
<scene_description>The figure runs off . Brendan raises his head painfully - the figure is silhouetted briefly against the distant bright end of the tunnel , then is gone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNOFF TUNNEL - EARLY MORNING</stage_direction>
<scene_description>Emily 's body is still there . Brendan crawls out of the tunnel and collapses in the shallow water , beside the body . He rests his head on his arm , eyes on Em 's hair .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPUS - EARLY MORNING</stage_direction>
<scene_description>Cold and barren , nearly empty . Brendan limps across the barren lawns .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHONE BOOTHS</stage_direction>
<scene_description>A line of phone booths on campus . Brendan nearly collapses against one . He dials , still in a stupor .</scene_description>
<character>VOICE ON PHONE</character>
<dialogue>Saint Clement police.</dialogue>
<scene_description>Brendan stares into space , eyes burning</scene_description>
<character>VOICE ON PHONE</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Saint Clement police, hello? Hello?</dialogue>
<scene_description>Brendan hangs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LIBRARY - CONTINUOUS</stage_direction>
<scene_description>Early morning mist below a squat brick building .</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY</stage_direction>
<scene_description>Warmly lit , sheltering the few souls scattered here and there at tables . The Brain sits at one of them reading an impossibly large book . He watches curiously as Brendan approaches him .</scene_description>
<character>THE BRAIN</character>
<dialogue>Hey, Brendan.</dialogue>
<scene_description>Brendan falls into a chair . The Brain looks him over .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You're up early.</dialogue>
<character>BRENDAN</character>
<parenthetical>( thick , distant . )</parenthetical>
<dialogue>I could n't sleep.</dialogue>
<character>THE BRAIN</character>
<parenthetical>( nods , back to his book . )</parenthetical>
<dialogue>Find Emily?</dialogue>
<scene_description>Brendan breathes out softly .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You alright?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah. What, are you here for zero?</dialogue>
<character>THE BRAIN</character>
<dialogue>Nah, I got ta take the early bus, cause the others do n't run by my street.</dialogue>
<character>BRENDAN</character>
<dialogue>Bad break.</dialogue>
<character>THE BRAIN</character>
<dialogue>Eh. Time to read's nice. So what's the word with Em?</dialogue>
<character>BRENDAN</character>
<dialogue>She's gone.</dialogue>
<character>THE BRAIN</character>
<dialogue>Ca n't raise her?</dialogue>
<character>BRENDAN</character>
<dialogue>No, I ca n't.</dialogue>
<character>THE BRAIN</character>
<dialogue>So what now?</dialogue>
<character>BRENDAN</character>
<dialogue>Now. I do n't know. I guess it's. I do n't know.</dialogue>
<scene_description>Brendan takes a long moment . He stares down at his glasses , wet with condensation .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Brain, I ca n't let her go. I was set to but I ca n't. I do n't think I can.</dialogue>
<character>THE BRAIN</character>
<dialogue>You think you can help her?</dialogue>
<character>BRENDAN</character>
<dialogue>No.</dialogue>
<character>THE BRAIN</character>
<dialogue>You think you can get the straight, maybe break some deserving teeth?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah. I think I could.</dialogue>
<character>THE BRAIN</character>
<dialogue>Well.</dialogue>
<scene_description>Brendan rubs his forehead .</scene_description>
<character>BRENDAN</character>
<dialogue>Kara tried to rope me. She came right out and asked. She was scared. Tell me to walk from this, Brain. Tell me to drop it.</dialogue>
<character>THE BRAIN</character>
<dialogue>Walk from it. Drop it.</dialogue>
<parenthetical>( grins . )</parenthetical>
<dialogue>You're thick as what - all, Brendan. BRENDAN Yes I am.</dialogue>
<scene_description>Brendan cleans his glasses . He looks Brain in the eye , and his mannerisms come back into focus .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'd need you to Op. Like on Jerr, but that was cake to this. And unlike Jerr, there's not much chance we'll come out clean. Twenty four seven on this one. You okay to op for me again?</dialogue>
<scene_description>The Brain barely smiles .</scene_description>
<character>THE BRAIN</character>
<dialogue>What first, tip the bulls?</dialogue>
<scene_description>Brendan puts on his glasses , stands to go .</scene_description>
<character>BRENDAN</character>
<dialogue>No, bulls would gum it. They'd flash their dusty standards at the wide - eyes and probably find some yegg to pin, probably even the right one. But they'd trample the real tracks and scare the real players back into their holes, and if we're doing this I want the whole story. No cops, not for a bit.</dialogue>
<character>THE BRAIN</character>
<dialogue>So what first?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't know. Your mom still have the cell?</dialogue>
<character>THE BRAIN</character>
<dialogue>In her car.</dialogue>
<character>BRENDAN</character>
<dialogue>Borrow it for a few days, get me the number.</dialogue>
<parenthetical>( stands to go . )</parenthetical>
<dialogue>Wait for my word, and cover for me first period. I'm going to be a little late.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BASKETBALL FIELD - DAY</stage_direction>
<scene_description>A vast field of asphalt segmented by a dozen basketball courts outlined in cracked paint .1 Brendan trudges across it , his steps heavy . He stops and stands very still , staring at the ground for a beat then raising his eyes to THE HORIZON Flat , gray , pin straight . Brendan 's voice starts speaking rapidly , confident and clear .</scene_description>
<character>BRENDAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yeah it was personal. Jerr spooked some decent gees and ran around some what was straight with him, but I'm nobody's bull runner. This was n't a business sit. But yeah. I bulled him. Got in tight, partnered up and sent him over.</dialogue>
<scene_description>PAN AROUND to reveal BRENDAN . He looks different , edgier , more alive , wearing different clothes and a thin goatee1 . He keeps talking directly at us .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'd bull the lot of them, Em, I'd burn down the whole party if they tried to play you again. Jerr and whoever's next. I want to keep you safe.</dialogue>
<scene_description>An ARM swings into frame , wearing cheap plastic bracelets and pale blue fingernail polish . It slaps Brendan hard in the face . He catches it . Emily wrenches her arm away and stumbles backwards onto the pavement . Brendan grabs her sleeve . She twists away . He grabs her shoulder , grabs her waist , she resists , and suddenly they are struggling with violent pent up intensity until with a shout she breaks away and falls to the ground . A beat . Gulls cry in the distance .</scene_description>
<character>EMILY</character>
<dialogue>You ca n't keep me safe, Brendan. I'm in a bigger world now, and you ca n't hide me from it, and you ca n't beat it. Not if I do n't want you to.</dialogue>
<scene_description>Brendan 's face looks lumpish , while Emily 's is strong . She stands and walks off into the distance across the barren field . BRENDAN 'S FACE Watching her go . It is back to present day , pale , clean shaven , sullen . His eyes are cold with resolve .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNOFF TUNNEL - EARLY MORNING</stage_direction>
<scene_description>Brendan sloshes down into the water . Without delicacy he lifts Emily 's body and pulls her back into the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. RUNOFF TUNNEL</stage_direction>
<scene_description>Pitch back . Brendan lays the body down . Two beady eyes peer at him from the darkness - he freezes . The eyes hop forward - a gull . The two watch each other for a moment , then the gull squawks and flutters out the bright mouth of the tunnel . Brendan follows it without looking back at the body .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CROWDED HALLWAY - DAY</stage_direction>
<scene_description>Brendan and the Brain lean against a wall . The Brain slips him a piece of paper .</scene_description>
<character>THE BRAIN</character>
<dialogue>There's the cell number.</dialogue>
<character>BRENDAN</character>
<dialogue>Keep it on vibrate.</dialogue>
<character>THE BRAIN</character>
<parenthetical>( pats his jacket pocket . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>Better stop meeting me in the open too. I'm going to start getting visible, and I need you on the underneath. I'll call.</dialogue>
<character>THE BRAIN</character>
<dialogue>Trueman asked for you. Wants words in his office.</dialogue>
<character>BRENDAN</character>
<dialogue>I bet. Keep him off me - stonewall him, he wo n't bite, just keep him away from me.</dialogue>
<character>THE BRAIN</character>
<dialogue>I'll try. So what's first?</dialogue>
<character>BRENDAN</character>
<dialogue>Make Em's troubles mine. I'm going to throw a few words at you, tell me if they catch. Brick.</dialogue>
<character>THE BRAIN</character>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>Or bad brick.</dialogue>
<character>THE BRAIN</character>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>Tug.</dialogue>
<character>THE BRAIN</character>
<dialogue>Tug. that might be a drink.</dialogue>
<character>BRENDAN</character>
<dialogue>Drink?</dialogue>
<character>THE BRAIN</character>
<dialogue>Vodka and milk or something, or maybe not.</dialogue>
<character>BRENDAN</character>
<dialogue>Poor Frisco.</dialogue>
<character>THE BRAIN</character>
<dialogue>Frisco. Frisco Farr1 was a sophomore last year, I think. Real trash, maybe hit a class a week. Did n't know him then, and have n't seen him around.</dialogue>
<character>BRENDAN</character>
<dialogue>Pin.</dialogue>
<character>THE BRAIN</character>
<dialogue>Pin. the Pin?</dialogue>
<character>BRENDAN</character>
<dialogue>The Pin, yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>The Pin's kind of a local spook story. You know the Kingpin? BRENDAN I've heard it.</dialogue>
<character>THE BRAIN</character>
<dialogue>Same thing. Supposed to be old, like 26, lives in town.</dialogue>
<character>BRENDAN</character>
<dialogue>Jake1 runner, right?</dialogue>
<character>THE BRAIN</character>
<dialogue>Big time. maybe. Ask any dope rat where their junk sprang they'll say they scraped it from that who scored it from this who bought it off so, and after four or five connections the list'll always end with the Pin. But I'll becha you got every rat in town together and said ` show your hands' if any of them've actually seen the Pin, you'd get a crowd of full pockets.</dialogue>
<character>BRENDAN</character>
<dialogue>You think the Pin's just a tale to take whatever heat?</dialogue>
<character>THE BRAIN</character>
<parenthetical>( shrugs .</parenthetical>
<parenthetical>Beat . )</parenthetical>
<dialogue>But what's first?</dialogue>
<character>BRENDAN</character>
<dialogue>A show of hands.</dialogue>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE OF THEATER</stage_direction>
<scene_description>Brendan strides past forest scenery and drama geeks , through another door and into sunlight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF THEATER - DAY</stage_direction>
<scene_description>Kara smokes a cigarette . Brendan leans beside her .</scene_description>
<character>KARA</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Hey Brendan. Here for the show?</dialogue>
<character>BRENDAN</character>
<dialogue>No.</dialogue>
<character>KARA</character>
<dialogue>Would you go then, honey, cause I've got this headache.</dialogue>
<character>BRENDAN</character>
<dialogue>Try smoking like a chimney, I've heard that helps.</dialogue>
<scene_description>Brendan grabs the pack of cigarettes .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Is n't this Dode's brand?</dialogue>
<scene_description>Kara snaps her head towards him , a flash of anger . She catches herself and smiles cooly .</scene_description>
<character>KARA</character>
<dialogue>You do n't know Dode's brand.</dialogue>
<character>BRENDAN</character>
<dialogue>Oh I do now.</dialogue>
<scene_description>Angry again , Kara snatches the pack from him .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'm going to start shaking things up. Give me the story and you might miss the bite. KARA The story about what?</dialogue>
<character>BRENDAN</character>
<dialogue>Alright.</dialogue>
<scene_description>He turns and walks away .</scene_description>
<character>KARA</character>
<dialogue>The story about what?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't want to play games if you've got a headache. Get me if you want to spill it, but I ca n't guarantee safe passage after tonight.</dialogue>
<character>KARA</character>
<dialogue>I do n't know what -</dialogue>
<scene_description>At the stage door , not slowing .</scene_description>
<character>BRENDAN</character>
<dialogue>Tell the Pin that Brad was my calling card, and I need words.</dialogue>
<character>KARA</character>
<dialogue>Brad Bramish?</dialogue>
<scene_description>Through the door and into the theater .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE OF THEATER - CONTINUOUS</stage_direction>
<scene_description>He spins to see Kara 's face just before the door closes . She 's worried .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CROWDED SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>The Brain walks out of a classroom and Brendan swings behind him .</scene_description>
<character>BRENDAN</character>
<parenthetical>( fast and low . )</parenthetical>
<dialogue>Tail Kara through lunch. She's got rehearsal but she'll blow early. She goes home, drop her, else wait for my call.</dialogue>
<scene_description>The Brain turns and Brendan 's gone .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - LUNCH</stage_direction>
<scene_description>Brendan wanders through the thick lunchtime crowd towards a cluster of 3 or 4 flashy luxury cars set aside at the far end of the lot . Brad Bramish sits slouched in the front seat of his convertible , front door open . A small crowd hangs about Brad , his crony Biff at his elbow .</scene_description>
<character>BRAD</character>
<dialogue>That's all I'm saying, is put me in the game and I'll do what needs to be done, but they do n't put me in, what needs doing do n't get done and do n't come crying to me, man. Get off my grill man, you did n't put me in, do n't come to me if you did n't let me play.</dialogue>
<character>BIFF</character>
<dialogue>They did n't!</dialogue>
<scene_description>Brendan scans the rest of the cars . His eyes catch on Laura Dannon sitting in another convertible , off to the side . Her bright eyes cut through the crowd , straight into Brendan . He wags his eyebrows at her . She looks away . Brendan walks into Brad 's direct line of view and obviously leans against one of the cars .</scene_description>
<character>BRAD</character>
<dialogue>Hey! What are you doing here?</dialogue>
<character>BRENDAN</character>
<dialogue>Listening.</dialogue>
<character>BRAD</character>
<dialogue>Uh huh.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, you got me. I'm a scout for the Gophers.</dialogue>
<character>BRAD</character>
<parenthetical>( not amused . )</parenthetical>
<dialogue>Oh yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>Of all things, yeah. Been watching your game for a month, but that story just now clenched it. You've got heart, kid. How soon can you move to Minneapolis?</dialogue>
<scene_description>A few snickers around the crowd , but nowhere near Brad .</scene_description>
<character>BRAD</character>
<parenthetical>( flat with anger . )</parenthetical>
<dialogue>Yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>Cold winters, but they've got a great public transit system.</dialogue>
<character>BRAD</character>
<dialogue>Yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>BRAD</character>
<dialogue>Oh yeah?</dialogue>
<character>BRENDAN</character>
<dialogue>There's a thesaurus in the library. ` Yeah's under ` Y'. Go ahead, I'll wait.</dialogue>
<character>BRAD</character>
<dialogue>Who invited you?</dialogue>
<character>BRENDAN</character>
<dialogue>To the parking lot? Well gee I kind of invited myself.</dialogue>
<character>BRAD</character>
<dialogue>I think you'd better leave then.</dialogue>
<character>BRENDAN</character>
<dialogue>No, I'm having too good a time.</dialogue>
<character>BRAD</character>
<dialogue>Just the same.</dialogue>
<scene_description>Brendan smiles slightly , and very deliberately crosses his legs . Brad 's face tenses .</scene_description>
<character>BRAD</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Maybe you want to go someplace more private.</dialogue>
<character>BRENDAN</character>
<dialogue>With you?</dialogue>
<scene_description>Brad says ` who else ? ' by lifting his arms .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( as if he 's been asked to the movies . )</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>Brendan stands and walks off . Brad follows and the rest of the crowd trails after him . He leads them behind a parked VW van and turns to face Brad . People gather around in a wide circle . Brendan pulls his jacket off as Brad hangs back , mumbling .</scene_description>
<character>BRAD</character>
<dialogue>You know what's good for you you'll just beat it. Beating a small frye wo n't win me anything and it's not going to do you any good -</dialogue>
<scene_description>Laura pulls up in her convertible , behind Brad , watching . In the next moment Brendan cuts Brad off by putting his fist in his face . Brad grunts but does n't lose ground . Brendan throws his short stocky frame into Brad 's larger one and tenderizes his midsection with jabs . Brad tags Brendan in the ribs , then smacks the palm of his hand into Brendan 's face , shoving him back onto the pavement . He comes at Brendan with his big fists clenched . Brendan kicks Brad full force in the shins . Brad tumbles , and Brendan comes up fast , connecting hard with the point of Brad 's chin . Brad gets his balance fast , and before Brendan can throw another he throws one himself , then another , both into Brendan 's stomach . Brendan pulls back and kicks Brad 's shin where he had kicked it before . Brad roars and hits Brendan very hard in the face . Brendan bounces back like a rubber ball and throws his weight into a square punch right into Brad 's nose . The sound of eggs breaking , and Brad falls backwards like a board . He stays down , holding his face . Brendan staggers back , breathing hard , and looks up at the small crowd . Some stare at Brendan , some at Brad , but nobody seems about to do anything . Brendan runs his sleeve over his face and walks unsteadily off , pushing past the last few people rushing over .</scene_description>
<character>STRAGGLER</character>
<dialogue>Hey, is there a fight?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>He throws a last look at Laura , who meets his gaze and drives off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PARKING LOT SIDEWALK - CONTINUOUS</stage_direction>
<scene_description>Brendan walks away from the lot , towards the school . Laura pulls up beside him in her car .</scene_description>
<character>LAURA</character>
<dialogue>Hey.</dialogue>
<scene_description>Brendan ignores her and b - lines for the school . Laura brakes hard , parking by the curb .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Brendan limps down the hallway . Laura appears behind him , trotting to catch up .</scene_description>
<character>LAURA</character>
<dialogue>You're quite a pill. BRENDAN Uh huh.</dialogue>
<character>LAURA</character>
<dialogue>Where are you going?</dialogue>
<character>BRENDAN</character>
<dialogue>Home.</dialogue>
<character>LAURA</character>
<dialogue>Why did you take a powder the other night?</dialogue>
<character>BRENDAN</character>
<dialogue>Same reason I'm taking one now.</dialogue>
<character>LAURA</character>
<dialogue>Hold it.</dialogue>
<parenthetical>( he keeps walking . )</parenthetical>
<dialogue>I do n't get you. That's a chilly heel to be giving a girl who's where you want to know about.</dialogue>
<character>BRENDAN</character>
<dialogue>I'll get where I'm going just fine.</dialogue>
<character>LAURA</character>
<dialogue>I want to help you.</dialogue>
<character>BRENDAN</character>
<dialogue>Go away.</dialogue>
<scene_description>Silence behind him . He stops , turns wearily . She looks genuinely hurt .</scene_description>
<character>BRENDAN</character>
<parenthetical>( CONT 'D ; cont 'd . )</parenthetical>
<dialogue>Look, I ca n't trust you. You ought to be smart enough to know that. I did n't shake the party up to get your attention, and I'm not heeling you to hook you. Your connections could help me, but the bad baggage they bring could make it zero sum game or even hurt me, so I'm better off coming at it clean.</dialogue>
<character>LAURA</character>
<dialogue>I would n't have to lead you in by the hand -</dialogue>
<character>BRENDAN</character>
<dialogue>I ca n't trust you. Brad was a sap, you were n't, you were with him and so you were playing him, so you're a player. With you behind me I'd have to tie one eye up watching both your hands, and I ca n't spare it.</dialogue>
<character>LAURA</character>
<dialogue>You're not Brad.</dialogue>
<character>BRENDAN</character>
<dialogue>No, I'm not.</dialogue>
<scene_description>He turns and walks away . She does n't follow .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PAYPHONE - AFTERNOON</stage_direction>
<scene_description>Brendan slumps against it , receiver to his ear , licking a bruised lip . He wears dark glasses .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>You did n't call.</dialogue>
<character>BRENDAN</character>
<dialogue>Sorry. Kara went home though, did n't she? THE BRAIN Yeah, but she stopped at a payphone and made two calls that she did n't want on her phone bill.</dialogue>
<character>BRENDAN</character>
<dialogue>Get the numbers?</dialogue>
<character>THE BRAIN</character>
<dialogue>No. Sorry.</dialogue>
<character>BRENDAN</character>
<dialogue>S'alright. Are me and Brad front page news?</dialogue>
<character>THE BRAIN</character>
<dialogue>All the buzz. You really do that?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>Why? Is Brad the Pin?</dialogue>
<character>BRENDAN</character>
<dialogue>Brad's a sap. I downed him on his field and his crew did n't bite. So now I know he's a sap and anyone who acts like he is n't is profiting by it. That's not why I roughed him, though.</dialogue>
<character>BRAIN</character>
<dialogue>For kicks?</dialogue>
<character>BRENDAN</character>
<dialogue>Economics. Brad's the school's biggest jake buyer, so if this Pin is behind all the selling, I just got his attention. Anyway, now's just shaking things out. Look, you know a kid around the burgh, lanky, short, shaved head, turns a black tang?</dialogue>
<character>THE BRAIN</character>
<dialogue>I told you before I do n't know the car. Those types are a nickel a pound, but nobody I know that you do n't. And Trueman again -</dialogue>
<character>BRENDAN</character>
<dialogue>Keep him off. And keep your specs on - I need to find that kid.</dialogue>
<character>THE BRAIN</character>
<dialogue>Okay.</dialogue>
<scene_description>Brendan hangs up and turns sluggishly . A lanky kid with a short shaved head and engineer boots punches him in the face . Brendan hits the pavement . The lanky kid is over him in a split second , beating his face and body with short , heavy blows . Flashes of the lanky kid - a shiny scar shaped like a thin triangle runs down the side of his face . After a brief silent thrashing the kid walks off with several other blurry figures . A car peels out and roars off O.S. Brendan lies still . The class bell rings , very distant . Legs criss cross before his eyes , each blurring the world a bit more until it is completely smeared . FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE</stage_direction>
<scene_description>Brendan sits with an ice pack against his head in a tiny office . A man in his early thirties behind a wood colored desk and name plate , `` GARY TRUEMAN , ASSISTANT VICE PRINCIPAL '' plays with a pencil .</scene_description>
<character>TRUEMAN</character>
<dialogue>You did n't know this boy?</dialogue>
<character>BRENDAN</character>
<dialogue>No sir, never seen him.</dialogue>
<character>TRUEMAN</character>
<dialogue>And he just hit you?</dialogue>
<character>BRENDAN</character>
<dialogue>Like I said, he asked for my lunch money first. Good thing I brown bagged it.</dialogue>
<scene_description>Trueman trains a good natured dubious eye on Brendan .</scene_description>
<character>TRUEMAN</character>
<dialogue>Alright Brendan. I've been looking to talk to you.</dialogue>
<scene_description>Brendan does n't react .</scene_description>
<character>TRUEMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You've helped this office out before.</dialogue>
<character>BRENDAN</character>
<dialogue>No. I gave you Jerr to see him eaten, not to see you fed.</dialogue>
<character>TRUEMAN</character>
<dialogue>Fine, and well put.</dialogue>
<character>BRENDAN</character>
<dialogue>Accelerated English, Mrs. Kasprzyk.</dialogue>
<character>TRUEMAN</character>
<dialogue>Tough teacher?</dialogue>
<character>BRENDAN</character>
<dialogue>Tough but fair.</dialogue>
<character>TRUEMAN</character>
<dialogue>Mm. Anyway then, we know you're clean, and you've, despite your motives, you've been an asset to us. I think you're a good kid. BRENDAN Uh huh.</dialogue>
<character>TRUEMAN</character>
<dialogue>I want to run a couple names by you.</dialogue>
<scene_description>Brendan stands to go .</scene_description>
<character>TRUEMAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>We're not done here.</dialogue>
<character>BRENDAN</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>I was done here three months ago. I told you then I'd give you Jerr and that was that, I'm not your inside line and I'm not your boy.</dialogue>
<character>TRUEMAN</character>
<dialogue>That's not a very helpful -</dialogue>
<character>BRENDAN</character>
<parenthetical>( anger builds . )</parenthetical>
<dialogue>You know what I'm in if the wrong yeg saw me pulled in here?</dialogue>
<character>TRUEMAN</character>
<dialogue>What are you in?</dialogue>
<character>BRENDAN</character>
<dialogue>No. And no more of these informal chats - if you've got a discipline issue with me write me up or suspend me and I'll see you at the parent conference.</dialogue>
<character>TRUEMAN</character>
<dialogue>Hold it, I could - hold it - could write you up for talking back to a VP. For looking at me in a threatening way. I'd exercise a little more tact, Mr. Frye. You ca n't pull a play like that unless I need you for something. So do I?</dialogue>
<character>BRENDAN</character>
<dialogue>Maybe.</dialogue>
<character>TRUEMAN</character>
<dialogue>So maybe you're gon na need me too.</dialogue>
<character>BRENDAN</character>
<dialogue>Maybe. Alright, I need you off my back completely for a few weeks. There might be some heat soon.</dialogue>
<character>TRUEMAN</character>
<parenthetical>( interested . )</parenthetical>
<dialogue>If it's something I ca n't cover, I wo n't go to bat for you.</dialogue>
<character>BRENDAN</character>
<dialogue>If I get caught like that it's curtains anyway - I could n't have brass cutting me favors in public. I'm just saying now so you do n't come kicking in my homeroom door once trouble starts.</dialogue>
<scene_description>Trueman bites a thumbnail .</scene_description>
<character>TRUEMAN</character>
<dialogue>Okay, here's what I can do. I wo n't pin you for anything you are n't caught at. I'll ride it a little while, as long as it does n't get too rough. But if anything comes up with your fingerprints on it, I ca n't help you. Also, if I get to the end of whatever this is and it gets hot and you do n't deliver, The Veep will need someone to hand over, police - wise. And I'll have you. There better be some meat at the end of this like you say, or at least a fall guy, or you're it.</dialogue>
<character>BRENDAN</character>
<dialogue>Sure I am. Got one more favor to ask.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ADMINISTRATION BUILDING - AFTERNOON</stage_direction>
<scene_description>Gary Trueman throws Brendan out .</scene_description>
<character>TRUEMAN</character>
<dialogue>Get the hell off my campus, punk!</dialogue>
<scene_description>Brendan glances around , and limps off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CARROWS PARKING LOT - AFTERNOON</stage_direction>
<scene_description>No stoners , no Dode . Brendan breathes uneasily .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BY CARROWS - AFTERNOON</stage_direction>
<scene_description>Brendan leans against it .</scene_description>
<character>THE BRAIN</character>
<dialogue>No, Dode's MIA all around.</dialogue>
<character>BRENDAN</character>
<dialogue>I'm 9 of 10 that Kara's got him, but who knows where. I shook but she's not spilling.</dialogue>
<character>THE BRAIN</character>
<dialogue>No more job offers? So she's got a play.</dialogue>
<character>BRENDAN</character>
<dialogue>And I know enough about Kara to let that worry me. Alright, keep your specs on for him. Any other news?</dialogue>
<character>THE BRAIN</character>
<dialogue>Some. Laura Dannon came to me looking for you.</dialogue>
<character>BRENDAN</character>
<parenthetical>( considers this . )</parenthetical>
<dialogue>She did, huh?</dialogue>
<character>THE BRAIN</character>
<dialogue>Fourth period, nearly shook me upside down. Ca n't say I did n't enjoy it, but why'd she come to me?</dialogue>
<character>BRENDAN</character>
<dialogue>She's tapping Kara, and Kara knows you know me.</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah, well. She's some piece of work. If I had known where you were I might have told her.</dialogue>
<character>BRENDAN</character>
<dialogue>That's the spirit. Ask around for Dode, tail Kara again at lunch. I got knives in my eyes, I'm going home sick. I'll call you tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SIDEWALK - LATE AFTERNOON</stage_direction>
<scene_description>Bordering a supermarket . Brendan trudges along . Suddenly he stops . Parked in the supermarket parking lot is a black mustang .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT - LATE AFTERNOON</stage_direction>
<scene_description>The sun hangs low . Brendan approaches the car and walks around it slowly . He peers inside . A tuft of paper pokes out from under the seat . He pulls the door handle , locked . Brendan picks up a broken chunk of concrete from the ground , waddles over to the car and holds the chunk above his head , ready to drop it through the window . He stops . His eyes catch something in the distance . The lanky shaved - head kid , whose name is Tugger . Coming towards him fast . Brendan stands there for a moment , then lets the chunk fall to the ground . He casually leans against the car , removes his glasses , puts them in a hard case and puts the hard case in his pocket . Tugger hits him like a train and throws him across the pavement . Tug turns back to the car and takes out his keys . Brendan gets up and comes towards Tug , his face stiff . Tug turns and pops him once squarely in the mouth . Brendan falls to his knees . While Tug unlocks the door Brendan stands up woozily . Grunting , Tug spins and grabs Brendan 's jacket , pushing him back while he slaps him hard in the face , back and forth , three times . When Tug lets go Brendan drops like a stone , catching himself on his hands and knees . The car door slams . The mustang drives about a hundred yards out into the parking lot , spins around and stops , facing Brendan . Its motor purrs deeply . Brendan begins to limp towards it doggedly , head up , eyes fixed . A crackling roar and short squeal of tires spit the mustang forward . It comes straight at Brendan , rumbling like a tank . Brendan stops walking and stands very still , eyes steady . The gap between him and the car closes in no time at all . It speeds past him not six inches to his left , brushing the edge of his jacket . Brakes squeal behind him . Brendan turns and lopes towards the mustang , idling about fifty feet away . He stops at the window . Tugger eyes him curiously , with some respect .</scene_description>
<character>BRENDAN</character>
<dialogue>I want to see the Pin.</dialogue>
<character>TUGGER</character>
<parenthetical>( nods slightly . )</parenthetical>
<dialogue>Yeah, I guess you do.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREETS</stage_direction>
<scene_description>Twisty and narrow . The black mustang flies through them at impossible speeds , roaring past like a bullet . DARKNESS Loud engine noise , jostling , grunting . Then a metallic jangle , some scraping , and a CLINK !</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR OF FAST MOVING MUSTANG - LATE AFTERNOON</stage_direction>
<scene_description>The trunk pops open , revealing Brendan holding a jack rod .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING MUSTANG - CONTINUOUS</stage_direction>
<scene_description>Tug is putting a tape in the deck , eyes down . Behind him the trunk pops open , then pulls down out of sight just as he looks back up .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUNK OF MOVING MUSTANG</stage_direction>
<scene_description>Brendan holds the trunk about three inches open , just enough to see which street signs pass by . Loud music plays from the car - `` Sweet Baby James '' by James Taylor . The car zooms on . BRENDAN 'S POV Through the ajar trunk . The mustang slides to a stop beside an elaborate wooden mailbox carved as an eagle 's head . Brendan closes the trunk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF HOUSE - LATE AFTERNOON</stage_direction>
<scene_description>A small one story house , slightly run down . Tugger opens the trunk and drags Brendan out , covering his eyes with a palm , slams the trunk and goes inside . When they are gone the broken trunk drifts open .</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT HALLWAY</stage_direction>
<scene_description>A very dim narrow hall with a steep stairway at one end , dark doors down the length of it and a lit door at the other end . Tugger drags Brendan down the stairway , drops him and goes into the lit room . Brendan lifts his head painfully . Surrounding him in the darkened doorways are dozens of boys , some dressed like Tugger , others dressed in black . Tug pokes his head out .</scene_description>
<character>TUGGER</character>
<dialogue>Alright.</dialogue>
<scene_description>Arms pop out of the darkness and drag Brendan towards the lit room .</scene_description>
</scene>
<scene>
<stage_direction>INT. KINGPIN'S DEN</stage_direction>
<scene_description>A small room , amazingly messy . Clothes strewn about , groves of empty bottles , precarious piles of books . The overall impression though is not of jumbled chaos , but of a nest , comfortably woven and very worn in . A slim figure with wispy hair sits facing the wall at a small desk , writing under a green bookkeeper 's lamp . Brendan is shoved into the center of the room . Tug and his clones slump against the surrounding walls . Brendan watches the thin figure 's back . For a beat the only noise is the scratching of the thin man 's pencil . Then he sighs and swivels around . Mid to late twenties . Sallow features , tired eyes . His clothes are so richly black it is difficult to make out specific items - he is just one inky black mass from the neck down and eyebrows up .</scene_description>
<character>BRENDAN</character>
<dialogue>You the Pin?</dialogue>
<character>PIN</character>
<dialogue>Yeah.</dialogue>
<parenthetical>( beat of silence . )</parenthetical>
<dialogue>So now I'm very very curious what you're going to say next.</dialogue>
<character>BRENDAN</character>
<dialogue>Maybe I'll just sit and bleed at you.</dialogue>
<scene_description>The Pin shifts in his seat , bored .</scene_description>
<character>PIN</character>
<dialogue>Helled if you're gon na go breaking my best clients' noses and expect me to play sandbag. Anyway you've been sniffing me out before then, sniffing for me like a vampire bat for a horse with a nick on its ear he can suck on. They do that.</dialogue>
<parenthetical>( Brendan blinks . )</parenthetical>
<dialogue>So now you got Tugger to bring you here, which he never does, and you got me listening, so I'm curious what you've got to say that better be really, really good.</dialogue>
<character>BRENDAN</character>
<dialogue>Call Ms. Dannon in from the hall first ; she oughta hear this.</dialogue>
<character>PIN</character>
<parenthetical>( amused . )</parenthetical>
<dialogue>No dice, soldier. Would have been a neat trick, though.</dialogue>
<character>BRENDAN</character>
<parenthetical>( shrugs , then slowly . )</parenthetical>
<dialogue>I was going to make up some bit of information or set up some phony deal, anything so you'd let me walk. Then I was going to go to the vice principal and spill him the street address of the biggest dope port in the burgh.</dialogue>
<scene_description>The Pin 's eyes shoot to Tugger , who does n't flinch .</scene_description>
<character>TUGGER</character>
<dialogue>He knows zippo.</dialogue>
<character>BRENDAN</character>
<dialogue>1250 Vista Blanca, the ink blotter at the desk in the den in the basement of the house with the tacky mailbox.</dialogue>
<scene_description>The world turns on its side as Tugger pushes Brendan 's head down into the carpet .</scene_description>
<character>TUGGER</character>
<dialogue>You gon na do what now?!</dialogue>
<scene_description>The Pin walks towards them . One of his shoes is twice the size of the other .</scene_description>
<character>PIN</character>
<dialogue>No good, soldier.</dialogue>
<scene_description>The cronies around the room begin cackling . Tug 's face is a mask of rage . Brendan ca n't breath . His face swells .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Alright, let up.</dialogue>
<scene_description>But Tug does n't let up . Brendan 's world grows hazy , the cackling laughter reverberates , then a clean voice pierces the din .</scene_description>
<character>LAURA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Tug, stop.</dialogue>
<scene_description>Tug 's face breaks for a moment , and he lets go . Brendan 's head lolls to the side . Laura stands in the dark doorway . Brendan sees Tug 's knuckles and a flash of white for a split moment as Tug hits him in the face . The Pin 's black body spills out across the frame , leaving us in black . FADE UP SMALL DARK ROOM Brendan wakes up curled on a mattress on the floor . A bare light bulb hangs from the ceiling . Tugger sits five feet away , watching him like a hungry dog . Brendan stares back at him through thick , glazed eyes .</scene_description>
<character>BRENDAN</character>
<dialogue>Where are my glasses?</dialogue>
<parenthetical>( Tugger grins . )</parenthetical>
<dialogue>Hell with ya then. Which wall's the door in?</dialogue>
<scene_description>Tug points , amused . Brendan heaves himself up , and Tug shoves him back down . Brendan winks at him , stands and lurches towards the door again . Tugger grabs his shirt and slams him into the wall , but freezes when he hears a door latch click . Sneering , he drops Brendan back onto the mattress and sits against the opposite wall . Sounds of a door opening and closing come from the darkness . Light footsteps clack on the cement floor . Suddenly Tug vanishes - the room 's darkness just seems to swallow him . The thin whispery voice of the Pin speaks softly .</scene_description>
<character>PIN</character>
<dialogue>Sorry about this kid, but what the hell with what you said before.</dialogue>
<scene_description>His disembodied face appears a few feet about where Tug had sat .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Where you were at, with all of us and the Tug a fist away, you've got to use your nut. Allay the situation, So yeah, you're not scared of me, I got it, but I'm also thinking you're a little nuts now, so you've got that trade off with your standing. But nuts is n't all bad, so maybe it was a good play. I do n't know.</dialogue>
<scene_description>He is standing in front of Tug . His black clothes and broad rimmed black hat blend perfectly with the dark room , such that his face seems to bob about in space . Brendan stifles a cough .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>So, Laura talked me down. Let's get you upstairs, back with the living.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Brendan sits at a breakfast table eating cornflakes . The kitchen is on the first floor of the Pin 's house , or rather the Pin 's mother 's house . She is a soft old lady in a pastel cotton dress , currently bent over the fridge mumbling .</scene_description>
<character>MOTHER</character>
<dialogue>I thought we had orange juice, Brendan, I'm sorry. How about Tang, or that's more like soda is n't it, or not soda but it has n't got any juice in it, it ca n't be very fortifying.</dialogue>
<character>BRENDAN</character>
<dialogue>Water's fine, ma'am, thanks.</dialogue>
<character>MOTHER</character>
<dialogue>Now just a moment, we have apple juice here, if you'd like that, or milk, though you've got that in your cornflakes, I do n't know if drinking it as well might be too much.</dialogue>
<character>BRENDAN</character>
<dialogue>Apple juice sounds terrific.</dialogue>
<character>MOTHER</character>
<dialogue>It's country style.</dialogue>
<character>BRENDAN</character>
<dialogue>That's perfect.</dialogue>
<scene_description>She shuts the fridge . Tugger and the Pin sit behind her , looking comfortably bored . The Pin , a sharp black hole against the soft yellow kitchen , eats oatmeal cookies with small delicate bites .</scene_description>
<character>MOTHER</character>
<dialogue>I'll even give it to you in a country glass, how'd that be? Boys?</dialogue>
<character>TUGGER</character>
<dialogue>I'm fine, Mrs. M.</dialogue>
<character>PIN</character>
<dialogue>Thanks, mom.</dialogue>
<scene_description>The Pin kisses her on the cheek .</scene_description>
<character>MOTHER</character>
<dialogue>Okay, well I'm going to go, um, do something in the other room now.</dialogue>
<scene_description>She shuffles out .</scene_description>
<character>PIN</character>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>So hows bout we take another snap at hearing your tale?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't know. It starts out same as before, and this floor ai n't carpeted.</dialogue>
<character>PIN</character>
<dialogue>We're cooled off.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah well, your muscle seemed plenty cool putting his fist in my head. I want him out.</dialogue>
<scene_description>The Pin grins thinly , uncomfortable .</scene_description>
<character>PIN</character>
<dialogue>Looky, soldier -</dialogue>
<character>BRENDAN</character>
<dialogue>The ape blows or I clam.</dialogue>
<character>TUGGER</character>
<parenthetical>( stands violently . )</parenthetical>
<dialogue>So clam! What've you got I ca n't beat out of you back in the basement?</dialogue>
<scene_description>The Pin and Brendan are perfectly still , watching each other .</scene_description>
<character>PIN</character>
<dialogue>Give us a few minutes, Tug.</dialogue>
<scene_description>Tug turns to him , but Pin keeps his eyes on Brendan .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'll call you if whatever.</dialogue>
<scene_description>Beat . Tug stomps off , slamming the narrow door hard behind him . The Pin goes back to gnawing his cookie .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>So?</dialogue>
<scene_description>Brendan sets down his spoon .</scene_description>
<character>BRENDAN</character>
<dialogue>About a year ago I had a small time dealing partnership with Jerr Madison. Know him?</dialogue>
<character>PIN</character>
<dialogue>Till he took the fall for you.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah well. I did n't ask him to, but he was a straight player. I got out clean - almost. Nothing on my official record, but the VPs play it like I owe them one. When I made it clear I was n't playing their hound dog, well they did n't like it. They keep calling me in, badgering me.</dialogue>
<character>PIN</character>
<dialogue>Gee that's tough.</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't like being told whose side I'm on. So now they think I'm on your trail, I'm in a nice spot to know their movements and feed them yours.</dialogue>
<character>PIN</character>
<dialogue>I gotcha.</dialogue>
<character>BRENDAN</character>
<dialogue>You have n't got me yet.</dialogue>
<character>PIN</character>
<dialogue>What, price?</dialogue>
<character>BRENDAN</character>
<dialogue>Considering the benefits my services could yield, I do n't think that's unreasonable.</dialogue>
<character>PIN</character>
<dialogue>And what are your services exactly, just so I can be specific on the invoice?</dialogue>
<character>BRENDAN</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Whatever serves your interests.</dialogue>
<scene_description>The Pin stands .</scene_description>
<character>PIN</character>
<dialogue>Fair enough. I'll have my boys check your tale, and seeing how it stretches we'll either rub or hire you. You'll know which by end of the day tomorrow.</dialogue>
<scene_description>Brendan stands but does n't follow as the Pin opens the narrow door Tugger went through and descends the dark stairs behind .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>We're done.</dialogue>
<scene_description>The moment the Pin vanishes into the basement 's murk Laura comes up out of it . She takes Brendan 's hand .</scene_description>
<character>LAURA</character>
<dialogue>I'll drive you back.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAURA'S CONVERTIBLE MOVING - SUNSET</stage_direction>
<scene_description>They zig zag though the twisty suburban streets . Brendan stares sullenly into space .</scene_description>
<character>BRENDAN</character>
<dialogue>Just drop me at school.</dialogue>
<parenthetical>( they take a hard turn . )</parenthetical>
<dialogue>How long was I out?</dialogue>
<character>LAURA</character>
<dialogue>Half an hour. It took all of it for me to cool the Pin down.</dialogue>
<character>BRENDAN</character>
<parenthetical>( flatly , but sincerely . )</parenthetical>
<dialogue>Thanks.</dialogue>
<scene_description>They drive on in silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PARKING LOT - DUSK</stage_direction>
<scene_description>Laura 's convertible stops , and Brendan climbs out painfully . He studies her face for a moment .</scene_description>
<character>LAURA</character>
<dialogue>You trust me now?</dialogue>
<character>BRENDAN</character>
<dialogue>Less than when I did n't trust you before. If you can tell me your angle in this, maybe I can.</dialogue>
<character>LAURA</character>
<dialogue>Come here.</dialogue>
<scene_description>Brendan leans on the car , his face close to hers .</scene_description>
<character>LAURA</character>
<parenthetical>( CONT 'D ; cont 'd . )</parenthetical>
<dialogue>I'm on the in, top level of the tower and I know everyone, but I do n't know all what goes on. I knew Em when she tried to get with me and Brad, and I liked her. She was smart. But she was n't us, and it did n't work. When she left she took some souvenirs, dirty habits she was n't strong enough to control and a connection to the Pin to keep them going. With me?</dialogue>
<character>BRENDAN</character>
<dialogue>So far.</dialogue>
<character>LAURA</character>
<dialogue>A few months go by, and the next I hear the Pin's raging over a situation with some certain junk Em was partial to, and the downfall's coming on Em's head.</dialogue>
<character>BRENDAN</character>
<dialogue>You think Em scraped the junk off the Pin?</dialogue>
<character>LAURA</character>
<dialogue>I do n't know, but whether she scraped or copped or just ran her tab around the world and into her own back, it must have been grand. I've never seen the Pin so hot.</dialogue>
<character>BRENDAN</character>
<dialogue>This all helps but it's not what I asked. What's your angle in all this?</dialogue>
<character>LAURA</character>
<dialogue>I do n't know. I'm usually pretty sharp, but. maybe I see what you're doing for Emily, trying to help her. And I do n't know anyone who would do that for me.</dialogue>
<character>BRENDAN</character>
<dialogue>Now you are dangerous.</dialogue>
<scene_description>Throwing the car in gear , she peels out and leaves him standing alone in the fading evening light .</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE</stage_direction>
<scene_description>Brendan pushes through the gloom , past forest scenery , deeper and deeper until he comes to a door .</scene_description>
</scene>
<scene>
<stage_direction>INT. WOMAN'S DRESSING ROOM</stage_direction>
<scene_description>Hazy and cramped . Everything blends into the color of flesh . No walls are visible ; it is all billowy piles of costumes . Brendan pushes in . Kara sits at the mirror , putting on eyeliner .</scene_description>
<character>KARA</character>
<parenthetical>( sing song . )</parenthetical>
<dialogue>Brendan Brendan Brendan!</dialogue>
<character>BRENDAN</character>
<dialogue>Where's Dode flopped?</dialogue>
<parenthetical>( she makes a face . )</parenthetical>
<dialogue>I know you two are cozed up, so you'll tell me or you wo n't.</dialogue>
<character>KARA</character>
<dialogue>Oooh, getting feisty.</dialogue>
<parenthetical>( giggles . )</parenthetical>
<dialogue>Last time we talked you were giving ultimate - tims.</dialogue>
<character>BRENDAN</character>
<dialogue>It worked. You went to Laura, did n't you? Told her my tale.</dialogue>
<character>KARA</character>
<dialogue>All part of your plan?</dialogue>
<character>BRENDAN</character>
<dialogue>Turned out to be.</dialogue>
<character>KARA</character>
<dialogue>I feel so cheap and used.</dialogue>
<character>BRENDAN</character>
<dialogue>Gol, I must seem a real cad. Sometimes I just hate myself.</dialogue>
<scene_description>Kara grins dreamily .</scene_description>
<character>KARA</character>
<dialogue>Whatever happened to us, Brendan?</dialogue>
<character>BRENDAN</character>
<dialogue>Where's Dode flopped?</dialogue>
<scene_description>She turns to face him .</scene_description>
<character>KARA</character>
<dialogue>We were a pair and a half for a few months, were n't we? Sometimes I miss having someone I can talk to. You ever miss having someone? I guess you must.</dialogue>
<scene_description>Brendan 's face is a mask .</scene_description>
<character>BRENDAN</character>
<dialogue>I need to hear Dode's tale about Emily. It's important.</dialogue>
<character>KARA</character>
<parenthetical>( darkly . )</parenthetical>
<dialogue>You better be sure you wan na know whatcha wan na know.</dialogue>
<scene_description>Brendan stands , coughing .</scene_description>
<character>BRENDAN</character>
<dialogue>Uh huh. Laura's working with me now, and I'll have the Pin and Tug in my corner soon. The sooner I get the truth from Dode or the truth about Dode from you, the safer you'll both be. No? Pass it on to Dode anyway. Maybe he'll have the sense to get out from under you before he gets hurt.</dialogue>
<character>KARA</character>
<dialogue>You did n't, did you?</dialogue>
<scene_description>Brendan leaves without looking back .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRENDAN'S ROOM - NIGHT</stage_direction>
<scene_description>Brendan 's at his desk , on the phone .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>So what happens now?</dialogue>
<character>BRENDAN</character>
<dialogue>Now we wait for the Pin's answer. Unless his crew spotted VP Truman's social call this morning, it'll be yes. I'd give us 70/30. If we're in I get under his skin and see what's what. You stick to Kara, keep your specs peeled for Dode and stay away from Laura.</dialogue>
<scene_description>The Brain is quiet for a beat .</scene_description>
<character>THE BRAIN</character>
<dialogue>I think she's with us, Brendan.</dialogue>
<character>BRENDAN</character>
<parenthetical>( too sharp . )</parenthetical>
<dialogue>I'll let you know when she is.</dialogue>
<scene_description>A beat of silence .</scene_description>
<character>THE BRAIN</character>
<dialogue>Okay.</dialogue>
<scene_description>Brendan gently replaces the receiver and sits for a moment in silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOCKER CAGE - MORNING</stage_direction>
<scene_description>The class bell rings , and the cage quickly empties . Brendan limps in , opens his locker . A note falls to his feet . It is folded into a star . He pulls it open . `` TWELVE THIRTY PICO & ALEXANDER '' . He fishes the old note out and compares them - different handwriting . The locker cage is now empty and silent , except for the steady sound of heavy footfalls . Brendan looks up from the notes . A lug with a lumpish face is coming towards him . He wears a black trenchcoat over bulbous shoulders , and his black hair comes down over his eyes like a sheepdog 's .</scene_description>
<character>BRENDAN</character>
<dialogue>You the Pin's?</dialogue>
<scene_description>No answer . The lug keeps coming .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>So what's his answer?</dialogue>
<scene_description>Closer , not slowing . Brendan tightens his hand into a fist . Then CLICK ! and a long slender switchblade gleams in the lug 's right paw . Brendan jumps back as the lug swipes the blade at his torso . Before the lug winds up for another slash Brendan is running .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPUS SQUARE - DAY</stage_direction>
<scene_description>Brendan runs through the empty campus square , the lug follows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL HALLWAY - DAY</stage_direction>
<scene_description>Wind rushing , sweating , the lug very close . Their footsteps clatter on the cement . Brendan swings around a corner , doubles back and stops with his back to a wall - he 's lost sight of him . Brendan sweats , listening . The lug 's footsteps echo through the hallways , coming from all directions at once . Then it seems clear - he 's down the hall on Brendan 's right . Brendan dashes left . Wrong . The lug looms over him , his knife hand flashing . Brendan 's jacket shoulder tears open , and the white filling inside turns red . He stumbles back blindly , gets his footing and scrambles out of reach . Brendan sprints away , down the hall , gaining about thirty feet on the lug before turning the corner . Brendan drops to a sitting position . THE LUG AROUND THE CORNER Running fast . BRENDAN Kicks his shoes off and clambers to his feet . The lug 's footsteps are impossibly loud . THE LUG Just about to round the corner . BRENDAN On his socked feet running silently back towards the corner . The lug 's footsteps crash like symbols as they both come around the same corner in opposite directions at full speed . Brendan slides like a baseball player , tangling his legs into the lug 's . The lug pitches forward with frightening momentum . He hits the hall 's metal handrail with his arms and head . A hollow gong reverberates through the hallway , and the lug falls like a puppet with his strings cut . A wallet with a couple of twenties and a student ID -LRB- CHUCK BURNS -RRB- , three hash pipes , fifteen joints , a baggie of weed and a large brownie in another baggie . Brendan leaves it all on him and staggers off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPUS PAYPHONE - DAY</stage_direction>
<scene_description>Brendan breathes heavily into the phone .</scene_description>
<character>BRENDAN</character>
<dialogue>Chuck Burns, big lug with hair like a sheepdog.</dialogue>
<character>THE BRAIN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>Yeah I know him, I just ca n't pin him to any crowd. He's definitely not muscle for anyone. He taps the Carrows crowd but does n't hang with them. If you've got a guess I could check it out -</dialogue>
<character>BRENDAN</character>
<dialogue>The Pin. If he's with the Pin everything's kablooie and I got ta blow the burgh.</dialogue>
<character>THE BRAIN</character>
<dialogue>I'll check it. I'm in third now -</dialogue>
<scene_description>Brendan spots the Pin 's Cady pulling into the parking lot .</scene_description>
<character>BRENDAN</character>
<dialogue>Never mind. If I do n't call by three call in the bulls.</dialogue>
<scene_description>Brendan hangs up and begins walking at a normal pace along the sidewalk . The cady pulls up beside him , and he stops walking . The door swings open and a voice comes from inside .</scene_description>
<character>VOICE</character>
<dialogue>Get in.</dialogue>
<scene_description>With no perceivable hesitation , he does .</scene_description>
</scene>
<scene>
<stage_direction>INT. CADILAC - DAY</stage_direction>
<scene_description>Brendan sits beside the Pin . The windows are tinted and the car is very dark . The seats are pink vinyl . The car lurches forward . Brendan and the Pin are silent for a beat , not looking at each other .</scene_description>
<character>BRENDAN</character>
<dialogue>So?</dialogue>
<character>PIN</character>
<dialogue>So. Tangles.</dialogue>
<scene_description>A stocky kid in the front seat turns , and reaches into his jacket . For a moment he stays like that , hand in his jacket , eyes on Brendan . Brendan 's face is placid . Tangles pulls out an envelope and drops it in Brendan 's lap .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>That's what you'll get every week for your services. Less of course there's a specific job involved, in where you get sliced in with my crew. Square?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>Silence . The Pin holds his hat in his hands , fingering the rim .</scene_description>
<character>PIN</character>
<dialogue>We're doing a thing down at the Hole tonight. Know it?</dialogue>
<character>BRENDAN</character>
<dialogue>South of T Street, yeah.</dialogue>
<character>PIN</character>
<dialogue>It's sort of a welcome you in thing. Eight o'clock.</dialogue>
<scene_description>The car stops .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMPUS PAYPHONE - DAY</stage_direction>
<scene_description>Brendan climbs out of the car on the exact spot they picked him up . The Cady drives off . Brendan checks his watch . BRENDAN 'S WATCH 12:32 . A phone begins to ring .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PICO & ALEXANDER - DAY</stage_direction>
<scene_description>Brendan looks up from his watch and answers the payphone , holding the receiver to his ear in silence .</scene_description>
<character>VOICE</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>I know what you did. I saw what you did.</dialogue>
<scene_description>The voice is low and garbled , filtered through something .</scene_description>
<character>BRENDAN</character>
<dialogue>So?</dialogue>
<character>VOICE</character>
<dialogue>Anyone I tell, it would ruin you some way. And I'm going to tell someone.</dialogue>
<character>BRENDAN</character>
<dialogue>Are you making an offer?</dialogue>
<character>VOICE</character>
<dialogue>Maybe. Or maybe I'll just do you in.</dialogue>
<character>BRENDAN</character>
<dialogue>Hire another hash head to blade me?</dialogue>
<character>VOICE</character>
<dialogue>Do n't need no blades, shamus. I just got ta squawk.</dialogue>
<character>BRENDAN</character>
<dialogue>What do you want?</dialogue>
<character>VOICE</character>
<dialogue>Just to see you sweat.</dialogue>
<scene_description>CLICK . Brendan replaces the receiver and stands still for a moment . Then he inserts a coin and dials .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>Brendan?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>You alright?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah, I'm fine. Keep digging on the Burns lug, but the main thing is to find Dode. He set up whatever Emily walked into, it's getting more and more urgent we talk.</dialogue>
<character>THE BRAIN</character>
<dialogue>Alright. Trueman was looking for you.</dialogue>
<character>BRENDAN</character>
<dialogue>Trueman and the VP?</dialogue>
<character>THE BRAIN</character>
<dialogue>No, just Trueman.</dialogue>
<character>BRENDAN</character>
<dialogue>Asked for me?</dialogue>
<character>THE BRAIN</character>
<dialogue>No, but looked.</dialogue>
<character>BRENDAN</character>
<dialogue>That's not good. Alright, keep me posted.</dialogue>
<scene_description>Brendan hangs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEACH - NIGHT1</stage_direction>
<scene_description>A bonfire burns about a hundred feet off . Figures jump through the blaze to thrash music . The Pin and Brendan wander towards us on the dark beach .</scene_description>
<character>PIN</character>
<dialogue>So I'm going to start you on the dope circles, cleaning up the Turkish dues, pulling in the strags.</dialogue>
<character>BRENDAN</character>
<dialogue>Small fries.</dialogue>
<character>PIN</character>
<dialogue>Yeah, well. Just to see how you handle. Anyway there is n't much else doing. I'm tailing out this big deal, but that's almost done.</dialogue>
<character>BRENDAN</character>
<dialogue>Oh yeah? What was it?</dialogue>
<character>PIN</character>
<dialogue>Big time. Biggest I ever done, and there was a snag in it, but it's almost done now.</dialogue>
<character>BRENDAN</character>
<dialogue>What was it?</dialogue>
<character>PIN</character>
<dialogue>It's over.</dialogue>
<character>BRENDAN</character>
<dialogue>Almost, you said.</dialogue>
<character>PIN</character>
<dialogue>It's over enough. You're gon na make me curious, being so curious.</dialogue>
<scene_description>They sit in the sand , facing the breakers .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I got ta lay something out. You're coming into a certain situation, and I'm bringing you in sort of because of it.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I did n't tell Tugger to hit you for the Brad Bramish thing. Laura and I, I decided I oughta hear what you were gunning for before I made an enemy. Tug just did it, though. He was hot, and he just hit you. He's been doing that.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah?</dialogue>
<character>PIN</character>
<dialogue>He's got my best interests, I know, he's loyal, he just gets hot.</dialogue>
<character>BRENDAN</character>
<dialogue>Muscle you ca n't control's no good at that.</dialogue>
<character>PIN</character>
<dialogue>You're working for me, not Tug, that's all.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright.</dialogue>
<scene_description>A moment of silence . The breakers crash .</scene_description>
<character>PIN</character>
<dialogue>Things can get, you know, it's tough sometimes. Twisted, complicated, watching all the, I do n't know. Everyone's got their thing.</dialogue>
<parenthetical>( silence . )</parenthetical>
<dialogue>You read Tolkien?</dialogue>
<character>BRENDAN</character>
<dialogue>What?</dialogue>
<character>PIN</character>
<dialogue>Tolkien, the Hobbit books?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>PIN</character>
<dialogue>His descriptions of things are really good.</dialogue>
<character>BRENDAN</character>
<dialogue>Oh yeah?</dialogue>
<character>PIN</character>
<dialogue>He makes you want to be there.</dialogue>
<scene_description>The waves crash . Behind them , with no warning at all , a train shoots by . Tug stands with his hands jammed in his pockets , flashing lights and gleaming metal streaking and squealing behind him .</scene_description>
</scene>
<scene>
<stage_direction>INT. BRENDAN'S ROOM - EARLY MORNING</stage_direction>
<scene_description>The clock radio blinks 5:34 . The phone is ringing . Brendan half wakes and puts it to his ear .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>Do n't go to class.</dialogue>
<character>BRENDAN</character>
<dialogue>What?</dialogue>
<character>THE BRAIN</character>
<dialogue>Fifth period Trueman and the VP come in asking for you.</dialogue>
<character>BRENDAN</character>
<dialogue>Agh.</dialogue>
<character>THE BRAIN</character>
<dialogue>Did they call your mom?</dialogue>
<character>BRENDAN</character>
<dialogue>Probably. I got home late.</dialogue>
<character>THE BRAIN</character>
<dialogue>Get out of there too, then. Meet me behind the library. I've got some stuff.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BACK OF LIBRARY - EARLY MORNING</stage_direction>
<scene_description>A cold gray morning . The Brain hands Brendan a photocopy of a newspaper clipping , `` LOCAL YOUTH HOSPITALIZED ''</scene_description>
<character>THE BRAIN</character>
<dialogue>Frisco Farr was found on a sidewalk outside Pinkerton's Deli three weeks ago. He was in a coma, his stomach contained a sausage sandwich, a horse dose of Heroin and traces of Choleric Tricemate, a poisonous chemical found in laundry detergent. Frisco's still under and nobody's talking, so nothing's come of it.</dialogue>
<character>BRENDAN</character>
<dialogue>OD?</dialogue>
<character>THE BRAIN</character>
<dialogue>No, the chem the junk must have been cut with put him down.</dialogue>
<character>BRENDAN</character>
<dialogue>Huh. Bad junk. Bad brick. could that form of Heroin be called ` Brick'?</dialogue>
<character>THE BRAIN</character>
<dialogue>No - it was a concentrated powder, its street handle's ` whip' or ` rock' or ` brock'.</dialogue>
<parenthetical>( fishes a note from his pocket . )</parenthetical>
<dialogue>Here. From Laura.</dialogue>
<character>BRENDAN</character>
<dialogue>I told you to stay clear of Laura.</dialogue>
<character>THE BRAIN</character>
<dialogue>You tell her to stay clear of me?</dialogue>
<scene_description>He gives the note to Brendan , who unfolds it roughly .</scene_description>
<character>BRENDAN</character>
<parenthetical>( mutters . )</parenthetical>
<dialogue>I got ta get voicemail.</dialogue>
<scene_description>The note reads `` Meet me at the southeast corner of the school at 9:30 . '' Brendan crumples it into a ball .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>No. Tell her I'll be at the Pin's at one. Any luck with the lug?</dialogue>
<character>THE BRAIN</character>
<dialogue>No.</dialogue>
<scene_description>The Brain lays out a local newspaper with Emily 's picture - `` LOCAL GIRL MISSING '' . Uncomfortable silence .</scene_description>
<character>BRENDAN</character>
<dialogue>This is n't good.</dialogue>
<scene_description>The Brain looks hard at him . Brendan stares off into space for a beat , then takes the Brain 's cell phone and dials .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Mr. Trueman please.</dialogue>
<scene_description>Brendan compares the two notes from his pocket with Laura 's - distinct handwriting on each .</scene_description>
<character>TRUEMAN</character>
<parenthetical>( on the phone . )</parenthetical>
<dialogue>This is Trueman.</dialogue>
<character>BRENDAN</character>
<dialogue>What the hell are you doing asking for me in class?</dialogue>
<character>TRUEMAN</character>
<dialogue>What the hell are you doing out of class?</dialogue>
<character>BRENDAN</character>
<dialogue>What?</dialogue>
<character>TRUEMAN</character>
<parenthetical>( very deliberate . )</parenthetical>
<dialogue>The VP and I needed to ask you a few questions about Emily Kostich, who you might have heard is missing. It's a very serious thing. The police are involved. The VP and I knew you two were close, so the VP and I came to ask you questions, but you were truant. If you do n't have a valid excuse -</dialogue>
<scene_description>Brendan hangs up .</scene_description>
<character>THE BRAIN</character>
<dialogue>What?</dialogue>
<character>BRENDAN</character>
<dialogue>I've been cut loose. I'm not safe here. We should n't have met in the open. Alright, lay low, but ask on the underneath for Dode. That's all that matters now, find Dode, but do it on the underneath, got it?</dialogue>
<character>THE BRAIN</character>
<dialogue>What are you going to do?</dialogue>
<character>BRENDAN</character>
<dialogue>I'd like to have played it safe, but there's no time. The Pin's not letting anything drop, so I got ta push things a bit.</dialogue>
<character>THE BRAIN</character>
<dialogue>How?</dialogue>
<character>BRENDAN</character>
<dialogue>I do n't know. Just find Dode.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE PIN'S HOUSE - DAY</stage_direction>
<scene_description>The bird of prey mailbox looms ominously . Brendan knocks on the front door . No answer . He presses lightly on the screen door , and it gives .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>Empty . Brendan crosses the warped linoleum and gently opens the narrow basement door . He descends into inky gloom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT HALLWAY - SAME</stage_direction>
<scene_description>Deathly still and silent . Barely breathing , Brendan goes to the lit doorway at the end of the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIN'S DEN - SAME</stage_direction>
<scene_description>Empty . Brendan floats through the room like a ghost , to the Pin 's desk . Slowly , then with greater confidence he rifles through it - papers and trinkets , meaningless . He reaches beneath the desk , knocking it gently with his knuckles . Quickly he removes the top drawer and reaches down into the desk frame . Brendan draws out a stack of hundred dollar bills two inches thick . He pulls out another . Another . Another . Thumbing the stacks - pure hundreds . Something creaks in the hallway . Brendan freezes . Silently he replaces the money and drawer , his eyes on the doorway . He creeps towards the door on the balls of his feet .</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT HALLWAY - SAME</stage_direction>
<scene_description>Still empty . Brendan creeps towards the stairs , passing other doorways , all open but for one . He stops for a moment , listening - silence .</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE ROOM - SAME</stage_direction>
<scene_description>Brendan enters the room - pitch black but for a small high window . Brendan pulls the curtains aside . A beam of sunlight spills just enough light to reveal a figure in the dark . Brendan jumps back , and his reflection in the large mirror jumps as well . A white bird nesting in the window flutters into the dark room . Brendan walks the large mirror into the beam of light , reflecting it around the room like a flashlight . More junk , a mattress , then a strangely bare corner with a single white lump in it . The white bird stands behind the lump , its dark eyes caught in the bare light . The bird flies out the window . Brendan goes to the white lump , a small brick of white powder . White chalky residue patterns the floor - there were other bricks there before . Behind Brendan , in the mirror , something moves . Someone else , in the room . Tugger . He throws Brendan across the room , then heaves him into a wall .</scene_description>
<character>TUGGER</character>
<dialogue>What with the poking, genius?! Maybe you're poking for your bull friends!</dialogue>
<character>BRENDAN</character>
<dialogue>Do n't be a sap. I ca n't even face up at school, the VP's so hot for me.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah well. Maybe you're looking to make good.</dialogue>
<character>BRENDAN</character>
<dialogue>I'm looking to find this big game the Pin's played, not to gum it, but just so when its tail jams in my back I'll know who to bill for the embalming.</dialogue>
<character>TUGGER</character>
<dialogue>You oughta ask him what you wan na know.</dialogue>
<character>BRENDAN</character>
<dialogue>I did. He did n't tell me.</dialogue>
<scene_description>Tug loosens his grip . Brendan gasps for air .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>When a gee I'm paid to side with wo n't give me the straight that makes me nervous. Makes me angry.</dialogue>
<scene_description>Tug draws back a bit .</scene_description>
<character>TUGGER</character>
<dialogue>Yeah, well. That's understandable.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Tug sets a country glass of orange juice in front of Brendan . He paces .</scene_description>
<character>TUGGER</character>
<dialogue>There was ten of them. I do n't know where he picked them, he did n't tell me. BRENDAN.</dialogue>
<parenthetical>( sympathetic . )</parenthetical>
<dialogue>Huh.</dialogue>
<character>TUGGER</character>
<dialogue>So we get ten kils of brock, there aint enough marks in the whole burgh to eat that. So he unloads eight of em up way north, even up to the docks. I do n't know who.</dialogue>
<character>BRENDAN</character>
<dialogue>Did n't tell you.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah. That was eight. So that's the tenth in there. We got ta break it into doses, sell em off round the high, maybe some by Shorecliffs.</dialogue>
<character>BRENDAN</character>
<dialogue>What about the ninth brick?</dialogue>
<character>TUGGER</character>
<dialogue>Ah yeah. There were problems with that.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah?</dialogue>
<character>TUGGER</character>
<dialogue>It, uh.</dialogue>
<scene_description>He stops , thinking harder than he 's used to . His scar reddens slightly , then he jerks out of his trance .</scene_description>
<character>TUGGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( quickly . )</parenthetical>
<dialogue>It disappeared. Someone skimmed it. We started raising hell with all the likely suspects, and whatayaknow, it came back. But it came back bad. One of ours took a dose off the top, and it laid him out.</dialogue>
<character>BRENDAN</character>
<dialogue>Frisco.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, poor Frisco. You heard about that. We'll track down the rat. Just takes time.</dialogue>
<character>BRENDAN</character>
<dialogue>I heard something fell with Emily Kostich.</dialogue>
<character>TUGGER</character>
<dialogue>Emily who?</dialogue>
<character>BRENDAN</character>
<dialogue>Kostich.</dialogue>
<character>TUGGER</character>
<dialogue>Do n't know her.</dialogue>
<character>BRENDAN</character>
<dialogue>Huh.</dialogue>
<scene_description>A quiet pause . Tug 's scar reddens a bit more .</scene_description>
<character>TUGGER</character>
<dialogue>Has the Pin talked about her? BRENDAN Not to me.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, he might know something. Ask him. Tell me what he says, cause if you heard something, you know, I wan na check.</dialogue>
<character>BRENDAN</character>
<dialogue>Sure.</dialogue>
<scene_description>The screen door swings open - enter the Pin . If he 's surprised he does n't show it .</scene_description>
<character>PIN</character>
<dialogue>Pow wowing?</dialogue>
<character>BRENDAN</character>
<dialogue>Just shooting the shat.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, just shooting it.</dialogue>
<character>PIN</character>
<dialogue>Good.</dialogue>
<scene_description>His big foot clunks on the linoleum . He eyes a very sick looking Brendan .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You alright, soldier?</dialogue>
<scene_description>Brendan moves a hand dismissively , sniffling .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>So, Tug, I got a call. Someone who says they know something about Emily.</dialogue>
<character>TUGGER</character>
<dialogue>Emily?</dialogue>
<character>PIN</character>
<dialogue>Emily Kostich. Where she's at now. Says we'd want to know. Wants to meet.</dialogue>
<character>TUGGER</character>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>Yeah?</dialogue>
<character>PIN</character>
<dialogue>So we'll meet him. Four o'clock.</dialogue>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>Emily was Tug's girl for awhile. You know Emily, did n't you? BRENDAN A while back.</dialogue>
<character>PIN</character>
<dialogue>You've heard she's missing?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah, I heard that.</dialogue>
<character>PIN</character>
<dialogue>So maybe you want to come along too.</dialogue>
<character>BRENDAN</character>
<dialogue>What has Emily got to do with you?</dialogue>
<character>PIN</character>
<parenthetical>( looks at Tugger . )</parenthetical>
<dialogue>Show, maybe we'll find out.</dialogue>
<scene_description>He gives a slip of paper to Tugger .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Four o'clock.</dialogue>
<scene_description>Tugger glances at the slip , then slides it to Brendan . It has the symbol drawn in pencil : A horn honks outside .</scene_description>
<character>BRENDAN</character>
<dialogue>That's my ride.</dialogue>
<scene_description>The Pin calls after him as he leaves .</scene_description>
<character>PIN</character>
<dialogue>Four o'clock.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT OF PIN'S HOUSE - SAME</stage_direction>
<scene_description>Brendan falls into Laura 's idling car .</scene_description>
<character>BRENDAN</character>
<parenthetical>( roughly . )</parenthetical>
<dialogue>A payphone, anywhere.</dialogue>
<character>LAURA</character>
<dialogue>What -</dialogue>
<scene_description>Brendan throws the car into drive , and they jerk forward .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER - DAY</stage_direction>
<character>PAYPHONE</character>
<dialogue>The mobile customer you have called is away from the phone -</dialogue>
<scene_description>Brendan slams the phone down violently and walks back towards the car . His legs quiver , and a coughing fit hits . Hacking and spluttering he falls to his knees . Laura 's arms wrap around him , except it is n't Laura , it 's Emily . Brendan spins backwards into DARKNESS Emily kissing his mouth , her hair around him , but it is n't her hair , it 's Laura 's . Brendan shoots upwards</scene_description>
</scene>
<scene>
<stage_direction>INT. LAURA'S CAR STATIONARY - DAY</stage_direction>
<scene_description>and sits up with a jolt . Laid out in the back seat , Laura dabbing his head with a wet napkin .</scene_description>
<character>BRENDAN</character>
<parenthetical>( barks shakily . )</parenthetical>
<dialogue>What time is it?</dialogue>
<character>LAURA</character>
<dialogue>Lie down, Brendan - BRENDAN What time -</dialogue>
<character>LAURA</character>
<dialogue>You've got a fever, you've got to go to the hospital or -</dialogue>
<character>BRENDAN</character>
<dialogue>What time is it?</dialogue>
<character>LAURA</character>
<dialogue>Three forty. You've got to rest, you're feverish.</dialogue>
<scene_description>He throws himself out of the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PARKING LOT - SAME</stage_direction>
<scene_description>Brendan falls to his knees , coughing . Laura follows .</scene_description>
<character>LAURA</character>
<dialogue>Get back in the car, I'm taking you home, you're sick, you need -</dialogue>
<character>BRENDAN</character>
<dialogue>Shut up! Shut up! Shut up!</dialogue>
<scene_description>He keeps yelling that until she does . His head spins .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Okay, you've got to, what you've got to do is drive around to the Carrows lot. I'll be up on the, the blacktop, the basketball field. So you've got to go by you or me to get down there. If you see anyone but the Pin or Tugger or their crew go down into the ravine, honk four times, long short long short. But do n't be seen.</dialogue>
<character>LAURA</character>
<dialogue>Get back in the car.</dialogue>
<character>BRENDAN</character>
<dialogue>Do it! Will you do it? I need you to do this. I need you, here. Please.</dialogue>
<scene_description>He holds her shoulders . A beat , then her face registers resignation .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASKETBALL FIELD - DAY</stage_direction>
<scene_description>A flat plane of pebbly asphalt with a dozen basketball courts faintly outlined across its surface . Brendan stands crooked , watching the barren horizon . The wind blows bitterly , and the sky is dark . Then , a speck . Coming towards Brendan , across the field . Brendan slumps towards it . Closer . Still a dark dot . Closer . Brendan 's face snaps into recognition .</scene_description>
<character>BRENDAN</character>
<dialogue>What are you doing, Dode?</dialogue>
<scene_description>Dode grins . He holds a newspaper .</scene_description>
<character>DODE</character>
<dialogue>You gon na stop me?</dialogue>
<character>BRENDAN</character>
<dialogue>What do you think you're doing, Dode? DODE I saw you. I saw what you did.</dialogue>
<character>BRENDAN</character>
<dialogue>What'd you see?</dialogue>
<character>DODE</character>
<dialogue>I saw you.</dialogue>
<character>BRENDAN</character>
<dialogue>What'd you see me?</dialogue>
<character>DODE</character>
<dialogue>You were with her, dead, and you took the body.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah, I did. That's all you saw? What about before?</dialogue>
<character>DODE</character>
<dialogue>Before what?</dialogue>
<character>BRENDAN</character>
<dialogue>Did you see who killed her before I got there?</dialogue>
<character>DODE</character>
<parenthetical>( face ashen . )</parenthetical>
<dialogue>You killed her.</dialogue>
<character>BRENDAN</character>
<dialogue>I found the body, Dode.</dialogue>
<character>DODE</character>
<dialogue>You, I thought you did n't, but we figured out, I got the news on ya, cause you hid the body, why would n't -</dialogue>
<character>BRENDAN</character>
<dialogue>Who's ` we'?</dialogue>
<character>DODE</character>
<dialogue>Shut up! You're always talking, always this and that smartso, you're gon na shut up now!</dialogue>
<character>BRENDAN</character>
<dialogue>I did n't kill her, Dode.</dialogue>
<character>DODE</character>
<dialogue>You're not going to talk this!</dialogue>
<character>BRENDAN</character>
<dialogue>Dode, I know you're thinking of Em, I know you tried to help her -</dialogue>
<character>DODE</character>
<dialogue>Shut up! You're gon na shut your</dialogue>
<scene_description>Brendan staggers , the world blurs out for a moment , then snaps back .</scene_description>
<character>DODE</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>put it over real nice -</dialogue>
<character>BRENDAN</character>
<dialogue>- so I'm telling you now you're in over your head, you do n't want to put your hand in this -</dialogue>
<scene_description>Dode shakes the newspaper at him .</scene_description>
<character>DODE</character>
<dialogue>Shut up! She's dead, you -</dialogue>
<character>BRENDAN</character>
<dialogue>Why was she scared, Dode? She came to me, who was she scared of? I think I know why, I just got ta know who!</dialogue>
<scene_description>Dode throws the paper , which scatters in the wind .</scene_description>
<character>DODE</character>
<dialogue>You're trying to confuse me.</dialogue>
<character>BRENDAN</character>
<dialogue>Dode.</dialogue>
<character>DODE</character>
<dialogue>You could n't stand it. Your little Em. She was gon na keep it, it was mine, and you could n't stand that.</dialogue>
<character>BRENDAN</character>
<dialogue>What was yours?</dialogue>
<character>DODE</character>
<dialogue>I had you pegged.</dialogue>
<character>BRENDAN</character>
<dialogue>What was yours? DODE I loved her. And I woulda loved the kid. I'm gon na bury you.</dialogue>
<scene_description>Brendan 's face is empty . Dode walks stiffly away . Brendan puts a hand on his shoulder , but shrinks back in a coughing spasm . Dode grabs Brendan 's wrist and hits him in the face . Brendan hits the pavement .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEAVEN - DAY</stage_direction>
<scene_description>Bright clouds , sharp light . Emily flies towards us , glowing , then dimmer , her wings splutter out , the clouds turn gray , and we are looking at Emily 's picture in the newspaper article .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASKETBALL FIELD - DAY</stage_direction>
<scene_description>Brendan pulls the newspaper off his face , lying in a fetal position . Dode is nowhere to be seen . Slowly , painfully , Brendan hoists himself up . He coughs and splutters , barely able to keep his footing . He limps across the field . Every step is agony . The wind blows against him . The black field seems impossibly long , still he keeps limping forward , towards the ravine .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNOFF TUNNEL - DAY</stage_direction>
<scene_description>Brendan slides down the embankment , landing on his feet . Gathered around the drain tunnel entrance are Tugger , the Pin , five of Tugger 's flunkies and Dode in the middle . Everyone looks at Brendan . A long silence . Brendan clears his throat .</scene_description>
<character>BRENDAN</character>
<dialogue>What'd I miss?</dialogue>
<scene_description>More silence .</scene_description>
<character>PIN</character>
<dialogue>Dode here says Emily Kostich is dead.</dialogue>
<scene_description>Nobody reacts to that . Brendan 's face is placid .</scene_description>
<character>BRENDAN</character>
<dialogue>Oh yeah?</dialogue>
<character>PIN</character>
<dialogue>Yeah. He says he knows who did it. He says he knows where the body's at.</dialogue>
<parenthetical>( beat of silence . )</parenthetical>
<dialogue>And he says he wants more money than I think the information's worth. BRENDAN That so, Dode?</dialogue>
<parenthetical>( to the Pin . )</parenthetical>
<dialogue>So walk. What's the info have to do with you anyways?</dialogue>
<character>DODE</character>
<dialogue>Plenty.</dialogue>
<character>PIN</character>
<dialogue>Plenty, he says.</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh. And he wants cash on the nail. He's a pot skulled reef worm with more hop in his head than blood. Why pay for dirt you ca n't believe?</dialogue>
<character>DODE</character>
<dialogue>You'll believe this.</dialogue>
<character>BRENDAN</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Maybe you will.</dialogue>
<character>DODE</character>
<dialogue>You'll believe it, cause it's someone close to you. Real close.</dialogue>
<scene_description>The Pin looks up at Brendan , whose face is loose and nonchalant .</scene_description>
<character>BRENDAN</character>
<dialogue>Maybe it's hot, but it's Dode, you ca n't trust it.</dialogue>
<character>DODE</character>
<dialogue>Real close.</dialogue>
<scene_description>Tugger 's eyes are locked on Dode , his scar the color of raw liver . Brendan laughs and turns away .</scene_description>
<character>BRENDAN</character>
<dialogue>I'm getting my shoes wet for this. Let him milk you if you want.</dialogue>
<character>PIN</character>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>Stay.</dialogue>
<parenthetical>( to Dode . )</parenthetical>
<dialogue>It's still too much.</dialogue>
<character>DODE</character>
<dialogue>No it's not. You wo n't complain when you hear it.</dialogue>
<scene_description>Tugger twists a stick in his hands . Brendan watches him , curious .</scene_description>
<character>BRENDAN</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>So maybe you should.</dialogue>
<character>DODE</character>
<dialogue>You had her against the wall with the brick -</dialogue>
<character>PIN</character>
<dialogue>I know my business. It's still too much.</dialogue>
<character>DODE</character>
<parenthetical>( with growing confidence . )</parenthetical>
<dialogue>It's not, cause that's not why she was killed, and it's real important to you, cause the person who killed her's real close, and cause he's got a lot to lose, and he knows if I do n't bury him by spilling to you I spill to the bulls and bury him for real, and he's really really scared - she had a kid in her and he could n't stand -</dialogue>
<scene_description>Tugger springs like a cat . He grabs Dode 's hair and knees his face . Brendan stumbles towards them .</scene_description>
<character>BRENDAN</character>
<dialogue>Tug, it's alright!</dialogue>
<scene_description>Tug has Dode on the ground , kicking his stomach and chest .</scene_description>
<character>PIN</character>
<dialogue>Tug, stop.</dialogue>
<scene_description>Tug backs off . Dode raises his head . Tug pulls the gun from his jacket . Brendan yells , slips and falls into the shallow water . Tug levels the gun at Dode 's head and fires one shot . The back of Dode 's skull comes off . The rapport reverberates through the black tunnel behind them , and birds fly out . Dode remains upright for a moment , then falls limp into the water . The Pin 's face is stupid , lifeless . Tug turns to him , gun in hand .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<parenthetical>( thickly . )</parenthetical>
<dialogue>Tug.</dialogue>
<scene_description>Tugger fires - dirt kicks up , and the Pin scrambles back . Brendan crawls towards Tug , yelling for him to stop . Tug fires twice more , both misses , and the Pin is away . Distant sirens . Brendan 's vision blurs . He stumbles and falls into the shallow water . FADE OUT A CEILING FAN Spinning gently . Brendan 's eyes open , watch it sleepily , then sharpen .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUGGER'S BEDROOM - NIGHT</stage_direction>
<scene_description>Brendan sits up in the bed . Tugger sits in a chair bedside , smoking . Brendan watches him for a long moment in the room 's dim light .</scene_description>
<character>TUGGER</character>
<dialogue>She sprung it on me, just. That's a hell of a thing to spring on a guy. I do n't remember much. Laura talked me down after, said whatever, she knew her, said it was n't true, but I still think sometimes. I think bout it being true. Bout it being mine. And maybe I did it cause I thought it was true. A hell of a thing.</dialogue>
<scene_description>Brendan stares at him through cold , empty eyes .</scene_description>
<character>TUGGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>You up? You were n't doing too good there for awhile. Laura said take you, you know, hospital, but I could n't.</dialogue>
<character>BRENDAN</character>
<dialogue>What's the stats?</dialogue>
<character>TUGGER</character>
<dialogue>Everyone's just laying low. You're here with us, at my folks place. They're gone. The bulls got Dode fore the tide took his body.</dialogue>
<character>BRENDAN</character>
<dialogue>Tide?</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, strong tide, would've taken the body, like out to sea. It can do that. But the fuzz got there first.</dialogue>
<scene_description>Brendan nods .</scene_description>
<character>TUGGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>So everyone's assuming it's war, but no one's said it yet. Everyone's lying low.</dialogue>
<character>BRENDAN</character>
<dialogue>War?</dialogue>
<character>TUGGER</character>
<dialogue>You're with us.</dialogue>
<character>BRENDAN</character>
<dialogue>The hell I am.</dialogue>
<scene_description>Brendan swings his legs over the bed . Tug steps in front of him , staring him down .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Alright, I'm with you.</dialogue>
<character>TUGGER</character>
<dialogue>So just lie low. Sleep some more. Laura, she said you should sleep.</dialogue>
<scene_description>Tugger exits . Brendan runs his fingers through his hair , steps into his shoes and hobbles out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUGGER'S LIVING ROOM - SAME</stage_direction>
<scene_description>About ten more kids dressed like Tug are cleaning guns . Brendan nods to them .</scene_description>
<character>BRENDAN</character>
<dialogue>Hey.</dialogue>
<scene_description>They nod back , not paying much attention as he goes out the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>On a lamplit street corner Brendan leans against a payphone .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Brendan?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<character>THE BRAIN</character>
<dialogue>Are you - what, man, have you heard about Dode -</dialogue>
<character>BRENDAN</character>
<dialogue>I was there.</dialogue>
<character>THE BRAIN</character>
<dialogue>You -</dialogue>
<character>BRENDAN</character>
<dialogue>Where were you yesterday? I called.</dialogue>
<character>THE BRAIN</character>
<dialogue>Kasprzyk took my phone, turned it off. I just now got it back.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, listen -</dialogue>
<character>THE BRAIN</character>
<dialogue>Are you okay?</dialogue>
<character>BRENDAN</character>
<dialogue>Just listen. Is my name in the papers with the story?</dialogue>
<character>THE BRAIN</character>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright. Is it just Dode in the papers? THE BRAIN Yeah. What do you mean?</dialogue>
<character>BRENDAN</character>
<dialogue>Listen, I'm going to be calling you tonight, probably late. Sleep with your phone on. Could you get a car if you needed to?</dialogue>
<character>THE BRAIN</character>
<dialogue>If it's late enough I could take my mom's -</dialogue>
<character>BRENDAN</character>
<dialogue>Be ready then. I'll call.</dialogue>
<character>THE BRAIN</character>
<dialogue>Alright.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction>
<scene_description>Brendan kicks in the door . Kara sits in front of the mirror in a soft pink robe , a boy on the floor beside her . She gasps .</scene_description>
<character>KARA</character>
<dialogue>Brendan. Did you hear about Dode?</dialogue>
<character>BRENDAN</character>
<dialogue>You scheming tramp. You set that poor kid up, you hid him, fed him your tale. You got info from Laura and held Dode like a card till you could play him. For money!</dialogue>
<scene_description>Brendan throws a chair . The boy stands .</scene_description>
<character>KARA</character>
<dialogue>I do n't know what you're talking about.</dialogue>
<character>BRENDAN</character>
<dialogue>You'd bury me at the same time, but it was mostly for the money. You got Dode thinking Em had his kid, thinking I did it, and that was enough for him, but he stuck to the money cause you had your claws in him, cause he could n't come away from the deal without it and make you happy.</dialogue>
<character>KARA</character>
<dialogue>Sit down, you're a mess. Russ, go get my shoes from the wardrobe locker, would you sweetie?</dialogue>
<scene_description>He goes , trying to look mean at Brendan . Brendan and Kara watch each other like caged rats .</scene_description>
<character>KARA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Still wish you knew what you wanted to know? If it's any consolation, it probably was n't Dode's kid. It might have been Tug's, but frankly I would n't bet a horse - it was a crowded field there at the end.</dialogue>
<scene_description>Brendan grabs a clock and throws it . Kara 's mirror shatters , revealing a grimy dark wall behind .</scene_description>
<character>KARA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Meany. You want my tale, Brendan? I still know what Dode was selling, but I'd play it smart. A quick call from a payphone to copland, they drag the tunnel and you're through.</dialogue>
<scene_description>She comes very close to him . Her robe falls open slightly .</scene_description>
<character>KARA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Five thousand. Cash. I know you can get it from the Pin, but even if you ca n't I want it by first period tomorrow, or I play my hand and bury you.</dialogue>
<scene_description>She turns away , lets her robe fall .</scene_description>
<character>KARA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Now get out.</dialogue>
<scene_description>Brendan 's eyes burn . He lunges at her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKSTAGE - SAME</stage_direction>
<scene_description>Drama geeks sit in groups . The dressing room door flies open and Kara flies out , stark naked . Brendan flies out after her .</scene_description>
<character>KARA</character>
<dialogue>What are you doing?</dialogue>
<character>BRENDAN</character>
<dialogue>Showing your ace.</dialogue>
<scene_description>Brendan storms out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIN'S HOUSE - NIGHT</stage_direction>
<scene_description>Brendan walks past the bird of prey mailbox . A voice from the screen door -</scene_description>
<character>VOICE</character>
<dialogue>Far enough.</dialogue>
<scene_description>The Pin .</scene_description>
<character>PIN</character>
<dialogue>Everyone's paying social calls.</dialogue>
<character>BRENDAN</character>
<dialogue>Laura here?</dialogue>
<scene_description>Beat of silence .</scene_description>
<character>PIN</character>
<dialogue>So? BRENDAN So what are the stats?</dialogue>
<character>PIN</character>
<dialogue>The stats are war, soon as the press heat dies. And if you're with him, you're with him.</dialogue>
<character>BRENDAN</character>
<dialogue>Tug got hot. He panicked.</dialogue>
<character>PIN</character>
<dialogue>Tug's been after my digs from the get go.</dialogue>
<character>BRENDAN</character>
<dialogue>No. He's been anxious cause he thought if you found out he killed Emily you'd turn him over. PIN He was right.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah, well.</dialogue>
<character>PIN</character>
<dialogue>I told him to get the straight, no roughing. I was n't even there.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright. So he's a hot head. So you do n't want him on your side, at least let's have a pow wow fore we start digging trenches. Maybe we can all walk away amiable enemies. What would it take?</dialogue>
<character>PIN</character>
<dialogue>I do n't know. We'd have to square everything between us. He owes me some money.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, but we can talk.</dialogue>
<character>PIN</character>
<dialogue>Yeah, alright.</dialogue>
<character>BRENDAN</character>
<dialogue>Four o'clock.</dialogue>
<character>PIN</character>
<dialogue>Tomorrow?</dialogue>
<character>BRENDAN</character>
<dialogue>Tonight. Let's clear it all before it boils up again.</dialogue>
<character>PIN</character>
<dialogue>Four tonight. You'll be here?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>Brendan turns away .</scene_description>
<character>LAURA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Wait!</dialogue>
<scene_description>She comes out of the house with her purse .</scene_description>
<character>LAURA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I'll drive you back.</dialogue>
</scene>
<scene>
<stage_direction>INT. LAURA'S CAR - MOVING - NIGHT</stage_direction>
<scene_description>Laura drives , Brendan stares at the passing lights .</scene_description>
<character>LAURA</character>
<dialogue>What's going to happen?</dialogue>
<scene_description>Brendan coughs .</scene_description>
<character>LAURA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do you feel better?</dialogue>
<character>BRENDAN</character>
<parenthetical>( weak . )</parenthetical>
<dialogue>I do n't know.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUGGER'S LIVING ROOM - NIGHT</stage_direction>
<scene_description>Brendan stumbles in . Tug 's hands grab him roughly .</scene_description>
<character>TUGGER</character>
<dialogue>For a smart guy you aint too smart. I said lay low.</dialogue>
<scene_description>Laura enters .</scene_description>
<character>LAURA</character>
<dialogue>Tug.</dialogue>
<scene_description>He drops Brendan . Laura kneels beside Brendan , feeling his forehead .</scene_description>
<character>BRENDAN</character>
<dialogue>She was at the Pin's.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, she's our go - between.</dialogue>
<character>BRENDAN</character>
<dialogue>Uh huh. So here's the sit. You and the Pin are going to pow wow, four o'clock tonight, his place. Take all the muscle you want, you wo n't need it. He wants to talk straight, and you're going to work with him for whatever he needs, cause you do n't want war.</dialogue>
<character>TUGGER</character>
<dialogue>Hell I do n't. BRENDAN The Pin's sitting on the brick profits - hitting him now would be post. Make peace and wait for your chance.</dialogue>
<character>LAURA</character>
<dialogue>He's right, Tug. Smooth it out.</dialogue>
<character>BRENDAN</character>
<parenthetical>( between coughs . )</parenthetical>
<dialogue>Besides, he's got you on the Dode thing. War'll mean you vs. him and every bull in the burgh.</dialogue>
<scene_description>Tugger turns away , thinking .</scene_description>
<character>TUGGER</character>
<dialogue>Yeah, we'll talk.</dialogue>
<character>LAURA</character>
<parenthetical>( to Brendan . )</parenthetical>
<dialogue>You going?</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>She nods . Brendan stumbles into the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUGGER'S BEDROOM - NIGHT</stage_direction>
<scene_description>Brendan lies on his back . Sweat stands on his forehead . THE FAN Spinning dizzily from Brendan 's POV . Then the fan is still and the room is spinning , then the fan , then the room . Brendan clamps his eyes shut . A door creaks open .</scene_description>
<character>BRENDAN</character>
<parenthetical>( croaks . )</parenthetical>
<dialogue>Go away.</dialogue>
<scene_description>Laura floats across the room to him . Her hair falls around him . Brendan shrinks back . She puts a pale hand on his clammy forehead . Brendan tries to speak , but can not . He fingers slide over his face . She pulls off his glasses . Her hands all over his face . Brendan 's throat contorts in a hard swallow . His eyes are wet . Her hair , her hands all warm and gentle , touching him .</scene_description>
<character>LAURA</character>
<dialogue>I'm sorry Brendan.</dialogue>
<scene_description>Brendan breaks . In silent sobs first , then shivering with an almighty release he cries like a baby in her arms . THE FAN Spinning above them . Laura lights a cigarette . They lie beside each other .</scene_description>
<character>LAURA</character>
<dialogue>Do n't go tonight.</dialogue>
<character>BRENDAN</character>
<dialogue>I've got to make sure it plays out smooth.</dialogue>
<character>LAURA</character>
<dialogue>It'll play however it plays without you there.</dialogue>
<character>BRENDAN</character>
<dialogue>I've got to make sure.</dialogue>
<character>LAURA</character>
<dialogue>Why? BRENDAN Cause if there's war, I'm in it too.</dialogue>
<character>LAURA</character>
<dialogue>Well let's just, I mean why not just run away. Go somewhere. I've got a car.</dialogue>
<parenthetical>( Brendan gives a wry look . )</parenthetical>
<dialogue>I've got an aunt in New Orleans, she would n't care.</dialogue>
<parenthetical>( Brendan grins . )</parenthetical>
<dialogue>Yeah, it's a stupid thing, but think about it, why not? What, school? C'mon. Family?</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, stop.</dialogue>
<scene_description>Her smoke drifts into the fan .</scene_description>
<character>LAURA</character>
<dialogue>I was n't serious, but we could go for awhile. Just until everything clears.</dialogue>
<scene_description>Brendan watches the smoke . She stubs the butt out in an ash tray on the table and curls against his chest . Stretching his arm across the table , he nonchalantly spins the ash tray around with his finger . His glasses lay on the table . Through the left lens the cigarette is magnified . Pale blue arrow on the filter . Laura 's arm stretches across his chest . He looks at it , then up at the fan , spinning . LATER Brendan slips out of bed . A glowing clock radio reads `` 3:16 '' .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUGGER'S LIVING ROOM - NIGHT</stage_direction>
<scene_description>A swarm of silent activity . Tug 's flunkies prepare various weapons . Brendan goes to Tug .</scene_description>
<character>BRENDAN</character>
<dialogue>Tell your boys no knuckle business.</dialogue>
<character>TUGGER</character>
<dialogue>They're just ready.</dialogue>
<character>BRENDAN</character>
<dialogue>Your folks left a car here? TUGGER Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>Take it and Laura's.</dialogue>
<parenthetical>( Brendan tosses Tug the keys . )</parenthetical>
<dialogue>I'll go first in yours.</dialogue>
<character>TUGGER</character>
<dialogue>The hell -</dialogue>
<character>BRENDAN</character>
<dialogue>I'll take the scenic route to draw off any tailers. They'll think it's you, they might even radio back that you're alone. Get it?</dialogue>
<character>TUGGER</character>
<dialogue>Mr. Smarts.</dialogue>
<scene_description>He tosses Brendan his keys .</scene_description>
<character>BRENDAN</character>
<dialogue>Alright. Got a cigarette?</dialogue>
<character>TUGGER</character>
<dialogue>No. I do n't smoke. BRENDAN I've seen you smoke.</dialogue>
<character>TUGGER</character>
<dialogue>I do n't smoke cigarettes.</dialogue>
<character>BRENDAN</character>
<dialogue>Give me fifteen minutes, then go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TUGGER'S HOUSE - NIGHT</stage_direction>
<scene_description>Brendan slides into the black mustang and gutters off into the night .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT</stage_direction>
<scene_description>Overlooking a twinkling valley of suburban lights . Brendan talks at a payphone beside the curbed mustang .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, I warned you. Can you get the car?</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>Go to 2014 Clancy, off Pico west of La Grange. Park outside and wait. Laura's inside. She has n't got a car, but if she blows on foot or gets a pick, tail her. Alright?</dialogue>
<parenthetical>( silence . )</parenthetical>
<dialogue>Alright?</dialogue>
<character>THE BRAIN</character>
<dialogue>Okay. BRENDAN I'll call you when it gets light.</dialogue>
<parenthetical>( silence . )</parenthetical>
<dialogue>Thanks, Brain.</dialogue>
<scene_description>CLICK , Brain hangs up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF PIN'S HOUSE - NIGHT</stage_direction>
<scene_description>Brendan pulls the mustang into the driveway , limps up to the front door and knocks . One of the Pin 's boys lets him in .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - SAME</stage_direction>
<scene_description>Crowded with tense looking punks , half dressed like the Pin and half like Tugger . The Pin 's mom is shuffling about , pouring them milk .</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT HALLWAY - SAME</stage_direction>
<scene_description>Several more punks from both camps crowd the hall , and more lean in the darkened doorways . Brendan passes through quickly .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIN'S DEN - SAME</stage_direction>
<scene_description>The Pin at his desk , flanked by two of his boys . Tug sits in the center of the room , two of his punks beside him . Brendan saunters between them and leans against the dresser .</scene_description>
<character>BRENDAN</character>
<dialogue>Talk. PIN I want full assurance that any heat from Emily and Dode is gon na be on just you. I do n't even want my name pulled in the shindig. Second, you owe me six Cs, no rush, but I want your shake that it'll come home in not too much time.</dialogue>
<scene_description>Tug 's eyes burn , his scar reddens .</scene_description>
<character>BRENDAN</character>
<parenthetical>( to Tug . )</parenthetical>
<dialogue>That's square. You did them after all. Lay low it'll blow over. Stick on this, one of you'll dish it to bury the other and you'll both get the rap. As to the six, did you borrow it?</dialogue>
<character>TUGGER</character>
<dialogue>Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>Then you owe it. Should n't need a shake on that.</dialogue>
<scene_description>Tug looks at the Pin .</scene_description>
<character>TUGGER</character>
<dialogue>Alright to both.</dialogue>
<character>BRENDAN</character>
<dialogue>Good. Let's seal it up and blow for keeps.</dialogue>
<character>PIN</character>
<dialogue>Third thing. The last brick.</dialogue>
<scene_description>Brendan looks up sharply , taken off guard .</scene_description>
<character>BRENDAN</character>
<dialogue>It's yours.</dialogue>
<character>PIN</character>
<dialogue>That aint the point. I'm gon na start selling it. How do I know it aint bad?</dialogue>
<character>BRENDAN</character>
<dialogue>Why would it be?</dialogue>
<character>PIN</character>
<dialogue>Why was the last one? Cause someone got greedy. Tug here's had the means to swipe half and cut it bad for a long time. Now we're splits my loss of trust's retroactive.</dialogue>
<character>BRENDAN</character>
<dialogue>Did you, Tug?</dialogue>
<character>TUGGER</character>
<parenthetical>( eyes hot on the Pin . )</parenthetical>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, so let's shake and blow.</dialogue>
<character>PIN</character>
<dialogue>Not good enough.</dialogue>
<scene_description>Tug shoots to his feet , kicking away his chair .</scene_description>
<character>BRENDAN</character>
<dialogue>What would be good enough?</dialogue>
<character>PIN</character>
<dialogue>I wan na see him dose it. Just to prove it. Then we're square.</dialogue>
<character>TUGGER</character>
<dialogue>Hell for that! I did n't touch your junk, that's it.</dialogue>
<character>PIN</character>
<dialogue>I wan na see it.</dialogue>
<character>TUGGER</character>
<dialogue>To hell!</dialogue>
<character>PIN</character>
<dialogue>Your not wanting to dose it's telling me something right here.</dialogue>
<character>TUGGER</character>
<dialogue>Yeah, it better be! It's telling that I'm out from your thumb, that I aint playing lapdog to no gothed up cripple no more!</dialogue>
<scene_description>Everyone in the room is on their feet . Brendan steps forward .</scene_description>
<character>BRENDAN</character>
<dialogue>I'll dose it.</dialogue>
<scene_description>All eyes to him , unbelieving .</scene_description>
<character>PIN</character>
<dialogue>What?</dialogue>
<character>BRENDAN</character>
<dialogue>If it'll shut you two apes up I'll take the dose, and if I do n't die we're all right as rain, and if I do die you two have your war, so long as you keep it off my grave. Deal?</dialogue>
<character>PIN</character>
<dialogue>Fine. Tangles.</dialogue>
<character>BRENDAN</character>
<dialogue>Johnny, go with him.</dialogue>
<scene_description>They go . Tug just stares at Brendan , then tosses his hands up slightly and turns away . They all wait . CRASH ! from the next room . Everyone freezes . More breaking , then scuffling and shouting . The two punks look at their bosses , then run out . Tug starts to follow , but Brendan holds him back . The noise through the wall grows tremendous , a full brawl . The ceiling pounds and shudders with footfalls and bodies hitting the ground . Then , from not too far away , a gunshot . The Pin stands and goes towards the door , but Brendan shouts</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>No!</dialogue>
<scene_description>and slams it shut . A few tense seconds . Another gunshot . Footfalls , then Tangles falls through the door , his chest red . The Pin bends over him .</scene_description>
<character>TANGLES</character>
<parenthetical>( gasping . )</parenthetical>
<dialogue>The brick, it's gone. The brick's gone.</dialogue>
<scene_description>Tangles stops gasping . The Pin stands , eyes blazing at Tug .</scene_description>
<character>PIN</character>
<dialogue>Make peace, huh? Talk it out? Get your boys in my den soes you could snag it under my nose?</dialogue>
<scene_description>Tug 's scar is fiery red . He coils his body , snarling .</scene_description>
<character>TUGGER</character>
<dialogue>Alright!</dialogue>
<character>BRENDAN</character>
<dialogue>No, that's not -</dialogue>
<character>PIN</character>
<dialogue>Was it bad, Tug? Snag it so I do n't know, or sell it off to flat the war odds?</dialogue>
<character>BRENDAN</character>
<parenthetical>( shouts . )</parenthetical>
<dialogue>Pin, think about it -</dialogue>
<character>TUGGER</character>
<dialogue>Alright, I did all that!</dialogue>
<scene_description>Tug blows past Brendan like a train and slams the Pin into the ground with his fist . He punctuates his words with hard straight blows into the Pin 's face .</scene_description>
<character>TUGGER</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I cut the brick, I stole the money, I faked a peace, I snagged your junk, I did it all!</dialogue>
<scene_description>He pulls the gun . Brendan shouts and throws himself on Tug 's arm , wrenching it sideways . The gun clunks onto the carpet . The Pin flips Tug over and for a moment Brendan is caught between them , hit and torn , rolling over the gun . Tug grabs it , Brendan grabs his wrist and the gun goes off , firing into the ceiling . Plaster sprays . Brendan screams , thrashing wildly , and manages to slip out of his bloodied jacket and out from between the two . The Pin is on top , pinning Tug 's gun hand to the carpet , straining to keep it there . Brendan leaps to his feet , staggers , then winds up and kicks Tug in the wrist with all his strength . A terrible crunching popping sound . Tug roars . Brendan takes the gun from his limp hand .</scene_description>
<character>PIN</character>
<dialogue>Do him!</dialogue>
<scene_description>Brendan backs off a few steps . The Pin strains to keep Tug down .</scene_description>
<character>PIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Do him now!</dialogue>
<scene_description>Brendan stumbles back . Tug roars , flips the Pin over and beats his face mercilessly . Brendan stumbles out into the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. BASEMENT HALLWAY - SAME</stage_direction>
<scene_description>Empty . From the darkened doorways and the thin ceiling relentless sounds of fighting . Brendan walks backwards as if in a trance , eyes glued to the Pin 's door . Inside wild shadows splay across the walls , and the Pin shouts Brendan 's name . Light flashes from another darkened doorway and the wall beside Brendan splinters . Brendan spins on his heel and fires three shots into the darkness , which falls silent . He turns the gun back on the Pin 's doorway . With a spray of sparks the doorway turns dark . They broke the lamp . The dark doorway looms up before Brendan , inky black . Horrible sounds come from it , blows , breaking bone , screams . The Pin screams Brendan 's name over and over , calling for help . Pleading . Brendan steps back . Time slows down . Brendan drops the gun . It thunks on the carpet . In one motion Brendan kicks the gun down the hall into the Pin 's doorway , turns and runs into the room where he found the brick .</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE ROOM</stage_direction>
<scene_description>Dark . Brendan runs through , clawing past dark fighting shapes , running like a man possessed . He breaks through the darkness and heaves himself up through the small window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF PIN'S HOUSE - NIGHT</stage_direction>
<scene_description>Brendan scrambles out , slips on the grass and hits the ground hard . Two sharp gunshots come from the house . Everything is suddenly still . Brendan stands slowly . He notices a light from the Mustang - the trunk has drifted open . Inside , a pale blue arm lies tangled in black plastic . Blue fingernails . Cheap plastic bracelets . Brendan shuts the trunk solidly , then walks off down the street and vanishes into the inky night . A moment later police cars pull up , sirens blaring , lights turning the dark streets bright as day . FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PAYPHONE - EARLY MORNING</stage_direction>
<scene_description>The morning is cold and clammy . Brendan slumps against the payphone .</scene_description>
<character>BRENDAN</character>
<dialogue>Hey. Where are you?</dialogue>
<character>THE BRAIN</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Library. Where are you?</dialogue>
<character>BRENDAN</character>
<dialogue>Did she blow last night?</dialogue>
<character>THE BRAIN</character>
<dialogue>No. Stayed there till six thirty, then walked to school.</dialogue>
<character>BRENDAN</character>
<dialogue>You did n't give her a ride, did you?</dialogue>
<character>THE BRAIN</character>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>But she came straight to school from Tug's?</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah.</dialogue>
<character>BRENDAN</character>
<dialogue>She there now?</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah. Not with me, but here.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright. Tell her I wan na meet up on the basketball field in half an hour, then go home and get some sleep.</dialogue>
<character>THE BRAIN</character>
<dialogue>Alright.</dialogue>
<scene_description>Brendan hangs up , then pauses , lost in thought .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF GYM - LATER</stage_direction>
<scene_description>Brendan sits against the massive gym building , writing on a piece of looseleaf paper .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ADMINISTRATION BUILDING - LATER</stage_direction>
<scene_description>Brendan slips the paper under a door stenciled `` VP Offices '' .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASKETBALL FIELD - LATER</stage_direction>
<scene_description>Cold , barren . Wind whistles softly and jangles the metal mesh basketball nets like windchimes . Brendan stands crookedly , hands in pockets , eyes trained on the cold black horizon . A speck appears . Brendan waits for it , bracing himself against the wind . Laura . She puts her arms around him , a warm embrace . Brendan draws back .</scene_description>
<character>LAURA</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Did you see it all? With Tug and the Pin?</dialogue>
<scene_description>Brendan looks at her a moment .</scene_description>
<character>BRENDAN</character>
<dialogue>No. I took your advice and did n't go.</dialogue>
<character>LAURA</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>No?</dialogue>
<character>BRENDAN</character>
<dialogue>What happened?</dialogue>
<scene_description>Laura looks at him strangely , a little uneasy .</scene_description>
<character>LAURA</character>
<dialogue>The papers say six dead, three around the house, one girl in the trunk of Tug's car, and the Pin and Tug.</dialogue>
<scene_description>Brendan 's face is frozen in an ambiguous frown .</scene_description>
<character>BRENDAN</character>
<dialogue>Yeah? LAURA Tug tried to shoot his way out when the police got there. They tied him to Dode, too. Same gun. And the girl.</dialogue>
<character>BRENDAN</character>
<dialogue>Huh. LAURA Well good thing you were n't there.</dialogue>
<character>BRENDAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>Laura 's face softens a bit .</scene_description>
<character>LAURA</character>
<dialogue>You think the girl was Emily?</dialogue>
<character>BRENDAN</character>
<dialogue>Probably.</dialogue>
<scene_description>Laura embraces him again , and does n't let go .</scene_description>
<character>LAURA</character>
<dialogue>You loved her.</dialogue>
<character>BRENDAN</character>
<parenthetical>( distant . )</parenthetical>
<dialogue>Yeah I did.</dialogue>
<character>LAURA</character>
<dialogue>You did all this cause you loved her. And now it's finished.</dialogue>
<parenthetical>( tightens her embrace . )</parenthetical>
<dialogue>I love you.</dialogue>
<character>BRENDAN</character>
<dialogue>No.</dialogue>
<scene_description>Laura pulls back , looks at his face . It is a mask .</scene_description>
<character>LAURA</character>
<dialogue>What?</dialogue>
<character>BRENDAN</character>
<dialogue>No, it's not finished. Tug pulled the trigger on Em and he got the fall, but the bulls coulda found that out without me.</dialogue>
<scene_description>Laura pulls back more .</scene_description>
<character>BRENDAN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>I set out to know who put her in the spot, who put her in front of the gun. That was you, angel.</dialogue>
<character>LAURA</character>
<parenthetical>( drifting back further . )</parenthetical>
<dialogue>What are you talking about?</dialogue>
<character>BRENDAN</character>
<dialogue>It was you. What, you want the whole tale? You want me to tell it to you?</dialogue>
<character>LAURA</character>
<parenthetical>( bewildered . )</parenthetical>
<dialogue>Tell it to me.</dialogue>
<character>BRENDAN</character>
<dialogue>Alright, from the top. You had your fingers in Brad Bramish for appearances and to keep him buying from the Pin, who you were hooked with. Emily came to you and Brad, you saw her for what she was, an insecure little girl trying to get in. She goes on the backburner. Meanwhile maybe you're getting bored, maybe just greedy, so when the Pin scores big with the bricks you take your shot. You hook one, take half, and cut it back to size, but you cut it bad. Maybe accidentally, maybe to down the Pin's operation, does n't matter. You put it back, but poor Frisco doses off it and lands in a coma.</dialogue>
<parenthetical>( voice strengthening . )</parenthetical>
<dialogue>So now the Pin's fuming, maybe he's jealous of Brad, so he comes to Brad's crowd looking for blood, or at least a scape. You know trouble. There's going to be a war over this. And there's Emily. She trusts you. She wants in. It's duck soup.</dialogue>
<character>LAURA</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>No.</dialogue>
<character>BRENDAN</character>
<dialogue>You frame her for the bad brick, then you cut her loose. You turn on your heel and bite her in the throat. Last week on the payphone, Pico and Alexander, she saw something she was scared of. Tug's car driving by, the Pin driving, but she would n't have seen the Pin. No, she was across the street, angel. She saw the passenger side. She saw you. She saw you and ran like she saw some devil.</dialogue>
<scene_description>Laura 's face is very still , quivering .</scene_description>
<character>LAURA</character>
<dialogue>Brendan, why are you -</dialogue>
<character>BRENDAN</character>
<dialogue>And she took the hit. Dode hid her away, but the Pin was on to her, tracked her down, told her to meet him, that they would make good. Gave her a time, and a place. And sent Tug. Just to get the straight. But maybe you had talked Tug up, or maybe he just blew a fuse, but Em sprung it on him that she had her kid, and he did what anyone could count on Tug doing - he hit her. She took the hit for you. You let her take it.</dialogue>
<character>LAURA</character>
<dialogue>Stop it!</dialogue>
<character>BRENDAN</character>
<dialogue>That's the tale.</dialogue>
<character>LAURA</character>
<dialogue>Stop it!</dialogue>
<character>BRENDAN</character>
<dialogue>You're going to tell me it's not?</dialogue>
<character>LAURA</character>
<dialogue>It's not!</dialogue>
<character>BRENDAN</character>
<dialogue>Look at me.</dialogue>
<scene_description>She crumples against him , looking him straight in the eye .</scene_description>
<character>LAURA</character>
<dialogue>You know me. I've only helped you. How can you - It is n't true!</dialogue>
<scene_description>She sobs through a tensed , straight face . Brendan holds her stare , but his eyes are distant .</scene_description>
<character>BRENDAN</character>
<dialogue>I hope it is n't. I want you to have been on my side all along, not just trying to get me under your thumb like Brad and the Pin and Tug.</dialogue>
<character>LAURA</character>
<dialogue>No -</dialogue>
<character>BRENDAN</character>
<dialogue>But I think you knew that meeting was going to blow up. I think that was your final play. But I hope I'm wrong. I hope everything I wrote in the note I dropped at Gary Trueman's office this morning is wrong. About your and Brad's involvement in the Pin's runnings. I hope you did n't steal the brick last night. In your purse.</dialogue>
<character>LAURA</character>
<parenthetical>( breathes . )</parenthetical>
<dialogue>I did n't.</dialogue>
<character>BRENDAN</character>
<dialogue>That's good. That means you did n't let me walk into a slaughterhouse. You did n't lead Tug and the Pin and their crews to the slaughter. And when Trueman reads the note, takes my cue and searches your locker, he wo n't find a damn thing.</dialogue>
<scene_description>Something changes in Laura 's eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOCKER CAGE - INSERT</stage_direction>
<scene_description>Trueman and several other men force Laura 's locker open . From its dark interior the chalky white brick falls out , spins through the air , and shatters silently on the locker cage floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASKETBALL FIELD - SAME</stage_direction>
<scene_description>A moment of silence between them . The basketball nets jangle . Laura steps back . She looks as if she has been punched in the face .</scene_description>
<character>LAURA</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>Brendan. do n't.</dialogue>
<character>BRENDAN</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>It's done.</dialogue>
<scene_description>Her face does strange things , subtle contortions . She watches his eyes . He does n't look at her . Her voice shakes .</scene_description>
<character>LAURA</character>
<dialogue>Done. Well. That's most of it. 9 out of 10. I told Em to tell Tug it was his. Told her it would soften him up. She said she wished she could keep it, but she did n't love the father. I was going to drive her down the next day, we'd found a doctor. Most would n't. She was starting to show. 3 months. You know whose kid that makes it, or have you known all along?</dialogue>
<scene_description>Slowly , steadily , she straightens up . Her figure takes back some dignity . She steps towards him deliberately . Closer . Right up against him . She brings her head to his , puts her lips to his ear , breathes warm breath , and says two words . The first is</scene_description>
<character>LAURA</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>Mother -</dialogue>
<scene_description>the second is low , guttural and lost to the whistling wind . She turns and walks briskly away . Brendan watches her go across the dark , barren field of asphalt . Metal jangles . Brendan turns to see the Brain hopping a chain link fence . Brendan turns his eyes back on Laura .</scene_description>
<character>BRENDAN</character>
<dialogue>You get your straight?</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah. I would n't have -</dialogue>
<character>BRENDAN</character>
<dialogue>S'alright.</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah, well. Chuck Burns came to. The knife guy. Spilled it all to the bulls, guess Brad Bramish hired him. On his own, just a grudge thing.</dialogue>
<character>BRENDAN</character>
<parenthetical>( nods slightly . )</parenthetical>
<dialogue>Fits. You did good, Brain. Go sleep.</dialogue>
<character>THE BRAIN</character>
<dialogue>Yeah, you too.</dialogue>
<scene_description>The Brain starts to walk away , but turns back .</scene_description>
<character>THE BRAIN</character>
<parenthetical>( cont 'd . )</parenthetical>
<dialogue>What'd she whisper to you?</dialogue>
<character>BRENDAN</character>
<dialogue>She called me a dirty word.</dialogue>
<character>THE BRAIN</character>
<dialogue>Alright, you do n't have to tell me. Thick.</dialogue>
<character>BRENDAN</character>
<dialogue>As what - all.</dialogue>
<scene_description>Brendan stands alone on the asphalt field , watching Laura until she reaches the end of the field and walks off behind a twisted chain linked fence . The first period bell rings , and Brendan walks back towards campus . FADE OUT .</scene_description>
</scene>
</script> | High school student Brendan Frye is living a lonely existence after breaking up with his girlfriend Emily Kostich and betraying his friend Jerr to the authorities. Brendan receives a phone call from a terrified Emily. She begs him to help her, mentioning a "brick", "poor Frisco", "Tug", and "the Pin" before abruptly and fearfully hanging up. Her fear appears to have been due to a passing black Ford Mustang, from which a distinctive-looking cigarette was thrown. Brendan searches for Emily and arranges a meeting through Dode, leader of a stoner clique that Emily belongs to. When they meet, Emily recants what she had said on the phone and tells Brendan to let her go. Brendan steals her notepad during the encounter, finding a note that leads him directly to her dead body. Brendan takes it upon himself to solve her murder, enlisting the aid of an acquaintance named Brain. Brendan hides the body to avoid police intrusion. Brendan discovers that "The Pin" mentioned by Emily is a local drug baron, during a party, after obtaining an invitation similar to one found in Emily's notebook. He finds the information on The Pin from a girl named Laura while at the party. It is also strongly implied that Laura is attracted to Brendan, even though she is the apparent girlfriend of Brad Bramish, a football player. Brendan sets about getting The Pin's attention by beating up Brad Bramish after finding that the arrogant jock is also The Pin's regular customer. Afterwards, Brendan is beaten up by an unknown young man while speaking on the phone with Brain. Later while walking, Brendan sees the same black Ford Mustang in a parking lot. He attempts to break into it, and is again beaten up by the same man. Brendan asks the man several times to meet The Pin. Reluctant at first, going so far as to drive away and then come back again, the young man takes Brendan to The Pin. Brendan meets with The Pin and persuades him to consider Brendan for a spot in his operation. It is also revealed that the unknown man is Tug, The Pin's main grunt and muscle. The Pin tells Brendan he will either hire him or rub him out by the next day. On the walk back home Laura tells Brendan that The Pin had previously rejected Emily's attempt to join, so she stole The Pin's brick. Laura then offers to help Brendan, but he distrusts her. While Brendan awaits a response from The Pin, he is attacked by a knife wielding man while at school, again while on the phone with Brain. Brendan begins to cough. The Pin accepts Brendan. Brendan gets a call from Dode, who says he saw Brendan hide Emily's body and, believing Brendan to be the murderer, vows to ruin him. Brendan meets with The Pin, who suspects an uprising from Tug. Brain reports that "poor Frisco" is Frisco Farr, a student who fell into a coma after injecting poorly-cut heroin. At The Pin's house, Tug tells Brendan that The Pin received a shipment of ten bricks and sold eight; one was stolen and replaced with one that had been doctored with detergent, causing Frisco's coma. The Pin arrives and tells Tug about hearing from someone who knows what happened to Emily. Brendan, weakened from several recent fistfights, intercepts Dode before the meeting, and discovers Emily was pregnant when she died. Dode hints to Tug and The Pin that he has information about who killed Emily, saying it is someone very close, but Tug goes berserk and beats Dode before shooting him in the head. Tug then threatens The Pin, who walks away as Brendan faints from a coughing fit. Brendan awakens in Tug's bedroom, where Tug says he's at war with The Pin. Brendan confronts Kara, accusing her of manipulating Dode by telling him Emily was carrying his baby and pushing him to sell his information to The Pin. Brendan arranges a meeting between Tug and The Pin, and waits in Tug's bed; Laura enters to comfort him as he sobs over Emily, and they couple. Brendan recognizes her post-sex cigarette as the same distinctive brand that was dropped from Tug's black Mustang after Emily was frightened during the first phone call. At the meeting, chaos erupts when it is discovered that the tenth brick is missing once again. Tug beats The Pin to death while Brendan flees, escaping just as police arrive. As he goes he passes the trunk of Tug's car, where he has hidden Emily's body to ensure that police pin her murder on Tug. The next day, Brendan meets with Laura in the school's football field. Brendan explains to Laura that he knows she set Emily up to take the fall for Laura's theft of the ninth brick. She further manipulated Emily into meeting Tug who ultimately killed her, after letting him believe he was responsible for Emily's pregnancy. It is revealed that Laura later stole the tenth brick as well. Brendan tells Laura he has put this truth in a note to Vice Principal Trueman of the school, who will find the brick in Laura's locker if, in fact, what he says is true. Laura vindictively tells Brendan that Emily expressed regret that she couldn't keep her pregnancy because she didn't love the prospective father, and that Emily was three months pregnant when she died, implying that the baby was his. The film ends with Brendan watching Laura as she walks away. |
15 Minutes_2001 | tt0179626 | <script>
<scene>
<scene_description>FADE IN on the words CZECH AIRLINE . We are panning across the words on the side of the plane .</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE</stage_direction>
<scene_description>ANGLE DOWN on a tray table . Crumpled Czech bills and coins are on it . Hands are counting the money . The airline hostess announces the arrival at JFK - in CZECH . A hand reaches into a breast pocket - pulling out two passports . One is opened . Belongs to EMIL SLOVAK . The next passport belongs to OLEG RAZGUL . The hand passes the Oleg Razgul passport to the man next to him . We notice several empty airline bottles of vodka and a small disposable camera on Oleg 's tray table . The passport is set down . Oleg picks it up . We hear Emil 's voice in CZECH . The scene is subtitled in ENGLISH .</scene_description>
<character>EMIL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Just do what I do. Say the same thing I say. Do n't open your mouth.</dialogue>
<character>OLEG</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. PASSPORT CONTROL - KENNEDY AIRPORT - DAY</stage_direction>
<scene_description>CAMERA DOLLIES down a long line of passengers . They are split into two lines - one for Americans , the other for visitors . CAMERA finally arrives at EMIL SLOVAK . An unshaven Czech in his mid - 30 's . Tall , scraggly beard . Piercing blue eyes . He 's dressed in an outdated suit . His eyes are alert , cunning and smart . OLEG RAZGUL , stands in line behind Emil . Oleg is big . Not tall - but wide . A wrestler 's body . Emil looks at Oleg . -LRB- The following is in CZECH and subtitled in ENGLISH . -RRB-</scene_description>
<character>EMIL</character>
<dialogue>Do n't fool around.</dialogue>
<character>OLEG</character>
<dialogue>Okay.</dialogue>
<scene_description>Oleg holds up his disposable camera - at arms length - to take a picture of himself .</scene_description>
<character>EMIL</character>
<dialogue>Did you hear what I said?</dialogue>
<character>OLEG</character>
<dialogue>I want to document my trip to America.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Next.</dialogue>
<parenthetical>( Emil steps up . )</parenthetical>
<dialogue>Could I see your documents, please?</dialogue>
<character>EMIL</character>
<dialogue>Yes sir.</dialogue>
<scene_description>He hands the passport to the officer who runs it through an image swipe . Emil glances furtively back to Oleg .</scene_description>
<character>IMMIGRATION OFFICER</character>
<dialogue>What is your intended purpose of your visit to the United States?</dialogue>
<character>EMIL</character>
<dialogue>Two weeks holiday.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>How much money are you carrying with you?</dialogue>
<character>EMIL</character>
<dialogue>I have five - hundred dollars.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Can you show me? Sir, no cameras in the FIS area!</dialogue>
<scene_description>Oleg was about to take a picture of Emil and the Immigration Officer . Oleg puts the camera away . Smiles sheepishly .</scene_description>
<character>IMMIGRATION OFFICER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Emil . )</parenthetical>
<dialogue>Is he with you? Are you travelling together?</dialogue>
<character>EMIL</character>
<dialogue>Yes.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Please join us.</dialogue>
<parenthetical>( to Oleg . )</parenthetical>
<dialogue>Come on forward.</dialogue>
<character>EMIL</character>
<dialogue>Is there a problem?</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>No, you're travelling together. I want to talk to you together. Hi, how are you? Can I take a look at your documents?</dialogue>
<parenthetical>( takes Oleg 's passport . )</parenthetical>
<dialogue>Are you related?</dialogue>
<character>OLEG</character>
<dialogue>Yes. he's my friend.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Okay. You're a Czech national and you're a Russian national. How do you know one another?</dialogue>
<scene_description>Oleg starts to speak , but Emil cuts him off .</scene_description>
<character>EMIL</character>
<dialogue>We are both from Prague.</dialogue>
<character>IMMIGRATION OFFICER</character>
<parenthetical>( to Oleg . )</parenthetical>
<dialogue>How long are you planning to stay?</dialogue>
<character>EMIL</character>
<dialogue>Two weeks.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>I'd like to speak for himself, okay?</dialogue>
<character>EMIL</character>
<dialogue>He does n't speak English.</dialogue>
<character>OLEG</character>
<dialogue>I speak English.</dialogue>
<character>IMMIGRATION OFFICER</character>
<parenthetical>( to Oleg . )</parenthetical>
<dialogue>Then answer my questions. Where were you planning to stay during the two weeks that you're here?</dialogue>
<character>OLEG</character>
<dialogue>New York.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Yes, we're in New York now. But where are you planning to stay in New York?</dialogue>
<character>OLEG</character>
<dialogue>A cheap hotel.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>What are you coming here to do?</dialogue>
<character>OLEG</character>
<dialogue>I'm here for movies.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Movies. to be in the movies or to see movies?</dialogue>
<character>OLEG</character>
<dialogue>Yes. No. Both. When I was a boy, I see movie at school called `` It's a Wonderful Life'' directed by Frank Capra. Ever since I want to come to America. Land of the free. Home of the brave. A land where anyone can be anything. As long as they are white.</dialogue>
<character>IMMIGRATION OFFICER</character>
<dialogue>Excuse me?</dialogue>
<character>EMIL</character>
<dialogue>He made joke, bad joke. First time on airplane.</dialogue>
<scene_description>The SUPERVISOR comes over to see what the problem is :</scene_description>
<character>IMMIGRATION OFFICER</character>
<dialogue>Well, they've got valid visas, but they do n't have much money. Uh. and I'm not. uh, I think there's a possibility they may be coming to live and reside.</dialogue>
<character>SUPERVISOR</character>
<dialogue>Look how long the line is. We got ta move'em out. I'll take them down to secondary.</dialogue>
<scene_description>Emil looks at Oleg , pissed .</scene_description>
</scene>
<scene>
<stage_direction>INT. P.B. HERMAN'S RESTAURANT - DAY</stage_direction>
<scene_description>The place is empty except for one table at the end of the bar . EDDIE FLEMMING , Manhattan 's most famous detective , and his savvy , black partner , LEON JACKSON are having cocktails . Eddie is smoothly handsome , tough , smart and tired . Not only is he the best homicide detective Manhattan has ever seen , he 's continually mentioned in New York columns and has been the subject of several magazine articles . There 's even been a TV movie about one of his biggest cases . Leon has been with Eddie a long time and was also featured in the TV movie . Sitting with Eddie and Leon is ROBERT HAWKINS , host and star reporter for the tabloid show , `` Top Story . '' Hawkins is also the best in the business and has dealt with them all : Joey Buttafuco and Amy Fisher , Lorena Bobbit and OJ . Wait staff bustles in the b.g. doing the morning set up . Hawkins listens as Eddie , cigar in hand , finishes a `` war story '' and a vodka tonic at the same time .</scene_description>
<character>EDDIE</character>
<dialogue>So we're waitin' to hit this warrant - we got Emergency Service with the heavy weapons standin' by - ready to go. I say, lem me get a cigar outta the car. I go to get the cigar and BOOM! All the sudden I turn around and a kid with a shotgun let one go. Right where I was standin'. That coulda been it. I coulda had my head blown off and for what? Some stupid kid got panicky, takes the safety off and it's over. If I had n't gone back for that cigar - for a bad habit - I would've had my head blown off.</dialogue>
<character>HAWKINS</character>
<dialogue>Jesus Christ.</dialogue>
<scene_description>PAULIE , the owner , walks up .</scene_description>
<character>PAULIE</character>
<dialogue>Speakin' of bad habits, everybody okay?</dialogue>
<character>HAWKINS</character>
<dialogue>Another martini.</dialogue>
<character>LEON</character>
<dialogue>Coffee for me, I got ta slow down.</dialogue>
<character>EDDIE</character>
<dialogue>Vodka tonic.</dialogue>
<character>LEON</character>
<parenthetical>( rethinks it . )</parenthetical>
<dialogue>Maybe you could just put in a shot of Martell?</dialogue>
<scene_description>Paulie takes the drinks off the table and an empty bottle of vodka .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( of Eddie 's story . )</parenthetical>
<dialogue>It was freaky, I'll tell you. Stupid kid.</dialogue>
<character>EDDIE</character>
<dialogue>What's the kid gon na say - sorry? Meanwhile I'm not here anymore. Like last week - we were at the morgue and this guy was all chopped up - spleen here - liver there - his heart in a pan. Six hours ago this guy was walkin' his dog or buyin' a quart of milk. Who knows? But some kid's robbed him for $ 3 or some shit and shot him and now you ca n't tell if he's a piece of beef or a human being and I'm thinkin' that's me. Sooner or later. That's me.</dialogue>
<character>HAWKINS</character>
<dialogue>Sooner or later that's everybody.</dialogue>
<character>EDDIE</character>
<dialogue>Not chopped up. Not chopped up like that. I mean, what do I got left? Coupla articles. A medal or two. Plaque here and there and in a coupla years no one remembers me anymore.</dialogue>
<character>HAWKINS</character>
<dialogue>I think you're getting a little moody there, Eddie.</dialogue>
<character>EDDIE</character>
<dialogue>I'm not moody.</dialogue>
<scene_description>Hawkins and Leon share a look .</scene_description>
<character>HAWKINS</character>
<dialogue>Is n't he a little moody?</dialogue>
<character>LEON</character>
<dialogue>Of course he's moody. He thinks he's in love.</dialogue>
<character>HAWKINS</character>
<dialogue>In love? With who?</dialogue>
<scene_description>Paulie delivers the drinks and sets some cigars on the table . Takes a seat next to Eddie . Eddie asks Hawkins .</scene_description>
<character>EDDIE</character>
<dialogue>How old are your kids?</dialogue>
<character>HAWKINS</character>
<dialogue>My kids? Let's see. Susan's 15. Aundrea's 9. Do n't tell me you're thinking about having a kid! How old are you? Never mind. Let me just tell you this : Every stupid cliche you hear about kids - they change your life, they make you a better person, they make you whole.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>It's all true! Before I had kids when friends talked about their kids, I wanted to vomit. Now - I get it. Am I right, Leon?</dialogue>
<character>LEON</character>
<dialogue>Absomotherfuckin ` lutely. You can have all three of my ex - wives. But somebody so much as looks sideways at my four girls - I'd kill'em.</dialogue>
<parenthetical>( takes out his wallet . )</parenthetical>
<dialogue>You have n't seen my youngest have you?</dialogue>
<scene_description>As he hands pictures to Hawkins his cell phone rings .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yeah?</dialogue>
<character>HAWKINS</character>
<dialogue>Paulie, you've got kids, right?</dialogue>
<character>PAULIE</character>
<dialogue>My kids do n't talk to me anymore but they were great when they were young.</dialogue>
<character>LEON</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Sure it's him? Great!</dialogue>
<parenthetical>( collapses the phone . )</parenthetical>
<dialogue>Unique's home.</dialogue>
<scene_description>They all rise from the table .</scene_description>
<character>EDDIE</character>
<dialogue>Paulie, I need the cure.</dialogue>
<character>PAULIE</character>
<dialogue>Step into my office.</dialogue>
<scene_description>Leon and Hawkins sit back down as Eddie and Paulie leave .</scene_description>
<character>HAWKINS</character>
<dialogue>So you got your kids listening to Opera? You still singing in the church on the weekends?</dialogue>
</scene>
<scene>
<stage_direction>INT. SECONDARY IMMIGRATION OFFICE - DAY</stage_direction>
<scene_description>Now other officers are questioning Emil and Oleg . They 've been there a while . The SECONDARY OFFICER is looking Oleg .</scene_description>
<character>SECONDARY OFFICER</character>
<dialogue>Okay. You work in a vodka factory. I understand that.</dialogue>
<parenthetical>( to Emil . )</parenthetical>
<dialogue>And what kind of work do you do?</dialogue>
<character>EMIL</character>
<dialogue>I am butcher.</dialogue>
<character>SECONDARY OFFICER</character>
<dialogue>You're a butcher? What do you use pig intestines for?</dialogue>
<character>EMIL</character>
<dialogue>You stuff sausage in it.</dialogue>
<character>SECONDARY OFFICER</character>
<dialogue>And what do you do with the bones?</dialogue>
<character>EMIL</character>
<dialogue>Dog food.</dialogue>
<scene_description>Emil looks at Oleg . Blaming his stupid responses at Passport Control for their detainment .</scene_description>
<character>SECONDARY OFFICER</character>
<dialogue>Are you married?</dialogue>
<character>EMIL</character>
<dialogue>No. Are you proposing?</dialogue>
<scene_description>ANGLE UP through a thousand ICE CUBES . A face plunges towards us .</scene_description>
</scene>
<scene>
<stage_direction>INT. MENS ROOM</stage_direction>
<scene_description>Eddie has his back to us as he dunks his face into a sink full of ice . He dries his face , looks into his bloodshot eyes . Presents a small black ring box to the mirror .</scene_description>
<character>EDDIE</character>
<dialogue>Will you marry me? Wan na get married? What are you doin' Saturday?</dialogue>
<scene_description>Leon enters . Eddie turns .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm gon na propose.</dialogue>
<character>LEON</character>
<dialogue>When?</dialogue>
<character>EDDIE</character>
<dialogue>Tomorrow. At lunch.</dialogue>
<character>LEON</character>
<dialogue>You ready?</dialogue>
<scene_description>Eddie leans back and drops some Visine in his eyes . Turns .</scene_description>
<character>EDDIE</character>
<dialogue>The thrill of the hunt. I love it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - DAY</stage_direction>
<scene_description>Oleg and Emil stare at the bright lights - all the nonstop action . Each stands with an old suitcase .</scene_description>
<character>OLEG</character>
<parenthetical>( in Russian . )</parenthetical>
<dialogue>Look. Times Square. Just like in the movies!</dialogue>
<character>EMIL</character>
<parenthetical>( in Czech . )</parenthetical>
<dialogue>Do n't speak Russian!</dialogue>
<character>OLEG</character>
<parenthetical>( in Russian . )</parenthetical>
<dialogue>Why? Why do I always have to speak to you in Czech?</dialogue>
<character>EMIL</character>
<parenthetical>( in Czech . )</parenthetical>
<dialogue>Because I do n't like your ugly language. I heard enough of it in school! Now speak Czech or English. And do n't fool around anymore. You almost got us thrown out!</dialogue>
<scene_description>Emil pulls out an envelope with Milos ' address on it . This is who they came to see . Emil hails a CAB . Oleg is staring inside a camera store - at himself on a monitor . A videocamera 's pointed out in the street .</scene_description>
<character>OLEG</character>
<dialogue>Look. New videocameras. Color viewfinder. Image stabilization. Solarization. Night vision.</dialogue>
<character>EMIL</character>
<dialogue>We have no money. Come on.</dialogue>
<scene_description>Oleg stares at the videocamera - dying to have one like this . Emil slides into the cab .</scene_description>
<character>CABBIE</character>
<dialogue>Where you wan na go, buddy?</dialogue>
<scene_description>Emil pulls out the post - marked envelope . Points to the return address on it and passes it through the slot to the Cabbie .</scene_description>
<character>EMIL</character>
<dialogue>Here.</dialogue>
<scene_description>Emil looks out the window - no sign of Oleg . Then , Oleg hurries out the camera store , gripping something inside his coat . He flings both suitcases in the trunk , SLAMS it shut and jumps in the back seat . He opens his jacket - pulling out the VIDEOCAMERA he just stole .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go!</dialogue>
<scene_description>Oleg smiles sheepishly at Emil .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPANISH HARLEM - DAY</stage_direction>
<scene_description>Eddie 's car pulls up . Eddie , Leon and Hawkins get out .</scene_description>
<character>HAWKINS</character>
<dialogue>So what's unique?</dialogue>
<character>EDDIE</character>
<dialogue>Not what. Who.</dialogue>
<scene_description>Eddie passes Hawkins a Polaroid - of a woman on a bed - covered in blood .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He's from Antigua. His girlfriend was taking too long to put her make - up on. they were late for a party. Stabbed her with a beer bottle.</dialogue>
<character>HAWKINS</character>
<dialogue>That's unique.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. And he still went to the party.</dialogue>
<scene_description>Leon moves to a LOOKOUT - gives him a twenty .</scene_description>
<character>LOOKOUT</character>
<dialogue>Top floor. Back room.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. I make big cases, they make the news and I look good. But the problem with becoming a star is downtown. They shoot at stars. Now be quiet. Shhh.</dialogue>
<scene_description>As they reach the doorway - Eddie surprises two crackheads . Waves them off . They hurry away .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I hope this prick does n't run. My knees are killing me. Stay behind me.</dialogue>
<character>HAWKINS</character>
<dialogue>You're worried for my safety. I'm touched.</dialogue>
<scene_description>Eddie flattens against the building - watches Unique descend the fire escape .</scene_description>
<character>HAWKINS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ready?</dialogue>
<character>EDDIE</character>
<dialogue>Keep them out of my way.</dialogue>
<character>HAWKINS</character>
<dialogue>Okay. You ready?</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, yeah. Jesus.</dialogue>
<scene_description>Eddie closes in .</scene_description>
<character>HAWKINS</character>
<parenthetical>( into his cell phone . )</parenthetical>
<dialogue>COME ON! COME ON! YOU FUCKING GUYS, LET'S MOVE IT!</dialogue>
<scene_description>Unique is climbing down the fire escape - before he gets to the bottom , Leon bursts through a door behind him and kicks the fire escape , sending Unique flying into the alley . Where he lands dropping his gun . Eddie pulls him off the ground as Leon scoops the gun up .</scene_description>
<character>EDDIE</character>
<dialogue>What's your rush? Going to a party?</dialogue>
<character>UNIQUE</character>
<dialogue>Why you chasin' me, man?</dialogue>
<character>EDDIE</character>
<dialogue>I do n't know. You always come outta your house that way?</dialogue>
<character>UNIQUE</character>
<dialogue>It's not my house, man. I do n't live here.</dialogue>
<character>EDDIE</character>
<dialogue>Well, sounds like burglary to me.</dialogue>
<scene_description>Leon cuffs Unique who recognizes Eddie .</scene_description>
<character>UNIQUE</character>
<dialogue>I know you man.</dialogue>
<scene_description>An unmarked van comes tearing into the scene . Disgorges a mini - cam team that starts filming but they missed the bust .</scene_description>
<character>HAWKINS</character>
<parenthetical>( to Eddie . )</parenthetical>
<dialogue>Any chance we can do that again?</dialogue>
<character>EDDIE</character>
<dialogue>Again? I did n't wan na do it the first time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EAST SIDE - LATE DAY</stage_direction>
<scene_description>The cab is in front of an old five - story brownstone . Oleg gets the bags out of the trunk as Emil tucks the envelope into his jacket , then steps up to the old building . He looks back at Oleg - who 's VIDEOTAPING him .</scene_description>
<character>EMIL</character>
<dialogue>Turn that off! Get the bags.</dialogue>
<character>OLEG</character>
<dialogue>Why should I carry your bag? I am not a dog.</dialogue>
<character>EMIL</character>
<dialogue>For five years I paid for your stupidness - you'll carry my bag for the rest of my life if I say so.</dialogue>
<parenthetical>( challenging . )</parenthetical>
<dialogue>Unless you refuse, Oleg.</dialogue>
<scene_description>Oleg looks at Emil . Even though Oleg is stronger than Emil , he fears him . He picks up both bags . Emil searches the occupant list over the buzzers to the apartment building .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>There. 5RW.</dialogue>
<scene_description>Emil pushes ten of the buzzers except 5RW . A BUZZER clicks and Emil pushes it open .</scene_description>
</scene>
<scene>
<stage_direction>INT. MILOS' APARTMENT BUILDING - STAIRWELL - DAY</stage_direction>
<scene_description>The brownstone has no elevator so Emil and Oleg climb the stairs . Oleg cradling his camera . Emil notices a crack pipe on the floor and picks it up . Smells the bowl .</scene_description>
<character>OLEG</character>
<dialogue>What?</dialogue>
<character>EMIL</character>
<dialogue>Smell like chemicals. for smoking drugs.</dialogue>
<scene_description>Emil pockets the pipe and climbs to the top floor , moving down the dirty hallway to a corner door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MILOS' APARTMENT BUILDING - HALLWAY - DAY</stage_direction>
<scene_description>He KNOCKS . FOOTSTEPS approach . The door is opened by MILOS - a 40 - year - old Czech , dressed in stained plumbers overalls . He is surprised to see Emil and Oleg in his doorway . Oleg films him .</scene_description>
<character>MILOS</character>
<dialogue>Emil?!</dialogue>
<character>EMIL</character>
<dialogue>Surprise! Surprise!</dialogue>
<scene_description>Milos shoots a look across the tiny kitchen to TAMINA , his comely wife .</scene_description>
</scene>
<scene>
<stage_direction>INT. MILOS' APARTMENT - CONTINUOUS</stage_direction>
<scene_description>Emil pushes his way inside . Oleg follows . Milos wears plumbers overalls but Emil notices sports a Rolex . Tamina has on a faded dress but despite their cheaply furnished apartment she wears an expensive brushed gold necklace , bracelet and big pearl earrings . The room is furnished with kitsch from Disney World and Las Vegas . The only anomaly is a HUGE SONY TRINITRON HOME ENTERTAINMENT CENTER . -LRB- The following is in Czech and subtitled in English . -RRB-</scene_description>
<character>EMIL</character>
<dialogue>Your sister said she did n't know where you were so you should n't write to her with return address if you're hiding.</dialogue>
<character>MILOS</character>
<dialogue>Did you hurt her?</dialogue>
<character>EMIL</character>
<dialogue>You know me. I never hurt anybody. Where's the money?</dialogue>
<character>OLEG</character>
<dialogue>Hello, Tamina.</dialogue>
<scene_description>Oleg is looking Tamina over . Milos - though scared - barks at Oleg .</scene_description>
<character>MILOS</character>
<dialogue>Take your eyes off her, Oleg!</dialogue>
<parenthetical>( to Emil . )</parenthetical>
<dialogue>Look. It was n't my fault you two were caught.</dialogue>
<parenthetical>( of Oleg . )</parenthetical>
<dialogue>It's his fault. Trying to get the bank clerk's phone number?! I was n't going to wait!</dialogue>
<character>EMIL</character>
<dialogue>Milos. Get my money!</dialogue>
<scene_description>Oleg videotapes the scene . CLOSE ON AN AJAR DOOR All we see behind it is a WOMAN 'S FACE and her wet hair - she obviously came from the shower and we see the towel wrapped around her .</scene_description>
<character>MILOS</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>We spent it!</dialogue>
<character>EMIL</character>
<dialogue>Ha. Ha.</dialogue>
<character>MILOS</character>
<dialogue>Look at the way we live. I'm a plumber. You think I'd be working if I had money?!</dialogue>
<scene_description>Emil , pissed , moves to a wood block and pulls out a KITCHEN KNIFE . He grabs Tamina roughly , putting the blade to her throat .</scene_description>
<character>MILOS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Emil. Put down the knife.</dialogue>
<scene_description>Milos looks at his wife - who is terrified .</scene_description>
<character>MILOS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Emil. I'll help you.</dialogue>
<scene_description>Milos closes the gap between him and Emil - trying to calm him by talking softly .</scene_description>
<character>MILOS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I can get you a job.</dialogue>
<character>EMIL</character>
<dialogue>A job?</dialogue>
<character>MILOS</character>
<dialogue>Yes, the money is good.</dialogue>
<character>EMIL</character>
<dialogue>As a plumber?!</dialogue>
<character>MILOS</character>
<dialogue>It's easy to learn.</dialogue>
<character>EMIL</character>
<dialogue>A job? As a plumber? You think I come to America to work!</dialogue>
<character>MILOS</character>
<dialogue>We started over, you can too.</dialogue>
<character>EMIL</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>You spent all the money while I was in prison? Now you tell me to get a job fixing toilets?!?</dialogue>
<scene_description>Emil pulls the knife away from Tamina - then angrily PLUNGES it toward Milos ' chest ! Oleg videotapes it . Then lowers the camera - shocked that Emil killed Milos . Blood sprays Tamina 's face . She tries to run but Oleg grabs her , not noticing her brushed gold bracelet falls to the floor . He covers her mouth as he points the videocamera at Emil who STABS Tamina - absolutely enraged ! THE WOMAN BEHIND THE DOOR flees . Emil hears NOISE in the bedroom - a window opening . Emil kicks the bedroom door open . Sees the window leading to the fire escape . He dashes to it . Sees four flights down - the WOMAN , wearing a summer dress . Barefoot . Her hair still wet . She looks up . She is beautiful and terrified . She runs down the alley .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>She saw!</dialogue>
<scene_description>Emil hurries toward the bathroom . She just got out of the shower . Her underwear and purse are draped over a chair . Emil grabs the purse . Finds a CZECHOSLOVAKIAN PASSPORT . He opens the cover , stares at her photo and name .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Daphne Hanlova.</dialogue>
<scene_description>There 's one stamp in the passport - from the U.S. when she arrived - June 16 , 1998 . Underneath is written - 6 MONTH STAY . Emil flips through the rest of the passport - all blank pages .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Six month visa. Still here two years later. They'll deport her if she goes to Police.</dialogue>
<scene_description>Emil pockets Daphne 's passport and wallet , scoops up her shoes and jacket - enters the kitchen and dumps them on the floor . He tears through the kitchen cabinets , throwing cans and bottles aside .</scene_description>
<character>OLEG</character>
<dialogue>What are you looking for?</dialogue>
<scene_description>Emil finds nail polish remover - looks at the bodies .</scene_description>
<character>EMIL</character>
<dialogue>I'm going to make a bohemian barbecue.</dialogue>
<scene_description>Emil draws the kitchen curtains plunging the room into darkness .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK - NIGHT</stage_direction>
<scene_description>A face comes from the darkness . It 's an athletically handsome man , jogging out of a tunnel towards us . He 's in a tie and jacket in Central Park at NIGHT . He is JORDAN -LRB- JORDY -RRB- WARSAW . A sensitive man of rugged honesty . He runs down the hill in a hurry . A MUGGER steps in his path .</scene_description>
<character>MUGGER</character>
<dialogue>Got any spare change? How ` bout a spare twenty?</dialogue>
<character>JORDY</character>
<dialogue>Look, I do n't have time for you, get out of my way!</dialogue>
<character>MUGGER</character>
<dialogue>Alright, how ` bout all your fuckin' money?</dialogue>
<scene_description>The Mugger pulls a knife - and in a whirl of movement , Jordy grabs his wrist and disarms him in a deadly , professional manner - hurling him down to the pavement , twisting his arm behind his back . With his other hand , Jordy whips out a BROWNING 9MM from his shoulder holster and places it behind the mugger 's head . Jordy displays his shield .</scene_description>
<character>JORDY</character>
<dialogue>Okay, you're under arrest! Now you happy?</dialogue>
<character>MUGGER</character>
<dialogue>Fire Department? Firemen do n't carry guns.</dialogue>
<character>JORDY</character>
<dialogue>Oh yeah? Guess again.</dialogue>
<scene_description>Jordy handcuffs the Mugger and searches the Mugger 's coat pockets - pulling out a handful of driver 's licenses and credit cards .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nice - how many people you ripped off tonight?! Get up!</dialogue>
<scene_description>As Jordy yanks the Mugger to his feet , his BEEPER goes off .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You could n't listen to me, could you?</dialogue>
<scene_description>Jordy drags the Mugger to a tree . Cuffs him so his face is pressed up against the bark .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll send a cop back for you.</dialogue>
<character>MUGGER</character>
<dialogue>Hey. C'mon, you ca n't leave me like this. Some freak'll come by and stab me!</dialogue>
<scene_description>Jordy jogs off across the park .</scene_description>
<character>MUGGER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Wait! Come back!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILOS' APARTMENT - NIGHT</stage_direction>
<scene_description>FIRE TRUCKS from three battalions . Radios CRACKLE . There 's a crowd growing . Jordy pushes his way through . The top floor of the brownstone where Milos and Tamina lived has been reduced to smoking ruins . The trees are covered in debris and soot . Jordy moves to LOUIE - Battalion Chief .</scene_description>
<character>LOUIE</character>
<dialogue>Lieutenant - take up your line and relieve Ladder Company 60 on the top floor.</dialogue>
<character>JORDY</character>
<dialogue>Hey, Louie, were you first due?</dialogue>
<character>LOUIE</character>
<dialogue>Yeah, I radioed you guys right away'cause you got two roasts on the top floor but you do n't hafta investigate cause homicide is up there.</dialogue>
<character>JORDY</character>
<dialogue>Homicide? Who let them up? I did n't make it a crime scene yet.</dialogue>
<character>LOUIE</character>
<dialogue>Hey, it's Eddie Flemming.</dialogue>
<character>KORFIN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yo, Jordy!</dialogue>
<scene_description>BOBBY KORFIN - an overweight arson investigator with a quick with and good sense of humor - comes over , pulling on a turnout coat .</scene_description>
<character>KORFIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where you been, man? We got a celebrity!</dialogue>
<character>JORDY</character>
<dialogue>I heard. Who the hell let them up there?</dialogue>
<character>KORFIN</character>
<dialogue>I do n't know, you think Eddie will give me his autograph?</dialogue>
<character>JORDY</character>
<dialogue>You see anything in the crowd? Anybody suspicious?</dialogue>
<character>KORFIN</character>
<dialogue>Naw - I'm sure the suspect's not here.</dialogue>
<character>JORDY</character>
<dialogue>Oh yeah, why?</dialogue>
<character>KORFIN</character>
<dialogue>'Cause Eddie woulda locked him up by now!</dialogue>
</scene>
<scene>
<stage_direction>INT. MILOS' APARTMENT - NIGHT</stage_direction>
<scene_description>The roof is gone . The sky is exposed . It 's charred ruins , smoked beams and watery muck . Eddie and Leon are standing by what 's left of the mattress , looking at Milos and Tamina 's charred bodies . Eddie grips a half - smoked Cuban cigar , listening to Leon .</scene_description>
<character>LEON</character>
<dialogue>So, it looks to me - from the sixty - nine position - that they were doin' each other but were so whacked out of their heads they set the pipe on the mattress, lit it up, and they got fried. What do you think, Eddie?</dialogue>
<scene_description>Jordy enters - with Korfin who 's carrying a paint can .</scene_description>
<character>EDDIE</character>
<dialogue>I do n't know. We got the experts here. Show them what you found - I hope you do n't mind, we came over to see if we could help.</dialogue>
<scene_description>Korfin makes a beeline for Eddie - wanting to meet the celebrity .</scene_description>
<character>KORFIN</character>
<dialogue>Nah, not at all. Detective Flemming - Bobby Korfin. My Uncle Tony worked with you at 2 - 1 back when you were a rookie.</dialogue>
<character>JORDY</character>
<dialogue>Could you put out the cigar? Part of the job is picking up scents.</dialogue>
<character>EDDIE</character>
<dialogue>Oh, sure.</dialogue>
<scene_description>Eddie puts his cigar out . Carefully slides it into a cigar holder and pockets it to finish later .</scene_description>
<character>LEON</character>
<dialogue>Well, I found - check it out - crack pipe. Looks like they got careless.</dialogue>
<scene_description>Leon displays the pipe Emil found on the stairs . Korfin shines the flashlight on Leon to look at the pipe .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mind not shining that light in my eyes?</dialogue>
<character>KORFIN</character>
<dialogue>Sorry, bro.</dialogue>
<character>JORDY</character>
<dialogue>Hey, that's great you guys got it all wrapped up, but you do n't mind if we go through the routine? It gives us somethin' to do.</dialogue>
<character>EDDIE</character>
<dialogue>No, we do n't mind. You mind Leon?</dialogue>
<character>LEON</character>
<dialogue>No. Go ahead.</dialogue>
<character>JORDY</character>
<dialogue>Thanks. Appreciate it.</dialogue>
<scene_description>Jordy throws a look at Korfin . Homicide detectives have no respect for fire marshals ' investigative skills . Eddie rummages through the apartment - moving into the kitchen and living room . Leon watches as Korfin sticks a pencil in a charred beam , measuring how deep in it goes .</scene_description>
<character>KORFIN</character>
<dialogue>Okay, Jordy - it was a fast fire, we got good patterns - about thirty minutes old.</dialogue>
<scene_description>Jordy moves to one of the corpses . He pulls on a white rubber glove . Inserts his finger in the corpses mouth . The glove comes out white .</scene_description>
<character>JORDY</character>
<dialogue>Mouth's clean, too.</dialogue>
<character>KORFIN</character>
<dialogue>Clean?</dialogue>
<character>JORDY</character>
<dialogue>Do n't blow your nose!</dialogue>
<scene_description>Jordy 's looking at Leon , who was just about to blow his nose .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The smoke'll permeate your nostrils - burn'em out. Let it run.</dialogue>
<character>KORFIN</character>
<dialogue>But you knew that, right?</dialogue>
<scene_description>Leon looks at Jordy , then lowers the handkerchief . Jordy turns back to the corpses on the bed . Eddie - in the other room - has found Tamina 's brushed gold bracelet on the floor .</scene_description>
<character>JORDY</character>
<dialogue>So the way you see it, two crack heads burned themselves up?</dialogue>
<character>LEON</character>
<dialogue>That's what it looks like to me.</dialogue>
<character>JORDY</character>
<dialogue>And while they're burning up, they're still goin' down on each other? You got to hand it to them.</dialogue>
<character>LEON</character>
<parenthetical>( realizes he 's wrong - blows it off . )</parenthetical>
<dialogue>Yeah, well, some people got their priorities straight.</dialogue>
<scene_description>Leon watches Jordy , quietly . With a pair of tweezers , Jordy pulls a small unburned piece of cloth from behind one of the heads . Korfin supplies the paint can . Jordy drops the cloth inside .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What was that?</dialogue>
<character>JORDY</character>
<dialogue>Evidence. Of a homicide.</dialogue>
<scene_description>That got Eddie 's attention and he comes back to the bedroom .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You know what that is, right?</dialogue>
<character>EDDIE</character>
<dialogue>No, what is it?</dialogue>
<character>JORDY</character>
<dialogue>Why do n't you explain it, Bobby.</dialogue>
<parenthetical>( to a fireman joking a wall . )</parenthetical>
<dialogue>Hey Camello! You mind punching a hole in the floor?</dialogue>
<character>CAMELLO</character>
<dialogue>No problem.</dialogue>
<parenthetical>( to Eddie and Leon . )</parenthetical>
<dialogue>Excuse me, gentlemen. You might wan na back up a little more. Do n't wan na get your pants wet.</dialogue>
<scene_description>Leon and Eddie move to higher ground - on top of a burnt TV set . Eddie hands the brushed bracelet to Leon . As Camello hacks at the floor with an ax , Jordy continues to examine the bodies and Korfin explains :</scene_description>
<character>KORFIN</character>
<dialogue>They have not soot in their mouths, which means they were n't breathin' before the fire and that usually means they were deceased - and this piece of cloth that my partner found means they were wrapped up in something, probably doused with a flammable liquid and positioned like this on the bed. To the untrained eye, it looks like an accident.</dialogue>
<scene_description>Jordy kicks around the draining floor , reaches down for something .</scene_description>
<character>LEON</character>
<dialogue>What's he looking for?</dialogue>
<character>EDDIE</character>
<dialogue>A timer.</dialogue>
<scene_description>Jordy finds some wires attached to an outlet , pulls them up - on the other end is a timer . Korfin takes the timer from Jordy and moves to Eddie .</scene_description>
<character>KORFIN</character>
<dialogue>Here you go. A big double homicide.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MILOS' APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>As Jordy and Korfin exit the brownstone , a CAMERA CREW is arriving . Jumps out . Korfin and Jordy cross toward Korfin 's car . They open the trunk . Take off their muddy boots throwing them in .</scene_description>
<character>KORFIN</character>
<dialogue>You see Eddie's face when I gave him the timer? Wish I had a picture of it.</dialogue>
<character>JORDY</character>
<dialogue>He knew all along.</dialogue>
<character>KORFIN</character>
<dialogue>What?</dialogue>
<character>JORDY</character>
<dialogue>That's why he was so quiet. He was testing us.</dialogue>
<scene_description>Eddie and Leon exit - Eddie carrying a baggie with a timer inside . NICOLETTE KARAS , young and attractive , pushes her microphone at Eddie . She 's smart , aggressive and respected by her peers .</scene_description>
<character>NICOLETTE</character>
<dialogue>Detective, does it look like a murder?</dialogue>
<character>EDDIE</character>
<dialogue>We do n't know that yet. It's much too early. There's a lot to be done.</dialogue>
<character>NICOLETTE</character>
<dialogue>How many victims are up there?</dialogue>
<character>EDDIE</character>
<dialogue>There are two bodies found at this point.</dialogue>
<character>NICOLETTE</character>
<dialogue>Can we go up to the crime scene?</dialogue>
<character>EDDIE</character>
<dialogue>You know you ca n't do that. C'mon.</dialogue>
<character>NICOLETTE</character>
<dialogue>Is it drug related?</dialogue>
<character>EDDIE</character>
<dialogue>We do n't know. When I have more I'll let you know.</dialogue>
<scene_description>Nicolette signals for her camera man , MIKE , to zoom in on Eddie 's hand . She barrels on .</scene_description>
<character>NICOLETTE</character>
<dialogue>Detective. what's that you're holding in your hand? Evidence?</dialogue>
<scene_description>Mike pans up to Eddie 's face . Other reporters arrive , hurling questions which Eddie easily answers . Cameras flash as we PAN BACK TO Korfin and Jordy . Jordy is about to get in the car as he notices , back behind some construction - DAPHNE HANDLOVA . She 's still wearing the crumpled summer dress . She tentatively steps out to signal Jordy . He only catches a glimpse of her . He starts toward her - knifes through the crowd - but Daphne is gone .</scene_description>
<character>KORFIN</character>
<dialogue>What?</dialogue>
<character>JORDY</character>
<dialogue>There was a woman - I think she wanted to talk to us. She looked scared. Oh shit! Oh no!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CENTRAL PARK - LATER</stage_direction>
<scene_description>Korfin 's car SCREECHES to a stop . Jordy leaps out . Suddenly , Jordy stops . the Mugger handcuffed to the tree is now NAKED !</scene_description>
<character>MUGGER</character>
<dialogue>You motherfuckin' bastard! She stripped me! It was a bag lady! She touched me all over, it was disgusting.</dialogue>
<scene_description>Jordy unlocks the handcuffs .</scene_description>
<character>JORDY</character>
<dialogue>I'm sorry. I'm really sorry.</dialogue>
<scene_description>Korfin delivers a blanket . Jordy covers him .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You okay?</dialogue>
<character>MUGGER</character>
<dialogue>A dog pissed on me! I'm gon na sue you for this! You violated my civil rights!</dialogue>
<character>JORDY</character>
<dialogue>Your civil rights?! You tried to rob me! I could arrest you right now! You're lucky you're walking away from this. Now get outta here.</dialogue>
<scene_description>Jordy gives him a push . The Mugger wraps the blanket around himself cursing - hurrying away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. 8TH AVENUE - NIGHT</stage_direction>
<scene_description>Exhausted HOOKERS who have worked all night loiter outside a sleazy hotel . CAMERA PANS up to a blinking hotel sign .</scene_description>
</scene>
<scene>
<stage_direction>INT. KING EDWARD HOTEL ROOM - NIGHT</stage_direction>
<scene_description>The light is blinking an eerie green and yellow light into the room . Emil is at the window pulling the blind down trying to shut out the blinking light . He pulls it down twice and it pops back up both times . The third time he angrily pulls it so hard , it comes off the window completely . He sits down in a chair in frustration - adjusting a pillow behind his back . THE ROSEANNE SHOW is on TV . Roseanne has been talking to a FATHER .</scene_description>
<character>ROSEANNE</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>So you slept with your son's wife! What's that all about?</dialogue>
<character>FATHER</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>I take full responsibility for sleepin' with my daughter in law. I had low self esteem, I thought I had to compete with him.</dialogue>
<scene_description>Emil reaches for his dictionary .</scene_description>
<character>EMIL</character>
<parenthetical>( mutters . )</parenthetical>
<dialogue>Self - esteem? Self - esteem?</dialogue>
<scene_description>He flips through his dictionary to find the meaning of self esteem .</scene_description>
<character>FATHER</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>Losin' my job and everything, caused my behavioral disorder.</dialogue>
<parenthetical>( turns to his son . )</parenthetical>
<dialogue>Forgive me, Kirk. Let me hug you?</dialogue>
<scene_description>The audience boos . Roseanne mediates . Oleg - fresh from the shower with wet hair - sits on the bed in his skivvies - staring into the videocamera 's LCD screen - rewinding Milos ' murder . We see it now for the first time - as he rewinds it . Oleg watches - a bottle of cheap vodka between his legs . Emil , looks up from his dictionary . He 's wearing Milos ' Rolex . Tamina 's jewelry - her brushed gold necklace and pearl earrings - are in front of him with Daphne 's wallet . Emil looks up - Oleg is holding his videocamera .</scene_description>
<character>EMIL</character>
<parenthetical>( Czech . )</parenthetical>
<dialogue>Turn that fucking thing off!</dialogue>
<character>OLEG</character>
<parenthetical>( Czech . )</parenthetical>
<dialogue>I'm not filming. I'm watching Milos die. It's just like a move but realer.</dialogue>
<scene_description>Emil grabs the videocamera . -LRB- Czech . -RRB- Do n't break it ! Do n't break it !</scene_description>
<character>EMIL</character>
<dialogue>Speak English!</dialogue>
<character>OLEG</character>
<parenthetical>( English . )</parenthetical>
<dialogue>You said speak Czech!</dialogue>
<character>EMIL</character>
<dialogue>How you erase this?</dialogue>
<character>OLEG</character>
<dialogue>I'll do it. Do n't hurt my camera!</dialogue>
<scene_description>Emil tosses the camera back to Oleg who drops his vodka bottle in order to catch the camera . Oleg , holding the camera like it 's gold , goes to the dresser and puts it away . Emil starts to go through Daphne 's wallet .</scene_description>
<character>EMIL</character>
<dialogue>Stupid, Milos. I did n't want to kill him.</dialogue>
<parenthetical>( noticing . )</parenthetical>
<dialogue>What's this?</dialogue>
<scene_description>Emil found the last card in the wallet . It 's pink with a picture of a busty globe . Printed in the middle is - WORLDLY ESCORTS - and a number .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Worldly escorts?</dialogue>
<scene_description>Emil picks up his dictionary and begins to flip the pages - finding the meaning of worldly . He gets up and dials the number . A soft , SEXY VOICE answers . Soft music in the background .</scene_description>
<character>SEXY VOICE</character>
<dialogue>Hi?</dialogue>
<character>EMIL</character>
<dialogue>Hello?</dialogue>
<character>SEXY VOICE</character>
<dialogue>Are you looking for companionship?</dialogue>
<scene_description>Oleg , who 's listening , moves to Emil .</scene_description>
<character>OLEG</character>
<dialogue>Whore?</dialogue>
<character>EMIL</character>
<dialogue>I'm homesick. You have Eastern European girl? A Czech girl?</dialogue>
<character>SEXY VOICE</character>
<dialogue>Matter of fact, I have a lovely Czech girl.</dialogue>
<character>EMIL</character>
<dialogue>I take her. Send her!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIRE STATION 91 - NIGHT</stage_direction>
<scene_description>Korfin 's car pulls up to the station - as a fire engine is returning .</scene_description>
<character>JORDY</character>
<dialogue>Now that you know him, maybe you can get extra work in the next movie they make about him.</dialogue>
<character>KORFIN</character>
<dialogue>Yeah?</dialogue>
<character>JORDY</character>
<dialogue>Maybe you can be his stand - in.</dialogue>
</scene>
<scene>
<stage_direction>INT. FIRE STATION 91 - NIGHT</stage_direction>
<scene_description>The men are pulling off their equipment - coming down from the high of fighting a fire . Korfin and Jordy walk toward the TV room . The TV is on in the background . We can see Nicolette interviewing Eddie . He holds up the paint can .</scene_description>
<character>CHIEF DUFFY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What the hell is that? You gave Eddie Flemming the evidence?!</dialogue>
<scene_description>They turn . DEPUTY CHIEF FIRE MARSHAL DECLAN DUFFY - the head of the arson squad - comes over . Duffy 's tough , Irish and very political .</scene_description>
<character>DUFFY</character>
<parenthetical>( pointing to the TV . )</parenthetical>
<dialogue>Who did cause and origin?</dialogue>
<character>JORDY</character>
<dialogue>Who do you think, Chief?!</dialogue>
<character>DUFFY</character>
<dialogue>Then why did n't you talk to the reporter?</dialogue>
<character>JORDY</character>
<dialogue>'Cause we got more important things to do, like finding out who did it.</dialogue>
<scene_description>They walk to the back of the station and start up the stairs .</scene_description>
<character>DUFFY</character>
<dialogue>Do n't you guys understand? It's all about image. The better we look the more money I get to pay you guys overtime.</dialogue>
<character>KORFIN</character>
<dialogue>Yeah, right.</dialogue>
<character>DUFFY</character>
<dialogue>What was that, Korfin?</dialogue>
<character>KORFIN</character>
<dialogue>I said, yeah, you're right, Chief. As soon as we get somethin' we'll let you alert the media.</dialogue>
<character>DUFFY</character>
<dialogue>You do that, wiseguy. Now let's solve this thing before Eddie Flemming does.</dialogue>
<scene_description>They all head upstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. ARSON SQUAD ROOM - DAY</stage_direction>
<scene_description>The Chief , Jordy and Korfin enter . There are posters of pyros , arsonists and terrorists on the walls . GARCIA - a Puerto Rican investigator - looks up from his desk .</scene_description>
<character>GARCIA</character>
<dialogue>Hey guys, I got your torch. He just gave a full confession.</dialogue>
<scene_description>A scruffy , unshaven white man sitting across from Garcia , turns . He is MAX , a pyromaniac in his 40 's with a freshly scratched cross etched in his forehead . He craves attention .</scene_description>
<character>MAX</character>
<dialogue>It's my fire! Screw homicide. I'll tell you guys everything!</dialogue>
<scene_description>Jordy moves to his desk with Korfin . They sit across from each other . Duffy keeps going to his office , not even bothering to stop .</scene_description>
<character>JORDY</character>
<dialogue>What's that on your forehead, Max? That's a nice attention getter.</dialogue>
<character>MAX</character>
<dialogue>Yeah, I'm religious. I'm not an Atheist like you! Now, are you guys gon na arrest me, or not?</dialogue>
<character>JORDY</character>
<dialogue>How did you start the fire this time?</dialogue>
<character>MAX</character>
<dialogue>I used an accelerant.</dialogue>
<character>JORDY</character>
<dialogue>Yeah? What kind?</dialogue>
<character>MAX</character>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>Hey, by the way, I'm really sorry about your wife leavin' you.</dialogue>
<character>KORFIN</character>
<dialogue>Max.</dialogue>
<character>MAX</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. Yeah, and with your old man dying last year you - what's it? Just you and the dog now?</dialogue>
<character>KORFIN</character>
<dialogue>Max!</dialogue>
<character>MAX</character>
<dialogue>Does it feel bad - I mean the new guy your ex - wife's seeing - I hear he's a big shot downtown.</dialogue>
<scene_description>Jordy pops out of his seat .</scene_description>
<character>JORDY</character>
<dialogue>That's it! You're outta here.</dialogue>
<scene_description>Jordy pulls Max by the collar - pushes him down the aisle .</scene_description>
<character>MAX</character>
<dialogue>That's it. I'm suing.</dialogue>
<character>KORFIN</character>
<dialogue>Get in line.</dialogue>
<scene_description>Korfin takes over - throwing him out . Jordy turns to Garcia who is laughing .</scene_description>
<character>JORDY</character>
<dialogue>What's so funny. How does he know so much about me? Who tells him my life story?</dialogue>
<character>GARCIA</character>
<dialogue>He hangs around downstairs. The guys talk to him. He's a joke.</dialogue>
<character>JORDY</character>
<dialogue>He's no joke! One day he's gon na graduate from trash can fires and do something big.</dialogue>
<character>GARCIA</character>
<dialogue>Okay. Okay. We'll ban him from the station.</dialogue>
</scene>
<scene>
<stage_direction>INT. KING EDWARD HOTEL ROOM - TV SET - NIGHT</stage_direction>
<scene_description>As the `` Top Story '' logo is splashed across the screen , accompanied by a catchy TV THEME , Robert Hawkins introduces America 's highest rated ` news magazine ' show .</scene_description>
<character>ROBERT HAWKINS</character>
<dialogue>Good evening, I'm Robert Hawkins and this is Top Story. Tonight we bring you an exclusive interview with Stephen Geller - who horrified the nation two years ago when he went berserk and murdered three clerks in a Manhattan shoe store. But now, Mr. Geller's claim, spoken softly and articulately, is that he is the victim. According to Mr. Geller, the events of that fateful day were not his fault but were the fault of his psychiatrist. Hard to believe. watch.</dialogue>
<character>EMIL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Louder.</dialogue>
<scene_description>VIDEOCAMERA SLOWLY ZOOMS OUT and PANS over to Emil , sitting on the hotel bed watching the TV . He looks at us .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Louder.</dialogue>
<scene_description>Oleg 's hand reaches in front of the lens - turning up the volume . The scene cuts back to Stephen Geller being interviewed by Robert Hawkins and his camera crew . He 's sitting on the front lawn of a mental institution in a paint stained shirt . A showing of his artwork is displayed in the background . Patients peruse the paintings of weird dysfunctional faces that avoid eye contact . One of the paintings depicts Eddie Flemming and Leon Jackson .</scene_description>
<character>STEPHEN GELLER</character>
<dialogue>This had nothing to do with shoes that did n't fit or my relationship with my father who, as you know, made a fortune selling penny loafers in the fifties. These people died because of the criminal actions of my doctor.</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>Your doctor?</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>Yes. My psychiatrist did n't insist that I stay on my medication.</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>so you feel absolutely no responsibility for killing these people?</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>It was my finger that pulled the trigger, but I'm not morally responsible. My psychiatrist knew what I was capable of. How could I know. I'm not a doctor.</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>You seem very savvy for a man who's been found mentally incompetent to stand trial.</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>Look, I'm a victim here, too. I was a year away from getting my masters in Art, now I'll never graduate. My life has been permanently disrupted.</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>Permanently disrupted? Are n't you selling paintings now for quite a lot of money? Has n't this ` incident' as you call it, jump started your career as an artist?</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>Look, I'm in here. You call this a career move?</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>And is n't there a movie in the works about you?</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>We're in negotiations, that's correct.</dialogue>
<character>ROBERT HAWKINS</character>
<dialogue>But does n't the Son of Sam Law prevent criminals from profiting from their crimes?</dialogue>
<character>STEPHEN GELLER</character>
<dialogue>That does n't apply to me because I'm not a criminal. I'm not a criminal! I was n't convicted.</dialogue>
<scene_description>Emil leans forward - listening . Fascinated .</scene_description>
<character>EMIL</character>
<dialogue>I love America. No one is responsible for what they do.</dialogue>
<scene_description>There 's a KNOCK on the door . Our VIDEOCAMERA POV swings over to it . Then WHIPS back to Emil . Emil looks at us .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get in the bathroom!</dialogue>
<character>OLEG</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Whatever we do - we fuck her, right?</dialogue>
<character>EMIL</character>
<dialogue>Oleg, get in bathroom, stay there and shut up!</dialogue>
<scene_description>Emil turns off the TV . Our POV backs into the bathroom , closing the door but leaving it open a crack . Emil looks down at his shoe . The POV PANS down to the kitchen knife sticking out of Emil 's BOOT . Emil 's hands pull his pants cuff over it . POV PANS up to Emil as he moves to the door and opens it . It 's not Daphne and she 's not world class .</scene_description>
<character>HONEY</character>
<dialogue>Hi, I'm Honey.</dialogue>
<character>EMIL</character>
<dialogue>Where's Czech girl?</dialogue>
<character>HONEY</character>
<dialogue>Baby, I'm anybody you want me to be. I'm a little schoolgirl, I'm mommy, I'm a Czech girl.</dialogue>
<scene_description>She enters . Closes the door behind her .</scene_description>
<character>HONEY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now I like to get business out of the way before we get down to pleasure. Why do n'tchya put my money on the dresser.</dialogue>
<character>EMIL</character>
<dialogue>I ordered a Czech girl. Daphne, you know her?</dialogue>
<scene_description>Oleg ZOOMS in for a CLOSE UP of Honey . During the rest of the scene Oleg films her . Honey begins to undress .</scene_description>
<character>HONEY</character>
<dialogue>It's an outcall service run out of an apartment. I do n't meet the other girls. Are n't you gon na get undressed?</dialogue>
<character>EMIL</character>
<dialogue>Where is escort service?</dialogue>
<character>HONEY</character>
<dialogue>That's confidential. Could you put the money on the dresser?</dialogue>
<character>EMIL</character>
<dialogue>I like to talk to the person who runs the service. Can you give me address?</dialogue>
<character>HONEY</character>
<dialogue>Look. Do we have a problem here? There's no reason to have a problem. I'm gon na make you feel real good. You wan na Czech girl? After I'm done with you, you wo n't miss her. Now why do n't you pay me?</dialogue>
<scene_description>She starts to unfasten Emil 's belt .</scene_description>
<character>EMIL</character>
<parenthetical>( stopping her . )</parenthetical>
<dialogue>Listen to me. I do n't want sex. Just give me the address and then you go.</dialogue>
<character>HONEY</character>
<parenthetical>( suddenly hard as nails . )</parenthetical>
<dialogue>Look, man, I do n't give a shit if you want sex or not, but you're payin' for my time.</dialogue>
<scene_description>Emil pulls the knife out of his boot and SHOVES her against the door , PUSHING the blade against her throat - suddenly furious like he was before killing Milos and Tamina .</scene_description>
<character>EMIL</character>
<dialogue>Give me the address!</dialogue>
<character>HONEY</character>
<dialogue>Alright, alright - do n't hurt me! Please, it's in my book, in my purse!</dialogue>
<scene_description>Emil backs off as she reaches for her purse , and comes out with a can of mace , SPRAYING Emil 's face ! Emil stumbles backwards - Oleg holding him in the frame . He WHIP PANS back to Honey as she grabs her clothes , unlocking the door but Emil 's HAND SLAMS it shut ! Emil turns blindly , rubbing his burning eyes - guarding the door . Honey darts toward the bathroom - she pushes open the door and runs into Oleg who is VIDEOTAPING HER . Horrified , she turns around as Emil SMASHES her in the face so hard she topples backwards , tripping into the bathtub , pulling the shower curtain down on her ! Like a panther out for the kill , Emil POUNCES . Oleg films as Emil lifts his hand , gripping . THE KITCHEN KNIFE As Emil 's hand comes FLYING DOWN - then RISES UP , BLOODIED . Her screams are muffled by the shower curtain wrapped around her face . Oleg films the scene as the knife plunges DOWN</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRE STATION 91 - ARSON SQUAD ROOM - NIGHT</stage_direction>
<scene_description>DAPHNE , a sketch of her face .</scene_description>
<character>JORDY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Her lips are fuller than that. You can see'em a mile away.</dialogue>
<scene_description>WIDER Food containers are scattered all over the place . The female COMPOSITE ARTIST looks at Jordy . Stacks of failed sketches sit beside her .</scene_description>
<character>COMPOSITE ARTIST</character>
<dialogue>What about her cheek bones?</dialogue>
<character>JORDY</character>
<dialogue>Her cheek bones are prominent and her eyes were huge. Big, blue eyes and when I saw her, she looked scared. Like she was looking to get away. But she was absolutely beautiful.</dialogue>
<scene_description>The composite artist looks at Jordy .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I got ta good look at her.</dialogue>
<scene_description>Korfin has his chair turned around from his desk and is watching the sketch evolve as he speaks on the phone to the landlord of the 7th Street brownstone . Garcia is also on the phone . The other investigators are gone . Working late into the night . Everybody 's exhausted . It 's almost dawn .</scene_description>
<character>KORFIN</character>
<dialogue>- From Czechoslovakia? And how long have they been livin' in your building?</dialogue>
<parenthetical>( writes 4 YEARS on his pad . )</parenthetical>
<dialogue>Alright, I'll be in touch when we know somethin'.</dialogue>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>Milos and Tamina Karlova. They were quiet and kept to themselves. Landlord do n't know who your girl is.</dialogue>
<character>JORDY</character>
<dialogue>How long they been livin' here?</dialogue>
<character>KORFIN</character>
<dialogue>You hear that question, Garcia?</dialogue>
<character>GARCIA</character>
<dialogue>Yeah, I got Immigration on the phone - they've been here illegally.</dialogue>
<character>KORFIN</character>
<dialogue>Well, they're definitely permanent residents now.</dialogue>
<character>GARCIA</character>
<dialogue>I got the owner of the plumbing company Milos worked for.</dialogue>
<character>KORFIN</character>
<dialogue>Why do n't we get some sleep and we'll go see him in the morning.</dialogue>
<character>JORDY</character>
<dialogue>You go home. I'm takin' your car and goin' back to the crime scene.</dialogue>
<character>KORFIN</character>
<dialogue>Are n't you tired?</dialogue>
<character>JORDY</character>
<dialogue>If I go home I wo n't be able to fall asleep anyway.</dialogue>
<scene_description>Jordy takes the sketch of Daphne which is n't a bad likeness and heads for the door . Korfin falls in behind him . As they pass Garcia he hands Jordy the address .</scene_description>
<character>KORFIN</character>
<parenthetical>( of the picture . )</parenthetical>
<dialogue>She keepin' you up? Like to meet her, huh? She'd make you forget your ex wife. Cure your insomnia.</dialogue>
</scene>
<scene>
<stage_direction>INT. MILOS' APARTMENT - DAWN</stage_direction>
<scene_description>CAMERA DESCENDS FROM THE SKY picking up Jordy as he enters what is left of Milos and Tamina 's apartment . The roof has been burned off . He moves into the next room , trying to see through the darkness - looking through the muck and char .</scene_description>
<character>EDDIE</character>
<dialogue>Okay to smoke?</dialogue>
<scene_description>Jordy turns , surprised . Eddie sits on a singed chair . He pours from a half - pint bottle of vodka into his ` won ton soup ' container , smoking a cigar . On the arm of the armchair is a brown legal folder and stacks of photographs of the crime scene and the burned bodies .</scene_description>
<character>JORDY</character>
<dialogue>It's your crime scene now. You can do what you want.</dialogue>
<character>EDDIE</character>
<dialogue>Watch the news?</dialogue>
<character>JORDY</character>
<dialogue>Nah, I musta missed it.</dialogue>
<character>EDDIE</character>
<dialogue>Well, just so you know. I gave you guys the credit.</dialogue>
<character>JORDY</character>
<dialogue>Well, just so you know, I do n't care about that stuff.</dialogue>
<character>EDDIE</character>
<dialogue>Nah, why should you?</dialogue>
<character>JORDY</character>
<dialogue>I do n't even watch TV.</dialogue>
<character>EDDIE</character>
<dialogue>Good. Good. Commendable.</dialogue>
<scene_description>Eddie knocks his ` won ton soup ' back .</scene_description>
<character>JORDY</character>
<dialogue>Did you get a report from the M.E?</dialogue>
<character>EDDIE</character>
<dialogue>Sure. But I would like to ask you something. You got a problem with me?</dialogue>
<character>JORDY</character>
<dialogue>If you found me steppin' on your crime scene - it might piss you off, too.</dialogue>
<parenthetical>( then . )</parenthetical>
<dialogue>What about the report?</dialogue>
<character>EDDIE</character>
<dialogue>You were right, they were both dead before the fire. The male was stabbed so hard the killer broke off the tip of the knife in his spine. That's usually an indicator of something personal.</dialogue>
<scene_description>Jordy pulls out a sketch of Daphne . Hands it to Eddie .</scene_description>
<character>JORDY</character>
<dialogue>The Super said he'd seen her before but she did n't live here.</dialogue>
<character>EDDIE</character>
<dialogue>Pretty.</dialogue>
<character>JORDY</character>
<parenthetical>( acts as if he did n't notice . )</parenthetical>
<dialogue>Hmmmm.</dialogue>
<character>EDDIE</character>
<dialogue>Maybe you do n't care about that either.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Prettiest suspect I've had in awhile.</dialogue>
<character>JORDY</character>
<dialogue>Who says she's a suspect?</dialogue>
<scene_description>Jordy tries to take the sketch back . Eddie holds on .</scene_description>
<character>EDDIE</character>
<dialogue>What would you call her?</dialogue>
<character>JORDY</character>
<dialogue>Look, I'm not even sure she has anything to do with this. I saw her outside after the fire - thought it was a lead. Maybe she saw something. Maybe she was visiting somebody here. Who knows?</dialogue>
<scene_description>Eddie walks up to the burnt mattress - where the bodies were .</scene_description>
<character>EDDIE</character>
<dialogue>Obviously they were n't having sex. As you pointed out. So why go through all the trouble of putting'em like that?</dialogue>
<scene_description>Eddie passes a crime scene photo of the bodies to Jordy .</scene_description>
<character>JORDY</character>
<dialogue>Maybe it's a ritual thing or someone trying to send a message. Burial rites are taken very seriously in Eastern Europe. It could be to humiliate them. Just burning them up, no proper funeral, it's like condemning them to hell.</dialogue>
<character>EDDIE</character>
<dialogue>Eastern Europe. Like what? Romania? Hungary?</dialogue>
<character>JORDY</character>
<dialogue>Or Czechoslovakia. The Slavs have been fighting the Germans and the Russians for a thousand years. These are very intense people and they take things personally.</dialogue>
<scene_description>Eddie 's cellular rings - he grabs it .</scene_description>
<character>EDDIE</character>
<dialogue>Yeah? Where? You sure it was a knife? Uh - huh. Really? Okay.</dialogue>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>We've got another murder - in a hotel on Eighth Avenue. A stabbing. Clerk said the room was rented by a Russian.</dialogue>
<scene_description>Eddie 's moving with Daphne 's sketch .</scene_description>
<character>JORDY</character>
<dialogue>I'll come with you.</dialogue>
<character>EDDIE</character>
<dialogue>There was n't a fire. There'll be nothing for you to do.</dialogue>
<character>JORDY</character>
<dialogue>I can watch you, Eddie. Maybe I'll learn something.</dialogue>
<character>EDDIE</character>
<dialogue>This is n't homicide school.</dialogue>
<character>JORDY</character>
<dialogue>My parents are from Poland. I can help with the Eastern European angle.</dialogue>
<character>EDDIE</character>
<dialogue>You're Polish?</dialogue>
<character>JORDY</character>
<dialogue>My folks are.</dialogue>
<character>EDDIE</character>
<dialogue>Stay here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - NEWS STAND - DAY</stage_direction>
<scene_description>Video POV of the news stand as a hand reaches into frame and picks up a copy of THE NEW YORK POST . Eddie 's photo is on the front page - holding the kitchen timer by the wires . Underneath his picture the caption reads , `` DOUBLE HOMICIDE . FLEMMING 'S ON IT . '' The videocamera widens out revealing Emil standing in front of a Times Square news stand , reading the front page . The videocamera turns around - until focusing on Oleg himself .</scene_description>
<character>OLEG</character>
<dialogue>This is second day in America. First day was very exciting. Full of thrills and chills. Over there, is co - star of my new movie, Emil!</dialogue>
<scene_description>He turns the camera around - FILMING EMIL .</scene_description>
<character>EMIL</character>
<parenthetical>( to vendor . )</parenthetical>
<dialogue>Who is he?</dialogue>
<character>VENDOR</character>
<dialogue>New York's finest. This is his case.</dialogue>
<scene_description>The VENDOR - picks up People . Stephen Geller is on the cover .</scene_description>
<character>VENDOR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This all you want?</dialogue>
<character>EMIL</character>
<dialogue>Do you know how much killer gets for movie rights?</dialogue>
<character>VENDOR</character>
<parenthetical>( People . )</parenthetical>
<dialogue>In here, says he wants a million.</dialogue>
<character>EMIL</character>
<dialogue>Million?! The killer gets one million dollars for a television interview?</dialogue>
<character>VENDOR</character>
<dialogue>Hey, tabloids paid Ted Bundy - famous serial killer - half a million for his interview. And how much you think Monica got for writing book about the President coming on to her? It pays to be a killer or a whore in this country. Look, you want magazine or not?</dialogue>
<character>EMIL</character>
<dialogue>Yes. Both.</dialogue>
<character>OLEG</character>
<dialogue>And these.</dialogue>
<scene_description>Oleg picks up FILM COMMENT , MOVIELINE and PREMIERE magazine . Emil pays for everything .</scene_description>
<character>EMIL</character>
<parenthetical>( to Oleg . )</parenthetical>
<dialogue>Get a taxi.</dialogue>
<scene_description>Oleg tucks the magazines in his coat , picks up the suitcases and hails a taxi . As Emil collects his change he sees an old BLIND WOMAN waiting at the crosswalk . The light 's blinking WALK .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let me help.</dialogue>
<scene_description>Emil gently takes her arm and crosses her to the other side .</scene_description>
<character>BLIND WOMAN</character>
<dialogue>Thank you, son.</dialogue>
<scene_description>Emil watches her walk on .</scene_description>
</scene>
<scene>
<stage_direction>INT. KING EDWARD HOTEL ROOM - DAY</stage_direction>
<scene_description>The hotel room is a hive of activity . GIL is dusting the dresser for prints . Another officer is stripping the bed and putting the bedding into a big , clear plastic bag . As Eddie enters the crime scene , a POLICE PHOTOGRAPHER is standing in the doorway taking pictures .</scene_description>
<character>EDDIE</character>
<dialogue>Where is she?</dialogue>
<character>LEON</character>
<dialogue>Takin' a bath.</dialogue>
<character>EDDIE</character>
<dialogue>Any I.D?</dialogue>
<character>LEON</character>
<dialogue>Still unknown but we're running prints. Kid over there caught the case.</dialogue>
<scene_description>Jordy enters . Leon steps in his way .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sorry. PD only.</dialogue>
<character>EDDIE</character>
<dialogue>It's okay.</dialogue>
<scene_description>Eddie walks over to a young detective . TOMMY CULLEN , only 26 , is excited to meet Eddie .</scene_description>
<character>TOMMY</character>
<dialogue>Tommy Cullen. Heard a lot about you. Nice to meet you. Here's what we got. A girl in there, figure her to be a prostitute, looks like she was fighting for her life. She's got defense wounds on her hands. Right this way - in the bathroom.</dialogue>
<character>EDDIE</character>
<dialogue>After you.</dialogue>
<scene_description>Eddie follows Tommy into the bathroom . There 's blood splattered all over the walls and the floor . Honey 's topless body lies in the tub tangled in the bloody shower curtain . MURPHY , an Irish medical examiner -LRB- M.E. -RRB- , is examining the body .</scene_description>
<character>TOMMY</character>
<dialogue>Room was registered to a Francis Capra.</dialogue>
<character>JORDY</character>
<dialogue>Capra? That's not Czech or Russian. Who said he sounded Russian?</dialogue>
<character>TOMMY</character>
<dialogue>The clerk?</dialogue>
<character>EDDIE</character>
<dialogue>Check the switchboard, see what phone calls were made from this room.</dialogue>
<character>TOMMY</character>
<dialogue>I'll do it.</dialogue>
<scene_description>Tommy heads out . Eddie takes out his cigar holder . Slides out what 's left of his cigar . Re - lights it . Looks down at Honey 's body in the bathtub . Gil 's dusting the tub for prints .</scene_description>
<character>MURPHY</character>
<dialogue>Clothes were off in the other room. Tub is dry except for the blood.</dialogue>
<character>EDDIE</character>
<dialogue>Any of you guys take a piss lately?</dialogue>
<scene_description>Gil looks confused . Eddie points to the toilet . Seat is up .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do the seat for me.</dialogue>
<scene_description>Gil crosses to the toilet and starts to dust it . Eddie stands in the bathroom - studying the scene . Holding the unlit cigar . Looking around at the blood splattered walls .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Only one guys checked in?</dialogue>
<character>LEON</character>
<dialogue>Yeah.</dialogue>
<character>EDDIE</character>
<dialogue>C'mere. You wan na go to homicide school? Here - make yourself useful.</dialogue>
<scene_description>Eddie positions Jordy behind the tub next to the wall .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Our killer. our killer's standing here slashing at her. She's fightin' him. The blood is splattering this way. It's on this wall.</dialogue>
<parenthetical>( pointing to the right of Jordy . )</parenthetical>
<dialogue>And there's some specks over here.</dialogue>
<parenthetical>( to the left of Jordy . )</parenthetical>
<dialogue>There's nothing here because someone was standing right here. Someone big. And he's got blood on him. Lots of blood. He would n't walk out of here like that.</dialogue>
<parenthetical>( turning to Murphy . )</parenthetical>
<dialogue>Murphy, what kind of knife you think we're talking about here?</dialogue>
<scene_description>Murphy pulls out a clear plastic ruler and walks over to the blood - splattered wall .</scene_description>
<character>MURPHY</character>
<dialogue>If you look here where he missed and hit the wall you see that the marks are n't deep but they're kinda wide. not your everyday kitchen or pocket knife.</dialogue>
<character>EDDIE</character>
<dialogue>What if the tip was broken off?</dialogue>
<character>MURPHY</character>
<dialogue>Could be. Then we should find it here somewhere.</dialogue>
<character>EDDIE</character>
<dialogue>I think we've already found it.</dialogue>
<scene_description>Eddie exchanges a look with Jordy as Tommy , the young detective , returns .</scene_description>
<character>TOMMY</character>
<dialogue>There was only one call from this room last night. I dialed it. It's an escort service.</dialogue>
<character>LEON</character>
<dialogue>Did you identify yourself?</dialogue>
<character>TOMMY</character>
<dialogue>Hey, I'm new but I'm not stupid.</dialogue>
<character>EDDIE</character>
<dialogue>Call communications and get an address on that number.</dialogue>
<scene_description>Tommy holds up a slip of paper with the outcall service address on it .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Good work.</dialogue>
</scene>
<scene>
<stage_direction>INT. KING EDWARD HOTEL ROOM - STAIRS - DAY</stage_direction>
<scene_description>Jordy hurries out - catches up with Eddie .</scene_description>
<character>JORDY</character>
<dialogue>You goin' to the escort service?</dialogue>
<character>EDDIE</character>
<dialogue>You got any better ideas?</dialogue>
<character>JORDY</character>
<dialogue>Mind if I ride along with you?</dialogue>
<character>EDDIE</character>
<dialogue>This has nothing to do with your fire.</dialogue>
<character>JORDY</character>
<dialogue>But what if it does? You might need my help.</dialogue>
<scene_description>As Eddie exits the hotel , a MAN approaches .</scene_description>
<character>MAN</character>
<dialogue>Hey, Eddie, can I get your autograph for my son?</dialogue>
</scene>
<scene>
<stage_direction>EXT. KING EDWARD HOTEL - DAY</stage_direction>
<scene_description>Jordy catches up . Eddie finishes signing the autograph using the man 's back .</scene_description>
<character>EDDIE</character>
<dialogue>I'll let you know what happens.</dialogue>
<character>JORDY</character>
<dialogue>This is ridiculous. I'm not gon na be in your way - we can talk the case over.</dialogue>
<character>EDDIE</character>
<dialogue>Tell you what - I'll flip you a coin. If you win you can come with me. If you do n't win, you do n't come.</dialogue>
<character>JORDY</character>
<dialogue>I'll call it. tails.</dialogue>
<scene_description>Eddie pulls out a coin and hands it to Jordy .</scene_description>
<character>EDDIE</character>
<dialogue>Okay. I'll call it. Heads.</dialogue>
<scene_description>Jordy flips the coin and it 's heads .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Heads. See, you lost twice.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Okay. Get in.</dialogue>
<scene_description>Jordy goes for the passenger side of the car . Before Jordy can get in , Eddie starts to pull away . Jordy stands on the sidewalk - dejected . Eddie stops the car again and this time lets Jordy get in .</scene_description>
<character>WHIP PAN TO:</character>
<dialogue />
</scene>
<scene>
<stage_direction>INT. UPPER EASTSIDE HALLWAY - DAY</stage_direction>
<scene_description>Eddie and Jordy arrive in front of Rose 's door . Eddie knocks and flips a coin to Jordy .</scene_description>
<character>EDDIE</character>
<dialogue>Oh here. A souvenir.</dialogue>
<scene_description>Jordy takes the quarter . Not understanding what Eddie means . He looks at the quarter .</scene_description>
<character>JORDY</character>
<dialogue>Two heads.</dialogue>
<character>EDDIE</character>
<dialogue>Better than one.</dialogue>
<scene_description>Eddie suckered him with the coin toss . Jordy reacts . Eddie laughs - squirts Binaca in his mouth . Knocks again . We hear ROSE HELLER .</scene_description>
<character>ROSE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Who's there?</dialogue>
<character>EDDIE</character>
<dialogue>Police. We'd like to ask you a few questions.</dialogue>
<character>ROSE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I have nothin' to say. If you wan na contact my attorney.</dialogue>
<character>EDDIE</character>
<parenthetical>( commands . )</parenthetical>
<dialogue>Homicide, Miss Hearn. It's Detective Eddie Flemming. Open up.</dialogue>
<scene_description>Rose reacts . Immediately UNLOCKS , UNCHAINS and opens the door !</scene_description>
<character>ROSE</character>
<dialogue>You! I've seen you on TV!</dialogue>
<scene_description>Eddie glances self - consciously at Jordy .</scene_description>
<character>ROSE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>C'mon in. C'mon in!</dialogue>
</scene>
<scene>
<stage_direction>INT. ROSE'S APARTMENT - DAY</stage_direction>
<scene_description>They enter .</scene_description>
<character>ROSE</character>
<dialogue>Just a minute. Shit. And I do n't have a camera. Hold on a second.</dialogue>
<scene_description>Rose moves back to the phone - finishes up her conversation in Afrikaner . We hold on Eddie and Jordy at the door . Eddie looks around - taking in the place . FOUR GIRLS are on phones . Two girls take orders for customers . The other two work the phone sex lines . Rose hangs up the phone - turns to Eddie and Jordy :</scene_description>
<character>ROSE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's wrong?</dialogue>
<character>EDDIE</character>
<dialogue>We do n't have her I.D. yet, but one of your girls was killed last night at the King Edward Hotel.</dialogue>
<character>ROSE</character>
<dialogue>Oh my G - d. Honey! Honey's dead?</dialogue>
<character>JORDY</character>
<dialogue>Do you remember the man who called?</dialogue>
<scene_description>Though Rose answers Jordy , she directs her response to Eddie .</scene_description>
<character>ROSE</character>
<dialogue>Yeah. He wanted a girl from Czechoslovakia, but I sent him Honey'cause once they get there, you know, it does n't really matter - Honey was killed? Poor girl.</dialogue>
<character>EDDIE</character>
<dialogue>Do you have any Czech girls working for you?</dialogue>
<character>ROSE</character>
<dialogue>No.</dialogue>
<character>EDDIE</character>
<dialogue>Did you tell him you did?</dialogue>
<scene_description>A BUTCH GIRL enters . Rose speaks to her in Afrikaner .</scene_description>
<character>ROSE</character>
<parenthetical>( Afrikaner . )</parenthetical>
<dialogue>Boy, she's so popular all the sudden.</dialogue>
<character>EDDIE</character>
<dialogue>What are you saying?</dialogue>
<character>ROSE</character>
<dialogue>Daphne. Another guy came in asking me about her, too.</dialogue>
<scene_description>Jordy pulls out the sketch , unfolds it .</scene_description>
<character>JORDY</character>
<dialogue>This her?</dialogue>
<character>ROSE</character>
<dialogue>Yeah. Sort of. I tried to recruit her, gave her my card. She said she'd think about it but I never heard from her.</dialogue>
<character>BUTCH GIRL</character>
<parenthetical>( Afrikaner . )</parenthetical>
<dialogue>Beautiful eyes.</dialogue>
<character>EDDIE</character>
<dialogue>Who came by looking for her?</dialogue>
<character>ROSE</character>
<dialogue>He said he was her cousin. I told him where she works. They were just here.</dialogue>
<character>EDDIE</character>
<dialogue>Describe him.</dialogue>
<character>ROSE</character>
<dialogue>Tall, short - haired, scary eyes. Second guy with him was. shorter, with a wrestler's build. And he would n't turn his videocamera off me.</dialogue>
<character>EDDIE</character>
<dialogue>He had a videocamera? Where is she? Quickly!</dialogue>
<character>ROSE</character>
<dialogue>She washes hair up at Ludwig's - a salon on 63rd and Madison.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDDIE'S CAR - DAY</stage_direction>
<scene_description>As Eddie speeds through the street , SIREN BLARING .</scene_description>
</scene>
<scene>
<stage_direction>INT. EDDIE'S CAR - DAY</stage_direction>
<scene_description>Jordy holds on as Eddie darts in and out of cars with astonishing dexterity . This man can drive . Eddie picks up his phone - dials . Jordy is on his cell phone as well .</scene_description>
<character>EDDIE</character>
<dialogue>Leon - meet us at 63rd and Madison. Hair salon. Ludwig's.</dialogue>
<character>JORDY</character>
<parenthetical>( overlapping . )</parenthetical>
<dialogue>I'm on my way with Eddie. Ludwig's. 63rd and Madison. The suspects might be there already.</dialogue>
<scene_description>Eddie looks over as Jordy disconnects . Eddie picks up a beer he was holding between his legs - finishes it .</scene_description>
<character>EDDIE</character>
<dialogue>You thirsty?</dialogue>
<character>JORDY</character>
<dialogue>I'm on duty.</dialogue>
<character>EDDIE</character>
<parenthetical>( drinking . )</parenthetical>
<dialogue>So am I. Alright, I'll go inside and you cover the back.</dialogue>
<character>JORDY</character>
<dialogue>Of course.</dialogue>
<character>EDDIE</character>
<dialogue>Hey! I always wanted to be a cop when I was a kid. I dreamed of running up to a door, kicking it in, pulling my gun and yelling ` Freeze!' at the bad guy! What'd you dream about?</dialogue>
<character>JORDY</character>
<dialogue>I wanted to run up to a building on fire, kick in the door, rush into the smoke and save a kid.</dialogue>
<character>EDDIE</character>
<dialogue>Then I guess we're doin' this the right way, are n't we? If we pull up to a burning building I'll gladly let you go first.</dialogue>
<scene_description>Jordy looks at Eddie - ca n't deny he 's right .</scene_description>
</scene>
<scene>
<stage_direction>INT. LUDWIG'S SALON - DAY</stage_direction>
<scene_description>We 're in a moving video POV of Ludwig 's , the hair salon - it 's big and spacious . The lens finds THE RECEPTIONIST .</scene_description>
<character>OLEG</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Daphne Handlova?</dialogue>
<character>RECEPTIONIST</character>
<dialogue>Daphne? In the back. Probably shampooing a customer's hair.</dialogue>
<scene_description>Oleg approaches Daphne who is mixing hair dye . LUDWIG , the owner , is with her .</scene_description>
<character>LUDWIG</character>
<dialogue>Why are you messing with your hair color again? You're going to kill your hair. You wo n't look good with black hair.</dialogue>
<character>DAPHNE</character>
<dialogue>I want to do it, alright?</dialogue>
<character>LUDWIG</character>
<dialogue>Well, then do it after work. A customer's waiting.</dialogue>
<scene_description>He leaves , a customer approaches . She smiles at him - turns on the water in the sink then sees - Oleg filming her . She backs up . suddenly moves to the emergency door ! TO THE BACKYARD There 's a garden out there . Daphne runs toward the alley . Oleg follows her - still videotaping . As she rounds the corner she bumps into . Emil ! He pulls out his kitchen knife , shoving her against the wall , pushing the blade with the broken tip against her throat .</scene_description>
<character>EMIL</character>
<dialogue>I. I have a temper.</dialogue>
<scene_description>She looks at him , not understanding . Oleg films the scene .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When I lose it, I lose control. I did n't intend to kill Milos but he stole from me. Cheated me! When I went to prison, they beat me. I still did n't tell he was my partner. I loved Milos like a brother.</dialogue>
<scene_description>The tone in Emil 's voice - there 's an uncharacteristic softness to it . He wants to reconcile his behavior to her .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( in English . )</parenthetical>
<dialogue>I'm not a killer.</dialogue>
<scene_description>The back door opens . He shoves the knife in his pocket as Ludwig peers around the alleyway . What he sees is Emil leaning close to Daphne , kissing her .</scene_description>
<character>LUDWIG</character>
<dialogue>Daphne, will you be coming back to work?</dialogue>
<character>DAPHNE</character>
<dialogue>In a minute, Ludwig.</dialogue>
<scene_description>Ludwig leaves .</scene_description>
<character>EMIL</character>
<dialogue>Smart girl. I'm glad you're not a whore. But washing hair? This is no job for a woman as beautiful as you. They should be washing your hair.</dialogue>
<scene_description>Emil reaches into his pocket and pulls out SOMETHING , sticks it in the palm of her hand , closing her fingers around it .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't want to kill you. But if you talk, I will.</dialogue>
<parenthetical>( whispers . )</parenthetical>
<dialogue>I thought you'd want these.</dialogue>
<scene_description>He taps her hand . he turns and goes out the rear exit . Oleg follows . Jordy arrives .</scene_description>
<character>JORDY</character>
<dialogue>Daphne?</dialogue>
<scene_description>She says nothing .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm a fire marshal. You remember me from the other night? You are Daphne, right?</dialogue>
<scene_description>She says nothing . Eddie arrives . Daphne turns . Recognizing Eddie .</scene_description>
<character>EDDIE</character>
<dialogue>You do n't have to be afraid. We're here to protect you. Come with me. We want to talk to you. You speak English alright?</dialogue>
<scene_description>Eddie looks at Jordy . Takes Daphne by the arm .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LUDWIG'S SALON - CONTINUOUS</stage_direction>
<scene_description>As they come out , Eddie notices Daphne clutching something in her hand . He reaches for her hand . Opens it . It 's a brushed gold necklace .</scene_description>
<character>EDDIE</character>
<dialogue>Did he give you these? Was he just here?</dialogue>
<scene_description>Eddie searches the streets . Notices Oleg and Emil on the far corner . Oleg is videotaping him . Leon and Tommy pull up . Korfin behind . They all pop out . Eddie grabs Leon - squeezes his arm - quietly .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The other side of the street. The guy with the videocamera.</dialogue>
<parenthetical>( back to Jordy . )</parenthetical>
<dialogue>Do n't look - put her in the car.</dialogue>
<parenthetical>( to Leon . )</parenthetical>
<dialogue>Stay this side.</dialogue>
<character>LEON</character>
<parenthetical>( back to Tommy . )</parenthetical>
<dialogue>Stay with her.</dialogue>
<scene_description>They start heading down the curb - trying not to attract the attention of Oleg and Emil . A VIDEO CLOSE - UP of the scene from across the corner .</scene_description>
<character>EMIL</character>
<parenthetical>( Czech . )</parenthetical>
<dialogue>Put the fuckin' camera down! Let's go!</dialogue>
<scene_description>Emil starts to flee .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NYC STREETS - CONTINUOUS</stage_direction>
<scene_description>What follows next is an incredible foot chase with Eddie , Jordy , Korfin and Leon running through traffic - chasing Emil . Eddie tries to stay in the lead but is running out of breath .</scene_description>
<character>EDDIE</character>
<dialogue>Split up!</dialogue>
<scene_description>Jordy runs down one side of Madison - Eddie , the other . Korfin continues down 62nd and Leon covers the other side . They search for Emil , grabbing people , turning them around , missing him . Emil seems to have disappeared . Leon , gun raised , approaches the cafe . As he rounds the corner , Emil darts out , cracking Leon across the face ! Leon crashes into a table , dropping his gun . Emil scoops up the gun and PISTOL - WHIPS Leon . BEATING the detective to a pulp . People are running from the scene . Emil takes Leon 's wallet . He is distracted by LAUGHTER . Oleg is VIDEOTAPING the scene .</scene_description>
<character>OLEG</character>
<dialogue>Emil, look!</dialogue>
<scene_description>Oleg swivels with the videocamera . Korfin is running toward them - pushing through the crowd . Emil FIRES ! Korfin is blown backwards .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Perfect! Cut. Print!</dialogue>
<scene_description>Eddie arrives . Bends down to Leon , whose face is red with blood . Jordy runs to Korfin , who 's laying in the street , shot in the side . Jordy cradles his partner .</scene_description>
<character>EDDIE</character>
<dialogue>Are you hit?</dialogue>
<character>LEON</character>
<dialogue>No. I'm okay.</dialogue>
<character>JORDY</character>
<parenthetical>( to Korfin . )</parenthetical>
<dialogue>Bobby, Bobby! Where're you hit?!</dialogue>
<character>KORFIN</character>
<dialogue>It hurts. Aw, Jesus!</dialogue>
<character>JORDY</character>
<dialogue>Lay down. Stay down, Bobby.</dialogue>
<scene_description>Jordy looks up as Eddie steps into the center of the street . Cars screech out of the way ! Eddie crouches , taking aim at Emil , who is almost two blocks away . It 's an impossible shot , out of range . But Eddie closes an eye , aims and squeezes off one SHOT . Two blocks away , Emil topples . Korfin and Jordy look at Eddie , astonished he made the shot . Emil scrambles to his feet . Runs . Eddie holsters his weapon . Pulls out a handkerchief . Dabs Leon 's wounds .</scene_description>
<character>LEON</character>
<dialogue>He got my gun! Motherfucker was filming the whole time!</dialogue>
<character>EDDIE</character>
<dialogue>I know. Relax. Take it easy. Do n't worry, we'll get those fuckers.</dialogue>
<scene_description>EMS VEHICLE Eddie and Jordy watch as Korfin on a stretcher , is loaded in an EMS VEHICLE and in b.g. , an EMS DOCTOR attends to Leon 's bloody face . Eddie and Jordy turn to go back into the restaurant , now cleared out - as Nicolette Karas arrives with her cameraman .</scene_description>
<character>NICOLETTE</character>
<dialogue>Detective - can you tell us what happened here?</dialogue>
<character>EDDIE</character>
<dialogue>I ca n't talk right now. We have some things to take care of.</dialogue>
<scene_description>Jordy moves off , he does n't want to get pulled in front of Nicolette . Daphne can be seen waiting in the back of the restaurant , maybe twenty feet away . Tommy stands next to her . This is where Eddie and Jordy are headed .</scene_description>
<character>NICOLETTE</character>
<dialogue>I understand, but I noticed that the Fire Marshall is here with you. Is this somehow related to the fire department?</dialogue>
<character>EDDIE</character>
<dialogue>I really ca n't give out any information right now at this point.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay. But I do understand that your partner, Leon Jackson's been injured. Is that correct?</dialogue>
<character>EDDIE</character>
<dialogue>He was hurt, but not seriously. He'll be fine.</dialogue>
<character>NICOLETTE</character>
<dialogue>Do you have the suspect in custody?</dialogue>
<character>EDDIE</character>
<dialogue>Um. now is not a good time, okay. Detective Jackson's hurt. He's fine. I've got a Fire Marshall shot, Detective Jackson is hurt but not seriously.</dialogue>
<character>NICOLETTE</character>
<parenthetical>( to cameraman . )</parenthetical>
<dialogue>Alright, cut, cut, cut.</dialogue>
<scene_description>Mike the cameraman cuts the cameraman - lowers it from his shoulder .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to Eddie . )</parenthetical>
<dialogue>Eddie, are you okay?</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. Now's not a good time.</dialogue>
<character>NICOLETTE</character>
<dialogue>Alright.</dialogue>
<character>EDDIE</character>
<dialogue>Alright?</dialogue>
<character>NICOLETTE</character>
<dialogue>Alright.</dialogue>
<character>EDDIE</character>
<dialogue>Alright.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay.</dialogue>
<scene_description>Eddie walks into the restaurant . Throws a look back at her , then enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. ARMAND RESTAURANT - DAY</stage_direction>
<scene_description>Jordy talks to Daphne .</scene_description>
<character>DAPHNE</character>
<dialogue>I told your partner, I ca n't help. I did n't see anything.</dialogue>
<character>EDDIE</character>
<dialogue>C'mon, start at the beginning. You know these people?</dialogue>
<character>DAPHNE</character>
<dialogue>Tamina was a friend of mine. My shower was broken, she let me use theirs.</dialogue>
<character>EDDIE</character>
<dialogue>Go on.</dialogue>
<scene_description>She says nothing .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Whether you tell us or not, we'll find out. Better if it comes from you.</dialogue>
<character>DAPHNE</character>
<dialogue>If I tell you, will you arrest me?</dialogue>
<character>EDDIE</character>
<dialogue>Arrest you for what? Why would we arrest you?</dialogue>
<scene_description>She still hesitates .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you hiding? Why are you afraid</dialogue>
<character>JORDY</character>
<dialogue>She just saw two of her friends killed! They probably threatened her.</dialogue>
<character>EDDIE</character>
<dialogue>Is that all there is?</dialogue>
<scene_description>She looks at Eddie .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you here illegally? Do n't worry about that. We'll talk to Immigration. They wo n't deport you.</dialogue>
<character>DAPHNE</character>
<dialogue>No, no, do n't talk to Immigration!</dialogue>
<scene_description>She clams up .</scene_description>
<character>JORDY</character>
<dialogue>Why not?</dialogue>
<character>EDDIE</character>
<dialogue>Something back home?</dialogue>
<scene_description>Jordy leads Daphne to a table - she sits . Eddie sits across from her . Jordy crouches down next to her .</scene_description>
<character>DAPHNE</character>
<dialogue>my little sister and I shared a flat - I came home one night and a man was raping her. His gun was on the chair. He came at me and I shot him.</dialogue>
<character>JORDY</character>
<parenthetical>( optimistic . )</parenthetical>
<dialogue>Alright. That's a justifiable homicide.</dialogue>
<character>DAPHNE</character>
<dialogue>Yes, but he was a cop.</dialogue>
<character>EDDIE</character>
<dialogue>A cop?</dialogue>
<character>DAPHNE</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm from a small town in Slovakia. Like the South here. The Police is right, a civilian is wrong. So I fled.</dialogue>
<character>EDDIE</character>
<dialogue>Look, we can help you but right now we have to deal with what's happening here. Tell us the truth. is that the truth?</dialogue>
<character>DAPHNE</character>
<dialogue>You're a cop - you'll never believe me.</dialogue>
<character>JORDY</character>
<parenthetical>( to Eddie . )</parenthetical>
<dialogue>Can I talk to you?</dialogue>
<scene_description>Eddie steps away with Jordy . Keeping his eyes on Daphne . She tries to listen .</scene_description>
<character>EDDIE</character>
<dialogue>She's fucked. Even if that story is true.</dialogue>
<character>JORDY</character>
<dialogue>Raw deal.</dialogue>
<scene_description>Eddie tilts his head . Measures Jordy .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look - let me talk to her. Any leads I get, they're all yours. Just let me have a first crack at her.</dialogue>
<character>EDDIE</character>
<dialogue>You wan na talk to her alone?</dialogue>
<character>JORDY</character>
<dialogue>Yeah.</dialogue>
<character>EDDIE</character>
<dialogue>What would your girlfriend think of that?</dialogue>
<character>JORDY</character>
<dialogue>I do n't have a girlfriend.</dialogue>
<character>EDDIE</character>
<dialogue>My point exactly.</dialogue>
<character>JORDY</character>
<dialogue>I'm serious here.</dialogue>
<character>EDDIE</character>
<dialogue>So am I.</dialogue>
<character>JORDY</character>
<dialogue>C'mon. You intimidate her'cause you're a celebrity. She sees me differently.</dialogue>
<character>EDDIE</character>
<dialogue>You're her Savior? Is she the kid you're gon na save from the burning building?</dialogue>
<character>JORDY</character>
<dialogue>You know what I'm saying here.</dialogue>
<scene_description>Eddie looks at his watch . Thinks it over . Measures Jordy .</scene_description>
<character>EDDIE</character>
<dialogue>Okay, tell you what, I'll give you a head start. You take her to the station house. Do n't let her out of your sight. She's the only warm body we got left.</dialogue>
<character>JORDY</character>
<dialogue>Hey. I'm a professional.</dialogue>
<character>EDDIE</character>
<dialogue>Women like that have a way of turning professionals into amateurs.</dialogue>
<scene_description>He gives Jordy a look and heads for the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. A SEEDY BATHROOM - DAY</stage_direction>
<scene_description>Emil pulls off his sock and shoe , lifts his foot into a stained sink and washes the blood away , exposing the chunk of pink flesh taken out of his ankle . Emil grabs some toilet paper , plugs the wound , then cuts the towel off the dispenser with his kitchen knife and wraps his ankle . He grits teeth in pain . The lights go out . Then Oleg adjusts the fluorescent light above the sink .</scene_description>
<character>OLEG</character>
<dialogue>Got ta light the scene better. Now it's more moody. like a scene from THE THIRD MAN.</dialogue>
<character>EMIL</character>
<dialogue>Shut up.</dialogue>
<character>OLEG</character>
<dialogue>Does it hurt?</dialogue>
<scene_description>Emil lifts his foot out of the sink .</scene_description>
<character>EMIL</character>
<dialogue>This is nothing.</dialogue>
<scene_description>Emil lifts his shirt , exposing his back .</scene_description>
<character>OLEG</character>
<dialogue>Oh, shit. I hate looking at that!</dialogue>
<character>EMIL</character>
<dialogue>Do n't want to film this?</dialogue>
<scene_description>We do n't see what Oleg sees - not yet - but from his expression , it 's horrible .</scene_description>
</scene>
<scene>
<stage_direction>INT. JORDY'S CAR - DAY</stage_direction>
<scene_description>Daphne rides in the backseat . Jordy 's watching her in the rearview .</scene_description>
<character>DAPHNE</character>
<dialogue>Now I become custody of police department?</dialogue>
<character>JORDY</character>
<dialogue>If you cooperate with the DA - maybe they'll help you with your situation.</dialogue>
<character>DAPHNE</character>
<dialogue>I will if they do n't send me back.</dialogue>
<character>JORDY</character>
<dialogue>They wo n't until this is over.</dialogue>
<scene_description>She looks away . Out the window . Jordy sees emotion filling her eyes . She looks back at him - her eyes have teared up .</scene_description>
<character>DAPHNE</character>
<dialogue>Are you married?</dialogue>
<character>JORDY</character>
<dialogue>Divorced.</dialogue>
<character>DAPHNE</character>
<dialogue>Do you live alone?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I've been in these clothes since. the killings. Could we stop at your place? I could take a shower. before I go into custody?</dialogue>
<scene_description>Jordy looks at her . Ca n't quite tell if she 's trying to manipulate him or really just wants to get cleaned up before all the shit starts .</scene_description>
<character>JORDY</character>
<dialogue>I ca n't take you to my place.</dialogue>
<character>DAPHNE</character>
<dialogue>Somewhere else?</dialogue>
<scene_description>Jordy looks at her . EDDIE Staring right at us .</scene_description>
<character>EDDIE</character>
<dialogue>I want to talk to you about something serious.</dialogue>
<scene_description>He holds up the diamond engagement ring .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want to live the rest of my life with you. I do n't know you've been married before and I've never been married, but I do love you, and.</dialogue>
<scene_description>Eddie is standing in front of a mirror - rehearsing the proposal . He notices a small dab of blood on his shirtcuff . Leon 's blood . Paulie enters carrying a towel and a vodka tonic .</scene_description>
<character>PAULIE</character>
<dialogue>She's here.</dialogue>
<scene_description>Paulie sets down the drink and begins their silent ritual . He hands Eddie the towel . Eddie wipes off his face and hands , then hands the towel back to Paulie . Paulie helps Eddie on with his coat . Eddie takes some Visine out of his coat pocket . Drops a few in each eye . HE straightens himself and looks in the mirror , taking a big gulp of the drink . Eddie sets the glass down and starts out . Paulie hands him a Binaca . Eddie gives himself a squirt as he exits . Paulie follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. P.B. HERMAN'S RESTAURANT - DAY</stage_direction>
<scene_description>It 's lunchtime . it 's crowded . Eddie takes a seat at a table . He takes the ring out of his pocket - holds it under the table . Nicolette Karas walks up to Eddie from behind . Gives him a kiss on the cheek .</scene_description>
<character>NICOLETTE</character>
<dialogue>Hey, honey.</dialogue>
<character>EDDIE</character>
<dialogue>Hey.</dialogue>
<scene_description>She orders a drink in Greek from the Greek waiter , then sits down across the table . There 's a long pause - they just look at each other .</scene_description>
<character>NICOLETTE</character>
<dialogue>What is your problem? Why'd you snap at me? I just wanted a statement.</dialogue>
<character>EDDIE</character>
<dialogue>I ca n't. I ca n't answer you just because you want me to answer you!</dialogue>
<character>NICOLETTE</character>
<dialogue>You did n't have to embarrass me in front of my colleagues. You could give me something.</dialogue>
<character>EDDIE</character>
<dialogue>Oh, I'm sorry. Did I embarrass you, sweetheart? Oh.</dialogue>
<character>NICOLETTE</character>
<dialogue>Stop it.</dialogue>
<character>EDDIE</character>
<dialogue>Maybe I should just, ya know. turn to the cameras and say, do you mind if we just work something out?</dialogue>
<character>NICOLETTE</character>
<dialogue>Alright, alright, Eddie. Do n't patronize me.</dialogue>
<character>EDDIE</character>
<dialogue>I'm not.</dialogue>
<character>NICOLETTE</character>
<dialogue>Yes you are. I'm not just some reporter. I do n't just stick a microphone in your face. You could give me something.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, well you took the camera and put it right down on the evidence. That was.</dialogue>
<character>NICOLETTE</character>
<dialogue>That was good. You were holding the evidence.</dialogue>
<character>EDDIE</character>
<dialogue>You were merciless. You did n't give a shit if you got me or not.</dialogue>
<character>NICOLETTE</character>
<dialogue>Well, who was it that taught me how to do that? Huh?</dialogue>
<character>EDDIE</character>
<dialogue>You're ruthless.</dialogue>
<character>NICOLETTE</character>
<dialogue>You're not so bad yourself.</dialogue>
<scene_description>They look at each other .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>C'mere.</dialogue>
<scene_description>They kiss .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Look at this. You have blood on your shirt. Whose is it?</dialogue>
<character>EDDIE</character>
<dialogue>Could be Leon's.</dialogue>
<character>NICOLETTE</character>
<dialogue>Jesus. And last week you came over with blood on your shoes. What am I going to do with you?</dialogue>
<scene_description>Eddie takes her hand .</scene_description>
<character>EDDIE</character>
<dialogue>You know, I been thinkin'. these shoes might look nice with another pair of shoes next to them in the closet.</dialogue>
<scene_description>She looks at him .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You know, Nicky, I've been married twice before. My first wife was a professional woman, did n't have time for children. My second wife. I never wanted to go home to her.</dialogue>
<scene_description>Nicolette 's phone rings . Eddie stops - looks at the ringing phone .</scene_description>
<character>NICOLETTE</character>
<dialogue>What are you doing? What are you saying?</dialogue>
<scene_description>Nicolette 's phone keeps ringing . Eddie stares at it .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Eddie?</dialogue>
<scene_description>Nicolette 's phone keeps ringing .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do n't worry about the damn phone. I wo n't answer it.</dialogue>
<character>EDDIE</character>
<dialogue>Answer the phone.</dialogue>
<character>NICOLETTE</character>
<dialogue>No. Tell me what you want to say.</dialogue>
<character>EDDIE</character>
<dialogue>Answer it.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay. Okay. Hold that thought just for a second. They only call me when it's an emergency. Just hold that thought.</dialogue>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Can you call back?</dialogue>
<character>PHONE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>We need you here in twenty minutes. Get in a cab.</dialogue>
<character>NICOLETTE</character>
<dialogue>What're you talking about?</dialogue>
<character>PHONE VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Katie. We do n't know where she is. We ca n't find her. You got ta anchor the 5:00. This is your shot. Come now.</dialogue>
<character>NICOLETTE</character>
<dialogue>What? Oh. Okay. Yeah.</dialogue>
<scene_description>The line disconnects . She collapses the phone . Turns to Eddie .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh my G - d, they want me to anchor. They want me to anchor tonight!</dialogue>
<character>EDDIE</character>
<dialogue>That's good.</dialogue>
<character>NICOLETTE</character>
<dialogue>Yeah.</dialogue>
<character>EDDIE</character>
<dialogue>Well, that's great.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay. That is great. But I ca n't go now, we're in the middle of something here.</dialogue>
<character>EDDIE</character>
<dialogue>No. Go ahead. You're gon na be great.</dialogue>
<character>NICOLETTE</character>
<dialogue>No. No, listen to me here. I want to know what you're talking about. You know, the shoe thing and the marriages and.</dialogue>
<character>EDDIE</character>
<dialogue>I'll tell you tonight. Let's do it tonight. As soon as you get back we'll talk. We'll talk.</dialogue>
<character>NICOLETTE</character>
<dialogue>Promise?</dialogue>
<character>EDDIE</character>
<dialogue>I promise. We'll talk. You'll be great. You'll be fine. Go ahead, just imagine that, uh. Just look into the lens and imagine you're talking to me.</dialogue>
<character>NICOLETTE</character>
<dialogue>Yeah. I'll do that. As long as you're not patronizing me.</dialogue>
<character>EDDIE</character>
<dialogue>Patronizing you. Nay, I love you.</dialogue>
<character>NICOLETTE</character>
<dialogue>I love you.</dialogue>
<scene_description>They kiss .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay, til tonight.</dialogue>
<character>EDDIE</character>
<dialogue>Tonight.</dialogue>
<character>NICOLETTE</character>
<dialogue>You promise?</dialogue>
<character>EDDIE</character>
<dialogue>Yeah. I promise.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay. And you know what, I'll swing by my place, grab a couple pairs of shoes and maybe just test them out next to yours. How's that. Would that be a good thing.</dialogue>
<character>EDDIE</character>
<dialogue>Yeah, yeah. Good thing.</dialogue>
<character>NICOLETTE</character>
<dialogue>Okay.</dialogue>
<character>EDDIE</character>
<dialogue>See you later. Good luck.</dialogue>
<character>NICOLETTE</character>
<dialogue>Thank you.</dialogue>
<character>EDDIE</character>
<dialogue>Do n't be late.</dialogue>
<scene_description>She walks out .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRE STATION 91 - DAY</stage_direction>
<scene_description>Jordy unlocks the door . Enters with Daphne . The fire station is empty .</scene_description>
<character>JORDY</character>
<dialogue>The men are out of quarters - practicing putting out fires.</dialogue>
<character>DAPHNE</character>
<dialogue>So. the station is empty?</dialogue>
<character>JORDY</character>
<dialogue>Yeah. This way.</dialogue>
<scene_description>He gestures toward the stairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRE STATION LOCKER ROOM - CONTINUOUS</stage_direction>
<scene_description>Jordy and Daphne walk through the locker room . Her eyes never leaving Jordy 's .</scene_description>
<character>JORDY</character>
<dialogue>You considered becoming a prostitute?</dialogue>
<character>DAPHNE</character>
<dialogue>Yes, I considered it.</dialogue>
<character>JORDY</character>
<dialogue>Did you ever turn tricks before?</dialogue>
<character>DAPHNE</character>
<dialogue>No.</dialogue>
<character>JORDY</character>
<dialogue>What about back home?</dialogue>
<character>DAPHNE</character>
<dialogue>No.</dialogue>
<scene_description>Daphne stops . Looks at him . Stands very close .</scene_description>
<character>DAPHNE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I came here. I had no money. I knew no one. I could n't get a job because you have to have a green card to get work. They approached me - I could've made a lot of money. I considered it, but. it's not who I am. They pay me below the table at Ludwig's.</dialogue>
<character>JORDY</character>
<dialogue>So you were never a prostitute?</dialogue>
<character>DAPHNE</character>
<dialogue>What are you asking me?</dialogue>
<character>JORDY</character>
<dialogue>I'm just trying to find out who you are.</dialogue>
<scene_description>She looks up into his eyes . Searching . Thinking he 's hinting .</scene_description>
<character>DAPHNE</character>
<dialogue>Can you let me go?</dialogue>
<scene_description>She leans in close to him - giving him the opportunity to kiss her . Jordy is tempted but . remembers Eddie 's warning and backs up slightly .</scene_description>
<character>JORDY</character>
<dialogue>Showers are this way.</dialogue>
<scene_description>Desperate now , willing to do anything , Daphne moves in even closer .</scene_description>
<character>DAPHNE</character>
<dialogue>You could shower with me.</dialogue>
<scene_description>Jordy is locked in her eyes . Almost giving in . Then breaks away . Gestures towards the showers . Daphne looks away form him - crestfallen . She heads to the showers . Jordy follows her into the bathroom . The walls are lined with shower stalls .</scene_description>
<character>JORDY</character>
<dialogue>I'll uh, I'll get you a towel.</dialogue>
<scene_description>He leaves her there . Alone . She quickly moves to the window . Opens it . Looks down . It 's a two - story drop to the street . JORDY gets a towel from the locker room . His beeper goes off . He checks the number but decides not to return the call . We follow him back into the bathroom . The shower is on but he notices the window . It 's open .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit!</dialogue>
<scene_description>He rushes over . He looks out . No sign of her . He turns - looks back at the shower . It 's on but he ca n't see through the curtain . Ca n't tell if she 's there . He walks over - quickly - fearing that she 's left . He pulls the curtain aside . She 's crouched in the corner shower stall . Holding herself . She looks up at him - her eyes filled with tears .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you alright?</dialogue>
<scene_description>Jordy sits on the bench next to the shower .</scene_description>
<character>DAPHNE</character>
<dialogue>I'm not a whore. I'm not a whore.</dialogue>
<character>JORDY</character>
<dialogue>I know.</dialogue>
<character>DAPHNE</character>
<dialogue>You do n't know. I'm sorry. I was desperate. That's not me. I shot a cop. Can you imagine what they'll do to me when I got to prison?</dialogue>
<character>JORDY</character>
<dialogue>They're not gon na send you right back.</dialogue>
<character>DAPHNE</character>
<dialogue>I'm sorry. I did n't mean to. I'm glad. Actually I'm glad it's over. All this time. Hiding. Never being able to look anyone in the eyes. Always afraid that someone would find out who I was. Never trusting anyone.</dialogue>
<scene_description>He covers her with the towel , pulling her up .</scene_description>
<character>JORDY</character>
<dialogue>You can trust me.</dialogue>
<scene_description>She embraces him . Trusting him . He stands there for a moment . Then awkwardly holds her . Comforting her .</scene_description>
</scene>
<scene>
<stage_direction>INT. NYC RESTAURANT - DAY</stage_direction>
<scene_description>CLOSE UP on a steak . Male hands cut a piece . Another male hand sets down a huge bottle of Extra Strength Excedrin . The hands abandon the steak and rip open the bottle . The CAMERA pulls back to include the LCD screen of Oleg 's videocamera . He is taping Emil as he rips open the safety plastic with his teeth . Emil is sweating with fever and his eyes are glazed over in pain . He ` drinks ' pills from the bottle and chews them up . Wincing in pain . Emil washes them down with a beer . Emil looks down and the camera follows his gaze to the `` People '' magazine article he 's reading on Stephen Geller . Emil laughs . Shaking his head at the article as the videocamera tilts back up to his face .</scene_description>
<character>OLEG</character>
<dialogue>What is it?</dialogue>
<character>EMIL</character>
<dialogue>The video of Milos and Tamina - I told you to erase it.</dialogue>
<character>OLEG</character>
<dialogue>I did.</dialogue>
<character>EMIL</character>
<dialogue>And the whore's murder? You did n't erase that either, did you? Do n't lie, I wo n't be angry.</dialogue>
<character>OLEG</character>
<dialogue>Why not?</dialogue>
<character>EMIL</character>
<dialogue>Put the camera down, Oleg.</dialogue>
<scene_description>Oleg closes the LCD screen and puts the camera down . Emil removes a small address book - from Leon 's wallet - he looks up Eddie Flemming 's name .</scene_description>
<character>OLEG</character>
<dialogue>What is that?</dialogue>
<character>EMIL</character>
<dialogue>What does it look like? It's an address book!</dialogue>
<scene_description>Oleg jumps up with the camera to tape the book .</scene_description>
<character>OLEG</character>
<dialogue>Let me get a shot of it.</dialogue>
<character>EMIL</character>
<dialogue>Sit down!</dialogue>
<character>OLEG</character>
<dialogue>This way. Hold it this way. Good.</dialogue>
<scene_description>Oleg gets a shot and quickly sits back down .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Why wo n't you be angry at me for keeping my movie?</dialogue>
<scene_description>Emil takes a gulp of beer - drops cash on the table and limps away . Oleg follows .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRECINCT - DAY</stage_direction>
<scene_description>It 's quiet - Chief Duffy paces in front of the Sergeant 's desk . Looking at his watch . Growing more and more aggravated as every second ticks by . Jordy enters escorting Daphne . Sees Duffy and tires to go past him . Duffy turns and sees Jordy and Daphne .</scene_description>
<character>DUFFY</character>
<dialogue>Hey. Warsaw.</dialogue>
<scene_description>Jordy stops and comes back . Sitting Daphne down on a bench .</scene_description>
<character>JORDY</character>
<dialogue>Hey, Chief, what are you doing here?</dialogue>
<character>DUFFY</character>
<dialogue>I came to see how the investigation was going.</dialogue>
<parenthetical>( looks at Daphne . )</parenthetical>
<dialogue>I called and you're not here. I wait up at the station and you do n't even show up! I beep you - you do n't return my call. Where the hell have you been?!</dialogue>
<scene_description>Jordy takes a few steps away from Daphne .</scene_description>
<character>JORDY</character>
<dialogue>Ladder 20 was on the Rock for training. We stopped there. so she could get cleaned up.</dialogue>
<character>DUFFY</character>
<dialogue>What do you mean, ` cleaned up?'</dialogue>
<character>JORDY</character>
<dialogue>I let her take a shower.</dialogue>
<character>DUFFY</character>
<dialogue>A shower!? Did you take one, too?</dialogue>
<character>JORDY</character>
<dialogue>No! Nothing happened.</dialogue>
<character>DUFFY</character>
<dialogue>Oh really. That's nice. You took a homicide witness to take a shower after your partner was shot? Are you out of your fucking mind? Are you having that much trouble gettin' dates?!</dialogue>
<character>EDDIE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I told him to take her there.</dialogue>
<scene_description>Jordy and Duffy turn . Eddie walks out . Eddie turns - Tommy - the young detective who caught the case in the King Edward Hotel - is coming out of the back office .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Tommy, get her outta here.</dialogue>
<scene_description>Tommy takes Daphne into the precinct .</scene_description>
<character>TOMMY</character>
<dialogue>This way, ma'am.</dialogue>
<character>EDDIE</character>
<dialogue>There was too much press hangin' around there. I did n't want her face on the news. So I told him to take her to a quiet area until things settled down.</dialogue>
<character>DUFFY</character>
<dialogue>Oh.</dialogue>
<character>EDDIE</character>
<dialogue>It was my decision, not his.</dialogue>
<character>DUFFY</character>
<dialogue>Well, I'm the Deputy Chief Fire Marshall and every now and then I'd like to be included in decisions.</dialogue>
<character>EDDIE</character>
<dialogue>Look, after Jordy briefs me, you can do the press conference. How about that? The case is all yours.</dialogue>
<character>DUFFY</character>
<dialogue>Oh yeah? Alright.</dialogue>
<character>EDDIE</character>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>I'm ready to be briefed.</dialogue>
<parenthetical>( to Duffy . )</parenthetical>
<dialogue>Excuse us.</dialogue>
<character>DUFFY</character>
<parenthetical>( to Eddie . )</parenthetical>
<dialogue>Yeah, sure.</dialogue>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>Beep me when you're ready for the press conference.</dialogue>
<character>JORDY</character>
<dialogue>Will do, Chief.</dialogue>
<scene_description>Eddie leads the way , walking past the Sergeant 's desk - toward the back and to his office .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Eddie, I.</dialogue>
<scene_description>Eddie holds up his hand - silencing Jordy .</scene_description>
<character>EDDIE</character>
<dialogue>Wait.</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE PRECINCT - DETECTIVE ROOM'S SQUAD - DAY</stage_direction>
<scene_description>A handful of detectives talk about work over burned coffee . Eddie enters with Jordy .</scene_description>
<character>EDDIE</character>
<dialogue>Guys. give me a few minutes?</dialogue>
<scene_description>They empty out .</scene_description>
<character>JORDY</character>
<dialogue>Look, Eddie, I'm tellin' you - I did n't touch her.</dialogue>
<character>EDDIE</character>
<dialogue>Well, you shoulda because nobody's gon na believe you did n't. including me.</dialogue>
<character>JORDY</character>
<dialogue>I took her there for a shower and that's it.</dialogue>
<character>EDDIE</character>
<dialogue>Just a shower?</dialogue>
<scene_description>Eddie gives Jordy a questioning look .</scene_description>
<character>JORDY</character>
<dialogue>Yeah, just her in the shower. Nothing happened. Look, I'm sure you probably think I'm a fool and I fucked up, but.</dialogue>
<character>EDDIE</character>
<dialogue>No, I do n't think you were a fool, I just think you were stupid about it. I mean, to say the least, you outta know better. You do n't know her well enough. She's got the potential to fucking hang you even if she suggests that you made a pass at her, it's fuckin' over. You can deny it all you want, but it will not make one fucking bit of difference. You're dead.</dialogue>
<character>JORDY</character>
<dialogue>I told you, you know, I thought I was doing the right thing, you know, I think she's innocent.</dialogue>
<character>EDDIE</character>
<dialogue>Well, it's not up to you to decide whether she's innocent or not. Do n't you understand, that's why you're a professional.</dialogue>
<character>JORDY</character>
<dialogue>But, I mean, did n't you ever go out on a limb for somebody? I mean, you shoulda heard her there. Tellin' her whole story. I believed her.</dialogue>
<character>EDDIE</character>
<dialogue>How you go out on a limb for somebody is by giving her a number of an Immigration lawyer. Here, here's a number of an Immigration lawyer. That's how you help her. But you ca n't get involved in her like that. You're gon na jeopardize your career, your life and you're gon na jeopardize my case. And lem me give you another piece of advice. Maybe you do n't watch TV but I'll let you in on a little secret - the whole fuckin' world watches television. And when you get out there, they know your face. And the little fame, the little fuckin' itty bitty fame that I get in this city makes it a lot easier for my job. And I get more done because of it.</dialogue>
<scene_description>Jordy studies Eddie for a quiet beat .</scene_description>
<character>JORDY</character>
<dialogue>Why'd you help me back there with the Chief? Why'd you stand up for me like that?</dialogue>
<character>EDDIE</character>
<dialogue>You know, I do n't know. I like you. You remind me of a puppy I used to have. He pissed on the rug all the time, but I still kept him.</dialogue>
<scene_description>Eddie picks up his cigar that 's going out . He sticks it in his mouth . A match is lit . He looks up . Jordy holds the match . Eddie dips the end of the cigar and puffs . The homicide detective and the fire marshal hold a look .</scene_description>
</scene>
<scene>
<stage_direction>INT. EDDIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Eddie walks in - carrying flowers . He closes and locks the door behind him . He grabs the phone . Dials .</scene_description>
<character>EDDIE</character>
<dialogue>It's Flemming. anything turn up? Did they check the hospitals? Airports? Yeah, I hit him! I fuckin' hit him! We should be all over everywhere - with dogs, choppers, everything! These guys are from fuckin' Czechoslovakia.</dialogue>
<scene_description>He looks at the flowers . Decides to put the case behind him for a moment .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll call you later.</dialogue>
<scene_description>He HANGS up . Arranges the flowers in a vase . So they look perfect . Sets them on the coffee table . Fills out a card , writes , `` Nicky , I love you . Will you marry me ? '' He sticks the card in the flowers - turns the lights down low . Puts a romantic Sinatra song on the stereo . Moves to the liquor cabinet . Pours himself a drink . He sets the ringbox on the coffee table - next to the flowers . There 's a knock at the door .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Coming!</dialogue>
<scene_description>Eddie smooths his hair , unlocks the door . But the hallway is empty .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nicky!?!?</dialogue>
<scene_description>No answer . Eddie steps out in the hallway with the drink in his hand . Walks toward the elevator . Does n't notice the shadow that passes behind him - entering his apartment . Eddie turns . No sign of anyone .</scene_description>
<character>EDDIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Nicky?!</dialogue>
<scene_description>He walks back toward his apartment . Turns and locks the door . A BLUR jumps out of the shadows SLAMMING him on the head with a gun . Eddie tumbles to the floor ! OUT COLD ! A BLURRED VIDEO IMAGE as it 's focused - on Eddie - handcuffed and upper body taped to a chair - 20 minutes later - sobered up . Emil is sitting in front of him . On the coffee table alongside him are the flowers in a vase . They 've ransacked the place . Emil has Eddie 's watch , his gold shield and his money . He 's smoking one of Eddie 's cigars and in Emil 's hand . is the diamond engagement ring and card . Oleg , 60 MINUTES - style , is positioned behind Emil videotaping Eddie . He moves to the corner of the room - bringing a light back over to illuminate Eddie 's face .</scene_description>
<character>EMIL</character>
<dialogue>So. who's Nicky?</dialogue>
<character>EDDIE</character>
<dialogue>What do you want?</dialogue>
<character>EMIL</character>
<dialogue>Your opinion.</dialogue>
<parenthetical>( leaning forward . )</parenthetical>
<dialogue>You see, they going to make a movie about me, too, Eddie. And write books.</dialogue>
<character>EDDIE</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>What's your accomplishment.</dialogue>
<character>EMIL</character>
<dialogue>I kill someone famous.</dialogue>
<character>EDDIE</character>
<dialogue>Then do it, asshole.</dialogue>
<character>EMIL</character>
<dialogue>Good - be tough to the end. Actor who plays you will want to die like hero.</dialogue>
<scene_description>Eddie looks at the videocamera . Emil answers Eddie 's look .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So tabloids do n't have to do re enactments. They going to have real movie this time.</dialogue>
<character>EDDIE</character>
<dialogue>If you kill me and film it you're putting a noose around your neck.</dialogue>
<scene_description>Emil turns to Oleg .</scene_description>
<character>EMIL</character>
<dialogue>Turn it off.</dialogue>
<scene_description>Oleg obeys . Emil turns to Eddie .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No. We are insane. Who else but crazy men would film their murders?</dialogue>
<parenthetical>( gestures to Eddie . )</parenthetical>
<dialogue>So we kill someone famous and if we are caught, we are sent to mental hospital. But what good is money there? Because once in hospital I say I not crazy. Just pretended to be acquitted. We see psychiatrists. They must certify we are sane and because of your - what is law called?</dialogue>
<parenthetical>( Eddie says nothing . )</parenthetical>
<dialogue>Oh - I got it. Because of your Double Jeopardy law, we ca n't be tried for same crime twice. We come out free, rich and famous!</dialogue>
<character>OLEG</character>
<dialogue>Good idea!</dialogue>
<character>EDDIE</character>
<dialogue>You really think you'll be able to fool a jury with this bullshit? How fuckin' stupid are you?</dialogue>
<character>EMIL</character>
<dialogue>Smarter than Americans. You're fed cry baby talk shows all day long. Not only will Americans believe me, they'll cry for me.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>So. Detective Eddie Flemming, would you like to say goodbye to your Nicolette? Maybe you can propose to her now?</dialogue>
<scene_description>Eddie says nothing . Just stares at Emil . Emil puffs on Eddie 's cigar .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Okay. He has nothing to say.</dialogue>
<parenthetical>( signaling Oleg . )</parenthetical>
<dialogue>Start the camera!</dialogue>
<character>OLEG</character>
<dialogue>Cut!</dialogue>
<scene_description>Emil looks at Oleg .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is my project. I say ` action.' I am the director! You are the talent. You wait for me to say ` action!'</dialogue>
<scene_description>Emil looks at Eddie as if to say , `` See what I have to put up with . '' Oleg gestures from behind the videocamera .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And. action!</dialogue>
<scene_description>Oleg FILMS as Emil raises Eddie 's service revolver . Eddie suddenly KICKS at Emil 's hand , but Emil pulls it away , backing out of Eddie 's reach .</scene_description>
<character>EMIL</character>
<dialogue>Bad last moment - I cut that out.</dialogue>
<scene_description>Emil raises the pistol again - pointing the gun at Eddie 's left temple . Emil cocks the hammer , but Eddie avoids the gun , ducking his head to the side of Emil 's arm . Standing and following his head up Emil 's arm and pushing him over into the desk . Eddie then knocks Emil with the chair and Emil falls off the desk and onto the floor . Oleg still grips the videocamera . Eddie continues around with the chair and drives Oleg back across the room - pinning him to the wall . Eddie comes back from Oleg to the gun at the same time as Emil is limping for it . Eddie knocks Emil out of the way with the chair and then stabs him with the legs of the chair repeatedly . Eddie comes up and around again at Oleg who is coming at him from the wall . Eddie knocks Oleg over the coffee table and onto the sofa . Falling on top of him , rolling over and leaving Oleg on the sofa . Eddie manages to get up from the sofa and position the chair in such a way that he can fall over backward and grab the gun . Emil limps toward the gun at the same time and it is not clear in the darkness who has the gun . Oleg gets up from the sofa and goes over to get the videocamera . Eddie has managed to get the gun and comes up as Oleg is moving in with the camera and starts shooting toward Oleg - managing to shoot one of the blinds off the window and one of the lampshades off the lamp . Oleg crouches down with the camera and Eddie starts to turn toward Emil who comes at him with the knife and stabs him in the stomach . Emil steps back , revealing the knife is BURIED IN EDDIE 'S STOMACH . Eddie stumbles backward , falling over but still attached to the chair - holding the gun . Eddie ca n't believe he got stabbed . Blood swells around his stomach . He ca n't be dying . This ca n't be happening . He looks at Emil . The pain is terrible . Oleg has knelt down next to Eddie - getting a close up . Emil looks at Eddie .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Die. Die.</dialogue>
<scene_description>Emil looks around . Grabs a black pillow and finishes Eddie off , suffocating him . BLACKNESS We are moving through a tunnel - pitch black , so dark all you feel is the motion . We are travelling very fast . Finally , in the distance , a speck of light which fills the frame . We slowly pull back from the white light to discover it is a tiny pixel on a TV screen . WIDENING further out we see Eddie 's funeral on the evening news . It 's an enormous gathering - a sea of blue uniforms and dignitaries . In the upper right hand corner , superimposed over the funeral , is a picture of Eddie from his ID and in his NYPD uniform . We see Oleg 's reflection on the set with the videocamera . He is filming the TV . We hear the audio from Eddie 's funeral .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>. Detective Flemming was one of the most decorated NYPD detectives in the history of New York. He made several thousand arrests during his career, including the famed Stephen Geller case. Beloved by the community in which he served. His partner eulogized him.</dialogue>
<scene_description>Leon is at the mic .</scene_description>
<character>LEON</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>Eddie was my mentor, my best friend and my partner. he taught me the meaning of the word ` cop.' He was a man in every sense of the word. I'll miss him.</dialogue>
<parenthetical>( choking on tears . )</parenthetical>
<dialogue>Sleep well, brother.</dialogue>
<scene_description>Leon begins to sing `` Amazing Grace . '' Oleg PANS from the TV and focuses it on a lightbulb . Hands enter the frame - carefully pouring clear liquid into an ashtray . A long hypodermic needle slides into the ashtray - the plunger is pulled back and the needle quickly fills with liquid . Gingerly , the needle is inserted into the lightbulb . Again , the plunger moves and the lightbulb is filled and placed on a table . next to a CAN OF GASOLINE . VIDEOCAMERA ZOOMS OUT revealing . Emil sitting at a hotel desk doing this .</scene_description>
</scene>
<scene>
<stage_direction>INT. P.B. HERMAN'S RESTAURANT - DAY</stage_direction>
<scene_description>It 's packed with COPS drinking . Prosecutors . lawyers . many who were at the funeral , including Leon . All wear the black ribbon on their badges . There 's a quality of an Irish wake - boisterous , guys cursing . many cops in uniform . A buffet has been laid out . Hawkins enters in a black suit , wearing a black ribbon . He greets people , shaking hands , embracing Leon .</scene_description>
<character>HAWKINS</character>
<dialogue>Awful. what an awful day. He was New York City.</dialogue>
<scene_description>Hawkins notices a young man by the window . Teary - eyed . It 's Tommy . Hawkins nods to him .</scene_description>
<character>TOMMY</character>
<dialogue>I never got to tell him how much I admired him.</dialogue>
<character>HAWKINS</character>
<dialogue>I know, son, I know. We all loved him.</dialogue>
<scene_description>Hawkins moves on . greeting others . He notices at the end of the bar - sitting alone on a stool - is Nicolette . He moves to her . Pulls up a stool alongside her . She turns , looks at him . Just stares at him for a long beat . She is bombed . Definitely drunk . She 's had many . She turns to Hawkins .</scene_description>
<character>NICOLETTE</character>
<dialogue>You know. you know he was gon na propose to me. The crime guys found a card he'd written out to me. And a ring box. these fuckers that killed him - have my ring. They have my diamond engagement ring.</dialogue>
<scene_description>Hawkins touches her shoulder with compassion .</scene_description>
<character>HAWKINS</character>
<dialogue>I know.</dialogue>
<character>NICOLETTE</character>
<dialogue>What do you mean you know? He told you he was gon na propose to me?</dialogue>
<character>HAWKINS</character>
<dialogue>Well, he.</dialogue>
<character>NICOLETTE</character>
<parenthetical>( overriding . )</parenthetical>
<dialogue>I want to hear everything he said.</dialogue>
<character>HAWKINS</character>
<dialogue>I'm trying to tell you.</dialogue>
<character>NICOLETTE</character>
<dialogue>Alright. Go ahead.</dialogue>
<character>HAWKINS</character>
<dialogue>That morning. He was talking to me and Leon about marriage.</dialogue>
<character>NICOLETTE</character>
<dialogue>Oh my G - d. We were having lunch here. He started making overtures - talking about little shoes next to his in his closet but I got a call to anchor - and I walked out on him. I walked out on him when he was trying to ask me to marry him!</dialogue>
<scene_description>Nicolette is crying now . She angrily wipes away a tear .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'd never had a great relationship before. I'd never made great choices with men. And he was n't easy to get to know. He was older, my parents told me I was nuts to get involved with him. But he was so great to me. Always encouraging, telling me I could do anything.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>He was the one. You know, I'd give up everything - everything - for just a little more time. I would've spent fifteen minutes with him if that's all I knew I had.</dialogue>
<scene_description>She 's lost it . Hawkins consoles her . Nicolette shrugs him off - turns back to her drink . Downs the rest of it . A woman arrives , MAGGIE , Hawkins ' producer - assistant in tow .</scene_description>
<character>MAGGIE</character>
<dialogue>Robert?</dialogue>
<character>HAWKINS</character>
<dialogue>What are you doing here?</dialogue>
<character>MAGGIE</character>
<parenthetical>( holding a cellular . )</parenthetical>
<dialogue>You've got a call.</dialogue>
<character>HAWKINS</character>
<dialogue>I ca n't talk to anybody right now, ca n't you see I'm busy! I ca n't talk business. Hang up. Have a drink.</dialogue>
<parenthetical>( to Paulie . )</parenthetical>
<dialogue>Get her a whiskey.</dialogue>
<character>MAGGIE</character>
<dialogue>Trust me, you'll want to take this call.</dialogue>
<scene_description>Robert steps off the stool . Takes the phone .</scene_description>
<character>HAWKINS</character>
<dialogue>Hello? Who is this?</dialogue>
<parenthetical>( listens . )</parenthetical>
<dialogue>How do I know this is you?</dialogue>
<scene_description>Hawkins gives Nicolette a comforting squeeze on her shoulder . Backs away from the bar . Now out of hearing distance , he looks back at Nicolette and lowers his voice .</scene_description>
<character>HAWKINS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where?</dialogue>
<scene_description>We INTERCUT Emil on a public phone in the lobby of a movie theater . Oleg videotapes Emil on the phone , as he throws glances into the theater .</scene_description>
<character>EMIL</character>
<dialogue>Come to 45 Broadway. Do n't bring the Police. Come alone or you'll be in my next film.</dialogue>
<character>HAWKINS</character>
<parenthetical>( low . )</parenthetical>
<dialogue>Look asshole. I've been threatened by better than you.</dialogue>
<character>EMIL</character>
<dialogue>No. I'm the best that's ever threatened you.</dialogue>
<character>HAWKINS</character>
<dialogue>I'll meet you on one condition - I get exclusivity and you surrender to me.</dialogue>
<character>EMIL</character>
<dialogue>We'll talk about that. Four o'clock gives you time to go to bank. Three hundred thousand dollars.</dialogue>
<character>HAWKINS</character>
<dialogue>What? It does n't work that way.</dialogue>
<character>EMIL</character>
<parenthetical>( incensed . )</parenthetical>
<dialogue>If you do n't want my film - I'll call another show. And they will show it.</dialogue>
<character>HAWKINS</character>
<dialogue>Wait a minute. Wait a minute.</dialogue>
<character>EMIL</character>
<dialogue>Come alone. Bring cash. And we'll talk about surrendering.</dialogue>
<scene_description>CLICK . The line goes dead . Hawkins disconnects . Hands the phone back to Maggie . She 's looking at him . Excited . Hawkins looks at Nicolette . His mind whirls .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIRE STATION 91 - KITCHEN - DAY</stage_direction>
<scene_description>Daphne and Korfin are sitting at a table . Korfin 's arm is in a sling , his side bandaged . Duffy and Jordy enter in their dress uniforms . Korfin walks over to them .</scene_description>
<character>KORFIN</character>
<dialogue>How was it?</dialogue>
<character>JORDY</character>
<parenthetical>( numb . )</parenthetical>
<dialogue>Not good.</dialogue>
<scene_description>Jordy 's quiet . Dazed . Nobody can believe Eddie 's gone .</scene_description>
<character>DUFFY</character>
<parenthetical>( nods to Daphne . )</parenthetical>
<dialogue>Did the D.A. videotape her deposition?</dialogue>
<character>KORFIN</character>
<dialogue>Yeah. He finished awhile ago.</dialogue>
<character>DUFFY</character>
<parenthetical>( to Korfin . )</parenthetical>
<dialogue>Alright. Swing by her apartment. Let her pick up her clothes and take her straight to Hoover Street. You got that?</dialogue>
<character>KORFIN</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jordy looks at her . Duffy sees them hold each other 's look .</scene_description>
<character>JORDY</character>
<dialogue>Chief - mind if I take her?</dialogue>
<character>DUFFY</character>
<dialogue>Okay. But not water sports.</dialogue>
<scene_description>Duffy walks out . Jordy leads Daphne out of the station . Korfin follows . A MAN IN A CHEAP SUIT is talking to Camello who points as Jordy walks by . The man chases after Jordy .</scene_description>
<character>MAN</character>
<dialogue>Excuse me - Jordan Warsaw?</dialogue>
<character>JORDY</character>
<dialogue>Yeah.</dialogue>
<character>MAN</character>
<parenthetical>( shoving papers in Jordy 's hand . )</parenthetical>
<dialogue>Consider yourself served.</dialogue>
<scene_description>Jordy opens the papers . Korfin puts Daphne in the car . Walks back over to Jordy and reads over his shoulder .</scene_description>
<character>KORFIN</character>
<dialogue>Zwangendaba? Is suing you, the department and the city of New York for 10 million? Who is Zwangendaba?</dialogue>
<scene_description>Jordy remembers . and gets more depressed .</scene_description>
<character>JORDY</character>
<dialogue>The mugger.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DAPHNE'S APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>It 's an old brownstone - in poor condition . Jordy pulls up . Opens the door for Daphne - takes her by the elbow - steering her to the door . He is edgy . Jumpy . Looking around .</scene_description>
<character>DAPHNE</character>
<dialogue>Are you alright?</dialogue>
<character>JORDY</character>
<dialogue>I still ca n't believe Eddie's gone.</dialogue>
<character>DAPHNE</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>He looks at her . Nods . They walk up to the stairs as the front door opens . A NEIGHBOR exits , shocked . Jordy pulls Daphne out of the way .</scene_description>
<character>DAPHNE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( in Czech to the man . )</parenthetical>
<dialogue>Hello. How are you?</dialogue>
</scene>
<scene>
<stage_direction>INT. DAPHNE'S APARTMENT BUILDING - HALLWAY - CONTINUOUS</stage_direction>
<scene_description>Jordy and Daphne make their way up the stairs . A bouquet of flowers are outside Daphne 's apartment .</scene_description>
<character>JORDY</character>
<dialogue>What's this?</dialogue>
<scene_description>She takes the card . Jordy looks over her shoulder . Daphne reads : `` Good luck with all your troubles . I 'm here if you need me . Ludwig . ''</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is he your boyfriend?</dialogue>
<character>DAPHNE</character>
<dialogue>Ludwig? He's gay - are you jealous?</dialogue>
<character>JORDY</character>
<dialogue>If I was your boyfriend, I might be.</dialogue>
<character>DAPHNE</character>
<dialogue>If you were my boyfriend, I'd suggest you find another girlfriend that is n't going to jail ten - thousand miles away.</dialogue>
<scene_description>They 're staring in each other 's eyes . The sexual tension strong .</scene_description>
<character>JORDY</character>
<dialogue>A good Immigration lawyer could stall the process. Eddie recommended one.</dialogue>
<character>DAPHNE</character>
<dialogue>No matter what happens. I'm glad I met you.</dialogue>
<character>JORDY</character>
<dialogue>I'm glad I met you.</dialogue>
<scene_description>They hold each other 's eyes . then suddenly they kiss . Urgently . Passionately . Somebody is coming up the stairs . They part quickly . A tenant enters his apartment down the hall . Jordy clears his throat .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let's get your stuff.</dialogue>
<scene_description>He opens the door . Peers inside - checking it out . Turns to her . Gestures that it 's okay to enter .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAPHNE'S APARTMENT - CONTINUOUS</stage_direction>
<scene_description>It 's very small . Almost no furniture . The bare minimum . The apartment is a hole . She looks at Jordy . Both thinking the same thought . Another kiss .</scene_description>
<character>JORDY</character>
<dialogue>You better get packed.</dialogue>
<character>DAPHNE</character>
<dialogue>Right.</dialogue>
<scene_description>She holds his look .</scene_description>
<character>JORDY</character>
<dialogue>Do you have coffee?</dialogue>
<character>DAPHNE</character>
<dialogue>In the kitchen.</dialogue>
<character>JORDY</character>
<dialogue>I'll make some for us.</dialogue>
<character>DAPHNE</character>
<dialogue>I'll get my clothes.</dialogue>
<scene_description>She heads down the hall . Jordy enters the small kitchen . He flips on the kitchen light and the LIGHTBULB EXPLODES - SETTING THE CEILING ON FIRE AND RELEASING A RAIN OF FIRE INTO THE ROOM . Jordy JUMPS BACK .</scene_description>
<character>DAPHNE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Jordy!</dialogue>
<character>JORDY</character>
<dialogue>No! Get back! GET BACK!</dialogue>
<scene_description>Jordy 's more surprised than shaken . It 's a fire - he knows the drill . He pushes her into the living room . Then notices a FIRE EXTINGUISHER hanging on the wall . Grabs it . Aims it at the FIRE spreading in the kitchen . He SPRAYS as Daphne SCREAMS !</scene_description>
<character>DAPHNE</character>
<dialogue>That's not mine!</dialogue>
<scene_description>WHOOOOOOOOOSH ! The fire extinguisher FEEDS THE FIRE ! Flames leap up from the fire - shooting toward the extinguisher because it 's filled with gasoline . The handle LOCKS ! Jordy CA N'T TURN IT OFF . Flames engulf the extinguisher and JORDY 'S HAND . He flings the extinguisher - BACKS OUT OF THE KITCHEN . Closes the door . Jordy takes off his jacket . Stuffs it under the bottom of the door . Blocking the smoke . He hurries into the living room . Knowing it 's moments before the extinguisher will explode . Jordy pulls out his cellular . Hits the speed dial as he notices Daphne about to throw a chair through the window .</scene_description>
<character>JORDY</character>
<dialogue>Do n't! It'll suck the flames toward us!</dialogue>
<scene_description>Too late . She SMASHES the window . There 's an EXPLOSION in the kitchen . Smoke and fire rush down the hallway and along the ceiling . Jordy yells into the phone :</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is Jordan Warsaw! We got a 1075, make it quick, we're trapped! 8th Avenue and 44th Street.</dialogue>
<scene_description>He pulls Daphne toward the bedroom . It 's locked . Jordy kicks it open . Grabs the comforter off the bed . Shoves that under the door jam . He pulls Daphne into the bathroom . Shuts the door . Runs his severely burned hand under the cold water . Daphne looks out the window - hearing the sirens . She notices someone has nailed the window shut . And on top of one nail . is Eddie 's gold shield .</scene_description>
<character>DAPHNE</character>
<dialogue>Oh my G - d! Oh my G - d!</dialogue>
<scene_description>Jordy turns - sees Eddie 's shield .</scene_description>
<character>DAPHNE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They were here!</dialogue>
<scene_description>This freaks her out . They were in her home . She starts to panic .</scene_description>
<character>JORDY</character>
<dialogue>Calm down. Get a hold of yourself! Get down!</dialogue>
<scene_description>He pulls aside the curtain to the bathtub . In it is a CAN OF GASOLINE . A virtual bomb .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh Jesus!</dialogue>
<scene_description>Daphne reaches for the can of gasoline .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>DAPHNE</character>
<dialogue>Pouring it out!</dialogue>
<scene_description>She grabs the can of gasoline - pours it down the drain . The FIRE is raging outside the bathroom . The bathroom door is beginning to smoke and burn . They are trapped . Jordy turns - grabs an exposed water pipe that runs up the wall to the ceiling . He throws his feet against the wall for leverage . Pulls with all his might to break it loose . It 's creaking - but he 's having a hard time with it .</scene_description>
<character>DAPHNE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh shit!</dialogue>
<scene_description>Jordy looks over . The gasoline she 's pouring out - is not going down the drain . It 's stopped up . As soon as the fire gets in the bathroom , everything will explode ! Jordy begins pulling at the rusty pipe with all his might . Daphne comes over - helps him . Both of them trying to break it off . Suddenly it snaps and water POURS into the room . SOAKING THE WALLS . They point the pipe toward the door , soaking some of the flames which are consuming the door . Trying to stop the fire from coming in . He and Daphne are drenched . And trapped . Jordy grabs a broken piece of pipe . Starts SMASHING the wall behind them . The wall to the adjacent apartment . VIDEO POV Jordy and Daphne in the bathroom - surrounded by fire . CAMERA WHIP PANS down the street as FIRE ENGINES arrive . OLEG is VIDEOTAPING them from the opposite rooftop . Tenants from Daphne 's building are fleeing down the fire escape . Emil stands in back of Oleg - who is very excited . He turns the camera on himself .</scene_description>
<character>OLEG</character>
<dialogue>This is great film! You can see fire right now - Daphne is in fire - Fire Marshal is here. Everything is so messy. Everything is so crazy right here! Look at this fire! We made it! 90 % of people who die in fire die from eating smoke. So most likely they all die from eating smoke.</dialogue>
<scene_description>The CAMERA PANS to Emil .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And this is the man who started the fire. Say something to your fans, Emil!</dialogue>
<scene_description>Emil waits a beat and then blows a kiss to the lens . DAPHNE 'S BATHROOM Filled with smoke . You can barely see Jordy or Daphne . Jordy SMASHES a hole in the wall - which reveals the bathroom in the apartment next door . The smoke has a place to escape . There 's a 7 - year old KID in there . Standing in the bathroom . Terrified .</scene_description>
<character>JORDY</character>
<dialogue>Get back! Get out of the bathroom! Run!</dialogue>
<character>7-YEAR OLD KID</character>
<dialogue>The hallway is on fire!</dialogue>
<character>JORDY</character>
<dialogue>It's okay. I'm a fireman. I'm going to help you. Get back! Now!</dialogue>
<scene_description>Jordy pushes Daphne through the wall - turns as the bathroom door catches fire . It 's seconds before the whole room will blow up . OLEG Across the roof is videotaping the bathroom as it EXPLODES !</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - CONTINUOUS</stage_direction>
<scene_description>Fire engines have arrived . The street is filled with gawkers . Garcia and Korfin pull up just as Jordy runs from the building - holding the kid in one arm and pulling Daphne with the other . Carefully guarding his bandaged hand . A fireman grabs the kid . Another grabs Daphne . Garcia and Korfin run to Jordy .</scene_description>
<character>GARCIA</character>
<dialogue>Jordy! What the hell happened?!</dialogue>
<character>KORFIN</character>
<dialogue>Are you alright, man? Lem me see the hand!</dialogue>
<character>JORDY</character>
<dialogue>Where's Daphne? Daphne?</dialogue>
<scene_description>He spots Daphne on the corner as a familiar voice pushes through the crowd .</scene_description>
<character>VOICE</character>
<dialogue>Is n't she a beauty? She's my fire, look at that loom - up on her!</dialogue>
<scene_description>Jordy turns - it 's Max . The attention pyromaniac who Jordy threw out of his office . As a news crew arrives , Max turns to the cameras .</scene_description>
<character>MAX</character>
<dialogue>I did this! I did this! Take my picture! I'm Max! Max Gornick!</dialogue>
<scene_description>Jordy grabs Max - pushes him away .</scene_description>
<character>JORDY</character>
<dialogue>Get outta here!</dialogue>
<character>KORFIN</character>
<dialogue>What the hell happened?</dialogue>
<character>JORDY</character>
<dialogue>They were inside. They booby trapped her apartment!</dialogue>
<scene_description>Korfin scans the crowd . Looking for Emil and Oleg . In the b.g. , Duffy is SCREAMING .</scene_description>
<character>DUFFY</character>
<dialogue>What the hell are you talking about? They're gon na do what?</dialogue>
<scene_description>Jordy and Korfin turn . The Chief has a phone to his ear and is freaked .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY OF CHANNEL 12 BROADCASTING - NIGHT</stage_direction>
<scene_description>JORDY 'S POV as he enters the TV station . His clothes burnt and still wet . The lobby 's full of ANGRY COPS . Tommy and Leon , still in his funeral suit , SCREAMING above them all at Maggie the producer and her ASSISTANT , who are standing behind the desk .</scene_description>
<character>TOMMY</character>
<dialogue>Where is he?! Where is Hawkins?!</dialogue>
<character>MAGGIE</character>
<dialogue>He's not on the premises!</dialogue>
<character>LEON</character>
<dialogue>I want the tape. Go get it and bring it here this minute.</dialogue>
<character>MAGGIE</character>
<dialogue>Any request for the video must be directed to `` Top Story's'' attorney - Bruce Cutler. I'll be happy to give you his number.</dialogue>
<scene_description>Leon jumps over the desk where Maggie stands . Tommy pushes past the security guard to follow Leon . They continue toward Maggie , pushing her further back into the office . She tries to protect herself with an office door which Leon slams open .</scene_description>
<character>LEON</character>
<dialogue>Lady, if you put Eddie's murder on TV, I'll get a warrant for your arrest and shove it so far up your ass it'll come outta your mouth!</dialogue>
<character>MAGGIE</character>
<dialogue>I want your shield number!</dialogue>
<character>HAWKINS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Viewer discretion advised!</dialogue>
<character>MAGGIE</character>
<parenthetical>( pointing at the TV . )</parenthetical>
<dialogue>You want the tape? There it is!</dialogue>
<scene_description>Leon , Tommy , all the cops and Jordy - turn toward a TV set which is mounted in the lobby . The `` Top Story '' logo flashes on the screen , then Robert Hawkins is seen behind his desk .</scene_description>
<character>HAWKINS</character>
<dialogue>What we are about to broadcast is very graphic footage.</dialogue>
<scene_description>Everyone is riveted . But Jordy notices outside . a `` Top Story '' NEWS VAN is waiting in the alley . Robert Hawkins jumps from a doorway and into the van . Jordy backs out .</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANET HOLLWYOOD - NIGHT</stage_direction>
<scene_description>POP . a video POV of a bottle of Crystal as the cork is popped . The videocamera pans up to Emil sitting at the table . He nods at the waiter who leaves . Emil raises the glass - looking into the lens .</scene_description>
<character>EMIL</character>
<dialogue>America! Who says you ca n't be success in America? I arrived with nothing, knowing nobody - now look - I am a success story!</dialogue>
<scene_description>The videocamera is lowered . Oleg turns it off . Asks suspiciously .</scene_description>
<character>OLEG</character>
<dialogue>You are success story? I am success story! Why do you say I and not we?</dialogue>
<character>EMIL</character>
<dialogue>Oleg, do n't be paranoid. You got a hundred - fifty thousand dollars, did n't you? I gave you half of what they gave me. Look - here we are!</dialogue>
<scene_description>Emil gestures toward the big television set . We are in Planet Hollywood - where diners and those by the bar can watch a huge screen hanging from the ceiling . Robert Hawkins is introducing his show .</scene_description>
<character>HAWKINS</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>Good evening. Welcome to `` Top Story''. Tonight, I present to you material of a graphic and violent nature never before seen on television. And I do so with a heavy heart. You will be first - hand witness to the slaying of celebrated New York City Homicide Detective, Eddie Flemming. It would be only normal to ask, why? Why are we showing something so journalist, I must show it. A democracy survives through the freedom of its media, and if we can not see what is happening then we do n't deserve our democracy, or our freedom. Eddie Flemming was my friend. I cried when I watched this footage and vowed to fight this violence with every molecule of my being from this day onward. Hopefully, this will have a similar effect on you. One final word, this material is absolutely not appropriate for children.</dialogue>
<scene_description>The restaurant BUZZES . Emil checks his watch .</scene_description>
<character>OLEG</character>
<dialogue>In movie they make of us, who do you think would act me?</dialogue>
<character>EMIL</character>
<dialogue>The one who got caught in the bathroom.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>George Michael.</dialogue>
<scene_description>Emil laughs . Oleg does n't .</scene_description>
<character>OLEG</character>
<dialogue>I'm serious.</dialogue>
<character>EMIL</character>
<dialogue>Shut up. Look!</dialogue>
<scene_description>Emil points towards the TV . `` Top Story '' is continuing . The scene cuts to Emil 's video footage . Eddie is handcuffed to the chair . The light illuminating his face .</scene_description>
<character>OLEG</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>This is my project. I say ` action.' I am the director! You are the talent. You wait for me to say ` action.'.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And ` action!'</dialogue>
<character>EMIL</character>
<dialogue>Bad last moment - I cut it out.</dialogue>
<scene_description>Emil looks at Oleg - furious .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I told you to cut that out before we handed in the tape!</dialogue>
<character>OLEG</character>
<dialogue>Be quiet. Watch.</dialogue>
<scene_description>Oleg watches the big - screen TV as Emil raises the pistol to Eddie 's temple . Eddie pushes him over the desk . Eddie then knocks Emil with the chair and Emil falls off the desk onto the floor . Eddie continues around with the chair and drives Oleg back across the room - pinning him to the wall . Eddie and Emil both go for the gun . Eddie knocks him out of the way . Stabs him with the legs of the chair repeatedly . Leaves him in a ball on the floor . Oleg comes at Eddie and he knocks Oleg over the coffee table and onto the sofa . The blinds and lamp shade are shot - bathing the room with more light . Emil stabs Eddie in the stomach . Oleg kneels down for a CLOSE - UP .</scene_description>
<character>EMIL</character>
<dialogue>Die. Die.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIMES SQUARE - CONTINUOUS</stage_direction>
<scene_description>Hawkins ' van drives across Times Square . Jordy 's car following . We WIDEN OUT . Eddie 's murder is being broadcast on the JUMBOTRON in Times Square . People stare up - stunned .</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANET HOLLWYOOD - CONTINUOUS</stage_direction>
<scene_description>The dinner patrons are watching TV . Shocked . Emil glares at Oleg .</scene_description>
<character>EMIL</character>
<dialogue>Why did you leave that stuff in about you being the director?</dialogue>
<character>OLEG</character>
<dialogue>Because I am the director. Do n't you realize, if it was n't for my film, for my talent, my idea to do this - no way would we be sitting here right now.</dialogue>
<character>EMIL</character>
<dialogue>Your idea? I thought it was my idea.</dialogue>
<scene_description>Oleg tenses . Emil laughs .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are n't you just the cameraman?</dialogue>
<scene_description>Oleg does n't laugh .</scene_description>
<character>OLEG</character>
<dialogue>I'm serious. this - this is a great American film. Full of violence and sex. And I want my credit.</dialogue>
<character>EMIL</character>
<dialogue>Credit?</dialogue>
<character>OLEG</character>
<dialogue>Yes. Before we hand in the next video - I put titles on it and my credit is going to read - Directed by Oleg Razgul.</dialogue>
<character>EMIL</character>
<dialogue>Yes. But there's only one problem - you want credit but the problem is - I do n't share credit.</dialogue>
<scene_description>Oleg is pissed .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You got that?</dialogue>
<character>OLEG</character>
<dialogue>No, I do n't get that!</dialogue>
<character>EMIL</character>
<dialogue>You think you are a director? You are a fucking little, small Russian piece of shit. And I hate you. I fucking hate you.</dialogue>
<scene_description>Emil slaps Oleg across the face . Oleg stands up . Emil suddenly pulls out Eddie 's gun but before he can pull the trigger , Oleg STABS Emil in the arm ! Emil squeezes off a shot through the crowded restaurant . Patrons SCREAM - Oleg runs through the restaurant , escaping . It 's chaos . Hawkins arrives with a crew and with BRUCE CUTLER , a confident , tough criminal attorney . Emil pulls the steak knife out of his arm , picks up a napkin - pressing it to his wound .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh, hello.</dialogue>
<scene_description>Cutler accesses the situation .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Are you my attorney?</dialogue>
<parenthetical>( extends his hand to Cutler . )</parenthetical>
<dialogue>I'm Emil. I'm insane.</dialogue>
<character>CUTLER</character>
<dialogue>I'm not your lawyer until I see the money.</dialogue>
<character>EMIL</character>
<dialogue>Here. I have your money.</dialogue>
<scene_description>Emil picks up a briefcase and hands it to Cutler . Cutler opens it - inside is the cash Emil got from Robert Hawkins . Emil looks at the table , pushing the plates and silverware aside . Emil looks under the table , throwing the chair aside , freaking . He 's lost the most important thing in his life .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh no! No! Shit!</dialogue>
<character>CUTLER</character>
<parenthetical>( follows Emil - reaching out to him . )</parenthetical>
<dialogue>Emil. Take it easy. Stay with me. Sit down. What do you need? What are you looking for?</dialogue>
<character>EMIL</character>
<dialogue>He has the camera! He took the movie!</dialogue>
<scene_description>Jordy comes in , gun raised .</scene_description>
<character>JORDY</character>
<dialogue>Do n't move! Do n't move! Get your hands up! Drop it!</dialogue>
<scene_description>Emil puts his hands in the air . Immediately drops the gun !</scene_description>
<character>EMIL</character>
<dialogue>I give up!</dialogue>
<scene_description>Jordy is disappointed ! He did n't want to take Emil alive . Hawkins signals to his camera man , who swings his camera at Jordy as he approaches Emil , his gun aimed at Emil 's head .</scene_description>
<character>CUTLER</character>
<dialogue>This man is unarmed, officer. He's surrendered.</dialogue>
<scene_description>Jordy cracks Emil across the face - knocking him down .</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What are you hitting him for?</dialogue>
<character>JORDY</character>
<dialogue>Turn that camera off!</dialogue>
<scene_description>Jordy handcuffs him . Emil turns to the camera for sympathy , appearing more hurt than he is .</scene_description>
<character>EMIL</character>
<dialogue>No. Keep filming.</dialogue>
<scene_description>Jordy realizes how media savvy Emil is and understands in that moment why he 's surrendering . Jordy yanks Emil up - dragging him across the restaurant floor - Emil still favoring his ankle .</scene_description>
<character>CUTLER</character>
<parenthetical>( to Emil . )</parenthetical>
<dialogue>Do n't say anything.</dialogue>
<character>EMIL</character>
<dialogue>Where are we going?</dialogue>
<character>CUTLER</character>
<dialogue>I'm coming with you.</dialogue>
<character>EMIL</character>
<dialogue>Yes. Yes, come with me!</dialogue>
<character>CUTLER</character>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>I'm invoking rights - this man is represented by counsel. I'm coming with him.</dialogue>
<scene_description>The `` Top Story '' crew is all over them , filming everything . Cutler stays close to Emil . Making sure he 's in the video footage .</scene_description>
<character>JORDY</character>
<dialogue>Turn that camera off!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLANET HOLLWYOOD - CONTINUOUS</stage_direction>
<scene_description>As Jordy comes out with a limping Emil , police are arriving . Tommy , Leon and Murphy run over as Jordy opens the back door to his car . Leon grabs Emil .</scene_description>
<character>LEON</character>
<dialogue>I'll take him.</dialogue>
<character>JORDY</character>
<dialogue>No way! He's mine!</dialogue>
<character>LEON</character>
<parenthetical>( holding on to Emil , squeezing his arm hard . )</parenthetical>
<dialogue>We're takin' him. Do n't argue!</dialogue>
<character>JORDY</character>
<dialogue>He's my collar!</dialogue>
<character>LEON</character>
<dialogue>Well, he killed my partner!</dialogue>
<character>JORDY</character>
<dialogue>He's yours but I take him in! I'll drive him to the precinct, you can have him but I'm walkin' him in.</dialogue>
<scene_description>Leon realizes Jordy wants to be seen on TV taking Emil into custody .</scene_description>
<character>LEON</character>
<dialogue>Okay, kid, have your 15 - minutes. I'll follow you. Tommy, you ride with him!</dialogue>
<scene_description>Leon stares hatefully into Emil 's eyes .</scene_description>
<character>LEON</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're goin' down, motherfucker, you are goin' down. I'll be there with a smile when they put you down!</dialogue>
<scene_description>Cutler hurries to Emil 's side .</scene_description>
<character>CUTLER</character>
<dialogue>Do n't say a word. Do n't respond to his taunting!</dialogue>
<parenthetical>( to Leon . )</parenthetical>
<dialogue>He's represented by counsel. You want to speak to someone - you speak to me!</dialogue>
<character>TOMMY</character>
<dialogue>Out of the way, counselor.</dialogue>
<scene_description>Tommy shoves Cutler aside .</scene_description>
<character>CUTLER</character>
<dialogue>Do n't you put your hands on me, Detective.</dialogue>
<scene_description>Jordy pushes Emil in the back seat and slams the door . Leon turns to Hawkins , whose cameras are filming everything .</scene_description>
<character>LEON</character>
<dialogue>And you, you'll pay for what you did!</dialogue>
<character>HAWKINS</character>
<parenthetical>( low . )</parenthetical>
<dialogue>This footage will work in your favor. When the jury sees this - no matter what Cutler tries, they'll convict him.</dialogue>
<scene_description>Leon looks at him . This man used to be his friend .</scene_description>
<character>LEON</character>
<dialogue>You outta be ashamed. Ashamed of yourself.</dialogue>
<character>HAWKINS</character>
<dialogue>If I did n't put it on somebody else would! I was his friend!</dialogue>
<character>LEON</character>
<dialogue>Do n't give me that fucking shit.</dialogue>
<scene_description>The cameras are rolling .</scene_description>
<character>MURPHY</character>
<dialogue>Do n't get into it on TV.</dialogue>
<character>LEON</character>
<parenthetical>( yells to other cop cars . )</parenthetical>
<dialogue>Alright, let's get going!</dialogue>
<scene_description>Leon and the other cops rush to their cars . Jordy is already behind the wheel . As soon as Tommy jumps in the passenger seat , Jordy takes off . The cameras film him driving away .</scene_description>
</scene>
<scene>
<stage_direction>INT. JORDY'S CAR - NIGHT</stage_direction>
<scene_description>Jordy takes a left turn , racing away . Running all the lights .</scene_description>
<character>TOMMY</character>
<dialogue>What are you doin'? You're gon na lose everybody!</dialogue>
<scene_description>Jordy rips through another turn , heading toward the West Side Highway . The car speeds up the ramp and races up the left lane - having lost the police .</scene_description>
<character>TOMMY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where are you goin'? This ai n't the way to the station!</dialogue>
<scene_description>Jordy looks up at Emil in the rear view mirror .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEST SIDE HIGHWAY EXIT - CONTINUOUS</stage_direction>
<scene_description>Jordy pulls off on 130th Street . They are way uptown in the middle of nowhere . The car drives down a dark street . Crumbled , vacant buildings dominate the streets and there are no people around .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERTED STREET - CONTINUOUS</stage_direction>
<scene_description>The car slows down . Tommy watches Jordy , realizes what 's going on . Jordy stops at a dead end . Pulls open the back door , yanks Emil out and starts to drag him up into the deserted tunnel .</scene_description>
<character>TOMMY</character>
<dialogue>Jordy?? Listen to me. You ca n't do this. This is n't the way to do things.</dialogue>
<scene_description>Jordy ignores Tommy , slamming him up against the tunnel wall .</scene_description>
<character>JORDY</character>
<dialogue>Were you a fireman? That how you knew how to rig the apartment?</dialogue>
<character>EMIL</character>
<dialogue>My father was. He gave me many lessons about fire. Now it's my friend.</dialogue>
<character>JORDY</character>
<dialogue>Tommy, take a walk.</dialogue>
<character>TOMMY</character>
<dialogue>What are you gon na do?</dialogue>
<character>JORDY</character>
<dialogue>Do n't you get it? He knew he was gon na get caught! That's why he videotaped Eddie's murder - he thinks he's gon na get off.</dialogue>
<character>TOMMY</character>
<dialogue>Do n't stoop to his level!</dialogue>
<scene_description>Jordy tosses the car keys to Tommy .</scene_description>
<character>JORDY</character>
<dialogue>Take the car. Get outta here, Tommy.</dialogue>
<character>TOMMY</character>
<dialogue>Look, you ca n't shoot him in cold blood.</dialogue>
<character>JORDY</character>
<parenthetical>( erupting . )</parenthetical>
<dialogue>GET OUTTA HERE NOW! GET IN THAT CAR AND DRIVE AWAY! DO WHAT I SAY OR I'LL KILL YOU, TOO!</dialogue>
<scene_description>Tommy nervously backs up toward Jordy 's car . Climbs behind the wheel and drives away , leaving Jordy and Emil alone in the darkness . Jordy takes out Eddie 's pistol . The one Emil took from Eddie . Jordy opens the cylinder - two bullets left . Jordy snaps the cylinder shut , tucks Eddie 's gun in Emil 's belt . He drags Emil away from the wall , into the center of the empty space - unlocks Emil 's handcuffs and throws them aside . Still holding the gun on Emil , he circles around to face him .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get your hands up! Get your hands up!</dialogue>
<scene_description>Now facing Emil , he sticks his gun in his waistband - the same place he put Emil 's .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You wan na be a real American? Go for your gun.</dialogue>
<scene_description>Emil holds his arms out - making it clear he 's not going for the gun .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Pull the gun! You want to be famous? Shoot me, you'll get more headlines and make more money.</dialogue>
<scene_description>Emil watches Jordy . a slow grin spreads across his face .</scene_description>
<character>EMIL</character>
<dialogue>You ca n't kill me. You're not a cop. Just fireman with a gun. I bet you never shot anybody in your life.</dialogue>
<character>JORDY</character>
<dialogue>You'll be my first.</dialogue>
<scene_description>Jordy pulls out his 9mm and pushes the barrel right between Emil 's eyes .</scene_description>
<character>EMIL</character>
<dialogue>C'mon. Pull the trigger. Do it. Oh, look, you're sweating. You do n't have the balls.</dialogue>
<character>JORDY</character>
<dialogue>Get down on your knees.</dialogue>
<scene_description>Emil gets on his knees and starts to sing in Czech . SIRENS fill the air . Police cars come flying down the street .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Where's your partner?</dialogue>
<character>EMIL</character>
<dialogue>The Sheraton! On Broadway! Room 210. Go get Oleg. He'll kill you.</dialogue>
<scene_description>Leon runs up . Tommy 's relieved to see Jordy did n't kill Emil .</scene_description>
<character>LEON</character>
<dialogue>Gim me your gun, Jordy. We all want him dead but you ca n't do it this way.</dialogue>
<scene_description>Emil is still smiling . Jordy suddenly slams Emil in the face . Knocking him to the floor . He jumps in his car and speeds away .</scene_description>
</scene>
<scene>
<stage_direction>INT. BROADWAY SHERATON - 2ND FLOOR HALLWAY - NIGHT</stage_direction>
<scene_description>A room service WAITER wheels a tray with a magnum bottle of Crystal , with three glasses , toward Oleg 's room . Jordy follows behind him - gun aimed at his back .</scene_description>
<character>WAITER</character>
<dialogue>Do you really need me?</dialogue>
<character>JORDY</character>
<dialogue>Keep your mouth shut. Do n't mess this up.</dialogue>
<scene_description>They reach the room . Jordy flattens himself against the wall . The waiter KNOCKS .</scene_description>
<character>HOOKER'S VOICE</character>
<dialogue>Who's there?</dialogue>
<character>WAITER</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>R - room service.</dialogue>
<scene_description>A HOOKER , wrapped in a towel , opens the door a crack , looking out at the waiter .</scene_description>
<character>HOOKER</character>
<dialogue>Come in.</dialogue>
<scene_description>Jordy whips around the corner - pointing his gun and pushing the hooker back out of the room . Jordy moves to the bedroom door . Peers through the crack . Oleg sits on the edge of the bed in his skivvies with two naked prostitutes . He 's hooked up his videocamera to the TV set and is showing them his footage of the fire .</scene_description>
<character>OLEG</character>
<dialogue>Look at that. See that shot! Seamless. No cuts.</dialogue>
<parenthetical>( excited . )</parenthetical>
<dialogue>And look. Look at that transition. That's filmmaking! Is n't it great?!</dialogue>
<scene_description>Jordy KICKS in the door - gun raised .</scene_description>
<character>JORDY</character>
<dialogue>Do n't move!</dialogue>
<scene_description>Oleg grabs the videocamera . Has on hooker in a head lock and picks up the other one . He rushes at Jordy - using one of the hookers for protection .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Drop the girl! Drop her!</dialogue>
<scene_description>Oleg pushes the hookers at Jordy - knocking Jordy back into the living room and over the back of the sofa . Oleg rushes out into the HOTEL HALLWAY Oleg runs to the fire exit - Jordy follows , chasing Oleg down the stairwell .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROADWAY - NIGHT</stage_direction>
<scene_description>Oleg bursts out a door which opens onto Broadway . He runs through the crowd - knocking pedestrians aside ! Jordy chases him , gun in hand ! Oleg runs into the street , darting in and out of traffic , cars braking to a stop . One SLAMS into another . Jordy leaps over a car , closing in on Oleg . People gawk . Even in New York , it 's odd to see a man being chased in his underwear . Oleg runs , knocking people aside . He 's holding the camera in his hand . It 's on .</scene_description>
<character>JORDY</character>
<dialogue>STOP! STOP THAT MAN!</dialogue>
<scene_description>A UNIFORMED COP turns as Oleg runs right into him . Knocking him down . Oleg beats him , takes his gun and runs into :</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER LOBBY - CONTINUOUS</stage_direction>
<scene_description>Oleg , gun in hand , runs past the TICKET TAKER at the door .</scene_description>
<character>TICKET TAKER</character>
<dialogue>Hey, come back here!</dialogue>
<scene_description>The ticket taker runs after Oleg who continues past the candy counter . Jordy rushes in the door .</scene_description>
<character>JORDY</character>
<dialogue>Where is he? Where'd he go?</dialogue>
<character>TICKET TAKER</character>
<dialogue>Middle door.</dialogue>
<scene_description>Jordy continues running through the lobby - past the middle door - and enters the theater through the far door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER - NIGHT</stage_direction>
<scene_description>Jordy enters the theater , crouches down in the aisle . It 's a night scene , the theater is dark . Jordy tries to see faces . He cuts through a row of seats to the middle aisle .</scene_description>
<character>DRUNK'S VOICE</character>
<dialogue>Kill him! Kill the bastard!</dialogue>
<scene_description>Jordy spins toward the voice - it 's a DRUNK . Others start YELLING for blood !</scene_description>
<character>AUDIENCE</character>
<dialogue>Shoot him! SHOOT!</dialogue>
<scene_description>A GUNSHOT ! Jordy ducks ! Another GUNSHOT ! Jordy realizes the shots are coming from the screen .</scene_description>
<character>OLEG</character>
<dialogue>Look! Over here!</dialogue>
<scene_description>Jordy turns . Oleg stands up and FIRES at him - trying to film Jordy 's death with a videocamera . Jordy ducks , then rises up with his gun as Oleg vaults over the seats , leaping from one to the other , mashing shoulders and heads , bounding for the screen .</scene_description>
<character>JORDY</character>
<dialogue>Everybody down! Stay DOWN!</dialogue>
<scene_description>Jordy FIRES as the screen villain blasts away . Some in the audience do n't realize the real thing is happening . Oleg leaps on the stage in front of the screen , illuminated by it . Jordy runs down the aisle . Oleg FIRES at Jordy . Jordy FIRES back . People panic - scurrying away - Jordy ca n't get a clear shot . Oleg FIRES again , wounding a moviegoer . Jordy raises up as the theater lights go on . and Oleg is gone ! Jordy jumps on the stage - runs backstage - Oleg has disappeared .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit!</dialogue>
<scene_description>SIRENS are heard from outside . VOICES of cops are heard as they enter . CLOSE ON TV A REPORTER is in Times Square , reports from outside the movie theater .</scene_description>
<character>REPORTER</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>and the wild chase through Times Square ended with the suspect, Oleg Razgul, escaping. The fire department has identified the fire marshal involved in the failed pursuit as Jordy Warsaw.</dialogue>
<scene_description>The channel is changed . PETER ARNETT is reporting the same story .</scene_description>
<character>PETER ARNETT</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>In a related matter, Mr. Slovak's attorney, Bruce Cutler - famous for handling sensational cases - claims his client is unfit to stand trial.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAIL CELL - WIDER - DAY</stage_direction>
<scene_description>Daphne sitting on a bench in a jail cell . Watching TV through the bars . She is in the fire department 's holding cell in Brooklyn .</scene_description>
<character>PETER ARNETT</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>In fact, Cutler claimed Mr. Slovak was not the alleged mastermind behind the murders. According to Cutler, Mr. Slovak was being directed by his partner, who threatened to kill him if he did n't follow Mr. Razgul's orders. Cutler told reporters today that Mr. Razgul did in fact stab his client.</dialogue>
<scene_description>The scene CUTS TO Cutler 's press conference .</scene_description>
<character>CUTLER</character>
<dialogue>My client, Mr. Slovak, is a victim. What's happened is not his fault. Emil was under the influence of his partner. At the trial, you'll see that my client will be vindicated.</dialogue>
</scene>
<scene>
<stage_direction>INT. BELLEVUE - MENTAL OBSERVATION UNIT - DAY</stage_direction>
<scene_description>The CAMERA WIDENS from the TV set . We are now in an interview room , a guard is posted outside the room . Emil sits at a small table - with Cutler . Emil is dressed in Bellevue clothes . He 's handcuffed and his ankle is bandaged . Emil gives a complimentary nod toward Cutler .</scene_description>
<character>CUTLER</character>
<dialogue>I brought you some letters. It's really fan mail. Women mostly. One wants to buy you clothes, another sent a check. Another wants a check.</dialogue>
<character>EMIL</character>
<dialogue>You bring the cigarettes?</dialogue>
<character>CUTLER</character>
<dialogue>Oh, sure.</dialogue>
<scene_description>Cutler shakes a cigarette out of the pack , stuffs it in Emil 's mouth and lights it for him . Emil has never smoked before .</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How're they treating you, alright.</dialogue>
<parenthetical>( Emil is nonresponsive . )</parenthetical>
<dialogue>I want to get the cuffs off. but there's a little bit of a problem. Things out there are very negative right now for us. We got ta change that around. Perception is very, very important. Perception is reality. I know you're not fuckin' crazy. But it's important that I get that message out. Cause that's our only defense in this case.</dialogue>
<scene_description>Emil leans forward . Cutler retrieves the cigarette from between his lips .</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I want you to focus on three things : fear.</dialogue>
<scene_description>He puts the cigarette back in Emil 's mouth .</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>delusions and paranoia.</dialogue>
<character>EMIL</character>
<dialogue>I was all of these.</dialogue>
<character>CUTLER</character>
<dialogue>Well, you did n't appreciate the severity of it until recently. No question about that.</dialogue>
<character>EMIL</character>
<dialogue>What about Oleg?</dialogue>
<character>CUTLER</character>
<dialogue>Disappeared. They're looking everywhere. Maybe he went back to Czechoslovakia.</dialogue>
<character>EMIL</character>
<dialogue>No, he is here. Shit.</dialogue>
<character>CUTLER</character>
<dialogue>Do n't worry about him. Think about yourself.</dialogue>
<character>EMIL</character>
<dialogue>What about my movie rights? Book rights?</dialogue>
<character>CUTLER</character>
<dialogue>Look, I have n't really focused on that kind of thing.</dialogue>
<character>EMIL</character>
<dialogue>What's your cut? How much?</dialogue>
<character>CUTLER</character>
<dialogue>I would say. half. Half is fair.</dialogue>
<character>EMIL</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>No. No way.</dialogue>
<character>CUTLER</character>
<dialogue>But it's.</dialogue>
<character>EMIL</character>
<dialogue>Thirty - percent. No more. Or I call another lawyer. This is the biggest case of your life. Do n't try to negotiate. Thirty percent. Say yes or no.</dialogue>
<character>CUTLER</character>
<dialogue>This is not about money, Emil. I need your trust in me.</dialogue>
<character>EMIL</character>
<dialogue>What else do you need?</dialogue>
<character>CUTLER</character>
<dialogue>I need to know about your background. I need to know about your upbringing. Why you're here.</dialogue>
<character>EMIL</character>
<parenthetical>( indicating cigarette . )</parenthetical>
<dialogue>Give me another one, please.</dialogue>
<scene_description>Cutler stuffs another cigarette in Emil 's mouth . Lights it .</scene_description>
<character>CUTLER</character>
<dialogue>Tell me about yourself. What you did as a young boy. what your parents were like.</dialogue>
<character>EMIL</character>
<dialogue>My father always degraded me. Killed my self - esteem. And my mother was blind.</dialogue>
<character>CUTLER</character>
<dialogue>Your mother was blind?</dialogue>
<character>EMIL</character>
<dialogue>Yeah, she went blind giving birth to me. She went to fucking black market doctor to induce me.</dialogue>
<character>CUTLER</character>
<dialogue>Back in the Czech Republic?</dialogue>
<character>EMIL</character>
<dialogue>Yeah, yeah. bad doctor gave her bad drugs which made her go blind. And my father blamed me for her blindness.</dialogue>
<character>CUTLER</character>
<dialogue>Your father blamed you for your mother's blindness?</dialogue>
<character>EMIL</character>
<dialogue>Yeah, he hated me from day when I was born. Put it out. Can you put the cigarette out?</dialogue>
<scene_description>Cutler takes the cigarette from Emil 's lips and extinguishes it .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's what he did to me. He put cigarettes out on me.</dialogue>
<character>CUTLER</character>
<dialogue>Your father put cigarettes out on you?</dialogue>
<character>EMIL</character>
<dialogue>Out on my back when I was a small boy.</dialogue>
<character>CUTLER</character>
<dialogue>Can I see your back?</dialogue>
<scene_description>Emil rises . Cutler comes around and pulls his shirt up . HIS ENTIRE BACK IS COVERED WITH DISGUSTING PURPLISH WELTS FROM CIGARETTE BURNS . Cutler recoils - horrified .</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh, Jesus.</dialogue>
<character>EMIL</character>
<dialogue>I'm abused. Do n't you think?</dialogue>
<character>CUTLER</character>
<dialogue>I do n't think it's abuse, I think it's torture.</dialogue>
</scene>
<scene>
<stage_direction>INT. FIRE STATION 91 - DUFFY'S OFFICE - DAY</stage_direction>
<scene_description>Inside the Arson Squad , Duffy sits behind his desk . Jordy stands across the table from his Chief . Behind Jordy we can see Garcia and Korfin outside , listening . Duffy has a subpoena in his hand .</scene_description>
<character>DUFFY</character>
<dialogue>The public does n't have any idea what we do and now you're going to define our image! This is going to be our Rodney King!</dialogue>
<character>JORDY</character>
<dialogue>What was I supposed to do? The guy tried to mug me. I was gon na send a cop back - I just forgot.</dialogue>
<character>DUFFY</character>
<dialogue>Forgot? You handcuffed a civilian to a tree?!</dialogue>
<character>JORDY</character>
<dialogue>Chief - I know I screwed up - but this guy was no innocent civilian.</dialogue>
<character>DUFFY</character>
<dialogue>Well this is gon na end your career and probably mine.</dialogue>
<character>JORDY</character>
<dialogue>End my career?</dialogue>
<character>DUFFY</character>
<dialogue>How are you going to fight this? Maybe if Oleg had n't gotten away and you'd been on the front page, as a hero, this thing would be easier to fight. You'd have the good to weight against the bad! It's unfortunate that I have to make decisions based upon your press coverage but there's nothing I can do! Gim me your shield.</dialogue>
<character>JORDY</character>
<dialogue>But Chief? Over this?</dialogue>
<character>DUFFY</character>
<dialogue>There's nothing to talk about. Get a good lawyer. You're suspended until your trial.</dialogue>
<scene_description>Jordy sighs . Dying inside . He surrenders his shield . Drops his handcuffs , his pager and his gun . Duffy picks up the gun - looks at it .</scene_description>
<character>DUFFY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( pats Jordy 's shoulder . )</parenthetical>
<dialogue>I know you got backup at home. Drop it off.</dialogue>
<scene_description>Jordy sighs and exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. IMMIGRATION & NATURALIZATION OFFICE - DAY</stage_direction>
<scene_description>Jordy is talking to BILL STERN , a senior special agent . In another office we see Daphne with two 25 - year old ASSISTANT U.S. ATTORNEYS .</scene_description>
<character>STERN</character>
<parenthetical>( to Jordy . )</parenthetical>
<dialogue>Look, what do n't you understand? We've got a good relationship with the Czech's and the State Department does n't want to cause an incident.</dialogue>
<character>JORDY</character>
<dialogue>But the D.A. needs her as an eyewitness!</dialogue>
<character>STERN</character>
<dialogue>They've got her testimony on videotape. And even if they do take her to court immediately after she'll be extradited. The Czechs want her back. She shot a cop! I mean, Christ, man, what if Emil Slovak and Oleg Razgul fled to the Czech Republic? How would you feel if the Czechs would n't give them back to us?!</dialogue>
<scene_description>Stern looks over at Daphne sitting in another office . Lowers his voice .</scene_description>
<character>STERN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And just between us. I was married to a redhead. They're a jinx. Redheads are like cross - eyed priests. Stay away from both.</dialogue>
<scene_description>Jordy gives him a look .</scene_description>
<character>STERN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You want to see her - go ahead.</dialogue>
<scene_description>Jordy enters the other office . Sits next to Daphne . The assistant U.S. Attorneys leave .</scene_description>
<character>JORDY</character>
<dialogue>We're gon na fight the extradition.</dialogue>
<scene_description>Daphne takes Jordy 's bandaged hand in hers .</scene_description>
<character>DAPHNE</character>
<dialogue>Forget about me. You have enough problems of your own.</dialogue>
<character>JORDY</character>
<dialogue>Do you really want me to forget about you?</dialogue>
<character>DAPHNE</character>
<dialogue>I do n't want to drag you down with me.</dialogue>
<character>JORDY</character>
<dialogue>Daphne, I.</dialogue>
<scene_description>Daphne touches her finger to his lips .</scene_description>
<character>DAPHNE</character>
<dialogue>Shhhh.</dialogue>
<scene_description>She leans in and kisses him . Then looks into his eyes , trying to find a smile .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FEDERAL COURT HOUSE STEPS - DAY</stage_direction>
<scene_description>It 's weeks later . Nicolette is looking worn , tired , frazzled . She 's trying to go through her stand up . But she 's unraveling . Not recovered from the loss of Eddie .</scene_description>
<character>NICOLETTE</character>
<dialogue>and today with his partner who he blamed for the crimes still at large, Emil Slovak will appear in court. His lawyer will argue that he is mentally unfit to stand trial. Eyewitness News has also learned that later this month, Jordy Warsaw will himself be appearing in court. He will be arraigned on charges of violating the civil rights of. Zwangen. Zwagen.</dialogue>
<character>MIKE</character>
<dialogue>Zwangendaba.</dialogue>
<character>NICOLETTE</character>
<dialogue>Goddamn assholes everywhere. Zwangenbobby. Zwangendaba. I got it. I'll do it. Shit. Let's start again. 5 - 4 - 3 - 2 - 1.</dialogue>
<scene_description>She starts over .</scene_description>
</scene>
<scene>
<stage_direction>INT. JORDY'S APARTMENT - NIGHT</stage_direction>
<scene_description>Jordy 's on the couch . A drink in his hand , watching TV with his dog , ZACK . Jordy 's eyes are glazed . He 's drunk , his eyes are as bloodshot as Eddie 's were . without his job or Daphne . His mind miles away - the dog and drink are his only comfort . As Nicolette reports -LRB- she got the name right -RRB- , her anger seeps through her broadcast .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>Mr. Zwangendaba claims to be a direct descendent of the African King from whom he takes his name.</dialogue>
<scene_description>Jordy 's face is flashed on screen . The phone RINGS . Jordy picks up .</scene_description>
<character>JORDY</character>
<dialogue>Hello?</dialogue>
<parenthetical>( listens . )</parenthetical>
<dialogue>No comment.</dialogue>
<scene_description>He hangs up . The phone RINGS AGAIN .</scene_description>
<character>JORDY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hello?</dialogue>
<parenthetical>( listens . )</parenthetical>
<dialogue>No!</dialogue>
<scene_description>Jordy hangs up . Changes the channel . He stops as Robert Hawkins ' face fills the screen . He is standing across from someone - in a park - interviewing him .</scene_description>
<character>HAWKINS</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>He robbed you?</dialogue>
<scene_description>The ANGLE CUTS to Zwangendaba , the mugger , now dressed in a suit and tie . Clean shaven and with a fresh haircut . He stands in the same spot where Jordy handcuffed him to the tree . He 's appearing on `` Top Story '' .</scene_description>
<character>ZWANGENDABA</character>
<parenthetical>( ON T.V . )</parenthetical>
<dialogue>That's right, I encountered him right here. I was just askin' for change an' he whips out his big gun an' pushes me up against that tree, whereupon he takes my money and handcuffs me to it, leavin' me there all exposed.</dialogue>
<scene_description>The phone RINGS again . Jordy suddenly pulls the phone off the table and throws it through the window : BACK TO TV as the channel is changed . A REPORTER is on TV . Behind him is a picture of Emil . Emil is smiling , in a shirt and tie . The reporter stands in front of the jail .</scene_description>
<character>REPORTER</character>
<dialogue>and WBAI has learned that Mr. Slovak wo n't have to worry about how he is going to pay for his defense. He has received movie offers and been in conversations with numerous publishers concerning the rights to his life story.</dialogue>
<scene_description>REVERSE ANGLE Oleg is at a bar watching TV . Poisoned with envy .</scene_description>
</scene>
<scene>
<stage_direction>INT. JORDY'S BEDROOM - NEXT MORNING</stage_direction>
<scene_description>Jordy stands in front of the mirror over the dresser . We see the TV overturned in the b.g. His back up gun is on it . He stares at it . Dark thoughts dancing in his head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BATTERY PARK - DAY</stage_direction>
<scene_description>Jordy sits in a taxi , wearing sunglasses . Looking inside the park where a POLICE BARRICADE surrounds a POLICE TUGBOAT . Cutler and Emil are arriving - Emil is being transferred to Rykers Island . Jordy pulls his .38 out of his ankle holster and sticks it in his pocket . CLOSE ON METER to $ 42.00 . The TAXI DRIVER looks in the rearview mirror .</scene_description>
<character>TAXI DRIVER</character>
<dialogue>I ca n't believe this guy got off. Unbelievable.</dialogue>
<scene_description>Jordy takes out money . All he 's got is fifty bucks and he crams it into the slot .</scene_description>
<character>JORDY</character>
<dialogue>Whatever's leftover, keep.</dialogue>
<scene_description>Jordy exits the cab . The anger rising inside his body is coming to a boiling point . He walks into the park . Leon is sitting on a bench . Just sitting there . Also filled with rage and frustration . Jordy meets his eyes . Leon gets up and walks away . Disgusted by it all . Jordy 's right hand grips the gun inside his pocket as he walks on . HIGH WIDE SHOT Many policemen are trying to control a swarm of reporters . All are waiting for Emil . WE SEE : HAWKINS and his camera crew , and , not far from him - frustrated and frazzled , waits Nicolette . Still grieving her loss , she looks over at Hawkins and his crew . She shoots him a disgusted look - Hawkins shrugs it off . He checks his watch - anxious - looks at his cameraman .</scene_description>
<character>HAWKINS</character>
<dialogue>He said he'd be here. Pick him up as he comes through the crowd. Do you hear me? For Chrissakes do n't miss this.</dialogue>
<scene_description>THE POLICE VAN PULLS UP Cutler 's car behind it . Emil - handcuffed - is unloaded from the van . Reporters swarm forward - Cutler gets out of his car , hurrying up , taking his place alongside Emil and the POLICE ESCORTS . The swarm follows - firing questions at Cutler . He answers the barrage of questions with :</scene_description>
<character>CUTLER</character>
<dialogue>my client was suffering from a major illness of schizophrenic nature wherein during times of intense stress, as a result of paranoid and psychotic delusions - there was impairment of his ability to appreciate wrongfullness. This is a victory for the mentally ill!</dialogue>
<scene_description>Jordy walks alongside the moving mass . His eyes focused on Emil - his hand in his pocket . We notice in the crowd Max , the celebrity - crazed pyromaniac . What 's he doing here ? Max 's hand is also stuck deeply in his pocket . A weird gleam in his eye . We see Korfin in the group , speaking to other cops . Nicolette and her camera crew are vying for their place in the mass . She watches Emil with quiet rage . Cutler continues :</scene_description>
<character>CUTLER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>before Emil boards the police boat and heads for Rykers Island where he will be checked into the psyche ward, I want to say one last word to you all. As you know, Emil was coerced by Oleg Razgul into committing these murders, yet Oleg is still out in the street, a free man, filming gruesome murders. My client and I hope he is brought to justice in the near future.</dialogue>
<scene_description>They are through the monuments , approaching the steps when Jordy passes a distracted Hawkins - who 's checking his watch obsessively .</scene_description>
<character>HAWKINS</character>
<dialogue>Where the hell is he? Goddamn it?!</dialogue>
<scene_description>Jordy glares at Emil . Emil looks back at Jordy , gloating . Smiles . He won . He beat the system . Jordy suddenly erupts .</scene_description>
<character>JORDY</character>
<dialogue>You think this is funny? What the hell are you laughing at?</dialogue>
<scene_description>Emil stares down Jordy . Jordy grips the gun inside the jacket .</scene_description>
<character>CUTLER</character>
<parenthetical>( to a nearby escort . )</parenthetical>
<dialogue>Officer, keep this man back, he's assaulted my client on previous occasions.</dialogue>
<scene_description>A PATROLMAN blocks Jordy from Emil .</scene_description>
<character>JORDY</character>
<dialogue>This is it? This bastard kills the best cop this city ever had and we do nothing?</dialogue>
<character>CUTLER</character>
<dialogue>You may not like it marshal, but that's the law.</dialogue>
<character>JORDY</character>
<dialogue>And what about the other victims? What about their families? He'll end up in some country club nuthouse while his lawyer sells his rights to the movies and we just stand here and do nothing? We let this scumbag walk?</dialogue>
<scene_description>Jordy moves past the officer . Emil breaks away from Cutler . Gets in Jordy 's face . Laughs quietly .</scene_description>
<character>EMIL</character>
<dialogue>Be careful. I can kill you. I'm insane.</dialogue>
<scene_description>Jordy shoves Emil into Cutler . A scuffle breaks out as the cops separate the two - pulling Jordy back as we cut to : A VIDEO POV as it approaches Hawkins from behind . A hand dips into frame tapping Hawkins on the shoulder . Hawkins turns - sees who he 's been waiting for . His face lights up .</scene_description>
<character>HAWKINS</character>
<dialogue>I thought you would n't show up. Where is it? Where is the tape?</dialogue>
<scene_description>IT 'S OLEG In disguise - sunglasses and a hat . Holding his videocamera .</scene_description>
<character>OLEG</character>
<dialogue>It's all in here. All in here.</dialogue>
<scene_description>MEANWHILE JORDY has been separated from Cutler and Emil as Hawkins ' voice cuts above the din of the crowd , announcing excitedly :</scene_description>
<character>HAWKINS</character>
<dialogue>Wait a minute, Bruce! We've got some interesting evidence, something you should look at!</dialogue>
<scene_description>Reporters turn as Hawkins speaks . His crew is taping as he continues introducing his broadcast :</scene_description>
<character>HAWKINS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I have exclusive rights to the ORIGINAL UNCUT videotape shot by Oleg Razgul, proving Emil Slovak was not insane! Hard to believe. watch!</dialogue>
<scene_description>Reporters swing their cameras over as Oleg holds his videocamera up in the air .</scene_description>
<character>OLEG</character>
<parenthetical>( ON VIDEO . )</parenthetical>
<dialogue>He knew exactly what he was doing - all of this was planned! It's all here in my movie. Emil is not insane. Look. Look!</dialogue>
<scene_description>Oleg PLAYS his videocamera as lenses focus , we see excerpts of the moment where Emil explains to Eddie :</scene_description>
<character>EMIL</character>
<parenthetical>( ON VIDEO . )</parenthetical>
<dialogue>so we kill someone famous and if we are caught, we are sent to mental hospital.</dialogue>
<character>CUTLER</character>
<parenthetical>( points to Oleg . )</parenthetical>
<dialogue>Officers, there's your killer, do your duty, arrest him!</dialogue>
<scene_description>The police are attempting to get to Oleg , but a sea of reporters separate them . We hear the staccato calls from the press corps . Nicolette looks on in amazed outrage . Jordy notices and starts moving towards her . Before the POLICE CAPTAIN in charge of the detail can react , the rage which killed Milos , Tamina and Honey wells up inside Emil . He yells at Oleg !</scene_description>
<character>EMIL</character>
<dialogue>Traitor!</dialogue>
<character>OLEG</character>
<dialogue>No. You are the traitor. You are murderer. I am director. Action!</dialogue>
<scene_description>Oleg pulls his gun . Emil pulls Cutler in front of him as : BANG ! Oleg FIRES ! Cutler is SHOT and goes down . Hawkins swings his camera over to Oleg - filming the would - be assassin . Oleg FIRES off another SHOT - hitting the COURT OFFICER escorting Emil . Emil grabs the down officer 's gun . He swivels - rapid fires at Oleg . Oleg topples . People are screaming . It 's CHAOS . Emil darts forward - grabbing Nicolette who is closes to him . He puts his handcuffed arms over her head - points the gun at her head .</scene_description>
<character>CAPTAIN</character>
<dialogue>Drop the gun! DO N'T SHOOT!</dialogue>
<character>EMIL</character>
<dialogue>I'll kill her! Back off! Everyone back away from me!</dialogue>
<scene_description>We hear Jordy 's voice above Emil .</scene_description>
<character>JORDY</character>
<dialogue>Let her go. Let her fucking go!</dialogue>
<scene_description>The captain is screaming at all his men .</scene_description>
<character>CAPTAIN</character>
<dialogue>No one shoot! Lower your weapons! Do not fire! No officer will fire his weapon unless I say so!</dialogue>
<parenthetical>( to Emil . )</parenthetical>
<dialogue>Let the woman go!</dialogue>
<scene_description>Cops reluctantly lower their weapons . But Jordy is still aiming his gun at Emil . He is the only one who has n't lowered his gun . The captain is yelling at him .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Holster your weapons! Back away. That is an order! No officers will fire!</dialogue>
<scene_description>Emil is screaming back at the captain as Jordy screams at Emil .</scene_description>
<character>EMIL</character>
<dialogue>Tell him to put his gun down!</dialogue>
<character>JORDY</character>
<dialogue>Let her go! Let her go!</dialogue>
<character>EMIL</character>
<dialogue>If he does n't lower his gun I'll fucking kill her.</dialogue>
<scene_description>Jordy does n't lower his gun . Emil tries to back away . The reporters - who have ducked and covered - are still keeping their lenses pointed at the scene . This is great film ! Jordy follows after Emil - his gun raised .</scene_description>
<character>JORDY</character>
<dialogue>Let her go.</dialogue>
<character>NICOLETTE</character>
<dialogue>Shoot! Shoot him!</dialogue>
<character>EMIL</character>
<dialogue>Shut up!</dialogue>
<scene_description>Meanwhile , the captain is still yelling :</scene_description>
<character>CAPTAIN</character>
<dialogue>No on shoot! No one shoot! No officer will follow. No officer will shoot!</dialogue>
<scene_description>Nicolette is still encouraging Jordy .</scene_description>
<character>NICOLETTE</character>
<dialogue>Shoot! Shoot! Shoot him!</dialogue>
<character>EMIL</character>
<dialogue>Shut up!</dialogue>
<scene_description>Everyone is screaming at once . It 's mass chaos . The captain is trying to keep everyone calm . Cops following along with their weapons lowered . All except Jordy - his gun still pointed at Emil . Hawkins ca n't believe what footage he 's getting . He 's pushing his cameraman to the front of the pack . Trying to get the best coverage .</scene_description>
<character>EMIL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll surrender! I'll surrender if he lowers his gun.</dialogue>
<scene_description>He 's pointing at Jordy but he 's continuing to back away towards the police boat .</scene_description>
<character>NICOLETTE</character>
<dialogue>Do n't. Do n't let him surrender. Shoot him!</dialogue>
<scene_description>Jordy wo n't take his gun off him .</scene_description>
<character>JORDY</character>
<dialogue>Let her go. Let her go.</dialogue>
<scene_description>The captain is yelling at Jordy .</scene_description>
<character>CAPTAIN</character>
<dialogue>Lower your weapon. I told you - lower your weapon!</dialogue>
<scene_description>Jordy struggles to get a clean shot at Emil . He ca n't . His heart pounding . Adrenaline pumping . He suddenly lowers his weapon . Turns away . The captain visibly relaxes . Emil laughs . Jordy suddenly turns back . Quickly raises his weapon . JORDY SHOOTS Emil takes a shot in the leg . Nicolette ducks under the handcuffs and scurries away . Emil looks at Jordy - surprised he shot him . Jordy FIRES AGAIN . Emil is hit in the shoulder . Jordy marches forward , EMPTYING HIS CLIP in Emil 's chest . Abdomen . Head . Gun fire echoes in the humid air as Emil stumbles back . Does a funny dance and drops to the ground . Dead . The captain yells .</scene_description>
<character>CAPTAIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I told you not to shoot! No officers should shoot.</dialogue>
<scene_description>Jordy quietly answers :</scene_description>
<character>JORDY</character>
<dialogue>I'm not a cop. I'm a fire marshal.</dialogue>
<character>HAWKINS</character>
<dialogue>He's still alive.</dialogue>
<scene_description>Hawkins looks down at Oleg . He is sprawled on the ground . His videocamera in hand - he 's still making the movie . OLEG 'S VIDEO POV as it ZOOMS from the Statue of Liberty and PANS to Oleg . He looks in the lens with his dying eyes , gasps :</scene_description>
<character>OLEG</character>
<dialogue>A film. by Oleg Razgul.</dialogue>
<scene_description>And Oleg dies but suddenly his eyes pop WIDE OPEN . Hawkins jumps back , Oleg smiles , coughing in pain .</scene_description>
<character>OLEG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How was that?</dialogue>
<scene_description>Oleg 's head rolls to one side . Now dead . Nicolette runs over to Jordy . Composing herself . Coming together . Glad Emil is dead . Jordy starts to walk away .</scene_description>
<character>NICOLETTE</character>
<dialogue>Wait a minute. Where are you going? Learn from Eddie. Talk to the court of public opinion. Take the credit, you need it.</dialogue>
<scene_description>She turns him around . Straightens his tie . Starts to push the hair out of his face but he stops her hand .</scene_description>
<character>JORDY</character>
<dialogue>No thanks.</dialogue>
<scene_description>Jordy puts something in her hand . She looks down . It 's EDDIE 'S BADGE . The one Jordy took out of Daphne 's bathroom . She looks up at him . Her cameraman rolling . The lens pointed at Jordy . Jordy looks at Nicolette . Meets her eyes . He does n't want to make a statement . He still does n't want the fame . He did learn from Eddie . Eddie was killed because he was a celebrity . Jordy wants no part of it .</scene_description>
<character>NICOLETTE</character>
<dialogue>Cut.</dialogue>
<scene_description>Her cameraman lowers his leans . Jordy smiles . She nods . Jordy turns and walks away .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get a shot of him leaving. Then pan to me.</dialogue>
<scene_description>Jordy disappears into the sea of people . The camera PANS back to Nicolette .</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, he would n't talk to us, but you saw it.</dialogue>
<scene_description>The CAMERA PULLS BACK from Nicolette 's face and the video is now on : THE JUMBOTRON IN TIMES SQUARE We PULL BACK FURTHER and FURTHER . Nicolette finishing her stand up :</scene_description>
<character>NICOLETTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>New York City has a new hero, Fire Marshal Jordan Warsaw. I hope that Fire Marshal Warsaw's heroic actions this afternoon will help with his other legal problems. WB11 has also learned that the fire Marshal has retained an immigration lawyer to help Daphne Handlova with her case. We wish her well. This is Nicolette Karas, live at Battery Park, WB11 New York. Good night.</dialogue>
<scene_description>THE SCREEN FADES TO BLACK .</scene_description>
</scene>
</script> | Ex-convicts Emil Slovak (Karel Roden) and Oleg Razgul (Oleg Taktarov) arrive in the United States to claim their part of a bank heist in Russia (or in the Czech Republic). Oleg steals a video camera from a Make-Your-Own-Movie establishment. At the rundown apartment of their old partner, they are denied their share, so Emil fatally stabs him and his wife as Oleg tapes it with the camera. Czech immigrant Daphne Handlova (Vera Farmiga) witnesses the murders from the bathroom, then escapes before they can kill her as well. To hide the crime, Emil burns down the apartment. Jordy Warsaw (Edward Burns) is an arson investigator assigned to the case. Eddie Flemming (Robert De Niro) is a flamboyant New York City detective who is also called to the scene. Flemming is such a high-profile celebrity that he is followed around by a reporter from a tabloid TV show, Top Story, hosted by the arrogant Robert Hawkins (Kelsey Grammer). Everywhere he goes, citizens cheer him on. Flemming and Warsaw agree to work the case together. While checking out the crowd, Warsaw spots Daphne trying to get his attention, but she disappears. Emil calls an escort service and asks for a "Czech girl." One calling herself Honey (Noelle Evans) arrives, whom he kills but not before getting the address of the escort service. Oleg tapes the murder. He continually films everything, claiming he wants to be the next Frank Capra. Flemming and Warsaw investigate her murder, visiting the escort service. Rose Hearn (Charlize Theron), who runs it, tells them that the girl Warsaw described doesn't work for her but rather a hairdresser. She mentions a couple of other guys having just asked her the same questions. Flemming and Warsaw arrive at the hair salon just after Emil and Oleg have warned Daphne to keep quiet. Flemming notices someone filming them from across the street. A foot chase begins, Flemming's regular partner Leon Jackson (Avery Brooks) being hit with a glass bottle and his wallet stolen. Emil finds a card with Flemming's name and address. He is jealous of Flemming's celebrity status and is convinced that anyone in America can get away with anything. On the night Flemming is to propose to his girlfriend Nicolette Karas (Melina Kanakaredes), Oleg and Emil sneak into his house and bind Flemming to a chair. While Oleg is recording, Emil explains his plan to Flemming: He will kill him and sell the tape to Top Story. After being committed to an insane asylum, he will declare that he is actually sane. Since he can't be tried again, he will get off, collecting royalties from his books and movies. Fleming attacks them with his chair (while still taped to it), but Emil gets the upper-hand and stabs him in the chest, mortally wounding him. Emil then suffocates and kills Flemming with a pillow. The entire city is in mourning. Emil calls Hawkins to offer a tape of the killing that he is willing to sell to Top Story. Hawkins pays him $1 million for it. Warsaw and the entire police force are furious, unable to believe that the TV show would air it, especially since Hawkins's main reporter is Nicolette. Emil and Oleg sit in a Planet Hollywood to watch the show in public. Halfway through the broadcast, customers realize that Emil and Oleg are right there with them and panic. Police arrive and arrest Emil, while Oleg escapes. Instead of delivering his suspect to the police station, Warsaw takes Emil to an abandoned warehouse to kill him. Other police arrive just in time and take Emil into custody. Everything goes as planned for Emil, now a celebrity who is pleading insanity. His lawyer agrees to work for 30% of the royalties Emil will receive for his story. Meanwhile, in hiding, Oleg becomes jealous of the notoriety that Emil is receiving. While the lawyer is leading Emil away, surrounded by the media, Warsaw provokes an argument, with the Top Story crew recording the whole thing. Oleg quietly approaches Hawkins and hands him the tape of Emil explaining his plan to Flemming, proving he was sane the whole time. Hawkins shouts out to Emil about the evidence in his possession. Emil grabs a policeman's gun, shoots Oleg and grabs Nicolette, who is covering the story, threatening to shoot her. Against orders, Warsaw shoots Emil a dozen times in the chest to avenge Flemming's murder. An officer observes that Oleg is still alive. Hawkins rushes to his side, where Oleg says a final few words about the movie that is still being taped, just before he dies. Hawkins attempts to get a comment from Warsaw, who punches him and walks away as the police all smile with approval. |
Harry Potter and the Prisoner of Azkaban_2004 | tt0304141 | <script>
<scene>
<scene_description>HARRY POTTER PRISONER OF AZKABAN by Steve Kloves Based on the book by J.K. Rowling</scene_description>
<character>FULL TAN DRAFT</character>
<dialogue>February 24, 2003</dialogue>
</scene>
<scene>
<stage_direction>EXT. NUMBER FOUR PRIVET DRIVE - MIDDLE OF THE NIGHT</stage_direction>
<scene_description>The street slumbers, adrift in shadow. Then... a curious BEAM OF LIGHT BOBS beyond the second-story window of Number Four.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S ROOM - SAME TIME - MIDDLE OF THE NIGHT</stage_direction>
<scene_description>A tent of blankets. Within... the SHADOW of a BOY. A WHISPER:</scene_description>
<character>HARRY</character>
<dialogue>Lumos Maxima...</dialogue>
<scene_description>The tent BLOOMS SOFTLY with light -- briefly illuminating a bedside PHOTOGRAPH (of James & Lily Potter) -- then goes dark.</scene_description>
<character>HARRY</character>
<dialogue>Lumos Maxima...</dialogue>
<scene_description>The blankets bloom once again when, down the hall, a TOILET FLUSHES. Instantly, the SHADOW stiffens, the blankets DIM, and the tent flattens. Just as... ... the bedroom door OPENS, revealing... UNCLE VERNON. He peers inside, eyes flashing suspiciously, then... withdraws. The tent rises.</scene_description>
<character>HARRY</character>
<dialogue>Lumos Maxima...</dialogue>
<scene_description>As the blankets blaze, we CUT INSIDE, find a SKINNY BOY with a crow's nest of black hair, thick glasses sitting crookedly atop his nose: HARRY POTTER. Open before him is Violeta Stitch's Extreme Incantations. Once again, he speaks:</scene_description>
<character>HARRY</character>
<dialogue>Lumos... MAXIMA!</dialogue>
</scene>
<scene>
<stage_direction>2A EXT. NUMBER FOUR PRIVET DRIVE - SAME TIME - NIGHT 2A</stage_direction>
<scene_description>A BLINDING BLAST OF LIGHT FLASHES from the second story window of Number Four. DOGS BARK. And a TITLE CARD appears:</scene_description>
<character>HARRY POTTER</character>
<dialogue>and the</dialogue>
<scene_description>Prisoner of Azkaban The light in the hallway SNAPS on, Harry's tent droops once more and, seconds later, Harry's door eases open. Uncle Vernon peers in and switches on the light. The room is utterly SILENT. Slowly, he closes the door. OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR PRIVET DRIVE - STAIRWAY/FRONT HALL - DAY</stage_direction>
<scene_description>The DOORBELL CHIMES and a shrill VOICE THUNDERS:</scene_description>
<character>AUNT PETUNIA (O.S.)</character>
<dialogue>Harry! Harry!</dialogue>
<scene_description>Harry bounds down the stairs and into the front hall, where his AUNT PETUNIA and cousin DUDLEY stand stiffly. Petunia flicks a bit of fluff from Dudley's sweater, glowers crossly at Harry, and jerks her head toward the door.</scene_description>
<character>AUNT PETUNIA</character>
<dialogue>Well, go on. Open it.</dialogue>
<scene_description>Harry reaches for the knob when -- BLAM! -- it BURSTS OPEN, revealing a LARGE, WADDLING WOMAN (AUNT MARGE) and a LARGE WADDLING BULLDOG (RIPPER). Uncle Vernon lurches forward out of the teeming RAIN, an ENORMOUS SUITCASE in hand, and drops it on Harry.</scene_description>
<character>AUNT PETUNIA</character>
<dialogue>Marge! Welcome! How was the train?</dialogue>
<character>AUNT MARGE</character>
<dialogue>Wretched. Ripper got sick.</dialogue>
<character>AUNT PETUNIA</character>
<dialogue>Ah. How... unfortunate.</dialogue>
<character>AUNT MARGE</character>
<dialogue>I would've left him with the others, but he pines so when I'm away. Don't you, darling?</dialogue>
<scene_description>Aunt Marge puckers her lips at Ripper and leads him down the hallway. Harry follows with Uncle Vernon.</scene_description>
<character>HARRY</character>
<dialogue>Uncle Vernon. I need you to sign this form.</dialogue>
<character>UNCLE VERNON</character>
<dialogue>What is it?</dialogue>
<character>HARRY</character>
<dialogue>Nothing. Something for school...</dialogue>
<scene_description>Uncle Vernon eyes the PARCHMENT in Harry's hand suspiciously.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>Later perhaps. If you behave.</dialogue>
<character>HARRY</character>
<dialogue>I will if she does.</dialogue>
<character>AUNT MARGE</character>
<parenthetical>(turning, eyeing Harry)</parenthetical>
<dialogue>So. Still here, are you?</dialogue>
<character>HARRY</character>
<dialogue>Yes.</dialogue>
<character>AUNT MARGE</character>
<dialogue>Don't say 'yes' in that ungrateful tone. Damn good of my brother to keep you, if you ask me.</dialogue>
<parenthetical>(to Vernon, Petunia)</parenthetical>
<dialogue>It'd have been straight to an orphanage if he'd been dumped on my doorstep.</dialogue>
<scene_description>Just then Dudley -- sitting comatose before the TV -- emits a HOLLOW, BRAIN-DEAD CHUCKLE.</scene_description>
<character>AUNT MARGE</character>
<dialogue>Is that my Dudders! Hm? Is that my neffy poo? Come and say hello to your Auntie Marge.</dialogue>
<scene_description>Marge flashes a thick FAN of POUND NOTES. Dudley blinks, waddles forward, and extends his plump palm obediently. Harry looks on, then sees Ripper snuffling about his ankle.</scene_description>
</scene>
<scene>
<stage_direction>INT. FOUR PRIVET DRIVE - DINING ROOM - DUSK</stage_direction>
<scene_description>As Harry clears the dishes, Uncle Vernon brings out a bottle of brandy.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>Can I tempt you, Marge?</dialogue>
<character>AUNT MARGE</character>
<dialogue>Just a small one. A bit more... a bit more... That's the boy.</dialogue>
<parenthetical>(taking a sloppy sip)</parenthetical>
<dialogue>Aah. Excellent nosh, Petunia. It's normally just a fry-up for me, what with twelve dogs.</dialogue>
<scene_description>She smacks her lips, lowers her brandy, and lets Ripper take a slobbery lap out of the glass... then catches Harry looking.</scene_description>
<character>AUNT MARGE</character>
<dialogue>What are you smirking at! Where is it that you send him, Vernon?</dialogue>
<character>UNCLE VERNON</character>
<dialogue>St. Brutus's. It's a first-rate institution for hopeless cases.</dialogue>
<scene_description>Hearing this, Harry frowns, glances at Uncle Vernon, who glares darkly at him.</scene_description>
<character>AUNT MARGE</character>
<dialogue>I see. And do they use the cane at St. Brutus's, boy?</dialogue>
<character>HARRY</character>
<parenthetical>(sarcastically)</parenthetical>
<dialogue>Oh, yes. I've been beaten loads of times.</dialogue>
<character>AUNT MARGE</character>
<dialogue>Excellent. I won't have this namby-pamby wishy-washy nonsense about not hitting people who deserve it.</dialogue>
<parenthetical>(another sip)</parenthetical>
<dialogue>Still. Mustn't blame yourself for how this one's turned out, Vernon. It all comes down to blood. Bad blood will out. What is it the boy's father did, Petunia?</dialogue>
<character>AUNT PETUNIA</character>
<parenthetical>(agitated)</parenthetical>
<dialogue>Nothing. That is... he didn't work. He was -- unemployed.</dialogue>
<character>AUNT MARGE</character>
<dialogue>Of course. And a drunk, I expect --</dialogue>
<character>HARRY</character>
<dialogue>That's a lie.</dialogue>
<scene_description>Aunt Marge pauses on her wine, eyes narrowing on Harry.</scene_description>
<character>AUNT MARGE</character>
<dialogue>What did you say?</dialogue>
<character>HARRY</character>
<dialogue>My dad wasn't a drunk.</dialogue>
<scene_description>POP! The GLASS in Aunt Marge's hand EXPLODES.</scene_description>
<character>AUNT PETUNIA</character>
<dialogue>Oh my goodness! Marge!</dialogue>
<character>AUNT MARGE</character>
<dialogue>Not to worry, Petunia. I have a very firm grip.</dialogue>
<scene_description>Harry stares at the shattered glass in surprise.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>You go to bed. Now.</dialogue>
<character>AUNT MARGE</character>
<dialogue>Quiet, Vernon. It doesn't matter about the father. In the end it comes down to the mother. You see it all the time with dogs. If there's something wrong with the bitch, there'll be something wrong with the pup...</dialogue>
<character>HARRY</character>
<dialogue>Shut up! Shut up!</dialogue>
<scene_description>Aunt Marge starts to reply, when -- ZING! -- a BUTTON on her dress sails into the air. SEAMS GROAN. THREAD SNAPS. Aunt Marge's eyes WIDEN. Her cheeks BILLOW. Her whole body BILLOWS. And she begins to INFLATE like a MONSTROUS BALLOON.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>MARGE!</dialogue>
<scene_description>As she rises, Uncle Vernon leaps for her. RIPPER GROWLS, fixes his teeth to his trousers. Harry frightened by what he's done, watches Aunt Marge BOUNCE GENTLY across the ceiling and into the CONSERVATORY. The others race outside. As Aunt Marge begins to float away, Uncle Vernon grips her hands.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>Don't worry! I've got you...</dialogue>
<scene_description>Slowly... to his horror... Uncle Vernon himself begins to RISE. Aunt Marge looks fearfully into his eyes...</scene_description>
<character>AUNT MARGE</character>
<dialogue>Vernon. Don't you dare --</dialogue>
<scene_description>But he does. He lets go. Falls to his knees. And watches Aunt Marge float away.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARRY'S ROOM - DUSK (SECONDS LATER)</stage_direction>
<scene_description>Harry crashes inside, takes his TRUNK, then puts his heel to a LOOSE FLOORBOARD and removes his WAND from its hiding place. Turning, he grabs the PHOTOGRAPH of his parents.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - DUSK (SECONDS LATER)</stage_direction>
<scene_description>BOOM! BOOM! BOOM! Harry tows the TRUNK down the stairs... finds Uncle Vernon waiting for him. YOU BRING HER BACK! YOU BRING HER: BACK AND PUT HER RIGHT!:</scene_description>
<character>HARRY</character>
<dialogue>No! She deserved what she got! And you... you keep away from me.</dialogue>
<scene_description>Uncle Vernon eyes Harry's wand nervously, then grins with knowing cruelty.</scene_description>
<character>UNCLE VERNON</character>
<dialogue>You're not allowed to do magic out of school. They won't have you now. You've got nowhere to go.</dialogue>
<scene_description>Harry realizes it's true. Briefly falters. Then:</scene_description>
<character>HARRY</character>
<dialogue>Anywhere's better than here.</dialogue>
</scene>
<scene>
<stage_direction>9A EXT. NUMBER FOUR PRIVET DRIVE - DUSK (SECONDS LATER) 9A</stage_direction>
<scene_description>As Harry storms out with his trunk, we DOLLY TO the street WITH him. High in the sky, a plump DOT rises. Aunt Marge. Harry walks and walks and walks, then... stops. Glances about. An empty PLAYGROUND. SWINGS CREAKING gently on rusted chains. A tiny CAROUSEL, kissed gently by the wind, turning slowly. Harry drops the trunk. Sits. Deep in the night, an ALARM SHRIEKS, goes SILENT. Harry, still as a statue. Listening. In the trees above, LEAVES TREMBLE. The WIND gathers. Harry turns, studies the swaying swings, the carousel. Then, he... stiffens. Turns back. Sensing something in the shadows across the street, he rises. Slowly draws his wand. Then he sees... it. Something BIG. Darker than the shadows which conceal it. Something with WIDE, GLEAMING EYES. Harry steps back. Afraid to look. Afraid not to. Wand outstretched... he TRIPS, tumbles over the forgotten trunk. The tip of his wand BLAZES. BANG! TWIN BEAMS of BLINDING LIGHT spear the night.</scene_description>
<character>HARRY</character>
<dialogue>Aaaah!</dialogue>
<scene_description>GIANT WHEELS bear down. Harry rolls clear -- just as a PREPOSTEROUSLY PURPLE, TRIPLE-DECKER BUS SCREECHES to a halt. GOLD LETTERS glimmer above the windscreen: The Knight Bus. DOORS HISS. Snap back. REVEAL STAN SHUNPIKE, an 18- year-old boy in a WRINKLED CONDUCTOR'S UNIFORM. Pasty face. Raccoon eyes. Stan looks like he hasn't seen the sun in years.</scene_description>
<character>STAN SHUNPIKE</character>
<parenthetical>(wearily, drearily)</parenthetical>
<dialogue>Welcome to the Knight Bus. Emergency transport for the stranded witch or wizard. My name is Stan Shunpike, and I will be your conductor this evening.</dialogue>
<parenthetical>(peering at Harry)</parenthetical>
<dialogue>Wha' choo doin' down there?</dialogue>
<character>HARRY</character>
<dialogue>Fell over.</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Wha' choo fall over for?</dialogue>
<character>HARRY</character>
<dialogue>I didn't do it on purpose.</dialogue>
<scene_description>Stan eyes Harry suspiciously, nods slowly.</scene_description>
<character>STAN SHUNPIKE</character>
<dialogue>Well, come on then. Let's not wait for the grass to grow.</dialogue>
<scene_description>As Stan grabs Harry's trunk, Harry peers into the shadows across the street -- now simply shadows -- and climbs aboard.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KNIGHT BUS - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>No seats. Only BEDS. The BRASS frames need a shine, the lines a wash. In one bed, a DISHEVELED WIZARD GRUNTS, turns over in his sleep.</scene_description>
<character>DISHEVELED WIZARD</character>
<dialogue>Not now... I'm pickling slugs...</dialogue>
<scene_description>Behind the wheel, ERNIE, an UNSHAVEN WIZARD in THICK GLASSES, stares straight ahead, armpits stained with sweat. A SHRUNKEN HEAD dangles from the rearview mirror, MUTTERING incessantly through the STITCHES that lace its mouth.</scene_description>
<character>STAN SHUNPIKE</character>
<dialogue>Take 'er away, Ern.</dialogue>
<character>SHRUNKEN HEAD</character>
<dialogue>Yeah, take it away!</dialogue>
<scene_description>BANG! Ernie rockets away and the beds -- as one -- slide six inches to the rear. Harry drops onto the bed nearest, peers up at the CHANDELIER SWAYING directly above his head. Beyond the windscreen ONCOMING TRAFFIC WHIPS past in a blur.</scene_description>
<character>STAN SHUNPIKE</character>
<dialogue>Wot you say your name was again?</dialogue>
<character>HARRY</character>
<dialogue>I didn't.</dialogue>
<scene_description>Stan, huddled in an armchair, peeks over The Daily Prophet, eyes Harry coolly, before disappearing once more. Harry brushes the fringe of his hair over his scar, watches an AMBULANCE -- SIREN WAILING -- careen past.</scene_description>
<character>STAN SHUNPIKE</character>
<dialogue>Whereabouts you headin'?</dialogue>
<scene_description>Harry hesitates. He hadn't thought about this. Decides.</scene_description>
<character>HARRY</character>
<dialogue>The Leaky Cauldron. That's in London --</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Is it now? Get that, Ern? The Leaky Cauldron. That's in London.</dialogue>
<scene_description>Stan grins with sinister delight, showing BAD TEETH.</scene_description>
<character>SHRUNKEN HEAD</character>
<dialogue>Leaky Cauldron! Stay away from the pea soup!</dialogue>
<scene_description>As the Shrunken Head CACKLES with delight, Harry peers out the windscreen, watches London careering by.</scene_description>
<character>HARRY</character>
<dialogue>Isn't this a bit... dangerous?</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Naah. Haven't had an accident in -- what? -- a week is it, Ern?</dialogue>
<character>SHRUNKEN HEAD</character>
<dialogue>Heads up! Little old lady at twelve o'clock!</dialogue>
<scene_description>Sure enough, directly ahead, a LITTLE OLD LADY is crossing the street. Ernie HITS the BRAKES HARD and Harry flies forward, palms to the window. The brakes pinch down, the bus stops inches from the old lady, and Harry flies back onto his bed. BANG! The bus rockets forward once more. As Harry rights himself, he notices the HEADLINE of Stan's Daily Prophet: ESCAPE FROM AZKABAN! Below, a sunken-faced MAN with long, matted hair glowers from a MOVING PHOTOGRAPH.</scene_description>
<character>HARRY</character>
<dialogue>Who is that? That man.</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Who is that? That's Sirius Black, that is. Don' tell me you ne'er been hearin' o' Sirius Black?</dialogue>
<scene_description>Harry shakes his head, still staring at the man's face.</scene_description>
<character>STAN SHUNPIKE</character>
<dialogue>A murderer, he is. Got 'imself locked up in Azkaban for it.</dialogue>
<character>HARRY</character>
<dialogue>How'd he escape?</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Tha's the question, isn't it? He's the firs' that's done it. Gives me the collywobbles thinking he's out there, though, I'll tell you that. Big supporter of You- Know-'Oo, Black was. Reckon you heard o' him.</dialogue>
<scene_description>Harry nods and, as he does, Black's eyes shift. Meet Harry's.</scene_description>
<character>HARRY</character>
<dialogue>Yeah. Him I've heard of.</dialogue>
<scene_description>Just then, a pair of DOUBLE-DECKER BUSES sweep directly toward the Knight Bus. Before can scream, the entire Knight Bus SQUEEZES DOWN and shoots the gap between the two onrushing buses. The Shrunken Head winces.</scene_description>
<character>SHRUNKEN HEAD</character>
<dialogue>Hate that.</dialogue>
<character>HARRY</character>
<dialogue>This bus. Don't the Muggles ever...</dialogue>
<character>STAN SHUNPIKE</character>
<dialogue>Them! Don' listen properly, do they? Don' look properly either. Never notice nuffink, they don'.</dialogue>
<scene_description>Just then, a COUPLE walking a DOG are engulfed by a RUSH of WIND as the (invisible) Knight Bus WHOOSHES past. The couple glances about in bewilderment. The DOG YAPS madly.</scene_description>
<character>SHRUNKEN HEAD</character>
<dialogue>Turn! Turn!</dialogue>
<scene_description>Ernie fans the wheel, sending the Knight Bus into a dizzying 360-degree turn. HEADLIGHTS pinwheel past the windows as the bus rides up on two wheels and Harry is sent flying once more. Grabbing fast to the center POLE, he pirouettes through the air when Ernie... SLAMS on the BRAKES. The Knight Bus fishtails INTO VIEW and SQUEALS to a stop, centimeters from a PARKED CAR. WHOOSH! The bus settles and -- TINK! -- taps the bumper. Instantly, the car's ALARM wails.</scene_description>
</scene>
<scene>
<stage_direction>12A INT. THE KNIGHT BUS - SAME TIME - NIGHT 12A</stage_direction>
<scene_description>The chandelier sways drunkenly as the bus doors open. The steps GROAN with heavy feet and a FIGURE appears: TOM, Innkeeper of the Leaky Cauldron pub.</scene_description>
<character>TOM</character>
<dialogue>Mr. Potter... at last.</dialogue>
</scene>
<scene>
<stage_direction>12B EXT. LEAKY CAULDRON - NIGHT (MOMENTS LATER) 12B</stage_direction>
<scene_description>As the Knight Bus rockets off, Tom and Harry are revealed, Harry glances up, reads the SIGN above: THE LEAKY CAULDRON. Tom drags Harry's trunk inside, then pauses and, with a FLICK of his wand, silences the car alarm.</scene_description>
</scene>
<scene>
<stage_direction>INT. LEAKY CAULDRON - BAR/HALLWAY - NIGHT (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>Harry trails Tom through the quiet room. The BARTENDER glances up, his gaze lingering perhaps a bit too long. A solitary WIZARD reads a book while, at his elbow, his COFFEE CUP STIRS ITSELF. Tom leads Harry upstairs.</dialogue>
</scene>
<scene>
<stage_direction>INT. LEAKY CAULDRON - BACK ROOM - NIGHT</stage_direction>
<scene_description>As Harry follows Tom inside, he finds a SNOW WHITE OWL (HEDWIG) perched atop a chair.</scene_description>
<character>HARRY</character>
<dialogue>Hedwig!</dialogue>
<character>TOM</character>
<dialogue>Right smart bird you've got there, Mr. Potter. Arrived only minutes before yourself.</dialogue>
<scene_description>A MAN CLEARS his throat. Harry turns, finds a PINSTRIPED SILHOUETTE (CORNELIUS FUDGE) at the window, staring at the ghostly shadows beyond. Harry's reflection shivers in the glass, but the man doesn't turn. Tom takes a position against the wall, fishes a pair of WALNUTS from his pocket and -- CRACK -- crushes the shells between his palms.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>I should tell you, Mr. Potter, earlier this evening your uncle's sister was located just south of Sheffield, circling a chimney stack. The Accidental Magic Reversal Department was dispatched and she's been properly punctured and her memory modified. She has no recollection of the incident whatsoever.</dialogue>
<scene_description>Harry waits. A man condemned. Then Fudge turns.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>So that's that, and no harm done.</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>Pea soup?</dialogue>
<scene_description>Harry glances warily from the steaming TUREEN of GREEN to Tom, who works a grimy thumb into his gum, frees a walnut sliver.</scene_description>
<character>HARRY</character>
<dialogue>No thank you. Minister... I don't understand. I broke the law. Underage wizards aren't allowed to use magic at home --</dialogue>
<character>CORNELIUS FUDGE</character>
<parenthetical>(dishing up a bowl)</parenthetical>
<dialogue>Oh, come now, Harry. The Ministry doesn't send people to Azkaban for blowing up their aunts! On the other hand... running away like that... given the state of things... very, very irresponsible.</dialogue>
<character>HARRY</character>
<dialogue>'The state of things' sir?</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>We have a killer on the loose.</dialogue>
<character>HARRY</character>
<dialogue>Sirius Black, you mean. But... what's that got to do with me?</dialogue>
<scene_description>CRACK! Tom SHATTERS another WALNUT. Fudge smiles nervously.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>Hm? Oh, nothing. You're safe, that's what matters. Tomorrow you'll be on your way to Hogwarts. These are your new schoolbooks. I took the liberty of having them brought here for you.</dialogue>
<scene_description>Harry eyes the STACK of BOOKS. One is bound by a ROPE.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>By the way, Harry. Whilst you're here it would be best if you didn't... wander.</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. LEAKY CAULDRON - ROOM ELEVEN - MORNING</stage_direction>
<scene_description>THROUGH the window: the rooftops of London. A TRAIN PASSES and CAMERA PULLS BACK, REVEALS Harry, standing with Hedwig. He turns, eyes his schoolbooks. He studies the GROWLING TOME -- The Monster Book of Monsters -- then gives the rope a tug. Instantly... ... the book LEAPS to the floor, pages flying, bookcovers SNAPPING. Harry gives chase, then the book turns, begins NIPPING viciously at his shoes. Harry vaults atop the bed, watches the book disappear underneath, then grabs a PILLOW. Seconds later, the book scuttles into view and Harry POUNCES -- FLUMPH! The BOOK ROARS angrily, muffled beneath the pillow. Harry takes the ROPE, prepares to rebind it.</scene_description>
</scene>
<scene>
<stage_direction>INT. LEAKY CAULDRON - HALLWAY/ROOM ELEVEN - MORNING</stage_direction>
<scene_description>A YOUNG WITCH in maid's robes pushes a cart down the hall. Harry exits his room as the witch KNOCKS on a door.</scene_description>
<character>YOUNG WITCH</character>
<dialogue>Housekeeping.</dialogue>
<scene_description>As she opens the door, she's greeted by a THUNDEROUS ROAR and a RUSH of WIND.</scene_description>
<character>YOUNG WITCH</character>
<parenthetical>(unperturbed)</parenthetical>
<dialogue>I'll come back later.</dialogue>
<scene_description>Something SMALL and FAST dashes by Harry's feet. Looking, he spies a rather ragged-looking RAT (SCABBERS), pursued by a decidedly UGLY ORANGE CAT (CROOKSHANKS). OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>INT. LEAKY CAULDRON - STAIRWAY - MORNING (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>As Harry moves down the stairs, VOICES come from below.</dialogue>
<character>RON (O.S.)</character>
<dialogue>I'm warning you, Hermione! Keep that bloody beast of yours away from Scabbers or I'll turn it into a tea cozy.</dialogue>
<character>HERMIONE (O.S.)</character>
<dialogue>He's a cat, Ronald! What do you expect? It's in his nature.</dialogue>
<scene_description>As Harry reaches bottom, he finds RON WEASLEY protectively cradling Scabbers, while HERMIONE GRANDER does her best to restrain a HISSING Crookshanks.</scene_description>
<character>RON</character>
<dialogue>A cat! Is that what they told you? Looks more like a pig with hair if you ask me.</dialogue>
<character>HERMIONE</character>
<dialogue>That's rich coming from the owner of that smelly old shoe brush.</dialogue>
<parenthetical>(cooing to the cat)</parenthetical>
<dialogue>It's all right, Crookshanks. You just ignore the mean little boy...</dialogue>
<scene_description>Then, sensing another presence in the room, both turn.</scene_description>
<character>HERMIONE/RON</character>
<dialogue>Harry.</dialogue>
<character>CUT TO:</character>
<dialogue>CLOSEUP - A DOG-EARED CLIPPING</dialogue>
<dialogue>from The Daily Prophet.</dialogue>
<character>A HEADLINE SCREAMS: "GRAND PRIZE WINNER VISITS EGYPT!"</character>
<dialogue>In the accompanying PHOTO, the entire WEASLEY FAMILY stands before the GREAT PYRAMIDS, waving. Smack in the middle is Ron, Scabbers perched on his shoulder.</dialogue>
</scene>
<scene>
<stage_direction>23A INT. LEAKY CAULDRON - MORNING (MOMENTS LATER) 23A</stage_direction>
<scene_description>As Ron smoothes the dog-eared clipping onto the table, Harry studies it. Hermione ignores it, stroking Crookshanks.</scene_description>
<character>HARRY</character>
<dialogue>Egypt! What's it like?</dialogue>
<character>RON</character>
<dialogue>Brilliant. It's got loads of old stuff. Mummies. Death masks. Tombs --</dialogue>
<character>HERMIONE</character>
<dialogue>You know, the ancient Egyptians of the Nile River delta worshipped the cat goddess Bast.</dialogue>
<scene_description>Ron glares stonily at Hermione, then turns back to Harry.</scene_description>
<character>RON</character>
<dialogue>I also got a new wand.</dialogue>
<scene_description>Just then, a COMMOTION is HEARD. The Weasleys -- PERCY, FRED, GEORGE, GINNY, ARTHUR, and MOLLY -- arrive en masse, laden with purchases from Diagon Alley.</scene_description>
<character>GEORGE</character>
<dialogue>Not flashing that clipping about again, are you, Ron?</dialogue>
<character>RON</character>
<dialogue>I haven't shown anyone!</dialogue>
<character>FRED</character>
<dialogue>No, not a soul. Unless you count Tom. The day maid. The night maid. The cook. The bloke that came to fix the toilet. That wizard from Belgium...</dialogue>
<scene_description>Mrs. Weasley takes Harry's face in her hands, smiles. As if relieved to see him.</scene_description>
<character>MRS. WEASLEY</character>
<dialogue>It's good to see you, Harry.</dialogue>
<character>HARRY</character>
<dialogue>Good to see you too, Mrs. Weasley.</dialogue>
<character>ARTHUR WEASLEY</character>
<dialogue>Harry. I wonder if I might have a word.</dialogue>
<character>HARRY</character>
<dialogue>Of course, Mr. Weasley.</dialogue>
<scene_description>As Mr. Weasley pulls Harry away, the others continue to hover over the clipping in the b.g.</scene_description>
<character>FRED</character>
<dialogue>George's nose looks positively massive in that photograph.</dialogue>
<character>GINNY</character>
<dialogue>That's your nose, Fred.</dialogue>
<character>FRED</character>
<dialogue>Bloody hell. 'Tis, isn't it? Take after your side of the family, don't I, Mum?</dialogue>
<scene_description>Harry notices Mr. Weasley glance edgily at a FUGITIVE POSTER tacked to the wall. In it, SIRIUS BLACK glowers under the words, "Have You Seen This Man?"</scene_description>
<character>ARTHUR WEASLEY</character>
<dialogue>Harry. There are some within the Ministry who would strongly discourage me from divulging what I'm about to tell you. But I think you need to know the facts. Because you're in danger. Grave danger.</dialogue>
<scene_description>Harry's eyes drift to the fugitive poster.</scene_description>
<character>HARRY</character>
<dialogue>Has this anything to do with him, sir?</dialogue>
<character>ARTHUR WEASLEY</character>
<dialogue>What do you know of Sirius Black, Harry?</dialogue>
<character>HARRY</character>
<dialogue>That he escaped from Azkaban. That he killed someone...</dialogue>
<character>ARTHUR WEASLEY</character>
<dialogue>Harry, thirteen years ago, when you stopped...</dialogue>
<scene_description>Mr. Weasley hesitates, unable to continue.</scene_description>
<character>HARRY</character>
<dialogue>Voldemort...?</dialogue>
<character>ARTHUR WEASLEY</character>
<parenthetical>(nodding nervously)</parenthetical>
<dialogue>Black lost everything. But he remains a loyal servant to this day. In his mind, only you stand in the way of...</dialogue>
<scene_description>Once again, Mr. Weasley hesitates.</scene_description>
<character>HARRY</character>
<dialogue>Voldemort...?</dialogue>
<character>ARTHUR WEASLEY</character>
<dialogue>Harry, I hate it when you say --</dialogue>
<character>HARRY</character>
<dialogue>I know, sorry. Ron hates it too.</dialogue>
<character>ARTHUR WEASLEY</character>
<dialogue>In Black's mind, only you stand in the way of... You-Know-Who returning to power. That's why he's broken. That's why he's broken out of Azkaban. To find you. And...</dialogue>
<scene_description>Mr. Weasley hesitates yet again.</scene_description>
<character>HARRY</character>
<dialogue>Kill me?</dialogue>
<scene_description>Mr. Weasley nods. Nervously.</scene_description>
<character>ARTHUR WEASLEY</character>
<dialogue>Harry. I want you to swear that -- whatever you might hear -- you won't go looking for Black.</dialogue>
<character>HARRY</character>
<dialogue>Mr. Weasley, why would I go looking for someone who wants to kill me?</dialogue>
<scene_description>Mr. Weasley nods, then claps Harry on the shoulder.</scene_description>
<character>ARTHUR WEASLEY</character>
<dialogue>Just watch yourself, will you, Harry?</dialogue>
<scene_description>OMITTED & &</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLATFORM NINE AND THREE QUARTERS - MORNING</stage_direction>
<scene_description>As the HOGWARTS EXPRESS BLEATS ITS HORN, we CRANE OVER the milling horde of students. Parents hurry their children onboard, tiny siblings wave goodbyes... and Mr. Weasley dashes through the throng and up to an open train window.</scene_description>
<character>MRS. WEASLEY</character>
<dialogue>Ron!</dialogue>
<scene_description>She hands Scabbers through the open window to him.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOGWARTS EXPRESS - TRAIN CAR - DAY (MOMENTS LATER)</stage_direction>
<scene_description>The aisle teems with students. Harry, Ron and Hermione work their way down the aisle, looking for an empty compartment.</scene_description>
<character>HARRY</character>
<dialogue>I didn't mean to blow her up. I just...</dialogue>
<parenthetical>(troubled by the memory)</parenthetical>
<dialogue>... lost control.</dialogue>
<character>RON</character>
<dialogue>Brilliant!</dialogue>
<character>HERMIONE</character>
<dialogue>Honestly, Ron, it's not funny. Harry's lucky he wasn't expelled.</dialogue>
<character>RON</character>
<dialogue>I still think it was brilliant.</dialogue>
<scene_description>SNAP! SNAP! SNAP! A copy of the The Monster Book of Monsters SCUTTLES CRAB-LIKE down the aisle, pursued by NEVILLE LONGBOTTOM.</scene_description>
<character>NEVILLE</character>
<dialogue>Hi, Harry. Ron. Hermione.</dialogue>
<character>HARRY/HERMIONE/RON</character>
<dialogue>Hi, Neville.</dialogue>
<scene_description>As he bumps past, Hermione nods to a compartment.</scene_description>
<character>HERMIONE</character>
<dialogue>C'mon. We're in here.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRAIN COMPARTMENT - CONTINUOUS ACTION - DAY</stage_direction>
<scene_description>As they slip inside, they find a MAN in SHABBY ROBES (PROFESSOR LUPIN) slumped against the window, asleep. He looks ill, exhausted. The trio eye him warily. WHISPER.</scene_description>
<character>RON</character>
<dialogue>Who d'you reckon he is?</dialogue>
<character>HERMIONE</character>
<dialogue>Professor R.J. Lupin.</dialogue>
<character>RON</character>
<dialogue>You know everything. How is it she knows everything?</dialogue>
<character>HERMIONE</character>
<dialogue>It's on his case.</dialogue>
<scene_description>She points. Stamped in peeling letters on a BATTERED CASE is "Professor R.J. Lupin."</scene_description>
<character>HARRY</character>
<dialogue>Is he really asleep?</dialogue>
<character>HERMIONE</character>
<dialogue>Seems to be. Why? What is it, Harry?</dialogue>
<character>HARRY</character>
<dialogue>Close the door.</dialogue>
<scene_description>Hermione and Ron exchange a curious glance, then Ron rises, slides the door shut, OVER CAMERA, and we --</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS EXPRESS - LATE DAY (LATER)</stage_direction>
<scene_description>Storm clouds, like dark ghosts, toss SHEETS of RAIN onto the scarlet engine as it heads north. Ron and Hermione stare at Harry, faces stricken in the lantern light that now glows in the compartment. Crookshanks slumbers in his CAGE.</scene_description>
<character>RON</character>
<dialogue>Let me get this straight. Sirius Black escaped from Azkaban to come after you?</dialogue>
<character>HARRY</character>
<dialogue>Yes.</dialogue>
<character>HERMIONE</character>
<dialogue>But they'll catch Black, won't they? I mean... eventually?</dialogue>
<character>RON</character>
<dialogue>Sure -- Of course, no one's ever broken out of Azkaban before and he's a raving, murderous lunatic...</dialogue>
<scene_description>Just then, the COMPARTMENT RATTLES. Lanterns flicker. The train LURCHES, begins to SLOW. Hermione slides down the seat, pinning Ron against the window. They exchange an awkward glance, then Hermione carefully slides to the other end of the seat and glances at her WATCH. Frowns.</scene_description>
<character>HERMIONE</character>
<dialogue>Why're we stopping? We can't be there yet...</dialogue>
<scene_description>Harry rises, slides open the door, peers into the corridor. HARRY'S POV -- All along the carriage, HEADS look out curiously. Then -- the train JERKS -- the car SWAYS -- and the LAMPS running along the ceiling FLICKER and...</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN - SAME TIME - DUSK</stage_direction>
<scene_description>... die. One by one. Until all is...</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN COMPARTMENT - SAME TIME - DUSK</stage_direction>
<scene_description>Dark.</scene_description>
<character>RON</character>
<dialogue>What's going on?</dialogue>
<scene_description>A thin WISP of STEAM escapes Ron's mouth. Harry notices.</scene_description>
<character>HARRY</character>
<dialogue>Dunno... Maybe we've broken down?</dialogue>
<character>HERMIONE</character>
<dialogue>Ouch! Ron, that was my foot!</dialogue>
<scene_description>SQUEAK-SQUEAK-SQUEAK. Ron, a dark silhouette against the window, wipes a patch of condensation from the window.</scene_description>
<character>RON</character>
<dialogue>There's something moving out there. I think... people are coming aboard.</dialogue>
<scene_description>Suddenly the CAR SWAYS violently... rights itself. The METAL WINDOW TRIM at Ron's fingertips begins to VIBRATE.</scene_description>
<character>RON</character>
<dialogue>Bloody hell. What's happening?</dialogue>
<scene_description>SSSSST! A soft CRACKLING fills the car and FLAMES bloom... in the hands of R.J. Lupin. In the SHIVERING LIGHT, his face looks tired and gray, but his eyes are alert. Wary.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Don't. Move.</dialogue>
<scene_description>A HAND -- slimy and scabbed -- a hand of death -- GRIPS the half-open compartment door, pushes it aside. REVEALS: a TOWERING, CLOAKED FIGURE, its face hidden beneath its black hood. CROOKSHANKS' hair rises and as she HISSES... WHOOSHHHHH. The folds of the hood TREMBLE. A CHILL, RATTLING INTAKE OF AIR is heard. The FLAMES in Lupin's hands SPUTTER. A SOUND SWELLS in Harry's ears. Eerie. Painful. The sound of a WOMAN SCREAMING. Harry's eyes roll up, eyelids fluttering. And then... a SILVERY WHITE LIGHT drifts from his mouth. The world spins off its axis and Harry falls... glasses tumbling hard to the ground... then Harry... the muscles of his jaw twitching. THUNDER CRACKS. LIGHTNING paints the ICY windows... WHITE. BLACK. WHITE. BLACK... With a DESPERATE GASP, Harry opens his eyes. Blinks. DUSK IS GONE. The windows BLACK. The floor at his spine is SHAKING GENTLY. The train moving again. His eyes shift, see a DROP OF WATER, newly unfrozen, running slowly down the window.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry? Harry, are you all right?</dialogue>
<scene_description>Hermione's troubled face hovers above him. He nods. Sits up. Ron -- pale, nervous -- extends his hand. Harry's glasses.</scene_description>
<character>HARRY</character>
<dialogue>Thanks.</dialogue>
<scene_description>Harry slips them on. Discovers the cold sweat glazing his brow. SNAP! Professor Lupin breaks a ragged triangle of CHOCOLATE off the SLAB in his hands. Holds it out.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Chocolate. Eat. It'll help.</dialogue>
<character>HARRY</character>
<dialogue>What was that -- that thing?</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>A Dementor. One of the guards of Azkaban. It's gone now.</dialogue>
<scene_description>Harry frowns in confusion.</scene_description>
<character>HERMIONE</character>
<dialogue>It was searching the train, Harry. For Sirius Black.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>I need to have a word with the driver. Excuse me.</dialogue>
<parenthetical>(the chocolate)</parenthetical>
<dialogue>Eat. It'll help.</dialogue>
<scene_description>As he leaves, Harry turns to Ron and Hermione.</scene_description>
<character>HARRY</character>
<dialogue>What happened to me?</dialogue>
<character>RON</character>
<dialogue>Well, you sort of went... rigid. We thought maybe you were having a fit or something.</dialogue>
<character>HARRY</character>
<dialogue>And did either of you? You know... pass out?</dialogue>
<character>RON</character>
<dialogue>No. I felt... weird. Like I'd never be cheerful again. But... no.</dialogue>
<scene_description>Harry turns to Hermione. She shakes her head.</scene_description>
<character>HERMIONE</character>
<dialogue>I was trembling. Cold. But then... Professor Lupin made it go away...</dialogue>
<character>HARRY</character>
<dialogue>But someone was screaming. A woman.</dialogue>
<scene_description>Hermione and Ron glance nervously at each other.</scene_description>
<character>HERMIONE</character>
<dialogue>No one was screaming, Harry.</dialogue>
<scene_description>Harry looks to the window and we PUSH IN ON his REFLECTION. It becomes a GLIMMERING PUDDLE and... OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - NIGHT</stage_direction>
<scene_description>SPLASH!... a CARRIAGE WHEEL shatters the glassy surface as we TILT UP, catch a procession of HORSELESS CARRIAGES, carrying students toward the glimmering castle. Gradually, the sweet sound of a CHOIR rises on the air, a FLASH of LIGHTNING bleaches the night sky and we --</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. GREAT HALL - NIGHT (LATER)</stage_direction>
<scene_description>... the CAMERA as it GLIDES TOWARD the windows of the Great Hall, TOWARD the CANDLELIT SILHOUETTES glimmering within, PASSING THROUGH the glass. At the High Table, Lupin sits with SEVERUS SNAPE, MINERVA McGONAGALL, RUBEUS HAGRID and ALBUS DUMBLEDORE. We TRACK ALONG the FACES of the choir, singing to the strains of a HARPSICHORD, and LAND ON a QUINTET OF TOADS (one of which -- TREVOR -- belongs to NEVILLE LONGBOTTOM, who looks on with pride). ARGUS FILCH, Hogwarts' caretaker, stands grimly to the side as red-eyed MRS. NORRIS switches her tail at his feet. As the choir's song concludes, DUMBLEDORE rises, beaming over the sea of black hats.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Welcome! Welcome to another year at Hogwarts! I have a few things to say, before we become befuddled by our excellent feast. I myself am particularly looking forward to the flaming kiwi cups, which, while somewhat treacherous for those of us with facial hair...</dialogue>
<scene_description>McGONAGALL clears her throat.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Mm. Yes. First, I'm pleased to welcome Professor R.J. Lupin, who has kindly consented to fill the post of Defense Against the Dark Arts. Good luck to you, Professor.</dialogue>
<scene_description>Amid SCATTERED APPLAUSE, Harry, Ron, Hermione CLAP LOUDLY.</scene_description>
<character>HERMIONE</character>
<dialogue>Of course! That's why he knew to give you the chocolate, Harry.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>As some of you may know, Professor Kettleburn, our Care of Magical Creatures teacher for many years, has decided to retire in order to spend more time with his remaining limbs. Fortunately, I'm delighted to announce that his place will be filled by none other than our own Rubeus Hagrid!</dialogue>
<scene_description>Harry, Ron, and Hermione stare at each other -- stunned -- then APPLAUD vigorously. Hagrid turns ruby red, rises, and nearly topples the staff table, sending water goblets weaving.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(turning grave)</parenthetical>
<dialogue>Finally, on a more disquieting note, Hogwarts -- at the request of the Ministry of Magic -- will, until further notice, play host to the Dementors of Azkaban.</dialogue>
<scene_description>A MURMUR of apprehension fills the hall. At the Slytherin table, DRACO MALFOY, flanked by the ever- present CRABBE and GOYLE, catches Harry's eye, feigns a dead faint.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>The Dementors will be stationed at the entrances to the grounds. While they are under strict orders not to enter the castle itself, you will on occasion see them as you go about your daily activities. Under no circumstances are you to approach them. It is not in the nature of a Dementor to be forgiving.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTRANCE HALL - NIGHT (LATER)</stage_direction>
<scene_description>Students exit the Great Hall, scale the Marble Staircase.</scene_description>
</scene>
<scene>
<stage_direction>INT. MARBLE STAIRCASE/SEVENTH FLOOR - NIGHT</stage_direction>
<scene_description>Harry, Ron and Hermione arrive at the seventh floor landing and approach the FAT LADY in the portrait.</scene_description>
<character>HARRY</character>
<dialogue>Fortuna Major.</dialogue>
</scene>
<scene>
<stage_direction>INT. GRYFFINDOR COMMON ROOM - NIGHT</stage_direction>
<scene_description>The Gryffindors trail through the common room, the girls heading one way, boys the other.</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER DORMITORY - NIGHT (LATER)</stage_direction>
<scene_description>While those around him sleep, Harry takes the PHOTOGRAPH of his parents, sets it next to his bed, then glances around in quiet contentment.</scene_description>
<character>RON</character>
<dialogue>Good to be home, eh, Harry?</dialogue>
<scene_description>Harry turns -- caught -- and finds Ron studying him from his own bed, Scabbers cradled in his hand. Harry nods and turns to the window..</scene_description>
</scene>
<scene>
<stage_direction>39A EXT. HOGWARTS CASTLE - SAME TIME - NIGHT 39A</stage_direction>
<scene_description>The Dementors drift to their positions outside the grounds.</scene_description>
</scene>
<scene>
<stage_direction>39B INT. TOWER DORMITORY - SAME TIME - NIGHT 39B</stage_direction>
<scene_description>Harry continues to stare.</scene_description>
<character>HARRY</character>
<dialogue>Yeah...</dialogue>
<scene_description>As his breath CLOUDS THE GLASS, we gradually...</scene_description>
<character>FADE OUT.</character>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - GROUNDS - MORNING</stage_direction>
<scene_description>As BRIDGE and CASTLE glimmer in the distance, Hagrid emerges from the Forbidden Forest, dragging a fistful of dead FERRETS by the tail. A BIRD appears, circles his head playfully, CHIRP-CHIRP-CHIRPING merrily before it... ... flutters off, pin-wheeling past flowers, into a BIRDBATH, finally coming to rest upon... ... an ANCIENT TREE. It TWITTERS cheerfully, singing its lovely song, when -- THWOCK! -- a branch punts the bird into the air. As feathers fly, the WHOMPING WILLOW resumes its shape. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. DIVINATION CLASSROOM - MORNING</stage_direction>
<scene_description>Harry, Ron and Hermione sit on fat little pouffes in a murky, incense-laden room, along with Neville, Dean, Seamus, LAVENDER BROWN, PARVATI PATIL and others.</scene_description>
<character>PROFESSOR TRELAWNEY (O.S.)</character>
<dialogue>Welcome, my children. In this room, you shall explore the mysterious art of Divination. In this room, you shall discover if you possess...</dialogue>
<scene_description>A crimson scrim FLUTTERS and SYBIL TRELAWNEY, Divination Professor, glides dramatically INTO VIEW, eyes huge and bug-like behind enormous glasses.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>... the Sight. Hello. I am Professor Trelawney. Together, we shall cast ourselves into the future. But know this. One either has the Gift or not. It cannot be divined from the pages of a book. Books only cloud one's Inner Eye.</dialogue>
<character>HERMIONE (O.S.)</character>
<parenthetical>(under her breath)</parenthetical>
<dialogue>What rubbish.</dialogue>
<scene_description>Ron spins. Frowns at Hermione.</scene_description>
<character>RON</character>
<dialogue>Where'd you come from?</dialogue>
<character>HERMIONE</character>
<dialogue>Me? I've been here all along.</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<parenthetical>(spinning on Neville)</parenthetical>
<dialogue>You, boy! Is your grandmother well?</dialogue>
<character>NEVILLE</character>
<dialogue>I... I think so.</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>I wouldn't be so sure of that.</dialogue>
<parenthetical>(continuing)</parenthetical>
<dialogue>The first term will be devoted to the reading of tea leaves. If all goes well, we will proceed to palmistry, fire omens, and finally... the crystal ball.</dialogue>
<parenthetical>(eyeing Parvati)</parenthetical>
<dialogue>By the way, dear, beware a red- haired man.</dialogue>
<scene_description>Parvati eyes Ron dubiously. Edges her pouffe away.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Unfortunately, classes will be disrupted in February by a nasty bout of flu. I myself will lose my voice. And in late spring, one of our number will... leave us forever.</dialogue>
<scene_description>As the class exchanges uneasy glances, Trelawney smiles brightly.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Well then. Shall we?</dialogue>
<scene_description>TEACUP - DETAIL - LATER Inside, a CLOUD of TEA LEAVES mutates oddly. Harry, sitting opposite Ron now, frowns at the leaves, consults the SYMBOLS in the textbook (Unfogging the Future) at his elbow. Trelawney walks amongst them, robes flowing.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Broaden your minds, my dears. And allow your eyes to see... beyond.</dialogue>
<scene_description>Trelawney takes Lavender Brown's cup, peers inside.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>A five-leaf clover... You can expect to wake with a horrible rash tomorrow morning, dear.</dialogue>
<parenthetical>(then, casually)</parenthetical>
<dialogue>Mr. Longbottom, after you've broken your first cup...</dialogue>
<scene_description>CA-CHINK! Neville fumbles the cup in his hands and the brittle CRASH of CHINA is heard.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>... would you be so kind as to select one of the blue ones? I'm rather partial to the pink.</dialogue>
<parenthetical>(pausing by Ron)</parenthetical>
<dialogue>What do you see in Mr. Potter's cup, Mr. Weasley?</dialogue>
<character>RON</character>
<dialogue>Well. He's got a wonky sort of cross -- that's trials and suffering. But this lot here could be the sun -- that's great happiness. So... he's going to suffer but be very happy about it.</dialogue>
<scene_description>Professor Trelawney takes the cup, peers inside, and GASPS.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Ahhh!</dialogue>
<character>PARVATI</character>
<dialogue>What is it, Professor?</dialogue>
<scene_description>Trelawney regards Harry with a mixture of pity and fear.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>My dear boy... You have the Grim.</dialogue>
<character>SEAMUS</character>
<dialogue>The Grin? What's the Grin?</dialogue>
<character>PARVATI</character>
<dialogue>Not the grin, you idiot. The Grim.</dialogue>
<character>DEAN THOMAS</character>
<dialogue>But what does it mean, Professor?</dialogue>
<character>LAVENDER</character>
<dialogue>'The Grim...'</dialogue>
<scene_description>All turn, see Lavender bent over her textbook.</scene_description>
<character>LAVENDER</character>
<dialogue>'Taking the form of a giant spectral dog, it is among the darkest omens in our world. It is an omen... of death.'</dialogue>
<scene_description>Harry peers into his cup. The tea leaves shift. The dog disappears. And a new image emerges slowly... Sirius Black.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE/BRIDGE/WHOMPING WILLOW/HAGRID'S HUT - DAY</stage_direction>
<scene_description>The trio emerge from the BRIDGE and make their way toward Hagrid's hut. The Whomping Willow looms in the distance.</scene_description>
<character>HERMIONE</character>
<dialogue>Death omens. Honestly. If you ask me, Divination's a very wooly discipline. Now Ancient Runes. That's a fascinating subject.</dialogue>
<character>RON</character>
<dialogue>Ancient Runes? Exactly how many classes are you taking this term?</dialogue>
<character>HERMIONE</character>
<dialogue>A fair few.</dialogue>
<character>RON</character>
<dialogue>Hang on. Ancient Runes is the same time as Divination. You'd have to be in two classes at once.</dialogue>
<character>HERMIONE</character>
<dialogue>Don't be silly. How could anyone be in two classes at once?</dialogue>
<parenthetical>(mimicking Trelawney)</parenthetical>
<dialogue>Broaden your minds...</dialogue>
</scene>
<scene>
<stage_direction>43A EXT. HAGRID'S HUT - DAY (MOMENTS LATER) 43A</stage_direction>
<scene_description>STUDENTS gather around Hagrid as Harry, Ron and Hermione arrive. Draco, Crabbe, and Goyle stand with the Slytherins.</scene_description>
<character>HAGRID</character>
<dialogue>C'mon now, get a move on! Got a real treat for yeh. Great lesson comin' up. Follow me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PADDOCK - HAGRID'S HUT - DAY (MOMENTS LATER)</stage_direction>
<scene_description>Hagrid leads them toward a small paddock just this side of the Forbidden Forest. In the paddock, a freestanding IRON RACK hangs with DEAD FERRETS, BUZZING with FLIES. Nearby is a PUMPKIN PATCH.</scene_description>
<character>HAGRID</character>
<dialogue>Gather 'round. Find yerself a spot. That's it. Now, firs' thing yeh'll want ter do is open yer books --</dialogue>
<character>DRACO</character>
<dialogue>And exactly how do we do that?</dialogue>
<scene_description>Hagrid looks. Belts, rope, Spellotape: any means available have been employed to bridle The Monster Book of Monsters, which QUIVER VIOLENTLY.</scene_description>
<character>HAGRID</character>
<dialogue>Crikey. Didn' yeh know? All yeh've got ter do is stroke 'em. Look --</dialogue>
<scene_description>Hagrid takes Hermione's copy, SNAPS the Spellotape binding it. As it begins to BITE, Hagrid calmly runs a forefinger down the book's spine and it... SHIVERS. Falls quietly open. Hagrid glances at the class, looking suddenly unsure.</scene_description>
<character>HAGRID</character>
<dialogue>Righ' then. So... so... yeh've got yer books, an' now yeh need the Magical Creatures. Right. So... I'll... I'll go an' get 'em.</dialogue>
<scene_description>Hagrid turns, disappears into the trees. Draco shakes his head, SPEAKS LOUDLY to Crabbe and Goyle.</scene_description>
<character>DRACO</character>
<dialogue>God, this place is going to the dogs. Wait until my father hears Dumbledore's got this oaf teaching classes.</dialogue>
<character>HARRY</character>
<dialogue>Listen, you stupid prat --</dialogue>
<scene_description>Eyes WIDENING in fear, Malfoy steps back, points.</scene_description>
<character>DRACO</character>
<dialogue>Potter, there's a Dementor behind you.</dialogue>
<scene_description>Harry JUMPS, wheels in fear, finds... nothing. Instantly, the SLYTHERINS make an eerie OOH... and OOH sound, then break up laughing. Harry reddens, embarrassed, then... A STRANGE BEAST (BUCKBEAK) emerges from the trees. It has the torso, hind legs, and tail of a horse, but the front legs, wings and head of a giant eagle. The students step back in fear, then Hagrid appears, shooing the beast on.</scene_description>
<character>HAGRID</character>
<dialogue>Gee up, there!</dialogue>
<parenthetical>(grinning)</parenthetical>
<dialogue>Beau'iful, isn' he?</dialogue>
<scene_description>There seems no consensus on this, but the students stare in wary wonder nonetheless. As Hagrid coaxes the beast to the center of the paddock, Ron stares uneasily.</scene_description>
<character>RON</character>
<dialogue>Hagrid. Exactly what is that?</dialogue>
<character>HAGRID</character>
<dialogue>A Hippogriff, o' course. Now, firs' thing yeh gotta know is they're proud. Easily offended, Hippogriffs are. Don't never insult one, 'cause it migh' be the las' thing yeh do. Right then -- who wants ter come an' say hello?</dialogue>
<scene_description>The entire class STEPS BACK, leaving Harry in front.</scene_description>
<character>HAGRID</character>
<dialogue>Good man, Harry!</dialogue>
<scene_description>Harry looks around, then -- reluctantly -- approaches.</scene_description>
<character>HAGRID</character>
<dialogue>Tha's it. Easy now... stop! This here's Buckbeak, Harry. Yeh want ter let 'im make the firs' move. It's polite, see? Jus' take step forward, give 'im a bow, and if Buckbeak bows back, yeh're allowed ter touch him. Ready?</dialogue>
<scene_description>Unsure, Harry nods anyway. Steps forward. And... bows. Buckbeak's head cocks, eagle eyes studying Harry cannily. Harry waits. And waits...</scene_description>
<character>HAGRID</character>
<dialogue>Back off, Harry! Back off!</dialogue>
<scene_description>Harry starts to step back, when... Buckbeak ducks his beak. Hagrid sighs, relieved.</scene_description>
<character>HAGRID</character>
<dialogue>Well done, Harry! Go on. Give 'im a pat.</dialogue>
<scene_description>Tentatively, Harry reaches out, lays his hand on Buckbeak's fierce beak. The class CLAPS. Harry smiles.</scene_description>
<character>HAGRID</character>
<dialogue>Look at that! I reckon he migh' let yeh ride 'im!</dialogue>
<character>HARRY</character>
<parenthetical>(smile drooping)</parenthetical>
<dialogue>Excuse me?</dialogue>
<character>HAGRID</character>
<dialogue>We'll jus' set yeh behind the wing joint. Mind yeh don' pull any feathers out. He won' like that.</dialogue>
<scene_description>Hagrid lifts Harry high, drops him onto Buckbeak's back, and before Harry's settled, SLAPS Buckbeak's hindquarters.</scene_description>
<character>HAGRID</character>
<dialogue>Off yeh go!</dialogue>
<scene_description>As Buckbeak GALLOPS FORWARD, Harry slides scarily back, giant WINGS unfold, huge and powerful, and -- WHOOSH! -- they SOAR into the air. Rising higher. And higher. And higher. Gradually, Harry loosens his hold on Buckbeak's neck. Losing himself in the joy of flying. Smiling at the sight of his and Buckbeak's SHADOW racing across the grass below. Circling over the Whomping Willow, past Hogwarts castle, and then SWOOPING, with heart-stopping speed, over the Black Lake, Buckbeak's talons tickling the smooth glass of the water, summoning the GIANT SQUID to the surface briefly. Hagrid WHISTLES then, and Buckbeak wheels, beating his way back to the paddock, galloping to a halt. As Harry slides off, the class CHEERS -- all except Draco, who narrows his eyes maliciously.</scene_description>
<character>HAGRID</character>
<dialogue>Good work, Harry!</dialogue>
<parenthetical>(under his breath)</parenthetical>
<dialogue>How'm I doin' me firs' day?</dialogue>
<character>HARRY</character>
<dialogue>Brilliant... Professor.</dialogue>
<scene_description>They both grin, when Draco pushes past them roughly, strides toward Buckbeak.</scene_description>
<character>DRACO</character>
<dialogue>Give me a go at that thing. If Potter can do it, it must be easy. You're not dangerous at all, are you, you great ugly brute --</dialogue>
<character>HAGRID</character>
<dialogue>Malfoy! No!</dialogue>
<scene_description>In a flash, Buckbeak's steely talons SLASH DOWN. Malfoy freezes. Looks down at the BLOOD BLOSSOMING on his robes. SHRIEKS. Instantly, Harry dashes forward. Buckbeak WHIPS AROUND, raises its talons and -- seeing Harry -- lowers them. Ducks its beak. Harry... realizing what he's done... breathes.</scene_description>
<character>DRACO</character>
<dialogue>It's killed me! It's killed me!</dialogue>
<character>HAGRID</character>
<dialogue>Calm yerself! Yer fine... jus' a scratch...</dialogue>
<scene_description>Hagrid looks: a DEEP GASH glistens on Draco's limp arm.</scene_description>
<character>HERMIONE</character>
<dialogue>Hagrid. He's got to be taken to a hospital. I'll go with you, if you like --</dialogue>
<character>HAGRID</character>
<dialogue>No. I'm the teacher. You all... you all just... Class dismissed!</dialogue>
<scene_description>And with that, Hagrid -- looking shaken -- swoops up Malfoy, flops him over his shoulder, and lumbers toward the castle.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - NIGHT</stage_direction>
<scene_description>As Lavender and Parvati huddle over a DOZEN TEACUPS, Avidly interpreting patterns in HUSHED VOICES, Draco, arm bound in a SLING, holds court before a clot of Slytherins.</scene_description>
<character>PANSY</character>
<dialogue>Does it hurt terribly, Draco?</dialogue>
<character>DRACO</character>
<parenthetical>(a tad theatrical)</parenthetical>
<dialogue>It comes and goes. Still... I consider myself lucky. According to Madam Pomfrey, another minute or two... and I could've lost the arm.</dialogue>
<scene_description>Harry, Ron and Hermione watch from the Gryffindor table.</scene_description>
<character>RON</character>
<dialogue>The little git. He's really laying it on thick, isn't he?</dialogue>
<character>HARRY</character>
<dialogue>At least Hagrid didn't get sacked.</dialogue>
<character>HERMIONE</character>
<dialogue>Yes. But I hear Draco's father's furious. I don't think we've heard the end of this...</dialogue>
<character>SEAMUS</character>
<dialogue>He's been sighted!</dialogue>
<scene_description>They turn. Seamus and the other Gryffindors are huddled over a copy of The Daily Prophet.</scene_description>
<character>RON</character>
<dialogue>Who?</dialogue>
<scene_description>But the PHOTOGRAPH on the Prophet's front page provides a chilling answer: Sirius Black. Hermione reads over the shoulders of others. WHISPERS half to herself:</scene_description>
<character>HERMIONE</character>
<dialogue>Achintee? That's not far from here...</dialogue>
<character>NEVILLE</character>
<dialogue>You don't think he'd come to Hogwarts, do you?</dialogue>
<character>LAVENDER</character>
<dialogue>With the Dementors at every entrance?</dialogue>
<character>LAVENDAR</character>
<dialogue>Dementors? He's already slipped by them once, hasn't he? Who's to say he can't do it again?</dialogue>
<scene_description>As a flicker of fear passes through Harry's face, BEM, a Nigerian boy, stares grimly at the grainy image of Black.</scene_description>
<character>BEM</character>
<dialogue>That's right. Black could be anywhere. It's like trying to catch smoke. Like trying to catch smoke with your bare hands.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - MORNING</stage_direction>
<scene_description>Beautiful flowers gleam in the dawn light, then, slowly begin to WITHER. The dew FREEZES, the grass grows brittle. Seconds later, the Dementors sweep by. OMITTED & &</scene_description>
</scene>
<scene>
<stage_direction>INT. LUPIN'S CLASSROOM - MORNING</stage_direction>
<scene_description>A tall WARDROBE RATTLES VIOLENTLY as Harry, Ron and several classmates regard it warily.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Intriguing, yes? Would anyone like to venture a guess as to what's inside?</dialogue>
<character>SEAMUS</character>
<parenthetical>(in a hushed voice)</parenthetical>
<dialogue>That's a Boggart, that is.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Very good, Mr. Finnigan. Can anyone tell us what a Boggart looks like?</dialogue>
<character>HERMIONE</character>
<dialogue>No one knows.</dialogue>
<scene_description>Ron JUMPS, glances at Hermione, then WHISPERS to Harry.</scene_description>
<character>RON</character>
<dialogue>When'd she get here?</dialogue>
<character>HERMIONE</character>
<dialogue>Boggarts are shape-shifters. They take the shape of whatever a particular person fears most. That's what makes it so --</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Terrifying, yes. Luckily, a very simple charm exists to repel a Boggart. Let's practice it now, shall we? Without wands, please... Riddikulus!</dialogue>
<character>STUDENTS</character>
<dialogue>Riddikulus!</dialogue>
<character>DRACO</character>
<parenthetical>(muttering softly)</parenthetical>
<dialogue>It's this class that's ridiculous.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Good. So much for the easy part. You see, the incantation alone is not enough. What really finishes a Boggart off is... laughter. You need to force it to assume a shape you find truly amusing. Neville, come up here, will you?</dialogue>
<scene_description>Neville eyes the rattling wardrobe, steps forward queasily.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>What would you say is the thing that frightens you most?</dialogue>
<character>NEVILLE</character>
<dialogue>Profter... Snafpt...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Didn't catch that, Neville, sorry.</dialogue>
<character>NEVILLE</character>
<dialogue>Professor Snape.</dialogue>
<scene_description>Everyone LAUGHS good-naturedly. Lupin nods thoughtfully.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Hmmm... yes. Neville, I believe you live with your grandmother?</dialogue>
<character>NEVILLE</character>
<dialogue>Yes, but I don't want the Boggart to turn into her either.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>It won't. But I want you to picture her clothes, only her clothes, very clearly in your mind. Can you do that?</dialogue>
<character>NEVILLE</character>
<parenthetical>(closing his eyes)</parenthetical>
<dialogue>She carries a red handbag...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>That's fine. We don't need to hear it. If you see it, we will. Now, when I open this wardrobe, Neville, here's what I want you to do...</dialogue>
<scene_description>Lupin leans close to Neville, WHISPERS. Neville's eyes POP OPEN in shock. Consider Lupin uncertainly.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>You can do this, Neville.</dialogue>
<scene_description>Neville nods nervously, takes a deep breath.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Right then. Wand at the ready. One. Two. Three!</dialogue>
<scene_description>SPARKS jet from Lupin's wand, strike the doorknob, and the wardrobe BURSTS OPEN. Instantly, Snape appears, eyes flashing hideously as he stalks forward. Neville backs away in fright.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Think, Neville. Think!</dialogue>
<character>NEVILLE</character>
<dialogue>R-r-riddikulus!</dialogue>
<scene_description>CRACK! Snape stumbles in a FLASH OF LIGHT and reappears... in a LONG, LACE-TRIMMED DRESS, TOWERING MOTH-EATEN HAT, and CRIMSON HANDBAG. Instantly, the class ROARS (except for Draco and his fellow Slytherins). Neville blinks, amazed, then slowly, grins himself. Lupin drops the needle on an OLD GRAMAPHONE. As a SCRATCHY RHUMBA fills the room, he points to Ron.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Ron! Forward!</dialogue>
<scene_description>Snape DISSOLVES into a mad whirling mass, then mutates into a... GIANT SPIDER. As Ron GASPS, Harry and Hermione exchange an uncertain glance. Lupin puts his hands on Ron's shoulders to steady him. Ron raises his wand.</scene_description>
<character>RON</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>CRACK! ROLLER SKATES materialize on the spider's hairy feet and it begins to shuffle crazily in place. Instantly, Ron relaxes as the class' LAUGHTER rings out.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Parvati!</dialogue>
<scene_description>As Parvati steps up, the spider SPINS faster and faster, a DIZZYING BLUR, then reappears as a VAMPIRE.</scene_description>
<character>PARVATI</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>As the vampire WHIPS its cloak across its eyes, we CUT BEHIND... so our POV is of the students. SWISH! The cloak reopens, the class LAUGHS, and we REVERSE again... see that the vampire is now dressed like CARMEN MIRANDA. As it begins to SHIMMY about -- against its will -- the class starts to CLAP.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Mr. Thomas! As Dean steps up, the vampire's undulating body attenuates, its skin darkening with diamond-thatched SCALES becoming... a GIANT COBRA.</dialogue>
<character>DEAN THOMAS</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>The cobra's hooded head BOBS back and forth, transforms into a JACK-IN-THE-BOX. Lupin grins and...</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Next!</dialogue>
<scene_description>... turns, sees Harry step forward expectantly. Concern flickers through Lupin's face. The Jack-In-The-Box pivots on its spring, its face tumbling toward Harry, becoming more sinister, transforming into a... ... Dementor. Suddenly the MUSIC FADES. Harry starts to raise his wand, then... freezes, transfixed. The Dementor looms closer and closer, when... ... Lupin steps between, snaps his wand.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Here!</dialogue>
<scene_description>CRACK! -- the Dementor vanishes and a ROILING MIST appears, which becomes CLOUDS. Something glows within the clouds, white, silvery and round...</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>POP! The orb deflates like a punctured balloon, WHIZZES crazily about the room, then darts back into the wardrobe. The door SLAMS SHUT and the CLASS CHEERS.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Well done, everyone. I think that's enough excitement for today.</dialogue>
<scene_description>As the students exit, chattering loudly, only Harry, subdued, remains behind. At the doorway, Lupin glances back, exchanges a private glance with him. As he exits, the WARDROBE gives one last RATTLE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLOCK TOWER COURTYARD - MORNING (TWO WEEKS LATER)</stage_direction>
<scene_description>A great buzzing queue of STUDENTS -- Third Years and older -- each clutching a PERMISSION FORM -- pass by a glowering Filch. PROFESSOR McGONAGALL Remember! These visits to Hogsmeade Village are a privilege. Should your behavior reflect poorly on the school in any way, that privilege shall not be extended again. Harry approaches her, but before he can utter a syllable: PROFESSOR McGONAGALL No permission form. No visiting the Village. That's the rule, Potter.</scene_description>
<character>HARRY</character>
<dialogue>Yes, Professor, but I thought if you said I could go --</dialogue>
<scene_description>PROFESSOR McGONAGALL But I don't say so. A parent or guardian must sign, and since I am neither, it would be inappropriate. (a flicker of pity) I'm sorry, Potter. But that's my final word. Ron and Hermione -- watching Harry expectantly from across the way -- see him turn, shake his head. Their faces fall. Harry raises his hand in farewell. Watches them go.</scene_description>
<character>PROFESSOR LUPIN (O.S.)</character>
<dialogue>So. No Hogsmeade, eh ?</dialogue>
<scene_description>OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIDGE (HOGWARTS GROUNDS) - MORNING (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>Deep in the distance, some BOYS skate about on brooms, tossing a RAGGED QUAFFLE back and forth. CAMERA TILTS. FINDS Harry and Lupin walking along the bridge.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Well, don't feel too bad. I was roundly disappointed the first time I went.</dialogue>
<character>HARRY</character>
<dialogue>Really?</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>No. I was just trying to make you feel better. Honeydukes' sweets are the best in the world. Their Pepper Imps are so strong you smoke at the ears. And Zonko's Joke Shop may be dangerous, but you can't beat their Stink Pellets.</dialogue>
<character>HARRY</character>
<parenthetical>(nodding glumly)</parenthetical>
<dialogue>Not to mention The Shrieking Shack, which, according to Hermione, is the most severely haunted building in Britain.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Yes, that too...</dialogue>
<character>HARRY</character>
<dialogue>Professor, can I ask you something?</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>You'd like to know why I stopped you from facing the Boggart.</dialogue>
<parenthetical>(off Harry's surprise)</parenthetical>
<dialogue>I should think it'd be obvious. I assumed the Boggart would take the shape of Lord Voldemort.</dialogue>
<scene_description>Harry frowns. Lupin studies him curiously.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>But clearly... I was wrong.</dialogue>
<character>HARRY</character>
<dialogue>I did think of Voldemort first. But then, I remembered that night on the train... and the Dementors...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Well, well. I'm impressed. That suggests that what you fear most of all is... fear. Very wise.</dialogue>
<character>HARRY</character>
<dialogue>Before I fainted... I heard something. A woman. Screaming.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Dementors force us to relive the worst memories of our lives. Our pain becomes their power.</dialogue>
<character>HARRY</character>
<dialogue>I think it was my mother. The night she was murdered.</dialogue>
<scene_description>Harry looks up. Finds Lupin studying him.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>The first time I saw you, Harry, I recognized you immediately. Not by your scar. By your eyes. They're your mother Lily's.</dialogue>
<parenthetical>(nodding)</parenthetical>
<dialogue>Yes. I knew her. She was there for me at a time when no one else was. We used to talk for hours. She was not only a singularly gifted witch but an uncommonly kind woman. She had a way of seeing the beauty in whoever she met, even -- and perhaps most especially -- when that person couldn't see it in themselves...</dialogue>
<scene_description>Lupin's eyes glaze in memory, then he blinks, smiles.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Which perhaps explains her affection for your father. James had, shall we say, a certain talent for trouble. A gift, rumor has it, he passed on to you.</dialogue>
<scene_description>Lupin turns, eyes Harry affectionately. Harry smiles vaguely.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>I could tell you stories -- and there are many about your parents, Harry -- but know this...</dialogue>
<parenthetical>(eyeing Harry intensely)</parenthetical>
<dialogue>They lived. Every moment of every day. You should know that. That's how they'd want to be remembered.</dialogue>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - EVENING (LATER)</stage_direction>
<scene_description>The Hall buzzes with tales of Hogsmeade, as students swap stories, sample sweets, and send SOAP BUBBLES of all shapes, sizes and colors into the air. A MARIONETTE of a HARLEQUIN cavorts atop the Gryffindor table, moving its limbs in response to the STRANDS of LIGHT that extend from Neville's fingertips. Seamus passes his hand through the light beams and -- FLUMPH! -- the Harlequin collapses.</scene_description>
<character>HERMIONE</character>
<dialogue>And the post office! It's about 200 owls, all sitting on color- coded shelves, depending on how fast you want your letter to go!</dialogue>
<character>RON</character>
<dialogue>And Honeyduke's is brilliant! Sugar Quills, Flaming Whizbees -- and blood-flavored lollipops for Halloween!</dialogue>
<scene_description>Harry nods, picking quietly through the spray of brilliantly colored sweets on the table. Hermione notices.</scene_description>
<character>HERMIONE</character>
<dialogue>But, I mean, after awhile, it got a bit boring. Don't you think, Ron?</dialogue>
<character>RON</character>
<dialogue>Huh? Oh. Yeah. Dead depressing. Hang on. I almost forgot. I got you something wicked at Dervish and Banges. It's a Pocket Sneakoscope.</dialogue>
<scene_description>Ron places a SMALL GLASS SPINNING TOP on the table.</scene_description>
<character>RON</character>
<dialogue>If there's someone untrustworthy around, it's meant to light up and spin. Mind you, Fred and George say it's rubbish, sold for wizard tourists, but I thought, you know, it can't hurt, given that...</dialogue>
<character>HARRY</character>
<dialogue>Sirius Black's trying to kill me.</dialogue>
<scene_description>Harry looks up, GRINS at the two of them.</scene_description>
<character>HARRY</character>
<dialogue>I'm glad you had a good time. Really. And thanks for this.</dialogue>
<parenthetical>(eyeing the Sneakoscope)</parenthetical>
<dialogue>Rubbish or not, you're right. It can't hurt.</dialogue>
<scene_description>With that, Harry pops a PEPPER IMP into his mouth.</scene_description>
<character>RON</character>
<dialogue>Oh, careful of those, they'll make your...</dialogue>
<scene_description>On cue, SMOKE CURLS from Harry's ears and nose.</scene_description>
<character>RON</character>
<dialogue>Never mind.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOVING STAIRCASE/SEVENTH FLOOR CORRIDOR - NIGHT</stage_direction>
<character>(LATER)</character>
<dialogue>As Harry, Ron, and Hermione climb the stairs, they find a crowd gathering on the Seventh Floor landing.</dialogue>
<character>RON</character>
<dialogue>What's the hold-up? Only Neville ever forgets the password.</dialogue>
<character>PERCY</character>
<parenthetical>(pushing past)</parenthetical>
<dialogue>Let me through, please. Excuse me, thank you, I'm Head Boy...</dialogue>
<parenthetical>(stopping dead)</parenthetical>
<dialogue>Back! All of you! No one is to enter this dormitory until it has been fully searched!</dialogue>
<scene_description>Harry, Ron, and Hermione exchange dark glances, when... Ginny emerges from the crowd, her face ashen.</scene_description>
<character>GINNY</character>
<dialogue>The Fat Lady... she's gone.</dialogue>
<character>RON</character>
<dialogue>Probably stuffing her face with the apples in that still life on the second floor again.</dialogue>
<character>GINNY</character>
<dialogue>No. You don't understand --</dialogue>
<scene_description>Hermione GASPS. GRABS Harry's arm. He looks. SEES: The Fat Lady's portrait has been SLASHED VICIOUSLY, great strips of canvas hanging from the frame. Just then, Dumbledore appears.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Mr. Filch. Round up the ghosts. Tell them to search every painting in the castle for the Fat Lady.</dialogue>
<scene_description>Just then, there is a SCREAM. The students dash to the landing, where all THE PAINTINGS WHISPER FEARFULLY. Filch's rheumy eyes peer up, searching the upper shadows, then... narrow.</scene_description>
<character>FILCH</character>
<dialogue>There'll be no need for ghosts, Professor...</dialogue>
<scene_description>Filch extends a crooked finger. High up, near the ceiling, the Fat Lady cowers in a portrait not her own, trembling.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Dear lady. Who did this to you?</dialogue>
<character>FAT LADY</character>
<parenthetical>(in a trance)</parenthetical>
<dialogue>Eyes like the devil he's got. And a soul as dark as his name. It was him, Headmaster. The one they talk about. He's here. Somewhere in the castle. Sirius Black.</dialogue>
<scene_description>As the students REACT, Dumbledore's VOICE cuts through.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Secure the castle, Mr. Filch. The rest of you... to the Great Hall.</dialogue>
<scene_description>MONTAGE - SECURING THE CASTLE - NIGHT CLOCK TOWER DOOR: Great GROANING TUMBLERS fall. SPINDLES rotate. CYLINDERS -- one after another -- fire into place. WINDOWS: Iron SPIKES, sharp as razors, rise instantly. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - CONTINUOUS ACTION - NIGHT</stage_direction>
<scene_description>One by one, deep in the distance, the LIGHTS of the Great Hall go out. Dementors appear, COVERING FRAME, then separate like a curtain...</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - NIGHT (HOURS LATER)</stage_direction>
<scene_description>CAMERA DRIFTS THROUGH the silent room, OVER an ocean of SLEEPING BAGS, FINDS Harry lying awake, staring at the net of stars glimmering beyond the highest window. A gentle CREAK is heard and Harry's eyes shift, see Snape pass through the great doors, converge with Dumbledore.</scene_description>
<character>SNAPE</character>
<dialogue>I've done the dungeons, Headmaster. No sign of Black. Nor anywhere else in the castle.</dialogue>
<character>DUMBLEDORE</character>
<parenthetical>(nodding)</parenthetical>
<dialogue>I didn't really expect him to linger.</dialogue>
<character>SNAPE</character>
<dialogue>Remarkable feat, don't you think? To enter Hogwarts castle on one's own, completely undetected...</dialogue>
<scene_description>Dumbledore gazes at the students, refusing to take the bait.</scene_description>
<character>SNAPE</character>
<dialogue>You may recall, prior to the start of term, I did express my concerns when you appointed Professor --</dialogue>
<character>DUMBLEDORE</character>
<dialogue>I do not believe a single professor inside this castle would have helped Sirius Black enter it, Severus.</dialogue>
<scene_description>As Snape's eyes glitter darkly, Dumbledore gazes out over the slumbering students.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>No... I feel quite confident the castle is safe. And I'm more than willing to let the students return to their Houses. But tomorrow. For now, let them sleep...</dialogue>
<scene_description>As Dumbledore's gaze finds Harry, he shuts his eyes, feigns sleep.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>It's astonishing what the body can endure when the mind allows itself to rest.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - DAY</stage_direction>
<scene_description>The Whomping Willow idly casts off a few withering leaves.</scene_description>
<character>SIR CADOGAN (V.O.)</character>
<dialogue>What villains are these that trespass upon my private lands!</dialogue>
</scene>
<scene>
<stage_direction>INT. GRYFFINDOR COMMON ROOM - MORNING</stage_direction>
<scene_description>The Fat Lady has been replaced by a PAINTING of a TINY KNIGHT (SIR CADOGAN). Stalking a bare stretch of grass as his PONY grazes nearby, he brandishes his sword wildly as a group of Gryffindors regard him warily.</scene_description>
<character>SIR CADOGAN</character>
<dialogue>Who dares challenge Sir Cadogan! Back, you scurvy braggarts! You rogues!</dialogue>
<character>SEAMUS</character>
<dialogue>He's barking mad!</dialogue>
<character>DEAN THOMAS</character>
<dialogue>What d'you expect? After what happened to the Fat Lady, none of the other pictures would take the job.</dialogue>
<character>NEVILLE</character>
<dialogue>But he keeps changing the password. Twice just this morning! I've taken to keeping a list.</dialogue>
<scene_description>As Neville holds up a wrinkled piece of parchment, Harry, Ron and Hermione begin to exit.</scene_description>
<character>SIR CADOGAN</character>
<dialogue>Farewell, comrades! If ever you have need of noble heart and steely sinew, call upon Sir Cadogan!</dialogue>
<character>RON</character>
<dialogue>Yeah, we'll call you... if we ever need someone mental.</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. LUPIN'S CLASSROOM - MORNING (LATER)</stage_direction>
<scene_description>SNAP! Snape PULLS DOWN a SCREEN over the blackboard, turns.</scene_description>
<character>SNAPE</character>
<dialogue>Turn to page 394.</dialogue>
<scene_description>As the students eye Snape with guarded curiosity, Malfoy finishes SCRAWLING something on a bit of PARCHMENT and balls it up in his hands. As he opens them, a MOTH flutters from his palms.</scene_description>
<character>HARRY</character>
<dialogue>Excuse me, sir, but... where's Professor Lupin?</dialogue>
<character>SNAPE</character>
<dialogue>That's not really your concern, is it, Potter? Suffice it to say, your Professor finds himself incapable of teaching at the present time. Page 394.</dialogue>
<scene_description>Snape waves the MOTH away, blows out a candle and a SLIDE SHOW BEGINS. An ANCIENT WOODCUT of a HORRIFIC BEAST flickers at the front of the room. Ron frowns down at his book.</scene_description>
<character>RON</character>
<dialogue>Werewolves?</dialogue>
<character>HERMIONE</character>
<dialogue>But, sir, we've only just begun learning about Red Caps and Hinkypunks. We're not meant to start nocturnal beasts for weeks --</dialogue>
<character>SNAPE</character>
<dialogue>Quiet!</dialogue>
<character>RON</character>
<parenthetical>(to Harry)</parenthetical>
<dialogue>When did she come in? Did you see her come in...</dialogue>
<character>SNAPE</character>
<dialogue>Now. Which of you can tell me the difference between an Animagus and a werewolf?</dialogue>
<scene_description>As the class stares mutely at a SLIDE of an ATTACKING WEREWOLF, Hermione waiting desperately for someone to respond to Snape's question, the moth flutters by Harry. SWAT! He pins it to his desk. A tiny cloud of moth dust mushrooms into the air and Harry lifts his palm. Malfoy's PARCHMENT has reappeared.</scene_description>
<character>SNAPE</character>
<dialogue>No one? How... disappointing.</dialogue>
<character>HERMIONE</character>
<dialogue>Please, sir, an Animagus is a wizard who elects to turn into an animal. A werewolf has no choice in the matter. Furthermore, the werewolf actively hunts humans and responds only to the call of its own kind -- Malfoy lets out a LOW HOWL.</dialogue>
<character>SNAPE</character>
<dialogue>Quiet, Malfoy! Though one must admit to feeling your pain. That is the second time you have spoken out of turn, Miss Granger. Tell me. Are you incapable of restraining yourself? Or do you take pride in being an insufferable know-it-all?</dialogue>
<character>RON</character>
<parenthetical>(to Harry)</parenthetical>
<dialogue>He's got a point, you know.</dialogue>
<scene_description>Harry stares at the parchment. Malfoy has drawn a crude caricature of Harry in his Quidditch robes being STRUCK BY LIGHTNING over and over.</scene_description>
<character>SNAPE</character>
<dialogue>Five points from Gryffindor!</dialogue>
<parenthetical>(to the class)</parenthetical>
<dialogue>As a antidote to your ignorance, I prescribe two rolls of parchment on the werewolf by Monday morning, with particular emphasis placed on recognizing it.</dialogue>
<parenthetical>(suddenly)</parenthetical>
<dialogue>Passing notes, Potter?</dialogue>
<scene_description>Snape SNATCHES the drawing from under Harry's nose. Eyes it.</scene_description>
<character>SNAPE</character>
<dialogue>Not exactly Picasso, are you? I hope you demonstrate more talent on the Quidditch pitch this weekend then you do as an artist.</dialogue>
<character>SNAPE</character>
<dialogue>If not, I fear you'll perish, given the weather forecast. Until that time, however, you'll forgive me if I don't let you off homework. Should you die, I assure you... you need not hand it in.</dialogue>
<scene_description>As Snape turns away, Malfoy sniggers with Crabbe, Coyle and PIKE. Harry glances down at the drawing once more and we hear a true RUMBLE of THUNDER and --</scene_description>
<character>CUT TO:</character>
<dialogue>... a STITCH OF LIGHTNING...</dialogue>
<scene_description>OMITTED & &</scene_description>
</scene>
<scene>
<stage_direction>EXT. QUIDDITCH PITCH - A STITCH OF LIGHTNING - DAY</stage_direction>
<scene_description>as it strikes one of the GOLDEN QUIDDITCH RINGS and the clouds bloom with ICY BLUE light. Far below, in the stands, RAIN lashes the SEA OF UMBRELLAS. As one flies free, soaring end over end into the sky, the... ... CROWD EXPLODES and two Quidditch squads -- Gryffindor in SCARLET, Hufflepuff in CANARY-YELLOW -- shoot into the air. Twin BLUDGERS FIRE skyward, and the match is on. We CUT INTO Harry, rising like a rocket through the mist, his robes SNAPPING VIOLENTLY in the wind.</scene_description>
<character>INTERCUT HARRY'S POV</character>
<dialogue>-- as he flies, RAIN falling like NEEDLES before him, every dark cloud concealing potential danger. Beaters crisscross his path. A BLUDGER WHIZZES past, then a second ROCKETS DIRECTLY AT HIM. SWOOP! -- Harry ducks, watches the BLUDGER SHATTER the BROOM of a HUFFLEPUFF BEATER. The Beater goes into a wild spiral, vanishes in the mist.</dialogue>
<scene_description>IN THE STANDS Ron squints upward, the players little more than STREAKING BLURS from his vantage. KA-SSSST! A STITCH OF LIGHTNING strikes the TAIL of ANGELINA JOHNSON'S broom. As it BURSTS into FLAMES, she PLUMMETS to the pitch. Ron looks down at his own HAND. In the HIGHLY-CHARGED AIR, the HAIR above his knuckles RISES. In the sky, Harry flies fearlessly, searching for the Snitch as Bludgers pierce the clouds above him and CHASERS flit IN and OUT OF VIEW far below. Suddenly, in the stands opposite, a BLACK UMBRELLA flies from the hand of a RAVENCLAW GIRL. For a moment, it sails wondrously through the heavy air, a Magritte dream, then -- WHOOP! WHOOP! WHOOP! -- abruptly picks up speed, ROTATING LIKE A HATCHET. Harry DUCKS, turns, and watches it disappear into a bank of clouds. Then... ... something GLIMMERS: the Snitch. Instantly, Harry jets off closing fast on the tiny, glimmering ball, chasing it through one cloud... then another... and another... until... ... he BREAKS into a clear patch of sky... only to find the Snitch is gone. Angrily, Harry whips the Nimbus back around, searching the horizon frantically, when he spies something: In the stadium's HIGHEST TOWER, something ENORMOUS flickers briefly in SILHOUETTE, then is obscured by a veil of mist. Harry turns. In the distance, the stray umbrella spins INTO VIEW, harpoons a player. Harry's eyes shift. The SNITCH SHIMMERS like a FIREFLY in the dark underbelly of a cloud. Harry begins to go... when the veil of mist shrouding the high tower shifts and -- for one brief moment -- a GREAT DOG is revealed. As this mist closes, Harry frowns, jets away. As Harry pelts after the Snitch, the crowd RISES TO THEIR FEET, ROARING. Ron GRINS over the binoculars, watching Harry shred the mist as he urges his broom on.</scene_description>
<character>HARRY</character>
<dialogue>Come on! Faster!</dialogue>
<scene_description>The trace of a smile forms on Harry's lips as he closes on the Snitch... only yards away... reaching out... when... ... a THIN GLAZE of ICE clouds his GLASSES. He wipes at them, then flinches: BLOOD trickles down his cheek. The rain is turning to needles. Needles of ice. Harry glances at the HANDLE of his BROOMSTICK. The water sluicing through the grain is FREEZING. VAPOR streams from his mouth and nose. SWOOSH! A dark SILHOUETTE passes on his right. He turns. SWOOSH! -- a twin SILHOUETTE passes on his left. Harry sees neither. Looks down. The layers of mist are parting below. LIGHTNING STRIKES. Reveals: an ARMY OF SILHOUETTES drifting onto the pitch. A vast legion of them... DEMENTORS. A DISTANT WHISTLE weaves into the WIND, rises in pitch, not a whistle at all, but a... SCREAM. A WOMAN'S SCREAM. Harry's eyes flutter, and wisps of SILVERY WHITE LIGHT float from his mouth. His glasses glaze over completely. His fingers, rigid, can no longer grip the broom and... He FALLS.</scene_description>
<character>HERMIONE</character>
<dialogue>No!!!</dialogue>
<scene_description>Harry and broom tumble in opposite directions. The Nimbus soars end over end, tossed by the currents, then drops... right into the Whomping Willow. FLOOMPH! Harry, in freefall, drops through one cloud, then another. Plummeting through the circling Dementors. Then... a TALL FIGURE rises from the crowd. Raises an OPEN HAND to the heavens. Eyes angry but clear. Dumbledore. An EXPLOSION -- more powerful than thunder -- rocks the air. A FLASH -- more fierce than lightning -- shocks the sky. And then... THE SCREEN GOES BLACK. Not a sound. For the longest time. Then... VOICES:</scene_description>
<character>RON</character>
<dialogue>Looks a bit peaky, doesn't he?</dialogue>
<character>FRED</character>
<dialogue>Peaky? What d'you expect him to look like? He fell fifty feet.</dialogue>
<character>GEORGE</character>
<dialogue>Yeah, c'mon, Ron. We'll walk you off the Astronomy Tower and see how you come out looking.</dialogue>
<character>HARRY</character>
<dialogue>Probably a right sight better than he normally does.</dialogue>
<scene_description>Harry opens his eyes and Ron, Fred, George, and Hermione SLOWLY COME INTO FOCUS, standing at the foot of his bed in the hospital wing.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry! How're you feeling?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WING - DAY</stage_direction>
<scene_description>As Harry edges up against his pillow, we see a NURSE in the b.g., removing the SPOKES of an umbrella from a Hufflepuff player's neck. Harry doesn't look so good himself.</scene_description>
<character>HARRY</character>
<dialogue>Brilliant.</dialogue>
<character>FRED</character>
<dialogue>Gave us a right good scare, mate.</dialogue>
<character>HARRY</character>
<dialogue>What happened?</dialogue>
<character>RON</character>
<dialogue>You fell off your broom.</dialogue>
<character>HARRY</character>
<dialogue>Really? I meant the match. Who won?</dialogue>
<scene_description>Silence. Uncomfortable glances.</scene_description>
<character>HERMIONE</character>
<dialogue>No one blames you, Harry. The Dementors aren't meant to come on the grounds. Dumbledore was furious. After he saved you, he sent them straight off.</dialogue>
<scene_description>Harry nods grimly, stares at the RAIN LASHING the window.</scene_description>
<character>RON</character>
<dialogue>There's something else you should know, Harry. Your Nimbus -- when it blew away? -- it sort of landed in the Whomping Willow. And well...</dialogue>
<scene_description>He tips a BAG of SPLINTERED WOOD and TWISTED TWIGS onto the bed. As Harry stares, we hear a gentle WIND, then...</scene_description>
<character>PROFESSOR LUPIN (V.O.)</character>
<dialogue>I'm sorry about your broom, Harry. There's no chance of fixing it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLACK LAKE - LATE AFTERNOON</stage_direction>
<scene_description>Harry shakes his head in response to Lupin's question, then -- WHOOSH! -- sets Hedwig free of her traces. As she soars into the sky, Harry and Lupin watch from the lake's edge.</scene_description>
<character>HARRY</character>
<dialogue>Why do they affect me so, Professor? I mean, more than everyone else...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Dementors are among the foulest creatures that walk this earth. They feed on every good feeling, every happy memory, until a person is left with nothing but his worst experiences. You're not weak, Harry. The Dementors affect you most, because there are true horrors in your past. Horrors your classmates can scarcely imagine. You have nothing to be ashamed of.</dialogue>
<character>HARRY</character>
<dialogue>I'm scared, Professor.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>I'd consider you a fool if you weren't.</dialogue>
<character>HARRY</character>
<dialogue>I need to learn how to fight them. You could teach me, Professor. You made that Dementor on the train go away...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>There was only one that night...</dialogue>
<character>HARRY</character>
<dialogue>But you made it go away.</dialogue>
<character>PROFESSOR LUPIN</character>
<parenthetical>(a beat)</parenthetical>
<dialogue>I don't pretend to be an expert, Harry. But yes, I can teach you. Perhaps after the holiday. For now, though, I need to rest. I'm feeling... tired.</dialogue>
<scene_description>Harry turns, studies Lupin's haggard face. A weary smile appears as Hedwig's reflection glides over Lupin's irises.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Beautiful...</dialogue>
<scene_description>Harry looks up, watches Hedwig pinwheel through the blue, past the CLOCK TOWER and EXIT FRAME. CAMERA HOLDS, the skies PALES, and SNOW begins to fall. We TILT DOWN...</scene_description>
</scene>
<scene>
<stage_direction>70A EXT. HOGWARTS CASTLE - DAY (WEEKS LATER) 70A</stage_direction>
<scene_description>... to Hogwarts castle, weeks later, dusted in white.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. CLOCK TOWER - DAY</stage_direction>
<scene_description>Harry, framed in the window, stares out, looking forlorn. In REFLECTION, SNOW falls on the glass.</scene_description>
<character>HARRY'S POV</character>
<dialogue>A ragged line of students follows McGonagall toward the bridge. Harry's POV becomes OBJECTIVE and...</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLOCK TOWER COURTYARD - DAY</stage_direction>
<scene_description>... FOOTPRINTS appear in the snow, moving quickly to join the other students. Suddenly, Fred and George appear, heading the opposite way and... the FOOTPRINTS reverse themselves... as if Fred and George were escorting an invisible person.</scene_description>
<character>FRED</character>
<dialogue>Clever, Harry.</dialogue>
<character>GEORGE</character>
<dialogue>But not clever enough.</dialogue>
<character>FRED</character>
<dialogue>Besides, we've got a better way.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTRANCE HALL - DAY (MOMENTS LATER)</stage_direction>
<scene_description>The great doors open and Fred and George enter. The INVISIBILITY CLOAK drops and Harry is revealed, looking cross. Instantly, Fred slaps a WORN ROLL OF PARCHMENT into his hand. Harry unfurls it. Frowns. It's blank.</scene_description>
<character>HARRY</character>
<dialogue>What's this rubbish?</dialogue>
<character>FRED</character>
<dialogue>Rubbish he says. That there's the secret to our success.</dialogue>
<character>GEORGE</character>
<dialogue>It's a wrench giving it to you, believe me.</dialogue>
<character>FRED</character>
<dialogue>But we've decided your need's greater than ours. George, if you will...</dialogue>
<character>GEORGE</character>
<dialogue>I solemnly swear that I am up to no good.</dialogue>
<scene_description>George touches his wand to the parchment and INTRICATE INK LINES surface in the fiber of the paper, spread like veins. Harry reads the CURIOUS WORDS at the top:</scene_description>
<character>HARRY</character>
<dialogue>'Messrs Moony, Wormtail, Padfoot and Prongs are proud to present The Marauder's Map'...?</dialogue>
<character>GEORGE</character>
<dialogue>Ah... Moony, Wormtail, Padfoot and Prongs. We owe them so much.</dialogue>
<character>HARRY</character>
<dialogue>Hang on. This is Hogwarts! And that... No. Is that really...</dialogue>
<scene_description>Harry points to a small MOVING DOT labeled "Dumbledore."</scene_description>
<character>FRED</character>
<dialogue>Dumbledore.</dialogue>
<character>GEORGE</character>
<dialogue>In his study.</dialogue>
<character>FRED</character>
<dialogue>Pacing.</dialogue>
<character>GEORGE</character>
<dialogue>Does that a lot.</dialogue>
<character>HARRY</character>
<dialogue>You mean, this map shows...</dialogue>
<character>FRED</character>
<dialogue>Everyone.</dialogue>
<character>HARRY</character>
<dialogue>Everyone?</dialogue>
<character>GEORGE</character>
<dialogue>Everyone.</dialogue>
<character>FRED</character>
<dialogue>Where they are.</dialogue>
<character>GEORGE</character>
<dialogue>What they're doing.</dialogue>
<character>FRED</character>
<dialogue>Every minute.</dialogue>
<character>GEORGE</character>
<dialogue>Of every day.</dialogue>
<character>HARRY</character>
<dialogue>Brilliant! Where'd you get it?</dialogue>
<character>FRED</character>
<dialogue>Nicked it from Filch's office, of course, first year. Now listen. There's seven secret passageways out of the castle. But we'd recommend...</dialogue>
<character>FRED/GEORGE</character>
<dialogue>This one.</dialogue>
<character>GEORGE</character>
<dialogue>The One-Eyed Witch on the third floor.</dialogue>
<character>HARRY</character>
<dialogue>The One-Eyed...</dialogue>
<character>FRED</character>
<dialogue>Witch, right. But you best hurry. Filch is heading this way.</dialogue>
<parenthetical>(as they go)</parenthetical>
<dialogue>Oh. And, Harry? When you're done, make sure to give it a tap and say, 'Mischief managed.' Otherwise, anyone can read it.</dialogue>
</scene>
<scene>
<stage_direction>INT. DIVINATION STAIRWELL - DAY (MOMENTS LATER)</stage_direction>
<scene_description>Harry approaches a STATUE of a hump-backed, ONE-EYED WITCH. INSERT MAP -- Harry traces his finger along the tattered surface to an INK FIGURE labeled "Harry Potter." A tiny SPEECH BUBBLE appears: "Dissendium."</scene_description>
<character>HARRY</character>
<dialogue>Dissendium?</dialogue>
<scene_description>CLICK! The witch's EYE OPENS and the statue pivots, revealing a DARK OPENING in the floor. As Harry crouches, squinting, a cool DRAFT OF AIR ruffles his hair and the CAMERA DRIFTS INTO the DARKNESS...</scene_description>
</scene>
<scene>
<stage_direction>INT. UNDERGROUND PASSAGEWAY - DAY (LATER)</stage_direction>
<scene_description>A tiny LIGHT bobs in the distance, fracturing the darkness, then Harry appears, the tip of his wand GLOWING, map in hand. INSERT MAP: "Harry Potter" glides across the parchment.</scene_description>
<character>NEW ANGLE - DAY (LATER)</character>
<dialogue>Harry stops, cranes his neck. STONE STEPS. Taps the map.</dialogue>
<character>HARRY</character>
<dialogue>Mischief managed.</dialogue>
<character>CRATES. HUGE ROLLING BINS. A WOOD STAIRCASE. A</character>
<dialogue>trapdoor lifts. Harry's eyes appear. As he pulls himself up, a DOOR BANGS OPEN. Dense CHATTER ROARS from above. Quickly, Harry hides, watches a MAN'S BOOTS descend the stairs. Then...</dialogue>
<character>WOMAN (O.S.)</character>
<dialogue>A box of Jelly Slugs as well, Horace. We're nearly cleared out.</dialogue>
<scene_description>HORACE grunts, begins moving boxes. Harry looks up to the cellar door, takes out the invisibility cloak...</scene_description>
</scene>
<scene>
<stage_direction>INT. HONEYDUKE'S SWEETSHOP - SAME TIME - DAY</stage_direction>
<scene_description>The CELLAR DOOR EASES open -- but no one appears. We TRACK THROUGH a sweet tooth's dream, SWARMING with customers. Up ahead, Neville prepares to lick the LOLLIPOP in his hand, when it simply floats from his fingers and out the door...</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET (HOGSMEADE VILLAGE) - CONTINUOUS</stage_direction>
<character>ACTION - DAY</character>
<dialogue>... into the MISTY, FOG-SHROUDED chaos of Main Street. As the lollipop drifts on, FOOTPRINTS appear in the snow below...</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHRIEKING SHACK - DAY (LATER)</stage_direction>
<scene_description>At this elevation, the MIST hangs in thick, undulating veils, the Shrieking Shack an eerie silhouette in the gloom. Ron and Hermione stand stiffly, attempting, as best they can, to conceal the fact that, basically, they're scared stiff.</scene_description>
<character>HERMIONE</character>
<dialogue>It's meant to be the most haunted building in Britain. Did I mention that?</dialogue>
<character>RON</character>
<dialogue>Twice.</dialogue>
<character>HERMIONE</character>
<dialogue>Should we move a bit closer?</dialogue>
<character>RON</character>
<dialogue>Huh? Oh... All right...</dialogue>
<scene_description>They take a step. One step. Stop dead.</scene_description>
<character>RON</character>
<dialogue>Actually, it's fine from here.</dialogue>
<character>HERMIONE</character>
<dialogue>Perfect.</dialogue>
<scene_description>Just then, VOICES ECHO and THREE FIGURES appear over the rise, phantoms in the mist. Malfoy. Crabbe. Goyle. Pike.</scene_description>
<character>DRACO</character>
<dialogue>Well, well. Look who's here. You two shopping for your dream home? Seems a bit grand for you, Weasel- Bee. Don't your family all sleep in one room?</dialogue>
<character>RON</character>
<dialogue>Shut your mouth, Malfoy.</dialogue>
<character>DRACO</character>
<parenthetical>(clucking his tongue)</parenthetical>
<dialogue>Now that's not very friendly. Boys, I think we're going to have to teach Weasel-Bee to respect his superiors.</dialogue>
<character>HERMIONE</character>
<parenthetical>(a harsh chuckle)</parenthetical>
<dialogue>Hope you don't mean yourself.</dialogue>
<scene_description>Malfoy's eyes shift, regard Hermione with disgust.</scene_description>
<character>DRACO</character>
<dialogue>How dare you speak to me, you filthy, little mud --</dialogue>
<scene_description>SPLAT! Malfoy takes a SNOWBALL to the grill. Splutters:</scene_description>
<character>DRACO</character>
<dialogue>Who did that!</dialogue>
<scene_description>Malfoy glances about in confusion, when -- SPLAT! SPLAT! -- he takes two more. Hermione and Ron glance about uneasily.</scene_description>
<character>DRACO</character>
<dialogue>Well, don't just stand there!</dialogue>
<scene_description>Crabbe and Goyle start for Ron and Hermione, when -- FLUMPH! -- their knees go out and they fall headfirst into the snow. Draco begins to back away fearfully, eying the mist...</scene_description>
<character>DRACO</character>
<dialogue>Wait a minute, there's something out here -- Aaaaaaahhhh!!!</dialogue>
<scene_description>Malfoy's SKI MASK is pulled over his eyes, he's spun about, given a ROUGH KICK to the ass and sent stumbling over the rise and out of sight. Instantly, Crabbe and Goyle join him. Ron and Hermione stand frozen, exchange a nervous glance, and... DASH OFF... when -- FLUMPH! -- they both go flying, land on their pants in the snow. As they sit up, they hear... LAUGHTER. Hermione's eyes narrow in suspicion.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry...? Harry?</dialogue>
<scene_description>The Invisibility Cloak drops. Sure enough. Harry. Grinning.</scene_description>
<character>RON</character>
<dialogue>Bloody hell, Harry! That was not funny!</dialogue>
<scene_description>But he's smiling. They all are. As he and Hermione pelt Harry with SNOWBALLS, we --</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET (HOGSMEADE VILLAGE) - DAY (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>The trio trudge through the SWIRLING SNOW. Harry's donned Hermione's scarf and Ron's hat to disguise himself.</dialogue>
<character>RON</character>
<dialogue>Those weasels! Never told me about any Marauder's Map!</dialogue>
<character>HERMIONE</character>
<dialogue>But Harry isn't going to keep it. He's going to turn it over to Professor McGonagall, aren't you?</dialogue>
<character>RON</character>
<dialogue>Oh sure. Along with his invisibility cloak, his pack of exploding snap cards, his --</dialogue>
<character>HERMIONE</character>
<dialogue>Oh, shut up.</dialogue>
<character>CORNELIUS FUDGE (O.S.)</character>
<dialogue>Rosmerta, m'dear!</dialogue>
<scene_description>Up ahead Cornelius Fudge emerges from a MINISTRY SLEIGH as Hagrid swings the door clear and -- with unfortunate ease -- rips it clean off the fittings. Fudge joins McGonagall and a CURVY BARMAID (ROSMERTA) outside the THREE BROOMSTICKS PUB.</scene_description>
<character>HERMIONE</character>
<dialogue>That's Madam Rosmerta. Ron fancies her.</dialogue>
<character>RON</character>
<dialogue>It's not true!</dialogue>
<character>HARRY</character>
<dialogue>Shhh.</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>I trust business is good?</dialogue>
<character>MADAM ROSMERTA</character>
<dialogue>It'd be a right sight better if the Ministry wasn't sending Dementors into my pub every other night.</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>We have a killer on the loose.</dialogue>
<character>MADAM ROSMERTA</character>
<dialogue>Sirius Black? In Hogsmeade! And what would bring him here?</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>Harry Potter.</dialogue>
<character>MADAM ROSMERTA</character>
<dialogue>Harry Potter!</dialogue>
<scene_description>Fudge looks around nervously, then jerks his head toward the pub. As he leads Rosmerta and McGonagall inside, we --</scene_description>
<character>CUT BACK TO:</character>
<dialogue>HERMIONE AND RON</dialogue>
<character>RON</character>
<dialogue>Harry?</dialogue>
<scene_description>He's gone. FOOTPRINTS track through the snow, into the pub.</scene_description>
</scene>
<scene>
<stage_direction>INT. THREE BROOMSTICKS PUB - HARRY'S POV FROM UNDER THE</stage_direction>
<character>INVISIBILITY CLOAK - DAY (MOMENTS LATER)</character>
<dialogue>... as he THREADS THROUGH the teeming pub, PAST a SIGN ("No Underage Wizards") and nearly collides with some very STRANGE-LOOKING PATRONS. Ron and Hermione ripple briefly past a frosted window, then... THREE SHRUNKEN HEADS swing INTO VIEW.</dialogue>
<character>SHRUNKEN HEAD #1</character>
<dialogue>So I says to him, 'Careful, Ned.</dialogue>
<scene_description>Don't want to go losing your head!' As the three heads CACKLE HYSTERICALLY, bobbing up and down on their strings, Harry turns... just as an UNSHAVEN WIZARD'S arm whips down and a DART goes WHISTLING right toward Harry's eyes. Harry DUCKS, pivots, and -- THWOCK! -- sees the dart pierce the cork of the disfigured DARTBOARD behind him. Harry hurries on, trailing Fudge and McGonagall up a DARK STAIRWELL as Rosmerta leads them into a small BACK ROOM. As the door starts to close, Harry rushes forward: SLAM! Too late. CAMERA TILTS. The KNOB turns, the door opens...</scene_description>
</scene>
<scene>
<stage_direction>INT. THREE BROOMSTICKS PUB - CARD ROOM - DAY</stage_direction>
<scene_description>... and SNOW flutters off the sill of a HALF-OPEN WINDOW. McGonagall turns, frowning, and re-closes the door, harder this time, then joins Fudge and Rosmerta. HARRY'S POV SHIFTS FROM one TO the other as they speak.</scene_description>
<character>MADAM ROSMERTA</character>
<dialogue>Come on then. Let's hear it.</dialogue>
<scene_description>PROFESSOR McGONAGALL Years ago, when Harry Potter's parents were marked for death, they went into hiding. Few knew where they were. One who did was black. And he told...</scene_description>
<character>MADAM ROSMERTA</character>
<dialogue>You-Know-Who. I've heard this rot. It was all over The Daily Prophet back in the day. And I'll say now what I said then: Of all the boys I ran out of here, Black's the last who would've gone over to the dark side. Hearsay. That's all the Ministry had. Hearsay.</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>Ha! Tell that to Peter Pettigrew!</dialogue>
<character>MADAM ROSMERTA</character>
<dialogue>Peter Pettigrew?</dialogue>
<scene_description>PROFESSOR McGONAGALL Little lump of a boy? Always tagging after Black and...</scene_description>
<character>MADAM ROSMERTA</character>
<dialogue>I remember him. What's he got to do with it?</dialogue>
<scene_description>PROFESSOR McGONAGALL After the Potters were killed, Pettigrew went looking for Black. And, unfortunately... found him.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>Black was vicious. He didn't kill Pettigrew. He destroyed him. A finger. That's all that was left. A finger -- there's your hearsay.</dialogue>
<scene_description>Rosmerta looks to McGonagall. She nods grimly. PROFESSOR McGONAGALL Sirius Black may not have put his hands to the Potters, but he's the reason they're dead. And now he wants to finish what he started.</scene_description>
<character>MADAM ROSMERTA</character>
<dialogue>Harry.</dialogue>
<scene_description>McGonagall nods, then looks pained.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>But that's not the worst of it.</dialogue>
<character>MADAM ROSMERTA</character>
<dialogue>What could be worse?</dialogue>
<scene_description>PROFESSOR McGONAGALL This: Sirius Black was and remains today... Harry Potter's godfather. BLAM! The pub doors fly open, REVEAL Main Street, where Ron and Hermione wait, rubbing their hands against the chill. As they look down, CAMERA TILTS...</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET (HOGSMEADE VILLAGE) - MOMENTS LATER -</stage_direction>
<character>DAY</character>
<dialogue>... and FOOTPRINTS appear in the snow. HARRY'S POV ENDS. CAMERA TILTS UP, FOLLOWS Hermione and Ron until they LEAVE FRAME, then HOLDS ON a POSTER of BLACK, fluttering against a lamppost: "Have you seen this wizard?"</dialogue>
</scene>
<scene>
<stage_direction>EXT. OUTSKIRTS OF TOWN - DAY (MOMENTS LATER)</stage_direction>
<scene_description>At the end of a ROCKY OUTCROP, the FOOTPRINTS end and SOBS are heard. Ron takes Hermione's arm, discouraging her from going further, but she does, filling the footprints with her own, then kneeling and -- very gently -- drawing the cloak from Harry. He stares into the mist, eyes stinging with tears.</scene_description>
<character>HARRY</character>
<dialogue>He was their friend. And he betrayed them. He was their friend.</dialogue>
<parenthetical>(eyes hardening)</parenthetical>
<dialogue>I hope he finds me. But when he does, I'm going to be ready. When he does, I'm going to kill him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - DUSK (TRANSITION TO SPRING)</stage_direction>
<scene_description>Butterflies flutter over the great green lawn. The GIANT SQUID breaks through the last GLAZE of ICE on the Black Lake. The Whomping Willow shakes the water from its branches... The DYING SUN streams through high windows, painting Harry's face a fierce AMBER-RED as he stands opposite Lupin. ANCIENT CHARTS drape the walls while gleaming SPHERES OF SPUN GLASS ORBIT one another silently. Lupin paces before a LARGE TRUNK.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>You're sure about this, Harry? This is very advanced magic. Well beyond Ordinary Wizarding Level.</dialogue>
<character>HARRY</character>
<dialogue>If Black can fight the Dementors, I need to know how too.</dialogue>
<scene_description>Lupin studies Harry -- as if conflicted -- then decides.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Very well. The spell I'm going to teach you is called the Patronus Charm. Ever hear of it?</dialogue>
<scene_description>Harry shakes his head.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>A Patronus is a kind of positive force. For the wizard who can conjure one, the Patronus works something like a shield. The Dementor feeds on it instead of him.</dialogue>
<scene_description>Just then, the trunk RATTLES VIOLENTLY. As Harry's eyes wander, Lupin SNAPS his fingers, brings his attention back.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>But in order for it to work, you must think of a memory. And not just any. This memory needs to be a very happy one. And powerful.</dialogue>
<scene_description>Harry thinks a bit. Then... nods.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Got something? Good. Let it fill you up. Lose yourself in it. Then speak the incantation: Expecto Patronum. Without your wand...</dialogue>
<character>HARRY</character>
<dialogue>Expecto Patronum...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Right then. Shall we?</dialogue>
<scene_description>Harry nods, raises his wand. Lupin, watching closely, reaches over, grips the lid of the TRUNK...</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Concentrate, Harry. Concentrate...</dialogue>
<scene_description>As Lupin FLINGS open the case, Harry OPENS HIS EYES. In the sun's BLOOD-LIGHT, the Dementor looks particularly horrific.</scene_description>
<character>HARRY</character>
<dialogue>Expecto... Patronum...</dialogue>
<scene_description>The torches on the wall FLICKER as a CHILL BREEZE fills the chamber. A SCREAM ECHOES distantly. Harry's hand trembles. His eyes begin to roll up...</scene_description>
<character>HARRY</character>
<dialogue>Expecto... Expecto...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Here!</dialogue>
<scene_description>CRACK! -- the Dementor mutates into a SILVERY WHITE ORB.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>Lupin flicks his wand, sends the orb back into the packing case. Harry stands blinking. Dazed. Lupin fishes a CHOCOLATE FROG from his pocket. Presses it into Harry's trembling hand.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Quickly.</dialogue>
<scene_description>Harry studies the frog. Takes a bite. Begins to recover.</scene_description>
<character>HARRY</character>
<dialogue>That's one nasty Dementor.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Boggart, Harry. The real thing would be much, much worse. Just out of interest, what were you thinking of? What memory did you choose?</dialogue>
<character>HARRY</character>
<dialogue>The first time I rode a broom.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>That's not good enough, Harry. Not nearly.</dialogue>
<scene_description>Harry glances toward the window, at the bloody sun.</scene_description>
<character>HARRY</character>
<dialogue>There's another. It's not happy exactly. I mean, it is. It's the happiest I've ever felt. But it's... complicated.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Is it strong?</dialogue>
<scene_description>Harry looks up into Lupin's eyes. Emotional. Nods.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Then let's try it.</dialogue>
<scene_description>Harry takes a breath. Tosses the frog aside. Poises himself.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Think, Harry, think --</dialogue>
<character>HARRY</character>
<dialogue>Just do it!</dialogue>
<scene_description>Lupin blinks at Harry's quiet fierceness. Opens the packing case. Instantly, the Dementor appears again. A chill fills the air. The hair skates off Harry's scar. He sets his jaw...</scene_description>
<character>HARRY</character>
<dialogue>Expecto Patronum!</dialogue>
<scene_description>Harry's hand TREMBLES. His whole BODY TREMBLES. But he holds his ground, when -- WHOOSH! -- a huge SILVER SHADOW BURSTS from the end of his wand, hovering between him and the Dementor. The Dementor falters... Harry's legs like water...</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>CRACK! The Dementor vanishes. Harry's arm drops. Slack. Lupin eyes Harry with a kind of awe. His voice barely a WHISPER.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Well done.</dialogue>
<character>HARRY</character>
<dialogue>I think I've had enough. For today.</dialogue>
<scene_description>Lupin nods. Watches Harry move to the door.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>So you know, Harry: You'd have given your father a run for his money. And, believe me, that's saying something.</dialogue>
<scene_description>Harry ponders this. Then speaks, deep inside himself.</scene_description>
<character>HARRY</character>
<dialogue>I was thinking of him. And Mum. Seeing their faces. They're just talking to me. Just... talking. That was the memory I chose. I don't even know if it's real...</dialogue>
<scene_description>Harry grips the door, pushes past.</scene_description>
<character>HARRY</character>
<dialogue>But it's the best I have.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOWER DORMITORY - NIGHT</stage_direction>
<scene_description>All the boys asleep. All except Harry, who lies in bed, studying the photo of his parents, barely visible in the fluttering light of a guttering candle. As the FLAME DIES with a soft HISS, all goes BLACK and we --</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - NIGHT (LATER)</stage_direction>
<scene_description>A hulking, haunted goliath against the sky.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - NIGHT</stage_direction>
<scene_description>A cautious breeze rises. Leaves scud across the gravel.</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - NIGHT</stage_direction>
<scene_description>A church. Empty. Silent. A WINDOWPANE RATTLES, up high, the corridor thatched in shadow. Slowly... CAMERA BEGINS TO MOVE. CREEPING FORWARD. A SHADOW ENGULFS Sir Cadogan, dozing against his tree...</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER DORMITORY - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>A WHISTLE SHRIEKS. The Sneakoscope, whirling madly, skitters across the bedside cabinet and -- CLICK! CLICK! CLICK! -- taps against a WATER GLASS, sending shafts of RED LIGHT pinwheeling over the photo of Harry's parents...</scene_description>
<character>RON</character>
<dialogue>Aaaahhhh!</dialogue>
<scene_description>Harry BOLTS UP, sees a SILHOUETTE etched on the window -- a MAN CLUTCHING A KNIFE. All the boys are up now. Screaming. Amid the chaos, Harry grabs his wand.</scene_description>
<character>HARRY</character>
<dialogue>Everybody out!</dialogue>
<scene_description>The others flee. Harry faces the HULKING SHADOW, wand poised.</scene_description>
<character>HARRY</character>
<dialogue>Show yourself.</dialogue>
<scene_description>Crash! The water GLASS SHATTERS on the floor and Scabbers darts past Harry's bare feet, chased by Crookshanks. Seizing the moment, the SILHOUETTE grasps the curtains and swings through the open window, plunging into the night. Harry rushes to the window, looks down.</scene_description>
</scene>
<scene>
<stage_direction>92A EXT. GRYFFINDOR TOWER - CONTINUOUS ACTION - NIGHT 92A</stage_direction>
<scene_description>The SILHOUETTE leaps from ledge to ledge with an animal's grace, then... vanishes.</scene_description>
</scene>
<scene>
<stage_direction>92B INT. TOWER DORMITORY - CONTINUOUS ACTION - NIGHT 92B</stage_direction>
<scene_description>Harry sweeps Ron's curtains aside. His bed is... empty.</scene_description>
<character>HARRY</character>
<dialogue>Ron! Ron!</dialogue>
<scene_description>Harry's eyes flash toward the window, when... Ron pokes his head out from under the bed.</scene_description>
<character>RON</character>
<dialogue>Is he gone?</dialogue>
<scene_description>The entire Gryffindor House, in pajamas, stand before McGonagall, who wears a TARTAN ROBE and an expression of singular irritation. PROFESSOR McGONAGALL That's preposterous, Weasley. How could Sirius Black possibly have got through the portrait hole?</scene_description>
<character>RON</character>
<dialogue>I don't know how he got in! I was a bit busy dodging his knife!</dialogue>
<scene_description>Just then, a curiously content Crookshanks wends his way through Ron's legs.</scene_description>
<character>RON</character>
<dialogue>And this bloody cat ate my rat!</dialogue>
<character>HERMIONE</character>
<dialogue>That's a lie!</dialogue>
<character>RON</character>
<dialogue>It is not and you bloody well know it!</dialogue>
<scene_description>PROFESSOR McGONAGALL Silence! McGonagall turns then and everyone follows her eye to Sir Cadogan who, sensing the attention, perks up instantly.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Sir Cadogan. Is it possible that you let a mysterious man enter Gryffindor Tower tonight?</dialogue>
<character>SIR CADOGAN</character>
<dialogue>Certainly, good lady! He had the password. Had the whole week's, in fact. On a little piece of paper.</dialogue>
<scene_description>PROFESSOR McGONAGALL Which abysmally foolish person wrote down the passwords and then proceeded to lose them! Every eye shifts once more: Neville. McGonagall sighs. PROFESSOR McGONAGALL Is it always going to be you, Longbottom?</scene_description>
<character>NEVILLE</character>
<dialogue>I'm afraid so, ma'am.</dialogue>
<scene_description>PROFESSOR McGONAGALL (to the group at large) While we know Sirius Black is gone tonight, I think you can safely assume he will, at some future time, attempt to return. Let me be clear. You are not to move about the castle alone. And you are not to write down the password! Understood! A collective nod of the head. McGonagall gives the ties of her robe a sharp tug, collects herself, and exits. PROFESSOR McGONAGALL Very well then. Go to bed. As the students drift off, Ron casts a last angry glance toward Hermione, who now holds Crookshanks in her arms.</scene_description>
<character>HARRY</character>
<dialogue>I could've killed him.</dialogue>
<scene_description>Hermione turns, sees Harry staring out the window.</scene_description>
<character>HARRY</character>
<dialogue>He was right there. Close enough to touch. I could've killed him.</dialogue>
<scene_description>OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>96A EXT. SLOPE - DAY 96A</stage_direction>
<scene_description>The trio make their way down the slope.</scene_description>
<character>RON</character>
<dialogue>I find it astonishing that someone who prides herself on being so logical can be in such denial.</dialogue>
<character>HERMIONE</character>
<dialogue>Harry. Will you explain to your friend Ronald that he has absolutely no proof whatsoever that my sweet, unassuming cat ate his shabby, decidedly decrepit rat.</dialogue>
<character>RON</character>
<dialogue>Harry was there! He'll tell you how it was. Go on, Harry, tell her.</dialogue>
<character>HARRY</character>
<dialogue>No, I won't. Know why? Because I don't care about your stupid rat! I don't care about your stupid cat! I've got few other things on my mind right now!</dialogue>
<character>RON</character>
<dialogue>Really? Wasn't you had to roll under the bed last night to avoid getting cut to ribbons! A person could die being your friend, Harry!</dialogue>
<scene_description>Ron stops, wishes he could take it back. They all wish he could. Avoiding each other's eyes, they turn, continue on.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK LAKE - DAY (MOMENTS LATER)</stage_direction>
<scene_description>Hagrid, wearing a GIGANTIC, HAIRY BROWN SUIT and perhaps the world's ugliest YELLOW AND ORANGE TIE, stands knee- deep in the shallows of the Black Lake, skimming rocks as big as flagstones across the water's shiny gloss. As he turns, the trio catches a brief sight of his eyes, red with tears, then he looks away.</scene_description>
<character>HERMIONE</character>
<dialogue>How'd it go, Hagrid?</dialogue>
<character>HAGRID</character>
<dialogue>Buckbeak liked London.</dialogue>
<character>HERMIONE</character>
<dialogue>I meant the hearing.</dialogue>
<character>HAGRID</character>
<dialogue>Oh. That. Well, I got up an' said my bit -- You know, how Buckbeak was a good Hippogriff an' as long as yeh treated 'im with respect, he'd treat you the same. Then Lucius Malfoy got up an' said his bit -- you know, how Buckbeak was a deadly dangerous beast that no teacher in their righ' mind would expose their students to...</dialogue>
<character>HERMIONE</character>
<parenthetical>(dreading it)</parenthetical>
<dialogue>And...?</dialogue>
<scene_description>Hagrid slings another rock into water.</scene_description>
<character>HERMIONE</character>
<dialogue>You mustn't blame yourself, Hagrid.</dialogue>
<character>RON</character>
<dialogue>Draco. It's him the Committee should punish. It's him they should send off to the forest, not Buckbeak.</dialogue>
<character>HAGRID</character>
<dialogue>Buckbeak's not going back to the forest...</dialogue>
<character>HERMIONE</character>
<parenthetical>(dreading the answer)</parenthetical>
<dialogue>Where's he going, Hagrid?</dialogue>
<character>HAGRID</character>
<dialogue>He asked fer the worse, yeh see, Lucius Malfoy did. An' the Committee granted it. Buckbeak's bin sentenced ter death.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - NIGHT</stage_direction>
<scene_description>Dark. Ominous. Dementors drift in the distance. Restless...</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWER DORMITORY - NIGHT</stage_direction>
<scene_description>Silent. A room of shadows. While those around him slumber, Harry lies awake, unable to sleep. Finally, he turns to his cupboard, takes the Marauder's Map. WHISPERS:</scene_description>
<character>HARRY</character>
<dialogue>I solemnly swear that I am up to no good.</dialogue>
<scene_description>The crooked corridors and serpentine passageways of Hogwarts radiate across the parchment, then... a TINY DOT catches Harry's eye. He frowns. It reads: "Peter Pettigrew." Harry moves down a DARK corridor, map in hand, WAND AGLOW. In the PAINTINGS he passes, the subjects SNORE SOFTLY. INSERT - MARAUDER'S MAP "Harry Potter" and "Peter Pettigrew" draw closer and closer. BACK TO SCENE Harry squints toward the end of the corridor. Down at the map. Pettigrew moves quickly down the adjoining corridor. Twenty yards away. Ten. Only seconds away... Wand trembling in his hand, Harry glances from the map to the dark corridor ahead, again and again. Then... as the two DOTS are about to collide... he looks slowly up... turns the corner... heart in his chest... and meets... HIMSELF</scene_description>
</scene>
<scene>
<stage_direction>.. reflected in a MIRROR. He BLINKS, startled, then glances back down at the map. Pettigrew has moved past him. Confused, Harry wheels, casts his wand along the walls.</stage_direction>
<character>VOICE (O.S.)</character>
<dialogue>Watch it there, boy!</dialogue>
<scene_description>Harry JUMPS. But it's only an OLD MAN in a PAINTING, scowling in the glare of Harry's wand light. On the map, "Pettigrew" continues to move away. Harry makes to follow, then stops. HEARS FOOTSTEPS. The WAND'S SPOT dances across the parchment, finds another DOT. Approaching FAST: "Severus Snape."</scene_description>
<character>HARRY</character>
<dialogue>Mischief managed!</dialogue>
<scene_description>Harry stashes the map, extinguishes his wand, and turns... into the harsh glare of Snape's wand.</scene_description>
<character>SNAPE</character>
<dialogue>Potter. What're you doing wandering the corridors at night?</dialogue>
<character>HARRY</character>
<dialogue>I was... I was... sleepwalking...</dialogue>
<scene_description>A sneer curdles the corners of Snape's lips.</scene_description>
<character>SNAPE</character>
<dialogue>How extraordinarily like your father you are, Potter. He, too, was exceedingly arrogant. Strutting about the castle --</dialogue>
<character>HARRY</character>
<dialogue>My dad didn't strut. Nor do I. Now, if you don't mind, I'd appreciate you lowering your wand.</dialogue>
<scene_description>Snape eyes Harry coldly. Containing himself. Lowers his wand.</scene_description>
<character>SNAPE</character>
<dialogue>Turn out your pockets.</dialogue>
<scene_description>Harry doesn't move, eyes still boring into Snape.</scene_description>
<character>SNAPE</character>
<dialogue>Turn out your pockets!</dialogue>
<scene_description>Finally, Harry obliges. Seeing the map, Snape's eyes glitter.</scene_description>
<character>SNAPE</character>
<dialogue>And this. What might it be?</dialogue>
<character>HARRY</character>
<dialogue>Spare bit of parchment...</dialogue>
<character>SNAPE</character>
<dialogue>Really...</dialogue>
<parenthetical>(poising his wand)</parenthetical>
<dialogue>Reveal your secret!</dialogue>
<scene_description>To Harry's horror, words begin to appear. Snape studies him, a sadistic half-smile on his lips. Turns the map his way.</scene_description>
<character>SNAPE</character>
<dialogue>Read it.</dialogue>
<character>HARRY</character>
<dialogue>'Messrs. Moony, Wormtail, Padfoot and Prongs offer their compliments to Professor Snape and...'</dialogue>
<character>SNAPE</character>
<dialogue>Go on.</dialogue>
<character>HARRY</character>
<dialogue>'... and request that he keep his abnormally large nose out of other people's business.'</dialogue>
<character>SNAPE</character>
<parenthetical>(smile drooping)</parenthetical>
<dialogue>Why you insolent little --</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Professor...?</dialogue>
<scene_description>Snape turns. Sees Lupin standing in the shadows.</scene_description>
<character>SNAPE</character>
<dialogue>Well, well. Lupin. Out for a little walk in the moonlight, are we?</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Harry? You all right?</dialogue>
<character>SNAPE</character>
<dialogue>That remains to be seen. I've just now confiscated a rather curious artifact from Mr. Potter. Take a look, Lupin. This is supposed to be your area of expertise.</dialogue>
<scene_description>Lupin takes the parchment, which now displays a rather unflattering caricature of Snape and a pair of potions.</scene_description>
<character>SNAPE</character>
<dialogue>Clearly, it's full of Dark Magic.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>I seriously doubt that, Severus. It looks to me as if it merely insults anyone who tries to read it. I suspect it's a Zonko product. Nevertheless, I shall pursue any hidden qualities it may possess. As you say, it's my area of expertise. Come, Harry.</dialogue>
</scene>
<scene>
<stage_direction>INT. CORRIDOR/LUPIN'S OFFICE - EVENING (MOMENTS LATER)</stage_direction>
<scene_description>Harry walks aside a fuming Lupin, who grips the map fiercely.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>I don't know how this map came to be in your possession, Harry, but I'm astounded that you didn't turn it in. Did you ever stop to think that this -- in the hands of Sirius Black -- is a map to you?</dialogue>
<scene_description>Harry walks silently. Lupin can barely contain his anger.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Your father didn't set much store by rules either. But he and your mother did give their lives to save yours. Gambling their sacrifice by walking about the castle unprotected, with a killer on the loose, strikes me as a poor way to repay them. I won't cover up for you again, Harry.</dialogue>
<scene_description>Lupin enters his office, tosses the map on his desk, and begins to sort through some papers. Harry lingers briefly in the doorway, absently eyes the WAXING MOON that glimmers beyond the window, then starts to turn away. Stops.</scene_description>
<character>HARRY</character>
<dialogue>Professor. Just so you know, I don't think the map always works. Earlier, it showed someone in the castle. Someone I know to be dead.</dialogue>
<character>PROFESSOR LUPIN</character>
<parenthetical>(only half-listening)</parenthetical>
<dialogue>And who was that, Harry?</dialogue>
<character>HARRY</character>
<dialogue>Peter Pettigrew.</dialogue>
<scene_description>Lupin hesitates ever-so-slightly, then returns to his papers.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Very well. I'd like you to return to your dormitory now. Oh, and Harry? Don't take any detours.</dialogue>
<scene_description>As Harry looks back, Lupin taps the map.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>If you do. I'll know.</dialogue>
<character>CUT TO:</character>
<dialogue>CLOSEUP - CRYSTAL BALL</dialogue>
<dialogue>murky with smoke.</dialogue>
<character>PROFESSOR TRELAWNEY (V.O.)</character>
<dialogue>Relax... Let your mind... go...</dialogue>
</scene>
<scene>
<stage_direction>INT. DIVINATION CLASSROOM - MORNING</stage_direction>
<scene_description>The students gaze into CRYSTAL BALLS, faces reflecting the mist within, so that their very skin seems to be made of smoke. Conspicuously, Harry, Ron and Hermione sit apart.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Crystal-gazing requires that you clear the Inner Eye. Only then, will you... See. Oh my, what do we have here...?</dialogue>
<scene_description>As Trelawney eyes Harry's crystal, Hermione rolls her eyes.</scene_description>
<character>HERMIONE</character>
<dialogue>Here we go again. It's the Grim! It's the Grim!</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<parenthetical>(eyes narrowing)</parenthetical>
<dialogue>My dear, from the moment you first arrived in my class, I sensed that you did not possess the proper spirit for the noble art of Divination. You may be young in years, but the heart that beats beneath your bosom is as shriveled as an old maid's, your soul as dry as the pages of the books to which you so desperately cleave.</dialogue>
<scene_description>Stung, Hermione starts to reply, but -- remarkably -- seems incapable of a single word. Rising gracelessly, she exits, knocking her crystal ball to the floor. Harry watches curiously as the ball rolls slowly OUT the doorway...</scene_description>
<character>LAVENDER</character>
<dialogue>'In late spring, one of our number will leave us forever!' You knew, Professor! You saw.</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>On these occasions, I take no joy in my gift, Miss Brown.</dialogue>
<scene_description>As the students exit, Ron, walking separately from Harry, turns to Neville.</scene_description>
<character>RON</character>
<dialogue>She's gone mental, Hermione has. I mean, not that she wasn't always mental, but now it's out in the open for everyone to see...</dialogue>
<scene_description>Ron stops, glances at Harry, then moves off. Harry watches him go, along with the others, then spies Hermione's crystal ball lying on the landing.</scene_description>
</scene>
<scene>
<stage_direction>102B INT. DIVINATION CLASSROOM - DAY (MOMENTS LATER) 102B</stage_direction>
<scene_description>Harry sets Hermione's crystal back on its stand, starts to go, when... the SMOKE within the crystal suddenly DARKENS. Leaning close, Harry watches the shape that appears. It is unmistakable: Sirius Black. Just then, a SHADOW crawls the glossy surface of the crystal and... ... a HAND SNATCHES Harry's shoulder. He wheels, finds...</scene_description>
<character>HARRY</character>
<dialogue>Professor Trelawney --</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>He will return tonight....</dialogue>
<scene_description>Harry stiffens. Trelawney's voice is eerily HOLLOW.</scene_description>
<character>HARRY</character>
<dialogue>S-sorry?</dialogue>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>Tonight, when the clock strikes twelve, the servant shall break free. He and his Master shall be reunited. It cannot be prevented.</dialogue>
<scene_description>Trelawney smiles savagely... then her head falls forward. When it rises, she blinks, eyes the hand that lies upon Harry's shoulder. Her hand.</scene_description>
<character>PROFESSOR TRELAWNEY</character>
<dialogue>So sorry, dear boy. Did you say something?</dialogue>
<scene_description>Her voice is normal once more. Harry shakes his head.</scene_description>
<character>HARRY</character>
<dialogue>No. Nothing.</dialogue>
<scene_description>Harry -- clearly unsettled by his encounter with Trelawney -- hastens down the stairs, and we...</scene_description>
</scene>
<scene>
<stage_direction>INT. CLOCKTOWER COURTYARD - DAY (LATER)</stage_direction>
<scene_description>SWOOK! SWOOK! We FADE UP ON a MOVING POV OF a CROW as it glides to the flock circling the feet of a POT-BELLIED MAN (THE EXECUTIONER) sitting in the courtyard. As he sharpens his AXE -- SWOOK! SWOOK! -- we --</scene_description>
<character>CUT TO:</character>
<dialogue>HARRY, RON AND HERMIONE</dialogue>
<dialogue>hurrying past. The Executioner looks up and we --</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - BRIDGE - LATE AFTERNOON</stage_direction>
<scene_description>... Harry, leading Ron and Hermione toward Hagrid's hut.</scene_description>
<character>HERMIONE</character>
<dialogue>I can't believe they're going to kill Buckbeak! It's too horrible.</dialogue>
<character>HARRY</character>
<dialogue>It just got worse.</dialogue>
<scene_description>She and Ron look and SEE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNDIAL GARDEN - CONTINUOUS ACTION - LATE</stage_direction>
<character>AFTERNOON</character>
<dialogue>Malfoy, along with Crabbe and Goyle, lurks within a grouping of monolithic menhirs, BINOCULARS in hand, spying on Hagrid, who stands in the pumpkin patch, tossing dead ferrets to Buckbeak. Hagrid wipes his eyes, lopes into the hut.</dialogue>
<character>DRACO</character>
<dialogue>Did you see the big, fat blubbering oaf?! Oh, this is going to be rich. Did I tell you, Father said I can keep the head --</dialogue>
<parenthetical>(looking up)</parenthetical>
<dialogue>Ah. Come to see the show?</dialogue>
<character>HERMIONE</character>
<dialogue>You... foul... loathsome... evil... little cockroach...</dialogue>
<scene_description>Malfoy stumbles back against a tree, cross-eyed with fear as Hermione jabs the tip of her wand under his nose, when...</scene_description>
<character>RON</character>
<dialogue>Hermione! No!</dialogue>
<scene_description>She turns, surprised Ron's spoken to her. He looks away.</scene_description>
<character>RON</character>
<dialogue>He's not worth it.</dialogue>
<scene_description>Hermione nods, then -- SMACK! -- quick as lightning, lands a looping right to Malfoy's jaw, putting him flat on his back. Stunned, he leaps to his feet and runs, Crabbe and Goyle huffing and puffing behind.</scene_description>
<character>HERMIONE</character>
<dialogue>That felt good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SLOPE/PUMPKIN PATCH - LATE AFTERNOON (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>The trio makes their way down the slope and past Buckbeak, chewing on a ferret with idle satisfaction.</dialogue>
</scene>
<scene>
<stage_direction>INT. HAGRID'S HUT - LATER (LATE AFTERNOON/DUSK)</stage_direction>
<scene_description>Hagrid stands by the window watching Buckbeak. Harry and Ron sit. Hermione makes tea.</scene_description>
<character>HAGRID</character>
<dialogue>Look at 'em. Loves the smell o' the trees when the wind blows...</dialogue>
<character>HARRY</character>
<dialogue>I say we set him free.</dialogue>
<character>HAGRID</character>
<parenthetical>(shaking his head)</parenthetical>
<dialogue>They'd know I did it. And tha' would only get Dumbledore in trouble. Gonna come down, yeh know. Says he wants ter be with me when it... when it happens. Great man, Dumbledore.</dialogue>
<character>HERMIONE</character>
<dialogue>We'll stay with you too, Hagrid.</dialogue>
<character>HAGRID</character>
<dialogue>Yeh will not! Think I wan' yeh seein' a thing like this! No. Yeh'll drink yer tea an' be off. But before yeh do -- I wan' ter see you an' Ron shake hands, Harry.</dialogue>
<scene_description>Ron and Harry exchange a glance, then look to Hagrid.</scene_description>
<character>HAGRID</character>
<dialogue>Thin' I haven' seen 'ow it's bin betw'n you two? Go on now...</dialogue>
<scene_description>Reluctantly, Harry and Ron extend their hands. Shake.</scene_description>
<character>HAGRID</character>
<dialogue>Good. Now then. Ron, I wan' ter see you give Hermione a hug.</dialogue>
<character>HERMIONE/RON</character>
<dialogue>What!</dialogue>
<character>HAGRID</character>
<dialogue>Go on! You two've been at it all year. An' I'm sick o' it.</dialogue>
<scene_description>Acutely uncomfortable, Hermione and Ron step forward and perform perhaps the most awkward hug Hogwarts has ever seen.</scene_description>
<character>HAGRID</character>
<dialogue>Crikey, tha's jus' abou' the most pathetic hug I e'er seen. But yeh did it, an' tha's wha' matters. There's jus' one other thing...</dialogue>
<character>RON</character>
<dialogue>I'm not kissing Fang if that's what you're thinking...</dialogue>
<scene_description>Hearing his name, FANG -- Hagrid's giant boarhound -- THUMPS his tail happily on the floor. Hagrid turns, takes the lid from a FLOUR TIN, A TINY HEAD, ears flecked with powder, emerges.</scene_description>
<character>RON</character>
<dialogue>Scabbers! You're alive!</dialogue>
<character>HAGRID</character>
<dialogue>Yeh should keep a closer eye on yer pets, Ron.</dialogue>
<character>HERMIONE</character>
<dialogue>I think you owe someone an apology.</dialogue>
<character>RON</character>
<dialogue>Right. Next time I see Crookshanks, I'll let him know.</dialogue>
<character>HERMIONE</character>
<dialogue>I meant me.</dialogue>
<character>HAGRID</character>
<dialogue>Crikey. Here we go agin...</dialogue>
<scene_description>SMASH! A GLASS JAR on the SHELF SHATTERS. As Hermione scoops up a JAGGED STAR-SHAPED STONE, a second STONE bounces off the back of Harry's head.</scene_description>
<character>HARRY</character>
<dialogue>Ow!</dialogue>
<scene_description>Harry turns, looks out the window.</scene_description>
<character>HARRY</character>
<dialogue>Hagrid...</dialogue>
<scene_description>Everyone turns. Looks. Dumbledore and Fudge approach. Behind them, in a fluttering shroud of CROWS, the Executioner follows, axe at his side. Hagrid begins to panic.</scene_description>
<character>HAGRID</character>
<dialogue>Yeh got to go! It's almost dark. Anyone sees yeh outside the castle it'll be trouble! Big trouble! 'Specially you, Harry --</dialogue>
<scene_description>BANG! BANG! BANG! The door SHAKES. Hagrid stiffens in fear. Harry reaches up, puts his finger to Hagrid's trembling lips, speaks softly to the others.</scene_description>
<character>HARRY</character>
<dialogue>C'mon.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAGRID'S HUT - PUMPKIN PATCH - WIDE SHOT - DUSK</stage_direction>
<character>(MOMENTS LATER)</character>
<dialogue>As the trio exit through the back door, Fudge, Dumbledore and the Executioner enter through the front.</dialogue>
<scene_description>A veil of crows flutters onto the roof. More drop into the patch, begin to slowly circle Buckbeak. Harry and the others duck behind the pumpkins, watch Hagrid solemnly greet the others. Fudge appears at the window. Picks his nose. Just then, a Shhh! is heard. Hermione turns. The branches of the trees behind her are DANCING ODDLY.</scene_description>
<character>HARRY</character>
<dialogue>What?</dialogue>
<character>HERMIONE</character>
<dialogue>Nothing, I just thought I saw... Never mind.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SUNDIAL GARDEN - DUSK (MOMENTS LATER)</stage_direction>
<scene_description>The trio slip silently into a stand of trees. Beyond them, Hagrid's hut glimmers desolately in the dying sun. High in the CLOCK TOWER, a BELL begins to TOLL. DING! DING! DING! The trio stops, fighting their tears. A QUARTET OF BLEAK SHADOWS files from the hut. One of the SHADOWS -- Dumbledore -- raises his hand and points, directing the attention of the others away from Buckbeak. Dumbledore speaks briefly -- unintelligible from this distance, then -- CAW! CAW! -- The crows SHRIEK excitedly and the Executioner separates from the others, disappears behind a LOW STAND OF TREES. DING! All goes very still. The wind loses its voice... DING! Sunlight kicks off the axe as it rises over the trees, INTO VIEW... DING! The ax hangs seemingly forever, etched against the sky, then drops from sight. A SICKENING CHOP! fouls the breeze and Ron and Harry stare toward the trees in numb disbelief. Hermione, face turned away, trembles...</scene_description>
<character>DING!</character>
<dialogue>The SUN sets, dropping behind the mountains in the distance. Hermione turns. Sees a frenzied spray of crows stain the bloody sky, their PRIMAL SHRIEKING rising like a curse. Slowly, Hermione's hand falls onto Ron's shoulder and CAMERA FALLS WITH her, CONTINUING DOWN the length of Ron's arm to his hand, where a DROP OF BLOOD hangs from his finger, drops like a tear... DING! Ron stares at his hand. At the blood running down his finger.</dialogue>
<character>RON</character>
<dialogue>He bit me...</dialogue>
<scene_description>His eyes shift. See Scabbers streaking away.</scene_description>
<character>HERMIONE</character>
<dialogue>Ron! No!</dialogue>
<scene_description>As Ron pelts after Scabbers, Harry and Hermione give chase.</scene_description>
</scene>
<scene>
<stage_direction>110A EXT. RIDGE - CONTINUOUS ACTION - DUSK 110A</stage_direction>
<scene_description>Ron reaches the summit, disappears over the top. Hermione and Harry follow.</scene_description>
</scene>
<scene>
<stage_direction>110B EXT. WHOMPING WILLOW - CONTINUOUS ACTION - DUSK 110B</stage_direction>
<scene_description>Harry and Hermione reach the top of the ridge. Stop.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry. You do realize what tree this is...</dialogue>
<scene_description>Ron nabs Scabbers, cradles him in his bloody palm.</scene_description>
<character>RON</character>
<dialogue>Now behave yourself.</dialogue>
<scene_description>CAMERA PULLS BACK: Ron is kneeling under the Whomping Willow.</scene_description>
<character>HARRY</character>
<dialogue>That's not good.</dialogue>
<parenthetical>(yelling)</parenthetical>
<dialogue>Ron! Run!</dialogue>
<scene_description>Ron spins. Looks toward Harry.</scene_description>
<character>RON</character>
<dialogue>Harry! Run!</dialogue>
<scene_description>Harry's eyes shift. Bounding toward him in the gathering gloom is an ENORMOUS, PALE-EYED, JET-BLACK... DOG. Harry shields himself when... the dog LEAPS CLEAR OVER HIM.</scene_description>
<character>RON</character>
<dialogue>Aaaahhh!</dialogue>
<scene_description>The dog's TEETH flash and -- SNAP! -- close on Ron's foot, dragging him TOWARDS THE TRUNK like a rag doll. Instantly, Harry dashes forward, leaps out, and grabs Ron's hands... but he and Ron just keep skudding along the ground.</scene_description>
<character>HERMIONE</character>
<dialogue>I've got you --</dialogue>
<scene_description>Hermione pitches herself onto Harry's feet... and the three of them go scudding along.</scene_description>
<character>RON</character>
<dialogue>Harry!</dialogue>
<scene_description>Harry raises his chin. The dog vanishes into the GAP at the base of the tree, begins to pull Ron through...</scene_description>
<character>HARRY</character>
<dialogue>Hold on, Ron!</dialogue>
<scene_description>But it's no use. The dog is too powerful. Harry glances around desperately, then finds himself looking directly in Ron's eyes. He can read his mind.</scene_description>
<character>HARRY</character>
<dialogue>No, Ron...</dialogue>
<scene_description>One by one, Ron releases his fingers from Harry's forearm. Sacrificing himself.</scene_description>
<character>HARRY</character>
<dialogue>Nooooo!!!</dialogue>
<scene_description>But Ron closes his eyes, releases his hands fully, and... Disappears. As his VOICE ECHOES deep into the earth... Harry and Hermione rise, peer into the hole. WHOMP! The Whomping Willow sweeps first Hermione, then Harry, into the air and -- FLOOMPH -- drops them on their backsides. HARRY AND HERMIONE'S POV - THE BRANCHES OVERHEAD Swaying beautifully against the dusky sky, swishing softly. BACK TO SCENE As one, they rise. Run back toward the gap in the tree. A branch swoops down. Hermione ducks. Harry doesn't. WHOOSH -- he is flung one way, his GLASSES the other. Hermione HOPS over another branch -- looks briefly pleased with herself -- only to find herself SWEPT HIGH IN THE AIR by a second branch. She looks down, sees Harry searching the ground for his glasses.</scene_description>
<character>HERMIONE</character>
<dialogue>Haaaaaaarrrrrr!!!!!!!!!</dialogue>
<scene_description>Harry squints up, sees a PILE-DRIVING FIST of a branch screaming straight down for his head. He rolls away just as -- WHOMP! -- the branch PULVERIZES the ground. Hermione WHIPS THROUGH FRAME, still clinging on for dear life, and Harry rises. FLUMPH! -- he's promptly knocked to the ground again. Hermione goes CRASHING through the high branches, Harry spies his glasses and grabs them. Rising, he fits them to his face and... HIS BLURRY POV...</scene_description>
</scene>
<scene>
<stage_direction>.. turns CRYSTAL CLEAR just in time to see Hermione</stage_direction>
<scene_description>FLYING MADLY TOWARD HIM.</scene_description>
<character>HERMIONE</character>
<dialogue>Ahhhhhhhhhhhhhhhh!</dialogue>
<character>HARRY</character>
<dialogue>Ahhhhhhhhhhhhhhhh!</dialogue>
<scene_description>Hermione reaches out, grabs Harry's shirt and -- riding the branch in tandem -- the two boomerang back, hurtling toward the trunk of the tree, through the gap, and into the darkness... ... below. OOMPH! Harry hits the ground hard. OOMPH! Hermione falls on top of him.</scene_description>
<character>HERMIONE</character>
<dialogue>Thanks.</dialogue>
<character>HARRY</character>
<dialogue>Don't mention it. Lumos.</dialogue>
<scene_description>As the tip of Harry's WAND GLOWS, reveals a long, snaking tunnel.</scene_description>
<character>HERMIONE</character>
<dialogue>Where do you suppose this goes?</dialogue>
<character>HARRY</character>
<dialogue>I have a hunch. I just hope I'm wrong...</dialogue>
</scene>
<scene>
<stage_direction>111A INT. TUNNEL TO SHRIEKING SHACK - NIGHT 111A</stage_direction>
<scene_description>Harry and Hermione make their way through the primitive passageway, ducking the roots that dangle overhead. Then, abruptly, the tunnel... ends. Confused, Harry and Hermione glance about, then -- as one -- peer up. A small opening. Harry reaches up, hoists himself through.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHRIEKING SHACK - DECREPIT ROOM - NIGHT</stage_direction>
<scene_description>Harry pulls Hermione up. Looks about. Paper peels from the walls. Stains -- suspiciously similar to dried blood -- blot the floorboards. Shattered furniture lies strewn everywhere.</scene_description>
<character>HERMIONE</character>
<dialogue>We're in the Shrieking Shack, aren't we?</dialogue>
<scene_description>Harry doesn't answer, staring at the DOG PRINTS in the DUST on the floor. The CEILING CREAKS. They dash to the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - LANDING - NIGHT (SECONDS LATER)</stage_direction>
<scene_description>They come out, look down. A wide, shiny stripe cuts through the DUST-LADEN floor -- as if something has been dragged -- to the end of the hallway, where a LIGHT seeps from a door.</scene_description>
<character>HARRY</character>
<dialogue>Nox.</dialogue>
<scene_description>His wand-light dies. Slowly, they step to the door. Exchange a look. She nods, wand ready, and Harry KICKS the door aside.</scene_description>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS ROOM - SAME TIME</stage_direction>
<scene_description>Ron sits upon a sagging bed, clutching his bloody foot.</scene_description>
<character>HERMIONE</character>
<dialogue>Ron! You're okay --</dialogue>
<character>HARRY</character>
<dialogue>The dog -- where's the --</dialogue>
<character>RON</character>
<dialogue>It's a trap, Harry. He's the dog. He's an Animagus...</dialogue>
<scene_description>Harry looks down, follows the PAW PRINTS on the floor to a pair of FILTHY HUMAN FEET. Harry looks up slowly at the MAN standing in the shadows. Filthy, matted hair hangs to his shoulders. His skin like a corpse. SIRIUS BLACK. He studies Harry's face keenly. Harry draws his wand.</scene_description>
<character>HERMIONE</character>
<dialogue>If you want to kill Harry, you'll -- you'll... have to kill us, too!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>No. Only one will die tonight.</dialogue>
<character>HARRY</character>
<dialogue>Then it'll be you!</dialogue>
<character>HERMIONE</character>
<dialogue>Harry! No!</dialogue>
<scene_description>Just then, FOOTSTEPS sound. Black wheels toward the door, edgy. Harry eyes Black, wand hand shaking violently. As Black turns back, he stops, regards Harry cautiously.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Going to kill me, Harry?</dialogue>
<character>HARRY</character>
<dialogue>Yes.</dialogue>
<scene_description>Harry raises his wand. BLAM! -- the DOOR CRASHES OPEN: Lupin.</scene_description>
<character>HARRY/HERMIONE/RON</character>
<dialogue>Professor Lupin!</dialogue>
<scene_description>Lupin ignores them, eying Black intensely.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Looking a bit ragged, aren't we, Sirius? Finally the skin reflects the madness within.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>You'd know all about the madness within, wouldn't you, Remus?</dialogue>
<scene_description>The two regard each other, the moment taut with tension, then Lupin steps forward and... EMBRACES Black like a brother.</scene_description>
<character>HERMIONE</character>
<dialogue>No! I trusted you! I covered up for you. And all this time you've been his friend!</dialogue>
<parenthetical>(pointing)</parenthetical>
<dialogue>He's a werewolf! That's why he's been missing classes!</dialogue>
<scene_description>Harry and Ron stare, dumbfounded, at Lupin. Black HOWLS then, bitterly amused. Lupin eyes him, then turns back.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>How long have you known?</dialogue>
<character>HERMIONE</character>
<dialogue>Since Professor Snape set the essay.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>You're the brightest witch of your age I've ever met, Hermione.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Yes, you glow like the sun. And you howl at the moon. Enough talk! He dies. Now. If you won't do it with me, Remus, I'll do it alone.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Wait, Sirius --</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>I did my waiting! Twelve years of it! In Azkaban! Trust me, you wouldn't have lasted a week!</dialogue>
<scene_description>Lupin eyes Black, then nods.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>All right then. As you wish...</dialogue>
<character>HARRY</character>
<dialogue>No!</dialogue>
<scene_description>Harry raises his wand when Lupin wheels and, with a flick of his own, disarms him. Furious, Harry eyes Black murderously.</scene_description>
<character>HARRY</character>
<dialogue>You betrayed my parents! You sold them to Voldemort!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>It's a lie! I never would've betrayed James and Lily!</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Harry! You've got to listen --</dialogue>
<character>HARRY</character>
<dialogue>Did he listen! When my mother was dying! Did he hear her screaming!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>No! I wasn't there! And I'll regret it the rest of my life!</dialogue>
<scene_description>Harry's eyes flash to Black's, glittering with pain.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Someone else betrayed your parents, Harry. Someone in this room right now. Someone who, until quite recently, I believed to be dead.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>He's as good as dead.</dialogue>
<character>HARRY</character>
<dialogue>What're you talking about? There's nobody here.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Oh yes there is...</dialogue>
<scene_description>Black turns then, to Ron, and CROONS in a cruel sing song:</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Come out, come out, Peter Come out, come out and play...</dialogue>
<scene_description>Ron draws back from Black's demented gaze.</scene_description>
<character>RON</character>
<dialogue>You're mad...</dialogue>
<scene_description>Harry's eyes shift from Ron's FACE to his HANDS, where Scabbers TWISTS violently. As a curious expression befalls Harry, Lupin and Black, as one, raise their wands... when.</scene_description>
<character>SNAPE</character>
<dialogue>Expelliarmus!</dialogue>
<scene_description>The wands fly from their hands. The others turn, find Snape standing in the doorway, smiling smugly.</scene_description>
<character>SNAPE</character>
<parenthetical>(eying Black)</parenthetical>
<dialogue>Ah, vengeance is sweet. How I hoped I'd be the one to catch you.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Severus --</dialogue>
<character>SNAPE</character>
<dialogue>I told Dumbledore you were helping your old friend into the castle. And here's the proof.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Brilliant! And -- as usual -- dead wrong. Now give us our wands back. Remus and I have a bit of unfinished business to tend to.</dialogue>
<scene_description>As Black approaches, Snape puts his wand to Black's neck.</scene_description>
<character>SNAPE</character>
<dialogue>Give me a reason. I beg you.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Don't be a fool, Severus!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>He can't help it. It's habit by now.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Quiet, Sirius!</dialogue>
<character>SNAPE</character>
<parenthetical>(clucking his tongue)</parenthetical>
<dialogue>Listen to you two. Quarreling like an old married couple. The creature and the criminal.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Piss off. SNAPE</dialogue>
<scene_description>Witty as ever I see. Tell me, will you be so irreverent when I turn you over to the Dementors? (as Black reacts) Do I detect a flicker of fear? One can only imagine what it must be like to endure the Dementor's Kiss. It's said to be unbearable to witness. But I'll do my best. Snape's eyes harden. He gestures to the door.</scene_description>
<character>SNAPE</character>
<dialogue>After you.</dialogue>
<scene_description>As the others start to go, Harry glances at the table where Lupin has left Harry's wand. In a flash, it's in his hand.</scene_description>
<character>HARRY</character>
<dialogue>Expelliarmus!</dialogue>
<scene_description>Snape soars into the air, hits the wall with a THUD, and slides down. Ron and Hermione stare in shock.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry. You attacked a teacher.</dialogue>
<scene_description>Harry looks a bit shocked himself, then turns to Black.</scene_description>
<character>HARRY</character>
<dialogue>You said Peter before. Peter who?</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Pettigrew. He was at school with us. We thought he was a friend.</dialogue>
<character>HARRY</character>
<dialogue>No. Pettigrew's dead. He killed him.</dialogue>
<scene_description>As Harry points at Black, Black laughs mirthlessly.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>I thought so, too. Until you mentioned seeing Pettigrew on the Map.</dialogue>
<character>HARRY</character>
<dialogue>The Map was lying then --</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>The Map never lies. Pettigrew's alive. And he's right there.</dialogue>
<scene_description>Black points at... Ron. Ron goes white with fear.</scene_description>
<character>RON</character>
<dialogue>M-me? It's lunatic...</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Not you, you idiot. Your rat.</dialogue>
<character>RON</character>
<dialogue>Scabbers? Scabbers has been in my family for --</dialogue>
<character>SIRIUS BLACK</character>
<parenthetical>(bitterly)</parenthetical>
<dialogue>Twelve years. A curiously long life for a common garden rat. He's missing a toe, isn't he?</dialogue>
<scene_description>Black unfolds a dog-eared clipping from The Daily Prophet: it shows Ron in Egypt with his family, Scabbers on his shoulder.</scene_description>
<character>RON</character>
<dialogue>So what?</dialogue>
<character>HARRY</character>
<dialogue>All they could find of Pettigrew was his --</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Finger. Dirty coward cut it off so everyone would think he was dead. Then he transformed into a rat.</dialogue>
<scene_description>Harry stares into Black's sunken eyes. Wanting to believe. Desperate to believe. Glances at Ron, his agonized face. Scabbers SQUIRMS VIOLENTLY.</scene_description>
<character>HARRY</character>
<dialogue>Show me.</dialogue>
<scene_description>Lupin and Black turn to Ron. He holds Scabbers protectively.</scene_description>
<character>RON</character>
<dialogue>What are you going to do to him?</dialogue>
<scene_description>Sirius and Lupin exchange a glance.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Together.</dialogue>
<scene_description>With that, Lupin takes out his wand and, as one, he and Black cast a stream of BLUE-WHITE LIGHT. Scabbers twists madly in midair, then -- FLASH! -- transforms into... a very short man with thinning hair and grubby hands. PETER PETTIGREW.</scene_description>
<character>PETTIGREW</character>
<dialogue>S-Sirius... R-Remus. My old friends.</dialogue>
<scene_description>Neither speaks. Pettigrew's small, watery eyes dart toward the windows and door. Suddenly, he makes a break for it, but Sirius merely shoves him back. Pettigrew's nose twitches, his gaze finding Harry. His hands flutter nervously, reveal a MISSING INDEX FINGER.</scene_description>
<character>PETTIGREW</character>
<dialogue>Harry! Look at you! Y-you look just like your father. Like James. We were the best of friends, he and I --</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Shut up!</dialogue>
<character>PETTIGREW</character>
<dialogue>I didn't mean to! The Dark Lord, you have no idea the weapons he possesses! Ask yourself what you would have done, Sirius. What would you have done!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Died! Died rather than betray my friends! And you should have realized, Peter, if Voldemort didn't kill you...</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>We would.</dialogue>
<character>PETTIGREW</character>
<dialogue>No... please... you can't...</dialogue>
<parenthetical>(eyes darting, finding)</parenthetical>
<dialogue>Ron! Haven't I been a good friend? A good pet? You won't let them kill me, will you? I was your rat...</dialogue>
<scene_description>Ron draws back in disgust. Pettigrew turns to Hermione.</scene_description>
<character>PETTIGREW</character>
<dialogue>Sweet girl. Clever girl. Surely you won't let them...</dialogue>
<scene_description>As one, Lupin and Black raise their wands, point them directly into Pettigrew's face. He shrinks back trembling, closing his eyes in fear, when...</scene_description>
<character>HARRY</character>
<dialogue>No.</dialogue>
<scene_description>Pettigrew's lids lift. Lupin and Black turn. Staggered.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Harry, this man...</dialogue>
<character>HARRY</character>
<dialogue>I know what he is. But we'll take him to the castle.</dialogue>
<character>PETTIGREW</character>
<dialogue>Bless you, boy! Bless you --</dialogue>
<character>HARRY</character>
<dialogue>Get off! I said we'd take you to the castle. After that, the Dementors can have you.</dialogue>
<scene_description>OMITTED & & As Pettigrew emerges from the gap, he prattles desperately:</scene_description>
<character>PETTIGREW</character>
<dialogue>Turn me into a maggot. A dung beetle. A Flobberworm! Anything but the Dementors...</dialogue>
<parenthetical>(as Ron emerges)</parenthetical>
<dialogue>Ron! Haven't I been a good friend? A good pet? You won't let them kill me, will you? I was your rat...</dialogue>
<scene_description>As Ron draws back in disgust, a sleepwalking Snape BUMPS his head against a low limb. Hermione turns to Harry.</scene_description>
<character>HERMIONE</character>
<dialogue>Don't worry. He's under the Somnambulist Charm. It's primarily used to transport the seriously deranged.</dialogue>
<scene_description>As Harry nods, Pettigrew's pleading eyes find Hermione.</scene_description>
<character>PETTIGREW</character>
<dialogue>Sweet girl. Clever girl. Surely you won't let them...</dialogue>
<scene_description>Hermione tugs her robes from Pettigrew's sweaty grasp. Harry turns, sees Black staring in wonder at the castle, shining radiantly under the bright bowl of the night sky.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Beautiful, isn't it? I'll never forget the first time I walked through those doors. It'll be nice to do it again. Freely.</dialogue>
<parenthetical>(turning to Harry)</parenthetical>
<dialogue>That was a noble thing you did back there. He doesn't deserve it.</dialogue>
<scene_description>Harry studies Pettigrew briefly, looks away. Lost in thought.</scene_description>
<character>HARRY</character>
<dialogue>I don't reckon my father'd want his best friends to become killers for a worthless piece of vermin like Pettigrew. Besides: Dead, the truth dies with him. Alive... you're free.</dialogue>
<scene_description>Sirius studies Harry's profile, moved by this.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>I don't know if you know, Harry, but when you were born, James and Lily made me your guardian...</dialogue>
<character>HARRY</character>
<dialogue>I know.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>And, well, I'll understand if you choose to stay with your aunt and uncle, but, so you know, you could --</dialogue>
<character>HARRY</character>
<dialogue>Come live with you? When!</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Soon as my name's cleared...</dialogue>
<scene_description>Harry looks at Hogwarts. GRINS. Sirius does the same. Then, Hermione's voice rises on the air, quavering with fear.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry...</dialogue>
<scene_description>He turns, see Hermione staring at the FULL MOON. His eyes shift. Lupin is a rigid silhouette, his fingers twitching.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Remus, old friend... did you take your potion tonight?</dialogue>
<scene_description>Lupin, twitching, SHAKES HIS HEAD. Pettigrew's eyes dart, taking in the situation, then slowly shift, note the WAND trembling in LUPIN'S LENGTHENING FIST.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>Run. All of you. Now.</dialogue>
<scene_description>But none of them do, transfixed, watching as BRISTLES POKE THROUGH LUPIN'S SKIN. Black steps forward, wraps his arms around his friend, presses his mouth to his ear.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>You know the man you truly are, Remus. This flesh is only flesh.</dialogue>
<scene_description>SIRIUS BLACK (CONT'Dpounding Lupin's chest) This heart is where you truly live. This heart! Here! As Lupin's WAND DROPS... Pettigrew LEAPS.</scene_description>
<character>HARRY</character>
<dialogue>No!</dialogue>
<parenthetical>(flashing his wand)</parenthetical>
<dialogue>Expelliarmus!</dialogue>
<scene_description>Lupin's wand flies from Pettigrew's hand and he FREEZES. Then slowly turns. Face blank, eyes closed, he... GRINS HIDEOUSLY. Transforms. Stunned, Harry watches a RAT dart into the night. A HOWL PIERCES THE AIR and Harry wheels. With a shrug, Lupin tosses Black into the air, then turns. He is no longer human. He's a werewolf. Harry and Hermione begin to edge back.</scene_description>
<character>HERMIONE</character>
<dialogue>Professor...?</dialogue>
<scene_description>The WEREWOLF'S eyes blaze. Long teeth glitter. Then... a horrifying GROWL ERUPTS from its throat. Harry and Hermione spin, begin to flee... and run flat into Snape. As they collapse in a great clumsy pile, Snape's eyes flutter open, the spell broken. Seeing Hermione atop him, he sweeps her aside...</scene_description>
<character>SNAPE</character>
<dialogue>Out of the way!</dialogue>
<scene_description>... and finds the werewolf preparing to pounce. Leaping to his feet, Snape draws his wand and steps forward, shielding Hermione, Harry and Ron. The WEREWOLF HOWLS, SPRINTS forward, when -- SWOOSH! -- a GIANT DOG (Black) intercepts it in MIDAIR. They hit the ground in a FIERCE TANGLE of FLASHING TEETH, a single horrible flailing beast. Again and again, the dog pushes the werewolf back, but the werewolf is too strong...</scene_description>
<character>HARRY</character>
<dialogue>Sirius!</dialogue>
<scene_description>The DOG YELPS, ROARS in pain, and the werewolf flings it into the tall grass. As it charges after, Harry pushes past Snape, dashes into the night. Hermione makes to follow, but Snape holds her back.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry!</dialogue>
<scene_description>Harry runs full out. Up ahead, FRAMED AGAINST A FULL MOON, he spies the dog, lying inert, the werewolf's razor-sharp claws suspended over its neck.</scene_description>
<character>HARRY</character>
<dialogue>NO!!!</dialogue>
<scene_description>Desperately, Harry plucks a THICK BRANCH from the ground and hurls it with all his might. Bull's-eye. The werewolf freezes. Turns. Begins to move toward... Harry. Harry draws his wand, terrified, but tormented as well, knowing Lupin dwells somewhere within the beast.</scene_description>
<character>HARRY</character>
<dialogue>Please, Professor. Stop... It's me.</dialogue>
<scene_description>Suddenly... a HOWL pierces the night. The werewolf falters, cocking its head toward the forest. Harry waits, petrified. The WEREWOLF's eyes shift back to him. It SNARLS, moves closer, ready to kill. Harry covers his face with his arm, when... ... a SECOND HOWL ECHOES high above the forest. Slowly, Harry drops his arm. Looks. The werewolf bounds toward the forest, vanishes. Harry's eyes shift. In the darkness, the wounded dog lurches through the tall grass. Falls. Rises. Falls again. Each time becoming more human. As he disappears over the ridge, Harry sprints after.</scene_description>
</scene>
<scene>
<stage_direction>117A EXT. BLACK LAKE - SAME TIME - NIGHT 117A</stage_direction>
<scene_description>Harry stumbles down to Black, who lies on the water's edge, now fully a man, arms and face gleaming with lacerations.</scene_description>
<character>HARRY</character>
<dialogue>Sirius!</dialogue>
<scene_description>Harry looks into his glassy eyes.</scene_description>
<character>HARRY</character>
<dialogue>Sirius!</dialogue>
<scene_description>A fragile MIST escapes Harry's mouth. A raw WIND TOSSES his hair. CHILL-BUMPS pebble his SKIN. A FRINGE of ICE appears at the lake's edge. Then they appear, oozing like smoke through the TREES across the lake. Dementors.</scene_description>
<character>HARRY</character>
<dialogue>No... No!</dialogue>
<parenthetical>(drawing his wand)</parenthetical>
<dialogue>Expecto... Patronum!</dialogue>
<scene_description>A thin silvery wisp weeps from Harry's wand, hovering like a VEIL, but the Dementors continue to come. Harry places his hand on Black's HEAVING HEART, poises his wand once more:</scene_description>
<character>HARRY</character>
<dialogue>Expecto... Patronum...</dialogue>
<scene_description>Harry's Patronus blooms briefly... and dies. Harry's eyes flutter, the DEMENTORS twisting madly in his vision, drawing closer. Black GASPS. SILVERY FEATHERS of LIGHT tumble from his lips, as if his very soul were leaving him... Then... a LIGHT splinters the trees. Harry squints, sees a FIERY STAG appear... its body luminous... slashing through the trees... sowing light in the darkness. The Dementors wilt in its wake, but more replace them, sweeping down in waves. Still, the stag charges on. The LIGHT EXPANDS. The forest blazing with it. The remaining Dementors flee, drifting across the moon like ash. The light ebbs. The stag's luminous body flickers. There is a BRIGHT FLASH and darkness returns, a single THREAD of LIGHT all that remains, spinning down to the size of a PEARL... in the palm of MAN, standing deep in the trees. Harry studies the strangely familiar SILHOUETTE, then... it is gone. Silence drops like a curtain. MIST rises from the lake. As Snape appears at the top of the rise, we --</scene_description>
<character>FADE TO BLACK.</character>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WING - NIGHT (LATER)</stage_direction>
<scene_description>CAMERA PULLS BACK SLOWLY... out of HERMIONE'S SHADOW, which ripples against the curtain that encircles Harry's bed. A HAND reaches out -- Harry's hand -- and sweeps the CURTAIN ASIDE. Ron lies opposite, his leg BANDAGED. Hermione paces. Stops.</scene_description>
<character>HERMIONE</character>
<dialogue>Harry --</dialogue>
<character>HARRY</character>
<dialogue>I saw my dad.</dialogue>
<character>HERMIONE</character>
<dialogue>What...?</dialogue>
<character>HARRY</character>
<dialogue>He sent the Dementors away... I saw him. Across the lake...</dialogue>
<scene_description>Hermione exchanges a private glance with Ron, turns back.</scene_description>
<character>HERMIONE</character>
<dialogue>Listen, Harry. They've captured Sirius. Any minute the Dementors are going to perform the Kiss.</dialogue>
<character>HARRY</character>
<dialogue>The Kiss...?</dialogue>
<character>HERMIONE</character>
<dialogue>It's what Dementors do to those they want to destroy. They clamp their jaws over the victim's mouth and... suck out his soul.</dialogue>
<character>HARRY</character>
<dialogue>You mean, they're going to kill Sirius?</dialogue>
<character>HERMIONE</character>
<dialogue>No. It's worse. Much worse. You go on living. But you have no memory. No sense of self. You're just a shall. An empty shell...</dialogue>
<scene_description>As Harry reacts, the door opens and Dumbledore enters.</scene_description>
<character>HERMIONE</character>
<dialogue>Headmaster! You've got to stop them! They've got the wrong man!</dialogue>
<character>HARRY</character>
<dialogue>It's true, sir. Sirius is innocent --</dialogue>
<character>RON</character>
<dialogue>It's Scabbers who did it!</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Scabbers...?</dialogue>
<character>RON</character>
<dialogue>My rat, sir. Only he's not really a rat. Well, he was a rat. You see, he used to be my brother Percy's --</dialogue>
<character>HERMIONE</character>
<dialogue>The point is... we know the truth. Please, sir, you must believe us.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>I do, Miss Granger. But I'm sorry to say the word of three thirteen- year-old wizards will convince few others. A child's voice, however honest and true, is meaningless to those who have forgotten how to listen.</dialogue>
<scene_description>As Dumbledore turns to the window, a SHOOTING STAR plummets silently through the sky.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Ah... a shooting star. If ever one was to make a wish, now would be the time. But time, I'm afraid, is precisely our problem...</dialogue>
<scene_description>On cue, the MIDNIGHT BELL begins to CHIME... DING!... DING!</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Mysterious thing, time. Powerful. And, when meddled with... dangerous. Sirius Black is in the topmost cell of the Dark Tower.</dialogue>
<parenthetical>(to Hermione)</parenthetical>
<dialogue>You know the laws, Miss Granger. You must not be seen. And you would, I feel, do well to return before this last chime. If not... well, the consequences are really too ghastly to discuss. Three turns should do it, I think. If you succeed, more than one innocent life may be spared tonight.</dialogue>
<scene_description>Dumbledore hands Harry and Hermione each a stick of CHOCOLATE, then starts to go... stops.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>By the way, when in doubt, I find retracing my steps to be a wise place to begin... Good luck.</dialogue>
<scene_description>He smiles, exits. Harry glances curiously at the chocolate.</scene_description>
<character>RON</character>
<dialogue>What in bloody hell was all that about?</dialogue>
<scene_description>But Hermione doesn't reply, instead looping the pendant's long chain around Harry's neck as well as her own.</scene_description>
<character>HERMIONE</character>
<dialogue>Sorry, Ron. But seeing as you can't walk...</dialogue>
<scene_description>As Ron and Harry exchange a curious glance, the BELL continues to CHIME -- DING! DING! -- and...</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WING - TIME REVERSAL - NIGHT/LATE</stage_direction>
<character>AFTERNOON</character>
<dialogue>TIME REVERSES in a dizzying backward blur, as if a tape were being rewound, every moment that occurred in the hospital room flickering by at a dizzying speed while, outside the window, darkness gives way to dusk and the sun "un-sets," returning to its place low on the horizon. At this point, the TIME REVERSAL ends and the room is... Empty. Except for Harry and Hermione. As Hermione unloops the necklace, Harry glances around in confusion.</dialogue>
<character>HARRY</character>
<dialogue>What just happened? Where's Ron?</dialogue>
<scene_description>Hermione ignores the question, eyes the CLOCK on the wall.</scene_description>
<character>HERMIONE</character>
<dialogue>Seven-thirty. Where were we at seven-thirty?</dialogue>
<character>HARRY</character>
<dialogue>Huh? Dunno... going to Hagrid's?</dialogue>
<character>HERMIONE</character>
<dialogue>Come on! We can't be seen!</dialogue>
<scene_description>Hermione grabs Harry's arm, slams through the door. OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>EXT. BRIDGE - LATE AFTERNOON (MOMENTS LATER)</stage_direction>
<scene_description>Harry and Hermione come to a mad, huffing halt.</scene_description>
<character>HARRY</character>
<dialogue>Hermione! Will you please tell me what it is we're doing?!</dialogue>
<scene_description>She holds up a hand, silencing him. Annoyed, Harry follows her gaze and BLINKS in DISBELIEF. Across the grounds...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNDIAL GARDEN - SAME TIME - LATE AFTERNOON</stage_direction>
<scene_description>... he sees himself, along with Hermione and Ron, about to confront Malfoy, Crabbe, and Goyle near the monoliths.</scene_description>
<character>HARRY</character>
<dialogue>But that... that's... us. This is not... normal.</dialogue>
<character>INTERCUT BETWEEN BRIDGE AND SUNDIAL GARDEN.</character>
<dialogue>Dumbfounded, Harry turns. Hermione holds up the HOURGLASS.</dialogue>
<character>HERMIONE</character>
<dialogue>This is a Time-Turner, Harry. McGonagall gave it to me first term. This is how I've been getting to my lessons all year.</dialogue>
<character>HARRY</character>
<dialogue>You mean, we've gone back in time?</dialogue>
<character>HERMIONE</character>
<dialogue>Yes. Dumbledore wanted us to return to this moment. Clearly something happened he wants us to change.</dialogue>
<scene_description>A soft SMACK is HEARD. They turn, see Malfoy land on the seat of his pants in the Sundial Garden, rub his kisser.</scene_description>
<character>HARRY</character>
<parenthetical>(in admiration)</parenthetical>
<dialogue>Good punch.</dialogue>
<character>HERMIONE</character>
<dialogue>Hurry! Malfoy's coming!</dialogue>
<scene_description>Hermione pulls Harry under the bridge. Seconds later, FOOTSTEPS CLAMOR over their heads.</scene_description>
<character>DRACO (O.S.)</character>
<dialogue>Not a word of this to anyone, understood! I'll get that jumped- up Mudblood one of these days. Mark my words...</dialogue>
<scene_description>Eyes narrowed in anger, Hermione leans out, reaches up, and sends Malfoy SPRAWLING. As Harry pulls her back, Malfoy looks around in confusion, then dashes off with the others. Seconds later, Harry emerges, marvels at the sight of himself and Hermione, and Ron heading down the slope to Hagrid's hut. His eyes shift to the pumpkin patch.</scene_description>
<character>HARRY</character>
<dialogue>Look. Buckbeak's still alive.</dialogue>
<character>HERMIONE</character>
<dialogue>Of course! Remember what Dumbledore said. If we succeed, more than one innocent life could be spared.</dialogue>
<character>HARRY</character>
<dialogue>Buckbeak? But... how will saving Buckbeak help Sirius?</dialogue>
<character>HERMIONE</character>
<dialogue>We'll see.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HAGRID'S HUT - PUMPKIN PATCH - LATE AFTERNOON/DUSK</stage_direction>
<scene_description>As Buckbeak feasts on a ferret, Harry and Hermione duck behind a pile of pumpkins. Peering into the hut, Harry sees Hermione and Ron embrace awkwardly. He grins, turns, only to find Hermione analyzing the moment with considerable fascination. Caught -- regards Harry defensively.</scene_description>
<character>HERMIONE</character>
<dialogue>What?</dialogue>
<character>HARRY</character>
<dialogue>Nothing.</dialogue>
<scene_description>Harry looks toward the slope, sees Fudge and the others approaching in a CLOUD of CROWS.</scene_description>
<character>HARRY</character>
<dialogue>Here they come. I better hurry.</dialogue>
<character>HERMIONE</character>
<dialogue>No! Fudge has to see Buckbeak before we steal him. Otherwise, he'll think Hagrid set him free!</dialogue>
<scene_description>Harry nods, then looks toward the hut. Inside, Hagrid is handing Scabbers to Ron.</scene_description>
<character>HARRY</character>
<dialogue>That's Pettigrew --</dialogue>
<scene_description>As he starts to rise, Hermione grabs him, speaks fiercely.</scene_description>
<character>HERMIONE</character>
<dialogue>No, Harry! You can't!</dialogue>
<character>HARRY</character>
<dialogue>Hermione, that's the man who betrayed my parents! You don't expect me to just sit here...</dialogue>
<character>HERMIONE</character>
<dialogue>Yes! You Must!</dialogue>
<parenthetical>(pointing inside)</parenthetical>
<dialogue>Harry, you're in Hagrid's hut right now. If you go bursting inside, you'll think you've gone mad. Awful things can happen when wizards meddle with time. We can't be seen.</dialogue>
<scene_description>Hermione turns, watches Fudge and the others drawing closer. She frowns, glances into the hut.</scene_description>
<character>HERMIONE</character>
<dialogue>Fudge is coming and... we're not leaving... why aren't we leaving?</dialogue>
<scene_description>Just then... on the ground beside her... Hermione notices a JAGGED STAR-SHAPED STONE. Instantly, she grabs it, rises, and hurls it through the OPEN WINDOW. SMASH! The sound of a GLASS JAR SHATTERING is heard within the hut.</scene_description>
<character>HARRY</character>
<dialogue>Are you mad?</dialogue>
<scene_description>Hermione ignores him, swiftly whistling a second stone through the window and -- CONK! -- off the back of Harry's head.</scene_description>
<character>HARRY</character>
<dialogue>That hurt.</dialogue>
<character>HERMIONE</character>
<dialogue>Sorry.</dialogue>
<scene_description>Crows begin to drop atop the roof. Fudge's party arrives, RAPS on the door.</scene_description>
<character>HERMIONE</character>
<dialogue>C'mon. Any minute now we're going to be coming out the back door.</dialogue>
<scene_description>Quickly, Hermione and Harry dash into the trees directly behind... just in time to see themselves -- along with Ron -- exit the back door and slip behind the pumpkin pile where, only seconds before, they were hiding. As Fudge appears at the window and picks his nose as before, Hermione ponders the back of her own head.</scene_description>
<character>HERMIONE</character>
<dialogue>Is that really what my hair looks like from the back?</dialogue>
<character>HARRY</character>
<dialogue>Shhh!</dialogue>
<scene_description>Hermione sees herself turn. Ducking, she accidentally stirs the branches, then peeks out and sees herself staring curiously at the branches DANCING ODDLY. Next she hears her own voice:</scene_description>
<character>HERMIONE (O.S.)</character>
<dialogue>Nothing, I just thought I saw... Never mind.</dialogue>
<scene_description>Harry and Hermione watch themselves start up the slope. The coast clear, they slip out of the trees.</scene_description>
<character>HERMIONE</character>
<dialogue>Now, Harry!</dialogue>
<scene_description>As Harry vaults into the patch, the CROWS STIR, CAWING at his ankles, pecking at his feet.</scene_description>
<character>CORNELIUS FUDGE (O.S.)</character>
<dialogue>'It is the decision of the Committee for the Disposal of Dangerous Creatures that the Hippogriff Buckbeak, hereafter called the condemned, shall be executed this day at sundown...'</dialogue>
<scene_description>As Harry approaches, Buckbeak studies him curiously, a ferret leg dangling from his beak. Harry bows. SLURP! The ferret leg disappears and Buckbeak returns Harry's nod. As Harry takes Buckbeak's chain... a flint-eyed crow PECKS his hand.</scene_description>
<character>HARRY</character>
<dialogue>Get away!</dialogue>
<scene_description>Harry waves the crow away, yanks hard on Buckbeat's chain.</scene_description>
<character>CORNELIUS FUDGE (O.S.)</character>
<dialogue>'The Committee's appointed executioner shall dispatch the condemned by means of beheading...'</dialogue>
<character>HARRY</character>
<dialogue>C'mon, Buckbeak. Come on...</dialogue>
<scene_description>Buckbeak refuses to move.</scene_description>
<character>CORNELIUS FUDGE (O.S.)</character>
<dialogue>'As witnessed below.' You sign here, Hagrid. Very well, gentlemen. Let's step outside, shall we...</dialogue>
<scene_description>DING! The Hogwarts BELL begins to TOLL. Harry and Hermione exchange a glance. Harry tugs harder. No go.</scene_description>
<character>DUMBLEDORE (O.S.)</character>
<dialogue>Excuse me, Minister. I believe I must sign as well...</dialogue>
<scene_description>Harry PULLS at the chain, straining mightily... DING! when Hermione POPS UP, BOWS QUICKLY, and dangles a dead ferret before Buckbeak.</scene_description>
<character>HERMIONE</character>
<dialogue>Here, Beaky... Come and get the nice dead ferret... yum yum...</dialogue>
<scene_description>Harry looks at her as if she's mad, but it's... working. As Buckbeak trots after, the CAWING CROWS scatter. DING! Harry and Hermione lead Buckbeak away when the back door suddenly opens. They freeze... caught... Fudge's eyes drifting their way, when -- as before -- Dumbledore raises his hand and directs the attention of the others away from Buckbeak.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Professor Dippet had those blackberries planted when he was Headmaster...</dialogue>
<scene_description>Harry and Hermione shoo Buckbeak along, disappear into the forest... just as Dumbledore concludes his reverie.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>Let's get this over with, shall we?</dialogue>
<scene_description>Harry and Hermione -- their view unobstructed by the LOW STAND OF TREES this time -- watch the Executioner approach the pumpkin patch... and stop. Quickly, the confusion in his masked eyes turns to anger.</scene_description>
<character>CORNELIUS FUDGE</character>
<dialogue>But... where is it? I just saw the beast not moments ago -- Hagrid?</dialogue>
<character>HAGRID</character>
<dialogue>Beaky...</dialogue>
<scene_description>Hearing Hagrid's husky voice, BUCKBEAK strains at his tether, WHIMPERS eerily. Hermione tosses him another ferret.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(a hint of amusement)</parenthetical>
<dialogue>How extraordinary!</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>Come now, Dumbledore. Someone's obviously released him.</dialogue>
<character>HAGRID</character>
<dialogue>Professor, I swear! I didn't!</dialogue>
<character>DUMBLEDORE</character>
<dialogue>I'm quite sure the Minister isn't suggesting that you had anything to do with it, Hagrid. How could you? You've been with us all along.</dialogue>
<character>CORNELIUS FUDGE</character>
<dialogue>We should search the grounds --</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Search the skies if you must, Minister. In the meantime, I wouldn't say no to a cup of tea, Hagrid. Or... a large brandy.</dialogue>
<parenthetical>(to the Executioner)</parenthetical>
<dialogue>It seems your services will no longer be required.</dialogue>
<scene_description>The Executioner lifts his blade and -- with a brutal fury -- plunges it into the flesh of a PUMPKIN with a SICKENING CHOP! The CROWS SCATTER to the skies.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORBIDDEN FOREST - DUSK (MOMENTS LATER)</stage_direction>
<scene_description>Harry and Hermione race through the trees as Buckbeak lopes easily behind.</scene_description>
<character>HARRY</character>
<dialogue>Now what?</dialogue>
<character>HERMIONE</character>
<dialogue>We save Sirius.</dialogue>
<character>HARRY</character>
<dialogue>And we do that... how?</dialogue>
<character>HERMIONE</character>
<dialogue>No idea.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDGE OF FOREST AT WHOMPING WILLOW - DUSK</stage_direction>
<scene_description>SUBJECTIVE POV, GLIDING THROUGH a thicket of trees, TO the forest's edge, the trees thinning, REVEALING... ... the Whomping Willow THRASHING. Hermione disappears down the hole, then a FIGURE approaches the tree. Lupin. INTERCUT.</scene_description>
<character>HERMIONE</character>
<dialogue>Look. It's Lupin.</dialogue>
<scene_description>As the Whomping Willow begins to thrash, its violence oddly muted at this distance, Lupin takes a stick, pokes a knot on the trunk. Instantly, the Willow calms.</scene_description>
<character>HARRY</character>
<dialogue>Wait until Fred and George hear about that one.</dialogue>
<character>HERMIONE</character>
<dialogue>Here comes Snape.</dialogue>
<scene_description>As Lupin disappears into the gap at the base of the tree, Snape makes his way down the slope.</scene_description>
<character>HARRY</character>
<dialogue>And now we wait.</dialogue>
<character>HERMIONE</character>
<dialogue>Now we wait.</dialogue>
</scene>
<scene>
<stage_direction>127B EXT. EDGE OF FOREST AT WHOMPING WILLOW - DUSK TO NIGHT 127B</stage_direction>
<character>(LATER)</character>
<dialogue>We look UPWARD, see the tops of the trees etched against the darkening sky. BATS fly TOWARD us. We FOLLOW one, when Buckbeak snags one. A tail twitches briefly between his beak, then -- SLURP! -- is gone.</dialogue>
<character>HERMIONE</character>
<dialogue>'Least someone's enjoying himself.</dialogue>
<scene_description>Harry and Hermione sit together in the lengthening shadows. Harry snaps off a piece of chocolate, hands it to Hermione.</scene_description>
<character>HARRY</character>
<dialogue>Hermione...</dialogue>
<character>HERMIONE</character>
<dialogue>Yes?</dialogue>
<character>HARRY</character>
<dialogue>Before. Down by the lake. When I was with Sirius... I did see someone... that someone made the Dementors go away...</dialogue>
<character>HERMIONE</character>
<dialogue>With a Patronus. I heard Snape telling Dumbledore when we were taken to the hospital. According to him, only a really powerful wizard could have conjured it.</dialogue>
<character>HARRY</character>
<dialogue>It was my Dad.</dialogue>
<scene_description>Hermione looks at Harry.</scene_description>
<character>HARRY</character>
<dialogue>It was my Dad who conjured the Patronus.</dialogue>
<character>HERMIONE</character>
<dialogue>But, Harry, your Dad's...</dialogue>
<character>HARRY</character>
<dialogue>Dead. I know. I'm just telling you what I saw.</dialogue>
<scene_description>Hermione nods, not wanting to press Harry further, then glances beyond the trees, toward the Whomping Willow.</scene_description>
<character>HERMIONE</character>
<dialogue>Here we come.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EDGE OF FOREST AT WHOMPING WILLOW - NIGHT</stage_direction>
<scene_description>SHADOWS emerge under a FULL MOON: Black. Harry. Pettigrew. Lupin. Hermione. Ron. Sleepwalking Snape... INTERCUT: Harry studies himself and Sirius.</scene_description>
<character>HARRY</character>
<dialogue>You see Sirius talking to me? He's asking me to come live with him.</dialogue>
<character>HERMIONE</character>
<dialogue>Really?</dialogue>
<scene_description>Harry nods, his voice wistful.</scene_description>
<character>HARRY</character>
<dialogue>When we free him, I'll never have to go back to the Dursley's. I'm going to tell him I'd like to live someplace in the country. I think he'd like that, after all those years in Azkaban. We don't need a big place and I can help him...</dialogue>
<scene_description>A HOWL pierces the night. Hermione glances toward the Willow.</scene_description>
<character>HERMIONE</character>
<dialogue>It's happened. Lupin's transformed.</dialogue>
<character>HARRY</character>
<dialogue>Which means Pettigrew is slipping safely into the night. While we just stand here...</dialogue>
<scene_description>A FIERCE GROWLING is heard as twin silhouettes -- the DOG and the WEREWOLF -- bound into the tall grass. Harry watches himself appear, hurl the stick as before. The werewolf turns, begins to stalk... OWWWWWWWWW! Harry wheels, sees Hermione, hands cupped to her mouth, making a loud HOWL. He covers her mouth.</scene_description>
<character>HARRY</character>
<dialogue>What are you doing?</dialogue>
<character>HERMIONE</character>
<dialogue>Saving your life.</dialogue>
<scene_description>Harry looks back to the tall grass. The werewolf is frozen. As before, it begins to approach Harry again. OWWWWWWWW! This time, Harry doesn't stop her.</scene_description>
<character>HARRY</character>
<dialogue>Thanks. But we have to move.</dialogue>
<character>HERMIONE</character>
<dialogue>Why?</dialogue>
<character>HARRY</character>
<dialogue>Because that werewolf you just called is running right this way.</dialogue>
<scene_description>They exchange a glance and... RUN. & &</scene_description>
</scene>
<scene>
<stage_direction>130A EXT. FOREST - NIGHT (MOMENTS LATER) 130A</stage_direction>
<scene_description>Harry and Hermione dash for the lives, swing behind a HUGE TREE. As CAMERA BEGINS TO CIRCLE, the werewolf appears. Pauses. As it approaches the tree, Harry and Hermione silently sidestep in the opposite direction, until the werewolf... disappears. CAMERA CONTINUES TO CIRCLE the tree...</scene_description>
<character>HERMIONE</character>
<dialogue>Buckbeak. We've got to find him.</dialogue>
<scene_description>... and REVEALS the werewolf, fifteen feet past, waiting. As Harry and Hermione step out, they freeze. The werewolf poises itself, preparing to pounce, when... SKREEEK! The TREES shake with the fury of a HURRICANE and Buckbeak charges into the clearing, screening Harry and Hermione. The WEREWOLF SNARLS ANGRILY, makes to charge. With lightning-fast reflexes, Buckbeak's claws slash the air... only inches from the werewolf's face. The werewolf stops, eyes glittering with rage, then... HOWLS. Turning, it vanishes into the forest.</scene_description>
<character>HERMIONE</character>
<dialogue>Poor Professor Lupin is having a really tough night...</dialogue>
<scene_description>Just then, a CHILL WIND rises... The LEAVES of the trees TREMBLE... EERIE SHADOWS flutter over the moon, greasy as smoke... Dementors.</scene_description>
<character>HARRY</character>
<dialogue>Let's go.</dialogue>
<character>CUT TO:</character>
<dialogue>MOVING POV</dialogue>
<dialogue>Looking UPWARD... THROUGH the trees as the sky wheels by, Dementors streaking IN AND OUT OF VIEW.</dialogue>
</scene>
<scene>
<stage_direction>130B EXT. EDGE OF FOREST AT BLACK LAKE - NIGHT (MOMENTS 130B</stage_direction>
<character>LATER)</character>
<dialogue>CAMERA RUSHES IN, HOLDS ON Harry and Hermione's faces.</dialogue>
<scene_description>Shocked. Terror-stricken. Opposite them, across the lake...</scene_description>
</scene>
<scene>
<stage_direction>130C EXT. BLACK LAKE - SAME TIME 130C</stage_direction>
<scene_description>... a CYCLONE of DEMENTORS whirl madly above Harry and Black. INTERCUT BETWEEN BLACK LAKE AND EDGE OF FOREST. Harry watches himself vainly attempt to conjure a Patronus as the cyclone only continues to grow...</scene_description>
<character>HERMIONE</character>
<dialogue>This is horrible...</dialogue>
<character>HARRY</character>
<dialogue>Don't worry. My Dad will come... Right there... you'll see... he'll come... any minute... he'll conjure the Patronus</dialogue>
<scene_description>Hermione eyes Harry warily. He is transfixed, staring hungrily toward the outcrop. The WIND RISES. The Lake begins to freeze. WHOOSH! WHOOSH! One after another, Dementors drop from the sky, vanish in the cyclone...</scene_description>
<character>HERMIONE</character>
<dialogue>No one's coming, Harry...</dialogue>
<character>HARRY</character>
<dialogue>HE WILL! He will come!</dialogue>
<scene_description>She looks. Nothing. Desperately, her eyes flash to the cyclone, to the pitiful sight of Harry and Black at the water's edge... wracked with pain... dying...</scene_description>
<character>HERMIONE</character>
<dialogue>No one's coming! You're dying, both of you... and no one's coming!</dialogue>
<scene_description>Harry's face changes. A riddle unravels. He draws his wand. HARRY, NO!: Too late. Harry slashes through the trees, down to the rocky outcrop, to the exact spot where his father appeared. Poising his wand, he looks out over the sea of Dementors on the other side of the lake.</scene_description>
<character>HARRY</character>
<dialogue>EXPECTO PATRONUM!</dialogue>
<scene_description>A WISP of SILVER escapes his wand, hovering like a MIST, then BLOOMS MAGNIFICENTLY. The trees EXPLODE WITH LIGHT. The Lake BLAZES with reflected FIRE. Harry stands utterly still, wand extended to the heavens. Across the lake, the Dementors retreat. Harry waits, still as a statue, until each and every one is gone. Then he simply lets his arm drop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS - SKY - FLYING - NIGHT (LATER)</stage_direction>
<scene_description>WHOOSH! Harry and Hermione plunge INTO FRAME astride Buckbeak, SOARING toward the castle. Outside the grounds, the Dementors wait restlessly. Up ahead, Fudge and Snape enter the Dark Tower, TORCHES in hand.</scene_description>
<character>HARRY</character>
<dialogue>You were right, Hermione. It wasn't my dad I saw earlier. It was... me. I saw myself conjuring the Patronus before. I knew I could do it this time, because... because I'd already done it. Does that make sense?</dialogue>
<scene_description>Hermione contemplates this.</scene_description>
<character>HERMIONE</character>
<dialogue>No.</dialogue>
<parenthetical>(looking down in fear)</parenthetical>
<dialogue>But I don't like this!</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS - DARK TOWER - WIDE SHOT - NIGHT (MOMENTS</stage_direction>
<character>LATER)</character>
<dialogue>We see Buckbeak land.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DARK TOWER - TERRACE - NIGHT</stage_direction>
<scene_description>Sirius paces within a SMALL CELL, a man condemned. Spying Harry and Hermione, he stops. Stunned to see them. Snape, TORCH in hand, leads the way as Fudge HUFFS after.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARK TOWER - TERRACE - NIGHT (SAME TIME)</stage_direction>
<scene_description>Hermione pushes past Harry.</scene_description>
<character>HERMIONE</character>
<dialogue>Out of the way!</dialogue>
<parenthetical>(raising her wand)</parenthetical>
<dialogue>Alohomora!</dialogue>
<scene_description>Sirius tests the IRON DOOR. Still locked.</scene_description>
<character>HERMIONE</character>
<dialogue>Didn't really expect that to work.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DARK TOWER - STAIRWELL - NIGHT (SAME TIME)</stage_direction>
<scene_description>Snape and Fudge draw closer...</scene_description>
</scene>
<scene>
<stage_direction>EXT. DARK TOWER - TERRACE - NIGHT (SAME TIME)</stage_direction>
<scene_description>Wand flashing, Hermione tries spell after spell.</scene_description>
<character>HERMIONE</character>
<dialogue>Dunamis! Liberare! Annihilare! Emancipare!</dialogue>
<scene_description>No. No. No. No.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>You might try --</dialogue>
<character>HERMIONE</character>
<dialogue>Quiet! I'm trying to think.</dialogue>
<scene_description>She resumes pacing, MUTTERING furiously. Then... stops. Turns.</scene_description>
<character>HERMIONE</character>
<dialogue>BOMBARDA!</dialogue>
<scene_description>KA-BOOM! The CELL DOOR ROCKETS to the sky.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>That'll do.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SKY/HOGWARTS - HELICOPTER SHOT - NIGHT</stage_direction>
<scene_description>We see Buckbeak spirit Harry, Hermione and Sirius off the terrace and soar directly TOWARD us... Just as Snape and Fudge reach the top of the Tower. Sirius laughs, hair blowing in the wind.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>You truly are your father's son, Harry!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLOCKTOWER COURTYARD - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>Black puts his hands to Hermione's waist, swings her off Buckbeak and onto the ground next to Harry.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>I'll be forever grateful for this. To both of you.</dialogue>
<character>HARRY</character>
<dialogue>I want to go with you.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>One day perhaps. For some time... life will be too... unpredictable. Besides, you're meant to be here.</dialogue>
<scene_description>Black claps his shoulder, looks him in the eye.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>But promise me something, Harry.</dialogue>
<character>HARRY</character>
<dialogue>Anything.</dialogue>
<character>SIRIUS BLACK</character>
<dialogue>Trust yourself. No matter the challenges you face -- and I fear they will be many -- you'll be surprised how many times you can find the answers...</dialogue>
<parenthetical>(tapping his heart)</parenthetical>
<dialogue>...here.</dialogue>
<scene_description>As Sirius climbs atop Buckbeak, a SHOOTING STAR arcs through the heavens.</scene_description>
<character>SIRIUS BLACK</character>
<dialogue>A shooting star. Make a wish.</dialogue>
<scene_description>WHACK! -- Black gives Buckbeak a SLAP and they soar into the glittering sky. Harry and Hermione stand watching, when... DING! They wheel. Look to the Clock Tower.</scene_description>
<character>HERMIONE</character>
<dialogue>We have to go.</dialogue>
<scene_description>As Harry and Hermione dash off, CAMERA TRACKS AFTER, RISING WITH them as they race up the tower stairway, then passing through the mechanism and on through to the end of... OMITTED thru thru</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR/CLOCK TOWER - NIGHT (MOMENTS LATER)</stage_direction>
<scene_description>... the corridor. The Clock Tower BELL THUNDERS. The DOOR OPENS. Dumbledore backs out...</scene_description>
<character>DUMBLEDORE</character>
<dialogue>By the way, when in doubt, I always find retracing my steps to be a wise place to begin... Good luck.</dialogue>
<scene_description>As Dumbledore begins to close the door, Harry and Hermione stumble frantically forward, the door about to hit the jamb, when... suddenly... Dumbledore stops. Looks up.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Well?</dialogue>
<character>HARRY</character>
<dialogue>He's free -- Sirius. We... we did it.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Did what?</dialogue>
<scene_description>With a twinkle in his eye, Dumbledore swings open the door. As Harry and Hermione enter.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL WING - NIGHT (SAME TIME)</stage_direction>
<scene_description>... they catch the faintest glimpse of... themselves... across the room... just as they EVAPORATE. Ron blinks. Turns. Frowns.</scene_description>
<character>RON</character>
<dialogue>How'd you two get over there? I was just talking to you... over there.</dialogue>
<scene_description>Ron glances to the other side of the room. Frowns. Hermione glances mischievously to Harry.</scene_description>
<character>HERMIONE</character>
<dialogue>What d'you think, Harry? Too much for him -- everything that's happened tonight?</dialogue>
<character>HARRY</character>
<dialogue>Afraid so. Always been a bit of the nervous type, Ron has.</dialogue>
<scene_description>Ron stares at them, confounded. Slowly, they... GRIN.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOGWARTS CASTLE - MORNING</stage_direction>
<scene_description>The Whomping Willow sways in a light breeze. The Black Lake shimmers, clouds drifting in its glassy mirror.</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR/LUPIN'S OFFICE - MORNING</stage_direction>
<scene_description>Harry walks softly toward an OPEN DOOR -- Lupin's office -- and peers in. Lupin stands over a battered suitcase, filling it with the last of his books. Without turning, he SPEAKS.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Hello, Harry.</dialogue>
<scene_description>Harry JUMPS. Lupin turns, smiles through haggard eyes.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>Saw you coming.</dialogue>
<scene_description>The Marauder's Map lies open on an otherwise bare desk. Harry nods, looks back to Lupin. Unable to disguise his shock at Lupin's appearance.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>I've looked worse, believe me.</dialogue>
<scene_description>Harry eyes the open desk drawers... the bare bookshelves...</scene_description>
<character>HARRY</character>
<dialogue>You've been sacked.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Resigned, actually.</dialogue>
<character>HARRY</character>
<dialogue>Resigned! But why!</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>It seems that someone has let slip the nature of my condition.</dialogue>
<character>HARRY</character>
<dialogue>Snape.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Whoever. It was bound to get out. This time tomorrow, the owls will start arriving. Parents will not want a -- someone like me -- teaching their children.</dialogue>
<character>HARRY</character>
<dialogue>But Dumbledore --</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Has already risked enough on my behalf. Besides, people like me, well... let's just say I'm used to this by now. But before I go, tell me about your Patrons.</dialogue>
<character>HARRY</character>
<dialogue>Well. At first I thought it was a horse, or perhaps a unicorn, but I think it was --</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>A stag.</dialogue>
<character>HARRY</character>
<dialogue>Yes.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Your father used to transform into one. That's how he was able to keep me company when I became... sick. He was a great friend James.</dialogue>
<scene_description>Lupin smiles wanly, lifts his sorry suitcase. Then stops.</scene_description>
<character>PROFESSOR LUPIN</character>
<dialogue>There are stories about him and your mother, you know. Some are even true. But I think it's safe to say, in the end, you'll know them best by getting to know yourself. Lupin then -- with a wicked twinkle -- raises his wand.</dialogue>
<character>PROFESSOR LUPIN</character>
<dialogue>Mischief managed.</dialogue>
<scene_description>Harry watches the Map go blank. Looks back. Lupin is gone. OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - DAY (MOMENTS LATER)</stage_direction>
<scene_description>Ron stands amid a circle of excited Gryffindors.</scene_description>
<character>RON</character>
<dialogue>Stand back, I said! I'll take it upstairs if you don't settle!</dialogue>
<scene_description>As Harry arrives, he glances at Hermione, who CLEARS HER THROAT LOUDLY. The others turn, begin all speaking at once.</scene_description>
<character>NEVILLE</character>
<dialogue>Harry! Wherever did you get it!</dialogue>
<character>SEAMUS</character>
<dialogue>Can I have a go, Harry? After you, of course --</dialogue>
<character>RON</character>
<dialogue>Quiet!</dialogue>
<parenthetical>(as they oblige)</parenthetical>
<dialogue>Thank you. Let the man through.</dialogue>
<scene_description>Mystified, Harry steps forward, the boys peeling away, clearing his view of the BROOMSTICK in Ron's hands. The LABEL GLEAMS: "FIREBOLT."</scene_description>
<character>HARRY</character>
<dialogue>Whose is that?</dialogue>
<character>RON</character>
<parenthetical>(as everyone laughs)</parenthetical>
<dialogue>Whose is it? It's yours, mate.</dialogue>
<character>HARRY</character>
<dialogue>But... how? Who?</dialogue>
<character>HERMIONE</character>
<dialogue>It's a mystery. Though... this fell out of the wrapping.</dialogue>
<scene_description>Harry turns, sees Hermione holding up a FEATHER.</scene_description>
<character>HARRY</character>
<dialogue>That's a Hippogriff feather --</dialogue>
<scene_description>As Harry stops short, Hermione raises her eyebrow. As they share a secret glance, we...</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. HOGWARTS CASTLE - FRONT DOORS - DAY</stage_direction>
<scene_description>BOOM! The huge vertical DOORS BURST OPEN and Harry, trailed by the others, exits with the Firebolt. As he strides off, others join the assembly -- Hagrid, Malfoy, Crabbe, and Goyle among them -- curious to see what the commotion is all about.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - DAY (MOMENTS LATER)</stage_direction>
<scene_description>As Harry stops, an expectant HUSH hangs over the moment.</scene_description>
<character>SEAMUS</character>
<dialogue>Go on, Harry.</dialogue>
<character>NEVILLE</character>
<dialogue>Yeah. Let's see.</dialogue>
<scene_description>Harry mounts the broom. Licks his finger and jabs it in the air. A few others do the same. Hagrid does the same. Crabbe and Goyle start to do the same, when Malfoy SLAPS their hands down. Finally, Harry places his hand on the broom. Sets his grip. Takes a breath. And... Frowns.</scene_description>
<character>FRED/GEORGE</character>
<dialogue>What's wrong?</dialogue>
<character>HARRY</character>
<dialogue>I don't think it works. I think it's defective.</dialogue>
<scene_description>A collective GROAN. Dejected, many of the kids begin to drift toward the castle. Harry calls after.</scene_description>
<character>HARRY</character>
<dialogue>Oh, come on now. It's just a broom.</dialogue>
<character>HAGRID</character>
<parenthetical>(nodding sagely)</parenthetical>
<dialogue>Just a broom.</dialogue>
<scene_description>Harry's eye shifts to Ron and Hermione. A wink.</scene_description>
<character>HARRY</character>
<dialogue>The fastest broom in the world.</dialogue>
<scene_description>As everyone turns -- WHOOSH! -- Harry JETS OFF and we --</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH IN THE SKY - DAY (SAME TIME)</stage_direction>
<scene_description>A tiny DOT, GROWING LARGER AND LARGER, races upward. It's Harry shooting straight into the blue on the Firebolt. A SCREAM GROWS LOUDER as he approaches. A scream of release, of utter abandon. It's Harry screaming. But something else is clear as he JETS PAST and... The SCREEN GOES BLACK. It's a SCREAM of joy.</scene_description>
<character>FADE OUT.</character>
<dialogue>THE END</dialogue>
</scene>
</script> | Harry Potter spends another dissatisfying summer with the Dursleys. On his thirteenth birthday, Vernon's visiting sister Marge viciously insults Harry and his parents, and an angry Harry causes her to inflate and float away. Expecting to be expelled for using magic outside school, Harry flees with his belongings. The Knight Bus, emergency transport for stranded witches and wizards, finds and takes Harry to the Leaky Cauldron, where Minister for Magic Cornelius Fudge assures Harry that he will not be punished. Reuniting with his best friends Ron Weasley and Hermione Granger, Harry learns that Sirius Black, a convicted supporter of Lord Voldemort, has escaped Azkaban Prison and intends to kill him. During the journey to Hogwarts, the Hogwarts Express is boarded by Dementors, ghostly prison guards searching for Black. One enters Harry's compartment, causing him to faint, but new Defense Against the Dark Arts teacher Remus Lupin repels it with a Patronus Charm. At Hogwarts, Headmaster Albus Dumbledore announces that Dementors will patrol the school until Black is captured. Rubeus Hagrid is appointed Care of Magical Creatures teacher, but his first class goes awry when Draco Malfoy provokes a Hippogriff named Buckbeak into attacking him; Malfoy's father, Lucius, consequently has Buckbeak sentenced to death. Returning to Gryffindor Tower, the students find the Fat Lady's portrait has been attacked, and the terrified Fat Lady warns Dumbledore that Black entered the castle. During a stormy Quidditch match, Dementors cause Harry to fall off his broomstick, which is destroyed by the Whomping Willow. Dumbledore uses the Slowing Charm to break Harry's fall, who later wakes up in the infirmary. Harry, after leaving the infirmary, is caught trying to visit Hogsmeade by Fred and George, who give him the Marauder's Map. Using the map, Harry sneaks into Hogsmeade and learns that Black is his godfather but divulged the Potters' whereabouts to Voldemort and murdered their mutual friend Peter Pettigrew. Determined to ward off the Dementors, Harry convinces Lupin to teach him the Patronus Charm. After Divination class, he witnesses Professor Trelawney enter a trance and prophesy that the Dark Lord will return. Watching Buckbeak's execution, Ron's pet rat Scabbers bites him and escapes, but a large black dog drags them both into a hole at the base of the Whomping Willow. This leads the trio through an underground passage into the Shrieking Shack, where the dog is revealed to be Black, an Animagus who can transform into an animal. Lupin appears, embracing Black as an old friend before revealing himself to be a werewolf. Snape arrives to apprehend Black but is knocked out by Harry's Disarming spell. Lupin and Black reveal that Scabbers is actually the Animagus form of Pettigrew, who betrayed Harry's parents, faked his death and framed Black for his own crimes. Turning Pettigrew back into human form, the group head back to the castle, intending to both expose Pettigrew as the true criminal and exonerate Sirius, but the full moon causes Lupin to transform and Pettigrew escapes. Black transforms into his animal form and fights off werewolf Lupin, who seriously injures Black. Black manages to escape when a distant wolf cry distracts Lupin and sends him off. Harry finds Black, who are then both attacked by Dementors until an unseen figure casts a powerful Patronus charm to ward them off. Harry falls unconscious, awakening in the infirmary with Dumbledore and Hermione. Learning that Black has been captured and sentenced to the Dementor's Kiss, Harry and Hermione act on Dumbledore's advice and use Hermione's Time-Turner, which she was given to attend several classes at once, to go three hours back in time. They see themselves reliving the night's events and set Buckbeak free from execution. Spotting the past Harry and Black being attacked by Dementors, Harry rescues them using a Patronus charm and realizes he was the unseen figure who saved them earlier. He and Hermione free Black, who flies away on Buckbeak, still a fugitive without proof of his innocence. Harry and Hermione return to the infirmary, rejoining their own timeline. Exposed as a werewolf, Lupin resigns from teaching and returns the Marauder's Map to Harry. Black sends Harry a Firebolt broomstick, which he happily takes on a ride. |
Bachelor Party_1984 | tt0086927 | <script>
<scene>
<stage_direction>EXT. ST. ANN'S SCHOOL - DAY</stage_direction>
<scene_description>CAMERA PANS a group of freshly - scrubbed , innocent children , obediently standing in line , like recruits for the Holy Crusade . PULL BACK to REVEAL they are wearing the gray blazers , striped ties and navy slacks of St. Luke 's School . They are waiting patiently at the curbside in front of the statue of the school 's sainted namesake . One of the fifth grade BOYS pokes the KID next to him with his elbow . The other Kid is about to retaliate when SISTER MARY FRANCIS , a stern - faced nun , appears behind them , grabbing them both firmly by the shoulders .</scene_description>
<character>SISTER MARY FRANCIS</character>
<dialogue>Make one more move and you'll both be staying late for the rest of the week.</dialogue>
<character>THE BOYS</character>
<parenthetical>( softly ; in unison . )</parenthetical>
<dialogue>Sorry, Sister Mary Francis.</dialogue>
<character>SISTER MARY FRANCIS</character>
<dialogue>I did n't hear you.</dialogue>
<character>THE BOYS</character>
<parenthetical>( louder . )</parenthetical>
<dialogue>Sorry, Sister Mary Francis.</dialogue>
<scene_description>Sister Mary Francis checks her watch . She scowls and looks out past the parking lot gate . Suddenly we HEAR the SOUND of an ENGINE roaring at full throttle . There is a SCREECHING of BRAKES , followed by the loud GRINDING of GEARS . It sounds like the Indy 500 is taking place around the corner .</scene_description>
<character>SISTER MARY FRANCIS</character>
<parenthetical>( used to this . )</parenthetical>
<dialogue>Step away from the curb, children.</dialogue>
<scene_description>ANOTHER ANGLE Zooming through the parking lot gates is a large yellow school bus . It practically takes the last turn on just two wheels . The bus driver quickly slams on the brakes , leaving ten feet of rubber behind him as the bus comes to an ear - splitting halt right in front of them . The front door immediately swings open and RICK STAHL , the driver , hops out . Rick is the life of the party , even when there is n't any party going on . While chronologically older than the St. Luke students , the only thing that sets him apart from them is that he has a driver 's license . Rick figures he 'll live up to his capabilities and get serious in his next life . This incarnation 's strictly for laughs . Sister Mary Francis steps up to him .</scene_description>
<character>SISTER MARY FRANCIS</character>
<dialogue>You're late again, Rick.</dialogue>
<character>RICK</character>
<dialogue>I know, Sister, but I have a very good excuse.</dialogue>
<character>SISTER MARY FRANCIS</character>
<dialogue>There can be no excuse for tardiness.</dialogue>
<character>RICK</character>
<dialogue>You're absolutely right. I should never have stopped to save that drowning infant. I'm just weak, Sister ; I'm so weak.</dialogue>
<scene_description>He starts sobbing softly into his hands .</scene_description>
<character>SISTER MARY FRANCIS</character>
<dialogue>All right, stop that. Children, on the bus.</dialogue>
<scene_description>The kids obediently file past Rick , who makes like he is drying his tears with his handkerchief .</scene_description>
<character>RICK</character>
<dialogue>Sister, do you ever get lonely after vespers? If you do, why do n't you give me a call. I'm in the book.</dialogue>
<character>SISTER MARY FRANCIS</character>
<parenthetical>( smiling despite herself . )</parenthetical>
<dialogue>Get going, Rick. you're late enough as it is.</dialogue>
<character>RICK</character>
<dialogue>Right. Think it over.</dialogue>
<scene_description>He hops on the bus , closes the door and gently backs the bus out of the parking lot .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS - DAY</stage_direction>
<scene_description>As soon as the bus is out of sight of the school , all hell breaks loose . The formally well - mannered children are acting like normal kids . hitting each other over the heads with books , running up and down the aisles , screaming at the top of their lungs . ANGLE - RICK He removes the St. Christopher statue from the dashboard , revealing a hulaing Hawaiian girl in a grass skirt . He watches the madness behind him in his rearview mirror , picks up the P.A. microphone and rationally attempts to restore order .</scene_description>
<character>RICK</character>
<parenthetical>( over mike . )</parenthetical>
<dialogue>If you do n't all calm down I'm gon na drive this thing over a cliff.</dialogue>
<scene_description>The kids pay no attention to him .</scene_description>
<character>RICK</character>
<parenthetical>( continuing ; philosophically . )</parenthetical>
<dialogue>Ah. youth.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BUS</stage_direction>
<scene_description>Rick 's bus pulls up to a light and another school bus filled with kids -LRB- from a public school -RRB- pulls up alongside of it . The other DRIVER gives Rick a competitive smirk and guns his engine . Rick counters by gunning his .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BUS</stage_direction>
<scene_description>All the kids start screaming `` Race . race . '' `` Wipe 'em out . '' `` Go for it . '' Etc. . Some of the kids even start taking out money and start betting one another on the race 's outcome . ANGLE - RICK as he readies for action .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BUSES</stage_direction>
<scene_description>The light turns green and they 're off . Or as off as two lunky school buses filled with kids can be . WIDE SHOT - ANOTHER STREET The two buses come zooming down the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S BUS</stage_direction>
<scene_description>The kids are screaming at Rick to go faster . One of the little boys looks nauseous as he clutches the seat in front of him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STREET - LOW ANGLE</stage_direction>
<scene_description>The buses squeeze down a narrow street , neck and neck with one another .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BUS</stage_direction>
<scene_description>The kids are all yelling words of encouragement to Rick , who is hunched over in his seat , driving with the determination of Andy Granitelli . The nauseous kid is now turning a pale shade of green . He moves to an open window , straining to control the inevitable .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BUSES</stage_direction>
<scene_description>They race down a steep hill .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE BUS</stage_direction>
<scene_description>The nauseous kid ca n't hold it any longer .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OTHER BUS</stage_direction>
<scene_description>Something hits with a splat against the windshield that resembles Campbell 's Chunky Vegetable Soup .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE OTHER BUS</stage_direction>
<scene_description>The other Driver turns on the windshield . It only makes it worse .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE STREET</stage_direction>
<scene_description>Rick 's bus pulls out in front , accompanied by the cheering of his passengers . Suddenly a stop light looms ahead . Rick puts on his brakes . Both buses stop just in time .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S BUS</stage_direction>
<scene_description>Rick 's kids are all piled in a clump right behind him in the front of the bus . Although disheveled , the kids still manage a victorious cheer . PHOTOGRAPHER 'S POV We 're LOOKING THROUGH the camera lens . We SEE a cute one - year - old baby boy . He 's sitting on a cuddly blanket . We HEAR the VOICE of Jay O'Neill . He is a baby photographer at Sears .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Okay, Timmy. hold that smile. and watch the birdie.</dialogue>
<scene_description>He takes the picture and we SEE the camera flash .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>There.</dialogue>
<scene_description>O'NEILL We see he has his camera and backdrop set up in the camera department behind a velour curtain which blacks out the rest of the store . He 's conservatively dressed in a suit , vest and tie . He looks like he could be a Young Republican . But under those Sears clothes is a man a little off center . Rick 's best friend . Need we say more ? He takes the film out of the camera . The matronly mother is in the process of gathering up her baby .</scene_description>
<character>O'NEILL</character>
<dialogue>These should be in the mail to you by next Friday.</dialogue>
<scene_description>She smiles and exits .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Next.</dialogue>
<scene_description>A beautiful - and we 're talking gorgeous - WOMAN enters . Her clothes hug every curve of her body . She has her baby in her arms . O'Neill immediately wants her , and now . His eyes settle onto her full breasts . These he likes .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Whoa. Look at those babies.</dialogue>
<scene_description>She gets this innuendo and loves it .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>How are we doing? My name is O'Neill. And you are?</dialogue>
<character>WOMAN</character>
<dialogue>Klupner.</dialogue>
<parenthetical>( teasing . )</parenthetical>
<dialogue>Mrs. Klupner.</dialogue>
<character>O'NEILL</character>
<dialogue>Mrs?</dialogue>
<character>WOMAN</character>
<dialogue>I'm separated.</dialogue>
<character>O'NEILL</character>
<dialogue>Then there is a God. Why do n't we take that baby picture.</dialogue>
<scene_description>He takes the baby . He has a hard time taking his eyes off her breasts . He places the baby on the blanket .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>If I were you, I'd breast feed until I was 17 or 18.</dialogue>
<parenthetical>( gets behind camera ; sizing up the shot . )</parenthetical>
<dialogue>Tell ya what.</dialogue>
<scene_description>O'NEILL 'S POV THROUGH CAMERA We SEE the baby sitting on the blanket .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Why do n't you lean into the picture with your child?</dialogue>
<scene_description>She coyly leans INTO FRAME .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( continuing . )</parenthetical>
<dialogue>A - huh. A little more. good!</dialogue>
<scene_description>She is totally blocking her baby out of the picture . O'NEILL He gets out from behind the camera .</scene_description>
<character>O'NEILL</character>
<dialogue>I'm getting one heck of a glare off your dress there. Could you undo a few buttons?</dialogue>
<character>WOMAN</character>
<parenthetical>( seductively . )</parenthetical>
<dialogue>Of course.</dialogue>
<scene_description>She starts to unbutton her blouse . O'Neill looks into his camera . O'NEILL 'S POV THROUGH LENS We SEE the Woman finish her last button .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Now lean in a little more. more. more.</dialogue>
<scene_description>As she complies , her breasts all but spill out of her dress .</scene_description>
<character>O'NEILL</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Hold that pose.</dialogue>
<scene_description>O'NEILL He runs from behind the camera and poses with the woman . THROUGH CAMERA LENS We SEE a QUICK SERIES of camera flashes . Each pose finds him near her breasts . He has them on his head . He 's cheek to breast . Etc. . RICK enters and witnesses the photo session . He immediately jumps into the shots . THROUGH CAMERA LENS Rick joins the craziness . After several beats , the Woman gets bored and EXITS the FRAME . THE WOMAN As Rick and O'Neill continue mugging like two 12 - year - olds in a photo booth , the Woman takes her child and exits . A few beats pass and the guys notice they 're alone .</scene_description>
<character>O'NEILL</character>
<dialogue>Where'd she go?</dialogue>
<character>RICK</character>
<dialogue>She probably had sex scheduled for 12:30. O'Neill, let's pick up the guys for a drink. I have major news to announce.</dialogue>
<scene_description>O'Neill crosses to his camera and takes out the film .</scene_description>
<character>O'NEILL</character>
<dialogue>Okay. be right with ya.</dialogue>
<scene_description>RICK He picks up some photographs of today 's work . INSERT - PHOTOS Each one has a different mother in several seductive poses . Their babies are barely visible , if at all .</scene_description>
<character>RICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Pictures a family will cherish forever.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHULO'S AUTO SHOP - DAY</stage_direction>
<scene_description>Rick 's school bus pulls into the yard of the auto shop . Several Chicanos are working on various cars . Rick and O'Neill hop out .</scene_description>
<character>RICK</character>
<dialogue>Hey, Chulo, where are you, man?</dialogue>
<scene_description>ANGLE - LATE - MODEL CAR We SEE a very large pair of shoes sticking out from under the chassis . Slowly , a large , bear - like body rolls out and we catch our first glimpse of CHULO . A happy - go - lucky mechanic of Mexican ancestry .</scene_description>
<character>CHULO</character>
<dialogue>Hey, you guys, what's going on?</dialogue>
<character>RICK</character>
<dialogue>We're going for a little liquid refreshment.</dialogue>
<character>CHULO</character>
<dialogue>Great. I'll go with you. Wait a second. Hey, Raul! Move that car, will you?</dialogue>
<scene_description>A SMALL MECHANIC with an eye patch gets into a car behind them as we DOLLY WITH the guys THROUGH the lot .</scene_description>
<character>CHULO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Roberto, you finished fixing that lighter yet?</dialogue>
<scene_description>Another MECHANIC sticks his face out of another car and shakes his head . Just then Raul , the eye - patched worker , whizzes by behind the guys , driving the car in a zig - zag pattern right into traffic .</scene_description>
<character>CHULO</character>
<parenthetical>( continuing ; to Rick . )</parenthetical>
<dialogue>I'm glad you guys came by. What's the occasion?</dialogue>
<character>O'NEILL</character>
<dialogue>Rick's got an important announcement to make.</dialogue>
<character>CHULO</character>
<dialogue>Yeah. What is it?</dialogue>
<character>RICK</character>
<dialogue>I've decided not to run for President.</dialogue>
<character>CHULO</character>
<dialogue>Too bad, man, that blows my chance to be Ambassador to France.</dialogue>
<scene_description>Behind them we can SEE Roberto fiddling with the lighter . Suddenly flames leap out of the car , blowing Roberto ten feet into the air . ANGLE The guys all start to pile into the bus . Nearby another employee is washing down the garage with a hose . Chulo turns to another mechanic , who has his head under the hood of a car .</scene_description>
<character>CHULO</character>
<dialogue>Manuel, be sure and finish up the electrical system on that Chevy.</dialogue>
<scene_description>Manuel waves at Chulo , who turns , hops on the bus . Rick starts it up and starts to drive away . Just as the bus CLEARS FRAME , we SEE Manuel connect two wires together at the same moment the guy with the hose washes down the area around his feet . Manuel lights up like a Christmas tree , screaming in pain . There is a beat , and then Robert falls INTO FRAME , still holding the cigarette lighter , and the car Raul is driving enters the lot and smashes into the side of the garage .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - DAY</stage_direction>
<scene_description>A sign on an office door says `` CONCERT TICKET AGENCY . '' From inside we HEAR someone TALKING loudly on the phone . Chulo , Rick and O'Neill open the door and go inside . On the walls in the cramped office there are rock 'n' roll concert posters advertising rock bands like Men At Work , The Clash and Barry Manilow . Behind a cluttered desk we FIND a little man with a thin mustache and horn - rimmed glasses . This is GARY MELNITZ , wheeler - dealer , entrepreneur and coward . Gary yells a lot , which is a definite overcompensation for his size and inability to deal with the opposite sex .</scene_description>
<character>GARY</character>
<parenthetical>( yelling ; into phone . )</parenthetical>
<dialogue>Screw you. Screw that. Do n't jerk me around. You promised me 1500 seats for the Police Concert. 1500, not fifteen! Screw that. Screw you - Screw Sting.</dialogue>
<parenthetical>( hangs up and sees the guys standing there . )</parenthetical>
<dialogue>Hi, guys.</dialogue>
<character>RICK</character>
<dialogue>Gary, you're quite an animal.</dialogue>
<character>GARY</character>
<dialogue>Screw you.</dialogue>
<scene_description>The PHONE RINGS .</scene_description>
<character>GARY</character>
<parenthetical>( continuing ; into phone . )</parenthetical>
<dialogue>Hello, Concert tickets. What? Pat Benitar has a yeast infection? She's cancelling? Screw her. You know what this is gon na cost me?</dialogue>
<parenthetical>( he hangs up . )</parenthetical>
<dialogue>Okay. Let's go.</dialogue>
<scene_description>He gets up and they start for the door . Just then the PHONE RINGS . Gary picks it up .</scene_description>
<character>GARY</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>Screw you. That's crap. Suck my.</dialogue>
<parenthetical>( softly . )</parenthetical>
<dialogue>Oh, Mom, I did n't know it was you. eggs and milk. Okay, I wo n't forget.</dialogue>
<scene_description>He hangs up the phone and they start for the door again .</scene_description>
<character>GARY</character>
<dialogue>Let's go.</dialogue>
<character>RICK</character>
<dialogue>Is n't he incredible, gets along with everybody.</dialogue>
<character>CHULO</character>
<dialogue>Yeah, he's really got his thing together.</dialogue>
<character>GARY</character>
<dialogue>Oh, eat me!</dialogue>
<scene_description>The guys all laugh and exit .</scene_description>
</scene>
<scene>
<stage_direction>INT. HARBORSIDE INN - DAY</stage_direction>
<scene_description>It 's a quiet restaurant near a Marina . A lot of business - people in suits are eating . TWO MALE CUSTOMERS CUSTOMER ONE calls for a waiter .</scene_description>
<character>CUSTOMER ONE</character>
<dialogue>Waiter.</dialogue>
<scene_description>The WAITER approaches them from OUT OF FRAME .</scene_description>
<character>CUSTOMER ONE</character>
<dialogue>We'd like to order now.</dialogue>
<scene_description>ANOTHER ANGLE We see their waiter , RYKO , a blond , tanned , muscular beach bum who has definitely stayed out in the sun too long .</scene_description>
<character>RYKO</character>
<dialogue>How you guys doin'. Could you believe how overcast it was this morning? Bad day for sailin', waves are too rough and.</dialogue>
<character>CUSTOMER</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>You can skip the small craft warnings. We're in a hurry.</dialogue>
<character>RYKO</character>
<dialogue>No prob, bud. Here's today's dealie.</dialogue>
<scene_description>He holds up a blackboard with the day 's menu .</scene_description>
<character>RYKO</character>
<dialogue>We got. uh, veal. ah. veal.</dialogue>
<parenthetical>( to customer . )</parenthetical>
<dialogue>What's this word?</dialogue>
<character>CUSTOMER ONE</character>
<dialogue>Parmisan.</dialogue>
<character>RYKO</character>
<dialogue>Yeah right. I always want to say Paramisian when I see that. We looked at them under the jigamabob in biology once. Little squirmy, creepy things that live in your intestine and.</dialogue>
<character>CUSTOMER</character>
<dialogue>Please. We have an appointment in a half hour.</dialogue>
<character>RYKO</character>
<dialogue>Wow, sounds stressful. What do you guys do for a living?</dialogue>
<character>CUSTOMER ONE</character>
<dialogue>We're lawyers.</dialogue>
<character>RYKO</character>
<dialogue>Whoa. You got to go to school for that or what?</dialogue>
<character>CUSTOMER</character>
<parenthetical>( he 's had enough . )</parenthetical>
<dialogue>Look, forget the specials. We'll take three hamburgers.</dialogue>
<character>RYKO</character>
<dialogue>Okay, great. Any of you guys got a pencil by any chance?</dialogue>
<scene_description>One of the customers shrugs and hands him a pen .</scene_description>
<character>RYKO</character>
<parenthetical>( impressed . )</parenthetical>
<dialogue>All right, a Bic. How ` bout a piece of paper?</dialogue>
<scene_description>Ryko 's customers look totally disgusted as Ryko 's short attention span is interrupted by something he sees O.S. ANOTHER ANGLE Rick and the guys appear in the bar .</scene_description>
<character>RICK</character>
<dialogue>Ryko. Come on!</dialogue>
<scene_description>They all disappear into the bar area .</scene_description>
<character>RYKO</character>
<dialogue>Be right there.</dialogue>
<parenthetical>( to customers . )</parenthetical>
<dialogue>Nice rappin' with you guys. Unfortunately I'm outta here. Someone else will have to help you.</dialogue>
<parenthetical>( calling off . )</parenthetical>
<dialogue>Skip!</dialogue>
<scene_description>The customers are pleased to get rid of Ryko . SKIP enters . He 's a clone of Ryko .</scene_description>
<character>SKIP</character>
<dialogue>Like um. What's the deal, you guys gon na order?</dialogue>
<scene_description>The customers give each other a `` Here we go again '' look ANGLE - THE GUYS They 're laughing uproariously and carrying on as Ryko comes over and sits down .</scene_description>
<character>RYKO</character>
<dialogue>Hi pals.</dialogue>
<scene_description>The guys acknowledge him .</scene_description>
<character>GARY</character>
<dialogue>Okay. We're all here. Rick, what's the big announcement?</dialogue>
<scene_description>ANGLE - RICK</scene_description>
<character>RICK</character>
<dialogue>All right, gentlemen, I'm not gon na sugar - coat this thing. I've known you guys since grade school, so I'm gon na give it to you straight from the hip. right from the shoulder. without beating around the bush. Nothing fancy, just the plain, hard facts. tell it like it is.</dialogue>
<character>CHULO</character>
<dialogue>Man, you're losing your audience.</dialogue>
<character>RICK</character>
<dialogue>Okay. This is it. I'm getting married.</dialogue>
<character>O'NEILL</character>
<dialogue>What?</dialogue>
<character>CHULO</character>
<dialogue>You're kidding.</dialogue>
<character>GARY</character>
<dialogue>I do n't believe it.</dialogue>
<character>RYKO</character>
<dialogue>Fuck me!</dialogue>
<character>RICK</character>
<dialogue>Yes, gentlemen. Saturday after next, I lose my amateur standing and turn pro.</dialogue>
<character>CHULO</character>
<dialogue>Hey, man, congratulations!</dialogue>
<scene_description>Chulo gets up and gives Rick a big bear hug . The other guys shake his hand .</scene_description>
<character>GARY</character>
<dialogue>Wait a minute. You been living with Debbie! Why do you want to get married?</dialogue>
<character>RICK</character>
<dialogue>Because I love her. What can I tell you?</dialogue>
<character>RYKO</character>
<dialogue>You sure? This means no more partying.</dialogue>
<character>RICK</character>
<dialogue>No more raping and pillaging, either. You'll have to carry on without me.</dialogue>
<character>GARY</character>
<dialogue>Next Saturday. That's just two more weeks to live.</dialogue>
<character>O'NEILL</character>
<dialogue>Hold it. As long as you're gon na go through with this, the least we can do is make sure you go out in style.</dialogue>
<character>CHULO</character>
<parenthetical>( warming to this . )</parenthetical>
<dialogue>Yeah, man. Let's throw a bachelor party with drugs, booze and broads.</dialogue>
<character>O'NEILL</character>
<dialogue>Yeah. Right. All the things that make life worth living.</dialogue>
<character>RICK</character>
<dialogue>Sounds swell. I'm really touched. And my getting married's not gon na change a thing between me and my pals. We're still gon na go bowling on Tuesdays, play cards on Fridays and wear women's clothes on Sunday night. I love you guys. I always will.</dialogue>
<character>GARY</character>
<dialogue>Let's have a toast.</dialogue>
<scene_description>The guys all raise their glasses .</scene_description>
<character>O'NEILL</character>
<dialogue>To Rick.</dialogue>
<character>GARY</character>
<dialogue>To us.</dialogue>
<character>CHULO</character>
<dialogue>To girls with big pairs.</dialogue>
<character>ALL THE GUYS</character>
<dialogue>Yeah, right on, etc..</dialogue>
<scene_description>As they down their drinks , we :</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE JEAN MACHINE - DAY</stage_direction>
<scene_description>We SEE a couple of very contemporary looking 15 - year - olds going into a very `` now '' clothing store - like Fred Segal 's . When the door opens , loud ROCK 'N ROLL MUSIC blasts out .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JEAN MACHINE - DAY</stage_direction>
<scene_description>Inside the store we see all the sales clerks grooving narcissistically to the music like they 're at a disco . The cashier , PHOEBE , has devoted her life to following the current trends and fads no matter how inane they may be . Today she 's in a reggae mode , her hair wound into tight dreadlocks , as she sways lost in the ozone to the music . A CUSTOMER approaches her with a purchase .</scene_description>
<character>CUSTOMER</character>
<dialogue>I'd like to pay for these.</dialogue>
<character>PHOEBE</character>
<dialogue>Huh. What. Oh sure, wait till this song is over.</dialogue>
<scene_description>She floats off again . One of the young MALE CUSTOMERS approaches an attractive salesgirl . This is DEBBIE THOMERSON , Rick 's intended . She seems to be the only sane employee in the place because she 's actually working , putting clothes on the racks . This impression of sanity fits her , as she is level - headed , and has a clear sense of herself . She can also take a joke , thus her engagement to Rick .</scene_description>
<character>CUSTOMER</character>
<dialogue>Excuse me, where can I try on these pants?</dialogue>
<character>DEBBIE</character>
<dialogue>Right over here.</dialogue>
<scene_description>She leads the Customer to the try - on booths . The Customer enters one . We SEE that the saloon - style doors of the booths have been hung too high , so as he takes off his pants , his underwear is exposed to the world . We PULL BACK , REVEALING other people in other booths , their bare asses clearly in sight . No one in the store seems to care , however , as they are much too busy dancing . The front door opens and BOBBIE , a very sultry and earthy - looking girl with long , dark hair , pushes inside . She is O'Neill 's girl and Debbie 's best friend . She 's also someone who would party every night if given half a chance .</scene_description>
<character>BOBBIE</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Debbie. I do n't believe it. I'm so excited.</dialogue>
<character>DEBBIE</character>
<dialogue>Bobbie, what are you talking about?</dialogue>
<character>BOBBIE</character>
<dialogue>O'Neill just tole me. It's sooo great. I do n't believe it.</dialogue>
<scene_description>Phoebe crosses to them .</scene_description>
<character>PHOEBE</character>
<dialogue>What's happening?</dialogue>
<character>BOBBIE</character>
<dialogue>Debbie's marrying Rick.</dialogue>
<character>PHOEBE</character>
<dialogue>Really?</dialogue>
<character>DEBBIE</character>
<dialogue>Yes, it's true.</dialogue>
<character>PHOEBE</character>
<dialogue>Ohmygod.</dialogue>
<scene_description>The girls screech and jump around , hugging each other in sheer joy . A MALE CUSTOMER , moved by this outpouring of affection , moves over and gets in the middle of the girls , enjoying every moment of being hugged by three women at once .</scene_description>
<character>DEBBIE</character>
<parenthetical>( to Customer ; realizing . )</parenthetical>
<dialogue>Would you get out of here.</dialogue>
<scene_description>Reluctantly the guy retreats back to the Calvin Klein jeans rack .</scene_description>
<character>BOBBIE</character>
<dialogue>Does Cole know about this?</dialogue>
<character>PHOEBE</character>
<dialogue>Really - you went with him for two years.</dialogue>
<character>DEBBIE</character>
<dialogue>He still thinks I'm going with him. I'm going to break the news to him tomorrow.</dialogue>
<character>BOBBIE</character>
<dialogue>He's not gon na be happy. And your parents ca n't be too thrilled either.</dialogue>
<character>DEBBIE</character>
<dialogue>No. As far as they're concerned the only good Rick is a dead Rick. But I do n't care. it's my decision.</dialogue>
<character>PHOEBE</character>
<parenthetical>( oblivious . )</parenthetical>
<dialogue>I'm totally blown away. You're getting married. It seems like only yesterday I showed you how to have oral sex.</dialogue>
<character>BOBBIE</character>
<dialogue>Deb, I want to throw you a shower.</dialogue>
<character>DEBBIE</character>
<dialogue>Oh, that's really sweet. I'd love that.</dialogue>
<character>PHOEBE</character>
<dialogue>We'll invite all the girls.</dialogue>
<character>BOBBIE</character>
<dialogue>I do n't believe it. Mrs. Rick Stahl.</dialogue>
<scene_description>The girls all start to scream and carry on all over again .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK AND DEBBIE'S APARTMENT - NIGHT</stage_direction>
<scene_description>Rick is cooking dinner in the cramped combination kitchen / living room . He has about five dishes going at once as he dashes from stove to refrigerator . He grabs some hamburger meat , rolls it into a ball , then slaps it on the counter . He then takes a steam iron and presses it on the patty . Debbie comes in the front door and crosses to him and hugs him tightly , kissing him sweetly .</scene_description>
<character>DEBBIE</character>
<parenthetical>( between kisses . )</parenthetical>
<dialogue>God, you're a slob.</dialogue>
<character>RICK</character>
<dialogue>But a fabulous cook.</dialogue>
<character>DEBBIE</character>
<dialogue>What are we having?</dialogue>
<character>RICK</character>
<dialogue>It's either meatloaf, Swiss steak or charred flesh. I wo n't know till it's finished.</dialogue>
<character>DEBBIE</character>
<parenthetical>( looking at the stove . )</parenthetical>
<dialogue>I think your dinner's burning.</dialogue>
<scene_description>Rick crosses to the stove . A small fire is coming out of one of the frying pans . He douses it with water .</scene_description>
<character>RICK</character>
<dialogue>Do n't worry. it's supposed to do this.</dialogue>
<character>DEBBIE</character>
<parenthetical>( setting the table . )</parenthetical>
<dialogue>Want to hear something great? Bobbie and Phoebe are throwing me a shower. It's really gon na be fun.</dialogue>
<character>RICK</character>
<dialogue>Not as much fun as the bachelor party the guys are throwing for me.</dialogue>
<character>DEBBIE</character>
<dialogue>You're going to have a bachelor party?</dialogue>
<character>RICK</character>
<dialogue>Of course. I'm a traditional guy. It's a traditional event.</dialogue>
<parenthetical>( he brings all the food to the table . )</parenthetical>
<dialogue>Well, what do you think?</dialogue>
<character>DEBBIE</character>
<dialogue>It looks awful.</dialogue>
<character>RICK</character>
<dialogue>Yes, but looks are deceiving.</dialogue>
<parenthetical>( takes a bite . )</parenthetical>
<dialogue>Not in this case, however.</dialogue>
<character>DEBBIE</character>
<dialogue>Are you going to have women at your party?</dialogue>
<character>RICK</character>
<dialogue>No, sweetheart, it's a stag party. Does stay home.</dialogue>
<character>DEBBIE</character>
<dialogue>I'm not talking about does. I'm talking about hookers.</dialogue>
<character>RICK</character>
<dialogue>Oh, those. Why do you ask?</dialogue>
<character>DEBBIE</character>
<dialogue>Because from what I've heard, it's a tradition and you're a traditional guy.</dialogue>
<scene_description>Rick grabs her ; starts kissing her passionately on the neck .</scene_description>
<character>RICK</character>
<dialogue>Deb, you is my woman now. I is yo man. No painted lady ever gon na come between us.</dialogue>
<character>DEB</character>
<dialogue>I need you to promise.</dialogue>
<character>RICK</character>
<dialogue>Okay, you got it. I got a way we can seal the deal - what'd you say?</dialogue>
<scene_description>He grabs her . They kiss and slide down onto the table , knocking the dishes to the floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEL AIR-TYPE ESTATE - DAY</stage_direction>
<scene_description>Through the iron gates of an impressive - looking estate comes Debbie in her convertible VW Rabbit . She pulls up behind a new Porsche 911 and a Jeep , all decked out with rifles , nets and other hunting equipment . As she walks down the path toward the house , she sees something off in the distance that startles her . DEBBIE 'S POV A large brown grizzly bear appears to be entering the side door of the house . ANGLE - DEBBIE</scene_description>
<character>DEBBIE</character>
<parenthetical>( calling O.S . )</parenthetical>
<dialogue>Cole? Cole!</dialogue>
<scene_description>DEBBIE 'S POV The `` Bear '' turns around . We SEE that the bear is , in fact , dead . It is being carried by a tall , handsome HUNTER . He waves to Debbie and indicates for her to follow him inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S SMOKEHOUSE - DAY</stage_direction>
<scene_description>Debbie opens a rustic - looking door and peers in .</scene_description>
<character>DEBBIE</character>
<dialogue>Cole?</dialogue>
<character>COLE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Over here, Deb. in the Smokehouse.</dialogue>
<scene_description>CAMERA PANS WITH Debbie as she enters the room . She passes several trophies , guns and stuffed animal heads hanging from the wall . She makes her way past some sections of an undetermined animal 's anatomy hanging from hooks suspended from the ceiling . Finally we see COLE WHITTIER , a Steve Garvey look - alike . rugged all - American , and heir to the Whittier Plastic Wrap fortune . Despite his jockish good looks and outward arrogance , there 's something in his manner that is definitely unsavory . As Debbie approaches him we SEE that he is butchering some unfortunate friend of the forest on the table in front of him . -LRB- NOTE : For the squeamish , all of this is done OUT OF FRAME . The only thing we should HEAR are the delightful SOUNDS of TAXIDERMY . -RRB-</scene_description>
<character>COLE</character>
<dialogue>Hi, Deb. Just got back from the mountains.</dialogue>
<parenthetical>( as he cuts in with a surgeon 's skill . )</parenthetical>
<dialogue>Is n't this a beauty? It's gon na look great in the den.</dialogue>
<scene_description>Debbie tries her best not to look down at what he 's doing .</scene_description>
<character>DEBBIE</character>
<dialogue>Cole, we've got to talk.</dialogue>
<character>COLE</character>
<dialogue>Finally realized Rick's a jerk, huh?</dialogue>
<character>DEBBIE</character>
<dialogue>No, Cole, I.</dialogue>
<character>COLE</character>
<parenthetical>( lifting an organ of some sort O.S . )</parenthetical>
<dialogue>It's all right, I forgive you. I'm not the vengeful type. We'll forget what happened. Why do n't we take a trip together? Maybe kill a few lions in Kenya over Christmas.</dialogue>
<character>DEBBIE</character>
<dialogue>Cole, listen to me. I've got to tell you.</dialogue>
<character>COLE</character>
<dialogue>You know, when you dumped me for that wimp, I thought, Cole, she'll be back. God wants the two of you to be together, and sure enough.</dialogue>
<character>DEBBIE</character>
<dialogue>Cole, I'm marrying Rick.</dialogue>
<character>COLE</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>You're marrying him? Then why are you coming back to me?</dialogue>
<character>DEBBIE</character>
<dialogue>I'm not. I just thought I should tell you myself before you heard it somewhere else.</dialogue>
<scene_description>Cole stops what he is doing for a beat and just stares at Debbie intensely . Then he returns to his work with a renewed enthusiasm , chopping , slashing and slicing .</scene_description>
<character>COLE</character>
<dialogue>You know how that makes me feel, Deb? Wanta know how that makes me feel?</dialogue>
<parenthetical>( softly . )</parenthetical>
<dialogue>Angry, Deb.</dialogue>
<parenthetical>( a little louder . )</parenthetical>
<dialogue>Yesss, that's the word, angry. But if he makes you happy, you go right ahead. I want you to be happy, Deb.</dialogue>
<parenthetical>( a little nuts . )</parenthetical>
<dialogue>No matter what, no matter how angry it makes me, no matter how much it hurts. Be happy, Deb. Be oh, so very, very happy.</dialogue>
<character>DEBBIE</character>
<dialogue>Cole, I'm sorry, I.</dialogue>
<character>COLE</character>
<dialogue>That's all right, Deb. Go be happy and smile a lot, Deb. Do it for me.</dialogue>
<character>DEBBIE</character>
<parenthetical>( uncomfortable . )</parenthetical>
<dialogue>I'm going now, Cole.</dialogue>
<character>COLE</character>
<dialogue>I understand, Deb. ` Bye. be happy.</dialogue>
<scene_description>Debbie exits and we PUSH IN ON Cole . Something on his face says , `` Hi ! I 'm really out of my mind . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. STAN STAHL'S OFFICE - DAY</stage_direction>
<scene_description>DR. STAN is Rick 's older brother and a proctologist . Although he 's only in his early thirties , he thinks and acts like someone in their early 70 's . A little on the pompous side , Stan is never without his pipe .</scene_description>
<character>STAN</character>
<dialogue>Okay, Rick, hold out your arm.</dialogue>
<scene_description>He crosses to a sterile container and takes out a syringe .</scene_description>
<character>RICK</character>
<dialogue>You would n't hurt your own brother, would you?</dialogue>
<parenthetical>( looking at the needle cautiously . )</parenthetical>
<dialogue>I changed my mind. I do n't need a blood test. The marriage is off. I -</dialogue>
<scene_description>Just then , Stan sticks the needle in his arm .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You always were sneaky, Stan, very sneaky.</dialogue>
<character>STAN</character>
<dialogue>Rick, marriage will be good for you. It's done wonders for me.</dialogue>
<character>RICK</character>
<dialogue>True, you're a lot handsomer now. Do n't you have enough blood already?</dialogue>
<character>STAN</character>
<parenthetical>( without much conviction . )</parenthetical>
<dialogue>You wo n't miss a thing about being single. The wild parties, the different girls every night, running around like a maniac. God, I miss that.</dialogue>
<character>RICK</character>
<dialogue>Stan, you're depressing me. Hey, I did n't know you were going to fill ` er up. Just take a couple of gallons, okay?</dialogue>
<scene_description>Stan removes the needle and hands Rick a cotton ball .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>That's an even trade. a cotton ball for all my blood.</dialogue>
<character>STAN</character>
<parenthetical>( returning to this world . )</parenthetical>
<dialogue>Okay, Rick, all finished. I ca n't wait for that bachelor party. I need the action.</dialogue>
<scene_description>CAMERA FOLLOWS them as they go out into the hall .</scene_description>
<character>STAN</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Do n't say anything to my wife about it.</dialogue>
<scene_description>They pass an open examining room . Stan 's wife , TINA , is also a doctor and is examining an old man . She 's not as tiny as her name suggests . In face , she 's more like over - sized .</scene_description>
<character>RICK</character>
<dialogue>Hi, Tina.</dialogue>
<scene_description>Rick moves to hug her and he notices that Tina has her finger up the old guy 's ass .</scene_description>
<character>TINA</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>Rick.</dialogue>
<parenthetical>( to PATIENT . )</parenthetical>
<dialogue>Mr. Goldsmith, this is my brother - in - law. He's getting married.</dialogue>
<character>PATIENT</character>
<parenthetical>( without turning around . )</parenthetical>
<dialogue>Congratulations.</dialogue>
<scene_description>Tina turns to a NURSE .</scene_description>
<character>TINA</character>
<dialogue>Nurse, will you take over?</dialogue>
<scene_description>The nurse shrugs and sticks her finger up the patient 's rear end as Tina hugs Rick .</scene_description>
<character>TINA</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I'm so happy for you.</dialogue>
<scene_description>Rick hugs her , uneasily trying to make sure her right hand does n't come anywhere near his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEBBIE'S PARENTS' HOUSE - BACKYARD - DAY</stage_direction>
<scene_description>Debbie and Rick and her MOM and DAD are having a frustrating game of tennis behind her parents ' plush home . Mr. Thomerson is a stockily - built guy in his fifties who prides himself on being tough and competitive . His wife loves to shop . As far as she 's concerned , appearances are everything . Neither of them likes Rick 's appearance or anything else about their future son - in - law . Mr. Thomerson slams the ball to Rick ; Rick slams the ball back and drives it over the fence , out of the court .</scene_description>
<character>RICK</character>
<dialogue>Oops!</dialogue>
<character>MR. THOMERSON</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>All right, who serves?</dialogue>
<character>DEBBIE</character>
<dialogue>You do, Daddy.</dialogue>
<scene_description>Mr. Thomerson serves the ball to Debbie , who hits it over the net to her mother , who hits it to Rick , who slams it over the fence , out of the court . Mr. Thomerson does not look pleased .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>Rick, hit the ball easier, son. You do n't have to kill it.</dialogue>
<character>RICK</character>
<dialogue>Ca n't I just maim it a little?</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>Er. perhaps we ought to stop now.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>No. Let's at least finish the set.</dialogue>
<scene_description>Rick starts humming the `` ABC Wide World of Sports '' theme loudly . Mr. T. gives him a disgusted look and serves the ball . Rick smashes the ball and sends it over the fence , out of the court .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE THOMERSON'S NEIGHBORS' BACKYARD - DAY</stage_direction>
<scene_description>A middle - aged COUPLE are sitting on some lawn furniture trying to read the newspaper . A tennis ball comes down from the sky and hits the guy squarely on the top of the head . PULL OUT to REVEAL that they 're surrounded by dozens of tennis balls .</scene_description>
<character>MAN</character>
<dialogue>One of these days I'm gon na burn Thomerson's court to the ground.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE THOMERSON'S - MEDIUM SHOT - DAY</stage_direction>
<scene_description>Rick and Mr. Thomerson are having a heart to heart chat over some lemonade in front of the tennis court .</scene_description>
<character>RICK</character>
<dialogue>Well, I have to admit my game's a little rusty, but I love polo. It's unrelenting, a constant challenge to the senses. Really a beautiful experience.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Rick, I want to cut through the b.s.</dialogue>
<character>RICK</character>
<dialogue>I'd love that.</dialogue>
<character>MR. THOMERSON</character>
<parenthetical>( sitting on his anger . )</parenthetical>
<dialogue>Good. I think you're an asshole. No, let me correct that, an immature asshole. Which is fine, except you're marrying my daughter and I'm afraid my grandchildren are going to be little assholes.</dialogue>
<character>RICK</character>
<dialogue>Mr. Thomerson, I.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Let me finish. Debbie's an adult. She can do what she wants. But if you want your marriage to last, you're going to have to change some things about yourself. If I may make some suggestions.</dialogue>
<character>RICK</character>
<dialogue>Feel free.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>First, you're a slob. You have to dress for success. Second, your outlook on life.</dialogue>
<scene_description>As Mr. Thomerson drones on , Rick shifts uncomfortably in his chair , focusing his attention on Debbie , her mother and her older , cynical cousin , ILENE , who are sitting nearby on the rear patio . ANGLE - DEBBIE , MRS. THOMERSON AND ILENE</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>I'm using the same caterer for the shower I had for our Christmas party last year.</dialogue>
<character>DEBBIE</character>
<dialogue>Great, Mom.</dialogue>
<character>ILENE</character>
<dialogue>If I were you, I'd worry less about the shower and more about Rick's bachelor party.</dialogue>
<character>DEBBIE</character>
<dialogue>Ilene, why would I want to do that? I trust Rick.</dialogue>
<character>ILENE</character>
<dialogue>Of course you do. I trusted my ex, Mel, too. Cousin, I can only talk from experience. What do you think they do at these parties, have tea and play scrabble?</dialogue>
<character>DEBBIE</character>
<dialogue>Ilene, Rick promised.</dialogue>
<character>ILENE</character>
<dialogue>Debbie, do n't be naive. Men are pigs.</dialogue>
<character>MRS. THOMERSON</character>
<parenthetical>( trying to change the subject . )</parenthetical>
<dialogue>Girls, why do n't we go inside for lunch.</dialogue>
<parenthetical>( calling to Mr. T. ) Boys , would you mind bringing in that lemonade ?</parenthetical>
<dialogue />
<scene_description>ANGLE - MR. THOMERSON AND RICK</scene_description>
<character>MR. THOMERSON</character>
<dialogue>In a second.</dialogue>
<parenthetical>( to Rick . )</parenthetical>
<dialogue>And you're irresponsible. Show some initiative, try to better yourself, stop showing off, actions speak louder than words.</dialogue>
<character>RICK</character>
<dialogue>Well, sir, that's quite a list. But you're absolutely right. And if I work hard at it, I think I can be a totally changed person by the time we finish lunch.</dialogue>
<scene_description>Mr. Thomerson rolls his eyes , knowing he 's been wasting his breath . He grabs the pitcher of lemonade and Rick grabs the tray , which is filled with fresh lemons . They get up at the same time and collide , sending the lemonade all over Mr. T. , and the lemons bounding over the fence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THOMERSON'S NEIGHBORS' HOUSE</stage_direction>
<scene_description>The Neighbor we saw before is reading his paper when an avalanche of lemons comes flying at him , joining the tennis balls on the lawn .</scene_description>
<character>NEIGHBOR</character>
<dialogue>I hate those people. I really do.</dialogue>
</scene>
<scene>
<stage_direction>INT. THOMERSON HOUSE - DAY</stage_direction>
<scene_description>The Thomersons , Rick , Debbie and Ilene are just finishing lunch . The DOORBELL RINGS . Mr. Thomerson gets up to answer it . Standing there is Cole , wearing his tennis shorts .</scene_description>
<character>COLE</character>
<dialogue>Hi, everybody. Am I late?</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Not at all. We're just finishing lunch.</dialogue>
<scene_description>Cole crosses to the table and kisses Mrs. T 's hand gallantly .</scene_description>
<character>COLE</character>
<dialogue>Good to see you, Mrs. Thomerson. Hello, Debbie.</dialogue>
<scene_description>He turns to Rick .</scene_description>
<character>COLE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And.</dialogue>
<character>RICK</character>
<dialogue>Bond. James Bond.</dialogue>
<scene_description>Cole gives him a quick look of contempt and exits with Mr. T.</scene_description>
<character>MR. THOMERSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>So, Cole, you been practicing your game?</dialogue>
<character>COLE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Sure have.</dialogue>
<character>DEBBIE</character>
<dialogue>Why is Cole here?</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>You know your father enjoys his company.</dialogue>
<character>RICK</character>
<dialogue>Much the way Hitler enjoyed hanging out with Mussolini.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THOMERSON TENNIS COURT - DAY</stage_direction>
<scene_description>Mr. T. and Cole are having a fast - paced game .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>Nice shot.</dialogue>
<character>COLE</character>
<dialogue>Thank you, sir.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>I know you're as unhappy as I am about Debbie's marriage to Rick.</dialogue>
<character>COLE</character>
<dialogue>Yes, sir, I am.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Cole, I do n't want you to give up on her.</dialogue>
<character>COLE</character>
<dialogue>I've tried to change her mind.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>It's not her mind you need to change. It's Disneyland head in there.</dialogue>
<character>COLE</character>
<dialogue>But how can I do that?</dialogue>
<character>MR. THOMERSON</character>
<dialogue>If it were me, I'd reason with him first. Then, if that failed.</dialogue>
<parenthetical>( with malice . )</parenthetical>
<dialogue>. I'd take more persuasive action.</dialogue>
<scene_description>Mr. T. drills a wicked forehand shot straight at Cole , who swings at it and misses .</scene_description>
<character>COLE</character>
<parenthetical>( conspiratorily . )</parenthetical>
<dialogue>Thanks for the advise, sir.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Keep me informed.</dialogue>
<scene_description>PUSH IN ON Cole . This is a man with a plan .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK ON A BLUFF - DAY</stage_direction>
<scene_description>The bluff overlooks the ocean . It 's a beautiful spot . Just the right setting for an outdoor wedding . Some folding chairs have been set up and a canvas canopy . Gathered for the rehearsal are Gary , Ryko , Chulo , O'Neill who is with Bobbie , Debbie 's mother and Mr. Thomerson , Phoebe , Ilene , Tina , Stan , a gray - haired priest . FATHER FALWELL and , of course , Rick and Debbie . Everyone is admiring this picturesque setting . Everyone but Mr. Thomerson . He 's very underjoyed at the sight of Rick and his friends . Mr. and Mrs. Thomerson are standing with Father Falwell . They are watching Rick holding Debbie .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>The thought of that person marrying my daughter makes me want to upchuck.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>You can tell a man by his friends.</dialogue>
<character>FATHER FALWELL</character>
<dialogue>They're not such a bad bunch.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>No?</dialogue>
<parenthetical>( he points off . )</parenthetical>
<dialogue>That's his best man peeing on a tree.</dialogue>
<scene_description>ANOTHER ANGLE In the b.g. we SEE O'Neill 's back TO US . He is definitely relieving himself on a weeping willow . The wind begins to pick up .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>If everyone would take their positions.</dialogue>
<scene_description>Everyone takes their places for the wedding procession . The wind now takes this time to blow with much greater force . As Father Falwell opens his Bible , the wind rips the pages out of the Holy Book . They blow to the four corners of the Earth .</scene_description>
<character>FATHER FALWELL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Oh, dear. Well, let's begin. And.</dialogue>
<scene_description>He hums the Wedding March . Chulo hums along . His humming is a driving Jimi Hendrix - like guitar lick that all but drowns out Father 's humming . FATHER FALWELL He 's orchestrating the proceedings .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>Flower Girls. Now Rick.</dialogue>
<parenthetical>( he gestures for him to start down the aisle . )</parenthetical>
<dialogue>Good. Debbie and Mr. Thomerson.</dialogue>
<scene_description>As he gestures for them to make their walk to him , a gust of wind lifts up Father 's cassock , exposing his bare ass . He quickly grabs his cassock and covers himself . RICK He begins to walk toward the priest . Suddenly , out of nowhere , Cole appears at his side .</scene_description>
<character>RICK</character>
<dialogue>Cole. Do n't you know it's bad luck to see the groom before the wedding?</dialogue>
<character>COLE</character>
<dialogue>I want Debbie.</dialogue>
<character>RICK</character>
<dialogue>Cole.</dialogue>
<character>COLE</character>
<dialogue>You dump her and I'll give you cash.</dialogue>
<character>RICK</character>
<dialogue>What's Debbie's blue book value right now?</dialogue>
<character>COLE</character>
<dialogue>Five thousand dollars.</dialogue>
<character>RICK</character>
<dialogue>No.</dialogue>
<scene_description>They are now standing near Father Falwell . Debbie is approaching them with Mr. Thomerson . Mr. T. shoots Cole a signal to up the ante .</scene_description>
<character>COLE</character>
<dialogue>Seventy - five hundred.</dialogue>
<character>RICK</character>
<dialogue>Not interested.</dialogue>
<character>COLE</character>
<dialogue>Okay, ten thousand plus a G.E. toaster oven, a Litton microwave, a Cuisinart.</dialogue>
<character>RICK</character>
<dialogue>I'm marrying Debbie.</dialogue>
<character>COLE</character>
<dialogue>Michelin tires. brand new. A set of Sears Best metric tools.</dialogue>
<character>RICK</character>
<parenthetical>( to O'Neill . )</parenthetical>
<dialogue>What is this person's story here?</dialogue>
<character>O'NEILL</character>
<dialogue>The way I see it, the big lug is in love and he's got a lot of major appliances lying around.</dialogue>
<scene_description>Debbie and Mr. T. have joined Rick .</scene_description>
<character>DEBBIE</character>
<dialogue>Cole, what are you doing here?</dialogue>
<character>MR. THOMERSON</character>
<dialogue>He's just trying to save you from making a mistake.</dialogue>
<parenthetical>( to Rick . )</parenthetical>
<dialogue>A big mistake.</dialogue>
<character>RICK</character>
<dialogue>Thanks, Dad.</dialogue>
<parenthetical>( to Cole . )</parenthetical>
<dialogue>Cole, go away.</dialogue>
<character>COLE</character>
<dialogue>He's gon na hurt you, Debbie. He'll never be true to you the way I would.</dialogue>
<character>RICK</character>
<dialogue>Thank you. We'll all keep that in mind. ` Bye now.</dialogue>
<scene_description>Cole turns red with anger .</scene_description>
<character>COLE</character>
<parenthetical>( pissed . )</parenthetical>
<dialogue>Rick, me and you are n't through yet.</dialogue>
<scene_description>He runs off .</scene_description>
<character>RICK</character>
<parenthetical>( a la talk show host . )</parenthetical>
<dialogue>Ladies and gentlemen, Cole Whittier. Let's hear it for him - a funny, funny guy. We love ya, babe.</dialogue>
<scene_description>The wind suddenly picks up . A storm is coming in off the sea . Father Falwell 's cassock blows up again . It starts to rain and hail . Everyone runs for cover but Rick and O'Neill .</scene_description>
<character>RICK</character>
<parenthetical>( to O'Neill . )</parenthetical>
<dialogue>You think the gods are telling me something?</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK AND DEBBIE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Rick is snuggled cozily on his side of the bed , fast asleep . Debbie is staring anxiously at the ceiling . After a couple of beats , she tugs at Rick 's shoulder .</scene_description>
<character>RICK</character>
<parenthetical>( drowsy . )</parenthetical>
<dialogue>Huh? Wha.</dialogue>
<character>DEBBIE</character>
<dialogue>I ca n't sleep.</dialogue>
<character>RICK</character>
<dialogue>Oh. I got something for that.</dialogue>
<scene_description>He groggily reaches into the nightstand , pulls out a hammer . He raises it as if to hit Debbie over the head .</scene_description>
<character>DEBBIE</character>
<dialogue>Stop fooling around. I need to talk.</dialogue>
<character>RICK</character>
<dialogue>What's the matter?</dialogue>
<character>DEBBIE</character>
<dialogue>I do n't know. I just feel scared.</dialogue>
<character>RICK</character>
<parenthetical>( he sits up . )</parenthetical>
<dialogue>About what?</dialogue>
<character>DEBBIE</character>
<dialogue>The wedding, my parents, your family, our friends, my job, the future, our relationship, the caterers, my gown, your tuxedo, our honeymoon, the apartment, my shower, your bachelor party.</dialogue>
<character>RICK</character>
<dialogue>I think the only think you've left out are our relations with the Soviet Union. Sweetheart, everything's gon na be all right.</dialogue>
<character>DEBBIE</character>
<dialogue>Before or After I have my nervous breakfown?</dialogue>
<character>RICK</character>
<dialogue>C'mere.</dialogue>
<scene_description>He starts to gently rub her shoulders . She breathes deeply , trying to let go .</scene_description>
<character>DEBBIE</character>
<dialogue>That feels so great.</dialogue>
<character>RICK</character>
<dialogue>Good.</dialogue>
<character>DEBBIE</character>
<dialogue>Um. that's very relaxing.</dialogue>
<character>RICK</character>
<dialogue>Now, I want you to lie down and drift off to slumberland.</dialogue>
<scene_description>He slowly lowers her to her pillow and tucks the covers in around her .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Close your eyes. that's it. There's nothing to worry about. I love you. I'm a great guy.</dialogue>
<parenthetical>( yawning . )</parenthetical>
<dialogue>In two days you're gon na be Mrs. Great Guy.</dialogue>
<scene_description>He yawns again and turns off the light on the night table . There is a beat of silence in the dark . We PUSH IN ON their faces , which are faintly illuminated by a street light outside the open window . Both of them have their eyes wide open as they stare at the ceiling in fearful anticipation of the next day .</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPORT - DAY</stage_direction>
<scene_description>The guys -LRB- except Gary -RRB- are walking through the busy airport .</scene_description>
<character>RYKO</character>
<dialogue>You sure Gary's got this whole party deal together?</dialogue>
<character>CHULO</character>
<dialogue>Yeah, man, he's got us a great room at the hotel and lots of chicks.</dialogue>
<character>RYKO</character>
<dialogue>I hope so. Hundred bucks apiece is a lot of dinero.</dialogue>
<character>CHULO</character>
<dialogue>What time are we supposed to get to the hotel?</dialogue>
<character>O'NEILL</character>
<dialogue>Do n't worry, Chulo, the party's not gon na start without you. We got plenty of time.</dialogue>
<character>STAN</character>
<dialogue>I ca n't wait to see old Larry. It's been five years.</dialogue>
<character>RICK</character>
<dialogue>At least.</dialogue>
<scene_description>ANGLE - THE EXIT RAMP People are streaming out of the plane . Finally the last person exits .</scene_description>
<character>O'NEILL</character>
<dialogue>Where the hell is he?</dialogue>
<character>RICK</character>
<dialogue>Knowing Larry, he probably missed the flight.</dialogue>
<character>STAN</character>
<dialogue>There he is. Hey, Larry!</dialogue>
<character>LARRY</character>
<parenthetical>( talking very slowly . )</parenthetical>
<dialogue>Guys. guys. guys.</dialogue>
<character>RICK</character>
<dialogue>` Ludes. ` ludes. ` ludes.</dialogue>
<scene_description>Larry floats toward them and stops in front of them . He stares at them strangely , looking from face to face .</scene_description>
<character>LARRY</character>
<dialogue>God, I love you guys.</dialogue>
<scene_description>To the guys ' surprise , he goes around hugging each one of them .</scene_description>
<character>LARRY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>This makes me so happy.</dialogue>
<scene_description>They start walking toward the baggage claim area .</scene_description>
<character>O'NEILL</character>
<dialogue>So, Larry, how have you been?</dialogue>
<character>LARRY</character>
<dialogue>Just in love with everybody. It's really a beautiful planet. I love you, Rick. I love you guys. I love everybody.</dialogue>
<character>RICK</character>
<dialogue>So how's your wife?</dialogue>
<scene_description>Larry stops walking and immediately breaks down .</scene_description>
<character>LARRY</character>
<dialogue>I hate her. I hate her guts, the bitch.</dialogue>
<character>O'NEILL</character>
<dialogue>Larry, you and your wife got problems?</dialogue>
<character>LARRY</character>
<dialogue>I do n't want to talk about it. I love you guys. I love my friends.</dialogue>
<scene_description>Larry reaches into his pocket , takes out a Quaalude .</scene_description>
<character>LARRY</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You want to share it?</dialogue>
<character>RICK</character>
<dialogue>Naw, two on a Quaalude. bad luck.</dialogue>
<character>LARRY</character>
<dialogue>Right.</dialogue>
<scene_description>He pops it in his mouth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TERMINAL</stage_direction>
<scene_description>The guys exit the Baggage Area . Rick is pushing Larry who is sprawled out on top of his bags in a luggage cart .</scene_description>
<character>LARRY</character>
<dialogue>My marriage is the worst. All crap. A big pile of shit.</dialogue>
<character>RICK</character>
<dialogue>Maybe your marriage should lay off grains for a while.</dialogue>
<character>LARRY</character>
<dialogue>She hates me. It's over. You'll see, as soon as you get married, everything changes. You sure you want to go through with it, man?</dialogue>
<character>RICK</character>
<parenthetical>( his interest peaked . )</parenthetical>
<dialogue>What do you mean, it changes?</dialogue>
<scene_description>Before Larry can answer they reach the bus where Debbie is waiting for them .</scene_description>
<character>DEBBIE</character>
<parenthetical>( hugging Larry . )</parenthetical>
<dialogue>Larry, how are you?</dialogue>
<character>LARRY</character>
<dialogue>Hi, Debbie, congratulations. Hey, do you know where there's a pharmacy around here so I can get a prescription filled?</dialogue>
<character>RICK</character>
<dialogue>Come on, get him on the bus.</dialogue>
<scene_description>As a couple of the guys pick Larry up and carry him into the bus we</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS - DUSK</stage_direction>
<scene_description>Rick is driving the bus with Debbie sitting next to him in the driver 's seat . The guys sit in the row of seats behind them .</scene_description>
<character>RICK</character>
<dialogue>Well. twenty - four more hours to go and tonight we'll share with our friends and loved ones the joys of those last moments of singleness.</dialogue>
<character>DEBBIE</character>
<dialogue>You better not have too much joy.</dialogue>
<character>RICK</character>
<dialogue>Would n't think of it. Because tomorrow.</dialogue>
<parenthetical>( starts singing . )</parenthetical>
<dialogue>We're going to the chapel and we're.</dialogue>
<character>DEBBIE</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Gon na get married.</dialogue>
<scene_description>ANGLE - THE GUYS They start to join in the song in a little less than perfect harmony .</scene_description>
<character>EVERYBODY</character>
<dialogue>Going to the chapel and we're gon na get married.</dialogue>
<character>DEBBIE</character>
<dialogue>Gee, I really love you.</dialogue>
<character>RICK</character>
<dialogue>And we're gon na get ma - a - a - ried.</dialogue>
<character>EVERYBODY</character>
<parenthetical>( whooping it up . )</parenthetical>
<dialogue>Going to the chapel of love.</dialogue>
<character>RICK</character>
<dialogue>Yeah, yeah, oh, yeah.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUS</stage_direction>
<scene_description>The bus zooms down the street .</scene_description>
<character>EVERYBODY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Going to the chapel of love.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THOMERSON'S - DUSK</stage_direction>
<scene_description>Rick 's bus comes up to the driveway in front of the house and stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S BUS - DUSK</stage_direction>
<character>RICK</character>
<dialogue>This is it, lady. Last stop.</dialogue>
<character>DEBBIE</character>
<dialogue>Ca n't I just go with you guys?</dialogue>
<character>RICK</character>
<dialogue>Sorry, we got men's business to do. It's no place for a lady.</dialogue>
<scene_description>He opens the door , picks Debbie up and carries her out to the sidewalk .</scene_description>
<character>DEBBIE</character>
<dialogue>Remember, you promised. no screwing around.</dialogue>
<character>RICK</character>
<dialogue>Did I promise that? I do n't remember that.</dialogue>
<character>DEBBIE</character>
<dialogue>You're really pissing me off.</dialogue>
<scene_description>She grabs Rick and wraps her arm around him in a playful headlock .</scene_description>
<character>RICK</character>
<dialogue>Okay, I promise. I swear on my mother's grave.</dialogue>
<character>DEBBIE</character>
<dialogue>Your mother's not dead.</dialogue>
<character>RICK</character>
<dialogue>Well, if I go back on my word, I'll kill her.</dialogue>
<scene_description>Debbie lets go of his neck .</scene_description>
<character>DEBBIE</character>
<dialogue>Have a good time. Do n't make it too late.</dialogue>
<character>RICK</character>
<dialogue>Anything you say, ma'am. Have a fun shower. Use soap.</dialogue>
<character>DEBBIE</character>
<dialogue>I love you.</dialogue>
<scene_description>They kiss , and the guys whistle in the background . Then Debbie starts toward the house and Rick hops back into the bus . He gets into the seat and sits there for a moment , watching Debbie with a guilty look as she goes into the house .</scene_description>
<character>O'NEILL</character>
<parenthetical>( to Rick . )</parenthetical>
<dialogue>What's the matter?</dialogue>
<character>RICK</character>
<parenthetical>( snapping out of it . )</parenthetical>
<dialogue>Nothing. Let's get crazy!</dialogue>
<character>RYKO</character>
<dialogue>All right!</dialogue>
<character>CHULO</character>
<dialogue>When do the girls get to the party?</dialogue>
<character>O'NEILL</character>
<dialogue>Do n't worry, Gary's taking care of that now.</dialogue>
<scene_description>The guys holler and whoop it up as Rick puts the bus in gear and takes off down the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. GRIMY STREET CORNER - EVENING</stage_direction>
<scene_description>JUMBO , a well - dressed behemoth in a sky blue suit and widebrimmed hat , is standing on a street corner talking to Gary .</scene_description>
<character>GARY</character>
<dialogue>So we want your best girls, the cream of your crop.</dialogue>
<character>JUMBO</character>
<dialogue>Let's see your bread.</dialogue>
<scene_description>Gary takes out a roll of bills , which Jumbo grabs and quickly counts .</scene_description>
<character>JUMBO</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Okay, I got just what you're looking for.</dialogue>
<parenthetical>( calling off . )</parenthetical>
<dialogue>Margot. Darlene.</dialogue>
<scene_description>Two shapely HOOKERS in tight - fitting clothes come up to them .</scene_description>
<character>GARY</character>
<dialogue>They'll do just fine. Hiya, girls. Look, after the orgy, maybe we could have coffee.</dialogue>
<scene_description>The girls look at him with `` Is he for real ? '' in their eyes .</scene_description>
<character>JUMBO</character>
<dialogue>Shorty, where's the party?</dialogue>
<scene_description>Gary takes some slips of paper out of his pocket and hands Jumbo one .</scene_description>
<character>GARY</character>
<dialogue>Park View Hotel, Room 1002.</dialogue>
<character>JUMBO</character>
<dialogue>They'll be up there in a half hour.</dialogue>
<character>GARY</character>
<dialogue>Okay. Nice to meet you both.</dialogue>
<scene_description>Gary turns , almost collides with a garbage can , and starts walking down the street . He passes a parked Porsche . After a beat , Cole Whittier sticks his head up and watches Gary walk off . Then he hops out of his car and approaches Jumbo and the girls .</scene_description>
<character>COLE</character>
<dialogue>Hi. I must have just missed my friend. He hired you for a bachelor party.</dialogue>
<character>JUMBO</character>
<dialogue>At the Park View Hotel, Room 1002. What about it.</dialogue>
<scene_description>Cole 's face lights up . This is the information he needed .</scene_description>
<character>COLE</character>
<dialogue>Yeah. Right.</dialogue>
<parenthetical>( takes out piece of paper . )</parenthetical>
<dialogue>This is the new address. We changed our minds and decided to send the girls over to his house instead.</dialogue>
<scene_description>He takes out a fifty - dollar bill .</scene_description>
<character>COLE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And here's a fifty. I want this to be a surprise, so you never saw me, okay?</dialogue>
<character>JUMBO</character>
<parenthetical>( pocketing the money . )</parenthetical>
<dialogue>No problem.</dialogue>
<scene_description>Cole smiles happily as he slithers back to his car .</scene_description>
<character>COLE</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Now she'll see what kind of jackoff he is.</dialogue>
<scene_description>ANGLE - HOTEL A parking VALET crosses to the bus as Rick hands him the keys .</scene_description>
<character>RICK</character>
<dialogue>Be careful with it. It's a rental.</dialogue>
<scene_description>The guys hop out with the enthusiasm of a home team that 's just won the state championship . They race in the front door . A banner over the door reads : `` WELCOME MISS MOOSEHEAD BEER PAGEANT . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction>
<scene_description>This is a pretty plush place . The kind of hotel that prides itself on its classy image . The guys are totally unaware of the sedate atmosphere in the lobby as they go screaming toward the elevators .</scene_description>
<character>O'NEILL</character>
<parenthetical>( to some dignified guests . )</parenthetical>
<dialogue>We who are about to go ape shit salute you.</dialogue>
<character>RYKO</character>
<dialogue>All right, I'm stoked!</dialogue>
<scene_description>Just as they are about to get into the elevator , a hand comes INTO FRAME and holds the door so it will not close . WIDEN TO INCLUDE the MANAGER . All their carrying - on stops when the guys see him staring grimly at them . If he was n't a hotel manager , he 'd be a mortician . He has a constant expression on his face that suggests he 's constantly sucking lemons .</scene_description>
<character>MANAGER</character>
<dialogue>Just where do you guys think you are?</dialogue>
<character>O'NEILL</character>
<dialogue>The Library of Congress?</dialogue>
<character>CHULO</character>
<dialogue>Detroit?</dialogue>
<character>LARRY</character>
<dialogue>Beyond the sun?</dialogue>
<character>RICK</character>
<dialogue>Are any of those right?</dialogue>
<character>MANAGER</character>
<dialogue>This is the Park View Hotel. I'm the Hotel Manager. Are you looking for someone?</dialogue>
<character>RICK</character>
<dialogue>Yes, you. We're looking for our room. 1002.</dialogue>
<scene_description>Rick takes out his key .</scene_description>
<character>MANAGER</character>
<dialogue>It's on the tenth floor.</dialogue>
<character>RICK</character>
<dialogue>What do you know, they moved it. Catch you later.</dialogue>
<scene_description>The door starts to close and the guys start yelling .</scene_description>
<character>MANAGER</character>
<dialogue>Keep your voices down. This is a respectable establishment. We do n't go for any funny business here. Just then a GUY with a Moosehead Beer hat and TWO GUYS in a moose costume pass him and enter the elevator with the boys.</dialogue>
<character>RICK</character>
<dialogue>I see what you mean. You're a beautiful guy. And you're doing a damn good job.</dialogue>
<scene_description>The door slams shut before the Manager can say anything else .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE THOMERSON'S - NIGHT</stage_direction>
<scene_description>Several of Debbie 's friends have arrived and are chatting amiably in the living room . Phoebe is dipping potato chips into a bowl that says `` Muffy '' on it .</scene_description>
<character>PHOEBE</character>
<dialogue>Do you have any more of this dip, Mrs. Thomerson? It's really excellent.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>You just ate Purina Cat Chow.</dialogue>
<character>PHOEBE</character>
<dialogue>Gross me out.</dialogue>
<scene_description>Debbie comes into the living room and sits next to Bobbie .</scene_description>
<character>DEBBIE</character>
<parenthetical>( concerned . )</parenthetical>
<dialogue>What do you think's gon na go on at the guys' party?</dialogue>
<character>BOBBIE</character>
<dialogue>They'll probably get drunk, and watch dirty movies. But do n't worry about the dirty movies.</dialogue>
<character>DEBBIE</character>
<dialogue>What do you mean?</dialogue>
<character>BOBBIE</character>
<dialogue>I forgot to tell you. Yesterday I found a bunch of pornos in the back seat of O'Neill's car.</dialogue>
<character>DEBBIE</character>
<dialogue>You're kidding.</dialogue>
<character>BOBBIE</character>
<dialogue>Nah. Everything's cool. I took care of'em.</dialogue>
<parenthetical>( starts to giggle . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>EXT. HOTEL HALLWAY - NIGHT</stage_direction>
<scene_description>Rick , Ryko , O'Neill , Chulo , Larry and Stan are walking down the hallway , looking for their room .</scene_description>
<character>O'NEILL</character>
<dialogue>1004, 1003.</dialogue>
<parenthetical>( spots the room . )</parenthetical>
<dialogue>Aha! 1002.</dialogue>
<scene_description>The guys give out a hearty cheer as they huddle around the door . O'Neill grabs the doorknob . He takes his time , playing up the moment .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And now.</dialogue>
<scene_description>The guys lean forward , anticipating the opening of the gates of heaven .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>. to our honored guest Rick, and his life - long friends, I say.</dialogue>
<parenthetical>( turns the doorknob . )</parenthetical>
<dialogue>. gentlemen, start your boners.</dialogue>
<scene_description>He flings open the door and everyone but he and Rick burst into the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - NIGHT</stage_direction>
<scene_description>The guys all but dive into the room . It is a two - room suite with living room/kitcheonette and separate bedroom . The room has been decorated with balloons . A sign reads : `` Happy Bachelor Party ! '' It looks far from professionally decorated . Chulo frantically checks out the rooms .</scene_description>
<character>RYKO</character>
<dialogue>Bitchin' place.</dialogue>
<scene_description>He hangs a chin - up bar in a doorway and starts to chin himself .</scene_description>
<character>O'NEILL</character>
<dialogue>I did the balloons myself.</dialogue>
<scene_description>He takes a prophylactic out of a Trojan carton . He blows it up . On closer examination , we SEE all the balloons are inflated prophylactics . ANOTHER ANGLE Chulo returns from his search of the rooms .</scene_description>
<character>CHULO</character>
<parenthetical>( crazed . )</parenthetical>
<dialogue>Where's the women, man? We got ta have women.</dialogue>
<character>O'NEILL</character>
<dialogue>Chulo, one thing at a time.</dialogue>
<character>CHULO</character>
<dialogue>Sex is my one thing. I'm good at it.</dialogue>
<character>STAN</character>
<dialogue>What's first?</dialogue>
<character>O'NEILL</character>
<dialogue>A bit of a warm - up.</dialogue>
<scene_description>He threads a film projector .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>We'll spend an hour with `` Nymphos Without Pants''.</dialogue>
<character>RICK</character>
<dialogue>Olivier's in that, right?</dialogue>
<character>O'NEILL</character>
<dialogue>Then it's on to the real thing.</dialogue>
<character>GUYS</character>
<parenthetical>( cheering . )</parenthetical>
<dialogue>All right!</dialogue>
<scene_description>Ryko flips off the lights as O'Neill puts the projector into forward and the title flashes on a movie screen . All the guys yell in anticipation . HOME MOVIE SCREEN We SEE a man stepping out of a shower . He puts on his robe and exits the bathroom . To his surprise and to the delight of our guys , two young , beautiful Nordic looking women , dressed in micro - minis and see - through blouses stand waiting for him .</scene_description>
<character>CHULO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>They're Danish, I know it. I'm crazy for Danes.</dialogue>
<scene_description>RYKO AND CHULO sit watching the screen .</scene_description>
<character>RYKO</character>
<parenthetical>( to Chulo . )</parenthetical>
<dialogue>Denmark makes great Nautilus equipment.</dialogue>
<character>CHULO</character>
<dialogue>I'd like to jerk and press those babies.</dialogue>
<scene_description>RICK AND O'NEILL</scene_description>
<character>RICK</character>
<parenthetical>( to O'Neill . )</parenthetical>
<dialogue>And I thought we would n't have any meaningful conversation.</dialogue>
<scene_description>ON SCREEN The man takes off his robe . The girls start to seductively undress .</scene_description>
<character>GUYS</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>All right, yeah, yeah, yeah.</dialogue>
<scene_description>Suddenly an abrupt jump cut . The girls are undressed and lying on top of the man . Our guys are seriously let down . GUYS</scene_description>
<character>EVERYONE</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Awwww.</dialogue>
<scene_description>O'NEILL He ca n't figure it out . ON THE SCREEN As the women kiss the man from his head slowly down his chest , past his navel and heading south . GUYS Their eyes start to widen like a child in a Keene painting .</scene_description>
<character>GUYS</character>
<dialogue>Yes, go, go, yes, go.</dialogue>
<scene_description>ON THE SCREEN Another abrupt jump cut spliced together with what looks like a band - aid , and the girls are sitting on the side of the bed . The man is recovering from the best sex he 's ever encountered . GUYS</scene_description>
<character>GUYS</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Awwwwww.</dialogue>
<scene_description>Rick turns to a shocked O'Neill .</scene_description>
<character>RICK</character>
<dialogue>Excuse me, but this is as arousing as a stroll through the Vatican.</dialogue>
<character>O'NEILL</character>
<dialogue>This is n't right.</dialogue>
<scene_description>GUYS ' POV They watch the screen . The two women seem to be taking a liking to each other . They begin to fall onto the bed and entwine .</scene_description>
<character>GUYS</character>
<dialogue>Please, yes, do it, yes, yes, oh yes.</dialogue>
<scene_description>A jump cut and they are dressing . Stan ca n't take it anymore . He jumps to his feet .</scene_description>
<character>STAN</character>
<dialogue>Where are the dirty parts? I'm a doctor. I can see these things.</dialogue>
<character>CHULO</character>
<dialogue>What a waste of two women.</dialogue>
<scene_description>O'Neill rises abruptly .</scene_description>
<character>O'NEILL</character>
<dialogue>I do n't get it, but at least Gary's got the real stuff coming up here in a few minutes.</dialogue>
<character>CHULO</character>
<parenthetical>( in ecstasy . )</parenthetical>
<dialogue>Women!</dialogue>
<scene_description>Everyone cheers .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMERSON HOUSE</stage_direction>
<scene_description>The girls are having a great time . The front DOORBELL RINGS . Mrs. Thomerson answers it . Standing in the doorway is Tina Stahl , Stan 's wife ; she 's late for the shower . Behind her are two obvious hookers : Margot and Darlene . Tina does n't know either of the girls .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>Yes?</dialogue>
<scene_description>Before Tina can speak , Margot speaks up . She 's reading from the piece of paper Cole gave her .</scene_description>
<character>MARGOT</character>
<parenthetical>( through heavy gum chewing . )</parenthetical>
<dialogue>Yeah, hi. Look, is this.</dialogue>
<scene_description>INSERT - PIECE OF PAPER Margot reads the address .</scene_description>
<character>MARGOT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>838 North Franek Avenue?</dialogue>
<scene_description>BACK TO SCENE</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>Yes.</dialogue>
<character>MARGOT</character>
<dialogue>We're here.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>How nice.</dialogue>
<character>TINA</character>
<dialogue>I'm Tina Stahl.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>Of course. Stan's wife. Everyone come in.</dialogue>
<scene_description>REVERSE ANGLE - THE STREET Cole sits in his car and watches happily as the hookers go inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMERSON'S LIVING ROOM</stage_direction>
<scene_description>Debbie spots Tina . She is oblivious to the two hookers .</scene_description>
<character>DEBBIE</character>
<dialogue>Tina!</dialogue>
<scene_description>They give each other a big hug . The hookers watch closely . Debbie leads Tina to the other women .</scene_description>
<character>DEBBIE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>You know everyone here, do n't you?</dialogue>
<character>TINA</character>
<dialogue>Yes.</dialogue>
<scene_description>The girls hug and give big hellos . Meanwhile , Margot and Darlene have come to the conclusion they 've been hired for a kinky scene .</scene_description>
<character>MARGOT</character>
<dialogue>One of these, huh?</dialogue>
<character>DARLENE</character>
<dialogue>Looks that way.</dialogue>
<character>MARGOT</character>
<dialogue>Buck's a buck.</dialogue>
<scene_description>They start to unbutton their coats . Tina hands Debbie her present .</scene_description>
<character>DEBBIE</character>
<dialogue>It's so heavy.</dialogue>
<scene_description>She sits and the girls gather around as she starts to open the gift . Phoebe happens to look off and is stunned by what she sees . The others are curious at what she is looking at and they too stare O.S. , stunned to silence . MARGOT AND DARLENE dressed in leather and mesh stockings . Margot carries a whip . Darlene is holding a phallic electrical device .</scene_description>
<character>DARLENE</character>
<parenthetical>( business - like . )</parenthetical>
<dialogue>Is there an empty outlet in here?</dialogue>
<scene_description>Debbie unconsciously points to a nearby wall . Margot and Darlene stand amidst the girls . Darlene plugs in her device . She and Margot start to embrace and fondle one another . The girls watch in stony silence . Dumbfounded at what they see . Margot and Darlene start to sink to the floor , OUT OF OUR SIGHT . Before they disappear , we see Margot take out her gum and park it on an end table . Now OUT OF SIGHT , the girls watch for a beat . Then we hear the WHIRRING of Darlene 's implement . Our girls screech in horror and hold onto one another in a protective clump .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>The guys are sitting around drinking , eating and looking generally bored . Chulo sits in front of the TV , glumly watching an old `` I Love Lucy '' re - run .</scene_description>
<character>CHULO</character>
<dialogue>If I was Ricky Ricardo I would beat the shit out of that chick.</dialogue>
<character>LARRY</character>
<parenthetical>( totally ripped , staring at the black and white image . )</parenthetical>
<dialogue>Wow! The colors are sooo beautiful.</dialogue>
<scene_description>Chulo gives him a strange look .</scene_description>
<character>RYKO</character>
<parenthetical>( opening a beer , reading the label . )</parenthetical>
<dialogue>Is n't there any beer that's not imported? All this stuff's from St. Louis.</dialogue>
<character>RICK</character>
<parenthetical>( calling to imaginary person O.S . )</parenthetical>
<dialogue>Bartender, round of brains for my friend here.</dialogue>
<scene_description>Gary enters the room . He 's all smiles . Confident he 's done a great job arranging for the entertainment .</scene_description>
<character>GARY</character>
<dialogue>How's it going, guys?</dialogue>
<scene_description>Everyone crowds around him like children greeting Daddy . Looking for candy hidden in his coat .</scene_description>
<character>EVERYONE</character>
<dialogue>Where's the girls? Where's the girls?</dialogue>
<scene_description>Rick pushes them away from Gary like a referee separating two fighters .</scene_description>
<character>RICK</character>
<dialogue>Give the guy air. Everyone to a neutral corner.</dialogue>
<character>GARY</character>
<dialogue>What's going on?</dialogue>
<character>CHULO</character>
<dialogue>Nothing. We got no women.</dialogue>
<character>GARY</character>
<dialogue>Screw you.</dialogue>
<character>RICK</character>
<dialogue>It's true.</dialogue>
<character>GARY</character>
<dialogue>This place should have been wall to wall tits by now.</dialogue>
<character>RICK</character>
<parenthetical>( to O'Neill . )</parenthetical>
<dialogue>Guy paints a beautiful picture.</dialogue>
<character>GARY</character>
<dialogue>I'm going to see what the hell happened.</dialogue>
<character>RICK</character>
<dialogue>Looks like the only one who got screwed here was you.</dialogue>
<character>GARY</character>
<dialogue>Screw that.</dialogue>
<scene_description>He exits out the door .</scene_description>
<character>O'NEILL</character>
<dialogue>So, what do you guys think of the party so far?</dialogue>
<scene_description>The guys toss sandwiches and empty beer cans at him .</scene_description>
<character>RICK</character>
<parenthetical>( putting his arm around O'Neill . )</parenthetical>
<dialogue>Well, I think you've done a damn fine job.</dialogue>
<scene_description>Everyone pelts Rick and O'Neill with more junk . Suddenly the door bursts open . The guys look up and are surprised to see Cole enter .</scene_description>
<character>COLE</character>
<dialogue>Rick, I want to talk to you.</dialogue>
<character>RICK</character>
<dialogue>Ah, Cole.</dialogue>
<parenthetical>( turns to the others . )</parenthetical>
<dialogue>I do n't remember ordering an asshole from room service.</dialogue>
<scene_description>Cole enters , closing the door behind him .</scene_description>
<character>COLE</character>
<dialogue>I do n't want any trouble.</dialogue>
<character>RICK</character>
<dialogue>Oh, come on, just a little.</dialogue>
<character>COLE</character>
<dialogue>I'm ready to make you another deal.</dialogue>
<character>RICK</character>
<parenthetical>( mock excitement . )</parenthetical>
<dialogue>Ooh, be still, my heart.</dialogue>
<character>COLE</character>
<parenthetical>( points out window . )</parenthetical>
<dialogue>See that down there? That's my most prized possession. My new Porsche.</dialogue>
<scene_description>RICK 'S POV Cole 's Porsche parked in the hotel parking lot .</scene_description>
<character>RICK</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Very nice.</dialogue>
<scene_description>BACK TO SCENE Rick gestures to Chulo to look out the window .</scene_description>
<character>RICK</character>
<parenthetical>( his voice tells us he has something in mind . )</parenthetical>
<dialogue>Is n't that a great car, Chulo?</dialogue>
<scene_description>Chulo gets Rick 's drift .</scene_description>
<character>CHULO</character>
<dialogue>Yeah. real nice. Ah, excuse me. I'll be right back.</dialogue>
<scene_description>He starts to exit . Before he does , he grabs a hanger out of the closet .</scene_description>
<character>COLE</character>
<dialogue>Great car.</dialogue>
<character>RICK</character>
<dialogue>The best.</dialogue>
<character>COLE</character>
<dialogue>I love that car.</dialogue>
<character>RICK</character>
<dialogue>I'm very happy for you two.</dialogue>
<scene_description>They back away from the window .</scene_description>
<character>COLE</character>
<dialogue>I'll trade you my Porsche for Debbie. An even swap.</dialogue>
<character>RICK</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>The car for Debbie?</dialogue>
<character>COLE</character>
<parenthetical>( getting a little excitable . )</parenthetical>
<dialogue>I mean it. The car is yours. Dump Debbie.</dialogue>
<character>RICK</character>
<dialogue>Gee, guys, what should I do? The car or Debbie?</dialogue>
<scene_description>All the guys treat this as if it 's `` Let 's Make A Deal '' . They take sides , yelling out , `` Take the car , '' `` Keep Debbie . '' Over the din we hear a befuddled Rick .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What a decision here.</dialogue>
<scene_description>He walks over to the window . Cole follows closely . He 's trying to convince Rick to take the car .</scene_description>
<character>COLE</character>
<dialogue>Low mileage. Handles like a dream.</dialogue>
<character>RICK</character>
<dialogue>So does Debbie.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL PARKING LOT - NIGHT</stage_direction>
<scene_description>Chulo is using the hanger to jimmy the car lock on Cole 's Porsche . He 's successful . He jumps into the car and drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>Rick and Cole are at the window . The guys are still trying to convince Rick on his decision .</scene_description>
<character>COLE</character>
<dialogue>I got the car only two months ago - it's got -</dialogue>
<scene_description>As he looks out the window we see with him that his car is gone .</scene_description>
<character>COLE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Shit, shit, shit, shit. My car's gone!</dialogue>
<character>RICK</character>
<dialogue>Maybe it had something to do.</dialogue>
<character>COLE</character>
<dialogue>Shit!</dialogue>
<scene_description>He charges out of the room .</scene_description>
<character>O'NEILL</character>
<dialogue>Odd. He's only been gone a few seconds and I already miss him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER - NIGHT</stage_direction>
<scene_description>Gary spots Jumbo on the same grimy street corner . He 's pimping for one of his ladies and makes a sale to an anxious young Marine as Gary approaches him .</scene_description>
<character>GARY</character>
<dialogue>Jumbo, where the hell are the women?</dialogue>
<character>JUMBO</character>
<dialogue>What are you talking about, asshole?</dialogue>
<character>GARY</character>
<dialogue>Your whores never showed up.</dialogue>
<character>JUMBO</character>
<dialogue>They left an hour ago, pink nuts.</dialogue>
<character>GARY</character>
<dialogue>Screw you!</dialogue>
<scene_description>Jumbo has had enough . He backs Gary against a wall and pulls a knife on him .</scene_description>
<character>JUMBO</character>
<parenthetical>( irritated ; a lot . )</parenthetical>
<dialogue>That's it, prick lips.</dialogue>
<character>GARY</character>
<dialogue>What are you.</dialogue>
<character>JUMBO</character>
<dialogue>I've had it, numb nuts. How much money you got?</dialogue>
<character>GARY</character>
<dialogue>Why?</dialogue>
<character>JUMBO</character>
<dialogue>Because I'm pissed off. Now give me your cash.</dialogue>
<scene_description>Gary hurriedly digs into his pockets and gives Jumbo his money .</scene_description>
<character>GARY</character>
<dialogue>This is bad public relations. I was planning to do a lot of business with you. But now I'm going to have to go elsewhere.</dialogue>
<character>JUMBO</character>
<parenthetical>( mock sincerity . )</parenthetical>
<dialogue>Hey. I'm sorry. You want girls. I'll give you girls.</dialogue>
<scene_description>He snaps his fingers and TWO of his LADIES come forward .</scene_description>
<character>JUMBO</character>
<parenthetical>( continuing ; to girls . )</parenthetical>
<dialogue>Give him the works.</dialogue>
<character>GARY</character>
<dialogue>That's more like it.</dialogue>
<scene_description>The girls walk over to Gary and proceed to beat the crap out of him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHIPPENDALE'S - NIGHT</stage_direction>
<scene_description>It is a garish nightclub . A large lighted billboard proclaims `` ALL MALE . ALL NUDE . '' Two cars pull into the parking lot . Debbie and all of her shower guests get out .</scene_description>
<character>DEBBIE</character>
<dialogue>Are you sure this is a good idea?</dialogue>
<character>ILENE</character>
<dialogue>Look, you heard what those hookers said. They were supposed to go to a bachelor party.</dialogue>
<character>DEBBIE</character>
<dialogue>That does n't mean it was Rick's party.</dialogue>
<character>ILENE</character>
<dialogue>Debbie, men are pigs - if they can have women, we can have men.</dialogue>
<character>BOBBIE</character>
<parenthetical>( agreeing . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>MRS. THOMERSON</character>
<parenthetical>( reluctantly . )</parenthetical>
<dialogue>I do n't know about this.</dialogue>
<character>DEBBIE</character>
<dialogue>C'mon, Mother, it'll be fun.</dialogue>
<scene_description>The girls giggle as they enter the place , with Mrs. Thomerson following reluctantly behind .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIPPENDALE'S - NIGHT</stage_direction>
<character>PHOEBE</character>
<dialogue>Look at that guy. What a hunk.</dialogue>
<character>BOBBIE</character>
<dialogue>Check out the other guy's buns.</dialogue>
<character>TINA</character>
<dialogue>Let's sit over here.</dialogue>
<scene_description>They head for some empty tables . Debbie notices her mother is still standing transfixed by the MAN on display on stage . Debbie grabs her by the shoulder .</scene_description>
<character>DEBBIE</character>
<dialogue>C'mon, Mom.</dialogue>
<scene_description>On the way to the table they pass MICHAEL , the bartender , who looks at them and immediately recognizes Debbie . Finding this interesting , he picks up a phone and dials .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly ; into phone . )</parenthetical>
<dialogue>Yes. is there a Rick Stahl registered there?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>Gary , beaten up , his clothes ripped , stands amidst the guys .</scene_description>
<character>RICK</character>
<dialogue>Hookers beat you up?</dialogue>
<character>GARY</character>
<dialogue>Yes.</dialogue>
<character>RICK</character>
<dialogue>I did n't know you were into that.</dialogue>
<character>CHULO</character>
<dialogue>How could you be so stupid. I'm gon na kill you.</dialogue>
<character>GARY</character>
<dialogue>Go ahead, but if you want women, we need more money.</dialogue>
<character>RYKO</character>
<dialogue>This just is n't righteous.</dialogue>
<character>GARY</character>
<parenthetical>( angered . )</parenthetical>
<dialogue>Screw you. Do me a favor, join this decade, will ya, pal!</dialogue>
<character>RICK</character>
<parenthetical>( as if he 's working a fundraiser . )</parenthetical>
<dialogue>Hey, now, our buddy needs help. Come on, dig into those pockets. Help this man.</dialogue>
<parenthetical>( puts his arm around Gary . )</parenthetical>
<dialogue>Help this person help others get laid. Give till it hurts. He needs you.</dialogue>
<scene_description>The guys take out money . Larry stands and digs into his pocket for his wallet . Along with the wallet comes dozens of pills . The PHONE RINGS .</scene_description>
<character>RICK</character>
<dialogue>And there's our first pledge coming in -</dialogue>
<scene_description>Rick picks up the receiver .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Hello. End Horniness Telethon. Yeah. Michael. how you doing?</dialogue>
</scene>
<scene>
<stage_direction>INT. CHIPPENDALE'S - MICHAEL</stage_direction>
<scene_description>He 's standing behind the bar .</scene_description>
<character>MICHAEL</character>
<dialogue>I'm working. Right. At Chippendale's. Guess what. Debbie and her friends just walked in.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<character>RICK</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>Really? That's very interesting.</dialogue>
<parenthetical>( he brightens . )</parenthetical>
<dialogue>I'll tell you what. stay there and we'll be right down. I want to check this out.</dialogue>
<scene_description>He hangs up the phone . Gary , meantime , has collected his money .</scene_description>
<character>GARY</character>
<dialogue>I'll be back with women.</dialogue>
<character>STAN</character>
<dialogue>I might as well have left my genitals at home, the good they're doing me here.</dialogue>
<character>CHULO</character>
<parenthetical>( calling after Gary . )</parenthetical>
<dialogue>Hurry back.</dialogue>
<scene_description>Gary exits .</scene_description>
<character>RICK</character>
<parenthetical>( it 's obvious he has something in mind . )</parenthetical>
<dialogue>While we're waiting for Gar, why do n't we all go for a little fresh air.</dialogue>
<character>RYKO</character>
<dialogue>Where we going?</dialogue>
<character>RICK</character>
<dialogue>Out.</dialogue>
<scene_description>The guys start toward the door .</scene_description>
<character>LARRY</character>
<parenthetical>( zonked and depressed . )</parenthetical>
<dialogue>Guys, I think I'd rather stay here.</dialogue>
<character>RICK</character>
<dialogue>C'mon, Larry. Be good for you.</dialogue>
<character>LARRY</character>
<dialogue>I just want to be alone.</dialogue>
<character>RICK</character>
<dialogue>All right. Now, there's milk and cookies in the refrigerator. Go to bed right after `` Falcon Crest.''</dialogue>
<scene_description>As Larry slumps on the couch , the guys exit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL</stage_direction>
<scene_description>Rick and the guys exit the hotel . As they exit , Mr. Thomerson enters . Both parties are oblivious to the other 's presence .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL</stage_direction>
<scene_description>Mr. Thomerson is greeted by a Moosehead Beer EXECUTIVE who is wearing a straw hat that says `` Moosehead Beer . ''</scene_description>
<character>EXECUTIVE</character>
<dialogue>Ed, we're so glad you could come over at the last minute and judge our little beauty pageant.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>My pleasure, Al. Always happy to help out in a pinch.</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>Excuse me. I better call my service. tell them where I am.</dialogue>
<scene_description>He enters a phone booth and starts to dial .</scene_description>
<character>MR. THOMERSON</character>
<parenthetical>( to executive , covering mouthpiece . )</parenthetical>
<dialogue>I had to get out of the house anyway tonight. The wife is throwing a bridal shower for my daughter.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>This is Ed Thomerson. Please transfer my calls to.</dialogue>
<parenthetical>( reading number off phone . )</parenthetical>
<dialogue>220 - 1892. Right.</dialogue>
<scene_description>He crosses with executive toward the ballroom .</scene_description>
<character>EXECUTIVE</character>
<dialogue>Congratulations on your daughter's wedding. Who's she marrying?</dialogue>
<character>MR. THOMERSON</character>
<dialogue>A real turd.</dialogue>
<character>EXECUTIVE</character>
<parenthetical>( at a loss for words . )</parenthetical>
<dialogue>Well. hope she'll be very happy.</dialogue>
<scene_description>They exit into ballroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIPPENDALE'S KITCHEN - NIGHT</stage_direction>
<scene_description>Amidst the kitchen activities we SEE Rick , O'Neill , Ryko , Stan , and Michael .</scene_description>
<character>RICK</character>
<dialogue>So will your friend Nick do it?</dialogue>
<character>MICHAEL</character>
<dialogue>He'll do anything for money.</dialogue>
<character>RICK</character>
<dialogue>I love his attitude.</dialogue>
<parenthetical>( calling off . )</parenthetical>
<dialogue>They still out there?</dialogue>
<scene_description>STAN He 's peeking through the kitchen door . We SEE Debbie and the shower girls whooping it up at a ringside table . Stan turns back to Rick .</scene_description>
<character>STAN</character>
<dialogue>Breathing heavy at ringside.</dialogue>
<scene_description>He joins the other guys .</scene_description>
<character>RICK</character>
<parenthetical>( a la Long John Silver . )</parenthetical>
<dialogue>So, they want action, eh? Are you with me, me hardies?</dialogue>
<scene_description>The guys shout approval as NICK , one of the male dancers , enters carrying a tray of food . Nick is a muscled hunk .</scene_description>
<character>MICHAEL</character>
<dialogue>Guys, this is Chippendale's star attraction, Nicholas Carter. better known as Nick the Dick.</dialogue>
<character>RYKO</character>
<dialogue>Nick the what?</dialogue>
<scene_description>Nick drops his pants . Since he 's being SHOT only from the WAIST UP , we ca n't see what the guys see .</scene_description>
<character>NICK</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>The Dick.</dialogue>
<character>ALL OUR GUYS</character>
<parenthetical>( astonished at this O.S. sight . )</parenthetical>
<dialogue>Jesus Christ!</dialogue>
<character>RICK</character>
<dialogue>Let's get this thing going. Tray, please.</dialogue>
<scene_description>Nick holds the tray waist high . Rick arranges the food .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Looks good. Can I have the bun, Michael?</dialogue>
<scene_description>Michael hands Rick a hot dog bun . Rick places it on the tray . He turns to Nick .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>And now, Nick. or is it Mr. Dick?</dialogue>
<character>NICK</character>
<dialogue>Nick.</dialogue>
<character>RICK</character>
<dialogue>Nick, if you would be so kind.</dialogue>
<scene_description>NICK He holds the tray with one hand . With the other he reaches OUT OF FRAME . In a nutshell , what he does is place his honker in the hot dog bun . As he slaps his business into the bun , we HEAR a solid THUMP .</scene_description>
<character>RICK</character>
<dialogue>Nick, the rest is all yours.</dialogue>
<character>NICK</character>
<parenthetical>( excusing himself . )</parenthetical>
<dialogue>Gentlemen.</dialogue>
<scene_description>He exits . As he does , our guys crowd around and peek through the kitchen door . NICK We FOLLOW him as he approaches the girls ' table .</scene_description>
<character>NICK</character>
<dialogue>If you ladies would like to serve yourselves.</dialogue>
<scene_description>The girls grab their orders . Mrs. T. is last . Hers is the hot dog . She points to it .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>Is this the foot long?</dialogue>
<character>NICK</character>
<dialogue>And then some.</dialogue>
<scene_description>Mrs. T. grabs the hot dog . It wo n't come off the tray . She yanks harder . Nick drops the tray and Mrs. T. finally comes to realize what she is pulling on . She screams in terror . Because of sheer fright , she ca n't seem to drop Nick 's schlong from her grip . The rest of our ladies look to see Mrs. T. 's hot dog . They scream in shock . Debbie spits out her marguerita , hitting Phoebe in the face . OUR GUYS They are busting a gut watching the girls ' reactions .</scene_description>
<character>ILENE</character>
<dialogue>She looks up just in time to see the guys close the kitchen door.</dialogue>
<scene_description>MRS. T still frozen in a state of shock . The girls try to pry her hands off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER</stage_direction>
<scene_description>Several HOOKERS are standing around . Gary approaches them .</scene_description>
<character>GARY</character>
<dialogue>Ladies. come here.</dialogue>
<character>HOOKER</character>
<dialogue>Talk to the pimp.</dialogue>
<scene_description>She gestures to a MAN with his back TO US .</scene_description>
<character>GARY</character>
<dialogue>Let's talk.</dialogue>
<scene_description>The PIMP turns around and we SEE he is the stereotypical pimp . One big difference : he 's an Indian straight from the streets of Calcutta . He 's soft - spoken and ever smiling and he still has n't quite mastered English .</scene_description>
<character>RAJAH</character>
<parenthetical>( oh - so - heavy Indian accent . )</parenthetical>
<dialogue>What can I be doing for you?</dialogue>
<character>GARY</character>
<dialogue>You're a pimp?</dialogue>
<character>RAJAH</character>
<dialogue>I'm telling you I am, Joe.</dialogue>
<character>GARY</character>
<dialogue>I want women.</dialogue>
<character>RAJAH</character>
<dialogue>That I got. Very good women. They sit on your face, anything you want.</dialogue>
<character>GARY</character>
<dialogue>I'll take some.</dialogue>
<character>RAJAH</character>
<dialogue>Big problem now. Soon they go to customers.</dialogue>
<character>GARY</character>
<dialogue>I need them for a bachelor party at the Park View Hotel.</dialogue>
<character>RAJAH</character>
<dialogue>You are being in luck. Customers in same hotel. I let you have them at cut - rate price for 45 minutes.</dialogue>
<character>GARY</character>
<dialogue>Sold. 45 minutes. No problem.</dialogue>
<character>RAJAH</character>
<dialogue>Not one minute longer or Milt will come for you.</dialogue>
<character>GARY</character>
<dialogue>Milt?</dialogue>
<scene_description>ANOTHER ANGLE MILT joins them . Milt is a massive hulk . A bearded exbiker . He could have come out of an MX silo . A menacing mountain of a man decked out in a cowboy hat .</scene_description>
<character>RAJAH</character>
<dialogue>This being Milt.</dialogue>
<scene_description>Milt casually takes off his hat and immediately sticks his face through a nearby window , smashing it to pieces . He pulls his head out , smiles and puts his hat back on .</scene_description>
<character>RAJAH</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Girls back in 45 minutes or Milt cuts your balls off. Fair enough? Shake!</dialogue>
<scene_description>Gary extends his hand and they shake .</scene_description>
<character>GARY</character>
<parenthetical>( to himself as he walks to his car . )</parenthetical>
<dialogue>I just bet my balls and shook on it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL - NIGHT</stage_direction>
<scene_description>The guys are piling back out of the bus into the hotel . The Manager watches them suspiciously .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>Rick , O'Neill , Ryko and Stan come back into the room .</scene_description>
<character>RICK</character>
<parenthetical>( concerned ; calling O.S . )</parenthetical>
<dialogue>Larry! Yo, Larry.</dialogue>
<scene_description>Rick crosses to the bathroom door , opens it and goes in . RICK 'S POV Larry is on his knees on the side of the tub with his head submerged fully under several inches of water .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<scene_description>Larry comes out of the water . He gasps for breath and speaks .</scene_description>
<character>LARRY</character>
<dialogue>I'm killing myself.</dialogue>
<scene_description>He takes a deep breath and submerges his head again . Rick unplugs the tub and it begins to drain .</scene_description>
<character>RICK</character>
<dialogue>Larry. you've got to lighten up. You and the wife can work it out.</dialogue>
<scene_description>The water has drained from the tub , leaving Larry high and dry . He lifts his head out of the tub . In his state , he 's unaware that the water is gone . He gasps for air as Rick holds him up .</scene_description>
<character>RICK</character>
<dialogue>Lar. sometimes when people are mad they say things they do n't mean.</dialogue>
<character>LARRY</character>
<dialogue>No, she hates me. I want to end everything here. now.</dialogue>
<scene_description>Larry takes a deep breath and plunges his head into the tub . His head hits the waterless tub bottom with a loud THUD . He goes limp from the concussion . His body drapes into the tub , head first .</scene_description>
<character>RICK</character>
<dialogue>You okay?</dialogue>
<character>LARRY</character>
<dialogue>Yeah, I guess so.</dialogue>
<character>RICK</character>
<dialogue>Really?</dialogue>
<character>LARRY</character>
<dialogue>Yeah. I see you're right. C'mon, let's party.</dialogue>
<scene_description>Larry gets up and exits the room . PUSH IN ON Rick . He looks after Larry , concerned .</scene_description>
<character>RICK</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>He ai n't all right.</dialogue>
<scene_description>ANGLE - THE LOBBY Cole sits in a phone booth holding the receiver impatiently . ANGLE WIDENS TO REVEAL THE ADJOINING PHONE BOOTH The receiver is off the hook . After a beat , Mr. T. crosses to the phone . Cole does not see him , and vice versa .</scene_description>
<character>MR. T</character>
<dialogue>Hello?</dialogue>
<character>COLE</character>
<dialogue>Mr. Thomerson.</dialogue>
<character>MR. T</character>
<dialogue>Yes, son, did you find out where the bachelor party is?</dialogue>
<character>COLE</character>
<dialogue>Yes I did.</dialogue>
<character>MR. T</character>
<dialogue>Fine. How's everything going?</dialogue>
<character>COLE</character>
<dialogue>Not so good. He would n't listen to reason. He stole my car. my Porsche. I ca n't find it anywhere.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>So, he's playing hard ball. Well, two can play that game.</dialogue>
<parenthetical>( yelling . )</parenthetical>
<dialogue>Go after him. Stop at nothing. You hear me?</dialogue>
<character>COLE</character>
<dialogue>What? I'm sorry, sir, I ca n't hear you.</dialogue>
<scene_description>Looking over into the next booth , he sees Thomerson 's back .</scene_description>
<character>COLE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Some fat slob in the next booth is making a lot of noise.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Well, tell the asshole to shut up.</dialogue>
<character>COLE</character>
<dialogue>Right.</dialogue>
<parenthetical>( calling off . )</parenthetical>
<dialogue>Hey, shut up. Okay, sir.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Sorry, I ca n't hear you. Some pin head's yelling.</dialogue>
<parenthetical>( yelling O.S . )</parenthetical>
<dialogue>Shut up, I'm talking here.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Now look, I want you to go back and I do n't care what you do. Stop that marriage.</dialogue>
<scene_description>He slams the phone down and EXITS SCREEN RIGHT . Cole starts to exit left when he spots Chulo getting into the elevator .</scene_description>
<character>CHULO</character>
<dialogue>Hey, man, your car's looking good.</dialogue>
<character>COLE</character>
<parenthetical>( crazed . )</parenthetical>
<dialogue>Where is it?</dialogue>
<character>CHULO</character>
<dialogue>Out front.</dialogue>
<scene_description>The elevator doors slam shut . Cole races out into the street .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL</stage_direction>
<scene_description>Cole comes bursting out into the street . We can tell by his shocked expression he does n't like what he sees .</scene_description>
<character>COLE</character>
<dialogue>Shit, shit, shit, shit, shit.</dialogue>
<scene_description>CAMERA PANS as he charges to his Porsche . His pride and joy has now , thanks to Chulo , been customized into a Chicano special . It 's chopped and channeled ; dingleberries rim the back window , flames have been painted on the rear fender ; a chain steering wheel , fuzzy dashboard , dice hanging from the mirror . A real East L.A. beauty . ANGLE - COLE He 's snapped - totally flipped . He turns and yells up to the hotel :</scene_description>
<character>COLE</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Rick. Rick. Goddamn it.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - ANGLE - RICK</stage_direction>
<scene_description>He 's standing near the window .</scene_description>
<character>RICK</character>
<dialogue>Gee. I think that's for me.</dialogue>
<scene_description>He looks out the window and sees Cole standing next to his transformed Porsche .</scene_description>
<character>COLE</character>
<dialogue>Rick. Debbie is mine. She'll always be.</dialogue>
<character>RICK</character>
<parenthetical>( yelling back . )</parenthetical>
<dialogue>Cole, when was the last time you had a lobotomy?</dialogue>
<character>COLE</character>
<parenthetical>( furious . )</parenthetical>
<dialogue>You've had it. I'm gon na get you.</dialogue>
<scene_description>ANGLE - THE STREET Cole hops in his car and drives off , blowing his HORN at oncoming traffic . The HORN PLAYS `` LA CUCURACHA . '' Cole slams his fist on the steering wheel in disgust .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<character>RICK</character>
<parenthetical>( to guys . )</parenthetical>
<dialogue>Do n't you love it when old friends stop by?</dialogue>
<character>O'NEILL</character>
<parenthetical>( to Rick . )</parenthetical>
<dialogue>Hey, I'm starved. Let's go get something to eat. We'll bring back food for everybody.</dialogue>
<character>RICK</character>
<dialogue>I'm not really hungry.</dialogue>
<character>O'NEILL</character>
<dialogue>C'mon. I insist.</dialogue>
<scene_description>He grabs Rick by the arm and leads him out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL RESTAURANT</stage_direction>
<scene_description>Rick is finishing giving the food order to a WAITER . In the b.g. we SEE O'Neill talking to a BELLHOP . The Bellhop is pointing to a table . O'Neill thanks him and slips him some money .</scene_description>
<character>RICK</character>
<dialogue>couple more on rye. Lots of fries. and a burger and diet soda.</dialogue>
<scene_description>Waiter acknowledges he 's got it and exits . O'Neill joins Rick .</scene_description>
<character>O'NEILL</character>
<dialogue>Let's sit down.</dialogue>
<scene_description>O'Neill leads Rick to the table the Bellhop pointed out . They sit down . Immediately O'Neill takes some cash from his pocket and holds it under the table . ANGLE UNDER THE TABLE Huddled underneath the table , hidden by the tablecloth , is a HOOKER . Her specialty is coming right up . She grabs the bills from O'Neill 's hand . She tucks the money in her cleavage and turns her talents to Rick . She unzips his fly . RICK He reacts to the ZIP SOUND .</scene_description>
<character>RICK</character>
<dialogue>What the hell is that?</dialogue>
<character>O'NEILL</character>
<dialogue>My gift to you.</dialogue>
<character>RICK</character>
<dialogue>Under the table!</dialogue>
<character>O'NEILL</character>
<dialogue>The best table in the house.</dialogue>
<scene_description>The Hooker has begun to do what she does best . And Rick loves it .</scene_description>
<character>RICK</character>
<dialogue>I think we can skip the wine list. Oh, gee.</dialogue>
<scene_description>FATHER FALWELL enters the restaurant . He spots Rick and O'Neill and crosses to them .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>Boys, good evening to you.</dialogue>
<scene_description>Rick tries to maintain his dignity . But from under the table a blue ribbon job is being applied to his fun zone .</scene_description>
<character>O'NEILL</character>
<dialogue>Father Falwell, good evening.</dialogue>
<scene_description>Falwell shakes Rick 's hand . Rick hangs on for dear life . Pumping the hand up and down at a faster and faster rate .</scene_description>
<character>RICK</character>
<dialogue>Father. Oh, yes. yes. yesssss. Oh, yesssssss!</dialogue>
<scene_description>Falwell pries his hand loose .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>So, Rick, soon you will be a married man. How does it feel?</dialogue>
<character>RICK</character>
<dialogue>Innnnnn - credible!</dialogue>
<character>FATHER FALWELL</character>
<dialogue>Well, nice seeing you both.</dialogue>
<scene_description>Rick 's excitement heightens as the Hooker pulls out all stops .</scene_description>
<character>RICK</character>
<dialogue>Ooooooooh, Jesus, Oh God, God, God, God, Oh Jesus, Jeeeesussss.</dialogue>
<scene_description>Father Falwell looks on rather perplexed . Rick sees Falwell 's puzzled look .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I was just saying grace.</dialogue>
<character>FATHER FALWELL</character>
<dialogue>How nice.</dialogue>
<character>O'NEILL</character>
<dialogue>You done?</dialogue>
<scene_description>Before Rick can speak we HEAR a VOICE from under the table .</scene_description>
<character>HOOKER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Not yet.</dialogue>
<scene_description>Rick 's hand EXITS FRAME and zips up his pants . Then Rick and O'Neill get up .</scene_description>
<character>RICK</character>
<dialogue>Father, would you like to take our table?</dialogue>
<scene_description>O'Neill ca n't believe what Rick is about to do .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>Yes. Thank you.</dialogue>
<scene_description>He sits in Rick 's spot . Rick leans on the table to say his final farewell to the priest . He takes this moment to get some money out of his pocket and hold it under the table . UNDER THE TABLE The Hooker grabs the money . BACK TO SCENE</scene_description>
<character>RICK</character>
<dialogue>I think you'll enjoy this table.</dialogue>
<character>O'NEILL</character>
<dialogue>So long, Father.</dialogue>
<scene_description>He and Rick , suppressing a laugh , exit . Father Falwell picks up the menu . We HEAR the ZIP SOUND . Father perks up . He does n't know what the hell is happening . O'Neill turns to Rick as they 're leaving the coffee shop .</scene_description>
<character>O'NEILL</character>
<dialogue>I do n't get it. Why did n't you go for it just now?</dialogue>
<character>RICK</character>
<dialogue>I do n't know. Maybe it's because I love Debbie or maybe it's hard for me to get off in a place that smells like egg salad. I'm not sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>Rick and O'Neill enter the suite . No one is there .</scene_description>
<character>RICK</character>
<dialogue>Where the hell is everybody?</dialogue>
<scene_description>Everyone jumps out from their hiding places . With our guys is Gary and his team of FIVE PROSTITUTES .</scene_description>
<character>GARY</character>
<dialogue>Surprise!</dialogue>
<parenthetical>( gesturing to the girls . )</parenthetical>
<dialogue>The team bus just pulled in.</dialogue>
<character>STAN</character>
<dialogue>Hookers. It's a party!</dialogue>
<character>RICK</character>
<dialogue>All right!</dialogue>
<scene_description>One of our hookers , KELLEY , gets everyone 's attention .</scene_description>
<character>KELLEY</character>
<dialogue>Who's first, guys?</dialogue>
<scene_description>Everyone acts as if they 're in grade school . They raise their hands ; they come on like kids trying to get the teacher 's attention .</scene_description>
<character>GUYS</character>
<dialogue>Oh, me. me. me!</dialogue>
<character>O'NEILL</character>
<dialogue>Wait. The guest of honor should be first.</dialogue>
<character>RICK</character>
<dialogue>Nah, that's okay. My brother has to look up old people's asses all day long. Let's give him a break.</dialogue>
<character>STAN</character>
<dialogue>Right. Give me the will to live. Let me go first.</dialogue>
<character>O'NEILL</character>
<dialogue>A moving plea. Okay, Doc, you lead off. I'll screw clean up.</dialogue>
<scene_description>Everyone cheers Stan 's good fortune . Kelley takes Stan by the hand and leads him into the bedroom . Gary turns on a record and everyone starts dancing . Larry is laying out drugs on a table . They consist of lines of coke and various happy time pills of all colors and shapes . Rick takes a look at the layout .</scene_description>
<character>RICK</character>
<dialogue>How thoughtful. A drug smorgasbord.</dialogue>
<scene_description>ANOTHER ANGLE Chulo enters . He sees the party has taken off .</scene_description>
<character>CHULO</character>
<dialogue>I have returned!</dialogue>
<scene_description>He spots a sweet - faced young hooker , LAVERNE . She is prancing around in her bra and underwear . Chulo wants her .</scene_description>
<character>CHULO</character>
<parenthetical>( continuing ; points to her . )</parenthetical>
<dialogue>You! Mine!</dialogue>
<scene_description>Laverne is frightened of Chulo . Mainly because he 's coming at her like a sex - starved buffalo . Chulo goes after her . Scared , she runs around the room , then out the door . Chulo gives chase .</scene_description>
<character>RICK</character>
<parenthetical>( to O'Neill . )</parenthetical>
<dialogue>Chulo's got such a nice, light touch with women.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR</stage_direction>
<scene_description>Laverne runs down the hall , closely pursued by Chulo . An all - female NEW WAVE BAND comes to the door . O'Neill greets them .</scene_description>
<character>O'NEILL</character>
<dialogue>Terrific. You made it. You can set up over there.</dialogue>
<scene_description>As they enter we go to -</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Chulo is on the heels of Laverne . She bursts through a door to excape him .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAGE</stage_direction>
<scene_description>Laverne finds herself on the stage of a beauty pageant , still in her bra and panties . FIVE other LADIES are dressed in their bathing suits . Chulo stops short of running on stage . Laverne , seeking the safety of the moment , stands in line with the contestants . ANGLE ON MR. THOMERSON AND OTHER JUDGES They like what they see .</scene_description>
<character>MR. THOMERSON</character>
<parenthetical>( to another . )</parenthetical>
<dialogue>Great bathing suit.</dialogue>
<character>EXECUTIVE</character>
<parenthetical>( indicating Laverne . )</parenthetical>
<dialogue>I think I screwed that one once.</dialogue>
</scene>
<scene>
<stage_direction>INT. THOMERSON'S BEDROOM - NIGHT</stage_direction>
<scene_description>Debbie and the shower guests are all in a state of undress . We WATCH as they put on dresses and heavy makeup . Mrs. Thomerson is still freaked out over her meeting with Nick the Dick .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>I had his weiner right in my hands.</dialogue>
<character>ILENE</character>
<dialogue>I told you. Men are pigs. I saw them standing there.</dialogue>
<character>PHOEBE</character>
<dialogue>What a gross thing to do. gawd!</dialogue>
<character>ILENE</character>
<dialogue>I bet right now Rick and his pals.</dialogue>
<parenthetical>( she spits disdainfully . )</parenthetical>
<dialogue>. are knee deep in whores.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>A strange wang right in my palm.</dialogue>
<character>DEBBIE</character>
<dialogue>Ilene, we do n't really know that.</dialogue>
<character>BOBBIE</character>
<dialogue>That's what we're going to find out.</dialogue>
<character>DEBBIE</character>
<dialogue>I feel like I'm spying on Rick.</dialogue>
<character>ILENE</character>
<dialogue>Good. That's just what we're doing.</dialogue>
<character>TINA</character>
<dialogue>I'll kill Stan if I find out he's been screwing around.</dialogue>
<scene_description>Ilene shoves socks in her bra to enhance her cleavage and defiantly slaps on her new dress .</scene_description>
<character>ILENE</character>
<dialogue>Brett, are you with us?</dialogue>
<character>MRS. THOMERSON</character>
<parenthetical>( coming out of her fog . )</parenthetical>
<dialogue>Yeah, sure. I was eye to eye with an unfamiliar pud.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>The party is taking off . The all - girl band is going ape shit . The guys are dancing with the hookers . They 're all moving in unison , to a gyrating New Wave dance step and singing along with the MUSIC . ANGLE - RYKO He 's wearing gravity boots , hanging upside down , entwined around one of the hookers . They 're hanging there , making out like crazy . Gary passes by .</scene_description>
<character>RYKO</character>
<dialogue>Hey, Gary, spot me.</dialogue>
<scene_description>ANGLE - BEDROOM DOOR Stan comes out of the bedroom . He 's disheveled , but looks very happy . He crosses to Rick .</scene_description>
<character>STAN</character>
<dialogue>Thanks a lot, that was the best. You're next.</dialogue>
<character>RICK</character>
<dialogue>Nah, not yet. Look, you're my older brother. I need some advice here. What's the deal with marriage? What can I expect?</dialogue>
<character>STAN</character>
<dialogue>Well, the first month it's great. The second month things calm down a little. By the third month you're looking through your old girlfriends' phone numbers ; by the fourth month you're numb ; by the fifth month, hopefully the football season starts.</dialogue>
<character>RICK</character>
<dialogue>Thanks, Stan, you've been a lot of help.</dialogue>
<scene_description>Stan pats Rick on the back and dives into the festivities . ANGLE - GARY He spots someone across the room . It 's like Tony spotting Maria for the first time in `` West Side Story . '' As in a DREAM SEQUENCE , ALL SOUNDS STOP . Two pinspots hit them . She turns and sees him . She smiles . Both are madly in love . Like two pieces of metal attracted to the same magnet , they walk toward each other .</scene_description>
<character>GARY</character>
<dialogue>Hi.</dialogue>
<character>SHE</character>
<dialogue>Hello.</dialogue>
<scene_description>They take each other by the hand . They walk into the bedroom and close the door behind them . The New Wave dance briefly continues , then comes to an end . ANOTHER ANGLE - THE HOTEL ROOM O'Neill grabs Ryko -LRB- who is just coming down from his gravity bar -RRB- and Stan , who is wearing a pair of women 's underwear on his head .</scene_description>
<character>O'NEILL</character>
<dialogue>You guys better get going. It's getting late.</dialogue>
<character>STAN</character>
<dialogue>Oh, right.</dialogue>
<scene_description>Ryko and Stan cross to the door and exit . As they do , four or five pretty GIRLS are passing by in the hallway .</scene_description>
<character>GIRL</character>
<dialogue>Is there a party going on in there or something?</dialogue>
<character>RYKO</character>
<dialogue>Yeah. It's great. Go on in.</dialogue>
<scene_description>The girls cross inside .</scene_description>
<character>STAN</character>
<dialogue>My God. Fresh meat. Let's hurry back.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - TIGHT ON LARRY</stage_direction>
<scene_description>There is a pained , tragic and extremely stoned out look on his face as he sighs deeply and then summons up his courage . WIDEN as he looks down at his right wrist . He heaves another deep sigh and brings an electric razor INTO FRAME . He turns it on and runs it over his wrist . Of course , nothing happens . Just then Rick enters .</scene_description>
<character>RICK</character>
<dialogue>What the hell are you doing?</dialogue>
<character>LARRY</character>
<dialogue>I'm trying to slash my wrists.</dialogue>
<character>RICK</character>
<dialogue>You're trying to kill yourself with an electric razor?</dialogue>
<character>LARRY</character>
<dialogue>I could n't find any razor blades.</dialogue>
<character>RICK</character>
<dialogue>Well, this is terrific. Now you're gon na have wrists that are smooth and kissable. Just go out there. Forget about everything and laugh it up.</dialogue>
<character>LARRY</character>
<parenthetical>( suddenly laughs like a crazy man . )</parenthetical>
<dialogue>Ha, ha, ha.</dialogue>
<character>RICK</character>
<dialogue>No, have fun first. Then laugh. Now, forget about marriage for a while. Go party.</dialogue>
<scene_description>As he shoves Larry out , Gary enters the bathroom . His expression tells us he 's had the best sex of his life .</scene_description>
<character>RICK</character>
<dialogue>Gary, how we doing, big stallion?</dialogue>
<character>GARY</character>
<dialogue>Rick, I really think I'm in love.</dialogue>
<character>RICK</character>
<dialogue>This is cause for celebration. She'll probably charge half price for sex from now on.</dialogue>
<scene_description>Rick exits as Gary dreamily crosses to the mirror .</scene_description>
<character>GARY</character>
<parenthetical>( into mirror . )</parenthetical>
<dialogue>This time it's real. She's wonderful.</dialogue>
<scene_description>Gary 's `` woman '' enters and closes the door . Their eyes meet . Gary takes her hand and kisses it gently . She turns away , then lifts up the toilet seat , lifts up her dress and proceeds to pee . She is a man . Gary is stunned . His jaw drops open . Gary 's dream girl/guy finishes his business . He drops his dress and turns to Gary .</scene_description>
<character>SHE</character>
<dialogue>The name's Tim. I'm always available.</dialogue>
<scene_description>He blows a kiss and starts to leave , but turns back .</scene_description>
<character>SHE/TIM</character>
<dialogue>By the way. I also do engine work on BMW's. ` Bye.</dialogue>
<scene_description>Tim exits . Gary feels filthy . He rips open the cabinet , takes out tooth paste and toothbrush and vigorously brushes his teeth . He rips off his clothes and jumps in the shower and scrubs as if he 's scraping barnacles off a hull of a tugboat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STABLES - NIGHT</stage_direction>
<scene_description>Ryko and Stan drive up to a country stable . They get out of the car and open a barn door . Both are pleased at what they see .</scene_description>
<character>RYKO</character>
<dialogue>All right.</dialogue>
<scene_description>ANOTHER ANGLE Standing there is a donkey , eating straw .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - NIGHT</stage_direction>
<scene_description>Cole drives up in his Chulo - customized Porsche . He gets out , then reaches back into the car and takes out a crossbow -LRB- the heavy duty metal kind hunters use -RRB- . He looks up menacingly at the hotel and spots the room where the party is going on . He sees another hotel across the way . He gets an idea and enters the other hotel .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>The party is going full blast . Some other girls and a couple of guys -LRB- hotel guests -RRB- enter the room and are quickly swept up in the spirit of the party . O'Neill approaches Rick .</scene_description>
<character>O'NEILL</character>
<dialogue>Rick, I'm concerned.</dialogue>
<character>RICK</character>
<dialogue>About what?</dialogue>
<character>O'NEILL</character>
<dialogue>This is your bachelor party. You have n't had sex with anyone yet.</dialogue>
<character>RICK</character>
<parenthetical>( trying to joke his way out of it . )</parenthetical>
<dialogue>Get a few drinks into me, we'll dance and see what happens.</dialogue>
<character>O'NEILL</character>
<dialogue>I got something you ca n't resist. I have a friend, Tracey. She wants to meet you. She loves to please.</dialogue>
<character>RICK</character>
<dialogue>Oooooo.</dialogue>
<character>O'NEILL</character>
<parenthetical>( indicating the bedroom . )</parenthetical>
<dialogue>Right in there, pal.</dialogue>
<character>RICK</character>
<dialogue>If I'm not out in a half hour, send for the paramedics.</dialogue>
<character>O'NEILL</character>
<dialogue>That's the old Rick!</dialogue>
<scene_description>Rick enters the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>It 's dark , but for a lamp on the nightstand which is on . In one corner of the room we SEE the figure of a woman .</scene_description>
<character>RICK</character>
<dialogue>Hellooo!</dialogue>
<scene_description>Tracey walks toward Rick . The light illuminates her . What we see is truly the most beautiful woman on earth . She is totally nude . A vision that would make any man screw and ask questions later .</scene_description>
<character>RICK</character>
<parenthetical>( to himself ; overwhelmed by her . )</parenthetical>
<dialogue>Eat my chair!</dialogue>
<character>TRACEY</character>
<dialogue>Take me. please.</dialogue>
<scene_description>Rick instinctively makes a move toward her . He decides to go for it . RICK 'S POV - TRACEY Just then a strange thing happens to Tracey 's face . It transforms into Debbies . ANOTHER ANGLE Rick stops dead in his tracks . He ca n't believe it . Debbie 's face is now on Tracey 's body .</scene_description>
<character>TRACEY/DEBBIE</character>
<dialogue>You promised me, Rick. You promised you would n't make love to anyone else.</dialogue>
<scene_description>Rick is shaken by this . He shakes his head and wipes at his eyes . Debbie 's face is gone . He moves toward Tracey again . TRACEY Her face transforms into Sister Mary Francis .</scene_description>
<character>TRACEY/SISTER MARY FRANCIS</character>
<dialogue>Do n't go back on your word, Rick. Be true ; be strong.</dialogue>
<scene_description>Sister Mary Francis 's face disappears . ANOTHER ANGLE</scene_description>
<character>RICK</character>
<dialogue>I ca n't do it.</dialogue>
<scene_description>TRACEY Her face becomes Stan 's .</scene_description>
<character>TRACEY/STAN</character>
<dialogue>You nuts? Look at me, I'm beautiful!</dialogue>
<scene_description>Stan 's face turns back to Tracey 's . ANOTHER ANGLE All the kids from his bus are gathered around Tracey . They 're egging him on .</scene_description>
<character>KIDS</character>
<dialogue>Do it! Come on! Put her away! Go for it!</dialogue>
<scene_description>Debbie 's face appears on Tracey 's .</scene_description>
<character>TRACEY/DEBBIE</character>
<parenthetical>( pleading . )</parenthetical>
<dialogue>Do n't Rick.</dialogue>
<scene_description>Debbie 's face disappears . Rick ca n't take it anymore .</scene_description>
<character>RICK</character>
<dialogue>I ca n't do it. I love Debbie.</dialogue>
<scene_description>He runs out of the room , leaving a very confused Tracey in his wake .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM</stage_direction>
<scene_description>O'Neill is waiting outside the bedroom door as Rick comes out .</scene_description>
<character>O'NEILL</character>
<dialogue>How'd it go?</dialogue>
<character>RICK</character>
<dialogue>Put it to you this way - you're gon na have to pry her out of the bed with a spatula, mister.</dialogue>
<character>O'NEILL</character>
<dialogue>I'm proud of you, lad.</dialogue>
<scene_description>Rick crosses to the bar area as O'Neill watches him go , beaming .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM ACROSS THE STREET - NIGHT</stage_direction>
<scene_description>Cole enters the room . He runs to the window . COLE 'S POV His window is right opposite the window in the hotel of Rick 's party . COLE He 's pleased . Very pleased . He places an arrow into his crossbow . COLE 'S POV He 's looking down his sights . Rick is the target . and an easy one at that , for at this very moment Rick is crossing past the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>The door opens and in walks Rajah , the Indian pimp . He looks pissed . He 's looking for Gary .</scene_description>
<character>RAJAH</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Am looking for this dunghead who took my women. He is being liar to me. 45 minutes way over.</dialogue>
<scene_description>COLE 'S POV He has Rick right where he wants him . CROSSBOW TRIGGER Cole 's finger squeezes off a shot . RICK Luckily he starts to dance with a female guest . This takes him out of line of the arrow . HOTEL SUITE WINDOW The arrow zooms through the open window .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>Rajah is standing by the door . The arrow zips through the room , misses everyone and lodges in the wall inches from Rajah 's head . He looks at the arrow and realizes he almost was killed .</scene_description>
<character>RAJAH</character>
<parenthetical>( frightened . )</parenthetical>
<dialogue>Holy Dung is this thing! I sic Milt on you. He get back bitches. Me? I haul ass.</dialogue>
<scene_description>He runs out of the room . Rick and O'Neill watch Rajah exit , confused .</scene_description>
<character>RICK</character>
<dialogue>Who was that?</dialogue>
<character>O'NEILL</character>
<dialogue>I do n't know.</dialogue>
<character>RICK</character>
<parenthetical>( looking at arrow . )</parenthetical>
<dialogue>What's this?</dialogue>
<character>O'NEILL</character>
<dialogue>Got me.</dialogue>
<scene_description>Just then another arrow comes zipping through the room , lodging in a chair inches from Rick .</scene_description>
<character>RICK</character>
<parenthetical>( to new arrow . )</parenthetical>
<dialogue>How ` bout this?</dialogue>
<character>O'NEILL</character>
<dialogue>Still drawing a blank.</dialogue>
<scene_description>They turn in the direction the arrow came from and look out the window . They spot Cole loading his bow in the room across the way .</scene_description>
<character>RICK</character>
<dialogue>He look familiar?</dialogue>
<character>O'NEILL</character>
<dialogue>Very.</dialogue>
<character>RICK</character>
<dialogue>C'mon. Get the hookers in a circle. We better put Cochise out of business.</dialogue>
<scene_description>They start for the door as we go to -</scene_description>
</scene>
<scene>
<stage_direction>INT. BACKSTAGE OF BEAUTY PAGEANT</stage_direction>
<scene_description>Chulo is waiting outside a door that says `` Dressing Room . '' Several of the beauty contestants race out wearing formal gowns . Laverne follows them , wearing a very tight black dress . Chulo approaches her .</scene_description>
<character>LAVERNE</character>
<dialogue>Stay away from me.</dialogue>
<character>CHULO</character>
<dialogue>I'm not gon na hassle you. Do n't worry. You look beautiful.</dialogue>
<character>LAVERNE</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>Think so? I borrowed it from one of the girls. I do n't look too fat?</dialogue>
<character>CHULO</character>
<dialogue>You're an angel. A madonna.</dialogue>
<scene_description>Laverne is moved by this . Before she can respond a Stage Manager takes her by the arm and pushes her on stage .</scene_description>
<character>STAGE MANAGER</character>
<dialogue>You're on.</dialogue>
<scene_description>Chulo watches Laverne enter the stage to hearty applause . ANGLE - THE AUDIENCE Mr. Thomerson and the other Judges sit in the front row making notes . MEDIUM SHOT - THE STAGE The girls are lined up on pedestals as the MC approaches Laverne</scene_description>
<character>MC</character>
<dialogue>All right, here is your question, Miss. Er.</dialogue>
<scene_description>He looks through his cards hurriedly and is unable to find Laverne 's .</scene_description>
<character>LAVERNE</character>
<dialogue>Rivas.</dialogue>
<character>MC</character>
<dialogue>Miss Rivas. Yes. How would you solve our country's present economic problems?</dialogue>
<character>LAVERNE</character>
<dialogue>Who, me?</dialogue>
<character>MC</character>
<dialogue>Yes.</dialogue>
<character>LAVERNE</character>
<dialogue>That's a good question. From the way I understand it, according to supply side economics, when supply exceeds demand, recession is the result. That's why I think we should control the credit markets and increase the prime rate. That way, the consumer price index will stabilize and we will have economic recovery.</dialogue>
<scene_description>ANGLE - THE CROWD They break into spontaneous applause . ANGLE - CHULO He is totally blown away . ANGLE - LAVERNE She smiles broadly at the applause and walks off stage . Chulo moves alongside her .</scene_description>
<character>CHULO</character>
<dialogue>How'd you know all that stuff? You're a real brain.</dialogue>
<character>LAVERNE</character>
<dialogue>Nah, I used to fuck a librarian.</dialogue>
<scene_description>Chulo looks at her with awe and respect as she exits into the dressing room .</scene_description>
<character>CHULO</character>
<dialogue>Wow!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - NIGHT</stage_direction>
<scene_description>Debbie , her mother and the girls enter the lobby . They approach the Hotel Manager , who is standing behind the front desk . They are dressed garishly , like hookers . Debbie has on a cheap blonde wig and mini skirt . The Manager looks at them the way one would look at an approaching plague .</scene_description>
<character>DEBBIE</character>
<dialogue>I do n't believe we're doing this.</dialogue>
<scene_description>The Manager crosses to them .</scene_description>
<character>MANAGER</character>
<dialogue>Can I help you, ladies?</dialogue>
<character>DEBBIE</character>
<dialogue>Yes, we're looking for the Stahl party.</dialogue>
<character>MANAGER</character>
<dialogue>Room 1002.</dialogue>
<scene_description>The girls turn and start toward the elevator . Mrs. Thomerson , who is wearing the kind of push - up bra that makes her tits look like the Black Hills , smiles at the Manager seductively . He smiles back , then catches himself .</scene_description>
<character>MANAGER</character>
<parenthetical>( to Bellboy . )</parenthetical>
<dialogue>Those guys are asking for it.</dialogue>
<scene_description>The girls cross to the elevator . Ilene pushes the button and the doors swing open . They get inside and just before the doors close , a huge behemoth of a man joins them inside . He turns and faces CAMERA . It 's Milt , Rajah 's beefy helper . He does n't look happy as he eyes the girls . They look back at him uncomfortably as the doors slam shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR</stage_direction>
<scene_description>The elevator door opens . Milt has all the girls by the collar and hustles them down the hall .</scene_description>
<character>ILENE</character>
<dialogue>You're making a big mistake.</dialogue>
<character>MILT</character>
<dialogue>Shut up. You still got another job to do here.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>What kind of job? I'm a housewife.</dialogue>
<character>DEBBIE</character>
<dialogue>Quiet, Mother.</dialogue>
<scene_description>Milt stops at a door and kicks it with his foot . The door opens a crack at first , then swings open wide , revealing six middle - aged Japanese business MEN in their underwear . They smile wide at the girls , obviously thrilled with the quality of the merchandise delivered to them . Milt shoves them into the room .</scene_description>
<character>MILT</character>
<dialogue>Get in there.</dialogue>
<scene_description>He slams the door shut and exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE GUYS' ROOM</stage_direction>
<scene_description>The guys start to move toward our panicked girls . They speak to each other in Japanese -LRB- with English subtitles -RRB-</scene_description>
<character>JAPANESE ONE</character>
<dialogue>Nice looking quim, huh, Bob?</dialogue>
<character>JAPANESE TWO</character>
<dialogue>Yeah, you know me, Ray, I've always been a sucker for redheads.</dialogue>
<character>JAPANESE FOUR</character>
<dialogue>Hubba - hubba.</dialogue>
<character>BOBBIE</character>
<dialogue>Let's get out of here, girls.</dialogue>
<scene_description>They turn toward the door . One of the Japanese races over and gets there first , slamming and bolting the door shut .</scene_description>
<character>DEBBIE</character>
<dialogue>Guys, take it easy. Guys.</dialogue>
<scene_description>The girls run around the room in a panic with the Japanese chasing them in very hot pursuit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COLE'S ROOM</stage_direction>
<scene_description>Rick , O'Neill and Tracey quietly approach Cole 's door . Tracey is dressed in a see - through negligee .</scene_description>
<character>RICK</character>
<dialogue>This is it.</dialogue>
<parenthetical>( he positions Tracey outside the door . )</parenthetical>
<dialogue>Go get ` im.</dialogue>
<scene_description>He and O'Neill duck around the hallway corner , out of sight .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>He is at the window , holding his crossbow . He is frantically searching the bachelor party across the way for any sign of Rick .</scene_description>
<character>COLE</character>
<dialogue>Where the hell is he?</dialogue>
<scene_description>He hears a KNOCK on the DOOR . Cole quickly hides his crossbow under the bed and answers the door . ANOTHER ANGLE Tracey stands in the open door . Cole 's jaw drops open . He has never seen anything as lovely .</scene_description>
<character>COLE</character>
<dialogue>Yeah?</dialogue>
<character>TRACEY</character>
<dialogue>Make love to me. please.</dialogue>
<scene_description>She walks into the room . Cole closes the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR OUTSIDE COLE'S DOOR</stage_direction>
<scene_description>Rick and O'Neill run up to the door . They listen closely . We HEAR the SOUND of Cole 's SHIRT being RIPPED off , the buttons flying around the room , then the SOUND of his pant ZIPPER being undone .</scene_description>
<character>RICK</character>
<dialogue>T minus. 3. 2. 1. We have ignition.</dialogue>
<scene_description>e and O'Neill burst into the room and close the door .</scene_description>
<character>COLE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hey!</dialogue>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>O'Neill is tying the end of a sheet around the bed post . We SEE the bed is minus its sheets and blankets .</scene_description>
<character>O'NEILL</character>
<dialogue>All set here.</dialogue>
<scene_description>ANOTHER ANGLE The guys have tied the sheets and blankets together and made a rope . The other end is tied around Cole 's chest . And that 's all Cole is wearing ; he 's nude .</scene_description>
<character>COLE</character>
<dialogue>You guys are never going to get away with this.</dialogue>
<scene_description>Rick stuffs Cole 's underwear in his mouth to gag him .</scene_description>
<character>RICK</character>
<dialogue>We're just going to keep you in a safe place until after the party.</dialogue>
<scene_description>He and O'Neill lift Cole up and put him out the window . They hang onto the sheet/blanket rope and lower him slowly outside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL</stage_direction>
<scene_description>We SEE Cole being lowered from the window . CLOSER ON COLE He 's struggling , but can do nothing about his predicament . He looks down . COLE 'S POV The hotel parking lot is ten stories below . COLE He looks up to the guys . RICK AND O'NEILL They look down at him from the window above .</scene_description>
<character>RICK</character>
<dialogue>Now, do n't get into any trouble.</dialogue>
<character>O'NEILL</character>
<dialogue>Take care.</dialogue>
<character>RICK & O'NEILL</character>
<dialogue>Byeeeee!</dialogue>
<scene_description>They duck inside the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>Rick , O'Neill and Tracey exit the room .</scene_description>
<character>RICK</character>
<parenthetical>( to Tracey . )</parenthetical>
<dialogue>Do n't you wish you were a guy so you could have fun like this?</dialogue>
<scene_description>COLE He 's scared to death .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>We SEE that Cole 's weight is pulling the bed to the window . COLE He 's slowly lowering down the side of the building .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER HOTEL ROOM</stage_direction>
<scene_description>A YOUNG COUPLE enters the room . They are very much in love . He gives her a kiss and closes the door .</scene_description>
<character>MAN</character>
<dialogue>Why do n't you get comfortable?</dialogue>
<scene_description>She smiles coyly and starts to undress . He crosses to the closed blinds .</scene_description>
<character>MAN</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There's a wonderful moon out tonight.</dialogue>
<scene_description>He opens the blinds , revealing Cole 's ass pressed up against the window . WOMAN She screams , horrified .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE BUSINESSMEN'S ROOM</stage_direction>
<scene_description>The girls are being hotly pursued by the Japanese men .</scene_description>
<character>JAPANESE/RAY</character>
<parenthetical>( subtitled . )</parenthetical>
<dialogue>Hey, Bob, this beats the shit out of sushi, does n't it?</dialogue>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>The bed moves right up against the wall under the window . We SEE the end tied to the bed post is beginning to untie . COLE He 's panicked .</scene_description>
</scene>
<scene>
<stage_direction>INT. COLE'S ROOM</stage_direction>
<scene_description>The knot unties . COLE He falls OUT OF FRAME . The `` rope '' trailing behind .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR</stage_direction>
<scene_description>The young couple from the room are seated in his sportscar . He 's cranking open the sun roof .</scene_description>
<character>MAN</character>
<dialogue>Babe, I did n't know anything about that.</dialogue>
<scene_description>The sun roof opens . Suddenly Cole 's ass sticks through it . The Woman freaks out again .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPORTSCAR</stage_direction>
<scene_description>We SEE a groggy Cole sitting in the sun roof . The Man in the car is trying to calm down his lady .</scene_description>
</scene>
<scene>
<stage_direction>INT. BANQUET ROOM - BACKSTAGE</stage_direction>
<scene_description>Chulo and Laverne are standing in the wings while in the b.g. we can SEE the MC singing the Moosehead Beer jingle . Then :</scene_description>
<character>MC</character>
<dialogue>All right, can we have our five finalists, please.</dialogue>
<character>CHULO</character>
<dialogue>Good luck, Laverne.</dialogue>
<scene_description>Laverne and the five finalists go out on stage . ANGLE - MR. THOMERSON He gives an envelope to the MC .</scene_description>
<character>MC</character>
<dialogue>Thank you, Mr. Thomerson. Well, the judges have made their decision, and this year's Miss Moosehead Beer is.</dialogue>
<scene_description>ANGLE - THE GIRLS They are all nervous , especially Laverne .</scene_description>
<character>MC</character>
<dialogue>Laverne Rivas.</dialogue>
<scene_description>Laverne squeals with delight and hugs the MC as he puts the bejeweled crown on her head . Then the MC leads her to the microphone .</scene_description>
<character>LAVERNE</character>
<parenthetical>( teary - eyed . )</parenthetical>
<dialogue>I ca n't believe it. This is the happiest day of my life, and I owe it all to him.</dialogue>
<scene_description>She points O.S. to Chulo , Chulo , with tears in his eyes , comes out on stage and , in a surge of emotion , picks Laverne up off her feet and hugs her passionately . ANGLE - THE JUDGES</scene_description>
<character>JUDGE</character>
<dialogue>I know I've had that girl.</dialogue>
<character>MR. THOMERSON</character>
<parenthetical>( looking at Chulo . )</parenthetical>
<dialogue>And I know that guy from somewhere, too.</dialogue>
<scene_description>The other judge looks at Mr. Thomerson suspiciously .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOTEL - NIGHT</stage_direction>
<scene_description>CAMERA PUSHES IN TO a car in the parking lot which is towing a U - Haul trailer behind it . The car stops and turns off its lights .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR</stage_direction>
<scene_description>Stan and O'Neill sit in the car looking at the hotel .</scene_description>
<character>STAN</character>
<dialogue>How the hell are we supposed to get this donkey inside?</dialogue>
<character>RYKO</character>
<dialogue>I do n't know.</dialogue>
<character>STAN</character>
<dialogue>What? I thought you told me you had it all figured out.</dialogue>
<character>RYKO</character>
<dialogue>Maybe I did. I do n't remember.</dialogue>
<character>STAN</character>
<parenthetical>( through clenched teeth . )</parenthetical>
<dialogue>I'd love to get you in an operating room. Just once.</dialogue>
<scene_description>ANGLE - HOTEL ENTRANCE Just then the `` Moose '' from the beauty pageant steps outside the hotel for a smoke . The guy in front removes the head , takes a drag of his cigarette and passes it to the guy bringing up the rear . After a beat , smoke steams out the rear end of the costume . ANGLE - THE GUYS IN THE CAR They both have the same idea . They stroll out of the car and approach the two men in the moose suit . We ca n't hear what they 're saying , but we can SEE the bills Stan is taking out of his pocket . Ryko grabs the moosehead and runs over to the trailer with it .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - A FEW MINUTES LATER</stage_direction>
<scene_description>The door opens and Stan and Ryko enter pulling the `` Moose '' by a rope .</scene_description>
<character>RYKO</character>
<dialogue>Can you believe how perfect it fits?</dialogue>
<character>STAN</character>
<dialogue>Yeah. Who'd have thought they'd both be a size 138 regular.</dialogue>
<scene_description>Just then Rick and O'Neill saunter into the lobby .</scene_description>
<character>O'NEILL</character>
<dialogue>Hey, you guys.</dialogue>
<character>RICK</character>
<dialogue>Who's your friend?</dialogue>
<character>STAN</character>
<parenthetical>( keeping it a surprise . )</parenthetical>
<dialogue>Oh. it's. er. the guys from the beer convention. We're bringing them to the party.</dialogue>
<character>RICK</character>
<dialogue>Great.</dialogue>
<parenthetical>( to moose . )</parenthetical>
<dialogue>I was wondering, how do you guys go to the bathroom in that thing?</dialogue>
<scene_description>At that moment he HEARS a SPLAT hit the ground . The guys look down and see a large , shiny clump of shiny brown excrement nestled in the shag carpet .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Say no more.</dialogue>
<scene_description>The Manager crosses to them .</scene_description>
<character>MANAGER</character>
<dialogue>I do n't know which one of you did this, but you're not going anywhere till you clean up this disgusting mess.</dialogue>
<character>O'NEILL</character>
<parenthetical>( resigned . )</parenthetical>
<dialogue>Anybody got a paper towel or a shovel or something?</dialogue>
<scene_description>All the guests turn away in disgust . Stan takes out a handkerchief and hands it to Rick , who closes his eyes and picks up the warm little bundle . The Manager turns and walks off in a huff . On the way back to the elevator , Rick checks to see no one is watching and places the handkerchief 's contents on the front desk , just OUT OF FRAME . Smiling contentedly , the guys lead the reluctant `` moose '' into the elevator . The doors slam shut . ANGLE AT THE DESK The Manager is just finishing checking in a couple from out of town .</scene_description>
<character>MANAGER</character>
<dialogue>I'll have the boy take your bags up.</dialogue>
<scene_description>He goes to hit the bell and to his surprise , his hand comes down on something soft and mushy . The look on his face tells us what it is . It 's the `` gift '' Rick left behind .</scene_description>
<character>MANAGER</character>
<parenthetical>( to couple . )</parenthetical>
<dialogue>Excuse me. I seem to have a hand full of potty.</dialogue>
<scene_description>Revolted , he races into a room marked `` MEN . '' ANGLE - BALLROOM DOORS The doors open and several people from the Moosehead beauty pageant come out . Mr. Thomerson is one of them .</scene_description>
<character>EXECUTIVE</character>
<dialogue>Thanks for helping us out, Ed. We appreciate it.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Any time, Al..</dialogue>
<scene_description>Mr. T. crosses to the door just as Cole comes running in , slightly dazed , wrapped in the tattered remnants of the sheet that held him suspended out the window . They both are shocked to see one another .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>Cole, my God, boy, what are you doing here? What happened?</dialogue>
<character>COLE</character>
<parenthetical>( nearly hysterical . )</parenthetical>
<dialogue>The bachelor party's upstairs. They made me get naked. They hung me from the window so high up it was so scary I fell down.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Take hold of yourself. What room are they in?</dialogue>
<character>COLE</character>
<dialogue>1002.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>All right, I'll go up there and take care of this myself.</dialogue>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>You look awful, son. Go find yourself some clothes.</dialogue>
<character>COLE</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>With a determined look , Thomerson crosses to the elevator , as Cole runs into the hotel gift shop .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - NIGHT</stage_direction>
<scene_description>Rick , Ryko , Stan , O'Neill enter with the `` moose . ''</scene_description>
<character>RICK</character>
<dialogue>Hi, guys. We brought back a friend.</dialogue>
<character>LARRY</character>
<dialogue>It's Bullwinkle.</dialogue>
<character>O'NEILL</character>
<dialogue>Gentlemen. Ladies. For your viewing pleasure, meet Mike the Magical Sexual Mule.</dialogue>
<scene_description>O'Neill lifts the head off the moose costume , revealing a real burro . The burro shows all his teeth as burros are apt to do when excited . O'Neill and Stan zip off the rest of his costume , revealing a well - endowed beast .</scene_description>
<character>RICK</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>How about this, a Trojan donkey.</dialogue>
<character>O'NEILL</character>
<dialogue>And here's Mike's partner, in more ways than one. A gal who does n't think happiness ends with primates. The very lovely, Miss Desiree.</dialogue>
<scene_description>DESIREE , an erotic , tall woman wearing a leather face mask , comes out of the bedroom carrying a long whip . Desiree puts Ravel 's `` Bolero '' on the PHONOGRAPH ; then she starts to sway her hips sensuously in front of the animal . ANGLE - THE PARTY GUESTS They all scream and holler approval . ANGLE - DESIREE She rubs up against the donkey , shaking her backside against the animal 's .</scene_description>
<character>RICK</character>
<dialogue>Swell. She's gon na pin her tail on the donkey.</dialogue>
<scene_description>Now all eyes are on Desiree as she does an erotic striptease . ANGLE - THE DONKEY It is getting bored and a little hungry . It bends its head to the left and spots the table with food on it . It bends over and starts munching on some cole slaw . ANGLE - DESIREE To the catcalls of the partygoers , Desiree is getting all worked up , stripping down to a G - string . THE DONKEY It 's had enough cole slaw . Now it sniffs at Larry 's drug smorgasbord and then starts to chomp on a few pills . Next it sticks its head into the lines of coke and snorts them up in one gigantic sniff . ANGLE - DESIREE She lets her long , flowing hair hang down over her breasts . Then she takes a mattress and sets it on the floor . She rolls on it and sways her hips sensuously on her knees . ANGLE - HER AUDIENCE Rick ca n't believe he 's seeing this . The other guys are screaming at the top of their lungs . Even Larry seems spell - bound . ANGLE - THE DONKEY It does n't look so hot as it finishes off every drug on the table . ANGLE - DESIREE She moves over to the donkey , hits him on the side gently with her whip , then pulls him over to her mattress . The donkey 's blood - shot eyes are the size of saucers . Once again he shows his teeth in a kind of shit - eating grin . Desiree drops to the mattress and beckons the animal to her . Mike the Donkey obediently does as he 's told , moving to her in a trance - like , very turned - on state .</scene_description>
<character>DESIREE</character>
<dialogue>C'mon, Mike. Come to Mama.</dialogue>
<scene_description>The Donkey takes another step forward , and then suddenly rears up on his hind legs , snorting . He starts bucking wildly . The crowd moves out of his way as the animal goes berserk for a few seconds , then without warning collapses in a heap on the floor . Everyone goes rushing up to it . Chulo and Laverne enter the room , followed by several of the other contestants and others from the beauty pageant .</scene_description>
<character>CHULO</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Hey, you guys, I'm getting married.</dialogue>
<parenthetical>( to Laverne . )</parenthetical>
<dialogue>We're gon na make lots of kids.</dialogue>
<scene_description>He looks over and sees everyone gathered around Mike .</scene_description>
<character>CHULO</character>
<dialogue>What the hell happened?</dialogue>
<scene_description>Gary shushes him . We PUSH IN ON Dr. Stan , who is listening for signs of life in the animal 's chest . Finally Stan stands up somberly .</scene_description>
<character>STAN</character>
<dialogue>Drug overdose.</dialogue>
<character>DESIREE</character>
<dialogue>You mean it's.</dialogue>
<character>STAN</character>
<dialogue>Afraid so. I did everything I could.</dialogue>
<character>LARRY</character>
<dialogue>It's my fault. He's dead because. I left those drugs.</dialogue>
<character>RICK</character>
<dialogue>It's really not all your fault. I was talking to Mike earlier and he had a lot of problems. Personal things, you know. Made some bad investments. At least now he's peaceful.</dialogue>
<character>O'NEILL</character>
<dialogue>C'mon, we got ta get this thing out of here.</dialogue>
<scene_description>O'Neil places the moosehead on the donkey as Rick , Gary , Chulo and Stan pull the donkey out into the hall like pallbearers at a funeral .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Mr. Thomerson , who 's been standing at the door , takes this time to sneak into the suite right behind them .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S SUITE</stage_direction>
<scene_description>Mr. Thomerson ca n't believe the goings - on . People are making out , drinking and dancing . He hides in a corner to watch undercover . ANGLE IN CORRIDOR The guys shove the donkey onto the elevator and the doors snap shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY</stage_direction>
<character>MANAGER</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Yes. I see. Of course we do n't allow that sort of thing here, ma'am. No. Well, I'm sorry the noise woke you. I'll take care of it right away.</dialogue>
<scene_description>He hangs up and crosses to the elevator .</scene_description>
<character>MANAGER</character>
<dialogue>I've had enough of this.</dialogue>
<scene_description>Just then the elevator door swings open . The donkey falls out into the lobby . The Manager screams in terror , as do several of the hotel guests .</scene_description>
<character>MANAGER</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>That's it. I'm calling the cops.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - NIGHT</stage_direction>
<scene_description>Some more uninvited guests come drifting into the room .</scene_description>
<character>RICK</character>
<dialogue>Welcome, welcome, one and all.</dialogue>
<character>MR. THOMERSON</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Rick!</dialogue>
<character>RICK</character>
<parenthetical>( recognizing the voice . )</parenthetical>
<dialogue>Oh, no!</dialogue>
<scene_description>He turns and spots Mr. Thomerson as he makes his way through the party .</scene_description>
<character>RICK</character>
<dialogue>Christ. it's Mr. Laughs.</dialogue>
<scene_description>Mr. Thomerson goes nose to nose with Rick .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>This is it. You're through. When Debbie hears about this she'll never see you again. Now I'm calling the cops to break up this sex orgy. And toss your ass in jail!</dialogue>
<scene_description>He turns away and walks OUT OF FRAME . O'Neill crosses to Rick .</scene_description>
<character>O'NEILL</character>
<dialogue>What are you going to do about it?</dialogue>
<character>RICK</character>
<parenthetical>( defeated . )</parenthetical>
<dialogue>What can I do? I'm dead. Debbie's going to go crazy and end the whole thing.</dialogue>
<character>O'NEILL</character>
<dialogue>I'll stop him. You stall him.</dialogue>
<scene_description>ANOTHER ANGLE Mr. Thomerson is heading for the phone in the bedroom .</scene_description>
<character>RICK</character>
<dialogue>Mr. Thomerson!</dialogue>
<scene_description>Thomerson stops and turns to Rick .</scene_description>
<character>RICK</character>
<parenthetical>( continuing ; dramatic . )</parenthetical>
<dialogue>Please, no. Do n't ruin my life. Please!</dialogue>
<scene_description>He drops to his knees and hugs Thomerson 's legs . The party stops and everyone watches .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>It's not me. I was brought up on the wrong side of the tracks. A victim of my environment.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL BEDROOM - O'NEILL AND LARRY</stage_direction>
<scene_description>Larry is handing O'Neill a plastic bag filled with white powder .</scene_description>
<character>O'NEILL</character>
<dialogue>Is that all the coke in the place?</dialogue>
<character>LARRY</character>
<dialogue>That's it.</dialogue>
<character>O'NEILL</character>
<dialogue>Good.</dialogue>
<scene_description>O'Neill unscrews the mouthpiece off the phone . He pours the bag of cocaine into the phone . He then screws the mouthpiece back on over this mound of powder . Satisfied with his work , he exits the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUITE - MAIN ROOM</stage_direction>
<scene_description>Thomerson is trying to free himself from Rick 's grasp as Rick continues with his `` hard luck '' story .</scene_description>
<character>RICK</character>
<dialogue>My poor old mammy had to take in laundry. My pappy had to work 20 hours a day at the Pez Factory.</dialogue>
<scene_description>ANOTHER ANGLE O'Neill gestures to Rick that everything 's ready . Rick immediately jumps to his feet .</scene_description>
<character>RICK</character>
<dialogue>The end.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>No sob story is going to change my mind.</dialogue>
<scene_description>Mr. Thomerson pushes O'Neill aside and enters the bedroom .</scene_description>
<character>O'NEILL</character>
<dialogue>The phone's all yours.</dialogue>
<scene_description>Mr. Thomerson , in the bedroom , picks up the receiver . As he does so , a cloud of cocaine falls out of the mouthpiece . He screams at Rick , gesturing with the phone in his hand as he dials . Each move produces a large cloud of powder , which causes him to sniffle slightly .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>I never liked you. I've never liked any of your friends. I've hated you from the first time I saw you. And now you are out of my life. You are out of my life!</dialogue>
<scene_description>He starts to react from inhaling the powder . He puts the receiver to his ear . He takes a deep breath and tries to dial another number . A large cloud of coke flies up his nose . He 's stunned . He takes another deep drag . He 's hooked . He forgets all about dialing . He jams the receiver against his nose and takes deep drag after deep drag . Desiree , still wearing her leather mask , crosses to him and sits down next to him on the bed . He gives her a big , wide smile . O'Neill closes the door .</scene_description>
<character>O'NEILL</character>
<dialogue>Reach out and snort someone.</dialogue>
<character>RICK</character>
<dialogue>I'm saved. Let's party!</dialogue>
<scene_description>Everyone starts to whoop it up again .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE SUITE</stage_direction>
<scene_description>It 's still a standoff between the girls and the horny Japanese .</scene_description>
<character>DEBBIE</character>
<dialogue>Let's give them what they want.</dialogue>
<character>PHOEBE</character>
<dialogue>What?</dialogue>
<scene_description>Debbie opens the bedroom door and motions for the Japanese to file in .</scene_description>
<character>DEBBIE</character>
<dialogue>Let's go. Everyone inside.</dialogue>
<scene_description>The Japanese immediately put two and two together and get orgy . These are some happy fellas as they enter the bedroom .</scene_description>
<character>BOBBIE</character>
<dialogue>Deb, we're pretending to be hookers.</dialogue>
<character>DEBBIE</character>
<parenthetical>( herding in the last Japanese . )</parenthetical>
<dialogue>Right in here. The big show starts in one minute.</dialogue>
<scene_description>The Japanese man enters the room . Debbie slams the door shut behind him .</scene_description>
<character>DEBBIE</character>
<dialogue>Let's go.</dialogue>
<character>ILENE</character>
<dialogue>Look, girls - I'll stay behind and hold them off. The rest of you break for it!</dialogue>
<character>DEBBIE</character>
<dialogue>Ilene, are you crazy?</dialogue>
<character>ILENE</character>
<dialogue>I know what I'm doing. Go!</dialogue>
<scene_description>The girls run out the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAPANESE BEDROOM</stage_direction>
<scene_description>Ilene smiles . She has what she wants . She walks into the bedroom , surrounded by panting Japanese .</scene_description>
<character>ILENE</character>
<dialogue>Gentlemen, the gods have answered your prayers. Bonzai!</dialogue>
<scene_description>She takes a running leap and dives on top of the Japanese .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR</stage_direction>
<scene_description>Debbie and the ladies run to an elevator . Debbie presses the `` down '' button .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>I hope Ilene's all right.</dialogue>
<character>DEBBIE</character>
<dialogue>I hope those guys are all right.</dialogue>
<scene_description>The elevator door opens , revealing the donkey lying flat on his back . His stiff legs point skyward . The girls see him and scream . They run down the hall to the stairway . On the way Debbie notices she 's passing Room 1002 . She HEARS the party SOUNDS inside . She heads for the room angrily . This is a lady out to even a score .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<scene_description>As Debbie opens the door , her father walks by with Desiree on his arm . Neither sees the other . Debbie enters the room . She is surprised by the masses of humanity rubbing shoulders with one another in the room . O'Neill looks over from the other side of the room and spots her . He is n't fooled for a minute by her wig and mini skirt . He runs over to Rick .</scene_description>
<character>O'NEILL</character>
<dialogue>Guess who's here? Another surprise guest.</dialogue>
<character>RICK</character>
<dialogue>Who?</dialogue>
<character>O'NEILL</character>
<dialogue>Debbie.</dialogue>
<character>RICK</character>
<dialogue>My Debbie?</dialogue>
<character>O'NEILL</character>
<dialogue>What's with her costume?</dialogue>
<scene_description>O'Neill points and Rick sees Debbie . She does n't see them .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I do n't know. Go up to her, make like you do n't know her and send her into the other bedroom.</dialogue>
<character>O'NEILL</character>
<dialogue>You got it.</dialogue>
<scene_description>O'Neill crosses to Debbie .</scene_description>
<character>O'NEILL</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Hi, baby. You're new here. I do n't think the groom's had you yet, has he?</dialogue>
<scene_description>PUSH IN ON Debbie . She 's pissed .</scene_description>
<character>DEBBIE</character>
<dialogue>No, not yet. Where is he?</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM</stage_direction>
<scene_description>Rick opens the door from the bathroom . The lights are turned off and from the flashing illumination of a neon sign outside the window we can MAKE OUT the outline of Debbie 's body on the bed .</scene_description>
<character>RICK</character>
<dialogue>I ca n't see anything.</dialogue>
<scene_description>Debbie , in a disguised Southern accent , speaks out .</scene_description>
<character>DEBBIE</character>
<dialogue>Do n't turn on the lights, sugar.</dialogue>
<parenthetical>( seductively . )</parenthetical>
<dialogue>I'll lead you around.</dialogue>
<character>RICK</character>
<dialogue>How wonderful. A seeing eye hooker.</dialogue>
<character>DEBBIE</character>
<dialogue>Why do n't you get undressed.</dialogue>
<scene_description>Rick starts to undress . While undressing , he takes on the persona of Mr. Rodgers . He sings Rodgers ' opening theme in that same sappy , child - like manner of his .</scene_description>
<character>RICK</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>It's a lovely day in the neighborhood. It's a lovely day, it's a beauty, would you be mine, could you be mine.</dialogue>
<parenthetical>( he 's now stripped down to his underwear . )</parenthetical>
<dialogue>. Please wo n't you be my neighbor.</dialogue>
<parenthetical>( as Mr. Rodgers . )</parenthetical>
<dialogue>Hi. Hi there. Today we're going to learn about anatomy.</dialogue>
<scene_description>He jumps on top of her and starts mauling her passionately . Debbie snaps on the lights . She throws off her wig and she and Rick come face to face .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Debbie. you're a hooker! I ca n't believe it!</dialogue>
<scene_description>She all but jumps out of bed .</scene_description>
<character>DEBBIE</character>
<dialogue>I ca n't trust you!</dialogue>
<character>RICK</character>
<dialogue>C'mon, I knew it was you.</dialogue>
<character>DEBBIE</character>
<parenthetical>( holding back tears . )</parenthetical>
<dialogue>Rick, you're lying!</dialogue>
<scene_description>As Rick protests , she throws on her blouse and runs out of the room . Rick charges after her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - MAIN ROOM</stage_direction>
<scene_description>The place is wall to wall people . ANGLE - DEBBIE She tries to make her way to the exit , but her path is slowed by all the happy revelers .</scene_description>
<character>DEBBIE</character>
<parenthetical>( yelling over the din ; furious . )</parenthetical>
<dialogue>Let go of me!</dialogue>
<character>RICK</character>
<parenthetical>( yelling back . )</parenthetical>
<dialogue>Debbie, I'm telling you, I did n't do anything, hardly.</dialogue>
<character>DEBBIE</character>
<dialogue>The marriage is off. Now you can screw around with your friends for the rest of your life.</dialogue>
<character>RICK</character>
<dialogue>I do n't want that. I want to be with you.</dialogue>
<character>DEBBIE</character>
<dialogue>And I want to be with someone who understands the meaning of the word commitment.</dialogue>
<character>RICK</character>
<dialogue>I am committed. I love you.</dialogue>
<scene_description>Just then Desiree and Mr. Thomerson cross THROUGH FRAME . She 's leading him around by the silver chain , which is now attached to his neck . She 's also carrying a leather whip .</scene_description>
<character>DEBBIE</character>
<dialogue>I do n't believe you.</dialogue>
<character>RICK</character>
<dialogue>You do n't believe me? Okay, fine.</dialogue>
<scene_description>Rick gets up on the sofa and yells loudly over the din .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>People! Can I have your attention. people!</dialogue>
<scene_description>Everyone stops what they 're doing and looks up .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I want to ask you all a question. Have I had sex with anybody in this room tonight?</dialogue>
<scene_description>There 's a negative response from the crowd .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Are you sure?</dialogue>
<scene_description>Everyone responds positively .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>All the guests go back to partying . Rick drops off the sofa and faces Debbie .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>See? And these are not just ordinary party - goers - there are professionals in this crowd - I did n't want any of them. You. You're what I want. Understand?</dialogue>
<character>DEBBIE</character>
<parenthetical>( melted . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>RICK</character>
<dialogue>Great. Now, what do you want to do about it?</dialogue>
<character>DEBBIE</character>
<parenthetical>( sexy . )</parenthetical>
<dialogue>Let's get naked.</dialogue>
<character>RICK</character>
<dialogue>You're on.</dialogue>
<scene_description>She takes him by the hand and crosses into the other bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. OTHER BEDROOM</stage_direction>
<scene_description>Rick and Debbie enter . To their surprise they find a man wearing a leather mask tied to the bed and happily licking Desiree 's boots , which she dangles in front of him . She also holds a whip over his head . Despite the mask , there is something very familiar about his face , and the white powder encrusted all over his nose . Debbie picks up on this immediately .</scene_description>
<character>DEBBIE</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>Daddy?</dialogue>
<scene_description>Sure enough , Mr. Thomerson looks up and grimaces , knowing he 's been caught with his bondage down . He tries to say something , but the boot in his mouth prevents anything intelligent from coming out .</scene_description>
<character>MR. THOMERSON</character>
<dialogue>Ebbie. Ger. umph. lable.</dialogue>
<character>RICK</character>
<dialogue>Of course, sir. That explains it. Leather is a very good source of vitamin E.</dialogue>
</scene>
<scene>
<stage_direction>INT. SUITE - MAIN ROOM</stage_direction>
<scene_description>The party has reached fever pitch . Suddenly police SIRENS pierce through the party sounds . Everyone freezes . We HEAR the Hotel Manager BEATING on the DOOR with his fists .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR</stage_direction>
<scene_description>The Manager is pounding on the door . By his side are several UNIFORMED POLICE .</scene_description>
<character>MANAGER</character>
<dialogue>You're all under arrest. Open up!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE</stage_direction>
<character>RICK</character>
<parenthetical>( to everyone in the room . )</parenthetical>
<dialogue>Your attention, please. May I be the first to say, It's a raid!</dialogue>
<scene_description>Everyone starts to panic and run for the doors .</scene_description>
<character>RICK</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I'm glad no one is panicking.</dialogue>
<scene_description>He snaps up his clothes from the bedroom .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR</stage_direction>
<character>MANAGER</character>
<parenthetical>( to Police . )</parenthetical>
<dialogue>Break it in, boys!</dialogue>
<scene_description>The cops rear back for a run at the door . At that moment the hotel door opens up and the cops and the Manager are trampled by Rick , Debbie , Mr. Thomerson , Rick 's gang , other guests and assorted hookers . They run down the stairs . The cops pick themselves up and give chase . The Manager looks inside the room and is devastated by what he sees . Hiroshima looked better after the A - bomb .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY</stage_direction>
<scene_description>We SEE the police have collared Bobbie , Phoebe , Mrs. Thomerson and the other ladies of the shower as hooker suspects . Our bachelor party mob now charges down the stairs and out the hotel doors . The cops grab Mr. Thomerson as he tries to get out , and they throw him in line with the others . Unfortunately for him , he 's standing next to Mrs. Thomerson .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>Ed! What are you doing here?</dialogue>
<scene_description>Before he can answer , Mrs. Thomerson checks out his shocking leather outfit .</scene_description>
<character>MRS. THOMERSON</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Ed. you're kinky!</dialogue>
<character>MR. THOMERSON</character>
<dialogue>The phone made me do it!</dialogue>
<character>MRS. THOMERSON</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>You've been having strange sex!</dialogue>
<character>MR. THOMERSON</character>
<dialogue>No, Brett, I.</dialogue>
<character>MRS. THOMERSON</character>
<dialogue>It's all right.</dialogue>
<parenthetical>( proudly . )</parenthetical>
<dialogue>So have I.</dialogue>
<scene_description>He is totally blown away by this as the cops lead them out of the room .</scene_description>
<character>MRS. THOMERSON</character>
<dialogue>I've seen another man's diddly.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOTEL - MORNING</stage_direction>
<scene_description>Our people pile out of the hotel . Rick , Debbie and all Rick 's friends run down the street . Suddenly a Porsche pulls up between Rick and Debbie . It 's Cole . He reaches over and pulls Debbie into the car with him . She screams .</scene_description>
<character>RICK</character>
<dialogue>Cole, what the hell are you doing?</dialogue>
<character>COLE</character>
<dialogue>She's mine!</dialogue>
<scene_description>He drives off .</scene_description>
<character>RICK</character>
<dialogue>He's kidnapped her! Everyone into the bus!</dialogue>
<scene_description>They all board the bus .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET</stage_direction>
<scene_description>As Cole rounds a corner , a tire comes loose and rolls off the car - thanks to Chulo 's shoddy workmanship .</scene_description>
</scene>
<scene>
<stage_direction>INT. PORSCHE</stage_direction>
<character>COLE</character>
<dialogue>Shit, shit, shit, shit, shit.</dialogue>
<scene_description>He looks to the rear and sees Rick 's bus not far behind them . Suddenly he spots something O.S. . He grabs Debbie and runs OUT OF FRAME .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET</stage_direction>
<scene_description>A city maintenance truck is driving slowly down the center of the street . A man in the back of the truck is leisurely placing orange cones in the center line of the road . Cole , with Debbie in tow , grabs the truck 's DRIVER and hauls him out of his seat . He then places Debbie inside the truck and him at the wheel . He peels out . Our man with the cones in the back is unaware of what has happened . He keeps placing the cones on the street . However , now the truck is hitting speeds in the upper 70 's . The man 's leisure pace speeds up . He rapidly places cones on the road at break - neck speed .</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S BUS</stage_direction>
<scene_description>Rick , is plowing into the cones and knocking them all over . MAINTENANCE TRUCK Our man with the cones is almost completely exhausted .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY</stage_direction>
<scene_description>Rick is in pursuit , knocking over cones . He 's almost caught up with Cole .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>The vehicles reach the top of the hill . Cole grabs a sharp left and pulls into a movie theater parking lot . The maneuver loses Rick for a second . Rick jams on the brakes and doubles back into the parking lot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOVIE THEATER PARKING LOT</stage_direction>
<scene_description>Cole pulls up with a SCREECH in front of the theater . He grabs Debbie and jumps out of the truck . He drags her into the theater entrance . Rick brings his bus to a stop and he and the gang pour out of the bus .</scene_description>
<character>COLE</character>
<dialogue>He and Debbie stand outside the theater, which is a multi - plex cinema. Fourteen movie theaters under one roof. Prominent is a sign which reads : `` 24 HOUR 3D FESTIVAL!'' Cole drags Debbie into one of the theaters. The gang runs up to the theaters.</dialogue>
<character>RICK</character>
<dialogue>Fan out and look for them.</dialogue>
<scene_description>They all go running into various theaters . ANGLE - RYKO He approaches a theater and sees the title of the movie playing inside .</scene_description>
<character>RYKO</character>
<dialogue>Aw, I've seen this one already.</dialogue>
<scene_description>Rick chooses a theater and goes inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVIE THEATER</stage_direction>
<scene_description>The patrons are wearing their 3D glasses , watching the action on the screen . On the movie screen we SEE a man and a woman arguing . Cole and Debbie enter the theater . They run down to the front of the screen , heading for an exit . Rick enters . He gives chase and catches up with Cole . He takes a swing at Cole and Cole swings back . Behind them on the screen a man has come to the rescue of the woman . A fight starts in the movie , also . The patrons sit calmly watching the action . Miraculously , Rick 's fight with Cole is in perfect sync with the actors in the movie . Rick hits Cole with a punch that sends him backwards into several movie patrons . The patrons are impressed by the realism of the film 's special effects . Cole throws a punch . Rick ducks . The punch hits a MAN in the front row in the mouth .</scene_description>
<character>MAN</character>
<parenthetical>( to LADY next to him . )</parenthetical>
<dialogue>Gee, what a realistic effect.</dialogue>
<character>WOMAN</character>
<dialogue>Yeah, like you're in the movie with them.</dialogue>
<scene_description>Rick climbs over several rows and continues to pummel Cole . Cole grabs a woman 's purse and begins to hit Rick with it . Cole runs out of the aisle as Rick climbs over people and dives onto Cole , knocking him to the aisle .</scene_description>
<character>PATRON</character>
<parenthetical>( to his date . )</parenthetical>
<dialogue>Best 3D I've ever seen.</dialogue>
<scene_description>As the movie ends , Rick has Cole by the collar and is dragging him out of the theater .</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL OUTSIDE THEATER</stage_direction>
<scene_description>Rick exits the theater with Cole . He tosses Cole to Chulo . Debbie comes running behind Rick .</scene_description>
<character>RICK</character>
<parenthetical>( to Debbie . )</parenthetical>
<dialogue>Are you okay?</dialogue>
<character>DEBBIE</character>
<dialogue>Yeah.</dialogue>
<character>RICK</character>
<dialogue>This has been quite a night. Here's a thought. Why do n't we go home and give our private parts a workout?</dialogue>
<character>DEBBIE</character>
<parenthetical>( hugging him . )</parenthetical>
<dialogue>You're so romantic.</dialogue>
<scene_description>The Patrons are exiting . All of them are very up and excited by their 3D experience .</scene_description>
<character>WOMAN</character>
<dialogue>Absolutely amazing.</dialogue>
<scene_description>A Man who has taken a punch and has had his jacket ripped to shreds does n't seem pleased .</scene_description>
<character>MAN</character>
<dialogue>I've seen better.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BLUFF - DAY</stage_direction>
<scene_description>It 's another gorgeous day on the bluff overlooking the ocean . Just right for Rick and Debbie 's wedding . We SEE the wedding in progress . The area is adorned with flowers . The many guests are seated and taken in the moment . Among these are Tracey , Desiree and Gary 's she - man , who waves to Gary as he stands with the other ushers , Chulo , Ryko and Larry . Chulo is choked up and trying to hide his tears . He looks over at Laverne , who smiles to him .</scene_description>
<character>CHULO</character>
<parenthetical>( to Ryko . )</parenthetical>
<dialogue>Hey, man, do n't forget my bachelor party's next Friday night.</dialogue>
<character>GARY</character>
<dialogue>I'll get the hookers.</dialogue>
<character>RYKO</character>
<dialogue>No way.</dialogue>
<scene_description>Nearby stand the maids of honor , Bobbie , Phoebie and Ilene , who blows a kiss to her date , Ray -LRB- one of the Japanese businessmen -RRB- . The Thomersons sit in the front row . Neither of them is cherishing this moment .</scene_description>
<character>MR. THOMERSON</character>
<parenthetical>( sotto ; to Mrs. Thomerson . )</parenthetical>
<dialogue>We'll have morons for grandkids.</dialogue>
<parenthetical>( resigned to the fact . )</parenthetical>
<dialogue>But. at least we'll have grandkids.</dialogue>
<scene_description>They sort of smile at each other at the thought . Father Falwell is almost through with the ceremony . A car pulls up in the b.g. Exiting the car is Stan and a WOMAN . O'Neill , the best man , sees the car . He pokes Rick . He indicates to Rick someone has arrived . STAN We SEE the man in the car is Stan . He ushers the lady in the car to Larry . He 's surprised at who she is : his wife .</scene_description>
<character>LARRY</character>
<dialogue>Sue!</dialogue>
<character>SUE</character>
<dialogue>Hi, honey.</dialogue>
<character>LARRY</character>
<dialogue>How'd you get here?</dialogue>
<character>SUE</character>
<dialogue>Rick called me.</dialogue>
<scene_description>Larry looks to Rick and gives him a warm smile and a wave . Rick acknowledges Larry .</scene_description>
<character>LARRY</character>
<dialogue>Why do n't we go someplace and talk.</dialogue>
<scene_description>They walk off . FATHER FALWELL</scene_description>
<character>FATHER FALWELL</character>
<dialogue>Now, before I pronounce you man and wife, the groom wishes to recite his vow to Debbie. Richard.</dialogue>
<character>THOMERSONS</character>
<dialogue>They fear the worst.</dialogue>
<character>MR. THOMERSON</character>
<dialogue>Oh, God Almighty.</dialogue>
<scene_description>RICK He turns to Debbie . He waits a beat and begins .</scene_description>
<character>RICK</character>
<dialogue>Cheese. I love you more than cheese. And I love cheese a lot.</dialogue>
<character>THOMERSONS</character>
<dialogue>They hide their faces in their hands. Off in the distance a storm is coming in fast over the ocean. The wind begins to pick up. Undaunted, Rick continues his soliloquy.</dialogue>
<character>RICK</character>
<dialogue>In fact, more than dairy products in general. I love dairy. My love is cream. Pour me on the cereal of your life.</dialogue>
<scene_description>Now it starts to rain . FATHER FALWELL He wants this to end . He calls softly to Rick , trying to get his attention .</scene_description>
<character>FATHER FALWELL</character>
<dialogue>Rick. Rick. Hey.</dialogue>
<scene_description>People begin to scurry for cover . In the b.g. , under a tree , we SEE Larry and his wife huddled in each other 's arms . From the way they look , they have worked things out . RICK</scene_description>
<character>RICK</character>
<dialogue>I think this song pretty much sums up the way I feel at this moment.</dialogue>
<scene_description>He begins to sing the theme from `` The Flintstones '' with all the gusto of Jack Jones . Father Falwell has had enough .</scene_description>
<character>FATHER FALWELL</character>
<parenthetical>( rapid fire . )</parenthetical>
<dialogue>I now pronounce you man and wife. Goodbye.</dialogue>
<scene_description>He blesses them lightning fast and springs for his car . THE SCENE CREDITS ROLL as Rick continues to sing in the driving rain . Debbie joins in on the chorus . She loves her man . Everyone has run for the safety of their cars . Everyone but the Thomersons , who sit and look on bewildered .</scene_description>
<character>RICK AND DEBBIE</character>
<dialogue>`` Flintstones, meet the Flintstones They're a prehistoric family From the town of Bedrock They're a page right out of history.''</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script> | Party-animal Rick Gassko (Tom Hanks), who makes his living as a Catholic school bus driver, decides to settle down and marry his girlfriend Debbie Thompson (Tawny Kitaen). After gathering his buddies to give them the news, his shocked friends (led by Jay (Adrian Zmed)) decide to throw him the bachelor party to end all bachelor parties. The bride's wealthy, conservative parents are not at all happy with her decision and her father decides to enlist the help of Debbie's ex-boyfriend Cole Whittier (Robert Prescott) to break them up and win her back. While Debbie worries and goes off to her bridal shower thrown by her friends, Rick heads off to the bachelor party and promises to remain faithful. Both parties start off on the wrong foot thanks to a little sabotage by Cole. As the bachelor party starts to heat up, Debbie and the girls decide to get even with Rick and his friends by having a party of their own. Both parties eventually collide leading to Debbie accusing Rick of infidelity. Both parties end up becoming one big drunken orgy and the bachelors' hotel room ends up getting trashed much to the chagrin of the hotel's ever-frustrated manager (Kenneth Kimmins). Adding to the confusion is Rick's friend, Brad who has become despondent over his wife breaking up with him. At various points during the movie, he riotously botches every suicide he attempts. He even tries slitting his wrists with an electric razor to which Rick says, "Well.....at least your wrists will be smooth and kissable." Rick convinces Debbie of his love and faithfulness just as the party is raided by the police. In the ensuing melee, Rick and Debbie become separated and Cole kidnaps Debbie leaving Rick and his friends to chase after them culminating in a showdown between Rick and Cole, which includes a chase through a 36-screen movie theater. Rick and Cole have a humorous fist fight just below the movie screen which is showing a 3D movie. The fight is in direct synchronization to the on-screen fist fight. A female audience member gets punched in the face but attributes it to a 3D movie effect. Rick wins and he and Debbie embrace. After the wedding, Rick and Debbie are driven to the airport for their honeymoon in Rick's school bus driven by a laughing Brad. |
Rabid_1977 | tt0076590 | <script>
<scene>
<stage_direction>EXT. HILLY COUNTRY ROAD -- DAY</stage_direction>
<scene_description>A large , black , powerful - looking motorcycle waits propped up on its center stand on the gravel shoulder of a deserted country road . The gold lettering on its tank and side covers identifies it as a Norton Commando 850 . Two white Bell full - coverage helmets sit on its saddle , like medieval jousting helmets . Beyond the motorcycle , stretched out on a grassy rise , lie Hart Read , twenty - six , and his long - time girlfriend Rose , who is the kind of eighteen that often seems more like fifteen , and once in a while like twelve . At the moment Rose is definitely eighteen and in control of things , producing tuna sandwiches with lettuce and mayonnaise out of a string bag and pouring coffee , pre - mixed with sugar and milk , from a small thermos flask . Read watches her play housewife with vast amusement . Rose holds out a sandwich .</scene_description>
<character>READ</character>
<dialogue>What've we got, Rose? Steak on a bun?</dialogue>
<character>ROSE</character>
<dialogue>Tuna with lettuce and mayo. You gon na make trouble?</dialogue>
<character>READ</character>
<dialogue>Yeah. Big trouble.</dialogue>
<scene_description>He grabs Rose 's wrist and pulls her close . He looks her deep in the eyes .</scene_description>
<character>READ</character>
<dialogue>I want steak.</dialogue>
<scene_description>Read kisses her full on the mouth . Rose drops the sandwich into the grass .</scene_description>
<character>READ</character>
<dialogue>Steak.</dialogue>
<scene_description>They kiss passionately .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLY COUNTRY ROAD -- DAY -- ONE HOUR LATER</stage_direction>
<scene_description>Read kicks the big Norton into life . Rose puts on her helmet , does up the chin strap , and gets on the machine behind Read . Read waits for her to get settled , blips the throttle , then accelerates off the shoulder of the road , fishtailing slightly in the gravel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLY COUNTRY ROAD -- DAY</stage_direction>
<scene_description>The Norton booms along the twisty two - lane road . The road is clear and Read feels good . He opens the throttle even more , almost becoming airborne over the crest of a steep rise , and leaning the bike over in the corners until he scrapes rubber off the footpegs . Rose rides loose , completely at ease behind Read . She clasps her arms around him loosely , always going with the motion of the machine , closing her eyes in pleasure .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HILLY COUNTRY ROAD -- DAY</stage_direction>
<scene_description>Further up the road , a neat white VW pop - top camper trundles along in the opposite direction carrying a middle - aged man , his wife , and their twelve - year - old daughter . They are city slickers out for an autumn camping jaunt , and things are not going well for them .</scene_description>
<character>WIFE</character>
<parenthetical>( scrutinizing crumpled map . )</parenthetical>
<dialogue>We passed it.</dialogue>
<character>MAN</character>
<dialogue>We did n't pass it. I remember that farm.</dialogue>
<character>WIFE</character>
<dialogue>We passed it. That farm comes after concession road 12 and we were supposed to turn at concession road 11.</dialogue>
<character>KID</character>
<dialogue>I do n't remember that farm, Dad.</dialogue>
<character>MAN</character>
<dialogue>We did n't pass it. I very distinctly remember that farm.</dialogue>
<character>WIFE</character>
<dialogue>If you would just stop this vehicle long enough to take a look at the map I will prove to you beyond any shadow of a doubt that we.</dialogue>
<character>MAN</character>
<parenthetical>( losing his temper . )</parenthetical>
<dialogue>All right!</dialogue>
<scene_description>The man swings the camper across both lanes in one furious motion and slams on the brakes just before they go over the edge of the road into a ditch bordering an open field .</scene_description>
<character>MAN</character>
<dialogue>You're both right and I'm all wrong.</dialogue>
<scene_description>He slams the camper into reverse and backs up as far as he can , then slams it into first and lurches forward , trying vainly to make a clean three - point turn on the narrow road .</scene_description>
<character>MAN</character>
<dialogue>We'll turn around and go all the way back.</dialogue>
<scene_description>When the camper is stretched completely across both lanes of the highway , it stalls . The man twists the key viciously but it wo n't restart .</scene_description>
<character>MAN</character>
<dialogue>Goddamn thing! Shoulda never sold the goddamn station wagon.</dialogue>
<character>KID</character>
<dialogue>The station wagon used to use too much gas, remember, Dad?</dialogue>
<character>WIFE</character>
<dialogue>You keep quiet when your dad's in a sweat, Valerie.</dialogue>
<character>MAN</character>
<parenthetical>( still trying to start the camper . )</parenthetical>
<dialogue>Goddamn thing. Shoulda never sold the wagon.</dialogue>
<scene_description>Without warning , Read 's bike suddenly appears over the crest of the hill just beyond the camper . The bike is nearing 100 miles an hour . The wife sees it first .</scene_description>
<character>WIFE</character>
<dialogue>Oh, Christ, Bob!</dialogue>
<character>MAN</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>Huh? Oh, Christ!</dialogue>
<scene_description>There is no place for Read to go except off the road . The bike shoots over the drainage ditch beside the road two feet from the nose of the camper . The man and his wife sit with their mouths open , watching through their front windshield the bike fly through the air into an overgrown field , as though it were happening on TV .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD -- DAY</stage_direction>
<scene_description>When the bike finally lands in the field , it hits down front wheel first . The impact slams Read over the handlebars into the trunk of a small but solid tree . Rose stays with the machine for one complete cartwheel . The motorcycle ends up on top of her , the tank across her belly . Before she can move , the tank explodes into flames . The flames begin to melt the plastic visor of her helmet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF THE FIELD -- DAY</stage_direction>
<scene_description>The camper driver turns around in his seat and starts to rummage around , looking for something to put out the fire . His wife gets hysterical . She can see Rose trying vainly to get out from under the bike .</scene_description>
<character>WIFE</character>
<dialogue>Oh, my God! She's gon na burn! She's gon na die!</dialogue>
<character>MAN</character>
<dialogue>Where's the kid's blanket? Where's the kid's goddamn blanket!?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TERRACE OF KELOID CLINIC -- DAY</stage_direction>
<scene_description>Jackie , a cool blonde English woman in her early forties , has been bird - watching from the clinic 's terrace . Something startling attracts her attention .</scene_description>
<character>JACKIE</character>
<dialogue>I do n't believe it.</dialogue>
<scene_description>Lloyd Walsh , an actor in his late thirties in the Keloid Clinic of Cosmetic Surgery for his second facial touch - up , pauses in the middle of a sit - up which he is performing on an exercise mat a few yards away . Walsh is wearing a blue jogging outfit whose top bears the words ` JOGGING KILLS . ' His head is bandaged .</scene_description>
<character>WALSH</character>
<dialogue>What is it? You spot a rare tufted tit - mouse or somethin'?</dialogue>
<scene_description>Jackie turns away from her binoculars . She has thin surgical wires attached to the upper and lower eyelids of both eyes .</scene_description>
<character>JACKIE</character>
<dialogue>There's a motorcycle burning in the middle of a field. I think there's somebody under it.</dialogue>
<scene_description>Walsh jumps to his feet with exaggerated athletic vigor .</scene_description>
<character>WALSH</character>
<dialogue>Yeah? Lem me have a look.</dialogue>
<scene_description>Jackie hands Walsh her binoculars and points him in the right general direction .</scene_description>
<character>JACKIE</character>
<dialogue>See that column of smoke? Just follow it down to its source.</dialogue>
<scene_description>We look through the binoculars with him as he does so . Sure enough , there is a bike burning in a field with someone trapped beneath it .</scene_description>
<character>WALSH</character>
<dialogue>Wow. Lookit that!</dialogue>
<scene_description>He turns and begins to sprint for the stairway at the end of the terrace .</scene_description>
<character>JACKIE</character>
<dialogue>Where are you going?</dialogue>
<character>WALSH</character>
<dialogue>Gon na tell the boys downstairs. It's right up their alley.</dialogue>
<character>JACKIE</character>
<dialogue>Oh.</dialogue>
<parenthetical>( calling after the disappearing Walsh . )</parenthetical>
<dialogue>Careful with my binoculars! They're very expensive!</dialogue>
</scene>
<scene>
<stage_direction>INT. CLINIC BOARDROOM -- DAY</stage_direction>
<scene_description>The three partners who own and operate the Keloid Clinic are holding an informal meeting in the posh boardroom of the clinic , with cigars -LRB- Cypher -RRB- , cigarettes , coffee , and full ashtrays much in evidence . Involved are Dr. Daniel Keloid , a youthful forty - five , low - key but forceful , founder of the Keloid Clinic and extremely successful society plastic surgeon ; Keloid 's wife , Roxanne , who is herself an MD and who was once a student of Keloid 's ; and Murray Cypher , the clinic 's accountant . Cypher is forty - eight , dapper , generally enthusiastic , and believes passionately in creative accounting . It has apparently been a long and tiring session . Cypher in particular shows signs of strain . His end of the table is littered with pages of scratch pad covered with hastily scrawled notes and figures .</scene_description>
<character>CYPHER</character>
<dialogue>As far as I'm concerned these guys are completely legit. The bank is just as convinced as I am. They told me they're willing to go all the way with us. I'm telling you, Danny - a franchise operation for plastic surgery resorts is one of those magnificent, inevitable ideas.</dialogue>
<character>KELOID</character>
<dialogue>Banks are always quick to say that when everything's rolling easy. But you can take it from me - first sign of heat from the medical association, first cries of professional outrage, and the bank'll call back its note and leave us hanging by our thumbs.</dialogue>
<character>ROXANNE</character>
<dialogue>It's not the financing that's bothering you, Dan. Your voice has that edge to it.</dialogue>
<character>KELOID</character>
<dialogue>I've never denied it. I sure as hell do n't want to become the Colonel Sanders of plastic surgery.</dialogue>
<character>CYPHER</character>
<dialogue>Why not? Sounds great to me.</dialogue>
<character>KELOID</character>
<dialogue>I'll tell you why not. Because it's unprofessional, unmedical, and unsavory.</dialogue>
<character>CYPHER</character>
<dialogue>You thought of it.</dialogue>
<character>KELOID</character>
<dialogue>I was only kidding.</dialogue>
<character>CYPHER</character>
<dialogue>You were not. Besides, you want me to go back and tell three of the largest investment groups in North America, ` Forget it. He was only kidding?'</dialogue>
<character>KELOID</character>
<parenthetical>( in only partially mock despair . )</parenthetical>
<dialogue>Oh, God. It's all gotten out of hand. I can see it now : fifty enfranchised Keloid's Cosmetic Surgery Clinics flung across the face of North America like Holiday Inns. Next thing you know, Do - It - Yourself Facelift Kits.</dialogue>
<character>CYPHER</character>
<dialogue>I like it. We could call it. we could call it Suture Self.</dialogue>
<parenthetical>( starts to scribble madly . )</parenthetical>
<dialogue>No, I'm serious. I like that. There's got to be a way.</dialogue>
<character>ROXANNE</character>
<dialogue>All right, boys. I think we're getting a bit silly.</dialogue>
<scene_description>The office intercom on the table chimes and the voice of Steve , an orderly , fills the room .</scene_description>
<character>STEVE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Is Dr. Keloid there? It's urgent.</dialogue>
<character>KELOID</character>
<dialogue>Yeah, what is it, Steve?</dialogue>
<character>STEVE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There's been a motorcycle accident a few minutes down the highway here. Looks like a couple of people have been hurt. Should I take the van and go get'em?</dialogue>
<character>KELOID</character>
<dialogue>Yeah, sure.</dialogue>
<parenthetical>( short pause . )</parenthetical>
<dialogue>Hey, wait a minute. Steve? You still there?</dialogue>
<character>STEVE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>KELOID</character>
<dialogue>Hang on till I get there, OK? I'm coming with you. Meet you at the garage.</dialogue>
<character>STEVE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Roger.</dialogue>
<scene_description>The intercom chimes off as Keloid stands up to leave . Cypher throws his pen on the table .</scene_description>
<character>ROXANNE</character>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>Oh, now, Dan. We've got a lot of decisions to make.</dialogue>
<character>KELOID</character>
<parenthetical>( leaving . )</parenthetical>
<dialogue>You and Murray work it out, hon. Just make the pill easy for me to swallow, OK?</dialogue>
<scene_description>He closes the door behind him , leaving Cypher and Roxanne to their own devices .</scene_description>
<character>CYPHER</character>
<dialogue>Well, what do you think about facelift kits, Roxy? I mean, they've got abortion kits.</dialogue>
<character>ROXANNE</character>
<parenthetical>( frustrated . )</parenthetical>
<dialogue>Let's just forget that anybody ever mentioned the idea, OK, Murray?</dialogue>
<scene_description>Cypher shrugs . It still sounds great to him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC DRIVEWAY -- DAY</stage_direction>
<scene_description>In the middle of a landscaped triangle of lawn stands a large light - box - style sign which reads KELOID CLINIC OF COSMETIC SURGERY . Along one side of the triangle runs a crushed - gravel driveway at the end of which is a long , low garage just behind the main building , which looks as though it might once have been a small stable . One of the three doors of the garage slides up and a van peels rubber out of the garage , sliding a bit once it hits the gravel . The van is set up inside and out exactly like a standard big - city ambulance , but without any ambulance markings . Instead , sedate white lettering on the doors reads KELOID CLINIC , LTD. .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD -- DAY</stage_direction>
<scene_description>Read lies crumpled at the base of the tree . The end of his right collarbone is sticking out at a bizarre angle and his right shoulder is hanging too low . Read has regained enough consciousness to feebly undo his helmet with his left hand . Beyond him , clouds of oily black smoke curl skywards from the fallen Norton . Read can hardly focus his eyes on the figures running toward them from the camper at the edge of the field . He slips dreamily into unconsciousness .</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN -- DAY</stage_direction>
<scene_description>The clinic van turns off a secondary road on to the two - lane highway and accelerates furiously , tossing its occupants around as it momentarily slews sideways . In the back of the van are Steve , who is busily preparing stretchers and oxygen , and Dr. Keloid . Keloid prepares several hypodermic syringes while expertly bracing himself against the motion of the van . Steve finishes attaching a hose to a small cylinder of oxygen and turns the release valve to test the oxygen flow through the nose - piece .</scene_description>
<character>STEVE</character>
<dialogue>Well, we've got oxygen now, Dr. Keloid.</dialogue>
<scene_description>Keloid watches the thin column of black smoke looming larger through the windshield of the van . He reaches for a small fire extinguisher affixed to the frame of the van and begins to undo the clamps holding it there .</scene_description>
<character>KELOID</character>
<dialogue>I think we're going to have to use this before we get close enough for the oxygen, Steve.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIELD -- DAY</stage_direction>
<scene_description>Rose has stopped moving under the flaming machine . The man from the camper , running and stumbling over the uneven ground , finally arrives , followed by his older son -LRB- who is about thirteen -RRB- . The man tries vainly to smother the flames with his younger son 's blanket , but the heat is too intense for him to get really close . The man is almost in tears with horror and frustration . His son just stares wide - eyed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF FIELD -- DAY</stage_direction>
<scene_description>The clinic van bounces to a halt by the edge of the field and the driver , the most junior of the clinic 's four orderlies , jumps out and runs around to the back of the van . The back doors swing open and Keloid jumps out with the fire extinguisher in one hand and a small leather bag in the other . He heads for the flames as the wife and her kid watch from the front seats of the camper . The wife sticks her head out of the window and points at the flames .</scene_description>
<character>WIFE</character>
<parenthetical>( to Keloid . )</parenthetical>
<dialogue>They're over there, Doctor! They were speeding!</dialogue>
<scene_description>Keloid is soon followed by the two orderlies carrying a large wheeled stretcher , which they have hauled from the back of the van .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD -- DAY</stage_direction>
<scene_description>The man who was driving the camper is still making sporadic attempts to beat out the flames with the blanket when Keloid arrives and opens up the valve of the fire extinguisher . The white powdery foam covers everything in a few seconds , killing the flames easily .</scene_description>
<character>MAN</character>
<parenthetical>( to Keloid . )</parenthetical>
<dialogue>I tried to put it out. I could n't get near it.</dialogue>
<scene_description>Keloid kneels beside Rose . He takes a pair of scissors from his bag and cuts the helmet strap under her chin . He slips the helmet off her head with great care . Her long blonde hair falls into a pool around her face , which seems remarkably at peace and untouched : only a rectangle of black soot where her helmet 's visor melted away and admitted smoke gives any indication of what she 's gone through . When the orderlies arrive , the man points out Read for them .</scene_description>
<character>MAN</character>
<dialogue>There's another one over there. I saw him movin' around a minute ago.</dialogue>
<character>KELOID</character>
<parenthetical>( to orderlies . )</parenthetical>
<dialogue>Might as well go get him. We wo n't be ready to move her for a few minutes.</dialogue>
<scene_description>The orderlies trot off toward Read with their stretcher . The man watches them leave , then turns back to look at Rose . He shakes his head as Keloid gives her an injection .</scene_description>
<character>MAN</character>
<dialogue>Christ. I did n't know it was a girl. Is she dead?</dialogue>
<character>KELOID</character>
<dialogue>This is n't embalming fluid I'm shooting into her. See if you can lift the machine off her. Use the blanket around your hands. It's hot.</dialogue>
<scene_description>The man wraps the blanket around his hands and begins to half - pull , half - slide the Norton off Rose by the handlebars . The orderlies go by on their way to the van with Read unconscious on the stretcher . As the bike slides away to reveal Rose 's abdomen , the man recoils in horror .</scene_description>
<character>MAN</character>
<dialogue>My God.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD -- DAY</stage_direction>
<scene_description>The clinic van speeds along the road toward the clinic .</scene_description>
</scene>
<scene>
<stage_direction>INT. VAN -- DAY</stage_direction>
<scene_description>Rose is on the stretcher with intravenous tubes in her arms , bottles hanging over her head , an oxygen mask over her mouth and nose , and several layers of blood - soaked bandages and surgical gauze over her abdomen . The senior orderly monitors the oxygen flow , the IV levels , and Rose 's pulse , while Keloid speaks to someone at the clinic over the van 's CB radio , which has a telephone - style speaker / receiver . Read sits jammed into a small seat behind the driver , his head back against the van wall , completely dazed . He is conscious enough to wince in pain with every bump the van hits , but he obviously does n't know where he is or why he 's there .</scene_description>
<character>KELOID</character>
<dialogue>Roxanne? Yeah, listen. We're going to have to throw in everything we've got. I know, but let me tell you what we're looking at. The gas tank exploded over the girl's abdomen and I do n't know what she's got left in there. The man's got a broken hand, separated shoulder, concussion, the usual. We can send him to the General. But it's definitely major surgery for her, and right now. I know we're not, but we've got no choice. I'd say she's got a half hour to live and it's three hours to the nearest serious hospital. It's us or nobody. Yeah. I hope I can remember too. Well, they say it's like riding a bicycle.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLINIC DRIVEWAY -- DAY</stage_direction>
<scene_description>The van stops in front of the clinic and the orderlies jump out . Keloid holds the bottles and the oxygen as the orderlies unload the stretcher and roll it up the front walk of the clinic , which is a spectacularly renovated old farmhouse - all sandblasted auburn brick , pine , and cedar planking , white paint and Vista Vision windows . A group composed of patients and staff cluster around the main doors of the clinic to watch as the stretcher approaches . Nobody seems to notice Read , who has been left sitting in the van .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC ENTRANCE -- DAY</stage_direction>
<scene_description>Lloyd Walsh holds open one of the main glass doors while a nurse opens the other one . The secretary - receptionist abandons her phones and her sleek plastic desk/filing cabinet module to work her way through the group at the doors in order to take a look . Walsh makes room for the secretary - Sheila - beside him . Rose is wheeled through the doors . Her condition is so obviously serious and so different from the usual ` touch - up ' jobs done at the Keloid Clinic , which has a carefully calculated country resort atmosphere about it , that everyone becomes completely silent as she enters .</scene_description>
<character>KELOID</character>
<parenthetical>( to nurse at door . )</parenthetical>
<dialogue>Get the guy in the van into observation and check him out. But take it easy - concussion, separated shoulder, broken hand. OK, Louise? Maybe some Demerol when he becomes lucid.</dialogue>
<character>LOUISE</character>
<dialogue>OK, Dr. Keloid.</dialogue>
<scene_description>Louise leaves the door once the stretcher has gone by and heads out to the van . Walsh lets go of his door and jogs after her . Jackie , still wearing sunglasses , shakes her head as she watches the stretcher go off down the hall and turns to the middle - aged lady standing next to her .</scene_description>
<character>JACKIE</character>
<dialogue>What a waste. She does n't even need a nose job.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLINIC HALLWAY -- DAY</stage_direction>
<scene_description>The orderlies wheel the stretcher down a hallway which was patently never meant to be used as a hospital corridor : Rose is getting a very rough ride . As they move along they pass various patients who react with shock and horror when they see Rose . The Keloid Clinic is usually more discreet about blood than a normal hospital .</scene_description>
<character>MAN</character>
<parenthetical>( as Rose passes . )</parenthetical>
<dialogue>Jesus wept! What's that all about?</dialogue>
<character>WOMAN</character>
<dialogue>Somebody said something about an accident.</dialogue>
<character>MAN</character>
<parenthetical>( repulsed . )</parenthetical>
<dialogue>Could n't they throw a sheet over it or something? I'm starting to feel like I'm in a hospital.</dialogue>
<scene_description>The fastidious man and his companion go through some doors which , according to an elegantly lettered sign on a wall , lead to a squash court . The orderlies stop in front of another set of doors . Keloid hands one of them the bottles he has been holding as a second nurse , Rita , comes out to meet them . Rita is a very solid , square - bodied , fortyish lady .</scene_description>
<character>KELOID</character>
<dialogue>OK, boys. Take her into pre - op and tell Dr. Karl to set her up for the works.</dialogue>
</scene>
<scene>
<stage_direction>INT. SURGICAL WASH-UP -- DAY</stage_direction>
<scene_description>Keloid and Roxanne wash with disinfectant in preparation for Rose 's operation , aided by a third orderly whom we have not seen before . Roxanne is short , dark , intense , and ambitious beyond her present practice . She does not wear her thirty - seven years particularly well , so the age difference between her and her husband seems more theoretical than anything else . She is very particular about being called by her maiden name and is known as Dr. Rushton to all the clinic 's patients . At the moment , Keloid and Roxanne are having a very controlled , low - key argument which Roxanne tries to keep the orderly from hearing .</scene_description>
<character>ROXANNE</character>
<dialogue>I do n't buy it, Dan.</dialogue>
<character>KELOID</character>
<dialogue>You have n't seen her.</dialogue>
<character>ROXANNE</character>
<dialogue>I do n't have to see her. Neutral field grafts have never been used internally. We could end up with a terminal cancer patient on our hands.</dialogue>
<character>KELOID</character>
<dialogue>Aw, c'mon. We can monitor, Roxy. She's got nothing to lose. Literally. She does n't have enough small intestine left to absorb nutrient. If we just close her up she'll have to be fed intravenously for the rest of her life, which will be a short and a dismal one. But if we graft neutral field tissue cones into the abdominal cavity, there's a chance that they'll read her condition by post - embryonic induction and develop into a new set of intestines.</dialogue>
<character>ROXANNE</character>
<dialogue>Or run wild and make some very creative malignant tumors. Dan, the clinic does n't need this. Let's play it safe.</dialogue>
<scene_description>Keloid does n't respond . He finishes snapping on his surgical gloves and turns to the scrub - nurse , who helps him on with his sterilized operating tunic .</scene_description>
</scene>
<scene>
<stage_direction>INT. OBSERVATION ROOM -- DAY</stage_direction>
<scene_description>Read has regained full consciousness in the clinic 's observation room and is watching Louise cut away his well - worn leather motorcycle jacket with a pair of snub - nosed surgical scissors . She cuts her way up the right sleeve to the shoulder , then across the shoulder to the collar . She is then able to slip the jacket easily away from Read 's right shoulder , which is still very obviously not where it should be . She now starts in on his Norton T - shirt , which is all he was wearing underneath his jacket .</scene_description>
<character>READ</character>
<dialogue>Oh, no. Not the T - shirt. Rose gave me the T - shirt.</dialogue>
<character>LOUISE</character>
<dialogue>I think you'd find it pretty painful trying to take if off the standard way.</dialogue>
<scene_description>Read makes an attempt to slip his arm out of his T - shirt but immediately gives up , grimacing in pain .</scene_description>
<character>READ</character>
<dialogue>No, look. I think I can. Ow! Oh! You're right. Cut the thing off. I'll put it up on the wall of my garage.</dialogue>
<scene_description>Louise continues snipping off the T - shirt .</scene_description>
<character>READ</character>
<dialogue>So when do I get to see Rose?</dialogue>
<character>LOUISE</character>
<dialogue>Not for a while.</dialogue>
<character>READ</character>
<dialogue>Why not?</dialogue>
<scene_description>Louise does n't answer . Read pulls away from Louise and tries to stand up . He ca n't keep his balance and falls back against the wall , banging his wrecked shoulder .</scene_description>
<character>READ</character>
<dialogue>I want to see her right now! Ow! Oh, God. I did n't kill her, did I?</dialogue>
<scene_description>Louise reaches for a syringe of Demerol .</scene_description>
<character>LOUISE</character>
<dialogue>She's not dead.</dialogue>
<character>READ</character>
<dialogue>What is that stuff? I do n't want you to put me out.</dialogue>
<character>LOUISE</character>
<dialogue>It's just Demerol. It'll ease the pain. All right?</dialogue>
<scene_description>Read lets Louise take his good arm . She swabs him down and sinks the needle in .</scene_description>
<character>READ</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Sure. Wonderful. Anything to ease the pain.</dialogue>
</scene>
<scene>
<stage_direction>INT. OPERATING ROOM -- DAY</stage_direction>
<scene_description>Keloid and Roxanne are well into their operation on Rose , assisted by a team of five which includes Dr. William Karl , the clinic 's anesthetist . Keloid and Roxanne are in the process of cutting large squares of skin from Rose 's thighs .</scene_description>
<character>KELOID</character>
<dialogue>Now, I know everyone here is familiar with the standard techniques of skin grafting, but what we're going to do is a little out of the ordinary. I'll explain it as we go. We're removing full - thickness skin grafting material from the patient's thighs as per normal graft acquisition procedure. However, before these grafts are applied to the damaged areas of the patient's breasts, abdomen, and so on, they will be treated so that they become morphogenetically neutral. They are then called neutral field grafts.</dialogue>
<character>KARL</character>
<dialogue>Can we treat the graft material here, Dr. Keloid?</dialogue>
<character>KELOID</character>
<dialogue>No, Dr. Karl. The graft tissue will be frozen and sent to the Sperling Institute. We'll have to keep the patient in an operation - ready state until it comes back to us. That's going to be a bit trying for all of us, but it ca n't be helped.</dialogue>
<scene_description>As Keloid speaks , the sections of thigh skin are placed in spun aluminum cylinders of the same general type as those used in eye banks . The cylinders are then sealed and placed in a medical freezer .</scene_description>
<character>RITA</character>
<dialogue>I do n't understand the functional difference between neutral field and normal graft tissue, Doctor.</dialogue>
<character>KELOID</character>
<dialogue>Well, when the thigh skin tissue is treated, Nurse Benedetto, it'll lose its specificity as both thigh tissue and skin tissue. For example, if it were grafted to a burned cheek, it would n't just be thigh skin with the color and texture of thigh skin - it would actually develop as facial tissue. In other words, neutral field tissue has the same ability to form any part of the human body that the tissue of a human embryo has.</dialogue>
<character>KARL</character>
<dialogue>Doctor, this patient has lost most of her absorptive intestinal mucosa. Could neutral field tissue reconstruct an organ as complex as the small intestine.</dialogue>
<character>KELOID</character>
<dialogue>Yes, Dr. Karl. I think that under the right circumstances it could. I've done it myself using lab animals at the Sperling Institute.</dialogue>
<scene_description>Keloid and Roxanne exchange glances , then Keloid looks away .</scene_description>
<character>KELOID</character>
<dialogue>Let me add that there is always a possibility that carcinomas will form when neutral field grafts are used internally. In this case, we're using a radical plastic - surgery technique to compensate for our lack of heavy medical hardware. We're doing it to save a life. It's the only trick we've got.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KELOID CLINIC -- DAY</stage_direction>
<scene_description>Wide shot of exterior front of the Keloid Clinic in late autumn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELOID CLINIC -- ONE MONTH LATER -- DAY</stage_direction>
<scene_description>Same shot as previous scene , one month later . Snow is on the ground and the trees are bare .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM AT THE KELOID CLINIC -- DAY</stage_direction>
<scene_description>Read stands over Rose 's bed , which is a very well - disguised hospital bed -LRB- everything possible is done to keep the clinic from feeling like a hospital -RRB- . Read 's left hand is encased in a wire cage which supports all his fingers . He is watching Rose intently , who is still in a coma and is attached to a battery of intravenous bottles connected to her by clear vinyl tubes and IV needles . Read is particularly fascinated by Rose 's eyes , which he can see moving around wildly behind her eyelids . He bends close , then kisses her gently on her pale , dry lips .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC HALLWAY -- DAY</stage_direction>
<scene_description>Nurse Louise walks briskly down a hall toward Rose 's room . On her way she passes Judy Glasberg clutching a pocket edition of The Life and Work of Sigmund Freud and strolling thoughtfully in the opposite direction .</scene_description>
<character>LOUISE</character>
<dialogue>Hi, Judy Glasberg. You back again?</dialogue>
<character>JUDY</character>
<dialogue>Daddy did n't think the new nose was different enough, so I'm in for more alterations. I keep telling him it looks just like his, and he keeps saying, ` That's why I want you to change it.' I'm terrified to find out what it all means.</dialogue>
<scene_description>They both laugh . The two women part and go their separate ways . We follow Louise as she opens the door to Rose 's room , which bears a printed sign saying : INTENSIVE CARE , QUALIFIED PERSONNEL ONLY .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM -- DAY</stage_direction>
<scene_description>Louise enters the room in time to surprise Read in the act of pulling back the sheet covering Rose .</scene_description>
<character>LOUISE</character>
<dialogue>Did n't you see the sign on the door, Mr Read? You're supposed to register with me before you come in here.</dialogue>
<character>READ</character>
<dialogue>I saw it. I guess I consider myself qualified.</dialogue>
<scene_description>Louise edges Read away from the bed and covers Rose up again . Her entire body is heavily bandaged , and almost every inch of exposed skin has an IV needle taped to it . Louise begins to moisten Rose 's eyelids and lips with various gels .</scene_description>
<character>LOUISE</character>
<dialogue>What are you trying to do, give her pneumonia?</dialogue>
<character>READ</character>
<dialogue>I'm trying to ease my guilt feelings by telling myself that Rose is getting better.</dialogue>
<character>LOUISE</character>
<parenthetical>( softening . )</parenthetical>
<dialogue>I see. Is it working?</dialogue>
<character>READ</character>
<dialogue>Is she getting better?</dialogue>
<character>LOUISE</character>
<dialogue>You've been here often enough in the past two months to know as much as I do.</dialogue>
<character>READ</character>
<dialogue>When do I get to see Dr. Keloid?</dialogue>
<character>LOUISE</character>
<dialogue>You never tell me in advance when you're coming. How can I make an appointment for you?</dialogue>
<character>READ</character>
<dialogue>I never know in advance when the next wave of guilt will hit me. I want to see him right now.</dialogue>
<character>LOUISE</character>
<dialogue>He's in a meeting.</dialogue>
<character>READ</character>
<dialogue>Tell him I forced you.</dialogue>
<character>LOUISE</character>
<parenthetical>( leaving the room . )</parenthetical>
<dialogue>All right. But please. no touching until she's conscious.</dialogue>
<character>READ</character>
<dialogue>OK, Mom.</dialogue>
<scene_description>Louise makes a face and leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. KELOID'S OFFICE -- DAY</stage_direction>
<scene_description>Read sits across from Keloid 's desk in Keloid 's office , which seems more like a successful PR executive 's office than a doctor 's . While they talk , Keloid toys with Rose 's file , not really ever looking at it : he is obviously very familiar with its contents , and also in a very distracted frame of mind .</scene_description>
<character>KELOID</character>
<dialogue>Well, as you've seen, Rose is still in some kind of coma, sort of half real coma, half normal deep sleep. Could be weeks before she's lucid.</dialogue>
<character>READ</character>
<dialogue>You do n't know for sure?</dialogue>
<character>KELOID</character>
<dialogue>No. Her body is still in a state of total shock. She ca n't possibly be moved to a city hospital yet. Her grafts seem to be healing well. We've been monitoring the internal grafts electronically and there is definitely new tissue growth happening in the abdominal cavity. Whether this growth will mature into functioning intestinal mucosa we wo n't know for quite a while.</dialogue>
<character>READ</character>
<dialogue>You mean if your grafts or whatever they are do n't work, she'll never eat like a normal human being again. She'll have to be fed intravenously.</dialogue>
<character>KELOID</character>
<dialogue>That's right. At the moment, she has only enough small intestine to digest the most basic nutrient material. See - the longer the small intestine, the more complex the food that can be broken down and absorbed by the body as food. Cows have lots and lots of intestines so they can eat grass and other vegetable matter. We have medium - length intestines, so we can eat meat and a limited variety of vegetable matter. Vampire bats - the real ones, I mean - have short intestines, so they eat whole blood, which is very easy to break down and assimilate. Your girlfriend's in the same boat.</dialogue>
<character>READ</character>
<dialogue>What about her brain?</dialogue>
<character>KELOID</character>
<dialogue>Her helmet probably saved her from brain damage, but until she's fully conscious.</dialogue>
<character>READ</character>
<dialogue>You wo n't know that either.</dialogue>
<character>KELOID</character>
<parenthetical>( throwing up his hands . )</parenthetical>
<dialogue>Hart, what can I tell you? There's no magic. Look, I've done my best. You're welcome to come here and keep your vigil by Rose's bedside any time the mood takes you, but please believe me, I will personally telephone you the instant Rose shows even the slightest signs of regaining consciousness.</dialogue>
<scene_description>Read sighs , then shrugs with his good shoulder .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC DRIVEWAY -- DAY</stage_direction>
<scene_description>Lloyd Walsh and Read stand in the driveway watching as two orderlies load the burned and smashed hulk of Read 's Norton into the back of Murray Cypher 's Ford station wagon .</scene_description>
<character>WALSH</character>
<dialogue>Jeez, when I saw that thing burning, I never figured I'd be standing here talking to you a month later. How's your hand?</dialogue>
<character>READ</character>
<dialogue>They're taking the cage off this afternoon. That's when I'll find out. The pin stays in my shoulder for another month, though. Does n't seem to bother me except when it gets damp.</dialogue>
<scene_description>Cypher comes hurriedly out of the front door , putting on a suit jacket and stuffing papers into his attaché case at the same time . He walks over to Read and Walsh and opens the door of his car .</scene_description>
<character>CYPHER</character>
<parenthetical>( to Walsh . )</parenthetical>
<dialogue>Hi, Lloyd. How ya doin'?</dialogue>
<character>WALSH</character>
<dialogue>Great.</dialogue>
<scene_description>Cypher gets into his car , slams the door , and pops the passenger door open for Read .</scene_description>
<character>CYPHER</character>
<dialogue>C'mon, Hart. I got a pack of hungry investors waiting for me.</dialogue>
<scene_description>Read gets into the station wagon as the orderlies slam the rear door shut on the Norton . Walsh waves goodbye to Read , who smiles weakly .</scene_description>
<character>CYPHER</character>
<dialogue>I hope you've got some friends who'll help you unload that pile of junk. I've got a bad back. What're you going to do with it? Use it for an ashtray?</dialogue>
<scene_description>He turns the ignition key and starts the station wagon .</scene_description>
<character>READ</character>
<dialogue>Giving it to a friend for parts. I can hardly stand to look at it. Think I'll get back into go - karts.</dialogue>
<scene_description>Cypher laughs , waves to Walsh , and pulls away from the driveway . Walsh smiles at them and turns back to the clinic , patting himself absently under the chin as he goes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC -- DAY</stage_direction>
<scene_description>Wide - angle shot of the front of the clinic as Walsh goes back inside .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC -- NIGHT</stage_direction>
<scene_description>Same shot as previous scene , but late at night . There are only one or two lights on inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC HALL/NIGHT NURSE'S STATION -- NIGHT</stage_direction>
<scene_description>The night nurse checks her watch at her station , which is little more than a desk , chair , and lamp placed at the end of a hall . It 's time for her to make her rounds . She puts down her magazine - People - and walks down the hall . At the end of it , she disappears down a stairwell .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER HALL -- NIGHT</stage_direction>
<scene_description>The night nurse walks past Rose 's room , pausing only for a moment to glance in at Rose 's sleeping form . She then continues on down the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER HALL -- NIGHT</stage_direction>
<scene_description>The night nurse walks past Lloyd Walsh 's door . There is a PLEASE DO NOT DISTURB sign hanging from his doorknob . The nurse notices that Walsh 's light is on and diffusing out through the crack under the door , but she continues on down the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. WALSH'S ROOM -- NIGHT</stage_direction>
<scene_description>Walsh is lying in bed reading The Life and Work of Sigmund Freud , which he has borrowed from Judy Glasberg . His room , like all the private rooms at the clinic , is furnished in the style of the plushest , most modern jet - set ski lodges . It 's easy to understand why patients extend their stays beyond what is medically necessary , and just as obvious that the Keloid Clinic management makes no attempt to discourage this ` home away from home ' attitude toward the place . Walsh ca n't get comfortable with the book , which he has just started to read . He checks his watch . It 's 1.13 a.m. He 's a little nervous about his operation tomorrow morning . He puts down his book , gets out of bed , puts on his bathrobe , slips into his slippers , and leaves his room to go for a stroll through the deserted clinic .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC HALLWAY -- NIGHT</stage_direction>
<scene_description>Hands in pockets , Walsh strolls through the clinic , past the lounge , the ping - pong table , the breakfast nook .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER HALLWAY -- NIGHT</stage_direction>
<scene_description>Walsh rounds a corner that leads him past Rose 's door , which still bears its INTENSIVE CARE sign . As he passes by her door , he hears a muffled scream followed by a series of moans and indistinct , angry shouts . Walsh opens her door without hesitation .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM -- NIGHT</stage_direction>
<scene_description>By the light of the full moon and the hallway , Walsh can see Rose thrashing around violently in her bed , getting twisted up in her sheets and ripping out her IV needles . As he watches , one of her IV bottles , pulled off its stand by its feed tube , falls to the floor and smashes to pieces , spilling blood plasma everywhere . Walsh now sees that the floor is littered with shredded bits and pieces of surgical gauze and bandages , which Rose has torn from her various wounds and grafts . The plasma begins to soak into the debris surrounding the bed . Her torso is still covered only by bandages , making her look like a mummy jerking to life in the half - light of her tomb . Walsh rushes over to the bed and quickly lowers the safety railing . He then tries to hold Rose down by the shoulders to keep her from pulling out the last of her IV tubes . When he grabs her by the wrists , he notices that she is oozing blood from where the IV needles have been pulled out .</scene_description>
<character>WALSH</character>
<dialogue>Rosie, Rosie, sweetie, take it easy! You need that juice, sweetie. It's keeping you alive. Hey, easy, there. Easy. That's it. That's a girl.</dialogue>
<scene_description>Under the pressure of Walsh 's body , Rose begins to calm down . Her eyes , which have been open but staring and unseeing , now begin to fill with consciousness .</scene_description>
<character>ROSE</character>
<dialogue>Hart? What are you. what are you doing, Hart? Are we all right? Are we.</dialogue>
<character>WALSH</character>
<dialogue>I'm not Hart, Rosie. Hart's back in Montreal waiting for you. I'm Lloyd. I'm a friend of yours.</dialogue>
<character>ROSE</character>
<dialogue>Hart?</dialogue>
<character>WALSH</character>
<dialogue>Back in Montreal. Waiting for you. He's fine. He's OK. I was just talking to him this afternoon.</dialogue>
<character>ROSE</character>
<dialogue>Oh. I. I guess I was dreaming.</dialogue>
<scene_description>Walsh lets go of Rose 's wrists .</scene_description>
<character>WALSH</character>
<dialogue>I do n't think you were just dreaming. You and Hart were in a really spectacular motorcycle crash.</dialogue>
<character>ROSE</character>
<dialogue>A crash? Was there fire? Was there. blood?</dialogue>
<character>WALSH</character>
<dialogue>Yeah. Plenty of both. You're bleeding right now.</dialogue>
<parenthetical>( getting up . )</parenthetical>
<dialogue>I'd better get Dr. Keloid.</dialogue>
<scene_description>Rose grabs Walsh by the arm and pulls him back down on the bed .</scene_description>
<character>ROSE</character>
<dialogue>No! Not yet. I'm all right. But I'm freezing cold, and you're so warm. Hold me.</dialogue>
<character>WALSH</character>
<dialogue>Look, I think I'd better.</dialogue>
<character>ROSE</character>
<dialogue>Please hold me. I'm dying of the cold.</dialogue>
<scene_description>Rose puts her arms around Walsh , who hesitates for a moment , then puts his arms around her and hugs her for a moment .</scene_description>
<character>ROSE</character>
<dialogue>Oh, God, that feels so good.</dialogue>
<scene_description>Behind Walsh 's back , Rose pulls the last remaining IV needle out of her left wrist .</scene_description>
<character>WALSH</character>
<parenthetical>( a bit nervous . )</parenthetical>
<dialogue>Ah, look. you do n't even know where you are, do you?</dialogue>
<scene_description>Rose pulls Walsh 's face down to hers , then slips her arms under his and locks her hands behind his back .</scene_description>
<character>ROSE</character>
<dialogue>Sure I do. I'm here with you.</dialogue>
<character>WALSH</character>
<dialogue>Look, this is really weird. Are you sure you know what you're. Ow!</dialogue>
<scene_description>Feeling a sudden sharp pain , Walsh tries to pull away . Rose wo n't let him get up .</scene_description>
<character>WALSH</character>
<dialogue>Hey, I think I. I think I cut myself or something. You got something sharp in there with you? Ow! Oh, that hurts!</dialogue>
<scene_description>He makes a huge effort to lift himself off the bed , but Rose hangs on to him and comes up with him . Blood is soaking through Walsh 's bathrobe around the right armpit , like dark red sweat . He is moaning and sobbing as he strains to get away . Finally , Walsh collapses on top of Rose , quivering and whimpering . Rose sighs deeply and begins to stroke his head affectionately .</scene_description>
</scene>
<scene>
<stage_direction>INT. MISS OWEN'S ROOM AT THE CLINIC -- EARLY MORNING</stage_direction>
<scene_description>Miss Beatrice Owen , a tough - looking maiden lady in her fifties , sits on the edge of her bed pulling on a pair of white gloves . She is wearing an immaculate morning outfit which looks vaguely '40s and probably is . One of her hands has been twisted by arthritis and puts up quite a struggle before allowing itself to be encased in its glove . She then begins to use her teeth to pull on the other glove . The second glove is only half - way on when Miss Owen hears a desperate scratching and bumping at her door . She stops what she 's doing .</scene_description>
<character>MISS OWEN</character>
<dialogue>Yes?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Who is it?</dialogue>
<scene_description>After a pause comes more scratching , followed by the sound of a hand feebly slapping on the door . With her second glove still only half on , Miss Owen gets up , goes to the door , and opens it . The instant the door is opened , a ghastly pale Lloyd Walsh slumps heavily across Miss Owen 's shoulders . The force drives her back several steps and she screams with fear .</scene_description>
<character>MISS OWEN</character>
<dialogue>Oh, God save us!</dialogue>
<character>WALSH</character>
<dialogue>I'm sick. I'm sick. Help me.</dialogue>
<scene_description>When she realizes she 's not being attacked , Miss Owen steps back from Walsh , but , unsupported , he starts to fall to the floor . Miss Owen slips her hands up under his arms and guides him unsteadily to the bed .</scene_description>
<character>MISS OWEN</character>
<dialogue>Mr Walsh! What on earth has happened to you?</dialogue>
<scene_description>Miss Owen sits Walsh on the bed , where he crumples into an awkward lying position . When she withdraws her hands from under his arms , Miss Owen finds that her right glove is soaking through with very watery blood .</scene_description>
<character>WALSH</character>
<dialogue>I do n't know. I ca n't remember a thing.</dialogue>
</scene>
<scene>
<stage_direction>INT. EXAMINATION ROOM -- MORNING</stage_direction>
<scene_description>Keloid and Louise examine Walsh , who lies half - naked on his left side , his right arm stretched out over his head to expose a deep , round , and still - bleeding puncture in his right armpit . Like everything else at the clinic , the examination room has been designed and furnished with luxury and style in mind as much as pure function . Even the cantilevered examination light which Keloid is playing on Walsh 's wound is color - coordinated with the drapes , the chairs , the coat - rack , and the enamel finish of the examination table itself .</scene_description>
<character>KELOID</character>
<dialogue>Were you sleepwalking? Could you have fallen against something outside and then come back in without waking up?</dialogue>
<character>WALSH</character>
<parenthetical>( voice still shaky . )</parenthetical>
<dialogue>I doubt it. Never done anything like that before.</dialogue>
<character>KELOID</character>
<parenthetical>( to Louise . )</parenthetical>
<dialogue>Get me some stuffing, maybe a sponge or two as well. This wound is n't clotting at all. I think we're going to have to shoot in some coagulants to get a scab to form.</dialogue>
<character>LOUISE</character>
<dialogue>Right away.</dialogue>
<scene_description>She leaves , closing the door behind her . Keloid takes a closer look at the wound through a large , illuminated magnifying glass .</scene_description>
<character>KELOID</character>
<dialogue>From what I can see, it's a very, very clean and precise wound. You have n't leaned on any picket fences, have you? Kind with those little spearheads?</dialogue>
<character>WALSH</character>
<parenthetical>( unable to respond to Keloid 's attempt at humor . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Keloid grunts , takes out a tongue depressor , and begins to probe Walsh 's wound with it .</scene_description>
<character>KELOID</character>
<dialogue>Does this hurt?</dialogue>
<character>WALSH</character>
<dialogue>Ca n't feel a thing.</dialogue>
<character>KELOID</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>You ca n't?</dialogue>
<character>WALSH</character>
<dialogue>My whole right side has no feeling in it. Just this aching kind of tingling.</dialogue>
<character>KELOID</character>
<dialogue>Hm.</dialogue>
<scene_description>Louise comes in carrying wads of surgical gauze , sponges , etc. . She puts them down and takes Keloid aside .</scene_description>
<character>LOUISE</character>
<dialogue>Dr Keloid? Kenny Kwong would like to see you.</dialogue>
<character>KELOID</character>
<dialogue>Right now?</dialogue>
<character>LOUISE</character>
<dialogue>He says it's very important. He's waiting in the hall.</dialogue>
<character>KELOID</character>
<parenthetical>( confidentially . )</parenthetical>
<dialogue>OK. Listen. our friend here may have had a stroke. I think the General's the best place for him. But before you plug him up I want 10 cc of blood drawn directly from that wound for tests. Then get Steve to drive him into the city in the ambulance. Tell him to take lots of plasma with him. We're going to have to forget about the coagulants until the General has a chance to do an ECG on him.</dialogue>
<character>LOUISE</character>
<dialogue>Will do, Doctor.</dialogue>
<scene_description>Keloid leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY -- DAY</stage_direction>
<scene_description>Keloid steps out into the hall and joins Kenny Kwong , the clinic 's senior orderly , a concerned - looking , graying Chinese man of about fifty - five .</scene_description>
<character>KWONG</character>
<dialogue>Can you come with me, please, Dr. Keloid?</dialogue>
<character>KELOID</character>
<dialogue>Sure, Kenny. What's up?</dialogue>
<scene_description>They begin to walk briskly down the hall , Kenny leading .</scene_description>
<character>KWONG</character>
<dialogue>You told me to check around the grounds to see if I could find out how Mr. Walsh got hurt?</dialogue>
<scene_description>Keloid nods .</scene_description>
<character>KWONG</character>
<dialogue>I could n't find nothing outside. No blood, nothing. Then Nurse Rita call me. She find something. She tell me go get Dr. Keloid. You see it, then you tell us what happened.</dialogue>
<scene_description>They round the corner taking them into the hallway that goes past Rose 's room . Kenny walks up to Rose 's door and knocks sharply .</scene_description>
<character>KWONG</character>
<dialogue>Nurse Rita waiting for you in here.</dialogue>
<scene_description>After a short pause , Rita opens the door and ushers them inside , closing the door behind them .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM -- DAY</stage_direction>
<scene_description>Once inside the door , Keloid is shocked at the state of Rose 's room . It is basically as we last saw it , except that Rita has reattached Rose , who seems to be in a coma once again , to her IV bottles . The area of the wall next to the doorhandle side of the door is smeared with bloody handprints - Walsh apparently used the doorknob to pull himself to his feet , then supported himself by holding on to the wall and door moulding . Rita leads Keloid over to the bed , while Kwong hangs back to watch that nobody enters inadvertently .</scene_description>
<character>RITA</character>
<dialogue>Watch your feet, Doctor. The police will probably want every little piece of glass and strip of gauze exactly the way we found it.</dialogue>
<scene_description>Keloid finds a place to stand next to the bed , checks Rose 's eyes , then her pulse .</scene_description>
<character>KELOID</character>
<dialogue>Why do you think the police would be interested in this, Rita?</dialogue>
<character>RITA</character>
<dialogue>Why, it's perfectly obvious that that Walsh fellow attempted to molest the poor girl while she was still in a coma. I've seen things like that happen before. Maybe he was drunk.</dialogue>
<character>KELOID</character>
<parenthetical>( drawing back the sheet . )</parenthetical>
<dialogue>Hm. Her grafts have taken amazing well. Probably wo n't even have to rebandage. Hm. I ca n't even see any scar tissue.</dialogue>
<scene_description>He lifts Rose 's left arm and presses around her armpit .</scene_description>
<character>KELOID</character>
<dialogue>Wow. I'll have to have a closer look at that.</dialogue>
<character>RITA</character>
<dialogue>Rejection problems?</dialogue>
<scene_description>Keloid lowers her arm and covers her with the sheet again .</scene_description>
<character>KELOID</character>
<parenthetical>( standing up . )</parenthetical>
<dialogue>Do n't think so. Seems to be an extreme swelling of the lymph nodes under the arm. Could just be a local infection that's under attack, but it's quite a bump. And there's some kind of lesion there. Does n't seen to be gangrenous, but.</dialogue>
<scene_description>He walks thoughtfully toward the door . Kwong stands waiting .</scene_description>
<character>KWONG</character>
<dialogue>Want me to clean up the mess now, Doctor?</dialogue>
<character>KELOID</character>
<parenthetical>( snapping out of his train of thought . )</parenthetical>
<dialogue>What? Oh, yes. But save all the pieces and scrape some of the dried blood on to a slide. Maybe we'll find something out.</dialogue>
<character>RITA</character>
<dialogue>But Dr. Keloid. Mr. Walsh, he may well be.</dialogue>
<character>KELOID</character>
<parenthetical>( turning to Rita . )</parenthetical>
<dialogue>Rita, Lloyd Walsh would n't do something like that. He just would n't. And none of this explains how he got his wound. I think a quiet, thorough, and very private investigation is in order. Do n't you?</dialogue>
<scene_description>Rita lowers her eyes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC DRIVEWAY -- NIGHT</stage_direction>
<scene_description>Wide - angle shot of the clinic in the dead of night . The moon is full .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM -- NIGHT</stage_direction>
<scene_description>In the darkness of her room , Rose 's eyes are open and staring . She begins to pull the IV needles out of her wrists and ankles .</scene_description>
</scene>
<scene>
<stage_direction>INT. WHIRLPOOL ROOM -- NIGHT</stage_direction>
<scene_description>In the whirlpool room , which contains three full - size whirlpool baths , a bar , and a lounge , Judy Glasberg is taking a midnight whirlpool bath to calm herself down . The room is deserted except for Judy , but she seems to have no trouble adjusting the controls of the bath to get it just right . As Judy plays with the temperature controls , the door behind her opens and someone enters , closing the door behind her . Judy looks up , startled . Rose stands at the door in her fresh clinic gown . For some reason , Judy suddenly feels vulnerable in her skimpy bikini .</scene_description>
<character>JUDY</character>
<dialogue>Rose? Is that you? I thought everyone was asleep. They told me you were still in a coma.</dialogue>
<character>ROSE</character>
<parenthetical>( approaching the edge of the bath . )</parenthetical>
<dialogue>Oh, no. I'm doing much better now, thank you.</dialogue>
<scene_description>She seems to be completely normal , and as childlike as ever save for the hollows under her eyes . Judy positions her body so that her nakedness is hidden by the swirling bubbles of the whirlpool .</scene_description>
<character>JUDY</character>
<dialogue>It. it's really weird to meet you this way. I mean, I've never really talked to you before. But I sort of feel I know you, you've been around here for so long. And I saw them bring you in right after the accident.</dialogue>
<character>ROSE</character>
<dialogue>Do you mind if I get in with you? I've been lying in bed for such a long time, my body aches all over.</dialogue>
<character>JUDY</character>
<dialogue>Ah, well, I. does anybody know you're here? I mean, does Dr. Keloid know you. you've regained consciousness?</dialogue>
<scene_description>Rose climbs into the bath with Judy , gown and all .</scene_description>
<character>ROSE</character>
<dialogue>I do n't think so. Everybody seemed to be asleep. It was a bit spooky waking up and finding myself all alone. I'm so glad I ran into you.</dialogue>
<parenthetical>( with surprise . )</parenthetical>
<dialogue>Hey, know what? I think I can feel the warmth of your body radiating out to me through the water. I've never felt anything like that before.</dialogue>
<scene_description>Judy starts to grope for her towel by the side of the pool .</scene_description>
<character>JUDY</character>
<dialogue>I think I'd better get out now. I'm getting all wrinkly.</dialogue>
<scene_description>Rose floats over to Judy and takes her by the arm , interfering with Judy 's attempt to get her towel .</scene_description>
<character>ROSE</character>
<dialogue>Oh, no. Not yet. You have n't even told me your name.</dialogue>
<character>JUDY</character>
<dialogue>Judy Glasberg. Nice to meet you.</dialogue>
<scene_description>Rose slips her arms up under Judy 's arms and hugs her tightly .</scene_description>
<character>ROSE</character>
<dialogue>Mm. It's nice to meet you too.</dialogue>
<scene_description>Judy tries to gently disengage herself from Rose 's embrace .</scene_description>
<character>JUDY</character>
<dialogue>Oh, now, c'mon. You're embarrassing me. Let me put some clothes on and we'll have a few drinks or something, OK?</dialogue>
<scene_description>When she realizes that Rose is n't going to let her go , Judy starts to struggle more seriously .</scene_description>
<character>JUDY</character>
<dialogue>Let me go, please! I want to get dressed. Listen, to tell you the truth, I think there's still something wrong with you. I think you ought to let. Ow! Oh! Something's cutting me! Oh! It hurts!</dialogue>
<scene_description>She starts to thrash about madly in the water , still locked in Rose 's embrace . They dip under the water , then come up again , Judy gasping for air . Rose lets her move wherever she wants , but keeps her arms locked about Judy , her hands now digging into Judy 's shoulders from behind . In tight close - up we see something joining the two bodies under the arms , from Rose 's left to Judy 's right . Even closer , we see something fleshy slipping in and out of some kind of sheath , barbs cutting through flesh , blood beginning to draw along a fleshy translucent tube . From small glands at the base of the tube , dark green fluid , almost black , begins to flow into the blood drawn up the tube . The mixture of blood and green fluid pumps back and forth in the tube . Judy is now moaning in spasms , her head arched back as far away from Rose as possible , her hair floating in the water behind her and forming spirals in the whirlpool . Rose holds on to Judy for dear life , her eyes closed in ecstasy , her cheeks unnaturally flushed . She does n't notice that Judy 's head is beginning to slip beneath the surface of the water . Judy 's body is wracked by one final spasm , then she relaxes completely , her head going under completely . The last bubbles of air from her lungs mix with the bubbles spewed out by the whirlpool oxygenator . After a few moments , Rose releases Judy . We see a close - up of the translucent fleshy tube , now empty of blood , sliding back into its sheath . It is only after she has backed away and taken several soul - deep breaths that Rose notices Judy 's face is two inches below the surface of the water , the tip of her nose almost breaking through to the air but not quite . Rose frantically grabs Judy by the hair and pulls her out of the water . Judy is n't breathing . Rose manages to drag Judy to the edge of the pool , clambers out on to the side , then pulls Judy out on to the pool siding with her , Judy trailing a thin trickle of blood in the water behind her . Rose holds Judy 's mouth open and tries to revive her using mouth - to - mouth resuscitation , but it 's no good . Judy is dead . Rose shakes her head and starts to cry .</scene_description>
<character>ROSE</character>
<dialogue>Oh, no! No!</dialogue>
<scene_description>Rose shakes Judy 's corpse hysterically , then collapses across it , sobbing . After a moment , she gets up , visibly fighting for control . She sets her jaw and begins to drag Judy 's body out of the whirlpool room .</scene_description>
</scene>
<scene>
<stage_direction>INT. READ'S GARAGE IN MONTREAL -- NIGHT</stage_direction>
<scene_description>In the ramshackle garage behind the small house he has rented in Montreal , Hart Read has finally gotten around to trying to put his demolished Norton back together again . The engine has been removed from its frame and sits before him on a metal - topped work table , and Read is in the process of completely dismantling it . Small cardboard cartons of various sizes sit on the table , waiting to receive individual pieces of the engine . The radio hung above the table is tuned to an FM rock station which is on full blast , even though it is about 1 a.m.</scene_description>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT</stage_direction>
<scene_description>In Read 's kitchen , the telephone is ringing , but Read has no chance of hearing it . Next to the phone , pinned to a cork message board with colored plastic drafting pins , are several photos of Read and Rose enjoying happier times .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC LOUNGE -- NIGHT</stage_direction>
<scene_description>Rose listens to the phone ring at Read 's from the telephone in the deserted main lounge . Her hair is wet and matted and she is shivering uncontrollably . She lets it ring , huddling in her chair .</scene_description>
</scene>
<scene>
<stage_direction>INT. OBSERVATION WARD AT GENERAL -- NIGHT</stage_direction>
<scene_description>Lloyd Walsh is in the process of pulling on his pants in the observation ward of the General , which he shares with a thirtyish traffic - accident victim . Walsh 's Lufthansa flight bag is already packed and ready to go , sitting on his bed in the shadow of an IV blood plasma bottle .</scene_description>
<character>VICTIM</character>
<dialogue>Hey, you ca n't leave yet, Lloyd. They have n't figured out how come you're bleeding all over the place.</dialogue>
<character>WALSH</character>
<dialogue>Aw, it's slowed down to a trickle. No problem.</dialogue>
<character>VICTIM</character>
<dialogue>How's your arm?</dialogue>
<character>WALSH</character>
<dialogue>It's fine.</dialogue>
<scene_description>He picks up his bag and opens the door without hesitation .</scene_description>
<character>VICTIM</character>
<dialogue>If the night nurse comes around, I'll tell her you're in the can, how's that?</dialogue>
<character>WALSH</character>
<dialogue>Terrific. Take care of yourself.</dialogue>
<scene_description>He leaves , closing the door behind him .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR AT GENERAL -- NIGHT</stage_direction>
<scene_description>Walsh walks briskly down a corridor which leads to the main entrance of the Montreal General Hospital , flight bag in hand . Nobody stops him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GENERAL ENTRANCE -- NIGHT</stage_direction>
<scene_description>Walsh leaves the General and walks around the circular driveway to the street , where he is just in time to pick up a cab being paid off by a night orderly arriving for work . Walsh gets in the cab and it pulls away from the curb .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB -- NIGHT</stage_direction>
<scene_description>Walsh leans his head back against the back seat as the cab pulls away . He rolls his head from side to side , as though trying to shake off a headache .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MONTREAL STREETS -- NIGHT</stage_direction>
<scene_description>The cab moves through the streets of Montreal and enters a ramp leading eventually to the Decarie Expressway . The cab accelerates to the speed limit .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB -- NIGHT</stage_direction>
<scene_description>The nasal , wailing voice of a popular singer blares from all four speakers in the cab . Walsh is now sitting quite still in the back seat , head resting against the seat back .</scene_description>
<character>CAB DRIVER</character>
<dialogue>Hey, Mister, you wan na sleep? I can turn the radio off. It's a long way to Camelford.</dialogue>
<scene_description>Walsh does n't answer . The driver looks in his rear - view mirror . Walsh is slumped in the shadows of the back - seat area .</scene_description>
<character>CAB DRIVER</character>
<dialogue>Hey, Mister. You want me to turn the radio off? Or maybe if you want I can turn off the back speakers and just leave on the front ones.</dialogue>
<scene_description>He turns around in his seat to look at Walsh . His words die on his lips . Walsh is staring at him with eyes that have completely clouded over so that the whites of his eyes are indistinguishable from the irises and pupils . Dark green foam is drooling from the corners of Walsh 's mouth . The cab driver does n't have a chance to react any further before Walsh attacks him viciously , grabbing him by the shoulders and biting the cab driver on the cheek .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXPRESSWAY -- NIGHT</stage_direction>
<scene_description>The cab carrying Walsh veers crazily across three lanes of the nearly deserted expressway .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB -- NIGHT</stage_direction>
<scene_description>The cab driver tries madly to pull himself around in his seat so that he can see where he 's going , screaming in pain all the while . With one tremendous jerk he frees his face from Walsh 's locked jaws .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXPRESSWAY -- NIGHT</stage_direction>
<scene_description>The cab finally slews completely out of control , smashes into the low concrete railing lining the expressway , cartwheels over the railing , and falls on to the expressway ramp some twenty feet below , where it is rammed by an immense diesel truck delivering furniture to a sub - urban warehouse . The cab is pushed fifty yards along the rampway , shedding pieces of bodywork and glass all the way , before the truck manages to stop .</scene_description>
</scene>
<scene>
<stage_direction>INT. THE KELOIDS' BEDROOM AT THE CLINIC -- NIGHT</stage_direction>
<scene_description>The telephone on the night table beside the Keloids ' double bed starts to ring . Dan Keloid rolls over , fumbles for the receiver , and finally gets it off the hook and up to his ear . Roxanne stirs beside him in bed .</scene_description>
<character>KELOID</character>
<dialogue>Yeah. Yeah. No. No, you're kidding. Dead? Yeah. No, I would have absolutely no objections to an autopsy. It's definitely indicated. No, I've got nothing to add to my telephoned report. We never came up with anything else. Yeah. Right. OK. ` Bye.</dialogue>
<scene_description>He hangs up the phone in a state of drowsy excitement . Roxanne rolls over and puts her arm around him . Keloid picks up his wrist - watch to check the time . It 's 3.07 a. m.</scene_description>
<character>ROXANNE</character>
<dialogue>What is it, Dan?</dialogue>
<character>KELOID</character>
<dialogue>Lloyd Walsh is dead.</dialogue>
<scene_description>Roxanne starts to snap out of her sleep .</scene_description>
<character>ROXANNE</character>
<dialogue>He's what?</dialogue>
<character>KELOID</character>
<dialogue>He left the General about an hour ago. Told another patient he felt all right. He took a cab and the cab crashed on a highway. Both occupants dead.</dialogue>
<character>ROXANNE</character>
<dialogue>Oh, God. Poor Lloyd. But you said something about an autopsy? Was the cab driver drinking?</dialogue>
<character>KELOID</character>
<dialogue>No, it's Walsh. They're not happy with his corpse.</dialogue>
<parenthetical>( baffled . )</parenthetical>
<dialogue>Something about the eyes. I'm going to have to go over Walsh's file again. It just does n't add up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD -- NIGHT (APPROX. 4 A.M.)</stage_direction>
<scene_description>By the light of a full moon , Rose walks purposefully down a dirt country road , a borrowed windbreaker pulled tightly around her over her clinic gown and hospital slippers starting to come apart on her feet . She is determined to get as far away from the clinic as she can by morning light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD -- NIGHT (APPROX. 4 A.M.)</stage_direction>
<scene_description>Rose finds herself walking beside a moonlit field with a ramshackle barn at one end . She pauses beside the barn for a moment , then slips under the fence surrounding the field and makes her way gingerly across the muddy barnyard toward the door of the barn . The house nearest the barn is dark . Rose gently edges open the door of the barn .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN -- NIGHT</stage_direction>
<scene_description>Once inside the barn , Rose feels around for a light switch . She finds it without much trouble and flicks it on . The barn is low and full of cobwebs , and houses only two solemn cows and a scraggly chicken . Rose heads for the nest of straw that the two cows have made , and gradually snuggles her way in between them . She starts to stroke the side of one of the cows , getting the animal accustomed to her touch , at the same time carefully slipping out of her windbreaker . She then raises her left arm and presses her left armpit flat against the cow 's side . After a pause , she gives a short , sharp push with her left side , as though she 's pushing something into the cow with her body . The cow responds by lifting up its head and turning to look at her . Satisfied that nothing too threatening is happening , it turns back and lowers its head again . Rose stretches out over the cow in ecstasy . Her eyes are closed . Blood begins to flow in a rapid , one - way stream from the cow into Rose . She is breathing rapidly and heavily . Suddenly , she pulls away from the cow , giving us a chance to see a flash of some kind of elongated , tube - like organ retracting under her left arm , dripping blood from its tip . As Rose lurches to her feet , we can see a small , deep wound leaking blood and green , bile - like fluid in the cow 's side where Rose 's armpit had been pressed . The cows stir in reaction to Rose 's violent movement . She staggers away from the cows , dizzy and nauseous . She manages to reach the stalls , which she leans on for support , before she begins to vomit . Suddenly , the door bangs open and a drunken old farmer stumbles into the barn , a whisky bottle in his hand .</scene_description>
<character>FARMER</character>
<dialogue>All right, you! Hold it right there!</dialogue>
<parenthetical>( spotting Rose . )</parenthetical>
<dialogue>Oh. Whatta we got here? Hello, sweet honey pie. What're ya drinkin'? You come in to get outta the cold?</dialogue>
<scene_description>He waves the bottle at Rose as he approaches her , then puts his arm around her so that the bottle rests on her chest .</scene_description>
<character>FARMER</character>
<dialogue>I got something ya can take a drink off of, an ` it ai n't no whisky, neither.</dialogue>
<scene_description>He laughs coarsely and kisses Rose on the neck . When she fails to resist him , he drops his nearly empty whisky bottle and starts to nuzzle her collarbone . Rose wearily slips her hand up behind the farmer 's head and pulls it down toward her left armpit .</scene_description>
<character>FARMER</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>Hey, that's real nice, honey pie. You like me, do n't ya? I kin tell ya do.</dialogue>
<scene_description>The farmer is slobbering happily around Rose 's shoulder when she suddenly grabs his head by the hair with both her hands and pulls him viciously down on the cutting points of her bloodsucking organ . The farmer screams in agony . Rose holds the farmer 's head down until he stops screaming and starts breathing heavily , spasmodically . Then she lets him go . The farmer straightens up . He is holding his hand over his right eye . Rose is terrified at what she 's done . With a horrified sob , she backs away , then turns and runs , stumbling , out the door , leaving the farmer to stand swaying in a semi - anesthetized stupor in the middle of the barn .</scene_description>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT (5.14 A.M.)</stage_direction>
<scene_description>Read has fallen asleep at his kitchen table while working on the engine of his Norton . The partially dismantled engine sits on a section of newspaper on the kitchen table next to a half - empty cup of coffee and an open , grease - smeared Norton Owner 's Manual . He is awakened out of his deep sleep by the sound of the kitchen phone ringing . Read jumps up , still half asleep , almost knocking over his chair in the process . It takes him a second or two to realize that he is in fact at home . Read grabs for the phone , somehow terrified that the person on the other end will hang up before he answers .</scene_description>
<character>READ</character>
<dialogue>Hello?</dialogue>
<parenthetical>( suddenly very excited . )</parenthetical>
<dialogue>Rose? Is it really you? How come you're. I mean, the last time I saw you. Oh, God. Rose, are you all right?</dialogue>
</scene>
<scene>
<stage_direction>INT. CLINIC LOUNGE -- NIGHT</stage_direction>
<scene_description>In the main lounge of the clinic , Rose kneels beside the table on which the lounge phone rests , cradling the receiver in her hands . She is covered with blood , her gown has been ripped , and she is close to hysteria . Her feet are covered with dirt and she 's tracked mud inside , marking her trail from the clinic 's back door clearly .</scene_description>
<character>ROSE</character>
<dialogue>Hart? Oh, Hart.</dialogue>
<parenthetical>( sobbing . )</parenthetical>
<dialogue>No, no, I'm not all right. I'm in terrible trouble. I want you to help me.</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What are you talking about? Rosie, calm down, I can hardly understand what you're saying.</dialogue>
<character>ROSE</character>
<dialogue>Hart, can you hear me?</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I can hear you, Rosie.</dialogue>
<character>ROSE</character>
<dialogue>Hart, you've got to come and get me. You've got to come and get me as fast as you can.</dialogue>
<scene_description>She suddenly becomes aware of someone else 's presence in the lounge . She turns with a start . Rita , who is acting as night nurse , is standing right behind her , a shocked and unbelieving look on her face .</scene_description>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>Rose, do n't panic. Whatever's wrong I'll be able to help you, understand? Now, I can be at the clinic first thing in the morning, OK? I'll get a lift from somebody, I'll take a cab if I have to. Rose? You still there?</dialogue>
<character>ROSE</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( strangely subdued . )</parenthetical>
<dialogue>I'm still here.</dialogue>
<character>READ</character>
<dialogue>Rose, tell me what's wrong. Please. I'm going crazy here.</dialogue>
<character>ROSE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I ca n't talk now. See you soon.</dialogue>
<scene_description>Read is suddenly left holding a receiver humming a dial tone . He waits only a second or two before he starts to look frantically for the phone number of the Keloid Clinic in the small book hanging from a nail by the phone .</scene_description>
<character>READ</character>
<parenthetical>( thumbing through the book . )</parenthetical>
<dialogue>Christ! What was the number of that place?</dialogue>
</scene>
<scene>
<stage_direction>INT. KELOID'S OFFICE -- NIGHT (5.30 A.M.)</stage_direction>
<scene_description>Keloid is sitting at his desk in his bath - robe and slippers , looking into a microscope holding a dry slide of Walsh 's blood . There is a knock at his door . Keloid looks up as Rita enters , closing the door behind her .</scene_description>
<character>KELOID</character>
<dialogue>Hi, Rita. I could n't sleep. I've been trying to figure out what there could possibly be in Walsh's blood that would cause.</dialogue>
<character>RITA</character>
<parenthetical>( interrupting with quiet urgency . )</parenthetical>
<dialogue>Doctor, I think you'd better come with me.</dialogue>
</scene>
<scene>
<stage_direction>INT. CYPHER'S LIVING ROOM IN DORVAL -- NIGHT</stage_direction>
<scene_description>A groggy Murray Cypher sits on a sofa in front of the TV set in his living room , trying to get his four - month - old son to drink his 6 a.m. bottle . The images of the early morning show - the sound has been turned off - seem to attract the baby more than the bottle does . To Cypher 's complete surprise , the telephone starts to ring .</scene_description>
<character>CYPHER</character>
<dialogue>Oh, no. I just do n't believe it. OK, Jeffrey - you're on your own for a second.</dialogue>
<scene_description>Cypher tries to prop the kid up between two cushions , but he starts to cry the instant Cypher lets go of him . Cypher picks him up and takes him over to the phone , which is on a shelf at the other end of the room .</scene_description>
<character>CYPHER</character>
<dialogue>No? You want in on the action? OK, let's go.</dialogue>
<scene_description>Cypher picks up the phone .</scene_description>
<character>CYPHER</character>
<parenthetical>( annoyed . )</parenthetical>
<dialogue>What could you possibly want at this hour of the morning?</dialogue>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>Murray, it's Hart Read. I hate like hell having to bother you like this, but I'm going out of my skull. It has to do with the clinic.</dialogue>
<character>CYPHER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Yeah, OK. I was up anyway with the baby. So what gives?</dialogue>
<character>READ</character>
<dialogue>I got this phone call from the clinic. From Rose.</dialogue>
<character>CYPHER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>From who?</dialogue>
<character>READ</character>
<dialogue>From Rose. She's supposed to be in a coma. Keloid promised me he'd tell me the second she showed signs of consciousness and here I am getting a call from her at five in the morning.</dialogue>
</scene>
<scene>
<stage_direction>INT. CYPHER'S LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Cypher is having trouble juggling the phone , the bottle , and his baby , who is gumming the receiver and drooling into the little holes at the speaking end .</scene_description>
<character>CYPHER</character>
<dialogue>That is pretty weird. But maybe she came to in the middle of the night and did n't know where she was. Those things can happen. Jeffrey, do n't eat the phone. You'll get indigestion.</dialogue>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>But she said she was in trouble, Murray. She wants me to come and get her right now.</dialogue>
<character>CYPHER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Look, Hart - she's confused and she's scared. Did you phone the clinic back and try to talk to Danny?</dialogue>
<character>READ</character>
<dialogue>I did. I got to talk to a tape recorder. I left a message.</dialogue>
</scene>
<scene>
<stage_direction>INT. CYPHER'S LIVING ROOM -- NIGHT</stage_direction>
<character>CYPHER</character>
<dialogue>OK. I'll phone Danny right now at his private number, and I'll make sure that he knows that your Rosie is making phone calls in the middle of the night. Then I'll pick you up at your place in an hour and we'll go up to the clinic together. How's that grab ya?</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Great. Phone me right back if there's a problem.</dialogue>
<character>CYPHER</character>
<dialogue>Absolutely.</dialogue>
</scene>
<scene>
<stage_direction>INT. READ'S KITCHEN -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>OK, Murray. Thanks a hell of a lot.</dialogue>
<scene_description>Read hangs up the phone . He takes a close look at one of the pictures of himself and Rose on the Norton .</scene_description>
</scene>
<scene>
<stage_direction>INT. ROSE'S ROOM AT THE CLINIC -- NIGHT</stage_direction>
<scene_description>Rose sits quietly on the edge of her bed , her feet dangling over the side not quite touching the floor . She keeps her head down and does not look at Keloid , who is conferring with Rita at the door . Rita has given Rose a new gown and cleaned her up a bit for Keloid . Rita leaves and Keloid closes the door behind her . He turns to Rose and approaches the bed , tapping his stethoscope against the palm of one hand . He does n't say anything until he sits down on the bed beside her .</scene_description>
<character>KELOID</character>
<dialogue>Rose. I'm Dr. Keloid. Dan Keloid. I'm here to help you, sweetheart.</dialogue>
<scene_description>Rose lifts her head to look at Keloid for the first time . Tears are streaming down her cheeks . She throws her arms around Keloid and begins to sob on his shoulder . Keloid hugs her gently and pets her on the head as though she were a child . After one or two moments , Keloid detaches himself from Rose and lies her back down on her bed .</scene_description>
<character>KELOID</character>
<dialogue>Rose, we wo n't talk about anything right now except how you're feeling, OK?</dialogue>
<scene_description>Rose nods , still snuffling slightly .</scene_description>
<character>KELOID</character>
<dialogue>Good. First thing I want to do is to check out some of the skin grafts we did for you. Now, could you please just slip your arm out of your left shoulder strap and raise your arm over your head?</dialogue>
<scene_description>Instead of doing as Keloid asks , Rose puts her hands over her face and shakes her head . Keloid is baffled .</scene_description>
<character>KELOID</character>
<dialogue>What's the matter, Rose? Are you in pain? Talk to me, Rose. It's the only way I can understand what's bothering you.</dialogue>
<character>ROSE</character>
<parenthetical>( from behind her hands . )</parenthetical>
<dialogue>I'm hideous, Doctor. I'm crazy and I'm a monster.</dialogue>
<character>KELOID</character>
<dialogue>C'mon, Rose. There's just about nothing we ca n't fix if we know what's wrong. Now, I do n't want any more games. Do what I tell you.</dialogue>
<scene_description>Rose reluctantly takes her hands away from her face and slips her left arm out of its shoulder strap . A pause , and then she raises her left arm above her head on the pillow . Keloid can barely suppress his surprise at what he sees . Nestled in Rose 's left armpit is a fleshy , tubular lump with an opening at the upper end of it . Keloid reaches over and presses it gently with his fingertips .</scene_description>
<character>KELOID</character>
<dialogue>Does that hurt?</dialogue>
<character>ROSE</character>
<dialogue>No. It does n't hurt.</dialogue>
<scene_description>Keloid takes a closer look at the fleshy pouch . The opening at the upper end seems to be surrounded by sphincter muscles . Keloid gently spreads the opening with his thumb . Deep within the pouch , something an angry pink color , something glistening , seems to be pulsating . When he removes his thumb , the muscles pull the opening closed again the way a drawstring closes a bag . Keloid sits up on the side of the bed again , trying to regain his composure .</scene_description>
<character>KELOID</character>
<parenthetical>( after a pause . )</parenthetical>
<dialogue>As far as I can tell now, it'll take just a very minor operation to remove that growth from under your arm. It may be some kind of external intestinal tissue. The neutral field tissue graft we did has been trying to find a way to get food that you can digest into your body. I was hoping it would do that by providing you with a regular set of small intestines but it seems to have had something different in mind.</dialogue>
<scene_description>Rose shakes her head . A baffled expression comes over Keloid 's face .</scene_description>
<character>KELOID</character>
<dialogue>How long have you been conscious, Rose? Do you know?</dialogue>
<character>ROSE</character>
<dialogue>Couple of days.</dialogue>
<character>KELOID</character>
<dialogue>Do you feel weak?</dialogue>
<character>ROSE</character>
<dialogue>I feel strong. I feel very strong.</dialogue>
<character>KELOID</character>
<dialogue>Rita tells me you refused to let her attach you to your intravenous nutrient bottles. Why?</dialogue>
<character>ROSE</character>
<dialogue>I do n't need them. They make me feel sick.</dialogue>
<character>KELOID</character>
<dialogue>I do n't understand. They've got to be your only source of food.</dialogue>
<character>ROSE</character>
<dialogue>They're not. They have n't been for a couple of days. Not since that man.</dialogue>
<character>KELOID</character>
<dialogue>Man? What are you talking about?</dialogue>
<character>ROSE</character>
<dialogue>I'll show you.</dialogue>
<scene_description>Rose puts her right hand behind Keloid 's head and draws it slowly down toward her left armpit . When Keloid 's head is about a foot and a half away from the organ , Rose grabs Keloid by the hair with both hands and strains upwards with her body . Keloid emits a low , gurgling scream which soon cuts off with the suddenness of a thrown switch . Exhausted of energy , Keloid collapses across Rose , who begins to rock him gently from side to side as she pumps the blood from his body .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KENTUCKY FRIED CHICKEN DEPOT -- MORNING (6.45 A.M.)</stage_direction>
<scene_description>A battered old Ford pick - up truck pulls into the parking lot of a Colonel Sanders Kentucky Fried Chicken depot beside the two - lane highway leading to the Keloid Clinic . The door of the truck opens and a vaguely familiar mangy dog jumps out : it belongs to the farmer who was Rose 's third victim .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRIED CHICKEN DEPOT -- MORNING</stage_direction>
<scene_description>The farmer enters the take - out depot , which is deserted except for staff and one lone trucker . The farmer is wearing a pair of crooked and cracked sunglasses . He is not very steady on his feet . His dog watches with concern through the glass door .</scene_description>
<character>FARMER</character>
<parenthetical>( to counter girl . )</parenthetical>
<dialogue>One bucket of your best for me and my dog there.</dialogue>
<character>COUNTER GIRL</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>The counter girl conveys the order through the window into the kitchen , then turns back to write up the farmer 's bill .</scene_description>
<character>COUNTER GIRL</character>
<dialogue>Yes, and will that be. Oh!</dialogue>
<scene_description>The girl 's words trail off as she notices a tear of blood running down the farmer 's cheek from under the right lens of his sunglasses .</scene_description>
<character>COUNTER GIRL</character>
<dialogue>Hey, Mister. Did you know you're bleeding?</dialogue>
<scene_description>The farmer dabs at his cheek with a tobacco - stained finger , smearing the blood .</scene_description>
<character>FARMER</character>
<dialogue>It's nothin'.</dialogue>
<character>TRUCKER</character>
<dialogue>Musta had a rough night, Buddy.</dialogue>
<character>FARMER</character>
<dialogue>Think I got in a fight or somethin'. Ca n't remember too good.</dialogue>
<scene_description>The man in the kitchen slaps a bucket of chicken down on the kitchen - window counter .</scene_description>
<character>KITCHEN MAN</character>
<dialogue>One bucket ready to go.</dialogue>
<scene_description>The counter girl picks up the bucket and carries it over to the trucker . She has just barely put it down when the farmer grabs it and starts tearing the lid from it .</scene_description>
<character>TRUCKER</character>
<dialogue>Hey, Buddy. I think that one's mine.</dialogue>
<scene_description>The farmer grabs a piece of fried chicken from the bucket and starts wolfing it down . The trucker puts his hand on the farmer 's shoulder and turns him around so that they face each other , a piece of chicken skin hanging from the farmer 's lips .</scene_description>
<character>TRUCKER</character>
<dialogue>I said. I think that one's mine, Buddy.</dialogue>
<scene_description>The farmer starts shaking uncontrollably .</scene_description>
<character>FARMER</character>
<dialogue>I got ta eat. I got ta eat. I got ta eat.</dialogue>
<character>TRUCKER</character>
<dialogue>Take those glasses off so I can see who I'm talkin' to.</dialogue>
<scene_description>The trucker reaches out and takes off the farmer 's sunglasses . To his disgust , he is confronted with one closed , swollen , and bleeding eye , and one eye which has almost completely clouded over from white of eye to pupil .</scene_description>
<character>TRUCKER</character>
<dialogue>What the hell.</dialogue>
<scene_description>Bits of chicken drool from the farmer 's mouth , followed by a froth of dark green foam . Without warning , the farmer lunges at the trucker and tries to bite his face . The trucker dodges out of the way , catches the farmer by his jacket and swings him over the counter , where he crashes into the counter girl . As the kitchen man comes out of the kitchen with a pot of boiling oil in his hand , the farmer grabs the girl and manages to bite her on the arm before she can pull away . Green foam dribbles into the girl 's wound . Once the girl has pulled loose and backs away , screaming hysterically , the kitchen man throws the potful of oil on the farmer as he struggles to his feet . The farmer screams . As the dog barks madly at the door , the trucker and the kitchen man jump on the farmer and pound him senseless behind the counter .</scene_description>
</scene>
<scene>
<stage_direction>INT. SURGICAL WASH-UP AT THE KELOID CLINIC -- MORNING</stage_direction>
<scene_description>Keloid and Roxanne are preparing to perform an early morning facelift . They wash their hands and forearms and put on surgical gloves as the scrub - nurse prepares their masks and gowns . Keloid has a thick band - aid on his neck .</scene_description>
<character>ROXANNE</character>
<dialogue>You're sure you want to do this one, Dan? Louise and I could handle it with no trouble.</dialogue>
<character>KELOID</character>
<dialogue>I'll be fine.</dialogue>
<character>ROXANNE</character>
<dialogue>You were pretty groggy this morning.</dialogue>
<parenthetical>( noticing band - aid . )</parenthetical>
<dialogue>Cut yourself shaving?</dialogue>
<character>KELOID</character>
<dialogue>I'll be fine.</dialogue>
<scene_description>Keloid turns away from Roxanne to avoid further discussion . The orderly begins to help him on with his surgical gown . Keloid allows a pained , confused expression to take over his face for a moment , then suppresses it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIX-LANE HIGHWAY -- MORNING</stage_direction>
<scene_description>On a six - lane highway leading out of Montreal , Cypher 's station wagon starts out on its journey to the Keloid Clinic .</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON -- MORNING</stage_direction>
<scene_description>Inside , Cypher and Read sit bleary - eyed , both drinking coffee from styrofoam cups with slits in their covers and listening to the car radio in silence . The 8 a.m. news is in progress .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>but there can be little doubt that the issue of police brutality will still be with us for some time to come. And speaking of brutality - an incident of violence that took place over a Highway 11 fried chicken take - out counter ended in the death of one man and the wounding of an eighteen - year - old girl. We'll give you further details on that story as they become available.</dialogue>
<scene_description>Read and Cypher drive on to the sounds of a Radio Shack commercial .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC OPERATING ROOM -- MORNING</stage_direction>
<scene_description>Keloid , Roxanne , Karl , Louise , and the scrub - nurse are in the process of performing a routine facelift on a middle - aged woman . Roxanne watches Keloid closely for signs of fatigue as he makes the first cut under the woman 's chin with a scalpel . Keloid 's hand is rock steady . He makes two more cuts and rolls back a flap of skin . Everything seems to be under control .</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON -- MORNING</stage_direction>
<scene_description>Cypher and Read drive on , listening to the rest of the news story .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The man, later identified as forty - three - year - old Fred Atkins of Camelford, went berserk this morning during an argument over who was to be served his bucket of chicken first and bit the counter girl on the arm. The man was subdued by an unidentified truck driver and the chicken place's cook, but died of unknown causes before police arrived. Local health authorities suspect that rabies might be involved and have vaccinated everyone concerned. The dead man's dog was destroyed on the spot. And now, a brief pause for station identification, after which we'll talk to a scientist who says that earthquakes may one day become a thing of the past.</dialogue>
<scene_description>While they listen to a variation of the Radio Shack commercial , Cypher notices that they 're passing by the Kentucky Fried Chicken depot . There are still two police cars parked in the parking lot .</scene_description>
<character>CYPHER</character>
<dialogue>Hey, we're right there.</dialogue>
<character>READ</character>
<parenthetical>( drowsy . )</parenthetical>
<dialogue>Huh?</dialogue>
<character>CYPHER</character>
<dialogue>The place they were talking about on the radio.</dialogue>
<parenthetical>( joking . )</parenthetical>
<dialogue>Wan na stop off for some fried chicken?</dialogue>
<character>READ</character>
<parenthetical>( not reacting to the joke . )</parenthetical>
<dialogue>Not hungry, thanks.</dialogue>
<scene_description>Cypher is about to say something further , but realizes that Read is too preoccupied with Rose to banter with . He decides to let it drop . They drive off to the sounds of easy - listening radio .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC OPERATING ROOM -- MORNING</stage_direction>
<scene_description>Keloid is now stitching up the flap of skin under his patient 's chin . Roxanne notices that his hand is no longer as steady as it was earlier on in the operation . He is having trouble placing his stitches properly . His mask is soaking through at the mouth .</scene_description>
<character>ROXANNE</character>
<dialogue>Do you want me to complete the stitching, Dr. Keloid?</dialogue>
<character>KELOID</character>
<dialogue>I need. I need something to cut with, Dr. Rushton.</dialogue>
<character>ROXANNE</character>
<dialogue>You want the scissors now, Doctor?</dialogue>
<character>KELOID</character>
<dialogue>Yes. The scissors now.</dialogue>
<scene_description>Roxanne 's brow is furrowed as she reaches for the scissors on her instrument tray and hands them to Keloid .</scene_description>
<character>ROXANNE</character>
<dialogue>Scissors.</dialogue>
<scene_description>Instead of simply allowing the scissors to be placed in his hand , Keloid grabs Roxanne by the wrist with one hand and takes the scissors with the other . He turns to look at her . She is shocked to see that his eyes have completely clouded over . Looking into them is like looking down two dark holes .</scene_description>
<character>ROXANNE</character>
<dialogue>Dan!</dialogue>
<scene_description>Without hesitation , Keloid takes the scissors and cuts the tip of Roxanne 's index finger off . Roxanne stares down at her bleeding finger , an unvoiced scream rising in her throat . Keloid lets the scissors drop to the floor and pulls down his mask . Dark green fluid foams from his mouth . He falls to his knees and puts Roxanne 's index finger in his mouth , sucking on it like a straw . Roxanne screams . Louise , who turned to look at Keloid at the sound of the falling scissors , screams in unison , backing away in terror and disbelief . The operating room explodes in confusion and panic as Keloid and Roxanne start to thrash about , knocking instruments and various surgical appliances to the floor . The patient slumbers on , oblivious . Dr. Karl , the anesthetist , leaves his post behind the patient 's head and tries to pull Keloid off Roxanne .</scene_description>
<character>KARL</character>
<dialogue>Dan, do n't be stupid! What's the matter with you? Are you crazy or something? Stop it! Stop it!</dialogue>
<scene_description>Keloid lets go of Roxanne and sinks his teeth into Karl 's shoulder . Karl screams in pain but does n't let go . Louise finally regains enough presence of mind to run out of the operating room . Roxanne writhes in pain and shock on the floor .</scene_description>
<character>LOUISE</character>
<dialogue>I'm getting the police! I'm going to call the police!</dialogue>
</scene>
<scene>
<stage_direction>INT. PATIENTS' LOUNGE -- MORNING</stage_direction>
<scene_description>Rose is sitting in the patients ' lounge with one or two other patients , watching TV . Next to Rose is a mobile intravenous cart , to whose three bottles she is attached by several IV tubes . A young nurse we have not seen previously sits beside her , obviously instructed to keep a close watch on Rose , who wears a clinic dressing - gown over her nightgown . Suddenly Louise comes flying past the lounge in hysterics , half crying , half screaming .</scene_description>
<character>LOUISE</character>
<parenthetical>( hysterical . )</parenthetical>
<dialogue>He's gone crazy, he's gone crazy! He's killing everybody! There's blood everywhere! We've got to do something! We've got to get the police!</dialogue>
<scene_description>She picks up a stream of staff members and patients who trail after her trying to get some sense out of the completely distracted woman . The nurse watching Rose immediately gets up and runs after Louise , as does one of the two patients watching TV in the lounge . The other patient , terrified by the panic in Louise 's voice , shrinks into a corner and tries to look inconspicuous . The instant everyone rounds the corner at the end of the lounge , Rose stands up and pushes her IV cart down a hall that goes in the opposite direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. SIDE HALLWAY -- MORNING</stage_direction>
<scene_description>Once she is out of sight , Rose quickly begins to detach herself from her IV tubes . Shouts and sounds of struggle rise and fall in the distance as she pulls the needles out of her wrists .</scene_description>
</scene>
<scene>
<stage_direction>INT. JUDY GLASBERG'S ROOM -- MORNING</stage_direction>
<scene_description>Rose enters Judy Glasberg 's room and closes the door behind her . She pauses only for a moment to glance at the photos of Judy tacked up on the wall showing her before and after her proposed nose job , then opens Judy 's closet and starts rummaging through the clothes hanging there .</scene_description>
</scene>
<scene>
<stage_direction>INT. CYPHER'S STATION WAGON -- LATE MORNING</stage_direction>
<scene_description>Cypher and Read are on the last stretch of highway before the curve which reveals the driveway of the Keloid Clinic . Read has not warmed up too much , his anxiety increasing as they 've gotten closer to the clinic .</scene_description>
<character>READ</character>
<parenthetical>( looking through the windshield . )</parenthetical>
<dialogue>Hey, look. What's going on there? The place is crawling with police.</dialogue>
<character>CYPHER</character>
<dialogue>What? Hey, you're right.</dialogue>
<character>READ</character>
<dialogue>Oh, Christ, no! It's Rose. It's got to be. Something's happened to Rose!</dialogue>
<character>CYPHER</character>
<dialogue>Take it easy, Hart. They would n't need three cruisers for that. It's something else for sure.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLINIC DRIVEWAY -- LATE MORNING</stage_direction>
<scene_description>Cypher 's car pulls up the driveway , with Read hanging half - way out of the passenger door . Read jumps out before the car has come to a full stop . There are indeed three Quebec Provincial Police cruisers parked at various strategic spots around the front of the clinic . There is also a paddy wagon parked right next to a Quebec Bureau of Health van . Cypher and Read walk up to the front doors and enter the clinic .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC -- LATE MORNING</stage_direction>
<scene_description>Several police officers and a police photographer are moving through the building with Dr. Karl , who is describing what happened to the officer in charge . Karl looks harried , confused , and very unhappy . Read and Cypher meet Karl and the head officer as they talk in the reception area . Karl 's operating tunic is bloodstained at the shoulder .</scene_description>
<character>CYPHER</character>
<parenthetical>( to Karl . )</parenthetical>
<dialogue>Where's Dr. Keloid? What's happening?</dialogue>
<character>COP</character>
<dialogue>Who are you?</dialogue>
<character>KARL</character>
<dialogue>Murray, thank God you're here. It's been a nightmare.</dialogue>
<parenthetical>( to cop . )</parenthetical>
<dialogue>This is Murray Cypher. He's one of the owners of the clinic.</dialogue>
<character>CYPHER</character>
<dialogue>What's the story, Bill?</dialogue>
<character>KARL</character>
<dialogue>It's Danny. He went berserk in the middle of an operation. I was there. He tried to kill Roxanne. He cut her. They had to take her away.</dialogue>
<scene_description>He chokes up .</scene_description>
<character>CYPHER</character>
<parenthetical>( in disbelief . )</parenthetical>
<dialogue>Danny? You've got to be kidding.</dialogue>
<character>READ</character>
<parenthetical>( to Karl . )</parenthetical>
<dialogue>Oh, God. Have you seen Rose? Has anything happened to her? Is she all right?</dialogue>
<character>KARL</character>
<dialogue>Rose? You mean. no, no, this has nothing to do with her. She should be around somewhere.</dialogue>
<character>COP</character>
<parenthetical>( to Karl . )</parenthetical>
<dialogue>OK, let's see if I've got this straight. You were in the middle of an operation, a routine facelift, did you say?</dialogue>
<character>KARL</character>
<dialogue>That's right. That's what we do here. The operation was just about over. it was Dr. Keloid who was performing it, you see. This is so bizarre.</dialogue>
<scene_description>Read turns away from the main doors and walks through the reception area looking anxiously for Rose . There he encounters two patients , Miss Owen and a slightly younger woman , sitting in lawn chairs discussing the events of the morning .</scene_description>
<character>MISS OWEN</character>
<parenthetical>( to woman patient . )</parenthetical>
<dialogue>. certainly they took her away. She was bleeding and she was completely hysterical. Could n't make out a word she was saying.</dialogue>
<character>READ</character>
<dialogue>Have you seen Rose? The young girl who was in the motorcycle accident?</dialogue>
<character>MISS OWEN</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Do you mean the girl who was in here to have her nose fixed two times in a row?</dialogue>
</scene>
<scene>
<stage_direction>INT. CLINIC ENTRANCE -- LATE MORNING</stage_direction>
<scene_description>The chief cop , Cypher , and Karl are still talking .</scene_description>
<character>COP</character>
<parenthetical>( to Cypher . )</parenthetical>
<dialogue>So you are in fact Dr. Keloid's business partner?</dialogue>
<character>CYPHER</character>
<dialogue>I am.</dialogue>
<character>COP</character>
<dialogue>Come with me, please.</dialogue>
<scene_description>The cop walks toward the main doors . Cypher turns to see if Karl is going to follow . Karl shakes his head and looks down at his shoes .</scene_description>
<character>KARL</character>
<dialogue>I ca n't, Murray. You go. I've seen it.</dialogue>
<scene_description>Baffled , Cypher follows the cop out the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC -- LATE MORNING</stage_direction>
<scene_description>Cypher and the head cop leave the clinic and walk out to the parking lot . As they pass the Bureau of Health van and the Keloid Clinic ambulance , Cypher sees a man in a medical uniform giving a police officer an injection straight into his stomach muscles in the ambulance . The officer 's hand is bandaged .</scene_description>
<character>COP</character>
<parenthetical>( to Cypher . )</parenthetical>
<dialogue>Couple of my men got bitten. Those rabies shots are killers. Think I'd rather take my chances on getting sick instead.</dialogue>
<character>CYPHER</character>
<dialogue>Bitten? By what?</dialogue>
<scene_description>They arrive at the back of the paddy wagon . The cop points to the mesh windows in the wagon 's rear doors .</scene_description>
<character>COP</character>
<dialogue>By that.</dialogue>
<scene_description>Cypher looks through the mesh . Without warning , Keloid throws himself against the mesh from the inside , frothing green at the mouth , smeared with blood and moaning like a creature from hell . He tries savagely to bite Cypher through the wire , which cuts his lips and scrapes the enamel from his teeth . Cypher jumps back .</scene_description>
<character>COP</character>
<dialogue>Can you confirm the identification of this man as Dr. Daniel Keloid?</dialogue>
<character>CYPHER</character>
<parenthetical>( totally dismayed . )</parenthetical>
<dialogue>Oh, my God. My God.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENTRANCE OF CLINIC -- LATE MORNING</stage_direction>
<scene_description>Read approaches one of two police officers who stand talking to the police photographer .</scene_description>
<character>READ</character>
<dialogue>Look. I'm trying to find my girlfriend. She's a patient here. She was here last night but nobody seems to have seen her.</dialogue>
<character>SECOND COP</character>
<dialogue>We got a young girl downstairs. You wan na take a look at her?</dialogue>
<character>READ</character>
<dialogue>Is her name Rose?</dialogue>
<scene_description>The two cops look at each other , then turn back to Read .</scene_description>
<character>SECOND COP</character>
<dialogue>We do n't know. We did n't ask her. C'mon.</dialogue>
<parenthetical>( to third cop . )</parenthetical>
<dialogue>Tell the chief I'm downstairs gettin' an ID. Be back in a flash.</dialogue>
<scene_description>The third cop nods . Read follows the second cop down a hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC BASEMENT -- LATE MORNING</stage_direction>
<scene_description>Read follows the second cop down the stairs leading to the clinic 's basement , which still shows traces of the clinic 's origins as an old farmhouse . The second cop walks over to a bank of three huge upright freezers used to store the frozen food supplies for the clinic 's staff and patients . Read hangs back and glances around the immense basement . The cop walks over to the farthest freezer and swings open the door .</scene_description>
<character>SECOND COP</character>
<dialogue>C'mere. Ca n't see anything from there.</dialogue>
<scene_description>Read approaches slowly , certain his worst fears are going to be realized .</scene_description>
<character>SECOND COP</character>
<parenthetical>( gesturing toward the interior of the freezer . )</parenthetical>
<dialogue>Is that Rose?</dialogue>
<scene_description>Read forces himself to look . There , frozen into a block of ice that takes up the entire bottom of the freezer , is the hunched - over , naked body of Judy Glasberg , her eyes staring , her lashes frosted , her mouth twisted horribly . Read exhales sharply , almost sobbing with a combination of horror and relief .</scene_description>
<character>READ</character>
<dialogue>No. No, that's not Rose.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY -- DAY</stage_direction>
<scene_description>Rose is in the process of hitch - hiking her way into Montreal . She does n't have to wait too long before an immense diesel truck snorts and squeals to a stop on the gravel shoulder of the road . Rose is wearing Judy Glasberg 's jeans , boots , flannel shirt , and jacket . As Rose runs toward the truck , the passenger door swings open for her .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUCK CAB -- DAY</stage_direction>
<scene_description>Rose sits in the passenger seat , her bare feet up on the dash tapping in time to the country - and - western music coming from a tiny transistor radio hanging by a leather thong from the rear - view mirror . Rose is flushed and excited , almost delirious to find herself alive , healthy , and free . Beside her , the trucker eats a steak on a bun with great enthusiasm . He 's in his forties , graying at the temples , gentlemanly . He 's just about to start in on the second half of his sandwich when he pauses and glances over at Rose , who is happily watching the countryside rush by . The trucker holds out the second half of his sandwich to Rose , taking care to hold it in its tinfoil wrapper and not to touch it with his fingers .</scene_description>
<character>TRUCKER</character>
<dialogue>Want this, Rose? Steak on a bun. Real good.</dialogue>
<character>ROSE</character>
<dialogue>Um. would n't mind just one bite.</dialogue>
<scene_description>She takes the sandwich , carefully peels back the tinfoil from one end , and bites into it . She chews and swallows .</scene_description>
<character>ROSE</character>
<dialogue>You're right. It's fabulous.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY -- DAY</stage_direction>
<scene_description>The diesel truck pulls on to the dirt shoulder of the road and comes to a halt . The passenger door swings open and Rose jumps down , stumbling as she hits the ground . She starts to vomit before she even has a chance to get off her knees . The trucker comes around from the other side of the cab and squats down beside her . He puts his arms around her and holds her while she finishes being sick .</scene_description>
<character>TRUCKER</character>
<dialogue>Last time I ever patronize that greasy spoon, I can promise you that. C'mon sweetheart. There's a girl. Get it all out.</dialogue>
<scene_description>Rose wipes her mouth with the sleeve of her shirt and tries to stand up . She 's still wobbly .</scene_description>
<character>TRUCKER</character>
<dialogue>You just put your arms around me and I'll lift you back in. We'll get you some coffee or some soup or something at the next stop, OK?</dialogue>
<scene_description>Rose nods weakly and puts her arms around the trucker . As he lifts her up she holds him close and closes her eyes . A tear runs down each cheek .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY -- DAY</stage_direction>
<scene_description>Rose walks along the side of the road , hitch - hiking once again . After two cars pass her without stopping , an American sedan pulls off the road slightly ahead of her and then backs up to meet her . Rose gets in and the car pulls back on to the highway . She is flushed and invigorated .</scene_description>
</scene>
<scene>
<stage_direction>INT. SEDAN -- DAY</stage_direction>
<scene_description>Rose finds herself sitting next to a plump , pleasant - looking lady in her late thirties who smokes a cigarette furiously as she drives .</scene_description>
<character>LADY</character>
<dialogue>Hi. Where are you going?</dialogue>
<character>ROSE</character>
<dialogue>Montreal. Where are you going?</dialogue>
<character>LADY</character>
<dialogue>Same place.</dialogue>
<scene_description>Rose settles back in her seat and allows herself a smile . Her cheeks are flushed and glowing .</scene_description>
<character>ROSE</character>
<dialogue>That's wonderful. Thanks. I was beginning to think I'd never get back home again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY -- DAY</stage_direction>
<scene_description>A Camelford police cruiser is on its way down the highway going in the direction opposite to Rose . We follow the cruiser down the road a few hundred yards until the diesel truck that stopped to pick up Rose comes into view , still stopped by the side of the road , its passenger door open . The cruiser pulls over and parks behind the truck . One of the QPP officers gets out and walks over to the cab of the truck . When he gets close to the cab , the officer finds the driver of the truck sitting sideways on the passenger seat , his legs out of the cab , feet resting on the running board . The driver seems to be in some kind of daze and he is very pale .</scene_description>
<character>OFFICER</character>
<dialogue>Something wrong?</dialogue>
<character>TRUCKER</character>
<dialogue>Huh? Uh, no. nothing really wrong. I. I guess I musta dozed off. Yeah. That's it, I guess. Pulled over to have a nap.</dialogue>
<character>OFFICER</character>
<dialogue>Well, that's good. We find too many of you boys taking pills to keep yourselves going all day and all night. Next time, though, try to pick a better spot to pull over. This road's kind of narrow.</dialogue>
<character>TRUCKER</character>
<dialogue>Oh, yeah. Right. Will do, Officer.</dialogue>
<character>OFFICER</character>
<dialogue>OK. Have a nice day.</dialogue>
<character>TRUCKER</character>
<dialogue>Yeah. Thanks.</dialogue>
<scene_description>As the trucker turns to watch the cop leave , we see blood trickling from a wound at the back of his neck which the trucker is obviously unaware of himself . The officer walks back to his car and waits until the truck pulls off the shoulder and heads back down the road toward the city .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAMELFORD STATION OFF TWO-LANE HIGHWAY -- DAY</stage_direction>
<scene_description>The cruiser pulls into the parking lot of the local station , which is just off the two - lane highway between the clinic and the spot where the diesel truck stopped by the side of the road . In the parking lot , mixed in with various police vehicles , are several familiar vehicles , including Cypher 's station wagon and the clinic van . As the two officers get out of their car , they 're met by a Health Bureau official dressed in white who shows them his ID card .</scene_description>
<character>HEALTH OFFICIAL</character>
<dialogue>Claude Lapointe, Quebec Bureau of Health, official business. Sorry, boys. You ca n't go in unless you're willing to stay. The whole station's under quarantine. We think we've got an epidemic.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAMELFORD POLICE STATION -- DAY</stage_direction>
<scene_description>Inside the station , Cypher sits on one side of a desk explaining things to the head cop , who 's trying to keep up with him on an old typewriter . Phones are ringing everywhere , typewriters are clacking away . In one corner we find Read glued to the receiver of a payphone , a finger in his free ear , trying desperately to hear what 's being said at the other end of the line .</scene_description>
<character>READ</character>
<dialogue>Hey, Mindy? You still there? Yeah, it's crazy here. I can hardly hear a thing. Yeah. Listen, I thought that Rose might try to get in touch with you. Yeah. She what? She called you? Oh, that's great. She's on her way over? That's incredible. You would n't believe what's been happening. It's crazy time. Yeah. Totally. Well, listen. When she gets there, tell her I'll be stuck in the Camelford cop shop for at least forty - eight hours. Camelford. It's a town you go through on the way to the clinic. That's right. The whole clinic was hit with rabies or something, they're not sure exactly. Yeah, the whole clinic. She might have to come in for tests or something. I'll find out. Yeah. You keep her there for me. As soon as I get out I'll come and get her. Yeah. OK, Mindy. Ciao.</dialogue>
<scene_description>Read hangs up . He discovers that he 's actually smiling .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MONTREAL TRUCK DEPOT -- NIGHT</stage_direction>
<scene_description>At a Montreal truck depot , crates are being unloaded from a warehouse and on to a series of trucks . A dispatcher works his way through the crowd of loaders looking for a missing driver .</scene_description>
<character>DISPATCHER</character>
<dialogue>Hey, anybody here seen Eddy? He's got the lead truck and I ca n't find the son of a bitch. Hey, you seen Smooth Eddy?</dialogue>
<character>LOADER</character>
<dialogue>I seen him climb into the box of his truck half an hour ago. He did n't look too good.</dialogue>
<character>DISPATCHER</character>
<dialogue>Whaddya mean he did n't look too good? Smooth Eddy always looks good.</dialogue>
<character>LOADER</character>
<dialogue>Naw, I mean he looked sick. Like, nauseous.</dialogue>
<character>DISPATCHER</character>
<dialogue>What the fuck we runnin' here, a nursery?</dialogue>
<scene_description>The dispatcher , a short , dark , mustachioed man , works his way up to the lead truck .</scene_description>
<character>DISPATCHER</character>
<dialogue>Eddy. Hey, Eddy, you in there?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEPOT -- NIGHT</stage_direction>
<scene_description>The dispatcher shoves his way to the sliding side door of Eddy 's trailer and grabs the handle .</scene_description>
<character>DISPATCHER</character>
<dialogue>You in there, Eddy? We got ta get this rig movin'.</dialogue>
<scene_description>The dispatcher slides the door open . Eddy screams the second the light hits him and jumps out at the dispatcher , eyes clouded over , foaming mouth wide open . The dispatcher is bowled over by the force of the impact and he falls backwards to the concrete , Eddy all over him , screaming and biting the dispatcher 's face and arms . In an instant five loaders are trying to pull Eddy away . Eddy immediately turns on them , managing to inflict several bites before he disappears beneath the ever - increasing mass of loaders and truckers trying to get at him .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>Mindy is watching TV in her cramped one - bedroom downtown high - rise apartment . Mindy is twenty - one , has lived on her own for years , is on the plump side of voluptuous , and works for IBM selling office equipment . As she watches her color portable , Mindy idly turns the pages of Vogue magazine , smokes a cigarette , and alternately sips a cognac and a black coffee . There is a special newscast concerning the alleged rabies outbreak in the clinic region , complete with documentary footage shot outside the quarantined QPP station .</scene_description>
<character>NEWSCASTER</character>
<dialogue>and health officials have said they consider the outbreak of the new strain of rabies as being potentially ` the worst of this century.' At the police station in Camelford, Kathy Draper talked to Quebec Bureau of Health official Claude Lapointe.</dialogue>
<scene_description>The news camera pans across the front of 52 station and ends up in a close - up of Mr Lapointe , standing in front of his van .</scene_description>
<character>LAPOINTE</character>
<dialogue>Certainly this is serious. This is not just a question of swine flu or something like that. We have already several deaths on our hands in this one small area alone, and the main problem is. we do n't know what we're up against.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>Are you saying that this is not an outbreak of rabies?</dialogue>
<character>LAPOINTE</character>
<dialogue>I'm not saying that. I'm not saying that, exactly. But it must be a new strain of rabies, because there are symptoms involved which we and even the world health community do not seem to be familiar with.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>What are these symptoms?</dialogue>
<character>LAPOINTE</character>
<dialogue>Well, the period of incubation of this disease is very brief, maybe six to eight hours at the most. Now, that's quick, much quicker than normal rabies. Then the victim begins to sweat, to shake, to foam at the mouth. That's not so rare. What is rare is that the victim always with this new disease becomes violent and wants to bite somebody new. And this crazy phase is followed by a coma and then, in every case we know, by death. It's very strange.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>What advice would you give to our viewers?</dialogue>
<character>LAPOINTE</character>
<dialogue>The disease spreads through the saliva of the victim. the saliva is very contagious. It dribbles into open wounds and cuts and causes immediate infection.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>So?</dialogue>
<character>LAPOINTE</character>
<parenthetical>( shrugging . )</parenthetical>
<dialogue>So. do n't let anybody bite you. And if somebody does, find a doctor who can give you rabies shots immediately. We are already setting up vaccination centers beginning right here and spreading out toward Montreal. If we do n't keep the disease localized and out of large centers of population, well. I would n't like to say what it could be like.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>I heard you mention the Black Plague of London just before we went on the air. Is that what you mean by?</dialogue>
<character>LAPOINTE</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>We sometimes like to be dramatic about these things. It's more interesting than the usual paperwork and we get. you know. we get excited. It's a real challenge.</dialogue>
<scene_description>There is a knock at the door . Mindy gets up and opens it . Standing in the corridor is Rose .</scene_description>
<character>ROSE</character>
<dialogue>Surprise. I'm amongst the living.</dialogue>
<scene_description>Mindy throws her arms around Rose , hugs her , and pulls her inside the door . They separate , then hug again , both of them on the verge of tears .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMELFORD STATION CELL -- NIGHT</stage_direction>
<scene_description>Cypher and Read are sharing an open cell at the QPP station , which has been made as homely as possibly by the addition of two chairs and a small table , which Cypher is using as a desk . Read lies back on the lower half of one of the cell 's three double bunk beds , arms behind his head , watching Cypher sift through a maze of papers of all sizes and shapes .</scene_description>
<character>READ</character>
<dialogue>Got anything in there I might want to read? I'm starting to go stir crazy already.</dialogue>
<character>CYPHER</character>
<dialogue>It's actually pretty exciting stuff if you know how to interpret it.</dialogue>
<scene_description>Cypher throws down his Audit Point pen , leans back , and puts his feet up on the table .</scene_description>
<character>READ</character>
<dialogue>I guess I'm just going on automatic pilot right now.</dialogue>
<character>CYPHER</character>
<parenthetical>( shakes his head . )</parenthetical>
<dialogue>I ca n't connect that creature I saw in the paddy wagon with Danny. I just ca n't believe they're all dead.</dialogue>
<scene_description>Read is on the verge of saying something when they are both startled by the sound of a sudden chase in the main office at the end of the row of cells . Screams and yells are punctuated by the crash of overturned furniture and smashing glass . Read and Cypher barely have time to get to their feet when they see the head cop backing slowly through the door leading to the main office , his service revolver drawn .</scene_description>
<character>COP</character>
<dialogue>George, for God's sake! Ca n't you understand what I'm saying? Stay back! Sit on the floor and put your hands on your head.</dialogue>
<scene_description>When the cop is about a third of the way down the aisle between the rows of cells , Read steps out behind him . The cop does n't take his eyes away from the doorway .</scene_description>
<character>READ</character>
<dialogue>What's going on?</dialogue>
<character>COP</character>
<dialogue>Get into the cell and be ready to lock yourselves in. Do what I tell you!</dialogue>
<scene_description>Before Read has a chance to move , a second cop appears , sweating , staggering , drooling green foam , eyes expressionless black holes . The infected cop is stalking the head cop . Somebody shouts from somewhere back in the main office .</scene_description>
<character>VOICE</character>
<dialogue>Get out of the line of fire, Ted. We'll take him from here with the scatterguns.</dialogue>
<character>COP</character>
<parenthetical>( shouting back . )</parenthetical>
<dialogue>Gim me a count of three, Joe! I'll be outta your way by three!</dialogue>
<character>VOICE</character>
<dialogue>One!</dialogue>
<scene_description>The head cop draws even with the door of Read and Cypher 's cell . Cypher has already backed into it and flattened himself against the wall opposite the aisle . The infected cop comes closer . Cypher notices the bandage on his hand , then recognizes him as the cop at the clinic entrance who was bitten by Keloid and got rabies shots immediately afterwards .</scene_description>
<character>VOICE</character>
<dialogue>Two!</dialogue>
<character>COP</character>
<parenthetical>( to Read and Cypher . )</parenthetical>
<dialogue>Gim me room. I'm coming in quick.</dialogue>
<character>VOICE</character>
<dialogue>Three!</dialogue>
<scene_description>The head cop dives sideways into the cell . The infected cop lunges forwards after him and is half - way through the cell door when Read , hanging on to the bars of the cell for leverage , puts his foot in the cop 's stomach and kicks him back out into the line of fire . Before the infected cop can regain his balance , he is punched to the floor by several shotgun blasts . By the time the guns stop firing , the infected cop 's body has been pushed almost to the end of the aisle . The head cop steps out to meet the three cops from the main office , who approach warily through the acrid smoke drifting up from the barrels of their guns .</scene_description>
<character>COP</character>
<parenthetical>( to nobody in particular . )</parenthetical>
<dialogue>They gave him rabies shots. He got bitten up at that facelift place and they gave him his shots right away.</dialogue>
<scene_description>The head cop turns away from the body and looks up at the three men from the main office .</scene_description>
<character>COP</character>
<dialogue>They did n't do him any damn good, did they?</dialogue>
<scene_description>Read and Cypher exchange glances . It 's been a lousy day .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Mindy and Rose are sitting in Mindy 's living room , Rose in front of the TV on the sofa , Mindy at a small desk in the corner with papers and some sort of training manual spread out in front of her . Rose is watching TV with a long ear plug trailing from the silent TV set across three feet of rug , up the sofa , and into her left ear . Rose is watching Shivers , starring Paul Hampton , Joe Silver , and Barbara Steele , and is getting very restless . She ca n't help glancing over at Mindy , who is eating a ham sandwich while she works . Mindy has her hair pulled back and the pulse in her neck is somehow very prominent . Rose pulls the plug out of her ear , turns off the TV set , stands up , and goes to the closet next to the front door . Mindy looks up from her work for the first time .</scene_description>
<character>MINDY</character>
<dialogue>What are you doing, Rose?</dialogue>
<character>ROSE</character>
<parenthetical>( putting on her jacket . )</parenthetical>
<dialogue>I think I have to go out for a while.</dialogue>
<scene_description>Mindy gets up and joins Rose at the door .</scene_description>
<character>MINDY</character>
<dialogue>Rosie, I feel so stupid. I have n't been much of a hostess. Why do n't you stay here? There must be something in the fridge I can tempt you with.</dialogue>
<character>ROSE</character>
<parenthetical>( opening the door . )</parenthetical>
<dialogue>Thanks, Mindy, but it's not that. I just have to get out into the fresh air again. It's a real experience for me just to walk down a street.</dialogue>
<character>MINDY</character>
<dialogue>I'll come with you.</dialogue>
<character>ROSE</character>
<dialogue>No. You stay here and work. I wo n't be gone too long.</dialogue>
<character>MINDY</character>
<dialogue>OK, Rosie. If you get dizzy or anything, call me.</dialogue>
<scene_description>Rose laughs , pats Mindy on the cheek , and leaves .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ST. CATHERINE'S STREET -- NIGHT</stage_direction>
<scene_description>Rose walks down the most crowded part of St. Catherine 's Street she can find . She has a new sensitivity to the heat radiating from the bodies of those close to her , and the presence of so much warm , jostling flesh full of blood whose coursing she can almost hear soon makes her eyes shine , her nostrils flare , her steps quick and precise . Rose soon finds herself standing in front of an Eve Cinema , which is showing two soft - core skin flicks , as usual . On an impulse , Rose digs around in the pockets of Judy Glasberg 's jeans . In the back pocket she finds a five - dollar bill . She hesitates for only a moment , then buys a ticket and enters the cinema .</scene_description>
</scene>
<scene>
<stage_direction>INT. EVE CINEMA -- NIGHT</stage_direction>
<scene_description>Rose walks down the center aisle and sits alone in the middle of an empty row of seats not far from the screen and its murky orgiastics . It is not long before a thirtyish , balding man leaves his seat at the back of the cinema and sits directly behind Rose . As he removes his jacket , he brushes against Rose 's hair with his hand as though by accident . Rose turns around to look at him .</scene_description>
<character>BALDING MAN</character>
<dialogue>` Scuse me. I did n't mean to touch you.</dialogue>
<scene_description>Rose gives him a hard look , then turns around to face the screen again .</scene_description>
<character>BALDING MAN</character>
<dialogue>Well, pardon me for existing.</dialogue>
<scene_description>Rose turns around again .</scene_description>
<character>ROSE</character>
<dialogue>I thought you did it on purpose.</dialogue>
<character>BALDING MAN</character>
<dialogue>No. Really. I was taking my jacket off and it brushed against you.</dialogue>
<character>ROSE</character>
<dialogue>Oh, well, I'm sorry. I like seeing these movies but men are always bothering me. I guess I'm a little paranoid.</dialogue>
<character>BALDING MAN</character>
<dialogue>Well, look. If I come and sit beside you everybody will think we're together and you'll be able to watch in peace. All I ask is a couple handfuls of popcorn.</dialogue>
<character>ROSE</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>OK. C'mon.</dialogue>
<scene_description>The balding man gets up , moves to the end of his aisle , then makes his way toward Rose , trying not to blow it by betraying his excitement . He sits down beside Rose . She offers him some popcorn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVE CINEMA EXIT -- NIGHT</stage_direction>
<scene_description>Rose slips out of the side exit of the cinema into an alley , her cheeks flushed , her breathing heavy . Crowds of people still throng past the opening at the end of the alley , the night just beginning . Rose watches them move past as though still watching a movie , feeling the full weight of her separation from the ordinary . After a pause , she moves out to join it .</scene_description>
</scene>
<scene>
<stage_direction>INT. EVE CINEMA -- NIGHT</stage_direction>
<scene_description>Back in the theater , the balding man is still sitting in his seat three rows from the screen , slumped down , his head on his chest , one arm thrown out around the edge of the seat beside him . Blood streams from a small hole in the palm of the outstretched hand , which is still curved as though embracing someone 's shoulder . The images reflecting from the screen flicker across his face , but he sees nothing .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S LIVING ROOM -- MORNING</stage_direction>
<scene_description>Mindy is preparing and eating her breakfast of bran muffins , coffee , and orange juice on the run . While she shuffles her coffee cup and her notebooks , she listens to the radio .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>decide that each municipality should take on the responsibility for setting up vaccination centers in community halls and health clinics. Police have criticized the City Hall decision, saying that evidence has come to light which indicates that normal rabies vaccine is completely ineffective against the new strain of the disease. They are asking instead for the organization of a series of militia - and army - controlled quarantine centers until such time as an effective vaccine is developed. Said one police spokesman : ` We are having trouble containing the known outbreaks of violence induced by the disease as it is. Imagine what will happen if it spreads through the city like a normal wave of the flu.'</dialogue>
<scene_description>Mindy has finally gotten herself ready to go to work . Just before she leaves , she knocks on the bathroom door .</scene_description>
<character>MINDY</character>
<dialogue>I'm going, Rosie. I've left you some coffee on the stove. Turn it off if you go out, OK?</dialogue>
<character>ROSE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>OK. ` Bye.</dialogue>
<character>MINDY</character>
<parenthetical>( slightly worried pause . )</parenthetical>
<dialogue>Are n't you going to wish me luck?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Are you OK?</dialogue>
<character>ROSE</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( oddly muffled . )</parenthetical>
<dialogue>Brushing my teeth. Good luck.</dialogue>
<character>MINDY</character>
<parenthetical>( relaxing . )</parenthetical>
<dialogue>Thanks. See you later.</dialogue>
<scene_description>Mindy turns to the front door , opens it , and leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S BATHROOM -- MORNING</stage_direction>
<scene_description>In the bathroom , Rose is doubled over on the floor clutching her stomach . Two seconds after she hears the front door slam closed , she lets out a low , strangled moan and begins to roll around on the floor . A sudden spasm forces her to curl into a ball again , her fingernails sinking into the palms of her hands . After the spasm passes , she props herself up against the bathroom door . A thread of blood curls down her wrist . She opens her right hand . She stares at the four tiny crescents of blood that her nails have cut into her palm . With slow , trancelike motions , she licks the blood off her wrist and her palm .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBWAY STATION -- MORNING</stage_direction>
<scene_description>Mindy stands in a crowded subway station waiting for her train to come . Every once in a while she glances down at a marked page in a blue corporation manual she 's carrying , checking her memory against the printed specifications of various pieces of office equipment . The train finally comes and Mindy gets crammed in with the rest of the rush - hour crowd .</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBWAY CAR -- MORNING</stage_direction>
<scene_description>As the subway car pulls out of the station , Mindy leans against the door and continues to consult her manual . As she looks up and off into space , trying to grasp the next set of machine specifications , her eye is caught by the face of a woman with her back against the opposite door . The woman seems to be blind - her eyes are completely black from edge to edge . Then Mindy notices with horror that the woman is trembling and drooling and foaming green at the mouth . The sea of faces between them seems indifferent to the woman until she screams at the top of her lungs and plunges forward with her mouth wide open , apparently trying to get at Mindy . The people closest to the woman suddenly start to panic , and the panic moves out through the car in waves . Everyone starts to push and shove , and people try to climb over one another . The infected woman manages to lock her teeth on to the ear of a man who begins to punch her in the chest and stomach , himself completely terrified . The subway car pulls into the next station and its doors open . Mindy is almost knocked to the platform and trampled but she manages to stay on her feet and flow with the stampede . The people waiting to get on to the train are greeted with the spectacle of three men subduing an insane , shrieking woman on the floor of the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN CONSTRUCTION SITE -- DAY</stage_direction>
<scene_description>Mr. Lapointe , Quebec Health Bureau official , is riding in the back of a city limousine with an official from the mayor 's office . The limousine is working its way through the rubble of a deserted construction site .</scene_description>
<character>LAPOINTE</character>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>You'll pardon me, Mr. Stasiuk, but I think the mayor should be taking this epidemic more seriously than he is.</dialogue>
<character>OFFICIAL</character>
<dialogue>A city is a complex machine, Mr. Lapointe. Every part needs constant attention. The mayor will listen to you, but you're not the only one. It takes time.</dialogue>
<scene_description>The limousine has worked its way into a relatively deserted section of the site , and now slows to a stop .</scene_description>
<character>OFFICIAL</character>
<parenthetical>( to uniformed driver . )</parenthetical>
<dialogue>Why have we stopped, Clark?</dialogue>
<scene_description>The driver points through the front windshield at the mannequin of a construction worker waving a flag that has been placed directly in the middle of the narrow dirt road they 're travelling on .</scene_description>
<character>OFFICIAL</character>
<dialogue>Well, is n't there anyone around? Do we have to turn around?</dialogue>
<scene_description>Before anyone can make a move , two construction workers suddenly emerge from the surrounding rubble and advance on the car , one of them carrying a pneumatic jackhammer .</scene_description>
<character>OFFICIAL</character>
<dialogue>Clark. roll down your window and ask them why the road is blocked. It may be strike trouble. Be careful.</dialogue>
<scene_description>Clark is in the process of rolling down his window when the man with the jackhammer turns on the hammer and applies the chisel to the driver 's door . As the chisel point of the hammer chews up the door , Lapointe can see that the eyes of the two workers are clouded over and that they are all slavering green foam from their mouths .</scene_description>
<character>OFFICIAL</character>
<dialogue>Oh, Christ! Clark, let's get out quick! Quick, man!</dialogue>
<character>LAPOINTE</character>
<dialogue>They've got the disease! Look at their eyes! Report that to your mayor!</dialogue>
<scene_description>Before the driver can slam the limousine into reverse , the second infected worker has reached through the window and grabbed him by the hair . The hammer has completely penetrated the door . The driver screams . They 'll kill us ! The two workers begin to drag the screaming driver out of the car . The official scrambles over the front seatbacks into the driver 's seat , kicks the legs of the driver away from the foot controls , and slams the gearshift into reverse . The limousine fishtails backwards madly as the official floors the accelerator , the crumpled , bloodied driver 's door flapping like a broken wing as the car backs down the road . In the rapidly receding distance , Lapointe can see the infected workers hunching over Clark 's body .</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOPPING MALL -- DAY</stage_direction>
<scene_description>Rose sits in the middle of a shopping mall full of early Christmas shoppers . Her hair is matted and straggly and she watches the people in the mall hungrily . In the background , children line up to sit on the knee of a huge , enthroned Santa Claus surrounded by elaborately wrapped presents and Christmas trees attached to a huge backdrop of crimson and tinsel . Two cops , a nervous young cop carrying a submachine - gun , and an older cop , watch the proceedings tensely . Large crowds always mean trouble . The two cops patrol the mall separately , keeping in touch by radio . A pleasant young man stops in front of Rose 's bench , looks her over , then decides to get acquainted .</scene_description>
<character>YOUNG MAN</character>
<parenthetical>( to Rose . )</parenthetical>
<dialogue>Mind if I sit down?</dialogue>
<character>ROSE</character>
<dialogue>No. I do n't mind.</dialogue>
<scene_description>The young man sits down .</scene_description>
<character>YOUNG MAN</character>
<dialogue>Nothing like Christmas, huh?</dialogue>
<scene_description>Rose does n't answer . The young man is running out of opening lines .</scene_description>
<character>YOUNG MAN</character>
<dialogue>Ah. you smoke? You know. cigarettes? You smoke?</dialogue>
<character>ROSE</character>
<dialogue>Yeah. Sure.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Great. Have one of mine.</dialogue>
<scene_description>The young man fumbles in his jacket pocket for his pack of cigarettes , then awkwardly shakes one out of the pack for Rose . She takes it . The young man puts one in his mouth , then starts to feel around in his pockets for matches . He ca n't find any .</scene_description>
<character>YOUNG MAN</character>
<dialogue>No matches. You got a light?</dialogue>
<scene_description>Rose shakes her head . The young man looks around . He spots a man with a cigarette in his hand at the end of the adjacent bench . He gets up .</scene_description>
<character>YOUNG MAN</character>
<dialogue>Just a sec. I'll ask that guy over there for a light. OK? Be right back.</dialogue>
<scene_description>He walks over to the man on the bench . As he approaches , he notices that the man 's cigarette has burned right down to the flesh of his fingers .</scene_description>
<character>YOUNG MAN</character>
<dialogue>` Scuse me, Mac. Got ta light?</dialogue>
<scene_description>Without warning , the man on the bench leaps up at the young man and grabs him by the hair . The man , a powerful , bearded man of about sixty , has eyes like black holes and is drooling green foam . He pulls the young man 's head back and begins to tear at his throat with nicotine - stained teeth . The young man screams . The two cops break into a run the instant they locate the source of the screams . When they arrive at the bench , the bearded man looks up , his beard and mouth stained with blood . The young man is quite obviously on the verge of death . The young cop levels his submachine - gun at the man .</scene_description>
<character>YOUNG COP</character>
<dialogue>Stand up! Stand up and put your hands behind your head!</dialogue>
<scene_description>The bearded man jumps up and tears off through the crowd of incredulous onlookers . The young cop follows him . The bearded man heads for the Santa Claus display .</scene_description>
<character>YOUNG COP</character>
<dialogue>Outta the way! Get outta the way. He'll kill you! That man'll kill you!</dialogue>
<scene_description>The children around the Santa Claus display scatter as the bearded man heads for them . The Santa Claus stands up and grabs at the bearded man just as the young cop opens fire with his submachine - gun . His bullets rip through both men and the entire display , scattering bits of Christmas wrapping and plastic fir trees everywhere . The older cop arrives on the scene , revolver drawn , just as post - action shock hits the young cop .</scene_description>
<character>YOUNG COP</character>
<dialogue>Oh, Christ. I did n't mean to hit the Santa Claus.</dialogue>
<scene_description>Deep in the gathering crowd , a traumatized Rose pushes her way through to an exit .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAMELFORD STATION -- DAY</stage_direction>
<scene_description>We are close on a TV set sitting on the admitting sergeant 's desk just inside the station 's main entrance . A detailed analysis of the disease crisis is in the process of being broadcast , complete with news footage of army and militiamen jumping off trucks in Place Ville Marie , citizens being vaccinated at community health centers and at emergency depots set up in subway stations , etc. .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>and the crisis has now been officially granted epidemic status by officials of the World Health Organization. The Prime Minister was reluctant to officially declare a state of emergency, but as any citizen in the streets can tell you, martial law has come to Montreal. At an emergency vaccination center set up in the Atwater Metro Station, we spoke with a director of the World Health Organization who had just arrived from England to take charge of liaison with Health Bureaus in Western European countries.</dialogue>
<scene_description>The face of an aristocratic and very tweedy Englishman appears on the screen with the name Dr. Royce Gentry , Director , WHO , flashing beneath his face on the screen for a moment or two .</scene_description>
<character>GENTRY</character>
<dialogue>I do n't think there's any question that martial law is needed in the city of Montreal at this point in time. It's a necessity. It has already been established that victims of the disease - and it is not rabies, though it may be related to the rabies virus - victims of the disease are beyond medical help once it has established itself to the degree of inducing violent behavior.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>What you're saying, then, Dr. Gentry, is that.</dialogue>
<character>GENTRY</character>
<dialogue>What I'm saying is very simple. It may not be very palatable for your viewers. Shooting down victims of the disease is as good a way of handling them as we've got. If we lock them up, they immediately go into a coma and die shortly afterwards. We've now got a vaccine that we think will work in a preventative way, but for those who are already incubating the disease. as far as we know, there's no hope for them.</dialogue>
<scene_description>The face of Dr. Gentry is replaced by a close - up of a needle sinking into an arm .</scene_description>
<character>NEWSCASTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>All those receiving shots of the new vaccine are being issued plastic ID cards with a photo of the card holder. Viewers are urged not to leave their homes unless absolutely necessary, and are reminded that if they do they must carry their vaccine cards with them. Police, army, and militia officers may demand to see them. Here is a list of vaccination centers in your area and the toll - free telephone number of our special emergency information center.</dialogue>
<scene_description>Read and Cypher , rumpled and haggard , are signing forms at the main desk of the station prior to being released . Both are wearing plastic vaccination plates on their jackets , Read toying impatiently with his .</scene_description>
<character>CYPHER</character>
<parenthetical>( to desk sergeant . )</parenthetical>
<dialogue>Goodbye, Sergeant. You've been a wonderful host.</dialogue>
<character>SERGEANT</character>
<dialogue>OK, Murray. Take it easy. You sure you do n't want to stay out here with us? The city does n't sound like a very appetizing place to be.</dialogue>
<character>CYPHER</character>
<dialogue>I would, but my wife and kid. you know how it is.</dialogue>
<character>READ</character>
<parenthetical>( very twitchy . )</parenthetical>
<dialogue>C'mon, Murray. Rose is waitin' for me.</dialogue>
<character>CYPHER</character>
<dialogue>OK, kid. Let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAMELFORD STATION -- DAY</stage_direction>
<scene_description>Cypher and Read get into Cypher 's station wagon , a QPP officer handing Cypher the car keys as he gets in .</scene_description>
<character>OFFICER</character>
<dialogue>Remember to keep your windows up and your doors locked once you get into the city. Maybe the bug ca n't get you now, but that.</dialogue>
<parenthetical>( tapping Cypher 's plate . )</parenthetical>
<dialogue>. that wo n't protect you from the crazies. Take care now.</dialogue>
<scene_description>Cypher nods and starts his car . They pull out of the parking lot and on to the highway .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S BEDROOM -- LATE DAY</stage_direction>
<scene_description>Rose lies curled up in Mindy 's double bed , the blankets twisted up around her , sweating , her shoes still on , her muscles contracting with waves of spasms that roll over her . Rose hardly notices the sound of keys jingling , the latch turning , the front door opening . Mindy 's home .</scene_description>
<character>MINDY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( closing the door and locking it . )</parenthetical>
<dialogue>Rose? Are you home?</dialogue>
<scene_description>We hear the sound of Mindy walking through her living room , then approaching the bedroom .</scene_description>
<character>MINDY</character>
<dialogue>Rose? Are you asleep?</dialogue>
<scene_description>Mindy enters the bedroom , a bag of groceries in her arms . She stops at the door , shocked at Rose 's appearance , then puts the bag down on her night table and sits on the bed beside Rose .</scene_description>
<character>MINDY</character>
<dialogue>Have you been out? Have you gotten your shot?</dialogue>
<scene_description>Rose rolls over to face Mindy . Her lips are pale and parched , her nose is running , her voice shakes as she speaks .</scene_description>
<character>ROSE</character>
<parenthetical>( feebly . )</parenthetical>
<dialogue>I. I've been afraid to go out. And, Mindy, I. I'm starving. I'm starving to death. And I do n't want to eat. I do n't want any more to eat.</dialogue>
<scene_description>She bursts into tears and rolls away from Mindy , who slides across the bed after her and begins to stroke Rose 's forehead .</scene_description>
<character>MINDY</character>
<dialogue>Rosie, what's been going on? What's the matter with you? Poor kid. Well, do n't worry any more. We're two tough ladies, you and me. We can handle anything we have to.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EXPRESSWAY RAMP -- DUSK</stage_direction>
<scene_description>Read and Cypher descend into the city on a long expressway ramp which affords them a clear view of other sections of highway and a large suburban plaza dominated by a huge supermarket . Both their ramp and the other sections of highway are strewn with wrecked and burned - out cars and even the occasional body . As the station wagon descends , they can see the line - up of people moving in and out of the supermarket guarded by soldiers with light machine - guns . Before anyone is allowed into the supermarket , he has to present his vaccine card at a registration desk set up at the entrance . Cypher and Read plunge on , deeper into the city .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET AT FOOT OF EXIT RAMP -- NIGHT</stage_direction>
<scene_description>The station wagon swings off the exit ramp and on to a city street , narrowly missing a few piles of garbage , which seems to be everywhere . The street seems to be deserted , the stores on both sides closed and dark .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER STREET -- NIGHT</stage_direction>
<scene_description>The station wagon turns on to a long , broad , practically deserted street . The only human activity is centered around a convoy of heavy white city garbage trucks manned by white - uniformed , hooded figures . The convoy of twelve is led by a military jeep whose rider , an army sergeant , orders them to peel off one by one down specific routes deemed primary for decontamination . Armed soldiers ride on the tops of the trucks carrying rifles with telescopic sights .</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>I ca n't believe it. It's like we were at war.</dialogue>
<character>CYPHER</character>
<dialogue>Listen, Hart. We're going to my house first. I'm not going to relax until I know that everything there's OK. Once we're there, I'll give you the keys to the car and you can go get your girl.</dialogue>
<character>READ</character>
<parenthetical>( tense . )</parenthetical>
<dialogue>OK. Thanks.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LEAFY SUBURBAN STREET -- NIGHT</stage_direction>
<scene_description>The station wagon pulls up into the driveway of Cypher 's small but pleasant suburban house . Except for a bit of garbage strewn about , there are no signs of unrest in the neighborhood . The odd rifle shot in the distance is fairly easy to ignore in these surroundings .</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION WAGON -- NIGHT</stage_direction>
<scene_description>Cypher gets out of the car and Read slides over into the driver 's seat .</scene_description>
<character>CYPHER</character>
<dialogue>Phone me when you get there, will you? Maybe you should bring Rose back here with you until this thing blows over.</dialogue>
<character>READ</character>
<dialogue>Yeah. Listen, thanks for the car, Murray. I'll call you.</dialogue>
<scene_description>Cypher smiles and heads up the driveway toward his front door . Read waits until Cypher has safely let himself into his house , then pulls out of the driveway and on to the street .</scene_description>
</scene>
<scene>
<stage_direction>INT. CYPHER'S HOUSE, FIRST FLOOR -- NIGHT</stage_direction>
<scene_description>Cypher enters his house and closes the door behind him . He puts his briefcase down on top of the hall radiator and walks toward the foot of the stairs .</scene_description>
<character>CYPHER</character>
<dialogue>Cecile? It's Murray, honey. I'm home.</dialogue>
<scene_description>Nobody answers . Cypher resists the temptation to panic and walks through the downstairs rooms . Everything seems reasonably neat but there is no one there . Cypher returns to the foot of the stairs and starts the climb to the second floor .</scene_description>
</scene>
<scene>
<stage_direction>INT. CYPHER'S HOUSE, SECOND FLOOR -- NIGHT</stage_direction>
<scene_description>Cypher gets to the top of the stairs and begins to move along the narrow hall taking him to the front of the house .</scene_description>
<character>CYPHER</character>
<dialogue>Cecile? I'm home, honey. Where are you?</dialogue>
<scene_description>Cypher stops at the doorway of the baby 's room and looks in .</scene_description>
</scene>
<scene>
<stage_direction>INT. CYPHER'S HOUSE, BABY'S ROOM -- NIGHT</stage_direction>
<scene_description>Cypher scans the baby 's room , which from its cartoon wallpaper to its brightly colored broadloom and toy - filled shelves speaks volumes about the fastidious preparation which preceded baby 's arrival . He is about to continue on down the hall to the master bedroom when he notices that the broadloom beneath the baby 's bathinette is wet . On an impulse he enters the room and lifts open the top covering the bathinette . The bathinette is half - filled with bloody bath water , which has been leaking on to the carpeting , drop by drop , for hours . Cypher lets the lid drop down with a mixture of fear and horror suddenly stabbing him in the pit of the stomach . An insane kind of moaning giggle drifts over to him from the corner of the room . He whirls to face the sound . It seems to be coming from the closet . Drawn inexorably toward the sound , he approaches the closet , which is not completely closed . He raises his hand to grasp the doorknob . Without warning , the closet door explodes open , smashing Cypher in the face and knocking him to the floor . A crazed , drooling Cecile lands heavily on top of him and begins to bite him savagely on the face , her clouded eyes devoid of all mercy or recognition .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S BEDROOM -- NIGHT</stage_direction>
<scene_description>Mindy has tucked Rose into bed and is now applying a cold compress to her feverish forehead . Rose seems to be half asleep .</scene_description>
<character>MINDY</character>
<dialogue>That's it, Rosie. You just get as much sleep as you need. Do n't think about anything. Let your mind drift.</dialogue>
<scene_description>Mindy gets up and goes into her kitchen , leaving Rose 's door open just a crack .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S KITCHEN -- NIGHT</stage_direction>
<scene_description>In her kitchen , Mindy continues preparing an elaborate vegetable stew , somehow convinced that her weeks in the hospital have induced in Rose an aversion to meat . The TV set , Mindy 's constant companion , has been turned around so that Mindy can just see it from where she 's working , although the sound has been turned off in deference to Rose . At the moment there seems to be a detailed analysis of the difference between rabies and the new strain of disease holding the city in thrall , complete with microphotography , in progress .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S BEDROOM -- NIGHT</stage_direction>
<scene_description>Rose takes the compress from her forehead and places it carefully on the night table . She slips out of bed and begins to rummage around in the closet for her clothes .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN STREET -- NIGHT</stage_direction>
<scene_description>Read drives Cypher 's station wagon along a downtown street on his way to Mindy 's . There are more people on this particular street than the ones he and Cypher first encountered . In fact , were it not for the heavily armed soldiers placed at several strategic points and the single guarded garbage truck making its rounds , all would seem normal . The sound of sporadic gunfire in the distance seems to have been accepted as everyday fare by everybody . But Read 's focus of attention is on the car radio . He has been listening to an analysis of the possible origins of the disease and the information he 's getting is disturbing him . The voice on the radio is that of Dr. Royce Gentry .</scene_description>
<character>GENTRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And so after using some rather elaborate tracking procedures and applying them to a map, we find that the disease does in fact seem to have a very specific place of origin.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Which is?</dialogue>
<character>GENTRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Which is the Keloid Clinic of Cosmetic Surgery, a few miles outside the town of Camelford. You can see with your own eyes how everything has spread out from there in geometrically increasing proportions. Now this pattern, in conjunction with some of our other statistics, indicates that there is a strong possibility that there is a special factor at work in the spread of the disease.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You mean a carrier.</dialogue>
<character>GENTRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, at the risk of setting off a futile witch hunt. Yes. Someone like the infamous Typhoid Mary who incubates the disease and transmits it, but is herself immune to it.</dialogue>
<character>INTERVIEWER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What were they doing at the Keloid Clinic, Dr. Gentry?</dialogue>
<character>GENTRY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We've run into a certain amount of difficulty ascertaining what exactly was going on there. We know what it was n't. It had nothing to do with germ warfare or the like. no secret government contracts.</dialogue>
<scene_description>Read 's concentration is suddenly shattered by a movement he catches in the corner of his rear - view mirror as he waits for a light to change . A crazy - a man in his forties wearing a scarf and gloves but no coat - breaks out from between two buildings just behind Read 's car and heads for the clusters of people crossing at the light . Read watches the man brush by the car as though watching the scene on television . The people in the crosswalk scatter at the crazy 's approach . The sniper on top of the garbage truck has him safely in his crosshairs and squeezes off a shot . The crazy hurtles against the hood of the station wagon as though falling from a building and bounces off and on to the road . Before Read can drive off , two garbage men run toward him from the garbage truck . One of them holds up his hand for Read to wait . He produces a spray bottle from under his white jumpsuit and sprays the crazy 's blood that has spattered the car 's hood . Then he waves Read on . Read puts his windshield wipers on .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>Rose is dressed and trying to steal out the front door when Mindy hears her from the kitchen .</scene_description>
<character>MINDY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Rose? Are you awake?</dialogue>
<scene_description>Rose yanks open the door and has one foot out the door when Mindy appears around the corner with a dish of sauce in her hand .</scene_description>
<character>MINDY</character>
<dialogue>Oh, no. Rose! You ca n't! It's dangerous out there!</dialogue>
<scene_description>Mindy bangs the plate down on top of a stereo speaker and runs after Rose . She catches her a few steps out the door and hauls her back inside , swinging the door shut again with her foot . The door does n't lock . Rose is whimpering and weak . She starts to sink to the floor , and Mindy , not strong enough to hold her up , goes with her .</scene_description>
<character>ROSE</character>
<dialogue>Mindy, Mindy. I do n't want it to be you.</dialogue>
<scene_description>Mindy hugs Rose tightly , rocking her back and forth .</scene_description>
<character>MINDY</character>
<dialogue>Of course it should be me. Who else but your best friend, Rose? I'll take care of you.</dialogue>
<character>ROSE</character>
<parenthetical>( pause . )</parenthetical>
<dialogue>Oh, Mindy, I ache all over. I'm hurting from the inside out.</dialogue>
<character>MINDY</character>
<dialogue>Well then, what you need is a nice, deep, hot bath. It'll seep in and relax you from the outside in.</dialogue>
<scene_description>She starts to unbutton Rose 's shirt . Rose does n't resist .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MINDY'S APARTMENT BUILDING -- NIGHT</stage_direction>
<scene_description>Read parks the station wagon in front of Mindy 's building and gets out . He sprints up the front steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT CORRIDOR -- NIGHT</stage_direction>
<scene_description>Read emerges from the elevator at the end of the corridor and walks purposefully past the row of doors until he reaches Mindy 's . He reaches for the door . He notices that it 's ajar and pulls back his hand at the last minute . He takes a deep breath , then kicks open the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>As the front door of Mindy 's apartment slams open , Read is confronted by the bizarre spectacle of Rose hunched over Mindy 's prostrate form , sucking blood from the large vein in one of Mindy 's arms . The instant the door slams open , Rose pulls her blood - sucking organ out of Mindy 's arm and tries to hide it with her right hand . The organ , still dripping blood , slides back up under her arm into its sheath . The half - conscious Mindy puts her hand over the hole in her arm and mumbles incoherently . As Read approaches , Rose backs away , slipping her left arm back into her shirt and fumbling with the buttons . Rose now looks flushed and healthy , excited and alive .</scene_description>
<character>ROSE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>It's not my fault. It's not my fault.</dialogue>
<character>READ</character>
<dialogue>It's you. You're the one. It's been you all along.</dialogue>
<character>ROSE</character>
<dialogue>What are you talking about?</dialogue>
<character>READ</character>
<dialogue>You carry the plague. You've killed hundreds of people.</dialogue>
<character>ROSE</character>
<dialogue>No. no. you do n't know what you're talking about. I'm still me. I'm still Rose.</dialogue>
<character>READ</character>
<dialogue>What did they do to you at the clinic? What did they turn you into?</dialogue>
<character>ROSE</character>
<parenthetical>( suddenly angry . )</parenthetical>
<dialogue>I have to have blood. It's all I can eat. And it's your fault, not mine. It's your fault!</dialogue>
<scene_description>Read takes three quick steps and grabs Rose by the shoulders . She shrinks away from him as though he were the monster .</scene_description>
<character>READ</character>
<dialogue>There must be some way to fix this. We'll go to the police. we'll go to the hospital.</dialogue>
<scene_description>Rose twists out of Read 's grasp and runs for the front door . Read turns and runs after her , almost tripping over Mindy . Rose makes it out the door before Read can catch her .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT CORRIDOR -- NIGHT</stage_direction>
<scene_description>Read chases Rose down the corridor .</scene_description>
<character>READ</character>
<dialogue>Rose, I'm sorry. wait! Wait!</dialogue>
</scene>
<scene>
<stage_direction>INT. STAIRWELL -- NIGHT</stage_direction>
<scene_description>Read finally manages to catch Rose at the top of the stairwell . They struggle .</scene_description>
<character>READ</character>
<dialogue>Rose, listen to me. You're right. We're in it together. We'll figure it all out together.</dialogue>
<scene_description>As they struggle , Rose somehow smashes Read in the face with her elbow and he goes crashing backwards down the flight of stairs , hitting his head several times on the metal steps as he goes . She watches in horror as Read falls , then stands frozen for several heartbeats after he has landed in a crumpled heap at the bottom of the stairs . She runs down after him and kneels beside him . He has a few large bruises on his forehead and temples but is still breathing . Rose touches his lips with her fingers briefly , then gets up and continues down the stairs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ENTRANCE OF MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>Rose opens the front door of the apartment building and steps out on to the front steps , bewildered . There she sees a man with a mustache sifting through a handful of letters on the bottom step . He looks up at the sound of the door opening .</scene_description>
<character>MUSTACHIOED MAN</character>
<dialogue>Can I help you? I've seen you around before, have n't I? I just moved out of this building. They keep sending my mail here.</dialogue>
<character>ROSE</character>
<dialogue>I. yes, I'm a friend of Mindy Kent. I was supposed to meet her here, but she must have gone out.</dialogue>
<character>MUSTACHIOED MAN</character>
<dialogue>Well, it's not safe to walk the streets these days, not for a while, anyway. Can I escort you somewhere? Have you been vaccinated? No? Me neither. My brother told me he had to line up for three hours. Who's got time?</dialogue>
<character>ROSE</character>
<dialogue>Listen. I need a place to stay tonight. At least until Mindy shows up. Could I stay with you? For a little while?</dialogue>
<character>MUSTACHIOED MAN</character>
<parenthetical>( slightly flustered . )</parenthetical>
<dialogue>I, ah. guess you could. I'm a single guy, you know. We'd be alone.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>That does n't bother you?</dialogue>
<scene_description>Rose shakes her head , wide - eyed and innocent .</scene_description>
<character>MUSTACHIOED MAN</character>
<dialogue>I'm a nice guy, too. C'mon. My car's just down the street.</dialogue>
</scene>
<scene>
<stage_direction>EXT. APARTMENT -- NIGHT</stage_direction>
<scene_description>Night has fallen over Mindy 's apartment and the streets are dark and completely deserted .</scene_description>
</scene>
<scene>
<stage_direction>INT. STAIRWELL -- NIGHT</stage_direction>
<scene_description>Read is only now regaining consciousness in the damp apartment stairwell . He rubs his neck and gradually manages to get to his feet . The top of the stairs looks as though it 's a mile away . Read begins to climb the stairs , one painful step at a time .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR -- NIGHT</stage_direction>
<scene_description>As Read staggers down the corridor , he hears a telephone begin to ring in the distance . The ringing gets louder and , somehow , more persistent as he gets closer to Mindy 's door .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>The telephone is patiently ringing in Mindy 's apartment , as though waiting for Read to answer it . He enters the apartment and takes a quick look around for signs of Mindy . The place is empty . He swings the door shut and locks it . Only then does he turn to the phone . Read answers the telephone .</scene_description>
<character>READ</character>
<dialogue>Hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. MUSTACHE'S APARTMENT -- NIGHT</stage_direction>
<scene_description>Rose has locked herself into the single man 's apartment and slid a heavy table across the door . The single man sits slumped in an old wingback chair , his cheek bloody , his eyes closed . Rose has turned out all the lights in the apartment except for a small mood light near the telephone , which sits on an end table by a Victorian velvet sofa . She speaks quietly into the receiver , as though not wanting to wake the mustachioed man .</scene_description>
<character>ROSE</character>
<dialogue>It's me, Hart. I'm glad I managed to get you. Are you all right? Did I hurt you?</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Rose, where are you? We should be together. Please, tell me where you are.</dialogue>
<character>ROSE</character>
<dialogue>Well, what you said to me hurt me. It scared me. It scared me because I suddenly knew you might be right. And if you were right, about my being a carrier, I mean. then I. I murdered Mindy. I murdered a lot of people.</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Rose, listen to me. No court of law would convict you.</dialogue>
<character>ROSE</character>
<dialogue>So I decided to try a little experiment to prove that you were wrong about all that. You see? I'm being very positive, are n't I?</dialogue>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There's no reason for you to put yourself through anything like this.</dialogue>
<character>ROSE</character>
<dialogue>So I found myself a partner for my experiment, a single guy, real normal and real healthy, and I took a little of his blood. just a bit. and I've locked myself in with him. And I'm going to stay here with him until I'm sure he's not going to get sick. And then I'll know that I'm not the one who started it all.</dialogue>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<character>READ</character>
<dialogue>Rose, you've got to tell me where you are. You're committing suicide.</dialogue>
<character>ROSE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hart, I just want you to be with me over the phone. just until I find out one way or the other. We can live together over the phone for a while. We can do that, ca n't we?</dialogue>
<character>READ</character>
<dialogue>Oh, God. Rose, how long ago did you. take blood from the man you're with? How long ago?</dialogue>
<character>ROSE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Six hours. Maybe seven.</dialogue>
<character>READ</character>
<dialogue>Rose, you've got to get out of there.</dialogue>
</scene>
<scene>
<stage_direction>INT. MUSTACHE'S APARTMENT -- NIGHT</stage_direction>
<scene_description>As Read talks , Rose hears a sound behind her . She turns to see a shadow rising out of the chair behind her . The shadow seems immense .</scene_description>
<character>READ</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Please, Rose, just drop the phone and walk over to the door and run outta that place as fast as you can. You're not giving either of us a chance to think. We do n't need this pressure. everything's so confused. We've got to just clear a space where we can be alone and sit down and talk about everything and figure out what to do. Rose? Get out of there, get out right now!</dialogue>
<scene_description>The shadow approaches Rose , who lies as still as death on the sofa . The single man is finally caught by the edge of the mood light 's glow , and Rose can see the dead black eyes , the drooling green saliva , the slack , hungry lips .</scene_description>
<character>ROSE</character>
<dialogue>Hart. I'm afraid!</dialogue>
<scene_description>The single man lunges for Rose 's throat .</scene_description>
</scene>
<scene>
<stage_direction>INT. MINDY'S APARTMENT -- NIGHT</stage_direction>
<scene_description>Read screams into the phone .</scene_description>
<character>READ</character>
<dialogue>Rose! Rose!</dialogue>
<scene_description>He is in agony as he hears the sounds of Rose being torn apart at the other end of the line , but he is unable to take the receiver away from his ear , unable to desert Rose in her final moments . He screams insanely into the phone , this time incoherently , trying to make it stop , trying to cover it up . But it does n't stop .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN INTERSECTION -- DAWN</stage_direction>
<scene_description>In the chill of early morning , an armed garbage truck moves through the city collecting bodies left in the aftermath of the night 's anonymous violence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MINDY'S STREET -- DAWN</stage_direction>
<scene_description>On Mindy 's street , just a few blocks away from Mindy 's apartment , a garbage truck stops to collect a body covered with dried blood that has been dragged out on to the front steps of an apartment building . Before the garbage men can get the body , the sniper on the roof has to shoot a dog who is sniffing at the body . The garbage men are then able to get to the body , spray it with disinfectant , spray the dog 's body , and drag them back to the truck 's compressor . As the body is dumped into the back of the truck , we see that it is possibly Rose 's . THE END</scene_description>
</scene>
</script> | Rose and her boyfriend Hart get into a motorcycle accident in the Quebec countryside, caused by a van parked in the middle of the road. While Hart suffers a broken hand, a separated shoulder and a concussion, Rose is severely injured and burned by the incident. They are both transported to the nearby Keloid Clinic for Plastic Surgery where head doctor Dan Keloid decides to perform a radical new procedure on Rose. He uses morphogenetically neutral grafts to her chest and abdomen in the hope that it will differentiate and replace the damaged skin and organs. One month later, Hart is released while Rose remains in a coma. Rose abruptly awakens from her coma screaming, prompting patient Lloyd Walsh to calm her down and hold her hand, but she pierces his skin as she holds him. When asked, Lloyd cannot remember anything afterwards and the doctor does not know what caused the injury on his right arm; it is only known that his blood is not clotting from the wound and he cannot feel anything on his right side. While Keloid transfers him to Montreal General Hospital for further evaluation, his experimental procedures on Rose have caused a mutation in her body that made her able to only subsist on human blood. A new organ resembling a red phallic stinger emerges from a small orifice below Rose's armpit, which pierces her victims and draws their blood. One night, Rose leaves the clinic to feed upon a nearby cow's blood which makes her vomit. A drunken farmer tries to attack her, but she pierces and feeds on him before calling Hart to pick her up. The next day, the farmer turns into a pale zombie-like monster and attacks a waitress at a nearby diner. Lloyd discharges himself from the clinic. While taking a taxi to the airport, he begins foaming at the mouth and attacks the driver. The car crashes into the freeway before a nearby truck totals them both. At the clinic, Keloid is infected by Rose's stinger and attacks from within, which causes panic. During this time, Rose escapes from the hospital despite calling Hart to come to her aid, and hitchhikes rides from various people to Montreal. She infects one of the truck drivers, causing the driver to attack his colleague. Hart and Keloid's business partner, Murray Cypher, while searching for Rose, meet up with police chief Claude LePointe and public health officials in talks about an upcoming epidemic. During this time, Hart witnesses an officer become infected before being shot by uninfected police officers. He calls Rose's friend Mindy and asks her to keep Rose in her apartment if she appears until he can come over. Rose arrives in the city and stays in Mindy's apartment. While Mindy watches a television broadcast detailing a new strain of rabies now all over Montreal, Rose goes to a sex cinema and infects a leering patron. LePointe, while riding a limousine with local health officials, is attacked by two infected crewmen who use a jackhammer through the vehicle door and drag the driver out to feed on him. The other official and LePointe, forced to leave their driver behind, escape by driving in reverse. With the infection becoming worse in the city, and the standard rabies treatment having no effect, Dr. Royce Gentry advises a shoot-to-kill policy to prevent future infections. Extreme martial law is declared within Montreal, and the doctor works on developing a cure. National Guard road blocks are set to check for infected people, and a convoy of NBC-suited soldiers ride into the city to assist the authorities with body disposal. Murray and Hart arrive at the former's home and as Hart drives away in Murray's car, Murray calls for his wife, but there is no answer. Murray wanders into his baby's nursery where he finds what is left of his baby and is attacked by his infected wife. Hart goes into the deserted city to search for Rose. An infected civilian jumps onto Hart's car before being shot, and the bio-warfare suited soldiers spray disinfectant on his car before permitting him to continue driving. Mindy watches a report which says that a possible carrier of the infection may be immune and has been traced back to the Keloid Clinic. Rose walks into the room and feeds on Mindy. Hart finds Rose in the act and tries to reason with her about treatment, but she refuses to believe him and is in denial that she is responsible for the epidemic that has now claimed many people. He chases her in the apartment, but he is rendered unconscious and she infects a man waiting in the apartment lobby. When Hart awakens, Rose brings the newly infected man to his apartment and locks herself inside the room before calling Hart about her plan; she wants to test Hart's accusation and see if the man turns infected or not. While Hart frantically tells her to leave the apartment and hopelessly sits at the receiver, the infected man awakens and attacks Rose. The next morning, Rose's corpse is found by the bio-ware suited soldiers in an alleyway and they dump her in a garbage truck. |
Gremlins_1984 | tt0087363 | <script>
<scene>
<scene_description>GREMLINS Written by Chris Columbus</scene_description>
<character>HONG KONG - AN OUTDOOR MARKETPLACE</character>
<dialogue>Crowded. Filled with oriental and British merchants. You can buy anything here. Electronics. Food. Any- thing.</dialogue>
<character>RAND PELTZER</character>
<dialogue>walks through the owd. An American businessman.1-He wears a tas eful g3,y suit. He's thin, with distinguished good looks and thin brown hair. He's 56 years old. Rand looks around; fascinated by the vast array of people and merchandise. He stops at a booth. A tiny ORIENTAL, WOMAN stands behind the counter. Rand gives her a polite smile.</dialogue>
<character>RAND</character>
<dialogue>Hi. I'm from out of town... on business from the U.S. The woman nods and smiles.</dialogue>
<character>AN ORIENTAL MAN</character>
<dialogue>passes by. He is very old. Deep wrinkles. Long white hair. Ragged clothes. A rotted smile. Overhearing Rand, the man stops to eavesdrop.</dialogue>
<character>RAND</character>
<parenthetical>(explaining to Oriental woman)</parenthetical>
<dialogue>I'm looking for a present... for my son. The woman nods. She searches through her wares. She holds up a basketball. Rand shakes his head.</dialogue>
<character>RAND</character>
<dialogue>He's not really involved in sports... The woman puts away the basketball. She picks up a Sony "Walkman". Rand again shakes his head.,</dialogue>
<character>RAND</character>
<dialogue>No. I want something unusual...</dialogue>
<scene_description>something he can't get at home... something different..</scene_description>
</scene>
<scene>
<stage_direction>2.</stage_direction>
<scene_description>A HAND reaches out and grabs Rand's arm. Startled, he turns. The Oriental man stands before him. He stares into Rand's eyes. ORIENTAL MAN I can help you. He leads Rand away from the booth. ORIENTAL MAN I offer something very different. Very unusual. Rand is puzzled. The Oriental leads him to a doorway. ORIENTAL MAN Follow me. He opens the door, motioning for Rand to follow. Rand pauses, skeptical. ORIENTAL MAN Come. Take a look. It will cost you nothing. (a beat) You won't be disappointed. The Oriental enters. Rand shrugs and follows. INSIDE Rand follows the man up a narrow, dark set of stairs. At the top, they enter a room.</scene_description>
</scene>
<scene>
<stage_direction>INT. ROOM</stage_direction>
<scene_description>Dark. No windows. No furniture. Filled with cardboard boxes and wooden crates. Rand crinkles his nose. It su,Qlls bad in here. The Oriental flips on a dim light bulb. He leads the nervous, apprehensive Rand to a dark corner of the room. The Oriental picks up a small, metal box. A HIGH PITCHED GIGGLE echoes from inside the box. Rand is very puzzled. The Oriental rests the box on a stack of crates. He opens the box. A TINY CREATURE is inside'. The animal is eleven inches tall and stands; upright on two legs. It has two arms, with small; four-fingered hands. Its body is covered with fluffy brown fur. The piercing eyes are big, sad. Its ears are long and pointed. A tiny black nose sits above a wide mouth, with small, square teeth. The creature is smiling. It lets out a giggle. Rand is delighted and surprised. He's never seen anything like this. The animal is more charming than a Disney character. The Oriental claps his hands. The creature leaps from the box, onto Rand's shoulder. The animal licks Rand's cheek.' He laughs, amused by the creature. The Oriental claps his hands again. The creature hops back into the box. It stares at Rand with those cute green eyes'. RAND (to the Oriental) What is it? ORIENTAL MAN It is called ' Mogwai ' . (a beat) A very rare and intelligent animal. I found it in the fields near my home It will obey all orders. It learns fast. The Oriental looks at Mogwai and claps his hands. ORIENTAL MAN (Chinese,; English SUBTITLES) --Mogwai leaps to the ground. It scurries across the floor, to a wooden crate. Mogwai removes a raw tuna from the crate. It tears off a chunk of the fish and carries it to the oriental man.. He takes the fish. Mogwai hops back into the box. Rand shakes his head. Amazed by the animal. he Oriental takes a bit from the raw fish. Juice runs own his chin. He smiles at Rand. ORIENTAL MAN And if you are ever in need of a song... He claps his hands to the creature. ORIENTAL MAN. (Chinese; English SUBTITLES) Music. Mogwai begins to hum, in an unearthly falsetto. It's beautiful. Rand watches with wide eyes. He feels like a child again. RAND - How much? ORIENTAL MAN One hundred American Dollars. Cash. Rand removes five twenties from his wallet. He gives them to the man. The Oriental smiles and claps his hands. Mogwai jumps onto Rand's shoulders. Rand pets it. Mogwai emits a cute giggle. ORIENTAL MAN It never sleeps. It will eat any- thing... but prefers raw meat. (PAUSE) It must always be kept indoors during the day. It lives in shadow. It hates bright light. Direct sunlight will kill it. Rand nods. He takes Mogwai from his shoulder and puts it into the box. Rand puts the box under his arm. The Oriental smiles ORIENTAL MAN Your son will enjoy his new friend. Rand smiles and exits. The Oriental takes a bite from his raw fish. CUT TO:..</scene_description>
</scene>
<scene>
<stage_direction>INT. HONG KONG AIRPORT</stage_direction>
<scene_description>Rand is on the pay telephon His baggage rests beside him. Mogwai is inside of a small plastic pet box. The creature's bright eyes shine from inside. RAND (into the phone) Yes, Fred. The Tai-Chan account is definite. MmmHmm. My plane l eaves in twenty minutes. See you in Pennsylvania. He hangs up. He picks up his bags and walks to the check- in counter. THE CHECK-IN GIRL tags Mogwai's box and puts it on the conveyer belt. Rand watches the box disappear through the baggage chute. CHECK-IN GIRL Don't worry, sir. Your pet will be safe. Rand smiles. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY</stage_direction>
<scene_description>The jet flies through the clouds.</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPLANE</stage_direction>
<scene_description>Rand is eating his airline dinner. AN ORIENTAL STEWARDESS walks up and refills his coffee. He looks at her. with the word 'Mogwai'? She nods. RAND What does it mean? STEWARDESS Devil. She moves to the next passenger. Rand stares. Surprised. Confused. DISSOLVE TO: A GREEN ROAD SIGN: "WELCOME TO KINGSTON FALLS, PENNYSLVANIA. POPULATION 6,122" CREDITS BEGIN OVER VARIOUS IMAGES OF THIS SMALL TOWN. One week before Christmas. It's snowing hard. A man hangs Christmas lights outside of his home. His young son helps. Children ice skate along a large,. frozen lake. A woman trudges through the snow, to her mailbox. A down parka is over her pajamas. Kingston's business district. Chilly gas station atten- dants pump gas into cars. A Pharmacy owner hangs "Merry Christmas" (in sparkling gold letters) in his store window. Telephone line workers share hot coffee from a thermos. The Union Savings and Trust Bank. Two teenagers push a woman s car from a ditch. CREDITS END. CAMERA DOLLIES TO THE BANK DOORS. WE GO INSIDE. Crowded. Several peoplestandin line. BILLY PELTZER a bank teller, writes out a receipt for a customer. Billy is 26 years old. His sturdy build and good looks are buried beneath wire rimmed glasses, slicked dirty-blonde .hair, a red sweater vest, a loose fitting checkered shirt, baggy corduroys and worn loafers. r• Finishing the transaction with his customer, Billy looks to the line of waiting people.</scene_description>
<character>BILLY</character>
<dialogue>Next.</dialogue>
<character>MRS. DEAGLE</character>
<dialogue>an elderly woman, walks to Billy's window. She's a real prude. Tight lips. Heavy make-up. Bleached hair. Cheap fur coat. She hands Billy a personal check.</dialogue>
<character>TRACY ALLEN</character>
<dialogue>another teller, works beside Billy. Tracy is pretty. Big brown eyes. A sexy smile. Long dark hair. Perfect figure. 25 years old. Tracy counts out some cash to a customer. She's trying to concentrate, to keep her mind on work.. But it's diffi- cult when</dialogue>
<character>GARY LUCIA</character>
<dialogue>the bank security guard, is trying to make her laugh. He stands by the bank entrance, making funny faces at Tracy. Gary is 30 years old. Former high school jock. Dark,</dialogue>
<scene_description>thick hair. Deep brown eyes. Muscular. A strong, handsome face. Meanwhile, Billy gives the check back to Mrs. Deagle.</scene_description>
<character>BILLY</character>
<dialogue>I can't cash this, M'am. Your last check hasn't cleared.</dialogue>
<character>MRS. DEAGLE</character>
<dialogue>Don't you recognize me?</dialogue>
<character>BILLY</character>
<dialogue>No, M'am. I'm sorry...</dialogue>
<scene_description>MRS. DEAGLE (loud, so everyone can HEAR) My name is Mrs. Julia Deagle! My husband manages the.Sparkle Market! We've been banking here for sixteen years! BILLY T at's very nice, M'am. But your c eck hasn't cleared and... MRS. DEAGLE That's the problem with this world. It's a mess because of people like JI$ BILLY It's not my.fault your check didn't clear, M'am, MRS. DEAGLE Don't get smart with me, oung man. BILLY I wasn't getting smart, I was... MRS. DEAGLE (shouting,-looking AROUND) Where's the president? I want to see the bank president! Billy rubs his eyes. Tense. Embarrassed. Everyone watches the scene. Tracy. Gary. The customers. ROLAND FRESCO the bank's Vice President, walks over to Billy and Mrs. beagle. Roland is tall, slender with thin grey hair and a pencil thin moustache. Friendliness and courtesy are his job. He smiles at Mrs. Deagle. ROLAND What seems to be the problem, M'am? MRS. DEAGLE My name is Mrs. Julia Deagle. This young teller is being very rude! I demand that you fire him! Roland looks at Billy. Billy rolls his eyes. Roland smiles. ROLAND (COMFORTING) Now,-Mrs. Deagle...I'm sure this isn't that serious. I'm sure an apology would fix things right up. Wouldn't it? The woman shrugs.' Roland turns to Billy. ROLAND Apologize to the woman, Billy. Billy leans to Roland. BILLY (angry whisper) I. didn't do anything wrong. AA; ROLAND (doesn't care, the customer comes first) Just apologize. Roland.leans back and smiles at Mrs. Deagle. Billy looks at her. He doesn'-t want to do this. Everyone in the bank is watching him, waiting for him to take a stand. Billy sighs. He needs his job. BILL° (forcing himself) I'm sorry, Mrs. Deagle. She nods and smiles. Roland puts his hand on the woman's shoulder. ROLAND Come back to my desk, Mrs. Deagle. I'll personally take care of your banking problems. Roland walks back to his office with Mrs. Deagle. Gary chuckles. Tracy goes back to work. Billy just sits. Angry. Humiliated. He calls the next customer. lb. BILLY Next. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK - LATER</stage_direction>
<scene_description>Billy puts on his brown winter coat and green scarf. He picks up his dog eared copy of "The Once And Future King". He walks to the bank lobby. TRACY stands in the lobby, putting on.her coat. Billy moves to help her. BILLY Let me. He helps her on with the coat. BILLY You look very pretty today. TRACY (FLATTERED) Thanks, Billy. BILLY I mean.. .not that you don't look pretty every day...But you look especially pretty today. TRACY (CHUCKLES) You're cute. Gary walks up. He puts his arm through Tracy's. GARY Let's go. I'm hungry. (notices Billy) Hey, Peltzer...Whydidn't you stand. up to that old bag, today? I Billy shrugs. Embarrassed. Gary notices the book. He takes it from Billy's hand. GARY What's this? BILLY It's a book. You read 1t. Billy exchanges a smile with Tracy. Gary isn't amused. GARY I know that, asshole. I meant what's it about? BILLY King Arthur. . .Sir Lancelot... Knights of the Round . Table... Dragons... GARY Aren't you a little old for that kinda' junk? BILLY (SHRUGS) Beats T.V. GARY- (gives Billy the BOOK) I'll take 'Monday Night Football' over this crap any day. (takes Tracy's arm) C'mon. Let's go. Tracy gives a wave to Billy. She and Gary walk away. Billy watches. He draws an imaginary sword from his side. He lifts the sword and lunges forward. At Gary. Billy sits at a table. Alone. He's reading his book. He eats, but his wide eyes never leave the page. He's fas- cinated by the story. Like a child. He gets to a funny section.. He laughs. Gary notices Billy. Gary nudges the others. GARY What a nut. Laughin' to himself. That's the kind of guy who'll shoot a president. TRACY (DEFENSIVE) I don't see anything wrong with him. I'm sure he's very intelligent. GARY Yeah, and those are the guys who always crack. The real smart guys. 6ti (pause) He's gotta be a psycho. 26 years old, still lives with his parents. Doesn't have a girlfriend. He's always alone. Real weirdo. The others agree. Tracy doesn't. She likes Billy. Billy continues to read, totally caught up in his book. Totally caught up in his fantasy. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLY'S FORD PINTO - LATER THAT AFTERNOON</stage_direction>
<scene_description>Billy drives home from work. He moves slow. The snow still falls. The roads are icy.</scene_description>
<character>CAR RADIO (V.0.)</character>
<dialogue>.And the snow keeps coming, folks. Looks like we're gonna have a White Christmas. Another three inches is expected tonight... Billy looks out of his side window and sees</dialogue>
<character>PETE FOUNTANE</character>
<dialogue>walking home from school. Pete is 16 years old. A chunky,</dialogue>
<scene_description>pleasant baby faced kid. With his bright orange down jacket, Pete resembles a tiny snowman. Suddenly, Pete.slips on the ice. Bam. Right on his ass. His school books scatter over the ground. Billy stops the car. He gets out and hurries to Pete.</scene_description>
<character>BILLY</character>
<dialogue>Pete...You okay? Pete nods. Billy helps him up. Pete brushes himself off. Billy is amused by the boy.</dialogue>
<character>BILLY</character>
<dialogue>You want a ride home?</dialogue>
<character>PETE</character>
<dialogue>Thanks. That'd be nice. Billy helps Pete pick up his schoolbooks.</dialogue>
<character>CUT TO:</character>
<dialogue>INT. CAR - A FEW MINUTES LATER</dialogue>
<dialogue>Billy drives, while trying to tell a story to Pete.</dialogue>
<character>BILLY</character>
<parenthetical>(energetic, en- THUSIASTIC)</parenthetical>
<dialogue>Lancelot raises Excalibur and... Wham! He knocks the Black Knight down ! Then with-another swing... Wham! He finishes him off!</dialogue>
<scene_description>PETE (impressed by Billy's storytelling) Wow... Billy digs into his pocket and gives Pete the copy of "Once And Future King". BILLY Here. You can borrow it. Pete takes the book. PETE Hey, Billy...You know so much about Vikings and stuff...You should write one of these stories yourself. PETE Really? BILLY (PROUD) 'Savage Hearts Of The Round Table'. A Trilogy Of Honor., Adventure nd Romance by William :C. P.eltzer PETE Sounds gre t. When can I read it? BILLY (CHUCKLES) I've only got about 70 pages done... But as soon as it's published, you'll get one of the first copies. Speci- ally autographed by the author. Pete smiles. Billy makes a turn. He pulls into the parking lot of DOUGAL'S ANTIQUES A huge, three story home, with an antique shop set up on the first floor. Billy and Pete get out of the car and enter the store.</scene_description>
<character>DORRY DOUGAL</character>
<dialogue>the 64 year old storekeeper, stands behind the counter. Dorry is husky, bald on top, with thick patches of red hair on his temples. A huge, red moustache sits beneath his bulbous nose. His arms are thick, hairy. A strong Irish- man.</dialogue>
<character>DORRY</character>
<dialogue>Good afternoon to you, Billy.</dialogue>
<character>BILLY</character>
<dialogue>Hi, Dorry. (eyes light) Is it ready yet? Dorry smiles. He reaches to a shelf behind the counter. He removes ,a long object, wrapped in a piece of green</dialogue>
<scene_description>cloth. He rests it on the counter. Billy watches with.wide eyes. Pete is curious. Dorry slowly unwraps the object. Inside the cloth, is a long silver sword, with a gleaming blade and an engraved steel.holster.. - Pete is impressed..</scene_description>
<character>DORRY</character>
<parenthetical>(to Pete)</parenthetical>
<dialogue>It's an authentic replica of an Eleventh Century sword. Billy's eyes examine every inch of the sword. It's beautiful.</dialogue>
<character>DORRY</character>
<dialogue>I got most of the rust off...But there were a couple spots that wouldn't budge. Billy runs his finger along the blade.</dialogue>
<character>DORRY</character>
<dialogue>Careful. It's sharp.</dialogue>
<scene_description>A big smile covers Billy's face.- He's in love with the sword. BILLY What do I owe you? DORRY Two hundred. You can pay me twenty a week. Billy pulls a twenty from his wallet and pays Dorry. Billy carefully wraps the sword and puts it under his arm. BILLY Thanks, Dorry. DORRY My pleasure, son. Billy and Pete exit the store. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MAIN STREET</stage_direction>
<scene_description>The suburbs. Rows of houses. All very similar. Two stories Aluminum siding. One car garage. All are decorated for Christmas. Some are simple and sweet. Others are ornate and flashy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOUNTANE.HOME</stage_direction>
<scene_description>Billy's car pulls into the driveway. He drops Pete off. Pete thanks him and Billy drives off. ' HE PELTZER HOME blends in with the others. But it's a little nicer, better kept. A row of colored lights is draped across the snowy shrubbery. Billy's Pinto pulls into the drive. He gets out, sword under his arm. He enters the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT HALLWAY</stage_direction>
<scene_description>A small hallway, leading to a stairway.</scene_description>
<character>BARNEY</character>
<dialogue>a friendly Irish Setter, greets Billy. He pets the dog and hangs his coat in the hail- closet.</dialogue>
<character>INT. KITCHEN</character>
<dialogue>LYNN PELTZER</dialogue>
<dialogue>Billy's Mother. 53 years old. Slightly heavy. Well</dialogue>
<scene_description>dressed. Styled brown hair. A pretty woman. She hears Billy enter. She quickly pops a valium from a small pill bottle. She calls to her son.</scene_description>
<character>LYNN</character>
<dialogue>Billy? Is the'.t you honey?</dialogue>
<character>BILLY</character>
<dialogue>sighs.He hates to be called "honey".</dialogue>
<character>LYNN (O.S.)</character>
<dialogue>Dinner will be ready in ten minutes. Okay. He hurries upstairs w Iith</dialogue>
<character>INT. BILLY'S ROOM</character>
<dialogue>1 I i Furnished with a sing Ile bed, two chairs, ajdesk and</dialogue>
<scene_description>dresser. A manual Smith-Corona, rests on the desk top. A full-sized mirror is fastened to\[ the;closet. A few plants hang in the window. The walls are covered with Medieval drawings, a poster of St. George fighting the dragon, Frazzeta.paintings of warriors, etc. A miniature set of armor rests on the dresser's cabinet. Billy enters. He rests the sword on his bed. He unwraps it. He picks up the sword. He turns to the mirror and poses with the sword. He holds it at a few differentangles, trying to decide which looks best for him. He takes a few swings with the sword. He stops and smiles to himself. A real warrior. CUT TO: DINING ROOM Billy sits at the table, eating dinner with Lynn. LYNN How was work? BILLY Okay. LYNN Have you asked that Tracy girl out yet? LYNN I was just curious. BILLY Yeah,.well it's none of your business. Nervous,Lynn popsvalfum with her wine.</scene_description>
</scene>
<scene>
<stage_direction>{ LYNN</stage_direction>
<scene_description>(OFFENDED) I guess it's none of my business that your clothes are washed and ironed, or that you have a hot meal on the table... BILLY No. It isn't. I'm old enough to take care of that stuff myself. I'm old enough to get a place of my own. LYNN Don't start that again. Your Father's coming home tonight. BILLY Good. I think we should talk about it. LYNN It'll put him in a bad mood. BILLY No, it'll put you in a bad mood. Lynn and Billy exchange a glare. They look down at their food. A few silent, uncomfortable moments pass. Lynn looks back to Billy. She smiles. Time for the tender approach. She touches his hand. LYNN Billy, honey... BILLY (moves his hand from hers) Stop calling me 'honey'. She smiles and tries again. LYNN Dad and I just don't want you to have to struggle like we did. We want to help, until you can support yourself as a writer. BILLY Bit it's gonna take me another- year to finish my novel. . .and what if it doesn't get published? LYNN It'll get published. BILLY But what if it doesn't? Are you gonna take care of me until I'm old and grey, working on my 25th unpublished novel?... LYNN If it takes that long, yes. BILLY (FRUSTRATED) Don't you understand?.. .I've got to 'leave now! I rve got to try and make it on my own now! Before Lynn.can reply, A VOICE INTERRUPTS. RAND (O . S . ) Is anybody home? Lynn stands and whispers to Billy. LYNN Please, let's forget about this. Just for tonight. Okay? Billy pauses. Finally gives in and nods. Lynn stands. She pops another valium and exits to greet her husband. We hear them, exchange an excited ".hello". They kiss and laugh, glad to be in each other's arms. Billy just sits. Burning.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT HALLWAY</stage_direction>
<scene_description>Rand hugs his wife. Barney is jumping up and down, tugging at Rand's coat. Suitcases rest on the floor.' Beside them, is, Mogwai's plastic case. Billy enters. Rand sees him. RAND (SMILES) Billy .. , Billy walks to his Father. They embrace. BILLY (happy to see him) Hi, Dad. They hold each other for a second. Lynn closes the front door. Rand picks up Mogwai's case. Lynn turn's to her husband. RAND (takes Lynn's hand) Not now. I've got a surprise for both of you. Come on. He leads them into the living room. Lynn and. Billy exchange a puzzled glance. They follow Rand.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Rand dims the lights. He motions for Billy and Lynn to sit on the sofa. They do. Barney sits on Billy's lap. Rand sits in front of them, on a leather easy chair. He rests Mogwai's case on his lap. He opens the case. Mogwai leaps out, onto the coffee table. Lynn and'Bill are startled. They stare at the creature in wonderment. Barney hates it. He growls at Mogwai. Rand lights a cigarette. He turns to Mogwai and claps his hands. The creature picks up an ash tray and carries it to Rand. Mogwai hops onto Rand's lap. Lynn and Billy are amazed... BILLY (staring at Mogwai) What is it? A.monkey? A rat?. RAND Your new pet. BILLY (UNCERTAIN) Mj Oh, yeah?... Mogwai starts to sing, humming in that unearthly falsetto. BILLY What's that? RAND He's singing. BILLY Sounds kind of creepy. Barney still growls. RAND Barney! Be a good dog and go up- stairs! Barney reluctantly hops off Billy's lap and exits. Lynn stares at Mogwai. LYNN I think he's just darling. Mogwai. Rand holds the creature out to Billy. RAND Hold him. BILLY (inching back) Maybe later. RAND C'mon. He won't bite. Billy forces himself to take the creature. Mogwai nestles close to Billy. Rand smiles at his son. RAND He likes you. Billy looks nauseous. Lynn stands. LYNN You two look so cute together. I have to take a picture. Lynn walks to a nearby drawer, opens it and removes-a Kodak Instamatic. Mogwai is on Billy's shoulder, licking his cheek.. Billy hates it. RAND - I want you to take good care of him. Lynn focuses the camera on Billy and Mogwai. LYNN Okay smile. Billy forces a smile. Mogwai still licks his cheek. Lynn snaps the picture. Flash! Mogwai lets out a high scream. Frightened of the bright light, Mogwai jumps back, accidentally scratching Billy's cheek. BILLY Little bastard. Mogwai scurries back to Rand. He pets the creature, comforting it Settle down, Billy-There's no reason to get upset. The little fellow's scared. He hates bright light.. Billy shrugs. He wipes his fingers along the scratch on his face. He looks -at t em. There's blood on his�4ingertips. Billy looks at Mogwai. The creature looks at Billy. It giggles. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLY'S ROOM - LATER</stage_direction>
<scene_description>Billy sits at his desk, working on his novel. His typing is fast, intense. A small desk lamp lights.his working area. Mogwai watches Billy. from the darkness of the book shelves. Above Billy., The creature begins to sing. Billy tries to ignore Mogwai's singing. No good. It gets on his nerves. Billy slams his hand on the desk top. He glares at the creature. BILLY Shut up. Mogwai stops singing. Billy goes back to his writing. Mogwai.hops from the shelf. Staying out of the direct light, the creature moves across the desktop and cuddles up to Billy's arm. He jumps back. BILLY Get off of me. Mogwai just looks at him. BILLY Get.off`my desk. Billy shines the bright.desk light into the creature's eyes. Mogwai screams and jumps. off the desk, to the floor. Billy looks down at the creature. BILLY Stay down there. Billy goes back to his work. Mogwai is-bored. The creature leaps up to the bed.. It sees the sword. Mogwai lifts one end, examining it. It's too heavy. The sword slips off the bed and falls to the floor. Billy turns. Mogwai takes a step back. Guilty. Frightened. Billy picks up the sword. The handle is chipped. BILLY (angry, to Mogwai) You stupid little... Billy raises the sword over.Mogwai. He's ready to kill the tiny creature. Mogwai loo\] .s up at Billy. The creature is shivering. It is frightened. It's big, green eyes are watery. Billy suddenly feels sympathetic. He lowers the sword and picks up the.creature. BILLY (TENDER) I'm sorry.. .just try to be more careful. Billy holds Mogwai to his chest. He's petting it, com- forting it. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLYS ROOM - LATER THAT NIGHT</stage_direction>
<scene_description>Billy sleeps. The room is totally dark. CAMERA PANS to another area of the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLY'S CAR - NEXT MORNING</stage_direction>
<scene_description>Outside, the snowing has stopped. Billy drives to work..</scene_description>
<character>CAR. RADIO (V.0.)</character>
<dialogue>It looks like the snow has stopped for awhile. But don't put away those ear muffs, more flurries are scheduled for tonight...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK PARKING LOT</stage_direction>
<scene_description>Billy's car pulls into the lot. He gets out. Tracy is getting out of her car. Billy walks up to her. BILLY Starting work early today? TRACY Oh, hi. Well, I thought the roads would be icy. BILLY We've got a half hour before work. Wanna go have a cup of coffee? She.pauses and smiles. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP</stage_direction>
<scene_description>Tracy and Billy sit at a table, sipping hot. coffee. BILLY</scene_description>
</scene>
<scene>
<stage_direction>and if I sell the novel, I'll •be able to quit the bank.</stage_direction>
<scene_description>TRACY I'd love to quit. I'd run straight to the airport and buy a one way ticket to Paris. BILLY Why Paris? T TRACY I've only seen it in movies and T.V... . But it seems like it's got everything that this town doesn't...Museums...great restaur ants... Beautiful artworks and architecture... (embarr-a s-s-ed ) Listen to me, talking like I've been there 10 times. I shouldn't get so carried away. It's only a dream. BILLY Hey...Don't give up on your dreams. They just might come true. Tracy shrugs and takes a sip of coffee. BILLY Can I ask you a personal question? (Tracy nods) What is it with you and Gary? Is he your boyfriend? TRACY He thinks he is. BILLY Do you think he is? TRACY No. I think of him more as a friend. But he thinks of me as a lot more. BILLY So there's a possibility...I mean... I.just might have a chance with you? TRACY (smiles), Don't give up on your dreams. They just might come true. They both laugh. CAMERA PULLS BACK TO REVEAL Standing across the street, looking into the coffee shop window. He watches Billy and Tracy. An angry, jealous look fills Gary's eyes. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT.-BILLY'S ROOM - THAT EVENING-</stage_direction>
<scene_description>Dimly lint with Billy's small desk lamp. Billy waters his pl)ants\_ ith a.spray bottle., Mggwai's case sits on the ed. The creature is inside. Billy finishes his watering. He sits at his desk. He takes adrink from glass of milk and snacks from a plate of brownies. He proofreads some pages from his novel. PETE (O.S.) Hello? Is anybody home? BILLY (SHOUTS) n here, Pete. Billy holds the tray of brownies to him. BILLY Want some? PETE I'm s'posed to be on a diet... He grabs a brownie. He notices Mogwai's case. PETE What's in there? Pete walks over and opens the case. Mogwai hops out, onto the bed. The creature giggles. Pete is, taken aback. PETE What is it? BILLY A present from my Dad. Pete picks up the creature and pets it. Pete likes Mogwai. PETE It's neat. Billy shrugs. Mogwai sees the brownies. The creature hops from Pete's hands, onto the desk. Mogwai grabs a brownie and starts to eat. PETE Hey, Billy.. .You think I might be able to borrow it? Just for a night? BILLY I dunno, Pete... PETE C'mon...My Mom will never know. I'll hide it under my bed. Pete reaches down to pick up Mogwai. His hand clumsily knocks over the water bottle. A few drops of water splash Mogwai. The creature arches its back and lets out a high pitched scream. Billy is surprised. Pete takes a step back. Scared. Mogwai tenses up. The spots on its body that were hit with water begin to bubble... .expand...' Billy can't believe his eyes. Mogwai writhes in pain. The spots on its body expand more, getting bigger, bigger.. .ready to explode. Billy and Pete stare. Fascinated. The spots burst. FOUR NEW CREATURES popout. Clones of Mogwai. The spots on Mogwai's body bond together and disappear, as if they were never there. There are now five identical creatures on the desktop. Billy and Pete share a shocked glance. Billy grabs the water bottle. He has to be certain that he wasn't halucinating. He splashes a little more water on one of the new creatures. The process begins again. The creature's body,contorts. A few lumps form. The lumps expand until...they burst. REV. 4/30/82 29 LI THREE MORE CREATURES ARE BORN. Billy tries to make sense out of it all. EIGHT CREATURES stand on.the desk top, examining their new world. Billy picks up his glass of milk. He splashes some milk on one of the crealtures. Nothing happens. BILLY They must only multiply with plain tap water. PETE (AMAZED) M Wow..•.this•is better than "Twilight Zone ( ) Pete looks at Billy. PETE Now can I have one? BILLY (still dazed) Huh? Well, yeah. I guess so. Pete grabs one of the creatures, taking it from the group. It cries out. In a high, piercing scream. The other creatures leap at Pete. They grab the creature and bring it back to their group. PETE (SCARED) Maybe I won't take one. The creatures have moved to the brownies. They rip the brownies to pieces, devouring them. They're giggling.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - LATER THAT NIGHT</stage_direction>
<scene_description>Rand sits in a chair, opposite Billy. The 8 creatures climb all over Rand. Playfully tugging at his hair and clothes, licking his face. Rand loves the adorable little things. Billy has a worried look on his face. Barney, the dog, sits in a corner of the rood. He glare at;the creatures. Jealous that they're gettjng all the atjtention .I I I RAND (to Billy) What are you so worried abot? BILLY Dad...We don't know anything about these things. RAND We know they're cute.. We know.." they're intelligent. And now we know they multiply by water. BILLY Yeah, but isn't that pretty weird? I mean, if I throw water on�Barney over there, we're not gonna;getjten copies. A creature licks Rand's ear. He chuckles. RAND All I know, is that I've got a million dollars sitting in my lap. BILLY Huh? RAND I'm going to market these things. BILLY (hates the idea) Oh, Christ. C'mo'i,Dad...that's ... RAND Just imagine the excitement when word gets out. Everyone will want a Mogwai of their very own. BILLY Don't you think we should have them checked out first? Just to make sure... RAND No. If we want to make a big profit, we have to move:fast I have some investors coming over to the house on Thursday. (a . beat) Who,knows?...Mogwai could replace dog as man's best friend. wls from his corner. Rand continues to play with the creatures. Billy watches. Skeptical. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BANK PARKING LOT - THE FOLLOWING AFTERNOON</stage_direction>
<scene_description>It's snowing., Very hard. The bank has just closed. Billy hurries to his car. Gary walks up. Billy turns to him. BILLY Oh, hi Gary. Look, I'm kind of in a hurry. Gary grabs Billy by the collar and throws him against the car. GARY a< ; Listen, Peltzer...she's my girl- friend. Keep your hands off. Under- stand? Billy nods.Gary lets him go.He turns and walks away. Billy straightens his clothes. He glares at Gary. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRANKLIN ROOSEVELT HIGH SCHOOL - A FEW MINUTES LATER</stage_direction>
<scene_description>Students hurry from the school, anxious to get home. 0 Billy's car pulls into the parking lot. He gets out. Pete waits in front of the school. Billy walks up to him. They enter the school,</scene_description>
</scene>
<scene>
<stage_direction>J INT. SCHOOL - BIOLOGY LAB</stage_direction>
<scene_description>The last of the students exits the classroom. ROY HANSON' the Biology teacher, stands at the sink. He's washing out some used glass j4rs and basins Roy is 35 years old. Tall. Thin. Black. Good looking. Pete knocks on the door. Billy enters with him. Roy turns. ROY Hey, Pete-what's up? PETE Mr. Hanson...this is my friend Billy. He wants to talk to you about somethin'. ROY (friendly smile) Well, sure... (shakes Billy's hand) .I'm Roy Hanson. What can I do F or you? BILLY Well, you're the closest thing this town's got to a scientist... and I need some information about an animal. ROY What kind of animal? BILLY That's what I'm trying to figure out. CUT TO: INTBILLY'S ROOM - LATER The curtains are drawn. The lights are dim. The eight creatures are on the desk top. Giggling. Humming in falsetto. Billy enters with Roy and Pete. Roy stares at the creatures. He is shocked. Delighted. 33 ROY I've never seen anything like this. Billy grabs the water bottle. BILLY Watch this. Billy squeezes a drop of water on one creature. Mogwa' lets out a scream. A lump appears on the creature's back. The lump gets bigger...bigger...bigger ... Roy watches with wide eyes. Suddenly, another creature bursts from Mogwai's body. NINE IDENTICAL CREATURES now stand on the desk top.</scene_description>
</scene>
<scene>
<stage_direction>ROY</stage_direction>
<scene_description>(startled, shaken) Holy shit. He remains-speechless for a few moments. He looks at Billy. ROY May.I stay for a while?...Run a few tests?... BILLY (nods, checks his WATCH) My parents won't be home until 7:00. You've got three hours. Roy takes off his coat and opens his black leather case. Billy exits with Pete. CUT TO: T.V. SCREEN "How The Grinch Stole Christmas" plays. BILLY AND PETE sit on the sofa, watching the T.V. Roy enters. He sits across from Billy. I ROY I discovered some interesting things... (CONTINUING) The creatures are drawn to water. if they sense water nearby... they'll go to it. (a beat) Als , unless)th y're hunting for foo or water.. they hate to be separated. I t ied to move one from the others. They cried out. Clawing. Screeching. PETE Yeah...that's what happened when I tried to take one. ROY If one is separated. The others will follow. BILLY Anything else? ROY They qan't multiply by water if their environment temperature is below '25 degrees- (a beat) It's amazing. They have no bio- logical link with any other species of animal...in the whole world. Billy gives an uncertain nod.- DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BILLY'S ROOM - LATER THAT NIGHT</stage_direction>
<scene_description>Silent. Dark. Billy sleeps. Distant sounds are heard. Animal-like noises. Gurgling. Slurping. Chewing. Billy wakes. He sits up in bed. The sounds continue. He looks around the room. The creatures are gone. Billy notices his room door. REV. 4/30/82 35. He gets out of bed. He looks at his sword, hanging above the bed. He takes the sword from the wall. He walks out of the.room. HALLWAY Billy walks. Sword in hand. The noises get louder. Crisper. Clearer. Nervous, Billy descends the dark stairs. He arrives at the bottom. He stops to listen. The sounds are coming from the living room. LIVING ROOM Billy enters. He looks to the floor. Beneath the'Christmas tree. The creatures surround Barney. They have killed the dog. Billy tries to move. He's frozen. The creatures are eating the dog. They look up at Billy. Their bright green eyes are fiery. Blood covers their mouths. They smile. They giggle. Billy screams. CUT TO: CLOSE UP - A CANVAS MAIL BAG The bag moves. Squirms. Shakes. The creatures are inside. Rand carries the bag up a ladder that leads into the attic. 36 Lynn and Billy stand a few feet away, in the hallway. Rand lets the creatures loose in the attic. He quickly latches the attic's trap door, securing it with a padlock. He climbs down the ladder. RAND This should keep them out for the rest of the niht...</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Dark. The Mogwai cluster around the trap door. They scratch at the door. They want out. RAND (0. S . ) Tomorrow we'll take them out in the sun...</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>RAND</scene_description>
</scene>
<scene>
<stage_direction>and.finish them off. Lynn nods. Rand looks at Billy.</stage_direction>
<scene_description>RAND I'm sorry, son. I never expected to... BILLY Forget it. Billy stares coldly at his Father. Embarrassed, Rand looks away. RAND We should all get back to sleep. Rand puts his arm around Lynn. They walk to their bed- room. Billy looks up at the attic door. The creatures' scratching is heard. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PELTZER HOUSE - MORNING</stage_direction>
<scene_description>The sun rises behind the house. Snow is falling.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>The tr p door opens. Billy and Rand climb inside. They .both carry flashlights. They s ine the lights through the attic, looking for the creatu es. They see nothing. Billy spots something. He nudges his Father. There are NINE INDIVIDUAL PODS, stuck to various places-on the floor. The pods are 16 inches long, 12 inches in dia- meter. They are wrapped with a vein-like wire and covered with a thick, syrupy glaze. RAND What in the hell?... Billy picks up a broomstick andl pokes one of the things. Won't budge. Hard as a rock. BILLY Damn things are stuck to the floor. Rand picks up a baseball bat. He raises it over his head and swings down, hard. Against the pod. The bat snaps in two. The pod is unblemished. Rand rubs his stinging hands. Billy and Rand just look at each other. Puzzled. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN LATER THAT EVENING</stage_direction>
<scene_description>Roy Hanson sits with Billy and Rand. Lynn pours them coffee. Roy has just examined the pods. A. r?1ND Like a butterfly? ROY Exactly. Those things in the attic-are cocoons. Inside,. the creatures are going through some sort of change...a metamorphosis. BILLY Why did they attack my dog? ROY Simple. They're animals. They were hungry. Aside from water, food is their main concern. RAND How long until they hatch? ROY A week...a month...I really can't say. BILLY (STANDS) I'm not waiting around to find out. ROY Billy, don't be hasty...You've stumbled onto a new life form. What comes out of those cocoons could be a major scientific discovery... BILLY Screw'science. I want them des- troyed. RAND Billy ...Maybe Mr. Hanson's got a point... BILLY (stern, bitter) Dad, they killed Barney. Or have you already forgotten? Rand just looks'at his son. Lynn pops a valium in the background. CLOSE-UP Red hot light. The flame of a torch. CAMERA PANS UP TO RAND. He's holding the gas torch, aiming it at the cocoon. Billy stands beside him. They're inside-theattic. Rand shuts off the torch. He touches the cocoon. It appears unharmed. RAND Not even warm. (shakes his head, SURPRISED) They're indestructible. BILLY Now what do we do? RAND I get back from Seattle on Wednesday. I'll call some con- struction people. They'll come in next week and cut these things out of the floor. BILLY I don't think we should wait. Let's do it ourselves. RAND No. It's late. I've got an early plane to catch. (PAUSE) The attic door is locked. There are no windows up here. Nothing can get in or out. Rand pats Billy on the back. RAND Son, you've got to stop worrying.</scene_description>
<character>CLOSE UP - BILLY</character>
<dialogue>A doubtful, uncertain expression on his face.</dialogue>
<character>THE FOLLOWING DAY - LATE AFTERNOON</character>
<dialogue>I</dialogue>
<character>VARIOUS SHOTS. OF. THE.-TOWN</character>
<dialogue>Snow comes down. Fast and hard. RADIO (V O.) Heavier nowfalls are cheduled Cas swerve on the; road. for this evening. Sto and</dialogue>
<scene_description>-blizzard warnings are in effect. Little children build snbwmen. So if yoi don't have t go out, please stay indoors. Tricksiplow the roIgds. Anjelderly man snow-blow his driveway.</scene_description>
<character>CUT TO:</character>
<dialogue>a sign hangs on the-door:</dialogue>
<character>OPEN LATE FOR HOLIDAYS, SPECIAL</character>
<dialogue>CHRISTMAS HOURS: 9:00 AM - 6:00 PM</dialogue>
<character>INSIDE</character>
<dialogue>A wall clock reads 5:25. Billy counts out money to a</dialogue>
<scene_description>customer. Tracy works beside him. Finished with the customer, Billy looks to the line of waiting people.</scene_description>
<character>BILLY</character>
<dialogue>Next.</dialogue>
<character>MRS. DEAGLE</character>
<dialogue>walks to Billy's window.</dialogue>
<scene_description>BILLY (forced smile) Hello, Mrs. Deagle. How are you this afternoon? MRS. DEAGLE (SOUR) Horrible. My arthritis acts up when it snows. MRS. DEAGLE (glares at Billy) see they still haven't fired you. Billy shrugs, trying to remain-ca-lm. CUT TO: R INTJPELTZE� HOME Lynn removes freshly bakedSanta Claus sugar cookies from the Microwave oven.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Small lumps have formed over all of the cocoons. Slowly, the lumps rise up and down-. Bubbling,. Breathing. Coming to life. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK</stage_direction>
<scene_description>Mrs. Deagle is screaming at Billy. MRS. - DEAGLE Do not try and tell me what to do, young man! BILLY (trying to stay CALM) M'am...I'm only suggesting that you see a bank officer to... MRS. DEAGLE I want to speak to Mr.. Fresco! (loudly calling out) Mr.Fresco! ...Mr. Fresco!. Roland Fresco, the Vice President, gets.up from his desk. He walks over to Mrs. Deagle and Billy. Everyonein the bank is watching. Billy bites his bottom lip, holding in his anger. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>C ) INT. PELTZER HOME - KITCHEN</stage_direction>
<scene_description>Lynn decorates the cookies. She adds white icing to Santa's beard. She dips her butterknife into the large blender that has made the icing.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>The cocoons are bubbling furiously; as if they were being baked in an oven. Suddenly, a crack appears on one. Then another. And another. Cracks begin to cover all the cocoons. Green smoke seeps from the thin openings. A slow soft hiss is heard. They're hatching. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK</stage_direction>
<scene_description>Roland stands beside Billy. Mrs. Deagle patiently waits. ROLAND (whispers to Billy) Apologize to the woman, Billy. BILLY (HONEST) But, sir...I didn't do anything wrong. Really. ROLAND Apologize. Now. Billy turns to the woman. Everyone in the bank is.watching. Especially Tracy. BILLY (forcing himself) Mrs. Deagle, I... BILLY Mrs. Deagle, I... (He can't do it. He lets out his honest feelings) I think you're an-ugly old fart and I; hope yo u fall down on the ice a td breath your fucking neck! Mrs. Deagle is sho ked. fi e other customers hide their laughter. Gary smiles. Tracy is proud. ROLADN (BOILING) Peltzer, you:are fired! Do you understand me?!? You're fired! Billy smiles. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. PELTZER ATTIC</stage_direction>
<scene_description>Green smoke has filled the room. The cocoons quiver. Shake. Each one is covered with cracks. A THREE FINGERED BLACK CLAW suddenly breaks out of one cocoon. It clutches at the air. ANOTHER CLAW breaks through the shell of another cocoon. They all begin to hatch., Claws emerge from each one, reaching for the air.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN</stage_direction>
<scene_description>Lynn. slowly arranges the finished cookies on a tray. A LOUD RATTLING NOISE ECHOES FROM UPSTAIRS. to listen. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>0 EXT. ATTIC DOOR</stage_direction>
<scene_description>The door rattles. The lock shakes. The creatures want out. LYNN slowly moves to the kitch n doorway. Sh listens. THE ATTIC DOOR The wood surrounding the lock begins to splinter. It finally snaps. The door pops open. The lock falls to the floor. A loud thump. LYNN jumps at the noise. Scared, she runs to the kitchen phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. BANK</stage_direction>
<scene_description>Billy puts on his coat, preparing to leave. In the background, Mr. Fresco consoles Mrs. Deagle. Tracy walks up to Billy. TRACY ' Billy...I thought you were great. He smiles. Gary watches the two of them. ANOTHER TELLER (calling to Billy) Billy...You have a phone call. Billy hurries to the phone. He answers. BILLY Yeah?... LYNN stands in the kitchen, tightly holding the phone receiver. LY'N Billy-those things in the attic... They're alive...I hear noises upstairs... gets scared. His face goes white.( BILLY Mom...stay downstairs. I'll be right home. He drops the phone and runs out of the bank. Gary exchanges a puzzled glance with Tracy. CUT TO: LYNN standing in the kitchen. Frightened. She downs two valiums from her bottle. LOUD THUMPS. RATTLING. VARIOUS OTHER NOISES ECHO FROM THE ATTIC. Lynn exits the kitchen and slowly walks upstairs. CUT TO: BILLY Nervous. Sweating. Behind the wheel of his car. He tries to drive fast, but the heavy snowfall and icy roads prevent it. Outside, the sun is going down. CUT TO: LYNN She's arrived at the top of the stairs. It's dark up here. She looks to the end of the hallway. Lynn--gets -a chill. She slowly walks to the door. CUT TO: BILLY still driving. He tries to pass a slow truck. He hits a is spot. } THE CAR swerves and spins off the road. It lands in a ditch. The engine stops. BILLY tries to start it. Nothing happens. It's stalled. BILLY No...Not now... He tries again. No good. It's dead. Frustrated, Billy slams his fist on the steering wheel. ° CUT TO: LYNN standing below the open attic door. She tightly clutches her valium bottle. She looks up. Nothing but darkness. Lynn pops another valium. She climbs theladder, into the attic. TRACKING SHOT Billy. He runs home through the snow. It's dusk. People have begun to turn on their Christmas lights. Billy runs harder. Faster. His house comes into view. At the e nd o f the block. CUT TO REV. 4/30/82 r 47.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATTIC</stage_direction>
<scene_description>Lynn pokes her head inside, looking around. Everything looks fine. Calm. She sighs. Relieved. SUDDENLY Something leaps out and grabs Lynn by the throat. A creature. We can't see it clearly. - It moves too fast. It is hiddenby the shadows. Other dark figures come at Lynn. More creatures. They want their share of the food. Lynn watches in horror as the creatures surround her head. She screams.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ATTIC</stage_direction>
<scene_description>Lynn's body jumps and twists. Her feet kick as she is pulled up into the attic. There are a few seconds of silence. Then we hear the sounds. Chewing. Swallowing. Giggling. CUT TO: BILLY sprints down his driveway. He arrives at the porch of his home. He opens the front door. INSIDE Dark. Silent. Billy calls out before entering. EM,000 BILLY Mom?.. Scattered giggling echoes from inside. Billy flips on the'front hall..light.. A few tiny shadows scatter. They dash into other rooms. Afraid of the light. Billy'slowly enters. He's scared. He looks to the top of the stairs. BILLY Mom?... More giggling. Shaking'. Nervous. Billy climbs the stairs. At the top, he quickly flips on the bright hall light. Something darts up into the darkness of the attic. Escap- ing the light. Billy spots the open attic door. He walks beneath it. He looks up into the dark attic. BILLY. (shaking voice) Mom?... AN OBJECT is thrown out of the attic. It lands at Billy's feet. He jumps back. He looks at the object. LYNN'S VALIUM BOTTLE Stained with her blood. Billy picks it up. A giggle from the attic. Billy takes a few stepsback. He dashes into INSIDE Billy grabs the sword off his wall. He walks back. into the. hallway. HALLWAY -- Billy stands several feet from the open attic doo He clutches the sword. He takes a deep breath and flips out the hall light. Darkness. Billy waits. A few seconds pass. A CREATURE leaps from the attic, into the hallway. Billy jumps back. Mogwai snarls at him. Mogwai has changed. It stands two feet tall. The brown fur is gone, replaced by rock hard, rippled armor. The arms and legs are muscular, covered with the same armor. The paws have been replaced by claws. The fingernails are sharp. The tail is long and pointed. Reptilian. It thrashes back and forth. Sharp white horns have replaced the ears. The green eyes are larger. They bulge. Evil. Angry. A:huge mouth distorts the face with its wide grin. The countless teeth are long and sharp. Gleaming white. Fresh blood drips from them. The giggle remains, undercut with a hungry animalistic growl REV. 4/30/82 50. THE CREATURE leaps at Billy. Billy raises his sword and swings. He hits the. creature in mid-air. Mogwai fal is to the gro4nd. Thick green blood pours from a. deep• wou nd ;in its the t. Billy stabs the creatur Mogwai dies with a long hiss. Billy looks back to thelattic. Sword extended, he rushes to the ladder and climbs into the attic. I INSIDE Billy sees Lynn's body. She lies on the floor. Dead. Billy walks to her. Lynn is covered with bites and scratches. Billy looks away. Angry. Saddened. He notices the cocoons. All hatched. Sounds echo from downstairs. Thumps. Giggles. Billy's face goes white with fear. There's more. He dashes out of the attic. UPSTAIRS HALLWAY Billy walks slowly. Clutching his sword. Ready for an attack. He descends the stairs. FRONT HALLWAY A CREATURE leaps from the overhead chandelier. It lands on Billy's back. The creature tries to bite Billy's neck. Billy slams his blade 'nto Mogwai. He whacks the creature. Again and again. Finally, Mogwai falls to the floor. Billy brings down his blade. Hard. It slices Mogwai's head off. The creature's body quivers. It dies. Billy moves to the living room. LIVING ROOM Dimly lit. The fireplace burns. The Christmas tree lights flash. Billy enters. AN OBJECT flies at Billy from across the room. He ducks. A DINNER PLATE smashes against the wall behind him. Billy looks to the CHINA CABINET. A CREATURE sits on the middle shelf. Giggling. It throws another plate at-Billy. He bats the plate away with his sword. Mogwai continues to throw plates at him. Billy dodges the plates, making his way to the China Cabinet. There, he lunges forward with his sword. Bullseye. Mogwai is stabbed. Straight through the chest.</scene_description>
<character>REV. 4/30/82</character>
<dialogue>The creature screams, writhing in pain. It falls from the China shelf to the floor. Dead. Billy slowly moves across the room. His eyes dart back and forth, looking for creatures.' He walks by the fireplace. Three large RED VELVET STOCKINGS hang from the mantle. Each one is inscribed with a name: BILLY, RAND and LYNN.</dialogue>
<character>A-CREATURE</character>
<dialogue>pops out of each stocking. Growling. Snarling. Startled, Billy jumps back. The three creatures hop to the floor and move towards</dialogue>
<character>BILLY:</character>
<dialogue>He clutches his sword. Tight. Two creatures leap at him. He spears one in mid-air. He quickly spins around, knocking the other Mogwai to the ground. He stabs the creature in the throat. He twists the sword until Mogwai chokes to death on its own blood. The remaining creature attaches itself to Billy's leg. It takes a bite from his calf. Billy cries out in pair. Mogwai stays on. Biting hard. Billy kicks his leg near the fireplace. Scared of the firelight, Mogwai lets go. Billy stabs the creature.. He holds Mogwai in the roaring flames of the fireplace. Mogwai screams until it burns to a crisp. Billy removes his steaming sword. The charred creature collapses into the flames. Dead. Billy checks his leg. A small bite. He walks to the kitchen.</dialogue>
<character>CAMERA PANS TO THE CHRISTMAS TREE.</character>
<dialogue>Its tiny lights flash. THE CAMERA MOVES closer to the tree. TWO LARGER GREEN EYES„shine from inside the tree. The eyes of ANOTHER CREATURE.;</dialogue>
<character>CUT TO.:.</character>
<dialogue>INT. KITCHEN</dialogue>
<dialogue>Billy stands quietly!'in the doorway.</dialogue>
<character>TWO CREATURES</character>
<dialogue>are inside. They don't notice Billy. One has crawled into the large blender. It laps up the left over white icing. The other sits on the table. It nibbles on the Santa</dialogue>
<scene_description>cookies. Billy looks at the bl!ende1r. It's' unplugged. Billy moves quickly. He dashes across the room and plugs in the blender. It starts with'a loud whirr. The startled creature spins inside.. Mogwai's screams die as it is chopped into a green mush. The remaining creature growls at Billy. Billy lunges forward with his sword. Mogwai leaps out of the way, onto the kitchen cabinet. Billy turns to the creature. Mogwai stands in front of the open microwave oven. Billy pokes at the creature with his sword. Mogwai takes a few steps back. Billy still pokes at Mogwai, forcing the creature into the oven. Billy quickly closes theoven door. Mogwai is trapped inside. Billy flips the oven switch to "bake". The microwave purrs. Inside, Mogwai screams and pounds against the glass door. Soon, the creature falls.' Its body quivers. The armor-,. like skin bubbles and pops. Mogwai boils to death. Bill wipes the swea from hs brow and exits the kitchen. LIVING ROOM Billy enters. He looks at the dead creatures. He sighs. Relieved. They're all gone. Billy rests his sword against the wall. He picks up the telephone and dials "0". BILLY Yes, could you connect me with the Sheriff's Office?... A SWIFT SHADOW moves across the floor, behind Billy. BILLY Hello? ...Is this Sheriff Lucia?... A CLAW tears the phone cord from the wall. BILLY (DISCONNECTED) Hello?...Hello?... THE CREATURE walks toward Billy, ready to attack from behind. BILLY (clicking the phone) Hello?... It hisses. REV. 4/30/82 Billy turns. Face to face with Mogwai. Billy glances to his sword. A few feet away. Against the wall. Mogwai takes a step closer. Billy reaches for the sword. The creature leaps and lands on Billy's chest, knocking him to the floor. { .Billy wrestles with the creature. He tries to grab the sword, but Mogwai is clawing and biting at him. Billy's hand finally reaches the sword. He snatches it. He brings down the blade, into the creature's arm. Mogwai jumps back. Wounded. Billy stands. He raises his sword to finish off the creature. Mogwai dodges theblade, jumping to the window ledge. Billy moves toward the creature. Mogwai smashes through'the window, escaping into the night. Billy hurries out of the house.</scene_description>
<character>OUTSIDE</character>
<dialogue>The blizzard is starting up. Billy arrives at the broken window. He looks to the ground and sees</dialogue>
<character>MOGWAI'S FOOTPRINTS IN THE SNOW</character>
<dialogue>They stretch across the backyards of suburbia, disappearing into the darkness. Following the footprints, Billy runs after the creature. a cute, blonde-haired, blue-eyed 8 year old backyard. She is building A snowman.</dialogue>
<character>PEGGY'S MOTHER</character>
<dialogue>opens the back door of their home. She calls to her</dialogue>
<scene_description>daughter.</scene_description>
<character>MOTHER</character>
<dialogue>Peggy! Come inside! It's too dark! You'll ruin your eyes building the snowman!</dialogue>
<character>PEGGY</character>
<dialogue>Just five more minutes.. And 'Skippy The Snowman' will be finished. Please, Mommy?</dialogue>
<scene_description>(SIGHS) Alright, young lady. But if you're not inside this house in five,' minutes... PEGGY (.smiles) Thanks, Mommy. She goes back inside. Peggy inserts pebbles for "Skippy's" eyes. CUT TO: BILLY running through the snow. Following Mogwai's footprints. CUT TO: PEGGY inserting the final pebble for "Skippy's" smile. Peggy takes a step back. She looks over her creation. She smiles. Gee, Skippy...You look cute. SUDDENLY MOGWAIBURSTS OUT OF THE SNOWMAN'S CHEST. Before Peggy can scream, Mogwai grabs her. The creature pulls Peggy inside the snowman. Peggy puts up afight. But she isn't strong enough. Her little feet kick as she is pulled inside of the snowman. BILLY( arrives in Peggy's backyard. He sees the young girl's legs kicking from the snowman's torso. Billy rushes over. He grabs Peggy's legs. A tug of war. Billy pulls Peggy out of the snowman. Peggy brushes the snow from her face. A E BILLY Are you okay? PEGGY (unharmed, shaken) A monster came out of Skippy the Snowman. Billy quickly attacks the snowman with his sword. He swings and swings until "Skippy" is nothing but a pile of snow. But there is no sign of Mogwai. Billy spots footprints leading away from the snowman. Mogwai has escaped. Billy runs after the footprints. Peggy watches him disappear around the corner of the house. Peggy's Mother opens the door. She is puzzled by the pile of snow in front of Peggy. MOTHER Peggy...What happened to your snowman? PEGGY (wide eyed) This ugly little monster came out of Skippy's chest! It tried 000��. PEGGY to pull me inside and eat me! But this man with a big sword came over and saved me! Peggy's Mother just.stares at her. She shakes her head. MOTHER I think you've been playing too many of those video games. CUT TO: CAROLERS A group of thirty high school students stand on the front lawn of a home. They happily belt out a Christmas Carol. CAROLERS 'Joy To The World, the Lord'-has come... CAMERA PANS their bright cheery faces. PETE stands in the back row, wearing his orange down jacket and a long checkered scarf. He stands in the back row, singing tenor. THE CREATURE pops out of a snow drift, behind the carolers. Mogwai eyes the kids. Pete stands closest to, Mogwai. The creature smiles. CUT TO: BILLY running through the backyards, following Mogwai's footprints The carolers' singing echoes in the distance. THE CAROLERS loudly singing. CAROLERS "And heav'n and nature sing... A ,tenor voi a sudde ly drops out. A few of th carol s xchange puzzled glances. But they resume their singin PETE is being dragged from the group by his checkered scarf. Mogwai pulls the youth into a nearby wooded area. Pete kicks and shouts. But the caroler's singing drowns out his cries for help. Mogwai jumps onto Pete's chest. The creature's razor sharp teeth bite into the boy's neck, tearing out a huge chunk. Pete screams. No one hears.</scene_description>
<character>CUT TO:</character>
<dialogue>BILLY</dialogue>
<dialogue>running to the group of carolers. They are puzzled by the.sword in his hand, his tattered, bloody appearance. But they continue singing. Billy follows the creatures' footprints behind the carolers</dialogue>
<scene_description>, into the woods. Several feet away, Billy so-es Mogwai The creature is on top of,Pete's body Billy rushes, to the scene. Mogwai sees Billy. The creature gets scared and dashes off. Billy stops</scene_description>
<character>REV. 4/30/82 60.</character>
<dialogue>Pete is dead. Billy covers Pete's body with his coat. Billy is angry. Sickened. He quickly runs after the. creature.</dialogue>
<character>CUT TO:</character>
<dialogue>TRACKING SHOT.</dialogue>
<character>BILLY</character>
<dialogue>chasing the creature through the snow covered woods.</dialogue>
<character>MOGWAI</character>
<dialogue>runs out of the wooded area, into the parking lot of</dialogue>
<character>THE Y.M.C.A.</character>
<dialogue>The building is deserted. Closed because of heavy snow- fall. Billy comes out of the woods and sees the creature ahead. Mogwai runs to the building. Billy follows. Mogwai scales up the building's side, to the roof.</dialogue>
<scene_description>Billy runs-up. Frustrated. He can't get to the roof. He watches Mogwai climb into-the building through small chimney. Billy runs to the front door. He tries to open it. Locked. He notices a window, a few feet above him. He hops to the window. He breaks the glass with his sword. He opens the window and climbs inside. Y.M.C.A. HALLWAY Billy jumps inside from the window. He looks around. It.':s\_ dark in here Billy sees a closet marked "Janitor". He opens it. Inside,1he finds a flashlight. He turns on tie flash- light. { It's 'upright. GYMNASIUM - SWIMMING POOL The door is sightly open. Billy walks to the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYMNASIUM</stage_direction>
<scene_description>Divided into two sections. One side: A basketball court. The other: A swimming pool. It's dark. Billy enters. TWO GREEN EYES BURN from the far side of the gym.- Mogwai sits at the top of the stacked bleachers. Billy doesn't see the creature. He shines his flashlight across the gym floor. BILLY know you're here. The flashlight stops on the gymnasium light box. The box is attached to a.farwall, beside. the swimming pool. DASHES Billy hears the creature move. He flashes his light to the bleacher. tops.. He sees nothing. feet. He. screams and shines REV. 4/30/82 62 V. A BASKETBALL rolls to a stop at Billy's feet. Mogwai's giggle echoes through the gymnasium. Billy looks into the vast darkness. BILLY Colme on out...you bastard... It is silent again. Billy is frightened. He walks faster, moving to the light box. Billy hears another sound. He shines the light to another area. Again. Nothing. Billy starts to tremble. He runs to the light box. gets there and quickly flips open the box. Billy drops the flashlight and sword. The creature's sharp fingernails clutch onto Billy's chest. Billy falls backward, with Mogwai holding onto him. They tumble into the swimming pool. The deep end. THE. WATER Billy separates himself from the creature. He swims to the side of the pool and gets out. He runs and picks up his sword. He looks at the scratches on his chest. They bleed. But he'll live. SUDDENLY A small rumbling sound echoes from Billy locks to the pool. The water is moving. Bubbling. Rippling Billy is scared. He runs to the exit doorway. The rumblinggets.louder. The pool's water gets violent. Billy looks back to the pool. A CREATURE crawls out of the swimming pool. It is followed by anoth'r creature. They are followed by three more. Then five more. Eight more. Ten more. They keep coming. In droves. BILLY watches from the doorway. BILLY (SHOCK) Oh my God. HUNDREDS OF CREATURES are now coming out of the pool.- The huge amount of water forces them to multiply at an-incredibly fast rate. BILLY runs outof thegymnasium. HALLWAY Billy closes and locks the door. He runs to the window, boosts himself up and crawly out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. Y.M.C.A</stage_direction>
<scene_description>Billy runs from the building. CUT TO: R �'</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>SHERIFF FRANK LUCIA sits' behind his desk..:'. He's Frank is 4 years old. His wears glas es. H deputy OFFICER BRENT a scrawny, weasel'' ike man in his mid-thirties, Standd's ; beside the! Sheriff i. Brent is also laughing. BILLY sits in front of the two men. A serious, helpless look covers his face. Frank leans toward Billy. FRANK (holding back a LAUGH) Let me get this straight... You're telling me that 'little monsters' are multiplying by the hundreds, down at the 'Y'? BILLY Yes... that's right... FRANK These little things killed your Mother and the Fountane boy? Billy nods. FRANK And they eat human flesh? BILLY (nods, displaying the bite on his CALF) They did this. FRANK (SKEPTICAL) Looks like a dog. E E, 0 0 0 BILLY It wasn't a dog, sir. (NERVOUS) Look... these things are deadly when they're alone. but if a couple hundred get loose.. . They'll be hungry. Real hungry. They'll head straight fo the town.. You' 1 h ve a major dis ster on you h�nds Frank looks at Billy. FRANK Look, Billy...We all know that you have a very active imagination. My brother told me about the books you read down there at the bank ...Now, Dungeons and Dragons are fine if you're five years old, but... Billy stands. Upset. BILLY My Mother is dead. So is my friend. I am not imagining things. Billy glares at Frank. The Sheriff sighs. He looks at Officer Brent. FRANK Brent, go with Peltzer...check out the 'Y'...then his house. BILLY (not satisfied) Sheriff... you should radio for more help. . .warn the people in FRANK (ANGRY) Listen P?ltzer, now you're getting me pissed off. You're lucky I don't just throw vuu out on your ass for telling me stories. Frustrated, Billy exits with Officer Brent. Frank shakes his head. He picks up the phone and dials.</scene_description>
</scene>
<scene>
<stage_direction>EXT. Y.M.C.A.</stage_direction>
<scene_description>The building appears calm. Peaceful. No sign of the creatures. The police car pulls.into the parking lot. I</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR</stage_direction>
<scene_description>Officer Brent parks the 'car. Billy silts beside him. Brent looks at the building. BRENT Looks fine. I don't see anything. BILLY They're inside. Brent checks his pistol. It's loaded. BILLY Look...You can't go in there alone. It's'suicide. You've got to radio for more help... BRENT (holds up the PISTOL) I've got, all the help I need. Brent handcuffsBilly to the grating of the police car. BILLY (PLEADING) Please... listen to me...You can't go- in there... Brent gets out of the car and walks to the building. A nervous, frustrated Billy watches. BRENT walks to the building's front door. Locked. He smiles. He takes astep back, draws his gun and shoots off the door lock. He enters. BILLY waits in the car. Frightened. Restless. ) 0T His sword lies on the back seat. Billy grabs it. He begins to pound at the handcuff chain with his blade.</scene_description>
</scene>
<scene>
<stage_direction>INT. Y.M.C.A. HALLWAY</stage_direction>
<scene_description>Pistol drawn, Brent walks down the hallway, to the gym doors. He can hear the sounds from inside. Gurgling. Breathing. Giggling. He takes a drink from his hip flask. He enters the gym. INSIDE Brent is shocked by what he sees. HUNDREDS OF PAIRS OF BURNING GREEN EYES fill the gymnasium, shining in the darkness. Like a starry night. DROVES OF MOGWAI are still coming out of the swimming pool. Brent is frozen. He tries to scream. The creatures notice him. Several move towards him. Brent fires his pistol. Useless. There are too many creatures. BILLY He hears the gunshots. He moves faster, desperately hacking at the handcuff chain with his sword. CUT TO: INSIDE - BRENT drops his gun. Out of bullets. He turns to run. A creature leaps. It lands on his back. Another leaps at him. He falls to the ground. Brent screams-as the:creatures jump him. They cover him like a blanket. They feast. CUT TO: BILLY Sweating. Nervous. Hacking away at the handcuff chain. Brent's screams fade in the background. Billy looks out the side window. He sees THE Y.M.C.A.'S FRONT DOORS BURST OPEN Droves of creatures pour out into the night. BILLY panics. He hacks at the chain. Harder. Faster. THE CREATURES move toward the police car. BILLY finally breaks the handcuff chain. He quickly moves to the driver's seat and starts the car. THE POLICE CAR tears out of the parking lot The creatures still pour out of the 'Y'. drives. He looks to the rearview mirror. The 69 reflection of COUNTLESS GREEN EYES 'burns in the mirror. The creatures are following'him. BILLY drives faster. BILLY (PANIC) I gotta warn people. . .1 gotta tell THEM He flips on the police siren and heads for town. CUT TO: THE SUBURBS Peaceful. Calm. Christmas lights twinkle. THE POLICE CAR suddenly squeals down the main road. Lights flashing. Siren blaring. BILLY steers the patrol car into the first driveway. The car screeches to a stop. Billy gets out. Sword in hand, he runs to the front door of the house. He knocks. Hard. MR. FUTTERS a balding, middle-aged man, wearing a bathrobe and pajamas, answers the door. MR. FUTTERS (PUZZLED) Billy Peltzer?...What's going on here?.. BILLY (BREATHLESS) They're coming. MR. FUTTERS Huh?.. BILLY (fast, hyper) You've got to keep your wind ws locked. Or better yet...boa d them up! And your lights... You've got to leave them on! f+ MR. FUTTERS What are you talking about, boy? BILLY There are these little things... animals...They're all over the place! They'll kill you and your family!... Mr. Futters starts to laugh. MR. FUTTERS Have you been drinking? BILLY No sir, I... MR. FUTTERS And what the hell is that? A sword? BILLY Yes... MR. FUTTERS And what are-you doing with the Sheriff's car? Are you on drugs? Billy starts to explain when MR. DEAGLE the next door neighbor, walks onto his porch. Deagle is a portly man, with curly grey hair and a beard. He calls to Mr. Futters MR. DEAGLE Hey, Joe...I saw the police car. You in some kind of trouble? MR. FUTTERS ,No, it's this Peltzer kid. He thinks we're gonna get: eaten up by wild animals. And he's carrying a sword. MR. DEAGLE Did you say 'Peltzer'? Billy Peltzer? MR. FUTTERS 1 Yeah... MR. DEAGLE (shakes his head) He's a nut. Went crazy in the bank today. Called my wife all kinds of names. (to Billy) You smartass son of a bitch. If I was ten years younger I'd beat the crap out of you. Billy sighs, frustrated. MRS. DEAGLE joins her husband on the porch. MRS. DEAGLE What's the matter?... (she sees Billy) Oh, it's you. Here to apologize? MRS. DEAGLE MR. DEAGLE The boy went crazy, dear. carrying a sword. REV. 4/30/82 72. MRS. DEFILE (SMILES) I knew he was crazy from the start. (glares at Billy) I hope they lock you up for good, and throw away the key. Mr. Deagle puts his arm around his wife. MR. DEAGLE C'mon back inside, dear. Let's finish watching 'Dallas'. (to Mr. Futters) G'night, Joe. MR. FUTTERS Good night, Ed. (to Billy) You've got ten seconds to get the hell out of my yard. Then I'm.calling the Sheriff...if he isn't out looking for you already. He slams the door and goes inside. Billy just stands there. Defeated. Frustrated. A CREATURE hisses. Behind Billy. Billy turns. Mogwai leaps at him. Billy raises his sword and swings. He knocks the creature down. He stabs Mogwai. Mogwai dies with a long scream. Billy looks up and sees THE PACK OF CREATURES moving down Main Street. They have arrived. Looking for food. Many break into the house across the street. There are some human screams. Then the house lights go out. REV. 4/30/82 73 Several creatures come towards Billy. Billy runs to the police car. He opens the door and gets inside. A creature leaps at him. Billy slams the car door. It severs the creature4si-rand.. Several creatures surround the car. Billy hears a familiar voice. Screaming. He looks out the window. MRS. DEAGLE comes running out of her house, towards the police car. f\_ She-'s screaming for help. I A creature is on her back. Another creature leaps at her. She falls. Into the snow. Several creatures attack Mrs. Deagle. Her screams fade. So does her life. BILLY looks away. More creatures are. surrounding the car. They pound against the windows. They want in. A scared Billy flips on the police radio. BILLY Sheriff?...It's Billy Peltzer... Can you hear me?!?...</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S OFFICE</stage_direction>
<scene_description>Frank plays cards with his brother, Gary. Gary is still in his bank security guard uniform. radio. BILLY M.O.) Please answer! It's me;--Billy... GREi�;â-ºooo05 Frankgrabs the mike. Gary smiles. GRANK What's going on Peltzer? Where's Officer-Brent?. BILLY (V.0.) He was kiljed by.ithe creatures. What? Whe THE POL�CE C AR is blanketed by creatures, trying to get in at Billy. Billy screams into the radio mike. BILLY (panic, screaming into the radio mike) The creatures are all over town... breaking into houses... killing people... You've got to get help!... THE READ WINDOW SMASHES. The creatures start to rip away at the glass. A creature's arm smashes through the passenger window. Billy drops the radio mike. SHERIFF (V.0.) Peltzer?!?...Peltzer?!?... Billy thinks fast. He flips on the siren and flashing roof lights. THE CREATURES are scared of the bright lights. They scatter away from she car. BILLY starts the engine. He squeals out of the driveway.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFFS OFFICE</stage_direction>
<scene_description>FRANK (into the mike) Peltzer?...Peltzer?... (slams down the MIKE) Damn. GARY (SMILING) Sounds like he really flipped out this time. Frank stands. He straps on his gun holster. FRANK Looks like I'm gonna have to straighten this out myself. Want to go for a ride? GARY (eyes light) Can I drive? Frank. reluctantly nods. Gary stands. GARY (SARCASTIC) But, Frank...With everybody out... Who's gonna be here to answer the Emergency phone calls? (FALSETTO) 'Help! The little gremlins are eating my baby!' Gary laughs hard at his joke. They exit the police station. CAMERA STAYS BEHIND in the deserted police station. We hear Frank and Gary get into the car and drive off. THEN A telephone rings. And another phone rings. And.another. People need help. BILLY Shaky. Nervous. Behind the wheel of the police car. OUTSIDE The creatures are making their way down M in Street. They are everywhere. On rooftops. Front lawns. Smashing through windows. Breaking into homes. Scattered human screams echo through the night. People are dying. Mogwai is taking over the. town'. BILLY looks through his windshield. Up ahead, he sees TRACY screaming for help, from a third floor window of her home. BILLY steers the police car into her driveway. He squeals to a stop. He grabs his sword and gets out of the car. OUTSIDE Billy runs to below Tracy's window. He shouts to her. BILLY Tracy!...It's me! Billy! TRACY stands in her bedroom. The bedroom door is closed. Locked. The creatures pound against it.. They want in. Tracy shouts down to Billy. TRACY Billy! These things are all over my house... I'm trapped! (a beat) 1 There's a ladder beside the garage... Billy runs to the garage side. e reaches down and picks up a rusty aluminum ladd r. I He puts the ladder up to Tracy's window and climbs to her.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRACY'S ROOM</stage_direction>
<scene_description>THE BEDROOM DOOR BURSTS OPEN. Two creatures stand there Growling. 'Hungry. They, move to Tracy. She screams. Billy gets to Tracy. He quickly pulls her out of the window. They begin to climb down the ladder. ON THE GROUND BELOW a creature jumps onto the ladder. Tracy. is startled. She nearly falls. Billy grabs. a. better hold of her. He drops his sword. It falls to the ground and lands in the snow. The creature looks up and sees Billy and Tracy. A few feet above. Mogwai begins to climb the ladder, going after them. Billy and Tracy start to climb up the ladder. But the two other creatures come out of Tracy'.s bedroom window. They see Billy and Tracy below. They climb oft after them, down the ladder. Billy and Tracy are trapped. Sandwiched between the creatures. Billy looks to his sword on the ground. So far away. REV. 4/30/82 78 Thinking fast, Billy pulls the ladder back. It sways. He pulls harder. The ladder tilts to the ground. Falling. The three creatures are thrown to the ground, into the deep snow. Billy and Tracy ride the ladder down. The snow breaks their fall. The creatures dig their way out of the snow. They move towards Billy and Tracy. Billy snaps up his sword and jumps to his feet. Ready to fight. He keeps one protective arm around Tracy. The creatures surround them. Waiting for the right moment to attack. One of the creatures moves forward. Another leaps behind Billy. Billy lunges forward and spears the first creature. He quickly reels around, slicing the other creature in two. Both creatures lie in the snow. Dead. Billy turns to the last Mogwai. With two swings of his blade, he kills the creature. Billy wipes the green blood off his sword with his coat sleeve. Breathless, he looks at Tracy . Hair .hangs in his eyes. Blood runs down the side of his. sweaty, unshaven face. His dark brown eyes stare at Tracy. The transformation from meek bank clerk to sexy hero is complete. He embraces her. They run to the police car and get inside. Billy'starts the car. He and Tracy drive off into the night.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S CAR</stage_direction>
<scene_description>Gary drives. Frank sits beside him. Gary flips on the siren and lights. He smiles. Like a little kid. Frank reaches over and.turns off the siren. Gary complains. GARY Hey, C'mon... FRANK I got a headache. GARY (SARCASTIC) But this is an emergency. We gotta warn everybody! The gremlins are coming! Gary laughs. Frank sighs GARY So when are you gonna make me Deputy? FRANK When you grow up. GARY Why don't you fire Brent. He's nothin' but a drunk. I'could do a lot better. They arrive at the outskirts of town. Frank notices some- thing up ahead. He can see the shadows of the creatures. Crawling on houses. Running across the front lawns. Frank motions for Gary to slow down. FRANK Something looks weird. (rolls Jown. his WINDOW) Damn windshield.`:: frozen. Can't see a thing. He sticks his head out the window to look out. Gary continuesto drive. Frank turns from outside, back to Gary. REV. 4/30/82 80. FRANK Snow's too'heavy. I can't... A CREATURE leaps onto the car's passenger' side. The creature grabs Frank' arm. He tries to shake off the creature. Gary gl nce over. Shocked. Horrified. Mogwai takes a huge bite out of Frank's arm. He screams. Gary turns to help him. THE POLICE-CAR slides on the ice. It slams-into a guard rail, flips over a ditch and spins to a stop. CUT TO: BILLY'S CAR Billy drives, as fast as possible through the heavy snow. He's headed out of town. Tracy sits beside him. She looks out the window.. OUTSIDE The rows of once peaceful, cheerful homes are now the scenes of frenzied horror. People run out into the night, screaming for help, only to be dragged to the ground by creatures. Ravaged bodies lie in the snow. Frozen. An ambulance is overturned on the roadside. Phone lines are town down. The creatures have made their way across town. They now attack the last few houseson the block. REV. 4/30/82 81. TRACY looks away from her window. Tears fill her eyes. She's sickened by all of it. Billy holds Tracy's hand, comforting her.. Billy notices something.up ahead. He.stops the ( :: police car. ( ' { ( ( OUTSIDE The headlights shine on Frank's overturned police car. Gary is inside. Still alive. He screams for help. REV. 4/30/82 BILLY I'll get him out. Billy quickly opens the police car door. He jumps out. OUTSIDE He closes the door. Tracy is safe inside. Billy walks to the.sheriff's car. He stays in the safety of the headlight's beam. Billy stops a few feet from the sheriff's car. The passenger side is crushed. The driver's side is barely damaged, save for a dented, jammed door. Gary pounds against-the door. He wants out. Billy grabs the car handle. He pulls hard. The door pops open. He pulls Gary out. Gary gets to his feet. He's okay. Billy looks inside the car. Billy closes the door. GARY What.about my brother? Can we get him out? BILLY He's dead. Tears fill Gary's eyes. Billy leads Gary to the car. BILLY C'mon. Just stay in the light. They're afraid of the light. Gary walks. He looks scared. Helpless. They get to the police car. Billy opens the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR</stage_direction>
<scene_description>GARY Tracy. She smiles. Glad to see him alive. They kiss. Gary puts his arm around her.. Billy hops into the driver's seat. He rests the sword beside him.--He--starts the car and continues to drive., Gary gives Tracy another kiss. He needs her comfort. Billy just stares ahead, at the snowy road. CUT TO: DOUGAL'S ANTIQUE STORE - ON THE OUTSKIRTS OF TOWN Closed.. But the upstairs lights are on. Someone is home. Everything here looks calm. Untouched. Safe. The police car pulls into the driveway. INSIDE Billy turns to Gary and Tracy. BILLY We're just outside of town... Doesn't look like the creature's got here yet. (a beat) Let's go inside and warm up. They exit the police car. DORRY comes to the door. He sees the worn, hollow faces of Gary and Tracy. He sees the bruised and bloodied Billy. DORRY What the hell happened to you? Billy looks at Dorry. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DOTJGAL'S LIVING ROOM- LATER</stage_direction>
<scene_description>Dorry bandages Billy's calf. Gary sits with Tracy on the sofa. Billy finishes telling the full story to everyone. BILLY</scene_description>
</scene>
<scene>
<stage_direction>and they originate from this marketplace in Hong Kong. Dorrystands and shakes his head.</stage_direction>
<scene_description>DORRY Hard to believe. Like Satan's come to walk the earth. BILLY (looks at everyone) You see...they''re drawn to water. Now, if my hunch is correct... They'll be leaving town, and heading for the water tower-which means they'll have to pass by here tonight. (a beat) We have to get help. These things have to be kept under control. If they get to the water tower .they could spread all over the St ate... maybe the Country. They're like inhuman divining rods. GARY Why didn't you think of that before, Peltzer? BILLY I did. But nobody would listen. GARY . Maybe if you weren't such a nut people would believe you. Dorry intervenes. DORRY Nowt boys...arguing won't get us anywhere. Gary still glares at Billy. GARY This is your fau t, Peltzer. BILLY That's not true. GARY My brother's dead because of you. BILLY That isn't.. GARY The people in town. They're • dead because of you. BILLY (ANGRY) Stop it. GARY You did it. You killed all those people.. You're. a murderer, Peltzer. Billy lunges at Gary. They fall to the ground. Fighting. Dorry and Tracy break it up. TRACY If we want to stay . alive... We have to stick together. Billy turns away. Cooling off. Gary is comforted by Tracy. But she keeps her eye on Billy. Dorry looks at everyone. DORRY We should get in touch with the authorities. BILLY Yeah, and then I'd like to try and get in touch with my Dad. If we can... THE LIGHTS GO OUT. Total darkness. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DORRY'S STORE</stage_direction>
<scene_description>Mogwai's claw tears at the wires in the electrical box. CUT TO: LIVING-ROOM Gary's cigarette lighter illuminates the room. Everyone stays quiet. They listen. THE GIGGLING of several creatures echoes from outside. BILLY They're here. A frightened Gary holds Tracy. GARY Now what do we do? The giggling gets louder. Closer. Billy turns to Dorry. BILLY Do you have a place without win dows?... .A place where we could be safe? Dorry pauses to think. DORRY The storage room The sound of breaking glass is heard. BILLY (clutching his sword) We have to hurry. Dorry leads everyone.out of the.room...</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE ROOM</stage_direction>
<scene_description>Large area. Crowded wit.. an#i.ques. Dorry leads everyone inside. He closes and lo'ks the door. He lights two can¢1es.,, BILLY We'll stay ere until daybreak. Gary sits with Tracy on an old sofa. Dorry sits beside them in an�old rocking chair. Billy pulls up an old wooden'chair. LOUD NOISES, CRASHES. BANGS, THUMPS, GIGGLES.. They echo from OFFSCREEN. The creatures rummage through the antique store. CLOSE-UP - BILLY, GARY, TRACY, DORRY listening to the sounds. Frightened. DORRY Mischevious little devils, aren't they? No one disagrees. Tracy suddenly notices something. She cries out. TRACY (pointing to the DOOR) Billy! SEVERAL CREATURES' CLAWS scratch through the thin wood of the storage room door. Thinking fast, Billy moves to a large cabinet. He turns to Gary. BILLY Help me with this. Gary and Billy slide the cabinet in front of the door. BILLY That'llkeep them out. We're safe now.. Billy sits back. The �oipjs contipue. Dorrylook at ever y on DORRY I've only been this scared two other times in my life. Once was when I got drafted. The other, was when I was six years old. (everyone listens) It.was Christmas Eve. My sisters and I were decorating the tree with our Mother. We were singing caroles...happy ...excited... waiting for Dad to get home from work. (a beat) A few hours passed, and we started to worry. Dad wasn't home yet. My Mother called the office. They said he left. (PAUSE) After about a week... the police gave up. My Mother was close to a nervous breakdown... The rest of us weren't eating.. .we couldn't sleep.. .Every- thing was falling apart. (PAUSE) It was snowing outside. The house was cold. I threw some logs on the fire.--..That's when I noticed the smell. (a beat) The firemen came. They broke through the chimney top. We were all waiting, expecting them to pull out some dead cat or bird... Instead, they pulled out my Father. (PAUSE) He was dressed in a Santa Claus suit. He had been climbing down the chimney on Christmas Eve, his arms loaded with presents. AMORE) DORRY He was going to surprise us. (PAUSE) The coroner said that he lost his footing. He slipped and broke his neck. Died instantly. His body was lodged in the narrow chimney shaft. (PAUSE) ,That how I found out there was no Sahta Claus. Everyone has a chilled look on their faces. Dorry just stares. Billy stands and clears his throat.. BILLY Well...I think you should all try and get some sleep. (a beat) I'll watch the door. Everyone agrees. Billy moves his chair in front of the door. .Dorry relaxes.inhis rocking chair. Gary stretches out on the sofa, expecting Tracy to cuddle with him. Instead,"she walks:over to Billy. TRACY Billy... He looks at her. She gives him a comforting smile. TRACY I just wanted to say thanks... I mean...If it wasn't for you, I don't know what any of us would have done. Billy smiles. TRACY is it okay if I sleep here? On the floor beside you?...I'd feel a lot safer. Billy nods. Tracy moves a carpet next to Billy's chair. She lies on the carpet. She closes her eyes. Gary watches from the sofa. Jealous. Dorry has fallen asleep in his chair. Billy sits. Sword on his lap. He guards the door. Sounds still echo-from downstair•s,.throughout the antique store. CLOSE-UP - BILLY The horror of it all finally hits him. His eyes fill with tears. He cries. Alone. FADE OUT. FADE IN: BILLY sleeping in his chair. His hand still holds the sword on his lap. The others are asleep. Billy's hand quivers. The sword drops to the floor. He wakes. Startled. He quickly grabs the sword. Everyone else wakes from the sound. BILLY (looking at their scared faces) Everything's okay...I just dropped my sword. Gary rubs his eyes. GARY What time is it? DORRY (checks his pocket- WATCH) Billy stands. He pushes the wood cabinet from the door The door is covered with scratches. Billy slowly opens it. The room is bathed with light, coming from a window facing the door. Everyone smiles. The light feels good. Safe. They exit-the storage room. INT LIVING 7 0 Destroyed by lithe creatures. Furniture. is overturned. Windows are broken. Curtains are torn. Billy, Dcrry, Gary and Tracy enter. CAMERA FOLLOWS the four people through the house. Into the kitchen, the bedrooms, the hallways. Every room has been destroyed by the creatures.</scene_description>
</scene>
<scene>
<stage_direction>INT.. STORE AREA</stage_direction>
<scene_description>All of the antiques have been smashed or broken by the creatures. Dorry is shocked to see his store in this state. Billy walks to the front door. He tries to open it. It's jammed. He pulls hard. Finally., it opens. OUTSIDE A blanket of snow. covers everything. It snowed hard last night.. Three feet's worth. BILLY Try. the phone. .see if we can get help... Dorry walks back inside. Gary flips on a transistor radio that has been sitting on the shelf. RADIO (O . S . ) All major highways and roads are closed. Driving is close to RADIO (O.S.) impossible. It looks like we're gonna be snowbound for the Holidays. Dorry returns. DORRY Phone's. dead. BILLY Damn. TRACY We're trapped. GARY I think we should get out. Now. BILLY How? The nearest town is fifteen miles away. GARY I'll walk. BILLY In this? You won't get far. GARY - It's worth'a try. BILLY And-what happens when it gets dark? ...And you're on the road. Alone. Gary says nothing. BILLY No. We have to stick together and fight these things. At least until we can get help... Tracy folds her arms. TRACY I'm cold. Gary puts his arm around her. She'd rather have Billy's. REV. 4/30/82 93.</scene_description>
<character>DORRY -</character>
<dialogue>There's a McDonald's about a</dialogue>
<scene_description>block away.</scene_description>
<character>BILLY</character>
<dialogue>Okay. We 11 get something to eat. (a beat),</dialogue>
<dialogue>Them we go 1 to wJork.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MC DONALDS - LATER</stage_direction>
<scene_description>The police car is parked outside. Many of the restaurant windows are broken. A few deserted cars are in the parking lot. INSIDE The creatures have been here. The dead body of an old man is slumped across a table. A half eaten Big Mac is still in his hand. In a booth, sits a dead family: Mother, Father, boy and girl. Their food still sits-in front of them. Untouched. A dead cashier girl lies on the counter. BILLY, TRACY, GARY AND DORRY sit at a table in the rear of the restaurant. Away from the grisly sights.- They eat burgers and fries. Gary takes a bite of his burger and nods to Billy. GARY Not bad, Peltzer. I-didn't know you could cook. DORRY Could there be other people in town? Alive? BILLY It's.possible. But it's more important to get at the creatures. We've got the advantage now. It's daylight. GARY I You know where they are, Peltzer? BILLY No...But they're all gathered in one place. And the sun rose before they could make it to the water tower. So they must be holed up between here and there. TRACY The old church? BILLY (shakes his head) Too many windows. Too much light. it's got to be someplace dark. Totally dark. DORRY How about somebody's garage?... Or tool shed?... BILLY No. There's too many of them.. They'd need a huge area... TRACY Ridge's movie house. Everyone pauses to think. GARY It's a big place. No windows. DORRY Always dark. Pitch black. Billy nods to himself. That's the place. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIDGE'S MOVIE THEATER - LATE AFTERNOON</stage_direction>
<scene_description>The sun is going down. Walt-Disney's "Snow White And The Seven Dwarfs" is playing. A written sign is posed in the box office window. TONIGHT'S SHOW CANCELLED BECAUSE OF SNOW Billy and the others walk up-to the theater. Gary is carrying a flashlight. Billy turns to him. BILLY You used to work here, right? GARY (SHRUGS) When I was a kid. BILLY You're coming in with me., You can show me around. TRACY What are you going to do if they're inside? BILLY Blow up the theater. Everyone seems puzzled. Billy turns to Gary. BILLY This place has some kind of boiler room...with a furnace... right? GARY (NODS) In the basement. BILLY (to the others) I'll use the gas lines as a bomb. The fire will destroy the creatures. Dorry looks at Billy. DORRY I want to come in with you.You'11 need the extra hand. 96 TRACY Well I'm not staying out here alone. It's getting dark. Billy nods. -They'll all go in together. BILLY Okay...just remember;.We've got to stick together. And keep close to the flashlight. They're scared of the light. Everyone nods. Gary turns on the flashlight. Tracy takes Billy's hand. Gary is jealous. They enter the theater.</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER LOBBY</stage_direction>
<scene_description>Gary shines the flashlight. The candy counter has been smashed. All of the candy is gone. The popcorn machine is empty. The soda machine has been emptied and turned on its side. Billy walks to the theater entrance door. He looks into the small window.</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER</stage_direction>
<scene_description>Countless pairs of green eyes shine in the darkness. The creatures murmur among themselves. Billy whispers to the others. BILLY They're inside the theater. The others peer into the window. BILLY (to Gary) How do we get to the boiler room? BILLY Damn. There's too many of those things. They'll- see us. (PAUSE) 1 If we could. just distract them... Tracy perks up. •TRAC Y- I have an 'idea'.- They look .t her . CUT TO: PROJECTION BOOTH Billy, Tracy, Dorry and Gary enter. Tracy walks to the projector.. She finds the forward switch. She flips it. The projector purrs. The lamp goes on. The reels turn.</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER</stage_direction>
<scene_description>The second reel of "Snow White" fills the screen. The seven dwarfs are singing "Hi-Ho, Hi-Ho, it's off to work we go..." The song echoes through the theater. THE CREATURES are frightened by the images on screen. The light hurts their eyes. But gradually, they become interested in the movie. PROJECTION BOOTH CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER</stage_direction>
<scene_description>The creatures are clustered in their seats. Puzzled. Fascinated by the animated screen 98 Billy and the others move through the darkness. They crawl on the floor, on the outside aisle of the theater, to the Exit door. They move carefully. Slowly. Silently. They make it to the Exit. They Crawl out. safe.- The creatures still watchthe movie.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Out of the theater, BillyTracy, Dorry and Gary run to the boiler room.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOILER ROOM</stage_direction>
<scene_description>Billy walks to the large gas furnace. He examines the gas line. He finds the shut-of.f valve and turns off the gas. Billy takes off his coat and shirt. He removes his T-shirt. He looks at Gary. BILLY Give me your T-shirt. Gary reluctantly takes. off his T-shirt. Billy ties the two shirts together. He winds them into a cord. He finds a connection in the gas line. He begins to pound against it with the handle of his sword. The. sounds of metal ring out. CLANG, CLANG, CLANG. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER</stage_direction>
<scene_description>The film's reel ends. The screen goes blank. The creatures are puzzled. Distracted. They throw their candy boxes and paper cups at the screen. The CLANG of Billy's sword hitting the pipe is heard. Several of the creatures group together. They move from their seats, to the exit door. They follow the sound.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOILER ROOM</stage_direction>
<scene_description>Billy gives one final hit to. the gas line. The connection snaps. He stuffs the line with his and Gary's shirt. He turns the gas back on and lights the end of the crumpled. shirt with a match. The flame slowly creeps up the shirt, to the line. BILLY We have to get out. Fast. Gary points to a rear exit. GARY That leads outside. SEVERAL CREATURES burst into the room. Gary panics. He pulls out a gun and starts shooting. BILLY Not your gun. There's too many. Use the light. Gary stops shooting and fumbles for his flashlight. A creature leaps atDorry, pinning the old man to the ground. Other creatures attack Dorry. Biting. Scratching. Tearing. Billy picks up his sword and begins to knock the creatures off Dorry. Creatures come at Tracy. She picks up a section of thick lead pipe and bats off the oncoming Mogwai. Gary finally turns on the flashlight beam. It keeps some of the Mogwai at bay. Fire creeps up the T-shirt, getting closer to the gas line. Billy gets all-the creatures off Dorry. More creatures come through the door. Gary gets scared. He drops the flashlight and runs for the rear exit. BILLY (screams to Gary) Get back here! We need you! .Gary runs out, leaving the others alone. Billy and Tracy continue to fight the creatures. I Dorr7 lies the ground. EXT . ! BEHIND "HEATER Gary`\] rushes\] but. It's dark. He runs throi}gh the snow- filled alle'i, to the front of the theater.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOILER ROOM</stage_direction>
<scene_description>The fire is`o'nly a few inches from the gas line. Soon the place will blow. Billy and Tracy still fight. Billy inches back to the rear exit. His arm blindly gropes for the 'door handle. The fire is�almost at the gas line. Billy's hand reaches the door handle. He opens it. He turns to Tracy. BILLY Let's go. Billy picks up Dorry's body. Tracy protects him by batting away any oncoming creatures. They hurry out of the boiler room.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Tracy closes the boiler room door. locking the creatures inside. Billy.carries Dorry's body. He and Tracy run to the exit.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - BEHIND THEATER</stage_direction>
<scene_description>Tracy and Billy burst through the door. They fall into a snow p l e REV. 4/30/82 101 THE THEATER EXPLODES. Doors fly off., Windows break. The entire theater is engulfed in flames. Loud high pitched screaming is'heard. Creatures are dying. Billy stands up from the sn w drift. H loo s at T acy. She's okay. They look to Dcrry. I His body is covered with scratches and bites. He's dead. ( Billy picks up Dorry's body. He carries it to the front of the theater. Tracy follows. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. THEATER</stage_direction>
<scene_description>TRACKING SHOT Camera moves through the flames. Some creatures scream, burning to death. Others try to avoid the flames. Camera moves to the ceiling. THE SPRINKLER SYSTEM TURNS ON. CUT TO: CLOSE-UP - GARY sweating. Scared. Out of breath. He stands across the street from the theater. Watching. BILLY AND TRACY emerge from behind the building. They walk towards Gary. Billy walks up. He's holding Dorry's body. He lowers the body-to the ground. He glares at Gary. BILLY You bastard. You ran out on us. Left us alone. To die. Billy drops his sword and jumps Gary. They fall to the ground. Fighting. Punching. REV. 4/30/82 102. Gary knees Billy in the groin. Billy is bent over, catching his wind. Gary snatches the sword. He lunges at Billy with the blade. TRACY Gary! ...No!... Billy dodges the blad�. Gary moves closer to Billy. The sword is inches away from Billy's chest. Gary swings. Billy steps back. The tip of the sword scratches across his chest. Tracy cries out. Gary lunges at him again. Billy is scratched across the s tomach-. Billy is backed against,a building wall. Gary pulls back his sword, ready to spear Billy.. A CREATURE leaps out of the darkness and grabs Gary by the throat. Gary screams. He drops the sword. Another creature attacks Gary. Followed by another. And another. They bring him to the ground. They eat. He dies. Billy quickly picks up his sword, before the creatures get to hi\_m and Tracy. He grabs her hand. They.run to the police car. They get inside and lock the doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR</stage_direction>
<scene_description>Billy and Tracy look across the street. CcUNTLESS CREATURES are pouring out of the theater. Into the night. THE POLICE CAR squeals away into the night.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR</stage_direction>
<scene_description>Tracy examines Billy's shoulder. A deep cut. THE CREATURE ON THE BACK SEAT opens its eyes. It lets out a high pitched, wounded cry. Tracy picks up the sword, ready to kill the creature. Billy stops her. BILLY Wait... He looks out the rear window. THE PACK OF CREATURES are following the police car. BILLY looks at the creature on the back seat. It still cries out in that high pitched scream. BILLY (to Tracy) Hear that? He's calling his friends for help. They're following us. As long as he's alive and screaming... they'll come after him. TRACY BILLY We can't kill him. He's our bait. We'll be able to lead them away from the water tower. (points to the back seat) Just keep an eye on the thing... make s re it doe n' hurt us. Tracy keeps the swo d on the cre ture. Billy guns the engine and screeches off. He looks to the rearview mirror. THE COUNTLESS GREEN EYES FOLLOW.. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXXON STATION - LATER THAT NIGHT</stage_direction>
<scene_description>The station is deserted. A clock in the window reads 5:27 AM. THE POLICE CAR pulls into the station'lot. Billy and Tracy get out. They look tired. Worn. They've been driving all night. Billy pumps gas into the car. THE WOUNDED CREATURE still lies on the back seat. Mogwai still screams in its high pitched wail. TRACY looks into the distance. THE PACK OF GREEN EYES is visible. A few miles away.. They move to Tracy and Billy's direction. REV. 4/30/82 BILLY We'd better hurry. They're getting close. They.. get into the car.. INSIDE Billy starts the car. Tracy looks into the back seat. TRACY Billy!... THE CREATURE IS GONE. Billy and Tracy are shocked. Puzzled. CUT TO: BEHIND THE POLICE CAR The creature has crawled outside, through the rear window. It crawls BENEATH THE CAR, moving into the engine. BILLY AND TRACY look around. Puzzled. Confused. BILLY Where in the hell?... SUDDENLY The car stalls. Billy tries to re-start it. No good. Dead engine. GIGGLING echoes from under the hood. Billy and Tracy get out of the car. OUTSIDE THE PACK OF CREATURES ARE GETTING CLOSER. Billy and Tracy move to the-car's hood. Billy opens it. REV. 4/30/82 MOGWAI is inside. Its mouth is full of tangled wires and plugs that the creature has ripped from the engine. Mogwai giggles at Billy. BILLY (to Tracy) Check the garage... ee if there's a bag...a b x... something we can keep this little bastard locked up in. Tracyhurries to the garage.</scene_description>
</scene>
<scene>
<stage_direction>INT. STATION GARAGE</stage_direction>
<scene_description>Tracy finds a small, red metal toolbox., She empties it and carries the box back to the car. BILLY grabs the creature. Mogwai is still wounded and dazed. But it manages to bite and scratch at Billy. Tracy holds the tool box open. Billy forces Mogwai inside. He closes the tool box and locks it shut. Mogwai is trapped inside. The creature pounds against the metal. Its loud cry echoes from inside. Billy checks the car's engine. BILLY Damn! He ripped out the coil wires! The car won't run without them! TRACY Can you fix it? Billy looks into the distance. The creatures are getting very close.. BILLY There's no time. (grabs her HAND ) Come on. REV. 4/30/.82 Billy and Tracy run. Billy carries the tool box. Mogwai cries from inside. Billy looks behind him. THEGWAI through the snow, moving closer to Billy anTracy. plow TRACKING SHOT of Billy and Tracy. Running fast. Out of breath. Trying to keep ahead of the droves of Mogwai. Billy looks into the distance, at the top of a hill. A GREENHOUSE sits in a large open area. It overlooks the entire town of Kingston Falls. BILLY AND TRACY run up the hill, towards the Greenhouse. THE MOGWAI move fast. They're getting closer to Billy and Tracy. Some of the creatures travel beneath the snow. Others hop through it. BILLY AND TRACY arrive at. the top of the hill. They run to the Greenhouse entrance. They open the doors and enter. INSIDE Billy drops the toolbox on top of a Greenhouse table.. OUTSIDE The creatures arrive at the top of the hill. They move to the Greenhouse doors REV. 4/30/82 INSIDE Billy spots a huge tree. It grows up, through the center of the Greenhouse. Billy takes Tracy's hand. They run to the tree. They begin to climb to the top. THE CREATURES crash through the Greenhouse doors. Several of them surround the tool box. Mogwai screams from inside. Others tear through the Greenhouse, smashing plants, overturning tables, etc. The creatures spot Billy and Tracy, climbing the tree. The Mogwai move to the tree. BILLY AND TRACY climb. Billy looks to the sky. Dawn is approaching. Billy looks below him. THE CREATURES climb the tree, scurrying up to Billy and Tracy. Billy fights off the oncoming Mogwai with his sword. AT THE TREE'S BOTTOM Several creatures have begun to gnaw at the tree trunk. BILLY AND TRACY are near the treetop. They cling to a large, thick branch. The creatures still chase after them. Billy keeps them at bay. AT THE TREE'S BOTTOM The creatures have almost-completely gnawed:through the tree trunk. REV. 4/30/82 The tree sways. The trunk snaps. .Billy and Tracy hold tight as the tree falls to the ground. Billy smacks to the Greenhouse floor. Slightly.-dazed. Tracy lands beside him. Unconscious. A few creatures jump on her. Billy stands. He knocks the creatures off Tracy. Several creatures attack him. Billy fights. But there are too many. They keep coming. Surrounding him. Billy can't keep up with them. OUTSIDE The sun is coming up. The darkness fades. INSIDE The creatures still attack. Billy tries to fight. A creature grabs his wounded leg. Billy cries out in pain. Another creature rips at his arm. Billy drops the sword. He's f inis;'ed He falls to the ground. Beside Tracy. The hungry creatures surround Billy. Weak. Defeated. Billy closes his eyes. He finally gives REV. 4/30/82 110. ( ) THE SUN RISES. The creatures move to finish off Billy... Suddenly, ,they stop. They become weak.. Brigh' sunlight shines into the Greenhouse. The c eatures try toun owhere,to hide. Billyopenjs his eyes. He watches. The sun shines brighter. Sweatpours from the creatures' bodies. They cry out in pain. Unearthly screams. "Their bodies start to smolder. Cracks appear in their skin. The creatures begin to melt. Like candles. Billy,wat'hes in horror. Their'bodies collapse to the floor. The become mounds of unrecognizable liquid. Their screams fade. Die out. Billy gets to his feet. He looks around. All that remains are pools of smoldering liquid. The nightmare is over. Mogwai is dead. Billy takes a breath. Cuts. Bites. Scratches. Theycoverhisbody. He looks down at Tracy. Billy kneels, resting her head and shoulders in his lap. She opens her eyes. She gives a weak smile to Billy. He lightly kisses her on the lips. He holds her tight. He helps Tracy to her feet. He picks up his sword. Billy and Tracy exit the Greenhouse. REV. 4/30/82 OUTSIDE Billy and Tracy stand in the snow.. They look out over Kingston Falls. Now a ghost town. Billy looks at his sword. He pull back ,nd throws the sword. it flip throw h the air. { It lands. Several feet away. Speared upright. In the snow. Billy collapses in the snow. Exhausted. Tracy kneels beside him.-- It CLOSE-UP Billy's face. Lying in the snow.. Unconscious. Hard. Lonely. Worn. The face of a warrior. The face of ahero. DISSOLVE TO: CLOSE-UP RAND PELTZER. A pensive, tired look covers his face. CAMERA PULLS BACK We'.re inside of a hospital room. Rand sits in a chair, across the room from BILLY He lies in bed. His wounds are bandaged. An I.V. needle is in his arm. REV. 4/30/82 RAND (COMFORTING) It's okay, Billy...It's over... Billy holds his Father tightly. BILLY How's Tracy? RAND. Fine. She's in a room o{f her own. You can see her tomorrow. Billy nods. SUDDENLY Billy's head pops up. His eyes are wide. Hysterical. A shocked expression covers his face. BILLY Oh my God! No!...No!... RAND Billy?...What is it?... BILLY The tool box! It's locked! I didn't open it!...It's dark inside!... RAND What?... Billy jumps out of bed. He tears the I.V. out of his arm. He opens the closet and starts to get dressed. 2 NURSES AND A DOCTOR hurry into the room. They grab. Billy. and wrestle him back to bed'. The doctor gives Billy a 'shot. BILLY (fighting, SCREAMING) Waitl...You've got to let me gol... .1 didn't', open the tool boxl...I didn't get the... REV. 4/30/82 Billy's words begin to mush.together. His eyelids get heavy. He falls to sleep. The Doctor turns to Rand. DOCTOR He'll be okay. He's still in shoc .exhiausted. He needs m re reslt�. L Rand nods. The nurses and Dlo ctor exit. Rand just stares at Biliy. i CUT TO: CLOSE-UP: THE RED METAL TOOL BOX. Still locked. Still sitting on the Greenhouse table, where Billy left it. CAMERA PULLS BACK TO REVEAL SEVERAL WORKERS cleaning up the debris, repairing the broken Greenhouse windows. The workers load the trash onto a dump truck. Outside, the snow is melting. The sun shines bright. A BURLY, MUSCULAR WORKER walks up to the table and picks up the tool box. He shouts to another worker. ANOTHER WORKER Throw it out. • .with the other trash. The worker is ready to throw it out. He examines the tool box. Fairly new. In good condition. He decides to keep it. He walks to his van -and rests the tool box on the front passenger seat. REV. 4/30/82 114. ( ) THE WORKER driving home in his van. Later that afternoon. The radio plays a Country tune. THE TOOL BOX rests on the seat beside him. SUDDENLY the tool box begins to shake. Something pounds against it from inside. THE WORKER pulls his van to the roadside. He stares at the shaking tool box. His eyes are wide. Scared. The worker grabs the tool box. He gets out of his van. OUTSIDE The tool box shakes and rattles in the worker's hand. Frightened, he throws the box-over a hilly, wooded area at the side of the road. THE TOOL BOX tumbles down a steep hill. It lands at the bottom and bounces into a LAKE The tool box stays afloat for a few seconds. Then it slowly sinks into the lake water.</scene_description>
</scene>
<scene>
<stage_direction>INT. WATER</stage_direction>
<scene_description>The tool box sinks to the bottom of the lake. MOGWAI'S GIGGLE the soundtrack.</scene_description>
</scene>
</script> | Struggling inventor Randall Peltzer visits a Chinatown antique store, hoping to find a Christmas present for his son Billy. Inside, Randall encounters a small, furry creature called a mogwai (Cantonese: 魔怪, 'devil'). The owner, Mr. Wing, refuses to sell Randall the creature, but his grandson secretly does, warning Randall to remember three important rules: do not expose the mogwai to light, especially sunlight, which will kill it; do not let it come in contact with water; and above all, never feed it after midnight. Randall returns home to Kingston Falls, where he gives the mogwai to Billy as a pet. Billy works in the local bank, but fears that his dog Barney will be put down by widowed miser Mrs. Deagle. Randall names the mogwai "Gizmo" and explains the three rules. Gizmo is friendly and docile, but when Billy's young friend Pete accidentally spills water over Gizmo, five more mogwai spawn from his back, a more troublemaking sort led by the aggressive Stripe, named for the tuft of fur on his head. Billy shows one of the mogwai to his former elementary school science teacher, Mr. Hanson, spawning another mogwai, on whom Hanson experiments. Back at home, Stripe and his fellow mogwai trick Billy into feeding them after midnight by severing the power cord on his alarm clock. They form cocoons, as does Hanson's mogwai, which soon hatch, emerging as mischievous, dark green, reptilian monsters called "Gremlins", who then torture Gizmo and attack Billy's mother, Lynn. Hanson is killed by his gremlin. Lynn and Billy are able to kill off the gremlins, except for Stripe, who escapes to a local YMCA. There, Stripe jumps into the swimming pool, spawning an army of gremlins who wreak havoc in Kingston Falls. Many people are injured or outright killed by the gremlins' rampage, including Mrs. Deagle. Billy reports this to the police, but they prove to be no help as they don't believe his story, even after he shows them Gizmo. As Billy rescues his girlfriend, Kate Beringer, they hide in the now-abandoned bank where Kate reveals to Billy and Gizmo why she hates Christmas: when she was nine years old, her father went missing on Christmas Eve and did not come home on Christmas Day either; several days later, he was found dead in their chimney while dressed as Santa Claus. Planning to surprise her and her mother, he had accidentally slipped and broken his neck while climbing down the chimney. Still suffering from post-traumatic stress disorder, Kate confesses this is how she lost her belief in Santa Claus. Billy and Kate discover that the town has fallen silent, and the gremlins are watching Snow White and the Seven Dwarfs in the local theater. They set off a natural gas explosion, incinerating all the gremlins except for Stripe, who left to commandeer more candy at a Montgomery Ward store across the street. As morning approaches, they follow Stripe into the department store, where Stripe attempts to use a fountain to spawn more gremlins. Gizmo, driving a toy car, crashes into a skylight, exposing Stripe to sunlight, killing him, but not until he makes a final attempt to injure Billy, before collapsing into a pile of bubbling goo. As the local news reports on the day's mysterious tragedies, Mr. Wing reclaims Gizmo at the Peltzer home. He scolds the Peltzers for their negligence and criticizes Western society for its carelessness with nature. However, as he turns to leave, Gizmo, having bonded with Billy, bids him goodbye. A touched Mr. Wing then concedes that Billy may be ready one day, and until then, Gizmo will be waiting. |
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